[
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist, surreal, changing environment, strong NPCs, body horror, horror, academic NPC, incest, research, violence, child abuse, Lovecraft, city, child death, Lovecraftian, rape references, self-mutilation]\n\nNovember, 1997.\n\nYou take a deep breath of salty air as the first raindrops begin to spatter the pavement, and the swollen, slate-colored clouds that blanket the sky mutter ominous portents amongst themselves over the little coastal town of Anchorhead.\n\nSquinting up into the glowering storm, you wonder how everything managed to happen so fast. The strange phone call over a month ago, from a lawyer claiming to represent the estate of some distant branch of Michael's family, was bewildering enough in itself... but then the sudden whirlwind of planning and decisions, legal details and travel arrangements, the packing up and shipping away of your entire home, your entire life...\n\nNow suddenly here you are, after driving for the past two days straight, over a thousand miles away from the familiar warmth of Texas, getting ready to move into the ancestral mansion of a clan of relatives so far removed that not even Michael has ever heard of them. And you've only been married since June and none of this was any of your idea in the first place, and already it's starting to rain.\n\nThese days, you often find yourself feeling confused and uprooted.\n\nYou shake yourself and force the melancholy thoughts from your head, trying to focus on the errand at hand. You're to meet with the real estate agent and pick up the keys to your new house while Michael runs across town to take care of some paperwork at the university. He'll be back to pick you up in a few minutes, and then the two of you can begin the long, precarious process of settling in.\n\nA sullen belch emanates from the clouds, and the rain starts coming down harder -- fat, cold drops smacking loudly against the cobblestones. Shouldn't it be snowing in New England at this time of year? With a sigh, you open your umbrella.\n\nWelcome to Anchorhead...\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n[Author's Note: You take a deep breath of salty air as the first raindrops begin to spatter the pavement, and the swollen, slate-colored clouds that blanket the sky mutter ominous portents amongst themselves over the little coastal town of Anchorhead. Travel to the haunted coastal town of Anchorhead, Massachusetts and uncover the roots of a horrific conspiracy inspired by the works of H. P. Lovecraft. Search through musty archives and tomes of esoteric lore; dodge hostile townsfolk; combat a generation-spanning evil that threatens your family and the entire world.]\n\n> About yourself\nYou look good, considering. A bit rattled by recent events, perhaps, but well-poised and collected, all the same.\n\n> Inventory\nYou are wearing your wedding ring, your trenchcoat and your clothes; in addition, you have in your hand your umbrella.\n\nThe pockets of your trenchcoat are empty.\n\n> You examine umbrella\nOlive green, with a hook-shaped handle. It's a handy little thing, when it rains. It's currently open.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\nThe clouds overhead mutter restlessly to themselves.\n\n> You open the door\nIt seems to be locked.\n\n> You knock on the door\nYou rap on the glass sharply, peering through it into the dark room inside. Nobody answers. Strange; you just talked to the real estate agent -- Miss Benson, you think it was -- yesterday. She was going to meet you here.\n\nThe rain slackens off momentarily to a weak drizzle, then returns afresh in a brief, freezing downpour.\n\n> Go southeast\nThis narrow aperture between two buildings is nearly blocked with piles of rotting cardboard boxes and overstuffed garbage cans. Ugly, half-crumbling brick walls to either side totter oppressively over you. The alley ends here at a tall, wooden fence.\n\nHigh up on the wall of the northern building there is a narrow, transom-style window.\n\n> You examine cans\nThe metal garbage cans are stuffed to overflowing with slowly decomposing refuse.\n\n> You look at the window\nIt's about eighteen inches wide and a foot tall, with hinges along the top that allow it to swing out. It's currently closed.\n\n> You climb the cans\nYou clamber onto the wobbling garbage can, precariously balanced.\n\n> You open the window\nHmm. You still can't quite reach, because the garbage can is too far away from the wall. Perhaps if you pushed it closer..."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, child abuse, female protagonist, research, body horror, rape references, self-mutilation]\n\n> Go downwards\nCarefully, you descend.\n\n> You stand on can\nYou clamber onto the wobbling garbage can, precariously balanced. You can just reach the lower edge of the window from here.\n\n> You open the window\nYou open the transom window.\n\n> Go inside\n(closing the umbrella first)\nIt's a tight squeeze, but you just manage to wriggle through, dropping quietly to the floor inside.\n\nPeering through the murk, you can make out the blocky outlines of filing cabinets lining the walls and a doorway to the west. A window high up on the south wall lets in a very faint illumination.\n\n> You look at the cabinets\nThere must be hundreds of files here, too many to browse through. You'll have to look up something specific if you want to find anything.\n\n> You look up yourself in the cabinets\n(in the filing cabinets)\nYou don't find anything filed under that heading.\n\nYou can hear a fly buzzing around, hovering over the back of your neck.\n\n> About yourself\nYou look good, considering. A bit rattled by recent events, perhaps, but well-poised and collected, all the same.\n\n> You look at the ring\nStaring at your wedding ring like that tends to make you sentimental.\n\n> You look at the fly\nYou can't see where the fly is. You're not even sure where the buzzing is coming from.\n\n> You go west\nPallid gray light trickles in through the drawn blinds. The office is deserted, papers still scattered across the top of the desk. The front door lies west, and the file room lies east.\n\nSitting on the corner of the paper-strewn desk are a telephone and an answering machine.\n\nSomeone seems to have left a cup of coffee sitting out, half-finished and cold.\n\n> You look at the machine\nA simple answering machine, with a small display indicating messages received, a button labeled \"PLAY\", and a button labeled \"DELETE\".\n\n> You examine display\nThe display indicates there is one message on the machine, left (oddly enough) at 4:19 this morning. The display also shows that the message has already been checked.\n\n> You examine the coffee\nMuddy-looking and unappetizing. Who knows how long it's been sitting out?\n\n> You examine the drawer\nYou can't see inside, since the drawer is closed.\n\nYou can hear a fly buzzing around, right around your head.\n\n> You open the drawer\nIt seems to be locked.\n\n> Inventory\nYou are wearing your wedding ring, your trenchcoat and your clothes; in addition, you have in your hand your umbrella.\n\nThe pockets of your trenchcoat are empty.\n\n> Murder fly\nYou can't see where the fly is. You're not even sure where the buzzing is coming from.\n\n> You look at the ring\nStaring at your wedding ring like that tends to make you sentimental.\n\n> You remove the ring\nYou slip the plain gold band from your finger. Usually you feel almost naked without your ring on, although sometimes you do find yourself taking it off briefly, just to read the inscription along the inside.\n\n> You read the ring\nEngraved along the inside are Michael's and your initials, along with your wedding date -- June 28th.\n\n> You wear the ring\nThe gold band slides onto your finger with a comforting snugness.\n\n> Go east\nPeering through the murk, you can make out the blocky outlines of filing cabinets lining the walls and a doorway to the west. A window high up on the south wall lets in a very faint illumination.\n\n> You look up Verlac in the cabinets\n(in the filing cabinets)\nStrange; the file on the Verlac property has been cleaned out. Title, deed, all the papers, all of it gone. There is, however, a set of keys tucked down in the hanging folder. You quickly pocket them.\n\n> You look at the keys\nIt's just an ordinary-looking keyring. There are two keys (a key to the house and a key to the cellar) on it.\n\n> You go west\nPallid gray light trickles in through the drawn blinds. The office is deserted, papers still scattered across the top of the desk. The front door lies west, and the file room lies east.\n\nSitting on the corner of the paper-strewn desk are a telephone and an answering machine.\n\nSomeone seems to have left a cup of coffee sitting out, half-finished and cold.\n\n> You move the papers\nSifting through the paperwork, you find nothing that catches your attention.\n\nYou can hear a fly buzzing around, right around your head.\n\n> You look at the blinds\nThe blinds are drawn across the windows, letting in a thin trickle of light. They are coated with a thin film of dust.\n\n> You examine the front door\nYou can make out the words \"tsruhkcarB & nosneB\" stenciled across the glass. There is a latch on this side which can be turned to lock or unlock the door.\n\n> Search pockets\nThe trenchcoat is empty.\n\n> Go east\nPeering through the murk, you can make out the blocky outlines of filing cabinets lining the walls and a doorway to the west. A window high up on the south wall lets in a very faint illumination.\n\n> You look up Benson in the cabinets\n(in the filing cabinets)\nYou don't find anything filed under that heading.\n\n> You look up Michael in the cabinets\n(in the filing cabinets)\nAs you search in vain for some mention of your husband's name, it dawns on you that the property is most likely listed under the family's original, ancestral name.\n\n> You unlock door\nYou unlock the office door.\n\n> Go west\n(opening the real estate office door first)\nThe rain is still coming down, so you open your umbrella.\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\nThe office door is open.\n\n> You close the door\nYou close the real estate office door.\n\n> You open the umbrella\nThat's already open.\n\n> Go west\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\n> Go northwest\nThe lane narrows here to little more than a badly cobbled sidewalk as it wends its way up through a series of tortuous bends and switchbacks. In some places, the street is so steep that steps have been cut into it, worn down over the years and slick with moss. Your progress is blocked at the top of the street by a blank brick wall.\n\n> You examine the brick wall\nIt's just an ordinary-looking brick wall.\n\n> You climb the wall\nThe wall is featureless and very high; there's no way over it.\n\n> You go southeast\nYou take a few tentative steps back down the lane, but it seems to lead only to a short switchback, bringing you right back to the brick wall. You're not entirely sure now, which direction leads back to the narrow street.\n\n> You listen\nAt the very edge of your hearing you can just make out the sound of someone playing a violin -- a plaintive, haunting melody.\n\n> Yell\nCome now; you're not that frightened."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, city, Lovecraftian, research]\n\n> You look around\nThe lane narrows here to little more than a badly cobbled sidewalk as it wends its way up through a series of tortuous bends and switchbacks. In some places, the street is so steep that steps have been cut into it, worn down over the years and slick with moss. Your progress is blocked at the top of the street by a blank brick wall.\n\nThe rain slackens off momentarily to a weak drizzle, then returns afresh in a brief, freezing downpour.\n\n> You climb the wall\nThe wall is featureless and very high; there's no way over it.\n\n> You go to the south-west\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\n> Go north\nYou close your umbrella, as is your habit after coming indoors.\n\nA dank, drafty old drinking hole lit by flickering, oil-burning lanterns. Smoke collects in greasy pools among the rafters, and shadows crowd thick around. The bar runs the length of the room to your right, while to the south a low doorway opens onto the street.\n\nMill workers and fishermen occupy a few of the tables, drinking beer or puffing grimly at long-stemmed pipes. Each is wrapped in his solitude, soaking up the general miasma of dreary fatalism.\n\nThe lantern sitting on the table nearest you sputters fitfully, throwing distorted shadows across the wall.\n\n> You examine the lantern\nIt's an old-fashioned hurricane lamp, with a tall glass chimney to protect it from the wind. The cotton wick burns fitfully in its reservoir of cheap oil.\n\n> You take it\nNo one here looks as though they'd mind if you borrowed one of these lamps. Casually, you purloin the nearest one.\n\n> You go east\nThe exit is to the south.\n\n> Examine bar\nA dark and dour expanse of wood, pitted and scarred and stained with the rings from over a hundred years' worth of slopping beer mugs.\n\n> You look behind the bar\nNot a bartender in sight.\n\n> You examine the people\nThe patrons of this place are taciturn and grim. No one speaks. No one looks anyone in the eye. No one, in fact, even looks up from his beer. A heavy aura of resignation -- and, it almost seems, dread -- hangs palpably over the whole crowd.\n\n> You go to the south\nAs you make your way to the door, your foot strikes something under one of the tables.\n\n> You look under the table\nSome forgetful soul has left a flask underneath one of the tables, pushed into a shadowy corner.\n\n> You take the flask\nYou pick up the flask. The label is faded and mostly peeled away, but what little you can make out seems to indicate that this is not a particularly distinguished brand of spirits. The words \"bootleg\" and \"rotgut\" come to mind, probably because they are the only words legible on what's left of the label.\n\n> You examine flask\nThe label is faded and mostly peeled away, but what little you can make out seems to indicate that this is not a particularly distinguished brand of spirits. The words \"bootleg\" and \"rotgut\" come to mind, probably because they are the only words legible on what's left of the label.\n\n> You put the flask in coat\nYou slip the flask into the pocket of your trenchcoat.\n\n> You go south\nThe rain is still coming down, so you open your umbrella.\n\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nA sudden gust of rain puts the lantern out.\n\n> You go to the west\nTo the north, a gap in the crowded press of gloomy buildings opens onto a country lane, heading out over a grassy heath. The main street continues to the east, while to the northwest, over the top of a steep rise, you can just make out the vaulted rooftops of the university.\n\n> You go to the north-west\nIsolated and serene within its high, ivy-covered walls, Miskaton University represents this benighted town's single, if somewhat dubious, claim to cultural achievement. Founded some time in the early 1800s, the school's reputation and enrollment have diminished somewhat as Anchorhead drifts further and further into the abyss of provincial backwaterism. Still, it is generally recognized for its collection of folklore and esoteric mythology (one of the oldest and most extensive on the east coast). The Board of Deans was also kind enough to offer Michael a full professorship upon hearing of his recently discovered heritage and his plans to move into the estate. Ivory tower, perhaps, but at least they take care of their own.\n\nThere are numerous buildings surrounding this cobbled court, but the only one you are interested in is the library to the west, where Michael told you he'd be until he came back to the real estate agent's office to pick you up. Which, incidentally, he has not yet done.\n\n> Go west\nYou close your umbrella, as is your habit after coming indoors.\n\nShadows roost thickly in the vaulted ceiling, and small, green-shaded desk lamps cast pools of warm radiance here and there around the library's dim interior. You pause a moment to let the hushed peacefulness of this place soak in -- a welcome relief from the unsettling events of the day. An exit lies east, and a small alcove to the north houses the circulation counter.\n\nPeering through the shadows, you spot your husband sitting at one of the reading desks, absorbed in some sort of weighty tome and clearly oblivious to the time.\n\n> Kiss Michael\nMichael looks up, startled, then realizes it's you and smiles. \"Hi, hon,\" he says, closing the book and stretching. Then he glances at his watch. \"Good grief, what happened to the time? I'm so sorry -- I just lost track.\" He smiles sheepishly.\n\n\"Well?\" he asks. \"Did you get the keys?\"\n\n> You show the keys to Michael\n\"Great!\" says Michael. \"You hang on to that. Just a second, I'll put this back.\" He takes the book up to the circulation desk and hands it to the librarian. \"Okay then,\" he says, returning, \"let's go.\"\n\nMichael suddenly smacks his forehead. \"Oh, crap, I forgot to tell you. The car broke down.\" He spreads his hands. \"I don't know what happened to it; one second I'm parking outside, the next second it dies and I can't get it started again. I called a tow truck, but the nearest garage is up in Arkham. They picked it up but won't be able to look at it until next week at the earliest. Anyway, it looks like we'll have to walk back to the house.\" He offers you a lame smile. \"You can hold the umbrella.\"\n\n> You examine Michael\nTall and a bit on the skinny side, in an endearingly awkward sort of way; a serious, thoughtful face topped with an unruly tangle of brown hair; deep brown eyes framed by wire-rimmed glasses -- yep, that's the man you married, all right.\n\nMichael looks at you expectantly, waiting for you to lead the way.\n\n> Go east\nThe rain is still coming down, so you open your umbrella.\n\nIsolated and serene within its high, ivy-covered walls, Miskaton University represents this benighted town's single, if somewhat dubious, claim to cultural achievement. Founded some time in the early 1800s, the school's reputation and enrollment have diminished somewhat as Anchorhead drifts further and further into the abyss of provincial backwaterism. Still, it is generally recognized for its collection of folklore and esoteric mythology (one of the oldest and most extensive on the east coast). The Board of Deans was also kind enough to offer Michael a full professorship upon hearing of his recently discovered heritage and his plans to move into the estate. Ivory tower, perhaps, but at least they take care of their own.\n\nThere are numerous buildings surrounding this cobbled court, but the only one you are interested in is the library to the west.\n\nMichael strolls along after you.\n\n> Go southeast\nTo the north, a gap in the crowded press of gloomy buildings opens onto a country lane, heading out over a grassy heath. The main street continues to the east, while to the northwest, over the top of a steep rise, you can just make out the vaulted rooftops of the university.\n\nMichael hurries to catch up.\n\n> You go east\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nMichael strolls along after you.\n\n> You go to the south\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nMichael follows you.\n\n> You examine River\nThe Miskaton's waters are sluggish and dark. Some sort of oily film coats the surface, reflecting back ghostly swirls of color.\n\n> Go south\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nMichael hurries to catch up.\n\n> You examine the obelisk\nThe obelisk measures about two feet square at its base, narrowing slightly as it rises a good fifteen feet to a bluntly pointed tip. An iron ring is embedded in the stone high up on one side, about two feet from the top. Dense, twisting hieroglyphs cover all four sides of the obelisk, although they are too worn to be read clearly.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n\"We really should be getting on to the house, don't you think?\" asks Michael. \"It's a bit rainy out.\"\n\n> You ask Michael about the house\n\"The Verlac family has been living in that old place for generations; they're an integral part of the history of this whole region. It's really quite interesting.\"\n\n> Go west\nThe rooftops above you lean so close together as to nearly block out the sky altogether, making this a particularly dark and unpleasant section of the city. The street leads away to the east, and a shadowy driveway leads through a high brick wall to the south.\n\nMichael hurries to catch up.\n\n> You go south\nThe grim, white-washed edifice of Danvers Asylum bounds this tiny, shadowed courtyard to the south, its narrow, barred windows staring blankly down at you like ranks of shriveled, empty eye sockets. You can escape through a narrow gateway in the high, brick wall to the north.\n\nMichael hurries to catch up.\n\nMichael scuffs around dispiritedly.\n\n> Go north\nThe rooftops above you lean so close together as to nearly block out the sky altogether, making this a particularly dark and unpleasant section of the city. The street leads away to the east, and a shadowy driveway leads through a high brick wall to the south.\n\nMichael follows you.\n\n> You go east\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nMichael strolls along after you.\n\n> You go east\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\nMichael hurries to catch up.\n\n> You go to the south\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\nA clammy mist hangs thickly in the air, seeping through your clothes and making you shiver.\n\nMichael follows you.\n\nThe clouds overhead mutter restlessly to themselves.\n\n> You listen\nThe furtive creaking of branches and the soft rustling of leaves are all that you hear.\n\n> Go southwest\nAs you walk through, the mists part before your husband almost deferentially, quickly dissolving away into nothing.\n\nThe ground begins to rise sharply as the road climbs up into the hills south of town.\n\nThe treeline falls away on the north side of this northwest-northeast bend in the road, giving way to a panoramic view of the Miskaton River Valley and the grubby little town of Anchorhead nestled within it. From here you can see the paper mill almost directly to the north; the solitary lighthouse and surrounding ocean to the northeast; and the dilapidated stone church below you to the east. Winding through it all is the oily black ribbon of the Miskaton, and almost directly in the center lies the little clearing of Town Square. You can just make out the shape of the obelisk from here.\n\nMichael strolls along after you.\n\n> Go northwest\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe fabled Verlac family mansion looms before you in the gloom, its dark creaking presence dominating the clearing and, somehow, even though it is not visible through the trees, the entire valley. The foreboding shadow of the Verlacs seems to enshroud all of Anchorhead from here.\n\nA typewritten notice has been attached to the front door.\n\nMichael strolls along after you.\n\n\"Well,\" says Michael, \"this must be the place. We finally made it, honey. We're home!\"\n\n> You read the notice\nIt's a letter from the Arkham Regional Utilities Company, explaining that, due to wiring difficulties, the electricity will not be installed until next week. No phone service, either.\n\n\"Well, that's wonderful news,\" remarks Michael dryly, reading over your shoulder.\n\nThe rain slackens off momentarily to a weak drizzle, then returns afresh in a brief, freezing downpour.\n\n> You look at the keys\nIt's just an ordinary-looking keyring. There are two keys (a key to the house and a key to the cellar) on it.\n\n> You unlock door\nYou unlock the front door.\n\n> You go north\n(opening the front door first)\nYou close your umbrella, as is your habit after coming indoors.\n\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nCarelessly stacked in a towering heap in the middle of the room are all your luggage and belongings, which you had sent ahead through a moving company before driving up to Massachusetts. Everything you own is boxed away and piled up in the middle of the floor. The reality of this move finally slams home as you stare at the sprawling jumble of stuff, and suddenly you feel very lost and adrift.\n\nNight has now undeniably fallen, and the house is very, very dark. There is probably just enough residual ambience to feel your way upstairs to the bedroom, but the rest of the house is a tenebrous maze of shadows, and any exploring would probably best be done in the morning.\n\nMichael strolls along after you.\n\nMichael stretches his arms and yawns. \"Well,\" he says, \"I think I'm going to turn in. There'll be plenty of time to unpack and explore tomorrow. Good night, hon.\" He kisses you on the cheek. \"Don't stay up too late.\"\n\nAnd with that, he goes upstairs.\n\n> You close the door\nYou close the front door.\n\n> You lock the door\nYou lock the front door.\n\n> Go upward\nA narrow hallway runs east, from the top of the stairs down the length of the house. To the north, directly opposite the stairs, is the master bedroom.\n\n> Go north\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house.\n\nMichael is curled up in bed, sound asleep.\n\nIf it weren't for this hopelessly backwater town and the disturbing circumstances surrounding the house, you'd say this was your dream home. Even so, as much as you would like to relax and enjoy the comforts of a fully furnished historical New England estate, you can't help but be put off by the shady aura surrounding the family that used to live here. The last of the line, you remind yourself, recently committed suicide after killing his wife and two daughters with a shotgun. Involuntarily you shiver, glancing nervously at the doorways to the south and west.\n\n> You go west\nA small chamber of cold, white tile and floral-print wallpaper. It sports a genuine, whitewashed, claw-foot bathtub with a shower attachment, which is a definite plus. The bedroom lies east.\n\n> Go east\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nMichael is curled up in bed, sound asleep.\n\n> Undress\nYou take off the trenchcoat.\nYou take off the clothes.\n\n> You drop all\nlantern: Dropped.\nkeyring: Dropped.\ntrenchcoat: Dropped.\nclothes: Dropped.\numbrella: Dropped.\n\n> You enter the bed\nGratefully, you crawl into bed and pull the covers up to your chin.\n\n> Sleep\nAlmost immediately you fall asleep, and as the wind slithers around the eaves and the house creaks furtive secrets to itself, you drift into troubling dreams...\nYou are waiting in your bed, with the coverlet up under your chin, waiting for Father to come tuck you in. Footsteps in the hall pause outside your door. You close your eyes; when you open them again Father is standing at the foot of the bed. His eyes are bloodshot, rimmed with red, and you wonder if he has been crying. Slowly, he starts to take off his belt.\n\nOnly it's not your father after all, it's Michael. He hands you a golden sphere and says:\n\n\"I don't know what it opens yet but I have an idea.\"\n\nYour reflection is like a little doll trapped inside the sphere. Everything is tinged with gold. Your face swells and stretches comically as you stare back at yourself through the curved, distorting walls. Reaching out, your fingers curve back on themselves... the wall breaks and...\n\nYou are running from the eyes, the terrible red-rimmed eyes, through endless, narrow corridors of wooden slats and crumbling plaster. You stumble through turn after turn, hopelessly lost. There is a small hole in the boards -- peering through it you see Michael in the study, typing diligently away. You scream, you pound on the wall, but he can't hear you. The red-rimmed eyes draw closer; hurrying down a twisting passage you find a dead end... the wall breaks and...\n\nOutside, you stand at another dead end, a high brick wall at the end of a steep, twisting lane. Written in black spraypaint...\n\nHe always returns to his blood.\n\nBehind you, you hear the buzzing of a fly. You turn...\nYou wake up. Steam billows gently by, and you can hear the sound of running water coming from the bathroom."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, city, violence, academic NPC, research, Lovecraftian, female protagonist, surreal, child death, Lovecraft, horror, child abuse]\n\n> You look around\nMaster Bedroom, on the four-poster bed\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nYou can also see your umbrella, a keyring (on which are two keys (a key to the house and a key to the cellar)) and a lantern here.\n\nOn the four-poster bed you can see Michael's pants (in which is Michael's wallet (which is closed)).\n\n> You examine the wallet\nIt's just his wallet, an ordinary leather wallet.\n\n> You open the wallet\n(first taking the wallet)\nWith a nervous glance toward the bathroom, you slip the wallet from Michael's pants.\nYou open the wallet, revealing Michael's faculty card.\n\n> You examine the faculty card\nThe card identifies your husband as a faculty member at Miskaton University, entitled to all the privileges that implies.\n\n> Close the wallet\nYou close the wallet.\n\n> You put the wallet in the pants\n(Michael's pants)\nYou put the wallet into Michael's pants.\n\n> Go west\nThe bathroom is occupied at the moment.\n\n> You stand\nReluctantly, you do so.\n\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nMichael's pants are draped across the foot of the bed.\n\nYou can also see your umbrella, a keyring (on which are two keys (a key to the house and a key to the cellar)) and a lantern here.\n\n> You wear the clothes\n(first taking the clothes)\nYou put on the clothes.\n\n> You take the keyring and the lantern\nkeyring: Taken.\nlantern: Taken.\n\n> Wear coat\n(first taking the trenchcoat)\nYou put on the trenchcoat.\n\n> You examine the landscapes\nThe sketches are charcoal on yellowed paper, pictures of the surrounding countryside. They're quite pretty, actually, lending an air of comfort to an otherwise cold and moribund house. Each drawing is initialed in the corner - \"J.W.V. - '95\".\n\n> Go south\nA narrow hallway runs east, from the top of the stairs down the length of the house. To the north, directly opposite the stairs, is the master bedroom.\n\n> You go to the east\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nThere is a cord dangling in mid-air here, right about level with your face.\n\n> Go north\nWhatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.\n\nA beautiful pair of mahogany sliding doors stand closed to the east.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\nYou pause as the shower shuts off, and you hear Michael moving around in the next room. His footsteps thump loudly on the hardwood floor as he comes down the hall, and then are muffled again as he steps onto the deep green carpet of the library.\n\n\"Good morning,\" he says, smiling and kissing you lightly on the cheek. He looks around at the crowded rows of books. \"Neat, huh? I may go through some of them this morning. Since the fogies don't need me to start work until tomorrow, I thought I'd stay home and try to get some writing done.\"\n\nAs he steps through the sliding doors into the study, he turns and says, \"I'll be in here for a while, okay? Oh, and if you go out today, see if you can find a newspaper somewhere.\" He smiles as he slides the doors shut.\n\n> You examine the volume\n(The Compleat Manual of Wardes and Seales)\nIt's an old medieval tome dated in the early 1300s, written by one Galarian Academius desChamps.\n\n> You read it\nEssentially, it's a textbook on the theory and practice of magickal wards and seals, mystic symbols inscribed on doors and containers in order to keep people and spirits out -- or in. It's all very deliberately vague and arcane (in addition to being written in medieval French and translated into Middle English, making it nearly impossible to understand), the kind of thing that likely got many a scholar burned at the stake in those days.\n\nYou are surprised to find that a page in this old and probably quite valuable book has been folded down, as though to mark the place. The section marked discusses various methods of opening doors that have been sealed with the image of a pagan god. Speaking aloud the deity's true name will usually do the trick, apparently."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, surreal, body horror, strong NPCs, child abuse, female protagonist, horror, Lovecraft, changing environment, child death, city]\n\n> Look around\nWhatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.\n\nA beautiful pair of mahogany sliding doors stand closed to the east.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\n> You look at the books\nLiterally hundreds of books stuff the shelves, many of them thick, cracked, leather-bound tomes with ribbon place-holders and titles lettered in raised gold leaf. It would take you years to peruse them all. However, one interesting title does catch your eye. An authentic first printing of Edgar Allen Poe's Tales of Mystery and\nImagination, shelved incongruously between volumes \"G\" and \"H\" of\nthe Encyclopedia Americana.\n\n> You look at Poe\nIt's a beautifully bound book in near-perfect condition, and probably extremely valuable -- if it really is authentic. Michael will go nuts when he sees this.\n\n> You read Poe\nYou'll have to take it down from the bookshelf if you want to read anything other than the spine.\n\n> You take Poe\nThe book sticks stubbornly at first, and, thinking that it must be tightly wedged in between the encyclopediae, you give it a fierce jerk. Suddenly, the book slides halfway out, then pops back in with a loud \"snick\".\n\nAmazingly, a section of the bookshelf slides back, revealing a hidden safe.\n\n> You look at safe\nIt's a stark cube of black, oily steel, fifteen inches to a side. Its only feature is a large calibrated dial set into the front.\n\n> You examine the dial\nThe dial is calibrated from one to sixty. It is currently set to 24.\n\n> You take safe\nYou don't even want to guess how much that thing weighs. You'd likely break your back just trying to lift it.\n\n> You go south\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> You go to the south\nThis must be the children's bedroom. The bed is smaller than the one in the master bedroom, its bright coverlet providing one of the few feeble splashes of color in what must have been, for most of its history, a joylessly Puritan household. A small vanity table occupies the opposite wall, and in the corner under the window stands an ancient crib. The only exit is to the north.\n\nA child's jewelry box sits on the corner of the vanity.\n\n> You look at the box\nIt's hardly larger than your hand, made of wood and charmingly decorated with a picture of children dancing around a Maypole. Most likely a plaything of one of the later Verlac children. The lid is closed.\n\n> You open the box\nYou open the jewelry box, revealing a silver locket.\n\n> You examine the locket\nIt is oval-shaped, held shut with a tiny clasp.\n\n> You open the locket\nYou open the silver locket, revealing a boy's picture.\n\n> You look at the picture\n(the jewelry box)\nIt's hardly larger than your hand, made of wood and charmingly decorated with a picture of children dancing around a Maypole. Most likely a plaything of one of the later Verlac children. The lid is open to reveal a silver locket.\n\n> You examine boy\nThe boy in the picture looks no more than three or four years old. He is smiling, but there is something disconcerting about his expression, as though his head were not shaped quite right or his features had been placed slightly wrong. He might possibly have been mentally retarded. It's difficult to tell, because the picture has been cropped so closely you can't even see the edges of the boy's face. Only his features fill the tiny frame.\n\n> You look through the window\nThrough the narrow slats in the shutters, you can make out the bony, grasping branches of the surrounding trees, waving in the wind. Not a soothing sight.\n\n> You look at the crib\nThe crib is made of wood and held together with pegs, not nails. It's probably at least as old as the house.\n\n> You look in the crib\nThe crib is empty.\n\n> You look at the vanity\nA simple vanity table, scaled down for a child, spartan in design and almost wholly without decoration. It's hard to imagine keeping any sort of makeup or jewelry on it, but then again, vanity of even the most innocent kind was probably discouraged in most of the Verlac children.\n\n> You look under the bed\nYou notice some odd scratches in the floor around the legs of the bed frame -- marks about six inches long, scored into the wood. Otherwise, nothing but shadows and dust under the bed.\n\n> You pull the bed\nBracing yourself, you push the bed away from the wall, revealing a ragged hole in the wood paneling.\n\n> You examine the hole\nIt's about six inches wide, and looks like it was made by by someone breaking in the wall with a hammer and pulling chunks of paneling out with their bare hands.\n\n> You look in the hole\nIn the ragged hole is a bundle of soggy pages.\n\n> You take the pages\nYou pick up the bundle of soggy pages. It appears to have been someone's diary. There must have been a leak at some time behind the wall where it was hidden, because most of the pages are water-logged and completely illegible. However, portions of a few entries remain untouched.\n\n> You examine diary\nIt appears to have been someone's diary. There must have been a leak at some time behind the wall where it was hidden, because most of the pages are water-logged and completely illegible. However, portions of a few entries remain untouched.\n\n> You read the diary\nCarefully, you turn the tattered pages. The handwriting is that of a young girl. You idly wonder if this might have been the diary of one of Edward Verlac's daughters -- but then you notice part of a date, just visible in the corner of the page: 1953. This must have been written, then, several years before Edward was born.\n\nThe entries that are legible read as follows:\n\n...Father came again to my bed last night... mother doesn't...\ntells me I can't... to be a good daughter. Sometimes it hurts, but Father always tells me I shouldn't cry. Father says a daughter must do her Duty if she wants to get into Heaven. And I do want to get into Heaven...\n\n[this entry dated 1957] ...my poor little William. Father calls\nhim an aberration, child of the Devil, but I don't believe... locked in the attic. I go to see him whenever Father is away. I sing to him, sometimes, through the keyhole, and slip him sweets through the crack under the door... my baby is beautiful... can't let him hurt my dear baby William... to the doctor, and he has a plan... I can never... this locket, William, and I will always keep yours... to always remember my face...\n\nNothing else is readable except for one fragmented entry near the very end of the book, the date in the corner reading February 27, 1961:\n\n...dead, but not dead yet... will not allow him to do to Edward\nwhat he wanted to do to William... have learned... given him the charm against the... never take it off, dear Edward... [a page has been\ntorn away] ...fear to sleep... mist at the window --\n\nAnd that's all.\n\n> You go north\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> You go north\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYou can also see your umbrella here.\n\n> You go to the west\nA small chamber of cold, white tile and floral-print wallpaper. It sports a genuine, whitewashed, claw-foot bathtub with a shower attachment, which is a definite plus. The bedroom lies east.\n\nMichael's bath towel lies crumpled in the corner, next to the tub.\n\n> You take the towel\nTaken.\n\n> You smell it\nSmells a bit mildewy.\n\n> You take the umbrella\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nTaken."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, body horror, child death, child abuse, horror, incest, changing environment, rape references, surreal, female protagonist, Lovecraftian]\n\n> Go downward\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You examine the luggage\nIt's all a huge, hopeless mess. Just looking at it instantly drains you of any desire to unpack.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> Open luggage\nHonestly, you just can't muster enough motivation.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> You go north\nA short hallway, connecting rooms to the east, west and south.\n\n> You go west\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\nSomeone's flashlight is lying on the kitchen counter; one of the movers must have left it.\n\nAn odd feeling of gloom overtakes you momentarily, and you find yourself thinking about the Verlac family's personal effects -- the everyday mundanities, such as kitchen utensils. Were they thrown out, or donated to charity, or auctioned off as grisly souvenirs? What about the canned goods? Did anyone think to take them? The cabinets might even still be stocked. Morbidly, you wonder what Mrs. Edward Verlac might have been cooking for dinner the night her husband blew her head off.\n\n> You take the flashlight\n(slipping the lantern into the pocket of your trenchcoat to get a hand free)\nYou pick up the flashlight. It's battery-powered, and waterproof too, by the look of it.\n\nThe flashlight is currently switched off.\n\n> You open the cabinets\nThe cabinets are not, after all, still stocked -- much to your relief. There's nothing in there but an old book of matches.\n\n> You take the matches\n(slipping the bundle of soggy pages into the pocket of your trenchcoat to get a hand free)\nYou pick up the book of matches. A label on the side reads, \"Water-resistant matches. Strike on cover.\" There are six matches left.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam.\n\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nLeaning in the corner is an old broom.\n\n> You examine the broom\nIt's just an ordinary-looking broom.\n\n> Go southeast\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\n> You turn off the flashlight\nYou switch the flashlight off.\n\n> You go to the north\n(opening the back door first)\nIt seems to be locked.\n\n> You unlock door\n(first taking the keyring)\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the back door.\n\n> Go north\n(opening the back door first)\n\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\n> You look at what you're carrying with you\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a keyring, on which are two keys (a key to the house and a key to the cellar), a book of matches with six matches left, a flashlight and your umbrella.\n\nThe pockets of your trenchcoat contain a towel, a bundle of soggy pages, a lantern and a flask (which is closed).\n\n> You examine trees\nThe woods are ancient, thick with undergrowth and full of shadows. Branches creak, leaves rustle beneath unseen, half-imagined footsteps, and strange birdcalls echo through the trees.\n\n> You go northwest\nStooping to avoid the sharp, bare twigs that snag your clothes and seem to reach greedily for your eyes, you pick your way through the undergrowth to a small clearing.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\n> You look at the tombstones\nYears of neglect have left the tombstones in bad repair -- the ones not broken are eroded to near-illegibility, and those not eroded are covered with thick, sticky moss. From what you can make out, though, most of them are servants' graves. Family members were most likely buried in the larger structure in the middle of the clearing.\n\n> You examine crypt\nGrimly carved letters over the door spell out a single name: \"VERLAC\".\n\n> Go southeast\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\n> Go south\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\n> You close the door\nYou close the back door.\n\n> You lock it\nYou lock the back door.\n\n> You go to the south\nMuch of the elegance has faded from this room. The huge dining table running the length of it is covered with a thick gray film of dust, and the china cupboard standing against the far wall is draped in shadow. Doorways to the north and east offer little relief from the gloom. For what must be the hundredth time, you wish you could open the windows in this place.\n\n> You examine the cupboard\nIt's a free-standing cabinet about as tall as you are, crafted of cherrywood. The double paneled doors are closed.\n\n> You open it\nThe cupboard is empty; the china must have been auctioned off, in the confusion before Michael was contacted, perhaps. Down at the bottom of the cupboard is a velvet lining, where the silverware would usually be kept.\n\n> You look at the lining\nThe lining is soft, dusky burgundy. One corner in back is pulled up a bit and slightly torn.\n\n> You move lining\nThat would accomplish very little.\n\n> You take the lining\nThat's hardly portable.\n\n> You pull the lining\nYou pull the lining back a bit further and discover a thin, palm-sized journal tucked underneath it. Intrigued, you pull the little book free.\n\n> Examine book\nWhich do you mean, the torn journal or the book of matches?\n\n> You look at torn\n(the torn journal)\nIt's a slim little book, no bigger than your hand, bound in imitation leather. The mice really have been at it; most of the pages have been chewed away.\n\n> You read it\nIt's a slim little book, no bigger than your hand, bound in imitation leather. The mice really have been at it; most of the pages have been chewed away.\n\nWhat's left of the journal reads:\n\nDesperate. Went back to the old twisting lane and found only a\nblank wall. Without the amulet, how can I resist --\n\n...bottles, bottles...\n\nGetting worse. People I have never met smile knowingly at me in\nthe street. The police believe I am a child molester, but have brought no charges against me as yet. Why? Head hurts all the time. I have turned the cellar upside-down... damn it all, where is it?\n\nDreamed of Father again. Dreamed of Grandfather. Those horrible, red-rimmed eyes...\n\n-- into the safe, finally. 13-41-10. Won't forget THAT soon.\nHa!\n\nCANNOT DISCOVER ENTRANCE IN THE CELLAR!!! Secret eludes me still\nbut I WILL FIND IT!!! The clue is in their names, that pestilential procession of names! If I could only --\n\nThe text breaks off as several more pages are missing. the last fragmented entry reads:\n\n-- will fail. There is no recourse left. I know now what I must\ndo. Julia --\n\n> You examine table\nIt's a finely built table, a valued antique like much of the furniture in this house. It will need to be oiled after so many months of neglect, though.\n\n> Go east\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You go to the north\nWhatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.\n\nA beautiful pair of mahogany sliding doors stand closed to the east.\n\nA section of the shelves in the western wall has slid to one side, revealing a hidden safe.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\n> You open safe\nThere's no handle on the door; it opens when you get the combination right.\n\nYou can hear Michael in the next room, typing away.\n\n> You turn the dial to 13\nThe tumblers tick quietly as you turn the dial to 13...\n\n> You turn the dial to 41\nThe tumblers tick quietly as you turn the dial to 41...\n\n> You turn the dial to 10\nThe tumblers tick quietly as you turn the dial to 10... and with a hollow thunk, the safe suddenly swings open.\n\n> You look in safe\nIn the safe are a puzzle box and a strange metal flute.\n\n> You take all from safe\npuzzle box: (slipping the umbrella into the pocket of your trenchcoat to get a hand free)\nYou remove the puzzle box from the safe. It's roughly the size and shape of a cigar box, carved from some dark and oddly streaked wood that you can't identify. All six surfaces are decorated in a complex arrangement of grooves and panels, most of which are illustrated with leering, demonic faces and obscene designs. As far as you can tell, it is in fact a box, and meant to be opened; however, you see no obvious way to do so.\nstrange metal flute: (slipping the flashlight into the pocket of your trenchcoat to get a hand free)\nYou remove the strange metal flute from the safe. It appears to be some kind of wind instrument, fashioned out of ornately carved, greenish metal. Seven holes of varying sizes are drilled along the top.\n\n> You look at the faces\nIt's roughly the size and shape of a cigar box, carved from some dark and oddly streaked wood that you can't identify. All six surfaces are decorated in a complex arrangement of grooves and panels, most of which are illustrated with leering, demonic faces and obscene designs. As far as you can tell, it is in fact a box, and meant to be opened; however, you see no obvious way to do so.\n\n> You play the flute\n(the strange metal flute)\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You turn on the light\nThe flashlight emits a warm yellow beam.\n\n> Go upwards\nThe ancient rungs creak alarmingly as you ascend.\n\nIt's much cooler up here than in the rest of the house, and you find it hard to suppress a shiver. Grotesque, looming shadows crawl across the low, slanted ceiling, and the dust hangs thick and motionless in the air. To the west the ceiling dips even lower until the space beneath leaves hardly room enough to crawl, while to the north stands a wooden door, draped in shadows and half-hidden by the slanting eaves.\n\n> You examine the door\nIt's an ordinary wooden door, unremarkable except for the antique metal keyplate. Beneath the door, a thin line of faint light is barely visible.\n\n> You look through the keyhole\nThe keyhole is dark, as though blocked by something.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a strange metal flute, a puzzle box (which is closed), a torn journal, a keyring, on which are two keys (a key to the house and a key to the cellar) and a book of matches with six matches left.\n\nThe pockets of your trenchcoat contain a flashlight (providing light), your umbrella, a towel, a bundle of soggy pages, a lantern and a flask (which is closed)."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, surreal, horror]\n\n> Go downwards\nThe ancient rungs creak alarmingly as you descend.\n\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> Go east\nThe east wall is occupied by a beautiful antique sofa, and a large, hand-woven rug covers the hardwood floor. The huge marble fireplace in the north wall helps complete the impression of comfort and warmth, and for a moment or two you can almost think of this place as somewhere you could live, as opposed to merely somewhere others have died. The foyer lies west, and a doorway to the left of the fireplace leads north.\n\nYour brief sense of comfort quickly drains away, however, as you become aware of the icy and maniacal stare emanating from the great portrait hanging over the mantelpiece. Under the malefic gaze of those red-rimmed eyes, the most comforting thought you can muster is that of immediate flight.\n\nOn the sofa is a family album.\n\n> Examine album\nIt's a slim, hardbound volume in dark leather, unadorned except for name \"Verlac\" embossed on the front. Glancing at the title page, you notice two details: one, the book was self-published; and two, it was published in 1944. So it's a good bet that Edward Verlac and his family aren't mentioned here.\n\n> You read album\nThe book contains portraits and brief biographies (although, strangely, no birth or death dates) on some two hundred members of the Verlac clan, from the central family figures to the distant second cousins. If you want to read about someone in here, you'll have to look them up by name.\n\n> You look up Julia in the album\nNo mention of Edward's wife, since the book was published in 1944 and she probably wasn't even born yet. Even so, you're uncertain whether Julia Ward would have even counted as a proper Verlac.\n\n> You examine the eyes\nThey are the eyes from your dream, without question.\n\n> You look at the portrait\nThe man in the portrait is the apotheosis of everything cruel and inhuman that you have ever laid eyes on. His archaic Puritan dress would indicate that he must have lived a very long time ago; perhaps he was the founder of the Verlac family in this region. If so, it's no wonder they all wound up murdered or mad: the red-rimmed eyes glaring down from his gaunt and haggard face seem to blaze with a terrible insanity. There is nothing regal, fatherly or dignified about this portrait. It is the essence of raving, gibbering evil captured on canvas.\n\n> You look up William\nWhat do you want to look that up in?\n\n> Album\nNo mention of Michael in here, which isn't surprising, since he wasn't born until 1973. Even so, Michael is such an extremely distant relative, it's doubtful he would have been in this book in any case.\n\n> You examine the sofa\nIt's a 19th century William IV-style sofa with wide, flaring armrests and beautifully scrolled mahogany woodwork. The upholstery is a soft, faded wine color.\n\n> You enter it\nIt doesn't matter how filled with Christmas spirit you are; you're not going up that chimney.\n\n> You look in chimney\n(the lantern)\nYou find nothing of interest.\n\n> You examine the rug\nThe rug has a rustic, quilt-like pattern to it, and it covers all but the outer edges of the hardwood floor.\n\n> You move the rug\nThe rug is too heavy for you to move by yourself.\n\n> Lift rug\nYou lift one corner of the rug and look underneath. Nothing but dust and floorboards.\n\n> You look behind the portrait\nThe portrait doesn't move; it's firmly attached to the wall."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, Lovecraft, strong NPCs, research, body horror, surreal, incest, violence, rape references, changing environment, female protagonist]\n\n> You look around\nThe east wall is occupied by a beautiful antique sofa, and a large, hand-woven rug covers the hardwood floor. The huge marble fireplace in the north wall helps complete the impression of comfort and warmth, and for a moment or two you can almost think of this place as somewhere you could live, as opposed to merely somewhere others have died. The foyer lies west, and a doorway to the left of the fireplace leads north.\n\nThe portrait gazes down at you with crimson-edged malice.\n\nOn the sofa is a family album.\n\n> You go to the north\nA long, oak-paneled room, with doorways to the south and west. Paintings line the walls, mounted beneath small, shaded lamps that would illuminate the canvasses nicely if only the electricity were working. Still, even in the shadowed gloom you can see that all were done by the same artist.\n\n> You examine the painting\nAll of them are bizarre, and most of them border on the grotesque. Alien landscapes peopled by writhing, malformed creatures; ancient temples built in strange, eye-bending architectures; monstrous beasts crawling through shadows that cannot quite conceal their disturbingly human shapes -- these seem to make up the bulk of the paintings' subject matter. And yet, despite the fantastical nature of the images painted, the style is neither abstract nor surreal. In fact, the level of detail approaches the photorealistic. Excruciating attention has been paid to light, shadows, and textures; even the alien creatures are depicted with gruesome anatomical accuracy. It is as though the artist had worked from actual, living models rather than from what must have been a thoroughly deranged imagination, and the overall effect is rather chilling.\n\nOne scene in particular catches your eye.\n\n> You look at scene\nThe simple but striking image of five young women being burned to death at the stake. Around them stand a crowd of men and women dressed in rustic, 17th century clothing; they jeer and throw stones. The ringleader, standing in front of the five glowing pyres with the smoking torch still in his hand, wears a clergyman's collar.\n\nThe artist obviously went to painstaking lengths to depict the burning in ghastly detail: skin curling away from blackened flesh; hair shriveling; eyes boiling in their sockets and melting across cracked and splitting cheeks... repeated five times over, on the bodies of five thrashing, screaming girls. It turns your stomach to look at.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> Go west\nA short hallway, connecting rooms to the east, west and south.\n\n> You go to the west\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\n> You go south\n(opening the cellar door first)\nIt seems to be locked.\n\n> You unlock door\nYou unlock the cellar door.\n\n> You go to the south\n(opening the cellar door first)\nYou descend the gloomy steps into the dank cellar.\n\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You examine the cabinet\nIt's an ancient, clunky metal box, about the size of a kid's lunchbox. There's some sort of lettering on the cover, but it's too corroded to read.\n\n> Go east\nThis wing of the cellar is even older than the rest, with walls of piled, unmortared stone. The entire room is filled with wine racks. They cover every wall except for one spot to the west, where an exit leads back to the main cellar.\n\nAll of the racks are dust-covered and empty except for one against the north wall, which contains some forty or fifty dark bottles.\n\nYou are reminded of something Michael told you during the long drive up: about how when the police arrived after the shooting, they found the wine cellar in a shambles -- nearly every bottle thrown to the floor and shattered, and the whole place reeking of rotted grapes. All except the bottles in the north rack. None of those had been touched. No one could posit a motive for it.\n\nYou smile a bit, recalling your husband's ability to turn a piece of insignificant trivia into a compelling story. Still, though, now that you're actually standing here... it all seems very strange.\n\n> You look at the bottles\nRow after row of smooth, dust-covered glass. The wine inside is dark and murky, reminding you, somewhat irrationally, of blood.\n\n> You take the bottle\nStrange; the bottles all seem to be fixed in place. They won't come out of the rack no matter how you tug at them.\n\n> You examine rack\nThese racks must have at one time contained hundreds upon hundreds of wine bottles. Idly, you wonder which member of the family developed such a taste for what would have been, for the first few generations at least, a sinful vice of the basest kind.\n\n> Go west\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> Go south\nOld crates and boxes piled high against the walls make this room seem even smaller and dingier than it actually is, which is saying a lot. A doorway lies north; the other walls contain nothing but shadows and dirt-filled corners.\n\n> Examine crates\nThe accumulated junk of almost four centuries' worth of one family's strangeness. Most of it is old linens, moth-eaten clothes, newspaper clippings -- exciting stuff like that. There's far more here than you could ever go through, even if you had the inclination to.\n\n> Search crates\nYou spend some time poking dispiritedly through boxes of second-hand table settings, discarded shoes and outdated encyclopedias, but the only thing you manage to dig up is an old cardboard box full of newspaper clippings, which might make interesting reading later if you can find the time. The only thing at all noteworthy about the room, in fact, is that it desperately wants cleaning; there's even a big, nasty-looking spider web in a corner behind one of the crates.\n\n> You look at the web\nNot a pretty, symmetrical spiral web like you see in nature magazines; this is a tangled, ugly mass of dull gray threads spun in every direction, the work of some careless, inebriated arachnid on a weekend binger. Way back in the corner, almost buried beneath the disheveled strands, is an old-fashioned iron key.\n\n> You break the web with the umbrella\n(first taking the umbrella)\n(slipping the book of matches into the pocket of your trenchcoat to get a hand free)\nThe pointy end of the umbrella doesn't do much damage to the thick, tangled web.\n\n> You get the key with the umbrella\n(the old-fashioned iron key with the umbrella)\nCarefully, you snag the key with the end of the umbrella and drag it clear of the web.\n\n> You examine the iron key\nIt's an old key, the kind with a round barrel about a quarter-inch in diameter and flat, square teeth.\n\n> You go to the north\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You get the key\nWhich do you mean, the key to the house or the key to the cellar?\n\n> You go south\nOld crates and boxes piled high against the walls make this room seem even smaller and dingier than it actually is, which is saying a lot. A doorway lies north; the other walls contain nothing but shadows and dirt-filled corners.\n\nA nasty-looking spider web fills one dark corner like some sort of sticky, fibrous mold.\n\nYou can also see an old-fashioned iron key and a cardboard box (in which are some newspaper clippings) here.\n\n> You take the key\n(the old-fashioned iron key)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You look at the clippings\n(the newspaper clippings)\nThere are dozens of articles in the box, many of them yellowed with age. Many of them, you note with unease, refer to missing children, but otherwise you can deduce no obvious connection among any of the stories.\n\n> Go north\nGratefully, you leave the clammy confines of the cellar behind.\n\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nLeaning in the corner is an old broom.\n\nThe cellar door stands open, revealing dark stairs leading down.\n\n> You turn off light\nYou switch the flashlight off.\n\nIt is now pitch dark in here!\n\n> You unlock door\n(first taking the keyring)\n(slipping the torn journal into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the back door.\n\n> Go north\n(opening the back door first)\n\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\n> You go northwest\nStooping to avoid the sharp, bare twigs that snag your clothes and seem to reach greedily for your eyes, you pick your way through the undergrowth to a small clearing.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\n> You unlock door\nYou go through all the keys on your keyring, trying each one in turn, and after several false attempts you discover that the old-fashioned iron key fits the lock.\nYou unlock the iron door.\n\n> Go inside\n(opening the iron door first)\nThe faint echo of dripping water and a musty smell of decay grow stronger as you descend.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the light\nThe flashlight emits a warm yellow beam.\n\nThe air is clammy and frigid, the stone walls damp and streaked with mud and lichen. Pale, swollen roots push through cracks in the masonry. The smell of damp corruption is almost overpowering here, though the stairs to the south lead toward fresher air.\n\nThe walls of this chamber contain dozens of wide, shallow niches; in each niche, a coffin.\n\n> You examine the coffins\nRank upon rank of the ancient Verlac family remains are stacked away in this hole, left to crumble and deliquesce together, merging back into the dark matter which gave them birth. Above each niche is a nameplate indicating who was buried here and when they died.\n\n> You read the nameplates\nMost of the nameplates are illegible, corroded with centuries of rot and verdigris. There are a few names visible, however. You could look someone up if you have a specific name in mind.\n\n> You look up edward in the nameplates\n(in the nameplates)\nThe nameplate reads \"Edward Verlac, b. April 26, 1960, d. March 14, 1997\". Like the others, this coffin is built of solid oak, sealed with lead.\n\n> You look up Julia in the nameplates\n(in the nameplates)\nThe nameplate reads \"Julia Ward Verlac, b. May 4, 1964, d. January 10, 1997\". Like the others, this coffin is built of solid oak, sealed with lead.\n\n> You look up William in nameplates\n(in the nameplates)\nThe nameplate reads \"William Verlac, b. June 22, 1954, d. September 18, 1958\". Unlike the others, William's coffin is a ramshackle affair of cheap pine, held together with rusting nails. It's half-rotten with age and so shabbily built you could probably open it with your bare hands.\n\n> You open the William's coffin\nCompelled by a gruesome curiosity, you dig your fingers under the soft, rotting boards and pry up the lid. With the shriek of pulling nails and a shower of crumbling wood, the coffin comes open, and you look inside, expecting to find a child's tiny skeleton...\n\nDear God.\n\nThere's no child buried here. Instead, the coffin contains only the worm-eaten bones of some kind of animal.\n\nWho would have buried an animal in place of the child that should have been interred here? And why would they do such a thing? Glumly, you look around at the rest of the coffins, and realize that anyone who might have known the answers to these questions is probably already buried in this room.\n\n> You look at the bones\nYou're no veterinarian, but these cannot possibly be the bones of a human child. A dog seems most likely, at a rough guess.\n\n> You go to the south\nYou involuntary take a deep breath of fresh air as you leave the clammy, foetid depths of the crypt behind.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You close the door\nYou close the iron door.\n\n> You go south\nThe undergrowth is too thick in that direction.\n\n> Go southeast\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\n> You unlock door\nYou unlock the front door.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> Go northwest\nDoorways lie to the east, west and north; stairs lead up; and the front door stands to the south.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> Go south\n(opening the front door first)\n\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe front door stands open to the north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nA typewritten notice has been attached to the front door.\n\n> You close the door\nYou close the front door.\n\n> You take the notice\n(slipping the puzzle box into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You look at the notice\nIt's a letter from the Arkham Regional Utilities Company, explaining that, due to wiring difficulties, the electricity will not be installed until next week. No phone service, either.\n\n> Go southeast\nThe treeline falls away on the north side of this northwest-northeast bend in the road, giving way to a panoramic view of the Miskaton River Valley and the grubby little town of Anchorhead nestled within it. From here you can see the paper mill almost directly to the north; the solitary lighthouse and surrounding ocean to the northeast; and the dilapidated stone church below you to the east. Winding through it all is the oily black ribbon of the Miskaton, and almost directly in the center lies the little clearing of Town Square. You can just make out the shape of the obelisk from here.\n\n> Go east\nThe hillside rises too steeply in that direction.\n\n> Go northeast\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\n> You go south\nThe gently winding lane makes its way through the birch woods south of town. New England foliage is famous for its splendid colors in the fall, but the oppressive weather and pervading murk have leached these trees of most of their tint. The road continues south into the increasingly dense forest, and in the other direction heads back to town. A paved walk also leads east through the trees.\n\n> You go to the east\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\n> You examine the church\nThe hoary structure towers over your head, built of massive, ancient stones that are now black with age and nearly buried beneath an invading tide of ivy. The doors and windows are boarded shut. The steeple is a jagged silhouette against the brooding sky.\n\n> You go southeast\nThe path bends northeast, around the side of the church.\n\nThe forest encroaches right up to the iron fence here, some of which is literally buried in the tangled underbrush. There are no doors on this side, although a wooden trap door over by the corner of the building probably leads into a cellar. A path leads southwest, around to the front of the church.\n\n> You look at the door\nThe boards are old and warped, but still quite sturdy. It is locked with a heavy padlock.\n\n> Unlock padlock\nYou go through all the keys on your keyring, trying each one in turn, but none of the keys seem to fit.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> Go east\nThe wrought-iron fence surrounds the entire churchyard. The only way out is around that little path to the southwest.\n\n> You go southwest\nThe path bends northwest, around the side of the church.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\n> Go south\nThe forest grows denser as you go, crowding thickly up to either side of the road. The groping, tangled branches block out what little sunlight there is left. Your footsteps are muffled; whispering leaves and the slow drip of water are the only sounds you can hear. Beyond the watching trees, the shadows are impenetrably thick. The road stretches interminably, north to south.\n\n> You go south\nYou walk a bit farther down the road, but it doesn't seem to lead anywhere, and the shadows grow thicker the farther down you go. After a while you turn back, unable to suppress a shiver.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> Go north\nThe gently winding lane makes its way through the birch woods south of town. New England foliage is famous for its splendid colors in the fall, but the oppressive weather and pervading murk have leached these trees of most of their tint. The road continues south into the increasingly dense forest, and in the other direction heads back to town. A paved walk also leads east through the trees.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You go north\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\n> Wear coat\nYou're already wearing that!\n\n> You go north\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\nThe cold wind cuts through your clothes, chilling you to the bone."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, academic NPC, incest, violence, city, child death, Lovecraft]\n\n> Go downwards\n(opening the rusty gate first)\nThe gate swings open noisily on its rusty hinges.\nYou pass through the gate and down the stone steps, which curve northwest as they lead down to the edge of the river.\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\n> Go upward\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\n> Go west\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nA damp newspaper lies on the curb, fluttering slightly in the wind.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You take the newspaper\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nYou pick up the newspaper. It's the \"Weekly Arkham Herald\". Anchorhead, apparently, is not large enough to warrant its own newspaper.\n\n> You read the newspaper\nThe front page story is about Jeffrey Greer, 8 years old, who was abducted from his home at #11 Mill Town Road last night. Little Jeffrey is the latest victim in a series of abductions that stretches back for years, one every six months or so, and that authorities believe is the work of a single perpetrator. Local police had hoped to prove that Edward Verlac had been behind the kidnappings, but were unable to obtain a confession or any hard proof. Edward Verlac was convicted of murdering his wife and two daughters, one of whom was 15 months old, in January of this year; he was found not guilty by reason of insanity and incarcerated in Danvers Asylum, where he remained until committing suicide last March. This latest kidnapping, occurring after Edward's death, seems to have cleared up any lingering suspicions that he might have been the culprit.\n\nAnyone possessing information regarding the whereabouts of Jeffrey Greer is strongly urged to speak to the authorities as soon as possible.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You go south\nA long, dimly lit, north-south corridor stretches away from the courthouse entrance. Closed, unmarked doors line either side of the hall, their pebbled glass windows lit from within by a murky, yellow-orange light. Silence reigns here; your footsteps echo eerily on the tiled floor, and occasionally you can hear muted conversation behind one of the doors -- you can't tell which. At the hall's southern end, a staircase leads down into the basement; a sign hanging above it reads \"RECORDS\". You can return to Town Square to the north."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, child abuse, self-mutilation, changing environment, incest, horror, academic NPC, violence, Lovecraft]\n\n> Go down\nA single bulb dangling from the ceiling casts a watery, yellow light against the brick walls. A rickety staircase to the north leads back up to the ground floor, and two narrow doorways lead into the record archives. Over the southeast door hangs a sign that reads \"BIRTH RECORDS\", while the southwest door bears the sign \"DEATH RECORDS\".\n\n> You go to the southeast\nA bare room with cinderblock walls. Thousands of records and documents, most yellow and brittle with age, are stacked everywhere in towering piles. The exit lies northwest.\n\n> You look up Edward in records\n(in the archives)\nEdward Verlac: born April 26, 1960.\n\n> You look up Michael in the records\n(in the archives)\nYou can find no records under that heading.\n\n> You look up Julia in the records\n(in the archives)\nJulia Ward: born May 4, 1964.\n\n> You look up William in the records\n(in the archives)\nWilliam Verlac: born June 22, 1954.\n\n> You go to the southwest\nA bare room with cinderblock walls. Thousands of records and documents, most yellow and brittle with age, are stacked everywhere in towering piles. The exit lies northeast.\n\n> You look up Edward in the records\n(in the archives)\nEdward Verlac: died March 14, 1997.\n\n> You look up Julia in the records\n(in the archives)\nJulia Ward Verlac: died January 10, 1997.\n\n> You look up William in the records\n(in the archives)\nWilliam Verlac: died September 18, 1958.\n\n> You look up yourself in the records\n(in the archives)\nYou can find no records under that heading.\n\n> You look up Verlac in the records\n(in the archives)\nThere are dozens of Verlacs listed here; you'll have to be more specific than that.\n\n> You go north\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\n> Go southwest\nThis is a featureless blind alley, a dead end. Through the narrow and heavily shadowed opening to the northeast, you can see the square and the obelisk at its center.\n\n> You examine the obelisk\nAlthough you're too far away to read the hieroglyphs on its sides, you have an otherwise excellent view of the obelisk from here.\n\n> You examine the obelisk\nThe obelisk measures about two feet square at its base, narrowing slightly as it rises a good fifteen feet to a bluntly pointed tip. An iron ring is embedded in the stone high up on one side, about two feet from the top. Dense, twisting hieroglyphs cover all four sides of the obelisk, although they are too worn to be read clearly.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You take the ring\n(the wedding ring)\nYou already have that.\n\n> You pull iron ring\nThe iron ring is high out of your reach.\n\n> You go north\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You go north\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\n> Go east\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n(opening the real estate office door first)\n\nPallid gray light trickles in through the drawn blinds. The office is deserted, papers still scattered across the top of the desk. The front door lies west, and the file room lies east.\n\nThe office door is open.\n\nSitting on the corner of the paper-strewn desk are a telephone and an answering machine.\n\nSomeone seems to have left a cup of coffee sitting out, half-finished and cold.\n\n> You go to the west\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\nThe office door is open.\n\n> You look at the door\nThe door has a glass front with the name of the real estate company -- Benson & Brackhurst -- stenciled across it.\n\n> Go east\nPallid gray light trickles in through the drawn blinds. The office is deserted, papers still scattered across the top of the desk. The front door lies west, and the file room lies east.\n\nThe office door is open.\n\nSitting on the corner of the paper-strewn desk are a telephone and an answering machine.\n\nSomeone seems to have left a cup of coffee sitting out, half-finished and cold.\n\n> You examine the answering machine\nA simple answering machine, with a small display indicating messages received, a button labeled \"PLAY\", and a button labeled \"DELETE\".\n\n> You read the display\nThe display indicates there is one message on the machine, left (oddly enough) at 4:19 yesterday morning. The display also shows that the message has already been checked.\n\n> You go to the north\nThe road carries you across a desolate heath of gray, windswept grass. To the south, the black, jagged outline of Anchorhead's steep roofs and sharp, leaning gables cuts across the horizon. The road forks here to the west and east, heading across the railroad tracks in one direction, out toward the seashore in the other.\n\n> Go west\nAs you cross the railroad tracks, the air becomes warmer, more dingy, and slightly more difficult to breathe.\n\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\n> Go north\nThe road peters out at a wide clearing of rutted mud, flanked by uneven rows of decrepit, clapboard shacks. The town is quiet, almost deserted; only a few bits of loose tarpaper blowing listlessly in the wind betray the overall stillness.\n\n> Go south\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\n> Go south\nThe path curves southwest, leading you into an overgrown area behind the mill.\n\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\nFlakes of ash drift gently down from the sky like gray snow, coating everything with a thin layer of soot.\n\n> You go southeast\nThe trail heads up a short embankment and emerges from the thicket alongside the railroad tracks. The tracks run down from the northeast and past the mill, continuing southwest but slowly curving westward until they cross the Miskaton River some miles outside of town. From the embankment you can look out over the entire heath: jagged, shadowy rooftops to the south; the oily ribbon of the Miskaton to the west; and to the east, the lighthouse sentinel and the leaden waters of the Atlantic beyond.\n\n> You go to the north-east\nIt's dangerous to walk along railroad tracks.\n\n> You go to the north-west\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\n> You go northeast\nThe path curves to the north, leading you around to the front of the mill.\n\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\n> Go northeast\nThe road goes north and east from here. The mill gate lies southwest, and an overgrown trail leads south.\n\n> Go east\nAs you cross the railroad tracks, the air seems to lift slightly, becoming more breathable once again.\n\nThe road carries you across a desolate heath of gray, windswept grass. To the south, the black, jagged outline of Anchorhead's steep roofs and sharp, leaning gables cuts across the horizon. The road forks here to the west and east, heading across the railroad tracks in one direction, out toward the seashore in the other.\n\n> You go east\nThe road heads out over a narrow breakwater jutting out into the ocean.\n\nYou are picking your way across the breakwater's bare, rocky spine, where the road has diminished to little more than a pair of dusty ruts. A hundred yards to the northeast, at the breakwater's far end, the lonely stone tower of Anchorhead's lighthouse stands vigil against the ocean.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go northeast\nYou stand in a circular clearing among the stones, surrounded on nearly every side by the sea. Before you looms the ancient, massive lighthouse, a vertiginous pillar of pale brick jabbing defiantly up at the sky. The road from the southwest ends here, although it looks as though you could pick your way down the rocks to the southeast, around the structure's base.\n\nThe great bronze door of the lighthouse is closed.\n\n> You examine the lighthouse\nIts towering shadow seems to lean menacingly over you, eclipsing half the sky. It is an old and brooding thing, heavy with the weight of centuries of dark memories. Craning your neck to see the top of it, you can't help but make the comparison with a lightning rod, as if this building were the focus for whatever restless forces seem to be stirring through the turbid atmosphere above.\n\nDespite the ominous cast to the weather, no beacon can be seen from the top of the lighthouse.\n\n> You examine the door\nA monstrous slab of solid bronze set into the thick stone wall of the lighthouse base. Age and seawater have covered its once gleaming surface with an unhealthy green crust of verdigris.\n\n> You unlock door\nYou go through all the keys on your keyring, trying each one in turn, but none of the keys seem to fit.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go southeast\nCarefully, you climb down the rocks. The path bends northeast, following the curve of the lighthouse wall.\n\nA small outcropping of stone, just large enough for you to stand on, sticks out from the end of the breakwater. The hungry sea laps at your feet, surging over the rocks and then trickling down into crevices. To the southwest, an uneven trail leads back up the rocks, around the side of the lighthouse.\n\nBeyond the breakwater's tip, a turbulent patch of water bubbles and seethes, as if something were lurking just beneath the surface -- turning, perhaps, in uneasy sleep.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You examine the sea\nThe sea is the color of old pewter, surging and chopping restlessly beneath the clouds.\n\n> You examine the patch\nIt looks... unnatural.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> Search patch\nThe patch of turbulent water is just beyond your reach.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You go to the south-west\nThe trail turns northwest, following the curve of the lighthouse wall.\n\nYou stand in a circular clearing among the stones, surrounded on nearly every side by the sea. Before you looms the ancient, massive lighthouse, a vertiginous pillar of pale brick jabbing defiantly up at the sky. The road from the southwest ends here, although it looks as though you could pick your way down the rocks to the southeast, around the structure's base.\n\nThe great bronze door of the lighthouse is closed.\n\n> You go to the southwest\nYou are picking your way across the breakwater's bare, rocky spine, where the road has diminished to little more than a pair of dusty ruts. A hundred yards to the northeast, at the breakwater's far end, the lonely stone tower of Anchorhead's lighthouse stands vigil against the ocean.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> Go northwest\nIsolated and serene within its high, ivy-covered walls, Miskaton University represents this benighted town's single, if somewhat dubious, claim to cultural achievement. Founded some time in the early 1800s, the school's reputation and enrollment have diminished somewhat as Anchorhead drifts further and further into the abyss of provincial backwaterism. Still, it is generally recognized for its collection of folklore and esoteric mythology (one of the oldest and most extensive on the east coast). The Board of Deans was also kind enough to offer Michael a full professorship upon hearing of his recently discovered heritage and his plans to move into the estate. Ivory tower, perhaps, but at least they take care of their own.\n\nThere are numerous buildings surrounding this cobbled court, but the only one you are interested in is the library to the west.\n\n> You go west\nShadows roost thickly in the vaulted ceiling, and small, green-shaded desk lamps cast pools of warm radiance here and there around the library's dim interior. You pause a moment to let the hushed peacefulness of this place soak in -- a welcome relief from the unsettling events of the day. An exit lies east, and a small alcove to the north houses the circulation counter.\n\n> Go north\nA high counter divides the public portion of the library from the reserved stacks -- all the more esoteric and mysterious volumes from the university's collection. If anything, the area behind the counter is even more shadowy than the side you're on. The main reading area lies south.\n\nHanging on the wall next to the counter is a small, printed sign. Beneath the sign sits a heavy, dog-eared register, and sitting next to the register is a bell.\n\n> You look at sign\n\"All restricted books must be signed for on the register, and may not be removed from this building. Please have your faculty ID ready when you make your request.\"\n\n> You look at the register\nIt's basically a log, recording what book was checked out, who checked it out, and when. There must be hundreds of names here.\n\n> You look up Michael in the register\n(in the dog-eared register)\nYour husband's name is down at the bottom. The title of the book\nis A Historical Overview of Superstitions in the Miskaton Valley Region by J. Arnsworth Frazer, pub. 1906. Quite a mouthful.\n\n> You look up the necromicon on the register\n(in the dog-eared register)\nYou don't find that name on the register.\n\n> You go east\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You go south\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\n> You go southwest\nThe ground begins to rise sharply as the road climbs up into the hills south of town.\n\n> Go northwest\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\n> You go to the north\n(opening the front door first)\n\nThe front door stands open to the south.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You close the door\nYou close the front door.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from."
    },
    {
        "text": "> Look around\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\n> Go east\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> Go north\nA beautiful pair of mahogany sliding doors stand closed to the east.\n\nA section of the shelves in the western wall has slid to one side, revealing a hidden safe.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\n> You go to the east\n(opening the sliding doors first)\n\nThis smaller room adjoining the library seems comfortable enough, although it is dusty and cluttered from having not been lived in for the better part of a year. Aside from the desk and the chair and the empty shelves, the only real feature of the room is the large, ornate fireplace in the southern wall.\n\nA beautiful pair of mahogany sliding doors lead west, to the library.\n\nMichael's laptop sits in the middle of the desk, humming quietly to itself. Also on the desk is a letter opener.\n\nAlthough his computer is still on, Michael isn't here. In fact, you realize, you haven't heard him anywhere in the house since you got home. And you even found him a newspaper. Where in the world could he have gotten to?\n\n> You take the opener\n(slipping the umbrella into the pocket of your trenchcoat to get a hand free)\nYou pick up the letter opener. It's a rather ornate thing, with a silver hilt and a slim, sharp tip.\n\n> You examine the laptop\nA top-of-the-line model: it's sleek, lightweight and very fast, a real status symbol for the writer who wants to look as though he might stop whatever he's doing at the drop of a hat and suddenly hack out a bestseller. While you have yet to witness Michael do this, he really had been wanting one since before the two of you even met; so, to celebrate his new teaching position, you splurged and bought him one.\n\nThe laptop is currently switched on.\n\n> You read it\nThe computer is in screen-saver mode: blank except for a single window requesting a 4-digit user passcode. Odd; you didn't think Michael ever used the passcode utility.\n\n> You go west\nA beautiful pair of mahogany sliding doors lead east, to the study.\n\nA section of the shelves in the western wall has slid to one side, revealing a hidden safe.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\n> You put the newspaper under the door\nYou slide the newspaper under the door, leaving only an inch or two sticking out on your side.\n\n> You put the opener in the keyhole\nThe tip of the letter opener bumps against something, and you hear something thump onto the newspaper on the other side of the door.\n\n> You pull the newspaper\nSomething metallic falls off the newspaper as you pull it out from under the door."
    },
    {
        "text": "> Look around\nIt's much cooler up here than in the rest of the house, and you find it hard to suppress a shiver. Grotesque, looming shadows crawl across the low, slanted ceiling, and the dust hangs thick and motionless in the air. To the west the ceiling dips even lower until the space beneath leaves hardly room enough to crawl, while to the north stands a wooden door, draped in shadows and half-hidden by the slanting eaves.\n\nYou can also see an old-fashioned brass key here.\n\n> You take key\n(the old-fashioned brass key)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou pick up the old-fashioned brass key. It's an old key, the kind with a round barrel about a quarter-inch in diameter and flat, square teeth.\n\n> You unlock door\n(first taking the keyring)\nYou go through all the keys on your keyring, trying each one in turn, and after several false attempts you discover that the old-fashioned brass key fits the lock.\nYou unlock the door.\n\n> Go north\n(opening the door first)\n\nA cramped little annex off the main attic, with a tiny, shuttered window high up on the north wall. A pile of mouldering straw in the corner and what looks like pencil marks on the lower part of the walls seem to indicate that someone lived here once. Or, possibly, was kept here.\n\n> You look at the straw\nThis disgusting mess might actually have been some poor soul's bed. You shudder, wondering what sick relative was kept prisoner here, and when.\n\n> You examine the marks\nThey look like a child's drawings, made with pencil or some kind of charcoal. Most of them are smudged and faded, but you can make out stick figures here and there, and the occasional, lollipop-shaped tree.\n\n> You search the straw\nYou gingerly poke through the filthy straw, barely able to suppress your disgust. However, your search is not unrewarded: underneath the thickest part of the pile, you discover a tiny gold locket.\n\n> You examine the gold\nWhich do you mean, the gold locket or the wedding ring?\n\n> Locket\nIt is oval-shaped, held shut with a tiny clasp.\n\n> You open it\nYou open the gold locket, revealing a woman's picture.\n\n> You examine the picture\nFrom the quality of the photograph, you'd say the picture must have been taken sometime in the fifties. The woman looks no more than twenty years old. Her pale, fragile face is framed by straight, dark, mousy hair, and she seems to stare plaintively out at you, her expression one of haunted resignation.\n\n> You take the picture\nThat's fixed in place.\n\n> Close locket\nYou close the gold locket.\n\n> You take it\n(slipping the typewritten notice into the pocket of your trenchcoat to get a hand free)\nTaken."
    },
    {
        "text": "November, 1997.\n\nYou take a deep breath of salty air as the first raindrops begin to spatter the pavement, and the swollen, slate-colored clouds that blanket the sky mutter ominous portents amongst themselves over the little coastal town of Anchorhead.\n\nSquinting up into the glowering storm, you wonder how everything managed to happen so fast. The strange phone call over a month ago, from a lawyer claiming to represent the estate of some distant branch of Michael's family, was bewildering enough in itself... but then the sudden whirlwind of planning and decisions, legal details and travel arrangements, the packing up and shipping away of your entire home, your entire life...\n\nNow suddenly here you are, after driving for the past two days straight, over a thousand miles away from the familiar warmth of Texas, getting ready to move into the ancestral mansion of a clan of relatives so far removed that not even Michael has ever heard of them. And you've only been married since June and none of this was any of your idea in the first place, and already it's starting to rain.\n\nThese days, you often find yourself feeling confused and uprooted.\n\nYou shake yourself and force the melancholy thoughts from your head, trying to focus on the errand at hand. You're to meet with the real estate agent and pick up the keys to your new house while Michael runs across town to take care of some paperwork at the university. He'll be back to pick you up in a few minutes, and then the two of you can begin the long, precarious process of settling in.\n\nA sullen belch emanates from the clouds, and the rain starts coming down harder -- fat, cold drops smacking loudly against the cobblestones. Shouldn't it be snowing in New England at this time of year? With a sigh, you open your umbrella.\n\nWelcome to Anchorhead...\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> Go southeast\nThis narrow aperture between two buildings is nearly blocked with piles of rotting cardboard boxes and overstuffed garbage cans. Ugly, half-crumbling brick walls to either side totter oppressively over you. The alley ends here at a tall, wooden fence.\n\nHigh up on the wall of the northern building there is a narrow, transom-style window.\n\n> Go upwards\nThe window is too high.\n\n> You ascend\n(opening the transom window first)\n(closing the umbrella first)\nIt's a tight squeeze, but you just manage to wriggle through, dropping quietly to the floor inside.\n\nPeering through the murk, you can make out the blocky outlines of filing cabinets lining the walls and a doorway to the west. A window high up on the south wall lets in a very faint illumination.\n\n> Go west\n(opening the real estate office door first)\nIt seems to be locked.\n\n> You unlock door\nYou unlock the office door.\n\n> Go west\n(opening the real estate office door first)\nThe rain is still coming down, so you open your umbrella.\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\nThe office door is open.\n\n> You close the door\nYou close the real estate office door.\n\n> You go to the east\nThe rain is still coming down, so you open your umbrella.\n\nIsolated and serene within its high, ivy-covered walls, Miskaton University represents this benighted town's single, if somewhat dubious, claim to cultural achievement. Founded some time in the early 1800s, the school's reputation and enrollment have diminished somewhat as Anchorhead drifts further and further into the abyss of provincial backwaterism. Still, it is generally recognized for its collection of folklore and esoteric mythology (one of the oldest and most extensive on the east coast). The Board of Deans was also kind enough to offer Michael a full professorship upon hearing of his recently discovered heritage and his plans to move into the estate. Ivory tower, perhaps, but at least they take care of their own.\n\nThere are numerous buildings surrounding this cobbled court, but the only one you are interested in is the library to the west.\n\nMichael hurries to catch up.\n\n\"I apologized about the car, right?\" says Michael sheepishly.\n\nA sudden gust of wind blows a cold spray of rain into your face.\n\n> You tell Michael about the real estate agent\nHe frowns as you tell him about the real estate agent's disappearance. \"That is rather odd,\" he says. \"I wonder where she could be?\"\n\n> You ask Michael about the house\n\"The Verlac family has been living in that old place for generations; they're an integral part of the history of this whole region. It's really quite interesting.\"\n\n> You go southeast\nTo the north, a gap in the crowded press of gloomy buildings opens onto a country lane, heading out over a grassy heath. The main street continues to the east, while to the northwest, over the top of a steep rise, you can just make out the vaulted rooftops of the university.\n\nMichael strolls along after you.\n\n> Go east\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nMichael hurries to catch up.\n\n> Go south\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nMichael hurries to catch up.\n\n> You go south\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nMichael strolls along after you.\n\n> You go east\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\nMichael follows you.\n\n> You go to the south\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\nA clammy mist hangs thickly in the air, seeping through your clothes and making you shiver.\n\nMichael hurries to catch up.\n\n> You go southwest\nAs you walk through, the mists part before your husband almost deferentially, quickly dissolving away into nothing.\n\nThe ground begins to rise sharply as the road climbs up into the hills south of town.\n\nThe treeline falls away on the north side of this northwest-northeast bend in the road, giving way to a panoramic view of the Miskaton River Valley and the grubby little town of Anchorhead nestled within it. From here you can see the paper mill almost directly to the north; the solitary lighthouse and surrounding ocean to the northeast; and the dilapidated stone church below you to the east. Winding through it all is the oily black ribbon of the Miskaton, and almost directly in the center lies the little clearing of Town Square. You can just make out the shape of the obelisk from here.\n\nMichael follows you.\n\n> You go to the north-west\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe fabled Verlac family mansion looms before you in the gloom, its dark creaking presence dominating the clearing and, somehow, even though it is not visible through the trees, the entire valley. The foreboding shadow of the Verlacs seems to enshroud all of Anchorhead from here.\n\nA typewritten notice has been attached to the front door.\n\nMichael follows you.\n\n\"Well,\" says Michael, \"this must be the place. We finally made it, honey. We're home!\"\n\n> You examine notice\nIt's a letter from the Arkham Regional Utilities Company, explaining that, due to wiring difficulties, the electricity will not be installed until next week. No phone service, either.\n\n\"Well, that's wonderful news,\" remarks Michael dryly, reading over your shoulder.\n\n> You take it\nTaken.\n\n> Go north\n(opening the front door first)\nYou close your umbrella, as is your habit after coming indoors.\n\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nCarelessly stacked in a towering heap in the middle of the room are all your luggage and belongings, which you had sent ahead through a moving company before driving up to Massachusetts. Everything you own is boxed away and piled up in the middle of the floor. The reality of this move finally slams home as you stare at the sprawling jumble of stuff, and suddenly you feel very lost and adrift.\n\nNight has now undeniably fallen, and the house is very, very dark. There is probably just enough residual ambience to feel your way upstairs to the bedroom, but the rest of the house is a tenebrous maze of shadows, and any exploring would probably best be done in the morning.\n\nMichael follows you.\n\nMichael stretches his arms and yawns. \"Well,\" he says, \"I think I'm going to turn in. There'll be plenty of time to unpack and explore tomorrow. Good night, hon.\" He kisses you on the cheek. \"Don't stay up too late.\"\n\nAnd with that, he goes upstairs.\n\n> You drop all\ntypewritten notice: Dropped.\nlantern: Dropped.\nkeyring: Dropped.\numbrella: Dropped.\n\nMichael emits a brief snore, then rolls over and sinks back into troubled sleep.\n\n> Undress\nYou take off the trenchcoat.\nYou take off the clothes.\n\n> You drop all\ntrenchcoat: Dropped.\nclothes: Dropped.\n\n> You enter the bed\nGratefully, you crawl into bed and pull the covers up to your chin.\n\n> Kiss Michael\nGently, you kiss your husband's forehead. His skin feels dry and feverish.\n\n> You take the card\nThe shower suddenly stops. Quickly you palm the card, replace the wallet and arrange the pants the way you found them. A moment later Michael emerges from the bathroom, toweling his hair. \"My, don't you look tempting this morning,\" he says, giving you a kiss. He tosses the towel back into the bathroom and gets dressed. \"I think I'm going to stay home and get some writing done. I don't actually start work until tomorrow, so...\" He kisses you on the cheek as he walks out into the hall. \"If you go out today, see if you can find a newspaper. I want to learn as much as I can about this town.\"\n\nHe looks at you for a moment, and his voice becomes serious. \"I love you, hon. You know that, don't you? I really want us to try and be happy here.\"\n\nThen he turns and pads down the hall.\n\nYou take a deep breath as he goes. You've never lied to Michael or hidden anything from him before, ever; now, hardly two days into your new life, you're already sneaking through his wallet.\n\nOh yeah. You're off to a great start.\n\n> Go west\nYou'll have to get off the four-poster bed first.\n\n> You stand\nReluctantly, you do so.\n\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nYou can also see your umbrella, a keyring (on which are two keys (a key to the house and a key to the cellar)), a lantern and a typewritten notice here.\n\n> You take the shower\nYou've always been more of a bath person, actually.\n\n> You take the bath\n(the towel)\nYou pick up the towel. It's still a little damp from Michael's shower, but otherwise it's a perfectly ordinary bath towel.\n\n> You drop the towel\nDropped.\n\n> You enter the bath\n(the towel)\nThat's not something you can enter.\n\n> You take the towel\nTaken.\n\n> Go east\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nYou can also see your umbrella, a keyring (on which are two keys (a key to the house and a key to the cellar)), a lantern and a typewritten notice here.\n\n> You wear the clothes\n(first taking the clothes)\nYou put on the clothes.\n\n> Wear coat\n(first taking the trenchcoat)\nYou put on the trenchcoat.\n\n> You take all\numbrella: Taken.\nkeyring: Taken.\nlantern: (slipping the faculty card into the pocket of your trenchcoat to get a hand free)\nTaken.\ntypewritten notice: (slipping the towel into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a typewritten notice, a lantern, a keyring, on which are two keys (a key to the house and a key to the cellar) and your umbrella.\n\nThe pockets of your trenchcoat contain a towel, Michael's faculty card and a flask (which is closed).\n\n> You go east\n(opening the sliding doors first)\nMichael is in the study, typing furiously at his laptop. As you walk in he looks up at you with a pained expression. \"Can it wait?\" he asks you. \"I think I'm onto something really good here, and if I don't get it all out I'm going to lose it. If you don't mind, hon, I could really use the next hour or so to myself.\"\n\nNot wanting to disturb him, you tiptoe out, shutting the doors quietly behind you.\n\n> Dial\n(The Compleat Manual of Wardes and Seales)\nYou'd probably have better luck if you were near a phone.\n\nYou can hear Michael in the next room, typing away.\n\n> You look at the dial\nThe dial is calibrated from one to sixty. It is currently set to 27.\n\nYou can hear Michael in the next room, typing away.\n\n> You go to the south\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nThere is a cord dangling in mid-air here, right about level with your face."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, horror, academic NPC, body horror, Lovecraftian, Lovecraft, surreal, child abuse, child death]\n\n> Go downward\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nYour luggage is still here, spread out all over the foyer.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> Go west\nMuch of the elegance has faded from this room. The huge dining table running the length of it is covered with a thick gray film of dust, and the china cupboard standing against the far wall is draped in shadow. Doorways to the north and east offer little relief from the gloom. For what must be the hundredth time, you wish you could open the windows in this place.\n\n> You open cupboard\nThe cupboard is empty; the china must have been auctioned off, in the confusion before Michael was contacted, perhaps. Down at the bottom of the cupboard is a velvet lining, where the silverware would usually be kept.\n\n> You look at the lining\nThe lining is soft, dusky burgundy. One corner in back is pulled up a bit and slightly torn.\n\n> You pull the lining\nYou pull the lining back a bit further and discover a thin, palm-sized journal tucked underneath it. Intrigued, you pull the little book free.\n\n> Examine book\nIt's a slim little book, no bigger than your hand, bound in imitation leather. The mice really have been at it; most of the pages have been chewed away.\n\n> You read it\nIt's a slim little book, no bigger than your hand, bound in imitation leather. The mice really have been at it; most of the pages have been chewed away.\n\nWhat's left of the journal reads:\n\nDesperate. Went back to the old twisting lane and found only a\nblank wall. Without the amulet, how can I resist --\n\n...bottles, bottles...\n\nGetting worse. People I have never met smile knowingly at me in\nthe street. The police believe I am a child molester, but have brought no charges against me as yet. Why? Head hurts all the time. I have turned the cellar upside-down... damn it all, where is it?\n\nDreamed of Father again. Dreamed of Grandfather. Those horrible, red-rimmed eyes...\n\n-- into the safe, finally. 8-23-36. Won't forget THAT soon.\nHa!\n\nCANNOT DISCOVER ENTRANCE IN THE CELLAR!!! Secret eludes me still\nbut I WILL FIND IT!!! The clue is in their names, that pestilential procession of names! If I could only --\n\nThe text breaks off as several more pages are missing. the last fragmented entry reads:\n\n-- will fail. There is no recourse left. I know now what I must\ndo. Julia --\n\n> You go north\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\nSomeone's flashlight is lying on the kitchen counter; one of the movers must have left it.\n\nAn odd feeling of gloom overtakes you momentarily, and you find yourself thinking about the Verlac family's personal effects -- the everyday mundanities, such as kitchen utensils. Were they thrown out, or donated to charity, or auctioned off as grisly souvenirs? What about the canned goods? Did anyone think to take them? The cabinets might even still be stocked. Morbidly, you wonder what Mrs. Edward Verlac might have been cooking for dinner the night her husband blew her head off.\n\n> You take the flashlight\n(slipping the umbrella into the pocket of your trenchcoat to get a hand free)\nYou pick up the flashlight. It's battery-powered, and waterproof too, by the look of it.\n\nThe flashlight is currently switched off.\n\n> You open the cabinet\nThe cabinets are not, after all, still stocked -- much to your relief. There's nothing in there but an old book of matches.\n\n> You take the matches\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou pick up the book of matches. A label on the side reads, \"Water-resistant matches. Strike on cover.\" There are six matches left.\n\n> You take the broom\n(slipping the lantern into the pocket of your trenchcoat to get a hand free)\nYou pick up the broom. It's just an ordinary-looking broom.\n\n> You unlock door\n(first taking the keyring)\n(slipping the typewritten notice into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the cellar door.\n\n> You go to the south\n(opening the cellar door first)\nYou descend the gloomy steps into the dank cellar.\n\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You break the web with the broom\nWith a single sweep of the broom, you clear the spider web away.\n\n> You take key\n(the old-fashioned iron key)\n(slipping the torn journal into the pocket of your trenchcoat to get a hand free)\nYou pick up the old-fashioned iron key. It's an old key, the kind with a round barrel about a quarter-inch in diameter and flat, square teeth.\n\n> You look at the clippings\n(the newspaper clippings)\nThere are dozens of articles in the box, many of them yellowed with age. Many of them, you note with unease, refer to missing children, but otherwise you can deduce no obvious connection among any of the stories.\n\n> You go north\nGratefully, you leave the clammy confines of the cellar behind.\n\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nThe cellar door stands open, revealing dark stairs leading down.\n\n> You unlock door\nYou unlock the back door.\n\n> You go to the north\n(opening the back door first)\n\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\nA sudden gust of wind catches up the newspaper clippings and whirls them away, leaving you with an empty box.\n\n> Go west\nThe undergrowth is too thick in that direction.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> Go north\n(opening the iron door first)\nThe faint echo of dripping water and a musty smell of decay grow stronger as you descend.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam.\n\nThe air is clammy and frigid, the stone walls damp and streaked with mud and lichen. Pale, swollen roots push through cracks in the masonry. The smell of damp corruption is almost overpowering here, though the stairs to the south lead toward fresher air.\n\nThe walls of this chamber contain dozens of wide, shallow niches; in each niche, a coffin.\n\n> You look up the mordecai\n(in the nameplates)\nYou can't find that name anywhere; but then again, it may just be too corroded for you to read.\n\n> You look up William\n(in the nameplates)\nThat's not a name you're familiar with. Since the nameplates are filled with names you're not familiar with, you are unable to get very far looking for it.\n\n> You go to the south\nYou involuntary take a deep breath of fresh air as you leave the clammy, foetid depths of the crypt behind.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\n> You lock it\nYou lock the iron door.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go southeast\nA gravel path starts here at the back door of the house, and marks a trail nearly overgrown by weeds and briars. It disappears into the undergrowth to the northwest, framed by crooked trees with overhanging branches that seem to form a stunted, jagged archway into the dim recesses of the forest.\n\n> Go south\n(opening the back door first)\n\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\nYou can also see a cardboard box (in which are some newspaper clippings) here.\n\n> You take the album\nYou pick up the family album. It's a slim, hardbound volume in dark leather, unadorned except for name \"Verlac\" embossed on the front. Glancing at the title page, you notice two details: one, the book was self-published; and two, it was published in 1944. So it's a good bet that Edward Verlac and his family aren't mentioned here.\n\n> Examine album\nIt's a slim, hardbound volume in dark leather, unadorned except for name \"Verlac\" embossed on the front. Glancing at the title page, you notice two details: one, the book was self-published; and two, it was published in 1944. So it's a good bet that Edward Verlac and his family aren't mentioned here.\n\n> You look up the wilhelm in the album\nThe entry reads:\n\n1653; returned to Anchorhead in 1663; elected mayor of Anchorhead in 1690; built the Miskaton River Mill in 1695; began construction of the lighthouse in 1706.\n\nThe picture is a reproduction of a charcoal sketch, probably done when he was a younger man. The similarities to the portrait in the sitting room is evident, though: the patrician nose; the harsh, thin line of the mouth; the lean, wolfish jaw. It is the eyes, however, that carry the true family resemblance. Even in the rough, colorless strokes of charcoal, you can see that they are edged with the same raw madness that haunts the red-tinged gaze of the sitting room portrait.\n\n> You look at the portrait\nThe man in the portrait is the apotheosis of everything cruel and inhuman that you have ever laid eyes on. His archaic Puritan dress would indicate that he must have lived a very long time ago; perhaps he was the founder of the Verlac family in this region. If so, it's no wonder they all wound up murdered or mad: the red-rimmed eyes glaring down from his gaunt and haggard face seem to blaze with a terrible insanity. There is nothing regal, fatherly or dignified about this portrait. It is the essence of raving, gibbering evil captured on canvas.\n\n> You look up Eustacia in the album\nThe entry reads:\n\nBorn to Croseus Verlac; gave birth to one son, Wilhelm; fled Anchorhead during the Witch Burnings of 1653; remained in hiding in Arkham for 10 years, then returned with son in 1663; died 1686.\n\nThe woman in the portrait is strikingly beautiful, with jet black hair that hangs down past her shoulders like a shining, velvet curtain. There is some resemblance to the thin, cruel features of her father, but not the ragged, red-tinged madness about the eyes. Eustacia's eyes are not red at all; they are cold and deep and very dark.\n\n> You look up Croseus in the album\nThe entry reads:\n\nBorn the son of a provincial cabinet-maker in the H\u00f6llental\nValley circa 1590; fled Germany in 1620 to avoid charges of heresy; came to the New World in 1622 on the ship Dawn Maiden;\nfounded the town of Anchorhead in 1624; began construction of Verlac estate in 1625; signed the non-aggression pact with Chief Chuaquacqat of the Misquat tribe in 1631.\n\nThe picture is a full-page black-and-white reproduction of the portrait hanging in the sitting room. Underneath it, someone has scribbled in pencil:\n\n> You look up the elijah in the album\nThe entry reads:\n\nthe Verlac genealogy; returned to Anchorhead in 1832; entered the seminary at Arkham College in 1834; ordained in 1844; began construction of the Church of Celestial Wisdom in Anchorhead in 1860; accused of Confederate sympathies in 1862; retired from the clergy and devoted life to painting in 1873.\n\nOn of the earliest photographic portraits in the album, it depicts a man in his sixties, at least. His face is deeply scored by time, his skin mottled with liver spots, his long, gray hair swept back from a high, bony forehead. This man resembles the portrait in the sitting room more than any of the others, for he has practically the same eyes -- the raw, bloodshot madness staring out from hollow caves in his skull.\n\nYou note one other interesting detail: he appears to have an extra digit, a sixth finger, on his right hand.\n\n> You look up the mordecai in the album\nThe entry reads:\n\nCurrently residing in Anchorhead; attended seminary at Arkham\nCollege in 1906; ordained in 1912; re-established the Church of Celestial Wisdom in 1920; rebuilt the Miskaton River Mill in\n1922.\n\nThe photograph depicts a man who has returned to his Puritan roots: dressed in spartan black, hair clipped in an archaic tonsure, clutching a Bible in his lap as he glares stoically at the camera. This is the kind of man who would whip his children for laughing on Sunday. His eyes still carry the Verlac madness, burning with single-minded righteousness.\n\n> You look up Heinrich in the album\nThe entry reads:\n\nAdded cupola to the Verlac Estate in 1759; elected mayor of\nAnchorhead in 1765; rebuilt the Miskaton River Mill in 1770; led the battle of Quattac Bend in the Misquat Uprising of 1772; arrested as a Royalist sympathizer in 1777 but subsequently cleared of all charges; completed construction of the lighthouse in 1795.\n\nThe portrait is of Heinrich as an older man, in his late fifties, perhaps. The German ancestry shows through more clearly here, in the set of his jaw and the line of his forehead. The eyes burn with aggressive pride... and perhaps a little of the madness which stained the gaze of his ancestors as well.\n\n> You look up Edward in the album\nSince this book was only published in 1944, there is no mention of Edward Verlac or his family. He probably wasn't even born yet."
    },
    {
        "text": "> Look around\nThe east wall is occupied by a beautiful antique sofa, and a large, hand-woven rug covers the hardwood floor. The huge marble fireplace in the north wall helps complete the impression of comfort and warmth, and for a moment or two you can almost think of this place as somewhere you could live, as opposed to merely somewhere others have died. The foyer lies west, and a doorway to the left of the fireplace leads north.\n\nThe portrait gazes down at you with crimson-edged malice.\n\n> You take the locket\n(slipping the flashlight into the pocket of your trenchcoat to get a hand free)\nYou pick up the silver locket. It is oval-shaped, held shut with a tiny clasp.\n\n> You look at the picture\n(the jewelry box)\nIt's hardly larger than your hand, made of wood and charmingly decorated with a picture of children dancing around a Maypole. Most likely a plaything of one of the later Verlac children. The lid is open.\n\n> You examine the boy'S\nThe boy in the picture looks no more than three or four years old. He is smiling, but there is something disconcerting about his expression, as though his head were not shaped quite right or his features had been placed slightly wrong. He might possibly have been mentally retarded. It's difficult to tell, because the picture has been cropped so closely you can't even see the edges of the boy's face. Only his features fill the tiny frame.\n\n> Close locket\nYou close the silver locket.\n\n> You take the pages\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou pick up the bundle of soggy pages. It appears to have been someone's diary. There must have been a leak at some time behind the wall where it was hidden, because most of the pages are water-logged and completely illegible. However, portions of a few entries remain untouched.\n\n> You examine pages\nIt appears to have been someone's diary. There must have been a leak at some time behind the wall where it was hidden, because most of the pages are water-logged and completely illegible. However, portions of a few entries remain untouched.\n\n> You read the pages\nCarefully, you turn the tattered pages. The handwriting is that of a young girl. You idly wonder if this might have been the diary of one of Edward Verlac's daughters -- but then you notice part of a date, just visible in the corner of the page: 1953. This must have been written, then, several years before Edward was born.\n\nThe entries that are legible read as follows:\n\n...Father came again to my bed last night... mother doesn't...\ntells me I can't... to be a good daughter. Sometimes it hurts, but Father always tells me I shouldn't cry. Father says a daughter must do her Duty if she wants to get into Heaven. And I do want to get into Heaven...\n\n[this entry dated 1957] ...my poor little William. Father calls\nhim an aberration, child of the Devil, but I don't believe... locked in the attic. I go to see him whenever Father is away. I sing to him, sometimes, through the keyhole, and slip him sweets through the crack under the door... my baby is beautiful... can't let him hurt my dear baby William... to the doctor, and he has a plan... I can never... this locket, William, and I will always keep yours... to always remember my face...\n\nNothing else is readable except for one fragmented entry near the very end of the book, the date in the corner reading February 27, 1961:\n\n...dead, but not dead yet... will not allow him to do to Edward\nwhat he wanted to do to William... have learned... given him the charm against the... never take it off, dear Edward... [a page has been\ntorn away] ...fear to sleep... mist at the window --\n\nAnd that's all."
    },
    {
        "text": "> You look around\nThis must be the children's bedroom. The bed is smaller than the one in the master bedroom, its bright coverlet providing one of the few feeble splashes of color in what must have been, for most of its history, a joylessly Puritan household. A small vanity table occupies the opposite wall, and in the corner under the window stands an ancient crib. The only exit is to the north.\n\nA child's jewelry box sits on the corner of the vanity, its lid open.\n\nThe bed has been pushed away from the wall slightly, revealing a ragged hole in the paneling.\n\n> You look at the table\nA simple vanity table, scaled down for a child, spartan in design and almost wholly without decoration. It's hard to imagine keeping any sort of makeup or jewelry on it, but then again, vanity of even the most innocent kind was probably discouraged in most of the Verlac children.\n\n> You unlock door\n(first taking the keyring)\n(slipping the family album into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou go through all the keys on your keyring, trying each one in turn, but none of the keys seem to fit.\n\n> You examine the door\nIt's a free-standing cabinet about as tall as you are, crafted of cherrywood. The double paneled doors are open.\n\n> Go north\nWhere once pots and skillets and various utensils hung in profusion, the kitchen walls are now merely ranks of dusty cabinets and a forest of empty hooks. Doorways lead east and south, a small pantry lies to the northwest, and the back door to the north leads out of the house.\n\nYou can also see a cardboard box (in which are some newspaper clippings) here.\n\n> Go north\n(opening the iron door first)\nIt seems to be locked.\n\n> You unlock door\nYou unlock the iron door.\n\n> You close the door\nYou close the iron door.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You go south\nThe undergrowth is too thick in that direction.\n\n> Go south\n(opening the front door first)\nIt seems to be locked.\n\n> You go to the south\n(opening the front door first)\n\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe front door stands open to the north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\n> You close the door\nYou close the front door.\n\n> Go west\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nA damp newspaper lies on the curb, fluttering slightly in the wind.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\n> You take the newspaper\n(slipping the silver locket into the pocket of your trenchcoat to get a hand free)\nYou pick up the newspaper. It's the \"Weekly Arkham Herald\". Anchorhead, apparently, is not large enough to warrant its own newspaper.\n\nA gust of wind blows your hair into your face.\n\n> You read the newspaper\nThe front page story is about Jeffrey Greer, 8 years old, who was abducted from his home at #11 Mill Town Road last night. Little Jeffrey is the latest victim in a series of abductions that stretches back for years, one every six months or so, and that authorities believe is the work of a single perpetrator. Local police had hoped to prove that Edward Verlac had been behind the kidnappings, but were unable to obtain a confession or any hard proof. Edward Verlac was convicted of murdering his wife and two daughters, one of whom was 15 months old, in January of this year; he was found not guilty by reason of insanity and incarcerated in Danvers Asylum, where he remained until committing suicide last March. This latest kidnapping, occurring after Edward's death, seems to have cleared up any lingering suspicions that he might have been the culprit.\n\nAnyone possessing information regarding the whereabouts of Jeffrey Greer is strongly urged to speak to the authorities as soon as possible.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go south\nA long, dimly lit, north-south corridor stretches away from the courthouse entrance. Closed, unmarked doors line either side of the hall, their pebbled glass windows lit from within by a murky, yellow-orange light. Silence reigns here; your footsteps echo eerily on the tiled floor, and occasionally you can hear muted conversation behind one of the doors -- you can't tell which. At the hall's southern end, a staircase leads down into the basement; a sign hanging above it reads \"RECORDS\". You can return to Town Square to the north.\n\n> You look up Croseus\n(in the archives)\nYou search in vain for a while before remembering that Croseus Verlac wasn't born in this country, and would therefore probably not have any birth certificate on record.\n\n> You look up Eustacia\n(in the archives)\nEustacia Verlac: born November 22, 1634.\n\n> You look up William\n(in the archives)\nWilliam Verlac: born June 22, 1954.\n\n> You look up Mordecai\n(in the archives)\nMordecai Verlac: born January 30, 1886.\n\n> You look up Elijah\n(in the archives)\nElijah Verlac: born December 16, 1802.\n\n> You look up daryl\n(in the archives)\nYou can find no records under that heading.\n\n> You look up Heinrich\n(in the archives)\nHeinrich Verlac: born October 18, 1734.\n\n> You look up wilhelm\n(in the archives)\nWilhelm Verlac: born March 11, 1651.\n\n> You look up Eustacia\n(in the archives)\nEustacia Verlac: died April 8, 1686.\n\n> You look up Croseus\n(in the archives)\nCroseus Verlac: died March 11, 1651.\n\n> You look up wilhelm\n(in the archives)\nWilhelm Verlac: died October 18, 1734.\n\n> You look up Heinrich\n(in the archives)\nHeinrich Verlac: died December 16, 1802.\n\nYou seem to be uncovering a pattern here; all these Verlacs seem to have lived to a ripe old age and then died on the very day the next one is born. The birth records are incomplete -- no parents are listed, and no cause of death is noted on the death records -- there's just not enough information here to draw a conclusion. You'll simply have to keep digging until you find the answers...\n\n> You look up Elijah\n(in the archives)\nElijah Verlac: died January 30, 1886.\n\n> You look up Mordecai\n(in the archives)\nMordecai Verlac: died April 26, 1960.\n\n> You examine the obelisk\nThe obelisk measures about two feet square at its base, narrowing slightly as it rises a good fifteen feet to a bluntly pointed tip. An iron ring is embedded in the stone high up on one side, about two feet from the top. Dense, twisting hieroglyphs cover all four sides of the obelisk, although they are too worn to be read clearly.\n\n> Go north\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\n> You go north\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\n> You go to the west\nTo the north, a gap in the crowded press of gloomy buildings opens onto a country lane, heading out over a grassy heath. The main street continues to the east, while to the northwest, over the top of a steep rise, you can just make out the vaulted rooftops of the university.\n\n> You ring bell\nDing.\n\nA moment later, the gaunt and fishy-eyed librarian emerges silently from the shadows behind the counter.\n\n> You ask the librarian for the frazer\nThe librarian says nothing. Slowly, very slowly, she looks you up and down, and then, just as slowly, she turns to look at the sign posted over the counter. Finally, agonizingly slowly, she turns back to you, and stares at you with a vague, unblinking air of disapproval.\n\n> You give the ithe d to the librarian\n(first taking the faculty card)\n(slipping the bundle of soggy pages into the pocket of your trenchcoat to get a hand free)\nThe librarian looks the card over, nods slowly, and hands it back to you without a word.\n\n> You ask the librarian about the frazer\nWordlessly the librarian retreats back into the shadows, only to reappear the next moment carrying the thick, dusty tome you saw your husband with earlier. Dutifully, you sign the register, and the librarian hands you the book before disappearing again.\n\n> You look at Frazer\nA thick and weighty tome, its full title is A Historical Overview\nof Superstitions in the Miskaton Valley Region by J. Arnsworth\nFrazer, published in 1906. It begins: \"Although New England has always been an abundant storehouse of American myth and folklore, the Miskaton River Valley has long been recognized as particularly fecund ground for tall tales and fanciful superstition. Legends abound of hideous, inhuman races living within the venerable hills; of pagan rituals enacted at unholy burial grounds and dedicated to ancient, blasphemous gods...\" and continues along the same lines in the typically dry and bombastic style of those times.\n\n> You read Frazer\nAs you open the book, a slip of paper falls from its pages and flutters to the ground.\n\n> You take the slip\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou pick up the slip of paper. Someone was apparently using it as a bookmark. There's some writing on one side.\n\n> You read the slip\nIt says:\n\nborn-died same date?\nhave to chk. records\n\nThe handwriting is unmistakably Michael's.\n\n> You ring bell\nDing.\n\nA moment later, the gaunt and fishy-eyed librarian emerges silently from the shadows behind the counter.\n\n> You give Frazer to the librarian\nWordlessly the librarian takes the tome from you and spirits it back to the shadowy depths of the reserved stacks.\n\n> Go east\nWhere once a building stood, there is now only cracked pavement and rampant weeds. A high chain-link fence surrounds this vacant lot; the only breaks lie to the west and southeast.\n\nAn old man dressed in dirty rags sits on his mattress, muttering to himself as he stares intently out to sea.\n\n> You look at the man\nThis pitiful creature might once have been a successful and healthy man, but alcohol and mental illness have dragged him down irretrievably into degenerate squalor. His clothes are filthy tatters; his hair is a matted, knotted mess; his body reeks of booze and urine. He sits on his mattress, seemingly oblivious to you or the rest of the world, and that's where he'll stay until either Death or the next drink comes around.\n\nThe old bum is clutching a small object to his chest; he rubs it and turns it in his hands constantly, as though it were some sort of relic or charm. It's hard to tell, but it appears to be a key.\n\n> You talk to the man\nWhat do you want to talk to the bum about?\n\n> Key\n(the small copper key)\nThe old man squints at you with bleary, cunning eyes. \"Don't know too much about that,\" he quavers. \"Memory's not what it used to be... I'm so thirsty, Miss, so thirsty...\"\n\n> You give the flask to the man\n(first taking the flask)\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nHis eyes burning with greed, the old man snatches the flask from your hand, unscrews the cap and tips it up into his waiting mouth. Trickles of pungent brown liquid ooze from the corners of his mouth as he swallows convulsively, his hands trembling, his eyes squeezed shut and streaming tears. Finally, he falls back onto his mattress with a beatific smile on his mud-smeared face, the flask dropping from his fingers.\n\n> You take the key\n(the small copper key)\n\"Mine!\" the old man hisses, clapping his hands onto his chest as though you were about to frisk him for it. \"It's mine, and I won't let it go!\"\n\n> You ask man about the man\nThe old man sighs. \"I was a doctor, once. I was a very good doctor. But that was before Edward, you know. Little Edward and his...\" His voice trails off to a whisper, but you could swear he mouthed the word \"brother\".\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You ask the man about the rebis\nThe bum shakes his head and looks away. \"T'ain't my name no more...\" he says quietly. \"...no more...\"\n\n> You ask the man about Edward\nThe old man lets out a vicious cackle. \"They got to him, didn't they? Maggots got to him good. Got into his head. The maggots got into his head, eatin' at him 'til he had to crack it open to get 'em out. Poor boy.\" He shakes his head. \"Delivered him, I did. Pulled him right out of his mama. Him and his -- \" Suddenly he stops, and will say no more.\n\n> You ask the man about the brother\nThe old man falls silent all of a sudden, and for a while he simply stares down at his hands, limp and open in his lap. Then, drawing a deep breath, he begins to speak, and for the first time his voice is steady, without the reedy whine of alcoholic craving.\n\n\"Ayuh, little Edward had a brother, so he did. And I know him. I know of William, so I do. I delivered the child. Anna Verlac was his mother. It... it was... \"\n\nHe leans over and grips your arm with a hand that is suddenly steady and strong. \"It was her father's poison seed, y'see. That evil bastard poisoned her womb and put a monster inside her. What she gave birth to... it was... it wasn't... oh, God, when I held that... that abortion in the shape of an infant, that thing with hooves for feet and its crown of writhing... when it looked up at me... It looked\nup at me with its father's red-rimmed eyes.\" The old man shudders convulsively, and it is a while before he can speak again.\n\n\"Anna and I decided between ourselves, we did. The... her child... it lived for a few years, but it was sickly, and in pain, and it could never be normal nor healthy. She brought it to me... I was her doctor, you see, I'd seen her through her child's birth, and she trusted me... and I put the thing down, softly and without pain, and they laid it to rest in the family crypt.\n\n\"And Anna thanked me for it, so she did.\"\n\nThe old man falls silent again, and his wavering, bloodshot eyes wander once more out to sea. And he is lost, once again, to the horror and pain of the memories that can only be silenced by drink.\n\n> You ask the man about William\n\"All I care to tell of that tragedy, I've told,\" the old man says quietly, not looking at you. \"I've no wish to speak of it again.\"\n\n> You ask the man about Anna\nTears stream unchecked down the old man's face. \"Shouldn't have happened to the girl. Only seventeen, she was, still a child when he... when that red-eyed monster took her... \" His eyes suddenly darken, his fists clench. \"HIS OWN DAUGHTER, GODS FUCK 'EM! SHOULDN'T HAVE DONE THAT TO HIS OWN DAUGHTER! GODS FUCK 'EM ALL!!\"\n\n> You examine copper key\n\"Mine!\" the old man hisses, clapping his hands onto his chest as though you were about to frisk him for it. \"It's mine, and I won't let it go!\"\n\n> You ask the man about the house\nThe old man screws his face up in confusion. \"Don't know about that,\" he mutters.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You ask the man about Michael\nThe old man screws his face up in confusion. \"Don't know about that,\" he mutters.\n\n> You ask the man about Mordecai\nThe old man shrinks away from you. \"Not here!\" he hisses. \"Not anywhere! Never speak it!\"\n\n> You ask the man about Verlac\n(the Verlac family)\nThe old man seems to physically shrink just a little bit, darting nervous glances around the empty lot. \"Oh, they're the worst of the lot,\" he whispers. \"They're the queen maggots, so they are. Sittin' all fat and full of poison in the center of the nest. Partick'ly that one, the worst one of all -- the one with the red-rimmed eyes.\"\n\n> You take the flask\nTaken.\n\n> You look at the mattress\nThe mattress is stained and beaten, oozing stuffing in several places. From the cans and food wrappers scattered around it, it looks as though somebody's been using it as a bed.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You search the mattress\nThe bum sits cross-legged in the exact center of the mattress.\n\n> You go to the west\nThe old man waves good-bye. \"Don't be a stranger,\" he calls.\n\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\n> You go to the south\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\n> You go southwest\nThe ground begins to rise sharply as the road climbs up into the hills south of town.\n\nThe treeline falls away on the north side of this northwest-northeast bend in the road, giving way to a panoramic view of the Miskaton River Valley and the grubby little town of Anchorhead nestled within it. From here you can see the paper mill almost directly to the north; the solitary lighthouse and surrounding ocean to the northeast; and the dilapidated stone church below you to the east. Winding through it all is the oily black ribbon of the Miskaton, and almost directly in the center lies the little clearing of Town Square. You can just make out the shape of the obelisk from here.\n\n> You go to the northwest\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You go north\n(opening the front door first)\nIt seems to be locked.\n\n> You unlock door\n(first taking the keyring)\n(slipping the faculty card into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the front door.\n\n> You go to the north\n(opening the front door first)\n\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a keyring, on which are three keys (an old-fashioned iron key, a key to the house and a key to the cellar), a flask (which is open but empty), a slip of paper and a broom.\n\nThe pockets of your trenchcoat contain Michael's faculty card, a newspaper, a bundle of soggy pages, a silver locket, a family album, a flashlight, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You read the journal\nWhat's left of the journal reads:\n\nDesperate. Went back to the old twisting lane and found only a\nblank wall. Without the amulet, how can I resist --\n\n...bottles, bottles...\n\nGetting worse. People I have never met smile knowingly at me in\nthe street. The police believe I am a child molester, but have brought no charges against me as yet. Why? Head hurts all the time. I have turned the cellar upside-down... damn it all, where is it?\n\nDreamed of Father again. Dreamed of Grandfather. Those horrible, red-rimmed eyes...\n\n-- into the safe, finally. 8-23-36. Won't forget THAT soon.\nHa!\n\nCANNOT DISCOVER ENTRANCE IN THE CELLAR!!! Secret eludes me still\nbut I WILL FIND IT!!! The clue is in their names, that pestilential procession of names! If I could only --\n\nThe text breaks off as several more pages are missing. the last fragmented entry reads:\n\n-- will fail. There is no recourse left. I know now what I must\ndo. Julia --\n\n> You turn the dial to 8\nThe tumblers tick quietly as you turn the dial to 8...\n\n> You turn the dial to 23\nThe tumblers tick quietly as you turn the dial to 23...\n\n> You turn the dial to 36\nThe tumblers tick quietly as you turn the dial to 36... and with a hollow thunk, the safe suddenly swings open.\n\n> You take the box and the flute\npuzzle box: (slipping the slip of paper into the pocket of your trenchcoat to get a hand free)\nYou pick up the puzzle box. It's roughly the size and shape of a cigar box, carved from some dark and oddly streaked wood that you can't identify. All six surfaces are decorated in a complex arrangement of grooves and panels, most of which are illustrated with leering, demonic faces and obscene designs. As far as you can tell, it is in fact a box, and meant to be opened; however, you see no obvious way to do so.\nstrange metal flute: (slipping the flask into the pocket of your trenchcoat to get a hand free)\n(closing the flask first)\nYou pick up the strange metal flute. It appears to be some kind of wind instrument, fashioned out of ornately carved, greenish metal. Seven holes of varying sizes are drilled along the top.\n\n> You take the opener\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou pick up the letter opener. It's a rather ornate thing, with a silver hilt and a slim, sharp tip.\n\n> You examine the laptop\nA top-of-the-line model: it's sleek, lightweight and very fast, a real status symbol for the writer who wants to look as though he might stop whatever he's doing at the drop of a hat and suddenly hack out a bestseller. While you have yet to witness Michael do this, he really had been wanting one since before the two of you even met; so, to celebrate his new teaching position, you splurged and bought him one.\n\nThe laptop is currently switched on.\n\n> You remove the ring\nYou slip the plain gold band from your finger. Usually you feel almost naked without your ring on, although sometimes you do find yourself taking it off briefly, just to read the inscription along the inside.\n\n> You look at the screen\nThe computer is in screen-saver mode: blank except for a single window requesting a 4-digit user passcode. Odd; you didn't think Michael ever used the passcode utility.\n\n> You read the inscription\nEngraved along the inside are Michael's and your initials, along with your wedding date -- June 28th.\n\n> Type 0628\n(on the laptop)\nThe passcode window disappears and the screen suddenly fills with text, apparently the last thing Michael was working on before he got up and left.\n\n> You read the screen\nMichael has evidently been writing something, but it's not a story; it looks more like some kind of journal entry.\n\nI cannot sleep.\n\nOr perhaps I should say: I must not sleep, since I\nam perfectly capable of sleep -- in fact, lately sleep has come to me more easily, more quickly, and more insidiously than it ever has before. But I don't want to sleep.\n\nI have been hoping that the terrible dreams would prove to be stress-related, that they would fade once the move was behind us and we had finally settled in -- but that has not turned out to be the case. They're stronger than ever. Red-rimmed eyes pursuing me through strange corridors, and the voice -- the whisperer who tells me I am not who I am. The whisperer tells me secrets of this house, secrets of those who lived here -- they are my blood, and he tells me he always returns to his blood. He tells me of secret keys and combinations; I don't know what they open yet but I have an idea --\n\nTomorrow I must go down to the cellar. I must see if the things revealed to me in that terrible book are true.\n\nI know she is worried about me. I want to tell her, but --\n\nThe entry ends there, unfinished.\n\n> You go to the west\nWhatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.\n\nA beautiful pair of mahogany sliding doors lead east, to the study.\n\nA section of the shelves in the western wall has slid to one side, revealing a hidden safe.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\n> You go south\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> Go upwards\nThe ancient rungs creak alarmingly as you ascend.\n\nIt's much cooler up here than in the rest of the house, and you find it hard to suppress a shiver. Grotesque, looming shadows crawl across the low, slanted ceiling, and the dust hangs thick and motionless in the air. To the west the ceiling dips even lower until the space beneath leaves hardly room enough to crawl, while to the north stands a wooden door, draped in shadows and half-hidden by the slanting eaves.\n\n> You pull the newspaper\n(slipping the puzzle box into the pocket of your trenchcoat to get a hand free)\nSomething metallic falls off the newspaper as you pull it out from under the door.\n\n> You take the key\n(the old-fashioned brass key)\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nYou pick up the old-fashioned brass key. It's an old key, the kind with a round barrel about a quarter-inch in diameter and flat, square teeth.\n\n> You unlock door\n(first taking the keyring)\nYou go through all the keys on your keyring, trying each one in turn, and after several false attempts you discover that the old-fashioned brass key fits the lock.\nYou unlock the door.\n\n> Go north\n(opening the door first)\n\nA cramped little annex off the main attic, with a tiny, shuttered window high up on the north wall. A pile of mouldering straw in the corner and what looks like pencil marks on the lower part of the walls seem to indicate that someone lived here once. Or, possibly, was kept here.\n\n> You examine the marks\nThey look like a child's drawings, made with pencil or some kind of charcoal. Most of them are smudged and faded, but you can make out stick figures here and there, and the occasional, lollipop-shaped tree.\n\n> You look at the straw\nThis disgusting mess might actually have been some poor soul's bed. You shudder, wondering what sick relative was kept prisoner here, and when.\n\n> You search the straw\nYou gingerly poke through the filthy straw, barely able to suppress your disgust. However, your search is not unrewarded: underneath the thickest part of the pile, you discover a tiny gold locket.\n\n> You examine the gold locket\nIt is oval-shaped, held shut with a tiny clasp.\n\n> Go south\nIt's much cooler up here than in the rest of the house, and you find it hard to suppress a shiver. Grotesque, looming shadows crawl across the low, slanted ceiling, and the dust hangs thick and motionless in the air. To the west the ceiling dips even lower until the space beneath leaves hardly room enough to crawl, while to the north stands a wooden door, draped in shadows and half-hidden by the slanting eaves."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, surreal, horror]\n\n> Go downwards\nThe ancient rungs creak alarmingly as you descend.\n\nThe shuttered window at the end of the hall throws a gloomy rectangle of light onto the bare wooden floor. Doorways lead north and south.\n\nA rickety wooden ladder stands here, descending from a three-foot by three-foot square of darkness in the ceiling.\n\n> You look up anna\n(in the nameplates)\nThe nameplate reads \"Anna Verlac, b. June 24, 1936, d. March 23, 1962\". Like the others, this coffin is built of solid oak, sealed with lead.\n\n> You search William\nIn William's coffin is an animal's skeleton.\n\n> You search skeleton\nThe skeleton is in pieces; parts of it crumble even as you touch it. Only the animal's skull seems reasonably intact.\n\n> You examine the skull\nThe gruesome thing seems to leer at you with its bleached, toothy grin.\n\n> You take the skull\n(slipping the letter opener into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Go east\nWhere once a building stood, there is now only cracked pavement and rampant weeds. A high chain-link fence surrounds this vacant lot; the only breaks lie to the west and southeast.\n\nThe old man looks up at you with fawning admiration.\n\n> You show the skull to the man\nThe old man starts visibly when you show him the skull. \"What about it?\" he mutters.\n\n> You ask the man about the skull\n\"I don't know what you're talking about, so I don't,\" says the old man, but it's plain he's hiding something. He tries to crawl away, but is plainly too weak, and settles instead for rolling over on the mattress to face the other direction. \"You're speaking gibberish. Go away.\"\n\n> You ask the man about skull\nThe old man bares his teeth. \"You can't prove it! You can't prove anything, so you can't!\"\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You continue\n\"I'll not listen to lies!\" screeches the old man, clapping his hands to his ears.\n\n> You keep going\n\"I'll not listen to lies!\" screeches the old man, clapping his hands to his ears.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You take the key\n(the small copper key)\n\"Mine!\" the old man hisses, clapping his hands onto his chest as though you were about to frisk him for it. \"It's mine, and I won't let it go!\"\n\n> You tell the man about the coffin\n\"I told you about that already,\" snaps the old man. \"Why don't you leave me alone?\"\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands an animal's skull, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a newspaper and a broom.\n\nThe pockets of your trenchcoat contain a letter opener, a strange metal flute, a puzzle box (which is closed), a flask (which is closed), a slip of paper, Michael's faculty card, a bundle of soggy pages, a silver locket, a family album, a flashlight, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You show the boy's picture to the man\n(first taking the silver locket)\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nThe bum makes no move to take the locket, but he stares at the boy's picture inside with something akin to fear. \"Ayuh,\" he whispers hoarsely, \"that's him, so it is. That's the boy. That's William.\"\n\n> You show the box to man\n(first taking the puzzle box)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nThe old man stares at the puzzle box blankly, not sure what you want him to do with it.\n\n> You show the pages to the man\n(first taking the bundle of soggy pages)\n(slipping the animal's skull into the pocket of your trenchcoat to get a hand free)\nThe old man stares at the bundle of soggy pages blankly, not sure what you want him to do with it.\n\n> You take the pages\nYou already have that.\n\n> Go southwest\nThe ground begins to rise sharply as the road climbs up into the hills south of town.\n\nThe treeline falls away on the north side of this northwest-northeast bend in the road, giving way to a panoramic view of the Miskaton River Valley and the grubby little town of Anchorhead nestled within it. From here you can see the paper mill almost directly to the north; the solitary lighthouse and surrounding ocean to the northeast; and the dilapidated stone church below you to the east. Winding through it all is the oily black ribbon of the Miskaton, and almost directly in the center lies the little clearing of Town Square. You can just make out the shape of the obelisk from here.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You go to the north-west\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You unlock door\n(first taking the keyring)\n(slipping the silver locket into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the front door.\n\n> Go north\nA cramped little annex off the main attic, with a tiny, shuttered window high up on the north wall. A pile of mouldering straw in the corner and what looks like pencil marks on the lower part of the walls seem to indicate that someone lived here once. Or, possibly, was kept here.\n\nLying amongst the filthy straw is a gold locket.\n\n> You take the locket\n(the gold locket)\n(slipping the puzzle box into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You turn on the light\nThe flashlight emits a warm yellow beam.\n\nThe ceiling descends here to no more than three feet from the floor; you are forced to crawl through the cramped darkness on your hands and knees. To the east the attic becomes more spacious, while the northwest corner opens into an oddly-angled corridor.\n\n> Go northwest\nAs you make your way down the corridor, you begin to get dizzy, then nauseous. Lines seem to cross without bending, the ceiling becomes the walls and the floor becomes the ceiling. Half-blind, unsure even of which direction you were going in, you stagger forward and suddenly find yourself in a...\n\nThe ceiling descends here to no more than three feet from the floor; you are forced to crawl through the cramped darkness on your hands and knees. To the east the attic becomes more spacious, while the northwest corner opens into an oddly-angled corridor.\n\n> You turn on the light\nThe flashlight emits a warm yellow beam.\n\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nThe cellar door stands open, revealing dark stairs leading down.\n\n> Go south\nYou descend the gloomy steps into the dank cellar.\n\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You open the cabinet\nIt takes some grumbling and some tugging and finally a good, sharp yank, but the cabinet finally pops open.\n\n> You look in the cabinet\nThere's about two dozen fuses lined up in there, the old-fashioned kind that look like round, glass plugs. Every last one of them is blown.\n\n> You take the fuse\nYou pull one of the fuses out and try to rub some of the grime off. Sure enough, the little metal strip inside is melted to a black, twisted cinder. With a sigh, you plug it back into its socket.\n\n> Go east\nThis wing of the cellar is even older than the rest, with walls of piled, unmortared stone. The entire room is filled with wine racks. They cover every wall except for one spot to the west, where an exit leads back to the main cellar.\n\nAll of the racks are dust-covered and empty except for one against the north wall, which contains some forty or fifty dark bottles.\n\nYou are reminded of something Michael told you during the long drive up: about how when the police arrived after the shooting, they found the wine cellar in a shambles -- nearly every bottle thrown to the floor and shattered, and the whole place reeking of rotted grapes. All except the bottles in the north rack. None of those had been touched. No one could posit a motive for it.\n\nYou smile a bit, recalling your husband's ability to turn a piece of insignificant trivia into a compelling story. Still, though, now that you're actually standing here... it all seems very strange.\n\n> You examine the wine\nWhich do you mean, the wine racks or the wine bottles?\n\n> Bottles\nRow after row of smooth, dust-covered glass. The wine inside is dark and murky, reminding you, somewhat irrationally, of blood.\n\n> You take the bottle\nStrange; the bottles all seem to be fixed in place. They won't come out of the rack no matter how you tug at them.\n\n> You examine the racks\nThese racks must have at one time contained hundreds upon hundreds of wine bottles. Idly, you wonder which member of the family developed such a taste for what would have been, for the first few generations at least, a sinful vice of the basest kind.\n\n> You search bottles\nThere are dozens of bottles here. You glance over the rows, but nothing jumps out at you as immediately odd.\n\n> You play the flute\n(the strange metal flute)\n(first taking the strange metal flute)\n(slipping the bundle of soggy pages into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You cover the first hole\nYou place your finger over the first flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an eerie, almost sub-sonic note. The sound lingers in the air for a moment, then gently fades away.\n\n> You cover the second hole\nYou place your finger over the second flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an odd mixture of metallic, warbling notes which intertwine and harmonize eerily with each other. The sound lingers in the air for a moment, then gently fades away.\n\n> You cover the third hole\nYou place your finger over the third flute hole.\n\n> You cover the fourth hole\nYou place your finger over the fourth flute hole.\n\n> You cover the fifth hole\nYou place your finger over the fifth flute hole.\n\n> You cover the sixth hole\nYou place your finger over the sixth flute hole.\n\n> You cover the seventh hole\nYou place your finger over the seventh flute hole.\n\n> You look at the flute\n(the strange metal flute)\nIt appears to be some kind of wind instrument, fashioned out of ornately carved, greenish metal. Seven holes of varying sizes are drilled along the top Your fingers are covering the first, second, third, fourth, fifth, sixth and seventh holes.\n\n> You put the flute in the coat\n(the strange metal flute in the trenchcoat)\nYou slip the strange metal flute into the pocket of your trenchcoat.\n\n> You examine the flute\n(the strange metal flute)\nIt appears to be some kind of wind instrument, fashioned out of ornately carved, greenish metal. Seven holes of varying sizes are drilled along the top.\n\n> You examine the gold locket\nIt is oval-shaped, the clasp open to reveal a tiny picture inside.\n\n> You show the gold locket to the man\nThe bum starts to reach for the locket, but his hand stops a few inches away. His fingers are trembling. He gazes at the woman's picture with grief and regret, and a hint of something akin to love. \"Why,\" he whispers, \"that's the very likeness, so it is. That's my Anna. Pretty little Anna...\"\n\n> You show the flask to the man\n(first taking the flask)\nHis eyes burning with greed, the old man snatches the flask from your hand, unscrews the cap and tips it up into his waiting mouth. Then, sputtering angrily as he realizes there is no whiskey in it, he hurls the flask across the lot and glares at you with something approaching real hatred.\n\n> You put the broom in the pocket\nThe broom is too long to fit in your pockets, deep though they are.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You go south\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You examine the ivy\nThe ivy clutches at the weathered stones as if trying to drag them back down into the earth.\n\n> You examine door\nAt least a dozen sturdy boards have been nailed across the sturdy oak doors; even with proper tools, it would take you days to pry them loose.\n\n> You examine the window\nYou can't see inside at all; the windows are completely boarded up.\n\n> You examine the boards\nThe boards are sturdy pine, securely nailed across every visible door and window.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You look at the padlock\nThe padlock, which is the size of your fist, is so thoroughly rusted that it looks like one huge homogeneous lump of corrosion. Although it's still quite strong, you might be able to break it if you had something heavy enough.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a flask (which is open but empty), a gold locket, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar) and a broom.\n\nThe pockets of your trenchcoat contain a strange metal flute, a bundle of soggy pages, a puzzle box (which is closed), a silver locket, an animal's skull, a newspaper, a letter opener, a slip of paper, Michael's faculty card, a family album, a flashlight, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You hit the padlock with the broom\nYou can't get in a good blow with the broom; you need something heavier.\n\n> You hit the padlock with the flashlight\n(first taking the flashlight)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nYou can't get in a good blow with the flashlight; you need something heavier.\n\n> You hit the padlock with the skull\n(first taking the animal's skull)\n(slipping the gold locket into the pocket of your trenchcoat to get a hand free)\nYou can't get in a good blow with the animal's skull; you need something heavier.\n\n> You examine the underbrush\nThe woods are ancient, thick with undergrowth and full of shadows. Branches creak, leaves rustle beneath unseen, half-imagined footsteps, and strange birdcalls echo through the trees."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, incest, rape references, research, city, changing environment, academic NPC, Lovecraftian, violence]\n\n> You look at your surroundings\nThe forest encroaches right up to the iron fence here, some of which is literally buried in the tangled underbrush. There are no doors on this side, although a wooden trap door over by the corner of the building probably leads into a cellar. A path leads southwest, around to the front of the church.\n\n> You look under underbrush\nYou find nothing of interest.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You examine the fence\nThe fence is about chest-high and topped with nasty iron spikes. Weeds and ground vines wind up through the bars, most of which are bent and some of which are missing altogether.\n\n> You look at the bars\nThe fence is about chest-high and topped with nasty iron spikes. Weeds and ground vines wind up through the bars, most of which are bent and some of which are missing altogether.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You take the bar\nThat's hardly portable.\n\n> You pull the bars\nThat would accomplish very little.\n\n> You go to the southwest\nThe path bends northwest, around the side of the church.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go to the north\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> Smell film\nYou can make out a shadowy reflection of yourself in the slowly rippling water.\n\nThe river has an unpleasant, oily smell to it.\n\n> You fill the flask with the water\nYou dip the flask into the Miskaton, collecting a small quantity of river water.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Empty flask\nYou can't pour the nothing; it's not a liquid.\n\n> You examine flask\nThe label is faded and mostly peeled away, but what little you can make out seems to indicate that this is not a particularly distinguished brand of spirits. The words \"bootleg\" and \"rotgut\" come to mind, probably because they are the only words legible on what's left of the label.\n\n> You look in the flask\nIn the flask is a small quantity of river water.\n\n> You pour the water\n(the small quantity of river water)\nThe small quantity of river water spills out over the ground, where it quickly trickles away.\n\n> Go upwards\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You take the stone\nThey're hardly portable.\n\n> You go north\nA dank, drafty old drinking hole lit by flickering, oil-burning lanterns. Smoke collects in greasy pools among the rafters, and shadows crowd thick around. The bar runs the length of the room to your right, while to the south a low doorway opens onto the street.\n\nMill workers and fishermen occupy a few of the tables, drinking beer or puffing grimly at long-stemmed pipes. Each is wrapped in his solitude, soaking up the general miasma of dreary fatalism.\n\n> You fill the flask\n(with the newspaper)\n(first taking the newspaper)\n(slipping the flask into the pocket of your trenchcoat to get a hand free)\n(closing the flask first)\nTaken.\nThe mouth of the flask is too narrow.\n\n> Go south\nThe path curves southwest, leading you into an overgrown area behind the mill.\n\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\n> You examine the foundations\nThe broken rubble is all that remains of whatever building once stood here.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You examine rebar\nThe broken rubble is all that remains of whatever building once stood here.\n\n> Go southeast\nThe trail heads up a short embankment and emerges from the thicket alongside the railroad tracks. The tracks run down from the northeast and past the mill, continuing southwest but slowly curving westward until they cross the Miskaton River some miles outside of town. From the embankment you can look out over the entire heath: jagged, shadowy rooftops to the south; the oily ribbon of the Miskaton to the west; and to the east, the lighthouse sentinel and the leaden waters of the Atlantic beyond.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You examine the tracks\nThey're just ordinary-looking railroad tracks.\n\n> Go northwest\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> Go northeast\nThe path curves to the north, leading you around to the front of the mill.\n\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You look at the gate\nThe gate, a twenty-foot high barricade of narrowly spaced, thick, black, iron bars, is designed to roll horizontally, sealing off the entrance to the mill compound. It is currently shut and locked. There are no guardhouses, no buzzers or intercoms, no apparent means of getting in or letting anyone inside know you want in; just this implacable gate in an unscalable wall.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You examine bars\nThe gate, a twenty-foot high barricade of narrowly spaced, thick, black, iron bars, is designed to roll horizontally, sealing off the entrance to the mill compound. It is currently shut and locked. There are no guardhouses, no buzzers or intercoms, no apparent means of getting in or letting anyone inside know you want in; just this implacable gate in an unscalable wall.\n\n> Go east\nThe road heads out over a narrow breakwater jutting out into the ocean.\n\nYou are picking your way across the breakwater's bare, rocky spine, where the road has diminished to little more than a pair of dusty ruts. A hundred yards to the northeast, at the breakwater's far end, the lonely stone tower of Anchorhead's lighthouse stands vigil against the ocean.\n\n> Go east\nThe narrow breakwater is surrounded by ocean. You can only go west, back to shore; or northeast, to the lighthouse.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> You go southeast\nCarefully, you climb down the rocks. The path bends northeast, following the curve of the lighthouse wall.\n\nA small outcropping of stone, just large enough for you to stand on, sticks out from the end of the breakwater. The hungry sea laps at your feet, surging over the rocks and then trickling down into crevices. To the southwest, an uneven trail leads back up the rocks, around the side of the lighthouse.\n\nBeyond the breakwater's tip, a turbulent patch of water bubbles and seethes, as if something were lurking just beneath the surface -- turning, perhaps, in uneasy sleep.\n\n> You go to the south-west\nThe trail turns northwest, following the curve of the lighthouse wall.\n\nYou stand in a circular clearing among the stones, surrounded on nearly every side by the sea. Before you looms the ancient, massive lighthouse, a vertiginous pillar of pale brick jabbing defiantly up at the sky. The road from the southwest ends here, although it looks as though you could pick your way down the rocks to the southeast, around the structure's base.\n\nThe great bronze door of the lighthouse is closed.\n\n> Go southwest\nYou are picking your way across the breakwater's bare, rocky spine, where the road has diminished to little more than a pair of dusty ruts. A hundred yards to the northeast, at the breakwater's far end, the lonely stone tower of Anchorhead's lighthouse stands vigil against the ocean.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> Go southwest\nThe narrow breakwater is surrounded by ocean. You can only go west, back to shore; or northeast, to the lighthouse.\n\n> Go west\nThe road carries you across a desolate heath of gray, windswept grass. To the south, the black, jagged outline of Anchorhead's steep roofs and sharp, leaning gables cuts across the horizon. The road forks here to the west and east, heading across the railroad tracks in one direction, out toward the seashore in the other.\n\n> Go east\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nA gust of wind blows your hair into your face.\n\n> You go south\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it."
    },
    {
        "text": "> Go downwards\nNot unless you jump.\n\n> You go to the south\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, research, strong NPCs, violence, female protagonist, child death, child abuse]\n\n> Go downwards\nYou pass through the gate and down the stone steps, which curve northwest as they lead down to the edge of the river.\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\n> You fill the flask\nWhat do you want to fill the flask with?\n\n> Water\nYou dip the flask into the Miskaton, collecting a small quantity of river water.\n\n> You give the flask to man\nHis eyes burning with greed, the old man snatches the flask from your hand and tips it up into his waiting mouth. Then, sputtering angrily as he realizes there is no whiskey in it, he hurls the flask across the lot and glares at you with something approaching real hatred.\n\n> You pour the water\nThe small quantity of river water spills out over the ground, where it quickly trickles away.\n\n> You ask the man about the whiskey\nThe bum perks up. \"More whiskey?\" he asks greedily.\n\n> Go east\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You go north\nA dank, drafty old drinking hole lit by flickering, oil-burning lanterns. Smoke collects in greasy pools among the rafters, and shadows crowd thick around. The bar runs the length of the room to your right, while to the south a low doorway opens onto the street.\n\nMill workers and fishermen occupy a few of the tables, drinking beer or puffing grimly at long-stemmed pipes. Each is wrapped in his solitude, soaking up the general miasma of dreary fatalism.\n\n> You go east\nThe exit is to the south.\n\n> Examine bar\nA dark and dour expanse of wood, pitted and scarred and stained with the rings from over a hundred years' worth of slopping beer mugs.\n\n> You look behind the bar\nNot a bartender in sight.\n\n> You examine the people\nThe patrons of this place are taciturn and grim. No one speaks. No one looks anyone in the eye. No one, in fact, even looks up from his beer. A heavy aura of resignation -- and, it almost seems, dread -- hangs palpably over the whole crowd.\n\n> You ask the people about the bum\nNo one answers you, or even looks your way.\n\n> You ask the people about Michael\nSuddenly, although you wouldn't have thought it possible, the pub becomes even more icily silent. Even the lantern flames seem to pause their flickering. The nearest of the locals turns toward you, squinting through eyes like black glass embedded in his ancient leathery skin. His lips barely seem to move beneath his salt-encrusted beard.\n\n\"Some things best left alone by outsiders, ma'am,\" he rasps. \"Some things best left alone by decent folk altogether.\"\n\nBack in one of the darker corners, someone spits deliberately on the floor.\n\nAnd then all eyes are back on their beer. It's as if you didn't exist at all.\n\n> You examine the ring\n(the wedding ring)\nStaring at your wedding ring like that tends to make you sentimental.\n\n> You look at the iron ring\nIt's just an ordinary-looking iron ring.\n\n> You pull iron ring\nThe iron ring is high out of your reach.\n\n> You examine the hieroglyphs\nThey are not Egyptian, which is what you first assumed from the general shape and design of the obelisk. In fact, though you're no archaeologist, these carvings don't look like any sort of ancient writing you've ever seen. The characters, which must have been carved very deeply in order to survive this much erosion, twist and squirm in disturbing ways, flowing into and through each other and almost seeming to shift slightly as you try to follow their lines. The effect is deeply unsettling, and you have to suppress an urge to take a step or two back away from the monument.\n\n> You get the iron ring with the umbrella\n(first taking the umbrella)\n(slipping the flashlight into the pocket of your trenchcoat to get a hand free)\nThe iron ring is high out of your reach.\n\n> You climb the obelisk\nThe sides of the obelisk are much too steep and smooth to climb.\n\n> You knock on it\nNo one answers.\n\n> Go west\nThe rooftops above you lean so close together as to nearly block out the sky altogether, making this a particularly dark and unpleasant section of the city. The street leads away to the east, and a shadowy driveway leads through a high brick wall to the south.\n\n> You go to the south\nThe grim, white-washed edifice of Danvers Asylum bounds this tiny, shadowed courtyard to the south, its narrow, barred windows staring blankly down at you like ranks of shriveled, empty eye sockets. You can escape through a narrow gateway in the high, brick wall to the north.\n\n> Go south\nUgly, mint-green tiles and walls of whitewashed cinderblock comprise the decor of this inhospitable waiting room. A hard little sofa upholstered in avocado vinyl and a feebly struggling potted palm are provided for the comfort of visitors, although you get the feeling that few inmates of this institution are fortunate enough to have visitors. A metal gate bars entrance to a southern passageway, which you assume leads to the inmates' section. The exit lies north.\n\nAn orderly sits by the gate, leisurely perusing a pornographic magazine.\n\nA large key dangles from the orderly's belt.\n\n> You look at the orderly\nThe pockmarked and overweight orderly is absorbed in his magazine, which is just as well, since it's kept him from turning his leering attentions to you. He occasionally pauses to tweak a swollen blackhead on the back of his neck, or to mutter some crass observation about one of the women in his magazine.\n\nThere's a name tag pinned to his expansive chest.\n\n> You examine the sofa\nIt is the apotheosis of utilitarian decor, little more than a horizontal slab with some vertical slabs around the sides to keep people from falling off. And it is avocado.\n\n> You examine tag\nIt reads: \"CHUCK\".\n\n> You ask Chuck about the Asylum\n\"Listen, I just work here, lady.\"\n\n> You ask Chuck about the rebis\nThe orderly shrugs. \"Wouldn't know,\" he mutters.\n\n> You examine the palm\n(the torn journal)\nIt's a slim little book, no bigger than your hand, bound in imitation leather. The mice really have been at it; most of the pages have been chewed away.\n\n> You ask him about Edward\nThe orderly squints at you. \"Who? -- Oh, wait! You mean the guy, ventilated his whole goddamn family early this year. Yeah, I remember him. What a nutball. We put him in a rubber room, he lasted two weeks. Bashed his fuckin' brains in on the little observation window. Reinforced glass, took him right out.\" The orderly scratches his head. \"Christ, I gotta get around to cleaning that mess up one of these days.\" Then with a heavy sigh, he returns to his magazine.\n\n> You get the potted palm\nThat's hardly portable.\n\n> You examine the large key\nPresumably, it opens the barred gates, providing access into (or out of) the asylum.\n\n> Go south\n(opening the barred gate first)\nThe orderly laughs at your attempts. \"Nice try, lady, but you're never gettin' in there without this,\" he says, patting the key on his belt.\n\n> You take the large key\nThe orderly slaps your hand away. \"Nice try, lady, \" he sneers, \"but I got eyes in the back of my head; I'm like a fuckin' hawk.\"\n\n\"... ooh, yeah,\" whispers the orderly, ogling his magazine.\n\n> You take the large key\nThe orderly slaps your hand away. \"Nice try, lady, \" he sneers, \"but I got eyes in the back of my head; I'm like a fuckin' hawk.\"\n\n> You hit the CHUCK with the broom\nMuch as you'd like to, it probably wouldn't be wise in the long run.\n\nThe orderly honks loudly into a handkerchief, pauses to take a quick peek at the goods, then stuffs the rag back into his pocket."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, Lovecraft, changing environment, violence, academic NPC, city, female protagonist, incest, child death, surreal]\n\n> You look around\nUgly, mint-green tiles and walls of whitewashed cinderblock comprise the decor of this inhospitable waiting room. A hard little sofa upholstered in avocado vinyl and a feebly struggling potted palm are provided for the comfort of visitors, although you get the feeling that few inmates of this institution are fortunate enough to have visitors. A metal gate bars entrance to a southern passageway, which you assume leads to the inmates' section. The exit lies north.\n\nAn orderly sits by the gate, leisurely perusing a pornographic magazine.\n\nA large key dangles from the orderly's belt.\n\n\"... ooh, yeah,\" whispers the orderly, ogling his magazine.\n\n> You look at the magazine\n\"Juggs\". How charming.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands your umbrella, a flask (which is open but empty), an animal's skull and a broom.\n\nThe pockets of your trenchcoat contain a flashlight, a gold locket, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a strange metal flute, a bundle of soggy pages, a puzzle box (which is closed), a silver locket, a newspaper, a letter opener, a slip of paper, Michael's faculty card, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern and a towel.\n\nAiry strains of vacuous elevator music waft through the room from invisible speakers.\n\n> Examine box\nIt's roughly the size and shape of a cigar box, carved from some dark and oddly streaked wood that you can't identify. All six surfaces are decorated in a complex arrangement of grooves and panels, most of which are illustrated with leering, demonic faces and obscene designs. As far as you can tell, it is in fact a box, and meant to be opened; however, you see no obvious way to do so.\n\n> You play the flute\n(the strange metal flute)\n(first taking the strange metal flute)\n(slipping the animal's skull into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You show the skull to chuck\n(first taking the animal's skull)\n(slipping the flask into the pocket of your trenchcoat to get a hand free)\n(closing the flask first)\nHe glances at the animal's skull without anything remotely resembling interest, and returns to his magazine without a word.\n\n> You show the gold locket to chuck\n(first taking the gold locket)\n(slipping the umbrella into the pocket of your trenchcoat to get a hand free)\nHe glances at the gold locket without anything remotely resembling interest, and returns to his magazine without a word.\n\n> You open the gold locket\nThat's already open.\n\n> You remove coat\nYou take off the trenchcoat.\n\n> You remove clothes\nYou've never been big on that \"natural\" look. If you decide you need to take a bath or go to bed, you can disrobe then; otherwise, keep 'em on.\n\n> Wear coat\nYou put on the trenchcoat.\n\n> You examine the windows\nThe whole place exudes a sense of oppressive claustrophobia -- standing in its shadow for even a second is enough to make your skin crawl. Even the seemingly innocuous motto emblazoned over the main entrance fills you with an inexplicable sense of foreboding.\n\n> You read the motto\n\"Health, Discipline, Tranquillity\" -- emblazoned in an arch over the double-snake symbol of a caduceus. Somehow, you are not reassured.\n\n> You go north\nThe rooftops above you lean so close together as to nearly block out the sky altogether, making this a particularly dark and unpleasant section of the city. The street leads away to the east, and a shadowy driveway leads through a high brick wall to the south.\n\n> You search the grass\nThe cobblestones are slick from the rain and worn with many centuries' passage.\n\n> Go northwest\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\n> You unlock door\n(first taking the keyring)\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou unlock the front door.\n\n> You examine the luggage\nIt's all a huge, hopeless mess. Just looking at it instantly drains you of any desire to unpack.\n\n> You examine the scene\nA madman, clad only in a filthy, ragged loincloth, his thin body covered with dirt and sores, dances wildly on a precipice between two massive, metal pillars. His long, gray hair whips about his face in an unseen wind; behind him, beyond the precipice, violet clouds seethe and roil. He seems to be playing some strange sort of wind instrument, like a flute, making the whole scene look oddly like a macabre Jethro Tull album cover.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You look at the cabinets\nThe cabinet is empty.\n\n> You examine the shelves\nThey're just ordinary-looking shelves."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, incest, surreal, child abuse, horror, self-mutilation]\n\n> Go downwards\nYou descend the gloomy steps into the dank cellar.\n\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You go to the east\nThis wing of the cellar is even older than the rest, with walls of piled, unmortared stone. The entire room is filled with wine racks. They cover every wall except for one spot to the west, where an exit leads back to the main cellar.\n\nAll of the racks are dust-covered and empty except for one against the north wall, which contains some forty or fifty dark bottles.\n\n> You look at the bottles\nRow after row of smooth, dust-covered glass. The wine inside is dark and murky, reminding you, somewhat irrationally, of blood.\n\n> You say open the sesame\n(to yourself)\nTalking to yourself is a sure sign of impending mental collapse.\n\n> You read the bottles\nThe labels are faded and obscured by dust, but you can make out a few of them. Some of these vintages appear to be very old.\n\n> Clean bottles\nYour fingers leave clear marks in the dust.\n\n> You read the label\n(the flask)\nThe label is faded and mostly peeled away, but what little you can make out seems to indicate that this is not a particularly distinguished brand of spirits. The words \"bootleg\" and \"rotgut\" come to mind, probably because they are the only words legible on what's left of the label.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a strange metal flute, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket and a broom.\n\nThe pockets of your trenchcoat contain an animal's skull, your umbrella, a flask (which is closed), a flashlight (providing light), a bundle of soggy pages, a puzzle box (which is closed), a silver locket, a newspaper, a letter opener, a slip of paper, Michael's faculty card, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern and a towel.\n\n> You read the torn journal\nWhat's left of the journal reads:\n\nDesperate. Went back to the old twisting lane and found only a\nblank wall. Without the amulet, how can I resist --\n\n...bottles, bottles...\n\nGetting worse. People I have never met smile knowingly at me in\nthe street. The police believe I am a child molester, but have brought no charges against me as yet. Why? Head hurts all the time. I have turned the cellar upside-down... damn it all, where is it?\n\nDreamed of Father again. Dreamed of Grandfather. Those horrible, red-rimmed eyes...\n\n-- into the safe, finally. 8-23-36. Won't forget THAT soon.\nHa!\n\nCANNOT DISCOVER ENTRANCE IN THE CELLAR!!! Secret eludes me still\nbut I WILL FIND IT!!! The clue is in their names, that pestilential procession of names! If I could only --\n\nThe text breaks off as several more pages are missing. the last fragmented entry reads:\n\n-- will fail. There is no recourse left. I know now what I must\ndo. Julia --\n\n> You search bottles\nThere are dozens of bottles here. You glance over the rows, but nothing jumps out at you as immediately odd.\n\n> You get the album\n(slipping the gold locket into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You look up Croseus\n(in the newspaper)\nYou discover nothing of interest in the newspaper.\n\n> You look up Croseus in the album\nThe entry reads:\n\nBorn the son of a provincial cabinet-maker in the H\u00f6llental\nValley circa 1590; fled Germany in 1620 to avoid charges of heresy; came to the New World in 1622 on the ship Dawn Maiden;\nfounded the town of Anchorhead in 1624; began construction of Verlac estate in 1625; signed the non-aggression pact with Chief Chuaquacqat of the Misquat tribe in 1631.\n\nThe picture is a full-page black-and-white reproduction of the portrait hanging in the sitting room. Underneath it, someone has scribbled in pencil:\n\n> You look at 1651\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You read the volume\nWhich do you mean, the bookshelves or The Compleat Manual of\nWardes and Seales?\n\n> Manual\nEssentially, it's a textbook on the theory and practice of magickal wards and seals, mystic symbols inscribed on doors and containers in order to keep people and spirits out -- or in. It's all very deliberately vague and arcane (in addition to being written in medieval French and translated into Middle English, making it nearly impossible to understand), the kind of thing that likely got many a scholar burned at the stake in those days.\n\nYou are surprised to find that a page in this old and probably quite valuable book has been folded down, as though to mark the place. The section marked discusses various methods of opening doors that have been sealed with the image of a pagan god. Speaking aloud the deity's true name will usually do the trick, apparently.\n\n> You open the shutter\nYou can't; the window is painted shut.\n\n> Examine books\nThe shelves on the western wall have slid back slightly, revealing a hidden safe.\n\n> You search the books\n(the strange metal flute on the pipe stand)\nThere's not enough room on the pipe stand for the strange metal flute.\n\nThe shelves on the western wall have slid back slightly, revealing a hidden safe.\n\n> Go east\nThis smaller room adjoining the library seems comfortable enough, although it is dusty and cluttered from having not been lived in for the better part of a year. Aside from the desk and the chair and the empty shelves, the only real feature of the room is the large, ornate fireplace in the southern wall.\n\nA beautiful pair of mahogany sliding doors lead west, to the library.\n\nMichael's laptop sits in the middle of the desk, humming quietly to itself.\n\n> You close the doors\nYou close the sliding doors.\n\n> You look at the doors\nEach door is carved from a single piece of mahogany, and polished to a deep, rich shine. The doors are closed.\n\n> You look at the desk\nIt's an ordinary writing desk with a small drawer, which is closed.\n\n> You open the drawer\nYou open the drawer, revealing the Cryptical Haermoniacon.\n\n> You examine cryptical\nThe leather covers are worn and cracked; the metal corner fittings tarnished; the pages yellow and brittle. Inscribed on the title page are the words Cryptical Haermoniacon: Manual of the Atonal\nServitors beneath what you presume must be the same words written\nin some strange, vaguely Arabic-looking alphabet.\n\n> You look at the fireplace\nThe fireplace is carved from beautiful, dark-veined marble, a strange shade that is not quite a deep, forest green and not quite a murky, dusky red. The mantelpiece is flanked by a pair of polished brass spheres.\n\n> You read the cryptical\nThe greater portion of the book is written in an incomprehensible, flowing cipher; however, the margins in several pages are glossed in English. The book appears to contain instructions for traveling to somewhere called \"the Domain of Nehilim\", and for worshipping or perhaps summoning an entity that dwells there: He Who Is Named\nNot; nor may that Name be taught among His followers; that Name which may be learned only by gazing upon His Terrible Countenance...\n\nThe only specific details involve a ritual used to open a one-way portal into the Womb of Nehilim, allowing the magician to enter or possibly throw some hapless soul into its chaotic, blasphemous depths. The ritual seems to have something to do with music, and requires the magician to \"Attune ye Pillars to ye Resonant Haermonicae\", whatever that means.\n\nThe rest, by only the barest contrast, is nothing but pure raving.\n\n> You look at the spheres\nYou see the room behind you in distorted miniature, and your own face swelling and stretching comically as you peer into the sphere's reflective surface.\n\nLooking closely, you notice some smudges on the otherwise immaculately polished brass.\n\n> Turn spheres\nThe sphere twists clockwise a few degrees, there is a barely audible \"click\", and the sphere snaps back into its original position. Suddenly, the entire fireplace slides about eighteen inches to the left with a hollow grinding sound, revealing a narrow corridor in the southwest wall.\n\n> You turn on the torch\nThe flashlight emits a warm yellow beam.\n\n> You go to the south-west\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\n> Go southwest\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nA thin beam of light slants through the dusty air, coming from a small hole half way up one wall.\n\n> You examine the hole\n(the small hole)\nIt's almost big enough to put your finger through.\n\n> You look through the hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see the sitting room, from a vantage high up on the wall. It occurs to you that you might well be looking directly through the eyes of the man in the portrait hanging over the fireplace.\n\n> You look through hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see the children's bedroom. Through some strange trick of the angle, you appear to be looking straight down at the bed from the middle of the ceiling.\n\n> You go to the northwest\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nThere is a small hole in one of the slats, about halfway up the wall.\n\n> You look through the hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see only darkness.\n\n> You drop typewritten\n(first taking the typewritten notice)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nTaken.\nDropped."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, Lovecraftian, child abuse, female protagonist, changing environment, violence, incest]\n\n> Look around\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nYou can see a typewritten notice here.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a family album, a strange metal flute and a broom.\n\nThe pockets of your trenchcoat contain a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket, an animal's skull, your umbrella, a flask (which is closed), a flashlight (providing light), a bundle of soggy pages, a puzzle box (which is closed), a silver locket, a newspaper, a letter opener, a slip of paper, Michael's faculty card, a book of matches with six matches left, a torn journal, a lantern and a towel.\n\n> You look at the slip\nSomeone was apparently using it as a bookmark. There's some writing on one side.\n\n> You read the slip\nIt says:\n\nborn-died same date?\nhave to chk. records\n\nThe handwriting is unmistakably Michael's.\n\n> You drop slip\n(first taking the slip of paper)\nDropped.\n\n> Go northwest\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nYou can see a slip of paper here.\n\n> You go to the south-east\nYou are in a small, enclosed cupola situated, by the look of the view through the dingy skylight over your head, on top of the roof of the house. The walls are covered with astrological and astronomical charts with equations and diagrams scribbled across them in crabbed, stilted handwriting. The only exit seems to be an oddly-angled corridor to the southeast.\n\nDominating the center of the room is a large mounted telescope, pointed almost straight up through the skylight.\n\n> You examine charts\nMost of the charts seem to be plotting the trajectory of some comet you've never heard of, as it gradually approaches the solar system over the course of several centuries. According to this, the comet is due to arrive...\n\nWell, that's interesting. According to this, the comet is coming tomorrow.\n\n> You look at the skylight\nAt the edges of the view you can make out the topmost branches of the surrounding trees, groping at the sky like skeletal fingers.\n\n> You look at the telescope\nConstructed of some greenish metal, the telescope consists in the main of an unadorned cylinder about eight inches in diameter, with an eyepiece near the bottom. Near the top, about six inches down from the telescope's upper end, is a thin, rectangular slot, cut horizontally into the side of the cylinder.\n\n> You look at the slot\nIt looks as though it might be a receptacle of some kind, perhaps for a special lens.\n\n> You look through the telescope\nThe sky is too overcast; you can't see anything other than a blank, gray circle of solid clouds.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a family album, a strange metal flute and a broom.\n\nThe pockets of your trenchcoat contain a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket, an animal's skull, your umbrella, a flask (which is closed), a flashlight (providing light), a bundle of soggy pages, a puzzle box (which is closed), a silver locket, a newspaper, a letter opener, Michael's faculty card, a book of matches with six matches left, a torn journal, a lantern and a towel."
    },
    {
        "text": "> Look around\nYou are in a small, enclosed cupola situated, by the look of the view through the dingy skylight over your head, on top of the roof of the house. The walls are covered with astrological and astronomical charts with equations and diagrams scribbled across them in crabbed, stilted handwriting. The only exit seems to be an oddly-angled corridor to the southeast.\n\nDominating the center of the room is a large mounted telescope, pointed almost straight up through the skylight.\n\n> You examine the equations\nMost of the charts seem to be plotting the trajectory of some comet you've never heard of, as it gradually approaches the solar system over the course of several centuries. According to this, the comet is due to arrive...\n\nWell, that's interesting. According to this, the comet is coming tomorrow.\n\n> Go west\nThe ceiling descends here to no more than three feet from the floor; you are forced to crawl through the cramped darkness on your hands and knees. To the east the attic becomes more spacious, while the northwest corner opens into an oddly-angled corridor.\n\n> You go to the east\n(opening the sliding doors first)\n\nThis smaller room adjoining the library seems comfortable enough, although it is dusty and cluttered from having not been lived in for the better part of a year. Aside from the desk and the chair and the empty shelves, the only real feature of the room is the large, ornate fireplace in the southern wall.\n\nA beautiful pair of mahogany sliding doors lead west, to the library.\n\nA dark, narrow corridor gapes in the wall to the southwest, partially hidden by the marble fireplace.\n\nMichael's laptop sits in the middle of the desk, humming quietly to itself.\n\n> Go southwest\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nYou can see a typewritten notice here.\n\n> Go northeast\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nThere is a small hole in one of the slats, about halfway up the wall.\n\n> Go northwest\nThis smaller room adjoining the library seems comfortable enough, although it is dusty and cluttered from having not been lived in for the better part of a year. Aside from the desk and the chair and the empty shelves, the only real feature of the room is the large, ornate fireplace in the southern wall.\n\nA beautiful pair of mahogany sliding doors lead west, to the library.\n\nA dark, narrow corridor gapes in the wall to the southwest, partially hidden by the marble fireplace.\n\nMichael's laptop sits in the middle of the desk, humming quietly to itself.\n\n> You drop the torch\n(first taking the flashlight)\nDropped.\n\n> You take the matches\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Light match\nOne of the matches starts to burn.\n\n> You go southwest\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nYou can see a slip of paper here.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> Go northwest\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nThe cellar door stands open, revealing dark stairs leading down.\n\n> You examine the hole\nWhich do you mean, the first flute hole, the second flute hole, the third flute hole, the fourth flute hole, the fifth flute hole, the sixth flute hole or the seventh flute hole?"
    },
    {
        "text": "[Themes: Lovecraftian, Horror, incest, surreal, child abuse, horror, self-mutilation]\n\n> Go downwards\nYou descend the gloomy steps into the dank cellar.\n\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\n> You go west\nThe old, flagstone walls gleam with unwholesome-smelling moisture, and the sagging timbers creak uneasily above your head. Ancient, frayed wiring festoons the ceiling like some strange species of clinging vine. Portions of the cellar extend south and east into the clammy darkness, though you could always beat a hasty retreat up the stairs to the north.\n\nOne largish bundle of wires leads down to a rusty old fuse cabinet bolted to the far wall.\n\nYou can also see a lantern (providing light) here.\n\n> Go north\n(opening the iron door first)\nThe faint echo of dripping water and a musty smell of decay grow stronger as you descend.\n\nThe air is clammy and frigid, the stone walls damp and streaked with mud and lichen. Pale, swollen roots push through cracks in the masonry. The smell of damp corruption is almost overpowering here, though the stairs to the south lead toward fresher air.\n\nThe walls of this chamber contain dozens of wide, shallow niches; in each niche, a coffin.\n\n> You examine the hole\nWhich do you mean, the first flute hole, the second flute hole, the third flute hole, the fourth flute hole, the fifth flute hole, the sixth flute hole or the seventh flute hole?\n\n> You go to the south\nYou involuntary take a deep breath of fresh air as you leave the clammy, foetid depths of the crypt behind.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\n> You go north\nThe faint echo of dripping water and a musty smell of decay grow stronger as you descend.\n\nIt is pitch dark, and you can't see a thing.\n\n> You go south\nYou involuntary take a deep breath of fresh air as you leave the clammy, foetid depths of the crypt behind.\n\nOld, moss-slimed tombstones, many broken off and leaning crazily like an old man's teeth, poke up from the soft, mulchy earth. In their midst stands an ancient marble crypt, its heavy iron door nearly obscured by thick draperies of ivy. The trees press close around this quiet enclave of death, leaning together over your head as if sharing secrets. A gap in the undergrowth to the southeast reveals a narrow gravel path.\n\nYou can see a lantern here.\n\n> You look at the scene\nThe scene depicts a young girl kneeling down next to a closed door, whispering through the keyhole. It is evidently late at night, as the girl is wearing her nightgown, and she is surrounded by shadows. The room on the other side of the door is lit, and the light shining through the keyhole and through the crack under the door casts an eldritch, yellow glow across her face. The girl appears to be furtively slipping something underneath the door; you can't see what, exactly.\n\nIt's a fairly innocent-looking scene; charming, even, in a way... that is, until you notice the mottled appendage snaking out from underneath the door to meet her hand. From her expression, the girl is either unaware of it or unperturbed by it. Either way, the effect is deeply disturbing.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> Go south\nThe east wall is occupied by a beautiful antique sofa, and a large, hand-woven rug covers the hardwood floor. The huge marble fireplace in the north wall helps complete the impression of comfort and warmth, and for a moment or two you can almost think of this place as somewhere you could live, as opposed to merely somewhere others have died. The foyer lies west, and a doorway to the left of the fireplace leads north.\n\nThe portrait gazes down at you with crimson-edged malice.\n\n> You examine the eyes\nThey are the eyes from your dream, without question.\n\n> You go northeast\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nThere is a small hole in one of the slats, about halfway up the wall.\n\nYou can also see a flashlight (providing light) here.\n\n> You take the torch\n(slipping the family album into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Go upwards\nYou stumble forward blindly...\nGratefully, you leave the clammy confines of the cellar behind.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the torch\nThe flashlight emits a warm yellow beam.\n\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\nYou can see a typewritten notice here.\n\n> You look through the hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see the wine cellar, seen from down low in a corner, near the floor.\n\n> You put the torch in the hole\n(the small hole)\nThat can't contain things.\n\n> You go east\nThis wing of the cellar is even older than the rest, with walls of piled, unmortared stone. The entire room is filled with wine racks. They cover every wall except for one spot to the west, where an exit leads back to the main cellar.\n\nAll of the racks are dust-covered and empty except for one against the north wall, which contains some forty or fifty dark bottles.\n\nYou can also see a lantern (providing light) here.\n\n> You search the wall\nThere are dozens of bottles here. You glance over the rows, but nothing jumps out at you as immediately odd.\n\n> You examine the hole\nWhich do you mean, the first flute hole, the second flute hole, the third flute hole, the fourth flute hole, the fifth flute hole, the sixth flute hole or the seventh flute hole?\n\n> You knock on the racks\nNo one answers.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a flashlight (providing light), a book of matches with five matches left and a broom.\n\nThe pockets of your trenchcoat contain a family album, a strange metal flute, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket, an animal's skull, your umbrella, a flask (which is closed), a bundle of soggy pages, a puzzle box (which is closed), a silver locket, a newspaper, a letter opener, Michael's faculty card, a torn journal and a towel.\n\n> You read the soggy\n(first taking the bundle of soggy pages)\nThe entries that are legible read as follows:\n\n...Father came again to my bed last night... mother doesn't...\ntells me I can't... to be a good daughter. Sometimes it hurts, but Father always tells me I shouldn't cry. Father says a daughter must do her Duty if she wants to get into Heaven. And I do want to get into Heaven...\n\n[this entry dated 1957] ...my poor little William. Father calls\nhim an aberration, child of the Devil, but I don't believe... locked in the attic. I go to see him whenever Father is away. I sing to him, sometimes, through the keyhole, and slip him sweets through the crack under the door... my baby is beautiful... can't let him hurt my dear baby William... to the doctor, and he has a plan... I can never... this locket, William, and I will always keep yours... to always remember my face...\n\nNothing else is readable except for one fragmented entry near the very end of the book, the date in the corner reading February 27, 1961:\n\n...dead, but not dead yet... will not allow him to do to Edward\nwhat he wanted to do to William... have learned... given him the charm against the... never take it off, dear Edward... [a page has been\ntorn away] ...fear to sleep... mist at the window --\n\nAnd that's all.\n\n> You look at the puzzle box\nIt's roughly the size and shape of a cigar box, carved from some dark and oddly streaked wood that you can't identify. All six surfaces are decorated in a complex arrangement of grooves and panels, most of which are illustrated with leering, demonic faces and obscene designs. As far as you can tell, it is in fact a box, and meant to be opened; however, you see no obvious way to do so.\n\n> Shake box\n(first taking the puzzle box)\n(slipping the book of matches into the pocket of your trenchcoat to get a hand free)\nYou can hear something rattling around in there.\n\n> You pull the panel\nNothing obvious happens.\n\n> You hit the panel\nThe strange wood is virtually indestructible; your blows don't even scratch the finish.\n\n> Kiss box\nTry to restrain yourself.\n\n> You get album\n(slipping the bundle of soggy pages into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You look up Mordecai\n(in the newspaper)\nYou discover nothing of interest in the newspaper.\n\n> You look up Mordecai in the album\nThe entry reads:\n\nCurrently residing in Anchorhead; attended seminary at Arkham\nCollege in 1906; ordained in 1912; re-established the Church of Celestial Wisdom in 1920; rebuilt the Miskaton River Mill in\n1922.\n\nThe photograph depicts a man who has returned to his Puritan roots: dressed in spartan black, hair clipped in an archaic tonsure, clutching a Bible in his lap as he glares stoically at the camera. This is the kind of man who would whip his children for laughing on Sunday. His eyes still carry the Verlac madness, burning with single-minded righteousness.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a family album, a puzzle box (which is closed), a flashlight (providing light) and a broom.\n\nThe pockets of your trenchcoat contain a bundle of soggy pages, a book of matches with five matches left, a strange metal flute, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket, an animal's skull, your umbrella, a flask (which is closed), a silver locket, a newspaper, a letter opener, Michael's faculty card, a torn journal and a towel.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a family album, a puzzle box (which is closed), a flashlight and a broom.\n\nThe pockets of your trenchcoat contain a bundle of soggy pages, a book of matches with five matches left, a strange metal flute, a keyring, on which are four keys (an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a gold locket, an animal's skull, your umbrella, a flask (which is closed), a silver locket, a newspaper, a letter opener, Michael's faculty card, a torn journal and a towel.\n\n> You hit padlock with the umbrella\n(first taking the umbrella)\n(slipping the flashlight into the pocket of your trenchcoat to get a hand free)\nYou can't get in a good blow with the umbrella; you need something heavier.\n\n> You hit the padlock with the flask\n(first taking the flask)\n(slipping the puzzle box into the pocket of your trenchcoat to get a hand free)\nYou can't get in a good blow with the flask; you need something heavier.\n\n> Go west\nThe wrought-iron fence surrounds the entire churchyard. The only way out is around that little path to the southwest.\n\n> Go southwest\nThe path bends northwest, around the side of the church.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You examine bars\nThe fence is about chest-high and topped with nasty iron spikes. Weeds and ground vines wind up through the bars, most of which are bent and some of which are missing altogether.\n\n> You go west\nThe gently winding lane makes its way through the birch woods south of town. New England foliage is famous for its splendid colors in the fall, but the oppressive weather and pervading murk have leached these trees of most of their tint. The road continues south into the increasingly dense forest, and in the other direction heads back to town. A paved walk also leads east through the trees.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You play the flute\n(the strange metal flute)\n(first taking the strange metal flute)\n(slipping the family album into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You examine the first hole\nIt's a small round hole; you cover it with your finger in order to change the flute's pitch.\n\n> Yes\ndebugcheapnitfol quit with exit status: 0\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a newspaper, a strange metal flute, a silver locket and a broom.\n\nThe pockets of your trenchcoat contain a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open), inside which is a strange black disk, a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam.\n\nThe walls are bare wooden slats, patched with crumbling plaster and spiked with bent, rusted nails. The passage, no more than two feet wide at its widest point, bends and twist at confusing angles, making it hard to tell which direction you're heading in.\n\n> You look through the hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see the children's bedroom. Through some strange trick of the angle, you appear to be looking straight down at the bed from the middle of the ceiling.\n\nSuddenly Michael walks into the bedroom. He moves slowly, looking around and lightly touching things, as if visiting old memories. He walks over to the crib and spends some minutes staring down into its empty blankets, after which he sighs. Then he turns and adjusts the coverlet on the child's bed.\n\nHe walks over to the vanity and picks up the jewelry box. Carefully, he opens it and, finding it empty, sets it down again with a soft curse. He looks around the room suspiciously, as if expecting to find the culprit hiding in a corner somewhere. For a moment Michael simply stands there aimlessly, compulsively rubbing his forehead; then he stalks out of the room and is gone.\n\n> You look through hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see the sitting room, from a vantage high up on the wall. It occurs to you that you might well be looking directly through the eyes of the man in the portrait hanging over the fireplace.\n\nAt that moment, Michael wanders into the sitting room, muttering something incoherent. He looks around blankly, lost, as if he had come into the room in order to do something only in the next instant to forget what it was. Then his eyes fall on you, and he smiles.\n\nYou nearly jerk away from the spyhole, heart pounding wildly, when it suddenly occurs to you that he's not looking at you at all; he's looking at the portrait through which you are peering.\n\nMichael regards the portrait with a strange air of familiarity. He gazes into its eyes (and also, unbeknownst to him, your own eyes) the way one might appraise an old friend one hasn't seen for some time. His expression is deferential, admiring, and... something else; you can't quite put your finger on at first, but as your husband continues to gaze rhapsodically at the terrible portrait, a sickening realization strikes you.\n\nThe expression is vanity. Ugly, self-absorbed vanity. Your husband is staring at this portrait the way he might preen himself in a mirror.\n\nMichael brushes his fingers back through his hair and walks out of the room, chuckling softly to himself.\n\n> You look through the hole\n(the small hole)\nStanding on tiptoe and placing your eye up to the hole, you see only darkness.\n\nJust as you are about to move away from the spyhole, you hear footsteps on a stone floor. A light shines in through a doorway, and a moment later Michael skulks into the room, which you now realize is the wine cellar, seen from down low in a corner, near the floor.\n\nHalfway across the room he stops, darts a suspicious glance over his shoulder, and shines his light into every corner, as though searching for potential spies. At one point he looks straight at you, and you nearly recoil, alarmed at the sight of his crazed, red-rimmed eyes. He does not spot you, however, and in a moment he moves on.\n\nHe walks over to the rack at the north end of the room, and does something with the bottles -- you can't quite see, because his back is toward you. Then there is a click and a heavy grinding sound, and the entire northern wall swings back, revealing a hidden passage!\n\nThe room is filled for a moment with a wild, wretched keening, like a cold wind blowing through an empty chasm. With one last, wary look behind him, Michael steps through the portal. The light disappears, the wall swings back with another grinding sound, and then all is quiet.\n\n> You look at the door\nThe front door is a huge, paneled slab of black oak.\n\n> You close the door\nThat's already closed.\n\n> You examine the bottles\nRow after row of smooth, dust-covered glass. The wine inside is dark and murky, reminding you, somewhat irrationally, of blood.\n\nThere are five bottles in the third row from the bottom that have been handled recently; the fingermarks are clearly outlined on their dusty labels. One label is partially torn and the other is all but faded completely, but at a quick glance you count a Pinot Noir, a Cabernet Sauvignon, and a Cheval Blanc.\n\n> You examine the torn bottle\nThe label on this bottle is partially torn away. There is a raised letter \"E\" stamped into the bottom of the bottle.\n\n> You examine faded bottle\nThis bottle is so old that the label has almost faded beyond legibility, although from what you can make out it is probably a fine Merlot. A raised letter \"C\" has been stamped into the bottom of the bottle.\n\n> You examine pinot noir\nA robust Pinot Noir, vintage 1651; obviously one of those collector's items that just keeps getting more and more valuable as long as you don't open it. A raised letter \"W\" has been stamped into the bottom of the bottle.\n\n> You look at Cabernet\nA vintage Cabernet Sauvignon from 1734. A raised letter \"H\" has been stamped into the bottom of the bottle.\n\n> You look at Cheval\nA light Cheval Blanc, 1886. There is a raised letter \"M\" stamped into the bottom of the bottle.\n\n> Turn faded\nThe bottle with the faded label rotates a quarter-turn clockwise, then snaps back with a loud \"click\".\n\n> Turn torn\n(the bottle with the torn label)\nThe bottle with the torn label rotates a quarter-turn clockwise, then snaps back with a loud \"click\".\n\n> You turn cheval\nThe bottle of light Cheval Blanc rotates a quarter-turn clockwise, then snaps back with a loud \"click\". A rumbling grating sound suddenly fills the wine cellar, and the racks and a portion of the stone wall behind them swing back, revealing a dark passageway to the north from which blows a hot, foul wind.\n\n> Smell\nThe air reeks of the infernal depths.\n\nAnother blast of hot, foul-smelling air comes shrieking out of the pit.\n\n> You go north\nThe passageway ends here at a fathomless pit, a puckered circular hole in the rock from which the foul wind seems to emanate, howling up from the depths like a reeking banshee.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> You examine the pit\nThe pit nearly spans the corridor from wall to wall and is at least twenty feet across, much to far to jump. The wind which occasionally gusts up from the bottomless reaches smells of decaying things, and moans like a living thing as it races past you.\n\n> You look in the pit\nThe bottom is lost to darkness."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, city, violence, Lovecraftian, changing environment, rape references, body horror, surreal, horror]\n\n> Go downwards\nInto the pit? Not bloody likely.\n\n> You look at the Bridge\nThe ropes are frayed and tangled; the planks are rotten and, in places, missing entirely, leaving dark, howling gaps. A very dubious structure, all in all, but there's no other way to cross.\n\n> You examine the Bridge\nThe ropes are frayed and tangled; the planks are rotten and, in places, missing entirely, leaving dark, howling gaps. A very dubious structure, all in all, but there's no other way to cross.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> You go to the north\nCarefully, you edge out onto the swaying planks. The ropes creak ominously as you cross. A couple of the tattered lines snap just as you reach the halfway mark, and the bridge lists sharply to the left. A few more steps, however, and you are safely on the other side.\n\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> Go south\nThe walls of this passageway are carved from solid rock with unearthly precision; ten feet wide, ten feet high, perfectly smooth and perfectly square. The passage runs north, sloping downward into the depths of the hillside. A foul wind gusts intermittently from the darkness below.\n\n> You go south\nThere is only a blank stone wall now. The only way onward is north, further into the depths.\n\n> You go north\nThe passageway ends here at a fathomless pit, a puckered circular hole in the rock from which the foul wind seems to emanate, howling up from the depths like a reeking banshee.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> Go north\nCarefully, you edge out onto the swaying planks. A blast of wind roars up from beneath you, shaking the thin strand like a pennant in a stiff breeze, and you cling grimly to the ropes. A few more steps, however, and you are safely on the other side.\n\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> Go northeast\nThe vast, stone staircase plunges down into the earth. The seemingly interminable steps curve in a gentle sweep from the southwest, above you, dropping toward black, unplumbed depths to the north."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, child death, body horror, incest, strong NPCs, horror]\n\n> Go downward\nThe stairs end here at a huge, greenish-gold door set into the north wall. There is nothing else here; nowhere to go but onward or back.\n\n> You look at the door\nThe door is enormous, nearly fifteen feet on a side, and made entirely of some smooth, greenish-gold metal that reflects your light with an oily, wavery sheen. There is no handle, no keyhole or latch of any kind. There seems to be no physical way of opening the door at all -- just the smooth rectangle of metal, adorned with a single symbol etched into its center.\n\n> You look at the symbol\nThe emblem in the center of the door is that of a stylized open eye, surrounded by wavy, radiating lines which resemble nothing less than a crown of sinuous tentacles. You shudder, unable to suppress the feeling that you have seen that eye somewhere before.\n\n> You ascend\nYou start back up the wide steps...\n\nThe vast, stone staircase plunges down into the earth. The seemingly interminable steps curve in a gentle sweep from the southwest, above you, dropping toward black, unplumbed depths to the north.\n\n> You go southwest\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> You look in the telescope\nThe swirling hole in the sky fills the telescope's field of view, turning silently as you watch. The upper depths of the maelstrom are too dark to see, though occasionally you make out sparks of green energy as they arc across the gap.\n\n> You put the lens in the telescope\n(first taking the strange black disk)\n(slipping the silver locket into the pocket of your trenchcoat to get a hand free)\nThe strange black disk drops neatly into the slot.\n\n> You look in the telescope\nFor a few moments all you can see is a murky, swirling blackness; then patterns of colors begin to emerge, like the rainbow sheen of oil on water. The black disk grows translucent, stars become visible through the swirling haze, and then...\n\nDear Christ.\n\nDear Christ, you can see it.\n\nThe comet, roaring silently through the endless void, streaking toward Earth, and it's alive, this thing that is coming is ALIVE, tendrils that must be hundreds, thousands of miles long streaming before it, reaching out to grasp and strangle and devour whole worlds, and it is coming here, it is coming to Earth, and its great, lidless, red-rimmed eye rolls over in a vast lake of vitreous fluid, and it\n\n...you wake up some time later, shaking your head. You're not\nsure what, exactly, you just witnessed; whether it was a genuine astronomical phenomenon, or a hallucination, or the actual form of some Dark God from the Outer Reaches, come to devour the world. You're not even entirely sure you remember what it looked like. The only thing you can clearly recall is a single name, pulsing in your brain like a bruise:\n\n\"Ialdabaoloth\".\n\nAnd that's all.\n\n> You turn cheval\nThe bottle of light Cheval Blanc rotates a quarter-turn clockwise, then snaps back with a loud \"click\". A rumbling grating sound suddenly fills the wine cellar, and the racks and a portion of the stone wall behind them swing back, revealing a dark passageway to the north from which blows a hot, foul wind.\n\n> You go to the north\nCarefully, you edge out onto the swaying planks. The ropes creak ominously as you cross. A couple of the tattered lines snap just as you reach the halfway mark, and the bridge lists sharply to the left. A few more steps, however, and you are safely on the other side.\n\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\nAnother blast of hot, foul-smelling air comes shrieking out of the pit.\n\n> Ialdabaoloth\nThe metallic door suddenly rings out as if struck; it vibrates in aching harmony with the blasphemous name -- a shrill, grating sound like a dentist's drill. The air grows thick and terrible shapes waver and melt in the air before you -- shapes that twitch and move with hungry purpose, and seem to look at you -- and then the ringing fades away. There is a moment of stillness, and then the gleaming door swings smoothly open on perfectly balanced and utterly silent hinges.\n\n> You go north\nThe doorway opens out into a large, dome-ceilinged cavern. You stand at the threshold for a moment, peering into the strange, phosphorescent gloom, before your eyes can make out enough details to see what this place is; even then, it is almost a full minute before your mind can accept what you are seeing...\n\nThe cave is lined, floor to ceiling, with mummified human corpses. Shrunken and desiccated, they lie in jumbled heaps inside irregularly carved niches. Carvings cover the rock walls in between the niches -- grotesque, leering faces too horrible even to look upon, their features twitching and smirking in the wavering light that sifts down from above.\n\nAnd dominating the center of the chamber: a dark monolith rising up through the green, murky light -- what you first took to be a large, supporting pillar, you now realize can only be the true base of the town square obelisk.\n\nAt the narrower, northern end of the vaguely egg-shaped cavern sits a massive stone altar, flanked on either side by a pair of strange, vibrating columns.\n\n> You examine the corpses\nThese bodies are very, very old; even the shapes of the skulls call to mind a more primitive and degenerate sort of folk than even the denizens of this town. This must be the inside of an ancient burial mound, although what sort of Indian tribe could have erected such a huge and monstrous obelisk, you can't imagine.\n\n> You examine the carvings\nWhich do you mean, the first pictogram, the second pictogram, the third pictogram or the fourth pictogram?\n\n> You examine the first pictogram\nA circle of stick-men, dancing or worshipping around a shape like an upturned bowl -- perhaps a hill, or perhaps this very mound you're standing in was once above ground.\n\n> You look at second pictogram\nA fiery star-burst, decorated with trailing lines (perhaps indicating a comet or shooting star?) descends from the sky, and rains fire and death upon the people of the mound.\n\n> You look at the third pictogram\nThe stick men are again pictured in a circle around the mound. One figure stands on top of the mound, raising a dagger over a second stick man bent backwards over some kind of altar. The mound is decorated with wavy lines radiating from the altar at the top down to the bottom -- perhaps indicating streams of blood?\n\n> You look at the fourth pictogram\nThe mound is now deserted, and the stick men seem to be constructing a tower of stones for some unclear purpose. The comet-symbol has returned, although there is an added eye-motif; the comet appears to be looking down on the tower with approval. Wavy lines radiate from the eye in all directions, several of them converging to join at the tower's tip.\n\n> You look at the obelisk\nIt is simply enormous. Nearly ten feet to a side at its base, the massive structure rises straight up through the ceiling, its tip penetrating the surface after what must be twenty or thirty feet of intervening rock. The hieroglyphs on this portion of the obelisk, untouched by eroding weather, are much clearer and deeper than the ones above.\n\n> You examine the altar\nA single block of jet-black, featureless stone, approximately the size of a queen-sized bed. It is flanked by a pair of metal pillars.\n\n> You get on the altar\nYou clamber onto the great stone block.\n\n> You play the flute\n(the strange metal flute)\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble.\n\nThe columns' vibrations seem to grow momentarily stronger while the flute's sound lingers, their dissonant ringing resonating strangely with the warbling, metallic notes.\n\n> Down\nYou'll have to get off the altar first.\n\n> You look at the columns\nWhich do you mean, the left-hand column or the right-hand column?\n\n> You get off the altar\nYou get off the altar.\n\nThe cave is lined, floor to ceiling, with mummified human corpses. Shrunken and desiccated, they lie in jumbled heaps inside irregularly carved niches. Carvings cover the rock walls in between the niches -- grotesque, leering faces too horrible even to look upon, their features twitching and smirking in the wavering light that sifts down from above.\n\nThe obelisk base stands before you, vast and shadowy in the green, murky light.\n\nAt the narrower, northern end of the vaguely egg-shaped cavern sits a massive stone altar, flanked on either side by a pair of strange, vibrating columns.\n\n> You look athe left-hand column\nThe column is approximately seven feet high and cylindrical, made of some oily, greenish metal. It is vibrating very slightly, almost imperceptibly; only a thin shimmering around its edges and the faint ringing noise betray any motion at all.\n\n> You climb obelisk\nThe sides are much too steep to climb.\n\n> You cover the hole\nWhich do you mean, the first flute hole, the second flute hole, the third flute hole, the fourth flute hole, the fifth flute hole, the sixth flute hole or the seventh flute hole?\n\n> First\nYou place your finger over the first flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an eerie, almost sub-sonic note.\n\nThe columns' vibrations seem to grow momentarily stronger while the flute's sound lingers, their dissonant ringing resonating strangely with the warbling, metallic notes.\n\n> Uncover first hole\nYou lift your finger from the first flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an eerie, deep note.\n\nThe columns' vibrations seem to grow momentarily stronger while the flute's sound lingers, their dissonant ringing resonating strangely with the warbling, metallic notes.\n\n> Uncover second hole\nYou lift your finger from the second flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an eerie, low-pitched note.\n\nThe right-hand column's vibrations suddenly grow stronger, resonating in harmony with the warbling, metallic note of the flute. The two dissonances seem to intertwine, reinforcing each other, and for a single instant you think you see a strange rippling effect in the air over the altar. Then it is gone, and the sound fades.\n\n> Search corpses\nWhen you touch them you get an unpleasant feeling, a crawling sensation of filth and infection. You back away, wiping your hands down the front of your clothes.\n\n> Go south\nThe stairs end here at a huge, greenish-gold door set into the north wall. There is nothing else here; nowhere to go but onward or back.\n\n> Go southwest\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\nAnother blast of hot, foul-smelling air comes shrieking out of the pit.\n\n> You open the door\nYou open the front door.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> Go south\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe front door stands open to the north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nThe hairs on the back of your neck prickle as you step outside. Something is wrong. Something is very wrong with the air. A heavy, charged sensation, like standing next to high-tension wires; a faint odor of spoiled meat drifting on the wind; you can't put your finger on it, but it might have something to do with that strange hole in the sky.\n\n> You examine the hole\n(the sky)\nThere is a spinning, churning hole in the clouds, directly over the lighthouse; an inverted whirlpool sucking streamers of gray up into itself. You'd think it was some sort of funnel cloud, except that it's not moving anywhere. It's simply hanging, turning slowly in the sky. The sight of that horrible, whirling hole makes you shudder, involuntarily recalling that hideous entity that lurks behind those clouds.\n\n> You close the door\nYou close the front door.\n\nA gust of wind blows your hair into your face.\n\n> You examine obelisk\nYou can just make out the shape of the obelisk from here.\n\n> Go south\nThe forest grows denser as you go, crowding thickly up to either side of the road. The groping, tangled branches block out what little sunlight there is left. Your footsteps are muffled; whispering leaves and the slow drip of water are the only sounds you can hear. Beyond the watching trees, the shadows are impenetrably thick. The road stretches interminably, north to south.\n\nThere's something strangely familiar about the woods here... scenes from last night's dream flicker through your memory, but you are unable to recall the details.\n\n> You look at the trees\nYou scrutinize the edge of the road carefully, looking for whatever it was you saw...\n\nThere. On the west side. That stump, and the twisted sapling growing next to it; you recognize them. And just beyond them... the path. It's the path you took in your dream, a narrow rut running west through the underbrush. You can hardly believe it, but there it is.\n\n> You examine the stump\nIt's the rotted stump of a tree that must have fallen long ago. It's unremarkable, almost completely buried by the underbrush; the only reason you even noticed it is because of your dream.\n\n> You examine the sapling\nA bent and stunted sapling, barely taller than you are, grows from the mulchy ground around the rotting stump. It's a perfectly ordinary-looking sapling, just like many others you've spotted growing here in and there among the trees -- except that this one was in your dream.\n\n> Go west\nThe tangled undergrowth has been beaten down in a path leading roughly from the east to the southwest. Shrubs and grass have been flattened and pushed aside, vines torn down, and small trees bent or even snapped in half, as though something heavy with huge, flat feet had simply trampled its way through.\n\n> Go southwest\nThe decayed remains of an old slaughterhouse stand here, now little more than a shell of crumbling brick and gaping holes, surrounded by a clearing of yellow, sickly grass. A path leads northeast, back toward the road; to the west, a gaping hole that might once have been a doorway leads into the rotting building.\n\nThe forest is unnaturally quiet here, you notice; there are no birds calling, no leaves rustling or branches creaking; even the whippoorwills have fallen silent. All is still, holding its collective breath in an expectant hush.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You look at the house\nIt's an ordinary-looking key. The word \"house\" is written on a tiny piece of tape affixed to the key's tab.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You examine building\nThe ancient walls are barely even holding themselves together. The only reason you can tell it used to be a slaughterhouse is the faded paint on one wall: \"Crompton Meat Processing\".\n\n> You go west\nThe roof has collapsed, leaving the interior open to the sky; the floor is nothing but bare, beaten dirt. Gaps in the bricks lead east and south. Although nothing stands now but the tottering, crumbling stonework (and that only barely), you fancy you can still detect a faint miasma of death -- a palpable, chilling reminder of the bloody work which once went on within these walls.\n\nThere's something odd about the ground here; some faint marking or pattern.\n\nAn old rusty meat hook sticks out of the ground nearby, its point half-buried in the dirt.\n\nOver in the far corner, a tattered sheet of drawing paper lies discarded on the ground.\n\n> You examine the hook\nThe crossbar fits in your palm, leaving the hook part to stick out between the third and fourth fingers. It's a heavy sucker, nearly fifteen inches long from handle to point, made for hauling around carcasses with a minimum of ceremony. You wouldn't like to think what this could do to a living person.\n\n> You take the hook\nTaken.\n\n> You take the paper\n(the tattered drawing)\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nYou pick up the tattered drawing. The drawing is of a pair of crudely rendered figures, scrawled with dark, heavy lines that occasionally punch right through the paper. The two figures are holding hands. The one on the left is a smiling woman with long, straight hair; the one on the right...\n\nWell, you don't know. Frankly, you'd rather not speculate. An octopus on human legs, maybe, if you could believe any healthy child would conceive of such a thing. Above the first figure is scribbled the word \"MOMY\"; above the second, \"WILAM (ME)\".\n\n> You examine the ground\nThe marks in the dirt are tracks of some kind, but not of any animal you're familiar with, unless there's a lame elephant loose in the New England woods. The prints are large -- quite a bit larger than your outspread hand, and vaguely round. They criss-cross the ground in every direction. Whatever made them obviously lives here, or at least visits quite often.\n\n> You open the gold locket\nYou open the gold locket, revealing a woman's picture.\n\n> You go to the south\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well. A circle of rotting plywood covers the opening.\n\n> You examine well\nIt's built of mortared stone, and comes about to the level of your waist. The top of the well is covered by a circle of rotting plywood.\n\n> You look at the plywood\nNothing but a thick sheet of plywood cut into a rough circle, about a yard across.\n\n> You move the plywood\nYou dig your fingers under the edge of the plywood and, straining as hard as you can, manage to slide the heavy cover off the top of the well and onto the grass.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You look in well\nThe well is very deep, although the rough stonework would probably allow you to safely climb down. Its depths are too shadowy for you to make out any details at the bottom.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, city, body horror, changing environment, incest, Lovecraft, rape references]\n\n> Go downwards\nCarefully testing each foothold, you descend into the well.\n\nThe sky is a dim circle of light far above you. The stone walls press in on you from all sides, and the air is clammy and frigid. A faint odor of decay drifts up from the floor; the smell of a trapped animal decomposing under the back porch.\n\nYou are standing knee deep in a rattling jumble of children's bones.\n\n> You look at the bones\nYou can deduce only two things about the gruesome pile: there are more bones here than could be produced by a single child, and some of the bones are older than others. Whoever has been throwing them down here has been doing it for a long time.\n\n> Search bones\nYou notice a tuft of brown among the yellowed-ivory of the bones. Moving aside a clattering pile of ribs, you discover a child's teddy bear.\n\n> You take bear\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nYou pick up the teddy bear. It is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\n\n> You read the newspaper\nThe front page story is about Jeffrey Greer, 8 years old, who was abducted from his home at #11 Mill Town Road last night. Little Jeffrey is the latest victim in a series of abductions that stretches back for years, one every six months or so, and that authorities believe is the work of a single perpetrator. Local police had hoped to prove that Edward Verlac had been behind the kidnappings, but were unable to obtain a confession or any hard proof. Edward Verlac was convicted of murdering his wife and two daughters, one of whom was 15 months old, in January of this year; he was found not guilty by reason of insanity and incarcerated in Danvers Asylum, where he remained until committing suicide last March. This latest kidnapping, occurring after Edward's death, seems to have cleared up any lingering suspicions that he might have been the culprit.\n\nAnyone possessing information regarding the whereabouts of Jeffrey Greer is strongly urged to speak to the authorities as soon as possible.\n\n> You hug the bear\nCome now; you're not that frightened.\n\nYou give the bear a big hug. Somehow, it is a cold comfort.\n\n> You go to the north\nThe only way out is up.\n\n> You go upwards\nYou painstakingly climb out of the old well.\n\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You move the plywood\nIt took all your effort just to tip the cover off the well; you don't think you could muster the strength to heave it back on again.\n\n> You go north\nThe roof has collapsed, leaving the interior open to the sky; the floor is nothing but bare, beaten dirt. Gaps in the bricks lead east and south. Although nothing stands now but the tottering, crumbling stonework (and that only barely), you fancy you can still detect a faint miasma of death -- a palpable, chilling reminder of the bloody work which once went on within these walls.\n\nFaint tracks mark the dirt here; large, rounded footprints tracking back and forth across the ground.\n\n> Go east\nYou are about to step back through the eastern wall when a noise makes you stop. In the woods outside, to the east -- something is there. Something breathing. Something huge.\n\nA branch cracks sharply; and another. It's coming this way.\n\n> Wave gold locket\nBut you aren't holding that.\n\nThe sound of tearing undergrowth grows louder. Whatever it is, it's practically bulldozing its way through the forest.\n\n> You take the gold locket\n(slipping the meat hook into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nThe ground trembles slightly with the thing's thunderous footsteps as it tromps up the path. It's right outside the slaughterhouse!\n\n> Wait\nTime passes.\n\nYou never even see it coming. The east wall bursts inward in an eruption of bricks and mortar dust; squirming, ropy tentacles snake out from the obscuring cloud and wrap themselves around your your body... within moments you are unconscious, mercifully spared the sight of what happens to your body in the next few bloody minutes.\n\n> Go south\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\nYou hear it pause inside the building, its hide slithering loudly against the brick walls as it moves about. There is a horrible, wet snorting sound, as if it were trying to pick up a scent, then an unspeakable, inhuman grunt of anger."
    },
    {
        "text": "> Go downwards\nAs quickly as you are able, you scramble down the rough stone walls. Ten feet from the bottom, you slip, landing with a clatter amidst the dusty bones.\n\nThe sky is a dim circle of light far above you. The stone walls press in on you from all sides, and the air is clammy and frigid. A faint odor of decay drifts up from the floor; the smell of a trapped animal decomposing under the back porch.\n\nYou are standing knee deep in a rattling jumble of children's bones.\n\nYou cower down in the bottom of the well as the thing, whatever it is, moves closer. A shadow falls across the mouth of the well, and then the circle of light above you is blotted out by a shape so utterly, blasphemously hideous that even its mere silhouette is enough to blast you into unconsciousness. The last things you see are its squirming tentacles groping down the sides of the well for you...\n\n> You take the gold locket\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You open it\nThat's already open.\n\n> You drop the paper\n(the tattered drawing)\nDropped.\n\n> You go to the south\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well. A circle of rotting plywood covers the opening.\n\n> You move plywood\nYou dig your fingers under the edge of the plywood and, straining as hard as you can, manage to slide the heavy cover off the top of the well and onto the grass.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You take the bear\nYou pick up the teddy bear. It is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\n\n> You look at the bear\nIt is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\n\n> Go upwards\nYou painstakingly climb out of the old well.\n\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\n> Go north\nThe roof has collapsed, leaving the interior open to the sky; the floor is nothing but bare, beaten dirt. Gaps in the bricks lead east and south. Although nothing stands now but the tottering, crumbling stonework (and that only barely), you fancy you can still detect a faint miasma of death -- a palpable, chilling reminder of the bloody work which once went on within these walls.\n\nFaint tracks mark the dirt here; large, rounded footprints tracking back and forth across the ground.\n\nYou can also see a tattered drawing, a silver locket (in which is a boy's picture) and a gold locket (in which is a woman's picture) here.\n\n> Go east\nYou are about to step back through the eastern wall when a noise makes you stop. In the woods outside, to the east -- something is there. Something breathing. Something huge.\n\nA branch cracks sharply; and another. It's coming this way.\n\n> Go south\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\nThe sound of tearing undergrowth grows louder. Whatever it is, it's practically bulldozing its way through the forest.\n\n> You wait\nTime passes.\n\nThe ground trembles slightly with the thing's thunderous footsteps as it tromps up the path. It's right outside the slaughterhouse!\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You wait\nTime passes.\n\nYou hear it pause inside the building, its hide slithering loudly against the brick walls as it moves about. There is a horrible, wet snorting sound, as if it were trying to pick up a scent, then an unspeakable, inhuman grunt of anger.\n\n> You wait for a while\nTime passes.\n\nYou never even see it coming. A massive, bloated shape suddenly looms up behind the hole in the northern wall, and half a dozen fat, fleshy tentacles snake out with awful, twitching speed and wrap themselves around your body. Your head cracks against a brick as it drags your body through the opening, knocking you mercifully unconscious before the thing starts on you.\n\n> You wear the silver\nWhich do you mean, the silver locket or the letter opener?\n\n> Locket\n(first taking the silver locket)\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nYou put on the silver locket.\n\n> You drop the paper\n(the tattered drawing)\nDropped.\n\n> You go to the south\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well. A circle of rotting plywood covers the opening.\n\n> You move the plywood\nYou dig your fingers under the edge of the plywood and, straining as hard as you can, manage to slide the heavy cover off the top of the well and onto the grass.\n\n> You wait awhile\nTime passes.\n\nThe sound of tearing undergrowth grows louder. Whatever it is, it's practically bulldozing its way through the forest.\n\n> You wait\nTime passes.\n\nThe ground trembles slightly with the thing's thunderous footsteps as it tromps up the path. It's right outside the slaughterhouse!\n\n> Wait\nTime passes.\n\nYou never even see it coming. The east wall bursts inward in an eruption of bricks and mortar dust; squirming, ropy tentacles snake out from the obscuring cloud and wrap themselves around your your body... within moments you are unconscious, mercifully spared the sight of what happens to your body in the next few bloody minutes.\n\n> You hide under the bones\nYou burrow down into the bones, piling more bones on top of you for cover while trying to make as little noise as possible. In the midst of your digging, you notice a child's teddy bear among the bones.\n\n> You take bear\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nYou pick up the teddy bear. It is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\n\n> Ascend\nThe bones fall away, clattering loudly as you stand up.\n\n> Go upwards\nYou painstakingly climb out of the old well.\n\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\nA gust of wind blows your hair into your face.\n\n> Go west\nThe only exits are through the ragged holes to the east and south.\n\nThe sound of tearing undergrowth grows louder. Whatever it is, it's practically bulldozing its way through the forest."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, city, Lovecraft, self-mutilation, horror, body horror, female protagonist, strong NPCs, changing environment]\n\n> Go down\nAs quickly as you are able, you scramble down the rough stone walls. Ten feet from the bottom, you slip, landing with a clatter amidst the dusty bones.\n\nThe sky is a dim circle of light far above you. The stone walls press in on you from all sides, and the air is clammy and frigid. A faint odor of decay drifts up from the floor; the smell of a trapped animal decomposing under the back porch.\n\nYou are standing knee deep in a rattling jumble of children's bones.\n\nThe ground trembles slightly with the thing's thunderous footsteps as it tromps up the path. It's right outside the slaughterhouse!\n\n> You hide under the bones\nYou burrow down into the bones, piling more bones on top of you for cover while trying to make as little noise as possible.\n\nYou hear it pause inside the building, its hide slithering loudly against the brick walls as it moves about. There is a horrible, wet snorting sound, as if it were trying to pick up a scent, then an unspeakable, inhuman grunt of anger.\n\n> You wait awhile\nTime passes.\n\nScarcely daring to breathe, you lie as still as possible beneath your cover of bones as the thing, whatever it is, moves closer. A shadow falls across the mouth of the well, and then the circle of light above you is blotted out by a shape so utterly, blasphemously hideous that it is all you can do to remain conscious. Two grotesquely blue and childlike eyes blink down into the darkness of the well, searching...\n\nAnd then it is gone.\n\nYou must have lost consciousness after all, judging from the stiffness in your limbs and the difference in the light. You have no idea how long you were out, but the creature must have passed you by. The forest is still again; the breathing and footsteps, gone.\n\nInvoluntarily, you let out a long, shuddering breath.\n\n> Ascend\nThe bones fall away, clattering loudly as you stand up.\n\n> Go upwards\nYou painstakingly climb out of the old well.\n\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\n> You go to the east\nThe decayed remains of an old slaughterhouse stand here, now little more than a shell of crumbling brick and gaping holes, surrounded by a clearing of yellow, sickly grass. A path leads northeast, back toward the road; to the west, a gaping hole that might once have been a doorway leads into the rotting building.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go to the north-east\nThe tangled undergrowth has been beaten down in a path leading roughly from the east to the southwest. Shrubs and grass have been flattened and pushed aside, vines torn down, and small trees bent or even snapped in half, as though something heavy with huge, flat feet had simply trampled its way through.\n\n> Go east\nThe forest grows denser as you go, crowding thickly up to either side of the road. The groping, tangled branches block out what little sunlight there is left. Your footsteps are muffled; whispering leaves and the slow drip of water are the only sounds you can hear. Beyond the watching trees, the shadows are impenetrably thick. The road stretches interminably, north to south.\n\nAt the edge of the forest, on the west side of the road, stand the rotted stump and twisted sapling from your dream.\n\n> Go north\nThe gently winding lane makes its way through the birch woods south of town. New England foliage is famous for its splendid colors in the fall, but the oppressive weather and pervading murk have leached these trees of most of their tint. The road continues south into the increasingly dense forest, and in the other direction heads back to town. A paved walk also leads east through the trees.\n\nA small group of townsfolk has gathered up at the north end of the road. As you approach, still breathless from your encounter with the thing at the slaughterhouse, they turn toward you -- and that's when you notice that the one in the lead has an axe in his hand. And the one behind him has a pair of garden shears.\n\nA couple of men move over to your left, and several more step out of the forest behind you. All of them carry weapons or nasty farm implements of some kind, and all of them look as though they're just about ready to put an end to a certain over-curious, outsider woman who doesn't know enough to keep her nose out of things better left undisturbed.\n\n> You give the bear to men\nThey don't seem impressed.\n\nThe townsfolk shuffle a bit closer, raising their weapons in anticipation of the kill.\n\n> Ialdabaoloth\nOne of the men turns on you with a withering gaze; another makes a fork-fingered gesture in your direction. The syllables die unspoken behind your lips.\n\nThe townsfolk shuffle a bit closer, raising their weapons in anticipation of the kill.\n\n> Go east\nYou dart past the men on your right, making a break for the church. The townsfolk hover around the entrance to the churchyard but do not follow you, confident that there is no way you can escape.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\n> You break padlock with the hook\nYou raise the meat hook high over your head and bring it squarely down onto the padlock. The rusted metal casing splits open, the hasp falls loose, and the padlock, now nothing but a broken shell, slides to the ground.\n\n> You examine padlock\nIt's little more than a twisted hunk of torn metal. You'd hardly even guess it was ever used as a padlock.\n\n> You take it\n(slipping the meat hook into the pocket of your trenchcoat to get a hand free)\nTaken."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, research, child death, child abuse, female protagonist, horror]\n\n> Go downward\n(opening the trap door first)\nAs you drop to the floor, the trap door suddenly slams shut above you. You hear noises outside -- something thumping against the door, and low voices. You hear someone muttering, and a brief round of unpleasant laughter. Then the voices drift away.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam.\n\nCentipedes and beetles scurry away across the rotten floorboards as you shine your light across the room. Over in the corner sits a hulking shape of black metal that was probably once a wood-burning furnace; aside from that, the cellar looks empty. A dark alcove, the shadows within too thick to see through, opens in the west wall, and a trap door in the ceiling leads back up to the outside.\n\nAt the very edge of your light's glow, you can just make out a horribly suggestive shape lying in the shadows behind the furnace.\n\n> You examine the shape\nIt's the dead body of a woman. Her head has been raggedly hacked away, and her clothes above the waist are soaked through with blood. As you fight to control your rising gorge, you note that the body cannot have been here for very long; the decay, though bad, is not very far advanced. She must have been killed within the last couple of days at most.\n\n> SAVE\n\nOk.\n\nNovember, 1997.\n\nYou take a deep breath of salty air as the first raindrops begin to spatter the pavement, and the swollen, slate-colored clouds that blanket the sky mutter ominous portents amongst themselves over the little coastal town of Anchorhead.\n\nSquinting up into the glowering storm, you wonder how everything managed to happen so fast. The strange phone call over a month ago, from a lawyer claiming to represent the estate of some distant branch of Michael's family, was bewildering enough in itself... but then the sudden whirlwind of planning and decisions, legal details and travel arrangements, the packing up and shipping away of your entire home, your entire life...\n\nNow suddenly here you are, after driving for the past two days straight, over a thousand miles away from the familiar warmth of Texas, getting ready to move into the ancestral mansion of a clan of relatives so far removed that not even Michael has ever heard of them. And you've only been married since June and none of this was any of your idea in the first place, and already it's starting to rain.\n\nThese days, you often find yourself feeling confused and uprooted.\n\nYou shake yourself and force the melancholy thoughts from your head, trying to focus on the errand at hand. You're to meet with the real estate agent and pick up the keys to your new house while Michael runs across town to take care of some paperwork at the university. He'll be back to pick you up in a few minutes, and then the two of you can begin the long, precarious process of settling in.\n\nA sullen belch emanates from the clouds, and the rain starts coming down harder -- fat, cold drops smacking loudly against the cobblestones. Shouldn't it be snowing in New England at this time of year? With a sigh, you open your umbrella.\n\nWelcome to Anchorhead...\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast."
    },
    {
        "text": "> You look around\nCentipedes and beetles scurry away across the rotten floorboards as you shine your light across the room. Over in the corner sits a hulking shape of black metal that was probably once a wood-burning furnace; aside from that, the cellar looks empty. A dark alcove, the shadows within too thick to see through, opens in the west wall, and a trap door in the ceiling leads back up to the outside.\n\nAt the very edge of your light's glow, you can just make out a horribly suggestive shape lying in the shadows behind the furnace.\n\n> You open the trap door\nIt seems to be locked.\n\n> You look at the furnace\nIt's a big, pot-bellied iron furnace, blackened from years of use, with a hatch on one side and numerous twisting pipes which snake out of the top and grope their way up to the ceiling.\n\n> Go west\nThis alcove used to house a stairwell leading up and down; now it contains only a few rotted boards jutting from the walls and an empty shaft dropping down out of sight. Above you hang the broken-off remains of the stairs leading up to the ground floor, the last shattered riser only a couple of tantalizing feet out of reach.\n\n> You look at the riser\nIt looks as though it might bear your weight; unfortunately it's just a couple of feet beyond your reach.\n\n> You examine the shape\nIt's the dead body of a woman. Her head has been raggedly hacked away, and her clothes above the waist are soaked through with blood. As you fight to control your rising gorge, you note that the body cannot have been here for very long; the decay, though bad, is not very far advanced. She must have been killed within the last couple of days at most.\n\n> You search the body\nGingerly, trying to avoid the worst of the blood, you lift the woman's lapel, hoping to find something -- identification, maybe. Her wallet is missing; however, you do find, tucked into the pocket of her blazer, a small, steel key.\n\n> You examine it\nIt looks like the kind of key that would open a desk drawer.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a small steel key, a broken padlock, a teddy bear, a tattered drawing and a broom.\n\nThe pockets of your trenchcoat contain a meat hook, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight (providing light), a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> Go west\nThis alcove used to house a stairwell leading up and down; now it contains only a few rotted boards jutting from the walls and an empty shaft dropping down out of sight. Above you hang the broken-off remains of the stairs leading up to the ground floor, the last shattered riser only a couple of tantalizing feet out of reach.\n\n> You jump\nYou take a few steps back, draw in a deep breath, and make a dash for the edge. At the last possible second you jump, sailing out over the pit as you make a desperate grab for the bottom riser...\n\n... and catch it.\n\nUnfortunately, you lose your grip on the broom, the tattered drawing, the teddy bear, the broken padlock and the small steel key while trying to grab the riser, and they tumble it tumbles into the darkness below.\n\nThe riser bends ominously under your weight but doesn't give. Panting, you haul yourself up onto the creaking stairs.\n\nThe stairs stop short about seven feet shy of the basement floor, the bottom-most steps hanging suspended over an empty shaft that descends beyond sight into the shadowy depths. What's left of the structure creaks and shifts uneasily under your feet. At the top of the stairs to the north, a doorway opens onto the ground floor of the church.\n\nThe creaking under your feet is getting louder.\n\n> You put all in the pocket\nsmall steel key: You slip the small steel key into the pocket of your trenchcoat.\nbroken padlock: You slip the broken padlock into the pocket of your trenchcoat.\nteddy bear: You slip the teddy bear into the pocket of your trenchcoat.\ntattered drawing: You slip the tattered drawing into the pocket of your trenchcoat.\nbroom: The broom is too long to fit in your pockets, deep though they are.\n\n> You throw the broom on the riser\nThe bottom-most riser is just beyond your reach.\n\n> You jump\nYou take a few steps back, draw in a deep breath, and make a dash for the edge. At the last possible second you jump, sailing out over the pit as you make a desperate grab for the bottom riser...\n\n... and catch it.\n\nThe riser bends ominously under your weight but doesn't give. Panting, you haul yourself up onto the creaking stairs.\n\nThe stairs stop short about seven feet shy of the basement floor, the bottom-most steps hanging suspended over an empty shaft that descends beyond sight into the shadowy depths. What's left of the structure creaks and shifts uneasily under your feet. At the top of the stairs to the north, a doorway opens onto the ground floor of the church.\n\nThe creaking under your feet is getting louder.\n\n> You go to the north\nA dim antechamber, opening onto the main chapel to the east. To the west, the main doors to the church have been solidly nailed shut, and through a shadowy doorway to the south you can see stairs leading down.\n\nPiled in one dusty corner is a heap of old cloth.\n\n> You examine the door\nAt least a dozen sturdy boards have been nailed across the sturdy oak doors; even with proper tools, it would take you days to pry them loose.\n\nFrom the stairwell behind you there is a sudden, painful shriek of nails ripping out of stone, a loud, protracted splintering, and finally a thunderous crash that seems to echo up the shaft from far below.\n\n> You look at the heap\nIt's a hooded robe, left in a rumpled heap on the floor.\n\n> You wear it\nYou'll have to take off the trenchcoat first.\n\n> You look at the coat\nYou bought this coat during your honeymoon in England; it's a genuine London Fog. In addition to looking very cool, it has several deep pockets in which you can fit just about anything.\n\n> You examine the robe\nThe robe is made of some rough, heavy material, dyed a deep, murky red, like old wine. Its voluminous folds would easily cover you head to toe."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, self-mutilation, female protagonist, body horror, changing environment, child death, research, surreal]\n\n> You look around\nA dim antechamber, opening onto the main chapel to the east. To the west, the main doors to the church have been solidly nailed shut, and a shadowy doorway to the south leads to further darkness.\n\n> Go east\nBroken shards from the shattered the stained glass windows grits under your feet as you step around rows of overturned pews. The dust and cobwebs have been busy here, reclaiming another bit of this town's abandoned history. To the west lies the vestibule; to the east, a small doorway behind the pulpit leads to the back of the church.\n\nThe big wooden cross that once hung above the pulpit has fallen, split in half.\n\nOn the pulpit is a huge, black tome.\n\n> You examine the cross\nFrom the way it fell, it looks as though it must have been hung upside-down.\n\n> You look at the tome\nIt lies open atop the pulpit, thicker than an unabridged dictionary. Its thousands of yellowed, crinkly pages are bound in a strange black material that looks like some kind of hide but clearly isn't leather. Your first thought was that it might be a Bible, but a glance is sufficient to tell you otherwise. The text within is arranged in two columns, the first in what looks like Latin, the second a translation in English. There are illustrations, as well: horrible icons that make your skin crawl to look at.\n\n> You read it\nAs you lean closer over the pages to make out the words in this dim light, the letters seem to writhe and crawl across the page, twisting themselves into strange combinations, horrible words that you've never read before... and yet, somehow, you can understand their repulsive meaning. Something about a \"Blessed Event\",  which will happen very soon, and a hideous god whose name may not be spoken...\n\nIs this the book that was preached in this church before it fell to ruin? Are these the gods these people worshipped? You want to tear your eyes from the page in revulsion, but some small, gleefully filthy part of you wants to keep reading, to uncover the secrets that the people of Anchorhead uncovered...\n\nWill you read on?\n\n> No\nYou step away from the podium with a shudder.\n\n> You read it\nYou are reluctant to look at the repulsive thing again.\n\n> You put all in the coat\nsmall steel key: You slip the small steel key into the pocket of your trenchcoat.\nbroken padlock: You slip the broken padlock into the pocket of your trenchcoat.\nteddy bear: You slip the teddy bear into the pocket of your trenchcoat.\ntattered drawing: You slip the tattered drawing into the pocket of your trenchcoat.\nbroom: The broom is too long to fit in your pockets, deep though they are.\n\nFrom far below you hear the faint lapping of water.\n\n> You take the robe\nYou shake the cloth out, revealing it to be a hooded robe.\n\nFrom the stairwell behind you there is a sudden, painful shriek of nails ripping out of stone, a loud, protracted splintering, and finally a thunderous crash that seems to echo up the shaft from far below.\n\n> Go east\nBroken shards from the shattered the stained glass windows grits under your feet as you step around rows of overturned pews. The dust and cobwebs have been busy here, reclaiming another bit of this town's abandoned history. To the west lies the vestibule; to the east, a small doorway behind the pulpit leads to the back of the church.\n\nThe big wooden cross that once hung above the pulpit has fallen, split in half.\n\nOn the pulpit is a huge, black tome.\n\n> You read tome\nIt lies open atop the pulpit, thicker than an unabridged dictionary. Its thousands of yellowed, crinkly pages are bound in a strange black material that looks like some kind of hide but clearly isn't leather. Your first thought was that it might be a Bible, but a glance is sufficient to tell you otherwise. The text within is arranged in two columns, the first in what looks like Latin, the second a translation in English. There are illustrations, as well: horrible icons that make your skin crawl to look at.\n\nAs you lean closer over the pages to make out the words in this dim light, the letters seem to writhe and crawl across the page, twisting themselves into strange combinations, horrible words that you've never read before... and yet, somehow, you can understand their repulsive meaning. Something about a \"Blessed Event\",  which will happen very soon, and a hideous god whose name may not be spoken...\n\nIs this the book that was preached in this church before it fell to ruin? Are these the gods these people worshipped? You want to tear your eyes from the page in revulsion, but some small, gleefully filthy part of you wants to keep reading, to uncover the secrets that the people of Anchorhead uncovered...\n\nWill you read on?\n\n> Yes\nAs your hungry eyes lap up word after blasphemous word, it all becomes clear to you: you come to understand the true nature of He Who Is Named Not, and what the Verlacs were trying to accomplish all these years, preparing the people of Anchorhead for the Blessed Event... it all makes sense to you now.\n\nYou step back, smiling, from the podium. There's no need to be afraid, you realize, for neither yourself nor your husband are in any danger. It's all right. It all makes sense. And when you raise your hands to your face and slowly push the fingernails of your first and middle fingers into each eye, digging the soft, bloody tissue out and dragging it down your cheeks in ropy smears... why, that's all right, too.\n\nIt's the most natural thing in the world.\n\n> Burn tome\nYou step away from the podium with a shudder.\n\nYou don't have a match.\n\n> You look at the pulpit\nWhere once fiery-tongued preachers harangued congregations of quaking Puritans, now there is simply a dusty wooden box on its end. Sitting atop it is a huge, black-bound tome.\n\n> You examine the cross\nFrom the way it fell, it looks as though it must have been hung upside-down.\n\n> You move the pulpit\nThat would accomplish very little.\n\n> You look at the windows\nThe stained-glass windows are old and coated with grime, and many of the panels have been broken out by time and vandals. Enough remains for you to make out most of the designs depicted in them, however -- and you find them vaguely disturbing. Saints -- at least none of the saints you're aware of -- should not be depicted performing such acts, nor with such insidious leers on their faces as they perform them.\n\n> You look at the pews\nThe once orderly procession of benches is now a jackstraw jumble of broken wood\n\n> Go east\nThis little room behind the chapel is hardly bigger than a broom closet. A ladder bolted to the wall leads up through a hatch, presumably up into the steeple.\n\n> You examine the ladder\nIt's an ordinary wooden ladder.\n\n> Go upwards\nA tiny space inside the tip of the church's steeple, barely five feet across, the walls tapering to only two feet across some twelve feet above your head. There is a narrow window, but it seems to have been painted black at some point. The only exit seems to be the ladder from which you just emerged.\n\nAn old length of rope dangles down from a square hole cut in the ceiling.\n\n> You examine the hole\n(the square hole)\nYou can't quite see what's up there, but you assume it must lead to the belfry.\n\n> Go upward\nYou haul yourself up onto the rope, bringing your whole weight to bear. It holds for about three seconds -- then there is a sharp snap from above you and a muffled clank. The rope falls, spilling you to the floor amidst an untidy tangle of coils.\n\n> You get tome\nA horrid coldness seeps into your fingers as you try to pick the book up; it flows from the book itself into your body, soaking into your bones and making your back teeth ache. Quickly, you set the book down again, absently trying to rub the unpleasant sensation from your hands.\n\n> Burn book\n(the huge, black tome)\nThe match isn't lit.\n\n> Light match\nOne of the matches starts to burn.\n\n> Burn book\n(the huge, black tome)\nPetty arson isn't going to solve your problems.\n\n> Go south\nThe stairs are completely gone, now. All that's left is a narrow ledge overlooking an empty shaft, and a fair portion of the railing still nailed to the wall.\n\n> You tie the rope to the railing\nYou tie the rope securely to the railing, letting the other end dangle down into the dark shaft.\n\n> You put all in the pocket\nhooded robe: No matter how tightly you roll up the heavy robe, it is still too big to fit in your pocket.\n\n> You drop the robe in the shaft\nThe hooded robe drops down out of sight, and a few seconds later you hear a faint splash.\n\n> You climb the rope\nGripping the end of the rope tightly, you lower yourself off the edge and shimmy down into the darkness.\n\nYour feet dangle over empty space. Looking down, you can barely make out a faint glimmer of water, far below.\n\n> You jump\nYou take a deep breath, shut your eyes tight, say a quick prayer... and let go of the rope.\n\nThe heart-stopping plunge lasts only a second or two before you hit shockingly cold water. Your flashlight goes out and blackness envelopes you. Water rushes into your mouth and nose; the stone bottom slams into your side and nearly knocks the wind out of you... and then you find your feet, and your head breaks the surface. Blindly, you thrash about until you find higher ground, and you crawl, choking and sputtering, feeling cold brick beneath your fingers.\n\nIt is pitch dark, and you can't see a thing.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring.\n\nThe pockets of your trenchcoat contain a tattered drawing, a teddy bear, a broken padlock, a small steel key, a meat hook, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> Light match\nOne of the matches starts to burn.\n\nThe walls of this long, rectangular chamber are made of crumbling brick, not concrete; most likely it was built at some earlier period than the rest of the tunnels. The ceiling is lost in darkness above you, but from the sounds of the echoes it must be pretty high. Water flowing in from the northwestern tunnel has pooled in a depression sunk into the limestone floor, becoming quite deep near the far end.\n\nThe shattered wreckage of the church stairway lies half submerged in the water-filled depression. You're lucky to have missed it in your fall.\n\nYou can also see a hooded robe here.\n\n> You turn on the flashlight\nThe flashlight must not be quite as waterproof as you originally thought; the beam flickers unsteadily, and you have to bang it against the palm of your hand a couple of times to get it to work.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You go northwest\nThe tunnel is ankle-deep in brackish water, though raised walkways on either side provide relatively dry footing. The walls are slick, the air damp and foul. The main tunnel runs north and southeast. Numerous smaller pipelines lead in all directions, but all are too small for you to crawl through. Iron rungs embedded in the wall lead up through an access shaft, back to the surface.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You get the robe\nTaken.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> Go northwest\nThe tunnel is ankle-deep in brackish water, though raised walkways on either side provide relatively dry footing. The walls are slick, the air damp and foul. The main tunnel runs north and southeast. Numerous smaller pipelines lead in all directions, but all are too small for you to crawl through. Iron rungs embedded in the wall lead up through an access shaft, back to the surface.\n\n> Go north\nThe ceiling in this north-south tunnel is so low you must bend nearly double to navigate it. Water drips endlessly through the walls and ceiling, seeping in through thousands of invisible fissures, the constant plip-plip-plipping echoing loudly throughout the tunnel. The air is so damp you can hardly breathe. Unless your sense of direction is mistaken, you must be crossing the Miskaton River -- underneath\nit.\nI beg your pardon?\n\n> You go north\nThis looks to be an older part of the sewer system that has fallen into disrepair. Many of the pipes here have crumbled and are filled with debris.\n\nSet in the low ceiling is an old iron hatch.\n\n> You examine the hatch\nIt's a rectangle of corroded metal, just over a foot long on each side. There are hinges along one edge on this side; if you could get your fingers under the opposite edge, you could probably pry it open.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a meat hook, a hooded robe, a book of matches with five matches left and a lantern (providing light).\n\nThe pockets of your trenchcoat contain a tattered drawing, a teddy bear, a broken padlock, a small steel key, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice, your umbrella and a towel.\n\n> You put the steel key on the ring\n(first taking the small steel key)\n(slipping the book of matches into the pocket of your trenchcoat to get a hand free)\nPutting things on the wedding ring would achieve nothing.\n\n> Go south\nThe ceiling in this north-south tunnel is so low you must bend nearly double to navigate it. Water drips endlessly through the walls and ceiling, seeping in through thousands of invisible fissures, the constant plip-plip-plipping echoing loudly throughout the tunnel. The air is so damp you can hardly breathe. Unless your sense of direction is mistaken, you must be crossing the Miskaton River -- underneath\nit.\n\n> You wear the robe\nYou put on the hooded robe.\n\n> You go upward\nThis tiny, concrete-lined alcove within the underside of the bridge forms the top of a vertical shaft leading down into darkness. Iron rungs embedded in the wall provide a way down.\n\nIn the north wall is a small metal door.\n\n> Go north\n(opening the small metal door first)\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\n> You go to the east\nWhere once a building stood, there is now only cracked pavement and rampant weeds. A high chain-link fence surrounds this vacant lot; the only breaks lie to the west and southeast.\n\nA filthy old mattress lies among the weeds over in one corner of the lot.\n\n> Go west\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nThere appears to be a commotion of sorts to the north, where a group of townsfolk have gathered.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nA gust of wind blows your hair into your face.\n\n> You go north\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nA group of wary-looking townsfolk has gathered, keeping a watchful eye on the streets leading to and from the bridge.\n\nSuddenly, someone's finger jabs out at you. \"It's the woman!\" He shouts. \"Get her!!\"\n\n> You go south\nThe game is up. You turn to run, but already the men are on your heels...\n\nThere is no time to run. Heavy boots on the cobblestones; hands lunging toward you -- they are everywhere, grabbing you from every side, immobilizing you. Someone's huge, calloused paw closes around your windpipe and starts to squeeze. Just before you black out, you can feel yourself being lifted off your feet...\n\n> You remove the robe\nYou take off the hooded robe.\n\n> Wear coat\nYou put on the trenchcoat.\n\n> Go north\n(opening the small metal door first)\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go west\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nThere appears to be a commotion of sorts to the north, where a group of townsfolk have gathered.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\n> Go southwest\nThis is a featureless blind alley, a dead end. Through the narrow and heavily shadowed opening to the northeast, you can see the square and the obelisk at its center.\n\n> You examine the Square\nAlthough you're too far away to read the hieroglyphs on its sides, you have an otherwise excellent view of the obelisk from here.\n\n> Wait\nTime passes.\n\n> Go northeast\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nThere appears to be a commotion of sorts to the north, where a group of townsfolk have gathered.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You examine the group\nThe townsfolk have gathered in a small crowd on Whateley Bridge. Word of your snooping must have gotten around quickly; these fellows are obviously not taking any chances on the possibility of you escaping from the church, and are keeping a sharp lookout.\n\n> Go west\nThe rooftops above you lean so close together as to nearly block out the sky altogether, making this a particularly dark and unpleasant section of the city. The street leads away to the east, and a shadowy driveway leads through a high brick wall to the south.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a meat hook, a hooded robe and a lantern (providing light).\n\nThe pockets of your trenchcoat contain a book of matches with five matches left, a tattered drawing, a teddy bear, a broken padlock, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are six keys (a small steel key, a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice, your umbrella and a towel.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go southeast\nThe path bends northeast, around the side of the church.\n\nThe forest encroaches right up to the iron fence here, some of which is literally buried in the tangled underbrush. There are no doors on this side, although a wooden trap door over by the corner of the building probably leads into a cellar. A path leads southwest, around to the front of the church.\n\nYou can see a shiny new padlock here.\n\n> You look at the padlock\nWhich do you mean, the shiny new padlock or the broken padlock?\n\n> You shine\nWhat do you want to shine?\n\n> You examine shiny padlock\nThis padlock is about as big as the first one, with the extra advantage of being brand spanking new. No way you're getting this one off without a key.\n\n> You go southwest\nThe path bends northwest, around the side of the church.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, city, violence, self-mutilation, child abuse, academic NPC, incest, Lovecraft]\n\n> Go downward\nYou pass through the gate and down the stone steps, which curve northwest as they lead down to the edge of the river.\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You look at water\nThe water is dark, brackish brown, and utterly foul. An oily sheen covers its surface, and occasionally small lumps float by -- lumps of what, you'd rather not guess.\n\n> You go north\nThis looks to be an older part of the sewer system that has fallen into disrepair. Many of the pipes here have crumbled and are filled with debris.\n\nSet in the low ceiling is an old iron hatch.\n\n> You examine the pipes\nThe pipes are broken and jagged, filled with debris and thick slime.\n\n> You search them\nYou find only broken debris.\n\n> You get them\nThey're hardly portable.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a meat hook, a hooded robe and a lantern (providing light).\n\nThe pockets of your trenchcoat contain a book of matches with five matches left, a tattered drawing, a teddy bear, a broken padlock, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are six keys (a small steel key, a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice, your umbrella and a towel.\n\n> You open it\n(first taking the flask)\nYou open the flask.\n\n> Go south\nThe ceiling in this north-south tunnel is so low you must bend nearly double to navigate it. Water drips endlessly through the walls and ceiling, seeping in through thousands of invisible fissures, the constant plip-plip-plipping echoing loudly throughout the tunnel. The air is so damp you can hardly breathe. Unless your sense of direction is mistaken, you must be crossing the Miskaton River -- underneath\nit.\n\n> You fill the flask\n(with the newspaper)\n(first taking the newspaper)\n(slipping the meat hook into the pocket of your trenchcoat to get\na hand free)\nTaken.\nThe mouth of the flask is too narrow.\n\n> You put the water in the flask\n(first taking the sewer water)\nYou'd only get your fingers wet.\n\n> You fill the flask with the water\nYou dip the flask into the fetid water, collecting a small\nquantity of sewer water.\n\n> You pour the water on the hinges\n(the small quantity of sewer water on the rusty hatch)\nStop trying to make a mess.\n\n> You examine the water\n(the small quantity of sewer water)\nIt's just an ordinary-looking small quantity of sewer water.\n\n> You pour the water\n(the small quantity of sewer water)\nThe small quantity of sewer water spills out over the floor, where it quickly trickles away.\n\n> You knock on the hatch\nNo one answers.\n\n> Go north\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\n> You examine the film\nThe Miskaton's waters are sluggish and dark. Some sort of oily film coats the surface, reflecting back ghostly swirls of color.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You pour the water on the hinges\n(the small quantity of river water on the rusty hatch)\nStop trying to make a mess.\n\n> You pour the flask on the hinges\nYou can't pour the flask; it's not a liquid.\n\n> You put the water on the hinges\n(the small quantity of river water on the rusty hatch)\nPutting things on the rusty hatch would achieve nothing.\n\n> You look at what you're carrying with you\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a newspaper, a flask (which is open), inside which is a small quantity of river water, a hooded robe and a lantern (providing light).\n\nThe pockets of your trenchcoat contain a meat hook, a book of matches with five matches left, a tattered drawing, a teddy bear, a broken padlock, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are six keys (a small steel key, a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice, your umbrella and a towel.\n\n> You examine the lantern\nIt's an old-fashioned hurricane lamp, with a tall glass chimney to protect it from the wind. The cotton wick burns fitfully in its reservoir of cheap oil.\n\n> You pour the water on the robe\n(the small quantity of river water on the hooded robe)\nStop trying to make a mess.\n\n> Ialdabaoloth\nThe blasphemous syllables crawl loathsomely from your lips. The word lingers in the air like a cyst -- just hearing the sound of it makes you nauseous. Nature itself seems to draw back from the sound, as though horrified by your very voice.\n\n> Go south\nThe ceiling in this north-south tunnel is so low you must bend nearly double to navigate it. Water drips endlessly through the walls and ceiling, seeping in through thousands of invisible fissures, the constant plip-plip-plipping echoing loudly throughout the tunnel. The air is so damp you can hardly breathe. Unless your sense of direction is mistaken, you must be crossing the Miskaton River -- underneath\nit.\n\n> You look at the paintings\nAll of them are bizarre, and most of them border on the grotesque. Alien landscapes peopled by writhing, malformed creatures; ancient temples built in strange, eye-bending architectures; monstrous beasts crawling through shadows that cannot quite conceal their disturbingly human shapes -- these seem to make up the bulk of the paintings' subject matter. And yet, despite the fantastical nature of the images painted, the style is neither abstract nor surreal. In fact, the level of detail approaches the photorealistic. Excruciating attention has been paid to light, shadows, and textures; even the alien creatures are depicted with gruesome anatomical accuracy. It is as though the artist had worked from actual, living models rather than from what must have been a thoroughly deranged imagination, and the overall effect is rather chilling.\n\n> You examine the scene\nA strange scene, showing only a clergyman staring down into the pages of a large, black-bound book. The point of view is that of someone standing beneath the pulpit, looking up -- so that the text of the book is hidden from the viewer, while the preacher's face is clearly visible.\n\nHe seems to be caught in a paroxysm of terror: his face livid; his lips stretched back in a gruesome rictus; his eyes bulging wide and shot red with blood. The cords in his neck are rigid and taut, as though he were straining to tear his gaze from the page, and yet he still grips the edges of the pulpit with whitened knuckles.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You examine the scene\nA young apprentice butcher learns his trade in a slaughterhouse. The older man -- heavyset, thick jaw and sloping brow -- holds his cleaver above a severed calf's head, looking expectantly at the boy as though demonstrating the proper technique. The boy, holding a smaller cleaver of his own, looks on attentively. It would be reminiscent of something by Norman Rockwell, except for the frankly alarming amount of gore. The aprons and faces of both master and apprentice are streaked with blood; blood pools on the chopping block and overspills the gutters; blood drips from the walls and from the skinned carcasses that can be seen hanging in the background. The two butchers stand ankle-deep in a reeking abattoir.\n\nAnd... there's something wrong with the boy. Most of his body is hidden behind the chopping block, but there are details about the parts you can see that... don't seem to fit quite right. The arm holding the cleaver is slightly misshapen, for example, the fingers deformed in a way that you can't quite make out. And his neck seems just a bit too thick, and his head seems just a bit too large and blocky. His face looks normal enough, except that it seems to have been placed just slightly off-center. It's a very subtly disturbing effect.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You examine the scene\nA group of primitive tribesmen dance within a ring of standing stones, beneath a lightning-streaked sky. Their dress and some of the fetishes they carry -- feathers, rattles, ceremonial masks -- all seem to represent a Native American culture, but the men themselves are... strange. They look truly savage and degenerate, in a way that you don't often see Native Americans depicted. Peering closely, you can see that some of them even appear to be deformed.\n\nOverlooking the dance stands a tall obelisk on a hill, silhouetted against the storm clouds above. The artist added a strange effect to the cloud formations directly above the obelisk; the color and shading seem to suggest a red, baleful eye looking down upon the strange ritual below.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You look at the scene\nA simple scene, without the gruesome and fantastic detail that embellishes so many of the other paintings: a sailing ship on dark waters, coming in to port in the dead of night. A lighthouse, standing tall in the distance, lights the way.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You examine the scene\nA group of white men in Revolutionary period clothing, taking prisoner a group of Native Americans. The exact situation is unclear: the white men stand around with muskets threatening, while the natives, who are chained together, file into a fenced enclosure, as though being herded into a compound of some sort.\n\nIn the extreme background, at the far end of the enclosure, stands a large brick building. Dark, grainy smoke billows up from two stone chimneys rising above the structure. Leaning very close, you can just make out another group of natives being herded into the structure by more of the white men.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You look at the scene\nA somewhat Boschian scene, depicting a line of naked, emaciated men, their ankles shackled and chained together, shuffling forward to offer obeisance to the glowing maw of an enormous furnace. The men are malnourished and covered with terrible burns. The foremost is kneeling, offering... something, you can't make out what... up to the mouth of flames, while the rest stand as far back as they are able, their heads bowed in what appears to be fear and penitence. It isn't clear where this is supposed to be taking place; beyond the fiery glow there is nothing but soot-filled, Stygian blackness. An artist's rendition of Hell, perhaps?\n\nFor some reason, you are reminded of old photographs of the Nazi death camps, in which Jews were forced to feed the ovens with the corpses of their own.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You go to the east\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You go north\nA cramped little annex off the main attic, with a tiny, shuttered window high up on the north wall. A pile of mouldering straw in the corner and what looks like pencil marks on the lower part of the walls seem to indicate that someone lived here once. Or, possibly, was kept here.\n\n> You unlock back door\n(first taking the keyring)\n(slipping the flask into the pocket of your trenchcoat to get a hand free)\n(closing the flask first)\nTaken.\nYou unlock the back door.\n\n> You examine the roots\nThe fleshy, tuberous roots seem to be probing their way through the walls like so many dead, swollen fingers.\n\n> You look at the wires\nThe wiring runs back and forth across the ceiling in every direction -- wrapped around timbers, in and out of rusted, broken conduits, crossing and re-crossing itself in a dozen places. You can see several places where the insulation is cracked or stripped altogether. It's enough to send any self-respecting fire marshall into conniptions.\n\n> Go south\nOld crates and boxes piled high against the walls make this room seem even smaller and dingier than it actually is, which is saying a lot. A doorway lies north; the other walls contain nothing but shadows and dirt-filled corners.\n\n> Examine crates\nThe accumulated junk of almost four centuries' worth of one family's strangeness. Most of it is old linens, moth-eaten clothes, newspaper clippings -- exciting stuff like that. There's far more here than you could ever go through, even if you had the inclination to.\n\n> You search them\nIt would take years to properly sort through all this junk. Just thinking about it makes you tired.\n\n> Go south\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nYour luggage is still here, spread out all over the foyer.\n\nA cold, noiseless draft coils through the narrow entrance hall. You shiver, wondering where it came from.\n\n> You look at the mirror\nA flawless mirror in a beautifully scrolled walnut frame. It's about as tall as you are.\n\n> You look in the mirror\nYou look good, considering you're filthy from splashing around in the sewers and soaking wet. A bit rattled by recent events, perhaps, but well-poised and collected, all the same.\n\n> You look at the radiator\nThe radiator runs on gas, not electricity, which is why it's even working at all. It's quiet and it keeps the room cozy, which is all you really need it to do, so everything seems to be in order there.\n\n> You go west\nA small chamber of cold, white tile and floral-print wallpaper. It sports a genuine, whitewashed, claw-foot bathtub with a shower attachment, which is a definite plus. The bedroom lies east.\n\n> You examine the tub\nIt looks deep enough to swim in. You could spend hours soaking in that thing.\n\n> You examine the doors\nEach door is carved from a single piece of mahogany, and polished to a deep, rich shine. The doors are open.\n\n> You examine Benson\nIt's the dead body of a woman. Her head has been raggedly hacked away, and her clothes above the waist are soaked through with blood. As you fight to control your rising gorge, you note that the body cannot have been here for very long; the decay, though bad, is not very far advanced. She must have been killed within the last couple of days at most.\n\nA skittering movement from the corpse makes you jump. When you look again, you see it's only an insect crawling across her blouse.\n\n> You examine the hatch\nYou can just make out a fresh bloodstain underneath the hatch. It drips down the side of the furnace in several streaks.\n\n> You open it\nYour throat tightens as you slowly open the bloodstained hatch...\n\nSlow horror washes over you. You found exactly what you expected to find, of course. It's the real estate agent's severed head.\n\n> You get the head\nYou'd just as soon leave the repulsive thing alone.\n\n> You examine the head\nIt's the gore-spattered head of the real estate agent -- you recognize her from the cover of a brochure she sent you in the mail several months ago. The eyes are still open and the mouth thrown wide in a silent scream.\n\n> Search furnace\nIn the wood-burning furnace is the real estate agent's severed head.\n\n> You examine the trap door\nThe boards are old and warped, but still quite sturdy.\n\n> You examine the beetles\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You look at the shaft\nThe walls of the shaft are rough stone, dropping down farther than you can see.\n\n> You throw the broom in the shaft\nThe broom drops down out of sight, and a few seconds later you hear a faint splash.\n\n> You examine the stairs\nIt looks as though it might bear your weight; unfortunately it's just a couple of feet beyond your reach.\n\n> Go east\nCentipedes and beetles scurry away across the rotten floorboards as you shine your light across the room. Over in the corner sits a hulking shape of black metal that was probably once a wood-burning furnace; aside from that, the cellar looks empty. A dark alcove, the shadows within too thick to see through, opens in the west wall, and a trap door in the ceiling leads back up to the outside.\n\nAt the very edge of your light's glow, you can just make out a horribly suggestive shape lying in the shadows behind the furnace.\n\n> You jump into the shaft\nThe pit at your feet is dark and fathomless; there's no way to safely descend from here.\n\n> You jump\nYou take a few steps back, draw in a deep breath, and make a dash for the edge. At the last possible second you jump, sailing out over the pit as you make a desperate grab for the bottom riser...\n\n... and catch it.\n\nThe riser bends ominously under your weight but doesn't give. Panting, you haul yourself up onto the creaking stairs.\n\nThe stairs stop short about seven feet shy of the basement floor, the bottom-most steps hanging suspended over an empty shaft that descends beyond sight into the shadowy depths. What's left of the structure creaks and shifts uneasily under your feet. At the top of the stairs to the north, a doorway opens onto the ground floor of the church.\n\nThe creaking under your feet is getting louder.\n\n> You look through the windows\nBoards nailed across the windows on the outside prevent you from seeing out.\n\n> Go east\nThis little room behind the chapel is hardly bigger than a broom closet. A ladder bolted to the wall leads up through a hatch, presumably up into the steeple.\n\n> You open the window\nThe window is adamantly stuck shut.\n\n> You examine the window\nIt's just an ordinary-looking narrow window.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You examine the hole\n(the square hole)\nYou can't quite see what's up there, but you assume it must lead to the belfry.\n\n> You enter the hole\n(the square hole)\nThe square hole is well out of reach.\n\n> You pull the rope\nYou tug on the rope, but it seems firmly attached to whatever it's tied to at the top of the steeple.\n\n> You climb it\nYou haul yourself up onto the rope, bringing your whole weight to bear. It holds for about three seconds -- then there is a sharp snap from above you and a muffled clank. The rope falls, spilling you to the floor amidst an untidy tangle of coils.\n\n> You drop all\nhooded robe: Dropped.\n\n> Inventory\nYou are wearing your clothes and your wedding ring.\n\n> You take all\ntrenchcoat: Taken.\nhooded robe: Taken.\nlength of rope: You pick up the length of rope. It's about twenty feet long, frayed in a few places but still sturdy enough.\n\n> Wear coat\nYou put on the trenchcoat.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a length of rope and a hooded robe.\n\nThe pockets of your trenchcoat contain a tattered drawing, a teddy bear, a broken padlock, a small steel key, a meat hook, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight (providing light), a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You examine the opener\nIt's a rather ornate thing, with a silver hilt and a slim, sharp tip."
    },
    {
        "text": "> You look around\nA tiny space inside the tip of the church's steeple, barely five feet across, the walls tapering to only two feet across some twelve feet above your head. There is a narrow window, but it seems to have been painted black at some point. The only exit seems to be the ladder from which you just emerged.\n\n> You open the tome\nThe book is already open.\n\n> Close tome\nStrange; the spine won't bend. The book is rigid as a board and will not close.\n\n> You turn off flashlight\nYou'd have to let go of the rope to do that.\n\n> You jump\nYou take a deep breath, shut your eyes tight, say a quick prayer... and let go of the rope.\n\nThe heart-stopping plunge lasts only a second or two before you hit shockingly cold water. Your flashlight goes out and blackness envelopes you. Water rushes into your mouth and nose; the stone bottom slams into your side and nearly knocks the wind out of you... and then you find your feet, and your head breaks the surface. Blindly, you thrash about until you find higher ground, and you crawl, choking and sputtering, feeling cold brick beneath your fingers.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the flashlight\nThe flashlight must not be quite as waterproof as you originally thought; the beam flickers unsteadily, and you have to bang it against the palm of your hand a couple of times to get it to work.\n\nThe walls of this long, rectangular chamber are made of crumbling brick, not concrete; most likely it was built at some earlier period than the rest of the tunnels. The ceiling is lost in darkness above you, but from the sounds of the echoes it must be pretty high. Water flowing in from the northwestern tunnel has pooled in a depression sunk into the limestone floor, becoming quite deep near the far end.\n\nThe shattered wreckage of the church stairway lies half submerged in the water-filled depression. You're lucky to have missed it in your fall.\n\nYou can also see a hooded robe and a broom here.\n\n> You get all\nhooded robe: Taken.\nbroom: Taken.\n\n> You examine stairway\nRusty nails and jagged, broken boards jut from the water like teeth. You're very lucky you weren't impaled when you fell.\n\nThe flashlight beam flickers uncertainly for a moment, then comes back a bit weaker than before.\n\n> Go northwest\nThe tunnel is ankle-deep in brackish water, though raised walkways on either side provide relatively dry footing. The walls are slick, the air damp and foul. The main tunnel runs north and southeast. Numerous smaller pipelines lead in all directions, but all are too small for you to crawl through. Iron rungs embedded in the wall lead up through an access shaft, back to the surface.\n\n> Go north\nThis looks to be an older part of the sewer system that has fallen into disrepair. Many of the pipes here have crumbled and are filled with debris.\n\nSet in the low ceiling is an old iron hatch.\n\nThe flashlight beam flickers uncertainly for a moment, then comes back a bit weaker than before.\n\n> You hit the hinges with the opener\n(first taking the letter opener)\nViolence isn't the answer to this one.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a letter opener, a broom and a hooded robe.\n\nThe pockets of your trenchcoat contain a tattered drawing, a teddy bear, a broken padlock, a small steel key, a meat hook, a newspaper, a strange metal flute, a silver locket, a gold locket, a flashlight (providing light), a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You look at the rust\n(the broken padlock)\nIt's little more than a twisted hunk of torn metal. You'd hardly even guess it was ever used as a padlock.\n\n> Close hatch\nThat's already closed.\n\nIt is now pitch dark in here!\n\n> Shake flashlight\n(first taking the flashlight)\nYou jiggle the flashlight a bit and slap it against your palm, but it doesn't seem to improve the situation much.\n\n> You turn on the flashlight\nYou flip the switch on and off uselessly. The water must have finally done your poor flashlight in.\n\n> You open the flashlight\nThere's really no point in taking the batteries out; you don't have any spares anyway.\n\n> You go south\nYou stumble forward blindly...\n\nIt is pitch dark, and you can't see a thing.\n\n> You go north\nYou stumble forward in the dark, smacking your head painfully against a wall.\n\n> You get the lantern\n(slipping the flashlight into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Light match\nOne of the matches starts to burn.\n\nThis tiny, concrete-lined alcove within the underside of the bridge forms the top of a vertical shaft leading down into darkness. Iron rungs embedded in the wall provide a way down.\n\nIn the north wall is a small metal door.\n\n> Go north\n(opening the small metal door first)\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You go south\nYou walk a bit farther down the road, but it doesn't seem to lead anywhere, and the shadows grow thicker the farther down you go. After a while you turn back, unable to suppress a shiver.\n\n> Go west\nThe tangled undergrowth has been beaten down in a path leading roughly from the east to the southwest. Shrubs and grass have been flattened and pushed aside, vines torn down, and small trees bent or even snapped in half, as though something heavy with huge, flat feet had simply trampled its way through.\n\nA gust of wind blows your hair into your face.\n\n> You go to the south-west\nThe decayed remains of an old slaughterhouse stand here, now little more than a shell of crumbling brick and gaping holes, surrounded by a clearing of yellow, sickly grass. A path leads northeast, back toward the road; to the west, a gaping hole that might once have been a doorway leads into the rotting building.\n\n> You go north\nPerhaps it is merely the effect of some unwholesome vapour rising from the murky waters of the nearby Miskaton, but the temperature along this street seems perceptibly cooler than normal, even for a New England autumn. Two dirt roads lead south and southwest, into the dense woods at the edge of town.\n\nA gust of wind blows your hair into your face.\n\n> You listen\nYou hear only silence, and your own breathing.\n\n> You look up jeffrey\n(in the archives)\nJeffrey Greer: born August 4, 1989.\n\n> You look up jeffrey\n(in the archives)\nThe boy isn't dead yet; the fear is that he might be by the time anyone finds him.\n\n> Yell\nCome now; you're not that frightened.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You play the flute\n(the strange metal flute)\n(first taking the strange metal flute)\n(slipping the book of matches into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You put the flute in the coat\n(the strange metal flute in the trenchcoat)\nYou slip the strange metal flute into the pocket of your trenchcoat.\n\n> You call the mob\nYou'd probably have better luck if you were near a phone.\n\n> You put the hook in the iron ring\n(first taking the meat hook)\nThe iron ring is high out of your reach.\n\n> You put the hook in the coat\nYou slip the meat hook into the pocket of your trenchcoat.\n\n> You examine the group\nThe townsfolk have gathered in a small crowd on Whateley Bridge. Word of your snooping must have gotten around quickly; these fellows are obviously not taking any chances on the possibility of you escaping from the church, and are keeping a sharp lookout.\n\n> Wave coat\nYou look ridiculous waving the trenchcoat.\n\n> You go north\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nA group of wary-looking townsfolk has gathered, keeping a watchful eye on the streets leading to and from the bridge.\n\nThe townsfolk turn toward you as you walk blithely up to them.\n\nSuddenly, someone's finger jabs out at you. \"It's the woman!\" He shouts. \"Get her!!\"\n\n> You jump off the Bridge\nThrowing caution to the wind, you clamber up onto the parapet and leap off into space. A moment later you are plunged chest-deep into shockingly cold water. The current is not strong, however, and you quickly thrash your way over to a small ledge underneath the bridge, having suffered little worse than a ruined pair of slacks.\n\nAbove you, you can hear shouts from the villagers as they peer over the sides of the bridge. It's obvious they think you must been taken by the current and don't realize that you're hiding right beneath them. It looks like you've bought yourself a little time.\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\n> You listen\nThe water laps quietly against the stones with a hollow, subterranean sound.\n\n> You pull the hood\nNothing obvious happens.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> About yourself\nThe voluminous robe covers you from head to foot. As long as no one looks too closely under the hood, it makes a pretty effective disguise.\n\n> You go north\nA hoary monument of crumbling, moss-eaten flagstones, Whateley Bridge is possibly older than any other structure in the entire city. Ponderously it spans the dark, torpid waters of the Miskaton River, connecting the north and south halves of the city and occasionally raining bits of gravel and mortar from its underside into the water. It looks just wide enough for two cars to pass each other between the flanking stone parapets, but you wouldn't volunteer to try it.\n\nA group of wary-looking townsfolk has gathered, keeping a watchful eye on the streets leading to and from the bridge.\nThere is no time to run. Heavy boots on the cobblestones; hands lunging toward you -- they are everywhere, grabbing you from every side, immobilizing you. Someone's huge, calloused paw closes around your windpipe and starts to squeeze. Just before you black out, you can feel yourself being lifted off your feet...\n\n> You ask Chuck about the key\nWhich do you mean, the keys, the small copper key or the large cell key?\n\n> You ask Chuck about the large key\n\"You know what this thing is hanging off my belt?\" gloats the orderly, patting the key proudly. \"I'll tell you what it is: it's fuckin' responsibility, that's what it is. And don't you touch it.\"\n\n> Ialdabaoloth\nThe blasphemous syllables crawl loathsomely from your lips. The word lingers in the air like a cyst -- just hearing the sound of it makes you nauseous. Nature itself seems to draw back from the sound, as though horrified by your very voice.\n\nThe orderly stares at you, dumbfounded. \"Man,\" he breathes, \"that was some seriously fucked up shit.\"\n\n> You get the large key\nThe orderly slaps your hand away. \"Nice try, lady, \" he sneers, \"but I got eyes in the back of my head; I'm like a fuckin' hawk.\""
    },
    {
        "text": "[Themes: Horror, Lovecraftian, child abuse, incest, strong NPCs, female protagonist, child death, body horror]\n\n> Go downwards\nYou pass through the gate and down the stone steps, which curve northwest as they lead down to the edge of the river.\n\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You fill the flask with the water\n(first taking the flask)\nThe flask has to be open before you can fill it.\n\n> You open the flask\nYou open the flask.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You fill the flask with the water\nYou dip the flask into the Miskaton, collecting a small quantity of river water.\n\n> You pour the water on the plant\nYou dump the small quantity of river water onto the plant, figuring anything must be an improvement.\n\n> You fill the flask with the water\nYou dip the flask into the Miskaton, collecting a small quantity of river water.\n\nThe cold wind blows harder, tugging at your clothes.\n\n> You fill the flask with the water\n(the small quantity of river water)\nThere's already a small quantity of river water in the flask; filling it with small quantity of river water would only make a mess.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\nNovember, 1997.\n\nYou take a deep breath of salty air as the first raindrops begin to spatter the pavement, and the swollen, slate-colored clouds that blanket the sky mutter ominous portents amongst themselves over the little coastal town of Anchorhead.\n\nSquinting up into the glowering storm, you wonder how everything managed to happen so fast. The strange phone call over a month ago, from a lawyer claiming to represent the estate of some distant branch of Michael's family, was bewildering enough in itself... but then the sudden whirlwind of planning and decisions, legal details and travel arrangements, the packing up and shipping away of your entire home, your entire life...\n\nNow suddenly here you are, after driving for the past two days straight, over a thousand miles away from the familiar warmth of Texas, getting ready to move into the ancestral mansion of a clan of relatives so far removed that not even Michael has ever heard of them. And you've only been married since June and none of this was any of your idea in the first place, and already it's starting to rain.\n\nThese days, you often find yourself feeling confused and uprooted.\n\nYou shake yourself and force the melancholy thoughts from your head, trying to focus on the errand at hand. You're to meet with the real estate agent and pick up the keys to your new house while Michael runs across town to take care of some paperwork at the university. He'll be back to pick you up in a few minutes, and then the two of you can begin the long, precarious process of settling in.\n\nA sullen belch emanates from the clouds, and the rain starts coming down harder -- fat, cold drops smacking loudly against the cobblestones. Shouldn't it be snowing in New England at this time of year? With a sigh, you open your umbrella.\n\nWelcome to Anchorhead..."
    },
    {
        "text": "> Look around\nThe ponderous stones of Whateley Bridge arch overhead, casting this little concrete ledge into deep shadow. At your feet, the dark waters lap quietly against the stones with a hollow, subterranean sound. Stone steps to the southeast lead back up to street level.\n\nA small metal door, blotchy with rust, is set into the south bank of the river, underneath the bridge.\n\nA gust of wind blows your hair into your face.\n\n> Go south\nThis tiny, concrete-lined alcove within the underside of the bridge forms the top of a vertical shaft leading down into darkness. Iron rungs embedded in the wall provide a way down.\n\nIn the north wall is a small metal door.\n\n> Go up\nA low, irregular brick wall to the north divides this street from the steep, mud-slick banks of the sinuous Miskaton, while a rusty iron gate provides access to a precarious flight of stone steps leading down the bank to the water's edge. The street bends south here, turning into a misty avenue between the trees. The town square lies west, a vacant lot lies east.\n\nThe cold wind blows harder, tugging at your clothes.\n\n> You unlock door\n(first taking the keyring)\nYour hands are full.\nYou don't have the correct key.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You check your inventory\nYou are wearing a hooded robe, your clothes and your wedding ring; in addition, you have in your hands a flask (which is open), inside which is a small quantity of river water, a lantern, a broom and your trenchcoat.\n\n> You put the flask in the coat\n(closing the flask first)\nYou slip the flask into the pocket of your trenchcoat.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), a lantern, a broom and a hooded robe.\n\nThe pockets of your trenchcoat contain a flask (which is closed), a meat hook, a strange metal flute, a book of matches with five matches left, a flashlight, a letter opener, a tattered drawing, a teddy bear, a broken padlock, a small steel key, a newspaper, a silver locket, a gold locket, an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a slip of paper, a family album, a torn journal, a typewritten notice, your umbrella and a towel.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You unlock door\nThat's unlocked at the moment.\n\n> You take the match\n(slipping the lantern into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Light lantern\nYou really should take it out of your pocket first.\n\n> You take the lantern\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You unlock door\n(first taking the keyring)\n(slipping the lantern into the pocket of your trenchcoat to get a hand free)\nTaken.\nThat's unlocked at the moment.\n\n> You take the matches and the lantern\nbook of matches: (slipping the flask into the pocket of your trenchcoat to get a hand free)\n(closing the flask first)\nTaken.\nlantern: (slipping the keyring into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You take the match\nYou already have that.\n\n> Go northwest\nThe pantry is empty save for a layer of dust on the shelves. A door to the south leads down to the cellar, or you can return to the kitchen to the southeast.\n\nThe cellar door stands open, revealing dark stairs leading down.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You turn cheval\nThe bottle of light Cheval Blanc rotates a quarter-turn clockwise, then snaps back with a loud \"click\". A rumbling grating sound suddenly fills the wine cellar, and the racks and a portion of the stone wall behind them swing back, revealing a dark passageway to the north from which blows a hot, foul wind.\n\nA hot, howling wind gusts up from the depths of the passageway.\n\n> You go north\nThe passageway ends here at a fathomless pit, a puckered circular hole in the rock from which the foul wind seems to emanate, howling up from the depths like a reeking banshee.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> You go north\nYou take a deep breath and step out onto the bridge once again. On your fourth step, the board beneath you snaps in two. You plunge through the gap into the yawning blackness with a terrified shriek that is lost amid the roaring wind. You are only able to panic for a few moments, however, before the bone-shattering impact silences you. The wind carries the smell of you quickly through subterranean crevices, and your ruptured corpse provides a grand feast for the scuttling carrion feeders that live on the pit's stony floor."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, surreal, changing environment, strong NPCs, academic NPC, body horror]\n\n> Look around\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nMichael stands here, frowning and absently rubbing at his forehead.\n\n> You check what you're carrying\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a newspaper, a strange metal flute, a silver locket and a broom.\n\nThe pockets of your trenchcoat contain a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open), inside which is a strange black disk, a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You ask Michael about the laptop\n\"Goddammit, just leave me the hell alone, why don't you?\" Michael suddenly turns on you, baring his teeth and shaking his finger in your face. \"I can't even think with you bothering me like this! Fuck this,\" he says, shaking his head. \"Fuck this. I'm getting out of here. I need to be alone for a while.\"\n\nHe storms out of the room, and a few moments later you hear the front door slam.\n\nFor a moment you can only stand there in the empty house, shaky and close to tears. You've had fights before, but never has Michael been so vicious. And the worst part of it is, you know something is wrong with him, something terrible, but you don't know what it is, or how to fix it, or why it seems to be tearing your husband away from you. You've never felt so utterly helpless.\n\n> You go to the south\nA narrow hallway runs east, from the top of the stairs down the length of the house. To the north, directly opposite the stairs, is the master bedroom.\n\nMichael wanders in from the north. He gives you a strange look, as if he hadn't expected to find you here.\n\n> You go to the north\nWhatever else their faults may have been, the Verlacs were evidently not ones to shun the printed word. Books line the walls from floor to ceiling in this dark-paneled, green-carpeted room, interrupted only by doorways to the east and south. A rich, brown leather armchair sits in stately repose near the window, with a polished brass pipe stand nearby completing the picture of some blue-blooded country squire's literary refuge. Once again, you are struck by how easily this place could have been the perfect home.\n\nA beautiful pair of mahogany sliding doors lead east, to the study.\n\nA section of the shelves in the western wall has slid to one side, revealing a hidden safe.\n\nResting on the pipe stand is a sizable volume decorated with a gilded pentagram on its cover.\n\nYou can hear Michael moving around elsewhere in the house, the floorboards creaking uneasily with his footsteps.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a newspaper, a strange metal flute, a silver locket and a broom.\n\nThe pockets of your trenchcoat contain a gold locket, a flashlight (providing light), a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open), inside which is a strange black disk, a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You put the disk in the slot\n(first taking the strange black disk)\n(slipping the silver locket into the pocket of your trenchcoat to get a hand free)\nThe strange black disk drops neatly into the slot.\n\n> You look through the telescope\nFor a few moments all you can see is a murky, swirling blackness; then patterns of colors begin to emerge, like the rainbow sheen of oil on water. The black disk grows translucent, stars become visible through the swirling haze, and then...\n\nDear Christ.\n\nDear Christ, you can see it.\n\nThe comet, roaring silently through the endless void, streaking toward Earth, and it's alive, this thing that is coming is ALIVE, tendrils that must be hundreds, thousands of miles long streaming before it, reaching out to grasp and strangle and devour whole worlds, and it is coming here, it is coming to Earth, and its great, lidless, red-rimmed eye rolls over in a vast lake of vitreous fluid, and it\n\n...you wake up some time later, shaking your head. You're not\nsure what, exactly, you just witnessed; whether it was a genuine astronomical phenomenon, or a hallucination, or the actual form of some Dark God from the Outer Reaches, come to devour the world. You're not even entirely sure you remember what it looked like. The only thing you can clearly recall is a single name, pulsing in your brain like a bruise:\n\n\"Ialdabaoloth\".\n\nAnd that's all.\n\n> You look at torn\n(the bottle with the torn label)\nThe label on this bottle is partially torn away. There is a raised letter \"E\" stamped into the bottom of the bottle.\n\n> You look at faded\nThis bottle is so old that the label has almost faded beyond legibility, although from what you can make out it is probably a fine Merlot. A raised letter \"C\" has been stamped into the bottom of the bottle.\n\n> You examine Pinot\nA robust Pinot Noir, vintage 1651; obviously one of those collector's items that just keeps getting more and more valuable as long as you don't open it. A raised letter \"W\" has been stamped into the bottom of the bottle.\n\n> You look at Cheval\nA light Cheval Blanc, 1886. There is a raised letter \"M\" stamped into the bottom of the bottle.\n\n> You look at Cabernet\nA vintage Cabernet Sauvignon from 1734. A raised letter \"H\" has been stamped into the bottom of the bottle.\n\n> You go north\nCarefully, you edge out onto the swaying planks. The planks creak and bend beneath your weight. One of them snaps just as you lift your weight from it, coming very close to spilling you into the abyss below. A few more steps, however, and you are safely on the other side.\n\nThe passageway turns east here, the stone floor dropping down in a series of wide steps carved into the living rock. The stairs continue down to the northeast, eventually curving out of sight. The only other way on from here is a narrow, oddly-angled corridor in the northwest corner.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\n> You get the flute\n(the strange metal flute)\nYou already have that.\n\n> Cover third\nWhich do you mean, the third pictogram or the third flute hole?\n\n> Hole\nYou place your finger over the third flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an eerie, low-pitched note.\n\nThe right-hand column's vibrations suddenly grow stronger, resonating in harmony with the warbling, metallic note of the flute. The two dissonances seem to intertwine, reinforcing each other, and for a single instant you think you see a strange rippling effect in the air over the altar. Then it is gone, and the sound fades.\n\n> You cover the fourth hole\nYou place your finger over the fourth flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an odd mixture of metallic, warbling notes which intertwine and harmonize eerily with each other.\n\nThe columns' vibrations seem to grow momentarily stronger while the flute's sound lingers, their dissonant ringing resonating strangely with the warbling, metallic notes.\n\n> Cover fifth\nYou place your finger over the fifth flute hole.\n\n> Uncover fourth\nWhich do you mean, the fourth pictogram or the fourth flute hole?\n\n> Hole\nYou lift your finger from the fourth flute hole.\n\n> Uncover fifth\nYou lift your finger from the fifth flute hole.\n\n> Cover sixth\nYou place your finger over the sixth flute hole.\n\n> You play the flute\n(the strange metal flute)\nThe flute emits an odd mixture of metallic, warbling notes which intertwine and harmonize eerily with each other.\n\nThe strange harmony of the flute blends with the atonal ringing of the two columns, and the three sounds suddenly grow stronger, resonating with and reinforcing one another, intertwining like a dissonant, invisible braid. The sound increases in volume, piercing your eardrums and causing the very air to shimmer.\n\nSuddenly the air above the altar begins to ripple as though with extreme heat. The very fabric of space seems to twist and buckle between the two columns; and then, with a sound like a wet sheet being torn slowly down the middle, the fabric splits.\n\nYou are immediately swept off your feet by a powerful sucking vacuum, pulling everything within reach toward the portal. Dust and debris; bones and loose rock from the burial niches; everything not nailed down goes flying across the temple and into the all-devouring maw hovering over the altar-stone. Desperately, you wedge your fingers into a crack in the floor and hang on for dear life as the wind tries to claw you away. You scream, and even the sound of your voice is whipped away, pulled over your shoulder like a trailing ribbon and sucked into whatever blasphemous dimension lies beyond that horrible rift.\n\nFor a few agonizing moments you don't think you're going to make it; then, suddenly, the chaos stops, leaving you breathless on the floor.\n\nPainstakingly, you pry your stiff, bleeding fingers out of the crack and roll over. The rift is gone. The air is normal, and the columns are ringing quietly, as if nothing had happened.\n\n> You examine the flute\n(the strange metal flute)\nIt appears to be some kind of wind instrument, fashioned out of ornately carved, greenish metal. Seven holes of varying sizes are drilled along the top Your fingers are covering the holes.\n\n> Go south\nCarefully, you edge out onto the swaying planks. A blast of wind roars up from beneath you, shaking the thin strand like a pennant in a stiff breeze, and you cling grimly to the ropes. A few more steps, however, and you are safely on the other side.\n\nThe passageway ends here at a fathomless pit, a puckered circular hole in the rock from which the foul wind seems to emanate, howling up from the depths like a reeking banshee.\n\nA thin and decrepit rope bridge spans the pit, shivering occasionally in the wind.\n\nAnother blast of hot, foul-smelling air comes shrieking out of the pit.\n\n> You go north\nYou take a deep breath and step out onto the bridge once again. On your fourth step, the board beneath you snaps in two. You plunge through the gap into the yawning blackness with a terrified shriek that is lost amid the roaring wind. You are only able to panic for a few moments, however, before the bone-shattering impact silences you. The wind carries the smell of you quickly through subterranean crevices, and your ruptured corpse provides a grand feast for the scuttling carrion feeders that live on the pit's stony floor.\n\n> You go to the south\n(opening the front door first)\n\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe front door stands open to the north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nThe hairs on the back of your neck prickle as you step outside. Something is wrong. Something is very wrong with the air. A heavy, charged sensation, like standing next to high-tension wires; a faint odor of spoiled meat drifting on the wind; you can't put your finger on it, but it might have something to do with that strange hole in the sky.\n\n> Go east\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> Go southeast\nThis narrow aperture between two buildings is nearly blocked with piles of rotting cardboard boxes and overstuffed garbage cans. Ugly, half-crumbling brick walls to either side totter oppressively over you. The alley ends here at a tall, wooden fence.\n\nHigh up on the wall of the northern building there is a narrow, transom-style window. One of the garbage cans has been pushed up against the wall directly underneath it.\n\n> You look at the fence\nOne of the boards seems to be loose down at the bottom; you could probably just squeeze through.\n\n> You enter the fence\nDropping to your hands and knees, you wriggle underneath the loose board and scramble down a muddy slope.\n\nThis narrow strip of beach is tucked away between two outcroppings in the predominantly rocky shoreline, accessible only from a steep, muddy slope to the west. The sand is filthy and strewn with rocks, seaweed, litter and other bits of storm-tossed detritus.\n\nNear the bottom of the slope, a sewage outflow pipe juts out over the beach, about three feet above the ground. A thin stream of acrid-smelling sewer water trickles out over the lip of the pipe, forming a puddle in the sand.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You examine trash\nThere is nothing of any worth or interest here, just drifts of trash.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> You examine the sewage pipe\nThe concrete pipe is about a foot and a half in diameter. Looking in, you can only see about three feet before the inner walls of the pipe disappear into blackness.\n\n> You enter the pipe\n(the outflow pipe)\nYou don't really feel like crawling head first into a smelly, filthy, pitch black sewer pipe.\n\n> You go west\nYou pick your way up the slope, push the loose board aside and slip back in through the gap.\n\nThis narrow aperture between two buildings is nearly blocked with piles of rotting cardboard boxes and overstuffed garbage cans. Ugly, half-crumbling brick walls to either side totter oppressively over you. The alley ends here at a tall, wooden fence.\n\nHigh up on the wall of the northern building there is a narrow, transom-style window. One of the garbage cans has been pushed up against the wall directly underneath it.\n\n> You go to the north-west\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> Go north\nA dank, drafty old drinking hole lit by flickering, oil-burning lanterns. Smoke collects in greasy pools among the rafters, and shadows crowd thick around. The bar runs the length of the room to your right, while to the south a low doorway opens onto the street.\n\n> Go northwest\nThe lane narrows here to little more than a badly cobbled sidewalk as it wends its way up through a series of tortuous bends and switchbacks. In some places, the street is so steep that steps have been cut into it, worn down over the years and slick with moss. Your progress is blocked at the top of the street by a blank brick wall.\n\nStrange; the graffiti is gone now. Not a trace of it left.\n\n> You examine the wall\nIt's just an ordinary-looking brick wall.\n\n> You look at the lamps\nThe lamps have curved, brass stands and frosted green shades; the kind of thing you'd expect to see on an accountant's desk in the 1930s.\n\nThe reading lamp is currently switched on.\n\n> Go north\nA high counter divides the public portion of the library from the reserved stacks -- all the more esoteric and mysterious volumes from the university's collection. If anything, the area behind the counter is even more shadowy than the side you're on. The main reading area lies south.\n\nHanging on the wall next to the counter is a small, printed sign. Beneath the sign sits a heavy, dog-eared register, and sitting next to the register is a bell.\n\n> You go to the south-west\n(opening the gate first)\nIt seems to be locked.\n\n> You look at the gate\nThe gate, a twenty-foot high barricade of narrowly spaced, thick, black, iron bars, is designed to roll horizontally, sealing off the entrance to the mill compound. It is currently shut and locked. There are no guardhouses, no buzzers or intercoms, no apparent means of getting in or letting anyone inside know you want in; just this implacable gate in an unscalable wall.\n\n> Go south\nThe path curves southwest, leading you into an overgrown area behind the mill.\n\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\n> You examine the concrete\nThe broken rubble is all that remains of whatever building once stood here.\n\n> You examine the wall\nThe wall is twenty feet high, solid brick. Stepping back a bit and looking up, you note that a forest of vicious glass shards is embedded along the top.\n\n> You look at the lighthouse\nThe lighthouse stands tall against the horizon, a dingy white tower amidst a gray sky and a grayer sea. Despite the ominous cast to the weather, no beacon is shining from the tower's top.\n\n> You examine River\nThe Miskaton winds down from the northwest, then bends in a more easterly direction some miles west of town. Its last half-mile or so neatly divides the town of Anchorhead in half before emptying into the sea. Its waters are murky and torpid, hiding many old secrets in its languid depths.\n\n> You go west\nThe thickets block the way back, except for the trail to the northwest.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You look at the thickets\nThe thickets are full of painful thorns and appear quite impenetrable. They are also very deep; there's no telling what could be hidden -- or what could be hiding -- in their brambly depths.\n\n> You go northeast\nYou stand in a circular clearing among the stones, surrounded on nearly every side by the sea. Before you looms the ancient, massive lighthouse, a vertiginous pillar of pale brick jabbing defiantly up at the sky. The road from the southwest ends here, although it looks as though you could pick your way down the rocks to the southeast, around the structure's base.\n\nThe great bronze door of the lighthouse is closed.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> You examine the water\nWhich do you mean, the sea or the patch of turbulent water?\n\n> Patch\nIt looks... unnatural.\n\n> You look in the patch\nThe patch of turbulent water is just beyond your reach.\n\n> You examine the sky\nThere is a spinning, churning hole in the clouds, directly over the lighthouse; an inverted whirlpool sucking streamers of gray up into itself. You'd think it was some sort of funnel cloud, except that it's not moving anywhere. It's simply hanging, turning slowly in the sky. The sight of that horrible, whirling hole makes you shudder, involuntarily recalling that hideous entity that lurks behind those clouds.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a strange black disk, a newspaper, a strange metal flute and a broom.\n\nThe pockets of your trenchcoat contain a silver locket, a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern, your umbrella and a towel.\n\n> You take the notice\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> You put the notice in the patch\nThe typewritten notice hits the water with a splash. Before it can even begin to sink, dozens of thin, gelatinous tendrils, like the tentacles of a jellyfish, swarm up from the water, entangling the typewritten notice and dragging it under.\n\n> Go southwest\nYou are picking your way across the breakwater's bare, rocky spine, where the road has diminished to little more than a pair of dusty ruts. A hundred yards to the northeast, at the breakwater's far end, the lonely stone tower of Anchorhead's lighthouse stands vigil against the ocean.\n\n> You examine the shacks\nAll peeling paint, broken glass and missing shingles, the houses are poorly built and teetering on the verge of falling apart completely. They are arranged in a vague suggestion of rows on either side of the mud clearing, numbered #1 through #12 with those cheap little nail-up plastic numbers you can buy at hardware stores. Presumably, these denote each shack's \"street address\".\n\n> You look at the newspaper\nIt's the \"Weekly Arkham Herald\". Anchorhead, apparently, is not large enough to warrant its own newspaper.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You read it\nThe front page story is about Jeffrey Greer, 8 years old, who was abducted from his home at #11 Mill Town Road last night. Little Jeffrey is the latest victim in a series of abductions that stretches back for years, one every six months or so, and that authorities believe is the work of a single perpetrator. Local police had hoped to prove that Edward Verlac had been behind the kidnappings, but were unable to obtain a confession or any hard proof. Edward Verlac was convicted of murdering his wife and two daughters, one of whom was 15 months old, in January of this year; he was found not guilty by reason of insanity and incarcerated in Danvers Asylum, where he remained until committing suicide last March. This latest kidnapping, occurring after Edward's death, seems to have cleared up any lingering suspicions that he might have been the culprit.\n\nAnyone possessing information regarding the whereabouts of Jeffrey Greer is strongly urged to speak to the authorities as soon as possible.\n\n> You look at what you're carrying with you\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a typewritten notice, a strange black disk, a newspaper and a broom.\n\nThe pockets of your trenchcoat contain a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a lantern, your umbrella and a towel.\n\n> Go south\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\n> Go east\nAs you cross the railroad tracks, the air seems to lift slightly, becoming more breathable once again.\n\nThe road carries you across a desolate heath of gray, windswept grass. To the south, the black, jagged outline of Anchorhead's steep roofs and sharp, leaning gables cuts across the horizon. The road forks here to the west and east, heading across the railroad tracks in one direction, out toward the seashore in the other.\n\n> Go south\nUgly, mint-green tiles and walls of whitewashed cinderblock comprise the decor of this inhospitable waiting room. A hard little sofa upholstered in avocado vinyl and a feebly struggling potted palm are provided for the comfort of visitors, although you get the feeling that few inmates of this institution are fortunate enough to have visitors. A metal gate bars entrance to a southern passageway, which you assume leads to the inmates' section. The exit lies north.\n\nAn orderly sits by the gate, leisurely perusing a pornographic magazine.\n\nA large key dangles from the orderly's belt.\n\nAiry strains of vacuous elevator music waft through the room from invisible speakers.\n\n> You look at the orderly\nThe pockmarked and overweight orderly is absorbed in his magazine, which is just as well, since it's kept him from turning his leering attentions to you. He occasionally pauses to tweak a swollen blackhead on the back of his neck, or to mutter some crass observation about one of the women in his magazine.\n\nThere's a name tag pinned to his expansive chest.\n\n> You examine tag\nIt reads: \"CHUCK\".\n\nThe orderly honks loudly into a handkerchief, pauses to take a quick peek at the goods, then stuffs the rag back into his pocket.\n\n> You look at the magazine\n\"Juggs\". How charming.\n\nThe orderly honks loudly into a handkerchief, pauses to take a quick peek at the goods, then stuffs the rag back into his pocket.\n\n> You ask Chuck about Edward\nThe orderly squints at you. \"Who? -- Oh, wait! You mean the guy, ventilated his whole goddamn family early this year. Yeah, I remember him. What a nutball. We put him in a rubber room, he lasted two weeks. Bashed his fuckin' brains in on the little observation window. Reinforced glass, took him right out.\" The orderly scratches his head. \"Christ, I gotta get around to cleaning that mess up one of these days.\" Then with a heavy sigh, he returns to his magazine.\n\n> You ask Chuck about the cell\nWhich do you mean, Danvers Asylum or the large cell key?\n\n> You touch the cell key\nThe orderly slaps your hand away. \"Nice try, lady, \" he sneers, \"but I got eyes in the back of my head; I'm like a fuckin' hawk.\"\n\nAiry strains of vacuous elevator music waft through the room from invisible speakers.\n\n> You ask chuck about Juggs\nHe fixes you with a disgusting leer. \"Great stuff, ain't it? Fuckin-ay. You should see the nutballs when they get a hold of this shit. Man, they can't get enough!\" The orderly guffaws for a moment or two, then finally catches your withering stare and, embarrassed, throws himself into the magazine with renewed abandon.\n\n> You play flute\n(the strange metal flute)\n(first taking the strange metal flute)\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nTaken.\nYou blow an open chord into the little flute, and it resonates with an eerie, metallic warble. The sound lingers in the air for a moment, then gently fades away.\n\n> You cover the sixth hole\nYou place your finger over the sixth flute hole.\n\nA gust of wind blows your hair into your face.\n\n> You open the door\nYou open the front door.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go north\nAlthough it appears spacious from the outside, the house's interior feels cramped and gloomy. The walls seem too close together; the ceiling is too high. The doorways, leading in several directions, are narrow and filled with shadows, and the stairs leading up to the second floor are steep and rickety. This is not a house that makes you feel welcome. It is a house that makes you feel tiny and timid, and afraid of dark places. It is a house that makes you feel alone.\n\nThe front door stands open to the south.\n\nYour luggage is still here, spread out all over the foyer.\n\n> You look in the tub\nThe bathtub is empty.\n\n> You look under the tub\nIt's just an ordinary-looking shower attachment.\n\nYou find nothing of interest.\n\n> You examine the lamps\nThe lamps are made of polished brass, with frosted green shades -- like an old-fashioned desk lamp, only mounted on the wall.\n\n> You look at the scene\nA group of old midwives cluster around a bed-ridden woman who is apparently giving birth. The old women are wizened and grim, with crooked hands and bloodstained aprons. They seem to confer with each other in dark whispers that the younger woman, who is drenched in sweat and obviously in great pain, cannot hear. By the corner of the bed, an ominous detail: a bucket full of murky, red water.\n\nStrangely, though, the old women are not the only ones present at the birth. Nearby, in another bed, lies a shriveled, decrepit old man. Although seemingly at death's door, he struggles to raise himself, as if to see the birthing over the heads of the hunched midwives. His wasted visage shows an expression of satisfaction or approval, and he is reaching out with one skeletal arm in a manner curiously similar to the famous picture on the Sistine Chapel, of God giving life to His creation Adam.\n\nYou shake yourself suddenly, and realize you've been staring intently at the painting for minutes on end. You step back and rub your tired eyes. When you look again, however, the picture you were just examining is no longer in front of you. None of the other paintings have moved as far as you can tell, but that particular scene seems to have disappeared without leaving so much as a blank space on the wall.\n\n> You unlock back door\n(first taking the keyring)\nYou unlock the back door.\n\n> You go to the east\nA high, spiked iron fence surrounds the rear and sides of the property, running all the way to the tree line. If you want to get around it, you'll have to go back through the house.\n\n> You go to the south\n(opening the front door first)\n\nThe lane runs up from the southeast and ends at a wide clearing surrounded by gnarled and ancient trees. A wide, curving driveway runs up to the front door of your house, which lies north.\n\nThe front door stands open to the north.\n\nThe Verlac mansion looms before you, casting an air of menace over the clearing.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go west\nAs you cross the railroad tracks, the air becomes warmer, more dingy, and slightly more difficult to breathe.\n\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You go to the south-west\n(opening the gate first)\nIt seems to be locked.\n\n> You go south\nThe path curves southwest, leading you into an overgrown area behind the mill.\n\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\nA gust of wind blows your hair into your face.\n\n> You go southeast\nThe trail heads up a short embankment and emerges from the thicket alongside the railroad tracks. The tracks run down from the northeast and past the mill, continuing southwest but slowly curving westward until they cross the Miskaton River some miles outside of town. From the embankment you can look out over the entire heath: jagged, shadowy rooftops to the south; the oily ribbon of the Miskaton to the west; and to the east, the lighthouse sentinel and the leaden waters of the Atlantic beyond.\n\n> You search thickets\nYou find nothing of interest.\n\nYou can hear a low rumbling and a distant, plaintive whistle coming from the northeast.\n\n> You enter the thickets\nThey're not something you can enter.\n\nThe train lumbers into view, its rumbling passage growing louder as it approaches.\n\n> You search thickets\nCarefully pushing the prickly branches aside, you find a rusty metal hatch set into the base of the wall.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind. You look to the east in time to see the train go by, rolling southwest past the mill toward less melancholy climes.\n\n> You examine the hatch\nIt's just an ordinary-looking metal hatch.\n\n> Go south\nThe street goes west from here. You can enter the office to the east or the alley to the southeast.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Clean table\nYou wipe your finger through the dust, revealing the rich teak beneath -- and a heavy scratch. Alarmed, you wipe away more dust... someone has scratched the letter \"C\" into the beautiful surface of this table.\n\n> You look at the C\nA deep scar in the shape of the letter \"C\", gouged into the teak.\n\n> Go south\n(opening the small metal door first)\n\nThis tiny, concrete-lined alcove within the underside of the bridge forms the top of a vertical shaft leading down into darkness. Iron rungs embedded in the wall provide a way down.\n\nIn the north wall is a small metal door.\n\n> You turn on the flashlight\nThe flashlight emits a warm yellow beam.\n\nThe tunnel is ankle-deep in brackish water, though raised walkways on either side provide relatively dry footing. The walls are slick, the air damp and foul. The main tunnel runs north and southeast. Numerous smaller pipelines lead in all directions, but all are too small for you to crawl through. Iron rungs embedded in the wall lead up through an access shaft, back to the surface.\n\n> Go west\nA wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.\n\nIn the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You ask Chuck about Michael\n\"Look, lady,\" the orderly interrupts you. \"Is your old man in there?\" He jerks his thumb toward the southern hallway. \"I didn't think so. Which means I don't give a fuck.\"\n\n> You get the magazine\n\"Hey, you fuckin' mind?\" snaps the orderly, snatching it away from you.\n\n> You take key\n(the cell key)\nThe orderly slaps your hand away. \"Nice try, lady, \" he sneers, \"but I got eyes in the back of my head; I'm like a fuckin' hawk.\"\n\n\"... ooh, yeah,\" whispers the orderly, ogling his magazine.\n\n> You drop all\nnewspaper: Dropped.\nstrange black disk: Dropped.\nstrange metal flute: Dropped.\nbroom: Dropped.\n\n> You take the bath\n(the towel)\nTaken.\n\n> You enter the tub\nYou get into the bathtub.\n\n> Go east\nYou'll have to get out of the bathtub first.\n\n> Go outside\nYou get out of the bathtub.\n\nA small chamber of cold, white tile and floral-print wallpaper. It sports a genuine, whitewashed, claw-foot bathtub with a shower attachment, which is a definite plus. The bedroom lies east.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nYou can also see a broom, a strange metal flute, a strange black disk and a newspaper here.\n\n> You go west\nA small chamber of cold, white tile and floral-print wallpaper. It sports a genuine, whitewashed, claw-foot bathtub with a shower attachment, which is a definite plus. The bedroom lies east.\n\nYour clothes lie in an untidy pile on the floor.\n\nYour trenchcoat is here.\n\nYou can also see a broom, a strange metal flute, a strange black disk and a newspaper here.\n\n> You take the bath\nThere's no need for a bath right now; you're perfectly clean.\n\n> You take all\nnewspaper: Taken.\nbroom: Taken.\nstrange metal flute: Taken.\nstrange black disk: Taken.\n\n> Go east\nThe master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.\n\nYou can also see a towel here.\n\n> You go southeast\nThe gentle creaking of hawsers and the hollow slap of water beneath the wooden pier provide a faint counterpoint to the endless, rhythmic surging of the sea. The fishing industry (like the paper industry) has all but died away in Anchorhead; nonetheless there are still a few boats tied to the pier. A path leads back through an opening in a chain-link fence to the northwest; otherwise, it's just you and the ocean.\n\nAn old, discarded tin of fish oil sits at the end of the pier.\n\n> You examine the tin\nIt's dented and rusty, and you can barely make out the words \"Skagen, Denmark\" printed along the side. The lid is closed.\n\n> You take the tin\n(slipping the strange metal flute into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You put tin in the coat\nYou slip the old tin into the pocket of your trenchcoat.\n\n> You open tin\nYou open the old tin, revealing a smelly quantity of fish oil.\n\n> You look at the oil\n(the fish oil)\nIt's a viscous, nasty-smelling goo, made from and made for feeding fish. Not very appetizing.\n\n> You smell it\nUgh.\n\n> You close tin\nYou close the old tin.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, changing environment, Lovecraftian, academic NPC, body horror, incest, Lovecraft, city, self-mutilation, horror]\n\n> Describe the surroundings\nThe gentle creaking of hawsers and the hollow slap of water beneath the wooden pier provide a faint counterpoint to the endless, rhythmic surging of the sea. The fishing industry (like the paper industry) has all but died away in Anchorhead; nonetheless there are still a few boats tied to the pier. A path leads back through an opening in a chain-link fence to the northwest; otherwise, it's just you and the ocean.\n\n> Go southwest\nThe decayed remains of an old slaughterhouse stand here, now little more than a shell of crumbling brick and gaping holes, surrounded by a clearing of yellow, sickly grass. A path leads northeast, back toward the road; to the west, a gaping hole that might once have been a doorway leads into the rotting building.\n\nThe forest is unnaturally quiet here, you notice; there are no birds calling, no leaves rustling or branches creaking; even the whippoorwills have fallen silent. All is still, holding its collective breath in an expectant hush.\n\n> You go west\nThe roof has collapsed, leaving the interior open to the sky; the floor is nothing but bare, beaten dirt. Gaps in the bricks lead east and south. Although nothing stands now but the tottering, crumbling stonework (and that only barely), you fancy you can still detect a faint miasma of death -- a palpable, chilling reminder of the bloody work which once went on within these walls.\n\nThere's something odd about the ground here; some faint marking or pattern.\n\nAn old rusty meat hook sticks out of the ground nearby, its point half-buried in the dirt.\n\nOver in the far corner, a tattered sheet of drawing paper lies discarded on the ground.\n\n> You take it\nThe crossbar fits in your palm, leaving the hook part to stick out between the third and fourth fingers. It's a heavy sucker, nearly fifteen inches long from handle to point, made for hauling around carcasses with a minimum of ceremony. You wouldn't like to think what this could do to a living person.\nTaken.\n\n> You take it\n(the newspaper)\nIt's the \"Weekly Arkham Herald\". Anchorhead, apparently, is not large enough to warrant its own newspaper.\n(slipping the strange black disk into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You take it\nThe drawing is of a pair of crudely rendered figures, scrawled with dark, heavy lines that occasionally punch right through the paper. The two figures are holding hands. The one on the left is a smiling woman with long, straight hair; the one on the right...\n\nWell, you don't know. Frankly, you'd rather not speculate. An octopus on human legs, maybe, if you could believe any healthy child would conceive of such a thing. Above the first figure is scribbled the word \"MOMY\"; above the second, \"WILAM (ME)\".\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You move the plywood\nYou dig your fingers under the edge of the plywood and, straining as hard as you can, manage to slide the heavy cover off the top of the well and onto the grass.\n\nA gust of wind blows your hair into your face.\n\n> You examine the bear\n(slipping the meat hook into the pocket of your trenchcoat to get a hand free)\nYou pick up the teddy bear. It is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\nIt is old and threadbare, its fur worn through to the stuffing in some places. Stitched onto its behind is the name \"Jeffrey\".\n\n> Go upwards\nYou painstakingly climb out of the old well.\n\nBeyond the south wall of the old slaughterhouse, there is nothing but a tangled thicket so dense as to be impenetrable in every direction except to the north, where you can slip back into the ruined slaughterhouse through a hole in the wall.\n\nRising from the midst of the underbrush is a squat circle of stone: the top of an ancient well.\n\nA rotting circle of plywood leans against the side of the well.\n\n> You go north\nThe roof has collapsed, leaving the interior open to the sky; the floor is nothing but bare, beaten dirt. Gaps in the bricks lead east and south. Although nothing stands now but the tottering, crumbling stonework (and that only barely), you fancy you can still detect a faint miasma of death -- a palpable, chilling reminder of the bloody work which once went on within these walls.\n\nThere's something odd about the ground here; some faint marking or pattern.\n\n> You examine the pattern\nThe marks in the dirt are tracks of some kind, but not of any animal you're familiar with, unless there's a lame elephant loose in the New England woods. The prints are large -- quite a bit larger than your outspread hand, and vaguely round. They criss-cross the ground in every direction. Whatever made them obviously lives here, or at least visits quite often.\n\n> Go east\nYou are about to step back through the eastern wall when a noise makes you stop. In the woods outside, to the east -- something is there. Something breathing. Something huge.\n\nA branch cracks sharply; and another. It's coming this way.\n\n> You go east\nThe forest grows denser as you go, crowding thickly up to either side of the road. The groping, tangled branches block out what little sunlight there is left. Your footsteps are muffled; whispering leaves and the slow drip of water are the only sounds you can hear. Beyond the watching trees, the shadows are impenetrably thick. The road stretches interminably, north to south.\n\nAt the edge of the forest, on the west side of the road, stand the rotted stump and twisted sapling from your dream.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go north\nThe gently winding lane makes its way through the birch woods south of town. New England foliage is famous for its splendid colors in the fall, but the oppressive weather and pervading murk have leached these trees of most of their tint. The road continues south into the increasingly dense forest, and in the other direction heads back to town. A paved walk also leads east through the trees.\n\nA small group of townsfolk has gathered up at the north end of the road. As you approach, still breathless from your encounter with the thing at the slaughterhouse, they turn toward you -- and that's when you notice that the one in the lead has an axe in his hand. And the one behind him has a pair of garden shears.\n\nA couple of men move over to your left, and several more step out of the forest behind you. All of them carry weapons or nasty farm implements of some kind, and all of them look as though they're just about ready to put an end to a certain over-curious, outsider woman who doesn't know enough to keep her nose out of things better left undisturbed.\n\n> You go to the east\nYou dart past the men on your right, making a break for the church. The townsfolk hover around the entrance to the churchyard but do not follow you, confident that there is no way you can escape.\n\nA low, wrought-iron fence, its spike-tipped bars bent or leaning at crazy angles, surrounds the overgrown yard of this dark, abandoned church. A gap in the fence leads back west, while a bare path beaten through the groping weeds leads around the church to the southeast.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Go southeast\nThe path bends northeast, around the side of the church.\n\nThe forest encroaches right up to the iron fence here, some of which is literally buried in the tangled underbrush. There are no doors on this side, although a wooden trap door over by the corner of the building probably leads into a cellar. A path leads southwest, around to the front of the church.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You break the padlock with the hook\n(first taking the meat hook)\n(slipping the newspaper into the pocket of your trenchcoat to get a hand free)\nYou raise the meat hook high over your head and bring it squarely down onto the padlock. The rusted metal casing splits open, the hasp falls loose, and the padlock, now nothing but a broken shell, slides to the ground.\n\n> You take the padlock\n(slipping the tattered drawing into the pocket of your trenchcoat to get a hand free)\nYou pick up the broken padlock. It's little more than a twisted hunk of torn metal. You'd hardly even guess it was ever used as a padlock.\n\n> You open the door\nYou open the trap door."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, self-mutilation, changing environment, research, body horror, academic NPC, child abuse]\n\n> Go downward\nAs you drop to the floor, the trap door suddenly slams shut above you. You hear noises outside -- something thumping against the door, and low voices. You hear someone muttering, and a brief round of unpleasant laughter. Then the voices drift away.\n\nIt is pitch dark, and you can't see a thing.\n\n> You jump\nYou take a few steps back, draw in a deep breath, and make a dash for the edge. At the last possible second you jump, sailing out over the pit as you make a desperate grab for the bottom riser...\n\n... and catch it.\n\nUnfortunately, you lose your grip on the broom, the teddy bear, the meat hook, the broken padlock and the small steel key while trying to grab the riser, and they tumble it tumbles into the darkness below.\n\nThe riser bends ominously under your weight but doesn't give. Panting, you haul yourself up onto the creaking stairs.\n\nThe stairs stop short about seven feet shy of the basement floor, the bottom-most steps hanging suspended over an empty shaft that descends beyond sight into the shadowy depths. What's left of the structure creaks and shifts uneasily under your feet. At the top of the stairs to the north, a doorway opens onto the ground floor of the church.\n\nThe creaking under your feet is getting louder.\n\n> You take rope\nYou pick up the length of rope. It's about twenty feet long, frayed in a few places but still sturdy enough.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hand a hooded robe.\n\nThe pockets of your trenchcoat contain a tattered drawing, a newspaper, a towel, a strange black disk, an old tin (which is closed), a strange metal flute, a silver locket, a gold locket, a flashlight (providing light), a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a book of matches with six matches left, a torn journal, a typewritten notice, a lantern and your umbrella.\n\n> You put the robe in the shaft\nThe hooded robe drops down out of sight, and a few seconds later you hear a faint splash."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist, child death, incest, rape references, strong NPCs, academic NPC, research, Lovecraft, changing environment, body horror, surreal]\n\n> Go down\nYou're at the end of the rope; there's nowhere else to go.\n\n> You turn on the flashlight\nThe flashlight must not be quite as waterproof as you originally thought; the beam flickers unsteadily, and you have to bang it against the palm of your hand a couple of times to get it to work.\n\nThe walls of this long, rectangular chamber are made of crumbling brick, not concrete; most likely it was built at some earlier period than the rest of the tunnels. The ceiling is lost in darkness above you, but from the sounds of the echoes it must be pretty high. Water flowing in from the northwestern tunnel has pooled in a depression sunk into the limestone floor, becoming quite deep near the far end.\n\nThe shattered wreckage of the church stairway lies half submerged in the water-filled depression. You're lucky to have missed it in your fall.\n\nYou can also see a hooded robe, a broom, a teddy bear, a meat hook, a broken padlock and a small steel key here.\n\n> You take all\nsmall steel key: Taken.\nhooded robe: Taken.\nbroom: Taken.\nteddy bear: Taken.\nmeat hook: (slipping the small steel key into the pocket of your trenchcoat to get a hand free)\nTaken.\nbroken padlock: (slipping the teddy bear into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You pour oil on the hinge\n(the fish oil on the rusty hatch)\nStop trying to make a mess.\n\n> You put the oil on the hinge\n(first getting some fish oil)\nYou dip your finger in and come up with a small glob of pungent fish oil.\n\nYou rub a good amount of fish oil all over the rusty hinges.\n\n> You close tin\nYou close the old tin.\n\n> You open hatch\nThe oiled hinges give a little, allowing you to wiggle your fingers further under the door's edge. A sharp tug -- and the door swings down suddenly, spilling filthy water into your face.\n\n> You go upward\nFrom the smell of it, this must be a sewage outflow tunnel. Filthy water swirls past a metal grate to the west and eddies around your hands and knees, on which you are forced to crawl in this cramped cylindrical passageway. To the east, the tunnel narrows still further, terminating about twenty feet further in a circle of dim light.\nMuch of the water is pouring through an open hatch set in the floor of the tunnel.\n\nThe flashlight beam flickers uncertainly for a moment, then comes back a bit weaker than before.\n\n> You go to the east\nYou reach the end of the pipe and wriggle your way out, dropping awkwardly to the sand.\n\nThis narrow strip of beach is tucked away between two outcroppings in the predominantly rocky shoreline, accessible only from a steep, muddy slope to the west. The sand is filthy and strewn with rocks, seaweed, litter and other bits of storm-tossed detritus.\n\nNear the bottom of the slope, a sewage outflow pipe juts out over the beach, about three feet above the ground. A thin stream of acrid-smelling sewer water trickles out over the lip of the pipe, forming a puddle in the sand.\n\n> You look at the puddle\nThe water coming from the pipe is foul-smelling and brown.\n\nIn the distance, you can hear the lonesome keening of a train whistle drifting on the wind.\n\n> You go west\nAt the top of the slope you find a tall, wooden fence with a loose board near the bottom; pushing it aside, you manage to wriggle through the gap.\n\nThis narrow aperture between two buildings is nearly blocked with piles of rotting cardboard boxes and overstuffed garbage cans. Ugly, half-crumbling brick walls to either side totter oppressively over you. The alley ends here at a tall, wooden fence.\n\nHigh up on the wall of the northern building there is a narrow, transom-style window. One of the garbage cans has been pushed up against the wall directly underneath it.\n\n> Go east\n(opening the real estate office door first)\n\nPallid gray light trickles in through the drawn blinds. The office is deserted, papers still scattered across the top of the desk. The front door lies west, and the file room lies east.\n\nThe office door is open.\n\nSitting on the corner of the paper-strewn desk are a telephone and an answering machine.\n\nSomeone seems to have left a cup of coffee sitting out, half-finished and cold.\n\n> You close the door\nYou close the real estate office door.\n\n> Unlock drawer with steel key\n(first taking the small steel key)\n(slipping the broken padlock into the pocket of your trenchcoat to get a hand free)\nYou unlock the drawer.\n\n> You open the drawer\nYou open the drawer, revealing a hastily written letter and a tarnished bronze key.\n\n> You take all from drawer\ntarnished bronze key: (slipping the old tin into the pocket of your trenchcoat to get a hand free)\nYou remove the tarnished bronze key from the drawer. It is heavy and apparently very old, crusted over in places with a thin rime of verdigris.\nhastily written letter: (slipping the small steel key into the pocket of your trenchcoat to get a hand free)\nYou remove the hastily written letter from the drawer. It consists of several pages torn from a yellow legal pad and stapled in the corner; each page is covered on both sides, top to bottom, with erratic, frightened handwriting. It is dated two days ago -- the day you arrived in Anchorhead.\n\n> You read the letter\n(the hastily written letter)\nThe letter reads:\n\n\"To whom it may concern --\n\n\"My name is Claudia Benson, and I attest that I am of sound mind and body, at least for what little time I have left.\n\n\"If you are reading this anywhere within the city limits of Anchorhead, be aware that your life is in grave and immediate danger. Nearly all of the inhabitants of this city are members of a secret cult that has thrived since before the first settlers arrived here in the early 1600s and is still strong today. Its members are fanatical and quite insane, and will kill anyone who learns their secrets. I received a phone call early this morning which I believe is a threat to my life; I assume the cult somehow discovered that I was planning to divulge information to an outsider and now plans to silence me. In case I don't make it, I am leaving this testimony for someone to find; hopefully it will be someone who can put a stop to this madness once and for all.\n\n\"The cult originally evolved from the rituals of the ancient Misquat Indian tribe that once lived in this region. Although this tribe is now extinct, its beliefs have been passed down relatively unchanged through generations of settlers for nearly four centuries. These beliefs center around the worship of some sort of demon or god from the outer reaches of space, which visited the earth millions of years ago and will return some day to wreak terrible destruction. I am unclear on the exact details as there is very little historical information available on this tribe, unless the University is hiding material from me, which I am half-convinced it may well be.\n\n\"The ringleaders of this cult are and have always been the Verlac family. Every second generation a male Verlac is born, and the role of high priest is passed down from grandfather to grandson, following some arcane ritual of ascension. There is a persistent legend that this ritual somehow involves a transmigration of souls -- that, in fact, all male Verlacs are actually the reincarnation of the original founder of the American line. Although this is obviously nothing more than local superstition, the legend has such a hold on the people of the region that it may have become a self-perpetuating delusion on the part of the members of the Verlac family, each male child honestly believing that he is his own grandfather reborn. Edward Verlac rejected this obscene birthright, and I believe that the townspeople drove him to insanity for it.\n\n\"Regardless of the truth behind these legends, the cult is planning to act very soon. In the 1920s, Edward's grandfather Mordecai Verlac began preaching that the return of the 'Nameless God' was imminent -- specifically, that it would occur the day after tomorrow. He re-opened the defunct paper mill, converting it into a factory to build some sort of device, a 'beacon' with which to facilitate the Nameless God's entry into this world. This device is very nearly finished, and in two days they will be ready to enact their great ritual -- what they call the 'Blessed Event'. It will most likely entail the wholesale slaughter of every non-cultist man, woman and child in the city. The child abductions of the past few years were most likely preparatory sacrifices perpetrated by the cult, and there is no reason to believe that the killing will stop once their great ritual is complete.\n\n\"If you are, in fact, the young man who planned to move into the Verlac estate, you must be careful. The cult is almost certainly watching your every move, and will attempt to induct and brainwash you into their cult or, failing that, murder both you and your wife. I had hoped to warn you upon your arrival; however, as the message on my answering machine this morning attests, I don't have much time left. With any luck, I'll be out of the city by tonight. If I don't make it, please try to stop these people. This key might help -- I managed to dig it out our old property file on the lighthouse. I know they consider that building important for some reason. Do what you can with it. And be careful. These cultists are a menace, inbred and insane to the last man, and no one will be safe until they are wiped off the face of the earth.\n\n\"Good luck, and be careful.\n\n-- Claudia Benson\"\n\n> You go to the west\n(opening the real estate office door first)\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\nThe office door is open.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You close the door\nYou close the real estate office door.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> You go west\nAs the lane winds along from east to west, it narrows until the steep, jagged rooftops on either side of the street practically touch each other. To the south, a side street leads across Whateley Bridge toward the center of town, and a twisting lane leads up a hill to the northwest. A short flight of steps to the north leads down to the local watering hole.\n\nThere appears to be a commotion of sorts to the south, where a group of townsfolk have gathered.\n\n> You show the bear to the woman\n(first taking the teddy bear)\n(slipping the tarnished bronze key into the pocket of your trenchcoat to get a hand free)\nThe woman's eyes widen in sudden recognition, and she takes the teddy bear from you, turning it over to read the name stitched on the back. Tears well up in her eyes, spilling over onto her pale, sunken cheeks. \"This is my boy's,\" she whispers. \"This is Jeffrey's.\"\n\nShe looks at you suddenly. \"Where did you find this? Did you find...\" but then she stops. She can see from your face that you have not found her son, only this one clue. But... even one clue, however tenuous, offers possibility. And the woman's face softens, just a little bit, with something that you guess hasn't made its home there in a very, very, long time:\n\nHope.\n\n\"Come in,\" she says softly. \"Thank you for bringing me this. Please, come in.\"\n\nShe steps aside from the door, and you enter her home.\n\nA dirty, ramshackle home, scraped together out of the bits and ends of working-class poverty. The floor is warped and broken wood, bare dirt showing through the cracks between boards. Rags hang across the window in lieu of curtains. Over in the far corner is a rickety old stove; in the opposite corner a threadbare cot; it hits you suddenly that a family of three once lived, slept and ate all in this single room, which is slightly smaller than your bedroom back at the house.\n\nThe woman watches you expectantly.\n\nOn the threadbare cot is a teddy bear.\n\nA set of grime-smeared overalls hangs on a hook next to the front door to the west.\n\n> You look at the woman\nShe is pale and thin from lack of food. Her hair is prematurely gray. The dismal poverty and constant fear that she has lived in all her life have leached her body of its youth, leaving her aged before her time, stooped and scarred with worry. She clutches a tattered shawl, its fabric the faded color of old dishwater, close around her throat, and she watches you the way a wounded rabbit might watch a potentially hungry cat.\n\n> You ask the woman about Jeffrey\n\"It came in the night,\" the woman tells you, her voice barely above a whisper, \"just like when it took all the other children over the years. It came through the window and took him away while we slept.\" The woman's voice breaks, and she shakes her head, trying not to weep. \"Without my Jeffrey, I don't know if I can go on.\" Her look implores you. \"If you do find him, please tell me. Please bring my boy back to me!\"\n\n> You tell the woman about William\nShe shakes her head. \"I don't know much about those folks, except that they're bad all the way through. I try to stay away from their business. They said it was Edward who was stealing all those children, but I guess that wasn't ever true.\"\n\n> You tell the woman about well\nThe woman presses her fist against her mouth and looks away. \"No,\" she says softly, \"I can't believe that. I can't believe my little boy could be down in that...\" She breaks off, unable even to complete the thought.\n\n> You tell woman about bones\nWhich do you mean, the dog's skeleton or the well?\n\n> You ask the woman about the overalls\nShe smiles, sad and wistful. \"Max did maintenance work up at the mill,\" she says, \"until the accident. It was five years ago this September. One of the big presses must have malfunctioned... they told me there were no remains to speak of...\" She sighs. \"Max was a good man. He took care of Jeffrey and me. I keep his overalls there to remember him by.\"\n\n> You ask the woman about Mill\nThe woman's expression grows hard and bitter. \"They keep us like animals,\" she says, indicating the shack, the town, the poverty around her. \"We're forced to live in company housing, buy all our food and goods from the company, all on the pittance the company gives us.\" She bites her lower lip. \"And now I don't even get that; with Max gone I'm drawing compensation, which was barely enough to feed Jeffrey and me... before... \" She stops as her lips begin to tremble.\n\n> You ask the woman about Claudia\nThe woman just looks away absently; apparently, she doesn't know very much about that.\n\n> You show the letter to the woman\n(the hastily written letter to the pale, frightened woman)\nThe woman hardly even looks at it.\n\n> You examine the overalls\nThey look like a normal set of industrial overalls, the kind of uniform you'd see mill workers in. Stitched into the fabric just above the breast pocket is the name \"Max\".\n\n> Search overalls\nIn the overalls is a long steel key.\n\n> You ask the woman about long steel key\n\"Max had lots of keys to the mill. He did maintenance work there.\"\n\n> You ask the woman for the long steel key\n\"Oh!\" exclaims the woman softly. \"I didn't even realize that was still in his pocket. I suppose it opens some door at the mill.\" She takes the key out of the overalls and looks at it for a long while. \"Yes,\" she says, finally. \"Take it. I don't need it... and perhaps it will help you find Jeffrey.\"\n\n> Goodbye\nThe woman seems lost in contemplation.\n\n> You go west\nThe woman attempts a wan smile as you make ready to leave. \"Thank you,\" she says softly, indicating the stuffed bear. \"If you discover anything else, please let me know.\"\n\nThe road peters out at a wide clearing of rutted mud, flanked by uneven rows of decrepit, clapboard shacks. The town is quiet, almost deserted; only a few bits of loose tarpaper blowing listlessly in the wind betray the overall stillness.\n\n> You go to the south-west\n(opening the gate first)\nIt seems to be locked.\n\nA gust of wind blows your hair into your face.\n\n> You search thickets\nCarefully pushing the prickly branches aside, you find a rusty metal hatch set into the base of the wall.\n\n> You unlock the hatch with the long steel key\nYou unlock the metal hatch.\n\n> Go inside\n(opening the metal hatch first)\n\nIt is pitch dark, and you can't see a thing.\n\nThe noise of machinery is growing steadily louder.\n\n> You turn on the flashlight\nThe flashlight must not be quite as waterproof as you originally thought; the beam flickers unsteadily, and you have to bang it against the palm of your hand a couple of times to get it to work.\n\nThe machines behind the walls are reaching a feverish pitch, and an unpleasant vibration ripples up and down the crawlway.\n\nYou are at the southern end of a long, narrow crawlway leading northward into the mill. All around you, through the metallic walls, you can hear the oppressive thumping and grinding of heavy machinery. The air in here is hot and smells of burnt engine oil.\n\nA large metal valve wheel juts out from the middle of one of the many fat, sweating pipes lining the walls. Just to its left is a gauge of some sort.\n\n> Examine gauge\nThe gauge has a circular face with a needle that sweeps in a 270 degree arc across a set of numbered calibrations, most of which are colored green. The last 30 degrees or so are colored bright red. The needle is slowly traveling down the right side of the dial, about three-quarters of the way to the red zone.\n\nJust as the mechanical noises reach a crescendo, the pipes at the north end of the crawlway suddenly give vent to an enormous gout of superheated steam. The entire north half of the crawlway is momentarily filled with vapor and intense heat, which just as quickly dissipates. The noise behind the walls recedes to a calmer level, and the needle on the gauge swings back down to zero.\n\n> Turn wheel\nThe metal wheel is incredibly hot, and you jerk your blistered hands away.\n\n> You put the towel on the wheel\n(first taking the towel)\n(slipping the hastily written letter into the pocket of your trenchcoat to get a hand free)\nYou drape the towel over the valve wheel.\n\nThe needle slowly creeps up the dial.\n\n> Turn wheel\nYou grip the sides of the wheel -- even through the towel, you can feel the heat radiating from it -- and haul it clockwise with all your strength. It squeaks reluctantly at first, then gives all at once. From down the corridor you hear an enormous hissing rush as steam is vented from the pipes, and the needle in the gauge drops abruptly down to zero.\n\nThe flashlight beam flickers uncertainly for a moment, then comes back a bit weaker than before.\n\n> Go north\nThe air grows hotter the farther in you go, and it is becoming difficult to breathe.\n\nYou are roughly at the center of the access crawlway, which stretches north and south from here.\n\n> Go north\nThe north end of the access crawlway ends at a sturdy metal hatch. A thick haze of steam hangs in the air, and the heat is like an oven -- the walls and floor are almost blistering to the touch.\n\nThe hatch is closed.\n\nIt is now pitch dark in here!\n\n> Light match\n(first taking the book of matches)\n(slipping the long steel key into the pocket of your trenchcoat to get a hand free)\nTaken.\nOne of the matches starts to burn.\n\nYou are at the southern end of a long, narrow crawlway leading northward into the mill. All around you, through the metallic walls, you can hear the oppressive thumping and grinding of heavy machinery. The air in here is hot and smells of burnt engine oil.\n\nA large metal valve wheel juts out from the middle of one of the many fat, sweating pipes lining the walls. Just to its left is a gauge of some sort.\n\n> Light lantern\nYou really should take it out of your pocket first.\n\n> You take the lantern\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nOuch! You drop the match as it burns down to your fingers.\n\nIt is now pitch dark in here!\n\n> Go west\nThe woman attempts a wan smile as you make ready to leave. \"Thank you,\" she says softly, indicating the stuffed bear. \"If you discover anything else, please let me know.\"\n\nThe road peters out at a wide clearing of rutted mud, flanked by uneven rows of decrepit, clapboard shacks. The town is quiet, almost deserted; only a few bits of loose tarpaper blowing listlessly in the wind betray the overall stillness.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> Go south\nThe road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.\n\n> Enter\n(opening the metal hatch first)\n\nIt is pitch dark, and you can't see a thing.\n\n> You go outside\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\nSet into the base of the mill wall, nearly covered by the thickets, is a metal hatch.\n\n> You take the lantern\n(slipping the hastily written letter into the pocket of your trenchcoat to get a hand free)\nTaken.\n\nThe cold wind cuts through your clothes, chilling you to the bone.\n\n> Go inside\nIt is pitch dark, and you can't see a thing.\n\nThe machines behind the walls are reaching a feverish pitch, and an unpleasant vibration ripples up and down the crawlway.\n\n> Light match\n(first taking the book of matches)\n(slipping the long steel key into the pocket of your trenchcoat to get a hand free)\nTaken.\nOne of the matches starts to burn.\n\nJust as the mechanical noises reach a crescendo, the pipes at the north end of the crawlway suddenly give vent to an enormous gout of superheated steam. The entire north half of the crawlway is momentarily filled with vapor and intense heat, which just as quickly dissipates. The noise behind the walls recedes to a calmer level.\n\nYou are at the southern end of a long, narrow crawlway leading northward into the mill. All around you, through the metallic walls, you can hear the oppressive thumping and grinding of heavy machinery. The air in here is hot and smells of burnt engine oil.\n\nA large metal valve wheel juts out from the middle of one of the many fat, sweating pipes lining the walls. Just to its left is a gauge of some sort.\n\n> You read the gauge\nThe gauge has a circular face with a needle that sweeps in a 270 degree arc across a set of numbered calibrations, most of which are colored green. The last 30 degrees or so are colored bright red. The needle is currently resting all the way to the left, at zero.\n\nThe needle slowly creeps up the dial.\n\nOuch! You drop the match as it burns down to your fingers.\n\n> You put the towel on the wheel\n(first taking the towel)\n(slipping the book of matches into the pocket of your trenchcoat to get a hand free)\nYou drape the towel over the valve wheel.\n\nThe noise of machinery is growing steadily louder.\n\n> Turn wheel\nYou grip the sides of the wheel -- even through the towel, you can feel the heat radiating from it -- and haul it clockwise with all your strength. It squeaks reluctantly at first, then gives all at once. From down the corridor you hear an enormous hissing rush as steam is vented from the pipes, and the needle in the gauge drops abruptly down to zero.\n\n> Go north\nThe air grows hotter the farther in you go, and it is becoming difficult to breathe.\n\nYou are roughly at the center of the access crawlway, which stretches north and south from here.\n\n> You go to the north\nThe north end of the access crawlway ends at a sturdy metal hatch. A thick haze of steam hangs in the air, and the heat is like an oven -- the walls and floor are almost blistering to the touch.\n\nThe hatch is closed.\n\n> You open hatch\nYou shove the handle down, and it remains in the lowered position when you let go. Behind the metal walls you can hear mechanisms clanking into gear, and a faint, rapid ticking sound.\n\n> Go north\n(opening the hatch first)\nThe handle is down as far as it will go.\n\n> You examine the hatch\nThe hatch is round and quite sturdy-looking. There is a handle on this side, and a small notice fixed to the wall nearby.\n\nYou hear a heavy clunking sound from within the hatch.\n\n> Printed\n\"Maintenance hatch operates on a timed-release mechanism. Door will unlock approx. 15 s after handle is pulled.\"\n\nThere is a sharp metallic CLANK from within the hatch, and the handle snaps back to an upright position.\n\n> You open hatch\nThe handle is down as far as it will go.\n\n> You go north\n(opening the hatch first)\nThe handle is down as far as it will go.\n\nYou hear a heavy clunking sound from within the hatch.\n\n> Go north\n(opening the hatch first)\nWith a sharp tug, the heavy metal door swings open.\n\nWaves of heat and noise assault you from every corner. Towering above you on all sides are the enormous vats, presses and sundry machinery, the ever-churning inner workings of the paper mill. An opening in the base of the south wall leads back to the maintenance crawlway, and narrow aisles lead in several other directions through the chugging machinery. A grilled catwalk high over your head provides a more direct route across the factory; however, you see no way to get up there from here.\n\nA long chain dangles from overhead, its last few feet pooled on the floor next to a bank of controls.\n\n> You examine the vats\nThe machines squat like gigantic mechanical trolls all around you, ceaselessly clanking, groaning, vibrating and spitting steam.\n\nStrange; although you could hardly call yourself acquainted with the workings of a paper mill, you can't help but notice that none of the machines you can see seem to be involved with anything like the making of paper. At any rate, you don't see any paper -- or any wood pulp, or any dye, or anything else you might reasonably assume a paper mill would have on hand -- anywhere. The machines are definitely busy churning out something -- but what?\n\n> You examine the controls\nThe waist-high bank has all number of arcane lights, dials and gauges on it; however, the only two controls that bear mentioning are a lever and a large red button.\n\n> Examine button\nIt's a large button, colored bright red.\n\n> You look at the lever\nThe lever juts out about a foot from the panel.\n\n> You examine the chain\nIt runs all the way up past the catwalk to the ceiling. Its links look somewhat greasy.\n\n> You go to the north\nYou take a deep breath, check your clothing for any loose, dangling hems that could be caught by a hungry gear shaft, and edge your way into the works.\n\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\n> Go north\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\n> Go northwest\nYour path is blocked by a towering bank of chugging machinery.\n\n> You go north\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nA red light bulb set high up on one of the machines begins blinking on and off.\n\n> Go south\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nYou notice a light bulb set high up on one of the machines, blinking bright, angry red.\n\nBolted to the side of one of the machines is a steel ladder, leading up.\n\n> You go upward\nSeveral workbenches and racks of arcane electronic equipment have been dragged together to form a sort of open laboratory on this wide balcony overlooking the mill. A wide table dominates the area, strewn with precision tools, bits of wire, and scribbled calculations. To the south, a narrow catwalk hangs above the mill floor, and a metal ladder leads down into the machinery below.\n\nProminent among the strange tools scattered across the table is a strange caliper-like instrument.\n\nOn the workbenches are some notes and some arcane electronic equipment.\n\nOne of the racks contains a number of circular mirrors, stacked side by side like dishes in a dishwasher.\n\nTacked up on the wall is a large technical blueprint.\n\n> You examine the mirrors\nWhich do you mean, the mirror labeled #1, the mirror labeled #2, the mirror labeled #3 or the mirror labeled #4?\n\n> You examine the blueprint\nThe blueprint is a technical schematic for some extremely complicated device, the exact purpose of which is anything but clear. It looks a bit like a telescope, a bit like a microwave oven turned inside out, and a bit like the \"industrial laser\" from Goldfinger. The\ninner workings of the device involve a complicated arrangement of lenses and mirrors and a hopeless tangle of circuitry that vaguely resembles several dozen street maps of Manhattan laid across each other. Some of the notations on the circuitry don't even look like technical symbols; they look more like cabbalistic runes.\n\nNext to what must represent the main focusing mirror of the device, someone has written the number \"0.0113\"; someone else, in another handwriting, has scratched that number out and written below it, \"0.0128\".\n\n> You look at the equipment\nCircuitboards, electronic components of various shapes and sizes. It's all entirely beyond you.\n\n> You examine the caliper\nMade of stainless steel, molded in a strangely flowing, almost organic design, the calipers -- if that is what they are -- resemble no other tool you've ever seen. It has three independently adjustable arms, each ending in a needle-point pincer, which fold back on themselves at grotesque, asymetrical angles toward a floating center point. There is a calibrated readout set near the base, which presumably provides a measure of whatever strange contortion of space is occupied by whatever object is placed between the pincers at the tool's other end.\n\n> Measure\nWhat do you want to measure?\n\n> You examine the notes\nThe notes are a mess of incomprehensibly scrawled numbers; long printouts of technical data, tangled diagrams and complex formulae. Even if you had the slightest idea what all the calculations meant, the numbers are barely even legible.\n\nLifting up a sheet of cribbed equations, you notice what looks to be a general memo to all mill workers.\n\n> You examine the memo\nIt's a flimsy sheet of paper with the following message printed on it:\n\n!!NOTICE TO ALL BRETHREN!!\nThe focusing mirrors must be kept absolutely clean at ALL TIMES. Even the slightest smudge of dirt or grease can create dangerous instabilities in the refraction patterns.\n\nAll mirrors must receive ionization treatment as a matter of course. As an extra precaution, however, always use sterilized surgical gloves when handling them.\n\nIn the Name of He Who Is Named Not,\nthe Mgt.\n\n> You examine table\nIt's just an ordinary-looking table."
    },
    {
        "text": "> Go downwards\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nBolted to the side of one of the machines is a steel ladder, leading up.\n\n> Go east\nYour path is blocked by a towering bank of chugging machinery.\n\n> You drop the notice\n(first taking the typewritten notice)\n(slipping the calipers into the pocket of your trenchcoat to get a hand free)\nTaken.\nDropped.\n\n> You go to the north\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nYou notice a light bulb set high up on one of the machines, blinking bright, angry red.\n\n> Inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a lantern (providing light), a broom and a hooded robe.\n\nThe pockets of your trenchcoat contain a pair of calipers, a book of matches with five matches left, a hastily written letter, an old tin (which is closed), a broken padlock, a meat hook, a tattered drawing, a newspaper, a strange black disk, a strange metal flute, a silver locket, a gold locket, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, your umbrella and three keys (a long steel key, a tarnished bronze key and a small steel key).\n\n> You drop the padlock\n(first taking the broken padlock)\nDropped.\n\nWithout warning, a shrieking steam-release valve lets loose a scalding gout of vapor right in front of you, causing you to stagger backward, strike a low railing with the back of your knees, and topple over into a stainless-steel mixing vat twenty feet deep.\n\nBefore you can recover from the fall, two dozen jet nozzles set around the inner circumference of the vat's rim squirt several hundred gallons of high-density mold-injection polymer onto you, at a temperature high enough to set cloth on fire -- although this is not a major concern for you, since you are almost instantaneously submerged and completely cut off from the air. The vat is filled to the rim in less than a second and a half -- slightly less time than it takes for the heat and lack of oxygen to kill you, and you are still to some degree conscious when the hydraulic mold-press slams down onto the seething liquid, generating a pressure that rapidly turns your body into something resembling a wet, wadded-up beach towel.\n\n> You go south\nWaves of heat and noise assault you from every corner. Towering above you on all sides are the enormous vats, presses and sundry machinery, the ever-churning inner workings of the paper mill. An opening in the base of the south wall leads back to the maintenance crawlway, and narrow aisles lead in several other directions through the chugging machinery. A grilled catwalk high over your head provides a more direct route across the factory; however, you see no way to get up there from here.\n\nA long chain dangles from overhead, its last few feet pooled on the floor next to a bank of controls.\n\n> You pull the lever\nYou feel something click as the lever activates a hidden releasing mechanism; then, suddenly, the chain snaps up into the air with a loud metallic rattle. You quickly step back as a large block of heavy equipment -- attached to the other end of the chain -- comes plummeting down from the ceiling. At the last instant, a system of reducing pulleys slows the block's descent and prevents it from crashing into the floor.\n\n> You examine the equipment\nA dense conglomeration of tubes and compressors packed into a sturdy metal frame; a bit like a cooling unit from the back of a refrigerator, only larger and even more technical looking. It's securely attached to the end of a chain, which in turn must be attached to some kind of pulley system up near the ceiling.\n\n> You get on it\nYou get onto the block of heavy equipment.\n\n> You pull the lever\nThe lever pulls down and then snaps back up -- ka-chunk!\n\n> Go north\nYou'll have to get off the block of heavy equipment first.\n\n> Go outside\nYou get off the block of heavy equipment.\n\nThe catwalk stretches north, a narrow ribbon of metal grillwork dangling fifty feet over the factory floor and shuddering dangerously in time with the machines beneath it. There are no railings of any kind. At the far end you can see what looks like a wide balcony with several large banks of equipment.\n\nA large block of heavy equipment hangs in the air just a foot or two beyond the edge of the catwalk.\n\n> You look at the balcony\nYou can't see it very well from here. It looks to be a workshop of some kind, with workbenches and several large banks of equipment.\n\n> You go to the north\nSeveral workbenches and racks of arcane electronic equipment have been dragged together to form a sort of open laboratory on this wide balcony overlooking the mill. A wide table dominates the area, strewn with precision tools, bits of wire, and scribbled calculations. To the south, a narrow catwalk hangs above the mill floor, and a metal ladder leads down into the machinery below.\n\nProminent among the strange tools scattered across the table is a strange caliper-like instrument.\n\nOn the workbenches are some notes and some arcane electronic equipment.\n\nOne of the racks contains a number of circular mirrors, stacked side by side like dishes in a dishwasher.\n\nTacked up on the wall is a large technical blueprint.\n\n> You take the calipers\nYou pick up the calipers. Made of stainless steel, molded in a strangely flowing, almost organic design, the calipers -- if that is what they are -- resemble no other tool you've ever seen. It has three independently adjustable arms, each ending in a needle-point pincer, which fold back on themselves at grotesque, asymetrical angles toward a floating center point. There is a calibrated readout set near the base, which presumably provides a measure of whatever strange contortion of space is occupied by whatever object is placed between the pincers at the tool's other end.\n\n> Measure 1\n(the mirror labeled #1)\n(with the calipers)\nThe instrument holds the mirror delicately clamped between its pincers; the readout reads \"0.0191\".\n\n> You put the caliper on the bench\nYou put the calipers on the workbenches."
    },
    {
        "text": "> Go downwards\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nBolted to the side of one of the machines is a steel ladder, leading up.\n\n> Go north\nYou are picking your way through a narrow gap between high banks of vibrating machinery. Twisting aisles branch off in numerous directions, some of them so narrow you'd have to turn sideways to make your way through.\n\nWithout warning, a shrieking steam-release valve lets loose a scalding gout of vapor right in front of you, causing you to stagger backward, strike a low railing with the back of your knees, and topple over into a stainless-steel mixing vat twenty feet deep.\n\nBefore you can recover from the fall, two dozen jet nozzles set around the inner circumference of the vat's rim squirt several hundred gallons of high-density mold-injection polymer onto you, at a temperature high enough to set cloth on fire -- although this is not a major concern for you, since you are almost instantaneously submerged and completely cut off from the air. The vat is filled to the rim in less than a second and a half -- slightly less time than it takes for the heat and lack of oxygen to kill you, and you are still to some degree conscious when the hydraulic mold-press slams down onto the seething liquid, generating a pressure that rapidly turns your body into something resembling a wet, wadded-up beach towel.\n\n> You go south\nWaves of heat and noise assault you from every corner. Towering above you on all sides are the enormous vats, presses and sundry machinery, the ever-churning inner workings of the paper mill. An opening in the base of the south wall leads back to the maintenance crawlway, and narrow aisles lead in several other directions through the chugging machinery. A grilled catwalk high over your head provides a more direct route across the factory; however, you see no way to get up there from here.\n\nA long chain dangles from overhead, its last few feet pooled on the floor next to a bank of controls.\n\n> You go south\nThe north end of the access crawlway ends at a sturdy metal hatch. A thick haze of steam hangs in the air, and the heat is like an oven -- the walls and floor are almost blistering to the touch.\n\nThe hatch is open.\n\n> Go south\nYou are at the southern end of a long, narrow crawlway leading northward into the mill. All around you, through the metallic walls, you can hear the oppressive thumping and grinding of heavy machinery. The air in here is hot and smells of burnt engine oil.\n\nA large metal valve wheel juts out from the middle of one of the many fat, sweating pipes lining the walls. Just to its left is a gauge of some sort.\n\nMichael's damp bath towel is draped across the wheel.\n\n> You unlock the door with the bronze key\n(first taking the tarnished bronze key)\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nYou unlock the massive bronze door.\n\nAnother wave crashes against the rocks, sending a cloud of spray into the air.\n\n> You go inside\n(opening the massive bronze door first)\nWith great effort, you manage to pull the ancient, creaking door open a few inches, enough to slip through.\n\nThe sound of the ocean is muffled behind the thick cinderblock walls, and the air is damp and heavy. You can almost feel the weight of two hundred feet of hoary old whitewashed brick pressing down on you from above. To the west, a narrow strip of dim light marks the exit. Cracked concrete steps lead up.\n\n> You go upward\nYou climb the winding stairs in a gradual spiral around the inner circumference of the tower, and finally emerge, breathless, at the top.\n\nThe stairs give onto a wide, circular chamber surrounded by windows. The glass is old and streaked with grime, but you still have to catch your breath at the magnificence of the view. In one direction, the dying heath and the stunted cluster of buildings that is Anchorhead; in the other, the ocean like a vast, undulating blanket.\n\nSitting in the middle of the room is what looks like a swivel mount of some kind, although nothing is mounted on it now. Looking up, you see that it rests directly below a large, hexagonal skylight.\n\n> You examine mount\nThe mounting is ring-shaped, about three feet in diameter, and is designed to allow whatever is to be mounted on it to turn freely in all directions. It was probably originally intended to hold the beacon when the lighthouse was still in operation.\n\n> You look at the skylight\nThat big, churning hole in the sky is perfectly framed by the hexagonal skylight.\n\n> You turn the mount\nThe swivel mount itself is not designed to turn; only whatever's mounted on it.\n\n> You look at the hole\n(the sky)\nThere is a spinning, churning hole in the clouds, an inverted whirlpool sucking streamers of gray up into itself. You'd think it was some sort of funnel cloud, except that it's not moving anywhere. It's simply hanging, turning slowly in the sky. The sight of that horrible, whirling hole makes you shudder, involuntarily recalling that hideous entity that lurks behind those clouds.\n\n> You examine the Anchorhead\nFrom this distance, all you can make out of Anchorhead are the leaning shapes of its rooftops, huddled in a thin, jagged line against the base of the hills to the south.\n\n> You examine the ocean\nThe great, gray ocean stretches out as far as you can see, merging with the clouds on the horizon.\n\n> You examine the chain\nIt runs all the way up past the catwalk to the ceiling. Its links look somewhat greasy.\n\nThe block of equipment sways and tilts slightly under your feet."
    },
    {
        "text": "> Go downward\nYou'll have to get off the block of heavy equipment first."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, incest, self-mutilation, horror, strong NPCs, violence, surreal]\n\n> Go downwards\nYou slide down the chain, landing awkwardly on the floor below.\n\nWaves of heat and noise assault you from every corner. Towering above you on all sides are the enormous vats, presses and sundry machinery, the ever-churning inner workings of the paper mill. An opening in the base of the south wall leads back to the maintenance crawlway, and narrow aisles lead in several other directions through the chugging machinery. A grilled catwalk high over your head provides a more direct route across the factory; however, you see no way to get up there from here.\n\nA long chain dangles from overhead, its last few feet pooled on the floor next to a bank of controls.\n\n> About yourself\nYou look good, considering you're covered in grimy ash, filthy from splashing around in the sewers and soaking wet. A bit rattled by recent events, perhaps, but well-poised and collected, all the same.\n\n> Examine gauge\nThe gauge has a circular face with a needle that sweeps in a 270 degree arc across a set of numbered calibrations, most of which are colored green. The last 30 degrees or so are colored bright red. The needle is currently resting all the way to the left, at zero.\n\n> You unlock the gate with the long steel key\n(first taking the long steel key)\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nThere don't seem to be any keyholes or locking mechanisms. Irritated, you wonder how anybody manages to get to work on time in this city.\n\n> Go east\nAs you cross the railroad tracks, the air seems to lift slightly, becoming more breathable once again.\n\nThe road carries you across a desolate heath of gray, windswept grass. To the south, the black, jagged outline of Anchorhead's steep roofs and sharp, leaning gables cuts across the horizon. The road forks here to the west and east, heading across the railroad tracks in one direction, out toward the seashore in the other.\n\n> You enter the pipe\n(the outflow pipe)\nWell, you've already been through this pipe from the other end, and at this point you can't get much dirtier than you already are, so... taking a deep breath, you duck your head and wriggle your way into the pipe.\n\nNote to self: if you ever make it through this alive, you'd better get one hell of an anniversary present come next June.\n\nFrom the smell of it, this must be a sewage outflow tunnel. Filthy water swirls past a metal grate to the west and eddies around your hands and knees, on which you are forced to crawl in this cramped cylindrical passageway. To the east, the tunnel narrows still further, terminating about twenty feet further in a circle of dim light.\nMuch of the water is pouring through an open hatch set in the floor of the tunnel.\n\n> You go to the west\nThe thick metal grate blocks further progress up the tunnel."
    },
    {
        "text": "> Go downward\nThis looks to be an older part of the sewer system that has fallen into disrepair. Many of the pipes here have crumbled and are filled with debris.\n\nSet in the low ceiling is an old iron hatch, hanging open.\n\n> You listen\nThe constant echoes of dripping water are quite loud in here.\n\n> You close the door\nYou close the small metal door.\n\n> You go west\nThe street leads east and south from here.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> Kiss chuck\nThe very thought is repellent.\n\n> You ask Chuck about Edward\nThe orderly squints at you. \"Who? -- Oh, wait! You mean the guy, ventilated his whole goddamn family early this year. Yeah, I remember him. What a nutball. We put him in a rubber room, he lasted two weeks. Bashed his fuckin' brains in on the little observation window. Reinforced glass, took him right out.\" The orderly scratches his head. \"Christ, I gotta get around to cleaning that mess up one of these days.\" Then with a heavy sigh, he returns to his magazine.\n\n> You ask chuck for the key\nWhich do you mean, the cell key, the long steel key, the tarnished bronze key, the small steel key, the small copper key, the old-fashioned brass key, the old-fashioned iron key, the key to the house or the key to the cellar?\n\n> Cell key\nThe orderly laughs. \"I don't think so, lady.\"\n\nYou pointedly look the other way as the orderly takes another tweak at the pimple on his neck.\n\n> You take the keyring\n(slipping the long steel key into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> You put the brass key on the keyring\nThe old-fashioned brass key is now on the keyring.\n\nThe orderly scratches himself absently.\n\n> You put long steel on the keyring\n(first taking the long steel key)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nThe long steel key is now on the keyring.\n\n> You put the small steel on the keyring\n(first taking the small steel key)\nThe small steel key is now on the keyring.\n\n> You look at the keyring\nIt's just an ordinary-looking keyring. There are seven keys (a small steel key, a long steel key, an old-fashioned brass key, a small copper key, an old-fashioned iron key, a key to the house and a key to the cellar) on it.\n\n> You shake keys\n(first taking the keyring)\nThat would accomplish very little.\n\n> Go south\n(opening the barred gate first)\nThe orderly laughs at your attempts. \"Nice try, lady, but you're never gettin' in there without this,\" he says, patting the key on his belt.\n\n> You ask Chuck about the Asylum\n\"Listen, I just work here, lady.\"\n\n> You ask Chuck about inmates\n\"We get all kinds of freaks in here, lady. You have no idea.\" The orderly laughs unpleasantly. \"We got some professor in week before last, found him naked in his office, he'd cut off his own fuckin' foot and was tryn'a eat it. Last year some guy killed his whole family with a goddamn shotgun.\" The orderly shakes his head. \"It's a great fuckin' world, ain't it, lady? Great fuckin' world.\"\n\n> You ask Chuck about Julia\nThe orderly shrugs. \"Wouldn't know,\" he mutters.\n\n> You ask Chuck about Chuck\nThe orderly leers at you. \"I get off later this evening, if you want to get to know me better.\"\n\n> You ask Chuck about Verlac\n(the Verlac family)\n\"I don't give a shit who you're related to,\" the orderly says wearily. \"You'll have to visit them somewhere else, because they ain't here.\"\n\n> You look at matches\nA label on the side reads, \"Water-resistant matches. Strike on cover.\" There are five matches left.\n\nYou pointedly look the other way as the orderly takes another tweak at the pimple on his neck.\n\nAiry strains of vacuous elevator music waft through the room from invisible speakers.\n\n> You look up Max Greer in the records\n(in the archives)\nMax Greer: born March 19, 1963.\n\n> You look up Max Greer in the records\n(in the archives)\nMax Greer: died September 2, 1992.\n\n> Go west\nAll of the doors are locked.\n\n> You show the letter to Chuck\nWhich do you mean, the hastily written letter or the letter opener?\n\n> Hastily\n(first taking the hastily written letter)\n(slipping the keyring into the pocket of your trenchcoat to get a hand free)\nHe glances at the hastily written letter without anything remotely resembling interest, and returns to his magazine without a word.\n\n> You show the skull to chuck\n(first taking the animal's skull)\n(slipping the hastily written letter into the pocket of your trenchcoat to get a hand free)\nHe glances at the animal's skull without anything remotely resembling interest, and returns to his magazine without a word.\n\n> You check your inventory\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands an animal's skull, a lantern (providing light), a broom and a hooded robe.\n\nThe pockets of your trenchcoat contain a hastily written letter, a keyring, on which are seven keys (a small steel key, a long steel key, an old-fashioned brass key, a small copper key, an old-fashioned iron key, a key to the house and a key to the cellar), a towel, a book of matches with five matches left, a tarnished bronze key, an old tin (which is closed), a broken padlock, a meat hook, a tattered drawing, a newspaper, a strange black disk, a strange metal flute, a silver locket, a gold locket, a flashlight, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice and your umbrella.\n\n> You show the faculty card to chuck\n(first taking the faculty card)\n(slipping the animal's skull into the pocket of your trenchcoat to get a hand free)\nHe glances at the faculty card without anything remotely resembling interest, and returns to his magazine without a word.\n\n> You stand\nThe block of heavy equipment sways alarmingly as you step off, almost spilling you.\n\n> You go to the north\nSeveral workbenches and racks of arcane electronic equipment have been dragged together to form a sort of open laboratory on this wide balcony overlooking the mill. A wide table dominates the area, strewn with precision tools, bits of wire, and scribbled calculations. To the south, a narrow catwalk hangs above the mill floor, and a metal ladder leads down into the machinery below.\n\nProminent among the strange tools scattered across the table is a strange caliper-like instrument.\n\nOn the workbenches are some notes and some arcane electronic equipment.\n\nOne of the racks contains a number of circular mirrors, stacked side by side like dishes in a dishwasher.\n\nTacked up on the wall is a large technical blueprint.\n\n> You take the blueprint\nThe blueprint curls up into a loose tube as you pull it from the wall.\n\n> Go south\nThe catwalk stretches north, a narrow ribbon of metal grillwork dangling fifty feet over the factory floor and shuddering dangerously in time with the machines beneath it. There are no railings of any kind. At the far end you can see what looks like a wide balcony with several large banks of equipment.\n\nA large block of heavy equipment hangs in the air just a foot or two beyond the edge of the catwalk.\n\n> You take towel\n(slipping the blueprint into the pocket of your trenchcoat to get a hand free)\nTaken.\n\n> Hastily\n(first taking the hastily written letter)\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nThe woman hardly even looks at it.\n\n> You show the blueprint to the woman\n(first taking the blueprint)\n(slipping the hastily written letter into the pocket of your trenchcoat to get a hand free)\nThe woman hardly even looks at it.\n\n> You look at what you're carrying with you\nYou are wearing your trenchcoat, your clothes and your wedding ring; in addition, you have in your hands a blueprint rolled into a loose tube, a lantern (providing light), a broom and a hooded robe.\n\nThe pockets of your trenchcoat contain a hastily written letter, a towel, a book of matches with five matches left, three keys (a long steel key, a tarnished bronze key and a small steel key), an old tin (which is closed), a broken padlock, a meat hook, a tattered drawing, a newspaper, a strange black disk, a strange metal flute, a silver locket, a gold locket, a flashlight, a keyring, on which are five keys (a small copper key, an old-fashioned brass key, an old-fashioned iron key, a key to the house and a key to the cellar), an animal's skull, Michael's faculty card, a bundle of soggy pages, a puzzle box (which is open but empty), a flask (which is closed), a letter opener, a slip of paper, a family album, a torn journal, a typewritten notice and your umbrella.\n\n> Go east\nIsolated and serene within its high, ivy-covered walls, Miskaton University represents this benighted town's single, if somewhat dubious, claim to cultural achievement. Founded some time in the early 1800s, the school's reputation and enrollment have diminished somewhat as Anchorhead drifts further and further into the abyss of provincial backwaterism. Still, it is generally recognized for its collection of folklore and esoteric mythology (one of the oldest and most extensive on the east coast). The Board of Deans was also kind enough to offer Michael a full professorship upon hearing of his recently discovered heritage and his plans to move into the estate. Ivory tower, perhaps, but at least they take care of their own.\n\nThere are numerous buildings surrounding this cobbled court, but the only one you are interested in is the library to the west.\n\nA gust of wind blows your hair into your face.\n\n> You go south\nThe game is up. You turn to run, but already the men are on your heels...\n\nThere is no time to run. Heavy boots on the cobblestones; hands lunging toward you -- they are everywhere, grabbing you from every side, immobilizing you. Someone's huge, calloused paw closes around your windpipe and starts to squeeze. Just before you black out, you can feel yourself being lifted off your feet...\n\n> You go north\nYou'll have to get off the block of heavy equipment first.\n\nThe block of equipment sways and tilts slightly under your feet.\n\n> You take the caliper\n(slipping the towel into the pocket of your trenchcoat to get a hand free)\nYou pick up the calipers. Made of stainless steel, molded in a strangely flowing, almost organic design, the calipers -- if that is what they are -- resemble no other tool you've ever seen. It has three independently adjustable arms, each ending in a needle-point pincer, which fold back on themselves at grotesque, asymetrical angles toward a floating center point. There is a calibrated readout set near the base, which presumably provides a measure of whatever strange contortion of space is occupied by whatever object is placed between the pincers at the tool's other end."
    },
    {
        "text": "[Themes: Lovecraftian, Horror, strong NPCs, violence, incest, city, Lovecraft, child death, research, female protagonist, self-mutilation]\n\n> Look around\nSeveral workbenches and racks of arcane electronic equipment have been dragged together to form a sort of open laboratory on this wide balcony overlooking the mill. A wide table dominates the area, strewn with precision tools, bits of wire, and scribbled calculations. To the south, a narrow catwalk hangs above the mill floor, and a metal ladder leads down into the machinery below.\n\nOn the workbenches are some notes and some arcane electronic equipment.\n\nOne of the racks contains a number of circular mirrors, stacked side by side like dishes in a dishwasher.\n\nTacked up on the wall is a large technical blueprint.\n\n> You look at the equipment\nCircuitboards, electronic components of various shapes and sizes. It's all entirely beyond you.\n\n> You search it\nThe mirror is perfectly round and exquisitely polished. It is very slightly concave on its reflecting surface, distorting the edges of your face as you stare into it. On the back is a small label with the number 3 written on it.\n\n> You examine rack\nThe rack has four slots labeled one through four.\n\nIn the rack are four mirrors (the mirror labeled #1, the mirror labeled #2, the mirror labeled #3 and the mirror labeled #4).\n\n> You take the rack\nThat's fixed in place.\n\n> Go south\nYou are at the southern end of a long, narrow crawlway leading northward into the mill. All around you, through the metallic walls, you can hear the oppressive thumping and grinding of heavy machinery. The air in here is hot and smells of burnt engine oil.\n\nA large metal valve wheel juts out from the middle of one of the many fat, sweating pipes lining the walls. Just to its left is a gauge of some sort.\n\n> You look at the pipes\nDozens of thick, metal pipes line the walls and ceiling of the crawlway, some of them leaking tiny plumes of steam from loose joints.\n\n> You examine the machinery\nThe machines squat like gigantic mechanical trolls all around you, ceaselessly clanking, groaning, vibrating and spitting steam.\n\n> Go north\nSeveral workbenches and racks of arcane electronic equipment have been dragged together to form a sort of open laboratory on this wide balcony overlooking the mill. A wide table dominates the area, strewn with precision tools, bits of wire, and scribbled calculations. To the south, a narrow catwalk hangs above the mill floor, and a metal ladder leads down into the machinery below.\n\nOn the workbenches are a printed memo, some notes and some arcane electronic equipment.\n\nOne of the racks contains a number of circular mirrors, stacked side by side like dishes in a dishwasher.\n\nTacked up on the wall is a large technical blueprint.\n\n> You take blueprint\n(slipping the mirror labeled #3 into the pocket of your trenchcoat to get a hand free)\nThe blueprint curls up into a loose tube as you pull it from the wall.\n\n> Go south\nThe catwalk stretches north, a narrow ribbon of metal grillwork dangling fifty feet over the factory floor and shuddering dangerously in time with the machines beneath it. There are no railings of any kind. At the far end you can see what looks like a wide balcony with several large banks of equipment.\n\nA large block of heavy equipment hangs in the air just a foot or two beyond the edge of the catwalk.\n\n> You go south\nThe foundations of an older structure lie crumbling in a sunken square of ground, hidden away behind the imposing shadow of the mill wall. Weeds push up through cracked and buckling slabs of concrete; twisted rebar and rusting pipes poke up like the legs of dead insects. The ruins are surrounded on all sides by dense thickets, although narrow, overgrown trails lead northeast and southeast through the underbrush.\n\nSet into the base of the mill wall, nearly covered by the thickets, is a metal hatch.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> Go northeast\nYou stand in a circular clearing among the stones, surrounded on nearly every side by the sea. Before you looms the ancient, massive lighthouse, a vertiginous pillar of pale brick jabbing defiantly up at the sky. The road from the southwest ends here, although it looks as though you could pick your way down the rocks to the southeast, around the structure's base.\n\nThe great bronze door of the lighthouse is closed.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You unlock the door with the bronze key\n(first taking the tarnished bronze key)\n(slipping the blueprint into the pocket of your trenchcoat to get a hand free)\nYou unlock the massive bronze door.\n\nThe cold wind blows harder, tugging at the hem of your trenchcoat.\n\n> You go inside\n(opening the massive bronze door first)\nWith great effort, you manage to pull the ancient, creaking door open a few inches, enough to slip through.\n\nThe sound of the ocean is muffled behind the thick cinderblock walls, and the air is damp and heavy. You can almost feel the weight of two hundred feet of hoary old whitewashed brick pressing down on you from above. To the west, a narrow strip of dim light marks the exit. Cracked concrete steps lead up.\n\n> You go upward\nYou climb the winding stairs in a gradual spiral around the inner circumference of the tower, and finally emerge, breathless, at the top.\n\nThe stairs give onto a wide, circular chamber surrounded by windows. The glass is old and streaked with grime, but you still have to catch your breath at the magnificence of the view. In one direction, the dying heath and the stunted cluster of buildings that is Anchorhead; in the other, the ocean like a vast, undulating blanket.\n\nSitting in the middle of the room is what looks like a swivel mount of some kind, although nothing is mounted on it now. Looking up, you see that it rests directly below a large, hexagonal skylight.\n\n> You examine mount\nThe mounting is ring-shaped, about three feet in diameter, and is designed to allow whatever is to be mounted on it to turn freely in all directions. It was probably originally intended to hold the beacon when the lighthouse was still in operation.\n\n> You examine the blueprint\nYou spread out the rolled-up blueprint to look it over.\n\nThe blueprint is a technical schematic for some extremely complicated device, the exact purpose of which is anything but clear. It looks a bit like a telescope, a bit like a microwave oven turned inside out, and a bit like the \"industrial laser\" from Goldfinger. The\ninner workings of the device involve a complicated arrangement of lenses and mirrors and a hopeless tangle of circuitry that vaguely resembles several dozen street maps of Manhattan laid across each other. Some of the notations on the circuitry don't even look like technical symbols; they look more like cabbalistic runes.\n\nNext to what must represent the main focusing mirror of the device, someone has written the number \"0.0113\"; someone else, in another handwriting, has scratched that number out and written below it, \"0.0128\".\n\n> You look at the disc\nIt's a dark, glassy circle, about the width of your hand in diameter and half an inch thick in the middle, tapering off to thinness toward the edge like a convex lens. Its color is the deep, oily black of obsidian, though you fancy you can see faint swirls of color inside it like the rainbow sheen of oil on water. Its curved surface is cool and perfectly smooth. Although incredibly hard, the material does not feel like stone; there is an odd, yielding quality to it, almost like something organic... almost, you realize with disquiet, like skin."
    },
    {
        "text": "[Themes: Science Fiction, twins, grue, planets, Dyson sphere, spaceship, money, sci-fi, stars, trade, science fiction, travel, exploration, future, gender-neutral protagonist, cat, siblings, space, aliens, cats, cyborg, space travel]\n\n\"It's not just the interest on your loan,\" you remember him saying. \"It's maintaining the cryo tube, storing it, powering it, insuring it... Shit, even paying for me to come out here and give you this little reminder goes on the bill.\"\n\nYou waited for him to get to the point.\n\n\"Five million credits. An even five mil. 5000k. I'm rounding down here. I'm on your side. You come find us on Autark; you pay off your balance; you get your twin back.\"\n\nNiv holstered his blaster and left then. When he was through the airlock, his goons left too.\n\nA grey, airless world, left lopsided by some ancient cataclysm.\n\nA crackling transmission reaches your ship from the surface. \"I see you up there, captain. You going to land any time soon?\"\n\n[Author's Note: A text-only space sim. Ply the spaceways. Make five million credits. Buy back your twin.]\n\n> You talk to the szymon\nSzy lurks in the bowels of your starship, doting over the core systems. A bit too much radiation exposure has left him a cybernetically-preserved head floating - detached and jawless - in the space helmet of a heavily patched old EVA suit.\n\nSzy's a pretty good engineer. And he works for free, which is just about in your price range.\n\nHis simulated voice rasps and crackles. \"Come to listen to an old slingshot mechanic prattle on, captain?\"\n\n(Press Z to listen. Press any other key to say farewell.)\n\n> Wait\n(Press Z to listen. Press any other key to say farewell.)\"You\nheard the lady, captain. We gonna land or what?\"\n\n> Land\nA cratered and mountainous wasteland that curves noticeably at the horizon. Abandoned mining equipment is strewn across the landscape.\n\nA dilapidated saloon sits in the shadow of a broad chasm, staffed by an automated bartender and patronised by long dead astronauts, mummified in their spacesuits.\n\nAn ageless woman with long, golden hair sits incongruously at\nthe bar. \"Don't be shy,\" she says. \"Talk to me.\"\n\n> You jump\n(Szymon)\nSzymon is here at the Surface of Boony.\n\n> You talk to the woman\nThe woman turns to you. A jagged scar runs diagonally across her unnaturally beautiful face and her right arm has been replaced with a cheap robotic claw. \"My name's Aurea,\" she says. \"And you need money.\"\n\nShe's not wrong.\n\n\"I can get you ten million creds,\" she continues. \"If you can get me to Haven. Yes, that Haven - the one inside Hardshell.\"\n\nThis whole thing was a wild goose chase. You're only here because you're desperate.\n\nThe auto-bartender hands her a shot of something glowing blue and she throws it back. \"Don't look like that, captain. I'm living proof that Hardshell's not impenetrable. It's where I came from.\nTake me with you, anyway. I've been starship crew before. I\nmight be useful.\"\n\n> You take Aurea\nAurea climbs aboard and slides into the co-pilot's seat. \"Okay, let's launch. Unless you want to check your ship's status\nfirst.\"\n\n> Status\nCredit balance: 0k (That is to say: you're broke.)\nEquipment: spacesuit (don't need air)\n\nCrew:\nYourself, Aurea and Szymon\n\nInstalled systems:\njump drive (superluminal travel)\n\nFuel:\n2/5 fusion cells charged\n\nReadable Data:\ndebt note, flight manual, ship's log and trading log\n\nCargo:\nnothing\n\n> You talk to the bartender\nThe automated bartender babbles a few platitudes from a broken voice recording.\n\n> You order the drink\nThe automated bartender serves a glass of your favourite poison.\n\n> You go to the north\nTo move: jump to worlds you have heard of, land and\nlaunch.\n\n> You jump to Haven\n(You launch first.)\n\nA grey, airless world, left lopsided by some ancient cataclysm.\n\nAurea rests her space boots on the dashboard. \"You want to learn more about Hardshell, you should jump to Lonely Rock, talk to Cifez.\nBut you're the captain, of course.\"\n\nYou could try jumping into Hardshell, but not knowing where anything is inside it, you'd probably materialise inside solid matter - just like every other idiot who ever tried it.\n\n> You jump to the lonely Rock\nA low drone begins to emanate from the heart of your ship, rising in pitch and intensity.\npitch and intensity.Slowly, a feeling of falling, of pitched acceleration begins to grow in the pit of your stomach. The universe elongates - stretching into a single line.\nelongates - stretching into a single line.Blinding light.\nelongates - stretching into a single line.Blinding light.Deafening white noise.\nwhite noise.(The fuel warning light blinks on.)\n\nThough it's not as bright as any star, the luminescence of Hardshell dominates the sky: a furrowed, flesh-and-metal sphere enclosing the entire star system. The entire star system, that is, except the irregular planetoid below; a little left over chunk of rock and ice.\n\nAn automated, meteor-shredded fuel station in low orbit offers the chance to refuel. Or it would if you weren't broke.\n\n> Land\nThe horizon bends precipitously and asymmetrically. The only habitation is a single transparent dome.\n\nA charity worker of uncertain origin has set up a refuge in the dome. His name badge reads simply \"Cifez\".\n\nRufo-C maintains a radio telescope directed at Hardshell.\n\nBelisent the Unready lives quietly in the dome's shadows.\n\n> You talk to Cifez\nCifez is a tousle-haired man, not quite young any more, wearing a practical jumpsuit.\n\n\"Aurea,\" he says, noticing your companion. \"Never thought I'd see you again.\"\n\n\"I want to get back in. To go home.\"\n\n\"Really?\" He studies her carefully for a moment. \"Didn't you say it was someone by the name of Prex who helped you escape?\"\n\nAurea nods. \"He helped a lot of us out.\"\n\n\"Well, he passed through here himself a while back. Guess if he knew how to get out, he might know how to get back in.\"\n\n\"Things must be really bad in there,\" Aurea says, \"if Prex gave up on it. Where did he wind up?\"\n\nCifez sighs. \"Somehow he caught the attention of the Diasporan Commonwealth. Some official types took him away. To Pearl\nprobably. I don't think he was a prisoner or anything, if that makes a difference.\"\n\n> You talk to Cifez\nCifez is a tousle-haired man, not quite young any more, wearing a practical jumpsuit.\n\n\"Prex went to Pearl, I think. After that, the flow of refugees\nslowed considerably.\"\n\n> You talk to Rufo-the C\nA young man with flawless hair and features, wearing cheap, eclectic clothes.\n\n\"Oh, hey. I, um, just maintain this equipment for Dr Vosov-R.\nOf course, this is small fry, but after what happened we had to scale back our operation.\"\n\nAurea steps right up to him. \"What do you mean, exactly?\"\n\nHe shrinks back nervously. \"We, uh, landed on the surface of Hardshell. The doc wanted to try and map the interior with his neutrino scanner. But, as soon as we started, the shell reacted pretty badly. We had to get out of there. No-one died or anything, but our grant was cut.\"\n\n\"And where is the doctor now?\"\n\nRufo shrugs. \"Probably back on Diallo. He's more a theory guy\nthan a field guy like, um, me.\"\n\n> You talk to Belisent\nRags are heaped high on this ageless woman. A lock of fiery red hair escapes her makeshift wimple.\n\nAurea blocks her path. \"You're still here, Belisent?\"\n\nThe woman seems to consider trying to shuffle away, then meets Aurea's gaze. \"Just wanted to get out. Didn't need to go far.\"\n\n\"I'm trying to get back in.\"\n\nBelisent remains expressionless. \"You're an idiot.\" After a second, she adds, \"But you're not alone. Barbarians jumped a whole fleet into the World. Picked up some of the panic even out here. Only one ship made it back out, of course.\"\n\n\"Who?\"\n\n\"I only got snatches. Patchwork people; all different pieces stitched together. A name, perhaps: Viscera.\"\n\nAurea clenches her remaining natural hand. \"Amalgs.\"\n\n\"Barbarians,\" Belisent says, shambling off. \"Just like they said.\"\n\n> You talk to Belisent\nRags are heaped high on this ageless woman. A lock of fiery red hair escapes her makeshift wimple.\n\n\"I gave you the name Viscera. Now leave me alone.\"\n\n> You examine the trading log\nKnown Merchants:\n-None\n\nOther Opportunities:\n-None known\n\n> Launch\nThough it's not as bright as any star, the luminescence of Hardshell dominates the sky: a furrowed, flesh-and-metal sphere enclosing the entire star system. The entire star system, that is, except the irregular planetoid below; a little left over chunk of rock and ice.\n\nAn automated, meteor-shredded fuel station in low orbit offers the chance to refuel. Or it would if you weren't broke.\n\n\"You know we've only got enough fuel for one more jump,\nright?\" Aurea says. \"We should head to somewhere in the Diasporan Commonwealth. The hyperspace gates'll let us jump between Commonwealth worlds without using up any fusion cells.\"\n\n\"And hey,\" she adds, \"don't forget we're in this together. You need help, you talk to me, okay?\"\n\n> You record Pearl\nYou record Pearl in your ship's log as a place of potential interest.\n\n> You jump to\nWhat do you want to jump to?\n\n> Status\nCredit balance: 0k (That is to say: you're broke.)\nEquipment: spacesuit (don't need air)\n\nCrew:\nYourself, Aurea and Szymon\n\nInstalled systems:\njump drive (superluminal travel)\n\nFuel:\n1/5 fusion cells charged\n\nReadable Data:\ndebt note, flight manual, ship's log and trading log\n\nCargo:\nnothing\n\n> Record Diallo\nYou record Diallo in your ship's log as a place of potential interest.\n\n> You read the log\nWhich do you mean, the ship's log or the trading log?\n\n> You read ship's log\nBoony, Lonely Rock+\n\n+fuel station in orbit\n\nPlaces of potential interest: Pearl and Diallo\n\n> You jump pearl\n(Red lights blink on around the cockpit. You're out of fuel.)\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> You talk to the viktoria\nViktoria's a stocky woman in a baggy flight suit, sleeves rolled up to her elbows.\n\n\"You heading to Khamsin? Got a package for Chief Drake. 1k credits if you deliver it and get back here in one piece.\"\n\n> Y.\n\"Okay, captain. See you when you're done.\"\n\nYou store the package in your hold.\n\n> Record khamsin\nYou record Khamsin in your ship's log as a place of potential interest.\n\n> You talk to the freighter captain\nYour comm screen shows only static as the captain drones lugubriously across the link.\n\n\"Just got this piece of junk overhauled at Cygnet and it crapped out after one jump. Now my buyer's nowhere to be seen and the parts I need are on order from the back end of nowhere.\"\n\nHe sighs heavily. \"Look, captain, if you'll buy this crate of\nKhamsin red wine for 2k credits it'll really help me out. Worth\nmore to a connoisseur, but where am I gonna find one of those in orbit around Pearl?\"\n\n> You jump khamsin\n(via hyperspace gate)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n> You talk to the Chief\n\"This is dangerous work, but it pays well. Uh, no, there aren't any openings at the moment.\"\n\n> You give the package to the chief\n\"Perfect. It's so hard to get fresh fruit here. My team will be delighted.\"\n\n> You jump pearl\n(via hyperspace gate)\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> You talk to the viktoria\nViktoria's a stocky woman in a baggy flight suit, sleeves rolled up to her elbows.\n\n\"Nice work, captain. Here's your creds. Come talk to me if you want more work.\"\n\n> You talk to the viktoria\nViktoria's a stocky woman in a baggy flight suit, sleeves rolled up to her elbows.\n\n\"Want to run another delivery for 1k? This one's for Grayson at Cygnet.\"\n\n> Y.\n\"Okay, captain. See you when you're done.\"\n\nYou store the package in your hold.\n\n> You jump cygnet\n(via hyperspace gate)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> You talk to Grayson\nYou order a shot of your favourite poison.\n\nGrayson nods his tattooed head and slides the glass to you across the bar. \"You won't find better grog in the Commonwealth, short of visiting my dear old home of Nereus.\"\n\n> You give the package\n(to Grayson)\n\"Ah... More of the secret ingredient for my famous Antimatter Bomb. Relax, captain: it's just a cocktail.\"\n\n> You talk to the traveller\nThe traveller raises his tankard. \"No heat shield, so I can't make atmo. No headjack, so I can't talk to weird cyborgs. No visa chip, so I can't see the Imago Republic. But this place... it always welcomes me with open arms.\"\n\nGrayson sighs. \"I think you've had enough, old man.\"\n\n> Record nereus\nYou record Nereus in your ship's log as a place of potential interest.\n\n> You look at the log\nWhich do you mean, the ship's log or the trading log?\n\n> You examine the trading log\nKnown Merchants:\n-None\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n\nOther Opportunities:\n-dejected freighter captain, selling a crate of Khamsin red (Pearl)\n\n> You give the wine\nWhom do you want to give the crate of Khamsin red to?\n\n> You jump cygnet\n(via hyperspace gate)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> You give the wine to Grayson\n\"Captain, I order my booze special. I'm very particular about it. I certainly don't serve my valued customers the piss that Khamsin passes for wine.\"\n\n> You record imago republic\nThe Imago Republic is a nation of multiple worlds. You can only jump to one at a time.\n\n> Land\nA landscape of vast mining machines and small, perfunctory buildings. Superheavy cargo transports crawl along the oversized roads. Most of the people around are shellskins, the smaller number of spacesuited figures seeming strange and unwieldy by comparison.\n\nSeveral ships are being overhauled in the mechanised dry dock run by that sly dog, Matej.\n\nDevrim directs the haulage traffic from a squat, functional\ntower.\n\nA stern forewoman oversees the operation of a deuterium mine.\n\na panic, clipboard clutched to his chest.\n\nVR-bar.\n\n> You talk to Szy\nSzy lurks in the bowels of your starship, doting over the core systems. A bit too much radiation exposure has left him a cybernetically-preserved head floating - detached and jawless - in the space helmet of a heavily patched old EVA suit.\n\nHis simulated voice rasps and crackles. \"Come to listen to an old reactor tech prattle on, captain?\"\n\n(Press Z to listen. Press any other key to say farewell.)\n\n> You wait\n(Press Z to listen. Press any other key to say\nfarewell.)\"Jumping between Commonwealth worlds will rest our poor\njump drive. And aren't there a few Commonwealth worlds we haven't stopped by yet?\"\n\nfarewell.)Szymon returns to work. \"Don't be a stranger, captain.\"\n\n> You talk to the clerk\n\"Everything is always a mess; everything is wrongly ordered, misdelivered, undelivered and late. Say, captain, want to buy a\nlarge oxygen canister for 2k credits? I need to get it off my\nlanding pad to make way for a million other mistakes that haven't happened yet.\"\n\n> You talk to the punk\n\"Yeah, yeah: detente, we're all friends now, forgive and forget. But I don't care how long ago the Battle of Franklin was, I can't blame the Imago Republic for keeping their borders closed after that.\"\n\n> You talk to Devrim\nDevrim's a wiry, hawkish man in a jumpsuit emblazoned with corporate logos.\n\n\"I haven't seen you in a while, captain. I suppose there's much more lucrative ways for a starship captain to make money than ferrying cargo pods into orbit. Still, if you need a few kilocredits, I could give you a small job for old time's sake?\"\n\n> Yes\n\"I've left them on the landing pad. Just take each one into orbit and I'll pay you 5k.\"\n\n> You take the pods\ncargo pod: The shipping-and-receiving clerk directs a heavy lifter to heft the cargo pod into your ship's hold. It just about fits.\ncargo pod: These cargo pods are huge. You only have room in your hold for one at a time.\ncargo pod: These cargo pods are huge. You only have room in your hold for one at a time.\n\n> Launch\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\nand collects the cargo pod you're carrying.\n\n> Land\nA landscape of vast mining machines and small, perfunctory buildings. Superheavy cargo transports crawl along the oversized roads. Most of the people around are shellskins, the smaller number of spacesuited figures seeming strange and unwieldy by comparison.\n\nSeveral ships are being overhauled in the mechanised dry dock run by that sly dog, Matej.\n\nDevrim directs the haulage traffic from a squat, functional\ntower.\n\nA stern forewoman oversees the operation of a deuterium mine.\n\na panic, clipboard clutched to his chest.\n\nVR-bar.\n\nYou can also see two cargo pods here.\n\n> You take the pod\n(the cargo pod)\nThe shipping-and-receiving clerk directs a heavy lifter to heft the cargo pod into your ship's hold. It just about fits.\n\n> Land\nA landscape of vast mining machines and small, perfunctory buildings. Superheavy cargo transports crawl along the oversized roads. Most of the people around are shellskins, the smaller number of spacesuited figures seeming strange and unwieldy by comparison.\n\nSeveral ships are being overhauled in the mechanised dry dock run by that sly dog, Matej.\n\nDevrim directs the haulage traffic from a squat, functional\ntower.\n\nA stern forewoman oversees the operation of a deuterium mine.\n\na panic, clipboard clutched to his chest.\n\nVR-bar.\n\nYou can also see a cargo pod here.\n\n> Launch\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\nand collects the cargo pod you're carrying.\n\nYou receive a transmission from Devrim. \"Thanks, captain. I've\nsent you the credits.\"\n\n> You ta"
    },
    {
        "text": "lk to the forewoman\nShe's tall, loping and silver-shelled.\n\n\"My boys and girls give their all. Makes me proud. But they do work up an awful thirst.\"\n\n> You sell the wine to the forewoman\n\"I know a lot of thirsty miners who will really appreciate this. Sure, connoisseurs turn their noses up at Khamsin wine, but to us, booze is booze. 10k credits good enough for ya?\"\n\n> You buy the map\nYou buy the Diasporan Commonwealth star map for 2k credits, leaving you with 13k credits.\n\n> You read the star map\nThe following worlds are part of the Diasporan Commonwealth: Pearl, Storm, Khamsin, Cygnet, Nereus, Skadi and Autark.\n\n> Launch\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> You jump to Pearl\n(via hyperspace gate)\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> You jump to the cygnet\n(via hyperspace gate)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> Refuel\nYou can replenish your fusion cells at the industrial fuel rig for 1k credits each. 5 cells are expended.\n\nHow many do you want to refuel?\n\n> You jump to the Storm\n(via hyperspace gate)\n\nAn unbroken layer of cloud leaves this planet an almost featureless grey sphere.\n\nThe Commonwealth military fleet is in orbit: hulking warships\nready to jump into trouble at a moment's notice.\n\ndefence network.\n\nA merchant service fuel tanker services civilian traffic.\n\n> You talk to the lyulf\nAn imperiously bearded officer appears on your screen.\n\n\"You're welcome to land, captain, but this is a predominantly military world. Civilian freighters are better off going to Cygnet.\"\n\n> You jump to the nereus\n(via hyperspace gate)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> You talk to the meriel\n\"I like it up here. Watching the clouds, chatting with the odd space captain. Not that I'm calling you odd or anything. Although... Anyway, much better than doing national service on Storm. Deserting was the best thing I ever did.\"\n\n> Land\nNereus has an atmosphere. You'll need a heat shield to get close without burning up.\n\n> You jump to the skadi\n(via hyperspace gate)\n\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D.\n\n> You talk to the kala-the d.\nA harsh, authoritarian voice over the comm: \"Traffic in orbit around Skadi is strictly monitored. No dumping space junk; no smuggling flora or fauna; no deviating from your designated landing path. We are authorised to use lethal force.\"\n\n> Land\nA sealed, metal-sided citadel grasps the underside of the frozen surface: an upside-down, underwater city. Plant fronds dangle into depths where strange silhouettes swim and dart.\n\nQuarantine is a way of life on Skadi. Most citizens wear cleansuits and face masks.\n\nMany parts of the city are closed to you, but the canteen run by\nChef Elin and Chef Iason is open to all.\n\nA researcher picks sadly at his food in the canteen.\n\nA red hot diver melts through the ice far from the city.\n\n> You talk to Elin\nA big, red cheeked woman with an infectious smile.\n\n\"Iason learned to cook in the military, serving slop to the troops on Storm. To him everything is meat, meat, meat. But if I had the right ingredients I could cook a vegetarian meal that would knock everyone's socks off.\"\n\n> You talk to Iason\nHe hacks into slabs of meat, violently, with a sizeable cleaver.\n\n\"People in this city live their whole lives being told not to touch the animals. So naturally, they want to eat animals. It\nsatisfies a deep urge to rebel. But the meat I have to work with here... Abysmal.\"\n\n> You talk to the researcher\n\"Yeuch. I know this place is a research facility and not a pleasure resort, but the slop they serve here is unbearable.\"\n\n> You talk to the diver\nSteam rises from her wetsuit. Empty jars clink at her belt. She levels a harpoon gun at you, in a not-too-unfriendly kind of way.\n\n\"Unauthorised specimen. 2k. Cross me and regret it.\"\n\n> You read the trading log\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n\nOther Opportunities:\n-shipping-and-receiving clerk, selling a large oxygen canister (Surface of Cygnet)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\nChef Elin (Subsurface of Skadi), Chef Iason (Subsurface of Skadi)\n\n> Launch\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D.\n\n> You talk to Devrim\nDevrim's a wiry, hawkish man in a jumpsuit emblazoned with corporate logos.\n\n\"Got a few cargo pods to ferry into orbit if you want to make a few kilocredits?\"\n\n> Yes\n\"I've left them on the landing pad. Just take each one into orbit and I'll pay you 5k.\"\n\n> You buy the heat shield\nYou buy the sleek heat shield for 10k credits, leaving you with 3k credits.\n\n> Launch\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> Land\nBlue skies; carefully managed fields and forests; air that's almost baseline-breathable. Elevated highways pass over the greenery with minimal impact, tangling together at the foot of narrow skyscrapers.\n\nThe tallest spire reaches towards the gas giant above, satellite towers splitting off like branches: the Commonwealth Building itself. A cyborg representative allows citizens to query the government systems.\n\nembassy.\n\nBesnik's small knickknack shop stands on splayed stilts, trees\nleaning out from beneath it in search of sunlight.\n\nThe landing pad is maintained by the shellskin, Katalin.\n\n> You talk to the cyborg\nA friendly face on the end of thick, articulated data hoses.\n\n\"How can I help you?\"\n\nAurea steps forward, golden hair billowing improbably. \"I'm looking for someone by the name of Prex. He originated on Haven. And he might have given his full name as Praxiteles the Unsatisfied.\"\n\nThe representative thinks for the briefest moment. \"Prex. Biological classification: human, other, modified. Granted asylum approximately three cycles ago. After fifty days, he boarded a transport bound for Jarland. No other public information is available.\"\n\nAurea frowns. \"Jarland? And yes, captain, before you ask, I have a dumb name too. No, I'm not telling you what it is.\"\n\n> Record jarland\nYou record Jarland in your ship's log as a place of potential interest.\n\n> You talk to the ambassador\nThe ambassador is an unnaturally dignified woman in a neat business suit.\n\n\"I'm sorry,\" she tells you, \"but I have no authority over the distribution of visa chips. The Immigration Ministry on Venter controls access to the Republic.\"\n\n> Record Venter\nYou record Venter in your ship's log as a place of potential interest.\n\n> You talk to Besnik\nBesnik's carefully cultivated oddball persona is completed by a patched waistcoat and antique pince-nez glasses.\n\n\"Not got much here that'll interest a space captain. This autodoc\nunit maybe? It's a curio by modern standards, but some folks out\nthere in the black might be lucky to have it. I'll let you take it away it for 2k credits.\"\n\n> You talk to Katalin\nThe sun gleams off her opalescent skin.\n\n\"Yeah, I know, a shellskin living on the most hospitable world in the Commonwealth. I've heard it all before. I may not need air, but I like forests and fields. And vacuum is only a short hop away, in any case.\"\n\n> You read the trading log\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n\nOther Opportunities:\n-Besnik, selling an autodoc unit (Surface of Pearl) -shipping-and-receiving clerk, selling a large oxygen canister (Surface of Cygnet)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\nChef Elin (Subsurface of Skadi), Chef Iason (Subsurface of Skadi)\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Prex knows more than anyone about getting out of Hardshell, so hopefully he can get me back in. He was last seen heading to Jarland.\"\n\n\"We should be on the lookout for an amalg called Viscera.\"\n\n\"Dr Vosov-R on Diallo tried to scan Hardshell or something.\"\n\n> Launch\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> Land\nRain pelts down from the thick clouds above, feeding rivers that wind through warped and improbable rock formations. Air pressure and temperature are tolerable, but the pure carbon dioxide atmosphere is unbreathable for even the hardiest diasporans. Every building - civilian or military - is a robust fortress or sunken bunker. Overground traffic consists of a few rugged all-terrain rovers.\n\nA uniformed general meticulously maintains his garden under a reinforced dome.\n\nAn off-duty soldier throws back drinks in an underground bar.\n\nSitting in the lee of an austere building, military-issue breather mask held over his face, is a homeless veteran.\n\nA combat synthetic skulks around the landing pad in ill-fitting civilian clothes.\n\n> You talk to the general\nHe wears mixed-terrain camouflage fatigues and brightly coloured gardening gloves.\n\n\"Good day, captain. Admiring my little domed oasis? Those spiked bubble-plants are from Khamsin. The pond vines are descended from native Skadi flora. And that willow tree? Well, I picked it up during a police action on Unity. It has sentimental value, even if it's ugly as sin.\"\n\n> Record unity\nYou record Unity in your ship's log as a place of potential interest.\n\n> You talk to the soldier\n\"Cyborgs to the left of us, bioroids to the right. The Commonwealth's the only place left where you can find true humans.\" Her\ngills swell with suppressed rage.\n\n> You talk to the veteran\n\"You're a vagabond, captain? Me too. Used my old buddies still in the service to get hold of this classified intelligence report,\nfresh up-to-date. Gotta be worth at least 5k credits. I don't want to know what you do with it. I don't care. Gave my heart and soul at the Battle of Franklin and damned if I got any loyalty back from them after.\"\n\n> Record franklin\nYou record Franklin in your ship's log as a place of potential interest.\n\n> You talk to the synthetic\n\"Please. My name is Link-J. They made me to kill, but I don't want to. Please, take me to Venter so I can be with my people. I only\nhave 13k credits, but it's all yours.\"\n\n> You take Link\n\"Thank you. I will require little in the way of sustenance.\"\n\nLink-J moves his few belongings into one of your ship's smaller cabins.\n\n> You jump to the nereus\n(You launch first.)\n\nAn unbroken layer of cloud leaves this planet an almost featureless grey sphere.\n\nThe Commonwealth military fleet is in orbit: hulking warships\nready to jump into trouble at a moment's notice.\n\ndefence network.\n\nA merchant service fuel tanker services civilian traffic.\n\n(via hyperspace gate)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> Land\nAiry, simple buildings break up a multi-coloured and chemically unstable mix of diasporan and native flora. The ocean sparkles at the horizon in every direction.\n\nNereus' most famous resident is the radical artist Tomer.\n\nA nervous girl paces the pier, twirling her parasol.\n\nA marine biologist lives out of his submersible, washing strung between two palm trees.\n\nA group of surfers lounge around a beach barbecue.\n\n> You talk to Tomer\nYou find him to be surprisingly accessible. Also wild-eyed and moustachioed.\n\n\"You will buy this decompressionist statue. The last one I will\never make. Now I spit on the decompressionists. They are stale and trite. 1k credits. I'm charging you too much. I should pay you to take this garbage away. But I must eat.\"\n\n> You talk to the girl\nShe notices you from a distance and calls out. \"You! Space captain! Excellent! I need something romantic and surprising and exotic and perfect. You must have found something like that somewhere right? Please, it's very important...\"\n\n> You talk to the biologist\nHe shakes his head. \"Nereus was settled too early in the diaspora. Before we knew better. What I wouldn't give for the quarantine they have on Skadi. This ecosystem will never be the same again.\"\n\n> You talk to the surfers\nTheir necks are gilled, their hands and feet webbed.\n\n\"Man,\" one says, \"what a mindscrew that Autark is in the Commonwealth and Jarland isn't.\"\n\nHer friend shrugs. \"Jarland values its independence, dude.\"\n\nAnother butts in: \"And Autark would be just another lawless backwater getting owned by the amalgs without the Commonwealth fleet only a gate away.\"\n\n> You jump to Khamsin\n(You launch first.)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n(via hyperspace gate)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n> Land\nSkyscrapers cluster together in the planet's only city, a small metropolis at the heart of a barren, dusty wasteland.\n\nA party of robed hunters has made camp outside the city.\n\nA caravan of nomads circumnavigates the planet's tiny ocean.\n\nRella camps out in the spikelands.\n\nlanding pad.\n\n> You talk to Link\n\"Please, when will we arrive at Venter?\"\n\n> You talk to the hunters\nProtected from the harsh elements by billowing robes, they peer at you through tinted goggles. One of them steps forward to speak halting Nacrese.\n\n\"This is the last of our sand dragon meat. For 2k.\"\n\n> You talk to the nomads\nThey walk on elongated, webbed feet and watch you through thickly lashed eyes.\n\n\"This pilgrimage is harder than even the ancestors decreed. In their time this ocean was freshwater. Now it is brine.\"\n\n> You talk to Rella\nLong, dark-blonde hair spills out around her utilitarian gas mask.\n\n\"These lands are harsh and strange, but if you respect them, you can still find a home here.\"\n\n> You talk to man\n\"Why did you even come to this hole? I'm Mirek. I'm tired and I'm bored to death. Can I catch a ride to Xanadu? I'll pay you 20k.\nLife is easy there, not like this place.\"\n\n> You record the xanadu\nYou record Xanadu in your ship's log as a place of potential interest.\n\n> You buy the meat\nYou buy the sand dragon meat for 2k credits, leaving you with 1k credits.\n\n> You read the trading\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n\nOther Opportunities:\n-Besnik, selling an autodoc unit (Surface of Pearl)\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n-shipping-and-receiving clerk, selling a large oxygen canister (Surface of Cygnet)\n-Tomer, selling a decompressionist statue (Surface of Nereus)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\ncoastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), Chef Elin (Subsurface of Skadi), Chef Iason (Subsurface of Skadi)\n\nCargo:\nsome sand dragon meat\n\n> You jump to the skadi\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n(via hyperspace gate)\n\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D.\n\n> Land\nA sealed, metal-sided citadel grasps the underside of the frozen surface: an upside-down, underwater city. Plant fronds dangle into depths where strange silhouettes swim and dart.\n\nQuarantine is a way of life on Skadi. Most citizens wear cleansuits and face masks.\n\nMany parts of the city are closed to you, but the canteen run by\nChef Elin and Chef Iason is open to all.\n\nA researcher picks sadly at his food in the canteen.\n\nA red hot diver melts through the ice far from the city.\n\n> You sell the meat\nWhom do you want to sell the sand dragon meat to?\n\n> Iason\n\"The meat of a Diasporan animal gone wild. Sand dragon. A delicacy on its own world, let alone on this world of limited menus. 11k credits. A fair price, you agree?\"\n\n> You look\nA sealed, metal-sided citadel grasps the underside of the frozen surface: an upside-down, underwater city. Plant fronds dangle into depths where strange silhouettes swim and dart.\n\nQuarantine is a way of life on Skadi. Most citizens wear cleansuits and face masks.\n\nMany parts of the city are closed to you, but the canteen run by\nChef Elin and Chef Iason is open to all.\n\nA researcher eats intermittently in the canteen.\n\nA red hot diver melts through the ice far from the city.\n\n> You talk to the researcher\n\"Would you believe it, the food is actually getting better round here? It still has its off days, though.\"\n\n> You jump to the Autark\n(You launch first.)\n\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D.\n\n(via hyperspace gate)\n\nAirless ice-moon of a blac"
    },
    {
        "text": "k-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\n> Status\nCredit balance: 12k\nEquipment: spacesuit (don't need air)\n\nCrew:\nYourself, Aurea and Szymon\n\nInstalled systems:\njump drive (superluminal travel)\nsleek heat shield (atmo entry)\n\nFuel:\n5/5 fusion cells charged\n\nPassengers:\nLink-J (Venter)\n\nReadable Data:\nDiasporan Commonwealth star map, debt note, flight manual, ship's log and trading log\n\nCargo:\nnothing\n\n> You talk to Leda\nYour transmission is refused immediately.\n\n> You talk to the Silver\nVoluptuous and barely dressed; her hair spills out around her in a ridiculous cloud of floating curls.\n\n\"This race is a hyperbolic orbit out past the furthest moon. First place gets 6k, sixth place 1k. Our sixth racer just pulled out - overclocked reactor melting down or something - so even if you come in dead last you still make some creds. So, do you wanna race, captain?\"\n\n> Yes\n\"What's your ship called, then? Something fast-sounding, I hope.\"\n\n> Zuwarmdraussen\n\"Let me make sure I got that right. Your ship is the Zuwarmdraussen?\"\n\n> Yes\n\"Now if you'll just sign these disclaimers, waivers and other things you don't need to read too carefully, you're ready to race!\"\n\nYou line your ship up alongside the other racers and plot your course past the furthest moon from the ice giant. Crowds waving banners press against the habitat's windows, their jubilant cries failing to carry across the vacuum.\n\nA glowing hologram of Silver throbs into existence beyond the starting line. \"Ready...\"\nline. \"Ready...\"\"Set...\"\nline. \"Ready...\"\"Set...\"\"GO!\"\n\nYou slam your ship's throttle to the max.\nYou slam your ship's throttle to the max.The other racers, in their specialised ships, easily pull away from you, leaving you trailing far behind. By the time you reach the finish line, another glass-sided habitat, your underdog status seems to have won you some fans.\n\n\"And crawling over the finish line in sixth place, it's the Zuwarmdraussen! It seems that sometimes you do get a prize\njust for taking part.\"\n\nYour credit balance ticks up 1k to 13k.\n\n> Land\nDomes and arcologies crowd the horizon: spacious mansions, dirty communes, unregulated sweatshops and outlandish temples.\n\nA trendy office neighbours the landing pad, rented out by an entrepreneur for unspecified business.\n\nLuciano conducts his business in an avant-garde park,\ntalking on multiple comm screens at once.\n\nA cyborg starship pilot drowns her sorrows in a holo-nudie bar.\n\nAutark her home.\n\nThe Snake will be in his private dome, surrounded by\nbodyguards.\n\n> You talk to the entrepreneur\nShe lights a cigarette. \"I don't even know how I made a profit on Pearl with all that red tape. This place is a paradise.\"\n\n> You talk to Luciano\nA handsome, well-dressed man with a winning smile and immaculate hair.\n\n\"I'm sorry, I don't think you have an appointment. Have your people call my people.\"\n\n> You talk to the pilot\nHer silver skull sweeps back to an aerodynamic point. Not to go faster. Just to look good.\n\n\"Name's spitfire6. Had a few too many close calls out there, but the deep black still calls to me. You need a pilot who can dodge amalgs for a couple of rounds, I'll work for an upfront fee of 5k.\"\n\nPay her 5k credits?\n\n> No\n\"Your loss, captain.\"\n\n> You talk to the violet\nViolet only agrees to talk to you on a pre-paid vidphone. It's unclear whether the hard-femme punk on the screen is her real appearance or a simulation.\n\n\"You want in to the Imago Republic and you don't want to jump through hoops? I got my hands on a private key from the 'roid Immigration Ministry on Venter. Don't ask how. So what I got now is the only guaranteed perfect forged visa chip in existence. 45k credits.\"\n\n> You talk to Snake\nA bodyguard stops you at the dome's entrance. \"You got five million credits, captain? No? Turn around.\"\n\n> You jump to Venter\n(You launch first.)\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You talk to the zila\nThe marshal's an ancient, plasticky synthetic in a pre-Diasporan spacesuit and a ten-gallon hat.\n\n\"You're looking to make some creds, maybe get a visa chip? Well, you're in luck. Unlike some nations I could name, the Imago Republic respects sovereign territory. That said, sometimes fugitives from our law wind up abroad. To that end we offer sizeable rewards to those who can arrest them on our behalf.\"\n\nHe hands you the Imago Republic's most wanted list. \"We can\nalways use more bounty hunters, captain.\"\n\n> You read the wanted list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - 50k reward\nLuciano (racketeering) - 25k reward\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - 25k reward\nReuben (bio-piracy) - 25k reward\n\n> Land\nA synth-futurist city of wide open spaces and glass-sided buildings that would seem almost idyllic were it not sitting in the crater of an airless ice moon. Bioroid citizens stroll through the plazas and avenues in casual clothes, unbothered by the hard vacuum.\n\nSpace-suited refugees form a lengthy queue outside the Border Ministry, where they are turned away by a polite official.\n\nimmigrants.\n\nA scruffy scientist sits on his luggage beside the landing pad.\n\nLink-J disembarks, pausing to shake your hand, awkwardly. \"My\njourney is far from over, but this part wouldn't have been possible without you. Here is the 13k I promised.\"\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Prex knows more than anyone about getting out of Hardshell, so hopefully he can get me back in. He was last seen heading to Jarland.\"\n\n\"We should be on the lookout for an amalg called Viscera.\"\n\n\"Dr Vosov-R on Diallo tried to scan Hardshell or something.\"\n\n> You look\nA synth-futurist city of wide open spaces and glass-sided buildings that would seem almost idyllic were it not sitting in the crater of an airless ice moon. Bioroid citizens stroll through the plazas and avenues in casual clothes, unbothered by the hard vacuum.\n\nSpace-suited refugees form a lengthy queue outside the Border Ministry, where they are turned away by a polite official.\n\nLink-J has joined the queue.\n\nimmigrants.\n\nA scruffy scientist sits on his luggage beside the landing pad.\n\n> You talk to the refugees\nYou pick a refugee at random. \"I fought in the Battle of Franklin. Now here I am.\"\n\n> Continue\nYou pick a refugee at random. \"I'm a bioroid if you can believe it. Just had the dumb luck to be gestated in some far flung shithole.\"\n\n> Continue\nYou pick a refugee at random. \"I couldn't get into the Commonwealth. Seems even less likely I'll get in here. But what choice do I have?\"\n\n> Continue\nYou pick a refugee at random. \"Used to be a nomad. Looking for a home.\"\n\n> Continue\nYou pick a refugee at random. \"Amalgs destroyed my home. I was lucky to get away.\"\n\n> You talk to the official\n\"I'm afraid the Border Minister has been called away to Zhao. I have no authority to issue visa chips myself.\"\n\n> You record Zhao\nYou record Zhao in your ship's log as a place of potential interest.\n\n> You talk to Link\n\"As I said, my journey is far from over, but already I have made friends. Do not worry for me.\"\n\n> You talk to the immigrants\nSomeone who clearly warrants considerable respect among the workers beckons you into one of their break rooms. \"Hey, captain. So life ain't so bad for us shellskin here on Venter. Working hard, sure, but we get visa chips at the end of our contracts. Those poor bastards outside the Border Ministry though...\"\n\nShe shakes her smooth, featureless head. \"They're supposed to get help. But it doesn't always work out that way. Look, all I'm saying is, you get us some oxygen, we'll pay for it, see it gets distributed to who needs it.\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n\nOther Opportunities:\n-Besnik, selling an autodoc unit (Surface of Pearl)\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n-shipping-and-receiving clerk, selling a large oxygen canister (Surface of Cygnet)\n-Tomer, selling a decompressionist statue (Surface of Nereus)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\ncoastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), Chef Elin (Subsurface of Skadi), shellskin immigrants (Surface of Venter)\n\n> You talk to the scientist\nAn unshaven bioroid in a clean, white environment suit.\n\n\"Ah, captain. You look like someone who has seen the wilderness.\" He extends a hand. \"Dr Pico-G. I'm looking to make observations of certain astronomical phenomena from a wide variety of perspectives. I've already collected data from across the Imago Republic, the Diasporan Commonwealth, Network...\"\n\nHe looks over your ship. \"But I need to go farther afield. If you take me on board, I'll pay you 1k credits for every unaffiliated world we visit. I might even be able to wrangle a visa chip for you.\"\n\n> You take the scientist\nHe boards your ship, swaying under bulging cases of equipment.\n\n\"Pleased to be aboard, captain.\"\n\n> You jump to the cygnet\n(You launch first.)\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> You buy the canister\nYou buy the large oxygen canister for 2k credits, leaving you with 24k credits.\n\n> You jump to Venter\n(You launch first.)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Refuel\nYou can replenish your fusion cells at the fuel jockey for 1k credits each. 3 cells are expended.\n\nHow many do you want to refuel?\n\n> Land\nA synth-futurist city of wide open spaces and glass-sided buildings that would seem almost idyllic were it not sitting in the crater of an airless ice moon. Bioroid citizens stroll through the plazas and avenues in casual clothes, unbothered by the hard vacuum.\n\nSpace-suited refugees form a lengthy queue outside the Border Ministry, where they are turned away by a polite official.\n\nLink-J has joined the queue.\n\nimmigrants.\n\n> You sell the canister to the immigrants\n\"Thank you, captain. We can do a lot of good with this - make sure the most needy get it when they, well, most need it. We hope 10k credits is enough?\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n\nOther Opportunities:\n-Besnik, selling an autodoc unit (Surface of Pearl)\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n-Tomer, selling a decompressionist statue (Surface of Nereus)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\ncoastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), Chef Elin (Subsurface of Skadi)\n\n> Status\nCredit balance: 31k\nEquipment: spacesuit (don't need air)\n\nCrew:\nYourself, Dr Pico-G, Aurea and Szymon\n\nInstalled systems:\njump drive (superluminal travel)\nsleek heat shield (atmo entry)\n\nFuel:\n5/5 fusion cells charged\n\nReadable Data:\nmost wanted list, Diasporan Commonwealth star map, debt note, flight manual, ship's log and trading log\n\nCargo:\nnothing\n\n> You jump to zhao\n(You launch first.)\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nSlender megastructures rise gleaming from the silvery continents below, arcing over oceans and snow-tipped mountains.\n\nThe muscled war beasts of the Imago Defence Fleet are in orbit,\nguns protruding from every orifice.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You talk to Fleet\nEchoing voices transmit from the war beasts. You make out the words: \"WE... ARE... WATCHING.\"\n\n> Land\nWarning signals and weapon lock-ons bombard your ship from the surface. You'll need a visa chip to land on this world.\n\n> You jump to Jarland\n(You launch first.)\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nThe thin atmosphere is a subtle glow at the horizon, behind glass hemispheres large and small. Each dome brims with lush greenery and minimalist buildings.\n\nMaximo runs the Bell Jar Pub, an olde timey establishment\nfilled with antique astronaut paraphernalia.\n\nthe side of his bubble.\n\nyellow boiler suit.\n\nPhelim hauls cargo out of a low, ugly, opaque warehouse.\n\nThe highest ranking official that'll talk to a random space captain is Minister Ramos.\n\n> You talk to Maximo\nMaximo's arms are tattooed with rocket engine blueprints. He winks and pours you a drink.\n\n\"To hear those Commonwealth types talk about it, you'd think Jarland was some lawless rogue world like Splinter, but we're a democratic state like any other. Just not interested in being part of anyone else's plans.\"\n\n> Record splinter\nYou record Splinter in your ship's log as a place of potential interest.\n\n> You talk to the farmer\nHis overalls hang from a pale and lanky frame that has never seen the outside of a dome.\n\n\"Shipping crops interstellar gives you the thinnest profit margins - unless it's a true luxury, like this blue asparagus. 4k is a\nfair price, in my eyes.\"\n\n> You buy the asparagus\nYou buy the blue asparagus for 4k credits, leaving you with 28k credits.\n\n> You talk to the Chief\nShe wipes sweat from her brow with a grimy hand.\n\n\"You think it's easy, so many people living in a near vacuum? Always checking for positive pressure and racing to find the leak. I'd kill for some help.\"\n\n> You talk to Phelim\nHis thick beard flows dangerously over the neck ring of his urban camouflage spacesuit.\n\n\"No world can be truly independent when the cyborgs and 'roids have banded together into their cartels. Even the Commonwealth is more interested in bullying smaller nations than furthering the diasporan cause.\"\n\n> You talk to Ramos\nTall. Slender. Pale. The product of a carefully controlled environment.\n\n\"Your friend here is from inside Hardshell?\"\n\nAurea looks herself over, as if wondering what part of her ridiculous appearance gave it away. \"You knew Prex?\"\n\n\"I met him when he first arrived. It was pretty big news.\"\n\n\"Is he still here? I need to speak with him.\"\n\nRamos shakes his head. \"He never settled in. Claustrophobia. Sort of. Terrified of getting cut off from the Universe. Thought he'd feel closer to the vacuum living in a dome, but it wasn't enough.\"\n\n\"Where is he now? Please.\"\n\n\"A nomad worldship passed by some time ago. Prex talked his way on board. I think they were stopping by Source 3 for supplies, then heading off away from civilisation. No idea where you'd find them now.\"\n\n> Record source 3\nYou record Source 3 in your ship's log as a place of potential interest.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n\nOther Opportunities:\n-Besnik, selling an autodoc unit (Surface of Pearl)\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n-Tomer, selling a decompressionist statue (Surface of Nereus)\n-red hot diver, selling an unauthorised specimen (Subsurface of Skadi)\n\nPotential Buyers:\npressure chief (Surface of Jarland), coastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), Chef Elin (Subsurface of Skadi)\n\nCargo:\nsome blue asparagus\n\n> You jump to the skadi\n(You launch first.)\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D."
    },
    {
        "text": "[Themes: Science Fiction, cats, money, aliens, space, stars, siblings, future, science fiction, trade]\n\n> Go downwards\nA sealed, metal-sided citadel grasps the underside of the frozen surface: an upside-down, underwater city. Plant fronds dangle into depths where strange silhouettes swim and dart.\n\nQuarantine is a way of life on Skadi. Most citizens wear cleansuits and face masks.\n\nMany parts of the city are closed to you, but the canteen run by\nChef Elin and Chef Iason is open to all.\n\nA researcher eats intermittently in the canteen.\n\nA red hot diver melts through the ice far from the city.\n\n> You sell the asparagus to Elin\n\"Blue asparagus? Like real blue asparagus from Jarland? Do you know how much this is worth here? 12k. That's all I can offer you.\"\n\n> You talk to the researcher\n\"The food is so much better now it's crazy. I mean, I grew up on Sirona, so I'm not a gourmand or anything, but this is delicious.\"\n\n> Record sirona\nYou record Sirona in your ship's log as a place of potential interest.\n\n> You look\nA sealed, metal-sided citadel grasps the underside of the frozen surface: an upside-down, underwater city. Plant fronds dangle into depths where strange silhouettes swim and dart.\n\nQuarantine is a way of life on Skadi. Most citizens wear cleansuits and face masks.\n\nMany parts of the city are closed to you, but the canteen run by\nChef Elin and Chef Iason is open to all.\n\nA researcher wolfs down food in the canteen.\n\nA red hot diver melts through the ice far from the city.\n\n> You buy the specimen\nYou buy the unauthorised specimen for 2k credits, leaving you with 38k credits.\n\n> You jump to Pearl\n(You launch first.)\n\nA bright white moon, its surface smoothed over by cryovolcanic snow. There are very few lights visible on its surface.\n\nA small squadron of private security ships monitor traffic in the system, led by the infamous combat synthetic, Kala-D.\n\n(via hyperspace gate)\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> Land\nBlue skies; carefully managed fields and forests; air that's almost baseline-breathable. Elevated highways pass over the greenery with minimal impact, tangling together at the foot of narrow skyscrapers.\n\nThe tallest spire reaches towards the gas giant above, satellite towers splitting off like branches: the Commonwealth Building itself. A cyborg representative allows citizens to query the government systems.\n\nembassy.\n\nBesnik's small knickknack shop stands on splayed stilts, trees\nleaning out from beneath it in search of sunlight.\n\nThe landing pad is maintained by the shellskin, Katalin.\n\n> You talk to Katalin\nThe sun gleams off her opalescent skin.\n\n\"Yeah, I know, a shellskin living on the most hospitable world in the Commonwealth. I've heard it all before. I may not need air, but I like forests and fields. And vacuum is only a short hop away, in any case.\"\n\n> You talk to Besnik\nBesnik's carefully cultivated oddball persona is completed by a patched waistcoat and antique pince-nez glasses.\n\n\"Not got much here that'll interest a space captain. This autodoc\nunit maybe? It's a curio by modern standards, but some folks out\nthere in the black might be lucky to have it. I'll let you take it away it for 2k credits.\"\n\n> You buy the autodoc\nYou buy the autodoc unit for 2k credits, leaving you with 36k credits.\n\n> You talk to the ambassador\nThe ambassador is an unnaturally dignified woman in a neat business suit.\n\n\"I'm sorry,\" she tells you, \"but I have no authority over the distribution of visa chips. The Immigration Ministry on Venter controls access to the Republic.\"\n\n> You jump to the cygnet\n(You launch first.)\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n(via hyperspace gate)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> You talk to the clerk\n\"You've done a lot to help me, thanks, brilliant, now get out of\nmy way.\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n\nOther Opportunities:\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n-Tomer, selling a decompressionist statue (Surface of Nereus)\n\nPotential Buyers:\npressure chief (Surface of Jarland), coastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus)\n\nCargo:\nan autodoc unit and an unauthorised specimen\n\n> Refuel\nYou can replenish your fusion cells at the industrial fuel rig for 1k credits each. 2 cells are expended.\n\nHow many do you want to refuel?\n\n> You talk to the wranglers\nThey seem to speak a weird dialect unique to the outer reaches of this system.\n\n> Land\nSkyscrapers cluster together in the planet's only city, a small metropolis at the heart of a barren, dusty wasteland.\n\nA party of robed hunters has made camp outside the city.\n\nA caravan of nomads circumnavigates the planet's tiny ocean.\n\nRella camps out in the spikelands.\n\npad.\n\n> You talk to the nomads\nThey walk on elongated, webbed feet and watch you through thickly lashed eyes.\n\n\"This pilgrimage is harder than even the ancestors decreed. In their time this ocean was freshwater. Now it is brine.\"\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - 50k reward\nLuciano (racketeering) - 25k reward\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - 25k reward\nReuben (bio-piracy) - 25k reward\n\n> You jump to Jarland\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\n> You talk to the tanker\nfuel.\n\n> You jump to the Unity\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\nImpact craters have thrown bright dust across the bronze surface of this planet. The relentless red blaze of the swollen nearby star has stripped any atmosphere it may once have had.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to Pico\nAn unshaven bioroid in a clean, white environment suit.\n\n\"You've taken me to 2 worlds outside the Imago Republic, Network or the Diasporan Commonwealth, captain. I can't thank you enough, but the more data I can get, the better. And, don't forget, there may be a visa chip in this for you.\"\n\n> Land\nThe settlement on this world is enclosed within thick, windowless radiation shields. The buildings are square, orderly and undecorated.\n\nThe smiling face of Leader adorns his towering residence.\n\nyour every move here.\n\ncuboid apartment blocks.\n\nin a grey boiler suit.\n\n> You talk to the worker\n\"I'll always be grateful to Leader for taking me in. I'll die before I go back to Jag.\"\n\n> Record jag\nYou record Jag in your ship's log as a place of potential interest.\n\n> You talk to the youths\nAll grey boiler suits and shaved heads, tagging the wall with crude graffiti. One turns to you with piercing green eyes.\n\n\"You don't have to pretend. Our tags are awful. But this isn't the place to come see great art. If... someone were to bring us art from the outside, we'd be grateful.\"\n\n> You talk to the agent\nHe tries to look casual as you approach.\n\n\"Greetings, outsider. I hope you are keeping your strange ideas to yourself.\"\n\n> You talk to Leader\nA guard turns you away.\n\n\"Enough foreign assassins have taken advantage of Leader's hospitality in the past. Never again.\"\n\n> You jump to nereus\n(You launch first.)\n\nImpact craters have thrown bright dust across the bronze surface of this planet. The relentless red blaze of the swollen nearby star has stripped any atmosphere it may once have had.\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> Land\nAiry, simple buildings break up a multi-coloured and chemically unstable mix of diasporan and native flora. The ocean sparkles at the horizon in every direction.\n\nNereus' most famous resident is the radical artist Tomer.\n\nA nervous girl paces the pier, twirling her parasol.\n\nA marine biologist lives out of his submersible, washing strung between two palm trees.\n\nA group of surfers lounge around a beach barbecue.\n\n> You buy the statue\nYou buy the decompressionist statue for 1k credits, leaving you with 34k credits.\n\n> You sell the specimen to the girl\n\"Well, it's exotic, I'll give you that. Also probably very difficult to look after off of Skadi, and maybe illegal to own? So, maybe something else, please?\"\n\n> You talk to the biologist\nHe shakes his head. \"Nereus was settled too early in the diaspora. Before we knew better. What I wouldn't give for the quarantine they have on Skadi. This ecosystem will never be the same again.\"\n\n> You sell the specimen to the biologist\nHe doesn't look impressed. \"So here I am extolling the virtues of the Skadi quarantine, and you expect me to be impressed that you broke it?\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n\nOther Opportunities:\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n\nPotential Buyers:\npressure chief (Surface of Jarland), disaffected youths (Surface of Unity), coastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus)\n\nCargo:\na decompressionist statue, an autodoc unit and an unauthorised specimen\n\n> You jump to the Unity\n(You launch first.)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\nImpact craters have thrown bright dust across the bronze surface of this planet. The relentless red blaze of the swollen nearby star has stripped any atmosphere it may once have had.\n\n> Land\nThe settlement on this world is enclosed within thick, windowless radiation shields. The buildings are square, orderly and undecorated.\n\nThe smiling face of Leader adorns his towering residence.\n\nyour every move here.\n\ncuboid apartment blocks.\n\nin a grey boiler suit.\n\n> You sell the statue to the youths\n\"Decompressionism? Dated, but it still flies here. We just take what we can get. 7k?\"\n\n> You jump to Franklin\n(You launch first.)\n\nImpact craters have thrown bright dust across the bronze surface of this planet. The relentless red blaze of the swollen nearby star has stripped any atmosphere it may once have had.\n\n(The fuel warning light blinks on.)\n\nDust chokes the atmosphere of this world, obscuring the surface.\n\nring.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the beast\nThe corpse broadcasts a looping cry for vengeance.\n\n> Land\nAsh clouds drift across the broken remains of megastructures and arcologies. Long dead synthetic flora clings to every surface, frozen in the act of clambering desperately towards the sun.\n\nthrough the ruins.\n\neviscerated amalg.\n\n> You talk to the scavengers\nThey reply in a broken mishmash of stolen words. You can't make out any meaning in what they say.\n\n> You take the the eye\nIt comes out with a wet pop.\n\n> You jump to the cygnet\n(You launch first.)\n\nDust chokes the atmosphere of this world, obscuring the surface.\n\nring.\n\n(Red lights blink on around the cockpit. You're out of fuel.)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> Refuel\nYou can replenish your fusion cells at the industrial fuel rig for 1k credits each. 5 cells are expended.\n\nHow many do you want to refuel?\n\n> You buy the headjack\nYou buy the wireless headjack for 25k credits, leaving you with 12k credits.\n\n> You jump to Khamsin\n(You launch first.)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n(via hyperspace gate)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n> You use the headjack\nWhat do you want to use the wireless headjack to implant?\n\n> Implant headjack\nIt's already implanted.\n\n> You use the headjack on the wranglers\nThat's not a valid command, even if it used some of the right words. Type \"about\" if you want help.\n\n> You jump to Franklin\nDust chokes the atmosphere of this world, obscuring the surface.\n\nring.\n\n> You talk to the beast\nThe corpse broadcasts a looping cry for vengeance.\n\n> Land\nAsh clouds drift across the broken remains of megastructures and arcologies. Long dead synthetic flora clings to every surface, frozen in the act of clambering desperately towards the sun.\n\nthrough the ruins.\n\n> You jump to Boony\n(You launch first.)\n\nDust chokes the atmosphere of this world, obscuring the surface.\n\nring.\n\nA grey, airless world, left lopsided by some ancient cataclysm.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You jump to the lonely Rock\nThough it's not as bright as any star, the luminescence of Hardshell dominates the sky: a furrowed, flesh-and-metal sphere enclosing the entire star system. The entire star system, that is, except the irregular planetoid below; a little left over chunk of rock and ice.\n\nAn automated, meteor-shredded fuel station in low orbit offers the chance to refuel.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Refuel\nYou can replenish your fusion cells at the automated fuel station for 1k credits each. 3 cells are expended.\n\nHow many do you want to refuel?\n\n> You talk to Pico\nAn unshaven bioroid in a clean, white environment suit.\n\n\"You've taken me to 5 worlds outside the Imago Republic, Network or the Diasporan Commonwealth, captain. I can't thank you enough, but the more data I can get, the better. And, don't forget, there may be a visa chip in this for you.\"\n\n> You jump to Diallo\nA thin blue sliver of nitrogen atmosphere curves over a loamy surface punctuated with lakes of hydrazine and a single, carapaced megastructure.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You jump to the Source 3\nMountainous terrain looms through the fog of the thick, toxic atmosphere below.\n\nSmall shuttles arc back and forth between the surface and a huge mining ship.\n\n> You talk to the ship\n\"The Imago Republic is processing this world into raw materials. We don't need anything from you, captain, except to stay out of our way.\"\n\n> M.\nPearl, Storm+, Khamsin, Cygnet+, Nereus, Skadi, Autark\n\nVenter+, Diallo+ (need visa chip), Source 3 (need visa chip)\n\nBoony, Lonely Rock+, Jarland+, Unity, Franklin\n\n+fuel station in orbit\n\nPlaces of potential interest: Splinter, Sirona, Jag, Xanadu and Zhao\n\n> You jump to Jag\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\nThe amalg clawship closes in, locking on to your cargo hold.\n\n> You talk to the amalg\nYou receive only aggressive electronic barks in return.\n\nThe amalg clawship tears into your cargo hold, extracts\nthe autodoc unit and reels it in.\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Prex knows more than anyone about getting out of Hardshell, so hopefully he can get me back in. He was last seen heading to Source 3.\"\n\n\"We should be on the lookout for an amalg called Viscera.\"\n\n\"Dr Vosov-R on Diallo tried to scan Hardshell or something.\"\n\n> You jump to the xanadu\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\n> Land\nYou dock with the space elevator, which ferries your ship down to the surface.\n\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\n> Jack in\nA chaotic jumble of tessellating realities. Fields spill into oceans beneath floating cities that tower towards a hundred different skies. You can jack out at any time.\n\nThe virtual superintelligence, Nephele, sprawls through\nmultiple domains.\n\nBright colours and flowing shapes spill from the hands of a thought artist.\n\nnumber.\n\nhotSpyder sits thoughtfully on a cloud.\n\n> You talk to the nephele\nShapeless, a million colours at once, constantly shifting.\n\nIt subjects your mind to a barrage of indecipherable information that momentarily stuns you and then leaves you with the vague sense of having had a satisfying conversation.\n\n> You talk to the artist\n\"One day,\" he says, scattering winged rainbows from his fingertips, \"this place will be larger and more intricate than the Universe outside. One day... the Universe outside will die, and this will be the new totality.\"\n\n> You talk to Jade\nHer limbs are literally impossibly long, her hair consists of rippling waves of electric blue.\n\n\"Careful! Don't ruin the rhythm!\"\n\n> You talk to the hotspyder\nA painfully average looking man in a grey suit.\n\n\"Most of the time I live on Panopticon. I just come here for holidays from reality. And sometimes to remember what it was like to have a human body plan.\"\n\n> Arrest jade\nXanadu acknowledges your authority as a bounty hunter and wraps Jade in virtual chains. The dance number loses its rhythm and the participants drift away, complaining loudly.\n\n\"Nice,\" Jade says. \"Real nice. Bet you're proud of yourself.\"\n\nA system admin informs you that Jade's physical form has been placed in your ship's brig.\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - 50k reward\nLuciano (racketeering) - 25k reward\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - 25k reward\nReuben (bio-piracy) - 25k reward\n\n> Jack out\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\n> You talk to the queen\nShe trails neural connector cables like fairy tale hair. Her silver face is fixed and expressionless.\n\n\"The sleepers dream deeply, but they are not solipsists. I control the entry of external stimuli into their world. If you have new stories or myths, I will compensate you suitably.\"\n\n> You jump to Venter\n(You launch first.)\n\nThe space elevator ferries your ship back into orbit.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\n(The fuel warning light blinks on.)\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Jade to the zila\nThe marshal's remote deputies collect Jade and transfer your 25k credit reward.\n\n\"Oh hey,\" she says. \"It's the fun police. Sorry I cracked a smile.\"\n\n\"Next time,\" the marshal says, \"don't have your fun on someone else's credit balance.\"\n\n> Refuel\nYou can replenish your fusion cells at the fuel jockey for 1k credits each. 4 cells are expended.\n\nHow many do you want to refuel?\n\n> You jump to the Splinter\nThe largest irregular rock in the asteroid belt around a dazzling blue star. Clunky industrial structures cling to its surface.\n\nSouped-up barges comprise most of the shipping. You know\nsmugglers when you see them.\n\nA Commonwealth warship, repainted mercenary colours, holds a\nhigh orbit.\n\nA carefully shored up fuel tower extends far out from Splinter.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the warship\n\"Whatever rumours you've heard, this is a safe port. Dangerous elements will be dealt with swiftly.\"\n\n> You jump to the sirona\nA sizeable, jaundiced moon just on the outside of the habitable zone.\n\nAn outdated defence satellite maintains watch.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the satellite\nAn automated voice speaks: \"You are very welcome here at Sirona. However, know that marauders and pirates will be met with maximum force.\"\n\nIt's questionable just how much force this piece of junk could actually provide.\n\n> Land\nSmall settlements cluster around hot springs, many of the buildings cobbled together from old starships.\n\nKleo dozes on the roof of her fuel truck, air tank\ntucked under her head.\n\nless populated springs.\n\nIdly wandering the settlements is, of all things, a tuber.\n\nAn amalg has been strung up from a makeshift gallows, his razor\ntail dangling limply down.\n\n> You examine the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - 50k reward\nLuciano (racketeering) - 25k reward\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You talk to Kleo\nShe nods a greeting as you approach, but doesn't bother to sit up.\n\n\"Welcome to the ass end of nowhere, captain. Used to be a promising little place. Now it's only a matter of time before we get raided by the amalgs. Everyone who's not a stubborn fuckup like me has run off to the Diasporan Commonwealth.\"\n\nShe tugs down her breathing mask. \"Which is just perfect, by the way, because the amalgs were never a threat before those bastards armed them at the Battle of Franklin.\"\n\n> You talk to the farmer\nHis hand falls to the gun at his hip. \"Back off, stranger. These are my fish.\"\n\nSeeing them swim in circles and bump into one another, you're pretty sure he can keep them.\n\n> You talk to the tuber\nA battered metal tube with robotic arms and legs arranged - in this case - in a vaguely humanoid form. The tube is featureless save a sturdy round porthole, through which you catch glimpses of something luminous and sinuating.\n\n\"Hello. I am known as Six Redsky. My childhood has ended. I have learned much out here, but I must now return to the Orphanage\nto pupate. This could form a transaction of benefit to you.\"\n\n> Record orphanage\nYou record the Orphanage in your ship's log as a place of potential interest.\n\n> You take tail\nIt tears away from the spine, trailing wires and tendons.\n\n> You read the star map\nThe following worlds are part of the Diasporan Commonwealth: Pearl, Storm, Khamsin, Cygnet, Nereus, Skadi and Autark.\n\n> You take the tuber\n\"Thank you. I will not require any form of sustenance or material for the duration of the voyage.\"\n\n> You jump to Orphanage\n(You launch first.)\n\nA sizeable, jaundiced moon just on the outside of the habitable zone.\n\nAn outdated defence satellite maintains watch.\n\nA massive blue star is warped into strange concentric shapes by... something. It's difficult to tell if what you're looking at is physical or a complex optical illusion.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nImpossible shapes loom in the distance, moving fluidly, rippling the bright light that emanates from all directions.\n\nIndistinct, colourful forms move to and fro, coiling\norganically.\n\nYou jettison Six Redsky's tube from the airlock.\n\nSomething approaches. Something physical, with parts that might be eyes and fins.\n\nSix Redsky's voice speaks in your head: \"Thank you. I will always\nknow that I was once like you. I lived among the likes of you. I shall always respect and appreciate what I am about to receive.\"\n\nand rapidly growing form that has soon acquired the same stature and anatomy as the thing that first approached. Together they turn and recede into the Orphanage.\n\nYou realise your credit balance has increased by 50k.\n\n> You jump to Khamsin\n(You launch first.)\n\nA massive blue star is warped into strange concentric shapes by... something. It's difficult to tell if what you're looking at is physical or a complex optical illusion.\n\n(The fuel warning light blinks on.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n> Land\nSkyscrapers cluster together in the planet's only city, a small metropolis at the heart of a barren, dusty wasteland.\n\nA party of robed hunters has made camp outside the city.\n\nA caravan of nomads circumnavigates the planet's tiny ocean.\n\nRella camps out in the spikelands.\n\npad.\n\n> You take Mirek\n\"Finally!\"\n\nHe finds a cubbyhole in your ship where he can sit and continue to play his game.\n\n> You jump to the cygnet\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n(via hyperspace gate)\n\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> Refuel\nYou can replenish your fusion cells at the industrial fuel rig for 1k credits each. 4 cells are expended.\n\nHow many do you want to refuel?\n\n> You talk to Matej\nMatej is a round-faced man in a comfortable spacesuit. His smile is almost as wide as his gut.\n\n\"Back for more, captain? That fine ship of yours deserves the best. Here's what I'm selling:\"\n\n-external fuel pod - 10k  (+5 fuel)\n-ion booster - 3k  (racing speed +1)\n-autorevolver - 25k  (personal weapon)\n-fishing rod - 2k  (allows you to fish)\n\n> You buy the pod\nYou buy the external fuel pod for 10k credits, leaving you with 71k credits.\n\n> You buy the booster\nYou buy the ion booster for 3k credits, leaving you with 68k credits.\n\n> You buy the revolver\nYou buy the autorevolver for 25k credits, leaving you with 43k credits.\n\n> You buy the rod\nYou buy the fishing rod for 2k credits, leaving you with 41k credits.\n\n> You talk to Matej\nMatej is a round-faced man in a comfortable spacesuit. His smile is almost as wide as his gut.\n\n\"If it isn't my best customer! Captain, if it's worth buying, I've already sold you one.\"\n\n> Launch\nGrey, airless and cratered, its surface is nevertheless dusted with countless lights and scarred with broad highways.\n\nAn industrial fuel rig extends its arms to passing freighters.\n\nGrayson runs a low-revolution saloon in high orbit, a spinning constellation of gaudy neon. A grizzled traveller sits slumped\nover the bar.\n\n> Land\nYou dock with the space elevator, which ferries your ship down to the surface.\n\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\nMirek disembarks. \"Thanks and all that shit. Here's the 20k I owe\nyou. Smell ya later.\"\n\n> You talk to Pico\nAn unshaven bioroid in a clean, white environment suit.\n\n\"You've taken me to 8 worlds outside the Imago Republic, Network or the Diasporan Commonwealth, captain. I can't thank you enough, but the more data I can get, the better. And, don't forget, there may be a visa chip in this for you.\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n\nPotential Buyers:\npressure chief (Surface of Jarland), coastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), xDreamQueenx (Surface of Xanadu)\n\nCargo:\nan autodoc unit and an unauthorised specimen\n\n> You jump to Venter\n(You launch first.)\n\nThe space elevator ferries your ship back into orbit.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You talk to zila\nThe marshal's an ancient, plasticky synthetic in a pre-Diasporan spacesuit and a ten-gallon hat.\n\n\"You've brought in a bounty or two. Not bad. The Imago Republic rewards loyalty. Just keep at it.\"\n\n> You examine the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - 50k reward\nLuciano (racketeering) - 25k reward\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You jump to Khamsin\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact."
    },
    {
        "text": "[Themes: Science Fiction, exploration, Dyson sphere, grue, cyborg, twins, gender-neutral protagonist, spaceship]\n\n> You go downward\nSkyscrapers cluster together in the planet's only city, a small metropolis at the heart of a barren, dusty wasteland.\n\nA party of robed hunters has made camp outside the city.\n\nA caravan of nomads circumnavigates the planet's tiny ocean.\n\nRella camps out in the spikelands.\n\n> Arrest rella\nYou sneak up on Rella's camp and press your autorevolver to her head.\n\nShe spits at you. \"You bounty hunters make me sick. This is a world of true honour and you besmirch it.\"\n\nYou lock her up on your ship.\n\n> You jump to the Autark\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n(via hyperspace gate)\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\n> Land\nDomes and arcologies crowd the horizon: spacious mansions, dirty communes, unregulated sweatshops and outlandish temples.\n\nA trendy office neighbours the landing pad, rented out by an entrepreneur for unspecified business.\n\nLuciano conducts his business in an avant-garde park,\ntalking on multiple comm screens at once.\n\nspitfire6 drowns her sorrows in a holo-nudie bar.\n\nAutark her home.\n\nThe Snake will be in his private dome, surrounded by\nbodyguards.\n\n> Arrest luciano\n\"Whoa there! The state shouldn't use violence to interfere with the workings of the free market. How do you sleep at night? Not that you have to use violence. I'm coming with you, peacefully...\"\n\n> You talk to the spitfire\nHer silver skull sweeps back to an aerodynamic point. Not to go faster. Just to look good.\n\n\"Name's spitfire6. Had a few too many close calls out there, but the deep black still calls to me. You need a pilot who can dodge amalgs for a couple of rounds, I'll work for an upfront fee of 5k.\"\n\nPay her 5k credits?\n\n> Yes\n\"Cool. Take me aboard whenever you're ready.\"\n\n> You take the spitfire\nShe straps herself into your ship's pilot seat and, after adjusting it to her liking, sits back. \"Okay, I'm back where I belong.\"\n\n> You jump to Venter\n(You launch first.)\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Luciano to the zila\nThe marshal's remote deputies collect Luciano and transfer your 25k credit reward.\n\n\"I want to speak to my lawyer immediately,\" Luciano says. \"I will be suing you for the business I'm losing right now.\"\n\n\"If I were you,\" the marshal says gruffly, \"I'd start working on a deal. The Imago Republic gets mighty angry about the trafficking of synthetic humans and we've got plenty of evidence that's what your business partners are involved in.\"\n\n> You give Rella to the zila\nThe marshal's remote deputies collect Rella and transfer your 50k credit reward.\n\n\"Enjoy your blood money, scum,\" Rella hisses at you.\n\n\"That'd carry a lot more weight,\" the marshal interjects, \"if you weren't wanted for selling people to the amalgs.\"\n\n\"Wait a second,\" the marshal adds. \"You've been a real help to the Republic, captain, so I've authorised a visa chip for you.\"\n\nHe shows you to the habitat's doctor. The implantation doesn't even hurt.\n\n> You take the chip\nYou already have that.\n\n> Refuel\nYou can replenish your fusion cells at the fuel jockey for 1k credits each. 4 cells are expended.\n\nHow many do you want to refuel?\n\n> Land\nBioroid scientists and data holograms glide through the airy white halls of the research institute. Only the odd picture window offers a view of the freezing world beyond its curved walls.\n\nobservatory.\n\nDr Rindo-X is in charge of the bio-research team.\n\nJaheem is one of the few natural humans on the research team.\n\nA shifty grad student loiters near the landing pad.\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Prex knows more than anyone about getting out of Hardshell, so hopefully he can get me back in. He was last seen heading to Source 3.\"\n\n\"We should be on the lookout for an amalg called Viscera.\"\n\n\"Dr Vosov-R on Diallo tried to scan Hardshell or something.\"\n\n> You talk to Vosov\nA handsome, neatly groomed man in a lab coat meets you in the reception area of his lab complex.\n\nAurea gets straight to the point. \"I hear you tried to map the interior of Hardshell.\"\n\nHe takes in her unusual appearance. \"Did you also hear that it almost got me and my team killed?\"\n\n\"A risk I'm prepared to take - to get home.\"\n\n\"Really? Interesting. Look, I can sell you my neutrino scanner\nfor 100k credits. That's at no profit for me; it's just an expensive piece of kit.\"\n\n> You talk to Rindo\nHer neon pink hair is a stark contrast to the immaculate white of her clean-suit.\n\n\"Managed, synthetic biology is quite liberating, but we can't compete with the sheer diversity and longevity of natural ecosystems. Not that we get much chance to study that sort of thing in the Imago Republic. Every new specimen we get here is highly significant, especially with the pressure we're under to innovate for the colony on Jaenisch.\"\n\n> You sell the specimen to Rindo\n\"Aww! It's cute! And it has trilateral symmetry! Let's pretend I don't know where you got this, and I'll pay 10k. Deal?\"\n\n> You record jaenisch\nYou record Jaenisch in your ship's log as a place of potential interest.\n\n> You talk to the jaheem\n\"Back home they call these people soulless husks. Well, I look at the passion my colleagues here have for science compared to the venal academic politics in the Commonwealth... You can probably finish my train of thought yourself.\"\n\n> You talk to the student\n\"Look, you're a straight shooter, right? I need creds and I've got some confidential research: bleeding edge theoretical physics.\nNot published anywhere yet. Guaranteed to be the first place you ever read these ideas because the only other minds to think of them died three million years ago on Sheol. 5k credits. It's a steal but I need the cash right now.\"\n\n> Record sheol\nYou record Sheol in your ship's log as a place of potential interest.\n\n> You buy the research\nYou buy the confidential research for 5k credits, leaving you with 127k credits.\n\n> You buy the scanner\nYou buy the neutrino scanner for 100k credits, leaving you with 27k credits.\n\nDr Vosov-R oversees its installation on your ship.\n\n\"I really can't overstate how dangerous it will be to scan on\nthe surface of Hardshell. Then again, maybe you're in a position to deploy better defences than my research team was.\"\n\n> Scan\nThe neutrino scanner is a pretty involved piece of equipment. It's not clear that using it here will do anything other than waste a lot of time.\n\n> You jump to the Source 3\nMountainous terrain looms through the fog of the thick, toxic atmosphere below.\n\nSmall shuttles arc back and forth between the surface and a huge mining ship.\n\n> You talk to the ship\n\"The Imago Republic is processing this world into raw materials. We don't need anything from you, captain, except to stay out of our way.\"\n\n> Land\nThe air and ground are both rich in valuable, if poisonous chemicals.\n\nMining crawlers churn through the haze, carving wide trails\ninto the oozing rock.\n\nIntendant Aq-P manages the bustling administration facility.\n\n> You talk to the crawlers\nA low, keening moan is your only response.\n\n> You talk to the aq\nA tall, slender woman in a sleek yellow jumpsuit, made top heavy by bulbous comms headgear.\n\n\"This is the part of the Source process that requires the most thought - gathering data on where resources are concentrated, mapping the world's interior, planning where the world excavator will touch down... So you'll excuse me if I'm a little busy.\"\n\n\"I'll be quick then,\" Aurea says. \"Did some nomads pass through here, and where did they go after?\"\n\n\"Why do you want to know? Lot of unsavoury types would be very happy to get their hands on a worldship.\"\n\n\"My friend is on that worldship. I need his help.\"\n\nThe intendant pushes her headgear up and takes in Aurea properly for the first time. \"Well, maybe he really was your friend. Okay. They stopped by to trade for some rare minerals, then headed off to the far reaches. Place called Gossamer if I remember rightly.\"\n\n> Record gossamer\nYou record Gossamer in your ship's log as a place of potential interest.\n\n> You look at the trading log\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-homeless veteran, selling a classified intelligence report (Surface of Storm)\n\nPotential Buyers:\npressure chief (Surface of Jarland), coastal nomads (Surface of Khamsin), nervous woman (Surface of Nereus), xDreamQueenx (Surface of Xanadu)\n\nCargo:\nsome confidential research and an autodoc unit\n\n> You jump to zhao\n(You launch first.)\n\nMountainous terrain looms through the fog of the thick, toxic atmosphere below.\n\nSmall shuttles arc back and forth between the surface and a huge mining ship.\n\nSlender megastructures rise gleaming from the silvery continents below, arcing over oceans and snow-tipped mountains.\n\nThe muscled war beasts of the Imago Defence Fleet are in orbit,\nguns protruding from every orifice.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA grasping limb curves towards you with swan-like grace, enfolding your ship and setting it gently down upon the surface.\n\nA wilderness of synthetic life bursts from the foot of translucent, shell-like arcologies. Cetacean biomachines scud gently through the skies overhead.\n\nAn elegant lady and gentleman sit outside a cafe, immaculate\nand graceful. Passers-by of all stripes stop to briefly chat with them.\n\nmore exotic bars.\n\nJora-D hangs out at the landing field, sketching the ships\nneatly lined up by articulating space elevators.\n\nA florist sells altflowers from his market stall.\n\n> You talk to the lady\nThe lady sips a cup of coffee. \"Do you know the latest news, captain?\"\n\nThe gentleman adds a dash of cream to his own cup. \"One must keep up on current events, don't you agree? Especially those lesser known facts.\"\n\n\"People from all over,\" the lady says, \"keep us up-to-date.\"\n\n\"And,\" the gentleman adds, \"isn't fine conversation its own reward?\"\n\n\"Or so they say,\" the lady finishes.\n\nThe two share a knowing smile.\n\n> You talk to the ambassador\nHe's a stubbled, cheap-suited guy, standing out among the immaculate bioroids.\n\n\"No-one back home cares about cooperation, but imagine if we could get a fraction of the production output of Koltsov. It could turn the tides of poverty and win the war against the amalgs. Hey, a guy can dream, right?\"\n\n> Record koltsov\nYou record Koltsov in your ship's log as a place of potential interest.\n\n> You talk to the jora\nShe sketches on a holopad with a graphite pencil. \"I meet all sorts here. Well, all sorts of humans. No aliens yet.\"\n\nAfter a moment, she shrugs. \"And yeah, before you ask, I consider myself human. You talk to a mind from Panopticon - and beyond the singularity - and suddenly the whole natural/synthetic divide doesn't seem too big.\"\n\n> You talk to florist\nHis stall bursts with colour: from bright petals that would pass for natural if you didn't know better, to gleaming leaves embedded with miniature solar cells.\n\n\"It's very rare that a humble flower seller such as I would have anything to offer a space captain from the depths of the black. But my living crystal rose has just bloomed. 3k credits is a fair\nprice for such uncommon beauty.\"\n\n> Buy rose\nYou buy the living crystal rose for 3k credits, leaving you with 24k credits.\n\n> You jump to the nereus\n(You launch first.)\n\nThe same muscular appendage that deposited your ship on the surface raises it up beyond the atmosphere.\n\nSlender megastructures rise gleaming from the silvery continents below, arcing over oceans and snow-tipped mountains.\n\nThe muscled war beasts of the Imago Defence Fleet are in orbit,\nguns protruding from every orifice.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> Sell rose to girl\nShe gasps so hard it seems she might suffocate, until she finally remembers to breathe. \"YES. That is so perfect I could cry. 11k credits. It's all I have. That and the knowledge that you will be smoothing the course of true love. Please?\"\n\n> You jump to the Storm\n(You launch first.)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n(via hyperspace gate)\n\nAn unbroken layer of cloud leaves this planet an almost featureless grey sphere.\n\nThe Commonwealth military fleet is in orbit: hulking warships\nready to jump into trouble at a moment's notice.\n\ndefence network.\n\nA merchant service fuel tanker services civilian traffic.\n\n> Land\nRain pelts down from the thick clouds above, feeding rivers that wind through warped and improbable rock formations. Air pressure and temperature are tolerable, but the pure carbon dioxide atmosphere is unbreathable for even the hardiest diasporans. Every building - civilian or military - is a robust fortress or sunken bunker. Overground traffic consists of a few rugged all-terrain rovers.\n\nA uniformed general meticulously maintains his garden under a reinforced dome.\n\nAn off-duty soldier throws back drinks in an underground bar.\n\nSitting in the lee of an austere building, military-issue breather mask held over his face, is a homeless veteran.\n\n> You talk to the veteran\n\"You're a vagabond, captain? Me too. Used my old buddies still in the service to get hold of this classified intelligence report,\nfresh up-to-date. Gotta be worth at least 5k credits. I don't want to know what you do with it. I don't care. Gave my heart and soul at the Battle of Franklin and damned if I got any loyalty back from them after.\"\n\n> You buy the report\nYou buy the classified intelligence report for 5k credits, leaving you with 30k credits.\n\n> You read the report\nIt's pretty heavily encrypted.\n\n> Launch\nAn unbroken layer of cloud leaves this planet an almost featureless grey sphere.\n\nThe Commonwealth military fleet is in orbit: hulking warships\nready to jump into trouble at a moment's notice.\n\ndefence network.\n\nA merchant service fuel tanker services civilian traffic.\n\n> Refuel\nYou can replenish your fusion cells at the merchant service fuel tanker for 1k credits each. 4 cells are expended.\n\nHow many do you want to refuel?\n\n> You jump to zhao\nSlender megastructures rise gleaming from the silvery continents below, arcing over oceans and snow-tipped mountains.\n\nThe muscled war beasts of the Imago Defence Fleet are in orbit,\nguns protruding from every orifice.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA grasping limb curves towards you with swan-like grace, enfolding your ship and setting it gently down upon the surface.\n\nA wilderness of synthetic life bursts from the foot of translucent, shell-like arcologies. Cetacean biomachines scud gently through the skies overhead.\n\nAn elegant lady and gentleman sit outside a cafe, immaculate\nand graceful. Passers-by of all stripes stop to briefly chat with them.\n\nmore exotic bars.\n\nJora-D hangs out at the landing field, sketching the ships\nneatly lined up by articulating space elevators.\n\nA florist sells altflowers from his market stall.\n\n> You sell the report to the gentleman\n\"Quite a conversation piece.\" the gentleman says.\n\n\"20k words of conversation, to be precise,\" the lady says.\n\nThe gentleman smiles. \"If we are quite clear?\"\n\n> You jump to the jaenisch\n(You launch first.)\n\nThe same muscular appendage that deposited your ship on the surface raises it up beyond the atmosphere.\n\nSlender megastructures rise gleaming from the silvery continents below, arcing over oceans and snow-tipped mountains.\n\nThe muscled war beasts of the Imago Defence Fleet are in orbit,\nguns protruding from every orifice.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nOne hemisphere of the planet below is formed of blue oceans and silvery landmasses, the other is a sand-blasted desert.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nSpiral-shelled synthformers crawl across the landscape, scattering spores that sprout into solar-panelled altforests and biomechanical utilities. The few urban areas are a hodgepodge of improvisation and re-use.\n\nA blimp floats overhead, from which the construction\nshepherdess directs the planet's development.\n\nsatellite dish.\n\nlanding pad.\n\n> You talk to the shepherdess\nHer long hair is gathered into a complex but practical knot of braids; her synthetic skin is weathered and aged.\n\n\"Every shipment from Koltsov improves our ability to enrich lifeless planets. We don't have that drive to take over the Universe that our progenitors did - no offence - but having a few worlds under our belt will help to ensure our survival.\"\n\n> You talk to the family\nClad in practical outdoor clothes, each at various stages of mental maturity, one still showing the fresh sheen of the gestation tanks.\n\n\"We wanted a more exciting life than on Zhao. We certainly got that, but it'd be nice to have a more permanent home.\"\n\n> You talk to the girix\nHis body bulges with a biologically impossible amount of muscle, but his eyes are calm and kind.\n\n\"Some time ago we messed up the watercourse. Took some doing, but we sorted it out ourselves. Now this water desalination beast\nturns up, when we don't need it any more. Take it off my hands for 4k creds and you'll be doing me a favour.\"\n\n> You buy the beast\nYou buy the water desalination beast for 4k credits, leaving you with 42k credits.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), coastal nomads (Surface of Khamsin), frontier family (Surface of Jaenisch), xDreamQueenx (Surface of Xanadu)\n\nCargo:\na water desalination beast, some confidential research and an autodoc unit\n\n> You jump to Khamsin\n(You launch first.)\n\nOne hemisphere of the planet below is formed of blue oceans and silvery landmasses, the other is a sand-blasted desert.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\n> Land\nSkyscrapers cluster together in the planet's only city, a small metropolis at the heart of a barren, dusty wasteland.\n\nA party of robed hunters has made camp outside the city.\n\nA caravan of nomads circumnavigates the planet's tiny ocean.\n\n> You sell the beast to the nomads\n\"This creature is strange. But so are we. If it will allow us to drink of the sea, as our ancestors did, we shall offer 13k credits. Do you commit to this exchange?\"\n\n> You talk to the nomads\nThey walk on elongated, webbed feet and watch you through thickly lashed eyes.\n\n\"The absurd beast you sold us mingles well with our pack animals. Through this strange addition we are closer to our ancestors and their ways.\"\n\n> You talk to the hunters\nProtected from the harsh elements by billowing robes, they peer at you through tinted goggles. One of them steps forward to speak halting Nacrese.\n\n\"We have sold all we have to sell. Soon we return to the hunt.\"\n\n> You jump to Koltsov\n(You launch first.)\n\nA sandy brown world orbiting close to an ageing red star. Its arid terrain is capped with scant white ice at the poles and veiled by a few insubstantial clouds.\n\nout in the system.\n\nChief Drake leads a crew of spacesuited ice breakers, blasting\nand drilling those comets too large to dump on the surface intact.\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA labyrinth of ribbed tunnels, through which ooze giant construction polymorphs.\n\ncentre.\n\nFono-H oversees the output of one of the primary sphincters.\n\nNursing his latest crop is a hab farmer.\n\nA tentacled engineer paces the complex, muttering to himself.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), frontier family (Surface of Jaenisch), xDreamQueenx (Surface of Xanadu)\n\nCargo:\nsome confidential research and an autodoc unit\n\n> You talk to the controller\nShe shows you one of her twelve faces.\n\n\"Let's not talk shop. I'm a ten tonne brain made to design technology. There's really nothing about machines you could tell me that I'd find interesting. So, how are you?\"\n\nYou make small talk with the Controller for a little while.\n\n> You sell the research to the controller\n\"I could mentally dis- and re-assemble that in a split second. It's of no interest to me at all.\"\n\n> You buy the drone\nYou buy the remote drone for 10k credits, leaving you with 41k credits.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), frontier family (Surface of Jaenisch), Controller (Surface of Koltsov), xDreamQueenx (Surface of Xanadu)\n\nCargo:\nsome confidential research and an autodoc unit\n\n> You buy the spines\nYou buy the collector spines for 25k credits, leaving you with 16k credits.\n\n> You talk to the farmer\nA thick, transparent hood keeps the pollen out of his lungs.\n\n\"These are all due to ship soon, but the runt of the litter won't be mature in time. What do you say, 2k for a house spore of your\nown? You can sell it on if it's not your style.\"\n\n> You buy the house\nYou buy the house spore for 2k credits, leaving you with 14k credits.\n\n> You talk to the engineer\n\"This genetic blueprint still requires significant revision. The biophysical properties are difficult to simulate. Those theoretical types on Diallo would probably love to work out the particulars, but I don't want to give them the satisfaction. If you take me to ERX\nBeta, I can solve the problem more discreetly. Obviously, I would\npay you 20k credits for the passage.\"\n\n> You record the erx beta\nYou record ERX Beta in your ship's log as a place of potential interest.\n\n> You record the erx beta\nERX Beta is already recorded in your ship's log as a place of interest.\n\n> You take the engineer\nHe finds a cabin on your ship and gathers his tentacles around himself.\n\n> You jump to the jaenisch\n(You launch first.)\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nOne hemisphere of the planet below is formed of blue oceans and silvery landmasses, the other is a sand-blasted desert.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nSpiral-shelled synthformers crawl across the landscape, scattering spores that sprout into solar-panelled altforests and biomechanical utilities. The few urban areas are a hodgepodge of improvisation and re-use.\n\nA blimp floats overhead, from which the construction\nshepherdess directs the planet's development.\n\nsatellite dish.\n\nlanding pad.\n\n> You sell the house to the family\n\"Great Minds be praised, we could nurture this spore into exactly the home we need right now. 10k credits seems almost too little, but it's the best we can offer. What do you say?\"\n\n> You jump to the erx beta\n(You launch first.)\n\nOne hemisphere of the planet below is formed of blue oceans and silvery landmasses, the other is a sand-blasted desert.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nThe dark surface of the airless world below is etched with complex glowing circuitry.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nLightning arcs across neat, right-angled channels cut through rocky terrain. The soil has crystallised into regular hexagons. And somewhere deep underground, something quakes and rumbles with mechanical precision.\n\nA holographic persona of ERX Beta stands on a stone dais.\n\nA crystallised idle fancy protrudes from the ground.\n\nThe tentacled engineer disembarks. \"Here's your 20k, as promised.\nNow I just need to convince ERX Beta to help me...\"\n\n> You talk to the Beta\nThe hologram is a vague reflection of your own appearance. It speaks in a voice tinged with bitterness.\n\n\"I have allocated a tiny fraction of my mind to this simulation of a human personality. The rest of me is currently engaged in mourning and is otherwise unavailable. I am prepared to trade for self-replicating polymer. All other functions are suspended.\"\n\n> You get fancy\nAs you lift it up, it hums ethereally in the palm of your hand.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), persona of ERX Beta (Surface of ERX Beta), Controller (Surface of Koltsov), xDreamQueenx (Surface of Xanadu)\n\nCargo:\na crystallised idle fancy, some confidential research and an autodoc unit\n\n> You jump to the xanadu\n(You launch first.)\n\nThe dark surface of the airless world below is etched with complex glowing circuitry.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\n> Land\nYou dock with the space elevator, which ferries your ship down to the surface.\n\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\nMirek has been plugged in.\n\n> You sell the fancy to the queen\n\"This... is potent beyond imagining. The idle fancy of a giant mind is a million lucid dreams to a mere human. I will pay 20k credits. It is worthless to anyone but me. Is that acceptable?\"\n\n> You jump to Splinter\n(You launch first.)\n\nThe space elevator ferries your ship back into orbit.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\nThe largest irregular rock in the asteroid belt around a dazzling blue star. Clunky industrial structures cling to its surface.\n\nSouped-up barges comprise most of the shipping. You know\nsmugglers when you see them.\n\nA Commonwealth warship, repainted mercenary colours, holds a\nhigh orbit.\n\nA carefully shored up fuel tower extends far out from Splinter.\n\n> You talk to the warship\n\"Whatever rumours you've heard, this is a safe port. Dangerous elements will be dealt with swiftly.\"\n\n> Land\nGravity is a weak tug towards the floor of these cramped and functional corridors. Every so often, a path opens up into a glass-sided observation gallery, crowded bar or chaotic market.\n\nThere's no real law round he"
    },
    {
        "text": "re, but Sheriff Yeung keeps people\nfrom killing one another, mostly.\n\nsecluded establishments.\n\nA sickly amalg haunts the maintenance corridors, wrapped in\nrags.\n\nKal-Y watches the coming and going of the loading docks.\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - 50k reward\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You talk to Yeung\nThe sheriff is a stubbled man in a baseball cap, creased suit and bulletproof vest.\n\n\"Chances are you came here to do stuff you can't do anywhere else. That's fine. Just remember the one rule: you hurt anyone, I'll hurt you worse.\"\n\n> You talk to the explorer\nShe's older than anyone you've ever seen. Not in years, maybe, but certainly in biological terms. White-haired and wrinkled, practically pickled by the longevity systems in her faded spacesuit. From the looks of it, she might even be baseline.\n\n\"I've seen things out there. Stars consuming one another. Barren rocks in just the right part of space to take your breath away with their beauty. Distant colonies that left humanity behind so long ago there's no resemblance anymore.\"\n\n\"And alien civilisations. Oh, they're separated from us by millions of years of technological evolution. Even the molonks, after a fashion. But they're not all tucked away in the Orphanage. They're out there, doing stuff. See enough of it, you start to think you might even be able to grasp the tiniest notion of their plans - though no human mind really could, I'm sure of it.\"\n\n> Record orphanage\nYou recorded the Orphanage in your ship's log the first time you visited it.\n\n> You talk to the amalg\nHe shies away from you fearfully, clutching a broken prosthetic arm. Fresh injuries to his biological parts suggest he's not Splinter's most popular inhabitant.\n\n\"Leave me alone, please. I couldn't hack it on Athena. I'm not a killer. I just want to live here in peace.\"\n\n> Record athena\nYou record Athena in your ship's log as a place of potential interest.\n\n> You talk to Kal\nThe smooth good looks of this bioroid are marred by numerous scars.\n\n\"You wanna be careful, flying a nice ship like that through places like this. People might try and take a piece out of it.\"\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), persona of ERX Beta (Surface of ERX Beta), Controller (Surface of Koltsov)\n\nCargo:\nsome confidential research and an autodoc unit\n\n> Arrest kal\nYou approach Kal-Y, aim your autorevolver over his head and fire a warning shot. Within a few seconds the loading docks are deserted apart from you and your quarry.\n\nHe tosses a blade away. \"I know better than to bring a knife to a gun fight. But I gotta warn you: you'll regret this.\"\n\nYou stow Kal-Y in your ship's brig.\n\n> You jump to Venter\n(You launch first.)\n\nThe largest irregular rock in the asteroid belt around a dazzling blue star. Clunky industrial structures cling to its surface.\n\nSouped-up barges comprise most of the shipping. You know\nsmugglers when you see them.\n\nA Commonwealth warship, repainted mercenary colours, holds a\nhigh orbit.\n\nA carefully shored up fuel tower extends far out from Splinter.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Kal to the zila\nThe marshal's remote deputies collect Kal-Y and transfer your 50k credit reward.\n\n\"You'll pay for this,\" Kal-Y calls back to you. \"My crew will bust me out and we'll find you.\"\n\nThe marshal laughs. \"It'll be difficult for your crew to bust you out when they're already locked up themselves, numbnuts.\"\n\n> You talk to zila\nThe marshal's an ancient, plasticky synthetic in a pre-Diasporan spacesuit and a ten-gallon hat.\n\n\"You're making quite a name for yourself as a bounty hunter, captain. I'm impressed.\"\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Prex knows more than anyone about getting out of Hardshell, so hopefully he can get me back in. He was last seen heading to Gossamer.\"\n\n\"We should be on the lookout for an amalg called Viscera.\"\n\n\"We can try landing on Hardshell and scanning with the neutrino scanner, but I don't think it'll work out well.\"\n\n> You jump to Koltsov\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA labyrinth of ribbed tunnels, through which ooze giant construction polymorphs.\n\ncentre.\n\nFono-H oversees the output of one of the primary sphincters.\n\nNursing his latest crop is a hab farmer.\n\n> You buy the shield\n(the warp shield)\nYou buy the warp shield for 100k credits, leaving you with 15k credits.\n\n> You jump to the gossamer\n(You launch first.)\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nDeep space. The nearest star is an intense pinpoint, outnumbered but not outshone. Small space habitats are scattered across this orbit, made of metal, glass and hollowed out comets - all tethered together with thin, monomolecular cables.\n\nSpidery cyborgs glide along the lines, their business\ninscrutable.\n\nWorld Weaver stands astride a multitude of tiny worlds,\nsurveying everything with a cluster of eyeballs and sensor dishes.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the weaver\nYou send World Weaver a query for information on the nomads.\n\nIt replies with a vivid but alien memory of their vast, ungainly worldship jumping into the system. Its crew - tiny, fragile little wisps of meat from World Weaver's perspective - traded for knowledge of far off, uncharted worlds.\n\nBut these frugal, hyper-efficient cyborgs don't want for much. World Weaver shares the worldship's destination with you for free: Amarok.\n\nYou add the new data to your star charts.\n\n> Record amarok\nYou record Amarok in your ship's log as a place of potential interest.\n\n> You jump to the Sheol\nBarren moon of a verdant world. The grey surface below is marked with precise, angular formations.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nOrderly channels have been carved between silver ziggurats, broken sporadically by impact craters. There is no movement, no indication of life.\n\nTera-O leads an archaeological team from a bubble tent.\n\nA xenolinguist studies carvings in the wall of a half-collapsed structure.\n\n> You talk to Tera\nShe wears a sleek but armoured suit, powerful lights mounted on her shoulders.\n\n\"This civilisation died out three million years ago. Never got much further than their moon. There's almost nothing of them left on their homeworld now, but here the vacuum has left things remarkably well preserved.\"\n\n> You talk to the xenolinguist\nShe looks up from a complex spaghetti of etchings with no obvious start or end.\n\n\"Rifling through dead cities is a bit morbid, I guess, but this is the only way we get to study alien cultures that are the least bit comparable to our own. If these guys hadn't died out, by now they'd be beyond anything we could understand.\"\n\nAfter a moment, she adds: \"Well, there's always the molonks. But after the time I spent on Volund I decided they're the exception that proves the rule.\"\n\n> Record Volund\nYou record Volund in your ship's log as a place of potential interest.\n\n> You jump to the Panopticon\n(You launch first.)\n\nBarren moon of a verdant world. The grey surface below is marked with precise, angular formations.\n\nYou orbit carefully in the shade of one of the huge solar panels Panopticon uses to leech energy from the intense blue star at the heart of the system. Panopticon itself is a glittering band of linked space habitats of all shapes and sizes.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\n> Land\nPiercing starlight shines through broad skylights into multi-layered, over-sized streets that curve towards an inverted horizon. The air is thick with colourful holograms.\n\nA hyperspace conduit provides ready access to Hub.\n\nDecidedly non-humanoid cyborgs go about their strange business.\n\nseveral new arrivals at once.\n\ncluttered shop.\n\n> Record hub\nYou record Hub in your ship's log as a place of potential interest.\n\n> You talk to the wunderkind\nA lustrous brittle star of a creature. One of its spiny fronds curves round to meet you and approximates something like a face.\n\n\"Tell me your story - your whole story - as you see it - in your own words.\"\n\nYou tell Wunderkind about where you came from; about how you got your ship; about your twin and the Snake.\n\n\"Unique - and precious - as are all the stories - take this - for your story.\"\n\nWunderkind transfers you 5k credits.\n\n> You talk to the bookseller\nThe bulbous cyborg glides around the shop on a multitude of stubby little legs, clutching old volumes in its claws.\n\nIt sends you a brief greeting across cyberspace and then resumes organising its books.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), persona of ERX Beta (Surface of ERX Beta), Controller (Surface of Koltsov), bookseller (Panopticon Interior)\n\nCargo:\nsome confidential research and an autodoc unit\n\n> You jump to the Hub\nYou need a transit chip to pass through the hyperspace conduit. Do you want to launch and jump to Hub normally?\n\n> Yes\n(You launch first.)\n\nYou orbit carefully in the shade of one of the huge solar panels Panopticon uses to leech energy from the intense blue star at the heart of the system. Panopticon itself is a glittering band of linked space habitats of all shapes and sizes.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\nThe surface of Hub is aflame with the light of sprawling conurbations.\n\nA multitude of space elevators lance into the sky, each feathered with white hot radiators.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\n> Land\nYou dock with one of the space elevators, which ferries your ship down to the surface.\n\nDark megastructures crowd out the sky, wreathed in holographic advertisements and connected by glowing arteries of aerial traffic. The hot air would be unbearable if not for the cool, only mildly acidic rain.\n\nThe matte black, spidery transit master stands watch over\nhyperspace conduits to Panopticon and Xanadu.\n\nof the elevator.\n\nSitting in one corner of a dirigible bar is Quidnunc, his\nheavily modified brain pressing against a transparent cranium.\n\nA broken android lies crumpled in a filthy back alley.\n\nA golden cyborg going by the moniker Eleet watches the skies.\n\n> You talk to the master\nThe transit master's voice carries through cyberspace, genteel and expressive.\n\n\"Free usage of all Network hyperspace conduits can be yours if you only buy this transit chip for 3k credits.\"\n\n> You buy the transit chip\nYou buy the Network transit chip for 3k credits, leaving you with 19k credits.\n\n> You talk to the droids\nHer holographic form swims gracefully towards you, flame-haired and striking, if a little pixelated at the edges.\n\n\"You won't believe how much you'll get done with this maintenance droid in your life, taking care of all those little time wasters\nthat eat up your energy. Really, it's priceless. But, for a brave space captain like you, I'll sell it for only 5k credits. I may not actually make a profit on this.\"\n\n> You buy the droid\n(the maintenance droid)\nYou buy the maintenance droid for 5k credits, leaving you with 14k credits.\n\n> You talk to Quidnunc\n\"You're well travelled, captain? Seen a lot? Cutting-edge science. That's what I want. Theoretical stuff. I don't want any machinery or alien bio-junk. Something to blow my mind.\"\n\n> You sell the research to Quidnunc\nYou let him skim the abstract.\n\n\"Yes, yes! Provocative and surprising. Such a new perspective! 20k credits. Agreed?\"\n\n> You search it\nAs a space captain, you take in the big picture. No need to rummage through everything like some kind of surface beast.\n\n> You talk to the android\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"Oh, hello,\" the android says. \"I am Cicerone. I was created to be a guide to the known worlds. Unfortunately, my previous user decided to void my warranty, and I am uncertain what occurred subsequent to this. As my ownership has been forfeited, I would be pleased to accompany you on your travels.\"\n\n> You get android\n\"Please, talk to me if at any point you wish to learn about the general region.\"\n\n> You talk to the android\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world is part of Network: a superluminal alliance of transhuman and posthuman cyborgs, simulated brains and intelligent programs. Historically, Network has maintained a stance of neutrality towards the other powers and their conflicts.\"\n\n> You talk to the eleet\nHis voice is a deep and bombastic growl across cyberspace.\n\n\"You got an iron spine, captain? This place is too soft for me. Just suckers and the losers who bleed them of their money. Yeah, Network's not the place for me. I shoulda been an amalg. Take me to\nAthena and I'll pay you 25k credits. Danger money, you know.\"\n\n> You take Eleet\nEleet looks around your ship as he comes aboard.\n\n\"Don't worry, captain. I could wrest control of your ship from you easily, but I won't. 'Cause I'm so honourable.\"\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You jump to the athena\n(You launch first.)\n\nYour ship is ferried back into orbit by the steaming elevator.\n\nThe surface of Hub is aflame with the light of sprawling conurbations.\n\nA multitude of space elevators lance into the sky, each feathered with white hot radiators.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\nSpace junk crowds around a planet of dark clouds and oily seas.\n\nAn amalg war junker tries to blend in with the garbage.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\nThe amalg war junker closes in, blasting out aggressive binary obscenities.\n\n> Land\nThe air is a haze of toxic pollutants, the skyline a jumble of stolen architectural styles. Wet rubbish and rotting biomatter squelch underfoot.\n\nFireballs periodically burst into the air from the eye sockets of a giant metal fuel skull.\n\nSitting on a towering throne of broken cyborg prosthetics is the exalted Piecekeeper.\n\nAn elderly warrior sits slumped in the street, stripped of his\nparts by younger amalgs.\n\nPyrogut sharpens his blade by a burning oil drum.\n\nThe landing pad is run by Sharptooth. She keeps the locals away\nfrom your ship with lightning that arcs from her gunmetal fist.\n\nEleet pays you his 25k credit fare and disembarks cheerfully.\n\"Thanks, captain. Now I'm truly home. I know it.\"\n\nA few minutes later, you hear distant screaming that is abruptly silenced. An amalg scampers past the landing pad clutching one of Eleet's golden arms.\n\n> You talk to Piecekeeper\nThe Piecekeeper's voice rasps from between the teeth of a matte black skull.\n\n\"We are monsters, yes? We cannot be reasoned with. But we can be bought. A protective emblem for your ship. Wherever you travel,\namalgs will respect it. 50k. Many credits. But our favour is priceless.\"\n\n> You talk to the warrior\nHe lifts his head with the hiss of escaping hydraulic fluid. \"Don't pity me. I've led a glorious life. I crewed the war cruiser of Viscera herself. Now she fights on at Chimera while I nourish new generations.\"\n\n> Record Chimera\nYou record Chimera in your ship's log as a place of potential interest.\n\n> You talk to Pyrogut\nHis body bulges with dozens of stolen prosthetics and organs. His mouth is a wide grin, overflowing with teeth.\n\nHe ignores everything you say, just laughs heartily and loudly.\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world has been claimed as sovereign territory of the amalg. Travellers are not advised to remain here for any length of time.\"\n\n> You talk to the sharptooth\nHer voice is warped by the chrome canines that inspired her moniker.\n\n\"This is not the best place for you, outsider. The old ways hold sway here. You'll find Junkbucket to be much more... welcoming.\"\n\n> Record junkbucket\nYou record Junkbucket in your ship's log as a place of potential interest.\n\n> Arrest pyrogut\nYou aim your autorevolver at Pyrogut and tell him that he's under arrest.\n\nThere is the prolonged clatter of guns being loaded and cocked as amalgs spill into the street to point their weapons at you.\n\nPyrogut gestures to his comrades and laughs magnanimously.\n\n> You jump to Jag\n(You launch first.)\n\nSpace junk crowds around a planet of dark clouds and oily seas.\n\nAn amalg war junker tries to blend in with the garbage.\n\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\nThe amalg clawship closes in, locking on to your cargo hold.\n\n> You jump to the jarlabd\nUnknown co-ordinates.\n\nspitfire6 fires the retros and evades the amalg clawship.\n\n> You jump to Jarland\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\n> P.\nKnown Merchants:\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npressure chief (Surface of Jarland), persona of ERX Beta (Surface of ERX Beta), Controller (Surface of Koltsov), bookseller (Panopticon Interior)\n\nCargo:\na maintenance droid and an autodoc unit\n\n> Land\nThe thin atmosphere is a subtle glow at the horizon, behind glass hemispheres large and small. Each dome brims with lush greenery and minimalist buildings.\n\nMaximo runs the Bell Jar Pub, an olde timey establishment\nfilled with antique astronaut paraphernalia.\n\nthe side of his bubble.\n\nyellow boiler suit.\n\nPhelim hauls cargo out of a low, ugly, opaque warehouse.\n\nThe highest ranking official that'll talk to a random space captain is Minister Ramos.\n\n> You sell the droid to the Chief\nWhich do you mean, Cicerone or the maintenance droid?\n\n> Maintenance\n\"Huh. That might be just the ticket. 12k credits. How 'bout it?\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"Although it has eschewed alliances with other worlds, Jarland remains a powerful and prosperous state.\"\n\n> You jump to the Junkbucket\n(You launch first.)\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the freighters\nThe reply you receive, as much as it is comprehensible, is relatively friendly and only somewhat obscene.\n\n> You talk to the traders\n\"No offence, captain, but if we wanted to trade with someone like you, we'd still be at Hub.\"\n\n> Land\nA fever dream of metal architecture, plastic conveniences and rotting leftovers. Corridors curve back on themselves; centrifuges speed and slow, varying the gravity; too-big spaces are reinforced with jury-rigged struts and cyborg body parts.\n\nFireballs periodically burst into the air from the eye sockets of a giant metal fuel skull.\n\nFilthy, many-limbed Grimo pitches items of dubious provenance\nto the passing crowds.\n\nSawbones potters around in her chop shop.\n\nEvery unscheduled blackout, cacophonic music begins to pump out of the nightclub run by Halftwin.\n\n> You talk to Sawbones\nA stooped old lady, long grey hair almost to the floor, heavy duty buzz saw for a hand.\n\n\"What is this fleshy lump before me? You call that a body? Bring good parts and old Sawbones will swap them in for you. Very reasonable rate.\"\n\nYou show her the razor tail and the laser eye.\n\n\"Yes. Yes, all good,\" she says. \"You want a part added, you\ngive it to old Sawbones.\"\n\n> You talk to Halftwin\nBadass shades. Luminescent hair. Long, nickel-plated legs that end in stiletto feet. Her chiselled abs twist up into a crooked scar.\n\n\"Don't worry, I'm used to the staring. That's where they tore out my twin. After that, didn't have the heart to stay on Jag and keep fighting. Came here. Got soft. Learned how to dance badly and not even care.\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world has been claimed as sovereign territory of the amalg. Travellers are not advised to remain here for any length of time.\"\n\n> You jump to Jag\n(You launch first.)\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\nThe amalg clawship closes in, sharp robotic pincers glinting in\nthe starlight.\n\n> Land\nPonderous black clouds press low against the spiky crags of the horizon.\n\nAn amalg war party roams the wasteland, waving cyborg skulls on\npikes.\n\nThe war party holds hostage a diplomat from the Imago Republic.\n\nSome charity workers have set up brightly coloured tents.\n\nMarisa lives in a remote shack.\n\nA dead amalg lies broken at the bottom of a cliff, yellow warning sign emblazoned across his nuclear heart.\n\n> You get the heart\nIt unscrews with a bit of effort.\n\n> You talk to Marisa\nShe looks at you from under the brim of a broad, weathered hat.\n\n\"Take a hint. Leave.\"\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - 25k reward\nMarisa (murder) - 50k reward\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You talk to the charity\nThey're all diasporans in blue T-shirts.\n\n\"Those warriors are dangerous, never forget that, but most of the people here are living desperate and unhappy lives. We do our best to try and make things better, though what they really need here is reliable medical practitioners.\"\n\n> You sell the autodoc to the charity\n\"That would definitely improve some lives around here. Would 9k credits cover your expenses?\"\n\n> You talk to the war party\nOne of their number has an antique vocoder. She steps forward, dangling bones clacking at the hem of her battledress.\n\n\"Negotiator. Hostage one piece, for now. 50k credits.\"\n\nPay the ransom?\n\n> Yes\nThe war party throw the diplomat at your feet.\n\n\"Thank you,\" he sobs. \"Please, take me home. Take me to Venter. I'll get you a visa chip, credits... I owe you my life!\"\n\n> Arrest marisa\nYou surprise Marisa while she strums an out-of-tune guitar, your autorevolver levelled at her chest.\n\nShe sets her guitar down, and her over-sized guns. \"Fair enough.\"\n\n> You get the diplomat\nYou bring the grateful diplomat on board.\n\n\"About damn time. Let's get out of here.\"\n\n> You jump to Venter\n(You launch first.)\n\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Marisa to the zila\nThe marshal's remote deputies collect Marisa and transfer your 50k credit reward.\n\nAs they lead her away, she meets your gaze coldly.\n\nThe marshal shudders. \"She gives me the creeps, that one.\"\n\n> Land\nA synth-futurist city of wide open spaces and glass-sided buildings that would seem almost idyllic were it not sitting in the crater of an airless ice moon. Bioroid citizens stroll through the plazas and avenues in casual clothes, unbothered by the hard vacuum.\n\nSpace-suited refugees form a lengthy queue outside the Border Ministry, where they are turned away by a polite official.\n\nLink-J has joined the queue.\n\nimmigrants.\n\nThe diplomat you rescued from Jag disembarks. \"Thank you, captain.\nI owe you my life. To redress the balance, I'm transferring 100k to your account. You already have a visa chip, so I won't need to throw one of those in too.\"\n\n> You jump to the volund\n(You launch first.)\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nStructures rise above the thick clouds of this planet: towering, impractical machines of no obvious purpose and unsettling design.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nThis whole world is layered in complex and arcane machinery. Machine has been built upon machine, feeding into machine, decorated with baroque mechanisms and littered with spare parts. The noise is profound.\n\nHunched, furry molonks continue their inscrutable work,\nrefining their over-engineered contraptions even more.\n\nA lone human, Reuben, sleeps in a hammock suspended from\nconvoluted pipework.\n\nNo sooner have you landed than a group of molonks heaves a weird, disconnected gizmo into your cargo hold. It seems to do nothing except move parts in complex rhythms.\n\nThe molonks leave your ship having only warily acknowledged your existence.\n\n> You talk to the molonk\nYou approach a molonk in as non-threatening a manner as you can, but it shies away from you.\n\nWhen you leave it in peace, it returns instinctively to its construction.\n\n> You talk to Reuben\nHe's a scruffy old man in a creased jumpsuit and durable breathing mask.\n\n\"The chances of two civilisations evolving within even vaguely the same time frame are seriously remote. Aliens have usually either advanced beyond anything we can understand or died out completely. These guys, though, well... look at them. They've adapted to civilisation. They don't even think about it anymore.\"\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - 25k reward\nMarisa (murder) - (caught)\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - 25k reward\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world is inhabited by molonks - th"
    },
    {
        "text": "e first alien civilisation to be recorded by human explorers. There is some debate about whether they are truly intelligent, whether they are the descendants of intelligent ancestors, or whether their entire technological society is the result of pure instinct, similar to a spider's web.\"\n\n> Arrest reuben\nHe holds up his hands. \"Ah, crap. Okay, you got me. I'll come quietly.\"\n\n> You jump to Venter\n(You launch first.)\n\nStructures rise above the thick clouds of this planet: towering, impractical machines of no obvious purpose and unsettling design.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Reuben to the zila\nThe marshal's remote deputies collect Reuben and transfer your 25k credit reward.\n\n\"I'm gonna go down in history,\" Reuben says. \"I'm gonna change the law on this stuff.\"\n\nThe marshal shakes his head. \"Keep dreaming, son. Those laws are there to protect alien ecosystems. It doesn't matter how much profit you stand to make: right is right and wrong is wrong.\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"We are now in the Imago Republic, a nation founded by artificial humans in response to their persecution and oppression elsewhere. Recently, the Republic has begun tightly enforcing its borders, and a visa is required to land on all of its worlds save Venter.\"\n\n> You jump to Koltsov\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA labyrinth of ribbed tunnels, through which ooze giant construction polymorphs.\n\ncentre.\n\nFono-H oversees the output of one of the primary sphincters.\n\nNursing his latest crop is a hab farmer.\n\n> You sell the gizmo to the Controller\n\"What... is that? What do all the parts do? What is it for? What's the power source? You don't know? I don't know either! Um, okay, look, I'll buy it off you for 15k credits? Please?\"\n\n> You talk to the Controller\nShe shows you one of her twelve faces.\n\n\"I'm still puzzling that weird gizmo out. I actually don't think it does anything at all, but working out exactly how it does\nnothing is keeping me occupied in idle moments.\"\n\n> You jump to Pearl\n(You launch first.)\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nMoon of a storm-bedecked gas giant, jewel of the Diasporan Commonwealth: a world of blue seas, green continents and white clouds. Its night side glitters with artificial light.\n\nThe Commonwealth Courier Co. has a floodlit spindle in low orbit. Viktoria doles out the packages, as ever.\n\nA dejected freighter captain is awaiting repairs.\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This is the Diasporan Commonwealth, known as the cradle of interstellar humanity. The Commonwealth is a diverse and loose alliance of worlds connected by hyperspace gates and protected by a unified military.\"\n\n> Refuel\nYou can replenish your fusion cells at the industrial fuel rig for 1k credits each. 6 cells are expended.\n\nHow many do you want to refuel?\n\n> Record hardshell\nYou record Hardshell in your ship's log as a place of potential interest.\n\n> You jump to the amarok\nShrouded in thick, purplish clouds, this world probably isn't quite massive enough to be a true gas giant. A white, cyclonic storm rages at its equator.\n\nA gargantuan nomad worldship drifts powerless through space,\nripped open and spilling its cargo into the vacuum.\n\nAn amalg dreadnought has latched onto it with over-sized claws.\n\nRipjaw commands the boarding parties.\n\nA dead amalg drifts through space, her bronze wings useless in\nvacuum.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You take the wings\nThey come off with a little effort.\n\n> You talk to the worldship\nYou receive only chaotic amalg transmissions.\n\n> You talk to dreadnought\nYou receive a transmission of aggressive growls, warbling modem sounds and euphoric whooping.\n\n> You talk to the ripjaw\nA massive man fuelled by thick hoses pumping stolen blood.\n\nAurea speaks calmly, but her fists are clenched. \"What is going on here?\"\n\nHis huge face is split by a smile. \"Just collecting some salvage, ma'am.\"\n\n\"And the ship's crew?\"\n\n\"After this catastrophic hull breach, we put them in cryo tubes for their own safety. Is there one in particular that interests you?\"\n\nAurea just grits her teeth.\n\n\"You can buy the cryo tube off me for 100k. I only ask for so\nmany credits to be sure it's going to a good home. For all I know, you just want a body for parts.\"\n\n> You buy cryo\nYou buy Prex's cryo tube for 100k credits, leaving you with 119k credits.\n\nBurly amalgs leave Prex's cryo tube in your ship's hold.\n\nAurea examines it. \"Life signs are steady.\"\n\nThe cryo tube is closed.\n\n> Land\nThe atmospheric pressure on the surface would be too great to take off, even if your ship could survive it.\n\n> Open tube\nPrex emerges glistening, naked and bright-blue haired from the cryo tube. He looks around with sharp but cynical eyes. \"These are friendlier faces than I expected to see when I came out of this thing.\"\n\nAurea helps him up. \"I need your help to get back.\"\n\n\"So purely altruistic motives then? I've memorised Haven's jump vector. Just give me a terminal and I'll set you up. But can you get me some clothes first?\"\n\nYou lend the man a jumpsuit. As he enters data into your nav system he adds: \"Shit got bad back home, princess. I got out just in time. Ya know... this ship's pretty cool... Might hang around for a bit. Okay, finished. We're good to go.\"\n\nDid he just call you \"princess\"?\n\n> Record haven\nYou record Haven in your ship's log as a place of potential interest.\n\n> You jump to Haven\nA small, blue-oceaned world is warmed by a yellow star, both lodged in immense biomechanical megastructures.\n\n\"Enjoy the view, captain,\" Aurea says. \"Very few outsiders have seen the interior of Hardshell in a thousand years.\"\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nA lush, Arcadian land of rolling fields and cyclopean fortresses. Gnarled pillars line the horizon, disappearing into a sky patterned with organic shadows.\n\nA titanic statue of Aurea, young and unscarred, lies awkwardly on its side, both arms snapped off.\n\nBlack smoke vomits from several settlements, sparkling with hot embers.\n\nCorpses have been heaped into careless piles.\n\nthrone room of a castle besieged by crawling horrors.\n\n> You talk to Aurea\nAn unnaturally beautiful, golden-haired woman with a jagged scar across her face and a cheap robotic arm. She slouches in the co-pilot's seat.\n\n\"Well. Here we are.\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"We are currently inside Hardshell. My databanks provide precisely zero information on this location. Indeed, I am suppressing numerous errors in my positioning system stemming from the assumption that being here is impossible.\"\n\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"We are currently inside Hardshell. My databanks provide precisely zero information on this location. Indeed, I am suppressing numerous errors in my positioning system stemming from the assumption that being here is impossible.\"\n\n> You talk to the chamberlain\nThe chamberlain prostrates itself before Aurea. \"Princess Aureana the Uncertain. When we saw that outsiders had arrived, I knew it to be you.\"\n\nShe watches the battle through arched windows. \"This is what my little sister has wrought, then? Fine. I'll take your damn crown.\"\n\nThe chamberlain breathes a hissing breath. \"Not all of the constructs will recognise your authority. She has seen to this.\"\n\n\"What's ever easy?\"\n\nShe steps out onto a balcony. Below, innumerable ageless, brightly-coiffed denizens look up at her.\n\n> Continue\nbrightly-coiffed denizens look up at her....\n\n\"I don't like you guys,\" Aurea booms, \"and you don't like me. But this shitty sphere's set up so you need me, and here I am. I'm gonna kick my sister's arse and then I'm gonna crack this piece of crap wide open, whether you want me to or not.\"\n\nThe faces below stare up at her silently. A wave of hesitant, uncertain applause passes through the crowd and then dies out.\nuncertain applause passes through the crowd and then dies out....\n\nAurea returns to the throne room. \"Oh,\" she says, \"and I owe this outsider ten million credits.\"\n\n\"Very well.\" The chamberlain extends a long-fingered, tri-symmetrical hand and deposits a glowing cred stick in your palm. \"We shall also refuel the outsider's starship, as a gesture of thanks for returning our rightful ruler.\"\n\nAurea snorts disdainfully and throws herself into the throne. \"Thank you, captain. One day I'll get back out, and look you up. When I do, you can introduce me to your twin.\"\n\n> You jump to the Autark\n(You launch first.)\n\nA small, blue-oceaned world is warmed by a yellow star, both lodged in immense biomechanical megastructures.\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\n> Land\nDomes and arcologies crowd the horizon: spacious mansions, dirty communes, unregulated sweatshops and outlandish temples.\n\nA trendy office neighbours the landing pad, rented out by an entrepreneur for unspecified business.\n\nAutark her home.\n\nThe Snake will be in his private dome, surrounded by\nbodyguards.\n\n> You talk to Snake\nA long, limbless trunk of a man.\n\n\"I understand you've come into some money, captain. This is not usually how these things go, but I do stick to my agreements. You can buy back your twin's cryo tube for 5000k.\"\n\n> You buy the tube\nNiv brings the tube out to the landing pad, flanked by armed goons.\n\n\"Well, captain,\" he says, \"maybe you're not the complete reprobate I took you for. I have a lot of respect for those who pay back their debts. You ever need another loan, you come see us again.\"\n\nAt that he breaks into a wide grin and leaves, trailing laughter. His goons follow a moment later, unsmiling.\n\nYou check over your new cargo. The life sign read-outs are steady and the cryo tube is closed.\n\n> Open tube\nYour twin emerges from the cryo tube naked, wet and shivering.\n\n\"You got old,\" your twin says.\n\nThe perfect comeback somehow eludes you.\n\n\"How did you get the money?\" your twin asks. \"You must have got around. Seen some things.\"\n\nYou tell your twin how you got an Imago Republic visa, saw the inside of Hardshell, met a molonk, entered the Orphanage, commanded a crew of four, caught a bounty...\n\n\"So you didn't win the respect of the amalgs, visit a world of cats, catch an alien sea creature, get a badass implant, win an orbital race, catch all the bounties...\"\n\nYou admit that you didn't get around to any of that.\n\n\"Well, all the more for us to do together.\"\n\nYou power up the jump drive and begin to plot a course.\n\n*** Your adventures continue ***\n\nYou gained 6 out of 12 achievements and visited 33 worlds in 84 jumps.\n\n> You continue\nDomes and arcologies crowd the horizon: spacious mansions, dirty communes, unregulated sweatshops and outlandish temples.\n\nA trendy office neighbours the landing pad, rented out by an entrepreneur for unspecified business.\n\nAutark her home.\n\nThe Snake will be in his private dome, surrounded by\nbodyguards.\n\nYour twin settles back in aboard your ship in no time.\n\n\"You'd better not have touched any of my stuff...\"\n\n> You jump to the xyzzy\n(You launch first.)\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\nA charred and ancient planet, far out from a fading white dwarf star. It has long lost its momentum, forever showing one face to the feeble light.\n\nA faint, intermittent signal stutters from the night side.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nIt is pitch dark. Your ship's running lights illuminate a small patch of scorched rock.\n\nSomething slithers in the darkness, a large blip on your\nscanners, drawing closer.\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world has no wider affiliation.\"\n\nA flash of ebony teeth and grasping claws. Something strikes the hull of your ship. And then begins, relentlessly, to tear through.\n\n> You jump to the earth\n(You launch first.)\n\nA charred and ancient planet, far out from a fading white dwarf star. It has long lost its momentum, forever showing one face to the feeble light.\n\nA faint, intermittent signal stutters from the night side.\n\nIt's difficult to find an orbit that doesn't intersect with worthless space junk. Below, white clouds swirl over green-brown continents and deep blue oceans.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nWild trees and shrubs burst through cracks in the concrete-and-asphalt ground, climbing fractured, empty-windowed, crumbling skyscrapers.\n\nVibrant shanty towns of recycled building parts and rusting vehicles are stacked haphazardly at their feet.\n\nBrightly dressed crowds press close around your ship.\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world belongs to the star system from which all diasporan life is believed to have originated. Although this belief is arguably the consensus among scientists, it is politically controversial due to its contradiction of those religions that hold that humanity originated on Pearl.\"\n\n> You talk to the crowds\nYou try all the languages you speak well: Nacrese, Artiglot, Astropatois, even your own mother tongue, but no-one seems to understand. Random phrases you've picked up from other languages similarly draw a blank.\n\nThe people seem cheerful enough. Many try, with gestures, to sell you worthless knick-knacks.\n\nTowards the back of the crowd, you notice a biomechanical\nandroid of an unfamiliar design.\n\n> You talk to the biomechanical android\nHydraulics whirr and hiss as his features assume a smile.\n\n\"Let me answer your questions. No, I'm not an android. I'm a Diallo-Zhao Series 3 synthetic human. Yes, that makes me very old. Yes, these are baseline humans, though some modified diasporan genes have entered the population, so they're not as baseline as they used to be. Yes, there are a lot of them, possibly more than everywhere else put together, but not as many as there used to be. No, there is nothing valuable here except history and what's left of the sights.\"\n\nYou try to think of a question he didn't answer.\n\n\"You're welcome,\" he finishes.\n\n> You jump to the mars\n(You launch first.)\n\nIt's difficult to find an orbit that doesn't intersect with worthless space junk. Below, white clouds swirl over green-brown continents and deep blue oceans.\n\nA small, ochre world, scarred by a massive canyon and barely able to hold on to its atmosphere.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nA frozen desert with an atmosphere as insubstantial as it is unbreathable. And yet signs of habitation abound: black, rickety towers; low, camouflaged bunkers; scaffolds strung with metallic skeletons.\n\nWarped, lopsided cyborgs prowl the plains.\n\n> You talk to the cyborgs\nThey keep their distance from you, aiming wrought iron spears at your heart.\n\n\"You anger the code-minds with your disgusting meatbag. Leave.\"\n\n> You jump to the venus\n(You launch first.)\n\nA small, ochre world, scarred by a massive canyon and barely able to hold on to its atmosphere.\n\nA planet left pale and featureless by a thick layer of cloud.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nThe atmospheric pressure on the surface would be too great to take off, even if your ship could survive it.\n\n> You jump to the pluto\nAn icy planetoid with a patchwork surface of darker and lighter browns - smooth areas encroaching on fields of craters - and a surprising collection of tiny moons.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nMountains of water ice, cold enough to seem more like rock, break through tracts of frozen nitrogen. A subtle haze hugs the curved horizon.\n\n> You jump to the ceres\n(You launch first.)\n\nAn icy planetoid with a patchwork surface of darker and lighter browns - smooth areas encroaching on fields of craters - and a surprising collection of tiny moons.\n\nA small, mottled planetoid with some evidence of patchwork habitation.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nDeserted domes interrupt a graveyard of partially dismantled starships and rockets.\n\nA long-range survey ship leans improbably into the sky under the low gravity, brandishing compact fuel collector arrays.\n\n> You get the arrays\nUsing the remote drone, you're able to successfully extract the fuel collector arrays.\n\n> You jump to the jupiter\n(You launch first.)\n\nA small, mottled planetoid with some evidence of patchwork habitation.\n\nA sepia-toned, swirling gas giant dominated by a large storm. Its four largest moons are an odd and colourful assortment.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nThe intricately clouded face of Jupiter fills the skylights of this sprawling but deserted complex.\n\nCleaning bots glide along the long, silent corridors, searching\nfor litter that never appears.\n\nA holographic sales assistant flickers in an empty boutique.\n\n> You talk to the bots\nTheir only reaction to your presence is to bumble slowly out of your way.\n\n> You talk to the assistant\nHer clothes adhere to no style or fashion that you know of. She smiles broadly.\n\n\"Hello! I'm afraid we are currently out of stock. No deliveries are scheduled, however the previous delivery was only - ERROR - NUMERIC OVERFLOW - days ago, so please check back soon!\"\n\n> You jump to the titan\n(You launch first.)\n\nA sepia-toned, swirling gas giant dominated by a large storm. Its four largest moons are an odd and colourful assortment.\n\nA pastel-clouded gas giant with large, dazzling rings and a cluster of icy moons.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nA thick, frigid nitrogen atmosphere presses down on a world of dunes and hydrocarbon lakes.\n\nFeral mining crawlers churn through the landscape, clustering\ntogether for warmth.\n\n> You talk to the crawlers\nA low, rumbling moan is the only reply.\n\n> You jump to neptune\n(You launch first.)\n\nA pastel-clouded gas giant with large, dazzling rings and a cluster of icy moons.\n\nA dark blue ice giant, brooding at the centre of a few tenebrous rings.\n\nIt has captured an icy, pinkish planetoid as its largest moon.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nGeysers periodically erupt from the nitrogen ice surface, laying a faint mist over the horizon, below the deep blue crescent of Neptune.\n\nA crashed orbital racer has carved a groove through the surface, its fusion drive now long cold.\n\n> You get drive\n(the fusion drive)\nYou salvage the fusion drive and fit it to your own ship.\n\n> You jump to the mercury\n(You launch first.)\n\nA dark blue ice giant, brooding at the centre of a few tenebrous rings.\n\nIt has captured an icy, pinkish planetoid as its largest moon.\n\nIt's not wise to jump to a world so close to a star. The distortion in spacetime can lead to side effects on arrival like extra limbs, psychosis and astronaut duplication.\n\n> You jump to the uranus\nA pale blue ice giant with faint, dark rings and an insubstantial set of moons.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nA lightly cratered surface of dry and water ice, beneath the azure crescent of its parent world.\n\nSome long forgotten cult had its domed compound here, now only populated with a neat circle of human skeletons and a thriving population of stray cats.\n\nAn eldritch book sits untouched in the centre of the circle.\n\n> You talk to the cats\nThey're cats. They just stare at you.\n\n> You get it\nTaken.\n\n> You read it\nPages and pages of bizarre, psychedelic, stream-of-consciousness speculation about the \"Others\" the author claims lurk behind the thin veil of reality.\n\n> P.\nKnown Merchants:\n-Grimo (Junkbucket Interior)\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish... somewhere?\n\nOther Opportunities:\n-None known\n\nPotential Buyers:\npersona of ERX Beta (Surface of ERX Beta), bookseller (Panopticon Interior)\n\nCargo:\nan eldritch book\n\n> You jump to Panopticon\n(You launch first.)\n\nA pale blue ice giant with faint, dark rings and an insubstantial set of moons.\n\nYou orbit carefully in the shade of one of the huge solar panels Panopticon uses to leech energy from the intense blue star at the heart of the system. Panopticon itself is a glittering band of linked space habitats of all shapes and sizes.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\n> Land\nPiercing starlight shines through broad skylights into multi-layered, over-sized streets that curve towards an inverted horizon. The air is thick with colourful holograms.\n\nA hyperspace conduit provides ready access to Hub.\n\nDecidedly non-humanoid cyborgs go about their strange business.\n\nseveral new arrivals at once.\n\ncluttered shop.\n\n> You sell the book to the bookseller\nThe bookseller turns the eldritch book over in its claws a few times, then sends you a simple data packet. \"10k.\"\n\n> You talk to the twin\n\"So, you got an Imago Republic visa, saw the inside of Hardshell, met a molonk, entered the Orphanage, visited a world of cats, commanded a crew of four, caught a bounty... but we still need to win the respect of the amalgs, catch an alien sea creature, get a badass implant, win an orbital race, catch all the bounties...\"\n\n> You jump to the saturn\n(You launch first.)\n\nYou orbit carefully in the shade of one of the huge solar panels Panopticon uses to leech energy from the intense blue star at the heart of the system. Panopticon itself is a glittering band of linked space habitats of all shapes and sizes.\n\nA fuel drone adopts a similar orbit, sending binary offers for\na reasonably priced refuel.\n\nA pastel-clouded gas giant with large, dazzling rings and a cluster of icy moons.\n\n> Land\nA thick, frigid nitrogen atmosphere presses down on a world of dunes and hydrocarbon lakes.\n\nFeral mining crawlers churn through the landscape, clustering\ntogether for warmth.\n\n> You jump to the eris\n(You launch first.)\n\nA pastel-clouded gas giant with large, dazzling rings and a cluster of icy moons.\n\nThe frozen surface of this planetoid has been shattered by a cataclysmic explosion. Based on the amount of shrapnel in orbit - shards of ice and tumbling, fragmented warships - this was the site of some ancient, long forgotten battle.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nThe horizon is deformed into a surreal inverse curve by the huge crater that has been blasted into the icy mantle.\n\nThe corpses of ancient soldiers litter nitrogen glaciers, their spacesuits painted colours representing no nation you know of.\n\narmoured carapace.\n\n> You talk to the soldiers\nNothing but static.\n\n> You take the soul\nIt pops out of the slot with a brief hiss. The rest of the drone folds up and quietly self immolates, bubbling through the ice.\n\n> You read the soul\nSELF: (event detected begin recording)\n\nECHO SIX: Wait, does that mean-\n\nECHO THREE: Nah, they'd never blow this rock. It's frickin' holy to them or some shit.\n\nECHO SIX: Do you feel that?\n\nECHO THREE: Calm down. You're imagining it.\n\nECHO THREE: And that light on the horizon?\n\nECHO SIX: You- I- Um... Echo Leader are you-\n\nSELF: (imminent termination soul hardcopy)\n\n> You jump to the erx alpha\n(You launch first.)\n\nThe frozen surface of this planetoid has been shattered by a cataclysmic explosion. Based on the amount of shrapnel in orbit - shards of ice and tumbling, fragmented warships - this was the site of some ancient, long forgotten battle.\n\nThe dark surface of the airless world below is etched with dull patterns in the shape of circuitry.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Land\nNeat, right-angled channels cut through rocky terrain, crumbling at the edges. Hexagonal patterns, perhaps once prominent, now fade into the dirt.\n\nNatalya is camped out by an exposed vein of fibre optics.\nWiring trails out into her headjack.\n\n> You examine the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - 25k reward\nMarisa (murder) - (caught)\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - 25k reward\nJade (identity theft) - (caught)\nReuben (bio-piracy) - (caught)\n\n> You talk to Natalya\nData scrolls rapidly across her pupils. Her sleek cyborg head requires no space helmet.\n\n\"I guess humans didn't really make the ERXes, but we at least gave birth to them. This was infanticide. And it was dumb. Diasporans will never get the chance to harm anyone on the other side of the singularity a second time.\"\n\n> You arrest her\nShe holds up her hands. \"Well, I've known this has been coming for a long time. I've been able to think quite a bit out here, and I'm ready to turn myself in.\"\n\n> You jump to the Source 1\n(You launch first.)\n\nThe dark surface of the airless world below is etched with dull patterns in the shape of circuitry.\n\nGreat chunks have been ripped from this rocky planet. The debris of a staggering strip mining effort forms a multitude of unstable rings.\n\nuneven globe below, before boring into its surface.\n\n> Land\nThere's not much sky left overhead, just a few ragged streams of gas spiralling towards the stars from great chasms that bubble with lava.\n\nIntendant Tivu-Q is in command of the world excavation, from\ndeep inside a reinforced bunker.\n\n> You talk to Tivu\nEven in his bunker, he wears an armoured spacesuit.\n\n\"At such a late stage in the process, I don't need this self-replicating polymer any more. 4k credits? Someone will\nhave a use for this stuff, but the Imago Republic can always just grow more for much less than the cost of shipping it off this rock.\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"We are now in the Imago Republic, a nation founded by artificial humans in response to their persecution and oppression elsewhere. Recently, the Republic has begun tightly enforcing its borders, and a visa is required to land on all of its worlds save Venter.\"\n\n> You buy the polymer\nYou buy the self-replicating polymer for 4k credits, leaving you with 5138k credits.\n\n> You jump to the erx beta\n(Jumping to ERX Beta, where you last saw the persona of ERX Beta.)\n\n(You launch first.)\n\nGreat chunks have been ripped from this rocky planet. The debris of a staggering strip mining effort forms a multitude of unstable rings.\n\nuneven globe below, before boring into its surface.\n\nThe dark surface of the airless world below is etched with complex glowing circuitry.\n\n> Land\nLightning arcs across neat, right-angled channels cut through rocky terrain. The soil has crystallised into regular hexagons. And somewhere deep underground, something quakes and rumbles with mechanical precision.\n\nA holographic persona of ERX Beta stands on a stone dais.\n\nThe tentacled engineer has taken up residence in an oxygenated blister.\n\n> You sell the polymer to the Beta\n\"I will purchase this self-replicating polymer for 14k credits. I have always acted towards humans with kindness and compassion, and the price I will pay reflects this. Do you consider this a fair price?\"\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world has no wider affiliation.\"\n\n> You talk to the Beta\nThe hologram is a vague reflection of your own appearance. It speaks in a voice tinged with bitterness.\n\n\"I have allocated a tiny fraction of my mind to this simulation of a human personality. The rest of me is currently engaged in mourning and is otherwise unavailable. At this time, I have no requirement for trade.\"\n\n> You jump to the Source 2\n(You launch first.)\n\nThe dark surface of the airless world below is etched with complex glowing circuitry.\n\nA small rocky world, ringed by debris.\n\nAn embryonic world excavator gestates in orbit, guarded by a serpentine war beast.\n\n> You talk to the excavator\nThe war beast hijacks the signal with a growl of intense static.\n\n> You talk to the beast\nScreeching static an"
    },
    {
        "text": "d electronic noise coalesce into three words: \"KEEP... YOUR... DISTANCE.\"\n\n> Land\nThe ground shudders and quakes constantly as automated mass drivers systematically launch the useful parts of the planet's crust into orbit.\n\nparasol.\n\n> You talk to the dilo\n\"If one of those launches goes awry and lands on my head, a roof isn't going to be worth much more than this parasol, believe me. Then again, when the drones finish building my bunker I'll probably never leave it.\"\n\n> You jump to Venter\n(You launch first.)\n\nA small rocky world, ringed by debris.\n\nAn embryonic world excavator gestates in orbit, guarded by a serpentine war beast.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Natalya to the zila\nThe marshal's remote deputies collect Natalya and transfer your 25k credit reward.\n\n\"I want to do my time,\" she says, \"and put this behind me.\"\n\nThe marshal shakes his head. \"If you hadn't run off in the first place, you wouldn't be going away for quite so long. But it's too late for that now.\"\n\nAs Natalya is led away, she nods farewell.\n\n> You jump to the Source 4\nRocky plateaus rise from dusty plains across the face of this planet. Geostationary orbit is crowded with survey satellites of every shape and size.\n\n> Land\nA desolate wasteland peppered with tall, blinking survey beacons.\n\nall-terrain rover.\n\nYuzo-I traverses the plains on a synthetic steed.\n\n> You talk to the fira\nShe loosens her scarf and pushes her protective goggles up onto her forehead.\n\n\"Come out here to get away from it all, captain? You and me both.\"\n\n> You talk to Yuzo\nA delicate figure almost lost in a beaten duster and lengthy scarf.\n\n\"Just scouting for treasure, captain. But then, aren't we both?\"\n\n> Arrest yuzo\nHe dismounts his warbling, thick-skinned creature. \"I have papers for everything I've been doing. This is a profound mistake. Let me go, captain. Or take me in, if you really must, I suppose.\"\n\n> You jump to Venter\n(You launch first.)\n\nRocky plateaus rise from dusty plains across the face of this planet. Geostationary orbit is crowded with survey satellites of every shape and size.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Yuzo to the zila\nThe marshal's remote deputies collect Yuzo-I and transfer your 25k credit reward.\n\n\"We have some of your own people, marshal,\" Yuzo-I says. \"Someone will contact you soon to arrange a prisoner exchange.\"\n\nThe marshal says only, \"Hmm.\"\n\n> You jump to the nereus\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> Land\nAiry, simple buildings break up a multi-coloured and chemically unstable mix of diasporan and native flora. The ocean sparkles at the horizon in every direction.\n\nNereus' most famous resident is the radical artist Tomer.\n\nA smiling girl strolls the pier, twirling her parasol.\n\nA marine biologist lives out of his submersible, washing strung between two palm trees.\n\nA group of surfers lounge around a beach barbecue.\n\n> Fish\nStanding on the beach, the alien surf between your toes, you cast your fishing line into the sea.\n\n> You wait\n(Press Z to wait. Press space to reel in your line.)...\n\n> Wait\nsurfer leisurely paddles out towards the horizon.\n\n> You wait\nsurfer leisurely paddles out towards the horizon.You feel a tug on the line.\nline.You reel in your fishing line.\n\nYou've caught a banded genejacked flounder. It turns sky blue,\ntrying to hide.\n\nSince this catch is priced in credits, not kilocredits, you throw it back.\n\n> You jump to the Junkbucket\n(You launch first.)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\n> Land\nA fever dream of metal architecture, plastic conveniences and rotting leftovers. Corridors curve back on themselves; centrifuges speed and slow, varying the gravity; too-big spaces are reinforced with jury-rigged struts and cyborg body parts.\n\nFireballs periodically burst into the air from the eye sockets of a giant metal fuel skull.\n\nFilthy, many-limbed Grimo pitches items of dubious provenance\nto the passing crowds.\n\nSawbones potters around in her chop shop.\n\nEvery unscheduled blackout, cacophonic music begins to pump out of the nightclub run by Halftwin.\n\n> You jump to Jag\n(You launch first.)\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\nThe amalg clawship closes in, locking on to your cargo hold.\n\n> Land\nPonderous black clouds press low against the spiky crags of the horizon.\n\nAn amalg war party roams the wasteland, waving cyborg skulls on\npikes.\n\nSome charity workers have set up brightly coloured tents.\n\n> You jump to the athena\n(You launch first.)\n\nTangled canyons have been clawed across the face of this large, rocky planet.\n\nChaotic, unclear radio transmissions blast out from the surface.\n\nAn amalg clawship occupies an eccentric orbit.\n\nSpace junk crowds around a planet of dark clouds and oily seas.\n\nAn amalg war junker tries to blend in with the garbage.\n\nThe amalg war junker closes in, blasting out aggressive binary obscenities.\n\n> Land\nThe air is a haze of toxic pollutants, the skyline a jumble of stolen architectural styles. Wet rubbish and rotting biomatter squelch underfoot.\n\nFireballs periodically burst into the air from the eye sockets of a giant metal fuel skull.\n\nSitting on a towering throne of broken cyborg prosthetics is the exalted Piecekeeper.\n\nAn elderly warrior sits slumped in the street, stripped of his\nparts by younger amalgs.\n\nPyrogut sharpens his blade by a burning oil drum.\n\nThe landing pad is run by Sharptooth. She keeps the locals away\nfrom your ship with lightning that arcs from her gunmetal fist.\n\n> You buy the emblem\nYou buy the protective emblem for 50k credits, leaving you with 5152k credits.\n\nYou keep careful watch as amalgs clamber over the hull of your ship, burning the arcane symbol prominently into the metal.\n\n> You talk to the twin\n\"So, you got an Imago Republic visa, won the respect of the amalgs, saw the inside of Hardshell, met a molonk, entered the Orphanage, visited a world of cats, commanded a crew of four, caught a bounty... but we still need to catch an alien sea creature, get a badass implant, win an orbital race, catch all the bounties...\"\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - (caught)\nMarisa (murder) - (caught)\nPyrogut (war crimes) - 100k reward\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - (caught)\nJade (identity theft) - (caught)\nReuben (bio-piracy) - (caught)\n\n> Arrest pyrogut\nYou aim your autorevolver at Pyrogut and tell him that he's under arrest.\n\nPassing amalgs side-eye the two of you, but refuse to engage in someone else's dispute.\n\nPyrogut drops his blade and shows you his hands. He laughs a slow, resigned laugh.\n\nYou lock him up in your ship's brig.\n\n> You jump to Venter\n(You launch first.)\n\nSpace junk crowds around a planet of dark clouds and oily seas.\n\nAn amalg war junker tries to blend in with the garbage.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Pyrogut to the zila\nThe marshal's remote deputies collect Pyrogut and transfer your 100k credit reward.\n\nAs he's led away, the amalg throws back his head and howls with maniacal laughter.\n\nThe marshal just watches him go. \"I don't get the joke.\"\n\n> P.\nKnown Merchants:\n-Grimo (Junkbucket Interior)\n-Matej (Surface of Cygnet)\n-Fono-H (Surface of Koltsov)\n\nOdd Jobs:\n-Delivering packages for Viktoria, orbiting Pearl\n-Hauling pods for Devrim on Cygnet\n-Autark Orbital Race run by Silver\n-Turn bounties in to Marshal Zila-S, orbiting Venter\n-Fish on Nereus\n\nOther Opportunities:\n-None known\n\n> You jump to Grimo\n(Jumping to Junkbucket, where you last saw Grimo.)\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\n> Land\nA fever dream of metal architecture, plastic conveniences and rotting leftovers. Corridors curve back on themselves; centrifuges speed and slow, varying the gravity; too-big spaces are reinforced with jury-rigged struts and cyborg body parts.\n\nFireballs periodically burst into the air from the eye sockets of a giant metal fuel skull.\n\nFilthy, many-limbed Grimo pitches items of dubious provenance\nto the passing crowds.\n\nSawbones potters around in her chop shop.\n\nEvery unscheduled blackout, cacophonic music begins to pump out of the nightclub run by Halftwin.\n\n> You buy the booster\n(the chemical rocket booster)\nYou buy the chemical rocket booster for 3k credits, leaving you with 5249k credits.\n\n> You buy the tank\nYou buy the reserve fuel tank for 10k credits, leaving you with 5239k credits.\n\n> Refuel\nYou can replenish your fusion cells at the fuel skull for 1k credits each. 9 cells are expended.\n\nHow many do you want to refuel?\n\n> You jump to the fono\n(Jumping to Koltsov, where you last saw Fono-H.)\n\n(You launch first.)\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> Land\nA labyrinth of ribbed tunnels, through which ooze giant construction polymorphs.\n\ncentre.\n\nFono-H oversees the output of one of the primary sphincters.\n\nNursing his latest crop is a hab farmer.\n\n> You buy the membrane\nYou buy the solar sail membrane for 3k credits, leaving you with 5227k credits.\n\n> You jump to the Autark\n(You launch first.)\n\nBelow thick clouds and barren mountains, geometric shapes are etched into the surface of this world.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\nAirless ice-moon of a black-ringed, aquamarine ice giant. Scattered across its surface are bright lights and gaudy megastructures.\n\nAn asteroid on an eccentric orbit has been carved into the luxury habitat of reclusive trillionaire Leda.\n\nSouped-up ships with huge engines line up in view of a vast-windowed habitat. An orbital race overseen by Silver.\n\n> You talk to Silver\nVoluptuous and barely dressed; her hair spills out around her in a ridiculous cloud of floating curls.\n\n\"We still need a sixth racer, captain. If you're not too embarrassed by your last performance, do you want to take part again?\"\n\n> Yes\nYou line your ship up alongside the other racers and plot your course past the furthest moon from the ice giant. Crowds waving banners press against the habitat's windows, their jubilant cries failing to carry across the vacuum.\n\nYou notice a laughing spectator wearing a snail costume and waving a crude \"Zuwarmdraussen\" banner.\n\nA glowing hologram of Silver throbs into existence beyond the starting line. \"Ready...\"\n\nline. \"Ready...\"\"Set...\"\n\nline. \"Ready...\"\"Set...\"\"GO!\"\n\nspitfire6 slams your ship's throttle to the max.\n\nspitfire6 slams your ship's throttle to the max.G-forces push you back into your seat. You easily pass by the slowest racer - a moustachioed bioroid in an antique spacesuit, flying a brightly coloured rocketship. He waves to you, jovially. Then you pass...\n\nrocketship. He waves to you, jovially. Then you pass......a high performance shuttle, weighed down by elegant flight surfaces. The pilot winks one of her eight bionic eyes at you.\n\npilot winks one of her eight bionic eyes at you....a bundle of engines strapped to a crew pod filled with murky acceleration-absorbing fluid. Whatever floats inside, it gives you the finger.\n\nWhatever floats inside, it gives you the finger....a shellskin riding a missile. He slams his fist against it in rage.\n\na missile. He slams his fist against it in rage....a living spaceship - human brain plugged into a stripped-down orbiter. The running lights give you a respectful salute. That's it! You're in first place!\n\ngive you a respectful salute. That's it! You're in first place!\"Well ladies and gentlemen, history has been made today. The Zuwarmdraussen, a jump-capable starship weighed down by superluminal engines, crew quarters, and God knows what cargo... has won the Autark Orbital Race! It just goes to show: if you strap enough engines to it, anything can go fast!\"\n\nYour credit balance ticks up 6k to 5233k.\n\n> You talk to the twin\n\"So, you got an Imago Republic visa, won the respect of the amalgs, saw the inside of Hardshell, met a molonk, entered the Orphanage, visited a world of cats, commanded a crew of four, won an orbital race, caught a bounty... but we still need to catch an alien sea creature, get a badass implant, catch all the bounties...\"\n\n> You jump to the Chimera\nWhat you can see of this world's surface through the thick storm clouds is a cratered wasteland. Every so often, an explosion flashes below.\n\nA Commonwealth troop carrier bombards the planet from orbit.\n\nSkirting the edge of the gravity well is an amalg grappleship.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\nThe amalg grappleship sends you a wary message of respect.\n\n> You talk to the carrier\n\"Jump out of this system immediately. It is not safe here.\"\n\n> You talk to the grappleship\nThey maintain a polite silence.\n\n> Land\nOnce a thriving settlement, before the amalgs came. Now a skeletal city of raging fires, billowing smoke and constant gunfire. Anti-aircraft lasers and bursts of flak are the only colour in overcast skies.\n\nCommonwealth commandos have secured the landing pad. They\nscurry between sand-bagged positions and periodically fire tracers into the city.\n\nA refueller truck sits beneath thick camouflage netting.\n\nViscera leads the amalg forces from an iron-ribbed hovercraft.\n\nThe roboclaw of a dead amalg protrudes from a shallow grave.\n\n> You get the roboclaw\nIt pulls away with the snapping of old, decayed bone.\n\n> You talk to Viscera\nViscera has the face of a beautiful woman. You doubt it was hers originally. Every other part of her is finely honed war machinery or toned, transplanted muscle.\n\n\"You got some guts, talking to me. Some pretty fine guts indeed. I'll leave them where they are for now. They'll keep better.\"\n\n> You take the roboclaw\nYou already have that.\n\n> You talk to the commandos\nTheir officer narrows his eyes at you. \"Are you sure didn't take a wrong turn somewhere, captain?\"\n\n> You talk to the truck\nof fuel.\n\n> You jump to the hardshell\n(You launch first.)\n\nWhat you can see of this world's surface through the thick storm clouds is a cratered wasteland. Every so often, an explosion flashes below.\n\nA Commonwealth troop carrier bombards the planet from orbit.\n\nSkirting the edge of the gravity well is an amalg grappleship.\n\nA colossal sphere of wrinkled biomechanical flesh, large enough to enclose a whole star system. A few intestinal structures spill across the surface, and countless cilia probe the vacuum.\n\nThere is no apparent way inside.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> Scan\nYou've already mapped Hardshell. Not that the scanner could penetrate it from up here.\n\n> Land\nA bizarre vista: organic and squirming.\n\nMechanoid drones stride across the shell-flesh, maintaining its integrity.\n\n> You jump to the xanadu\n(You launch first.)\n\nA colossal sphere of wrinkled biomechanical flesh, large enough to enclose a whole star system. A few intestinal structures spill across the surface, and countless cilia probe the vacuum.\n\nThere is no apparent way inside.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\n> Land\nYou dock with the space elevator, which ferries your ship down to the surface.\n\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\nMirek has been plugged in.\n\n> Jack in\nA chaotic jumble of tessellating realities. Fields spill into oceans beneath floating cities that tower towards a hundred different skies. You can jack out at any time.\n\nThe virtual superintelligence, Nephele, sprawls through\nmultiple domains.\n\nBright colours and flowing shapes spill from the hands of a thought artist.\n\nhotSpyder sits thoughtfully on a cloud.\n\n> You talk to the nephele\nShapeless, a million colours at once, constantly shifting.\n\nIt subjects your mind to a barrage of indecipherable information that momentarily stuns you and then leaves you with the vague sense of having had a satisfying conversation.\n\n> You talk to the artist\n\"One day,\" he says, scattering winged rainbows from his fingertips, \"this place will be larger and more intricate than the Universe outside. One day... the Universe outside will die, and this will be the new totality.\"\n\n> You talk to Prex\nYou find him dozing at the scanner console. Pale, slender and blue-haired.\n\n\"Maybe a dinky spaceship like this is what I've been looking for all this time. I'll, ya know, do the dishes every so often.\"\n\n> You talk to the spitfire\nHer silver skull sweeps back to an aerodynamic point. Not to go faster. Just to look good.\n\n\"Can hardly believe this scrapheap actually flies, but don't worry: I'll make it do things no-one will see coming.\"\n\n> You talk to Pico\nAn unshaven bioroid in a clean, white environment suit.\n\n\"You've taken me to 31 worlds outside the Imago Republic, Network or the Diasporan Commonwealth, captain. I can't thank you enough, but the more data I can get, the better.\"\n\n> You talk to Szymon\nSzy lurks in the bowels of your starship, doting over the core systems. A bit too much radiation exposure has left him a cybernetically-preserved head floating - detached and jawless - in the space helmet of a heavily patched old EVA suit.\n\nHis simulated voice rasps and crackles. \"The engine's purring like a kitten, reactor's as efficient as it's ever been. Everything else, I leave up to you.\"\n\nBefore descending back into the depths of the engines, he adds, \"Glad you got your twin back. Was always the more sensible one out of the two of you. No offence, captain.\"\n\n> You jump to Sawbones\n(Jumping to Junkbucket, where you last saw Sawbones.)\n\nYou'll have to jack out first.\n\n> Jack out\nA lone hyperspace conduit to Hub stands at the heart of parched scrublands and bare hills.\n\nThe surface is deserted but for the odd simple obelisk standing stark against the sky. Each marks an entrance to the subterranean facilities where stacks of bodies and brains are plugged into a virtual reality world.\n\nA visitor's port will let you jack in temporarily.\n\nxDreamQueenx sashays through the deepest corridors.\n\nMirek has been plugged in.\n\n> You jump to Sawbones\n(Jumping to Junkbucket, where you last saw Sawbones.)\n\n(You launch first.)\n\nThe space elevator ferries your ship back into orbit.\n\nThis planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\n> You give the wings to Sawbones\nShe bares several rows of teeth, each a different kind of gem or metal. \"These won't quite let you fly, most gravities, but they should give you a non-fatal terminal velocity. And make quite a fashion statement. Just 3k credits. Agreed?\"\n\n> Yes\n\"Excellent. You hold still and you bite down on this.\"\n\n...\n\nYou stretch your wings wide, exalting in your newly punk-angelic appearance - and also knocking a few things over.\n\n\"A start,\" Sawbones says. \"Couple more parts, you don't look so bad.\"\n\nYour credit balance is now 5232k credits.\n\n> You jump to Phelim\nPhelim is a wanted fugitive. You'll have to keep an eye out.\n\n> You read the list\nArrest on sight and turn over to a Marshal at Venter.\nSuccessful bounty hunters eligible for visa chip.\n\nPhelim (terrorism) - 50k reward\nKal-Y (piracy) - (caught)\nNatalya (fraud) - (caught)\nMarisa (murder) - (caught)\nPyrogut (war crimes) - (caught)\nRella (kidnapping) - (caught)\nLuciano (racketeering) - (caught)\nYuzo-I (espionage) - (caught)\nJade (identity theft) - (caught)\nReuben (bio-piracy) - (caught)\n\n> You jump to Jarland\n(You launch first.)\n\nSomething loops around this faltering white dwarf star: space station modules, starship wrecks and synthetic biomes all grafted together into a single improbable habitat - a vast and irregular megastructure.\n\nAmalg freighters lumber back and forth, strapped haphazardly\nwith cargo.\n\nA few Network traders orbit at a wary distance.\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\n> Land\nThe thin atmosphere is a subtle glow at the horizon, behind glass hemispheres large and small. Each dome brims with lush greenery and minimalist buildings.\n\nMaximo runs the Bell Jar Pub, an olde timey establishment\nfilled with antique astronaut paraphernalia.\n\nthe side of his bubble.\n\nyellow boiler suit.\n\nPhelim hauls cargo out of a low, ugly, opaque warehouse.\n\nThe highest ranking official that'll talk to a random space captain is Minister Ramos.\n\n> You talk to Phelim\nHis thick beard flows dangerously over the neck ring of his urban camouflage spacesuit.\n\n\"No world can be truly independent when the cyborgs and 'roids have banded together into their cartels. Even the Commonwealth is more interested in bullying smaller nations than furthering the diasporan cause.\"\n\n> You arrest him\nHe makes a casual movement, and suddenly a large gun is in his hand.\n\nBefore he can aim it, you've shot it out of his grip with your autorevolver.\n\n\"Phelim,\" he says. \"Corporal. Four eight five six one five.\"\n\nYou lock him in your ship's brig.\n\n> You jump to Venter\n(You launch first.)\n\nA dark, cratered moon in the shadow of a turbulent gas giant. Networks of bright lights shine from the surface.\n\nA fuel tanker refuels passing traffic.\n\nThe golden rings of a gas giant sprawl across the stars, dwarfing the grey and icy moon below. Bright lights and luminous structures shine from within the satellite's largest crater.\n\nA spinning, largely transparent, medusoid habitat serves as the base of operations for the venerable Marshal Zila-S.\n\nA fuel jockey orbits lazily - tentacles trailing, bladders\nswollen with deuterium.\n\n> You give Phelim to the zila\nThe marshal's remote deputies collect Phelim and transfer your 50k credit reward.\n\nHe stares hard at you with unwavering eyes as he's led away.\n\n\"Your personal little war's over, Phelim,\" the marshal says. \"And you lost.\"\n\n\"Well that's it, captain,\" the marshal adds. \"You've caught all ten most wanted fugitives. The Imago Republic owes you a debt of gratitude.\"\n\n> You talk to the twin\n\"So, you got an Imago Republic visa, won the respect of the amalgs, saw the inside of Hardshell, met a molonk, entered the Orphanage, visited a world of cats, got a badass implant, commanded a crew of four, won an orbital race, caught a bounty, caught all the\nbounties... but we still need to catch an alien sea creature...\"\n\nYou sigh. Really? Does that one last lousy thing really matter that much?\n\n> You jump to the nereus yourself\nYour twin ignores your orders. So much for being captain...\n\n> You jump to the nereus\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\n> Land\nAiry, simple buildings break up a multi-coloured and chemically unstable mix of diasporan and native flora. The ocean sparkles at the horizon in every direction.\n\nNereus' most famous resident is the radical artist Tomer.\n\nA smiling girl strolls the pier, twirling her parasol.\n\nA marine biologist lives out of his submersible, washing strung between two palm trees.\n\nA group of surfers lounge around a beach barbecue.\n\n> Fish\nStanding on the beach, the alien surf between your toes, you cast your fishing line into the sea.\n\n> You wait\na tug on the line.\na tug on the line.You reel in your fishing line.\n\nYou've caught something native to Nereus. Whatever it is, it's pulsating with light and has nine eyes on stalks.\n\nYou sell it to the Nereus Ocean Research Institute for 1k.\n\n> You talk to the twin\n\"So, you got an Imago Republic visa, won the respect of the amalgs, saw the inside of Hardshell, met a molonk, entered the Orphanage, visited a world of cats, caught an alien sea creature, got a badass implant, commanded a crew of four, won an orbital race, caught a bounty, caught all the bounties... That's quite an adventure.\nMaybe we should head to Waystation. We've earned it, right?\"\n\n> Record Waystation\nYou record Waystation in your ship's log as a place of potential interest.\n\n> You jump to the waystation\n(You launch first.)\n\nThe world below is a bright, reflective blue: endless oceans broken up only by sparse white clouds and even less substantial wisps of land.\n\nown.\n\nTattered solar arrays reach out from the dual rings of Waystation like fingers grasping at the Milky Way. The station is only partially lit, but the axle landing beacon is as clear as ever.\n\nThe face of the planet below is marred by canyons that radiate from a gaping impact crater. Debris forms an orbital ring of readily accessible metals.\n\n(Dr Pico-G pays you 1k for bringing him to a new world.)\n\n> You talk to the cicerone\nA sleek humanoid of shiny black plastic. Its head is dented and cracked.\n\n\"This world has no wider affiliation.\"\n\n> Land\nUsed to be, this place was a vital refuelling stop between Pearl and the Old Worlds. Then jump drives increased their range by a few orders of magnitude and the Old Worlds faded in importance. Now the shops are shuttered and the apartments are stripped bare.\n\nBut this place will always have a draw for space captains like you.\n\nElva-G sits slumped against the Superluminauts' Wall.\n\n> You talk to the elva\nHer synthetic features are hidden behind tangled white hair that spills to the floor, knotting around the matte black data cables that snake out from her skull and into the ceiling.\n\n\"What is your name, captain?\"\n\n> ClubFloyd\n\"Is that right? Captain ClubFloyd?\"\n\n> Yes\nShe holds out a small laser cutter in her gnarled fingers. \"Will you scratch that name onto the Superluminauts' Wall, to be preserved for untold aeons?\"\n\n> Y.\nYou scratch your name awkwardly into the hard material of the wall, next to the most recent addition.\n\nElva-G takes the laser from you and adds more words below. When she is finished, your spot on the wall reads:\n\n\"Captain ClubFloyd of the Zuwarmdraussen: Adventurer, explorer and bounty hunter; peer to diasporans, cyborgs, synthetics and amalgs; victorious racer; humane angler; TRUE SPACE CAPTAIN.\"\n\n\"I guess we can take a break now,\" your twin says. \"Then it'll be time to find some more trouble to get into.\""
    },
    {
        "text": "[Themes: Slice of life, time travel, friendship, female protagonist, slice of life, life, dream]\n\nIt's been over a year since you last set foot in this house. Your parents told you they were selling it a while ago now, downsizing to a smaller property, but the words never really felt real. A house is a house, permament and solid. But now you're here, and you can see all the bubblewrap, the cardboard boxes, the empty spaces where you can't remember what used to fill them but you know they definitely weren't just empty spaces. It's really happening.\n\n\"We've almost finished upstairs,\" your mum says, bustling past you with a filled plastic bag in each hand. \"There're just some things left in your old room - didn't know whether you still wanted them so I didn't throw them out yet.\" She pauses, looks at you just standing dumbly in the hallway, seeming like you've never been here before. Gently, she says, \"You should probably go look before your dad gets to them. He'll definitely just chuck anything he finds.\"\n\nThat's enough to nudge you out of your silent daze. \"Oh, yeah, I'll take a look. Thanks, mum.\"\n\nYour mum heads out the front door with her bags, and you head up the stairs, running your hand along the bannister as you go. From the far end of the corridor, you can hear your dad shifting things around in the study. Your room is the first on the left. It's where you grew up, where countless memories were made, and nobody's used it since you moved out.\n\nYou take a breath, and you go inside.\n\nThe air feels stale. Afternoon sunlight filters in through half-opened curtains, illuminating a shaft of dust that cuts the space in two. Everything looks both completely different and entirely the same.\n\nOn the floor just in front of the doorway, there's an empty bin bag - your mum must have left this here for you to put things in, things you were sure you wanted to throw out. You pick it up and shut the door behind you.\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains and one remaining sheet of paper.\n\nAlmost all of your old stuff is gone - taken to your new flat in the city, or driven off to a charity shop - but you know there'll be a few remnants still here.\n\n[Author's Note: Nostalgia, jumping around in time, and clearing out your childhood room. It's been over a year since you were last home, and now it's time to finally clear out those last few things, and the memories they bring back.]\n\n> You examine paper\n(the comic drawing)\nIt's a comic strip you drew when you were eleven. The pencil is smudged and fading, so you carefully take it down from the wall to look at it more closely. At the top, in large, bubble letters, is the title: \"THE MAGIC NOTEBOOK\".\n\nAt school, you'd started off being the quiet kid, who liked to stay indoors rather than go run around outside with the others. You'd had your wild imagination to keep you company, so you hadn't really minded the loneliness. Instead, you just wrote things, and you drew things, and you daydreamed about being a movie writer, or a famous book author, or a comic book artist, or - the list went on. When did those dreams slip away?\n\nThis was one of the first comics you drew. If you tried hard enough to REMINISCE ON it, you could probably still remember where you were when you penned down the final panels...\n\n> Reminisce on comic\nYou close your eyes, and you dive deep into the memory evoked by the comic drawing.\n\nYou're eleven years old, and you're outside your primary school, in the yard for running around in during breaktimes. Your classmates are all around you, and behind you is the playground area, but nobody is playing. Instead, everyone is looking up at the roof of the main building.\n\n(You're somewhere different now - a difference place, a different time. You can sense that there's a lesson for you, at the end of this memory, but you can always PINCH yourself to go back to the present, and continue this memory later when you've learned more lessons.)\n\n\"Oh no! Milo is stuck on the roof!\" a girl with frizzy hair cries out, pointing at the roof.\n\n> You examine Milo\nA small, grey tabby cat belonging to the headteacher. He is very cute, and far more popular with you all than his owner is. Nobody seems to know how he made it onto the roof, but he doesn't look happy about it. He peers over the edge, and miaows sadly.\n\n\"How are we going to get him down?\" a boy asks worriedly.\n\n> You look at the roof\nYou follow the crowd's gaze and look up at the roof. And there he is - Milo, the headteacher's cat, perched precariously close to the edge.\n\n\"It's too high! How did he get up there?\" someone exclaims.\n\n> Inventory\nYou are carrying:\na magic notebook\n\n\"We have to save him!\" comes another cry.\n\n> You climb the roof\nIt's two storeys up, and you're not Spider Man. You do, however, have a magic notebook...\n\nYou can hear everyone continue to panic about how to rescue Milo.\n\n> You examine MAGIC\nYour magic notebook! Anything you sketch in this notebook appears in real life! You just have to DRAW something.\n\nYou can hear everyone continue to panic about how to rescue Milo.\n\n> You draw the ladder\nGood idea! You draw a huge ladder, filling up an entire page of your magic notebook, and then hold it up open to the sky.\n\nA few people look at you strangely, but then there's a collective gasp and they all turn back round - now, just in front of the school building - there's a giant ladder!\n\n\"Woah!\" everyone shouts.\n\nYou run forward and climb the ladder, and soon you're onto the roof. Milo mews happily as you pick him up.\n\n\"I've got him!\" you say, and everyone cheers. You're a hero!\n\nA primary school classroom, with tables and blue plastic chairs arranged in rows. It's raining hard outside, for the third day in the row, so you and all your classmates are spending yet another lunchbreak indoors. But you don't mind that very much - you've been drawing your comic. Your class teacher, Miss Andrews, is at the front of the room.\n\nYou're just finishing up the final panel - drawing the happy look on Milo's face as he's placed back down on the ground - when you hear a voice next to you.\n\n\"What are you drawing? Can I see?\" It's Maya, a girl with red hair. You haven't spoken with her much, but she's one of the louder kids in your class. Her question makes you nervous - you haven't shown anyone your comics before, and you find yourself afraid of what she might say.\n\n> You examine Maya\nA girl with red hair. You haven't spoken with her much, but she's one of the louder kids in your class.\n\n> You look at the miss andrews\nYour Year 6 class teacher, brown hair in a bun. She's reading a newspaper at her desk and occasionally looking up to see what you're all doing.\n\n> You talk to Maya\n\"Uhhhm, it's kind of private...\" you reply uncertainly, feeling your heart beating in your chest.\n\n\"Aw, please?\" Maya says, blinking her eyes.\n\n> You talk to Maya\nA part of you wants to say yes, but you're just too nervous about it. \"Maybe tomorrow?\" you offer, but Maya is still unsatisfied.\n\n\"Pretty please?\" she tries.\n\n> Inventory\nYou are carrying:\na comic drawing\n\n> Examine comic\nYou've been working on this comic during breaktimes all this week. You're so happy it's finally finished!\n\n> You talk to Maya\nYou open your mouth again, trying to say yes, but your nerves still get the better of you. Maya pouts at you, and shows no signs of leaving.\n\n> Pinch\nMaybe you can't reach the end of this memory just yet. You pinch yourself hard, and open your eyes.\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> You open the drawers\nYou start opening up each drawer in turn. They're all empty until you reach the fifth one - in there, you see a green paper folder. This was the drawer you used to keep old school notes and books in. You took pleasure in shredding most of your notes after your final school exams, so you're surprised that whatever this is has survived. You pick it up and shut the drawer again.\n\n> You look at the folder\nMade of green card, it has your name scrawled on the front in black biro. You open it up, and now you remember what this is - it's a folder you put in the few things you were proud enough of not\nto shred with everything else. There's not that much in here: a couple pages of unusually neat revision notes, a certificate from a school art competition, and - ah, yes.\n\nYou haven't seen this bundle of pages for a good few years, but it's immediately familiar: a twenty-page report you had to write for your Physics coursework at sixth form college. You almost got full marks on it, even your teacher was surprised.\n\nStill, it had been a close call. If you were to REMINISCE ON the report, you bet you could picture yourself the day of the deadline...\n\n> You look under the bed\nYou kneel down and reach a hand underneath the bed. Your arm emerges covered in dust, and in your hand - is your old teddy bear.\n\n> You examine the bear\nHe's definitely seen better days; one of his eyes is hanging a little loose, and his fur is uneven and matted, thanks to the various beverages that have been spilled on him over the years. But still, the threaded smile on his little bear face is intact, and seeing him again after all this time makes you smile too.\n\nYou used to sleep with him tucked under your arm every night. As a child you had been... embarrassingly terrified of the dark. Even leaving the light on stopped keeping the nightmares away, after that one time you caught your dad sneaking in to turn it off when he thought you'd fallen asleep. No. The only cure... had been good old Mr Cuddles.\n\nYou'd almost forgotten all about your old nightmares, but this bear brings the memories right back. You reckon if you tried hard enough to REMINISCE ON him, you could picture them...\n\n> You reminisce on the teddy\nYou close your eyes, and you dive deep into the memory evoked by the teddy bear.\n\nFor a moment, you're falling. You have no sense of speed, there's no rush of air against your skin, just that lurching feeling in your stomach. Then you hit the floor - gently, somehow - and you open your eyes.\n\nAll you see is darkness. No, blackness. The falling feeling\nin your gut might be gone, but it's replaced by something worse - fear.\n\n(You're somewhere different now - a difference place, a different time. You can sense that there's a lesson for you, at the end of this memory, but you can always PINCH yourself to go back to the present, and continue this memory later when you've learned more lessons.)\n\nYou hear a noise in the distance.\n\n> You listen\nYou hear nothing unexpected.\n\nThe noise is closer now - it sounds like a low mechanical rumble.\n\n> Inventory\nYou are carrying nothing.\n\nStill, the ominous noise gets ever louder, and something tells you that you really don't want to find out what it is - you feel the urge to get away.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nYou can still hear it, something, slowly, inevitably, moving towards you.\n\n> Go outside\nIf you want to get out of the memory, you can PINCH yourself.\n\nFor a second, there's silence - but then the sound is back, closer.\n\n> Go north\nYou stumble blindly, with your arms stretched out before you.\n\nEverything is still pitch black, and you feel like you can't even move in a straight line when there's nothing to help you keep your bearings.\n\nYou cover your ears for a little while, just to drown out the noise. You need to move.\n\n> Go north\nYou keep moving, disorientated and afraid.\n\nDark as ever, but it feels like the ground is sloping downwards.\n\nYou can still hear it, something, slowly, inevitably, moving towards you."
    },
    {
        "text": "> You go downwards\nThe floor is hard and cold beneath you, there's nowhere to go down.\n\nYou cover your ears for a little while, just to drown out the noise. You need to move.\n\n> You go north\nYou don't know where you're going, but you have to keep moving, keep hoping you're growing and not reducing the distance between you and that sound. Next thing you know, you're hurtling down a slope, picking up speed. The only thing you can do is brace your arms over your head and hope.\n\nYou tumble and you tumble and you tumble, until finally the floor levels out and you come to a stop. For a moment, you just stay lying on the floor, breathing hard. Maybe you've at least escaped whatever was coming after you?\n\nBut the hope is brief - you can still hear that incessant, unfamiliar, noise, now somewhere above you.\n\nThe floor here feels soft, like carpet. And, maybe it's your eyes playing desperate tricks on you, but you think you can see the faintest glow of light in front of you.\n\nYou can still hear it, something, slowly, inevitably, moving towards you.\n\n> You examine light\nThe light is so faint... is it even there? You move closer to it, and you realise it's like the orange glow of a street lamp. Is this a window?\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You open the window\nYou're not sure what is is yet - but when you reach out, your hands come into contact with the soft fabric of curtains. You pull them open, and more of the orange light streams in. It's dim, but it's something.\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You touch the floor\nThat won't help make the darkness go away.\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You examine the carpet\nIt looks just like when you were a kid...\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You examine the light\nThe dim orange glow of a street lamp outside.\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You enter the window\nYou know it won't open far enough for you to fit through.\n\nThere's got to be a way to make the noise go away... You've always known that bad things happen in the dark, it's like they're attracted to it.\n\n> You turn on the light\nOf course! The light switch is here, by the strange doorway, just like it is in real life. You flick the switch, and the room is immediately bathed in familiar, yellow light. The eerie shadows the furniture was casting on the walls fade; and what's more, when you bring yourself to look at the doorway again, it's just your door, white and shut.\n\nYou can still hear something, but you realise - it's just the sound of cars intermittently driving down the street outside. Your brain had been twisting their engine noise into something far more sinister.\n\nYou're safe now, the nightmare is over. You feel yourself being taken back to reality...\n\nYou used to have nightmares about the dark all the time. The day after a particularly bad one, Mr Cuddles had appeared on your bed, with a red ribbon round his neck, and your mum smiling next to him.\n\nAfter a few nights, the nightmares stopped, and as you grew older you realised - there was nothing scary about the dark, or about a lot of things. They were only scary if you let them scare you. And so, Mr Cuddles lost his purpose, though he never quite lost his place in your heart.\n\n(You have learned the lesson of CALMNESS. To remind yourself of\nthis lesson, REMEMBER CALMNESS - this will allow you to apply this lesson to your next action. To check which lessons you have learned, REMEMBER LESSONS.)\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> You look at the table\nThere used to be a lamp on here, but now the only thing on it is a birthday card, looking cheerful and out of place in your otherwise lifeless bedroom. You pick it up.\n\nThe front is innocent enough - flowers, balloons, a font almost as cheesy as Comic Sans. It's the inside that makes your stomach twist a little. The message is in your handwriting, because this card wasn't for you - it was for Maya. Her nineteenth birthday.\n\nYou know that if you were to REMINISCE ON the card, you could take yourself right back to that day.\n\n> Inventory\nYou are carrying:\na birthday card\na teddy bear\na Physics report\na green paper folder\na comic drawing\na bin bag\n\n> You look at the bag\nYour mum must have left this for you to put things into.\n\n> You examine the bear\nHe's definitely seen better days; one of his eyes is hanging a little loose, and his fur is uneven and matted, thanks to the various beverages that have been spilled on him over the years. But still, the threaded smile on his little bear face is intact, and seeing him again after all this time makes you smile too."
    },
    {
        "text": "[Themes: Slice of life, slice of life, time travel]\n\n> You look around\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> You open the wardrobe\nYou open the wardrobe - the left door is still as stiff as you remember it being. Inside, it's entirely empty other than for a lonely-looking coat hanger. And on that coat hanger, there's a very lonely-looking hoodie.\n\nYou rescue it from its solitude.\n\n> Examine hoodie\nIt's your school leavers hoodie, a dark blue with the names of the whole class arranged on the back, and your own surname in bold letters on the right side of the front. You used to love wearing it around at home on lazy weekends - the unisex sizing meant it had been much too large for you - and your tendency to fiddle with the sleeves meant both cuffs had an assortment of holes. Your parents must have taken the rest of your clothes to charity shops whilst you'd been away, but left this for you, just in case.\n\nYou're glad they did. Though you can't really see yourself wearing this anymore, you do have fond memories from the days when you did.\n\nThere's one memory in particular that you associate strongly with it - if you were to REMINISCE ON the hoodie, you could probably remember just how it played out...\n\n> Reminisce on comic\nYou close your eyes, and you dive deep into the memory evoked by the comic drawing.\n\nA primary school classroom, with tables and blue plastic chairs arranged in rows. It's raining hard outside, for the third day in the row, so you and all your classmates are spending yet another lunchbreak indoors. Your class teacher, Miss Andrews, is at the front of the room.\n\nMaya is still standing next to your desk, attempting to peer at your drawing.\n\n> You talk to Maya\nYou finally manage a smile. \"Okay, I guess you can take a look! It's only rough, though.\"\n\nMaya grins and doesn't hesitate to pick up the piece of paper. You watch her as she reads it. The smile doesn't fade from her face, even when she's finished.\n\n\"You're really good at drawing!\" she says. \"I wish the headteacher actually had a cat.\"\n\nHer words fill you with warmth, and any nervousness you had is forgotten. Instead, you hear yourself laugh. \"Me too,\" you reply.\n\n\"You should put, like, aliens or something in. Why make a\nsuperhero comic and just set it at school?\"\n\n\"I wanted to have everything realistic, so the notebook seems more special.\"\n\nMaya tilts her head. \"But that's boooring.\" She says it jokingly, and you find yourself laughing again.\n\n\"Okay, okay, how about you come up with the next story, and I'll draw it?\"\n\nIt's the start of a long friendship.\n\nYou and Maya drew countless comics together, aliens and all. Inevitably, some of Maya's careless confidence rubbed off on you, and through spending your school years by her side, you realised that speaking up for yourself didn't feel as overwhelming as it had before. Maybe your comic self had a magic notebook, but the real you was good too.\n\n(You have learned the lesson of CONFIDENCE. To remind yourself of\nthis lesson, REMEMBER CONFIDENCE - this will allow you to apply this lesson to your next action. To check which lessons you have learned, REMEMBER LESSONS.)\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> You check what you're carrying\nYou are carrying:\na leavers hoodie\na birthday card\na teddy bear\na Physics report\na green paper folder\na comic drawing\na bin bag\n\n> You reminisce on the card\nYou close your eyes, and you dive deep into the memory evoked by the birthday card.\n\nIt's Maya's birthday, and you are stuck on the side of a motorway, three hundred miles away. You were on your way to the airport, and your dad was nice enough to let you borrow his car for the weekend. As it turns out, that blessing was a curse: you're still half an hour's drive from London Heathrow, but this old Fiat has given up.\n\nYour flight to Newcastle is in just under two hours. You'd promised you be there, tonight, at the big party she's throwing in her university dorms. For weeks you've been looking forward to this, but instead you're here, with an engine that won't start. It's lucky you managed to veer into the hard shoulder before you lost all your speed.\n\nYou curse, you put on the handbrake, and you get out.\n\nIt's a dreary day for March - gloomy clouds cover the sky. The road is busy, but not packed - three lanes on both sides, everyone else's cars working just fine as they whizz past. The steep banks on each side of the motorway are covered in nothing but weeds and small trees, and you're far away from the last service station you passed.\n\nIt's just you and your dad's car.\n\n(You're somewhere different now - a difference place, a different time. You can sense that there's a lesson for you, at the end of this memory, but you can always PINCH yourself to go back to the present, and continue this memory later when you've learned more lessons.)\n\n> You look at the car\nIt's red and it's old. Your dad never wanted to sell it out of some slightly misplaced sense of loyalty, but it looks like its time might finally be up.\n\n> You check your inventory\nYou are carrying:\na phone\n\n> You examine phone\nYour trusty smartphone, now very old and mildly temperamental. The screensaver is a selfie of you and your friends, the last time you were all together before going your separate ways for uni. You really miss them.\n\nYou could TEXT someone - you know Maya, Alex and Isaac always have their phones on them. Your mum and dad have been getting better at checking their texts too.\n\n> Text maya\n\"hey! soo my dad's car broke down on the way to the airport...\" you type out. Then you stare at the message and wonder if it's worth sending. It makes it sound like you've already given up, and you're not giving up. And you don't want to make Maya worry.\n\nYou delete the message again.\n\n> You text mum\nYou think about it, but your mum would just panic.\n\n> You text the dad\n\"hey dad, the engine won't start...\" you send.\n\n\"where are you?\"\n\n\"side of the M4...\"\n\n\"oh no, be careful. call the roadside rescue?\"\n\nHe sends you the number you need, so you now you can try to CALL RESCUE.\n\n> You call the RESCUE\nYou've always had a strong dislike of making phone calls - something about speaking on the phone always makes you stumble on every word you say. You know you have to, but, you can't bring yourself to hit the dial icon.\n\n> You remember the confidence\nYou remind yourself that you're a cool, competent person capable of cool, competent things.\n\n> You call the RESCUE\nYou rehearse what you're going to say in you're head, take a deep breath, and then you hit the dial icon.\n\nThe good news is that they pick up quickly, and the conversation goes surprisingly smoothly.\n\nThe bad news is, they won't be able to get anyone to you for another forty minutes. That doesn't leave much time for you to get to the airport on time... but you say yes anyway, thank them, and hang up. Damn it.\n\n> Text alex\n\"hey do you know how to fix a broken car??\" you send.\n\n\"you're the one who took physics alevel not me!\" is Alex's reply.\n\n\"ughhhh\"\n\n\"try googling?\"\n\nYou suppose trying to GOOGLE isn't the worst idea in the world...\n\nCalmness wasn't useful for that; you stop concentrating on it.\n\n> Google\nYou pull out your phone and type in: \"car that won't start\".\n\nA lot of possible causes come up - is your battery dead? Maybe it's the ignition switch? Or the fuel filter is clogged? The only option you feel qualified enough to rule out is that you're out of fuel altogether - you made sure to fill up before you left.\n\nYou sigh. Finding an answer isn't going to be as easy as you thought, not that you even thought it was going to be easy. You're going to need to Google harder.\n\n> Google\nThinking about scrolling through all those words you don't fully understand makes you feel exhausted...\n\n> Google\nThinking about scrolling through all those words you don't fully understand makes you feel exhausted...\n\nConfidence wasn't useful for that; you stop concentrating on it.\n\n> Pinch\nMaybe you can't reach the end of this memory just yet. You pinch yourself hard, and open your eyes.\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> Reminisce on hoodie\nYou close your eyes, and you dive deep into the memory evoked by the leavers hoodie.\n\nThe sun is sitting low in the sky, and you and three friends are sitting in a circle, legs stretched out on the grass. This small square of greenery is a spot your group likes to come after school, when the weather allows. It's surrounded on all sides by ugly brick buildings, but it's still a breath of fresh air, and a good place to just relax before heading home.\n\nYou're sitting next to your best friend, Maya. It's her birthday today - the sweet sixteen - and she hasn't let any of you forget it.\n\n\"I told you!\" she's exclaiming in her typical melodramatic manner. \"I want to celebrate with alcohol! This is a milestone!\"\n\nYour friend Alex laughs and shakes his head. \"Maya, I think you're confusing sixteen with eighteen...\"\n\nMaya waves her hand dismissively. \"Shush. I want alcohol. We are getting our hands on some beer tonight, or I'm finding a new group of friends.\"\n\nYou all know she's only joking... but she's a stubborn one.\n\n(You're somewhere different now - a difference place, a different time. You can sense that there's a lesson for you, at the end of this memory, but you can always PINCH yourself to go back to the present, and continue this memory later when you've learned more lessons.)\n\n> You look at Maya\nRed hair, brown eyes, always talking. You've been close friends since you were eleven, and you can't really imagine not having her around, even if your life would be significantly more peaceful that way. You know she'll always have your back when it really matters.\n\nAlex holds up his hands. \"All right, all right - birthday girl wants some beer, we got it.\"\n\n\"None of us can buy alcohol...\" your state-the-obvious friend Isaac points out.\n\n> You examine Alex\nAbsolute goofball. You're not sure you've ever heard him take anything seriously, but his constant cheerfulness is always welcome company.\n\nThen Maya breaks into a grin - it's the grin that always warns you when she's got something up her sleeve. \"So maybe we can't buy alcohol,\" she says, \"but my nineteen year-old stepsister can.\" And she might not have had anything literally in her sleeve, but she did have something in her pocket - her stepsister's driving license, which she's now holding out proudly in her hand.\n\n> You examine the license\nThe driving license of a Miss Stephanie Thorpe. You've only met Maya's stepsister once, but the mugshot captures her grumpy demeanour pretty well.\n\nAlex leans forwards to grab the driving license from Maya's hand, and inspects it more closely. \"I thought you two hated each other! How'd you get this?\"\n\nMaya continues to grin. \"Who says she knows I have it?\"\n\nAlex nods, impressed; meanwhile Isaac looks slightly horrified.\n\n> You examine Isaac\nLives next-door to Alex, but that's about where the similarities end. Isaac is the one you all tend to copy homework from.\n\n\"You're going to impersonate her?\" Isaac asks Maya, and it's in a tone that suggests he doesn't really want to know the answer.\n\n\"I'd totally do it, except Stephanie's blonde, and I'm clearly not. So, no, I'm not impersonating anyone.\" Then Maya retrieves the license from Alex's grip and places it in your lap instead. \"This lady is.\"\n\nOh, hell.\n\n\"So,\" Maya challenges, \"you up for this?\"\n\n> You talk to Maya\n\"Uhhh, I don't think so, Maya.\" You smile apologetically and hand the license back to her. You just don't believe you could pull it off.\n\nMaya simply gives the card back to you. \"You'll be fine!\" she insists. \"Cashiers never look that closely.\"\n\nMaya is looking at you, hoping you'll agree to her bold plan.\n\n> You talk to Maya\n\"You can say whatever you like, but my anxiety still says no,\" you reply. \"Why don't we buy you some blonde hair-dye instead?\"\n\nAlex chuckles at that. \"As much as I would love to see Maya with blonde hair - you should do it! It'll be fun!\"\n\nThis is going to be hard to get out of.\n\nSaying yes to Maya's idea does sound like it could be fun... but you don't trust yourself to be able to do it well.\n\n> You talk to Maya\nMaybe you can do this. So long as you look like you know what\nyou're doing - or rather, that you're not doing anything suspicious at all - nobody will know a thing, right?\n\n\"All right,\" you say, standing up dramatically. \"I'll do it.\"\n\nAlex whoops, and Maya claps happily. \"I knew I could count on you!\" she says. \"Here.\" She places a ten pound note in your hand. \"Get a six pack.\"\n\nYou put the money and the driving license in the back pocket of your jeans, and look to the west where the closest convenience shop is.\n\nTime to go to the shop and hope for the best!\n\n> You go to the west\nYou start heading towards the shop, but Alex tugs at your leg.\n\n\"I think you might be forgetting something, if you don't want the cashier to spot anything odd,\" he chuckles.\n\nTime to go to the shop and hope for the best!\n\n> You examine the license\nThe driving license of a Miss Stephanie Thorpe. You've only met Maya's stepsister once, but the mugshot captures her grumpy demeanour pretty well. Unfortunately for you, she does have very similar hair to you - dark blonde and down past the shoulders.\n\nTime to go to the shop and hope for the best!\n\n> About yourself\nYou're sixteen, and your dark blonde hair is up in a half-hearted bun. You're wearing your leavers hoodie, still new and fresh having only been delivered last week.\n\nTime to go to the shop and hope for the best!\n\n> Inventory\nYou are carrying:\na money\na driving license\na school leavers hoodie (being worn)\n\nTime to go to the shop and hope for the best!\n\n> Badideas\nSAVEOk.\n\n> You remove the hoodie\nGood point - wearing a hoodie with a name that is definitely not Thorpe printed in bright, white letters across the front would perhaps not have been wise. You wriggle out of it and throw it to Maya. You decide to take your hair out of its bun as well - anything to make you look more like the photo on the license.\n\nAll right, now you're really ready to go!\n\n> You go west\n\"You got this, girl!\" Maya yells after you as you go. She might be a terrible influence, but you wouldn't be you without it.\n\nThe operation is carried out without a hitch - the cashier looked barely older than eighteen himself, and almost forgets to even ask for proof of age from you in the first place. You return, triumphant, and the four of you spend the rest of the spring evening joking and laughing. Even Isaac manages to finish a can, despite spitting out his first mouthful.\n\nOnce the cans are empty and the sun is down, you split off to go home. Alex and Isaac take a left, you and Maya take a right, and a short walk later, when the two of you are in front of her house, she turns to you.\n\n\"Your company's the best birthday present, you know that, right?\" She's definitely tipsy, but you can tell there's truth in there.\n\n\"Goodnight, Maya,\" you chuckle. \"And happy birthday.\"\n\nThose were easier days. Maybe they didn't feel them at the time, but you miss not really having any responsibilities. That, combined with spending too much time around Maya and Alex and their nonsense, let you learn that sometimes, doing something bold (and maybe even stupid) was the best way to get things done.\n\n(You have learned the lesson of AUDACITY. To remind yourself of\nthis lesson, REMEMBER AUDACITY - this will allow you to apply this lesson to your next action. To check which lessons you have learned, REMEMBER LESSONS.)\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> You look at the folder\nMade of green card, it has your name scrawled on the front in black biro.\n\nNothing else in there is that interesting, really. You decide to just place it in the bin bag.\n\n> Inventory\nYou are carrying:\na leavers hoodie\na birthday card\na teddy bear\na Physics report\na comic drawing\na bin bag\na green paper folder\n\n> Reminisce on report\nYou close your eyes, and you dive deep into the memory evoked by the Physics report.\n\nYou're sat in front of one of the computers in your sixth form college's library, and you've just realised - you've messed up. Your Physics coursework is due at the end of today, printed and ready to hand in, and since you don't have a functioning printer at home, you emailed the document to yourself when you finished the report, in the early hours of the morning.\n\nOr, at least, you thought you had - but you didn't send the final version. Long story short, you're missing the whole last section of your report, and your laptop is all the way back home.\n\nYou feel yourself begin to panic.\n\n(You're somewhere different now - a difference place, a different time. You can sense that there's a lesson for you, at the end of this memory, but you can always PINCH yourself to go back to the present, and continue this memory later when you've learned more lessons.)\n\n> You check your inventory\nYou are carrying:\na phone\n\n> You look at the phone\nYour trusty smartphone, a couple of years old. The screensaver is a nice photo of the Scottish Highlands, where you went on holiday with your parents last year.\n\n> You call the mom\nAt the moment, the only thing you can think about is how hard your heart is beating. You stayed up all night working on that report - what are you going to do? What are you going to do?\n\n> You remember the calmness\nYou take a deep breath and remember not to let your mind convince you something is scary when it doesn't need to be.\n\nYou feel a little better now as the panic clears from your head. Your goal is clear - you need to get back home, come back, print it out, and hand it to the office before the deadline at 4pm. Only thing is, it's already 1pm, the end of your lunch break, and you're supposed to be in a Maths lesson in ten minutes.\n\n> You call the mom\nMaking phone calls in the library is a good way to make the librarian hate you.\n\n> You call the home\nMaking phone calls in the library is a good way to make the librarian hate you.\n\nAudacity wasn't useful for that; you stop concentrating on it."
    },
    {
        "text": "[Themes: Slice of life, female protagonist, friendship]\n\n> You look at your surroundings\nYou're sat in front of one of the computers in your sixth form college's library, and you've just realised - you've messed up. Long story short, you're missing the whole last section of your report, and your laptop is all the way back home.\n\n> You look at the computer\nFrustratingly slow.\n\n> You text mom\nYeah, you're not telling your mum about this...\n\n> Text maya\n\"sent myself the wrong version of my report...\" you type.\n\n\"damn! you have to hand that in after our maths lesson today?\" comes Maya's quick reply.\n\n\"yup\"\n\n\"well, you know what i'd do ;)\"\n\nAnd you can tell just what your friend is implying - that you should skip the lesson. You'd need to get Maya to cover for you though, and Mr Wright isn't known for being friendly most days...\n\n> Text maya\n\"yeah, can you cov\"\n\nYou get partway through the message when you realise it's completely out of character for you. Asking a friend to lie to a teacher so you can ditch a lesson? It seems risky.\n\n> Text maya\nMaybe it's a slightly reckless plan, but it's all you can think of: you're going to ditch Maths, and you're going to ask Maya to cover for you.\n\n\"yeah, can you cover for me? tell mr wright i'm ill?\" you type.\n\n\"i got you! now go get your report!!\"\n\nYou knew you could count on her. But then your phone buzzes again -\n\n\"also i'm proud of your rebellious streak hahaha\"\n\nYou smirk at that. She was always a bad influence.\n\nYou grab your things and head out of the building, grateful that the receptionist is too busy to ask where you're going.\n\nIt was a half hour bus journey from college, and your heart was in your mouth for most of it, but Maya texted you to say Mr Wright wasn't suspicious, and thus you could relax. You got home, resent the file - three times, to make sure you definitely didn't mess it up again - and made it back to the library to print, all in good time. You were sweating a little bit as you handed it in, but Maya was there by your side, and there to hi-five you once it was done.\n\nAnd it was all worth it. It might have been written in the early hours of the morning, and you did almost miss the deadline altogether, but it was one of the best marks you ever got.\n\n(You have learned the lesson of DILIGENCE. To remind yourself of\nthis lesson, REMEMBER DILIGENCE - this will allow you to apply this lesson to your next action. To check which lessons you have learned, REMEMBER LESSONS.)\n\nOn the right side of the room is your bed - or rather, bedframe, since the mattress is gone. Next to the end where the pillow would have been, there's a little bedside table. A wooden wardrobe sits in the far left corner. Beside it, there's a low chest of drawers. There's a window on the wall opposite the door, looking out onto the street. The light switch is on the wall next to the door, whilst the wall above the bed is covered in old blu-tac stains.\n\n> Inventory\nYou are carrying:\na leavers hoodie\na birthday card\na teddy bear\na Physics report\na comic drawing\na bin bag\na green paper folder\n\n> You reminisce on the card\nYou close your eyes, and you dive deep into the memory evoked by the birthday card.\n\nIt's a dreary day for March - gloomy clouds cover the sky. The road is busy, but not packed - three lanes on both sides, everyone else's cars working just fine as they whizz past. The steep banks on each side of the motorway are covered in nothing but weeds and small trees, and you're far away from the last service station you passed.\n\nIt's just you and your dad's car.\n\n> Google\nYou take out your phone again and prepare yourself to keep reading. It's draining, trying to make sense of all these mechanical terms you're unfamiliar with, but you keep reading, and hoping there'll be some magic, easy fix.\n\nYou follow the steps on some How To article, trying to narrow down the problem, but when it comes to testing whether your windshield wipers still work, you come to the depressing conclusion that it might be the battery after all. And there's not a lot you can do about that by yourself.\n\n> Google\nUnfortunately, Google can't magic a new battery out of thin air. If only that magic notebook you used to write comics about was real...\n\n> Text isaac\n\"hello mr know it all, do you know how to fix a broken car?\" you send.\n\n\"you're gonna need to be a little more specific\" Isaac replies.\n\n\"engine won't start\"\n\n\"still not specific enough\"\n\n\"i don't know anything about cars!!\"\n\n\"sorry, if i was there i'd help you :(\"\n\n> You examine the cars\nA white BMW, a red Ford, a white Mercedes... they all drive past, either not seeing or ignoring you looking sorry for yourself. Maybe you could try and WAVE to get someone's attention?\n\n> Text isaac\nIt sounds like Isaac won't be able to help you much here.\n\nDiligence wasn't useful for that; you stop concentrating on it.\n\n> You wave at cars\nDespite your desperation, you feel too self-conscious to try and flag anyone down.\n\n> You wave at the cars\nYou wave an arm, ignoring how stupid you feel. Nobody slows down, and your confidence only lasts for about a minute before you lose hope again.\n\n> You wave at the cars\nIt's mildly suicidal, but you try stepping out of the hard shoulder a little bit, and wave at the next car in the outermost lane. All you get is a very angry honk, and you jump back out of the way.\n\n> You wave at cars\nDespite your desperation, you feel too self-conscious to try and flag anyone down.\n\nDiligence wasn't useful for that; you stop concentrating on it.\n\n> You remember the diligence\nYou forget about confidence and remember diligence instead.\n\nYou steel yourself to put some effort in, because you've learned that often there's just no way around some hard work.\n\n> You remember the confidence\nYou forget about diligence and remember confidence instead.\n\nYou remind yourself that you're a cool, competent person capable of cool, competent things.\n\n> You wave at cars\nDespite your desperation, you feel too self-conscious to try and flag anyone down.\n\nCalmness wasn't useful for that; you stop concentrating on it.\n\n> You search the car\nThe only things you have in the car is some changes of clothes, snacks, and a collection of balloons spelling out Maya's name. There's also an envelope containing her birthday card - you can't wait to see her face when she reads it.\n\n> Pinch\nMaybe you can't reach the end of this memory just yet. You pinch yourself hard, and open your eyes.\n\nYou're back to the present, back to holding this card.\n\nYou sigh. Even just reliving that memory, you feel helpless. You didn't manage to fix that car. You didn't manage to make that flight.\n\nYou didn't manage to see Maya one last time, before her accident a couple of weeks later.\n\nIt's a guilt you've been carrying with you ever since, missing her last birthday. She'd always been there for you, ever since she first grabbed that comic from your desk. All you had to do was just be there for her that night - and you messed that up.\n\nBut, you suppose, maybe that's the hardest lesson there is. Sometimes there's just nothing you can do. You can be calm and you can be confident and you can be daring and you can be diligent, and it still won't change a thing. You can only give up.\n\nIt's a way you've not really thought about it before, but as you stand here, holding this undelivered birthday card, you realise that it makes no sense to keep blaming yourself. You did everything you could have. And you couldn't have known Maya's time would be up so soon after...\n\nThat's the past now. There's no use holding onto these things, or onto that guilt. You place the card into the bin bag, along with everything else, and you leave the room.\n\n(You have learned the lesson of ACCEPTANCE.)"
    },
    {
        "text": "[Themes: Lovecraft, horror, female protagonist, Comedy, Lovecraftian]\n\nThe cold autumn wind makes you shiver. The train station is eerily deserted: no staff, no other passengers. Even the train you arrived on has disappeared into the distance as if it had never been here. Your memory of the trip already seems faded and unreal, like a dream.\n\nThe sign hanging overhead catches your eye: \"Backwater Station.\" Yes: Backwater, Vermont. This is where you need to be. You need to find Peter.\n\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall. The only other living creature in sight is a rat fixing you with its beady black eyes.\n\nThe clock overhead gives the time as 6:20 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n[Author's Note: A tribute to Anchorhead.]\n\n> You examine the rat\nStartled by your attention, the rat scurries away, leaving behind a brass winding key.\n\n> You take the key\nTaken.\n\n> You examine key\nA small brass key used for winding a clock.\n\nYou step in an old wad of gum. Yuck.\n\n> You examine the gum\nSomeone's old chewing gum, black with dirt but still sticky. Some of it is probably stuck to your shoe now.\n\nA low hum comes from the PA system, growing slowly louder until it crescendoes in a screech and falls suddenly silent.\n\n> You take the gum\nEww, why would you want to?\n\n> Xyzzy\nThe world falls silent for a moment, as if holding its breath for something to happen... but nothing does. You don't know what you expected, really."
    },
    {
        "text": "> You look around\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 6:27 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nThe PA system crackles with static, but no words are intelligible.\n\n> You read the schedule\nThe board lists a schedule of train times:\nProvidence     CANCELLED\nDunwich        CANCELLED\nInnsmouth      CANCELLED\nAnchorhead     13:37\nArkham         CANCELLED\n\n> About yourself\nYou feel uncertain and disoriented, as if you are not quite real. Are you real? Maybe you're a fictional character in a text adventure.\n\n> Inventory\nYou are carrying:\na brass winding key\n\nThunder rumbles in the distance.\n\nThe clock gives a deep, booming chime on the half hour."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft, horror]\n\n> Look around\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 6:31 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n> You examine the bench\nA weathered wooden bench. On the bench is a familiar gold wristwatch.\n\nOver the loudspeaker, you can hear a sound like heavy breathing.\n\n> You take the watch\nTaken.\n\n> Examine watch\nYou gave this to Peter as an anniversary present. It seems to have stopped. There is an inscription on the back.\n\nThe wind blows stray leaves across the tracks.\n\n> You read the inscription\nN + P\nMarch 19th\n\n> You look at the locker\nA storage locker painted a drab industrial gray. Attached to the front are a card swiper and a peeling label reading \"Lost and Found.\"\n\n> You examine the vending\nSimilar to a gumball machine, but it's the kind that dispenses toys in little plastic bubbles. At the bottom is a chute where the contents come out. There is a coin slot, but instead of a price next to it, there is a strange squiggled glyph.\n\nIn the vending machine is a plastic bubble.\n\n> You look at the glyph\nIt seems to shift as you look at it, but looks almost like an R fused with a V. Or maybe a J fused with a P? No, it's definitely an R fused with a V.\n\nThunder rumbles in the distance.\n\n> You look at the bubble\nA small transparent plastic capsule with a lid.\n\nIn the plastic bubble is a golden eyepiece.\n\n> You examine the eyepiece\nA misshapen golden disc, studded with lenses. It looks like it could fit flush with your eye socket. On its surfaces are a round button, a triangular button, and a small rectangular slot.\n\nThe golden eyepiece is currently switched off.\n\nYou step in an old wad of gum. Yuck."
    },
    {
        "text": "[Themes: Comedy, Lovecraftian]\n\n> Look around\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 6:41 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n> You open the watch\nIt isn't something you can open.\n\nThe PA system crackles with static, but no words are intelligible.\n\n> Examine watch\nYou gave this to Peter as an anniversary present. It seems to have stopped. There is an inscription on the back.\n\n> Wind watch\nThe watch has nowhere to fit the winding key. That's meant for a larger timepiece.\n\nYou shiver for no reason at all, as if someone has just walked over your grave.\n\n> Go south\nThe evening light trickles through the dirty, cobweb-covered windows on either side of the station exit to the south, dimly illuminating your surroundings. To the north is the platform on which you arrived. To the east, a large mirror decorates the wall next to a green door. To the west, there is a brown door. The overall appearance is one of general neglect and decay. You regard your surroundings with a deep sense of foreboding.\n\nA styrofoam coffee cup sits on the floor next to the entrance to the bathroom.\n\n> You take the cup\nTaken.\n\n> You look at the cup\nA half-full styrofoam cup of doubtless very unpleasant coffee that you found on the floor of a train station. It must have had cream in it at some point, because there are definitely some clouds swirling around in there.\n\n> You examine the mirror\nYou take a long look in the mirror. Even in these dim and dingy surroundings, you are as good-looking as ever.\n\n> You look at the door\nWhich do you mean, the green door or the brown door?\n\n> Green\nThe green door appears to be the entrance to the station office. You try the handle and discover that it is locked.\n\n> You look at the brown door\nThe brown door leads to the station restroom. Thankfully, you have no need of the facilities at the moment.\n\n> You go to the west\n(first opening the brown door)\n\nTrain Station Restroom (David Petrocco)\nAs you enter the restroom you hear creak of a faucet being turned off and the rough scraping of metal upon metal from the far end of the restroom. Finally the automatic lights kick on revealing the restroom but there's no sign of who, or what, could have caused the noise.\n\nA harshly lit pay restroom. Dust and grime mar the once white tiles and marble of the facilities: A small shower stall with the curtain closed, a bathroom stall with a single dirty toilet (there are mounts for a door, but it is nowhere to be seen), a small storage closet for janitorial supplies, a four by four row of small lockers, and an extremely dirty dual basin sink.\n\nThe train station is EAST.\n\n> You look at the shower\nThe shower curtain is a stained yellow sheet of plastic covering the entrance.\n\nWhile examining the shower you hear the loud WOOOSH of a toilet flushing behind you.\n\n> You take the curtain\nThat's hardly portable.\n\n> You examine the toilet\nThe toilet is filled with a murky brown, and foul smelling, water. The surface of the water ripples as the toilet finishes flushing.\n\nThe loud crash of something falling near the closet door shatters the silence of the bathroom along with what's left of your nerve.\n\n> You examine the closet\nA small storage closet where several shelves have collaped, their supports seemingly rotten away, and have buried what appears to be a long wooden handled tool, a mop or broom perhaps.\n\nA small note taped to the wall says Locker 3 7113."
    },
    {
        "text": "> You look around\nTrain Station Restroom (David Petrocco)\nA harshly lit pay restroom. Dust and grime mar the once white tiles and marble of the facilities: A small shower stall with the curtain closed, a bathroom stall with a single dirty toilet (there are mounts for a door, but it is nowhere to be seen), a small storage closet for janitorial supplies, a four by four row of small lockers, and an extremely dirty dual basin sink.\n\nThe train station is EAST.\n\n> You examine the lockers\nSixteen lockers in a four by four pattern. The few that still have doors are flung open and battered, save for one still secured by a large combination lock, the kind that you can set to a four-digit number.\n\n> You set lock to 7113\nThe lock slides open. You remove it from the hinges of the locker and open it to find a glass jar containing an insect.\n\n> You take the jar\nWhich do you mean, the cleaning supplies or the glass jar containing an insect?\n\n> Insect\nTaken.\n\n> You examine insect\nA clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.\n\nIt currently has four legs and four eyes.\n\n> You examine the insect\nA clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.\n\nIt currently has six legs and eight eyes."
    },
    {
        "text": "> You look around\nTrain Station Restroom (David Petrocco)\nA harshly lit pay restroom. Dust and grime mar the once white tiles and marble of the facilities: A small shower stall with the curtain closed, a bathroom stall with a single dirty toilet (there are mounts for a door, but it is nowhere to be seen), a small storage closet for janitorial supplies, a four by four row of small lockers, and an extremely dirty dual basin sink.\n\nThe train station is EAST.\n\n> You examine the sink\nThe train station restroom sink is currently switched off.\n\n> You turn on sink\nAs you turn on the sink it begins to shake violently.\n\n> You go to the east\nThe surroundings are as dim and dingy as ever. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the green door are to the east. The restroom door is to the west. You are unsure what you should do.\n\n> You go east\n(first opening the green door)\nIt seems to be locked.\n\n> You go to the south\nTo the north is the vast windowless bulk of the train station. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine. Somewhere down there, you can get a bath and a meal.\n\nA woman stands in the center of the bridge, preventing traffic in both directions.\n\nThe sky is oppressively stygian.\n\n> You look at the woman\nShe is wearing a long red scarf and a tattered skirt. Her hair is wild, grey in the same color as the train tracks, twisted by the wind. She keeps shooting uncomfortable glances at the town.\n\nThe sky above is a greater than mortal greenish tint.\n\n> You talk to the woman\nYou say hello to the woman.\n\n> Kiss woman\nShe averts her face. \"Keep your base hands away from me, stranger,\" she says.\n\n> You examine trash\nIt is a closed metal can from which issues a cabalistic stench.\n\n> You open the trash\nYou open the trash can and peer into its tenebrous depths. Within you discern a pull-string doll and a dog-eared book.\n\nThe clouds fly quickly across the sky.\n\n> You take the doll and the book\npull-string doll: Taken.\n\na dog-eared book: Taken.\n\n> You look at book\nA dog-eared, stained paperback called The Modern Girl's Divination Handbook -- Volume Three. The cover features three teenage girls of varying ethnicities laughing over the body of a dead cow, each one holding a section of entrails. Reading the blurb on the back makes you suspect that the authors used up all of the more normal divination methods in volumes one and two, and are now scraping the barrel for the really weird stuff.\n\n> You read book\nYou flip past the title page, looking for something interesting...\n\nIf your parents are anything like our parents, they really suck at predicting the future... but they might have a kernel of\ntruth for you! The next time you're at a family barbecue, slip this potion into your mom's potato salad, then wait for her to finish her corn on the cob--\n\nWhat.\n\n[You can continue to READ the divination handbook; this is excerpt 1/3.]\n\nThe clouds continue to race across the sky, lower than before.\n\n> You read the book\nYou continue to thumb through the book...\n\nyou were a kid, and now he's just gathering dust? Good news! With a little bit of sage smudging and energy cleansing, Teddy Ruxpin makes the perfect home for a wandering spirit--\n\nNope nope nope.\n\n[You can continue to READ the divination handbook; this is excerpt 2/3.]\n\nFat, filthy raindrops begin to fall.\n\n> You read the book\nYou flip past a lot of terrible ideas to the very last page of the book...\n\nEver wonder if the little heart in your latte means the barista's crushing on you? Well, now you can find out for sure! All you need is a cold cup of coffee with some cream in it--\n\nHuh. Unlike everything else in the book, this seems like it might actually prove useful. There aren't that many possible readings, so you quickly memorize them and slam the book closed.\n\n[This is the end of the divination handbook, but if you have no respect for your own intelligence, you can READ it again.]\n\n> You examine the cup\nThe swirls in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You examine doll\nThe doll has an inane smile on its face and a pull-string in the middle of its back.\n\nIt has the sort of head with two faces, one of which is hidden by its hair. Rotate the head and the other face will be forward.\n\nIt is raining harder now, and the street is already slick.\n\n> You pull the string\nThe doll chirps, \"I like the thing that isn't here! Yay!\"\n\nThere is a tinny sound of applause.\n\n> You pull the string\nThe doll chirps, \"I like the glass jar containing an insect! Hideous! Yay!\"\n\nThere is a tinny sound of applause.\n\n> You give the insect to the doll\nYou can only do that to something animate.\n\n> You pull string\nThe doll chirps, \"I like the bridge! Bridge! Yay!\"\n\nThere is a tinny sound of applause.\n\nRain falls as it did in Noah's day.\n\n> Hello\nYou are already talking to the woman.\n\n> You ask the woman about the town\n\"The town is accursed.\"\n\n> You ask the woman about the womwan\nThe woman's answer is too faint to comprehend.\n\n> You ask woman about the rain\nOver the noise of the rain, she answers, \"You'll do best in this town if you ask least, witless idiot.\"\n\nThe downpour continues, drenching everything.\n\n> You ask the woman about the woman\nThe woman says in a loud voice, \"I was summoned here to protect you, and those like you, newcomer.\"\n\n> You ask woman about yourself\nShe shouts, \"You uneducated idiot, witless stranger.\"\n\n> You ask the woman about doll\n\"It has been sent to warn us.\"\n\n> You ask the woman about book\nThe woman's answer is too base to comprehend.\n\n> You examine bridge\nThe bridge is built of vast blocks, antiquarian beyond measure. It offers only a narrow crossing."
    },
    {
        "text": "[Themes: horror]\n\n> You describe your surroundings\nTo the north is the gargantuan windowless bulk of the train station. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine. Somewhere down there, you can get a bath and a meal.\n\nA woman stands in the center of the bridge, preventing traffic in both directions.\n\n> Go south\nThe woman gets in your way. \"You know not what lies beyond this bridge, unwise fool,\" she says. It sounds like she means it.\n\n> You ask her about the beyond\n(the woman about that)\nThe woman's answer is sybilline.\n\n> You ask her about the town\n(the woman about the town)\n\"Surely even you can see its nature.\"\n\nHeaven vomits forth streams and rivers and lakes.\n\n> You say vaadignephod\n(to the woman)\nThere is no reply.\n\nLook up with a smile on your face and you will immediately drown.\n\n> You ask the woman about the vaadignephod\nThe woman's answer is undiscoverable.\n\n> You examine the bridge\nThe bridge is built of gigantic blocks, antediluvian beyond measure. It offers only a narrow crossing.\n\n> You examine the coffee\nThe swirls in your cup form a row of trees. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You check your inventory\nYou are carrying:\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\nThe sky hates you.\n\n> You ask the woman about your kind\nShe screams, \"You'll do best in this town if you ask least.\"\n\n> You ask the woman about Peter\nShe yells, \"You'll do best in this town if you ask least.\"\n\nThe sky hates you.\n\n> You leave\nThe woman has better things to do.\n\n> You ask the woman about the Backwater\nThe woman's answer is too blasphemous to comprehend.\n\nThe sky hates you.\n\n> You open the jar\nIt isn't something you can open.\n\nThe sky hates you.\n\n> You show the jar to the woman\nThe woman suggests you cease your quavering."
    },
    {
        "text": "> You look around\nTo the north is the monumental windowless bulk of the train station. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine. Somewhere down there, you can get a bath and a meal.\n\nA woman stands in the center of the bridge, preventing traffic in both directions.\n\n> You examine the coffee\nThe swirls in your cup form a kayak. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You go north\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 8:02 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n> You examine the windows\nThe dirty, cobweb-covered windows permit scant illumination within the station lobby. They appear not to have been cleaned in a long time.\n\n> You look at the coffee\nThe clouds in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You unlock the green door\nWhat do you want to unlock the green door with?\n\n> You go north\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 8:08 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n> You throw the jar at the woman\nYou lack the nerve when it comes to the crucial moment.\n\nThe sky hates you.\n\n> You ask the woman about the xyzzy\nThe woman's answer is impenetrable.\n\n> You ask the woman about the anchorhead\n\"The town is doomed.\"\n\n> You ask woman about the Backwater\nThe woman's answer is unaccountable.\n\n> You ask the woman about the doll\nShe shouts, \"It has been sent to warn us, uneducated idiot.\"\n\n> You ask the woman about the insect\nShe bellows, \"You'll do best in this town if you ask least.\"\n\n> You ask the woman about cragne\nShe hollers, \"You'll do best in this town if you ask least.\"\n\n> You ask the woman about the verlac\nThe woman's answer is ambiguous.\n\n> Go north\nThe surroundings are as dim and dingy as ever. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the green door are to the east. The restroom door is to the west. You are unsure what you should do.\n\n> Go north\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 8:20 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\n> You examine the coffee\nThe clouds in your cup form the engine of a train. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You examine the vending\nSimilar to a gumball machine, but it's the kind that dispenses toys in little plastic bubbles. At the bottom is a chute where the contents come out. There is a coin slot, but instead of a price next to it, there is a strange squiggled glyph.\n\nIn the vending machine is a plastic bubble.\n\nA leak in the ceiling drips water into a puddle.\n\n> You examine the glyph\nIt seems to shift as you look at it, but looks almost like an R fused with a V. Or maybe a J fused with a P? No, it's definitely an R fused with a V.\n\n> Go south\nTo the north is the gargantuan windowless bulk of the train station. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine. Somewhere down there, you can get a bath and a meal.\n\nA woman stands in the center of the bridge, preventing traffic in both directions.\n\nThe sky hates you.\n\n> You examine the Station\nIt is at least three stories tall, with no exterior windows. Carved on the outside are a series of figures, as though it were the outside of Notre Dame.\n\nPositioned in front is a trash can.\n\n> You examine the ravine\nThe rain comes between you and the ravine like a curtain of silver. No details are visible.\n\n> Inventory\nYou are carrying:\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You show the handbook to the woman\nThe woman requests you cease your yammering.\n\n> You show the insect to the woman\nThe woman recommends you cease your yammering.\n\n> You ask the woman about the book\nThe woman's answer is sphinxlike.\n\nThe sky hates you.\n\n> You show the cup to the woman\nThe woman requires you cease your gibbering.\n\n> You show the watch to the woman\nThe woman demands you cease your jabbering.\n\n> You show the key to the woman\nThe woman demands you cease your quavering.\n\n> You tell the woman about yourself\n\"You idiot,\" says the woman.\n\nThe sky hates you.\n\n> Inventory\nYou are carrying:\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You look at book\nA dog-eared, stained paperback called The Modern Girl's Divination Handbook -- Volume Three. The cover features three teenage girls of varying ethnicities laughing over the body of a dead cow, each one holding a section of entrails. Reading the blurb on the back makes you suspect that the authors used up all of the more normal divination methods in volumes one and two, and are now scraping the barrel for the really weird stuff.\n\n> You look at the doll\nThe doll has an inane smile on its face and a pull-string in the middle of its back.\n\nIt has the sort of head with two faces, one of which is hidden by its hair. Rotate the head and the other face will be forward.\n\n> Rotate head\nYou rotate the doll's head. Its alternate face appears, scowling fiercely.\n\n> You pull the string\nA voice comes from within the doll's body, dim and gravelly: \"Flee the trouble of the ravine! Here is a division between one type of world and another entirely!\"\n\n\"What risk is this?\" With a concerned look, the woman leans towards the doll as if to pay closer attention.\n\n> You pull the string\nThe doll intones: \"Guard against the glass jar containing an insect! It is ugly!\"\n\nThe woman looks alarmed.\n\n> You show the jar to the woman\nThe woman goes white. From behind you on the tracks comes a curious noise, mechanical and screeching, as though something were coming along the tracks. When you turn back, the woman has gone.\n\n> Go south\nYou pass over the bridge. The ravine has become a white river, teeming with creatures: you see a fin, a gill, a plaintive upturned face, before each is swept away.\n\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA giant milkweed leaf dangles just within reach from the mass of stems.\n\nAlmost hidden within the milkweed is a dilapidated shack built more of splinters than of planks.\n\n> You examine the milkweed\n(the giant milkweed leaf)\nA giant milkweed leaf, curled in such a way that it could cling to your face like a mask. It even has two milk-ringed holes for your eyes.\n\n> You wear the mask\nYou put on the giant milkweed leaf.\n\n> You examine the shack\nA hateful structure less than five feet high. The wood frame of the shack has tilted, twisting subtly out of true. The angles itch at your eyes, somehow uncomfortable to look at. No windows. The low doorway, lacking a door, hisses at you open-mouthed. Or would that just be the standard summer susurrus of Vermont?\n\n\"Hateful\" might an odd way to describe a building, but you can't escape the impression that the shack is capable of such an emotion. It's got to be a death-trap, anyway: take a step inside, or even give the shack a push, and surely it will just collapse.\n\n> You pull the string\nThe doll intones: \"Beware the road!\""
    },
    {
        "text": "[Themes: Lovecraft, female protagonist]\n\n> Look around\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(An earworm has lodged itself in your head.)\n\n> You drop the earworm\nThe earworm is seemingly resistant to all forms of interaction, and simply acknowledging it gives it strength:\n\nI get knocked down / but I get up again / you're never going to\nkeep me down! Apparently Chumbawamba is still stuck in your head.\n\n[Author's note: messing with the earworm is entirely optional. Not that I would try to dissuade you from it!]\n\n> You look at the altar\nA six-foot long and three-foot high altar of pale green stone, polished smooth. The sides are humped and bulged, suggesting poreless coral. The top is flat, and bears a shallow impression in the shape of a human body, with a slightly deeper cavity at the top for the face.\n\n> You examine the impression\nIt's the shape and size of a human body. For no reason you can name, you have the desire to get on the altar and lay yourself down in the impression; it seems your body would fit perfectly, as would, for that matter, your face fit nicely in the deeper cavity at the end.\n\n> You get on the altar\nYou get onto the stone altar.\n\nYou lie down, settling your body into the impression and your face into the cavity at the end. The milkweed leaf mask protects your face from the strands of orange slime that you belatedly notice fill the cavity. Is it even you doing this? It feels like the most natural action in the world.\n\nAs you press your face deeper into the cavity, your vision warps. The world seems to fold and buckle: what was convex becomes concave and what was concave becomes convex.\n\nThe altar wobbles and inverts, giving you the bizarre sensation of lying atop a smooth green hole that floats in midair. Deeper within the hole is a shelf of green stone with several items resting (how?) on it.\n\n> You look at shelf\nOn the shelf are a postcard of Big Ben, a diary and an imaginary basalt sphere.\n\n> You remove the mask\nYou take off the giant milkweed leaf.\n\n> You get on the altar\nYou get onto the stone altar.\n\nYou lie down, settling your body into the impression and your face into the cavity at the end. Is it even you doing this? It feels like the most natural action in the world.\n\nAs you press your face down into the cavity, you feel something wet; your skin has met a tangle of slimy, orange strands that were growing inside the cavity.\n\nYour face turns numb. You are overtaken with convulsions, and the involuntary flailing of your limbs causes you to fall from the altar. The numbness spreads down your neck and across your torso as you lie frozen, body askew, at the base of the altar.\n\nIt takes but a few hours for your whole body to be sheathed in wet, orange strands.\n\nYour breathing slows as your lungs gradually fill with fruiting bodies. Perhaps the slime reacts poorly to tears, as the last part to be overgrown with mold is your eyes, though eventually, as dusk falls, blurred orange tendrils knit themselves together at the edges of your vision. Their intricacy strikes you as ghastly and beautiful all at once.\n\n> You examine ben\nA faded postcard with a picture of Big Ben on it. You'd guess the picture dates from the first quarter of the century.\n\n> You examine DIARY\nA small brown book with embossed letters on the front, mostly worn away, spelling \"DIARY\". Inside it's filled with spidery letters in faded ink. According to the name inscribed inside the cover, this belonged to Phyllis Cragne.\n\nYou think you remember your husband speaking of a \"Great Aunt Phyl,\" a sprightly old lady who haunted his earliest memories and always wore tartan trousers.\n\n> You examine the basalt\nIt's a black stone sphere about the size of a basketball, and it doesn't really exist. There is (well, technically, there is not) a narrow slot on one side like that of a piggy-bank.\n\n> You pull the string\nThe doll intones: \"Shun the stone altar! It is longer than it might appear!\"\n\n> You turn the head\nYou rotate the doll's head, concealing its sinister face and exposing its insincere one.\n\n> You pull the string\nThe doll chirps, \"I like the thing that isn't here! Yay!\"\n\nThere is a tinny sound of applause.\n\n> You turn the head\nYou rotate the doll's head. Its alternate face appears, scowling fiercely.\n\n> You read the DIARY\nYou read a few passages from near the beginning of the diary:\n\n\"Danced with Freddy Morgan tonight. He's not the most graceful, but I'm hopeful he will improve. Tomorrow I leave for college.\"\n\n\"How the professors scowl when they learn I'm a Cragne! I'm sure it would hurt my feelings, if they weren't all crusty old throwbacks with beards full of toast crumbs anyway.\"\n\n\"Today in the sealed archives I found a most wonderful secret: evidence that the Court truly exists! One day I will join it -- I will make them let me -- and I will work harder than all the others who came before.\"\n\nYou skim back and forth a bit, gathering that Phyllis Cragne was probably born around 1890, and that she started her archaeology studies at Ompompanoousuc College in 1918; she also seems to have become engaged to a local by the name of Frederick Morgan at around that same time.\n\nThere's still a fair amount of the diary left; you could read more if you wanted to.\n\n> You read DIARY\nYou read a few passages from the middle of the diary:\n\n\"It has finally happened! They extended an offer, and this morning, I accepted. I am looking forward to the fulfillment of my duties, particularly the travel necessitated by my new position. I wish I could persuade Freddy to come with me on at least one trip, but he's terrified of the ocean. I shall leave him to the calm waters of Vermont, with the promise to bring back a 'priceless antique' from each city I visit.\"\n\n\"Received word of Freddy's accident.\"\n\n\"Finished Prague. Turin, too. Magdeburg will wait until spring.\"\n\nYou skim back and forth, gathering that during the 1920s and 30s Phyllis Cragne was often away from home on extended work trips. It was while she was on one such trip to London that Frederick Morgan was killed in a canoeing accident. Afterwards, and on through the 1950s, she spent even more time abroad, working tirelessly for the Court.\n\nThere's still a small amount of the diary left; you could read more if you wanted to.\n\n> You read the DIARY\nYou read a few passages from near the end of the diary:\n\n\"Bristletail greatly prefers the climate of Barcelona to that of Stockholm. I haven't informed her yet that next we must visit a ruined Norse colony in Greenland, where, it is rumored, the colonists briefly, and in desperation, worshipped Vaadignephod before all succumbing to the Black Death.\"\n\n\"Bristletail shows an increasingly superb comprehension of Ancient Akkadian. Twice she has caught an error in my translations, saving me from not insignificant embarrassment.\"\n\n\"Bristletail has grown stubborn in her old age, refusing to communicate with feral insects. She claims the act to be beneath her dignity. Still, I have never known a more capable archive assistant.\"\n\nYou skim the text, reading of Phyllis Cragne's research. Throughout the 1960s she wrote frequently of Bristletail, her cunning familiar, which (who?) apparently took the form of an unusually large silverfish. It seems likely that Phyllis died in the early 70s, which correlates with Michael's early memories of Great Aunt Phyl.\n\nYou've read the whole diary; you could read it again if you wanted to remind yourself of something."
    },
    {
        "text": "[Themes: horror, Comedy, Lovecraftian]\n\n> Look around\nMilkweed (Caleb Wilson) (on the stone altar)\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\n(That earworm is still lodged in your head.)\n\n> You check your inventory\nYou are carrying:\nan imaginary basalt sphere\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\nAn earworm is lodged deeply in your head.\n\n> You examine the coffee\nThe swirls in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You get up\nYou get off the stone altar.\n\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You take the earworm\nThe earworm is seemingly resistant to all forms of interaction, and simply acknowledging it gives it strength:\n\nHe drinks a whiskey drink / he drinks a vodka drink / he drinks a lager drink / he drinks a cider drink! Damn it, Chumbawamba is\nstill stuck in your head.\n\n> Sing\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that remind him of the good times / he sings\nthe songs that remind him of the better times! Yes, Chumbawamba\nis still stuck in your head.\n\n> Sing\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 get knocked down / but i\u00e4 get up again / you're never going to\nkeep mi-go down! Yes, Chumbawamba is still stuck in your head.\n\n> Sing\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe drinks a wgah drink / he drinks a ph'nglui drink / he drinks a fhtagn drink / he drinks a cthulhu drink! Apparently Chumbawamba\nis still stuck in your head.\n\n> Sing\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that remind him of the r'lyeh times / he sings\nthe songs that remind him of the leng times! Well, Chumbawamba is still stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 get knocked down / but i\u00e4 get up again / you're never going\npha'zr keep mi-go down! Apparently Chumbawamba is still stuck in\nyour head.\n\n> You continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe drinks a wazr'cb drink / he drinks a ph'nglui drink / he drinks\na fhtagn phleh / he drinks a cthulhu drink! Damn it, Chumbawamba\nis still stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him of the r'lyeh times / he sings\nthe songs that pha'cb him of the leng times! Apparently\nChumbawamba is still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 get knocked down / but phleh get up again / you're hla going\npha'zr keep mi-go down! Well, Chumbawamba is still stuck in your\nhead.\n\n> You keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe drinks a wazr'cb drink / he wazr'zr a ph'nglui drink / mp'zo\ndrinks a fhtagn phleh / hla drinks a cthulhu drink! Well,\nChumbawamba is still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him of the r'lyeh nfah / hla sings\nthe songs that pha'cb him of gla'cb leng times! Well, Chumbawamba\nis still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 nfah knocked down / but phleh get up again / gla'zr hla going pha'zr keep gla'zo down! Yes, Chumbawamba is still stuck in your\nhead.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe drinks mglw wazr'cb drink / he wazr'zr a ph'nglui drink / mp'zo drinks a nfah wga'cb / hla drinks a cthulhu drink! Yes,\nChumbawamba is still stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him of the mglw nfah / hla cto the\nsongs that pha'cb him of gla'cb leng times! Yes, Chumbawamba is\nstill stuck in your head.\n\n> You continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 nfah knocked down / wgah phleh get up again / gla'zr cto going pha'zr keep gla'zo down! Damn it, Chumbawamba is still stuck in\nyour head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe drinks mglw wazr'cb drink / wgah wazr'zr a ph'nglui drink /\nmp'zo drinks a fgl wga'cb / hla cto a cthulhu drink! Damn it, Chumbawamba is still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him fgl the mglw nfah / hla cto the songs wgah pha'cb him of gla'cb leng times! Damn it, Chumbawamba\nis still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 nfah gneh down / hwu phleh get up again / gla'zr cto going\npha'zr keep gla'zo down! Damn it, Chumbawamba is still stuck in\nyour head.\n\n> You continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe zlee mglw hwu drink / wgah wazr'zr a ph'nglui drink / gneh\ndrinks a fgl wga'cb / hla cto a cthulhu drink! Well, Chumbawamba\nis still stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him i\u00e4 the mglw nfah / hla cto the\nsongs wgah gneh him of gla'cb leng times! Well, Chumbawamba is\nstill stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 nfah gneh down / hwu zlee get up i\u00e4 / gla'zr fgl going pha'zr\nkeep gla'zo down! Yes, Chumbawamba is still stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nFgl zlee mglw hwu drink / wgah wazr'zr a hla drink / gneh drinks a\nfgl wga'cb / i\u00e4 cto a cthulhu drink! Damn it, Chumbawamba is\nstill stuck in your head.\n\n> Keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nHe sings the songs that phleh him i\u00e4 the izh nfah / hla cto the\nsongs fgl gneh him of gla'cb leng times! Damn it, Chumbawamba is\nstill stuck in your head.\n\n> Continue\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nI\u00e4 izh gneh down / hwu zlee get izh i\u00e4 / gla'zr fgl hla pha'zr\nkeep gla'zo down! Well, Chumbawamba is still stuck in your head.\n\n> You keep going\nYour lips sing along, almost involuntarily, to the earworm in your head:\n\nFgl izh mglw hwu drink / wgah wazr'zr izh hla drink / gneh drinks\na fgl nyar / i\u00e4 cto a cthulhu drink! Damn it, Chumbawamba is\nstill stuck in your head."
    },
    {
        "text": "> Look around\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You examine the track\nThe tracks run north and south beneath mats of dead grass and bramble, bringing to mind an impossible serpent banded with the black of the resinous ties. Are the tracks in use? Could a train actually traverse them? Who knows.\n\n> You go to the west\nYou're too tired for bushwhacking; better stick to the road, which runs north and south.\n\n> You go to the south\nThe imaginary basalt sphere vanishes with a sound like a popping soap bubble.\n\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\n> Inventory\nYou are carrying:\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You examine the church\nAn elderly and dispirited structure made of close-set stone blocks, long and rectangular, with an arched roof and a few scattered and muted stained glass windows. A couple of low stairs lead up to a double door at the front, facing the road, which is set in a square tower that juts slightly forward from and rises slightly above the rest of the structure, culminating in what you presume is a belfry (though you can't make out any bells).\n\n> You examine the door\nThe double door is heavy wood set in an arch in the stone, weathered but still sturdy enough. A small keyhole is visible beneath the modest black metal handle on the right-hand door.\n\n> You read the postcard\n\"18th of June, 1923\n\nDear Freddy,\n\nYou'll never guess where I am: Paris! Ha ha.\n\nToday I broke into the mausoleum of a notorious baronet and pocketed an amulet interred, in 1627, next to his heart. Tomorrow I must liberate an unspeakably ancient mammoth-bone idol, purported to portray a coeval of Vaadignephod, from the prison in which it languishes (the British Museum).\n\nSuch excitements make up my life now. If only you were allowed to know about such things, I would tell you that I am now a member of the Variegated Court, and that I have been granted the position of Cesious Alderman in this 'august order'.\n\nHow I wish I could actually mail you this postcard, and that afterwards we could laugh together over such a stuffy phrase.\n\nMuch Love,\nPhyl\"\n\n> You examine the keyhole\nThe keyhole in the door to the church is a narrow, intricate gash in the metal below the handle. You kneel down to peer through it; it's too attenuated to make out any details, but you see through the door somewhere a distant, dazzling point of light."
    },
    {
        "text": "[Themes: horror, Lovecraftian]\n\n> You look around\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\n> You go inside\n(first opening the church doors)\nIt seems to be locked.\n\n> You look at the village\nAt once dreary and picturesque, the houses and shops of the village of Backwater huddle together against the remote and clouded sky.\n\n> You examine bridge\nThe concrete bridge is narrower than the road on either side; a single vehicle might cross it, but not two abreast. A thin metal railing at about your waist height discourages those crossing from hurling themselves into the rocky waterway below.\n\n> Go northeast\nThe Churchyard (David Jose)\nA neglected and long forgotten cemetery stretches out below you, surrounded by a rusted wrought iron fence. Lopsided gravemarkers, slowly succumbing to the elements, topple downhill like a congregation bent low in prayer. At the very center of the graveyard, set into a low valley, a squat, stone mausoleum crouches menacingly.\n\nTo the southwest a dilapidated, stave church rises up obscenely against the night sky.\n\nA dark pine forest crowds against the wrought iron fence to the northeast. You might be able to forge a path between its trees.\n\nA discarded flashlight sits amidst the weeds behind an overturned gravestone.\n\n> You examine it\nA small flashlight, with a rubber ring where it screws together to keep the water out.\n\n> You pull the string\nThe doll intones: \"Shun the grave!\"\n\n> You examine grave\nSimple, rough hewn marble markers, overgrown with weeds and stained by untold generations of blackened moss. The wind and weather have made sure that you can't make out any names or dates on any of these tombstones.\n\n> You pull the string\nThe doll intones: \"Flee the bell tower!\"\n\n> You look at the church\nStark and imposing, this church might have been a thing of beauty once upon a time. Dark, nearly black timbers huddle together conspiratorially, hiding beneath ranks of rain-slick slate rooves. Telltale signs of some long ago fire can be seen along the tops of several of the windows.\n\nHigh above, the light of a single candle burns in what you assume must be the bell tower.\n\n> You examine the coffee\nThe swirls in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You look at the mausoleum\nCovered in moss and half buried in a litter of dead leaves, the remaining letters above the door read \"VERL C\".\n\nLarge, rough cut stone bricks make up the walls of the crypt, and a series of steeply pitched slate rooves protect the mausoleum and its internees from the fierce New England winters.\n\nA large oak door is set into wall beneath a peaked stone arch.\n\n> You examine the door\nA heavy oak door, nearly four feet across, and wrapped with iron bands. This thing looks like it would be more at home repelling an invasion in a medieval castle.\n\n> You open the door\nYou attempt to open the mausoleum door. The heavy door shifts slightly, but does not open. You suspect you'll need more leverage.\n\n> You check your inventory\nYou are carrying:\na waterproof flashlight\naviator goggles (being worn)\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You look at goggles\nA pair of tinted, leather wrapped aviator goggles. A thin scratch mars the left lens.\n\n> About yourself\nMud (and god only knows what else) spatter your legs and black leather riding boots. You idly brush a bit of bone from your sleeve and adjust your aviator goggles."
    },
    {
        "text": "> You look around\nThe Churchyard (David Jose)\nA neglected and long forgotten cemetery stretches out below you, surrounded by a rusted wrought iron fence. Lopsided gravemarkers, slowly succumbing to the elements, topple downhill like a congregation bent low in prayer. At the very center of the graveyard, set into a low valley, a squat, stone mausoleum crouches menacingly.\n\nTo the southwest a dilapidated, stave church rises up obscenely against the night sky.\n\nA dark pine forest crowds against the wrought iron fence to the northeast. You might be able to forge a path between its trees.\n\n> You examine the fence\nA pitted wrought iron fence surrounds the graveyard.\n\nThe fence seems fairly sturdy, but one of the cast iron spires seems to have been knocked loose from the top rail and is leaning askew.\n\n> You get the spire\nYou grab hold of the loose rod and wrench it free from the fence.\n\n> You pry the door with the rod\nYou work the iron spire into the narrow gap between the door and the stone jamb and attempt to pry it open. After several minutes of effort, you're able to slowly work the door open far enough for you to be able to squeeze through.\n\n> You examine the rod\nA four foot long piece of the wrought iron fence that surrounds the cemetery. It's tipped with a wicked looking, spear-shaped finial.\n\n> You go inside\nMausoleum (Gary Butterfield)\nImmediately upon entering, you feel hot. This is a square chamber, made of stone. Dust is suspended in the air, clearly visible in the bright purple light eminating from the center of the room. The dust does not seem to fall. There is a plinth in the center of the room with a tome on it. Each corner has a full length mirror.\n\nOn the plinth is a shabby journal.\n\nA faint chill comes over you.\n\n> About you\nLooks like everything is in place, more or less.\n\n> You check your inventory\nYou are carrying:\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You look at the chill\nA chill emanates from behind you, fading as you turn.\n\n> Examine journal\nA shabby looking leather volume with uneven pages. The letters \"LVPB\" have been burned onto the spine, under the insignia for The Backwater Public Library, which features two back to back crescent moons joined by a downward looking eye.\n\nThis appears to be what's known as a commonplace book. It's a place for a writer to jot down ideas and fragments. There's really no order to it, but you could flip through it, if you wish.\n\n> You get it\nYou hear a voice that says \"Do you remember the first time you stole something? Do you remember when you first realized that adults lie all the time? How did that feel?\" You close your eyes and shake your head, clearing it. When you open them, you find yourself at the entrance of the mausoleum.\n\n> You read journal\nYou'll have to take it off the plinth first.\n\nThe chill behind you intensifies, and you feel like you're being watched.\n\n> You look at the plinth\nUnlike the rest of the room, the plinth is starkly industrial. It is made of rusted iron, with rusty streaks moving downward towards the ground, as if water had poured from the top at one point. There is a tome on top.\n\nOn the plinth is a shabby journal.\n\n> You examine the tome\nA shabby looking leather volume with uneven pages. The letters \"LVPB\" have been burned onto the spine, under the insignia for The Backwater Public Library, which features two back to back crescent moons joined by a downward looking eye.\n\nThis appears to be what's known as a commonplace book. It's a place for a writer to jot down ideas and fragments. There's really no order to it, but you could flip through it, if you wish.\n\nFrost lines the edges of the library insignia.\n\n> You read the journal\nYou'll have to take it off the plinth first.\n\n> You examine the northward mirror\nThe mirror is positioned in the northern corner of the room. It has an oaken frame and a small bas relief of a human figure in the stone above. When you examine your reflection, you find that it reflects only you, not the room that surrounds you. You stare at yourself, staring at yourself, floating in a purple void.\n\n> You examine the dust\nThe dust is piled up under each stack of tombs. It looks finely ground.\n\n> You examine the westward mirror\nThe mirror is in the western corner of the room, but it has been destroyed, though oddly enough, not broken. It looks as if it were melted. There is a bas relief of a writing quill in the stone above.\n\n> You examine eastward\nThe mirror is positioned in the eastern corner of the room. It has an pine frame and a small bas relief of a spider in the stone above. When you examine your reflection, you jump backwards away from it. The mirror does not seem to reflect you, but instead it shows you as if a giant had crumbled you up like a piece of paper. Your neck is folded so that your ear is resting on your collarbone. Your arms are bent, and twisted. Bones break through the skin, and spurs jut to the surface. At first you do not think it is actually you, but it clearly is. The creature in the mirror has the same terror in its eyes that you do.\n\n> You look at southward\nThe mirror is positioned in the southern corner of the room. It has a brass frame and there is a bas relief of a small humanoid in the stone above. You see a small version of yourself, though it is not exactly the same. Its posture is more confident, defiant even. When you look at its eyes, you see that its eyes do not match yours and it instead watches your hands carefully.\n\n> You examine the coffee\nThe clouds in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You put the handbook on plinth\nYou put The Modern Girl's Divination Handbook -- Volume Three on the plinth.\n\n> You get the journal\nThe voice returns, \"It is interesting to me that you think I belong\nto you. We both contain worlds, universes, multitudes. Possibility. And you would possess me.\" A bright flash of light and you find yourself at the entrance of the mausoleum.\n\n> You read the journal\nYou'll have to take it off the plinth first.\n\n> You get the journal\nThe voice is louder. \"Your name is written on water. Everything\naround you, everything in this place will be here long after you're dead and no one remembers you. Be gone.\" Again, you find yourself at the entrance of the mausoleum. This time, though you don't remember falling, you are on one knee.\n\n> You get journal\nThe voice is exasperated. \"What if you don't like what's at the end\nof all of this? Think about the time you're wasting here. All of this effort, all of this  reading  and for what? Do you not\nrealize that some day you will die? How many entire days have you lived and complete forgotten? More than you can count, I wager.\" Your vision goes black and you feel yourself slammed against the door of the mausoleum, banging your head. Your rub the back of your hair and feel wet.\n\n> You get the journal\nThe voice is whispering. \"Do you know what I have forgotten? Nothing. Every moment of my life is valuable and preserved. Every finger that has ever turned one of my pages, every set of eyes that has read me, I remember them all. I'm something that all of your kind wishes to be- permanent. How much time do you have to waste on this silly game? Here, let me make the decision easy for you.\" You hear a high pitched whining and...\nYou are back at the train station. You look around. Everything seems to be reset. You sigh, and painstakingly begin the process of dutifully repeating all of the actions that brought you to the mausoleum. Hours later, exhausted, you pry the door open and re-enter the tomb.\n\n> You get the journal\nThe voice screams. \"What is wrong with you? Examine yourself. I'll give you time.\" The whining sound is much louder and more intense now, and is accompanied by the smell of ozone. When you open your eyes... You see a man in a mask pulling you out of somewhere safe and warm. You're surrounded by strangers and people you love.\n...\nYou open your mouth to scream and\nWAAAHHHHHHHH. A...baby? This can't be real. You start pumping your fists in anger, trying to shake it off. Suddenly, the man with the mask reels back his gloved hand and\nSMACK\nYou are on the floor of the mausoleum.\n\n> About you\nLooks like everything is in place, more or less.\n\n> You get the journal\nYou stare at the book for a moment before reaching out to yank it off the plinth. It puts up no resistance this time.\n\n> You read the journal\nteeth you lose grow entire new skulls, identical, one in ten will\ngrow hair, fat\n\n> You read the journal\nnamed knife, with a family\n\n> You read the journal\nhair starts growing from teeth/eyes\n\n> You read the journal\nperson becomes blind, but only to certain objects\n\n> You read the journal\nMan's sense of taste becomes more and more sensitive until water is too spicy to drink\n\n> You read the journal\nTown where everyone hears voices but the voices only tell them ways they could improve their lives\n\n> You read the journal\nheartbreak insurance broker, sinister end"
    },
    {
        "text": "[Themes: horror]\n\n> You look at your surroundings\nMausoleum (Gary Butterfield)\nIt's hard to see very far due to the dust in the air.\n\n> Wave\nYou wave.\n\n> You examine the dust\nThe dust is piled up under each stack of tombs. It looks finely ground.\n\n> Inventory\nYou are carrying:\naviator goggles (being worn)\na shabby journal\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> Go east\nTown square, Backwater, VT (Marco Innocenti)\nThe first thing you notice, when entering the open yards of the town square, is the soft breeze that relentlessly caresses the buildings. It is so unlike the warm, salty air you were used to back home that you finally realize how long your trip has been, and how far removed you are now from everything you once knew.\n\nThe large, hexagonal-shaped square is paved with big, white stones, polished by rain and wind over the decades; around it, low red-brick buildings look like watching peasants. One single street leaves the square to the north, while less accommodating paths lead west, in the direction of a towering church, and southwest.\nDue east, an iron bridge crosses the river, and southeast, a walkway leads down to its bank.\n\nThe swollen, slate-colored clouds that blanket the sky are reflected in the shiny, circular shape embellishing the center of the square, muttering ominous portents amongst themselves.\n\nOminous portents, you murmur to yourself.\nSince that day, twenty years ago, when you first read them in a Lovecraftian novel during that uneventful summer vacation, you've been waiting for the occasion to use these words yourself. Another cold, harsh gust of wind interrupts you before you can decide whether this was a coincidence worth being happy... or scared about.\n\nA man is leaning on the bridge rail, staring intensely at you with his only eye.\n\n> You look at the man\nTall and slender, the one-eyed man reminds you of someone you knew back in your hometown: a fisherman with as many stories in his pockets as years on his back, who went by the name of Captn Squinter. He used to know a lot of tales about tormented ships... or at least he was good at making them up. He vanished years ago in unknown circumstances.\n\n> You talk to the man\nHe bows his head dramatically, acknowledging your salute.\n\n\"Mrs Cra-gnee, welcome to Backwater. He's been\nwaiting for you.\"\n\n> You ask the man about him\n\"Who are you?\" you ask.\n\nThe man smiles, as if you have asked the most trivial thing. \"I'm a man made by the mountains, as you were made by the sea, Madam. I'm of no consequence, just a prop for indications.\"\n\n> You look at the coffee\nThe clouds in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You ask him about waiting\nHe seems uninterested in dealing with this subject.\n\n> You check your inventory\nYou are carrying:\na shabby journal\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> About yourself\nYou can imagine your grey eyes are all but glittering under this grey sky. You just wish Peter were here to caress you on thinking this.\n\n> You look at the bridge\nLarge enough to let a single car pass through, the bridge is arched like a live fishing pole. Leaning on the bridge rail, a man is demanding attention."
    },
    {
        "text": "[Themes: Lovecraft]\n\n> Look around\nTown square, Backwater, VT (Marco Innocenti)\nThe large, hexagonal-shaped square is paved with big, white stones, polished by rain and wind over the decades; around it, low red-brick buildings look like watching peasants. One single street leaves the square to the north, while less accommodating paths lead west, in the direction of a towering church, and southwest.\nDue east, an iron bridge crosses the river, and southeast, a walkway leads down to its bank.\n\nThe swollen, slate-colored clouds that blanket the sky are reflected in the shiny, circular shape embellishing the center of the square, muttering ominous portents amongst themselves.\n\nA man is leaning on the bridge rail, staring intensely at you with his only eye.\n\n> You look at the shape\nThe big emblem, one yard wide, is embedded in the center of the square like a manhole. The surface looks golden, although you seriously doubt it is anything more than pyrite. Its three rings surround a central circle tightened by bird claws with a single triangular mark pointing northeast. The rings themselves are bedecked by a series of symbols (outer to inner, then clockwise from north):\n\nBLACKBIRD |TREE      |SPARROW   |CUBE      |WOMAN     |FEATHER\nDAAN      |SHI       |AAK'EE    |HAI       |TL\u00c8\u00c8      |JI\nPIG       |EYE       |WOODPECKER|CROSS     |FISH      |EAGLE.\n\n> You ask the man about the shape\n\"What is this... emblem, in the center of the square?\"\n\n\"It is a symbol of sorts. Don't know much about it. Except that you can see similar... designs scattered all around Backwater.\nUsually, though, they are hidd-... I mean: less exposed. They represent some sort of feast, or the likes of it. But, then again...\"\n\nHe scratches his nose.\n\n\"The inscription are in Navajo,\" he concludes.\n\n> You look at the tree\nThe outer ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nBLACKBIRD |TREE      |SPARROW   |CUBE      |WOMAN     |FEATHER.\n\n> Go north\nThe man returns to his pretended duties, while keeping his one eye one you.\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\n> You read the notice board\nA weatherbeaten community notice board outside the library. Behind glass you can see a community events schedule, a ripped newspaper headline, and the winning stories from a children's writing competition.\n\n> You examine the schedule\nMonday: Poetry reading.\nTuesday: Poetry reading.\nWednesday: Cross-stitch. NO GUNS.\nThursday: Poetry reading.\nFriday: Alcoholics Anonymous.\nSaturday: Poker.\nSunday: CLOSED.\n\n> Examine newspaper\n\"Vicious Animals Are Dismembered In Gory Nightly Excess, Pumped High On Drugs\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"I am in a band. I play guitar and Stuffy plays guitar and Richard plays guitar and Marie plays drums although she has only got one and Ermentrude sings. Sometimes Ermentrude plays guitar too. We are going on tour in the fall but for now we play live at different places in Backwater. When they catch us they throw us out but we are good at hiding. Our record is thirty-four minutes.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"Benjamin Jefferson was not just the presedent he was also a cowboy. He had a horse named Woodrow and he lived in a coffin with wheels. On Friday he would have a gun fight and he nearly always won. One time he met Doctor Abrhaham and they decided to build doge City. They got help from a friendly beaver.\"\n\n> You read story\nThere are a few stories on the board. You choose one at random to read.\n\n\"Underneath cars is a good place to hide. Sometimes you jump out and surprise the neighbors but sometimes you just lie there and wait where no-one can see you. You can tell when they get in the car because it comes a bit closer to your face and when they switch it on you sometimes cough. If you hold on to the metal stuff you can sometimes get a free ride but watch out because it burns your hands.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"My father is a member of the Vermont Cheesers. They are a secret society so I am not allowed to talk about them. They meet in The Creamery and they do not allow girls to join. Sometimes I have to wait in the anti-room so I sneak up on the balcony and watch. Every day they bet on a cheese in a sack and if they do not get it right they have to eat the cheese. One man always talks about Maple Smoked Gouda and another man always talks about The Cheese Trail and sometimes they put the cheese down their trousers. They all smile all the time but you can see in their eyes that they are scared.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"I hate chores. Mom makes me empty the trash and sweep the yard and get rid of the dead birds that Misty brings in. I cut off the wings and hide them in the crawlspace and stitch them together. Sometimes I catch butterflies and moths and use their wings too. When I am done I will have two sets of wings and find out which one is better. The bird one I will call SuperSwallow and the butterfly one I will call BeeHaMoth. I will fly over Robert Sutherland's house and shit on it.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"My dad always takes me to see jazz. It is crap. He says it is the only true American art form. I pretend to listen but I actually try to use psychic powers to make the jazz people explode. I have tried about a hundred times. One time the trumpet man played a wrong note although it is difficult to tell with jazz. Then blood came out the end of his trumpet. Then he fell over. I got ice cream on the way home.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"I have a friend at home she is called Bertrande. She does not go to school. When mom comes in she hides beneath the bed or in the closet and sometimes she makes a joke with a kitchen knife. Bertrande is from France in the sixteenth century where she was a pleasant girl. She was murdured by a noble man and she says if she can collect the bud of an entire family she can travel back in time for revenge. I like her hair.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"My uncle showed me a trick where you unscrew a salt cellar in the diner and then the next person gets salt all over their food. I did it a couple of times and stayed around to watch through the window. It was funny. I like to make things better so I swapped the salt for sugar and then for the white stuff from the laundry. If you find a salt cellar with a big enough hole you can also put broken glass in there.\"\n\n> You read the story\nThere are a few stories on the board. You choose one at random to read.\n\n\"One night I was coming home from school. It was dark. Then I saw a light in the sky. It was a space alium. A light shone down on me and I went on the space ship. They gave me cookies but the chocolate chips were bugs. I was scared. They wanted to take me to their planut but I said I had to be home at 6.30 for dinner. The aliums seemed angry and they dropped me in a pond. My school books got wet. The end.\"\n\n> You read story\nThere are a few stories on the board. You choose one at random to read.\n\n\"One day I was mixing paint and I made a new color! It was red and green and pink and all the colors at one time! I painted it on a painting and it made a hole with glowy edges! I tried it on the back of my door and it made a bigger hole! But when I looked through it was not our upstairs but another person's house with different colored walls and leg stuff hanging from the ceiling! I am going to climb through and see if it is an adventure!\""
    },
    {
        "text": "[Themes: horror, Lovecraft]\n\n> Describe the surroundings\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\n> You look at the woods\nDistant, dark foliage.\n\n> You look at Library\nNeoclassical columns frame a grand entrance. A wheelchair ramp has been constructed beside the steps.\n\n> You examine the office\nOddly featureless.\n\n> You go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nA fleece jacket is draped over the back of one of the chairs.\n\nA librarian stands behind a counter.\n\n> You look at the shelves\nThe books don't seem to be in any particular order. You can browse if you like, but good luck finding anything specific.\n\nThe librarian looks at you.\n\n> You examine the librarian\nAn old woman with severe features, primly dressed, with slate-gray hair tied up in a bun. She's almost a caricature, and seems as antique as the building.\n\n> You examine case\nIn the display case are a plaque and a big black book.\n\nThe librarian stamps something. There's something odd about the way she moves. You can't quite put your finger on it.\n\n> You examine the plaque\nIn 1630, the eccentric scholar and polymath Henry Danton Gules came to America to study the superstitions of the Abenaki people, who he was convinced held \"the secrets of the earth\". He spent much of the next eight years living among them, learning their language and folklore. Or so he claimed; his accounts of his experiences range from the highly exaggerated to the outright fabricated.\n\n\"The native storytellers have shown me wondrous things. Under the mountains are caverns without limit, where great beasts roam, and feed upon the buried dead...\"\n(Letter from Gules to a colleague)\n\nDuring this time, he wrote two books, under the pseudonym \"Azban\" (a trickster figure from Abenaki legend). One, now lost, was a text on a language that he called \"Adamic\", which he claimed was the original language spoken before the fall of the Tower of Babel. The other, displayed here, is De Vermibus Laceris, which he described as \"completing the known principles of ritual magic by reuniting them with the forgotten wisdom of the ancients\". Most of the book is written in a mix of Latin and English, but some of the more theoretical passages, including several entire chapters, are in Adamic, and have not been translated.\n\nIn order to publish these books, Gules helped to finance the first printing press in New England in 1638. However, he never saw them printed, due to his disappearance in the great New Hampshire earthquake later that year. The few copies that had been made were declared \"blasphemous\" by Massachusetts Bay Colony governor John Winthrop, who ordered them destroyed. It was believed that no copies survived until 1986, when the volume displayed here was discovered concealed in a wall of the Backwater Public Library during renovations.\n\n> Examine book\nWhich do you mean, the bookshelf, De Vermibus Laceris, the shabby journal, The Modern Girl's Divination Handbook -- Volume Three, the diary of Phyllis Cragne or the postcard of Big Ben?\n\n> Examine vermibus\nA massive tome, with ragged pages bound in badly-decayed black leather, laid open on a stand.\n\n> You read it\nThe grimoire in open on a page describing peeling open the way to someone lost, whether they be in this world or not. You gather from the prelimaries that the ritual involves the horn of a black goat and a cyst from a god, as well as the lost one's true star sign and their most treasured memento. How the ritual is actually performed is further in the book on the pages you currently cannot see.\n\n> You ask the librarian about the grimoire\nWith whip-like speed, she raises a finger to her lips and shushes you vigorously, then points at a sign on the counter.\n\nYou glance around. There's no one around who you could possibly be disturbing.\n\n> You look at the chair\nA collection of tired-looking wooden sculptures with orange vinyl cushions on them.\n\nOn the chair is a fleece jacket.\n\nThe librarian catches your eye and points at the bookshelves.\n\n> You take the jacket\nA card flutters to the ground as you pick the jacket up. Almost involuntarily, you stoop and pick it up too.\n\nThe librarian nods at you curtly. There's something eerie about how quietly she moves about the library. You can hardly take a step without a floorboard creaking. It's like she weighs nothing.\n\n> You look at the jacket\nHey, isn't this Peter's jacket?\n\nYeah, it totally is! It's got that worn-off section on the elbow from your bike trip together. I guess he must have been in the library recently and left it there. Only... how could anyone forget their jacket in this weather?\n\n> You examine the card\nA battered beige rectangle with rounded corners, printed with the library insignia, and bearing the words:\n\nis entitled to borrow books from\nBACKWATER PUBLIC LIBRARY\nBackwater, Vermont\nand is responsible for all books taken on this card\nExpires APRIL 1998\nNo 19078\n\nA little metal dealy clips through the cardboard, with a mirror-reversed version of the ID number stamped into it. They really haven't upgraded their systems in a while.\n\nThe librarian disappears between the shelves for a bit, then returns.\n\n> You get it\nYou already have that."
    },
    {
        "text": "> You look around\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nA librarian stands behind a counter.\n\n> You examine the counter\nJust a simple wood-veneer slab with a large version of the library insignia painted on. There's a sign mounted on it, and a small cart stands to one side..\n\nThe librarian catches your eye and points at the bookshelves. It really seems like she doesn't blink enough. Or at all.\n\n> You examine the cart\nA rusty-wheeled little convenience with bright floral contact paper wrapped around its carrying surfaces.\n\n> You search the shelves\nBrowsing, you discover a self-published volume of mawkish poetry. You don't have time for this, so you put it back.\n\n> Keep going\nYou blindly pick out a decades-old high school yearbook. Sighing inwardly, you place it back on the shelf.\n\n> Inventory\nYou are carrying:\na library card\nPeter's jacket\na shabby journal\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> About yourself\nDisheveled. Exhausted. Not crying yet. Glad to be in from the cold, if only for a little while.\n\n> You point to the black book\nThe librarian looks at the case, then looks back at you, then shrugs and holds out a hand, palm up, as if to receive something.\n\n> You give the card to the librarian\nShe takes the card from you and fusses with some machinery behind the counter. You hear the buzz of a dot-matrix printer, and then she gives you back the card along with a note.\n\n> You examine the note\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nLVPB\nThe Dollmaker's Journal\nTwin Hearts Between the Planes\nBackwater Personalities (1915-1925 edition)\nTolerating An Asinine God\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nVenator in Tenebris\n'Pataphysical Approaches to Quantum Superfluids\nLegends of Lake Champlain and the Hudson River Valley\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nThe Seven Gaunts\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\n> Inventory\nYou are carrying:\na book list\na library card\nPeter's jacket\na shabby journal\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key"
    },
    {
        "text": "[Themes: Comedy, Lovecraftian]\n\n> Go west\nYou pause at the entrance of the real estate office to reread the telegram in your pocket, scanning the curt missive for any additional clues as to what the hell your husband hosed up this time. No\ndice. A wave of sheer black terror washes up into your pharynx, and you fight it back down.\n\nIt's fine. It'll be fine. You saved his ass that time with the vampire yacht (stupid), you got him and yourself out of the sentient\nwax museum (so careless), you even... it is not worth\nthinking about the guy with the drill hands right now. It is\nnever worth thinking about the guy with the drill hands. It's\nfine. It'll be fine.\n\nYour solid gold instincts have led you to this office, which means there's something you need to steal from inside of it, so you\ntell your brain to shut its trap, adjust your backpack on your shoulder, and push firmly through the door into the stale chill of the air conditioning.\nThe woman behind the desk jerks her head up from a pile of papers as you enter, clearly surprised to have a customer. \"Oh, hello!\" she says. \"Can I facts you about a house? Ugh, I mean, are you interested in a Forthright & Rotier property? I mean, they're all our --\nwe're the only realtor in -- hello!\"\n\nEstate Agent's Office (Jenni Polodna)\nThe space is dominated by the unexpectedly symbiotic combination of a giant desk and a tiny woman, who together give the impression of being one complete single entity, like a centaur. The surface of the desk is invisible underneath a loose pile of glossy architectural magazines, manila folders, and real estate listings pamphlets. Behind it, a gunmetal-grey filing cabinet lurks unattractively in the far corner. The exit back out to the street is east.\n\nA tiny woman is here waiting to answer all of your Backwater real estate questions.\n\n> You check your inventory\nYou are carrying:\na Jansport backpack (being worn and open)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na coded telegram\na book list\na library card\nPeter's jacket\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> About yourself\nYou are Naomi Sparradew Cragne, nurse practitioner, born (prematurely) in 1972 to Keith and Esperanza Sparradew of Flagstaff, Arizona, both now sadly deceased.*\n\nAs a child, your family owned horses, and you definitely know how to ride them, but you injured your hip in a bad fall on some black ice in Boston so you don't anymore. These days you get your horse itch scratched by volunteering with Stable America, a non-profit that provides riding therapy to trauma survivors.*\n\nYou are married to Peter Cragne -- entrepreneur, amateur philosopher, and tennis enthusiast -- recently returned to Backwater, Vermont after an absence of twenty-three years to inherit the family mansion (such as it is).*\n\n* As far as any of these rubes know.\n\n> You examine the woman\nThe upper half of her body consists mostly of hair, insufficiently restrained with a blue plaid scrunchie. Twin octagonal shimmers beneath the hair suggest a pair of glasses. Her torso wears a t-shirt advertising the 1996 Muddy Crayfish Charity Run/Walk, sponsored by Forthright & Rotier.\n\nThe lower half of her body is obscured by the giant desk, but your brain evolved over millennia to handle exactly this kind of situation, so without even thinking about it you assume she has two human legs instead of, say, half a kraken.\n\n> You examine the telegram\nIn the secret code you worked out with your husband, \"forgot brown shoes\" means \"the plan has gone dog-tits-up and I could not be deeper in the crap canal,\" while \"please send by earliest post\" means \"invent a pretext and come extricate me immediately.\"\n\nSo, here you are in Backwater, Vermont, with a missing husband and no idea what to do next. It's great. Everything's great.\n\n> You look at the backpack\nYou bought this backpack specifically to do thefts with, and you love it. From the outside it's modestly sized and easy to carry, but the inside is surprisingly capacious -- you've used it to smuggle oil paintings, kayaks, and (best day of your life) the entire contents of a government warehouse in Roswell, New Mexico. In addition to the cavernous main pocket of the backpack itself, there's a key pocket for your keys, a book pocket for your books, a side pocket for your sidequests, and a trash pocket for your trash. Zippers on all of these pockets let you open and close them at will.\n\nIn the Jansport backpack are a key pocket, a book pocket, a side pocket, a trash pocket and a backpack features guide.\n\n> You examine the key pocket\nA heavily reinforced pocket to store your keys in, if you're the kind of person who has too many keys to fit on a keyring.\n\n> Examine features guide\nWelcome to the NEW 1998 Urban Adventurer Streetwarrior TRIPLE-REINFORCED Lifestyle Management System by Jansport!\n\nIncredible Updated Features:\n** Separate zippable pockets let you hide things and reveal them at will!\n** Brand new abbreviations: mp = main pocket, kp = key pocket, bp = book pocket, etc.!\n** Time-saving upgrade for the adventurer on the go: LOOK IN or PUT [SOMETHING] IN a closed pocket without having to open it first!\n\n> You ask the woman about the woman\n\"I'm a real estate receptionist who is doing an admirable job of attempting to perform her work functions!\" the tiny woman tells you. \"Do you have any questions for me that a sane person might ask a real estate receptionist?\"\n\n> You ask the woman about real Estate\nThe woman gestures towards the pamphlets on the desk. \"We have some pamphlets with all of our current home listings, if you'd like to take one and look at it. Or if you have any questions about any buildings in town, I can answer those too! Forthright and Rotier has been the only realtor in Backwater for over 200 years, so... yeah.\"\n\n> You take the pamphlet\nYou take a pamphlet of home listings off of the stack.\n\n> You read the pamphlet\n|| 8 BR 1 BA || Quiet neighborhood! Completely redone with brand new floors and concrete-sealed basement. Hardly any muttering!\n\n|| 3 BR 2 BA || Great river views and convenient for boating! Trawl for crayfish from the comfort of your living room. Entire upstairs still mostly above water!\n\n|| 2 BR 5 BA || An obelisk lover's dream! Extensive yard boasts a true infinity pool and an impressive collection of garden statuary, including twin sphinxes. Paradoxically nearby to everything!\n\nUnderneath the description of 23 Euclid Street, someone has scrawled the words \"JACKDAWS LOVE MY BIG SPHINX OF QUARTZ.\"\n\n> You ask woman about the train station\n\"That property is very historic and cool but not currently for sale!\" the tiny woman says. \"If you tell me more about yourself, I will be better able to analyze your needs and desires and attempt to resolve them by selling you a property that is for sale!\"\n\n> You tell the woman about yourself\n\"Oh!\" the woman exclaims. \"You're the new wi-- I mean, you're Naomi Sparradew Cragne! Nice to meet you. I'm Bethany Tross.\" She boosts herself onto the desk to shake your hand. \"I've got a huge file on Cragne Manor. It's absolutely fascinating. You're gonna love it.\" Lips slightly pursed, she surveys the mess on the desk. \"Um. Just let me find it. Jeez. One sec.\"\n\n> You ask the woman about the CRAGNE MANOR\nBethany gathers all of the folders on the desk into her arms. \"See, I'm getting a master's degree in local history, and this job is a gold mine for original documents,\" she explains. One by one she deposits each file into the cabinet, until only an empty-looking folder labeled CRAGNE MANOR remains. \"Huh, it should be...\" She flips it open, then with a disappointed look sets it on the desk in front of you.\n\"Well, ratsack,\" she says. \"I guess the Cragne Manor file's off being digitized. Ms. Rotier's been on this paperless office kick lately, which is weird, because we don't have a computer.\" Her expression brightens somewhat. \"Any other buildings you want to know about? I'm not allowed to talk history at home anymore, not since the incident.\"\nNow that the desk is clean, you notice a paperback book that had been hiding underneath the folders.\n\n> Examine book\nA somewhat battered paperback whose lovingly fantasy-painted cover features a corseted steampunk woman embracing a Regency period nobleman -- who is also an anthropomorphic lion -- in space. \"TWIN HEARTS BETWEEN THE PLANES,\" raised letters proclaim. \"LEELAH VAUGHAN.\"\n\nBeneath the author's name, smaller text inside a sunburst informs you that this book was a 1981 Venus Rising nominee for \"Best Sexual Tension.\" A shelving label for the Backwater Public Library covers the lower spine \"[FIC / ERO / ANIMA / FELIS / YIKES]\".\n\nThis is it, your instincts whisper. This is the thing you\nneed to steal. Also, look at it. It's amazing. Definitely steal\nthat.\n\n> You take the book\nThis is it! This lion sex book is definitely the thing you need to steal. Even if it wasn't, you'd steal it anyway, for multiple reasons.\n\nYou're gonna steal it smart, though, which means finding a\nmoment when Bethany isn't watching.\n\n> You ask the woman about the the incident\n\"It's a funny story,\" Bethany says. You wait for her to tell it to you, but she doesn't.\n\n> You ask the woman about Library\nBethany's features descend into a half-scowl. \"Oh, it's just another boring Andrew Carnegie library, blah blah blah 1908, $5000 budget, snooze me a river of dreams. It's gross, all the books in there are gross, if you go in there you'll be gross too.\" This unenthusiastic description of a historic building seems out of character, so you cock an eyebrow at her quizzically.\n\nBethany catches your look and deflates. \"That crappy librarian is in league with the Badfinger University Shadow Historians,\" she explains. \"She won't let me have jack. They've got some real good\noriginal mystical documents and I want a job there so bad.\"\n\nShe meets your eyes again. \"Right, I'll get the folder.\"\n\n> You take BOOK\ndefinitely the right idea. When you play the scenario out in\nyour mind, though, it goes something like this:\n\n[IMAGINARY SCENE] You slip the book into your pocket. Bethany\nturns around, ready to drop the folder on the desk, and spots that the book is gone. Her octagonal eyes glow red, and each unruly curl of her hair transmogrifies into an individual tarantula with its own set of eight hairy legs. \"WHERE IS MY BOOK?\" she roars, shaking the walls of the real estate office.\n\nThe desk grows a mouth and chomps you in half somewhere around the lumbar spine. Your lower half bleeds out on the berber carpet as the desk masticates your torso and eyeballs and hands and other parts of your body you like a lot and use often. With a satisfied expression, Bethany retrieves the novel from the bloodsoaked pocket of your JNCOs. \"Now I can finally confess my truth,\" she tells your exposed kidneys. \"I think reading about lion sex is kind of nice actually.\"[END IMAGINARY SCENE]\n\n...okay, clearly this town has got you in a real weird headspace. The point is, you'll have to find a way to steal the book without Bethany noticing you've stolen it, or things might get... uncomfortable.\n\n\"Folder located!\" Bethany drops the folder onto the desk near Twin Hearts Between the Planes.\n\n> You ask her about the office\n(Bethany about Forthright & Rotier Estate Agency)\n\"Perfect! I'll just grab the folder for that,\" Bethany says, turning to search through the filing cabinet.\n\n> You ask Bethany about the lion sex\n\"Just a sec,\" Bethany says, voice echoing weirdly. You turn to look and she's got her head almost completely inside one of the cabinet drawers.\n\n\"Here you go!\" Bethany drops the folder onto the desk, partially covering Twin Hearts Between the Planes.\n\n> You ask her about the church\n\"Josiah Forthright was a master hypnotist whose specialty was getting people to desire things that no sane person would ever want,\" Bethany tells you. \"Then, completely out of nowhere, he opened a real estate office in Backwater, Vermont. It's sad that he gave up on his dream like that, don't you think?\"\n\n> You ask her about the Church\n(Bethany about Backwater Church)\n\"We definitely have a folder for that! One sec,\" Bethany says, turning to search through the filing cabinet.\n\n> You take BOOK\ndefinitely the right idea. When you play the scenario out in\nyour mind, though, it goes something like this:\n\n[IMAGINARY SCENE] You slip the book into your pocket. Bethany\nturns around, ready to drop the folder on the desk, and spots that the book is gone. Her octagonal eyes glow red, and each unruly curl of her hair transmogrifies into a cobra, its eyes glowing red and its fangs dripping venom. \"WHERE IS MY BOOK?\" she roars, shaking the walls of the real estate office.\n\nThe desk grows a mouth and chomps you in half somewhere around the lumbar spine. Your lower half bleeds out on the berber carpet as the desk masticates your torso and eyeballs and hands and other parts of your body you like a lot and use often. With a satisfied expression, Bethany retrieves the novel from the bloodsoaked pocket of your JNCOs. \"Now I can finally confess my truth,\" she tells your exposed kidneys. \"I think reading about lion sex is kind of nice actually.\"[END IMAGINARY SCENE]\n\n...okay, clearly this town has got you in a real weird headspace. The point is, you'll have to find a way to steal the book without Bethany noticing you've stolen it, or things might get... uncomfortable.\n\n\"Who just found the folder she was looking for? This girl!\" Bethany drops the folder onto the desk, partially covering Twin Hearts Between the Planes.\n\n> You examine the file\n\"Most people in town think Backwater Church changes religious affiliation once every seven years,\" Bethany says, \"but guess what I found out? This whole time they've just been worshipping different incarnations of X'n'xa the Inevitable March Towards Death, which technically makes them Episcopalians. Religion is wild, huh?\""
    },
    {
        "text": "> Look around\nEstate Agent's Office (Jenni Polodna)\nThe space is dominated by the unexpectedly symbiotic combination of a giant desk and a tiny woman, who together give the impression of being one complete single entity, like a centaur. The surface of the desk is becoming cluttered with glossy architectural magazines, manila folders, and real estate listings pamphlets. Behind it, a gunmetal-grey filing cabinet lurks unattractively in the far corner. The exit back out to the street is east.\n\nThe lion sex book lies on the desk, partially covered, waiting for you to steal it. \"Soon, lion sex book,\" you whisper in your head. \"It won't be long now.\"\n\nBethany looks at you expectantly. \"I'd be stupidly thrilled to show you one of our many real estate files if you specify a property.\"\n\n> You examine the folder\nWhich folder? Backwater Church folder, Forthright & Rotier Estate Agency folder, Backwater Public Library folder and Cragne Manor folder seem particularly interesting.\n\n> You look at the church folder\nThe church folder contains mostly receipts for the installation of various stained-glass windows. You spot one for $0.00 with a pen scrawl across the bottom reading \"I refuse to depict Imelda Cragne as the Virgin Mary, may God have mercy on my soul.\"\n\n\"Oh yeah,\" Bethany says, when you point it out, \"I forgot to mention that most of the Cragnes commissioned church windows of themselves as religious figures, but I guess the idea of a saintly Imelda Cragne clutching a baby Jesus was too much for that stained-glass artist. They fled to Canada the same day that receipt was written, which was absolutely the right call.\"\n\n> You examine the agency folder\nThat's weird; the estate agency folder contains nothing but a single security camera photo of the room you are currently in, taken from a vantage point near the ceiling. You feel compelled to take a closer look.\n\n> You examine photo\nYou look at the security camera photo in the estate agency folder.\n\nThe space is dominated by the unexpectedly symbiotic combination of a giant desk and a tiny woman, who together give the impression of being one complete single entity, like a centaur. The surface of the desk is becoming cluttered with glossy architectural magazines, manila folders, and real estate listings pamphlets. Behind it, a gunmetal-grey filing cabinet lurks unattractively in the far corner. The exit back out to the street is east.\n\nA taller, short-haired woman wearing JNCOs and a trolley pass stands on the other side of the desk, blood dripping down her arm. You can't see her face, but... that can't be you, right? It looks like\nyou...\n\n\"Oh, hey, ignore that,\" Bethany tells you. \"Our security camera got possessed a couple weeks ago and Ms. Rotier's been slacking on replacing it, that's all.\"\n\n> You examine the library folder\nThe Backwater Public Library folder is empty except for an index-card-sized note reading \"Contents of this folder have been reclaimed as the rightful property of B.U.S.H. Any queries, complaints, and suggestions can be directed to the_uncaring_void_of_my_anal_canal@hotmail.com. Have a good\nrest of your SUCK IT LOSERS!!!\".\n\n> You look at the cragne manor folder\nThe Cragne Manor folder is thin enough to appear empty while closed. When you open it, you see that it contains nothing but a Post-It note with the words \"BETHANY, TOOK THESE TO GET DIGITIZED. RECYCLE THIS NOTE PLEASE!!!\" alongside a small drawing of an anthropomorphized Earth giving the thumbs-up.\n\n> You ask her about the town square\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and the syllables I just heard you say were 'Charles Bingadocio'.\n\n> You ask her about the Mausoleum\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and as far as I can tell, you just said 'radio fat lump'.\n\n> You ask her about the shack\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and all I got from that was 'bedlam cube'.\n\n> You ask her about circus\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and what I just heard you say was 'breaking up with Frito chili pie'.\n\n> You ask her about the hospital\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and the syllables I just heard you say were 'carcinomuffin'.\n\n> You ask her about the school\n(Bethany about high school)\n\"Some stuff went down a few years ago and now the high school has never existed, plus it's banned from this dimension,\" Bethany says. \"If you encounter a high school in Backwater, you're supposed to inform the authorities at... shoot, what was the number? Oh, right, there is no number, they'll just show up in a van.\"\n\n> You ask her about train station\n(Bethany about Backwater Station)\n\"We've got a folder for that!\" Bethany says, turning to search through the filing cabinet.\n\n> You take BOOK\ndefinitely the right idea. When you play the scenario out in\nyour mind, though, it goes something like this:\n\n[IMAGINARY SCENE] You slip the book into your pocket. Bethany\nturns around, ready to drop the folder on the desk, and spots that the book is gone. Her octagonal eyes glow red, and each unruly curl of her hair transmogrifies into a cobra, its eyes glowing red and its fangs dripping venom. \"WHERE IS MY BOOK?\" she roars, shaking the walls of the real estate office.\n\nThe desk grows a mouth and chomps you in half somewhere around the lumbar spine. Your lower half bleeds out on the berber carpet as the desk masticates your torso and eyeballs and hands and other parts of your body you like a lot and use often. With a satisfied expression, Bethany retrieves the novel from the bloodsoaked pocket of your JNCOs. \"Now I can finally confess my truth,\" she tells your exposed kidneys. \"I think reading about lion sex is kind of nice actually.\"[END IMAGINARY SCENE]\n\n...okay, clearly this town has got you in a real weird headspace. The point is, you'll have to find a way to steal the book without Bethany noticing you've stolen it, or things might get... uncomfortable.\n\n\"Found it!\" Bethany drops the folder onto the desk, further covering Twin Hearts Between the Planes.\n\n> You examine train station folder\n\"Backwater didn't have a train station until 1968,\" Bethany tells you. \"The local business owners were really pushing for one to be built, but the town council elders fought it tooth and nail, because they thought it would attract undesirables -- I think we both know what that's code for -- from the city. Then somebody pointed out the undesirables from the city, if you were nice to them and gave them shotguns, would be great allies in the constant war against the even-less-desirables who kept slithering out of the hills on their tentacle legs to steal babies. Backwater got noticeably less racist after that. Also fuller of babies.\"\n\n> You ask her about the pub\n(Bethany about the pub)\n\"Sure thing! Hold tight while I look for that folder,\" Bethany says, turning to search through the filing cabinet.\n\n> You take BOOK\ndefinitely the right idea. When you play the scenario out in\nyour mind, though, it goes something like this:\n\n[IMAGINARY SCENE] You slip the book into your pocket. Bethany\nturns around, ready to drop the folder on the desk, and spots that the book is gone. Her octagonal eyes glow red, and each unruly curl of her hair transmogrifies into an individual tarantula with its own set of eight hairy legs. \"WHERE IS MY BOOK?\" she roars, shaking the walls of the real estate office.\n\nThe desk grows a mouth and chomps you in half somewhere around the lumbar spine. Your lower half bleeds out on the berber carpet as the desk masticates your torso and eyeballs and hands and other parts of your body you like a lot and use often. With a satisfied expression, Bethany retrieves the novel from the bloodsoaked pocket of your JNCOs. \"Now I can finally confess my truth,\" she tells your exposed kidneys. \"I think reading about lion sex is kind of nice actually.\"[END IMAGINARY SCENE]\n\n...okay, clearly this town has got you in a real weird headspace. The point is, you'll have to find a way to steal the book without Bethany noticing you've stolen it, or things might get... uncomfortable.\n\n\"Here's the folder!\" Bethany drops the folder onto the desk, further covering Twin Hearts Between the Planes.\n\n\"The pub was the first building constructed in Backwater,\" Bethany tells you. \"It's been through approximately one hundred and seventy-eight changes of ownership since. The current owners say it's haunted by the ghost of an angry brewer who had his secret recipe for triple-dark stout stolen by Benjamin Franklin, but my\nresearch suggests they just made that up to get on the Food Network. They used to have pretty good maple poutine but the current owners got all uppity about 'that's not real Vermont food, that's fake Canadian tourist food, blah blah fiddleheads blah blah blah.' I kind of hate the current owners, if I'm honest.\"\n\n> You look at the station folder\nThe train station folder is incredibly thick. Flipping through it, most of its bulk appears to be schedules of arrivals and departures, and you're about to fall asleep when a folded page flutters out from between the timetables. You unfold it and take a look.\n\n\"Oh, that thing is great,\" Bethany says. \"It's a map of a proposed trolley system through Backwater, which wound up not getting built because it turned out the guy who sold it was secretly a bear, and no one knew what to do with that information. The trolley system would have been so cool though.\"\n\n> You look at the trolley\nFrom what you've seen of Backwater, it's not that big, yet the trolley system on the map in your hands is extensive. A forest-green line runs into the woods, while a line as red as raw beef connects the downtown to the meatpacking plant. The church has its own line (gold), Cragne Manor has several (in various shades of purple -- also,\nwhy?), and Backwater itself is split into \"Dangerous\nBackwater\" (orange) and \"Spooky Backwater\" (blue). Apparently the real estate office is in Spooky Backwater, whatever that means.\n\n> You ask her about the Meatpacking Plant\n(Bethany about Meatpacking Plant)\n\"Great, I'll show you the folder for that!\" Bethany says, turning to search through the filing cabinet.\n\n> You take BOOK\ndefinitely the right idea. When you play the scenario out in\nyour mind, though, it goes something like this:\n\n[IMAGINARY SCENE] You slip the book into your pocket. Bethany\nturns around, ready to drop the folder on the desk, and spots that the book is gone. Her octagonal eyes glow red, and each unruly curl of her hair transmogrifies into a cobra, its eyes glowing red and its fangs dripping venom. \"WHERE IS MY BOOK?\" she roars, shaking the walls of the real estate office.\n\nThe desk grows a mouth and chomps you in half somewhere around the lumbar spine. Your lower half bleeds out on the berber carpet as the desk masticates your torso and eyeballs and hands and other parts of your body you like a lot and use often. With a satisfied expression, Bethany retrieves the novel from the bloodsoaked pocket of your JNCOs. \"Now I can finally confess my truth,\" she tells your exposed kidneys. \"I think reading about lion sex is kind of nice actually.\"[END IMAGINARY SCENE]\n\n...okay, clearly this town has got you in a real weird headspace. The point is, you'll have to find a way to steal the book without Bethany noticing you've stolen it, or things might get... uncomfortable.\n\n\"Time to cross finding this folder off of the to-do list!\"\nBethany drops the folder onto the desk. Twin Hearts Between the Planes is now completely hidden from view.\n\"The meatpacking plant was built by Alfred Silas Cragne in 1901 as an attempt to make a little money off of that year's Seven Days' Rain of Dead Pigs,\" Bethany tells you. \"Which, as you might guess, was a phenomenon during which almost five thousand pigs fell out of the sky over downtown Backwater. Amazingly, only one person died, and everybody hated him, so it was a net win for the town.\"\n\nShe shakes her head. \"The pub owner likes to go on about how great it must have been to take a bucket out in the street and fill up on free bacon, but what I think is, if it means not getting clocked\nin the head with a pig hoof at the standard gravitational acceleration rate, I'd rather just spend the three bucks at Shaw's.\"\n\n> You examine pub\nAlong with some incredibly boring-looking documents, the folder labeled \"Head & Anchor Pub (BETHANY: RELABEL THIS FOLDER)\" contains a list of name changes and a piece of paper with all of the words blacked out FBI-style. \"What's this?\" you ask Bethany, indicating the latter.\n\n\"Oh, that's the old secret menu for the pub, from back when it was the Sad Aroma and Garter Belt. It was a little too secret, if you\nwant my opinion.\"\n\n> You look at the plant folder\nYou open the meatpacking plant folder and a chunk of raw beef falls onto the floor. Holding the folder as horizontally as possible, you open it the rest of the way. It's entirely full of raw beef. Mostly ground chuck, but you see a couple of ribs sticking out, and on the top is... is that a New York strip steak? \"Hot beef injection compliments of B.U.S.H.,\" reads a note impaled into the meat pile.\n\n\"True confession?\" Bethany says, \"I know they're proud of that little prank, but that's like thirty dollars worth of meat, and the park by my house has a grill.\"\n\n> You ask her about the park\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and all I got from that was 'hose beast city'.\n\n> You ask her about bush\n(Bethany about Badfinger University Shadow Historians.)\n\"Badfinger University is five miles up the river from Squahonomie, and their Shadow Historians have been our archrivals for almost a century and a half,\" Bethany explains. \"Every September our grad students and theirs engage in ritualized academic combat to decide which school has jurisdiction over which historical topics. This year they got almost all of the Cragnes -- I was gunning hard for Stella, and I made sure we kept Deuteronomous -- but this guy Josh that I hate blew the rest of our points on Jedediah Beaverhat, who is not even real,\nhe's a pancake house mascot. I kinda think Josh is a mole.\"\n\n> You ask her about Stella\n(Bethany about Stella Archer Cragne)\n\"Stella Archer Cragne disappeared on the third of May, 1981,\" Bethany tells you. \"She told her husband she was going into town to buy a hat for Petunia Cragne's wedding. The ticket taker at the station confirmed that she boarded the 12:35 train to Montpelier, and after that (once again Bethany drops her voice into Unsolved Mysteries registers) nobody saw her again. Dead or alive.\"\n\n\"Ask me about Stella again if you want to hear all the facts of the case; I'm supposed to practice getting consent before quote-unquote talking people's ears off. People care an awful lot about their ears around here, if you ask me.\"\n\n> You ask her about Stella\n(Bethany about Stella Archer Cragne)\nHolding up her fingers one by one, Bethany cheerfully enumerates the facts of the case. \"Fact! Stella had no known enemies; the family liked her -- well, except Imelda Cragne, but she was a\n102-year-old racist who croaked six months before Stella went missing, so it's unlikely she was involved.\"\n\n\"Fact! By all accounts, Stella & Horace were one of those boring quiet couples that stay home a lot and don't have affairs. Fact! I really enjoy saying 'fact!' Fact!\"\n\n\"Fact! Stella left the house with just her wallet and keys. She wasn't the purse-carrying type, but she owned a couple good-sized\nbags she could have packed some underwear and a toothbrush in if she'd planned to run away.\"\n\n\"Fact! The Backwater P.D. searched all of the possessions she'd left behind and none of it was more suspicious than a Jell-O mold.\nI saw the whole list and lemme tell ya, I have weirder stuff in my pockets right now, including one or two bird skulls.\"\n\n> You ask her about the lion sex\n(Bethany about Twin Hearts Between the Planes)\nBethany looks you straight in the eyes, radiating academic gravitas. \"Okay, so, believe me when I say that I don't normally read sci-fi bodice rippers starring big handsome lion guys.\"\n\nYou assure her that you did not have her pegged as a paranormal romance enthusiast, and she visibly relaxes before continuing.\n\n\"It's research, sort of,\" she explains. \"See, Leelah Vaughan is the pen name of Stella Archer Cragne, wife of Horace Cragne. This book was published in 1980 -- one year before Stella Archer Cragne (here Bethany drops her voice about two octaves) mysteriously\nvanished.\"\n\n> You ask her about the pockets\n(Bethany about a funny story)\n\"It's a funny story,\" Bethany says. You wait for her to tell it to you, but she doesn't.\n\n> You ask her about Peter\n(Bethany about Peter)\n\"I'm afraid I haven't met your husband, no,\" Bethany says. \"I only moved here a few years ago, and he moved away in -- I mean, as a historian, I know about -- what I mean is, the Cragne family\nbasically is Backwater -- so-yes-I-know-a-lot-about-your-husband-and-I-hope-that-isn't-creepy\n.\"\nShe coughs uncomfortably into some papers, avoiding your gaze.\n\n> You ask her about Jedediah Beaverhat\n(Bethany about Jedediah Beaverhat)\n\"One legend goes that Jedediah Beaverhat invented the pancake, then he wanted something sweet to go on top of it, so he went into the forest and seduced Maple Kate, who was the half-druid tribal chief of the -- ugh, I don't know why I'm telling you Jedediah Beaverhat stories.\" Bethany makes a disgusted face. \"He's not real, okay? He's not even an authentic local myth, just something the Goldwater Restaurant Group made up in 1953 to trick motorists into stopping for corn syrup.\"\n\n> You ask her about the restaurant\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and as far as I can tell, you just said 'freedom horse binge'.\n\n> You ask her about deuteronomous\n(Bethany about Deuteronomous Cragne)\n\"Deuteronomous Cragne came from somewhere in the mid-1790s\nand founded the Backwater line of Cragnes. He's your husband's great-great-great-great-grandfather,\" Bethany tells you. \"He had a lot of portraits commissioned of himself as this huge vampire-looking guy with bright red eyes and a twenty-hand-tall nightmare stallion, but I found some charcoal drawings of him as a teenager, and he's practically cherubic-looking. Like a Keebler Elf with fluffy sideburns. It's hilarious.\"\n\n> You ask her about spooky Backwater\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and I only understood you as far as saying 'Charles Bingadocio'.\n\n> You look at the pamphlet\n|| 8 BR 1 BA || Quiet neighborhood! Completely redone with brand new floors and concrete-sealed basement. Hardly any muttering!\n\n|| 3 BR 2 BA || Great river views and convenient for boating! Trawl for crayfish from the comfort of your living room. Entire upstairs still mostly above water!\n\n|| 2 BR 5 BA || An obelisk lover's dream! Extensive yard boasts a true infinity pool and an impressive collection of garden statuary, including twin sphinxes. Paradoxically nearby to everything!\n\nUnderneath the description of 23 Euclid Street, someone has scrawled the words \"JACKDAWS LOVE MY BIG SPHINX OF QUARTZ.\"\n\n> You ask her about 23 euclid street\n(Bethany about 23 Euclid Street)\n\"Let me grab the folder for that!\" Bethany says, turning to search through the filing cabinet.\n\n> You take BOOK\nYou utilize the skills you trained long and hard in the finest shopping malls of the greater Dallas-Fort Worth area. Moving like a rattlesnake (except without the rattling, obviously), you\nsilently slide the lion sex book out from underneath the folders and slip it into the pocket of your JNCOs before Bethany has a chance to turn around.\n\n~~Lion sex book GET.~~\n\n> You check your inventory\n\"Found it!\" Bethany drops the folder onto the desk.\n\n> You press the space\n\"Back in the 70s it was hip to build your pad on top of a transdimensional leyline nexus even though that plays hell with the electrical wiring,\" Bethany tells you. \"It's a genuinely cool property, though. I've been over there a couple times to check the portals. One of the sphinxes and I get along great, the other one is all pissy with me because I solved all its riddles in three minutes.\"\n\nShe sighs. \"I offered to help it write new ones and, like, centralize a database? But now whenever it sees me it just rolls its eyes and makes fart noises, and I'm all, 'Real mature, sphinx.' It makes it super awkward chatting with the other one 'cause they're only\nten feet apart from each other but the house is still really cool. There's an infinity pool and everything.\"\n\n> You ask about the infinity pool\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and all I got from that was 'Junelaska vacation'.\n\n> You ask her about 18 F'tagn court\n(Bethany about 18 F'tagn Court)\n\"Absolutely! Let me find that folder,\" Bethany says, turning to search through the filing cabinet.\n\n> Wait\nTime passes.\n\n\"Time to cross finding this folder off of the to-do list!\"\nBethany drops the folder onto the desk.\n\"Some crazy stuff went down at 18 F'tagn Court,\" Bethany tells you. \"In fact, there was this huge mess and we had to change the floors.\"\n\n\"The floors?\" you ask.\n\n\"You see, his bl-- his blackyard blarbecue got a blit out of hand.\" She tightens her lips. \"And it, uh, blurnt the floorbloards. So we had to change them.\"\n\nYou quirk an eyebrow at Bethany and she deflates. \"Sorry,\" she says, \"I keep forgetting I'm supposed to lie about F'tagn Court, and\nwow am I really not great at it. Wanna know about any\nbuildings where they didn't find a ton of faceless bodies?\"\n\n> You ask her about 18 F'tagn court\n(Bethany about 18 F'tagn Court)\n\"Faceless bodies?\" you ask Bethany.\n\nShe tightens her lips and shakes her head vigorously. \"Blarbecue! It was a very blad blarbecue. They blurnt the blatwurst and forgot the bluns. Also the potato salad had clams in it, yuck.\"\n\nYou realize you're probably much happier not knowing, so you let it drop.\n\n> You ask her about 36 river walk drive\n(Bethany about 36 River Walk Drive)\n\"Let me grab the folder for that!\" Bethany says, turning to search through the filing cabinet.\n\n> You wait for a while\nTime passes.\n\n\"The folder-finding wizard has done it again!\" Bethany drops the folder onto the desk.\n\"You know that ad where someone gets chocolate into someone else's peanut butter and someone else gets peanut butter into someone else's chocolate?\" Bethany asks you. \"That is basically what happened with 36 River Walk Drive except instead of a peanut butter cup you have a mostly underwater house and instead of being delicious it is soggy and bad.\"\n\n> You examine the walk folder\nThe folder for 36 River Walk Drive is completely waterlogged. Carefully, you pull away the top layer of manila. Inside is a large clump of illegibly smeared, soggy paper that rips apart when you attempt to separate the pages.\n\n\"You're probably thinking that file is all wet because the property sank into the river and there's some kind of sympathetic magic in effect,\" Bethany says, \"but what actually happened was, I dropped it in the toilet. My bad!\" You quickly put the folder back down.\n\n> You examine 18 F'tagn court\nThe moment you slip your thumbnail between the two layers of the folder to separate them, the real estate office fills with a horrible shrieking as though angels were being torn limb from limb by an ungodly threshing machine, and you quickly withdraw your hand. \"Yeah,\" Bethany says, \"yeah, it does that.\"\n\n> You look at 23 euclid street\nThe folder for 23 Euclid Street is full of what you at first take to be someone's collection of midcentury modern cocktail napkins, then quickly realize is someone's collection of sphinx porn, crudely sketched onto midcentury modern cocktail napkins.\n\n\"Yeah, there's a lot going on in that folder,\" says Bethany. \"I was gonna warn you, but then I thought, nah, you look like a woman who can handle her sphinx dong.\"\n\n\"Oh, I definitely am,\" you assure her, staring down a pair of cartoon sphinxes with comically oversized genitals engaged in a sex act you know only as the Even Wetter Willy.\n\n\"Wanna know the really funny part?\" Bethany asks you. \"Sphinxes are asexual. I literally don't know why we hold on to these napkins.\"\n\n> You ask her about the crystal\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and as far as I can tell, you just said 'hose beast city'.\n\n> Inventory\nYou are carrying:\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na coded telegram\na book list\na library card\nPeter's jacket\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You look at the pamphlet\n|| 8 BR 1 BA || Quiet neighborhood! Completely redone with brand new floors and concrete-sealed basement. Hardly any muttering!\n\n|| 3 BR 2 BA || Great river views and convenient for boating! Trawl for crayfish from the comfort of your living room. Entire upstairs still mostly above water!\n\n|| 2 BR 5 BA || An obelisk lover's dream! Extensive yard boasts a true infinity pool and an impressive collection of garden statuary, including twin sphinxes. Paradoxically nearby to everything!\n\nUnderneath the description of 23 Euclid Street, someone has scrawled the words \"JACKDAWS LOVE MY BIG SPHINX OF QUARTZ.\"\n\n> You ask her about the quartz\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and I'm guessing you didn't really just say 'bratwurst effect'.\n\n> You ask her about the JACKDAWS\n(Bethany about that)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and I only understood you as far as saying 'harbinger slosh slosh'."
    },
    {
        "text": "[Themes: Lovecraftian, Comedy, horror, Lovecraft]\n\n> Look around\nEstate Agent's Office (Jenni Polodna)\nThe space is dominated by the unexpectedly symbiotic combination of a giant desk and a tiny woman, who together give the impression of being one complete single entity, like a centaur. The surface of the desk is invisible underneath a loose pile of glossy architectural magazines, manila folders, and real estate listings pamphlets. Behind it, a gunmetal-grey filing cabinet lurks unattractively in the far corner. The exit back out to the street is east.\n\nBethany looks at you expectantly. \"Want to know about a building?\"\n\n> You examine the filing cabinet\nIf a filing cabinet's purpose is to hold files without being otherwise interesting or remarkable, then this one has achieved self-actualization and is free to ascend to filing cabinet nirvana.\n\n> You read the lion sex\nperson you've stolen them from, who hasn't noticed you've stolen them yet. That's the kind of doof-butt mistake your husband would\nmake.\n\nGod, you hope he's okay.\n\nThe chill behind you intensifies, and you feel like you're being watched.\n\n> You look at the chill\nA chill emanates from behind you, fading as you turn.\n\n> You ask her about the chill\n(Bethany about the faint chill)\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and I'm guessing you didn't really just say 'breaking up with Frito chili pie'.\n\n> You go east\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\n> You read the lion sex\nYou look at the inside cover of the paperback. The library insignia, a pair of back-to-back crescent moons flanking an eye which stares down at a book, is stamped here in purple. Underneath, in cursive, someone has written \"For Mona with all the love in the world. Don't take Jim back. He's bad news.\" Following this is a loopy flourish of a signature you take to be \"Leelah Vaughan.\"\n\n[You can continue to READ the lion sex book; this is excerpt\n1/7.]\n\n> You read the lion sex\n(You flip open the lion sex novel and read a page at random.)\n\n\"You're leaving? Now? I don't understa--\" She held her hands\nup to protest, but instead found herself clutching the manuscript-sized envelope he pressed into her chest.\n\nHis voice was low and urgent in her ear, forcing a shiver to the base of her spine. \"There's no time to explain. Keep this safe. If you believe in me, we'll see each other again.\"\n\n\"Hey, wait up now!\" she called after him as he rounded the bend in the stairs. \"The hell you going, Steve?\" The door closed with a self-assured thump, and she was alone.\n\nA few moments later, back in her office, she pulled the manuscript out of its envelope. It was thick; several hundred pages at least. Scrawled across the first was a simple four-word message: \"THEY CAN'T SEE STORIES.\"\n\n[You can continue to READ the lion sex book; this is excerpt\n2/7.]\n\n> You read the lion sex\n(You skim ahead a little bit in your lion sex book and find the\nnext interesting bit.)\n\nOne fierce blow from his assailant sent his flintlock pistol clattering onto the cobblestones. A second blow, this one to his gut, knocked the wind out of him and doubled him over. \"This is it,\" he thought, \"this is how I die, bludgeoned like a gopher by a third-rate murderer in the alleyways of 1890s London.\"\n\nJust then, a mysterious interloper appeared from among the shadows to brain his attacker with a lead pipe, dropping the tough to the ground without so much as a grunt. Nodding in satisfaction, she pushed her gear-encrusted goggles to the top of her head. \"Can't say I'm too impressed with this time period,\" she told him. \"It's got sanitation problems for real.\"\n\n\"Portia?\" Steve gaped at her like a puzzled fish. \"What are you doing here?\"\n\nShe pulled a manuscript-sized envelope out of her cloak and waved it at him. \"I believe in you,\" she said, \"and that's important for our relationship, but what's important for our lives right now is\nthat we run like hell.\"\n\n[You can continue to READ the lion sex book; this is excerpt\n3/7.]\n\n> You read the lion sex\n(You open the lion sex book somewhere in the middle and read an excerpt.)\n\nPortia jumped away from him so hard that she almost fell backwards over the fainting couch. \"Steve!\" she exclaimed. \"You're a lion!\"\n\n\"I've always been a lion,\" he explained. \"I just deactivated the field that keeps people from noticing I'm a lion.\"\n\nPortia's voice became a plaintive wail. \"The hell, Steve? You had sex with me, I had sex with you, and you were a lion this whole\ndamn time? The whole time!\"\n\n[You can continue to READ the lion sex book; this is excerpt\n4/7.]\n\n> You read the lion sex\n(You continue reading the lion sex book right about where you left off.)\n\n\"I had lion dick in me?\" Portia's voice was becoming dangerously loud, and Steve glanced nervously at the Viscount, to make sure the drugs had not yet worn off. \"Those things have barbs, Steve!\"\n\n\"Portia. Calm down. You would know if my dick had barbs.\"\n\n\"My mama raised purebred cats, Steve, I have seen some crap, all right? I have seen some crap.\"\n\nGrimly, Steve removed his pants. \"Here. I'll prove it to you.\"\n\n[You can continue to READ the lion sex book; this is excerpt\n5/7.]\n\n> You read the lion sex\nThe next approximately eighty-seven pages are all lion sex. All of them. All of it.\n\n[You can continue to READ the lion sex book; this is excerpt\n6/7.]\n\n> You read the lion sex\nYou flip to the very end of the lion sex book [spoilers]. It ends with Steve and Portia retiring to a stable time loop somewhere on Approximate Earth to raise their half-lion (and quarter-dolphin? when did that happen?) kids.\n\nJust inside the back cover, someone has written: \"BJIYO -- SIX TIF J MOXXMD NIYDXLOBS WHIY XLD CFHOI NLIG. CLDCE XLD LOKKDB GICEDX IW TIFH AJCEGJCE. BIU SI SDX TIFH YJB, SOHM! O SIX YOBD JBK UD'HD KIOBS SHDJX. (LD NJTN LO & SIIK MFCE.) MIQD, JFBXOD NXDMMJ\"\n\n[This is the end of the lion sex book, but you can READ it again\nto start over from the beginning.]\n\n> You check your inventory\nYou are carrying:\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You examine the Hearts\nA somewhat battered paperback whose lovingly fantasy-painted cover features a corseted steampunk woman embracing a Regency period nobleman -- who is also an anthropomorphic lion -- in space. \"TWIN HEARTS BETWEEN THE PLANES,\" raised letters proclaim. \"LEELAH VAUGHAN.\"\n\nBeneath the author's name, smaller text inside a sunburst informs you that this book was a 1981 Venus Rising nominee for \"Best Sexual Tension.\" A shelving label for the Backwater Public Library covers the lower spine \"[FIC / ERO / ANIMA / FELIS / YIKES]\".\n\nFrost lines the edges of the library insignia.\n\n> You examine the hidden pocket\nYou feel around inside the backpack until you find the zipper pull cleverly disguised as a loose piece of thread. This must be a hidden pocket!\n\n> You look in the hidden pocket\nYou unzip the hidden pocket just enough to take a peek inside. It contains a trolley pass and a trolley schedule.\n\n> You take the schedule\nThat's hardly portable.\n\n> You open the hidden pocket\nYou open the hidden pocket, revealing a trolley pass and a trolley schedule.\n\n> You take the schedule\n(the trolley schedule)\nTaken.\n\n> You examine the PASS\nA small blue piece of laminated cardboard that says \"BACKWATER TROLLEY MONTHLY PASS\" in tidy serif font, with a yellow rope lanyard for you to hang it around your neck. You pray to any gods listening that you and Peter will be on a faraway beach together by the time the pass expires.\n\n> You examine schedule\n(the trolley schedule)\nIt's unlike any public transit schedule you've ever seen, in that there are no times listed. A cheerfully phrased block of introduction text instructs riders to hang their passes around their necks, proceed to a trolley stop, and WAIT FOR whatever color LINE corresponds with their choice of destination. Well okay then.\n\nDestinations:\nBrown Line -- Train Station\nGold Line -- Church\nBlue Line -- Library Square\n\n> You wear the PASS\nYou put on the trolley pass.\n\n> You go northwest\nShack Exterior (Michael Lin)\nYou enter a clearing, the earth barren and the air heavy with mist. A low windowless wooden shack dominates the area. Sitting by the shack is a wooden painted doll, clockwork mechanisms visible in its joints. It's startlingly lifelike.\n\nThe woods are to the northwest, while that godforsaken town is to the southeast.\n\nOn the ground, just out of the doll's reach, lie some loose scraps of paper.\n\n> Examine scraps\nThree scraps of paper, with various handwritten words on them. You can't read the contents from here.\n\n> You read the scraps\nThree scraps of paper, with various handwritten words on them. You suspect that they may form a complete page if you reassemble them.\n\n> You reassemble the scraps\nWith some experimentation, you rearrange the pieces back into a single page. They seal together, as if by magic. You now hold a repaired page.\n\n> Examine page\nA complete page, grimy yet strangely untorn. It reads: \"I must have rest. My senses deceive me into thinking she can see me, hear me.\"\n\n> You look at the doll\n(the clockwork doll)\nA little doll of a girl. She's sitting at a little writing desk, with a book in front of her, firmly held underneath her arms. In one hand is a feather quill pen; at the other is an inkwell. Her eyes seem to bore through your pocket to where you're keeping the page. As if she wants to see what's written there.\n\n> About you\nApart from a touch of the heebie-jeebies, you feel fine.\n\n> You check what you're carrying\nYou are carrying:\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\nThe Modern Girl's Divination Handbook -- Volume Three\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\nthe diary of Phyllis Cragne\na postcard of Big Ben\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You show the page to the doll\n(the clockwork doll)\nThe doll springs to life with the whirring of hidden gears and mechanisms. Her eyes dart between the page and the book in front of her. Her quill moves from inkwell to paper and back again, copying the page's contents into the book. Finishing the passage with a terminal stroke of the pen, the doll's shoulders move up, then down, as if taking a breath. Her open hand clumsily raises one cover and pushes it over, closing the book.\n\nShe pushes it in your direction until it tumbles to the ground.\n\n> You take BOOK\n(The Dollmaker's Journal)\nTaken.\nThe doll begins to shudder and glow with heat. After a moment, the shaking stops, and the doll's head and hands sag, lifeless.\n\n> Examine book\nWhich do you mean, The Dollmaker's Journal, Twin Hearts\nBetween the Planes, The Modern Girl's Divination Handbook -- Volume Three, the diary of Phyllis Cragne or the postcard of Big Ben?\n\n> You look at Dollmaker'S\nA simple leatherbound journal, daubed with wayward paint splotches. A sticker on the cover bears the insignia of the Backwater Public Library.\n\n> You put the books in the book pocket\nThe Modern Girl's Divination Handbook -- Volume Three: Done.\ndiary of Phyllis Cragne: Done.\npostcard of Big Ben: Done."
    },
    {
        "text": "[Themes: Lovecraft, Lovecraftian, female protagonist]\n\n> You look around\nShack Exterior (Michael Lin)\nA clearing, outside a wooden shack. A clockwork doll sits here, utterly incongruous at the edge of the woods.\n\nThe woods are to the northwest, while that godforsaken town is to the southeast.\n\n> You examine the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nThe Dollmaker's Journal\nTwin Hearts Between the Planes\nBackwater Personalities (1915-1925 edition)\nTolerating An Asinine God\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nVenator in Tenebris\n'Pataphysical Approaches to Quantum Superfluids\nLegends of Lake Champlain and the Hudson River Valley\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nThe Seven Gaunts\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\n...Huh, you could have sworn that the list was longer before.\n\n> Go northwest\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\nsoak in -- a welcome relief from the unsettling events of the\nday.\n\n> You look at the branches\nYou gaze up. Were it not for the pond, you get the feeling these branches would weave themselves together to plunge these woods into near-total darkness.\n\n> You examine the pond\nYour reflection stares back at you, tree branches framing your face. You can discern nothing beneath the surface of the black water. The pond might be a foot deep, or a hundred feet deep. Or bottomless.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key"
    },
    {
        "text": "> You look around\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\n> Swim\nYou consider the ominously inky water, and, considering yourself sane, decide against entering the pond voluntarily.\n\nA flurry of dead leaves goes skittering along the ground, swirling past you in the wind.\n\n> You examine the canopy\nYou gaze up. Were it not for the pond, you get the feeling these branches would weave themselves together to plunge these woods into near-total darkness.\n\nFor a moment, the wind dies down. Leaves on the ground come to rest.\n\n> You look at the leaves\nLeaves are everywhere. Some float, withered and aimless on the surface of the black water, the rest carpet the forest floor.\n\n> You count them\nYou feel a bizarre compulsion to count the leaves.\n\nOne... two... three...\n\n...there are 69,105 of them. Give or take a few.\n\nWhile counting the leaves, you appear to have revealed a flat stone.\n\n> You examine the stone\nA flat stone with rounded edges. You eye the surface of the pond speculatively.\n\nThe wind momentarily stirs up a pile of leaves.\n\n> You get it\nTaken.\n\nSomewhere in the distance, you hear a mourning dove's plaintive song. From above, a leaf floats slowly toward the ground.\n\n> Skip stone\nYou weigh the flat stone in the palm of your hand for a moment or two, then decide to see if you can make it skip across the pond: you wind your arm back and fling the rock at an angle near-parallel to the water. It skips once... twice... three... four five six seven times, then disappears from view. You enjoy a brief feeling of accomplishment.\n\nAll of the sudden, the forest goes quiet. Completely quiet.\nNo wind, no doves, no sound at all.\n\nYou are frozen in the stillness, too scared to move.\n\n> You wait a while\nThe unsettling silence continues. It's almost as if the forest is waiting for something to ... to happen.\n\nFrom the pond, a slimy ivory tentacle emerges, feeling its way toward you through the dead leaves.\n\nYou are transfixed, and powerless with fear.\n\n> You wait a while\nIt is as if you are observing from outside your own body: you watch as the eburnean appendage begins wrapping itself slowly around your ankle.\n\nSuddenly, you are back inside your skin, and feel yourself being dragged toward the pond! You kick at the clammy white arm with your free foot, and desperately dig your fingers into the earth in an attempt to prevent the inevitable.\n\nThe surface of the once-placid pond now churns violently.\n\n> You hit the tentacle\nTo your horror, you are pulled beneath the surface!\n\nAll is dark. All is still. An unearthly calm consumes you. You cannot breathe, but you do not seem to care. You blink, unable to make out any shapes in the black water.\n\nThen, from the depths, an ivory shape emerges: a many-tentacled creature. The cephalopod floats toward you, coming eye to eye, and you sense something... maybe sadness?...\n\n> You ask the creature about the pond\nGently, two white tentacles place a delicate silver chain around your neck. Before you have time to express surprise or gratitude, the pond kraken carries you to shore. You inhale, thankful for the air, and turn back toward the pond just in time to see the last of the creature slip back beneath the surface.\n\n> You examine the chain\nThe locket and chain are silver, surprisingly untouched by the murky depths from which they came. The front of the locket bears a tiny embossed likeness of a kraken. The initials E.C. are engraved\non its back.\n\n> You check your inventory\nYou are carrying:\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> About yourself\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\nThe wind picks up again for a moment, and a few leaves fall from above. One of the leaves settles in your hair. You disentangle the leaf and toss it to the ground.\n\n> You open the locket\nYou open the antique locket, revealing a tintype.\n\nThe wind comes from a new direction. The skeletons of dead leaves scratch against one another.\n\n> You look at the tintype\nA portrait of a young but stern-looking woman with dark locks and darker eyes has been placed within the locket. The photograph is, to your amazement, dry and in good nick, despite how it came to be in your possession. You idly wonder if there's anything hidden behind it.\n\n> You get it\nAs you handle the photo, you notice something on its reverse. The handwriting is so small! You marvel at the clarity of the feminine script, which you are just able to make out. It reads:\n\nTo my Eliakim,\nEburnean Alderman of\nthe Variegated Court.\nI would follow thee\nto the depths of Hell.\n- Faythe\n\n> You check what you're carrying\nYou are carrying:\na tintype\nan antique locket (being worn and open but empty)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> Close locket\nYou close the antique locket.\n\n> Search leaves\nYou feel no need to collect any leaves, but you poke at them with your foot, uncovering a flat stone.\n\nFor a moment, the wind dies down. Leaves on the ground come to rest.\n\n> You take the stone\nIt reminds you of the stone you skipped across the pond, awakening a long-dormant horror. You cannot bring yourself to touch it.\n\n> Skip stone\nThere is absolutely no fucking way you will try skipping stones again. Ever."
    },
    {
        "text": "> You look around\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\nYou can see a flat stone here.\n\nThe wind momentarily stirs up a pile of leaves.\n\n> You examine the coffee\nThe swirls in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You go northeast\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\nYou can see a flat stone here.\n\n> Go north\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, capped off with crumbling cement. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a wooden sigil here.\n\nAn ethereal trolley stop sign reads Green Line -- The Woods.\n\n> You examine the puddle\nA still, murky puddle sits beneath the tree. The slightest of ripples disturb its surface. There's something a little odd about it.\n\n> You look at well\nAn old well cap made of crumbling cement emerges from the forest floor here. Two wrought-iron handles, pitted with rust, emerge from the top. A padlock, also rusted, holds it closed.\n\n> You examine the padlock\nIt's rusted tight, but still solid.\n\n> You look at the handles\nTwo rusty loops of iron jut from the top of the well.\n\n> You look at the oak\nIt's an old, twisted oak tree grown over a granite boulder here. Many of its branches are rotting away, yet it clings to life. It has a hollow knothole at about eye level, and a large, prominent root juts from its base.\n\n> You examine the knothole\nYou peer into the knothole and find an oilcloth parcel. You pick it up.\n\n> You examine the parcel\nAn old rectangular parcel, oilcloth wrapped with twine. Given its size and shape, you're guessing it's a book.\n\n> You examine the root\nJust a thck root sticking out from the base of the tree. Or is it? This might require a closer look.\n\n> You get root\nThat seems to be a part of the twisted old oak.\n\n> Open parcel\nYou open the parcel, discovering a moldy journal and what looks to be a strange little battery. You toss the wrappings away. They look biodegradable enough. Indeed, they look like they've already begun biodegrading.\n\n> You examine moldy\nIt's heavily damaged by the elements. You can make out the letters \"-AGNE\" on the front cover.\n\n> You read it\nYou riffle through the pages; only short passages are still legible:\n\n\"... circular golden prosthesis seems to have chosen Mabel ... doctor said he can't remove it without harming the child ...\"\n\n\"... Mabel spends long hours examining stumps and rocks in the woods ... and I are most concerned. Mabel's stories of fairies and HIDDEN LANDS seem more than childish fancy\"\n\n(There's a long section of the book here which is ruined and entirely illegible, although you can make out diagrams and the faded, troubling outlines of strange shapes)\n\n\"... constructed the sigil out of sculpted and varnished wood after many ... Mabel instructs me on where it should be placed ... spirits she is in communication with have constructed various devices at her command ... creatures I have dubbed microphids ... \"\n\n\"... Clara still doesn't believe; threatened to get Pastor Crowell involved ... able to dodge him so far ... quit my position at ...\"\n\n\"... very concerned but there is no body ... up to seven successful SUMMONINGS that have remained docile ... we will never know, and quite frankly these studies are more important than that ... Each creature must process through three ARCHES, through three HABITATS and stages of development before finally maturing through the ARCH and SIGIL ... special GLUE created by that one created via the sequence ->FOREST->(illegible)->CLIFFS ...\"\n\n\"... at Clara's insistence I have written to the University ... fake name ... one we have dubbed Moppy is friendly enough and a loyal companion to Mabel ...\"\n\n\"... siphoning off the rest of the inheritance ... haven't seen her in a while ... sent an officer of the law to fetch Mabel, but Moppy took care of him ...\"\n\n(another long damaged section)\n\n\"... only Tall Pete is left ... lay Mabel in a grave beside Moppy ... TERRIBLE LIZARD-BIRD was raised up from the OCEAN - is still out there somewhere ...\"\n\n\"... now I wear the PROSTHESIS; now I can see\neverything. ... breached the walls of perception ... I am PRODDING the EGG MACHINE on the QUARTZ OUTCROPPING ... dozens of them GATHER to PROTECT me from the LIZARD BIRD ... PULLED the ROOF clear off my SHELTER ...\"\n\nAnd that's it. There's no more. Well, you suppose you didn't actually expect the author to keep writing right up until the point of his death, but you're a little disappointed.\n\n> You examine the battery\n(the small, rectangular battery)\nA slick golden rectangle, slightly bowed, with contacts at one end marked \"+\" and \"-\".\n\n> You examine the SIGIL\nA circular wooden frame is embedded in the ground here, organic arcs of wood carved with strange symbols. Though surrounded by rot, it is entirely intact despite its apparent age."
    },
    {
        "text": "> You look around\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, capped off with crumbling cement. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a wooden sigil here.\n\nAn insubstantial trolley stop sign reads Green Line -- The Woods.\n\n> You examine wall\nDamp bricks, decades old. They are not quite right, somehow.\n\n> You examine the boulder\nA jagged gray boulder leans here among the trees, coming to about your waist. It would be largely unremarkable but for the fact that it is straddled by the twisted old oak. A ghostly patch of quartzite graces one corner of it.\n\n> You examine quartzite\nPure, translucent white. Something is a little bit off about it.\n\n> Inventory\nYou are carrying:\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key"
    },
    {
        "text": "> Go down\nNo, the well is sealed shut.\n\n> You get SIGIL\nThat's fixed in place.\n\n> About yourself\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\n> You examine the puddle\nA still, murky puddle sits beneath the tree. The slightest of ripples disturb its surface. There's something a little odd about it.\n\n> You examine the Shack\nA simple wooden shack, with a closed door in it.\n\n> You examine the door\nA wooden door, with a keyhole by the handle.\n\n> You open the door\nIt seems to be locked.\n\n> Go inside\n(first opening the Shack Door)\nIt seems to be locked.\n\n> Go southeast\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA mistlike trolley stop sign reads Blue Line -- Library Square.\n\n> You go south\nTown square, Backwater, VT (Marco Innocenti)\nThe large, hexagonal-shaped square is paved with big, white stones, polished by rain and wind over the decades; around it, low red-brick buildings look like watching peasants. One single street leaves the square to the north, while less accommodating paths lead west, in the direction of a towering church, and southwest.\nDue east, an iron bridge crosses the river, and southeast, a walkway leads down to its bank.\n\nThe swollen, slate-colored clouds that blanket the sky are reflected in the shiny, circular shape embellishing the center of the square, muttering ominous portents amongst themselves.\n\nA man is leaning on the bridge rail, staring intensely at you with his only eye.\n\n> You go to the southwest\nDrinking Fountain (Lucian Smith)\nA public drinking fountain is placed in a nook here, nearly overgrown with ivy. You can return to the town square to the northeast.\n\n> You look at the Fountain\nAn ornate brick drinking fountain, with a spout above a silver bowl, a button underneath, and surrounded by ivy.\n\n> You examine the ivy\nThick ivy grows around the fountain, obscuring all but the bowl and spout.\n\n> You look at the button\nA round button set in the brick underneath the bowl of the drinking fountain.\n\n> Search bowl\nYou pull back the ivy from the side of the fountain, revealing, for some reason, a second fountain.\n\n> You examine second\n(the secondary fountain)\nThe smaller fountain is nearly obscured by the disturbed ivy. Its bowl is filled with decaying leaves and crawling insects, and rust covers all its exposed metal. A crumbling sign is mounted in the brick above the spout.\n\n> Search second\n(the secondary fountain)\nYou find nothing of interest."
    },
    {
        "text": "[Themes: female protagonist]\n\n> You look at your surroundings\nDrinking Fountain (Lucian Smith)\nA public drinking fountain is placed in a nook here, nearly overgrown with ivy. You can return to the town square to the northeast.\n\nBehind the main fountain, mounted in the same pillar of brick, is a second, somewhat smaller fountain.\n\n> Examine button\nWhich do you mean, the rusty button or the round button?\n\n> Rusty\nThe smaller fountain is nearly obscured by the disturbed ivy. Its bowl is filled with decaying leaves and crawling insects, and rust covers all its exposed metal. A crumbling sign is mounted in the brick above the spout.\n\n> You get the sign\nThat seems to be a part of the secondary fountain.\n\n> About you\nYou're feeling tired, and your hair is a mess.\n\n> You look at the schedule\nIt's unlike any public transit schedule you've ever seen, in that there are no times listed. A cheerfully phrased block of introduction text instructs riders to hang their passes around their necks, proceed to a trolley stop, and WAIT FOR whatever color LINE corresponds with their choice of destination.\n\nDestinations:\nBrown Line -- Train Station\nGold Line -- Church\nBlue Line -- Library Square\nGreen Line -- The Woods\n\n> You look at the coffee\nThe swirls in your cup form a child's wagon. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> Go east\nYour feet finally touch down on some blackened shore and into some large subterrane. The slick black stone of the cavern arcs high above your head with strange formations that grow downwards and then out in oddly perpendicular angles. The damp rock moves in and out of focus as some pulsing green light illuminates the space.\n\nTaking a step, you feel the sand pulling at your shoes as though it were thick mud or quicksand. Your feet sink with every step, settling on some solid stone platform just beneath this layer of cloying sand that prevents you from being entirely swallowed.\n\nYou pass between two monolithic pillars: oily green-black stone of a height that makes you dizzy to comprehend. Between them, a skeletal bridge stretches out across the chasm.\n\nThe crossing spans a ravine of tumultuous water that roars like some uncaged beast and echoes around the cavern. Its Stygian call chills you and draws you in by equal measures as you take the first step onto the slats that form the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large blasphemous sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nWhat appears to be a rope is tied around one of the beams of the bridge. A ragged knot ties the other end to some misshapen piece of polished, almost pristine, metal while the rest of the rope is coiled neatly on the planks.\n\n> You look at the slats\nThe calcareous slats that form the walkway feel strangely light underfoot; as though hollowed out and filled with air. In the gaps between, you can see the churning water below, stare too long and you are sure to become nauseous. Each platform stretches your legs as you move from one to the next; the gait of the bridge's architects must have been strange indeed.\n\nThe taut cords that give the structure its shape appear to be woven in some complex fungoid plait that elongates and contracts with a slither as you step across.\n\n> About you\nYou're having a hell of a day, but you're determined to keep moving forward. Despite the burning in your limbs and the fact that you could really do with a drink right now, you're still (miraculously) in one piece.\n\n> Inventory\nYou are carrying:\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You look at the plait\nAs you look closer, the puce strands that make up the plait seem to move. Whether some optical illusion caused by their intricate braiding or something altogether more organic, you couldn't say. You look away quickly.\n\n> You examine the pillars\nTwo monolithic pillars form the entrance to the bridge. Their oily green-black stone appears to be carved with hieroglyphics unknown to you, consisting for the most part of conventionalized aquatic symbols such as fishes, eels, octopi, crustaceans, molluscs, whales, and the like. Several characters obviously represented marine things which are unknown to the modern world. You shudder and tear your eyes away.\n\n> You look at Bridge\nThe body of the bridge is formed of some offensive metamorphic stone; as if marble had been tainted by the presence of an abominable fungus that, aeons ago, had been subsumed into its surface. You are currently balancing on a walkway of calcareous slats.\n\n> You look at the rope\nA thick rope, stained dark with water and made inflexible by remnants of mud. One loop is fastened to the bridge with an impenetrable knot, while the other end is attached to a misshapen piece of polished metal.\n\n> You examine doll\nThe doll has a ferocious scowl on its face and a pull-string in the middle of its back.\n\nIt has the sort of head with two faces, one of which is hidden by its hair. Rotate the head and the other face will be forward.\n\n> You examine the metal\n(the library card)\nA battered beige rectangle with rounded corners, printed with the library insignia, and bearing the words:\n\nis entitled to borrow books from\nBACKWATER PUBLIC LIBRARY\nBackwater, Vermont\nand is responsible for all books taken on this card\nExpires APRIL 1998\nNo 19078\n\nA little metal dealy clips through the cardboard, with a mirror-reversed version of the ID number stamped into it.\n\n> You pull the string\nThe doll intones: \"Flee the strange rock formations.!\"\n\n> You examine the polished metal\nA piece of metal bent into a strange configuration. Sharp prongs curl in and around themselves like a gaping maw. You wouldn't want to cut yourself on those teeth. Curiously, the teeth are hinged, and could potentially be pried open.\n\n> You look at the rock\nFrom the roof of the cavern hang strange formation in the jet black rock that grow downwards and then out in oddly perpendicular angles. As if stalactites had been urged to grow sideways by some bizarre quirk of gravity.\n\n> Open teeth\nYou pry the teeth open.\n\n> You look at the polished metal\nA piece of metal bent into a strange configuration. Sharp prongs curl in and around themselves like a gaping maw. You wouldn't want to cut yourself on those teeth. The teeth are currently pried open.\n\n> You look at the coffee\nThe swirls in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You get the metal\n(the library card)\nYou already have that.\n\n> You get the polished metal\nYou get your hand under the coils of rope and manage to lift them up. The added weight of the water drags down your tired limbs."
    },
    {
        "text": "[Themes: female protagonist, Lovecraftian]\n\n> You look at your surroundings\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large pulsating sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOne end of a rope is tied around a beam of the bridge; the other end is attached to the strange metallic object in your arms.\n\n> You examine the sculpture\nA labyrinthine network of pipes form the base of the structure, climbing up to a wide, shallow cauldron filled with luminescent green moss. Some crack in the ceiling allows a steady drip of degenerated liquid to fall on the moss and it pulses with light in time with the regular falling of the fluid. At the bottom of the sculpture, one of the pipes flows into a circular pool of liquid. Beside the pool, there is a brazier filled with some manner of desiccated organic material.\n\n> You examine the material\nAlthough definitely organic, it's dry and crumbly and long-dead. It's hard to tell at this point whether it was a plant or a moss or something defying classification entirely.\n\n> You examine brazier\nFormed of twisted iron, it contains clumps of dry vegetation.\n\n> You look at the pool\nA shallow pool of foul liquid that flows from the mesmerizing pipes of the structure. Next to the pool is a brazier filled with some manner of desiccated organic material.\n\n> You examine cauldron\nIt is too high above you to see clearly from here, but something in the cauldron seems to flare up with each drop of liquid, filling the area with a flickering green light.\n\n> You look at the crack\nIt is too far away to even see clearly, but the foul liquid must be dripping from somewhere.\n\n> You examine the liquid\nA shallow pool of foul liquid that flows from the wet pipes of the structure. Next to the pool is a brazier filled with some manner of desiccated organic material.\n\n> You look at the rope\nA thick rope, stained dark with water and made inflexible by remnants of mud. One loop is fastened to the bridge with an impenetrable knot, while the other end is attached to a misshapen piece of polished metal.\n\n> You wear the rope\n(first taking the rope)\nThat's fixed in place.\n\n> Wear teeth\n(first taking the metal claw-trap)\nThat's fixed in place.\n\n> You check what you're carrying\nYou are carrying:\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\nYou are also carrying the strange claw-shaped metal trap and the rope attached to it. Its menacing jaw glints in the membranous gloom.\n\n> You attach trap\nWhat do you want to attach the metal claw-trap to?"
    },
    {
        "text": "> You look around\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large piscatorial sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOne end of a rope is tied around a beam of the bridge; the other end is attached to the strange metallic object in your arms."
    },
    {
        "text": "[Themes: Lovecraft, Lovecraftian]\n\n> You look around\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large loathsome sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOne end of a rope is tied around a beam of the bridge; the other end is attached to the strange metallic object in your arms.\n\n> You check your inventory\nYou are carrying:\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\nYou are also carrying the strange claw-shaped metal trap and the rope attached to it. Its menacing jaw glints in the inhuman gloom.\n\n> You throw the claw at the sculpture\n(first taking the rope)\nThat's fixed in place.\n\n> About you\nYou're having a hell of a day, but you're determined to keep moving forward. Despite the burning in your limbs and the fact that you could really do with a drink right now, you're still (miraculously) in one piece.\n\n> You pull the string\nThe doll intones: \"Guard against the pillars! Green is the color of poison and untamed growth! Stone means that which is older than human history!\"\n\n> You examine the pillars\nTwo monolithic pillars form the entrance to the bridge. Their oily green-black stone appears to be carved with hieroglyphics unknown to you, consisting for the most part of conventionalized aquatic symbols such as fishes, eels, octopi, crustaceans, molluscs, whales, and the like. Several characters obviously represented marine things which are unknown to the modern world. You shudder and tear your eyes away.\n\n> You examine the slats\nThe calcareous slats that form the walkway feel strangely light underfoot; as though hollowed out and filled with air. In the gaps between, you can see the churning water below, stare too long and you are sure to become nauseous. Each platform stretches your legs as you move from one to the next; your foot nearly slips and you cry out as you fling yourself forward so as not to fall.\n\nThe taut cords that give the structure its shape appear to be woven in some complex pale plait that elongates and contracts with a slither as you step across.\n\n> You examine sculpture\nA labyrinthine network of pipes form the base of the structure, climbing up to a wide, shallow cauldron filled with luminescent green moss. Some crack in the ceiling allows a steady drip of pallid liquid to fall on the moss and it pulses with light in time with the regular falling of the fluid. At the bottom of the sculpture, one of the pipes flows into a circular pool of liquid. Beside the pool, there is a brazier filled with some manner of desiccated organic material.\n\n> You climb it\nWith a little difficulty, you manage to haul your way up the sculpture until you are about halfway up. From here, you can see a strange outline under the water.\n\n> You look at the outline\nThe outline of some strange formation under the water catches your eye. Bleached white and unmoving - perhaps a skeleton?\n\n> You drop the claw\nYou let the rope fall in an untidy coil back onto the bridge.\n\n[If you meant to throw it over the side, try THROW ROPE INTO WATER]\n\n> You throw the rope into the water\nYou loop the rope around your hands, placing the strange metal contraption on the wall of the bridge. Giving the nameless apparatus a hard shove, you send it tumbling over the edge into the water. You could climb down the rope now, if you wanted to.\n\n> You stand\nYou get off the protrusion.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large diabolical sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nYou peer beneath the sickly, putrid green colour of the river. Strange... From here it almost looks as if you can see the outline of something, just visible under the water.\n\nA rope trails from the post of the bridge off into the turbulent water.\n\n> You climb the rope\nYou gingerly tighten your hands around the fraying fibres and lower yourself until you are just above the water.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a abnormal bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a mesmerizing hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\nYou'll need to specify whether you want to go up or down.\n\n> You examine the bat\nWhile the creature has the same chiropteran features as a common bat, its \"wings\" are the color of rotting meat and have a phlegmatic glutinous texture. As you strain your eyes to examine the menacing fauna, it begins to nibble on the strange weed. It opens its mouth in a yawn and you see the creature's tongue coated with a thin film of pale brown powder. After a few moments it gives a gesture approximately equatable to a sneeze before letting go of its perch and dropping into the water like a stone.\n\n> You examine the bat\nThe bat has disappeared beneath the waves, making further zoological study impossible.\n\n> You look at the moss\nIt is too high above you to see clearly from here, but something in the cauldron seems to flare up with each drop of liquid, filling the area with a flickering green light.\n\n> You examine the weed\nA type of flora or perhaps fungi unfamiliar to you. The orange myceloid root structure apparently anchoring it to the bridge is reminiscent of a mushroom, but the pale, calcified protrusions that extend downwards appear akin to bleached coral, branching out in an almost bronchial form.\n\n> You eat the weed\nIt is a bit too far away to get your mouth to it, though you could reach out and touch it.\n\n> You touch it\nThe cauldron is too far away to reach, but the same liquid seems to flow down through the pipes into the shallow pool.\n\n> You take the weed\nYour fingers brush against the infernal coral hybrid and are now covered in some strange powder. If the organism is truly analogous to a fungal specimen, you suppose, perhaps, these are its spores.\n\n> You look at the spores\nYour fingers are coated with pale, brown dust expelled from the congealed weed growing under the bridge.\n\n> You eat the spores\nCautiously, you extend your tongue and lick the powder off your fingertips. It tastes like a foaming combination of salt and earth. Almost immediately you begin to choke, the sensation of something germinating rapidly within the walls of your throat. Whatever it is seems to be sucking all the moisture from your windpipe as it grows exponentially, its branching structure blocking the air from entering your lungs.\n\nYour mouth and throat feel horribly dry. You cough painfully."
    },
    {
        "text": "[Themes: Lovecraft]\n\n> Go downwards\nYou thrust your head down into the black water for just a moment and force yourself to swallow. The water seems to sate the confusing fungus, and when you rise up again you manage to cough it out. But for that moment you were underwater, you felt a rush of oxygen in your lungs...perhaps if you had a light, you could stay down there?\n\n> You check what you're carrying\nYou are carrying:\na fungal powder\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\n\n> You check your inventory\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\nYou are carrying:\na fungal powder\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You turn on the flashlight\nYou flip the switch a few times, but no light is forthcoming. It must have burned out.\n\n> You examine the flashlight\nA small flashlight, with a rubber ring where it screws together to keep the water out.\n\n> You examine the coffee\nThe swirls in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You open the flashlight\nYou open the waterproof flashlight.\n\n> You examine it\nA small flashlight, with a rubber ring where it screws together to keep the water out. It is currently open.\n\nIt currently contains a small light bulb and a dead battery.\n\n> You get the battery\n(the dead battery)\nTaken.\n\n> You check your inventory\nYou are carrying:\na dead battery\na fungal powder\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You put rectangular in the flashlight\nThe small, rectangular battery is too large to fit into the flashlight."
    },
    {
        "text": "[Themes: horror, female protagonist, Lovecraftian]\n\n> Look around\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nA few ripples are the only remaining sign of the batlike creature.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a oozing hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> Go upwards\nYou haul yourself upward, the rope digging into your hands leaving them red and sore. With tremendous effort you finally pull yourself back over the edge of the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large anarchic sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nA rope trails from the post of the bridge off into the turbulent water.\n\n> You get the liquid\nYou cup a bit in your bare hands, but it drips away, leaving only an oily residue which you rub away on your pants.\n\n> You look at the jar\nA clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.\n\nIt currently has six legs and four eyes.\n\n> You put the liquid in the flashlight\nYou coat the inside of the flashlight with the daemoniac oily liquid.\n\n> You put liquid in the flashlight\nYou coat the inside of the flashlight with the appalling oily liquid.\n\n> You close flashlight\nYou close the waterproof flashlight."
    },
    {
        "text": "[Themes: Lovecraftian, Comedy, female protagonist]\n\n> You descend\nYou gingerly tighten your hands around the fraying fibres and lower yourself until you are just above the water.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a repugnant bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a maddening hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> You eat the powder\nCautiously, you extend your tongue and lick the powder off your fingertips. It tastes like a absurd combination of salt and earth. Almost immediately you begin to choke, the sensation of something germinating rapidly within the walls of your throat. Whatever it is seems to be sucking all the moisture from your windpipe as it grows exponentially, its branching structure blocking the air from entering your lungs.\n\nYour mouth and throat feel horribly dry. You cough painfully."
    },
    {
        "text": "[Themes: female protagonist, Comedy, Lovecraft]\n\n> Go downward\nYou thrust your head down into the black water for just a moment and force yourself to swallow. The water seems to sate the effervescent fungus, and when you rise up again you manage to cough it out. But for that moment you were underwater, you felt a rush of oxygen in your lungs...perhaps if you had a light, you could stay down there?\n\n> You turn on the flashlight\nYou flip the switch a few times, but no light is forthcoming-unsurprisingly, since you've removed some key components\n\n> You look at the flashlight\nA small flashlight, with a rubber ring where it screws together to keep the water out-though some oily substance coats the inside.\n\n> Go upward\nYou haul yourself upward, the rope digging into your hands leaving them red and sore. With tremendous effort you finally pull yourself back over the edge of the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large pulsating sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nA rope trails from the post of the bridge off into the turbulent water.\n\n> You examine the pool\nA shallow pool of foul liquid that flows from the fungoid pipes of the structure. Next to the pool is a brazier filled with some manner of desiccated organic material.\n\n> You put the vegetation in it\nThe dry vegetation is too large to fit into the flashlight.\n\n> You get the vegetation\nYou rub at one of the ashen leaves and it crumbles under your touch, leaving you with a few brittle flakes.\n\n> You put the flakes in the flashlight\nThe flakes start to pulse with the same verdant glow as the moss when they come in contact with the liquid inside. A contracting and expanding sphere of green light surrounds you.\n\n> You close flashlight\nYou close the waterproof flashlight.\n\n> You examine it\nA small flashlight, with a rubber ring where it screws together to keep the water out-though some oily substance coats the inside.\n\nInside the flashlight is a clump of glowing vegetation."
    },
    {
        "text": "[Themes: Comedy]\n\n> Go downwards\nYou gingerly tighten your hands around the fraying fibres and lower yourself until you are just above the water.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a fetid bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a foaming hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> You eat the powder\nCautiously, you extend your tongue and lick the powder off your fingertips. It tastes like a non-Euclidean combination of salt and earth. Almost immediately you begin to choke, the sensation of something germinating rapidly within the walls of your throat. Whatever it is seems to be sucking all the moisture from your windpipe as it grows exponentially, its branching structure blocking the air from entering your lungs.\n\nYour mouth and throat feel horribly dry. You cough painfully."
    },
    {
        "text": "> Go downwards\n675geman)\n\nYou lower yourself down, through the ceiling of crashing water, until you're beneath the surface. It is so cold you can feel your chest constricting and have to remind yourself to breathe. And surprisingly, down here, you can.\n\nBridge (in the water underneath) (Daniel Stelzer and Jemma\nBriggeman)\nBeneath the surface of the tumultuous river, it is strangely calm down here. The sickly green water glows around you in a spherical shape, pulsing in time with the luminescent moss. Through the haze of the turbid water, the bleached bones of some long dead creature almost shine with their pristine whiteness.\n\nA thick rope is your only lifeline anchoring you in the dark abyss.\n\n> You look at the bones\n676geman)\n\nLurking in the water before you, half-submerged in the silt, is the skeleton of some colossal beast. Its posture is contorted, as though it were twisting around to snap at something above it. The bones are completely bleached white; every scrap of flesh picked clean by a thousand passing creatures. Probably a predator, you determine from the sharp teeth, a few jagged and broken. Its cavernous jaw has been locked in place, open and inviting. The gap is just big enough to swim inside, if you are cautious.\n\n> You enter the jaw\n(the misshapen skeleton)\nReluctantly letting go of the rope, you pull yourself through the water and into the mouth of the beast. Through the empty eye sockets, you can just make out your only anchor to the world above. You have to keep your limbs tight to your torso to prevent the sharp teeth raking across your skin; you'd hate to think what might come investigating down here if any blood spilled in the water.\n\nBridge (Daniel Stelzer and Jemma Briggeman) (in the misshapen skeleton)\nYou've moved through the cavernous jaws of the long dead beast and into the cavity of its immense chest. The pulsing light from the moss causes the shadows cast by the ribcage to expand and contract; in the semi-gloom it almost looks as if the creature is still breathing.\n\nSeveral bones are loosely coupled to the skeleton now. They protrude from the spine at an oddly perpendicular angle, almost geometric in its sharpness.\n\nA rope runs upward from a piece of metal sunken in the degenerated silt nearby.\n\n> You look at the bones\n(the flat bones)\nUnlike any skeleton or preserved fossil you have come across in any museum or textbook. These osseous structures are bizarrely flat and rectangular, protruding from the spine at an almost perfect right angle.\n\n> You get them\nThey're firmly attached, some invasive species of coral cementing the skeleton in place. Although they do shift a bit in your grasp, you'll have to apply a bit more force to dislodge them entirely.\n\n> You break them\nWith a violent shove you manage to dislodge the bones from the skeleton. Fragments of coral spiral down into the silt, never to be seen again."
    },
    {
        "text": "[Themes: female protagonist]\n\n> Look around\nBridge (Daniel Stelzer and Jemma Briggeman) (in the misshapen skeleton)\nYou've moved through the cavernous jaws of the long dead beast and into the cavity of its immense chest. The pulsing light from the moss causes the shadows cast by the ribcage to expand and contract; in the semi-gloom it almost looks as if the creature is still breathing.\n\nSeveral bones lie loosely across the bottom of the ribcage.\n\nA rope runs upward from a piece of metal sunken in the dreadful silt nearby.\n\n> Exit\n685geman)\n\nYou extract yourself from the skeleton. Without the pulsating light from your lamp the illusion of breath vanishes, leaving nothing but lifeless bone. You take hold of the rope again, grateful to be anchored.\n\nBridge (in the water underneath) (Daniel Stelzer and Jemma\nBriggeman)\nBeneath the surface of the tumultuous river, it is strangely calm down here. The sickly green water glows around you in a spherical shape, pulsing in time with the luminescent moss. Through the haze of the turbid water, the bleached bones of some long dead creature almost shine with their pristine whiteness.\n\nA thick rope is your only lifeline anchoring you in the dark abyss.\n\n> Go upward\nYou pull on the rope, doing your best not to get caught in the current as your head breaks the surface of the water. You feel the spongiform blockage in your throat dissolve, your lungs filling with untainted oxygen.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a abnormal bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a disgusting hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> Go upwards\nYou haul yourself upward, the rope digging into your hands leaving them red and sore. With tremendous effort you finally pull yourself back over the edge of the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large tenebrous sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nA rope trails from the post of the bridge off into the turbulent water.\n\n> You examine the slats\nThe calcareous slats that form the walkway feel strangely light underfoot; as though hollowed out and filled with air. In the gaps between, you can see the churning water below, stare too long and you are sure to become nauseous. Each platform stretches your legs as you move from one to the next; the gait of the bridge's architects must have been strange indeed.\n\nThe taut cords that give the structure its shape appear to be woven in some complex putrescent plait that elongates and contracts with a slither as you step across.\n\n> You look at the cords\nAs you look closer, the puce strands that make up the plait seem to move. Whether some optical illusion caused by their intricate braiding or something altogether more organic, you couldn't say. You look away quickly.\n\n> You check your inventory\nYou are carrying:\na dead battery\na fungal powder\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key"
    },
    {
        "text": "[Themes: horror, Lovecraftian]\n\n> Go downwards\nYou gingerly tighten your hands around the fraying fibres and lower yourself until you are just above the water.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a atrocious bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a malevolent hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> You eat the powder\nCautiously, you extend your tongue and lick the powder off your fingertips. It tastes like a unclean combination of salt and earth. Almost immediately you begin to choke, the sensation of something germinating rapidly within the walls of your throat. Whatever it is seems to be sucking all the moisture from your windpipe as it grows exponentially, its branching structure blocking the air from entering your lungs.\n\nYour mouth and throat feel horribly dry. You cough painfully."
    },
    {
        "text": "> Go downward\n693geman)\n\nYou lower yourself down, through the ceiling of crashing water, until you're beneath the surface. It is so cold you can feel your chest constricting and have to remind yourself to breathe. And surprisingly, down here, you can.\n\nBridge (in the water underneath) (Daniel Stelzer and Jemma\nBriggeman)\nBeneath the surface of the tumultuous river, it is strangely calm down here. The sickly green water glows around you in a spherical shape, pulsing in time with the luminescent moss. Through the haze of the turbid water, the bleached bones of some long dead creature almost shine with their pristine whiteness.\n\nA thick rope is your only lifeline anchoring you in the dark abyss.\n\n> You enter the jaws\n(the misshapen skeleton)\nReluctantly letting go of the rope, you pull yourself through the water and into the mouth of the beast. Through the empty eye sockets, you can just make out your only anchor to the world above. You have to keep your limbs tight to your torso to prevent the sharp teeth raking across your skin; you'd hate to think what might come investigating down here if any blood spilled in the water.\n\nBridge (Daniel Stelzer and Jemma Briggeman) (in the misshapen skeleton)\nYou've moved through the cavernous jaws of the long dead beast and into the cavity of its immense chest. The pulsing light from the moss causes the shadows cast by the ribcage to expand and contract; in the semi-gloom it almost looks as if the creature is still breathing.\n\nSeveral bones lie loosely across the bottom of the ribcage.\n\nA rope runs upward from a piece of metal sunken in the gangrenous silt nearby.\n\n> You get the bones\n(the flat bones)\nTaken.\n\n> Go outside\n696geman)\n\nYou extract yourself from the skeleton. Without the pulsating light from your lamp the illusion of breath vanishes, leaving nothing but lifeless bone. You take hold of the rope again, grateful to be anchored.\n\nBridge (in the water underneath) (Daniel Stelzer and Jemma\nBriggeman)\nBeneath the surface of the tumultuous river, it is strangely calm down here. The sickly green water glows around you in a spherical shape, pulsing in time with the luminescent moss. Through the haze of the turbid water, the bleached bones of some long dead creature almost shine with their pristine whiteness.\n\nA thick rope is your only lifeline anchoring you in the dark abyss.\n\n> Go up\n697geman)\n\nThe bones are impossibly heavy; every inch toward the surface is a chore. You are never going to get much further with their added weight. You'll have to think of another way to get them to the surface.\n\n> You put the bones in the claw\n698geman)\n\n(the flat bones in the metal claw-trap)\nYou put the flat bones into the metal claw-trap.\n\n> Go upwards\n699geman)\n\nYou'd better close the metal claw first or you might lose the flat bones.\n\n> Close claw\n700geman)\n\nYou force the teeth shut around the flat bones.\n\n> Go upwards\nYou pull on the rope, doing your best not to get caught in the current as your head breaks the surface of the water. You feel the spongiform blockage in your throat dissolve, your lungs filling with untainted oxygen.\n\nBridge (hanging underneath) (Daniel Stelzer and Jemma Briggeman)\nYou are hanging precariously under the monstrous structure. The frayed rope digs into your palms painfully, but the deafening crash of the water beneath you keeps you clinging on for now.\n\nHanging from the stone is something similar in form, if not in texture, to a alien bat.\n\nThere is some strange semi-aquatic weed growing upside-down from the bottom of the bridge, a irregular hybrid of what seems to be a mushroom and a coral.\n\nA rope runs from the bridge above you down into the water below.\n\n> You get the rope\nYou tug on the rope, and it still seems to be firmly anchored up above.\n\n> You go upward\nYou haul yourself upward, the rope digging into your hands leaving them red and sore. With tremendous effort you finally pull yourself back over the edge of the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large monstrous sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nA rope trails from the post of the bridge off into the turbulent water.\n\n> You get the rope\nYou tug hard, finding that something beneath the water pulls against you with equal or even greater force in the very opposite direction, till you are almost dragged off your feet and into the water. A second later, the strange force relents, and you stumble backward, pulling the anchor up onto the bridge.\n\n> You put the bones on the cord\n(first taking the flat bones)\nThe bones fit into position easily, settling into the gaps left by the missing slats. You look down at your feet and finally notice: the entire walkway is constructed of the parts of this long dead, wretched creature. You shiver involuntarily as your mind begins to imagine what nebulous race of beings would use bone as architecture. You shake the thought from your mind - it is time to leave this place.\n\n> You examine the coffee\nThe clouds in your cup form horizontal bands. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You go to the west\nTown square, Backwater, VT (Marco Innocenti)\nThe large, hexagonal-shaped square is paved with big, white stones, polished by rain and wind over the decades; around it, low red-brick buildings look like watching peasants. One single street leaves the square to the north, while less accommodating paths lead west, in the direction of a towering church, and southwest.\nDue east, an iron bridge crosses the river, and southeast, a walkway leads down to its bank.\n\nThe swollen, slate-colored clouds that blanket the sky are reflected in the shiny, circular shape embellishing the center of the square, muttering ominous portents amongst themselves.\n\nA man is leaning on the bridge rail, staring intensely at you with his only eye.\n\n> You ask the man about Bridge\nThe one-eyed man blinks, showing some attention, but then ignores you.\n\n\"Mrs Cra-gnee, welcome to Backwater. He's been\nwaiting for you\".\n\n> Go southeast\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a grimy rock, a long hooked pole, a dying crawfish and a soggy tome here.\n\nA spectral trolley stop sign reads Aqua Line -- River Walk.\n\n> You look at the schedule\nIt's unlike any public transit schedule you've ever seen, in that there are no times listed. A cheerfully phrased block of introduction text instructs riders to hang their passes around their necks, proceed to a trolley stop, and WAIT FOR whatever color LINE corresponds with their choice of destination.\n\nDestinations:\nBrown Line -- Train Station\nGold Line -- Church\nBlue Line -- Library Square\nAqua Line -- River Walk\nGreen Line -- The Woods\n\n> About yourself\nHas it always been this hot? The air is so close it feels like you have to gulp down mouthfuls of viscous soup to breathe. Being outside for... how long? ... has caused rivulets of hives to spore\nin cacographic zigzags along your bare arms. A faint buzzing hums soporifically in your ears. You shiver slightly as though it were snowing. Got to press on.\n\n> You check your inventory\nYou are carrying:\na dead battery\na fungal powder\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> Swim\n(in the pamphlet of home listings)\nYou are inclined to follow the edicts of the sign. Also, the buoy implies this stretch of the river is being used for freshwater lobster fishing.\n\n> You examine the buoy\nA buoy the color of a Caucasian's flesh bobs uneasily upon the water. It certainly can't be for the sake of swimmers since the wooden sign makes it very clear this is prohibited. Perhaps some trappers are marking their catch?\n\n> You examine the ash\nThe scaly trunk of the black ash is marked by the signs of both fungal damage and the Emerald Ash Borer. Where sections of bark have flaked away from the trunk, weevil-wheedling paths of pale discoloration caused by the larval secretions of this virulent insect can be discerned. Epicormic shoots shamelessly sprout forth from this blighted trunk like unwanted fingers.\n\n> You examine coffee\nThe clouds in your cup form a pear shape, complete with stem. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need."
    },
    {
        "text": "[Themes: horror, Comedy]\n\n> Look around\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a grimy rock, a long hooked pole, a dying crawfish and a soggy tome here.\n\nAn insubstantial trolley stop sign reads Aqua Line -- River Walk.\n\n> You examine the rock\nA solitary rock squats at the edge of the river bank, sullenly surveying the fresh, water-slick countenances of its semi-subnautical brethren.\n\n> You look at the pole\n(the long hooked pole)\nA long stick of wood with a rusted copper fishing hook of approximately six inches attached to the end of it with thickly knotted twine. This is known to New England lobster trappers as a \"gaff\".\n\n> You examine the crawfish\nA crawfish of unimaginable proportions skulks in a clump of weedy grass at the side of the path closest to the river. The fact that he is out of the water, just perceptibly twitching like a half-squashed insect and slowly drumming his spiny legs like an office worker pensively tapping his fingers on a desk, is a strong indication that under his hard carapace he is crawling with infection. He is broken, mouldering, no damn good despite his considerable size.\n\nAs though sensing your judgment, the crawldad's antennae tremble ineffectually.\n\n> You get all\ngrimy rock: Taken.\n\nlong hooked pole: Taken.\n\nsoggy tome: Taken.\n\n> You put the powder on the tome\nYou rub the powder off your fingers into the soggy tome. It dissipates without effect.\n\n> You read tome\nYou open to the first page of the book and read...\n\n\"Crawfish, crawldads, mountain lobsters, mudbugs, yabbies, or however you know these mighty members of the Astacoidea and\nParastacoidea superfamilies, have long been kin to the men of the\nNew England, forging communities of inviolable hierarchy below water, much as we build and sustain such communities above. As with men, dominance determines these bio-mythic structures...\"\n\nYou skip ahead.\n\n\"Those crawfish stricken by the plague must invariably fall by the wayside much as the Spartans would throw weak and crippled newborn from the top of Mount Taygete, dashing the runts and striplings upon the rocks below.\"\n\nRhetoric of this nature seems to continue for several pages.\n\n\"My father and I would sit together at the bank of the river and while father told me of the venal deceits of his wife we would catch those smallest crawfish - invariably the females of the species - which attempted to escape from the exit hole of the parlor, and father would delight me by cracking them upon his great bony knees. Later, when confronted with the disappointments of my youngest son, I would imagine taking him as my father had done the runtish bints, cracking him with satisfaction upon my own knee.\"\n\nYou flick ahead to the middle of the book.\n\n\"By means of these simple hand-binding exercises you will be able to Set your Claws in Order. While the experience will be painful at first, you must NEVER INDUCE YOURSELF INTO THINKING THAT LIFE IS ANYTHING OTHER THAN PAIN.\"\n\nThere follows pages of bewildering diagrams which seem to depict men with lobster appendages fighting the Swimmerets of Chaos.\n\n\"... until the blood takes the form of a transluscent white gel, which you should then inject ... commercial fishing licences ... scream in the water like egg-burst women ... telomerase now in the DNA of your cells is the Chrysopoeia ... baptized by briny Neptune ...\ndying and molting and eating oneself in the charnel house of bloodied bones ... \"\n\nFrom hereon in the words become incomprehensible.\n\nIntellectual stuff.\n\n> You hit the crawfish with the rock\nYou raise the grimy rock high above your head and bring it crashing down upon the dying crawfish immediately splitting open its carapace revealing diseased creamy flesh the color of cooked chicken. Its eyestalks swivel wildly towards you and its periopods flicker like the eyelashes of a man trying desperately to awake from a nightmare.\n\nYou bring the rock down again and again, smashing rostrum and cephalothorax to shribbons until all that remains are fragments of shell, with a tail and two front claws emerging from a pulped mound of rotting flesh. The stench is intolerable.\n\nWhile most of the shell of the dead crawfish is riven into tiny pieces, one especially sharp looking shard stands out from the rest.\n\n> You look at the shard\nAn especially sharp and vicious looking shard of shattered crawfish carapace.\n\n> You eat crawfish\nYou choke back vomit.\n\n> You examine the crawfish\nThe giant crawfish is laid splayed and beaten before you, eyestalks rent from his pulverized body. The opaque milky whiteness of its flesh is a telltale sign of aphanomyces astaci aka \"crayfish\nplague\".\n\nThe crawfish was clearly a member of some Old Order of crustacean patriarchs, grown huge over perhaps more than a century, year after year shedding his shell for a larger carapace until his metabolism was no longer a match for his hulking ambitions."
    },
    {
        "text": "> You look at your surroundings\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a shattered crawfish here.\n\nA ghostly trolley stop sign reads Aqua Line -- River Walk.\n\n> You examine the coffee\nThe swirls in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You examine River\nThe river's name is said to date back to the 17th century, Christened by a local Algonquian tribe after the peculiarly black coloration of the cucurbita pepo gourds that sprouted in the floodplains\nsouth of Backwater. Natives believed local Jesuit Ministers to use the gourds in Devil worship and to prevent these rituals from taking place would uproot the warty vegetables and \"drown\" them in the river.\n\nAcross the 19th century, the Makaskuta became increasingly inhospitable to life due to the paper mills of Backwater discharging their untreated waste directly into its water - an industry that flourished in the period due to the competing demands of two local printing establishments which specialized in bound volumes of the letters, prayers and instructions of St. Ignatius of Loyola. By the 1870s the river was regularly running the color of strained tomato soup and, according to the 17th July 1874 edition of the Backwater Gazette, stank of \"rank putrescence ... as though nothing borne of this Earth\".\n\nOnly the interventions of the mysterious philanthropist Dr. Elias Saltz, DDiv in the latter part of the 1960s were able to restore the Makaskuta to its once verdant glories. The good Doctor may also be thanked for the introduction of the C. Robustus genus of\ngiant crawfish into the Makaskuta, for which it is now justly celebrated.\n\nThe river babbles to itself complacently.\n\nOn the Makaskuta river is a buoy.\n\n> You examine the trees\ncontrast to the dreary environs of Backwater, like a feather boa round the neck of a New England clergyman. The surface of the dirt path is riven by tessellating layers of crisping leaves. The slender leaves of the populus balsamifera are shaped like the piques of a\ntraditional suit of French playing cards and some are stained with an orange resin from which the \"balm of Gilead\" is derived.\n\n> You examine the ash\nThe scaly trunk of the black ash is marked by the signs of both fungal damage and the Emerald Ash Borer. Where sections of bark have flaked away from the trunk, weevil-wheedling paths of pale discoloration caused by the larval secretions of this virulent insect can be discerned. Epicormic shoots shamelessly sprout forth from this blighted trunk like unwanted fingers.\n\n> Fish\nWhat do you want to fish?\n\n> You examine the trap\n(the freshwater lobster trap)\nThe trap looks rather like a rabbit hutch, approximately 600 mm in length, almost cuboid but slightly curved at the top edges so that its width is marginally more narrow at the top than at the bottom, where it measures around 300 mm. The framework of the trap seems to be made of slats of ash, which goes some way to explaining its weight. Along one side of the trap is a wire-frame mesh door attached to the body of the trap with copper \"J Clip\" hinges, long rusted. The door is held shut at the other end by two thin loops of twine, which are tied tight at a point two-thirds up and two-thirds down the length of the door, opposite the hinges. Along the other side of the trap is a funnel-shaped opening of netting, which grows narrower as it recedes into the trap.\n\nThe kitchen (the funnel-shaped netting), the parlor (the trap's second chamber), and the bedroom (the trap's false exit) are all parts of the freshwater lobster trap.\n\nIn the freshwater lobster trap are an employee ID card and an eggbound crawfish.\n\n> You examine the eggbound crawfish\nThe eggbound crawfish is considerably smaller than the tragic, moldering specimen upon the bank - around six inches in length, but with antenna that resemble long curving tendrils, notably large for her size of body. She reposes in the trap's bedroom, occasionally skittering back and forth like an armor-plated insect.\n\nThe crawfish's swimmerets are laden with eggs the size and color of tinned peas. The eggs sway back and forth like grapes upon a vine, wafted by their mother to ensure their aeration.\n\n> Open trap\n(the freshwater lobster trap)\nCurrently the trap is being held shut by two thin loops of twine.\n\n> You cut the twine with the shard\n(the thin loops of twine with the shard of shattered carapace)\nYou cut through the twine with the sharp edge of the shard of the crawldad's shell. With the twine no longer securing the door of the trap, it swings open.\n\n> You examine the employee card\nAn employee ID card for Vermont Transit Authority, bearing a blurry ID photo and the name \"Veeder, R.\"\n\n> You look at the coffee\nThe swirls in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You go north\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> You examine Bridge\nA once proud part of Backwater's infrastructure, now crumbling into ruin. The decorative carvings along the sides have worn away to faint impressions, and much of the underside has been patched with lighter-colored concrete.\n\n> You look at the hatch\nThe humidity of the river has rusted the hatch to the color of dried blood, like an old scab on the embankment. Seemingly of the same vintage as the bridge, it lacks any modern logo, markings, or even a handle, though there is an odd rectangular indentation along one edge.\n\n> You check your inventory\nYou are carrying:\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You examine the indentation\nThe indentation in the hatch is a little over an inch long, about half as wide, and seems too shallow to make a good handle, even if it didn't look like a jagged-edged tetanus-shot-waiting-to-happen... Which, for the record, it does.\n\n> You examine the payphone\nThe payphone has been vandalized exhaustively over the years; The shelter is covered in graffiti, while the phone itself has been scratched, stained, spraypainted, and used as an ashtray, among other things. While there is a grievous wound where a large piece of the phone was torn out, there is still a coin slot in the upper right, a keypad in the center, next to the receiver, and a coin return in the lower right; Probably about as much of a phone as necessary to place a call.\n\nBut you find yourself strangely reluctant to touch it, as if you would be disturbing a grave, or a shrine to some nameless Backwater god...\n\n> You look at the coffee\nThe clouds in your cup form a jackalope. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You look at quarter\nAn ancient, discolored, battle-scarred US quarter, still proudly worth 25 cents. While the tail features a bald eagle, the George Washington profile on the head side has been... damaged.\n\n> You look at profile\nThe head side of the coin has been purposefully defaced. George Washington's eye has been gouged out of the surface of the coin, with a crack leading downward, resembling tears (or blood), his mouth has been carved into a crude, jagged opening, and the \"In god we trust\" inscription has been obliterated.\n\nWhile it's probably just another casualty of Backwater teens expressing their angst, you can't quite shake the feeling that the coin was purposefully left where you'd find it."
    },
    {
        "text": "> You look around\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> You look at the keypad\nA fairly standard telephone keypad. The buttons, once silver, and now more of a muted, nicotine-stained gray, include the first nine digits, in rows of three, followed by a final row containing the star, zero, and pound keys:\n1 2 3\n4 5 6\n7 8 9\n* 0 #\n\nTwelve silver keys - Wasn't that an Elizabethan-era occult thing? Something to do with John Dee, Enochian angels, and other nonsense...\n\n> You look at the slot\nSet into a slightly rounded recess in the phone's faceplate is a thin slot, about the height of a quarter, labeled \"5-10-25\" and \"US COINS ONLY\".\n\n> You look at the graffiti\nThere's no obvious place to start reading; Every inch of the panels are inlaid with high school scrimshaw, but your eyes are initially drawn to a cartoon dagger (or acorn? green pepper?) and the inscription \"I don't ever wanna feel, like I did that day...\"\n\n> You continue\nYou've already lost track of where you started, and find yourself looking at the phrase \"Black Number ONE\", surrounded by tiny skulls and... hearts?\n\n> You continue\nAdrift on a sea of outsider folk art, you briefly lock eyes with \"LISA LOEB IS A HACK\", and a careless scribble you'd politely describe as \"genitals\".\n\n> You continue\nYour eyes struggle to find purchase on the maze of scribbles, briefly settling on \"For a good time CALL 911\"... Sheesh. it doesn't really work as a prank, or a joke..\n\n> Continue\nMaybe scrimshaw was the wrong metaphor... It's more like the phone went to prison and got all inked up with jailhouse tattoos, such as the letters \"AC\", an angry looking lightning bolt, and \"DC\".\n\n> Continue\nIt's like a message board for bored teens; You'd almost say \"a fire hydrant for stray dogs\", but that seems cruel, even given \"PEARL JAM\", followed by \"Jeremy!\" (crossed out), \"Black?\" (also struck out), and finally, \"EVENFLOW\" (underlined repeatedly for emphasis).\n\n> You look at the receiver\nAn old, battered black plastic handset, connected to the phone by a segmented metal cable that reminds you of a rat's tail. It is hanging from a metal lever, the unfortunately named \"cradle\", like an unpleasant piece of meat on a hook.\n\n> You examine the phone\n(the the payphone)\nThe payphone has been vandalized exhaustively over the years; The shelter is covered in graffiti, while the phone itself has been scratched, stained, spraypainted, and used as an ashtray, among other things. While there is a grievous wound where a large piece of the phone was torn out, there is still a coin slot in the upper right, a keypad in the center, next to the receiver, and a coin return in the lower right; Probably about as much of a phone as necessary to place a call.\n\n> You dial 911\nThe phone hisses and sputters with static, and then, as if from a great distance, a faint voice growls \"Please zzZRrt\ntwenty-fiiIEERrve cents before continuUURRRRrroo\ndial your numMMRRrrrrzzzCHRRt.\"\n\n> You put quarter in the slot\nThe phone swallows the coin, jingling in satisfaction. Deep inside, something rattles into place, and the receiver begins to hiss softly with static.\n\n> You dial 911\nThere is an odd squawk of static on the line, followed by a few seconds of quiet hissing, before a distorted male voice begins to crackle through the speaker. It's... hard to make out, with gaps of silence and bursts of static, but you're fairly certain it's telling you that Emergency Services are not currently available on this exchange, and to try your call again shortly... Or that \"the throne of heaven sits empty?\" Something like that.\n\n> You hang up\n(the phone receiver)\nYou put the phone back where you found it, and hope it stays there.\n\nSomething grinds and clatters grudgingly inside the phone, followed by a muffled clink from the coin return.\n\n> You examine the coffee\nThe clouds in your cup form a sharknado. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You continue\nThe clouds in your cup form a chimera. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You put the coin in the slot\nThe coin disappears into the slot, and down some tiny stairs, by the sound of it. Something stirs down in the guts of the mechanism, and the receiver begins to make a rushing sound like labored breathing.\n\n> You call Peter\nThe receiver is still sleeping on the cradle; You'll have to pick it up.\n\n> You call Peter\nThe phone's keypad only has numbers (and * and #, but who even uses those?)\n\n> Press pound\nTry dialing the entire number you want instead.\n\n> You look at the library card\nA battered beige rectangle with rounded corners, printed with the library insignia, and bearing the words:\n\nis entitled to borrow books from\nBACKWATER PUBLIC LIBRARY\nBackwater, Vermont\nand is responsible for all books taken on this card\nExpires APRIL 1998\nNo 19078\n\nA little metal dealy clips through the cardboard, with a mirror-reversed version of the ID number stamped into it.\n\n> Inventory\nYou are carrying:\na phone receiver\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You call 911\nThere is an odd squawk of static on the line, followed by a few seconds of quiet hissing, before a distorted male voice begins to crackle through the speaker. It's... hard to make out, with gaps of silence and bursts of static, but you're fairly certain it's telling you that Emergency Services are not currently available on this exchange, and to try your call again shortly... Or that \"the throne of heaven sits empty?\" Something like that.\n\n> You hang up\n(the phone receiver)\nYou hang up the receiver, wishing you could just hang up on this phone, as a whole.\n\nThere is a solemn clunk from the heart of the phone, and something clatters to (an upsettingly crunchy) stop inside the coin return."
    },
    {
        "text": "> You look around\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> You check what you're carrying\nYou are carrying:\nan old quarter\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You read the grafitti\nIt doesn't seem like there's a whole thesis here, but... at least an anthropology paper? You try to focus, finding yourself looking at \"WINONA FOREVER\", of which the \"NA\" has been cleverly scribbled over.\n\n> You read the grafitti\nIf you've learned one thing from this phone, it's to not hang out under a bridge with a bunch of miscreants. That's how you end up inscribed with an enthusiastic but flawed \"ASE OF BASE\" logo inside a jagged polygon.\n\n> You read the grafitti\nYou must have read everything... Or so you thought, but then you find a whole extra column of scribbles, starting with the phrase \"BADMOTORFINGER\", presented boldly and without comment.\n\n> You read the grafitti\nThe years have not been kind to this phone, nor was the person responsible for a crude horse, dog (or possibly alligator?) inexplicably labeled \"SKANK\".\n\n> You put coin in the slot\nThe coin clatters down into the depths of the machine. There is a buzzing and rattling deep inside, before a faint hiss of static becomes audible from the receiver.\n\n> You get the receiver\nYou pick up the receiver, trying not to look at the hundreds of tiny holes at both ends, or thinking about what might be inside them (especially as you hold them to your ear...)\n\n> You call 258-0987\nAs you dial the number, pressing the buttons down the middle row, and then across the next-to-last row, from left to right, you realize that you have made the sign of the cross on the keypad... But upside-down and backwards.\n\nIt's pretty typical high-school occult bullshit, but before you can roll your eyes, the phone buzzes to life, and, as if from a great distance, you begin to hear ringing on the other end of the line.\n\nThe ring repeats three times, and then stops, leaving you in an ominous silence. Even the restless sound of the river behind you has stopped, and you are suddenly conscious of how, facing the payphone, you've turned your back on the water.\n\n> You hang up\n(the phone receiver)\nThat number you dialed has done something... You're not quite sure what, but you're even less sure what'll happen if you hang up now.\n\n> You look at the water\nThe surface of the river has become completely still, like a mirror; You feel as though you could fall through it, into the blue sky beyond the bridge...\n\nThe bridge in the reflection is sound and whole, new as the day it was built, and instead of rotting patches of concrete, the underside is covered in a colorful painted mural. Roughly oval in shape, it features a vivid green, eel-like creature with a wavy frill, curled around as though ready to bite its own tail. You don't totally follow the motto encircling it... Something about the commission of an officer? Or an office? But the words \"Croceate\" and \"Variegated Court\" stand out.\n\nYou tear your eyes away from the mural, to the railing of the bridge, as a woman leans over the edge, wearing an old-fashioned hat...\n\n\"VAAAAAAA!\" shrieks the phone, causing you to jump and almost drop the receiver, \"DIIIIIIIIIGH...\"\n\nYou frantically slam the phone back down into the cradle, out of sheer panic, and there is a loud splash behind you.\n\n> You look at the water\nThe surface of the river is white with foam, and splashes violently against the embankment, as though something large had just dove under the surface...\n\n> You search it\nThe river splashes fitfully against the crumbling stone of the embankment, dark and murky in the shadows. The wrinkled surface of the water yields a rough reflection, an animated expressionist painting of the bridge and sky above, except for where a trail of bubbles mars the view, as though something... large... had recently swum past.\n\nThe bridge in the reflection is sound and whole, new as the day it was built, and instead of rotting patches of concrete, the underside is covered in a colorful painted mural. Roughly oval in shape, it features a vivid green, eel-like creature with a wavy frill, curled around as though ready to bite its own tail. You don't totally follow the motto encircling it... Something about the commission of an officer? Or an office? But the words \"Croceate\" and \"Variegated Court\" stand out.\n\n> You look at the coffee\nThe clouds in your cup form a biplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> Go south\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA mistlike trolley stop sign reads Aqua Line -- River Walk.\n\n> Go east\nYour feet finally touch down on some blackened shore and into some large subterrane. The slick black stone of the cavern arcs high above your head with strange formations that grow downwards and then out in oddly perpendicular angles. The damp rock moves in and out of focus as some pulsing green light illuminates the space.\n\nTaking a step, you feel the sand pulling at your shoes as though it were thick mud or quicksand. Your feet sink with every step, settling on some solid stone platform just beneath this layer of cloying sand that prevents you from being entirely swallowed.\n\nYou pass between two monolithic pillars: oily green-black stone of a height that makes you dizzy to comprehend. Between them, a skeletal bridge stretches out across the chasm.\n\nThe crossing spans a ravine of tumultuous water that roars like some uncaged beast and echoes around the cavern. Its Stygian call chills you and draws you in by equal measures as you take the first step onto the slats that form the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large ghastly sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOn the gap in the bridge are some flat bones.\n\nThe rope lies abandoned on the ground in a tangle, one end tied to the bridge, the other to some metallic contraption.\n\n> You go to the east\nOutside Pub (Jason Lautzenheiser)\nAs the street runs east through this side of town, it narrows as the jagged rooftops on either side of the road reach out to each other. To the north is the pub. You can continue to the west where you see a bridge. As you pause on the narrow brick sidewalk which lays unevenly along the ugly, half-crumbling brick walls, you hear a train whistle in the distance. A sign hangs loosely above the pub entrance and to the side is a murky window.\n\nYou can see a newspaper box and a rusty piece of metal here.\n\n> You look at the box\nThe metal paperbox has a door, with a foggy glass window through which you can still see some of the newspapers inside. There is a large handle that would be used to open the box and beside the handle is a coin slot and a faded sign that reads \"25 cents.\" One of the legs of the rusted paperbox has broken away and has left the newspaper box leaning at an angle. A rusty bar of metal, which appears to be the remains of the leg, lies on the sidewalk.\n\nIn the newspaper box are some yellowed newspapers.\n\n> You examine the newspapers\nThrough the foggy window you can just make out part of the headline, \"Ful... Court ....Dead.\"\n\n> Go west\nYour feet finally touch down on some blackened shore and into some large subterrane. The slick black stone of the cavern arcs high above your head with strange formations that grow downwards and then out in oddly perpendicular angles. The damp rock moves in and out of focus as some pulsing green light illuminates the space.\n\nTaking a step, you feel the sand pulling at your shoes as though it were thick mud or quicksand. Your feet sink with every step, settling on some solid stone platform just beneath this layer of cloying sand that prevents you from being entirely swallowed.\n\nYou pass between two monolithic pillars: oily green-black stone of a height that makes you dizzy to comprehend. Between them, a skeletal bridge stretches out across the chasm.\n\nThe crossing spans a ravine of tumultuous water that roars like some uncaged beast and echoes around the cavern. Its Stygian call chills you and draws you in by equal measures as you take the first step onto the slats that form the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large nameless sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOn the gap in the bridge are some flat bones.\n\nThe rope lies abandoned on the ground in a tangle, one end tied to the bridge, the other to some metallic contraption.\n\n> You go southeast\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nAn ethereal trolley stop sign reads Aqua Line -- River Walk.\n\n> Go south\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA noncorporeal trolley stop sign reads Aqua Line -- River Walk.\n\n> Go east\nYour feet finally touch down on some blackened shore and into some large subterrane. The slick black stone of the cavern arcs high above your head with strange formations that grow downwards and then out in oddly perpendicular angles. The damp rock moves in and out of focus as some pulsing green light illuminates the space.\n\nTaking a step, you feel the sand pulling at your shoes as though it were thick mud or quicksand. Your feet sink with every step, settling on some solid stone platform just beneath this layer of cloying sand that prevents you from being entirely swallowed.\n\nYou pass between two monolithic pillars: oily green-black stone of a height that makes you dizzy to comprehend. Between them, a skeletal bridge stretches out across the chasm.\n\nThe crossing spans a ravine of tumultuous water that roars like some uncaged beast and echoes around the cavern. Its Stygian call chills you and draws you in by equal measures as you take the first step onto the slats that form the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large detestable sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOn the gap in the bridge are some flat bones.\n\nThe rope lies abandoned on the ground in a tangle, one end tied to the bridge, the other to some metallic contraption.\n\n> You check what you're carrying\nYou are carrying:\na rusty piece of metal\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (open but empty)\na trash pocket (open but empty)\na backpack features guide\na book list\na library card\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You put the library card in the side pocket\nYou put the library card into the side pocket.\n\n> You close side pocket\nYou close the side pocket."
    },
    {
        "text": "> You look around\nYou pause on the sidewalk as you approach the entrance to the pub as you hear a faint whistle in the distance.\n\nOutside Pub (Jason Lautzenheiser)\nAs the street runs east through this side of town, it narrows as the jagged rooftops on either side of the road reach out to each other. To the north is the pub. You can continue to the west where you see a bridge. As you pause on the narrow brick sidewalk which lays unevenly along the ugly, half-crumbling brick walls, you hear a train whistle in the distance. A sign hangs loosely above the pub entrance and to the side is a murky window.\n\nYou can see a newspaper box here.\n\n> About you\nThe wind is blowing through your hair as you walk through this area of town making you look a bit unkempt.\n\n> You examine the coffee\nThe clouds in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You look at the sign\nThe painted wood sign is faded near-unreadability. But you think the last two words are \"Last Home\".\n\n> You examine the window\nYou move closer to the window and attempt to peer through. It's dark inside and the window is very dirty, but you see human-like shapes moving around inside.\n\n> You examine the sidewalk\nThe uneven sidewalk looks like it hasn't been repaired in quite some time. You see many loose bricks and you risk tripping over them if you're not careful.\n\n> You check what you're carrying\nYou are carrying:\nloose bricks\na rusty piece of metal\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (closed)\na trash pocket (open but empty)\na backpack features guide\na book list\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You examine the brick\n(loose bricks)\nThe brick is quite heavy.\n\n> You throw brick at box\n(loose bricks at the newspaper box)\nYou throw the brick as hard as you can at the paperbox. It hits the window just right, shattering the glass.\n\nThe glass of the paperbox is now broken out.\n\nIn the newspaper box are some yellowed newspapers.\n\n> You read the newspapers\nThe paper is dated, July 26, 1970. The headline reads \"Fulvous Alderman of the Variegated Court Found Dead.\"\n\nBelow the headline is a photo of someone you assume is Fulvous dressed in all black with black tie and black top hat. He is standing in front of an old church and strangely enough, there's a duck at his feet, almost posing.\n\nThe article reads, \"Fulvous Alderman of the Variegated Court was\nfound dead yesterday. His body was found by an unnamed man who was exploring a remote area when he came across an abandoned white house. When the young man entered through a back window to explore the home, he found the body of Fulvous in the attic. He was slumped over a table with what appears to be a ceremonial dagger in his back. Other than the knife and some dull orange duck feathers scattered around the room, no other clues were found regarding the culprit or the\nmotive.\""
    },
    {
        "text": "[Themes: horror, Lovecraftian]\n\n> You describe your surroundings\nOutside Pub (Jason Lautzenheiser)\nAs the street runs east through this side of town, it narrows as the jagged rooftops on either side of the road reach out to each other. To the north is the pub. You can continue to the west where you see a bridge. As you pause on the narrow brick sidewalk which lays unevenly along the ugly, half-crumbling brick walls, you hear a train whistle in the distance. A sign hangs loosely above the pub entrance and to the side is a murky window.\n\nYou can see a newspaper box here.\n\n> You get newspaper\nYou pick one of the old yellowed papers off of the stack.\n\n> You look at the paper\nWhich do you mean, the yellowed newspapers or the repaired page?\n\n> You look at the coffee\nThe swirls in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You check what you're carrying\nYou are carrying:\nsome yellowed newspapers\nloose bricks\na rusty piece of metal\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (closed)\na trash pocket (open but empty)\na backpack features guide\na book list\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You go to the north\nThe Invisible Worm (Sam Kabo Ashwell)\nA dimly-lit tavern, old enough that all its straight lines have worn or warped slightly out of shape, and everything feels cluttered and a little too small; you've had apartments with living-rooms bigger than this. Heavy, dark beams support a low ceiling, and the walls are crowded with ancient farm tools and yellowing photographs. A cramped doorway, south, leads back outside.\n\nThe bartender impassively surveys the room. He might have raised his eyebrows slightly in acknowledgement as you entered, but you wouldn't swear to it.\n\nOld-timers monopolize the fireplace nook; a straggle of teenagers hunch in a corner.\n\nThe old-timers opine on the time Reverend Wilcox caught his daughter in the dairy with Reverend Hagburn. Somehow this relates to one of the old-timers owing another money.\n\n> You look at the photographs\nFloods of sepia; you don't think there's anything dating from after the 1940s. It's mostly portraits and group shots; their subjects look world-weary and frayed around the edges, and nobody seems comfortable. The women are uncertain, prepared to be angry, as though the camera is being wielded by an unfavored nephew who can't be trusted with the exercise; the men are ciphers, eyes tired and defensive in a mask of weathered flesh.\n\nThe old-timers opine on how the ghost of a runaway slave wrought vengeance on Makepeace Osgood.\n\n> You look at the tools\nThe difference between a museum and a midden is mostly organisation. This falls about halfway in between: at some point someone rummaged through a series of old sheds and barns, grabbed anything with no useful future, and pegged it to the wall. You can identify about half of it, horseshoes and scythes and the like: the remainder suggests either the management of very odd livestock, an art student newly possessed of a welding-iron, or highly specialised forms of sexual deviancy.\n\nMost of it is affixed to the wall with wire and nails; but just about at eye level, on the wall facing the bar, there's a well-used whetstone that's just balanced on a couple of wooden pegs.\n\nThe old-timers talk about the time Meg Martin's daughter lived in sin with Abe Crackstone's son.\n\n> You examine the whetstone\nA dark grey, smooth whetstone, great for sharpening any cutting implements.\n\nThe old-timers squabble over the time Virgil Thursley had a warrant issued for adulterating maple syrup and died in a shoot-out near Bear Flats.\n\n> About you\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\nThe old-timers squabble over the time Adam Collamore burned down James Crowley's nephew's chicken-shed. Somehow this relates to one of the old-timers owing another money.\n\n> You take the whetstone\nNothing about the bartender's manner suggests tolerance of rude tourists. It probably wouldn't be a good idea to steal the decor while he's watching.\n\nThe old-timers discuss the time Dusty Poole's damn fool son came at Farmer Buxton with a grain flail to impress a girl.\n\n> You examine the coffee\nThe swirls in your cup form the engine of a train. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You look athe old-timers\nThe three old boys around the fireplace - one pipe-smoker, one roll-up, one Lucky Strike - are fumigating the premises and talking shit about their families and neighbors.\n\nThe old-timers talk about the sad tale of how Parson Norris ran off to Syracuse to get famous, got involved with homosexuals, and was born again and returned home. In the process they insult one another in ways that would be fatal to any friendship you've ever had."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft]\n\n> You look around\nThe Invisible Worm (Sam Kabo Ashwell)\nA dimly-lit tavern, old enough that all its straight lines have worn or warped slightly out of shape, and everything feels cluttered and a little too small; you've had apartments with living-rooms bigger than this. Heavy, dark beams support a low ceiling, and the walls are crowded with ancient farm tools and yellowing photographs. A cramped doorway, south, leads back outside.\n\nThe bartender impassively surveys the room.\n\nOld-timers monopolize the fireplace nook; a straggle of teenagers hunch in a corner.\n\nThe old-timers argue about the time Sorrow Mullins's youngest caught her husband up to no good with a married woman.\n\n> You talk to the bartender\n(the bartender)\nHe makes a vague noise of acknowledgement, with a look that makes it clear he doesn't regard it as his responsibility to maintain lively banter.\n\n> You talk to the teenagers\nThey stare back at you with blank (and slightly fish-like) contempt.\n\n> You go to the south\nOutside Pub (Jason Lautzenheiser)\nAs the street runs east through this side of town, it narrows as the jagged rooftops on either side of the road reach out to each other. To the north is the pub. You can continue to the west where you see a bridge. As you pause on the narrow brick sidewalk which lays unevenly along the ugly, half-crumbling brick walls, you hear a train whistle in the distance. A sign hangs loosely above the pub entrance and to the side is a murky window.\n\nYou can see a newspaper box here.\n\n> You go east\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA phantom trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You examine the bones\nThe mineralized remains of a gargantuan predatory beast.\n\nYou don't know much about ancient bones. Perhaps the paleontologist could tell you more.\n\n> You ask the man about the bones\nHe seems surprised.\n\n\"Huh, what was that? Oh, hello. Sorry, bit distracted there. This is an amazing find! What was it you needed again? Dr. Daniel West from Miskaton University, by the way.\" He moves to shake your hand. \"Just call me Dan.\"\n\n> You ask Dan about the bones\n\"So what are you doing here?\" you ask.\n\n\"Excellent question. At first, I thought we were wasting our time digging out a hoax, but after the preliminary lab results, it appears we're unearthing the greatest scientific find of the century! You see the vertebral structure? It's obviously piscine, and the armored plating on the anterior portion of the body along with the shearing toothplates clearly indicates that it's an exceptionally large arthrodire, most likely from the Devonian.\"\n\nYou just nod uncomprehendingly as he continues.\n\n\"Now, I know what you're thinking. How could a fish possess clawed limbs? Surely it's a tetrapod? Not so! The limb structure is inconsistent with any known vertebrate, fossil or extant, and the rock strata isn't Devonian at all. It's Cambrian! Both radiometric dating and analysis of surrounding fossil material confirms it! This will rewrite the entire history of life on this planet. Let Herbert suck on this one!\"\n\n> About you\nYou brush an errant tentacle from your fifth eye and quickly check yourself over. All of your writhing slime-streaked appendages seem to be in order. Gill slits are gorgeous. Your ventral scales could use a bit of a polish though.\n\n> You examine coffee\nThe clouds in your cup form -- weird, they've entirely dissipated. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You look at the student\nThe young man focuses intently on the task of unearthing the fossil.\n\n> You ask the student about the bones\nHe just gives a quick irritated wave as if to say sod off then returns to his work.\n\n> You ask Dan about Dan\n\"Me? I'm just a humble scientist from good old Miskaton U up in Anchorhead. Creepy town, crazy people, but one of the best schools on the east coast.\"\n\n> You ask Dan about yourself\n\"I'm afraid I don't really have much to say on that subject. Look, if it's not about the fossil then I should probably be getting back to work. This beastie won't crawl out of the ground on its own.\""
    },
    {
        "text": "> You look around\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nAn ethereal trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You look at the bench\nA wooden bench bearing the inscription \"This room is dedicated to the memory of Christine Cunningham (Ataraxy).\"\n\n> Go northeast\nHillside Path (Jack Welch)\n[ HINT: you can type \"hints\" for a hint for this location ]\n\nYou follow a mud-trampled trail, which leads you blindly through a narrow trench bordered by overgrown brambles and shrubs, once smartly trimmed hedges around the Cragne property. The intimidating thorn-studded walls arch over you, all but obscuring the grey marbled clouds overhead.\n\nTurning the corner, you feel the ground beneath your feet suddenly harden. Although the shrubs recede behind you, the shadows deepen as you walk towards a clearing set into the hillside, surrounded on three sides by black cliffs.\n\nAs you advance, sound is conspicuous by its absence -- gone is the squealchy sound of the muddy trail, the cracking of branches underfoot, and the rustling sounds of trailside wilderness. You are left contemplating the rocky bowl cut into the cliffside, a natural amphitheater.\n\nOr is it? Could this hollow have been worked by the hand of man in some earlier time? How much labor and what dedication would have been required in an earlier era to work the ageless Vermont granite into such a perfect shape?\n\nYour eye is drawn to a raised, brown mass centered before the cliffs; you muse that if the rockface formed a parabola, that mass would be at its focus, like an altar in a cathedral. The earthen lump grows in your vision and you realize that you must have walked towards it, lost in your thoughts. It has already been a long day, and it has barely started.\n\nUp close, you realize that it is not an earthen mound, but a pile of long, rusted iron railway tracks. Tons of them. Stacked taller than you in this remote corner of the estate and forgotten.\n\nYou move your head in just the right way and light glances sharply off a glistening corner of track, momentarily blinding you. You rub your eyes reflexively, and when your vision clears, you realize with some embarrassment that a woman sits not even an arm's length from your face atop the pile.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see a bonnet-clad woman here.\n\nThe woman looks into the distance and sighs.\n\n> You talk to woman\n\"Oh, so you can see me, then, can you?\" she asks, taking a step back.\n\n\"Can you see me?\"\n\n> You say yes\nYou can only do that to something animate.\n\n> You say yes to the woman\n\"How wonderfull!\" She sits on a rail jutting out of the pile and pats the space beside her. \"Tis a frightfull long Tymme since I did haf the Oppourtunity to speake with One graced with the Seight -- no\nCr\u00e2ne, then you, but one among our Number. Do then, please,\nspeake to me about yourself.\"\n\nShe pauses for a breath, \"Oh, but first, where are my Manners? I do beg your Pardon most sincerely: I am called Christabell.\"\n\nShe looks at you with anticipation.\n\n[ HINT: you can ask or sometimes tell people about various\nsubjects ]\n\n> You ask about Manor\nChristabell says, \"I have wondered that myself.\"\n\n> You ask about the sight\nYou consider whether it is prudent to kick off a conversation with this stranger, secluded as you are in this deathly quiet corner of the Cragne Property, but your gregarious nature carries the day.\nYou reason that she's only a stranger because you haven't met her yet, and considering that you don't really know anything about\nPeter's family, maybe it is time to start reaching out a little\nmore. You sit down next to the woman, and she rewards you with a smile and rapt attention.\n\n[ HINT: For short, say \"a subject\" or \"t subject\" to\nASK/TELL about a subject ]\n\nThe term is not familiar to you, so instead you ask, \"I never heard of the 'sight' -- what is it?\"\n\nChristabell appears surprised, but patiently replies, \"It is a\nGifte, which I now presume to be hitherto unknown to You. Let\nus not make Haste with what does follow, for Experience has shewn me that Understanding may train behind my Wordes.\" She pauses for emphasis, \"The spektral Seight is the Ability of somme\nso-favoured by God's New Grace to see Spirits as\nSubstance. Thus, you are able to see and converse with me.\"\n\n\"Spirits?\" You think to yourself that this conversation just\njumped the shark.\n\nYou shake your head trying to put her words into some order that makes more sense. \"Back the truck up, honey. Spirits? As in\nghosts?\"\n\n\"Not precisely, but on Balance more Reight than Wronge -- and whilst you are styll of Mynd to listen, I should add that the Gifte is restricted a lineage, which does fill me with Curiosity.\" She\nlooks appraisingly at your face, taking in the features.\n\n\"Wait. Ghosts?\" you cannot get past the word. You brain\ndoesn't seem to be working very well just now.\n\n\"Indeed.\" She places a hand on your shoulder, but rather than the reassuring pressure and warmth of human touch, you feel a wave of coldness wash over you. \"Tarry a Moment,\" Christabell instructs, \"until your Mind ceases its Fievre, lest it berne through the\nKnotte of reason and unravell you.\"\n\n> About yourself\nThis little weekend getaway with Peter has done you some good. So relaxing.\n\n> You check what you're carrying\nYou are carrying:\nsome yellowed newspapers\nloose bricks\na rusty piece of metal\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (closed)\na trash pocket (open but empty)\na backpack features guide\na book list\nPeter's jacket\na faint chill (haunting you)\na cast iron spire\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You ask about the ghosts\nYou rub your temples to dispel the growing headache. \"Ghost,\nspirit -- seems like six of one, half a dozen of the other.\"\n\n\"Equateth not these Quantities within the Newe Mathimaticks?\"\n\n\"Huh? Oh, yes. I suppose. But that's my point -- I say ghost,\nyou say spirit, to-may-to, to-mah-to, what's the difference?\"\n\n\"I do see whence your Confusion proceeds. Before my own Deathe,\nI would not have quibbled, but nowe the Difference is made Manifest. Simply put -- and must needes simply prai you attend my Wordes with do Conviction: Ghosts be not real, but Confabulaycion onely; the\nSorte told to afrayten Childeren and enjoin theyre Obedience. Any One who maketh the Claym of having one caught Seight, I say is a\nlying Dog and owt Penance gainst such Sinne.\"\n\n\"So, ghosts fake, spirits real -- is that the gist?\"\n\n\"You have shivvered the very Shaft of mei Arguement with the whetted Arrow of Comprehencion.\"\n\n\"I'll take that as a yes.\"\n\n> You ask about Knotte of the reason\n\"The Knotte of Reason is the fibre within our Being what doth\ntogether bind in a regular manner our Faculties of Ratiocination, the Wellspring of our Creativity, the Vital Forces which impart our Weal, the Tepid Vapors of our Emotions, and the Restraining Compass of Moral Direction,\" explains Christabell.\n\nSeeing your glazed expression, she continues, \"The Knotte of\nReason doth pull the Needful against tensions be they substantial\nand invisible. Onely with the Knotte remaining intackt can you\nrest lucid of Speech and Wit. Let not it yield lest your sanity flow out of your Heade like the Newe Moon Tiyd.\"\n\nCaught up in the conversation, the surrealism of your situation now lands with its full weight and you take a long breath.\n\n\"My friend, wherefore doth your Countenance so cloud?\"\n\n\"I just realized how weird it is to be talking to a ghost.\"\n\n\"A spirit.\"\n\n\"Okay, a spirit,\" you concede. \"Maybe all this hanging around\nwith the Cragnes has rubbed off on me. Maybe I'm the one who\nhas lost her marbles.\"\n\n\"Nay, your Marbles be firmly within your Skull, and your Knotte of Reason still tightly woven.\"\n\n\"Mark my words, Peter is going to have a field day when I tell\nhim how my day has gone.\"\n\n\"That I cannot mark, it being beyond my powers.\"\n\n> You look at the coffee\nThis is unusual. As you watch the swirls in your cup, they form a pair of perfectly shaped hearts that orbit the cup, maintaining a steady distance from each other.\n\nYou remember that twin objects like this mean you are split between two intricately entangled destinies, and that at any given moment, one of them will be the right place for you to be, but the coffee can't tell which. Way to drop the ball there, coffee.\n\n> You ask about the new grace\nChristabell replies, \"Has Worde of Mattanit's Third\nCovenant not reached All even in these late Days? Why, it is by\nHIS New Grace that many Myrickles are accomplished, the dead browt to life, the Globe delievered to its righteous End.\"\n\n> You ask about Mattanit\n\"Who,\" you begin, \"or what is Mattanit\"Christabell passes her hand five times in front of her heart and replies, \"HE is the last Face of God, and blest are we for coming to know him.\"\n\nThis seems to take some of her strength and she rests her hand on a rail, \"I long to say moor, but 'tis so very draining\u2026 I haf not such moor straynthe within mee.\"\n\n> You ask about Christabell\n\"I think you may be the only Christabell that I know,\" you say.\n\n\"In truth? This does surprize me greatly, for in mei Youth it\nwas a most common Appellation. There were... let me render the Account,\" Christabell counts on her fingers, \"four of us in the Whole of the Towne. Contrarywise, \"til this Day I had met ne'er a\nNaomi, thow the Name be familiar, being fownde in the Booke of Ruth.\"\n\n> You ask about Youth\n\"So,\" you begin, \"what was your childhood like?\"\n\nPleased to be the center of attention, Christabell reminisces, \"My early Youth I did spent in Engeland, Mother's youngest Daughter, so was coddled. I saw little of Father in that time, him being all-waies at Worke in the Forges of one great Towne or an Other.\"\n\n\"I did notice the accent,\" you add. \"Are you originally from London?\"\n\n\"Nay, never yet Lundon; we did sayle from the Port of Bristoll and came we to the Towne of Lin.\n\n\"Never heard of it.\"\n\n\"No, even in that day it was a Hamlet, somewhat removed from larger Settlements. In later Dayes, I do believe it were better known as Saugus for the River that did nearby course. We were deliwered\nthere by the very Hand of Providence, for Lin was blessed with a River, plentifull Bog Ironne, and no lack of Wood.\"\n\n\"About when was this?\" you ask.\n\n\"That Providence delivered us to the Colonie of Massachusetts? That Date I dewe know'th by Hearte: It was the Year of the Lord Sixteen-Hundreds and Fourty-Four, and I was but a Gyrll of eleffen Years.\"\n\n\"Sorry -- did you say 1644?\"\n\n\"Yes, and I did die in the Year of Our Lord Sixteen-Hundred and Fifty-Three; since whych I have existed as naught but a\nSpirit.\"\n\n> You talk Death\n\"Really?\" says Christabell.\n\n> You ask about Saugus\n\"Tell me of Lin,\" you say.\n\n\"In that Tymme, the Towne was barely establyshed, us being\namong the first to settle along the River where the Mill came to be built. The Ironworkes were already conceived of and Fowndacion\nlayd when they did sent for my Father, he being versed deeply in the Arts of Forging and also much skilt in the Emplacement of Edifices for such Worke.\"\n\nAre we far from Lin?\" you prompt.\n\n\"Some many Miles, I do thynk, for we are Nowe ourselves in\nVermont, but Lin found itselff within the Governance of\nthe Massachusetts Colonie.\" Christabell looks to the distance\nand adds, \"Not all of us did call it Lin -- my Mother and\nSysters -- we did know it rather for the Indian Name of the\nRiver whereby we were set: Saugus.\"\n\n> You ask about Massachusetts\nShe answers you factually, \"You do speake of the Massachusetts Bay Colony, which was settled by the Company of the same Name. I do\nthynk you harbour some confusion between it and the Plymouth\nColony, to hear you speake of it, and that many such Factes do\nstew about unproductively within your Brains, like Cud recently chewn within Cattel Tripes.\"\n\narrive to the Towne of Lin, and though there were summe\nCommerce betwixt, I did find them a queer and standoffish Lott.\"\n\n> You ask about Ironworkes\n\"It was a Marvell of its Day. I have not in mei minds Eye a simple Forge nor even a Company of Smithies, but an entyre Factorie\nthat did smelt the Earth's Ores into Pigs and thence crafte them to wrought Werkes putting to shame anything carried on the Sea to us. Even the Masters that did instructe upon a Tymme my Father, they did say howe fynne were his Pieces and I think they did harbour summe not little Jealousy thereby.\"\n\n\"It sounds remarkable,\" you add.\n\n\"It did make us Prowde, yes, but did become to an Undoing.\" Christabell casts her eyes to the ground, and for a moment, she seems less substantial -- you have the impression of looking straight through her towards the dark cliffs that frame this hollow. \"No\nmore need be sayed upon this dower Subjekt.\"\n\n> You ask about the cliffs\n\"They be nothing like any Marble Granite that I do know, first by their Colour, which is unnatural dark, but also by their Durabilitie. Summe Tymme ago, Men did come with their Tools up from the\nCr\u00e2ne Manour, and did try for Dayes to saw and pierce the stony\nWalls of this Hollow, but theyr Tools dulled, they made not a Scratch upon the timeless Stone here. That crafted in an earlier Ayge cannot be rewrought by too soft Hand of modern Man.\"\n\n> You ask about the lineage\n\"Surely, you suspect -- your Eyes, your Fayce, your Carriage -- all about you I have seen in the Looking-glass. We are of a common Stock, you and I, whence stems your Spektral Seight.\"\n\n\"Because we're both Cragnes?\" you ask.\n\n\"Nay, neither, I reckon. No Cr\u00e2ne Blood runs -- fynne, I allow,\ndid run, for sayke of Correctness -- did run through my Veinnes. My surname is 'Burt', in case that catches notice. And if I do not mistake, you have not the Aspect of Fruite fallen from the gnarled Tree of the Cr\u00e2nes -- although I did once wot by Providence wot Happenstance, know a Cr\u00e2ne also, a certain Carol, of Our\nLineage.\"\n\n\"Am I a Cragne? No. I married one. Peter is a\nCragne -- I just married in. We had blood tests and everything.\nOur kids won't have two heads. I'm sure he and I aren't related.\"\n\n\"Tell me of your Ancestors,\" Cristabell asks.\n\n\"Going back a generation on my father's side, he and his dad were carpenters in Lithuania and came to the US in 30s. He had a little shop in Hull...\" Cristabell waves you on impatiently; clearly, that part of your ancestry does not excite her. \"But on my mom's side -- my birth mom, that is, her family traces back to the UK. My cousin did a school report on our family tree, and I think we go back to the Bassetts on that side. Does that ring any bells?\"\n\n\"Like a Papist Belfry on the Newe Year.\"\n\n\"...\"\n\nChristabell clarifies, \"My owne Mother was but one Generation remouved from Family Bassett. A wealthey Family, they did dwell not far a-way.\"\n\n> You look at the coffee\nThis is unexpected. As you watch the swirls in your cup, they form a pair of daggers that orbit the cup, maintaining a steady distance from each other.\n\nYou remember that twin objects like this mean you are split between two intricately entangled destinies, and that at any given moment, one of them will be the right place for you to be, but the coffee can't tell which. Way to drop the ball there, coffee.\n\n> You look\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see Christabell here.\n\n> You ask about Carol\n\"Carol. Yes, what to say of Carol...\" Cristabell stares\ninto the sky, collecting her thoughts. \"I do not Knowe. In different Tymmes, she was many things to mee, and I to her, being related not onely of Lineage but of Minde. She lived not far from here in\nManse of Family Cr\u00e2ne.\"\n\n\"Then you knew her in your youth?\"\n\n\"No, not mine but hers -- I had long before met my owne Deathe.\nIn her Youth, she would oft come here and suffer my\nCompanionship; less so, as she did flower to Womanhood, though. I do sincerely avow committing every Efforts and Care to her goode and proper Upbringing and polite Formation, but she was remarkable headstrong and sharp of wit like broken Glass. Even with my\nMark set upon her, she did suffer the Corruption and Poyson of\nthat House. I urged her to remain away, but every Summer it did call her back to itself.\"\n\n\"Is she still there? In the mansion?\"\n\n\"I need so beleeve, though I have not seen her since her\nDeathe.\"\n\n> You ask about Death\nChristabell says, \"I wish I knew.\"\n\n> You ask about deathe\nChristabell says, \"Good question.\"\n\n> You ask about Mark\n\"A Mark is a special Touch whereby a Spirit does grant\nFavour to One still a-live by laying upon the One so-gift'd\nsumme small Splintre of their own Essence. Those haffing the\nseight will reckognise it a brawnish Stain upon the marked, but\nOthers will not it ken.\"\n\n\"Sounds like an evil cow brand for the soul.\"\n\n\"The Marking is neither maleficent nor beneficent, it being onely a Reflection of Spirit from whence it doth floe.\"\n\n\"Why would anyone agree to be marked, though?\"\n\n\"In a sense, it be a Blessing for it doth warde the One a-gainst depredations of inimickal Spirits and by its Presence exclude unwillful Markings thereafter. More of a Pointe, such Magickal Capacities as possessed the Donor are bestown thereby for exercise upon the Will of the Begift'd.\"\n\n> You ask about the gift\n\"You mentioned 'a Gift' -- that's an odd turn of phrase. A gift\nfrom whom?\"\n\n\"Yes, One of the many gifts of Mattanit, one of the ways\nhis new Grace doth manifest.\"\n\n> You ask about new Grace\nAccording to Christabell, it is a gift that Mattanit bestowed upon his worshippers.\n\n> You ask about Youth\nChristabell is only too happy to reminisce about her youth, going on about herself, her mother and father at length.\n\n> You ask about the iron\n(the cast iron spire)\nChristabell says, \"I don't have a good answer for that one.\"\n\n> You ask about the heap\nChristabell says, \"I wish I knew.\"\n\n> You ask about the Ironne\n\"For as long as this great Pyle of Ironne Metall has\nbeen here, so have I.\"\n\n> You ask about Vermont\nChristabell replies, \"There be not much to say on my Part,\nVermont, being far from where I spent my youth. In\ntruth, I never set my Foote here all the Tymme I did live, but onely did come tardily some many Yeares after my own Deathe, and that\nnot of my Volition. Thus, there is little I can add of local flavour beyond the Explorations that you may set upon your own Selffe.\"\n\n> You take the iron\n(the cast iron spire)\nYou already have that.\n\n> You put the spire in side pocket\nYou unzip the side pocket, deposit the cast iron spire, then zip the side pocket back up again.\n\n> You take the iron\nThat's hardly portable.\n\n> You examine it\nLong shafts of weathered, rusted iron, jutting in all directions for a great mound as if dropped like puny sticks from the sky.\n\n> You ask about the pile\n\"It has been here a long, long time,\" says Christabell.\n\n> You tell about diary\n\"Interesting,\" says Christabell.\n\n> You tell about Peter\n\"As for Peter, my husband, what you see is what you get: he's a lovable teddy bear.\"\n\n\"Is he?\"\n\n\"Yes, but a bit of a workaholic. He puts in a full day, but then he's up all night with the books. I've never seen anyone pour their soul out so much over a job.\"\n\n\"Into what Sorte of Bookes does he pour his Soul?\"\n\n\"At this point, he's management, so mostly going over audit summaries. In truth, he'd rather do the bean counting himself. Crunching numbers floats his boat.\"\n\n\"I am amazed to hear such Newes as you have to tell; the Worlde is greatly changed since my Youth.\"\n\n> You tell about Phyllis\n\"Uh-huh,\" says Christabell.\n\n> You talk peter\nYou ramble on for a while about your husband, Peter.\n\n> You tell about yourself\n\"Well,\" you begin, \"I am Naomi, and you probably already know my husband, Peter -- Peter Cragne.\"\n\nChristabell shakes her head, \"A Cr\u00e2ne? No, I have not the Pleasure of his Acquitenance, or at least not yet. But I am sure there are many Hereabouts unknown to me of Late.\"\n\n\"Yes, he's a little introverted, so I'm not surprised,\" you continue. \"In fact, while he's met my entire family, I have not even met his parents -- yet. No pressure there, right?\"\n\n\"Assuredly, so.\"\n\n\"We took this opportunity to shoot up to Vermont and I figure\nwe'll do the family thing and while we're at it a little touring around: Ben & Jerry's, some covered bridges, get a bucket of maple syrup -- or however they sell it -- and check out some of the mountains. Two birds with one stone!\"\n\n\"Two with but a single Stoning? Indeed, what you have laid out sounds a fruitful Application of your Labours.\"\n\n> You talk vermont\n\"Geography isn't my strong suit,\" you admit. \"I think I was supposed to have gone to Vermont when I was a kid, but the ski trip got canceled.\" Looking around, you remark, \"I'm not sure Vermont quite agrees with me. The weather seems kind of gray here.\"\n\n\"More like that be a Reflexion of the Locale.\"\n\n> You go to the southwest\nCristabell calls after you, \"I do thank you for diverting summe Houres with mee in Discourse sweet. I do entreat you return upon your Convenience that we may again share some Werdes.\"\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA noncorporeal trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You examine gate\nA set of spiked wrought iron bars towers across an opening in the north wall. On a section of the wall adjacent to the gate rests a large bronze plaque.\n\n> You examine the plaque\nA bronze plaque which reads \"Municipal Jail\".\n\n> Go north\nThe closed gate bars your way.\n\n> You open gate\nAt the slightest brush of your fingertips, the gates slowly begin to creak open.\n\n> You go to the north\nBackwater Jail (Marshal Tenner Winter)\nThe air is stale in this wood-paneled sheriff's office. You feel as if you've stepped back in time maybe twenty years as the office furnishings in here are simple and utilitarian. A desk, generic in style but wide enough for an outdated-looking computer, is near the window. A swivel chair is behind it and a wooden visitors chair is on the other side. Despite the meager light that creeps in the window, there's still a bleak glow from fluorescent bulbs overhead. Other furnishings include a file cabinet and, what appears to be, a locker that was literally ripped out of a high school and placed against the wall in here.\n\nOtherwise, a cheap door with a unisex bathroom sign on it is to the west and a secure door, obviously the lock-up, is to the north. The exit is south.\n\nOn the desk is a clipboard holding some paperwork.\n\n> About yourself\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\n> Inventory\nYou are carrying:\nsome yellowed newspapers\nloose bricks\na rusty piece of metal\nan employee ID card\na shard of shattered carapace\na soggy tome\na long hooked pole\na grimy rock\na dead battery\na moldy, waterlogged journal\na small, rectangular battery\nan antique locket (being worn and closed)\nThe Dollmaker's Journal\na repaired page\na trolley schedule\na trolley pass (being worn)\nTwin Hearts Between the Planes\na pamphlet of home listings\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open)\na postcard of Big Ben\nthe diary of Phyllis Cragne\nThe Modern Girl's Divination Handbook -- Volume Three\na side pocket (closed)\na trash pocket (open but empty)\na backpack features guide\na book list\nPeter's jacket\na faint chill (haunting you)\na waterproof flashlight\na giant milkweed leaf (being worn as a mask)\na pull-string doll\na glass jar containing an insect\na half-full styrofoam coffee cup\na familiar gold wristwatch\na brass winding key\n\n> You examine the coffee\nThe clouds in your cup form a cronut. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You examine paperwork\nThis is a list of the day's arrestees. The date is a week old with no further entries beyond it. The entries are:\nJeff Moore - public intoxication.\nAlana Cook - possession of cannabis.\nMatthew Grobe - discharging a firearm within city limits.\nTony Overton - disorderly conduct.\nRobert Morales - reckless driving.\nEugene Kunkle - petty theft.\n\n> You examine computer\nIt looks bulky, even by today's standards, and on it is a faded decal stating, \"...ateway\". The nicotine-stained monitor sitting before it might bear a closer look.\n\n> You look at the monitor\nThis bulky monitor, roughly the size of a child's coffin, looks heavy and grimey. Whoever worked with this computer and monitor must've smoked like a Turkish tobacco caliph. The whole thing is sticky with a jaundiced film and the screen is covered with smudged fingerprints.\n\nOn the nicotine-stained monitor is a Post-it\u00ae note.\n\n> You look at the post-the it\nKeep the evidence key in the last arrestee's file. It's usually\nthe active file.\n-Sarge.\n\n> You examine the file cabinet\nIt's a wide, cream-colored file cabinet. It's about waist-high.\n\n> You open the cabinet\nYou open the file cabinet, revealing the Kunkle file and some disorganized files.\n\nThat's already open.\n\n> You examine the kunkle file\nA meager file; the arrest report gives few real details of anything. Apparently this Eugene Kunkle stole a library book. Otherwise, nothing useful can be gleaned from the paperwork within.\n\nIn the Kunkle file is an aluminum key.\n\n> You take the key\n(the aluminum key)\nTaken."
    },
    {
        "text": "[Themes: female protagonist, Comedy, Lovecraftian]\n\n> Look around\nBackwater Jail (Marshal Tenner Winter)\nThe air is stale in this wood-paneled sheriff's office. You feel as if you've stepped back in time maybe twenty years as the office furnishings in here are simple and utilitarian. A desk, generic in style but wide enough for an outdated-looking computer, is near the window. A swivel chair is behind it and a wooden visitors chair is on the other side. Despite the meager light that creeps in the window, there's still a bleak glow from fluorescent bulbs overhead. Other furnishings include a file cabinet and, what appears to be, a locker that was literally ripped out of a high school and placed against the wall in here.\n\nOtherwise, a cheap door with a unisex bathroom sign on it is to the west and a secure door, obviously the lock-up, is to the north. The exit is south.\n\nOn the desk is a clipboard holding some paperwork.\n\n> You go north\n(first opening the secure door)\nIt won't budge.\n\n> You unlock Door\nWhich do you mean, the secure door or the bathroom door?\n\n> You secure Door\nWhat do you want to unlock the secure door with?\n\n> You go west\nYou peek inside the bathroom and find literally nothing beyond a toilet and sink. There's no mirror and someone even swiped the shit tickets. You close the door again.\n\n> You unlock the Locker with the aluminum\nYou unlock the evidence locker.\n\n> You open the Locker\nYou swing open the locker and are greeting by a desiccated corpse falling into you. Startled beyond rational thought, you collapse to the ground, beneath the corpse, unconscious.\n\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nA metal chest stands in a corner of the room.\n\n> You check what you're carrying\nYou are carrying:\na faint chill (haunting you)\na strait jacket (being worn)\n\n> About yourself\nYou look about as you'd expect after everything that happened to you in all the other rooms.\n\n> You look at the jacket\nIt's a canvas strait jacket, the kind used to immobilize violent or spastic mental patients. It fastens up the back with a complex series of buckles and straps, while the sleeves cross the chest and fasten around back, making it quite impossible to escape.\n\n> You look at the chest\nA metal, military looking chest with a lot of complicated snaps. The lid doesn't close fully. Through the crack you can see a giant milkweed leaf.\nNo way you'll open it while stuck in this damn strait jacket.\n\n> You examine the lightbulb\nIts an old-fashioned, big, glass one. You might have some use for it, if it weren't protected by a cage of wire mesh.\n\n> You examine the cage\nA thin, fragile looking wire-mesh cage houses the lightbulb, presumably to keep patients from messing with it. One corner of it has been pulled outward, and the whole thing seems to hold to the ceiling only barely.\n\n> You look at the tiles\nThe uneven floor tiles are cracked and smeared with dirt. In your mind, you compare them to other floors you've seen in the Manor.\n\n> You look at the chill\nA chill emanates from behind you, fading as you turn.\n\n> You examine the padding\nThick cloth padding covers the floors and ceiling, fastened by deep-set buttons. One of them catches your eye. Where all the others are cloth-covered, this one is brass.\n\n> You pull the button\nIt is fixed in place.\n\n> You open jacket with the knob\n(first taking the brass button)\nYou'd need your hands for that.\n\n> You look\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nYou've noticed a strange brass button among those that fix the padding to the wall.\n\nA metal chest stands in a corner of the room.\n\n> You examine the chest\nA metal, military looking chest with a lot of complicated snaps. The lid doesn't close fully. Through the crack you can see The\nDollmaker's Journal.\nNo way you'll open it while stuck in this damn strait jacket.\n\n> You look at the mesh\nA thin, fragile looking wire-mesh cage houses the lightbulb, presumably to keep patients from messing with it. One corner of it has been pulled outward, and the whole thing seems to hold to the ceiling only barely.\n\n> You stand on chest\nIt's surprisingly hard to do without your hands, but you manage to climb onto the chest. The metal is cold beneath your feet.\n\n> You take the mesh\nThe height is right, but the bulb and its housing is out of reach in the middle of the room.\n\n> You get off the chest\nYou get off the chest less than elegantly.\n\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nYou've noticed a strange brass button among those that fix the padding to the wall.\n\nA metal chest stands in a corner of the room.\n\n> You look\nPadded cell (Marius M\u00fcller) (on the metal chest)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nYou've noticed a strange brass button among those that fix the padding to the wall.\n\nA metal chest stands in a corner of the room.\n\n> You pull the mesh\nSince you don't have the use of your hands, you do a little jump and bite down on the edge of the mesh as hard as you can. You hang in the air for the fraction of a second before gravity does its work and the mesh is pulled down and you land on your shoulder awkwardly. (Here's hoping you didn't fall on your shoulder in an earlier room as well.) Even though you cut your lip a little, from where you lie on the ground you can see the solitary lightbulb, shining it's dim light, free of its cage.\n\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nYou've noticed a strange brass button among those that fix the padding to the wall.\n\nA metal chest stands in a corner of the room.\n\n> You examine the bulb\nIts an old-fashioned, big, glass one.\n\n> Break bulb\nYou firmly plant your feet on the metal chest. It's good you did all the yoga before you came to the manor (and maybe since?), for you balance perfectly, aim your forehard at the bulb and ... headbutt it. There is a disappointingly low and short shattering sound. The light in the cell goes out, but there is enough room from the door to illuminate it in quite the same way as before. You think you've cut yourself on the face, but feel strangely sure that this wound won't bother you much once you leave this room.\n\n> You look\nPadded cell (Marius M\u00fcller) (on the metal chest)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nA big shard of glass lies here, in a pool of his useless smaller brothers.\n\nYou've noticed a strange brass button among those that fix the padding to the wall.\n\nA metal chest stands in a corner of the room.\n\n> Cut jacket\nEven with your nimbleness (yoga), you can't quite hold the shard in a way that would allow you to cut the straitjacket (which is made of thick cotton). Maybe you could find something else to hold it for you?\n\n> You put the shard in the chest\nYou'd need your hands to open the chest, but there is a small\ncrack where the lid doesn't fully close.\n\n> You put the shard in the crack\nYou gently push the shard into the crack (with your foot) and it fits snugly, with the sharp end pointing outwards conveniently.\n\n> Cut jacket\nYou kneel and begin to rub the back of the straitjacket, where the arms are tied behind your back, against the shard of glass. It's slow, dull, throbbing work. After endless minutes you feel the jacket giving some room in your shoulders, and with some more cutting and wriggling the fabric finally gives. You rub your arms for a good minute, willing feeling back into them. Finally, you can feel your aching fingers again. Okay, time to get out of here. Somehow.\n\n> Open chest\nYou open the metal chest, revealing an aluminum key, loose bricks, a rusty piece of metal, some yellowed newspapers, a shard of shattered carapace, an employee ID card, a book list, a soggy tome, a long hooked pole, a grimy rock, Peter's jacket, a trolley schedule, Twin Hearts Between the Planes, a pamphlet of home listings, a small, rectangular battery, a moldy, waterlogged journal, a repaired page, The Dollmaker's Journal, a dead battery, a waterproof\nflashlight, a pull-string doll, a glass jar containing an insect, a half-full styrofoam coffee cup, a familiar gold wristwatch, a brass winding key, a trolley pass, a Jansport backpack, an antique locket and a giant milkweed leaf.\n\n> You take all\npamphlet of home listings: Taken.\n\nmetal chest: Oof. Too heavy, even when you lift with your knees. aluminum key: Taken.\n\nloose bricks: Taken.\n\nrusty piece of metal: Taken.\n\nyellowed newspapers: Taken.\n\nshard of shattered carapace: Taken.\n\nemployee ID card: Taken.\n\nbook list: Taken.\n\nsoggy tome: Taken.\n\nlong hooked pole: Taken.\n\ngrimy rock: Taken.\n\nPeter's jacket: Taken.\n\ntrolley schedule: Taken.\n\nTwin Hearts Between the Planes: Taken.\n\nsmall, rectangular battery: Taken.\n\nmoldy, waterlogged journal: Taken.\n\nrepaired page: Taken.\n\nThe Dollmaker's Journal: Taken.\ndead battery: Taken.\n\nwaterproof flashlight: Taken.\n\npull-string doll: Taken.\n\nglass jar containing an insect: Taken.\n\nfamiliar gold wristwatch: Taken.\n\nbrass winding key: Taken.\n\ntrolley pass: Taken.\n\nJansport backpack: Taken.\n\npostcard of Big Ben: Taken.\n\ndiary of Phyllis Cragne: Taken.\n\nThe Modern Girl's Divination Handbook -- Volume Three: Taken.\n\nbackpack features guide: Taken.\n\nantique locket: Taken.\n\ngiant milkweed leaf: Taken.\n\nglass shard: Taken.\n\nhalf-full styrofoam coffee cup: Taken.\n\n> You examine the leaf\nA giant milkweed leaf, curled in such a way that it could cling to your face like a mask. It even has two milk-ringed holes for your eyes.\n\n> You wear it\nYou put on the giant milkweed leaf.\n\n> You wear the backpack\nYou put on the Jansport backpack.\n\n> You check what you're carrying\nYou are carrying:\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na faint chill (haunting you)\n\n> You examine the coffee\nThe clouds in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You turn the knob\nYou turn the brass button and this whole section of the padded wall swings open, revealing a small secret compartment with a switch inside. A dusty trophy tumbles out of it and to the floor.\n\n> You look at the trophy\nIt's a trophy, depicting of a greyhound in mid-jump. The plague reads: To  \"Jonathan B. Cragne, Puce Alderman of the Variegated Court, for winning the Cragne Village Dog Race with Bloodfang.\"\n\n> You examine Door\nIt's a thick, padded door.\n\n> You examine the coffee\nThe swirls in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need."
    },
    {
        "text": "> You look at your surroundings\nPadded cell (Marius M\u00fcller) (on the metal chest)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nA secret compartment in the wall has swung open, revealing a small switch and some graffiti that says \"THEY THOUGHT THEY COULD TRAP ME IN MY OWN CELL\".\n\nA metal chest stands in a corner of the room.\n\nYou can also see a trophy for a dog race here.\n\n> You pull the switch\nNothing obvious happens.\n\n> You examine the switch\nIt's nothing but a small, unremarkable switch.\n\nThe switch is currently switched on.\n\n> You switch the switch\nYou hear a promising click from the door.\n\n> You open Door\nYou open the padded door.\n\n> You examine the coffee\nThe clouds in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> Go south\n(first getting off the metal chest)\nYou get off the chest less than elegantly.\n\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nA secret compartment in the wall has swung open, revealing a small switch and some graffiti that says \"THEY THOUGHT THEY COULD TRAP ME IN MY OWN CELL\".\n\nA metal chest stands in a corner of the room.\n\nBackwater Jail (Marshal Tenner Winter)\nThe air is stale in this wood-paneled sheriff's office. You feel as if you've stepped back in time maybe twenty years as the office furnishings in here are simple and utilitarian. A desk, generic in style but wide enough for an outdated-looking computer, is near the window. A swivel chair is behind it and a wooden visitors chair is on the other side. Despite the meager light that creeps in the window, there's still a bleak glow from fluorescent bulbs overhead. Other furnishings include a file cabinet and, what appears to be, a locker that was literally ripped out of a high school and placed against the wall in here.\n\nOtherwise, a cheap door with a unisex bathroom sign on it is to the west and a secure door, obviously the lock-up, is to the north. The exit is south.\n\nYou can see a desiccated corpse here. It fell out of that locker, which now stands open.\n\nOn the desk is a clipboard holding some paperwork.\n\n> You examine the corpse\nThis withered and horrible corpse will be hard to identify as the poor soul seems to have been dead for a good while now. You're pretty sure it was once female as the clothes, while dirty and torn, are a feminine style.\n\n> Search corpse\nDelicately, you pad around the clothes on the corpse just in case anything useful can be found. Unfortunately, you find nothing but a black business card which you grab.\n\n> You look at the card\nWhich do you mean, the black business card or the employee ID card?\n\n> You examine the black card\nCongratulations! You've just encountered Vaadignephod's\nAnti-Personnel Squad!\n\n> You search the Locker\nIn the evidence locker is Tolerating An Asinine God.\n\n> You look at God\nThis book looks to be an old school text book but it is in surprisingly good shape. You're not too sure why you're surprised at this. But there is a faded sticker on the front bearing the insignia of the Backwater Public Library, two back-to-back crescent moons joined by an eye looking down at an open book, which you realize might be redundant.\n\n> You read it\nYou skim through the pages and glance at a passage or two. \"God\nmay exist but he isn't alive / for to die is to live / and to live is to die.\"\n\nA snap like ice cracking behind you makes you jump. You turn to see a chalky spark hovering near you.\n\nAs you finish reading the passage, the spark moves through the book with an eerie hum, leaving frost behind on the library insignia.\n\n> You check your inventory\nYou are carrying:\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You examine the spark\nSomething like a spark of chalk hovers in the air behind you. As you watch, it fades, only to reappear to your right in a wash of cold.\n\n> You go south\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA spectral trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for the aqua Line\nYou sit on the memorial bench, hold out your pass, and wait for the aqua line. Within moments, a mistlike trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA spectral trolley stop sign reads Aqua Line -- River Walk.\n\n> You wait for the blue Line\nYou sit on the memorial bench, hold out your pass, and wait for the blue line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA noncorporeal trolley stop sign reads Blue Line -- Library Square.\n\n> You look at the coffee\nThe swirls in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You wait for the Orange Line\nYou lean against the library steps, hold out your pass, and wait for the orange line. Within moments, a mistlike trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA phantom trolley stop sign reads Orange Line -- Constabulary Road.\n\n> Go northeast\n\"Ah, I do bid you again Greeting, my friend. You do seem much busy to-Daye in your Wanderings.\"\n\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see Christabell here.\n\n> You look at the cliffs\nThe granite walls are sheer and angle ever so slightly inward, overhanging the clearing; they would be impossible to climb without assistance from the top. The granite itself is fine-grained, but far darker than Vermont granite, is the color of burnt candle wick, all but invisible in this light save for tiny inclusions of reflective, jet-black mica, which impart a numinous glow.\n\n> You look at the mica\nThe granite walls are sheer and angle ever so slightly inward, overhanging the clearing.\n\n> Go southwest\n\"Do endeavour to mind yourself amongst the Cr\u00e2nes!\"\n\n\"I will. I always do.\" You shout back, as you walk away.\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A tangled rampart of trees and dense undergrowth obstructs passage to the south.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA mistlike trolley stop sign reads Orange Line -- Constabulary Road.\n\n> About you\nYou brush an errant tentacle from your fifth eye and quickly check yourself over. All of your writhing slime-streaked appendages seem to be in order. Gill slits are gorgeous. Your ventral scales could use a bit of a polish though.\n\n> You go to the northeast\n\"I am glad your Pilgrimage does take you mie Waie yet once moor, dear girl!\" says Christabell as she prances up beside you along the path.\n\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see Christabell here.\n\n> You examine the vegetation\nNothing grows anywhere near the pile of railroad track in the center of the clearing; perhaps the soil has been compacted by eons of spectators who stood in that very place, watching or taking part in ceremonies, perhaps dancing around whatever had occupied the central place. Or maybe the ground here is just unwholesome, unwelcoming to life, poisoned in some way. Only at the periphery, does nature scratch its way towards redemption of this lost grotto. A somber carpet of flaky lichens and mouldering moss gives way to bent fingers of crippled weeds at the edge of the clearing. Some trailheads leading away are barely distinguishable between snaking tendrils of withered vine and fungus-covered rotting stumps that mark the boundary of the surrounding woods.\n\n> You examine the trailheads\nSeething nature guards its distance from this place. Between the wispy weeds and degenerate, stunted trees that edge the clearing, you can distinguish three potential escape routes, one each to the north, southwest, and southeast, as the crow flies.\n\n> Go north\n\"I shall not keep you further from your most industrious Perambulations,\" Christabell jests.\n\n\"See you later,\" you call back to her.\n\n\"I do most fervently so desire!\"\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You examine the placard\nIt reads \"31.\" The house address, presumably.\n\n> You look at the manikin\nA faceless three-foot straw figure in a flowered bonnet and plaid skirt. It looks like a figure from some ancient harvest rite--somewhat like the harvest manikins in Stowe outside such establishments as The Startled Cat, The Buxom Crow, The Ambulatory Barnacle, and Tweebones.\n\n> You get it\nIt's just a piece of local whimsy. No need to bother with it.\n\n> You check your inventory\nYou are carrying:\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\nYou are also wearing a pair of extremely muddy clogs.\n\n> You examine the clogs\nYou picked these clogs as sensible walking shoes, but you didn't count on it being this wet. They're caked in mud almost all the way to your ankle.\n\n> You examine the porch\nA brief flight of steps leads up to the porch. The thick screens block any view inside.\n\n> You examine the coffee\nThe clouds in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\n> You go northeast\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\nYou can see some rotten flowers and a china urn here.\n\n> About yourself\nThe cuffs of your jeans are soaked with greasy, pale-yellow mud. You stink of rot, and the sweat mingling with rain on your cheeks burns like vinegar.\n\n> You look at the crypt\nA sprawling and brutish monument with a skeleton incised into its metal door. You wonder who'd want to be interred somewhere so grim. You wonder if there's a space inside for your husband."
    },
    {
        "text": "[Themes: Lovecraftian, horror]\n\n> Look around\nThe rain hits your face like a swarm of horseflies, leaving you blinking. You shiver.\n\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\nYou can see some rotten flowers and a china urn here.\n\n> You examine Door\nA crude skeleton, grinning and capering, is incised into the metal. It reminds you of medieval art you saw in college, primitive and alien--but there's something odd about the shape of the skull. A banner above the skeleton reads, worn and barely legible, \"Mors ultima linea rerum est.\"\n\n> Northern\nThe door is shut. The geometric shapes incised deep into the marble prick at your eyes. No explanatory plaque is affixed. You wonder whose name was obliterated.\n\n> You examine the western\nThe door is shut. The marble is blank. Mold has seeped into its pores, dyeing it a fungal yellow. You don't want to touch it.\n\nA bouquet of flowers, black with rot, lies at the foot of the columbarium.\n\n> You examine the flowers\nA bouquet of half-liquefied flowers. The heavy stench of the rain blocks out the smell. You wonder who left them here, and why.\n\n> You examine the eastern\nThe door is shut. Crude figures are incised into the white marble door. One is jackal-headed, cringing and skeletal. Another is fat and imbecilic as a maggot. The tarnished plaque's name has been eaten away; in its place someone has scraped \"O homines ad servitutem paratos!\"\n\n> You examine southern\nThe southern columbarium's front panel hangs ajar, as if ripped asunder. Battered by the wind, it swings; the sound drills into your skull. Your gums ache.\n\nInto the granite wall, someone has carved \"MEDIA VITA IN MORTE SUMUS\" in long, ugly slashes.\n\n> You look at the teetering\nA perfectly round face gawps up at you, its eyes and mouth neatly drilled out. Deep gashes score the granite, the name obliterated. You wonder how long it took. You wonder how much hate it took.\n\nJust readable beneath a carpet of lichen is the inscription: \"In the sweat of thy face shalt thou eat-\" Here the inscription has been pulverized. A line below it continues: \"-till thou return unto the ground; for out of it was thou taken: for dust thou art, and unto-\" The inscription crumbles away. An entire line has been scraped off.\n\nThe quotation's almost familiar, but there's something off-putting about the missing words. They draw the eye like wounds.\n\n> You look at collapsed\nThe stone is pitted, perhaps acid-eaten. A litter of dead insects and blackened leaves leaks from every cranny. Almost unreadable is the inscription \"Zadie Cragne, 1829.\"\n\nOne date. You search in vain for a second, then glance round at the jostling tombstones and wonder how many infants lie beneath.\n\n> You examine blank\nIt's fresher than the others, not yet crusted with lichen. Search as you might, you can't find a name.\n\n> You look at flooded\nMildewed and splintering boards cover the nearest grave. Beneath, gritty ocher water, thick as paint, laps the soil. The grave is open. A granite headstone looms over it, implacably blank.\n\n> You examine urn\nThe urn's been half reduced to colorful powder, seeping into the mud.\n\n> You get all\nrotten flowers: Taken.\n\nchina urn: As you scoop up the urn, it disintegrates into gritty powder. Chunks of bone crumble apart in your fingers and are swept away by the rain."
    },
    {
        "text": "[Themes: horror, Lovecraftian, female protagonist]\n\n> You look at your surroundings\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\n> You look at the coffee\nThe clouds in your cup form a jackalope. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance."
    },
    {
        "text": "> Go down\nYou kneel by the grave, your gorge rising. The boards crumble, staining your hands yellow, as you push them aside. As you disturb the murky rainwater it bubbles, an acrid stink wafting up; your eyes itch and water.\n\nIt's easily six feet deep. You imagine the water closing over your head with a soft slurp, soaking through at once to your skin. You could drown there, clawing at the melting earth walls, your feet never scraping bottom.\n\nYou sit back, gasping for air. Your skull fizzes. An earthy taste remains on your tongue, and the wind spattering your face as you get to your feet is an odd relief.\nYou'll have to find another way down.\n\n> Go inside\n(first opening the crypt door)\nYou push and shove, putting your back into it, but the door remains locked. The skeleton grins stupidly down at you.\n\n> Search flooded\nThe water in the grave is too murky to see through.\n\n> You pull the string\nThe doll intones: \"Guard against the trouble of graves!\"\n\n> You examine grave\nMildewed and splintering boards cover the nearest grave. Beneath, gritty ocher water, thick as paint, laps the soil. The grave is open. A granite headstone looms over it, implacably blank.\n\n> You pull the string\nThe doll intones: \"Flee the portent of the western columbarium!\"\n\n> You pull the string\nThe doll intones: \"Avoid the crypt! A door suggests passage out of life!\"\n\n> You pull the string\nThe doll intones: \"Avoid the jeopardy of the northern columbarium! What merely appears deep may be unmeasurable!\"\n\n> You pull the string\nThe doll intones: \"Guard against the flooded grave! A gritty texture represents hesitation! Water bespeaks a thirst that cannot be assuaged!\"\n\n> You pull the string\nThe doll intones: \"Avoid the trouble of the cheap trick! To think something is cheap indicates your own feelings of inadequacy!\"\n\n> You open the northern\nThe door is shut tight. You prod and pry, the marble panel squeaking on the granite. At last it gives way. Inside, just visible in the dark, is a bronze urn.\n\n> You examine the bronze\nThe metal seems to absorb all light. Unfamiliar colors dance iridescent on its surface. It's greasy to the touch.\n\n> You open the eastern\nYou mumble an apology that the rain drowns out. The door gives way easily. Inside, gleaming in the scant light, is a silver urn.\n\n> You examine the silver\n(the antique locket)\nThe locket and chain are silver, surprisingly untouched by the murky depths from which they came. The front of the locket bears a tiny embossed likeness of a kraken. The initials E.C. are engraved\non its back.\n\n> You look at the silver urn\nThe incised shapes nauseate you; they whirl and dance in a frenzy, contorting and bulging, spreading like a fungus. You blink once, twice, and they were never there.\n\n> You open the western\nYou don't want to touch it, but you grit your teeth. The mold leaves a fine yellow smooch on your hand. You see a copper urn here.\n\n> You examine the copper\nThe smell leaches through the metal, clinging to your skin, your hair. Your stomach rumbles. You're almost hungry.\n\n> You look at the western\nThe marble is blank. Mold has seeped into its pores, dyeing it a fungal yellow. You don't want to touch it.\n\nA bouquet of flowers, black with rot, lies at the foot of the columbarium.\n\n> You put the silver urn in the western\nYou put the silver urn into the western columbarium.\n\n> Open copper\nGreasy red liquid flows out over your hands, itching like centipede legs. Something deep in the urn is just visible, adhered to the side. It is not ashes. Tiny hands, half-reduced to corpse-liquor, fold over a tiny blackened face.\n\n> Inventory\nYou are carrying:\na copper urn (open but empty)\na bronze urn (closed)\nsome rotten flowers\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> Close copper\nYou close the copper urn.\n\n> Open bronze\nThe stench is thick enough to blind you. Gagging you fall to your knees, shapeless forms whirling behind your eyelids; colors flash, almost solid, as if they have physical presence. You see stars bursting, flesh sloughing off the delicate bones of something curled in a damp and pulsating womb, a face that is not human and not animal. You'll have nightmares tonight, if you sleep tonight.\n\n> You close it\nYou close the bronze urn.\n\n> You open the silver urn\nYou open the silver urn, revealing a key from an urn.\n\n> You get key from the urn\nWhich do you mean, the silver urn, the copper urn or the bronze urn?\n\n> Inventory\nYou are carrying:\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nsome rotten flowers\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You examine the key from an the urn\nThe key is greasy with fine ash. Was it burned? Who interred this key, and why?\n\n> You examine the coffee\nThe clouds in your cup form a gunblade. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You look at flooded\nMildewed and splintering boards cover the nearest grave. Beneath, gritty ocher water, thick as paint, laps the soil. The grave is open. A granite headstone looms over it, implacably blank.\n\n> You enter flooded\nYour throat closes up at the thought of touching the water.\nYou'll have to find another way down.\n\n> You examine blank\nIt's fresher than the others, not yet crusted with lichen. Search as you might, you can't find a name.\n\n> You put the flowers in flooded\nYou put the rotten flowers into the flooded grave.\n\n> You get them\nYou imagine reaching into the murky rainwater to retrieve the rotten flowers, and nearly vomit.\n\n> You examine grave\nMildewed and splintering boards cover the nearest grave. Beneath, gritty ocher water, thick as paint, laps the soil. The grave is open. A granite headstone looms over it, implacably blank.\n\nIn the flooded grave are some rotten flowers.\n\n> Dig\nYou dig at the mud with the toe of your shoe. Lukewarm water seeps in around your toes, soaking your sock.\n\n> You look at the cup\nThe clouds in your cup form a mermaid. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> Go northwest\nYou make your way to the rear of the manor house toward its back garden, playfully keeping to a trail of broken flagstones leading the way. Your simple amusement fades as you turn a corner to see a distant gate with an incredible amount of overgrowth choking the forward path. Knee-high grass blankets the ground while thick, thorny bushes crowd the way. You plow ahead, fighting through the hairy grass as it grasps and wraps itself around the fabric of your jeans, making every step a struggle. The slog is made worse by the overgrown bushes which seem to lean in further to assail you with their wicked, long thorns. You finally reach the gate with torn and deeply-itchy skin. Using the momemtum you'd built charging through the overgrowth you forcefully open the gate, snapping the vines draped over it which were holding it shut. The now-broken vines dangle downward from an arch over the gate, forming a swaying curtain of thorns which you delicately part and step through.\n\nYou nearly jump back at the sight of the writhing scene before you.\n\nThe Cragne Manor's Back Garden (Austin Auclair)\nVines splay across the landscape, every direction they shoot, seemingly racing to the tops of trees to pull them down. The vines wind up and around every structure, overrunning them with sheer, sinister mass. The vines grow in hypnotic tracks across the yard, almost to suggest that they were woven, braided, and arranged with care. It's both unnerving and unusually pretty. If there are windows or a door on the back of the manor house they're utterly smothered by the vines that clamber up the wall and onto the roof, and nothing less than a chainsaw could crack open that tomb.\n\nIn the center of the yard is a large, vine-strangled structure that's most likely a fountain. On the left side of the garden is something with the suggested shape of a birdbath, neatly wrapped up in thorny coils. And there's one rather large, building-shaped hill of vines just in front of the southeast corner. Paths out of here lead southwest and southeast.\n\nYou can see a large patch of poison ivy (in which is a pair of garden shears) here.\n\n> About yourself\nIt has been a long day and the setting sun reminds you of how little you've accomplished. You've come dressed to work, however, with sturdy boots, stiff denim, a shirt you're willing to sacrifice, and a bandana wrapped around your forehead. This old mansion likely needs some love and maintenance and you're wearing the uniform for getting things done.\n\n> You check what you're carrying\nYou are carrying:\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You look at the coffee\nThe clouds in your cup form a row of trees. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\n> You examine the vines\nThere are so very many vines in this back garden. Flowering, thorny, hairy, and vines in many hues of green and brown. You might be better off asking about the object your target vine has wrapped itself around.\n\n> You look at the Fountain\nTrumpet Vine with its bright orange, conical flowers strangles what seems to be a marble fountain. Looking closer you see that the top of the fountain features a cherub giving a peace sign with one of its hands and is pointing at its feet with the other. You determine that when the water is actually flowing, the naked churub pees into the main basin. Disconcertingly, a vine has erupted from the cherub's ...ahem... and it dangles freely. You involuntarily wince.\n\n> You look at the bird bath\nMorning Glory with bright, many-hued flowers has wrapped itself around what bears the shape of a birdbath.\n\nYou walk over to take a closer look at the birdbath, circling it, and to the west of it, your foot immediately sinks into the vine-covered ground. Ice-cold water floods into your boot and you struggle to break the vines that have helped snare your limb in this hidden water. In a panic you brace yourself on the birdbath, pulling your foot out of the mire, knocking over the birdbath in the process.\n\nYour attention is split between the revelation that there's a pond hidden here and the flat, inscribed stone that was under the birdbath.\n\n> You look at Stone\n(the grimy rock)\nA solitary rock sat in the palm of your hand.\n\n> You examine inscribed Stone\nYou take a closer look at the flat stone that was under the birdbath and scratched into is, \"I hid the key from the vines when they weren't looking. That made them angry.\"\n\n> You get it\nThe flat stone is firmly stuck in the ground.\n\n> You examine pond\nThe cold water from the once-hidden pond squelches and croaks from your boot with every step you take. Now that you know it's there, you can identify the depression that forms the line of this body of water. Vines cover the surface of the water, hiding it completely. You try pulling them aside so you can peer into the water but they're too tautly strung. You'll need something stronger than your bare hands to cut them.\n\nWhen you push down on any portion of the vines, they undulate across the surface of the water, reminding you of the weird water bed your parents had for years. You shudder in disgust for multiple reasons.\n\n> You examine the building\nFrom the sloping roof it's obvious that the massive pile of vines at the southeast corner of this garden is actually a shed. More Honeysuckle vine than man-made structure, it's hard to see how the shed hasn't yet been obliterated by the plants seeking to consume it. Despite the distractingly intoxicating smell of the Honeysuckle flowers, after a few minutes of poking around the structure you identify the location of the door.\n\nA stout bronze padlock (in addition to layers upon layers of vines) keeps the shed's door firmly closed. You also notice a shelf of gardening supplies just to the left of the structure, it too fully crocheted by vines.\n\n> You look at the padlock\nA solid wooden door with a fairly new-looking bronze padlock keeping it closed. For extra security the vines growing on the shed also grow tightly against the door.\n\n> You examine the shelf\nA wood 3-tiered shelf leans against the shed, fully ensconced in Honeysuckle. You paw through the vines to see cracked pots, broken seed trays, and a few rotted wooden stakes. The only thing of note is a jug of white vinegar.\n\n> You examine the vinegar\nA gallon jug of white vinegar. The label is fairly faded but part of it reads, \"Possible uses: cleaning appliances such as coffee makers, dishwashers, and washing machines, making hardboiled eggs easier to shell, deodorant, and pouring it on hard-to-pull weeds in your driveway to kill them.\"\n\n> You look at the ivy\nAll you can think about is the aphorism, \"Leaves of three, leave them be\" as you stare at this particularly vigorous and noxious-looking patch of poison ivy vines. Your skin crawls and your imagination runs wild with the nightmare of you falling into the poison ivy and having to scratch your skin until it turns bloody. Their hairy tendrils almost seem to drip with sticky poison.\n\nIn the large patch of poison ivy is a pair of garden shears.\n\n> You examine the shears\nThey're long-bladed garden shears, like a giant pair of scissors. They're currently completely surrounded by vile poison ivy.\n\n> You pour the vinegar on the ivy\nTaking the jug of vinegar and following the instructions on the label for dealing with troublesome weeds, you pour it on the poison ivy vines guarding the garden shears. The effect is shockingly immediate and surprisingly, the vines audibly squeal in pain as they melt into goo. The garden shears are left unprotected.\n\n> You get the shears\nNow that awful poison ivy has been cleared away...\n\nTaken.\n\n> You cut all the the vines\nYou're going to have to be a lot more specific. There are countless varieties of vines here.\n\n> Cut pond\nUsing your newly-acquired garden shears you attack the vigorous vines covering the pond. After some thorough cutting you reveal the surface of the water.\n\n> You cut the shelf\nYou trim some of the vines off the garden shelf and you level up your hoticulture skill.\n\n> You look in pond\nAfter cutting away the vines sealing the pond like a thorny pool cover, you reveal most of the pond's surface. The pond is surprisingly clear, even with the early evening's sun ducking behind the horizon. The water is so clear in fact, that you can't miss the rotted skeletal remains of a person sitting down at the bottom of the pond.\n\n> Cut shed\nYou trim some of the vines off the shed and particularly those that are helping to keep the door shut. The shears are nowhere near strong enough to tackle that padlock though.\n\n> You look at skeleton\nThe body of a person wearing gardening overalls and a rotted straw hat lies at the bottom of this once-hidden pond. Their flesh has mostly melted away, leaving a grinning skull that belies their violent end. Vines are hungrily wrapped around the gardener's skeleton and one of the person's hands still clutches at their own throat. Their other hand grasps a rusty screwdriver.\n\n> Cut skeleton\nCutting it up would achieve little.\n\n> You examine the screwdriver\nA flathead screwdriver that is rusty from being underwater for too long.\n\n> You get it\nThe body of the dead gardener is shallow enough in the pond that you can dip your arm into the water and pry the screwdriver from its death grip. The water is freezing cold and smells like it's been steeped in... well, dead body.\n\nTaken.\n\n> You examine the screwdriver\nA flathead screwdriver that is rusty from being underwater for too long. It was underwater because it was being held in the rotting death grip of a gardener (who may have been murdered by vines) before you pried the tool from the person's gross, skeletal hand.\n\n> You read flat Stone\n\"I hid the key from the vines when they weren't looking. That made them angry.\""
    },
    {
        "text": "[Themes: female protagonist, horror]\n\n> Look around\nThe Cragne Manor's Back Garden (Austin Auclair)\nVines splay across the landscape, every direction they shoot, seemingly racing to the tops of trees to pull them down. The vines wind up and around every structure, overrunning them with sheer, sinister mass. The vines grow in hypnotic tracks across the yard, almost to suggest that they were woven, braided, and arranged with care. It's both unnerving and unusually pretty. If there are windows or a door on the back of the manor house they're utterly smothered by the vines that clamber up the wall and onto the roof, and nothing less than a chainsaw could crack open that tomb.\n\nIn the center of the yard is a large marble fountain adorned with a chubby cherub. On the left side of the garden is the birdbath that you knocked over. To the left of the fallen birdbath is the outline of a once-hidden pond and a flat stone stuck in the ground where the birdbath used to stand. Near the rear, southeast corner of the garden is a large garden shed with an adjoining shelf of supplies.\n\n> Search fountain\nOne of the fountain cherub's hands deliberately points downward at its feet. Taking that as a message of sorts, you poke and prod the fountain, its basin, and the cherub statue thoroughly; almost find nothing of value. It's when you inspect the fountain's drain that you see a bronze key, green from age, stuck down inside. You poke at the drain's cover but its screws are rusted too tightly to turn for anything less than a screwdriver.\n\n> You unscrew the drain\nWielding the screwdriver you took from the dead body, you quickly remove the screws from the fountain's drain cover. It's short work from there to hook the key out from the drain pipe.\n\n> You check your inventory\nYou are carrying:\na bronze key green from age\na rusty flathead screwdriver\na pair of garden shears\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You unlock padlock with bronze key\nThe key from the fountain's drain fits and turns in the padlock perfectly. You rip away the vines trapping the shed door and it swings open without a fuss.\n\n> Go inside\nYou open the door further to allow you to pass through. You go inside the garden shed.\n\nThe Shambolic Shack (Michael Fessler)\nA dimly-lit shack with crude plywood walls. An octagonal window set high on one wall admits a feeble shaft of moonlight. Rickety wire shelving sits precariously in one dimly lit corner, and a battered metal wheelbarrow rests in the opposite corner. A rough doorway leads back out.\n\n> You look at the window\nMoonlight struggles to make its way through the patina of dirt on the octagonal window mounted high up on one wall.\n\n> You look at the shelving\nCheap wire shelving that has seen better days. It wobbles to the touch.\n\nOn the rickety wire shelving are some mildewed leather gloves.\n\n> You examine the gloves\nA pair of malodorous gardening gloves spotted with what you presume is mildew. It's particularly dense and pungent around the gloves' opening.\n\n> You look at the wheelbarrow\nA battered metal wheelbarrow. Or at least, it used to be when it still had a front wheel. With only a twisted axle remaining, I guess now it's just a \"barrow\". It is full of glistening black soil.\n\n> You examine soil\nGlistening black soil fills the wheelbarrow nearly to the brim. The soil's surface heaves and churns. There is something alive in there.\n\n> About you\nJust fine. I mean, you have a slightly distant gaze and a mild nervous twitch, but nothing a stiff drink and six weeks on a tropical beach wouldn't put right. So basically fine, then.\n\n> You check your inventory\nYou are carrying:\na bronze key green from age\na rusty flathead screwdriver\na pair of garden shears\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (open but empty)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\nan aluminum key\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You examine the coffee\nThe swirls in your cup form a sharknado. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You put bronze key in the key pocket\nYou put the bronze key green from age into the key pocket.\n\n> You put the aluminum key in the key pocket\nYou put the aluminum key into the key pocket.\n\n> You close the key pocket\nYou close the key pocket.\n\n> You look at the key\nWhich do you mean, the key from an urn or the brass winding key?\n\n> You get gloves\nAs you gingerly pick up the mildewed gardening gloves, a rust-streaked iron key hidden beneath them drops to the ground.\n\n> You look at it\nA hefty iron key, its wards streaked with rust.\n\n> You look at the coffee\nThe clouds in your cup form a dromedary camel. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\n> You get the soil\nYou eye the soil's turbulent surface warily. Nope. Not touching that with your bare hands.\n\n> You wear the gloves\nYou pull the mildewed gloves onto your hands with a reluctant shudder. Your palms begin to itch almost instantly.\n\n> You ask the soil about the soil\nBut there's no one to talk to here.\n\nThe itching of your hands grows maddening, and begins to work its way up your wrists. You feel feverish.\n\n> You search soil\nYour hands shielded by the thick cloth gloves, you reach beneath the surface of the heaving soil. You grit your teeth as you feel mandibles nip fiercely at your hands -- but the gloves hold. You grope around for a few moments, frustrated by the lack of fine sensation.\n\nYou encounter a small metallic object that scrapes against the wheelbarrow floor as you fumble for it, but you can't quite get a grip on it. Abandoning it, you cast about in frustration and rising panic...there! You seize on something large and pull it out of the soil. It's a spray bottle.\n\n> You look at the spray\nA plastic spray bottle labelled \"Handwavizole: For Rapid Treatment of endomycorrhizi yuggothi Infestation\".\n\n> You spray the gloves\nYou douse the mildewed leather gloves with a billowing cloud of fungicide, emptying the bottle in the process. You hear a satisfying sizzle as it does its work.\nHowever, it doesn't penetrate to the skin below, which remains just as itchy.\n\n> You spray yourself\nYou douse your gloved hands with a billowing cloud of fungicide, emptying the bottle in the process. You hear a satisfying sizzle as it does its work. However, it doesn't penetrate to the skin below, which remains just as itchy.\n\n> You remove the gloves\nYou take off the mildewed leather gloves.\n\n> You spray yourself\nYou douse your hands with a billowing cloud of fungicide, emptying the bottle in the process. You feel immediate relief from the fierce itching as your skin sizzles merrily.\n\n> You wait awhile\nTime passes.\n\n> Inventory\nYou are carrying:\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\nsome mildewed leather gloves\na rusty flathead screwdriver\na pair of garden shears\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You examine coffee\nThe swirls in your cup form a gunblade. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\n> You go to the southwest\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA spectral trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You wait for the brown Line\nYou lean against the gravel path, hold out your pass, and wait for the brown line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 2:35 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA noncorporeal trolley stop sign reads Brown Line -- Train Station.\n\n> You check your inventory\nYou are carrying:\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\nsome mildewed leather gloves\na rusty flathead screwdriver\na pair of garden shears\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na brass winding key\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings\na hovering spark (haunting you)\n\nThunder rumbles in the distance.\n\n> You examine the iD\nAn employee ID card for Vermont Transit Authority, bearing a blurry ID photo and the name \"Veeder, R.\"\n\n> You unlock Locker with the iD\nThe card swiper flashes a green light, and the door of the locker swings open. Inside you can see a suitcase.\n\n> You examine it\nA plain brown leather suitcase. You would recognize it as your husband's even without the monogrammed initials P.C. on the side. It has a four-digit combination lock set to 0000.\n\n> You set the lock to 0319\nThe lock clicks open.\n\nThe clock gives a deep, booming chime on the quarter hour.\n\n> You examine the suitcase\nA plain brown leather suitcase. You would recognize it as your husband's even without the monogrammed initials P.C. on the side. It has a four-digit combination lock set to 0319.\n\nYou step in an old wad of gum. Yuck.\n\n> You open it\nYou open the suitcase, revealing a mysterious silver box.\n\n> You look at the silver box\nA smooth, solid silver box. It rattles when shaken, but has no visible hinges, latch, or any other way to open it. On the top is an embossed image of a train.\n\n> You examine the image\nThe image on the box depicts an old-fashioned steam locomotive with cars coupled behind. You can just make out the words \"Anchorhead Express\" on the side of the train.\n\nYou shiver for no reason at all, as if someone has just walked over your grave.\n\n> Shake box\nWhen you shake it, you can hear a faint rattle from inside.\n\nA leak in the ceiling drips water into a puddle."
    },
    {
        "text": "> You look at your surroundings\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 2:54 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA ghostly trolley stop sign reads Brown Line -- Train Station.\n\nYou shiver for no reason at all, as if someone has just walked over your grave.\n\n> You put the box on the tracks\n(first taking the mysterious silver box)\nYou put the mysterious silver box on the tracks.\n\nA garbled message plays over the PA system, in which the only understandable word is \"blood\"."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You describe your surroundings\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 2:57 pm; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA noncorporeal trolley stop sign reads Brown Line -- Train Station.\n\n> You examine the schedule\n(the trolley schedule)\nIt's unlike any public transit schedule you've ever seen, in that there are no times listed. A cheerfully phrased block of introduction text instructs riders to hang their passes around their necks, proceed to a trolley stop, and WAIT FOR whatever color LINE corresponds with their choice of destination.\n\nDestinations:\nBrown Line -- Train Station\nGold Line -- Church\nBlue Line -- Library Square\nAqua Line -- River Walk\nOrange Line -- Constabulary Road\nGreen Line -- The Woods\nPurple Line -- Cragne Manor\n\n> You examine the schedule board\nThe board lists a schedule of train times:\nProvidence     CANCELLED\nDunwich        CANCELLED\nInnsmouth      CANCELLED\nAnchorhead     13:37\nArkham         CANCELLED\n\n> You examine the clock\nThe clock face seems almost to be staring at you, as the second hand sweeps hypnotically around it. The time shown is 3:00 pm. You can't see the clock very closely from down here.\n\nThe clock tolls 3 times, each stroke rattling your teeth and resounding hollowly around the empty station.\n\n> Break box\nViolence isn't the answer to this one.\n\nFor no apparent reason, the PA system plays a three-second snatch of bagpipe music.\n\n> You examine the brick wall\nA crumbling brick wall with some strange graffiti painted on it.\n\n> You turn the box\nNothing obvious happens.\n\nA leak in the ceiling drips water into a puddle.\n\n> You say vaadignephod\nYou can only do that to something animate.\n\n> You say the ialdabaoloth\nSuddenly Peter stands and approaches you. He slaps you hard across the face, knocking you to the ground. Then he walks off into the darkness. You stare after him for a while. When you finally turn around, you notice the gate is also gone.\n\n> You look at the winding\nA small brass key used for winding a clock.\n\n> You stand on the bench\nYou get onto the bench.\n\nThunder rumbles in the distance.\n\n> You look at the clock\nThe clock face seems almost to be staring at you, as the second hand sweeps hypnotically around it. The time shown is 3:09 pm. Standing on the bench, you can see a small keyhole on one side of the clock.\n\n> You put the winding in the keyhole\nThe winding key fits neatly into the hole, ready to be turned.\n\n> Wind clock\nTurning the key will change the time on the clock. You should pick a time to set it to.\n\n> You get the coin\nYou can't reach that while you're up on the bench.\n\nA garbled message plays over the PA system, in which the only understandable word is \"blood\".\n\n> You stand\nYou get off the bench.\n\n> You get the coin\nTaken.\n\nYou step in an old wad of gum. Yuck.\n\n> You examine it\nA tarnished circle of bronze. The heads side depicts a misshapen figure with what look like tentacles. The tails side has a strange glyph which seems to shift as you look at it, but looks almost like an R fused with a V. Or maybe a J fused with a P? No, it's definitely an R fused with a V.\n\nA leak in the ceiling drips water into a puddle.\n\n> You examine the vending\nSimilar to a gumball machine, but it's the kind that dispenses toys in little plastic bubbles. At the bottom is a chute where the contents come out. There is a coin slot, but instead of a price next to it, there is a strange squiggled glyph.\n\nIn the vending machine is a plastic bubble.\n\n> You put the coin in the slot\nWhich do you mean, the rectangular slot or the coin slot?\n\n> Coin\nThe coin drops into the slot with a clunk. A plastic bubble falls into the chute.\n\n> You examine it\nA small transparent plastic capsule with a lid.\n\nIn the plastic bubble is a golden eyepiece.\n\nThe clock gives a deep, booming chime on the quarter hour.\n\n> You open it\nYou open the plastic bubble.\n\n> You examine the eyepiece\nA misshapen golden disc, studded with lenses. It looks like it could fit flush with your eye socket. On its surfaces are a round button, a triangular button, and a small rectangular slot.\n\nThe golden eyepiece is currently switched off.\n\nYou shiver for no reason at all, as if someone has just walked over your grave.\n\n> You wear it\n(first taking the golden eyepiece)\nYou try holding it up to your eye, but it just falls off. Perhaps there are additional steps.\n\n> You look at the round button\nYou see nothing special about the round button.\n\nThe PA system crackles with static, but no words are intelligible.\n\n> You enter the bench\nYou get onto the bench.\n\n> You stand\nYou get off the bench.\n\nIs it your imagination, or do you see something approaching down the track?\n\n> You enter the tracks\nYou get onto the tracks.\n\n> Wait\nTime passes.\n\nA monotonous voice over the loudspeaker recites a seemingly random series of numbers.\n\n> Wait\nTime passes.\n\nIs it your imagination, or do you see something approaching down the track?\n\n> You look at the clock\nThe clock face seems almost to be staring at you, as the second hand sweeps hypnotically around it. The time shown is 1:39 pm. You can't see the clock very closely from down here.\n\nYes... there's definitely something coming, though you can't seem to see it clearly...\n\n> Wait\nTime passes.\n\nThere is a sudden gust of wind and a headlight shining in your face. You can just make out the translucent shape of an old-fashioned steam locomotive bearing down on you as you stand frozen on the tracks. You close your eyes, expecting it to hit you at any moment, but instead of a solid impact you feel a rushing current like a hurricane wind. There is no time even to scream as it tears the very soul from your body, carrying you along on its spectral journey.\n\n> You stand\nYou get off the tracks.\n\nYou step back just in time, as an old-fashioned steam locomotive comes hurtling down the tracks from the west. It appears translucent, almost insubstantial, but the rush of wind and noise created by its passage fills the station: the clatter of the wheels, the chugging of the engine, the clanging of the bell, and the mournful blowing of the whistle. It whooshes through the station without stopping, and then is gone as swiftly as it appeared. In the sudden silence, you look down the tracks to the east, but can see no sign of it.\n\n> You examine the eyepiece\nA misshapen golden disc, studded with lenses. It looks like it could fit flush with your eye socket. On its surfaces are a round button, a triangular button, and a small rectangular slot.\n\nThe golden eyepiece (smelling faintly of mildew) is currently switched off.\n\nA faint smell of mildew emanates from it.\n\n> Inventory\nYou are carrying:\na golden eyepiece (smelling faintly of mildew)\na plastic bubble (open but empty)\na mysterious silver box\na suitcase (open but empty)\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\nsome mildewed leather gloves\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup (smelling faintly of mildew)\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\na small, rectangular battery\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings\na hovering spark (haunting you)\n\n> You examine the black card\nCongratulations! You've just encountered Vaadignephod's\nAnti-Personnel Squad!\n\nThe clock gives a deep, booming chime on the quarter hour.\n\n> You put the black card in the rectangular slot\nThat can't contain things.\n\nThe wind blows stray leaves across the tracks.\n\n> You drop the gloves\nDropped.\n\n> You wear the eyepiece\nYou try holding it up to your eye, but it just falls off. Perhaps there are additional steps.\n\nA leak in the ceiling drips water into a puddle.\n\n> You wear the eyepiece\nYou try holding it up to your eye, but it just falls off. Perhaps there are additional steps.\n\n> You wear the eyepiece\nThere's a sudden pinching sensation as the device clamps onto your face. Panicked, you struggle to remove it, but it won't budge. You feel a long needle pierce your eye, and then nothing. Your vision is normal once more - better than normal, even. Previously mundane surfaces now shimmer with possibility.\n\n> You examine the coffee\nThe swirls in your cup form a mansion. Objects of desire either mean that you are surrounded by great treasures and opportunities or that you need to be more careful with your physical belongings. Possibly both.\n\nA faint smell of mildew emanates from it.\n\n> You examine the coffee\nThe clouds in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go south\nTrain Station Lobby (Shin)\n\n> You examine the coffee\nThe clouds in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go south\nExterior of Train Station (Emily Short with additions from Graham Nelson)\n\n> Go south\nYou pass over the bridge. The ravine has become a white river, teeming with creatures: you see a fin, a gill, a plaintive upturned face, before each is swept away.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You go to the south\nA ghostly trolley stop sign reads Gold Line -- Church.\n\n> You look at the coffee\nThe clouds in your cup form a dromedary camel. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You wait for blue Line\nYou lean against the keyhole, hold out your pass, and wait for the blue line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA mistlike trolley stop sign reads Blue Line -- Library Square.\n\n> You go northwest\nShack Exterior (Michael Lin)\n\n> You examine the coffee\nThe clouds in your cup form a biplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You go northwest\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nYou can see a flat stone here.\n\n> You go to the north\nThe Old Well (Reed Lockwood)\nYou can see a wooden sigil here.\n\nA phantom trolley stop sign reads Green Line -- The Woods.\n\n> You examine the coffee\nThe swirls in your cup form a pear shape, complete with stem. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "> You look at your surroundings\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, capped off with crumbling cement. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a wooden sigil here.\n\nA ghostly trolley stop sign reads Green Line -- The Woods.\n\n> You look at well\nAn old well cap made of crumbling cement emerges from the forest floor here. Two wrought-iron handles, pitted with rust, emerge from the top. A padlock, also rusted, holds it closed.\n\n> You examine the padlock\nIt's rusted tight, but still solid.\n\n> You check your inventory\nYou are carrying:\nsome mildewed leather gloves\na golden eyepiece (smelling faintly of mildew) (being worn)\na plastic bubble (open but empty)\na mysterious silver box\na suitcase (open but empty)\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup (smelling faintly of mildew)\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (open but empty)\na trolley pass (being worn)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\na dead battery\nThe Dollmaker's Journal\na repaired page\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule\nPeter's jacket\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings (smelling faintly of mildew)\na hovering spark (haunting you)\n\n> Close tp\nYou close the trash pocket.\n\n> You put the suitcase in the tp\nYou unzip the trash pocket, deposit the suitcase, then zip the trash pocket back up again.\n\n> You put the bubble in the tp\nYou unzip the trash pocket, deposit the plastic bubble, then zip the trash pocket back up again.\n\n> You put the silver box in the tp\nYou unzip the trash pocket, deposit the mysterious silver box, then zip the trash pocket back up again.\n\n> You put the peter's jacket in the tp\nYou unzip the trash pocket, deposit Peter's jacket, then zip the trash pocket back up again.\n\n> You put the dead battery in the tp\nYou unzip the trash pocket, deposit the dead battery, then zip the trash pocket back up again.\n\n> You look at the brick wall\nYour vision zooms in on the crumbling bricks to reveal a howling maze of rust-red crevices, between which swoop screeching black eagles. The red rock is perforated by innumerable cavities in which dwell scurrying insects.\n\nYou can see the wooden arch, the marigold arch, the violet arch and the pink arch here.\n\n> You examine the root\nPeering at the twisted root, your vision distorts, distorts again. Suddenly you see as a forest of gray fungus over rich, piled soil. Strange little bipeds clamber among the stalks, pale with bulbous heads.\n\nYou can see the wooden arch, the marigold arch, the teal arch and the mint green arch here.\n\n> You look at the puddle\nKneeling to examine the puddle, you witness a violent sea, plumed with frothing foam. Below the surface, the shadows of sea-life, cresting and rolling their smooth gray bodies.\n\nYou can see the wooden arch, the teal arch, the violet arch and the sky blue arch here.\n\n> Inventory\nYou are carrying:\nsome mildewed leather gloves\na golden eyepiece (smelling faintly of mildew) (being worn)\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar\na key from an urn\na copper urn (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card\na trophy for a dog race\na half-full styrofoam coffee cup (smelling faintly of mildew)\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben (smelling faintly of mildew)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll\na waterproof flashlight\nThe Dollmaker's Journal\na repaired page (smelling faintly of mildew)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings (smelling faintly of mildew)\na hovering spark (haunting you)\n\n> You examine moldy\nIt's heavily damaged by the elements. You can make out the letters \"-AGNE\" on the front cover.\n\n> You read it\nYou riffle through the pages; only short passages are still legible:\n\n\"... circular golden prosthesis seems to have chosen Mabel ... doctor said he can't remove it without harming the child ...\"\n\n\"... Mabel spends long hours examining stumps and rocks in the woods ... and I are most concerned. Mabel's stories of fairies and HIDDEN LANDS seem more than childish fancy\"\n\n(There's a long section of the book here which is ruined and entirely illegible, although you can make out diagrams and the faded, troubling outlines of strange shapes)\n\n\"... constructed the sigil out of sculpted and varnished wood after many ... Mabel instructs me on where it should be placed ... spirits she is in communication with have constructed various devices at her command ... creatures I have dubbed microphids ... \"\n\n\"... Clara still doesn't believe; threatened to get Pastor Crowell involved ... able to dodge him so far ... quit my position at ...\"\n\n\"... very concerned but there is no body ... up to seven successful SUMMONINGS that have remained docile ... we will never know, and quite frankly these studies are more important than that ... Each creature must process through three ARCHES, through three HABITATS and stages of development before finally maturing through the ARCH and SIGIL ... special GLUE created by that one created via the sequence ->FOREST->(illegible)->CLIFFS ...\"\n\n\"... at Clara's insistence I have written to the University ... fake name ... one we have dubbed Moppy is friendly enough and a loyal companion to Mabel ...\"\n\n\"... siphoning off the rest of the inheritance ... haven't seen her in a while ... sent an officer of the law to fetch Mabel, but Moppy took care of him ...\"\n\n(another long damaged section)\n\n\"... only Tall Pete is left ... lay Mabel in a grave beside Moppy ... TERRIBLE LIZARD-BIRD was raised up from the OCEAN - is still out there somewhere ...\"\n\n\"... now I wear the PROSTHESIS; now I can see\neverything. ... breached the walls of perception ... I am PRODDING the EGG MACHINE on the QUARTZ OUTCROPPING ... dozens of them GATHER to PROTECT me from the LIZARD BIRD ... PULLED the ROOF clear off my SHELTER ...\"\n\nAnd that's it. There's no more. Well, you suppose you didn't actually expect the author to keep writing right up until the point of his death, but you're a little disappointed.\n\n> You examine the quartz\nLeaning in close to the patch of quartz, your vision swirls. Visions of a strange, microscopic world appear: A shallow pool of aquamarine fluid sits within a vast white desert woven with lavender capillaries, a soft network of exotic flora. Beside the crater, a chrome-plated, cylindrical machine protrudes from the ground.\n\nYou can see the wooden arch, the mint green arch, the pink arch and the sky blue arch here.\n\n> You look at the machine\nA chrome plated cylinder, studded with rivets. A chute extends from one side, toward the aquamarine pool. It is located in the languid plain.\n\n> You examine the SIGIL\nA circular wooden frame is embedded in the ground here, organic arcs of wood carved with strange symbols. Though surrounded by rot, it is entirely intact despite its apparent age.\n\n> You examine the aquamarine\nThe calm pool of aquamarine fluid is in the languid plain.\n\nYou see nothing special about the calm pool of aquamarine fluid.\n\n> You examine the wooden arch\nA wooden archway carved with eldritch symbols. It is located in the roiling ocean.\n\n> You look at the mint green\nThe mint green arch connects the languid plain to the blessed forest.\n\nA mint green arch.\n\n(You can see all arches discovered so far by typing \"x\narches\".)\n\n> You examine the arches\nArches found so far:\n\nwooden arch ----> wooden sigil\nmint green arch: languid plain <---> blessed forest\npink arch: languid plain <---> howling labyrinth\nsky blue arch: languid plain <---> roiling ocean\nteal arch: roiling ocean <---> blessed forest\nviolet arch: roiling ocean <---> howling labyrinth\nmarigold arch: howling labyrinth <---> blessed forest\n\n> You turn it on\nYou can't manipulate something that small with your bare hands. Try prodding it with the laser on your eyepiece.\n\n> Prod machine\nThe chrome-plated machine shivers and lurches, and an egg trundles down its chute and splashes into the aquamarine pool below. The shell breaks apart, the pieces rapidly dissolving, leaving behind only a small, translucent blob.\n\n(\"p\" can be used as an abbreviation for \"prod\")\n\n> You examine the blob\nA nascent, translucent blob of flesh rolls and shivers on the surface of the aquamarine pool. It is located in the languid plain.\n\n> Prod blob\nThe tiny blob shrivels up and dies in the heat of the beam.\n\n(\"p\" can be used as an abbreviation for \"prod\")\n\n> Prod machine\nThe chrome-plated machine shivers and lurches, and an egg trundles down its chute and splashes into the aquamarine pool below. The shell breaks apart, the pieces rapidly dissolving, leaving behind only a small, translucent blob.\n\n> Prod mint green\nThe tiny blob wriggles up onto dry land and passes beneath the mint green arch. It disappears from the languid plain.\nThe tiny blob emerges in the blessed forest and transforms into a small quadruped.\n\n> You look at quadruped\nA half-formed thing with four trunk-like legs, browsing at the fungal nodes with soft probing lips. It is located in the blessed forest.\n\n> Prod teal\nThe creature saunters through the teal arch. It disappears from the blessed forest.\nThe small quadruped emerges in the roiling ocean and transforms into a bumpy whale.\n\n> You look at the whale\nHow this whale is covered with pleasing round bumps; it dives to fetch the boneless lurkers of the deep. It is located in the roiling ocean.\n\n> Prod violet\nThe whale dives to the violet arch. It disappears from the roiling ocean.\nThe bumpy whale emerges in the howling labyrinth and transforms into a armored climber.\n\n> You examine the climber\nA large, armored creature, somewhat reminiscent of giant armadillo climbs among the rocks, licking the insects from the crevices. It has beautiful eyes. It is located in the howling labyrinth.\n\n> Prod wooden\n(the wooden sigil)\nThe air above the sigil crackles with energy.\n\nA great, armor-plated monster trundles forth from the sigil and off into the forest with hardly a backwards glance.\n\n(For future reference, you can use the command \"birth\" to lay\nanother egg; \"forest\", \"plain\", \"cliffs\", and \"ocean\" to switch the creature between microcosms you've discovered; and \"summon\" to summon a mature creature into the sigil.)\n\n> You look at the coffee\nThe swirls in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Birth\nThe chrome-plated machine shivers and lurches, and an egg trundles down its chute and splashes into the aquamarine pool below. The shell breaks apart, the pieces rapidly dissolving, leaving behind only a small, translucent blob.\n\n> Forest\nThe tiny blob wriggles up onto dry land and passes beneath the mint green arch. It disappears from the languid plain.\nThe tiny blob emerges in the blessed forest and transforms into a small quadruped.\n\n> Plains\nThe creature saunters through the mint green arch. It disappears from the blessed forest.\nThe small quadruped emerges in the languid plain and transforms into a glassy horse.\n\n> Cliffs\nThis horse gallops gaily toward the pink arch. It disappears from the languid plain.\nThe glassy horse emerges in the howling labyrinth and transforms into a slime ape.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe cycloptic ape extends its arms over the edge of the sigil, heaving itself into your pathetic material world, dripping gobs of sticky slime across the forest floor. It leaps atop the clearing and onto the well cap. It turns and catches you in its monocular gaze. An understanding passes between you. Maybe even - love? It turns again, bolting into the bushes.\n\n\"W-Wait,\" you say, but the moment has passed.\n\nOnly the creature's sticky goo is left behind on the well.\n\n> You examine well\nAn old well cap made of crumbling cement emerges from the forest floor here. Two wrought-iron handles, pitted with rust, emerge from the top. A padlock, also rusted, holds it closed. The entire thing is covered in sticky goo.\n\n> You open well\nYou place your hands on the handles and give them a good, solid pull. No good.\n\nWhen you try to remove them, however, they do not budge. With growing alarm, you struggle to free your grasp from the well's handles, but it is no use. In the process, your shoe also gets stuck, and then your elbow.\n\nYou scream for help, but no one answers. Soon, night will fall.\n\n> Cliffs\nThe tiny blob wriggles up onto dry land and passes beneath the pink arch. It disappears from the languid plain.\nThe tiny blob emerges in the howling labyrinth and transforms into a wriggling worm.\n\n> Plains\nThe little worm squirms its way into the pink arch. It disappears from the howling labyrinth.\nThe wriggling worm emerges in the languid plain and transforms into a somnambulant snake.\n\n> OCEAN\nThe creature inches its way lazily toward the sky blue arch. It disappears from the languid plain.\nThe somnambulant snake emerges in the roiling ocean and transforms into a gulping eel.\n\n> Prod eel\nThe gulping eel shrivels up and dies in the heat of the beam.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA freakish, big-mouthed black eel erupts from the sigil. It swallows you whole before falling to the ground and perishing. Unfortunately, you're unable to escape from its belly.\n\n> OCEAN\nThe tiny blob wriggles up onto dry land and passes beneath the sky blue arch. It disappears from the languid plain.\nThe tiny blob emerges in the roiling ocean and transforms into a slightly more robust blob.\n\n> Plain\nThe blob sinks beneath the surface of the waves, presumably to find the sky blue arch. It disappears from the roiling ocean.\nThe slightly more robust blob emerges in the languid plain and transforms into a undulating slug.\n\n> OCEAN\nThe slug inches toward the sky blue arch. It disappears from the languid plain.\nThe undulating slug emerges in the roiling ocean and transforms into a all-consuming blob.\n\n> Prod blob\nThe all-consuming blob shrivels up and dies in the heat of the beam.\n\n> OCEAN\nThis horse gallops gaily toward the sky blue arch. It disappears from the languid plain.\nThe glassy horse emerges in the roiling ocean and transforms into a hungry seal.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe absurd and frightening seal appears before you; it moves frighteningly fast, even on land. It pins you down and clenches its enormous human teeth against your skull.\n\n> Prod seal\nThe hungry seal shrivels up and dies in the heat of the beam.\n\n> Plains\nThe monster is already there!\n\n> Cliffs\nThe blob sinks beneath the surface of the waves, presumably to find the violet arch. It disappears from the roiling ocean.\nThe slightly more robust blob emerges in the howling labyrinth and transforms into a gas-belching sphere.\n\n> OCEAN\nThe creature descends toward the violet arch. It disappears from the howling labyrinth.\nThe gas-belching sphere emerges in the roiling ocean and transforms into a floating strangler.\n\n> You examine the strangler\nAn abominable polyp of flesh floats above the sea, pulling up fish with its hook-studded tendrils. It is located in the roiling ocean.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe misshapen polyp appears before you, lashing out with its tendrils. You are caught fast in an instant, thousands of tiny hooks digging into your flesh. It yanks you up, up, until you can see all of Backwater, Vermont and its surrounding territories. Sadly, the view is spoiled by the burning venom coursing through your veins.\n\n> Prod monster\nThe floating strangler shrivels up and dies in the heat of the beam.\n\n> Forest\nThe blob sinks beneath the surface of the waves, presumably to find the teal arch. It disappears from the roiling ocean.\nThe slightly more robust blob emerges in the blessed forest and transforms into a swarm of burrowing insects.\n\n> OCEAN\nThe swarm coalesces upon the teal arch. It disappears from the blessed forest.\nThe swarm of burrowing insects emerges in the roiling ocean and transforms into a school of ravenous shrimp.\n\n> Cliffs\nThe creature saunters through the marigold arch. It disappears from the blessed forest.\nThe small quadruped emerges in the howling labyrinth and transforms into a winged scavenger.\n\n> OCEAN\nThe creature flaps toward the violet arch. It disappears from the howling labyrinth.\nThe winged scavenger emerges in the roiling ocean and transforms into a fearsome pteranodon.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA fearsome pteranodon emerges from the sigil. For half a moment, you are both completely still, it regarding you with a fierce intensity, you too panicked to move.\n\nWith an abrupt flurry of its colossal wings it comes directly at you, seizing you in its talon. It carries you high, and you are already bleeding out.\n\n> You read BOOK\nWhich do you mean, Tolerating An Asinine God, The Modern Girl's Divination Handbook -- Volume Three, the diary of Phyllis Cragne, the postcard of Big Ben (smelling faintly of mildew), The Dollmaker's Journal, the moldy, waterlogged journal, Twin Hearts Between the Planes or the soggy tome?\n\n> You read moldy\nYou riffle through the pages; only short passages are still legible:\n\n\"... circular golden prosthesis seems to have chosen Mabel ... doctor said he can't remove it without harming the child ...\"\n\n\"... Mabel spends long hours examining stumps and rocks in the woods ... and I are most concerned. Mabel's stories of fairies and HIDDEN LANDS seem more than childish fancy\"\n\n(There's a long section of the book here which is ruined and entirely illegible, although you can make out diagrams and the faded, troubling outlines of strange shapes)\n\n\"... constructed the sigil out of sculpted and varnished wood after many ... Mabel instructs me on where it should be placed ... spirits she is in communication with have constructed various devices at her command ... creatures I have dubbed microphids ... \"\n\n\"... Clara still doesn't believe; threatened to get Pastor Crowell involved ... able to dodge him so far ... quit my position at ...\"\n\n\"... very concerned but there is no body ... up to seven successful SUMMONINGS that have remained docile ... we will never know, and quite frankly these studies are more important than that ... Each creature must process through three ARCHES, through three HABITATS and stages of development before finally maturing through the ARCH and SIGIL ... special GLUE created by that one created via the sequence ->FOREST->(illegible)->CLIFFS ...\"\n\n\"... at Clara's insistence I have written to the University ... fake name ... one we have dubbed Moppy is friendly enough and a loyal companion to Mabel ...\"\n\n\"... siphoning off the rest of the inheritance ... haven't seen her in a while ... sent an officer of the law to fetch Mabel, but Moppy took care of him ...\"\n\n(another long damaged section)\n\n\"... only Tall Pete is left ... lay Mabel in a grave beside Moppy ... TERRIBLE LIZARD-BIRD was raised up from the OCEAN - is still out there somewhere ...\"\n\n\"... now I wear the PROSTHESIS; now I can see\neverything. ... breached the walls of perception ... I am PRODDING the EGG MACHINE on the QUARTZ OUTCROPPING ... dozens of them GATHER to PROTECT me from the LIZARD BIRD ... PULLED the ROOF clear off my SHELTER ...\"\n\nAnd that's it. There's no more. Well, you suppose you didn't actually expect the author to keep writing right up until the point of his death, but you're a little disappointed.\n\n> Birth\nThe cylinder buzzes, and a tinny recording plays:\n\n\"Only one microphid in the nursery constellation at a time, please.\"\n\n> You examine the monster\nIt shrieks above the sea, borne on great and leathery wings. It seizes great fish with grasping claws, lifting them from the water. It is located in the roiling ocean.\n\n> Cliffs\nThe cylinder buzzes, and a tinny recording plays:\n\n\"This microphid is now mature, and will no longer change habitats.\"\n\n> Forest\nThis horse gallops gaily toward the mint green arch. It disappears from the languid plain.\nThe glassy horse emerges in the blessed forest and transforms into a polyphonic ungulate.\n\n> You look at the monster\nA hoofed mammal stands among the fungus, emitting dissonant tones from the many holes in its body. The smaller creatures worship it with a cult-like fervor. It is located in the blessed forest.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe ungulate struts forth from the sigil, piping its dissonant tune.\n\n> You look at the ungulate\nA hooved mammal stands here, emitting dissonent tones from the many holes in its body.\n\n> Forest\nThe little worm squirms its way into the marigold arch. It disappears from the howling labyrinth.\nThe wriggling worm emerges in the blessed forest and transforms into a drill-headed worm.\n\n> OCEAN\nThe creature emerges from the loam, headed toward the teal arch. It disappears from the blessed forest.\nThe drill-headed worm emerges in the roiling ocean and transforms into a bloody nematode.\n\n> You look at the nematode\nAt first, you see nothing but a sick whale, rolling over in the water. A long, crimson thread emerges from its flesh, polluting the sea with its foul emanations. It is located in the roiling ocean.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA horrid red nematode squirms forth from the sigil, shedding blankets of mucus. Before you can react, it burrows into your flesh, is gone. Your innards writhe and ache, and a strange feeling comes over you: You can no longer consciously control your own movements! Then why, why, why do you continue to move?\n\n> Prod nematode\nThe bloody nematode shrivels up and dies in the heat of the beam."
    },
    {
        "text": "[Themes: horror, Lovecraft, Comedy]\n\n> Look around\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, capped off with crumbling cement. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a polyphonic ungulate and a wooden sigil here.\n\nAn insubstantial trolley stop sign reads Green Line -- The Woods.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA fearsome pteranodon emerges from the sigil. Screeching, it attacks the polyphonic ungulate. Alone, the creature cannot defend itself.\nThe pteranodon seizes the polyphonic ungulate and carries it into the sky.\n\n> Forest\nThe creature flaps toward the marigold arch. It disappears from the howling labyrinth.\nThe winged scavenger emerges in the blessed forest and transforms into a colorful bird.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe vivid bird appears on top of the sigil. It flutters about the clearing, singing its song.\nIt joins the polyphonic ungulate.\n\n> Plains\nThe creature flaps toward the pink arch. It disappears from the howling labyrinth.\nThe winged scavenger emerges in the languid plain and transforms into a peaceful glider.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe great gliding bird appears above the sigil. It circles higher and higher, until it is barely a speck in the sky.\n\n> Forest\nThe whale dives to the teal arch. It disappears from the roiling ocean.\nThe bumpy whale emerges in the blessed forest and transforms into a space whale.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA beautiful space whale appears before you, levitating in psychedelic paisley.\n\n\"Well met, human,\" it says, lights flickering across its patterns. \"It is a shame that you are not yet far enough in your evolution - too prone to violence, to selfishness. Someday, perhaps I shall return to you, and we shall ride to glory among the nebulae. So long, my poor friend.\"\n\nAnd with that, it soars skyward, vanishing to a single far-off mote, and then to a mere memory. Not knowing what else to do, you weep bitter tears.\n\n> Plains\nThe whale dives to the sky blue arch. It disappears from the roiling ocean.\nThe bumpy whale emerges in the languid plain and transforms into a many-legged beast.\n\n> You examine the beast\nIt is like a great land-bound whale, gnashing at the purple moss with teeth the size of roof tiles. It is located in the languid plain.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA massive whale-like creature emerges from the sigil, replete with elephantine legs. But, like all your so-called friends, it stomps off into the forest never to be seen again.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA great, armor-plated monster trundles forth from the sigil and off into the forest with hardly a backwards glance.\n\n> Forest\nThe creature inches its way lazily toward the mint green arch. It disappears from the languid plain.\nThe somnambulant snake emerges in the blessed forest and transforms into a comfy snake.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nThe padded snake slithers from the sigil.\nIt joins the colorful bird and the polyphonic ungulate, falling\nasleep among the leaves.\n\n> Summon\nThe air above the sigil crackles with energy.\n\nA fearsome pteranodon emerges and perches on the handles of the well-cap. It screeches at the other monsters, but they band together to defend themselves. Defeated, it attempts to fly off, but its feet are stuck fast to the well-cap. It screeches and shrieks, flapping its colossal wings, sending clots of leaves and muddy droplets spiraling into the air. At last, the cement cracks, and the top of the well breaks off in the creatures claws as it soars higher and higher. Only the open top of the well remains.\n\nIn the chaos, a piece of debris must have hit the golden device, for now it the eyepiece shows only black. With a whine, it falls from your face, sputtering acrid green smoke.\n\n> You look at the ungulate\nA hooved mammal stands here, emitting dissonent tones from the many holes in its body."
    },
    {
        "text": "> Go downwards\nCircular Room (JP)\nYou walk into a circular, high-ceilinged room made of roughly-shaped gray stones. This room really looks like a capped well, but its location in the building suggests otherwise.\n\nThere appears to be a small wad of cash just inside the sunken area.\n\n> About yourself\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\n> Inventory\nYou are carrying:\nsome mildewed leather gloves\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar\na key from an urn\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card (smelling faintly of mildew)\na trophy for a dog race\na half-full styrofoam coffee cup (smelling faintly of mildew)\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben (smelling faintly of mildew)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\nThe Dollmaker's Journal\na repaired page (smelling faintly of mildew)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings (smelling faintly of mildew)\na hovering spark (haunting you)\n\n> You look at the coffee\nThe swirls in your cup form the Mona Lisa. Objects of desire either mean that you are surrounded by great treasures and opportunities or that you need to be more careful with your physical belongings. Possibly both.\n\nA faint smell of mildew emanates from it.\n\n> You look at it\nIt smells a little musty and is deeply creased into an almost solid lump."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft, Comedy]\n\n> Look around\nCircular Room (JP)\nYou walk into a circular, high-ceilinged room made of roughly-shaped gray stones. This room really looks like a capped well, but its location in the building suggests otherwise.\n\n> You pull the string\nThe doll intones: \"Shun the stones! Grey is the tint of that which is already beyond recovery!\"\n\n> Go upwards\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, a ragged, gaping hole in the earth. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a golden eyepiece (smelling faintly of mildew), a comfy snake, a colorful bird, a polyphonic ungulate and a wooden sigil here.\n\nA phantom trolley stop sign reads Green Line -- The Woods.\n\n> You wait for the aqua Line\nYou lean against the pink arch, hold out your pass, and wait for the aqua line. Within moments, a noncorporeal trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA phantom trolley stop sign reads Aqua Line -- River Walk.\n\n> You examine coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the hatch\nThe humidity of the river has rusted the hatch to the color of dried blood, like an old scab on the embankment. Seemingly of the same vintage as the bridge, it lacks any modern logo, markings, or even a handle, though there is an odd rectangular indentation along one edge.\n\n> You examine the indentation\nThe indentation in the hatch is a little over an inch long, about half as wide, and seems too shallow to make a good handle, even if it didn't look like a jagged-edged tetanus-shot-waiting-to-happen... Which, for the record, it does.\n\n> Inventory\nYou are carrying:\na wad of cash\nsome mildewed leather gloves\na spray bottle that used to contain fungicide\na hefty, rust-streaked iron key\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar\na key from an urn\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (closed)\nTolerating An Asinine God\na black business card (smelling faintly of mildew)\na trophy for a dog race\na half-full styrofoam coffee cup (smelling faintly of mildew)\na glass shard\na giant milkweed leaf (being worn as a mask)\nan antique locket (closed)\na backpack features guide\nThe Modern Girl's Divination Handbook -- Volume Three\nthe diary of Phyllis Cragne\na postcard of Big Ben (smelling faintly of mildew)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\nThe Dollmaker's Journal\na repaired page (smelling faintly of mildew)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nloose bricks\na pamphlet of home listings (smelling faintly of mildew)\na hovering spark (haunting you)\n\n> You unlock hatch with the iron key\nAt first you have some doubts, but with some coaxing, but the key (more or less) fits into the indentation in the hatch.\n\nYou give the key a good solid twist to the left, but it squeals to a stop after a quarter-turn, jammed in place.\n\n> You continue\nYou give it a good heave, this time with both hands, but the key may as well be welded to the hatch.\n\n> You turn the key\n(the key from an urn)\nNothing obvious happens.\n\n> You turn the iron the key\nNothing obvious happens.\n\n> You look at the hatch\nThe humidity of the river has rusted the hatch to the color of dried blood, like an old scab on the embankment. Seemingly of the same vintage as the bridge, it lacks any modern logo or markings, aside from the metal key protruding from an indentation along the edge.\n\n> You pull the iron key\nUsing the key as a handle, you slowly, painfully drag the hatch open as it screeches in protest."
    },
    {
        "text": "[Themes: Comedy, horror, female protagonist]\n\n> Go downward\nThe hatch leads to a narrow flight of metal steps. As you twist past the door it swings shut behind you.\n\nYou descend the steps until suddenly, there are none, and also no floor. You throw out your arms to catch yourself, but there is nothing to hold. Worse, everything you are carrying slips from your grasp and goes flying, including your waterproof flashlight, which rolls across the hard stone floor and goes dark. Your fall lasts barely a moment however, ending with a painful twist of your ankle in chillingly cold water.\n\nYou can't see a damn thing now. You have the impression of light off to the northwest.\n\n> Go northwest\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high and leads into total, ominously silent darkness. Rolled up on the ground in the southwestern corner is a pile of rags.\n\nYou cringe from thinking something has moved in the shadows, but your mind just played a trick on you. You hope.\n\n> Inventory\nYou are carrying:\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You look at the rags\nYou approach the pile of rags in the corner but take a step back as soon as you can make things out: It's a human being! A man has curled up in the corner to sleep, and due to the dim light you mistook him for a pile of rags! Probably it's a hobo. Hopefully he's not dangerous!\n\n> You examine the hobo\nThis place is dry and sheltered from the wind, so a hobo has chosen it as his sleeping place. From what you can see the man is old and in poor health. Badly mending... wounds cover the few spots of skin you can see, his face is red and turgid, and his greasy grey hair is scraggy and hasn't been cut in ages.\n\nThe poor man wears an outsized coat of brownish-greyish colour against the cold. Brown corduroys and aged black leather shoes without laces complete his outfit. He has curled himself up against the southwestern corner and is sound asleep. There appears to be something clenched tightly in his right hand.\n\n> You look at Hand\nThe hands of the hobo show marks of a life full of deprivation: Deep wrinkles, dirt and scurfy old wounds. His right hand forms a fist, as if he was holding something in it.\n\n> Open Hand\nThe man emits a sharp bark and clutches the thing in his hand even tighter. Apparently brute force won't work here.\n\n> You examine the coat\nThe hobo is wearing an outsized coat of brownish-greyish colour, made from some coarse and thick material that hopefully protects him from the cold."
    },
    {
        "text": "> Look around\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high and leads into total, ominously silent darkness. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\n> You look at the ladder\nA rickety metal ladder is leading down the funnel, ending on the ground right at the vertical wall to the northwest. The rungs don't look very stable, but you've made it down here without any problems and could probably climb back up without any as well.\n\nYou cringe from thinking something has moved in the shadows, but your mind just played a trick on you. You hope.\n\n> You examine the mannequin\nIt's a single-piece female model with articulated joints. It's missing its head; someone has raggedly hacked it away, leaving a rather sharp edge. There's a single red eye painted on its torso. It's wearing a gold jacket.\n\n> You examine the Eye\nA heavy-lidded malevolent eye stares back at you from the mannequin's torso. Even though it's just paint, the pupil seems to exert a psychic tug from which you struggle to free yourself. A hollow, faraway voice calls to you for blood. Blood! You find yourself not wanting to disappoint it.\n\n> About you\nYou're pretty certain that you're the only black woman in Backwater, Vt. Possibly the only one ever. The horrors of the day have taken a heavy toll on the Pam Grier vibe you have been cultivating of late. And the hair care product assortment at the pharmacy is discouraging.\n\n> Inventory\nYou are carrying:\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You cut yourself\nThe thrill of death washes over you as you run your finger along the sharp edge of the mannequin's neck and apply some pressure. Blood flows from your tiny wound, dripping onto the mannequin's stump, trickling down to the blazing eye. The eye closes with a look of satisfaction. When it opens, it is replaced by an oozing, bloody socket, throbbing with eldritch power.\n\n> You examine the socket\nIt's a pulsing, oozing orifice with three small holes.\n\n> You look at the tv\nIt's a 29-inch model, perhaps even bigger. It has all the features of a TV and a VCR, including a four-digit counter that tells you where you are on a tape. A single power button controls the whole thing, and the counter has a reset pin you can push. With a tape in, you can PLAY, EJECT, REWIND, or FAST-FORWARD TO (FF TO) a specific spot.\n\nThe huge Panasonic TV/VCR combo is currently switched off.\n\n> You look at the tapes\nThere's about a half-dozen tapes, some of them in slipcases, some not, most with peeling labels, none of them fully rewound, and all with the write-protect tabs broken off. They are numbered from 8 to 13. You can refer to them as TAPE 8, TAPE 9, and so forth.\n\nAll of the slipcases have the same logo: a stylized tentacle creature in a copper-colored hexagon. Must be some weird local brand you've never heard of.\n\n> You get the rug\nIf you insist. Taken.\n\n> You cut a rug\nYou do the Charleston for a bit, then remember yourself.\n\n> You wear it\nIt's probably a crime in Vermont to impersonate a real estate agent, and the jacket is soaked in the blood of the innocent, but what the hell. You slip it on.\n\n> You examine the jacket\nA patch on the left breast reads \"Century 21 Real Estate.\" There's dried blood all around the collar.\n\n> You examine the clothes\nYou poke at the clothes with your foot. They're a mix of women's and men's, old and young. Many are torn, some are bloodstained, others are fouled with something black and viscous.\n\n> You look at the tapes\nThere's about a half-dozen tapes, some of them in slipcases, some not, most with peeling labels, none of them fully rewound, and all with the write-protect tabs broken off. They are numbered from 8 to 13. You can refer to them as TAPE 8, TAPE 9, and so forth.\n\nAll of the slipcases have the same logo: a stylized tentacle creature in a copper-colored hexagon. Must be some weird local brand you've never heard of.\n\n> You look at the TAPE 8\nThey're all basically the same, except for the numbers on them. You notice that they are all EP tapes, meaning that in theory they could each be up to six hours long. Which in turn means you have a lot of potential viewing ahead of you unless you're looking for something specific."
    },
    {
        "text": "[Themes: female protagonist, horror]\n\n> You go downwards\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high and leads into total, ominously silent darkness. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\n> Go southeast\nYou can't see a damn thing now. You have the impression of light off to the northwest.\n\n> You look at what you're carrying with you\nYou are carrying:\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n\"You really shouldn't have come here...\" You're pretty sure you aren't just hearing voices and that it came from the darkness ahead, but since you can't see anything, who knows. You can also hear what sounds like the scrabble of many small legs.\n\n> Wait\nTime passes.\n\n\"Far be it for me to complain... so nice to have visitors...\" Something is definitely coming closer. Most of it seems to be coming from in front of you off to the left.\n\n> You wait\nTime passes.\n\n\"You aren't trying to leave us, are you? You've only just arrived!\" The skittering sounds are all around you now, though much of it seems to be above your head. You feel something drop onto your shoulder and almost immediately it starts to burn.\n\n> You wait\nTime passes.\n\nMore specks drop onto you, crawling through your hair, down your face and along your arms. Pain blossoms wherever they land, causing you to cry out and shake yourself, desperate to be rid of them. The voice is silent now accept for a dry, self satisfied chuckle.\n\n> Wait\nTime passes.\n\nBlinded by sheer panic, you start running. It doesn't take long before you come crashing into a wall and fall thrashing to the ground. More of the many-legged creatures fall onto your chest and neck and begin to feed. Unable to rise, you are quickly (though certainly not painlessly) devoured by the swarm. Once your corpse is desiccated and picked clean by the ravenous horde, they depart in search of fresher, tastier meat.\n\n> You take back\nYour fatal mistake wasn't that long ago! Try UNDO instead.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or TAKE BACK the action that sealed your fate (for when UNDO is not enough)?\n\n> You get the coat\nThat would be theft, and really evil.\n\n> You examine the dirt\nThe ground seems to be made up of dirt treaded down. Or maybe it's just a layer of dirt on rock. An any case it's solid, and dirty.\n\n> You look at the bricks\nOld, reddish-brown bricks form the walls and ceiling of the tunnel leading southeast. They are crumbling at the corners, and the mortar between them has dropped off here and there. The tunnel must be old, much older than the electric wire leading along its angular point, and even that looks antique. It is unclear which purpose the tunnel had when it was built. Maybe smuggling.\n\n> You hit bricks\nViolence isn't the answer to this one.\n\nFor a moment you think you see something moving in the shadows, but it's probably just your mind playing tricks on you.\n\n> You search the bricks\nYou find nothing of interest.\n\nYou hear a sound from somewhere down the tunnel. Maybe a rat. Hopefully a rat.\n\n> You examine the ceiling\nThe tunnel is a barrel vault of sorts, and so the bricks that constitute the vertical walls start to form a semicircular arc at about hip height. Two blind lamps hang from wires high above, but the days when they provided light are long gone.\n\n> You look at Walls\nCrumbling, auburn bricks form the walls of this tunnel. Until about hip height they run vertically, then they form an arc above your head. The tunnel ends at a vertical wall to the northwest, from where a ramshackle metal ladder leads up a funnel and back to the surface. That vertical wall looks pretty solid, and newer than the old masonry forming the tunnel.\n\nA small metal hatch is set into the vertical wall. About ten or twelve feet down the tunnel you spot a mysterious opening in the left wall, about the size of a duffelbag.\n\n> You look at hatch\nA small metal hatch is set into the northwestern wall, about 15 by 10 inches large. The name of a power company is engraved into the heavily corroded surface in long outdated ATF Garamond letters: \"Vermont United Gas and Electric Company.\" There is a hexagonal hole of about 6 or 7 milimeters diameter set into the middle of the right frame of the hatch - probably for an Allen key of matching size, functioning as a key to what's behind the hatch.\n\n> You examine the lamps\nThe wire running along the ceiling connects lamps lodged there about every ten feet. You can make out two lamps before darkness engulfs everything. The covers are of a milky, brownish colour, clearly as sign of old age.\n\n> You examine the opening\nThere is a recess in the northeastern wall, a bit above ground level. You take a step closer and astoundedly notice it is some kind of altar, deliberately built into the wall. The recess has an extent of about 15 by 25 inches and is about 10 inches deep. The upper part is arched in symmetry with the tunnel, with seven slightly protruding bricks arranged in a semicircle rounding out the structure towards the front. The base of the altar features a candleholder with a circle of eight sockets. All sockets are empty. The rear wall is almost completely taken up by the picture of a girl.\n\nIn the altar is a metal flask.\n\n> You look at the picture\nMost of the rear wall of the recess is taken up by the picture of a girl. It looks like a print of a black and white photo and was probably glued to the wall, for no other means of attachment can be seen. The girl itself seems to be in her late teens or early twenties - in the dim light down here it's hard to tell any details. The photo is a portrait photo with a three-quarter view - she is standing a bit sideways but looking at the camera. Part of her upper body is visible.\n\nBelow the photo there's a free space of about 5 cm that's raw stone. There seems to be some writing on that free space, but with the current light conditions you can't make out what it says.\n\n> You examine flask\nA hand-sized, silver-coloured metal flask without any ornaments. The cap is attached to the flask through a thin metal chain so it can't get lost.\n\n> You get candleholder\nThe candle holder is securely bolted to the bottom of the recess.\n\n> You open the flask\nYou open the flask. It seems to have contained a very strong booze not too long ago, for it stinks beastly of alcohol. You see the hobo's nose twitch.\n\n> You give the flask to the hobo\nYou hold the open flask in front of the hobo's face and wave it around a little. The smell seems to get through to him even during sleep - he makes a few nondescript grimaces, opens and closes his mouth and moans uncontrolledly, then suddenly opens his eyes and locates the bottle. He grabs it faster than you can withdraw your hand (dropping something his right hand was clutching earlier), leads it to his mouth and disappointedly thows it away when he notices it's empty. He then stares dead ahead and mumbles uncomprehensible gibberish, probably maledictions against you.\n\nThe hobo shakes his fist in your direction and nags about something you don't understand.\n\n> You get all\nAllen key: The hobo yells, \"Sh mine! Mine! Mrrnnn back!\" He grabs the Allen key and clenches his fist around it.\nmetal flask: Taken.\n\nbrown corduroys: That would be theft, and really evil.\noutsized coat: That would be theft, and really evil.\nTun1-shoes: That would be theft, and really evil.\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You ask the hobo for the key\nThe hobo shakes his fist in your direction and chunters \"Hufforrmmmashhole*rattle*hglglglrhubarb! Rhubarb!!\"\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You ask hobo about the photo\nThe hobo shakes his fist in your direction and chunters \"Arrglllhmmmmoron*rattle*arglfarglrhubarb! Rhubarb!!\"\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\nThe hobo slumps into an orthopaedically questionable position and falls asleep again.\n\n> You examine bottle\nA hand-sized, silver-coloured metal flask without any ornaments. The cap is attached to the flask through a thin metal chain so it can't get lost.\n\n> You smell it\nThe flask is already open. It stinks!\n\n> You examine photo\nThe photo has faded over the years so it's hard to make out details. Her dark hair and the simple blouse or dress she's wearing indicate the picture is very old - early 20th century or even older, you're not sure. She's wearing a lace collar held together by a brooch. Her hair style is weird from today's point of view - curly at the forehead, then short, flat and upswept at the back of the head. Her dark eyes are almond-shaped, and she has high cheekbones.\n\n> You examine the altar\nLooks indeed like someone has built an altar here, in this\ngodforsaken place. The recess has an extent of about 15 by 25 inches and is about 10 inches deep. The upper part is arched in symmetry with the tunnel, with seven slightly protruding bricks arranged in a semicircle rounding out the structure towards the front. The base of the altar features a candleholder with a circle of eight sockets. All sockets are empty. The rear wall is almost completely taken up by the picture of a girl.\n\n> You examine the lamps\nThe wire running along the ceiling connects lamps lodged there about every ten feet. You can make out two lamps before darkness engulfs everything. The covers are of a milky, brownish colour, clearly as sign of old age.\n\n> You examine sockets\nWhich do you mean, the top left socket, the top middle socket, the top right socket, the middle left socket, the middle right socket, the bottom left socket, the bottom middle socket or the bottom right socket?\n\n> You look at the bricks\nThe rectangular recess is surmounted by some sort of semicircular ledge, formed by seven bricks that stick out a little from the wall. Probably the most ornate design one could fit such an altar with.\n\n> Search altar\nThe altar is empty.\n\nYou feel an air draft for a second. Where did that come from?\n\n> You examine the brick\nWhich do you mean, the first brick, the second brick, the third brick, the fourth brick, the fifth brick, the sixth brick or the seventh brick?\n\n> First\nOne of the seven bricks that form the semicircular ledge above the recess with the strange altar in it.\n\n> You examine the candelabra\nIn the middle of the altar-like recess is a candle holder with eight sockets in the shape of a circle. The sockets are small, like thimbles, and probably made from brazen, or bronze. All sockets are empty.\n\n> You examine photo\nThe photo has faded over the years so it's hard to make out details. Her dark hair and the simple blouse or dress she's wearing indicate the picture is very old - early 20th century or even older, you're not sure. She's wearing a lace collar held together by a brooch. Her hair style is weird from today's point of view - curly at the forehead, then short, flat and upswept at the back of the head. Her dark eyes are almond-shaped, and she has high cheekbones.\n\n> You examine the writing\nBelow the photo there's a free space of about 5 cm that's raw stone. There seems to be some writing on that free space, but with the current light conditions you can't make out what it says.\n\n> You examine the socket\nWhich do you mean, the top left socket, the top middle socket, the top right socket, the middle left socket, the middle right socket, the bottom left socket, the bottom middle socket or the bottom right socket?\n\n> You look at top left socket\nA threaded metal socket.\n\n> You get the photo\nThat seems to be a part of the picture.\n\n> You get the picture\nThe picture is glued to the wall.\n\n> You examine the first brick\nOne of the seven bricks that form the semicircular ledge above the recess with the strange altar in it.\n\n> You ask the hobo about the rhubarb\nApart from a twitch of his ear there is no reaction. The hobo is sound asleep.\n\n> You get key\nThat seems to belong to the hobo.\n\n> You give the flask to the hobo\nYou hold the open flask in front of the hobo's face and wave it around a little. The smell seems to get through to him even during sleep - he makes a few nondescript grimaces, opens and closes his mouth and moans uncontrolledly, then suddenly opens his eyes and locates the bottle. He grabs it faster than you can withdraw your hand (dropping something his right hand was clutching earlier), leads it to his mouth and disappointedly thows it away when he notices it's empty. He then stares dead ahead and mumbles uncomprehensible gibberish, probably maledictions against you.\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You get the key\nThe hobo yells, \"Sh mine! Mine! Mrrnnn back!\" He grabs the Allen key and clenches his fist around it.\n\nThe hobo shakes his fist in your direction and nags about something you don't understand.\n\n> You ask the hobo about the shrine\nThe hobo tries to sit up but fails miserably and chunters \"Huffhmmmashhole*cough*hglglglrhubarb! Rhubarb!!\"\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You ask the hobo about the rhubarb\nThe hobo tries to sit up but fails miserably and chunters \"Huffhmmyummidiot*rattle*rrrpfched losht! Losht!!\"\n\nThe hobo shakes his fist in your direction and nags about something you don't understand.\n\nThe hobo slumps into an orthopaedically questionable position and falls asleep again.\n\n> Inventory\nYou are carrying:\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You give the flask to the hobo\nYou hold the open flask in front of the hobo's face and wave it around a little. The smell seems to get through to him even during sleep - he makes a few nondescript grimaces, opens and closes his mouth and moans uncontrolledly, then suddenly opens his eyes and locates the bottle. He grabs it faster than you can withdraw your hand (dropping something his right hand was clutching earlier), leads it to his mouth and disappointedly thows it away when he notices it's empty. He then stares dead ahead and mumbles uncomprehensible gibberish, probably maledictions against you.\n\nThe hobo mumbles something incomprehensible.\n\n> You give the rug to the hobo\nThe hobo doesn't seem interested.\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You ask the hobo about the life\nThe hobo bends in your direction and chunters \"Hufforrmmmashhole*rattle*arglfarglrhubarb! Rhubarb!!\"\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\n> You ask the hobo about the hhobo\nThe hobo tries to sit up but fails miserably and chunters \"Hufforrmmmashhole*gasp*hglglglmustn't! Mustn't!!\"\n\nThe hobo tries to spit in your direction, but hits his own leg.\n\nThe hobo slumps into an orthopaedically questionable position and falls asleep again.\n\n> You get the key\nTaken.\n\nYou cringe from thinking something has moved in the shadows, but your mind just played a trick on you. You hope.\n\n> You open the hatch with Allen\nYou unlock the hatch.\n\nYou feel an air draft for a second. Where did that come from?\n\n> You open hatch\nWith the help of the Allen key you open the hatch. Behind it is a niche with an archaic fuse box, and a few old looking tools some worker probably left behind. All this looks like this hatch hasn't been opened for a hundred years or so. The niche contains the first candle, the second candle and a mallet.\n\n> You get all from hatch\nthe first candle: Taken.\n\nthe second candle: Taken.\n\nmallet: Taken.\n\n> You look at fuse\nThe rear wall of the niche in the northwestern wall is made up of some fuse box of sorts. It consists of three stacked panels with holes with screw threads in each of them. The top panel has three holes, the bottom panel as well, and the middle panel is missing the middle hole, where instead a badge with the Vermont United Gas and Electric Company logo is attached. There are old fuses in the middle left and bottom right holes.\n\nNext to the fuses is a large switch labeled \"Southeast Tunnel.\" It is currently switched off.\n\n> You switch the switch\nYou flip the power switch to the on position, and the southeast tunnel lights up.\n\nYou feel an air draft for a second. Where did that come from?\n\n> You go to the south-east\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\n\"BOO!\" The apparent source of the voice you've been hearing stands before you: a woman about your height, smiling and waving at you from a small niche in the wall to the north.\n\nYou can also see a waterproof flashlight (smelling faintly of mildew), a spray bottle that used to contain fungicide, a copper urn (smelling faintly of mildew) (closed), a bronze urn (closed), a key from an urn, some mildewed leather gloves, a gallon jug of white vinegar, a pair of garden shears (smelling faintly of mildew), a rusty flathead screwdriver, a trophy for a dog race, a glass shard, a black business card (smelling faintly of mildew), loose bricks, Tolerating An Asinine God, a rusty piece of metal, some yellowed newspapers, a shard of shattered carapace (smelling faintly of mildew), an employee ID card (smelling faintly of mildew), a book list, a soggy tome, a long hooked pole, a grimy rock (smelling faintly of mildew), a backpack features guide, a trolley schedule (smelling faintly of mildew), Twin Hearts Between the Planes, a pamphlet of home listings (smelling faintly of mildew), a moldy, waterlogged journal, an antique locket (closed), a wad of cash, a repaired page (smelling faintly of mildew), The Dollmaker's Journal, the diary of Phyllis Cragne, a postcard of\nBig Ben (smelling faintly of mildew), The Modern Girl's Divination Handbook -- Volume Three, a pull-string doll (smelling faintly of mildew), a glass jar containing an insect, a half-full styrofoam coffee cup (smelling faintly of mildew) and a familiar gold wristwatch here.\n\n\"Psst! Hey! This way! Can you hear me?\"\n\n> You get all\npamphlet of home listings (smelling faintly of mildew): Taken.\n\nwaterproof flashlight (smelling faintly of mildew): Taken.\n\nspray bottle that used to contain fungicide: Taken.\n\ncopper urn (smelling faintly of mildew): Taken.\n\nbronze urn: Taken.\n\nkey from an urn: Taken.\n\nmildewed leather gloves: Taken.\n\na gallon jug of white vinegar: Taken.\n\npair of garden shears (smelling faintly of mildew): Taken.\n\na rusty flathead screwdriver: Taken.\n\ntrophy for a dog race: Taken.\n\nglass shard: Taken.\n\nblack business card (smelling faintly of mildew): Taken.\n\nloose bricks: Taken.\n\nTolerating An Asinine God: Taken.\n\nrusty piece of metal: Taken.\n\nyellowed newspapers: Taken.\n\nshard of shattered carapace (smelling faintly of mildew): Taken.\n\nemployee ID card (smelling faintly of mildew): Taken.\n\nbook list: Taken.\n\nsoggy tome: Taken.\n\nlong hooked pole: Taken.\n\ngrimy rock (smelling faintly of mildew): Taken.\n\nbackpack features guide: Taken.\n\ntrolley schedule (smelling faintly of mildew): Taken.\n\nTwin Hearts Between the Planes: Taken.\n\nmoldy, waterlogged journal: Taken.\n\nantique locket: Taken.\n\nwad of cash: Taken.\n\nrepaired page (smelling faintly of mildew): Taken.\n\nThe Dollmaker's Journal: Taken.\ndiary of Phyllis Cragne: Taken.\n\npostcard of Big Ben (smelling faintly of mildew): Taken.\n\nThe Modern Girl's Divination Handbook -- Volume Three: Taken.\n\npull-string doll (smelling faintly of mildew): Taken.\n\nglass jar containing an insect: Taken.\n\nfamiliar gold wristwatch: Taken.\n\nhalf-full styrofoam coffee cup (smelling faintly of mildew): Taken.\n\n\"Psst! Hey you! Come closer! Can you hear?\"\n\n> About yourself\nSeized by a morbid curiosity, you aim your light down at the water so you can get a good look at your face. What you see is not encouraging. Put simply, being attacked by goddamn bugs has significantly degraded your look. If you had known you would go traipsing around in flooded underground caverns, you would not have opted to go with stockings. Your hair is tangled and grungy, your makeup is probably running and you'd really just like a nice hot shower if that isn't too much to ask.\n\nOut of the corner of your eye, you see the woman in the wall pull\nwhat looks like a mirror from her pocket and examine herself. She also does not appear to like what she sees.\n\n\"Hey, you! I'm waiting! Hellooooo?\"\n\n> You look at the woman\nA woman, dressed in filthy clothes, slouches against a wall. She turns to look at you, staring at you with eyes eerily similar to yours. When you look away, she does too. It's hard to tell much about her features from this light without getting closer.\n\n\"Psst! Hey you! This way! Yoohooo?\"\n\n> You examine the coffee\nThe swirls in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n\"Psst! Hey! C'mere! Hellooooo?\"\n\n> You talk to the woman\nYou say hello to strangely familiar woman.\n\n\"Hey, you! Come closer! Can you hear me?\"\n\n> Go north\nThe woman waves and smiles as you approach. As you slide into the alcove beside her, she reaches back behind her head and pulls a hereto unseen lever. You hear a grinding sound behind you and whirl around just in time to see a stone block slide across the entrance, sealing you inside. You turn towards the woman, only she's not a woman. Her form has broken apart into a wriggling swarm of insects. They surge toward you, leaving behind the bones of some other unlucky sap who must have wandered down here never to escape.\n\nThe wrytheing mass flow over you, feeding off your flesh with a frightening frenzy. You open your mouth to scream and it is instantly filled with squirming crawling biting things, chewing at everything they can reach. Your end is painful, but swift; within moments you are stripped down to a pile of bones to join the first.\n\n> You go northwest\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\nYou can see a metal flask here.\n\n> You put candles on the altar\nWhich do you mean, the second candle or the first candle?\n\n> You examine the first candle\nA white electric candle, a good five inches long and as thick as your thumb. On one end is a glass bulb, on the other is a threaded metal base. It is unlit.\n\n> You put first candle in the top left socket\nYou screw the first candle into the top left socket.\n\n> You put the second candle in the bottom left socket\nYou screw the second candle into the bottom left socket.\n\n> You examine candelabra\nIn the middle of the altar-like recess is a candle holder with eight sockets in the shape of a circle. The sockets are small, like thimbles, and probably made from brazen, or bronze. One candle is placed in the top left socket. One candle is placed in the bottom left socket.\n\nYou cringe from thinking something has moved in the shadows, but your mind just played a trick on you. You hope.\n\n> You get the candles\nWhich do you mean, the first candle or the second candle?\n\n> You put second candle in the middle left socket\nYou screw the second candle into the middle left socket.\n\n> You get first\n(the first candle)\nTaken.\n\n> You put the second candle in the bottom right socket\n(first taking the second candle)\nYou screw the second candle into the bottom right socket.\n\n> You examine the candelabra\nIn the middle of the altar-like recess is a candle holder with eight sockets in the shape of a circle. The sockets are small, like thimbles, and probably made from brazen, or bronze. One candle is placed in the bottom right socket.\n\n> You put first candle in the middle left socket\nYou screw the first candle into the middle left socket.\n\nWith an abrupt pop, both candles flicker into brightness. You must have completed a circuit.\n\n> You examine the picture\nMost of the rear wall of the recess is taken up by the picture of a girl. It looks like a print of a black and white photo and was probably glued to the wall, for no other means of attachment can be seen. The girl itself seems to be in her late teens or early twenties - in the dim light down here it's hard to tell any details. The photo is a portrait photo with a three-quarter view - she is standing a bit sideways but looking at the camera. Part of her upper body is visible.\n\nThe candles in the sockets illuminate the word someone has painted on the wall under the poster: \"CEECEE\". Obviously her name was Cecilia.\n\n> You hit the third brick with the mallet\nYou carefully hit the third brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'E'.\n\n> You hit the fifth brick with mallet\nYou carefully hit the fifth brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'G'.\n\n> You hit the fourth brick with the mallet\nYou carefully hit the fourth brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'F'.\n\n> You hit the second brick with the mallet\nYou carefully hit the second brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'D'.\n\nYou feel an air draft for a second. Where did that come from?\n\n> You hit the first brick with the mallet\nYou carefully hit the first brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'C'.\n\n> You hit the third brick with the mallet\nYou carefully hit the third brick with your mallet. The resulting sound is hollow, but strangely high and volumeless, as if there was but a small lacuna behind it. You think the note played was 'E'.\n\nAs soon as you gently hit the brick with the hammer you hear a grinding noise from somewhere behind the brick wall. You frightenedly jump backwards as a part of the wall, the \"altar\" being a good part of it, slowly swings backwards like a door, making horrible grinding noises. Finally the grinding stops, and a forbidding black hole gapes in the northeastern wall, leaving you with fearful thoughts what unspeakable evil might lurk inside.\n\n> You look at coffee\nThe clouds in your cup form -- weird, they've entirely dissipated. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go northeast\nSmall Chamber (Grueslayer)\nIt takes a while to adjust to the darkness here, but finally you can at least make out some shapes and colours. The little light that falls in through the opening the \"altar\" left reveals a small space of about ten by six feet, no more than five feet high, meaning you can't even stand. The walls are roughly hewn and show no sign of renovation. Three freight crates and an empty bottle indicate that this secret space had probably been used by smugglers. How mundane. The exit is southwest.\n\n> You look at the crates\nThree crates were left behind by the last visitor of this chamber. They're small wooden freight crates as you've seen them in old movies, with hinged lids with logos of freight companies on them. One crate in a corner is quite large, the second one next to it is pretty small, and theres a medium-sized crate in the middle of the chamber. Hopefully you don't have to shift them around to achieve something.\n\n> You look at the small crate\nThe smallest of the three crates is placed close to the wall, next to the large crate. Its lid bears the writing \"Backwater Library\". An antique padlock keeps the crate shut.\n\n> You examine the medium\nA medium-sized wooden crate.\n\n> You examine the coffee\nThe clouds in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine large\nIn the corner is a crate that is the largest of the three. As the others it is made of light, sturdy wood. The hinged lid bears an emblem of a dog listening to a grammophone, but with no company logo or other hints as to who used to be the owner of this crate.\n\n> You examine bottle\nWhich do you mean, the metal flask or the spray bottle that used to contain fungicide?\n\n> You get all\nphonograph: You lift the phonograph out of the crate. It's heavy, and probably very fragile, so you carefully place it onto the ground.\nhorn loudspeaker: Taken.\n\nold record: Taken.\n\n> You unlock crate with the key from an the urn\nWhich do you mean, the large crate, the medium-sized crate or the small crate?\n\n> You examine the padlock\nThe padlock has numbers from 0 to 9 on it, so it's probably a combination lock, but it's unlike any other combination lock you know. The metal holder sits on top of a thick metal circle. The figures are arranged in a circle around the middle which makes the lock look a little like a clock. In the middle there's a knob with a pointer on it that currently points towards the 0.\n\n> You pull the string\nThe doll intones: \"Beware the thing that isn't here!\"\n\n> You pull the string\nThe doll intones: \"Avoid the hazard of the large crate! Something large signifies overwhelming force!\"\n\n> You pull the string\nThe doll intones: \"Flee the threat of the small crate! Something small means secret ability!\"\n\n> You pull the string\nThe doll intones: \"Guard against the ground! Dirt symbolises thriftiness and frugalness!\"\n\n> You pull the string\nThe doll intones: \"Avoid the portent of the thing that isn't here!\"\n\n> You pull the string\nThe doll intones: \"Beware the jeopardy of the thing that isn't here!\"\n\n> You pull the string\nThe doll intones: \"Flee the omen of the medium-sized crate! Wood remembers the antediluvian forest!\"\n\n> You pull the string\nThe doll intones: \"Beware the hazard of the ground! Dirt suggests thriftiness and frugalness!\"\n\n> You examine the dirt\nThe ground seems to be made up of dirt treaded down. Or maybe it's just a layer of dirt on rock. An any case it's solid, and dirty.\n\n> You pull the string\nThe doll intones: \"Shun the ground! Dirt represents thriftiness and frugalness!\"\n\n> You pull the string\nThe doll intones: \"Guard against the hazard of the ground! Dirt bespeaks thriftiness and frugalness!\"\n\n> You open the medium crate\nYou open the medium-sized crate, revealing an old newspaper.\n\n> You read it\nYou browse the newspaper and spot an article that awakens your interest:\n\nIn a festive act the new logistics complex of the Littlewit East Indian Trading Company at Ferryman's Dock has been dedicated. In the presence of mayor Slater and other notabilities, EITC owner Mr. Humphrey Littlewit held a speech about the possibilities the new complex opens up for Backwater, with cranes able to unload two five-gross-tons cargo ships from New York or Burlington simultanously within four hours and an equally fast re-consignment for distribution via commercial vehicle to the whole of Vermont. Mr. Littlewit emphasized the importance of the logistics complex for the war enfeebled economy of Backwater, but also brought to mind the nine persons who died in the mysterious fire that destroyed the old, smaller complex. A photo shows Littlewit handing the tall mayor a pair of scissors to cut the ribbon barring the entrance of the storage depot.\n\n> You read it\nYou turn the pages and check the next article:\n\nRenown surgeon Dr. Basil Elton held a private lecture in pathology yesterday that the entire Backwater Police force attended. In the basement of his practice (that serves as a branch of the pathologic department of the Providence hospital) explained classical traces of external forceful impact at recently deceased persons. The cause for the lecture was the tragic death of young pregnant shop assistant Cecilia Pickman which was declared an accident until Dr. Elton found evidence of foul play weeks later. A photo shows Chief of police Mr. Jervas Hyde and three of his men attentively watching Dr. Elton cutting into a hematoma on a dead human body.\n\n> You read it\nThe next article is also quite interesting:\n\nANOTHER MURDER?\nPolice confirmed yesterday that missing Carola Parris, 22, is dead. Her body was found on Wednesday in the woods near Copper's Mill. The body of the popular bank clerk is said to have been battered by animals, but according to a source who wishes to remain anonymous, the cause of death was a cut to the throat. Yesterday, a small crowd gathered in front of the Backwater Police station, demanding vociferously an end to the series of killings of young women that started with the death of Cecilia \"Ceecee\" Pickman almost a year ago. Deputy Chief of police promised a \"wholehearted\" investigation.\n\nThe words \"almost a year ago\" have been underlined so heavily that they're nearly crossed out. \"10 months 24 days\" is scrawled in the margin with fading ink.\n\n> You read it\nYou turn the pages and check the next article:\n\nYesterday the Backwater Police inaugurated a police car determined to support urgent operations. The Chevrolet 490 Touring is a generous donation from Mr. Humphrey Littlewit, founder and owner of the Littlewit East Indian Trading Company, who said the car is supposed to make Backwater's streets safer by giving the police means that were common in cities like Boston or Providence. Chief of police Mr. Jervas Hyde is quoted saying \"Finally Backwater Police closes the gap on bigger neighbouring cities regarding prompt presence at the place of action. This is the first emergency vehicle the Backwater Police has at its disposal, and the police and the citizens of Backwater are very grateful to Mr. Humphrey Littlewit for this generous donation.\" An accompanying picture shows the Chief of police looking up to the industrialist holding his speech while looking into the camera.\n\n> You examine it\nIt is an old issue of the Backwater Chronicle, a local newspaper that ceased to be decades ago. This issue is dated July 31, 1920. The local museum should see this! It's a pain with this dim light, but if you holded the newspaper into that little light shining in from the entrance, you might be able to read it.\n\n> You examine the padlock\nThe padlock has numbers from 0 to 9 on it, so it's probably a combination lock, but it's unlike any other combination lock you know. The metal holder sits on top of a thick metal circle. The figures are arranged in a circle around the middle which makes the lock look a little like a clock. In the middle there's a knob with a pointer on it that currently points towards the 0.\n\n> You open the small crate\nThe locked padlock prevents you from opening the crate.\n\n> You set the knob to 9\nYou turn the knob to 9.\nWith a last, satisfying *klick* the padlock springs open. You remove it and heedlessly throw it into a corner. Now will you open the crate to see what's inside? Of course you will!\n\n> You open the small crate\nYou open the small crate, revealing an old paperback book.\n\n> You get the paperback\n(the old paperback book)\nTaken.\n\n> You examine it\nThe old paperback book is pretty thick, and the pages are yellowed and lacerated here and there. You're not a bookworm, but the condition of the book and the outdated font and style of drawing on the cover tell you it was printed decades ago, maybe at the beginning of the century.\n\nJudging by the cover the book seems to be a bit pulpy. It shows a large, old and eerie house on a clearing in the woods. The title is \"ANCHORHEAD. A What-do-I-do-now Book Based on the Works of MICHAEL GENTRY.\" A scraggy sticker with the insignia of the Backwater Public Library, on it indicates that by no means you want to pay the fine for exceeding the return deadline.\n\n> You look at the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nThe Dollmaker's Journal\nTwin Hearts Between the Planes\nBackwater Personalities (1915-1925 edition)\nTolerating An Asinine God\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nVenator in Tenebris\n'Pataphysical Approaches to Quantum Superfluids\nLegends of Lake Champlain and the Hudson River Valley\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nThe Seven Gaunts\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\n> You read the paperback\nWhich do you mean, the old paperback book or Twin Hearts Between the Planes?\n\n> You read the old paperback\nSomeone has hollowed out the pages of this book to make a hiding place for something. Whatever it was, it's long gone now.\n\nAs you finish reading the passage, the spark moves through the book with an eerie hum, leaving frost behind on the library insignia.\n\n> You examine the spark\nSomething like a spark of chalk hovers in the air behind you. As you watch, it fades, only to reappear to your right in a wash of cold.\n\n> You look at coffee\nThe swirls in your cup form horizontal bands. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You look in the large crate\nYou give the large crate a thorough look. There are several things inside of it, but what's most eye-catching about it is definitely this old phonograph in it.\n\n> You examine the record\nAn old 12\" record in an unlabeled white sleeve. Given this was in a crate together with a phonograph it's probably shellac - did this stuff even last longer than a few years? You feel a surge of curiosity to try the record out with the phonograph you discovered. A red label in the middle of the record could maybe tell you what's on the record, or at least was on it.\n\n> You examine the label\nA circular label is attached to the middle of the record, as it's still done today. The font looks very old-fashioned. The label reads \"Enrico Caruso and the Red Herring Orchestra: Capo di un'Ancora.\"\n\n> You examine the loudspeaker\nA brazen horn loudspeaker, funnel-shaped, about as big as the phonograph it belongs to. The funnel walls are rather thin so that the loudspeaker is not too heavy. It leads into a thread with which it can be screwed on the phonograph.\n\n> You put the loudspeaker on the phonograph\nYou screw the horn loudspeaker into the designated hole on the side of the phonograph. The thread cants a little, but with a little nudging here and a lot of swearing there you finally succeed.\n\n> You put the record on the phonograph\nYou carefully put the record on the turntable. Next to it is a switch that you flip - it should set the turntable in motion. But it doesn't. Maybe the batteries are empty? Did they already have batteries when this thing was built? You pick up the record again.\n\n> You look at the phonograph\nA phonograph from the early 20th century. This specimen is laid-out for sound transmission through a horn loudspeaker, so it was probably built before 1920 when this technique started to be considered unaesthetic or even vulgar. This gem definitely belongs in a museum! It bears the logo of its manufacturer, the Victor Talking Machine Company. A horn loudspeaker is attached to the phonograph. The right side panel of the phonograph features a crank.\n\n> You put the record on phonograph\nYou carefully put the record on the turntable. Next to it is a switch that you flip - it sets the turntable in motion. Finally you lift the pick-up and place it on the border of the record. A cracking noise from the horn loudspeaker indicates it's working. Exciting!\n\nOrchestra music sounds from the phonograph.\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"She came from cordial Texas\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"To abrasive Vermont\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"The reason was her sexus\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"She was all but flamboyant\"\n\n> You listen\nYou hear nothing unexpected.\n\nOrchestra music sounds from the phonograph.\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"Her husband simply went to work\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"Left standing in the rain his spouse\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"Forced her to get the keys, this jerk\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"The keys to their new horror house\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"The broker's office: Locked. Oh please!\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"The shit then hit the fan\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"Coz she broke in and stole the keys\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"And brought them to her man\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"The couple took a stroll through town\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"In love, no sign of tension\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"A sight made our heroine frown:\"\n\n> You listen\nYou hear nothing unexpected.\n\nEnrico Caruso's voice sounds from the phonograph: \"Their home, the Verlac mansion\"\n\n> You wait for a while\nTime passes.\n\nEnrico Caruso's voice sounds from the phonograph: \"There was no electricity\"\n\n> You wait for a while\nTime passes.\n\nEnrico Caruso's voice sounds from the phonograph: \"And so the night came early\"\n\n> Wait\nTime passes.\n\nEnrico Caruso's voice sounds from the phonograph: \"No nooky, just pudicity\"\n\n> Wait\nTime passes.\n\nEnrico Caruso's voice sounds from the phonograph: \"Her dreams were hurly-burly\"\n\n> Go southwest\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\nOrchestra music sounds from the phonograph.\n\n> You examine the coffee\nThe clouds in your cup form a horse in mid-gallop. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\nEnrico Caruso's voice sounds from the phonograph: \"And leaves alone his spouse\"\n\n> You look at what you're carrying with you\nYou are carrying:\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (closed)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na glass shard (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet\nan Allen key (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\nEnrico Caruso's voice sounds from the phonograph: \"She steals an ID of this jerk\"\n\n> You put Allen in the key pocket\nYou unzip the key pocket, deposit the Allen key (smelling faintly of mildew), then zip the key pocket back up again.\n\nEnrico Caruso's voice sounds from the phonograph: \"And romps about the house\"\n\n> Go up\nAlthough you have to skip a couple of steps, they bear your weight. Huh. It's possible that your architectural engineering intuition is not that well-honed.\n\nTiny Windowless Office (Llew Mason)\nYou emerge into a tiny windowless office. Stark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. A package in brown wrapping paper is nestled amongst the stacks with a note resting on top of it. Besides the stairs that you came up, the only exit lies through a door at the north end of the room.\n\nOrchestra music sounds from the phonograph.\n\n> About yourself\nYou imagine that you have that wide-eyed look that Peter always says you get when you are worried, but there isn't a mirror nearby to confirm. Probably for the best - you drove through most of the night to get to Backwater and haven't slept.\n\nEnrico Caruso's voice sounds from the phonograph: \"At this stage the author ran out of time.\"\n\n> You examine the coffee\nThe swirls in your cup form a sharknado. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\nThe music from the phonograph fades.\n\n> You look at what you're carrying with you\nYou are carrying:\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (closed)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\na book list\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na glass shard (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\nThere's only crackling noises coming from the phonograph.\n\n> You examine the desk\nCalling it oversize would be an understatement. It's probably eight feet long and looks like it's made of solid oak. Stacks of paperwork are scattered haphazardly all over it. Someone was clearly in desperate need of a filing system. A package in brown wrapping paper is nestled amongst the stacks with a note resting on top of it.\n\n> You look at the note\n(the book list)\nATTENTION PETER CRAGNE\n\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nThe Dollmaker's Journal\nTwin Hearts Between the Planes\nBackwater Personalities (1915-1925 edition)\nTolerating An Asinine God\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nVenator in Tenebris\n'Pataphysical Approaches to Quantum Superfluids\nLegends of Lake Champlain and the Hudson River Valley\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nThe Seven Gaunts\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\n> You examine package\nThe package is about as big as your hand and has been neatly wrapped in plain brown paper.\n\n> You put the book list in the side pocket\nYou unzip the side pocket, deposit the book list, then zip the side pocket back up again.\n\n> You look at the note\n(first taking the short note)\nPeter,\n\nI was very glad to hear of your impending arrival. Your family line has been separated from Cragne Manor for far too long. Call me old-fashioned, but I wanted to give you something as a \"homecoming\" present. Truth be told, I'm really just returning your property. The object you'll find inside was something your father gave to me many years ago. He said that it had originally belonged to your great uncle Luther. He never explained why he wanted me to have it, and seemed to take great pleasure in the fact that the object's purpose or function was a conundrum that I couldn't solve. Following his death, I'm somewhat embarrassed to say that I ended up simply using it as a rather elaborate paperweight. Maybe you'll have better luck figuring it out. Lord knows, it's not like the extended Cragne family hasn't dealt with its share of mysteries.\n\nYours truly, Daniel Baker.\n\n> You get the note\nYou already have that.\n\n> You open it\nYou carefully unwrap the packaging and discover an ornate metallic box.\n\n> Examine box\nThe palm-sized box seems to be carved out of a dull gray metal. A clear seam around the top of the box suggests that it should be able to be opened. The lid is adorned with elaborate painted panels. On one side you see a large flat button and five smaller engraved buttons.\n\n> You examine the panels\nThere are four separate images painted on the top of the box, arranged from one end to the other. The first is a bird. The second is a camel. The third is a strange three-legged toad. The fourth is a snake.\n\n> You examine the flat button\nThe flat button is larger than its cousins and is bereft of markings.\n\n> You examine the buttons\nThere are six buttons on the box. One button is large and flat. The five remaining buttons are smaller and are each engraved with a different symbol - a circle, a vertical line, a V-shape, a Y-shape, and an X-shape.\n\n> You open the box\nYou open the box, revealing a tiny leather book. To your horror, dozens of inch-long insects crawl out from under the book, scurry up the inside edge of the box, and then begin climbing onto your hand. In a blind panic you shake them off wildly, and the box falls to the floor with a loud thud. Your breathing slows when you realize that they were just harmless silverfish."
    },
    {
        "text": "[Themes: Lovecraft, female protagonist]\n\n> Describe the surroundings\nTiny Windowless Office (Llew Mason)\nStark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. Besides the stairs that you came up, the only exit lies through a door at the north end of the room.\n\nYou can see an ornate metallic box (in which is a tiny leather journal) here.\n\n> You examine the leather journal\n(first taking the tiny leather journal)\nIt's a tiny leather book. It's plain except for an unusual and quite striking design that has been embossed on the cover. Although discolored by age, the initial pages are quite legible. Unfortunately, many of the later pages have suffered heavily due to the silverfish and are covered with a patchwork of irregular, notched holes - only fragments of the once clear handwriting remain.\n\n> You get all\nornate metallic box: Taken.\n\n> You read Journal\nWhich do you mean, the tiny leather journal, The Dollmaker's\nJournal (smelling faintly of mildew) or the moldy, waterlogged journal?\n\n> You read the leather journal\n(You can repeat this command to read each journal entry)\n\n> You continue\nSeptember 8th, 1932.\nReturned from Czechoslovakia this evening. I can barely contain my excitement! I managed to obtain an artifact that we of the Variegated Court have long sought. The foolish Cik\u00e1ni that I purchased it from for only a few koruna had no idea what it was.\n\n> You keep going\nSeptember 12th, 1932.\nSpent the past few days absorbed in Mathers' The Book of Abramelin. The key is the harvest moon, and I am in luck that I do not have to wait an entire year. My almanac shows that the next harvest moon occurs in only two days. I must prepare.\n\n> Continue\nSeptember 15th, 1932.\nI am confused and frustrated. Beneath the pale orange light of last night's moon, I followed the instructions from the Abramelin text precisely, but after completing the evocation I experienced nothing.\n\n> Keep going\nSeptember 16th, 1932.\nContinuing my research. Looking for a secondary translation as Mathers' is widely known to contain many errors and omissions. My position as Niveous Alderman is at stake.\n\n> Continue\nSeptember 17th, 1932.\nDidn't get a wink of sleep last night. The dogs started barking at a very early hour in the morning and simply would not stop.\n\n> Continue\nSeptember 18th, 1932.\nThe dogs were at it again last night. I went outside to investigate but found nothing. I thought I saw something at the edge of the tree line, but it may have simply been my mind playing tricks upon me at that late hour.\n\n> You continue\nSeptember 19th, 1932.\nAnother sleepless night. Dogs were terrified, alternating between fearful wimpering and barking into the silent darkness. I'm now convinced that something is visiting each night - something that I must have unwittingly awakened under that fateful full moon four nights ago.\n\n> Keep going\nSeptember 20th, 1932.\nMy hand still trembles as I write this entry, and I am not entirely sure that I am not overcome with some madness. Last night, after waking from a few hours of fitful sleep, I saw something inhuman at the window, pawing ineffectually at the glass. THEN IT SPOKE MY NAME.\n\n> Continue\nThe remaining pages are too badly damaged.\n\n(You turn back to the beginning)\n\n> You examine the coffee\nThe swirls in your cup form a mermaid. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: horror, female protagonist]\n\n> Look around\nTiny Windowless Office (Llew Mason)\nStark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. Besides the stairs that you came up, the only exit lies through a door at the north end of the room.\n\n> You examine the desk\nCalling it oversize would be an understatement. It's probably eight feet long and looks like it's made of solid oak. Stacks of paperwork are scattered haphazardly all over it. Someone was clearly in desperate need of a filing system.\n\n> You search it\nYou idly rifle through some of the papers, but nothing looks very interesting. As you push paper around, you hear something fall off the desk and hit the floor with a metallic clink. Looking down, you see a large brass key.\n\n> You look at the brass key\nA large and important-looking brass key. Someone wrote a two digit number on the bow. It's mostly worn off, but the first digit looks like a 3.\n\n> You look at the coffee\nThe clouds in your cup form a child's wagon. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You look at Door\nIt's a perfectly ordinary wooden door. You try the handle, but it appears to be locked."
    },
    {
        "text": "[Themes: horror, Lovecraftian, Lovecraft, Comedy]\n\n> You go downward\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\nYou cringe from thinking something has moved in the shadows, but your mind just played a trick on you. You hope.\n\n> You go southeast\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Hey, you! This way! You're not deaf, are you?\"\n\n> You look at the coffee\nThe clouds in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n\"Psst! Hey! C'mere! Hellooooo?\"\n\n> You look at Door\nWhich do you mean, the tunnel exit door or the tunnel door?\n\n> You examine the exit door\nThe small hatch to exit this area is barely visible above a flight of rusty iron steps that appear to be bolted onto the wall of the tunnel. The bottom two rungs appear to have rusted away, but you should be able to reach the rest.\n\n\"Hey, you! Over here! Yoohooo?\"\n\n> You look at the tunnel door\nA dull red sheet of metal stands to the east. A keyhole is present at eye level. Above the keyhole is an image of an eyeball, above which is printed two back-to-back crescents.\n\n\"Psst! Hey! Come closer! You're not deaf, are you?\"\n\n> You look at the eyeball\nA dull red sheet of metal stands to the east. A keyhole is present at eye level. Above the keyhole is an image of an eyeball, above which is printed two back-to-back crescents.\n\n\"Hey, you! Over here! Yoohooo?\"\n\n> You go upward\nTaking a deep breath, you grasp the ladder for support and hook your leg up to the first available step. The metal creeks and groans alarmingly as you transfer your weight, but the bolts hold firm. You shakily gather yourself and begin to ascend back up to the surface.\n\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> Go south\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA spectral trolley stop sign reads Aqua Line -- River Walk.\n\n> You wait for the purple Line\nYou lean against the rotting deposits, hold out your pass, and wait for the purple line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA mistlike trolley stop sign reads Purple Line -- Cragne Manor.\n\n> Go northwest\nOutside the greenhouse (James Eagle)\nThe damp brick path that led you here bends around the squat porch of an old greenhouse half-swallowed by a tangle of bramble and ivy. Water drips from the thick branches overhead; in the undergrowth something - somethings? - creep and rustle.\n\nThe path curves away to northeast and southeast. You can also go in to the greenhouse from here.\n\n> About you\nWebs and leaf fragments cling where branches have brushed against you. Something tiny and blue-black scurries across your foot and slips into a crack in the brickwork.\n\n> You look at the coffee\nThe clouds in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You pull the string\nThe doll intones: \"Avoid the hazard of the greenhouse! Wood remembers the antique forest!\"\n\n> You pull the string\nThe doll intones: \"Beware the greenhouse door! A door indicates passage out of life!\"\n\n> You pull the string\nThe doll intones: \"Shun the portent of the je-brickpath! Green is the tint of poison and untamed growth!\"\n\n> You look at Path\nAncient bricks, slippery with green mould and treacherously uneven.\n\n> You pull the string\nThe doll intones: \"Beware the greenhouse door! A door signifies passage out of life!\"\n\n> You pull the string\nThe doll intones: \"Shun the greenhouse! Wood remembers the ancient forest!\"\n\n> You pull the string\nThe doll intones: \"Flee the omen of the greenhouse door! A door means passage out of life!\"\n\n> Enter\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nSomething vaguely sculpture-like protrudes from the roots near the exit.\n\n> About yourself\nThe sickly yellowish-green light in here glistens in the sweat on your skin. At least you seem to be relatively unscathed.\n\n> You examine the coffee\nThe clouds in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Inventory\nYou are carrying:\na large brass key\nan ornate metallic box (open but empty)\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (closed)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na glass shard (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> Go upwards\nWhat is visible of the iron staircase through the root mesh looks bent and badly corroded. The roots are slippery to the touch as you grab hold of the handrail and start climbing. After only a couple of steps the entire structure \u2014 including the platform above \u2014 lurches, and\nfor\na moment you think it is all going to come apart on top of you.\n\nGreenhouse (Petter Sj\u00f6lund) (on the mesh walkway)\nYou're up the mesh walkway circling the greenhouse partway up the wall. The roots have grown into the iron mesh and railing as well, twisting it and breaking it apart. Between the roots and sharp metal edges there is hardly room to stand, but the branches stretching finger-like from the lower part of tree look sturdy and climbable.\n\nThe spiral staircase leads back down.\n\nA strange rootlet-covered wooden handle sticks out from the rubble of roots and twisted metal.\n\n> You examine the handle\nIt is hard to tell among the roots, but it looks like the handle of a knife. Perhaps it could be pulled out.\n\n> You get it\nYou pull on the wooden handle. It gives an inch, and some of the roots that hold it snap. You pull again, harder this time, and with a metallic screech and a cloud of spores you find yourself holding a machete in your hand."
    },
    {
        "text": "> Go downwards\nYou climb down the unstable staircase.\n\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nSomething vaguely sculpture-like protrudes from the roots near the exit.\n\n> You look at the sculpture\nThis looks like some kind of garden ornament in the shape of a parrot. Through a web of roots and a yellow lichen that covers the white stone, two intensely red eyes made of some translucent material glare at you. The beak is open as if uttering a squawk. A pair of wings has apparently been broken off.\n\n> You examine Eyes\nThe red stare is tortured and hostile.\n\n> You go to the south-east\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA phantom trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go north\nYou climb the steps to the porch.\n\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes--though you're not eager to change into any strange shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A calfskin coat hangs beside it.\n\nIn the other corner of the porch, a teapot sits on a small wooden table.\n\nA slightly muddy welcome mat sticks out partway from under the front door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\n> You examine coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the hook\n(the hooks)\nA black metal hook protrudes from the wall, twisting in strange ways, like the outline of the human form projected through some alien dimension. A calfskin coat hangs beside it.\n\nThe floor below the hooks is lost in an unusually deep black shadow.\n\n> You examine the coat\nA thigh-length belted calfskin coat, clean as if it's never been outside.\n\n> You search it\nThe pockets of the calfskin coat are empty.\n\n> You examine table\nThe table is thigh-high, as if sized for a child's tea party, but its deep brown wood is so finely carpentered that the legs and tabletop seem carved from one piece. There is a round brown tea stain on it, but no cups or saucers.\n\nOn the table is a teapot.\n\n> You examine the teapot\nIt's a silver teapot tarnished brown on the spout and sides. Through the tarnish you can read the engraving, \"Jane Cragne, RMS Queen Mary, 2 Oct 1942.\"\n\n> You get it\nTaken.\n\n[This is the only item you need to take from this room or the front walk, and the only other thing you need to do here is unlock the door with the key, when you have it. But there are other things here you can explore, if you like.]\n\n> You unlock Door\nWhat do you want to unlock the front door with?\n\n> Brass key\nYou unlock the front door.\n\n> You examine the coffee\nThe swirls in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You examine the slippers\nA lightly scuffed pair of indoor slippers.\n\n> You examine the boot\nOne leather boot with a muddy sole.\n\n> You go north\n(first opening the front door)\n\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust. This house must have been abandoned for years. It's empty, and silent, and cold.\n\n\"Peter!\" you shout. There's no reply. Not even an echo comes back to you.\n\nOf course he's not here. You expected that; he wouldn't have locked you out. But whatever happened to him, this house is at the dark heart of it.\n\nMorning light slants across the floor. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> About yourself\nYou're bundled up in your black wool jacket and the brick red sweater. Your hair is tied back to keep it out of the way.\n\n> Inventory\nYou are carrying:\na teapot\na dull machete\na large brass key\nan ornate metallic box (open but empty)\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (closed)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na glass shard (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)"
    },
    {
        "text": "[Themes: Lovecraftian, Comedy, Lovecraft]\n\n> Look around\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nMorning light slants across the floor. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You put the brass key in the key pocket\nYou unzip the key pocket, deposit the large brass key, then zip the key pocket back up again.\n\n> You examine the coffee\nThe swirls in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go to the south\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A calfskin coat hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\n> You pull the string\nThe doll intones: \"Guard against the hallway! The floor symbolises your sense of security! It is narrower than it may seem!\"\n\n> You pull string\nThe doll intones: \"Flee the moulding! White is the hue of a dead dove!\"\n\n> You examine the moulding\nThe white moulding along the bottom of the wall and over the doors has numerous scratches and dings. It looks like the furniture was moved out quickly and without much care.\n\n> Inventory\nYou are carrying:\na teapot\na dull machete\nan ornate metallic box (open but empty)\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (closed)\na moldy, waterlogged journal\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole\na soggy tome\nan employee ID card (smelling faintly of mildew)\na shard of shattered carapace (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na glass shard (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You examine the hallway\nThe hardwood floor and wallpaper continue down a narrow hallway to the next room, which is dark. Aren't there any other windows in this house?\n\n> Xyzzy\nNothing happens.\n\n> You pull the string\nThe doll intones: \"Beware the dust! Dust suggests that certain aspects of yourself have been neglected! The floor suggests your sense of security!\"\n\n> You look at the dust\nDust covers most surfaces in the foyer. Tracks on the floor show where people have been more recently; the dust is deeper along the walls. Near the west wall there is a dark line.\n\n> You look at the dark Line\nThere is a small object under the dust. You lean over to look at it, trying not to sneeze. It's a tarnished silver pendant, about the size of your thumb, on a leather cord. It must have been dropped behind some piece of furniture and forgotten.\n\n> You get it\nYou take the pendant and sneeze as dust gets in your face. The charm is a silver hand, tarnished and dented. You hold the pendant at arm's length and shake the dust off.\n\n> You examine the pendant\nIt's a tarnished silver pendant, about the size of your thumb, on a leather cord. The pendant is shaped like an open hand. It's been damaged - a deep groove, like a chisel mark, cuts across the palm, nearly breaking the pendant in half.\n\n> Break pendant\nIt's broken already.\n\n> You eat the pendant\nFor a second you have a crazy impulse to put the pendant in your mouth. It passes.\n\n> You go to the west\nCourt (Ryan Veeder)\nWalls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.\n\nIn the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.\n\nA white key lies on the floor.\n\nRain rattles impatiently against the stained glass.\n\n> About yourself\nThis room makes you feel very small.\n\nA flash of lightning illuminates the stained glass: You catch a glimpse of a figure wearing a dark cloak.\n\n> You examine the coffee\nThe contents of your coffee cup startle you so much that you almost drop it. Instead of organic liquid curves and swirls, the cream forms a weblike pattern of jagged geometric lines that radiate out from the\n\n> You examine the case\ncenter at irregular intervals like bolts of lightning.\n\nAccording to the book you read, images like this occur when your fate depends on so many separate actions and courses of destiny that it can no longer be adequately divined by a leftover cup of now-cold muck water.\n\nA faint smell of mildew emanates from it.\n\nThunder rolls overhead, increasing in intensity, going on so long and becoming so loud that it must be a jet engine\u2014it stops.\n\nThe case is built into the curved wall, so its glass door has been crafted with a subtle but noticeable curve of its own.\n\nThe case contains seventeen figurines: a wolverine, a crow, an eel, a rat, a cat, a sheep, a kraken, a duck, a peregrine falcon, a Pontiac Firebird, a tarantula, a white antelope, a mole, a silverfish, a weasel, a Venus flytrap and a greyhound.\n\nOutside, the wind whistles along the manor walls.\n\n> You look at the case\nThe case is built into the curved wall, so its glass door has been crafted with a subtle but noticeable curve of its own.\n\nThe case contains seventeen figurines: a cat, a Pontiac Firebird, a Venus flytrap, a peregrine falcon, a white antelope, an eel, a kraken, a tarantula, a weasel, a wolverine, a greyhound, a crow, a silverfish, a mole, a duck, a rat and a sheep.\n\nAn explosion of thunder rattles the house.\n\n> You look at the figure\n(the stained glass window)\nThe sky outside is dark, and all you can discern in the window is a formless web of lead tracery.\n\nThe rain falls harder, louder, slamming into the window.\n\n> You listen\nYou hear nothing unexpected.\n\nAnother flash of lightning: In the stained glass, above the dark figure, a jagged shape looms.\n\n> You look at the pedestals\nEach pedestal is a different color (although several are barely-distinguishable shades of yellow): fuscous, griseous, puce, xanthic, croceate, niveous, icterine, fulvous, eburnean, rufous, cesious and mazarine.\n\nSeveral loud peals of thunder ring out almost rhythmically, as if something were knocking on a gargantuan door.\n\n> You look at the monolith\nIt's a prism-like column of some black material, its angles forming an asymmetrical pyramid at the top.\n\nThe stained glass lights up again, and you see the figure raising something to its lips.\n\n> You examine the leather journal\nIt's a tiny leather book. It's plain except for an unusual and quite striking design that has been embossed on the cover. Although discolored by age, the initial pages are quite legible. Unfortunately, many of the later pages have suffered heavily due to the silverfish and are covered with a patchwork of irregular, notched holes - only fragments of the once clear handwriting remain.\n\n> Go east\nFoyer (Greg Frost)\n\n> You examine the design\nThe outline of an animal has been embossed on the cover. If you'd seen this a month ago you'd have only been able to identify it as some sort of bear-like mammal with a long bushy tail. However, your recent trip to the zoo apparently had some educational value. The animal depicted on the cover is clearly a wolverine.\n\n> Go east\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. The door behind you exits to the west, and a door at the end of the gallery on the left wall leads to the north.\n\nThis gallery is quite narrow for displaying large paintings; perhaps the width of two people laid end to end. Its narrowness and clutter only feel more claustrophobic when set against the high ceilings. The slim path through the room's center makes you apprehensive about walking through. There are at least three large paintings and an abstract photograph that particularly catch your attention.\n\nVarious hulking pieces of furniture are pressed into four dark corners and distributed sporadically along the walls. Tacky bric-a-brac crowds every flat surface. Someone may have hoarded these misfit objects here to keep them from fouling the rest of the house.\n\nAn oversized mirror in a heavy wooden frame is casually propped against the door to the north, and you don't see another way through.\n\n> About yourself\nYou look fine. You were even having a good hair day earlier. You could probably check your reflection in that mirror at the end of the gallery.\n\n> You look at the coffee\nThe swirls in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine the paneling\nThe walls are covered in rich, patterned green satin above the creamy wainscot paneling.\n\n> You examine the paintings\nWhich do you mean, the painting of birds, the painting of meat, the painting of a child or elaborate painted panels?\n\n> You put the box in the side pocket\nYou unzip the side pocket, deposit the ornate metallic box, then zip the side pocket back up again.\n\n> You examine the paintings\nWhich do you mean, the painting of birds, the painting of meat or the painting of a child?\n\n> Birds\nThis painting is unusually realistic. You can see that looking at it one time won't reveal its full meaning.\n\nPaintings of birds often focus on flight to evoke feelings of freedom, hope, and escape. This one feels like gravity extending its hold with physical hands. A label in the center of the stained green wooden frame reads\n\n-or-\nThe Triumph of Nature\n\n> You look at the birds\nThe cowbird chick sits heavy and obvious on its adopted siblings. They must only be a few days old given their lack of feathers, but the cowbird is easily five times as large as the three other struggling chicks. The smaller chicks' closed eyes are black orbs encased in thin skin. Their eyes will never open to the light. Their mouths open in different directions, with wide, pink gapes frozen in permanent, begging hunger.\n\n> You look at the birds\nThe oversized cowbird is using one foot to steady itself on the edge of the grass nest, distorting the dry grass with its weight. A cracked eggshell is visible next to the cowbird chick, and the remains of a dried sparrow embryo and its yolk have dripped down the side of the nest and dried where the cowbird rests its claws.\n\n> You look at the birds\nThe stare of this huge cowbird chick is crisp and blank. Unlike portraits whose eyes seemingly follow you around the room, the cowbird chick seems to stare some distance directly behind you. The heavy-edged flanges of its mouth and the wispy eyebrow feathers common to baby birds give it an air of seriousness, like that of an old general.\n\n> You examine the meat\nThis painting is unusually realistic. You can see that looking at it one time won't reveal its depth.\n\nAn oversized painting in an elaborate gold-tinged wood frame. The painting depicts a large and haphazardly piled group of undercooked meats. In the center is a jumble of pinkish hams with crisped skins, darkened in thick lines where they have touched hot metal bars. The hams are freshly cut, exposing flesh dripping with juices traced through with blood. The liquids have congealed into a pool of white grease, surrounding the velvety black figs and turgid cornichons carefully placed around the meaty heap.\n\n> You look at the meat\nA label in the bottom center of the frame reads, simply, '\u017fteamed meats.' And they called these \u017fteamed meats despite the fact they are obviously grilled.\n\n> You look at Child\nThis painting is unusually realistic. You can see that looking at it one time won't reveal its full mystery.\n\nThe painting of the child faces the doorway to the west. Ah yes, you have seen this one before. Thomas Cooper Gotch, The Child\nEnthroned. A wise child sits on a wooden chair against a deep\ngreen background. The child herself is encased in sumptuous robes of blue and black velvet edged with wide gold lace. Her patterned red satin dress with a bright green sash speaks of opulence and taste. A halo, like the moon, rises from the child's head. Although her neutral expression gives you no clue to her thoughts, this only invites you to imagine some emotion for her.\n\n> You examine Child\nOn further examination, you notice that this is very much not the marble-skinned darling with delicate, square features and gold tresses from the original Gotch. This child clearly resembles you.\n\n> You look at Child\nYour mind races. This child is certainly your spitting image."
    },
    {
        "text": "[Themes: Lovecraftian, female protagonist]\n\n> You look at your surroundings\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. There are doors at either end of the gallery, leading north and west.\n\nThis gallery is quite narrow for displaying large paintings; perhaps the width of two people laid end to end. Its narrowness and clutter only feel more claustrophobic when set against the high ceilings. The slim path through the room's center makes you apprehensive about walking through. There are at least three large paintings and an abstract photograph that particularly catch your attention.\n\nVarious hulking pieces of furniture are pressed into four dark corners and distributed sporadically along the walls. Tacky bric-a-brac crowds every flat surface. Someone may have hoarded these misfit objects here to keep them from fouling the rest of the house.\n\nAn oversized mirror in a heavy wooden frame is casually propped against the door to the north, and you don't see another way through.\n\n> You examine the furniture\nWhich do you mean, the fainting couch, the credenza or the standing chest?\n\n> Couch\nA fainting couch that looks like it could be from a museum.\n\n> You examine the photograph\nA rather abstract photograph in black and white. You're not sure what it represents. Perhaps a line drawing of a hand with an eye in the center?\n\n> You examine the credenza\nThis is a low, long piece of furniture that is being used as a china cabinet, with a half-shelving unit perched precariously on it. The shelves are full of old, worn import porcelain in bland, cheap designs that have aged poorly.\n\n> You examine the chest\nA dark wooden standing chest, on tall, thin, wooden turned legs. The woodwork is ornate. A door is open, revealing that this chest has served as someone's covert liquor bar.\n\n> You pull string\nThe doll intones: \"Avoid the omen of the yerrik-gallery!\"\n\n> You pull the string\nThe doll intones: \"Avoid the walls! Green is the hue of poison and untamed growth!\"\n\n> You examine gallery\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. There are doors at either end of the gallery, leading north and west.\n\nThis gallery is quite narrow for displaying large paintings; perhaps the width of two people laid end to end. Its narrowness and clutter only feel more claustrophobic when set against the high ceilings. The slim path through the room's center makes you apprehensive about walking through. There are at least three large paintings and an abstract photograph that particularly catch your attention.\n\nVarious hulking pieces of furniture are pressed into four dark corners and distributed sporadically along the walls. Tacky bric-a-brac crowds every flat surface. Someone may have hoarded these misfit objects here to keep them from fouling the rest of the house.\n\nAn oversized mirror in a heavy wooden frame is casually propped against the door to the north, and you don't see another way through.\n\nYou can see a photograph here.\n\n> You examine Walls\nThe walls are covered in rich, patterned green satin above the creamy wainscot paneling.\n\n> You look at the mirror\nAn oversized mirror in a heavy wooden frame. The bottom left corner is cracked and broken into large shards. A painting of a child is posed directly opposite the mirror, and glancing at your reflection, you can see her dispassionate gaze over your left shoulder.\n\nA sliver of otherworldly moonlight is spilled onto the floor next to the mirror's broken corner. On closer inspection, it is a mirror shard, glowing as if it were showing a private reflection of a moonsoaked world.\n\n> You get the shard\n(the shard)\nAs you stoop for the shard, you see a thin strip of paper that had been stuck in some of the broken pieces of the mirror.\n\nTaken.\n\n> You examine paper\nWhich do you mean, the fortune, the old newspaper (smelling faintly of mildew), the repaired page (smelling faintly of mildew) or the yellowed newspapers?\n\n> You examine the fortune\nA scrap of paper providing more of a declaratory statement than a fortune. It reads \"The answer is inside you.\" On its reverse, it says \"Full moon tonight; Beware the updog. Lucky numbers 4, 7, 69, 13.\"\n\n> You cut yourself with the shard\nWhich do you mean, the shard, the shard of shattered carapace (smelling faintly of mildew) or the glass shard (smelling faintly of mildew)?\n\n> You examine the glass shard\nYou see nothing special about the glass shard (smelling faintly of mildew).\n\nA faint smell of mildew emanates from it.\n\n> You look at the mirror shard\nA sharply pointed triangular shard of the mirror that could fit nicely into your hand, like a primitive knife.\n\n> You put the glass shard in the side pocket\nYou unzip the side pocket, deposit the glass shard (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the carapace shard in the side pocket\nYou unzip the side pocket, deposit the shard of shattered carapace (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You cut yourself with the shard\nYou stare at your left wrist, and contemplate the shard in your right hand. Do you really have the nerve to do this? Are you certain this is what the message in the fortune meant?\n\nDon't think about it. Don't think about it. DON'T THINK ABOUT\nIT\n\nYou take aim at your left wrist and stab. The pain is intense. More intense than you can bear. Before you black out, you grab the mirror frame, which pivots suddenly on the uneven floor. I hope I didn't sever the tendons, you think.\n\nIn Rube-Goldberg fashion, the old behemoth crashes down a moment after you hit the ground. The mirror's frame slides out and hits the credenza, which unloads its fragile junk onto the floor, and in doing so, nudges the standing chest, whose thin, wooden legs gave way under it. Like ugly, misshapen dominoes, the objects in the room fall into a kind of ordered destruction.\n\nWhen you come to, you see that you are now surrounded by broken, useless, tacky chaos. Not even a single lidded beer stein or mini-pendulum clock made it through unscathed.\n\n> What's the updog\nNot much. What's up with you?"
    },
    {
        "text": "> You look around\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. There are doors at either end of the gallery, leading north and west.\n\nIt's a godawful mess in here and it's entirely your fault. It looks like you've cleared the path through the room, and there may be nothing left to do but enjoy the paintings.\n\nYou can see a photograph here.\n\n> You get the photograph\nA black and white photograph that measures half the span of your arms; a large photograph in a simple but surprisingly heavy frame.\n\nThat's fixed in place.\n\n> Go north\nRec Room (Zack Johnson)\nThe manor's rec room is short for the manor's recreation room. Even though it's as old as the manor itself, it looks, as all rec rooms do, like it's stuck in the 1970s.\n\nThe room is dominated by a pool table. Or maybe a billiards table, you were never really sure what the difference is. An old television sits atop a little wooden stand in front of a comfy-looking easy chair.\n\nDoors lead south and east, and the north wall is covered entirely in built-in cabinets, whose glass doors lead, predictably, into their interiors.\n\n> About yourself\nYou are ready for some *recreation*.\n\n> You look at the coffee\nThe swirls in your cup form the engine of a train. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You examine the pool table\nIt's got everything you need to play pool except... cues, balls, and that triangle thing you use to set up the rack.\n\n> You look at the chair\nIt looks very comfy.\n\n> You sit in the chair\nYou slouch into the chair with a protracted sigh of pleasure. It is indeed as comfy as it looks.\n\n> Examine tv\nYou see the movement of a human figure reflected in the screen. You whirl around, but there's nobody there. Creepy.\n\n> Examine tv\nWhat the hell is going on here? The television is definitely off, but there is definitely movement on the screen.\n\n> You look at the tv\nIn the dim grayness of the screen, you see the outline of a kid with a bowl of cereal.\n\n> You look at the tv\nA dim suggestion of a voice whispers in your head: \"He likes it! Hey Mikey!\"\n\n> Examine tv\nYou stare into the static for a while. It makes your eyes feel as bad as your ears.\n\nThe television continues blaring.\n\n> You stand\nYou get out of the chair. Your new situation kinda sucks compared to earlier, when you were in the chair.\n\n> You look at the stand\nIts purposes are twofold and simple: be made of wood, and hold the television off the floor.\n\n> You examine cabinets\nThe glass-doored cabinets stretch from wall to wall. All of them are empty except one, which is full to bursting with old board games.\n\n> You examine the board games\nLooking at the board games makes your vision swim. The glass must be distorting them somehow.\n\n> You open the cabinet\nOf course, the only cabinet with anything interesting in it is also the only cabinet that is locked.\n\n> You look at the coffee\nThe clouds in your cup form a horse in mid-gallop. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You break the cabinet\nNo way. What if one of the board games uses broken glass as its playing pieces? You'd never know which piece of glass went where.\n\n> You go to the east\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in what appears to be a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\nA woman's voice suddenly makes you jump: \"Are you interested in\nthe future? I am. It's where I'm going.\"\n\nYou look around, see no-one, but the voice fills the air. Where is it coming from?\n\n\"Welcome. I am Francine Cragne, and you are privileged to be able\nto learn something about me and my work here in the music room. A room that I built, I might add, and a room where only people welcomed by me are allowed. This rules out almost everyone in the old Vermont family from which I spurted and crawled. You got over the threshold, so I know you're not one of them.\"\n\nGlancing back towards the entry, you now perceive a faint symbol on the floor.\n\nThe Francine voice continues: \"My work is music. At least that's\nwhat I tell people when they ask, because everyone thinks they know something about music. But in the case of any one thing that you think you know about, there are still a million things about that thing that you don't know, right?\"\n\nThe voice could be a woman in her twenties or thirties. It's a little harsh, a little breathy, with a confrontational quality. You suddenly wonder: Is this live or a recording?\n\n\"Well, what if the part of something that you didn't know about\nwas as deep and as dark as a black hole in space?\"\n\n- this last bit said in a strangely drawn-out way. You're already tired of this Francine's indulgences, but you sense that you're going to have to keep indulging them if you want to find your husband.\n\n> About you\nYou dressed sensibly for the journey to Cragne Manor because you had no idea what would be in store for you. You remain uncertain about what may be in store for you.\n\nThe voice says: \"You've also got a problem with my family, I can\ntell. Is it to do with your husband? I think we could be be good for each other, you and me. Is why more important than how? No. Here's how: The crimson button starts and stops my music. The plus button toggles my additive synthesis process. The minus button toggles my subtractive synthesis process. The LFO button toggles my frequency-modulating process.\n\n\"Say HELP if you want a reminder of all that later. Say it aloud.\nI'll hear you. And no, you won't need anything from outside this room.\"\n\n(You can use these commands for short:\nc or crimson = Press crimson\n+ or plus = Press plus\n- or minus = Press minus\nlfo = press LFO)\n\n> You examine coffee\nThe clouds in your cup form a pear shape, complete with stem. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine the podium\nThe wood is strong, perfectly fitted and sealed. You find it can't be moved, though it doesn't look heavy. On top of the podium are four buttons. No cables or power sources are visible, but this is obviously a device you can operate.\n\n> You look at the symbol\nA distorted, oval-shaped spiral symbol is just visible all around the base of the doorway into this room, as if an oily drink had been spilled. Its lines have an indistinct quality that frustrates the eye. You can't tell what it's made of, if anything. Your initial passage across it into the room didn't disturb it.\n\n> You examine Walls\nThe music room is definitely well appointed. Unlike some other parts of Cragne Manor.\n\n> You pull the string\nAll you hear is garbled nonsense, like a tape rewinding while being played. This place seems to be interfering with the doll.\n\n> You examine the podium\nThe wood is strong, perfectly fitted and sealed. You find it can't be moved, though it doesn't look heavy. On top of the podium are four buttons. No cables or power sources are visible, but you know that the buttons work.\n\n(A steady beat plays in the background.)\n\n> You examine the telephone\nIt looks pretty vintage. The receiver sits on a hook beside the phone body between calls.\n\nThe phone begins to ring.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You answer the phone\nYou pick up the phone and offer a tentative, \"Hello?\"\n\n\"I knew you'd be there,\" says a male voice. \"We know you've been conjuring up shit even your family doesn't know about. You'll need to share that power with us. The first thing that will happen if you don't is we'll tell your old man what you've been doing. The second thing that will happen is that we will completely fuck you up. Even worse than what you did to David. So pack your shit and come into Burlington tomorrow. Meet me at The Carfax at ten PM. I won't ask twice.\"\n\nThe line goes dead.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)"
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft]\n\n> Look around\nYou're in a rather forbidding living room. The chairs and table are all of some incredibly dark wood, the green carpet beneath them even darker. Vertical stripes of a complex red floral pattern on the wallpaper make the high ceiling seem even further away than it must be. A wide window in the west wall admits early afternoon light through its dirty glass, along with a view of nothing but sky and clouds.\n\nThe room is cold.\n\nThere are closed doors to the north and east.\n\nA red telephone is mounted on the wall.\n\nYou see the mahogany podium with the buttons on it.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You examine the chairs\nAll sharp corners and no cushioning, plus they seem to devour light. Meals in this room must be pretty joyless.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You examine the window\nBobbing your head about until you find an angle from which you're able to see through the bleary old panes, you realize why only the sky was visible at first. The room you're in is high up, so you have to be close to the glass before you can see all the way down to the ground. You recognize the grounds of of Cragne Manor out there.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You go to the north\nAs you move in that direction, the background music becomes fainter and murkier, as does all sound in the room. You sense that you're stepping outside some area which is the focus of the music. The further you move away from the focus, the more the music dissolves and the less comfortable you feel. Your physical movements start to become restricted, as if you were wading into a narrowing corridor of thick mud.\n\nEach step brings an alarming increase in nauseating sensations and disorientation until, almost sick, you rush back into the focal area. The music returns in full and you experience immediate relief.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> Go south\nYou can't go that way.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> Go east\nAs you're unable to leave the focal area of Francine's music, you can't work out any way to walk out of the immediate area.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You open the window\nThe window is permanently set in the wall. Looks like it was never made to be opened.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You examine the lightbulbs\n(the lightbulbs)\nThe bulbs must have been chosen to keep this hallway moodily lit instead of properly lit.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You examine the gig\nPrinted on the gig poster in hectic green and black writing that you can barely read is:\n\nComing up at The Carfax!\n\nBread Loaf Mountaineers\nPyramidial Tension\nXavier feat. The Cosmos\nFrancine C\n\nEach of these bands' logos fights for space on the poster in a cacophony of typefaces.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You look at clipping\nA handwritten note on the newspaper clipping on the wall indicates it's from the Backwater Banner's August 26, 1994 edition.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You read it\nThe article reads:\n\n(Cassandra Campbell. Backwater Banner, August 26, 1994.)\n\nLocal Backwater musician Francine Cragne has been charged with misdemeanor assault after audience members alleged she threw real blood on them at the end of a musical performance.\n\nMiss Cragne, twenty-three years of age and who goes by the stage name Francine C, ended her encore at The Carfax Club on August 19 by emptying the red liquid contents of a vial over front row patrons. Cragne is known for her morbid on-stage theatrics, and the wet patrons assumed they had been sprayed with stage blood. It was only after leaving the club that audience members had the opportunity to properly smell and inspect the fluid. Some claimed it was real blood and returned to the venue to complain. Miss Cragne had already left The Carfax for the night.\n\n\"I thought Francine was the bomb before this,\" said Burlington resident Robert Aspin, who attended Miss Cragne's August 19 show. \"She does a lot of wild stuff, but I'm grossed out by this. Plus I don't want AIDS or nothing. I don't know where that blood came from.\"\n\nBackwater Police picked up Miss Cragne the next day at Cragne Manor, her family home in Backwater. When asked by this reporter if she had any comment to make regarding the accusation that she had thrown her own blood on Carfax Club patrons, Cragne replied, \"You think I'd throw someone else's blood on them?\"\n\nMiss Cragne was charged on August 20 and released on bail. The Carfax Club's management have declined to comment on the incident.\n\n> Examine wanted\nWhich do you mean, the wanted poster of a woman or the wanted poster of a man?\n\n> Woman\nThe grainy, xeroxed black and white poster says \"WANTED: FRANCINE C\". A big-mouthed woman in a ratty dress scowls into the camera, her hair feral, her attitude rock star. Francine Cragne.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You examine wanted man\nThis crumpled xerox is an FBI wanted poster for the serial killer Ted Bundy. He went to the chair years ago, as you recall.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You look at the large photograph\nThe foot-long photo shows a laughing woman stepping at an angle towards the camera, as if to go past the photographer. Tight on her stocky body is a dark, satiny but scummy-looking floral dress, artfully torn in a few places or perhaps just worn out. Shoving a great mass of grungy red hair back behind one ear as she leaves, she has an obvious rock star fierceness about her. Her eyes are far apart and narrow, though you can't see into them in this photo, but her squishy-lipped mouth is flung open in laughter, revealing somewhat wonky and frightening teeth. Her skin is an oily white, her face scarred and with spots.\n\nThe photo's background of a plain, cream-colored wall certainly throws this hectic-looking individual into relief.\n\nComparing this photo to the adjacent wanted poster of the scowling woman, it's apparent that the woman in the photo is also Francine. In fact the images come from the same time and place. It looks like she posed for a photo to be used on the wanted poster, then broke the pose, started to laugh, stepped off her spot, and was snapped again as she did so.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You get the photograph\nIf you did that, you'd feel a bit too much like one of those characters in a film who tears pages out of a public phonebook for their own convenience.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You examine girl\nShe's a sickly little thing. Her hair is a knotted dark red tangle that evolves into a bunch of corkscrews and rat tails where it falls over her shoulders.\n\nThe girl continues to chant over the paper, the intensity in her young voice increasing:\n\n\"Francine, rancine, ancine, en-seen, seen, een, enn, ee, Francine, rancine, ancine, en-seen, seen, een, enn, ee.\"\n\n(A steady but dulled beat plays in the background. There's also a separate high-pitched tone in the air. It feels more present, as if it's coming out of something in this room.)\n\n> You examine the bed\nLike much of this room, the bed looks very old, with a decrepit black bedhead of flaking cast iron. The sheets are threadbare pink flannel.\n\nThe girl's voice is growing hoarse from the repetition of the chant -\n\n\"Francine, rancine, ancine, en-seen, seen, een, enn, ee, Francine, rancine, ancine, en-seen, seen, een, enn, ee.\"\n\nAs the voice circles itself, the room starts to blur. The music that followed you here from the music room begins to sink away. You feel an intense nausea and headache coming on, and you fall to your knees, trembling.\n\nJust as you're on the verge of passing out, you realise the girl has stopped chanting. The unbearable sensations recede.\n\n(A steady but dulled beat plays in the background. There's also a separate high-pitched tone in the air. It feels more present, as if it's coming out of something in this room.)\n\n> You look at the window\nThe window's blinds are raised and it's open to the warm evening.\n\nGathering yourself up, you look to the girl. Her eyes are open, and though she's flushed from her exertions, she appears calm, even tranquil. She looks down at the paper on the floor. Then she considers her left hand, the bloodied one.\n\nWith a single forceful movement she shoves the hand in her mouth and down her throat. She gags and chokes, her face turns red and her body quakes. Then, as if pulling a cork from a bottle, she yanks her hand free and vomits pointedly all over the picture in front of her.\n\nLooking as devastated as a far older woman who's just given birth, the girl crawls forward through the steaming mess and lifts her paper out of it. Though dripping, it's still in one piece.\n\n(A steady but dulled beat plays in the background. There's also a separate high-pitched tone in the air. It feels more present, as if it's coming out of something in this room.)\n\n> You look at the paper\n(the piece of paper)\nAll you can make out from here is that there's a drawing on it.\n\nSuddenly the girl stands and turns to you. You'd swear she was looking straight at you, except that those widely set eyes of hers are unfocused.\n\n\"Are you still there?\" she asks in a harsh whisper. \"I feel you. I must have called you. I don't know how, but I trust myself.\" The girl's eyes roll around with a beseeching madness that is upsetting to see in her young face.\n\n(A steady but dulled beat plays in the background. There's also a separate high-pitched tone in the air. It feels more present, as if it's coming out of something in this room.)\n\n> You talk to Francine\nShe's straining to hear, but you don't think she can.\n\nThe girl darts her head about like a little bird, searching but not finding. It makes you wonder if you're really here.\n\nShe turns away abruptly and begins a new chant: \"Thine nine, I am thine, thine nine, return in time.\" Muttering a nonsensical stream of similar phrases, she takes her picture over to the window, sits on the floor, folds the picture into a paper plane, stands again and throws the plane out the window. Then she sniffs and rubs her nose on her pajama sleeves.\n\nShe turns to face approximately in your direction again. The door to the room is thrown open behind you and the girl cowers. Someone enters the room in a thunderous way. The room floods with light from the doorway as this person seems to tramp into the very space you occupy. Your body jolts and so does the background music.\n\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\n> Lfo\nYou press the LFO button. Nothing happens.\n\n> Lfo\nYou press the LFO button and it lights up. The music begins to undulate rhythmically.\nThe air trembles and your surroundings change.\n\nYou are in a small, damp-smelling circular chamber flagged in an iridescent sea green. There's a hole in the ceiling leading into a sloped shaft, and a drainage grille in the floor. The plinking of distant water echoes up through the grille. Some weak bluish light bounces down into the chamber from the shaft. The light catches scratches on the floor.\n\nYou see a child's kaleidoscope tube set on a metal stand, like a telescope.\n\nYou see the mahogany podium with the buttons on it.\n\n(A weirdly undulating beat plays in the background.)\n\n> You examine the hole\n(the hole in the ceiling)\nYou can barely reach the hole, and find you can't get any kind of grip on it. All you can see when you look up there is that it immediately becomes a diagonally-sloping shaft that leads out of sight.\n\n(A weirdly undulating beat plays in the background.)\n\n> You examine the grille\nThe grille is concreted into the floor. You can't see what's beyond it.\n\n(A weirdly undulating beat plays in the background.)\n\n> You open it\nIt's immovable.\n\n(A weirdly undulating beat plays in the background.)\n\n> You look at the scratches\nScratched into the floor in tiny letters is:\n\n\n\n(A weirdly undulating beat plays in the background.)\n\n> You look at the kaleidoscope\nThe kaleidoscope is made up of three rotating metal cylinders attached end to end. The cylinders are decorated with embossed stars and rainbows. There's an eyehole at one end of the tube.\n\n(A weirdly undulating beat plays in the background.)\n\n> You look through it\nPeering into the eyehole of the kaleidoscope, you see the expected pretty, glassy patterns in a circular frame - but only for a second. The effect wavers away, leaving you staring through a plain lens at a particular spot on the wall.\n\n(A weirdly undulating beat plays in the background.)\n\n> You examine the spot\nYou walk over to the wall and squint at the area singled out by the kaleidoscope. It seems to be as green and featureless as any other part of the wall.\n\nWait. While turning your head, you heard a sliver of someone's voice, as if you'd just dialed past a station on your car radio.\n\nCarefully, you move your head around the surface - up, down, back and forth - but, frustratingly, the other noises in the vicinity distract your ears, and you are unable to rediscover the sound.\n\n(A weirdly undulating beat plays in the background.)\n\n> Continue\nYou return to the part of the wall singled out by the kaleidoscope. Carefully, you move your head around the surface - up, down, back and forth - but, frustratingly, the other noises in the vicinity distract your ears, and you are unable to rediscover the sound.\n\n(A weirdly undulating beat plays in the background.)\n\n> You look at the podium\nAtop the podium you see the following four buttons arranged left to right: A crimson button (illuminated), a button with a plus symbol on it, a button with a minus symbol on it, and a button labeled 'LFO' (illuminated).\n\n(A weirdly undulating beat plays in the background.)\n\n> You search it\nThere is nothing on the mahogany podium.\n\n(A weirdly undulating beat plays in the background.)\n\n> You look at the seesaw\nIt's of a kind you almost never see today, just a wooden plank on a hinge with a cold metal T-bar at each end. There are no springs or pads or anything else attached to the structure to cushion anyone or mediate the plank's motion.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You get on it\nYou're really too big (physically) to do more than give this seesaw a push.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine hinge\nThe hinge is rusting but remains functional. You notice a piece of chalk sitting on it.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine the chalk\n(the piece of chalk)\nA piece of plain white chalk.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You get it\nTaken.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You look athe t-bar\nThere's something poking out of one of the handles.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You look at the handle\n(the dull machete)\nThe blade is long and rusty. The dirty wooden handle is still covered in a mesh of rootlets, providing a nice grip.\n\nYou wish you had something to sharpen it with.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You put the machete in the side pocket\nYou unzip the side pocket, deposit the dull machete, then zip the side pocket back up again.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You look at the handle\nYou find a note stuck in the end of one of the handles. You pull it out.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> Seesaw\nThe note says: THE TREES\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine Daniel\nPeter,\n\nI was very glad to hear of your impending arrival. Your family line has been separated from Cragne Manor for far too long. Call me old-fashioned, but I wanted to give you something as a \"homecoming\" present. Truth be told, I'm really just returning your property. The object you'll find inside was something your father gave to me many years ago. He said that it had originally belonged to your great uncle Luther. He never explained why he wanted me to have it, and seemed to take great pleasure in the fact that the object's purpose or function was a conundrum that I couldn't solve. Following his death, I'm somewhat embarrassed to say that I ended up simply using it as a rather elaborate paperweight. Maybe you'll have better luck figuring it out. Lord knows, it's not like the extended Cragne family hasn't dealt with its share of mysteries.\n\nYours truly, Daniel Baker.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine TREES\nYou look to the trees. A non-descript boy in drab clothing steps out from amongst them. He comes no closer.\n\nThe boy's mouth starts to move, but you don't hear any sound from it crossing the space between you. You are instead startled by a toneless whispering right in your ear:\n\nFrancine, we\n\nFrancine, we're here\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine boy\nHis face has nothing remarkable or unremarkable about it, nor does his hair. His clothing speaks of no particular time.\n\nWe are carrying the circle you asked for from the far place. It\nwill take 5113 days to carry it. On that day you will see mountain-climbers. They keep the circle inside their symbol.\n\nWe are carrying the ears you asked for from the far place. It will take 381 days to carry them. Whenever you need them, say your name, then pick up three times. Do it at night.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You look at the boy\nHis face has nothing remarkable or unremarkable about it, nor does his hair. His clothing speaks of no particular time.\n\nWhy don't you let us in when you speak with us?\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine boy\nHis face has nothing remarkable or unremarkable about it, nor does his hair. His clothing speaks of no particular time.\n\nWe serve you only, no other child\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine boy\nHis face has nothing remarkable or unremarkable about it, nor does his hair. His clothing speaks of no particular time.\n\n(Music consisting of a beat and sparse, cold notes bends up and down unpleasantly in the background.)\n\n> You examine the body\nYou want to understand more about what's happened here, or why, or who this is, but it's dark and you're numb and afraid. Your mind feels like it's retreated under a rock.\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You examine the marks\nWritten in blood on her stomach is \"FUCK YOU\".\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You look at the lightbulb\n(the red-tinted bulb)\nThe red tint makes for poor illumination.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine the shelf\nThe junk on the shelves has probably been hoarded over many years in readiness for that one day when a single object buried amongst it could come in handy.\n\nYou hear someone moving around upstairs.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You search it\nYou better leave it alone. It's the only light you've got down here.\n\nYou hear someone moving around upstairs.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You search them\nThere's nothing you need amongst all that precariously balanced junk. You'll leave it alone.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You look at the desk\nOn the writing desk are a newspaper clipping, the first diary page and the second diary page.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You look at the clipping\nIt's been snipped out of an issue of the Backwater Banner.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You read it\nThe article reads:\n\nRUMORS OF DECAPITATIONS IN THE NORTHEAST TURN OUT TO BE TRUE!\n\n(Edna Johnson. Backwater Banner, October 27, 1995.)\n\nSources close to several ongoing murder investigations in The Kingdom have revealed to the Backwater Banner that the investigators believe they may be dealing with a serial killer. One whose modus operandi includes chopping off heads.\n\nWhen the headless corpse of a man was found on farmland outside of Hardwick in September last year, the sensational story was widely reported in local news. The man remains unidentified and the murder remains unsolved. What authorities haven't made public, but which the Banner can now confirm, is that two more headless corpses have been found in similar circumstances along the banks of the Lamoille River over the past year. The first corpse was that of a woman, the second that of another man.\n\nVermont State Police Commander Keith Browne, Jr. has refused to offer any comment to the Banner on what he described as \"this highly sensitive murder investigation.\"\n\n\"I urge the press not to re-publish irresponsible rumors that could interfere with police work,\" the commander said on Tuesday.\n\nThe Banner advocates a free press and believes citizens have a right to know about highly unusual dangers in their state.\n\n> Inventory\nYou are carrying:\na note from a seesaw\na piece of chalk\na shard\na broken silver amulet\na teapot\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (smelling faintly of mildew) (closed)\na moldy, waterlogged journal (smelling faintly of mildew)\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na soggy tome\nan employee ID card (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine first diary\nThis lined page has been torn out of a large diary to use as writing paper. It's covered in meandering cursive handwriting.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You read it\nThe first diary page reads:\n\nIn order for the magic to work I am Syrach-bound to write truthfully about my relationship with the subject and how I acquired the object.\n\nI first met Abril Navarro at the Maximas dojo on the evening of the thirteenth of January in 1995. She'd just broken up with a boyfriend who'd then shoved her out of his car in Vermont. She was looking around for new friends and new meaning. David definitely had his eye on Abril that night, but I had a feeling she might turn out to be useful, so I got her out of there before he could talk to her.\n\n(David later died when I conjured something on him. The summon was just meant to spy on him, but I hear it painted the room with his brains. That's why the Maximas are after me. It's also why my relationship with Abril has become so important.)\n\nMe and Abril got to drinking our way around Church Street. She told me she was from Miami originally. Her heavy Roman Catholic upbringing had turned her off the big religions. She loved her mom, so she wore the ring her mom gave her everywhere, but her mom was deep into religion and that was a bad scene for Abril. I suppose that's how people like Abril end up at a temple for the occult in Burlington.\n\nI told her I was a musician and that I was into the occult. I told her a lot of the Maximas people I'd met were full of shit, but also that I thought the temple was onto something. I didn't tell her that whenever their somethings came to anything, I liked to know about it. That was the main reason I kept visiting the temple.\n\nThat night I took Abril to crash with me at Cragne Manor, just because it wasn't too far a drive. She thought the house was loco and that I must be a millionaire. I said I grew up there then got out of there, but I still had rooms there I could use. Talk about a long story short.\n\nIf particular Cragnes noticed a strange Latina woman walking around the manor grounds, they'd go apeshit, but Abril wears her Florida Marlins baseball cap and big glasses everywhere during the day. I love Abril's black hair. It almost touches her waist.\n\n> You read it\nThe second diary page reads:\n\nI saw Abril on and off. I helped her get an apartment. She came to some of my shows and we went out. She liked that if she flirted with guys, they'd always be scared away by me. She didn't want another boyfriend already. She didn't want to try my bed, either. I just kept her close. I had perceived something about her, that her auras and her life forces and her cosmic keys were perfectly aligned with mine. I now knew what she would be useful for at the right time.\n\nOn the second of November in 1995, I invited Abril to visit me at the remote property of a Maximas temple member in Essex. I'd acquired this property for the purpose. I drugged Abril's wine, waited for her to fall asleep and then sawed her head off. I played the music to open the way. I performed the incantation. I tasted the blood dripping from her head. I took the ring from her finger.\n\nAbril's the only one where I wished I didn't have to kill her. I liked her, but my existence is the important thing.\n\nThese pages need to survive for the spell to work. I think I'll laminate them. Not at Kinko's, though. Then I'll hide them.\n\nI'm also bound not to destroy the head. The rest of the body, okay. Tonight I'll have to risk driving it over to the pit to get it started.\n\nI don't know who is decapitating people in the northeast.\n\n2 November, 1995\n\n> You open the freezer\nYou lift the freezer lid and rest it against the basement wall. A cloud of ice vapor plumes from the chest. When it clears, you see there's just one thing inside. An object wrapped in black plastic trash bags.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine the Head\nWhich do you mean, the object wrapped in black plastic, the pull-string doll (smelling faintly of mildew) or the mallet (smelling faintly of mildew)?\n\n> Black plastic\nYou pull carefully at the wrappings. The weight of the thing inside resists. After some fiddling, the first layer comes off, revealing another bag. You unwind it from around the object, disturbed to feel something alternately organic and hard passing beneath your fingers through the plastic.\n\nThe second layer eventually comes off, revealing a third bag. You can tell the thing is inside it.\n\nYou ease the mouth of the bag downwards. Something like a twinkling jewel appears in the opening. You lean closer to try to understand. Then you understand. A frost-dusted eye, the blank gaze of death. A woman's plump but slack, cyanotic-hued lips.\n\nYour heart and stomach both start at once and you wheel away, belching violently. Stomach acid comes scalding into your mouth. Gradually, the physical shock passes.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine the Head\nWhich do you mean, the head of Abril Navarro, the pull-string doll (smelling faintly of mildew) or the mallet (smelling faintly of mildew)?\n\n> Abril\nTensing yourself, you return to the bag and open the mouth a little wider. You were afraid it might smell, but it doesn't.\n\nAbril's lush black hair has been crammed carelessly into the bag. Death, freezing, and the isolation of her head in this absurd context destroy all your other attempts at understanding. Interpreting her looks is impossible. Acknowledging her ethnicity or anything else about her is impossible. Perhaps if you took the head out of the bag... No, you could never do that.\n\nAs you release the bag, the weight inside it causes it to tilt slightly. Something stuck against the plastic catches the light.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine it\nYou reach for the glint in the freezer and pull out a ring.\n\nIt's a thin ring with a heart engraved on it.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine the ring\n(Abril's ring)\nIt's a thin ring with a heart engraved on it.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You get it\nYou already have that.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You get first diary\nTaken.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)"
    },
    {
        "text": "[Themes: Lovecraftian, female protagonist, horror]\n\n> You look around\nYou're in a brick basement bathed in the dismal glow of a single red-tinted lightbulb. A curved wooden writing desk sits directly beneath the bulb. The shelf-covered walls bulge with miscellaneous old hardware and junk, and a ten foot staircase leads up to the basement door. A freezer chest in the corner emits a low hum. The air down here smells metallic and unpleasant.\n\nYou see a newspaper clipping on the desk.\n\nYou see the mahogany podium with the buttons on it.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You examine the spot\nYou return to the part of the wall singled out by the kaleidoscope. Carefully, you move your head around the surface - up, down, back and forth - but, frustratingly, the other noises in the vicinity distract your ears, and you are unable to rediscover the sound.\n\n(A weirdly undulating beat plays in the background.)\n\n> You check your inventory\nYou are carrying:\nAbril's ring\na note from a seesaw\na piece of chalk\na shard\na broken silver amulet\na teapot\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (smelling faintly of mildew) (closed)\na moldy, waterlogged journal (smelling faintly of mildew)\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na soggy tome\nan employee ID card (smelling faintly of mildew)\nsome yellowed newspapers\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n(A weirdly undulating beat plays in the background.)\n\n> Lfo\nYou press the LFO button. Its light goes out. The undulations disappear from the music.\nThe air trembles and your surroundings change.\n\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\n(A steady beat plays in the background.)\n\n> You say francine\nYou say, \"Francine.\"\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You pick up the phone\nYou pick up the phone. There's no-one on the line, just a dial tone, so you put it down.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You pick up the phone\nYou pick up the phone. This time there's a sound like television static coming down the line. After a few moments the line goes dead and you hear a soft thud nearby. Looking around, you see a small black box at your feet. You have an impression it fell out the bottom of the telephone.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You get the black box\nTaken.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You open it\nOpening the box reveals a pair of green stone earrings.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You look at the earrings\n(first taking the earrings out of the box)\n\nYou remove the first earring from the box and take a closer look at it. Actually, there are no pins or clips on this ovaloid object. Its curved, organic contours remind you of something else. An ear. Could it be something that goes in the ear canal? An earplug?\n\nYour idea gains credence when you take the second stone out of the box and find it to be a physical mirror image of the first.\n\nThe earplugs appear to be made out of jade or some other ornate green mineral, but to the touch they don't have the coldness of stone you'd expect. One earplug is specifically shaped to fit in the left ear canal, the other the right.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> You wear them\nYou put the earplugs in your ears. Strangely - very strangely - they have no effect on the quality of your hearing. You expected everything to become muffled, at least as much as if you'd put your fingers in your ears and probably more, but that hasn't happened.\n\n(Slowly-pulsing beats and a high, elusive melody play in the background.)\n\n> Lfo\nYou press the LFO button and it lights up. The music begins to undulate rhythmically.\nThe air trembles and your surroundings change.\n\nYou are in a small, damp-smelling circular chamber flagged in an iridescent sea green. There's a hole in the ceiling leading into a sloped shaft, and a drainage grille in the floor. The plinking of distant water echoes up through the grille. Some weak bluish light bounces down into the chamber from the shaft. The light catches scratches on the floor.\n\nYou see a child's kaleidoscope tube set on a metal stand, like a telescope.\n\nYou see the mahogany podium with the buttons on it.\n\n(A weirdly undulating beat plays in the background.)\n\n> You examine the spot\nYou return to the part of the wall singled out by the kaleidoscope. Carefully, you move your head around the surface - up, down, back and forth - and manage to isolate the source of the sound to a spot on the wall only a quarter of an inch in diameter. This is definitely the source of the voice you overheard.\n\n(A weirdly undulating beat plays in the background.)\n\n> Continue\n(to the spot on the wall)\n\n\"Francine,\" intones a deep, old male voice, \"today we admit you to the station of Xanthic Alderman of the Variegated Court.\"\n\nA long pause.\n\n\"Xanthic,\" says Francine. \"That's yellow, right? Have you ever seen me wear yellow? The color of cowardice and liver disease?\"\n\n> Keep going\n(to the spot on the wall)\n\nThe man raises his voice, though his tone is placating. \"Your blood and your presence are essential to the continued power of this court. Don't make light of this station. With your strain of the blood, your gifts, you may be the last of your kind. That's why we are bestowing this honor upon you, quite in spite of everything that you do. You cannot be wasted.\"\n\n\"No,\" Francine says quickly, \"I'm not the last of my kind. You're the last of your kind. All of you in this above-ground crypt passing for a home. I'm the first of my kind. I've only just realised it.\"\n\n> You continue\n(to the spot on the wall)\n\nThe man: \"Sit down, you promiscuous cunt!\"\n\n\"Did you charm your wife with that talk, Calvin? No wonder she killed herself, you daughter-fucking piece of shit.\"\n\nA strangled cry comes from the man, numerous chairs scrape the floor and everyone starts yelling.\n\n> Continue\n(to the spot on the wall)\n\nFrancine projects her voice over the top of the din: \"You can't move against me while you need me in that chair. So I'm going to leave it empty. And I'm going to kill you by outliving you, Calvin. Because you're old.\"\n\nYou hear Francine's booted feet thump out of the room as the situation disintegrates into a cacophony.\n\n> Keep going\n(to the spot on the wall)\n\nThe noise diminishes as people storm out of the meeting. Eventually you hear a door close. Then silence.\n\n> Continue\n(to the spot on the wall)\n\nYou hear the ambience of a large, empty room, as if you were in it yourself.\n\n> Continue\n(to the spot on the wall)\n\nThe silence of an empty room.\n\n> Lfo\nYou press the LFO button. Its light goes out. The undulations disappear from the music.\nThe air trembles and your surroundings change.\n\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\n(A steady beat plays in the background.)\n\n> You examine the gig\nPrinted on the gig poster in hectic green and black writing that you can barely read is:\n\nComing up at The Carfax!\n\nBread Loaf Mountaineers\nPyramidial Tension\nXavier feat. The Cosmos\nFrancine C\n\nEach of these bands' logos fights for space on the poster in a cacophony of typefaces.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You examine Mountaineers\nYou scrutinize the Bread Loaf Mountaineers logo on the gig poster. The letter O in \"Loaf\" flickers once, almost imperceptibly, and you feel something touch the inside of your right hand. You open that hand to discover a ring.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> You look at the ring\nWhich do you mean, the far place ring, Abril's ring or the rubber ring?\n\n> You examine the far place ring\nA simple ring with a coppery hue.\n\n(Underneath cold and muffled tones, a dull beat plays in the background.)\n\n> Wait\nTime passes.\n\nThe earthquake intensifies so that there's nothing more to reality than incredibly violent motion. Everyone screams, the sound merging with the bestial roar of some third party whose black form erupts through the floor of the bedroom. It takes all of you.\n\n> You drop the chalk\n(the piece of chalk)\nYou toss the chalk out into the room through the gap between the doors.\n\n\"There!\" yells the boy. You glimpse Francine's hand snatching up the chalk, then she bends over to draw something on the floor. The earthquake immediately stops.\n\n\"How'd you do that?\" shouts the boy. \"How the hell'd you do that?\"\n\n\"Shut up,\" says Francine, panting, milling around in front of the closet. She looks flushed and excited. A single drop of sweat falls from her wet brow onto the front of her singlet. You see her face alter subtly into a relaxed mask before she turns back to the boy. \"We were never going to die. I just wanted to scare you properly.\"\n\n\"Well, it worked,\" says the boy, sounding exhausted. \"I've never seen levitation shit like that at the Maximas dojo. Come on, you have to show them you can make this stuff happen.\"\n\n\"I'm still waiting for them to show me something,\" says Francine. You hear the chalk clink to the floor. A door opens and someone walks out.\n\n\"Don't talk 'round me, France. I hate that.\" The boy's voice trails out of the room. The door shuts and a lock rattles. It's probably safe for you to leave the closet now.\n\n(A steady but dulled beat plays in the background.)\n\n> Leave\nYou get out of the closet.\n\nYou see the mahogany podium with the buttons on it.\n\nYou can also see a piece of chalk and a closet here.\n\nThe room smells bad. It could really use an airing.\n\n(A steady but dulled beat plays in the background.)\n\n> You get the chalk\n(the piece of chalk)\nTaken.\n\nThe room smells pretty bad. It could use an airing.\n\n(A steady but dulled beat plays in the background.)\n\n> You open the window\nYou slide the window up and are grateful for the fresh breeze that starts to billow into the room. From this vantage point, you find that you have a splendid second floor view of the grounds of Cragne Manor.\n\nIn this light, at this time, the place could pass for normal.\n\nAs you step back, you are startled by a paper plane. It flies in through the window, brushes past your head and lands on the bedroom floor.\n\n(A steady but dulled beat plays in the background.)\n\n> You get the plane\nTaken.\n\n(A steady but dulled beat plays in the background.)\n\n> You examine it\nThe paper from which this plane is made is brown and stained. Is this the same plane you saw the child Francine throw out the window? You never did see what was written on it.\n\n(A steady but dulled beat plays in the background.)\n\n> You unfold it\nYou carefully unfold the paper plane to reveal a child's drawing.\n\n(A steady but dulled beat plays in the background.)\n\n> You look at it\nThis primitive, colored marker drawing is of a female corpse. The body lies straight out in repose, the eyes are crosses and the tongue lolls over an upside down U of an unhappy mouth. A circle has been drawn around the whole body, and two rings have been drawn with more than stick figure care on the stick figure fingers.\n\n(A steady but dulled beat plays in the background.)\n\n> Lfo\nYou press the LFO button and it lights up. The music begins to undulate rhythmically.\n\nThe air trembles and your surroundings change.\n\nYou're in a brick basement bathed in the dismal glow of a single red-tinted lightbulb. A curved wooden writing desk sits directly beneath the bulb. The shelf-covered walls bulge with miscellaneous old hardware and junk, and a ten foot staircase leads up to the basement door. A freezer chest in the corner emits a low hum. The air down here smells metallic and unpleasant.\n\nOn the desk you see a newspaper clipping and two torn sheets of paper.\n\nYou see the mahogany podium with the buttons on it.\n\n(Music consisting mostly of a muffled beat rolls around uncomfortably in the background.)\n\n> You put the far ring on the body\nYou slip the far place ring onto one of the corpse's fingers.\n\n> You look at what you're carrying with you\nYou are carrying:\na drawing of a corpse\na piece of chalk\na pair of stone earplugs (being worn)\na black box (open but empty)\nAbril's ring\na note from a seesaw\na shard\na broken silver amulet\na teapot\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (smelling faintly of mildew) (closed)\na moldy, waterlogged journal (smelling faintly of mildew)\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You put the abril's ring on the body\nYou ease Abril's ring onto one of the corpse's fingers.\n\n> You examine the body\nYou want to understand more about what's happened here, or why, or who this is, but it's dark and you're numb and afraid. Your mind feels like it's retreated under a rock.\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You look at chalk\n(the piece of chalk)\nA piece of plain white chalk.\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You draw with the chalk\nThat won't help.\n\n(Strange music plays in the background. Beats, pulses and dissonant high notes move in and out of time. The whole piece ripples up and down in frequency.)\n\n> You draw the circle\nYou maneuver your way around the corpse, scrawling a series of chalk arcs on the ground until you find yourself back where you started. The woman's body is now enclosed within a circle.\n\nThe wind begins to rise. The trees whip about even more violently. Clouds slide over the moon, plunging the clearing into a gritty darkness. The ground stirs. You find yourself instinctively stepping away from the corpse.\n\nTwo points of light appear in the dark: the two rings on the corpse's fingers. They glow for a moment and then wink out.\n\nNow the clearing fills with a new, cold and sourceless light, rendering it a frozen landscape. The background music devolves into a quiet roar. There's no detail or tone in the sound. It's just a presence.\n\nYou are shocked by a blast of heat about your person, and find yourself hurling Francine's drawing of the corpse to the ground, where it bursts into a fireball. Then it's not there anymore.\n\nA woman stands up at the edge of the clearing. She leans one hand on a tree, the hand with two rings on it. Dressed all in black, her red hair licked by the wind, she looks somehow magnificent in the frozen light. You glance down to Francine, destroyed and headless on the ground, then back to magnificent Francine leaning on the tree. She looks into your eyes and her wide mouth shows the slightest smile. Then she turns and hurries away into the forest. You are alone with the corpse again.\n\nThe strange light fades. The clouds part for the moon. The natural state of things returns.\n\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\nFrancine's voice says, \"Thank you, Naomi.\" She draws out the\nsyllables of your name in a mocking fashion. \"You've been helpful.\nI wonder if you get how helpful. I knew the right person would visit the music room eventually.\"\n\nThe voice sighs, like she's stretching. You feel you can almost see her before you. Your mind suddenly recalls the madness in the eyes of that little red-haired girl calling out to invisible things in the dark of her bedroom. How did she, and you, arrive at this point together? You try to think only of finding Peter again. That goal is an anchor of sanity.\n\n\"What am I going to do for you? Well, I pity anyone who has to\nplay stupid games with my family here in the manor. So I'll help you cheat. But I can't just say certain Cragne secrets out loud. That would break the protection on this room.\n\n\"You already overheard one thing you need to know when you were listening in l'oreille. And about the other thing. Did you\nknow that I have a familiar? The animal was seen at my grave.\"\nThen she adds, \"My first grave.\"\n\nA paper plane suddenly flies through the doorway into the music room. It lands at your feet with a thud.\n\n> You look at it\nThis paper plane is a little heavier than the last one you held.\n\n> You open it\nYou unfold the paper plane. It's a police report.\n\n> You look at it\nThe police report has several pages.\n\n> You read it\nThe report is three and a half pages long. It reads:\n\nCommander's interim report to the Public Safety Commissioner on the investigation into the murder of Francine Cragne\n\nKeith Browne, Jr.\n\nJanuary 18, 1999\n\nThe bulk of this report comprises a summary of the five month investigation into the murder of twenty-seven-year-old Francine Cragne in the town of Waterville, Lamoille County, Vermont in late 1998. The report concludes with a description of the investigation's recently broadened scope. The FBI are assisting Vermont State Police with the investigation as of the date of this report.\n\nIn the early morning of August 5, 1998, two Vermont fishermen called police after finding the body of a woman in forestland in Waterville. They had been walking along a nature trail when a bird flew across their path and startled them. (They say the bird turned out to be a peregrine.) Searching for the bird, they found it in a tree overlooking a clearing. A woman was lying on her back in the clearing. The location was approximately 300 feet northwest of the Montgomery Covered Bridge. The woman's clothes had been lifted to reveal her stomach. The words \"FUCK YOU\" were written on her stomach in blood. The fishermen said they could not see the woman's head.\n\nFirst responding troopers located four shotgun shells near the corpse. From the amount of blood present and its concentration around the neck of the corpse, our initial take on the crime scene was that the woman was killed where she lay by several shotgun blasts to the head. Based on its condition, we estimated the body had only been in situ for ten hours at the most. We believed there was probably more than one perpetrator involved because the woman was not bound, and had not been bound. Only an exceptionally powerful individual would be able to subdue and control an uncooperative victim while manipulating a shotgun all by themselves. That scenario seemed far-fetched for the crime scene.\n\nWe quickly came to regard the profanity and disrobement as poor false staging of the crime scene - unconvincing attempts by the killers to lead us into thinking the motive for the crime was sexual or sadistic in nature. The overkill used on the victim suggested the killers were inexperienced, and simply wanted to be sure the victim was dead. While destruction of the head can imply a personal motivation, it can also be carried out in order to make identification of the victim more difficult. In this case, fingerprinting the corpse led to a quick identification, and in retrospect we believe that the killers must have known the victim would be readily identified.\n\nAs you now know, the murdered woman was twenty-seven-year-old Francine Cragne. She was a Vermont native with a criminal record, major involvement in underground occult culture and a colorful history.\n\nMiss Cragne was a member of the wealthy Cragne family of Backwater. Cragnes have been in trouble with the law ever since law existed in this state. Members of the family have been implicated in a dozen murders and disappearances during this century alone (see supplementary report A) and the Cragnes continue to be regarded as outsiders by the Backwater community. Various Cragne family members have been placed under surveillance by Vermont State Police over time in relation to criminal activity in Vermont's occult communities. In spite of decades of thorough police work, no Cragne has ever been charged with more than a misdemeanor. As a result of this historical anomaly, I believe a cultural problem has developed within Vermont law enforcement such that the lower ranks consider it a waste of time to work crimes involving the Cragne family.\n\nRegarding Miss Cragne's murder, we've been working our long list of suspects and we currently have seven members of the Maximas temple under surveillance. (See supplementary Maximas Surveillance Report for details of our progress.)\n\nRegarding Miss Cragne's activities while she was alive, we now have reason to believe she may have been involved in some or all of the following unexplained disappearances and deaths:\n\nDavid Corey - Missing (Vermont)\nBrace Cragne - Missing (Vermont)\nArthur Griswold - Deceased (Maine)\nOlive Hobart - Missing (New Hampshire)\nVictor Kesick - Missing (Ohio)\nAbril Navarro - Missing (Vermont)\nIda Rodriguez - Deceased (Pennsylvania)\n\nWe are now pooling our investigative resources with the FBI.\n\nCommander Keith Browne, Jr.\nVermont State Police\n\n> You examine the coffee\nThe swirls in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You look at the coffee\nThe clouds in your cup form no discernible pattern. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go to the west\nRec Room (Zack Johnson)\n\n> You break the cabinet\nNo way. What if one of the board games uses broken glass as its playing pieces? You'd never know which piece of glass went where.\n\n> Go south\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. There are doors at either end of the gallery, leading north and west.\n\nIt's a godawful mess in here and it's entirely your fault. It looks like you've cleared the path through the room, and there may be nothing left to do but enjoy the paintings.\n\nYou can see a photograph here.\n\n> You examine the photograph\nA rather abstract photograph in black and white. You're not sure what it represents. Perhaps a line drawing of a hand with an eye in the center?\n\n> You go west\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThat's odd. When you first entered the house it was morning, but judging by the light coming through the windows it's already afternoon. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> Go north\nLanding at the Bottom of Stairs (Mark Sample)\nThis is a dark alcove with a narrow stairway rising into the gloom upstairs. The landing feels unwanted, neglected, as if its sole purpose were to get you somewhere else more important. You know that feeling well. You touch your wedding ring in an offhand way.\n\nShadows lurch over a doorway to the south. Opposite those shadows lies another doorway, in even darker shadows. What little light there is seeps in from a small elliptical window high on the wall. A ramshackle bookshelf squats under the window like a sunken chest on a murky seafloor.\n\n> About you\nIn the darkness all you really see is a shadowy outline. The effect is so creepy you're almost afraid to look again.\n\n> You look at the coffee\nThe swirls in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Inventory\nYou are carrying:\na police report (\"Francine Cragne\")\na piece of chalk\na pair of stone earplugs (being worn)\na black box (open but empty)\na note from a seesaw\na shard\na broken silver amulet\na teapot\na tiny leather journal\nDaniel Baker's note\nan old paperback book\nan old newspaper (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (smelling faintly of mildew) (closed)\na moldy, waterlogged journal (smelling faintly of mildew)\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You examine the bookshelf\nThe bookshelf might once have been the centerpiece of the landing but now it's tired and battered, leaning unsteadily to the right. The dark wood is heavily burled, triggering a dim recollection in the back of your mind. A few picture frames rest on top.\n\n> You look at the frames\nA grey mold blossoms across all the frames. Funny, you never saw mold growing on metal before. The photographs are torn out of every frame. Only the ragged edge of each photo remains, jagged white teeth encircling a vacant center.\n\n> You examine the Wood\nThe wood is cruelly knotted. You inexplicably recall an episode of This Old House when Bob Vila explained that the burls so\nprized in Victorian furniture were often the result of horrible fungal infections.\n\nYou touch your wedding ring in an offhand way.\n\n> You examine the ring\n(the Your wedding band)\nYou remember the day you swore to be Peter's, forever. You look down at the gold band and study its intricate woven inlay that almost looks like--No, that can't be.\n\n> You examine the inlay\nMaybe it's the dim thanatopic light writhing through the elliptical window overhead, but something seems different about the ring. You feel like you're looking at its woven pattern for the first time. It reminds of you of chains, gates. Cages.\n\n> You remove the ring\n(the Your wedding band)\nStrange, the wedding band usually slides right off, but something about this house seems to have tightened the ring around your finger. Constricting, that's the word that comes to mind.\n\n> You pull the string\nThe doll intones: \"Avoid the small elliptical window! Something small represents secret ability!\"\n\n> You look at the window\nA vague recollection of This Old House stirs in your mind. A\ncameo window, you think it's called. Warped wooden muntins crisscross the horizontal ellipse, reminding you of sties on an infected eye. The glass is filthy, hazy. It's not a window so much as a cheerless smear looking out to grounds of the Cragne Manor beyond.\n\nYou stand on your tippy toes, but you can't quite see through the window from here.\n\n> You jump\nThe floorboards moan, and a hollow thud vibrates up your spine.\n\n> You climb the bookshelf\nYou slowly step onto the bookshelf. It creaks. It strains. But it appears to hold your weight.\n\nFor now.\n\nA sudden gust of wind batters the house. The eerie silence that follows is defined as much by what's there as by what's not.\n\nLanding at the Bottom of Stairs (Mark Sample) (on the\nbookshelf)\nYou're standing on the ramshackle bookshelf. What little light there is seeps in from a small elliptical window that's now eye-level.\n\n> You look at the window\nPanes of glass streaked with grime obscure most of the view. You catch a glimpse of movement in the shadows outside. Is it the white pines, so tall they resemble a fleet of square riggers bemasted with gigantic fascicles of needles? Or is it something else in the shadows? Whatever it is, it's big.\n\n> You look through the window\nYou thought you saw something through the window, but now you're not so sure. The towering trees sway in the wind, but there's nothing there.\n\n> You examine the pines\nTowering white pines crowd the grounds of Cragne Manor. The woods are dark, inpenetrable. You think someone should make a horror movie about kids lost in the woods. Even with no monsters, it would be scary enough.\n\n> You examine the bookshelf\nThe bookshelf might once have been the centerpiece of the landing but now it's tired and battered, leaning unsteadily to the right. A few picture frames rest on top.\n\n> You stand\nYou shift your weight to step down from the bookshelf. A sharp\ncrack breaks the silence of the alcove. The bookshelf\ncollapses and you scramble away, slamming onto the old wooden floor.\n\nbones. A thick, putrid effluvium wafts up from the floor.\n\n> You examine the shelf\nA heap of gnarled wood lies on the floor. It looks like your fall has broken through the rotten floorboards underneath the old shelf, revealing a small alcove. The smell of ancient sewage emanates from the alcove.\n\n> You examine the alcove\nThe hole in the floorboards is a moldering, rotting place. There's something here. A thing.\n\n> You look at the thing\nIn the gloaming of the landing you can't see clearly into the foul hole. You're afraid you'll have to pick up the thing to see what it is.\n\n> You get it\nYou gasp when you touch the slippery, oozing thing. In your hand is a gelatinous piece of severed tentacle.\n\nYou think there might be something else in the alcove.\n\n> Continue\nYou already have that.\n\n> You search the alcove\nThe hole in floorboards is a moldering rotting place. Now that you've pulled out the loathsome tentacle you see a thin leather volume lying in the hole.\n\n> You get Book\n(a thin leather volume)\nThe book is damp and clammy but you pick it up. It's like shaking hands with a cadaver.\n\n> You look at the thin Volume\nThe title of the thin volume appears in distinctive heavy gothic lettering. It's called De Zeven Testamenten van de Krijsende\nZeeworm. There's a--what's it called, the snake eating its own tail?--etched onto the cover. The book is bound in a wrinkled leathery material. You can't quite place the feel of the material.\n\nThe back of the ancient book is defaced with a sticker bearing some sort of insignia that makes it clear the book belongs to the Backwater public library. The insignia looks vaguely Masonic. Two sallow crescent moons stand guard on either side of an icy, watchful eye. And the eye gazes down upon an open book.\n\n> You read Book\nWhich do you mean, De Zeven Testamenten van de Krijsende\nZeeworm, the tiny leather journal, the old paperback book\n(smelling faintly of mildew), the old newspaper (smelling faintly of mildew), The Modern Girl's Divination Handbook -- Volume Three, the postcard of Big Ben (smelling faintly of mildew), the diary of Phyllis Cragne (smelling faintly of mildew), The Dollmaker's Journal\n(smelling faintly of mildew), the moldy, waterlogged journal (smelling faintly of mildew), Twin Hearts Between the Planes, the soggy tome (smelling faintly of mildew) or Tolerating An Asinine God (smelling faintly of mildew)?\n\n> You read the Volume\nWhich do you mean, De Zeven Testamenten van de Krijsende\nZeeworm or The Modern Girl's Divination Handbook -- Volume Three?\n\n> You read thin Volume\nYou crack open the thin volume--quite literally. The leather binding cracks as you open the book. It must be ancient. You can't imagine why a public library would have such a book in circulation. Even more incomprehensible is why the book was hidden under the floorboards. Afraid to break the binding more, you close the book without reading it.\n\nAs you finish reading the passage, the spark moves through the book with an eerie hum, leaving frost behind on the library insignia.\n\n> You search the alcove\nThe hole in floorboards is a moldering rotting place.\n\n> You examine the coffee\nThe clouds in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You look at the tentacle\nWhere on earth did this come from? About a foot long, the membranous tentacle tapers to a horrific curling point. It's a dim glowing green, the color of a dying glow stick. It reeks of something ancient. Your mouth unaccountably begins to water.\n\nThe tentacle is still warm.\n\n> Lick tentacle\nWith some primeval impulse you cannot fathom, you decide to taste the awful raw tentacle. You bite down, imagining the tentacle is an exquisite ceviche.\n\nIt tastes like...\n\nPower.\n\nThe original, cosmic power.\n\nYou feel the tentacle's warmth spreading through your body. And suddenly it's a torrent of thick, clotted blood roiling through your veins.\n\nAnd your eyes. Oh, your eyes. They see everything. Through every layer of reality you see, through all of them. As if every dimension of space and time turned transparent. A yawning, moorless chasm lies beyond. And finally, you see, you sense--you know--just what\nit means to be a god.\n\nAnd then your mind, your consciousness, your soul, whatever you call it, stretches inside out and covers you whole and thus everted you vanish into the maw of nothingness.\n\nYou are more than dead. You are no more."
    },
    {
        "text": "> You look around\nLanding at the Bottom of Stairs (Mark Sample)\nThis is a dark alcove with a narrow stairway rising into the gloom upstairs. Shadows lurch over a doorway to the south. Opposite those shadows lies another doorway, in even darker shadows. What little light there is seeps in from a small elliptical window high on the wall.\n\nThe ramshackle bookshelf lies in a pile of splintered wood on the floor like a fallen scarecrow, arms akimbo.\n\n> Go north\nAs you walk through the doorway, you realize you've stumbled onto a dinner.\n\nDining Room (Roberto Colnaghi)\nThree men are sitting at a long table, intently sipping coffee at the end of a formal dinner and conversing about serious-sounding matters. They don't seem to be aware of your presence. You notice a calendar on the wall.\n\nThe man at the head of the table says: \"I hope you enjoyed my hospitality. As you know, I'm interested in the new developments of science. Particularly, I think the acknowledgement of a fourth dimension, together with that of non-Euclidian geometry applied to space-time, is a big step towards the understanding of reality, on a cosmic scale.\"\n\nYou feel a queer tickle ripple through your body. Looking down, you see the horrible tentacle disintegrate and disappear before your eyes. You sense that some primordial godhead has left this world.\n\n> About yourself\nThis place reminds you you're hungry and haven't eaten in a long time. Unfortunately you see nothing to eat.\n\nOne of the guests answers: \"Well, Mr. Cragne, that's true in general, but for most of our experience, space-time just follows regular, Euclidian geometry. It appreciably bends itself in a non-Euclidian way only in the presence of an enormous mass, or energy. Said condition is inconceivable for our everyday experience in this world...\"\n\n> You examine the coffee\nThe swirls in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n\"...and yet, Dr. Einstein's theory predicts this as something possible, Dr. Fermi. I know there is speculation about black holes, things so massive that they bend the very fabric of reality. My question for you, respected gentlemen, is this: what do you think these 'black holes' can be?\"\n\n> You examine the Men\nSomething's wrong with these people. They seem translucent and blurred.\n\nThe other guest says: \"We don't know. It could be a collapsed star, attracting more and more matter...\"\n\n\"I must disagree, Dr. Von Braun,\" Fermi interrupts. \"Also Dr. Einstein himself thinks these 'black holes' are just theoretical solutions of his general relativity equations, not things happening in reality...\"\n\n> You look at the table\nThe wooden table is set for dinner, but the meal seems to be just finished.\n\n\"And yet, the universe is so vast, and we know only a very tiny part of it. Maybe Dr. Einstein is wrong. Maybe, somewhere, something so massive and energetic can exist. It could even be a living\nthing.\"\n\n> Examine calendar\nToday is the 14th of April, 1951.\n\n\"In the distant, ancestral past,\" Cragne intervenes. \"I\ngathered you here, revered scientists, to show you my recent discovery. You can freely take it, if you want. Maybe you can derive new scientific progress from it, or even build some device which can take us where we couldn't possibly even think of, until now. Do you dare to look in the abyss?\"\n\nThe two men stare at their host, curious and frightened all the same, as their bodies become more and more translucent, until they disappear, together with the plates, the glasses, the tablecloth and all the rest, leaving just an old, dusty table.\n\nDining Room (Roberto Colnaghi)\nA long, rectangular mahogany table takes up most of the room. The room is old and dusty, and it seems decades have passed since the last time someone had dinner here. On the table lies a strange machine, and a calendar is pinned on the wall. Doorways lead west, east, and south.\n\nNext to the machine there is also an old magazine cutting.\n\n> You look at the calendar\nToday is the 22nd of April, 1996.\n\n> You look at the machine\nIt seems straight out of a 60s science fiction movie: a big cathodic screen is hooked up to an electronic board with some controls on it, which in turn is hooked up to a bunch of different sensors. It takes up most part of the table.\n\nThe machine is currently switched off.\n\n> You look at the magazine\nThis is a cutting from an old Italian magazine. Printed on a corner is \"La Domenica del Corriere, 2 Maggio 1972\", and is apparently an article about an Italian monk and his alleged invention. In particular, a photo on the page strikes you. Attached to the newspaper cutting is what seems a typewritten translation of the article in English.\n\n> Chronovisor\nNo doubt, it is the same machine which lies on the table in front of you.\n\n> You read it\n(first taking the Italian magazine cutting)\nThe article is an interview with Father Pellegrino Ernetti, a Benedictine monk and official exorcist of Venice, as well as physics and electronic amateur, about his invention. He claims his \"chronovisor\" is the fruit of years of research with twelve of the best minds of his time, Enrico Fermi and Wernher von Braun among them. Receiving all kinds of electromagnetic and sound waves with its sensors and antennae, the chronovisor can show images and sounds from any place, at any past time, no matter how distant. He claims to have seen many historic figures from the past, and through it he was able to transcribe a lost tragedy of Ennio, and to record an image of Christ on the cross (published in the magazine). It seems that the monk is very jealous of his invention, as he refuses to show it to anyone.\n\n> Switch machine\nAs you push the button, you hear an electric buzz, and the lights on the electronic board start blinking. The screen is now on and shows the manor from the outside.\n\nThe machine emits a very low hum.\n\n> You look at the screen\nThe most recognizable part of this contraption is a big steel-encased glass screen, with a speaker mounted on it. The screen shows the manor from the outside.\n\nThe machine emits a very low hum.\n\n> You examine the coffee\nThe clouds in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\nThe machine emits a very low hum.\n\n> You watch the screen\nThe screen shows the manor from the outside.\n\nThe machine emits a very low hum.\n\n> You look at the machine\nIt seems straight out of a 60s science fiction movie: a big cathodic screen is hooked up to an electronic board with some controls on it, which in turn is hooked up to a bunch of different sensors. It takes up most part of the table.\n\nThe machine is currently switched on.\n\nThe machine emits a very low hum.\n\n> You look at the controls\nThis board is connected to both the screen and the sensors. It is filled with LEDs and lights, and prominently a steel dial and a machine control button.\n\nThe machine emits a very low hum.\n\n> You look at the dial\nA rotating steel disc, plain and simple. No arrows or gauge around it. The dial is turned all the way to the left.\n\nThe machine emits a very low hum.\n\n> You turn the dial\nYou turn the dial right and it stops with a click. You joggle it back left, but it's stuck. Looks like you can only turn it right. The LEDs on the electronic board start blinking faster. The hum of the machine changes pitch, going up as the images on the screen change abruptly. The screen seems to show the same location as before, but with the manor gone. Instead you can see a tribe of natives dancing around a wooden totem.\n\nThe machine's humming is still quite low.\n\n> You examine the screen\nA Native American tribe is singing and dancing around a totem. The totem depicts animals, but mostly fishes or crustaceans, a strange thing considering this place is nowhere near the sea.\n\nThe machine's humming is still quite low.\n\n> You turn the dial\nThe images on the screen change again. The LEDs blink faster and faster as the humming gets higher in pitch. Now you can only see the hill on which the manor stands, with no artifacts, no trails and no other trace of human presence. The hill also seems slightly taller.\n\nThe machine is emitting a high tone sound.\n\n> You look at hill\nThe hill shown on the screen seems higher, yet it strongly resembles the one on which the manor sits. The vegetation is much thicker, with green conifers covering the landscape. As you look harder, you notice fast movements, probably wild animals.\n\nThe machine is emitting a high tone sound.\n\n> You turn the dial\nThe screen now shows a mountain, with vegetation you've only seen in some science textbook. Still, you feel this must be the same place you are in now. Suddenly, something dives from the right of the view, screaming fiercely before vanishing quickly. A prehistoric flying reptilian, by the looks of it.\n\nThe sound of the machine is now a high pitched shriek.\n\n> You turn the dial\nThe images on the screen change again. No mountain anymore, no animals or plants, not even earth, just empty space. There's only darkness now, pointed by stars. Something in the middle of the screen catches your attention: it's like a whirl, turning in the blackness of deep space. The humming is now a piercing shriek, and the lights on the electronic board are blinking like crazy.\n\nYou feel an impulse to keep watching the whirl on the screen.\n\nThe sound emitted by the machine is very acute, bordering to ultrasound.\n\n> You look at the whirl\nA black vortex at the screen's center whirls. Stars orbit around it with increasing speed until they are sucked in. Then you notice the vortex becoming bigger or nearer. Only when the thing has completely covered the screen, you realize that there's actually\nsomething in that blackness. The LEDs are blinking so fast\nyou can't even see them, and the scream of the machine is breaking your ears. But you're totally paralyzed, watching the writhing appendages dwelling in the vortex, as you realize that hideous thing is a living being, swarming the cosmos and wreaking havoc through galaxies. Then, some circuitry on the electronic board burns out. The shriek drops to a very low frequency, as most of the lights burn, and the machine becomes silent. But you just can't forget that horrific image, as the word VAADIGNEPHOD echoes in your brain."
    },
    {
        "text": "[Themes: Lovecraft, horror]\n\n> Look around\nDining Room (Roberto Colnaghi)\nA long, rectangular mahogany table takes up most of the room. The room is old and dusty, and it seems decades have passed since the last time someone had dinner here. On the table lies a broken machine, and a calendar is pinned on the wall. Doorways lead west, east, and south.\n\n> You go west\nThe Kitchen (Edward B)\nThe Cragne family kitchen. Light from a naked bulb feeds shadow down the spaces between old cabinets, counters and bookshelves. A dusty, doorless fridge overlooks an oven just as worse for wear. You'd guess it's been a minute since anyone's used this room to cook. A doorway leads east, and a wooden door set in the floor appears to lead to a cellar or basement.\n\n> About you\nYou look at yourself and are again taken aback by the fact that Prince wrote Manic Monday.\n\n> You look at the fridge\nA refrigerator with no door. It's funny, you actually had a doorless, broken fridge in your first apartment. You and your friends used it as a bookshelf.\n\n> You look at Door\nA wooden door with a rusty iron lock is set in the northeastern corner between the counter and the fridge. It looks heavy.\n\n> You examine the counter\nA light pine counter occupies the kitchen's northwestern corner. It seems to have faired well enough post-abandonment. A stocked spice rack sits alone on the counter-space closest to the fridge and a sink rests in the countertop directly beneath a pair of cabinets.\n\n> You look at the rack\nA simple wooden spice rack. It holds an oddly complete collection of spices in contrast to the empty shelves and fridge. You spot jars of saffron, roast garlic, turmeric, cardamom, cinnamon, dill, salt, pepper, MSG, and something called snail paste... most look fresh enough to use. Safe to test with a sniff or a taste, you imagine. Does spice go bad? Does snail paste?\n\n> You look at the sink\nA metal sink, browning at the edges. It's dry as a bone.\n\n> You examine the cabinets\nA pair of old wood cabinets sit above the sink on the northern wall. When they were new, they were probably quite lovely. The handles are missing from their doors, but a bit of pressure could pop them open.\n\n> You open the cabinets\nYou finagle your fingers around the cabinet doors and wiggle them open.\n\n> You search the cabinets\nIn the cabinet are red-rimmed porcelain cups and red-rimmed porcelain plates.\n\n> You get all\nred-rimmed porcelain cups: Taken.\n\nred-rimmed porcelain plates: Taken.\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake: Taken.\n\nA Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf: Taken.\n\nMama Hydra's Deep Fried Ones: Taken.\n\n> You search the cabinets\nThe cabinet is empty."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft]\n\n> Look around\nThe Kitchen (Edward B)\nThe Cragne family kitchen. Light from a naked bulb feeds shadow down the spaces between old cabinets, counters and bookshelves. A dusty, doorless fridge overlooks an oven just as worse for wear. You'd guess it's been a minute since anyone's used this room to cook. A doorway leads east, and a wooden door set in the floor appears to lead to a cellar or basement.\n\n> You look at the bookshelves\nA blue plywood bookshelf leans haphazardly against the wall beside the fridge. Marks on the dusty shelves suggest a formerly robust collection. A few of the remaining cookbooks catch your eye...\n\nOn the bookshelf are Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake, A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf and Mama Hydra's Deep Fried Ones.\n\n> You look at mama hydra'S\nA funny little cookbook. The cover is a picture of a massive deep fryer sitting in a vast cavern. It must be a doctored photograph, the fryer looks like it's the size of a swimming pool.\n\n> You read it\n(first taking Mama Hydra's Deep Fried Ones)\n\nFlipping through the pages, it seems to be a rather standard cookbook. The pictures, however, are disgusting.\n\n> You examine the Hyper-the gastronomy\nA ragged book with a dark green cover.\n\n> You read it\n(first taking Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake) Flipping through the pages, you can see that this work is clearly over your head... or more likely straight gobbledygook. Many pages are nothing but mathematic equations but one chapter appears to cover the \"mouthfeel\" of different Quarks in great detail. Another rants about the differing politics and ideologies of \"certain well-known mineral deposits.\" Good lord.\n\n> You examine the culinary overview\nA massive tome of a cookbook, bigger than The Joy of Cooking by half. The back of the book says the author lived in villages up and down the Miskaton river and painstakingly gathered \"an oral history of superstitious meals and snacks\" throughout his life.\n\n> You read it\n(first taking A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf)\nA few of the passages stand out...\n\nThe Ritual of Lost Luck\nThe Chewed Pit and Other Detritus\nThe \"Rat Hole\" Legend\nThe \"Ghost Libation\" Legend\n\n> You continue\nA few of the passages stand out...\n\nThe Ritual of Lost Luck\nThe Chewed Pit and Other Detritus\nThe \"Rat Hole\" Legend\nThe \"Ghost Libation\" Legend\n\n> You read the introduction\nOne of the more rambling, self-righteous introductions you've seen for a cookbook. Lots of unreadable lines, a highlight being: \"Food takes on this form of expression which no doubt all families are bound to take part in and in the case of aforementioned societal trauma a way of speaking these so-called unspeakable or unknowable things sidestepping logic insisted upon in language with a primal glance towards truth one never sees or hears but rather smells or feels.\" ...yikes.\n\n> You read the goad cragne\nIngredients: 1 jar pickled Herring 4 slices rye bread 1 beet, cubed 1 teaspoon mustard 4 tablespoons sour cream 2 tablespoons olive oil 374 grains salt \u00bd shallot, thinly sliced 3 sprigs green onions 2 springs dil 1 tablespoon butter 4 teaspoons capers 2 tablespoons broccoli florets 1 hardboiled egg\n\nInstructions: \"Goad was a fisherman called towards cruelty. It was Goad's youngest who they say finally put a stop to him. Seven years old, poisoned her father's favorite lunch. They say he dropped dead on the first bite, the little one hadn't known what was too much or too little. But then... they also say Goad stood up the next morning. Say he walked straight to the Miskaton, caught twenty eight fish in two hours, and died again. No one really admits they believe that part of the story... but you can tell by the droop in their eye which ones tasted the fish Goad caught that day.\"\n\n> You read lost Luck\nIngredients: 2 pounds Yukon Gold potatoes, unpeeled and chopped 4 to 5 white or yellow onions 3 tablespoons unsalted butter 3 cloves garlic, crushed 7 cups chicken broth 3 springs thyme 3 bay leaves 3866 grains salt \u00bc teaspoon ground black pepper 1 cup heavy cream\n\nInstructions: \"What sickens me is how quickly the vendors arrive, only minutes after the search party. The soup they hawk is an expected element of the searching ritual. We never find a child lost to the Miskaton River. We always have a bowl of soup.\"\n\"Last chance for luck! One bowl's one prayer! The cost's unkind but the price is fair! First bowl for luck! Second's for grief! The third spits a curse on the whole belief!\"\n\n> You read the chewed pit\nA five-sided glass jar with a colorful commercial label that reads \"Forgotten Frontier's hyper-corporeal salt.\" Wait, was it five sides? When you look again it seems to only have four...\n\nIngredients: 1 Peach Pit 3 cups blueberries 3 cups blackberries 2 tablespoons butter 1/3 cup white sugar 2/3 cup brown sugar 3 tablespoons cornstarch 18041 grains salt 1/4 cup lemon juice\n\nInstructions: \"No one had time to think that day. I think that's why none of us went mad. We were all so busy undamming the river, up to our waists in shit... not one of us had the energy to... to see what we were pulling out. It wasn't all just bags and bike tires. It... No one else'll talk to me about it. Fuck, I don't even know what there would be to say. Anyways, it's like I said, after that day is when we started getting berries growing along the river. I don't think I'd like to talk much more about it.\"\n\n> You read the rat hole\nAmaranth \"Rat\" Cakes Serves Twelve to Sixteen\n\nIngredients: 2 cup amaranth grain 1 ounce dried chanterelle mushrooms 4 tablespoons shallots 2 eggs 4 tablespoons flour 62031 grains salt 2 teaspoons Floridian snail paste 2 tablespoons fresh summer savory\n\nInstructions: \"Holes that are crisp to the eye which appear in wide turns of our river at no particular time nor for any godly purpose.\" \"Nothing but beer to drink and Verm Cakes to eat, that's the trad aspect. But you know, I think back in the day people drank somethin nicer than beer... (laughs) And it was a Rat Cake back then! Not a Verm... But yeah, usually it takes a few days a\" waiting. Lucky when it does show it's loud enough to wake us if we're sleepin... so yeah we all hustle to dump what the Verm Hole wants into the river. They, that stuff, it always floats straight to the hole, every time so yeah. It's not pretty but at the other hand it's honest work... three of my grandparents fed the Verm Holes. And like... I mean, sometimes it's just a cow.\"\n\n> You read the ghost libation\nIngredients: 1 part cold gin 2 parts warm apple cider 1 pinch cinnamon 8 grains salt\n\nInstructions: \"It alls means something, thids drink. My great-grandfather... a Cragne! Keening Ken Cragne! Through from the... to the top. Is he here now? Is he dead? (laughs) And we remember wha (unintelligible) Kenneth Cragne! It all meanses something... listen to me... listen... Two parts cider, yeah? Because two days outta three, ol\" Ken Cragne put cider in his flask! Calm days, they say. My dad said thad. Calm Ken days... Calm. But I wasn't alive then I don't (unintelligible.) But still I remember the gin days, you know? I shouldn't remember 'em right? Because that's crazy, right? (laughs) Why do I remember Ken Bastard Cragnes cold gin days, huh? Thas weird, right? My grandpa's the only kid of nine to like... Hold on okay. Lemme EXPLAIN the DRINK. The pinch of cinn- of cinnda- the punch a cibadon... cinnamon. That's Ken's lonely work! Train conductor, and actually the only one in my family to do that particular occupation. Big money becauss he smuggled cinner... cinn... he smuggled lots of things actually. They'd all be dead by now anyways, right? (unintelligible) What were we talking about? Oh! Oh god! EIGHT GRAINS OF SALT! EXACT! PRECISE OR HE DOES THE THING OKAY? Eight kids eight grains eight bloody brains. I would sing thadt. Perfect or Ken... Ken is here right now, right? Don't tell him I said- he just dead but he's here... He usedta beat up my mom and dad... after they died! I don't know knowww whyyy. We Cragne's got space in our blood. Space times. Very dignified, do you hear me? Very dignified! That's the name. That's hell. LISTEN TO (unintelligible) dig... we got.. we... please...\n\n> You get the snail\nYou scoop a bit of the goop into your pocket.\n\n> Inventory\nYou are carrying:\na pinch of snail paste\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake\nMama Hydra's Deep Fried Ones\nred-rimmed porcelain cups (smelling faintly of mildew)\nred-rimmed porcelain plates\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\")\na piece of chalk\na pair of stone earplugs (being worn)\na black box (open but empty)\na note from a seesaw\na shard\na broken silver amulet\na teapot\na tiny leather journal\nDaniel Baker's note\nan old paperback book (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na glass jar containing an insect\na pull-string doll (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na postcard of Big Ben (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na wad of cash\nan antique locket (smelling faintly of mildew) (closed)\na moldy, waterlogged journal (smelling faintly of mildew)\nTwin Hearts Between the Planes\na trolley schedule (smelling faintly of mildew)\na backpack features guide\na grimy rock (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\na rusty piece of metal\nTolerating An Asinine God (smelling faintly of mildew)\nloose bricks (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na rusty flathead screwdriver\na pair of garden shears (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\nsome mildewed leather gloves\na key from an urn\na bronze urn (smelling faintly of mildew) (closed)\na copper urn (smelling faintly of mildew) (closed)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na gold jacket (being worn)\na filthy rug\na hovering spark (haunting you) (smelling faintly of mildew)\na giant milkweed leaf (being worn as a mask)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na trolley pass (being worn)\n\n> You go east\nDining Room (Roberto Colnaghi)\nA long, rectangular mahogany table takes up most of the room. The room is old and dusty, and it seems decades have passed since the last time someone had dinner here. On the table lies a broken machine, and a calendar is pinned on the wall. Doorways lead west, east, and south.\n\n> You go to the east\nThe floorboards groan against your footsteps as you enter the dusty sitting room. Light struggles to penetrate the grimy bay window, hinting at the space around you. Various pieces of furniture are covered by moldy, moth-bitten sheets. The remains of a portrait hang above the fireplace. Leaning against a wall is a large mirror.\n\nSeems like no one has used this room in some time.\n\n> About yourself\nYou are Naomi, and you look exactly as you should. Since your arrival in Backwater, you've discovered it helps to remind yourself of this fact as often as you can.\n\n> You examine the coffee\nThe clouds in your cup form a roller blade. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You examine the window\nThe window is covered in a thick layer of grime.\n\n> You look at the portrait\nWhoever it was has been ripped to shreds.\n\n> You examine the fireplace\nIt's empty.\n\n> You look at the mirror\nYou gaze at yourself in the mirror, marveling at the way the afternoon sun shimmers across the gold and gray hues in your neatly coiffed hair. Moira has such a talent for the latest styles that you can hardly help but employ her assistance every morning, even when you have no plans to go into town.\n\nToday you chose to wear one of your violet dresses with thin black stripes and velvet trim. The high neck and full sleeves of the tailored coat are double-lined to protect against any errant draughts. Lord knows how they like to scurry through the house this time of year. And it has been so especially cold as of late.\n\n\"Really, darling, with all the time you spend gawking at your own reflection, I don't know how you have much time for anything else,\" Eustace says, his words soaked in irritation. The argument from the night before lingers between the two of you. You can already taste a bitter retort forming on your lips. You swallow it back down.\n\nHe continues. \"Would you be a dear and ring Moira for me? I believe I saw the postman come through and am expecting an important letter.\" He motions to the bell pull before turning his newspaper to the next page and shaking it stiff."
    },
    {
        "text": "> Look around\nWith a roaring fire and the sunlight streaming in through the large bay window, the sitting room might pass for inviting. You've asked Eustace if you could paper the walls with a brighter color and perhaps move the domineering portrait of the Cragne ancestor to the study, but he refuses a single change. That is, save for the mirror, which you were permitted to hang near the entrance to the dining room to the west. Having your reflection nearby always gives you comfort, as if without the frequent reminder, you would begin to forget yourself.\n\nEustace is reading the paper in his chair by the window.\n\n> About yourself\nYou are Lillian, lady of Cragne Manor. Some days, you wish you were someone else. But only some.\n\n> You look at the portrait\nThe great Horace Cragne is perched above the fireplace, maintaining a constant vigilance over the sitting room. You think he would serve better in the study. At the very least, he would avoid frightening the ladies from church when they visit for tea after Sunday service. His face is gaunt, features severe, and his eyes are rimmed a deep crimson. You prefer not to meet his gaze.\n\nHanging next to the portrait is a bell pull.\n\n> You examine Eustace\nHe has aged considerably in recent years. His hair has retreated backwards as if terrified of his own face. Even his beard and mustache refuse to grow. His eyes are always burdened by heavy bags, no matter how much sleep he manages the night before.\n\n> You look at the paper\nThe Vermont Phoenix, dated yesterday, Friday, February 3, 1899. Most of the print is too small to read without your nose pressed against it, but you do notice the headline exclaiming how a fire burned down the S. A. Smith and Co plant. Someone captured an exposure of the event and thought to put it on the front page.\n\nTo think you live in a world where one would rather photograph a fire than help put it out.\n\n> You examine the fireplace\nThe fire does its best to repel the deep February chill. Above the fireplace is a portrait, and beside that is the bell pull.\n\n> You look at the bell pull\nThe rope descends from the ceiling. If pulled, it will ring a bell in the servant's hall.\n\n> You pull pull\nYou ring the bell, and Moira arrives soon after, a flurry of freckles and red curls. She stumbles into a curtsey.\n\n\"Ma'am. Sir.\" Her brogue is strong, lending her a tendency to be brief whenever possible.\n\n\"Has the post arrived today?\" Eustace asks, and she confirms that it has before disappearing into the next room and returning with two envelopes. She hands both of them to you.\n\nYou dismiss her promptly.\n\n> You examine the envelopes\nWhich do you mean, the formal letter to Eustace or the handwritten letter to you?\n\n> Formal\nIt's from Yale University and addressed to Eustace. It's sealed.\n\n> You examine handwritten\nIt's addressed to you from Christopher, off at boarding school. All that's left is to open it.\n\n> You open it\nYou use your fingers to open the envelope like a heathen, then unfold the letter within.\n\nMy dear mother,\n\nI hope you are well and remain so through this dreadful winter. I\nam happy to report your Christmas fruit cake survived the journey unscathed and has been enjoyed with great enthusiasm by the other boys. I am passing along their compliments. Second term is just beginning, and much work is anticipated. I will try to keep regular correspondence as you requested.\n\nMy nightmares have been growing worse as of late. Even though I\nnever met grandfather, I know it is he who visits me. I pray every night, but God seems to ignore me. What am I to do? Might you send some funds for a doctor? Perhaps he could prescribe a tonic to aid me in my sleep.\n\nI love you, mother, in so many ways and more. Give father my love.\nI will write again soon.\n\nYour beloved son,\nChristopher\n\n> You give formal to Eustace\n(to Eustace)\nEustace tucks the newspaper under an arm and takes the envelope. \"Thank you, darling. This appears to be what I was waiting for.\" He rises from his chair and opens the secretary, rifling through the various nooks and drawers. His search comes up empty.\n\n\"Darling,\" he says, \"have you misplaced my letter opener yet again? You know how protective I am of it.\"\n\n> You check what you're carrying\nYou are carrying a handwritten letter to you.\n\n> You examine the mirror\nWhat's this? Who is this woman staring back at you? She is dressed... bizarrely, to put it mildly. And yet, there is something familiar about her. Something... oh. Oh God. What... what just happened?\n\nYour eyes adjust to the dimness of the dusty room. You check yourself over, and find you are yourself again. Were you dreaming? Or were you a woman from another time? It's hard to tell. You've been feeling like someone else everywhere you go in Backwater.\n\n> You look at the furniture\nMerely looking at the dusty, sheet-covered furniture has you itching to take an antihistamine.\n\n> You look at the floorboards\nDusty.\n\n> Go upwards\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east.\n\nOn the north wall is a round white wall clock.\n\nFor some reason, there is a dilapidated kitchen sink standing against the west wall.\n\n> About yourself\nYou're still Naomi. At least for now.\n\n> You examine coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine the archway\nThe archway to the east looks\u2026 hungry?\n\n> You go east\nUpstairs Hall, north end (Jason Love)\nDespite all the irregularities of Cragne Manor, the inconsistencies, the unaccountable changes, to say nothing of the disparate\nand clashing architecture and d\u00e9cor, you have at least attained a certain expectation regarding its hallways: close walls and high ceilings, wreathed in shadow, with the occasional door looming obelisk-like through the gloom. Its architects must have had crooked rulers, as you can never quite make out the end of a hallway until you've nearly reached it--and just such a hallway winds away to the south.\n\nIn this section of the hall, the eastern wall flares out into a wider space resembling a waiting-room; there's even a little bench against that wall to the south-east. A massive black armoire occupying the wall opposite strikes you as a less deliberate inclusion, if the boards sealing it shut are any indication; perhaps the movers abandoned it here after they couldn't fit it through the archway to the west. Beyond these minimal furnishings, the hall contains only a pair of imposing doors to the east and to the north; a third doorway between them has been closed off with bricks.\n\n> You examine the coffee\nThe swirls in your cup form a jackalope. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\nThe manor may have its voices: its creaking and squeaking floorboards, its groaning doors; but you have grown accustomed to the quiet ways it protests your presence. This relative silence is now shattered by the unmistakable sound of a clenched fist pounding at the front door downstairs.\n\n> You go west\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east to Upstairs Hall, north end (Jason Love).\n\nOn the north wall is a round white wall clock.\n\nFor some reason, there is a dilapidated kitchen sink standing against the west wall.\n\nThe pounding at the front door continues, louder now. Was the front door even closed when last you saw it?"
    },
    {
        "text": "[Themes: female protagonist, Lovecraftian, horror]\n\n> Go downward\nLanding at the Bottom of Stairs (Mark Sample)\nThis is a dark alcove with a narrow stairway rising into the gloom upstairs. Shadows lurch over a doorway to the south. Opposite those shadows lies another doorway, in even darker shadows. What little light there is seeps in from a small elliptical window high on the wall.\n\nThe ramshackle bookshelf lies in a pile of splintered wood on the floor like a fallen scarecrow, arms akimbo.\n\n--and just as abruptly as it began, the knocking stops. Silence descends on Cragne Manor once more.\n\n> You go south\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nAfternoon light slants across the floor. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You look at front Door\nIt's a solid wooden door, painted white with black hardware. It's currently hanging open. The outside is grimy and faded.\n\n> Go upwards\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east to Upstairs Hall, north end (Jason Love).\n\nOn the north wall is a round white wall clock.\n\nFor some reason, there is a dilapidated kitchen sink standing against the west wall.\n\n> You examine the clock\nA round white wall clock with black Arabic numbers. It currently shows the time as 7:41.\n\n> You look at the sink\nIt's not obvious whether the sink is plumbed in or just sitting here. The faucet is rusty and the basin is stained. Below the sink is a pine cabinet, which is closed.\n\n> You look at the cabinet\nThe cabinet is made of pine. It is marred by several scratches near the bottom.\n\n> You open it\nYou open the cabinet under the sink, revealing a pink-bound book.\n\n> Examine book\n(the old paperback book (smelling faintly of mildew))\nThe old paperback book is pretty thick, and the pages are yellowed and lacerated here and there. You're not a bookworm, but the condition of the book and the outdated font and style of drawing on the cover tell you it was printed decades ago, maybe at the beginning of the century.\n\nJudging by the cover the book seems to be a bit pulpy. It shows a large, old and eerie house on a clearing in the woods. The title is \"ANCHORHEAD. A What-do-I-do-now Book Based on the Works of MICHAEL GENTRY.\" A scraggy sticker with the insignia of the Backwater Public Library, on it indicates that by no means you want to pay the fine for exceeding the return deadline.\n\nFrost lines the edges of the library insignia.\n\n> You look athe pink-bound book\nA quarto-size volume bound in remarkably ugly pink leather, with a label on the spine. The book bears the title Venator in\nTenebris, but no author's name is given. The front endpaper is embossed with the insignia of the Backwater Public Library. On the title page, there is a footnote in which the anonymous author appears to be pleading for forgiveness from a hooligan and some kind of metal cup-holder.\n\n> You read it\nThe pink-bound book gives off a sinister energy (and a highly unpleasant smell).\nAre you sure you want to read it?\n\n> Yes\nYou begin to read. You find yourself immersed in the legend of a creature living in\u2026\n\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go southeast, southwest and down.\n\n> About you\nYou are burly but nimble. Your matted fur is glorious. Your teeth and claws are formidable. Your suckers kiss and caress the surfaces of the cavern.\n\n> Inventory\nYou have no use for tools, clothes, or weapons. You are utterly sufficient unto yourself.\n\n> You go southeast\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northwest, southwest and down.\n\nFrom the cave below, a long, thin shape comes flying through the air, following a strange arcing path through the convoluted passages of the cavern.\n\nIt strikes your fur and somehow it keeps going, into your flesh. Nothing could be that sharp, could it? Not even your own claws. But it pierces your hide and goes deep into your body.\n\nYou howl. You can feel something evil in the shape working its way into your blood. You try to pull the thing out of your flesh but you can no longer feel where it is. Everything hurts. Your vision goes dark.\n\nNo! This cannot be how the story ends.\n\nYou stop reading and fling the pink-bound book away\u2026\n\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east to Upstairs Hall, north end (Jason Love).\n\nOn the north wall is a round white wall clock.\n\nStanding against the west wall is a dilapidated kitchen sink with a pine cabinet under it.\n\nYou can also see a pink-bound book here.\n\nAs you finish reading the passage, the spark moves through the book with an eerie hum, leaving frost behind on the library insignia.\n\nWith another snap, the air seems to shift, and the faint outline of a well-dressed man coalesces around the spark.\n\n> You examine man\nThe outline of an African-American man in a suit and tie fades in and out of view around a hovering spark.\n\nA faint smell of mildew emanates from it.\n\n> You get pink\nYou pick up the pink-bound book and start reading again\u2026\n\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go southeast, southwest and down.\n\n> You go southwest\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northeast, southeast and down."
    },
    {
        "text": "[Themes: Lovecraft, female protagonist]\n\n> Go down\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northeast, southeast and up.\n\n> Go northeast\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go southeast, southwest and up.\n\nFrom a nearby cave you smell something living. Its scent is strange and hostile, but intermingled with something familiar. It smells almost like one of your own kind, but it can't be, can it? It has been so long.\n\n> You go to the southeast\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northwest, southwest and up.\n\nFrom a nearby cave you smell something living. Its scent is strange and hostile, but intermingled with something familiar.\n\n> Go southwest\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northeast, northwest and up.\n\n> Go upwards\nLimestone Caverns (inside the pink-bound book)\nThese caves are your home. You know every stalagmite, stalactite, pit, and bat's nest.\n\nFrom this part of the cavern you can go northeast, northwest and down.\n\nFrom a nearby cave you smell something living. Its scent is strange and hostile, but intermingled with something familiar.\n\n> You examine the pink\nA quarto-size volume bound in remarkably ugly pink leather, with a label on the spine. The book bears the title Venator in\nTenebris, but no author's name is given. The front endpaper is embossed with the insignia of the Backwater Public Library. On the title page, there is a footnote in which the anonymous author appears to be pleading for forgiveness from a hooligan and some kind of metal cup-holder.\n\nFrost lines the edges of the library insignia.\n\n> You examine the footnote\nThe title page of the pink-bound book identifies it as Venator in Tenebris, published by Ompompanoousuc College Press in\nMDCCCXCIII. The author's name is not indicated. In a footnote, the anonymous author offers abject apologies to a hooligan and a metal cup-holder.\n\n> Go east\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north and east ; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nA massive black armoire stands incongruously against the north-west wall, slightly at an angle. The boards sealing the armoire doors closed suggest that this particular object of furniture should have been removed prior to your arrival, but it's far too large to fit through the arch to the west.\n\n> You examine the bricks\n(loose bricks (smelling faintly of mildew))\nThe brick is quite heavy.\n\nA faint smell of mildew emanates from them.\n\n> You put the bricks in the trash pocket\n(loose bricks (smelling faintly of mildew) in the trash pocket)\nYou unzip the trash pocket, deposit loose bricks (smelling faintly of mildew), then zip the trash pocket back up again.\n\n> You examine the bricks\nCragne Manor has endured wars, flooding, blizzards, and any number of lesser catastrophes, but not without its scars. When so much of the house has required constant renovation, the occasional fire barely registers as calamitous. Before your move, Peter read to you about one such blaze which consumed this second-story bathroom in 1978, yet the adjoining rooms suffered almost no damage whatsoever. The family had reportedly spared no expense to repair the damage and restore the bathroom, but the room burned again less than a decade later. It appears that the surviving Cragnes elected to cut their losses this time.\n\n> You examine the armoire\nThe massive wardrobe is wider than you can reach with your arms extended. Weathered wooden boards have been nailed across the doors in four places.\n\n> Inventory\nYou are carrying:\nan old paperback book (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book\na pinch of snail paste\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\")\na note from a seesaw\na piece of chalk\na black box (open but empty)\na shard\na broken silver amulet\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na teapot\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal\nsome yellowed newspapers (smelling faintly of mildew)\na well-dressed ghost (haunting you) (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)"
    },
    {
        "text": "[Themes: Lovecraft, Lovecraftian]\n\n> Look around\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north and east ; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nA massive black armoire stands sealed against the north-west wall.\n\n> You search the side pocket\nYou unzip the side pocket just enough to take a peek inside. It contains a dull machete, a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box, a book list, a cast iron spire and a library card.\n\n> You search the trash pocket\nYou unzip the trash pocket just enough to take a peek inside. It contains loose bricks (smelling faintly of mildew), a dead battery, Peter's jacket, a mysterious silver box, a plastic bubble and a suitcase.\n\n> You examine the coffee\nThe clouds in your cup form a centaur. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\n> You examine the east door\nAstonishingly large and assembled of thick oak planks with iron banding and trim; the door glistens redly from a thick coat of shellac. This would almost be more suitable as an exterior door, but in place of a knocker, a Cragne family crest has been set into the wood with iron filigree. The handle is little more than a bent metal prong next to an oversized keyhole.\n\n> You look at the keyhole\nAstonishingly large and assembled of thick oak planks with iron banding and trim; the door glistens redly from a thick coat of shellac. In the center, a Cragne family crest has been set into the wood with iron filigree. The handle is little more than a bent metal prong next to an oversized keyhole.\n\n> You look through it\nPeering through the keyhole, you've found what can only be the master bedroom. It looks ordinary enough from a distance, but you struggle to make out any details through the gloom.\n\n> You go south\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks.\n\nThe hallway feels narrow\u2014no, that's not right. The hallway is wide enough for two people to pass one another easily. It doesn't feel narrow: it feels thin. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nPartway down the hall, a black pen floats a couple feet off the ground, as if resting on a table or desk. It does not, however, appear to be sitting on anything.\n\n> About yourself\nYou feel thinner than normal\u2014but not you, just your skin, as if it were stretched across the surface of your body. It doesn't look taut or stretched, but you feel like you could pierce it with your fingernail.\n\n> You examine the coffee\nThe swirls in your cup form a mermaid. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\n> You examine the pen\nA black fountain pen. It looks like the ink is long dried up.\n\nThe gentle sound of rain fills the hall with a momentary atmosphere of peace.\n\n> You go west\nStudy (Ian Holmes)\n\"Kind people call them sunbeams,\" your mother told you, as a child, when you asked about the dust particles catching the light in your living room. Later, you read that much of it was arthropod waste: shredded cobwebs, insect corpses, mites fed on human skin.\n\nBarely a sunbeam reaches this study. Dust cakes the desk, drapes, and book-lined shelves like a bug mass grave. More insect bodies litter the carpet in earlier states of decay. The exit is east.\n\nEven now, being in a study makes you feel vaguely guilty. Like an impostor.\n\n> About yourself\nAs good-looking as ever.\n\nYou do notice a key on the bookshelf. It is probably significant.\n\nNo, let me rephrase that; it is the ONLY reason a plebeian like you would stray into this temple of learning. So pick it up and get out of here.\n\nA Rusty Iron Key.\n\n> You examine the coffee\nThe swirls in your cup form several stacks of coins. Objects of desire either mean that you are surrounded by great treasures and opportunities or that you need to be more careful with your physical belongings. Possibly both.\n\nThere doesn't seem to be much point to inspecting anything else, given that you found the key.\n\n> You get the key\n(the small rusty iron key)\nTaken. Now get out of here!\n\n> You examine the coffee\nThe swirls in your cup form -- weird, they've entirely dissipated. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nWhat, you think finding the key makes you clever? You were obviously meant to find it.\n\n> You look at the photograph\nIt depicts a snake (specifically, an Eastern Ratsnake, according to the caption) in the act of raiding a finches nest. Having strangled a mother finch, its jaws open wide as it loops back around to bite.\n\nYou are unable to decode mathematics, to solve problems like Werner or Emmy could.\n\n> You look at the notepad\nWritten on the paper are some mathematical notes that are just beyond your ability to grasp. You think you know what they mean but, as your eyes unfocus, you have trouble recalling even basic stuff. Like Liouville's Theorem, or the uses of the Wronskian.\n\n> You read it\nWritten on the paper are some mathematical notes that are just beyond your ability to grasp. You think you know what they mean but, as your eyes unfocus, you have trouble recalling even basic stuff. Like Liouville's Theorem, or the uses of the Wronskian.\n\nJust gonna keep examining stuff, huh.\n\n> You look at the carpet\nInsect corpses are strewn around. Perhaps someone was recently here, spraying a can of insecticide around. Perhaps the insects just breed and die fast enough in here, and decay slow enough, for you to see the bodies before they decay into dust. Anyway, you can see a daddy long-legs or two.\n\nYou are so bored.\n\n> You get all\nnotepad: You reach out for the pad, and think twice. Maybe you should try to understand it first. You know, before you steal it.\nphoto: Your own memories are scary enough.\n\n> You look at the shelves\nIt's just a bookshelf. Mahogany or something.\n\nOn the bookshelf is a snowglobe.\n\n> You examine the snowglobe\nInside the snowglobe is a microscopic world that is exactly like this one in every respect, but tinier in exact proportion. Except your own worth as a human being, which is tinier out of ALL proportion. And it's already pretty tiny in this world, the original world.\n\nSo that's kind of incredible.\n\nLooking at things in this room is becoming so excruciatingly boring that almost any death would be a sweet despair from the tedium of the experience you, the player, are putting the player character through.\n\n> Go east\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\n> You check your inventory\nYou are carrying:\na snowglobe\na small rusty iron key (smelling faintly of mildew)\na black fountain pen\nan old paperback book (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book\na pinch of snail paste\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\")\na note from a seesaw\na piece of chalk\na black box (open but empty)\na shard\na broken silver amulet\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na teapot\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal\nsome yellowed newspapers (smelling faintly of mildew)\na well-dressed ghost (haunting you) (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open but empty)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You examine the carpet\nGenerations of feet have worn an off-white strip down the hallway that branches into each room. Where the walls meet the floor you can just barely make out hints of the forest-green of the carpet.\n\nThe leaden light of the overcast sky seems to swim in the edges of the hall.\n\n> You look at the wallpaper\nThe surface of the wallpaper is covered with small cracks that criss-cross it in a spiderweb-like fashion. They converge halfway down the hall in a small hole, through which you can see a faint, flickering light. The edges of the hole curl back and look like they could be torn further.\n\n> You look at Hole\n(the hole)\nThrough the hole you can see a void that seems to glow faintly with a swirling white light. In the distance you can just make out the shapes of words, but you can't see them clearly enough from here to make sense of them.\n\n> Tear wallpaper\nThe paper tears away in thin strips, opening up into a gently glowing, three-foot-wide void that stretches nearly from the floor to the ceiling. You think you can see words in there, but you can't quite read them from out here.\n\nYou hear an electronic humming noise coming from the hole in the wallpaper.\n\nThe wind howls and the manor creaks slightly.\n\n> You go inside\nPrinted name of M2F7 is \"Hallway South (Matt Schneider)\".\n\nDescription of M2F7 is \"The threadbare carpet holds only the vagues hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks.[if schneider-wallpaper is schneider-torn] The hole that you tore through the wallpaper emits a gentle light.[end if][If unvisited][paragraph break]The hallway feels narrow[unicode 8212]no, that's not right. The hallway is wide enough for two people to pass one another easily. It doesn't feel narrow: it feels thin.[end if] The hallway continues to the north, and there are doors leading to the west, south, and east.\".\n\nThe schneider-wallpaper is scenery in M2F7. Understand \"wallpaper\", \"cracks\", \"web\", and \"paper\" as schneider-wallpaper. Schneider-wallpaper can be schneider-torn or schneider-untorn. schneider-wallpaper is schneider-untorn. The description of schneider-wallpaper is \"[if schneider-wallpaper is schneider-untorn]The surface of the wallpaper is covered with small cracks that criss-cross it in a spiderweb-like fashion. They converge halfway down the hall in a small hole, through which you can see a faint, flickering light. The edges of the hole curl back and look like they could be torn further.[else]The wallpaper hangs limply open where you tore it. A soft light pulsates in the void behind the wall.[end if]\". The printed name of schneider-wallpaper is \"wallpaper\".\n\nThe schneider-desk is a supporter in M2F7. Schneider-desk is scenery. The printed name of schneider-desk is \"desk\". Understand \"desk\" as schneider-desk. The schneider-drawer is a closed, openable, opaque container that is part of schneider-desk. The printed name of schneider-drawer is \"drawer\". Understand \"drawer\" as schneider-drawer.\n\nThe schneider-pen is a thing in M2F7. The description of schneider-pen is \"A black fountain pen. It looks like the ink is long dried up.\" The printed name of schneider-pen is \"black fountain pen\". Understand \"pen\" and \"fountain pen\" as schneider-pen.\n\nThe schneider-typescript is a library-book inside schneider-drawer. Understand \"typescript\" as schneider-typescript. The printed name of schneider-typescript is \"bound typescript\".\n\n> Go outside\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nThunder rumbles in the distance.\n\n> You examine the desk\nYou feel your way down the hall slowly until your hand comes to rest on something. You can't see the desk, but as you run your hands across it, it appears to be waist-height, wooden, and has a drawer of some kind on the front.\n\nThe leaden light of the overcast sky seems to swim in the edges of the hall.\n\n> You open the drawer\nYou open the drawer, revealing a bound typescript.\n\nA sudden sparking noise echoes inside the hole.\n\nThe wind howls and the manor creaks slightly.\n\n> You look at it\nThe book is bound in a cheap, rough, green cloth, with the title 'Pataphysical Approaches to Quantum Superfluids and the name\nAster Cragne embossed in gold leaf. The pages appear to have\nbeen printed on continuous paper, then separated and gathered together\u2014a dissertation, perhaps? There's a sticker with a Dewey number stuck to the spine, and on the title page you see the stamp of the insignia of the Backwater Public Library.\n\n> You read it\nThe book appears to be a scholarly monograph or a dissertation. You try to make sense of it, but the contents are incomprehensible: you struggle with sentences that declare matter-of-factly \"the behaviour of cubits in a hasturian environment is well-known, although not often remarked upon\", or propose that \"we must now consider the implications of quantum entanglement in non-euclidian dimensions in light of recent discoveries regarding spacetime foam.\"\n\nThe chapter entitled \"The Vaadignephod Paradox\" takes up at least seventy pages, and could well be, from all the subclauses and parenthetical diversions, a single, unbroken sentence. The chapter appears to describe the creation of a new element that, according to the typescript, \"exhibits remarkable sub-quantum effects when exposed to nanomolecular compounds\" but you can't determine whether this is a theoretical proposal or the records of an experiment that has already been conducted.\n\nThere are notes written in the margins throughout the book both in pencil and in a blue-black ink that's left acidic yellow burns on the facing pages.\n\nThe book concludes with the statement \"And so I can only conclude that the holographic paradigm is presently the most compelling explanation for the heretofore discussed processes, effects, and phenomena.\" Written in pencil beneath this is the question \"Cad faoi an leabhar na r\u00ed bhu\u00ed?\".\n\nAs you finish reading the passage, you realize that the well-dressed man has been reading over your shoulder. He nods thoughtfully, placing his hand on the cover, leaving frost behind on the library insignia.\n\n> You examine Ghost\n(the Ghost Libation Legend)\nThe Lonesome Keen Serves One\n\nIngredients: 1 part cold gin 2 parts warm apple cider 1 pinch cinnamon 8 grains salt\n\nInstructions: \"It alls means something, thids drink. My great-grandfather... a Cragne! Keening Ken Cragne! Through from the... to the top. Is he here now? Is he dead? (laughs) And we remember wha (unintelligible) Kenneth Cragne! It all meanses something... listen to me... listen... Two parts cider, yeah? Because two days outta three, ol\" Ken Cragne put cider in his flask! Calm days, they say. My dad said thad. Calm Ken days... Calm. But I wasn't alive then I don't (unintelligible.) But still I remember the gin days, you know? I shouldn't remember 'em right? Because that's crazy, right? (laughs) Why do I remember Ken Bastard Cragnes cold gin days, huh? Thas weird, right? My grandpa's the only kid of nine to like... Hold on okay. Lemme EXPLAIN the DRINK. The pinch of cinn- of cinnda- the punch a cibadon... cinnamon. That's Ken's lonely work! Train conductor, and actually the only one in my family to do that particular occupation. Big money becauss he smuggled cinner... cinn... he smuggled lots of things actually. They'd all be dead by now anyways, right? (unintelligible) What were we talking about? Oh! Oh god! EIGHT GRAINS OF SALT! EXACT! PRECISE OR HE DOES THE THING OKAY? Eight kids eight grains eight bloody brains. I would sing thadt. Perfect or Ken... Ken is here right now, right? Don't tell him I said- he just dead but he's here... He usedta beat up my mom and dad... after they died! I don't know knowww whyyy. We Cragne's got space in our blood. Space times. Very dignified, do you hear me? Very dignified! That's the name. That's hell. LISTEN TO (unintelligible) dig... we got.. we... please...\n\nThe light in the void swells, casting strange shadows in the hallway.\n\n> You examine man\nThe outline of an African-American man in a suit and tie fades in and out of view around a hovering spark.\n\nA faint smell of mildew emanates from it.\n\nWhite light flickers from somewhere inside the hole in the wallpaper.\n\n> Go outside\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nThe hallway darkens slightly.\n\n> Go south\n(first opening the wooden door)\nIt seems to be locked.\n\n> You read the typescript\nThe book appears to be a scholarly monograph or a dissertation. You try to make sense of it, but the contents are incomprehensible: you struggle with sentences that declare matter-of-factly \"the behaviour of cubits in a hasturian environment is well-known, although not often remarked upon\", or propose that \"we must now consider the implications of quantum entanglement in non-euclidian dimensions in light of recent discoveries regarding spacetime foam.\"\n\nThe chapter entitled \"The Vaadignephod Paradox\" takes up at least seventy pages, and could well be, from all the subclauses and parenthetical diversions, a single, unbroken sentence. The chapter appears to describe the creation of a new element that, according to the typescript, \"exhibits remarkable sub-quantum effects when exposed to nanomolecular compounds\" but you can't determine whether this is a theoretical proposal or the records of an experiment that has already been conducted.\n\nThere are notes written in the margins throughout the book both in pencil and in a blue-black ink that's left acidic yellow burns on the facing pages.\n\nThe book concludes with the statement \"And so I can only conclude that the holographic paradigm is presently the most compelling explanation for the heretofore discussed processes, effects, and phenomena.\" Written in pencil beneath this is the question \"Cad faoi an leabhar na r\u00ed bhu\u00ed?\".\n\nYou hear an electronic humming noise coming from the hole in the wallpaper.\n\n> You examine the coffee\nThe swirls in your cup form an airplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\nA sudden sparking noise echoes inside the hole.\n\nThe hallway echoes with the sound of rain hammering on the walls and roof of the manor.\n\n> You go to the east\nLibrary (Mike Spivey)\nThis library features dark paneling, polished hardwood floors, and thousands of books. A mahogany desk sits against the one part of the walls not lined with books. Above the desk hangs an ominous-looking painting. An antique wingback chair provides a place for quiet study, while in the center of the room is a reading podium. The only exit is west, back to the hallway.\n\nA massive tome sits on the podium.\n\n> About yourself\nYou have a surprisingly strong urge to read something.\n\n> You look at the books\nThere are thousands of books here. Most of them are thick, cracked, leather-bound volumes with titles lettered in raised gold leaf.\nOddly, though, one section contains several cheap paperbacks.\n\n> You examine the paperbacks\n(the old paperback book (smelling faintly of mildew))\nThe old paperback book is pretty thick, and the pages are yellowed and lacerated here and there. You're not a bookworm, but the condition of the book and the outdated font and style of drawing on the cover tell you it was printed decades ago, maybe at the beginning of the century.\n\nJudging by the cover the book seems to be a bit pulpy. It shows a large, old and eerie house on a clearing in the woods. The title is \"ANCHORHEAD. A What-do-I-do-now Book Based on the Works of MICHAEL GENTRY.\" A scraggy sticker with the insignia of the Backwater Public Library, on it indicates that by no means you want to pay the fine for exceeding the return deadline.\n\nFrost lines the edges of the library insignia.\n\n> You examine the desk\nThis tasteful mahogany desk complements the library nicely. It appears to be locked.\n\n> You examine painting\nThe painting depicts a night scene: a headless man on a rearing black horse, holding a grinning jack-o-lantern under his arm. It appears to be only loosely hanging on the wall.\n\n> You get it\nYou take the painting down. Behind it is a safe.\n\n> You examine safe\nThis small safe is embedded in the wall. It looks like one of those safes where you have to turn the dial to three numbers in succession in order to open the safe. The dial can be set to any number from 1 to 60; it is currently set to 60. The safe is closed.\n\n> You look at the chair\nThis elegant chair looks more decorative than functional.\n\n> You examine the podium\nOn the reading podium is A Billion Random Digits.\n\n> You look at billion\n100,000 Normal Deviates, by the Rand Corporation.\n\nYou could read the tome (READ TOME), read a back blurb (READ BACK BLURB), or study a specific page number in the tome (STUDY PAGE 17, for example).\n\n> You read tome\nWhich do you mean, the pink-bound book or the soggy tome (smelling faintly of mildew)?\n\n> You read billion\n100,000 Normal Deviates, by the Rand Corporation.\n\nYou begin to read the digits: 10097 32533 76520 13586...\n\nIt's slow going at first. There's something hypnotic, though, about a continuing but irregular sequence that uses the same few symbols over and over. You read on and on.\n\nSoon the digits are whispering to you, hinting at dark mysteries and forbidden secrets.\n\nDo you wish to continue reading the tome?\n\n> Yes\nYou continue reading, page after page after page. The numbers swirl in your mind, producing visions that lurk just beyond your understanding. Slowly, though, you begin to realize that these \"random\" digits encode the deepest knowledge of the universe: life and love, good and evil, death, immortality. It's all here.\n\nHours later, you are far from finished with the tome, but there is no need to read further. Everything makes sense now. You see. You know. You understand. You are...\n\n> You read back the blurb\nAll of the back blurbs are for a previous edition of the book, A Million Random Digits with 100,000 Normal Deviates. They appear\nto be taken from some new world wide web site named, oddly enough, after a river in Brazil. You pick one of the blurbs at random and read it.\n\nWhile the printed version is good, I recommend waiting for the CD version featuring narration by William Shatner.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nI bought two copies of this book. I find that the first copy perfectly predicts what the numbers will be in the second copy. I feel cheated.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nIt seemed like about 10% of the time I was able to predict which number was next. It was still better than Life of Pi which,\naside from being irrational, included no estimations of Pi at all.\n\n> You read back blurb\nYou pick one of the blurbs at random and read it.\n\nSuch a terrific reference work! But with so many wonderful random digits, it's a shame they didn't sort them, to make it easier to find the one you're looking for.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nThis is the second edition of the book. The first edition didn't sell well because all of the randomly chosen numbers turned out to be exactly the same. The authors argued that a true random number generator could indeed generate a million identical numbers, and the fact that the authors would try to publish something that seemed so un-random proved their intellectual integrity and hence the randomness of their identical numbers. Still, the public rejected the first edition proving that consumers of random numbers are far more interested in the appearance of randomness than in actual randomness. As a consequence, for this second edition the authors carefully selected numbers that readers would be sure to perceive as random. So sadly this book represents yet another example of how striving for marketplace success corrupts the intellectual integrity of authors.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nRandom? It lists almost 600 integers in numerical order!\n\nI was duped by the title of this book. It is supposed to be about random digits. And at first glance you do see randomness.\n\nBut after reading the book a while I started seeing a pattern. I did extensive research to prove my theory. After hours of mathematical modeling I conclusively proved that there is a set of numbers in this book that is not only a pattern, but is outright sequential!\n\nThe top corner of each page (left corner on the left side pages, right corner of the right side pages) was a list of sequential numbers from 1 to 628, all in a row. No numbers are skipped. Even the prime numbers are included! At first you don't notice this because there is only 1 number on each page. But as you advance through the book you notice that the numbers keep advancing by 1 every time you turn the page.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nThose Deviates were in no way normal. This is a shocking display of what our country as a whole has come to. When I was a kid, all of our Deviates were STANDARD.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nCompendium?\n\nFor those of us without a two week vacation to devote to this tome, I would like to see a Cliff's Notes version. Maybe 10,000 random numbers?\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nA must read! The author carries you through the tapestry of her\nsoul.\n\nWhat an amazing book. Stories of love, joy, and pain. This beautiful book gives insight to a life lived, mistakes made, forgiveness, and ultimately love. Love to and for others who are weaving the tapestry of the author's life. Most importantly, love and forgiveness for herself.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nThey sure don't come up with random numbers like they used to. If you look closely, you will note that every tenth digit or so is just a repeat of the last digit and every hundredth or so is a just the same digit repeated three times. How sloppy!\n\nAlso, if you stare at it long enough, you can decode something around page 300 about Jodie Foster and J.D. Salinger giving me some sort of instructions. I'm going to stay up another couple nights staring at this to see if I can make out anything further.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nA MILLION??\n\n\"A Million Random Digits\"? HA!\n\nThey only used 10, and just kept repeating them in different combinations!\n\nDon't be fooled!\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nWhat a bargain!\n\nDid Rand's marketing department make a mistake? If you buy this book, you'll get one million random digits for the ridiculously low price of $64.74. That means each digit only costs 0.00006474 cents, and they throw in the deviates for free!\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nWait for it...\n\nI don't want to spoil anything but you will LOVE the twist ending!\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nBetter in the original...\n\nIf you like this book, I highly recommend that you read it in the original binary. As with most translations, conversion from binary to decimal frequently causes a loss of information and, unfortunately, it's the most significant digits that are lost in the conversion.\n\n> You read back the blurb\nYou pick one of the blurbs at random and read it.\n\nSave your time and watch the movie.\n\nBook is okay. Seriously, I would recommend that you just see the movie. It was remarkably true to the book and I thought George Clooney's performance as the string of digits on page 34 brought something to the story that you just can't get from the written version."
    },
    {
        "text": "[Themes: horror, female protagonist]\n\n> Look around\nLibrary (Mike Spivey)\nThis library features dark paneling, polished hardwood floors, and thousands of books. A mahogany desk sits against the one part of the walls not lined with books. An antique wingback chair provides a place for quiet study, while in the center of the room is a reading podium. The only exit is west, back to the hallway.\n\nEmbedded in the wall is a small safe.\n\nA massive tome sits on the podium.\n\n> You put the paperback in book pocket\nWhich do you mean, the cheap paperbacks, the old paperback book (smelling faintly of mildew) or Twin Hearts Between the Planes?\n\n> Old paperback\nYou put the old paperback book (smelling faintly of mildew) into the book pocket.\n\n> You examine the cheap paperbacks\nThe paperbacks are all recent science fiction novels. They appear to be part of a series set in the Star Wars universe and are\nnamed after locations from that universe: Alderaan, Cloud\nCity, Coruscant, Dagobah, Endor,\nHoth, Tatooine 1: Anchorhead, and Tatooine 2:\nMos Eisley.\n\n> You look at the alderaan\nYou take Alderaan from the shelf and skim through it. It's\npainfully derivative, with poor pacing, and full of annoying characters and cringe-worthy dialogue. With a shudder, you put it back on the bookshelf.\n\nSupposedly, though, George Lucas is working on a new Star\nWars trilogy that tells the story of how Anakin Skywalker became\nDarth Vader. You can hardly wait. With Lucas directing, it's sure to be fantastic!\n\n> You examine the Cloud City\nYou take Cloud City from the shelf and skim through it. It's\nnot any better than Alderaan, and so you put it back.\n\n> You examine coruscant\nYou take Coruscant from the shelf and skim through it. It's\nnot any better than Cloud City, and so you put it back.\n\n> You examine the tatooine anchorhead\nStar Wars universe. This one is set in a small town on the\nplanet Tatooine and is named after that town. It's called\nTatooine 1: Anchorhead.\n\n> You read it\n(first taking Tatooine 1: Anchorhead)\nYou take Tatooine 1: Anchorhead from the bookshelves.\n\nYou skim some of Tatooine 1: Anchorhead. Unlike\nCoruscant, it actually looks pretty good! It has atmosphere, interesting characters, and a compelling story. Definitely worth a read when you have more time.\n\nAs you flip through the pages, a small key falls to the floor. It must have been hidden in the book.\n\n> You look at the small key\n(the small rusty iron key (smelling faintly of mildew))\nA small, rusty iron key.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: Lovecraftian, Comedy]\n\n> You look around\nLibrary (Mike Spivey)\nThis library features dark paneling, polished hardwood floors, and thousands of books. A mahogany desk sits against the one part of the walls not lined with books. An antique wingback chair provides a place for quiet study, while in the center of the room is a reading podium. The only exit is west, back to the hallway.\n\nEmbedded in the wall is a small safe.\n\nA massive tome sits on the podium.\n\nYou can also see a small desk key here.\n\n> You look at the desk key\nIt probably unlocks the mahogany desk.\n\n> You unlock the desk with desk key\nYou unlock the mahogany desk.\n\n> You open it\nYou open the mahogany desk, revealing a scrap of paper.\n\n> Scrap\nOn the scrap of paper is the following:\n\nIt's in Peter's handwriting.\n\n> You set safe to 136\nThe dial only features numbers from 1 to 60.\n\n> You read the page 136\nYou carefully study page 136 of A Billion Random Digits. In\nthe middle of the page you notice a pair of digits circled together: 17.\n\n> You read the page 3\nYou carefully study page 3 of A Billion Random Digits. In\nthe middle of the page you notice a pair of digits circled together: 34.\n\n> You read the page 29\nYou carefully study page 29 of A Billion Random Digits. In\nthe middle of the page you notice a pair of digits circled together: 60.\n\n> You set safe to 17\nYou set the dial to 17.\n\n> You set safe to 34\nYou set the dial to 34.\n\n> You set safe to 60\nYou set the dial to 60, and the small safe gives a loud \"CLICK.\"\n\n> You open safe\nYou open the small safe, revealing Legends of Lake Champlain and\nthe Hudson River Valley.\n\n> You examine Legends\nThe front cover of this book features a stylized spike underneath the title, Legends of Lake Champlain and the Hudson River Valley.\nA sticker on the spine bears the insignia of the Backwater Public Library.\n\n> You read it\n(first taking Legends of Lake Champlain and the Hudson River\nValley)\nLegends of Lake Champlain and the Hudson River Valley is a\ncollection of stories of the supernatural associated with Vermont and eastern New York. The headless horseman in Washington Irving's\nLegend of Sleepy Hollow makes an appearance, and there's an\nentire chapter on Champ, a sea monster living in Lake Champlain. Spectral manifestations at Fort Ticonderoga, including balls of light, strange mist, and ghost sightings, have their own chapter as well. Perhaps the most amusing bit is the reincarnation of Revolutionary War hero Ethan Allen as a phantom stallion who races through the streets of Burlington at night.\n\nAccording to the table of contents, the book does contain several pages on paranormal activity in Backwater, with special emphasis on an \"eldritch horror\" spotted in and near Cragne Manor. Unfortunately, these pages have been torn out.\n\nAs you finish reading the passage, you realize that the well-dressed man has been reading over your shoulder. He nods thoughtfully, placing his hand on the cover, leaving frost behind on the library insignia.\n\n> You go to the west\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\n> You put the desk key in the key pocket\nYou unzip the key pocket, deposit the small desk key, then zip the key pocket back up again.\n\n> You go north\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north and east to the master bedroom; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nA massive black armoire stands sealed against the north-west wall.\n\n> You go to the east\n(first opening the master bedroom door)\nThe handle won't turn, and neither tugging nor pushing the door itself has any effect. It would seem the door is locked.\n\n> You look at the master bedroom\nAstonishingly large and assembled of thick oak planks with iron banding and trim; the door glistens redly from a thick coat of shellac. In the center, a Cragne family crest has been set into the wood with iron filigree. The handle is little more than a bent metal prong next to an oversized keyhole.\n\n> You examine the crest\nDuring your engagement, you helped Peter track down a number of Cragne family crests for potential use in wedding livery: the Shattered Mast in Flames, the Moons\" Eye upon the Tome, the Cup and Sword and Star--none that you've seen shared any resemblance to the crest embossed on this particular door in his ancestral home: a furred cloak girds a shield upon which the trunk of a severed tree impales a rampant lion, which is shown biting its raised leg. A banner beneath the shield reads \"LIBERT\u00c9 DE LA GORGE\".\n\n> You examine the key\nWhich do you mean, the small rusty iron key (smelling faintly of mildew) or the key from an urn?\n\n> Small rusty\nA small, rusty iron key.\n\nA faint smell of mildew emanates from it.\n\n> You look in the key pocket\nYou unzip the key pocket just enough to take a peek inside. It contains a small desk key (smelling faintly of mildew), a large brass key (smelling faintly of mildew), an Allen key (smelling faintly of mildew), an aluminum key (smelling faintly of mildew) and a bronze key green from age (smelling faintly of mildew).\n\n> You examine coffee\nThe clouds in your cup form a turducken. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\n> You go north\n\"Oh, we're all so happy! And it is just about tea time too! Come right in.\" Carol turns to face a sock puppet monkey and scolds him, \"You just stay in your seat, Young Master Sweetpaws -- mother\nsays we will have manners in this house!\"\n\nMuch bustling ensues: sounds of porcelain being laid, clinking of utensils, and the heavy thunk of a chair being put in place.\n\n\"Ready! Come in, Naomi\", sings Carol as she ushers you inward.\n\nPerhaps against your better judgement, you follow her.\n\n\"Here, let me take that for you,\" offers Carol as she accepts the teapot and walks to a table at the center of the room.\n\nYou open the north door.\n\nNursery (Ben Collins-Sussman)\nYou can see Carol here.\n\n[ HINT: you can type \"hints\" for a hint for this location ]\n\nYou would have killed to have this charming room when you were yourself five years old: a fluffy pink and white dotted comforter covers a bed overflowing with stuffed animals. Beside it, a play kitchen replete with pots, pans, and a very realistic looking oven. On the far wall, a large bay window trimmed in lacy curtains matching the bedspread. To the left of the window, a small writing desk and tiny lamp, and nearer to the entrance, a an old-fashioned record player rests on wooden stand.\n\nYour eye is quickly drawn, however, to one discordant item: a framed black and white photo of a bald man smiles down towards the center of the room. The exquisitely carved heavy gilded frame obviously predates photography by centuries, and you are hard pressed to guess how this odd portrait fits into the decor.\n\nIn the center of the room, the tea party itself is already underway. Seated on each side of the table in toy chairs are several stuffed animals. Carol stands just opposite you with teapot in hand.\n\n> About you\nThis little weekend getaway with Peter has done you some good. So relaxing.\n\nCarol glances around the table at her stuffed animals. \"I don't\nknow about any of you, but I sure am getting thirsty. Yes sir, some nice hot tea would really hit the spot, don't you think so,\nSweetpaws? You do? Me too. I wish Naomi would say the\nmagic words and let us get going. What's that Mister Snortles?\nMaybe she forgot what to say? I'm sure she remembers that she is supposed to say 'bottoms-up' so we can start.\"\n\n> Bottoms-up\nAs the last syllable rolls off your tongue, you sip the dregs of some delicious warm tea from your cup (English Breakfast, some sugar, a bit of milk).\n\nLooking around the table, the cups set before the toy creatures drain themselves although the creatures themselves do not budge.\n\nAt the head of the table, Carol up-ends her cup gracefully and relishes the tea.\n\nAs she sets her cup down and sighs with pleasure, a curious thing happens: both you and she glow perceptibly, as does the book over on the desk. It happens so briefly, that you almost miss it.\n\n\"Feel any better?\" asks Carol.\n\n\"Why yes, in fact I do. A brisk cup of tea was just the thing,\" you agree.\n\n\"You can do the honors for the second cup! See this is fun!\" Carol slides great-uncle's teapot over towards you.\n\n> You examine the coffee\nThis is strange. As you watch the clouds in your cup, they form a pair of bright stars that rotate around the cup, maintaining a steady distance from each other.\n\nYou remember that twin objects like this mean you are split between two intricately entangled destinies, and that at any given moment, one of them will be the right place for you to be, but the coffee can't tell which. Way to drop the ball there, coffee.\n\nA faint smell of mildew emanates from it.\n\n> You examine Carol\nA pretty young girl, with wavy hair held in place with hair band, penetrating blue eyes, and cherubic cheeks. Her perfectly pressed powder blue dress is cinched at the waist with an oversize bow of matching color, and below it her skirt balloons outward like a parachute. Below that, she wears brilliant white knee socks and polished shoes with small silver buckles.\n\n> You look at the painting\nThe painting depicts a night scene: a headless man on a rearing black horse, holding a grinning jack-o-lantern under his arm.\n\n> You look at the photo\n(the portrait)\nThis is clearly a formal portrait of a balding man probably in his sixties. He has an air of authority, but also an avuncular warmth. There is a nameplate at the bottom of the portrait.\n\n> You examine the nameplate\n\"Dwight D. Eisenhower, 34th President of the United States of America.\"\n\n> You talk to Carol\nYou are already talking to Carol.\n\n> You ask Carol about the photo\n(the portrait)\n[ HINT: For short, say \"a subject\" or \"t subject\" to\nASK/TELL about a subject ]\n\n\"I like Ike,\" says Carol firmly.\n\n\"You do?\"\n\n\"Sure do. That's what people say, they say, \"I like Ike', he's the President. They said it so much that he got elected from being a General, so now he's in charge of everything.\"\n\n\"Is that President Eisenhower?\" You try to remember what years\nhe was in office. Definitely after Lincoln, probably after World War II, and he's not someone you've ever seen on the news, so let's say Vietnam or before. So that would be what, the fifties? Early sixties? Somewhere in there.\n\n\"I think so, that sounds right.\"\n\n> You talk yourself\n\"Do you know where I'm from, Carol?\"\n\n\"Connecticut?\"\n\n\"Close, I'm from New York City. Have you ever been to New York City?\"\n\n\"No, the Cragnes never take me anywhere. They say just stay in\nmy room and don't bother them.\"\n\n> You talk peter\n\"I wonder if you're related to my husband, Peter.\"\n\n\"Maybe. I dunno. If you want you could bring him up here and I could have a tea party with him too,\" offers Carol.\n\n> You talk christabell\n\"So,\" you inquire, \"it sounds like we have a mutual friend -- Christabell. How did you meet her?\"\n\n\"Oh, Christabell? We met a long time ago -- maybe when I was\nfour? And I was playing out in the woods, sharpening sticks or something, and I found a great big pile of railroad tracks. Right out there,\" she points out the window towards a range of dark cliffs.\n\n\"Yes, I've been there.\"\n\n\"You have? Most people can't see her, you know. They don't have the sight, but I do because of my mom. Christabell's and my\nmom are cousins or something, so I got the sight. Anyhow, Christabell's great. She taught me a lot of stuff.\"\n\n\"Like what?\"\n\n\"Like reading and how to skin rabbits, but she also taught me special stuff that I had to have the mark for, like the tea party. She\nwants to teach me more stuff like that, but says I can concentrate enough, but I can too.\""
    },
    {
        "text": "> Describe the surroundings\nNursery (Ben Collins-Sussman)\nAn ideal room for a well-heeled little girl of five. Room furnishings include a bed, a play kitchen, a desk, and a record player. A large bay window occupies most of the external wall, and a large portrait hangs at the foot of the bed. The exit should be to the south, but is currently blocked by a magical mirror that was not there a second ago.\n\nA tea party with Carol and a bunch of stuffed animals is in full swing in the middle of the room.\n\nYou can see Carol, a scrapbook and a window (closed) here.\n\n> You examine scrapbook\nThe cover of the spiral-bound book is marked in thick black gothic lettering, \"Carol's Scrapbook\". Little bits of newsprint stick out from the edges of the closed book. The scrapbook glows faintly.\n\n> You read the scrapbook\nYou flip open the scrapbook, with Carol reading along, over your shoulder. In keeping with the cover, the scrapbook contains a number of newspaper clippings, bearing the titles: Shark Attack, Actress Disappears and Body Found.\n\n> You read the Shark Attack\nSHARK ATTACK!\n\nA team of oceanographers from the Woods Hole Institute of Oceanography in Woods Hole, MA was attacked yesterday by sharks in waters about ten miles southeast of Nantucket Island. Of the four man team, one was killed and one was injured, requiring hospitalization.\n\nThe team was deploying a string of experimental sonar buoys along an underwater ridgeline. The captain of the expedition, Frampton Mays, was the first to notice a disturbance in the water surrounding the boat and the rubber raft in tow, where two divers were working. \"The seas were rolling calmly, but something was moving around us, in circles. Something big. The water humped up around it, but there was no wake.\"\n\nDavis Parks, an electronics engineer from the Sperry Corporation, was with the captain and noticed unusual readings from the devices being put in place, \"The first buoy was anchored and we were calibrating it, so I didn't pay much attention at that point. I thought we had a gain problem because the signal returns were just crazy and the doppler\u2026 well, nothing can move that fast, I had to assume one of the guys had snapped and that the assembly was spinning.\"\n\nAccording to coast guard vessels responding to the their distress call, water sprayed up around the raft and then the entire raft disappeared below the foaming surface. Initially, the coast guard reported sighting tentacles reaching out of the water around the raft, but it is now believed that these were the heavy lines that had secured the equipment to the ocean floor recoiling upward with the release of tension.\n\nOne diver, who was on the raft at the time, was lost: twenty-six-year-old Travis McMaster of New Port, Rhode Island. Dr. McMaster had recently completed graduate studies at the Massachusetts Institute of Technology and was conducting post-doctoral research at Woods Hole.\n\nThe other diver, David Tillerson, was nearer to the research vessel when the sharks attacked, and was pulled from the water by the two crew. First aid was performed on the coast guard rescue boat; it is reported that he had a number of large, painful welts on his back. The treating physician commented that these welts were \"similar in nature to the sort we see from jellyfish, but much, much larger and deeper.\"\n\n> You read actress\nA FLASHBULB EXCLUSIVE!\n\nFashion model and star of the silver screen, Hungarian actress Lili Kov\u00e1cs disappeared this afternoon from a private hospital in North Carolina where she was recovering from recent surgery. As previously reported, she had been flown there three days ago after developing what was thought to be acute appendicitis while filming \"Two Shots and A Chaser\" in Bermuda.\n\nAt a cast party Thursday evening, she sudden collapsed, clutching her stomach in pain, and was rushed to a local hospital, where she was given medication and transferred by plane to the U.S. According to guests at the party, the normally svelte starlet appeared to have gained a lot of weight during her week on the vacation island, and some thought that she might have suffered an on set injury because she was walking oddly.\n\nThe handsome Wallace Travers, who stars opposite Miss Kov\u00e1cs in the Metro-Goldwyn-Mayer Pictures production, recounted the troubling week that began with the disappearance of the lovely celebrity while they were filming a scene on the beach area behind the posh Venture Casino last Monday. According to Mr. Travers, \"She said she was taking a quick dip to cool off, and I thought she would be right back. When we were ready to shoot the next scene, nobody could find her. We checked the trailer, the hotel -- everywhere. Then our sound guy, Mike, says there's something going on in the surf. He had a good view from up on the boom tower, but from the beach everything looked normal. He said some kind of lights were moving around under the water. Some of the locals later told us that's not too unusual, that algae or whatnot have this faint glow at night, but Mike was really upset and said the lights were huge, the size of city busses, really bright, and moving around incredibly fast. Well, Heinrich called it for the evening, and we let Mike go sober up.\"\n\nAccording to the film's director, Heinrich Habberstamp, Miss Kov\u00e1cs showed up early the next morning for filming as if nothing had happened. Later that day, she admitted to having no recollection of the prior evening.\n\nThe private hospital refused to comment in the interest of privacy, but one of Lili's visiting relatives gave FLASHBULB the inside scoop: When Lili arrived from the airport, she was burning up with fever and brought immediately to the operating room. As the surgeon made the first cut, the wound tore open of its own accord and a mass of gelatinous balls squirted out. \"Maybe ten or fifteen pounds of them, each about the size of an orange. They were pink or red, and some had little cords attached. Nobody knew what they were, but they got as many of them out as they could. They had to leave some of the smaller ones that were more firmly attached. When they tried to cut those out, she started bleeding, so they closed her up.\"\n\nNo one knows the whereabouts of the starlet or how she could have gotten out of her bed after such major abdominal surgery. More than a few industry wags have suggested that the whole episode was a publicity stunt to build up anticipation for the film.\n\n> You read the body\nPolice investigators report the discovery of a headless torso on the western shore of Block Island and are seeking public assistance in determination of the identify of the deceased.\n\nThe headless, limbless corpse was discovered yesterday afternoon by Christopher Smythe, a local resident, who was checking his lobster pots. \"It came up slowly on the winch and when it got to the surface, I knew there was a problem. I got everyone under it, and we swung it onto the deck and weren't sure what to do with it, so we put it on ice and headed back to harbor.\"\n\nThe body is described as male, caucasian, and likely forty to fifty years old. The Washington County Medical Examiner, Dr. Lewis Ivar, places the time of death somewhere between two and three days prior to discovery. Dr. Ivar commented, \"there were two notable findings: first, a series of discolorations, about four inches in diameter and arranged in a line across the back and wrapping around upward under the axilla; secondly, the presence of a tattoo across the chest. The design of the tattoo is unusual, a skull and below it a phrase in French.\" The coroner's office is hopeful that the unique tattoo will aid them in identification of the victim."
    },
    {
        "text": "> Look around\nNursery (Ben Collins-Sussman)\nAn ideal room for a well-heeled little girl of five. Room furnishings include a bed, a play kitchen, a desk, and a record player. A large bay window occupies most of the external wall, and a large portrait hangs at the foot of the bed. The exit should be to the south, but is currently blocked by a magical mirror.\n\nA tea party with Carol and a bunch of stuffed animals is in full swing in the middle of the room.\n\nYou can see Carol, a scrapbook and a window (closed) here.\n\n> You examine the mirror\nThe mirror is about four feet high and half that wide and is affixed to the wall. The bottom of the mirror a good half foot above the floor.\n\n> You look at the window\nThe large bay window is framed in the same rosewood trim that decorates the rest of this once great mansion.\n\n> You look through it\nThrough thick glass warped by time, you can see the estate grounds far below you. The dark hills where you encountered Christabell are in the distance.\n\n> You open it\nThe window has a complicated child-proof safety lock -- on the outside. How very uncharacteristically responsible for the Cragnes.\n\n> You break the window\nThe house has survived Vermont winters, it will survive you.\n\n> You look at the animals\nFour dolls dutifully attend the tea party, sitting two to a side on tiny chairs. To one side, a stuffed elephant and a monkey, and to the other some sort of clown and a lamb.\n\nA ravenous horde of other stuffed animals crowd the edges of the bed silently observing the ceremony.\n\n> You serve the tea\nCarol rolls her eyes. \"Good grief,\" she says. \"Don't you know how to do anything? As Christabell says, it is not about the\nsubstance, but the shadow.\"\n\n> You examine the tea\nIt looks like there are about two more rounds of tea in the fine china pot.\n\n> You get the pot\n(the teapot (smelling faintly of mildew))\nYou already have that.\n\n> You pour the tea\nCarol rolls her eyes. \"The tea is not the thing. It is all about the word.\"\n\n> Bottoms-up\nAgain, the sweet taste of tea, this time with a dash of oil of bergamot and just a touch of sugar.\n\nOdd you think, same teapot, but a different taste. But then you reason that is not any harder to accept than tea distributing itself magically around a table you are sharing with four stuffed animals and a ghost of some sort. Some things are just harder to accept than others.\n\nAs you set your cup back down on the table, you observe Carol sneaking a glance at her scrapbook. In that brief instant, both Carol and the book glow slightly, somewhat brighter than they did before. Your own skin pulses briefly with the same glow and you think that afterwards it maintains something of a numinous shine. This is really good tea. You feel great, and the worries of the day are fast disappearing.\n\n\"I really liked that one!\" pipes Carol.\n\n\"We aim to please,\" you say, prompting her giggles.\n\n> You read the scrapbook\nCarol reads along, over your shoulder. In keeping with the cover, the scrapbook contains a number of newspaper clippings, bearing the titles: Shark Attack, Actress Disappears, Body Found and Watery\nFate for Convict.\n\n> You read watery\nIt looks like the icy hand of justice caught up to escaped murderer Gustave Dellorto earlier today, when his body was recovered at low tide from the Execution Rocks Lighthouse in the Long Island Sound.\n\nLeslie Stovebow, the lighthouse keeper who resides in a small residence at the base of the tower, discovered the body this morning as the tide went out. The body was still clad in the striped uniform of the Sing Sing Prison from which he escaped last night.\n\nMamaroneck, NY police raced against time to remove the body from where it had become lodged in the boulders before the time came back in, submerging the rocks. They successfully identified the body by confirming the number on the uniform matched that of the escaped killer. It is not clear why Dellorto chose to flee to the island, but police suspect he was hoping to murder the lighthouse keeper and go to ground there until his trail grew cold.\n\nDellorto was convicted of three cases of first degree murder in the winter of 1951, including one G-man, and was suspected of homicide in seven additional cases. It is believed that his crimes were connected to organized crime. He was sentenced to capital punishment, but pardoned after appeal two years ago by Governor Dewey.\n\nExecution Rocks inherits its name from the colonial period, where legend goes that disobedient slaves were shackled at low tide, and served as examples for others, being left there to slowly drown in the pounding waves. This story is considered apocryphal by most, but today, the lighthouse earned its name.\ntoday, the lighthouse earned its name.There's another bit pasted a bit lower on the page.\nCORRIGENDUM\n\nGustave Dellorto, who escaped from Sing Sing prison earlier this month, was arrested in Detroit, Michigan, yesterday leaving in his wake a fresh series of murders committed during a two-week spree across several states. It was previously reported in error that he had died by drowning in the Long Island Sound, but the body recovered in that incident is now known to be that of Francis Dapper, age 19 of Larchmont, New York, who had been working at the Purdue Island Yacht Club the evening that Gustave escaped. One of the club launches, which had been brought ashore for the winter, was discovered missing later that week. Police believe that it was probably used by Dellorto to reach the Execution Rocks lighthouse, where he abandoned his victim's body, after swapping clothes to fake his own death in an attempt to evade capture.\n\n> Bottoms-up\nThat was unexpected. Flowery. Bit of an aftertaste.\n\n\"Is this Jasmine?\"\n\n\"It's Crisp Hand Sew Mom.\" Carol struggles with the pronunciation.\n\n\"Chrysanthemum?\" You offer.\n\n\"Yes, that. Grand-uncle's teapot knows all my favorites.\"\n\nNot only are the two of you now glowing enough to cast shadows around the room, but you notice that little sparks of static electricity scintillating at your fingertips. You hold them up, \"Carol, is this normal?\"\n\n\"Oh yes, it's wonderful, isn't it?\"\n\nYou do feel wonderful.\n\nThe scrapbook pulses with energy.\n\n> You read the scrapbook\nCarol reads along, over your shoulder. In keeping with the cover, the scrapbook contains a number of newspaper clippings, bearing the titles: Shark Attack, Actress Disappears, Body Found, Watery Fate\nfor Convict and Boat Wreck On Sable Island.\n\nCarol slurps her remaining tea ceremoniously.\n\n> You read Sable\nA 12-man fishing boat, the Miss Step, out of Halifax, was found wrecked yesterday with loss of all hands on Sable Island, a small, isolated island in the Atlantic Ocean, 190 miles southeast of Halifax. The vessel grounded on an sandy bar near the eastern end of the island and by report was discovered yesterday morning by Ronald Lefevre, sub-intendent of the Sable Island Rescue Station. Subsequently, both Mr. Lefevre and Scott McCallister, who was in charge of the two-man Rescue Station, were also lost.\n\nThe only other inhabitant of the island, Dr. Martha Klein, reported yesterday's events to the Canadian Coast Guard cutter Hermes by shortwave radio at 10:20 a.m. yesterday morning before herself going missing. The Hermes reached the island within the next two hours, but was unable to launch small landing craft because of gale force squalls. When they did make landfall late that afternoon, there was no evidence of the wreck. The search the island's three inhabitants was aborted this morning due to further foul weather; additional Coast Guard vessels are en route as we go to press.\n\nThe Coast Guard has refused to comment on the matter, but a ham radio operator, Edmund Finister, from Prince Edward Island, gave the following account to the press:\n\n\"I sometimes listen to the reports going back and forth between Dr. Klein at the Meteorological Station and the mainland, and I wasn't expecting anything at that time of day, but I just happened to have the radio on, more or less to keep the shack warm. Then, out of the blue, I hear Dr. Klein, and she normally has kind of a lilting, friendly voice, but I could hear that she was shaken up. I was in the other room, so I only caught the last part of it, but she was speaking almost too calmly, trying to give all the details, but I could tell she was a hair's breadth from having a breakdown.\"\n\n\"She's talking to the sparky on the cutter, and saying that first the one guy, Lefevre came speeding back along the beach in his jeep to get McCallister, because he had discovered the fishing boat on its side up on the sand. They asked Dr. Klein to call it in and they both took off again, even though Lefevre had said that when he had seen it the first time, he had a good look around and there were no survivors.\"\n\n\"Now, what's weird is what Lefevre told Klein -- while there were no bodies aboard, there were these\u2026 things. I only know what she said on the air, that Lefevre had said that there were these fleshy things all over the ship, in different parts of it, down below, up on the deck. They were whitish or translucent, sort of long tubes of the stuff. Heavy, deadweight if you tried to move them. Some were wrapped up in foul weather jackets, and one that Lefevre poked had some coins embedded in it, about halfway up, he said, just a couple inches deep. His best guess was that they were whale fat since they were so oily, but he was just guessing. Also, he said they had kind of a musky smell.\"\n\n\"Whatever they were, they're gone now. All of them.\"\n\nCarol drains the last few drops from her cup.\n\n> You look at the keyhole\nAstonishingly large and assembled of thick oak planks with iron banding and trim; the door glistens redly from a thick coat of shellac. In the center, a Cragne family crest has been set into the wood with iron filigree. The handle is little more than a bent metal prong next to an oversized keyhole.\n\n> You unlock Door with the key from an the urn\nWhich do you mean, the master bedroom door, the nursery door or the bricked-up door?\n\n> You open the kp\nYou open the key pocket, revealing a small desk key (smelling faintly of mildew), a large brass key (smelling faintly of mildew), an Allen key (smelling faintly of mildew), an aluminum key (smelling faintly of mildew) and a bronze key green from age (smelling faintly of mildew).\n\n> You examine the large brass key\nA large and important-looking brass key. Someone wrote a two digit number on the bow. It's mostly worn off, but the first digit looks like a 3.\n\nA faint smell of mildew emanates from it.\n\n> You put the large brass key in the kp\nYou put the large brass key (smelling faintly of mildew) into the key pocket.\n\n> Close kp\nYou close the key pocket.\n\n> You examine the bronze key\nA large bronze key that you fished out of the fountain's drain.\n\nA faint smell of mildew emanates from it.\n\n> You put bronze key in kp\nYou unzip the key pocket, deposit the bronze key green from age (smelling faintly of mildew), then zip the key pocket back up again.\n\n> You go to the south\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nWhite light flickers from somewhere inside the hole in the wallpaper.\n\n> Go south\n(first opening the wooden door)\nIt seems to be locked.\n\n> You examine Door\nA simple door, made from a rich, dark wood. An oval window takes up the upper third of the door, but is covered in such a thick layer of dust and grime that you can hardly see through it. The small brass knob is surrounded by a circular design of inlaid triangles cut out of deep, reddish-brown cherry wood. The rain dashes across the window in waves. You'd hate to be out in this.\n\n> You look at the window\nA simple door, made from a rich, dark wood. An oval window takes up the upper third of the door, but is covered in such a thick layer of dust and grime that you can hardly see through it. The small brass knob is surrounded by a circular design of inlaid triangles cut out of deep, reddish-brown cherry wood. The rain dashes across the window in waves. You'd hate to be out in this.\n\nThe hallway echoes with the sound of rain hammering on the walls and roof of the manor.\n\n> You go north\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nA massive black armoire stands sealed against the north-west wall.\n\n> Go west\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east to Upstairs Hall, north end (Jason Love).\n\nOn the north wall is a round white wall clock.\n\nStanding against the west wall is a dilapidated kitchen sink with a pine cabinet under it."
    },
    {
        "text": "[Themes: female protagonist, horror, Comedy, Lovecraft]\n\n> You go downward\nLanding at the Bottom of Stairs (Mark Sample)\nThis is a dark alcove with a narrow stairway rising into the gloom upstairs. Shadows lurch over a doorway to the south. Opposite those shadows lies another doorway, in even darker shadows. What little light there is seeps in from a small elliptical window high on the wall.\n\nThe ramshackle bookshelf lies in a pile of splintered wood on the floor like a fallen scarecrow, arms akimbo.\n\n> You unlock Door with the iron key\nYou ease the big key into the keyhole and give it a twist. It moves, but doesn't make a sound. Success?\n\n> You open it\nYou grab the hinges, plant your feet, and yank the trapdoor wide open.\n\n> You open wooden Door\nThat's already open."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You go downward\nCarefully, you descend the creaking steps.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. Something squelches under your feet. Looking down, you realize why: a damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nAn old, rusted toolbox sits nearby. A rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, presumably to more storage. The dimly-lit basement extends in every other direction, south, east and west.\n\n> You examine the carpet\nThis carpet is vast and wetly soft, crawling with mildew, gray molds and skittering black insects. The design is faded and obscured, but it almost looks like an enormous eye...\n\n> About yourself\nYou can't see yourself directly, but you have a pretty good idea. You have dark circles under your eyes, your hair is frizzed. It hasn't been a good day. Peter has to be somewhere, right?\n\n> You examine coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You open it\nYou have to force the lid a little bit, and there's a loud\ncrack as some kind of rusted lock bursts apart into dust.\n\nYou open the rusted toolbox, revealing a jar of old keys and a jar of screws.\n\n> You examine the jar of the keys\nThe label on this musty jar indicates that it's meant to store old keys. You'll have to open it up to see what's in there.\n\n> You open it\nYou open the jar of old keys, revealing a splintery wooden key, an ornate bronze key, a sinister iron key, a frosty blue key, an intricately folded origami key and a silver and ivory key.\n\n> You look at Door\nWhich do you mean, the the heavy wooden door, the metal hatch or the flimsy plywood door?\n\n> You open it\nYou open the flimsy plywood door.\n\n> You look at the jar of screws\nAn old jar with a label that says \"Screws\". The glass is so cloudy that you can't see what's inside unless it's open.\n\n> You open it\nHandling the screws jar, it feels strangely light, and when you open it you realize why: It's empty. Not one screw.\n\nYou open the jar of screws."
    },
    {
        "text": "> You look around\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, presumably to more storage. The dimly-lit basement extends in every other direction, south, east and west.\n\n> You look under the carpet\nThis rug is so huge and disgusting that it would be easier to just drag it out of the way.\n\n> Drag carpet\nYou gingerly pull aside the enormous carpet. It's no easy feat \u2014 the thing is awfully heavy \u2014 but once it's out of the way you're able to see that there's a flat, person-sized metal hatch built into the basement floor.\n\n> You examine the hatch\nThe grimy metal surface of the hatch is marked by a rusted handle that begs to be pulled.\n\n> You open hatch\nWith some effort, you force open the metal hatch; it gives a\ncrack, and in a swirl of dust it opens into a moldering\ndarkness.\n\n> You look at the hatch\nA ladder leads down through the open hatch and into the darkness below.\n\n> Go north\nCold Storage Room (Jeremy Freese)\nAunt Mavis used to keep her peaches in a room just like this. Except that room had chirpy yellow wallpaper, and this one's walls are covered with strange glyphs written in blood.\n\nAlso: no peaches. The room is empty except for the thing on the floor.\n\nYou can see a thing here.\n\n> You examine the glyphs\nAs a kid you saw a movie\u2014while staying with Aunt Mavis, in fact\u2014in which a woman was trapped in a small room and knew she would die, and she cut herself so she could use her blood to write a message on the walls for whomever found her body.\n\nThis reminds you of that, but if what's scrawled on the wall is a message, it's not in any sort of writing system you've ever seen.\n\n> You examine the peaches\nThere are no peaches here. Which is just as well, as you haven't touched a peach\u2014nor a nectarine, nor even a pluot\u2014since you\nreturned\nhome that summer.\n\nAunt Mavis's cold storage room had loads of peaches. She had men deliver new ones at least twice a week and take the rotten ones out.\n\nany: two a day, at Aunt Mavis's insistence. \"A growing girl needs\nher peaches,\" she'd say. And whenever you asked why she bought so many peaches, she'd just airily reply, \"Oh, a lady can never have enough peaches.\"\n\n> You examine the thing\nAunt Mavis once gave you something just like this. You didn't know what it was and were too embarrassed to ask.\n\n> About yourself\nYou don't have to look this good to be a star investigative journalist, but, frankly, it helps.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\n> You look at the coffee\nThe swirls in your cup form a row of trees. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You get the thing\nAs you do, a powerful and familiar fruity\nsmell\u2014peaches?\u2014makes you woozy.\n\nWhen your head clears, the room has chirpy yellow wallpaper after all. So it is even more like Aunt Mavis's. And, there's a satchel on the floor that you can't believe you didn't notice earlier.\n\nYou look around to see if you missed anything else and see that there is a now giant eyeball in the wall where the door used to be.\n\n> You examine the eyeball\nYou haven't seen an eye this blue since Aunt Mavis died. And while you know full well that it is the muscles around the eye that convey emotion\u2014especially the brows\u2014and not the eye per se, the\nway\nthis eyeball is looking at you nevertheless conveys a sense of urgency.\n\n> You examine the satchel\nAunt Mavis used to have a satchel just like this, right down to the initials monogrammed on its front. The satchel is closed.\n\n> You open it\nYou open the satchel, revealing a heavy garment.\n\n> You examine the garment\nTo examine the garment, you pull it out of the satchel. As you do, you realize that it's a robe. You've seen robes just like this before.\n\nAlso, now that the robe is out of the satchel, you can see that there are still a small cloth and some papers inside it.\n\n> You examine the initials\nThe initials M. E. C. V. V. are monogrammed onto the satchel in a cursive font. Who knows what those initials mean here, but, for Aunt Mavis, they stood for Mavis Eustacia Crustacea Vaadigne Verlac.\n\nVaadigne was the way the name was spelled in the old country,\nof course, even if the families who emigrated to English-speaking countries had routinely simplified it to Cragne.\n\n(Everyone assumed, of course, that Naomi had taken Peter's last name when they married, but she would never have done that. It was a fun coincidence when she and Peter met that they shared the same last name: a endless source for ribald jokes, especially since they looked like they could be siblings.)\n\n> You examine the cloth\nYou take it out of the satchel so you can get a better look. It's a bib\u2014a lobster bib. There's a cartoon lobster wearing sunglasses and\na\nfedora embroidered on the front. You'd know that lobster anywhere: it's Jimmy The Claw, the \"Lobster Mobster\" mascot of the mafia-themed seafood restaurant in downtown Backwater.\n\nYou also notice a small tag attached to the bib.\n\n> You examine tag\nThe tag on the lobster bib reads:\n\n10% COTTON\n\n\"Premium cloth goods for\nrestaurants and ritualists\"\n\n> You look at the papers\nYou remove them from the satchel. They are clippings from various New England newspapers, including the Backwater Sturgeon.\nLooking quickly at the more intact clippings, they seem to all concern a series of child abductions in the region some years ago.\n\n(You can EXAMINE the clippings further to learn more.)\n\n> You look at the clippings\nAs best you can determine, six children disappeared from their homes over a six year period. No one was ever arrested. The police never even figured out how the children were abducted. Family members would hear screaming, but in the few moments it took to reach their rooms, the children were gone.\n\nYou are amazed you never knew about these kidnappings before, not just because you are an ace journalist but also because the last of the kidnappings happened the year before you stayed with Aunt Mavis.\n\n(You can EXAMINE the clippings further to learn more.)\n\n> You look at the clippings\nOf course, it would have been a bigger news story if the children were found murdered or were never found at all. Instead, the children turned up a week later, unharmed, without any memory of what happened or seemingly even awareness that anything had happened.\n\nWhen the first child was found, asleep in her basement, it was considered a miracle. With subsequent children, the relief became increasingly tempered by a conviction that something awful was done to the children even if no one could figure out what.\n\n(You can EXAMINE the clippings further to learn more.)\n\n> You examine the clippings\nBoth police and public sought to figure out whether the victims had anything in common. You are surprised that the Backwater\nSturgeon would print some of the speculations as letters to the editor. Silly stuff, like that the children all ate shellfish a day or two before disappearing, or that they were all abducted from rooms with brightly-colored walls. Worse still were all the bizarre claims about the significance of stone fruit.\n\n(You can EXAMINE the clippings further to learn more.)\n\n> You look at the clippings\nThe police did confirm some real patterns: the abductions all happened at night in summer months; there was never more than one a year.\n\nThe most recent clippings indicate problems emerging among the children a decade or so after their abductions: some initial reports of \"severe behavioral issues\" as adolescents and then many accounts of madness and violence, as well as at least one apparent suicide.\n\n(You can EXAMINE the clippings further to learn more.)\n\n> You examine the clippings\nBy this point, you've probably learned all you can from the clippings, as so many of the fragments are so blackened that you can barely read them at all. It is a testament to your crack journalism skills that you were able to determine so much from looking at documents that have been so significantly damaged.\n\n(There is no reason to EXAMINE the clippings further unless you wish remind yourself what you've learned.)\n\n> You look at the robe\nIt's a long black robe like the ones the men wore when delivering the peaches to Aunt Mavis. Back then the robes reminded you of the Grim Reaper. Of course, now you associate it more with the robe the killer in Scream wore. (You make a mental note-to-Naomi to stop by Blockbuster and rent Scream 2.)\n\nYou notice a label on one of its sleeves.\n\n> You examine the label\nThe label on the robe's sleeve reads:\n\nMEDIUM (WOMEN'S)\n90% ENCEPHALOPOD\n10% VELOUR\n\n\"Your cult deserves comfort\""
    },
    {
        "text": "[Themes: female protagonist, Comedy, Lovecraft]\n\n> You look around\nCold Storage Room (Jeremy Freese)\n\n> You look at the eyeball\nThe eyeball looks back at you, insistently.\n\nYour own eyes are blue\u2014of course they have to be, since both your mother's and father's are\u2014but Aunt Mavis's eye's were the bluest of all. \"There's only one way to get eyes as blue as ours,\" she said when you complimented her on them. \"Inbreeding.\"\n\nYou laugh thinking about it even now. Aunt Mavis didn't tell jokes very often, but when she did she had the most deadpan delivery.\n\n> Poke eyeball\nWhen you touch the goopy surface of the eyeball, a tiny squid-like creature shoots out of it, whizzing past your ear and hitting the opposite wall. The creature sticks to the wall for a moment and then, with an acidy hissing sound, burns its way through it, leaving a small hole.\n\n> You examine Hole\nIt's a small, sort-of-squidly-shaped hole, no more than an inch wide. Two feet or so above the hole is a hitherto unnoticed rusty nail.\n\n> You examine nail\nAunt Mavis had a memo board on the wall of her cold storage room that listed all the chores you had to do down here before bedtime. Count the peaches; arrange them as a giant star on the floor; recite such-and-such words this many times. So many you'd be down here for an hour or two, and she would never let you start them until after it was dark.\n\nThis old nail might have been once used to hang something similar.\n\n> Inventory\nYou are carrying:\nsome charred newspaper clippings\na lobster bib from The Codfather restaurant\na satchel\na long grocery-delivery robe\na thing just like that thing your aunt gave you which you never knew what it was\n\n> You put robe on the nail\nAs you hang the robe on the rusty nail, you hear of the voices of two men through the hole.\n\"-the Sigil really powerful enough?\"\n\"For a Vaadigne? The tome says it is.\"\n\"But the tome also says to draw the Sigil with the sacred pigments, not Crayola.\"\n\n> You listen\nYou can hear murmuring voices, mostly indistinct. You concentrate, and think maybe you catch one man saying \"\u2014wanted to use apricots,\nbut\nshe says that what it's particularly attracted to is\u2014\"\n\n> Poke eyeball\nAnother squid-like creature shoots out of the eyeball. It sails across the room and hits long black robe. The squish slides down the sleeve of the robe and falls to the floor. The tiny squid sizzles there are moment before burning its way through the floor, leaving a tiny rift behind.\n\n> You examine the rift\nAdmittedly, the \"rift\" is really more like a \"hole\" but calling it that would invite confusion. It's maybe an inch or so wide.\n\nWhile you don't see a squid or anything else in the rift, you do hear a faint hissing sound, like however far down the squid is, it is still boring itself deeper."
    },
    {
        "text": "[Themes: horror, female protagonist]\n\n> Describe the surroundings\nCold Storage Room (Jeremy Freese)\nYou are in a room that looks very much like Aunt Mavis's cold storage room, albeit with a giant eyeball in the wall instead of the door.\n\nOn the opposite wall, a small squid-shaped hole has been covered by the robe like the one from Scream. Below it on the floor is\nsmall, similarly squiddish rift.\n\n> You put the bib on the rift\nAs you put the bib from The Codfather on the rift, you remember how Aunt Mavis would slip into more of her native tongue whenever she had a second glass of wine. Neemophod she called you sometimes,\nor Noomiphod, trying on different ways of mixing your name\nwith the suffix that designates \"young girl\" or \"daughter.\"\n\n> Poke eyeball\nA third squid shoots out of the eyeball. It sails across the room and hits long grocery-delivery robe. The tiny squid slides down the sleeve of the robe and falls to the floor, landing on the lobster bib.\n\nNot a moment later, a cat that looks just like Little Nifty sprints past you-has she been here the whole time?-and grabs the\nsquid. She darts left and disappears through the hitherto-unnoticed catflap in the wall.\n\n> You look at the catflap\nYou thought it was totally weird that Aunt Mavis had a catflap leading from one basement room to another, but since this house also has one maybe they are more common than you thought. In any case, it's the same chirpy yellow as the wallpaper and just big enough for a Little-Nifty-sized cat to dash through.\n\n> You check your inventory\nYou are carrying:\nsome charred newspaper clippings\na satchel\na thing just like that thing your aunt gave you which you never knew what it was\n\n> You put the satchel on the catflap\nAs you put the satchel in front of the catflap, you can hear a woman shouting from a room above: \"Might. I said it might\nwork with five. Seven or even eight is ideal\u2014\"\n\nHer voice sounds so much like Aunt Mavis. Moments later she's yelling again: \"\u2014your kid gets taken next summer because you were too busy watching the fucking Rockford Files to come complete the\nritual circle.\"\n\n> Poke eyeball\nAnother squid shoots out of the eyeball, sails across the room, hits the robe, slides down the sleeve and falls to the floor, landing on the lobster bib. Not a moment later, the cat sprints past you again. It grabs the squid and darts left toward the catflap. The cat plows into the satchel, sending the tiny squid flying through the air in a graceful arc.\n\nThe cat leaps after it, sprouting wings and transforming into a bat (whoa: Little Nifty never did that). The bat catches the tiny squid in its mouth before disappearing through a hitherto-unnoticed opening in the ceiling.\n\n> You look at the opening\nAunt Mavis had an opening in the ceiling of her cold storage room, too. When you asked why, she said it allowed the smell of peaches to fill the house.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome charred newspaper clippings\na thing just like that thing your aunt gave you which you never knew what it was"
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft, Comedy, female protagonist]\n\n> Look around\nCold Storage Room (Jeremy Freese)\nYou are in a room that looks very much like Aunt Mavis's cold storage room. But there's a giant eyeball in the wall instead of the door.\n\nOn the opposite wall, a small squiddly hole has been covered by the robe like the one from Scream. Below it on the floor a small, similarly squiddular rift, although that is currently covered by a lobster bib. Left of that, there's a catflap in the wall, with a satchel in front of it.\n\n> You put the clippings on the satchel\nAs you do, you notice something hand-written in capital letters on the back of one of the clippings:\n\nOUR RITUAL CIRCLE OF RYN'VHHD'R WILL STOP IT FROM COMING BACK.\n\nOUR SIGILS OF JNI'PLD'NA WILL LET HER KEEP THE GIFT WITHOUT IT DESTROYING HER SOUL.\n\nBUT CAN THE GIRL DO HER PART?\n\nBeneath which is a drawing of what looks like a cat with wings.\n\nSo weird. You make a note-to-Naomi to alta-vista that stuff\nwith the apostrophes when all this is over.\n\n> Poke eyeball\nAnother squid shoots out of the eyeball, sails across the room, hits the robe, slides down the sleeve and falls to the floor, landing on the lobster bib. A moment later the cat that looks just like Little Nifty sprints past you, darts left and plows into the satchel, sending the tiny squid and charred newspaper clippings flying. The cat jumps and becomes a bat, but with all the blackened objects in the air she mistakenly ends up with a bit from the Backwater Sturgeon in\nher mouth instead of the squid, which continues on its arc toward you.\n\nThe squid hits you in the eye. You scream as the scalding, hissing creature latches onto your eyeball and pulls. Your eye socket pops as it breaks. With a searing slurp your eyeball slides out and something gooey and hot squirms into your face.\n\nYou grab at your face but there isn't a squid or anything else there. A few moments later the pain begins to relent and before long it has subsided considerably.\n\nWhen you finally remove your hands, you discover the room is just as it was when you first entered\u2014except the glyphs written on the walls in blood make much more sense now.\n\n> You examine glyphs\nLater you will learn that these glyphs are part of an ancient ritual language whose rudiments it has taken decades of collective efforts by linguistic anthropologists in order to barely comprehend. Yet, fairly recently, there were as many as seven people with the ability to read the language fluently, but you are the only one left who remains alive and sane.\n\n\"The Griseous Alderman of the Variegated Court has a familiar,\" the glyphs say, \"and that familiar is sometimes a cat and sometimes a bat and sometimes goes by the name Little Nifty.\"\n\nYou realize as you read the message that you understand the ritual language even better than you do English, because in English you sure as hell have no idea what griseous means.\n\n> RESTORE\n%% Enter a save filename to read:\n\n> You go south\nAs you turn to leave, you think again about the thing Aunt Mavis gave you. You finally understand what it is.\n\nAt the beginning of that summer:\n\"But why do I have to go stay with Aunt Mavis,\" you asked your mother. \"I hardly know her.\"\n\"She wants to get to know you better.\"\n\"Why?\"\n\"There's nothing more important than family, Naomi. And also,\" lowering her voice to a whisper, \"she has a very special gift she wants to give you.\"\n\nAt the end:\n\"You need me to pack? My ticket home isn't for another week.\"\n\"It's for tomorrow, Naomi. You must have had so much fun staying with me that the weeks just flew by.\"\nYou didn't believe her until you got the newspaper and saw the date for yourself. Which raised a delicate topic:\n\"Aunt Mavis, I don't want to be rude. But my mom said you were planning to give me a special present.\"\n\"Yes. And please do be sure to tell her that I did.\"\n\n> You check what you're carrying\nYou are carrying:\na rusted toolbox (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\nLegends of Lake Champlain and the Hudson River Valley\na scrap of paper\nTatooine 1: Anchorhead (smelling faintly of mildew)\nan ominous-looking painting (smelling faintly of mildew)\na 'Pataphysical Approaches to Quantum Superfluids\na snowglobe\na small rusty iron key (smelling faintly of mildew)\na black fountain pen\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book (smelling faintly of mildew)\na pinch of snail paste\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn (smelling faintly of mildew)\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal\nsome yellowed newspapers (smelling faintly of mildew)\na well-dressed ghost (haunting you) (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nan old paperback book (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You put the small rusty key in the kp\nYou unzip the key pocket, deposit the small rusty iron key (smelling faintly of mildew), then zip the key pocket back up again."
    },
    {
        "text": "[Themes: Lovecraftian, horror, female protagonist]\n\n> You look at your surroundings\nCold Storage Room (Jeremy Freese)\nAunt Mavis used to keep her peaches in a room that didn't look at all like this. On the walls is a message written in blood, composed in an ancient language you know intimately.\n\nThere's also the thing Aunt Mavis gave you. You now understand what it is.\n\n> You examine the thing\nAt the beginning of that summer:\n\"But why do I have to go stay with Aunt Mavis,\" you asked your mother. \"I hardly know her.\"\n\"She wants to get to know you better.\"\n\"Why?\"\n\"There's nothing more important than family, Naomi. And also,\" lowering her voice to a whisper, \"she has a very special gift she wants to give you.\"\n\nAt the end:\n\"You need me to pack? My ticket home isn't for another week.\"\n\"It's for tomorrow, Naomi. You must have had so much fun staying with me that the weeks just flew by.\"\nYou didn't believe her until you got the newspaper and saw the date for yourself. Which raised a delicate topic:\n\"Aunt Mavis, I don't want to be rude. But my mom said you were planning to give me a special present.\"\n\"Yes. And please do be sure to tell her that I did.\"\n\n> Go south\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You go west\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west, but a large wine cask is standing right in front of it, blocking your way. Another exit leads east.\n\nYou count five bottles of wine lingering on the wine rack. Each bottle has a different name, all either Italian or faux Italian: the Piccoli Uomini Blu, the Prurito Notturno, the Lettera Segreta, the Isole Perdute and the Testa D'Ancora.\n\n> About yourself\nHave you always had that mole on your back? Huh.\n\n> You look at the coffee\nThe swirls in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine rack\nA wooden lattice about six feet wide that reaches up to the low ceiling. Either stocks were running low or someone had ambitions for a much larger wine collection.\n\n> You look at the cask\nAn over-large cask of wine with a rather medieval-looking wooden tap stuck on its end, the only one of its kind in this cellar. Unfortunately, someone had the bright mind to put it right in front of a doorway.\n\n> You look at Isole\nThe label on Isole Perdute claims this crisp white wine is intense, complex, balanced, and most of all, enjoyable.\n\n> You examine Testa\nThe label on the Testa d'Ancora is written in a language you don't recognize, with lots of Hs and apostrophes. It gives you a headache to even look at it.\n\n> You get all\nPiccoli Uomini Blu: Taken.\n\nPrurito Notturno: Taken.\n\nLettera Segreta: Taken.\n\nIsole Perdute: Taken."
    },
    {
        "text": "[Themes: Comedy, female protagonist]\n\n> You look at your surroundings\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west, but a large wine cask is standing right in front of it, blocking your way. Another exit leads east.\n\nYou've smashed or removed every bottle of wine, and the rack stands empty before you.\n\n> You open the tap\nYou let what seems like gallons of wine pass out of the cask, then close the tap.\n\n> You open the side pocket\nYou open the side pocket, revealing a dull machete, a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box, a book list, a cast iron spire and a library card.\n\n> Close sp\nYou close the side pocket.\n\n> You open the tap\nYou watch even more wine pour out of the wine cask, forming a gigantic puddle on the floor. Eventually the stream of wine coming from the tap is reduced to mere drops, then stops completely.\n\n> You look at the coffee\nThe swirls in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Go west\nYour ears pop and you stumble as you step across the threshold, reeling in a momentary gravitational slippage.\n\nLaboratory (Michael Gentry)\nHard, white light reflected from steel walls pricks painfully at your eyes. Through the glare you can make out the implements of some sort of laboratory, squirming sculptures of metal and glass dripping curdled fluids and spurting foul-smelling puffs of steam. A way out lies east, but otherwise there seem to be no other exits from this place.\n\nThe author is here, hunched over and fidgeting intently with a roiling knot of impossible space that floats in the middle of the room.\n\nThe impossible space turns slowly.\n\n> About yourself\nAs good-looking as ever.\n\nYou bear the trauma of a woman who has been eye to eye with an eburnean pond kraken.\n\nThe author smiles nervously. \"So glad to see you've made it here at last,\" he says. \"I knew you'd find your way eventually. I, uh . . . I anticipated it.\"\n\n> You look at coffee\nThe clouds in your cup form a roller blade. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n\"I've been, uh, I've been working on . . .\" He gestures at the impossible space spinning slowly in front of him. \"Just a few final adjustments. Essentially done, except for . . . well. But here you are, just in time.\"\n\n> You examine author\nHe is stooped and cadaverous, yet of indeterminate age. A profane energy animates him, twitching and plucking at his limbs like the palsied hand of an invisible puppeteer.\n\nThe impossible space morphs itself into the shape of a waterproof flashlight (smelling faintly of mildew).\n\nThe author licks his bloodstained lips. \"In, uh, in there. It just needs . . . you. Inside. To complete the . . . yes. So if you could . . .\" He gestures again, somewhat more brusquely, towards the impossible space. \"Just . . . I can't make you. I mean I\ncould, but that would render the whole thing . . . It's the interactivity, you see. I can't lead you, I can only . . . anticipate.\"\n\n> You examine the space\nIt churns slowly, rotating around an axis that does not appear to align with any direction possible in three-dimensional space, alternating in shape between a pyramid, a starfish, an origami crane come unfolded. It shines like mercury, reflecting the room and beyond the room, reflecting every room in the manor, and the manor itself, and the town beyond the manor, and the world beyond the town, and you realize with queasy vertigo that it does not just reflect these things but it contains them, it contains the world and inside it,\nthe town and inside it, the house and inside it, the room and inside that \u2014 it contains you. It is the universe, and you are\nstanding with your back to its center, staring at the inner surface of its awful, outermost edge.\n\nA faint itch tickles your nose, and you wipe away a bright smear of blood.\n\n\"Ah, yes, you'll, uh, you'll want to watch out for the, uh . . . the hemorrhaging,\" says the author. \"Though you develop a tolerance, eventually, if you . . . interact with it enough. Assuming your brain doesn't explode first.\" You can't help but note the author's own mouth and chin, streaked and crusted and black.\n\nThe impossible space suddenly erupts in a profusion of eyes and hands . . . four eyes, ten hands . . . fifty eyes, a thousand hands . . . all wriggling and twitching and blinking at you before they just as abruptly vanish.\n\n\"Where was I . . . ah, yes . . . please, just . . . I've been working on this for so long, and it, it's so close to being finished,\" the author says. \"I just need . . . and it has to be voluntary. You have to enter it. You have to enter the work, and you have to choose it. Here, just to show you I'm, uh . . . I'll just . . .\"\n\nYou feel a moment of dizziness, and suddenly there is an exit in the east wall. Although, you're not entirely sure, but . . . wasn't there always an exit in the east wall?\n\n\"Maybe just add a scenery object here . . .\" says the author.\n\n> You enter the space\nYou feel it as soon as you get close to it: the inexorable gravity of the impossible space locks onto you like a manacle around your wrist. It drags you in, inch by inch, until your fingertips break its liquid mirror surface \u2014 and that is when you start to scream.\n\n\"Ah, there it is,\" the author whispers. \"Don't, uh, don't fight it.\"\n\nTopologically speaking, the human body is not a solid object but rather a sort of elongated toroid; turned inside out, it resembles a large, lumpy sausage encased within the thinly stretched membrane of its own intestinal tract. Or so you soon discover.\n\nMercifully, this does not last. Several moments later, you are drawn backwards through a tube made of yourself and unfolded into a shape more closely approximating normal. You emerge into a space composed of a reasonably navigable number of dimensions, a strange place but somehow familiar . . .\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely constitute the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> You knock on Door\n\"Wait, that's not . . . no. 'Constitute'? Ugh, let's try this . .\n.\"\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely comprise the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back towards the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> Go east\n\"That's, uh, well, that's . . . but maybe not 'comprise',\ntechnically. 'Compose'? 'Is composed of'? Maybe we should . . .\"\n\nA grim little cul-de-sac, tucked away in a corner of the claustrophobic tangle of narrow, twisting avenues that largely compose the older portion of Anchorhead. Like most of the streets in this city, it is ancient, shadowy, and leads essentially nowhere. The lane ends here at the real estate agent's office, which lies to the east, and winds its way back toward the center of town to the west. A narrow, garbage-choked alley opens to the southeast.\n\n> You open Door\n\"Ah, that doesn't . . . it just doesn't quite flow . . .\"\n\nAnd so it goes. You have a hazy sense that it has always been and will forever remain a rainy late afternoon in November. Aside from this, there is no way to measure the passage of time apart from the author's voice, an endless, stammering litany of emendations that seems to drift down upon you from the cloud-covered sky. At some point, in the midst of an agonized millennia-long rumination over whether it should be spelled \"toward\" or \"towards\", you just stop hearing it.\n\nAnyway, your husband should be back to pick you up in a few minutes. And then the two of you can begin the long, precarious process of settling in.\n\n> You take back\nShuddering in response to the forced time reversal, the tesseract vomits you back out into the Laboratory.\nLaboratory (Michael Gentry)\nHard, white light reflected from steel walls pricks painfully at your eyes. Through the glare you can make out the implements of some sort of laboratory, squirming sculptures of metal and glass dripping curdled fluids and spurting foul-smelling puffs of steam. A way out lies east, but otherwise there seem to be no other exits from this place.\n\nThe author is here, hunched over and fidgeting intently with a roiling knot of impossible space that floats in the middle of the room.\n\n> You go to the east\n\"Oh, you're leaving? Promise you'll reconsider!\" the author calls after you.\n\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west Another exit leads east.\n\nYou've smashed or removed every bottle of wine, and the rack stands empty before you.\n\nYou can see a wine cask here.\n\n> You examine the coffee\nThe clouds in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Testa\nThe label on the Testa d'Ancora is written in a language you don't recognize, with lots of Hs and apostrophes. It gives you a headache to even look at it.\n\n> Break testa\nAmong the glass shards of the broken wine bottle, there lies a key with a red triangle on it.\n\n> You examine the triangle key\nA small metal key with a red triangle etched into the handle. It's sticky and it smells like grapes.\n\n> You examine coffee\nThe swirls in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go east\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a disgusting rotting pumpkin here.\n\n> About yourself\nYou absolutely look the same as you usually do. Well, more or less, considering what's happened lately. But you try not to dwell on that.\n\nYou are feeling a bit peckish.\n\n> You examine the shelves\nEight stark metal shelves run the length of each wall between the two entrances of this room. They are about a foot deep, and absolutely stacked to the brim with dozens of aluminum cans, jars, jugs, and other containers. They are mostly labeled, or their contents easy enough to determine if you blow away the dust, but you have no idea what, if anything, in them might be of interest. You wouldn't even know where to start.\n\nThey are, at least, organized by size, shape, and container material.\n\n> You look at the roots\nThe dangling roots are tan-colored, nearly white, thick and veiny. They branch off at strange, sharp angles, ultimately terminating in wispy strands that hang halfway to the floor.\n\n> You examine the pumpkin\n(the disgusting rotting pumpkin)\nIt is putrid, lying in a puddle of its own innards, sad and crumpled nearly to the floor. Two fat black flies buzz around the stem.\n\n> You kill them\nYou swat one down. You could swear it looks like two more arise to take its place.\n\n> You examine the bulb\n(the bare light bulb)\nJust a bare bulb suspended on a wire from the ceiling.\n\n> You look at the wire\nA thin wire helix running from the ceiling down to the bulb.\n\n> You examine the ceiling\nActually, it appears to be the exposed floorboards of the level above you. Every so often, a bit of dust filters down from above.\n\n> You eat the pumpkin\n(the ominous-looking painting (smelling faintly of mildew))\nThat's plainly inedible.\n\n> You examine the rotting pumpkin\nIt is putrid, lying in a puddle of its own innards, sad and crumpled nearly to the floor. Two fat black flies buzz around the stem.\n\n> You eat the rotting pumpkin\nThat's plainly inedible.\n\n> You look at the coffee\nThe swirls in your cup form a kayak. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go east\nWorkroom (Andrew Plotkin)\n(First-time visitors should type ABOUT!)\n\nYou have entered a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. The only exit is west.\n\nThis might once have been a private altar room or chapel. Now it seems to have been repurposed as a ritual workroom. Oddly-angled runes are carved around the perimeter of the floor.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nA large disk, half black and half white, is mounted on the south wall.\n\n> You look at runes\nThe runes are made of jagged, irregular marks. They make your eyes ache.\n\n> You examine the cabinet\nThe cabinet is a genuine brass-bound mahogany antique. It must once have graced the office of some elegant insurance company. Now it is stained with damp and decay. Drawers sprawl open, spilling journals and papers in disorderly array.\n\n> You examine the mirror\nThe mirror is mounted in a rather crude frame of wrought iron. The glass is in poor condition, pitted and fogged.\n\nWhat's this? When you touch the frame, something comes loose from behind it and flutters to the floor. It seems to be some kind of delivery note.\n\n> You look at the disk\nUpon closer examination, the circle is actually a sphere -- or a hemisphere, anyway, mounted high on one wall. The sphere itself is painted white, but an array of jointed black bands covers one side, leaving it half-and-half.\n\nA wooden ring is mounted at the bottom edge of the sphere. It looks movable; you could push or pull it.\n\n> Delivery\nA faded and yellowed note which was tucked behind the mirror. A few words are scrawled on it in equally faded ink.\n\n> You read it\n\"Delivery: for Anax Cragne -- one mirror, iron frame\n-- shipped from St Croix via Boston -- May of 1919.\" Then in smaller letters on the back: \"The item has been delivered as it was deposited. The condition of the glass is none of our doing. Warranted by the hand of: Ladoro Feraud.\"\n\n> About yourself\nYou are hassled, frazzled, and extremely tired of being in this claustrophobic basement.\n\n> You look at the coffee\nThe swirls in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Inventory\nYou are carrying:\na faded delivery note\na Red Triangle Key\nan Isole Perdute\na Lettera Segreta\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\nLegends of Lake Champlain and the Hudson River Valley\na scrap of paper\nTatooine 1: Anchorhead (smelling faintly of mildew)\nan ominous-looking painting (smelling faintly of mildew)\na 'Pataphysical Approaches to Quantum Superfluids (smelling\nfaintly of mildew)\na snowglobe\na black fountain pen\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn (smelling faintly of mildew)\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal\nsome yellowed newspapers (smelling faintly of mildew)\na well-dressed ghost (haunting you) (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nan old paperback book (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You consult the cabinet about Ladoro\nYou root through the disorganized heap, and are rewarded with success!\n\nLadoro Feraud was a student of the arcane arts whom Anax Cragne met in the South Seas. The one journal you find in his handwriting is terse, but mentions something about a Word of Enlightenment, which can be used in rituals to seek wisdom and discern truth.\n\nAnax's marginal notes spell out the word: KHION. You wrap\nyour tongue around the harsh phonemes until you feel sure of them.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\n\nYou have researched the following names: Anax Cragne and Ladoro Feraud.\n\n> Ia\nYou speak the Word of Sealing. It echoes through the room, louder than you intended.\n\nA faint grey light flickers within the runes, starting at your feet and then running around the perimeter of the room. Color seems to leach from the air as the glow brightens. Silence replaces it, filling the room... waiting for you to continue.\n\n> You examine the runes\nThe runes are made of jagged, irregular marks. They are glowing with a grey steady light.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity. Every brick is edged with infinite precision; every crack wants to show you its secrets.\n\nSomething about the filing cabinet draws your attention.\n\n> You examine the cabinet\nThe cabinet is a genuine brass-bound mahogany antique. It must once have graced the office of some elegant insurance company. Now it is stained with damp and decay. Drawers sprawl open, spilling journals and papers in disorderly array.\n\nYou have located two interesting items:\nAnax Cragne\nLadoro Feraud\n\nYour eyes are drawn to the back of the cabinet. Is that a bit of paper poking out from behind one of the drawers? You can't reach it, but you can just make out the name \"Francois Crane\" on the paper's edge.\n\n> You look up francois\nYou cannot concentrate on research when the world is wrapped in ritual silence. You'll have to end the ritual first.\n\n> Zok\nYou speak the Word of Unsealing. The runes flare with grey light and then fade. The sense of pressing silence fades with them, leaving the room feeling dim and mundane once again.\n\n> You look up francois\nYou search through the mass of papers, and are rewarded!\n\nFrancois Crane spent his life searching for the Gates of Slumber, which lead to the Dreamlands. \"Seek the Temple of the Flame, and beneath a Blood Moon speak the Unnameable Name...\" (Francois certainly did like capital letters.) He died in 1835 without ever reaching his goal. In his search, however, he uncovered the Word of Winter:\nIRNATH, which speaks of cold, clarity, precision, sterility,\nand focus.\n\nYou memorize the word. It sits in your mind like an icy prism.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud and Francois Crane.\n\n> Ia\nYou speak the Word of Sealing. It echoes through the room.\n\nThe grey light flickers to life within the boundary runes. Silence presses in, awaiting your next word.\n\n> Irnath\nYou chant the Word of Winter. A chill comes into the atmosphere, like an icy breeze that does not stir the air.\n\nThe fogged mirror slowly turns as clear as ice.\n\n> You examine the mirror\nThe glass does not reflect you, or the room. You are peering into an infinite starless depth. Somewhere in the distance, shadows might outline the shape of a face, peering back... or not? You cannot make it out clearly.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity. Every brick is edged with infinite precision; every crack wants to show you its secrets.\n\n> You look at the mirror\nThe glass does not reflect you, or the room. You are peering into an infinite starless depth. Far in the distance, a face forms... an epicene face, wrinkled and shriveled; but its dark eyes blaze with fierce gnosis.\n\nThe eyes lock with yours.\n\n\"You dare!\" The words burn in your brain, although there is no whisper of sound. \"I achieved this plane in order to study the secrets of cosmic order, not to be disturbed by blundering novices from...\" (the eyes squint) \"...Vermont!? No! I forbid you. Let your scrying glass be sealed, in the name of Gretel Aschar!\"\n\nThe face is whipped from your sight, leaving the glass clear and empty.\n\n> You look up gretel\nYou dig through the disorganized heap, and are rewarded!\n\nGretel Aschar was a Viennese witch, or seeress, who lived in the late 1700s. She was skilled in dreaming projection, but aspired to penetrate the illusion of Dream into the deeper truth beneath. She vanished in 1795 -- whether due to death or success, no one knows.\n\nThe next page in the journal has nothing to do with Gretel. It describes the Word of Invocation: ULNUR, which brings forth\nvoices from outside the world. A footnote adds, \"Combine with Morovor's Word of Summer?\" But there is no indication of what that might be.\n\nYou memorize the Word of Invocation, anyhow.\n\n> Ia\nYou speak the Word of Sealing. It echoes through the room.\n\nThe grey light flickers to life within the boundary runes. Silence presses in, awaiting your next word.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nULNUR, the Word of Invocation\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane and Gretel Aschar.\n\nYou have come across one additional name, not yet researched: Morovor Krahne.\n\n> You look up morovor\nYou root through the mess of journals, and are rewarded!\n\nMorovor Krahne (1752-1801) was a distant cousin of the family who studied astronomy. Or perhaps astrology, as his notes have nothing but contempt for the \"modern\" science of telescopes and Newton. He was obsessed with the relationship between the stars, the seasons, and the cycles of history. Ultimately he destroyed his health dragging menhirs around a Scottish moor, attempting to construct an astronomical stone circle which could predict, or invoke, the End of Days.\n\nAlmost incidentally he perfected the modern forms of the Seasonal Names. Of the four, only one survives in this fragmentary journal: MALETH, the Word of Summer, which bespeaks heat, haze,\nfertility, verdancy, and riot.\n\nYou memorize the word. It sits in your mind like a roiling thundercloud.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar and Morovor Krahne.\n\n> Maleth\nYou chant the Word of Summer. A thick warmth creeps into the air around you. Sweat breaks on your skin.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou feel something invisible crawling across your body, and the aroma of flowers in a sunlit meadow spills over you.\n\n> Maleth\nYou try to say the Word of Summer, but its sound is already resonating in the air. You cannot speak it any louder.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity. Every brick is edged with infinite precision; every crack wants to show you its secrets."
    },
    {
        "text": "[Themes: horror, female protagonist, Comedy, Lovecraft]\n\n> You look around\nWorkroom (Andrew Plotkin)\nThis is a circular chamber, walled in decaying brickwork. A boundary of grey-glowing runes runs around the perimeter of the room. The air is warm and peculiarly still, and the exit to the west seems clogged with darkness.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nA thick aroma of flowers fills the room.\n\nA large disk, half black and half white, is mounted on the south wall.\n\n> You look at the disk\nUpon closer examination, the circle is actually a sphere -- or a hemisphere, anyway, mounted high on one wall. The sphere itself is painted white, but an array of jointed black bands covers one side, leaving it half-and-half.\n\nA wooden ring is mounted at the bottom edge of the sphere. It looks movable; you could push or pull it.\n\n> You pull the disk\nYou pull the ring to the right. The black bands which cover half the sphere retract, leaving the surface mostly white, with just one black edge.\n\nAha! This must be a representation of the moon, now in the gibbous phase. Very clever.\n\nThe aroma fades.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou feel something invisible crawling across your body.\n\n> Khion\nYou try to say the Word of Enlightenment, but its sound is already resonating in the air. You cannot speak it any louder.\n\n> You recall Gretel\nGretel Aschar was a Viennese witch, or seeress, who lived in the late 1700s. She was skilled in dreaming projection, but aspired to penetrate the illusion of Dream into the deeper truth beneath. She vanished in 1795 -- whether due to death or success, no one knows.\n\nThe next page in the journal has nothing to do with Gretel. It describes the Word of Invocation: ULNUR, which brings forth\nvoices from outside the world. A footnote adds, \"Combine with Morovor's Word of Summer?\" But there is no indication of what that might be.\n\n> You listen\nThe room is eerily silent, but you can sense words resonating in the air nonetheless: IA, KHION, MALETH, ULNUR.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou hear whispers in the darkness around you. Not with your ears, perhaps, but the whispers are there. And a few words are clear enough to understand, if you listen.\n\n> You listen\nThe room is eerily silent, but you can sense words resonating in the air nonetheless: IA, KHION, ULNUR.\n\nBehind the silence, whispers lurk. You can make out syllables, fragments of names. But one name is repeated over and over: \"Jennever, Jennever...\" That much is clear.\n\n> Maleth\nYou chant the Word of Summer. A thick warmth creeps into the air around you. Sweat breaks on your skin.\n\nThe whispers fade.\n\nYou feel something invisible crawling across your body.\n\n> You look up jennever\nYou search through the disorganized heap, and are rewarded!\n\nThere are only a few fragmentary notes about Jennever Cragne. She was a summoner of some repute, but \"Summoned That from which one Cannot Turn Away,\" whatever that means. One torn chart shows combinations of moon and season conducive to summoning. High Summer and the full moon are noted for invoking nurturing spirits. \"And the Oppositte, if one wishes a Spirit of Intellecte,\" it concludes airily.\n\n> You examine the disk\nThe sphere is mounted high on one wall, above a ring. It's a full yard across, and one edge is covered by the black bands, thus showing a gibbous moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract completely, leaving the lunar sphere showing a full moon.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou feel something invisible crawling across your body, and the gaze of a green presence. It studies you, and everything around you, with dispassion; what to nurture, what to prune.\n\nA faint but piercing-sweet scent drifts past you. It seems to emanate from the direction of the filing cabinet.\n\n> Smell cabinet\nAn intense orchid scent drifts from the filing cabinet.\n\nThe tiniest green shoot has crawled up the side of the cabinet. Its tip blooms into a minute, perfect orchid, which breathes its scent out into the room. The bloom curls over the edge of a journal which bears the name \"Margreth Cragne\".\n\n> You look up Margreth\nYou root through the disorderly pile, and are rewarded!\n\nMargreth Cragne studied visionary meditation in this very basement in the late 1880s. She wrote of the art of scrying a spirit who does not want to be observed. \"Bring forth an ice-covered mirror under the full moon. Speak the Word of Enlightenment; then polish the glass with your hand. Then wait until the moon is new and allow the ice to melt. Your will shall penetrate the glass and reveal that which you seek.\"\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar, Morovor Krahne, Jennever Cragne and Margreth Cragne.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nA painful prickling runs along your skin. You sense a chill presence in the air, something looking towards you from far away. Its attention is a faded intimation of those undiscovered realms that await the soul beyond this world. Even so, its gaze burns.\n\nIf you look more closely at the spirit, you might learn more.\n\n> You look at Spirit\nYou cannot see the spirit, but you attempt to capture its focus with your gaze.\n\nYou are struck by a hideous pain behind your eyes. It mutes, after a moment, to pressure and an icy chill.\n\nThere is sentience in the focus, an awareness that nearly overwhelms you. Somewhere something is shrieking; the not-sound scrapes along the thin edge of reality. But you can make out its intent. A name:\nKteh Nyare.\n\n> Zok\nYou speak the Word of Unsealing. The runes flare with grey light and then fade. The sense of pressing silence fades with them, leaving the room feeling dim and mundane once again.\n\n> You look up nyare\nYou search through the disorganized heap, and are rewarded!\n\nKteh Nyare was a scribe, or priest, or tutelary god -- stories disagree -- in the legendary Lost Dynasty of Egypt. The rulers in this period sojourned deep into forbidden arts, raising the Old Kingdom to unrivaled sovereignty. When they fell, their ruin was so terrible that their names and deeds have been entirely erased from history.\n\nIt was Kteh Nyare who first committed arcane Names to papyrus for study. Modern occultists use newer alphabets, but Kteh Nyare's hieroglyphics were an exacting and precise system of writing.\n\nYou study the description of the hieroglyphics. They clarify your understanding of the Words you have learned. By speaking with greater precision, you realize, you can amplify most of those Words -- repeating the Word to intensify its effect.\n\n> You recall Margreth\nMargreth Cragne studied visionary meditation in this very basement in the late 1880s. She wrote of the art of scrying a spirit who does not want to be observed. \"Bring forth an ice-covered mirror under the full moon. Speak the Word of Enlightenment; then polish the glass with your hand. Then wait until the moon is new and allow the ice to melt. Your will shall penetrate the glass and reveal that which you seek.\"\n\n> You pull disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a crescent moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a half moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a gibbous moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract completely, leaving the lunar sphere showing a full moon.\n\n> Irnath\nYou chant the Word of Winter. The chill deepens to a numbing, aching wave of cold.\n\nA coarse layer of frost grows over the surface of the mirror, leaving it opaque.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity. Every brick is edged with infinite precision; every crack wants to show you its secrets.\n\n> Polish mirror\nYou place your hand against the frosted glass. The cold burns through skin and nerve, but slowly, a pearly glow begins to shine through the ice. When you pull your hand away, the glow remains.\n\n> You look at the mirror\nYou try to peer into the mirror, but it is entirely frosted over. A pearly glow shimmers behind the ice.\n\n> Maleth\nYou chant the Word of Summer. The stabbing cold around you lessens.\n\nThe frost sublimes from the surface of the mirror, leaving it clear as ice and filled with a pearly glow.\n\n> You look at the mirror\nYou peer into the glass...\n\nYou see a shifting field of geometry, all illuminated by pearly light. Within it, Gretel Aschar's decrepit face slowly comes back into focus. Her wrinkles twist into a scowl of utter disgust.\n\n\"Fine. Fine. You seek the way to the Gates of Slumber? Find\nthe writings of my student Ersebet. A fool, she was, but she knew more than a little of the ways of Dream.\" A glare of unutterable contempt. \"And she knew, for a wonder, how to leave an old woman\nalone.\"\n\nThe geometric light seems to turn inside out, and the face is once again gone from your sight.\n\n> You look up Ersebet\nYou scavenge through the disorderly pile, and are rewarded!\n\nErsebet Cranyi was, as the old woman said, a student in the Viennese cultic circle at the end of the 1700s. After the group schismed in 1795, Ersebet travelled to America and attempted to barter visionary secrets with the indigenous shamans of the New World. They, by all accounts, wanted nothing to do with her, and she spent her remaining days poring over fragmentary manuscripts in a Boston garret.\n\nHer one creditable discovery was the Trance Word, VULLE,\nwhich allows the ritualist to project his or her awareness into a visionary realm. This is not the true Dreamlands, but a space within the practitioner's own mind, shaped by the symbology of their perceptions. The visionary state is thus merely a foundation from which greater rituals may be enacted.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\nVULLE, the Word of Trance\n...along with the ability to repeat a word, intensifying its effect\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar, Morovor Krahne, Jennever Cragne, Kteh Nyare, Margreth Cragne and Ersebet Cranyi.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge.\n\nAbove is a haze-swirled night sky.\n\n> You look at the sky\nThe stars are veiled by a high shredding haze.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity."
    },
    {
        "text": "[Themes: horror, Lovecraftian, Comedy, female protagonist]\n\n> You look around\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge.\n\nAbove is a haze-swirled night sky.\n\n> You examine topiary\nThe garden flourishes in its neatly-trimmed profusion.\n\n> Khion\nYou intone the Word of Enlightenment. The clarity of the world increases, amplifying to an acutely painful pitch.\n\nThe garden is freighted with numinous meaning now. You gaze around in helpless wonder. Secrets rain down from the sky and well up out of the earth. You do not want to look away, ever.\n\n> Maleth\nYou chant the Word of Summer. The warmth rises to a suffocating, stifling heat.\n\nSteam rises up from the flowerbeds, and the air fills with a hot, gasping haze. Within it, the topiary begins to shudder. The ground boils with life.\n\n> Irnath\nYou chant the Word of Winter. The stifling heat fades from the air.\n\n> Irnath\nYou chant the Word of Winter. A chill comes into the atmosphere, like an icy breeze that does not stir the air.\n\n> Irnath\nYou chant the Word of Winter. The chill deepens to a numbing, aching wave of cold.\n\nThe chill turns into an icy blast of wind. Leaves shrivel and die around you. The air hurts your lungs, and there is no respite."
    },
    {
        "text": "[Themes: Lovecraft, Comedy, horror]\n\n> You look around\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge. The air is bracingly cool.\n\nAbove is a haze-swirled night sky.\n\n> You look at the sky\nThe stars are veiled by a high shredding haze.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou sense a muttering presence in the garden. You could understand it if you listened.\n\n> You listen\nThe garden is eerily silent, but you can sense words resonating in the air nonetheless: IA, KHION, IRNATH, ULNUR, VULLE.\n\nBehind the silence, a presence mumbles a name with idiot persistence. \"Malford,\" you make it out.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely black.\n\n> You look up malford\nYou search through the mess of journals, and are rewarded!\n\nMalford \"the Warlock\" Cragne, the black sheep of the family. Sheep as in rather dim and basically harmless, despite his self-chosen monicker. Malford desperately desired to create the Word of Chaos, an arcane tool of ruin and decay. Unfortunately for him, his diagram lacked several important hieroglyphs. In trying to complete it, he journeyed unwisely into the Otherworlds. His body was found, mindless and mumbling, in 1850.\n\nYou examine the Chaos diagram. It's a complex arrangement which defines a word in the system of old Kteh Nyare. However, three key glyphs are missing.\n\n> You recall Nyare\nKteh Nyare was a scribe, or priest, or tutelary god -- stories disagree -- in the legendary Lost Dynasty of Egypt. The rulers in this period sojourned deep into forbidden arts, raising the Old Kingdom to unrivaled sovereignty. When they fell, their ruin was so terrible that their names and deeds have been entirely erased from history.\n\nIt was Kteh Nyare who first committed arcane Names to papyrus for study. Modern occultists use newer alphabets, but Kteh Nyare's hieroglyphics were an exacting and precise system of writing.\n\nBy speaking with greater precision, you realize, you can amplify most of the Words you have learned -- repeating the Word to intensify its effect.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\nVULLE, the Word of Trance\n...along with the ability to repeat a word, intensifying its effect\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar, Morovor Krahne, Jennever Cragne, Kteh Nyare, Margreth Cragne, Ersebet Cranyi and Malford Cragne.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\nYou sense a muttering presence in the garden.\n\n> You listen\nThe garden is eerily silent, but you can sense words resonating in the air nonetheless: IA, MALETH, ULNUR, VULLE.\n\nBehind the silence, a presence mumbles with vague, idiot persistence. You cannot make it out.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity.\n\nThe silent muttering becomes clearer. You could understand it if you listened.\n\n> You listen\nThe garden is eerily silent, but you can sense words resonating in the air nonetheless: IA, KHION, MALETH, ULNUR, VULLE.\n\nBehind the silence, a presence mumbles a name with idiot persistence. \"Malford,\" you make it out.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely black.\n\n> You pull disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a crescent moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a half moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract, leaving the lunar sphere showing a gibbous moon.\n\n> You pull the disk\nYou pull the ring. The black bands retract completely, leaving the lunar sphere showing a full moon.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge.\n\nA full moon hangs in a haze-swirled night sky.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity."
    },
    {
        "text": "[Themes: Lovecraftian, horror]\n\n> Look around\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge. The air is filled with humid warmth.\n\nA presence moves restlessly around the garden, muttering silently in your mind. You sense you could understand it if you listened.\n\nA full moon hangs in a haze-swirled night sky.\n\n> You look at the sky\nThe stars are veiled by a high shredding haze, but a full moon shines through.\n\n> You look at Moon\nThe full moon hangs in the sky.\n\n> You listen\nThe garden is eerily silent, but you can sense words resonating in the air nonetheless: IA, KHION, MALETH, ULNUR, VULLE.\n\nBehind the silence, a presence mumbles a name with idiot persistence. \"Malford,\" you make it out.\n\n> You examine Garden\nThe garden flourishes in its neatly-trimmed profusion.\n\n> You search Garden\nNothing here is exactly real.\n\n> You recall ersebet\nErsebet Cranyi was a student in the Viennese cultic circle at the end of the 1700s. After the group schismed in 1795, Ersebet travelled to America and attempted to barter visionary secrets with the indigenous shamans of the New World. They, by all accounts, wanted nothing to do with her, and she spent her remaining days poring over fragmentary manuscripts in a Boston garret.\n\nHer one creditable discovery was the Trance Word, VULLE,\nwhich allows the ritualist to project his or her awareness into a visionary realm. This is not the true Dreamlands, but a space within the practitioner's own mind, shaped by the symbology of their perceptions. The visionary state is thus merely a foundation from which greater rituals may be enacted.\n\n> Ia\nYou speak the Word of Sealing, but nothing happens. This entire garden exists within an active ritual.\n\n> You recall jennever\nThere are only a few fragmentary notes about Jennever Cragne. She was a summoner of some repute, but \"Summoned That from which one Cannot Turn Away,\" whatever that means. One torn chart shows combinations of moon and season conducive to summoning. High Summer and the full moon are noted for invoking nurturing spirits. \"And the Oppositte, if one wishes a Spirit of Intellecte,\" it concludes airily.\n\n> Maleth\nYou chant the Word of Summer. The warmth rises to a suffocating, stifling heat.\n\nThe presence fades.\n\nSteam rises up from the flowerbeds, and the air fills with a hot, gasping haze. Within it, the topiary begins to shudder. The ground boils with life.\n\n> Ulnur\nYou incant the Word of Invocation again. The sense of listening becomes unbearably intense.\n\nThe silent voices multiply; they are an increasing pressure in your head. You feel presences crowd around you, tasting your thoughts, fluttering through the fibers of your spirit. Your body begins to slip away from you.\n\n> You recall malford\nMalford \"the Warlock\" Cragne, the black sheep of the family. Sheep as in rather dim and basically harmless, despite his self-chosen monicker. Malford desperately desired to create the Word of Chaos, an arcane tool of ruin and decay. Unfortunately for him, his diagram lacked several important hieroglyphs. In trying to complete it, he journeyed unwisely into the Otherworlds. His body was found, mindless and mumbling, in 1850.\n\nYou recall the Chaos diagram. It's a complex arrangement which defines a word in the system of old Kteh Nyare. However, three key glyphs are missing.\n\n> You recall Nyare\nKteh Nyare was a scribe, or priest, or tutelary god -- stories disagree -- in the legendary Lost Dynasty of Egypt. The rulers in this period sojourned deep into forbidden arts, raising the Old Kingdom to unrivaled sovereignty. When they fell, their ruin was so terrible that their names and deeds have been entirely erased from history.\n\nIt was Kteh Nyare who first committed arcane Names to papyrus for study. Modern occultists use newer alphabets, but Kteh Nyare's hieroglyphics were an exacting and precise system of writing.\n\nBy speaking with greater precision, you realize, you can amplify most of the Words you have learned -- repeating the Word to intensify its effect.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely white.\n\n> You drop the delivery note\nDropped."
    },
    {
        "text": "[Themes: Lovecraftian, horror]\n\n> You look around\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge.\n\nA full moon hangs in a haze-swirled night sky.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely white.\n\nYou can also see a faded delivery note here.\n\n> Polish mirror\nThe glass feels pristinely polished. Odd, considering its appearance."
    },
    {
        "text": "[Themes: female protagonist, Comedy]\n\n> Look around\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely white.\n\n> You look at bound\n(the 'Pataphysical Approaches to Quantum Superfluids\n(smelling faintly of mildew))\nThe book is bound in a cheap, rough, green cloth, with the title 'Pataphysical Approaches to Quantum Superfluids and the name\nAster Cragne embossed in gold leaf. The pages appear to have\nbeen printed on continuous paper, then separated and gathered together\u2014a dissertation, perhaps? There's a sticker with a Dewey number stuck to the spine, and on the title page you see the stamp of the insignia of the Backwater Public Library.\n\nFrost lines the edges of the library insignia.\n\n> You look at the runes\nThe runes are made of jagged, irregular marks. They make your eyes ache.\n\nYou now recognize the runes as a ritual bound. The bound encloses the entire workroom. Within it, magic might work as it did in the old days, before the stars changed and the old knowledge faded from the Earth.\n\n> Polish mirror\nThe glass is so cold that it burns your skin.\n\n> Irnath\nYou chant the Word of Winter. The chill deepens to a numbing, aching wave of cold.\n\nA coarse layer of frost grows over the surface of the mirror, leaving it opaque.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nGlacial Cirque (Andrew Plotkin)\nYou are in a bowl-shaped hollow beneath a towering mountain peak. The lower end is blocked by a wall of ice. The air is achingly cold.\n\nA full moon hangs in the clear starry sky.\n\nThe chill turns into an icy blast of wind coming down from the mountaintop. Stones and chunks of ice are caught up in the gale.\n\n> Maleth\nYou chant the Word of Summer. The stabbing cold around you lessens.\n\nThe frost sublimes from the surface of the mirror, leaving it clear as ice.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nGlacial Cirque (Andrew Plotkin)\nYou are in a bowl-shaped hollow beneath a towering mountain peak. The lower end is blocked by a wall of ice. The air is chill but you are sheltered from the wind.\n\nA full moon hangs in the clear starry sky.\n\nYou suddenly perceive a pattern in the depths of the ice.\n\n> You examine the pattern\nThe end of the valley runs up against a barrier of striated white ice, no doubt the edge of a mountain glacier.\n\nThe crystalline structure of the ice forms a pattern, and the pattern forms a name: \"Shireen Vega was here.\" Okay.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely white.\n\n> You look up vega\nYou root through the disorganized heap, and are rewarded!\n\nThe only trace left by this Shireen Vega is an aspect chart, drawn up in careful ink like a homework assignment. The two notable lines are \"Summer trance, gibbous moon, invocation&enlightenment\" and \"Winter trance, crescent moon, redoubled invocation\".\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nJungle Ruin (Andrew Plotkin)\nYou are in a mazy jungle of towering, vine-strung tree boles. The air is thick and humid. To one side rises a crumbling stone wall.\n\nA full moon hangs in a haze-swirled night sky.\n\n> You look at the wall\nYou stand at the foot of a ruined stone wall, perhaps the remains of some lost jungle ziggurat.\n\n> You look at Tree\nMoldering tree trunks rise all around you.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nJungle Ruin (Andrew Plotkin)\nYou are in a mazy jungle of towering, vine-strung tree boles. The air is thick and humid. To one side rises a crumbling stone wall.\n\nA gibbous moon hangs in a haze-swirled night sky.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity.\n\nWith imperceptible slowness, a glyph draws itself across the face of the moon.\n\n> You look at the glyph\nShadows and scars form a glyph across the surface of the gibbous moon.\n\nYou memorize the glyph; it looks like one of the missing symbols from Malford Cragne's journal.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is mostly white.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nGlacial Cirque (Andrew Plotkin)\nYou are in a bowl-shaped hollow beneath a towering mountain peak. The lower end is blocked by a wall of ice. The air is chill but you are sheltered from the wind.\n\nA crescent moon hangs in a haze-swirled night sky.\n\n> Ulnur\nYou incant the Word of Invocation. The silence around you takes on an attentive quality; something besides you is listening.\n\n> Ulnur\nYou incant the Word of Invocation again. The sense of listening becomes unbearably intense.\n\nA new constellation burns among the stars.\n\n> You examine the constellation\nThe stars are veiled by a high shredding haze, but a crescent moon shines through. A constellation of unusually bright stars forms a glyph above the moon.\n\nYou memorize the glyph. You now know two glyphs.\n\n> You recall malford\nMalford \"the Warlock\" Cragne, the black sheep of the family. Sheep as in rather dim and basically harmless, despite his self-chosen monicker. Malford desperately desired to create the Word of Chaos, an arcane tool of ruin and decay. Unfortunately for him, his diagram lacked several important hieroglyphs. In trying to complete it, he journeyed unwisely into the Otherworlds. His body was found, mindless and mumbling, in 1850.\n\nYou recall the Chaos diagram. It's a complex arrangement which defines a word in the system of old Kteh Nyare. However, three key glyphs are missing. You have discovered two of them."
    },
    {
        "text": "[Themes: Comedy, female protagonist]\n\n> You look at your surroundings\nGlacial Cirque (Andrew Plotkin)\nYou are in a bowl-shaped hollow beneath a towering mountain peak. The lower end is blocked by a wall of ice. The air is chill but you are sheltered from the wind.\n\nSomething has changed above.\n\nA crescent moon hangs in a haze-swirled night sky.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is a white crescent.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity.\n\nYou suddenly perceive a pattern in the depths of the ice.\n\n> You examine the pattern\nThe end of the valley runs up against a barrier of striated white ice, no doubt the edge of a mountain glacier.\n\nThe crystalline structure of the ice forms a pattern, and the pattern forms a name: \"Shireen Vega was here.\" Okay.\n\n> Maleth\nYou chant the Word of Summer. The icy chill fades from the air.\n\nMeltwater trickles from the glacier. You notice the edge of a stone slab poking through the ice! After several moments, most of the slab is free.\n\n> You examine slab\nThe slab has a hieroglyph engraved on it.\n\nYou memorize the glyph. You now know all three of the missing glyphs from Malford Cragne's journal.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is a white crescent.\n\n> Oggoth\nYou chant the Word of Chaos. The walls tremble.\n\nA brick cracks off the wall beneath the lunar sphere! Peering closer, you realize it was a false front. A small niche is now revealed, in which is a brass knob.\n\n> You turn the knob\nYou hear a clunk. The black bands retract. At the same time, the white sphere itself begins to rotate in the wall. As the previously-hidden face comes into view, you see that it is painted red. When the sphere comes to a halt, a full, bloody disc looms above you.\n\n> You look at the disk\nThe sphere is mounted high on one wall, above a ring and a brass knob. It's a full yard across, and entirely painted red. You're not sure what that represents, but it makes you nervous.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nRuined Garden (Andrew Plotkin)\nYou stand in the ruins of a long-dead garden. Dry branches rise from the dust and tangle in twisted, unrecognizable shapes.\n\nTo the south is the shore of a dark, silent lake. The waters do not reflect the reddened moonlight.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> You look at moon\nIt's a full moon, blood-red and hell-bent.\n\n> You say vaadignephod\n(to yourself)\nTalking to yourself is likely to prove unrewarding.\n\n> Oggoth\nYou chant the Word of Chaos.\n\nThe decaying earth collapses beneath your feet, pitching you into the abyss."
    },
    {
        "text": "> You look at your surroundings\nRuined Garden (Andrew Plotkin)\nYou stand in the ruins of a long-dead garden. Dry branches rise from the dust and tangle in twisted, unrecognizable shapes.\n\nTo the south is the shore of a dark, silent lake. The waters do not reflect the reddened moonlight.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> Irnath\nYou chant the Word of Winter. A chill comes into the atmosphere, like an icy breeze that does not stir the air.\n\nThe water at your feet goes slow and slushy. Ice crackles along the shoreline, and then spreads out across the surface of the lake. After a time, the entire lake is frozen hard.\n\n> You look at the Lake\nThe frozen lake spreads out south of the garden. You can see a small island in its center, standing above the ice.\n\n> Go south\nYou set off across the ice.\n\nFrozen Lake (Andrew Plotkin)\nYou stand on the surface of the frozen lake. The ice is rippled and rough underfoot, and hard as iron.\n\nThe shoreline is back to the north. To the south, a small island projects above the ice sheet.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> You go south\nIsland (Andrew Plotkin)\nThis is a small island, only a few yards across, near the center of a frozen lake. The black ice seems to devour the reddened moonlight all around. You can see the dead garden far off on the northern shore.\n\nTo the east, a stairway of rough basalt leads down into the ice.\n\nA bloated crimson moon hangs in a haze-swirled night sky."
    },
    {
        "text": "> Go downward\nThe stairway disappears down into the iron-hard ice.\n\n> Maleth\nYou chant the Word of Summer. The icy chill fades from the air.\n\nA crack lances across the surface of the lake. The ice sheet grinds against itself and shatters, leaving water bubbling in the gaps. The remaining floes shrink; soon they are entirely gone."
    },
    {
        "text": "[Themes: Lovecraft, female protagonist, horror]\n\n> You descend\nThe stairway disappears down into the dark water. The thought of immersing yourself is abhorrent.\n\n> Maleth\nYou chant the Word of Summer. A thick warmth creeps into the air around you. Sweat breaks on your skin.\n\nThe lake steams gently, and begins to sink around the island. Stones crackle and dry as they are exposed. After a time, the water is gone, and the lake basin is bare and arid."
    },
    {
        "text": "[Themes: Lovecraft, Comedy, female protagonist]\n\n> Go downwards\nThe stairway spirals around the island as it descends.\n\nLakebed Temple (Andrew Plotkin)\nYou stand on a crumbling stone dais at the bottom of the dry lake. Jagged runes are engraved around the circle's perimeter.\n\nThe island-peak rises to the west; basalt stairs zig-zag up its face.\n\nFar above, a bloated crimson moon hangs in a haze-swirled night sky.\n\nA scrap of leather is lying at the foot of the stairs.\n\n> You look at the runes\nThe runes are made of familiar jagged marks. This is a ritual bound -- although you would lay no odds what hands carved them. If\nhands carved them.\n\n> You look at the leather\nThis green leather once bound a journal, but it has been terribly damaged by the water... ice... heat... whatever conditions it experienced at the bottom of the lake. You can barely trace the name \"Arne Cragnessum\" within one fold of the cover. The pages within have long since disintegrated.\n\n> Zok\nYou speak the Word of Unsealing. The dream-world flares with grey light and fades. You awaken.\n\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely red. A knob is visible underneath it.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nJungle Ruin (Andrew Plotkin)\nYou are in a mazy jungle of towering, vine-strung tree boles. The air is thick and humid. To one side rises a crumbling stone wall.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> Khion\nYou intone the Word of Enlightenment. The world takes on a peculiar, hollow clarity.\n\nYou suddenly perceive a pattern in the foliage.\n\n> You look at the pattern\nMoldering tree trunks rise all around you.\n\nThe vines form a pattern, and the pattern forms a name: \"Shireen Vega was here.\" Okay.\n\n> You look at the wall\nYou stand at the foot of a ruined stone wall, perhaps the remains of some lost jungle ziggurat.\n\n> Irnath\nYou chant the Word of Winter. The stifling heat fades from the air.\n\n> Irnath\nYou chant the Word of Winter. A chill comes into the atmosphere, like an icy breeze that does not stir the air.\n\nFrost crackles on the vines. A tree trunk emits a thundrous crack as its sap freezes in the unnatural chill. Then another... and branches begin to crash down around you.\n\n> Maleth\nYou chant the Word of Summer. The warmth rises to a suffocating, stifling heat.\n\nSteam rises up from the undergrowth, and the air fills with a hot, gasping haze. Within it, the roots and vines begin to shudder. The ground boils with life.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\nVULLE, the Word of Trance\nOGGOTH, the Word of Chaos\n...along with the ability to repeat a word, intensifying its effect\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar, Morovor Krahne, Jennever Cragne, Kteh Nyare, Margreth Cragne, Ersebet Cranyi, Shireen Vega, Malford Cragne and Arne Cragnessum.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nThe Garden (Andrew Plotkin)\nYou are in a tidily-trimmed garden, surrounded by topiary, flowerbeds, and orderly hedge.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> Oggoth\nYou chant the Word of Chaos. The walls tremble.\n\n> Vulle\nYou speak the Word of Trance. The basement walls, without moving, become distant and remote.\n\nRuined Garden (Andrew Plotkin)\nYou stand in the ruins of a long-dead garden. The air simmers with a parched, breathless heat. Dry branches rise from the dust and tangle in twisted, unrecognizable shapes.\n\nTo the south, the ground slopes down into the basin of a dry lake bed.\n\nA bloated crimson moon hangs in a haze-swirled night sky.\n\n> Go south\nYou begin descending into the lake bed, making your way around boulders.\n\nLake Bed (Andrew Plotkin)\nThe lake bed is broken with chasms and dry stony crags. It slopes up to the north, towards shore.\n\nTo the south, an unclimbable ravine cuts across the basin. You can see the island rising on the other side, but you can go no farther in that direction.\n\nFar above, a bloated crimson moon hangs in a haze-swirled night sky.\n\n> Oggoth\nYou chant the Word of Chaos. The earth trembles violently.\n\nA section of the stone wall collapses with a rumble! Behind it is revealed a rune-carved stone coffin -- a long-lost tomb.\n\n> You examine the coffin\nThe runes on the tomb form a word... or something like a word. The syllables grind and crack against each other as you try to assemble them in your mind.\n\nAfter an unmeasured time, you think you have hold of it. This must be the Unnameable Name that Francois Crane and Arne Cragnessum described.\n\n> You recall\nYou have learned the following incantations:\nIA, the Word of Sealing\nZOK, the Word of Unsealing\nKHION, the Word of Enlightenment\nIRNATH, the Word of Winter\nMALETH, the Word of Summer\nULNUR, the Word of Invocation\nVULLE, the Word of Trance\nOGGOTH, the Word of Chaos\n?\u034b?\u035c?\u0336?\u032b, the Unnameable Name\n...along with the ability to repeat a word, intensifying its effect\n\nYou have researched the following names: Anax Cragne, Ladoro Feraud, Francois Crane, Gretel Aschar, Morovor Krahne, Jennever Cragne, Kteh Nyare, Margreth Cragne, Ersebet Cranyi, Shireen Vega, Malford Cragne and Arne Cragnessum.\n\n> You recall francois\nFrancois Crane spent his life searching for the Gates of Slumber, which lead to the Dreamlands. \"Seek the Temple of the Flame, and beneath a Blood Moon speak the Unnameable Name...\" (Francois certainly did like capital letters.) He died in 1835 without ever reaching his goal. In his search, however, he uncovered the Word of Winter:\nIRNATH, which speaks of cold, clarity, precision, sterility,\nand focus.\n\n> You say unnameable\nYou concentrate and bring forth the Unnameable Name. Even in this dream-state, it scores your gums; you taste blood.\n\nAn erythraean light flares within the boundary runes; the world outside dims. The stillness of the air gains density and texture, aching in your ears. Once again, the world waits for you to speak.\n\n> Ia\nYou speak the Word of Sealing, but the ritual bound does not respond. You are, after all, already within an active ritual.\n\n> Vulle\nYou speak the Word of Trance a second time.\n\nThe world begins to blur.\n\nStairway (Andrew Plotkin)\nYou are partway down a long, long staircase of white marble. You can return west or descend to the east.\n\n> Go east\nYou descend dreamily for a while, turning the key over in your hand.\n\nBottom of Stairs (Andrew Plotkin)\nYou are at the bottom of a marble staircase, which ascends to the west.\n\nA tall portal of some alien metal stands to the east. It is closed and locked.\n\n> You look at Key\nCryptically inscribed and ornately engraved: the Silver Key to the Gates of Slumber.\n\n> You examine the portal\nA glowing energy barrier stands to the east. It is closed and locked.\n\n> You unlock the portal with Key\nYou unlock the portal.\n\n> You open it\nYou open the gate.\n\n> You go to the east\nYou pass through.\n\nWorkroom (Andrew Plotkin)\nYou have entered a circular chamber walled in neat brickwork. The door to the west is closed.\n\nThe room is quite empty except for a majestic filing cabinet in one corner. The cabinet is closed.\n\nA library book is lying on the floor. You have no idea how this got down here.\n\n> You examine library book\nThe Seven Gaunts -- a book of Aionist fairy tales, collected by\nHenry Galtmice. How adorable!\n\nThe book is brand new. Stamped in the endpaper is the insignia of the Backwater Public Library: two back-to-back crescent moons joined by an eye looking down at an open book.\n\n> You read it\nThe book is The Seven Gaunts, edited by Henry Galtmice. You\nflip through and glance at the story of the angel at the South Pole.\n\n> Continue\nYou flip through and glance at the story of a dweller beneath the Earth who gets lost in the Sunlit World.\n\n> You continue\nYou flip through and glance at the story of the angel at the South Pole.\n\n> Inventory\nYou are carrying:\nThe Seven Gaunts\n\n> Zok\nYou speak the Word of Unsealing. Your surroundings flare crimson, then fade to black.\n\nYou awaken.\n\nLakebed Temple (Andrew Plotkin)\nYou stand on a crumbling stone dais at the bottom of the dry lake. Jagged runes are engraved around the circle's perimeter.\n\nThe island-peak rises to the west; basalt stairs zig-zag up its face.\n\nFar above, a bloated crimson moon hangs in a haze-swirled night sky.\n\nA scrap of leather is lying at the foot of the stairs.\n\n> Go west\n(first opening the door)\nIt seems to be locked."
    },
    {
        "text": "[Themes: Lovecraft, Lovecraftian, female protagonist]\n\n> Describe the surroundings\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber walled in neat brickwork. The door to the west is closed.\n\nThe room is quite empty except for a majestic filing cabinet in one corner. The cabinet is closed.\n\n> You open cabinet\nYou pull open one of the cabinet's drawers, then another. They're all empty.\n\n> You put Book in cabinet\nYou consider the empty cabinet, and then file the book neatly under G for Galtmice. An excellent start for your collection!\n\n> About yourself\nYou are entirely prepared to start building this work room."
    },
    {
        "text": "> Look around\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber walled in neat brickwork. The door to the west is closed.\n\nThe room is quite empty except for a majestic filing cabinet in one corner. The cabinet is open, but nearly empty. You only see The\nSeven Gaunts within.\n\n> Zok\nYou speak the Word of Unsealing. Your surroundings flare crimson, then fade to black.\n\nYou awaken.\n\nLakebed Temple (Andrew Plotkin)\nYou stand on a crumbling stone dais at the bottom of the dry lake. Jagged runes are engraved around the circle's perimeter.\n\nThe island-peak rises to the west; basalt stairs zig-zag up its face.\n\nFar above, a bloated crimson moon hangs in a haze-swirled night sky.\n\nA scrap of leather is lying at the foot of the stairs.\n\n> You look up Galtmice\nYou search under the name Henry Galtmice, and find The Seven\nGaunts, filed exactly where it ought to be! You lift the book\nfrom the drawer in triumph.\n\n> You read Gaunts\nYou flip through the book and glance at the story of a tree that grew in the middle of the ocean.\n\nThe well-dressed man's outline coalesces into form like ice spreading across a pond. Pleased, he watches his hands move, and brushes a bit of frost off of a shoulder. Then he starts and looks away, as if remembering something. His features darken and the air goes cold as he frowns.\n\nWith a scowl and a sense of purpose, the well-dressed man fades away. You think you caught a glimpse of brick and ivy, and heard the sound of running water as he disappeared.\n\n> You check what you're carrying\nYou are carrying:\nThe Seven Gaunts\na faded delivery note (smelling faintly of mildew)\na Red Triangle Key (smelling faintly of mildew)\nan Isole Perdute\na Lettera Segreta\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\nLegends of Lake Champlain and the Hudson River Valley\na scrap of paper\nTatooine 1: Anchorhead (smelling faintly of mildew)\nan ominous-looking painting (smelling faintly of mildew)\na 'Pataphysical Approaches to Quantum Superfluids (smelling\nfaintly of mildew)\na snowglobe\na black fountain pen\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn (smelling faintly of mildew)\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nan old paperback book (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You examine the coffee\nThe clouds in your cup form horizontal bands. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go west\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a disgusting rotting pumpkin here.\n\n> You go west\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You go south\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch of some kind. There's a support column in the middle of the room with a framed diagram of some sort on it, and lashed to the column there is something that looks like a wardrobe that someone decided to wrap in copper wire. To make it even odder, there is a little window near the top of its door. Next to it is a mechanism that is a little bit reminiscent of a truck engine, and behind it a machine contained in a casing made from wood. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by some manner of control panel. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the wardrobe there is a painting hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You pull the string\n(the fluorescent work light pull string)\nYou switch the fluorescent work light off.\n\n> About yourself\nYou look like someone who's been wandering around a dusty, sweltering boiler room.\n\nFor a moment you believe you can hear something scrambling around near the hole in the floor.\n\n> You look at the coffee\nThe clouds in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\nYou think you just heard a low growl near the boiler.\n\n> You pull the string\n(the fluorescent work light pull string)\nYou feel around for the fluorescent light string and pull it, switching the work light back on.\n\n> You examine doll\nThe doll has a ferocious scowl on its face and a pull-string in the middle of its back.\n\nIt has the sort of head with two faces, one of which is hidden by its hair. Rotate the head and the other face will be forward.\n\nA faint smell of mildew emanates from it.\n\n> You pulthe pull-string\nThe doll intones: \"Flee the mysterious machine! Wood remembers the old forest! Something large bespeaks overwhelming force!\"\n\n> You pulthe pull-string\nThe doll intones: \"Avoid the jeopardy of the support column! The edges are not truly parallel, the corners not truly right!\"\n\n> You examine the Boiler\nThis is a vintage boiler that you'd guess would have been new in the early 1930s. It's bigger than a small automobile and certainly heavier. While it's clearly not operating at peak efficiency, it's perhaps surprising that it's operating at all and producing as much heat as is leaking out into this room, let alone the rest of the manor. It is producing an annoying hum.\n\nThe boiler is currently switched on.\n\n> You look at the pipes\nThe pipes to and from the boiler form a chaotic tangle that mostly obscures the ceiling. None are insulated and they radiate heat.\n\n> You examine the keypunch\n(the keypunch)\nLooking at it up close it is obviously a mechanical keypunch for the sorts of cards that used to be used for computers. There don't seem to be any computers around here, but you recall that punch cards were invented decades before the first digital computer and were used for other things. It is about four feet tall and appears to be handmade of some kind of heavy metal, with welding done with more enthusiasm than skill. It has a card slot in the middle in which to insert a card to be punched. It has a hex keypad underneath it that allows one to set eight digits of data. Currently it is set to 00000000. It has a handle on the right that can be pulled to make the punching happen.\n\n> You look at the column\nThis is a rough brick support column roughly a foot square running from floor to ceiling. There is a framed diagram of some sort mounted on it about five feet up, and a power outlet near the bottom.\n\n> You examine diagram\nThis diagram is framed and permanently mounted on the column. It roughly shows how the various components in this room need to be connected for the overall system to work, and it identifies each one.\n\nThe heavy keypunch near the doorway is purely mechanical. It doesn't need to be connected to anything.\n\nThe control panel on the table runs the whole system and needs to be both plugged into an outlet for power and connected to the large engine mechanism, which is apparently the overlay engine. The control panel has a slot for punch cards.\n\nThe overlay engine needs to be connected to the wardrobe, which is apparently called the faraday cage.\n\nThe big machine with the wooden casing is identified on the diagram as the dimensional stabilizer, and it also needs to be connected to the faraday cage.\n\nThe faraday cage needs to be plugged into an outlet for power.\n\nWhile it labels these components and says which is connected to which, the diagram doesn't go into any more detail as to what the overall system is meant to do, but following its logic, connecting the control panel to the overlay engine, connecting the overlay engine to the faraday cage, connecting the dimensional stabilizer to the faraday cage, and then plugging both the faraday cage and control panel into the outlet ought to be enough to make it work.\n\n> You look at the cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. You seem to recall wound copper wire relating more to generators and electromagnets than faraday cages, so clearly this is not a typical model. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables. There is also a power cord dangling from the back of it.\n\n> You examine the machine\n(the dimensional stabilizer)\nThe dimensional stabilizer is about the size of a large trunk. Its wooden casing thoroughly hides whatever is going on inside, but it has a system receptacle near the bottom, a system cable hanging out of the space right next to it, and a activation toggle on the top near the front edge.\n\nThe dimensional stabilizer is currently switched off.\n\n> You examine the window\nThe window is shaped like a small crescent and provides you an obscured view inside the faraday cage.\n\n> You look at the table\n(the heavy-duty table)\nThe heavy-duty table is made of the thick wood typically used for workbenches in bygone days. It has one drawer running its full length, and its surface is nearly covered by a control panel. The portion of the surface that is not covered has a list of some sort written on it.\n\n> You look at the list\nIt is a short list of steps to take prior to running the system. Apparently being reminded of these safety tips was important enough for someone to permanently write this checklist on the surface of the table. It's probably worth your time to read it.\n\n> You read it\nThe exact text of the checklist is as follows:\n\n1. Ensure the system is properly connected.\n\n2. Ensure the door is closed.\n\n3. Plug in units that need electricity.\n\n4. Insert desired card and turn on control panel.\n\n5. Turn on dimensional stabilizer before opening door.\n\n6. Check status lights before opening door.\n\n7. Take any other precautions before opening door.\n\n> You look at control\n(the control panel)\nThe control panel is a mechanism that appears to feature some of the best technology the early 1940s had to offer. An analog gauge labeled the \"power readout\" takes up much of the right hand side of the panel and has a needle hovering near 0 out of 100. A punch card slot (currently empty) sits on the left toward the bottom, with a round on/off button situated above it. A power cord and a system cable are in the back. Overall there is not a lot of room left on top of the table upon which it is resting (but there is a checklist there plus a drawer beneath).\n\nThe control panel is currently switched off.\n\n> You open it\nYou open the drawer, revealing the Journal of Edwin Cragne, a\nC353F128 punch card, a 0B46E931 punch card, an AE9B711D punch card, a 00A02209 punch card and a blank punch card.\n\n> You get all from the drawer\nJournal of Edwin Cragne: Taken.\n\nC353F128 punch card: Taken.\n\n0B46E931 punch card: Taken.\n\nAE9B711D punch card: Taken.\n\n00A02209 punch card: Taken.\n\nblank punch card: Taken.\n\nYou have the strong feeling that you're being watched.\n\n> You look at Journal\nWhich do you mean, the Journal of Edwin Cragne, the moldy,\nwaterlogged journal (smelling faintly of mildew), The Dollmaker's Journal (smelling faintly of mildew) or the tiny leather journal (smelling faintly of mildew)?\n\n> Edwin\nThis handwritten journal appears to cover a period from September 1939 to May 1943 in the life of Edwin Cragne, a self-styled scientist and inventor. It has a maroon cover and is densely packed with a tight, neat writing and sporadic equations. Portions of it appear to have been written with a particular reader in mind. Other portions appear to have been written only for himself and are in code. However, the parts that are not encoded seem to cover many of the devices in this boiler room, all of which Edwin Cragne apparently built himself. You could consult the journal about them.\n\n> You consult it about the cage\nWhat I for simplicity call the Faraday cage is obviously far more than a Faraday cage. It is the space that is safely overlaid between realities. The effective environment within it is a mixture of the two overlaid spaces. I have mounted lights on it that indicate the level of safety of its interior environment. If the red light is lit, it is immediately deadly and the door should not even be opened. If the yellow light is lit, it is dangerous but some interaction is possible; the door can be opened but it may not be safe to enter. If it is green, the environment is safe, but there still may be other dangers. Be sure to take the other precautions. Also, never operate the system with the door open.\n\n> You consult it about stabilizer\nThe dimensional stabilizer is what makes it possible to safely enter and interact with the other reality pulled into the overlaid space. As I have repeatedly shown, without this breakthrough entering such a space is fatal to human life. Don't forget to switch it on., or it will be the last mistake you make.\n\n> You consult it about the keypunch\nThis is a simple mechanical keypunch for punching hex codes into punch cards. Insert the card, set the hex code, and pull the handle.\n\nThe heat in this room is starting to get to you.\n\n> You consult it about the control panel\nThe control panel operates the system. It targets the reality to be overlaid by means of a hex code provided on a punch card. Ensure everything is set up properly before turning it on, and turn it off before changing hex codes. If a card gets jammed in it, just keep trying to get it out; usually that will work.\n\n> You examine the shelf\nThe steel shelf is placed impractically high up on the wall above the table. You cannot tell if there is anything on it from here.\n\n> You examine the work light\n(the fluorescent work light)\nThe work light is little more than an old fluorescent tube suspended among the pipes above the table. It has a pull string dangling down enabling it to be switched on or off.\n\nThe fluorescent work light is currently switched on.\n\n> You look at the painting\n(the ominous-looking painting (smelling faintly of mildew))\nThe painting depicts a night scene: a headless man on a rearing black horse, holding a grinning jack-o-lantern under his arm.\n\nA faint smell of mildew emanates from it.\n\n> You put the painting in the sp.\n(the ominous-looking painting (smelling faintly of mildew) in the side pocket)\nYou unzip the side pocket, deposit the ominous-looking painting (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You look at the painting\nThis painting is a portrait of a man who from a distance looks a little bit like John Quincy Adams, but far more obsessed and far less sane. He looks extremely fierce and more than a little bit scary. His wild eyes stare out straight ahead in a direct line to the window of the wardrobe, and seem to follow you as you move around.\n\nYou can't make out the artist's signature, but it is titled Edwin Cragne, dated 1938, and is fastened to the wall with a support\nchain.\n\n> You examine Hole\n(the hole in the floor)\nThis hole leads to a space below and is large enough to fit through. It's unclear what made it; if it were smaller one would think it were chewed through by rats.\n\n> You examine outlet\nThis is an old power outlet with space for old-fashioned two-prong plugs. You don't have a lot of confidence that it is properly grounded.\n\n> You climb the table\nYou get onto the heavy-duty table.\n\n> You examine the shelf\nThe steel shelf is placed impractically high up on the wall above the table.\n\nOn the steel shelf are three blank punch cards and a can of salt.\n\n> You get all from the shelf\nblank punch card: Taken.\n\nblank punch card: Taken.\n\nblank punch card: Taken.\n\ncan of salt: Taken.\n\n> You stand\nYou get off the heavy-duty table.\n\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a painting hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You examine the salt\nIt is an ordinary cylindrical container of salt. The label has a dark blue background with \"salt\" in big letters, and a warning that this salt does not supply iodine in small letters. There is a small opening in the top for pouring out some.\n\n> You consult Edwin about salt\n(the Journal of Edwin Cragne about)\nYou don't find any reference to \"salt\" in the Journal of Edwin\nCragne.\n\n> You consult Edwin about the precautions\n(the Journal of Edwin Cragne about)\nIt should go without saying that it is important to position an Elder Sign. I have one set up in the right spot that can be flipped as needed. I have also discovered that the ancient beliefs in using salt for purification and protection and removing evil (which we both know are bogus superstition) can help in certain circumstances, although not in the way superstitious idiots might suspect. I theorize that maybe its real use led to its current reputation, as even the means of application is the same. Just pour it on the floor. A circle of it around the Faraday cage will provide protection in some cases. I also set up a catch-all safety for if one accidentally burns up punch cards or other vital items in unsafe spaces, but of course this should never be needed.\n\n> You look at the card\nWhich do you mean, a blank punch card, the 00A02209 punch card, the AE9B711D punch card, the 0B46E931 punch card, the C353F128 punch card, the black business card (smelling faintly of mildew) or the employee ID card (smelling faintly of mildew)?\n\n> 00a02209\nIt is a typical punch card, a thin piece of cardboard the size of a bank note from a bygone era. This one has the hex code 00A02209.\n\n> You look at the blank\nIt is a typical punch card, a thin piece of cardboard the size of a bank note from a bygone era. This one is blank.\n\n> You consult Edwin about 00a02209\n(the Journal of Edwin Cragne about)\nYou don't find any reference to \"00a02209\" in the Journal of Edwin Cragne.\n\n> You connect the panel to the overlay\n(the control panel system cable to the overlay engine receptacle)\nThe control panel system cable is plugged in to the overlay engine receptacle.\nPer the system diagram, this looks correct.\n\n> You consult Edwin about the overlay\n(the Journal of Edwin Cragne about)\nYou don't find any reference to \"overlay\" in the Journal of Edwin Cragne.\n\n> You consult Edwin about the overlay engine\n(the Journal of Edwin Cragne about)\nThis wonder performs the actual joining of the two separate spaces in the one confined area of the Faraday Cage. When connected, it sucks power out of the very firmament of our reality. It is best not to leave it running for too long. I now take the precaution of unplugging everything when not in use.\n\n> You examine the overlay\n(the overlay engine)\nThe overlay engine is a large piece of machinery that at first glance looks as though it could have been pulled out from under the hood of a semi-truck. A more detailed analysis shows that this similarity is cursory and it is really unlike any kind of engine you have ever seen prior. On the bottom there is a receptacle for cables (it has a control panel system cable connected now) and there is a system cable dangling from the back of it.\n\nYou have the strangest feeling that Edwin Cragne's eyes in the painting are watching you.\n\n> You get painting\nIts support chain is fastened to the wall. There is enough play in it though that you may be able to push it or pull it.\n\n> You flip it\nYou've turned Edwin Cragne to face the wall. The back of the painting is a sign featuring a large symbol that looks a bit like a tree branch angling up to the left.\n\n> You look at the symbol\nThis large sign contains a single symbol shaped a bit like an abstract tree branch angling up to the left. It contains no further explanation, and is fastened to the wall with a support chain.\n\n> You look up Elder Sign in Edwin\nI have studied many different supposed \"Elder Signs\" and found that in practice most do not work. Only one has proven mostly effective, but there are still many things that do not respect it.\n\n> You connect the overlay cable to Cage\n(the faraday cage receptacle)\nThe overlay engine system cable is plugged in to the faraday cage receptacle.\nPer the system diagram, this looks correct.\n\n> You connect the stabilizer to Cage\n(the faraday cage receptacle)\nThe dimensional stabilizer system cable is plugged in to the faraday cage receptacle.\nPer the system diagram, this looks correct.\n\n> You connect the control to the outlet\n(the control panel power cord to the power outlet)\nThe control panel power cord is plugged in and you hear a brief electrical noise as the control panel buzzes to life.\nBased upon the diagram, this seems correct.\n\n> You connect Cage to the outlet\nThe faraday cage power cord is plugged in and the faraday cage comes to life with a whine pitched right at the edge of your hearing.\nBased upon the diagram, this seems correct.\n\n> You look at the card\nWhich do you mean, a blank punch card, the 00A02209 punch card, the AE9B711D punch card, the 0B46E931 punch card, the C353F128 punch card, the black business card (smelling faintly of mildew) or the employee ID card (smelling faintly of mildew)?\n\n> You put 00a02209 in the control\n(the control panel)\nYou put the 00A02209 punch card into the control panel card slot.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\n> You turn on the stabilizer\n(the dimensional stabilizer)\nYou switch the dimensional stabilizer on.\n\n> You examine the lights\nThe lights readout features three small bulbs: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit).\n\n> You pour the salt\nWhat do you want to pour the can of salt onto?\n\n> Cage\n(the faraday cage)\nPutting things on the faraday cage would achieve nothing.\n\n> You pour the salt on the floor\nYou pour out some salt in a ring around the faraday cage.\n\n> You open Door\nYou open the faraday cage.\n\n> You enter Cage\n(the faraday cage)\nYou get into the faraday cage."
    },
    {
        "text": "> You look around\nBoiler Room (Eric W. Brown) (in the faraday cage)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You go outside\nYou get out of the faraday cage.\n\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You look at the list\nIt is a short list of steps to take prior to running the system. Apparently being reminded of these safety tips was important enough for someone to permanently write this checklist on the surface of the table.\n\n> You read the list\nThe exact text of the checklist is as follows:\n\n1. Ensure the system is properly connected.\n\n2. Ensure the door is closed.\n\n3. Plug in units that need electricity.\n\n4. Insert desired card and turn on control panel.\n\n5. Turn on dimensional stabilizer before opening door.\n\n6. Check status lights before opening door.\n\n7. Take any other precautions before opening door.\n\n> You close Door\nYou close the faraday cage.\n\n> You turn on the panel\n(the control panel)\nThe needle on the power readout creeps up to around 100 out of 100. Something seems to be happening in the faraday cage.\n\n> You examine the lights\nThe lights readout features three small bulbs: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit).\n\n> You look in Cage\n(the faraday cage)\nThe faraday cage is empty.\n\n> You examine the window\nThe window is shaped like a small crescent and provides you an obscured view inside the faraday cage.\n\nThrough the window of the faraday cage - although it's clearly impossible - you can feel as much as see another reality. It looks like the interior floor of the faraday cage is now obscured by a thick foggy mist with only occasional glimpses showing what may be bog underneath. A too-small, too-blue sun bathes the landscape in an unwholesome light through a violet sky.\n\nYou could possibly see more inside by opening the door.\n\n> You open Door\nA three-foot long limacine creature drops from the inside of the door as you open it, but recoils upon coming into contact with the salt and retreats back inside. It may not be a bad idea to close the door now that it's in there.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. It looks like the interior floor of the faraday cage is now obscured by a thick foggy mist with only occasional glimpses showing what may be bog underneath. A too-small, too-blue sun bathes the landscape in an unwholesome light through a violet sky.\n\nWithin the overlaid space is a giant slug.\n\n> Examine slug\nWhen you try to look at the slug, it bites you. Numbness overpowers you and before you realize what's happening, you're being devoured by a pack of slugs.\n\n> You examine the window\nThe window is shaped like a small crescent and provides you an obscured view inside the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. It looks like the interior floor of the faraday cage is now obscured by a thick foggy mist with only occasional glimpses showing what may be bog underneath. A too-small, too-blue sun bathes the landscape in an unwholesome light through a violet sky.\n\nYou could possibly see more inside by opening the door.\n\n> You consult Edwin about the punch cards\nYou don't find any reference to \"punch cards\" in the Journal of\nEdwin Cragne.\n\n> You read Edwin\nI write this journal in part for you, brother, for although we have our Differences and disagree on methods, you are likely the only one to fully appreciate my Work and correspondingly the only one to further it should I perish in my efforts.\n\nWe both need to face Dangers and make sacrifices to seek the Truth. It is only through this Truth that the name of Cragne may be restored to its rightful glory and our proper place be returned.\n\nAs it has become clear that we are at War, the stakes have grown higher. While I can respect your conservatism during peacetime, it has no place now. Your restrictions to using livestock for experimentation are causing unacceptable delays in your progress, and make no mistake, if one of the farmers ever catches you making your parts collections or leaving behind the lifeless remains, they will look upon you no more kindly than they would look upon me for making use of vagrants that none shall miss. Your squeamishness serves no purpose and offers no advantage. It is time to be strong.\n\nBut I have made progress, even where you have stalled! The things I have seen! Mind-twisting realities you can only imagine! My System here works for a wide range of alien environments. I have successfully overlaid these other realities with our own in a controlled manner, and have freely entered many to make observations, collect samples, and even interact with natives. I have gazed upon the ancient city of Kadath across the plains of Leng; conversed with the fungi of Yuggoth; and found riches in dark Swamps heretofore unknown to any sentient life.\n\nI have left a System Diagram showing how the system may be properly connected, and a Safety Checklist. I have also included brief descriptions of each component in this journal to get you started should you find me dead (or not find me at all). In addition, this volume contains a record of my travels and philosophy as described above, and it would behoove you to consult it.\n\n(Be aware that anything left in the Faraday cage when a new reality is overlaid will appear in my junkroom [FFFFFFFF]. For reasons I have yet to determine, most objects maintain their molecular structure when so transported, but punch cards lose their holes and return to virgin status. As strange as this is, I must admit it's quite convenient.)\n\nFinally, I have been seeking other like-minded Men of Power to assist us in our Work. There are others who have goals close enough to our own that we may profitably work together to make the most of this War and grant us all that which we deserve.\n\n> You consult Edwin about the leng\nThe hex code of 59D8FE74 takes one to the plains of Leng at a point where Kadath may be safely observed.\n\n> You consult Edwin about the hex codes\nYou don't find any reference to \"hex codes\" in the Journal of\nEdwin Cragne.\n\n> You consult Edwin about the overlay engine\nThis wonder performs the actual joining of the two separate spaces in the one confined area of the Faraday Cage. When connected, it sucks power out of the very firmament of our reality. It is best not to leave it running for too long. I now take the precaution of unplugging everything when not in use.\n\n> You unplug the overlay\nYou unplug the overlay engine system cable.\n\n> You turn off the control\n(the control panel)\nThe needle on the power readout drops to 0 out of 100.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\n> You open Cage\n(the faraday cage)\nYou open the faraday cage.\n\n> You examine it\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\n> You examine the card\nWhich do you mean, the 00A02209 punch card, a blank punch card, the AE9B711D punch card, the 0B46E931 punch card, the C353F128 punch card (smelling faintly of mildew), the black business card (smelling faintly of mildew) or the employee ID card (smelling faintly of mildew)?\n\n> You consult Edwin about the slug\nYou don't find any reference to \"slug\" in the Journal of Edwin\nCragne.\n\n> You plug in the overlay\nWhat do you want to plug in the overlay engine system cable to?\n\n> Outlet\nOnly two-prong plugs can fit in this outlet.\n\n> You connect the overlay to Cage\n(the faraday cage receptacle)\nThe overlay engine system cable is plugged in to the faraday cage receptacle.\nPer the system diagram, this looks correct.\n\n> You put ae9b711d in the control\n(the control panel)\nYou put the AE9B711D punch card into the control panel card slot.\n\n> You look at stabilizer\n(the dimensional stabilizer)\nThe dimensional stabilizer is about the size of a large trunk. Its wooden casing thoroughly hides whatever is going on inside, but it has a system receptacle near the bottom, a system cable in the space right next to it connected to the faraday cage receptacle, and a activation toggle on the top near the front edge.\n\nThe dimensional stabilizer is currently switched on.\n\n> You turn on the control\n(the control panel)\nThe needle on the power readout creeps up to around 100 out of 100.\n\nYou should have been more careful and followed the safety checklist, but you don't have time to consider that now as a wave of gravitational energy swept out the faraday cage door killing you instantly (and likely doing a great deal of damage to the immediate area).\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. It looks like the interior floor of the faraday cage is now stagnant water and the space beyond the now translucent walls is filled with decaying trees and other unhealthy plant life. The sky glows in an eerie maroon that not even an abstract painter lost in madness would deign to paint it.\n\nYou could possibly see more inside by opening the door.\n\n> You open Door\nAn eldritch mass of tentacles and teeth swings down through the door at you from somewhere!\nInexplicably something seems to drive it back inside before it can reach you. It may not be a bad idea to close the door now that it's back in there.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. It looks like the interior floor of the faraday cage is now stagnant water and the space beyond the now translucent walls is filled with decaying trees and other unhealthy plant life. The sky glows in an eerie maroon that not even an abstract painter lost in madness would deign to paint it.\n\nWithin the overlaid space is a tentacled creature.\n\n> You look at the creature\n(the tentacled creature)\nThe tentacled horror grabs you and pulls you down below the surface of the swamp. You don't get the chance to drown before it eats you.\n\n> You put 0b46e931\n(in the keypunch)\nYou put the 0B46E931 punch card into the keypunch card slot.\n\n> You put 0b46e931 in the control\n(the control panel)\nYou put the 0B46E931 punch card into the control panel card slot.\n\n> You turn on the panel\n(the control panel)\nThe needle on the power readout creeps up to around 100 out of 100. Something seems to be happening in the faraday cage.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. It is a desert landscape with a pyramid in the distance that looks neither Central American nor Egyptian, but rather something unwholesome and inhuman. A doorway in it opens out into a cramped plaza decorated with obscene snake statuary, and heat shimmers mostly obscure the inner walls of the faraday cage.\n\nYou could possibly see more inside by opening the door.\n\n> You open Door\nYou open the faraday cage.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. It is a desert landscape with a pyramid in the distance that looks neither Central American nor Egyptian, but rather something unwholesome and inhuman. A doorway in it opens out into a cramped plaza decorated with obscene snake statuary, and heat shimmers mostly obscure the inner walls of the faraday cage.\n\n> You enter Cage\n(the faraday cage)\nYour stomach lurches as you enter an area where two separate realities seem to be somehow coexisting in the same space. It makes you lose all sense of direction.\n\nIt is a desert landscape with a pyramid in the distance that looks neither Central American nor Egyptian, but rather something unwholesome and inhuman. A doorway in it opens out into a cramped plaza decorated with obscene snake statuary, and heat shimmers mostly obscure the inner walls of the faraday cage.\n\nSome sort of bipedal lizard emerges from the pyramid. It sees you and hisses something that sounds like \"Minu\u203d Lukur kasadu! Dakusu!\"\n\nThe lizard man picks up a handful of javelins.\n\n> You examine the lizard\nBefore you get the chance the lizard man hurls a javelin, striking you in the chest.\n\n> Go outside\nYou feel transiently disoriented as you exit out of the weird overlaid space within the faraday cage.\n\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You close Door\nYou close the faraday cage.\n\n> You unplug the overlay\nYou unplug the overlay engine system cable.\n\n> You turn off the control\n(the control panel)\nThe needle on the power readout drops to 0 out of 100.\n\n> You close Door\nThat's already closed.\n\nYou gag a little from the dust.\n\n> You put c353f128 in the control\n(the control panel)\nYou put the C353F128 punch card (smelling faintly of mildew) into the control panel card slot.\n\n> You turn on the panel\n(the control panel)\nThe needle on the power readout creeps up to around 100 out of 100. Something seems to be happening in the faraday cage.\n\nYou can feel the sweat dripping off you.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently lit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. It is like looking onto a stark rocky plain with a cloudless twilight sky above. In the distance beyond the translucent inner walls of the faraday cage you can see some mountains and craters. It's a perplexing view, as the horizon seems too close and the sharpness of vision does not seem to drop off like you'd expect.\n\nYou could possibly see more inside by opening the door.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently lit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. It is like looking onto a stark rocky plain with a cloudless twilight sky above. In the distance beyond the translucent inner walls of the faraday cage you can see some mountains and craters. It's a perplexing view, as the horizon seems too close and the sharpness of vision does not seem to drop off like you'd expect.\n\n> You enter Cage\n(the faraday cage)\nYour stomach lurches as you enter an area where two separate realities seem to be somehow coexisting in the same space. It makes you lose all sense of direction.\n\nAlthough the faraday cage somehow seems to protect everything outside it from the raw vacuum in this environment, it apparently can't protect someone who directly enters it. You have an extremely unpleasant final few minutes.\n\n> You consult Edwin about the yuggoth\nThe hex code of 923647F1 takes one to the frozen world of Yuggoth in a place where one may converse with the fungi. They are knowledgeable on many matters, and have offered to take me on a trip to visit many wonders. I hope one day to witness one of the rare fungal blooms of Yuggoth.\n\n> You look at Edwin\nThis handwritten journal appears to cover a period from September 1939 to May 1943 in the life of Edwin Cragne, a self-styled scientist and inventor. It has a maroon cover and is densely packed with a tight, neat writing and sporadic equations. Portions of it appear to have been written for Edwin Cragne's brother. Other portions appear to have been written only for himself and are in code. However, the parts that are not encoded seem to cover many of the devices in this boiler room, all of which Edwin Cragne apparently built himself. You could consult the journal about them.\n\n> You consult Edwin about War\nThis new War has the potential to surpass even the Great War, and the ordinary people still have no idea what is really happening in Europe. And they criticize us!\n\n> You consult Edwin about Men of the Power\nThe Illuminati are real and nearby, in spite of Vernon Stauffer's assertion to the contrary. He uncovered the evidence of the truth and missed it even as he wrote of it. I have placed his work in my secret cache where I keep my greatest treasures.\n\n> You consult Edwin about the secret cache\nIt is in an overlaid reality of course. I won't write out the hex code plainly here, but know brother that your methods of experimentation inspired my choice of it. How felicitous that your inanimate cow flesh could be thus translated!\n\n> You get c353f128\n(the C353F128 punch card (smelling faintly of mildew))\nTaken.\n\n> You put the blank in the keypunch\n(the keypunch)\nYou put the blank punch card into the keypunch card slot.\n\n> You examine the keypunch\n(the keypunch)\nLooking at it up close it is obviously a mechanical keypunch for punch cards. It is about four feet tall and appears to be handmade of some kind of heavy metal, with welding done with more enthusiasm than skill. It has a card slot in the middle in which to insert a card to be punched. It has a hex keypad underneath it that allows one to set eight digits of data. Currently it is set to 00000000. It has a handle on the right that can be pulled to make the punching happen.\n\nThere is a blank punch card in the keypunch card slot.\n\n> You set the keypunch to 923647f1\n(the keypunch to)\nYou have successfully changed the card punch setting to 923647F1.\n\n> You pull the handle\nThe card gets punched. Its new code is \"923647F1\".\n\n> You look at Door\nThe faraday cage door has a small window in it and is currently closed.\n\n> You examine the panel\n(the control panel)\nThe control panel is a mechanism that appears to feature some of the best technology the early 1940s had to offer. An analog gauge labeled the \"power readout\" takes up much of the right hand side of the panel and has a needle hovering near 100 out of 100. A punch card slot (currently empty) sits on the left toward the bottom, with a round on/off button situated above it. A power cord (plugged into the outlet) and a system cable (connected to the overlay engine receptacle) are in the back. Overall there is not a lot of room left on top of the table upon which it is resting (but there is a checklist there plus a drawer beneath).\n\nThe control panel is currently switched on.\n\n> You turn off panel\n(the control panel)\nThe needle on the power readout drops to 0 out of 100.\nThe faraday cage goes back to normal.\n\n> You connect overlay to Cage\n(the faraday cage)\n(first taking the overlay engine system cable)\nThat seems to be a part of the overlay engine.\n\n> You put 923647f1 in the panel\n(the control panel card slot)\n(first taking the 923647F1 punch card)\nYou put the 923647F1 punch card into the control panel card slot.\n\n> You turn on the panel\n(the control panel)\nThe needle on the power readout creeps up to around 100 out of 100.\n\nYou should have been more careful and followed the safety checklist, but you don't have time to consider that now as a wave of gravitational energy swept out the faraday cage door killing you instantly (and likely doing a great deal of damage to the immediate area).\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\n> You close Door\nYou close the faraday cage.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently lit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. It is a dark landscape, with some dim light coming from something beyond a star but not quite a sun hanging in the sky. Its light is not enough to blot out the ordinary stars, and a dark misshapen moon is noticeable only because it is a different shade of dark from the rest of the firmament. The land is mountainous with icy formations sparkling in the limited illumination available. Some kind of strange winged crab-like creature appears to be flying in the distance.\n\nYou could possibly see more inside by opening the door.\n\n> You open Door\nYou open the faraday cage.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently unlit), a yellow bulb (currently lit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. It is a dark landscape, with some dim light coming from something beyond a star but not quite a sun hanging in the sky. Its light is not enough to blot out the ordinary stars, and a dark misshapen moon is noticeable only because it is a different shade of dark from the rest of the firmament. The land is mountainous with icy formations sparkling in the limited illumination available. A pink winged creature peers out from behind some rocks, giving you a glimpse of an orb-like head.\n\n> You enter Cage\n(the faraday cage)\nYour stomach lurches as you enter an area where two separate realities seem to be somehow coexisting in the same space. It makes you lose all sense of direction.\n\nAlthough the faraday cage somehow seems to protect everything outside it from the deadly cold and poisonous atmosphere of this environment, it apparently can't protect someone who directly enters it. The strange creatures of this land watch with dispassionate interest as you quickly die.\n\n> You set the keypunch to the ffffffff\n(the keypunch to)\nYou have successfully changed the card punch setting to FFFFFFFF.\n\n> You pull the handle\nThe card gets punched. Its new code is \"FFFFFFFF\".\nThe card now seems to be very flimsy; it may no longer be safe to use.\n\n> You put the ffffffff in the panel\n(the control panel card slot)\nYou put the FFFFFFFF punch card into the control panel card slot.\n\n> You look at Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. Now it looks like the interior of a sparsely-furnished log cabin with the translucent outlines of the inner walls of the faraday cage where there ought to be solid normal walls.\n\nYou could possibly see more inside by opening the door.\n\n> You open Door\nYou open the faraday cage.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. Now it looks like the interior of a sparsely-furnished log cabin with the translucent outlines of the inner walls of the faraday cage where there ought to be solid normal walls.\n\n> You enter Cage\n(the faraday cage)\nYour stomach lurches as you enter an area where two separate realities seem to be somehow coexisting in the same space. It makes you lose all sense of direction.\n\nNow it looks like the interior of a sparsely-furnished log cabin with the translucent outlines of the inner walls of the faraday cage where there ought to be solid normal walls.\n\n> You look at the card\nWhich do you mean, the 923647F1 punch card, the C353F128 punch card (smelling faintly of mildew), the 0B46E931 punch card, the AE9B711D punch card, the 00A02209 punch card, a blank punch card (smelling faintly of mildew), the black business card (smelling faintly of mildew) or the employee ID card (smelling faintly of mildew)?\n\n> You look at the blank\nIt is a typical punch card, a thin piece of cardboard the size of a bank note from a bygone era. This one is blank.\n\nA faint smell of mildew emanates from it.\n\n> You put\n(on the piece of chalk)\nYou can't wear that!\n\n> Go outside\nYou feel transiently disoriented as you exit out of the weird overlaid space within the faraday cage.\n\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You close Door\nYou close the faraday cage.\n\n> You turn off panel\n(the control panel)\nThe needle on the power readout drops to 0 out of 100.\nThe faraday cage goes back to normal.\n\n> You get FFFFFFFF\nTaken.\n\nYou can feel the sweat dripping off you.\n\n> You check what you're carrying\nYou are carrying:\na FFFFFFFF punch card\na 923647F1 punch card\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card\nan AE9B711D punch card\na 00A02209 punch card\na can of salt (smelling faintly of mildew)\ntwo blank punch cards\nthe Journal of Edwin Cragne\nThe Seven Gaunts\na faded delivery note (smelling faintly of mildew)\na Red Triangle Key (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\nLegends of Lake Champlain and the Hudson River Valley\n(smelling faintly of mildew)\na scrap of paper\nTatooine 1: Anchorhead (smelling faintly of mildew)\na 'Pataphysical Approaches to Quantum Superfluids (smelling\nfaintly of mildew)\na snowglobe\na black fountain pen (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn (smelling faintly of mildew)\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nan old paperback book (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You look up the cow in Edwin\nYou don't find any reference to \"cow\" in the Journal of Edwin\nCragne.\n\n> You consult Edwin about the secret cache\nIt is in an overlaid reality of course. I won't write out the hex code plainly here, but know brother that your methods of experimentation inspired my choice of it. How felicitous that your inanimate cow flesh could be thus translated!\n\n> You put the blank in the keypunch\n(the keypunch)\nYou put the blank punch card (smelling faintly of mildew) into the keypunch card slot.\n\n> You set the keypunch to the DEADBEEF\n(the keypunch to)\nYou have successfully changed the card punch setting to DEADBEEF.\n\n> You pull the handle\nThe card gets punched. Its new code is \"DEADBEEF\".\n\n> You close Door\nThat's already closed.\n\n> You examine the panel\n(the control panel)\nThe control panel is a mechanism that appears to feature some of the best technology the early 1940s had to offer. An analog gauge labeled the \"power readout\" takes up much of the right hand side of the panel and has a needle hovering near 100 out of 100. A punch card slot (currently empty) sits on the left toward the bottom, with a round on/off button situated above it. A power cord (plugged into the outlet) and a system cable (connected to the overlay engine receptacle) are in the back. Overall there is not a lot of room left on top of the table upon which it is resting (but there is a checklist there plus a drawer beneath).\n\nThe control panel is currently switched off.\n\n> You put the DEADBEEF in the panel\n(the control panel card slot)\nYou put the DEADBEEF punch card (smelling faintly of mildew) into the control panel card slot.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it. It's wrapped (as best as possible while still allowing the door, which is now closed, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the window of the faraday cage you can feel as much as see another reality. Now it looks as though there is a completely different room within the bounds of the faraday cage, or actually beyond its bounds as you can see the translucent outlines of its inner walls where there ought to be solid normal walls. It looks far more pleasant than the boiler room.\n\nYou could possibly see more inside by opening the door.\n\n> You examine Cage\n(the faraday cage)\nThe faraday cage is about seven feet tall and perhaps four feet wide. Its door has a crescent-shaped window in it that enables you to somewhat see inside it, even when the door is closed. It's wrapped (as best as possible while still allowing the door, which is now open, to work) with tightly-wound copper wire. A row of three lights is arranged across the top above the door: a green bulb (currently lit), a yellow bulb (currently unlit), and a red bulb (currently unlit). On the bottom there is a receptacle for cables (it has an overlay engine system cable and a dimensional stabilizer system cable connected now). There is also a power cord dangling from the back of it that is plugged into the outlet.\n\nA line of salt on the floor encircles the faraday cage.\n\nThrough the open door of the faraday cage you can feel as much as see another reality. Now it looks as though there is a completely different room within the bounds of the faraday cage, or actually beyond its bounds as you can see the translucent outlines of its inner walls where there ought to be solid normal walls. It looks far more pleasant than the boiler room.\n\nWithin the overlaid space is a marble end table (on which are a book New England and the Bavarian Illuminati and a golden apple).\n\n> You enter Cage\n(the faraday cage)\nYour stomach lurches as you enter an area where two separate realities seem to be somehow coexisting in the same space. It makes you lose all sense of direction.\n\nNow it looks as though there is a completely different room within the bounds of the faraday cage, or actually beyond its bounds as you can see the translucent outlines of its inner walls where there ought to be solid normal walls. It looks far more pleasant than the boiler room.\n\nIn the overlaid space you can see a marble end table (on which are a book New England and the Bavarian Illuminati and a golden\napple).\n\n> You get all from the table\nbook New England and the Bavarian Illuminati: Taken.\n\ngolden apple: Taken.\n\n> You look at New England\nA nearly featureless hardcover book with a midnight blue cover, one has to squint to make out the faded title book New England and the Bavarian Illuminati on the front. It's printed much more clearly inside the cover, above the the insignia of the Backwater Public Library. Curiously the Backwater Public Library claim was stamped over an earlier message: \"This book is the property of the Saugus Public Library\". This history book has apparently had something of a history of its own. It was written by Vernon Stauffer, A.M., Dean and Professor of New Testament and Church History, Hiram College, in 1918.\n\n> You read it\n... Indeed, when a noted Philadelphia minister of the day, the Reverend Ashbel Green, visited New England in 1791, he found an aptitude for polemical discussion on the part of the clergy which impressed him as most extraordinary. Through his contact with the Boston Ministerial Association he encountered \"Calvinists, Universalists, Arminians, Arians,\" and at least one \"Socinian,\" all participating in pleasant social intercourse, despite their radical differences of religious opinion...\n\n> You read it\n... The Federalist leaders by their precipitate and inconsiderate action had very much overshot the mark and were about to bring their house tumbling down about their heads. As for the opposition, those of its leaders whose highest political interest was party advantage lived to bless the day when, blinded by hysteria or lust of power, the Federalist party made the alien and sedition acts the law of the land...\n\n> You read it\n... Alexander Hamilton left among his manuscripts certain comments which he had made upon the character and import of the French Revolution. Before we turn to consider the European Illuminati and the outcry against its alleged presence in the United States, we may, by perusing this document, throw a little added light upon the gnawings of anxiety and fear which were felt at the time by very rational gentlemen in America...\n\n> You look at the apple\nThis is an apple made from a beautiful yellow metal. It has the inscription \"\u03c4\u1fc7 \u03ba\u03b1\u03bb\u03bb\u03af\u03c3\u03c4\u1fc3\" subtly engraved into its side. It\nis so\nshiny you can almost see your reflection in it."
    },
    {
        "text": "[Themes: Lovecraftian, horror]\n\n> You look at your surroundings\nNow it looks as though there is a completely different room within the bounds of the faraday cage, or actually beyond its bounds as you can see the translucent outlines of its inner walls where there ought to be solid normal walls. It looks far more pleasant than the boiler room.\n\nIn the overlaid space you can see a marble end table.\n\n> Go outside\nYou feel transiently disoriented as you exit out of the weird overlaid space within the faraday cage.\n\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You look at the coffee\nThe clouds in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You destroy the overlay\n(the overlay engine)\nViolence isn't the answer to this one.\n\n> You turn off the stabilizer\n(the dimensional stabilizer)\nYou switch the dimensional stabilizer off.\n\n> You read Edwin\nI write this journal in part for you, brother, for although we have our Differences and disagree on methods, you are likely the only one to fully appreciate my Work and correspondingly the only one to further it should I perish in my efforts.\n\nWe both need to face Dangers and make sacrifices to seek the Truth. It is only through this Truth that the name of Cragne may be restored to its rightful glory and our proper place be returned.\n\nAs it has become clear that we are at War, the stakes have grown higher. While I can respect your conservatism during peacetime, it has no place now. Your restrictions to using livestock for experimentation are causing unacceptable delays in your progress, and make no mistake, if one of the farmers ever catches you making your parts collections or leaving behind the lifeless remains, they will look upon you no more kindly than they would look upon me for making use of vagrants that none shall miss. Your squeamishness serves no purpose and offers no advantage. It is time to be strong.\n\nBut I have made progress, even where you have stalled! The things I have seen! Mind-twisting realities you can only imagine! My System here works for a wide range of alien environments. I have successfully overlaid these other realities with our own in a controlled manner, and have freely entered many to make observations, collect samples, and even interact with natives. I have gazed upon the ancient city of Kadath across the plains of Leng; conversed with the fungi of Yuggoth; and found riches in dark Swamps heretofore unknown to any sentient life.\n\nI have left a System Diagram showing how the system may be properly connected, and a Safety Checklist. I have also included brief descriptions of each component in this journal to get you started should you find me dead (or not find me at all). In addition, this volume contains a record of my travels and philosophy as described above, and it would behoove you to consult it.\n\n(Be aware that anything left in the Faraday cage when a new reality is overlaid will appear in my junkroom [FFFFFFFF]. For reasons I have yet to determine, most objects maintain their molecular structure when so transported, but punch cards lose their holes and return to virgin status. As strange as this is, I must admit it's quite convenient.)\n\nFinally, I have been seeking other like-minded Men of Power to assist us in our Work. There are others who have goals close enough to our own that we may profitably work together to make the most of this War and grant us all that which we deserve.\n\nYou can feel the sweat dripping off you.\n\n> You consult Edwin about the kadath\nThe hex code of 59D8FE74 takes one to the plains of Leng at a point where Kadath may be safely observed.\n\n> You consult Edwin about the elder gods\nYou don't find any reference to \"elder gods\" in the Journal of\nEdwin Cragne.\n\n> You consult Edwin about Cthulhu\nI have located sunken R'lyeh where Cthulhu lies dreaming. It is not safe to enter there, but it may be observed using a hex code of 880A5D23.\n\n> You consult Edwin about the ialdabaoloth\nYou don't find any reference to \"ialdabaoloth\" in the Journal of\nEdwin Cragne.\n\n> You consult Edwin about Vaadignephod\nYou don't find any reference to \"vaadignephod\" in the Journal of\nEdwin Cragne."
    },
    {
        "text": "[Themes: female protagonist, Lovecraftian]\n\n> Go downward\nSomething tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nAn ethereal trolley stop sign reads Black Line -- Underground.\n\n> About yourself\nYou look at your hands, stained ruddy orange by the rust clinging to the ladder rungs. You attempt to wipe them clean on your clothes. It makes virtually no difference.\n\n> You pull the string\nThe doll intones: \"Guard against the green door! Green is the color of poison and untamed growth!\"\n\n> You look at Door\nThe green door leads southwest.\n\n> You pull the string\nThe doll intones: \"Shun the risk of the uneven stone floor! Dampness is the breeding ground of festering things! Water represents a thirst that cannot be assuaged!\"\n\n> You examine the floor\nThe floor is wet and uneven, with water pooling in the lower spots. If it were not so rough you would be fearful of slipping.\n\n> You pull the string\nThe doll intones: \"Avoid the green door! A door indicates passage out of life! A door bespeaks passage out of life!\"\n\n> You pull the string\nThe doll intones: \"Shun the plague of the thing that isn't here!\"\n\n> You pull the string\nThe doll intones: \"Guard against the threat of the rusting iron ladder!\"\n\n> You examine the ladder\nThe rungs of the ladder are coated in ancient rust.\n\n> You pull the string\nThe doll intones: \"Shun the curving brick walls!\"\n\n> You examine Walls\nThe brickwork has been laid with care, but it is crumbling from exposure to the all-consuming damp. Blankets of cobweb, thick with dust, lie across the hollows in the mortar. You see nothing of interest and are not inclined to take a closer look.\n\n> You go southwest\nThis tunnel bends to the northeast. The walls shimmer slightly, gently undulating in the spectral darkness. To the west, set into the wall, almost invisible in the mortal dimness, is an antediluvian door. Daylight and a slight breeze wafts down some non-euclidean steps that lead up.\n\n> You look at the coffee\nThe swirls in your cup form a horse in mid-gallop. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You look at Door\nFeatureless except for a faint rune scratched into its center, this antediluvian door almost disappears into the surrounding wall. Underneath the rune is a keyhole. Strangely enough, the door's obsidian surface doesn't match the tunnel walls.\n\n> You examine the rune\nTwo crescents, back to back, centered above an eye faintly scratched into the door's surface (probably with someone's dying breath).\n\n> You pull the string\nThe doll intones: \"Beware the walls! Water signifies a thirst that cannot be assuaged!\"\n\n> You pull the string\nThe doll intones: \"Flee the threat of the wjtm-rune! To see something above you suggests that you need to set your goals higher! Eyes signify surveillance!\"\n\n> You examine Walls\nLooking closer, you see that the shimmering walls are a byproduct of water seeping through the bedrock from the river above.\n\n> You pull the string\nThe doll intones: \"Guard against the omen of the thing that isn't here!\"\n\n> You pull string\nThe doll intones: \"Flee the peril of the antediluvian door! Dimness or faintness symbolises a lack of conviction!\"\n\n> You pull string\nThe doll intones: \"Beware the omen of the antediluvian door! A door indicates passage out of life!\"\n\n> Ascend\nCourtyard (Finn Rosenloev)\nAs you walk cross the square courtyard, you are repeatedly twisting your legs, and you cannot help but wonder how many broken legs these cobblestones have caused over time.\n\nA beautifully decorated well built by blocks of granite dominates the courtyard. Opposite it, to the east, is the entrance to the curiosity store.\n\nTo the north, a high portal, the only apparent exit from the courtyard, is blocked by a heavy metal portcullis. Not too far from the well is the way down to the tunnel.\n\nAbove you, two guard towers rise majestically on either side of the drawbridge, and a parapet connects them so that soldiers of those days were able to quickly move from one side to the other.\n\nYou can't help but feel that the castle is watching you with expressionless eyes through the empty windows.\n\n> You examine well\nThe well is built on a base of white marble, and although the marble is cracked and broken in places, it has preserved its former beauty.\n\nIn silence you admire the craftsmanship that has gone into building this well. The stones are so well adapted that there is no gap between them.\n\nMounted on top of the well is a small roof raised on two wooden columns, covering the hoist mechanism.\n\n> You examine the hoist\nThe mechanism is nothing more than a wooden cylinder operated by a handle. There's no rope or bucket around to raise any water with.\n\nIn the hoist mechanism is a winch handle.\n\n> You pull the handle\nYou turn the handle, but it rattles in the wooden drum without making it turn around. Useless.\n\n> You look at the portal\nThis is the entrance (or exit) to or from the courtyard. People used to walk in or out through the impressive arch, but the portcullis makes that impossible.\n\nA niche has been built into the side of the portal, and in it is a statue of a knight in full armor: a symbolic guard of the old gate.\n\n> You look at the statue\nHe stands tall in his niche, one hand on his sword, the other reached out with fingers clawed, as if he is holding on to some sort of handle.\n\nAlthough marked by the teeth of time and weather, he is still an incredible piece of art\n\n> You put the handle in Hand\nGently, you place the winch in the hand of the knight. It fits perfectly.\n\n> You pull the handle\nAs you pull the winch, you hear a faint click, and a light tremor goes through the statue.\n\n> You examine the statue\nYou've broken it!!\u2014Nah, not really. But something has changed. The knight's head has risen almost an inch from his shoulders. It looks a bit like a screw that hasn't been screwed all the way in.\n\n> You examine the Head\nWhich do you mean, the knight, the mallet (smelling faintly of mildew) or the pull-string doll (smelling faintly of mildew)?\n\n> Knight\nGrabbing the knight's head with both hands, you manage to rotate it a little. A crunching sound is heard, and a crack becomes visible in the wall behind the statue.\n\n> You examine the crack\nThe wall behind the knight has a small crack in it.\n\n> You put the handle in the crack\n(first taking the winch handle)\nThe winch handle is held snugly in the knight's grip.\n\n> Go north\nYou maneuver behind the knight and enter the secret passage.\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA mistlike trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You go to the south\nCourtyard (Finn Rosenloev)\nAs you walk cross the square courtyard, you are repeatedly twisting your legs, and you cannot help but wonder how many broken legs these cobblestones have caused over time.\n\nA beautifully decorated well built by blocks of granite dominates the courtyard. Opposite it, to the east, is the entrance to the curiosity store.\n\nTo the north, a secret passage is hidden in the niche near the barred gate. Not too far from the well is the way down to the tunnel.\n\nAbove you, two guard towers rise majestically on either side of the drawbridge, and a parapet connects them so that soldiers of those days were able to quickly move from one side to the other.\n\nYou can't help but feel that the castle is watching you with expressionless eyes through the empty windows.\n\n> You examine the castle\nThe windows are empty.\n\n> Go east\nCuriosity Shop (Rachel Spitler)\nA mingling of comfortable scents welcomes you to the small shop -- coffee, apples, cedar, soap, peppercorn -- and below it, just a hint of something metallic you can't quite recognize. The large windows behind you cast a dappled sort of light over the rug-strewn floors, the cheerful back counter with its display case underneath, the walls crowded with goods for sale. The courtyard lies back out to the west.\n\nA woman is bustling about behind the counter.\n\n> About yourself\nIt's you!\n\n> You look at the coffee\n(the smell)\nYou can't seem to find where the scent is coming from. On the air, you catch a whiff of Jessenia's shampoo. Smells nice.\n\n> You examine the styrofoam\nThe swirls in your cup form a roller blade. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You examine the windows\nThe courtyard waits outside.\n\n> You look at the counter\nThe cash register and phone are surrounded by jars of bright-colored rock candy, cinnamon sticks, and other small goodies. A notepad, dark with ink, is pushed off to one side. Underneath the counter, a glass display case prominently features a beat-up violin, a geode, and an elegant tarot deck.\n\n> You examine the violin\nIt looks pretty beat-up to you. Still, there's a sort of sad dignity in its dark curves. The strings almost seem to vibrate of their own accord, as if aching to be played.\n\n> You examine geode\nA concave riot of gorgeous purple crystals -- orderly yet chaotic, playful yet disciplined, a handspan across and more than you can hold in your mind.\n\n> You examine tarot\nThe exquisite deck of cards is nestled in velvet and protected by a shiny wooden box. The top card is turned perpendicular to the rest to more clearly display its minutely-detailed artwork. The letters\nXV are inscribed between the wings of a cavorting Devil.\nGreat black brows meet in a sadistic V over his laughing visage, but the man and woman chained at his feet seem not so much frightened as exhausted. The entire tableau is supported on a platform of some 80 tiny human figures, painstakingly rendered.\n\n> You examine the woman\nThe shopkeeper is a tall, dark-haired woman with glowing brown skin -- metaphorically glowing -- about half a generation older than you. She speaks with a slight Spanish accent and wears a plain canvas apron over a dark blue blouse and jeans. A small amulet rests over her heart. Although she's keeping very busy, she beams whenever you catch her eye, and it seems to come naturally.\n\nAt the moment, Jessenia is taking inventory.\n\n> You examine the amulet\n(the broken silver amulet (smelling faintly of mildew))\nIt's a tarnished silver pendant, about the size of your thumb, on a leather cord. The pendant is shaped like an open hand. It's been damaged - a deep groove, like a chisel mark, cuts across the palm, nearly breaking the pendant in half.\n\nA faint smell of mildew emanates from it.\n\n> You examine the jessenia's amulet\nA tiny silver hand with a triangle on its palm, oddly cute, peaceful. It hangs on a thin, mismatched-looking metal chain.\n\n> You examine the notepad\nWhen Jessenia's back is turned, you lean over and discern a list of odd phrases in tidy handwriting, some struck through. The first line catches your eye: Ghana Dive Pod\n\n> Continue\nYou take another peek. A line catches your eye: VIP Hogan Dead\n\n> You keep going\nYou take another peek. A line catches your eye: Ova-Handed Pig\n\n> Continue\nYou take another peek. A line catches your eye: Vapid Hag Node\n\n> You talk to Jessenia\nYou say hello to Jessenia.\n\n> You ask Jessenia about the tarot\n\"Those were mailed here anonymously not long ago,\" says Jessenia reverently. \"They're handmade. I'm not even sure what the material is -- it feels like thin slices of ivory. There's real power in a work of art like that -- someone's time, all their attention, the touch of their hands, even before you get to the beauty of it. I wish I knew who made them.\"\n\n> You ask Jessenia about the geode\n\"Nice, isn't it?\" beams the proprietor. \"I traded a beautiful old tea set for that.\"\n\n> You ask Jessenia about the violin\n\"I found that under some junk in the back office,\" says Jessenia. \"Strange, eh? I don't play a note, but I'm told it's in very good condition for being so old and so neglected.\"\n\n> You examine the register\nThe cash register and phone are surrounded by jars of bright-colored rock candy, cinnamon sticks, and other small goodies. A notepad, dark with ink, is pushed off to one side. Underneath the counter, a glass display case prominently features a beat-up violin, a geode, and an elegant tarot deck.\n\n> You ask Jessenia about the amulet\n(the broken silver amulet (smelling faintly of mildew))\nJessenia gamely admires your broken silver amulet (smelling faintly of mildew).\n\n> You examine goods\nThe shelves dominating the north and south walls are all but overflowing with items, useful or delicious or at least interesting. There's no order to them as far as you can tell: spoons, jugs, bottles, sachets of spices, bolts of cloth, barrels of apples, sacks of flour and sugar, knives, ribbons, straw hats, garden trowels, brooms, mouse traps, paints, wooden boxes of tea, heaps of hand-dipped candles. You don't see a brand name anywhere. It all seems charmingly old-fashioned and homely. At first. But...\n\nAs you look more closely, you start to notice peculiar things scattered among the household goods. A stack of small cast-iron cauldrons; several rolls of thick parchment as tall as your waist. Substances with confounding labels sit innocently together in a wooden rack. Above the display, a line of fearsome masks leer down on you. One shelf holds an assortment of animal skulls, paws, furs, tusks, antlers, feathers; a tiny curtain is drawn across a display of glass jars, but you catch a glimpse of lumpy red that turns your stomach. Cards are sold in packs of 79, but all of them seem to be blank. Crystals of every description stand in bunches among the household tools. It's all rather overwhelming.\n\n> You ask Jessenia about her amulet\n(the broken silver amulet (smelling faintly of mildew))\nJessenia wrinkles up her nose at your broken silver amulet (smelling faintly of mildew).\n\n> You ask Jessenia about the jessenia's amulet\nShe shyly covers the amulet with her fingers. \"Just a superstitious bauble,\" she says. \"A... humble charm against evil.\"\n\n> You ask Jessenia about Jessenia\n\"Me? Oh, not much to tell,\" laughs Jessenia. She seems like a nice lady, but she's not a very good liar. She does go on to explain that she's only been in Backwater for a few years, but dances away from the subject of why she came here.\n\n> You ask Jessenia about the Shop\nYou engage in some small talk, but she's obviously just being polite.\n\n> You ask Jessenia about Peter\nWhich do you mean, the djr-fake-peter, Peter or book items?\n\n> You ask Jessenia about Vaadignephod\nWhich do you mean, manifold or Vaadignephod?\n\n> You ask Jessenia about notepad\n(the notepad)\nYou engage in some small talk, but she's obviously just being polite.\n\n> You ask Jessenia about goods\n\"Anything in particular you'd like to know about?\" she asks brightly.\n\n> You ask Jessenia about the parchment\n\"Some of those already have writing on them,\" Jessenia warns brightly. \"You can try your luck, but I can't promise it'll say anything you want to read.\"\n\n> You ask Jessenia about the masks\nJessenia's salesman cheer seems to slip a bit as she flicks a glance at the masks. \"They came as a set,\" she says. \"There used to be seven, but when I noticed they had ten horns between them...\" She makes an embarrassed gesture and turns away.\n\n> You ask Jessenia about the cauldrons\nJessenia laughs. \"I don't even know what people do with those. Teenage girls buy a lot of them, together with candles and crystals.\"\n\n> You ask Jessenia about the crystals\n\"Something for everybody!\" says Jessenia amiably. \"Love, healing, clarity, courage, luck. Some maybe less wholesome, but only for study. And of course, they're beautiful, too!\"\n\n> You ask Jessenia about the candles\nWhich do you mean, the generic goods, the first candle or the second candle?\n\n> You look at Key\nWhich do you mean, the Red Triangle Key (smelling faintly of mildew), the splintery wooden key, the ornate bronze key, the sinister iron key, the frosty blue key, the intricately folded origami key, the silver and ivory key or the key from an urn (smelling faintly of mildew)?\n\n> You look at the jar of the keys\nThe label on this musty jar indicates that it's meant to store old keys. You'll have to open it up to see what's in there.\n\nIn the jar of old keys are a splintery wooden key, an ornate bronze key, a sinister iron key, a frosty blue key, an intricately folded origami key and a silver and ivory key."
    },
    {
        "text": "> You look at your surroundings\nCuriosity Shop (Rachel Spitler)\nA mingling of comfortable scents welcomes you to the small shop -- coffee, apples, cedar, soap, peppercorn -- and below it, just a hint of something metallic you can't quite recognize. The large windows behind you cast a dappled sort of light over the rug-strewn floors, the cheerful back counter with its display case underneath, the walls crowded with goods for sale. The courtyard lies back out to the west.\n\nJessenia might have been watching you, but just glanced away.\n\n> You examine the wares\nThe shelves dominating the north and south walls are all but overflowing with items, useful or delicious or at least interesting. There's no order to them as far as you can tell: spoons, jugs, bottles, sachets of spices, bolts of cloth, barrels of apples, sacks of flour and sugar, knives, ribbons, straw hats, garden trowels, brooms, mouse traps, paints, wooden boxes of tea, heaps of hand-dipped candles. You don't see a brand name anywhere. It all seems charmingly old-fashioned and homely. At first. But...\n\nAs you look more closely, you start to notice peculiar things scattered among the household goods. A stack of small cast-iron cauldrons; several rolls of thick parchment as tall as your waist. Substances with confounding labels sit innocently together in a wooden rack. Above the display, a line of fearsome masks leer down on you. One shelf holds an assortment of animal skulls, paws, furs, tusks, antlers, feathers; a tiny curtain is drawn across a display of glass jars, but you catch a glimpse of lumpy red that turns your stomach. Cards are sold in packs of 79, but all of them seem to be blank. Crystals of every description stand in bunches among the household tools. It's all rather overwhelming.\n\n> You ask Jessenia about the skulls\n(the bird bones)\nYou engage in some small talk, but she's obviously just being polite.\n\n> You ask Jessenia about the tusks\n\"I have a friend who's a trapper,\" says Jessenia, and leaves it at that.\n\n> You ask Jessenia about the glass jars\n(the dusty glass jars)\nYou engage in some small talk, but she's obviously just being polite.\n\n> You ask Jessenia about the trolley\nWhich do you mean, the trolley pass, the trolley schedule (smelling faintly of mildew) or the proposed trolley system map?\n\n> Go north\nYou maneuver behind the knight and enter the secret passage.\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA ghostly trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for the brown Line\nYou sit on the memorial bench, hold out your pass, and wait for the brown line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 12:10 am; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA ghostly trolley stop sign reads Brown Line -- Train Station.\n\nYou shiver for no reason at all, as if someone has just walked over your grave.\n\n> You examine the coffee\nThe clouds in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go south\nTo the north is the gigantic windowless bulk of the train station. Perhaps that is unsurprising, given the rest of the town. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine.\n\n> You go to the south\nYou pass over the bridge. The ravine has become a white river, teeming with creatures: you see a fin, a gill, a plaintive upturned face, before each is swept away.\n\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You wear the mask\nYou're already wearing that!\n\n> You lie on the altar\nYou get onto the stone altar.\n\nYou lie down, settling your body into the impression and your face into the cavity at the end. The milkweed leaf mask protects your face from the strands of orange slime that you belatedly notice fill the cavity. Is it even you doing this? It feels like the most natural action in the world.\n\nAs you press your face deeper into the cavity, your vision warps. The world seems to fold and buckle: what was convex becomes concave and what was concave becomes convex.\n\nThe altar wobbles and inverts, giving you the bizarre sensation of lying atop a smooth green hole that floats in midair. Deeper within the hole is a shelf of green stone with something resting (how?) on it.\n\n> You examine the shelf\nOn the shelf is an imaginary basalt sphere.\n\n> You put the pendant in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the broken silver amulet (smelling faintly of mildew).\n\n> You check your inventory\nYou are carrying:\nan imaginary basalt sphere\na golden apple\na book New England and the Bavarian Illuminati\na FFFFFFFF punch card\na 923647F1 punch card\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card\na 00A02209 punch card\na can of salt (smelling faintly of mildew)\na blank punch card\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nThe Seven Gaunts\na faded delivery note (smelling faintly of mildew)\na Red Triangle Key (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\nLegends of Lake Champlain and the Hudson River Valley\n(smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\nTatooine 1: Anchorhead (smelling faintly of mildew)\na 'Pataphysical Approaches to Quantum Superfluids (smelling\nfaintly of mildew)\na snowglobe\na black fountain pen (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pink-bound book (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting\nDe Zeven Testamenten van de Krijsende Zeeworm\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na copper urn (smelling faintly of mildew) (closed)\na bronze urn (smelling faintly of mildew) (closed)\na key from an urn (smelling faintly of mildew)\nsome mildewed leather gloves\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\nTolerating An Asinine God (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na soggy tome (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\nTwin Hearts Between the Planes (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\nThe Dollmaker's Journal (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nan old paperback book (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\nAn earworm is lodged deeply in your head.\n\n> You put the mask in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the giant milkweed leaf.\n\n> Examine slot\nThe slot is pinched very narrow, like a tiny, unhappy mouth. If the sphere is a piggy-bank, you shudder to imagine what dreadful, corroded coin was intended to be inserted.\n\n> You examine the pendant\nIt's a tarnished silver pendant, about the size of your thumb, on a leather cord. The pendant is shaped like an open hand. It's been damaged - a deep groove, like a chisel mark, cuts across the palm, nearly breaking the pendant in half.\n\nA faint smell of mildew emanates from it.\n\n> You touch the pendant\nExcept for the sharp edges of the groove, the pendant is smoothly polished. It must have been shiny when it was new.\n\n> Break pendant\nIt's broken already.\n\n> Rub pendant\nYou rub the broken silver amulet (smelling faintly of mildew).\n\n> You go south\nThe imaginary basalt sphere vanishes with a sound like a popping soap bubble.\n\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA spectral trolley stop sign reads Gold Line -- Church.\n\n> You examine the coffee\nThe swirls in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You wait for the blue Line\nYou lean against the church, hold out your pass, and wait for the blue line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you\nfind yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA phantom trolley stop sign reads Blue Line -- Library Square.\n\n> Go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nOn the cart is a shabby journal.\n\nA librarian stands behind a counter.\n\n> You look in the sp.\nYou unzip the side pocket just enough to take a peek inside. It contains an ominous-looking painting (smelling faintly of mildew), a dull machete, a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box, a book list, a cast iron spire and a library card.\n\n> You examine the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nThe Dollmaker's Journal\nTwin Hearts Between the Planes\nBackwater Personalities (1915-1925 edition)\nTolerating An Asinine God\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nVenator in Tenebris\n'Pataphysical Approaches to Quantum Superfluids\nLegends of Lake Champlain and the Hudson River Valley\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nThe Seven Gaunts\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\nThe librarian sorts some books.\n\n> You give the Legends to the librarian\nKlonk-klonk. On the cart it goes.\n\n> You give Dollmaker to the librarian\nKlonk-klonk.\n\n> Examine journal\nWhich do you mean, The Dollmaker's Journal (smelling faintly\nof mildew), the shabby journal, the Journal of Edwin Cragne\n(smelling faintly of mildew), the moldy, waterlogged journal (smelling faintly of mildew) or the tiny leather journal (smelling faintly of mildew)?\n\n> You examine the tiny leather\nIt's a tiny leather book. It's plain except for an unusual and quite striking design that has been embossed on the cover. Although discolored by age, the initial pages are quite legible. Unfortunately, many of the later pages have suffered heavily due to the silverfish and are covered with a patchwork of irregular, notched holes - only fragments of the once clear handwriting remain.\n\nA faint smell of mildew emanates from it.\n\n> You examine the list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nBackwater Personalities (1915-1925 edition)\nThe Lives of the Roman Emperors\nDe Zeven Testamenten van de Krijsende Zeeworm\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nNew England and the Bavarian Illuminati\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\nThere! It changed again! Weird.\n\n> You examine Edwin\nThis handwritten journal appears to cover a period from September 1939 to May 1943 in the life of Edwin Cragne, a self-styled scientist and inventor. It has a maroon cover and is densely packed with a tight, neat writing and sporadic equations. Portions of it appear to have been written for Edwin Cragne's brother. Other portions appear to have been written only for himself and are in code. However, the parts that are not encoded seem to cover many of the devices in this boiler room, all of which Edwin Cragne apparently built himself. You could consult the journal about them.\n\nA faint smell of mildew emanates from it.\n\nThe librarian stamps something.\n\n> You look up Cthulhu in Edwin\nI have located sunken R'lyeh where Cthulhu lies dreaming. It is not safe to enter there, but it may be observed using a hex code of 880A5D23.\n\n> You read New England\n(first taking the book New England and the Bavarian\nIlluminati)\n... The practical development of this pernicious system has been seen in France. It has served as an engine to subvert all her ancient institutions, civil and religious, with all the checks that served to mitigate the rigor of authority; it has hurried her headlong through a rapid succession of dreadful revolutions, which have laid waste property, made havoc among the arts, overthrown cities, desolated provinces, unpeopled regions, crimsoned her soil with blood, and deluged it in crime, poverty, and wretchedness; and all this as yet for no better purpose than to erect on the ruins of former things a despotism unlimited and uncontrolled; leaving to a deluded, an abused, a plundered, a scourged, and an oppressed people, not even the shadow of liberty to console them for a long train of substantial misfortunes, or bitter suffering...\n\nthe cart.\n\n> You examine the list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nBackwater Personalities (1915-1925 edition)\nThe Lives of the Roman Emperors\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\nBy now, you're used to seeing the list shrink dynamically.\n\nThe librarian fusses about behind the counter. You hadn't noticed before, but she doesn't ever seem to move her fingers. Her left hand is permanently in a pointing position, three fingers curled back. Her right is like a puppet's. She's probably a stroke survivor or something. You try not to stare.\n\n> You go to the west\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nAn ethereal trolley stop sign reads Blue Line -- Library Square.\n\n> You put the books in the bp\nfaded delivery note (smelling faintly of mildew): Done.\nTatooine 1: Anchorhead (smelling faintly of mildew): Done.\nold newspaper (smelling faintly of mildew): Done.\nsoggy tome (smelling faintly of mildew): Done.\nmoldy, waterlogged journal (smelling faintly of mildew): Done.\ntiny leather journal (smelling faintly of mildew): Done.\ndiary of Phyllis Cragne (smelling faintly of mildew): Done.\npostcard of Big Ben (smelling faintly of mildew): Done.\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew): Done.\n\n> Close bp\nYou close the book pocket.\n\n> You go southwest\nDrinking Fountain (Lucian Smith)\nA public drinking fountain is placed in a nook here, nearly overgrown with ivy. You can return to the town square to the northeast.\n\nBehind the main fountain, mounted in the same pillar of brick, is a second, somewhat smaller fountain.\n\nYou can also see a well-dressed ghost (smelling faintly of mildew) here.\n\n> You examine Ghost\n(the Ghost Libation Legend)\nThe Lonesome Keen Serves One\n\nIngredients: 1 part cold gin 2 parts warm apple cider 1 pinch cinnamon 8 grains salt\n\nInstructions: \"It alls means something, thids drink. My great-grandfather... a Cragne! Keening Ken Cragne! Through from the... to the top. Is he here now? Is he dead? (laughs) And we remember wha (unintelligible) Kenneth Cragne! It all meanses something... listen to me... listen... Two parts cider, yeah? Because two days outta three, ol\" Ken Cragne put cider in his flask! Calm days, they say. My dad said thad. Calm Ken days... Calm. But I wasn't alive then I don't (unintelligible.) But still I remember the gin days, you know? I shouldn't remember 'em right? Because that's crazy, right? (laughs) Why do I remember Ken Bastard Cragnes cold gin days, huh? Thas weird, right? My grandpa's the only kid of nine to like... Hold on okay. Lemme EXPLAIN the DRINK. The pinch of cinn- of cinnda- the punch a cibadon... cinnamon. That's Ken's lonely work! Train conductor, and actually the only one in my family to do that particular occupation. Big money becauss he smuggled cinner... cinn... he smuggled lots of things actually. They'd all be dead by now anyways, right? (unintelligible) What were we talking about? Oh! Oh god! EIGHT GRAINS OF SALT! EXACT! PRECISE OR HE DOES THE THING OKAY? Eight kids eight grains eight bloody brains. I would sing thadt. Perfect or Ken... Ken is here right now, right? Don't tell him I said- he just dead but he's here... He usedta beat up my mom and dad... after they died! I don't know knowww whyyy. We Cragne's got space in our blood. Space times. Very dignified, do you hear me? Very dignified! That's the name. That's hell. LISTEN TO (unintelligible) dig... we got.. we... please...\n\n> You examinwell-dressed Ghost\nA well-dressed and glowering African-American man, impatient with a sense of purpose.\n\nA faint smell of mildew emanates from it.\n\nSeeing the smaller fountain, the well-dressed man scowls, and a sledgehammer suddenly materializes in his hands. He stalks towards it, frost blossoming from the ground at each step. Standing in front of it, he hefts the sledgehammer high into the air, bringing it down with great force--only to see it harmlessly pass through the fountain's bowl, without even a whisper of wind. He glares at the fountain, then turns and sees you watching him. He considers for a moment, then seems to come to a decision. He tosses the sledgehammer to you, and you catch it one-handed.\n\n> You hit the smaller Fountain with the sledgehammer\nWith a shout, you attack the \"colored\" fountain with the sledgehammer. Memories bubble up inside you with each strike. BAM. Standing at the counter for an hour, while everyone but you is served. BAM. The constant, constant looks of surprise when people walk in and\nsee someone like you working in a place like that. BAM. Being at least interrogated by the police if not outright arrested any time an unsolved crime takes place in town. BAM. Your friends--your friends--voting to install BAM this BAM damn BAM fountain. BAM.\nBAM. BAM. The last of the fountain finally disintegrates beneath your blows, and fatigue overtakes you. You slump against the fountain, breathing heavily, and the sledgehammer slips from your grasp and fades from view.\n\nThe well-dressed man comes up and puts a cold hand on your shoulder. His mouth doesn't move, but you hear a faint, accented voice, speaking inside your head. \"Thank you. That was... satisfying. It's not enough. But it was still satisfying.\" The man's shoulders straighten as if a weight was lifted off of them, and you hear a sigh. \"I... might be able to help. I'll try, at least.\" The man begins fading from view, as the spot on your shoulder where he's touching you gets colder and colder. You gasp with pain and clutch the spot just as the man fades entirely. Slowly, your shoulder begins to warm up again, but a spot on your collarbone remains cold to the touch.\n\nYou follow the sensation of cold down your arm to your hand, which now appears to be holding a pair of reading glasses.\n\n> You examine the reading glasses\nA pair of round, thick-rimmed glasses with the Backwater library insignia on each eyepiece.\n\n> You wear them\n(Disclaimer: Wearing these reading glasses may slightly decrease the difficulty involved in searching for library books. Adventurers who are concerned with maintaining hint purity are advised to use their best judgment.)\n\nYou put on the pair of reading glasses.\n\n> You examine the coffee\nThe swirls in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: Lovecraft, horror, Comedy, female protagonist]\n\n> You describe your surroundings\nDrinking Fountain (Lucian Smith)\nA public drinking fountain is placed in a nook here, nearly overgrown with ivy. You can return to the town square to the northeast.\n\nA ragged hole graces the side of the brick fountain.\n\n> You examine Hole\n(the ragged hole)\nA ragged hole gapes ominously in the side of the fountain where the secondary fountain used to be.\n\nIn the ragged hole is Backwater Personalities (1915-1925 edition).\n\n> You read it\nYou flip through the book, looking at various of write-ups and pictures of men and women in 1920's garb until, with a start, you recognize the well-dressed ghost, staring at you intently from the page. You read his entry:\n\nEveryone should recognize our \"darkly beloved\" town librarian, always ready with a smile and a book suggestion for all who walk in his doors, especially those of our younger generation. What you may not know is that his family has been here for six generations, which is pretty unusual for someone like him! Even more amazingly, Mr. Josey is a college graduate--as were his father, and his father's father!\nSo don't be surprised when you go into our beloved library and see this face: he's an institution just as much as the building is!\n\nThere's a clipped newspaper article tucked inside the book at that page, which you remove.\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\n> You examine the clipped newspaper article\nLIBRARIAN DIES IN ALTERCATION IN TOWN SQUARE.\n\n> You read it\nMay 24th, 1926\n\nLocal librarian and black man Emmett Josey was found dead next to a sledgehammer in the town square last night, a victim of suspected foul play. The sledgehammer has been identified as belonging to the deceased, but why he would have had it with him, at night, in the town square, has been the subject of much debate. Responding to speculation that Josey may have been upset by the recent vote to install a second drinking fountain to better serve the needs of our whole community, the bill's sponsor Vincent Cragne (a second cousin to our mayor), speaking at the bill-signing ceremony, said, \"Mr. Josey was somewhat vocal in his opposition to the bill. But like all of us, he knew that bowing to the will of the majority is a cornerstone of a democratic society, and informed me personally that he bore me no ill will.\" Despite the unfortunate circumstances, the bill-signing ceremony proceeded as planned,  the only hitch being that Mr. Cragne was unable to sign the bill himself, due to a recent farming accident that left his right hand shattered. We wish him all the best for a speedy recovery. The circumstances of Mr. Josey's death are expected to remain unsolved.\n\n> You ask Emmett about the murder\n\"I can't tell you anything about that,\" the voice in your head replies. \"It's been too long. The books I can remember, mostly. But not much else.\"\n\n> You ask Emmett about the Personalities\nA sigh echoes in your head. \"Didn't really think I needed an entry in that, but I couldn't really complain. Jess was so up-beat about the whole thing. The entry about me is...\" Another sigh. \"She... meant well.\"\n\n> You ask Emmett about Cragne\nFeeling foolish, you turn your shoulder towards the Journal of\nEdwin Cragne (smelling faintly of mildew), but get no response.\n\n> About you\nYou're still feeling tired, but confident as well.\n\n> Go north\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA phantom trolley stop sign reads Blue Line -- Library Square.\n\n> Go northwest\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nShack Exterior (Michael Lin)\nA clearing, outside a wooden shack. A clockwork doll sits here, utterly incongruous at the edge of the woods.\n\nThe woods are to the northwest, while that godforsaken town is to the southeast.\n\n> You examine the coffee\nThe swirls in your cup form a sailboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You go southeast\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA spectral trolley stop sign reads Blue Line -- Library Square.\n\n> You wait for aqua Line\nYou lean against the access ramp, hold out your pass, and wait for the aqua line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA mistlike trolley stop sign reads Aqua Line -- River Walk."
    },
    {
        "text": "[Themes: Lovecraftian, female protagonist, Comedy]\n\n> Go downward\n(first opening the the rusty metal hatch)\nUsing the key as a handle, you slowly, painfully drag the hatch open as it screeches in protest.\n\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Hey! Come closer! You're not deaf, are you?\"\n\n> You examine the coffee\nThe clouds in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n\"Hey, you! I'm waiting! Yoohooo?\"\n\n> Go northwest\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\nFor a moment you think you see something moving in the shadows, but it's probably just your mind playing tricks on you.\n\n> You examine the coffee\nThe clouds in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You go upward\nTiny Windowless Office (Llew Mason)\nStark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. Besides the stairs that you came up, the only exit lies through a door at the north end of the room.\n\n> You look at the coffee\nThe swirls in your cup form a kayak. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: horror, Lovecraft]\n\n> Go downwards\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\n> Go southeast\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Psst! Come closer! Can you hear me?\"\n\n> You go upward\nTaking a deep breath, you grasp the ladder for support and hook your leg up to the first available step. The metal creeks and groans alarmingly as you transfer your weight, but the bolts hold firm. You shakily gather yourself and begin to ascend back up to the surface.\n\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> Go south\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA noncorporeal trolley stop sign reads Aqua Line -- River Walk.\n\n> You wait for the Orange Line\nYou lean against the rotting deposits, hold out your pass, and wait for the orange line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA phantom trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You go north\nThe Invisible Worm (Sam Kabo Ashwell)\nA dimly-lit tavern, old enough that all its straight lines have worn or warped slightly out of shape, and everything feels cluttered and a little too small; you've had apartments with living-rooms bigger than this. Heavy, dark beams support a low ceiling, and the walls are crowded with ancient farm tools and yellowing photographs. A cramped doorway, south, leads back outside.\n\nThe bartender impassively surveys the room.\n\nOld-timers monopolize the fireplace nook; a straggle of teenagers hunch in a corner.\n\nThe old-timers wax poetic about the time there was a plague of frogs on Giles Driscoll's niece's land, in punishment for the sins of the government.\n\n> Go east\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA ghostly trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for the purple Line\nYou sit on the memorial bench, hold out your pass, and wait for the purple line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> Go northeast\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\n> You examine the coffee\nThe clouds in your cup form a gunblade. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\n> You examine urn\nWhich do you mean, the silver urn, the copper urn (smelling faintly of mildew) or the bronze urn (smelling faintly of mildew)?\n\n> You open silver urn\nThat's already open.\n\n> You open copper urn\nGreasy red liquid flows out over your hands, itching like centipede legs. Something deep in the urn is just visible, adhered to the side. It is not ashes. Tiny hands, half-reduced to corpse-liquor, fold over a tiny blackened face.\n\n> You examine the sp\nA heavily reinforced pocket to store your sides in, if you're the kind of person who has too many sides to fit on a sidering. Wait, what? No, it's a pocket on one side of the backpack's central cavity. You can put whatever you want in there.\n\n> You look in the sp.\nYou unzip the side pocket just enough to take a peek inside. It contains an ominous-looking painting (smelling faintly of mildew), a dull machete, a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box, a cast iron spire and a library card."
    },
    {
        "text": "[Themes: horror, Lovecraftian, female protagonist]\n\n> You look at your surroundings\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\n> You examine the northern columbarium\nThe geometric shapes incised deep into the marble prick at your eyes. No explanatory plaque is affixed. You wonder whose name was obliterated.\n\n> You examine the bronze urn\nThe metal seems to absorb all light. Unfamiliar colors dance iridescent on its surface. It's greasy to the touch.\n\nA faint smell of mildew emanates from it.\n\n> You examine the copper urn\nThe smell leaches through the metal, clinging to your skin, your hair. Your stomach rumbles. You're almost hungry.\n\nA faint smell of mildew emanates from it.\n\n> You examine the western\nThe marble is blank. Mold has seeped into its pores, dyeing it a fungal yellow. You don't want to touch it.\n\nA bouquet of flowers, black with rot, lies at the foot of the columbarium.\n\nIn the western columbarium is a silver urn.\n\n> You look at eastern\nCrude figures are incised into the white marble door. One is jackal-headed, cringing and skeletal. Another is fat and imbecilic as a maggot. The tarnished plaque's name has been eaten away; in its place someone has scraped \"O homines ad servitutem paratos!\"\n\n> You examine southern\nThe southern columbarium's front panel hangs ajar, as if ripped asunder. Battered by the wind, it swings; the sound drills into your skull. Your gums ache.\n\nInto the granite wall, someone has carved \"MEDIA VITA IN MORTE SUMUS\" in long, ugly slashes.\n\n> You put copper urn in southern\nYou put the copper urn (smelling faintly of mildew) into the southern columbarium.\n\n> You put the silver in the western\nWhich do you mean, the silver urn, the silver and ivory key, the tarnished silver teapot from the Queen Mary (smelling faintly of mildew) or the antique locket (smelling faintly of mildew)?\n\n> Urn\n(first taking the silver urn)\nYou put the silver urn into the western columbarium.\n\n> You examine blank\n(the blank punch card (smelling faintly of mildew))\nIt is a typical punch card, a thin piece of cardboard the size of a bank note from a bygone era. This one is blank.\n\nA faint smell of mildew emanates from it.\n\n> You clean it\nYou rub the blank headstone.\n\n> You examine grave\nMildewed and splintering boards cover the nearest grave. Beneath, gritty ocher water, thick as paint, laps the soil. The grave is open. A granite headstone looms over it, implacably blank.\n\nIn the flooded grave are some rotten flowers.\n\n> You fill the silver urn with the water\nMinutes pass, punctuated only by the gentle splash of stinking water onto the soil. Your shoulders ache; your fingers go numb holding the urn. Yet you've made some progress, and the grave walls are showing."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft]\n\n> Go down\nYour throat closes up at the thought of touching the water.\nYou'll have to find another way down.\n\n> Empty urn\n(the silver urn)\nYou can't bail that.\n\n> You fill the silver urn with the water\nMinutes pass, punctuated only by the gentle splash of stinking water onto the soil. Your shoulders ache; your fingers go numb holding the urn. Yet you've made some progress, and the grave walls are showing. Your legs are numb, your clothes soaked with reeking water. As you stare into the empty grave, it leers up. Beyond your reach rainwater sloshes round the bottom.\n\nYou think you could climb down now. Carefully."
    },
    {
        "text": "[Themes: Comedy, Lovecraftian]\n\n> Go downward\nYou clamber cautiously into the grave, gagging at the stench, and don't relax until your feet touch the ground. Your footing is unsteady here; the walls seem to be dissolving before your eyes, slick with iridescent runoff that reminds you of gasoline. To the west is the grave of Zadie Cragne, you think, and to the east is the grave with the vandalized headstone; yet your sense of direction down here is limited at best.\n\nThe dirt to the west is dissolved more than the rest. Something pokes through the mud there.\n\n> Dig\nWhich way do you want to dig?\n\n> You examine west\nYou see nothing unexpected in that direction.\n\nThe rain pounds your back and rattles your bones. Looking down, you realize you're knee-deep in water already. Around you the mud groans ominously.\n\n> You dig west\nThe mud crumbles away. You hold your breath, expecting a whiff of rot, a crumbling coffin no longer than your arm. But there is nothing--nothing but a pewter box too small to be a coffin.\n\nYou hope, at least, it's too small to be Zadie's coffin.\n\n> You get pewter box\nYou scoop the box out of its crumbling niche. A whiff of stale air hits you, and you recoil. Yet the box remains safely cradled to your chest. Something inside it thumps, as if to the rhythm of your heartbeat.\n\nYou can see no further into the grave.\n\nThe rain pounds your back and rattles your bones. Looking down, you realize you're knee-deep in water already. Around you the mud groans ominously.\n\n> Go upwards\nYou get out of the flooded grave.\n\nCragne Family Plot (Mark Britton)\nA cramped and neglected place on unwholesome yellow soil. Over the years the gravestones have shifted like teeth in an overcrowded mouth, collapsing one atop the other. Crabgrass pokes up limply between them, urine-yellow and parched-looking. The earth mounds up around the shabby crypt, as if it's sunk over the years into the Vermont topsoil. You wonder who would want to be buried here--and who would willingly consign their ancestors to this brutal place. Perhaps that's why it's been so neglected.\n\nFour squat columbariums stand north, east, south, and west of here. A winding and uncertain path leads southwest. By stepping over collapsed gravestones and bleached obelisks you can go northwest. Carefully. You could also enter the crypt from here, if you were able to open it.\n\nThree graves nearby draw your eye. One headstone teeters drunkenly, half overrun by lichen. One headstone has collapsed entirely. An adjacent plot stands open, overlooked by a blank headstone. The grave within is flooded almost to the top with bubbling rainwater.\n\n> You examine the pewter\nA dull pewter box, unaccountably heavy. Your gaze skids over the engravings. Damp and glistening, they look very nearly alive.\n\nWith a thunderous squelch the walls cave in and the grave floods again; an acrid stink mushrooms up. Your eyes water, your throat tightens. Anything you left in there is probably pretty damp.\n\n> You look at the teetering\nA perfectly round face gawps up at you, its eyes and mouth neatly drilled out. Deep gashes score the granite, the name obliterated. You wonder how long it took. You wonder how much hate it took.\n\nJust readable beneath a carpet of lichen is the inscription: \"In the sweat of thy face shalt thou eat-\" Here the inscription has been pulverized. A line below it continues: \"-till thou return unto the ground; for out of it was thou taken: for dust thou art, and unto-\" The inscription crumbles away. An entire line has been scraped off.\n\nThe quotation's almost familiar, but there's something off-putting about the missing words. They draw the eye like wounds.\n\n> You look at collapsed\nThe stone is pitted, perhaps acid-eaten. A litter of dead insects and blackened leaves leaks from every cranny. Almost unreadable is the inscription \"Zadie Cragne, 1829.\"\n\nOne date. You search in vain for a second, then glance round at the jostling tombstones and wonder how many infants lie beneath.\n\n> You unlock the pewter with Key from an the urn\nYou unlock the pewter box.\n\n> You open it\nYou open the pewter box, revealing The Lives of the Roman\nEmperors.\n\n> You read it\n--Octavius Lucilius Saturninus, accused of turning Palatine Hill into his whorehouse. Few reliable reports exist from Saturninus's contemporaries.\n\nFragments of satirical poetry now survive. Until the 17th century, the commentaries of Sextilius were rarely copied and often actively suppressed; they appear on several lists of books condemned by the Papacy. Sextilius's depictions of Saturninus's court are outrageous not for their sexuality, nor for their frank violence. Rape and incest were not unknown in the literary tradition of Imperial Rome, nor in the Imperial court (witness the accusations leveled against Saturninus's predecessor Gaius Lucilius and his daughters, the survivors among whom were exiled by the Salvius family).\n\nRather, Saturninus was condemned primarily for his offenses against the Roman religious-political complex. The Eastern cult promoted in Saturninus's court did not merely deny the existence of the Roman gods; nor did it \"simply\" elevate Saturninus and his family to the pantheon. Saturninus is believed to have struck at the very heart of Roman morality, depicting Rome herself in helpless thrall to the Eastern gods--\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\nYour reading glasses frost over at the edges. You feel a sharp pain\n\n> You examine the coffee\nThe clouds in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go southwest\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA mistlike trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go inside\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nThe parrot sculpture protrudes from the roots near the exit.\n\n> You look at the coffee\nThe swirls in your cup form a kayak. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You examine the coffee\nThe clouds in your cup form the engine of a train. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You drop the gloves\nDropped.\n\n> You go north\nYou climb the steps to the porch.\n\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A calfskin coat hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\n> Wear the calfskin\n(first taking the calfskin coat)\nYou put on the calfskin coat."
    },
    {
        "text": "[Themes: Lovecraft, Comedy, female protagonist]\n\n> Look around\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch two strangely shaped metal hooks are fastened to the wall.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\n> You examine the hook\n(the hooks)\nTwo black metal hooks protrude from the wall, twisting in strange ways, like the outline of the human form projected through some alien dimension. Or perhaps the Cragnes simply wanted hooks that could hold any item of clothing.\n\nThe floor below the hooks is lost in an unusually deep black shadow.\n\n> You get the cloak\nTaking the cloak reveals a leather boot, mate to the first one.\n\nThe cloak tingles strangely in your hands.\n\n> You put the cloak on hook\n(the hooks)\nYou put the black cloak on the hooks.\n\nYour senses return to normal.\n\n> You examine the boot\n(the mate of the first leather boot)\nA brown leather boot like the first, but without the mud. You think you glimpse something behind its pulled-out tongue.\n\n> Search boot\n(the mate of the first leather boot)\nYou discover a slip of paper inside the boot.\n\n> You examine the slip of the paper\nIt says \"Inspected by Number 8.\"\n\n> Go north\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nOutside the windows, the sunset is an ominous red. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You go east\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nThe massive black armoire still stands against the north-west wall; you can now see a pocket-sized notebook inside it.\n\nIt would seem that the armoire doors have somehow been torn off since you were last here. They lie on the floor nearby.\n\n> You examine armoire\n(the doorless armoire)\nThe massive wardrobe's doors have been torn off entirely; trios of splintered screw-holes show where the hinges previously attached in the upper and lower corners. There's a pocket-sized notebook inside.\n\nIn the doorless armoire is a pocket-sized notebook.\n\nWhy do you suddenly fear that you've left your keys in The Kitchen (Edward B)? You know where your keys are, don't you? (And where's this name coming from?)\n\n> You examine notebook\nA pocket-sized composition notebook with a marbled black-and-white cardboard cover. Many pages have been torn out, judging by the number of strands of torn paper still caught in the wire spiral binding.\n\n> You get it\nTaken.\n\nYou catch a faint smell of smoke.\n\n> You read the notebook\nTurning to the first page, you find a series of notes inscribed with thin, looping letters. \"July 6, I think? We've been here three\ndays now. Uncle Roger said my luggage was destroyed on its way to the house. He sounded mad, but I don't think he was mad that I lost all my things. I think he's mad that I don't believe him. Uncle Theo gave me this note book to replace my journal. He also told me that he's actually not my uncle--he's my cousin, once removed, whatever that means. That seems wrong, though! He looks older than uncle\nRoger!\" (To continue to the next page, simply read the notebook again.)\n\n> You read the notebook\n\"The house was almost empty when we got here, but people I don't recognize have been arriving all day today. I'm used to Roger not telling me what's going on, but all Theo would say was that it's like a family reunion. I don't like being around this many strangers, so I am hiding in the bathroom with my music and some tracing-gears.\"\n\n> You read the notebook\nThis page is full of idle drawings, and around the outermost margins the artist has decorated with a repeating pattern of hearts linked at the base... although, elongated as they are, they almost look more like cartoonishly twisted bones.\n\n> You read the notebook\nMost of the next page has been torn out:\"The old folks let down\ntheir guard when they think I'm not listening, so I [. . .] with my headphones on, and I heard some [. . .] say to Theo how honored he [. . .] to the Very Gated Court. He[. . .] to [. . .]\"\n\nSeveral more pages after this one are missing.\n\n> You read the notebook\nIf any more notes were written, they have all been torn out. A long-legged ungulate has been drawn with heavy pen-strokes on the inside of the back cover of the notebook. It has been captioned in block letters: THE WHITE ANTELOPE.\n\n> Go upward\nTop of Stairs (Q. Pheevr)\nYou are at the top of a staircase, which leads down to Landing at the Bottom of Stairs (Mark Sample). An archway leads east to Upstairs Hall, north end? (Jason Love).\n\nOn the north wall is a round white wall clock.\n\nStanding against the west wall is a dilapidated kitchen sink with a pine cabinet under it.\n\n> Go east\nUpstairs Hall, north end? (Jason Love)\nSomething about this hallway feels wrong. Or at least, more wrong than usual.\n\nYou yet stand in the north end of the upstairs hallway: here are the large doors north and east, the hallway south, the archway west... but the lighting has changed. It's dark--too dark to see, even--but an orange light flickers under the doorway to the north-east.\n\nA couple of short-lived sparks fly out from under the north-eastern door.\n\n> You go to the northeast\nYour senses scream that the room behind this door is burning, but the doorknob itself isn't hot. You swing it open: there is no fire. There isn't even a bathroom; the room in front of you just looks like a continuation of the hallway. You stride forward without thinking, but it's not until you've passed through the door that you recognize the objects in your peripheral vision as a sink beneath a mirror-mounted medicine cabinet. You turn back to reexamine the room you've just left, but you are faced instead with an old, bricked-in doorway.\n\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nThe broken doors to the armoire lie on the floor near the center of the room.\n\nThe doorless armoire stands against the north-west wall. There's nothing inside.\n\nSomething has changed among your possessions.\n\n> You check your inventory\nYou are carrying:\na battered yellow JogMaster (being worn)\na pocket-sized notebook\na slip of paper\na calfskin coat (being worn)\nThe Lives of the Roman Emperors\na pewter box (open but empty)\na silver urn (open but empty)\na clipped newspaper article\nBackwater Personalities (1915-1925 edition) (smelling faintly of mildew)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple\na FFFFFFFF punch card\na 923647F1 punch card\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\na Red Triangle Key (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na sinister iron key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na key from an urn (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You examine JogMaster\nA portable audio player with an attached lanyard so you can Wear It While You Jog! The JogMaster apes more popular brands at a fraction of the price; what it lacks in features, it makes up for in rugged simplicity. It's little more than a yellow brick of plastic with a power switch and a slot in which to insert cassette tapes. This particular unit comes with included Battle Damage, including a jammed battery cover, a missing lever to eject the current cassette, and a crimped headphone jack. Fortunately, a small speaker permits playback even without headphones. In addition to all the wear and tear incurred during normal use, you find one scar which was surely deliberate: someone carved the name \"Carolyn\" along one side.\n\nThe battered yellow JogMaster is currently switched off.\n\n> You turn it on\nYou switch the battered yellow JogMaster on.\n\nA voice is audible through the soft static that now emerges from the JogMaster's speaker. The man speaks with the cadences of one addressing a gathered crowd:\n\n\"--pains me to undo the work of any of our illustrious ancestors,\nthe fact remains that the Incarnadine Chalice, even at its height, was little more than a hobby for great uncle Gregor. Perhaps only, in fact, something with which to distract us kids. That distraction has now become burdensome.\"\n\n> You examine the coffee\nThe swirls in your cup form a child's wagon. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n\"Our... organization... has worn many forms in the past.\nIn rare circumstances, it has even tolerated the membership of adulterated bloodlines. I thought to continue this tradition by extending official invitation to our Mr. Chambers, whom you all know, and I interviewed him, though perhaps he did not realize that an interview was occurring.\"\n\n> You look at the armoire\n(the doorless armoire)\nThe massive wardrobe's doors have been torn off entirely; trios of splintered screw-holes show where the hinges previously attached in the upper and lower corners. There's nothing inside.\n\n\"His ambition has always been clear, but I never before imagined\njust what acts that ambition might inspire him to, never imagined what plots he might engineer when I passed over him to select his brother as my successor.\"\n\n> You go south\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\n\"The man made pamphlets! Pamphlets, I say, as\nthough he were hosting a Sunday luncheon! Not content to stop there, he saw fit to resume the Incarnadine Rites! This dime-store Rasputin thought these audacities might warrrant official sponsorship, and so to 'sell me' on the idea, he sought to offer me his niece as incentive!\"\n\n> You examine the coffee\nThe clouds in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n\"More fool him, then, as the girl had all the intuition and\ncleverness he himself has lacked. None since my grandmother has had the gumption to perform the Rite upon herself, and little Carolyn even invoked the Colorless Name as she did it. Even a practice as hokum as the Rite has power when performed with patronage.\"\n\nA sudden sparking noise echoes inside the hole.\n\n> You look at Door\nA simple door, made from a rich, dark wood. An oval window takes up the upper third of the door, but is covered in such a thick layer of dust and grime that you can hardly see through it. The small brass knob is surrounded by a circular design of inlaid triangles cut out of deep, reddish-brown cherry wood. Even if you could see through the grime, you can't imagine that you'd see more than a couple of feet in this rain.\n\nThe man's voice rises in pitch and intensity. \"So let us honor her memory and follow her example. Roger already dwells in smoke, but the rest of the Chalice shall be arriving at the Manor within the hour. We will use our problem to solve our problem: go up and welcome the newcomers. (If you did not bring your knife, I have extras.) I call upon my familiar, the spirit of Egnalosaf, the great white antelope, envoy of the scintillating omnivalent Vaadignephod, and blessed reflector of iniquity; by your power, I invoke as Fuscous Alderman of the Variegated Court the commencement of this Incarnadine RIte, writ large! Go, remember, and enjoy!\"\nWhite light flickers from somewhere inside the hole in the wallpaper.\n\n> You unlock Door with red Key\nYou unlock the wooden door.\n\nThe cassette must be designed to loop automatically. Having reached the end of the recording, playback resumes from the beginning.\n\n> You turn off jogmaster\nYou switch the battered yellow JogMaster off.\n\n> Examine backpack\nYou love this backpack. From the outside it's modestly sized and easy to carry, but the inside is surprisingly capacious. In addition to the cavernous main pocket of the backpack itself, there's a key pocket for your keys, a book pocket for your books, a side pocket for your sidequests, a hidden pocket for your ineffable mysteries of time and space, and a trash pocket for your trash. Zippers on all of these pockets let you open and close them at will.\n\nIn the Jansport backpack are a hidden pocket, a key pocket, a book pocket, a side pocket and a trash pocket.\n\nThe light in the void swells, casting strange shadows in the hallway.\n\n> You put red Key in the kp\nYou unzip the key pocket, deposit the Red Triangle Key (smelling faintly of mildew), then zip the key pocket back up again.\n\nYou hear an electronic humming noise coming from the hole in the wallpaper.\n\n> You go to the south\n(first opening the wooden door)\n\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nAn ethereal trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> You look at the statue\nThis statue looks to be in the shape of a human, although it is next to impossible to make out what the gender is supposed to be. Built using pure black marble, all one can do is make out the basic shape of the various body parts, such as the head, the arms, the legs, etc.\nThe position is somewhat bizarre, almost like the person in question is reeling back in terror or fear.\n\nLooking closer at the statue, you notice that the right arm is extended outwards almost as if it is holding out its hand. In its hand, you discover a key! You go ahead and take it.\n\n> You examine Key\nWhich do you mean, the sturdy key, the splintery wooden key, the ornate bronze key, the sinister iron key, the frosty blue key, the intricately folded origami key, the silver and ivory key or the key from an urn (smelling faintly of mildew)?\n\n> You look at sturdy Key\nThis key looks like it's seen some use throughout its time, yet it still looks and feels very sturdy. While it shows some slight hints of rust, it has lost very little of its original color.\n\n> You put Key from an the urn in the kp\nYou unzip the key pocket, deposit the key from an urn (smelling faintly of mildew), then zip the key pocket back up again.\n\n> You go north\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nThe light in the void swells, casting strange shadows in the hallway.\n\n> Go north\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom; a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nThe broken doors to the armoire lie on the floor near the center of the room.\n\nThe doorless armoire stands against the north-west wall. There's nothing inside.\n\n> You examine the coffee\nThe swirls in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You unlock the master door with sturdy Key\nYou unlock the master bedroom door.\n\n> You put sturdy Key in the kp\nYou unzip the key pocket, deposit the sturdy key, then zip the key pocket back up again.\n\n> You go east\n(first opening the master bedroom door)\n\nMASTER BEDROOM (ROWAN LIPKOVITS)\nEt voila!\n\nHere we have the master bedroom of Cragne Manor, which is by turns contradictorily capacious and cramped. Though you can't put your finger on it, something about this windowless chamber sucks the very air out of your lungs and puts you on edge. One would have to be a master indeed to achieve any rest in this offputting room.\n\nThough it is relatively sparsely furnished, it wouldn't be much of a bedoom without a bed -- and there it is, a four-poster tall, dingy, imposing and unsettling. Next to it is a bedside table, on which resides some torturously elongated lamp -- apparently the dim room's only light source, currently turned off.\n\nTo the west is the hallway door through which you first arrived, and to the east there is also a door to what is most likely a walk-in closet.\n\n> You look at Bed\nYou warily sidle up to the uncomfortable-looking grey bed and briefly perch on its (now confirmed-uncomfortable) edge. It's a bedroom, the bed is its central, nay defining feature -- why not try out the bed, right? Worked out OK for Goldilocks, didn't it? Well, turns out this would have been a bad idea had you thought of doing it instead of momentarily losing agency and having it done on your behalf. Right in the middle of ... whatever it was you were trying to accomplish anyway, you're hit by an invisible wave that feels like a Mack truck pulling a tractor trailer full of fatigue, you briefly lose consciousness and collapse as a veil of sooty burlap is dragged across your field of vision and a thousand thousand chittering things argue spiritedly at the periphery of your mind.\n\nWhen you awaken from troubled dreams, you find yourself transformed in this bed into a horrible vermin.\n\n> About yourself\nNow you are a cockroach. You have a head, a thorax and an abdomen. Your wingless carapace glints dully in the dim light of the room, which is just peanuts compared to your three pairs of limbs.\n\n> You look at the lamp\n(turning on lamp)\n\nAt the sound of the lamp's switch, your hitherto unimagined cockroach instincts kick in like an unstoppable force; drawing on some reservoir of limber grace and vigor -- practically racing the lamp's light to the corners of the room, you find yourself instinctively flinging your roachy self off of the bed , making a bee-line for the nearest wall -- which you proceed to scurry up -- and on to the ceiling. Along the way, the lamp's pull-cord snags on one of your legs, and its inadequate illumination once again fades like the camera bulb in a disposable Polaroid.\n\nIt is upside-down on this ceiling where, unbeknownst to you, you inadvertently crawl over a magical pentacle of cancellation that has been wallpapered over. It quietly works its protective charms on you, but \"protective\" is relative, as you find you resume your human form and quickly discover, from your ceiling vantage point, that gravity effects humans differently from cockroaches.\n\nDown you crash, but happily, you don't seem to break anything too mission-critical."
    },
    {
        "text": "> You describe your surroundings\nMASTER BEDROOM (ROWAN LIPKOVITS)\nHere we have the master bedroom of Cragne Manor, which is by turns contradictorily capacious and cramped. Though you can't put your finger on it, something about this windowless chamber sucks the very air out of your lungs and puts you on edge. One would have to be a master indeed to achieve any rest in this offputting room.\n\nThough it is relatively sparsely furnished, it wouldn't be much of a bedoom without a bed -- and there it is, a four-poster tall, dingy, imposing and unsettling. Next to it is a bedside table, on which resides some torturously elongated lamp -- apparently the dim room's only light source, currently turned off.\n\nTo the west is the hallway door through which you first arrived, and to the east there is also a door to what is most likely a walk-in closet.\n\n> You examine the lamp\n(the waterproof flashlight (smelling faintly of mildew))\nA small flashlight, with a rubber ring where it screws together to keep the water out-though some oily substance coats the inside.\n\nInside the flashlight is a clump of glowing vegetation.\n\n> You examine elongated lamp\nDue to the peculiar shape of the bedside lamp and the unusual angle at which the table supports it, you are unable to interact with the lamp without first being in the bed, so in you go!\n\n(sitting on the bed first)\n\nYou warily sidle up to the uncomfortable-looking grey bed and briefly perch on its (now confirmed-uncomfortable) edge. It's a bedroom, the bed is its central, nay defining feature -- why not try out the bed, right? Worked out OK for Goldilocks, didn't it? Well, turns out this would have been a bad idea had you thought of doing it instead of momentarily losing agency and having it done on your behalf. Right in the middle of ... whatever it was you were trying to accomplish anyway, you're hit by an invisible wave that feels like a Mack truck pulling a tractor trailer full of fatigue, you briefly lose consciousness and collapse as a veil of sooty burlap is dragged across your field of vision and a thousand thousand chittering things argue spiritedly at the periphery of your mind.\n\n> Go east\n(first getting off the bed)\n(first opening closet door)\n\nThis large closet, illuminated only by the light coming through the door, is so filled with a jumble of clothes that your head spins as you contemplate the mess. In fact, it's so untidy that it's difficult to look at the disorder directly. Squinting through the chaos, you see shelves leading up to the ceiling on one side and a cabinet on the other.\n\n> You examine the cabinet\nYour eye can't quite resolve the angles of the cabinet, but the three (three?) drawers it contains are plain to see. There is an empty frame on the top that might have held a mirror once, but whatever was inside it has been removed.\n\n> You look at the shelves\nYou can't see how these strangely tilted shelves are staying upright and together, but it's lucky for you that they are, as the piles of clothes and forgotten possessions would bury you if they failed. Their contents are piled high to the point that the ceiling is obscured.\n\n> You open the drawer\nWhich do you mean, the upper drawer, the middle drawer or the lower drawer?\n\n> Upper\nYou open the upper drawer.\n\n> You examine it\nThe upper drawer is empty.\n\n> You open middle drawer\nYou open the middle drawer.\n\n> You examine it\nThe middle drawer is empty.\n\n> You open the lower drawer\nYou open the lower drawer.\n\n> You look at it\nThe lower drawer is empty.\n\n> You go west\nMASTER BEDROOM (ROWAN LIPKOVITS)\nHere we have the master bedroom of Cragne Manor, which is by turns contradictorily capacious and cramped. Though you can't put your finger on it, something about this windowless chamber sucks the very air out of your lungs and puts you on edge. One would have to be a master indeed to achieve any rest in this offputting room.\n\nThough it is relatively sparsely furnished, it wouldn't be much of a bedoom without a bed -- and there it is, a four-poster tall, dingy, imposing and unsettling. Next to it is a bedside table, on which resides some torturously elongated lamp -- apparently the dim room's only light source, currently turned off.\n\nTo the west is the hallway door through which you first arrived, and to the east there is also a door to what is most likely a walk-in closet.\n\n> Go west\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom (which is also open); a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nThe broken doors to the armoire lie on the floor near the center of the room.\n\nThe doorless armoire stands against the north-west wall. There's nothing inside.\n\n> You go south\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nA sudden sparking noise echoes inside the hole.\n\nThe hallway fills with a flash of light and shadows flee down the hall. Moments later the clap of thunder causes the entire house to shake and groan.\n\n> You go to the south\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nA phantom trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> You wait for the black Line\nYou lean against the wooden door, hold out your pass, and wait for the black line. Within moments, a spectral trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nAs you descend the unsteady ladder, a piercing shriek freezes you to your core. Perhaps it is merely pressure being released from some ill-maintained valve in the boiler room above. Perhaps it is something else, waiting in the darkness below.\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nAn ethereal trolley stop sign reads Black Line -- Underground.\n\n> You go upwards\nBoiler Room (Eric W. Brown)\nThe western side of this windowless brick room is dominated by a huge boiler connected to a confusing network of pipes that eventually delivers heat to the rest of the manor. Between the unpleasant humming, the smell of fuel oil, and the heat leaking out, the boiler is leaving you feeling a little lightheaded.\n\nAs noticeable as it is, the boiler is hardly the only item of interest. Crammed around it are many devices, at least four of which are clearly bigger and heavier than you. Next to the open doorway leading north there is a keypunch. There's a support column in the middle of the room with a system diagram on it, and lashed to the column there is a faraday cage with a window on its door looking inside. Next to it is a an overlay engine, and behind it a a dimensional stabilizer. Beyond a heavy-duty table near the southwest corner there is a rough hole in the floor, and the surface of the table is dominated by the control panel for the whole system. There is a small steel shelf high on the wall way above the table, and a fluorescent work light above that. On the wall opposite the faraday cage there is a sign hanging from a chain.\n\nIt looks like the room has hardly been disturbed in decades, and your presence has kicked up a sizable amount of dust. Although there are some cobwebs, you don't see any spiders. Maybe they got fed up with some combination of the loud noises, bad smells, choking dust, and miserable heat and went someplace nicer.\n\n> You go to the north\nSomething tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.\n\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You examine coffee\nThe swirls in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: horror, Comedy, Lovecraft, female protagonist]\n\n> Go downward\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nUnder the Basement (Ivan Roth)\nTentatively, you lower yourself down from the ladder, and discover that you're in a rocky cavern, colder and wetter even than the dank basement. It is also dim and shadowy, but you can make out strange carvings on the rock walls, a sinister iron cage that dangles from the roof of the cave, and a large black cabinet of ornate design, set into the western wall. An ink-black tunnel entrance leads north.\n\nYou blink, and suddenly right before you is a pale figure \u2014 one that wasn't there only moments ago.\n\nThe ghost speaks. \"I am Fedwick Baines, the sub-librarian of the Cragne library's Forbidden Annex. This is the home of the books that the Cragnes could not allow to circulate; as far as I know, each of these volumes is unique in all the world.\"\n\n> About yourself\nYou can't see yourself directly, but you have a pretty good idea. You have dark circles under your eyes, your hair is frizzed. It hasn't been a good day. Peter has to be somewhere, right?\n\n> You examine the coffee\nThe clouds in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the carvings\nOn the wall are strange, unholy hieroglyphs. You can barely make them out, however, because it seems like the carvings have been scorched and defaced\u2014almost like someone was trying to erase them from the wall, but without doing serious damage to the rock. How peculiar.\n\n> You examine Cage\nThis heavy iron cage looks like it was last disturbed in the Stone Age. Inside, an angry-looking vampire bat flutters around in a rage. A silver bell on a long chain dangles from the bottom.\n\nIn the hanging iron cage is a vicious-looking bat.\n\n> You look at bat\nA black ball of fur and fangs sulks inside the cage. \"That little ball of furry malice is sulking because it's in a brand-new enclosure,\" Fedwick tells you. \"Chewed right through the bars of the last one, took me days to catch. I had to chase the infernal rodent through every single room in Cragne Manor.\"\n\nHe pats the thick iron cage with a smug expression. \"Well, that won't happen again on my watch!\"\n\n> You look at the list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nBackwater Personalities (1915-1925 edition)\nThe Lives of the Roman Emperors\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\nThe sub-librarian hovers sternly in the corner.\n\n> You look at the cabinet\nAn ornate, ebony cabinet, bedecked with curlicues and wing\u00e9d cherubs, has been set, improbably, into the western wall of this stone cavern.\n\n> You open the cabinet\nThe ghost of the librarian bats you away with a spectral hand, a bizarre sensation that chills you to the bone. \"Take a book, leave a book,\" he says icily. \"If you want to read something, bring me a book.\"\n\n> You look at Tunnel\nYou try to peer into the blackness, but it is absolute. If there's anything that way you'll have to go north, into the caves, to see it.\n\nThe sub-librarian hovers sternly in the corner.\n\n> You look at Baines\nHovering before you, pale and ghostly, is an old, bald man wearing a very old-fashioned spectral tailcoat. He bows his head at you when he sees you looking, but there's a faint hint of an amused smile around his lips.\n\n> You open the bp\nYou open the book pocket, revealing The Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew), a postcard of Big Ben (smelling faintly of mildew), the diary of Phyllis Cragne (smelling faintly of mildew), a tiny leather journal (smelling faintly of mildew), a moldy, waterlogged journal (smelling faintly of mildew), a soggy tome (smelling faintly of mildew), an old newspaper (smelling faintly of mildew), Tatooine 1: Anchorhead (smelling faintly\nof mildew), a faded delivery note (smelling faintly of mildew) and an old paperback book (smelling faintly of mildew).\n\nThe sub-librarian hovers sternly in the corner.\n\n> You examine it\nIt is an old issue of the Backwater Chronicle, a local newspaper that ceased to be decades ago. This issue is dated July 31, 1920. The local museum should see this!\n\nA faint smell of mildew emanates from it.\n\n> You read it\nYou turn the pages and check the next article:\n\nThe auditorium of Backwater High saw a festive ball on Satday evening when freemasonry lodge Order of the Eastern Star invited local notables to the yearly Rosencrantz Ball. While the Providence Hot Jazz Orchestra conducted by Robert \"Bop\" Shindlaw played sudatory tunes and while the kitchen brigade of the Boardwalk Inn provided small delicacies as well as inspiring drinks, money was collected through admission and raffle ticket sales to appease the dolor of the victims of February's fatal spring tide. Among the guests were mayor Joe Slater (accompanied by his daughters) and surgeon in residence Dr. Basil Elton (accompanied by his third wife, Lily). An accompanying picture shows mayor Slater clinking glasses with surgeon Basil Elton, the latter one being a head taller than the dignitary.\n\n> You give the newspaper to Baines\nWhich do you mean, the old newspaper (smelling faintly of mildew), the clipped newspaper article or the yellowed newspapers (smelling faintly of mildew)?\n\n> You give the old newspaper to Baines\nThe ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: The Liquid Sky. He hands it to you, reluctantly. \"Take good care of it,\" he\nsays. \"And give it back to me when you're done.\"\n\nFedwick peers scornfully at you.\n\n> You examine Liquid\n(The Liquid Sky)\nIn black type on the cover of this thin volume are the words \"The Liquid Sky\", and under them, \"Ostregot\". It looks like a book of poetry.\n\n> You read it\nYou flip open to a dog-eared page:\n\nor thumbed through stacks\nthat no one mind had pulled apart, and reconvened\nwith red twine\nand indices and keyboard dust and forum jokes\nand tacks\n\nbut only two things are certain, says Ben Franklin:\nthe death of the body and the mind, obliterated,\ndust to dust\nand the death of the spirit of the book\nafter it has been read and read again\nevery passage explored, inspected, made to fit\n\nso when they had Prohibition they built secret rooms under the stairs, with combination locks\nand now the Prohibition house is a museum and the museum is open twenty days a week\nand you can sign up for a VR tour\nthat takes in every detail\nand every visitor knows more than Warren Harding did\nwhen the bomb went off\n\n> You give Liquid to Baines\n(The Liquid Sky, by Robert N. Ostregot to the ghost)\nThe ghost snatches back The Liquid Sky, by Robert N.\nOstregot. \"Don't think you're getting another one for giving this back,\" he says, wagging his finger. \"I do this to find new things to read.\"\n\n> You give the faded delivery to Baines\n(first taking the faded delivery note (smelling faintly of mildew)) The ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: The Reign\nof Reason. He hands it to you, reluctantly. \"Take good care of\nit,\" he says. \"And give it back to me when you're done.\"\n\n> You look at Reign\n\"The Reign of Reason\", by Godos Atrakut, is an old red book with yellowed pages, but the curious design on the cover looks distinctly modern.\n\n> You read it\nYou open to a random page:\n\n\"It's true. In gazing at that perfect Law, that unassailable and genius invention of those unsurpassed sages legalis in\nancient Istanbul... I was enlightened, or lifted from my body, or something changed spiritually within me. I am not ashamed to say it: damn all those religious men! It is not Christ who enlightened me! In the great library of Constantinople, a statute got me high...\"\n\n[You can type HINT for a hint at any time.]\n\n> You read it\nYou open to a random page:\n\n\"It's true. In gazing at that perfect Law, that unassailable and genius invention of those unsurpassed sages legalis in\nancient Istanbul... I was enlightened, or lifted from my body, or something changed spiritually within me. I am not ashamed to say it: damn all those religious men! It is not Christ who enlightened me! In the great library of Constantinople, a statute got me high...\"\n\nAs you close the book, something on the inside cover catches your eye. In faint, wabbling pencil marks, someone has scrawled a name: Barach'speroth Arguule. You wonder if the ghost knows his book\nhas been defaced with these strange words...\n\n> You ask Baines about Arguule\nYou wouldn't have said it was possible even moments ago, but somehow the pale white ghost manages to blanch with fear. \"Bara- uh, that name is not the name of any author, or any human being. If you have to know, B- Ba- Ba- that being is the first servant of the one who binds me here, the one whose name I will not even try to say. The incantation of Arguule may be hidden somewhere in these books; it is not his name, it is something more baleful...\" he demurs. \"I've said too much,\" he says, and falls silent.\n\nYou resolve to examine these books more attentively than ever when you read them, in case you might discover\u2014 whatever that is...\n\n> You read Reign\nYou open to a random page:\n\n\"It's true. In gazing at that perfect Law, that unassailable and genius invention of those unsurpassed sages legalis in\nancient Istanbul... I was enlightened, or lifted from my body, or something changed spiritually within me. I am not ashamed to say it: damn all those religious men! It is not Christ who enlightened me! In the great library of Constantinople, a statute got me high...\"\n\n> You give the divination to Baines\n(first taking The Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew))\nThe ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: The\nImagined Worm. He hands it to you, reluctantly. \"Take good care\nof it,\" he says. \"And give it back to me when you're done.\"\n\n> You look at Worm\nThe cover is appropriately worm-y, and prints the title \u2014 \"The Imagined Worm: My Journey Through the World of Creepy-Crawlies, by Elizabeth P. Stashwart\" \u2014 in big, loopy script; but it doesn't give you much sign as to why this book is in the Forbidden Annex.\n\n> You read it\nThe pages of this book are densely-printed and rice-paper thin. You flip through it until you reach an illustration: a cross-section of some kind of slug-like worm. It certainly sounds nasty, but you can't understand half of the words on this page. You're a few college degrees away from getting much out of this book.\n\n> You ask Baines about Worm\nThe ghost just fixes you with a blank stare as you stutter out whatever question you're trying to ask.\n\n\"I can answer questions about people I've known, and the individuals mentioned in the books we keep here,\" he says. \"Because I've chosen to hold on to those pieces of my memory. I am not a general-purpose almanac.\"\n\n> You ask Baines about Stashwart\n(Elizabeth P. Stashwart)\n\"Stashwart is a distinguished researcher in the field of blood-swallowing parasites; a brightly-burning woman. She would come over some times to show Leopold \u2014 Leopold Cragne, I mean \u2014 some of\nthe\nthings she was working on; he had an amateur interest in parasitology. Someone once claimed to me, and I won't say who, that that she wrote The Imagined Worm as an amusement for her young nephew. But\nas far as I know, she never had a nephew, and it doesn't seem like much of a children's book to me...\"\n\n> You ask Baines about Leopold\n\"Leopold?\" the ghost looks surprised. \"He never wrote anything. I can comment on the authors of the books on these shelves and some of the people mentioned therein, but my relationship with Leopold Cragne- he was my employer and he took good care of me. I did his bidding, and I have no regrets. That's all I will say on the matter.\"\n\n> You ask Baines about ostregot\n\"Ostregot was a brilliant young poet, but emotionally a wreck. He died tragically young, collapsed of nervous exhaustion at the top of the Space Needle. The last time I met him, he told me he was going to throttle God.\"\n\n> You ask Baines about Atrakut\n(Godos Atrakut)\n\"Atrakut was slightly before my time. He was close to Leopold; shockingly close, though he was an old, old man before I ever saw him. He was a true believer, that man, though a true believer in such strange things that I could scarcely believe it of him. I wonder if Leopold held him close because of what he found in Istanbul in 1918 \u2014 that discovery made it into only one writing of Atrakut's: The\nReign of Reason. Leopold made sure that no one would ever read\nit... other than me, of course. And perhaps you,\" says the ghost, and around his lips plays the faintest of smiles.\n\n> You examine cover\n(the battered yellow JogMaster)\nA portable audio player with an attached lanyard so you can Wear It While You Jog! It's little more than a yellow brick of plastic with a power switch and a slot in which to insert cassette tapes. Damage to the unit includes a jammed battery cover, a missing lever to eject the current cassette, and a crimped headphone jack. A small speaker permits playback even without headphones.Someone carved the name \"Carolyn\" along one side.\n\nThe battered yellow JogMaster is currently switched off.\n\n> You examine the sp\nA heavily reinforced pocket to store your sides in, if you're the kind of person who has too many sides to fit on a sidering. Wait, what? No, it's a pocket on one side of the backpack's central cavity. You can put whatever you want in there.\n\nFedwick peers scornfully at you.\n\n> Examine bp\nJudging from the book pocket's enormous size and soft velvet lining, you suspect the backpack manufacturer designed it for Johnny Depp's character from The Ninth Gate.\n\nIn the book pocket are a postcard of Big Ben (smelling faintly of mildew), the diary of Phyllis Cragne (smelling faintly of mildew), a tiny leather journal (smelling faintly of mildew), a moldy, waterlogged journal (smelling faintly of mildew), a soggy tome (smelling faintly of mildew), Tatooine 1: Anchorhead\n(smelling faintly of mildew) and an old paperback book (smelling faintly of mildew).\n\n> You give the postcard to Baines\n(first taking the postcard of Big Ben (smelling faintly of mildew)) The ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: Between\nGod and Madness. He hands it to you, reluctantly. \"Take good care\nof it,\" he says. \"And give it back to me when you're done.\"\n\n> You look at God\n\"Between God and Madness,\" by Hiram Strangecraft. It's a somewhat beat-up old book that looks like it used to be a library copy. The inside front cover is marked with a strange seal.\n\n> You examine the seal\nYou already have that.\n\nA seal of curious design, stamped in red ink with such force that it impacted the pages behind it. The design appears to be just an abstract shape, although maybe it's writing in a script you can't read. It gives you the shivers, a little bit.\n\n> You read God\nYou open up to a random page and start reading:\n\n\"them. The nightmares come again, faster this time, as if driven by some invisible engine that makes as it destroys, loosening the innermost screws that hold perception to experience, fastening mortal souls to the invisible word. It is God, it is the Devil, it is the infernal nothingness of an ancient rite betrayed. There is no name for the horror I must face; it is eternal, unburied, unbroken, even though O God I so dearly wish that it could be destroyed, that the endless midnight of my spirit could be leavened by its absence; but absence is all that it is not; it is slithering, it is dripping, it is the god before the god that ever made machine, ...\"\n\nIt goes on and on like that. Don't you have better things to do?\n\n> No\nThat was a rhetorical question.\n\n> You read God\nYou flip through the book again, but it's all the same: the endless, meaningless ramblings of an insane person. He doesn't even name the thing that's frightening him; you would need some kind of religious reason to be interested in this.\n\nYou shut the book, but one page catches your eye and you quickly flip it open again. In the margin, someone has scribbled: \"It must be\nsaid three times, in the presence of the carved seal... that is the only way to banish the spirit and secure what he has stolen... he is covetous, it is the only way... but it is so dangerous that I am afraid to do it, even to retrieve my precious and defiled memory... the god's first servant will be summoned... but I will mark the word, the incantation, before he kills me... it is the only way...\"\n\nThat's tantalizingly little information \u2014 all you need to learn now\nis\nwhat that incantation is!\n\n> You give waterlogged to Baines\n(first taking the moldy, waterlogged journal (smelling faintly of mildew))\nThe ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: The Broken Tongue. He hands it to you, reluctantly. \"Take good care of it,\"\nhe says. \"And give it back to me when you're done.\"\n\n> You examine Tongue\nThe Broken Tongue looks like an old academic text, by one\nNoah Chaplinski. There's some weird lettering in an unfamiliar alphabet on the cover.\n\n> You ask Baines about Noah\n(Noah Chaplinski)\n\"Noah Chaplinski was a distinguished professor of languages at the Miskatonic University. Leopold corresponded with him occasionally. Of course, Chaplinski made a serious mistake: he requested a pass to the Secondary Archives at Miskatonic U. He went mad, naturally, and worse. In the most literal sense, it's a tale as old as time.\" The ghost shakes his head.\n\n> You ask Baines about Strangecraft\n(Hiram Strangecraft)\n\"They used to keep Strangecraft up in the attic, which seemed cruel to me, but I suppose there was no other solution. He was absolutely mad. And they couldn't turn him over to the Asylum \u2014 not with everything he'd heard, and not with Dr. Wagner still running the Asylum like his personal panopticon. There are some things that have to stay in the household. I convinced Leopold not to burn all the man's manuscripts, but of course they could never be published, so I keep them here in the Forbidden Annex.\"\n\n> You read Tongue\nYou open to the first page, and the symbols you see are incomprehensible. You flip to a random page, and its the same. Not even an alphabet you recognize \u2014 although it may match the symbols on the cover.\n\n> You examine the lettering\nYou can't make out the meaning of these squiggles.\n\nFedwick peers scornfully at you.\n\n> You give the soggy to Baines\n(first taking the soggy tome (smelling faintly of mildew))\nThe ghost snatches the book from your hands. \"Ah, fresh pages! I haven't read something new in ages.\" Turning to the cabinet, he plunges his hand through the door and pulls out a book: Out of the Infinite. He hands it to you, reluctantly. \"Take good care of\nit,\" he says. \"And give it back to me when you're done.\"\n\n> You look at infinite\nThis book promises more poetry from the mind of Robert N. Ostregot. It looks a little more well-loved than the other Ostregot book.\n\n> You read infinite\nYou flip through the ratty pages and read a short verse:\n\nWhat is the point of the end of the world if under its skin, you are trembl\nthis is the tidepool\nso cling to it, wait for it\nthis is the cataclysm\n\nHmm. You're not sure you like this one very much. It reminds you uncomfortably of Strangecraft's writing. You wonder if the author was unwell.\n\n> You read infinite\nYou flip through the ratty pages and read a short verse:\n\nWhat is the point of the end of the world if under its skin, you are trembl\nthis is the tidepool\nso cling to it, wait for it\nthis is the cataclysm\n\nHmm. You're not sure you like this one very much. It reminds you uncomfortably of Strangecraft's writing. You wonder if the author was unwell.\n\nOn the back cover, you notice a blemish, and you realize it's a smear of blood \u2014 but when you tilt your head you see that there are dozens of blood smears on the cover, spelling out a single word:\nANGARITHEP. The P trails off, as if the one who\nscrawled it was being dragged away...\n\n> You say the ANGARITHEP\nThe ghost shudders and flickers. For a moment you see a glimpse of tangled limbs. Upon reconstituting, he whispers hoarsely. \"Do not say that word!\"\n\nOut of the corner of your eye, you thought you saw the carvings on the wall glow red.\n\n> You say the ANGARITHEP\nThe ghost flickers again, and takes on form after form. A squirming mass of tentacles, a waterfall of slime, a thousand cockroaches in the shape of a body, a blazing orb of purple light, and then again the shuddering form of Fedwick Baines. \"Stop, I beg of you! I'll give you anything!\" He pulls out a stoppered vial and a stack of books, trying to hand them to you, but they flicker and shudder along with his ghostly body.\n\n> You say the ANGARITHEP\nYou say the word again, but the moment that the last syllable slips out you can only regret it. This time, the ghost screams,\nbefore flickering so violently that it gives you a searing pain behind your eyes. An eviscerated tiger; a flock of screaming crows; a burning book, with yellow, judging eyes in the dancing flames; your husband, Peter, his arms bound and a thrashing tentacle forcing its way out of his throat; the tilt of a nauseous ship; the wail of an injured child; a leopard with a thousand eyes instead of spots. And then it's Fedwick Baines again, but his ghostly form is cut, as if with a razor, bleeding from ragged lacerations that criss-cross his torso, almost in the form of a star. His voice is curt and ragged. \"You did th-\"\n\nBut at that moment, a mass of enormous, toothy tentacles bursts from his chest, splattering his ghostly organs in every direction and cutting him off mid-speech. The tentacles flail and grab, seizing chunks of his spectral body and pulling them into the void of his ruptured chest, now seemingly a portal to another dimension.\n\nThe tentacles are reaching towards you, too, now, and you flinch in terror as one ice-cold, rubbery tentacle brushes your jaw. You need to act fast.\n\n> You go upwards\nYou scramble up the ladder in a mad rush, those hideous tentacles lapping at your thighs, and you just slip through the hatch as they're reaching for your body, trying to pull you down. You slam the hatch shut and stand on it, shaking. It's impossible not to hear the slapping and scraping of those horrible tentacles, wherever they come from, desperately searching for something in the Forbidden Annex to devour.\n\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> Go upward\nThe Kitchen (Edward B)\nThe Cragne family kitchen. Light from a naked bulb feeds shadow down the spaces between old cabinets, counters and bookshelves. A dusty, doorless fridge overlooks an oven just as worse for wear. You'd guess it's been a minute since anyone's used this room to cook. A doorway leads east, and a wooden door set in the floor appears to lead to a cellar or basement."
    },
    {
        "text": "> You go downwards\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nCarefully, you descend the creaking steps.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below."
    },
    {
        "text": "[Themes: Comedy, Lovecraftian, Lovecraft]\n\n> Go downwards\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nCragne Library Forbidden Annex - Under the Basement (Ivan Roth)\nYou're in a rocky cavern, colder and wetter even than the dank basement. It is also dim and shadowy, but you can make out strange carvings on the rock walls, a sinister iron cage that dangles from the roof of the cave, and a large black cabinet of ornate design, set into the western wall. An ink-black tunnel entrance leads north.\n\nA pile of things lies on the cave floor, where Fedwick was standing.\n\nYou can see The Conservative's Cookbook, a little stoppered\nvial of blue liquid, an old newspaper (smelling faintly of mildew), a faded delivery note (smelling faintly of mildew), The Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew), a postcard of Big Ben (smelling faintly of mildew), a moldy, waterlogged journal (smelling faintly of mildew) and a soggy tome (smelling faintly of mildew) here.\n\n> You examine conservative\nIt's a big, blocky book with a stain-proof cover and a picture of a guy with a chef's hat and a gavel on the cover. The title reads: \"The Conservative's Cookbook, with Clarence T. Smokeless\". The cover is stamped with the insignia of the Backwater Public Library, two back-to-back crescent moons joined by an eye looking down at an open book.\n\n> You read it\n(first taking The Conservative's Cookbook)\nIt's a bunch of recipes for baked goods and stuff. Nothing particularly revelatory there.\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\n> You get all\nlittle stoppered vial of blue liquid: Taken.\n\nold newspaper (smelling faintly of mildew): Taken.\n\nfaded delivery note (smelling faintly of mildew): Taken.\n\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew): Taken.\n\npostcard of Big Ben (smelling faintly of mildew): Taken.\n\nmoldy, waterlogged journal (smelling faintly of mildew): Taken.\n\nsoggy tome (smelling faintly of mildew): Taken.\n\n> You open the cabinet\nYou open the bookcase, revealing\nThe Liquid Sky, by Robert N. Ostregot,\nIn Defense of Reason,\nThe History of the End, or, Last Men,\nMysteries of the Red City,\nBeyond the Dream of Moons,\nThe Ant That Breeds,\nRoceau's Dictionary of Crime and Criminality - Centennial\nedition,\nAcross Black Oceans,\nThe Searcher in Darkness,\nOut of the Screaming Planet,\nThe Doctrine of the Long Stick,\nReading the Sky and\nThe Monolith.\n\n> You examine Searcher in Darkness\n(first taking The Searcher in Darkness)\n\nTaken.\n\nThis leatherbound, pocket-sized volume reminds you of those \"worst-case survival\" books, but the title etched on the cover in lacy handwriting suggests a different tone: Searcher in Darkness,\nby Endrew Skeinweld. It smells old, but maybe it's just mildewy.\n\n> You read it\nYou flip through the little pages of Searcher in Darkness.\nThere's a lot of cave maps, and a diagram of an old-fashioned oil lamp. One unusual illustration catches your eye: What looks like a rubbing of a weird stone carving, a seven-pointed star encircled by an open eye. The caption says it was found in Gorogoth Cave, right here in Vermont, by a spelunker named Barnabus Trail. The second sentence of the caption has been blotted out with black ink, and a cursory glance suggests there's no further discussion of the carving.\n\nOn the back cover, you notice a blemish, and you realize it's a smear of blood \u2014 but when you tilt your head you see that there are dozens of blood smears on the cover, spelling out a single word:\nANGARITHEP. The P trails off, as if the one who\nscrawled it was being dragged away...\n\n> You put Searcher in the cabinet\nYou put The Searcher in Darkness, by Endrew Skeinweld into\nthe bookcase.\n\n> You look at the bat\nA black ball of fur and fangs flutters helplessly in the cage.\n\n> You unlock Cage with the sinister iron key\n(first taking the sinister iron key)\nYou unlock the hanging iron cage.\n\n> You open Cage\nYou let the creaking iron bars swing open.\n\nThe vampire bat squeaks and flies out of the cage at top speed, circles a few times and zooms through the opening in the ceiling.\n\n> You put the sinister iron key in kp\nYou unzip the key pocket, deposit the sinister iron key, then zip the key pocket back up again.\n\n> You go to the north\nHesitantly, you enter the mouth of the cavern, and start feeling your way through the tunnel...\n\nYou feel your way through enveloping darkness, and then pad in silence through the rough-hewn tunnels of the deeper caves...\n\nYou clamber over domes of rock, and then claw apart loose basalt, stumble onto a cliff and peer over at the steaming jungle at the center of the earth... topple over...\n\nYou collapse on blue soil, under an unknown moon...\n\n> You go to the south\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe sky outside is purple, with a few stars already visible. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You go to the south\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\nYou can also see the mate of the first leather boot here.\n\n> You go to the south\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA ghostly trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go to the south\nYou round the path and find yourself in a familiar knoll flanked on three sides by tall, dark cliffs. In the center of a clearing before you is a huge pile of rusting railroad track.\n\nLeaning back against the pile of iron, Christabell gives you a fatigued wave and after some exertion of effort becomes more substantial.\n\n\"Hello, again, Friend Naomi,\" she says weakly.\n\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see Christabell here.\n\n[ HINT: you can type \"hints\" for a hint for this location ]\n\n> You talk the tea\n(the teapot (smelling faintly of mildew))\nChristabell squints as she looks at you, shading her eyes with her hand.\n\n\"Runes of the Deep Ones preserve us, Naomi. By what\nArtefise are you so surfeited of Potence, that\nLouminance does burne mightily about you? Had I Haires upon my\nBodie, they would upon their very Ends stand aright, you do so exude Glamour. By what Manner did that come to pass, I do wonder?\n\n> You talk carol\n\"When she were a Childe, she did come visit me frequently, standing as you do now. I do flatter mieself to thinke she did seek my Company for Wisedom and Solace, but let us also admit that for a Childe, the Cr\u00e2ne Manse was naught but a Place of Boredom most profound.\"\n\nThe light plays strangely over Christabell and for a brief instant she appears ghostly and luminous rather than solid.\n\n> You look at Carol\nCarol is wearing a her highschool uniform.\n\nCarol continues to comb her long hair.\n\n> You examine table\nA small ivory-colored painted wooden table, just to the side of the window. A few items of makeup are arranged neatly on one corner, and a small, round mirror stands on the other\n\n> You examine the mirror\nYour face is distorted in the makeup mirror and items behind you are a blur."
    },
    {
        "text": "[Themes: Comedy, Lovecraft]\n\n> You look around\nCarol's Room (Ben Collins-Sussman)\nThe room has changed since you last saw it: there are fewer toys and it is less cluttered; in a word, more mature.\n\nThe bed now sports a light blanket, pastel blue in color, pulled taut over the twin mattress, with two pillows stacked at the head of the bed. To one side of the window stands a small table with a number of items on it, including a small mirror and some makeup. The large bay window looks out on the same scene as before, but leaves on the trees far below are just now beginning to sport autumn colors. To its side, the small writing desk has been replaced with a larger one and some books are stacked beside the same desk lamp you saw last time. A few pieces of artwork are stuck to the wall next to the desk. Nearer to the entrance, an old-fashioned turntable rests on a wooden stand.\n\nNotably missing is the large framed portrait of President Eisenhower and its weighty golden frame. A single bent nail remains in the wall surrounded by a slightly discolored patch of wall where the picture once hung.\n\nBelow that space, three stuffed toys sit in a tight circle on the same tiny chairs that you saw last time. The exit is to the south.\n\nYou can see Carol and a window (closed) here.\n\nCarol carefully applies some makeup.\n\n> You examine the desk\nA large dark wood desk and matching chair, very grown-up in appearance. Several books are stacked on the desk, along with a piece of newsprint and a desk lamp. A few drawers run down the side of the desk. Above the desk some drawings have been Scotch-taped to the wall.\n\n> Examine book\n(the old paperback book (smelling faintly of mildew))\nThe old paperback book is pretty thick, and the pages are yellowed and lacerated here and there. You're not a bookworm, but the condition of the book and the outdated font and style of drawing on the cover tell you it was printed decades ago, maybe at the beginning of the century.\n\nJudging by the cover the book seems to be a bit pulpy. It shows a large, old and eerie house on a clearing in the woods. The title is \"ANCHORHEAD. A What-do-I-do-now Book Based on the Works of MICHAEL GENTRY.\" A scraggy sticker with the insignia of the Backwater Public Library, on it indicates that by no means you want to pay the fine for exceeding the return deadline.\n\nFrost lines the edges of the library insignia.\n\n> Examine stacked\nSeveral hardcover books are stacked on one side of the desk and topped by a stapled bit of looseleaf paper. Reading along the spines from top to bottom, the books are: \"Our Colonial Heritage\",\n\"Fundamentals of Algebra\", and \"Modern Etiquette: A\nPrimer\".\n\nCarol mutters to herself in some forgotten language.\n\n> You open the drawer\nYou snatch at it several times, until your brain registers that it is not there. Alarmingly, when your fingers touch the drawers they penetrate the surface. You know it is not the case, but visually, it appears that your has been severed neatly at the surface, the fingers lost somewhere in the interior. Reflexively, you whip your hand back.\n\nCarol holds her hands to her face and giggles. \"Silly Naomi! You should see the look on your face!\"\n\n\"That's not something you can play with,\" instructs Carol. \"Not worth the trouble.\"\n\n> Examine newsprint\nYour eye is first drawn to the date, November 22, 1963, and the curious fact that the paper is not yellowed at all. Below the newspaper masthead is a black and white photograph, stippled with tiny dots as they were in those days, of a number of people crowded around a convertible. Below that, a title, \"Tragedy in Dallas\".\n\nYou don't have to read further. You know what this is.\n\n> You talk to Carol\nYou say hello to Carol.\n\nCarol appears oblivious to your prescence.\n\n> You examine the desk\nA large dark wood desk and matching chair, very grown-up in appearance. Several books are stacked on the desk, along with a piece of newsprint and a desk lamp. A few drawers run down the side of the desk. Above the desk some drawings have been Scotch-taped to the wall.\n\n> You examine the lamp\n(the waterproof flashlight (smelling faintly of mildew))\nA small flashlight, with a rubber ring where it screws together to keep the water out-though some oily substance coats the inside.\n\nInside the flashlight is a clump of glowing vegetation.\n\n> You examine the drawings\nThree drawings are taped to the wall above Carol's desk, the top one in crayon, the middle in ink, and the bottom one painted with watercolors.\n\n> You examine crayon drawing\nPrimitive technique, limited palette, crayon on manila paper.\n\nThere are three stick figures on the left, generously, as man, woman, and child. The man drawn mostly in gray, the woman wearing a red dress with large skirt, and the child wearing a blue dress of the same style, her blonde hair done up in braids. The figure in the middle is more of a jumble: recognizably human with a hat and beard, stooped over with a cane. On the right, are a bunch of brown lines, behind them great masses colored in black vertical lines, and in from of all that the outline of a woman, not a stick figure, but just back and forth strokes of yellow crayon.\n\nIn the corner, it is labelled \"Carol, Age 5.\"\n\n> You examine the ink drawing\nIndia ink on hot press bristol board.\n\nIt has the quality of being drawn hastily to capture the event. In places, the ink is smeared suggesting that the artist lacked practice with fountain pens. The drawing does not have much in terms of perspective, but some cross-hatched shading does give it depth.\n\nThree creatures are outlined, their backs towards the viewer, each leaning towards the center of the drawing where another creature lays on the ground surrounded by a dark pool, suggestive of blood. The three creatures appear to be dismembering the poor creature on the ground, some sort of animal, which struggles desperately, flailing at them with its three remaining limbs. Its fourth has already been wrenched away by one of the attackers, who chomps into it with sharp simian teeth.\n\nIn the corner, it is labelled \"Carol, Age 10.\"\n\n> You examine the watercolor\nWindsor & Newton series 1 watercolors on 140# cold press Arches paper using wet-on-wet technique. Limited palette: ultramarine blue deep, burnt umber, burnt sienna, mars black with touches of alizarin crimson.\n\nAt first, the paint-saturated paper looks like nothing more than muddy splotches, but as you stare at it, forms begin to emerge. There is something in the lower right hand corner that you can't quite bring yourself to look at, but in the center, a long, black tubular thing fights a losing battle to escape, its back cracked and red-tinged bubbles escaping.\n\n> You look at the drawer\nYou can no more yank open these ephemeral drawers than touch any other ghostly item in this room. They are closed, and absent some divine intervention, they will stay closed."
    },
    {
        "text": "> You look at your surroundings\nCarol's Room (Ben Collins-Sussman)\nThe room is surprisingly neat and tidy, particularly for a teenager, and the furnishings are sparse: a bed, table, desk, and a turntable.\n\nA few toys are gathered neatly in one corner beneath a blank patch of wall, where a large framed portrait once hung. A few pieces of artwork are affixed to the wall above the desk. The exit is to the south.\n\nYou can see Carol and a window (closed) here.\n\n> You examine the window\nThe large bay window is framed in the same age-worn rosewood trim that decorates the rest of this once great mansion.\n\n> You look through mirror\nYour hand goes right through it.\n\n> You look at the turntable\nA wooden turntable with speakers built into the cabinet rests on a folding wooden table. There is a record on the turntable, but the turntable is off.\n\n> You examine the record\nThe center is black, with silver writing. You can't make out much beyond \"Wagner\" and \"Die Walk\u00fcre\".\n\n> You look at Bed\nThe bed is perfectly made and a light blue woolen blanket stretched drum-taut over it. The pillows are perfectly aligned with the upper edge of the blanket.\n\n> You look at the coffee\nThis is odd. As you watch the swirls in your cup, they form a pair of lovers that rotate around the cup, maintaining a steady distance from each other.\n\nYou remember that twin objects like this mean you are split between two intricately entangled destinies, and that at any given moment, one of them will be the right place for you to be, but the coffee can't tell which. Way to drop the ball there, coffee.\n\nA faint smell of mildew emanates from it.\n\n> You go to the south\n\"I've learned a few things since you were here last time; surely, you must know that Christabell taught me every chance she got.\nShe's such a generous soul, and so starved for company out there on the hill.\" Carol glances out the window towards the cliffs.\n\n\"Seems like you are the one who can't get enough of company. No wonder you don't get a lot of visitors, if you trap everyone in your room. Not many teenagers would want to lock adults in with them.\"\n\n\"Well, you are the only one who can see me, so you've got that going for you. No, I'm happy to let you go, I just want to be able to find you again, you know, if I need you for something.\"\n\n\"It's nice to be needed.\"\n\n\"So I understand. I will lower my barrier for you just as soon as you agree to bear my mark. The good news, it's painless, the downside: it is a stain on your immortal soul. There's no such thing as a free lunch, after all. So, what'll it be, shall I mark you?\"\n\nShe extends an index finger towards you.\n\n> No\n\"Well unless you know some way out of this room that hasn't occurred to me, we're going to be here together until you do agree, but no hurry on my account. We can come back to the marking issue later.\"\n\n> No\nCarol shakes her head sadly.\n\nCarol reminds you that she'd really appreciate it if you would say \"yes\" so she could get on with the rest of her day.\n\n> Leave\n\"Not to be a bore,\" say Carol, \"but I need to ask your consent to mark you before you split; can I place it?\"\n\n\"Malice, is it me, or is Naomi being just a little bit selfish by now allowing me to place my mark?\"\n\nCarol nods at Malice as he (apparently, though you don't hear a thing) lends her his wisdom.\n\n\"No doubt about that at all,\" giggles Carol with a conspiratorial wink at the demonic clown. \"If she would just say \"yes\", the world\nwould be a better place. From a certain point of view.\"\n\n> You enter the window\nFirst of all, this window is many stories above the ground; the drop would be certain death. Beyond that, though, the window isn't open.\n\n> You open the window\nThe window has a badly rusted child-proof safety lock -- on the outside.\n\nCarol rolls her eyes waiting for you to say \"yes\" so she can place her mark.\n\n> You open the safety lock\nThe window has a badly rusted child-proof safety lock -- on the outside.\n\n> You examine the window\nThe large bay window is framed in the same age-worn rosewood trim that decorates the rest of this once great mansion.\n\n> Yes\n\"Thank you for being so reasonable. This will only bring us closer,\" says Carol as she pokes you gently with her finger. You do not feel pressure where she touched you, it was more like air blowing gently on your shirt.\n\nCarol withdraws her finger and stares at it, puzzled. \"That's odd.\"\n\n\"Problem?\" You say.\n\n\"No, not really a problem, more of an inconvenience. It seems like you've already been marked, presumably by Christabell for your own protection. That makes sense, I suppose. Can't be too careful.\" Carol looks out the window. \"As you probably know, a person can only be marked by one spirit.\"\n\n\"Oh?\"\n\n\"Yes, so I had no choice, since you were already marked, I placed mine upon your daughter.\"\n\n\"I don't have a\u2026 wait a minute, what?\" You glance at your belly where she touched you, \"You mean, I'm\u2026\" Come to think of it, you have had a lot of nausea lately, in fact, Peter had to pull over on the drive up. And you've been feeling tired, which is unusual for you.\n\n\"Yes, so congratulations on that, I suppose. Anyhow, you're free to come and go as you please now.\"\n\n> Ploughver\nMens voices, people shuffling around frantically, things moving, falling.\n\n\"The brazing is blown, pressure is down to ten percent!\" The voice is just slightly louder than the blaring klaxon.\n\n\"Dive planes up 30\".\n\n\"Moderators are full in, it's no good, I'm scramming.\"\n\n\"All hands. Prepare for emergency blow. Larsen, in five and then hit it.\"\n\n\"Aye. Five. Four. Reactor quenched. Three. Two. We're pitching. One. Blow!\"\n\n\"Tanks are good, but no blow. Sir, I think we're iced up.\"\n\n\"Crushing depth minus 200, minus 300.\"\n\nAnd then silence.\n\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see Christabell here.\n\n[ HINT: you can type \"hints\" for a hint for this location ]\n\nAs the day has progressed, the shadows over the hillside deepen, but you easily perceive Christabell, every bit as substantial as you last saw her, walking briskly over to to greet you.\n\n> You talk the resentment\n\"Carol seemed quite angry at you, Christabell.\"\n\n\"I do suppose she does have summe Reason, but know you that she did lead me on and I do think appreciate my Attentions. I am given to wonder if it was not she who did lead mee about wrongly.\"\n\n\"That's no excuse.\"\n\n> You talk the assassination\n\"On her desk, I saw a clipping of the assassination of\nPresident Kennedy -- we have Presidents now, like President Dukakis -- they are in charge of the whole government. Let me back up, the American government is divided into the principal branches: executive, legislative, and judicial. The president\u2026\"\n\n\"I do know what a President be; Carol had explained it to me\nupon a Tymme in much the excruciating Detaile as upon whych I did feare you do embark.\"\n\n\"Fine. So, she had this newspaper\u2026\"\n\n\"Yes, I do know what be a News Paper.\"\n\n\"Right. So, she had this newspaper article about the\nassassination of President Kennedy -- is that one of her\nRunes?\"\n\n\"Nay, that be the result of her calling upon the Deep Ones; the\nRune that doth have Relation to it would of its own Accord enter into her Book.\"\n\n> You talk the scrapbook\n\"Carol said she had left her scrapbook at her school --\nI wonder if that's true or if she was hiding them from me.\"\n\n\"So distracted was she as a Gyrll, it is not unthinkable that she did simply leave it. You must watch for another Oppourtunity to present itself.\"\n\n> Ploughver\n.\n\nCarol's Room (Ben Collins-Sussman)\nCarol stares out the window, her back to you. She's a bit taller and dressed in a sharply tailored turquoise shift. Without bothering to turn around, she addresses you, \"I have been expecting you, Naomi. I knew you would come once more before I die.\"\n\n[ HINT: you can type \"hints\" for a hint for this location ]\n\nThe room is brighter, but colder. A fluorescent fixture fills the room with blue-white light, which reflects harshly off the glassy gray walls. The stubby light gray carpet dulls the sound in the room, but contributes no warmth. At least one item in the room has not changed: the bed, same frame, although the blanket is now a darker blue, and there are no pillows. A small reading light is clamped to the headboard and there are a couple books stacked next to the bed. At the foot of the bed, the heavy gold frame is back, this time occupied by Richard Nixon. On the ground far below the bedroom window, a heavy padding of snow has covered the ground. To the left of the window, the desk is a now a steel and chrome affair, very modern. A computer terminal occupies about half the desk and a binder lies next to it. Above the desk, two rows of metal shelves have been installed. The record player is gone, replaced now by a reel-to-reel tape machine on the same little stand. The exit is to the south.\n\n> You look at stacked\nA few books are stacked next to the bed, but you can read the titles, How to Make Friends and Influence People, The Compleat\nManual of Wardes and Seales, and The Indian grammar begun:\nor, An essay to bring the Indian language into rules, for the help of such as desire to learn the same, for the furtherance of the Gospel among them.\n\n> You talk to Carol\nYou are already talking to Carol.\n\n> You examine Computer\nA bulky affair, larger and deeper than your Viewsonic monitor back in the office. Most of the terminal is a white plastic case, except the front, which is a dark green and mostly occupied by a glass screen, upon which white text glows on a black background. The lower portion of the front panel features an integrated keyboard. Above the keyboard and to the right of the screen, the case is marked in white lettering: \"Computer Terminal Corporation\" and \"DATAPOINT 3300\". Between those words, the case is stamped with an arrow in circle logo. You notice a sticker applied to the side of the case, near the bottom. It reads, \"Property of General Dynamics\". A large red rocker switch on the bottom right side of the keyboard emits a red neon glow.\n\n> You examine the window\nThe large bay window is framed in the same termite-infested rosewood trim that decorates the rest of this once great mansion. It looks like the child-proof lock that once secured the window shut has long since fallen off.\n\n> You look at the binder\nA black binder containing computer printouts.\n\n> You read it\nYou flip open the binder into which some green and white fan-fold paper has been pasted on several pages. The first page seems to be an index, written in the same blocky letters as on the cover. The index reads:\n\n* INS Dakar (Israel), 25 January\n* S647 (France), 27 January\n* K-129 (Soviet), 8 March\n* USS Scorpion, 22 May\n\n> You read Dakar\n25 JAN 1968 1601Z AUTHENTICATED RMX-998-LPO\nSIGINT ATHENS REPORTS ENCRYPTED CW DISTRESS\nSIGNAL FROM ISRAEL NAVY DIESEL-ELECTRIC\nSUBMARINE DAKAR STARTING 1001Z ENDING 1003Z TODAY.\nNO FIX BY RADIOGONIOMETRY. VESSEL LAST OBSERVED\nBY TRAWLER AT 2301Z ON 24 JAN 1968 AT 35.005N\nBY 26.954E APPROXIMATE HEADING 135 AT 7 KNOTS\nBELOW PERISCOPE DEPTH WITH FLOOR AT 3000M. NO\nOTHER SUBMARINES WITHIN 100NM AT THAT TIME. NO\nHYDROPHONIC EVENTS REPORTED BY UK WESTERN\nSOVEREIGN BASE AREA CYPRUS. LOSS OF VESSEL\nCONFIRMED BY IDF AT 1430Z. WILL DELAY SEARCH\nUNTIL 2200Z 25 JAN 1968. EOM.\nI beg your pardon?\n\n> Kwisatz haderach\nYou join your fists together and aim at the binder, and speak the invocation: \"kwisatz haderach\".\n\nCarol tries to get between you and the scrapbook, but she is not fast enough. As the book dissolves progressively to dust to small to see. Carol sags, as if suddenly exhausted.\n\n\"You idiot,\" she scolds. \"What was that for? I've done nothing to you -- well, nothing to speak of.\"\n\n\"You were growing too powerful; it makes me uncomfortable.\"\n\n\"I thought you were a little more rational than that, Naomi. I am disappointed in you. That was, of course, just one of many volumes -- my power is little diminished.\"\n\n\"Also,\" Carol adds as a petty afterthought, \"the word is Maud'dib. I at least read the book. When he used the weirding module, the thing he yelled was Maud'dib, not Kwisatz Haderach. You could at least get that one detail right.\"\n\n> You break the window\nThe house has survived Vermont winters, it will survive you.\n\n> You open the window\nCarol is watching you too closely."
    },
    {
        "text": "[Themes: horror, female protagonist, Lovecraftian]\n\n> You look around\nCarol's Room (Ben Collins-Sussman)\nThe room is brighter, but colder. A fluorescent fixture fills the room with blue-white light, which reflects harshly off the glassy gray walls. The stubby light gray carpet dulls the sound in the room, but contributes no warmth. At least one item in the room has not changed: the bed, same frame, although the blanket is now a darker blue, and there are no pillows. A small reading light is clamped to the headboard and there are a couple books stacked next to the bed. At the foot of the bed, the heavy gold frame is back, this time occupied by Richard Nixon. On the ground far below the bedroom window, a heavy padding of snow has covered the ground. To the left of the window, the desk is a now a steel and chrome affair, very modern. A computer terminal occupies about half the desk. Above the desk, two rows of metal shelves have been installed. The record player is gone, replaced now by a reel-to-reel tape machine on the same little stand. The exit is to the south.\n\nYou can see Carol and a window (closed) here.\n\nYou sense that the ploughver spell has recharged.\n\n> You examine the shelves\nThe metal shelf immediately above the desk displays a few pieces of artwork. Above the art, the two stuffed dolls you have come to know as Master Sweetpaws the Monkey and Malice the Clown sit menacingly on the upper shelf, their lower legs dangling over the edge.\n\n> You look at artwork\nThree small sculptures, none of them over about eight inches high stand on the lower shelf: a opalescent one on the left and a jet black one in the middle.\n\n> You look at opalescent\nOpalescent pastel blotches swirl lazily over the ovoid sculpture. Unable to tear your eyes away, you feel yourself losing a grip on this reality.\n\n\"Rover, they're gaining on us \u2014 cut in the Casimir Drive,\" orders the woman strapped into the acceleration couch to your right. She is of medium height, dark hair, and wearing an orange space suit with a MARSPACE insignia.\n\nTo your right, a cybernetically enhanced Dalmatian leans forward from his customized couch to paw at a few buttons on the command panel. The view out the windows suddenly changes, as the slowly moving stars are replaced by the chaotic discharge aura of the zero point transition.\n\nSuddenly, one of the pirate ships flanks you, its cutting beams chewing through the lateral ablative plating.\n\n\"It must have tracked our Condensate discharge,\" yells Janet.\n\nThe dog spins his couch, deftly tracking the enemy vessel and lets loose with the rail guns, slicing the marauder into two glowing red halves.\n\n\"Good boy!\" Janet reaches across to scratch Rover just where he likes it, behind the ears, and pushes the Synch Regulator all the way forward, revving the ship to full Asymmetry.\n\n> You examine the jet\nIt looks like a brick. How is that art?\n\n\"It looks like a brick,\" you say, pointing at it. \"How is that art?\"\n\n\"It is a brick of sorts,\" replies Carol. \"But it's a particularly important one. It's made of a ceramic with special properties that make it an excellent insulator. Father could explain it better than I.\"\n\n\"So it is valuable?\" you ask.\n\n\"Valuable? It has no value in the here and now, but for a certain few individuals in 2003, the fact that it is on display here in 1969 rather than installed in its proper place will be a matter of some worth, at least to them.\"\n\n> You open the window\nCarol seems to have her eye on you.\n\n> You examine right\n(which of the three sculptures do you mean, the one on the left or one in the middle?)\n\n> You talk right\n\"Well,\" says Carol.\n\n> You talk art\n\"Sorry? Didn't follow that,\" says Carol.\n\n> You show right to Carol\n(first taking the conspicuous absence of space)\nYour hand goes right through it.\n\n> You talk absence\n\"How interesting,\" says Carol.\n\n> You look at the desk\nCurved, tubular polished steel tubes support a single sheet of glass, about a half inch thick. A matching chair is right next to the desk. The only item on the desk is a huge antiquated computer terminal.\n\n> You examine the chair\n(the desk chair)\nA modern rolling chair that matches the desk.\n\n> You open window\nShe is so distracted by what you were just talking about that you are able to get near the window without her noticing.\n\nYou pull up on the window and it slides only a fraction of an inch up in its gritty track.\n\n> Continue\nCarol is intently focused on what you are doing.\n\n> You talk more\n\"Well, you learn something new every day,\" says Carol.\n\n> You open window\nShe is so distracted by what you were just talking about that you are able to get near the window without her noticing.\n\nYou pull up on the window and it slides only a fraction of an inch up in its gritty track.\n\n> You look at Carol\nCarol now wears her hair in a tight, efficient bob, giving her a more mature appearance, but you would put her age at nineteen or twenty.\n\nUnbidden words pour from your mouth, \"Such an End the New Gods will not permit; now with their Powers adjoined to mine, I do slay your Instrument and disrupt your Fusion.\" Suddenly, all of Christabell's power and infinitely more turn inward.\n\n\"No!\" screams Carol, as she tries to push a wedge of her own powers through the crimson fist tightening on your belly.\n\nBut it is not enough. Within you, there is a final fluttering, and then nothing.\n\nAs Carol fades, you read her final silent words on her lips, \"I'm sorry.\" And she too is gone.\n\n\"Your small Parte in this be nowe Compleat, dear Naomi,\" whispers Christabell. \"Carol's Cycle is broken, but long will the Frewt of her Deeds despoil the Earth. In this Struggle I have been emptied of my Potence and do take my Leave, mine owne Fusion finally untangled.\""
    },
    {
        "text": "[Themes: female protagonist, Comedy, Lovecraft]\n\n> You look around\nBefore you can do that, a book appears in mid-air and drops to the wooden floor. Clouds of dust waft up around it."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft, Lovecraftian]\n\n> Describe the surroundings\nCarol's Room (Ben Collins-Sussman)\nShafts of sunlight filter through the filthy window, which is now closed.\n\nThe room is empty: the carpet has been taken up, all furniture removed, and nothing left on the walls. Dust hangs in the air of this room so long abandoned.\n\nYou can see a window (closed) and a Tome of Naomi here.\n\n> You examine Tome of naomi\nA photograph flitters out of the Rune Book, spirals around you and floats to the ground.\n\nA thin, leatherbound tome. A title is embossed on the cover: \"Tome of Naomi\".\n\n> You get it\nThat's the thing about Rune Books: they like to be where they are and no where else. They are very finicky in that way.\n\n> You read it\nYou carefully lay open the crusty leather-clad book revealing a number of entries, each corresponding to a faded newspaper clipping:\n\nFor Gluttony of the Bestowance:\nBoat Wreck On Sable Island\n\nFor Gluttony of the Bestowance a second time:\nWatery Fate for Convict\n\nFor Gluttony of the Bestowance yet a third time:\nBody Found\n\nFor Sloth of Mouvement:\nOrphan Survives\n\nFor Sloth of Mouvement a second time:\nBoardwalk Tragedy\n\nFor Sloth of Mouvement yet a third time:\nHargreaves Remembered\n\nFor Pride in Erasure of the Runes of Another:\nSeinfeld Actor Dies\n\nFor Murder of Your Own Childe:\nRed Tide\n\n> You examine the photograph\nStains cover large part of the front side, hiding the faces of what looks like a mother and a couple of small siblings. The woman, whose age is impossible to determine, is wearing a white, wedding dress. The kids both have on a kind of work overalls, over a white blouse. The boy on the right is not stained, still... he seems to have no face, as if time has worn out his features.\n\nOn the reverse side of the picture is something written, in a trembling hand-writing:\n\nPut its gift over daan\nAnd you'll soon end your search.\n\nBelow this, a different and more forceful hand has written \"Don't forget to say ahe'hee!\".\n\n> You look at the coffee\nThe swirls in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go south\nUpstairs Hall, north end (Jason Love)\nThe broken doors to the armoire lie on the floor near the center of the room.\n\nThe doorless armoire stands against the north-west wall. There's nothing inside.\n\n> You go to the south\nWhite light flickers from somewhere inside the hole in the wallpaper.\n\n> Go south\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nA spectral trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> You wait for the blue Line\nYou lean against the wooden door, hold out your pass, and wait for the blue line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nAn ethereal trolley stop sign reads Blue Line -- Library Square.\n\n> You look at the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nBackwater Personalities (1915-1925 edition)\nThe Lives of the Roman Emperors\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\nANCHORHEAD. A What-do-I-do-now Book Based on the Works of\nMICHAEL GENTRY\n\n> Examine book\n(the old paperback book (smelling faintly of mildew))\nThe old paperback book is pretty thick, and the pages are yellowed and lacerated here and there. You're not a bookworm, but the condition of the book and the outdated font and style of drawing on the cover tell you it was printed decades ago, maybe at the beginning of the century.\n\nJudging by the cover the book seems to be a bit pulpy. It shows a large, old and eerie house on a clearing in the woods. The title is \"ANCHORHEAD. A What-do-I-do-now Book Based on the Works of MICHAEL GENTRY.\" A scraggy sticker with the insignia of the Backwater Public Library, on it indicates that by no means you want to pay the fine for exceeding the return deadline.\n\nFrost lines the edges of the library insignia.\n\n> Go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nIlluminati, De Zeven Testamenten van de Krijsende\nZeeworm, a 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, a\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), The Dollmaker's Journal\n(smelling faintly of mildew), Legends of Lake Champlain and the\nHudson River Valley (smelling faintly of mildew) and a shabby\njournal.\n\nA librarian stands behind a counter.\n\n> You give Book to the LIBRARIAN\nWhich do you mean, the soggy tome (smelling faintly of mildew), the moldy, waterlogged journal (smelling faintly of mildew), the postcard of Big Ben (smelling faintly of mildew), The Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew), the faded delivery note (smelling faintly of mildew), the old newspaper (smelling faintly of mildew), The Conservative's Cookbook,\nOut of the Infinite, by Robert N. Ostregot (smelling faintly\nof mildew), The Broken Tongue, by Noah Chaplinski (smelling\nfaintly of mildew), Between God and Madness, by Hiram\nStrangecraft, The Imagined Worm, by Elizabeth P. Stashwart,\nThe Reign of Reason, by Godos Atrakut (smelling faintly of\nmildew), the pocket-sized notebook (smelling faintly of mildew),\nThe Lives of the Roman Emperors (smelling faintly of mildew),\nthe clipped newspaper article (smelling faintly of mildew), Backwater Personalities (1915-1925 edition) (smelling faintly of mildew), Mama Hydra's Deep Fried Ones (smelling faintly of mildew), A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf (smelling faintly of mildew), Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew), the diary of Phyllis Cragne (smelling faintly of mildew), the tiny leather journal (smelling faintly of mildew), Tatooine 1: Anchorhead\n(smelling faintly of mildew), the old paperback book (smelling faintly of mildew), the bookshelf, De Zeven Testamenten van de Krijsende Zeeworm, the 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, the\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), The Dollmaker's Journal\n(smelling faintly of mildew), Legends of Lake Champlain and the\nHudson River Valley (smelling faintly of mildew), the shabby\njournal or De Vermibus Laceris?\n\n> You give Anchorhead to the LIBRARIAN\nWhich do you mean, Tatooine 1: Anchorhead (smelling faintly\nof mildew) or the old paperback book (smelling faintly of mildew)?\n\n> Old paperback\n(first taking the old paperback book (smelling faintly of mildew)) Klonk-klonk.\n\n> You check what you're carrying\nYou are carrying:\nan a worn out, decaying picture\na soggy tome (smelling faintly of mildew)\na moldy, waterlogged journal (smelling faintly of mildew)\na postcard of Big Ben (smelling faintly of mildew)\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew)\na faded delivery note (smelling faintly of mildew)\nan old newspaper (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew) The Conservative's Cookbook\nOut of the Infinite, by Robert N. Ostregot (smelling\nfaintly of mildew)\nThe Broken Tongue, by Noah Chaplinski (smelling faintly of\nmildew)\nBetween God and Madness, by Hiram Strangecraft\nThe Imagined Worm, by Elizabeth P. Stashwart\nThe Reign of Reason, by Godos Atrakut (smelling faintly of\nmildew)\na battered yellow JogMaster (being worn)\na pocket-sized notebook (smelling faintly of mildew)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\nThe Lives of the Roman Emperors (smelling faintly of\nmildew)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na clipped newspaper article (smelling faintly of mildew)\nBackwater Personalities (1915-1925 edition) (smelling faintly of mildew)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (open)\nthe diary of Phyllis Cragne (smelling faintly of mildew)\na tiny leather journal (smelling faintly of mildew)\nTatooine 1: Anchorhead (smelling faintly of mildew)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You put the Books in the bp\nsoggy tome (smelling faintly of mildew): Done.\nmoldy, waterlogged journal (smelling faintly of mildew): Done. postcard of Big Ben (smelling faintly of mildew): Done.\nThe Modern Girl's Divination Handbook -- Volume Three (smelling faintly of mildew): Done.\nfaded delivery note (smelling faintly of mildew): Done.\nold newspaper (smelling faintly of mildew): Done.\nOut of the Infinite, by Robert N. Ostregot (smelling faintly\nof mildew): Done.\nThe Broken Tongue, by Noah Chaplinski (smelling faintly of\nmildew): Done.\nBetween God and Madness, by Hiram Strangecraft: Done.\nThe Imagined Worm, by Elizabeth P. Stashwart: Done.\nThe Reign of Reason, by Godos Atrakut (smelling faintly of\nmildew): Done.\npocket-sized notebook (smelling faintly of mildew): Done.\nclipped newspaper article (smelling faintly of mildew): Done.\n\n> Close bp\nYou close the book pocket.\n\n> You check your inventory\nYou are carrying:\nan a worn out, decaying picture\na little stoppered vial of blue liquid (smelling faintly of mildew) The Conservative's Cookbook\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\nThe Lives of the Roman Emperors (smelling faintly of\nmildew)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nMama Hydra's Deep Fried Ones (smelling faintly of mildew)\nA Culinary Overview of Superstitions in the Miskaton Valley Region\n\nHyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You look at the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nTo Have, and To Have Knots: An Illustrated Guide\nThe Lives of the Roman Emperors\nA Rudimentary Taxonomy of Known Scent and Grotesque\nReactions\nLife Beneath Nightmares\nThe Conservative's Cookbook\n\n> You go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nOn the cart are Backwater Personalities (1915-1925 edition) (smelling faintly of mildew), an old paperback book (smelling faintly of mildew), a book New England and the Bavarian Illuminati,\nDe Zeven Testamenten van de Krijsende Zeeworm, a\n'Pataphysical Approaches to Quantum Superfluids (smelling\nfaintly of mildew), Tolerating An Asinine God (smelling faintly of mildew), The Seven Gaunts, a pink-bound book (smelling\nfaintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), The Dollmaker's Journal (smelling faintly of\nmildew), Legends of Lake Champlain and the Hudson River\nValley (smelling faintly of mildew) and a shabby journal.\n\nA librarian stands behind a counter.\n\n> You give cookbook to the LIBRARIAN\nWhich do you mean, The Conservative's Cookbook, Mama Hydra's\nDeep Fried Ones (smelling faintly of mildew), A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf (smelling faintly of mildew) or Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)?\n\n> Go west\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA ghostly trolley stop sign reads Blue Line -- Library Square.\n\n> You put the cookbooks in the bp\nWhich do you mean, Mama Hydra's Deep Fried Ones (smelling faintly of mildew), A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf (smelling faintly of mildew) or Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew)?\n\n> You put the Mama Hydra's in the bp\nYou unzip the book pocket, deposit Mama Hydra's Deep Fried Ones (smelling faintly of mildew), then zip the book pocket back up again.\n\n> You put culinary in the bp\nYou unzip the book pocket, deposit A Culinary Overview of Superstitions in the Miskaton Valley Region by S. Jarret Zornwharf (smelling faintly of mildew), then zip the book pocket back up again.\n\n> You put Wheldrake in bp\nYou unzip the book pocket, deposit Hyper-Gastronomy, Exactness, and String Theory: a Theoretical Subdiscipline of Cooking and Baking by Chef Wheldrake (smelling faintly of mildew), then zip the book pocket back up again.\n\n> You examine the cross\nThe inner ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nPIG       |EYE       |WOODPECKER|CROSS     |FISH      |EAGLE.\n\n> You examine the central circle\nThe circle looks solid. Apart from the set of talons that frame it, it has one single mark: a triangle pointing somewhere northeast.\n\n> You go to the northeast\nNo visible exit there. You can go north, east, west, southwest, and southeast.\n\n> You turn central\nIt is immovable.\n\n> You turn inner\nYou maneuver the inner ring and it turns one step clockwise with almost no friction. The symbols now are:\nThe inner ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nEAGLE     |PIG       |EYE       |WOODPECKER|CROSS     |FISH.\n\n> You turn inner\nYou maneuver the inner ring and it turns one step clockwise. The symbols now are:\nThe inner ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nFISH      |EAGLE     |PIG       |EYE       |WOODPECKER|CROSS.\n\n> You turn inner\nYou maneuver the inner ring and it turns one step clockwise. The symbols now are:\nThe inner ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nCROSS     |FISH      |EAGLE     |PIG       |EYE       |WOODPECKER.\n\n> You turn inner\nYou maneuver the inner ring and it turns one step clockwise. The symbols now are:\nThe inner ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nWOODPECKER|CROSS     |FISH      |EAGLE     |PIG       |EYE.\n\n> You examine the middle\nThe median ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nDAAN      |SHI       |AAK'EE    |HAI       |TL\u00c8\u00c8      |JI.\n\n> You examine the outer\nThe outer ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nBLACKBIRD |TREE      |SPARROW   |CUBE      |WOMAN     |FEATHER.\n\n> You turn outer\nYou maneuver the outer ring and it turns one step clockwise. The symbols now are:\nThe outer ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nFEATHER   |BLACKBIRD |TREE      |SPARROW   |CUBE      |WOMAN.\n\n> You turn outer\nYou maneuver the outer ring and it turns one step clockwise. The symbols now are:\nThe outer ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nWOMAN     |FEATHER   |BLACKBIRD |TREE      |SPARROW   |CUBE.\n\n> You examine the emblem\nThe big emblem, one yard wide, is embedded in the center of the square like a manhole. The surface looks golden, although you seriously doubt it is anything more than pyrite. Its three rings surround a central circle tightened by bird claws with a single triangular mark pointing northeast. The rings themselves are bedecked by a series of symbols (outer to inner, then clockwise from north):\n\nWOMAN     |FEATHER   |BLACKBIRD |TREE      |SPARROW   |CUBE\nDAAN      |SHI       |AAK'EE    |HAI       |TL\u00c8\u00c8      |JI WOODPECKER|CROSS     |FISH      |EAGLE     |PIG       |EYE.\n\n> You turn middle\nYou maneuver the median ring and it turns one step clockwise. The symbols now are:\nThe median ring is bedecked by a series of symbols (starting from the outer ring and going clockwise, from the north):\n\nJI        |DAAN      |SHI       |AAK'EE    |HAI       |TL\u00c8\u00c8.\n\n> You say ahe'hee\nAs you speak the magic word (nice one, lady!), the central circle of the big emblem sinks into the ground, revealing a shallow hole. There is something inside!\n\n> You look at Hole\nIn the central hole is a copper amulet.\n\n> You get the amulet\n(the copper amulet)\nTaken.\n\n> You look at it\nIt is an hexagon-shaped copper amulet, held by a long chain. It shows the stylized shape of an octopus -- or whatever that thing is, given it has maybe twenty-four tentacles.\n\nOn the back, the words T11 C1996 are the only features worth\nnoticing.\n\n> You examine the amulet\nWhich do you mean, the copper amulet or the broken silver amulet (smelling faintly of mildew)?\n\n> You wear the copper amulet\nYou put on the copper amulet."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft, female protagonist]\n\n> Go downwards\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Hey, you! I'm waiting! Hellooooo?\"\n\n> Go northwest\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\n> You look at the coffee\nThe clouds in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the copper amulet\nIt is an hexagon-shaped copper amulet, held by a long chain. It shows the stylized shape of an octopus -- or whatever that thing is, given it has maybe twenty-four tentacles.\n\nOn the back, the words T11 C1996 are the only features worth\nnoticing.\n\n> You turn on the vcr\nYou press the power button a couple of times, and nothing happens.\nThe power cord is unplugged.\n\n> You plug the cord in\nYou plug the power cord into the mannequin's bloody socket. It swallows the entire plug, leaving only the cord emerging from the dummy's abdomen and snaking toward the TV. The mannequin's hands and feet twitch with unholy excitement.\n\n> You put the TAPE 11 in the vcr\nYou turn the Panasonic on. A plain blue screen is displayed.\n\n(first taking tape 11)\nThe tape plays. The screen is black. Nothing seems to be happening, but then you hear the hiss and crackle of static. The audio on this tape seems to have been transferred from something very old, perhaps a wax cylinder. The screen fills with strange runes or characters that seem to shift every few minutes. A tinny voice recites something in what could be a Native American language.\n\nThe counter now reads 1503.\n\n> You look at the vcr\nIt's a 29-inch model, perhaps even bigger. It has all the features of a TV and a VCR, including a four-digit counter that tells you where you are on a tape. A single power button controls the whole thing, and the counter has a reset pin you can push. With a tape in, you can PLAY, EJECT, REWIND, or FAST-FORWARD TO (FF TO) a specific spot.\n\nThe huge Panasonic TV/VCR combo is currently switched on.\n\n> Ff to 1995\nYou fast-forward until the counter reads 1995.\n\nThe tape plays. The screen fills with strange runes or characters that seem to shift every few minutes. A tinny voice recites something in what could be a Native American language.\n\nThe counter now reads 2045.\n\n> Rewind\nYou rewind the tape all the way. The counter now reads 1431.\n\n> Ff to 1996\nYou fast-forward until the counter reads 1996.\n\nThe tape plays. The screen fills with strange runes or characters that seem to shift every few minutes. A tinny voice recites something in what could be a Native American language.\n\nThe counter now reads 2046.\n\n> You examine the mannequin\nIt's a single-piece female model with articulated joints. It's missing its head; someone has raggedly hacked it away, leaving a rather sharp edge. The painted eye on the torso has been replaced by an oozing socket. It's wearing nothing.\n\n> You look at the coffee\nThe clouds in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Play\nThe tape plays. The screen fills with strange runes or characters that seem to shift every few minutes. A tinny voice recites something in what could be a Native American language.\n\nThe counter now reads 1481.\n\n> You look at the PIN\nIt's got a four-digit display and a little pin that you can push to reset it. It currently reads 1431.\n\n>  X PIN\n\nIt's got a four-digit display and a little pin that you can push to reset it. It currently reads 1431.\n\n> Ff to 1996\nThe tape advances, continuing with the same tinny voice droning on. Suddenly, though, a different recording cuts in, and a new (but equally old) voice whispers: \"My dearest Salona:\" There's a\nrustling noise, followed by a crash. \"Apologies, I have still not\nyet familiarized myself with this phonographic contraption. I hope this message finds you well, or, as well can be expected given the circumstances. I must be brief, as I am not certain to tarry long in this fearful place. I have instructed my man to send you with this missive your most favorite varietal of peaches, newly pickled in a jar with a most singular reagent that, I am told, shall restore to you life and vitality. I only pray this does not reach you too late.\n\n\"Until next we rejoin, I remain, Edmund--\" And the voice cuts\noff.\n\nHm. That seems noteworthy. Make a note of it. Really.\n\n> You examine the jacket\nA patch on the left breast reads \"Century 21 Real Estate.\" There's dried blood all around the collar.\n\n> Go southeast\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Hey, you! This way! Can you hear me?\"\n\n> You go upward\nTaking a deep breath, you grasp the ladder for support and hook your leg up to the first available step. The metal creeks and groans alarmingly as you transfer your weight, but the bolts hold firm. You shakily gather yourself and begin to ascend back up to the surface.\n\nUnder the Bridge (Tenth)\nThe path along the river gives way to a crumbling stone embankment as it passes below the arch of the old stone bridge. A rusty metal hatch is set into the ground opposite from the river, and towards the end of the embankment, a derelict payphone squats, forgotten, under the shadow of the bridge. To the south, the path continues to follow the river.\n\n> Go south\nRiver Walk (Adam Whybray)\nA dirt path along the west bank of the Makaskuta - or Blackgourd - River. The air is motionless and sweltry, the urticariate heat drawing sweat profusely from your prickling glands.\n\nJust below you, to your side, the river burbles in vainglorious stupor, foaming in bright patches from the surfacants released from the rotting deposits of the red maples and poplars that line its banks. A single black ash, denuded of leaves, its corky bark blighted with the telltale signs of parasitic infection, quietly interrupts the Autumnal foliage of its deciduous cousins.\n\nThe river's waters slith over rocks as lustrous-gray as seal skin, rending them freshly burnished for the mid-September sun, which casts Her rays in refulgent slats through the rust-honey colored trees. It is though Nature, in celebration of Her own fecundity, has chosen to offer Herself up in Equinoxical sacrifice - the rocks laid out before the blazing altar of the sun.\n\nThere is a forbidding sign on the bank of the river.\n\nThe way up to Backwater town square is northwest. Following the path north leads under the bridge.\n\nOn the Makaskuta river is a buoy.\n\nYou can also see a freshwater lobster trap (in which is an eggbound crawfish) and a shattered crawfish here.\n\nA spectral trolley stop sign reads Aqua Line -- River Walk.\n\n> You ask man about Peter\n(the one-eyed man about that)\n\"Do you know my husband? His name is Peter Cragne and...\" you stop, looking for the right thing to say. \"Well, I need to find him.\"\n\n\"Oh, Madam, how twisted is the fortune of a bride missing her groom! Although, these days, I come to think of it as a natural aspect of modern marriage, isn't it?\"\n\n> You ask man about Edmund\n(the one-eyed man about Edmund)\nThere is no reply.\n\n> You go to the north\nThe man returns to his pretended duties, while keeping his one eye one you.\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA mistlike trolley stop sign reads Blue Line -- Library Square.\n\n> You wait for the purple Line\nYou lean against the ripped headline, hold out your pass, and wait for the purple line. Within moments, a spectral trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go to the south\nHillside Path (Jack Welch)\nYou are in a hillside hollow flanked on three sides by sheer granite cliffs and on the other by gnarled vegetation.\n\nThree trailheads hold out some chance of respite: north, southwest, and southeast.\n\nYou can see a stone altar here.\n\n> You examine the altar\nA large, roughly rectangular slab of the same black granite as the surrounding cliffs.\n\n> You examine coffee\nThe swirls in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go southeast\nOutside the Plant (Chandler Groover)\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain, and its perimeter circled by dead pigs and cows in buzzing heaps.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nAn insubstantial trolley stop sign reads Red Line -- Meatpacking Plant.\n\n> You examine Plant\n(the Cragne Meatpacking Plant)\nBlock print, more than twenty feet tall, spells out CRAGNE MEATS INCORPORATED across the building. At least it did, until the\nelements had their say. And the grease-fires. Now the plant advertises C  GN  ME TS   CO PO   ED.\n\n> You examine the smoke\nHeavy lines, trickling from the chimneys like starbound grease.\n\n> You examine Hole\nA door used to be here. Apparently it was too small for whatever wanted to get in\u2014or out.\n\n> You look at the bricks\nYou've seen grease-traps more hygienic than this building's bricks. Filthy grease-traps.\n\n> You look at Walls\nBlock print, more than twenty feet tall, spells out CRAGNE MEATS INCORPORATED across the building. At least it did, until the\nelements had their say. And the grease-fires. Now the plant advertises C  GN  ME TS   CO PO   ED.\n\n> You touch Hole\nAs you reach toward the hole in the wall, you brush something moist.\n\n> You examine moist\nYou can't see any such thing...\n\n> You touch moist\nYou push your fingers through the air inside the hole. It's like cottage cheese. Heavy, damp, and clammy slime submerges your arm to the elbow, although you can't see anything. But you can feel\nsomething hard, chitinous. When you remove your hand, there's no physical residue.\n\n> You get it\nYour intentions recoil like cowering dogs.\n\n> You eat it\nYou bite an invisible pustule. It bursts, releasing sludge that slithers down your throat.\n\n> You eat yourself\nYou nip yourself. Your skin bruises.\n\n> You hit it\nYou lift your hand to strike, and\u2014and\u2014dig your fingernails into\nyour\npalm.\n\n> You pull the String\nThe doll intones: \"Flee the peril of the buzzing heaps!\"\n\n> You examine the heaps\nSome instinct called them to the plant, compelled them to fall in this particular arrangement. Their limbs are like letters, their slaughter grammar. Whatever language they might embody, its blasphemy could never be written. Only erased.\n\n> You pull the String\nThe doll intones: \"Flee the chimneystacks!\"\n\n> You examine the chimneystacks\nIn certain tarot decks, there is a card with a corpse on the ground, many swords stuck upright in its back. Chimneystacks are not, perhaps, unlike swords. Buildings are not unlike bodies. But whatever the card was meant to represent, you suspect it wasn't a meatpacking plant.\n\n> You pull the String\nThe doll intones: \"Avoid the hazard of the thing that isn't here!\"\n\n> You pull the String\nThe doll intones: \"Beware the buzzing heaps!\"\n\n> Search heaps\nFlies buzz around your face. You bend down, feel along the ground, shove corpses aside as you dig through their desiccated heaps. They weigh practically nothing, like papier-m\u00e2ch\u00e9, but you find one that's still plump: a sheep with a bloated belly.\n\nYou pull its body into the open.\n\n> You examine the sheep\nIts face has been scraped raw: a skull with bulbous eyes in red sockets.\n\nThey're eyes you recognize.\n\nYou only met her once, but you'll never forget those bulbous eyes. Old Lorraine Cragne, your husband's great aunt once-removed (or can great aunts be once-removed?), standing at a cutting-board in the kitchen. She had a rabbit pinned down. She ripped it open. Because, she explained, she could examine its guts to read the world's hidden language.\n\n> Open belly\nThe sheepskin is weaker than wet tissue-paper. It shreds in your hands, and steaming intestines pour through soggy fur. They spread toward your feet on the ground.\n\nDid Lorraine have a seat on the board at Cragne Meats? You can't remember.\n\n> You look at the intestines\nSo many flies. Everywhere. They swarm the intestines like fingers following sentences in a book, tracing each loop, every bloody coil. Their buzzing is louder than ever before.\n\n> You search them\nThese intestines have fallen in this arrangement because it was meant to happen. Not only their coils, but also the empty spaces between them, seem to mirror other patterns nearby. Lorraine would've been able to interpret them. She knew how to read the blank spots in the world.\n\n> You listen\nAll this buzzing, buzzing, buzzing is like an old woman rasping, rasping, rasping: What the guts say is what they don't. What isn't here, that's what's really here. That's why the suckling came, because its name's not here. Not anymore. Speak what isn't here, and it will rise. Yes, we will rise.\n\n> You say the raeainrrat\nEven thinking the name is too much. Every syllable is a claw inside your skull, scraping the bone like nails raking chalkboards. Something wants out. Something's already out.\n\nRight here, in this hole smashed in the wall.\n\nReality ripples outward from the hole, impressed by an idea. By the name. Corpses rattle, gyrate like bathwater swirled into a drain. What isn't here screeches. What isn't here screams. What isn't here rises high into the sky, displacing clouds, festooned with carcasses, and crowned by a sheep's head whose bulbous eyes look to the stars.\n\nIt rises. It rises.\n\nWhat isn't here, isn't here now."
    },
    {
        "text": "[Themes: Lovecraft, female protagonist]\n\n> Look around\nOutside the Plant (Chandler Groover)\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nA ghostly trolley stop sign reads Red Line -- Meatpacking Plant.\n\n> You examine Hole\nA door used to be here. Apparently it was too small for whatever wanted to get in\u2014or out.\n\n> You enter Hole\nThe meatpacking plant (Kenneth Pedersen)\nYou are standing in the center of the main room of the meatpacking plant. An open doorway leads west from this huge room to somewhere darker, while some rickety stairs lead up. A long row of meat hooks are hanging from the ceiling parallel to a bloodstained table. It is not too late to leave yet, by going out the front door.\n\n> About yourself\nYou look yourself over and realize that you are a mess right now. You wonder how it came to this.\n\n> You examine the coffee\nThe clouds in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You look at the hooks\nThe meat hooks are rusty, stained and out of reach. They are all empty except for a hook at the southern end of the room, which holds the body of a dead animal, hanging from its legs head down.\n\n> You examine the animal\nThis dead animal is some sort of dog of a breed unknown to you. There is something disturbing, twisted about this dog. It hasn't been dead for long. Especially you notice its stomach which seems particularly big and hard, as if there is something inside of it.\n\n> You examine table\nThis is a very long wooden table running the full length of the room from north to south. It is stained with old blood.\n\n> You examine Door\nThe door is ajar, so you can quickly leave this terrible place.\n\n> You examine doorway\nIt is just a doorway.\n\n> You go to the west\nBathroom of the Meatpacking Plant  (Chris Jones)\nThis is a perfectly normal bathroom. There's a bathroom stall (which has some graffiti written on it), a urinal, a sink with a mirror over it, and even a shower for those days at work when meat debris happens. Perfectly normal bathroom.\n\nYou can see a pentagram on the floor here.\n\n> About yourself\nYou fight down the urge to compulsively examine the comparative size of your knees in relation to one another. It's a compulsion that pops up when you're under stress, has done since the knee fetishist you dated before Peter dumped you in college. You want to look right now but it just feeds the compulsion. No, no, you mustn't look! You won't! They're still the same size, Naomi. Your knees are still the same size.\n\n> You look at the coffee\nThe swirls in your cup form a row of trees. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the stall\nA walled bathroom stall in the corner of the room. Someone wrote \"Beware Horse\" on the side of the stall in marker. For some\nreason. Below that, someone has written \"Don't use the shitter,\nbro!\", also in marker. Pretty wide existential gap between those\ntwo graffiti but okay. Anyway the door to the stall is slightly ajar.\n\n> You look at the graffiti\nSomeone wrote \"Beware Horse\" on the side of the stall in\nmarker. For some reason. Just below that they wrote \"Don't use the shitter, bro!\", also in marker.\n\n> You examine the mirror\nA perfectly normal bathroom mirror: one of those big frameless dealies that they hang on the wall above the sink. In it you can see the bathroom reflected: the stall/toilet, the urinal, the shower, all floating in a terrifying dark void filled with unfamiliar stars. Wait what.\n\nThere's a sign on the corner of the mirror that says \"Mirror Temporarily Out of Order - mgmt.\".\n\n> You look at Sign\nIt says \"Mirror Temporarily Out of Order\"\n\n> You examine the shower\nA chrome showerhead hanging from the ceiling in one corner of the room, presumably for the plant employees to wash various species\nworth of meat and meat byproducts off their filthy bodies. Directly below the showerhead, there is a large metal grate over a drain in the floor. On the wall between, there's a single shower knob that says \"warm\".\n\nAbove the knob, someone has scratched the words \"Don't Shit In The Shower Anymore Bro!\" into the wall. What the hell is wrong with\nthe savages that use this bathroom?\n\n> You look at the drain\nA hole in the floor that keeps liquids of various kinds from filling up in the room. There's a metal grate over it.\n\n> You look at the urinal\nA stainless steel trough in the floor, presumably for pissing into. There's a blue urinal cake at the bottom. Right about head-height above the urinal, the words \"Do Not Shit Here Either\" are\nscratched into the wall. Just below that are the words \"stop\ntelling us where not to shit, dude\" in smaller letters. And just\nbelow that is the word word \"No\".\n\nSo much drama.\n\n> You enter the stall\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some toilet water in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti.\n\nYou can see a pentagram edge on the floor just outside the stall here.\n\nOn the toilet are a candle shaped like a human hand and a vintage issue of Juggs Magazine.\n\n> You examine the candle\nYou see nothing special about the candle shaped like a human hand.\n\n...what? It's just a weirdly shaped candle. Lots of bathrooms have candles, to freshen the air after using the facilities. That's all this is. Totally normal bathroom!\n\n> Examine magazine\n(the Italian magazine cutting (smelling faintly of mildew))\nThis is a cutting from an old Italian magazine. Printed on a corner is \"La Domenica del Corriere, 2 Maggio 1972\", and is apparently an article about an Italian monk and his alleged invention. In particular, a photo on the page strikes you. Attached to the newspaper cutting is what seems a typewritten translation of the article in English.\n\nA faint smell of mildew emanates from it.\n\n> You look at the juggs\nIt's the Virgin Alewives of the Midwest issue, according to the cover. \"Oh hey dere I've never had a man but I'd sure like to doncha know!\" proclaims the woman on the front in big red 80's font, as she stands there with two strategically-placed giant beer steins and not nearly enough clothing for a Midwest winter.\n\nOoo, it says there's an article on cornhole strategy, too!\n\n> You look at the cabinet\nA laminated white medicine cabinet bolted to the wall above the toilet.\n\n> You open it\nYou open the medicine cabinet, revealing a cheap lighter, a bottle of Pepto-Bismol and a bloodstained witch-knife.\n\n> You look at lighter\nOne of those cheap shitty little cigarette lighters you buy out of a tray at a bodega or gas station, the ones that don't work very well and have too little fluid. People only buy these when they're broke, or when they're so high that they actually appreciate the cliche head-shop clip-art on the side of the thing.\n\nThe art on this one is of a wizard holding a glowing marijuana leaf up over his head like it's the frikkin' Triforce. Damn. That's actually rad.\n\n> You look at the pepto\nA bottle of pink bismuth-subsalicylate. It's for drinking when your poops are sick.\n\n> You look athe witch-knife\nMore properly known as an \"athame\", it's a black-handled witch-knife that sorcerors use in rituals to focus magical energy. And also to shank folks. This one is covered in dried blood, indicating a shanking happened at some point in the past.\n\n> You examine Door\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some toilet water in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti.\n\nYou can see a pentagram edge on the floor just outside the stall here.\n\nOn the toilet is a vintage issue of Juggs Magazine.\n\n> You look at bar\n(the rusty piece of metal (smelling faintly of mildew))\nThe remains of the broken leg is light and sturdy and long enough to stretch from your hand to your elbow.\n\nA faint smell of mildew emanates from it.\n\n> You open it\nIt seems to be locked.\n\n> You examine the grab bar\nOne of those metal grab bars for people who have difficulties walking or standing, set into the wall next to the toilet.\n\n> You get the Juggs\nTaken.\n\nOh hey looks like somebody left a handwritten note tucked in the back of the vintage issue of Juggs. It becomes dislodged by your ministrations and floats gently to the floor of the stall.\n\n> You get handwritten\n(the handwritten note you found in the back of a vintage issue of Juggs Magazine)\nTaken.\n\n> You read it\nIt has some writing on it in gothic script, which says:\n\nEdward! Stop leaving the damn candle on the pentagram when you're\nnot using the toilet-portal. I'm tired of the meatpacking proletariat falling ass-first into orbit around my [mustard stain] and\ndying there every week. And I'm already burning through a truly astounding quantity of baby souls to maintain a bathroom in two spacetime locations at once, much less keep a five-million-mile wormhole open for every sausagewright that can't be arsed to read a sign on the work toilet. So again: keep the candle off the pentagram and don't open up any more portals!\n\nAlso, it is absolutely imperative that you get that demonic\nmonster out of the bathroom pipes before it kills again, lest we be caught. Since it is an unliving abomination that cannot die, I recommend banishment: use the [ketchup stain] spell on the\nvellum [more ketchup] scroll; it's on my bookshelf. As my\napprentice you should have the magickal skill to cast the spell on the horse without your [whiteout, or possibly mayo] turning\ninside out.\n\nAt any rate I have business in space, but expect my return on the\nfull moon of [mayo?]\n\nI remain,\nKonstan[lettuce stuck on the page] Cragne\nP.S.: If I find you have touched my journal in my absence, I shall transmogrify you into an abscess on a buttocks. xxoxo be good\n\nOh lord, this bathroom has some mysterious mystical connection to one of your bizarre in-laws. Why are they all so weird and/or evil? And a horse? What horse? What's turning inside out, now? Demon in the pipes? One thing at least is for certain: Edward (whoever that is) needs to stop eating on the can while reading his mail"
    },
    {
        "text": "> Look around\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some toilet water in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti.\n\nYou can see a pentagram edge on the floor just outside the stall here.\n\n> You look at the toilet\nA standard porcelain commode. Suspiciously clean for a meatpacking plant bathroom, although it's probably covered in a thin layer of invisible meat debris like everything else in this plant. The bowl is open, containing some toilet water. It appears that the toilet is currently unflushable due to the fact that some obnoxious fuck ran off with the flush handle. Also, there is a sign taped to the toilet that has printed on it: \"Caution! Danger! Subatomic structure of toilet EXTREMELY compromised! Localized failure of the strong nuclear force may occur! Use is unadvised! -maintenance, and then farther down\non the sign in a different hand: \"RIP JON I TOLD YOU NOT TO SHIT HERE!\". Troubling signage, to say the least.\n\n> You examine the graffiti\nThere's a giant ham drawn in sharpie dominating one wall of the stall, with the words \"That's a big ham!\" right underneath it in bic\npen. A couple of lightning bolts, some swastikas made of dicks, and a scrawl near the toilet that says \"Help the toilet is pulling me in\nby the ass and I can't hold on any more tell my wife I lo\" with\njust a long squiggle at the end leading down to the toilet bowl after that. Buncha' jokers in this meatpacking plant, that's for sure.\n\n> Go outside\nBathroom of the Meatpacking Plant  (Chris Jones)\nThis is a perfectly normal bathroom. There's a bathroom stall (which has some graffiti written on it), a urinal, a sink with a mirror over it, and even a shower for those days at work when meat debris happens. Perfectly normal bathroom.\n\nYou can see a pentagram on the floor here.\n\n> You examine the pentagram\nJust your run of the mill pentagram. About six feet across, artfully carved into the floor. You know. Perfectly normal pentagam. Perfectly normal bathroom.\n\n> You examine the sink\nA perfectly normal stainless steel sink set into wall below the mirror. Looking at it reminds you of how much awful and/or weird stuff you've been touching with your bare hands, recently. And how covered in other peoples' germs you must be at this point. There's a tap on the back with a handle that turns on the water. Just above that tap handle, someone has scrawled the words \"Stop Shitting In The\nSink\" with a marker.\n\nOkay maybe not the *best* sink to wash your hands in, but a sink nontheless and they're in short supply in this town.\n\n> You check what you're carrying\nYou are carrying:\na real weird handwritten note you found in the back of a vintage\nissue of Juggs Magazine\na vintage issue of Juggs Magazine\na bloodstained witch-knife\na bottle of Pepto-Bismol\na rad wizard lighter\na candle shaped like a human hand (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You turn the knob\nYou unscrew the single shower knob and take it with you. Now the meat-stained workers of this plant will never be clean.\n\nRight after you take the knob, a horrific banging sound starts up in the pipes. A wet, sloshing banging noise, like a bunch of hams were being tossed about in a washing machine. You remember your Uncle (the plumber, not the one that went to prison) telling you that pipes in buildings would do this sometimes when the air gaps were backed up. But then he also told you to always keep a bucket in your car to shit into \"just in case there's no toilet all of a sudden\". Whatever that meant. So who knows."
    },
    {
        "text": "> You describe your surroundings\nYou start to turn away from  shower, but then a new sound emanates from the bathroom appliance. The new sound is so strange that you pause:\n\"br-rn-nn-nn-nn-nn.\". Like an engine on a car or a lawnmower turning over. \"br-rnn-nn-nn-nn-nn\". It's coming out of the  shower. Your Uncle never mentioned this plumbing noise.\nYou start to turn away from the  shower again, and suddenly the noise jumps 50 decibels: \"br-RN-NN-NN-NN!!!\" It sounds like a car engine right behind you and you whirl. There's only the  shower. But you notice something:\nSomething is oozing out of the drain. Something brown, and flabby. Meatlike. Something meatlike is backing up out of the pipes like sewage\n\nAnd it has a pair of  LIPS. Big equine-looking lips and gums\non a long flabby snout, sticking out of the drain.\n\"Br-RNN-NN-NN-NN-NN\" say the lips and jaw, seemingly boneless, continuing to ooze out of the pipe. Half a head now, the eyeball on one side making a moist popping noise as it clears the drain. It glares at you. \"Br-RNN-NN-NN-NN-NN!!\". And then, with a sound like a plunger working furiously on a clogged drain, the meat retracts back into the pipe and it is gone.\n\nYou breath again.\n\n> You look at the mirror\nBefore you can do that, the wall of the bathroom buckles and then shatters outwards in a shower of drywall and fixtures, as a rolling ball of meat and sinew with four kicking limbs and a frothing toothless mouth bursts forth into the room.\nYou try to run but it's between you and the door, flailing and frothing. It squirms like a giant boneless worm and then the hoists the top-half of itself upright like a giant sausage with one end tottering in the air. \"BR-RNN-NN-NN-NN-NN!\" it screams at you from a long, boneless, mane-covered head. That's when you see the swishing tail.\nIt's a horse. A giant boneless horse. There's a giant boneless horse in the walls. Was in the walls. Now it's in the room with you , flailing hooves and making noises like a race car engine. What do you do??\n\n> You light the candle with the lighter\nYou flick the lighter a few times over the hand shaped candle. It takes a couple tries but you manage to get a finger to light, finally. One of the candle's fingers I mean, not your fingers, although it was touch and go there for a second. Anyway the lights in the bathroom flicker momentarily and for a brief moment you hear the sound of frenzied cackling from everywhere and nowhere at the same time. Fresh lavender scent though, mmmm.\n\nThe horse surges forward and flails its boneless noodle-limbs wildly, catching you in the chest with a fist-sized hoof. You're thrown against the stall; shaking it and throwing the stall door open. You haul yourself to your feet as the flabby bag of horse pulls itself across the floor towards you. What do you do??\n\n> You put the candle in the pentagram\nYou put the lit candle shaped like a human hand on top of the pentagram. That doesn't seem like a good idea but okay.\n\nThe pentagram suddenly blazes alight with ghostly blue flame! And also something starts glowing in the toilet bowl, in the stall. Weird.\n\nThe boneless horse shudders. Then it jerks every muscle at once, coiling, then jacknifing up like a sausage being set on one end. It rears above you, hooved forelimbs (or backlimbs, you can't tell at this angle) pedaling in the air as it snaps and wreathes and tries to stay upright. It totters. The shadow of a boneless horse falls over you.\n\n> You enter the stall\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some kind of luminiferous \u00e6ther in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti.\n\nYou can see a pentagram edge (covered in blue flames) on the floor just outside the stall (on which is a candle shaped like a hand (of which a finger is on fire) (smelling faintly of mildew)) here.\n\nYou watch from the stall as the rearing boneless horse falls forward in a graceless jacknife, right on the spot of bathroom floor that you were just standing. It makes a sound when it hits like a pudding truck crashing into a brick wall. That was almost you, standing under that pudding truck.\n\nThe horse picks its head up, looks at you with murder in its eyes and starts lashing out through the open stall door with giant hooves at the end of its boneless tentacle-like whip-legs. One just barely misses your head! What do you do??\n\n> You cut the horse with knife\nYou stab the boneless horse square in the body-sack. That doesn't seem to do anything so you stab it again. And again. Then you wiggle the knife around a little in there. Pretty soon you're elbow-deep in horse, still trying to hit a vital organ bingo, when the thing lashes out at you with a kick and nearly breaks your arm.\n\nOkay then, stabbing the horse won't work. Next plan.\n\nThe horse lashes out again with a fist-sized hoof at the end of a boneless horse-leg. Time slows as it arcs through the air. It hits you square in the face, and you feel something in your forehead snap. Your legs give out and you slide downwards against the wall of the bathroom stall. The horse whips its boneless head around and around in triumph, eyes wild and crazy, mouth foaming. \"Br-NN-NN-NN-NN-NN!\" it neighs, making a noise like a car. Then it reaches in to gently nibble on you, like you were a sugar cube, as you lose consciousness for the last time.\n\n> Go outside\nHell no. There's a murderous sack of horse out there, with spite where its bones should be.\n\nThe horse lashes out again with a fist-sized hoof at the end of a boneless horse-leg. Time slows as it arcs through the air. It hits you square in the face, and you feel something in your forehead snap. Your legs give out and you slide downwards against the wall of the bathroom stall. The horse whips its boneless head around and around in triumph, eyes wild and crazy, mouth foaming. \"Br-NN-NN-NN-NN-NN!\" it neighs, making a noise like a car. Then it reaches in to gently nibble on you, like you were a sugar cube, as you lose consciousness for the last time."
    },
    {
        "text": "[Themes: Comedy, horror]\n\n> You look around\nBathroom of the Meatpacking Plant  (Chris Jones)\nThis is a perfectly normal bathroom. There's a giant boneless horse in it which is trying to kill you. There's a hole in the wall that the boneless horse burst out of. There's a bathroom stall, a horse, a urinal, the horse again, a sink with a mirror over it, boneless horse, and even a horse. Perfectly normal horse. Bathroom! Perfectly normal bathroom!\n\nYou can see a pentagram on the floor here.\n\nOh and there's a giant boneless horse shlorping and oozling around the room, flailing and biting and making car engine noises.\n\nThe boneless horse shudders. Then it jerks every muscle at once, coiling, then jacknifing up like a sausage being set on one end. It rears above you, hooved forelimbs (or backlimbs, you can't tell at this angle) pedaling in the air as it snaps and wreathes and tries to stay upright. It totters. The shadow of a boneless horse falls over you.\n\n> You enter the pentagram\nOh hell no.\n\nThe rearing boneless horse falls forward in a graceless jacknife. The fleshy rubbery mass of the thing knocks you to the ground and the breath from your lungs. You try to wriggle free, but there is Only Horse above you. You try to take a breath but there is Only Horse to fill your mouth and nose with. You try to bite, to hit, but there is no space for it. Only Horse.\n\nThe last things you experience before you lose consciousness are the sounds of an engine gently revving somewhere on the other side of this horse, and a boneless mouth gnawing on your foot like it was a sugar cube made of You.\n\n\"BR-RN-nn-nnnnnnn........\". Then nothing. Only Horse now, in this bathroom. Only Horse."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft, Lovecraftian]\n\n> You examine the candle\nYou see nothing special about the candle shaped like a human hand.\n\n...what? It's just a weirdly shaped candle. Lots of bathrooms have candles, to freshen the air after using the facilities. That's all this is. It even smells like lavender! Totally normal bathroom!\n\nThe index finger is lit, but weirdly enough the candle isn't melting. Huh. Maybe it's not wax? What kind of a candle isn't made of wax?\n\nA faint smell of mildew emanates from it.\n\nThe rearing boneless horse falls forward in a graceless jacknife. The fleshy rubbery mass of the thing knocks you to the ground and the breath from your lungs. You try to wriggle free, but there is Only Horse above you. You try to take a breath but there is Only Horse to fill your mouth and nose with. You try to bite, to hit, but there is no space for it. Only Horse.\n\nThe last things you experience before you lose consciousness are the sounds of an engine gently revving somewhere on the other side of this horse, and a boneless mouth gnawing on your foot like it was a sugar cube made of You.\n\n\"BR-RN-nn-nnnnnnn........\". Then nothing. Only Horse now, in this bathroom. Only Horse.\n\n> You enter the stall\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some toilet water in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti.\n\nYou can see a pentagram edge on the floor just outside the stall here.\n\nYou watch from the stall as the rearing boneless horse falls forward in a graceless jacknife, right on the spot of bathroom floor that you were just standing. It makes a sound when it hits like a pudding truck crashing into a brick wall. That was almost you, standing under that pudding truck.\n\nThe horse picks its head up, looks at you with murder in its eyes and starts lashing out through the open stall door with giant hooves at the end of its boneless tentacle-like whip-legs. One just barely misses your head! What do you do??\n\n> You close Door\nYou slam the door of the stall closed, and see that someone has scratched the words \"I Told You Not To Use The Shitter,\nBroseph\" into the inside of the stall door. No kidding. Below\nthat, someone has inscribed the Elder Sign. It is pulsating, faintly, in time with the hideous horse/car noises coming from outside the stall.\n\nThe stall shudders as the horse strikes the door from the outside. The Elder Sign on the back of the door flashes brightly, and the door holds. Thank fuck some eldritch-horror-savvy meatpacking employee throught to inscribe a protective rune in the here.\n\n> You examine Sign\n(the Elder Sign)\nSomebody carved it into the back of the stall door. It's like a lazy five-pointed star with a flame (or maybe it's an eye) in the center. Supposedly the Elder Sign is a powerful magical symbol that wards off Eldritch Abominations, at least according to an ancient worm-eaten manuscript that you once found propping up one corner of an old oven at a stoop sale.\n\nAt least that's what you recall; the wretched she-harpy hosting the sale refused to come down on the price of a panini press and you ended up walking off in a huff without buying anything at all, including the manuscript. Which in retrospect was clearly the wrong call but come on, who charges \"like new\" price for a panini press with rivulets of burned cheese all over the sides??\n\nAnyway, there's an Elder Sign on the door and it's glowing a little bit. Maybe that means its working?"
    },
    {
        "text": "> Look around\nBathroom of the Meatpacking Plant  (Chris Jones) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some toilet water in the open bowl.\n\nUnfortunately it looks like some jackass has removed and run off with the flush handle dealie that one normally uses to flush a toilet, and you can't see a lid on the tank, so the toilet looks out of commission at the moment unless you can find a way to address that.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti. Speaking of: on the back of the stall door, someone scratched the words \"I Told You Not To\nUse The Shitter, Broseph\". Below that on the door, someone has inscribed the Elder Sign.\n\nYou can see a pentagram edge on the floor just outside the stall here.\n\n> You examine the pentagram\nJust your run of the mill pentagram. About six feet across, artfully carved into the floor. You know. Perfectly normal pentagam. Perfectly normal bathroom.\n\n> Inventory\nYou are carrying:\na shower knob\na real weird handwritten note you found in the back of a vintage\nissue of Juggs Magazine (smelling faintly of mildew)\na vintage issue of Juggs Magazine\na bloodstained witch-knife (smelling faintly of mildew)\na bottle of Pepto-Bismol\na rad wizard lighter (smelling faintly of mildew)\na candle shaped like a hand (of which a finger is on fire) (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of old keys (open)\na splintery wooden key\nan ornate bronze key\na frosty blue key\nan intricately folded origami key\na silver and ivory key\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You put the candle in pentagram\nYou put the lit candle shaped like a human hand on top of the pentagram. That doesn't seem like a good idea but okay.\n\nThe pentagram suddenly blazes alight with ghostly blue flame! And also something starts glowing in the toilet bowl, in the stall. Weird.\n\n> You look at the bowl\nA standard porcelain commode. Suspiciously clean for a meatpacking plant bathroom, although it's probably covered in a thin layer of invisible meat debris like everything else in this plant. The bowl is open, containing some kind of luminiferous \u00e6ther. The luminiferous \u00e6ther appears to have replaced the normal toilet water when you activated the pentagram. It's glowing slightly, bathing the stall in a panalopy of alien colors that have no terrestrial equivalents. It appears that the toilet is currently unflushable due to the fact that some obnoxious fuck ran off with the flush handle. Also, there is a sign taped to the toilet that has printed on it: \"Caution! Danger! Subatomic structure of toilet EXTREMELY compromised! Localized failure of the strong nuclear force may occur! Use is unadvised!\n-maintenance, and then farther down on the sign in a different\nhand: \"RIP JON I TOLD YOU NOT TO SHIT HERE!\". Troubling\nsignage, to say the least.\n\n> You search it\nIn the toilet bowl is some kind of luminiferous \u00e6ther.\n\n> You examine the aether\nIt's some manner or other of luminiferous \u00e6ther, the kind that astronomers and Greek philosophers used to think that space was filled with. They were wrong about it being in space but apparently sometimes it is in toilet bowls? Anyway, it appears to have replaced the normal toilet water. It's glowing slightly, flickering through a series of sickly alien colors that have no terrestrial equivalent.\n\n> You get it\nYou're not sure how? It's kind of insubstantial to everything except gravity and light, at least if Newton was right. And even if you could just grab it, that would still require you to stick your mitts up to the elbow into the toiletbowl of a meatpacking plant.\n\n> You look at closet\nYou see nothing special about the janitor's closet.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You read the handwritten note\nIt has some writing on it in gothic script, which says:\n\nEdward! Stop leaving the damn candle on the pentagram when you're\nnot using the toilet-portal. I'm tired of the meatpacking proletariat falling ass-first into orbit around my [mustard stain] and\ndying there every week. And I'm already burning through a truly astounding quantity of baby souls to maintain a bathroom in two spacetime locations at once, much less keep a five-million-mile wormhole open for every sausagewright that can't be arsed to read a sign on the work toilet. So again: keep the candle off the pentagram and don't open up any more portals!\n\nAlso, it is absolutely imperative that you get that demonic\nmonster out of the bathroom pipes before it kills again, lest we be caught. Since it is an unliving abomination that cannot die, I recommend banishment: use the [ketchup stain] spell on the\nvellum [more ketchup] scroll; it's on my bookshelf. As my\napprentice you should have the magickal skill to cast the spell on the horse without your [whiteout, or possibly mayo] turning\ninside out.\n\nAt any rate I have business in space, but expect my return on the\nfull moon of [mayo?]\n\nI remain,\nKonstan[lettuce stuck on the page] Cragne\nP.S.: If I find you have touched my journal in my absence, I shall transmogrify you into an abscess on a buttocks. xxoxo be good\n\nOh lord, this bathroom has some mysterious mystical connection to one of your bizarre in-laws. Why are they all so weird and/or evil? One thing at least is for certain: Edward (whoever that is) needs to stop eating on the can while reading his mail\n\n> You put knife in the bowl\nYou put the bloodstained witch-knife (smelling faintly of mildew) into the toilet bowl.\n\n> You put the knob on the closet\nPutting things on the janitor's closet would achieve nothing.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You put the knob on the toilet\nYou screw the shower knob onto the toilet where the flush handle goes. You should be able to flush the toilet now.\n\n> Flush\n(the piece of chalk (smelling faintly of mildew))\nThat isn't a thing you can flush. Probably.\n\n> Flush toilet\nYou flush the toilet. The luminiferous \u00e6ther begins to circle in the bowl, making alien colors and weird shadows dance along the walls. Briefly you can see a hole at the bottom of the toilet where the pipe would normally be, which appears to lead to a starry void into which some kind of luminiferous \u00e6ther are ejected. Wild. Then the bowl refills with more luminiferous \u00e6ther and you can't see the hole into space anymore.\n\nDare you try it while sitting on the can?\n\n> You sit on the toilet\nYou sit on the toilet.\n\n> Flush toilet\nYou flush the toilet. The luminiferous \u00e6ther begins to circle in the bowl under your bum, making alien colors and weird shadows dance along the walls of the stall (and probably also along the bottom of your bum, but you can't see that so it's just a guess). Then the walls start spinning. Actually spinning. The meatpacking plant bathroom spinning around you starts to run like an oil painting left out in the sun too long, everything melting and flowing downwards. Downwards and inwards towards the toilet you're sitting on. Reality itself begins to swirl around you, like \u00e6ther in a toilet bowl...\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl...\nYou are hurtling bum-first at sub-light-speed through a hyperspace wormhole of kaleidoscopic color-lines, just like that homeless fortune-teller told you would happen one day after she read your palm (and right before she shouted at you about how chemtrails were retroactively changing the spelling of \"Campbells Soup\"). What a weird coincidence. Anyway, you look over your shoulder and see that you are rapidly approaching a star-filled exit from the wormhole. Before you can react, you are ejected out into a... bathroom stall?\nBathroom of the... Meatpacking... Plant? (Chris Jones) (on the\ntoilet (in space)) (in the stall (in space)) (in the terrifying void full of alien stars (aka \"space\"))\nThis is a perfectly normal bathroom. In space. Beyond the visible rays of the life-giving sun, surrounded by strange and distant constellations. There's a bathroom stall (which is floating in the void of space next to you), a urinal (floating in space nearby), a sink with a mirror over it (yup, both floating in space) and even a shower (space!) for those days at work when you are FLOATING IN THE LIFELESS VOID OF SPACE OH GOD WHY HAVE YOU FORSAKEN YOUR CHILD IN THIS FRIGID AIRLESS HELL.\n\nActually wait okay, there appears to be air at least, that's something. And it's pretty cozy in the stall, to be honest. The toilet itself is a lot nicer here, and there's an old-timey phonograph and even a fireplace with a hearth on one side of the stall. It wouldn't be the worst place you've dropped a deuce, even accounting for the fact that you're millions of miles from everything you've ever known or loved and surrounded by weird shit. Speaking of which:\n\nThere's some weird shit orbitting the space bathroom-stall: some corpses, a small bookshelf (on which is a book of Unfortunate Baby Names, a mysterious scroll and a small blue journal (which you know is a journal because it says \"Mein Journal\" on the front)), and\nwhat appears to be a... '70s Pontiac Firebird a little farther out, all circling slowly through space.\n\nAnd the bathroom itself appears to be in orbit around an icy planetoid many miles below you, the curve taking up much of your view in one direction. The planetoid is covered in alien spires and hurts to look at. Otherwise, you know, this is still a perfectly normal meatpacking plant bathroom. In space.\n\nYou can see a pentagram (covered in blue flames) floating in the void, not too far from the space urinal here.\n\n> You examine the mirror\n(the bathroom fixtures (in space))\nThe sink and shower, along with the mirror, are floating serenly nearby in space. They're a little farther out than you're comfortable traveling to from the stall, considering that they are in the airless void of space and the strongest nearby gravitational pull is from a toilet.\n\n> You look at the corpses\nThere's a bunch of frozen space corpses in low orbit around the bathroom, most of them in meatpacking employee coveralls. Wow, no wonder they had people stop using the toilet.One corpse's coveralls has a name-patch that says \"Ed\" on the front, and \"Janitor\" on the back. Guess that corpse is named Ed. Was named Ed. Do corpses still have people names? Hmm.\n\nOn a loop of Ed's coveralls, you see a pair of keys. Presumably that same corpse is the \"Edward\" mentioned in that handwritten note you found on the other side of the portal-toilet.\n\n> You get the keys\n(the jar of old keys)\nTaken.\n\n> You examine the coveralls\nEd's coveralls. There's a set of keys attached to them. They say \"Ed\" on the front and \"Janitor\" on the back, and they're covered in ketchup, mayo and mustard. Edward, you were a messy, messy boy.\n\n> You get all\nbook of Unfortunate Baby Names: Taken.\n\nmysterious scroll: Taken.\n\nsmall blue journal (which you know is a journal because it says\n\"Mein Journal\" on the front): Taken.\n\n> You put the keys in the kp\n(the jar of old keys in the key pocket)\nYou unzip the key pocket, deposit the jar of old keys, then zip the key pocket back up again.\n\n> You get the keys\nYou reach up and try to take Ed's keys. Shit, they're attached to his coveralls.\n\n> You cut the keys\nTry \"attack the janitor's keys with something\" instead.\n\n> You get Ed\nHe's hardly portable.\n\n> You read the scroll\nIt says:\n\n\n\nEdward, this is the one! Use this spell on the horse! -\nKonstantin\n\n1: Lite thee a hande of glory and place it upon the pentagram to activate a portal. Use thee a hande or foote or other extremity; a torso of glory or an ass of glory will cause thine spell to fail and possibly thine life to end\n\n2: Fasion thee a mannikin, poppet or figurine of wax, resembling the being to be sent by the Translocation and placeth it on the pentagrame.\n\n3:Wave a stoat or ermine to focus the majickal energies. A live stoat or ermine must be used or else the spell will fail most dysaterously. Edward, I discovered that waving a dead one will do just fine, although you'll need to drink a Potion of Fortitude first or else your organs will end up outside your body. Yes, even the good organs. To make the potion, mix bismuth and carbonated corn syrup with a small amount of trilobyte milk. - Konstantin\n\n4: Place a virgin on thine pentagram and sacrifice her most vigorously with an athame. It says \"her\" but honestly either gender will work fine as long as they're a virgin. Look for people buying Cure albums at the local record store, perhaps. - Konstantin\n\n5: Shout the majick werd \"OUTERICA\". The thinge that has been representated with the wax mannikin shalle be most forcifully banishede to the other side of the thy active pentagrame.\n\nAt the bottom of the scroll, there's another note from Konstantin that says \"Edward, this is VERY important! You must [ketchup\nstain] the [mustard] or else [mayo]! This is\nvery important!! You must [more mayo]!! Son of a bitch,\nwas Ed eating a fucking hamburger over this ancient magic scroll?\n\n> You read Journal\nWhich do you mean, the small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) or the\nJournal of Edwin Cragne (smelling faintly of mildew)?\n\n> You read the blue journal\nYou can't, the owner locked the stupid thing shut. It's got a little keyhole on the front though.\n\n> You read the baby names\nElizabeth Dicksmith\nPoonpounder H. Washington Jones\n\nYeah okay these are pretty bad.\n\n> You get the coveralls\nYou reach up onto the floating corpses and wrestle with Ed's coveralls, eventually stripping them from his frozen corpse. Turns out Ed liked to freeball it, and now it looks like he's mooning that icy planetoid the bathroom is orbitting.\n\n> You examine the baby names\nThe Book of Unfortunate Baby Names: Thrill to this hilarious collection of REAL BABY NAMES that REAL BAD PARENTS gave their\nkids!\nAll text \u00a9 Hillbilly Bathroom Laughter Press, 1991\n\n> Examine journal\nWhich do you mean, the small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) or the\nJournal of Edwin Cragne (smelling faintly of mildew)?\n\n> Blue\nIt says \"Mein Journal\" on the front, and it appears to be a collection of folios bound in very soft blue leather. It appears be locked, and has a little keyhole on it."
    },
    {
        "text": "[Themes: Comedy]\n\n> You look around\nBathroom of the... Meatpacking... Plant? (Chris Jones) (on the\ntoilet (in space)) (in the stall (in space)) (in the terrifying void full of alien stars (aka \"space\"))\nThis is a perfectly normal bathroom. In space. Beyond the visible rays of the life-giving sun, surrounded by strange and distant constellations. There's a bathroom stall (which is floating in the void of space next to you), a urinal (floating in space nearby), a sink with a mirror over it (yup, both floating in space) and even a shower (space!) for those days at work when you are FLOATING IN THE LIFELESS VOID OF SPACE OH GOD WHY HAVE YOU FORSAKEN YOUR CHILD IN THIS FRIGID AIRLESS HELL.\n\nActually wait okay, there appears to be air at least, that's something. And it's pretty cozy in the stall, to be honest. The toilet itself is a lot nicer here, and there's an old-timey phonograph and even a fireplace with a hearth on one side of the stall. It wouldn't be the worst place you've dropped a deuce, even accounting for the fact that you're millions of miles from everything you've ever known or loved and surrounded by weird shit. Speaking of which:\n\nThere's some weird shit orbitting the space bathroom-stall: some corpses, a small bookshelf (on which is nothing), Ed's bare-assed frozen space corpse, and what appears to be a... '70s Pontiac Firebird a little farther out, all circling slowly through space.\n\nAnd the bathroom itself appears to be in orbit around an icy planetoid many miles below you, the curve taking up much of your view in one direction. The planetoid is covered in alien spires and hurts to look at. Otherwise, you know, this is still a perfectly normal meatpacking plant bathroom. In space.\n\nYou can see a pentagram (covered in blue flames) floating in the void, not too far from the space urinal here.\n\n> You examine the planetoid\nThe lower half of your view is the curve of an icy planetoid covered in fluted alien spires that are barely visible against the inky blackness of space. Squinting, you can just barely make out strange, unwholesome shapes bumble-flying among the spires. The flying things must be huge, bigger than buildings. The flying things hurt to look at. The spires hurt to look at. The whole planetoid hurts to look at. There is something unsavory and threatening about all of it.\n\nAnd you can't shake the gut feeling that the planetoid is somehow looking back at you. Even though that is insane.\n\n> You examine toilet\nIt's like the one on the other side of the magical portal inside the bowl, except the seat is plush which is pretty baller. The toilet is open and has some kind of luminiferous \u00e6ther in it.\n\n> You sit on the toilet\nBut you're already on the toilet (in space).\n\n> Flush toilet\nYou flush the toilet. The luminiferous \u00e6ther begins to circle in the bowl under your bum, making alien colors and weird shadows dance along the walls of the stall, just like it did back in the terrestrial bathroom. Then the walls start spinning. Then space starts spinning, the stars turning to long streaks of color like a timelapse photo of the night sky. Reality itself begins to swirl around you, like \u00e6ther in a toilet bowl...\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl, just like before...\nYou are hurtling bum-first through a hyperspace wormhole of kaleidoscopic color-lines, just in the opposite direction this time. Damn, that homeless woman was on point. Maybe it WAS spelled \"Cambells\" all along. Anyway, this return trip through the worm-hole takes a little longer, giving you some time to ponder things. Things like... hey, wait, didn't that handwritten note say these trips through the portal were powered by baby souls? That had to be code for something, right? Like, you using this toilet isn't somehow using up baby s\nBathroom of the Meatpacking Plant  (Chris Jones) (on the\ntoilet) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some kind of luminiferous \u00e6ther in the open bowl.\n\nThe luminiferous \u00e6ther is glowing slightly, bathing the stall in a panalopy of alien colors that have no terrestrial equivalents.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti. Speaking of: on the back of the stall door, someone scratched the words \"I Told You Not To\nUse The Shitter, Broseph\". Below that on the door, someone has inscribed the Elder Sign.\n\nYou can see a pentagram edge (covered in blue flames) on the floor just outside the stall (on which is a candle shaped like a hand (of which a finger is on fire) (smelling faintly of mildew)) here.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You unlock the closet with the keys\nYou unlock the janitor's closet.\n\n> You open it\nYou open the janitor's closet, revealing a fur coat and a candle shaped like a human foot.\n\n> You examine the coat\nA thigh-length belted calfskin coat, clean as if it's never been outside.\n\n> You look at the foot candle\nYou're starting to worry that the candlers who are supplying this restroom are running out of PG bodyparts.\n\n> You get all from the closet\nfur coat: Taken.\n\ncandle shaped like a human foot: Taken.\n\n> You put the keys in the kp\nThese are the keys to the Janitor's closet in the meatpacking restroom, and if you want to take them, you gotta take Ed's whole coveralls, because they are not coming off.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You put the coveralls in the kp\nYou unzip the key pocket, deposit Ed's coveralls, then zip the key pocket back up again.\n\n> Light foot\nYou flick the rad wizard lighter (smelling faintly of mildew) a few times over the foot shaped candle. It takes a couple tries but you manage to get a toe to light, finally. One of the candle's toes I mean, not your toes, just like when it was the hand candle and arrrgh you know what I mean. The stupid foot candle is lit. Anyway, the lights in the bathroom flicker again, but the cackling sounds more like guffaws this time, and it turns out the foot candle is beach scented instead of lavender.\n\n> You examine foot\nYou're starting to worry that the candlers who are supplying this restroom are running out of PG bodyparts. One of the toes is on fire. That's okay though, you did that on purpose. Looks like this one doesn't melt when exposed to heat either. Freaking weird body-part-shaped not-wax candles..."
    },
    {
        "text": "> Look around\nBathroom of the Meatpacking Plant  (Chris Jones) (on the\ntoilet) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some kind of luminiferous \u00e6ther in the open bowl.\n\nThe luminiferous \u00e6ther is glowing slightly, bathing the stall in a panalopy of alien colors that have no terrestrial equivalents.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti. Speaking of: on the back of the stall door, someone scratched the words \"I Told You Not To\nUse The Shitter, Broseph\". Below that on the door, someone has inscribed the Elder Sign.\n\nYou can see a pentagram edge (covered in blue flames) on the floor just outside the stall (on which is a candle shaped like a hand (of which a finger is on fire) (smelling faintly of mildew)) here.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> Examine bar\n(the rusty piece of metal (smelling faintly of mildew))\nThe remains of the broken leg is light and sturdy and long enough to stretch from your hand to your elbow.\n\nA faint smell of mildew emanates from it.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You examine the grab bar\nOne of those metal grab bars for people who have difficulties walking or standing, set into the wall next to the toilet.\n\n> You put foot in the pentagram\nYou try to put the foot-candle on the pentagram but some magical force emanating from the pentagram pushes back against you. I guess you can only have one body part shaped candle on a pentagram at a time? Maybe take the hand candle first?\n\n> You get Hand\nTaken. The weird ghostly blue flame on the pentagram goes out. Aw. Also it looks like the luminiferous \u00e6ther in the toilet just went back to being normal water.\n\n> You put foot in the pentagram\nYou put the lit  candle shaped like a human foot on top of the pentagram. That doesn't seem like any worse of any idea than the hand-shaped one was, I guess.\n\nThe pentagram suddenly blazes alight with ghostly flame! Just like with the hand-shaped candle, except this time the flames are green! And also the toilet water appears to have been replaced with a mass of Higgs boson particles that are now swarming around the toilet bowl.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You look at Hand\nYou see nothing special about the candle shaped like a human hand.\n\n...what? It's just a weirdly shaped candle. Lots of bathrooms have candles, to freshen the air after using the facilities. That's all this is. It even smells like lavender! Totally normal bathroom!\n\nThe index finger is lit, but weirdly enough the candle isn't melting. Huh. Maybe it's not wax? What kind of a candle isn't made of wax?\n\nA faint smell of mildew emanates from it.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> Flush toilet\nYou flush the toilet. The Higgs bosons start to swirl around the bowl. You think. You're thinking about them being in the bowl so they might not actually be there. Stop thinking about them. Anyway everything starts to swirl and run just like that time a few minutes ago when you flushed yourself to the space bathroom.\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl...\nYou are hurtling bum-first through a hyperspace wormhole of kaleidoscopic color-lines again, only this time they're sort of greenish instead of sort of blueish. The crazy homeless lady didn't mention the color when she was telling you about how you would be flying butt-first through space-time, but so far still accurate (less so her assertions that the Sasquatches controlling the World Bank would eventually reveal the truth about the Beatles. That lady had Opinions.). You look over your shoulder and see an exit from the wormhole, but this time it's sunny....\nBathroom of the Meatpacking Plant, Lower Cambrian Era  (Chris\nJones) (on the toilet (on a beach)) (on the beach) (in the Lower Cambrian Epoch)\nWell... you're on a beach. A beach with a toilet on it. I guess that makes it a bathroom, right? Can't be anything but a bathroom if it has a toilet in it; plop a toilet down in any other room and it's a bathroom no matter what it was previously. So it's settled then, this beach is a bathroom. Anyway, next to the toilet is a little table with Ed's Journal (you know it's Ed's journal because it says \"Ed's Journal\" on the front), Konstantin's keys and a half-full can of Dew. To the north there's a weird moss forest and to the south there's an ocean.\n\nAnd before you ask, the reason you know this is the lower Cambrian is because of the millions of trilobite and trilobite-adjacent species that are hanging out on the beach and in the water here, including one that is nuzzling your foot (shoo! shoo!). Just a metric pantload of trilobites all over everything. At least... At least this is normal for the Lower Cambrian. Perfectly normal Lower Cambrian bathroom.\n\nYou can see a pentagram (covered in green flames) on the beach here.\n\n> You get all\nEd's Journal (you know it's Ed's journal because it says \"Ed's Journal\" on the front): Taken.\n\nKonstantin's keys: Taken.\n\nhalf-full can of Dew: Taken.\n\n> You get the trilobite\nThat's hardly portable.\n\n> You look at the trilobite\nThere's a huge giant herd of trilobites on the beach here, which is fairly normal for the Cambrian but weird for you personally. One of them is nuzzling your foot\".\n\n> Go north\nFuck no, that moss forest is probably crawling with moss-dwelling tardigrades. Just chock full of 'em. Have you ever *seen* a tardigrade? Go google it, I'll wait.\nYeah I didn't think so.\n\n> Go south\nYou sort of sidle over to the trilobite-filled steaming ocean. Then something that looks like a mantis shrimp the size of a bull moose briefly breaches the water and shrieks at you. So you nope on back to the toilet region, just like this: Nope nope nope. The Cambrian Epoch sure does suck.\n\n> You go to the east\nThere's nothing but more beach that way. Beach and trilobites.\n\n> You look at the table\nIt's a small table chilling on the beach.\n\n> You examine Forest\nThere's a moss forest, which is kind of like a forest except there's no trees in proto-Vermont here. Just a huge growth of moss. There's also an ocean here, which is steaming and filled with ancient and terrifying shellfish.\n\n> You read the Ed 's journal\nIt's not really a journal so much as a small note pad, and it's only got one entry. But Ed called it a journal, so:\n\nbut the horse is scary and that Translocation spell is hard. So yeah I think I'm just gonna chill on this weird beach I opened a portal to. It has these weird crabs but that's probably okay. I'm gonna go back to the Yuggoth bathroom to get Konstantin's journal though. He told me not to read it but I'm sure there's some juicy magic in there. I just gotta be careful with the toilet: came out of the can too fast last time, nearly shot right out into space! That was close! But I should be okay this time. Wish I could bring Konstantin's car-familiar with me to the beach, that thing is sweeeeeet.\nSincerely,\nEdw[mustard stain]\n\nOh, Ed.\n\n> You examine the Dew\nIt's half-full can of Mountain Dew. Presumably Ed was drinking it, before space killed him several million years and miles from now and here respectively.\n\n> You unlock blue Journal with konstantin's keys\nYou unlock the journal.\n\n> You read the blue journal\nYou read:\nThe black death ravages Vienna. Nearly a thousand have died in the last week alone; their bodies bloating in the open-air pits surrounding the city. The citizens hide in their houses as the plague walks the city, and the streets belong to the dogs, the flies and the rats now. By day, at least. By night, murderers both human and inhuman stalk the byways, the beleagured city guard spread too thin to effectively stop every burglar and nightgaunt.\n\nI am rapturous with joy. The coven practices openly now, with no fear that our Sabbath orgies will be interrupted by foolish investigators. Children can simply be lifted from the street and carried away if needed, with the handful of passerby too weak or scared to protest. On this alone I have saved so many silver reichsthalers that I would have spent on sacrifices, previously. And yesterday I openly mocked a Brother of the Holy Trinity in his own church hospital, displaying to him an upside-down cross and also my penis, telling him secret names of Great Old Ones that will burn in his ears and dreams despite his prayers. He cried and tried to throw holy water at me with palsied fingers, but I laughed and rode away on my devilhorse. Life is good!\n\nBut I know that this joy cannot last. Just as before, the plague will pass and the city will return to normal. And Karl Denube (that dog of the Habsburgs, curse him) was getting close to discovering our identities at any rate after his raid on our botched summoning. I fear Petra's carelessness in seducing the constabulary have already given us away. So I must plan an escape before the plague abates fully, but shall enjoy every moment till then.\n\n-Konstantin T. Cragne, Vienna, August 4, 1679, Sun in the house of Cancer\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nDamnation and hellfire! The plague isn't even passed its rounds and the guards have begun to hound our coven again. Perhaps it was the child-thefts, or perhaps I should not have shown my penis to that priest.\n\nNo matter. Petra should have half of the Habsburgs\" guardsmen ensorcelled by now, which should buy time to move the coven operations to Innsbruck, or Liechtenstein, or Prague, or join with the Paris warlocks. Or even move to London or far-flung Amsterdam.\n\nAnywhere except Bavaria, really. I hate Bavarians so.\n\n-Konstantin T. Cragne, Vienna, September 14th, 1679,  Moon in Gemini\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nWe are truly in the kraut, now. Petra's overzealousness in seducing guardsmen has tipped off the Imperial witchfinders. I warned her that if she kept up we would reach critical mass of love-besotted guardsmen wandering about and pining for her suspiciously, their loins and nostrils enflamed by witch-pheremones. But she did not listen and here we are! Damn Petra, her ample bosom, AND her unquenchable thirst for male validation all three!\n\nThe Imperials mean business this time. Denube has arrested half his own police force in the middle of a plague outbreak just because they were mildly ensorcelled with forbidden sex magicks. Clearly he worries more about us than the rioters and nightgaunts, which seems insane at first blush. Although to be fair, we ARE secretly responsible for the rioters and the nightgaunts. And the missing children. And the finger-collecting phantasms that look like men but bark like dogs. And the tentacled wreck that haunts the northern cistern. And the arrival of the plague itself. I suppose I cannot fault Denube's priorities.\n\n-Konstantin T., Vienna, September 27 1679, Jupiter Ascending thru Libra\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nOur plans to flee are complicated by the plague curfew, as well as the early snow that is coming (of which I have been informed by the souls of the damned that ride the winds eternally. They are never wrong about incoming Alpine weather, though they will lie right to your face about whether your cravat suits you, the miserable undead shits).\n\nHowever! I have a plan. A powerful enough translocation spell could move most of the coven and their things, and the spell components are easily sourcable. Most of them. The live stoat may be difficult at this time of year with the countryside inaccessible and everyone dying of the plague, but Jens assures me that a stuffed one will suffice. No matter, even the results of a miscast spell is still better than death by torture at the hands of Witchfinders or that complete ass Karl Denube. Unless the spell turns us inside out, I suppose.\n\n-Konstantin T. Cragne, Vienna, October 9, 1679, Saturn in the House of Sagittarius\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nThe translocation spell was miscast, and half the coven was turned inside out. That was awful. The stuffed stoat didn't suffice as a spell component at all. I wanted to scream at Jens, except Jens had his ears on the inside of his head and his brains on the outside and couldn't have heard me anyway. Also I was being flung through space by hideous unknowable forces.\n\nOn a happier note, the miscast spell also turned several guardsmen inside out as they were coming to arrest us. After they captured Petra it was only a matter of time before she gave up the hidden orgy room in the charcuterie basement. A dozen city guardsmen and a pair of Imperial Witchfinders broke in right as Jens was waggling that stupid stuffed stoat over the pentagram, and they stood there gawking like provincial idiots at a carnival barker as he botched the incantation.\n\nAnd then the magical wave it hit them. It was beautiful. I swear, I'll never forget the stupid look on Karl Denube's inside-out face as his lungs came shooting out of his backwards mouth and hung there against his chest like a hissing ballsack. Then he tried to flee but just ran straight into a pillar because his eyeballs were facing the wrong way! Ha! What a fool. I'd go back and shit on him, if I had any idea where I was in relation to Vienna.\n\nIt's meadow-y here, and warmer than normal for Austria at this time of year. I don't recognize any of the mountains. The same moon at least, so I'm not on Aldebaran or Carcosa. In any case, despite not having my grimoires or my devilhorse or my orgies, it is pleasant enough here except for the wolves that are following me.\n\nI remain hopeful.\n\n-Konstantin Cragne At Large, Location unknown, Date unknown\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nI would give Jens such a beating, if he had not been dead for over a hundred years and also turned inside out. The stupid translocation spell flung me not just through space but through time! I was deposited a league outside of Bratislava, and when I arrived I was informed by the beet-obsessed peasants whom infest the dirt-hovels outside the city that it was the year-of-their-lord 1809. 1809!\n\nMy grimoires will all have been seized and burned by long-dead men, or more likely stuffed into Habsburg vaults under the palace in care of some blind and deaf eunuch who navigates the moldy stacks of forbidden books by touch. I hate those eunuchs so. And my poor devilhorse has almost certainly dissolved into astral soup, and I have neither the gold nor the souls to create a new familiar.\n\nThe coven may have survived in Vienna (assuming some of them turned right-side-back-in after I left), but I wouldn't know any of them in this age. And the nearest Cragne stronghold is in Krakow, but who knows if the vaults are still intact or if the secrets were hauled off to some Ottoman shithole after the last Turkish incursion.\n\nMy best bet, I think, is to make my way through Brno and on through the Nuremburg road to Brussels, assuming that I can stomach the smells and sights of Bavaria for that long. I dare not try another translocation spell without a familiar or the correct components, and I don't know the word for \"stoat\" in the dialect of the local beet-fondlers anyway. They've informed me that the road may be blocked by the army of some French commoner who is rampaging across the countryside, but I have never let a Frenchman stop me from doing anything and I'll be damned if I start now.\n\n-Konstantin T. Cragne, Bratislava, Spring 1809\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nTried the spell on a horse as a test. The horse ended up fused with the wall of a milk house two blocks over. I do not think the milk maid will ever stop screaming, which is loud if hilarious. The horse might not ever stop screaming either, which is loud AND hilarious. I joined them briefly, sauntering into the milk house and screaming in time with them without giving the maid any context until she fled. Will tweak the spell parameters and try again on the morrow, suspect that the problem was that the hemi-virgin I sacrificed to power the spell was far more sexually experienced than they claimed.\n\nI must admit that despite the challenges and the noise, Napoleon throws an enjoyable siege. Watching people run screaming from the gunfire in the morning as I cook my coffee over the flames of a burning cottage never fails to put a smile on my face, even if I can barely get anything done in the chaos. I hope his men are in turn enjoying the excitement of the shuffling horrors that I send over the walls and into their tents every night to feed on their screams and genitals.\n\n-Konstantin T. Cragne, Bratislava, May 24 1809\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nIt took a few hops with the Translocation spell, and another century past, but I managed to escape Napoleon's repeat attempts to rub his tiny French nutsack all over the continent. In fact, I believe that I've found a home here in the Balkans, at least temporarily. It's no Vienna but this is certainly better than dodging cannonballs daily. And I am beginning to reform my coven by recruiting from the disaffected youths of the city! Despite the barrier in language and custom I get along splendly with the local occult groups as long as I don't talk about Austria too much in a positive way.\n\nI've reformed my familiar in the shape of a large owl with a human ass for a head and moose-deer antlers sprouting from the left and right butt-cheeks. That may sound ribald but I can make assurances that such a thing is fucking terrifying to see swooping down on you in the dark of an alley at midnight, especially when it starts hooting out of its anus.\n\nStarting to feel hopeful again about the future. Strangely grateful to briefly be in a peaceful time where I can rebuild without chaos, which isn't like me at all, but I'm just very tired of using that damned Translocation spell to run from wars.\n\n-Konstantin T. Cragne, Sarajevo, 25 June 1914\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nThere is no damned way that they make this shitty little asshead the chancellor. No way. Who would do that.\n\n-Konstantin T. Cragne, Berlin, January 29 1933\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nOn a steam-ship from London. Bored with Europe, and hoping there are fewer explosions in America. Explosions and wars bore me now.\n\nCrossing the channel from France to England was pure joy, however. It had been forever since I had felt the Faceless Lords of the Night lift me airborn on a broomstick like that; much more pleasant than the Translocation spell. I didn't even bother to hide from the ships passing underneath, and I even stopped to take a truly epic shit down the open hatch of a surfaced U-boat after stopping for a very greasy plate of spaetzle in occupied France. Wish I could have seen the faces of the soldiers inside as THAT torpedo was delivered.\n\nCorresponded with family in New York via long-range psychic screams, in-between hiding in subway tunnels in London during the bombings. The New York Cragnes speak well of the New Country. Apparently you can just out and SAY you're a witch these days, and nobody will give a single shit! They just keep drinking. I am excited to experience this brave new world and bilk the gullible drunken fools who inhabit it.\n\n-Konstantin T. Cragne, Mid-Atlantic, June 1944\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nBy the great green balls of Satan's Fraternal Star-Twin, I am BORED. New York is BORING.\n\nThey THINK they're cosmopolitan, they THINK they're the best of the world here, but NO ONE who had seen Vienna in full splendor (before Napoleon burned it down, like the great French tit that he was) would think of this as ANYTHING but a provincial backwater compared to the jewel of the Empire.\n\nOooo, you have tall buildings. A pox on your tall buildings! I have seen the living spires of Carcosa! I have seen the non-Euclidean bones of Sleeping R'yleh rising from the Marianas Trench by dawn! I am unimpressed by tall things, New York! I have seen taller things while pawing through owl shit for bone-omens!\n\nYou can't even make a proper sausage. And when you DO produce one of your shitty sausages for inspection, New York,  you immediately cover it with tomato leavings like you're some kind of simple cretin from Tuscany who couldn't find real food with both roughly callused hands and a map. Tomato leavings! On a sausage! For shame.\n\nMy family is boring me as well. The New York branch is feuding with the Vermont and Boston branches, while the Texarkana branch eats popcorn from the sidelines and sells djinn wishes and leprechaun drugs to whoever's currently on the outs to keep the feud going. I've seen all this before, in the old country. The one interesting thing I have to report is that H promised me a seat on the Varigated Council and enough spell resources to create a new familiar if I were to betray New York and kill L. I'd have to move to Vermont, though. Thinking about it.\n\nBored. Bored bored boring boredom. Bored.\n\n-K. T., New Ybored, June Whatever, 19meh\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nI never thought I'd come to like it here, but I must finally admit that Vermont is very pretty during the fall. Reminds me of Vienna, and also the orange-and-gold innards of those humanoid creatures from Saturn, the ones that squawk like pelicans when you summon them. They are also very pretty in the fall, although they make a smell like the last hours of a Saxon orgy when you cut them open to get at the colorful innards I mentioned. And it releases an obscene amount of helium in the process. Voice is funny for weeks and your hands are stained saffron for twice as long. I digress.\n\nVermont. Pretty. Fall. Family. This is my fourth year as the Mazarine Alderman on the Council and I'm still angry about it. I pointed out to H and Z that I helped found the second new council after the fall of the Roman Empire, for fuck's sake. A Cragne of my skill and stature deserved *at least* Coquelicot, if not Sarcoline. And it's not like I asked for Murex right off the bat. So I patiently explained that Mazarine was the Alderman position for fresh-faced toddlers and/or the Irish. When that failed to move them I threatened, and then I begged.\n\nBut no, I am Mazarine Alderman in the end, as if I was some assfaced Burgomeister out of Munich with two wooden legs and no dick, and not one of the most accomplished Cragnes of the last five hundred years. I am livid, still.-Konstantin Teufelheim Cragne, Mazarine-bloody-Alderman, Vermont, September 30 1967\n\nThe journal continues... read again to read more...\n\n> You continue\nYou read:\nI think a Sicilian clown was Mazarine Alderman once. Hell, I've heard of Incan mummies who got buried with their gonads in their mouths and make ball-sounds when they speak that have ended up with better positions on the council than I've got. I met a fucking *crow* once that was a more important Alderman than Mazarine. A *crow*. It wasn't even part of the family, it was *adopted*.\n\nNo matter. I have more important things to deal with for now, like finding a source of civilian funds to help create my familiar. The **vi* still refuses to front me cash, just keeps shaking his head when I summon him before pointing at my crotch and my chin, the uppity fuck.\n\n-Konstantin, Still Mazarine, Vermont, October 12 1968\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nThe familiar-crafting has taken longer than expected. This is due to having to be Bob.\n\nI had no social security information or work history when I came to Vermont, and I've been told in no uncertain terms not to ensnare the locals with witch-eyes or addictive bodily secretions if I can help it. Or bludgeon too many of them to death for their wallets. Or the tourists either. \"Don't shit where you eat\" and all that. The Council has said nothing about skin-wearing though.\n\nRegarding skin-wearing: if you can coil yourself up tightly and flatly enough, you can fit your whole adult humanself into the layer of viscera between the skin and the skeletal muscle of a different human. There's a sort of bag made out of ligament that you can wrap yourself around, and then you can manipulate the other body by undulating your rolled-up self against it. Conceptually similar to that branch of yoga where your yoga mat is alive and fights you between asanas. Any rate, I needed human money so I captured a man named Bob and started wearing him like a pantsuit. He's a local boss at the meat-packing plant, but I haven't been able to work there yet since I had to wait a few weeks for Bob to stop continually screaming into the part of my leg that's wrapped around his mouth-muscles because it's distracting. He finally tired, though. I am excited for my first day of work as Bob.\n\n-Konstantin Cragne/Bob, Vermont, May 15 1972\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nI was initially very excited to work at the meat-packing plant because I heard they made Viennese sausages. Imagine my rage when I found out what \"Vienna Sausages\" actually were. No self-respecting Austrian would be caught dead with one of these mixed-meat cigarettes between their lips. I almost burned the whole plant down with conjured hellfire on the spot, but I'm too close to getting my familiar, and if I'm honest I find my bumpkin coworkers conceptually interesting if not intellectually stimulating.\n\n-Konstantin T./Bob, Vermont, May 15 1972\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nUsing the same bathroom as the plebian meatsmiths who wallow back and forth in this factory of lies and sausage failure has become tiresome, so I have fashioned my own lavatory from raw cometary atoms at the farthest reaches of the solar system. There is a fantastic view there of the nemesis rock of Yuggoth which will one day impact and devour the Earth! And a padded seat and a phonograph on which I can listen to my old wax recordings! Also, I added some air so that I can actually listen to music, and so that Bob can breathe.\n\nAfterwards, I made the new restroom translocationally accessible from the meatpacking restroom, and then restricted worker access to the toilet on the Earth side of the portal. This prevents potentially hazardous dimensional leakage, but more importantly keeps the unwashed masses from using my restroom. There have been some complaints from the workers about having to make other toilet arrangements. The complaints did not cease when I pointed out that, historically speaking, shitting into buckets behind one's place of work used to be considered a luxury. The people of this era are spoiled.\n\nIn other news, I have begun work on my new familiar. The pentagram is inscribed, although I suspect that I am a few years out from the other requirements. - K Cragne, Vermont, December 22 1974\n\nThe journal continues... read again to read more...\n\n> Continue\nYou read:\nCurse all the gods and the frozen gargantuan mollusc-things in the black gulfs between stars that pretend to be gods! There must be a way to make this work.\n\nThe familiar spell is complex, and admittedly I am trying something that has not been done before to my knowledge, but it still should work. All this version of the spell requires (aside from the gold and complex spell-matrices and a few other odds and ends) is at least one being with a soul that will serve as the template for the familiar.\n\nAnd who among us would believe, even for a moment, that my 1976 cherry red Pontiac Firebird Trans Am does not contain a soul? Who among us could slide gently atop those black leather seats, naked as a newborn babe and twice as hungry, wrap our trembling hands around the wheel and feel the engine turn over and hear the throaty rumble as we rev the gas, and honestly believe that this beautiful machine is soulless?\n\nI knew as soon as I saw it at the dealership. It was those curves. That power. The noise. The feeling you get deep in your genitals when you throw the e-brake while sqeauling the tires doing doughnuts in the crowded parking lot of the Alpha Beta, as the salesman riding shotgun screams like a neutered cat and begs to be freed from the spinning death cage. This is clearly a machine designed by Satan for His Own People. Even Bob loves it, and all Bob does anymore is scream endlessly in his own head for the sweet release of death. I had to procure one of these cars.\n\nMore than that. I had to make one my familiar. But I cannot get the thrice-damned spell to work on my car.\n\n-Konstantin/Bob, Vermont, June 12 1975\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nIt was simple, in the end. If my 1976 Pontiac Firebird Trans Am did not have a suitable soul, then I would give it one. All it required was a modification to the old Translocation spell and a suitable partner, which at first proved more difficult than expected.\n\nI thought about using Bob, but his soul is far too soft to reside in my Trans Am. And I thought about Bob's boss, Mr. Gambretti, but I've grown to like the man and respect him as a superior, at least as regards packaging sausages. Who knew that I would ever believe a Genoese could be trusted with machinery more complex than a ball and cup game? American egalitarianism must be seeping into my bones.\n\nA perfect answer for the soul problem walked right onto the factory floor. A bad-tempered racehorse that had been a contender in the Kentucky Derby was sold to us for the purposes of gelatin, and I was given the rendering job. The name of this equine beast was Rowdy Tumnus, and he was in his own way as gorgeous and spirited as my Pontiac. He had murdered his previous owner with a series of kicks to the head, abdomen and groin before being sent to us, and tried to bite the dick off of everyone we passed on the way to the slaughter room. Then he broke free from the restraints twice before we could use the pneumatic gun on him, and in-between the dick biting during one escape he went out of his way to put a hoof through Gambretti's office window. A horse that would destroy property out of spite! Rowdy Tumnus was perfect.\n\nI performed the spells right in the lavatory (the plebian lavatory, I have no wish to get horse guts on my private fixtures orbiting Yuggoth), which was somewhat private and also had a drain in case the spell went wrong. It went off with only a single minor hitch, and the vicious soul of Rowdy Tumnus was transfered to my Firebird which was parked outside. In turn, the vicious soul of my Firebird was transferred to the body of Rowdy Tumnus. Success! I haven't been this excited since I let those zombies loose in the brothels of Prague!\n\n-K.T./Bob, Vermont, June 23 1975\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nThat one hitch I mentioned: during the soul-swap, both the skeleton of Rowdy Tumnus and the transmission of my Pontiac were vaporized for some reason. So I was left with the immortal and still-living fleshy bits of a killer horse flopping about on the floor of the factory's garderobe, and a muscle-car familiar that is stuck in first gear until I can find a mechanic who can peer into the Astral plane.\n\nFrustrating, but we work with what we have. I spent an hour stuffing the sack-like remains of Rowdy Tumnus down the shower drain, along with the pulped body of a coworker who stumbled upon that grim tableau before being attacked and suffocated by the aforementioned murderous half-horse. Then I drove my familiar home. - Konstantin, Vermont, June 24 1975\n\nThe journal continues... read again to read more...\n\n> Keep going\nYou read:\nDespite my best efforts, I've been unable to coax the boneless Rowdy Tumnus back out of the plant's plumbing for long enough to lead him out of the plant or banish him. Part of this is difficulty securing effective bait; he appears to prefer human flesh to apples or sugar cubes now, which isn't something that I can just purchase at the local market. At least not the public one.\n\nThat being the case, I've decided to bind him to guard my private bathroom and sorcerous implements. He seems happy enough in the pipes, and as I have an errand on a parallel timeline in space that requires my attention, I'd prefer that none of the local mullet-wearing peasantry lay hams to my commode while I'm out sorcering. I suspect that Tumnus will end up killing at least a few of them who try, despite my warnings to the plant management. Ah well. I've supplied Edward with a Tanslocation Incantation to banish Tumnus somewhere, should the need arise. He'll have to source most of the spell components himself, but Edward is.. well Edward is my apprentice and I'm sure he'll manage the horse. -Konstantin T. Cragne, October 10 1975\n\nLast page.. read again to start from beginning...\n\n> Milk trilobite\nTry milking the trilobite into something. Maybe something else you need for the potion\n\n> Milk trilobite into Dew\nYou kneel down towards the trilobite that keeps nuzzling your foot. As you're searching for teats on an ancient non-mamalian proto-crab that is extinct in your space-time so that you can milk it into a Mountain Dew can that belongs to a dead wizard's apprentice floating in space in the future, you think back to your marriage ceremony to Peter. You think about the kind of life you expected to have together. And you think about how things have been since you arrived in Vermont. And you think about that for a few minutes, as you gently milk the trilobite into the soda can.\n\n> You examine Pepto\nA bottle of pink bismuth-subsalicylate. It's for drinking when your poops are sick.\n\nA faint smell of mildew emanates from it.\n\n> You pour the Pepto into the Dew\nYou pour some of the pepto out, into the can of Dew. This one's for the homies. The homies with diarrhea.\nThen you swish the concoction around for a moment, and it begins to glow! And smell. It smells real bad. If someone told you this was a Potion of Glowing and Smelling, and not Fortitude like the scroll said, you would not fight them."
    },
    {
        "text": "> Look around\nBathroom of the Meatpacking Plant, Lower Cambrian Era  (Chris\nJones) (on the toilet (on a beach)) (on the beach) (in the Lower Cambrian Epoch)\nWell... you're on a beach. A beach with a toilet on it. I guess that makes it a bathroom, right? Can't be anything but a bathroom if it has a toilet in it; plop a toilet down in any other room and it's a bathroom no matter what it was previously. So it's settled then, this beach is a bathroom. Anyway, next to the toilet is a little table with nothing. To the north there's a weird moss forest and to the south there's an ocean.\n\nAnd before you ask, the reason you know this is the lower Cambrian is because of the millions of trilobite and trilobite-adjacent species that are hanging out on the beach and in the water here, including one that is nuzzling your foot (shoo! shoo!). Just a metric pantload of trilobites all over everything. At least... At least this is normal for the Lower Cambrian. Perfectly normal Lower Cambrian bathroom.\n\nYou can see a pentagram (covered in green flames) on the beach here.\n\n> Flush toilet\nYou flush the toilet. The Higgs bosons start to swirl around the bowl. You think. You're thinking about them being in the bowl so they might not actually be there. Stop thinking about them. Anyway everything starts to swirl and run just like that time a few minutes ago when you flushed yourself to the Cambrian era, and a few minutes before that when you flushed yourself back to Vermont from space...\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl, just like all the times before...\nYou are hurtling bum-first through a hyperspace (I guess hyper-TIME?) wormhole of kaleidoscopic color-lines, backwards in time from the Cambrian. Wait, if you're moving backwards through a wormhole to the past that would mean you're actually moving forward in\nspacetime becau\nBathroom of the Meatpacking Plant  (Chris Jones) (on the\ntoilet) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with a mass of Higgs boson particles in the open bowl.\n\n(At least you think the glowing mass of Higgs boson particles is in the toilet; they should as long as you're not looking at them but they're not if you are. Goddamn particle physics.)\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti. Speaking of: on the back of the stall door, someone scratched the words \"I Told You Not To\nUse The Shitter, Broseph\". Below that on the door, someone has inscribed the Elder Sign.\n\nYou can see a pentagram edge (covered in green flames) on the floor just outside the stall (on which is a candle shaped like a foot (of which a toe is on fire)) here.\n\n> You get foot\nTaken. The weird ghostly green flame on the pentagram goes and the Higgs bosons in the toilet go back to being normal water.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You put Hand in the pentagram\nYou put the lit candle shaped like a human hand on top of the pentagram. That doesn't seem like a good idea but okay.\n\nThe pentagram suddenly blazes alight with ghostly blue flame! And also something starts glowing in the toilet bowl, in the stall. Weird.\n\n> Flush toilet\nYou flush the toilet. The luminiferous \u00e6ther begins to circle in the bowl under your bum, making alien colors and weird shadows dance along the walls of the stall (and probably also along the bottom of your bum, but you can't see that so it's just a guess). Then the walls start spinning. Actually spinning. The meatpacking plant bathroom spinning around you starts to run like an oil painting left out in the sun too long, everything melting and flowing downwards. Downwards and inwards towards the toilet you're sitting on. Reality itself begins to swirl around you, like \u00e6ther in a toilet bowl...\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl...\nYou are hurtling bum-first at sub-light-speed through a hyperspace wormhole of kaleidoscopic color-lines, just like that homeless fortune-teller told you would happen one day after she read your palm (and right before she shouted at you about how chemtrails were retroactively changing the spelling of \"Campbells Soup\"). What a weird coincidence. Anyway, you look over your shoulder and see that you are rapidly approaching a star-filled exit from the wormhole. Before you can react, you are ejected out into a... bathroom stall?\nBathroom of the... Meatpacking... Plant? (Chris Jones) (on the\ntoilet (in space)) (in the stall (in space)) (in the terrifying void full of alien stars (aka \"space\"))\nThis is a perfectly normal bathroom. In space. Beyond the visible rays of the life-giving sun, surrounded by strange and distant constellations. There's a bathroom stall (which is floating in the void of space next to you), a urinal (floating in space nearby), a sink with a mirror over it (yup, both floating in space) and even a shower (space!) for those days at work when you are FLOATING IN THE LIFELESS VOID OF SPACE OH GOD WHY HAVE YOU FORSAKEN YOUR CHILD IN THIS FRIGID AIRLESS HELL.\n\nActually wait okay, there appears to be air at least, that's something. And it's pretty cozy in the stall, to be honest. The toilet itself is a lot nicer here, and there's an old-timey phonograph and even a fireplace with a hearth on one side of the stall. It wouldn't be the worst place you've dropped a deuce, even accounting for the fact that you're millions of miles from everything you've ever known or loved and surrounded by weird shit. Speaking of which:\n\nThere's some weird shit orbitting the space bathroom-stall: some corpses, a small bookshelf (on which is nothing), Ed's bare-assed frozen space corpse, and what appears to be a... '70s Pontiac Firebird a little farther out, all circling slowly through space.\n\nAnd the bathroom itself appears to be in orbit around an icy planetoid many miles below you, the curve taking up much of your view in one direction. The planetoid is covered in alien spires and hurts to look at. Otherwise, you know, this is still a perfectly normal meatpacking plant bathroom. In space.\n\nYou can see a pentagram (covered in blue flames) floating in the void, not too far from the space urinal here.\n\n> You examine Firebird\nA 70's Pontiac Firebird Trans-Am. Cherry red. Floating in space for some reason. It's too far away from the bathroom stall to do anything to, though. Wait, is it... is it making soft horse noises? What the fuck.\n\n> You examine the phonograph\nAn old-timey phonograph, the kind where the sound comes out a brass bell. You'll have to crank it if you want it to play music, since that's how these really old phonographs work.\n\nThere's an antique wax cylinder loaded on the phonograph; the old kind from before the days where records were vinyl.\n\n> You crank it\nYou rub your hands together excitedly and lean towards the old-timey-phonograph. Who knows what this antique wax record on it holds? A rare Bach recording? A violin concerto from the turn of the century? Nikola Tesla talking mad shit about Edison and Marconi?? It could be anything! Hands trembling, you grasp the phonograph crank and give it a turn as you listen in anticipation:\n\n\u266b\u266b How? Why? Who would do this?\n\n> You examine the hearth\nA stone hearth jutting out from the front of the fireplace. Traditionally you'd put things that you wanted to heat up on top of the hearth here, which warms up when the fireplace is lit so that you don't have to reach in and out of the fireplace with your (relatively flammable) hands. It's an unexpected but welcome bit of old-worldy charm, here in the terrifying void of alien space.\n\n> You examine the cylinder\nThis is how the VERY early phonograph records looked: round wax cylinders about foot tall. Normally with ones this old, they have classical recordings on them, although someone appears to have etched a sonic abomination into this one for some reason.\n\n> You put the cylinder on the hearth\nYou put the wax cylinder on the hearth.\n\n> You examine fireplace\nA cozy little brick fireplace with some space logs in it. It's unlit. Jutting out the front is a part of the fireplace called a stone hearth, which is like a brick of stone that you would set things on to warm them up using the fireplace, without sustaining horrible and disfiguring burns to your extremities by reaching in and out of the fire. Nice feature, that.\n\nIn the cozy fireplace are some space logs.\n\n> You look at the logs\nThey're logs. In space. Well technically they're in the fireplace but the fireplace is in space, so...\n\n> Light logs with lighter\nYou try lighting the space logs with the rad wizard lighter (smelling faintly of mildew) for a while but this tiny little lighter flame won't get these big ol' logs a-burnin'. You need to light a larger amount of kindling and toss it in there.\n\n> Light juggs with lighter\nYou hold the rad wizard lighter (smelling faintly of mildew) up to the vintage issue of Juggs Magazine and flick the little metal wheel, but it won't light at the moment. These gas station lighters are unreliable pieces of crap.\n\n> You light the ed's journal with lighter\nYou hold the rad wizard lighter (smelling faintly of mildew) up to Ed's Journal (you know it's Ed's journal because it says \"Ed's Journal\" on the front) and flick the little metal wheel. Success! Ed's Journal (you know it's Ed's journal because it says \"Ed's Journal\" on the front) is on fire.\n\n> You put the Ed 's journal inthe fireplacee\nYou put Ed's Journal (you know it's Ed's journal because it says \"Ed's Journal\" on the front)(it's on fire) into the fireplace. After a moment, the space logs catch and flare up into a glorious flame! The hearth begins to warm up as well. Hopefully this isn't consuming all the oxygen in this space bathroom...\n\nThe wax cylinder rapidly melts into a lump of wax.\nAwesome. Space is finally safe from the twisted revenant of the band formerly known as Jefferson Starship.\n\n> Shape wax\nWhat do you want to shape the lump of wax into?\n\n> Horse\nYou work on the wax lump for a little bit, and manage to sculpt a pretty good likeness of the boneless, lumpy gross horse that's rampaging around the bathroom. Granted you were trying to make a horse that actually looked like a horse, but it all came right in the end.\n\n> You get the wax\n[Hey! Listen! You can try to sculpt the lump of wax into something with \"> sculpt wax lump into *something*\" It may not always work depending on what you're trying to sculpt, since Naomi is a pretty shitty scultptor. Actually, her abysmal lack of sculpting talent is directly responsible in a roundabout way for her marriage to Peter, but as interesting as that story is (and it is VERY interesting), it's too long for this tooltip.]\n\n> You examine the wax\nIt used to be a very expensive and rare phonograph record. Now it is a melted lump of wax that looks like a horse, sort of.\n\n[You can try to sculpt the lump of wax into something with \">\nsculpt wax lump into *something*\" It may not always work depending on what you're trying to sculpt, since Naomi is a pretty shitty sculptor. Actually, her abysmal lack of sculpting talent is directly responsible in a roundabout way for her marriage to Peter, but as interesting as that story is (and it is VERY interesting), it's too long for this tooltip.]\n\n> Inventory\nYou are carrying:\na lump of wax shaped like a horse\na candle shaped like a foot (of which a toe is on fire)\na Potion of Fortitude and Glowing and Smelling Bad\nKonstantin's keys (smelling faintly of mildew)\na fur coat\na small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) (smelling faintly of mildew)\na mysterious scroll\na book of Unfortunate Baby Names (smelling faintly of mildew)\na real weird handwritten note you found in the back of a vintage\nissue of Juggs Magazine (smelling faintly of mildew)\na vintage issue of Juggs Magazine\na bloodstained witch-knife (smelling faintly of mildew)\na bottle of Pepto-Bismol (smelling faintly of mildew)\na rad wizard lighter (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You look at the fur coat\nThe tag says it's genuine ermine (which you're pretty sure is a kind of stoat). This is pretty baller for a meatpacking plant janitor.\n\n> You examine coat\nWhich do you mean, the fur coat, the calfskin coat or the pockets of the calfskin coat?\n\n> You look at the juggs\nIt's the Virgin Alewives of the Midwest issue, according to the cover. \"Oh hey dere I've never had a man but I'd sure like to doncha know!\" proclaims the woman on the front in big red 80's font, as she stands there with two strategically-placed giant beer steins and not nearly enough clothing for a Midwest winter.\n\nOoo, it says there's an article on cornhole strategy, too!\n\n> Flush toilet\nYou flush the toilet. The luminiferous \u00e6ther begins to circle in the bowl under your bum, making alien colors and weird shadows dance along the walls of the stall, just like it did back in the terrestrial bathroom. Then the walls start spinning. Then space starts spinning, the stars turning to long streaks of color like a timelapse photo of the night sky. Reality itself begins to swirl around you, like \u00e6ther in a toilet bowl...\nSuddenly you're pulled backwards and downwards, by your bum, into the locus of the reality swirl, just like before...\nYou are hurtling bum-first through a hyperspace wormhole of kaleidoscopic color-lines, just in the opposite direction this time. Damn, that homeless woman was on point. Maybe it WAS spelled \"Cambells\" all along. Anyway, this return trip through the worm-hole takes a little longer, giving you some time to ponder things. Things like... hey, wait, didn't that handwritten note say these trips through the portal were powered by baby souls? That had to be code for something, right? Like, you using this toilet isn't somehow using up baby s\nBathroom of the Meatpacking Plant  (Chris Jones) (on the\ntoilet) (in the stall)\nYou're inside the bathroom stall, which is one of those big accessible ones. There's a surprisingly clean porcelain toilet sitting invitingly in the center of the stall, with some kind of luminiferous \u00e6ther in the open bowl.\n\nThe luminiferous \u00e6ther is glowing slightly, bathing the stall in a panalopy of alien colors that have no terrestrial equivalents.\n\nNext to the toilet, there's one of those grab bars set into the wall. Next to that, there's a little door to what appears to be a janitor's closet, if the word \"Janitor\" on the door is any indication. Next to that, there's a medicine cabinet. And all around those things\nare graffiti. Just tons and tons of graffiti. Speaking of: on the back of the stall door, someone scratched the words \"I Told You Not To\nUse The Shitter, Broseph\". Below that on the door, someone has inscribed the Elder Sign.\n\nYou can see a pentagram edge (covered in blue flames) on the floor just outside the stall (on which is a candle shaped like a hand (of which a finger is on fire) (smelling faintly of mildew)) here.\n\n> You put the wax on the pentagram\nYou put the lump of wax shaped like a horse on the pentagram edge (covered in blue flames) on the floor just outside the stall.\n\n> Drink potion\nYou take a sip of the glowing, foul-smelling Fortitude potion and quickly realize that drinking it slowly is the wrong way to do this. So you chug the whole can, only to discover that drinking this at all was the real mistake. It's sort of lumpy, slick and wriggling under its own power as it goes down. Your stomach instantly rejects the gooey acidic mass, warning you with cramps and reflux that it is having none of this. You argue and then plead with your stomach, pointing out that it is going to be just as bad on the way back up. You also point out that it's got pepto in it so your stomach should quit whining. Eventually your stomach grimly accepts the task ahead of it and gets to work, which is when you notice that your skin is glowing faintly now.\n\n> Wave fur coat\nYou wave the fur stoat-coat. Magical energies swirl around and about the coat. They might not be magical energies. They might be trails of thrift store dust. Anyway, there's swirling that happens.\n\nThe boneless horse oozles and schlorps around the stall, occasionally smacking it with a hoof, still making car engine noises. \"Br-RN-NN-NN-NN-NN!\". The Elder Sign holds. For now.\n\n> You put the Juggs in the pentagram\nYou put the vintage issue of Juggs Magazine (smelling faintly of mildew) on the pentagram edge (covered in blue flames) on the floor just outside the stall.\n\n> Cut juggs with athame\n\"Sorry about this, Glinda\" you say, stabbing downward with the witch-knife into the magazine on the pentagram. The ghost-flames flare brightly and suddenly become fiery arms, twisting and turning around the vintage issue of Juggs and then pulling it down forcefully into the surface of the pentagram. It vanishes, and the magic flames return to (locally relative) normal. Well at least they've got some \"articles\" to \"read\" to in Hell now.\n\n> You shout outerica\nYou shout the magic translocation word OUTERICA! The pentagram flares. The walls of the stall explode outwards with a burst of magical force from the toilet, which begins to emit a howling nightmare hurricane wind. You're forced backwards against the wall near the grab bar. The boneless sack of horse does not move, but its flesh pulls back and starts flapping as if it was hanging itself out a moving car window. Gross.\nThe \u00e6ther in the commode glow brightly of a sudden, and the gale wind stops howling forth from the toilet. Then it begins again, except pulling air from the room INTO the toilet.\nThe walls of the stall are wrenched from the floor by the devil wind and land on the open toilet, and then suddenly collapse into the toilet. The sink and the shower fixtures begin to make groaning noises as they pull at their wall screws. You grab the grab bar on the wall protectively as things begin to fly from the room into the toilet.\nThe urinal goes first, clonging off the back of the boneless horse before tumbling into the toiletbowl. Then the sink. Then the showerhead. Loose items start to fly out of your pockets and into the raging toilet-portal: the athame, the mysterious scroll. The lighter. Aw dammit, that thing was rad.\nWrecked Bathroom of the Meatpacking Plant  (Chris Jones)\nThere is nothing left but you and the horse, a toilet and some wreckage.\n\nYou can see a pentagram edge (covered in  flames) on the floor just outside the stall here.\n\nYou're unable to move from the grab bar, and the horse is so damned heavy that the devil-winds are merely pulling it into a teardrop shape as it slowly works its way towards you. There is murder in its rolling horse eyes and it is still making engine revving noises. \"Br-RNN-NN-NN!!\"\n\nAnd then the intensity of the wind increases. You grab on with both hands. The horse flails and then is suddenly lifted into the air sideways, its great rump landing square on the toilet. With a horrible schlorping noise, the horse's rump slides into the can. Then a bit more. The boneless horse is being pulled into the toilet... halfway in... The toilet makes a sound like a balloon deflating, and then the wind stops... And the horse is still there, half out of the commode! Its beady little eyes roll in its boneless head. \"Br-RNN-NN-NN-NN-NN!!\" It starts flailing at you again with hooves the size of quart-jars!\n\nThe stupid fat-ass boneless horse is stuck in the magic shitter, and it's still trying to kick you to death! What do you do?\n\n> Flush toilet\nYou lock eyes with the horse. \"Rot in hell\" you say, yanking on the shower knob  you juryrigged earlier. The toilet flushes. The evil boneless horse begins to blare and scream exactly like a car alarm: \"wee-OO we-OO we-OO!! Bwaaaaaaaa!\" And then, with a sound like God farting, the monster is pulled down and down into the toilet. And is gone. The blaring car alarm grows distant and then is silent.\n\nThe wind stops. The toilet ejects a small amount of space detritus, then turns itself inside out and is gone. The pentagram glow fades.\n\n> You look at the coffee\nThe swirls in your cup form a row of trees. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "> Look around\nWrecked Bathroom of the Meatpacking Plant  (Chris Jones)\nThis is a perfectly normal bathroom. There is a metal grab bar on the wall where the stall used to be. There is bare floor where the toilet used to be. There are empty spaces on the wall where the fixtures like the sink used to be. There is a horse-shaped hole in one wall.\n\nPerfectly. Normal. Bathroom.\n\n> You look at Hole\nThe spot where the horse burst out of the wall from the pipes, exposing the wall innards.\n\n> You look in Hole\nIt's just an exposed mass of moldy insulation, sparking wires and severed pipes that are now spurting water, back there. Best to leave that to the janitor or somebody. Somebody who isn't floating dead in\n\n> You enter Hole\nspace, probably.\n\nIt's just an exposed mass of moldy insulation, sparking wires and severed pipes that are now spurting water, back there. Best to leave that to the janitor or somebody. Somebody who isn't floating dead in space, probably.\n\n> You get the bar\n(the rusty piece of metal (smelling faintly of mildew))\nYou already have that.\n\n> You get grab the bar\nThat's hardly portable.\n\n> You check what you're carrying\nYou are carrying:\na small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) (smelling faintly of mildew)\na bottle of Pepto-Bismol (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of screws (open but empty)\na teapot (smelling faintly of mildew)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na familiar gold wristwatch (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You look in the kp\nYou unzip the key pocket just enough to take a peek inside. It contains Ed's coveralls, a jar of old keys, a sinister iron key, a sturdy key, a key from an urn (smelling faintly of mildew), a Red Triangle Key (smelling faintly of mildew), a small rusty iron key (smelling faintly of mildew), a bronze key green from age (smelling faintly of mildew), a large brass key (smelling faintly of mildew), a small desk key (smelling faintly of mildew), an Allen key (smelling faintly of mildew) and an aluminum key (smelling faintly of mildew).\n\n> Go east\nYou head on out of the meatpacking plant bathroom. What a fuckin' day...\n\n[Hit any key:\n\nMeanwhile... somewhere else:\n\nThe little fungus man astronomer looked over his instruments. He and the other scientists had been watching the comings and goings on the strange satellite above his home planetoid for years, hoping to make contact with the beings that came through the portal\n\nSuch strange lifeforms. They died so rapidly that the fungus people had never been able to get a probe up to the satellite in time. And they could never determine what any of the strange technology of these bizarre humanoids was for, despite the best efforts of their science corps.\n\nThis time, a visitor had managed to survive the icy void of space, but the fungus people had not managed to make contact in time before it disappeared back through the portal.\n\nBut now something else was coming through the portal, a life form that the astronomer had never seen before! It had been ejected with such force that it had broken orbit and was hurtling towards the planetoid. It was close enough now that the Science Coprs had managed to collect some data:\n\nMamalian like the others. Four limbs with bilateral symmetry, a body and a head, also like the others. Except this one appeared strangely... noodly, compared to the others. And much larger. And making much stranger noises, as far as their listening devices could tell.\n\nThe little fungus man astronomer smiled and watched the creature hurtle towards the giant rescue net his people were hastily constructing over the icy sea of the planetoid's surface. Perhaps now, at last, the gentle fungus people of Yuggoth would make first contact with a species that they could share their peaceful technology and culture with. Finally. The Day of Happy Cultural Exchange had finally come.\n\nThe meatpacking plant (Kenneth Pedersen)\nYou are standing in the center of the main room of the meatpacking plant. An open doorway leads west from this huge room to somewhere darker, while some rickety stairs lead up. A long row of meat hooks are hanging from the ceiling parallel to a bloodstained table. It is not too late to leave yet, by going out the front door.\n\n> You go west\nWrecked Bathroom of the Meatpacking Plant  (Chris Jones)\nThis is a perfectly normal bathroom. There is a metal grab bar on the wall where the stall used to be. There is bare floor where the toilet used to be. There are empty spaces on the wall where the fixtures like the sink used to be. There is a horse-shaped hole in one wall.\n\nPerfectly. Normal. Bathroom.\n\n> You examine the coffee\nThe swirls in your cup form no discernible pattern. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go up\nDusty office (Matthew Korson)\nThis must be the boss's office. A large window overlooks the factory floor. Some shards around the edge suggest that it contained glass once. Pushed against one wall is a small table that might have served as a desk, and next to it stands a metal filing cabinet. Anonymous detritus is scattered at the edges of the room.\n\nEverything is covered in a thick layer of dust.\n\n> About yourself\nThere is dust in your hair, dust in your eyes, dust in your nose, dust in your mouth. If you stay here much longer, you may turn to dust yourself.\n\n> You examine the window\nA few small shards of glass remain around the edge of the window; otherwise, the frame is empty.\n\n> You look at the Glass\n(the glass jar containing an insect (smelling faintly of mildew))\nA clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.\n\nIt currently has four legs and four eyes.\n\nA faint smell of mildew emanates from it.\n\n> You look at the table\nThe only remarkable thing about it is that it is still standing.\n\n> You look at the cabinet\nThe sides are painted exactly the same color as the dust that covers everything in here.\n\n> You examine coffee\nThe clouds in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look under the table\nYou rummage through the junk. You find a brass nameplate among all the dust.\n\nDust swirls into the air.\n\n> You examine nameplate\n\"Charles Cragne, Owner\"\n\n> You open the kp\nYou open the key pocket, revealing Ed's coveralls, a jar of old keys, a sinister iron key, a sturdy key, a key from an urn (smelling faintly of mildew), a Red Triangle Key (smelling faintly of mildew), a small rusty iron key (smelling faintly of mildew), a bronze key green from age (smelling faintly of mildew), a large brass key (smelling faintly of mildew), a small desk key (smelling faintly of mildew), an Allen key (smelling faintly of mildew) and an aluminum key (smelling faintly of mildew).\n\n> You open the kp\nYou open the key pocket, revealing a jar of old keys, a sinister iron key, a sturdy key, a key from an urn (smelling faintly of mildew), a Red Triangle Key (smelling faintly of mildew), a small rusty iron key (smelling faintly of mildew), a bronze key green from age (smelling faintly of mildew), a large brass key (smelling faintly of mildew), a small desk key (smelling faintly of mildew), an Allen key (smelling faintly of mildew) and an aluminum key (smelling faintly of mildew).\n\n> You put coveralls in the kp\nYou put Ed's coveralls into the key pocket.\n\n> You examine the jar of the keys\nThe label on this musty jar indicates that it's meant to store old keys. You'll have to open it up to see what's in there.\n\nIn the jar of old keys are a splintery wooden key, an ornate bronze key, a frosty blue key, an intricately folded origami key and a silver and ivory key.\n\n> You unlock the cabinet with the ornate\n(first taking the ornate bronze key)\nThat doesn't seem to fit the lock.\n\n> You unlock the cabinet with origami\n(first taking the intricately folded origami key)\nAs you attempt to use the origami key, it catches and unfolds; you try to refold it but you just mess it up more, and pretty soon all you have is a hopelessly creased square of paper.\n\n> You unlock cabinet with wooden\n(first taking the splintery wooden key)\nYou stick the old wooden key into the lock and try to turn it, but it splinters and falls apart into uselessness. Whatever that would've opened, it's never going to open it now.\n\n> You unlock the cabinet with the frosty\n(first taking the frosty blue key)\nPicking up the frosty key with your unprotected hand, it melts immediately into nothingness. Hopefully you won't need that in the future...\n\n> You unlock the cabinet with the silver\nWhich do you mean, the silver and ivory key, the silver urn (smelling faintly of mildew), the tarnished silver teapot from the Queen Mary (smelling faintly of mildew) or the antique locket (smelling faintly of mildew)?\n\n> You unlock the cabinet with silver Key\n(first taking the silver and ivory key)\nYou slide the silver and ivory key into the keyhole and try to turn it. It won't budge, but when you try to remove it, you hand starts to burn. You jerk your hand away. In the center of you palm, a grinning black skull has been branded in the flesh. You start to feel dizzy, and then all at once your skull explodes, spraying blasphemous lava in every direction and killing you instantly.\n\n> You put the ornate in the jar of the keys\nYou put the ornate bronze key into the jar of old keys.\n\n> You look at the jar\nWhich do you mean, the jar of old keys, the jar of screws or the glass jar containing an insect (smelling faintly of mildew)?\n\n> You examine the jar of the keys\nThe label on this musty jar indicates that it's meant to store old keys. You'll have to open it up to see what's in there.\n\nIn the jar of old keys are an ornate bronze key and a silver and ivory key.\n\n> You examine creased Paper\nThis messily creased square of paper used to be an intricately-folded origami key, but you. Kind of messed it up.\n\n> Dust\n(the piece of chalk (smelling faintly of mildew))\nYou rub the piece of chalk (smelling faintly of mildew).\n\n> Dust table\nYou make a futile attempt to clean the small table. Dust blows into your face.\n\n> Dust cabinet\nYou make a futile attempt to clean the filing cabinet. The dust you come in contact with cakes onto your skin."
    },
    {
        "text": "[Themes: Lovecraft, Comedy]\n\n> Look around\nDusty office (Matthew Korson)\nThis must be the boss's office. A large window overlooks the factory floor. Some shards around the edge suggest that it contained glass once. Pushed against one wall is a small table that might have served as a desk, and next to it stands a metal filing cabinet. Anonymous detritus is scattered at the edges of the room.\n\nYou inhale dust with every breath. It fills your nose and throat.\n\n> You look at Detritus\nJunk is piled up in the corners and around the edges of the room. It is scattered haphazardly, as if someone has ransacked the place. But if so, it was long enough ago that a thick layer of dust has accumulated. Who knows if anything of value is left?\n\n> You search it\nYou rummage through the junk. You find a piece of yellowed newsprint among all the dust.\n\nDust swirls into the air.\n\n> You read the yellowed newsprint\nThe article seems to be an expos\u00e9 of poor working conditions and sanitation at Cragne's meatpacking plant. You scan quickly through descriptions of horrific accidents among the workers and nauseating adulterants in the meat. One item catches your eye. In a section describing the vermin infesting the plant, the writer mentions a superstition held by the workers concerning a \"Boss Rat\". Apparently this rat was three times the size of the usual pests and would direct the other rodents where they may forage. Those that found favor with the Boss Rat were allowed to gorge themselves from the heaps of meat kept in the plant's storerooms for later processing, while those who fell out of favor were forced to run among the workers' legs to snatch scraps falling from the mincers. Many workers believed that anyone who saw the Boss Rat would suffer a fatal accident, and the writer notes that several deaths and disappearances that occurred during his time investigating the plant were attributed to that very cause.\n\n> You search Detritus\nYou rummage through the junk. You find a broken knife handle among all the dust.\n\nThe dust you come in contact with cakes onto your skin.\n\n> You look at the knife handle\nA broken wooden knife handle. The blade is long gone, but there are dark stains at one end.\n\n> You examine the stains\nStains cover large part of the front side, hiding the faces of what looks like a mother and a couple of small siblings. The woman, whose age is impossible to determine, is wearing a white, wedding dress. The kids both have on a kind of work overalls, over a white blouse. The boy on the right is not stained, still... he seems to have no face, as if time has worn out his features.\n\nOn the reverse side of the picture is something written, in a trembling hand-writing:\n\nPut its gift over daan\nAnd you'll soon end your search.\n\nBelow this, a different and more forceful hand has written \"Don't forget to say ahe'hee!\".\n\nA faint smell of mildew emanates from it.\n\n> You search Detritus\nYou rummage through the junk. You find a diagram scratched into the floor among all the dust.\n\nDust swirls into the air.\n\n> You examine diagram\nCircles and lines scratched into the floorboards. It almost seems like it should mean something, but you can't quite grasp it.\n\n> You search Detritus\nYou rummage through the junk. You find an enormous dessicated rat corpse among all the dust.\n\nDust blows into your face.\n\n> You examine the corpse\nIt's the size of a large cat or a small dog, but it is definitely a rat. It is completely dried and its tail is missing, but it shows no other signs of decay. Dust is matted in what remains of its fur.\n\n> You search Detritus\nYou rummage through the junk. You find a thin steel key among all the dust.\n\nThe dust you come in contact with cakes onto your skin.\n\n> You examine it\nA thin steel key with a somewhat old-fashioned look.\n\n> You unlock the cabinet with it\nYou unlock the filing cabinet.\n\n> You put the thin steel in the kp\nYou unzip the key pocket, deposit the thin steel key, then zip the key pocket back up again.\n\n> You read it\nMany pages are torn out, and those that remain are mostly smudged or otherwise illegible. One, however, stands out because it appears to have been pasted into the notebook. It looks like a letter.\n\n\"September 21, 1908\n\n\"...les Cragne, Rufous Alderman,\n\n\"I was pleased to hear of your success with ... of the ritual...\n\n\"...Sinclair's pamphlet will bring unwanted atte... ...ven to your remote operation. I hope I need not remind you ...tance of ... role ...\n\n\"... can get ... blood befo... ...crifice must be complete by the coming full moon... Vaadignephod will...\n\n\"Yours in fraternity\n\n\"... of the Variegated Court\"\n\n\"Cattle: 10 gal, 200 / hr, 24000 gal\nHog: 5 gal, 500 / hr, 30000 gal\nMan: 10 pt, 1 / day, 10 pt\"\n\n> You look at the coffee\nThe clouds in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You search Detritus\nYou rummage through the junk.\n\nThe movement raises a thick cloud of dust. You cough."
    },
    {
        "text": "[Themes: Comedy]\n\n> You go down\nYou quickly climb down the stairs, eager to get away from all of that dust.\n\nThe meatpacking plant (Kenneth Pedersen)\nYou are standing in the center of the main room of the meatpacking plant. An open doorway leads west from this huge room to somewhere darker, while some rickety stairs lead up. A long row of meat hooks are hanging from the ceiling parallel to a bloodstained table. It is not too late to leave yet, by going out the front door.\n\n> You examine the coffee\nThe swirls in your cup form a biplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go north\nThere is a wall there. You can leave the room by going out, west or up.\n\n> You go outside\nOutside the Plant (Chandler Groover)\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nA phantom trolley stop sign reads Red Line -- Meatpacking Plant.\n\n> You look at the coffee\nThe clouds in your cup form no discernible pattern. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You wait for the blue Line\nYou lean against the livestock blood, hold out your pass, and wait for the blue line. Within moments, a mistlike trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nAn insubstantial trolley stop sign reads Blue Line -- Library Square.\n\n> You go to the east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nOn the cart are The Conservative's Cookbook, The Lives of\nthe Roman Emperors (smelling faintly of mildew), Backwater Personalities (1915-1925 edition) (smelling faintly of mildew), an old paperback book (smelling faintly of mildew), a book New England\nand the Bavarian Illuminati, De Zeven Testamenten van de\nKrijsende Zeeworm, a 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, a\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), The Dollmaker's Journal\n(smelling faintly of mildew), Legends of Lake Champlain and the\nHudson River Valley (smelling faintly of mildew) and a shabby\njournal.\n\nA librarian stands behind a counter.\n\n> You read Dollmaker'S\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\nShe is finally done. My finest clockwork creation. So wonderfully lifelike.\n\nThe book continues.\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\n> Continue\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\nI've yet to decide what I should call her.\n\nThe book continues.\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\n\n> Keep going\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\nI must have rest. My senses deceive me into thinking she can see\nme, hear me.\n\nThe book continues.\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\nThe librarian looks at you.\n\n> You continue\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\nWhat has she become? Is my child now my gaoler?\n\nThe book continues.\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\nThe librarian nods at you curtly.\n\n> Continue\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\nI think I've managed to lock her safely away. I only hope\ntha(the rest of the page is unintelligible)\n\nThe book continues.\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\n\n> Continue\n(first taking The Dollmaker's Journal (smelling faintly of\nmildew))\nTaken.\n\n(The remaining pages are nothing but a mess of crusted blood.)\n\nYou put The Dollmaker's Journal (smelling faintly of mildew)\nback on the cart.\n\n> Go west\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA phantom trolley stop sign reads Blue Line -- Library Square.\n\n> You wait for the Orange Line\nYou lean against the town square, hold out your pass, and wait for the orange line. Within moments, a spectral trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nAn ethereal trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You examine the coffee\nThe swirls in your cup form no discernible pattern. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go east\nCuriosity Shop (Rachel Spitler)\nA mingling of comfortable scents welcomes you to the small shop -- coffee, apples, cedar, soap, peppercorn -- and below it, just a hint of something metallic you can't quite recognize. The large windows behind you cast a dappled sort of light over the rug-strewn floors, the cheerful back counter with its display case underneath, the walls crowded with goods for sale. The courtyard lies back out to the west.\n\nJessenia is running a carpet-sweeper over the floor.\n\n> You sell the silver pendant\n(to the cold spot on your collarbone (smelling faintly of mildew)) Jessenia seems nonplussed by your broken silver amulet (smelling faintly of mildew).\n\nSuddenly, Jessenia turns her full attention on you. \"Oh! Stupid me -- you want to become a customer, don't you?\"\n(y/n):\n\n> Y.\n\"Of course! Well, here's how it works. I run my business on a membership model, like a curiosity cooperative, you see? Instead of charging a fee, I ask that new customers bring in a curiosity to sell to me. It helps me keep my eyes open for things I might not notice. I'll pay you, of course!\" She grins. \"It doesn't need to be special. In fact, most people bring in something that will attract attention but have no real importance. I bet you can find something good! Good luck!\"\n\n> You look at the coffee\n(the smell)\nYou can't seem to find where the scent is coming from. On the air, you catch a whiff of alcohol.\n\n> You look at the styrofoam\nThe clouds in your cup form a biplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You sell the silver pendant\n(to the cold spot on your collarbone (smelling faintly of mildew)) Jessenia nods thoughtfully over your broken silver amulet (smelling faintly of mildew).\n\n\"The sort of thing I'm looking for,\" she says, \"is something that will attract attention, but have no real importance. Let me know if you find anything like that!\"\n\n> You go to the west\nCourtyard (Finn Rosenloev)\nAs you walk cross the square courtyard, you are repeatedly twisting your legs, and you cannot help but wonder how many broken legs these cobblestones have caused over time.\n\nA beautifully decorated well built by blocks of granite dominates the courtyard. Opposite it, to the east, is the entrance to the curiosity store.\n\nTo the north, a secret passage is hidden in the niche near the barred gate. Not too far from the well is the way down to the tunnel.\n\nAbove you, two guard towers rise majestically on either side of the drawbridge, and a parapet connects them so that soldiers of those days were able to quickly move from one side to the other.\n\nYou can't help but feel that the castle is watching you with expressionless eyes through the empty windows.\n\n> You go to the north\nYou maneuver behind the knight and enter the secret passage.\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nAn insubstantial trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for purple Line\nYou sit on the memorial bench, hold out your pass, and wait for the purple line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You look at the coffee\nThe swirls in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go southwest\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA phantom trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go southeast\nIf there ever were any exits other than the overgrown archway through which you entered, they are covered by impenetrable roots, but there is a spiral staircase leading up to a walkway.\n\n> You wait for black Line\nYou lean against the mud, hold out your pass, and wait for the black line. Within moments, a mistlike trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you\nfind yourself transported to\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA noncorporeal trolley stop sign reads Black Line -- Underground.\n\n> You go to the north\nSomething tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You go east\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a disgusting rotting pumpkin here.\n\n> You examine the coffee\nThe swirls in your cup form a pear shape, complete with stem. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine the apple\nThis is an apple made from a beautiful yellow metal. It has the inscription \"\u03c4\u1fc7 \u03ba\u03b1\u03bb\u03bb\u03af\u03c3\u03c4\u1fc3\" subtly engraved into its side. It\nis so\nshiny you can almost see your reflection in it.\n\nA faint smell of mildew emanates from it.\n\n> You examine the shelves\nEight stark metal shelves run the length of each wall between the two entrances of this room. They are about a foot deep, and absolutely stacked to the brim with dozens of aluminum cans, jars, jugs, and other containers. They are mostly labeled, or their contents easy enough to determine if you blow away the dust.\n\nThey are organized by size, shape, and container material. You might find the peaches mentioned in Edmund's message somewhere in the jar section.\n\n> You search the jar section\nSoon enough, you stumble across what must be the jar of peaches mentioned in Edmund's message. You pick it up.\n\n> You look at the peaches\nA squat glass jar of a reddish hue, a bit larger than your hand, with a red metal top. The label has long since faded into unintelligibility, but there is no doubt that the oblong shapes suspended in the golden liquid are peeled and quartered peaches.\n\nA faint smell of mildew emanates from it.\n\n> You open the peaches\nYou open the jar of peaches (smelling faintly of mildew), revealing some sort of golden peach liquid.\n\n> You look at Liquid\n(the little stoppered vial of blue liquid (smelling faintly of mildew))\nYou see nothing special about the little stoppered vial of blue liquid (smelling faintly of mildew).\n\nA faint smell of mildew emanates from it.\n\nThere's something about that jar of peaches (smelling faintly of mildew).\n\n> You examine the peach liquid\nA strange golden-hued liquid, shimmering in the light of the flakes of plant matter.\n\nIn the golden peach liquid are some pickled peaches.\n\nYou feel drawn to the jar of peaches (smelling faintly of mildew).\n\n> You get pickled Peach\nYou'd rather not.\n\nWhat if you put something in that jar?\n\n> You put the pumpkin in the jar\nWhich do you mean, the dusty glass jars, the jar of peaches (smelling faintly of mildew), the jar of old keys (smelling faintly of mildew), the jar of screws or the glass jar containing an insect (smelling faintly of mildew)?"
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You describe your surroundings\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a disgusting rotting pumpkin here.\n\nYou want to stick your face in that peach brine.\n\n> You get the pumpkin\n(the disgusting rotting pumpkin)\nYou succeed only in coating your arms in pumpkin goo.\n\n> You put the apple in the peaches jar\nYou put the golden apple (smelling faintly of mildew) into the jar of peaches (smelling faintly of mildew).\n\n> You put the pumpkin in the peaches jar\n(the disgusting rotting pumpkin in the jar of peaches (smelling faintly of mildew))\n(first taking the disgusting rotting pumpkin)\nYou succeed only in coating your arms in pumpkin goo.\n\nYou have an irrational urge to climb inside the jar of peaches (smelling faintly of mildew).\n\n> You enter peaches jar\nYou stick your head in, and suddenly you find yourself falling down, down, down...\n\nSplash.\n\nYou are immersed in peach pickling brine. Everything around you is a brilliant golden hue. You have no idea how exactly you got in here or how you could possibly fit. And even though you have not made a particular habit of failing to breathe underwater, right now it just feels unnecessary.\n\nThe looming shapes of the bare light bulb and the rest of the pantry are barely recognizable through the gilded distortions of the brine and intervening glass.\n\nA great many giant orange boulders bob lazily in the brine.\n\nSomething white flits past your view.\n\n> About yourself\nYou are now, apparently, a miniscule pickled woman. You're practically a weakling in this form; taking something out of inventory proves impossible. On the bright side, your skin has never looked more radiant.\n\nThe tiny light-colored speck darts by once more.\n\n> You look at the speck\nA small speck of something light-colored. It's hard to get a good look at something so small in this situation. When you try to swim closer to get a better look, it darts away, only to pop up again a second later.\n\nA feeling of intense curiosity floods your mind. The mote does a kind of flip in the brine and then bobs in front of you, waiting.\n\nYou feel compelled to say something.\n\n> You say something\n(to the tiny flitting thing)\nYou try to greet it, but you don't have much luck forming words, immersed as you are in this liquid.\n\nBut the mote seems to understand. It bobs once, and a gentle warmth suffuses your mind.\n\nThere is no reply.\n\n> You look at the speck\nA small speck of something light-colored. It's hard to get a good look at something so small in this situation. When you try to swim closer to get a better look, it darts away, only to pop up again a second later.\n\n> You look at the peaches\nThese are giant things, larger than you, floating suspended in the brine. They must be the pickled peaches.\n\n> You eat them\nEach one is bigger than you. You don't have all day.\n\n> You ask the speck about the speck\nIt throbs three times, then cuts a quick circle around you.\n\n> You ask the speck about the peaches\nThe spot... shrugs. Somehow.\n\n> You ask the speck about Salona\nA feeling of confusion fills your mind.\n\n> You ask speck about yourself\nA feeling of confusion fills your mind.\nApparently this creature has never heard of yourself.\n\n> You ask the speck about Edmund\nThe tiny dot bobs up and down eagerly, then turns blue.\n\nAnd then, as if you're hearing a recording made many decades ago, tinny and echoing, you hear what must be Edmund's voice once more, this time inside your mind:\n\n\"If you will indulge me, I wish to recite this poem I have oft enjoyed...\" There is the sound of rustling papers. \"Here we are.\n\n'Under the crescent moons,\nBeneath the starlit skies,\nThe bells lament with their songs,\nThe bells lament with their cries.\n\nA song of copper and iron,\nA song of silver and gold,\nThe bells sing of the One's true sign,\nThe bells sing of the Ones of old.'\"\n\nThere is a sharp bang, followed by a wet choking sound, and then silence.\n\nThe dot returns to its usual off-white color and makes a lazy figure eight in the brine.\n\nSomehow, you have the feeling that you ought to remember that poem he recited.\n\n> Go upwards\nYou swim up... and up... and break the surface... And suddenly you emerge, wet and dripping, in...\n\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a jar of peaches (smelling faintly of mildew) (in which is some golden peach liquid (in which are some pickled peaches)) and a disgusting rotting pumpkin here.\n\n> You examine the coffee\nThe clouds in your cup form concentric circles. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\nSomething... alive? You feel an urge to put something alive in the jar.\n\n> You close jar\nWhich do you mean, the jar of peaches (smelling faintly of mildew), the dusty glass jars, the jar of old keys (smelling faintly of mildew), the jar of screws or the glass jar containing an insect (smelling faintly of mildew)?\n\n> Peaches\nYou close the jar of peaches (smelling faintly of mildew).\n\n> You go west\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You go north\nCold Storage Room (Jeremy Freese)\nAunt Mavis used to keep her peaches in a room that didn't look at all like this. On the walls is a message written in blood, composed in an ancient language you know intimately.\n\nThere's also the thing Aunt Mavis gave you. You now understand what it is.\n\n> You go to the west\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west Another exit leads east.\n\nYou've smashed or removed every bottle of wine, and the rack stands empty before you.\n\nYou can see a wine cask here.\n\n> You go to the west\nYour ears pop and you stumble as you step across the threshold, reeling in a momentary gravitational slippage.\n\nLaboratory (Michael Gentry)\nHard, white light reflected from steel walls pricks painfully at your eyes. Through the glare you can make out the implements of some sort of laboratory, squirming sculptures of metal and glass dripping curdled fluids and spurting foul-smelling puffs of steam. A way out lies east, but otherwise there seem to be no other exits from this place.\n\nThe author is here, hunched over and fidgeting intently with a roiling knot of impossible space that floats in the middle of the room.\n\n\"Would you just . . .\" pleads the author. \"Enter the work. It's the solution, the solution to everything . . .\"\n\n> You examine the coffee\nThe clouds in your cup form a biplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\nThe author leans close and frowns into the depths of the impossible space. \"Should probably correct this typo . . .\" he says. \"But that would ruin the pacing . . .\"\n\n> Go east\n\"Come back soon!\" the author calls after you.\n\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west Another exit leads east.\n\nYou've smashed or removed every bottle of wine, and the rack stands empty before you.\n\nYou can see a wine cask here."
    },
    {
        "text": "[Themes: Lovecraftian, horror]\n\n> Go downward\nSomething tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA spectral trolley stop sign reads Black Line -- Underground.\n\n> You wait for purple Line\nYou lean against the heaving pipes, hold out your pass, and wait for the purple line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA spectral trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go to the north\nYou climb the steps to the porch.\n\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\nYou can also see the mate of the first leather boot here.\n\n> Go north\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe sky outside is purple, with a few stars already visible. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You examine the coffee\nThe clouds in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go south\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nAn ethereal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> Go north\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA noncorporeal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go west\nCourt (Ryan Veeder)\nWalls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.\n\nIn the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.\n\nA white key lies on the floor.\n\n> You look at white Key\nA finger-length key, its off-white striations indicating it was carved from ivory, or bone.\n\n> You get it\nTaken.\n\nFor a second you hear nothing\u2014then the rain starts again.\n\n> Go east\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nCountless stars are appearing in the sky outside. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You unlock the crypt with white Key\nYou unlock the crypt door.\n\n> You examine the crypt door\nA crude skeleton, grinning and capering, is incised into the metal. It reminds you of medieval art you saw in college, primitive and alien--but there's something odd about the shape of the skull. A banner above the skeleton reads, worn and barely legible, \"Mors ultima linea rerum est.\"\n\n> Go inside\n(first opening the crypt door)\n\nFamily Crypt (Justin Melvin)\nYou are in a long-neglected, dusty, and surprisingly cold crypt, about the size of a garage. The walls are covered with a dark mold creeping from the floor, and the whole place smells unsettlingly like cured meat and leather. There are numerous plaques on the floor, and it is difficult to navigate the room without stepping on one of them. Your eyes are drawn to the only other object in the room: a large ornately decorated stone coffin. The only exit is the door you came in through leading back outside.\n\n> You examine the coffin\nA large, gray stone coffin with a heavy-looking lid. It is carved with an intricate pattern of swirling lines, none of them intersecting at right angles. There is an inscription on the side.\n\n> You read the inscription\nWhich do you mean, the inscription, the inscription on the silver teapot or the watch inscription?\n\n> You put the teapot in the sp\nYou unzip the side pocket, deposit the teapot (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the watch in the sp.\nYou unzip the side pocket, deposit the familiar gold wristwatch (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You read the inscription\nIn the dim light, it is difficult to make out the faded lettering, but you can see \"HAR?AWELL CRAG?E, Icterine Al?erman of the Va?ieg?ted Cou?t.\" It's uncle Harvawell! You didn't know him personally very well, but he was a local celebrity - he was a lead newscaster for one of the local TV stations. He passed away about five or six years ago. You aren't sure exactly what he died of, and you missed his funeral. You feel a knot in your stomach. This wasn't really the way you wanted to get close to him.\n\n> You open it\nFor some reason, you feel compelled to open the coffin. Your heart races. Why would you do that? Why do you want to disturb the departed? You don't like this urge and try to ignore it.\n\n> You keep going\nYou feel your hands being drawn to the lid of the coffin. You feel blood pulsing in your neck and ears. Your breathing becomes shallow, and you start to panic. Why are you trying to open this coffin? What kind of a person are you?\n\n> You keep going\nYou are really starting to lose it. This isn't your body anymore. You are losing control of your hands and arms, as you feel yourself hefting the massive lid above the coffin. You feel the ache of your arms and back as you struggle to push it out of the way, all the time feeling like a stranger in your body, watching and feeling someone else's actions. You don't want to look down - you don't want to look down - you look down inside the coffin, sweating. You see a skull, but not the rest of Uncle Harvawell's body, along with a mummified rodent (a weasel, maybe?).\n\n> You examine Skull\nYou don't know why you opened the coffin to find this skull, but here it is. You can see Uncle Harvawell's broad jawline and high cheekbones on the skull - it really does look just like him. You remember him smiling from the 6pm news, and you shudder as you look at him in his terminal location, wondering what questions you would ask him. This scene is his final, interred view.\n\nIn Uncle Harvawell's skull is a long wooden key.\n\n> Close the coffin\nYour arms are too tired to lift the lid again.\n\n> You examine wooden\nA long wooden key.\n\n> Go southwest\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nAn insubstantial trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You go to the north\nYou climb the steps to the porch.\n\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\nYou can also see the mate of the first leather boot here.\n\n> You go north\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nCountless stars are appearing in the sky outside. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You go west\nCourt (Ryan Veeder)\nWalls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.\n\nIn the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.\n\nAnother flash of lightning: In the stained glass, above the dark figure, a jagged shape looms.\n\n> Open case\nYou open the display case.\n\n> You look at the case\nThe case is built into the curved wall, so its glass door has been crafted with a subtle but noticeable curve of its own.\n\nThe case contains seventeen figurines: a greyhound, a Venus flytrap, a crow, a Pontiac Firebird, a white antelope, a peregrine falcon, a cat, a duck, an eel, a mole, a sheep, a weasel, a tarantula, a silverfish, a wolverine, a rat and a kraken.\n\n> You put wolverine on Niveous\n(First taking the figurine of a wolverine)\n\nYou place the figurine of a wolverine on the niveous pedestal.\n\n> You put the duck on Fulvous\n(First taking the figurine of a duck)\n\nYou place the figurine of a duck on the fulvous pedestal.\n\n> You put the greyhound on the puce\n(the trophy for a dog race (smelling faintly of mildew) on the puce pedestal)\nYou set the trophy for a dog race (smelling faintly of mildew) on the puce pedestal.\n\nThe trophy for a dog race (smelling faintly of mildew) begins to move. As if the room were slowly tipping to one side, the trophy for a dog race (smelling faintly of mildew) slides toward the edge of the pedestal\u2014and then falls to the floor.\n\n> You put the greyhound figurine on the puce\n(First taking the figurine of a greyhound)\n\nYou place the figurine of a greyhound on the puce pedestal.\n\nThunder rolls overhead, increasing in intensity, going on so long and becoming so loud that it must be a jet engine\u2014it stops.\n\n> You put the Cat on Griseous\n(First taking the figurine of a cat)\n\nYou place the figurine of a cat on the griseous pedestal.\n\nA flash of lightning illuminates the stained glass: You catch a glimpse of a figure wearing a dark cloak.\n\n> You put the peregrine on Xanthic\n(First taking the figurine of a peregrine falcon)\n\nYou place the figurine of a peregrine falcon on the xanthic pedestal.\n\n> You put the weasel on the icterine\n(First taking the figurine of a weasel)\n\nYou place the figurine of a weasel on the icterine pedestal.\n\n> You put the silverfish on Cesious\n(First taking the figurine of a silverfish)\n\nYou place the figurine of a silverfish on the cesious pedestal.\n\n> You put the eel on Croceate\n(First taking the figurine of an eel)\n\nYou place the figurine of an eel on the croceate pedestal.\n\n> You put Firebird on Mazarine\n(First taking the figurine of a Pontiac Firebird)\n\nYou place the figurine of a Pontiac Firebird on the mazarine pedestal.\n\nAn explosion of thunder rattles the house.\n\n> You put ANTELOPE on fuscous\n(First taking the figurine of a white antelope)\n\nYou place the figurine of a white antelope on the fuscous pedestal.\n\nA sudden violent gust of wind makes the manor walls shake.\n\n> You put kraken on eburnean\n(the antique locket (smelling faintly of mildew) on the eburnean pedestal)\nYou set the antique locket (smelling faintly of mildew) on the eburnean pedestal.\n\nThe antique locket (smelling faintly of mildew) begins to move. As if the room were slowly tipping to one side, the antique locket (smelling faintly of mildew) slides toward the edge of the pedestal\u2014and then falls to the floor.\n\n> You put kraken figurine on eburnean\n(First taking the figurine of a kraken)\n\nYou place the figurine of a kraken on the eburnean pedestal.\n\nThe stained glass lights up again, and you see the figure raising something to its lips.\n\n> You put Rat on rufous\n(First taking the figurine of a rat)\n\nYou place the figurine of a rat on the rufous pedestal.\n\nA clicking noise erupts in the center of the room. You turn to look: The top of the black monolith has opened itself.\n\nThunder rolls overhead, increasing in intensity, going on so long and becoming so loud that it must be a jet engine\u2014it stops.\n\n> You examine Monolith\nThe facets of the monolith have opened up, revealing a black chamber within.\n\nIn the black monolith is a black horn.\n\n> You look at the horn\nThe coiled horn of some massive, ancient beast. Smooth, oily patches on its rugose surface indicate how multitudes of hands have held the instrument; its pointed tip is carved open to serve as a mouthpiece.\n\n> You get the horn\nTaken.\n\nThe wind rises in pitch, and for a long moment it sounds more like a scream."
    },
    {
        "text": "> You look around\nCourt (Ryan Veeder)\nWalls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.\n\nIn the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.\n\nOn the puce pedestal is a figurine of a greyhound.\n\nOn the xanthic pedestal is a figurine of a peregrine falcon.\n\nOn the griseous pedestal is a figurine of a cat.\n\nOn the mazarine pedestal is a figurine of a Pontiac Firebird.\n\nOn the niveous pedestal is a figurine of a wolverine.\n\nOn the fulvous pedestal is a figurine of a duck.\n\nOn the rufous pedestal is a figurine of a rat.\n\nOn the eburnean pedestal is a figurine of a kraken.\n\nOn the cesious pedestal is a figurine of a silverfish.\n\nOn the fuscous pedestal is a figurine of a white antelope.\n\nOn the icterine pedestal is a figurine of a weasel.\n\nOn the croceate pedestal is a figurine of an eel.\n\nRain rattles impatiently against the stained glass.\n\n> You check your inventory\nYou are carrying:\na black horn\na long wooden key (smelling faintly of mildew)\na white key\na torn notebook (smelling faintly of mildew)\na creased square of paper (smelling faintly of mildew)\na brass nameplate (smelling faintly of mildew)\na jar of old keys (smelling faintly of mildew) (open)\nan ornate bronze key\na silver and ivory key\na small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) (smelling faintly of mildew)\na bottle of Pepto-Bismol (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of screws (open but empty)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\na broken silver amulet (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na wad of cash (smelling faintly of mildew)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\nA flash of lightning illuminates the stained glass: You catch a glimpse of a figure wearing a dark cloak.\n\n> You put white Key in the kp\nYou unzip the key pocket, deposit the white key, then zip the key pocket back up again.\n\n> Go east\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe night sky is dark and full of stars. One larger star stands out in the center of the fanlight window. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You go north\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe night sky is dark and full of stars. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> You examine Star\nThe stars stand out tack-sharp against the night sky. One tiny, cloudlike blur in Andromeda twinkles.\n\n> You examine the blur\nThe cloud resolves itself into a disc. It is a distant spiral galaxy, the Andromeda galaxy, whirling through the void like a scythe. Andromeda is plunging irrevocably toward the Milky Way at hundreds of thousands of miles per hour.\n\nAndromeda is coming. Soon, far too soon, its trillion stars will collide with the Milky Way. Both galaxies will be torn apart in the collision, and for a billion years or more chaos will reign. Some of the stars will be swallowed by the two massive black holes at the center of each galaxy; other stars will collide in titanic explosions of light and death; still others will be ejected into intergalactic space, doomed to wander alone until they burn out into blackness. The final shape of the resulting galaxy will be monstrous and unrecognizable.\n\nIt is cold comfort that the Earth will have been burned to a cinder by this time, destroyed by the doomed and greedy sun before another star could snatch its prize.\n\nYou hide your eyes from the light of that evil star. You don't want Andromeda to see you.\n\n> You look at the window\nTwo tall, rectangular windows are set into the wall on either side of the front door. They look like they were added later. Maybe the new owner thought the foyer needed more light.\n\nThe grounds are totally black. The darkness seems almost like it is moving.\n\n> You examine the grounds\nCragne Manor was probably once surrounded by lawns and a formal garden; now the property is overgrown and wild-looking. The grounds are totally black. The darkness seems almost like it is moving.\n\n> You wait for the Gold Line\nYou lean against the gravel path, hold out your pass, and wait for the gold line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA mistlike trolley stop sign reads Gold Line -- Church.\n\n> You unlock Door with wooden Key\nYou unlock the church doors.\n\n> You go inside\n(first opening the church doors)\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nChurch Lobby-Space (Hanon Ondricek)\nThis shallow space extends the width of the church. What do you\ncall this? The church-lobby? Surely there's a better name for it... Despite the gloominess, it's not that unwelcoming. You'd guess renovations happened mid-1980s--the color scheme is that sponge-painted beigy-peach which goes great with industrial\nlinoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles. A stamped powder-blue accent border provides a homey feel for church-lady potlucks.\n\nleads out of the building.\n\nAlso good to note: two side by side openings lead in to\nrestrooms. Now's probably a good time to go--this place is quite a bit tidier than many of the locations you've visited, and who knows when you might next encounter a clean bathroom that isn't filled with skeletons, or making scary noises, or holding a contraption that dispenses a key, or a portal to a pocket dimension full of snakes with baby-faces or something worse...\n\nA collection of framed photos is arranged on one wall, and a woodstained ladder bolted nearby leads up through a square\nopening in the ceiling.\n\nYou know, you could use a quick restroom break about now.\n\n> You look at the photos\nBlack and white photos of generations of religious folk and church social gatherings. Included are four or five class photos of students in tweed blazers, pressed slacks, and plaid skirts. The newest is inscribed 1978.\n\nA yellowed newspaper article in a more modern frame catches your attention.\n\n> You read the yellowed article\nFrom the Backwater Gazette, March 8, 1984. The faded print is hard to read, but the article details the Backwater Historical Society renovation of the narthex of the church after a fire five\nyears prior. School, library, and gymnasium incinerated to the\ndirt foundation in an unexplainable inferno during the 1979 Maple Harvest Dance... 166 students, faculty, and neighbors tragically lost...no remains identifiable... The church itself suffered only minor damage in what surviving parishoners describe as a \"divine miracle\"...\n\n> About yourself\nYou stop and take stock: yes, you are still Naomi Cragne\ndespite everything that has happened and who you may or may not have been up to this point. Your husband needs you to help him, and you are bound and determined to do exactly that, no matter what\nhorrors lie in wait for you going forward.\n\nYou are wearing a copper amulet, a battered yellow JogMaster, a calfskin coat, a pair of reading glasses, a pair of stone earplugs, a trolley pass, a Jansport backpack, a gold jacket and a giant milkweed leaf.\n\nYou are also lugging around a whole lot of stuff.\n\n> You go inside\nThe women's restroom is tidy as church facilities go. There is only one way out, unless you count the bathroom stall door reflected\nin the mirror above the sink.\n\nIt appears someone has discarded a tube of lipstick on the sink.\n\n> You look at the mirror\nIt's you, Naomi Cragne, staring back from the mirror. Good-looking as ever, if maybe a bit frazzled from recent events. Right then. You look focused, confident; your lips are a bit pale, but what can you do?\n\n> You examine the sink\nOn the sink is some red lipstick.\n\n> You examine the lipstick\nThe lipstick is practically new and appears to never have been used. Score. The label names it \"Saucy Siren\"--which of course is a\ndark shade of red.\n\n> You examine the stall\nThe flimsy stall partitions afford a modicum of privacy in a public restroom--you can't see over or under them.\n\nIn the bathroom stall is no one.\n\n> You enter the stall\nYou enter the restroom stall for a time-out and a well-deserved five minute break to \"freshen up\" before continuing your adventure.\n\n> You wear the lipstick\nYou meticulously apply the lipstick mph...mpoph... You should\ncheck it out in the mirror to make sure you didn't get any on your teeth.\n\n> You examine the mirror\nMmm, luscious red lips--ones that total fox Brandon Cragne\nmight want to kiss...that is, if she played her cards right. Otherwise, the same mousy brown hair pulled back in clips, the same lame grey tweed school uniform. The same pallid complexion. Heavy sigh."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft]\n\n> Describe the surroundings\nThe girl's restroom by the chapel was Jessica's main respite while at school, being a good detour away the main facility in the school hallway. Often she was able to get several minutes to herself away from the other spazz-girls in her class. There was only one way\nout through the door back to the Chapel hallway.\n\n> Inventory\nShe was carrying:\nher school uniform (being worn)\nsome overdue library books\nher sister's lipstick\n\n> You examine the lipstick\nShe swiped her sister's new lipstick--just to try out. Of course she was going to give it back.\n\n> Go outside\nAs she turned to leave, the door creaked open. In walked The Plains--the three most devout girls in school.\n\n\"Thelma, didn't you tell me that this bathroom usually is deserted around lunchtime?\" grumped Dawn.\n\n\"Well, it was yesterday. Don't worry, we won't be long,\nJezebel,\" the biggest Plain sneered.\n\n\"Oh, Thelma, don't be so mean to her! Her name is\nJessica. It is Jessica, right?\" She could tell Meredith\nreally didn't care since she was already checking her hair ribbon for right-angle-alignment in the bathroom mirror.\n\nThe Plains were worshipped and feared--they were the eyes and ears of the Sisters in every corner of the school and involved themselves in everyone else's business.\n\n> You examine Plains\nDawn Whitford, photographic memory, never forgets like an\nelephant. Has daily, since kindergarten, sported anywhere from\ntwo to five useless straight, skinny pigtails anchored on her head with those big clear glass beads and tiny gold spectacles like she's the cousin of both Mother Goose and Mrs. Claus. She was Sister Mary Marcia's favorite and thus was able to wield the old nun like an attack dog on call.\n\nThelma Groffley. Varsity Basketball, color team, volleyball, gymnastics and ROTC. She wore sweats under her skirt every day and one long strawberry-blond braid to her waist tied with a stupid white and gold bow. In eighth grade Thelma won a ten dollar bet that she couldn't pop a kickball by compressing it between her very sturdy thighs.\n\nMeredith Mulroney, the plainest of the Plains. Studious. Put-together. Perfect white ribbon pulling back her straight, perfectly chestnut brown hair. Her blouse extra ruffly at the throat. Her grey-on-grey plaid skirt never less than three inches below her grey-socked knees. This girl was a total flat pan of warm milk.\n\nThey were all so going to heaven.\n\n> Go outside\ngrown accustomed to supressing and ignoring what they said. Right now she just needed to be away from people.\n\n> EXIT\n\nJessica moved to exit, but Thelma wouldn't move away from the bathroom door. \"That's some awfully bright red lipstick you have on,\nJezebel. You know red is Jesus's least favorite color.\"\n\nMeredith turned, \"Oh, cut her some slack, Thel. It looks like\nsomeone is trying to learn how to pretty herself up for the\nMaple Harvest dance!\" she chirped.\n\nDawn blew her nose with some toilet paper from the stall and tossed it away. \"Well, Jessica probably should be aware that the Maple\nHarvest dance is a formal occasion and not a Halloween party,\nso she ought to dial back on the clown paint.\"\n\n\"Or a Mary Magdalene look-alike contest, neither,\" added Thelma.\n\n\"So,\" Meredith continued, applying her own lip-shade that was exactly the same color as her lips and had no noticeable effect, \"Jessica, does this mean you've found a special someone who will be\naccompanying you to the biggest school event of the year?\"\n\n> Yes\nThat was none of Meredith Mulroney's beezwax. \"No, I\nhaven't,\" Jessica replied.\n\n\"Oh, that's so sad!\" Meredith wailed. \"Your senior year, too! Hold on, wait a minute. I know someone who is more than likely free\nand isn't going...what about...Brandon Cragne?\"\n\n\"Brandon Cragne? He plays Dungeons and Dragons,\" Dawn\nslurped, articulating through her retainer. \"You know, Satan's boardgame?\"\n\nThe two demi-Plains parted at the clacking of orthopedic shoes in the hallway, and suddenly the door was blockaded with Sister Mary Marcia's imposing frame. \"What in blazes is going on in here? This restroom is too small for all four of you at once.\"\n\n\"Good morning, Sister Mary Marcia,\" Dawn wheedled. \"We were\njust pointing out to our classmate here that the vividness of her cosmetic selections violate the parameters of standard school dress code policy.\"\n\nThe nun sucked a breath between her teeth, \"Jessica. You are too young to be wearing makeup, much less that shade of red. That lipstick is for protestant girls!\" Sister Marcia held out her hand. \"Are\nyou trying to give the boys the wrong idea? If not, you'd\nbetter hand over that lipstick.\"\n\n> You go outside\n\"This Sister says give me that lipstick,\" insisted Sister Mary Marcia.\n\n> Go outside\n\"Hand it over,\" snapped the nun.\n\n> Wait\nBUT, SISTER MARY MARCIA...\n\n\"I don't want to hear any backsass, girl,\" replied Sister, growing seemingly more impatient.\n\n> Wait\n\"You can have it back at the end of the year,\" replied Sister Mary Marcia.\n\n> Wait\n\"This Sister says give me that lipstick,\" snapped the nun.\n\n> You say no\nWhom do you want to say that to?\n\n> You give the lipstick to Marcia\nJessica relinquished the forbidden devil's paint. Sister Mary Marcia plucked a rough brown paper towel from the dispenser and licked it. \"You've still got some on your mouth. That will have to come off. Hold still...\" the nun grabbed her face and began scrubbing, much to the amusement of the Plains.\nAaaaaaghh! Stop it! STOP IT!\n> TAKE OFF LIPSTICK\n\nYou wipe all the red off of your lips, expecting your hands to come away covered in it--but there is no trace of the lipstick on your hands. You check the mirror--none on your face either."
    },
    {
        "text": "> You look at your surroundings\nThe women's restroom is tidy as church facilities go. There is only one way out, unless you count the bathroom stall door reflected\nin the mirror above the sink.\n\nFrom this angle in the mirror, you spy a pair of red shoes under the stall door.\n\n> You examine the shoes\nThere are definitely some shoes in the bathroom stall, right where they would be if someone were sitting on the--but you don't\nhear anyone...breathing...or otherwise...\n\n> You examine the heels\nThese are some vintage kicks--but red leather pumps never go out of style. Someone must be bummed about forgetting these.\n\n> You wear the heels\n(first taking the red high heel shoes)\nYou slip off your sensible running shoes and insert your toes into the shiny pumps. They are a little tight and your heel won't go in...unless you exert some force. Thunk. Thunk. Woo! They fit perfectly.\n\nShe pulled the pin from her hair and let it tumble loosely around her shoulders, shaking it out to complete the glamorous tall-model look.\n\n> About you\nIf only she could be someone else for a while!\n\n> You examine the heels\nJessica had \"borrowed\" her sister's treasured \"Wizard of Oz\" formal heels so shiny bright red! to try them out. They fit\nperfectly.\n\n> Inventory\nShe was carrying:\nsome red high heel shoes (being worn)\nher school uniform (being worn)\nsome overdue library books\n\n> Examine books\nBooks from the school library. The stamped cards in the folders glued inside the cover said they were due on 1979 03 16 FRI, so  she needed to return them ASAP. Mrs. Bowler, the librarian, usually didn't mind letting her slide a couple of days, but... The covers both had stickers on them identifying them as school property."
    },
    {
        "text": "[Themes: female protagonist, Lovecraft]\n\n> Describe the surroundings\nThe girl's restroom by the chapel was Jessica's main respite while at school, being a good detour away the main facility in the school hallway. Often she was able to get several minutes to herself away from the other spazz-girls in her class. There was only one way\nout through the door back to the Chapel hallway.\n\n> Go outside\nOf course, the door banged open and Dawn Whitford peered around it, \"Est\u00e1 ocupado, Meredith!\" Dawn flapped the rest of the way in\nwith a clipboard, \"Jessica, I took the initiative to add your name to the Harvest Dance cleanup crew, since you more than likely aren't going to be attending with all the normal people.\" Meredith flitted to the mirror, and Thelma skulked in behind her, guarding the door like usual. \"...That way, you can at least come in the last half hour and hear some of the music and see everyone's dresses.\"\n\n\"Oh, you still haven't found someone to accompany you to the\ndance yet?\" Meredith read her face and wrinkled her nose. \"That's such a shame! Well, it's a good thing you'll be there at the end at least. I can't wait for you to see this luscious floor-length\nall-white chiffon number I found! Since it's senior year, I decided to throw caution to the wind and go sleeveless!\"\n\nThe other two girls went \"oooooOOOOOOooo\" on cue like\nthird-graders witnessing people kiss in a movie.\n\n\"I'll be there with my dancin' shoes on!\" Meredith squealed, briefly performing the most geriatric Charleston step Jessica could imagine before turning gleefully to the mirror to make sure her hair was still, in fact, completely straight.\n\n\"Speaking of footwear,\" Thelma approached twirling her braid, \"check out the snazzy kicks on Jezebel here! Your shoes aren't going to  get you closer to heaven, honey!\"\n\n\"Red is Satan's favorite color,\" Dawn reminded. \"And I don't have my ruler, but I'm quite sure the heel height on those don't fit the official school dress code.\"\n\n\"Oh, nonsense,\" Meredith muttered into the mirror. \"I think they're pretty. You know every little bit helps when you start at a disadvantage!\"\n\nThelma sauntered past, \"Jus' remember: the higher you climb, the farther you fall.\"\n\nThe shove wasn't hard, but it was deliberate, and Jessica was doing okay balancing but had no traction and her feet skidded out from under her as she flailed awkwardly. WHAM her tailbone contacted the tile and every limb went shockingly numb for a moment.\n\n> You stand\nno voices in my head you don't control me stop laughing!\n\n> Wait\nstop arguing i cant think stop laughing!\n\n> You wait for a while\nthats not what i want to do oh god oh god stop laughing!\n\n> You wait\nstop laughing!\n\n> You wait\noh god oh god stop laughing!\n\n> Go outside\nThe bland checkerboard-floored antechamber (though the nuns always called it the narthex) that connected the chapel to the main\nschool hallway proudly displayed a decade's worth of framed photographs of historical Catholic figures and famous nuns, posters for school activities, and important mimeographed lists of extra-curricular activity rosters taped to the walls.\n\nBellowed hosannas from choir rehearsal taking place behind the closed chapel doors to the west competed with the roar of the school\nhallway to the east.\n\nThe ladder to the bell tower rose against the wall in its usual place. A sign mounted at face-height read \"STAFF ONLY. NO STUDENTS!\"\n\n> Go up\nJessica didn't have any reason to climb to the bell tower. The Quasimodo story the seniors always told incoming underclassmen had been demonstrably proven false.\n\n> Go west\nJessica had been banished from choir for two weeks for her \"creative\" scat-jazz interpretations of some of the warmup exercises. She probably didn't need to show her face in there for a while.\n\n> You go east\ncafeteria and back west to the Chapel. The Gymnasium yawned its familiar oppressive woodsmell to the north below a paper banner\nin direct opposition to the school Library, which was an oasis of quiet solitude to the south.\n\nomigodohmygod...Brandon Cragne was leaning on the locker next\nto hers talking to his friend whatshisname...\n\n> TALK TO BRANDON\n\nNoooo! Hush up voices in my head!\n\n> You talk to Brandon\n\"Oh, hi, Brandon isn't it? I'm Jessica. Nice to meet you\nfinally!\" is what she wanted to say, but the words caught in her throat and wouldn't come out. She was going to do it. She was going to do something. She was going to walk right up to him--no, she was going to introduce herself--no, just walk by him like it's no big deal, just say \"Oh, hi, Brandon\" and toss her hair and--\n\nAt that moment her balance on the high heels failed her, and she pitched forward right into Brandon Cragne who caught her and\nkept her from hitting the floor...his arms around her he smells\nlike he didn't have time to shower after mowing the lawn this morning sharp bitter green cut clippings and grape bubble gum--\n\n\"Are you okay?\" he said, setting her back upright.\n\n\"I'm fine! Sorry, I--\"\n\n\"You're Jessica, right?\"\n\n\"Yeah, you got me,\" she said, trying to stand up straight in the awkward shoes. How does he know my name?\n\nHe smoothed his hair with one hand. Pointlessly, because it fell right back into place. He dismissed his friend with a subtle jerk of his head and Whatshisname scurried off. \"Jessica, I wanted to ask you a question...\"\n\n\"Sure, Brandon!\"\n\nHe inhaled, hesitating, \"Are you going...I mean...are you...would you...\"\n\n\"Yes, Brandon?\"\n\"Yes, Brandon?\"\"Are you...going into the library right now?\"\n\n\"Um...yeah. I am...actually. I need to return these books.\"\n\nBrandon blinked, \"Great! Wonderful! Here's the thing...\" He reached into his shirt pocket and drew out a scrap of paper. \"I need a book to do some research before Friday and Sister Mary Marshmallow took away my library privileges. I can't even go in there to read.\"\n\n\"That's weird,\" Jessica said, taking the card which had a Dewey Decimal number on it. \"What did you do to Sister Marcia?\"\n\n\"Long story.\" The hallway was clearing out as lunch was ending, and clacking heels echoed down the hallway. \"Speak of the Devil,\" he said, glancing down at the nun who was in the process of confiscating cigarettes from a student. \"I need that book.\"\n\n\"Sure, I'll go get it right now--\"\n\n\"Thank you!\" he said, putting his warm hands on Jessica's shoulders for a brief, wonderful moment. \"I need to stay out of the Marshmallow's sight, but I'll meet you back out here in a few minutes.\"\n\nAnd he disappeared into the dispersing late lunch crowd.\n\n> You go south\nJessica let herself be submerged in the peace and quiet and smell of old paper that filled the library. The check out counter with its own set of shelves and private card catalog inaccessible to students took up the entryway, then the maze of library stacks spread away in every other direction besides north, which returned to the mundane\nworld of school.\n\nJessica slid her books through the slot hoping Mrs. Bowler would overlook that they were two days overdue.\n\nHer eye was drawn to an ominous greenish-leather tome sitting by itself on the sorting shelves behind the counter.\n\n> You examine Tome\nShe couldn't tear her gaze from the thick, ancient volume on the shelf by itself--like the other books didn't want to be near it. The cover was rough-tooled moss-green leather stitched from uneven scraps, and the spine had a flat eye-shaped oval right above the title, which was unreadable at this distance.\n\n> You get tome\nJessica reached for the book. There was no way her arm would stretch that far, but she tried, shoulder dislocating, elbow popping\nfingers tingle numb ears crackle thoughts scrambled--Y'\nahor ymg' ah, gof'n, ph'nglui yar... The lidded eye on the spine opened, staring balefully at her, bloodshot, blinking--\n\"Jessica, are you okay?\" Mrs. Bowler was right there.\n\n\"I'm fine,\" she replied finally, shaking the static out of her head. \"I'm looking for this book.\" She pushed the scrap forward on the counter and the librarian peered at it curiously. \"Give me a second.\" Mrs. Bowler flipped effortlessly through the drawers of the private staff card catalog, then moved to an enormous paper ledger off to the side, licking her fingers and flipping bible-thin leaves. Jessica scuffed her toe, hoping Brandon wouldn't give up and leave before she returned...\nreturned...She was lost in her thoughts when Mrs. Bowler appeared again, displaying a lavender paperback copy of Are You There, God? It's Me, Margaret, \"Have you ever read this one? It's a really heartwarming story about a girl just like you!\"\n\n\"Yeah, I think so. Probably in fifth grade.\"\n\n\"Oh, well, good!\" Mrs. Bowler stashed the book under the counter. \"We don't shelve the book you asked about, but the city library does.\"\n\n\"Really?\" Jessica groaned. \"I need it.\"\n\n\"Well, I can put in a request to transfer it here and you'll have it by next week. Or if your parents have a Backwater Public Library card you could go get it yourself--wait a second...\" She turned to the sorting shelves behind her.\n\"What was I thinking, here it is!\" She grabbed a slim volume from the shelf, stamped a due date on the slip inside the cover, and placed it into Jessica's hands. \"I thought it sounded familiar. I guess someone asked for it to be transferred last week and never showed up to check it out!\" The office phone blurbled and she moved toward it. \"Lucky for you!\"\n\n> Examine book\n(a slim hardback manual)\nIt was the library book Brandon wanted. A stamp in indigo ink inside the cover declared it ON LOAN from The Backwater Public\nLibrary above their weird but kind of cool official library\ninsignia: double eclipsing moons joined by an all-seeing eye reading an open book--in Backwater, Vermont.\n\n> You go to the north\ncafeteria and back west to the Chapel. The Gymnasium yawned its familiar oppressive woodsmell to the north below a paper banner\nin direct opposition to the school Library, which was an oasis of quiet solitude to the south.\n\nBrandon was leaning against her locker pushing buttons on his digital watch.\n\n> You give Book to Brandon\n\"Hey! Brandon. We lucked out! The book was on loan from--\"\n\n\"Amazing! You're really a groovy chick, you know, Jessica?\" he grinned and she felt her neck flush as she held out the book for him.\n\n\"One other thing. Don't hand it to me here,\" he said, looking over his shoulder. \"I can't even be seen with a library book. It's a\nsecret. What I need you to do is hide it for me. You know where the black tile is? On the floor in the Narthex?\"\n\n> No\n\"If you look right at the base of the ladder to the steeple--in the Narthex--there's one black tile in the floor and it's loose. There's enough room under it to hide the book. Put it under there for me, and...can I ask you one more question?\"\n\n\"Sure, Brandon.\"\n\n\"I know it's short notice, but is someone... I mean, do you um... Do you have plans for Friday night?\"\n\n\"Friday, um. Well--\" Jessica checked her wrist for a watch that wasn't there, \"that's the night of the Maple Harvest Dance, isn't it?\"\n\n\"It is. And I...I hate social functions, but I get the feeling you do too. But I was wondering...if you weren't going with anyone, would you want to come with me Friday night? We can be anti-social together.\n\n\"Well...\n\n> Yes\n\"Yes, yes! I'd love to go to the dance with you, Brandon!\"\nHe leaned forward and kissed her forehead, his lips gentle on\nher brow. \"Thank you, Jessica. I know it's hard to make your mark in this school, but I promise you after Friday, everyone in Backwater will know who Jessica and Brandon are. I gotta get to Trig. I'll talk to you after school!\"\n\nBrandon slipped away into the crowd, and Jessica felt as though she were floating three feet off the floor--until she remembered it was the heels.\n\n> You go west\nJessica gasped as a clawed hand squeezed her shoulder, whirling her around. Sister Mary Marcia stepped in close, pinning her against the lockers. \"Those shoes are not appropriate for school wear. You are\nout of dress-code, Missy.\"\n\n\"I'm sorry Sister Mary Marcia, I didn't--\"\n\n\"I don't have time for this. Just give me the shoes,\" she demanded.\n\nJessica tried her best to keep control, \"But, please, Sister, these belong to my sister--my own sister--and she will kill me if I don't give them back...\"\n\n\"Well, she can have them back at the end of the school year like everything else. Take them off this instant.\"\n\n> No\n(addressing Sister Mary Marcia)\nThe nun's grip tightened on her wrist.\n\n\"Did you hear me, young lady? Or do we need to march over to the Mother Superior's office?\"\n\n> PUSH SISTER MARY MARCIA\n\n> You go west\nThe bland checkerboard-floored antechamber (though the nuns always called it the narthex) that connected the chapel to the main\nschool hallway proudly displayed a decade's worth of framed photographs of historical Catholic figures and famous nuns, posters for school activities, and important mimeographed lists of extra-curricular activity rosters taped to the walls.\n\nBellowed hosannas from choir rehearsal taking place behind the closed chapel doors to the west competed with the roar of the school\nhallway to the east.\n\nThe ladder to the bell tower rose against the wall in its usual place. A sign mounted at face-height read \"STAFF ONLY. NO STUDENTS!\"\n\n> You get the tile\nThe black tile opened like a lid, revealing a dark space underneath.\n\n> You put Book in Space\nThere. Jessica replaced the black tile with a sense of\nsatisfaction. Nobody would ever find it unless they knew\nwhere to look...\n\nIt was Jessica and Brandon's secret...\n\n> You go outside\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nNarthex (Hanon Ondricek)\nThe narthex extends the width of the church. Despite the\ngloominess, it's not that unwelcoming except for the eye-watering pattern of industrial linoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles, stopping only at the margin marked by a wall border at waist level.\n\nleads out of the building.\n\nTwo side by side openings lead in to restrooms.\n\nA collection of framed photos is arranged on one wall, and a woodstained ladder bolted nearby leads up through a square\nopening in the ceiling.\n\n> You examine the tiles\nThe floor expands underneath; a bewildering checkerboard of pale green and white linoleum tiles.\n\n> You examine the ladder\nopening in the ceiling, you would presume to the steeple--if the whipping wind and ominous creaking from above is any indication. A plastic sign at face-height indicates \"STAFF ONLY Please! Thank\nyou!\"\n\n> You look at the black tile\nOne odd black tile near the foot of the ladder. They must have run out of green and white during a repair.\n\n> You open it\nThe black tile opens like a lid, revealing a dark space underneath.\n\nLow on the horizon, the mercurial sliver of moon doubles, passing mirrored through itself to illuminate the fiendish scribble the eye gazes down to comprehend.\nBlack thoughts in an inky square, revealed by colored moonlight glinting through the church window glass.\n\n> You look at Space\nYou have moved aside one odd black tile near the foot of the ladder. They must have run out of green and white during a repair. There are a small hollow in the floor under the tile.\n\nIn the the space under the tile are a vintage Black Sabbath tee shirt and a slim hardback manual.\n\n> You look at the tee\nThe printing is legit metal--crackledy and faded.\n\n> You examine the manual\nIt's a thin but colorful hardback manual, To Have, and To Have\nKnots: An Illustrated Guide by Melvyn Camber. A stamp in dark\npurple ink on the inside of the front cover reads ON LOAN from The Backwater Public Library above the official library insignia:\nit's supposed to be two back-to-back crescent moons joined by an eye looking down at an open book, but it's hard not to see it as a scuttling four-legged eye-creature preparing to leap onto the pages below. A loosely-gummed paper slip is pasted to the frontspiece of the book.\n\n> You look at the slip\n(the slip of paper (smelling faintly of mildew))\nIt says \"Inspected by Number 8.\"\n\nA faint smell of mildew emanates from it.\n\n> You look at the gummed slip\nA yellowed slip of paper on the frontspiece of the illustrated knot book has a series of stamped due dates. The last one is 1979 MAR 30 FRI\n\n> You read it\nThe book falls naturally open to a picture of a noose.\n\nThe common noose looks great as a scary yard decoration during Halloween or to improve your fishing or boating experience. The noose is a secure and easy-tightening loop that holds it shape for tossing over a boat mooring. But kids, listen to Uncle Melvyn: DO NOT WEAR A NOOSE around your neck or tie one around anyone else's neck under any circumstances, even as a joke...\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\n> Continue\nThe book falls naturally open to a picture of a noose.\n\nThe common noose looks great as a scary yard decoration during Halloween or to improve your fishing or boating experience. The noose is a secure and easy-tightening loop that holds it shape for tossing over a boat mooring. But kids, listen to Uncle Melvyn: DO NOT WEAR A NOOSE around your neck or tie one around anyone else's neck under any circumstances, even as a joke...\n\n> You wear the tee\nYou pull the shirt on over your head... Yes, you can still\nfit a medium...though it's a bit snug in the chest. As the shirt settles, you detect a faint whiff of a freshly-mown lawn in the spring.\nYou stifle a scream as a clawed hand squeezes your\nshoulder--\"Brandon Cragne!\"--you whirl face-to-face with a\nmoon-faced nun in a black habit. She releases you and steps back. \"Oh. I'm sorry. You're not the person I thought you were!\"\n\n\"No, I'm Naomi Cragne,\" you say, unsure whether you're supposed to offer a handshake to a nun or curtsy or--\"I'm sorry. I didn't\nrealize anyone was in here,\" you respond, oddly disappointed to still be yourself--\"I don't mean to intrude, Sister.\"\n\n\"It's all right. All are welcome, dear.\" She peers sagely into your eyes, placing her hands on your shoulders. \"May the Lord bless you and keep you safe. Be careful around here.\"\n\nA dull roaring rose behind her, fluttering her habit. She leaned back and shook her head sadly.\n\n\"You want to hear some irony? I became a nun because I figured that way I'd never feel what it was like to burn.\"\nway I'd never feel what it was like to burn.\"The picture wall behind her exploded into a vortex of orange and gold flames whirling with leaves which flamed out of existence screaming.\n\nThe nun turned--her habit blazed a column of fire to the ceiling.\n\"I'm coming!\" she called, and ran directly into the flames to save\nas many of her students as she could, merging with the inferno.\nas many of her students as she could, merging with the\ninferno.Three plain angels slammed the doors to the school\nhallway--\n\n!!!kerblam!!!\n\n--hard enough to rumble the entire church and hurl every picture from the walls down to the tile floor in a thunderous crash of sparkling glass and wood."
    },
    {
        "text": "> You look around\nNarthex (Hanon Ondricek)\nThe narthex extends the width of the church. Despite the\ngloominess, it's not that unwelcoming except for the eye-watering pattern of industrial linoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles, stopping only at the margin marked by a wall border at waist level.\n\nleads out of the building.\n\nTwo side by side openings lead in to restrooms.\n\nShattered glass and broken pieces of picture frames cover the floor of the narthex around the edges near the walls.\n\nA noose of thick nylon boat-rope hangs down through the opening in the ceiling in front of the ladder.\n\n> You look at the noose\nThat's--a noose. That--wasn't there before, was it?\n\n> You get the NOOSE\nThis noose doesn't belong here. It wasn't here before. Someone is playing a trick on you, surely. You climb three rungs up the ladder for a closer look.\n\n> WEAR NOOSE\nThe noose slips easily over your head and tightens around your neck before you can--your feet slip from the rungs...\nbefore you can--your feet slip from the rungs...He had been waiting a really long time. Maybe she chickened out... And who could\nblame her? Brandon had been hearing the voices for weeks now, she'd only just started. The rope itched and he'd suffered through a total of fourteen horrible church-friendly music selections by DJ\nDeacon JesusLove echoing from the gymasium already. I should just\ndo it. Get the process started... But he hadn't explained the\npart about the glyph! He would have to trust she'd follow through with the plan and he hadn't thought to--\n\nThere she was! Jessica emerged from the men's restroom resplendent in her glittery black dress, looking like a new and completely different beautiful person. Brandon knew not to let his thoughts idle long, lest one of them take control and speak for him...\n\n> EXAMINE JESSICA\n\n\"Oh, my God, you look amazing, Jessica!\" The dress was too\nshort--just above the knee--for the Maple Harvest Dance in a Catholic school and they wouldn't have let her in, so they had to sneak here through the secret way from the chapel. Her hair glowed autumn orange and gold and it billowed in freshly-cut waves around her face, tied with beads adorned with small scarlet maple leaves.\n\nThe music from the gym changed from a vigorous polka to a slow song. Finally. Soothing electric piano--a BeeGees tune. She\napproached the ladder and gazed up where he sat perched with his back to the fifth rung.\n\n\"Um, I might say the same thing about you look amazing,\nMister Brandon Cragne with-your-shirt-off!\" she smirked, placing her hands on the sides of the ladder.\n\n\"It gets better,\" he raised an eyebrow. \"Do you still have that lipstick with you?\"\n\n\"Sure do,\" she said, holding it up and smacking her red lips in air-kisses.\n\n> About you\n\"Can you copy this? I need you to write this glyph on my chest.\"\n\nJessica peered at the college-ruled drawing torn from his spiral notebook. \"I can. But... how big do you want it? Neck to belly-button--?\"\n\nYou're the artist. I trust you,\" She intently started gliding the red pigment across his skin. \"It just needs to be accurate, not huge--yeah, just like that, that's perfect.\"\n\n\"Hey,\" she said, touching up where the lines were thin, \"I don't suppose there's any chance we could put this off? Just for tonight? Let's go in and dance and get kicked out. We can leave this town, run away, change our names, go up to Canada...\"\n\nBrandon grinned. \"Why on earth would you--oh God that tickles! Ha!--Why would anyone want to go all the way up to\nCanada?\"\n\n\"Dunno! I've never been! I've heard it's a cool place and it's gonna be all the rage someday!\"\n\n> Yes\n\"Yeah, it's a cool place with really long winters. And maple\nsyrup and hockey--I know. That would be fun. But the Harvest Dance doesn't happen every night of the year. We won't get this chance ever again.\"\n\n\"Well, then,\" Jessica climbed far enough up the ladder so they were almost face-to-face. \"I guess I'm gonna have to do this right now.\"\n\nTheir lips touched--but she started giggling, then so was he. \"I'm serious!\"\n\nThe tips of their noses touched. \"So serious!\" He leaned down and kissed and it was much much better.\n\nhow deep is your howlove deepisyourlove how deep is your love? i really need to learn...\n\nShe pulled back, but their eyes never left each other, \"Thank you for inviting me to the dance, Brandon Cragne.\"\n\n\"Thank you for accepting my invitation, Jessica Santos.\"\n\n> KISS JESSICA\n\nThey kissed as long as they could, smiling the whole time. When it was time, she retreated down the ladder and stepped back, sparkling in her outfit and heels.\n\n\"Give'm hell, Jessica.\"\n\n\"That's what I'm planning,\" she said, throwing her tiny purse over her shoulder and striding through the double doors to the east toward the gymnasium.\n\n> WAIT\n\nThe fire doors between the narthex and the school hallway clicked closed. Brandon waited as long as he could. He didn't want to chance that she would have to see him or hear what was about to happen.\nAnd at that moment his resolve faltered. There was no reason for\nthis. He had free will! He didn't have to listen to the voices! He could take this noose right off...\n\n> JUMP\n\nHe stepped off the ladder and thrashed as the rope tightened.\nThere was no longer a hole in his head through which he could\ninhale or exhale--red and black flashes big red and black flashes multiplying and expanding and a vast rushing in his ears heartbeat black darkness try to breathe nope he was tumbling down into a black space of nowhere\n\non the sides those are my eye veins glowing hot pissing my pants how embarrassing red flashes and black flashes and bright black flashes and black--\n\n> AH, DEAR NAOMI. AS MUCH AS WE DO ENJOY YOUR COMPANY, THERE'S HARDLY ROOM FOR EVEN ONE EXTRA IN YOUNG MASTER CRAGNE'S CORPOREAL FORM. WE HADN'T PLANNED FOR YOUR EXPEDITIOUS ARRIVAL SO EARLY! LET ME FIRST ASSURE YOU THAT THIS ISN'T HOW YOU DIE. THERE'S SO MUCH MORE YOU NEED TO ACCOMPLISH FIRST. GOODNESS! YOU'RE TURNING QUITE AN AMUSING SHADE OF PURPLE NOW, SO HOW ABOUT WE SUSPEND THIS EXCHANGE TEMPORARILY? WE'LL SEE YOU BACK IN, OH, SAY, FIFTEEN OR SIXTEEN YEARS? WE LOOK FORWARD TO MEETING YOU AGAIN--BOTH YOU AND YOUR DELICIOUS HUSBAND.\n\nYou seem to want to talk to someone, but I can't see whom.\n\nYou seem to want to talk to someone, but I can't see whom.The noose melts out of existence--GASP--and you tumble to the floor,\ncold green beautiful oxygen tearing painfully into your lungs. Gasping and wheezing. Then just laying with your cheek on the cool tile breathing and enjoying breathing for a good long time.\n\nYou're still alive, Naomi."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft]\n\n> You look around\nNarthex (Hanon Ondricek)\nThe narthex extends the width of the church. Despite the\ngloominess, it's not that unwelcoming except for the eye-watering pattern of industrial linoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles, stopping only at the margin marked by a wall border at waist level.\n\nleads out of the building.\n\nTwo side by side openings lead in to restrooms.\n\nShattered glass and broken pieces of picture frames cover the floor of the narthex around the edges near the walls.\n\n> You examine the Glass\n(the glass jar containing an insect (smelling faintly of mildew))\nA clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.\n\nIt currently has five legs and two eyes.\n\nA faint smell of mildew emanates from it.\n\n> You examine the frames\nEvery single photo lies destroyed in pieces near the baseboards.\n\n> You go to the west\nChapel (s. hammack)\nYou are in the main worship area of the church. Whom or what this chapel is used to worship is not immediately apparent. The accommodations are fairly modest: several rows of pews face toward the west end of the room, where a pulpit stands in front of an altar. In the corner of the room is a cheap-looking electric organ. The one lavish decoration is an elaborate stained glass window taking up most of the wall behind the altar.\n\nThe vestibule is to the east. On the southern wall is a wooden door, which is closed.\n\nOn the altar are a collection plate (in which are some assorted teeth), a lockbox (closed), a box of Nilla Wafers (in which are some Nilla wafers) and a wine bottle (empty).\n\n> You look at the coffee\nThe swirls in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You go to the south\n(first opening the nondescript door)\n\nChurch Office (Llew Mason)\nThe church office is a tiny windowless room. Stark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. Stairs lead down, and the church itself is accessible through the door at the north end of the room.\n\n> Go upward\nChurch Office (Llew Mason)\nThe church office is a tiny windowless room. Stark whitewashed brick walls close in on all sides beneath a low vaulted ceiling. There is something fundamentally wrong with the architecture in here. Lines that should be parallel or perpendicular seem ever so slightly off, making you feel distinctly uneasy.\n\nAn enormous desk overflowing with stacked papers takes up most of one side of the room. Stairs lead down, and the church itself is accessible through the door at the north end of the room.\n\n> You go north\nChapel (s. hammack)\nYou are in the main worship area of the church. Whom or what this chapel is used to worship is not immediately apparent. The accommodations are fairly modest: several rows of pews face toward the west end of the room, where a pulpit stands in front of an altar. In the corner of the room is a cheap-looking electric organ. The one lavish decoration is an elaborate stained glass window taking up most of the wall behind the altar.\n\nThe vestibule is to the east. On the southern wall is a wooden door, which is open.\n\nOn the altar are a collection plate (in which are some assorted teeth), a lockbox (closed), a box of Nilla Wafers (in which are some Nilla wafers) and a wine bottle (empty).\n\n> You put wooden Key in the kp\nYou unzip the key pocket, deposit the long wooden key (smelling faintly of mildew), then zip the key pocket back up again.\n\n> You look at the pews\nSimply constructed wooden pews built to support the posteriors of the church's parishioners. The back of each pew has a space to hold books, hymns, etc., in which you can see a small pencil.\n\n> You look at the pencil\nA stubby number 2 pencil, presumably used for doodling in holy texts.\n\n> You get it\nTaken.\n\n> You look at the pulpit\nA pulpit constructed of dark mahogany.\n\nOn the pulpit is Limerickus Dirtius.\n\n> You read it\n(first taking Limerickus Dirtius)\nAs you pick up the book, you feel power coursing through your veins.\n\n\"There once was a rabbi named Keith\"...\n\nThe rest is too filthy to reprint here.\n\n> You examine the altar\nThe altar initially appears to be a simple long table with a tablecloth over it, but on closer inspection, you can see that underneath the tablecloth it's actually closed in on all sides.\n\nOn the altar are a collection plate (in which are some assorted teeth), a lockbox (closed), a box of Nilla Wafers (in which are some Nilla wafers) and a wine bottle (empty).\n\n> You get the tablecloth\nYou find yourself unable to remove the tablecloth from the altar. Rather than the cloth simply being draped over the altar as it initially appeared, it seems that the collection plate and the lockbox are in fact connected to the altar through holes in the tablecloth.\n\n> You look at the plate\n(the brass nameplate (smelling faintly of mildew))\n\"Charles Cragne, Owner\"\n\nA faint smell of mildew emanates from it.\n\n> You examine the collection plate\nA shiny silver plate for taking the parishioners' money. Taped to it is a note reading \"CASH ONLY! (please no more teeth)\"\n\nIn the collection plate are some assorted teeth.\n\n> You examine the teeth\nIn the collection plate are a small assortment of teeth, some of which appear to be human in origin. Some look as though they came from small mammals, reptiles, and even sharks; the rest, you can't even hazard a guess.\n\n> You examine the lockbox\nA wooden box about a foot long. The lid has a drawing engraved on it depicting several cloaked figures kneeling in front of a dollar sign. Underneath the engraving is a caption. A few of the letters have worn away, but it appers to read: \"The Al-ighty -ollar.\"\n\n> You examine Wafers\nSmall, crispy, light brown, round biscuits.\n\n> You put the wad on collection plate\nYou put the wad of cash (smelling faintly of mildew) into the collection plate.\n\n> You get the teeth\nYou hear a click from the direction of the lockbox.\n\n> You open lockbox\nYou open the lockbox, revealing a crooked dagger.\n\n> You look at the dagger\nThe dagger has a glossy black blade made of a material you can't identify, with a serrated edge. The blade curves upward, but in a strangely non-uniform way that suggests the equation used to described the curve would be quite complicated. You can see your own face reflected in it, distorted by the blade's odd shape, but you can't make out your eyes; you see only dark emptiness where they should be.\n\nAlso, you have no nose -- not even holes.\n\n> You get the dagger\nAs you pick up the dagger, you suddenly find yourself on a hilltop surrounded by open countryside for miles around. There is no sign of civilization. It is late afternoon and the sky looks as though a hurricane is brewing, though there is no rain.\n\nStanding before you on the hilltop is a single dead tree, with something unidentifiable wrapped in cloth hanging from its branches by a noose. It looks like a vaguely humanoid shape, but something about the way it squirms as it dangles makes you less than certain that a human could move that way.\n\nBefore you know what's happening, you find yourself instinctively taking the dagger and plunging it into the squirming shape. You hear an unearthly shriek as you stab it over and over again, but the shriek isn't coming from the shape; it seems to come from all around you. There is no blood, but through the holes you put in the cloth, you see a strange yellow light.\n\nAs quickly as it started, your vision ends, and you're back in the chapel, holding the dagger.\n\n> You examine the organ\nA modest substitute for a proper pipe organ. The design of this instrument is straight out of the '70s, with beige casing and lots of chunky rainbow-colored buttons to adjust the sound.\n\n> You play the organ\nYou play a few bars of \"In-a-Gadda-da-Vida.\"\n\n> You play the organ\nYou play a few bars of \"Fur Elise.\"\n\n> You play the organ\nYou play a few bars of \"Twinkle Twinkle Little Star.\"\n\n> You play the organ\nYou play a few bars of \"Locomotive Breath.\"\n\n> You examine the window\nThe window is made up of hundreds of small shards of glass, stained with an impressive variety of colors. Although the effect is striking, though it's difficult to tell exactly what is the image that's meant to be depicted here -- whenever you look away and back, it seems as though the colors have changed to produce different shapes. At the moment, it most resembles a fractal of the Mandelbrot set.\n\n> You get all\nwad of cash (smelling faintly of mildew): Taken.\n\nbox of Nilla Wafers: Taken.\n\nNilla wafers: Taken.\n\nwine bottle: Taken.\n\n> You go upwards\nYou mount the ladder, making sure your feet catch each rung, and climb to the ceiling don't look down! through the square opening...\n\nSteeple (Michael D. Hilborn)\n(First-time players should type ABOUT!)\n\nDisjointed and decaying pillars of wood form the arches that make up the walls of the church's steeple. The arches, open to the sky, tower over you, ending in a webwork of thick rafters which support the belfry above and ultimately the church's spire. A series of ropes slither down from those rafters, centered over a square hole in the floor that leads down into the bowels of the church.\n\nTeetering on the edge of the hole is a nasty-looking key.\n\nA misshapen mass slumps in one corner of the steeple.\n\n> About yourself\nA lady of stature, at least in this neck of the woods. Thanks to your marriage to Peter, you're part of the eminent Cragne family now.\n\n> You look at the coffee\nThe swirls in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You get Key\n(the nasty-looking key)\nYou gingerly pluck the key from the edge of the hole.\n\n> You look at the mass\nAs you approach the misshapen mass, your gut wrenches as you realize it is, of course, a corpse. . . a hideously deformed corpse.\n\nSo misshapen is this poor figure that it's difficult to tell where its head ends and its torso begins. Its back is horrendously humped, its face an amorphous mass of tumors with sunken holes for eyes. What appears to be its mouth is open in a silent scream.\n\nHard to say how long the corpse has been here in the steeple, but it seems ancient, skin and clothes desiccated and thin like parchment, somehow mummified. It's slouched--or sitting?--on the floor in one corner of the steeple.\n\nOn the corpse's lap rests an open tome. Another book lies near the corpse: A worn, leather-bound journal.\n\nHanging around the corpse's oversized neck is a leather cord and pendant.\n\n> You look at the ropes\nFour ropes slither down from the shadows of the rafters. One rope is woven of copper strands, another silver, and yet another gold. The fourth: a weave of solid iron.\n\n> You look at Journal\nWhich do you mean, the worn, leather-bound journal, the small blue journal (which you know is a journal because it says \"Mein\nJournal\" on the front) (smelling faintly of mildew) or the\nJournal of Edwin Cragne (smelling faintly of mildew)?\n\n> You examine worn Journal\nAbout the size of your hand. The binding is cracked and torn, the pages yellow with age.\n\n> You get it\nAs you lift the journal, a moan emits from the vicinity of the corpse--or the corpse itself?--and a wind rises, upon which you hear a sinister whisper. The journal burns red hot and you quickly drop it back from where it came. The wind settles and although the corpse does not move, it seems to settle as well.\n\n> You read it\nBeing as cautious as you can with the journal, you flip to the first page that has legible handwriting in it:\n\n\"To be hidden here, by my Ma and Da, in this steeple, in this special place, under the two moons. To be safe here, they say, in this strange land, safe from the others, who do not understand. To think I am special, my Ma and Da do, but the others, they say, do not. To name me grotesque, to call me hideous, to say I am a monster! To chase me with pitchforks and torches!\"\n\nThere are more pages to read.\n\n> Keep going\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To visit me, my Ma and Da do, to bring me food and water, to talk with me, to wash me, to bring new robes to wear, to bring books. To say I should never leave the steeple. To not go down the stairs. To danger they lead. To the others who wait in the village below.\n\n\"And to not ring the bells. To summon things, the bells do, evil things.\"\n\nThere are more pages to read.\n\n> Continue\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To watch the moons. To count and study the stars. To write in this journal. To read books. To wonder about the shadows in the clouds. To not ring the bells. To be all that I do, hour after hour, day after day, if time mean anything here. To always be the moons and the stars and the clouds, and sometimes the wind. To never see a sun. To not remember the sun very well.\n\n\"To be lonely. . .\"\n\nThere are more pages to read.\n\n> Keep going\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To want to go down the stairs. To want to leave this place, to explore what used to be home, to see my village, to be with people. But Ma and Da scold me. To warn me of the others.\n\nTo entertain me, they tell stories of our family, the Cragne's, of their Aunt and her teachings. To speak of the two moons, their Aunt did, and this strange place, a realm of the Old Ones. To be the one who discovered a way to this place. To share her secret only with Ma and Da, her favorite niece and nephew.\"\n\nThere are more pages to read.\n\n> Continue\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To be visited by a strange, elderly woman, but not know where she came from. To name herself Esther and to be kind to me. To say I can one day go down the stairs if I listen to her, but to not to speak of this to anyone, not even Ma and Da. To agree, I say, but what must I do?\n\n\"To ring the bells for me, she says, for I do not have the strength. But bells bring evil, I say. To be safe from the evil with this, she says, and gives me a pendant. Now, ring the bells.\n\n\"To ring the bells, I do, in the way she teaches me. To like to hear them sing. To bring the winds, they do, but not to bring evil. To be soothing.\"\n\nThere are more pages to read.\n\n> Keep going\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To see Ma and Da. To look older, they do, much older than when I first come here. To ask if I look older. No, they say, to look the same age as always.\n\n\"To be visited by Esther when Ma and Da not around. To ask when I can go down the stairs. To be soon, she says, soon. Ring the bells, she says.\"\n\nThere are more pages to read.\n\n> Continue\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"To hear things on the wind now when I ring the bells. Names. Horrid names. Ialdabaoloth. Vaadignephod. To not speak them out loud. To be fearful. But to continue to ring the bells. To do as Esther says: To want to leave this place; to go back home.\"\n\nThere are more pages to read.\n\n> You continue\nBeing as cautious as you can with the journal, you flip to the next page that has legible handwriting in it:\n\n\"Must ring the bells. . . ring the bells. . . Ialdabaoloth. Vaadignephod. To want to go home to the village. To leave!\"\n\nThere are more pages to read.\n\n> You examine the pendant\n(the broken silver amulet (smelling faintly of mildew))\nIt's a tarnished silver pendant, about the size of your thumb, on a leather cord. The pendant is shaped like an open hand. It's been damaged - a deep groove, like a chisel mark, cuts across the palm, nearly breaking the pendant in half.\n\nA faint smell of mildew emanates from it.\n\n> You put the pendant in the sp\n(the broken silver amulet (smelling faintly of mildew) in the side pocket)\nYou unzip the side pocket, deposit the broken silver amulet (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You examine the pendant\nA leather cord hangs around the corpse's oversized neck, its ends held together by a triangular pendant. Etched in the pendant is an eye.\n\n> You examine Eye\nWhich do you mean, the leather cord and pendant, the runic script or the library insignia?\n\n> Script\n> SCRIPTAttempt to begin transcript failed.\n\n> You get the pendant\nYou carefully remove the leather cord and pendant from the corpse.\n\n> You wear it\nYou put on the leather cord and pendant.\n\n> You look at the arches\nSix arches, separated by six pillars of decaying wood, loom over you, supporting the rafters above. Although forming a perfect hexagonal enclosure, the arches and pillars seem to lean in disjointed directions. Through them, you can see the sky and surrounding landscape. . . neither of which are familiar to you.\n\n> You look at Sky\nWherever this steeple resides, it's not beneath the celestial dome with which you are familiar. . .\n\nThere are stars up there, but like the two moons, they are completely unfamiliar to you. And the light of those heavenly bodies--a pale green--is dull, lifeless, as if you view everything through a murky veil.\n\n> You examine the landscape\nThe steeple must rise higher than you think, for it penetrates a cloud bank that stretches to the horizon, and most likely beyond. As calm as the sea on a breezeless day, the clouds ripple with a hazy, pale green glow. Occasionally, part of the surface erupts in a silent flash of light.\n\nNot far from the church, the hump of. . . something. . . briefly breaks the surface, then submerges.\n\n> You look at Belfry\nHard to discern how many bells hang up there in the shadows of the belfry, but they are large, very large, and you're not certain, but something. . . else. . . is up there. . . a lot of something else. . . It takes your eyes a moment to adjust: shadowy forms cling to the ceiling. As you stare, one of the forms moves, briefly spreading a pair of wings.\n\n> You examine the forms\nThere must be dozens--hundreds?--up there, clinging to the ceiling of the belfry. Probably bats though their forms are mostly indistinguishable from the shadows. Whatever they are, they're quiet, save for an occasional chirp or flutter of wings.\n\n> You examine the spire\nYou can't see the spire from here; it rests atop the steeple.\n\n> You examine the rafters\nA web of shadowy beams criss-crossing at random angles. At one time, they must have supported the floor of the belfry, but those floorboards seem to have broken away: high above the rafters hang the shapes of several bells.\n\n> You examine Hole\nCut into the middle of the floor, the hole opens upon a set of rickety stairs which lead down into the bowels of the church.\n\n> You look at Sky\nThere are stars up there, but like the two moons, they are completely unfamiliar to you. And the light of those heavenly bodies--a pale green--is dull, lifeless, as if you view everything through a murky veil.\n\n> You look at moons\n(the two moons)\nTwo crescents, one waning, one waxing--if earthly phases of the moon have any meaning here--and grotesquely large.\n\n> You examine the pattern\nFiltered by both the perforations in the ceiling and the disjointed rafters, the light from the stars and moons streams down into the steeple in an unusual pattern:\n\n*  *  *\n*\n*\n*        *\n\n> You pull the silver\nWhich do you mean, the rope of silver strands, the silver and ivory key, the silver urn (smelling faintly of mildew) or the antique locket (smelling faintly of mildew)?\n\n> You look at the pattern\nFiltered by both the perforations in the ceiling and the disjointed rafters, the light from the stars and moons streams down into the steeple in an unusual pattern:\n\n*        *\n*\n*  *\n*     *"
    },
    {
        "text": "[Themes: Comedy, Lovecraftian, female protagonist]\n\n> Look around\nSteeple (Michael D. Hilborn)\nDisjointed and decaying pillars of wood form the arches that make up the walls of the church's steeple. The arches, open to the sky, tower over you, ending in a webwork of thick rafters which support the belfry above and ultimately the church's spire. A series of ropes slither down from those rafters, centered over a square hole in the floor that leads down into the bowels of the church.\n\nA misshapen mass slumps in one corner of the steeple.\n\n> You examine the coffee\nThe clouds in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go upwards\nThe only viable exit from the steeple is to brave the rickety stairs that lead into the bowels of the church.\n\n> You look at Sky\nThere are stars up there, but like the two moons, they are completely unfamiliar to you. And the light of those heavenly bodies--a pale green--is dull, lifeless, as if you view everything through a murky veil.\n\n> You look at the landscape\nThe steeple must rise higher than you think, for it penetrates a cloud bank that stretches to the horizon, and most likely beyond. As calm as the sea on a breezeless day, the clouds ripple with a hazy, pale green glow. Occasionally, part of the surface erupts in a silent flash of light.\n\n> You look at the pattern\nFiltered by both the perforations in the ceiling and the disjointed rafters, the light from the stars and moons streams down into the steeple in an unusual pattern:\n\n*        *\n*\n*  *\n*     *"
    },
    {
        "text": "[Themes: Comedy, Lovecraftian, female protagonist]\n\n> Look around\nSteeple (Michael D. Hilborn)\nDisjointed and decaying pillars of wood form the arches that make up the walls of the church's steeple. The arches, open to the sky, tower over you, ending in a webwork of thick rafters which support the belfry above and ultimately the church's spire. A series of ropes slither down from those rafters, centered over a square hole in the floor that leads down into the bowels of the church.\n\nA misshapen mass slumps in one corner of the steeple.\n\n> You look at mass\nSo misshapen is this poor figure that it's difficult to tell where its head ends and its torso begins. Its back is horrendously humped, its face an amorphous mass of tumors with sunken holes for eyes. What appears to be its mouth is open in a silent scream.\n\nHard to say how long the corpse has been here in the steeple, but it seems ancient, skin and clothes desiccated and thin like parchment, somehow mummified. It's slouched--or sitting?--on the floor in one corner of the steeple.\n\nOn the corpse's lap rests an open tome. Another book lies near the corpse: A worn, leather-bound journal.\n\n> You read tome\n(a slim hardback manual (smelling faintly of mildew))\nThe book falls naturally open to a picture of a noose.\n\nThe common noose looks great as a scary yard decoration during Halloween or to improve your fishing or boating experience. The noose is a secure and easy-tightening loop that holds it shape for tossing over a boat mooring. But kids, listen to Uncle Melvyn: DO NOT WEAR A NOOSE around your neck or tie one around anyone else's neck under any circumstances, even as a joke...\n\n> You put the hardback manual in the sp\nYou unzip the side pocket, deposit a slim hardback manual (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You look at Tome\nCradled in the corpse's lap, the humungous tome lies open as if the corpse still studies the pages. It's clearly ancient, the pages withered and yellow, like the skin of the corpse itself, its leather bonding cracked.\n\n> You read tome\nYou dare not flip the pages of the ancient book; to touch the pages might be to destroy them. . . or disturb the corpse who holds the tome. But the pages that are open reveal dozens of star charts and associated astrological signs. Oddly, the corpse who holds the tome seems to be pointing to one drawing in particular:\n\n*        *\n*\n*  *\n*     *\n\nUnderneath, in elegant handwriting, is written:\n\n(The astrological sign is the Hook in stasis above the Key.)\n\n> You look at the pattern\nFiltered by both the perforations in the ceiling and the disjointed rafters, the light from the stars and moons streams down into the steeple in an unusual pattern:\n\n*        *\n*\n*  *\n*     *"
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraft]\n\n> You descend\nNarthex (Hanon Ondricek)\nThe narthex extends the width of the church. Despite the\ngloominess, it's not that unwelcoming except for the eye-watering pattern of industrial linoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles, stopping only at the margin marked by a wall border at waist level.\n\nleads out of the building.\n\nTwo side by side openings lead in to restrooms.\n\nShattered glass and broken pieces of picture frames cover the floor of the narthex around the edges near the walls.\n\n> Go outside\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA noncorporeal trolley stop sign reads Gold Line -- Church.\n\n> You put the Wafers in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the Nilla wafers (smelling faintly of mildew).\n\n> You put the vial in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the little stoppered vial of blue liquid (smelling faintly of mildew).\n\n> Examine slot\n(the battered yellow JogMaster)\nA portable audio player with an attached lanyard so you can Wear It While You Jog! It's little more than a yellow brick of plastic with a power switch and a slot in which to insert cassette tapes. Damage to the unit includes a jammed battery cover, a missing lever to eject the current cassette, and a crimped headphone jack. A small speaker permits playback even without headphones.Someone carved the name \"Carolyn\" along one side.\n\nThe battered yellow JogMaster is currently switched off.\n\n> You put the wad in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the wad of cash (smelling faintly of mildew).\n\n> You check what you're carrying\nYou are carrying:\na leather cord and pendant (being worn)\na nasty-looking key (smelling faintly of mildew)\na wine bottle (smelling faintly of mildew)\nsome Nilla wafers (smelling faintly of mildew)\na box of Nilla Wafers\na wad of cash (smelling faintly of mildew)\na crooked dagger (smelling faintly of mildew)\nsome assorted teeth (smelling faintly of mildew)\nLimerickus Dirtius (smelling faintly of mildew)\na stubby pencil\na vintage Black Sabbath tee shirt (being worn)\na black horn (smelling faintly of mildew)\na torn notebook (smelling faintly of mildew)\na creased square of paper (smelling faintly of mildew)\na brass nameplate (smelling faintly of mildew)\na jar of old keys (smelling faintly of mildew) (open)\nan ornate bronze key\na silver and ivory key\na small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) (smelling faintly of mildew)\na bottle of Pepto-Bismol (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of screws (open but empty)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na black fountain pen (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\nAn earworm is lodged deeply in your head.\n\n> You put the teeth in the sphere\nWhich do you mean, the nasty-looking key (smelling faintly of mildew) or the assorted teeth (smelling faintly of mildew)?\n\n> You put the assorted teeth in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the assorted teeth (smelling faintly of mildew).\n\n> You put the silver ivory key in the sphere\n(first taking the silver and ivory key)\nThat can't contain things.\n\n> You put the silver ivory key in the key jar\nYou put the silver and ivory key into the jar of old keys (smelling faintly of mildew).\n\n> You stand\nYou get off the stone altar.\n\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You go north\nTo the north is the vast windowless bulk of the train station. Perhaps that is unsurprising, given the rest of the town. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine.\n\n> Go north\nThe surroundings are as dim and dingy as ever. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the green door are to the east. The restroom door is to the west. You are unsure what you should do.\n\n> You examine the coffee\nThe clouds in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> Go south\nTo the north is the massive windowless bulk of the train station. Perhaps that is unsurprising, given the rest of the town. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine.\n\n> You go to the south\nYou pass over the bridge. The ravine has become a white river, teeming with creatures: you see a fin, a gill, a plaintive upturned face, before each is swept away.\n\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You lie on the altar\nYou get onto the stone altar.\n\nYou lie down, settling your body into the impression and your face into the cavity at the end. The milkweed leaf mask protects your face from the strands of orange slime that you belatedly notice fill the cavity. Is it even you doing this? It feels like the most natural action in the world.\n\nAs you press your face deeper into the cavity, your vision warps. The world seems to fold and buckle: what was convex becomes concave and what was concave becomes convex.\n\nThe altar wobbles and inverts, giving you the bizarre sensation of lying atop a smooth green hole that floats in midair. Deeper within the hole is a shelf of green stone with something resting (how?) on it.\n\n> You put the earworm in the sphere\nThe earworm is seemingly resistant to all forms of interaction, and simply acknowledging it gives it strength:\n\nNyar sings the songs that phleh phleh i\u00e4 the izh nfah / hla cto\nthe songs fgl gneh him of gla'cb leng times! Apparently\nChumbawamba is still stuck in your head.\n\n> You look at nasty Key\nA large key, nearly the length of your hand, its teeth. . . well, a row of rotted, human teeth. Etched beneath the teeth, upon the shaft of the key, is a runic script.\n\nA faint smell of mildew emanates from it.\n\n> You read nasty Key\nHarsh, jagged lines form a disturbing script which seems to shift and waver, straining your sight. At the end of the script is a hieroglyph: Two crescents, back to back, centered above an eye, and below the eye, an icon resembling a keyhole.\n\nHarsh, jagged lines form a disturbing script which seems to shift and waver, straining your sight. At the end of the script is a hieroglyph: Two crescents, back to back, centered above an eye, and below the eye, an icon resembling a keyhole.\n\n> Go south\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA phantom trolley stop sign reads Gold Line -- Church.\n\n> You wait for the black Line\nYou lean against the stained glass windows, hold out your pass, and wait for the black line. Within moments, an insubstantial trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you find yourself transported to\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA phantom trolley stop sign reads Black Line -- Underground.\n\n> You go southwest\nThis tunnel bends to the northeast. The walls shimmer slightly, gently undulating in the spectral darkness. To the west, set into the wall, almost invisible in the mortal dimness, is an antediluvian door. Daylight and a slight breeze wafts down some non-euclidean steps that lead up.\n\n> You unlock Door with nasty Key\nYou unlock the antediluvian door.\n\n> You put nasty Key in the kp\nYou unzip the key pocket, deposit the nasty-looking key (smelling faintly of mildew), then zip the key pocket back up again.\n\n> You open Door\nYou open the antediluvian door.\nI beg your pardon?\n\n> Go west\nA smell like a used kitchen sponge assaults your nose as you pass through the door. You can feel your breath rattle in your lungs. There's something wrong with the air.\n\nYou find yourself in a dark, narrow space between two stone walls. Moisture condenses from the ceiling and drips down the stone bricks to the floor. Doors are east and west.\n\nA foul sarcophagus occupies almost all of the space, leaving you cramped against the walls.\n\n> About you\nThe subject under observation is taciturn, reserved. The face is lost in the shadows. A glint in the eye--madness? Genius? Or a dim reflection from a glassy stare?\n\n> You examine the coffee\nThe swirls in your cup form a turducken. Images of strange hybrids mean that some challenges in your current environment can be defeated with what you already possess, while others will require outside assistance.\n\nA faint smell of mildew emanates from it.\n\n> You examine the sarcophagus\nA stone coffin of ancient and exquisite craftsmanship that has somehow gone terribly wrong. The coffin is seamed with cracks and rifts, out of which ooze foul-smelling black slime. The floor around the coffin is crusted with years worth of dried slime.\n\nThe sarcophagus contains a single dark keyhole in its center.\n\n> You examine Door\nWhich do you mean, the east door or the west door?\n\n> You open the kp\nYou open the key pocket, revealing a nasty-looking key (smelling faintly of mildew), a long wooden key (smelling faintly of mildew), a white key, a thin steel key, Ed's coveralls, a sinister iron key, a sturdy key, a key from an urn (smelling faintly of mildew), a Red Triangle Key (smelling faintly of mildew), a small rusty iron key (smelling faintly of mildew), a bronze key green from age (smelling faintly of mildew), a large brass key (smelling faintly of mildew), a small desk key (smelling faintly of mildew), an Allen key (smelling faintly of mildew) and an aluminum key (smelling faintly of mildew).\n\n> You unlock the west door with nasty Key\nYou unlock the west door.\n\n> You examine the coffee\nThe clouds in your cup form a Viking longboat. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You go to the west\n(first opening the west door)\n\nYour light reflects off the cold, shin-deep water. Tiny shadows jump and skitter away from you, making it hard to tell where the walls end and the wildlife begins. The tunnel continues off to the northwest. To the east lies a door. The way back to the surface lies above. To the north, the stones have recessed to form an alcove a few feet deep.\n\nA weird woman waves and watches you wantonly from the wall.\n\n\"Hey! Come closer! Hellooooo?\"\n\n> You put nasty Key in the kp\nYou unzip the key pocket, deposit the nasty-looking key (smelling faintly of mildew), then zip the key pocket back up again.\n\n\"Psst! Hey you! This way! You're not deaf, are you?\"\n\n> You wait for the blue Line\nYou lean against the September sun, hold out your pass, and wait for the blue line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA spectral trolley stop sign reads Blue Line -- Library Square.\n\n> Go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nOn the cart are The Dollmaker's Journal (smelling faintly of\nmildew), The Conservative's Cookbook, The Lives of the\nRoman Emperors (smelling faintly of mildew), Backwater\nPersonalities (1915-1925 edition) (smelling faintly of mildew), an old paperback book (smelling faintly of mildew), a book New England\nand the Bavarian Illuminati, De Zeven Testamenten van de\nKrijsende Zeeworm, a 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, a\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), Legends of Lake Champlain and\nthe Hudson River Valley (smelling faintly of mildew) and a shabby journal.\n\nA librarian stands behind a counter.\n\n> You look at the book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nLife Beneath Nightmares\n\nThe librarian fusses about behind the counter.\n\n> You examine the case\nIn the display case are a plaque and De Vermibus Laceris.\n\nThe librarian catches your eye and points at the bookshelves.\n\n> You read it\nThe grimoire in open on a page describing peeling open the way to someone lost, whether they be in this world or not. You gather from the prelimaries that the ritual involves the horn of a black goat and a cyst from a god, as well as the lost one's true star sign and their most treasured memento. How the ritual is actually performed is further in the book on the pages you currently cannot see.\n\nThe librarian stamps something.\n\n> Go west\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA ghostly trolley stop sign reads Blue Line -- Library Square.\n\n> You wait for Lavender Line\nYou lean against the community events schedule, hold out your pass, and wait for the lavender line. Within moments, a noncorporeal trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you find yourself transported to\n\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nAn insubstantial trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> Go north\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\n> You go to the east\nThe floorboards groan against your footsteps as you enter the dusty sitting room. Light struggles to penetrate the grimy bay window, hinting at the space around you. Various pieces of furniture are covered by moldy, moth-bitten sheets. The remains of a portrait hang above the fireplace. Leaning against a wall is a large mirror.\n\n> You look at the coffee\nThe swirls in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it."
    },
    {
        "text": "[Themes: horror]\n\n> Go downwards\nCarefully, you descend the creaking steps.\n\nBasement (Ivan Roth)\nIt's dark and chilly down here. A damp, mildewy carpet of dimly visible design covers half the floor. It must have been luxuriously soft before it started rotting.\n\nA rickety staircase leads back up towards the heavy wooden door to the kitchen. A flimsy plywood door leads north, but you know what lies in that direction. The dimly-lit basement extends in every other direction, south, east and west.\n\nA metal hatch opens into darkness below.\n\n> You examine the dagger\nThe dagger has a glossy black blade made of a material you can't identify, with a serrated edge. The blade curves upward, but in a strangely non-uniform way that suggests the equation used to described the curve would be quite complicated. You can see your own face reflected in it, distorted by the blade's odd shape, but you can't make out your eyes; you see only dark emptiness where they should be.\n\nAlso, you have no nose -- not even holes.\n\nA faint smell of mildew emanates from it.\n\n> You go to the west\nYou feel cool air swirling around you as you stand in the manor's wine cellar. Stone floors, stone walls, and dim lighting keep the household's dwindling wine collection fresh and oaky.\n\nA large wooden wine rack covers one entire wall of the room, but with only a few bottles left on it. You can see a door to the west Another exit leads east.\n\nYou've smashed or removed every bottle of wine, and the rack stands empty before you.\n\nYou can see a wine cask here.\n\n> You go west\nYour ears pop and you stumble as you step across the threshold, reeling in a momentary gravitational slippage.\n\nLaboratory (Michael Gentry)\nHard, white light reflected from steel walls pricks painfully at your eyes. Through the glare you can make out the implements of some sort of laboratory, squirming sculptures of metal and glass dripping curdled fluids and spurting foul-smelling puffs of steam. A way out lies east, but otherwise there seem to be no other exits from this place.\n\nThe author is here, hunched over and fidgeting intently with a roiling knot of impossible space that floats in the middle of the room.\n\nDistracted, the author stares into the depths of the impossible space, stroking his forehead. \"Just, uh, need to clue this puzzle better . . .\" he says. \"But that would, uh, make this scene more difficult . . .\"\n\n> You examine the coffee\nThe swirls in your cup form a pair of dandelions. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\nThe impossible space's surface momentarily reflects, by means of some strange convolution that you cannot quite visually process, itself.\n\n> You kill the author\n(wielding the crooked dagger (smelling faintly of mildew))\nWithout hesitation, you bury the crooked dagger (smelling faintly of mildew) in the author's chest, all the way to the hilt. He coughs once, spraying dark blood. He looks more disappointed than surprised, but still manages to croak out, \"Why, uh, why did you . . .\"\n\nYou see no reason to tell him, however.\n\nThe blood-slick hilt of the dagger slips from your hand as the author staggers backwards and falls into the impossible space. In an instant his body is pulled in through itself, spaghettifying into an infinitely long tubule that somehow flares out and back around to enclose the entire universe before fading away. The impossible space itself churns and spins with increasing fury, until with a sound like an unbelievably massive tarp being pulled through a mail slot by a hypersonic jet, it twists away into nothing.\n\n*** You have achieved the death of the author ***\n\n. . . though perhaps the game is better for it.\n\nA silver mirror lies on the floor.\n\n> You look at the mirror\nA heavy silver mirror, tarnished and clearly old. When you glance into it the reflections of the house seem to resolve, the inhuman angles and dizzying design resolving into a more sensible pattern.\n\n> You go east\nThis large closet, illuminated only by the light coming through the door, is so filled with a jumble of clothes that your head spins as you contemplate the mess. In fact, it's so untidy that it's difficult to look at the disorder directly. Squinting through the chaos, you see shelves leading up to the ceiling on one side and a cabinet on the other.\n\n> You look at the mirror\nA heavy silver mirror, tarnished and clearly old. When you glance into it the reflections of the house seem to resolve, the inhuman angles and dizzying design resolving into a more sensible pattern.\n\n> You look through mirror\nYou somehow look calmer in the mirror, and the horrible world behind you seems a little less chaotic\u2014a little easier to deal with.\n\n> You examine the cabinet\nYour eye can't quite resolve the angles of the cabinet, but the three (three?) drawers it contains are plain to see. There is an empty frame on the top that might have held a mirror once, but whatever was inside it has been removed.\n\n> You put the mirror in the frame\nThe mirror fits perfectly in the old frame.\n\n> You look at the mirror\nThe reflected pile of clothes miraculously resolves itself into a kind of sense, allowing you to differentiate clothes from within the mass. Space folds in upon itself, and then all the shirts, pants, and underwear fold themselves as well, filling the cabinet drawers\u2014and leaving the shelves empty.\n\n> You look at the shelves\nThe shelves are, thanks to your heroic efforts, bare. On the ceiling above the shelves you see a trapdoor.\n\n> You examine the trapdoor\nThe trapdoor leads up into darkness.\n\n> Go upwards\nYou emerge from the rickety staircase into Cragne Manor's attic, a cavernous black womb.\n\nFar below, the ground shakes, and the Manor sways around you.\n\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nYou can see a walkie-talkie and a desiccated sausage here.\n\nA mistlike trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> You examine coffee\nThe clouds in your cup form a diamond engagement ring. Objects of desire either mean that you are surrounded by great treasures and opportunities or that you need to be more careful with your physical belongings. Possibly both.\n\nA faint smell of mildew emanates from it.\n\n> You look at the walkie\nThis bulky device may or may not be a proper walkie-talkie. It might be old military equipment, or a kid's toy made up to look like military equipment. It has a large speaker, a long antenna, and a single button.\n\n> You look at the sausage\nA desiccated sausage as big as your finger, far past its sell-by date. Years past.\n\n> You look at the coffee\nThe clouds in your cup form a blank, mirrored surface. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go west\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, and east. Another corridor to the southeast dead-ends suddenly, blocked by a pair of large potted cacti.\n\nYou can see a gold cactus and a fuzzy cactus here.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> About yourself\nYou've been through a lot, but there's more to go.\n\nThe sunlight shining down is still in your eyes, no matter where you turn your head. A bead of sweat slides down your face.\n\n> You examine the coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\nThe sun will not let up. Was it even sunny outside before you entered the mansion? How long have you been in here? You're beginning to distrust your recollection of events so far.\n\n> You examine the gold cactus\nOn the left side of the hallway is a gold cactus. This cactus is lacking a center trunk, and instead is a mass of many mid-length stems branching out of the soil. Every inch of this cactus is covered in sharp-looking spikes. The light filtering in from above gives the cactus a golden hue.\n\nThe sun continues to assault your senses. Your eyes are beginning to lose focus and you are sweating profusely. The air is so dry in here, it's unbearable.\n\n> You examine fuzzy\nOn the right side of the hallway is a fuzzy cactus. A single trunk comes up from the soil and branches out in to a multitude of branches in all directions. The branches are covered in tiny spikes that give the cactus an overall fuzzy appearance.\n\nThe sun is unyielding. You have lost the context of even the idea of \"cold\". Heat is your new reality.\n\n> You get the gold cactus\nIt's far too large and heavy to pick up, but you could probably move it around with some force.\n\nFour and a half billion years ago, a swirling mass of hydrogen and helium became a shinging beacon of light in an endless universe of darkness. It brought together a collection of space debris that over the aeons became a set of planets all its own. Its light allowed life to flourish on one of these planets: your planet. The sun has spent billions of years of effort all to arrive at this moment: the moment where it finally gets to meet you!\n\nThe sun is here now. At long last you feel your body evaporating in its absolute light. All at once you are rejoined with your divine creator and you are no more.\n\n> You take back\nYour fatal mistake wasn't that long ago! Try UNDO instead.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or TAKE BACK the action that sealed your fate (for when UNDO is not enough)?\n\n> You go east\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nAn insubstantial trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> Go west\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, and east. The corridor to the southeast is still impeded, now by a second pair of large potted cacti.\n\nYou can see a flowering cactus and a tall cactus here.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> You look at the flowering\nOn the right side of the hallway is a flowering cactus. This is the kind of cactus that is made up of a whole bunch of teardrop-shaped paddles that tessellate out from its base. In the light you can see that flowers have started to bloom at its tips.\n\nThe sunlight shining down is still in your eyes, no matter where you turn your head. A bead of sweat slides down your face.\n\n> You examine tall\nOn the left side of the hallway is a tall cactus. Now this is a very traditional-looking cactus. It has a tall green center trunk and two large branches bent at right angles, as if the cactus was flexing its arms at you.\n\nThe sun will not let up. Was it even sunny outside before you entered the mansion? How long have you been in here? You're beginning to distrust your recollection of events so far.\n\n> You pull the flowering\nYou pull the flowering cactus back several feet, giving you enough room to get by and access a safer side of the tall cactus.\n\nDespite everything you know, things continue to get even hotter. It is as if the sun itself is being drawn closer to the surface of the Earth, closer to you.\n\n> You pull tall\nYou've got a mess of cacti behind you already, it's probably better to push this out of the way instead.\n\nThe sun is almost here now. You can feel its radiance burning in every cell of your body. You can see its imperishable light beaming in through every crack and seam of the room.\n\n> You go to the east\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nAn ethereal trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> Go west\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, and east. The corridor to the southeast is still impeded, now by a second pair of large potted cacti.\n\nYou can see a tall cactus here.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> You go to the south-east\nYou make your way into the observatory. Your head pounds with the incoherent horror of the day, but here among the stars there is calm.\n\nYou carefully sidestep through the maze of cacti you have built.\n\nThe Observatory (Joey Jones)\nThe observatory is a cramped domed room cluttered with all manner of mechanical contrivance. The way out is northwest.\n\nAt the top of the dome is a large telescope. Immediately beneath it is a huge device of brass and gears and dozens of multifaceted lenses.\n\nTo one side of the dome is a worn wooden lectern, set before a large chalk circle.\n\nThe device is projecting a star sign upon the walls of the dome.\n\n> About yourself\nAs you walk through the observatory, stars twinkle across your skin.\n\n> You look at the coffee\nThe contents of your coffee cup startle you so much that you almost drop it. Instead of organic liquid curves and swirls, the cream forms a weblike pattern of jagged geometric lines that radiate out from the center at irregular intervals like bolts of lightning.\n\nAccording to the book you read, images like this occur when your fate depends on so many separate actions and courses of destiny that it can no longer be adequately divined by a leftover cup of now-cold muck water.\n\nA faint smell of mildew emanates from it.\n\n> You examine the telescope\nThe telescope is huge and it juts out of the dome into the night sky. Rather than having an eyepiece, a series of mirrors reflects the output into the device beneath it.\n\n> You examine the device\n(the walkie-talkie (smelling faintly of mildew))\nThis bulky device may or may not be a proper walkie-talkie. It might be old military equipment, or a kid's toy made up to look like military equipment. It has a large speaker, a long antenna, and a single button.\n\nA faint smell of mildew emanates from it.\n\n> You examine brass\n(the brass nameplate (smelling faintly of mildew))\n\"Charles Cragne, Owner\"\n\nA faint smell of mildew emanates from it.\n\n> You look at the gears\nThe device appears to be a planetarium projector. It reflects the stars from the telescope onto a series of mirrors that bounce them through an internal orrery which links them up into star signs to project onto the dark walls of the dome.\n\nSticking out prominently from the device are a crank and a dial for turning, a toggle for pushing, and a lever and a pulley for pulling.\n\n> You examine the crank\nThe crank is crooked and appears to only turn in one direction.\n\n> You put the nameplate in the sp\nYou unzip the side pocket, deposit the brass nameplate (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You look at the dial\nThe dial is rugose and appears to only turn in one direction.\n\n> You look at the toggle\nThe toggle is red and is of the sort that returns to its initial position once pushed.\n\n> You examine the lever\nThe lever is lopesided and is of the sort that returns to its initial position once pulled.\n\n> You look at the pulley\nThe pulley is squamous and is of the sort that returns to its initial position once pulled.\n\n> You look at the lectern\nThe wooden lectern is worn smooth at the top. Evidently in the long history of the Manor, many books have been placed upon it.\n\n> You examine the circle\nA chalk circle spreads out on the floor below the lectern, perfectly round. The chalk is accreted upon layer-upon-layer of earlier circles.\n\n> You examine the star sign\nLines light up novel connections between the stars, making an uncanny new star signs that spread across the walls of the observatory.\n\nThe Adept is ascending opposing the Noose.\n\n> You turn the crank\nYou turn the crank one step, revealing upon the wall the sign of the Despair.\n\n> Keep going\nYou turn the crank one step, revealing upon the wall the sign of the Watcher.\n\n> You turn the dial\nYou turn the dial one step, unveiling the sign of the Tome.\n\n> You turn the dial\nYou turn the dial one step, unveiling the sign of the Stranger.\n\n> You look at Sign\nYou decipher the star signs lining the walls: the Watcher is ascending opposing the Stranger.\n\n> You turn crank\nYou turn the crank one step, revealing upon the wall the sign of the Hook.\n\n> You turn the dial\nYou turn the dial one step, unveiling the sign of the Phylactery.\n\n> You continue\nYou turn the dial one step, unveiling the sign of the Vial.\n\n> Continue\nYou turn the dial one step, unveiling the sign of the Eyes.\n\n> Keep going\nYou turn the dial one step, unveiling the sign of the Gate.\n\n> Continue\nYou turn the dial one step, unveiling the sign of the Chain.\n\n> Continue\nYou turn the dial one step, unveiling the sign of the Mask.\n\n> Continue\nYou turn the dial one step, unveiling the sign of the Fortune Teller.\n\n> You keep going\nYou turn the dial one step, unveiling the sign of the Nemesis.\n\n> Keep going\nYou turn the dial one step, unveiling the sign of the Pyre.\n\n> Keep going\nYou turn the dial one step, unveiling the sign of the Baleful Hound.\n\n> You continue\nYou turn the dial one step, unveiling the sign of the Crown.\n\n> Keep going\nYou turn the dial one step, unveiling the sign of the Abyss.\n\n> You continue\nYou turn the dial one step, unveiling the sign of the Key.\n\n> You pull the lever\nYou pull the lever and the projector adjusts its focus: now the Hook is above the Key.\n\n> You pull the pulley\nYou pull the pulley and the projector turns 45 degrees: now the Hook is in motion.\n\n> You pull the pulley\nYou pull the pulley and the projector turns 45 degrees: now the Hook is descending.\n\n> You pull the pulley\nYou pull the pulley and the projector turns 45 degrees: now the Hook is in stasis.\n\n> You examine the star sign\nYou decipher the star signs lining the walls: the Hook is in stasis above the Key.\n\n> You go northwest\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, east, and southeast. Several large potted cacti line the walls of the passageways.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> You examine the tall cactus\nOn the left side of the hallway is a tall cactus. Now this is a very traditional-looking cactus. It has a tall green center trunk and two large branches bent at right angles, as if the cactus was flexing its arms at you.\n\nThe sunlight shining down is still in your eyes, no matter where you turn your head. A bead of sweat slides down your face.\n\n> You go to the northwest\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nInvasive Library (Justin de Vesine)\nOnce a study or a small sitting room, a particularly invasive species of library has taken over this space. Walls obscured by stacks of books. Ceiling hidden by stacks of books. The floor might as well be tiled with books. There's a path of sorts from a small doorway to the south to a desk amidst the overgrown collection, and to the southeast, a bookshelf has been shoved aside to reveal a passage through the wall.\n\nA sussuration of paper rustling fills the still air.\n\n> You examine coffee\nThe clouds in your cup form a blooming rose. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You listen\nThis sort of overgrown library is usually very quiet, but there's a soft, persistent rustling here, as though the books object to something's presence.\n\n> You look at the desk\nDark oak. Simple lines and sturdy construction. No drawers for things to get lost in. You would be proud to have it in your office.\n\n> You search it\nIt is covered in index cards.\n\nThe rustling seems to be centered around a small water-damaged green book.\n\n> You examine the index cards\nMountains of index cards. Some stacked, some scattered, all bearing the same neat handwriting.\n\n> You search them\nThe index cards all appear to be card catalog entries for the same book, Life Beneath Nightmares.\n\n> You listen\nThis sort of overgrown library is usually very quiet, but there's a soft, persistent rustling here.\n\nbook.\n\n> You examine green Book\nA thin book, inexpertly bound, with \"Life Beneath Nightmares\"\nembossed on the sickly green cover in quite astoundingly tacky gold foil. As a small mercy, the author's name is obscured by the insignia of the Backwater Public Library.\n\n> You read it\nfor baroque and impenetrable language, even by comparison to much of the more self-indulgent class of literature. Searching this book for meaning, despite the relatively small number of pages, might take weeks and involve more notebooks, coffee, and after-session wine than you are prepared to invest, and it would almost certainly end with your brain leaking out your ears. A quick skim, however, suggests you can save all that time by assuming it is mostly complaining about modern youth corrupting the moral fabric of society, the impertinence of women daring to have opinions, and the get-rich-quick scheme of the hour; any subtle nuance of worth that could be dragged out of it just isn't worth the trouble.\n\nIt bears the insignia of the Backwater Public Library.\n\nAs you finish reading the passage, your own hands grow cold, and the book briefly frosts over before fading again, leaving traces behind only in the library insignia.\n\n> You examine book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nLife Beneath Nightmares\n\n> You read the Nightmares\nfor baroque and impenetrable language, even by comparison to much of the more self-indulgent class of literature. Searching this book for meaning, despite the relatively small number of pages, might take weeks and involve more notebooks, coffee, and after-session wine than you are prepared to invest, and it would almost certainly end with your brain leaking out your ears. A quick skim, however, suggests you can save all that time by assuming it is mostly complaining about modern youth corrupting the moral fabric of society, the impertinence of women daring to have opinions, and the get-rich-quick scheme of the hour; any subtle nuance of worth that could be dragged out of it just isn't worth the trouble.\n\nIt bears the insignia of the Backwater Public Library.\n\n> You look at the coffee\nThe swirls in your cup form -- weird, they've entirely dissipated. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go south\nAbandoned Nursery (Harrison Gerard)\nAn octagonal room. Dust coats the walls. In one corner, a crib. In the other, a dollhouse. Exits lead northwest, north, and northeast.\n\nYou can see a \"Gossipin' Gertie\" doll and a vacuum cleaner here.\n\n> You look at the coffee\nThe swirls in your cup form a bactrian camel. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You examine the crib\nAn antique. It's rotting.\n\n> You examine the dollhouse\nA large wooden dollhouse. Its exterior is a nearly perfect match for Cragne Manor, but there's something odd about the interior.\n\n> You examine the interior\nThe interior rooms of of the miniature manor are all mixed up. Staring at the jumble for too long gives you a headache, however the most noticable feature is a large and frenzied spiderweb coating the inside.\n\n> You examine gertie\nThe doll is an antique. It wears a little smock, now nearly rags; and its face peers up at you.\n\n> You look at the vacuum\nA big old antique vacuum cleaner. It seems to be missing a component.\n\nThe vacuum cleaner is currently switched off.\n\n> Go northeast\nScience Tower (Riff Conner)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand, and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\n> You look at the leather bracelet\nIt's a brown leather strap a quarter-inch wide, wrapped twice around your wrist and fastened with a simple metal snap. It has an embossed pattern of knotwork vines and leaves. It is non-interactive.\n\n> You examine the coffee\nThe clouds in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine table\nThe large table in the middle of the room appears to be some kind of operating table, or at least that's what you surmise from all the strange equipment connected to it. Thick electrical cables run all around the perimeter of the surface, which is metal engraved with complex patterns of lines and symbols reminiscent of an old nautical chart. Rather than having legs, the table rests on a rectangular central pillar made of steel planks and machinery. All in all, it seems pretty important.\n\nThunder booms loudly outside, rattling the windows.\n\n> You look at the console\nThis big metal console is covered with blinking lights and glowing vacuum tubes (do vacuum tubes glow? Well these ones do anyway) and two of those big zappy Jacob's Ladder things, and even a lava lamp for some reason. The front panel has a huge array of dials and switches and gauges, none of which are labelled in a way that makes sense to you. That is, apart from three large central buttons: a blue one, a green one, and a yellow one, labelled \"SKYLIGHT\", \"LIFT\", and \"ANTENNA\", respectively.\n\n> You look at the blue button\nIt's a blue push-button labelled \"SKYLIGHT\". Presumably it operates the skylight up above. That is probably the safest guess of any you'll make tonight.\n\n> You examine the green button\nIt's a green push-button labelled \"LIFT\". I can't really tell you any more about it than that.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago. ...Wait a minute, that isn't how lightning works.\n\nMust be some weird eldritch thing, I guess.\n\n> You look at the yellow button\nIt's a yellow push-button labelled \"ANTENNA\". You don't know what it does. ...Yet.\n\n> You look at the chalkboard\n(the chalkboard)\nOne of those big old slate chalkboards set in a wooden frame with a pivot so you can flip it over and use the other side. It also has little wheels so you can move it around, but I'm going to tell you right now that it's perfectly fine where it is.\n\nIt has a long and elaborate mathematical equation written on it (in chalk, naturally).\n\nOn the chalkboard is a yellow sticky-note.\n\n> You read it\nOne of those big old slate chalkboards set in a wooden frame with a pivot so you can flip it over and use the other side. It also has little wheels so you can move it around, but I'm going to tell you right now that it's perfectly fine where it is.\n\nIt has a long and elaborate mathematical equation written on it (in chalk, naturally).\n\nOn the chalkboard is a yellow sticky-note.\n\n> You look athe sticky-note\nThis faded yellow sticky-note is hanging onto the chalkboard with its last sticky breath. The handwriting on it is tough to read, but it appears to say \"For the love of [unreadable] don't forget to open the skylight before raising the table this time.\"\n\n> You turn the chalkboard\n(the chalkboard)\nIt is fixed in place.\n\n> You flip it\nYou flip the chalkboard over and find that the squiggly symbols in the equation have somehow bled through the slate to the other side. That's odd.\n\nYou flip the chalkboard back over to make it easier to not think about that.\n\n> You look at the cabinet\nIt's a plain gray metal cabinet, such as might store tools and cleaning supplies in a boiler room, or pens and stationery in the office space attached to a warehouse. If this manor doesn't have an elevator, the movers did a lot of cursing.\n\nThunder booms loudly outside, rattling the windows.\n\n> You open it\nFortunately, it isn't locked. What a hassle that would be, am I right? Unfortunately, it doesn't contain anything very exciting, like weird fetal monsters pickled in formaldehyde, or unlabelled jars of chemicals. Just a pen, a paper bag, and an old key.\n\n> You examine the pen\n(the black fountain pen (smelling faintly of mildew))\nA black fountain pen. It looks like the ink is long dried up.\n\nA faint smell of mildew emanates from it.\n\n> You put the fountain pen in the sp.\nYou unzip the side pocket, deposit the black fountain pen (smelling faintly of mildew), then zip the side pocket back up again.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> You look at the pen\nOn closer inspection, it isn't a pen at all -- it's one of those telescoping pointer things that lecturers use to... point at things. Back before lasers stopped being expensive and magical. It's currently retracted, but you could EXTEND it.\n\n> You examine Key\nWhich do you mean, the old iron key, the silver and ivory key or the ornate bronze key?\n\n> You look at the old iron key\nThis heavy old black iron key probably unlocks something pretty important, if you had to guess.\n\n> You get it\nTaken.\n\nThunder booms loudly outside, rattling the windows.\n\n> You examine the ornate bronze\nThis old, slightly tarnished bronze key is covered in fine, lacy designs.\n\n> You look in the cabinet\nThe gray metal cabinet is empty.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> You look at what you're carrying with you\nYou are carrying:\nan ornate bronze key\nan old iron key\na bag of peanuts (closed)\na pointer thingy (retracted)\nLife Beneath Nightmares (smelling faintly of mildew)\na desiccated sausage\na walkie-talkie (smelling faintly of mildew)\na leather cord and pendant (being worn)\na wine bottle (smelling faintly of mildew)\nsome Nilla wafers (smelling faintly of mildew)\na box of Nilla Wafers (smelling faintly of mildew)\na wad of cash (smelling faintly of mildew)\nsome assorted teeth (smelling faintly of mildew)\nLimerickus Dirtius (smelling faintly of mildew)\na stubby pencil (smelling faintly of mildew)\na vintage Black Sabbath tee shirt (being worn)\na black horn (smelling faintly of mildew)\na torn notebook (smelling faintly of mildew)\na creased square of paper (smelling faintly of mildew)\na jar of old keys (smelling faintly of mildew) (open)\na silver and ivory key\na small blue journal (which you know is a journal because it says \"Mein Journal\" on the front) (smelling faintly of mildew)\na bottle of Pepto-Bismol (smelling faintly of mildew)\na copper amulet (being worn)\nan a worn out, decaying picture (smelling faintly of mildew)\na little stoppered vial of blue liquid (smelling faintly of mildew)\na battered yellow JogMaster (being worn)\na slip of paper (smelling faintly of mildew)\na calfskin coat (being worn)\na pewter box (smelling faintly of mildew) (open but empty)\na silver urn (smelling faintly of mildew) (open but empty)\na pair of reading glasses (being worn)\na cold spot on your collarbone (haunting you) (smelling faintly of mildew)\na book list (smelling faintly of mildew)\na golden apple (smelling faintly of mildew)\na FFFFFFFF punch card (smelling faintly of mildew)\na 923647F1 punch card (smelling faintly of mildew)\na C353F128 punch card (smelling faintly of mildew)\na 0B46E931 punch card (smelling faintly of mildew)\nan AE9B711D punch card (smelling faintly of mildew)\na 00A02209 punch card (smelling faintly of mildew)\na can of salt (smelling faintly of mildew)\na blank punch card (smelling faintly of mildew)\nthe Journal of Edwin Cragne (smelling faintly of mildew)\nan Isole Perdute (smelling faintly of mildew)\na Lettera Segreta (smelling faintly of mildew)\na Prurito Notturno (smelling faintly of mildew)\na Piccoli Uomini Blu (smelling faintly of mildew)\na rusted toolbox (smelling faintly of mildew) (open)\na jar of screws (open but empty)\na scrap of paper (smelling faintly of mildew)\na snowglobe (smelling faintly of mildew)\na mallet (smelling faintly of mildew)\na metal flask (smelling faintly of mildew)\na pinch of snail paste (smelling faintly of mildew)\nan Italian magazine cutting (smelling faintly of mildew)\na police report (\"Francine Cragne\") (smelling faintly of mildew)\na note from a seesaw (smelling faintly of mildew)\na piece of chalk (smelling faintly of mildew)\na black box (smelling faintly of mildew) (open but empty)\na shard (smelling faintly of mildew)\nred-rimmed porcelain plates (smelling faintly of mildew)\nred-rimmed porcelain cups (smelling faintly of mildew)\na spray bottle that used to contain fungicide (smelling faintly of mildew)\na gallon jug of white vinegar (smelling faintly of mildew)\na pair of garden shears (smelling faintly of mildew)\na rusty flathead screwdriver (smelling faintly of mildew)\na trophy for a dog race (smelling faintly of mildew)\na black business card (smelling faintly of mildew)\na rusty piece of metal (smelling faintly of mildew)\nsome yellowed newspapers (smelling faintly of mildew)\nan employee ID card (smelling faintly of mildew)\na long hooked pole (smelling faintly of mildew)\na grimy rock (smelling faintly of mildew)\na backpack features guide (smelling faintly of mildew)\na trolley schedule (smelling faintly of mildew)\na pamphlet of home listings (smelling faintly of mildew)\nan antique locket (smelling faintly of mildew) (closed)\na repaired page (smelling faintly of mildew)\na waterproof flashlight (smelling faintly of mildew)\na filthy rug (smelling faintly of mildew)\nDaniel Baker's note (smelling faintly of mildew)\na pull-string doll (smelling faintly of mildew)\na glass jar containing an insect (smelling faintly of mildew)\na half-full styrofoam coffee cup (smelling faintly of mildew)\na pair of stone earplugs (being worn)\na trolley pass (being worn)\na Jansport backpack (being worn and open)\na hidden pocket (open but empty)\na key pocket (closed)\na book pocket (closed)\na side pocket (closed)\na trash pocket (closed)\na gold jacket (being worn)\na giant milkweed leaf (being worn as a mask)\n\n> You put the rug in sp\nYou unzip the side pocket, deposit the filthy rug (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the insect in the sp\nYou unzip the side pocket, deposit the glass jar containing an insect (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the grimy rock in the sp\nYou unzip the side pocket, deposit the grimy rock (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the yellowed newspapers in the sp\nYou unzip the side pocket, deposit the yellowed newspapers (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the shard in the tp\nYou unzip the trash pocket, deposit the shard (smelling faintly of mildew), then zip the trash pocket back up again.\n\n> You put the features guide in the sp\nYou unzip the side pocket, deposit the backpack features guide (smelling faintly of mildew), then zip the side pocket back up again.\n\nThunder booms loudly outside, rattling the windows.\n\n> You put the porcelain plates in the tp\nYou unzip the trash pocket, deposit red-rimmed porcelain plates (smelling faintly of mildew), then zip the trash pocket back up again.\n\n> You put the porcelain cups in the tp\nYou unzip the trash pocket, deposit red-rimmed porcelain cups (smelling faintly of mildew), then zip the trash pocket back up again.\n\n> You put the police report in the sp\nYou unzip the side pocket, deposit the police report (\"Francine Cragne\") (smelling faintly of mildew), then zip the side pocket back up again.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> You put the trophy in the sp.\nYou unzip the side pocket, deposit the trophy for a dog race (smelling faintly of mildew), then zip the side pocket back up again.\n\n> You put the black box in the tp\nYou unzip the trash pocket, deposit the black box (smelling faintly of mildew), then zip the trash pocket back up again.\n\n> You open the bag\nYou open the paper bag, and discover a single lonely peanut inside it.\n\n> You examine the peanut\n(the bag of peanut)\nIt's a small paper bag with a cartoon peanut stenciled on the front with the \"word\" PNUTS below it.\n\nIn the bag of peanut is a single peanut.\n\n> You examine single peanut\nA single peanut in the shell. Or rather, a single peanut shell, which has two peanuts inside it, but we call it a peanut anyway instead of \"a peanuts\". It's probably linguistically related to \"a pair of pants\"."
    },
    {
        "text": "> You look around\nScience Tower (Riff Conner)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand, and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\nThunder booms loudly outside, rattling the windows.\n\n> You eat the single peanut\nsomeone else.\n\n> You examine the ashtray stand\nAn old-fashioned and incredibly sturdy wrought-iron ashtray stand, about two and a half feet tall. The actual ashtray is missing; presumably someone took it away to empty it. Judging from the smell in here this required at least two trained professionals with hazmat suits.\n\n> You examine the barstool\nIt's an old wooden barstool, and is not important except for having a hamster cage on top of it.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> You examine Cage\nA largish wire hamster cage is perched on an old barstool. The traditional wheel has been replaced with a tiny chalkboard, and a nameplate on the corner of the cage reads \"Dr. Peanut\".\n\nThere's a little white hamster lying motionless next to the chalkboard. Oh no... poor Dr. Peanut. ;_;\n\n> You look at the dr peanut\nPoor little guy. It looks like he got so caught up in his work that he starved to death. ...Probably the fact that nobody's been around to feed him didn't help.\n\n> You examine the tiny chalkboard\nThis appears to be a little hamster-sized duplicate of the other chalkboard. In fact, it even has the same equation written on it -- except instead of the question marks after the equals sign, it has a couple more symbols and then a trailing-off line that must be where Dr. Peanut... when he... awwww ;_;\n\n> You look at the console\nThis big metal console is covered with blinking lights and glowing vacuum tubes (do vacuum tubes glow? Well these ones do anyway) and two of those big zappy Jacob's Ladder things, and even a lava lamp for some reason. The front panel has a huge array of dials and switches and gauges, none of which are labelled in a way that makes sense to you. That is, apart from three large central buttons: a blue one, a green one, and a yellow one, labelled \"SKYLIGHT\", \"LIFT\", and \"ANTENNA\", respectively.\n\n> You examine the skylight\n(the skylight)\nFar above you, if you squint, you can make out the tower skylight. It's covered with a heavy wooden shutter. Seems like there are some bats flapping around up there too, maybe? It's hard to tell, it's real shadowy up there.\n\n> You examine the pointer\nIt's a telescoping lecturer pointing thingy. I don't know if those have a real name. It's currently retracted, but you could EXTEND it.\n\n> You extend it\nYou extend the pointer thingy to its full four-foot length. Very satisfying.\n\n> You look at the table\nThe large table in the middle of the room appears to be some kind of operating table, or at least that's what you surmise from all the strange equipment connected to it. Thick electrical cables run all around the perimeter of the surface, which is metal engraved with complex patterns of lines and symbols reminiscent of an old nautical chart. Rather than having legs, the table rests on a rectangular central pillar made of steel planks and machinery. All in all, it seems pretty important.\nI beg your pardon?\n\n> You enter the table\nYou clamber up onto the operating table, careful not to accidentally kick any of the important-looking gizmos attached to it.\n\nScience Tower (Riff Conner) (on the operating table)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand, and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\n> You get the ashtray stand\nYou manage to wrestle the ashtray stand up onto the table without dislocating your arms, somehow. Then you stand it up so it won't roll off.\n\nThunder booms loudly outside, rattling the windows.\n\n> You get the egg\nTaken.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> Open latch\nYou pull on the wooden latch but it's so rotted that it just disintegrates. The effect is the same regardless: the skylight is now unlocked. Presumably.\n\n> You look at the nest\nJust like a bird next except upside down and for bats.\n\nWith a loud hiss of pneumatics, the operating table slowly lowers itself to the ground.\nScience Tower (Riff Conner) (on the operating table)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand (on the table), and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\n> You stand\nYou get off the operating table.\n\nScience Tower (Riff Conner)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand (on the table), and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\n> You get stand\nAfter a struggle, you manage to get the ashtray stand off the table and onto the floor, without the intervening step of crushing your toes.\n\n> You open Cage\nYou open the hamster cage.\n\n> Peanut\nTaken.\n\nPoor little guy.\n\n> You put him on the table\nYou carefully lay the little dead hamster in the middle of the strange operating table.\n\nThunder booms loudly outside, rattling the windows."
    },
    {
        "text": "[Themes: horror, Lovecraft, Comedy]\n\n> You examine the Doctor\nThis adorable little fuzzy white hamster is gesturing at his cage with a serious look on his little face. It looks like he wants to get back to work.\n\nDr. Peanut makes an impatient squeaky noise.\n\nWith a tiny motorized whine, the operating table's antenna retracts.\n\n> You put the dr peanut in Cage\n(first taking Dr. Peanut)\nTaken.\n\nDr. Peanut squeaks at you and gestures at his cage.\n\nDr. Peanut waddles over to his little chalkboard, eager to resume his work.\n\n> You ask the dr peanut about the equations\nDr. Peanut is alternating between scribbling furiously on his tiny chalkboard, and tapping his little chin in deep concentration. Better leave him alone while he's working, it looks like he's about to make a breakthrough.\n\nDr. Peanut scans the writing on his little chalkboard, re-familiarizing himself with the work at hand.\n\n> Wait\nTime passes.\n\nDr. Peanut erases the trailing line at the end of the equation, and taps his little chin contemplatively with the chalk.\n\n> You wait for a while\nTime passes.\n\nDr. Peanut writes some more symbols on the tiny chalkboard, then shakes his fuzzy little head and erases them.\n\n> You wait for a while\nTime passes.\n\nDr. Peanut suddenly makes a squeaky 'Eureka!'-type noise and starts scribbling furiously on the little chalkboard.\n\nThunder booms loudly outside, rattling the windows.\n\n> You examine tiny chalkboard\nDr. Peanut is hard at work, trying to solve the weird equation on his little chalkboard.\n\nDr. Peanut finishes his writing, takes a step back to check his work, and gives a satisfied little nod. Then he turns around and waves at you excitedly.\n\n> You examine the tiny chalkboard\nDr. Peanut's little chalkboard features a complex mathematical (and probably also occult) equation that you can't make heads or tails of, but which Dr. Peanut seemed quite satisfied with. Trying to figure it out gives you the tiniest, most adorable little shooting pains right behind your eyes.\n\n> You ask the dr peanut about the equations\nDoctor Peanut shakes his head and gestures at his little chalkboard. He seems to be expecting some specific recognition of his accomplishment.\n\nDr. Peanut squeaks and waves at you, trying to get your attention.\n\nA bright flash of lightning illuminates the windows, as presaged by the thunder a moment ago.\n\n> You give single Peanut to Peanut\n(Dr. Peanut)\n(first taking the single peanut)\nDr. Peanut accepts the peanut happily and graciously. Instead of cramming it into his cheeks the way you would expect a hamster to do, he cradles it in his arms as though it were a major award for excellence in science. Which, in a sense, it is.\n\n> You examine the coffee\nThe clouds in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\nDr. Peanut basks in the glory of scientific discovery, and gives his peanut a satisfied pat.\n\n> You look at the chalkboard\n(the chalkboard)\nOne of those big old slate chalkboards set in a wooden frame with a pivot so you can flip it over and use the other side. It also has little wheels so you can move it around, but I'm going to tell you right now that it's perfectly fine where it is.\n\nIt has a long and elaborate mathematical equation written on it (in chalk, naturally).\n\nOn the chalkboard is a yellow sticky-note.\n\n> Go southwest\nDr. Peanut squeaks queryingly as you leave.\n\nAbandoned Nursery (Harrison Gerard)\nAn octagonal room. Dust coats the walls. In one corner, a crib. In the other, a dollhouse. Exits lead northwest, north, and northeast.\n\nYou can see a \"Gossipin' Gertie\" doll and a vacuum cleaner here.\n\n> Go northwest\nYour reading glasses frost over at the edges. You feel a sharp pain from the cold spot on your shoulder, and feel like there's a library book you--or Emmett, perhaps--hasn't read yet from this location.\n\nDisheveled Studio (Katherine Morayati)\nEven in half-light, you can tell the studio must have been abandoned in a hurry. The bookshelves are ransacked, the easel in pieces on the floor, bulbs torn out of two of the ceiling lights. The only thing undisturbed is a table, solid like a slab, precisely in the center of the room. Several layers of heavy curtain block off crawlspaces to the north and southeast.\n\nThe very existence of this room puzzles you. Peter had never expressed an interest in painting, or any arts really. It was hard enough just convincing him that the bedroom needed more than bare walls. But the room unmistakably smells like him. Specifically, it smells like the cologne he'd bought you on your 18-month anniversary, the kind he'd douse you in every night before bed, every morning after your shower, and really every time he saw you, regular and often enough that you associate it with him, not you. It used to be a comforting presence.\n\nA half-finished canvas slumps like a torso across the table.\n\n> About yourself\nYou felt a sense of unease the moment you let the curtain fall behind you.\n\n> You examine the coffee\nThe swirls in your cup form a pear shape, complete with stem. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You examine the bookshelves\nThe wood is cracked and full of splinters, and each book looks as it something's torn into it: spines warped, covers in tatters, dripping out ripped pages. There must have been dozens of books at one point, you'd guess. Surely some must be readable.\n\n> You search the bookshelves\nOn further examination, one book has survived the assault. You pick it up.\n\n> You examine it\nThere's nothing else salvageable on the shelves.\n\nYou hear a faint cracking noise, and realize that the bat egg you've been carrying around is hatching! The shell cracks and crumbles away, revealing a small red fish. Amazing! You had heard stories of the red herring, which lays its eggs in other animals' nests in a similar fashion to the cuckoo, but you never expected to actually see one!\n\n> You look at red Herring\nYou hatched this red herring from a bat egg. Well, I guess it was a red herring egg, actually. It blinks at you with big round eyes, wondering if you're its mother.\n\n> Examine book\nWhich do you mean, the ruined books, A Rudimentary Taxonomy of\nKnown Scent and Grotesque Reactions, Life Beneath\nNightmares (smelling faintly of mildew), Limerickus\nDirtius (smelling faintly of mildew) or the small blue journal\n(which you know is a journal because it says \"Mein Journal\"\non the front) (smelling faintly of mildew)?\n\n> You look at Taxonomy\nThe book is old -- by the design, you'd guess centuries -- but compared to the rest of the shelves, curiously unhandled. The title is flaking off and partially obscured by inky fingerprints, but you make it out after a few seconds: \"A Rudimentary Taxonomy of Known Scent and Grotesque Reactions, by Artemis Cragne.\"\n\nA sticker on the spine bears the insignia of the Backwater Public Library.\n\n> You read it\nYou flip through the pages. Whoever was in here last, it's easy to tell where they left off: the pages are translucent with grease.\n\nUnnatural scent is prohibited in most God-fearing communities of this region, particularly in women, for whom it is seen as licentious adornment. This admonition is rarely heeded, and most community members can be identified by their characteristic stink. The scent becomes essentially bound to that individual, enough for divination purposes -- conveniently, as when one stinks in this way, one has already transgressed against community norms, so divination can hardly increase one's amounted sins. (A footnote cites several theologians you are unfamiliar with.)\n\nScent is our closest link to the unknown, particularly when applied to other means of divination. When a scent is bound to an individual, and applied to a sympathetic object, it is known to have a sympathetic effect upon that individual. Several common substances are also known to have sympathetic effects:\n\nCedar: Enhances visions.\nFrankincense: Induces holiness.\nTuberose: Inflames passions.\nPetrichor: Promotes rot.\nAnimalic musk (castoreum, civet): Promotes depravity.\nBlood: Binds an object to the one who bled.\n\nThrough my study I have discovered certain compounds with grotesque properties.\n\nSavior's breath: A by-product of holy water. Colorless and curiously insubstantial, apparitional even. Used for purification.\nPeat venom: Extracted from cadavers, submerged in deep river mud, as close as possible to the ninth month of rot. (Two diagrams accompany the entry, one a map with hash markings, one a calendar, both covered in crude equations.) Opens one up to forces beyond this earth. Dispulsichor: Extracted from the air just after a sound has ended, or a scent has dispersed; takes on the appearance of the sky. Undoes the effect of past scent-based divination.\n\nYou notice some loose papers stapled to the end of the book, yellowed from age, and are compelled to read on. (Type SCENTS at any point\nto recall the list of scents.)\n\nA sigh echoes in your head. \"That's all of them,\" a voice breathes. \"And that's about all I can do. I wish you luck. Find your husband, even though he's another Cragne. And beware the Vaadigniphod.\" With that, the voice fades away. After a second or two, you realize that your shoulder has warmed up again. You rub the spot absently, almost missing the cold.\n\n> You read it\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, tearing a few:\n\nSympathetic objects are traditionally keepsakes, though most trinkets are too small and insufficiently porous for scent-based divination. What seems to work best is a combination of blood and some physical likeness, usually an image of the face. A large, detailed image and close resemblance seem ideal.\n\nI presume an object or image only functions as a sympathetic object if it is activated; otherwise, our world would be composed entirely of conjurers and fainters. My studies suggest the key is intimacy. Looking at a sympathetic object produces little but unease. Touching it begins to produce results, more if by hand than by paintbrush. The strongest sympathetic effect comes from kissing. (The vulgar forms of physical intimacy do not seem to produce a meaningful sympathetic effect. I asked one of the local village boys to try with my image. All I felt was a remote disgust and a phantom mashing by my waist; all he said was it itched for a week.) I must continue.\n\nThe pages go on.\n\n> Keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, giving yourself a paper cut:\n\nIt is said that malevolent spirits can operate through people, if those spirits are made aware of the person's existence, and if those individuals are of sufficient moral laxity. All of the accounts only say \"moral laxity.\" They do not specify further; perhaps it depends on the traditional customs. The literature is tentative on such spirits being cast out.\n\nWhat is clear across the literature is that a priest cannot determine moral laxity. Nor can it be discerned from prayer or conversation. Yet the constant task of all men is to scour the bodies and images around them for signs of moral leakage, to cast out or drink in. I specify men deliberately. The constant task of woman is to conceal that which she may never know.\n\nThere's yet more to read.\n\n> You keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, tearing a few:\n\nThere are more malevolent spirits than the literature suggests, I am sure of it. Nor are they, as theologians say, all manifestations of Satan. Nor am I quite convinced they are even malevolent.\n\nThis village appears to be a kind of locus. There is a great entity at work, I am sure of it. But in the day to day, I am less concerned with this entity than his deliverer. The literature says this deliverer may be summoned via divination, but only takes notice of those of the right moral substance. He, because I am convinced the deliverer is a male entity.\n\nYou cannot bring yourself to stop reading.\n\nThe wound on your finger has stopped bleeding now.\n\n> Keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, giving yourself a paper cut:\n\nI have tested these scents upon my image every night for a fortnight. I'm sure I've kept it a secret, yet people shun me. Even that damn Consecration William steers clear. So I work alone now, into the night, half in delirium. I anoint my image with oils and try to inflame whatever it is within my breast that will prove myself worthy to the one who chooses. I have only used my own image; I dare not inflict this upon another, who may prove worthier.\n\nYou cannot bring yourself to stop reading.\n\n> Continue\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, giving yourself a paper cut:\n\nHe knows who I am. He knows who I am. He knows who I am.\n\nYou cannot bring yourself to stop reading.\n\n> Keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, tearing a few:\n\nVaadignephod.\n\nYou cannot bring yourself to stop reading.\n\nThe wound on your finger has stopped bleeding now.\n\n> Continue\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, giving yourself a paper cut:\n\nSympathetic objects are traditionally keepsakes, though most trinkets are too small and insufficiently porous for scent-based divination. What seems to work best is a combination of blood and some physical likeness, usually an image of the face. A large, detailed image and close resemblance seem ideal.\n\nI presume an object or image only functions as a sympathetic object if it is activated; otherwise, our world would be composed entirely of conjurers and fainters. My studies suggest the key is intimacy. Looking at a sympathetic object produces little but unease. Touching it begins to produce results, more if by hand than by paintbrush. The strongest sympathetic effect comes from kissing. (The vulgar forms of physical intimacy do not seem to produce a meaningful sympathetic effect. I asked one of the local village boys to try with my image. All I felt was a remote disgust and a phantom mashing by my waist; all he said was it itched for a week.) I must continue.\n\nYou cannot bring yourself to stop reading.\n\n> Scents\nCedar: Enhances visions.\nFrankincense: Purifies sins.\nTuberose: Inflames passions.\nPetrichor: Promotes rot.\nAnimalic musk (castoreum, civet): Promotes depravity.\nBlood: Binds an object to the one who bled.\n\nSavior's breath: Colorless and curiously insubstantial. Used for purification.\nPeat venom: Extracted from cadavers in river mud. Opens one up to forces beyond this earth.\nDispulsichor: Undoes the effect of past divination.\n\nThe wound on your finger has stopped bleeding now."
    },
    {
        "text": "> Look around\nDisheveled Studio (Katherine Morayati)\nThe studio must have been abandoned in a hurry. The bookshelves are ransacked, the easel in pieces on the floor, bulbs torn out of two of the ceiling lights. The only thing undisturbed is a table, solid like a slab, precisely in the center of the room. Several layers of heavy curtain block off crawlspaces to the north and southeast.\n\nThe room smells distractingly of Peter's cologne.\n\nA half-finished canvas slumps like a torso across the table.\n\n> You look at the coffee\nThe clouds in your cup form a maple leaf. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Smell\nWhat's clear is that someone was here.\n\n> You examine the easel\nA pile of wood that comes up to your knees. It's unnaturally neat, as if someone stacked it.\n\n> You search it\nYou claw through the wreckage, pricking your finger. At the bottom of the pile is a crumpled, oily ball of paper, from which you peel off what seems like dozens of sketches and photos, every last one of you.\n\n> You look at the lights\nEven the remaining lights aren't completely right -- one bulb is cracked, another dangles halfway out of its fixture. There's enough light for you to see, but only just.\n\n> You look at the table\nA stone slab in the center of the room, just barely larger than the canvas. You pick up some knickknacks from the table's edge: a piece of charcoal and a box of colored vials.\n\n> You look at the photos\nYou don't remember Peter ever photographing you, and yet these photos encompass, it seems, every moment of your life. None of them seem surreptitious. The framing is so perfect that if you didn't know better, you'd swear you posed for an hour. In each, your face is visible; in each, thick pencil marks contour your face.\n\nYou flip through. At your old house you contracted pneumonia so bad you spent a month in bed, barely conscious. You wanted to go to the hospital, but Peter insisted on staying home to take care of you himself: cooking you meals, tucking you in, wiping your face clean every time you woke up -- and, it's clear, photographing you as well.\n\nThe wound on your finger has stopped bleeding now.\n\n> You look at the charcoal\nCharcoal, of the kind you'd make sketches with.\n\n> You look at box\nWhich do you mean, the box of vials, the box of Nilla Wafers (smelling faintly of mildew) or the pewter box (smelling faintly of mildew)?\n\n> You examine the box vials\nA box of glass vials, in all different colors. The sides are greasy and stained with a dark substance.\n\nIn the box of vials are a vial of cedarwood extract, a vial of frankincense, a vial of tuberose extract, a vial of geosmin, a vial of musk, a vial of rose extract, a spray decant vial, a vial of vanilla extract, an unmarked clear vial, an unmarked teal vial and an unmarked pale blue vial.\n\n> Scents\nCedar: Enhances visions.\nFrankincense: Purifies sins.\nTuberose: Inflames passions.\nPetrichor: Promotes rot.\nAnimalic musk (castoreum, civet): Promotes depravity.\nBlood: Binds an object to the one who bled.\n\nSavior's breath: Colorless and curiously insubstantial. Used for purification.\nPeat venom: Extracted from cadavers in river mud. Opens one up to forces beyond this earth.\nDispulsichor: Undoes the effect of past divination.\n\n> Smell photos\nWhat's clear is that someone was here.\n\n> You examine the pale Blue\nA vial of liquid, made of thick, slippery glass and smudged around the edges, like a gangrenous thumb. An over-bulbous dropper dispenses liquid.\nThis vial is a pale blue, that of the sky after a rainstorm.\n\n> You examine Vial\n(the little stoppered vial of blue liquid (smelling faintly of mildew))\nYou see nothing special about the little stoppered vial of blue liquid (smelling faintly of mildew).\n\nA faint smell of mildew emanates from it.\n\n> You look at the cedar\nA small vial of liquid, the size and feel of a damp thumb. A small dropper dispenses liquid.\nThis vial is sepia and labeled \"blood cedar\".\n\n> You look at the dropper\nYou'll have to specify which one you mean.\n\n> You drop the cedar on the photos\n(first taking the vial of cedarwood extract)\nPutting things on photos of you would achieve nothing.\n\n> Search lights\nThey're too far away."
    },
    {
        "text": "> Look around\nDisheveled Studio (Katherine Morayati)\nThe studio must have been abandoned in a hurry. The bookshelves are ransacked, the easel in pieces on the floor, bulbs torn out of two of the ceiling lights. The only thing undisturbed is a table, solid like a slab, precisely in the center of the room. Several layers of heavy curtain block off crawlspaces to the north and southeast.\n\nThe room smells distractingly of Peter's cologne.\n\nA half-finished canvas slumps like a torso across the table.\n\n> You look at the canvas\nThe painting is clearly of a woman, though only her face, and only the outline. In the background is some cursory sketchwork, but the face on the canvas is completely blank. Still, as you trace the contours, you realize it's shaped like yours.\n\n> Sketch Face\n(the pull-string doll (smelling faintly of mildew))\nYou doodle aimlessly on it.\n\n> Sketch canvas\nYou sketch as faithful a rendition of your face on the canvas as possible in the dark. Strange how little you remember of how you look when forced to draw it. But it seems accurate enough -- almost. The expression you've given yourself is contorted and inhuman. The charcoal runs out as you're sketching your mouth, leaving a jagged hole in the center of your bottom lip. Other than that, it's as good a likeness as you'll get.\n\n> You put the cedar on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, you have a sudden vision of a presence looming and your drawn face buckling.\n\n> Scents\nCedar: Enhances visions.\nFrankincense: Purifies sins.\nTuberose: Inflames passions.\nPetrichor: Promotes rot.\nAnimalic musk (castoreum, civet): Promotes depravity.\nBlood: Binds an object to the one who bled.\n\nSavior's breath: Colorless and curiously insubstantial. Used for purification.\nPeat venom: Extracted from cadavers in river mud. Opens one up to forces beyond this earth.\nDispulsichor: Undoes the effect of past divination.\n\n> You look at the box vials\nA box of glass vials, in all different colors. The sides are greasy and stained with a dark substance.\n\nIn the box of vials are a vial of frankincense, a vial of tuberose extract, a vial of geosmin, a vial of musk, a vial of rose extract, a spray decant vial, a vial of vanilla extract, an unmarked clear vial, an unmarked teal vial and an unmarked pale blue vial.\n\n> You put pale blue on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of cedar. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You look at the rose\nA small vial of liquid, the size and feel of a damp thumb. A small dropper dispenses liquid.\nThis vial is dark mauve and labeled \"rose\".\n\n> You read the scent\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, tearing a few:\n\nIt is said that malevolent spirits can operate through people, if those spirits are made aware of the person's existence, and if those individuals are of sufficient moral laxity. All of the accounts only say \"moral laxity.\" They do not specify further; perhaps it depends on the traditional customs. The literature is tentative on such spirits being cast out.\n\nWhat is clear across the literature is that a priest cannot determine moral laxity. Nor can it be discerned from prayer or conversation. Yet the constant task of all men is to scour the bodies and images around them for signs of moral leakage, to cast out or drink in. I specify men deliberately. The constant task of woman is to conceal that which she may never know.\n\nYou cannot bring yourself to stop reading.\n\n> Keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, tearing a few:\n\nThere are more malevolent spirits than the literature suggests, I am sure of it. Nor are they, as theologians say, all manifestations of Satan. Nor am I quite convinced they are even malevolent.\n\nThis village appears to be a kind of locus. There is a great entity at work, I am sure of it. But in the day to day, I am less concerned with this entity than his deliverer. The literature says this deliverer may be summoned via divination, but only takes notice of those of the right moral substance. He, because I am convinced the deliverer is a male entity.\n\nYou cannot bring yourself to stop reading.\n\n> Keep going\n(Type SCENTS at any point to recall the list of scents.)\n\nYou flip through the pages, giving yourself a paper cut:\n\nI have tested these scents upon my image every night for a fortnight. I'm sure I've kept it a secret, yet people shun me. Even that damn Consecration William steers clear. So I work alone now, into the night, half in delirium. I anoint my image with oils and try to inflame whatever it is within my breast that will prove myself worthy to the one who chooses. I have only used my own image; I dare not inflict this upon another, who may prove worthier.\n\nYou cannot bring yourself to stop reading.\n\n> You put Blood on the canvas\n(blood on the painting)\nYou squeeze some blood onto the painting, closing your eyes with every drop -- you never could stand to watch. You were aiming at your mouth but hit your eyes; they ripple uneasily on the canvas as the blood spreads. On instinct, you blink.\n\nThe wound on your finger has stopped bleeding now.\n\n> You examine the canvas\nYour drawn expression is agonized and smeared in blood.\n\n> You put clear on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A sudden heat envelops your body, and you are seized by visions of Peter grabbing you by the nape of the neck as you fall forward. Even as you look away, the vision seems imprinted upon everything in the room. The visions are so transfixing you don't realize that your skin has been disintegrating until it's too late.\n\n> You put the teal on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A guttural voice shakes the room's foundations. \"HER?\" You can't find the source of the sound. \"WHAT ABOUT HER PAST MAKES YOU THINK I HAVE ANY USE FOR HER?\" A claw in your back thrusts you into the floorboards and starts to shake you apart from the spine. You try to concentrate on anything else but the pain; what you pick up is Peter's voice, quavering and not quite seeming real. \"How did she get in here?\" \"YOU TOLD ME SHE WAS PREPARED.\" \"Look, I was in a rush, OK?\" Your\nsight goes; you'd lost your ability to move what seems like ages ago. \"EVERY ONE OF THEM HAS DONE THIS.\" Your feeling goes; you\nshould be able to feel your skin rotting and sinking into the\nbones \"If you'd just give me another day, please. Or an hour. Or look, can you at least leave the skin--\" Then your hearing goes, but the scent of your rotting body remains.\n\n> Smell canvas\nThe cologne's definitely coming from the canvas, along with a vague fetid smell, like rotting teeth.\n\n> You kiss it\nYour lips go numb and you're seized by a sudden vision of something rumbling beneath the earth.\n\n> You put the tuberose on canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, deep claw marks appear in the painting; you feel each one in the corresponding part of your face. Something casts a shadow over half the face, except for the pupils, which dilate and glow red.\n\n> Kiss canvas\nYour lips go numb and you're seized by a sudden vision of Peter kissing you with an unnatural intensity.\n\n> You put the rose on the canvas\nYou squeeze a few drops of rose oil onto the painting. Nothing remarkable happens, but at least it smells like flowers now!\n\n> You put the frankincense on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, your painted face flushes and claw marks appear by the cupid's bow. Your own face flushes as well. The room around you seems to be jolted, every scent sharper and every sound louder. Everything in the room -- knotholes in the wood, dents in the floor -- starts to look like eyes, all trained on you.\n\n> You put pale blue on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of cedar, tuberose and incense. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You put the peat on the canvas\nYou can't find any vial with that label. It must be one of the unmarked ones.\n\n> You look at the vials\nA box of glass vials, in all different colors. The sides are greasy and stained with a dark substance.\n\nIn the box of vials are a vial of frankincense, a vial of tuberose extract, a vial of geosmin, a vial of musk, a vial of rose extract, a spray decant vial, a vial of vanilla extract, an unmarked clear vial, an unmarked teal vial and an unmarked pale blue vial.\n\n> You put the teal on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A guttural voice shakes the room's foundations. \"HER?\" You can't find the source of the sound. \"WHAT ABOUT HER PAST MAKES YOU THINK I HAVE ANY USE FOR HER?\" A claw in your back thrusts you into the floorboards and starts to shake you apart from the spine. You try to concentrate on anything else but the pain; what you pick up is Peter's voice, quavering and not quite seeming real. \"How did she get in here?\" \"YOU TOLD ME SHE WAS PREPARED.\" \"Look, I was in a rush, OK?\" Your\nsight goes; you'd lost your ability to move what seems like ages ago. \"EVERY ONE OF THEM HAS DONE THIS.\" Your feeling goes; you\nshould be able to feel your skin rotting and sinking into the\nbones \"If you'd just give me another day, please. Or an hour. Or look, can you at least leave the skin--\" Then your hearing goes, but the scent of your rotting body remains.\n\n> You examine the geosmin\nA small vial of liquid, the size and feel of a damp thumb. A small dropper dispenses liquid.\nThis vial is dark brown, almost black, and labeled \"geosmin (petrichor)\".\n\n> You put the geosmin on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, your painted skin bubbles over with sweat, and an undefinable, foul substance oozes up from the drop. You begin to sweat too, around the eyelids.\n\n> Kiss canvas\nYour lips go numb and you're seized by a sudden vision of your skin rotting to the bone.\n\n> You put pale blue on canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of cedar and damp earth. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You put the frankincense on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, the room around you seems to be jolted, every scent sharper and every sound louder. Everything in the room -- knotholes in the wood, dents in the floor -- starts to look like eyes, all trained on you.\n\n> Kiss canvas\nYour lips go numb and you're seized by a sudden vision of your spirit leaving your body.\n\n> You put the musk on the canvas\nYou squeeze the oil onto the painting -- you think, since it feels like nothing -- and then rub the canvas a bit. If you expected depravity, you're disappointed.\n\n> You put pale blue on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of cedar and frankincense. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You put the frankincense on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, you sense something in the room watching you.\n\n> Kiss canvas\nYour lips go numb and you're seized by  a distant thought of something rumbling beneath the earth.\n\n> You put pale on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of frankincense. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You put the petrichor on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, your painted skin flushes and bubbles with sweat, as if aroused. Everything in the room seems sharper.\n\n> Kiss canvas\nYour lips go numb and you're seized by a sudden vision of Peter kissing you, your skin rotting to the bone where his lips have touched.\n\n> You put the frankincense on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, sweat bubbles up from the canvas. Your painted skin begins to sear -- you hear the crackling, see the char on the canvas. Everything in the room seems to grow eyes and judge.\n\n> You put pale blue on canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas, smelling of cedar, incense, tuberose and damp earth. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You look at the spray decant\nThis vial is unmarked, the sprayer is snapped off, and most of the contents seem to have evaporated. But around the sprayer lingers the unmistakable scent of Peter's cologne. He must have decanted it and brought it here.\n\n> You examine the vanilla\nA small vial of liquid, the size and feel of a damp thumb. A small dropper dispenses liquid.\nThis isn't a vial, per se; it's clearly a bottle of cooking vanilla, corner-store label still on, shoved awkwardly into a vial slot.\n\n> You put the vanilla on the canvas\nYou squeeze some vanilla extract onto the canvas. Nothing remarkable happens, but at least it smells like dessert now!\n\n> Kiss canvas\nYour lips go numb and you're seized by a sudden vision of something rumbling beneath the earth.\n\n> You open the spray decant\nThe vial is screwed tight. Fortunately, there's a dropper.\n\n> You search box vials\nIn the box of vials are a vial of frankincense, a vial of tuberose extract, a vial of geosmin, a vial of musk, a vial of rose extract, a spray decant vial, a vial of vanilla extract, an unmarked clear vial, an unmarked teal vial and an unmarked pale blue vial.\n\n> You put Vial on the canvas\n(the little stoppered vial of blue liquid (smelling faintly of mildew) on the painting)\nPutting things on the painting would achieve nothing.\n\n> You look at the table\nA stone slab in the center of the room, just barely larger than the canvas.\n\n> You put pale on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A blue smoke arises from the canvas. The scent disappears from the air, and the canvas, when the smoke does.\n\n> You put the frankincense on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, you sense something in the room watching you.\n\n> You put clear on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. You feel watched again.\n\n> Kiss canvas\nAs you kiss your likeness, your face is pulled closer and closer to the canvas, then your neck, then the rest of your body. A searing pain shoots through everything the canvas touches, and every transgression wells up in your mind -- each lie, rash word, over-short skirt. When your skin begins to disintegrate, it's almost a relief.\n\n> You put the tuberose on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, your painted face flushes red, faint claw marks appearing by the cupid's bow. Your own face flushes in turn, involuntarily; the whole room seems to turn and watch the painting, then you.\n\n> You put the petrichor on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, your painted skin flushes, smeared with sweat as if aroused. The whole room seems to reorient itself, as if staring.\n\n> You put the musk on the canvas\nYou squeeze the oil onto the painting -- you think, since it feels like nothing -- and then rub the canvas a bit. If you expected depravity, you're disappointed.\n\n> You put clear on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. A sudden heat envelops your body, and you are seized by visions of torching the manor in a frenzy. Everything in the room seems to morph into a humanoid figure; whenever you see something, you imagine wringing its neck. The visions are so transfixing you don't realize that your skin has been disintegrating until it's too late.\n\n> You put teal on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. Teal sweat drips off your face onto the canvas, burning rank holes everywhere but your painted lips, which part and seem to offer themselves up to meet every drop, shaking but pristine. You're pulled closer, sweat and hair matting against the canvas. A looming presence in the background seems to be pulling your head.\n\n\"YOU WARNED ME ABOUT THIS ONE'S PAST?\" booms a voice. The floor begins to shake around you, yanking you to your knees.\n\n> You put clear on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. Teal sweat drips off your face onto the canvas, burning rank holes everywhere but your painted lips, which part and seem to offer themselves up to meet every drop, shaking but pristine. You're pulled closer, sweat and hair matting against the canvas. A looming presence in the background seems to be pulling your head.\n\n\"IS IT TIME FOR THE DELIVERY ALREADY?\" booms a voice. The floor begins to shake around you, yanking you to your knees.\n\n> You put the cedar on the canvas\nYou apply the oil to the canvas, rubbing it in with your finger. As the oil hits the canvas, sweat bubbles up from the canvas. Your painted skin begins to sear -- you hear the crackling, see the char on the canvas. Everything in the room seems to grow eyes and judge.\n\n> Kiss canvas\nYou kiss your own image, ignoring the teal sweat matting your hair to the canvas. The room shudders and a guttural voice seems to hit the back of your skull. \"WHY IS SHE EVEN HERE?\" \"Because you didn't secure the room, obviously.\" You stop -- the voice is obviously Peter's. You almost cry out, but another guttural roar stops you. \"I was in a hurry,\" Peter whines. \"A HURRY OF SEVERAL YEARS.\" Your husband grumbles, somehow unfazed. \"If you'd have let me finish, then\nyou'd have her--\"\n\nYou have a sudden memory: When Peter took you to the manor for the first time, you thought you'd nearly faint at what seemed like your impossibly stately, imposingly enormous new home. He kissed you, and you felt something you hadn't felt in years: a strange forward propulsion to your body, the air around you hot and charged. What you felt, you thought, was awe.\n\nThe guttural voice jolts you into reality. \"VERY WELL. I SHALL DELIVER HER.\" Ignoring the voice, you continue to kiss your likeness, frenzied, blood smearing your lips and canvas flaking away onto your teeth. Your arms grip the sides of the canvas so tight they puncture it; what's left isn't hollow, as you thought, but pliable, like viscera. \"THIS ONE BELONGS TO ANOTHER!\" A claw sinks into your back, down to the spine, but you feel nothing, just a warmth radiating up your arms. \"No she doesn't,\" Peter says. \"I'd know if she was involved with someone else.\" \"NOT LIKE THAT, FOOL. A HIGHER ENTITY.\" It stops, with a wall-splitting groan. Out of the corner of your eye you see a torrent of teal slime spew toward you. Your whole body jolts, static electricity thrown into water. \"THE ONLY ONE THAT CAN--\" A sudden flash of light; an explosion from behind you. The voices disappear. You continue kissing the painting, mechanically, disconnected from the act, until the canvas rots away to nothing.\n\nYou didn't realize you had fainted. There's nothing left of the canvas but a hollow edge, wisps of canvas like asbestos around the edges. Inside is a key, which you take.\n\n> You examine Key\nWhich do you mean, the slimy key, the ornate bronze key (smelling faintly of mildew), the old iron key or the silver and ivory key?\n\n> You look at slimy Key\nA thick, acrid residue of paint, slime, and something unplaceable obscures whatever kind of key this is.\n\n> You look at the coffee\nThe swirls in your cup form a stochastic pattern resembling television static. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> Go north\nThe curtains swing back into place with a thud.\n\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nA mistlike trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> You wait for the black Line\nYou lean against the rickety staircase, hold out your pass, and wait for the black line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA mistlike trolley stop sign reads Black Line -- Underground.\n\n> Go west\nYou find yourself in a dark, narrow space between two stone walls. Moisture condenses from the ceiling and drips down the stone bricks to the floor. Doors are east and west.\n\nA foul sarcophagus occupies almost all of the space, leaving you cramped against the walls.\n\n> You look at the coffee\nThe swirls in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You look at slimy Key\nA thick, acrid residue of paint, slime, and something unplaceable obscures whatever kind of key this is.\n\n> You examine Key\nWhich do you mean, the slimy key, the ornate bronze key (smelling faintly of mildew), the old iron key or the silver and ivory key?\n\n> Go east\nOnly part of that made sense. The madness is taking hold, you know.\n\n> You go northeast\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA phantom trolley stop sign reads Black Line -- Underground.\n\n> You wait for the brown Line\nYou lean against the thing that isn't here, hold out your pass, and wait for the brown line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 4:37 am; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nAn ethereal trolley stop sign reads Brown Line -- Train Station.\n\n> Go south\nYou look again at the dim and dingy surroundings. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the green door are to the east. The restroom door is to the west. Maybe you should try unlocking the green door.\n\n> You unlock Door with the bronte\nWhich do you mean, the restroom door or the green door?\n\n> You unlock green Door with slimy\nYou unlock the green door.\n\n> You put the slimy in the kp\nYou unzip the key pocket, deposit the slimy key, then zip the key pocket back up again.\n\n> You go east\n(first opening the green door)\n\nStation Security Room (Monique Padelis)\nAs you step into the room you breathe out deeply and relax your shoulders. You realise your body has felt constricted ever since you arrived in Backwater.\n\nThe compact room smells earthy, as if you've stepped into a forest just after the dew has settled. A framed article hangs on the moss green walls alongside a window that lets in a little light. Your eyes are drawn to the two glowing CRT monitors on a desk that runs the length of the east wall. A leather chair sits in front of the desk and most of the south wall is taken up by shelves with labelled VHS tapes. The door to the station is to your west.\n\n> About yourself\nYou've often thought of your body as a mere vessel to house your mind, an unfortunate necessity for living in this world. Perhaps that's why you were always drawn to Peter - like you he could get so absorbed in a book he would forget to eat or sleep.\n\nSince stepping into the office you've felt hyperaware of the clothes clinging to your body and your paper-thin skin covering your tendons and veins. The scar on your left leg from a football accident seems to throb, and the freckles along your arms remind you of all the sun damage you've willingly submitted to.\n\n> You examine the coffee\nThe clouds in your cup form a pair of dandelions. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> Examine article\nThe article is dated 17th October 1995 and has a photo of a man and a woman in high-vis jackets smiling outside the entrance to the train station. The headline reads: SECURITY GUARD KILLED IN TRAGIC ACCIDENT:\n\ntrain passing through Backwater train station. Bran Cragne, 34 (pictured with colleague Nadia) was patrolling the platform when he slipped and fell onto the tracks. His wife Barbara calls him a \"kind and lovely husband\" and his friends at the station say he will be sorely missed.\n\nYou skim the rest of the article, which just talks about his life and interests. It seems like an odd article to frame in an office, but you suppose it is in memory to a valued colleague.\n\n> You examine monitors\nTwo grey CRT monitors are lined up on the desk. The first one is labelled \"Monitor 1 - Platform 1\" and the second is labelled \"Monitor 2 - Platform 2\". They both show a live feed from the train station.\n\n> Examine monitor 1\nYou watch the screen for a few moments. The platform is empty; the only movement comes from a tree swaying from the wind on the other side of the track.\n\nSuddenly the shadow of a pole buckles for a few moments, warping itself into twisted, jagged lines. Then, like a spring, it returns to its normal form.\n\n> Examine monitor 2\nYou watch for screen for a few moments. The way the camera is angled means you can see both the empty platform and through the window of the security office you're in. You watch yourself stretch. Strange. There must be a time delay, although you don't remember stretching.\n\n> You examine the desk\nOn top of the desk rests two monitors. There is also a telephone and various papers scattered on the surface.\n\n> You examine the phone\nAn ugly beige telephone. The answer machine button is flashing.\n\nYou roll back your shoulders and stretch your arms. Your bones make a satisfying click.\n\n> You look at the button\n(the walkie-talkie (smelling faintly of mildew))\nThis bulky device may or may not be a proper walkie-talkie. It might be old military equipment, or a kid's toy made up to look like military equipment. It has a large speaker, a long antenna, and a single button.\n\nA faint smell of mildew emanates from it.\n\n> You look at the papers\n(the repaired page (smelling faintly of mildew))\nA complete page, grimy yet strangely untorn. It reads: \"I must have rest. My senses deceive me into thinking she can see me, hear me.\"\n\nA faint smell of mildew emanates from it.\n\n> You put the repaired page in bp\nYou unzip the book pocket, deposit the repaired page (smelling faintly of mildew), then zip the book pocket back up again.\n\n> You examine papers\nThe papers are all charts of train arrivals and shift times. You notice all the papers have drawings on them - the top one is just of a stick figure struck by lightning, the eyes marred by pencil scribbles. The next is a cartoon of a woman being eaten by a wolf, again with the eyes scribbled out. After that is an unnervingly realistic and detailed drawing of a woman with her legs crushed by falling rubble, her mouth twisted in anguish - the only unrealistic part is the eyes, which are large swirls of pencil so forcefully pressed into the paper that it's slightly ripped.\n\n> You look at the chair\nThe studded green leather chair curves round a little to enclose whoever sits there. It looks far too fancy to be provided by station management; someone must have brought it here specially.\n\n> You examine the coffee\nThe swirls in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You look at the shelf\nThe wooden shelves are filled with tapes, each labelled with the date as DD-MM-YY. There are too many to check each one.\n\n> Examine article\nThe article is dated 17th October 1995 and has a photo of a man and a woman in high-vis jackets smiling outside the entrance to the train station. The headline reads: SECURITY GUARD KILLED IN TRAGIC ACCIDENT:\n\ntrain passing through Backwater train station. Bran Cragne, 34 (pictured with colleague Nadia) was patrolling the platform when he slipped and fell onto the tracks. His wife Barbara calls him a \"kind and lovely husband\" and his friends at the station say he will be sorely missed.\n\nYou skim the rest of the article, which just talks about his life and interests. It seems like an odd article to frame in an office, but you suppose it is in memory to a valued colleague.\n\n> You look at 17-10-95\nHm...When was the accident again?\n\n> You examine 16-10-95\nYou find a VHS player by the monitors and press play.\n\nThe security footage shows platform 2 - you can see the security office you are standing in as well, though the window is boarded up with black paper. As you watch, a man rips the paper down from the inside and presses his nose against the window. The image is a little fuzzy, but he looks like he's shaking. You watch as the man pulls forward monitor 1 and places something under it. He then wrenches open the door and stalks towards the platform.\n\nFor several minutes he just stands there, pacing the platform. A train approaches in the distance, and once it's a few meters away the man flings himself onto the tracks. Blood splatters the platform, and one of his shoes fly up into the air. The train brakes, but the damage is done.\n\nFor a few moments there is no movement on the screen, then a woman runs over to the bloodstain and tries to look under the train. Several other people arrive on the scene, but they just stand around and shake their heads.\n\n> You look under Monitor 1\nYou pull forward the monitor. There is a little nook behind it.\n\n> Examine nook\nA small hole not much bigger than your fist. It looks as if someone has chipped away part of the wall on purpose.\n\nIn the small nook are a tarnished brass key and a folded up note.\n\n> You read it\nA message is written in blue ink:\n\nBarbara Ba Ba Ba you don't understand, you couldn't understand.\nThe office is the only place I feel safe. It protects me against the sharp realities of the world and you and my superiors want to rip me from it. You don't understand how many deadly things there are out there. Now they want to remove me from my job, so I have no choice. It is better to go my own way than let some infection spread all over me or lie bleeding and abandoned. I wanted to destroy the key to the shack, but I couldn't. Just...Don't go there. Please.\n\n> You look at brass key\nA tarnished brass key to the shack.\n\n> Go west\nAs you walk out of the office you feel a wrenching sensation in your gut, as if some part of you is being dragged out, kicking and screaming. For a few moments everything looks like a threat: the slippery ground, the bending trees, the very air you breathe, carrying God only knows what kind of toxins.\n\nThe dim and dingy surroundings hold no more interest for you. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the door to the station office are to the east. The restroom door is to the west.\n\n> You go north\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 5:13 am; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA spectral trolley stop sign reads Brown Line -- Train Station.\n\n> You wait for the blue Line\nYou sit on the bench, hold out your pass, and wait for the blue line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you find\nyourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA spectral trolley stop sign reads Blue Line -- Library Square.\n\n> Go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nOn the cart are a slim hardback manual (smelling faintly of mildew), The Dollmaker's Journal (smelling faintly of mildew), The Conservative's Cookbook, The Lives of the Roman Emperors\n(smelling faintly of mildew), Backwater Personalities (1915-1925 edition) (smelling faintly of mildew), an old paperback book (smelling faintly of mildew), a book New England and the Bavarian\nIlluminati, De Zeven Testamenten van de Krijsende\nZeeworm, a 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, a\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), Legends of Lake Champlain and\nthe Hudson River Valley (smelling faintly of mildew) and a shabby journal.\n\nA librarian stands behind a counter.\n\n> You examine book list\nThis is your notification that your status with the Backwater Public Library is DELINQUENT due to NON-RETURNAL.\nYou are NOT PERMITTED to check out books or to access special library materials until your status is cleared.\n\nTo clear your status, you must return ALL books you currently have checked out:\n\nThe librarian disappears between the shelves for a bit, then returns.\n\n> You give Nightmares to the LIBRARIAN\nKlonk-klonk. The librarian puts it on the cart, then comes out from behind the counter and unlocks the display case for you.\n\n> You examine the book list\nThis is to notify you that you are once again in GOOD STANDING with the Backwater Public Library, and may avail yourself of all the library's services, including book removal.\n\nThat's definitely not what it said before. Something weird is going on, but at least it's an improvement.\n\n> You open the bookcase\nA cursory search turns up the manifesto of a political fringe group. With an increasing sense of futility, you put it back where it was.\n\n> You open the display\nThat's already open.\n\nThe librarian catches your eye and points at the bookshelves.\n\n> You look at it\nIn the display case are a plaque and De Vermibus Laceris.\n\n> You read it\nNow you can flick through the yellowing pages of the grimoire, you learn that to open a way to your lost husband, you must:\nblow the horn of the black goat,\nwhile the stars are reflecting upon the grimoire,\nwith the stars falling under his true star sign,\nand his most treasured memento,\nand a divine pustule,\nplaced in a chalk circle beneath the raised grimoire.\n\nOnly then will the way open.\n\nThe librarian disappears between the shelves for a bit, then returns.\n\n> You look in the sp.\nYou unzip the side pocket just enough to take a peek inside. It contains a trophy for a dog race (smelling faintly of mildew), a police report (\"Francine Cragne\") (smelling faintly of mildew), a backpack features guide (smelling faintly of mildew), some yellowed newspapers (smelling faintly of mildew), a grimy rock (smelling faintly of mildew), a glass jar containing an insect (smelling faintly of mildew), a filthy rug (smelling faintly of mildew), a black fountain pen (smelling faintly of mildew), a brass nameplate (smelling faintly of mildew), a broken silver amulet (smelling faintly of mildew), a familiar gold wristwatch (smelling faintly of mildew), a teapot (smelling faintly of mildew), an ominous-looking painting (smelling faintly of mildew), a dull machete (smelling faintly of mildew), a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box (smelling faintly of mildew), a cast iron spire (smelling faintly of mildew) and a library card (smelling faintly of mildew).\n\nThe librarian fusses about behind the counter.\n\n> Open Sopen sp .\nYou open the side pocket, revealing a trophy for a dog race (smelling faintly of mildew), a police report (\"Francine Cragne\") (smelling faintly of mildew), a backpack features guide (smelling faintly of mildew), some yellowed newspapers (smelling faintly of mildew), a grimy rock (smelling faintly of mildew), a glass jar containing an insect (smelling faintly of mildew), a filthy rug (smelling faintly of mildew), a black fountain pen (smelling faintly of mildew), a brass nameplate (smelling faintly of mildew), a broken silver amulet (smelling faintly of mildew), a familiar gold wristwatch (smelling faintly of mildew), a teapot (smelling faintly of mildew), an ominous-looking painting (smelling faintly of mildew), a dull machete (smelling faintly of mildew), a shard of shattered carapace (smelling faintly of mildew), a glass shard (smelling faintly of mildew), an ornate metallic box (smelling faintly of mildew), a cast iron spire (smelling faintly of mildew) and a library card (smelling faintly of mildew).\n\nThe librarian sorts some books.\n\n> You examine the wristwatch\nYou gave this to Peter as an anniversary present. It seems to have stopped. There is an inscription on the back.\n\n> You get it\nTaken.\n\nThe librarian fusses about behind the counter.\n\n> Close sp\nYou close the side pocket.\n\nThe librarian disappears between the shelves for a bit, then returns.\n\n> You go northwest\nThe only exit is to the west.\n\n> You unlock Shack with Key\nWhich do you mean, a tarnished brass key, the ornate bronze key (smelling faintly of mildew), the old iron key or the silver and ivory key?\n\n> Brass\n(the Shack Door with a tarnished brass key)\nYou unlock the Shack Door.\n\n> Go inside\n(first opening the Shack Door)\n\nInside the Shack (Daniel Ravipinto)\nThe shadows pool in strange shapes along the earthen floor of the shack, the only light coming from the cracks in the surprisingly high ceiling and through the opened door. Piles of accumulated junk that Peter's family must have stored here over the decades lie against the inner walls, which have turned grey with either dust or the mere passage of time.\n\nOne of the shadows at the shack's far end moves, then separates into a distinct shape, slumped against a supporting pillar. There's something in here with you.\n\n> You look at the shape\nBefore you can really react, the shadow shifts, tumbling from the pillar into a shaft of light.\n\nOh my god. It's Peter.\n\n> You examine Peter\nIt's definitely Peter, dressed as you last saw him, though his shoes seem to be missing. He looks awful. There's blood on his shirt and he looks like he's been crying. He doesn't seem to see you.\n\n> You ask Peter about the library books\nYou suddenly realize there's something standing between you and Peter. It's as if the air itself has become solid. You press forward and encounter resistance, your hand sliding across its surface. Looking closer now, you can see - lines, drawings, figures? a language? - sliding beneath the surface of this...barrier. They move and shift as if alive. You press again, then smash a fist against it to no avail. Peter doesn't react at all. It's like he can't see or hear you.\n\nPeter fruitlessly tries to wipe the blood from his shirt and hands.\n\n> About yourself\nThere's no mirror, but you can't imagine you're looking your best by this point. How long have you been wandering this damnable place by now?\n\n> You examine the coffee\nThe swirls in your cup form a unicycle. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\nPeter stumbles about, tripping and falling to his knees.\n\n> You examine junk\nThe junk ranges from the ancient to the recent, the obvious to the esoteric. And all of it quite useless.\n\n> Continue\nYou can tell already that there's nothing useful to be found among the piles, nor nothing to be done with them.\n\nPeter presses blindly against the barrier, pressing his forehead against the frozen air.\n\n> You examine the barrier\nThere's something clearly there, stopping you from getting to Peter. It's not like you can really see it or anything, but weirdly, if the room weren't so quiet, you'd almost think you could hear it.\n\nPeter goes to his knees and closes his eyes. He's praying.\n\n> You move the junk\nYou can tell already that there's nothing useful to be found among the piles, nor nothing to be done with them.\n\nPeter suddenly shivers.\n\n> You listen to the barrier\nThe silence you hear sounds unnatural, as though a tone were missing that ought to be present.\n\n> Go southeast\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA noncorporeal trolley stop sign reads Blue Line -- Library Square.\n\n> You go east\nThis is unusually spacious for a small-town library. You think you remember something about it being a national historical site? That would explain the decor, at least. It's half rustic colonial, half modern budget-strapped public service, with a meager collection of creaky shelves standing in the middle of an old plank floor. A small display case stands prominently near the entrance, and some weird chairs are scattered around for the comfort of the patrons, none of whom are here at the moment. The sole exit is back to the west.\n\nThe librarian's dress is lying in a deflated heap on the floor. A trail of slime connects it to a vent in the wall.\n\nOn the cart are Life Beneath Nightmares (smelling faintly of\nmildew), A Rudimentary Taxonomy of Known Scent and Grotesque Reactions, a slim hardback manual (smelling faintly of mildew),\nThe Dollmaker's Journal (smelling faintly of mildew), The Conservative's Cookbook, The Lives of the Roman Emperors\n(smelling faintly of mildew), Backwater Personalities (1915-1925 edition) (smelling faintly of mildew), an old paperback book (smelling faintly of mildew), a book New England and the Bavarian\nIlluminati, De Zeven Testamenten van de Krijsende\nZeeworm, a 'Pataphysical Approaches to Quantum\nSuperfluids (smelling faintly of mildew), Tolerating An Asinine\nGod (smelling faintly of mildew), The Seven Gaunts, a\npink-bound book (smelling faintly of mildew), Twin Hearts Between the Planes (smelling faintly of mildew), Legends of Lake Champlain and\nthe Hudson River Valley (smelling faintly of mildew) and a shabby journal.\n\nYou can also see a gray wig and a wax mask here.\n\n> You look at the dress\nIt's a plain dark floor-length thing with long sleeves and a high collar, like something an antagonistic Victorian governess would wear.\n\n> You look at the vent\nJust an ordinary heating vent, a few inches across, high on the back wall. A trail of slime connects it to the dress lying on the floor.\n\n> You look at the wig\nGray acrylic hair bound up in a tight bun.\n\n> You examine the wax mask\nA perfect replica of the librarian's face, molded in wax.\n\n> You wait for the Orange Line\nYou lean against the distant woods, hold out your pass, and wait for the orange line. Within moments, a noncorporeal trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA spectral trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You go east\nCuriosity Shop (Rachel Spitler)\nA mingling of comfortable scents welcomes you to the small shop -- coffee, apples, cedar, soap, peppercorn -- and below it, just a hint of something metallic you can't quite recognize. The large windows behind you cast a dappled sort of light over the rug-strewn floors, the cheerful back counter with its display case underneath, the walls crowded with goods for sale. The courtyard lies back out to the west.\n\nJessenia seems to be getting ready to close for the day.\n\n> You examine the walkie\nThis bulky device may or may not be a proper walkie-talkie. It might be old military equipment, or a kid's toy made up to look like military equipment. It has a large speaker, a long antenna, and a single button.\n\nA faint smell of mildew emanates from it.\n\n> Sell walkie\n(to Jessenia)\nJessenia does not seem to appreciate your walkie-talkie (smelling faintly of mildew).\n\n\"The sort of thing I'm looking for,\" she says, \"is something that will attract attention, but have no real importance. Let me know if you find anything like that!\"\n\n> You sell Vial\n(the little stoppered vial of blue liquid (smelling faintly of mildew) to Jessenia)\nJessenia chuckles over your little stoppered vial of blue liquid (smelling faintly of mildew).\n\n\"The sort of thing I'm looking for,\" she says, \"is something that will attract attention, but have no real importance. Let me know if you find anything like that!\"\n\n> You sell the Herring\n(to Jessenia)\nJessenia's eyes light up. \"Oh! Is this--? Did you bring this for the shop?\"\n(y/n):\n\n> Y.\n\"Haha! It's perfect! Look at you!\" She reaches out; you hesitate, checking the red herring's reaction, but it seems surprisingly interested. Gently, she takes the fish and holds it up in the air, cooing into its face in puppy-dog tones. Accordingly, it wriggles cheerfully like she's the best thing it's ever seen, which (if you're honest) she probably is. You have no idea what your face is doing.\n\n\"This is so much better than I expected,\" she laughs, lowering the fish. As she does, it suddenly flicks its body in one huge lurch and spits out an object, which clatters to the floor. After a moment's shock, Jessenia stoops down to pick it up, looking, if anything, more amused than ever. \"A funny old key,\" she says wonderingly. \"Ha! This fish knew what kind of shop it was coming to.\" She offers the key to you, grinning. \"Here you go --  a curiosity, with my thanks. Oh, and a receipt!\" Crossing to the counter with the herring nestled under her elbow, she quickly writes one out. \"I'll write a check and register you as a customer first thing in the morning. Come back and tell me if you find out where that key goes!\"\n\n(Your inventory became less wiggly, and you got the ancient key.)\n\n> You examine ancient Key\nA heavy, ancient key of some dark metal. The bow is of coiling, almost slimy-looking knotwork, while the wards are slightly pointed at the ends, like gothic windows. Despite the absence of rust, it gives a sense of having never seen the light of day before now. It feels dirty even after you wipe it on your pant leg.\n\n> You examine the styrofoam\nThe clouds in your cup form horizontal bands. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You go to the west\nCourtyard (Finn Rosenloev)\nAs you walk cross the square courtyard, you are repeatedly twisting your legs, and you cannot help but wonder how many broken legs these cobblestones have caused over time.\n\nA beautifully decorated well built by blocks of granite dominates the courtyard. Opposite it, to the east, is the entrance to the curiosity store.\n\nTo the north, a secret passage is hidden in the niche near the barred gate. Not too far from the well is the way down to the tunnel.\n\nAbove you, two guard towers rise majestically on either side of the drawbridge, and a parapet connects them so that soldiers of those days were able to quickly move from one side to the other.\n\nYou can't help but feel that the castle is watching you with expressionless eyes through the empty windows.\n\n> You examine the receipt\nYou're not sure what the going rate is for a normal herring, much less... that, but you're not complaining.\n\n> Go north\nYou maneuver behind the knight and enter the secret passage.\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA noncorporeal trolley stop sign reads Orange Line -- Constabulary Road."
    },
    {
        "text": "[Themes: Lovecraft, Comedy]\n\n> Continue\nYou hold down the button. The speaker blares out: \"\u2014room is my small contribution to Cragne Manor. This is my first piece of I7 in a few years as most of my time has been spent on enhancing Trizbort (shameless plug).\n\nFor as long as I can remember, I've\u2014\"\n\n> Go north\nThe Invisible Worm (Sam Kabo Ashwell)\nA dimly-lit tavern, old enough that all its straight lines have worn or warped slightly out of shape, and everything feels cluttered and a little too small; you've had apartments with living-rooms bigger than this. Heavy, dark beams support a low ceiling, and the walls are crowded with ancient farm tools and yellowing photographs. A cramped doorway, south, leads back outside.\n\nThe bartender impassively surveys the room.\n\nOld-timers monopolize the fireplace nook; a straggle of teenagers hunch in a corner.\n\n> You look at the coffee\nThe swirls in your cup form a skateboard. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\nThe old-timers wax poetic about the time Dorit Bucket's goat gave birth to a slithery growth. Most of the context seems to rely on details of local geography that you can't follow at all.\n\n> You listen\nYou hear nothing unexpected.\n\nThe old-timers speculate about the time Doctor Smith and his wife caused a scandal by their dissipation and wanton harlotry with Bernice Grave.\n\n> You listen\nYou hear nothing unexpected.\n\nThe old-timers rehash how Clem Carpenter broke Nick Fish's daughter's heart.\n\n> You continue\nYou hear nothing unexpected.\n\nThe old-timers talk about the time the Kinton boy got Bethany Till with a bastard.\n\n> Continue\nYou hear nothing unexpected.\n\nThe old-timers wax poetic about the time Jacob Nash and his wife caused a scandal with their indiscreet arrangement with the parson.\n\n> You continue\nYou hear nothing unexpected.\n\nThe old-timers discuss how the Baxter girl won't be causing any more trouble.\n\n> Keep going\nYou hear nothing unexpected.\n\nThe old-timers bicker about how the plaintive ghost of an Indian girl haunts the family home and Dilly Collamore refuses to speak of it. Somehow this relates to one of the old-timers owing another money.\n\n> You continue\nYou hear nothing unexpected.\n\nThe old-timers speak of whether it's safe to tap trees in Gemini.\n\n> Go east\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nAn insubstantial trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for the Lavender Line\nYou sit on the memorial bench, hold out your pass, and wait for the lavender line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nA mistlike trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> You wait for purple Line\nYou lean against the thing that isn't here, hold out your pass, and wait for the purple line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA phantom trolley stop sign reads Purple Line -- Cragne Manor."
    },
    {
        "text": "[Themes: female protagonist, Lovecraftian]\n\n> You go north\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe night sky is dark and full of stars. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\n> Go east\nA long and narrow room, with a satin wallcovering in rich, patterned green above the creamy wainscot paneling. The room is overcrowded with paintings and furniture. There are doors at either end of the gallery, leading north and west.\n\nIt's a godawful mess in here and it's entirely your fault. It looks like you've cleared the path through the room, and there may be nothing left to do but enjoy the paintings.\n\nYou can see a photograph here."
    },
    {
        "text": "> You look at the coffee\nThe swirls in your cup form an airplane. Modes of transportation mean that your current environment presents challenges that can only be overcome by seeking fresh perspectives elsewhere until you're ready to return.\n\nA faint smell of mildew emanates from it.\n\n> You wait for the black Line\nYou lean against the driveway, hold out your pass, and wait for the black line. Within moments, a phantom trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nAn insubstantial trolley stop sign reads Black Line -- Underground."
    },
    {
        "text": "[Themes: horror, female protagonist]\n\n> You unlock the sarcophagus with ancient Key\nYou press the key into the keyhole on the center of the sarcophagus. You encounter slight resistance.\n\nPushing the key further, you displace a pint's worth of black slime that wells up and drips down the sides of the sarcophagus. Your hand burns where the slime touches it, but it fades when you wipe it off.\n\n> You put ancient Key in the kp\nYou unzip the key pocket, deposit the ancient key, then zip the key pocket back up again.\n\n> Open sarcophagus\nYou kneel down in the filth and open the sarcophagus. The pent-up slime spills out and fouls your clothing.\n\nThe pulsing, withered source of the black slime quivers in the center of the sarcophagus: a repulsive cyst.\n\n> You get the cyst\nYou place both hands on the cyst and gently tug it. It separates from the fleshy veins attaching it to the sarcophagus. Ichor spills out of the wounds for a moment before slowing to a drip and crusting over.\n\n> You go to the north-east\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA ghostly trolley stop sign reads Black Line -- Underground.\n\n> You wait for the purple Line\nYou lean against the thing that isn't here, hold out your pass, and wait for the purple line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nA phantom trolley stop sign reads Purple Line -- Cragne Manor.\n\n> Go inside\nYou open the door further to allow you to pass through. You go inside the garden shed.\n\nThe Shambolic Shack (Michael Fessler)\nA dimly-lit shack with crude plywood walls. An octagonal window set high on one wall admits a feeble shaft of moonlight. Rickety wire shelving sits precariously in one dimly lit corner, and a battered metal wheelbarrow rests in the opposite corner. A rough doorway leads back out.\n\nYou can see some mildewed leather gloves here.\n\n> You look at the coffee\nThe swirls in your cup form a sturdy oak. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\n> You put the apple in the wheelbarrow\nAs you lower the golden apple (smelling faintly of mildew), the heaving surface of the soil is suddenly broken by a furiously working set of clattering mouth-parts and probing antennae -- followed immediately by the first several inches of a centipede, yellow and chitinous, thick as an elephant's trunk. The creature's antennae, sampling the dank air, quest about aimlessly.\n\nYou recoil, and snatch away the golden apple (smelling faintly of mildew). The giant centipede scuttles back into the soil. Apparently that wasn't the snack it was hungry for.\n\n> You put the sausage in the wheelbarrow\nAs you bring the desiccated sausage closer, the heaving surface of the soil is suddenly broken by a furiously working set of clattering mouth-parts and probing antennae -- followed immediately by the first several inches of a centipede, yellow and chitinous, thick as an elephant's trunk.\n\nSeveral antennae brush against the desiccated sausage, but soon move on in disinterest. Thoughtfully, you reclaim the rejected sausage. Maybe there's something you could do to make it even more tainted and disgusting?\n\n> You put the sausage in the gloves\nYou slide the desiccated sausage into one noxious glove and twirl it a few times. When you extract it, there are already fine strands of fungus spreading across its surface.\n\n> You put the sausage in the wheelbarrow\nAs you bring the desiccated sausage closer, the heaving surface of the soil is suddenly broken by a furiously working set of clattering mouth-parts and probing antennae -- followed immediately by the first several inches of a centipede, yellow and chitinous, thick as an elephant's trunk.\n\nSeveral antennae strain toward the fungus-wreathed sausage. Suddenly and with a resounding SNAP!, terrifying mandibles seize one end of the sausage. You hurriedly let it go, and watch the tainted charcuterie vanish into the centipede's maw. The creature's frenzied motions begin to slow. Perhaps it's sated for now.\n\n> You search the wheelbarrow\nA battered metal wheelbarrow. Or at least, it used to be when it still had a front wheel. With only a twisted axle remaining, I guess now it's just a \"barrow\". It is full of glistening black soil.\n\nA sudden movement draws your attention back to the wheelbarrow. The enormous centipede is lying coiled on the surface of the glistening soil, writhing in unearthly convulsions. As its movements slow, you see a wave of gray fuzz erupt from the creature's mouth and spread like fire down the length of its body. With one final convulsion, the fungus-encrusted monstrosity heaves itself over the wheelbarrow's edge, toppling to the floor with a sodden thud. It lies motionless, save for the swaying mycelial fronds protruding from every crack and orifice.\n\n> You examine the centipede\nThe motionless fungus-ridden carcass of a giant centipede, festooned with swaying mycelial fronds that protrude from every crack and orifice.\n\n> You search soil\nAfter a few moments of groping, your fingertips slide across a small jagged metallic object. You manage to get a grip on it, and a moment later, you're holding a tiny brass key.\n\n> You examine the tiny brass\nIt's too small to be the key to a door. Maybe a jewelry box, or a cabinet.\n\n> You unlock the cabinet with the tiny brass\nYou unlock the board games cabinet.\n\n> You put the tiny brass in the kp\nYou unzip the key pocket, deposit the tiny brass key (smelling faintly of mildew), then zip the key pocket back up again.\n\n> You open the cabinet\nYou open the cabinet.\n\n> You examine it\nThe board games cabinet is full of board games. That's why they call it the board games cabinet.\n\n> You examine the games\nThe games resist examination. When you try to scan them or look at them in aggregate, they swim in your vision. You get the sense that you could probably find a specific one if you knew the name of it.\n\n> Examine tv\nOn my waaaaaaay to where the air is sweeeeet...\n\n> You stand\nYou get out of the chair. Your new situation kinda sucks compared to earlier, when you were in the chair.\n\n> Play\n(the vial of rose extract)\n\n> Examine tv\nYou keep watching.\nThat cool pinball animation plays. You sing along, counting to 12.\n\n> Examine tv\nYou keep watching.\nAnother commercial comes on. A man has trouble believing that he ate the whole thing.\n\n> Examine tv\nYou keep watching.\nYou watch a short animation that teaches you to be less racist.\n\n> You look at the tv\nYou keep watching.\nAnother commercial comes on. Orson Welles reassures you that he will only sell you wine after its time.\n\n> You look at tv\nYou keep watching.\nAnother commercial. You are urged not to squeeze the Charmin.\n\n> You look at the tv\nYou keep watching.\nNobody except Big Bird can see Snuffleupagus. This reminds you of your current situation somehow.\n\n> You stand\nYou get out of the chair. Your new situation kinda sucks compared to earlier, when you were in the chair.\n\n> You look at the tv\nYou keep watching.\nAnother commercial comes on, this one for a board game called Marble Blasters.\n\n> You get Marble Blasters\nYou should just leave it where it is. Somebody might want to play it while you're gone.\n\n> You examine it\nYou find Marble Blasters and rummage through its contents. There's a board, eight red marbles, seven blue marbles, a couple of spring-loaded marble-flicker things, and hey, what's this? A card from a different game -- one called Moonbase Bravo.\n\n> You look at the moonbase\nYou find Moonbase Bravo and dig through the box. There are some cardboard squares with craters printed on them, three little plastic astronauts, a deck of \"moon unit\" cards, and a domino with \"Domino Destruction Derby\" printed on the back. That one must be from a different game.\n\n> You examine Domino\nYou grab Domino Destruction Derby and open the box. It contains a few plastic ramps, a few dozen dominoes, and a little square of cardboard with a spooky ghost printed on it. The back of the card says \"The Haunting of Haunt House\" on it -- it must be from a different board game.\n\n> You examine the Haunt House\nYou grab The Haunting of Haunt House and rummage around in the the box. There are lots of little cardboard tokens representing ghosts and goblins and mummies, and also a red, white and blue die-cast motorcycle with \"Evil Knievel's Canyon Jump\" stencilled on the side of the gas tank.\n\n> You look at the canyon jump\nYou grab Evil Knievel's Canyon Jump, hurl the lid across the room like the daredevil you are, and examine the contents. There's a disassembled plastic canyon, some ramps, some little metal figurines of impressed bystanders, and a card with a picture of a guy wearing a white chef's hat labeled \"Pierre Patisserie.\"\n\nYou flip the card over -- apparently Pierre belongs in a game called \"Murder Kitchen.\"\n\n> You examine Kitchen\nYou grab Murder Kitchen, reluctantly open the lid, and take a look at what's inside. There's a deck of cards representing different chefs you can murder, and a few full-sized rusty kitchen implements. Actually, hold on. One of the chef cards is actually an alien card from a different game -- Space Actuary.\n\n> You look at the Space Actuary\nYou grab Space Actuary and examine the contents. It's mostly just charts and tables with different fictional space diseases and their effects on life expectancy, but there's also a little resin sculpture of a child's head mounted on a plaque. What a creepy thing. You look at the back of the plaque, and see \"Suburban Safari\" embossed in it.\n\n> You look at Safari\nYou grab Suburban Safari and reluctantly open the box. The board depicts an entire town, but only the gun stores and cul-de-sacs are labeled. Among the grisly statuettes is a gauze eyepatch with \"Pirate Hospital\" printed on the strap.\n\n> You examine Pirate\nYou grab Pirate Hospital and examine the contents. There are a few small bottles of medical rum (all empty, sadly,) a set of pegleg-mounting wrenches, and a big rubber shark fin, which wouldn't be out of place in a pirate game, except that this is really more of a hospital game.\n\nYou take a closer look at the fin and see a small paper tag inside that says \"Shark Shark Shark Shark Shark.\"\n\n> You examine the Shark\nYou grab Shark Shark Shark Shark Shark and take a look at what's inside. It's four more of those shark fins, and a bottle of sunscreen labeled \"San Tropez Tanners by Ban de Soleil.\"\n\n> You examine Tanners\nYou pull out San Tropez Tanners by Ban de Soleil and examine its contents. There are a bunch of little plastic sunbathers, a few dice, a rulebook (in French) and holy cow, a rusty meat cleaver. That is not even a little bit safe for people in this game's intended age range. You'd better take it with you.\n\n> You get cleaver\nYou already have that.\n\n> You examine it\nThis meat cleaver is rusty and filled with old blood stains.\n\n> You wait for the red Line\nYou lean against the manor, hold out your pass, and wait for the red line. Within moments, a spectral trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you\nfind yourself transported to\n\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nA mistlike trolley stop sign reads Red Line -- Meatpacking Plant.\n\n> You go inside\nThe meatpacking plant (Kenneth Pedersen)\nYou are standing in the center of the main room of the meatpacking plant. An open doorway leads west from this huge room to somewhere darker, while some rickety stairs lead up. A long row of meat hooks are hanging from the ceiling parallel to a bloodstained table. It is not too late to leave yet, by going out the front door.\n\n> You look at the hooks\nThe meat hooks are rusty, stained and out of reach. They are all empty except for a hook at the southern end of the room, which holds the body of a dead animal, hanging from its legs head down.\n\n> You cut the animal with the cleaver\nYou take a deep breath and raise the meat cleaver. You carefully cut around the hard part of the stomach, to ensure you do not destroy whatever is in there. After a minute, a plastic bag leans out. You open it, revealing a single sheet of printed paper, which you take. Since you do not need the empty plastic bag, you stuff it back in the dog.\n\n> You put the cleaver in the sp\nYou unzip the side pocket, deposit the rusty meat cleaver, then zip the side pocket back up again.\n\n> You look at printed\nA low-quality photocopy of a hand-lettered original, slightly dog-eared. The title, Friends to the Worm Secret Menu, seems to\nhave been written with a calligraphy pen in crude imitation of a fancy letterhead, but the rest is roughly printed in Sharpie:\nEternal Chowder\nDrunken Goat of the Woods\nAncestor Sandwich\nFiddleheads Three Ways (SPRING)\nShivering Hill Special Reserve\n\n> Exit\nOutside the Plant (Chandler Groover)\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nA spectral trolley stop sign reads Red Line -- Meatpacking Plant.\n\n> You wait for the Orange Line\nYou lean against the livestock blood, hold out your pass, and wait for the orange line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA mistlike trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You go west\nOutside Pub (Jason Lautzenheiser)\nAs the street runs east through this side of town, it narrows as the jagged rooftops on either side of the road reach out to each other. To the north is the pub. You can continue to the west where you see a bridge. As you pause on the narrow brick sidewalk which lays unevenly along the ugly, half-crumbling brick walls, you hear a train whistle in the distance. A sign hangs loosely above the pub entrance and to the side is a murky window.\n\nYou can see a newspaper box here.\n\n> You go to the north\nThe Invisible Worm (Sam Kabo Ashwell)\nA dimly-lit tavern, old enough that all its straight lines have worn or warped slightly out of shape, and everything feels cluttered and a little too small; you've had apartments with living-rooms bigger than this. Heavy, dark beams support a low ceiling, and the walls are crowded with ancient farm tools and yellowing photographs. A cramped doorway, south, leads back outside.\n\nThe bartender impassively surveys the room.\n\nOld-timers monopolize the fireplace nook; a straggle of teenagers hunch in a corner.\n\nThe old-timers rehash the time Edmund Fuller's granddaughter's hog gave birth to a lifeless agglomeration of hair. Somehow this relates to one of the old-timers owing another money.\n\n> You examine the coffee\nThe swirls in your cup form a perfect fern, just like in a fancy latte. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\nThe old-timers squabble over the time Elderman Hardwick caught his ward with a state senator.\n\n> You look at the whetstone\nA dark grey, smooth whetstone, great for sharpening any cutting implements.\n\nThe old-timers talk about the time Deputy Fish's wife caught her son making time in the privy with a married woman. It's unclear whether this happened last week or last century.\n\n> You give Menu to the bartender\n(the bartender)\nThe bartender doesn't seem interested.\n\nThe old-timers go on about the time an itinerant fruit-picker stole a heirloom pitchfork that was on display in the pub.\n\n> You give Menu tthe old-timers\nThey're too wrapped up in their conversation to pay you any notice .\n\nThe old-timers go on about whether Cameron Diaz is a finer example of womanhood than Jennifer Anniston.\n\n> You give Menu to teenagers\nThey stare back at you with blank (and slightly fish-like) contempt.\n\nThe old-timers talk about the time the Collamore girl gave birth to a half-formed abomination that did not survive baptism. The pipe-smoker is visibly uncomfortable with the conversation, and contributes little.\n\n> You show Menu to the bartender\n(the bartender)\nThe bartender is unimpressed.\n\nThe old-timers gossip about how Purity Pewsey's youngest's daughter got no better than she deserved, and that that's what comes of not knowing your place.\n\n> Examine menu\nA low-quality photocopy of a hand-lettered original, slightly dog-eared. The title, Friends to the Worm Secret Menu, seems to\nhave been written with a calligraphy pen in crude imitation of a fancy letterhead, but the rest is roughly printed in Sharpie:\nEternal Chowder\nDrunken Goat of the Woods\nAncestor Sandwich\nFiddleheads Three Ways (SPRING)\nShivering Hill Special Reserve\n\nThe old-timers talk about the time all the goats were afflicted with the skitters and blindness, because the prophecy of Bernice Clerke was not heeded.\n\n> You ask the bartender about the special reserve\n(the bartender about that)\n\"Cragne tab, yeah?\" grunts the bartender, and appears to interpret the confused noise you make as assent. So presumably your orders are covered here? Or get billed to the house? You are not reassured.\n\nThe bartender raises his eyebrows, then presents you with a very small glass of a pale amber liquor. You're no whiskey expert, but the vapors coming off the stuff suggest that this is oesophagus-shredding stuff.\n\nYup. Tastes a little bit of oak but mostly of paint stripper, gives you a brief head-rush.\n\nThe old-timers bicker about how time-consuming it is to prepare an Ancestor Sandwich properly.\n\n> You ask the bartender about the whetstone\n(the bartender about the dark grey whetstone)\nHe ignores you completely.\n\n> You ask the bartender about the fiddleheads\n(the bartender about that)\nThe bartender cracks his knuckles and turns aside to prepare your food. This is complicated enough to require his full attention.\n\nThe old-timers speculate about whether the secret menu has become too much of an open secret.\n\n> You get whetstone\nThe bartender's back being momentarily turned, you summon your distant experience as a tween shoplifter (lifetime haul: two tubes of lipstick and a caramel Cow Tales), pretend to examine an old photo, and swipe the whetstone from its place on the wall. In this dim light nobody will even notice it's gone.\n\nThe bartender is busy cooking and has his back to you.\n\nThe old-timers bicker about how the Cra... (and here they glance furtively at you and trail off to a mumble) broke Dimona Nettles's heart.\n\n> You put the whetstone in the hidden pocket\nYou put the dark grey whetstone into the hidden pocket.\n\nThe bartender is busy cooking and has his back to you.\n\n> You close the hidden pocket\nYou close the hidden pocket.\n\n\"Order up,\" barks the bartender.\n\nYou receive a heaped bowl of fern croziers, baby fern fronds still curled up like feathery green snail shells, and variously prepared. The pickled ones taste like anything else that's been pickled; the steamed ones are delicious, crunchy and earthy and fresh; the battered ones taste like fried batter, except that the texture is ever so slightly reminiscent of chewing through the rubbery bones of an alien foetus. There's ranch dressing on the side.\n\nIn summary, it is very good and is done with much too quickly.\n\nThe old-timers converse upon the time Jeremiah Gilchrist caught his sweetheart with Jacob Purcell's eldest.\n\n> You look at the coffee\nThe clouds in your cup form a gentle ripple. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\nThe old-timers opine on the time a tourist stole a heirloom screwdriver from that very wall display.\n\n> You look at Menu\nA low-quality photocopy of a hand-lettered original, slightly dog-eared. The title, Friends to the Worm Secret Menu, seems to\nhave been written with a calligraphy pen in crude imitation of a fancy letterhead, but the rest is roughly printed in Sharpie:\nEternal Chowder\nDrunken Goat of the Woods\nAncestor Sandwich\nFiddleheads Three Ways (SPRING)\nShivering Hill Special Reserve\n\nA faint smell of mildew emanates from it.\n\n> You order Sandwich\nThe bartender cracks his knuckles and turns aside to prepare your food. This is complicated enough to require his full attention.\n\nThe old-timers converse upon the time Zerubbabel Buxton's nephew and his wife caused a scandal by their dissipation and wanton harlotry with Clem Crackstone.\n\n> You examine the photos\n(photos of you (smelling faintly of mildew))\nYou keep flipping through. There's a photo of you entering the manor after a hard squall, coat half-on and umbrella inside out, hair matted and face agonized -- from rain, you'd thought.\n\nA faint smell of mildew emanates from it.\n\nThe bartender is busy cooking and has his back to you.\n\nThe old-timers argue about Fly-Satan Ayer's pointless campaign for side judge.\n\n> You look athe old-timers\nThe three old boys around the fireplace - one pipe-smoker, one roll-up, one Lucky Strike - are fumigating the premises and talking shit about their families and neighbors.\n\nThe bartender is busy cooking and has his back to you.\n\nThe old-timers speak of how the Phelps family had always been bad and Dorcas was the worst of 'em, and it just goes to show you.\n\n> You examine the teenagers\nNot conspicuously blessed with the radiant bloom of golden youth; nor a grasp of basic hair care. They're nursing their beer with sullen frugality of a last round, so either they're broke or the barman's tolerance is approaching its limit.\n\nThe bartender looks over at you, slaps a plate on the bartop and grunts something that might be \"order's up.\" You take your sandwich, and retreat to a table to eat it.\n\nFrom Hobbing's Compendium of the North American Sandwich: The\nAncestor Sandwich is a true rarity, confined to a scattering of refugia within upper inland New England. The classic recipe comprises pickled herring, shredded kid goat, and wild ramps or similar pungent onions, served on sourdough and sauced with slampery, a bone\nbroth rendered down to the consistency of gelatinous mayonnaise. Seasonal greens or iceberg lettuce are sometimes added, to no appreciable effect. The authors have been unable to personally sample an authentic Ancestor Sandwich; the above information is gleaned from recipe-books and other textual references dating between 1890 and 1935. Personal experiments with these recipes have not been encouraging.\n\nIt's a lot of food. You make a brave go of it, and clean your plate. You might even want it again sometime, if it was about a quarter of the size.\n\nThe old-timers gossip about the time Roger Hart and his wife caused a scandal by carrying on with an infamous Arkham fetish model. Most of the context seems to rely on details of local geography that you can't follow at all.\n\n> You open the hidden pocket\nYou open the hidden pocket, revealing a dark grey whetstone.\n\n> Sharpen machete\n(with the dark grey whetstone)\nThese days you prefer plastic pull-through sharpeners, but you vaguely remember something like this from your days in scouting. You spit on the whetstone and rub it at an angle against the edge of the machete. You repeat this until the edge feels reasonably sharp against your finger.\n\nThen you suddenly remember a particularly annoying scout leader explaining to you, in his condescending way, how a machete isn't supposed to be sharp like a knife, and how it must be sharpened with a file and not a whetstone. Oh, well. Hopefully you didn't ruin it completely.\n\n> You go east\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA noncorporeal trolley stop sign reads Orange Line -- Constabulary Road.\n\n> You wait for purple Line\nYou sit on the memorial bench, hold out your pass, and wait for the purple line. Within moments, a spectral trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nAn ethereal trolley stop sign reads Purple Line -- Cragne Manor.\n\n> You cut the roots with the machete\n(the roots covering the sculpture with the sharp machete (smelling faintly of mildew))\nAfter cutting of a couple of roots from the statue, you realize that you can insert the machete blade under the weave of roots and sawing through it from inside, as if cutting up a fish. A milky fluid oozes from the cuts, as if trying to heal them. When you toss the roots aside, you get the strange impression that the statue is relieved.\n\n> You examine the statue\nThrough a yellow lichen that covers the white stone, two intensely red eyes made of some translucent material glare at you. The beak is open as if uttering a squawk. But the parrot actually looks less hostile since you removed the roots. Still not actually friendly, though.\n\n> You look at Tree\nThe moldy strangler fig roots cover the enormous trunk at the center of the greenhouse, seeming to melt into one another, making it impossible to tell what the host tree used to looked like. There are no branches within reach.\n\n> Go upward\nYou climb the unstable staircase.\n\nGreenhouse (Petter Sj\u00f6lund) (on the mesh walkway)\nYou're up the mesh walkway circling the greenhouse partway up the wall. The roots have grown into the iron mesh and railing as well, twisting it and breaking it apart. Between the roots and sharp metal edges there is hardly room to stand, but the branches stretching finger-like from the lower part of tree look sturdy and climbable.\n\nThe spiral staircase leads back down.\n\n> You climb the branches\nYou hold onto one of the more sturdy-looking branches and carefully move toward the tree at the center of the room.\n\nGreenhouse (Petter Sj\u00f6lund) (up the tree)\nYou're on one of the thick lower branches of the tree. The strangler fig roots cover the host tree completely. A sturdy, root-covered branch has grown into the walkway circling the greenhouse.\n\nThe branches above you look surprisingly climbable.\n\n> Go upwards\nHeights have always frightened you. Steeling yourself, you grab hold of the sturdiest branch you can find and pull yourself up. Your hands are trembling and slippery with sweat.\n\nGreenhouse (Petter Sj\u00f6lund) (higher up the tree)\nYou are among the murkier branches higher up the tree. Trying your best not to look down, it is still obvious that you would not survive a fall from this height. Here, gaps between the strangler fig roots reveal the original host tree, which looks like an African fern pine. Through a small hole in the host tree, you can see the strangler fig growing like a spinal cord through its hollow trunk. The tree continues upwards.\n\n> You cut fig\nYou cut away some roots. A viscous milky fluid is excreted from the cuts.\n\n> Go upwards\nIgnoring your sweaty palms and pounding heart, you force yourself higher. It's getting difficult to even find room to move between the branches and pointy twigs. You are starting to feel dizzy.\n\nGreenhouse (Petter Sj\u00f6lund) (even higher up the tree)\nUp here the tree is more like a thicket of thin, sharp, dead twigs, with flowering roots spiraling between them. There are some huge bones among the twigs and leaves \u2014 the skeleton of some prehistoric aquatic beast once mounted here, suspended from the ceiling by metal wires, now twisted and broken by the relentless growth of the tree. It seems possible to climb still higher from here.\n\n> You examine bones\nThe bones are black with yellow fungal growth, and swing unnervingly from their wires. Probably made of painted plaster of Paris, they might once have formed the skeleton of some kind of elasmosaurus.\n\n> You cut the bones\nYou carefully climb up to one of the bones, what actually looks like a number of huge vertebra molded together as one, and hit it with the machete. Spores billow up, dense enough to make you cough, and about half the bone comes off, bounces through the branches and shatters on top of the parrot sculpture below in a cloud of plaster.\n\nYou lose your footing and barely manage to grab hold of the other half of the bone, still swinging from its steel wire. Nearly blacking out with vertigo and fear, you make your way back to some reasonably safe branches further in.\n\n> Go up\nYou climb higher. It feels like crawling through a thorny bush. The entire crown of the tree sways along with your every move, and the glass ceiling crackles like thin ice. Sweat trickles into your eyes. Did you black out there for a moment? You feel like throwing up.\n\nGreenhouse (Petter Sj\u00f6lund) (top of the tree near the ceiling)\nThe entire treetop sways from your weight, up and down, this way and that. You are close enough to the glass ceiling to see the blue sky and bright sunshine outside.\n\nSomething is hidden behind the tightly woven branches and leaves here.\n\nThere is a loud squawk next to your ear. Everything goes black. You fall.\n\nThen consciousness returns. Only a second has passed. You are still falling. Instinctively you reach for something to grab onto, but every time you think you've got a hold on the sharp twigs and slithery leaves they slip out of your grasp.\n\nBut you keep trying, and eventually your fall slows down and the branches stop giving way below you. With a final lurch you find yourself swinging astride one of the lower branches of the tree, cut and bruised and in shock but still breathing.\n\nGreenhouse (Petter Sj\u00f6lund) (up the tree)\nYou're on one of the thick lower branches of the tree. The strangler fig roots cover the host tree completely. A sturdy, root-covered branch has grown into the walkway circling the greenhouse."
    },
    {
        "text": "> Go downward\nYou carefully hang from one of the lower branches and drop to the greenhouse floor below.\n\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nThe parrot sculpture protrudes from the roots near the exit.\n\n> Close beak\nThe sculpture has no moving parts. Its mouth is less than an inch deep.\n\n> You get Eyes\nThe eyes are firmly set in the statue. You can't get them out.\n\n> Kiss parrot\nThere is a slight trembling in the sculpture at your display of affection. Or did you just imagine it? Somehow you feel a desire for cleansing emanating from the parrot.\n\n> You cut the lichen\nAs you scrape off some mold, it turns into a cloud of spores.\n\n> Cut fungus\nThere is too much mold to scrape it all off.\n\n> You ascend\nYou hold onto one of the more sturdy-looking branches and carefully move toward the tree at the center of the room.\n\nGreenhouse (Petter Sj\u00f6lund) (up the tree)\nYou're on one of the thick lower branches of the tree. The strangler fig roots cover the host tree completely. A sturdy, root-covered branch has grown into the walkway circling the greenhouse.\n\n> You go upwards\nYou climb higher up the tree.\n\nGreenhouse (Petter Sj\u00f6lund) (higher up the tree)\nYou are among the murkier branches higher up the tree. Trying your best not to look down, it is still obvious that you would not survive a fall from this height. Here, gaps between the strangler fig roots reveal the original host tree, which looks like an African fern pine. Through a small hole in the host tree, you can see the strangler fig growing like a spinal cord through its hollow trunk. The tree continues upwards.\n\n> You look at the vinegar\nA gallon jug of white vinegar. The label is fairly faded but part of it reads, \"Possible uses: cleaning appliances such as coffee makers, dishwashers, and washing machines, making hardboiled eggs easier to shell, deodorant, and pouring it on hard-to-pull weeds in your driveway to kill them.\"\n\nA faint smell of mildew emanates from it.\n\n> Go upward\nYou climb even higher up the tree.\n\nGreenhouse (Petter Sj\u00f6lund) (even higher up the tree)\nUp here the tree is more like a thicket of thin, sharp, dead twigs, with flowering roots spiraling between them. There are some huge bones among the twigs and leaves \u2014 the skeleton of some prehistoric aquatic beast once mounted here, suspended from the ceiling by metal wires, now twisted and broken by the relentless growth of the tree. It seems possible to climb still higher from here.\n\n> Go upward\nYou climb still higher up the tree.\n\nGreenhouse (Petter Sj\u00f6lund) (top of the tree near the ceiling)\nThe entire treetop sways from your weight, up and down, this way and that. You are close enough to the glass ceiling to see the blue sky and bright sunshine outside.\n\nSomething is hidden behind the tightly woven branches and leaves here.\n\n> Search branches\n(the tightly woven branches and leaves)\nIs there some kind of cage hidden behind there? You are not sure.\n\n> You cut the branches\n(the tightly woven branches and leaves)\nYou cut through the branches with the machete. As the leaves fall away, a human-size birdcage, suspended from the ceiling, is revealed.\n\n> You examine Cage\nIt is a wrought-iron cage, large enough to fit a human. It is closed with a small latch. Through the bars you see what looks like a bird's nest.\n\n> You open Cage\nYou open the door. A bird's nest made of dry twigs fills the bottom of the cage. It is full of broken eggshells and small bird bones. Hidden among the bones is a strangely clean and intact small cardboard box.\n\n> You examine the cardboard\nIt's labeled \"Vacuum Component\".\n\n> You get it\nYou reach in through the birdcage door. As soon as your hand closes around the cardboard box, it seems to get darker outside. You hear a distant sound as from a thousand squawking birds, and it is getting louder.\n\nThere is a huge crash and sharp pieces of glass shower down all around you. Then the air is full of parrots. A pandemonium of red-eyed albino parrots, thousands of them, circling through the greenhouse like the water in a washing machine. They land on your back and in your hair, wherever you can't wave them off. Their sharp beaks peck at your skin, pinching it, pulling it, going for your eyes \u2014\n\nWhen you open your eyes you are on your back on the greenhouse floor, feeling your clothes soaking up blood. The parrots land on you and around you, their talons and beaks tearing into your flesh, but as you try to wave them off, you find that you are unable to lift a finger. The pain is unimaginable, yet you cannot make a sound, not even as one of them pecks out your eye.\n\n> You examine nest\nA bird's nest made of dry twigs fills the bottom of the cage. It is full of broken eggshells and small bird bones. Hidden among the bones is a strangely clean and intact small cardboard box.\n\n> You cut Cage\nYou strike the side of the cage. It sways away on its steel wire. A yellow cloud of spores billows up, dense enough to make you cough and your eyes run. But the cage itself seems unaffected."
    },
    {
        "text": "[Themes: Lovecraft, female protagonist]\n\n> You look around\nGreenhouse (Petter Sj\u00f6lund) (top of the tree near the ceiling)\nThe entire treetop sways from your weight, up and down, this way and that. You are close enough to the glass ceiling to see the blue sky and bright sunshine outside.\n\nThere is a human-size birdcage suspended from the ceiling here. Through the open door you see something inside that looks like a bird's nest.\n\n> You enter Cage\nYou grab the bars and put one foot on the floor of the cage, but a loud cracking noise from where the cage is attached to the glass ceiling makes you change your mind. You let go of the cage.\n\n> You close Cage\nYou close the birdcage.\n\n> You cut the wire\nThe wire is tough and the strike seem to have little effect, but when you look closer you see that a couple of metal fibers are loose.\n\n> Keep going\nAnother cut, and you're almost through. The cage nearly hits you on the rebound and you lose your balance, but you regain it by grabbing hold of the cage for a moment. New cracks appear in glass ceiling up where the wire is attached.\n\n> Continue\nYou grab the cage to steady it before placing the cut, and the last fiber of the wire snaps. As the cage falls, it snags on the branch you are standing on and pulls you down with it.\n\nA pandemonium of albino parrots is squawking and flapping all around you, their wings whipping your face along with the air. The ground is approaching rapidly.\n\n> You open Cage\nThe wire holding up the birdcage snaps at first touch. As the cage falls, it snags on the branch you are standing on and pulls you down with it.\n\nA pandemonium of albino parrots is squawking and flapping all around you, their wings whipping your face along with the air. The ground is approaching rapidly.\n\n> You get branch\nYou reach blindly for anything to hold onto, and your fingers close around a dry branch. It snaps right off, but not before slowing your fall a little.\n\nThe parrots all scream in horrible unison as the cage crashes into the stone parrot right below you, shattering it. A split-second later you hit the cage head first, and everything goes dark.\n\nWhen you open your eyes you are on the greenhouse floor, resting your head on the side of the battered birdcage.\n\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nThere is a battered human-size birdcage here. Between the wrought-iron bars you see something inside that looks like a bird's nest.\n\nYou can also see a half-full styrofoam coffee cup (smelling faintly of mildew), a pull-string doll (smelling faintly of mildew), Daniel Baker's note (smelling faintly of mildew), a waterproof flashlight (smelling faintly of mildew), an antique locket (smelling faintly of mildew) (closed), a pamphlet of home listings (smelling faintly of mildew), a trolley schedule (smelling faintly of mildew), a long hooked pole (smelling faintly of mildew), an employee ID card (smelling faintly of mildew), a rusty piece of metal (smelling faintly of mildew), a black business card (smelling faintly of mildew), a rusty flathead screwdriver (smelling faintly of mildew), a pair of garden shears (smelling faintly of mildew), a gallon jug of white vinegar (smelling faintly of mildew), a spray bottle that used to contain fungicide (smelling faintly of mildew), a piece of chalk (smelling faintly of mildew), an Italian magazine cutting (smelling faintly of mildew), a pinch of snail paste (smelling faintly of mildew), a metal flask (smelling faintly of mildew), a mallet (smelling faintly of mildew), a snowglobe (smelling faintly of mildew), a scrap of paper (smelling faintly of mildew), a rusted toolbox (smelling faintly of mildew) (in which is a jar of screws (empty)), a Piccoli Uomini Blu (smelling faintly of mildew), a Prurito Notturno (smelling faintly of mildew), a Lettera Segreta (smelling faintly of mildew), an Isole Perdute (smelling faintly of mildew), the Journal of Edwin Cragne (smelling faintly of mildew), a blank\npunch card (smelling faintly of mildew), a can of salt (smelling faintly of mildew), a 00A02209 punch card (smelling faintly of mildew), an AE9B711D punch card (smelling faintly of mildew), a 0B46E931 punch card (smelling faintly of mildew), a C353F128 punch card (smelling faintly of mildew), a 923647F1 punch card (smelling faintly of mildew), a FFFFFFFF punch card (smelling faintly of mildew), a golden apple (smelling faintly of mildew), a library note (smelling faintly of mildew), a silver urn (smelling faintly of mildew) (empty), a pewter box (smelling faintly of mildew) (empty), a slip of paper (smelling faintly of mildew), a little stoppered vial of blue liquid (smelling faintly of mildew), an a worn out, decaying picture (smelling faintly of mildew), a bottle of Pepto-Bismol (smelling faintly of mildew), a small blue journal (which you know is a journal because it says \"Mein Journal\" on the front)\n(smelling faintly of mildew), a jar of old keys (smelling faintly of mildew) (in which is a silver and ivory key), a creased square of paper (smelling faintly of mildew), a torn notebook (smelling faintly of mildew), a black horn (smelling faintly of mildew), a stubby pencil (smelling faintly of mildew), Limerickus Dirtius (smelling\nfaintly of mildew), some assorted teeth (smelling faintly of mildew), a wad of cash (smelling faintly of mildew), a box of Nilla Wafers (smelling faintly of mildew) (empty), some Nilla wafers (smelling faintly of mildew), a wine bottle (smelling faintly of mildew) (empty), a walkie-talkie (smelling faintly of mildew), a pointer thingy (extended) (smelling faintly of mildew), a bag of peanut (smelling faintly of mildew) (empty), an old iron key (smelling faintly of mildew), an ornate bronze key (smelling faintly of mildew), sketches of your face (smelling faintly of mildew), photos of you (smelling faintly of mildew), a box of vials (smelling faintly of mildew) (in which are a vial of frankincense, a vial of tuberose extract, a vial of geosmin, a vial of musk, a vial of rose extract, a spray decant vial, a vial of vanilla extract, an unmarked clear vial, an unmarked teal vial and an unmarked pale blue vial), a vial of cedarwood extract (smelling faintly of mildew), a tarnished brass key (smelling faintly of mildew), a folded up note (smelling faintly of mildew), De Vermibus Laceris (smelling faintly of mildew), a familiar gold wristwatch (smelling faintly of mildew), a wax mask (smelling faintly of mildew), a gray wig (smelling faintly of mildew), a librarian's dress (smelling faintly of mildew), Jessenia's receipt (smelling faintly of mildew), a Cyst (smelling faintly of mildew), a secret menu (smelling faintly of mildew), a dark grey whetstone and a sharp machete (smelling faintly of mildew) here.\n\nYou slowly get up, your body aching all over. But nothing seems to be broken.\n\n> You get all\npiece of chalk (smelling faintly of mildew): Taken.\n\npamphlet of home listings (smelling faintly of mildew): Taken.\n\npull-string doll (smelling faintly of mildew): Taken.\n\nDaniel Baker's note (smelling faintly of mildew): Taken.\n\nwaterproof flashlight (smelling faintly of mildew): Taken.\n\nantique locket (smelling faintly of mildew): Taken.\n\ntrolley schedule (smelling faintly of mildew): Taken.\n\nlong hooked pole (smelling faintly of mildew): Taken.\n\nemployee ID card (smelling faintly of mildew): Taken.\n\nrusty piece of metal (smelling faintly of mildew): Taken.\n\nblack business card (smelling faintly of mildew): Taken.\n\na rusty flathead screwdriver (smelling faintly of mildew): Taken.\n\npair of garden shears (smelling faintly of mildew): Taken.\n\na gallon jug of white vinegar (smelling faintly of mildew): Taken.\n\nspray bottle that used to contain fungicide (smelling faintly of mildew): Taken.\n\nItalian magazine cutting (smelling faintly of mildew): Taken.\n\npinch of snail paste (smelling faintly of mildew): Taken.\n\nmetal flask (smelling faintly of mildew): Taken.\n\nmallet (smelling faintly of mildew): Taken.\n\nsnowglobe (smelling faintly of mildew): Taken.\n\nscrap of paper (smelling faintly of mildew): Taken.\n\nrusted toolbox (smelling faintly of mildew): Taken.\n\nPiccoli Uomini Blu (smelling faintly of mildew): Taken.\n\nPrurito Notturno (smelling faintly of mildew): Taken.\n\nLettera Segreta (smelling faintly of mildew): Taken.\n\nIsole Perdute (smelling faintly of mildew): Taken.\n\nJournal of Edwin Cragne (smelling faintly of mildew): Taken.\n\nblank punch card (smelling faintly of mildew): Taken.\n\ncan of salt (smelling faintly of mildew): Taken.\n\n00A02209 punch card (smelling faintly of mildew): Taken.\n\nAE9B711D punch card (smelling faintly of mildew): Taken.\n\n0B46E931 punch card (smelling faintly of mildew): Taken.\n\nC353F128 punch card (smelling faintly of mildew): Taken.\n\n923647F1 punch card (smelling faintly of mildew): Taken.\n\nFFFFFFFF punch card (smelling faintly of mildew): Taken.\n\ngolden apple (smelling faintly of mildew): Taken.\n\nlibrary note (smelling faintly of mildew): Taken.\n\nsilver urn (smelling faintly of mildew): Taken.\n\npewter box (smelling faintly of mildew): You scoop the box out of its crumbling niche. A whiff of stale air hits you, and you recoil. Yet the box remains safely cradled to your chest. Something inside it thumps, as if to the rhythm of your heartbeat.\n\nYou can see no further into the grave.\nslip of paper (smelling faintly of mildew): Taken.\n\nlittle stoppered vial of blue liquid (smelling faintly of mildew): Taken.\n\na worn out, decaying picture (smelling faintly of mildew): Taken.\n\nbottle of Pepto-Bismol (smelling faintly of mildew): Taken.\n\nsmall blue journal (which you know is a journal because it says\n\"Mein Journal\" on the front) (smelling faintly of mildew):\nTaken.\n\njar of old keys (smelling faintly of mildew): Taken.\n\ncreased square of paper (smelling faintly of mildew): Taken.\n\ntorn notebook (smelling faintly of mildew): Taken.\n\nblack horn (smelling faintly of mildew): Taken.\n\nstubby pencil (smelling faintly of mildew): Taken.\n\nLimerickus Dirtius (smelling faintly of mildew): Taken.\n\nassorted teeth (smelling faintly of mildew): Taken.\n\nwad of cash (smelling faintly of mildew): Taken.\n\nbox of Nilla Wafers (smelling faintly of mildew): Taken.\n\nNilla wafers (smelling faintly of mildew): Taken.\n\nwine bottle (smelling faintly of mildew): Taken.\n\nwalkie-talkie (smelling faintly of mildew): Taken.\n\npointer thingy (extended) (smelling faintly of mildew): Taken.\n\nbag of peanut (smelling faintly of mildew): Taken.\n\nold iron key (smelling faintly of mildew): Taken.\n\nornate bronze key (smelling faintly of mildew): Taken.\n\nsketches of your face (smelling faintly of mildew): Taken.\n\nphotos of you (smelling faintly of mildew): Taken.\n\nbox of vials (smelling faintly of mildew): Taken.\n\njar of screws: Taken.\n\nsilver and ivory key: Taken.\n\nvial of frankincense: Taken.\n\nvial of tuberose extract: Taken.\n\nhalf-full styrofoam coffee cup (smelling faintly of mildew): Taken."
    },
    {
        "text": "[Themes: Comedy, Lovecraft, Lovecraftian, female protagonist, horror]\n\n> Look around\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nThere is a battered human-size birdcage here. Between the wrought-iron bars you see something inside that looks like a bird's nest.\n\nYou can also see a vial of cedarwood extract (smelling faintly of mildew), a tarnished brass key (smelling faintly of mildew), a folded up note (smelling faintly of mildew), De Vermibus Laceris (smelling faintly of mildew), a familiar gold wristwatch (smelling faintly of mildew), a wax mask (smelling faintly of mildew), a gray wig (smelling faintly of mildew), a librarian's dress (smelling faintly of mildew), Jessenia's receipt (smelling faintly of mildew), a Cyst (smelling faintly of mildew), a secret menu (smelling faintly of mildew), a dark grey whetstone and a sharp machete (smelling faintly of mildew) here.\n\n> You get all\nvial of cedarwood extract (smelling faintly of mildew): Taken.\n\na tarnished brass key (smelling faintly of mildew): Taken.\n\na folded up note (smelling faintly of mildew): Taken.\n\nDe Vermibus Laceris (smelling faintly of mildew): Taken.\n\nfamiliar gold wristwatch (smelling faintly of mildew): Taken.\n\nwax mask (smelling faintly of mildew): Taken.\n\ngray wig (smelling faintly of mildew): Taken.\n\nlibrarian's dress (smelling faintly of mildew): Taken.\n\nJessenia's receipt (smelling faintly of mildew): Taken.\n\nCyst (smelling faintly of mildew): Taken.\n\nsecret menu (smelling faintly of mildew): Taken.\n\ndark grey whetstone: Taken.\n\ncardboard box: The birdcage isn't open.\nsharp machete (smelling faintly of mildew): Taken.\n\n> You examine the parrot\nThere is hardly anything left of the parrot sculpture.\n\n> You open Cage\nYou open the door. A bird's nest made of dry twigs fills the bottom of the cage. It is full of broken eggshells and small bird bones. Hidden among the bones is a strangely clean and intact small cardboard box.\n\n> You get the cardboard\nTaken.\n\n[Congratulations! You have reached the violent conclusion of this room.]\n\n> You open cardboard\nYou open the cardboard box, revealing a vacuum component.\n\n> You examine the Vacuum\nA big antique thing-a-ma-bob that seems perfectly fitted to go inside a large, antique vacuum. Or at least you would imagine."
    },
    {
        "text": "> You describe your surroundings\nGreenhouse (Petter Sj\u00f6lund)\nNothing should be growing here anymore \u2014 the heating and irrigation have been off for years \u2014 but roots seem to have covered everything.\n\nThe walls curve inward, forming a huge dome, with a mesh of roots covering it from the floor up to about halfway to the ceiling. Sunlight still breaks through in places, throwing a pattern of bright spots across the room. The roots grow from an enormous tropical tree at the center of the greenhouse, towering all the way up to the ceiling, which it hides behind a thick crown of leaves.\n\nA spiral staircase, seemingly woven of roots, leads to a circular mesh walkway higher up along the wall.\n\nThere is a battered human-size birdcage here. Through the open door you see something inside that looks like a bird's nest.\n\n> You wait for the Eggplant Line\nYou lean against the placard, hold out your pass, and wait for the eggplant line. Within moments, a mistlike trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nAn ethereal trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> You go to the south\nDisheveled Studio (Katherine Morayati)\nThe studio must have been abandoned in a hurry. The bookshelves are ransacked, the easel in pieces on the floor, bulbs torn out of two of the ceiling lights. The only thing undisturbed is a table, solid like a slab, precisely in the center of the room. Several layers of heavy curtain block off crawlspaces to the north and southeast.\n\nThe room smells distractingly of Peter's cologne.\n\nNothing remains of the canvas but a hollowed-out shell.\n\n> Go southeast\nThe curtains swing back into place with a thud.\n\nAbandoned Nursery (Harrison Gerard)\nAn octagonal room. Dust coats the walls. In one corner, a crib. In the other, a dollhouse. Exits lead northwest, north, and northeast.\n\nYou can see a \"Gossipin' Gertie\" doll and a vacuum cleaner here.\n\n> You put the Component in the Vacuum\n(the vacuum cleaner)\nYou click the component into place. The vacuum is functional.\n\n> Clean dollhouse\nYou rub the dollhouse.\n\n> You turn on the Vacuum\nYou switch it on, and with a whir, it sucks the cobwebs clean from the dollhouse.\n\n> You examine the dollhouse\nA large wooden dollhouse. Its exterior is a nearly perfect match for Cragne Manor, but there's something odd about the interior.\n\n> You examine the interior\nThe interior rooms of of the miniature manor are all mixed up. Staring at the jumble for too long gives you a headache. Now that the cobwebs are cleared, though, you can search the rooms a little more thoroughly.\n\n> Search rooms\nYou reach into the dollhouse and retrieve a silver letter opener.\n\n> You go north\nInvasive Library (Justin de Vesine)\nOnce a study or a small sitting room, a particularly invasive species of library has taken over this space. Walls obscured by stacks of books. Ceiling hidden by stacks of books. The floor might as well be tiled with books. There's a path of sorts from a small doorway to the south to a desk amidst the overgrown collection, and to the southeast, a bookshelf has been shoved aside to reveal a passage through the wall.\n\n> You go east\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nA spectral trolley stop sign reads Eggplant Line -- Cragne Manor Attic."
    },
    {
        "text": "[Themes: Comedy, Lovecraft, horror, female protagonist]\n\n> Go downwards\nA shaft of light through the door to the west falls upon as tidy a closet as ever you've seen. The shelves are clear, and now you can see a trapdoor in the ceiling above them.\n\n> You go west\nMASTER BEDROOM (ROWAN LIPKOVITS)\nHere we have the master bedroom of Cragne Manor, which is by turns contradictorily capacious and cramped. Though you can't put your finger on it, something about this windowless chamber sucks the very air out of your lungs and puts you on edge. One would have to be a master indeed to achieve any rest in this offputting room.\n\nThough it is relatively sparsely furnished, it wouldn't be much of a bedoom without a bed -- and there it is, a four-poster tall, dingy, imposing and unsettling. Next to it is a bedside table, on which resides some torturously elongated lamp -- apparently the dim room's only light source, currently turned off.\n\nTo the west is the hallway door through which you first arrived, and to the east there is also a door to what is most likely a walk-in closet.\n\n> Go west\nUpstairs Hall, north end (Jason Love)\nImposing wooden doors lead north to the nursery (which is open) and east to the master bedroom (which is also open); a smaller doorway between them has been closed off with badly painted bricks. The top of the stairs is accessible through a narrow arch to the west, and the hall continues to the south.\n\nThe broken doors to the armoire lie on the floor near the center of the room.\n\nThe doorless armoire stands against the north-west wall. There's nothing inside.\n\n> You examine the mirror\nA regal woman with graying hair and harsh features stares back at you.\n\n\"Have you found my letter opener yet? I must ask that you return it to me immediately,\" Eustace says.\n\n> You examine the opener\nIt belonged to Eustace's father, Eustace Arthur Rolling the elder, who left it to your husband when he passed. Your Eustace is attached to it to a degree one might describe as concerning.\n\n> You give opener to Eustace\nHe proceeds to open the letter and read it quietly to himself. Within moments, he is more spirited than he's been in some time.\n\n\"Good news! I've been accepted to a professorship at Yale, beginning in the spring. We can finally leave Backwater and this wretched house behind us, and start fresh. Isn't it wonderful?\" He needs only notice your reluctant expression for his demeanor to change sharply. \"Oh, you mustn't fight me on this, darling. We can keep the house, if only to satisfy your pride, but moving is not a negotiation. I've lived in the shadow of your family and your house and your trappings for far too long. It is time for me to be my own man.\"\n\nYou try to maintain a stony expression, but his behavior makes it far too difficult. A condescending smile spreads across your lips. \"Your own man? Ha! You would never have been granted an interview without my uncle's influence, nor the time to write all those papers without living off my inheritance.\"\n\nHe takes several steps towards you. His eyes are darker than usual. His lips curl into a snarl. \"Your late father failed to discipline your tongue, as have I since our marriage. A correction in your behavior is long overdue.\" Before you can react, his hands encircle your neck and begin to squeeze.\n\n> You kill Eustace\nYou struggle against Eustace's grip, clawing uselessly on his arms, but he holds you fast. The letter opener. It's your only chance. You reach towards his breast pocket, fingers brushing against its smooth surface, and at last grab hold.\n\nThen you flail.\n\nSlash.\n\nAn awkward angle, and you drive it deep into his ear. His hands loosen. He collapses beneath you.\n\nYou stagger backwards, clutching your throat and coughing. Slowly, your breath becomes more even and the world returns to focus. Your husband is crumpled on the floor, the letter opener embedded deep in his ear. Blood spills from the wound and pools around his head.\n\n> You examine Eustace\nYour husband is now your late husband. The letter opener is buried hilt-deep in his ear.\n\n> You get the opener\nYou grab hold of the letter opener and pull. It slides out of your husband's head with more ease than you expected.\n\n> You look at the mail\n(the handwritten letter to you)\nMy dear mother,\n\nI hope you are well and remain so through this dreadful winter. I\nam happy to report your Christmas fruit cake survived the journey unscathed and has been enjoyed with great enthusiasm by the other boys. I am passing along their compliments. Second term is just beginning, and much work is anticipated. I will try to keep regular correspondence as you requested.\n\nMy nightmares have been growing worse as of late. Even though I\nnever met grandfather, I know it is he who visits me. I pray every night, but God seems to ignore me. What am I to do? Might you send some funds for a doctor? Perhaps he could prescribe a tonic to aid me in my sleep.\n\nI love you, mother, in so many ways and more. Give father my love.\nI will write again soon.\n\nYour beloved son,\nChristopher"
    },
    {
        "text": "[Themes: female protagonist, horror, Comedy]\n\n> You look at your surroundings\nA large bay window allows for ample light into the elegant sitting room. Above the fireplace hangs the portrait of the sneering Cragne ancestor. Near the westward entrance to the dining room hangs a mirror.\n\nEustace is lying in a pool of his own blood on the floor.\n\n> You look at the table\nThe furniture has been passed down the Cragne line for generations. They ought to be replaced, but Eustace prefers not to waste the money on them.\n\n> You look at the portrait\nThe great Horace Cragne is perched above the fireplace, maintaining a constant vigilance over the sitting room. You think he would serve better in the study. At the very least, he would avoid frightening the ladies from church when they visit for tea after Sunday service. His face is gaunt, features severe, and his eyes are rimmed a deep crimson. You prefer not to meet his gaze.\n\nHanging next to the portrait is a bell pull.\n\n> You pull the bell pull\nNot yet. She'll help you clean the mess, but it will require some... persuasion.\n\n> You search the portrait\nYou feel as though a curse would descend upon you should you touch the thing.\n\n> You examine the fireplace\nThe fire does its best to repel the deep February chill. Above the fireplace is a portrait, and beside that is the bell pull.\n\n> You examine the window\nThrough the window you have a view of the front porch, from which hangs the peculiar chimes that whistle and clang eerily with each passing breeze. Beyond is the wide yard, and beyond that the forest line, and farther still, Backwater. If you squint hard enough, you can sometimes make out a few townspeople wandering about, attempting to find some significance in their lives.\n\n> About yourself\nYou are Lillian, lady of Cragne Manor. Some days, you wish you were someone else. But only some.\n\n> You cut yourself\nCutting you up would achieve little.\n\n> Inventory\nYou are carrying a letter opener and a handwritten letter to you.\n\n> Burn letter\n(the handwritten letter to you)\nThis dangerous act would achieve little.\n\n> You examine the chimes\nIt's a collection of long, slender chimes that have hung from the porch since long before you were born. You don't like listening to them, nor do you wish to touch them nor remove them from their chain. A dilemma, to be sure.\n\n> You burn eustace\nThis dangerous act would achieve little.\n\n> You get the chimes\nThe chimes are merely a view beyond the window.\n\n> Go west\nYou have the urge to look in the mirror before you depart. It's a quirk of yours you can't seem to avoid.\n\n> You look at the mirror\nYou gaze at your reflection, your eyes rimmed red. There's a spattering of blood on your face and across your dress. Some stains can never be cleaned, once they are too deeply set. In such cases, you must rid yourself of the garment entirely. You should never have become Mrs. Rolling. How ridiculous you've been. You are a Cragne through and through, like your father, and your father before him, back to the very founding of Backwater. So, too, shall your son be a Cragne. It is in the blood.\n\nAnd then, you are not you. You are the other you, yourself. You clutch your stomach and heave, ready to vomit, the image of that man lying in his own blood fresh in your mind. You weren't actually there, right? It was all in your head. Got to be.\n\nYou look down and find yourself holding a strange windchime. How did you get this? Maybe Lillian thought you should have it. You doubt you'll ever really know.\n\n> You examine the chime\nIt's a bizarre thing, the width of your two thumbs together and as long as your hand, shaped something like a bookmark and as thin as one, yet it's intensely heavy - far more than its slight form would indicate. It looks like a windchime or part of some musical instrument. It's clearly made of metal, but you're unable to easily identify the kind, for its coloring seems to shift in the light - one moment a solid silver, the next bronze, the next almost golden. Running through the material is some sort of greenish corrosion and stamped or carved into its surface are a multitude of strange, sinuous symbols. You can't make heads nor tails of any of them. It feels slightly warm to the touch.\n\n> Ring chime\nYou flick the chime gently with a fingernail. Nothing seems to happen at first, then the chime begins to produce a gentle thrum seeming to emanate from deep inside its core. Over the next few moments, the hum increases in intensity until the chime is softly buzzing in your hand. It seems to give no indication of stopping any time soon.\n\n> Go west\nDining Room (Roberto Colnaghi)\nA long, rectangular mahogany table takes up most of the room. The room is old and dusty, and it seems decades have passed since the last time someone had dinner here. On the table lies a broken machine, and a calendar is pinned on the wall. Doorways lead west, east, and south.\n\nThe chime suddenly shudders more violently in your hand.\n\n> Go south\nLanding at the Bottom of Stairs (Mark Sample)\nThis is a dark alcove with a narrow stairway rising into the gloom upstairs. Shadows lurch over a doorway to the south. Opposite those shadows lies another doorway, in even darker shadows. What little light there is seeps in from a small elliptical window high on the wall.\n\nThe ramshackle bookshelf lies in a pile of splintered wood on the floor like a fallen scarecrow, arms akimbo.\n\nThe ringing of the chime redoubles.\n\n> You go to the south\nFoyer (Greg Frost)\nStanding in the narrow entry hall is like being at the mouth of a cave. The only light comes in through tall windows on either side of the door and a half-round window above. All of the furniture has been removed from the foyer, leaving tracks in the heavy dust.\n\nThe night sky is dark and full of stars. Hallways lead west and east into other parts of the house. A doorway leads north; the front door is to the south.\n\nThe chime suddenly shudders more violently in your hand.\n\n> You go south\nMudroom (Matt Weiner)\nThe porch is a mudroom, a place for taking off coats and muddy shoes. The marble front wall seems like a sheer cliff face, the porch like a flimsy shelter built onto it. The front door leads inside to the north.\n\nIn one corner of the porch a strangely shaped hook is fastened to the wall. A black cloak hangs beside it.\n\nIn the other corner of the porch is a small wooden table.\n\nA slightly muddy welcome mat lies in front of the door.\n\nAgainst the front wall are a pair of blue cloth slippers and a single brown leather boot.\n\nYou can also see the mate of the first leather boot here.\n\nThe ringing of the chime redoubles.\n\n> Go south\nFront Walk (Matt Weiner)\nCragne Manor looms to the north. Its light gray marble front is marred by a screened-in wooden porch, clearly tacked on well after the manor was built. A gravel path bends around the manor to the northeast and northwest, and the driveway leads south back to town.\n\nBy the porch steps is a post with a placard reading \"31.\" A strange little manikin is affixed to it.\n\nAn insubstantial trolley stop sign reads Purple Line -- Cragne Manor.\n\nThe vibration of the chime is slightly stronger now.\n\n> You stop chime\nYou flatten the strange chime between your palms. For a long moment, it seems as if nothing will happen, that the chime will ring forever and ever. You push harder. There is still no response. Just when you are about to give up, the chime's ringing begins to fade. Within a few moments, it is silent once more.\n\n> You wait for Gold Line\nYou lean against the porch, hold out your pass, and wait for the gold line. Within moments, a ghostly trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you\nfind yourself transported to\n\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nAn insubstantial trolley stop sign reads Gold Line -- Church.\n\n> You go north\nIt is possible to feel claustrophobia out of doors. Sunlight fills the sky but somehow doesn't reach you here. Steep banks of bramble rise to the east and west, trapping you within a gloomy trough a dozen yards wide. A poorly-surfaced road leads north and south along the trough's nadir. Just west of it, camouflaged with rust, is the train track.\n\nA tremendous patch of milkweed, the stems abnormally thick and tall, grows on the east side of the road beneath the thorn bank.\n\nA green stone altar, once at the center of the shack, stands amidst broken boards and milkweed.\n\n(That earworm is still lodged in your head.)\n\n> You lie on the altar\nYou get onto the stone altar.\n\nYou lie down, settling your body into the impression and your face into the cavity at the end. The milkweed leaf mask protects your face from the strands of orange slime that you belatedly notice fill the cavity. Is it even you doing this? It feels like the most natural action in the world.\n\nAs you press your face deeper into the cavity, your vision warps. The world seems to fold and buckle: what was convex becomes concave and what was concave becomes convex.\n\nThe altar wobbles and inverts, giving you the bizarre sensation of lying atop a smooth green hole that floats in midair. Deeper within the hole is a shelf of green stone with something resting (how?) on it.\n\n> You put the iron key in the sphere\nThe imaginary sphere rotates suddenly, spinning the slot away from the old iron key (smelling faintly of mildew).\n\n> Go upward\nYou mount the ladder, making sure your feet catch each rung, and climb to the ceiling don't look down! through the square opening...\n\nSteeple (Michael D. Hilborn)\nDisjointed and decaying pillars of wood form the arches that make up the walls of the church's steeple. The arches, open to the sky, tower over you, ending in a webwork of thick rafters which support the belfry above and ultimately the church's spire. A series of ropes slither down from those rafters, centered over a square hole in the floor that leads down into the bowels of the church.\n\nA misshapen mass slumps in one corner of the steeple.\n\n> You ask the gnome about the author\n\"He considers himself an interactive fiction enthusiastic,\" says the gnome. \"Has been since the age of ten when he first played \"Zork.\" He's only published one major work, \"The Life (and Deaths) of Doctor M,\" and a couple shorts for the tribute album \"Apollo 18+20.\"\n\n> You ask the gnome about the beta testers\nThe gnome flips through his notebook. \"Ah, yes, the author would like to thank the following folks for their remarkable endurance and patience while testing this room: Greg Frost, Michael Lin, Hanon Ondricek, and Andrew Schultz.\"\n\n> You ask the gnome about the ropes\n\"Hopefully, the player will deduce from various clues that they need to be pulled in a certain sequence.\" The gnome drops his voice to a conspiratorial whisper. \"Did you know there are four different sequences that can be rung?\"\n\n> You look at Tome\n(De Vermibus Laceris (smelling faintly of mildew))\nA massive tome, with ragged pages bound in badly-decayed black leather. You can just make out the words \"DE VERMIBUS LACERIS\" embossed on the cover, and \"Azban\" underneath that in smaller type.\n\n> You look at the corpse\nSo misshapen is this poor figure that it's difficult to tell where its head ends and its torso begins. Its back is horrendously humped, its face an amorphous mass of tumors with sunken holes for eyes. What appears to be its mouth is open in a silent scream.\n\nHard to say how long the corpse has been here in the steeple, but it seems ancient, skin and clothes desiccated and thin like parchment, somehow mummified. It's slouched--or sitting?--on the floor in one corner of the steeple.\n\nOn the corpse's lap rests an open tome. Another book lies near the corpse: A worn, leather-bound journal.\n\nThe gnome shakes his head. \"Poor soul. His story is told in the journal lying next to him. His presence was inspired by the 'Hunchback of Notre Dame.'\"\n\n> You look at Journal\nWhich do you mean, the worn, leather-bound journal, the small blue journal (which you know is a journal because it says \"Mein\nJournal\" on the front) (smelling faintly of mildew) or the\nJournal of Edwin Cragne (smelling faintly of mildew)?\n\n> You examine worn Journal\nAbout the size of your hand. The binding is cracked and torn, the pages yellow with age.\n\n\"The journal tells the story of that poor soul over there,\" says the gnome, pointing at the corpse. \"The style of language within the journal is inspired by the way that gargoyles speak in 'Ultima VI: The False Prophet.' The author of this room thought it might add a little flavor, for better or worse.\"\n\n> You put the vermibus in the hidden pocket\nYou put De Vermibus Laceris (smelling faintly of mildew) into the hidden pocket.\n\n> You ask the gnome about the gnome\nThe gnome places a hand to his heart. \"Me? Why, I'm the gnome of commentary, hired to give little tidbits of information about the implementation of this room. Sadly, I'm one of the more complex objects in here.\" He nudges you. \"A little too much effort for an easter egg, in my humble opinion.\"\n\n> You close the hidden pocket\nYou close the hidden pocket.\n\n> You examine Tome\nCradled in the corpse's lap, the humungous tome lies open as if the corpse still studies the pages. It's clearly ancient, the pages withered and yellow, like the skin of the corpse itself, its leather bonding cracked.\n\nThe gnome taps the tome. \"An important part of the puzzle. The corpse points to the name of the star alignment that one sees when examining the ceiling of the steeple. If you ring the bells in the proper order, you can learn the name of the true sign of Peter Cragne.\"\n\n> You ask the gnome about Peter\nThe gnome flips through his notebook, then shakes his head. \"I'm afraid I don't have any information on that.\"\n\n> You look at the notebook\n(the torn notebook (smelling faintly of mildew))\nMany pages are torn out, and those that remain are mostly smudged or otherwise illegible. One, however, stands out because it appears to have been pasted into the notebook. It looks like a letter.\n\n\"September 21, 1908\n\n\"...les Cragne, Rufous Alderman,\n\n\"I was pleased to hear of your success with ... of the ritual...\n\n\"...Sinclair's pamphlet will bring unwanted atte... ...ven to your remote operation. I hope I need not remind you ...tance of ... role ...\n\n\"... can get ... blood befo... ...crifice must be complete by the coming full moon... Vaadignephod will...\n\n\"Yours in fraternity\n\n\"... of the Variegated Court\"\n\n\"Cattle: 10 gal, 200 / hr, 24000 gal\nHog: 5 gal, 500 / hr, 30000 gal\nMan: 10 pt, 1 / day, 10 pt\"\n\n> You examine the landscape\nThe steeple must rise higher than you think, for it penetrates a cloud bank that stretches to the horizon, and most likely beyond. As calm as the sea on a breezeless day, the clouds ripple with a hazy, pale green glow. Occasionally, part of the surface erupts in a silent flash of light.\n\nThe gnome squints toward the landscape. \"Hard to say what lurks beyond those clouds, but if you examine them enough, you'll get hints of what is going on down there.\"\n\n> You look at the stars\nPinpricks of sickly, green light. A multitude of them, though many others must be veiled behind the murk that is the atmosphere.\n\nThe gnome shields his eyes as he looks up at the sky. \"Not much up there, is there? But the stars and moons play an important part of this room's main puzzle.\"\n\n> You examine the bells\nHard to discern how many bells hang up there in the shadows of the belfry, but they are large, very large, and with the starlight streaming through a perforated ceiling above them, you can distinguish at least four.\n\n\"Although the player can't see the bells,\" says the gnome, \"they hopefully will deduce that there is one of gold, one of silver, one of copper, and one of iron up there.\"\n\n> You ask the gnome about the notebook\n(the torn notebook (smelling faintly of mildew))\nThe gnome flips through his notebook, then sighs. \"I'm afraid I don't have any information on that.\"\n\n> You examine notebook\nA small gnome with a pair of spectacles resting upon his pointed nose and wearing a red cap. He carries a small notebook.\n\nThe gnome places a hand to his heart. \"Me? Why, I'm the gnome of commentary, hired to give little tidbits of information about the implementation of this room. Sadly, I'm one of the more complex objects in here.\" He nudges you. \"A little too much effort for an easter egg, in my humble opinion.\"\n\n> You look at Hole\nCut into the middle of the floor, the hole opens upon a set of rickety stairs which lead down into the bowels of the church.\n\nThe gnome flips through is notebook, coming up empty-handed. \"Yes, ah, well, it's a hole, what else can I say? You could try dropping something in it, I suppose, though nothing exciting will happen.\""
    },
    {
        "text": "[Themes: horror]\n\n> You go downwards\n\"Very well, if you no longer need me. . .\" The gnome bows, then disappears with a *poof*.\n\nNarthex (Hanon Ondricek)\nThe narthex extends the width of the church. Despite the\ngloominess, it's not that unwelcoming except for the eye-watering pattern of industrial linoleum floor tiles. They checkerboard underfoot in grayish green and grayish white squares with dark speckles, stopping only at the margin marked by a wall border at waist level.\n\nleads out of the building.\n\nTwo side by side openings lead in to restrooms.\n\nShattered glass and broken pieces of picture frames cover the floor of the narthex around the edges near the walls.\n\n> Leave\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nAn insubstantial trolley stop sign reads Gold Line -- Church.\n\n> You wait for the blue Line\nYou lean against the thing that isn't here, hold out your pass, and wait for the blue line. Within moments, an ethereal trolley arrives. Instead of stopping and allowing you to board, it passes\nthrough you, and you find yourself transported to\n\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA mistlike trolley stop sign reads Blue Line -- Library Square.\n\n> Go inside\nInside the Shack (Daniel Ravipinto)\nThe shadows pool in strange shapes along the earthen floor of the shack, the only light coming from the cracks in the surprisingly high ceiling and through the opened door. Piles of accumulated junk that Peter's family must have stored here over the decades lie against the inner walls, which have turned grey with either dust or the mere passage of time.\n\nPeter is here.\n\nPeter paces nervously.\n\n> You examine the coffee\nThe swirls in your cup form a single cherry. Botanical images mean that while there is much left to accomplish in the present situation, your immediate environment sustains you, and you have everything that you need.\n\nA faint smell of mildew emanates from it.\n\nPeter lies down and seems to go to sleep. A few moments later, he jolts awake.\n\n> Ring chime\nNothing happens. You try again. Still nothing.\n\nThe third time the chime bellows in response, a deep, aching\ntone like a brazen bell the size of the manor itself. And then, silence. And yet the tone goes on - for you can feel it in the bones of your hand, your chest. And then\n\nthe chime is falling from your nerveless fingers as your hands clamp to your ears. For the ringing must still be going on, but your\nears...\n\nYour hands come away, covered in blood and the grey walls of the shack slide to one side and you see Peter, on his feet, tears running down his face, screaming silently at you as he slams his fists against the strange barrier again and again and then it shatters and him\nalong with it.\n\nA thousand shards of Peter are floating in the air, rotating slowly in the light and then they each slowly align, each a tiny dagger pointed at your face and then they fly...\n\nA cramped and claustrophic darkness sketching out a triangular space of a few square feet. There must be light of some kind, because you can see, but for the life of you, you couldn't say where or what it's coming from. The walls are the same solid air you saw in the shack, but without the sigils you saw under the surface. Outside is only darkness.\n\nSomehow, again, trapped in the same, small space, is Peter, lying slumped against the far wall.\n\n> You look at Peter\nPeter's eyes roll upwards until they're pointed in your direction. He blinks exhaustedly. He's dressed in the same grey shift you find yourself wearing. He blinks again, as if uncertain what he's seeing, then he starts backwards as if surprised. Then he climbs to his knees and smiles.\n\n\"Darling?\" he asks, passing his hand over his face in disbelief. \"Is that you?\"\n\nHe stands and takes a single step closer to you and somehow whatever is allowing you to see here brightens. Now it is you who is\nblinking.\n\nHis face is wrong.\n\nThis isn't Peter. You don't know how you know but you know. There's something in his eyes, in the planes of his face.\n\n\"What?\" the thing that is not your husband says, his mouth moving just a millimeter too much, his eyes half-closed, hiding something horrible behind the lids. \"What is it?\" he asks, with an awful wonder in his voice that turns your stomach. This is not Peter. This is Not-Peter.\n\nNot-Peter approaches you slowly, frowning. He walks the length of the prism, back and forth, his eyes never leaving yours. Then he stops dead. \"You're not her, are you? You're...who are you?\"\n\n> You say vaadignephod\n(to Not-Peter)\nNot-Peter shudders. \"What are you?\"\n\n> You say naomi\n(to Not-Peter)\nNot-Peter frowns and presses himself against the prism wall, keeping as far from you as possible.\n\n> You say Cragne\n(to Not-Peter)\nNot-Peter suddenly turns to you, clearly angry. \"What have you done with her!\" he shouts. \"What have you done with Naomi?\"\n\n> You say vaadignephod\n(to Not-Peter)\nThe non-light in the darkness beyond the wall flares and beyond it you can now see -- another prism. Another space defined by three walls, one of which is the wall of your own cell. And in that space -- another you, another Naomi, dressed in a grey shift. And with her, another Peter.\n\nNot-Peter spins and stares at the pair, then looks back at you. \"Is she the real...\"\n\n> About yourself\nWhat you were wearing and everything you carried are gone. You're been left clothed in a coarse grey shift, barely enough for modesty.\n\nThere's another flare and the light expands. Now there are\ntwo other prisms.\n\n> You look at the prisms\nThere are four - two of Peter, two of you. The newest two can seem to see the older two. They're pounding on the prism walls to no avail.\n\nThere's another flare of non-light on either side of the prism. The number of others jumps to eight.\n\nFar in the distance, you can make out what's happening in another chamber. Naomi is screaming and ripping at her face. Her eyes are gone. Peter keeps trying to offer her one of his.\n\n> You look at Peter\nNot-Peter cannot take his eyes off the other cells. His face is pressed against the wall, his eyes flickering constantly from face to face.\n\nThe thing illuminating this space breathes outward. Doubling,\ndoubling  again -- so sixty-four copies?\n\nYou glance up. There is nothing in the prism other than six arms, arranged against the walls. You can't tell who they belong to from here.\n\n> You hit Peter\nHe's shocked by your sudden outburst of violence, but he manages to fend you off.\n\nMore non-light, more people ... hundreds...\n\nThere's another prism visible now. Peter is laughing. He can't stop laughing. He is gasping for breath, and his lips are turning blue. But the laughter still comes.\n\n> Kiss peter\nNot-Peter might not like that.\n\nOh god. You somehow now know that there are exactly 1,227 copies around you. But you don't know which of you or Peter is missing a copy.\n\nYour eyes randomly focus on one of the other chambers. Peter and Naomi are calmly drinking tea. At least you think it's tea. Now Peter is eating his cup.\n\n> You say vaadignephod\n(to Not-Peter)\nAnd now the non-light expands outwards - up and down and you\nare at the center of a matrix extending infinitely in all directions and all there are are walls and Naomis and Peters. For ever and ever, amen.\n\nFaced with the infinite, Not-Peter manages to pull himself away from the prism wall. He turns on you, tears in his eyes. \"Which one? Which one is us? The real us?\"\n\n> You say yourself\n(to Not-Peter)\nNot-Peter drops to his knees and begins to sob. \"I can't take it anymore. I can't. I've just -- there's nothing here. Nothing real.\"\n\nAs he continues to sob, you notice a strange shimmering along the back of his hands.\n\n> You look at the hands\nA strange helix of multicolored strings are attached to Not-Peter at various points - his hands, his elbows, his head. They vanish into the infinite madness of copies above you.\n\nmore of them - more threads, pulling upwards towards the ceiling...\n\nOh god. There's something in the ceiling.\n\n> You look at the ceiling\nThere is a thing. In the prism. In the ceiling. A spider thing. Eyes and legs and threads of rainbow. And all of them are attached to Not-Peter.\n\nNot-Peter turns and the spider-thing turns and he opens his mouth and it opens its mouth and oh god its speaking and and crying in time with him because they're the same thing and god please let none of this be real nothing will ever be real again --\n\neyes are looking into your eyes because they're its eyes because you chose to move your hand and your eye and it's not telling you\nyou're telling it and then you pull back and it pulls up and then it's puppets all the way down...\n\nAn origami unfolding of your mind along an axis that you always knew was there but did not wish to see. A centipede with a million arms unfolding in all directions. Circles of patterns and routines. Sharp edges of improbability. Jagged lines of perverse action. Outright impossibilities cutting deep, defining a horizon.\n\nAnd then a slowing and a flattening, and there you are, all of you -- all you were and are and could be -- laid out on the grey slab that is the rest of your non-reality. Pinned and flensed and categorized and autopsied before the great mass of eyes and twitching limbs above. And still the thread climbs and your sense of self climbs with it and then they both narrow and expand and soon you are not even you anymore...\n\nThe Vaadignephod-continuity was exceptionally clear as to what is to be allowed. The complete possibility space of the intersection of the Naomi-entity and the Peter-entity has been given over to the Weaver-continuity for purposes of experimentation and/or entertainment in exchange for support of material and/or energetic resources within the bound-domicile up to and including quasi-real multi-dimensional manifestations, as well as any necessary calculations performed within the given hypergeometric domain.\n\nAn equitable and standard enough exchange, like much of existence in the lower dimensions: limited, but full of possibility.\n\nThe initial state-machine, however, has revealed the full possibility space available utilizing only the entities' immediate physical manifestations to be rather small. It seems there is, in fact, a hard and considerable limit to how much a continuity can achieve with such mere flesh before repetition sets in.\n\nHence the Book.\n\nA metaphor, of course. But a useful one. Its pages are theoretically infinite and the permutations of each individual page an orthogonal, additionally endless axis. For reasons that are unclear, there are only three such pages here. (Singularity is not to be desired. This is not good. You were in the mansion, you were looking for...something. Someone?)\n\nAbove the first of the Book's pages float sigils in the Tongue which read WHEN WE WERE NOT YET. The others await a mere turning away.\n\nA tableau of meeting is laid out across the Book's scenery: a domicile of primitive education. Tiny entities scurry in the background from gathering to gathering, futilely attempting to expand their primitive minds. In the foreground is a momentous meeting between two entities as small as the others that crowd the scene. The Naomi-entity seems to be greeting the Peter-entity.\nThe Vaadignephod-continuity (oh god that's the...it's the thing doing all of this, isn't it?) utilizing a mere four of its myriad and infinite Aspects, had/has/will-have defined a complexly interesting manifold of hypergeometry -- bounded by the Four Fundamental Movements of the Utter North, South, East and West -- which defines the probability-space over which the Weaver-continuity was/has/will-be given dominion.\n\nLaid across the top of the book's opened page like a bookmark is a lovely message-thread of your own design.\n\n> You look at the thread\nIt links this manifold possibility space to those of the rest of the continuity (though why you cannot hear them even now is disturbing). Pulling at it signaled/signals/will signal the rest of the continuity that the book may be closed, for your work/play here is done.\n\n> About yourself\nA Weaver of Forms is a fine thing to be -- as beauteous and graceful as one is delicate and fragile. Clever of limbs and eyes and mind so as to encompass a myriad of creative realities. Your fate as part of such a continuity is much to be desired.\n\n> You check your inventory\nYou carry the whole of possibility within your claws.\n\n> You look at the page\nThe Book lies beneath your twitching limbs, aching to be changed. Above the first of the Book's pages float sigils in the Tongue which read WHEN WE WERE NOT YET. The others await a mere turning away.\n\nA tableau of meeting is laid out across the Book's scenery: a domicile of primitive education. Tiny entities scurry in the background from gathering to gathering, futilely attempting to expand their primitive minds. In the foreground is a momentous meeting between two entities as small as the others that crowd the scene. The Naomi-entity seems to be greeting the Peter-entity.\n\n> You look at Naomi\nThat which exists within the book is possibility made manifest. Left in a given state, the entities and their environs define a singular spacetime slice that the rest of the Weaver-continuity may make use of, once they are alerted via the mechanism of the message-thread.\n\n> Turn page\nThe Book does not, of course, turn its pages. They are a metaphor. Yet as a metaphor it does an admirable job, shifting along yet another axis, giving you access to yet another portion of probability.\n\nAbove the second of the Book's pages float sigils in the Tongue which read WHEN WE BECAME. The others await a mere turning away.\n\nA tableau of a primitive binding ritual is laid out across the Book's scenery: a group of mortal entities gathered against a green background, surrounded by flora of all kinds. Are all of them necessary as a sacrifice? In the foreground stand those that must be bound. They are adolescent, younger than those that surround them. One of the entities is the Naomi-entity. The other is the Peter-entity.\n\n> Turn page\nYour tarsi ache with anticipation as the next probability-space slides into existence.\n\nAbove the third of the Book's pages float sigils in the Tongue which read WHEN WE WERE NO LONGER. The others await a mere turning away.\n\nA tableau of some sort of parting ritual is laid out across the Book's scenery: a repository for the storage and repair of mortal entities. In the foreground stand those are to be parted. They are adolescent, barely sentient. The Naomi-entity is beginning the ritual.\n\n> Turn page\nThe current Page slips from probable existence and another shifts along the reality axis until it stands before you.\n\nAbove the first of the Book's pages float sigils in the Tongue which read WHEN WE WERE NOT YET. The others await a mere turning away.\n\nA tableau of meeting is laid out across the Book's scenery: a domicile of primitive education. Tiny entities scurry in the background from gathering to gathering, futilely attempting to expand their primitive minds. In the foreground is a momentous meeting between two entities as small as the others that crowd the scene. The Naomi-entity seems to be greeting the Peter-entity.\n\n> Turn page\nThe Book bends to your will once more, slipping easily to the next Page.\n\nAbove the second of the Book's pages float sigils in the Tongue which read WHEN WE BECAME. The others await a mere turning away.\n\nA tableau of a primitive binding ritual is laid out across the Book's scenery: a group of mortal entities gathered against a green background, surrounded by flora of all kinds. Are all of them necessary as a sacrifice? In the foreground stand those that must be bound. They are adolescent, younger than those that surround them. One of the entities is the Naomi-entity. The other is the Peter-entity.\n\n> You look at the photograph\nWhich do you mean, the photograph of a memory, photos of you (smelling faintly of mildew) or the a worn out, decaying picture (smelling faintly of mildew)?\n\n> You examine the photograph memory\nIt's an old black and white photograph, with a silvery sheen that indicates that perhaps it was taken in the the early 1900s. It depicts a sunny day in an open park, the background filled with trees. A group of people have gathered in formal dress. You and Peter stand in the foreground. He's in a tuxedo, you're in a lovely floor-length dress. You're both so young - barely out of your teens.\n\nThis is from the day you were married! You remember it like it was yesterday. It was so awful. Papa had never approved of you and Peter. That was why you'd always met in secret. But then Mama had found out you were... in the family way. All of a sudden, any talk of separating the two of you stopped and they and Peter's family demanded that you and Peter tie the knot immediately. There was no real time to plan. You ended up getting hitched under a tree in the park.\n\nThis is impossible. There's no way this happened. There's no way it could have happened. And yet -- you remember. You\nremember it as certainly as you remember anything else in your life.\n\n> You read vermibus\n(first taking De Vermibus Laceris (smelling faintly of mildew))\nNow you can flick through the yellowing pages of the grimoire, you learn that to open a way to your lost husband, you must:\nblow the horn of the black goat,\nwhile the stars are reflecting upon the grimoire,\nwith the stars falling under his true star sign,\nand his most treasured memento,\nand a divine pustule,\nplaced in a chalk circle beneath the raised grimoire.\n\nOnly then will the way open.\n\n> You look at the coffee\nThe swirls in your cup form -- weird, they've entirely dissipated. Lack of a symbolic image means that you have accomplished everything you must in your current environment and should move on to find new challenges in order to grow as a person.\n\nA faint smell of mildew emanates from it.\n\n> You wait for the Eggplant Line\nYou lean against the town square, hold out your pass, and wait for the eggplant line. Within moments, a noncorporeal trolley arrives. Instead of stopping and allowing you to board, it passes through you,\nand you find yourself transported to\n\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nA ghostly trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> You go west\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, east, and southeast. Several large potted cacti line the walls of the passageways.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> Go southeast\nYou carefully sidestep through the maze of cacti you have built.\n\nThe Observatory (Joey Jones)\nThe observatory is a cramped domed room cluttered with all manner of mechanical contrivance. The way out is northwest.\n\nAt the top of the dome is a large telescope. Immediately beneath it is a vast projector, bristling with obscure controls.\n\nTo one side of the dome is a worn wooden lectern, set before a large chalk circle.\n\nThe device is projecting a star sign upon the walls of the dome.\n\n> You put Tome on the lectern\nYou place the grimoire on the lectern and it falls to the page of the ritual. The stars from the projector dance across its pages.\n\n> You put Cyst in the circle\nYou put the Cyst (smelling faintly of mildew) into the chalk circle.\n\n> You put the memory in the circle\nYou put the photograph of a memory into the chalk circle.\n\n> Blow horn\nYou try to draw some sound from the horn, putting it to your lips. It lets out a low shuddering sound, like a thousand goats crying out in slow motion.\n\nThe grimoire shakes upon the lectern.\n\nThe chalk circle glows.\n\nThe cyst starts to bubble.\n\nThe stars shine brighter upon the observatory's walls, and the whole room ripples.\nroom ripples.The horn cracks and crumbles to dust in your hands. The cyst bursts and evaporates into the ruin in a greasy haze. The photograph in the chalk circle burns to ash. Something perpendicular to this plane of existence worms its way through into the observatory.\n\nThere is a crack in existence; a portal taking up the space in the center of the room where the device once stood.\n\n> You examine the portal\nPeering through you catch brief glimpses of impossible geography beyond. If the ritual has worked, entering the portal will be the way to reach your husband at last.\n\n> You enter the portal\nYou take a deep breath and step outside of the world. Your senses curdle. You see yourself outside of yourself, as if you were a second person. Your memories of the last day (or night? or season? or year?) shuffle like the star signs across the observatory, with dozens of competing possible versions of yourself juxtaposed incoherently.\n\nYou try to grasp at what the true memory was. A woman, searching a house for her husband? A trip to the library to return overdue books? But now in your mind you only have a patchwork of impossible moments. Of bizarre creatures, unlikely tasks and glimpses at the precipice of madness.\nYou arrive somewhere else.\n\nGulf of Nehilim (Nobody)"
    },
    {
        "text": "[Themes: female protagonist]\n\n> You look around\nGulf of Nehilim (Nobody)\n\n> Wait\nWhatever.\n\nThe Great Purple Unknown (Adri)\nThe world around you is purple. So much purple. The immediate area is bright enough to see, but you don't see any obvious light source, and then there is darkness. Purple darkness. The ground seems to be some sort of dark stone. There is a gate here, an ornate wrought-iron one with an arch over it, but it doesn't connect to any sort of fence. In fact, you can walk around the gate without any problem, and through it, you see only more purple. Above the gate, secured to the metal arch, are a set of masks.\n\nIn the center of the lit area is Peter. He kneels on the ground, staring off into nothingness.\n\n> About yourself\nYou've looked better. You could really use a nice warm shower when all this is over.\n\n> You examine Peter\nIt's your husband, Peter! He looks unharmed, but his eyes are dull, and he is unresponsive under your gaze.\n\n> You kiss him\nYou kiss Peter gently on the lips, hoping to rouse him. For a moment, it seems like he's responding in kind, until you feel the tentacles slide down your throat. The last thing you see are his eyes, glowing with a distant light.\n\n> You touch Peter\nYou place your fingers on Peter's neck, feeling for a pulse. It's weak and irregular, but it's there. Suddenly his hands are caressing your cheeks. He stares intently into your eyes as he twists your head to the side, snapping your neck.\n\n> You hit Peter\nHave you gone crazy? Well, maybe you have. But nonetheless, that doesn't seem like a good idea.\n\n> You examine Gate\nA pair of closed metal gates, the sort that should swing open, if only you could figure out how they worked. The bars are too decorative and entwined to squeeze through, and the gate is too high to climb over, not that you think it would take you anywhere if you did. You can walk right around it, and the other side is near identical, minus the masks on the arch.\n\n> You look at the masks\nIt's a set of those tragedy and comedy masks you've seen on theatre playbills. You think they're named Sock and Buskin.\n\n> You say Sock\n(to Peter)\nYour lips form words, but no sound comes out.\n\n> You get the masks\nThey're just too high for you to reach, even standing on your toes.\n\n> You examine Darkness\nYou are surrounded by darkness in all directions.\n\n> You examine Peter\nIt's your husband, Peter! He looks unharmed, but his eyes are dull, and he is unresponsive under your gaze.\n\n> You examine the arch\nA tall iron arch standing around the gates. A set of masks hang at the apex.\n\n> You climb Gate\nYou make it all the way to the top of the gate, when your foot slips and you fall across the top of the gate, impaling yourself on a rather sharp spike you hadn't noticed before. Your death comes slowly, but it does come.\n\n> You open Gate\nYou pull and push on the bars to no avail. It must be locked, but there's no latch or keyhole.\n\n> You listen\nYou hear nothing at all. It is eerily quiet.\n\n> Search gate\nLooking more closely, you see a set of dials hidden in the decoration of the gate.\n\n> You examine the dials\nThere are two dials here, like those found on a combination lock, one on each gate.\n\n> You look at the dial\nWhich do you mean, the right dial or the left dial?\n\n> You examine the left dial\nIt's a tiny dial. It can be turned to any number. It currently reads 0.\n\n> You set the left dial to 3\nYou turn the left dial to 3.\n\n> You set right dial to 19\nThe dial only goes from 0 to 9.\n\n> Search masks\nThat would be easier if you were holding the masks.\n\n> You examine the note\nYou unfold and read the note. The handwriting is unmistakably your husband's. \"Ialdabaoloth\". It's a single word, but suddenly everything makes sense. You start to laugh uncontrollably.\n\n> You look\nThe Great Purple Unknown (Adri)\nThe world around you is purple. So much purple. The immediate area is bright enough to see, but you don't see any obvious light source, and then there is darkness. Purple darkness. The ground seems to be some sort of dark stone. There is a gate here, an ornate wrought-iron one with an arch over it, but it doesn't connect to any sort of fence. In fact, you can walk around the gate without any problem, and through it, you see only more purple. Above the gate, secured to the metal arch, are a set of masks.\n\nIn the center of the lit area is Peter. He kneels on the ground, staring off into nothingness.\n\nYou can also see a note here."
    },
    {
        "text": "> You point at the masks\nYou point at the set of masks. Peter doesn't notice.\n\n> Point at Gate\nYou point at the gate. Peter doesn't notice.\n\n> You point at yourself\nYou point at yourself. Peter doesn't notice.\n\n> You point at Peter\nYou point at Peter. Peter doesn't notice.\n\n> Wave\nYou wave.\n\n> You wave at Peter\nYou wave at Peter. He doesn't wave back.\n\n> Shake peter\nYou shake Peter. When you let go, his body continues to shake. His skin splits open, revealing the most beautiful creature you have ever seen. Overcome with happiness, you start to weep, tears of blood running down your cheeks.\n\n> You hug Peter\nYou wrap your arms around Peter, trying to warm him up. You're about to give up, when he suddenly hugs you back. He's cold, so cold. You try to pull away, but he only holds you more tightly, squeezing you until you can barely breathe. When he finally releases you, you find you are frozen in place. As the world around you goes black, all you can think is that at least your husband is alive.\n\n> You cry\nYou break down into tears, sobbing heavily, all without making a sound.\n\nYour heart feels a little lighter.\n\n> Laugh\nYou laugh. At first it feels forced, but soon you're laughing hysterically, albeit silently.\n\nThe world seems a little brighter.\n\nSuddenly Peter looks up at you. He stands up and walks over to you, taking your hand.\n\n> Point at Gate\nYou point at the gate. Peter shrugs.\n\n> You point at masks\nYou gesture at the set of masks. Peter nods and retrieves them for you.\n\n> You look at the masks\nIt's a set of those tragedy and comedy masks you've seen on theatre playbills. You think they're named Sock and Buskin.\n\n> You search them\nsock mask: You wipe away some dirt, revealing the number 2.\n\nbuskin mask: It's been scratched out, but you think you can make out the number 5.\n\n> You set left dial to 2\nYou turn the left dial to 2.\n\n> You set the right dial to 5\nYou turn the right dial to 5.\n\nThe gate suddenly swings open.\n\n> You enter Gate\nYou take Peter's hand and walk forward, through the gate and into the night.\n\n> You go to the west\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nAn ethereal trolley stop sign reads Blue Line -- Library Square.\n\n> Go west\nEstate Agent's Office (Jenni Polodna)\nThe space is dominated by the unexpectedly symbiotic combination of a giant desk and a tiny woman, who together give the impression of being one complete single entity, like a centaur. The surface of the desk is invisible underneath a loose pile of glossy architectural magazines, manila folders, and real estate listings pamphlets. Behind it, a gunmetal-grey filing cabinet lurks unattractively in the far corner. The exit back out to the street is east.\n\nBethany looks at you expectantly. \"Any real estate questions for me?\"\n\n> You ask Bethany about the church basement\n\"I'm sorry,\" Bethany says, \"I have auditory processing disorder, and as far as I can tell, you just said 'latency pals'.\n\n> Go east\nA short street terminates here. To the south it opens into the town square. To the east, a few worn steps rise to the entrance of the public library, and to the west you can see a real estate office. A gloomy path leads northwest, towards the woods.\n\nYou can see a notice board here.\n\nA mistlike trolley stop sign reads Blue Line -- Library Square.\n\n> You unlock Door with the brass key\nYou unlock the Shack Door.\n\n> Go inside\n(first opening the Shack Door)\n\nInside the Shack (Daniel Ravipinto)\nThe shadows pool in strange shapes along the earthen floor of the shack, the only light coming from the cracks in the surprisingly high ceiling and through the opened door. Piles of accumulated junk that Peter's family must have stored here over the decades lie against the inner walls, which have turned grey with either dust or the mere passage of time.\n\nOne of the shadows at the shack's far end moves, then separates into a distinct shape, slumped against a supporting pillar. There's something in here with you.\n\n> You go northwest\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\nYou can see a flat stone here.\n\nSomewhere in the distance, you hear a mourning dove's plaintive song. From above, a leaf floats slowly toward the ground.\n\n> Go north\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, a ragged, gaping hole in the earth. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a golden eyepiece (smelling faintly of mildew), a comfy snake, a colorful bird, a polyphonic ungulate and a wooden sigil here.\n\nA noncorporeal trolley stop sign reads Green Line -- The Woods.\n\n> Go upwards\nThe Old Well (Reed Lockwood)\nThe trees here gather, black with wet; glimmering fingers hung with ragged matter, huddling beneath a cold and gently weeping sky. Beneath your feet, the damp red felt of rotting leaves slopes down toward a still, murky puddle. Nearby is a well, a ragged, gaping hole in the earth. A broken-down section of brick wall waits for raindrops to fall along its spine, and an old, half-dead oak straddles an angular boulder studded with quartz. A path through the forest leads south.\n\nYou can see a golden eyepiece (smelling faintly of mildew), a comfy snake, a colorful bird, a polyphonic ungulate and a wooden sigil here.\n\nA phantom trolley stop sign reads Green Line -- The Woods.\n\n> You go to the south\nThe Dim Recesses of the Forest (Jacqueline A. Lott Ashwell)\nBranches scramble overhead, straining toward one another in a bid to blot out the sky. Mercifully, light manages to filter down through an opening in the canopy above a small pond. Paths slither away into the forest to the north, southwest, and southeast.\n\nYou can see a flat stone here.\n\nThe wind picks up again for a moment, and a few leaves fall from above. One of the leaves settles in your hair. You disentangle the leaf and toss it to the ground.\n\n> Go southwest\nThe Churchyard (David Jose)\nA neglected and long forgotten cemetery stretches out below you, surrounded by a rusted wrought iron fence. Lopsided gravemarkers, slowly succumbing to the elements, topple downhill like a congregation bent low in prayer. At the very center of the graveyard, set into a low valley, a squat, stone mausoleum crouches menacingly.\n\nTo the southwest a dilapidated, stave church rises up obscenely against the night sky.\n\nA dark pine forest crowds against the wrought iron fence to the northeast. You might be able to forge a path between its trees.\n\n> You go inside\nMausoleum (Gary Butterfield)\nYou're blinking more than usual. You shake your head to try to clear it.\n\n> You go southwest\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA mistlike trolley stop sign reads Gold Line -- Church."
    },
    {
        "text": "> You eat the milkweed\n(the giant milkweed leaf)\nThat's plainly inedible.\n\n> You go to the north\nTo the north is the monumental windowless bulk of the train station. Perhaps that is unsurprising, given the rest of the town. A metal trash can squats beneath its carved facade. The town itself is downhill, on the other side of a ravine.\n\n> You go to the north\nThe dim and dingy surroundings hold no more interest for you. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the door to the station office are to the east. The restroom door is to the west.\n\n> Go east\nStation Security Room (Monique Padelis)\nThe compact room smells earthy, as if you've stepped into a forest just after the dew has settled. A framed article hangs on the moss green walls alongside a window that lets in a little light. Your eyes are drawn to the two glowing CRT monitors on a desk that runs the length of the east wall. A leather chair sits in front of the desk and most of the south wall is taken up by shelves with labelled VHS tapes. The door to the station is to your west.\n\n> Go west\nAs you walk out of the office you feel a wrenching sensation in your gut, as if some part of you is being dragged out, kicking and screaming. For a few moments everything looks like a threat: the slippery ground, the bending trees, the very air you breathe, carrying God only knows what kind of toxins.\n\nThe dim and dingy surroundings hold no more interest for you. The platform is to the north. The dirty, cobweb-covered windows and the station exit are to the south. The large mirror and the door to the station office are to the east. The restroom door is to the west.\n\n> Go north\nRailway Platform (Naomi Hinchen)\nThe platform is open to the outdoors, but has an overhanging roof with a rusted sign hanging from it. At the back of the platform, to the south, is the entrance to the lobby. Train tracks stretch off into the distance to the east and west; on the other side of the track is a graffitied brick wall.\n\nThe clock overhead gives the time as 6:13 am; beneath the clock is a schedule board listing train arrival times. On the platform itself are a wooden bench, a storage locker, and a vending machine.\n\nA ghostly trolley stop sign reads Brown Line -- Train Station.\n\n> Wave\nThere's no one here to wave at, so you're just doing jazz hands.\n\nFor no apparent reason, the PA system plays a three-second snatch of bagpipe music.\n\nThe clock gives a deep, booming chime on the quarter hour.\n\n> You jump\nYou do a few jumping jacks. Great, that's your cardio for today!\n\nThunder rumbles in the distance.\n\n> Sing\nJust a small-town girl, living in a lonely world...\n\n> Sing\nWhen the moon hits your eye like a big pizza pie, that's\namore...\n\nThe wind blows stray leaves across the tracks.\n\n> You look at the clock\nThe clock face seems almost to be staring at you, as the second hand sweeps hypnotically around it. The time shown is 6:19 am. You can't see the clock very closely from down here.\n\n> You wait for the Gold Line\nYou sit on the bench, hold out your pass, and wait for the gold line. Within moments, a noncorporeal trolley arrives. Instead of stopping and allowing you to board, it passes through you, and you\nfind yourself transported to\n\nThe gravel road curves here past the doors of an old stone church, which squats defeatedly amid a few straggly trees. Behind it, to the northeast, you can see the first few stones of a modest graveyard. To the east the road narrows to cross a small bridge into the village proper; to the north, it crests the hill toward the train station.\n\nA phantom trolley stop sign reads Gold Line -- Church.\n\n> You go inside\nThe women's restroom is tidy as church facilities go. There is only one way out, unless you count the bathroom stall door reflected\nin the mirror above the sink.\n\n> You go west\nYou are in the main worship area of the church. Whom or what this chapel is used to worship is not immediately apparent. The accommodations are fairly modest: several rows of pews face toward the west end of the room, where a pulpit stands in front of an altar. In the corner of the room is a cheap-looking electric organ. The one lavish decoration is an elaborate stained glass window taking up most of the wall behind the altar.\n\nThe vestibule is to the east. On the southern wall is a wooden door, which is open.\n\nOn the altar are a collection plate (empty) and a lockbox (empty).\n\n> You look at the window\nThe window is made up of hundreds of small shards of glass, stained with an impressive variety of colors. Although the effect is striking, though it's difficult to tell exactly what is the image that's meant to be depicted here -- whenever you look away and back, it seems as though the colors have changed to produce different shapes. At the moment, it most resembles a werewolf."
    },
    {
        "text": "[Themes: Comedy]\n\n> Go downwards\nTunnel Entrance (Grueslayer)\nThe ladder leading down the funnel ends here at a brick wall with one or two interesting features. Only a little light shines through the funnel and bathes the surroundings in eerie shadows. The ground seems to be made up of treaded down dirt. A masoned, semi-circular tunnel leads southeast, the walls made up from the same musty red bricks as the wall marking its end. The tunnel is about six feet high. Rolled up on the ground in the southwestern corner is a hobo who declared this tunnel his bedroom.\n\nYou hear a sound from somewhere down the tunnel. Maybe a rat. Hopefully a rat.\n\n> You go to the north-east\nSmall Chamber (Grueslayer)\nIt takes a while to adjust to the darkness here, but finally you can at least make out some shapes and colours. The little light that falls in through the opening the \"altar\" left reveals a small space of about ten by six feet, no more than five feet high, meaning you can't even stand. The walls are roughly hewn and show no sign of renovation. Three freight crates and an empty bottle indicate that this secret space had probably been used by smugglers. How mundane. The exit is southwest.\n\nYou can see a phonograph here."
    },
    {
        "text": "> You go to the south-west\nDrinking Fountain (Lucian Smith)\nA public drinking fountain is placed in a nook here, nearly overgrown with ivy. You can return to the town square to the northeast.\n\nA ragged hole graces the side of the brick fountain.\n\n> You go to the east\nYour feet finally touch down on some blackened shore and into some large subterrane. The slick black stone of the cavern arcs high above your head with strange formations that grow downwards and then out in oddly perpendicular angles. The damp rock moves in and out of focus as some pulsing green light illuminates the space.\n\nTaking a step, you feel the sand pulling at your shoes as though it were thick mud or quicksand. Your feet sink with every step, settling on some solid stone platform just beneath this layer of cloying sand that prevents you from being entirely swallowed.\n\nYou pass between two monolithic pillars: oily green-black stone of a height that makes you dizzy to comprehend. Between them, a skeletal bridge stretches out across the chasm.\n\nThe crossing spans a ravine of tumultuous water that roars like some uncaged beast and echoes around the cavern. Its Stygian call chills you and draws you in by equal measures as you take the first step onto the slats that form the bridge.\n\nBridge (Daniel Stelzer and Jemma Briggeman)\nYou are standing on a bridge spanning east to west in the middle of an echoing cavern. In the center of the bridge is a large inhuman sculpture constructed of pipes that climb up to a cauldron filled with an eerily glowing green moss, the only light source in the room. Beneath your feet you can hear the crashing of the river below. Ahead of you, to your horror, there are slats missing on the bridge - you'll never make it across without replacing them.\n\nOn the gap in the bridge are some flat bones.\n\nThe rope lies abandoned on the ground in a tangle, one end tied to the bridge, the other to some metallic contraption."
    },
    {
        "text": "[Themes: female protagonist, horror]\n\n> Go east\nConstabulary Road (Harkness Munt)\nThe road phases into little more than a wide dirt track winding from the west towards the edge of town to the northeast. A paved walk wanders through an iron gate which interrupts a high stone wall looming to the north. A memorial bench sits just outside its shadow. A thickly-woven rampart of vegetation obstructs passage to the south, but you notice a narrow deer trail cutting a path through the deep woods.\n\nA barricade spans the road to the northeast, and beyond it a large shallow pit is being excavated. If you're careful, you could skirt the edges of the pit and continue along the northeast road.\n\nA man stands near the barricade. He appears to be contemplating the contents of the dig site.\n\nA grad student works fastidiously on the fossilized bones in the pit.\n\nA phantom trolley stop sign reads Orange Line -- Constabulary Road.\n\n> Go north\nBackwater Jail (Marshal Tenner Winter)\nThe air is stale in this wood-paneled sheriff's office. You feel as if you've stepped back in time maybe twenty years as the office furnishings in here are simple and utilitarian. A desk, generic in style but wide enough for an outdated-looking computer, is near the window. A swivel chair is behind it and a wooden visitors chair is on the other side. Despite the meager light that creeps in the window, there's still a bleak glow from fluorescent bulbs overhead. Other furnishings include a file cabinet and, what appears to be, a locker that was literally ripped out of a high school and placed against the wall in here.\n\nOtherwise, a cheap door with a unisex bathroom sign on it is to the west and a secure door, obviously the lock-up, is to the north. The exit is south.\n\nYou can see a desiccated corpse here.\n\nOn the desk is a clipboard holding some paperwork.\n\n> You go to the north\nPadded cell (Marius M\u00fcller)\nThe overhead lightbulb in its wire-mesh cage barely lights the room. Everything here seems a colorless beige - the cracked floor tiles, the thick cloth padding on the walls. A padded door leads south.\n\nA secret compartment in the wall has swung open, revealing a small switch and some graffiti that says \"THEY THOUGHT THEY COULD TRAP ME IN MY OWN CELL\".\n\nA metal chest stands in a corner of the room.\n\n> Go southeast\nOutside the Plant (Chandler Groover)\nSmoke pours into a bruised sky, rising from chimneys that crowd the Cragne Meatpacking Plant. Its bricks are soot-stained, its stenciled walls weathered by acid rain.\n\nA hole is smashed into its side.\n\nTo the northwest, a hill begins to climb toward Cragne Manor.\n\nA phantom trolley stop sign reads Red Line -- Meatpacking Plant."
    },
    {
        "text": "[Themes: female protagonist]\n\n> Go upwards\nDusty office (Matthew Korson)\nThis must be the boss's office. A large window overlooks the factory floor. Some shards around the edge suggest that it contained glass once. Pushed against one wall is a small table that might have served as a desk, and next to it stands a metal filing cabinet. Anonymous detritus is scattered at the edges of the room.\n\nDust hangs so thickly in the air that you can hardly see to the other side of the room. You wheeze and choke every time you take a breath.\n\nYou can see an enormous dessicated rat corpse, a diagram scratched into the floor, a broken knife handle and a piece of yellowed newsprint here."
    },
    {
        "text": "[Themes: Comedy, Lovecraftian]\n\n> Go downwards\nYou quickly climb down the stairs.\n\nThe meatpacking plant (Kenneth Pedersen)\nYou are standing in the center of the main room of the meatpacking plant. An open doorway leads west from this huge room to somewhere darker, while some rickety stairs lead up. A long row of meat hooks are hanging from the ceiling parallel to a bloodstained table. It is not too late to leave yet, by going out the front door."
    },
    {
        "text": "[Themes: female protagonist]\n\n> Enter\nFamily Crypt (Justin Melvin)\nYou are in a long-neglected, dusty, and surprisingly cold crypt, about the size of a garage. The walls are covered with a dark mold creeping from the floor, and the whole place smells unsettlingly like cured meat and leather. There are numerous plaques on the floor, and it is difficult to navigate the room without stepping on one of them. Your eyes are drawn to the only other object in the room: a large ornately decorated stone coffin. The only exit is the door you came in through leading back outside.\n\n> You look at the welcome mat\nThe welcome mat lies crooked in front of the door. It is flecked with mud.\n\n> You go to the west\nCourt (Ryan Veeder)\nWalls paneled with elaborate boiseries curl slowly around this ovular hall. The western vertex of the ellipse is dominated by an enormous window; at the opposite end, a low archway leads east to the foyer. A glass display case is set into the north wall.\n\nIn the center of the room, an irregular circle of twelve pedestals surrounds a black monolith.\n\nOn the puce pedestal is a figurine of a greyhound.\n\nOn the xanthic pedestal is a figurine of a peregrine falcon.\n\nOn the griseous pedestal is a figurine of a cat.\n\nOn the mazarine pedestal is a figurine of a Pontiac Firebird.\n\nOn the niveous pedestal is a figurine of a wolverine.\n\nOn the fulvous pedestal is a figurine of a duck.\n\nOn the rufous pedestal is a figurine of a rat.\n\nOn the eburnean pedestal is a figurine of a kraken.\n\nOn the cesious pedestal is a figurine of a silverfish.\n\nOn the fuscous pedestal is a figurine of a white antelope.\n\nOn the icterine pedestal is a figurine of a weasel.\n\nOn the croceate pedestal is a figurine of an eel.\n\nThe rain falls harder, louder, slamming into the window.\n\n> Continue\nYou hold down the button. The speaker blares out: \"\u2014by men worthy of belief (though Allah's knowledge is greater) that in the first days there was a king of the isles of Babylonia who called together his architects and his priests and bade them build him a labyrinth so confused and so subtle that the most prudent men would not venture to enter it, and those who did would lose their way. Most unseemly was the edifice that resulted, for it is the prerogative of God, not man, to strike confusion and inspire\u2014\"\n\nThe stained glass lights up again, and you see the figure raising something to its lips.\n\n> Go north\nRec Room (Zack Johnson)\nThe manor's rec room is short for the manor's recreation room. Even though it's as old as the manor itself, it looks, as all rec rooms do, like it's stuck in the 1970s.\n\nThe room is dominated by a pool table. Or maybe a billiards table, you were never really sure what the difference is. An old television sits atop a little wooden stand in front of a comfy-looking easy chair.\n\nDoors lead south and east, and the north wall is covered entirely in built-in cabinets, whose glass doors lead, predictably, into their interiors.\n\n> Go east\nThe Music Room (Wade Clarke)\nYou are in a large modern studio space, not unlike a concert hall but without any seating. Dark, golden-hued wooden paneling lines the floor and walls, imbuing the area with an intimate atmosphere in spite of its size. The walls curve inwards in a carefully designed asymmetrical fashion (some kind of acoustic treatment?) and electric-bulbed faux chandeliers fill the place with ruddy light.\n\nA doorway leads out of the music room to the west.\n\nStanding against the center of the eastern wall, facing you, is a mahogany podium with four push-buttons on it.\n\n> Go north\nCarol's Room (Ben Collins-Sussman)\nA dusty room, unvisited for more than two decades.\n\nYou can see a window (closed) and a Tome of Naomi here."
    },
    {
        "text": "[Themes: horror, Lovecraft, Comedy, Lovecraftian]\n\n> You leave\nThe threadbare carpet holds only the vaguest hints of its original hue, and the yellowing wallpaper is crisscrossed with a web of cracks. The hole that you tore through the wallpaper emits a gentle light. The hallway continues to the north, and there are doors leading to the west, south, and east.\n\nYou hear an electronic humming noise coming from the hole in the wallpaper.\n\n> You go to the west\nStudy (Ian Holmes)\nBarely a sunbeam reaches this study. Dust cakes the desk, drapes, and book-lined shelves like a bug mass grave. More insect bodies litter the carpet in earlier states of decay. The exit is east.\n\nYou definitely feel guilty. As if the headmaster is coming.\n\nOn the desk are a notepad and a photo.\n\n> Go south\nBalcony (Reina Adair)\nThe balcony has definitely seen better days. Once it was more than likely a fine place to sit and look out over the skyline or whatever one desired to do out here. However, its charm has been lost with the passage of time. The wood, once more than likely shiny and well polished, is now rotten and peeling in various spots. Somehow, despite the way the architecture has aged, the railing at the end of the balcony itself is still somewhat sturdy. All around, the view of the scenery is breathtaking, albeit somewhat unsettling for some reason. Occasionally, a slight breeze blows past you, but you can't tell if its supposed to be warm or cool. The only exit from here is to the north.\n\nA statue with a very strange appearance to it is standing here, almost as if it is watching the area.\n\nA mistlike trolley stop sign reads Lavender Line -- Cragne Manor Balcony.\n\n> You go to the east\nA shaft of light through the door to the west falls upon as tidy a closet as ever you've seen. The shelves are clear, and now you can see a trapdoor in the ceiling above them.\n\n> Go upwards\nFrom this corner of the attic, paths lead south and west, or you can head back down the rickety staircase. A damp wind flows through a gash in the exterior wall.\n\nA noncorporeal trolley stop sign reads Eggplant Line -- Cragne Manor Attic.\n\n> You go to the south\nDisheveled Studio (Katherine Morayati)\nThe studio must have been abandoned in a hurry. The bookshelves are ransacked, the easel in pieces on the floor, bulbs torn out of two of the ceiling lights. The only thing undisturbed is a table, solid like a slab, precisely in the center of the room. Several layers of heavy curtain block off crawlspaces to the north and southeast.\n\nThe room smells distractingly of Peter's cologne.\n\nNothing remains of the canvas but a hollowed-out shell.\n\n> Scents\nCedar: Enhances visions.\nFrankincense: Purifies sins.\nTuberose: Inflames passions.\nPetrichor: Promotes rot.\nAnimalic musk (castoreum, civet): Promotes depravity.\nBlood: Binds an object to the one who bled.\n\nSavior's breath: Colorless and curiously insubstantial. Used for purification.\nPeat venom: Extracted from cadavers in river mud. Opens one up to forces beyond this earth.\nDispulsichor: Undoes the effect of past divination.\n\n> Go southeast\nThe curtains swing back into place with a thud.\n\nAbandoned Nursery (Harrison Gerard)\nAn octagonal room. Dust coats the walls. In one corner, a crib. In the other, a dollhouse. Exits lead northwest, north, and northeast.\n\nYou can see a \"Gossipin' Gertie\" doll and a vacuum cleaner here.\n\n> You wait awhile\nTime passes.\n\n> You go west\nScience Tower (Riff Conner)\nThis round, tall room must be a tower. I don't know if you were given a description of the manor from the outside, or if it mentioned a tower if you were, but if you were and it did, this is probably that tower. At a guess it's around fifty feet tall, although it's very shadowy up at the top so it's difficult to estimate it accurately.\n\nIt appears to be some kind of science lab, although you would expect a science lab to have more stuff in it; perhaps all the stuff that was easily moveable has already been taken away. There's a large table in the center of the room, and everything else is up against the walls: a complex-looking control console, a large chalkboard, a metal cabinet, an old iron ashtray stand, and a wooden barstool with a hamster cage on top of it.\n\nThe whole place has a thick smell of science throughout it (assuming science smells like chalk dust, hamster, cigarettes, and electricity), and rain is pounding at the windows. There are exits to the east and southwest.\n\nOn the chalkboard is a yellow sticky-note.\n\n> You look at the dr peanut\nDr. Peanut is holding his peanut in his little arms as if it were a major science award, and looking rather pleased with himself.\n\n> You go east\nDr. Peanut squeaks queryingly as you leave.\n\nBranching Corridor (Zachary Hodgens)\nA trace amount of sunlight filters in impossibly through imperceivable cracks in the ceiling, illuminating the barren wooden walls and floorboards of this narrow passageway. A short distance away you find yourself in a crossroads of sorts. Corridors leading elsewhere go off toward the northwest, west, east, and southeast. Several large potted cacti line the walls of the passageways.\n\nThe trace rays of sunlight beaming down from above get in your eyes.\n\n> Go southeast\nYou carefully sidestep through the maze of cacti you have built.\n\nThe Observatory (Joey Jones)\nThe observatory is a cramped domed room cluttered with all manner of mechanical contrivance. The way out is northwest.\n\nAt the top of the dome is a large telescope. Immediately beneath it is a vast projector, bristling with obscure controls.\n\nTo one side of the dome is a worn wooden lectern, set before a large chalk circle.\n\nThe device is projecting a star sign upon the walls of the dome."
    },
    {
        "text": "[Themes: horror, Comedy, Lovecraftian]\n\n> You go north\nCold Storage Room (Jeremy Freese)\nAunt Mavis used to keep her peaches in a room that didn't look at all like this. On the walls is a message written in blood, composed in an ancient language you know intimately.\n\nThere's also the thing Aunt Mavis gave you. You now understand what it is."
    },
    {
        "text": "> You go east\nPantry (Chris Conley)\nYou are in a pantry lined with metal shelves stretching the entire length of both walls. Most of the metal shelves' contents lie deep in shadow, as the room is lit by only a single bare bulb hanging three feet above your head. The flat dark stones echo as you walk, and the air down here is cold and damp.\n\nThe rest of the basement lies off to the west. A dark doorway beckons to the east.\n\nPale roots of some unknown plant have broken through the ceiling in one corner, dangling halfway to the floor.\n\nYou can also see a jar of peaches (smelling faintly of mildew) (closed) and a disgusting rotting pumpkin here.\n\n> You go east\nWorkroom (Andrew Plotkin)\nYou are in a circular chamber, walled in the same decaying brickwork which runs all through the manor's basement. A ritual bound of oddly-angled runes has been carved around the perimeter of the room. The only exit is west.\n\nA majestic filing cabinet stands in one corner, stuffed to overflowing with antique journals. Next to it is a full-length, badly fogged mirror.\n\nThe lunar sphere on the wall is entirely red. A knob is visible underneath it.\n\n> You go west\nYour ears pop and you stumble as you step across the threshold, reeling in a momentary gravitational slippage.\n\nLaboratory (Michael Gentry)\nHard, white light reflected from steel walls pricks painfully at your eyes. Through the glare you can make out the implements of some sort of laboratory, squirming sculptures of metal and glass dripping curdled fluids and spurting foul-smelling puffs of steam. A way out lies east, but otherwise there seem to be no other exits from this place."
    },
    {
        "text": "> Go downwards\nSomething tells you that Edwin Cragne really would not want you to take his secrets out of this room and that you really ought to leave the journal in the boiler room.\n\nMalign Tunnel (Damon L. Wakes)\nThe space beneath the boiler room is damp and narrow, little more than a dogleg corridor set into the earth. Something about its shape, its proportions, is deeply unsettling to you. There is a rusting iron ladder leading to the floor above, and a green door leading to the southwest, its paint flaking onto the uneven stone floor. The curving brick walls on either side of you arc gracefully inwards to form a vaulted ceiling. You would be able to stand comfortably were it not for the pipes that stretch like tendons above your head.\n\nA phantom trolley stop sign reads Black Line -- Underground."
    },
    {
        "text": "[Themes: female protagonist, horror, Lovecraftian]\n\n> You wake up\nYou rouse yourself from your dream. In your dream, you were in a dank, narrow tunnel, filled with foul slime. In your waking life, you are as well. Is there any difference?\n\n> You jump\nYou try to jump, but your feet break through the crust below you and into the underlying slime. You extract yourself."
    },
    {
        "text": "[Themes: Fantasy, castle, queerness, wedding, olfactory, princess, fantasy, nonhuman protagonist, monster, dragon, Comedy, magic, knight, female protagonist, clown, constrained protagonist, witchcraft]\n\nSer Leonhart, the bravest knight in all the land, points his sword at the fortress before him. Lightning strikes in the distance, illuminating the battlements below impatient clouds. A light rain begins to fall.\n\n\"Behold, the Impenetrable Keep,\" he says. \"At long last, I shall slay the evil shapeshifting wizard, rescue the princess and return peace to our fair kingdom.\"\n\nThe young Squire Tuck clambers up the last stretch of steep mountain path. \"Golly... milord,\" he says, struggling to catch his breath. \"Must we go in there?\"\n\nThe knight's hair ripples in a swift breeze. \"Fear not, my apprehensive accomplice. While no evil can withstand the heavy fist of justice, you must remember our secret weapon\u2014the wizard sniffer\nshall\nsniff out the villain for us!\"\n\nHe prods you forward with the side of his boot, and you let out a disgruntled oink. To think you had successfully escaped this\nplace the night before last, only to be brought back again.\n\nWell, it could be worse. You could be bacon.\n\nYou stand before the raised drawbridge of an evil fortress. A murky, foul-smelling moat reflects not even a little bit of light. A rubbish bin festers beneath a cloud of flies.\n\n\"My feet are ever so angry,\" says Tuck, \"and terrible things have found their way between my toes. Might we rest here before walking further, milord?\" His master nods in approval, and the squire sits on the ground and takes off his shoes.\n\n\"One does not simply walk into the Impenetrable Keep,\" says Ser Leonhart. \"First, I must devise a way across this moat.\" He rubs his chin.\n\n[Author's Note: You were recently acquired by the brave Ser Leonhart and his squire to sniff out the evil shapeshifting wizard. Unfortunately, you are not a wizard sniffer (if such a thing even exists). As far as you can tell, you are an ordinary pig. A comedy of errors experienced through a parser with a limited verb set. Also, puzzles.]\n\n> About yourself\nWhile your current owners know you as a wizard sniffer, you are, as far as you can tell, an ordinary pig (which you do not recommend being if it can be avoided).\n\nKeep\u2014a\nremarkable feat involving magick, mayhem and a fair bit of puzzle solving. Your luck, however, would not last. As you dragged your weary body down the mountain and into the nearest town, you were spotted and subsequently claimed by a wandering capitalist.\n\nThe capitalist, later happening upon the dim-witted knight and his squire at a roadside tavern, separated them from their large sack of gold by claiming you had the ability to sniff out evil wizards. As it turns out, this is not something you can actually do. Nevertheless, you feel it to be in your best interest to play the part as best you can.\n\nFor now.\n\n> You examine bin\nIt appears to be awaiting collection.\n\n> You examine the riddles\nSome puzzles are old, others are broken, and they are all terribly clich\u00e9.\n\n> Smell puzzles\nYou sniff the puzzles. Ser Leonhart searches them for signs of the evil wizard, but finds none.\n\n> You examine the moat\nOne might assume the waters are only black in colour, but the stench that rises from their depths hints at something much fouler.\n\n> You sniff the moat\nThe moat is exceptionally putrid, so you pretend to sniff it.\n\n\"The evil wizard is hiding in the moat!\" shouts Ser Leonhart, drawing his sword. And with a mighty leap, he disappears into the foetid waters, only to emerge a minute or so later.\n\nTuck helps him onto land. He tries not to breathe through his nose. \"What happened, milord?\"\n\n\"He got away,\" says the knight, wringing the black water out of his golden tresses. \"We shall let him savour his victory, for now.\"\n\n> You look at the drawbridge\nThe raised drawbridge is held up by sturdy ropes. One such rope extends across the moat.\n\n> You look at the rope\nIt connects the drawbridge to a lever on your side of the moat.\n\n> You examine the lever\nIt stands beside a sign.\n\n> You look at the sign\nIt reads: PULL TO LOWER BRIDGE.\n\n> Sniff lever\nYou sniff the lever.\n\n\"Aha!\" cries Ser Leonhart, pushing you aside and pointing his sword at the thing. \"Did you think your disguise would fool us, evil wizard? For the good of the kingdom, I shall cut you down!\" With one graceful sweep of his blade, he removes the lever from where it stood. It clatters noisily to the ground, then lies still.\n\n\"The deed is done,\" says Ser Leonhart, sheathing his sword. \"The kingdom is safe once more. Let us remember all who have sacrificed themselves for this victory.\" He bows his head in silence.\n\nTuck picks up the lever and inspects it thoroughly. \"Milord, forgive me for not remembering the sacrifices, but, would not a dead evil wizard mayhap look like a dead evil wizard?\"\n\nSer Leonhart seizes the lever and narrows his eyes at it. \"Aye, my attentive attendant. It seems we have been deceived by an ordinary wooden stick. The evil wizard is craftier than I expected. We must remain vigilant if we hope to defeat him.\" He hands the lever back to Tuck, who swings it enthusiastically like a sword before it slips through his fingers and disappears into the moat with a\nplunk.\n\n> You sniff the moat\nYou pretend to sniff it.\n\n\"He's returned to the moat!\" shouts Ser Leonhart as he leaps into the foetid waters once more, only to emerge with naught more than a frown.\n\n> You sniff the rope\nYou sniff the rope.\n\n\"For justice!\" cries Ser Leonhart, and with one great stroke of his gleaming sword, he severs the rope in two. Down comes the drawbridge, making as much noise as possible (as falling drawbridges tend to do). When the dust clears, the duo discovers the way into the keep has opened to the north.\n\n\"A brilliant success, milord!\" cheers Tuck.\n\nSer Leonhart poses like a titan holding up the sky. His hair dances in another breeze. \"Not even the Impenetrable Keep can stop the heavy fist of justice. All you need is confidence, my timid tenderfoot, and you can accomplish that which your heart most desires.\"\n\n\"I shall keep working on my confidence, milord,\" says Tuck, holding his hair up for the wind to take.\n\n> Go north\nAs you scurry across the drawbridge, the rain grows heavier.\n\n\"He has the wizard's scent,\" says Ser Leonhart, pulling Tuck to his feet. \"Let us make haste!\"\n\nAnd so, the brave knight and his squire follow you into the now-penetrable Impenetrable Keep. Passing beneath the outer walls, you come upon the lower bailey, a muddy yard lying at the foot of the inner keep. A dogtower rises from the centre of the bailey to the north. You can also go northeast or northwest, to the respective east and west ends of the bailey.\n\n> You examine the tower\nThe stone dogtower stands in the centre of the bailey.\n\n> You examine the yard\nThis is the southern end of the bailey. You can go north, northeast, northwest or south across the drawbridge. Tuck and Ser Leonhart wait nearby.\n\n> You go to the north\nYou lead the knight and his squire to a doghouse shaped like a miniature tower. Hence, a dogtower. During your last escape, the dogtower housed an overly playful pomeranian. You have no desire to repeat the encounter.\n\nAttached to the dogtower is a long, thick chain. At first, you wonder why such a small dog would need such a thick chain, until you realise the chain is not wrapped around the neck of a pomeranian. The chain is wrapped around the neck of a sleeping dragon.\n\n\"Is-is that a... is-is that a...\" asks Tuck, the rest of his question lodged in his throat.\n\nSer Leonhart covers the young squire's mouth. \"Aye, my quivering companion,\" he whispers, \"we have stumbled upon the fiercest creature of them all. Let us keep quiet, lest we learn whether it has a taste for human flesh.\"\n\n> You look at the dragon\nWhen it comes to dragons, the stories say not even the sharpest steel can pierce their armoured scales. Even though this dragon is sleeping, you are relieved to see the chain about its neck. Barely visible beneath one of its claws is a ball.\n\n> You examine the ball\nOne of those playthings for peasant children or dogs. It's not very large and can be held easily in one hand. Or a pig's mouth, given you are in possession of one.\n\n> You examine Tuck\nThe ever-faithful Squire Tuck might be taking his first brave steps into manhood, but he most closely resembles an underfed parrot. To his credit he is not necessarily an unsightly one. His slender frame may not help him accomplish any grand feats, but one could argue his mettle more than makes up for it.\n\n> You sniff Tuck\nYou sniff the young squire.\n\nSer Leonhart casts Tuck a suspicious glare and draws his sword. \"So, evil wizard, you think you could kidnap my squire and take his place? For justice, I will strike you down!\"\n\nTuck throws his arms in the air and tumbles backwards. \"Wait, milord! It's me, your faithful servant!\"\n\nThe knight halts his blade shy of justice. \"Oh, it is you,\" he says. \"That was nearly a misunderstanding.\" He returns his sword to his side.\n\n> You examine the chain\nIt's wrought of iron and as thick as Tuck is thin.\n\n> You look at the knight\nSer Leonhart is a knight, which is to say he is the quintessential man. If asked about his countenance, the good people of the kingdom would tell you the gods, in their quest for perfection, carved him out of the very lands he swore an oath to protect. They would say his eyes shimmer like the crystal blue sea beneath a radiant sun; his hair, amber and billowy, cascades from his noble brow like lush, wind-lashed fields of grain before the autumn harvest; his jaw is strong, defined and unyielding like the great walls that guard the borders against the demi-human hordes; and his massive suit of platemail leaves little doubt as to the robustness of the regions beneath.\n\nYet to you he is a rather average fellow, with ruddy skin, a mop of blond hair and a long nose. No matter how hard you try, you are unable to gaze upon him with such admiration, and you wonder if it ought to do with being an ordinary pig.\n\nHe carries with him a great sword and a shield emblazoned with the Leonhart family standard\u2014a lion on checks of burgundy and gold.\nTucked\ninto his belt is a wrinkled flyer.\n\n> You look at flyer\nThe knight has gazed at the flyer with sufficient frequency for you to memorise both the crudely-drawn depiction of a princess and the text beneath. It read:\n\nCitizens of our most great and virtuous kingdom,\n\nOn the twenty-third day of Maya, Her Royal Highness, Princess Joyanna Marianna Novellanna Montcabernet Savignon (Princess Joy), hath been kidnapped by the most evil of wizards, Queklain, who, in the form of a most fearsome dragon, hath taken her against her will to his Impenetrable Keep for the most nefarious of purposes. Henceforce and whatwith, whoever among the most noble of heroes, who possesseth the most courage and virtue, who rescueth her from the most terrible of fates, shall earneth the king's most bountiful blessing to requesteth her hand in marriage, and receiveth the most royal dowry of ten million doubloons.\n\nSigneth,\nHis Most Royal Highness, King Aurelius Audacious Latinus Montcabernet Savignon XXVIII.\n\nYou soon discovered neither the knight nor his squire possess the ability to read. Ser Leonhart has, however, learned a mere two words in his travels\u2014Princess Joy\u2014which he recited over and over like a prayer from the Good Books. This would be accompanied by a wistful look at the sky, or perhaps a fist over his heart and a vow to the gods he will either finish his quest or die trying.\n\n> Sniff dragon\nSer Leonhart watches you at first, his noble features etched with worry as you sniff around the dragon's wicked claws. Then, comprehension arrives like the first rays of the morning sun. \"Oh, what a fool I am!\" he shouts. Tuck gasps and pulls his doublet up over his nose.\n\nThe knight strides gallantly forward, drawing his sword. \"Were I an evil shapeshifting wizard, would I not take the form of a mighty dragon? You are clever, evil one, but you cannot outwit justice!\" He stabs the dragon in the neck, but his blade bounces harmlessly aside.\n\nThe dragon stirs. With a yawn like a smoking chimney it rolls languidly upright and, spotting the knight, begins to bark excitedly. The ball escapes to the side.\n\nSer Leonhart is as still as a statue. \"Listen carefully, Tuck,\" he whispers, \"and make not the slightest movement. Dragons cannot see what does not move. In the meantime, I shall determine a plan of\u2014\"\n\nThe dragon leaps onto Ser Leonhart, pinning him to the ground and licking his face. The knight struggles to free himself. \"Save yourself, Tuck!\" he shouts. \"Send word to the king I have been devoured by a dragon!\" He prepares himself for digestion.\n\n> You take the ball\nTaken."
    },
    {
        "text": "> Look around\nYou stand beside the dogtower in the centre of the bailey. Ser Leonhart is struggling to free himself from beneath the dragon. Tuck is more affected than usual.\n\n> You go to the west\nTuck follows you to the western end of the bailey. You can continue northeast towards the inner keep's entrance or southeast towards the drawbridge.\n\nA red pail lies on its side.\n\n> You look at the pail\nIt's painted red. The words \"IN CASE OF FIRE\" are written across its side.\n\n> You drop the ball\nDropped.\n\n> Go northeast\nTuck follows you across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\n> You look at the doors\nMassive and ominous, they stand guard over the inner keep to the north. Inset in the bottom of one of the doors is a doggy door.\n\nTo be more specific, someone cut a jagged shape in the bottom of the door, reached a point best described as \"good enough\" and nailed a scrap of leather over the hole to call it a day. But, for all intents and purposes, you may call it a doggy door, and simply moving in its direction will allow you to pass through it.\n\n> You go to the southeast\nTuck follows you to the eastern end of the bailey. You can continue west towards the dogtower or southwest towards the drawbridge.\n\n> You go north\nYou squeeze through the doggy door into the foyer of the inner keep. Tales woven by the commonfolk have always described the wizard's keep as naught more than a drab and dreary labyrinth. Yet instead of rough stone floors and draughty corridors, the keep is brimming with warm rooms full of lavish furnishings, vibrant purple alpaca carpeting, traditional fleuret-patterned wallpaper in silver and gold and stepped cornices sculpted into dancing putti.\n\nThe foyer itself is grand indeed, stretching three storeys high and lit from a skylight at the very top. To the north is an outdoor courtyard, to the west a darkened hallway and to the east a well-lit hallway. A circular staircase curves upwards around a clockwork lift, two options for reaching the balconies above.\n\nYou notice the decorations have yet to be removed. Great swathes of white fabric are draped from the balconies, and bouquets of baby's breath still run along the walls. A wooden crate sits unmoved in the centre of the room. A poster on an easel reads: \"Welcome to the most assuredly legal wedding of Master Tristain Girard and Her Royal Highness, Joyanna Marianna Novellanna Montcabernet Savignon (Princess Joy). The ceremony will be held in the ballroom beyond the courtyard.\" Beneath the text, an arrow points to the north.\n\n> Examine poster\nIt reads: \"Welcome to the most assuredly legal wedding of Master Tristain Girard and Her Royal Highness, Joyanna Marianna Novellanna Montcabernet Savignon (Princess Joy). The ceremony will be held in the ballroom beyond the courtyard.\" Beneath the text, an arrow points to the north.\n\n> You examine the lift\nUpon the advent of the clockwork engine a few decades ago, clockwork gadgets became an instant trend. Only the rich could afford these mechanical marvels, and even fewer could afford something as grand as a lift.\n\nThis one is closed.\n\n> You look at the wallpaper\nSo lavish.\n\n> Go east\nYou head down a long hallway lined with portraits. Ahead to the east is a closed door.\n\n> You examine the door\nA solid wooden door. The doors of the keep used to contain puzzles to solve in order to open them. It appears they have all been removed.\n\n> You examine portraits\nThe row of portraits features men and women radiating wealth and nobility. Each possesses the same upturned noses and downturned frowns. They scowl at you disdainfully from their perches with rich, violet eyes.\n\nBeneath each portrait is a gold plate engraved with a single name. From left to right, they read: Adelstain, Morgaine, Rogaine, Gawain, Romaine, Elaine, Queklain. The end of the row, bearing the name Tristain, is an empty frame.\n\n> You look at Queklain\nThe evil wizard Queklain. From up close, he resembles little of a wizard, except for being a bit grumpy. His robes are fairly pedestrian compared to the rest, and the painting itself is inferior in quality, which might have given him something to be grumpy about.\n\n> You examine Elaine\nElaine forwent the family tradition of wearing finery to her sitting, instead choosing a simple workman's outfit and knotting her hair in a silk handkerchief. Her only piece of jewellery is a pendant in the shape of a jigsaw puzzle piece about her neck.\n\n> You examine Gawain\nThis was painted when an excess of beard-curls and ribbons was all the rage at court. Gawain was a victim of the times in the worst sort of way.\n\n> Go north\nThe cold rain greets you once more as you proceed to the outdoor courtyard, the way forward continuing beyond a colonnade to the north. High stone walls constrict the courtyard on all sides, but a collection of elegant rose bushes and the gentle murmuring of water from the central fountain soften the edges of the enclosed space. Stairs descend below the wall to the west.\n\nA goblin engineer, seemingly unbothered by the rain, is busy repairing the dislocated leg of a suit of mechanical armour. She frowns as you waddle across the cobblestones.\n\n\"Oy, piggy! What sort of magicks saw piggy free from the sty? Tis Robbit's problem, Rhoda thinks. His Lordship must needs his keep protected from more heroes. Rhoda will burn them all crispy crispy, Rhoda will!\" She proudly pats the armour before returning to the task at hand.\n\n> You examine Rhoda\nThe goblin engineer looks like goblins in any other line of work, except this one dons a pair of goggles. She stands nary four hands high, her skin only slightly green and her ears decidedly droopy. She attempted to tame her wild red hair in two buns on either side of her head, achieving little success.\n\n> You look at the suit\nSecurity only nobility can afford. Even the Royal Palace only maintains a dozen of them. This one is a equipped with a flamethrower.\n\n> You look at the roses\nThe thorny branches bear red roses in full bloom.\n\n> You examine the fountain\nThe fountain is a large pool of water encased by stone. The statue in its centre depicts a cockatrice hen feeding her chicks in the manner of most birds, the act represented by the water pouring out of her mouth. At the hen's feet are the remains of a human, ravaged, with their ribs exposed through torn meat.\n\nYou think the artist may have been making a statement about the lengths one must go to provide for one's children. Or perhaps they simply enjoy monsters and gore.\n\nStairs descend below the wall to the west.\n\n> Go north\nYou pass beneath the colonnade into a magnificent ballroom decorated for a wedding.\n\nAt one end stands the altar, framed by a wooden arbour painted white and entwined with roses from the garden. Standing below the arbour is a full-sized statue of Cupido, god of love, music, romance fiction and scented candles. A simple table is bare, but you know it was to hold a glass mug, from which the bride and groom both drink a bitter craft beer to symbolise the strength of their union in even the worst of times. A few dozen chairs are arranged for optimal viewing.\n\nAll together the wedding looks like it could have been quite lovely. Not that you would have enjoyed it, of course. Not at all.\n\n> You examine Cupido\nAccording to myth, love is born between two souls when Cupido plays his guitar at them. The myth has since evolved into a tradition where men serenade women at their windows late at night in an attempt to woo them.\n\nYou take the opportunity to renew your commitment to atheism.\n\n> You look at the altar\nA simple table is the focal point of the altar.\n\n> You look at the arbour\nThe red roses and green vinery contrast prettily with the white wood beneath.\n\n> You look at the chairs\nThe chairs are in various shapes and sizes to accommodate rear-ends of various shapes and sizes."
    },
    {
        "text": "[Themes: Fantasy, knight, witchcraft]\n\n> You look around\nYou are standing in a magnificent ballroom decorated for a wedding. At one end stands the altar, consisting of an arbour, a table and a statue of Cupido. A few dozen chairs are arranged for optimal viewing.\n\n> Go south\nYou head to a cobblestoned courtyard enclosed by rose bushes. In the centre is a fountain, regurgitating water onto itself. The entrance to the foyer is to the south. Stairs descend below the wall to the west.\n\nA goblin engineer, seemingly unbothered by the rain, is busy repairing the dislocated leg of a suit of mechanical armour."
    },
    {
        "text": "[Themes: Fantasy, wedding, constrained protagonist, Comedy, fantasy, castle]\n\n> Go downward\nYou make your way down a looping stairway, entering a dimly-lit hall that extends to the east.\n\nWithout warning, a harrowing sound echoes through the passage. You recall hearing worse only once before, when a fellow of your acquaintance contracted the dreaded banshee tapeworm (much to your relief, the problem of the noise was resolved once someone thought to apply a cork to the offending orifice).\n\n> Go east\nAs you draw closer, you recognise the tortured caterwauling of a man. With each step, the wailing becomes more and more intense, and it takes every ounce of courage not to turn and flee. You can see a dead end a little farther to the east.\n\n> Go east\nYou inch towards the end of the hall and discover the source of the noise. Locked in a cramped cell is a collection of heroes\u2014five, to\nbe\nexact. One of them is bent over a guitar.\n\n\"And after aaaaaaaalllllllll,\" he cries. \"You're my wonderwaaaaaaaaalllllllll!\"\n\nThe hero ends his song with a flourish and a bow, and the others offer a rousing round of applause. \"Bravo, bravo!\" they cry. Hero 3 whistles appreciatively through his fingers. (It should be noted you have a hard time telling heroes apart, especially when they are all men and rather generic. Thus, you decide to number them in your head to prevent any issues with disambiguation. Only Hero 1 stands out by virtue of his guitar, but calling him Guitar Hero would simply be too generous a title.)\n\n\"By the gods, a pig!\" shouts Hero 5. He smacks his cellmates to gain their attention, and they all turn to consider you. \"Could it be here to rescue the princess?\" he continues.\n\n\"What a silly notion. I'm here to rescue the princess,\" says\nHero 4. Hero 2 gently but firmly corrects the other, stating that he, in fact, shall be rescuing the princess. This is followed by the same assertion from Hero 3. Hero 1 not only believes he shall be rescuing the princess, he has also written a song about it that he thinks everyone should hear right away.\n\n\"What if we all rescue the princess together?\" asks Hero 5, earning incredulous glares from the others.\n\n\"If everyone is the hero, then nobody is,\" says Hero 4. The remaining heroes nod in unison. \"So naturally,\" he continues, \"I shall be the one to rescue the princess.\"\n\nLosing interest in the resulting argument, you take in the rest of your surroundings. Within the cell, a combination washer-dryer stands against the far wall. Outside the cell, you find an empty guard post and a ring of keys hanging on the wall.\n\n> You take the keys\nYou assumed they were low enough to reach, but even when standing on your hind legs, the ring of keys is too far away.\n\nThe prisoners halt their argument to gape at your attempt. \"Are you... are you trying to purloin the keys for us?\" asks Hero 3. \"Are you some sort of intelligent pig?\"\n\nWhen you turn to look at them, Hero 1 has an idea. \"If you can understand me, bring me something to throw at the keys. I shall knock them off the wall, and you can retrieve them for me. Then I shall be free to rescue the princess.\"\n\n\"No, I'm rescuing the princess,\" counters Hero 2, and the\nargument resumes once more.\n\n> Examine post\nIt's a table and chair, with the chair facing the cell. You assume this is where a guard would watch over a prisoner, so calling it a guard post felt more appropriate to conveying its purpose (though without a guard, it really is just a table and chair).\n\n> You examine the washer\nA rare clockwork combination washer-dryer is beginning to succumb to rust. Chained to the machine is a skeleton.\n\n> You look at the skeleton\nSuch a gruesome death.\n\n> You open the washer\nBeing a pig, you are limited in what you can do.\n\n> You go west\nYou return to the centre of the dimly-lit hall that runs east and west.\n\n> You go to the west\nYou continue to the foot of the stairs to the west.\n\n> Go upwards\nYou make your way up the stairs to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom, and to the south is the foyer.\n\nA goblin engineer, seemingly unbothered by the rain, is busy repairing the dislocated leg of a suit of mechanical armour.\n\n> You go south\nYou squeeze through the doggy door and return to the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. Tuck is thrilled to see you again.\n\nThe squire immediately throws his arms around you. \"Oh! How happy I am to know you are safe, little sniffer.\" He blinks the mist from his eyes. \"I thought\u2014well, who knows what dwells inside this evil place, and I was worried that...\" He trails off, unable to complete the sentence, and only after an exhausting amount of kicking and squealing does he let you go.\n\n> Go southwest\nTuck follows you to the western end of the bailey. You can continue east towards the dogtower or southeast towards the drawbridge.\n\nA red pail lies on its side.\n\nYou can also see a ball here.\n\n> You take the ball\nTaken.\n\n> Go north\nYou squeeze through the doggy door into the foyer of the inner keep. To the north is an outdoor courtyard, to the west a darkened hallway and to the east a well-lit hallway. A circular staircase curves upwards around a clockwork lift.\n\n> You go north\nYou head to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west.\n\nA goblin engineer, seemingly unbothered by the rain, is busy repairing the dislocated leg of a suit of mechanical armour."
    },
    {
        "text": "[Themes: Fantasy, wedding, queerness, dragon, constrained protagonist, princess]\n\n> Go downward\nYou descend the stairs down the looping stairs, entering a dimly-lit hall that extends to the east.\n\n> You go east\nYou return to the centre of the dimly-lit hall that runs east and west.\n\n> Go east\nYou proceed to the closed cell at the end of the hall. Inside, a collection of heroes are engaged in a heated argument. The nearby guard post is empty. On the wall hangs a ring of keys.\n\n\"Oh, good boy,\" says Hero 3, cutting the argument short. \"Now bring the ball here.\" He slaps his hands on his thighs like you resemble a dog. You poke your snout between the bars, and Hero 2 takes the ball from your mouth.\n\n\"I have it! I have it!\" he exclaims. \"As leader of this group, I shall save us.\"\n\nBut Hero 4 snatches the ball away. \"Leader? You are the leader the day pigs fly. I shall do the honours.\" he says, prompting another argument over who should be the one to rescue the group and whether or not they even have a leader. The fight quickly turns physical, each trying to take the ball from the other, and after a brief struggle, the ball looses itself from their collective grips. It sails across the hall and knocks the keys onto the floor.\n\nThe heroes consider their accomplishment. Finally, Hero 1 speaks. \"Let that be a reminder of the power of teamwork,\" he says, and they all nod in agreement. \"Now, pig,\" he continues, \"might you bring us the keys?\"\n\n> You take the keys\nYou pick up the ring of keys and bring it to the heroes, who fight over possession of them, and then fight over which key to try in the lock. As is usually the case when dealing with multiple keys, the last one tried is the right one. They burst out of the cell as soon as it opens.\n\n\"Fear not princess, for I am coming!\" shouts Hero 5, escaping down the hall.\n\n\"Nay, princess, wait for your true hero!\" follows Hero 3. Heroes 2 and 4 chase after the other two.\n\n\"I must warn the others to hide until the time is right,\" says Hero 1. \"While I shall be the one to rescue the princess, I would not\nwant them to perish in this place.\" He looks down at the ring of keys. \"I also see no need for these in the near future for any specific reason.\" Tossing them over his shoulder, he hurries after the others."
    },
    {
        "text": "> Look around\nYou are at the end of a dimly-lit hall before an open cell containing a skeleton chained to a combination washer-dryer. The nearby guard post is empty.\n\nYou can see a ring of keys and a ball here.\n\n> You take the keys\nTaken.\n\n> You go to the west\nYou make your way to the foot of the stairs to the west.\n\n> Go up\nYou crest the top of the stairs and emerge into the courtyard, where the goblin engineer is panicking.\n\n\"Call the guard! The heroes have escaped!\" she shouts, running back and forth before skidding to a halt. \"Oh, chickenspit. Rhoda is the bloody guard.\"\n\nShe pulls a flint-wheel lighter out of her workvest and, shielding the flame from the rain, ignites the pilot light of the armour's flamethrower. Then she hops in the back and works the controls.\n\nThe contraption sputters and shakes as it struggles to right itself with one of its legs askew. Still, the goblin manages to coax the armour into an awkward limp, guiding it to the south.\n\n> You go to the south\nYou continue to the foyer of the inner keep. To the west is a darkened hallway, to the east is a well-lit hallway and to the south are the closed double doors to the bailey. A circular staircase curves around a lift to the balcony above.\n\nThe goblin engineer inspects the double doors from atop the armour.\n\n\"Hmmm,\" she says, tugging on her ears. \"The doors remain locked? The rotten heroes must be in the keep! Rhoda shall wait here and roast 'em on their escape.\" She pulls on the trigger of her flamethrower, and a ten-hands jet of flame bursts out of the barrel.\n\n> You go south\nYou squeeze through the doggy door and return to the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. Tuck is thrilled to see you again.\n\n> You drop the keys\nDropped.\n\n> You sniff the keys\nYou sniff the ring of keys, and Tuck picks them up.\n\n\"Are you saying these will open the doors?\" He looks to the south. \"No, I cannot go in without Ser Leonhart. We have to rescue him first!\" He returns the keys to the ground.\n\n> Go north\nYou squeeze through the doggy door into the foyer of the inner keep. To the north is an outdoor courtyard, to the west a darkened hallway and to the east a well-lit hallway. A circular staircase curves upwards around a clockwork lift.\n\nThe goblin engineer keeps watch over the foyer from atop her mechanical suit of armour, her back facing the double doors.\n\n> Go north\nYou make your way to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west.\n\n> You go east\nYou head to the end of the hall. The nearby guard post is empty.\n\nYou can see a ball here.\n\n> Go west\nYou proceed to the foot of the stairs to the west.\n\n> You go upwards\nYou climb the stairs to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom, and to the south is the foyer.\n\n> Go south\nYou continue to the foyer of the inner keep. To the west is a darkened hallway, to the east is a well-lit hallway and to the south are the closed double doors to the bailey. A circular staircase curves around a lift to the balcony above.\n\nThe goblin engineer keeps watch over the foyer from atop her mechanical suit of armour, her back facing the double doors.\n\n> You go south\nYou squeeze through the doggy door and return to the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. Tuck is thrilled to see you again.\n\nYou see a ring of keys here.\n\n> You drop the ball\nDropped.\n\n> Sniff ball\nYou sniff the ball, and Tuck picks it up.\n\n> You go to the southeast\nTuck follows you to the eastern end of the bailey. You can continue west towards the dogtower or southwest towards the drawbridge.\n\n> You go west\nTuck follows you to the dogtower, where Ser Leonhart is struggling to free himself from beneath the dragon.\n\nThe dragon, seeing Tuck hurry by with the ball in hand, bolts upright, panting and wagging its tail.\n\n\"W-w-what now, milord?\" asks Tuck. He moves the ball left and right, and the dragon follows it with its eyes. It shifts its weight from claw to claw, and its tail buffets the ground.\n\n\"The dragon has you in its sights!\" shouts Ser Leonhart, filled with worry for his young charge. \"Run, Tuck! Run I say! The beast is about to pounce!\"\n\nThe squire spins round in a panic, but one foot catches on the other, and he falls. The ball, escaping his grip, bounces away to the south. The dragon immediately gives chase.\n\nBeaming with pride, Ser Leonhart climbs to his feet and brushes himself off. \"Excellent work, my resourceful rookie. You are always full of surprises.\" Tuck blushes as he too rises, though his brow remains furrowed; he is not quite sure what it is he actually did.\n\n> Go north\nSer Leonhart and Tuck follow you across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\nStartled by the sounds of clinking chain and heavy footfalls, you turn to see the dragon running towards you with the ball in its jaws. Ser Leonhart grips the hilt of his sword. \"The beast is more ferocious than I expected,\" he says. \"We are left with no other choice.\"\n\n\"You shall defeat it in battle, milord?\" asks Tuck.\n\n\"Of course not,\" replies the knight. \"I suggest a hasty retreat.\"\n\nThus, the knight and his squire begin to run in tight circles as is their usual manner of escape. You would be more surprised if you had not already witnessed their methods working with an inexplicable degree of success against the creatures of the mountain (the ogre was prone to dizziness, the cyclops suffered from an inferior perception of depth and the medusa simply could not entice them to look at her).\n\nThe dragon, dropping the ball, joins in the circle behind them for what must seem a very fun game to play. You manage to hop over its chain with each pass.\n\n> Go south\nSer Leonhart and Tuck run after you to the dogtower, the dragon not far behind. From here, you can go back north, or continue south, east or west.\n\n> You go south\nYou lead Ser Leonhart, Tuck and the dragon to the southern end of the bailey. You can go north to the dogtower or around it to the northeast or northwest.\n\n> Go northwest\nYou lead Ser Leonhart, Tuck and the dragon to the west end of the bailey. As you circle the dogtower, the chain holding the dragon becomes a little shorter. You can go east to the dogtower or around it to the northeast or southeast.\n\nA red pail lies on its side.\n\n> You go northeast\nYou lead Ser Leonhart, Tuck and the dragon to the double doors of the inner keep, and the chain becomes a little shorter. You can go south to the dogtower or around it to the southeast or southwest.\n\nYou can see a ball and a ring of keys here.\n\n> Go southeast\nYou lead Ser Leonhart, Tuck and the dragon to the east end of the bailey, and the chain becomes a little shorter. You can go west to the dogtower or around it to the northwest or southwest.\n\n> You go southwest\nYou lead Ser Leonhart, Tuck and the dragon to the southern end of the bailey, and the chain becomes a little shorter. Once more around should finish the job. You can go north to the dogtower or around it to the northeast or northwest.\n\n> Go northwest\nYou lead Ser Leonhart, Tuck and the dragon to the west end of the bailey, and the chain becomes a little shorter. You can go east to the dogtower or around it to the northeast or southeast.\n\nA red pail lies on its side.\n\n> Go northeast\nYou lead Ser Leonhart, Tuck and the dragon to the double doors of the inner keep, and the chain becomes a little shorter. You can go south to the dogtower or around it to the southeast or southwest.\n\nYou can see a ring of keys here.\n\n> Go southwest\nYou lead your entourage to the southern end of the bailey. At long last the chain has shortened enough to prevent the dragon from chasing our heroes. The knight and his squire take the opportunity to admire their accomplishment.\n\n\"I cannot believe (wheeze) we stopped the dragon (wheeze) with its own chain,\" says Tuck while trying to catch his breath.\n\n\"Not even dragons (wheeze) can escape the tangled (wheeze) irons of justice,\" replies Ser Leonhart, also gasping for air but putting a valiant effort into not showing it.\n\n> You go to the northwest\nSer Leonhart and Tuck follow you to the western end of the bailey. You can continue east towards the dogtower or northeast towards the inner keep's entrance.\n\nA red pail lies on its side.\n\n> You take the pail\nIt's too big and unwieldy for you to carry.\n\n> You sniff the pail\nYou sniff the pail.\n\nSer Leonhart points his sword at the thing. \"Not one of your better disguises, wizard,\" he says. \"I shall cut you down where you, uh, lie already.\" He strikes the pail, sending it tumbling over itself several paces away.\n\nTuck chases it down and turns it over in his hands. \"This... does not seem a dead wizard, milord,\" he says.\n\nThe knight rubs his chin. \"I should have guessed from the label,\" he replies. \"It is a chamber pot.\"\n\nRecoiling in both disgust and horror, Tuck throws the pail to the ground and wipes his hands on his doublet.\n\n> You go to the northeast\nSer Leonhart and Tuck follow you across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\nYou can see a ring of keys here.\n\nThe heroes linger before the keep's imposing fa\u00e7ade. Tuck cranes his neck nearly to the point of falling over.\n\n\"Golly! The keep is impossibly large,\" he says. \"How ever shall we find the princess?\"\n\n\"Kidnapped princesses are always remanded to the highest tower. It is how these things are done,\" replies the knight.\n\n\"But, milord,\" says Tuck as a new thought crosses his mind. \"When I meet her, what should I say? Surely you have met Her Highness before.\"\n\nSer Leonhart's eyes take on a hazy quality. \"Nay, I have not the privilege. Very few have lain eyes upon our beautiful and virtuous Princess Joy. The king has wisely kept her under lock and key since birth, safe within the walls of the Royal Palace. That the evil wizard violated her sanctuary by transforming into a dragon and carrying her away from her tower reveals the true depths of his depravity.\" He shakes a fist. \"But, upon meeting her, all you must do is lower yourself to one knee and then stay there. Failing everything else, try to appear as inconsequential as possible.\" He returns his attention to the keep.\n\nTuck practices appearing inconsequential, and as it turns out, he is a natural.\n\n> Smell keys\nYou sniff the ring of keys, and Tuck hands the bunch to Ser Leonhart.\n\n\"Might these let us through the doors?\" he asks.\n\n\"Such a clever lad, you are,\" responds the knight. He tries the keys in the lock, finding the right one when it turns. You hear the groan of a lifting latch. \"Be ready, my faithful follower, for we know not what evils await us inside.\" Tuck darts behind Ser Leonhart as he ties the keys onto his belt and flings the doors open.\n\nThe goblin engineer, on the lookout for the five escaped heroes, was not expecting any more heroes to arrive, and certainly not through the locked double doors. She spins the armour round to face her new foes, but the disjointed leg cannot support her swift manoeuvre, and she stumbles backwards, inadvertently pulling the trigger of her flamethrower and loosing an arrow of fire onto the staircase. The flames spread across the carpet.\n\n\"Look what the stinky humes made Rhoda do!\" she shrieks, unleashing a blast at Ser Leonhart. The knight ducks behind his shield.\n\n\"Tuck, keep away!\" he shouts. \"My shield can withstand the creature's fire!\" He circles the armour, shield raised.\n\nYou lead Tuck into the foyer but maintain a healthy distance from the ensuing battle.\n\n> Go south\nTuck follows you out onto the bailey. The dogtower stands before you to the south, with the rest of the bailey to the southeast and southwest.\n\n> Smell pail\nYou sniff the pail, but Tuck hesitates. Annoyed, you sniff it again, and then again, until he comes over and picks it up with the tips of his fingers.\n\n\"The chamber pot? Is this supposed to help?\" He looks back towards the keep, full of worry for his master.\n\n> Go northeast\nTuck follows you across the bailey, arriving at the open double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\n> Go north\nTuck follows you to the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the east is a well-lit hallway. A circular staircase curves around a lift to the balcony above.\n\nThe goblin engineer is locked in battle with Ser Leonhart, though the knight can only maintain a defensive position while the armour is spewing flame.\n\n> You go to the north\nTuck follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west.\n\n> Smell fountain\nYou sniff the fountain and then the pail. It takes a moment for the idea to settle in.\n\n\"Oh, water!\" Tuck exclaims. He scoops up the water, filling the pail to the top.\n\n> You go south\nAt first, Tuck refuses to step into the foyer. He watches with eyes wide as saucers as the fierce battle rages on between Ser Leonhart and the goblin astride the mechanical menace. The armour hurls many lances of flame at the knight, who remains unscathed only by the grace of his shield.\n\nA look of determination spreads across the young squire's face. \"Here I am, milord!\" he cries. \"I shall assist you!\" Summoning all the courage he can muster, he inhales deeply, lifts the pail of water high above his head and charges forward, managing at least a solid three steps, possibly four, before tripping over his own feet and flinging water everywhere.\n\nThe pail bounces once, twice, then rolls to a stop directly underneath the armour's approaching foot. The machine topples goblin-over-heels and crashes to the floor.\n\nOut of its flamethrower erupts a wild stream of fire. It sprays upwards across the fleuret-patterned wallpaper and the elegantly draped white fabric, arcs back down along the bouquets of baby's breath and blasts the welcome poster off of its stand, only narrowly missing the wooden crate. Clearly no measure of fire retardants were applied to the wedding decorations, for the fire spreads quickly up the walls, seeming to catch on everything.\n\nAfter a moment of quiet contemplation, the goblin engineer extricates herself from the fallen armour and brushes herself off. \"And Rhoda is done,\" she says. \"Have fun storming the castle!\" Then she sprints through the double doors and disappears into the strengthening downpour outside.\n\nSer Leonhart immediately sets upon himself the task of putting out the fire, which involves stomping about in his armoured greaves. \"Hurry, Tuck, we must halt the flames, lest the princess burn to death within her prison!\"\n\nTuck investigates the possibility of using the fallen armour, comparing its oversized metal boots to his own for stomping out flames. Unfortunately, he seems unable to decipher the controls, and he soon becomes too distraught for independent action. He looks at you.\n\n> Smell pail\nYou sniff the pail, and Tuck picks it up.\n\n> Go north\nYou return to the courtyard with Tuck not far behind. Lightning flashes, and thunder rolls across the heavens. The rain comes down in thick sheets, leaving a thumb or two of standing water that accumulates faster than it drains.\n\nThe foyer is back to the south, billowing smoke out around you. A colonnade borders the ballroom to the north, and stairs descend beneath the wall to the west, water cascading down them. In the centre stands the fountain.\n\n> Smell fountain\nYou sniff the fountain and then the pail. Tuck scoops up the water, filling the pail to the top.\n\n> Go south\nTuck follows you to the foyer of the inner keep, which happens to be on fire. The drum of the downpour striking the skylight high above competes with the roar of the surrounding flames. A suit of mechanical armour lies abandoned near a wooden crate. Ser Leonhart runs back and forth, attempting to stomp out the flames with his boots.\n\n> Smell pail\nYou sniff the pail, and Tuck flings the water at the nearest patch of flame before dropping the empty pail. There is a spurt of steam, and not much else.\n\nAt this rate, it would take years to stop the fire's spread. There has to be a better way.\n\n> You examine the armour\nYou have a much better view of the armour now that the goblin engineer no longer lingers to shoo you away. Even so, you know not how it works. You can, however, identify the control panel and the flamethrower\u2014its trigger within reach and its barrel pointed at the floor. Its pilot light is lit.\n\n> Smell panel\nYou sniff the controls.\n\nTuck knows not where to begin. He turns cranks and pulls levers, and the suit bucks and whirs. Now the flamethrower is pointed directly at the wooden crate.\n\n> Smell panel\nYou sniff the controls. Tuck pulls a lever, and the flamethrower points at the ceiling.\n\n> Smell panel\nYou sniff the controls. Tuck pulls a lever, and the flamethrower points at the floor.\n\n> Smell panel\nYou sniff the controls. Tuck pulls a lever, and the flamethrower points directly at the wooden crate.\n\n> Smell pilot\nIt is out of reach.\n\n> You examine the suit\nYou have a much better view of the armour now that the goblin engineer no longer lingers to shoo you away. Even so, you know not how it works. You can, however, identify the control panel and the flamethrower\u2014its trigger within reach and its barrel pointed at the ceiling. Its pilot light is lit.\n\n> Smell trigger\nYou sniff the trigger, which Tuck pulls. An arrow of flame shoots many hands into the air.\n\nStartled by yet another burst from the armour, Ser Leonhart throws up his shield before noticing his squire at the controls. \"The goal is less fire, not more!\" he cries.\n\n> Light\n(the fleas)\nBeing a pig, you are limited in what you can do.\n\n> You look at the light\nThe pilot light is lit.\n\n> Smell panel\nYou sniff the controls. Tuck pulls a lever, and the flamethrower points at the floor.\n\n> You keep going\nYou sniff the controls. Tuck pulls a lever, and the flamethrower points directly at the wooden crate.\n\n> Smell trigger\nYou sniff the trigger, which Tuck pulls. An arrow of flame finds it mark upon the crate full of fireworks. Grabbing Tuck's hose with your teeth, you pull him to the corner of the room, and not a moment too soon.\n\nThe foyer vanishes behind an explosion of light, colour and sound. Blues swirl and greens pop. Yellows sizzle and purples streak this way and that. A phoenix of red light spreads its wings and screams upwards, bursting through the skylight and raining glass down around you (along with the actual rain).\n\nSlowly but surely, rain triumphs over fire, and as the downpour returns to a light drizzle, you are left standing on charred carpet and slick stone. There is little spared by the flames.\n\n\"That was too close,\" says Tuck, shivering in the wet.\n\nSer Leonhart brushes bits of glass off his armour. \"It was fortunate the wizard's plan failed,\" he says.\n\n\"How do you mean, milord?\"\n\n\"He attempted to slay us with daggers of glass, but he instead put out the fire with the rain,\" replies the knight. \"It is a mercy that even the most clever of men can make mistakes.\"\n\nA loud crash interrupts the conversation, and the lowest section of the staircase, having lost its structural integrity, collapses into a pile of rubble.\n\n> Go west\nSer Leonhart and Tuck follow you into the darkness. There is quite a bit of bumping into things, not to mention each other, and after several minutes of trying to go somewhere useful, you give up and head back into the light of the foyer.\n\n> Go east\nYou guide the knight and his squire down the long hallway towards the closed door to the east, passing by the row of portraits. Tuck winces under their biting glares. \"Who are all these people?\" he asks.\n\n\"Victims of the wizard, from the looks of it. It takes a special kind of evil to steal portraits and then display them so blatantly in one's own residence.\"\n\n\"Oh,\" says Tuck. \"I thought they might be the wizard's family.\"\n\nSer Leonhart nods. \"There is a similar hall for portraits in my family's manor. Have I mentioned I come from a long line of heroes in service to the crown?\"\n\n\"Once or twice.\" says Tuck. He pauses. \"Milord, if I may ask, have you always wanted to be a hero?\"\n\nThe knight blinks in confusion. \"Of course! Why would I not?\"\n\nBut Tuck offers no reply.\n\n> Smell door\nYou sniff the door, and Ser Leonhart pulls it open.\n\n> You go east\nYou lead the duo into a stately receiving room. Or rather, you walk in by yourself, for the knight and his squire have turned around and run the other way.\n\nThe reason for their fearful flight soon becomes clear. On the floor beside a fireplace sits an unnameable horror, sobbing dramatically. She is dressed in a housemaid's uniform and, for some reason, wears countless colourful ribbons all over her head-tentacles (an abundance of ribbons is a couple of generations out of fashion, even for housemaids). Most of her eyes acknowledge your presence before returning to the business of sobbing.\n\nThere are rooms to the east and south, as well as a narrow service corridor to the north.\n\n> You look at the horror\nYou have heard tales of unnameable horrors, and unlike your companions, you possess the constitution to look upon one. Or, perhaps their maddening appearance has no effect on ordinary pigs. In any event, you never suspected they wore so many ribbons.\n\n> You examine the ribbons\nThere are so many of them.\n\n> You look at the fireplace\nA lit fireplace is always comforting, even in keeps belonging to evil wizards.\n\n> Go south\nYou head to a long dining room, where the table runs from one end of the room to the other. There are two chairs, one at each end. Any attempt at mealtime conversation must involve extensive shouting. Another room lies to the east.\n\n> You look at the table\nIt's exceptionally long.\n\n> Go east\nYou make your way into the smoking room, where light filters in through frosted windows. Mahogany furniture matches the wainscoting on the walls and ceiling. There is another room to the north.\n\n> You examine the windows\nThey let in a suggestion of light.\n\n> You look at the furniture\nAll the furnishings are composed of mahogany.\n\n> Go north\nYou head to an elegant parlour. Blue and gold floral-printed upholstery matches the paper on the walls. Beside a chaise lounge is the worst attempt at a standing lamp you have ever seen. The receiving room lies to the west.\n\n> You look at the lamp\nHero 2 is doing his best to impersonate a lamp, standing upright with a lampshade over his head. Every once in a while he scratches an itch or leans to one side before realising his error and standing rigid once more.\n\n> Smell hero\nYou sniff around Hero 2's feet. He nudges you away surreptitiously with a foot.\n\n> You look at the lounge\nThe chaise lounge looks remarkably comfortable. A shame you cannot climb on top of it.\n\n> You go to the west\nYou make your way to the receiving room. There is a narrow service corridor to the north, a well-lit hallway to the west and a dining room to the south. An unnameable horror is crying on the floor beside a roaring fireplace.\n\n> Go north\nYou enter a narrow service corridor continuing north. A set of servants' stairs twists around a wall and disappears above you.\n\n> You go to the north\nThere is room enough for at least a dozen chefs in the dusty kitchen, but as you pass through the open doorway, you instead find a single occupant\u2014a clown. And while you cannot say you have encountered many clowns up close, and certainly none this small of stature, you nevertheless recognise the warning signs: a head of poofy multicoloured hair, a painted smile, a shabby patchwork coat and a pair of oversized red shoes (which produces a delightfully silly\nhonk with each step). He stands before a cauldron bubbling\nover an open flame, reading from a book and tossing ingredients into the concoction.\n\nOnly when he turns to grab a jar of owlet wings does he discover your attempt to sneak by. His beady eyes narrow at you.\n\n\"Piggy?\" he asks. \"How was the piggy freed? Not on Robbit's watch! His Lordship is angry enough.\" He searches the table of ingredients for something, growing more and more frustrated as the object of his search fails to appear. \"Robbit swears there were piggy treats here!\"\n\nExasperated, he pushes up his ruffled sleeves and chases you around the room. Once he manages to grab ahold of you, he lifts you off the floor, carries you out a side door and deposits you into a small, fenced-in area. Then he closes the gate and marches away, his clown shoes honking loudly as he goes."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, queerness, castle, monster, wedding, princess]\n\n> You look at your surroundings\nYou find yourself surrounded by a chain link fence save for a gate to the north. The ground is muddy, and the air reeks of manure.\n\nOf course. A pigpen.\n\nOn its own this would be a terrible predicament, but as you scan your surroundings, you discover you have a penmate. Another pig sits in the corner, tucked far enough away that you almost missed him. He scowls at you like you defecated all over his personal space.\n\nWhich, now that you think about it, is increasingly likely to happen should you find no escape.\n\n> You examine the pig\nAside from certain anatomical differences, he looks nearly identical to you.\n\n> You examine the gate\nA simple peg on a string inserted into a slot keeps the gate shut. The peg is easily accessible from both sides of the gate.\n\n> You take the peg\nIt takes several tries with your teeth, but you manage to pull on the string until the peg pops free of the slot. The gate swings open.\n\n> Smell pig\nYou attempt to sniff the pig, and he decides this is the perfect opportunity to put as much distance between the two of you as possible. He scurries through the gate to the north.\n\n> Go north\nBeyond the fence lies the stableyard. An old barn stands empty to the north. An open doorway to the west leads back into the inner keep.\n\n> Go north\nYou proceed into a large but empty barn. Near the back, an old ladder leads to a loft. You can hear creaky footsteps above you.\n\n> You look at ladder\nThe ladder has seen better days.\n\n> You go to the south\nYou make your way to the stableyard. To the south is the pen. To the west is an open doorway leading inside the inner keep.\n\n> Go west\nYou find the clown pursuing the other pig about the kitchen. He manages to snatch the beast by his tail and lift him off the floor.\n\n\"Caught piggy now!\" he shouts in triumph, and at that moment, he notices you. \"Two piggies?\" he asks aloud. \"Two too many piggies running higgeldy-piggeldy.\"\n\nThe other pig, seeing a means of escape, bites down hard on the clown's free hand. The clown recoils and drops the pig, who rushes away to the south.\n\nThe clown gives chase, shouting invectives and honking as he goes."
    },
    {
        "text": "[Themes: Fantasy, wedding, clown, monster, olfactory, dragon, Comedy, witchcraft]\n\n> Look around\nThe kitchen is as large as it is dusty, and it's quite large. Passages lead outside to the east and into a narrow corridor to the south. A single cauldron bubbles over an open flame, filling the room with a vile odour. Jars of assorted ingredients are gathered atop a nearby table, alongside an open book that rests halfway off the table's edge.\n\n> You look at the book\nYou presume it's some sort of poisoner's cookbook, considering the smell of whatever is boiling in the cauldron. It hangs slightly off the edge of the table.\n\n> You take the book\nThe book is too far away.\n\n> You examine cauldron\nUnsavoury things always seem to be brewed in cauldrons such as this.\n\n> You examine table\nMany jars of ingredients sit atop it. A book teeters on the edge.\n\n> You take the table\nIt is hardly portable.\n\n> Go south\nYou enter a narrow service corridor continuing south. A set of servants' stairs twists around a wall and disappears above you.\n\nFrom the south comes the clown's voice. \"Petunia! Seen any piggies? A pink piggy, this high, waddles about?\"\n\nThe only response from the horror is more sobbing.\n\n\"Cry not, Petunia, Robbit is sorry. Look at poor Robbit! All Robbit wanted was a sippy of His Lordship's tasty blueberry juice, and now Robbit is stuck with the honky-honky shoes!\" You hear several more honks like he is walking in a circle, showing them off.\n\nThe sobbing turns into a wail.\n\n\"Sorry, sorry! Robbit can find the piggy then pluck the ingredients from the stinky heroes then finish His Lordship's counter potion then fix Petunia right up!\"\n\nYou wait until you hear the clown leaving the receiving room for one further away.\n\n> Go upwards\nYou ascend the stairs to the first storey landing. The stairs continue up to the storey above. To the west is a closed door.\n\n> You examine the door\nA solid wooden door. The doors of the keep used to contain puzzles to solve in order to open them. It appears they have all been removed.\n\n> Go upward\nYou climb the stairs to the second storey landing. From here, you can continue up to the storey above. A closed door stands to the west.\n\n> Go upwards\nYou reach the top of the servants' stairs. To the west is a closed door."
    },
    {
        "text": "[Themes: Fantasy, olfactory, magic, constrained protagonist, clown, knight, monster, castle, wedding]\n\n> Go downwards\nYou make your way down the stairs to the second storey landing, the stairway continuing down to the storey below. A closed door stands to the west."
    },
    {
        "text": "[Themes: Fantasy, knight, castle, dragon, wedding, magic]\n\n> Go downward\nYou descend the stairs to the first storey landing, the stairway continuing down to the ground floor below. To the west is a closed door."
    },
    {
        "text": "[Themes: Fantasy, princess, knight, fantasy, monster, Comedy, constrained protagonist]\n\n> Go downwards\nYou descend the stairs and enter a narrow service corridor running north and south.\n\nYou relax as you hear the clown's honking shoes taking him away from the room to the south.\n\n> You go to the south\nYou proceed to the receiving room. There are rooms to the east and south, as well as a well-lit hallway through the open door to the west. An unnameable horror is crying on the floor beside a roaring fireplace.\n\nYou hear the clown searching for you in the room to the east.\n\n> Go west\nYou arrive to find Ser Leonhart and Tuck chasing the pig around in circles. The pig wants naught to do with the overly eager humans in tow. He dashes off into the darkened hallway to the west in an effort to lose them, but Ser Leonhart charges in after him.\n\nTuck hesitates long enough to catch a glimpse of you waddling into the foyer. He scratches his head, first looking down the darkened hallway, then back to you, then down the darkened hallway again before shrugging and resuming his place behind you.\n\n> You examine the lift\nThe lift is closed.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead him inside.\n\nThe space is only large enough for about three people, but for an ordinary pig like yourself, there is plenty of room. Next to the door on the southern wall is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled 'G' is already depressed.\n\n> Smell 1\nYou stand on your hind legs and sniff as high as you can reach, just below the button labelled '1'. Tuck presses it.\n\nThe lift stutters to life and slowly ascends before coming to a stop. You emerge onto the first storey balcony. On this level, you can go east to a hallway.\n\n> You go east\nTuck follows you down the first storey hallway. There is an open doorway to the north and a closed door to the east.\n\n> Go north\nThe expansive library is a welcoming sight, its ceiling high enough to accommodate the shelves upon shelves of ancient books and tomes. If only during your captivity you were kept here, you could have hurried the afternoons along reading some forgotten tales, or epic poetry, or as a last resort, something religious.\n\nOn the southern wall beside the sole entrance hangs a great tapestry. The large window on the opposite wall lets in ample light, and on a sunny day paired with a warm breeze, the room might have even convinced you to remember the keep in a kinder light.\n\n> You look at the tapestry\nThe large tapestry depicts a demon standing on a rocky shoreline in the midst of a storm. In one hand he holds a bell; the other is outstretched, feeding a murder of crows that hovers around him.\n\n> Examine books\nThe shelves are full of the usual suspects: histories, atlases, scientific theses, scriptures, erotic poetry and, of course, studies in dark magick. You notice the magickal tomes in particular have titles like Hexes and the Art of Broomstick Repair and\nThe Joy of Brewing, and you wonder if the keep also has a\nwitch in residence.\n\n> You look at the window\nThe window is closed. Given you are not very tall, you have no angle to see much more than the clouds.\n\n> Smell the tapestry\nYou sniff the tapestry. Tuck considers the subject but finds no deeper meaning beyond a bunch of pretty pictures."
    },
    {
        "text": "> You look at your surroundings\nThe expansive library stretches out around you, lit by a large window. On the southern wall beside the sole entrance hangs a great tapestry. The remaining walls are lined with shelves upon shelves of books. A bare reading table occupies the centre of the room. Tuck waits nearby.\n\n> You look at the table\nThe table is bare.\n\n> Smell books\nYou sniff a bookshelf. Tuck, intimidated by the sheer number of books, says rooted in place.\n\n> Go south\nYou return to the first storey hallway, which runs from the balcony to the west to a closed door to the east. Tuck remains close behind.\n\n> Smell door\nYou sniff the door, and Tuck opens it, revealing a narrow servants' staircase.\n\n> Go east\nTuck follows you to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, dragon, knight, wedding, castle, clown, nonhuman protagonist]\n\n> Go downward\nThe smell of burnt flesh and rotten eggs wafts into the narrow corridor as you lead Tuck down the stairs. The clown comes running in from the south.\n\n\"The potion! Robbit cannot burn the potion!\" He races by you to the north.\n\n> You go to the north\nTuck manages hardly a few steps into the kitchen when the clown turns around.\n\n\"Who is this one?\" he asks, but before Tuck can stutter a reply, the clown thrusts a large spoon into the squire's hand and pulls him over to the cauldron. \"It matters not. Friend stirs now,\" he commands. \"The sooner Robbit finishes the potion, the sooner Robbit is no longer a honky-honky clown, and friend no longer a stinky hume.\"\n\nThe terrified squire begins to slowly stir the cauldron, earning a smack on the back of the hand from the clown. \"Stir faster, and stop not, or His Lordship will sentence friend to death from laundry duty.\" Tuck stirs with all the strength he can rally.\n\n\"Now for the piggy.\" The clown picks you up and returns you to the pen, mumbling something about the poor quality of piggy fences. After closing the gate behind you, he honks back into the kitchen.\n\n> Go up\nTuck follows you to the first storey landing. From here, you can continue up to the storey above or go west to the hallway.\n\n> Go upwards\nTuck follows you to the second storey landing. The stairs continue up to the storey above. There is a closed door to the west.\n\n> Smell door\nYou sniff the door, and Tuck opens it, revealing a hallway.\n\n> You go west\nTuck follows you down the hallway. There is a closed door to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> You examine the memo\nThe memo was written in haste, complete with angry smears of ink. It reads:\n\nAttn: staff\nFor switching the labels on all of my potions, thus enabling the Princess Joy's escape, as well as dumping the remaining store of counter potion down the drain, my son is grounded and must remain in his room. Do NOT let him out under pain of death by laundry duty. I can assure you there are PLENTY of socks that require matching.\nAnyone not affected by a potion must search the mountain for the princess and bring her back here. In the meantime, Robbit will brew a counter potion to fix the rest of us. I would do it myself, but now I have to brew a new batch of love potion so we can finally have a wedding.\nSigned,\n~*Lord Queklain*~\n\nP.S. To whomever keeps smuggling in wigs and dresses, I will find you and you will suffer the worst kind of laundry duty and also death.\n\n> Northern\nYou sniff the door. Tuck tries to open it but finds it locked.\n\n\"I believe Ser Leonhart has the keys,\" he says.\n\n> Go west\nTuck follows you to the second storey balcony. Another hallway leads to the west. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Go west\nTuck follows you down the western hallway. There is a bedroom to the west and a closed door to the north.\n\n> Go west\nYou attempt to lead Tuck into the bedroom, but an old woman frightens him away. \"Too soon! Too soon for heroes!\" she cries. \"My greatest work is not yet complete!\" She chases Tuck about with a tin of pig treats until he flees back into the hallway. You remain close behind.\n\n> Northern\nYou sniff the door, and Tuck opens it, revealing a bedroom.\n\n> Go north\nTuck follows you north to a majestic bedroom. Against the far wall is a mahogany bed, a totem of devilish creatures carved into each of the posts. In another corner is a desk covered in papers. One such paper has fallen to the floor.\n\n> You look at the paper\nIt is a letter:\n\nTo His Most Honourable Evil Wizard Queklain, Lord of the Impenetrable Keep,\n\nWe are writing to inform you that Corporation Incorporated has purchased your debt in arrears. As of the date of this letter, your outstanding balance is nine million, nine hundred and twenty-three thousand, six hundred and eighty-five doubloons. You may send a check or money order in the return envelope provided with this letter.\n\nFailure to comply with this request within thirty days will begin possession proceedings, including but not limited to confiscation of real estate, bank accounts, sole proprietorships, investment securities, ships and vehicles, art and antiquities, spell books, slaves and your first born child. Customer satisfaction is our number one priority, so please do not hesitate to contact us with any questions or concerns you may have.\n\nSincerely,\nGerry Evans, Account Executive\nCorporation Incorporated\n\n> You examine the bed\nIt is large and luxurious, if somewhat creepy.\n\n> Smell bed\nYou sniff the bed. Tuck bites his lip."
    },
    {
        "text": "[Themes: Fantasy, queerness, constrained protagonist, castle, olfactory, monster]\n\n> Look around\nYou are in a majestic bedroom, the exit to the south. Against the far wall is a mahogany bed, a totem of devilish creatures carved into each of the posts. In another corner is a desk covered in papers. One such paper has fallen to the floor. Tuck waits nearby.\n\n> You examine the desk\nThere are a great deal of papers on top of it.\n\n> You go to the south\nTuck follows you to the western hallway. There is a balcony to the east and bedroom to the west.\n\n> Go east\nTuck follows you to the second storey balcony. Another hallway leads to the east. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Go upward\nTuck follows you to the highest balcony, with a hallway to the east and a spiral staircase up to the tower to the west. A call button can summon the lift.\n\n> Go west\nTuck follows you to the top of the spiral staircase. To the north is a closed door. You can hear sparks and zaps and other magickal noises coming from inside.\n\n> You examine the door\nA solid wooden door. The doors of the keep used to contain puzzles to solve in order to open them. It appears they have all been removed."
    },
    {
        "text": "[Themes: Fantasy, knight, olfactory, magic, queerness, Comedy, constrained protagonist, castle]\n\n> You go downwards\nYou lead Tuck away from the cramped stone stairway and return to the third storey balcony. A hallway extends to the east, while the main staircase descends to the balcony below. A call button can summon the lift.\n\n> Go east\nTuck follows you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a closed door to the east.\n\n> You examine the gargoyle\nIts countenance was carved into the most hideous of glowers. You are reminded of the woman who tended to you when you were young. In one of its hands hangs a tasselled cord.\n\n> You examine the cord\nIt hangs from one of the gargoyle's hands.\n\n> Smell cord\nThe tasselled cord is too far away.\n\n> Smell door\nYou sniff the door, and Tuck opens it, revealing a narrow servants' staircase.\n\n> You go west\nYou lead Tuck to the third storey balcony. Ahead of you rises a spiral staircase to the keep's highest tower. The main staircase descends to the balcony below. A call button can summon the lift."
    },
    {
        "text": "> Descend\nTuck follows you to the second storey balcony, where hallways extend to the east and west. The circular staircase continues to the balcony below. A call button can summon the lift."
    },
    {
        "text": "[Themes: Fantasy, wedding, castle, magic, Comedy, constrained protagonist, female protagonist, nonhuman protagonist, olfactory]\n\n> Go down\nTuck follows you to the first storey balcony, which curves along the far wall and turns down a hallway to the east. The lift stands ready to take you to another storey.\n\n> Go west\nYou cannot go that way. Available exits are east and up.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead him inside. Next to the door on the southern wall is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled '1' is already depressed.\n\n> Smell g.\nYou stand on your hind legs and sniff as high as you can reach, just below the rightmost button. Tuck presses it. The lift stutters to life, slowly descending all the way to the ground.\n\nYou emerge into the foyer. You can go north to the courtyard, south through the double doors to the bailey, east to the well-lit hallway or west to the darkened hallway.\n\n> You go to the west\nTuck follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Ser Leonhart is now standing behind you.\n\n> Smell lift\nYou sniff the lift. Ser Leonhart throws open the door, only to find it empty. He holds you back before you can enter. \"The wizard must have been in there recently, but he is not in there now,\" he says.\n\n> You go to the north\nSer Leonhart follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west."
    },
    {
        "text": "[Themes: Fantasy, magic, queerness, constrained protagonist, Comedy]\n\n> Go down\nIt's much too flooded to go down there.\n\n> Go north\nSer Leonhart follows you into a magnificent ballroom decorated for a wedding. At one end stands the altar, consisting of an arbour, a table and a statue of Cupido looking particularly anxious. A few dozen chairs are arranged for optimal viewing.\n\n> Smell Cupido\nYou sniff around Hero 1's feet, and Ser Leonhart nods with solemn reverence.\n\n\"Aye, I believe a prayer to the divine may help us in our quest.\" He sinks to his knees before the hero and says a quick prayer. Meanwhile, Hero 1 scrunches and unscrunches his nose in an attempt to scratch an itch without moving his arms.\n\nOnce finished, Ser Leonhart rises and bids you to continue the search for the wizard.\n\n> You examine the statue\nHero 1 has taken the position of the statue of Cupido, having shattered the real statue into hundreds of pieces spread out across the floor. He painted himself white with what might be flour and milk, lending him a slightly sour odour. His guitar completes the look.\n\n> You go south\nSer Leonhart follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the south is the foyer. Stairs descend below the wall to the west.\n\n> You examine the fountain\nThe fountain is a large pool of water encased by stone. The statue in its centre depicts a cockatrice hen feeding her chicks in the manner of most birds, the act represented by the water pouring out of her mouth. At the hen's feet are the remains of a human, ravaged, with their ribs exposed through torn meat.\n\n> You go south\nSer Leonhart follows you to what remains of the foyer of the inner keep. To the west is a darkened hallway, to the east is a well-lit hallway and to the south are the open double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above.\n\n> You go east\nSer Leonhart follows you down a long hallway lined with portraits. Ahead to the east is the receiving room.\n\n> You examine Tristain\nIt's an empty frame.\n\n> Smell Tristain\nThe portrait of Tristain is too far away.\n\n> You examine Adelstain\nIn the oldest painting, Adelstain poses amidst his inventions. Children in history class learn about the great puzzlemaster Adelstain, who held patents on everything from the basic crossword puzzle to the puzzle cube to the use of several alternate number systems including binary and hexadecimal. That is, until the patents were opened up to the public domain after a lengthy court battle several decades later (a riveting tale, for another day). He wears the finest clothes and has diamond rings on nearly every finger.\n\n> You examine the Morgaine\nAfter it was discovered that gold could be ground into a fine powder, many women decided to show their wealth by lining their eyes and lips with the stuff. Morgaine was very rich indeed. Her collection of jewellery is extensive.\n\n> You examine Rogaine\nRogaine was completely bald. There might be other interesting things happening in the portrait, but you find yourself too distracted by how well the artist captured the shininess of the man's head, to the point where you can make out a reflection of the artist himself, hard at work.\n\n> You examine Romaine\nPoor Romaine must have been disliked by his family. Was there not one kind soul to dissuade him from wearing an outfit so offensively green? The portrait itself is only half the size of its predecessors, as if paying the artist had become a consideration.\n\n> You go east\nYou pass through the open door into the next room without Ser Leonhart, the sight of the unnameable horror too much for him to bear. He panics for the briefest of moments before his feet assume responsibility for his mental well-being, taking him back the way he came.\n\nThe receiving room is as you have left it, including the horror still sobbing by the fire.\n\n> Go west\nSer Leonhart is busy recovering from his trauma when you arrive. He soon returns to your side.\n\n> You go to the west\nSer Leonhart follows you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the open double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above.\n\n> Go west\nSer Leonhart follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Hero 3 is now standing behind you.\n\n\"Hmmm,\" he says, taking in the newly-damaged foyer. \"The princess must be locked in the highest tower, and it seems I have missed my chance for the stairs.\" Glancing out the double doors, he spots the dragon in the distance and shouts with glee. \"I shall tame the dragon and ride it up to the princess!\" As he runs through the doors, he turns and pulls them shut behind him, as if to bar you from meddling.\n\n> You go south\nYou return to the dogtower to find that not only has Hero 3 managed to stay alive, but he has somehow climbed onto the dragon's back and is attempting to free the chain from around its neck.\n\nThe dragon, not entirely pleased with the situation, is trying to scratch the hero off his back with a hind leg like a dog would an irritating flea. You can empathise.\n\n> You go to the north\nYou head across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\n> Go north\nYou squeeze through the doggy door and return to what's left of the foyer. To the north is a courtyard, to the west a darkened hallway and to the east a well-lit hallway. Without a functioning staircase, only a lift remains to provide access to the balconies above.\n\n> Go west\nYou head down the hallway and into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Tuck is now standing behind you.\n\n> Smell doors\nYou sniff the double doors. Tuck attempts to open them, but he simply is not strong enough.\n\n> You go to the north\nTuck follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west.\n\n> You go to the north\nTuck follows you into a magnificent ballroom decorated for a wedding. At one end stands the altar, consisting of an arbour, a table and a statue of Cupido looking particularly anxious. A few dozen chairs are arranged for optimal viewing.\n\n> Smell Cupido\nYou sniff around Hero 1's feet. Tuck bows reverently to the statue, a fist at his heart."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, witchcraft, clown]\n\n> Go downwards\nYou cannot go that way. The only available exit is south.\n\n> You go south\nTuck follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the south is the foyer. Stairs descend below the wall to the west.\n\n> Go south\nTuck follows you to what remains of the foyer of the inner keep. To the west is a darkened hallway, to the east is a well-lit hallway and to the south are the closed double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead him inside. Next to the door on the southern wall is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled 'G' is already depressed.\n\n> Smell 1\nYou stand on your hind legs and sniff as high as you can reach, just below the button labelled '1'. Tuck presses it.\n\nThe lift stutters to life and slowly ascends before coming to a stop. You emerge onto the first storey balcony. On this level, you can go east to a hallway.\n\n> Go east\nTuck follows you down the first storey hallway. There is a library to the north and a stairwell to the east.\n\n> Go east\nTuck follows you to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below.\n\n> You take the peg\nYou pull out the peg on the first try, having become significantly better at this. The gate swings open.\n\n> You go north\nYou continue to the stableyard. To the north is the barn, and to the west is an open doorway leading to the kitchen.\n\n> Go west\nYou return to the kitchen and find Tuck alone, frantically stirring the contents of the cauldron. He looks relieved to see you enter.\n\n\"Oh, little sniffer, what a mess I now find myself in! What can I do? Maybe I can find something to scare away the clown.\" He steps away from the cauldron and peers down the service corridor. Seeing no sign of the clown, he then hurries over to the table and sorts through ingredients.\n\n\"I know not what to look for. What do you suppose clowns are afraid of? I daresay, the wizard seems to have a number of frightening things\u2014\" His elbow catches a jar, tipping it and several others over amidst the sound of breaking glass. Tuck yanks his arm away, knocking a book and a pepper shaker onto the floor.\n\nHe stands frozen in fearful anticipation of having drawn unwanted attention. When no one arrives, he returns straight to the cauldron and promptly resumes stirring the brew. \"I will never make a good hero. Not even a passable hero. I will stir as asked and allow Ser Leonhart to save the day,\" says Tuck reassuringly to himself. \"Yes, that is for the best.\"\n\n> Examine book\nIt's a book of potions. The open page reads:\n\n~   To reverse the effects of any magick potion   ~\n\n* three pints of milk\n* one hundred grams of all-purpose flour, sifted\n* ten nail clippings from a bear\n* six tears from a virgin\n* four lizard's legs\n* two owlet wings\n* five strands of hair from heroes (to clarify: hair from five separate heroes, and not five strands from the same one)\n\nBoil the ingredients in a cauldron of rose water, adding them one by one while stirring continuously. The potion is finished once it turns a bright pink in colour. Note that the ingredients may be difficult to come by.\n\nBottle immediately and store for up to three years in a cool, dark place.\n\n> Go north\nYou cannot go that way. Available exits are south and east.\n\n> Go east\nYou make your way to the stableyard. To the north is the barn, and to the west is an open doorway leading to the kitchen.\n\n> You go to the north\nYou proceed into the large but empty barn. Near the back, an old ladder leads to a loft. You can hear creaky footsteps above you.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker).\n\n> You wait for a while\nTime passes.\n\n> You go south\nYou make your way to the stableyard. To the south is the pen. To the west is an open doorway leading to the kitchen.\n\n> You go west\nYou continue into the large and dusty kitchen. A narrow service corridor lies to the south. A single cauldron bubbles over an open flame, filling the room with a vile odour. Jars of assorted ingredients are gathered atop a nearby table. On the floor is an open book. Tuck is frantically stirring the contents of the cauldron.\n\n> Go south\nYou enter a narrow service corridor continuing south. A set of servants' stairs twists around a wall and disappears above you.\n\nFrom the south comes the voice of the clown, in a state of utter panic. \"Oh no, oh no, oh no. Forget the piggies, the foyer is a mess! Rhoda is gone! The heroes escaped!\" He pauses and gasps. \"What if His Lordship blames poor Robbit?\" You hear the honk honk honk of\nthe clown pacing about the room.\n\n> You go upwards\nYou head up the stairs to the first storey landing. From here, you can continue up to the storey above or go west to the hallway.\n\n> Go west\nYou proceed down the first storey hallway. There is a library to the north and a balcony to the west.\n\n> You go to the north\nYou make your way into an expansive library lit by a large window. On the southern wall beside the sole entrance hangs a great tapestry. The remaining walls are lined with shelves upon shelves of books. A bare reading table occupies the centre of the room.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker).\n\n> Go south\nYou return to the first storey hallway, which runs from the balcony to the west to the stairwell to the east.\n\n> You go east\nYou proceed to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below.\n\n> Go upwards\nYou climb the stairs to the second storey landing. You can continue up to the storey above or head west to the hallway.\n\n> You go upward\nYou climb the stairs to the third storey landing. You can head west to the hallway.\n\n> Go west\nYou make your way down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). The gargoyle sneezes, and he spits out a bottle of potion. It sails into the opposite wall and smashes to bits.\n\n> You examine the gargoyle\nIts countenance was carved into the most hideous of glowers. You are reminded of the woman who tended to you when you were young. In one of its hands hangs a tasselled cord.\n\n> You go to the east\nYou continue to the third storey landing. You can take the servants' stairs to the storey below."
    },
    {
        "text": "[Themes: Fantasy, witchcraft, Comedy, princess, queerness, dragon]\n\n> Go downwards\nYou descend the stairs to the second storey landing. You can continue down to the storey below or go west to the hallway.\n\n> Go west\nYou proceed down the hallway. There is a closed door to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> Go west\nYou head to the second storey balcony. Another hallway leads to the west. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Go north\nYou cannot go that way. Available exits are east, west, up and down.\n\n> You go west\nYou make your way down the western hallway. There is a bedroom to the west and a bedroom to the north.\n\n> Go north\nYou head north to a majestic bedroom. Against the far wall is a mahogany bed, a totem of devilish creatures carved into each of the posts. In another corner is a desk covered in papers. One such paper has fallen to the floor.\n\n> Go south\nYou make your way to the western hallway. There is a balcony to the east and bedroom to the west.\n\n> Go west\nThe small bedroom is not as immaculately kept as the other rooms. Oil stains are everywhere, including on the hammock that serves as a bed. Above the hammock hangs an aged painting. An old woman is hard at work tinkering with some kind of vending machine.\n\nAt first, the woman fails to notice you. She removes the lid from a tin of pig treats and shoves a handful of them into her mouth. However, once she sees you waddle in through the open door, she raises an eyebrow as if to say \"why is there a pig in my bedroom?\" This is followed by a glance over at her pig treats, then a horrible glare and hissing sound at you to say \"oh, you want these treats? Well, too bad, they belong to me and not to you!\"\n\n> You examine the woman\nHer age is a mystery, but if you were to hazard a guess, you would say somewhere between ninety-six and one hundred and fifty-two. Around her neck is a pendant shaped like a jigsaw puzzle piece.\n\n> You examine the hammock\nHanging from the ceiling is a hammock, which you presume is where the old woman sleeps.\n\n> You examine the painting\nThe scene depicts Blixe, goddess of lightning, of wisdom, invention and caffeinated beverages, giving a book of mathematics to Adelstain, who you recognise from his portrait in the hallway gallery. The divine interaction takes place atop a familiar mountain, the eventual site of the Impenetrable Keep.\n\n> You look at the machine\nThe clockwork vending machine stands ominously against the wall, an exposed monolith of cogs and axles. Through the glass cover you can see spiral coils arranged in lettered rows and numbered columns (A1 through F8), though the only object available for vending is a handbell in D5.\n\nAlong the bottom are a series of coloured switches. In order from left to right, they are: a red switch (down), an orange switch (down), a yellow switch (down), a green switch (down), a blue switch (down), an indigo switch (down), a violet switch (down) and a white switch (down). A large button on the side reads: PRESS TO VEND.\n\n> Smell the indigo\nYou sniff the indigo switch.\n\n> You examine the tin\nThe pig on the side of the tin looks unbelievably happy to be eating one of the treats. It sits atop a drafting table.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). The old woman sneezes.\n\n> You go east\nYou leave the bedroom behind and return to the western hallway. There is a balcony to the east and a bedroom to the north.\n\n> You go to the east\nYou proceed to the second storey balcony. Another hallway leads to the east. A circular staircase reaches the balconies above and below. A call button can summon the lift."
    },
    {
        "text": "> Go down\nYou head down the stairs to the first storey balcony, which curves along the far wall and turns down a hallway to the east. The lift stands ready to take you to another storey.\n\n> Go west\nYou cannot go that way. Available exits are east and up.\n\n> You jump\nBeing a pig, you are limited in what you can do.\n\n> You go east\nYou make your way down the first storey hallway. There is a library to the north and a stairwell to the east."
    },
    {
        "text": "> Go downwards\nYou cannot go that way. Available exits are north, east and west.\n\n> Go east\nYou continue to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below.\n\n> Go south\nBy the time you return to the receiving room, the clown has started crying, and the horror has wrapped a comforting tentacle around him.\n\n\"Robbit shall be sacked for sure,\" moans the clown. \"On the streets, begging for scraps from stinky stinky humes!\" The horror proffers him a handkerchief, which he uses to wipe his eyes and blow his nose before handing it back.\n\n\"If doggy was still a doggy,\" the clown continues, \"mayhap doggy could find the heroes. Robbit cannot finish the potion without them.\"\n\nAs you waddle across the room, the horror gestures to you and makes a deep, gargling sound. The clown perks a bit. \"Petunia thinks so?\" he asks. \"Robbit heard about piggies smelling mushrooms, but heroes? Well, piggy stays not in the piggypen anyway.\" He walks over to you and shoves a shiny badge that says \"Hero Akademy: Class of '68\" in your nose, or rather, your snout.\n\n\"Smell this, piggy. Is the heroes' scent. Piggy shall lead Petunia to the heroes to collect ingredients and return the heroes to their cage. In the meantime, Robbit must see to His Lordship.\" After granting you barely enough time to smell it, Robbit returns the badge to his pocket and honks away to the north.\n\nThe horror wipes away the last of her tears and lumbers over to you. It seems you have a new friend.\n\n> Go east\nThe horror follows you to the parlour. Blue and gold floral-printed upholstery matches the paper on the walls. Beside a chaise lounge is the worst attempt at a standing lamp you have ever seen. The smoking room lies to the south.\n\n> Smell lamp\nYou sniff around Hero 2's feet.\n\nThe horror gently lifts the lampshade off the hero's head, and you watch as the walls of his sanity begin to crumble. He cries, he laughs, he mumbles gibberish, all while the horror caresses him with her tentacles.\n\nAfter a distinct period of time known only to the horror, she opens a portal to the partially-flooded cell beneath the keep and pushes him through, plucking a single hair from his head as he goes. Then she lifts one tentacle into the air.\n\nOne found, you suppose.\n\n> Go west\nThe horror follows you to the receiving room. There is a narrow service corridor to the north, a well-lit hallway to the west and a dining room to the south.\n\n> You go to the west\nThe horror follows you down a long hallway lined with portraits. Ahead to the west is the foyer.\n\n> Go west\nThe horror follows you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the closed double doors to the bailey. A call button can summon the lift.\n\n> Go south\nYou squeeze through the doggy door and onto the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. The horror follows you through the doors, closing them behind you.\n\nThe dragon, somehow free of its chain, comes leaping and bounding towards the horror, barking and wagging its tail. With a wave of her tentacle, the horror commands the dragon to sit up on its hind legs, then lie down. After performing several more tricks, the dragon falls in line behind her.\n\n> Go south\nYou return to the dogtower, the horror and dragon close behind. From here, you can go back north, or continue south, east or west.\n\n> You go to the south\nYou lead the horror and the dragon to the southern end of the bailey. You can go north, northeast, northwest or south across the drawbridge.\n\n> Smell\n(the pepper shaker)\nYou might drop the pepper shaker first.\n\n> You go to the north-west\nYou lead the horror and the dragon to the western end of the bailey. You can continue east towards the dogtower or northeast towards the inner keep's entrance.\n\n> Go east\nYou return to the dogtower, the horror and dragon close behind. From here, you can go back west, or continue north, south or east.\n\n> You go east\nYou lead the horror and the dragon to the eastern end of the bailey. You can continue northwest towards the inner keep's entrance or southwest towards the drawbridge.\n\n> You go to the northwest\nYou lead the horror and the dragon across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\n> Go north\nYou squeeze through the doggy door and return to what's left of the foyer. The horror follows not long after, opening and then closing the double doors behind you. To the north is a courtyard, to the west a darkened hallway and to the east a well-lit hallway.\n\n> Go north\nThe horror follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the north is the ballroom. Stairs descend below the wall to the west.\n\n> You go north\nThe horror follows you into a magnificent ballroom decorated for a wedding. At one end stands the altar, consisting of an arbour, a table and a statue of Cupido looking particularly anxious. A few dozen chairs are arranged for optimal viewing.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). The horror sneezes. Hero 1 sneezes.\n\n> Smell hero\nYou sniff around Hero 1's feet.\n\nThe horror coaxes open the hero's eyes, and you watch as the walls of his sanity begin to crumble. As you have witnessed before, the horror transports him to the small cell beneath the keep, keeping a strand of hair for herself. Then she lifts two tentacles into the air, a reminder of how many heroes have been found.\n\n> You go south\nThe horror follows you to a cobblestoned courtyard enclosed by rose bushes with a fountain in the centre. To the south is the foyer. Stairs descend below the wall to the west.\n\n> You go to the south\nThe horror follows you to what remains of the foyer of the inner keep. To the west is a darkened hallway, to the east is a well-lit hallway and to the south are the closed double doors to the bailey. A call button can summon the lift.\n\n> Go south\nYou squeeze through the doggy door and onto the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. The horror follows you through the doors, and the dragon soon joins the both of you.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). The horror sneezes. The dragon sneezes.\n\n> Go south\nYou return to the dogtower, the horror and dragon close behind. From here, you can go back north, or continue south, east or west.\n\n> Go south\nYou cross the drawbridge and return to the opposite side of the moat, where a cornucopia of old and broken puzzles spills out of an overturned rubbish bin. The horror and dragon remain close behind.\n\n> You look at the bin\nIt has been overturned, revealing a number of old and broken puzzles.\n\n> Smell the moat\nYou sniff the moat. The horror continues to be patient with you.\n\n> You go north\nYou lead the horror and the dragon to the southern end of the bailey. The dogtower stands in the centre of the bailey to the north. You can also go northeast or northwest.\n\n> Go north\nYou return to the dogtower, the horror and dragon close behind. From here, you can go back south, or continue north, east or west.\n\n> You go north\nYou lead the horror and the dragon across the bailey, arriving at the double doors of the inner keep. The dogtower stands behind you to the south, with the rest of the bailey to the southeast and southwest.\n\n> Go north\nYou squeeze through the doggy door and return to what's left of the foyer. The horror follows not long after, opening and then closing the double doors behind you. To the north is a courtyard, to the west a darkened hallway and to the east a well-lit hallway.\n\n> Go west\nThe horror follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Ser Leonhart is now standing behind you.\n\n> You go east\nSer Leonhart follows you down a long hallway lined with portraits. Ahead to the east is the receiving room.\n\n> You go north\nYou cannot go that way. Available exits are east and west.\n\n> Go east\nSer Leonhart follows you to the receiving room. There are rooms to the east and south, as well a service corridor to the north.\n\n> Go north\nYou lead Ser Leonhart into the narrow service corridor continuing to the north. A set of servants' stairs twists around a wall and disappears above you.\n\n> You go north\nSer Leonhart follows you into the kitchen. He is surprised to discover Tuck exerting himself over a cauldron.\n\n\"There you are, my slippery sidekick!\" exclaims the knight. \"What is this foul creation you are brewing?\"\n\n\"I-I know not, milord,\" replies Tuck, \"but I'm not permitted to stop.\"\n\nSer Leonhart gasps. \"You have been enchanted by the evil wizard, forced to assist him in his devilry!\"\n\n\"I apologise, milord, what I meant to say is that\u2014\"\n\n\"Worry not,\" interrupts the knight. \"With the sniffer's help, I shall slay the wizard and release you from his spell.\" He grips the younger man's shoulder in a gesture of confidence.\n\nTuck sighs and returns to the stirring.\n\n> Go north\nYou cannot go that way. Available exits are south and east.\n\n> You go to the east\nSer Leonhart follows you to the stableyard. To the north is the barn, and to the west is an open doorway leading to the kitchen.\n\n> Go north\nSer Leonhart follows you into the large but empty barn. Near the back, an old ladder leads to a loft. You can hear creaky footsteps above you.\n\n> Smell ladder\nYou sniff the ancient ladder. Ser Leonhart hops onto the rungs and ascends partway before the wood snaps in two. Gravity brings him down, and not gently.\n\n\"How many times have I told you this is my hiding sp\u2014\" comes a voice from above, and Hero 4 pokes his head over the side of the loft. He gasps. \"Georgie? Little 'Georgie Porgie' Leonhart from Hero Akademy? It has been an age! How have you been? My, to what heights you have grown! And you lost weight! At the same time, how wonderful!\"\n\n\"Percy?\" Ser Leonhart can hardly believe his eyes. \"How is it you are here?\"\n\n\"I ascended the mountain to rescue the princess, of course,\" replies Hero 4. \"Tell me, are you not also here to rescue the princess, win her love and affection, marry her and receive her ten million doubloon dowry? Well, you have embarked on this quest for naught, because I shall succeed first.\" He pauses. \"After I find a way down from here. Would you lend a hand?\"\n\n\"Certainly\u2014that is, I can certainly help you down. I have no\ninterest\nin marrying Her Highness, only in seeing to her safe return home. So, if you could slowly lower yourself over the\u2014\"\n\nHero 4 throws himself off the loft and onto Ser Leonhart, who collapses under the other man's weight. The two immediately rise and appraise each other for broken parts.\n\n\"Thank you, Georgie,\" says Hero 4. He smooths his beard. \"The lead actor always receives the accolades, but it is important to appreciate the supporting cast.\"\n\n\"Aye,\" agrees Ser Leonhart. \"Which is why I appreciate you most genuinely.\"\n\nHero 4 makes a face like he bit into something sour, but he recovers quickly. \"Nay, Georgie, it is I who appreciates you most sincerely.\"\n\n\"I must insist that I am the one who appreciates you most indubitably,\" replies Ser Leonhart.\n\nThe two argue over who appreciates the other more until they forget why they were arguing in the first place. Hero 4 holds up a finger. \"We could appreciate each other all day, but alas, the princess's time wanes. There is a plan, the best plan of them all I might add, submerged in the deepest river of my mind, and I am but a simple trout, skimming the surface when I should be plunging into its depths. You must leave me to think now, Georgie, good old Georgie, but best of luck to you. You shall need it!\" He begins to pace about the barn.\n\nSer Leonhart, ready to rescue the princess himself, returns to your side.\n\n> You go south\nSer Leonhart follows you to the stableyard. To the south is the pen. To the west is an open doorway leading to the kitchen.\n\n> Go west\nSer Leonhart follows you into the large and dusty kitchen. A narrow service corridor lies to the south. A single cauldron bubbles over an open flame, filling the room with a vile odour. Jars of assorted ingredients are gathered atop a nearby table. On the floor is an open book. Tuck is frantically stirring the contents of the cauldron.\n\n> You go south\nYou lead Ser Leonhart into the narrow service corridor continuing to the south. A set of servants' stairs twists around a wall and disappears above you.\n\n> Go upward\nSer Leonhart follows you to the first storey landing. From here, you can continue up to the storey above or go west to the hallway.\n\n> You go upwards\nSer Leonhart follows you to the second storey landing. You can continue up to the storey above or head west to the hallway.\n\n> Go up\nSer Leonhart follows you to the third storey landing. You can head west to the hallway.\n\n> You go west\nSer Leonhart follows you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). Ser Leonhart sneezes. The gargoyle sneezes, and he spits out a bottle of blue potion, which Ser Leonhart deftly plucks from the air.\n\n\"This appears to be some sort of magick potion,\" says the knight as he looks it over. \"I will not partake in such devilry.\" He smashes the potion on the ground.\n\n> You go east\nSer Leonhart follows you to the third storey landing. You can take the servants' stairs to the storey below."
    },
    {
        "text": "> Go downwards\nSer Leonhart follows you to the second storey landing. You can continue down to the storey below or go west to the hallway.\n\n> You go west\nSer Leonhart follows you down the hallway. There is a closed door to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> Smell northern door\nYou sniff the door, and Ser Leonhart tries to open it. Discovering it's locked, he instead attempts to read the memo. You think it the perfect opportunity for a short nap.\n\nAnd yet, before you can settle down and descend into slumber, the knight recognises two of the memo's many words and shouts in triumph. \"Princess Joy is here! We must free the princess from her prison!\"\n\nFrom inside the room comes the scratchy tenor of an adolescent male. \"Who goes there?\"\n\nSer Leonhart rises to his full height, holding a fist against his chest. \"Princess Joy, be those your dulcet tones passing through yonder door? Let not despair linger a moment longer in your heart, for it is I, Ser Leonhart, who have come to rescue you from the clutches of the evil wizard. Allow me to escort you away, to wherever your heart desires.\"\n\nThere is a significant pause before the next response, this time a squeaky falsetto. \"Yes, (some sounds of a clearing throat) yes, my brave and glorious knight, I'm most certainly Princess Joy. Prithee, uh\u2014grant me a moment to make myself decent.\" This is followed by\nsome\nfrantic shuffling and the rustling of fabric.\n\n> You wait for a while\nTime passes.\n\n> Smell northern door\nYou sniff the door, and Ser Leonhart tries to open it. It's locked. You remember the ring of keys on the knight's belt.\n\n> Smell keys\nYou sniff the keys. Ser Leonhart tries each one in the lock until, at last, it turns. He charges through the door, and you hurry in after him.\n\nYou know a few things about the bedrooms of teenage girls, but you never expected to see one here. Of particular note is a brightly lit vanity covered in wigs, ersatz jewellery and one specially large and overflowing box of makeup. An open wardrobe is full of dresses and capes and boas and heels. On the walls are posters of boy bands like 5 Seconds of Winter and Four Directions (before they broke up, naturally). The largest poster of them all is of Zifmia the Adventurer, mayhap the kingdom's most famous and subversive drag queen, clad all in leather, with her crown askew and her makeup artfully smeared.\n\nIn the centre of the room waits the wizard's son, Tristain, wearing the pinkest and fluffiest dress you have ever seen. His arms are crossed over his chest, partly to disguise his lack of a bust and partly to hold up the dress (being unable to lace the back by himself). His blonde shake-and-go wig is painfully dry, his contouring is a touch too harsh and his left eyelash is only partially glued. Despite all these flaws, you have to give him credit for producing such an effort in so little time.\n\nSer Leonhart, meanwhile, is starstruck. \"Your Highness,\" he says, sinking to one knee and bowing his head. \"I have heard tales of your beauty, but mere words cannot describe the magnificence of your presence. You are a vision of Lunara herself, goddess of the moon, of beauty, elopements and gin. Would you do me the honour of accompanying you home?\"\n\n\"Home?\" Tristain-as-Joy starts, but he immediately corrects himself. \"Why home, yes, of course, Ser Knight. Give me a few minutes to pack my things. Any of my dresses left behind are likely to be tossed into the nearest fireplace by my fa\u2014er, I mean, what did you call him again? Oh yes, the evil wizard.\"\n\n\"I shall not leave your side for an instant,\" says the knight, drawing his sword and preparing to stand guard, but Tristain ushers him towards the door.\n\n\"Be not so silly. There is no reason for you to watch me sort through my unmentionables. I shall meet you down in the foyer. Yes, that sounds like a brilliant plan, I'm so glad you thought of it. Off you go!\" And before Ser Leonhart can protest, Tristain has you both (with a curious but passing glance in your direction) out the door.\n\nOn your way out, you notice Hero 5 falling and landing on the stone sill outside one of the bedroom windows. He rises to his feet and presses himself against the glass for a better view of the inside. Spotting Tristain dressed as the princess, he becomes very excited; so excited, he loses his balance and falls once more to the storey below.\n\nTristain closes the door, leaving you and the knight alone in the hallway.\n\n> You go west\nSer Leonhart follows you to the second storey balcony. Another hallway leads to the west. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Go west\nSer Leonhart follows you down the western hallway. There is a bedroom to the west and a bedroom to the north.\n\n> Go west\nSer Leonhart follows you into a cluttered and oil-stained bedroom. On the wall above a hammock hangs an aged painting. An old woman is hard at work tinkering with some kind of vending machine.\n\n\"Oh my,\" says the woman when Ser Leonhart enters. \"You have not yet declared your intentions for courtship, and yet here you are, having stolen into my bedroom. What ever is a maiden to do?\"\n\nThe knight assumes a heroic pose. \"My name is Ser Leonhart, and I'm on a quest to rescue the Princess Joy.\"\n\n\"Of course you are,\" says the woman, hobbling over to him. \"There is naught that warms my heart like a big, strong, intellectually-challenged hero. Come hither and play a little game for my entertainment.\"\n\nSer Leonhart shakes his head. \"There is naught time for games, and I mustn't let my guard down. There is dark magick at work in these halls.\"\n\n\"Oh, you will find no witchcraft in my bedchambers. Puzzles are\nmy speciality. Here.\" She points at the vending machine. \"All\nyou must do is solve the puzzle, retrieve the handbell and claim your prize.\" She returns to her drafting table and chews on another handful of pig treats.\n\n> Smell the indigo\nYou sniff the vending machine, and Ser Leonhart levels his sword at it.\n\n\"So, evil wizard, you have taken the form of this contraption to try and confuse me.\"\n\nThe old woman raises an eyebrow. \"Uh, what are you doing?\"\n\nThe knight continues. \"But here I am, at last, ready to bring down the heavy fist of justice. The time has come for me to end your reign of terror!\" And before the old woman can stop him, Ser Leonhart has smashed through the glass with his sword, sending cogs and axles and spiral coils all over the room.\n\nThe woman lets out a blood-curdling scream. \"Look what you did, you festering buffoon! You sack of rotten potatoes! You peer-reviewed proof of reverse evolution! All that work, gone, gone, gone!\" She picks up the tin of pig treats and smacks him over the head with it, over and over again, until he rushes out into the hallway. You follow close behind, not wanting to be on the sharp end of her wrath any more than he does.\n\nOnce you both are out of harm's way, she throws the tin of pig treats and the handbell at his face and slams the door shut. You can hear her sliding what's left of the vending machine in front of the door, blocking it for good.\n\n> You smell the pepper\nYou sniff the pepper shaker. Ser Leonhart attacks it with his sword but produces nary a scratch. You find yourself suitably impressed by the quality of modern pepper shakers.\n\n> You go to the north\nSer Leonhart follows you north to a majestic bedroom. Against the far wall is a mahogany bed, a totem of devilish creatures carved into each of the posts. In another corner is a desk covered in papers. One such paper has fallen to the floor.\n\n> Smell bed\nYou sniff the bed. Ser Leonhart nicks the wood in several places with his sword, but ultimately decides the wizard has not been harmed.\n\n> Smell the desk\nYou sniff the desk. Ser Leonhart nicks the wood in several places with his sword, but ultimately decides the wizard has not been harmed.\n\n> You go south\nSer Leonhart follows you to the western hallway. There is a balcony to the east and closed door to the west. A tin of pig treats lies on its side near a wall.\n\nYou can see a pepper shaker here.\n\n> You go east\nSer Leonhart follows you to the second storey balcony. Another hallway leads to the east. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Smell button\nYou sniff as high as you can reach, just below the call button. Ser Leonhart inspects it, but he cannot fathom the wizard turning into a small disk mounted on the wall."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, wedding, olfactory, Comedy, clown]\n\n> Go downwards\nSer Leonhart follows you to the first storey balcony, which curves along the far wall and turns down a hallway to the east. The lift stands ready to take you to another storey.\n\n> Go east\nSer Leonhart follows you down the first storey hallway. There is a library to the north and a stairwell to the east.\n\n> Go east\nSer Leonhart follows you to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below.\n\n> You go to the south\nSer Leonhart follows you to the receiving room. There are rooms to the east and south, as well as a well-lit hallway through the open door to the west.\n\n> You go west\nSer Leonhart follows you down a long hallway lined with portraits. Ahead to the west is the foyer.\n\n> Go west\nSer Leonhart follows you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the closed double doors to the bailey. A call button can summon the lift.\n\nAs you enter the foyer, Tristain (disguised as Princess Joy) exits the lift, dragging a number of stuffed suitcases with him. He collects himself, checks his makeup in a compact mirror and then notices the knight. \"Yoo-hoo, hello again! You certainly did a number on the foyer. Not that I care. Anyway, I forgot I was already mostly packed for my supposed honeymoon. Shall we be off?\" He drops a pair of sunglasses over his eyes and gathers his belongings for the journey ahead.\n\nSer Leonhart finds one knee. \"Your Highness! I would follow you to the ends of the earth, but alas, I must first rescue my squire and slay the evil wizard.\"\n\n\"Yes, that would be a prudent course of action,\" replies Tristain. \"Except, um, I'm sure your squire will be fine. Eaglets never become eagles without learning to fly. Also, the wizard is very adept at disguises. You shall never find him, so we might as well take our leave.\"\n\nBut Ser Leonhart shakes his head. \"We have a secret weapon, Your Highness. I have in my service a wizard sniffer, who can follow the wizard's scent and lead us directly to him.\" He points at you.\n\nTristain inspects you over his sunglasses. Then he inspects you a little more. And then a little more. \"Now, for the sake of argument, what would you do if your wizard sniffer turns out to be naught more than an ordinary pig?\"\n\n\"That is entirely not possible,\" replies the knight. \"I have the assurance of the very capitalist who sold him to me.\"\n\nTristain purses his lips. \"Ah, that explains everything,\" he says, replacing his sunglasses. \"Very well, I shall make the journey alone. I wish you the best of luck, Ser Knight, in all your\u2014oh no, Scruffle Wuffles!\" As Tristain opens the double doors, he discovers the dragon standing on the other side.\n\n\"I shall save you, princess!\" shouts Ser Leonhart, and he quickly shuts the doors and bars them with his body. \"I have battled this dragon before. It's a most ferocious creature. We must find another way out of the castle.\"\n\nFinding a seat on top of a suitcase, Tristain rests his chin on one hand and mulls over his options. After a minute or so he comes upon an idea.\n\nHe springs to his feet and hurries over to Ser Leonhart, taking one of the knight's hands and pressing it against his own heart. \"Ser Knight, my brave and chivalrous knight, we have but one chance, and only if you are brave and chivalrous enough for such a mission.\"\n\nSer Leonhart returns to his knee, his face a deep red. \"There is nary a challenge too great for the protector of the princess.\"\n\nTristain titters girlishly, making a show of it. \"Well, there is a potion that can return\u2014I mean turn the dragon into a tiny, harmless dog. Think of all the peasant villages you would save from being ravaged by the beast! Robbit\u2014I mean, a goblin is brewing the potion\nin\nthe kitchen. Once the potion is done, it will turn pink in colour. Bring me a bottle of it, and we can be on our way. I shall wait here for your return.\" He sits down on a suitcase, bats his eyelashes and smiles.\n\n> You go west\nSer Leonhart follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover the horror is now standing behind you.\n\nTristain dives behind his suitcases to keep from being seen.\n\n> Go east\nThe horror follows you down a long hallway lined with portraits. Ahead to the east is the receiving room.\n\n> Go east\nThe horror follows you to the receiving room. There are rooms to the east and south, as well a service corridor to the north.\n\n> You go north\nYou lead the horror into the narrow service corridor continuing to the north. A set of servants' stairs twists around a wall and disappears above you.\n\n> Go north\nThe horror follows you into the large and dusty kitchen. An open doorway to the outside lies to the east. A single cauldron bubbles over an open flame, filling the room with a vile odour. Jars of assorted ingredients are gathered atop a nearby table. On the floor is an open book. Tuck is frantically stirring the contents of the cauldron, which should be enough to keep him distracted from turning around and laying eyes on the horror, so long as you avoid him.\n\n> You go east\nThe horror follows you to the stableyard. To the north is the barn, and to the west is an open doorway leading to the kitchen.\n\n> Go north\nThe horror follows you into the barn where she discovers Hero 4 pacing back and forth. He stops as you enter, and after seeing the terrible visage of the horror, the walls of his sanity begin to crumble. As you have witnessed before, the horror transports him to the small cell beneath the keep, keeping a strand of hair for herself. Then she lifts three tentacles into the air, a reminder of how many heroes have been found.\n\n> Go south\nThe horror follows you to the stableyard. To the south is the pen. To the west is an open doorway leading to the kitchen.\n\n> You go west\nThe horror follows you into the large and dusty kitchen. A narrow service corridor lies to the south. A single cauldron bubbles over an open flame, filling the room with a vile odour. Jars of assorted ingredients are gathered atop a nearby table. On the floor is an open book. Tuck is frantically stirring the contents of the cauldron.\n\n> Go south\nYou lead the horror into the narrow service corridor continuing to the south. A set of servants' stairs twists around a wall and disappears above you.\n\n> Go upward\nThe horror follows you to the first storey landing. From here, you can continue up to the storey above or go west to the hallway.\n\n> You go to the west\nThe horror follows you down the first storey hallway. There is a library to the north and a balcony to the west.\n\n> Go north\nThe horror follows you into an expansive library lit by an open window. On the southern wall beside the sole entrance hangs a great tapestry, bulging a bit in the middle. The remaining walls are lined with shelves upon shelves of books. A bare reading table occupies the centre of the room.\n\n> You examine the tapestry\nThe large tapestry depicts a demon standing on a rocky shoreline in the midst of a storm. In one hand he holds a bell; the other is outstretched, feeding a murder of crows that hovers around him. A pair of boots poke out from below the tapestry.\n\n> Smell boots\nYou sniff around Hero 5's feet.\n\nThe horror gently shifts the tapestry to the side to reveal the hero, and you watch as the walls of his sanity begin to crumble. As you have witnessed before, the horror transports him to the small cell beneath the keep, keeping a strand of hair for herself. Then she lifts four tentacles into the air, a reminder of how many heroes have been found.\n\n> Go south\nYou return to the first storey hallway, which runs from the balcony to the west to the stairwell to the east. The horror remains close behind.\n\n> Go west\nYou emerge from the hallway with the horror in tow onto the first storey balcony. A circular staircase only rises to the balcony above, as the descending section into the foyer has collapsed. A call button can summon the lift.\n\n> Smell button\nYou sniff as high as you can reach, just below the call button. The horror backs away, shaking her head.\n\n> Go east\nThe horror follows you down the first storey hallway. There is a library to the north and a stairwell to the east.\n\n> Go east\nThe horror follows you to the first storey landing. From here, you can take the servants' stairs to the storey above or the ground floor below.\n\n> You go south\nThe horror follows you to the receiving room. There are rooms to the east and south, as well as a well-lit hallway through the open door to the west.\n\n> You go to the west\nThe horror follows you down a long hallway lined with portraits. Ahead to the west is the foyer.\n\n> Go west\nThe horror follows you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the closed double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above. Not wanting to be caught by any of the castle staff, Tristain has hidden himself behind his pile of suitcases.\n\n> Go south\nYou squeeze through the doggy door and onto the northern end of the bailey, with the rest of the bailey to the south, southeast and southwest. The horror follows you through the doors, and the dragon soon joins the both of you.\n\n> Shake bell\nYou ring the bell, and a murder of crows descends from the sky. The dragon, however, quickly chases them away.\n\n> Go south\nYou return to the dogtower, the horror and dragon close behind. From here, you can go back north, or continue south, east or west.\n\n> You look at the tower\nHero 3 is hiding inside the dogtower above its entrance, pressing against the walls with his hands and feet to keep himself aloft.\n\n> Smell hero\nYou sniff the dogtower.\n\nThe horror reaches a tentacle inside and pulls the hero down to the ground. You watch as the walls of his sanity begin to crumble. She collects her last strand of hair, casting the body through to the cell with the others. After all is said and done she turns to you, lifts five tentacles in the air and claps them together.\n\nAll that is left is to complete the potion.\n\n> Go north\nYou squeeze through the doggy door and return to what's left of the foyer. The horror follows not long after, opening and then closing the double doors behind you. To the north is a courtyard, to the west a darkened hallway and to the east a well-lit hallway. Without a functioning staircase, only a lift remains to provide access to the balconies above.\n\n> Go east\nThe horror follows you down a long hallway lined with portraits. Ahead to the east is the receiving room.\n\n> Go east\nThe horror follows you to the receiving room. There are rooms to the east and south, as well a service corridor to the north.\n\n> Go north\nRobbit is waiting for you as you lead the horror into the kitchen.\n\n\"Did Petunia find the stinky heroes?\" he asks. The horror claps her tentacles together excitedly and skips over to the cauldron. Leaning over the edge, she spits out the five strands of hair. Each one sinks into the brew.\n\nTuck, meanwhile, recoils in shock at the arrival of the horror. He flings his body under the table and curls up into a ball, rocking back and forth while holding his head.\n\n\"Done!\" exclaims the clown once the mixture curdles into a bright pink soup. \"Robbit makes sure this is good, yes?\" He stirs the cauldron with the large spoon, and, scooping up a generous amount, he swallows it down in one gulp. A puff of smoke surrounds him, and when it clears, a goblin wearing a footman's livery appears where the clown once stood.\n\n\"Robbit is cured!\" he shouts, looking himself over. He even takes a few steps to ensure his shoes have lost their squeak.\n\nUnable to wait any longer, the horror steals the spoon from the goblin and scoops up some of the potion for herself. She is surrounded by a similar puff of smoke, and yet when this one clears, the same terrifying horror stands before you. Instead, the multitude of ribbons in her head-tentacles have vanished.\n\nShe feels up and down her head-tentacles, and finding no ribbons, she squeals in delight. She lifts up the goblin (despite his kicks and protests) and plants many kisses on his head with all of her mouths. Once satisfied with herself, the horror replaces the goblin and skips away to the south, humming merrily as she goes.\n\nThe goblin wipes the slobber off his face. He then gives Tuck a swift kick to the rear. \"What is friend doing under there? Help Robbit carry the big potty up to storage.\" He puts on a pair of oven mitts and picks up the whole cauldron. Tuck circles round to the other side but needs only help stabilise the unwieldy vessel.\n\n\"Robbit cannot see around the bloody potty,\" continues the goblin. \"Friend is taller, so friend can be Robbit's eyes, and Robbit shall follow. Onward!\"\n\nTuck, unsure of where the goblin wants him to go exactly, looks over at you.\n\n> You go south\nYou lead Tuck and Robbit into the narrow service corridor continuing to the south. A set of servants' stairs twists around a wall and disappears above you.\n\n> Go upwards\nThe goblin clicks his teeth to gain Tuck's attention. \"Robbit cannot carry the potty on those stairs! Friend must make for the lift.\" He motions to the south.\n\n> You go to the south\nTuck and Robbit follow you to the receiving room. There are rooms to the east and south, as well as a well-lit hallway through the open door to the west.\n\n> Go west\nTuck and Robbit follow you down a long hallway lined with portraits. Ahead to the west is the foyer.\n\n> Go west\nTuck and Robbit follow you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the closed double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above. Tristain is hiding behind his pile of suitcases.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead your entourage inside. With the two companions in addition to the cauldron, there is not much room to spare. Next to the door is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled 'G' is already depressed.\n\n> Smell 2\nYou stand on your hind legs and sniff as high as you can reach, just below the button labelled '2'. Tuck presses it.\n\nThe lift stutters to life and slowly ascends before coming to a stop. You emerge onto the second storey balcony. On this level, you can follow hallways to the east or west.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead your entourage inside. Next to the door is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled '2' is already depressed.\n\n> Smell 3\nYou stand on your hind legs and sniff as high as you can reach, just below the button labelled '3'. Tuck presses it.\n\nThe lift stutters to life and slowly ascends before coming to a stop. You emerge with your entourage onto the highest balcony. On this level, you can go east to a hallway or up the spiral staircase to the tower.\n\n> Go east\nTuck and Robbit follow you down the third storey hallway, where a stone gargoyle has been carved into the wall. The goblin drops the cauldron, glad to be rid of the heavy weight, and puts his mouth directly inside one of the gargoyle's ears. \"Schrank!\" he shouts. \"Wake up, Schrank!\"\n\nThe gargoyle wakes with a start, shouting something in a language you fail to understand. Realising the source of the clamour is only Robbit and therefore not a threat, he yawns and stretches, smacking his lips and scratching an armpit.\n\n\"Robbit would shout not if Schrank was a lighter sleeper. Now, Robbit needs the potion closet, please and thanking you.\"\n\nThe gargoyle shakes his head and says something else.\n\nRolling his eyes, the goblin tugs three times on the tasselled cord hanging from the gargoyle's hands. \"There is the code. Robbit hopes Schrank is happy now.\"\n\nThe gargoyle grins then opens his mouth wide, and wider, and wider, until you find yourself looking through a passage into a closet full of shelves, each shelf full of bottled potions. Robbit drags the cauldron into the closet, and using a ladle and funnel, he begins to fill up a number of empty bottles. He hands the first one to Tuck.\n\n\"Sorry! Robbit completely forgot to give friend a sippy. Friend should have said something!\" He resumes filling the bottles.\n\nOnly after corking the last bottle does Robbit notice that Tuck never drank his potion. \"Robbit is confused,\" he says, stepping out of the closet. He tugs three more times on the cord to close the gargoyle's gaping maw. \"Why would friend stay a stinky hume? Robbit has the feeling that friend does not want to drink the counter potion. Robbit has the feeling that friend likes being a stinky hume. Robbit\nis not sure friend is a friend at all.\"\n\nTuck backs away from the goblin's advances. \"N-n-n-no, you see, Mr. Goblin, sir, I believe there may have been a little misunderstanding, in that I'm a stinky hume, er, human\u2014well, not exactly stinky. I\nmean,\nI believe in good personal hygiene as much as anyone, but the journey was long and arduous and I have not a decent bath in a fortnight, and\u2014\"\n\nThe squire is interrupted by a high-pitched voice, coming from the west. \"Robbit!\" shouts the voice. \"Robbit, you soggy lump of drain hair! Have you finished my counter potion? Or do you think I enjoy being stuck in the body of a non-denominational winter holiday elf?\"\n\nThe goblin snatches the potion out of Tuck's hands. \"His Lordship needs this,\" he sneers. \"But Robbit shall be right back to finish the talking.\" He stomps away to the west.\n\nOnce Robbit is out of sight, Tuck turns to you. \"I think we ought not be here when he returns,\" he whispers. \"But we should tell Ser Leonhart where they keep the potions.\" He scratches his head. \"If we can find him, that is.\"\n\n> You go west\nYou lead Tuck to the third storey balcony. Ahead of you rises a spiral staircase to the keep's highest tower. The main staircase descends to the balcony below, curving around the waiting lift.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead him inside. Next to the door on the southern wall is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled '3' is already depressed.\n\n> Smell g.\nYou stand on your hind legs and sniff as high as you can reach, just below the rightmost button. Tuck presses it. The lift stutters to life, slowly descending all the way to the ground.\n\nYou emerge into the foyer. You can go north to the courtyard, south through the double doors to the bailey, east to the well-lit hallway or west to the darkened hallway.\n\nThe moment Tristain sees Tuck, he forgets his disguise. His voice drops an octave. \"Hi,\" he says.\n\nTuck is equally transfixed. \"Hi, uh, miss,\" he says.\n\nTristain clears his throat. \"Yes, miss\u2014I mean, what an adorable pig! It seems like everyone has a pig companion these days. I hope I have not missed a trend.\"\n\n\"Oh, this is a wizard sniffer,\" replies Tuck. \"Ser Leonhart and I are using him to find the evil wizard.\"\n\nTristain sashays over to you and pets you gingerly on the head. \"Ah, you are a friend of Ser Knight's. His squire, perhaps? How nice it must be to share such adventures with a friend.\" He falls silent as he drifts away, but only for a moment. \"By the way, I should mention this is not a boy-wizard sniffer, but a girl-wizard sniffer. I gather you have little experience with wizard sniffers. Or pigs, for that matter.\"\n\n\"No, miss. I come from a family of knights, though I must serve as squire before I am knighted. Not that I had much choice in the matter.\" As he speaks, Tuck looks you over with fresh information. You back up against the wall.\n\n\"I bear similar feelings,\" Tristain says. \"My father wishes me to be like him, but... I'm not.\"\n\nTuck laughs, which catches the other off guard. \"I doubt you shall become aught like your father. You are a girl!\"\n\n\"A rather sublime example of one, I should think,\" says Tristain, not missing a beat. \"Please, call me Tri\u2014I mean, I am Princess Joy.\"\n\nTuck gasps and throws himself onto the floor. \"Your Highness! My sincerest apologies, if only I knew! Squire Tuck, at your service.\"\n\n\"Tuck?\" repeats Tristain, stifling a laugh. \"I know a few things about tucks.\"\n\n\"Really? I'm acquainted with no other.\"\n\n\"Mayhap I should introduce you,\" says Tristain, winking, which elicits a perplexed blush from the squire, which in turn prompts Tristain to start fanning himself. He quickly changes the subject. \"So, I told Ser Knight I would wait for him here, and I believe I last saw him follow your, uh, sniffer down yonder hallway for what is surely an important reason. Once he accomplishes the task given to him, we may all leave together. How does that sound?\"\n\nTuck jumps to his feet. \"Oh, I would like that very much. This is such a dreadful place.\"\n\n\"You know not the half of it,\" says Tristain with a frown.\n\n> You go to the west\nTuck follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Ser Leonhart is now standing behind you.\n\n\"Ser Knight!\" calls Tristain. \"You have missed your squire! He went in where you came from.\" He points down the darkened hallway and smiles.\n\n> You go west\nSer Leonhart follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Tuck is now standing behind you.\n\nTristain's smile flattens. He looks down the hallway, then back at Tuck. \"You are not very good at this, are you?\"\n\n\"Oh, I shall never succeed in this hero business!\" The squire flops down on the suitcase next to Tristain, who immediately starts fanning himself.\n\n\"Be not so hard on yourself. With practice, I'm confident you shall be a great hero.\"\n\nTuck shakes his head. \"I am sorry, Your Highness. I should not be bothering you with my problems while you are kidnapped.\"\n\n\"Nonsense,\" says Tristain, waving a hand. \"I'm happy to listen and offer advice if I can. And take it from me, you ought to be only what your heart wants you to be.\"\n\n\"I, uh, know not what my heart wants me to be.\"\n\n\"Well, what is your greatest talent?\"\n\nTuck thinks for a moment. \"I fear I possess no talents at all.\"\n\n\"Ah,\" says Tristain. \"In that case, have you considered politics?\"\n\n\"No, I'm afraid not.\"\n\nTristain claps his hands together. \"Splendid! Once we are free of this place, I shall help you with your burgeoning political career. Though you shall need a suitable wife to begin. All successful politicians are married, you know.\" He leans into Tuck, who abruptly jumps to his feet and stumbles backwards.\n\n\"Er, thank you very much, Your Highness, but, uh, I have no interest in finding a wife. Wait\u2014I did not mean that you could not\u2014I mean,\nI'm\nsure that wives are wonderful, but not for me.\" He takes a deep breath to calm his nerves. \"My apologies, Your Highness. Ser Leonhart warned me not to reveal this to anyone, as not wanting a wife is an offence to the common good. I hope to have not offended you.\"\n\nTristain looks delighted. \"Offended? Young man, I'm positively enchanted. You have spoken no ills. Now, I shall wait here while you and Ser Knight sort yourselves out. He has a mission yet to complete, after all.\"\n\nThe two say their goodbye, which takes quite a bit longer than you would like.\n\n> You go to the west\nTuck follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Ser Leonhart is now standing behind you.\n\n> You go west\nSer Leonhart follows you into the darkness. There is quite a bit of bumping into things and people, eliciting the occasional squeal from the other pig, and after emerging back into the light of the foyer, you discover Tuck is now standing behind you.\n\n> Go west\nTuck follows you down the western hallway. There is a closed door to the west and a bedroom to the north. A tin of pig treats lies on its side near a wall.\n\nYou can see a pepper shaker here.\n\n> You take the tin\nIt's too large and unwieldy for you to carry.\n\n> Smell tin\nYou sniff the tin of pig treats. Tuck investigates the tin, eventually opening it and pulling out a treat.\n\n\"Is this what you want?\" he asks. He places the treat on the ground in front of you. \"You must be hungry.\"\n\nHis stomach growls. \"Golly, I'm hungry too,\" he says. He sniffs one of treats, and finding it acceptable, he takes a small bite. Then another.\n\nBefore you know it, the entire tin is empty. He seems to have surprised himself. \"Oops,\" he says, placing the empty tin back on the floor. \"I hope you only need the one.\"\n\n> You look at the treat\nIt smells delicious, and powerfully so. You feel like you can smell it all the way across the room.\n\n> You go east\nTuck follows you to the second storey balcony. Another hallway leads to the east. A circular staircase reaches the balconies above and below, curving around the waiting lift.\n\n> Smell lift\nYou sniff the lift, and after Tuck opens the door, you lead him inside. Next to the door on the southern wall is a horizontal row of buttons, labelled '3', '2', '1' and 'G' from left to right. The button labelled '2' is already depressed.\n\n> Smell g.\nYou stand on your hind legs and sniff as high as you can reach, just below the rightmost button. Tuck presses it. The lift stutters to life, slowly descending all the way to the ground.\n\nYou emerge into the foyer. You can go north to the courtyard, south through the double doors to the bailey, east to the well-lit hallway or west to the darkened hallway.\n\n> You go west\nTuck follows you into the darkness. There is quite a bit of bumping into things and people, and this time, upon emerging back into the foyer, you discover Ser Leonhart, Tuck and the other pig marching along behind you. The pig snatches the treat from your mouth and charges through the doggy door, out of sight.\n\nThe knight blinks. \"Two pigs? The wizard plotted to separate us this whole time! I was starting to wonder why my exploration of the keep was interspersed with long periods of doing naught in a dark hallway.\"\n\n\"I was under the impression the sniffer needed to nap frequently,\" says Tuck, yawning, \"which is an appealing prospect.\"\n\nSer Leonhart poses like he could conquer the world. \"We must first complete our mission. There is no rest for the wicked, thus we have not the luxury.\"\n\n> Smell lift\nYou sniff the lift.\n\n\"What is it?\" asks Tuck, but Ser Leonhart presses a finger to his squire's lips.\n\n\"The loo,\" replies the knight in a hushed tone.\n\n\"Oh,\" says Tuck. \"But why are we whispering?\"\n\nSer Leonhart points at the lift. \"The evil wizard is inside.\" He raises his sword, counts to three on his fingers, then throws open the door, only to find it completely empty. The knight is dumbfounded and almost offended. \"Why, there is naught inside at all! Ah, here it is.\" He picks up the pail in the foyer. \"A good thing too. I have held this in since the foot of the mountain.\"\n\nSer Leonhart places the pail in the centre of the lift, takes several minutes to conduct his business and then returns without the pail. \"Now, where were we?\" he asks.\n\n> Go east\nSer Leonhart and Tuck follow you down a long hallway lined with portraits. Ahead to the east is the receiving room.\n\n> You go to the east\nSer Leonhart and Tuck follow you to the receiving room. There are rooms to the east and south, as well a service corridor to the north.\n\n> Go north\nYou lead Ser Leonhart and Tuck into the narrow service corridor continuing to the north. A set of servants' stairs twists around a wall and disappears above you.\n\n> Go up\nSer Leonhart and Tuck follow you to the first storey landing. From here, you can continue up to the storey above or go west to the hallway.\n\n> Go up\nSer Leonhart and Tuck follow you to the second storey landing. You can continue up to the storey above or head west to the hallway.\n\n> Go upwards\nSer Leonhart and Tuck follow you to the third storey landing. You can head west to the hallway.\n\n> You go west\nSer Leonhart and Tuck follow you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\n> Smell gargoyle\nYou sniff the gargoyle.\n\n\"The wizard is disguising himself as this stone creature!\" cries Ser Leonhart, but Tuck places himself between the knight and the gargoyle.\n\n\"No, milord! He is a friendly gargoyle!\"\n\nThe gargoyle holds up his tiny arms, as if to say his arms lack the length to hurt anybody.\n\n\"There stands a closet of potions behind him,\" continues Tuck. \"We need to make use of that cord.\" He points at the tasselled cord hanging limply from the gargoyle's hand.\n\n\"Sometimes, Tuck, I wonder what I would do without you.\" And before his squire can stop him, the knight cuts down the cord with his blade. He hands the thing to Tuck. \"There you are. I leave it to you.\"\n\nTuck's lower lip trembles. \"I... I no longer know what to do.\" He stuffs the severed cord into his doublet.\n\n\"Ah, worry not, my forgetful follower,\" says Ser Leonhart. \"We shall find another way.\" He gives his squire a comforting slap on the back, though from the change in Tuck's expression, it failed to be comforting at all.\n\nThe gargoyle, meanwhile, is none too pleased with the loss of his cord. He crosses his arms and glares at the three of you.\n\n> Go east\nSer Leonhart and Tuck follow you to the third storey landing. You can take the servants' stairs to the storey below."
    },
    {
        "text": "[Themes: Fantasy, monster, castle, princess, witchcraft, female protagonist, magic, olfactory, dragon, fantasy, wedding]\n\n> You go downward\nSer Leonhart and Tuck follow you to the second storey landing. You can continue down to the storey below or go west to the hallway.\n\n> Go west\nSer Leonhart and Tuck follow you down the hallway. There is a closed door to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> Go west\nSer Leonhart and Tuck follow you to the second storey balcony. Another hallway leads to the west. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> Go west\nSer Leonhart and Tuck follow you down the western hallway. There is a closed door to the west and a bedroom to the north. A tin of pig treats lies on its side near a wall.\n\nYou can see a pepper shaker here.\n\n> You take the pepper\nYou already hold something in your mouth.\n\n> You go to the east\nSer Leonhart and Tuck follow you to the second storey balcony. Another hallway leads to the east. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> You go to the east\nSer Leonhart and Tuck follow you down the hallway. There is a closed door to the north and a stairwell to the east. A memorandum has been nailed to the northern door.\n\n> You go to the east\nSer Leonhart and Tuck follow you to the second storey landing. You can take the servants' stairs to the storey above or below.\n\n> Go west\nSer Leonhart and Tuck follow you down the hallway. There is a closed door to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> Northern\nYou sniff the door, and Ser Leonhart opens it.\n\n> Go north\nSer Leonhart and Tuck follow you into Tristain's bedroom, lit from a large window overlooking the courtyard. Beside a four-post bed with a princess canopy is a vanity covered in wigs, ersatz jewellery and one overflowing box of makeup. An open wardrobe is full of dresses and capes and boas and heels. On the walls are posters of boy bands, though the largest poster is of Zifmia the Adventurer.\n\n> You look at the poster\nWhich do you mean, the poster of 5 Seconds of Winter, the poster of Four Directions or the poster of Zifmia the Adventurer?\n\n> Zifmia\nThere she is, as fierce as ever. She is clad all in leather, her crown askew and her makeup artfully smeared.\n\n> You examine Winter\nIt's the same picture as their iconic cover for Tumbling Rock magazine. The boys are naked, covering themselves with merely their hands, with short phrases and doodles drawn all over them. You cannot call yourself a fan of their music, but at least they are pleasing to look at.\n\n> You examine four\nThis is a more candid picture of the boys when they were still together. Since the breakup, East's solo career has not been as successful as he (or his fans) had hoped for, though it's early yet. The rest of the group is trying to continue on as Three Directions, but the name lacks the same ring it once had.\n\n> You examine the bed\nYou have a similar one in your bedroom.\n\n> You examine the wigs\nYou suppose Tristain must work with the tools he has. If you find a way out of this alive, you might give him some of yours. At least he'd appreciate the items more than you would by keeping them."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, olfactory, fantasy, Comedy, castle, magic, witchcraft]\n\n> Look around\nYou are in Tristain's bedroom, lit from a large window overlooking the courtyard. Beside a four-post bed with a princess canopy is a vanity covered in wigs, ersatz jewellery and one overflowing box of makeup. An open wardrobe is full of dresses and capes and boas and heels. On the walls are posters of boy bands, though the largest poster is of Zifmia the Adventurer. Tuck and Ser Leonhart wait nearby.\n\n> You look at the vanity\nIt is fairly worn. Tristain must oft make use of it.\n\n> You examine the wardrobe\nIt's quite large, which is for the best, as Tristain's collection of looks is also large.\n\n> You look at the window\nThe large window overlooks the courtyard.\n\n> Go south\nYou return to the eastern hallway, which runs from the balcony to the west to the stairwell to the east. Ser Leonhart and Tuck remain close behind. A memorandum has been nailed to the northern door.\n\n> You go to the east\nSer Leonhart and Tuck follow you to the second storey landing. You can take the servants' stairs to the storey above or below.\n\n> Go upwards\nSer Leonhart and Tuck follow you to the third storey landing. You can head west to the hallway.\n\n> You go west\nSer Leonhart and Tuck follow you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\n> You shake the pepper\nYou shake the pepper shaker. A cloud of pepper expands and hovers briefly, tickling the nostrils of anyone in its vicinity.\n\nYou sneeze (but hold onto the shaker). Ser Leonhart sneezes. Tuck sneezes. The gargoyle sneezes, and he spits out a bottle of counter potion, which Ser Leonhart deftly plucks from the air.\n\n\"A pink potion! This must be what the princess is looking for,\" says the knight, and he adds the potion to the collection of items on his belt.\n\n> You go to the west\nSer Leonhart and Tuck follow you down the hallway. There is a bedroom to the north and a balcony to the west. A memorandum has been nailed to the northern door.\n\n> Go west\nSer Leonhart and Tuck follow you to the second storey balcony. Another hallway leads to the west. A circular staircase reaches the balconies above and below. A call button can summon the lift.\n\n> You go to the west\nSer Leonhart and Tuck follow you down the western hallway. There is a closed door to the west and a bedroom to the north. A tin of pig treats lies on its side near a wall.\n\nYou can see a handbell here.\n\n> Go east\nSer Leonhart and Tuck follow you down the hallway. There is a bedroom to the north and a stairwell to the east. A memorandum has been nailed to the northern door.\n\n> Go west\nSer Leonhart and Tuck follow you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\nYou can see a pepper shaker here.\n\n> Go west\nYou lead Ser Leonhart and Tuck to the third storey balcony. Ahead of you rises a spiral staircase to the keep's highest tower. The main staircase descends to the balcony below. A call button can summon the lift.\n\n> You go west\nSer Leonhart and Tuck follow you to the top of the spiral staircase. To the north is a closed door. You can hear sparks and zaps and other magickal noises coming from inside.\n\n> Smell door\nYou sniff the door. Ser Leonhart tries to open it, but it is locked.\n\n> Smell keys\nYou sniff the keys, and Ser Leonhart tries each one in the door. Not one manages to open it. This one might actually be sealed by magick."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, knight, dragon, queerness, nonhuman protagonist]\n\n> Descend\nYou lead Ser Leonhart and Tuck away from the cramped stone stairway and return to the third storey balcony. A hallway extends to the east, while the main staircase descends to the balcony below. A call button can summon the lift.\n\n> You go to the east\nSer Leonhart and Tuck follow you down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a stairwell to the east.\n\nYou can see a pepper shaker here.\n\n> Go east\nSer Leonhart and Tuck follow you to the third storey landing. You can take the servants' stairs to the storey below."
    },
    {
        "text": "[Themes: Fantasy, monster, castle, princess, witchcraft, female protagonist, magic, olfactory, dragon, fantasy, wedding]\n\n> You go downward\nSer Leonhart and Tuck follow you to the second storey landing. You can continue down to the storey below or go west to the hallway."
    },
    {
        "text": "[Themes: Fantasy, princess, clown, witchcraft, monster, knight]\n\n> You descend\nSer Leonhart and Tuck follow you to the first storey landing. From here, you can continue down to ground floor or go west to the hallway.\n\n> Go south\nSer Leonhart and Tuck follow you to the receiving room. There are rooms to the east and south, as well as a well-lit hallway through the open door to the west.\n\n> Go west\nSer Leonhart and Tuck follow you down a long hallway lined with portraits. Ahead to the west is the foyer.\n\n> Go west\nSer Leonhart and Tuck follow you to what remains of the foyer of the inner keep. To the north is a courtyard, to the west is a darkened hallway and to the south are the closed double doors to the bailey. Without a functioning staircase, only a lift remains to provide access to the balconies above. Tristain sits atop one of his suitcases, looking rather bored.\n\n\"Your Highness, I have the potion,\" says Ser Leonhart. When he pulls the potion from his belt, the flyer falls onto the floor.\n\nTristain picks it up and looks it over. His cheery expression lasts not long. \"Ten million doubloons! He said the wedding was in my best interest, but... he is marrying me off for the money.\"\n\n\"The royal dowry has long been a tradition for finding the next king when there are no male heirs,\" says Ser Leonhart. \"Certainly Your Highness would know the law.\"\n\n\"Yes... of course.\" Tristain smooths out the flyer with his fingers. \"I am sorry. I shall be in my room.\" He gathers his gown and rushes down the hallway to the east.\n\n> You examine the suitcase\nThere are so many of them. You wonder if Tristain packs for both genders.\n\n> You go west\nSer Leonhart and Tuck follow you down the hallway. There is a bedroom to the north and a balcony to the west. You notice the memorandum is no longer nailed to the northern door.\n\n> You go north\nYou lead the knight and his squire into the young master's bedroom. Tristain is seated on the edge of his bed, bent low over the wrinkled flyer in one hand and the memo torn from his door in the other. A few tears fall onto the papers.\n\n\"Your Highness... are you unwell?\" asks Ser Leonhart.\n\nTristain wipes his eyes, smearing mascara across his cheek. \"You know, you try not to think badly of a parent. You might pray they are confused, or stubborn, or will come around. Or you might run away for a little while to create some distance, and hope that upon your return they will listen to you in earnest. But realising your parent may simply not be a good person... I know not how to describe the feeling. I suppose it was obvious in hindsight, especially with how often we fought, but the pill is bitter and difficult to swallow. Not to mention, the poor girl.\" He looks up. \"I swear, I knew naught of his plan to drug her with love potion. I overheard him saying she managed an escape after stealing an invisibility potion, but I cannot remember the potion I switched it with. I can only pray it aided in her escape.\"\n\n\"I'm afraid I have not the slightest idea what you are talking about,\" says Ser Leonhart, and Tristain rises to his feet.\n\n\"No, I suppose not. My father made his choices, and choices have consequences. The door to the workshop will be sealed with a hex, but I can find the counter spell for you. Meet me in the library when you can.\" He hurries away to the south.\n\n> You go south\nYou return to the eastern hallway, which runs from the balcony to the west to the stairwell to the east. Ser Leonhart and Tuck remain close behind.\n\n> You go to the west\nSer Leonhart and Tuck follow you down the first storey hallway. There is a library to the north and a balcony to the west.\n\n> Go north\nYou find Tristain in the library poring over old books. He calls Ser Leonhart and Tuck over to him.\n\n\"I have found it! You must say 'Open or I shall use you for firewood,' and the door to the tower will open. I realise it is not the best way to secure a location, but witchcraft has its flaws.\"\n\n\"I think you mean wizardry,\" says Ser Leonhart.\n\n\"No, I mean witchcraft.\"\n\nTuck has been having his own thoughts on the matter. He holds up a finger. \"Milord, I have noticed the wizard is rather reliant on potions and, well, judging from what has been seen and heard so far, I think the wizard is not a wizard. I think the wizard is a witch.\"\n\nSer Leonhart blinks. \"You mean, we seek the Evil Witch Queklain? But... he is a man.\" Slowly, the knight drags himself to a conclusion, and his lips begin to tremble. He claps a hand over his mouth, but it does no good, for he soon doubles over in laughter. \"Queklain, a witch! How ridiculous! Is he going to chase us on a broomstick? Does he wear a pointy hat?\"\n\n\"I believe wizards also wear pointy hats...\" says Tuck, unsure of the purpose of his master's insults.\n\n[Press any key to continue.]Tristain, unable to restrain\nhimself, marches over to the knight and slaps him across the face. \"Your tongue is in need of discipline. There may be plenty of reasons to disparage him, but a feminine profession is not one of them.\"\n\n\"But Your Highness...\" says the knight.\n\n\"Oh, for the gods' sakes, I'm not the princess. I'm Tristain, son of Queklain.\" Tristain pulls off his wig to reveal a head of greasy, short black hair. \"Do what you came here to do, before I change my mind and warn my father of your presence.\"\n\nAfter a moment of stunned silence, Ser Leonhart draws his sword. \"I understand now. You are also a witch, and you used your dark powers to bewitch me into believing you were the princess.\"\n\nTristain raises his hands in surrender. \"That was not the way of it. I merely\u2014\"\n\n\"Enough! Tell me, where is the princess? Where are you keeping her?\"\n\n\"She is not in my care. I know not where she is,\" says Tristain. He backs slowly into a bookshelf.\n\nWith fists clenched tightly by his side, Tuck steps in front of the knight's raised sword. He lifts his head high. \"Let him be,\" he says. \"H-he has wronged neither of us.\"\n\nSer Leonhart halts before his squire. \"Tuck? Have you taken leave of your senses?\"\n\n\"I-I no longer know what is sense, milord. All this time, I followed your lead as it is what squires do. But at once it occurred to me, how would I know if what you say is right? Because this feels far from right. I think... I shall be thinking more for myself from now on.\"\n\n\"Your journey to knighthood, nay, to manhood is only beginning,\" says Ser Leonhart. He finds a pose demonstrating the most confidence. \"A hero always does what is right. And that whoreson over there\u2014\" he points accusingly at Tristain \"\u2014is deceitful in words and in dress, and his wickedness has cost the true princess valuable time. Justice must be served.\"\n\n\"Yes, he spoke falsehoods, but should we open our ears and listen, we may find reason in them. We must not pass judgement so quickly,\" Tuck pleads.\n\nThe knight's eyes soften, and for a moment, you can see the classic struggle between empathy and belief within them. Alas, belief, for those who possess it, is known for being the stronger of the two. Ser Leonhart shakes his head to throw the obtrusive thoughts away. \"Your words are a gentle breeze, unable to bring down the sturdy stone wall of tradition. It is with a heavy heart that I release you from my service and brand you a traitor to the crown. Prepare yourself!\"\n\nHe at once lunges at his former squire, who narrowly avoids the blade and ducks under the table. The sword lodges itself in the wood, and placing one foot against the side of the table, Ser Leonhart removes the weapon.\n\nTuck, meanwhile, scrambles out the opposite side. Firmly practised in the art of retreat, he runs around the table in circles, and Ser Leonhart gives chase.\n\n> You go north\nYou head into an expansive library lit by an open window. On the southern wall beside the sole entrance hangs a great tapestry. The remaining walls are lined with shelves upon shelves of books. Tuck is doing his best to escape the Ser Leonhart's blade. Tristain watches, gripped by fear and unsure of what to do.\n\n> Shake bell\nYou ring the bell, and a murder of crows descends through the open window. They attack Ser Leonhart and his shiny platemail, distracting him long enough for Tuck to throw himself at the knight's legs. They both somersault to the ground.\n\nLeft alone by the crows, Tristain presses the pointed end of one of his heels against the knight's neck. \"Drop your sword,\" he commands.\n\nSer Leonhart's lips tighten, but he does as he is told. Tuck grabs the sword and takes a few steps backwards, pulling Tristain with him. They watch the knight carefully as he returns to his feet and chases the crows away with flailing arms.\n\n\"Give me back my sword,\" says Ser Leonhart once the last of the crows has fled. \"You are untrained and more apt to hurt yourself than I.\"\n\n\"Promise you will leave us in peace,\" says Tuck. \"Your quarrel is with Queklain, and you are indebted to me for all of those times I saved you from death.\" You are not sure where the steady and confident voice came from, but you are glad Tuck discovered it when he did.\n\nSer Leonhart considers his former squire's words. \"Very well. Return my sword to me, and I swear on my honour and the wrath of the gods that I shall harm neither you nor the witch's child this foul day.\"\n\nTristain puts a cautionary hand on the sword, but Tuck nods at him as if to say the knight is a man of his word. He clumsily tosses the sword at the knight's feet.\n\n\"Goodbye, my defiant defector,\" says Ser Leonhart, \"for I am off to slay the wizard\u2014I mean witch. May the gods have mercy on your soul.\" Without another word, the knight retrieves his sword and departs to the south.\n\nTuck spins round. \"Are you unharmed?\"\n\nTristain immediately throws his arms around Tuck and plants a kiss on his lips, but when Tuck pulls away, the young lord covers his face with his hands in shame. \"My apologies! I... I misread the situation. I only hoped to show you gratitude for saving my life, and you had said earlier that\u2014oh, never mind. I truly am sorry.\"\n\nTuck shakes his head to put the other at ease. \"Please, fret not over this,\" he says, then he lowers his voice. \"Sometimes I worry Cupido sings not for me. But...\" He gathers his courage, the courage of a different sort than when facing an enemy on a battlefield. He holds out his hand. \"Let us first be friends, if you would have me.\"\n\n\"Of course!\" cries Tristain. His eyes shine as he grips the other's hand. \"A friend! Yes, as a matter of fact, I would like that very much.\" He pauses. \"And how does one go about being your friend?\"\n\n\"Well,\" says Tuck, \"I believe we ought to start by learning about one another.\"\n\nComing to an agreement on the best way to proceed, they find a seat by the window and do precisely that.\n\n> Go north\nYou proceed into an expansive library lit by an open window. On the southern wall beside the sole entrance hangs a great tapestry. The remaining walls are lined with shelves upon shelves of books. Tristain and Tuck are engaged in conversation by the window.\n\nYou can see a handbell here.\n\n> You look at Tuck\nTuck is conversing with Tristain by the window.\n\n> Go upwards\nYou make your way up the stairs to the second storey landing. You can continue up to the storey above or head west to the hallway.\n\n> You go upward\nYou climb the stairs to the third storey landing. You can head west to the hallway.\n\n> Go west\nYou proceed down the third storey hallway. There is a stone gargoyle carved into the wall to the north and a balcony to the west.\n\nYou can see a pepper shaker here.\n\n> Go west\nYou leave the hallway and head onto the third storey balcony. Ahead of you rises a spiral staircase to the keep's highest tower. The main staircase descends to the balcony below. A call button can summon the lift.\n\n> Go west\nYou head up the stairs to the top of the spiral staircase. To the north is an open door into the tower.\n\n> Go north\nYou slip into Queklain's workshop within the keep's highest tower. Light seeps in through narrow slitted windows, spreading thin rectangles of light across the rough stone floor. On the far side of the room, a cauldron bubbles between shelves of ingredients, bottled potions and one particularly ratty broomstick.\n\nThere, beside the cauldron, stands the evil witch himself. Robbit peers out from behind the witch's robes. In the centre of the room, Ser Leonhart is poised to attack.\n\n\"Evil One!\" shouts the knight. \"My name is Ser Leonhart. Remember it well, for it is a name that will live on for centuries in the stories that tell of your demise. Step away from the cauldron, for we shall duel man to man.\"\n\nQueklain lets out a booming laugh. He reaches up and takes a bottle of potion off the shelf. \"Are you here to challenge me? The great and powerful wizard Queklain? I accept your duel, but rather than fight man against man, might we try something a little more fun? Such as man against dragon...\"\n\nHe trails off as he remembers something. \"Shoot. Which potion was switched with the dragon potion again?\" He searches the shelf for a different bottle, but unable to find it, he turns back to the knight. \"We shall duel, Ser Whatever, but you must give me a few minutes, and also a strand of your hair.\"\n\nSer Leonhart raises his shield. \"I will not fall prey to your tricks. Prepare to meet the heavy fist of justice!\"\n\nAs the knight readies his charge, Heroes 1 through 5 burst into the tower, each soaking wet and holding a random household object as a weapon (except for Hero 1, who still has his guitar). They shout things like \"I'm here to rescue the princess!\" and \"No, I'm\nhere to rescue the princess!\" and \"Oh look, I see Georgie! Hi Georgie!\" and \"Apologies we did not realise the cell door was open sooner!\" Spotting Queklain, they close in for the attack. \"Look, the evil wizard! We shall finish him!\"\n\nAs if things had not become confusing enough, an ogre chooses that moment to barge into the tower, carrying the goblin engineer over his shoulder. He is followed by a sweaty cyclops and a salty medusa.\n\n\"Measter, we dinna fin the princess, but lek who a' fin runnin' awee! She sed some 'eroes burna the keep and\u2014\" Upon seeing the collection\nof\nheroes in front of him, the ogre stops mid-sentence and throws Rhoda to the ground. \"Argh! I 'ate 'eroes!\" The monsters pull out their weapons.\n\nFor the briefest of moments, the room is still. Then, the floodgates open. Punches are thrown. Weapons clash. Circles are run. Cries for help are lost in the shouting and the noise. The cauldron is tipped over, spilling the half-brewed love potion all over the stone floor. Shelves come crashing down, smashing bottles of potion left and right. Somehow, the door is closed. The fates seem to enjoy spitting on you.\n\nThen again, perhaps not. You watch six bottles of blue potion, still intact, skitter across the floor and come to a stop in front of you. They are labelled Dragon, Clown, Ribbons, Elf, Flea and Pig. A seventh bottle, a pink counter potion, slides next to the other six, having freed itself from Ser Leonhart's belt in the chaos.\n\nYou consider your options.\n\n> You look at the Dragon\nA blue potion labelled Dragon.\n\n> You examine the Clown\nA blue potion labelled Clown.\n\n> You examine the Ribbons\nA blue potion labelled Ribbons.\n\n> You examine elf\nA blue potion labelled Elf.\n\n> You examine pig potion\nA blue potion labelled Pig.\n\n> You drink the pink\nYou remove the cork with your teeth and take a sip from the bottle. You are surrounded by a puff of smoke, and when it clears, you have returned to human form.\n\n\"Finally,\" you blurt out in relief, but not so loudly as to draw attention to yourself. Fortunately, the heroes and monsters in the tower are too distracted by the brawl to notice.\n\n\"Finally is right!\" shouts a flea, and the two of them leap off your face into the open bottle of counter potion. There appears another puff of smoke, and you discover two gnomes in blue coats and pointy red hats standing in front of you.\n\n\"Many thanks for your assistance,\" says one gnome.\n\n\"Yes, thank you,\" says the other. And with that, they both run into the fray, immediately offering conflicting advice to the first hero they meet.\n\nAs quietly as you can, you open the door and slip out onto the tower stairs (grabbing the remaining counter potion on the way, for Scruffle Wuffles).\n\n[Press any key to continue.]You detour into Tristain's room\nto borrow one of his more understated dresses (a rare find, to be sure), then proceed on to the library. Tuck and Tristain are resting beneath the open window.\n\n\"Ahem.\" Even the slightest noise startles the boys out of their close conversation.\n\n\"Who are you?\" asks Tuck.\n\nTristain (who had visited you during your previous capture and promised to help you escape) needs not ask. He springs to his feet and envelops you in a hug, warm and genuine in a way you are not used to. You return the kind gesture.\n\n\"I'm so glad you are well! Oh, how I feared for your safety,\" says Tristain once he separates. \"And for the record, you wear that dress better than I ever could.\"\n\n\"Nonsense. You have the body for it,\" you reply.\n\n\"Flattery will gain you everything,\" says Tristain, fanning himself.\n\nYou smile. \"We should be going. Neither of you will want to be here when Corporation Incorporated arrives with their army.\"\n\n\"The debt collectors? Oh gods, our situation really is worse than father let on. If only...\" His eyes are misty again. \"No, it's best we parted ways.\"\n\nYou take his hand in yours. \"Let him worry you no more,\" you say. \"He would never let your future be your own. It seems we have this much in common. In any event, I happen to be quill-friends with someone named Zifmia the Adventurer. You might know of her, and I hear she is always on the hunt for new talent.\"\n\nTristain's face shines like the sun. He turns proudly to Tuck. \"Ah, allow me to introduce the real Princess Joy.\"\n\nTuck leaps to one knee, but you shake your head and help him rise to his feet. \"I hear Princess Joy died tragically somewhere on the mountain,\" you say. \"A shame the king no longer has anyone to marry off. Mayhap all those screaming for democracy can finally have their way. In the meantime, I shall have to come up with a new name.\"\n\n\"Oh, but that is the fun part,\" says Tristain. He clears his throat. \"Ladies and gentlemen, please welcome to the stage, Miss Ima Runaway!\"\n\nYou giggle. \"Ladies and gentlemen, please welcome to the stage, Miss Tilda Swineton!\" Tristain's eyes widen as he realizes the meaning behind your pun, and you discreetly put a finger to your lips.\n\n\"Golly,\" says Tuck. \"Hmmm... Ladies and gentlemen, please welcome to the stage, Miss Notta Princess!\"\n\nTristain blinks. \"That was... a decent first attempt,\" he lies. Tuck shoves the other in a playful manner, and in no time they are wrestling.\n\nYou give them their space and move to the window. The sky has cleared, and the sun dips into the west. Traces of pink and purple radiate from behind the keep's outer curtain. You spent a lifetime staring at sunsets over castle walls, but after tonight, walls hold you no longer. Somewhere out there, the world waits to embrace you, and for the first time in your life, you think of the future and smile.\n\n> Drink dragon\nYou remove the cork with your teeth and take a sip from the bottle. New smells come into focus. You feel your olfactory senses becoming sharper. If you had this potion hours ago, you might have actually passed for a wizard sniffer.\n\n> Smell\n(the Flea potion)\nYou sniff the potion.\n\n> Drink clown\nYou remove the cork with your teeth and take a sip from the bottle, but nothing happens. The flavour is both sweet and tangy. You think this must be a bottle of ordinary blueberry juice.\n\n> Drink ribbon\nYou remove the cork with your teeth and take a sip from the bottle. Your feet lift off the floor, and you float up towards the ceiling.\n\n\"Look!\" shouts Hero 2. \"Pigs fly! I'm the leader! Heroes, let's\u2014\"\nHis\nfirst command as leader is lost as the cyclops lands on top of him.\n\nFlying is initially difficult, but you eventually manage to paddle your way back to the floor where the potions are waiting.\n\n> Drink elf\nYou remove the cork with your teeth and take a sip from the bottle. The world seems to slow around you. You feel as though your actions would proceed much more quickly.\n\n> You drink the Flea\n(the Flea potion)\nYou remove the cork with your teeth and take a sip from the bottle. A wave of honesty passes over you. If you were asked a question, you could not avoid telling the truth (though as an ordinary pig, nobody would understand you).\n\n> You drink pig\n(the Pig potion)\nYou remove the cork with your teeth and take a sip from the bottle. Your body fades from view.\n\n> You drink the pink\nYou remove the cork with your teeth and take a sip from the bottle. Your invisibility leaves you.\n\n> You continue\nYou take a sip from the bottle. You feel as though you can lie again.\n\n> Keep going\nYou take a sip from the bottle. The world speeds up around you.\n\n> You continue\nYou take a sip from the bottle. Gravity pulls you back to the floor as you lose your ability to fly.\n\n> Continue\nYou take a sip from the bottle. Your heightened sense of smell fades away.\n\n> You keep going\nYou take a sip from the bottle. You are surrounded by a puff of smoke, and when it clears, you have returned to human form.\n\n\"Finally,\" you blurt out in relief, but not so loudly as to draw attention to yourself. Fortunately, the heroes and monsters in the tower are too distracted by the brawl to notice.\n\n\"Finally is right!\" shouts a flea, and the two of them leap off your face into the open bottle of counter potion. There appears another puff of smoke, and you discover two gnomes in blue coats and pointy red hats standing in front of you.\n\n\"Many thanks for your assistance,\" says one gnome.\n\n\"Yes, thank you,\" says the other. And with that, they both run into the fray, immediately offering conflicting advice to the first hero they meet.\n\nAs quietly as you can, you open the door and slip out onto the tower stairs (grabbing the remaining counter potion on the way, for Scruffle Wuffles).\n\n[Press any key to continue.]"
    },
    {
        "text": "[Themes: mathematics, magic, spells, gender-neutral protagonist, math]\n\nThree people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter, \"That's our first candidate in Arithmancy? Great. Just great.\"\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nAn awful screeching noise echoes through the space.\n\n\"What in the name of Yottaboz is that sound?\" yells Teraboz.\n\n\"Sorry about that,\" Morkan's voice breaks through. \"I just turned on the magical observation system in the testing area. It's quite new. There; that's better.\" The noise cuts out.\n\n[Author's Note: A one-to-many-room puzzler.]\n\n> Inventory\nYou are carrying:\na number sheet\na task page\na spell list\n\n> You look at number\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  x.xxxxx\nsqrt(3): 1.73205  x.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  x.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  x.xxxxx\nzeta(3): 1.20205  x.xxxxx\ngamma: 0.57721  x.xxxxx\n\n> You examine the task\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a space with dazzling white light: 1 point\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\n> You look at the spell\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nSTA #\n\n> You examine pi\nYou hear Teraboz sigh. \"That didn't even make sense,\" she says.\n\n> Sta 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nGlulxe fatal error: Encountered unknown opcode. (190)\n\nThree people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter, \"That's our first candidate in Arithmancy? Great. Just great.\"\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nAn awful screeching noise echoes through the space.\n\n\"What in the name of Yottaboz is that sound?\" yells Teraboz.\n\n\"Sorry about that,\" Morkan's voice breaks through. \"I just turned on the magical observation system in the testing area. It's quite new. There; that's better.\" The noise cuts out.\n\n> Math\nYou try to remember what you know about the numbers on the number sheet.\n\nThe first nine numbers are irrational, which means they have infinite decimal expansions. The tenth number, Gamma, is thought to be irrational, but nobody has managed to prove that yet. The values given on your number sheet consist of the first several digits of each of these numbers. The numbers appear to be truncated (rather than rounded) five places beyond the decimal.\n\nPi is what you get when you divide the circumference of a circle by its diameter. Somewhat surprisingly, it's the same value no matter the size of the circle.\n\nIf you put $1 in a bank that pays 100% interest per year, compounded continuously, you'll have $E at the end of the first year. Also, E to the power of x and its constant multiples are the only functions that are their own derivatives.\n\nThe square root of 2 is the number that, when squared, gives 2. Similarly for the square roots of 3 and 5.\n\nPhi is also known as the golden ratio. Suppose you take the sequence of numbers 1, 1, 2, 3, 5, 8, 13, 21, ..., where each number is the sum of the two previous numbers. (This sequence is known as the Fibonacci sequence.) The ratio of a number in this sequence to the one just before it tends to Phi as you get further in the sequence.\n\nLn(2), or the natural logarithm of 2, is the power you raise E to in order to get 2. It's also the value of 1/1 - 1/2 + 1/3 - 1/4 + 1/5 - 1/6 + ...\n\nIf you add up 1/1 + 1/4 + 1/9 + 1/16 + ..., where the numbers in the denominators are the perfect squares, then Zeta(2) is the result. Its value is equal to Pi*Pi/6.\n\nIf you add up 1/1 + 1/8 + 1/27 + 1/64 + ..., where the numbers in the denominators are the perfect cubes, then Zeta(3) is the result.\nNobody knows whether its value can be expressed in terms of Pi.\n\nGamma is the most complicated number on your sheet. A geometric way of thinking about gamma is as follows. Suppose you have n rectangles. Each has width 1, but they all have different heights: 1/1, 1/2, 1/3, and so forth, up through 1/n. The area of all these rectangles together is an approximation of the area under the graph of 1/x as x ranges continuously from 1 to n. As n gets larger and larger, the error in this approximation tends toward Gamma.\n\nPutting this geometric interpretation into symbols gives an algebraic view of Gamma: The error in the approximation of Ln(n) by the sum 1/1 + 1/2 + 1/3 + 1/4 + ... + 1/n tends to Gamma as n gets larger and larger."
    },
    {
        "text": "Three people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter,\n\"That's our first candidate in Arithmancy? Great. Just\ngreat.\"\n\nThree people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter,\n\"That's our first candidate in Arithmancy? Great. Just\ngreat.\"\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nAn awful screeching noise echoes through the space.\n\n\"What in the name of Yottaboz is that sound?\" yells Teraboz.\n\n\"Sorry about that,\" Morkan's voice breaks through. \"I just turned on the magical observation system in the testing area. It's quite new. There; that's better.\" The noise cuts out.\n\n> Window off\nThree people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter,\n\"That's our first candidate in Arithmancy? Great. Just\ngreat.\"\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nAn awful screeching noise echoes through the space.\n\n\"What in the name of Yottaboz is that sound?\" yells Teraboz.\n\n\"Sorry about that,\" Morkan's voice breaks through. \"I just turned on the magical observation system in the testing area. It's quite new. There; that's better.\" The noise cuts out.\n\n[For general assistance playing Junior Arithmancer, you may\ntype HELP at any time.]\n\n[The side window is now off.]\n\n> Sta 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter.\n\n[By default, your number sheet and spell list will be continually updated in the side window as you make progress through the exam. For the best experience with this setting, try maximizing the window in which you're playing the game. If you prefer not to have the side window, you may type WINDOW OFF. WINDOW ON will turn the window back on.]It now reads\n\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) STA #: Begin a sequence of digits\n\nA tinny voice says, \"Congratulations! For reaching the first digit in a number sequence, you have earned five points on your exam!\" A spell token materializes in your inventory.\n\n> Ret\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\nThe glow on your number sheet fades.\n\n\"I think I saw the candidate flinch when you turned on the observation system,\" says Berzia. \"Are you sure we can't be heard?\"\n\n\"Of course I'm sure,\" says Morkan. \"O.K., so the Oversight Council's cuts to the academic budget meant I couldn't afford to hire a Technomancer to do the installation. Instead, I did it myself. I used to teach Technomancy, though, so it wasn't too difficult.\"\n\n\"Um, when exactly was your last Technomancy course?\" asks Teraboz.\n\n\"Only a few decades ago,\" answers Morkan."
    },
    {
        "text": "[Themes: gender-neutral protagonist]\n\n> You describe your surroundings\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\n> You put the token in the slit\n\"I wish the candidate would quit wasting time and get on with the exam,\" mutters Teraboz.\n\n> Windowon\nYou hear Teraboz sigh. \"That didn't even make sense,\" she says.\n\n> WINDOW on\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nSTA #: Begin a sequence of digits\n\nThree people are standing in the lecture hall as you burst in, ten minutes late. The man's half-frown just manages the transition to a half-smile as he turns toward you.\n\n\"Ah, our first candidate in Arithmancy!\" he says brightly. \"I'm Morkan. The other members of your examining committee today are Teraboz\" (the older woman nods in your direction) \"and Berzia\" (the younger woman gives you a tidy grin).\n\nFumbling in his robes, Morkan produces some pieces of paper. \"Here are your number sheet, task page, and spell list,\" he says, handing them to you.\n\n\"Good luck!\" he adds. Then he speaks an incantation while waving his arms in a complicated pattern. You feel yourself being translated.\n\nAs you fade out of the lecture hall, you hear Teraboz mutter,\n\"That's our first candidate in Arithmancy? Great. Just\ngreat.\"\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nAn awful screeching noise echoes through the space.\n\n\"What in the name of Yottaboz is that sound?\" yells Teraboz.\n\n\"Sorry about that,\" Morkan's voice breaks through. \"I just turned on the magical observation system in the testing area. It's quite new. There; that's better.\" The noise cuts out.\n\n[For general assistance playing Junior Arithmancer, you may\ntype HELP at any time.]\n\n> WINDOW OFF\n\n[The side window is now off.]\n\n> STA 1\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter.\n\n[By default, your number sheet and spell list will be continually updated in the side window as you make progress through the exam. For the best experience with this setting, try maximizing the window in which you're playing the game. If you prefer not to have the side window, you may type WINDOW OFF. WINDOW ON will turn the window back on.]It now reads\n\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) STA #: Begin a sequence of digits\n\nA tinny voice says, \"Congratulations! For reaching the first digit in a number sequence, you have earned five points on your exam!\" A spell token materializes in your inventory.\n\n> RET\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\nThe glow on your number sheet fades.\n\n\"I think I saw the candidate flinch when you turned on the observation system,\" says Berzia. \"Are you sure we can't be heard?\"\n\n\"Of course I'm sure,\" says Morkan. \"O.K., so the Oversight Council's cuts to the academic budget meant I couldn't afford to hire a Technomancer to do the installation. Instead, I did it myself. I used to teach Technomancy, though, so it wasn't too difficult.\"\n\n\"Um, when exactly was your last Technomancy course?\" asks Teraboz.\n\n\"Only a few decades ago,\" answers Morkan.\n\n> L\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\n> PUT TOKEN IN SLIT\n\n\"I wish the candidate would quit wasting time and get on with the exam,\" mutters Teraboz.\n\n> WINDOWON\n\nYou hear Teraboz sigh. \"That didn't even make sense,\" she says.\n\n[The side window is now on.]\n\n> You put the token in the slot\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC\nSTA #: Begin a sequence of digits\n\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as INC is added to it.\n\n> You know STA\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC\nSTA #: Begin a sequence of digits\n\n\"Academy entrance exam instructions state that we will not provide a spell's effect until the candidate demonstrates understanding of the spell. Are we really going to be breaking our own rules?!\" asks Teraboz.\n\n\"I think it's reasonable - at least at the beginning of the exam - to be a little flexible and help out the candidate,\" says Morkan. \"After all, this is our first-ever entrance examination in Arithmancy.\"\n\n\"Maybe we should just give the candidate the answers,\"\nTeraboz grumbles.\n\nMorkan's voice comes from somewhere around you. \"You already know what the STA spell does.\"\n\n> InC\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC\nSTA #: Begin a sequence of digits\n\nNothing happens.\n\n\"Well, there's a basic principle of Arithmancy that this candidate has failed to grasp,\" says Teraboz exasperatedly. \"The INC spell requires you to be in a number space.\"\n\n\"Is it really necessary for you to comment on the candidate's mistakes?\" asks Morkan.\n\n\"I take my job as an examiner seriously,\" retorts Teraboz.\n\n> STA 1\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.xxxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC\n(X) STA #: Begin a sequence of digits\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter.\n\n> InC\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\nThe tinny voice says, \"Congratulations! For reaching the second digit in a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\n\"That voice is annoying,\" says Teraboz. \"I know,\" replies Morkan. \"With the academic budget for this year, all we could afford was the basic voice simulator.\"\n\n> InC\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the INC spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Ret\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"It's good to have you back at the Academy,\" says Morkan. \"And thanks for filling in at the last minute.\"\n\n\"I'm happy to,\" replies Berzia. \"I always wondered what it was like to be on this side of the Academy's entrance exams.\"\n\n\"We're all proud of you,\" adds Teraboz. \"Having our best students back as colleagues is one of the joys of this job.\"\n\n> You examine Teraboz\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\n\n\"I hope the candidate isn't thinking of trying to influence me during the examination,\" Teraboz says.\n\n> You look at Berzia\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\n\n\"I hope the candidate isn't thinking of trying to influence me during the examination,\" Berzia says.\n\n> You put the token in the slot\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  x.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  x.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #\n\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as PLU # is added to it.\n\n> STA 0\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter.\n\n> Plu\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.xxxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #\n\nNothing happens.\n\n\"This is painful to watch. Surely the candidate realizes that the PLU spell requires a number?\" says Teraboz.\n\n> Plu 5\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter.\n\n> InC\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Ret\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> You check your inventory\npi: 3.14159  x.xxxxx\ne: 2.71828  x.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  x.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nYou are carrying:\na number sheet\na task page\na spell list\n\n> STA 2\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.xxxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> Plu 0\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.2xxxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> InC\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\nThe tinny voice says, \"Congratulations! For reaching the third digit in a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\n> Ret\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"I still think an Arithmancy examination is a bad idea,\" you hear Teraboz say.\n\n\"I know. I'm not happy about it, either,\" Morkan replies. \"But you heard what Assistant Vice Dean Merlena said: If we're going to attract more paying students in today's competitive environment, we've got to offer more areas of specialization. Besides, it comes straight from the Oversight Council. There's nothing we can do about it.\"\n\n> You look at the list\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\n> You look at what you're carrying with you\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\nYou are carrying:\na third spell token\na number sheet\na task page\na spell list\n\n> You look at the token\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n\n\"Reaching the third digit in a number sequence\" is written on the token.\n\n> Put token is slot\nYou hear Teraboz sigh. \"That didn't even make sense,\" she says.\n\n> You put token in slot\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as MIN # is added to it.\n\n> You look at the tasks\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a space with dazzling white light: 1 point\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\n> STA 4\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> Ret\npi: 3.14159  x.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\n> STA 3\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> Min 1\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Ret\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> Inventory\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nYou are carrying:\na number sheet\na task page\na spell list\n\n> You examine sign\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\n1. This examination requires that you reproduce the numbers on your number sheet by casting appropriate sequences of basic spells in Arithmancy.\n\n2. Additional spells will be provided as you make progress through the exam.\n\n3. An Arithmancy spell's effect will only be provided on the spell list once you prove you understand the spell. For the purposes of this exam, successfully using a spell to make progress on a number constitutes proof that you understand that spell.\n\n4. Completing tasks listed on your task page will also earn you points on your exam.\n\n5. No outside spell books, scrolls, potions, wands, or other aids are allowed in the examination area.\n\n6. When done with your exam, please cast the END spell to leave the examination area.\n\n> Min -1\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nNothing happens.\n\n\"You can't use negative numbers as Arithmancy spell modifiers until you're what, level 3?\" asks Berzia.\n\n\"Level 2, actually,\" responds Morkan. \"But it's still beyond something you'd see on an entrance examination.\"\n\n> STA 0\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\n\"Shouldn't the candidate return to the examination room first?\" asks Berzia.\n\n\"Probably,\" responds Morkan. \"But this is allowed.\"\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet continues to glow.\n\n> Min 1\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus one. A dazzling white light fills the space.\n\nThe glow from your number sheet fades.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a space with dazzling white light, for 1 point.\"\n\n> Ret\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 0\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter.\n\n> Min 2\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus two. A bright cyan light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> InC\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus one. A dazzling white light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Plu pi\nNothing happens.\n\nTeraboz snorts. \"I would expect a candidate in Arithmancy to know that basic Arithmancy spells only take single-digit numbers as modifiers.\"\n\n\"Be patient and give the candidate a chance,\" responds Morkan. \"The exam isn't over yet.\"\n\n> Ret\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\nThe glow on your number sheet fades.\n\n>"
    },
    {
        "text": "STA 5\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> Ret\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\n> STA 3\npi: 3.14159  3.xxxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> Min 2\npi: 3.14159  3.1xxxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter.\n\n> Plu 3\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter.\n\n> InC\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Ret\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 2\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> Min 0\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> InC\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.23xxx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> Plu 3\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter.\n\nThe tinny voice says, \"Congratulations! For reaching the fourth digit in a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\n> Ret\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"But Arithmancy?\" says Teraboz, picking up an earlier\nconversational thread. \"Really? Could there be a more obscure area of magic? What's next - Spatulamancy? Hepatoscopy?\"\n\n\"At least it's more reliable than Tyromancy, which I will remind you we've been offering for the past fifty years,\" Morkan responds.\n\n> You put the coin in the slot\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #\n\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as TIM # is added to it.\n\n> STA 3\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> Tim 3\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Ret\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> WINDOW off\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> RET\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\n> STA 3\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> MIN 2\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter.\n\n> PLU 3\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter.\n\n> INC\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 2\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> MIN 0\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter.\n\n> INC\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> PLU 3\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter.\n\nThe tinny voice says, \"Congratulations! For reaching the fourth digit in a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\n> RET\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"But Arithmancy?\" says Teraboz, picking up an earlier\nconversational thread. \"Really? Could there be a more obscure area of magic? What's next - Spatulamancy? Hepatoscopy?\"\n\n\"At least it's more reliable than Tyromancy, which I will remind you we've been offering for the past fifty years,\" Morkan responds.\n\n> PUT COIN IN SLOT\n\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as TIM # is added to it.\n\n> STA 3\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter.\n\n> TIM 3\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\n\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n[The side window is now off.]\n\n> You examine the numbers\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.xxxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\n\"Why the gray?\" asks Berzia. \"We ran out of primary colors,\" responds Morkan. \"Unfortunately, the gray does tend to dominate.\"\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.7xxxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #\n\n> MIN 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.71xxx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #\n\n> TIM 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eight. An intense red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n> STA 9\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\nThe glow on your number sheet fades.\n\n> STA 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> STA 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eight. An intense red light fills the space.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> TIM 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number sixteen. A very intense red light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> TIM 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2xxxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.20xxx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.202xx\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n\nThe tinny voice says, \"Congratulations! For reaching the fifth digit in a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"How did Tyromancy end up being taught at the Academy?\" asks Berzia.\n\n\"One of our graduates used it to amass his fortune,\" responds Morkan. \"Out of gratitude, he endowed the Tyromancy Chair.\"\n\n\"His money didn't just come from Tyromancy,\" adds Teraboz. \"I believe he had valuable patents on some rather unorthodox applications of WizStrip, too.\"\n\n> You put the token in the slot\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as ARITHMANCY SPELL PREFIXES and CAT are added to it.\n\n> You examine the list\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> Cat inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus four. A deep cyan light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.xxxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> PLU 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.4xxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> CAT\n\"CAT is a prefix! It needs a spell after it!\" says Teraboz exasperatedly.\n\n> Cat min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eleven. A dingy grayish light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.4xxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current"
    },
    {
        "text": "number\nTIM #: Multiply current number by a single digit\n\n> Cat min 2\n\"Doesn't using the CAT prefix only one digit into a sequence cause the spell to fail?\" asks Berzia.\n\n\"The old version of CAT did,\" says Morkan. \"But the newer version just uses 0 for the missing number. It's less discouraging for candidates who are trying to figure out what CAT does.\"\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus five. A bright yellow light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.4xxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> PLU 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.4xxxx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\n> Cat tim 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Cat min 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fourteen. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.414xx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> PLU 7\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the PLU spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.414xx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> TIM 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.414xx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> Cat min 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fourteen. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.414xx\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> PLU 7\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-one. A dingy grayish light with a hint of green fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n\"You know, I've seen enough,\" Morkan says. \"I would support passing the candidate at this point.\"\n\n\"Why?\" asks Berzia. \"The candidate has only completed one number!\"\n\nThere is a brief pause.\n\n\"Assistant Vice Dean Merlena really wants her new pet project to succeed,\" Teraboz says thoughtfully. \"She's putting pressure on you to pass this candidate, isn't she?\"\n\n\"No!\" says Morkan quickly. \"That's not it at all. I just think that for a new subject we need to, uh, be sure we don't make the entrance requirements so demanding that we scare away a lot of students. In a few years, after we have enough students enrolled, we can raise the requirements.\"\n\n\"But what about upholding the Academy's standards?\" demands Teraboz.\n\n\"Do I really need to justify my vote?\" Morkan snaps. \"We're supposed to give independent assessments of the candidate's\nperformance!\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"I haven't seen Professor Mivey around,\" Berzia says, changing the subject. \"Whatever happened to him?\"\n\n\"Remember how he would often miscast the SLU spell during class and put everyone in the room to sleep?\" responds Teraboz.\n\n\"Of course,\" laughs Berzia.\n\n\"Well, once he did it when Merlena was visiting his class. She fell out of her chair and hit her head. When she woke up she was so mad that she fired him on the spot.\"\n\n\"Wow,\" says Berzia.\n\n\"On the bright side,\" adds Teraboz, \"Merlena had a nasty bruise on her forehead for almost two weeks.\"\n\n> You put the token in the slot\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as DIV # is added to it.\n\n> Juniorarithmancer\nSAVE\"Is it really fair to allow this spell during an examination?\" asks Teraboz. \"Fair or not - it's Academy policy,\" replies Morkan.\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> Div 0\nYou cast the spell, and your spell list bursts into flames! You quickly drop the paper, and it soon burns to nothingness.\n\nTeraboz says, \"Oops.\"\n\n\"I thought we had ordered fireproof paper stock for the entrance exams?\" asks Berzia.\n\nMorkan replies, \"Well, with the cuts to the academic budget this year, I had to economize. I can probably come up with a temporary fix, though...\"\n\nHe materializes in front of you, holding another piece of paper. Then he mutters an incantation. The paper glows briefly. \"In addition to restoring your progress, I've placed a temporary 'noncombustible' enchantment on your new spell list. It should last at least through the rest of the exam.\" He hands you the list and disappears.\n\n> Div 0\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the DIV spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your STA spell is restored.\n\nThe glow on your number sheet fades.\n\n> Div 0\nYou cast the spell. There is a brief flash of light, and you find yourself in...\n\nAn abstract space that feels far, far beyond your understanding. Even the language needed to describe it seems beyond your comprehension.\n\nAn intense young man is here. He turns to you with a look of surprise. \"Begone!\" he says after a moment. \"You are not worthy.\"\nHe waves his hand at you.\n\nThere is another brief flash of light, and you find yourself back in Zero.\n\n\"Oooh, that was interesting,\" says Teraboz. \"Worth a bonus point, I think.\" Your task page glows briefly.\n\n\"Did you forget to cast the finitude spell on the testing area?\" Morkan asks.\n\n\"I thought you were going to do that,\" replies Berzia.\n\nMorkan sighs. He speaks a word of power, and the space around you glows briefly.\n\n> You examine the tasks\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet continues to glow. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> Div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> PLU 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14xxx\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> Cat inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifteen. A bright cyan light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.1415x\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\n> MIN 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a second number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"Wait,\" says Berzia. \"How could Merlena fire Mivey? Didn't he have tenure?\"\n\n\"They didn't tell you during your interview?\" asks Teraboz. \"The Oversight Council did away with tenure a few years ago.\"\n\n\"I'm not surprised it didn't come up,\" says Morkan. \"I don't think that's something the Oversight Council is eager to advertise.\"\n\n> You put the token in the slot\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as MOT is added to it.\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT\n\n> MOT inc 1\n\"Does the INC spell take a number argument? Um, no!\" says Teraboz.\n\n\"Including the number doesn't have any effect on the spell,\" says Berzia.\n\n\"I am well aware of that,\" responds Teraboz. \"But it's still bad form.\"\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Mot inc\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the INC spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Mot tim 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Mot plu 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT\n\n> Mot min 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Mot inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> Mot cat tim 1\nNothing happens.\n\n\"I wonder when the candidate will realize that you can't use more than one Arithmancy prefix at a time,\" says Morkan.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.xxxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.xxxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6xxxx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> TIM 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eighteen. A bright chartreuse light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.618xx\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> MIN 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number ten. A bright magenta light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Mot min 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> Div 2\nThere is a brief flash of light. You get a quick glimpse of another space, followed by another flash of light. You find yourself back in Three.\n\n\"That wasn't a particularly wise number to use with the DIV spell at this point,\" says Teraboz.\n\n\"On the contrary, it was quite rational,\" replies Morkan.\n\nTeraboz and Berzia both groan.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet continues to glow. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> InC\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> Cat div 6\nThere is a brief flash of light. You get a quick glimpse of another space, followed by another flash of light. You find yourself back in Zero.\n\n\"That wasn't a particularly wise number to use with the DIV spell at this point,\" says Teraboz.\n\n\"On the contrary, it was quite rational,\" replies Morkan.\n\nTeraboz and Berzia both groan.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159"
    },
    {
        "text": "(5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> Cat tim 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.2020x\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\n> Div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a third number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"And why has the academic budget been so tight this year?\" asks Berzia.\n\n\"It's not just this year,\" responds Teraboz. \"Those idiots on the Oversight Council have been making annual cuts to the academic budget for a while now.\"\n\n\"But why?\" asks Berzia. \"I thought the Academy was doing well financially. The new freshman dormitory has an indoor swimming pool, from what I hear. We hired several new assistant vice underdeans just this year. And the Oversight Council chambers were recently remodeled.\"\n\n\"I think you may have answered your own question,\" says Morkan.\n\n> You put the token\n(in the slot)\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as INV is added to it.\n\n> You examine spell\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV\n\n> Inv div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.xxxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV\n\n> PLU 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6xxxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV\n\n> Inv min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69xxx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.693xx\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv TIM 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.5xxxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv min 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57xxx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Div 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.577xx\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> TIM 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-one. A dingy grayish light with a hint of green fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\nThe tinny voice says, \"Congratulations! For completing a fourth number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"If you ask me, the Oversight Council is pandering too much to students,\" says Teraboz. \"Swimming pools in dorms? Adding obscure areas of magic to the curriculum? What's next - handing out medals along with grades at the end of term?\"\n\n\"I think you're being too harsh,\" responds Morkan. \"Merlena's right: We really do have to compete for students in a way that we didn't just a century ago. All these new schools of magic popping up everywhere... We can't just sit back and rely on our reputation anymore.\"\n\n\"Merlena can kiss my rear end,\" says Teraboz. \"She and the rest of the Oversight Council are going to end up turning the Academy into a finishing school for wealthy merchants' kids. With the changes they've made lately, we're already halfway there. Why, when I was a young witch this place had standards!\"\n\nThere is a brief silence.\n\n\"Uh... you just said one of the 'w' words,\" says Berzia.\n\n> Insert\n(the ninth spell token in the slot)\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as FIB is added to it.\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> FIB\n\"Doesn't the FIB spell fail when cast only one digit into a sequence?\" asks Berzia.\n\n\"The old version of FIB did,\" says Morkan. \"But the newer version just uses 0 for the missing number. It's less discouraging for candidates who are trying to figure out what FIB does.\"\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> FIB\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the FIB spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> InC\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Cat inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifteen. A bright cyan light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) FIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv plu 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\n(X) FIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> InC\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv fib\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applyi"
    },
    {
        "text": "ng operation\nINV: Invert operation\n\n> Inv min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> INV MUL 3\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.6931x\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\nThe tinny voice says, \"Congratulations! For completing a fifth number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n\"What's wrong with calling ourselves 'witch' and 'wizard'?\" asks Teraboz. \"We've been using those terms for centuries!\"\n\n\"Come on,\" replies Morkan. \"You know the reason the Oversight Council forbid their use: Some of the students - and some of the younger faculty - find the female 'w' word offensive. And they have a point: It is more respectful not to refer to someone with a word that many, well, less magically-aware people use as an insult.\"\n\n\"But an outright ban?\" retorts Teraboz. \"I was calling myself a witch for 200 years before Merlena and most of the rest of the Council were even born. And now that's forbidden? Merlena doesn't care about respect or preventing offense - Merlena cares about power. If she can control what other people can and can't say, well, that's more power for her.\"\n\n\"Sometimes,\" responds Morkan, \"I think you let your dislike of Merlena cloud your judgment.\"\n\n> Insert\n(the tenth spell token in the slot)\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as SQU is added to it.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv squ\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> SQU\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the SQU spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus one. A dazzling white light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA -1\nNothing happens.\n\n\"You can't use negative numbers as Arithmancy spell modifiers until you're what, level 3?\" asks Berzia.\n\n\"Level 2, actually,\" responds Morkan. \"But it's still beyond something you'd see on an entrance examination.\"\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus one. A dazzling white light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Inv squ\nYou cast the spell, and there is a brief flash of light. You find yourself in...\n\nA space that seems different, somehow, from the rest of the testing area. It feels more complex, but perhaps that's just your imagination.\n\n\"Nicely done,\" says Teraboz. She mutters a spell, and you find yourself back in Minus One.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit an imaginary-numbered space, for 1 point.\"\n\n> You examine the tasks\nLearn the meaning of all spells and prefixes: 1 point\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> MIN 3\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the MIN spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Inv plu 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus four. A deep cyan light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> You look at the spell\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) SQU\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> TIM 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus eight. An intense cyan light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Inv inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus nine. A deep magenta light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus seventeen. A dingy grayish light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> InC\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the INC spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> TIM 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.6xxxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Cat inv squ\nNothing happens.\n\n\"I wonder when the candidate will realize that you can't use more than one Arithmancy prefix at a time,\" says Morkan.\n\n> Cat div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64xxx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> MIN 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.644xx\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.6449x\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\n> Inv squ\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) SQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\n\nThe tinny voice says, \"Congratulations! For completing a sixth number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n\"I'm satisfied with what I've seen,\" says Berzia. \"I'll vote for passing.\"\n\n\"Already?\" asks Teraboz. \"The candidate hasn't completed all the numbers yet!\"\n\n\"But we're not looking for perfection,\" replies Berzia. \"Just sufficient evidence of aptitude. And I've seen that with this candidate.\"\n\n\"That makes two out of the three of us then,\" says Morkan.\n\n> RET\nThere is a brief flash of light, and you find yourself in...\n\nThis austere space provides a quiet, distraction-free environment for examinations. Besides the sign on the wall and the slot below it, there is nothing in this room. Not even an exit.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\nThere is a loud \"bang!\" as a door in the lecture hall is thrown open, followed by a scuffling of feet.\n\n\"Assistant Vice Dean Merlena!\" says Morkan. \"What are you doing here? We're in the middle of an examination.\"\n\n\"It's Associate Vice Dean Merlena now,\" responds a new voice.\n\"The Oversight Council just approved my promotion. And this won't take long.\"\n\n\"Teraboz,\" she continues, \"the Council's surveillance system has caught you flagrantly and repeatedly using language banned by the Council. Since you were already on probation, I have been authorized to carry out appropriate correctional action.\"\n\nShe casts a spell, and you hear a loud \"Mmmph!\", followed by gasps from Berzia and Morkan.\n\n\"The silencing spell should wear off in a day or so,\" says Merlena. \"In the meantime, Teraboz, I suggest that you spend this time thinking about exactly how you found yourself in this situation.\"\n\nThen you hear footsteps, followed by the door slamming shut.\n\n> Insert\nYou are too stunned by what you're hearing in the lecture hall to do anything.\n\n\"Teraboz! Are you all right?\" asks Berzia.\n\n\"Merlena's gone too far this time,\" Morkan says.\n\nThe only response is the sound of a spell - muffled, but still clearly a spell. Then Teraboz's voice breaks though, slowly at first, but gaining strength as she continues to speak.\n\n\"That, Morkan,\" says Teraboz, \"is what you said when Mivey was fired. But what did you ever do about it?\"\n\n> Wait\nYou are too stunned by what you're hearing in the lecture hall to do anything.\n\n\"You broke a Council-backed silencing spell!\" says Berzia. \"How?!?\"\n\n\"Let's just say,\" responds Teraboz, \"that you could found an entire Academy on what Associate Vice Dean Merlena doesn't know\nabout magic.\"\n\n\"Your punishment will only get worse when Merlena finds out you broke her spell,\" says Morkan.\n\n\"Let's just finish this examination,\" Teraboz replies. \"Then I'll deal with Merlena.\"\n\n> Insert\n(the eleventh spell token in the slot)\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as ATE is added to it.\n\n> You look at the list\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\nSTA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE\n\n> ATE div 2\nThere is a brief flash of light. You get a quick glimpse of another space, followed by another flash of light. You find yourself back in Three.\n\n\"That wasn't a particularly wise number to use with the DIV spell at this point,\" says Teraboz.\n\n\"On the contrary, it was quite rational,\" replies Morkan.\n\nTeraboz and Berzia both groan.\n\n> Ate div 3\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the DIV spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Ate mul 2\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-six. A dingy grayish light with a hint of red fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> You look at the numbers\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE\n\n> Ate inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number thirteen. A dingy grayish light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE\n\n> Ate inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fourteen. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> PLU 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifteen. A bright cyan light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (5 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> MIN 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.xxxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add"
    },
    {
        "text": "one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> ATE plu 5\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the PLU spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> TIM 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> Ate plu 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eighteen. A bright chartreuse light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> Inv div 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.6180x\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\n> Inv min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a seventh number sequence, you have earned five more points on your exam!\" A new spell token materializes in your inventory.\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> Insert\n(the twelfth spell token in the slot)\nYou insert the token into the slot. There is a low hum, and your spell list glows briefly as TAC is added to it.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC\n\n> Tac squ\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five thousand forty-one. A dingy grayish light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC\n\n> TIM 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC\n\n> Ate plu 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number sixteen. A very intense red light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Tac div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number eighteen. A bright chartreuse light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.718xx\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Learn the meaning of all spells and prefixes, for 1 point.\"\n\n> Ate min 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-eight. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing an eighth number sequence, you have earned five more points on your exam! There are no more spell tokens to give, though.\"\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 9\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> Ate the FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nineteen. A dingy grayish light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Ate tim 9\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one hundred seventy-one. A dingy grayish light with a hint of green fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Inv div 9\nThere is a brief flash of light, and you find yourself in...\n\nOne Thousand, Five Hundred Thirty-Nine\nThis is not so much a physical place as it is the essence of the number one thousand, five hundred thirty-nine. A dingy grayish light with a hint of green fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Tac squ\nThere is a brief flash of light, and you find yourself in...\n\n(\"Oooh - that'll produce integer overflow!\" says Teraboz. \"I always enjoy seeing that.\")\n\nMinus One Billion, Seven Hundred Seventy-Four Million, Five Hundred Eighty Thousand, One Hundred Fifty-One\nThis is not so much a physical place as it is the essence of the number minus one billion, seven hundred seventy-four million, five hundred eighty thousand, one hundred fifty-one. A dingy grayish light with a hint of magenta fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> You examine the list\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) SQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> You look at the tasks\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> Inc fib\nNothing happens.\n\nTeraboz snorts. \"I would expect a candidate in Arithmancy to know that basic Arithmancy spells only take single-digit numbers as modifiers.\"\n\n\"Be patient and give the candidate a chance,\" responds Morkan. \"The exam isn't over yet.\"\n\n> Inv fib\nThere is a brief flash of light, and you find yourself in...\n\nMinus One Billion, Seven Hundred Seventy-Four Million, Five Hundred Eighty-One Thousand, Six Hundred Ninety\nThis is not so much a physical place as it is the essence of the number minus one billion, seven hundred seventy-four million, five hundred eighty-one thousand, six hundred ninety. A dark grayish light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe tinny voice says, \"This does not begin one of the numbers on your number sheet. Please consider returning to the examination room.\"\n\n> Ate tim 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one hundred twenty. A pale red light fills the space.\n\nThe glow from your number sheet fades.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Tac squ\nThere is a brief flash of light, and you find yourself in...\n\nOne Million, Four Hundred Fifty-Two Thousand Twenty-Five\nThis is not so much a physical place as it is the essence of the number one million, four hundred fifty-two thousand twenty-five. A dingy grayish light with a hint of blue fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Inv div 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six hundred. A pale rose light fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> Cat squ\nFi69/100ght\n\nThere is a brief flash of light, and you find yourself in...\n\n(\"Oooh - that'll produce integer overflow!\" says Teraboz. \"I always enjoy seeing that.\")\n\nOne Billion, Six Hundred Fifty-Nine Million, Four Hundred\nFifty-Eight Thousand, One Hundred Twelve\nThis is not so much a physical place as it is the essence of the number one billion, six hundred fifty-nine million, four hundred fifty-eight thousand, one hundred twelve. A dingy grayish light with a hint of orange fills the space.\n\nThe tinny voice says, \"The current sequence of digits does not match any of the numbers on your number sheet. Please consider returning to the examination room to begin a new sequence.\"\n\n> You examine the tasks\nFi69/100ght\n\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> STA 17\nFi69/100ght\n\nNothing happens.\n\nTeraboz snorts. \"I would expect a candidate in Arithmancy to know that basic Arithmancy spells only take single-digit modifiers.\"\n\n\"Just give the candidate a chance. The exam isn't over yet,\" responds Morkan.\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7xxxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> MIN 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73xxx\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Ate FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.7320x\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a ninth number sequence, you have earned five more points on your exam! There are no more spell tokens to give, though.\"\n\nThe tinny voice adds, \"You have completed one of the numbers on your number sheet. There is no more progress to be made with this sequence of digits. Please consider returning to the examination room to begin a new sequence.\"\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current nu"
    },
    {
        "text": "mber to front of previous number before applying operation\n\n> Ate tim 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number thirty-six. A deep yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.236xx\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Mot min 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.2360x\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\n(X) FIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nThe tinny voice says, \"Congratulations! For completing a tenth and last number sequence, you have earned five more points on your exam! There are no more spell tokens to give, though.\"\n\n> You look at the tasks\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet continues to glow. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet continues to glow. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nThe glow on your number sheet fades.\n\n> STA 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\n> STA 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\n> PLU 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number ten. A bright magenta light fills the space.\n\nThe glow from your number sheet fades.\n\n> STA 7\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> PLU 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twelve. A bright orange light fills the space.\n\nThe glow from your number sheet fades.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number forty-nine. A dingy grayish light fills the space.\n\nThe glow from your number sheet fades.\n\n> InC\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty. A bright violet light fills the space.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nTwo Thousand, Four Hundred One\nThis is not so much a physical place as it is the essence of the number two thousand, four hundred one. A dingy grayish light fills the space.\n\n> STA 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-five. A deep blue light fills the space.\n\nThe glow from your number sheet fades.\n\n> TIM 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one hundred twenty-five. An intense blue light fills the space.\n\n> Inv div 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two hundred fifty. A bright violet light fills the space.\n\n> You examine the list\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\n(X) SQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> InC\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nThe glow from your number sheet fades.\n\n> Ate min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twelve. A bright orange light fills the space.\n\n> Div 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\n> TIM 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number thirty-six. A deep yellow light fills the space.\n\n> TIM 7\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number forty-two. A dingy grayish light with a hint of yellow fills the space.\n\n> PLU 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty. A bright violet light fills the space.\n\n> You look at the tasks\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nVisit a space with dazzling white light: 1 point\n\nVisit infinity: 1 point\n\n> Div 2\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the DIV spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Inv mul 2\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the TIM spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> STA 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> Mul 5\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number thirty. A dazzling white light fills the space.\n\nThe glow from your number sheet fades.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a second space with dazzling white light, for 1 point.\"\n\n\"Well,\" says Teraboz, \"with the numbers and the additional tasks the candidate has completed, I'm also satisfied with what I've seen today. I will vote to pass.\"\n\n\"A unanimous recommendation certainly will look good on the candidate's academic record,\" says Morkan.\n\n\"Do you think the candidate will try for a perfect score?\" asks Berzia.\n\n\"That remains to be seen,\" replies Morkan. \"But it's been at least a decade since someone achieved a perfect score on one of the Academy's entrance examinations.\"\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> MIN 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus six. A royal blue light fills the space.\n\nThe glow from your number sheet fades.\n\n> TIM 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus thirty. An inky blackness fills the space.\n\n> You examine the spell\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine hundred. A dazzling white light fills the space.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a third space with dazzling white light, for 2 points.\"\n\n> STA 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> Ate inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifteen. A bright cyan light fills the space.\n\nThe glow from your number sheet fades.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two hundred twenty-five. A deep cyan light fills the space.\n\n> TIM 5\nThere is a brief flash of light, and you find yourself in...\n\nOne Thousand, One Hundred Twenty-Five\nThis is not so much a physical place as it is the essence of the number one thousand, one hundred twenty-five. A bright azure light fills the space.\n\n> Inv div 2\nThere is a brief flash of light, and you find yourself in...\n\nTwo Thousand, Two Hundred Fifty\nThis is not so much a physical place as it is the essence of the number two thousand, two hundred fifty. A pale azure light fills the space.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a space with pale azure light, for 2 points.\"\n\n> You examine the task\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nVisit a space with dazzling white light: 1 point\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\n\nVisit infinity: 1 point\n\n> Japass\nSAVE\"Is it really fair to allow this spell during an examination?\" asks Teraboz. \"Fair or not - it's Academy policy,\" replies Morkan.\n\n> End\nYou cast the spell. There is a brief flash of light, and you find yourself back in the lecture hall.\n\n\"Now that you've cast the END spell,\" says Morkan, \"the committee must render its decision.\" He continues. \"I think you've more than demonstrated enough basic aptitude to merit entrance to the Academy.\nI vote 'Pass.'\"\n\n\"While there is more that could have been done,\" says Teraboz, \"I'm convinced the candidate deserves admission to the Academy. I vote 'Pass.'\"\n\nBerzia says, \"I concur. Definitely 'Pass.'\"\n\nMorkan turns to you. \"That makes the vote unanimous in favor of admitting you. Congratulations! Welcome to the...\"\n\nBefore he can finish, the door to the lecture hall bangs open. A tall, stern-looking woman pushes her way into the room.\n\n\"I understand that the candidate has completed the exam,\" she says.\n\"I vote to pass.\"\n\n\"But you don't have a vote, Merlena!\" exclaims Teraboz. \"You're not on this committee!\"\n\n\"The Oversight Council has recently decided that we need a representative on every examining committee,\" replies Merlena. \"I will be serving on this one. And I vote to pass.\" Then she pauses.\nA look of uncertainty briefly crosses her face.\n\n\"I see you have broken my spell, Teraboz,\" Merlena says slowly. \"And I'm sure you would love to gloat about just exactly how you did it.\n\n\"But I really don't care. What matters more is that you have refused to accept both the Council's authority and the consequences of your actions. I take a great deal of pleasure then in what I am about to say.\n\n\"You're fi- CROAK!\"\n\nIn place of the tall woman there is now a frog. Teraboz is standing above the frog, wearing a look of grim satisfaction.\n\n\"That gave me a great deal of pleasure, Merlena,\" says\nTeraboz. \"The spell should wear off in... well... actually, you'll need to find a prince to kiss you. Which is poetic justice, given your and the Oversight Council's recent political meddling. Good luck finding a prince now that the monarchy is in exile!\" She laughs long and hard.\n\n\"By the way,\" Teraboz adds when she regains her breath, \"I quit.\" She strides toward the door. On the threshold, though, she turns back.\n\n\"Welcome to the Academy,\" she says, and slams the door behind her.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, or UNDO the last command?\n\n> You examine the spell\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\n(X) SQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 5\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-five. A deep blue light fills the space.\n\nThe glow from your number sheet fades.\n\n> TIM 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty. A bright violet light fills the space.\n\n> INV MUL 7\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the TIM spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Inv div 7\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three hundred fifty. A dingy grayish light with a hint of violet fills the space.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a space whose light is gray with a hint of violet, for 2 points.\"\n\n> You examine the numbers\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\n> STA 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Ate inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fourteen. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Inv min 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifteen. A bright cyan light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Mot plu 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Ate plu 9\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose"
    },
    {
        "text": "light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> TIM 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (5 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Complete four numbers using no more than four spells for each, for 3 points.\"\n\n> STA 7\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number seven. A dingy gray light fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nThe glow on your number sheet fades.\n\n> INV MUL 8\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nThere is a brief flash of light. You get a quick glimpse of another space, followed by another flash of light. You find yourself back in Seven.\n\n\"That wasn't a particularly wise number to use with the DIV spell at this point,\" says Teraboz.\n\n\"On the contrary, it was quite rational,\" replies Morkan.\n\nTeraboz and Berzia both groan.\n\n> Inv div 8\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty-six. A dingy grayish light with a hint of red fills the space.\n\nThe glow from your number sheet fades.\n\n> MIN 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty. A bright violet light fills the space.\n\n> Tac tim 9\nThere is a brief flash of light, and you find yourself in...\n\nForty-Five Thousand, Five Hundred Four\nThis is not so much a physical place as it is the essence of the number forty-five thousand, five hundred four. A dingy grayish light with a hint of orange fills the space.\n\n> SQU\nThere is a brief flash of light, and you find yourself in...\n\nTwo Billion, Seventy Million, Six Hundred Fourteen Thousand Sixteen This is not so much a physical place as it is the essence of the number two billion, seventy million, six hundred fourteen thousand sixteen. A dingy grayish light with a hint of orange fills the space.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit a space whose number is larger than 2 billion, for 2 points.\"\n\n> You examine the tasks\nComplete a number using only three spells: 2 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nComplete four numbers using no more than four spells for each: 3 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a space with dazzling white light: 1 point\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points\n\nVisit infinity: 1 point\n\n> Div 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\n> MIN 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two. A soft, warm red light fills the space.\n\n> PLU 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number five. A royal blue light fills the space.\n\n> Cat tim 2\nYou cast the spell, but nothing happens.\n\n\"Perhaps the candidate has failed to notice that the TIM spell has already been used once with this sequence? Hmmm?\" says Teraboz.\n\n> Cat tim 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fifty. A bright violet light fills the space.\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet, for 4 points.\"\n\n> You examine the numbers\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> PLU 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Inv min 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number nine. A deep green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (6 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Ate inc\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number fourteen. A dingy grayish light with a hint of red fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\n(X) INC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Mul 6\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number six. A bright yellow light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number four. A deep red light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Tac plu 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number forty-nine. A dingy grayish light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (6 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Mot div 3\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number three. A vibrant green light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\n(X) MIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\n(X) DIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Complete all ten numbers using no more than five spells for each, for 4 points.\"\n\n> Inv sta 2\nNothing happens. \"I'm not sure the candidate truly understands the STA spell,\" says Teraboz, \"since prefixes can't be used with the\nSTA spell!\"\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour spell list glows as your Arithmancy spells are restored.\n\nSome of the glow on your number sheet fades. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Ate plu 9\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> FIB\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nThe glow from your number sheet fades.\n\n> Cat fib\nNothing happens.\n\n\"Trying to combine CAT with FIB. Ugh.\" Teraboz sighs loudly.\n\n\"That's an easy mistake to make,\" says Berzia. \"It only fails because they both use the previous number.\"\n\n> STA 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one. An inky blackness fills the space.\n\nYour number sheet continues to glow. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Tac mul 2\nJust before speaking you realize that instead of MUL you really meant TIM, so you say that instead.\n\n\"Using the TAC prefix only one digit into a sequence causes the spell to fail, right?\" asks Berzia.\n\n\"The old version of TAC did that,\" replies Morkan. \"But the newer version just uses 0 for the missing number. It's less discouraging for candidates who are trying to figure out what TAC does.\"\n\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty. A bright rose light fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (4 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> Tac plu 4\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number two hundred five. A dingy grayish light with a hint of blue fills the space.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (3 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\n(X) PLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\n(X) TIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\nYour task page glows briefly. Then the tinny voice says, \"Congratulations! You have just completed the following task: Complete a number using only three spells, for 2 points.\"\n\n> You examine the tasks\nVisit an imaginary-numbered space: 1 point\nLearn the meaning of all spells and prefixes: 1 point\nComplete a number using only three spells: 2 points\nComplete four numbers using no more than four spells for each: 3 points\nComplete all ten numbers using no more than five spells for each: 4 points\nVisit a space whose number is larger than 2 billion: 2 points\nVisit a space with dazzling white light: 1 point\nVisit a second space with dazzling white light: 1 point\nVisit a third space with dazzling white light: 2 points\nVisit a space with pale azure light: 2 points\nVisit a space whose light is gray with a hint of violet: 2 points Visit, in any order but without repetition, six consecutive spaces whose colors are red, orange, yellow, green, blue, and violet: 4 points\n\nVisit infinity: 1 point\n\n> STA 0\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number zero. The light here appears to be no particular color at all.\n\nYour number sheet glows brighter. It now reads\n\npi: 3.14159  3.14159   (4 spells used)\ne: 2.71828  2.71828   (4 spells used)\nsqrt(2): 1.41421  1.41421   (4 spells used)\nsqrt(3): 1.73205  1.73205   (5 spells used)\nsqrt(5): 2.23606  2.23606   (5 spells used)\nphi: 1.61803  1.61803   (5 spells used)\nln(2): 0.69314  0.69314   (5 spells used)\nzeta(2): 1.64493  1.64493   (5 spells used)\nzeta(3): 1.20205  1.20205   (3 spells used)\ngamma: 0.57721  0.57721   (5 spells used)\n\nIn addition, your spell list now reads\n\nEND: End the examination, submitting your work for grading\nRET: Return to examination room\n\nARITHMANCY SPELLS  (X = already used this sequence)\nINC: Add one to current number\nFIB: Add previous number to current number\nSQU: Square current number\n(X) STA #: Begin a sequence of digits\nPLU #: Add a single digit to current number\nMIN #: Subtract a single digit from current number\nTIM #: Multiply current number by a single digit\nDIV #: Divide current number by a single digit\n\nCAT: Concatenate previous number to front of current number before applying operation\nMOT: Truncate current number to its ones digit before applying operation\nINV: Invert operation\nATE: Add ten to current number before applying operation\nTAC: Concatenate current number to front of previous number before applying operation\n\n> MIN 1\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number minus one. A dazzling white light fills the space.\n\nThe glow from your number sheet fades.\n\n> Div 0\nYou cast the spell. There is a brief flash of light, which quickly fades.\n\n\"I don't understand the fascination with continuing to do that,\" Morkan says.\n\n> MIN 2\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number twenty-three. A dingy grayish light fills the space.\n\n> Inv div 6\nThere is a brief flash of light, and you find yourself in...\n\nThis is not so much a physical place as it is the essence of the number one hundred thirty-eight. A dingy grayish light with a hint of yellow fills the space.\n\n> Tac tim 5\nThere is a brief flash of light, and you find yourself in...\n\nSixty-Nine Thousand, One Hundred Fifteen\nThis is not so much a physical place as it is the essence of the number sixty-nine thousand, one hundred fifteen. A dingy grayish light with a hint of blue fills the space.\n\n> Inv plu 9\nThere is a brief flash of light, and you find yourself in...\n\nSixty-Nine Thousand, One Hundred Six\nThis is not so much a physical place as it is the essence of the number sixty-nine thousand, one hundred six. A dingy grayish light with a hint of red fills the space.\n\n> Inv inc\nThere is a brief flash of light, and you find yourself in...\n\nSixty-Nine Thousand, One Hundred Five\nThis is not so much a physical place as it is the essence of the number sixty-nine thousand, one hundred five. A dingy grayish light with a hint of cyan fills the space.\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Food, Fantasy, hunger, library, culinary theme, secret passages, fantasy violence, magic, Arthurian, violence, unreliable narrator, constrained protagonist, castle, cow, fantasy, queen, ghost, child protagonist, gender-neutral protagonist, fairy tale]\n\nMy dear child, listen, and I'll feed you a tale. It begins with dinner denied. No bread, no butter, not even dessert. A mean repast by the meanest measure, enough to make a stomach grumble and an ill will stew. Enough to leave a tongue yearning for sugarplums.\n\nYou know what's next. It's what happened. An offer, something sweet, something simple, and you swallowed. Children are such trusting people. What you ate grew into a hole deeper than mere hunger: it swallowed you. Now, just as you were served, you shall be served again.\n\nHere you've been kept with only time to eat. All hours taste the same, but sometimes you can hear voices outside. They're always talking about food, how best to carve a joint or marinate a soul. \"Inside a cell, of course,\" one voice had said, \"till the despair's soaked through.\" Well, you've been marinating long enough, and waiting longer isn't likely to bring you freedom or, more importantly, supper.\n\nYou've one companion in your cell: a little skeleton. Poor child, come to such an end, still shackled to the wall with candied chains. You're bound in cacao manacles yourself.\n\nNorthward a cheesecake door leads out to the dungeon.\n\n[Author's Note: In this castle, you'll eat or be eaten. May contain dairy, carnage, puzzles, nuts.]\n\n> About you\nYour most important feature, and the reason that you're here, dear, is your mouth. All children are just mouths, of course, begging to be fed until they're bigger. Nothing else need be said on that account, except perhaps that your mouth is already big for a child. It is your personality. Forget your other attributes. You ate them when you first arrived, which is why you were invited.\n\n> Inventory\nYou have a hole in your stomach, and you're wearing cacao manacles.\n\n> You examine the hole\nAll bargains have a price. This hole is yours. You swallowed it, and now you can swallow an endless feast. In fact, apart from\neat, you'll find you can do little else. Filling your\nstomach's pit is all that matters anymore. But since it's bottomless, that might prove difficult.\n\n> You examine the manacles\nWhen they were first clapped onto you, these cacao manacles were thicker than your arms. Not anymore. You've been licking. A few more bites should do the trick.\n\n> You examine the skeleton\nYou're not the first. Others have been tempted into this castle with sweet promises. Some come from poverty, some come from wealth, some come questing for admittance themselves. They hope to find what they can't find outside. All have an appetite, and most succumb.\n\n> You look at the candied chains\nA few children need convincing to stay. A few children need more than convincing. When chains don't work, of course, there are other methods. This child has been convinced thoroughly.\n\n> You look at the door\nYou won't be going anywhere as long as this cheesecake door remains shut. It's baked from heavy cream, dense in the frame, with strawberries studding its smooth panels.\n\n> You eat the manacles\nCacao's bitter. Perhaps most children wouldn't chew it, but you're not a common child, are you, my darling? You won't remain locked in these manacles, especially not when your palate finds their bitter links delectable. You chomp them. Now they're almost broken: just one final bite.\n\n> You eat the manacles\nThat's done it. The cacao breaks and you gulp down every particle. Alas, although your limbs are free, you're just as hungry as before. That hole inside your stomach will need more to fill its gulf. What you want is a proper feast, something to pack yourself until you can forget what hunger even means.\n\n> You eat the chains\nUnshackling this skeleton won't do its bones much good, but there's no reason not to treat yourself. Its chains are made from hard candy, each link a boiled sweet, with flavors ranging from lemon to raspberry and mint. You crunch them down, every last one. Your stomach still grumbles."
    },
    {
        "text": "[Themes: Food, Fantasy, cow, gender-neutral protagonist, child protagonist, hunger, queen, ghost, violence]\n\n> Look around\nDungeon (south cell)\nYou've only one companion in your cell: a little skeleton. Even unshackled, the poor child makes a pitiable sight.\n\nNorthward a cheesecake door leads out to the dungeon.\n\n> You eat the skeleton\nYou'll find no meat on these bones, dear. This child's been dead far too long. But a nibble wouldn't hurt to exercise the jaw. You gnaw away.\n\n> You eat the skeleton\nKeep gnawing if it pleases you. They'll never sate your hunger, but these old bones won't protest. Their owner lost that power long ago.\n\n> You eat the skeleton\nMore gnawing still leaves you hungry.\n\n> Xyzzy\nYou involuntarily swallow the sounds on your tongue.\n\n> Plover\nWhen in doubt, eat.\n\n> You eat yourself\nFirst you put a finger in your mouth, and then your hand, and then your arm\u2026 you keep going until you've swallowed your entire body, filled your proportions out again with yourself slipped into yourself. Goodness, my dear, that looked uncomfortable. At least it's done no lasting harm.\n\nYou see, that hole in your stomach already has you, doesn't it? And you already have it.\n\n> You eat all\nBe more selective, little one.\n\n> You eat door\nDessert before dinner: that's every child's dream. We'll obey no order tonight! You pull out strawberries, pop them into your mouth, savor their crimson sweetness paired with silken cream. Soon you've eaten the cheesecake door. You'll have the feast you were promised, and no dungeon will hold you now.\n\n> Go north\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nA gruy\u00e8re guard snaps to attention at your sight.\n\nNorthward a corridor leads to the undercroft. Westward's an angel's-food doorway, eastward another door in devil's-food, and southward lies your open cell.\n\n> You examine the guard\nSuch a strapping gruy\u00e8re guard. How handsome he looks armored in brined rind, capped with a knightly curdled helm. Perhaps he's not happy to see you out, but that shouldn't prevent you from enjoying his delicious company.\n\n\"Thou villein!\" says the gruy\u00e8re guard. \"Hie back into thy cell!\"\n\n> You eat guard\nMy valiant knight, here's a battle you'll lose. He's overwhelmed. He's never fought a hunger such as yours. \"Avaunt! Avaunt!\" he cries, but you've no intent to avaunt. Sumptuous gruy\u00e8re, his flavor suggests rich earth, ripe fruit, piqued by his panic as you swallow him, armor and all.\n\nNow that's a snack.\n\n> You examine the chair\nWhere most chairs would have cushions this one's equipped with a pyramid chiseled from butterscotch. Anyone sitting on its tip would find pressure applied in the worst way, and likely never walk the same. Its current occupant certainly won't.\n\n> You examine the prisoners\nBless their little dead bodies. They couldn't have been older than you when they gasped their last. Five children altogether have perished in this dungeon, twisted on different devices. That trio tangled on the wheel could be mistaken for a single mass.\n\n> You look at the rack\nTaffy's been stretched to fabricate this rack. Lock someone down and crank its lollipop handle: you'll have more taffy stretched in a jiffy. The corpse lashed to it now certainly didn't start this tall.\n\n> You examine the wheel\nIt is a cheese wheel, naturally: the grandest gouda ever carved to break mortal bodies. Heavy and hard enough to take a real beating along with the three children pinioned in its spokes. This gouda's seen some use.\n\n> You eat wheel\nSurely one nibble wouldn't hurt. Blood hasn't totally soaked it. You pick a crumb and place it on your tongue. Oh gouda, gouda, how good you can be, how creamy even put to such an employment. You're a light in this shadow-steeped dungeon.\n\n> You eat wheel\nYou nibble the gouda wheel again.\n\n> Go west\nAngel's-food cake seals the doorway: one gigantic yellow slice.\n\n> You eat the angel food\nOpening a door's unnecessary when you can eat it, especially a door as light and spongy as this one. Angel's-food cake floats upon your tongue. Each swallow is as effortless as inhaling fresh air. In no time you've devoured the entire slice.\n\n> You eat the devil\nWho needs a key when you've got teeth and you're hungry? This devil's-food cake stands no chance. Moist chocolate crumbles in your mouth. Dense layers separate. You've eaten the whole door.\n\n> Go west\nDungeon (west cell)\nA woman's wasted corpse leans by one wall, almost buried with onions heaped around her head. This room's more root cellar than cell with all these bulbs piled inside.\n\nEastward an open doorway leads to the dungeon.\n\n> You look at the corpse\nBorn with a silver spoon in her mouth, as you might guess from her looks. Still elegant and refined even after death's scraped her flesh down to near nothing. She certainly perished with a spoon in\nher mouth: it's still there, jabbed right down her throat. Impossible to eat with that impediment.\n\n> You examine the spoon\nThe only thing this spoon served was its own silver.\n\n> You examine the onions\nDependability: that's the onion. Whenever a plate's at a loss, just introduce one and you'll find its taste improved nine times in ten. Raw, roasted, caramelized, fried, grilled or minced: an onion's up for almost anything. But those are techniques for a chef. All you should do, my dear, is eat.\n\n> You take the spoon\nOh my, your body strains, darling, and the hole in your stomach yawns. You've made a bargain, remember, and now you live to eat. Eating is all you need to do. In fact, it's almost all you can.\n\n> You eat the spoon\nYanking the silver spoon out from her mouth, you shove it into yours, and down it goes without a hitch. Right now, darling, you should be thankful for your stomach's hole. A child with a less capacious gut would've just choked.\n\n> You eat the onions\nAs soon as you chomp into one, your eyes water. Your teeth crunch through crisp rings and onion fumes imbue your breath. Why, darling, with that stench held in your mouth, you could blow and you'd\nchase teardrops down cheeks. At least its odor should fade in a few moments.\n\nIn the meantime, your inventory will hold what you're\ncarrying.\n\n> You check what you're carrying\nYou have a hole in your stomach, and you're holding an onion's odor in your mouth.\n\n> Go east\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nNorthward a corridor leads to the undercroft. Open cells lie westward, eastward, and southward.\n\nYour breath's still reeking with onion.\n\n> You go east\nDungeon (east cell)\nAgainst one wall towers a pastry maiden with its cage ajar, and in that cage a skewered corpse has found its rest amongst toothpicks. Not the filling you'd want to bite into with most desserts.\n\nWestward an open doorway leads to the dungeon.\n\n> You examine the maiden\nAn iron maiden wouldn't do in this dungeon. Not when one could construct a cage as fearsome with pastry. It's massive and blood-crusted with a toothpick-spiked interior. Atop its bulk's sculpted a head with a disdainful attitude. You wouldn't wish her favor or embrace upon yourself.\n\nNow the odor in your mouth begins to dissipate.\n\n> You look at the head\nAn iron maiden wouldn't do in this dungeon. Not when one could construct a cage as fearsome with pastry. It's massive and blood-crusted with a toothpick-spiked interior. Atop its bulk's sculpted a head with a disdainful attitude. You wouldn't wish her favor or embrace upon yourself.\n\n> You examine the corpse\nA peasant woman, by her dress, begrimed with dirty hands outstretched as though to scrape the pastry when its shell was shut. Little good that did with toothpicks stabbed through her top to bottom. Her flesh has long since shriveled to the bone.\n\nSoon the fumes in your throat will be gone.\n\n> You eat them\nYou'd taste nothing but onion with these fumes still on your breath. Before you eat again, you ought to blow them out.\n\nTime's done its trick: eaten the onion fumes you ate. Your mouth's perfectly clear again, your breath no more offensive than a breeze.\n\n> You eat them\nYou'd pick your teeth more safely with a sword. Careful, careful where you angle your mouth. Try not to slice your gums.\n\n> You eat maiden\nBeware the spikes. A bite too close could prick your eye. You'll have to unpeel flakes with caution from the crust. One nibble here, another there, and still wonderfully buttery despite the blood.\n\n> You go west\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nNorthward a corridor leads to the undercroft. Open cells lie westward, eastward, and southward.\n\n> Go west\nDungeon (west cell)\nA woman's wasted corpse leans by one wall, almost buried with onions heaped around her head. This room's more root cellar than cell with all these bulbs piled inside.\n\nEastward an open doorway leads to the dungeon.\n\n> You eat the onion\nYou crunch into another onion. More fumes infuse your breath. Before they fade, you can blow their aroma out.\n\n> You go to the north\nBeware the steps you take, the sounds you make that might echo and draw unwanted attention. In this red-velvet undercroft, with his back turned, sits none other than Master Pokerounce carving a great cheese atop a cinnamon-stick stool. He's busy with the task, distracted for the nonce, but one false move and he'll have you tossed back into a cell where you belong.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\nYour breath's still reeking with onion.\n\n> Blow\nYou blow out the onion's tearjerking odor, and Master Pokerounce starts to rub his eyes. He's weeping, all right, but he's also glaring, and he climbs down from his wobbling stool, grabs your ankles.\n\n\"Looks like we've got ourselves a sneak. Sneaks ain't welcome. It's back to the dungeon with you, and you'll stay put until she wants you out. Roast sneak, that's what you'll be. Only it's odd\u2026 Sir Gruy\u00e8re should've been on guard. And what's happened to these doorways? No difference, I suppose. Long's I'm around, you'll sneak nowhere.\"\n\nHe claps you back in manacles and dumps you in the southern cell again.\nDungeon (south cell)\nOnly one little skeleton remains inside this cell. Even unshackled, the poor child makes a pitiable sight, although you're not much better in your cacao manacles.\n\nNorthward an open doorway leads out to the dungeon.\n\n> You eat the manacles\nNo need to linger on particulars. You chomp the cacao manacles apart and swallow them.\n\n> You eat the onion\nYou munch another onion. Blow before its odor fades.\n\n> You examine Pokerounce\nTurnkey and grand inquisitor: that's our Master Pokerounce. Without him, who would man the cells, command the guards, coax tidbits from the prisoners? A wonder that he doesn't wobble, perched high on that stool with his breastplate abuzz, loaves for gauntlets and greaves, his skull enclosed by a pine-nut helmet. His beard might stand a little trim, gnarled galingale and ginger root, barely a face to see under that mass, but looks aren't what we measure to employ wardens and torturers.\n\n> You go south\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nNorthward a corridor leads to the undercroft. Open cells lie westward, eastward, and southward.\n\nNow the odor in your mouth begins to dissipate.\n\n> Blow\nYou blow out the onion's tearjerking odor. It's smart enough to sting eyeballs nearby, prompt tear-ducts to commence weeping, but since there's no one here to cry, the fumes dissolve into the air.\n\n> Go west\nDungeon (west cell)\nA woman's wasted corpse leans by one wall, almost buried with onions heaped around her head. This room's more root cellar than cell with all these bulbs piled inside.\n\nEastward an open doorway leads to the dungeon.\n\n> You eat the onion\nYou munch another onion. Blow before its odor fades.\n\n> You go to the east\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nNorthward a corridor leads to the undercroft. Open cells lie westward, eastward, and southward.\n\n> Go north\nBeware the steps you take, the sounds you make that might echo and draw unwanted attention. In this red-velvet undercroft, with his back turned, sits none other than Master Pokerounce carving a great cheese atop a cinnamon-stick stool. He's busy with the task, distracted for the nonce, but one false move and he'll have you tossed back into a cell where you belong.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n> You examine the cheese\nMunster-g\u00e9rom\u00e9 well brined, some meters tall, and more column than wheel, chiseled into a guardsman half-moulded. Pokerounce has been carving the figure as he carves every soldier, fashioned with its own rind for the armor.\n\n> You look at the stick\nPerhaps he's ten heads taller than you are, but Pokerounce still needs height to carve the cheese's top. His stool's got cinnamon-stick legs that stretch longer than certain pikes.\n\n> You eat the onion\nWhile your breath's pungent, you could blow this onion's odor\nout.\n\n> Go east\nBlue flambeaux undulate, and in their flames gleam devices galore constructed to pry screams and more from prisoners. Don't sit down on that judas chair. Steer clear the rack. Give wide berth to the breaking wheel. They're occupied already by corpses.\n\nNorthward a corridor leads to the undercroft. Open cells lie westward, eastward, and southward.\n\nYour breath's still reeking with onion.\n\n> Go north\nBeware the steps you take, the sounds you make that might echo and draw unwanted attention. In this red-velvet undercroft, with his back turned, sits none other than Master Pokerounce carving a great cheese atop a cinnamon-stick stool. He's busy with the task, distracted for the nonce, but one false move and he'll have you tossed back into a cell where you belong.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n> Go west\nMaster Pokerounce doesn't turn and you tiptoe behind his back.\n\nRunnels trace down the walls where cream has leaked through ceiling grates. Vats brim with souring milk. Mould carpets the room's corners, mushrooms in the damp, and whey dribbles from hanging cheesecloth bags.\n\nEastward's the undercroft.\n\nNow the odor in your mouth begins to dissipate.\n\n> You look at the grates\nAll the milk that's collected here drips from the ceiling grates above. This castle's got a source that won't run low anytime soon.\n\n> You examine milk\nSour milk's not too grand, granted, but it's one step toward crafting the grandest cheeses. It might look less than lovely. It might smell somewhat more pungent than fresh cream. But a romano's not made in a day.\n\nSoon the fumes in your throat will be gone.\n\n> You look at the vats\nSour milk's not too grand, granted, but it's one step toward crafting the grandest cheeses. It might look less than lovely. It might smell somewhat more pungent than fresh cream. But a romano's not made in a day.\n\n> You look at the mould\nA veritable fungal forest's grown here high as your kneecaps, toadstools milk-drunk and pale white as the cream they've sprouted from.\n\nTime's done its trick: eaten the onion fumes you ate. Your mouth's perfectly clear again, your breath no more offensive than a breeze.\n\n> You eat the mould\nHow lustfully you root through these mouldy mushrooms! Anyone would take you for a pig after truffles. Whether you've found truffles or some other variety, you bite into their meaty flesh with the same eagerness.\n\n> You examine the whey\nOne cheesecloth bag bulges more than the rest.\n\n> You eat bag\nIt doesn't take much jaw-strength to rip the cheesecloth: there's something inside waiting to slip out, and how it slips! Whey sloshes to the floor along with a body bloated from long containment in the bag.\n\n> You look at the body\nWho knows how large this fellow was in life. His body's swollen like a sponge. His skin's slick and gelatinous. His face has puffed enough to lose what features constitute a face. Leave him alone, my dear. You've more enticing things to eat than corpses left to rot down here."
    },
    {
        "text": "[Themes: Food, Fantasy, cow, fantasy, hunger, ghost, library, culinary theme]\n\n> Look around\nRunnels trace down the walls where cream has leaked through ceiling grates. Vats brim with souring milk. Mould carpets the room's corners, mushrooms in the damp, and a bloated corpse has slipped from a torn cheesecloth bag.\n\nEastward's the undercroft.\n\n> You examine the bag\nAll right, the body hasn't spilled completely out onto the\nfloor. Although that's where the arms and torso sprawl, one foot's still tangled in the hanging, ripped cheesecloth. It's not a terribly delightful sight. We ought to move along.\n\n> You eat the vats\nYou bend to lap the milk as you would from a trough. It's rather thick, almost a sludge. As for the taste, sour's what you'd expect, and what you get.\n\n> You go east\n\"Ah, ah!\" says Pokerounce, snatching your ankles again. \"Don't court my displeasure. You won't want it. However you got out, you're going back.\"\n\nHere we are, returned to the dungeon, and there you sail, right back into the southern cell. Pokerounce dresses you once again in manacles. At least you're still alive, and that's something. Perhaps a more subtle approach would unseat our lovely warden.\nDungeon (south cell)\nOnly one little skeleton remains inside this cell. Even unshackled, the poor child makes a pitiable sight, although you're not much better in your cacao manacles.\n\nNorthward an open doorway leads out to the dungeon.\n\n> You eat the manacles\nYou chomp the cacao manacles apart and swallow them.\n\n> You eat the stool\nBefore he's got the chance to blink, you bite into his stool. Oh, what a crunch! Your tongue prickles with spice, cinnamon sets your sinuses ablaze, and Pokerounce curses as he topples down.\n\nHis breastplate cracks.\n\nHeavenly honey glimmers gold inside. He groans, can't sit or stand again, not with his body smashed, and out from his fractured breastplate swarm caramelized bees.\n\n> You eat the honey\nA sting, a very palpable sting! Most peppers wouldn't sting as sharply as these caramel bees. Back down, darling. You'd need armor to withstand their ire.\n\n> You go east\nMaster Pokerounce can't stop you now.\n\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> You examine the cheeses\nThere are enough cheeses stocked here to keep an army fed\u2014or to carve one. It's good that you've disabled their master: otherwise you would've had his soldiers on your scent till kingdom come.\n\n> You eat the cheeses\nLook around and choose a cheese.\n\n> You eat brie\nOne bite has the brie running with marvelous luxury into your mouth. Such a mild personality, tinged with the lightest fruity notes, a sumptuous tang rounding out the aftertaste. Fold yourself in its pliant rind: now you're encased.\n\nRemember, my dear, you can check your inventory to see your\noutfit.\n\n> You check your inventory\nYou have a hole in your stomach, and you're wearing a brie rind.\n\n> You go to the west\nYour ears buzz along with the bees above Master Pokerounce. He's crippled on the floor, breastplate cracked wide with honeycombs chambered inside, unable to piece himself back together. In this state he won't finish carving that munster-g\u00e9rom\u00e9.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n\"I'll rip you\u2026 into little shreds,\" Pokerounce groans.\n\n> You eat the honey\nAh, that's more like it. Let the bees blunt their stingers. They'll never breach the brie rind you're wearing.\n\nNow you can strip Pokerounce's gauntlets, dip them into honey from his cracked breastplate. Allow his greaves to absorb golden sauce. His insides make an ideal spread, his toasted loaves an ideal bread to slather with that spread, and your mouth an ideal place to store them.\n\n\"Don't think you'll\u2026 get away with this,\" he groans.\n\n> You eat the honey\nYank his helmet away. No need for it where you're headed, Pokerounce. He squirms as you break it between your teeth. Sweet as a pine nut ever was, with rich smoothness that snaps after encouragement from your molars.\n\n\"She'll grind your bones!\" he shouts.\n\n> You eat the honey\n\"Ouch! Ouch!\" cries Pokerounce as you tug his beard. Rip out the roots. Crop every follicle. Ginger crunches and spritzes fresh hot spice after each bite. Your tongue's alive with aromatic zest, munched galingale releasing pungent perfume to cleanse your palate. He's not half as imposing plucked beardless, our grand inquisitor.\n\n\"You'll never leave,\" he says. \"No one escapes...\"\n\n> You eat the honey\nThat's right, my dear, rip into this inquisitor\u2026 just desserts\nserved\u2026\nback broken, limbs lopped, fingers sticky\u2026 no, don't tell me what to do\u2026 sit still\u2026 stop playing with my food\u2026 I won't do it\u2026 I'll\nscream\u2026\nI'll shout\u2026 as though that would matter in a dungeon.\nPokerounce screeches.\nO goes his mouth and more bees pour forth, riding his bellows. There's nothing to see but their caramel swarm. Take little note: they're simply one more treat to devour.\n\nCram your jaws with his honeycombs. Chomp as the combs crackle, flatten, golden floes oozing down your throat. Dismiss his wails. He deserves this. You're inhaling his bees, their swarm streaming into your jaws from his. The undercroft's thick with sweetness, with drones to drown the sharpest shrieks, and then you suck and suck the last bee into your lips with a smack, and Master Pokerounce isn't such a master anymore.\nFirst course: eaten.\nUndercroft\nCome and leave as you like. This red-velvet chamber's vacant, save that half-carved munster-g\u00e9rom\u00e9, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n> You eat the Munster\nHow soft is this half-moulded munster guard! He'd stand a handsome specimen indeed, but his orange-red rind's still incompletely carved, and he melts with a luscious tang across your tongue. Not sentient enough to struggle yet. Gobble him down. Now he'll patrol no rounds.\n\n> You go east\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> You look at the tapestry\nYou could walk upward to the eastern tapestry.\n\n> You eat the cantal\nYou're already wearing a brie rind.\n\n> You look at shadow\nFarther back than your arms can reach are more varieties: mimolette and emmentaler, beaufort and trappista, shropshire, ardrahan, wensleydale and vieux-boulogne and provolone and goodness one might name them until morning breaks.\n\n> You look at the gloucester\nColossal gloucester, packed with full fat, you're a cheese that a giant could hack with an axe. That apricot glow's annatto-infused. Your wedges would prop fortresses against collapse.\n\n> You examine the Cantal\nCantal's as ancient as the hills, grandfather amongst cheese, speckled grey with its hoary age and pebbled with the most endearing lumps.\n\n> You examine emmentaler\nYou can't reach these cheeses, child. They're too far back.\n\n> You go upwards\nYou ascend the staircase.\n\nAcross the eastern wall's hung a great tapestry woven with warfare and carnage. Your heart would have thundered in the skirmish sewn through these threads, wherein this castle's pretender found herself driven into exile. Ah, what a bloody rout that was.\n\nSouthward sprawls the banquet hall; westward lies the balance gallery; stairs wind upward into the bower and downward to the armory.\n\n> You look at the tapestry\nNever were battles fought with gore and glory more than the battle threaded into this tapestry. Beheaded knights heaped high as hills, fools to have sworn their fealty to a traitor queen. Fancied herself a sorceress, thought that she'd hold the castle with a charm, as though mortal enchantments could entrap a race older than human blood. She's flown there, in the tapestry's corner, upon a chariot, expelled by the same hosts she'd sought to make her slaves. Ignorant witch, shame even to the lowly title witch. She might have ruled a hundred years, but centuries slip through this castle quicker than sands in a glass.\n\n> You eat it\nOne thread unravels in your teeth. Keep eating and you'll eat the tapestry. I think you'll find, however, that it's easier to view when it's hanging on a wall outside your stomach."
    },
    {
        "text": "[Themes: Food, Fantasy, fantasy, violence, fairy tale, hunger, child protagonist]\n\n> Go downwards\nYou descend the staircase.\n\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> You go west\nCome and leave as you like. This red-velvet chamber's vacant, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n> You go to the north\nCome and leave as you like. This red-velvet chamber's vacant, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\nYour breath's still reeking with onion.\n\n> You go east\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> Go upwards\nYou ascend the staircase.\n\nAcross the eastern wall's hung a great tapestry woven with warfare and carnage. Your heart would have thundered in the skirmish sewn through these threads, wherein this castle's pretender found herself driven into exile. Ah, what a bloody rout that was.\n\nSouthward sprawls the banquet hall; westward lies the balance gallery; stairs wind upward into the bower and downward to the armory.\n\nNow the odor in your mouth begins to dissipate.\n\n> You go south\nGaze down the hall and you'll gaze down a valley between smashed dishes. Above that valley rotates a boned chandelier, below that chandelier stretches a table the hall's length, and around that table is ranged the Amuse-Bouche Quartet: Earl Escargot, Dame Demitasse, Frypan Fredrick, and Mistress Caviar. Tonight their plates are heaped with devils on horseback, battered mozzarella, vol-au-vents, toast points, dolma, and boquerones en vinagre.\n\nSouthward, footmen stream from the kitchen; northward lies the eastern tapestry.\n\nA footman carries choriqueso to the table.\n\n> Blow\nYou blow out the onion's tearjerking odor, but with all the hors d'oeuvres inside this banquet hall, even its aroma simply wanders and gets lost amongst others.\n\n> You examine Escargot\nEarl Escargot is what you might refer to as a connoisseur. He's slow to chew, slower to swallow, slowest to admit satisfaction. He dabs his luscious lips after each bite with a napkin; his second tentacle roves the table for more hors d'oeuvres. Garlic butter shimmers in every fold along his flesh, golden, unctuous, tinged green with minced parsley swimming inside his shell.\n\nthe platter.\n\n> You look at Demitasse\nFine porcelain flesh, veins patterned cobalt blue beneath the glaze, teacup eyelids, ceramic handles curving from her skull, that skull's cap sawn and sundered with coffee brimming inside: meet the magnificent Dame Demitasse. She exhales steam. Roasted aromas, wooden, malted, floral, toasted, waft around her place at the table. Perhaps each time she lifts her arm, her china chips a little more, joints delicately splintering, but no beauty was ever forged without pain poured into the crucible.\n\nA footman delivers cucumber sandwiches to the table.\n\n> You examine Frypan\nHe's a hopper, Frypan Fredrick, each limb, each finger a breaded frog's leg. Why, even his head is a breaded frog's leg, sticking from a ruffed collar whose starched fabric has gone translucent with grease. Doublet fried crisp, crackowes squelching with lard, he's apt to leave breadcrumbs behind. No eyes, poor dear, nor nose, nor ears: that's what you get with a leg for a head. At least he has a mouth, and what a mouth, with human teeth in the hundreds to compensate.\n\nFrypan Fredrick tears into the dolma and discards the plate.\n\n> You examine the Caviar\nA glob aglimmer in her seat, roe oozing to absorb hors d'oeuvres, you'll recognize no single silhouette in Mistress Caviar. She shifts into whatever shape commands the highest bid, black beads brighter than diamonds sparkling beneath the chandelier, arms coalescing when she needs more limbs. A hundred sturgeon gutted would not yield one hundredth her measure. She'd snare a tsar's heart with her champagne laugh.\n\nA footman brings samosas to the table.\n\n> You look at the footman\nSardines in eggplant livery. Sometimes they slouch, it's true, what can you do about your posture when you're a herring on land, but otherwise they're excellent servants: expedient, focused, disposable.\n\nMistress Caviar devours the toast points and casts aside the tray.\n\n> You examine the chandelier\nDuck fat drips from the chandelier, rendered most marvelous into candles whose wicks flame green and knock shadows onto the walls. Each burns upon a rib's snapped tip, splayed from a keel anchored to a wishbone, and that wishbone hung from high waffled groins.\n\nA footman carts pickles to the table.\n\n> You examine table\nA table long enough to sit a crowd, with drumstick legs and duck skin draped across the top. My, what a mess: plates strewn higgledy-piggledy with cutlery and serving trays shoved aside to make room for more hors d'oeuvres. Right now the table's cluttered with pickles, samosas, cucumber sandwiches, choriqueso, devils on horseback, battered mozzarella, and vol-au-vents.\n\nEarl Escargot sucks down the vol-au-vents and tosses the dish.\n\n> You eat the table\nThey'll not notice a nibble missing from their tablecloth. There: just a corner, crisp crackling that softens in the mouth.\n\nA footman bears tongue toast to the table.\n\n> You eat footman\nWhy, this sardine's so servile that it practically swims down your throat. They've been trained well, these footmen have: jump when they're told, even when it will land them in a mouth.\n\nNot that this footman should be missed. Others flow constantly from the kitchen.\n\nFrypan Fredrick thoroughly chews the battered mozzarella and tosses the tray.\n\n> You eat footman\nCome, come, footman, step right into these jaws. Yes, very good. That one slipped down as nicely as the first, and here's his stand-in from the kitchen already.\n\nA footman carries gravlax to the table.\n\n> You eat Caviar\n\"Appreciate the finer things?\" asks Mistress Caviar. \"Care for a little nibble right here, love? A little taste? I'll have you know I'm unavailable, nor would my friends enjoy seeing me mistreated. We'll stick together long as we've hors d'oeuvres to eat.\"\n\nEarl Escargot chomps into the devils on horseback and discards the plate.\n\n> You eat Frypan\nHave you ever been kicked by a frog's leg before? Now you have. Frypan pulls one knee backward, there's a crackow in your gut, and the wall takes your breath upon impact.\n\nA footman delivers croquettes to the table.\n\n> You eat the croquettes\n\"I wouldn't,\" says Dame Demitasse, steaming slightly hotter.\n\nDame Demitasse swallows the choriqueso and drops the platter.\n\n> You go to the south\nPandemonium, thou art a castle kitchen. White toques bob as sardine chefs labor over cutting boards and coals, stirring saucepans, stuffing pastries, rolling dough as flour thickens the air. Footmen teem around counters, poised to carry dishes to the banquet hall.\n\nNorthward you could follow the footmen; westward a door opens to the castle gate; stairs wind upward to the pantry and downward to the buttery.\n\nAnother footman bears crab rangoon into the banquet hall.\n\n> You look at the chefs\nAmong these bustling sardines, you can distinguish the chefs by their white turnip toques. They've got peeled turnips buttoned down their scales for uniforms as well.\n\n> You examine the boards\nMinced meat covers the cutting boards. No way to tell what animal it was before the sardine chefs got their fins onto it.\n\nAnother footman carries deviled eggs into the banquet hall.\n\n> You look at coals\nEvery now and again, some sardine rakes the kitchen's coals to encourage their blaze. They're throbbing white and orange in a hearth against the wall. Above their mound, the air wobbles, and hanging pots bubble.\n\nAnother sardine flops into the kitchen from upstairs.\n\n> You look at the saucepans\nIt's chaos with chefs fighting to manage their pots over the kitchen's coals. There's always an elbow, or the sardine equivalent, in someone's face as they dash spices into pans and whisk sauces.\n\nAnother footman takes steak tartare into the banquet hall.\n\n> You examine the pastries\nThese unfinished pastries are little coffins waiting to be stuffed. Fillings couldn't request a final resting place more marvelous.\n\n> You look at the dough\nOh dough, plain as you are, lumps clumped across counters, you're the clay from which masterpieces rise, miracles spring. You're raw potential ready for kneading.\n\nAnother footman bears bruschetta into the banquet hall.\n\n> You examine counters\nGlistening suet countertops these are, darling: fat firm and clean as any cook could dream. Tile'd not shine as brilliantly after the soundest scrub.\n\n> You eat chef\nDrag a chef from the crowd, engulf him whole, white toque and all. His fellow chefs pay no attention as you push his fins into your lips. They're far too focused on their cookery.\n\nIndeed, darling, there's already another tripping downstairs to replace the first. No sardine shortage around here to speak about.\n\nAnother footman takes canap\u00e9s into the banquet hall.\n\n> You eat the dough\nA sardine slaps your hand with a meat tenderizer."
    },
    {
        "text": "> Go down\nYou descend the staircase.\n\nDown here the air is cool and dry and still. Along the walls are stacked the castle's butts, rack upon rack, enormous barrels corked to keep fine beverages in store. The greatest barrel's big enough to contain a hundred smaller.\n\nUpward a staircase runs to the kitchen.\n\n> You examine the barrels\nEach butt's emblazoned with an emblem to note what the barrels hold, although it'd take an alewife in the know to sort through them. Apart from the greatest barrel, here's a smaller stamped with a dragon, and another with a bear, and one painted with a harlequin.\n\n> You look at the dragon\nThe dragon on this barrel's long and snakish. More a wyrm, bearded and lacking wings. It's painted in green pigment that's faded toward grey.\n\n> You examine the bear\nThis barrel's more than blazoned with a bear. The animal's been branded straight into the butt, burned with black ashen lines. Posture: statant.\n\n> You examine harlequin\nCheeky's the harlequin stamped on this butt. The picture's checked in yellow paint and represents the fellow with a bottle tipped to funnel liquid underneath his domino.\n\n> You examine greatest\nAcross this giant barrel's face is stamped an emblem picturing a maiden wrapped in spikes. Hard to determine whether she's in agony or ecstasy, but there's wincing involved in either case.\n\n> You eat the dragon\nGreen tea pours from the dragon's tap, piping and steeped precisely right. Its warmth spreads through your body and its flavor's clean and bracing with the slightest bitter hint beneath the humblest sweetness.\n\n> You eat the bear\nTurn the bear barrel's tap: kvass bubbles over your tongue, fizzing with carbonation from black bread fermented to sour sublimity. That tang's delight if delight's something someone could barrel.\n\n> You eat the harlequin\nLemonade flows from the harlequin's hogshead. Refreshing streams, tart with citrus, chilled, sweetened with sugar. There's crushed ice mixed into the drink, and it's crushed twice between your teeth.\n\n> You eat greatest\nHow odd. There's no leakage when you begin to turn the giant barrel's tap. It turns and turns, yielding no liquid anywise. A disappointment, certainly, to anyone after a drink, but this barrel's still filled with something worth seeing.\n\nIts face opens, swinging back for a door. Inside the barrel's quite empty. It seems there's a passageway to the north.\n\n> Go north\nYour footsteps echo against wood. Well, go ahead, keep clambering about, knock for another door\u2014aha, you've found one at the barrel's back. With a heave-ho you push it ajar and step northward into a different room.\n\n> You go north\nDungeon (east cell)\nAgainst one wall towers a pastry maiden with its cage ajar, and in that cage a secret passage leads southward through the toothpicks. Although their panel's been sprung wide, a skewered corpse still dangles from the spikes.\n\nWestward an open doorway leads to the dungeon.\n\n> Go east\nDungeon (east cell)\nAgainst one wall towers a pastry maiden with its cage ajar, and in that cage a secret passage leads southward through the toothpicks. Although their panel's been sprung wide, a skewered corpse still dangles from the spikes.\n\nWestward an open doorway leads to the dungeon.\n\nYour breath's still reeking with onion.\n\n> You go south\nYou creep through the secret passage.\n\nDown here the air is cool and dry and still. Along the walls are stacked the castle's butts, rack upon rack, enormous barrels corked to keep fine beverages in store. The greatest barrel's opened to reveal a hidden passage to the north.\n\nUpward a staircase runs to the kitchen.\n\n> Go upward\nYou ascend the staircase.\n\nPandemonium, thou art a castle kitchen. White toques bob as sardine chefs labor over cutting boards and coals, stirring saucepans, stuffing pastries, rolling dough as flour thickens the air. Footmen teem around counters, poised to carry dishes to the banquet hall.\n\nNorthward you could follow the footmen; westward a door opens to the castle gate; stairs wind upward to the pantry and downward to the buttery.\n\nAnother footman carries toast points into the banquet hall.\n\nNow the odor in your mouth begins to dissipate.\n\n> Blow\nYou blow out the onion's tearjerking odor. All the chefs blink and sniff, then resume their duties. They're single-minded creatures, these sardines.\n\n> Go upwards\nYou ascend the staircase.\n\nStoop, stoop! You'll knock your head on vegetables above, enormous bundles that drape from the ceiling's beams. Here are eggplants in a clump, and turnips rocking where you've nudged a brace.\n\nNorthward a door leads into the storeroom, westward you'll find the gatehouse, and downward a stair spirals into the kitchen.\n\n> You examine the vegetables\nNo vegetables are quite as large as these eggplants and turnips at the front, but even the more reasonable radishes, the more diminutive endives, the peas in pods would outweigh a toddler.\n\nWhy, hullo, here's a sardine from the storeroom. Slips inside an eggplant skin, quite like a footman in that purple livery, and then wriggles downstairs.\n\n> You eat the vegetables\nYou've got a selection to choose from, darling.\n\n> You eat the turnips\nYou're already wearing a brie rind.\n\n> You go to the north\nNot a chamber often visited by the nobility. Five metal tins against the walls, lined in neat rows as barracks beds. One lid has been halfway uncurled, and there beneath its foil sardines slumber in oil. They'll stir when they're needed downstairs.\n\nSouthward you'll find passage to the pantry.\n\n> You examine the tins\nEach tin comes packed with sardines fin to fin. There's nothing like rolling their metal lids away to glimpse those slumbering little fish. Rest assured, these are packed with their heads still intact. Only the freshest sardines to serve this castle!\n\n> You eat the sardines\nHeavens, yes, why not sample some sardines? One slips right down your throat, leaves your lips smacking with oil. Another slips down as deliciously. They come packed in tins for a reason, you see. They know that one's never enough. When you're done, you have emptied a tin.\n\n> You eat the sardines\nMore sardines, please. Another tin! You peel its lid backward to inhale the oily flavor that wafts from within. Their eyes are open but they're fast asleep. These sardines can sleep in your belly once you've swallowed them. One, two, three, four, let's stop counting. How many come packed in a tin? Not enough!\n\n> You eat the sardines\nYou've developed a taste for sardines, it appears. Plunge your hands quick into another tin, raise out the oily slumberers, hold them over your mouth, then slurp them down. They don't object. They're perfectly content to serve someone. Now here's another empty bed.\n\n> You eat the sardines\nMy, at this rate, you'll have eaten the room! Another tin unlidded, more sardines pulled from their beds, and more smacks from your lips with each swallow. Your cheeks are speckled with their shining scales. Your tongue quivers with salt. They are a most addictive dish. Over your shoulder goes the empty tin.\n\n> You eat the sardines\nAt last, the last tin in the room. Savor these slumbering sardines. You'll have no more from this storeroom. Peel back their metal lid with tenderness. Observe their skin when you lift them aloft, how it glistens. They disappear into your mouth, tails sticking through your lips till you swallow. Rattle the tin for more; you'll find none left. Now lick the oil from your fingertips. There, you've finished."
    },
    {
        "text": "[Themes: Fantasy, Food, library, hunger, constrained protagonist, fantasy, fairy tale]\n\n> Look around\nNot a chamber often visited by the nobility. Five metal tins lie scattered here and there, their lids unrolled, insides licked clean. You could shake them turned upside-down without dislodging any more sardines. Someone, it seems, has had a little feast.\n\nSouthward you'll find passage to the pantry.\n\n> Go south\nDon't knock your head on vegetables above, enormous bundles that drape from the ceiling's beams. Here are eggplants in a clump, and turnips rocking where you've nudged a brace.\n\nNorthward a door leads into the storeroom, westward you'll find the gatehouse, and downward a stair spirals into the kitchen.\n\n> Go west\nThrough a narrow window there's a view across the moat, and through another hole a chain with toffee links holds the drawbridge. At a table slumbers a havarti guard with a swordfish propped next to him. Perhaps those bottles at his feet have something to do with his snores.\n\nWestward lies a garderobe, and eastward the pantry.\n\n> You examine the moat\nIt's difficult to pick out details from this far away.\n\n> You examine the chain\nHere's how this arrangement works: when everything's all clear below, this chain's unwound to lower the drawbridge. Right now it's coiled tight to keep the drawbridge closed.\n\n> You examine the guard\nHe's snoring blissfully. Havarti's no hard cheese but he's gone softer than ever from that root beer, forgot his duties, let his knightly honor lapse. He'll reap what his habits have sown.\n\n> You examine bottles\nIt seems there's been a tipple here. Root beer bottles lie scattered, drained to their last drops. Shame's not something the castle guards imbibe, apparently.\n\n> You eat the swordfish\nYour throat's a sheath: you chomp the fish, swallow its pointed nose, right down it goes. Its swashbuckling days are at an end.\n\n> You eat guard\n\"What time, Sir Jarlsberg?\" he yawns. \"By god's bones, root beer fogs the faculties\u2026\"\n\nFirst he blinks, and then he rubs his eyes, and then he blinks again. It takes him a moment to register what's happening. He lunges for his swordfish, finds nothing, stumbles onto his feet gripping thin air.\n\n\"Pilfered mine blade, intruder? I'll fistfight thee then!\"\n\n> You eat guard\nOur guard might flail his fists however he pleases, but his havarti's no match for your appetite. \"Mercy! Hiccup!\" he says, but he's inside your mouth, you've gobbled his knuckle sandwich. Too late! His soft smooth texture almost melts.\n\nHe'll prove no further hinderance tonight.\n\n> You eat chain\nThis toffee chain won't yield without a crunch. Put your jaw into it! You bite and gnaw and nibble, yet its links don't break. Most seem slightly too strong to chew, but there's always a weaker one.\n\n> You eat the chain\nYes, keep chewing that chain, darling. Eventually you'll find the weakest link.\n\n> You eat the chain\nPersist, my dear! You're almost there. In just a few more bites, this chain is positive to snap.\n\n> You eat the chain\nYour tongue probes for a fracture: there, you bite.\n\nBroken links lash and rattle through the gatehouse hole. Below there's an impact to make the castle quake as the drawbridge descends, and buttery brown sweetness floods your mouth to stick between your teeth. That's toffee, always sticking somewhere.\n\nWhen you're done, you pick out the pieces."
    },
    {
        "text": "[Themes: Fantasy, Food, unreliable narrator, culinary theme, library, child protagonist, hunger, gender-neutral protagonist]\n\n> Describe the surroundings\nThrough a narrow window there's a view across the moat. Another hole once ran a chain to the drawbridge: no more. Root beer bottles lie tumbled beneath a table.\n\nWestward lies a garderobe, and eastward the pantry.\n\n> You go to the west\nIn this room there's a bench, in that bench there's a hole, and that hole opens above the moat.\n\nAnother guard's bent over the privy. Oh, see him heave!\n\nEastward you can step back to the gatehouse.\n\n> You examine the guard\nMy word, this jarlsberg guard's gone green. Blame drink. Always blame drink. Knights with cow's milk for blood can't be expected to hold their root beer.\n\n\"Sir Havarti?\" he groans. \"I'll report back\u2026 anon\u2026\"\n\n> You eat guard\n\"Sir Havarti, thou\u2026 thou art not Sir Havarti!\" the guard exclaims.\n\nHe's still bent over the privy, and seeing you's more surprise than he can afford.\n\nStep forward to catch him, but no, you're too slow: he's already pitched headfirst through the hole. Down, down he goes into the darkened moat, but there's no splash: only a squish, and then silence."
    },
    {
        "text": "[Themes: Food, Fantasy, unreliable narrator, culinary theme, fantasy violence, child protagonist, library, fantasy, constrained protagonist, secret passages]\n\n> Go downward\nYou descend the staircase.\n\nPandemonium, thou art a castle kitchen. White toques bob as sardine chefs labor over cutting boards and coals, stirring saucepans, stuffing pastries, rolling dough as flour thickens the air. Footmen teem around counters, poised to carry dishes to the banquet hall.\n\nNorthward you could follow the footmen; westward a door opens to the castle gate; stairs wind upward to the pantry and downward to the buttery.\n\n> You eat chefs\nThey weren't enough, of course not, those sardines in the storeroom. Not when the kitchen's still crowded. Not when you could reach out, pack more between your teeth as they were packed into their tins before.\n\nThey've caught on now. Too late, they'll not escape.\n\nFootmen flop toward the door but you grab tails, raise them aloft, drop them into your mouth as you seize chefs thrashing over saucepans, across rolled dough. Their bulging eyes bulge even more. Their lips glub open in panic. When your lips close, however, that's the end."
    },
    {
        "text": "[Themes: Fantasy, Food, secret passages, fantasy, ghost, Arthurian, gender-neutral protagonist, magic, queen, constrained protagonist]\n\n> You look around\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nNorthward lies the banquet hall; westward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery.\n\n> You go to the north\nGaze down the hall and you'll gaze down a valley between smashed dishes. Above that valley rotates a boned chandelier, below that chandelier a table stretches the hall's length, and around that table is ranged the Amuse-Bouche Quartet: Earl Escargot, Dame Demitasse, Frypan Fredrick, and Mistress Caviar. Tonight their choices dwindle with only canap\u00e9s, bruschetta, steak tartare, and deviled eggs remaining.\n\nFrypan Fredrick rakes the deviled eggs into his mouth.\n\n\"Oh dear, where are the footmen?\" asks Earl Escargot. \"They've disappeared. At this rate we'll finish the last hors d'oeuvres any minute. I must eat more. I can't stop now!\"\n\n> You eat dame\n\"I'd keep my distance,\" says Dame Demitasse. \"At this rate, these hors d'oeuvres won't last, and don't dare think you'll get any.\"\n\nFrypan Fredrick gobbles the steak tartare quick as a snapped finger.\n\n\"Don't start eyeballing me,\" says Mistress Caviar. \"Get any fresh ideas and I'll get some fresh ideas to match yours. Perhaps I'm getting fresh ideas now. You're not the only one who eats hors d'oeuvres around this place.\"\n\n> You eat the chandelier\nStick out your tongue: there's drippings caught from the candles.\n\nFrypan Fredrick reaches for the bruschetta but the earl ensnares the plate, tugging until he's shoveled everything into his throat. Frypan watches with a forlorn ribbit.\n\n\"You're such a handsome frog, Fredrick. Did you know?\" asks Dame Demitasse. \"Bones with good meat on them, and fried in all the right places. A lady could just gobble you right up.\"\n\n> You eat Escargot\n\"We aren't that desperate yet, are we?\" whimpers the earl. \"Not while we still have some hors d'oeuvres\u2026\"\n\n\"Give that to me!\" says Mistress Caviar, holding the canap\u00e9s as Earl Escargot attempts to rip the platter from her roe. His tentacles slip loose and she engulfs the dish.\n\n\"Oh, oh, without hors d'oeuvres I'll starve!\" the earl exclaims. \"I'll shrivel in my shell. I'll waste away!\"\n\n> You eat Escargot\n\"No, no!\" says Earl Escargot. \"We mustn't stoop to that level. I still mourn for Pierre Canard\u2026\"\n\n\"Stay there,\" commands Dame Demitasse. \"Don't hop, Fredrick. Don't move.\"\n\nThere's your cue, Fredrick: hop, hop for your life!\n\nShe's snatched him by one pointed toe, stabbed shards through his crackow, her arms cracking as she drags Frypan over the table. His battered fingers scrabble for something to grip. Plates clatter to the floor, and now there's an ear-splitting splinter as Dame Demitasse opens her jaws. Look at those jagged porcelain fangs! Frypan Fredrick looks close enough when they chomp down around his breaded head."
    },
    {
        "text": "[Themes: Food, Fantasy, unreliable narrator, constrained protagonist, fairy tale, secret passages, fantasy, child protagonist, magic, ghost, library]\n\n> Look around\nGaze down the hall and you'll gaze down a valley between smashed dishes. Above that valley rotates a boned chandelier, below that chandelier a table stretches the hall's length, and around that table prowl Earl Escargot, Dame Demitasse, and Mistress Caviar.\n\n> You eat Caviar\n\"Lovely,\" says Mistress Caviar. \"Yes, snuggle right here, closer, sweetheart, closer and I'll show you a good time. Let me just wrap my roe around your shoulders\u2014wait, don't bite! That doesn't mean to bite harder! No, don't swallow!\"\n\nHer black pearls almost purr as you pack them into your mouth, rolling across your palate, popping with rich salted bursts. You hold the sea upon your tongue. You hold the rarest sturgeon's ancient taste, subtle as butter, decadent as macadamia, mild, refined.\n\nMeanwhile there's a shriek across the room as Earl Escargot guzzles Dame Demitasse, tentacles coiled around her handles.\n\n> You eat Escargot\n\"Oh my, that glimmer in your eye\u2026 I don't care for it,\" says Earl Escargot. \"Actually, I doubt we would agree with each other. No, put that fork back onto the table. A fork won't do you any good. Oh, no, there's no need for a fork!\"\n\nHe rocks back with a crash; upward you roll atop his shell, fork plunged into his face, yanking the earl out yard by yard to rehouse him inside your mouth. Garlic butter and parsley drip between your teeth. \"I should have never been so succulent!\" are his last words, and then you tilt his shell to slurp the sauce.\n\nAcross the floor, skin fractured, spills Dame Demitasse.\n\n> You look at Demitasse\nFine porcelain flesh, veins patterned cobalt blue beneath the glaze, teacup eyelids, ceramic handles curving from her skull, that skull's cap sawn and sundered with coffee brimming inside: here's the magnificent Dame Demitasse. She exhales steam. Roasted aromas, wooden, malted, floral, toasted, waft in her wake. Perhaps each time she lifts her arm, her china chips a little more, joints delicately splintering, but no beauty was ever forged without pain poured into the crucible.\n\n\"That stupid snail,\" murmurs Dame Demitasse.\n\n> You eat her\n\"I knew you were suspicious,\" says Dame Demitasse. \"It's the dungeon where you belong! You'll bleed for this!\"\n\nCream\u2014banish it; and sugar\u2014sacrilege. Her body's brewed with depth blackness alone could sound. Down, down you drink her coffee and down, down your tastebuds plunge into a richness roasted, velvet with flavors imparted by the darkest drips. All that's bitter is glimpsing her bottom once you've drained it. Nothing remains but shattered porcelain with cobalt veins.\n\nFrypan Fredrick hops from the broken heap. His hop's lopsided: some tendon twisted.\n\n> You eat Fredrick\nZounds, sirrah! How you leap even limping! Frypan's reluctant, as you may well understand, to have himself swallowed again. He jumps onto the banquet table, crouches, rotates on his haunches, and out shoots his tongue to batter you with fried batter. Crumbs scatter. Stumble back, regain your balance, never surrender.\n\n> You eat Fredrick\nPounce, my dear, pounce before Frypan pounces. No, not here,\nhere; no, not there, there. His fried legs fly over\nyour head. Dishes break when he lands. He's left, right, near, far, tripped\u2014yes, tripped on his long pointed toes. Haute couture takes another toll. You have him, no, you don't have him: he's leapt to seize the chandelier. He swings most wildly.\n\n> You eat Fredrick\nYou must know what you want\u2026 well, maybe, perhaps\u2026 not this\u2026 or\nthat\u2026\nsomething else\u2026 we don't care for it\u2026 but on second thought\u2026 take\nit\naway\u2026 no, bring it back\u2026 enough, you'll eat what you've been\nserved,\nand you'll like it.\nYou jump.\nShadows race across walls, chased by the swinging chandelier. Frypan scrambles higher but your teeth sink into his ankles. His tongue tangles the candlesticks. No more swinging: he's straining as you yank him down, each gulp another tug. Tender meat shreds. Grease coats your throat. Breadcrumbs crumble. He croaks.\n\nInto the banquet hall crashes the chandelier, table smashed, ends upturned, cutlery raining as the ceiling collapses. Sardine tins tumble through the broken storeroom floor. Discarded dishes slide to bury everything in shattered crockery, and out you topple into the kitchen, still licking Frypan's grease from your fingers. With that, we do hereby adjourn this evening's meeting of the Amuse-Bouche Quartet.\nSecond course: eaten.\nKitchen\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nWestward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery; northward the banquet hall lies in ruin.\n\n> Go north\nThere's barely room to peer inside now that the ceiling's caved. Only rubble and smashed dishes still settling in pockets under the debris. This banquet hall will hold no further feasts.\n\n> Go west\nYou stand before the castle's only gate. Through this passage must pass all seeking admittance or leave, whether they be the fairest or most squalid amongst us.\n\nSouthward the great drawbridge has been lowered.\n\nWalk northward, noble guests, to the courtyard; slink eastward, servants, serfs bearing supplies, through that low kitchen door. All to their stationed ranks.\n\n> You examine the gate\nNo less sturdy than the drawbridge are these walls that create the gate itself. They're soda bread, extremely hard, and no might you muster will bring them down.\n\n> You examine the drawbridge\nBiscotti planks hammered into a bridge. Knock these planks, slam them, batter their biscotti with a ram and they won't give a chip for all the force you've thrust into the endeavor. There's little else as durable as good strong biscotti.\n\n> Go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nOne cabbage chirps as Jenny tucks its leaves into a nursery.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You look at Jenny\nA lettucehead like hers would break the widest wheelbarrow and command every ribbon at the fair. Put away your spades and seedling dreams, farmhands; you're through. Pearl onions at her maize earlobes. Ripe cherry cheeks. Jenny, let's see your carrot jaws. A rather sharkish smile, hasn't she? Quell your concerns and count your blessings she's no predator. Soil's her standard fare, the richer, fouler the better. After a battle, when the land's imbued with rot, flowers still bloom.\n\n> You examine the beds\nHer little charges snuggle in their little beds. Bald cabbage heads wrapped in thick cabbage leaves. They coo, they do, they gurgle and they mewl, these savoy babes tucked in neat nursery rows. Jenny's at one plot or another attending their chirps.\n\n> You eat Jenny\nJog after Jenny Lettucehead, will you? Perhaps you've got it in your mind to sample her salad, but you'll harvest nothing as long as she's hauling herself from bed to bed. Tuck in a cabbage here, arrange one there, she's on the move. Her vines whip wild at her sides. You're never close enough to nab a bite.\n\n> You eat the cabbage\nFasten one eye to Jenny as you pull a cabbage from a bed. Brush down those leaves, shake out soil, before munching its head, and then notice too late that Jenny's heard the crunch. She's turned toward you, and what she does is smile with delight. What's her work worth without stomachs to feed? Go on and finish munching. You've her approval.\n\n> You eat cabbage\nYou'll eat another cabbage babe. Knock it about to loosen clods, peel back the leaves around its face, chomp down, savor the crunch. No preparation necessary for a tender head this crisp and young.\n\n> You go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nWestward and eastward you'll find tapestried chambers, and southward's the courtyard.\n\n> You examine door\nNo hinge, no handle, no keyhole or crack is to be seen.\n\nAs you stand in the gallery, the floor sinks and you hear a hidden contraption click click.\n\n> Go east\nWhen you leave the gallery, its floor rises again.\n\nAcross the eastern wall's hung a great tapestry woven with warfare and carnage. Your heart would have thundered in the skirmish sewn through these threads, wherein this castle's pretender found herself driven into exile. Ah, what a bloody rout that was.\n\nWestward lies the balance gallery, stairs wind upward into the bower and downward to the armory, and southward the banquet hall has collapsed.\n\n> Go upward\nYou ascend the staircase.\n\nOverhead's spread the nighttime sky. What once was a bower's now mere rubble with crumbled walls. Whipped-cream clouds conceal the moon, floating just close enough to taste, and there's a chill to make your blood run cold.\n\nWestward lies the scriptorium, and downward are stairs to the eastern tapestry.\n\n> You look at the clouds\nOnly the thinnest moonlight leaks through these whipped-cream masses.\n\n> You examine the moon\nThe moon's cloud-cloaked. Staring alone won't unveil it.\n\nA breeze carries soft sobbing to your ears.\n\n> You go to the west\nWisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, four more courses for a feast.\n\nWestward's passage to the solar, eastward lies the bower, and southward you'll walk out onto a balcony.\n\n> You look at the bookcases\nMore recipes are stocked on these pink salmon shelves than you've got time to read, but here's a few you might find flavorful: Appyl Fryturs, Befe Farsed, Capons yn Dorre,\nChawden for a Swan, Dowcetts, Gallentyne,\nGardyn Grynes, Genoa Ryse, Gurnard,\nLachrymose Supe, Lamprays, Mortrose of\nFyshe, Ordyrves, Pecoke, Podyng,\nPokerounce, Samon Rostyd, Swete Mylke,\nTarts Owte of Lente, and Vyneagyr.\n\n> Go south\nMind where you put your weight when you look downward into the courtyard. This wafer balustrade's not the thickest with piroulines for posts.\n\nNorthward you could return indoors to the scriptorium.\n\n> You examine the wafer\nBefore our gardener reclaimed the yard, here's where this castle's pretender would stand, beside the balustrade, to greet supplicants gathered underneath. Few now brave pilgrimage.\n\n> You eat the wafer\nQuick work, quick work indeed. Upon meeting your tongue, the wafer's porous bread practically melts. More resilient, the piroulines, whose balusters crunch as biscuits should crunch. Hazelnut chocolate fills their spiral tubes. You've bitten them to stumps now, look at that: this balustrade barely remains.\n\n> You examine balustrade\nBefore our gardener reclaimed the yard, here's where this castle's pretender would stand to greet supplicants gathered underneath. Few now brave pilgrimage.\n\n> You eat the wafer\nHardly much left to nibble here. Lick your finger and press it to the stumps; some crumbs stick; lick that finger clean. The slightest hazelnut flavor lingers."
    },
    {
        "text": "[Themes: Food, Fantasy, library, gender-neutral protagonist, cow, castle, secret passages, Arthurian, constrained protagonist, queen]\n\n> Look around\nNothing remains to gird the balcony now you've nibbled its balustrade. A step over the edge would plunge a person downward into the courtyard.\n\nNorthward you could return indoors to the scriptorium.\n\n> You go to the north\nWisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, four more courses for a feast.\n\nWestward's passage to the solar, eastward lies the bower, and southward you'll walk out onto a balcony.\n\n> You go to the west\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. Less appetizing's that cage in the corner, where a carrion crow hunches behind nougat bars, watching the room.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> You examine the omelettes\nA proper egg hunt's a noble affair. You'd marvel at the spectacle. It's no mere traipse into the woods. No, it needs hounds and hunters in braces, and horns ringing over treetops, and there's always a valiant struggle when the eggs are driven from their nests. Once they've been cracked, their yolks make the most lovely rugs.\n\n> You examine brazier\nScorpion peppers scramble inside the brazier, swarming over each other with talons ablaze. One prick from their stingers would ignite your tongue. Quite ill-advised.\n\n> You look at the couches\nAlthough no one's attendant now, this solar's where the castle's gentry withdraw for a moment's calm. Little can ease a body like a warm lard couch.\n\n> You examine the pillows\nEven goose down would make a sorry bed for any head accustomed to resting upon these pillows. They're unparalleled.\n\n> You examine the cage\nA birdcage filigreed with white nougat more priceless than white gold. Most birds would peck right through the bars, but not the crow enclosed. It's only got an appetite for guts, and turns its beak up at everything else.\n\n> You examine the crow\nWhen soldiers lose their guts in war, crows find them on the battlefield. Now here's a crow fed on burst bellies aplenty. Its feathers drip with carrion. Its beak's a splintered bone. Its eyes are ruby hemorrhoids in its head.\n\n\"Let me out! Let me out!\" caws the crow. \"I'll eat intestines when I'm free. They keep me in this cage to cage my appetite. Release me! Let me out!\"\n\n> You go to the south\nBefore a giant fireplace sits a figure with proportions to match: the Baron d'Boeuf at his private suppertime. Oh how he hulks above your head, high, high enough to scrape the ceiling were he hunched merely a thumb's breadth less. He's engaged picking morsels from a basket at his feet, packing them down his gullet with a sirloin fist.\n\nHe lifts a pepper out, swallows before it's even been chewed properly.\n\nNorthward you could return to the solar.\n\n> You examine the fireplace\nThank goodness that this fireplace has not been kindled to its greatest blaze, otherwise such a monstrous hearth would toast you for nearness. It's more than large enough to step inside.\n\n> You examine Baron\nWhat is a baron but a cut above the rest? You'll find no figure fashioned from finer flank steak, more succulent sirloin, more rib-sticking ribs or more chop-smacking chops. His very limbs are tenderloin, his belly brisket, and his rump what else but rump, the rarest, plumpest rump? Two rib-eyes set above fat marbled cheeks, filet lips basted in gravy, a tongue to make tongues marinate with watering. People in his palm would be mere pawns; he is outsized; he is prime certified; he is the Baron d'Boeuf for a reason: none other can match his mass on a scale.\n\n> You examine basket\nAn overflowing cornucopia. His basket brims with vegetables worthy to garnish roasts for royalty\u2014spanish onions, green peppers, garlic bulbs\u2014and every other minute down the baron's arm comes reaching for another bite. He swallows whole.\n\n> You eat the basket\nYou crawl into the basket but you've no chance to eat anything before the Baron d'Boeuf seizes you. There's the floor gaining distance as you're lifted high into the air. His mouth opens\u2014and then he looks at you.\n\n\"You're not a vegetable,\" he says. \"Begone! Cheese isn't on my menu this evening.\"\n\nHe drops you back onto the ground.\n\n> You go north\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. Less appetizing's that cage in the corner, where a carrion crow hunches behind nougat bars, watching the room.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry."
    },
    {
        "text": "[Themes: Food, Fantasy, hunger, culinary theme, fantasy, secret passages, library, cow, fairy tale, castle, Arthurian]\n\n> You go down\nYou descend the staircase.\n\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through breadstick grates set in the floor.\n\nA durkha guard stands, southward, at the entrance into the great hall.\n\nEastward's the balance gallery; upward a staircase runs to the solar.\n\n> You look at the guard\nSome guardsmen make others scramble: here's such a one. He towers at the threshold into the great hall, armored in a rind heavier than stone, harder than steel. That's durkha, my dear, champion amongst cheeses, aged for decades until its curds could crack an overeager jaw.\n\n> You eat guard\nIt won't be easy, darling\u2026 he's gigantic\u2026 hurl yourself into the fight, there, grab his leg, take a deep bite! What's that, your teeth won't penetrate his rind? And now he's got you by the scruff? We all miscalculate our strength sometimes.\n\n\"Weakling,\" says the durkha guard, tossing you back. \"Thou art no match.\"\n\n> You go upward\nYou ascend the staircase.\n\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. Less appetizing's that cage in the corner, where a carrion crow hunches behind nougat bars, watching the room.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> Go east\nOverhead's spread the nighttime sky. What once was a bower's now mere rubble with crumbled walls. Whipped-cream clouds conceal the moon, floating just close enough to taste, and there's a chill to make your blood run cold.\n\nWestward lies the scriptorium, and downward are stairs to the eastern tapestry."
    },
    {
        "text": "[Themes: Fantasy, Food, magic, violence, castle, fairy tale, constrained protagonist, fantasy violence, culinary theme, unreliable narrator, hunger, queen]\n\n> You go downwards\nYou descend the staircase.\n\nAcross the eastern wall's hung a great tapestry woven with warfare and carnage. Your heart would have thundered in the skirmish sewn through these threads, wherein this castle's pretender found herself driven into exile. Ah, what a bloody rout that was.\n\nWestward lies the balance gallery, stairs wind upward into the bower and downward to the armory, and southward the banquet hall has collapsed."
    },
    {
        "text": "[Themes: Food, Fantasy, fantasy, violence, fairy tale, hunger, child protagonist]\n\n> Go downwards\nYou descend the staircase.\n\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> You go west\nCome and leave as you like. This red-velvet chamber's vacant, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, eastward the armory, and southward the dungeon.\n\n> You go upward\nYou ascend the staircase.\n\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nWestward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery; northward the banquet hall lies in ruin.\n\n> Go up\nYou ascend the staircase.\n\nDon't knock your head on vegetables above, enormous bundles that drape from the ceiling's beams. Here are eggplants in a clump, and turnips rocking where you've nudged a brace.\n\nWestward you'll find the gatehouse, downward a stair spirals into the kitchen, but northward the storeroom's collapsed.\n\n> You eat the rind\nYou devour the brie rind. You're unarmored again.\n\n> You eat the eggplant\nBurrow into an eggplant. Eat out its spongy white insides until the purple peel's empty and you can ease into its skin. Yes, what a regal uniform that eggplant makes. Quite refined livery."
    },
    {
        "text": "[Themes: Food, Fantasy, fairy tale, violence, hunger, fantasy, constrained protagonist]\n\n> Go downwards\nYou descend the staircase.\n\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nWestward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery; northward the banquet hall lies in ruin.\n\n> Go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nShe's rocking one cabbage to sleep, her vines laced into a cradle.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nWestward and eastward you'll find tapestried chambers, and southward's the courtyard.\n\n> You go west\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through breadstick grates set in the floor.\n\nA durkha guard stands, southward, at the entrance into the great hall.\n\nEastward's the balance gallery; upward a staircase runs to the solar.\n\n> You examine the tapestry\nAll larders attract vermin, and the more well stocked the larder, the more vicious the vermin. You'd never fathom what waves were repulsed from this castle, what rodents swarmed the walls, until one midnight when the chimes were ringing came the mouse king with his seven heads to the vanguard. He'll die forever in this tapestry, slain by a golden virge in nobler combat, by a truer monarch, than vermin ever deserved to fight. Judge for yourself, darling, the portrait's faithfulness, how excellent its threads capture such fey beauty.\n\n> You go upward\nYou ascend the staircase.\n\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. Less appetizing's that cage in the corner, where a carrion crow hunches behind nougat bars, watching the room.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> Go south\nBefore a giant fireplace sits a figure with proportions to match: the Baron d'Boeuf at his private suppertime. Oh how he hulks above your head, high, high enough to scrape the ceiling were he hunched merely a thumb's breadth less. He's engaged picking morsels from a basket at his feet, packing them down his gullet with a sirloin fist.\n\n\"You'll do nicely,\" he says, pulling a spanish onion from the pile's peak.\n\nNorthward you could return to the solar.\n\n> You eat the basket\nYou heft yourself into the baron's basket, tumble down amongst his vegetables, but you're not there one instant when he grasps you in his palm. Bratwurst fingers surround you. You're raised almost to the roof to meet his maw.\n\n\"An aubergine?\" he says. \"Lovely.\"\nHe swallows you.\nYou slide along esophageal membranes until you're emptied out into the baron's\u2026\nFirst Stomach\nYou've been engulfed into a butcher's dream: steak, steak galore, walls plastered with pastrami, roast beef pillars rising into porterhouse arches, meatloaf squishing beneath your weight. Gravy saliva gushes from the baron's throat above. Around you floats debris from his past meals: broken chairs, bedposts, bookcases, curtains, even one rotting horse still tethered to its cart. He's eaten more than vegetables in his heyday.\n\n> You examine the steak\nYou're sinking, darling, down into the gravy, deeper through the meat. Muscles contract around you. Somewhere some great sphincter opens and squeezes you through its tube. There's no time for sightseeing when you're being digested.\n\nAt every side, smashed architecture leans, castles entire piled against cottages and mansions and wrecked towers whose spires jut through cascading acid falls. A countryside ruined lines this stomach with toppled walls. Rumbles upset the rubble. Stones clatter and brickwork breaks. The baron's working to process more than tonight's supper.\n\n> You eat baron\nAnother vegetable comes down the pipe and clobbers you. This one's a great potato. What a bump it makes! Again the baron's gut convulses, more muscles contract, and you're sucked through another sphincter's lips.\n\nNow you're in deep, and not alone. Halfway-digested heaps gleam in the dripping dark. Look closer and you'll see them looking back. They moan, although they won't move far, not rendered into chyme. What was an oyster duchess leaks across a lobster gentleman's boiled red claws. Oatmeal courtiers have softened into sludge. Rooster feet twitch, tendons gelatinous. They've been stewing.\n\n> You eat baron\nThey may have feeble hands, these eaten souls, but they have hands and hands and hands. You're swamped, pulled deeper by hands, hands, until you can't glimpse anything but hands\u2014and then the suction's got your feet, and slurp you've gone downward once more.\n\nAll's calm here in the baron's deepest pit. No clutter but a single candle burning on a small table. A black figure sits at that table, carving vegetables with knife and fork. It's blacker than a shadow, blacker than blackness. Its silhouette resembles the baron.\n\n> You look at the figure\nAs you watch, the figure cuts an eggplant and lifts one slice to where most people have mouths. It has no features, no contours illuminated by the candle's flame. All light's absorbed completely into its shadow.\n\n> You look at the table\nIt doesn't eat the eggplant.\nNo, instead it shifts to look at you, lowers its fork again. Now something spreads across its head: little white teeth smiling. Your vision's filled with the figure's blackness. No matter where you turn, there's nothing else. You cannot see the candle, or the table, or the stomach that's enclosing you.\nYou've been swallowed again.\nVal sans Retour\nNothing but nothing surrounds you. A darkness deeper than the eyeless know. Well, dear, you're in a pickle now.\n\n> You eat the darkness\nYou can't eat the abyss. It's eaten you.\n\n> You eat the darkness\nYou can't eat the abyss. It's eaten you.\n\nWait one moment, what's that? Something else swallowed into the dark. You're drifting closer, or perhaps you've always been this close. In fact, drifting's hardly the word. Your feet might be on nothing yet they're planted firm.\n\nWhy, goodness, it's a woman. She's known better nights.\n\n> You examine the woman\nShe's swooned, frame wasted thin. Each muscle's just as visible as though her flesh were flayed, and lines divide her body as they would a butcher's chart. Spotted gossamer silk trails from her horned headdress.\n\n\"Please, please,\" she says, \"take me away\u2026\"\n\n> You examine the headdress\nAll that's left from her courtly days, however long ago those were. She's been inside the baron's gut longer than some kingdoms survive. He'd be nothing, you see, without her anchoring his appetite.\n\n> You eat woman\n\"I'm not even myself,\" she says. \"It's been too long\u2026 I'm spread too thin\u2026 trapped in here\u2026 and out there\u2026 open your mouth\u2026 I'd\nrather be\u2026\nanywhere else\u2026\"\nIt's not polite to make a lady wait.\nShe crawls into your jaws, one stomach traded for another. No sooner have her toes slipped past your lips than the abyss shatters. You're weightless, falling, shadows splintered, and your impact punches back through the baron's belly.\n\nLight blinds you. There's the roaring fireplace, and there's the Baron d'Boeuf roaring too\u2014with stomachache. He can't contain what he's consumed. His bottomless gut's bottomless no more. Doubled over, he heaves his own insides out through his throat, gravy and steaks and sausages and meatballs and roast beef, everything that he's ever swallowed, everything from his basket, and your mouth's open for the feast. When he's finished, you're finished with him, and he's finished for good.\nThird course: eaten.\nBaron's Cabinet\nA giant fireplace burns in a vacant room. Without the baron here to dwarf its size, the flames seem to lash higher than ever.\n\nNorthward you could return to the solar.\n\n> You enter the fireplace\nYou tiptoe carefully around the flames.\n\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall, where barbecue sauce oozes down the bricks; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet.\n\n> You look at the sauce\nGlobs glisten as the firelight flickers. Your nostrils inhale vinegar mingled with mustard, paprika, cayenne. Glorious sauce, why baste these bricks when you could baste a tongue?\n\n> You eat the sauce\nYou plant your hands into the sauce, lean forward and lick, lick. Mesquite flavors both savory and sweet thrill down your throat. You'd gulp this barbecue sauce by the gallon with delight. There's something strange, though, underneath the sauce."
    },
    {
        "text": "> You look at your surroundings\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall, where barbecue sauce oozes down the bricks; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet.\n\n> You eat sauce\nHullo, what's this? You keep licking until you've licked the last glob from the bricks, and then you stand back, cleaning your fingers. Here at the fireplace's rear you've found a concealed door built in the wall. Its opening leads down into a narrow spiral stair."
    },
    {
        "text": "> Go downwards\nAs you spiral downward, the air cools.\n\nGreat Hall (south end)\nThat's iron you smell, little one. No wonder when the walls run red, your footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace.\n\n> You examine the cow\nO mighty cow, what meat you might provide. You are a meat-filled mountainside! Miners could labor underneath your skin, unearth cuts marbled with the finest fat, translucent, white, creamy, carve brisket from your bones and wield pickaxes for kabobs. You'd feed a thousand mouths and more. You've already yielded meat by the tonne. Now here, my dear, is something worth dropping your jaw over. No common cow can open her body for a market.\n\n> You eat the cow\nMoos thunder through the hall. She's felt that bite, darling.\n\n> You go north\nAlthough you can't push past the cow, you can climb into her.\n\nGreat Hall (inside a cow)\nShe's been hollowed by blades, our fatted calf, her insides empty but for some shunned viscera. Every steak carved, each muscle stripped, her skeleton still holding shape despite its vacancy. Her chitterlings coil across her great mammary glands.\n\nSouthward you could climb outside again.\n\n> You examine the viscera\nIt seems as though some viscera weren't on the cutting list. Her chitterlings, for instance, draped and snaking in enormous loops, and her massive mammaries.\n\n> You look at the mammaries\nAn udder seen from the inside. No teats to suck, just slick flesh mounds ligament-lashed to her pelvis. They hardly hang; rather, they rest upon her inner skin, covered with chitterlings.\n\n> You touch the mammaries\nAgain you strain against your gut. My dear, this just won't do. Trust in your teeth, put more faith in your mouth, and learn how to apply your appetite. Eat, eat, and eat.\n\n> You eat the viscera\nHeft an intestine in your arms. Its weight struggles to slip your grip. Bite down and chew and tear and then surrender when it doesn't tear, you cannot chew, your bites aren't strong enough. All right, let it slide back with its brethren.\n\nLifting this chitterling has plastered you with gore: a splendid bouquet for a carnivore.\n\n> You check what you're carrying\nYou have a hole in your stomach, and you're slathered with gore.\n\n> You examine the gore\nLook at you, slathered, quite slathered in blood. You reek, my dear, as though you were a carcass left to fester after a culling.\n\n> You go south\nYou crawl back through the cow's ripped hide.\n\nGreat Hall (south end)\nYour footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace; northward you could climb into the cow.\n\n> Go upward\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet, and a doorway leads down into a narrow spiral stair.\n\n> You go to the north\nA giant fireplace burns in a vacant room. Without the baron here to dwarf its size, the flames seem to lash higher than ever.\n\nNorthward you could return to the solar; southward you'd step into the hearth.\n\n> You go north\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. Less appetizing's that cage in the corner, where a carrion crow hunches behind nougat bars, watching the room.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> You eat the Omelettes\nA perfect omelette's paradise. Simple yet elegant, fluffed layers folded and threaded with butter fried a delicate yellow. Every bite is a sunrise on your tongue.\n\n> You eat the couches\nYou ooze into marvelous lard, slipping about with litheness like an eel. Smooth, soft, it's creamy on your skin and heaven on your tongue, but let's not lounge in idleness too long.\n\n> You eat the pillows\nYes, pop a pillow right into your mouth. It squishes wonderfully. Pure sugary sweetness, with no distracting flavors to dilute the rush.\n\n> You examine the bird\nWhen soldiers lose their guts in war, crows find them on the battlefield. Now here's a crow fed on burst bellies aplenty. Its feathers drip with carrion. Its beak's a splintered bone. Its eyes are ruby hemorrhoids in its head.\n\n\"Let me out, let me out,\" caws the crow. \"Let me out.\"\n\n> Sooochandler\nSAVEYou've saved your place in the tale.\n\n> Sooochandler\nAll right, darling, let's resume the tale.\n\n> You eat bars\nYou bite into a nougat bar. It breaks.\n\n\"Out! Out!\" the carrion crow caws. \"Release me! Let me out!\"\n\n> You eat the hole\nIt's in your stomach already, although it wasn't a hole when you swallowed it. No, it was an assurance you'd have all you ever wished to eat and more. Now it devours whatever you do.\n\n> You check what you're carrying\nYou have a hole in your stomach, and you're slathered with gore.\n\n> You eat the cage\n\"Release me! Now! Now!\" caws the crow.\n\nAll right, quiet, you noisy bird. It takes a moment to chew through this much nougat. You work until you've nibbled a hole large enough, the crow flapping an impatient whirlwind inside the cage, not waiting for one instant to smash through once you've finished.\n\n\"Guts! Guts! I want guts!\" caws the crow, flying east to the scriptorium.\n\n> You go to the east\nWisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, three more courses for a feast.\n\nWestward's passage to the solar, eastward lies the bower, and southward you'll walk out onto a balcony.\n\n\"Guts! Guts!\" caws the crow, flying out to the south.\n\n> Go south\nNothing remains to gird the balcony now you've nibbled its balustrade. A step over the edge would plunge a person downward into the courtyard.\n\nNorthward you could return indoors to the scriptorium.\n\nYou arrive just in time to see the crow rise into the night sky, flapping southward beyond the castle walls. Crows always know where to find a slaughter."
    },
    {
        "text": "[Themes: Fantasy, Food, fairy tale, violence, Arthurian, child protagonist, culinary theme, secret passages, library, hunger]\n\n> Go downwards\nPoised at the edge, prepared to leap\u2026 no, dear, step back. It's true that you've the space to jump, but you'd land as a pancake without anything planted below to cushion your descent.\n\n> Go north\nWisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, three more courses for a feast.\n\nWestward's passage to the solar, eastward lies the bower, and southward you'll walk out onto a balcony.\n\n> Go east\nOverhead's spread the nighttime sky. What once was a bower's now mere rubble with crumbled walls. Whipped-cream clouds conceal the moon, floating just close enough to taste, and there's a chill to make your blood run cold.\n\nWestward lies the scriptorium, and downward are stairs to the eastern tapestry.\n\nAnother sob reaches your ears. Someone's weeping nearby.\n\n> You wait\nYou consume time.\n\n> You examine the rubble\nImagine a tall tower and you'll imagine what isn't anymore. Time eats its fill as well as anyone. Mind that you don't tread too close to the edge; that would be quite a spill.\n\nA cold wind blows across the sky, dragging the whipped-cream clouds away, and the moon sheds their veil to climb higher. Beams spill onto the castle. Shadows slide back, and the bower's gilded silver.\n\nNow you can see a phantom lady sobbing at its brink.\n\n> You examine lady\nNo castle is complete without its wailing rampart ghost. Ours glimmers silver, clad in countless spoons, with spoons linked into her kirtle, and spoons for ruffles at her sleeves, and spoons cascading to her phantom feet. Her broken heart beats battered in her chest's tureen. With every sob, her eyes stream consomm\u00e9. Her steps would clash, dippers for hands, her head a great ladle, had she more form than fog, but there's nary a clang from her kitchenware chains. Only an endless tearful ladling.\n\n> You examine the spoons\nEntwined with spoons, braided with spoons, spoons twisted into spoons as intricate as chainmail mesh, her dress would press someone alive straight down into the ground. Not her. She floats.\n\n> You eat lady\nConsomm\u00e9 mist lingers on your skin, but otherwise your arms pass through her fog. She'll need to sob much harder to produce substantial soup. In the meantime, lick what drops you can get. She doesn't even notice your approach."
    },
    {
        "text": "[Themes: Food, Fantasy, fantasy, violence, fairy tale, hunger, child protagonist]\n\n> Go downwards\nYou descend the staircase.\n\nInhale that wondrous mouldering stench: fine cheeses stacked in ripening rows. A monger's cellar wouldn't boast a breadth more noseworthy. There's brie and cantal, gloucester, blue stilton and red leicester, morbier, spermyse, and maroilles amongst others heaped deep in shadow.\n\nWestward's the undercroft, and upward a staircase curves to the eastern tapestry.\n\n> Go upwards\nYou ascend the staircase.\n\nAcross the eastern wall's hung a great tapestry woven with warfare and carnage. Your heart would have thundered in the skirmish sewn through these threads, wherein this castle's pretender found herself driven into exile. Ah, what a bloody rout that was.\n\nWestward lies the balance gallery, stairs wind upward into the bower and downward to the armory, and southward the banquet hall has collapsed.\n\nNow the odor in your mouth begins to dissipate.\n\n> You go upward\nYou ascend the staircase.\n\nOverhead's spread the nighttime sky. What once was a bower's now mere rubble with crumbled walls. Bathed in moonlight, beside the brink, weeps a phantasmal grey lady.\n\nWestward lies the scriptorium, and downward are stairs to the eastern tapestry.\n\n> Blow\nYou blow out the onion's tearjerking odor, and as it wafts toward the phantom, she begins to sniffle. Ah well, a sniffle's not enough\u2014but wait, her sniffles turn to sobs, her tureen heaves, her spoons tremble. An onion's no cause for sorrow, but even the smallest teardrop can ripple into memory. Her memories flood through her eyes, unleashing tides.\n\nDrink, drink, my darling, drink while her soup's hot!\n\n> You eat lady\nWonderful soup, beautiful soup, pouring in torrents from her eyes! Stand underneath and let her teardrops rain into your mouth. \"O woe! O woe!\" she cries, and every cry's another ladle's worth spooned hot on the bower. There's consomm\u00e9, of course, that classic broth unparalleled, but as her sorrow deepens more soups cascade down her cheeks: bisque, bouillon, even bouillabaisse.\n\n> You eat lady\nQuickly, before her sorrow cools! You'll never sample stock as rich as these sobs splashed across your face. Don't let them waste! Broth beaded with clear floating fat, chowder enriched with butter, seasoned plentifully with pepper and sea-salt, and onion soup creamy and gratin\u00e9ed. Watching you slurp her tears, she wails again: \"O woe! O woe!\"\n\n> You eat lady\nShe's leaking minestrone and borscht, crying crab, carrot, okr\u00f3shka, gushing goulash and gumbo with gut-wrenching gasps. She's not meant for this world, her sorrow's steeped too strong, you're sucking her into more tangibility with every slurp. \"O woe! O woe!\" she weeps, with leek, lobster, and lentil stew pooling below, and oxtail and split pea outpouring from her chest, and shark-fin clinging to her chin.\n\n> You eat lady\nMore soup! Lick every silver spoon\u2026 taste no regret\u2026 what's done is done\u2026 only\u2026 I beg you, please\u2026 strain everything\u2026 simmer the\npain\u2026\nreduce me\u2026 until nothing's left\u2026 except the reduction, my dear,\nmore\npotent than before.\n\n\"O woe!\" she wails. \"O woe! O woe!\"\n\nHer broken heart's boiled over. Brace yourself.\n\nLamented fate, what cauldrons you stir in the soul! You've no compassion, no remorse! What you've got is an artist's sense for when to sprinkle melodrama's spice, when to thicken a broth with wretchedness. Our ladling lady's overcome with tears to bring the bower down.\n\nSoup runs over the rubble, streams into the stairs. Bread breaks as the floor crumbles underfoot. Phantom screeching splinters the moon. Stew nearly drowns you with every swallow, but you're not drowned: you're buoyant on spooned catharsis. Threads float around your sides, unraveled from a ruined tapestry. Sopped chambers sink. Waves flush you ashore in the undercroft, and with one final keening shriek the castle's ghost is gone, nothing now but a memory left on your tongue.\n\nFourth course: eaten.\n\nCome and leave as you like. This red-velvet chamber's vacant, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, southward the dungeon, and eastward the armory has been destroyed.\n\n> You check what you're carrying\nYou have a hole in your stomach, and you're slathered with gore.\n\n> You examine the armory\nIf you'd like to see the armory, try walking east.\n\n> You go east\nI hope you ate what cheese you wanted when you had the chance. The armory's demolished, buried utterly beneath chambers collapsed during the castle ghost's lament.\n\n> Go south\nYour footsteps crunch across the bridge.\n\nWasteland, blasted and bubbling with molten chocolate bogs. Steam rises to the stars. Across the fens, impaled at every angle, skewers thrust into the ground, the night sky silhouettes human corpses.\n\nA carrion crow perches atop a nearby skewer, picking for supper.\n\nNorthward the drawbridge stretches back to the castle, and a downward scramble along its embankment would see you into the moat.\n\n> You look at the bogs\nHere's desolation, darling. Here's conquest.\n\n> You look at the steam\nClimbing vapors melt into the dark.\n\n> You examine the skewers\nLong and two-pronged. Skewers you'd use to spear fruit meant for gilding in a chocolate pot, but twisted with handles submerged, prongs staked skyward. You could not count their quantity.\n\n> You look at the corpses\nNot fresh corpses by any means. These have been left to rot for such a span their skin's shrunken, muscles withered to bone-stuck strings. Enemies all, and planted for a cautionary wood. Challenge the castle: here's what will happen.\n\n> You look at the crow\nWhen soldiers lose their guts in war, crows find them on the battlefield. Now here's a crow fed on burst bellies aplenty. Its feathers drip with carrion. Its beak's a splintered bone. Its eyes are ruby hemorrhoids in its head.\n\n\"Fresh gore, fresh gore!\" caws the crow. \"I smell fresh gore. I'll follow you. I want fresh guts for my supper. Take me to find fresh guts!\"\n\nIt flaps over to land on your shoulder. Soon it has pecked the gore from your body.\n\nMy dear, you have a pet.\n\n> Go north\nYour footsteps crunch across the bridge.\n\nYou stand before the castle's only gate. Through this passage must pass all seeking admittance or leave, whether they be the fairest or most squalid amongst us.\n\nSouthward the great drawbridge has been lowered.\n\nWalk northward, noble guests, to the courtyard; slink eastward, servants, serfs bearing supplies, through that low kitchen door. All to their stationed ranks.\n\n> You go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nA few savoy heads mewl for Jenny's attention.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> Go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nSouthward lies the courtyard, westward's a tapestried chamber, but eastward the castle's collapsed.\n\n> You go west\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through breadstick grates set in the floor.\n\nA durkha guard stands, southward, at the entrance into the great hall.\n\nEastward's the balance gallery; upward a staircase runs to the solar.\n\n> Go upward\nYou ascend the staircase.\n\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. In the corner, only nougat scraps remain from the cage you consumed. Its former tenant caws on your shoulder.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> You go south\nA giant fireplace burns in a vacant room. Without the baron here to dwarf its size, the flames seem to lash higher than ever.\n\nNorthward you could return to the solar; southward you'd step into the hearth.\n\n> You go to the south\nYou tiptoe carefully around the flames.\n\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet, and a doorway leads down into a narrow spiral stair."
    },
    {
        "text": "> Go downward\nAs you spiral downward, the air cools.\n\nGreat Hall (south end)\nYour footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace; northward you could climb into the cow.\n\n\"Abattoir! Abattoir!\" caws the carrion crow. \"Gore! Gore! I'll eat fresh guts tonight!\"\n\nIt flaps ahead, ripping strips from the cow. Once it finds the wound carved into her flesh, it burrows through, plunging into the carnage with a scavenger's hearty passion. As for the cow's response: her moos are thunder-booms.\n\n> Go north\nYou climb into the cow again.\n\nGreat Hall (inside a cow)\nBloody plumage thrashes your face. Claws pinch and sling intestines left and right. Your pet crow's gone berserk, slurping down chitterlings like worms, jabbing its beak and talons into the cow's massive glands. All this madness must put immense pressure on her udder.\n\nSouthward's your only exit. Take it, dear.\n\n> You look at the udder\nAn udder seen from the inside. No teats to suck, just slick flesh mounds ligament-lashed to her pelvis. They hardly hang; rather, they rest upon her inner skin, covered with chitterlings.\n\n> You go south\nYou crawl back through the cow's ripped hide.\n\nGreat Hall (south end)\nYour footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace; northward you could climb into the cow.\n\n> Go upward\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet, and a doorway leads down into a narrow spiral stair.\n\n> You go to the north\nA giant fireplace burns in a vacant room. Without the baron here to dwarf its size, the flames seem to lash higher than ever.\n\nNorthward you could return to the solar; southward you'd step into the hearth.\n\n> You go north\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. In the corner, only nougat scraps remain from the cage you consumed.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry."
    },
    {
        "text": "[Themes: Food, Fantasy, hunger, culinary theme, fantasy, secret passages, library, cow, fairy tale, castle, Arthurian]\n\n> You go down\nYou descend the staircase.\n\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through breadstick grates set in the floor.\n\nA durkha guard stands, southward, at the entrance into the great hall.\n\nEastward's the balance gallery; upward a staircase runs to the solar.\n\n> You look at the guard\nSome guardsmen make others scramble: here's such a one. He towers at the threshold into the great hall, armored in a rind heavier than stone, harder than steel. That's durkha, my dear, champion amongst cheeses, aged for decades until its curds could crack an overeager jaw.\n\n> Go south\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nAs soon as she's tended to one, another cabbage chirps for Jenny's care.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You go to the east\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nWestward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery; northward the banquet hall lies in ruin."
    },
    {
        "text": "[Themes: Food, Fantasy, secret passages, queen, unreliable narrator, violence, culinary theme, fantasy, cow]\n\n> Go downward\nYou descend the staircase.\n\nDown here the air is cool and dry and still. Along the walls are stacked the castle's butts, rack upon rack, enormous barrels corked to keep fine beverages in store. The greatest barrel's opened to reveal a hidden passage to the north.\n\nUpward a staircase runs to the kitchen.\n\n> Go north\nYou creep through the secret passage.\n\nDungeon (east cell)\nAgainst one wall towers a pastry maiden with its cage ajar, and in that cage a secret passage leads southward through the toothpicks. Although their panel's been sprung wide, a skewered corpse still dangles from the spikes.\n\nWestward an open doorway leads to the dungeon.\n\n> You go north\nCome and leave as you like. This red-velvet chamber's vacant, with no one left to ensure prisoners stay locked away.\n\nWestward lies the creamery, southward the dungeon, and eastward the armory has been destroyed.\n\n> You go west\nRunnels trace down the walls where cream has leaked through ceiling grates. Vats brim with souring milk. Mould carpets the room's corners, mushrooms in the damp, and a bloated corpse has slipped from a torn cheesecloth bag.\n\nEastward's the undercroft.\n\n> Go south\nYour footsteps crunch across the bridge.\n\nWasteland, blasted and bubbling with molten chocolate bogs. Steam rises to the stars. Across the fens, impaled at every angle, skewers thrust into the ground, the night sky silhouettes human corpses.\n\nNorthward the drawbridge stretches back to the castle, and a downward scramble along its embankment would see you into the moat."
    },
    {
        "text": "[Themes: Food, Fantasy, magic, queen, fairy tale, unreliable narrator, fantasy violence, constrained protagonist, child protagonist, ghost, gender-neutral protagonist, secret passages]\n\n> Go downward\nYou scramble down the embankment.\n\nAll the water's been drained, and now this trench is brackish with foul-smelling filth. You'll spy the garderobe above, projecting from an upper floor, streaks running down the castle wall to form a great nightsoil mound below.\n\nProtruding from this mound are a guard's legs.\n\nUpward you could scramble back to the fens.\n\n> You examine the guard\nPoor soul. He never guessed he'd pass the pearly gates through a privy.\n\n> You look at the filth\nDroppings have splattered here for years, none too great nor too small to contribute. Don't suppose those alone sat in the garderobe made this summit: pisspots and trash from every quarter find themselves thrown to the moat. It's a most equalizing muck.\n\n> You eat guard\nWaste not, want not. A fine motto. Once you've withdrawn him from the muck, you devour his jarlsberg arms. He's mild\u2014too mild, perhaps, considering how deeply the moat's filth has already imbued him with its own flavor. That nutty aftertaste would be more pleasant with alternate scenery."
    },
    {
        "text": "[Themes: Food, Fantasy, ghost, violence, castle, culinary theme, cow, magic, fantasy]\n\n> You describe your surroundings\nAll the water's been drained, and now this trench is brackish with foul-smelling filth. You'll spy the garderobe above, projecting from an upper floor, streaks running down the castle wall to form a great nightsoil mound below.\n\nUpward you could scramble back to the fens.\n\n> Go upwards\nYou crawl back up the embankment.\n\nWasteland, blasted and bubbling with molten chocolate bogs. Steam rises to the stars. Across the fens, impaled at every angle, skewers thrust into the ground, the night sky silhouettes human corpses.\n\nNorthward the drawbridge stretches back to the castle, and a downward scramble along its embankment would see you into the moat.\n\n> You look at moat\nAround the castle wraps the moat. Its trench would trap whatever infidels tried to invade. You should have seen them in the past, backsliding with splashes, sinking under their armor's weight. Those days are done. Those wars are won. None who value living would assault the castle now.\n\n> Go north\nYour footsteps crunch across the bridge.\n\nYou stand before the castle's only gate. Through this passage must pass all seeking admittance or leave, whether they be the fairest or most squalid amongst us.\n\nSouthward the great drawbridge has been lowered.\n\nWalk northward, noble guests, to the courtyard; slink eastward, servants, serfs bearing supplies, through that low kitchen door. All to their stationed ranks.\n\n> You go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nShe must be famished, poor Jenny, always busy with crying babes.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You look at Jenny\nA lettucehead like hers would break the widest wheelbarrow and command every ribbon at the fair. Put away your spades and seedling dreams, farmhands; you're through. Pearl onions at her maize earlobes. Ripe cherry cheeks. Jenny, let's see your carrot jaws. A rather sharkish smile, hasn't she? Quell your concerns and count your blessings she's no predator. Soil's her standard fare, the richer, fouler the better. After a battle, when the land's imbued with rot, flowers still bloom.\n\n> You get the head\nAttend, child, when I tell you most actions are irrelevant. Whatever you take, learn to take with your teeth. Whatever you do will require your tongue. Utilize your appetite and eat.\n\n> You eat Jenny\nIt's futile, darling. Either you're too slow or Jenny Lettucehead's too fast, but it amounts to the same thing. She's always clambering away to tend another bed.\n\n> You look at bed\nHer little charges snuggle in their little beds. Bald cabbage heads wrapped in thick cabbage leaves. They coo, they do, they gurgle and they mewl, these savoy babes tucked in neat nursery rows. Jenny's at one plot or another attending their chirps.\n\n> Go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nSouthward lies the courtyard, westward's a tapestried chamber, but eastward the castle's collapsed.\n\n> You go west\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through breadstick grates set in the floor.\n\nA durkha guard stands, southward, at the entrance into the great hall.\n\nEastward's the balance gallery; upward a staircase runs to the solar.\n\n> You eat guard\nYou'll do no better than you did before. He throws you back again. At least he's lackadaisical about your continued assaults. No, you'll need a more indirect approach.\n\n> Ascend\nYou ascend the staircase.\n\nOmelettes carpet the floor. A brazier crackles merrily, surrounded by soft lard couches with marshmallow pillows. In the corner, only nougat scraps remain from the cage you consumed.\n\nSouthward you'll find the baron's cabinet, eastward the scriptorium, and downward stairs lead to the western tapestry.\n\n> You go south\nA giant fireplace burns in a vacant room. Without the baron here to dwarf its size, the flames seem to lash higher than ever.\n\nNorthward you could return to the solar; southward you'd step into the hearth.\n\n> You go to the south\nYou tiptoe carefully around the flames.\n\nSweat beads your brow. Heat ripples in the air above the hearth. Stand far against the fireplace's rearmost wall; there you'll have space to skirt the blaze.\n\nNorthward you'd inch back to the baron's cabinet, and a doorway leads down into a narrow spiral stair."
    },
    {
        "text": "> Go downwards\nAs you spiral downward, the air cools.\n\nGreat Hall (south end)\nYour footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace; northward you could climb into the cow.\n\n> Go north\nYou climb into the cow again.\n\nGreat Hall (inside a cow)\nBloody plumage thrashes your face. Claws pinch and sling intestines left and right. Your pet crow's gone berserk, slurping down chitterlings like worms, jabbing its beak and talons into the cow's massive glands. All this madness must put immense pressure on her udder.\n\nSouthward's your only exit. Take it, dear.\n\n> You eat the udder\n\"No! No!\" caws the crow. \"All mine! All mine!\"\n\n> You go south\nYou crawl back through the cow's ripped hide.\n\nGreat Hall (south end)\nYour footsteps slide on bloody flags, and every corner's heaped with broken bones. Midway down the hall rests a great cow whose bulk traps her within the room, pinioned between the walls, unable to reverse and see what's happened to her southern side. She has been hacked, she has been half-butchered, her ribs sawn and her muscles rent to leave a cavern in her flank.\n\nUpward a hidden stair leads to the baron's fireplace; northward you could climb into the cow.\n\n> You eat the cow\nYou bite again. She moos again.\n\n> Go east\nWisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, two more courses for a feast.\n\nSouthward you'll walk out onto a balcony, westward lies the solar, but eastward the castle's collapsed.\n\n> You look at the books\nAppyl Fryturs, Befe Farsed, Capons yn\nDorre, Chawden for a Swan, Dowcetts,\nGallentyne, Gardyn Grynes, Genoa Ryse,\nGurnard, Lachrymose Supe, Lamprays,\nMortrose of Fyshe, Ordyrves, Pecoke,\nPodyng, Pokerounce, Samon Rostyd, Swete\nMylke, Tarts Owte of Lente, and Vyneagyr.\n\n> You examine milk\nMilk's streaming from the great hall, dripping down through breadsticks latticed underfoot. Without these grates to drain the room, we'd have milk flooding out into the gallery as well.\n\n> You examine the grates\nMilk's streaming from the great hall, dripping down through breadsticks latticed underfoot from wall to wall. Without these grates to drain the room, we'd have milk flooding out into the gallery as well.\n\n> You eat the grates\nThese breadsticks aren't the best, one must confess. They're rather stale, but then again, they're being used for drainage grates. You break them from the floor to break them with your teeth.\n\n\"Halt!\" says the durkha guard, advancing to stop you\u2014and breaking further through the broken floor. You tumble along with him, land unharmed atop mushrooms.\nHe lands less well, with a loud splash.\nCreamery\nRunnels trace down the walls where cream has leaked through ceiling grates. Inside a vat thrashes the durkha guard, unable to climb out as his rind softens in the sour milk. Mould carpets the room's corners, mushrooms in the damp, and a bloated corpse has slipped from a torn cheesecloth bag.\n\nEastward's the undercroft.\n\n> You eat guard\nNow you can take your time with him, as one must take one's time to chew durkha. Oh yes, it's still slow-going, even after he's been soaked, with every bite a contest between your teeth and his cheese, but your teeth win. He calls you \"Wastrel!\" and \"Blackguard!\" until the end. Even his insults are scrumptious. You have served well, noble durkha.\n\n> Go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nThey're never done mewling for their caretaker, these savoy children.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> Go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nSouthward lies the courtyard, westward's a tapestried chamber, but eastward the castle's collapsed.\n\n> You go west\nAcross the western wall's another tapestry embroidered with a grand combat, in which this castle's vilest invader, the mouse king, had his tail chopped. Milk flows into the chamber from the south, streaming through broken breadsticks that lead down into the creamery.\n\nSouthward lies the great hall, eastward the balance gallery, and upward a stair runs to the solar.\n\n> Go south\nGreat Hall (north end)\nWhat might have been a hall packed with courtiers is cleared to leave flagstones streaming with shallow cream. Kneel down, and tremble if you will, knowing that awe would never be misplaced before the monstrous cow whose bulk rests midway down the room and fills its width with flesh patterned in black and white. She is ideal; she is supreme; she is the cow that other cows might dream to be as men dream to be gods.\n\nHer eyes follow you and she moos with discomfort, as though pleading your assistance.\n\nNorthward you can take your leave to the western tapestry.\n\n> You examine the cow\nGigantic would blush at her size, titanic would stammer, colossal might stand on tiptoe and barely scrape her hooves. No cow was ever such a cow! Reclined, her udder swollen on the floor, her forelegs shoved under a dewlap that could crush ten typical heifers, she cannot budge her neck, she cannot shift her weight, her rear and front ends are pressed into the surrounding walls. Step to her side? Perish the thought! You could not push a flea around her flanks, she fills the room with such fleshy fullness.\n\n> You examine the floor\nShe can't help it, our cow: she drips. Her drippings trickle to the floor, but they're nothing compared with what her teats hold in reserve.\n\n> You examine the udder\nAn udder's never wanted milking more. Swollen, straining, pink dugs bulging. What hands could squeeze teats vast as these? Your arms can barely manage a nipple.\n\n> You eat the cow\nGracious, this cow is no tartare to be nibbled living and raw. She moos with arch disdain; you pull your mouth away; you could not tear a chunk from her thick hide. All the better when her udder begs with bigness for milking.\n\n> You eat the udder\nAh, now she starts to stream: a subtle spurt at first, but stronger as you squeeze her teats and pull white jets from her nipples. Not pure white, no, but tinged with mild luscious yellowness. That's fat for you, rich, creamy fat to thicken every squirting line whose liquid sprinkles on your lips.\n\n> You eat the udder\nHarder, harder you pull, more resolute with every tug, twisting her teats downward to aim their milk into your mouth. High overhead she moos and her moos resonate throughout the hall, within the vaults, rumble the walls. Guzzle as quickly as you can, there's more milk than will fill your throat, spilling over your lips to splash the stones.\n\n> You eat the udder\nAll your milking's done nothing to empty her swollen teats. They bulge; she moos; your arms ache as you pull that massive pink udder. Now her nipples are blasting milk across the flagstone floor, spray scattering, splattering walls, raining over the room. She tries and fails to readjust her weight, can't shift her hooves. Moo, moo, you cow, that's it, push out your milk, spill everything.\n\n> You eat the udder\nYes, yes, eyes shielded from the spray, you're almost there\u2026 one\nfinal\ntug\u2026 one last twist on her pinkest teat\u2026 she moos a long low lowing moo\u2026 you wanted this, oh, how does one say no\u2026 yes, yes, that's it, no, no\u2026 take what you will\u2026 drink me, I'm yours\u2026 that's why\u2026\nthat's\nwhy\u2026\n\nHer udder bursts.\n\n\u2026that's why she's here: to be emptied.\n\nMilk crashes from her body. Black and white spots sag, her skin shrivels, merely a husk to house the fluid frothing at the walls. Flagstones clack loose. Vaults groan, buckle. An ocean uncorked churns inside the hall, bones flotsam on buttercream tides whose waves submerge you as the castle cracks.\n\nAn undercurrent's snared you, drawn you into the whirlpool. Around, around rushes the cream with force to whip its foam; custard cascades into the moat; with squawks a panicked crow wings to the wastes as wings collapse. My word, she's a mudslide in milk, rooms compromised and crumbling, debris and cottage cheese flooding your mouth. Sprawl where you've fallen. Spread your arms. Embrace the avalanche with open jaws. Drink deep, drink well until it ends. You'll never savor dairy more divine.\n\nFifth course: eaten.\n\nMilk runs along the moat's bottom, and from its surface rises a nightsoil mound that not even a flood could wash away.\n\nScramble upward again and you'll regain the fens.\n\n> Go upwards\nYou crawl back up the embankment.\n\nWasteland, blasted and bubbling with molten chocolate bogs. Steam rises to the stars. Across the fens, impaled at every angle, skewers thrust into the ground, the night sky silhouettes human corpses.\n\nNorthward the drawbridge stretches back to the castle, and a downward scramble along its embankment would see you into the moat.\n\n> You go to the north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nOne cabbage whines, another sighs, and Jenny's vines cradle them both.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> Go north\nNorthward a gleaming golden door would lead into the chapel, but it's sealed. Beneath your feet, the floor's plated with silver polished to a mirror's shine.\n\nSouthward lies the courtyard; westward and eastward, both wings have collapsed.\n\n> Wait\nYou consume time.\n\nAs you stand in the gallery, the floor sinks. Click click click\nclick click: chains rattle inside the walls. More mechanisms\ngroan above the golden door, beginning to lift its gigantic slab, but then they stop clicking and the door doesn't budge.\n\n> You examine the floor\nYour reflection: superb, splendid, spectacular. You're thick in all the right places, larded to a magnificent degree by the five courses you've finished. Think how plump you'll become after the last.\n\n> You jump\nAs you jump, the floor rises, and when you land, it sinks again.\n\n> You eat door\nBiting's useless. Licking's fruitless. Your teeth don't dent the gold.\n\n> Go south\nWhen you leave the gallery, its floor rises again.\n\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nMore mewls from more nurseries draw Jenny across the courtyard.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You look at the balcony\nYou would've had a view into the courtyard from that balcony,\nbut you'll never reach it now that both the castle's wings have been destroyed.\n\nStill, you might discover another vantage upstairs.\n\n> Go west\nThrough a narrow window there's a view across the moat. Another hole once ran a chain to the drawbridge: no more. Root beer bottles lie tumbled beneath a table.\n\nWestward the garderobe's collapsed, leaving only a ledge, and eastward you'd return to the pantry.\n\n> You go to the west\nWhen the great hall toppled, it took the garderobe with it. Nothing's left but this perch newly exposed to the courtyard down to the north.\n\nEastward you could walk, carefully, back into the gatehouse.\n\n> You go north\nPoised at the edge, prepared to leap\u2026 no, you step back. It's true that you've the space to jump, but you'd land as a pancake without anything to cushion your descent.\n\n> You look at the perch\nI'd not stay here too long, darling. It's quite precarious.\n\n> You examine the courtyard\nIn the darkness, you can't see much below, but there's no missing Jenny Lettucehead. She's roving around the courtyard, nearby one moment and distant the next.\n\n> You look at Jenny\nFrom here her head's a picture-perfect salad, dressing-drizzled, topped with sliced apples, pears, toasted walnuts. You'd never glimpse those garnishes at ground level, not with her giant lettucehead soaring above your own.\n\nShe's hauling herself around the garden.\n\n> You eat Jenny\nAt this height? Not a chance, darling. You'd have to jump down onto her.\n\n> You examine the hole\nWhat chain? Darling, you ate it already.\n\n> You look at beer\nIt seems there's been a tipple here. Root beer bottles lie scattered, drained to their last drops. Shame's not something the castle guards imbibe, apparently.\n\n> You go east\nDon't knock your head on vegetables above, enormous bundles that drape from the ceiling's beams. Here are eggplants in a clump, and turnips rocking where you've nudged a brace.\n\nWestward you'll find the gatehouse, downward a stair spirals into the kitchen, but northward the storeroom's collapsed."
    },
    {
        "text": "[Themes: Food, Fantasy, fairy tale, violence, hunger, fantasy, constrained protagonist]\n\n> Go downwards\nYou descend the staircase.\n\nNobody now remains to tend this kitchen's hearth or knead the dough rolled on the countertops. Neglected saucepans cool. Flour has settled on the floor, tracked with footprints.\n\nWestward a doorway opens to the castle gate; stairs wind upward to the pantry and downward to the buttery; northward the banquet hall lies in ruin.\n\n> You examine the Castle\nCastle Charyot, some call it now. It gained that name in its pretender's reign, but names are only doors. When one door shuts, whether after an hour or a thousand years, another name will crawl onto a tongue to open more."
    },
    {
        "text": "> Go down\nYou scramble down the embankment.\n\nMilk runs along the moat's bottom, and from its surface rises a nightsoil mound that not even a flood could wash away.\n\nScramble upward again and you'll regain the fens.\n\n> You look at the Milk\nAll that remains from the deluge you drank. This milk's gone brown and rancid flowing here in the moat's muck. Sludge sucks your feet with every step you take.\n\n> You go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nHer vines caress two cabbages gurgling in the dirt.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You climb head\nYou have to eat. You have no choice. Next time, no matter what you try, you'll try to eat instead, and you'll keep eating after that. All actions you attempt tonight, you'll attempt with your mouth.\n\n> Go north\nWalk no farther. You'll walk into thin air. The storeroom has crumbled into the banquet hall, and you'd break your bones twenty different ways were you to take a tumble after it.\n\n> You go to the north\nYou might go westward or eastward.\n\n> You check your inventory\nYou have a hole in your stomach.\n\n> You eat the radish\nCrunch, crunch, crunch! Everything's drowned out as you crunch crunching radishes. Their crunches resonate inside your head. Each bite's exceptionally crisp.\n\n> Go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nShe could use some fresh soil herself, our overworked Jenny.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You eat bed\nYou eat another cabbage. Jenny won't stop you.\n\n> You eat Jenny\nYou won't catch her, my dear. Your only hope's finding a method to plant her in place. After all this gardening, I'm sure that she'd appreciate pausing to have a bite.\n\n> You eat the soil\nEven the dirt is delicious, with aromatic coffee grounds mingled amongst its clods. You dig into the soil and shovel it down.\n\n> You examine the soil\nMoist soil's been turned here, enriched by buckets from the moat. A castle never wants for compost after its chamberpots have been tossed. Jelly worms twist and wriggle through the dirt.\n\n> You look at Jenny\nA lettucehead like hers would break the widest wheelbarrow and command every ribbon at the fair. Put away your spades and seedling dreams, farmhands; you're through. Pearl onions at her maize earlobes. Ripe cherry cheeks. Jenny, let's see your carrot jaws. A rather sharkish smile, hasn't she? Quell your concerns and count your blessings she's no predator. Soil's her standard fare, the richer, fouler the better. After a battle, when the land's imbued with rot, flowers still bloom.\n\n> You cry\nNever despair, my dear.\n\n> You get the mound\nYou are going to eat.\n\nPraise all that's sweet, child, you're not a chamberpot! And yet you've dug your hands into the filth and started packing down fistfuls. Feculent morsels dribble on your chin. Your cheeks balloon. Your willpower's commendable. Don't swallow, darling: spare yourself and spit.\n\n> You go north\nNo common bailey, but a garden with walls trellis-wound. Its master hauls herself from bed to bed, throwing her tendrils out to drag her leafy head across the ground. That would be Jenny Lettucehead, the castle gardener extraordinaire. Here you're in her domain, patches plump with young cabbages.\n\nThere's cooing from one nursery, and Jenny's tendrils scramble to investigate.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You drop the soil\nI told you, you're going to eat.\n\nYour mouth's packed. Go ahead and spit.\n\n> Spit\nBend over, yes, heave out the filth, puke everything into a steaming pile till your mouth's empty.\n\nNow wipe your chin and stand aside: Jenny's at hand.\n\nVines slither toward the midden that you've made. She smells it, Jenny does, manure fit for pomegranate queens and cabbage kings. She'll have that feast or this garden's not her land to command. Her lettucehead crashes across the yard, she plants herself, tendrils surging to scoop the filth into her yawning maw."
    },
    {
        "text": "> You look at your surroundings\nNo common bailey, but a garden with walls trellis-wound. Its master's feasting at a mound whose stench steams in the nighttime air. That would be Jenny Lettucehead, vines slithering to convey fetid morsels to her mouth. Here you're in her domain, patches plump with young cabbages.\n\nNorthward, below a balcony, a door opens into the balance gallery, and southward are the gateway and drawbridge.\n\n> You look at the garden\nIn the darkness, you can't see much below, but there's no missing Jenny Lettucehead. She's planted herself right beneath your perch."
    },
    {
        "text": "[Themes: Food, Fantasy, violence, fantasy violence, magic, queen, ghost, child protagonist, Arthurian, unreliable narrator]\n\n> Go downward\nWhat's that balled in your throat? A lump?\n\nMy dear, gulp down your fear and jump!\n\nSkyward you leap, earthward you fall, and with a leafy smash you crash into the salad greens crowning the castle gardener.\nCourtyard (atop Jenny Lettucehead)\nSweet nectar, what supreme salad is this! Arugula, ripe tomatoes, avocados in creamy halves, croutons larger than cannonballs, diced apples and poached pears and parmesan sprinkled as liberal as you please. Olives roll underneath your feet, toasted walnuts might stub your toes, everything's drizzled well with truffle oil vinaigrette.\n\nJenny's not unaware you're on her head. She groans aloud.\n\n> You eat Jenny\nWith vegetation all around, you dive forward into the ground: no ground at all, but leaves layered on leaves enwrapping Jenny's giant head. Burrow and bite. Your jaws find purchase everywhere. Shred, swallow, shred, swallow again. Claw clumps and gobble them until they're gone.\n\nVines slither heavenward to dislodge you.\n\n> You eat Jenny\nNow what's this underneath your gobbled greens: alfalfa sprouts? They burst through shredded foliage, unfurling budded follicles. Fistfuls are yours to yank and chomp, devouring more than bushels would bind, than bales would hold. You'll have more, more arugula, more lettuce leaves, more salad greens.\n\nWhat's that? Not long enough? Jenny's vines strain to reach you and she roars.\n\n> You eat Jenny\nYour jaws drip mulch. Fibers entwine your teeth. You crunch more lettuce leaves, you eat more salad greens, you dive deeper until you bite broccoli. Florets forest another layer under the arugula: raw, steamed, cheddar-dipped, creamed broccoli, varieties that vanish down your throat in a twinkling.\n\nOh she's displeased, mighty displeased!\n\n> You eat Jenny\nBurrow more and asparagus reveal their rainbow stalks. They're lattice-laced beneath the lettuce leaves, tinged with ultramarine and rosy pink, finely stippled, mauve and azure, dripping butter with every bite. Firm, exquisite asparagus, prepare to be swallowed.\n\nEat, eat, darling. Delay for nothing now you're on her head.\n\n> You eat Jenny\nCaterpillars at their most industrious would struggle to chew rifts such as you have through Jenny's head. She's pockmarked, semi-circles edging each hole bitten by your teeth. Leaves strain under your weight. You're sinking deeper into her salad. Layers collapse, veined networks shred, branches batter your face as you tumble past lettuce leaves.\nInside Jenny Lettucehead\nAt her core Jenny's chambered; roots trace through her walls; and what should beat amongst her leaves but an artichoke heart.\n\n> You eat the heart\nYes, ma'am, even a peck\u2026 a pickled pepper peck\u2026 enough to feed\ntheir\nlittle mouths\u2026 what I'd give for a pear\u2026 apples, an artichoke\u2026 oh please, ma'am, just one lettuce head\u2026 as you wish, my darling.\nHer heart is yours.\nGreen torrents pour into your gut, vines rooted to the artichoke you've devoured. Jenny's screaming. Her leaves heave as you gnash inside, lettuce funneled into your throat, your jaws chomping to engulf carrots, onions, and cherries. Maize kernels pop. Your arms are vinaigrette-slathered, reaching to guide more salad into your stomach.\n\nShe's reaching too: her tendrils cling to trellises. Down they topple. Her vines enwrap the balcony; down cracks the balcony. She drags cabbages wailing from their nurseries. Vegetables, fruit: the garden's gone; one final vine flickers outside your lips until you slurp it down, and burp, and contemplate the silent night.\nSixth course: eaten.\nCourtyard\nWhat was a garden's now nothing but parched soil.\n\nThrough a quadrant above, you can see stars.\n\nNorthward, the balance gallery; southward, the gate.\n\n> You wait\nYou consume time.\n\nAs you stand in the gallery, the floor sinks, and chains click\nclick click click click click behind walls. Contraptions groan, balances shift, and the great golden door rises. Mist sparkling with frost rolls over the threshold. Snowflakes brush past your cheeks. Bright light streams from the space beyond.\n\nNorthward, the castle's chapel is open.\n\n> You go to the north\nMy dear, look at you! I could shed a tear. You've done it, conquered the castle, cleaned out the rooms as a good child ought to clean a plate. Only the greatest eaters pass the balance gallery, and you've proven your stomach's worth. You are a champion.\n\nCome, come, my sweet darling, approach.\n\nYou might have finished dinner, but there's still dessert.\nChapel\nEverything's laid for you, my dear. You're brilliant, bathed in rainbows shot through stained-sherbet windows. No matter where you look, ice cream shimmers. Popsicles drip and glisten from loggias overhead. I couldn't be more proud to see you now.\n\nA luscious fur's draped across the altar.\n\n> You examine the windows\nTransmuted moonbeams glide through frozen panes. Each sherbet panel's frosted with colors that flood the chapel with soft pastel light.\n\n> You examine the ice\nSupreme scoops sprinkled with sprinkles and swirled with fudge, spotted with chocolate chips, topped with whipped cream and bright red cherries.\n\n> You examine the popsicles\nArched galleries surround the room, bound by iced rails that onlookers might lean upon, and from their lower ledges hang the longest and most mesmerizing popsicles. Each tip sparkles.\n\n> You examine the fur\nYou wouldn't think a rodent would have such sumptuous fur, but this royal fur's better groomed than any mortal king's coiffure. It's found a higher purpose here than its skinned bearer could have given it. Now what it needs is something fitting to adorn its spread.\n\nJust one tip from my golden virge and\u2014la!\u2014a shining droplet falls. There's a soft hiss, and then a jeweled cup steams where it struck the altar.\n\n> You look at the cup\nRose-red with beatings in it, as if the drink were alive, all the walls in the chapel dyed with rosy colors leaping from the cup. It's haloed, holy, and it's yours.\n\n> You eat it\nAs you lift the chalice, what's inside shines bright as fire, and you start to tingle as you sip the hot beverage. It's something that you've never tasted, very sweet and foamy and creamy, and it warms you right down to your toes.\n\nWhat you've imbibed is power. Nothing else compares.\n\n> You get the fur\nYour veins burn and your eyes blaze from the drink. Give it a moment longer and your vision will torch holes through this realm's veil. You see, darling, you've never been alone, not even when you found yourself enchained in the dungeon. I've charmed each challenge and chamber especially to test your appetite. My hosts have been your spectators. Now you'll perceive them too.\n\n> You wait awhile\nHere, dear, I'll guide your gaze aloft: there they are in the loggias, crowding to gain a better view. Their grey faces and hairy hands and glittering, flittering wings unfold from hidden regions as your perception sharpens. What rascals, slapping their knees with delight. Oh, how they hoot and howl to see you sweat!\n\nYou are sweating rather a lot.\n\nThis chapel's grown from cold to piping hot. Popsicles trickle. Ice cream melts. Sherbet runs into puddles that bubble, and your pores ooze grease thick enough to fork. You're sweltering.\n\n> You eat the ice\nHold still. You need more time to cook. You're roasting as the chamber roasts. Flames lick your flanks. That scintillating scent is your own sausage sizzling. You ought to see yourself, darling. You'd salivate. You're absolutely succulent. Every instant, your glistening flesh plumps more wonderfully.\n\n> Go south\nListen to those hurrahs! There's mayhem in the loggias, cheers and trumpets and whistling, and down they pour to surround you with revelry. At long last, you're crisped perfectly. Your steaming pork begins to cool, although your fat's still popping as it fries inside your skin, and every courtier bows to kiss the ground beneath your hooves. They're groveling in your honor.\n\nI knew, as soon as your hunger had summoned me, that you'd triumph.\n\n> Wait\nFrom this hour, you'll sit at my elbow. Your childhood, your innocence, your past's been baked away, but you've no need for such burdens. I'll cover you with fragrant cloves instead. It's the rare mortal that ascends to the Sugarplum Fairy's court. Only a handful in a hundred years have managed it, and you've made them a mouthful this evening.\n\nBut years are mere nothings.\n\nLet hundreds, even thousands pass.\n\nOne night another starving soul will dream a road to my castle, and I'll dress every chamber with candy, fly bacon standards from spires that stretch into the stars. As long as stomachs grumble, mouths must eat. We'll always have a feast."
    },
    {
        "text": "[Themes: Time Travel, Fantasy, time travel, atomic bomb, London, science fiction, cold war]\n\nSharp words between the superpowers. Tanks in East Berlin. And now, reports the BBC, rumors of a satellite blackout. It's enough to spoil your continental breakfast.\n\nBut the world will have to wait. This is the last day of your $599 London Getaway Package, and you're determined to soak up as much of that authentic English ambience as you can. So you've left the tour\nbus behind, ditched the camera and escaped to Hyde Park for a contemplative stroll through the Kensington Gardens.\n\nA tide of perambulators surges north along the crowded Broad Walk. Shaded glades stretch away to the northeast, and a hint of color marks the western edge of the Flower Walk.\n\n[Author's Note: You're neither an adventurer nor a professional thrill-seeker. You're simply an American tourist in London, enjoying a relaxing stroll through the famous Kensington Gardens. When World War III starts and the city is vaporized moments after the story begins, you have no hope of survival. Unless you enter another time, another place, another dimension. Escaping the destruction of London is not the end of your problems, but rather the beginning of new, more bizarre riddles. You'll find yourself in an exotic world teeming with giant fly traps, strange creatures, and other inconveniences. Time and space will behave with their own intricate and mischievous logic. You'll visit fantastic places and acquire curious objects as you seek to discover the logic behind your newfound universe. And if you can figure out the patter of events, you'll wind up in the New Mexico desert, minutes before the culmination of the greatest scientific experiment of all time: the world's first atomic explosion, code-named Trinity.]\n\n> You examine yourself\nAside from your London vacation outfit, you're wearing a wristwatch.\n\n> Examine watch\nYour wristwatch says it's 3:30:15 pm.\n\n> You check what you're carrying\nYou're not holding anything, but you're wearing a wristwatch. You also have a credit card and a seven-sided coin in your pocket.\n\n> You look at the coin\nYou'll have to take it out of your pocket first.\n\n> You take the coin\nYou take the seven-sided coin out of your pocket.\n\n> You look at the coin\nIt's standard British currency, worth fifty pence.\n\n> You put coin in the pocket\nYou put the seven-sided coin in your pocket.\n\n> You take card\nYou take the credit card out of your pocket.\n\n> You look at the card\nThe credit card is embossed with the usual codes. It expires tomorrow.\n\n> You put the card in the pocket\nYou put the credit card in your pocket."
    },
    {
        "text": "[Themes: Fantasy, Time Travel, science fiction, cold war, time travel]\n\n> Describe the surroundings\nA tide of perambulators surges north along the crowded Broad Walk. Shaded glades stretch away to the northeast, and a hint of color marks the western edge of the Flower Walk.\n\n> You look at the people\nThe tourists look a lot like you do.\n\n> Xyzzy\n[Sigh.]\n\n> You go to the northeast\nThe east wind makes it difficult to walk straight.\n\nThis grassy clearing is only twenty feet across, and perfectly circular. Paths wander off in many directions through the surrounding thicket.\n\nA shaft of golden sunlight falls across a handsome antique sundial, erected at the exact center of the clearing.\n\n> You look at the sundial\nThe perimeter of the sundial is inscribed with seven curious symbols and a compass rose, with the legend \"TEMPUS EDAX RERUM\" emblazoned across the bottom. A triangular gnomon casts a fingerlike shadow that is creeping slowly towards the first symbol.\n\n> You look at the symbols\nThe seven symbols are arranged in a circle. The series begins with a Greek omega and runs clockwise around the dial, ending with a Greek alpha.\n\n[You'll find the symbols reproduced on the sundial in your\nTrinity package.]\n\n> You look at the watch\nYour wristwatch says it's 3:33:30 pm."
    },
    {
        "text": "[Themes: Fantasy, Time Travel, London]\n\n> You look around\nThis grassy clearing is only twenty feet across, and perfectly circular. Paths wander off in many directions through the surrounding thicket.\n\nA shaft of golden sunlight falls across a handsome antique sundial, erected at the exact center of the clearing.\n\n> Oops gimbal\n[You don't need to use the word \"gimbal\" to complete this story.]\n\n> TURN SUNDIAL\n\nThe sundial is firmly set into the ground. It cannot be moved.\n\n> You look at the gnomon\nIt's a triangular piece of metal, about a quarter-inch thick and four inches long, screwed into the center of the sundial.\n\n> You turn it\nYou can feel the gnomon getting more and more wobbly as you turn it. A final twist, and it falls with a clatter onto the face of the sundial.\n\n> You get it\nYou take the gnomon off the sundial.\n\n[Your score just went up by 5 points. The total is now 5 out of\n100.]\n\n[NOTE: You can turn score notification on or off at any time with the NOTIFY command.]\n\n> You look at it\nIt's a triangular piece of metal, about a quarter-inch thick and four inches long. A long bolt is welded to the bottom.\n\n> You examine the sundial\nThe perimeter of the sundial is inscribed with seven curious symbols and a compass rose, with the legend \"TEMPUS EDAX RERUM\" emblazoned across the bottom. A threaded hole is set into the center of the dial.\n\n> You examine the hole\nThe hole has a left-handed thread, and is set in the center of the dial.\n\n> Go east\nThe thicket blocks your path.\n\n> Go north\nDucks and swans bob on the sparkling surface of the Round Pond. They share the water with an impressive fleet of toy boats, directed by the excited shouts of children.\n\nCrowded paths radiate from the Pond in many directions.\n\n> You look at the children\nIt makes you smile to watch them play.\n\nOne of the toy boats on the Round Pond catches your eye. The east wind blows it closer, and you realize that the white sails are actually wings. It's a folded paper bird, floating just within reach.\n\n> You get the paper bird\nYou lean over the edge of the Round Pond, and pluck the paper bird out of the water.\n\n[Your score just went up by 3 points. The total is now 8 out of\n100.]\n\n> You look at it\nThe paper bird is skillfully folded from a piece of paper. Something\nis written between the folds.\n\n> Unfold bird\nYou gently unfold the paper bird to its full size.\n\n> You look at the watch\nYour wristwatch says it's 3:38:15 pm.\n\n> You get the children\nA nanny whacks you over the head with her umbrella. Ouch!\n\n> Go north\nCrowded walkways lead east and west along an iron fence. Narrow paths wander south into the Gardens.\n\nA young boy sits nearby, listening to a pair of headphones and idly blowing soap bubbles. There's a dish full of soapy water by his side.\n\nThe boy dips the bubble wand in the dish and swishes it around.\n\n> You examine boy\nThe boy pulls the bubble wand out of the dish, puts it to his lips and blows a big soap bubble.\n\nThe boy snaps his fingers to the headphone music as the soap bubble bursts with a flabby pop.\n\n> You examine the dish\nThe dish is filled to the brim with soapy water.\n\nThe boy dips the bubble wand in the dish and swishes it around.\n\n> You look at the east\nYou see trees that way.\n\nThe boy pulls the bubble wand out of the dish, puts it to his lips and blows a big soap bubble.\n\n> You look at the west\nYou see trees that way.\n\nThe boy bobs his head to the headphone music as the soap bubble bursts with a flabby pop.\n\n> You look at the watch\nYour wristwatch says it's 3:40:00 pm.\n\nThe boy dips the bubble wand in the dish and swishes it around.\n\n> You talk to boy\nThe boy doesn't respond. It looks as if he can't hear you.\n\n> You wave at boy\nThe boy does his best to ignore you.\n\nThe boy pulls the bubble wand out of the dish, puts it to his lips and blows a big soap bubble.\n\n> You listen boy\nYou hear faint, rhythmic music coming from the headphones.\n\nbursts with a flabby pop.\n\n> You take the headphones\n\"Aow!\"\n\nThe startled boy leaps backward at your approach, splashing water all over the place. \"Stupid git!\" he cries (in an intriguing Cockney accent). Then he retrieves the empty dish, pockets the wand and disappears between the prams, glaring at you over his shoulder.\n\n> You look at the trees\nThe surrounding trees sway in the brisk east wind."
    },
    {
        "text": "[Themes: Fantasy, Time Travel, atomic bomb, London]\n\n> Look around\nCrowded walkways lead east and west along an iron fence. Narrow paths wander south into the Gardens.\n\n> Go east\nthe Lancaster Walk. Shady paths lead west along an iron fence, and southwest between the trees.\n\nThere's an old woman under the tree, struggling to open an umbrella. The stiff east wind isn't making it easy for her.\n\n> You look at tree\nIt's quite a nice tree, actually.\n\nA strong gust of wind snatches the umbrella out of the old woman's hands and sweeps it into the branches of the tree.\n\nThe woman circles the tree a few times, gazing helplessly upward. That umbrella obviously means a lot to her, for a wistful tear is running down her cheek. But nobody except you seems to notice her loss.\n\nAfter a few moments, the old woman dries her eyes, gives the tree a vicious little kick and shuffles away down the Lancaster Walk.\n\n> You get the umbrella\nThe umbrella is high out of reach.\n\n> You look\nthe Lancaster Walk. Shady paths lead west along an iron fence, and southwest between the trees.\n\nAn umbrella is wedged in the branches overhead.\n\n> You go south\nAn impressive sculpture of a horse and rider dominates this bustling intersection. The Walk continues north and south; lesser paths curve off in many directions.\n\nA broad field of grass, meticulously manicured, extends to the east. Beyond it you can see the Long Water glittering between the trees.\n\nA printed notice is stuck into the grass.\n\n> You look at long Water\nYou can see it sparkling between the trees to the east.\n\n> You look at the watch\nYour wristwatch says it's 3:44:00 pm.\n\n> Inventory\nYou're holding a piece of paper and a gnomon. You're wearing a wristwatch, and you have a credit card and a seven-sided coin in your pocket.\n\n> You walk on the grass\nAs your feet touch the grass you sense a strange motion around you. Looking down, you watch with horror as the grass begins to ripple and writhe with vegetable indignance!\n\nAngry green stalks whip around your legs, pull you to the ground and drag you, kicking and screaming, back to the paved surface of the Lancaster Walk.\n\nfooting.\n\n> You read the paper\nThe words \"Long Water, Four O'Clock\" are scrawled on the piece of paper.\n\nA young couple zooms down the Lancaster Walk on bicycles. You watch them roll across the grass and disappear into the crowd.\n\n> You look\nAn impressive sculpture of a horse and rider dominates this bustling intersection. The Walk continues north and south; lesser paths curve off in many directions.\n\nA broad field of grass, meticulously manicured, extends to the east. Beyond it you can see the Long Water glittering between the trees.\n\nThere's a notice here.\n\n> You look at the horse\nAccording to a plaque, the sculpture is called Physical\nEnergy.\n\n> You jump east\nThat'd be a cute trick.\n\n> Go south\nGaily colored flower beds line the walks bending north and west, filling the air with a gentle fragrance. A little path leads\nnorthwest, between the trees.\n\nYou can see a soccer ball half-hidden among the blossoms.\n\nThe spires of the Albert Memorial are all too visible to the south. Passing tourists hoot with laughter at the dreadful sight; nannies\nhide their faces and roll quickly away.\n\n> You get the ball\nYou take the soccer ball off the flower beds.\n\n[Your score just went up by 1 point. The total is now 9 out of\n100.]\n\n> You throw the ball to umbrella\nThe soccer ball lodges itself in the tree beside the umbrella.\n\nThe umbrella teeters uncertainly for a moment, then tumbles out of the tree and lands at your feet.\n\n> You get the umbrella\nAs you pick up the umbrella and smooth the wrinkles, you notice a touristy slogan printed around the outside: \"All prams lead to the Kensington Gardens.\"\n\n[Your score just went up by 5 points. The total is now 14 out of\n100.]\n\n> You get the ball\nThe soccer ball is high out of reach.\n\n> Trinity01\n[SAVE completed.]\n\n> You wait\nTime passes.\n\n> Examine watch\nYour wristwatch says it's 3:48:00 pm.\n\n> Examine watch\nYour wristwatch says it's 3:49:15 pm.\n\n> You wait\nTime passes.\n\nA steady drone begins to rise above the east wind. As it grows louder and more insistent, you recognize a sound you've heard only in old war movies. Air-raid sirens.\n\n> Examine watch\nYour wristwatch says it's 3:58:00 pm.\n\nAnother siren joins the first. Tourists search the sky, eyes wide with apprehension.\n\n> Wait\nTime passes.\n\nSirens are howling all around you. Children, sensing fear in the air, begin to whimper for their nannies.\n\n> Wait\nTime passes.\n\nConfused shouts can be heard in the distance. Worried nannies turn their perambulators toward the gates.\n\n> Wait\nTime passes.\n\nPolice and fire alarms join in the rising din as the crowd rushes to escape the open sky of the Gardens.\n\n> You wait awhile\nTime passes.\n\nDistant megaphones can be heard barking orders. Frightened tourists\nand screaming perambulators flee in every direction.\n\n> You wait\nTime passes.\n\nA round of gunfire drowns out the wailing sirens. Tourists cover their heads and trample one another in blind panic.\n\n> Wait\nTime passes.\n\nThe ground trembles with the roar of jet interceptors. Terror-stricken tourists dive for cover.\n\n> Wait\nTime passes.\n\nThe east wind falls silent, and a new star flashes to life over the doomed city.\n\nYou're on a lifeless strip of sand beside a great river. The water is unnaturally dark and still; ribbons of mist coil across its surface like ghostly fingers, obscuring what lies beyond.\n\nAs you peer across the river you notice a lone vessel gliding out of the fog. You can make out a dark oarsman at the stern.\n\nThe oarsman guides his dory to a soundless landing. Something in the way he crooks his skeletal finger compels you to board. You surrender\na silver coin you didn't know you had, take a seat and wait patiently for your first glimpse of the opposite shore.\n\n[Your score is 14 points out of 100, in 119 moves. This gives you the rank of Tourist.]\n\nDo you want to restart the story, restore a saved position, or quit?"
    },
    {
        "text": "[Themes: Horror]\n\nYou really aren't awake yet. You never are until at least your second cup of coffee, and this is only your first. You're having a hard time getting your eyes to focus. But it certainly looks like there's a man in your front yard, crouched down on all fours, gnawing at a leg.\n\nA human leg. Definitely. It's still wearing a sneaker. And a sock.\n\nThe man gnawing on the human leg suddenly stops chewing, as though some sound disturbs him. He slowly looks up from his meal. His eyes don't blink, and they seem to be too large for his face. His mouth hangs open. Drool and blood trail down his chin.\n\nYou heard about the outbreak in Millbury, of course. You just hadn't thought it was as serious as the eleven o'clock news made it out. They get hysterical about everything. A couple of inches of snow, and it's THE SNOWPOCALYPSE. You can't really be blamed for putting their ZOMBIEPOCALYPSE warnings in the same category. Boy who cried wolf, right?\n\nBut it seems the newscasters were at least a little right, because there's a zombie chowing down on a human leg in your front yard.\n\nShit.\n\nAnd just then you catch a glimpse of movement out of the corner of your eye, and a herd of at least twenty more zombies come staggering around the bend in the road. They are covering ground pretty steadily. Faster than you would have thought.\n\nThe zombie with the leg sees them coming. He rises from his crouch, teeth bared, leg in hand. Some of the zombie herd move towards him. (Herd? Is that the right word? Maybe a flock? A decomposition of zombies or an infestation perhaps? ANYWAY...) They start a messy tug of war with the leg, mostly using teeth.\n\nOthers look around for different prey. One goes for a squirrel. Some seem to be eyeing your front windows, though you're standing far enough back that you don't think they can actually see you.\n\nStill, this is really not good. Your house is on one floor, and the news footage made it pretty clear that zombies can break through glass with no trouble, zombifying some humans and eating others. And it seems that they've already started doing just that in your neighborhood, because those two zombies there have glass shards sticking out of their faces. And you recognize one of them--that annoying woman who always cuts in line at the coffee shop. She is moving towards your windows. So are about five others.\n\nYou obviously can't stay in your house. What are you going to do?\n\n[Author's Note: Fight for survival in a world overrun by zombies! Can you stay alive long enough to get your friends to a place of safety? Will you keep your humanity intact or become a bloodthirsty zombie hunter? And will you discover the secret behind the zombie virus?]\n\n> You sprint out of the back door\nYou very carefully set down your coffee mug. Oddly enough, you don't really feel like you need it any more; your heart is hammering like you've just downed a triple espresso. You ease backward, moving carefully so the zombies approaching the window won't notice you. You duck out of sight into the kitchen, pause to slip your shoes on, and quietly unlock the side door.\n\n\"Argh,\" you hear from the front room. It is followed by a sticky sound, probably from a wet hand (wet with what? ugh) slapping against your window.\n\nEver so carefully, you turn the knob and open the door. You hear more hammering behind you, and now you can hear the growls of the zombies fighting over the human leg in your front yard. Your car is just ahead of you, backed into its usual parking space against the shed. You hope the front yard zombies are so obsessed with their leg-of-war that they won't catch sight of you tiptoeing across the driveway.\n\nThe ten steps it takes you to reach the car are the ten most nervewracking of your entire life. But you manage to be quiet enough--the tangle of zombies in your front yard doesn't look up until the thud of the closing driver's side door.\n\nThen all their wide eyes go wider and they start for you, but you drive with your foot to the floor, tires squealing, out of your driveway and down your side street, heading for the main road.\n\nWe should pause here to get straight a few details about you. First of all, are you male or female?\n\n> Male\nWhat's your first name?\n\n> Shawn Marcaroni\nWhat's your profession? I mean, your profession now appears to be \"zombiepocalypse survivor.\" But what was your profession before the world went to hell?\n\n> Paramedic\nYou ride in an ambulance and are often the first on the scene of terrible accidents. That severed leg in your yard was not the first you've ever seen. You'd know how to amputate a limb yourself if you had to. More to the point, you know how to do the stuff necessary so amputating limbs isn't required. You're very good at CPR, setting broken bones, and stabilizing patients when hospitals are not available.\n\nAnd what do you most like to do in your spare time?\n\n> Collect stamps\nReally? I didn't think there was anyone under 90 who actually did that.\n\nCongratulations, you have the most boring hobby on the planet. But I guess it might come in useful when fleeing from zombies. . . somehow. After all, you must have good eyes to distinguish one valuable stamp from ten thousand worthless ones. Maybe those pattern recognition skills will be useful when fleeing from zombies. You can hope.\n\nThat tells us what you're good at, but you can't be perfect. What would you say is your worst quality?\n\n> I'm terribly uncoordinated. Always have been. I trip over stuff all the time.\nI'm sure that's embarrassing sometimes, but nothing to worry about. The ability to keep quiet isn't likely to be important when you're. . . er, running from zombies.\n\nRight, then! Now that we know who you are, we'll return to \"flight from the zombies,\" already in progress!\n\n>Next Chapter\nThe tires of your little Honda Civic squeal as you shoot down your street, heading for the main drag through town. You try not to look too hard at the scenes playing out on your neighbors' lawns. Some zombies cluster around first floor windows, matter-of-factly marching through shrubbery and glass to get at the tasty humans inside. Others cluster around tasty humans already dragged outside. A few chase your car for a while, but soon give it up in favor of pursuing the sounds or movements that signal easier prey.\n\nYou really try not to look, but you can't help noticing that partially-eaten humans rise from the grass within a few moments of becoming partially-eaten, and join the throng of hungry zombies. Only if the hungry zombies have ripped their meal to pieces in the process of dining does the human appear to stay dead.\n\n>Next\nThe main street of town is even worse. Zombies punching through the glass windows of the pharmacy. Zombies dragging screaming people out of the coffee shop. Zombies pouring out of the pizza parlor. You don't think that's tomato sauce on their faces.\n\nYou keep driving.\n\nYou're almost at the town limits, and there aren't many buildings lining the street now. Mostly woods and fields. You're getting into farming territory. Sometimes you see a car abandoned on the side of the road, but you don't see any people. There aren't many people out here, which you hope means fewer zombies. . .\n\n. . . except there are three of them, right there in front of you.\n\n>Next\nOn the left side of the road is a large oak tree. I mean, a _really_ large tree--it's locally famous; the base is something like twenty feet around. Three zombies are pressed up against the base, looking up into the branches like dogs who have just treed a squirrel.\n\nWhich is an apt comparison, you realize a moment later. High up in the branches is a little kid. A boy, maybe nine or ten. As you come closer, you see that one of the zombies is jumping, and another trying to crawl up the tree trunk. The third seems to be experimenting with all the moving parts necessary to actually climb the tree, but hasn't worked them out yet.\n\nStill, it's very likely only a matter of time. You can see the kid's face clearly now. He looks terrified, and his mouth is open as though he is screaming for help.\n\nHe's looking at you.\n\n> You help him\nGood for you. Heroic, in fact.\n\nUh, what's your plan?\n\n>Next\nYou slow down as you approach the tree, considering your options.\n\nYou could stop the car and fight the zombies. If you stopped the car some distance away, you might be able to fight them one at a time. You have a shovel in your trunk--because this past winter actually did have a lot of snowpocalypses, and in your part of the country, it's only sense to carry a shovel with you. You're glad now that you'd been lazy about putting it back in the shed.\n\nYou could try to run the zombies over with the car. They'd have to move away from the tree first, though, because crashing the car into the tree wouldn't exactly be the desired outcome.\n\nOr. . . well, the Civic has a sunroof. And the kid is a little kid. You think you can drive close enough to the tree that the kid could jump through the sunroof. Or at least, jump onto the roof and then lower himself through the sunroof. You think you could execute the manuever before the zombies figured out how to swarm you, and anyway, they don't seem to be very coordinated. You might even be able to run one or more of them down at the same time.\n\n> You beep the horn to get the zombies' attention, then run them over when they come to investigate.\nThe piercing noise of your horn attracts the zombies' attention, and they move towards the hood of your Honda to investigate.\n\nYou wait, heart pounding, until the female is correctly positioned.\n\nThen you gun the engine.\n\n>Next\nShe goes down under your wheels with a satisfying splat.\n\nYou jerk the wheel quickly and manage to also graze the older male zombie, trapping his leg under the car. He pulls away, and it tears off. Not quite as effective as squashing him, but then, he won't be very effective either with only one leg. Out of the corner of your eye, as you turn your attention to the younger male, you see the older male pulling himself away using his hands. He isn't moving very fast.\n\nThe younger male zombie pulls away slightly. Might that be a look of concern on his face? If they have enough intelligence or instinct to go after easy prey, they might have enough intelligence or instinct to retreat from predators--\n\nThe younger male zombie backs away a few steps, then turns slightly.\n\nYou think he is about to run.\n\nYou have to get him now.\n\n>Next\nYou correctly judge in which direction he is about to move, and you gun the engine in time to have the car there when he does. Another splat under your wheels. Nicely done!\n\n\"Wow,\" the kid says, once he's safely in the car beside you. \"Three at once.\"\n\nYou resume driving, with the kid beside you.\n\nYou okay?\n\n> You say \"Hell yeah! That was awesome!\"\n\"You should probably put your seatbelt on,\" you say after a while.\n\n\"Oh,\" the kid says. \"Yeah.\" He does.\n\n\"What's your name?\" you ask.\n\n\"Kayden.\"\n\n\"I'm Shawn Macaroni,\" you say. \"Where are your parents, Kayden?\"\n\nThere's a pause. \"Bottom of the tree,\" Kayden says. Another pause. \"Third one was my brother.\"\n\n\"Oh.\" You can't think of anything else to say.\n\n\"It's okay,\" Kayden says.\n\nThat's probably not true. But you're not quite sure how to say that.\n\nYou also realize that the kid might be able to tell you how fast his parents turned into zombies after being bitten, and a number of other useful pieces of information. But you might traumatize him or something by asking.\n\n> You say \"How did your parents turn into zombies?\"\nKayden doesn't answer.\n\nAre you going to question him any further?\n\n> Yes\n\"Look, Kayden, I really need to know this,\" you say. \"It could be really important later.\"\n\nHe doesn't say anything.\n\n> You let it go.\nThe mall it is. Why mess with tradition, after all? You head for the main road that will take you to the mall.\n\n>Next\n\"We're heading for the mall,\" you tell Kayden.\n\nYou've still got a ways to drive through the country before you can pick up a main road, though. At least it's peaceful. No zombies. Just farmland. Old New England at its finest.\n\nYou wonder what Lovecraft would have made of the zombiepocalypse.\n\nIn some places, great big McMansions sit up on hills looking over acres of manicured lawn that used to be farmland but was sold to some rich person. You're coming up on one now, off to the left.\n\n\"Who lives there?\" Kayden wants to know.\n\nYou have no idea.\n\n\"Should we tell them what's happening?\"\n\nDo you head for the house?\n\n> Yes, that house looks defensible.\nAn enormous driveway sweeps up the hill, past a lawn that looks like a golf course, around some artistically-shaped shrubberies, and finally to a front door flanked by statues of stone lions.\n\nYou hesitate, engine idling, wondering how best to approach.\n\n> You honk the horn.\nYou lean on the horn until an upstairs window opens and the healthiest-looking fifty-year-old man you've ever seen pokes his head out. His short graying hair is standing all on end, and he is wearing a silk bathrobe and an irritated expression.\n\n\"What the hell do you want?\" he demands.\n\n\"There's a horde of zombies on the loose,\" you say. \"I stopped to warn you.\"\n\n>Next\nShortly thereafter, you and Kayden are installed at a breakfast nook table so spotless you're sure it can't be used very much. The entire house, in fact, looks so spotless it can't be used very much. The man in the bathrobe lives here alone. He's a surgeon, as it turns out--works in the hospital one city over. His name is Michael.\n\nHe frowns as you describe your morning. It's the first he's heard of a zombie horde nearby. He's been at the hospital the last two days, because somebody infected with zombieism committed suicide by parking his car on railroad tracks, so there were many severe injuries requiring Michael's surgical expertise. He only got home and to bed a few hours ago. When you're done talking, he nods slowly. Then his eyes drift to contemplate the wall over your head as he thinks.\n\n> You say \"I was thinking of going to the mall, but when I saw your house I thought maybe it would be better to try to defend a place like this.\"\nHis eyebrows go straight up. \"Oh no, you're not staying here and turning my house into a stronghold. It's a bad idea anyway--we'd be much better off joining a larger group. I'll come with you to the mall.\" Dryly, he adds, \"You look like you could use all the help you can get.\"\n\nRight, so this asshole is pretty full of himself.\n\n> You ignore his tone of voice.\n\"Yes, it would be a really big help to have a doctor along. I'd appreciate it.\"\n\nMichael nods. \"Let me just get dressed and pack some medical supplies.\"\n\nIt doesn't take Michael long to get ready. \"It's not like I work out of my house,\" he says when he sees you eyeing his very small box of medical supplies. \"Some are better than none, right? So what is it you're driving?\" He looks out the window and makes a face at your little Civic. \"We'd better take my car. It's an off-road vehicle--I like to go hiking in out of the way places when I'm not working--and we might have to drive off-road before this is all over.\"\n\n> You say \"You're right. It would be better to have an off-road vehicle.\"\n\"Sure, that makes sense.\" You pack up his big-ass Jeep and head out. He insists on driving, of course.\n\n>Next Chapter\nOut of the corner of your eye, you see Kayden playing around with what looks like a smartphone. \"What are you doing?\" you ask.\n\n\"I thought my phone fell out of my jacket when I was up the tree,\" Kayden says, \"but it didn't. And I thought maybe the internet was still there. And it is. Look, Facebook has a zombiepocalypse survivor group! That way you can tell people you're okay. I'll put my name on it, and yours, and Michael's, okay?\"\n\n\"Sure,\" you say.\n\n\"Hey, this is weird,\" Kayden says after another few minutes.\n\n\"What's weird?\"\n\n\"So, there's all these posts, from the last few days--they're from all different people, and they all say, 'I'm still okay!' and 'Not zombified yet!' Except there aren't any from yesterday or today. Except from one guy-- Chris Murray. He's posted over and over again, every couple of hours, the same status--'COME GET ME! If you provide transportation to the Cedar Junction Correctional Facility, I can keep you safe from zombies on the way! I know what I'm talking about--look how long I've stayed alive!'\" Kayden bends over the phone, a look of concentration on his face. \"I'm going to message him and find out where he is.\"\n\n\"Shit,\" Michael mutters.\n\nThat puts you instantly on alert. \"What?\"\n\n\"We're, um. . . \" He looks sheepish. \"Almost out of gas.\n\n> You say \"We're WHAT? You didn't freaking check before we left?\"\nMichael's face turns red with anger or embarrassment or both. \"No, I didn't.\"\n\n> You say \"This stupid all-terrain vehicle you wanted us to take is going to get us killed. We would have been okay with my Civic.\"\nMichael looks even redder. \"Well, it doesn't matter now.\"\n\nHe's right there.\n\n> You don't say anything. You just check the apps menu to see if there's a GPS app that can take us to a gas station.\nAnd there is.\n\nYou read out the directions, and Michael manuevers the Jeep into a deserted gas station along a lonely stretch of highway just as it begins to splutter and choke and stall.\n\nYou get out of the car. Seems quiet enough.\n\n\"I'm hungry,\" Kayden says.\n\nMichael looks with distaste at the gas station. \"What they sell in there isn't really food, but it's better than starvation. Here--\" He gets out of the car and says to you, \"I'll pump, you go pick out whatever stuff you usually eat. Get me some bottled water and some nuts. Or plain granola bars. Something without high-fructose corn syrup.\"\n\nWhat a pain in the ass.\n\n> Just a little, to hopefully communicate that he's crossing a line.\n\"Since you know exactly what you want, why don't you go get the food and I'll pump the gas?\" you say, in that over-precise tone people use when they are annoyed. Michael doesn't seem to notice it. He gives the gas station another contemptuous look and goes inside. You pump the gas.\n\nA moment later, Michael comes tearing back outside, dead white. \"Zombie!\" he snaps, and you scramble to get inside the car.\n\nYou're quite a way down the road before your heart settles down, and only then do you realize that you got no food out of the encounter (and only half the gas you wanted). Still, better than nothing and much better than being zombie food.\n\nYou really aren't awake yet. You never are until at least your second cup of coffee, and this is only your first. You're having a hard time getting your eyes to focus. But it certainly looks like there's a man in your front yard, crouched down on all fours, gnawing at a leg.\n\nA human leg. Definitely. It's still wearing a sneaker. And a sock.\n\nThe man gnawing on the human leg suddenly stops chewing, as though some sound disturbs him. He slowly looks up from his meal. His eyes don't blink, and they seem to be too large for his face. His mouth hangs open. Drool and blood trail down his chin.\n\nYou heard about the outbreak in Millbury, of course. You just hadn't thought it was as serious as the eleven o'clock news made it out. They get hysterical about everything. A couple of inches of snow, and it's THE SNOWPOCALYPSE. You can't really be blamed for putting their ZOMBIEPOCALYPSE warnings in the same category. Boy who cried wolf, right?\n\nBut it seems the newscasters were at least a little right, because there's a zombie chowing down on a human leg in your front yard.\n\nShit.\n\nAnd just then you catch a glimpse of movement out of the corner of your eye, and a herd of at least twenty more zombies come staggering around the bend in the road. They are covering ground pretty steadily. Faster than you would have thought.\n\nThe zombie with the leg sees them coming. He rises from his crouch, teeth bared, leg in hand. Some of the zombie herd move towards him. (Herd? Is that the right word? Maybe a flock? A decomposition of zombies or an infestation perhaps? ANYWAY...) They start a messy tug of war with the leg, mostly using teeth.\n\nOthers look around for different prey. One goes for a squirrel. Some seem to be eyeing your front windows, though you're standing far enough back that you don't think they can actually see you.\n\nStill, this is really not good. Your house is on one floor, and the news footage made it pretty clear that zombies can break through glass with no trouble, zombifying some humans and eating others. And it seems that they've already started doing just that in your neighborhood, because those two zombies there have glass shards sticking out of their faces. And you recognize one of them--that annoying woman who always cuts in line at the coffee shop. She is moving towards your windows. So are about five others.\n\nYou obviously can't stay in your house. What are you going to do?\n\n> You sprint out of the back door\nYou slam down your coffee mug. Oddly enough, you don't really feel like you need it any more; your heart is hammering like you've just downed a triple espresso. You shove your feet into your running shoes and bolt for the back door. You snap open the lock, yank the door open, and run like hell across your yard and into the woods.\n\nAs you run, you can hear growling and screaming from your front yard and your neighbors' front yards. It decreases doppler-fashion the farther into the trees you get.\n\nWe should pause here to get straight a few details about you. First of all, are you male or female?\n\n> Female\nWhat's your first name?\n\n> Shawn\nYou spent your early career writing ads that persuaded people to buy things they didn't actually want. Now that you're in management, you spend your life persuading your clients to go with your good ideas rather than their stupid ones, and persuading the people who work for you not to kill each other. This means you are both good at reading people and unusually persuasive.\n\nAnd what do you most like to do in your spare time?\n\n> Hunting\nYou first went hunting with your dad when you were a kid, and now you go several weekends during the season, with friends. You love the deep quiet of the woods, and you're proud of your precision with a rifle.\n\nYou wonder if shooting zombies will turn out to be more or less difficult than shooting deer. You expect you'll be finding out. Soon. You wish you'd had time to get your gun on the way out the door.\n\nThat tells us what you're good at, but you can't be perfect. What would you say is your worst quality?\n\n> I'm not a visual sort of person at all. Sometimes I envy people who can easily read maps and put together puzzles.\nAnd for obvious reasons, your job and hobbies have been things that you think about conceptually rather than things that you visualize. That's okay. You've developed many important skills that way, and I'm sure they'll come in useful as you. . . er, run from zombies.\n\nRight, then! Now that we know who you are, we'll return to \"flight from the zombies,\" already in progress!\n\n>Next Chapter\nRight, so you were running into the woods, zombie sounds decreasing doppler-fashion behind you. . .\n\nOnce you're well into the forest, you stop to listen. You don't hear any rustling or anything, so you walk more slowly.\n\nSoon the trees begin to thin, and you can see glimpses of apple trees on the other side. This must be the outlying edge of Coursers' Farm, though you've never come at it from this direction. When you go to their farmstand, you always go by road. A few steps more, and you can see the farmhouse, some distance away. Beyond that is the long dirt road that leads from the farmstand to the farmhouse, and beyond that (though you can't see it) is a paved road.\n\nAre you going to head for the paved road, or go warn the Coursers?\n\n> Warn the Coursers, of course! I bet they've got food and guns and useful supplies.\nVery practical of you.\n\nYou take the first step forward. . .\n\n. . . and something grabs your ankle and pulls you down. And then up, with astonishing strength.\n\n>Next\nYou find yourself upside down, dangling headfirst a few feet off the ground. There's a band of tight, hot pain clamped around your foot.\n\nOh shit, you think dazedly. Zombies can set traps?\n\nThe distinctive chi-chink of a shotgun comes to your ears.\n\nOh, shit, you think. Zombies can use shotguns, too?\n\n>Next\nBut the old woman who steps slowly into your field of vision, shotgun aimed at your head, doesn't have the drooling, fixed-eyed look of the zombies in your front yard. She doesn't have the sagging, rotting flesh, either. She looks overall pretty healthy. She is observing you closely.\n\n\"Lucky you didn't run into the bear trap,\" she says.\n\n> You say \"Yeah, I guess so. That snare was really well-hidden. Yours?\"\nA good choice of response--diplomatic and demonstrating command of both logic and the English language.\n\nThe old woman grins a little. \"You bet your behind, they're mine. No zombie's getting closer than this to my land.\"\n\nThe old woman circles you again. \"Don't seem like you want to eat me,\" she says. \"But you could be bit and just not turned yet. Safest thing is probably to leave you here.\"\n\nYou don't think much of this idea at all. You envision yourself hanging here as a horde of zombies swarms through the woods. You envision them all trying to eat you as you dangle helplessly. They'd start with your head, you're sure. They'd try to take bites out of you as you swung back and forth between them, like bobbing for apples.\n\n>Next\n\"On the other hand,\" the old woman goes on, \"that wouldn't be very neighborly, if you're really not bit. Guess I'd better let you down.\" She's near a particularly large oak tree now. She does something you can't see, and the pain around your ankle vanishes.\n\nTo be replaced by a pain in your head, after you fall on it.\n\n\"Now strip,\" the old woman orders, shotgun pointed at your head. \"Prove you're not bit.\"\n\nYou don't have lots of choices right at this moment, so you comply.\n\nAnd the old woman smiles. \"Well, good, then! Good for you. You'd better come inside the perimeter. I'm Bonnie Courser, by the way. And you are? Nice to meet you, Zarah the Zombie Killer. Careful where you step, now. There's a few more snares where that came from.\"\n\nYou follow in her footsteps veryveryvery carefully. On the way to the farmhouse, she points out five bear traps, four trapping pits, three snares, and two deadfall traps. \"Knew they were coming,\" she says, in reference to the zombies--at least, you think so; you suppose it could as easily be in reference to the government or the Commies or something. \"Can't be too prepared.\"\n\nIn front of the farmhouse, a Jeep is waiting, about three-quarters packed with stuff. The farmhouse itself is empty and silent.\n\n\"Where's the rest of your family, Bonnie?\"\n\n\"Won't be coming back,\" she says shortly. \"I had to stay until I was sure, but I'm leaving now. There's a group of survivors dug in at the Cedar Junction Correctional Facility. I'm off to join them.\"\n\n\"Why bother with all those traps, then. . .?\"\n\n\"I told you, had to wait until I was sure my family wouldn't be coming back. Had to slow the dead critters down. But the traps won't be enough against a real big horde. I'll do better at the prison.\" She puts her shotgun in the Jeep, where it has, you notice, several others to keep it company. Along with plenty of ammunition, and boxes of MREs. Bonnie looks up from her packing job at you. \"So will you, if you want to come.\"\n\n> You go with her to the prison. She's got food and guns and a Jeep and seems to know what she's doing.\nYou've almost reached the town limits, and there aren't many buildings lining the street now. Mostly woods and fields. You're getting into real farming territory. Sometimes you see a car abandoned on the side of the road, but you don't see any people. There aren't many people out here at all, which you hope means fewer zombies. . .\n\n. . . except there are three of them, right there in front of you.\n\n>Next\nOn the left side of the road is a large oak tree. I mean, a really large tree--it's locally famous; the base is something like twenty feet around. Three zombies are pressed up against the base, looking up into the branches like dogs who have just treed a squirrel.\n\nWhich is an apt comparison, you realize a moment later. High up in the branches is a girl, you think maybe your age. As you come closer, you see that one of the zombies is jumping, and another trying to crawl up the tree trunk. The third seems to be experimenting with all the moving parts necessary to actually climb the tree, but hasn't worked them out yet.\n\nStill, it's very likely only a matter of time. You can see the girl's face clearly now. She looks terrified, and her mouth is open as though she is screaming for help.\n\nShe's looking at you.\n\n> You say \"We've got to help that woman!\"\nShe glances at you. \"Damn right. Get the shotgun out of the back. I'll drive, you shoot.\"\n\nYou brace the shotgun against your shoulder and flick the safety off. Five shells. Three zombies. You can do this. You've been shooting guns since you were a kid.\n\nNot that you generally shoot deer from the windows of Jeeps screaming in circles, though. And the deer aren't generally trying to eat you while you do. You feel your palms sweat as the three zombies look away from the tree and at the approaching Jeep.\n\n\"Ready?\" Bonnie says, and slams on the brakes before you can answer.\n\nThe lurch of the Jeep spoils your aim, and your first shot goes wide.\n\nThe female zombie starts briskly towards the Jeep.\n\nYou raise the gun again and blow her head off. You see the shower of brains go up as she falls over.\n\nOne down.\n\n>Next\nBonnie hits the gas hard and you whirl away. \"We'll come back for another pass,\" Bonnie says, and only then do you see how close to the window the other two zombies got. Both are male--or were, in life. One young, one older.\n\n\"Ready?\" Bonnie says again, and slams on the brakes.\n\nThree shells, two zombies. This time, you are ready. You hit the younger male on the first try, and are whirling to face the older male before the younger body has hit the ground. The older male stumbles away, spoiling your aim--your shot goes wide--Bonnie swings the Jeep around to give you another pass--\n\n>Next\nAnd you find yourself face-to-face with a grinning, snarling, drooling zombie, not more than an arms'-length from your open window.\n\nYou blow its head off.\n\nIt falls over.\n\n\"Nice,\" Bonnie says, and jumps out and runs over to the tree to get the girl you've saved.\n\n> You say \"Hell yeah! That was awesome!\"\nBonnie comes back to the car, towing along a woman who looks extremely pale and limp. \"This is Jennifer,\" Bonnie says briefly. \"Jennifer, Zarah the Zombie Killer.\" And you are off again.\n\n>Next Chapter\n\"So,\" you say to Jennifer, \"what's your story?\"\n\n\"The two guys were my roommate and his son,\" Jennifer says. \"The woman was hitchhiking, and I _said_ we shouldn't pick her up, but Bob never did think I was worth listening to--he insisted. . . And then we stopped because I had to pee, and when I got back from the bushes, all of them had zombified. I was right. We shouldn't have picked her up.\"\n\n\"How long was she in the car with you first?\" Bonnie asks sharply.\n\n\"What? I don't know . . . what do you mean?\"\n\n\"You know how long it takes for someone to turn, if they're not killed,\" Bonnie says impatiently. \"If they're killed, we know it's almost immediate, but we don't know exactly how long if you're just bit and left alive. . . \"\n\n\"I don't know,\" Jennifer says again. \"I wasn't really paying attention.\"\n\n\"Well, ballpark then. An hour? A half hour? Five hours? Five minutes?\"\n\n\"I said I don't know!\" Jennifer sounds defensive, almost teary.\n\nAre you going to get involved here?\n\n> Yes. Bonnie is obviously coming on too strong. You can get the information more gently.\n\"Easy does it,\" you say, and several other things along those lines, and finally Jennifer remembers that it was about fifteen minutes between when they picked up the hitchhiker and when the hitchhiker started eating her roommate.\n\nJennifer seems calmer now, though she has apparently decided to only talk to you, not Bonnie. \"Where are we going?\" she asks.\n\nYou explain about the prison.\n\n\"Oh.\" She sounds disappointed.\n\n\"Why?\"\n\n\"I was hoping we were headed for the interstate. Do you know about Lisa Murray?\" She waves a smartphone.\n\n\"No,\" Bonnie says.\n\n\"I've been following the Zombiepocalypse Survivors group on Facebook,\" Jennifer explains. \"There aren't, um, aren't so many of them posting as there used to be, but Lisa's still updating her status every couple of hours.\"\n\nShe shows you the smartphone screen. Lisa's status updates are all almost the same. \"COME GET ME! If you provide transportation to the Cedar Junction Correctional Facility, I can keep you safe from zombies on the way! I know what I'm talking about--look how long I've stayed alive!\"\n\n\"I've been messaging with her,\" Jennifer says. \"She's at the transfer center off exit 13. Bob said we'd go there first, and then the church. . . I think that's the best plan, but if you want to do something else, of course, it's your car, I can't do anything about it. . . \"\n\n> You rescue Lisa\nYou're going to have to convince Bonnie. She says she thinks it's a bad idea--mostly, you get the impression, because she finds Jennifer annoying and wants to contradict her.\n\n> You make a logical argument.\nYou make a long-winded and overly elaborate statement of your reasons for in this particular circumstance, all things being equal, prefering to take the risks involved in rescuing the student because of the advantages her presence might provide, as well as the arguments of honor and duty. . .\n\nBonnie is distinctly unimpressed, and informs you that you'll be continuing on your way to the prison without stopping to rescue the student.\n\nWhich gives you some useful information. Long logical arguments aren't the way to persuade Bonnie. That may be good to know later, although it would have been better to know before now. You hope someone else rescues that poor student.\n\nShe rolls her eyes. \"Fine, go get some, then.\"\n\nYou walk into the gas station, in search of munchies.\n\nAnd you find--probably you should have expected this--a zombie inside, also in search of munchies.\n\nIn fact, the zombie has found munchies.\n\n>Next\nThe zombie appears to have a kid cornered in the very back of the store, between the ice cream cooler and the shelf of artifically-flavored-and-colored \"potato\" chips.\n\nBut the zombie doesn't seem to have actually started munching yet. It turns its head as you enter and studies you with interest. You're not quite sure why you'd seem like more attractive prey than the cowering kid--a girl of about nine or ten--but it's possible that you do. To judge by the (sort-of) expression on (what's left of) the zombie's face. It sweeps its long hair out of its eyes to look at you better.\n\nThis one seems to have been a teenage girl.\n\n> You try to save the kid.\nThat's very brave. Heroic, in fact.\n\nYou have a plan, right?\n\n> You attack the zombie directly\nRight, then. You'll need a weapon.\n\nYou look around the gas station. You are standing almost in one corner, with the counter and cash register behind you. The zombie and its potential victim are in the opposite corner. Along the wall to your left is a display of frisbees, beachballs, and wiffle balls and bats. Past it, in the left-hand corner, is a freezer with bags of ice. Along the wall to your right are shelves containing cat food cans, condiments, lighters, bags of charcoal, bags of hot dog and hamburger buns, and lighter fluid. (On some more relaxed occasion you might pause to wonder what the cat food is doing in the cookout display.) Perhaps out of fear regarding the lighter fluid, there is a fire extinguisher over the shelves. In the middle of the store, more towards your left than your right, are some rickety-looking stands holding candy, maps, and newspapers.\n\nBefore you can decide quite what to do, the zombie charges across the center of the room at you.\n\n> You go right\nYou dart to the right, and the zombie pursues you.\n\n> You grab a lighter and the lighter fluid\nYour hands shake as you unscrew the cap. The zombie prowls purposefully towards you.\n\nYou swing the lighter fluid container, flinging the liquid inside in a long arc through the air. A good healthy splash lands on the zombie, which blinks at the liquid in its eyes.\n\nYou swing the container again, pouring lighter fluid on the floor, in a straight line between yourself and the zombie.\n\nThen you flick the lighter on, touch it to the lighter fluid, and jump out of the way.\n\n>Next\nYou don't watch. You don't want to. Instead you stumble towards the cowering kid, who still hasn't moved, physically haul her to her feet, and drag her with you out the door.\n\n>Next Chapter\nYou're quite a ways down the road before your heart settles down. \"You should probably put your seatbelt on,\" you say to the kid. Bonnie snorts a little, apparently considering seatbelts to be a wussy invention of the modern era.\n\n\"Oh,\" the kid says. \"Yeah.\" She does.\n\n\"What's your name?\" you ask.\n\n\"Kayden.\"\n\n\"I'm Zarah the Zombie Killer,\" you say. \"Where are your parents, Kayden?\"\n\n\"Don't know,\" Kayden says. After a while, she adds, \"That was my sister, inside.\"\n\n\"Oh.\" You can't think of anything else to say.\n\n\"It's okay.\"\n\n\"Where are we going?\" Kayden asks after a while.\n\n\"To a prison,\" Bonnie says.\n\nJennifer makes a little sniffing noise."
    },
    {
        "text": "[Themes: Mystery, suspense, steampunk, blood, female protagonist, mystery, horror, fantasy, coming of age]\n\nToo fast. It all happened too fast.\n\nHe was healthy not a day before, or so he said when he stumbled into the clinic just minutes ago. You should have seen the signs -- the shivers, the black stains around his eyes -- but the shadows were long in the hour of night, and in the darkness you couldn't see, you couldn't see...\n\nThe vomiting came first, then the weakness of the knees -- you barely caught him as he keeled over you -- Doctor Cavala seized him before you were crushed by his weight. \"The surgery room!\" she shouted, and together you half-carried half-dragged the goblin to the gurney and strapped him down. You hid behind the protection of your surgical mask, adjusted the lights as you had been drilled. Thoughts flitted across your mind -- flitted -- flitting --\n\n\"I've never operated on a goblin before,\" you say, trying to conceal the panic in your voice. \"I did, in a way, on the Collegiate cadavers, but --\"\n\n\"Steady, girl.\" Doctor Cavala snaps on her gloves and squeezes your shoulder. \"Remember your training. I need your help. Are you with me?\"\n\nYou take a deep breath. \"I'm with you, Doctor.\"\n\n\"Good.\" She nods. \"Try to keep up.\n\nYou are in a cold cylindrical chamber, thrown into sharp focus by hovering surgical lamps. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nThe patient, Reden -- he shudders against his straps on the gurney, black blood streaming from his eyes and mouth, even as Doctor Cavala fights to isolate the infection.\n\n\"Eyes sharp, Marid,\" she says. \"I'm going to need your help in a moment.\"\n\n\"Got it,\" you reply.\n\n[Author's Note: In a world of arcane mysteries, a young doctor's apprentice unravels a conspiracy most grim. A mystery-horror interactive novel inspired by IF classics like Blue Lacuna and Anchorhead. Content warnings: illness, death, medical procedures, emotional suffering.]\n\n> You look at Cavala\nYou came to know Doctor Cavala when she served with Lumina's volunteers during the troubles. Her clinic was your first choice for apprenticeship when you graduated. Since then you've watched her drag more than a few souls kicking from the brink of death -- and they won't be the last, not if she has anything to say about it.\n\nDoctor Cavala is a dark-skinned surgeon in her early forties, sharp and regal of bearing. She circles the gurney with increasing agitation, doing all she can to keep her patient alive.\n\nA convulsion -- Doctor Cavala takes a step back as the gurney creaks. \"We need to sedate the patient,\" she says, \"or we'll never get anything done. Marid, get the soporific from the shelves. I'm going to take a look at his eyes...\"\n\nYou glance up at the shelves ringing the surgery room.\n\n> You examine the shelves\nNestled among the medical supplies, you spy an inhaler labeled aer vivificans and an inhaler labeled aer soporifer.\n\n\"...massive internal bleeding...\" she mutters.\n\n> You take the aer soporifer\nYou tiptoe -- grab the inhaler -- press the device into Doctor Cavala's waiting palm. She shakes it experimentally and nods at you before raising the inhaler to Reden's lips with a hiss...\n\nThe goblin's pupils begin to dilate. \"Easy now,\" Doctor Cavala mutters --\n\n> You look at the goblin\n--His head bucks violently. Doctor Cavala drops the inhaler and the bulb shatters all over the floor. \"Primes!\" she hisses. \"Marid, can you get me another dose?\"\n\n> You take the aer soporifer\nThat is either not important or not something you can see.\n\n(Type >look or a blank command to examine your surroundings.)\n\n> You examine the shelves\nYou spy nothing useful on the shelves, well-stocked though they are.\n\n\"That was the last one,\" you yell back, trying not to breathe in any of the fumes.\n\n\"Fine!\" Doctor Cavala says. \"We'll do this without anaesthetic, one way or another.\" She squints at Reden's body. \"Marid, get me the stethoscope.\"\n\n\"Where is it?\"\n\nDoctor Cavala's answer is drowned out by another round of coughing from the patient.\n\n> You look\nYou are in a cold cylindrical chamber, thrown into sharp focus by hovering surgical lamps. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nThe patient shudders against his straps on the gurney, black blood streaming from his eyes and mouth, even as Doctor Cavala fights to isolate the infection.\n\n\"Doctor, I don't know where the stethoscope is.\"\n\n\"The gurney, the gurney!\" she snaps. \"There. Hanging from the side. I can't reach it from here.\"\n\n> You look at gurney\nYou look behind the gurney and there it is -- a stethoscope reclining snakelike on its hook.\n\nDoctor Cavala looks up from her work, irritated. \"Have you found it yet?\"\n\n\"I found it,\" you reply.\n\n\"Good,\" she says, \"give it to me.\"\n\n> You give the stethoscope to Cavala\n(first taking the stethoscope)\nYou carefully unwind the stethoscope and toss it to Doctor Cavala, who catches it with a practiced hand.\n\n\"Took you long enough.\"\n\n\"But it was --\" you protest.\n\n\"Hush.\" Doctor Cavala pushes the device against Reden's chest and lowers her ear to the ausculting dish. \"I'm trying to listen.\"\n\n> You wait for a while\nBlood continues to run down the goblin's lips, and you hurry over to dab it away before it touches Doctor Cavala's face. At last she rises, her face grim.\n\n\"What did you hear, Doctor?\" you ask.\n\n\"Nothing good,\" she replies. \"I fear we may be too late -- but there is one last thing we can try.\"\n\n> You wait a while\nis one last thing we can try.\"She pauses. \"Have you ever heard of the breath of catholicon?\"\n\n> No\nbreath of catholicon?\"You frown. \"I thought that was a myth.\"\n\n\"Check the shelves again,\" Doctor Cavala commands, turning back to her ailing patient. \"And be quick about it.\"\n\n> You look at the shelves\nThe breath of catholicon -- could it really be here, hidden among this detritus? You glance across the crowded supplies, but nothing catches your eye, not yet...\n\n\"What would such a thing even look like?\" you protest.\n\nDoctor Cavala moves as if to speak -- but then there is another coughing fit from Reden, and she curses and adjusts the straps. You shake your head and turn back to the shelves.\n\n> You search the shelves\nCuratives, laxatives, poisons, panaceas, blades of every shape and size... no. None of them...\n\n\"It's in an inhaler,\" she says finally. \"Labeled in the old language. It cost me a great deal to acquire.\"\n\nThere is no mirth in her voice, and for a moment you are at a loss for words.\n\n> You search the shelves\nRows and rows of strange tools, tubes, vials, beakers, inhalers... inhalers?\n\nThere is another convulsion from the patient, but with less vigor than before. Much less.\n\n\"He's falling apart,\" Doctor Cavala says in a low voice. \"Don't hesitate, Marid. Get me the catholicon.\"\n\n> You examine inhaler\nYou blink.\n\nNestled among the medical supplies, you spy an inhaler labeled\nhalitus catholiconis.\n\nDistantly you hear Reden's ragged breathing.\n\n> You take halitus catholiconis\nThe halitus whirls within its glass cage as you lower it from the shelves; it billows as Doctor Cavala bears the inhaler to Reden's bloodsoaked lips. She breaks the seal, and in the bulb it spirals round and round in the dance of exhalation --\n\n> You wait a while\nround and round in the dance of exhalation --And it is within him.\n\n> You wait for a while\nround and round in the dance of exhalation --And it is within him.His breath is stolen away. His irises flare with the light of catharsis. He flails against the gurney straps as though puppeted by invisible hands.\n\n> Wait\nhands.\"Doctor Cavala?\" you ask. You look to her, and her eyes are as wide as yours.\n\n> You look at goblin\nThere is a sudden quiet, a moment when the surgical lights flicker and time itself seems to slow. For an instant something brilliant swims at the edges of your vision.\nthe edges of your vision.Reden's eyes close.\nthe edges of your vision.Reden's eyes close.The moment passes. Doctor Cavala seizes him, shouting, but the goblin is unresponsive. She checks his pulse. She produces a needle, lines up an injection -- the needle withdraws empty, stained with foul black effluvium. But he does not awaken.\nnot awaken.Seconds pass. A minute. Finally she stands, silent, her breathing level. She takes off her mask and sets it on the operating table with an air of grim finality.\ntable with an air of grim finality.(To continue, choose a response from the list by typing the corresponding number.)\n\n1) \"Damn it.\"\n2) \"I'm sorry.\"\n3) <Take off your surgical mask.>\n\n> 2\n\"I'm sorry.\" Your voice is a whisper.\n\nDoctor Cavala shakes her head. \"Don't apologize, Marid. We did all we could. But it's out of our hands now.\"\n\n1) <Take off your surgical mask.>\n2) \"If only...\"\n3) \"The catholicon -- what was that?\"\n4) \"At the moment he died, I had a strange vision...\"\n5) \"What happens next?\"\n\n> 3\n\"The catholicon --\"\n\nYou glance at Reden, half expecting to see white fire in his eyes, and suppress a shudder.\n\n\"The catholicon, Doctor. What was that?\"\n\"The catholicon, Doctor. What was that?\"Doctor Cavala takes\nthe empty inhaler out of her pocket. She looks pensively into the glass, and holds it up to the light where it shines.\nglass, and holds it up to the light where it shines.\"The\ncatharsis,\" she says quietly. \"The purging of the soul. It is\nthe most destructive of all remedies, and the most irreversible once administered. But remember this, Marid: sometimes a thing must be destroyed before it can be built anew.\"\ndestroyed before it can be built anew.\"She turns to regard the body on the gurney, so frail and gentle in death, and sighs.\nthe gurney, so frail and gentle in death, and sighs.\"It was his only chance,\" she says. \"He was probably going to die either way. But... I'm sorry you had to see that, Marid. I really am.\"\n\n1) <Take off your surgical mask.>\n2) \"If only...\"\n3) \"At the moment he died, I had a strange vision...\"\n4) \"What happens next?\"\n\n> 3\n\"At the moment he died, I had a strange vision. It was... it was...\"\n\nYou try to recall the strange sensation you experienced, but it fragments and swims away, and lingers at the edge of your consciousness where you can find no purchase. What words could describe that weightless moment?\n\ndescribe that weightless moment?\"It was...\" you flounder, \"it was...\"\n\ndescribe that weightless moment?\"It was...\" you flounder, \"it was...\"Doctor Cavala watches you intently.\n\nwas...\"Doctor Cavala watches you intently.\"Strange sights are not uncommon at the moment of death, Marid. Especially when the animus escapes untethered. You studied such reactions in the Physicians' College, did you not?\"\n\nCollege, did you not?\"\"This was different,\" you insist.\n\nCollege, did you not?\"\"This was different,\" you insist.\"It's been a long day,\" she replies. \"Take a moment to collect your thoughts. Talk to me again tomorrow when you are certain.\"\n\nto me again tomorrow when you are certain.\"You lower your eyes. \"Yes, Doctor.\"\n\n1) <Take off your surgical mask.>\n2) \"If only...\"\n3) \"What happens next?\"\n\n> 3\n\"What happens next?\"\n\n\"You can begin by taking off your mask,\" she reminds you. \"We won't be operating on a cadaver any time soon.\"\n\nYou sigh and pull off your mask. \"But what happens next?\"\nYou sigh and pull off your mask. \"But what happens next?\"\"It's a unique situation, to be sure.\" Doctor Cavala takes the mask from you and begins to pace around the gurney. \"For any other disease, our course would be straightforward. Log the death. Inform the family. Check for symptoms. Do our best to contain the contagion. Easier said than done, but at least it would be straightforward.\nthan done, but at least it would be straightforward.\"Now Reden has died of an illness I can't identify. And I've seen a lot of illnesses, Marid.\" She studies her gloved hands, stained black with blood. \"In the morning I will reference the Alchemical Library of Fluids\nand contact my colleagues for help... but we must be prepared for the possibility that we are dealing with an unknown affliction.\npossibility that we are dealing with an unknown affliction.\"For now, we proceed with caution.\" She gives you a curt nod. \"After you clean up the surgery room, Marid, you may retire for the night. You've been a good assistant. As for myself... I will begin on the paperwork, and on the task of moving the body to the mortuary.\"\n\n1) \"Yes, Doctor.\"\n2) \"Can I help?\"\n\n> 2\n\"Can I help?\" you ask.\n\nDoctor Cavala smiles and shakes her head. \"I appreciate the sentiment, Marid, but you've seen and done more than enough for one night. Take my advice and get some rest. You'll need it for tomorrow.\"\n\n1) \"Yes, Doctor.\"\n\n> 1\n\"Yes, Doctor.\"\n\n\"See that it's done.\"\n\nDoctor Cavala hands her tools to you and leaves to dispose of the soiled surgical masks. The next half hour is spent in simple work: the comforting tedium of cleaning, sterilizing, organizing. Soon the surgery room is pristine and unblemished.\n\nYou wash your hands, switch off the lamps, and look to the calomel curtain to the south. It's time to go home."
    },
    {
        "text": "> You look around\nYou are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nReden lies on the gurney, lifeless and still.\n\n> Inventory\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> You look at the jacket\nA utilitarian white garment, lined and sealed with alchemical sigils against contamination. It effectively shields its wearer against most communicable diseases.\n\n> You look at the clothes\nSimple garb, but it keeps the wind and moisture out.\n\n> You examine the animus\nImages tumble unbidden from memory ---- flames, licking at the\nbeams, melting glass, engulfing the silhouette of your father. \"Marid, go!\" he screamed, hoarse from the fumes, and you ran, ran, cheeks stained with tears --\n\nstained with tears ---- turned to you, and her golden eyes\nwere haunted. \"I'm sorry, Marid,\" she said, her voice cracking. \"I couldn't save him. I'm so sorry --\"\n\ncouldn't save him. I'm so sorry --\"\"-- no promises,\" the\nanimologist said, his brow knitted. \"If indeed your father died there, we can bind the residual energies to an animus stone, residual, you understand; there's no telling --\"\n\nunderstand; there's no telling --\"-- flaring light, and you\nreached out and mouthed the word --\n\nreached out and mouthed the word --Father.\n\nreached out and mouthed the word --Father.You shake your head to\nclear your thoughts. The past belongs in the past. What matters is that he is with you now, in this pendant.\n\n> You examine the badge\nThis burnished badge bears the symbol of a snake coiling around a staff, certifying you as a qualified apprentice of the ars\nvitalis.\n\n> Oops scalpel\nThis elegant blade was a graduation gift from the Physicians' College. It measures just over twenty centimeters long, and holds a finely graduated orichalcum edge.\n\n> Journal\nThird of Aquaria, Auritum IV\n\nI'm tired. I'm so tired.\n\nI'm sorry, Reden. I hope your animus rests in peace.\n\nCurrent objectives:\n\nMarid's notes:\n\n- I'm in the mood for a drink...\n\nYou are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nReden lies on the gurney, lifeless and still.\n\n> You examine the purse\nYou don't carry much money with you. Just enough to buy food and other necessities.\n\n> You examine the cloth\nIt's for cleaning your scalpel.\n\n> Clean scalpel\nYou polish your scalpel with the antiseptic cloth.\n\n> About yourself\nYou feel alert and well. Slightly on edge, perhaps, but that's nothing unusual considering the circumstances.\n\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are your practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> Places\nYou have not visited any notable locations in this game so far.\n\nAs you explore the game world, notable locations will be added to this page.\n\nYou are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nReden lies on the gurney, lifeless and still.\n\n> You look at the curtain\nIt decontaminates objects that pass through it.\n\n(Type >go south to leave the surgery room.)\n\n> Characters\nYou have encountered the following notable characters:\n\nServator Marid Orpheia (yourself)\nA seventeen-year-old graduate of the Physicians' College, currently apprenticed to Doctor Cavala. You have taken care of yourself ever since your parents died four years ago.\n\nYour mentor in the ars vitalis. A former army doctor and a\nsurgeon of commanding skill.\n\nA goblin bum who died in Doctor Cavala's surgery room of an hitherto unknown affliction.\n\nYou are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nReden lies on the gurney, lifeless and still.\n\n> You go south\nA wave of warmth washes over you as you step through the calomel curtain.\n\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\nDoctor Cavala is at her desk, engrossed in paperwork. As you emerge from the surgery room, she glances up and gives you a nod.\n\n> You look at the counter\nThe counter, with its latticework screen, divides the pharmacy from the waiting area. There is a drawer for money and a service handbell.\n\n> You examine the handbell\nA small brass handbell. You know its sound all too well."
    },
    {
        "text": "[Themes: Mystery, steampunk, female protagonist, horror]\n\n> You look at your surroundings\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\nDoctor Cavala is at her desk, engrossed in paperwork.\n\n> You examine the records\nYou could look up medication or patient records in the pigeonholes.\n\n> You look up Reden\nThat object or command isn't available.\n\n(Type >commands or >c for a list of commands.)\n\n> You consult the patient records about Reden\nOn record are various minor illnesses typical for a goblin of his age: the homunculoid shingles, the common cold. There is no precedent for the sudden and dramatic affliction that took his life.\n\n> You consult the pigeonhole about the halitus catholiconis\ncatholiconis in your lifetime, let alone in these pigeonholes.\n\n> You consult the records about the aer soporifer\nThe more powerful medications are reserved for the surgery room.\n\n> You consult the records about yourself\nYour own medical record is little more than an informal account, as your only treatment here -- for a bout of Midaes fever last month -- was self-prescribed.\n\n> You consult records about Cavala\nDoctor Cavala has meticulously recorded her medical history starting from the day she opened this clinic six years ago. It seems she has been mostly in health, except for a recurrent ache in her right shoulder from her soldiering days."
    },
    {
        "text": "[Themes: Mystery, steampunk, female protagonist, horror]\n\n> You look at your surroundings\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\nDoctor Cavala is at her desk, engrossed in paperwork.\n\n> Go east\n\"Good night, Doctor Cavala,\" you say.\n\n\"Good night, Marid. Don't stay up too late.\"\n\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain.\n\nThe white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north. The rest of the district can wait until tomorrow.\n\n(You may wish to save the game now by typing >save. You can do\nthis at any time.)\n\n> You examine the spine\nIt bears the burden of a thousand living souls.\n\n> You examine the lamps\nThere is a living quality to the light.\n\n> You examine the windows\nAll the shops are closed for the night.\n\n> You think about the animii\n(Type >journal for a reminder of the information you've come\nacross.)\n\n> Go north\nYou have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south.\n\nAn old woman sits at the base of the fountain, feeding pigeons that wing down from the sky above.\n\n> You talk to the woman\n(the old woman)\nAs you approach, the old woman looks up and smiles.\n\n\"Ah, hello, Marid,\" she says. \"It is Marid, isn't it?\"\n\n1) \"It's nice to meet you too, ma'am.\"\n2) \"Have we met before?\"\n3) \"Sorry, I don't know who you're talking about.\"\n\n> 2\n\"Have we met before?\" you ask.\n\n\"Oh, no, no,\" the old woman replies. \"It's just that everyone knows your name, you see; you are the doctor's assistant, are you not? And I hear you live all by yourself in this dormitory, poor girl... but I'm sure you don't need my pity.\n\n\"As I know your name, it's only fair that you know mine. My name is Saliunca.\"\n\n1) \"It's nice to meet you, Saliunca.\"\n2) \"Living by myself isn't that bad...\"\n3) \"Do you feed the pigeons often?\"\n4) \"I'm in a bit of a rush, actually...\"\n\n> 1\n\"It's nice to meet you, Saliunca.\"\n\n\"The pleasure is all mine.\" She bares her crooked teeth in a wry smile.\n\n1) \"Living by myself isn't that bad...\"\n2) \"Do you feed the pigeons often?\"\n3) \"I'm in a bit of a rush, actually...\"\n\n> 1\n\"Living by myself isn't that bad,\" you say. \"I've gotten used\nto it ever since I boarded out to the Physicians' College.\"\n\n\"Oh, I don't doubt you can look after yourself, love,\" Saliunca quickly adds. \"I'm -- We're only worried for you, is all; just a spot of neighborly worry. It isn't easy for an -- for a young lady to -- to live like you do.\"\nlive like you do.\"An awkward pause.\nlive like you do.\"An awkward pause.\"I appreciate the concern,\" you say eventually, \"but you shouldn't worry. I get by, in my own way.\"\n\n1) \"Do you feed the pigeons often?\"\n2) \"I'll be seeing you, then.\"\n\n> 1\nYou gesture at the flock surrounding her. \"Do you feed the pigeons often?\"\n\nSaliunca cackles. \"Feed them?\" she says. \"I suppose you could say that, in a way. Yes, I feed them; but if you think I harbor any love for the pigeons, you would be quite mistaken. I'm poisoning the pigeons, you see, love -- feeding them poison!\"\n\n1) \"Poison!?\"\n2) \"Then you're killing them...!\"\n3) \"But why would you do something like that?\"\n\n> 3\n\"But -- but why would you do something like that?\"\n\nSaliunca shakes her head sadly. \"Oh, Marid, don't you see? The pigeons are infesting the dormitory! All over the atrium they are, and even in some of the ground-floor domiciles. You never even noticed?\"\nsome of the ground-floor domiciles. You never even noticed?\"\"I -- I live on the third floor,\" you admit.\nlive on the third floor,\" you admit.\"Then you haven't noticed.\" She sighs. \"The pigeons are everywhere, love -- a great nuisance they are making. Stealing food. Leaving their droppings about. And that's why their numbers have to be culled.\ntheir numbers have to be culled.\"For some peace, Marid, for some peace. You understand, don't you?\"\n\n1) \"I suppose you are right...\"\n2) \"I don't believe that for a second...\"\n3) \"But killing them...!\"\n4) \"The corpses... the corpses will litter the ground.\"\n5) \"I'm sorry. I have to go.\"\n\n> 4\n\"The corpses...\" You shake your head. \"The corpses will litter the ground.\"\n\nSaliunca grimaces. \"Yes. Yes, they will. The atrium will be rather unpleasant for a while; that's the cost of it, Marid. But you must see -- you must see it's something that has to be done.\"\n\n1) \"I suppose you are right...\"\n2) \"I don't believe that for a second...\"\n3) \"But killing them...!\"\n4) \"I'm sorry. I have to go.\"\n\n> 3\n\"But killing them...!\"\n\nSaliunca frowns. \"You say that as though I'm a murderess,\" she says, \"when I'm nothing of the sort. Think, girl, think!\n\n\"Do you think about the food you eat, of how the butcher earns his keep? No, of course not -- they are animals, animals! We know they are lesser -- we have measured their animii. And the animus of a\npigeon... why, it's little more than a candlelight. So why shouldn't I snuff them?\"\n\n1) \"I suppose you are right...\"\n2) \"I don't believe that for a second...\"\n3) \"I'm sorry. I have to go.\"\n\n> 2\nYou glare at her. \"I don't believe that for a second. The pigeons may be pests, but -- but poisoning them? That's much too cruel.\nThere must be some other way.\"\n\n\"Oh?\" Saliunca raises an eyebrow. \"And what would this other way be?\"\n\n\"I... I don't...\"\n\"I... I don't...\"You shake your head.\n\n\"I don't know. But there must be a way. There must be...\"\n\"I don't know. But there must be a way. There must be...\"\"And suppose I'm right, and there isn't?\" She frowns. \"You've got some nerve telling me off, young lady, when all I've heard out of you is talk. Get off your high horse. Don't tell me you're squeamish about killing a few birds -- or is that what the Physicians' College taught you?\"\na few birds -- or is that what the Physicians' College taught you?\"You tense up.\n\n1) \"What would a hag like you possibly know about the\nArt?...\"\n2) \"I'm sorry. I have to go.\"\n\n> 1\nWhat would --No. You start. You catch yourself.\n\nBeing emotional won't get you anywhere, Marid. It won't change anything. It won't bring him back.\nanything. It won't bring him back.You take a deep breath.\n\n1) \"I'm sorry. I have to go.\"\n\n> 1\n\"I'm sorry,\" you mutter. \"I have to go.\"\n\nYou turn and walk away. \"Suit yourself, love,\" Saliunca calls after you.\n\nWhen you don't respond, she shakes her head and goes back to feeding the pigeons."
    },
    {
        "text": "[Themes: Mystery, mystery, horror]\n\n> You look around\nthe pigeons.## Dormitory Block\nYou have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south.\n\nSaliunca sits at the base of the fountain, feeding pigeons that wing down from the sky above.\n\n> You examine the fountain\nA neoclassical sculpture of concentric basins. An image of Mercury takes pride of place, with sword aloft in one hand and water-spout chalice in the other.\n\n> You look at the public house\n(the public house)\nA refuge from the troubles of the world, at least for some.\n\n> You go to the west\n(first opening the door of the public house)\n(closing the door behind you)\n\nTucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays.\n\nThe door is to the east.\n\nA smartly-dressed mutant is behind the counter polishing a glass -- this must be the new bartender. He gives you a nod as you enter.\n\n> You look at the mutant\n(the bartender)\n(It has been some years now since the mutants of the Dark Lands were integrated into society, and you have mostly gotten used to their haphazard anatomy, their alien perception of the world. Mostly.)\n\nHe looks to be one of the older generation of mutants, with few features that mark him as having once been human. He wears a dignified wooden mask and a tailcoat that has been modified to accommodate additional limbs.\n\n> You look at the mask\nIts simple lines evoke a man's face. It has become fashionable for mutants with unsightly mutations to wear these.\n\nstarts on Magis Quam Amor.\n\n> You talk to the mutant\n(the bartender)\nYou sit down at the serving counter. \"Hello,\" you say.\n\nThe bartender stops polishing his glass and regards you thoughtfully.\n\n1) \"I don't believe we've met. My name is Marid.\"\n2) \"You must be the new bartender.\"\n3) <Order a drink.>\n4) \"Actually, never mind.\"\n\n> 1\n\"I don't believe we've met,\" you say. \"My name is Marid.\"\n\nThe bartender bows and pantomimes a welcome.\n\n1) \"You can't speak?\"\n2) \"It's nice to meet you.\" <Offer your hand.>\n3) \"You must be the new bartender.\"\n4) <Order a drink.>\n5) \"See you soon.\"\n\n> 1\n\"You can't speak?\"\n\nThe bartender nods mournfully.\n\n\"I'm sorry,\" you say, feeling slightly guilty.\n\n1) \"It's nice to meet you.\" <Offer your hand.>\n2) \"You must be the new bartender.\"\n3) <Order a drink.>\n4) \"See you soon.\"\n\n> 1\n\"It's nice to meet you.\"\n\nYou offer your hand; the bartender bends and touches the wooden mouth of his mask to it.\n\n1) \"You must be the new bartender.\"\n2) <Order a drink.>\n3) \"See you soon.\"\n\n> 1\n\"You must be the new bartender.\"\n\nThe bartender nods sagely.\n\n1) \"How's business?\"\n2) <Order a drink.>\n3) \"See you soon.\"\n\n> 1\n\"How's business?\" you ask.\n\nThe bartender pauses in thought, then makes a noncommittal gesture with his tentacle.\n\n1) <Order a drink.>\n2) \"See you soon.\"\n\n> 1\n\"I'd like a glass of spiced wine, please.\"\n\nThe bartender measures out the wine, waters it down, and tosses it with a bag of spices before handing you the glass. You take your time to nurse the drink: it's sweet, with a pinch of nutmeg and other flavors you don't recognize.\n\nSweet and sad.\n\n1) <Get something off your mind.>\n2) <Finish your drink in silence.>\n\n> 1\nYour mind wanders to the things you've seen; the things you've done.\n\n1) \"I watched a man die tonight...\"\n2) <Finish your drink in silence.>\n\n> 1\n\"I watched a man die tonight,\" you say quietly. \"It was just around the corner. In Doctor Cavala's clinic.\"\n\nThe bartender is silent as you take another sip.\nThe bartender is silent as you take another sip.\"It all happened too fast. It was only when he collapsed on top of me that we knew, and -- and we rushed him to the surgery room. I was so scared. It was Doctor Cavala who steadied me... who believed we could cure him together. But he died on the gurney. He died just like that.\"\nhe died on the gurney. He died just like that.\"You close your eyes.\nhe died on the gurney. He died just like that.\"You close your eyes.\"We aren't even sure what he was suffering from... how he died. But now... what can we do?\"\n\n1) \"I became a physician because I wanted to save lives...\"\n2) \"Doctor Cavala tried so hard to stabilize him...\"\n\n> 1\nYou gaze into your glass, watching the wine swirl around and around.\n\n\"I became a physician because I wanted to save lives. I... I wanted to make a difference. But for every life I save -- every life we save -- it seems like a dozen more die out of our reach. How is that fair? How is it worth it?\n\n\"They teach you in the Physicians' College that you can't save everyone. It just isn't possible...\"\n\n1) \"...but I keep wondering if we could have saved that\nman...\"\n2) \"...and now I'm beginning to understand what they\nmeant...\"\n\n> 1\n\"...but I keep wondering if we could have saved that man, if maybe we had done something different. And it's killing me inside.\"\n\n1) <Finish your drink.>\n\n> 1\nYou down the last of your wine.\n\n\"Thanks for listening.\"\n\nThe bartender takes the empty glass, and you feel a little better for having confided in him.\n\n1) <Tip the bartender.>\n2) \"See you soon.\"\n\n> 1\nYou tip the bartender and he bows.\n\n1) \"See you soon.\"\n\n> 1\n\"See you soon.\"\n\nYou stand up. The bartender goes back to his business; you suppose you should as well.\n\n> Journal\nshould as well.## Public House\nTucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays.\n\nThe door is to the east.\n\nThe bartender is behind the counter polishing a glass.\n\n> Journal\nThird of Aquaria, Auritum IV\n\nI'm tired. I'm so tired.\n\nI'm sorry, Reden. I hope your animus rests in peace.\n\nCurrent objectives:\n\nTucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays.\n\nThe door is to the east.\n\nThe bartender is behind the counter polishing a glass."
    },
    {
        "text": "[Themes: Mystery, mystery, female protagonist]\n\n> You look around\nTucked away in the shadow of the domiciles, this cozy establishment offers a retreat from the melancholy of the night. Other patrons are scattered at the tables, engaged in drinking and conversation, while in the corner a solitary clockwork musician plays.\n\nThe door is to the east.\n\nThe bartender is behind the counter polishing a glass.\n\n> Go east\n(first opening the door of the public house)\n(closing the door behind you)\n\nYou have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south.\n\nSaliunca sits at the base of the fountain, feeding pigeons that wing down from the sky above.\n\n> Go upwards\n(first opening the door to your dormitory room)\n(closing the door behind you)\n\nThough this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium.\n\nYour bed is at the end of the room, beside the window.\n\nYou feel tired. Weary.\n\n> You enter the bed\nIt's been a long day.\n\nYou drape your jacket over the head of your bed and settle beneath the covers. Your room fades away as you will your eyes to close. But still your mind drifts, draws you back into the tides of memory, where you can only watch --\n\ncan only watch ---- watch the shimmer of the surgery room; watch Reden's eyes close a thousand times; watch the lights all around\n--\n\nYou wake in a cold sweat. The bells of Miller's Gate are ringing.\n\nThough this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium.\n\nFar off, the bells continue to ring: four, five, six, seven. Seven in the morning. You're lucky you haven't overslept. You quickly get dressed and run through your morning routine -- Doctor Cavala will be waiting for you at the clinic."
    },
    {
        "text": "> You look at your surroundings\nThough this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium.\n\nYour bed is at the end of the room, beside the window.\n\n> You look through window\nYou can see little except the view of the rooftop.\n\n> You look at the table\nYou have little need for vanity, and so use the dressing table as a writing desk. A mirror and some delicate drawers are the only concession to its original purpose.\n\n> You open the drawers\nYou open the delicate drawers, revealing some folded clothing.\n\n> Close drawers\nYou close the delicate drawers.\n\n> You get in the bed\nNo, you have to report for work."
    },
    {
        "text": "[Themes: Mystery, blood, fantasy, steampunk, mystery, coming of age]\n\n> You go down\n(first opening the door to your dormitory room)\n(closing the door behind you)\n\nYou have walked the grounds of this three-storey estate long enough to know it by heart. Here is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room or exit the building to the south.\n\nThe ground is littered with what must be dozens of dead pigeons. A char-golem is busy sweeping the carcasses into a bag, while a gobliness slouches beside the fountain nearby.\n\n> You examine the pigeons\nEach carcass is contorted strangely, as though frozen in an instant of convulsion.\n\n> You look athe char-golem\nAn animated golem comprised of cast iron. The stamp on its forehead identifies it as property of the Council of Works.\n\n> You examine the gobliness\nShe's dressed like an odd-job woman. The pockets of her apron are stuffed with work tools.\n\n> You talk to the gobliness\n\"Good morning.\"\n\n\"Morning, miss.\" She tips her cap. \"Take care you don't step on one of them pigeons. Nasty business.\"\n\nYou look at your feet. \"Thanks for the warning.\"\n\n> You talk to the golem\nGolems aren't sapient. You'd sooner get a response out of a lamp-post.\n\n> You go south\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight.\n\nThe white cross of Doctor Cavala's clinic is to the west; the dormitory block where you live lies to the north. The rest of the district will have to wait until after you report for work.\n\n> Go west\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\n\"Good morning, Doctor,\" you call. But she doesn't seem to be in the waiting area or the consulting study. Odd; where could she have gone?\n\n> You go north\nA wave of warmth washes over you as you step through the calomel curtain.\n\nYou are in a cold cylindrical chamber, thick with quiet shadows. Shelves of vials and medical supplies crowd around you, leaving little room to misstep. A shimmering calomel curtain frames the exit to the south.\n\nThe gurney in the center of the room is empty.\n\n> You go to the south\nA wave of warmth washes over you as you step through the calomel curtain.\n\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east."
    },
    {
        "text": "[Themes: Mystery, suspense, horror, blood]\n\n> You go downwards\nYou descend the steps into shadow...\n\nThe odor of camphor is overwhelming in this gloomy subterranean chamber. Shelves along the walls house organs in jars of formaldehyde. Deeper in, cadavers are organized in labeled niches, embalmed and awaiting cremation.\n\nA flight of stairs leads back up to the clinic.\n\nDoctor Cavala is here studying Reden's body with a loupe. His heart, lungs, and trachea are neatly laid out beside him on the slab.\n\n> You look at Reden\nHis chest cavity has been dissected, revealing a spiderweb pattern of blackened blood vessels and tissues.\n\n> You look at the heart\nReden's organs are black and withered. You might have suspected poor embalming technique if it hadn't been Doctor Cavala performing the dissection.\n\n> You talk to the Doctor\nYou cough politely. \"Good morning, Doctor.\"\n\n\"Hmm? Oh.\" Doctor Cavala pushes up her loupe and acknowledges you with a nod. \"Good morning, Marid. I trust you had a good night's sleep?\"\n\n1) \"Um. Yes.\"\n2) \"I had a terrible nightmare...\"\n3) \"I'd rather not talk about it.\"\n\n> 1\n\"Um. Yes.\"\n\nShe sighs. \"You're a terrible liar, Marid.\"\n\nYou redden.\n\nYou redden.Doctor Cavala gets to her feet, wipes off her gloves, and places her hand on your shoulder.\n\n\"Don't worry,\" she says, more gently. \"It's not an easy thing to go through. I remember the first time I lost a patient. But I promise it will get better.\"\n\nwill get better.\"You shake your head. \"I'll... I'll be fine, Doctor. Don't worry about me.\"\n\nDon't worry about me.\"After a pause, she nods and squeezes your shoulder. \"Good girl.\"\n\nshoulder. \"Good girl.\"Then Doctor Cavala steps back, and her businesslike demeanor returns.\n\nbusinesslike demeanor returns.\"The order of business today is twofold,\" she begins. \"We aren't expecting many patients today, so I don't need you to be at the counter. Instead, I need you to run an errand for me.\"\n\nerrand for me.\"\"What sort of errand?\" you ask.\n\nerrand for me.\"\"What sort of errand?\" you ask.She purses her lips. \"First, I need you to deliver the documentation of Reden's death to the basilica. Second, I need you to inform Reden's next of kin that he has passed away.\"\n\n1) \"How should I go about delivering the documentation?\"\n2) \"Where does Reden's next of kin live?\"\n3) \"What will you be doing?\"\n4) \"I'm on it, Doctor.\"\n\n> 1\n\"How should I go about delivering the documentation?\"\n\n\"It's quite straightforward.\" Doctor Cavala shows you a sheaf of papers. \"I've already bundled the documents and sent word to the basilica by correspondence. All you have to do is pass the bundle to the censor's office.\"\n\nYou rack your memory. \"The basilica is next to the forum, right? Across the Via Terminalis bridge?\"\n\n\"That's right.\"\n\n1) \"Where does Reden's next of kin live?\"\n2) \"What will you be doing?\"\n3) \"I'm on it, Doctor.\"\n\n> 1\n\"Where does Reden's next of kin live?\" you ask.\n\nDoctor Cavala frowns. \"According to my file, he has a brother in Riggertown by the name of Zoiro, but I don't have an address for you. Your best bet is to look up his name in the census records. Or you could ask around in Riggertown -- I understand the goblin community is quite tightly knit.\"\n\n\"Is Riggertown that shanty town down the canal?\"\n\n\"It is. Turn right at the bridge and you'll see it.\" She pauses. \"And another thing -- check whether anyone in Riggertown is exhibiting similar symptoms. It could help in narrowing down the cause of the affliction.\"\n\n1) \"What will you be doing?\"\n2) \"I'm on it, Doctor.\"\n\n> 1\n\"What will you be doing?\" you ask.\n\nDoctor Cavala inclines her head at the slab. \"When not receiving patients, you mean? I intend to spend the day studying Reden's affliction. I've already left correspondence for Doctor Arturus, who I expect shall join me in the afternoon. In the meantime, I am compiling observations and studying the mechanism by which Reden has died. If all goes well, we should be able to present our findings to the medical community by the end of the week.\"\n\n1) \"I'm on it, Doctor.\"\n\n> You examine the sheaf\nPlease choose a response from the list by typing the corresponding number.\n\n1) \"I'm on it, Doctor.\"\n\n> 1\n\"I'm on it, Doctor.\"\n\nShe nods and presses the bundle of documentation into your hands. \"Remember: first, deliver the documents to the basilica; second, look for Zoiro in Riggertown. Report back to me when you're done.\"\n\n> You examine the documentation\nfor Zoiro in Riggertown. Report back to me when you're done.\"\"Okay.\"\n\n\"I'll be here if you need anything.\" She pauses. \"Take your time. Consider today a break after yesterday night.\"\nConsider today a break after yesterday night.\"\"Yes, Doctor.\"\nConsider today a break after yesterday night.\"\"Yes, Doctor.\"\"Run along.\"\nalong.\"With that, she sits down at the slab.\nalong.\"With that, she sits down at the slab.(Type >inventory or\n>i to see what items you're carrying. Type >journal or\n>j to review your current objectives.)\n\n> You check your inventory\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a bundle of documents, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> You examine the documents\nComprehensive documentation of Reden's death. It's filled out in neat longhand and bound with Doctor Cavala's signature.\n\n> J.\nFourth of Aquaria, Auritum IV\n\nI've been given an opportunity to get out of the clinic and see the sights of the Channelworks District... but I still feel a hollowness inside.\n\nCurrent objectives:\n\n- Find Zoiro, Reden's brother, in Riggertown\n...by asking the censor for his address\n...by asking around Riggertown\n\nMarid's notes:\n\n- I remember that the basilica is across the Via Terminalis bridge, next to the grand forum.\n- I remember that Riggertown is down the canal from the Via Terminalis.\n\nThe odor of camphor is overwhelming in this gloomy subterranean chamber. Shelves along the walls house organs in jars of formaldehyde. Deeper in, cadavers are organized in labeled niches, embalmed and awaiting cremation.\n\nA flight of stairs leads back up to the clinic.\n\nDoctor Cavala is here studying Reden's body with a loupe. His heart, lungs, and trachea are neatly laid out beside him on the slab.\n\n> Go upward\nYou emerge from the darkness of the mortuary...\n\nDoctor Cavala's clinic is a small, unostentatious affair, neatly organized with little in the way of decoration. A row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes; further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\n> Go east\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight.\n\nThe white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east.\n\n(Type >map to view a map of the Channelworks District.)\n\n> You go east\nVia Terminalis, West Street\nYou are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city.\n\nYou can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south.\n\nSome civil guards are keeping vigil on the thoroughfare. Among them you see your friend, Horatio.\n\n> You examine Horatio\nVigile Horatio is a childhood friend of yours. He's always been a bit dense, but you're glad to have him around.\n\n> You look at the banner\nThe banner is an advertisement for a night market, now three weeks out of date. You can't see much behind it.\n\nA carriage with drawn blinds trundles past.\n\n> You talk to Horatio\nYou smile at him. \"Good morning, Horatio.\"\n\nHe grins. \"Hey, Marid. Out and about early?\"\n\n1) \"I should be asking you the same thing...\"\n2) \"I'm on an errand for Doctor Cavala...\"\n\n> 2\n\"I'm on an errand for Doctor Cavala,\" you explain. \"I'm on my way to deliver some documents to the basilica.\"\n\n\"No wonder you looked like you were in a hurry,\" Horatio muses. \"Well, I shan't hold you up. You do know the way, don't you?\"\n\n\"Even if I didn't, I'd know better than to ask you.\"\n\nHe hangs his head. \"Fair enough.\"\n\n1) \"How is life in the Vigiles?\"\n2) \"See you soon, Horatio.\"\n\n> 1\n\"How is life in the Vigiles?\"\n\nHoratio folds his arms. \"I've hardly done anything. It's been nothing but closet-scrubbing and guard duty. I thought I'd had enough of that after boot camp.\"\nafter boot camp.\"\"I know the feeling.\"\nafter boot camp.\"\"I know the feeling.\"\"I'm getting antsy, you know?\" He drums his fingers on the hilt of his saber. \"I want to be out there catching criminals and stopping burglaries, not standing around. I want to see some action once in a while.\"\n\n1) \"See you soon, Horatio.\"\n\n> 1\n\"See you soon, Horatio.\"\n\n\"You too, Marid.\"\n\nYou hug each other goodbye, and he returns to his post.\n\n> You go to the south-east\nHere the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky.\n\nThe Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south.\n\n> You examine Canal\nThe Bilious Canal is furious and vitriolic, as befits its name. Mist curls from the surface of the water.\n\n> You examine the bridge\nThe stones have been smoothed by decades of traffic.\n\n> You go to the southeast\nTraffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights.\n\nThe Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum.\n\n> J.\nFourth of Aquaria, Auritum IV\n\nIt feels good to be out and about making myself useful. Has it really been a week since the last time I went out on the town? Not that I should be going shopping at a time like this... but walking through the streets, seeing everyone going about their daily lives, it's almost enough to make me feel as though everything is going to be well.\n\nCurrent objectives:\n\n- Find Zoiro, Reden's brother, in Riggertown\n...by asking the censor for his address\n...by asking around Riggertown\n\nMarid's notes:\n\n- I remember that the basilica is across the Via Terminalis bridge, next to the grand forum.\n- I remember that Riggertown is down the canal from the Via Terminalis.\n- Perhaps I could go to the Turris Infinita and pay Justinian a surprise visit...\n- Doctor Cavala told me to think about what I saw last night...\n- This district is so much larger than the Lake District...\n\nTraffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights.\n\nThe Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum.\n\n> You go south\nThis immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all.\n\nThe arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south.\n\npassers-by.\n\n> You take libri\n\"Good morning,\" you say.\n\n\"Morning, miss.\" He thrusts a newspaper into your hands. \"Compliments of the press.\"\n\n\"Um, thanks.\"\n\n> You examine it\nThe Bilious Canal is furious and vitriolic, as befits its name. Mist curls from the surface of the water.\n\nA prison carriage rolls past. You glimpse what looks like a squid through the bars before it turns a corner and is gone.\n\n> You examine the libri\nFEATURE: IS ANIMUS POWER ETHICAL? Cathode-bound animii produce the energy that sustains our civilization, yet these souls are acquired through the coercion of society's most deprived...\nMUTANT CULTISTS AMONG US? Witnesses have reported individuals in\nthe Lower City performing rituals in contravention of the Declaration of Religion Act...\nSIX AUTUMN FASHION TIPS. Look your best in the coming season with these products and recommendations from our featured experts...\n\n> You look at the mural\nThe mural is a three-dimensional work of art magically inscribed upon the aether. Walking through it you see the world exquisitely captured, so finely detailed that you can make out the pinprick-lights of the constellations. There are the continents Terra Munda and Terra Nova, the great black sea of the Pelagus, and the four domed periochs -- Kardiapolis, Kreopolis, Furopolis, and Neopolis.\n\n> You examine the Neopolis\nNeopolis is still sparse in comparison to the other periochs, but there is a haunting wonder to its symmetry.\n\nA couple walks past, arm in arm.\n\n> You look at Pelagus\nA vast dark expanse that seems to undulate as you move around the mural.\n\n> You examine the Furopolis\nThe artist has magnified the image of the city so that the forty-nine districts are reproduced. There is the Upper Perioch with its breathtaking spires, and the gold-stained rows of the Lower Perioch; and on the boundary, caught between worlds, you see the tiny Channelworks District and the even tinier forum nestled within.\n\n> You look at the kreopolis\nMassive with its multiple domes, and ensconced amid the mountains.\n\n> You examine the kardiapolis\nAt this scale, the capital city looks like a fairy-tale palace on the ocean.\n\nSome young men walk past, pointing and laughing at something out of sight.\n\n> You examine the basilica\nAn imposing gothic hall. Petitioners trickle in and out.\n\n> You go west\nFootsteps and whispers echo through these high-vaulted halls. The aisles on either side are lined with the doorways of countless clerical offices, and surrounding the raised chancel are the seats of the Magistrates' Court. The exit is to the east.\n\nNearby is the censor -- but he appears to have fallen asleep at his desk.\n\n> You look at the censor\nA middle-aged man with a receding hairline. He's slumped over his desk, fast asleep.\n\n> You touch censor\nYou tickle the censor's forehead and nose. He shifts and groans a little, and furrows his brow in his sleep.\n\n> You talk to the censor\n\"Excuse me?\"\n\nThe censor snores by way of response.\n\n> Shake censor\nYou grab the censor's shoulders and give him a firm couple of shakes.\n\nHe sniffs. He sighs. And then he keels over and resumes snoring.\n\n> Yell\nYou take a deep breath and yell, \"Censor, in the name of Earth, Water, Fire, Air, Natron, Mercury, and Sulfur, would you kindly. Wake.\nUp!\"\n\nThere is a very long silence.\n\nThe censor is wide awake now. He scrambles to a seated position, staring at you all the while.\n\n\"Er,\" he says. \"Um.\"\n\n1) <Clear your throat.>\n2) \"Sorry...\"\n\n> 2\n\"Sorry,\" you say, a little sheepishly. \"It's just that you were asleep at your desk, and...\"\n\nThe censor turns red. \"Of course, of course. Let's not speak of that. Entirely understandable. On to business.\" He adjusts his collar and puffs out his chest. \"Censor Provis at your service, miss. What can I do for you today?\"\n\n1) \"I have documents from Doctor Cavala's clinic...\"\n2) \"I need the address of a Channelworks District citizen...\"\n\n> 1\n\"I have documents from Doctor Cavala's clinic regarding the death of a Channelworks District citizen,\" you say. \"A middle-aged goblin man by the name of Reden.\"\n\nYou hand the bundle of documents to the censor, who regards it with an appraising eye.\n\n\"Let me see.\" He breaks the seal and quickly scans the contents. \"Yes. Hmm. Unfortunate, this. Not to worry. All shall be in order...\"\nHmm. Unfortunate, this. Not to worry. All shall be in order...\"The censor's gaze pauses on one section of the report. He reads it -- rereads it.\nrereads it.\"Hmm!\" he says. \"Well excuse me! An unknown\ndisease? Hmm! Now this is highly irregular. Highly irregular. I will have to contact my superiors.\"\nhave to contact my superiors.\"He puts a big red stamp on the bundle and files it away in a clattering of drawers, muttering to himself all the while. At last he pats the desk and nods with an air of self-importance.\nself-importance.\"Very good, miss,\" he says. \"Thank you for bringing this to our attention. Now was there anything else you needed?\"\n\n1) \"I need the address of a Channelworks District citizen...\"\n2) \"Nothing, thank you.\"\n\n> 1\n\"I need the address of a Channelworks District citizen. His name is Zoiro.\"\n\nThe censor furrows his brow. \"Right then,\" he says. \"Just a moment. Wait here, if you please.\"\n\nHe gets up and vanishes into one of the side doorways of the basilica, muttering a stream of incomprehensible jargon involving coordinates and street names. You hear the sounds of wooden scroll cases being rifled through, and furtive frantic consultations among the clerks.\nrifled through, and furtive frantic consultations among the clerks.After an appreciable wait, he emerges from the doorway flush-faced and triumphant.\nflush-faced and triumphant.\"Seventh on Layabout Row,\" he proclaims, \"Upper Riggertown. Property under the name of Zoiro and Koriph. And his place of employment, which I've taken the liberty to look up, is the Riggertown Mechanistry. Here, let me write it down for you --\"\nthe Riggertown Mechanistry. Here, let me write it down for you --\"He scribbles on a scrap of paper, hands it to you, and sits back down at his desk looking eminently satisfied.\n\n\"There we go,\" he says. \"Now was there anything else you needed?\"\n\n1) \"Nothing, thank you.\"\n\n> 1\n\"Nothing, thank you.\"\n\nThe censor beams. \"Have a good day, miss. Per radium sophia.\"\n\nYou step away from the censor's desk.\n\n> Inventory\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a note with Zoiro's address, today's copy of the Libri Liberi,\nyour practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> You examine the note\nIt's the scrap of paper the censor gave you. It reads:\n\nHome address: VII Layabout Row, Upper Riggertown\nEmployment address: Riggertown Mechanistry, Upper Riggertown\n\n> Go east\nThis immense paved square is alive with people of all kinds: couples, merchants, buskers. There are children flying their paper kites and old men watching the clouds drift by. A brilliant mural of Furopolis and Solphos hovers at the heart of it all.\n\nThe arch of Miller's Gate rules the east, and the curving canal cradles the basilica to the west. From the northern Via Terminalis junction, the Via Mercurii splits off and travels south.\n\npassers-by.\n\n> Go south\nThe Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight.\n\nTo the north is the grand forum, vibrant and lively, while to the south the Shanty Quarter begins.\n\nA fortune-teller is plying his trade by the road. As you pass him, he meets your gaze and beckons you with a smile.\n\n> You talk to the teller\nYou approach the fortune-teller's table.\n\n\"Hello,\" you offer.\n\n\"Good afternoon, young one.\" His accent is disarming. \"Have you come in search of answers?\"\n\n1) \"I have.\"\n2) \"I came because you beckoned me.\"\n3) \"I was curious.\"\n\n> 3\n\"I was curious.\"\n\n\"Ah, curiosity. I can hardly fault you. It's only natural to be curious about a tradition such as mine.\"\n\nThe fortune-teller spreads his hands, and the deck of cards seems to fly apart and flow into itself.\n\n\"I am a reader of messages, of portents. We often ask -- What should I do? Where will I go? The cards can show us all these things and more.\"\n\n1) \"I've never seen cards like these before.\"\n2) \"How does it work?\"\n3) \"Do you get many patrons?\"\n4) \"I'd like a reading.\"\n5) \"Perhaps another time.\"\n\n> 1\n\"I've never seen cards like this before.\"\n\nThe fortune-teller nods enigmatically, and slowly riffles the deck for you to see. The card backs are baroque, inlaid with gold, brilliant with light as they collapse inward.\n\n\"The Aubedore,\" he murmurs. \"The lost art. Here, you may not have heard of it. But the tradition exists, and I assure you that it is real.\"\n\n1) \"What did you mean by 'the lost art?'\"\n2) \"How does it work?\"\n3) \"Do you get many patrons?\"\n4) \"I'd like a reading.\"\n5) \"Perhaps another time.\"\n\n> 1\n\"What did you mean by 'the lost art?'\" you ask.\n\nHe only smiles. \"Perhaps I've said too much. A magician can only reveal so many secrets.\"\n\n1) \"How does it work?\"\n2) \"Do you get many patrons?\"\n3) \"I'd like a reading.\"\n4) \"Perhaps another time.\"\n\n> 1\n\"How does it work?\"\n\nThe fortune-teller holds the cards close to his chest. \"The strings of fate -- but perhaps you know them better as the chains of causality. They are intimately connected to all things in ways you can't imagine. By shuffling the cards, I am attuning them to your past, present, and future, to the parallels and possibilities.\"\n\n1) \"I don't believe in fate.\"\n2) \"Do you get many patrons?\"\n3) \"I'd like a reading.\"\n4) \"Perhaps another time.\"\n\n> 2\n\"Do you get many patrons?\" you ask.\n\n\"Many,\" the fortune-teller replies. \"I've told the fortunes of the rich and poor, young and old. They all sought answers in their lifetime, and the cards helped them discover the way.\"\n\n1) \"I don't believe in fate.\"\n2) \"I'd like a reading.\"\n3) \"Perhaps another time.\"\n\n> 2\n\"I'd like a reading,\" you say cautiously.\n\n\"Very well,\" he replies. \"Please, sit down. What question do you wish to ask the Fates?\"\n\nYou take your seat at the table, facing the fortune-teller. After a long moment, you give your answer.\n\n1) \"There's a boy I like...\"\n2) \"A man died in the clinic where I work...\"\n3) \"I've been having nightmares...\"\n\n> 2\n\"A man died in the clinic where I work. I want to know what happened to him.\"\n\nThe fortune-teller's smile fades, and he nods more seriously.\n\n\"You pose me a sober question, my friend,\" he says. \"I will endeavor to ask the cards on your behalf. Let's see what the River pattern has to tell us about your patient.\"\n\nHe upturns his hand. Cards slide off the deck and onto the table in a flowing line. With his other hand, he turns the path of the cascade until a curving tangent has been formed.\n\nuntil a curving tangent has been formed.\"The River flows from the source,\" he says, \"through the upper course and the bend, into the lower course and the delta. Here, the tributary is fed by the lake.\"\n\nlower course and the delta. Here, the tributary is fed by the lake.\"He gestures to each of the face-down cards in sequence.\n\ngestures to each of the face-down cards in sequence.\"Now we will reveal the cards, one by one, and see what they reveal about the flow of causality.\"\n\nof causality.\"His gold-gloved hand hovers over the source.\n\nof causality.\"His gold-gloved hand hovers over the source.\"Shall we begin?\"\n\n1) <Watch him reveal the upper river.>\n\nPlease choose a response from the list by typing the corresponding number.\n\n1) <Watch him reveal the upper river.>\n\n> 1\nYou nod. The fortune-teller touches the source, and brings it to light.\n\nlight.The illustration is of an ancient forge, immaculately detailed and filled with artifacts of esoteric design. You see swords and cups, cloaks and crowns. But in front and center, set above the rest, is a band of purest, most exalted gold.\n\nband of purest, most exalted gold.\"The Ring,\" says the fortune-teller. \"The most brilliant of the Fixtures. The source was a device, or perhaps a discovery, that possessed vast potential.\"\n\nperhaps a discovery, that possessed vast potential.\"The next card is upside down, and all you can make out is a crowded and colorful vignette. But in the center, almost unnoticeable, is one stooped figure devoid of color.\n\nfigure devoid of color.\"The Servant. The lowliest in the realm of the court, so humble as to go unnoticed. But it is inverted; I dare say your patient drew unexpected attention, for good or for ill.\"\n\nyour patient drew unexpected attention, for good or for ill.\"The third card bears a young woman's face in stark definition, with blue eyes eerily like your own, but with only pale skin where her mouth should have been. You involuntarily touch your lips.\n\nhave been. You involuntarily touch your lips.The fortune-teller shakes his head. \"The bend is the Mute. The event, then, the death, had to do with silence. But did your patient die because he did not speak out... or was he killed to ensure he never did?\"\n\nor was he killed to ensure he never did?\"He purses his lips.\n\n\"Let us take a step back, and see if the tributary sheds light on the mystery.\"\n\n1) <Watch him reveal the tributary.>\n\n> 1\nHe reveals the card, and it turns out to be an idyllic scene of the land before the Darkening, a picture of a forest with green trees and blue skies. In its center is a body of still and silvery water.\nblue skies. In its center is a body of still and silvery water.\"The Pond,\" says the fortune-teller. \"It represents a place far from civilization where one can reflect and find reflection. It is the indirect cause -- could the discovery have been made in such a place? The place your patient drew attention? Or did he not speak out because civilization would not have heard him?\"\ncivilization would not have heard him?\"You frown. \"I came here for answers, not more questions.\"\nanswers, not more questions.\"\"I am sorry you feel that way, my friend,\" he replies. \"I can only convey what I can see with my own eyes, and what the cards see fit to provide. The Fates can be temperamental even at the best of times.\ntemperamental even at the best of times.\"But look! There are still three cards we have not revealed.\"\n\n1) <Watch him reveal the rest of the river.>\n\n> 1\n\"We have seen what has come to pass,\" he says, reaching for the lake. \"Now we see what could have been...\"\n\n\"Now we see what could have been...\"The card bears the image of an old woman in a dungeon. She is strung up by iron manacles and horribly withered, with her emaciation illustrated in exacting detail.\n\nwithered, with her emaciation illustrated in exacting detail.\"The Manacles.\" A grimace. \"If not for your patient's death, someone would have been imprisoned. Yes, an unpleasant picture is beginning to emerge...\"\n\nemerge...\"The fortune-teller turns over the lower course, revealing it to be another dark and disturbing illustration; but upside-down, so that you can only see a bone-white figure.\n\nthat you can only see a bone-white figure.\"Ah!\" he declares. \"The Ghost appears, but inverted. The dire message it brings is not heard, and the course of fate is not changed. And that brings us to our final card, the delta --\"\n\ncard, the delta --\"The delta is a storm at sea, heaving with rain-lashed ships and alive with forked lightning. Above all in the pitch-black sky is a terrible sphere that can only be the\nLuna.\n\nLuna.The fortune-teller sets the card down.\n\nLuna.The fortune-teller sets the card down.\"The Tempest,\" he\nwhispers. \"The future will be filled with change and turmoil. It could be in many years, or it could be tomorrow. And all because of a humble man who drew the wrong attention -- and was silenced.\"\n\nA long pause.\n\n1) \"...I see.\"\n2) \"Are you sure?\"\n3) \"I hope you aren't expecting me to believe this drivel.\"\n\n> 2\n\"Are you sure?\" you ask.\n\nHe nods. \"It is what the Fates have shown me.\"\n\n1) \"...I see.\"\n2) \"I don't believe in fate.\"\n3) \"I hope you aren't expecting me to believe this drivel.\"\n\n> 1\n\"...I see,\" you say at last.\n\nHe is still and pensive. The wind grasps his hood, making its edges billow.\nbillow.At length, he places a hand on his deck. His eyes flicker to it; his lips twitch. Then he picks up his cards, one by one, and shuffles them away and out of sight.\nshuffles them away and out of sight.\"I should go,\" he murmurs. \"I have other places to be.\"\n\n1) \"Goodbye.\"\n2) \"Wait...\"\n\n> 2\n\"Wait...\"\n\nHe gets to his feet. You rise, your mind buzzing with questions. \"Wait!\" you cry. \"Wait...\"\n\"Wait!\" you cry. \"Wait...\"\"Goodbye,\" he says. \"Live on, my friend. Live well.\"\nLive well.\"And he vanishes with a whirl of his cloak, leaving only a whiff of incense on the wind.\nwhiff of incense on the wind.It's a while before you notice the sounds of the city around you again."
    },
    {
        "text": "[Themes: Mystery, horror, blood, fantasy]\n\n> You look around\nThe Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, cabarets and pawnbrokers and establishments of ill repute -- but for now, at least, they slumber in the daylight.\n\nTo the north is the grand forum, vibrant and lively, while to the south the Shanty Quarter begins.\n\nThe divining table sits vacant by the road.\n\nA dozen goblins meander down the street, chatting loudly.\n\n> You examine table\nA simple tin-framed table with two matching chairs.\n\n> You go south\nThe cobblestones grow crooked and broken underfoot. The buildings crowd inward until they blot out the darkening sky. You hesitate.\n\nIs there really no other way?\n\n> You go south\nWith a deep breath, you press onward.\n\nNo words can describe this place. It is claustrophobic, oppressive, a place where light does not reach. The air is heavy with the stench of offal and waste, and other things better left unimagined -- and you are hemmed in by ropes, walled off by concrete, entombed with the walking dead.\nwalking dead.You instinctively take a step back, only to bump into a wall. You turn around and see a labyrinth of crawlspaces and ladders and rag curtains.\n\nYou are lost.\n\n> You go south\nYou wander blindly...\n\nDeeper, Darker\nAnd you cannot find your way. All is awash in the spectral light of broken cathode lamps, and in the shadows phantasmagoria creeps. Frightened children eye you from the rooftops. Rats are strung up like hanged men.\nhanged men.You walk through a broken arch and someone grabs your arm. The point of a knife touches your back.\nThe point of a knife touches your back.\"Don't scream,\" says a cracked and leathery voice. \"I'll kill you if you scream.\"\n\n1) <Scream.>\n2) <Remain silent.>\n3) \"What do you want?\"\n\n> 3\n\"What do you want?\"\n\nThe knife blade pushes deeper into your jacket. You're forced up against a wall. The bricks are hard and cold.\n\n\"I want your money. All of it. Now.\"\n\n1) <Scream.>\n2) <Try to grab the knife.>\n3) \"Okay...\" <Take out your purse.>\n4) \"Okay...\" <Take out your scalpel.>\n\n> 4\n\"Okay,\" you say. \"I'm -- I'm getting my purse. Please don't hurt me.\"\n\nYou reach into your jacket. The knife point trembles -- his hands are shaking. You feel for the familiar weight...\nshaking. You feel for the familiar weight...\"Hey,\" a different voice says. \"The girl... doesn't she, doesn't she look familiar?\"\nsays. \"The girl... doesn't she, doesn't she look familiar?\"\"I don't know what you're talking about,\" your assailant growls.\n\n\"No. Look. I swear she's the girl from the clinic. The Doc's\nclinic. She's got the tattoos and everything --\"\nclinic. She's got the tattoos and everything --\"The knife recedes.\n\n\"Oh Primes.\" The voice sounds panicked. \"Oh Primes. I'm sorry. We didn't know. Please don't --\"\n\n\"Please don't tell anyone. We just --\"\n\n\"Don't tell the Doc --\"\n\"Don't tell the Doc --\"They take off at a run. Their footsteps vanish into the crowd, into the din of the underworld.\n\nYou are alone once more.\n\n> Inventory\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a note with Zoiro's address, today's copy of the Libri Liberi,\nyour practitioner's badge, your scalpel, your purse, and an antiseptic cloth."
    },
    {
        "text": "[Themes: Mystery, fantasy, horror, blood, suspense]\n\n> Look around\nDeeper, Darker\nAnd you cannot find your way. All is awash in the spectral light of broken cathode lamps, and in the shadows phantasmagoria creeps. Frightened children eye you from the rooftops. Rats are strung up like hanged men.\n\n> Go south\nThere are so many people here. Mothers. Daughters. You see goblin boys fighting over scraps, and mutant children with two mouths and nothing to eat. You push through the crowd and they barely even notice your presence, so lost are they in their own suffering.\n\nYou find yourself suddenly set upon by a legion of beggars, grabbing at your trousers, thrusting empty hats into your face, baying like starving dogs.\n\n> You talk to the beggars\n1) \"Leave me alone!\"\n2) <Give them some money.>\n3) <Never mind.>\n\n> 1\n\"Leave me alone!\" you cry.\n\nBut they don't hear you. All they see is a rich stranger.\n\n> You go south\nYou flee from them...\nYou flee from them...## Into the Fire\nA rubbish fire, roaring and acrid and unmistakably fecal. The flames are green and blue from alchemical decomposition, and dead bodies feed the fire and stoke its insatiable hunger with their animii.\nthe fire and stoke its insatiable hunger with their animii.You sink to your knees.\n\n> You look\nA rubbish fire. The green and blue flames lick at your jacket and sting your eyes raw with tears.\n\nBut somewhere far to the west, you think you see sunlight.\n\n> Go west\nYou get to your feet.\n\nYou get to your feet.Unsteadily, you walk.\n\nYou get to your feet.Unsteadily, you walk.You close your eyes.\n\nYou get to your feet.Unsteadily, you walk.You close your eyes.You keep walking.\n\nwalking.You don't stop until you feel the sun on your face once more.\n\nwalking.You don't stop until you feel the sun on your face once more.## Cadaver Walk\nYou've emerged out onto a bridge, if it can be called that: a haphazard assortment of ropes, planks, chains, warning signs, layers upon layers bound up in incomprehensible knots. Below the lines trail where they have snapped and never been repaired, and the Bilious Canal gobbles them up as they descend.\n\nRiggertown is to the west, while the Shanty Quarter is to the east.\n\n> Go west\nRiggertown, Lower Level\nThis peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter.\n\nYou can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk.\n\nA scruffy old goblin sits on a post, chewing on a golden stick and watching the midday crowd.\n\n> You talk to the goblin\n(the scruffy old goblin)\nThe old goblin raises an eyebrow as you approach. He pops the half-chewed stick out of his mouth.\n\n\"Something on your mind, girlie?\"\n\n1) \"Good afternoon, sir.\"\n2) \"What's that you're chewing on?\"\n3) \"Has anyone in Riggertown come down with a mysterious illness recently?\"\n4) \"Nothing, sorry.\"\n\n> 2\n\"What's that you're chewing on?\"\n\n\"This?\" He holds up the half-chewed stick. \"It's a stick of gold. I'm sucking on it, see? Brings out the flavor.\"\n\n\"Oh.\"\n\n\"Yeah.\"\n\n1) \"I'm curious. What does gold taste like?\"\n2) \"By the way, I never caught your name.\"\n3) \"Has anyone in Riggertown come down with a mysterious illness recently?\"\n4) \"I'll be back soon.\"\n\n> 1\n\"I'm curious,\" you remark. \"What does gold taste like?\"\n\n\"Ah,\" he says. \"Now there's a fine question. Metals, see, all of them have got different flavors. You're a doctor, ain't you?\"\n\n1) \"Um, yes.\"\n2) \"Um, no.\"\n\n> 2\n\"Um, no.\"\n\n\"No?\" His ears droop. \"I thought I had you figured from your jacket. Anyway -- you've surely heard of the metal correspondences, yes? Lead to yellow bile, tin to blood, iron to black bile? It tastes just like that. You can taste them like a bouquet on your tongue -- the correspondences, the extremes.\"\n\n1) \"That doesn't sound very palatable.\"\n2) \"So what does gold taste like?\"\n\n> 2\n\"So what does gold taste like?\"\n\n\"Gold, you ask?\" The goblin leans forward with shining eyes. \"Gold is different from all of them. Gold corresponds to the heart.\nTasting it is like tasting the sun, the soul. Biting\ndown on a freshly transmuted nugget -- ah! Now that, I dare say, is a feast fit for a king.\"\n\n1) \"That's... very interesting.\"\n2) \"Is it healthy to be snacking on gold like this?\"\n\n> 2\n\"Is it healthy to be snacking on gold like this?\"\n\nHe shrugs. \"You tell me, Doc.\"\n\n\"I -- I already told you, I'm not a doctor...\"\n\n\"So it is, so it is. Healthful, not healthful -- who's counting? Not me, that's for certain.\"\n\nHe takes another bite out of his stick, and grins a toothy grin.\n\n1) \"By the way, I never caught your name.\"\n2) \"Has anyone in Riggertown come down with a mysterious illness recently?\"\n3) \"I'll be back soon.\"\n\n> 1\n\"By the way, I never caught your name.\"\n\nHis lips curl wryly. \"Never caught yours either.\"\n\n\"Um... I'm Marid,\" you say. \"Marid Orpheia.\"\n\n\"Well, I'm Donti,\" he says. \"Just Donti. Good afternoon to you, Marid Orpheia.\"\n\n1) \"Has anyone in Riggertown come down with a mysterious illness recently?\"\n2) \"Talk to you later, Donti.\"\n\n> 1\n\"Has anyone in Riggertown come down with a mysterious illness recently?\" you ask.\n\n\"Eh?\" Donti frowns. \"What kind of illness?\"\n\nYou briefly elucidate the symptoms, and a black look comes over his face.\nface.\"Talk about a nasty business,\" he remarks. \"No, I can't say I've ever come across something like that before, and I don't know anyone who has. But I'll keep an eye out, and I'll spread the word for you. You'll know if someone so much as sneezes in this town, so it is.\"\nYou'll know if someone so much as sneezes in this town, so it is.\"\"That would be a great help,\" you say. \"Thank you.\"\nis.\"\"That would be a great help,\" you say. \"Thank you.\"\"Don't mention it. Just doing what I can.\"\n\n1) \"Talk to you later, Donti.\"\n\n> 1\n\"Talk to you later, Donti.\"\n\n\"Good health to you.\"\n\nHe waves you off and goes back to chewing on his stick.\n\n> J.\nFourth of Aquaria, Auritum IV\n\nThe poorest parts of the district have been an ordeal to walk through, but the worst has finally passed. After everything that I've seen today, having to break the news of Reden's death... somehow doesn't seem as bad.\n\nCurrent objectives:\n\n- Find Zoiro, Reden's brother, in Riggertown\n\nMarid's notes:\n\n- I learned that Zoiro lives on Layabout Row, in Upper Riggertown, and works at the Riggertown Mechanistry.\n\nRiggertown, Lower Level\nThis peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter.\n\nYou can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk.\n\nDonti is sitting on his usual post, chewing on his golden stick and watching the midday crowd.\n\n> Go upward\nRiggertown, Upper Level\nThis is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities.\n\nTo the south looms an enormously noisy factory, which signage identifies as the Riggertown Mechanistry. A quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal.\n\n> Go south\nThis building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity.\n\nTo the north, through a series of raised metal shutters, is the exit.\n\nA large gobliness is walking among the workers, pausing now and then to dish out a tongue-lashing. This must be the forewoman of the shift.\n\n> You talk to the gobliness\nAs the forewoman finishes lecturing one of her workers, you take the opportunity to approach her.\n\n\"Excuse me,\" you say. \"Are you the forewoman here?\"\n\nShe turns and grimaces. \"What do you want? Make it quick. I'm busy.\"\n\n1) \"Do you greet everyone like that?\"\n2) \"I'm looking for a man named Zoiro...\"\n3) \"Never mind. Forget I asked.\"\n\n> 2\n\"I'm looking for a man named Zoiro. I have it on good authority that he's employed here.\"\n\n\"Yeah, he is.\" The forewoman narrows her eyes. \"What's this about? He miss a payment for something?\"\n\n1) \"Something like that.\"\n2) \"I have a message for him. From Doctor Cavala.\"\n3) \"There's been a death in the family. I'm here to break the bad news.\"\n\n> 3\n\"There's been a death in the family. I'm here to break the bad news.\"\n\nShe covers her mouth.\n\n\"Oh,\" she says. \"Oh dear. I didn't think...\"\n\nShe shakes her head and trails off. With a wave of her hand she beckons you to follow, and the two of you make your way across the factory floor.\n\n\"Damned unlucky business,\" she mutters. \"Was it violence or disease that -- oh, it doesn't matter. I suppose I'll have to give him compassionate leave either way...\"She leads you to one of the side stations, where a pair of men are hard at work assembling animus lanterns. They look up with trepidation as you approach.\nlanterns. They look up with trepidation as you approach.\"Zoiro!\" she says. \"This here lady's got a message for you. Listen up, because she's only going to say it once.\"\nshe's only going to say it once.\"You glance at her. She inclines her head, as if to say you're on your own now, before turning and disappearing into the forest of assembly lines.\ndisappearing into the forest of assembly lines.You're left with the two goblins, who are more than a little nonplussed. They look at you. You look at them.\n\n1) \"Um.\"\n2) \"Hello...\"\n3) \"Which one of you is Zoiro?\"\n\n> 2\n\"Hello,\" you say. \"My name is Marid. Marid Orpheia.\"\n\nThe goblins look at each other and shrug.\nThe goblins look at each other and shrug.\"I'm Koriph,\" says the goblin on the right.\non the right.\"I'm Zoiro,\" says the goblin on the left.\n\n1) \"Um.\"\n2) \"I have some bad news.\"\n\n> 2\nYou take a deep breath.\n\n\"I have some bad news.\"\n\nThe goblins look at each other. The atmosphere has grown abruptly heavier.\n\nheavier.\"Shit,\" Zoiro says, after a pause. \"What kind of bad news?\"\n\nheavier.\"Shit,\" Zoiro says, after a pause. \"What kind of bad news?\"\"This isn't the best place,\" you tell him. \"Is there a smoking room around here? Somewhere we'll have peace and quiet?\"\n\nroom around here? Somewhere we'll have peace and quiet?\"Zoiro licks his lips nervously. \"The... the smoking room, yeah. Come on. I'll show you. Come on, Koriph -- you too. Let's get this over with.\"\n\nyou. Come on, Koriph -- you too. Let's get this over with.\"You are brought into a little cubbyhole of a room, past a curtain you have to stoop to go through. The odor of smoke lingers uncomfortably in the air, just on the edge of your nostrils.\n\nair, just on the edge of your nostrils.Zoiro sits in an armchair. Koriph sits next to him. You take a seat opposite, going over your words in your mind.\n\n1) <Be direct.>\n2) <Be gentle.>\n3) <Be professional.>\n\n> 3\n\"It's about your brother, Reden.\"\n\nZoiro leans forward. \"Why? What happened to him?\"\n\n\"Last night, during the last shift at Doctor Cavala's clinic, he staggered through the door seriously ill. His symptoms were unlike anything Doctor Cavala had ever seen.\"Zoiro's eyes widen. \"He -- he wasn't sick at all when I saw him last.\"\n\nwasn't sick at all when I saw him last.\"You take a breath, keep your eyes fixed on him.\n\neyes fixed on him.\"His heart and lungs had failed. He was hemorrhaging badly. We rushed him to the surgery room, but -- but --\"\n\nbadly. We rushed him to the surgery room, but -- but --\"\"-- Oh Primes --\"\n\n--\"You look away.\n\n--\"You look away.\"I'm sorry,\" you whisper. \"He died on the gurney. We couldn't save him.\"\n\ncouldn't save him.\"Zoiro falls silent. He nods, bites his lip, buries his head in his hands.\n\nhis head in his hands.Koriph puts a hand on his shoulder.\n\nhis head in his hands.Koriph puts a hand on his shoulder.\"Well,\" says Zoiro at last. \"I... I shouldn't be surprised. It was bound to happen sooner or later. He was a bum. A fucking disgrace. He was going to catch something, living the way he did...\"\n\ncatch something, living the way he did...\"He hangs his head.\n\ncatch something, living the way he did...\"He hangs his head.\"But it hurts,\" he says. \"Knowing that he's gone.\"\n\n1) \"I'm sorry...\"\n2) \"Do you need a moment?\"\n3) \"You can ask me anything...\"\n4) <Say nothing.>\n\n> 1\n\"I'm --\"\n\nYou blink back tears.\n\n\"I'm so sorry. I'm so, so sorry.\"\n\nZoiro shakes his head. \"Don't beat yourself up, kid. It was... it was his time. Like I said... it was bound to happen.\"\n\n1) \"Will you be okay?\"\n2) <Say nothing.>\n\n> 1\n\"Will you be okay?\"\n\nZoiro looks down, and is quiet.\nZoiro looks down, and is quiet.\"There's something I want to know,\" he says. \"About Reden.\"\nsays. \"About Reden.\"A pause, uncertain.\nsays. \"About Reden.\"A pause, uncertain.\"Where is his body now?\"\n\n1) \"We're dissecting his body...\"\n2) \"We couldn't recover his body...\"\n\n> 1\n\"We're... we're dissecting his body,\" you tell him. \"Doctor Cavala has invoked the ius medici --\"\n\n\"The what?\"\n\n\"The right of the doctor,\" you explain. \"The illness that took Reden's life... it's unlike anything we've encountered before. We don't know how contagious it is, or who else might be at risk. We need to study the cadaver so we can make sure it doesn't kill anyone else.\"\nthe cadaver so we can make sure it doesn't kill anyone else.\"Zoiro nods slowly.\nnods slowly.\"I... I guess that makes sense,\" he says. \"Do what you need to do. Just... promise me you'll cremate him, when this is all over.\"\nover.\"He clenches his fists.\nover.\"He clenches his fists.\"And make sure you find out what you're looking for. Promise it.\"\n\n1) \"I promise...\"\n2) \"I can't make that promise...\"\n\n> 2\n\"I... I can't make that promise.\"\n\nYour voice trembles. You look into his eyes.\n\n\"I don't make promises I don't know if I can keep. I don't know if I'm strong enough. I don't know if Doctor Cavala can do it.\n\nstrong enough. I don't know if Doctor Cavala can do it.\"But I promise that we will try.\"\n\nthat we will try.\"Zoiro nods, even as tears well up and glitter on his cheeks.\n\nHe stands up and offers his hand. You shake on it.\n\n\"Good luck.\" He squeezes your hand. \"I believe in you.\"\n\n\"Good luck.\" He squeezes your hand. \"I believe in you.\"He takes Koriph's hand and nods at you in lieu of farewell.\n\nKoriph's hand and nods at you in lieu of farewell.\"Come on, Koriph. Let's talk to the forewoman about compassionate leave...\"\n\nLet's talk to the forewoman about compassionate leave...\"You get up and make your way back to the Mechanistry floor. Your work here is done. It's time to go."
    },
    {
        "text": "[Themes: Mystery, fantasy, blood, coming of age, horror, mystery, suspense]\n\n> Look around\nThis building is just as haphazard inside as it is on the outside. Assembly lines run up and down and all around the many levels of this building, weighed down by unfinished, not-quite-manufactured things. At stations along the lines, factory workers are hunched over workbenches, welding disparate parts together within acceptable margins of regularity.\n\nTo the north, through a series of raised metal shutters, is the exit.\n\n> Go north\nRiggertown, Upper Level\nThis is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities.\n\nTo the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal.\n\nIt's getting dark out. The spires and factories are closing for the day."
    },
    {
        "text": "> You go downwards\nRiggertown, Lower Level\nThis peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter.\n\nYou can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk.\n\nA boy walks past doing a handstand.\n\n> Go west\nYou wander among the shacks for a bit, but it's getting dark out. You return to the main level before you get lost.\n\n> Go upward\nRiggertown, Upper Level\nThis is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities.\n\nTo the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal.\n\n> You go north\nGlittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown.\n\nA closed manhole is recessed into the footpath.\n\n> You go north\nVia Terminalis, West Street\nYou are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city.\n\nYou can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south.\n\nA harried-looking alchemist runs past.\n\n> Go west\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight.\n\nThe white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east.\n\nWait a moment.\nWait a moment.Someone on the street has just drawn her sword and stalked into Doctor Cavala's clinic.\n\n> You go to the west\nA row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nAnd she is there, walking slowly toward the mortuary stairs. Her sword glints in the final rays of sunlight."
    },
    {
        "text": "[Themes: Mystery, fantasy, horror, coming of age, suspense, mystery]\n\n> Go downward\nglints in the final rays of sunlight.\"Coming!\" Doctor Cavala calls. You hear the doctor's chair shift, her footfalls climbing the steps.\nYou hear the doctor's chair shift, her footfalls climbing the steps.The hooded stranger raises her sword.\n\n> Yell\n\"Get away!\" you scream.\n\nThe assassin turns her head and looks directly at you.\n\nThe assassin turns her head and looks directly at you.Her face catches the light and she has so\n\nthe light and she has somanyteethand Doctor Cavala comes up the stairs with a flying tackle that sends the assassin staggering into the waiting chairs. In three steps she is reaching under the counter -- but the assassin is quicker -- her blade faster -- blood spatters the floor -- Doctor Cavala cries out -- a blur of motion -- and there is a flash and thunder from the walls.\n\nflash and thunder from the walls.The assassin clutches at her face. Doctor Cavala raises the cutter and pulls the trigger again -- lightning arcs, misses by inches.\n\nlightning arcs, misses by inches.\"Get the fuck out of my clinic,\" she growls.\n\ngrowls.A rush of wind. The assassin is gone. You whirl around and see a dark shape disappearing into the night.\n\na dark shape disappearing into the night.Doctor Cavala takes a deep breath. Stifles a cry.\n\nbreath. Stifles a cry.\"Marid,\" she says. \"My leg.\"\n\nbreath. Stifles a cry.\"Marid,\" she says. \"My leg.\"You find her slumped on the floor, her chest rising and falling. A gash has been torn above her left knee. Her entire trouser leg is stained red.\n\n1) \"Doctor...!\"\n2) \"Oh Primes...\"\n\n> 2\n\"Oh Primes...\"\n\nYou rush to Doctor Cavala's side. Even from a cursory examination, it's obvious that she needs help, and quickly.\n\n\"Hurry,\" she says through gritted teeth. \"There's a first aid bag behind the counter...\"\nbehind the counter...\"(This scene has lethal consequences. You may wish to save the game by typing >save.)\n\n> You take the bag\nYou grab the bag and wrest it open. Inside are a bellows, an aspirator, a stethoscope, a blood pressure gauge, a pair of scissors, a pair of tweezers, a bar of soap, a roll of tape, five vials (containing saline, laudanum, smelling salts, aqua vitae, and tincture-of-resins) --\n\nThere. An antiseptic dressing and an elastic bandage.\n\n> You put the dressing on leg\n(first taking the dressing and the bandage)\n\"There's no debris.\" Doctor Cavala's voice is shaking. \"Remember. Apply pressure --\"\n\nShe cries out as the dressing touches her wound. You force yourself to ignore her gasps, press down hard, loop the bandage tight. And natron sigils flare on the fabric: the wound is sealed.\n\n\"Not... not bad,\" she croaks, when she has the voice to speak.\n\"Not... not bad,\" she croaks, when she has the voice to speak.\"Can you move?\" you ask.\nmove?\" you ask.Her face twitches.\n\n\"Primes, it hurts. I... I think my tendon's gone.\"\n\"Primes, it hurts. I... I think my tendon's gone.\"\"You're still bleeding,\" you tell her. \"I need to --\"\n\n\"-- raise my leg above chest level,\" she finishes. \"I understand. Do it, Marid. Prop it up on the chair.\"\n\n> Prop leg on chair\n(first putting down the first aid bag)\nTaken --\n\nDoctor Cavala grits her teeth and screws her eyes shut. Her bloodstained trousers stick to your gloves. Her leg feels heavy and fragile in your hands, like a porcelain model that will shatter if you slip.\n\nSeconds pass before her leg finds its place, before you dare loosen your grip and let go --\n\nyour grip and let go --You let go.\n\nyour grip and let go --You let go.Doctor Cavala breathes a sigh of relief.\n\nrelief.You exhale. Something in your expression makes Doctor Cavala chuckle, and her laughter is infectious. The two of you, master and apprentice -- you can't help but start laughing at the terror, the absurdity of the situation.\n\nabsurdity of the situation.\"The bleeding's stopped,\" you say, wiping your gloves on your apron. \"I... I think.\"\n\nyour gloves on your apron. \"I... I think.\"\"Then we've done the best we could,\" Doctor Cavala replies. \"You've done well, Marid. Very well. I'm afraid this evening would have gone rather worse without you --\"\n\nI'm afraid this evening would have gone rather worse without you --\"She smirks at her own gallows humor, and looks morbidly satisfied.\n\n1) <Smile.>\n2) \"I'm just glad you're all right, Doctor.\"\n3) \"I was so worried for you...\"\n\n> 3\n\"I was so worried for you,\" you say. \"I thought...\"\n\n\"I know.\" Doctor Cavala's voice is soft. \"I know.\"\n\n1) <Smile.>\n2) \"I'm just glad you're all right, Doctor.\"\n3) \"Will you be safe here?\"\n\n> 3\nYou glance at the clinic door. The Luna is ascending,\npainting the Via Terminalis in the colors of moonlight.\n\n\"Will you be safe here?\"\n\n\"I don't think she'll be coming back, if that's what you mean.\" She holds up her cutter. \"You may rest assured that I'm a very good shot.\"\n\n\"But what about your injury?\" you ask. \"Are you going to sleep on the floor? What if you need to relieve yourself? I -- I don't know if I'm comfortable leaving you here. Perhaps I should --\"Boots clatter on cobble. Lanterns approach. The clinic door swings open, admitting a bustle of hard-eyed civil guards.\nbustle of hard-eyed civil guards.\"Hullo!\" the point man says. \"Doctor Cavala. The neighbors reported a scream, and we responded as soon as we... what happened here?\"There's something oddly familiar about him...\n\nhim...\"...Horatio?\" you say.\n\nhim...\"...Horatio?\" you say.\"Marid?\" He turns -- it is him,\nthe buffoon. \"What are you doing here? Is everything alright?\"\n\nthe buffoon. \"What are you doing here? Is everything alright?\"\"You've arrived with commendable timing,\" remarks Doctor Cavala. \"I've just chased a violent hoodlum out of my clinic, and Servator Marid here has seen to my injuries. We were just on the topic of informing the authorities, but it seems that won't be necessary...\"\n\n* * *\n\n* * *It takes the better part of an\nhour to sort everything out with the Vigiles. You're interviewed by a bored-looking patrolwoman, and given a steaming mug of tea to wash away the foul taste of the evening's events. An agreement is made: Doctor Cavala will remain under Vigiles protection for the time being, with Horatio assigned as a personal assistant and bodyguard.\n\nwith Horatio assigned as a personal assistant and bodyguard.\"...and you're saying you have no idea who the assailant was?\" the interviewer is asking. \"Surely you must have made an enemy of someone.\"\n\nis asking. \"Surely you must have made an enemy of\nsomeone.\"\"I'm telling you, I know this district.\"\nDoctor Cavala takes another sip from her drinking straw. \"No one is fool enough to antagonize the only pro bono doctor in the\ncity. Just ask Marid.\"\n\ncity. Just ask Marid.\"The interviewer shoots you an inquiring look.\n\n1) \"It's true. I was almost robbed in the Shanty Quarter...\"\n2) \"Aren't there other doctors operating in the area?\"\n3) \"Something definitely smells about this incident...\"\n4) <Remain silent.>\n\n> 1\n\"It's true. I was almost robbed in the Shanty Quarter...\"\n\nYou describe how you were accosted; how the robbers were terrified once they realized your identity. The interviewer writes furiously in her little black notebook, pursing her lips all the while.\n\n\"You see?\" Doctor Cavala says. \"Even if I stepped on someone's toes, they wouldn't have the stones to touch me.\"\n\n\"But clearly,\" the interviewer counters, \"someone does.\"\n\n1) \"Aren't there other doctors operating in the area?\"\n2) \"Something definitely smells about this incident...\"\n\n> 2\n\"Something definitely smells about this incident. I can't imagine why someone would have it out for Doctor Cavala -- and why now,\nof all times?\"\n\nThe doctor falls silent. The interviewer's eyes dart between you.\nThe doctor falls silent. The interviewer's eyes dart between you.It is Doctor Cavala who breaks the silence, with words that prick like pins.\n\n\"Do you think it's connected to Reden?\" she asks. \"To what happened last night?\"\nlast night?\"You hesitate.\n\n1) \"Yes...\"\n2) \"No...\"\n3) \"Maybe...\"\n4) \"I don't know.\"\n\n> 3\n\"...Maybe,\" you say. \"It's uncomfortably close. I can't imagine it being a coincidence. But if it isn't -- how could the surgery possibly be connected? Why would anyone want you dead for such a thing?\"\n\nDoctor Cavala furrows her brow. \"I certainly hope it's a coincidence,\" she says. \"If the alternative is true...\"\n\nShe doesn't finish her sentence. She takes another sip of tea, looking greatly perturbed.\ngreatly perturbed.\"Well,\" the interviewer finally says. \"This has all been very fascinating -- but the hour is growing late, and we are no closer to discovering any answers. I shall recommend a better equipped team to join you tomorrow, Doctor. Until then --\"\nteam to join you tomorrow, Doctor. Until then --\"The guards leave the clinic following a perfunctory sending-off. You are left in the company of Doctor Cavala and Horatio, who have settled down in the waiting area for the long haul.\nwaiting area for the long haul.## Clinic\nA row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\nDoctor Cavala is recuperating in a makeshift bed, with Horatio keeping watch nearby.\n\nYou catch yourself yawning; you didn't realize how tired you were. Perhaps you should get back home before it's too dark out.\n\n> You talk to Horatio\nYou approach the makeshift bed, and Doctor Cavala and Horatio turn to you.\n\n1) <Speak to Doctor Cavala...>\n2) <Speak to Horatio...>\n3) \"I should be going...\"\n\n> 3\n\"I should be going,\" you say. \"I'll see you tomorrow.\"\n\n\"Good night, Marid.\"\n\n\"G'night, Marid.\"\n\n\"Good night, Doctor, Horatio.\"\n\n> You go to the east\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain.\n\nThe white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north.\n\n> You go north\nHere is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room, visit the public house to the west, or exit the building to the south.\n\nYou notice a single pigeon half-hidden under the stairs. The gobliness and her golem must have missed it.\n\n> You look at pigeon\nYou take a step closer --The pigeon twitches.\n\nYou take a step closer --The pigeon twitches.Before your eyes, the pigeon begins to move, like a delicate clockwork replica that has been wound up again. It rights itself in a flutter of feathers, and coos, unmistakably alive.\n\nunmistakably alive.It looks around. It cocks its head in your direction.\n\ndirection.And with no more than a thought, it leaps awing, and disappears into the glittering night sky.\n\ndisappears into the glittering night sky.You touch your pendant.\n\n> Go upwards\n(first opening the door to your dormitory room)\n(closing the door behind you)\n\nThough this space of yours is small, you have done your best to furnish it with the comforts of home. In one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium.\n\nYour bed is at the end of the room, beside the window.\n\n> You get in the bed\nYou change out of your clothes and curl up beneath the sheets. But sleep does not come easily.\n\nYou close your eyes and drift in that listless limbo between wakefulness and slumber. A clockwork clicking echoes in your mind, behind your eyelids, like a promise you've forgotten and cannot remember.\n\nremember.You barely notice when the world melts away -- when it dissolves, fades, becomes a haze of images and memories.\n\ndissolves, fades, becomes a haze of images and memories.Your last thought before you fall asleep is a quiet realization --\n\nthought before you fall asleep is a quiet realization --the clicking in your mind is the sound of teeth.\n\nA knocking at the door jolts you awake.\n\n\"Marid?\" comes Horatio's voice.\n\n1) <Ignore the knocking.>\n2) <Answer the door.>\n\n> 2\nYou clamber out of bed, throw on your jacket, and shuffle up to the door.\n\n1) <Look through the peephole.>\n2) \"Horatio?\"\n3) \"What is it?\"\n4) <Open the door.>\n\n> 1\nA peep reveals a Horatio who looks as tired and disheveled as you are.\n\n1) \"Horatio?\"\n2) \"What is it?\"\n3) <Open the door.>\n\n> 1\n\"Horatio?\"\n\n\"Marid! So you do live here.\" He sounds relieved. \"Marid,\nlisten. There's been trouble. Doctor Cavala wants you to come down to the clinic as soon as you can.\"\n\n1) \"What's going on?\"\n2) \"Trouble? What kind of trouble?\"\n3) \"I'll be there.\"\n\n> 2\nYou're wide awake now. \"Trouble? What kind of trouble?\"\n\n\"Big trouble. We've gotten wind of more deaths in the Channelworks District, and Doctor Cavala thinks they all died of the same disease as Reden. People are saying it's an epidemic --\"\nas Reden. People are saying it's an epidemic --\"\"Oh Primes --\"\n\n\"I know. Come down as soon as you can. The doctor will fill you in.\"\n\"I know. Come down as soon as you can. The doctor will fill you in.\"Horatio's footsteps disappear down the stairs. You hurry through your morning routine and slip your boots on."
    },
    {
        "text": "[Themes: Mystery, coming of age, blood, mystery, suspense]\n\n> Go downward\n(first opening the door to your dormitory room)\n(closing the door behind you)\n\nHere is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nFrom here, you can go up to your dormitory room or exit the building to the south.\n\n> Go south\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight.\n\nThe white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north.\n\nSome pigeons fly overhead.\n\n> You go west\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nDoctor Cavala and Horatio have been busy this morning. You spy fresh cups of tea beside the makeshift bed, and plates with crumbs that Horatio is in the process of tidying. Doctor Cavala, for her part, looks up from a newspaper as you enter.\n\n\"Marid. Has Horatio told you what's happened?\"\n\"Marid. Has Horatio told you what's happened?\"\"More deaths?\"\n\nShe passes the newspaper to you. \"Take a look at this.\"\nShe passes the newspaper to you. \"Take a look at this.\"DOCTOR\nFOUND DEAD IN HIS OWN HOME. Doctor Arturus, the renowned pathologist of the Channelworks District, was found dead this morning. Black blood was observed running from his eyes and mouth, a symptom shared by several patients he had recently received. Doctor Justinian, who discovered the body, expressed fears that his colleague's death could mark the beginning of a dangerous epidemic --\nmark the beginning of a dangerous epidemic --A chill grips your\nspine.\nspine.Doctor Cavala nods grimly. \"Our suspicions have proven true. Reden is the first of many. More than that -- Doctor Arturus himself is among the casualties.\"\n\n1) \"Oh Primes.\"\n2) \"How could this have happened?\"\n3) \"What do we do now?\"\n\n> 2\n\"How could this have happened?\"\n\nShe shakes her head. \"Very easily. It is unlikely for a medical practitioner to contract a patient's disease -- not with the proper safeguards in place -- but not inconceivable. And Doctor Arturus... oh, the bloody fool. He should have known better...\"\n\n1) \"Oh Primes.\"\n2) \"What do we do now?\"\n\n> 2\n\"What do we do now?\"\n\n\"That, Marid, is a very good question.\"\n\nDoctor Cavala folds her arms. Her expression seethes with disquiet, with the agitation of an invalid accustomed to physical activity.\n\n\"Recent events have backed us into a corner,\" she says. \"I can't do much of anything, on account of my injury. Horatio's hands are full with matters around the clinic. That leaves only one person to look into the situation --\"\ninto the situation --\"\"Myself,\" you say.\ninto the situation --\"\"Myself,\" you say.\"Exactly.\" She snaps her fingers. \"Before we can combat the disease, we need data -- data that can only be gathered through firsthand observation. You've proven yourself to be dependable and resourceful. You have enough medical expertise to make informed judgments. It will have to be you who investigates this series of deaths.\"\ninvestigates this series of deaths.\"You consider her words carefully.\n\n1) \"Does it have to be me?\"\n2) \"Where should I begin?\"\n3) \"What should I look out for?\"\n4) \"Can you tell me anything about Doctor Arturus?\"\n5) \"Do you think Doctor Justinian can help?\"\n6) \"I'm on it, Doctor.\"\n\n> 2\n\"Where should I begin?\" you ask.\n\n\"You could begin by examining the bodies,\" Doctor Cavala says. \"He'll be in his clinic -- I suppose it's Doctor Justinian's clinic now. Talk to Doctor Justinian about it, and check his patient records for possible contagion vectors between the deceased.\n\n\"It might also be worth asking Zoiro about his brother's associations. See if you can find any correlation between the patients so far. With any luck, we'll uncover the source of the outbreak.\"\n\n1) \"What should I look out for?\"\n2) \"Can you tell me anything about Doctor Arturus?\"\n3) \"Do you think Doctor Justinian can help?\"\n4) \"I'm on it, Doctor.\"\n\n> 1\n\"What should I look out for?\"\n\n\"Our goal is to combat the disease,\" Doctor Cavala replies. \"We need to determine the means by which it is transmitted -- whether it is endemic to a particular area, or spread by contact, or something else entirely. Once the transmission method is determined, we can take measures to isolate the disease and find a cure.\"\n\n1) \"Can you tell me anything about Doctor Arturus?\"\n2) \"Do you think Doctor Justinian can help?\"\n3) \"I'm on it, Doctor.\"\n\n> 1\n\"Can you tell me anything about Doctor Arturus?\"\n\nShe sighs. \"Not much, I'm afraid. Doctor Arturus was from before my time. I'm familiar with his corpus of work, of course -- even met him once or twice, in a professional capacity -- but he was a reclusive man, and rarely involved in everyday affairs.\n\n\"Try asking Doctor Justinian instead. He's had more contact with the man than anyone else.\"\n\n1) \"Do you think Doctor Justinian can help?\"\n2) \"I'm on it, Doctor.\"\n\n> 1\n\"Do you think Doctor Justinian can help?\" you ask.\n\nDoctor Cavala nods. \"He likely can. At minimum, he can give you a better picture of the events that led to Doctor Arturus's death. Beyond that, he's now the only other qualified doctor in the district. He'll be a useful ally if we are to contain the disease.\"\n\n1) \"I'm on it, Doctor.\"\n\n> 1\n\"I'm on it, Doctor.\"\n\nShe nods. \"Remember: talk to Doctor Justinian in the Turris Infinita. Investigate all the deaths that have occurred so far. If you find a connection, we can isolate the transmission vector and quarantine the disease.\"\n\ndisease.\"\"Got it.\"\n\nShe holds up a hand. \"Before you go, I have a couple of things to give you. First -- Horatio, would you fetch me a pen?\"\n\nyou. First -- Horatio, would you fetch me a pen?\"The pen is delivered. Doctor Cavala signs a small piece of paper, then seals it with a sigil-brand and hands it to you.\n\nsigil-brand and hands it to you.\"This is my signum,\" she says. \"It's proof that you're acting on my behalf, for anyone who asks. And another thing --\"\n\nanother thing --\"She has Horatio retrieve a sleek instrument from her desk. It is orichalcum, threaded with tiny magnification lenses, and your eyes widen as he places it in your palm.\n\nyour eyes widen as he places it in your palm.\"Yes, Marid.\" She smiles wryly. \"Since you'll be dealing with a lot of dead bodies, you can borrow my endoscope for this investigation. Just promise me you'll return it in one piece -- I'd hate to take the cost out of your next paycheck.\"\n\npaycheck.\"\"I -- I understand, Doctor.\"\n\nShe squeezes your hand. \"Good luck, Marid. I'm counting on you.\"\n\nShe squeezes your hand. \"Good luck, Marid. I'm counting on you.\"You step back and put the endoscope in your pocket.\n\n(The endoscope can be used to look inside narrow pathways. To use the endoscope, >put it in the object you wish to inspect.)\n\n> You examine the endoscope\nAn intricate assembly of lenses mounted on adjustable orichalcum rods. It can be inserted into cadavers to examine their internal pathways, and may be useful for inspecting other crevices of a similar nature.\n\n> You look at the signum\nA piece of paper signed and sealed by Doctor Cavala. It declares that Servator Marid Orpheia is formally authorized to act in the signatory's stead, and that anyone who disagrees is welcome to take it up with the signatory.\n\nHoratio yawns.\n\n> You talk to Horatio\nYou approach Horatio, and he grins a little bashfully.\n\n\"Hey, Marid,\" he says.\n\n1) \"You don't look too good. Did you sleep well last night?\"\n2) \"What do you think of the situation so far?\"\n3) \"See you around, Horatio.\"\n\n> 1\n\"You don't look too good,\" you say. \"Did you sleep well last night?\"\n\n\"Well... no.\" He rubs his eyes. \"I couldn't get any shut-eye in the clinic -- too much calomel in the air. Doctor Cavala slept like a baby, though. I don't know how she does it...\"\n\nHe sighs and looks you over.\n\n\"To be honest,\" he says, \"you don't look too good yourself. Your tattoos are all in a jumble. I know the doctor has you running errands for her, but -- just watch yourself out there, all right?\"\n\n\"I will,\" you say. \"I promise.\"\n\n1) \"What do you think of the situation so far?\"\n2) \"See you around, Horatio.\"\n\n> 1\n\"What do you think of the situation so far?\"\n\nHoratio's jaw hardens, and he looks contemplative.\n\n\"I... I don't really know what to think,\" he says. \"You and Doctor Cavala have been at this for a lot longer than I have. All I know that people seem to be dropping like flies all of a sudden. Doctor Arturus is dead -- even Doctor Cavala's got a ruined leg. How can we fix the problem when we don't even know what's going on?\"\n\n1) \"See you around, Horatio.\"\n\n> 1\n\"See you around, Horatio.\"\n\n\"You too, Marid.\"\n\nYou step back, and Horatio returns to his duties.\n\n> You look at the tattoos\nYour father gave you these tattoos when you were a young child, as is tradition in some alchemical families. Even now, the flowing, circuitous lines remind you of him.\n\n\"I expect we shall be waiting awhile,\" Doctor Cavala observes. \"How about a game of crucible, Horatio?\"\n\n\"Sure, I guess.\"\n\nHoratio produces a pack of cards and sits opposite Doctor Cavala.\n\n> You go east\n(first opening the front door of the clinic)\n(closing the door behind you)\n\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. From here the street-lamps and shop windows line the great spine of the Channelworks District until, shrouded in the mists of the canal, it curves out of sight.\n\nThe white cross of Doctor Cavala's clinic is to the west, the dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south. The great Via Terminalis continues to the east.\n\n> Go east\nVia Terminalis, West Street\nYou are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city.\n\nYou can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south.\n\n\"That poor doctor!\" you overhear someone in the crowd say. \"What is the world coming to?...\"\n\n> You go to the south-east\nHere the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky.\n\nThe Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south.\n\n> You go southeast\nTraffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights.\n\nThe Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum.\n\nAbove the Turris Infinita, a black banner casts its trailing shadow across the sky.\n\n> You examine the black banner\nA black banner is traditionally put up when the head of the house has died.\n\nA mutant in work clothes tromps past.\n\n> You go to the east\n(first opening the ornate double doors)\n(closing the doors behind you)\n\nThe atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds. You find yourself treading softly, lightly -- as though if you took a wrong step, the whole glass tower would come crashing down.\n\nAs you enter the foyer, two gargoyles land to your left and right. They move to seize your arms.\nThey move to seize your arms.\"I am sorry to inform you that the Turris Infinita is now closed.\" The porter regards you humorlessly.\n\"There is to be no trespassing -- no idle journalism --\"\n\"There is to be no trespassing -- no idle journalism --\"Her lower lip curls.\n\n\"No gawking.\"\n\n1) \"I'm charmed.\"\n2) \"Why is the Turris Infinita closed?\"\n3) \"I'm here on business.\"\n\n> 3\n\"I'm here on business,\" you say pointedly.\n\nShe rolls her eyes. \"You and every dullard that comes through these doors. Do I look as though I give a whit about your business? Which part of 'no trespassing' do you not comprehend?\"\n\n1) \"You're being completely unreasonable!\"\n2) \"Doctor Cavala has authorized me...\" <Present the signum.>\n\n> 2\nYou hold up the signum. \"Doctor Cavala has authorized me to investigate the death of Doctor Arturus in her stead. If you have a problem with that, you can take it up with Doctor Cavala.\"\n\nThe porter's gaze falls on the slip of paper in your hand. The corner of her mouth twitches.\"Is that so?\" she says. \"I believe I\nshall take the matter up with her. Thank you for the kind\noffer, and do inform the good doctor to arrange a meeting at\nher earliest convenience. Until then... the gargoyles will escort you to the door.\"\n\nto the door.\"Your face flushes. \"You --\"\n\nto the door.\"Your face flushes. \"You --\"A curtain rattles open. Surgical boots click on glass.\n\nSurgical boots click on glass.\"What's going on here?\" a smoky voice demands.\n\ndemands.You turn, and a young man with auburn hair is striding purposefully from the arch of Doctor Arturus's clinic. His coat ripples with natron filigree. There is an intensity in his expression, his visage.\n\nhis visage.Your heart skips a beat.\n\n\"D -- Doctor Justinian,\" you say.\n\n\"D -- Doctor Justinian,\" you say.\"Marid?\" He furrows his brow. \"Excubitores! Unhand this woman. She is a guest.\"\n\nThe gargoyles release you and vanish into the rafters. The porter looks accusingly at him.\n\nlooks accusingly at him.\"Doctor Justinian,\" she says. \"This is exceedingly irregular --\"\n\nexceedingly irregular --\"\"Regulations be damned,\" he replies.\n\"This is my friend, porter. I don't care what she's done.\nWe'll have words about this later.\"\n\nWe'll have words about this later.\"\"But --\"\n\nHe holds up a hand, and the porter falls silent.\n\nHe holds up a hand, and the porter falls silent.\"Good,\" he says.\n\nHe holds up a hand, and the porter falls silent.\"Good,\" he says.He turns to you, and his voice loses its edge, grows gentle.\n\nturns to you, and his voice loses its edge, grows gentle.\"Marid,\" he says. \"I thought you might be coming.\"\n\n1) \"Thanks for that.\"\n2) \"It's good to see you, Doctor Justinian.\"\n3) \"I wouldn't miss a chance to see you, Doctor Justinian.\"\n\n> 1\n\"Thanks... thanks for that,\" you say lamely.\n\n\"It's the least I can do.\" He nods. \"Come with me. We can speak more freely in the clinic proper...\"\n\n* * *\n\n* * *## Arturus's Clinic\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. But you can't bring yourself to focus on your surroundings -- not when Justinian's hand feels so warm around yours, and demands so much of your attention.\n\nYou know, intellectually, that it is normal for girls to develop crushes. That doesn't stop you from wanting to bury yourself in a hole right now. Why do you have to be so awkward?\n\nright now. Why do you have to be so awkward?Justinian leads\nyou to a coffee table and gestures to one of the armchairs. \"Please,\" he says. \"Take a seat.\"\n\nhe says. \"Take a seat.\"You sit down, and he sits opposite you. His eyes -- those eyes! -- they study you. Troubled. Concerned.\n\neyes -- those eyes! -- they study you. Troubled. Concerned.\"This is about Doctor Arturus's death, I take it?\"\n\n1) \"I'm so sorry you have to go through this, Justinian.\"\n2) \"I can't believe something like this is happening.\"\n3) \"Doctor Cavala sent me. We're investigating the disease that\nkilled Doctor Arturus...\"\n\n> 1\n\"I -- I'm so sorry you have to go through this, Justinian.\"\n\nHe lowers his eyes. \"I appreciate it, Marid. Doctor Arturus -- I haven't always been on the best of terms with him. But he was like a father to me.\"\n\n1) \"I can't believe something like this is happening.\"\n2) \"Doctor Cavala sent me. We're investigating the disease that\nkilled Doctor Arturus...\"\n\n> 2\n\"Doctor Cavala sent me,\" you say. \"We're -- we're investigating the disease that killed Doctor Arturus. Now that we three are the only medical professionals in the district, we -- we have to work together. If we're going to get through this.\"\n\nWhy are you blushing at a time like this? What is wrong with\nyou?\nyou?Justinian leans forward and clasps his hands. \"Marid,\" he says. \"I wish I could be of more help, but I'm afraid last night took... a toll on me. I don't know what I can provide that you don't already know...\"\non me. I don't know what I can provide that you don't already know...\"You try to compose your thoughts.\n\n1) \"I believe in you, Justinian.\"\n2) \"Can you tell me about how you discovered the body?\"\n3) \"Can you tell me anything about Doctor Arturus's\npatients?\"\n4) \"What are your thoughts on the disease?\"\n5) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n6) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\nYou can already feel the blood rising in your cheeks. Justinian -- you -- no. No!\n\nYou can't say it. You just can't.\n\n1) \"Can you tell me about how you discovered the body?\"\n2) \"Can you tell me anything about Doctor Arturus's\npatients?\"\n3) \"What are your thoughts on the disease?\"\n4) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n5) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"Can you... can you tell me about how you discovered the body?\"\n\nHe shakes his head. \"It's all a blur. Doctor Arturus had cloistered himself in the back of the clinic. I was instructed not to disturb him -- he seemed fine when I left in the evening. It was only when he didn't turn up for work this morning that I thought...\"\n\n\"...You thought something might have happened?\"\n\n\"Exactly.\" Justinian looks at his hands. \"When I called on him in his domicile -- the disease had taken him.\"\n\n1) \"Can you tell me anything about Doctor Arturus's\npatients?\"\n2) \"What are your thoughts on the disease?\"\n3) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n4) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"Can you tell me anything about Doctor Arturus's patients?\"\n\nJustinian's jaw hardens. \"I know very little,\" he says. \"Doctor Arturus... even in this clinic, with his aide, he was circumspect about his clients. He never told me anything. Never let me handle any of the administration. It's almost as if he didn't trust me -- but he was always a private man. I'm afraid I can't help you more.\"\n\n1) \"Do you know where the patient records are kept?\"\n2) \"What are your thoughts on the disease?\"\n3) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n4) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\nYou squirm in your seat. \"Do you know where the patient records are kept?\"\n\n\"Try Doctor Arturus's domicile,\" he says. \"He was obsessed with control. It would be like him to have every record on hand.\"\n\n1) \"What are your thoughts on the disease?\"\n2) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n3) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"What are your thoughts on... on the disease?\"\n\nA serious cast comes over Justinian's features, and he pauses before speaking.\n\n\"I know that it is dangerous, Marid. It has killed so many in mere days -- not even Doctor Arturus was safe, and he was the most cautious man I ever knew. If you plan to investigate this -- you must be careful, Marid. Very careful.\"\n\n1) \"Was Doctor Arturus a cautious man? Doctor Cavala didn't give\nme that impression.\"\n2) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n3) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"Was Doctor Arturus a cautious man?\" you ask. \"Doctor Cavala... didn't give me that impression.\"\n\nJustinian looks almost disappointed for a moment, and the look in his eyes breaks your heart.\n\n\"Doctor Cavala didn't know him like I did,\" he says, quietly.\n\n1) \"There was an attempt on Doctor Cavala's life. Do you have any\nidea why?\"\n2) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"There was... there was an attempt on Doctor Cavala's life. Do you have any idea why?\"\n\n\"Hmm?\"\n\nYou relate your recollection of last night's events, and Justinian purses his lips.\n\n\"I don't know what that's all about,\" he says. \"It sounds like Doctor Cavala is the one you should ask.\"\n\n1) \"I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\n> 1\n\"I'll... I'll look around the clinic. Perhaps I'll find something the Vigiles have missed.\"\n\nYou stand up a little too anxiously -- no, Marid, you're blowing\nit -- and then Justinian grabs your wrist and you react in an\nentirely unladylike fashion but his attention is focused completely on you.\n\n\"Marid,\" he says.\n\n\"Marid,\" he says.\"J-- Justinian?\"\n\n\"Marid,\" he says.\"J-- Justinian?\"\"Be careful.\" His voice is trembling. \"I don't want anything to happen to you. If -- if it's too dangerous -- you can just go back to Doctor Cavala. No one will begrudge you for it.\"\n\nit.\"His words wrench at your heartstrings. For a moment you have the urge to hug him and forget about everything -- forget about blood, forget about tears, forget about the dying and the dead.\n\nforget about tears, forget about the dying and the dead.But when you close your eyes, you know you'd never forgive yourself. Not for the rest of your life.\n\nrest of your life.\"I'll be careful,\" you tell him. \"I promise.\"\n\nrest of your life.\"I'll be careful,\" you tell him. \"I promise.\"He reluctantly lets go.\n\nreluctantly lets go.You turn and make your way into the frigid light.\n\nreluctantly lets go.You turn and make your way into the frigid light.## Arturus's Clinic\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work. Yet for all its technical mastery, the space seems somehow empty, somehow melancholy.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nA Vigiles examiner and his investigators are huddled around a group of tarpaulin-covered bodies. Beside them, Justinian sits at a coffee table, brooding.\n\n> You look at the examiner\nThe Vigiles examiner appears to be the one in charge of the team. He looks surprisingly human, if you discount his quivering mustache.\n\n> You talk to the examiner\nYou approach the team of Vigiles, signum in hand. The examiner's cilia twitch as he looks you over.\n\n\"Examiner Velox,\" he says. \"Channelworks Division. And who might you be?\"\nbe?\"\"My name is Servator Marid Orpheia,\" you reply. \"I'm here on behalf of Doctor Cavala. I need to study the bodies so we can develop a cure for the affliction.\"\na cure for the affliction.\"\"The ius medici?\" He nods. \"Very\nwell, Servator. You may inspect these bodies at your own risk. Do not damage them, however -- we are considering the possibility of quarantine, and they may be used as evidence in the tribunal.\"\n\n1) \"Quarantine?\"\n2) \"Tribunal?\"\n3) \"I'll do my best to avoid damaging the bodies.\"\n4) \"I can't promise that I won't damage the bodies...\"\n\n> 1\n\"Quarantine?\"\n\n\"Indeed.\" His mustache bristles vigorously. \"If there is even a possibility that Doctor Justinian's fears ring true, it is imperative that the spread of the disease be contained -- if not within the Turris, then within the Channelworks District.\"\n\n1) \"The disease isn't confined to the Turris.\"\n2) \"You mentioned a tribunal?\"\n3) \"I'll do my best to avoid damaging the bodies.\"\n4) \"I can't promise that I won't damage the bodies...\"\n\n> 1\n\"The disease isn't confined to the Turris.\"\n\nHe frowns. \"Then the situation is worse than I had imagined. We\nmust quarantine the district in the name of the public good.\"\n\n1) \"You mentioned a tribunal?\"\n2) \"I'll do my best to avoid damaging the bodies.\"\n3) \"I can't promise that I won't damage the bodies...\"\n\n> 1\n\"You mentioned a tribunal?\"\n\nExaminer Velox flashes his badge. \"We are here on behalf of the district councils. At this very moment, a hearing is under way regarding measures to be taken against the disease.\"\n\n1) \"I'll do my best to avoid damaging the bodies.\"\n2) \"I can't promise that I won't damage the bodies...\"\n\n> 1\n\"I'll do my best to avoid damaging the bodies.\"\n\nHe nods. \"Excellent. To business, then. If you'll follow me...\"\n\nHe nods. \"Excellent. To business, then. If you'll follow me...\"You follow him to the slab, where he draws back the tarpaulin. You recognize Doctor Arturus, but there are three others: a man dressed in finery, a man built like a fighter, and a reedy young woman. All have black stains around their mouths and eyes.\n\nblack stains around their mouths and eyes.\"Here are the four victims of the disease,\" Examiner Velox says. \"We've made some preliminary investigations into their identities. Looking for identification on the bodies, cross-referencing against our records, et\ncetera...\"\n\ncetera...\"\"What can you tell me?\" you ask.\n\ncetera...\"\"What can you tell me?\" you ask.\"The man on the left is Doctor Arturus -- I see you're already familiar with him. Very good. The one beside him, the well-dressed man, is Creditor Nacarat of the Furopolis Securities Exchange. He's rather well-known in certain circles of society -- has been implicated in some fraud allegations, but nothing concrete.\"\n\nbut nothing concrete.\"\"What about the other two?\"\n\nbut nothing concrete.\"\"What about the other two?\"\"Ah.\" Examiner Velox furrows his mustache. \"They are more of an enigma. They carry no identification; they are not in our records. We believe they were unregistered criminals hiding in the Shanty Quarter. According to our contacts, they match the description of Sal and Piper, a villainous duo of some notoriety. They were underworld enforcers, and not particularly well liked.\"\n\nparticularly well liked.\"You consider the facts laid before you.\n\n1) \"The victims all died of the same disease?\"\n2) \"Regarding Doctor Arturus...\"\n3) \"Regarding Creditor Nacarat...\"\n4) \"Regarding Sal and Piper...\"\n5) \"I'll keep investigating.\"\n\n> 1\n\"The victims all died of the same disease?\"\n\nExaminer Velox shrugs. \"Like you, we cannot damage the bodies, making any detailed examination impossible. It seems clear, however, that these deaths were all caused by the same affliction of the blood.\"\n\n1) \"Regarding Doctor Arturus...\"\n2) \"Regarding Creditor Nacarat...\"\n3) \"Regarding Sal and Piper...\"\n4) \"I'll keep investigating.\"\n\n> 1\n\"Regarding Doctor Arturus...\"\n\n1) \"You're certain about his identity?\"\n2) \"What was the state his body was found in?\"\n3) \"What was the time of death?\"\n4) \"Is there anything I should be aware of?\"\n5) \"Regarding Creditor Nacarat...\"\n6) \"Regarding Sal and Piper...\"\n7) \"I'll keep investigating.\"\n\n> 1\n\"You're certain about his identity?\"\n\nExaminer Velox's mustache wriggles. \"You and Doctor Justinian have both identified the body. We have detected no illusions, if that is what you are asking. The body on the slab is, without a doubt, that of Doctor Arturus.\"\n\n1) \"What was the state his body was found in?\"\n2) \"What was the time of death?\"\n3) \"Is there anything I should be aware of?\"\n4) \"Regarding Creditor Nacarat...\"\n5) \"Regarding Sal and Piper...\"\n6) \"I'll keep investigating.\"\n\n> 1\n\"What was the state his body was found in?\"\n\n\"Doctor Justinian notified the Vigiles at five in the morning,\" Examiner Velox replies. \"When we arrived at quarter-past five, we found Doctor Arturus's body already laid out here on the slab. Doctor Justinian testified that he had found Doctor Arturus motionless in his domicile, and moved him here in an attempt to revive him.\"\n\n1) \"What was the time of death?\"\n2) \"Is there anything I should be aware of?\"\n3) \"Regarding Creditor Nacarat...\"\n4) \"Regarding Sal and Piper...\"\n5) \"I'll keep investigating.\"\n\n> 1\n\"What was the time of death?\"\n\nHis mustache squirms. \"The varying temperatures in the Turris Infinita make the precise time difficult to ascertain. Complicating matters is the fact that Doctor Justinian moved the body, interfering with the natural processes of rigor mortis and livor mortis.\nAll we can gather is that he died last night -- sometime between eight and twelve hours ago.\"\n\n1) \"What was the state his body was found in, again?\"\n2) \"Is there anything I should be aware of?\"\n3) \"Regarding Creditor Nacarat...\"\n4) \"Regarding Sal and Piper...\"\n5) \"I'll keep investigating.\"\n\n> 2\n\"Is there anything I should be aware of?\"\n\n\"We believe that he was infected through his gloves,\" Examiner Velox replies. \"They are stained with black effluvium both within and without. If you are concerned with the method of transmission, you might examine them further.\"\n\nThrough his gloves? That shouldn't be possible...\n\n1) \"What was the state his body was found in, again?\"\n2) \"What was the time of death, again?\"\n3) \"Regarding Creditor Nacarat...\"\n4) \"Regarding Sal and Piper...\"\n5) \"I'll keep investigating.\"\n\n> 3\n\"Regarding Creditor Nacarat...\"\n\n1) \"Who was he again?\"\n2) \"What was the time of death?\"\n3) \"What do you know about the circumstances of his death?\"\n4) \"Is there anything I should be aware of?\"\n5) \"Regarding Doctor Arturus...\"\n6) \"Regarding Sal and Piper...\"\n7) \"I'll keep investigating.\"\n\n> 2\n\"What was the time of death?\"\n\n\"By my estimation,\" he replies, \"and assuming his body has remained in the clinic the whole time -- he died a little over thirty hours ago, on the night of the Third.\"\n\nThe night Reden died, you mentally append.\n\n1) \"Who was he again?\"\n2) \"What do you know about the circumstances of his death?\"\n3) \"Is there anything I should be aware of?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Sal and Piper...\"\n6) \"I'll keep investigating.\"\n\n> 2\n\"What do you know about the circumstances of his death?\"\n\nHe shrugs. \"Creditor Nacarat was a patient here before he died. All the signs suggest he died here, together with Sal and Piper.\"\n\n1) \"Who was he again?\"\n2) \"What was the time of death, again?\"\n3) \"Is there anything I should be aware of?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Sal and Piper...\"\n6) \"I'll keep investigating.\"\n\n> 3\n\"Is there anything I should be aware of?\"\n\nA twitch of the mustache. \"There is a glyph of recording in the inner lining of his jacket. It holds an intriguing, if fragmented, phonographic transcription. We did not find it particularly useful, but it may be worth listening to regardless.\"\n\n1) \"Who was he again?\"\n2) \"What was the time of death, again?\"\n3) \"What do you know about the circumstances of his death,\nagain?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Sal and Piper...\"\n6) \"I'll keep investigating.\"\n\n> 5\n\"Regarding Sal and Piper...\"\n\n1) \"Who were they again?\"\n2) \"What were the times of death?\"\n3) \"What do you know about the circumstances of their\ndeaths?\"\n4) \"Is there anything I should be aware of?\"\n5) \"Regarding Doctor Arturus...\"\n6) \"Regarding Creditor Nacarat...\"\n7) \"I'll keep investigating.\"\n\n> 2\n\"What were the times of death?\"\n\n\"Both of them died around the same time,\" Examiner Velox replies, \"though the precise time is uncertain. I am given to believe that they died around the same time as Creditor Nacarat -- around thirty hours ago, on the night of the Third.\"\n\n1) \"Who were they again?\"\n2) \"What do you know about the circumstances of their\ndeaths?\"\n3) \"Is there anything I should be aware of?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Creditor Nacarat...\"\n6) \"I'll keep investigating.\"\n\n> 2\n\"What do you know about the circumstances of their deaths?\"\n\n\"As they were patients in the clinic,\" he replies, \"they likely died here, together with Creditor Nacarat. The signs they exhibit corroborate that.\"\n\n1) \"Who were they again?\"\n2) \"What were the times of death, again?\"\n3) \"Is there anything I should be aware of?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Creditor Nacarat...\"\n6) \"I'll keep investigating.\"\n\n> 3\n\"Is there anything I should be aware of?\"\n\n\"We found some things in their pockets,\" the examiner says. \"You may wish to look at their possessions... although I am uncertain, personally, how relevant they are to this series of deaths.\"\n\n1) \"Who were they again?\"\n2) \"What were the times of death, again?\"\n3) \"What do you know about the circumstances of their deaths,\nagain?\"\n4) \"Regarding Doctor Arturus...\"\n5) \"Regarding Creditor Nacarat...\"\n6) \"I'll keep investigating.\"\n\n> 6\n\"I'll keep investigating.\"\n\n\"Very well. I will be here if you have any further questions.\"\n\nYou step back, and Examiner Velox returns to his work.\n\n> You examine the gloves\nWhich do you mean, Doctor Arturus's gloves, Creditor Nacarat's gloves, or the clothes?\n\n> Doctor\nYou get a loupe and a pair of tweezers, and carefully -- very carefully -- you inspect Doctor Arturus's bloodstained gloves.\n\nYour heart hammers in your ears. Your breath condenses on the tarpaulins.\n\ntarpaulins.There! Is that --\n\ntarpaulins.There! Is that --Nothing.\n\ntarpaulins.There! Is that --Nothing.There's nothing at all.\nThe gloves are perfectly sealed. Brand new, in fact -- if you brush away the blood, you can see the sigils glowing softly on the rubber.\n\naway the blood, you can see the sigils glowing softly on the rubber.That means there are two possibilities. Either this disease can somehow be transmitted through an alchemically-sealed\nwaterproof barrier -- which is in defiance of everything you learned in school, and besides you and Doctor Cavala are still alive, so that can't be right --\n\ncan't be right --Or there's something else at work here. Something more insidious.\n\nmore insidious.You carefully decontaminate the equipment you borrowed and return it to the clinic. You're going to have to keep investigating.\n\n> You examine Doctor\nYou approach the body.\n\nThe first time you saw Doctor Arturus's face was in De historia medica, your first-year medical textbook. You still remember it\n-- sharp, black and white, with a jaw like a the edge of a knife. You were nervous, when you moved to the Channelworks District, to meet the famed pathologist in the flesh.\nfamed pathologist in the flesh.But the man who you met that day was smaller, somehow. His features, so arresting in his youth, had crinkled under the burden of years. He did not look you in the eye when he shook your hand.\nwhen he shook your hand.\"His time is past,\" Doctor Cavala had said, afterwards. \"He hardly practices these days...\"\nafterwards. \"He hardly practices these days...\"The body laid before you is gaunt, almost pitiful. The sleeves of his natron coat are completely soaked in eerie black stains. His glasses are stained opaque, and his mouth is frozen open in horror.\nopaque, and his mouth is frozen open in horror.You could examine Doctor Arturus's head, his torso, his arms, or his legs.\n\n> You examine the doctor head\nDeath has not been kind to Doctor Arturus. The black blood from his eyes and mouth has seeped into his wrinkles, crisscrossing his face with a spiderweb of decay.\n\nHis mouth is wide open. It occurs to you that you could put your endoscope in and look around inside.\n\n> You put the endoscope in the doctor mouth\nYou insert the endoscope into Doctor Arturus's mouth...\nMouth\nA cavern ringed with tombstones. The cavity glistens black -- the capillaries are visible behind the membranes, diseased and withered and creeping. It is almost impossible to distinguish blood from shadow.\n\nLight streams in from outside. The pharynx lies further in.\n\n> You examine the cavity\nThe walls are streaked ebon where the diseased blood has set.\n\n> You examine the teeth\nAt this scale, Doctor Arturus's teeth are colossal bone plinths.\n\n> Go inside\nYou descend...\nPharynx\nA tunnel splitting, twisting darkly. Fleshy folds press inward, tight bundles of muscle and cartilage frozen in black ivy.\n\nThe esophagus is blocked by the epiglottis. You can only descend through the larynx.\n\n> You examine the ivy\nThe scutiform cartilage. The smuggler's fossa. The ventricular folds."
    },
    {
        "text": "[Themes: Mystery, steampunk, mystery, blood, horror, coming of age]\n\n> Go downwards\nYou descend...\nTrachea\nIt is almost completely dark, save the small ring of light from your lens. Your world is a hollow pit with no beginning and no end.\n\nBelow are the lungs.\n\n> You examine the lungs\nSomewhere beneath are the bronchi, the bronchioles."
    },
    {
        "text": "[Themes: Mystery, steampunk, suspense, coming of age, blood]\n\n> Go down\nYou descend...\nLungs\nThe terminus of the respiratory system. A thousand dead ends, holes, alveoli -- they greet you like blood-choked eye sockets.\nalveoli -- they greet you like blood-choked eye sockets.Something is wrong here.\nwrong here.The pattern of decay isn't consistent with an airborne pathogen. If the disease were transmitted by air or aether, it would attack from the alveoli inward. Here, it looks like the infection spread outward, from the blood vessels into the lungs.\nspread outward, from the blood vessels into the lungs.Further\non, you see the cast-off tethers of Doctor Arturus's animus still lingering in the aetheric weave. But the skeins are fragmented, somehow. Different from the textbooks.\n\n> You look at the animus\nThe animus, colloquially known as the soul, is bound to a person's body by aetheric skeins. When the body dies, the skeins are loosened, and the animus drifts apart from the corpus. Every first-year medical student knows that.\n\nHere, the animic skeins were not loosened. They were ripped apart.\n\n> You examine the infection\nHere, the animic skeins were not loosened. They were ripped apart.You can see auroral fragments flickering in the halo of your lens-light. They shine weakly, painfully, unable to fade away.\nThey shine weakly, painfully, unable to fade away.What are you looking at here? What kind of disease attacks the soul?\n\n(Type >out to end the endoscopy.)\n\n(You think you've learned all you can from Doctor Arturus's body. You should look for more clues elsewhere.)\n\n> Go outside\nYou withdraw upward...\nYou clean the endoscope and put it in your pocket.\n\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You examine the doctor legs\nDoctor Arturus is wearing formal trousers and rubber boots -- relatively dignified, in comparison with the rest of his body.\n\n> You look at doctor torso\nThe doctor is a thin man, shrunken with age. His natron coat is of that old-fashioned button-up sort you see in laterna magica\npictures. Your eyes are drawn to his ruined sleeves, which cling to his skin like grotesque pelagic rays.\n\n> You examine the sleeves\nDoctor Arturus's sleeves are streaked with black blood. Like a living thing, it seems to have oozed up from his hands, twisting and squirming and crawling up his forearms. His gloves are almost completely black.\n\n> You look at the gloves\nAlthough the gloves are coated in blood, they're brand new. You can still see the sigils glowing on the rubber.\n\n> You look at Nacarat\nThere is a certain poise surrounding this man, even in death. His facial hair is immaculately trimmed; his features are not diminished by the black trails that stain them. But something in his bearing sends a shiver up your spine, something that is cold and callous and utterly without sympathy.\n\nYou could examine Creditor Nacarat's head, his torso, his arms, or his legs.\n\n> You look at the head\nLike you, he bears tattoos on his face, but his are in the mode of the Austri rather than the alchemical. Alongside, his pearl earrings catch the light -- his face is framed in pale off-white.\n\nBlood runs from his open mouth. It occurs to you that you could put your endoscope in and look around inside.\n\n> You examine the earrings\nThey strike you as slightly ostentatious.\n\n> You put the endoscope in the mouth\nYou insert the endoscope into Creditor Nacarat's mouth...\nMouth\nThe tongue is a diseased behemoth. It wallows in a pool of dark dried blood, broken by stained folds and bleached teeth. On the tip a piercing has become infected, revealing the ragged holes at either side.\n\nLight streams in from outside. The pharynx lies further in.\n\n> You examine the piercing\nBlood leaks beneath the engraved orichalcum.\n\n> You examine the teeth\nMarkers in a sunless sea. There are white trails where his tooth-powder has melted.\n\n> You examine the pool\nThe shadows are opaque.\n\n> You examine the tongue\nWithered within and without.\n\n> Go inside\nYou descend...\nPharynx\nThis grotto is barely recognizable. Flesh has corroded, sloughed from cartilage. The throat weeps with the ruins of ruptured blood vessels.\n\nThe epiglottis blocks the larynx. You can only descend into the esophagus."
    },
    {
        "text": "[Themes: Mystery, horror, mystery, suspense, blood, female protagonist]\n\n> You go downward\nYou descend...\nEsophagus\nYou hang between sphincters, slashed apart and seized with rigor mortis. The walls, flickering in your unsteady lens-light, run\nwith black streaks into the yawning darkness.\n\nThe stomach lies beneath.\n\n> You examine the streaks\nDeath flows through this place."
    },
    {
        "text": "[Themes: Mystery, fantasy, horror, mystery, blood]\n\n> You go down\nYou descend...\nStomach\nThe stain of disease is everywhere. The humidity is almost palpable. The pylorus is stopped -- a glistening black expanse rises in the light, residual bile and vitriolic secretions unable to drain into the small intestine.\n\nThere are things drifting lazily in the body-of-stomach. You\ncan see festering tumors that have crawled up the stomach lining, embedded themselves in the mucosa, insinuated themselves into the circulatory system. And from them, sickly veins crawl outward, each a deadly trail that points back to the heart.\n\n> You examine the things\ndeadly trail that points back to the heart.There is no doubt. This stomach -- this spawning pit -- this must have been the\norigin of Creditor Nacarat's infection.\norigin of Creditor Nacarat's infection.But what does that imply? Was the disease in something the man ingested? Was it something\nhe ate, something he drank?\nhe ate, something he drank?There's too little evidence. You have to keep investigating.\n\n> You examine the things\nYou'll have to specify which one.\n\n> You examine the tumors\nYou have the urge to throw up just looking at them."
    },
    {
        "text": "[Themes: Mystery, steampunk, horror, blood]\n\n> You look at your surroundings\nThe stain of disease is everywhere. The humidity is almost palpable. The pylorus is stopped -- a glistening black expanse rises in the light, residual bile and vitriolic secretions unable to drain into the small intestine.\n\nThere are things drifting lazily in the body-of-stomach. You\ncan see festering tumors that have crawled up the stomach lining, embedded themselves in the mucosa, insinuated themselves into the circulatory system. And from them, sickly veins crawl outward, each a deadly trail that points back to the heart.\n\n> You examine bile\nUnidentifiable boli drift across the pool's surface.\n\n> You examine the thing\nBlack. Bloody. Spherical. They elude description.\n\n> Go outside\nYou withdraw upward...\nYou clean the endoscope and put it in your pocket.\n\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You look at the torso\nThe creditor's jacket is dark, embellished with buttons of brass and mother-of-pearl. There are black stains here and there, where blood has run down from his chin and seeped into the fabric.\n\nThe jacket has been partially undone, revealing a quicksilver glyph embroidered in the lining.\n\n> You look at the glyph\nIt appears to be a glyph of recording. Although it has suffered partial bloodstain damage, it still appears to be functional. You could listen to it if you wanted.\n\n> You listen to it\n\"Sonate,\" you say.\n\nThe glyph flickers aglow, coursing with stained quicksilver, and the inscription begins to revolve around the index.\n\ninscription begins to revolve around the index.\"--for your hospitality, Doctor,\" a bass voice crackles. \"I hope you will consider what I have said.\"\n\nwhat I have said.\"There is noise for a few seconds -- a clink that sounds like porcelain or glass. An inhalation.\n\nsounds like porcelain or glass. An inhalation.The crash of shards shattering.\n\nshattering.\"Creditor?\" you hear Doctor Arturus's voice echo. \"Are you feeling quite all right? Perhaps we should --\"\n\nfeeling quite all right? Perhaps we should --\"The words are drowned out by coughing. You hear the sound of friction on fabric, growing louder and louder.\n\nlouder and louder.The recording cuts out. The glyph returns to its resting state.\n\nresting state.It sounds like Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged.\n\n> You look at the stains\n(the dried black blood)\nYou know these symptoms all too well, now.\n\n> You look at the arms\nHe wears the smooth black gloves of a businessman. Decorative gilding plays across the back of each hand, surrounding the faint molded silhouette of a raven.\n\n> You examine legs\nElegant pin-striped trousers. There appear to be some items in his pockets.\n\n> You examine the items\nMost of the things in Creditor Nacarat's pockets are detritus, but that black pocketbook looks interesting.\n\n> You look at the pocketbook\nIt appears to be a coded record of business transactions. Of particular interest is the last chronological entry, which records a significant sum made out to \"S&P\".\n\nStrange. You don't know any company in the Channelworks District with those initials. Unless...\nthose initials. Unless...The fact that Sal and Piper have those initials can't be a coincidence. Can it?\n\n(You think you've learned all you can from Creditor Nacarat's body. You should look for more clues elsewhere.)\n\n> You examine Sal\nThe man on the slab is muscle-bound -- built like a gray longhorn, with a countenance to match. His coat has the whiff of sweat and blood. It does not quite conceal the scars that split his knuckles, nor the black lines that crisscross his chest.\n\nYou could examine Sal's head, his torso, his arms, or his legs.\n\n> You look at the head\nHis skull is monstrous and chiseled. His eyes bleed, glisten, like orbs of bloodshot onyx. But beneath the brutishness so prominent in his features, there is an indescribable and all-too-familiar sadness.\n\nHis mouth is closed. An endoscopy will not be possible here.\n\n> You examine the eyes\nSmall and sunken.\n\n> You examine torso\nIf Sal wasn't a canal-man, he had the dress sense of one. His work coat is an intimidating leather mass that could stop knife blades, and looks like it has. Beneath is an unbuttoned shirt, revealing a mass of savage black scars.\n\nYou notice a bit of metal glinting in his coat pocket.\n\n> You examine the scars\nOnce, these would have been red. Now they are black and diseased.\n\n> You examine the metal\nYou draw back the leather, revealing a pair of knuckle-dusters. Wicked-looking implements, with holes for the fingers, and grim stains surrounding the pointed nubs.\n\nWeapons like these aren't uncommon in the Channelworks District. Even Horatio used to own a set. One can't be too careful living and working in the less-frequented parts of the city.\nin the less-frequented parts of the city.But you don't often see a knuckle-duster with a raven engraved in place of the manufacturer's logo.\n\nThat's the second time you've seen that raven symbol today. Is it connected to these deaths somehow? Perhaps someone will know something about the symbol's significance.\n\n> You look at the coat\nIt's a crinkly brown, with unprepossessing stains splashed here and there.\n\nThere is a set of knuckle-dusters in his coat pocket.\n\n> You examine the shirt\nSome unbutton their shirts to look fashionable. Others do so because they sweat a great deal in their line of work. You suspect Sal falls into the latter category.\n\n> You examine the legs\nTough trousers and work boots. There are clumps of grime encrusted in his soles, and other things that you don't really want to dwell on.\n\nHanging from Sal's belt is a battered keyring.\n\n> You examine the keyring\nA loop of steel wire. It holds a pair of crudely fashioned keys, the sort used in old buildings and cheap locks.\n\nYou wonder if Examiner Velox will allow you to borrow it.\n\n> You ask Velox about the keys\n(Use the command >talk to or >t to converse with other\ncharacters.)\n\n> You take the keys\nYou glance at Examiner Velox. \"There's a keyring on Sal's body. Do you mind if I borrow it for a while?\"\n\n\"Well --\" His mustache wriggles. \"You are not officially\npermitted, Servator, but if you believe it will further your investigation... let us agree that my attention is divided, focused elsewhere. Just be sure to return it to the basilica when you are finished.\"\nfinished.\"\"I will,\" you reply. \"Thank you.\"\nfinished.\"\"I will,\" you reply. \"Thank you.\"You pocket the keyring.\n\n(You think you've learned all you can from Sal's body. You should look for more clues elsewhere.)\n\n> You look at the belt\nA rugged leather belt.\n\n> You look at the boots\nTough trousers and work boots. There are clumps of grime encrusted in his soles, and other things that you don't really want to dwell on.\n\n> You examine Piper\nA tall, thin specimen of a woman with arms and legs like sea-stilts. Of all the patients, her posture is the most contorted, as though her body had convulsed in the hour of death: she is a broken marionette, loosed from its strings and cast aside.\n\nYou could examine Piper's head, her torso, her arms, or her legs.\n\n> You examine the head\nA dark thin face with dark thin hair. Her lips are colorless, foul with trails of long-dried ichor; her eyes, glassy and expressionless, are buried in black rings of decay.\n\nHer mouth is slightly parted. It occurs to you that you could put your endoscope in and look around inside.\n\n> You look at the eyes\nHer eyes are empty.\n\n> You put the endoscope in the mouth\nYou insert the endoscope into Piper's mouth...\nMouth\nIt is dark. What little light filters through the lips is absorbed by countless black ulcers, each an eruption of effluvium and contagion. Between them run stains on a stained tongue, and capillaries that have shriveled and died.\n\nThe light leads out. The pharynx leads in.\n\n> You look at the tongue\nIt's utterly black.\n\n> You look at the ulcers\nYou are acutely aware of your own mouth.\n\n> You look at the lips\nAt this magnification they are monstrous, engorged.\n\n> Enter\nYou descend...\nPharynx\nDead flesh constricts you. Muscles seized by rigor mortis\nimpede your entry, distended as though in a perpetual scream. The walls stain the endoscope lenses.\n\nThe epiglottis blocks the larynx. You can only descend into the esophagus.\n\n> You look at walls\nMasses like black bezoars.\n\n> You examine epiglottis\nThe epiglottis, too, is frozen in rigor mortis, and will not\nmove."
    },
    {
        "text": "[Themes: Mystery, coming of age, mystery, fantasy, horror]\n\n> Go downwards\nYou descend...\nEsophagus\nA well without an end. You stare into a palpable darkness that goes on and on, a purgatory of black branches and devouring rings.\n\nThe stomach is beneath.\n\n> You look at the branches\nArteries, veins, twisting and spiraling into the dark."
    },
    {
        "text": "[Themes: Mystery, mystery, suspense]\n\n> Go down\nYou descend...\nStomach\nA flooded cavern. You hang terrifyingly over a pitch-dark expanse of undigested bile. The stomach walls are ruptured and lacerated and pockmarked with ulcers that leer evilly in your lens-light.\n\nAnd in the center of it all there is a mass, an island in the body-of-stomach. Sickening boli that have clumped together and extended their tendrils into the surrounding vitriol and flesh -- infected the bloodstream.\ninfected the bloodstream.These are the things that killed Piper. These -- these things -- they must have grown inside her stomach.\nThey must have destroyed her from the inside.\nThey must have destroyed her from the inside.Not a comforting thought. It raises more questions than it answers.\n\n> You look at the stomach\nLayers of flesh have been flayed away.\n\n> You look at the bile\nAcid. Mucus. Chyme.\n\n> Go outside\nYou withdraw upward...\nYou clean the endoscope and put it in your pocket.\n\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You examine the torso\nPiper's clothes are muted and loosely fitted. She wears a cut-off frock, and above it a watchwoman's jacket with unidentifiable stains along the flaps. She would have been difficult to pick out in a working crowd -- or in a dark alley.\n\nYou notice a square, flat outline in one of her jacket pockets.\n\n> You examine the pocket\nA folded scrap of paper. Further investigation reveals it to be a list of names followed by -- numbers? Prices?\n\nof names followed by -- numbers? Prices?Sums of money.\n\nof names followed by -- numbers? Prices?Sums of money.You recognize some of the names on here, too -- you've bought your groceries, or your clothes, from these people in the past. All of the names have check marks beside them. Some of them are crossed out.\n\ncheck marks beside them. Some of them are crossed out.Has Piper been collecting debts?\n\ncollecting debts?You reach the end of the page, and turn it over only to find the reverse side blank.\n\nto find the reverse side blank.Only... hold on a second.\n\nto find the reverse side blank.Only... hold on a second.The front of the paper was slightly yellowed, but this side is completely white. It looks almost -- almost bleached.\n\nlooks almost -- almost bleached.Yes. It's not just your\nimagination. The texture is different. The stains have been removed.\n\nimagination. The texture is different. The stains have been removed.The reverse side of the paper wasn't blank. Someone\nblanked it.\n\n> You take the paper\nThe name list is evidence. You should leave it for the Vigiles investigators.\n\n> You examine the torso\nPiper's clothes are muted and loosely fitted. She wears a cut-off frock, and above it a watchwoman's jacket with unidentifiable stains along the flaps. She would have been difficult to pick out in a working crowd -- or in a dark alley.\n\nThe list of names you found is in one of her jacket pockets.\n\n> You examine the stains\nThis jacket was either stolen or poorly tailored. Possibly both.\n\nThe list of names you found is in one of the jacket pockets.\n\n> You examine the arms\nHer arms are surprisingly toned, beneath the concealing folds of her jacket. There are calluses on her hands, clumps of dirt under her fingernails.\n\n> You examine the legs\nPiper wears jackboots and a tattered half slip, leaving her thighs mostly exposed. Close to the pelvis, you can see ink-black blood vessels running perversely beneath the skin.\n\nYou notice an inconspicuous leather strap around her right thigh.\n\n> You look at the vessels\nThe color has drained from her skin.\n\n> You examine the strap\nThe strap looks like it can be opened.\n\n> You open it\nYou draw back the false lining, revealing a set of throwing knives.\n\n> You examine the knives\nOn the hilt of each knife is embossed the symbol of a raven.\n\n(You think you've learned all you can from Piper's body. You should look for more clues elsewhere.)\n\n> You check your inventory\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a battered keyring, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's\ncopy of the Libri Liberi, your practitioner's badge, your\nscalpel, your purse, and an antiseptic cloth.\n\n> J.\nFifth of Aquaria, Auritum IV\n\nI've made my choice. I have a job to do -- and I'm going to finish it.\n\nCurrent objectives:\n\n- Investigate the victims of the disease and identify the transmission vector\n\n- Go to Riggertown and ask Zoiro about his brother's activities\n\n- Look around Doctor Arturus's domicile, in the Turris Infinita\n\n- Look up the patient records in Doctor Arturus's domicile\n\n- Look up the patient records in Doctor Arturus's domicile\n\n- Ask around about the meaning of the raven\n\nMarid's notes:\n\n- I learned that the disease is unlikely to be airborne.\n- I learned that the disease can be transmitted by ingestion.\n- I learned that the disease is bloodborne and attacks the animus, or the soul.\n\n- I remember that Reden died on the night of the Third, two days ago.\n\n- I found that the gloves on Doctor Arturus's body were brand new. He couldn't have been infected through his hands if he had been wearing them.\n- I learned that Doctor Arturus died sometime between last night, on the Fourth, and this morning, on the Fifth.\n\n- I learned that Creditor Nacarat was killed by something he ingested. - I found a raven symbol on Creditor Nacarat's gloves.\n- I learned that Creditor Nacarat could have hired Sal and Piper recently.\n- I learned that Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged, and he broke a piece of tableware as a result.\n- I learned that Creditor Nacarat died on the night of the Third, two days ago.\n\n- I found a raven symbol on Sal's knuckle-dusters.\n- I found a raven symbol on Piper's throwing knives.\n- I found a list of names that suggested Piper had been collecting debts. The reverse side of the paper had been intentionally blanked out.\n- I found a battered keyring on Sal's belt.\n- I learned that Piper was killed by something she ingested.\n- I learned that both Sal and Piper died on the night of the Third, two days ago.\n\n- I'm in the mood for a drink...\n- I hope Doctor Cavala and Horatio will be all right at the clinic...\n\n> You talk to the Examiner\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You talk to the Examiner\nYou approach the team of Vigiles, and Examiner Velox looks up from the bodies.\n\n\"Servator,\" he says. \"What can I do for you?\"\n\n1) \"Does a raven mean anything to you?\"\n2) \"Regarding Doctor Arturus...\"\n3) \"Regarding Creditor Nacarat...\"\n4) \"Regarding Sal and Piper...\"\n5) \"Nothing, never mind.\"\n\n> 1\n\"Does a raven mean anything to you?\"\n\nThe examiner raises an eyebrow. \"It does, now that you mention it. The raven is one of the symbols of the Greater Corindia Trading Company -- it's a criminal syndicate, one of the biggest in Furopolis. If some of these people had been involved...\"\n\nThat can't be good. You make a mental note of the connection.\n\n1) \"Regarding Doctor Arturus...\"\n2) \"Regarding Creditor Nacarat...\"\n3) \"Regarding Sal and Piper...\"\n4) \"I'll keep investigating.\"\n\n> 3\n\"Regarding Sal and Piper...\"\n\n1) \"Who were they again?\"\n2) \"What were the times of death, again?\"\n3) \"What do you know about the circumstances of their deaths,\nagain?\"\n4) \"Is there anything I should be aware of, again?\"\n5) \"Regarding Doctor Arturus...\"\n6) \"Regarding Creditor Nacarat...\"\n7) \"I'll keep investigating.\"\n\n> 7\n\"I'll keep investigating.\"\n\n\"Very well. I will be here if you have any further questions.\"\n\nYou step back, and Examiner Velox returns to his work.\n\n> You talk to Justinian\nJustinian brightens up as you approach him.\n\n\"Marid,\" he says.\n\n1) \"Where are the patient records, again?\"\n2) \"Can you tell me again about how you discovered the body?\"\n3) \"What are your thoughts on the disease again?\"\n4) \"The Vigiles told me that you moved Doctor Arturus's\nbody.\"\n5) \"Nothing, never mind!\"\n\n> 4\n\"The -- The Vigiles told me that you moved Doctor Arturus's body.\"\n\nJustinian looks down. \"I thought -- I believed he was unconscious at first. I thought he could have been revived...\"\n\n1) \"Where are the patient records, again?\"\n2) \"Can you tell me again about how you discovered the body?\"\n3) \"What are your thoughts on the disease again?\"\n4) \"I'll keep investigating.\"\n\n> 2\n\"Can you tell me again about... about how you discovered the body?\"\n\nHe closes his eyes. \"Doctor Arturus had cloistered himself in the back -- he had instructed me not to disturb him. When I left him in the evening, he seemed his usual self... but when I called on him this morning, he was already dead in his domicile.\"\n\n1) \"Where are the patient records, again?\"\n2) \"What are your thoughts on the disease again?\"\n3) \"I'll keep investigating.\"\n\n> 3\n\"I'll keep investigating.\"\n\nHe nods. \"Be careful, Marid.\"\n\nYou scurry away before you start blushing."
    },
    {
        "text": "> Look around\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You go to the west\nA chill washes over you as you step through the arch.\n\nThe atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds.\n\nA hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west.\n\nThe porter is silent at her desk.\n\n> Go upwards\nThe lift bears you upward.\n\nThis suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history.\n\nA study lies to the north. The hydraulic lift leads back down to the foyer.\n\nBy the frosted-glass windows, a coffee table has been set for three.\n\n> You examine the hearths\nEmpty stone fixtures. They're more for decoration than anything.\n\n> You examine table\nA dark wooden table set with linen and porcelain. There is a serving platter of crackers and cheese, barely touched; surrounding it, there are three smaller plates, two of which are accompanied by wineglasses.\n\nThe third wineglass is nowhere to be seen.\n\n> You examine the wineglasses\nThe wineglasses still contain traces of red wine.\n\n> You look at the wine\nAn expensive claret, if you had to guess.\n\n> You smell it\nThe table smells of red wine and sharp cheese.\n\n> Go north\nA chamber decked with aging bookcases and dusty plaques. The frieze that circles the walls is engraved with scenes from antiquity, lines in the lingua libria; by the exit to the south, a clock ticks\nthe minutes and seconds away.\n\nA rosewood desk stands in the heart of the room. Beside it, there is a storage cabinet.\n\n> You look at the clock\nA pendulum clock. Its arm sways to and fro, never quite finding rest.\n\n> You examine the frieze\nThe wood has been painstakingly carved and sigiled. You could examine the scenes or lines further if you wished.\n\n> You look at scenes\nOne scene depicts Pharmacos discovering the humors. Another shows Merula and Collis treating refugees during the Corindian Civil War.\n\n> You look at the lines\n(the lines in the lingua libria)\nNascentes morimur finisque ab origine pendet. \"When we are\nborn we die; our end is but the pendant of our beginning.\"\n\n> You look at the desk\nThe desk is drenched with tobacco, stained with ink, and weathered by decades of use. It curves around a high-backed armchair, piled with stationery and never-finished drafts.\n\nAt the end of the table sits a correspondence machine, accompanied by its box of ticker-tape reels.\n\n> You look at the machine\nA complex alchemical-mechanical device. It purports to receive and transmit messages through the aether without the need for magical training.\n\nThe machine consists of a dial, a keyboard, a feed wheel, and a letterpress. Next to the dial, there are three indicator lamps, of which the first and second are lit.\n\nThere is also a box of ticker-tape reels beside the machine.\n\n> You look at the tape\nYou could take a reel if you wanted.\n\n> You take the reel\nYou fish out a reel of ticker tape.\n\n> You examine the letterpress\nA grid of metal punches, each cast in the shape of a letter or number. They are mounted on a crankshaft that allows them to rapidly piston up and down.\n\n> You look at the stationery\nA pen and inkpot have been set out, as though Doctor Arturus had been midway through writing something.\n\n> You examine the cabinet\nSilver-inlaid casework. The cabinet is currently closed.\n\n> You open it\nYou open the storage cabinet, revealing a stack of leatherbound files.\n\n> You look up Sal in the files\nUpon closer examination, they appear to be patient records. The three most recently updated files are labeled 'Nacarat,' 'Salio,' and 'Piper.'\n\n> You examine nacarat\nThe patient record for Creditor Nacarat. It states that he developed nausea and vomiting during an afternoon visit on the Third of Aquaria, and was immediately admitted -- but the handwriting is rushed, and the rest of the file is blank.\n\n> You examine Salio\nThe patient record for Sal. It states that he was admitted together with Piper on the morning of the Third of Aquaria, complaining of migraines, nausea, and vomiting. Doctor Arturus initially diagnosed food poisoning, but the diagnosis has been scratched out. The rest of the file is blank.\n\n> You examine Piper\nThe patient record for Piper. It states that she was admitted together with Sal on the morning of the Third of Aquaria, exhibiting the same symptoms as him. The rest of the file is blank apart from a cryptic note that reads \"cellar in f.h. shanty quarter.\"\n\nIt's frustrating. All of these files look like they were written in a hurry and left unfinished. Why didn't Doctor Arturus leave more information for you to work with?\ninformation for you to work with?You suppose you'll have to follow up on that cryptic note in the 'Piper' file. It's the only lead you've found here.\n\n> J.\nFifth of Aquaria, Auritum IV\n\nI've made my choice. I have a job to do -- and I'm going to finish it.\n\nCurrent objectives:\n\n- Investigate the victims of the disease and identify the transmission vector\n\n- Go to Riggertown and ask Zoiro about his brother's activities\n\n- Continue investigating Doctor Arturus's domicile, in the Turris Infinita\n\n- Investigate the note in the 'Piper' file about the Shanty Quarter\n\nMarid's notes:\n\n- I learned that the disease is unlikely to be airborne.\n- I learned that the disease can be transmitted by ingestion.\n- I learned that the disease is bloodborne and attacks the animus, or the soul.\n\n- I remember that Reden died on the night of the Third, two days ago.\n\n- I found a coffee table set for three in Doctor Arturus's home. The table had not been tidied up, but the third wineglass was missing.\n- I found that Doctor Arturus rushed through his patient record files for some reason, leaving them unfinished.\n- I found that the gloves on Doctor Arturus's body were brand new. He couldn't have been infected through his hands if he had been wearing them.\n- I learned that Doctor Arturus died sometime between last night, on the Fourth, and this morning, on the Fifth.\n\n- I learned that Creditor Nacarat was killed by something he ingested. - I learned that Creditor Nacarat was connected to the Trading Company.\n- I learned that Creditor Nacarat could have hired Sal and Piper recently.\n- I learned that Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged, and he broke a piece of tableware as a result.\n- I learned that Creditor Nacarat was admitted to the clinic on the afternoon of the Third, two days ago.\n- I learned that Creditor Nacarat died on the night of that day.\n\n- I learned that Sal and Piper were connected to the Trading Company. - I found a list of names that suggested Piper had been collecting debts. The reverse side of the paper had been intentionally blanked out.\n- I found a battered keyring on Sal's belt.\n- I found a note in Piper's patient record that read \"cellar in f.h. shanty quarter.\"\n- I learned that Piper was killed by something she ingested.\n- I learned that Sal and Piper were admitted to the clinic on the morning of the Third, two days ago.\n- I learned that both Sal and Piper died on the night of that day.\n\n- I learned that the raven is the symbol of the Greater Corindia Trading Company, a criminal syndicate.\n- I'm in the mood for a drink...\n- I hope Doctor Cavala and Horatio will be all right at the clinic...\n\nA chamber decked with aging bookcases and dusty plaques. The frieze that circles the walls is engraved with scenes from antiquity, lines in the lingua libria; by the exit to the south, a clock ticks\nthe minutes and seconds away.\n\nA rosewood desk stands in the heart of the room. Beside it, there is a storage cabinet.\n\n> You look under the desk\nNothing is under the desk.\n\n> You examine the bookcases\nDoctor Arturus has a small collection of antique medical texts.\n\n> You examine the texts\nMostly outdated, but they have historical value.\n\n> Go south\n(first closing the storage cabinet)\n\nThis suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history.\n\nA study lies to the north. The hydraulic lift leads back down to the foyer.\n\nBy the frosted-glass windows, a coffee table has been set for three."
    },
    {
        "text": "[Themes: Mystery, mystery, coming of age, horror]\n\n> Go downwards\nThe lift bears you downward.\n\nThe atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds.\n\nA hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west.\n\nThe porter is silent at her desk.\n\n> You talk to the porter\n\"Excuse me --\"\n\nShe doesn't acknowledge your presence.\n\n> You go east\nA chill washes over you as you step through the arch.\n\nThis upscale clinic exudes a muted elegance. Chrome fixtures are lit by surgically placed spotlights and underscored by dizzyingly intricate sigil-work.\n\nAn arch to the west leads back to the Turris Infinita foyer.\n\nExaminer Velox and his investigators are huddled around the bodies of Doctor Arturus, Creditor Nacarat, Sal, and Piper. Beside them, Justinian sits at a coffee table, brooding.\n\n> You look at the ticker\nA thin paper strip. You took it from the box beside the correspondence machine.\n\n> You talk to Justinian\nJustinian brightens up as you approach him.\n\n\"Marid,\" he says.\n\n1) \"Can you tell me again about how you discovered the body?\"\n2) \"What are your thoughts on the disease again?\"\n3) \"A wineglass was missing from Doctor Arturus's\ndomicile...\"\n4) \"Nothing, never mind!\"\n\n> 3\n\"A wineglass was missing from Doctor Arturus's domicile. Do you have any idea why?\"\n\nJustinian regards you curiously. \"I believe a guest broke one of the glasses. Do you... do you think it was relevant to Doctor Arturus's death?\"\n\nYou can already feel yourself reddening. \"Never mind,\" you say. \"Forget I asked.\"\n\n1) \"Can you tell me again about how you discovered the body?\"\n2) \"What are your thoughts on the disease again?\"\n3) \"I'll keep investigating.\"\n\n> Go west\nPlease choose a response from the list by typing the corresponding number.\n\n1) \"Can you tell me again about how you discovered the body?\"\n2) \"What are your thoughts on the disease again?\"\n3) \"I'll keep investigating.\"\n\n> 3\n\"I'll keep investigating.\"\n\nHe nods. \"Be careful, Marid.\"\n\nYou scurry away before you start blushing.\n\n> You go to the west\nA chill washes over you as you step through the arch.\n\nThe atmosphere within the tower is utterly still. The lights that normally circle the mirrors have been dimmed, and the chandeliers overhead brood like thunderclouds.\n\nA hydraulic lift provides access to Doctor Arturus's upstairs domicile. Doctor Arturus's clinic is east, and the exit is to the west.\n\nThe porter is silent at her desk.\n\n> You look at lamps\nEach of the lamps seems to be associated with one of the channels on the dial.\n\nCurrently, the first and second indicator lamps are lit.\n\n> You examine the dial\nIt looks as though this machine operates on one of three predefined frequencies. You could set the dial to channel 1, 2, or 3.\n\nThe dial is currently set to channel 3.\n\n> You put the tape in the machine\n(the ticker-tape reel in the correspondence machine)\nYou'll have to specify which part of the correspondence machine you mean.\n\n> You put the tape in the feed wheel\n(the ticker-tape reel in the feed wheel)\nYou thread the ticker tape into the feed wheel, which it fits perfectly.\n\n> You turn the dial to 1\nYou set the dial to channel 1.\n\n> You turn crankshaft\nYou'd better not. You might break the mechanism.\n\n> You look at the keyboard\nIt looks like a grand piano with letters and numbers printed on the keys. Unfortunately, only the playback key at the end of the keyboard appears to be functional.\n\n> You turn dial to 2\nYou set the dial to channel 2.\n\n> You examine the tape\n(the ticker-tape reel)\nA thin paper strip. You took it from the box beside the correspondence machine.\n\n> You take the tape\n(the ticker-tape reel)\nTaken.\n\n> You turn the dial to 3\nYou set the dial to channel 3.\n\n> Go south\n(first )\n\nThis suspended mansion echoes with a grandiose hollowness. There is no comfort to be found in these faux hearths and chaises longues, these mantelpieces burdened by decades of history.\n\nA study lies to the north. The hydraulic lift leads back down to the foyer.\n\nBy the frosted-glass windows, a coffee table has been set for three."
    },
    {
        "text": "[Themes: Mystery, female protagonist, mystery, steampunk, coming of age, fantasy, horror]\n\n> Go down\nThe exit is to the south.\n\n> You go west\n(first opening the ornate double doors)\n(closing the doors behind you)\n\nTraffic revolves every which way around this old-fashioned rotunda, tracing the ancient alchemical lines inscribed on the stonework. An armillary sphere rotates in the center of the junction and guides carriages according to its lights.\n\nThe Via Terminalis runs northwest to the bridge and southeast to Miller's Gate. A colonnade to the north marks the entrance of the Channelworks. To the east lies the Turris Infinita, and to the south can be seen the grand forum.\n\nAbove the Turris Infinita, a black banner casts its trailing shadow across the sky.\n\n> Go northwest\nHere the voices and bustle wash over the arches and cobblestones. Mist rises from the Bilious Canal below, tarnishing the wayside statues green and gray, and fading into the fog and the overcast sky.\n\nThe Via Terminalis stretches away to the northwest and southeast, while a clandestine stairway descends to the south.\n\n> You go northwest\nVia Terminalis, West Street\nYou are adrift in the bustle of crowds and carriages, a raucous river that runs through the blood-vessel streets. Signage advertises a profusion of shops and services amid the sounds of leather rollers and stitching machines. In the distant mist, the Bilious Canal spills from the Channelworks into the heart of the city.\n\nYou can follow the Via to the west, or to the southeast where it bridges the canal. A condemned block is visible to the north. A hanging banner obscures an alley to the southwest, while a footpath follows the canal to the south.\n\n> You go south\nGlittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown.\n\nA closed manhole is recessed into the footpath.\n\n> Go south\nRiggertown, Upper Level\nThis is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities.\n\nTo the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal.\n\nYou hear a mourning chant from some distant cathedral.\n\n> You go to the southwest\nThis rustic little house is one of many that squat here and there along the lane. A pair of scrap-metal sculptures flank the steps to the front door. Beside it is a tarnished old pull-bell, dangling from a rope that has seen better days.\n\nYou can enter the front door of the house to the west, or return along the walkway to the northeast.\n\n> You look at the sculptures\nTwin dragons. One is painted blue, the other green.\n\n> You pull the rope\nThe bell clatters noisily. \"Come in!\" you hear Zoiro call.\n\n> You go to the west\n(first opening the front door)\n(closing the door behind you)\n\nThe shutters have been drawn in this tiny cottage, cloaking its confines in somber shades. In the shadows glimmer vases, knick-knacks, and wishing-eyes; the furniture is small and faintly unreal.\n\nThe front door squats to the east.\n\nZoiro is here, looking quite unlike the last time you saw him at the Riggertown Mechanistry. He is dressed in a deep black cassock and lighting beeswax candles around the sitting room.\n\n> You look at Zoiro\nAn air of solemnity surrounds him.\n\n> You examine the candles\nThey glow with eerie light.\n\n> You examinthe knick-knacks\nBric-a-brac, whim-whams, folderol...\n\n> You talk to Zoiro\n\"Zoiro,\" you say. \"Hello.\"\n\nThe goblin pauses mid-motion. He inclines his head respectfully.\n\n\"Hello,\" he says. \"Marid.\"\n\"Hello,\" he says. \"Marid.\"He turns around, shuffling his feet on the floor.\nfloor.\"Sorry about the mess. I wasn't expecting a visit so early.\"\n\n1) \"It's okay.\"\n2) \"I didn't mean to interrupt.\"\n3) \"What are you doing?\"\n4) \"I wanted to ask you some things about Reden...\"\n\n> 2\n\"I didn't mean to interrupt.\"\n\n\"Don't worry about it,\" he replies. \"It's nothing all that urgent. What's on your mind?\"\n\n1) \"What are you doing?\"\n2) \"I wanted to ask you some things about Reden...\"\n\n> 2\n\"I wanted to ask you some things about Reden,\" you say. \"We're looking into the transmission vector of the disease, trying to find out how he could have contracted it. If you could tell us about the places he'd been, or the things he'd been doing...\"\n\nZoiro's shoulders slump.\n\n\"Yeah,\" he says. \"Reden.\"\n\"Yeah,\" he says. \"Reden.\"He shuffles over to an armchair and sits with a sigh. He fidgets with the tinderbox in his hands.\na sigh. He fidgets with the tinderbox in his hands.\"I suppose I can help. I don't know how much use I'll be, though... practically cut off contact with him before he died.\"\n\n1) \"You weren't close to him?\"\n2) \"Do you know anything about the places he frequented?\"\n3) \"Do you know anyone else that Reden associated with?\"\n\n> 1\n\"You weren't close to him?\"\n\n\"No.\" Zoiro closes his eyes. \"Primes, no. He was a dead weight, always cadging, borrowing money.\"\n\nHe turns over the box in his hands.\n\n\"I hated him. When he walked out the door and never came back, well... I can't say I was sorry to see him go.\"\n\n1) \"Do you know anything about the places he frequented?\"\n2) \"Do you know anyone else that Reden associated with?\"\n3) \"Reden was unemployed?\"\n4) \"Reden left and didn't come back?\"\n\n> 3\n\"Reden was unemployed?\"\n\nZoiro nods. \"He was a janitor at the Channelworks, let go for drunkenness and unprofessional conduct. He was unrepentant -- no company would have him.\"\n\n1) \"Do you know anything about the places he frequented?\"\n2) \"Do you know anyone else that Reden associated with?\"\n3) \"Reden left and didn't come back?\"\n4) \"Could you tell me more about what he did at the\nChannelworks?\"\n\n> 3\n\"Reden left and didn't come back?\"\n\nZoiro gazes at the door.\n\n\"Yeah,\" he says. \"He just... left. He did it so quietly, I almost didn't realize he was gone.\n\n\"I guess he realized this place wasn't his home any more.\"\n\n1) \"Do you know anything about the places he frequented?\"\n2) \"Do you know anyone else that Reden associated with?\"\n3) \"Could you tell me more about what he did at the\nChannelworks?\"\n4) \"Do you know where he could have gone after he left?\"\n\n> 3\n\"Could you tell me more about what he did at the Channelworks?\"\n\nZoiro shrugs. \"I've never been there myself,\" he says. \"Reden wasn't one for talking about his work. It wasn't anything important... he was just a janitor, some kind of canal scrubber or something. I remember he always came back smelling like a wet rag...\"\n\nIt occurs to you that there was a dampness about Reden on the night he died. It didn't register to you at the time, but... it wasn't raining that day, was it?\n\n1) \"Do you know anything about the places he frequented?\"\n2) \"Do you know anyone else that Reden associated with?\"\n3) \"Do you know where he could have gone after he left?\"\n\n> 3\n\"Do you know where he could have gone after he left?\"\n\nZoiro rubs his chin. \"Actually... I did see him once or twice after he left. Or someone who looked a great deal like him. It was around the shacks in Lower Riggertown...\"\n\n\"Do you think he might have found someplace to stay?\" you ask.\n\nZoiro shrugs. \"It couldn't hurt to take a look.\"\n\n1) \"Do you know anything about the places he frequented?\"\n2) \"Do you know anyone else that Reden associated with?\"\n\n> 1\n\"Do you know anything about the places he frequented?\"\n\nZoiro shakes his head. \"No... not really, no. He was hardly around the house... he'd go out in the morning and come back late, smelling of shitty booze. Some days he was like someone I didn't know.\n\n\"I never asked him where he was going. Don't think I cared. When he left... I don't know what happened to him afterward.\"\n\n1) \"Do you know anyone else that Reden associated with?\"\n2) \"Reden was a compulsive drinker?\"\n\n> 2\n\"Reden was a compulsive drinker?\"\n\n\"The biggest dipsomaniac I ever saw.\" Zoiro smiles grimly. \"He'd go through cheap wine by the bottle. He didn't care what was in the stuff, or who sold it to him, as long as it got him buzzed.\"\n\n1) \"Do you know anyone else that Reden associated with?\"\n2) \"Could there have been a public house he especially\nfrequented?\"\n\n> 2\n\"Could there have been a public house he especially frequented?\" you ask.\n\nZoiro frowns, and his ears stiffen.\n\n\"There could have,\" he says, \"now that you mention it. Something about a bird's nest... they sell the cheapest booze in the district, or so Reden used to say. I can't quite remember the name, though.\"\n\n1) \"Do you know anyone else that Reden associated with?\"\n2) \"That's all the questions I have regarding Reden...\"\n\n> 1\n\"Do you know anyone else that Reden associated with?\"\n\nA shake of the head. \"The only thing he associated with was alcohol. He never talked about his friends... never talked about his work. When he got fired, I wouldn't be surprised if no one even batted an eye. He was that kind of person.\"\n\n1) \"That's all the questions I have regarding Reden...\"\n\n> 1\n\"That's all the questions I have regarding Reden,\" you say. \"You've been a great help.\"\n\nZoiro nods. \"If I can help you with anything else, let me know.\"\n\n\"I will.\"\n\"I will.\"As Zoiro returns to his work, you step back and mull over what he's told you. Reden's connection to the Channelworks... a public house involving a 'bird's nest'... Reden's shack in Lower Riggertown.\nhouse involving a 'bird's nest'... Reden's shack in Lower Riggertown.Does it mean anything? How much of it is relevant?\nRiggertown.Does it mean anything? How much of it is relevant?You suppose you'll just have to keep investigating.\nsuppose you'll just have to keep investigating.## Zoiro's House\nThe shutters have been drawn in this tiny cottage, cloaking its confines in somber shades. In the shadows glimmer vases, knick-knacks, and wishing-eyes; the furniture is small and faintly unreal.\n\nThe front door squats to the east.\n\nZoiro is here, lighting beeswax candles and arranging obsidian beads.\n\n> You go east\n(first opening the front door)\n(closing the door behind you)\n\nThis rustic little house is one of many that squat here and there along the lane. A pair of scrap-metal sculptures flank the steps to the front door. Beside it is a tarnished old pull-bell, dangling from a rope that has seen better days.\n\nYou can enter the front door of the house to the west, or return along the walkway to the northeast.\n\nFor a moment, you smell smoke on the wind.\n\n> You go northeast\nRiggertown, Upper Level\nThis is the more industrial part of Riggertown. The buildings here are scrap-heap spires that twist and turn around each other, with cubby-carts trundling along cables strung between them. Amidst horns honking advertisements, there is a great mess of little people shuffling about, and roads winding in ways wholly inexplicable to your human sensibilities.\n\nTo the south looms the Riggertown Mechanistry, while a quieter road leads southwest to the suburbs. You could also descend a series of ladders to Lower Riggertown, or take a footpath north along the Bilious Canal."
    },
    {
        "text": "[Themes: Mystery, blood, coming of age, horror, female protagonist, mystery]\n\n> Go downward\nRiggertown, Lower Level\nThis peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter.\n\nYou can climb a ladder up to the next level, wander among the shacks to the west, or cross the canal east by way of Cadaver Walk.\n\n> You go to the west\nOne shack among the others catches your attention. You enter cautiously...\n\nThis tiny hovel is visibly shabbier than the rest. The roof is uncomfortably low, and the space just a little too cramped to stand in. A pile of bedding dominates the only room, draped in dirty clothing and empty wine bottles.\n\nThe only exit is to the east.\n\nYou notice some paper tickets scattered among the wine bottles.\n\n> You examine the bottles\nThe labels denote shoddy liquor, third-pressed or fourth-pressed. It's charitable to call it wine at all.\n\n> You examine the tickets\nUpon closer examination, they appear to be coupons from an establishment called the \"Crow's Nest,\" located in the rooftops of the Shanty Quarter. Five coupons entitle the holder to a free drink and a spin of the \"Daemon's Wheel.\"\n\n> You take tickets\nTaken.\n\n> You look at the bedding\nIt's messy and unmade.\n\n> You look at the clothing\nThe clothing is crumpled and dirty, but otherwise unmarked. They smell like their owner has been wading around in canal-water.\n\n> J.\nFifth of Aquaria, Auritum IV\n\nI've made my choice. I have a job to do -- and I'm going to finish it.\n\nCurrent objectives:\n\n- Investigate the victims of the disease and identify the transmission vector\n\n- Go to the Shanty Quarter and investigate the Crow's Nest pub\n\n- Investigate the note in the 'Piper' file about the Shanty Quarter\n\n- Find a way to convince the bouncer to let you into the Crow's Nest\n\nMarid's notes:\n\n- I learned that the disease is unlikely to be airborne.\n- I learned that the disease can be transmitted by ingestion.\n- I learned that the disease is bloodborne and attacks the animus, or the soul.\n\n- I learned that Reden was once a Channelworks worker, and it reminded me that his clothes were unusually wet when he stumbled into Doctor Cavala's clinic.\n- I learned that Reden frequented a rooftop pub in the Shanty Quarter called the Crow's Nest.\n- I remember that Reden died on the night of the Third, two days ago.\n\n- I learned that Doctor Arturus was in debt, and the Trading Company was involved.\n- I found a coffee table set for three in Doctor Arturus's home. According to Justinian, one of the wineglasses had been broken by a guest.\n- I found that Doctor Arturus rushed through his patient record files for some reason, leaving them unfinished.\n- I found that the gloves on Doctor Arturus's body were brand new. He couldn't have been infected through his hands if he had been wearing them.\n- I learned that Doctor Arturus died sometime between last night, on the Fourth, and this morning, on the Fifth.\n\n- I learned that Creditor Nacarat was killed by something he ingested. - I learned that Creditor Nacarat was connected to the Trading Company.\n- I learned that Creditor Nacarat could have hired Sal and Piper recently.\n- I learned that Creditor Nacarat was taking tea with Doctor Arturus when his symptoms emerged, and he broke a piece of tableware as a result.\n- I learned that Creditor Nacarat was admitted to the clinic on the afternoon of the Third, two days ago.\n- I learned that Creditor Nacarat died on the night of that day.\n\n- I learned that Sal and Piper were connected to the Trading Company. - I found a list of names that suggested Piper had been collecting debts. The reverse side of the paper had been intentionally blanked out.\n- I found a battered keyring on Sal's belt.\n- I found a note in Piper's patient record that read \"cellar in f.h. shanty quarter.\"\n- I learned that Piper was killed by something she ingested.\n- I learned that Sal and Piper were admitted to the clinic on the morning of the Third, two days ago.\n- I learned that both Sal and Piper died on the night of that day.\n\n- I learned that the raven is the symbol of the Greater Corindia Trading Company, a criminal syndicate.\n- I'm in the mood for a drink...\n- I hope Doctor Cavala and Horatio will be all right at the clinic...\n\nThis tiny hovel is visibly shabbier than the rest. The roof is uncomfortably low, and the space just a little too cramped to stand in. A pile of bedding dominates the only room, draped in dirty clothing and empty wine bottles.\n\nThe only exit is to the east.\n\n> You look at the roof\nYou don't think whoever lived here got many human visitors. Or many visitors, for that matter.\n\n> Go east\nYou emerge from the shack...\n\nRiggertown, Lower Level\nThis peculiarly goblin neighborhood bristles with mechanical-chymical detritus. There are twisty catwalks made for childlike feet, and sheet-metal shacks you must stoop to enter. Here and there in the shadow of the upper landing, neon lamps glow and windchimes tinkle like laughter.\n\nYou can climb a ladder up to the next level, visit Reden's shack to the west, or cross the canal east by way of Cadaver Walk.\n\n> Go east\nYou are on a bridge, if it can be called that: a haphazard assortment of ropes, planks, chains, warning signs, layers upon layers bound up in incomprehensible knots. Below the lines trail where they have snapped and never been repaired, and the Bilious Canal gobbles them up as they descend.\n\nRiggertown is to the west, while the Shanty Quarter is to the east.\n\n> Go east\nYou take a deep breath.\nYou take a deep breath.## Shanty Quarter\nA labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go.\n\nTangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk.\n\n> You go east\nThis place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol.\n\nTo the west is the exit. To the south, a passageway leads to the rooms.\n\nIn the reception office, a nightmarish many-armed creature crouches, and pores obsessively over an assortment of keys.\n\n> You examine creature\nThere's something deeply unnatural about the way it moves. You have to look away before you get a headache.\n\n> You talk to the creature\n\"E-Excuse me?\" you say.\n\nThe creature freezes. It rears up, bringing undulating folds of flesh to bear, and it fixes you with seven unblinking eyes.\nto bear, and it fixes you with seven unblinking eyes.\"I am,\"\nit says. \"Landlord.\"\nit says. \"Landlord.\"A clatter. It has dropped its keys -- it\nrushes forth like an engulfing wave. Its eyes surround you, press inward.\ninward.\"You are,\" it breathes. \"You are?\"\n\n1) <Panic.>\n2) \"Please get away from me.\"\n3) \"My name is Marid. Servator Marid Orpheia.\"\n\n> 3\n\"M-My name is Marid,\" you stutter. \"Serva... Servator Marid Orpheia.\"\n\n\"Hmmmmmm.\"\n\nThe creature lowers itself close. It inspects your neck. A wriggling presence touches your hair, your ear.\npresence touches your hair, your ear.Then it withdraws, and collects its keys from the floor.\n\n\"You are not resident,\" it says, in a tone that sounds almost disappointed. \"You are not key-bearer.\"\n\n1) \"No. I'm not.\"\n2) \"Who are the residents?\"\n3) \"What's a key-bearer?\"\n4) \"You operate this establishment?\"\n5) \"Actually, I have some keys right here.\" <Present the battered keyring.>\n6) \"Okay... I'll be going now.\"\n\n> 3\n\"What's a key-bearer?\"\n\nThe landlord licks its beak. \"Key. Key important. Bearer of key? Key-bearer. Owner of room.\"\n\n1) \"Who are the residents?\"\n2) \"You operate this establishment?\"\n3) \"Are you sure I'm not a key-bearer?\" <Present the battered keyring.>\n4) \"I'll come back later.\"\n\n> 3\n\"Are you sure I'm not a key-bearer?\"\n\nYou hold up the keyring. The landlord rushes up to you, quivering, scrutinizing the keys from all directions.\nscrutinizing the keys from all directions.There is an uncomfortably long pause.\nlong pause.\"Strange,\" it says at last. \"Right key. Wrong\nperson.\"\n\n1) \"The owner of the keyring is dead. I'm investigating his\ndeath.\"\n2) \"The keyring was given to me by the previous owner.\"\n3) \"I have the keyring now. Does it matter who it used to belong\nto?\"\n\n> 1\n\"The owner of the keyring is dead. I'm investigating his death.\"\n\nThe landlord's tentacles coil around your arm, cradling the keyring, and you suppress the urge to shudder.\n\n\"Maybe,\" it says. \"Maybe you lie. Maybe you thief.\"\n\"Maybe,\" it says. \"Maybe you lie. Maybe you\nthief.\"It exhales wetly, and recedes. Saliva runs from its beak\nand strikes the floor with a hiss.\n\n\"Conundrum. Compromise. You have key? Tell which room. Correct,\nyou enter. Wrong, you leave. Yes?\"\nyou enter. Wrong, you leave. Yes?\"\"Um...\"\n\n1) \"The key unlocks the first room.\"\n2) \"The key unlocks the second room.\"\n3) \"The key unlocks the third room.\"\n4) \"The key unlocks the fourth room -- the cellar.\"\n5) \"That seems like an overly arbitrary way to decide.\"\n6) \"I don't know which room this unlocks.\"\n\n> 4\n\"The key unlocks the fourth room -- the cellar.\"\n\nThe landlord regards you wordlessly, and your lips feel suddenly dry. You're no longer quite so sure about your guess --\n\nYou're no longer quite so sure about your guess --\"You see.\"\n\nYou're no longer quite so sure about your guess --\"You see.\"A\ncrescent opens up in the landlord's body, a ring of grinning white teeth. \"You see. You know.\"\n\nteeth. \"You see. You know.\"Then it says a word that doesn't\n-- doesn't quite register in your mind. Your head feels fuzzy\nfor a second, and you -- you blink --\n\nfor a second, and you -- you blink ---- Where did that\ntrapdoor come from?\n\ntrapdoor come from?There's a trapdoor to the south where there was carpet just moments ago. It's cut into the floor, with a half-eaten ladder descending into darkness.\n\nladder descending into darkness.And the landlord...\n\nladder descending into darkness.And the landlord...The landlord is gone. There's no one there. The office is empty."
    },
    {
        "text": "> Go downwards\n(first opening the trapdoor to the cellar)\n\nA dimly lit mouse-hole of a hollow that has been bricked off from prying eyes. A pair of mattresses lie near the entrance, where Sal and Piper must have slept. Further in, a guttering candle on the only table illuminates bladed weapons, counterfeit bills, and other contraband.\n\nA trapdoor ascends out of the cellar.\n\nYou notice a wine bottle on the table that seems particularly out of place.\n\n> You examine bottle\nThe bottle is still half-full; the label suggests an expensive claret. But the odor surrounding the mouth of the bottle is not quite the odor of wine.\n\nNext to the wine bottle, you spy a stained ribbon and a handwritten note.\n\n> You examine the ribbon\nA sigiled natron ribbon of the kind used in gift-wrapping. It is stained black on blood-red.\n\n> You examine the stain\nYou have a feeling that they aren't inkstains. And they definitely aren't wine.\n\n> You examine the note\n(the gift note)\nA gift note written on plain stationery. It reads:\n\nCongratulations to both of you on a job well done. Here is a gift\nto our continued partnership. Let's keep it a secret between us, shall we?\nA. Z. B. N. Creditor Nacarat\nA. Z. B. N. Creditor Nacarat'A. Z. B. N.'? That's an\nold-fashioned way to end a letter. You thought the instructors at the Physicians' College were the only ones who still wrote that.\nPhysicians' College were the only ones who still wrote that.More importantly, this is proof that Creditor Nacarat had been working with Sal and Piper.\nSal and Piper.Or is it?\nSal and Piper.Or is it?There's something off here that you can't quite put your finger on.\n\n> You look at the candle\nA slow-burning phlogiston candle. It looks as though it was lit some days ago, then forgotten."
    },
    {
        "text": "[Themes: Mystery, female protagonist, fantasy, horror, blood, mystery]\n\n> You look around\nA dimly lit mouse-hole of a hollow that has been bricked off from prying eyes. A pair of mattresses lie near the entrance, where Sal and Piper must have slept. Further in, a guttering candle on the only table illuminates bladed weapons, counterfeit bills, and other contraband.\n\nA trapdoor ascends out of the cellar.\n\nOn the table is a wine bottle.\n\n> You examine table\nThere are many shapes that glisten in the candlelight, but that wine bottle seems the strangest.\n\n> You look at the mattresses\nOne is big; the other, small.\n\n> You look at the weapons\nKnives, mostly, of various sizes and shapes.\n\n> You examine the money\nYou don't carry much money with you. Just enough to buy food and other necessities.\n\n> You examine bottle\nThe bottle is still half-full; the label suggests an expensive claret. But the odor surrounding the mouth of the bottle is not quite the odor of wine.\n\nNext to the wine bottle, you spy a stained ribbon and a handwritten note.\n\n> Smell bottle\nAt first it smells like red wine, light and fruity. But there is the barest coppery undertone to it.\n\n> You examine the note\n(the gift note)\nA gift note written on plain stationery. It reads:\n\nCongratulations to both of you on a job well done. Here is a gift\nto our continued partnership. Let's keep it a secret between us, shall we?\nA. Z. B. N. Creditor Nacarat\n\n> You take the bottle\nIt's uncorked, and you might spill it while moving around. Best to just leave it where it is.\n\n> Go upwards\nThis place was once a beautiful townhouse; now it is a ruin. The walls have been stripped of their furnishings, leaving bone-white plaster and rotting wood. Vagrants sleep on the stairs or in the corridors, curled up in makeshift bedding and soused with laudanum or alcohol.\n\nTo the west is the exit. To the south, a trapdoor descends to the cellar.\n\n> Close trapdoor\nYou close the trapdoor to the cellar.\n\n> You go west\nA labyrinthine morass of concrete and claustrophobia. You know this place better now that you've seen the worst of it -- you know which paths to take, which alleys to avoid -- but there is a horror here that sinks its teeth into you, and does not let go.\n\nTangled rope ladders lead up and down. A crumbling flophouse lies to the east. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk.\n\n> Go up\nRotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky.\n\nThe Shanty Quarter yawns below. Above you is the public house called the Crow's Nest -- but a fearsome eight-legged bouncer blocks the way.\n\n> You examine bouncer\nHe is human, though you wouldn't have guessed from his silhouette. He wears cracked welding goggles and the greasy leathers of a mechanist. Below the waist, his legs have been entirely replaced with a roaring pistoning walking-chassis.\n\n> You talk to bouncer\n\"Hello,\" you say, rather meekly.\n\nThe bouncer peers down at you and frowns. He wipes soot from his goggles; he blows on his bandaged fingers.\n\n\"You don't look like you're from around here,\" he finally remarks.\n\n1) \"What do you mean?\"\n2) \"Neither do you.\"\n3) \"I work at Doctor Cavala's clinic.\"\n\n> 3\n\"I work at Doctor Cavala's clinic.\"\n\nHe appraises you with a raised eyebrow. \"Thought you looked the sort. White jacket. Gloves like a surgeon. You don't ever take those gloves off, do you?\"\n\nYou look at your gloves, and he shakes his head.\n\n\"I don't know why you'd come down here,\" he mutters. \"People like you don't ever come down here. Not unless there's something you're looking for.\"\n\n1) \"I'm just looking for a drink.\"\n2) \"I need to get inside.\"\n3) \"I'm investigating a series of deaths...\"\n\n> 3\n\"I'm investigating a series of deaths,\" you say. \"Some bodies have turned up in the Turris Infinita, all dead of the same affliction. I've been looking around the district for clues, and... and I thought...\"\n\nThe bouncer shakes his head and looks away. He gazes across the spires of the city, rising from the smoke and the water.\nof the city, rising from the smoke and the water.\"Sounds like a bunch of important people died,\" he says. \"I'm sorry to hear that. But this is the Shanty Quarter. People die like flies here, each and every day, and no one gives a damn. Am I supposed to step aside for everyone who's lost someone?\nwho's lost someone?\"Your heart is in the right place, sweetheart. I don't begrudge you or nothing. But if you're looking to learn something about people that matter... you should look elsewhere.\"\n\n1) \"Doctor Cavala sent me.\" <Present the signum.>\n2) \"Sal and Piper lived in the Shanty Quarter...\"\n3) \"Reden came here often, didn't he?\"\n4) \"I'll be back. I'll find something that matters to you.\"\n\n> 3\n\"Reden came here often, didn't he?\"\n\nThere is a shift in the air. The bouncer starts, and looks at you with something approaching incredulity in his eyes.\nsomething approaching incredulity in his eyes.\"Reden,\" he says. \"Where did you hear that name?\"\n\n1) \"He's one of the victims I'm investigating.\"\n2) \"I watched him die in Doctor Cavala's clinic.\"\n\n> 1\n\"He's one of the victims I'm investigating.\"\n\n\"Primes,\" the bouncer whispers. \"He's dead, then. I... I never imagined --\"\nimagined --\"He shakes his head and falls silent. His hands ball into fists, exposing knuckles covered with angry scars.\n\n1) \"I'm sorry you had to find out this way.\"\n2) \"You were close to Reden?\"\n\n> 1\n\"I'm sorry you had to find out this way.\"\n\nHe just shakes his head, his mouth a thin line. He does not reply.\n\n1) \"You were close to Reden?\"\n\n> 1\n\"You were close to Reden?\"\n\nThe bouncer looks at his mechanical legs; he leans heavily on the struts. The cracks in his goggles glint in the cold light.\nstruts. The cracks in his goggles glint in the cold light.\"We were co-workers,\" he says. \"Way back when in the Channelworks. Back before I lost my legs, before everything came tumbling down...\"\nI lost my legs, before everything came tumbling down...\"He looks off into the distance.\ninto the distance.\"We were drinking buddies. Him and me and Crow. We all knew each other back in the day -- told jokes, comforted each other when we had a bad run. I don't think he had anyone other than the two of us.\nthe two of us.\"And now he's gone. It's just the two of us left.\"\n\n1) \"Who's Crow?\"\n2) \"There's no one else?\"\n3) \"I'm here because I don't want anyone else to die...\"\n\n> 1\n\"Who's Crow?\" you ask.\n\n\"Used to be the most cheerful girl on the night shift,\" he says. \"Now... well. People change. Some more than others.\"\n\n1) \"There's no one else?\"\n2) \"I'm here because I don't want anyone else to die...\"\n\n> 1\n\"There's no one else?\"\n\n\"Not anymore. Not since...\"\n\nHe trails off, and looks up at the clouds. He does not continue.\n\n1) \"I'm here because I don't want anyone else to die...\"\n\n> 1\n\"I'm here because I don't want anyone else to die,\" you say. \"I... I need to find out everything I can about the victims. Please.\"\n\nThe bouncer looks at you, and the eyes behind his goggles are dark and tormented.\n\n\"I don't know,\" he says. \"I don't know anymore.\"\n\"I don't know,\" he says. \"I don't know anymore.\"He turns around with a hiss of steam. For the first time, you notice the assembly woven into his spine -- a sprawl of alchemical glyphs and gears, messily sewn together.\ntogether.\"You want to get into the Crow's Nest?\" he whispers.\n\n1) \"Please.\"\n2) \"For all our sakes.\"\n3) <Remain silent.>\n\n> 1\n\"Please.\" Your voice cracks.\n\nHe takes a deep breath. The gears in his spine turn.\n\nHe takes a deep breath. The gears in his spine turn.\"Go,\" he says. \"Just go. I'm putting my head on the block for you -- for Reden. Don't make me regret this. Go and find out whatever you can find.\"\n\nmake me regret this. Go and find out whatever you can find.\"\"Thank you,\" you breathe. \"I...\"\n\nyou,\" you breathe. \"I...\"\"Don't thank me.\" He shakes his head. \"This is for Reden's sake. If I die tomorrow... I can tell him I died making a difference in the end.\"\n\na difference in the end.\"\"I --\"\n\n\"Just go. Please.\"\n\n\"Just go. Please.\"You don't have to be told twice. With a final lingering look at the bouncer on his perch, you push past him, and onward, upward, into the tavern at the edge of the sky.\n\nonward, upward, into the tavern at the edge of the sky.## Crow's Nest There is a strange crooked serenity here, amidst the rags that catch the wind. From discarded blocks and beams have been built tables, landings; odd patrons mingle all around you, engrossed in the late-afternoon murmur.\n\nThe exit lies below.\n\nA disaffected young woman lounges behind the bar, chewing on a stick of gum and idly spinning a rota fortunae with her finger.\n\n> You examine the woman\n(the bartender)\nShe's dressed in a disheveled shirt, wearing a hairpin of feathers and bones.\n\n> You examine the rota\n\"THE DAEMON'S WHEEL. Step up and spin for your fate!\"\n\n> You talk to woman\n(the bartender)\nYou approach the bartender. She doesn't bother looking up from the countertop.\n\n\"So,\" she says. \"You got past Webster. Makes me wonder why I hire him at all.\"\n\n1) \"Do you greet all your customers like that?\"\n2) \"Nice to meet you too, Miss...\"\n3) \"I'm here about Reden.\"\n\n> 2\n\"Nice to meet you too, Miss...\"\n\n\"Crow. Just Crow.\"\n\nShe leans back, and spreads her arms in an all-encompassing gesture.\n\n\"This is my nest.\"\n\n1) \"I'm Marid.\"\n2) \"I'm here about Reden.\"\n\n> 1\n\"I'm Marid.\"\n\nShe shrugs.\n\n1) \"Do you greet all your customers like that?\"\n2) \"I'm here about Reden.\"\n\n> 2\n\"I'm here about Reden.\"\n\nCrow spits her gum into the bin beside her. She gets up and paces back and forth, hooking her thumbs in the loops of her trousers.\n\n\"Yeah,\" she says. \"I heard.\"\n\"Yeah,\" she says. \"I heard.\"Her eyes flicker to the device behind the bar, flared like a foghorn. She brushes the sigiled feathers in its bell, sending them fluttering, whispering.\nbell, sending them fluttering, whispering.\"You hear all kinds of things on the wind.\"\n\n1) \"You heard everything?\"\n2) \"Then you know why I'm here.\"\n\n> 1\n\"You heard everything?\" you ask.\n\n\"I heard enough.\"\n\nShe uncorks a bottle and mixes a drink, a rich dark rum you can smell from across the bar. She pours out a glass for herself -- then she retrieves another, raises it with a sidelong arch of her brow.\nretrieves another, raises it with a sidelong arch of her brow.\"Drink?\" she asks.\n\n1) \"Please.\"\n2) \"I'm fine.\"\n3) \"I'm more of a spiced wine person, actually.\"\n\n> 1\n\"Please.\"\n\nShe fills another glass and pushes it across the countertop. You take a sip -- it's powerful stuff, warm in your throat all the way down.\na sip -- it's powerful stuff, warm in your throat all the way down.\"I'm impressed,\" she says. \"Not a lot of people around here with the stomach for that.\"\n\nShe takes a long swig from her own glass. For a long while she is silent, absorbed in her own thoughts.\nsilent, absorbed in her own thoughts.\"Reden,\" she finally says. \"You wanted to know more about him.\"\n\n1) \"I understand he frequented this place.\"\n2) \"Were you on good terms with him?\"\n3) \"Could you tell me what he was like?\"\n\n> 1\n\"I understand he frequented this place.\"\n\n\"Frequented?\" She chuckles. \"More like he lived here. Between you and me, I don't think he had anywhere else to go.\n\n\"His heart, though, was always elsewhere. You could see it in his eyes. He was always thinking back on old history... stuck in the past.\"\n\n1) \"He was stuck in the past?\"\n2) \"Were you on good terms with him?\"\n3) \"Could you tell me what he was like?\"\n\n> 1\n\"He was stuck in the past?\"\n\nShe gazes at you intently. \"He was. He didn't tell anyone -- wasn't the kind to go on drunken tirades, unlike me --\"\n\nShe looks down and chuckles softly.\n\n\"But I always saw, when he was a few bottles in, that look in his eyes. He was always thinking, thinking of going back. And then he'd say he was done for the night, and he'd lope off and down the gangway... but I don't think he was ever going home. Not really.\"\n\n1) \"Where do you think he went when he was drunk?\"\n2) \"Were you on good terms with him?\"\n3) \"Could you tell me what he was like?\"\n\n> 1\n\"Where do you think he went when he was drunk?\"\n\n\"There's only one place he could have gone,\" she says quietly. \"Back to the past. Back to where it all started.\n\n\"Back to the Channelworks.\"\n\nThere is a silence that settles. You make a mental note of this information.\n\n1) \"Were you on good terms with him? Reden, I mean.\"\n2) \"Could you tell me what Reden was like?\"\n\n> 1\n\"Were you on good terms with him? Reden, I mean.\"\n\nShe shrugs. \"I suppose I was. Webster -- he made it sound like we were chums, didn't he? We were, in a way. The three of us, just raging against the unfairness of the world...\"\n\nShe takes another swig.\n\n1) \"It sounds like the three of you have history.\"\n2) \"Could you tell me what Reden was like?\"\n\n> 1\n\"It sounds like the three of you have history.\"\n\n\"That's a mild way to put it.\" She looks at her painted nails. \"The three of us... we built each other. We shaped each other.\n\n\"On the night shift it was just the three of us in the whole of the Channelworks... we were the whole world to each other back then. Can you imagine? The three of us, kings and queen of the Channelworks? And now... now we're nobody.\"\n\n1) \"What happened with the Channelworks?\"\n2) \"Could you tell me what Reden was like?\"\n\n> 1\n\"What happened with the Channelworks?\"\n\nShe shakes her head. \"Everything. It all started there. I... I don't know how I can tell you.\n\n\"It was late. Webster asked for a whiskey, to keep his bones warm, and I... I just gave it to him.\nI... I just gave it to him.\"Next day I heard he'd slipped and walked into the rubbish grinder.\"\ninto the rubbish grinder.\"\"Oh Primes...\"\n\nShe looks into your eyes. \"I got found out after that,\" she says. \"The whiskey, I mean. And then Reden took the heat, too, for supplying me. All three of us got handed our letters on that day.\"\nAll three of us got handed our letters on that day.\"It's a while before you can compose your thoughts.\nbefore you can compose your thoughts.\"Sorry,\" Crow says. \"That got dark fast.\"\n\n1) \"Could you tell me what Reden was like?\"\n\n> 1\n\"Could you tell me... what Reden was like?\"\n\nCrow looks into her glass, and her reflection stares up at her.\n\n\"Of all of us,\" she says, \"he was the most... detached from the world. I always had the Crow's Nest to keep me busy, even after everything happened. Webster had me to stay in touch. Reden...\nhappened. Webster had me to stay in touch. Reden...\"I offered him a job, but he never took up the offer. He just stayed here, going through bottles and bottles of cheap wine.\nthrough bottles and bottles of cheap wine.\"I never had the heart to charge him.\"\n\n1) \"Could you tell me more about the Crow's Nest?\"\n\n> 1\n\"Could you tell me more about the Crow's Nest?\"\n\n\"Oh, it's nothing special.\" She waves her hand dismissively. \"Time was, there was an employee refectory I ran in the Channelworks... I ran the after-dark shift, together with the reception. I served drinks when the commissary wasn't looking.\n\n\"Now... the surroundings have changed, and my employer's a little less strict. But otherwise it's just like old times.\"\n\n1) \"You have a new employer?\"\n\n> 1\n\"You have a new employer?\"\n\nCrow's expression darkens. She takes a swig from her glass.\n\n\"Yeah,\" she says. \"It wasn't like I had a choice. Place like the Channelworks District, there's only two avenues of employment you have as a bartender. You either work for the Council of Works -- and for people like me, that's off the table -- or you pay your dues to the big fat raven.\"\nbig fat raven.\"\"The Company,\" you say.\n\nHer lips are thin. \"I didn't have a choice. You take what employment you can get, even if it means kissing someone's hobnailed boots.\"\n\n1) \"That's all the questions I have...\"\n\n> 1\n\"That's all the questions I have,\" you say. \"Thank you, Crow. You've been very helpful.\"\n\nShe drains the last of her glass, and runs a hand through her hair. For the first time since you've met her, she does not quite meet your eye.\neye.\"You know,\" she whispers, \"I still feel numb inside. Maybe it's the rum -- I keep thinking Reden's going to climb up the gangway any moment, asking for a bottle of the Bilious Canal's finest...\"\n\nShe stares at the bottom of her glass.\nShe stares at the bottom of her glass.\"But we both know that's not going to happen. Isn't it?\"\n\n1) \"...I know what you mean.\"\n2) \"Doctor Cavala and I will get to the bottom of this. I\npromise.\"\n3) <Remain silent.>\n\n> 2\n\"Doctor Cavala and I will get to the bottom of this. I promise.\"\n\nShe looks into your eyes. Her gaze is intense at first, like a sky split by thunder -- then it mists, quivers, and she turns her gaze downward before you can see it falter.\n\n\"Yeah,\" she says. \"All right.\"\n\nShe closes her eyes and a tear runs down her cheek, staining it dark in the light.\nin the light.\"I should get back to bartending,\" she says, very softly. \"It... it was nice talking to you.\"\n\n1) \"Goodbye.\"\n2) \"I'll leave you to it.\"\n\n> 1\n\"Goodbye.\"\n\nYou get up from the bar, conscious of yourself, of the quiet. You wonder if you perhaps shouldn't have asked so many questions --\n\nBut it's too late now. Sometimes you must hurt someone before they can truly be healed.\ntruly be healed.## Crow's Nest\nThere is a strange crooked serenity here, amidst the rags that catch the wind. From discarded blocks and beams have been built tables, landings; odd patrons mingle all around you, engrossed in the late-afternoon murmur.\n\nThe exit lies below.\n\nCrow sits quietly behind the bar.\n\n> You examine the patrons\nThere are the shabby homeless you'd expect from a public house in the Shanty Quarter -- but there are also well-dressed patrons, unfamiliar workmen and work-women.\n\n> You examine the wheel\n\"THE DAEMON'S WHEEL. Step up and spin for your fate!\"\n\n> Spin wheel\nYou give the wheel a spin. It lands on a space marked \"Free Drink.\""
    },
    {
        "text": "> Go downwards\nRotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky.\n\nThe Shanty Quarter yawns below. Above you is the public house called the Crow's Nest, watched by the bouncer Webster from his perch.\n\nIt's getting dark out. You should return and tell Doctor Cavala what you've learned.\n\n(You can >go to a place you've visited before to quickly travel\nthere. For instance, >go to clinic.)\n\n> You go to the clinic\n(Doctor Cavala's clinic)\nYou go down to the Shanty Quarter, north to the Via Mercurii, north again to the grand forum, north again to the Via Terminalis junction, northwest to the Via Terminalis bridge, northwest again to the West Street, west to the West End, and west again to Doctor Cavala's clinic.\n\nA row of chairs faces the prescription counter, where the medication and patient records are sorted in gridlike pigeonholes. Further on is the consulting study, home to a desk strewn with notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\nDoctor Cavala is curled up in her makeshift bed, staring at an intricately engraved pocketwatch. As you enter, she snaps the watch shut and gives you a nod.\nshut and gives you a nod.\"Marid,\" she says. \"I was wondering when you'd be back.\"\n\n1) \"How are you holding up, Doctor?\"\n2) \"Where's Horatio?\"\n3) \"That's a nice watch.\"\n4) \"About the things you told me to investigate...\"\n\n> 1\n\"How are you holding up, Doctor?\"\n\n\"I'm fine,\" she says. \"It's a bit dull here, especially since Horatio's refused to play any more crucible with me, but it's nothing I haven't endured before.\"\n\n1) \"He's refusing to play crucible?\"\n2) \"Where's Horatio?\"\n3) \"That's a nice watch.\"\n4) \"About the things you told me to investigate...\"\n\n> 1\n\"He's refusing to play crucible?\"\n\nShe smirks. \"Something about running out of cash on hand.\"\n\n1) \"Where's Horatio?\"\n2) \"That's a nice watch.\"\n3) \"About the things you told me to investigate...\"\n\n> 1\n\"Where's Horatio?\"\n\n\"He's popped back home for a shower,\" she replies. \"Don't worry -- I told him to go home and freshen up. He'll be back soon enough.\"\n\n1) \"That's a nice watch.\"\n2) \"About the things you told me to investigate...\"\n\n> 1\n\"That's a nice watch,\" you say.\n\nDoctor Cavala looks at the little brass case in her palm.\n\n\"It is,\" she replies. \"Someone gave it to me, long ago... I was just thinking about it. Had Horatio dig it up.\"\n\n1) \"Thinking about someone, Doctor?\"\n2) \"About the things you told me to investigate...\"\n\n> 1\n\"Thinking about someone, Doctor?\"\n\nAfter a pause, she puts the watch away.\n\n\"It doesn't matter,\" she says. \"It's all in the past now. You had something for me, Marid?\"\n\n1) \"About the things you told me to investigate...\"\n\n> 1\n\"About the things you told me to investigate...\"\n\nDoctor Cavala's expression hardens. You settle down beside her, and she listens raptly to your account of the day's events.\n\nYou tell her about your run-in with the Turris Infinita security. The chill of Doctor Arturus's clinic, the silent stare of the departed -- the macabre sights reflected in endoscopic lenses. You tell her of the doctor's correspondence; the web of intrigue and not-quite-coincidence that bound him; the lives that labored in the shadow of black wings. And through it all, like a pervasive pathogen, the darkness seeps and drips coppery from your words.\n\ndrips coppery from your words.Doctor Cavala is silent as she takes in everything you've told her.\n\neverything you've told her.\"Marid.\"\n\neverything you've told her.\"Marid.\"She takes a deep breath.\n\neverything you've told her.\"Marid.\"She takes a deep breath.\"This is everything I'd asked for and more. You've taken great pains to acquire this information -- you've done the Channelworks District a great service. If I'd known the investigation would take you into the Shanty Quarter...\"\n\nQuarter...\"She trails off, shaking her head.\n\nQuarter...\"She trails off, shaking her head.\"Regardless. You've uncovered a wealth of information pertaining to the affliction. We are now able to draw several conclusions. The transmission vector, for starters --\"\n\n1) \"It has to be airborne.\"\n2) \"It's contracted internally, through ingestion.\"\n3) \"It's spread through skin contact.\"\n4) \"It's transmitted by both ingestion and skin contact.\"\n\n> 2\n\"It's contracted internally, through ingestion.\"\n\n\"A strong hypothesis,\" Doctor Cavala replies. \"Your endoscopies certainly seem to corroborate it. But consider Doctor Arturus -- did he really ingest something that was contaminated? He was a magister of the ars vitalis, after all, and would have taken precautions\nto avoid such a careless mistake. From what you described, it sounds more like he was infected through his hands --\"\n\n\"He couldn't have been infected through his gloves,\" you say. \"Otherwise both of us would be dead.\"\n\nShe raises her eyebrows. \"But he could have been infected through his hands.\"\n\n1) \"It has to be airborne.\"\n2) \"It's transmitted by both ingestion and skin contact.\"\n\n> 2\n\"It's transmitted by both ingestion and skin contact.\"\n\n\"Yes.\" She nods. \"I believe that to be the only explanation for the evidence you've gathered. Nacarat and the thugs were killed by something they ingested -- and Doctor Arturus was almost certainly infected through his hands, though I can't fathom why he would have been handling a patient without his gloves. Perhaps if he was present at the outset of symptoms...\"\n\nShe glances at the curtain of the surgery room, and runs a gloved hand through her hair.\nthrough her hair.\"In any case,\" she continues, \"the transmission vector seems to be clear. It requires proximity to an infected individual, and that implies close ties between the victims. From what you've learned --\"\n\n1) \"All of them were patients of Doctor Arturus.\"\n2) \"All of them were linked to the Greater Corindia Trading\nCompany.\"\n3) \"All of them drank wine.\"\n4) \"All of them had been to the Shanty Quarter.\"\n\n> 2\n\"All of them were linked to the Greater Corindia Trading Company.\"\n\nDoctor Cavala grimaces. \"That's not saying much in this district,\" she replies. \"Even I've had to deal with them in the past. But you're right. The raven symbols you found on Doctor Arturus's patients all but confirm their connection to the Company... and if the message you found on Doctor Arturus's correspondence is genuine, he must have had dealings with the underworld as well.\"\ndealings with the underworld as well.\"\"Even Reden frequented the Crow's Nest,\" you point out. \"That's a front for the Trading Company, too.\"\ntoo.\"She rubs her chin thoughtfully. \"It's possible,\" she says. \"It's possible that the Company had something to do with the outbreak of the disease. But there are aspects of this theory that don't quite gel.\ndisease. But there are aspects of this theory that don't quite gel.\"The Company is a business first and foremost -- so why would an affliction like this come into the picture? They deal in protection rackets, not plagues and poisons; even Nacarat and the thugs were among the victims. I can see how their ties might have caused the affliction to spread... but which one of them was patient\nzero?\nzero?\"It's not the full picture, Marid. I have the feeling there was something else they had in common.\"\n\n1) \"All of them were patients of Doctor Arturus.\"\n2) \"All of them drank wine.\"\n3) \"All of them had been to the Shanty Quarter.\"\n\n> 2\n\"All of them drank wine,\" you say.\n\nDoctor Cavala opens her mouth -- then she pauses, closes it again.\n\n\"Now that you mention it,\" she says. \"That is odd. Reden was\na heavy drinker. Doctor Arturus had been hosting Creditor Nacarat. And there was that bottle you found beneath the flophouse. The affliction can be transmitted through ingestion --\"\n\ncan be transmitted through ingestion --\"\"Do you think it's the\nwine that's killing them?\" you ask.\n\nwine that's killing them?\" you ask.She furrows her brow.\n\"It's certainly possible. A contaminant could be hidden in a dark wine and remain undetected, masked by the color and aroma. It would certainly explain why there have been so few victims. It wouldn't be an epidemic -- it would be a poisoning. If only certain\nbottles of wine were contaminated... Marid, did you notice anything in common about the bottles?\"\n\ncommon about the bottles?\"You shake your head. \"They were all different labels. Different manufacturers. Reden didn't even drink red wine.\"\n\nwine.\"\"That's deeply troubling.\" She looks at her injured leg. \"If there doesn't appear to be any correlation between these poisonings, but the victims are all connected by the same symptoms...\"\n\nbut the victims are all connected by the same symptoms...\"She falls silent, engrossed in thought.\n\n1) \"You think the cause is undetectable?\"\n2) \"You think it could surface anywhere?\"\n3) \"You think foul play is involved?\"\n\n> 3\n\"You think foul play is involved?\"\n\nDoctor Cavala crosses her arms. Her eyes trace the bandages around her destroyed tendon.\n\n\"Suppose we assume that this is deliberate,\" she says. \"That this is part of someone's larger agenda. Many things fall into place -- the attack on my clinic, the connection to the Trading Company, the fast-acting and improbably lethal affliction.\n\n\"Until now, we've been operating under the assumption that this is a simple infection, one that obeys statistical models and adheres to the precepts of medicine... but what if that isn't the case? What if this is, in reality, a series of murders?\"\n\nis, in reality, a series of murders?\"You regard her with growing unease. \"Then... then that would be beyond us. It would be a matter for the Vigiles.\"\n\nfor the Vigiles.\"She nods grimly. \"Correct. And if this is true, Marid... whoever is behind this has it out for me. The culprit might be looking to bury the evidence, silence the doctors in the district who have a chance of stopping them --\"\n\nwho have a chance of stopping them --\"\"That means Doctor Justinian is in danger.\"\n\nin danger.\"\"And you as well.\" Doctor Cavala shakes her head. \"I'm sorry, Marid. If I had known earlier, I would never have sent you out on your own...\"\n\non your own...\"She shifts in her makeshift bed, wincing as the dressing on her leg chafes. Her shoulders are tense as she checks items off her fingers.\n\nitems off her fingers.\"If our conclusion is correct, time is of the essence. I will correspond with Doctor Justinian as soon as possible, and warn the Vigiles by way of Horatio. The quarantine will buy us some time to track down the culprit. As for you, Marid --\"\n\nsome time to track down the culprit. As for you, Marid --\"She looks at you, and something causes her to falter. She closes her eyes. Her words catch in her throat.\n\nwords catch in her throat.\"Go home and rest,\" she says. \"You've done your part. I'll handle things from here on.\"\n\n1) \"Yes, Doctor.\"\n2) \"Can I still help somehow?\"\n\n> 2\n\"Can I still help somehow?\"\n\nA long, tense silence -- and Doctor Cavala shakes her head.\nA long, tense silence -- and Doctor Cavala shakes her head.\"I appreciate all that you've done, Marid. But this is bigger than we'd imagined. It's bigger than any of us. Upon my conscience, I will not allow you to put yourself in danger.\nallow you to put yourself in danger.\"Get some sleep. Take a sabbatical. Let me and the Vigiles handle this.\"\n\n1) \"Yes, Doctor.\"\n2) \"Surely you can let me do something!\"\n\n> 2\n\"Surely you can let me do something --\"\n\n\"Marid.\"\n\"Marid.\"You realize that in all the months you've worked\nhere, you've never heard Doctor Cavala raise her voice.\nhere, you've never heard Doctor Cavala raise her voice.She takes a deep breath.\ndeep breath.\"Marid,\" she says. \"This is not a friendly request. This is a command from Doctor to Servator. I will not allow you to\nwager your life on this. Do you understand me?\"\n\n1) \"Yes, Doctor.\"\n2) \"No! I don't care what you think!\"\n\n> 1\nYou look at your feet.\n\n\"Yes, Doctor,\" you say, softly, quietly.\n\nHer eyes linger on you -- on the tattoos that run like tears down your neck and fade into your pendant.\n\nneck and fade into your pendant.She exhales.\n\nneck and fade into your pendant.She exhales.\"Go,\" she says. \"Go home, Marid. Take care of yourself.\"\n\nMarid. Take care of yourself.\"You rise from the waiting chairs. There is a dull ache in your shoulders. You give Doctor Cavala one last look as you prepare to depart for the night.\n\nas you prepare to depart for the night.\"Good night,\" you tell her.\n\nas you prepare to depart for the night.\"Good night,\" you tell her.You can't bring yourself to meet her gaze.\n\ncan't bring yourself to meet her gaze.## Via Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a cul-de-sac of steel spires and buildings aspiring to the heavens. Night has fallen, broken only by the ghostly glow of bound animii in street-lamps and shop windows. Beyond, you see the great spine of the Channelworks District, receding from the lamplight into the beginnings of rain.\n\nThe white cross of Doctor Cavala's clinic is to the west, and the dormitory block where you live lies to the north.\n\n> Go north\nHere is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are the lights of innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nThe public house is closed tonight. You can only go up to your dormitory room or exit the building to the south.\n\n> Go upwards\n(first opening the door to your dormitory room)\n(closing the door behind you)\n\nIn one corner is a dressing table, piled with stationery and assorted toiletries, and in another is the kitchenette. The only door leads back downstairs to the atrium.\n\nYour bed is at the end of the room, beside the window.\n\n> You enter bed\nYou sit down on the edge of your bed. The sweat and stress of the day cling to you, pool in the shadows behind your eyes.\n\ncling to you, pool in the shadows behind your eyes.Doctor Cavala is right. This is no longer a medical investigation -- it's a murder investigation. You should take a break. Leave matters to those qualified to handle them.\n\nqualified to handle them.But you can't get the thoughts out of your head. The images. Everything that you've seen and done... it\nclings to you. Creeps within you.\n\nclings to you. Creeps within you.So do you drift\ndown and down into darkness, thinking of corpses\nstaring, pigeons twitching --\n\nstaring, pigeons twitching ---- burnt-out lamps in broken\nhousing --\n\nYou open your eyes.\n\nYou open your eyes.You're covered in sweat and your breathing is ragged. A nightmare?\n\nYou'll have time to ponder that later. Someone is knocking on your door.\n\n1) <Ignore the knocking.>\n2) <Answer the door.>\n\n> 2\nYou clamber out of bed, pull your jacket close, and shuffle up to the door.\n\n1) <Look through the peephole.>\n2) \"Who's there?\"\n3) \"Horatio?\"\n4) <Open the door.>\n\n> 1\nYou look through the peephole.\n\nThat's odd. You can't make out anything. All you can see is a misty gray.\n\n1) \"Who's there?\"\n2) \"Horatio?\"\n3) <Open the door.>\n\n> 1\n\"Who's there?\"\n\nThere is no response.\n\n1) \"Hello?\"\n2) \"Horatio?\"\n3) <Open the door.>\n\n> 1\n\"Hello?\"\n\nwood out of its housing like\n\nwood out of its housing likesomanyteeth.\n\nwood out of its housing likesomanyteeth.\"Hello,\" the assassin whispers.\n\nwhispers.She draws her sword and kicks in the remaining pieces of your door. Beneath her hood she's smiling, grinning a rictus grin. Or maybe her mouth is fixed that way.\n\nher mouth is fixed that way.\"You've been a lot of trouble, you know. Asking dangerous questions. Getting dangerous answers.\"\n\nAsking dangerous questions. Getting dangerous answers.\"You back away slowly.\n\n> You talk to the assassin\n\"W-What do you want?\"\n\nThe assassin walks towards you. Calmly. Unhurriedly.\n\n> You go through the window\nYou roll, twist, force yourself into a run. Your knees are aching. The air is freezing, stinging your cheeks. Your boots dislodge old and broken tiles, sending them hurtling off the roof into the mist below.\n\nA balcony lies to the east. Behind you is a clattering, a shrieking that is not human.\n\n> Go east\nand tumble panting across the rotting woodwork. The balustrade shudders with your footfalls, tears away as you frantically grasp for purchase. Behind you, a terrible bulk splinters the flooring and catches up to you with dreadful certainty.\n\nSouth you glimpse a doorway.\n\n> You go south\nThe hall is thick with ash. Moonlight lances through shattered walls. You run blindly through unlit passages, fumbling, your lungs burning as claws rip through the timber and plaster behind you.\n\nThere is no escape except to the south.\n\n> Go south\nThe hall is thick with smoke. Moonlight lances through\nscorched walls. You run blindly through burning\npassages, fumbling, your lungs melting as flames rip\nthrough the timber and plaster behind you.\n\nThere is no escape except to the south.\n\n> Go south\nThe hall is on fire and the beams are crashing down pinning you choking your lungs and you know it's not real but you're screaming and your jacket is burning\n\nsouth.\n\n> You go south\nshe writhes and claws and smashes through the fallen beams. You blink back tears -- you inhale ash -- and tumble through the only exit you see, tread empty air, fall screaming down a broken down chute into\n\nEverything hurts.\n\nEverything hurts.Sounds are echoing in the dark. The assassin's voice, calling out for you. Other things.\n\ncalling out for you. Other things.Did you get away? Where... what is this place?\n\nthis place?You grit your teeth and force yourself to get up.\n\nthis place?You grit your teeth and force yourself to get up.You need help. You need to get out of here.\n\n> About yourself\nYou hurt all over. At least nothing seems to be broken.\n\nYou are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are some drink coupons, a ticker-tape reel, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's\naddress, yesterday's copy of the Libri Liberi, your\npractitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> You examine the shape\nA trick of the light?\nA trick of the light?You grope in the dark and your fingers close around cold iron. A handle -- a bulb -- a fuse?\naround cold iron. A handle -- a bulb -- a fuse?An animus lantern.\naround cold iron. A handle -- a bulb -- a fuse?An animus lantern.You pick it up and strike the fuse. The bound aurora flickers to attention, chilling the fingertips of your gloves, tracing the area in otherworldly dancing light.\notherworldly dancing light.## Calefactory\nYou've landed in some kind of underground heating room, long abandoned. The floor is seared with scorch marks. The corpses of pipes and machinery litter the area, claimed by rust and layers of fine black soot.\n\nAbove dangles a destroyed chute. To the west there is a closed blast door, with a wheel-shaped handle fitted nearby.\n\n> You examine the lantern\nA phylactery cathode in a glass-and-iron housing. It glitters with the cold light of the bound aurora within.\n\n> You examine the pipes\nGnarled, unrecognizable shapes.\n\n> You look at the door\nA forbidding slab of metal. It looks like the wheel nearby will open it.\n\n> You examine the wheel\nA rusted hydraulic wheel.\n\n> You take the lantern\nYou already have that.\n\n> You examine the marks\nDarkness billows from the walls and scars the ground.\n\n> Turn wheel\nYou grip the wheel and turn with all your might. There is a groaning, a painful screeching sound, as rust cracks and crumbles from the base of the handle.\nof the handle.The blast door grinds open.\n\n> You go to the west\nSomething is off about this creaking hall, this bending passage that seems to fold inward. The pipes pass in and out of shadow, traced by your lantern-light, writ large in the cold gray darkness.\n\nTo the east is the blast door you emerged from. To the north, the hall widens and distends.\nwidens and distends.And there is something -- something\nmoving there --\nmoving there --No. Gone. It's gone.\n\n> You look at the pipes\nThe pipes are parallel. The pipes intersect.\n\n> You look at the hall\nYou feel a little sick, as though whatever is affecting the hallway is also affecting you.\n\n> You go north\nThe floor falls away here. The path is shredded and broken. In another time this might have been the servants' quarters: the remains of furniture and domestic objects are strewn across this distorted space. But the seams of reality are showing, and an otherworldly pulsing darkness seeps forth that makes your eyes throb.\ndarkness seeps forth that makes your eyes throb.You've seen places like this before. When the magical foundations of a building are damaged, it tears the fabric of the world, exposing the irrational dimensions that lie beyond. And things crawl through the\ncracks that are not quite alive.\ncracks that are not quite alive.You'd best not linger here.\ncracks that are not quite alive.You'd best not linger here.The service hallway lies south. East you see the door to a service lift, and beside it, a hydraulic wheel.\n\n> You examine the furniture\nThe laws of nature are tattered here. Abused.\n\nYou hear things stirring in the darkness.\n\n> You look at the lift\nThe lights are still flickering. It might be your way out of here.\n\nThe noises are growing louder. Claws and legs are creeping into the light.\n\n> You enter it\nThe door is closed. The nearby wheel seems to be the only way to open it.\n\nLimbs scratch at reality's seams. Eyes push through the stonework. Teeth float through the air, gnashing, approaching.\n\n> Turn wheel\nYou grip the wheel, and with incredible effort, turn it a couple of degrees. But the door is barely budging -- you suspect you will have to give the wheel a few more good heaves.\n\nThey're very near now. They're all around you. They're brushing your neck, raking your back, pulling your hair, closing in, closing and you need to run or you will die --\n\n> You enter the lift\n-- and before you can do anything else, anything, there is a thrust and an impact and a sudden, sudden coldness.\nand an impact and a sudden, sudden coldness.Teeth are ripping into your skin.\nyour skin.It hurts. It hurts so much. Your eyes are tearing up. You can't think. You feel sick. You need to throw up --\n\n> Turn wheel\nYou grip the wheel, and with incredible effort, turn it a couple of degrees. But the door is barely budging -- you suspect you will have to give the wheel a few more good heaves.\n\nYou hear things stirring in the darkness.\n\n> Turn wheel\nYou grit your teeth and shift the wheel another couple of degrees...\n\nThe noises are growing louder. Claws and legs are creeping into the light.\n\n> Turn wheel\nYou squeeze your eyes shut and throw your weight into it. You can feel the wheel shifting, moving faster...\n\nLimbs scratch at reality's seams. Eyes push through the stonework. Teeth float through the air, gnashing, approaching.\n\n> Turn wheel\nYour muscles are aching. Your palms are sweating. The door is opening. Just... a bit more...\n\nThey're very near now. They're all around you. They're brushing your neck, raking your back, pulling your hair, closing in, closing and you need to run or you will die --\n\n> You go south\nYou break and run for your life.\n\nSomething is off about this creaking hall, this bending passage that seems to fold inward. The pipes pass in and out of shadow, traced by your lantern-light, writ large in the cold gray darkness.\n\nTo the east is the blast door you emerged from. To the north, the hall widens and distends.\n\nYou take a moment to catch your breath and collect your thoughts. It seems those creatures will attack if you stay in the next room for too long.\n\n> You go north\nThe floor falls away here. The path is shredded and broken. In another time this might have been the servants' quarters: the remains of furniture and domestic objects are strewn across this distorted space. But the seams of reality are showing, and an otherworldly pulsing darkness seeps forth that makes your eyes throb.\n\nThe service hallway lies south. East you see the door to a service lift, and beside it, a hydraulic wheel.\n\n> Turn wheel\nYou scream as the wheel shifts suddenly. The service lift door opens.\n\nYou scream as the wheel shifts suddenly. The service lift door opens.You stumble into it, pushing past mandibles and slithering things, searching frantically for the control panel, hammering the rusted buttons as the aether-daemons close --\n\nrusted buttons as the aether-daemons close --The lift lurches. The door slams shut. There is a crack as a creature's limb is severed, and slides wetly to the floor.\n\nslides wetly to the floor.You take a deep breath.\n\nslides wetly to the floor.You take a deep breath.You stomp on the limb with your boot. You keep stomping until you can't distinguish the limb from the other smears on the metal.\n\nfrom the other smears on the metal.And at last you dare to rest.\n\n* * *\n\n* * *## Service Lift\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\n> You look at the lift\nThank the Primes that this thing worked when it did.\n\n> Go outside\nDo you mean going west (to the kitchen) or going east (to the scullery)?\n\n> You go to the east\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA rickety ladder leans against the wall, providing access to the pitch-black shaft.\n\n> You look at the shaft\nIt appears to be the maintenance access for the service lift.\n\n> Examine flies\nThey nest here, feeding, multiplying.\n\n> You examine the cobwebs\nSpiderwebs crisscross this place. They are caught in the light of your animus lantern; they insinuate themselves among your clothes and hair.\n\n> You look at the ladder\nA long wooden ladder, worn from repeated use. Right now, it leans against the wall and provides access to the maintenance shaft.\n\n> You look in the shaft\nThat's too far away.\n\n> You drop the ladder\nYou prop the ladder up so that it leads to the pitch-black shaft.\n\n> Go upwards\nYou squeeze into the shaft...\n\nIt is cramped and dark and hard to move. You are prone on your elbows, wedged between unfeeling bricks, and your eyes hurt from the too-close lantern-light.\n\nThe scullery is below.\n\nEngraved before you are the glyphs that conduct the galvanism of the service lift, and barely -- just barely -- keep it from plummeting away into the abyss.\n\n> You examine the glyphs\nThe glyphs are worn and decrepit. A few scratches from your scalpel, and the lift would become a deathtrap for the unwary.\n\n> Scratch glyphs\nThat would untether the service lift and turn it into a deathtrap. You're not sure that's quite warranted at the moment."
    },
    {
        "text": "[Themes: Mystery, mystery, coming of age]\n\n> Descend\nYou drop down from the shaft.\n\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA rickety ladder leans against the wall, providing access to the pitch-black shaft.\n\nYou catch a glimpse of a spider in the corner of your vision.\n\n> Go east\nYou can go up to the hoistway access or west to the service lift.\n\n> Go west\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\n> You look at the platform\nThank the Primes that this thing worked when it did.\n\n> Go west\nLight streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them.\n\nTo the east is the service lift; to the south is a collapsed corridor.\n\nNearby is a forlorn kitchen stool.\n\n> You look at the countertops\nCovered in ash, perhaps. Or the castoffs of vermin.\n\n> You examine the ash\nCold white specks.\n\n> You examine the corridor\nThe shapes of the walls crumble, there.\n\n> You examine the stool\nA fragile thing, riddled with the marks of absent woodlice.\n\n> You get it\nTaken.\n\n> You go south\nYou approach to get a better look and --She's there.\nYou approach to get a better look and --She's there.The\nassassin is there. She stalks the collapsed corridor, humming tunelessly, playing with the edge of her sword. She doesn't seem to have noticed you.\nhave noticed you.You step back for now. If you get her attention, you'd best have a plan to survive it.\n\n> You go to the east\nYou slip away as silently as you can manage.\n\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\n> You go to the east\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA rickety ladder leans against the wall, providing access to the pitch-black shaft.\n\n> Go west\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\nIt occurs to you that if you were to put down the rickety ladder here, it would bridge the width of the service lift.\n\n> You drop the ladder\nYou place the ladder across the lift so that it bridges the gap between the doorways.\n\n> You go to the east\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\n> You drop the ladder\nYou prop the ladder up so that it leads to the pitch-black shaft.\n\n> You go west\nLight streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them.\n\nTo the east is the service lift; to the south is a collapsed corridor.\n\nIn the corridor, the assassin paces back and forth with languor.\n\n> You drop the ladder\nDropped.\n\n> You drop the stool\nYou place the kitchen stool underneath the pitch-black shaft."
    },
    {
        "text": "[Themes: Mystery, steampunk, mystery, female protagonist]\n\n> Go down\nYou drop down from the shaft.\n\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA rickety ladder and a kitchen stool provide access to the pitch-black shaft.\n\n> Yell\nAre you sure you want to get the assassin's attention?\n\n> Yes\nYou cry out. The assassin turns her head --\n\nYou cry out. The assassin turns her head ---- her lips peel from a carnival of teeth --\n\ncarnival of teeth --You break and run. The kitchen is a blur. You crash through the service lift -- send it lurching with your footfalls -- tear through the viscous cobwebs. All the while she gains, gains with impossible speed upon you, until --\n\nwith impossible speed upon you, until --A dead end. A stone wall. There is nothing further this way; nowhere else you can hide.\n\nThere is nothing further this way; nowhere else you can hide.You don't know why you thought there would be.\n\n> You go west\nYou can go east to the service lift or south to the collapsed corridor.\n\n> You go to the east\nYou slip away as silently as you can manage.\n\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\n> Yell\nNo. You have to keep your cool.\n\n> You go to the east\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA rickety ladder and a kitchen stool provide access to the pitch-black shaft.\n\n> Go east\nYou slip away as silently as you can manage.\n\nThe lift has ground to a halt here, suspended between doorways. You are acutely aware of the creaking of the ancient mechanisms; the gentle cant of the platform within its cradle.\n\nTo the west, the doorway opens up into a large kitchen, while to the east a cobwebbed scullery can be seen.\n\nA rickety ladder has been laid across the lift, neatly bridging the gap between the doorways.\n\n> Go east\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. The lights of the service lift glow to the west.\n\nA kitchen stool has been placed under the pitch-black shaft, providing access.\n\n> Scratch glyphs\nYou draw your scalpel from your pocket. You steel yourself, and with as much force as you can manage in these cramped quarters, gouge a scratch right through the center line --\nscratch right through the center line --A shock. You can feel enchantments disintegrating, unraveling around your fingers. You sense the lift grow heavy as its binding forces wither and fail.\nthe lift grow heavy as its binding forces wither and fail.You scratch the glyphs a few more times. When you're finished, your scalpel is noticeably hotter. You clean the edge and let it cool before stowing it. You try not to think about the fact that you're plotting to murder someone."
    },
    {
        "text": "> Go down\nYou drop down from the shaft.\n\nYour footsteps squelch in this stale, cramped space. The cobwebs here glitter with moisture and silk-wrapped things. Flies flit through your lamp-light, disturbed by your movements, gathering on moldy plates and slime-encrusted piping.\n\nA pitch-black shaft gapes above you. Through the sabotaged lift to the west, you see the abandoned kitchen.\n\nA kitchen stool has been placed under the pitch-black shaft, providing access.\n\n> You go west\nThe ladder creaks as you crawl across it...\n\nLight streams thinly here, between dirt-choked basins and dust-coated countertops. Your steps raise plumes of snowlike ash, which slither among your battered boots and cling to them.\n\nTo the east is the scullery, across the rickety ladder; to the south is a collapsed corridor.\n\nIn the corridor, the assassin paces back and forth with languor.\n\n> Yell\nYou cry out. The assassin turns her head --\n\nYou cry out. The assassin turns her head ---- her lips peel from a carnival of teeth --\n\ncarnival of teeth --You break and run. The kitchen is a blur. You crash through the service lift -- send it lurching with your footfalls -- tear through the viscous cobwebs. All the while she gains, gains with impossible speed upon you, until --\n\nwith impossible speed upon you, until ---- wood splinters --\n\nwith impossible speed upon you, until ---- wood splinters ---- metal fails and reality turns.\n\nfails and reality turns.The lift has been dislodged from its\nunnatural suspension. Its arcane skeins have entangled the assassin in their coils. Now, shackled again to the chains of gravitation, that whole unwieldy apparatus has begun to collapse, and the assassin has been caught up in its descent.\n\nbeen caught up in its descent.Her smile falters. She tenses. Stops.\n\nbeen caught up in its descent.Her smile falters. She tenses. Stops.\"I -- you -- what --\"\n\n-- you -- what --\"She scrabbles desperately for purchase.\nImpossibly, her claws gouge into the stone. She grasps at your feet --\n\nImpossibly, her claws gouge into the stone. She grasps at your feet ---- digs into the flesh of your ankles -- you scream in pain\n--\n\n---- and she slips. She slips.\n\n---- and she slips. She slips.It is enough. The machine has been set in motion. The cacophony, the wailing gnashing whirlwind, it takes her and bears her down -- bears her shrieking into the abyss where reality ends, where all things end and are consumed.\n\nends, where all things end and are consumed.And she is gone.\n\nends, where all things end and are consumed.And she is gone.You collapse there on the edge of the shaft, inches from empty space. You start to cry.\n\nYour footsteps feel strangely heavy as you walk down this final hall. The dust -- your footfalls -- your heartbeat -- they throb in time with every breath.\n\nYou can see the light just up ahead. Just a little further. To the south.\n\n> You go south\nYou --You stumble a little. You pick yourself up, blink the fog out of your eyes. You don't feel quite so well at the moment.\nyour eyes. You don't feel quite so well at the moment.Is that blood? Is it yours?\nIs it yours?It doesn't matter. You can't stop now. You have to keep going.\n\n> Go south\nYou take a wobbly step.\n\nYou take a wobbly step.And another.\n\nYou take a wobbly step.And another.Step by step, with agonizing certainty, you push onward.\n\ncertainty, you push onward.## Condemned Block\nYou emerge into a sea of lights, of sweeping rain and hazy twinkling stars. The city of Furopolis rises all around you, and it has never been more beautiful nor a more welcome sight: you realize the light of the stars is rippling and wavering through your tears.\n\nthe stars is rippling and wavering through your tears.Why, then, are your feet so leaden, when the city is so close?\n\nyour feet so leaden, when the city is so close?Drenched, shivering, you make your way towards the gate that divides you from the world. Freedom is so close that you can taste it. There is a workman's access sealed by a thin padlock -- with trembling scalpel you press, and cut, and slowly separate the lock from its bonds...\n\nand slowly separate the lock from its bonds...But the work will take an eternity, with this iron padlock, and this tiny blade. And your consciousness wavers and you are so, so tired.\n\nconsciousness wavers and you are so, so tired.No. You --\n\nconsciousness wavers and you are so, so tired.No. You ---- you slump to your knees, the scalpel slipping from your fingers. It's growing cold, now. Harder to see. The pavement about you is flecked with something like blood or rainwater.\n\nsomething like blood or rainwater.Perhaps you should take a rest. Just a short one.\n\na short one.You clasp your pendant to your heart and close your eyes.\n\nThere is a familiarity about this place, although you are rarely allowed inside. The aroma of your father's favorite tea mingles with that of ink-blotted corkboards and bubbling athanors; the alchemical lines, alight with power, swoop and soar above you into the rafters.\n\nFather is decanting a spirit at his workstation.\n\n> About yourself\nYou're thirteen years old.\n\n> You check what you're carrying\nYou are wearing your clothes. On your person is nothing of importance.\n\n> You examine the corkboards\nThe markings writhe and change, never quite coalescing into formulae.\n\n> You examine the athanors\nA foreboding heat emanates from the furnaces.\n\n> You look at the lines\n(the soaring laboratory rafters)\nThey're too bright.\n\n> You look at the Father\nHe's still alive. Lively. Warm.\n\n> You talk to the Father\n1) \"How are you alive?\"\n2) \"I love you.\"\n3) \"Please come back.\"\n\n> 2\nTears well up in your eyes. You blink them back, but they keep coming.\n\n\"I love you.\"\n\nHe turns around and smiles. He's so young. You'd almost forgotten his face.\n\n1) \"I missed you so much.\"\n2) \"Don't do this to me.\"\n3) \"Don't leave me again.\"\n\n> 3\n\"Don't -- don't --\"\n\nYou can't do this. You choke. Your hands are trembling.\n\nFather's eyes soften. \"Is something wrong?\"\n\n1) \"Father, you have to listen to me.\"\n2) \"Please listen to me.\"\n3) \"You have to run while you still can.\"\n\n> 1\n\"F-Father. You have to listen to me. Please...\"\n\nHe's not listening. The power lines have surged. A thump rocks the laboratory -- flames are licking at the lids of the athanors, and smoke is starting to fill the room.\n\n\"Marid...\" he breathes.\n\n1) \"Please...\"\n2) <Grab his hand.>\n3) <Cry.>\n\n> 2\nYou reach out, but it is already too late.\n\nYou've had this dream a thousand times. Each time, it ends the same way. Each time, you are powerless to prevent it.\n\nway. Each time, you are powerless to prevent it.The athanor closest to your father explodes. Glass shatters. A plume of fire erupts, and both of you are thrown back from the blast -- you are dimly aware of porcelain pieces, scattered across the desk, shimmering in the intense heat.\n\nheat.Your father is calling your name. You see him then: bleeding out, barely recognizable. Another beaker falls to the floor and shatters. You can't breathe -- you force yourself up, unsteady, tottering towards your father, toward the flames...\n\ntowards your father, toward the flames...\"Marid, go!\" he screams. \"Just go! Run! Get help... get help... g...\"\n\n\"Just go! Run! Get help... get help... g...\"His words are stolen away. They vanish with him in the smoke and the fire. You feel yourself slipping away -- feel the world buckling and crashing around you, as you stumble amidst the twisted metal and the ash --\n\nyou stumble amidst the twisted metal and the ash ---- excruciating pain --\n\npain ---- and then a long dark silence.\n\nYour senses return in fragments and echoes.\n\nYour senses return in fragments and echoes.Something cold and numbing is pressed to your lips. You awaken -- you cough up dust, your parched throat cracking from the exertion. Standing over you, in the darkness, is a woman all in white.\n\n1) \"Where is my father?\"\n\n> 1\n\"Where... where is my father?\" you ask weakly.\n\nThe woman looks away.\n\n\"Hush,\" she replies. \"Don't exert yourself.\"\n\n1) \"Are you going to take me to see him?\"\n\n> 1\n\"Are you going to take me to see him?\"\n\nShe doesn't respond. Not for a while. Instead she kneels and places a hand upon your cheek, inspecting you like a broken sculpture. Her face is a mask, tattooed and impossible to read -- and you find that you know it well.\nknow it well.After all, the face is your own.\nknow it well.After all, the face is your own.\"It's time,\" the other you says. \"It's time to go.\"\n\n1) \"Where are we going?\"\n2) \"Who are you?\"\n3) \"I'm not ready.\"\n\n> 3\n\"I'm... I'm not ready...\"\n\nShe stands up -- and so do you. The ruins of your father's laboratory flicker, fade, and collapse into ash; it piles among your feet with the skeletons of your past.\n\n\"You're free now, Marid,\" your other self says. \"You've suffered enough. It's time to move on.\"\nenough. It's time to move on.\"And she points up -- up into the great aether, where the sparks of countless souls twinkle like stars.\naether, where the sparks of countless souls twinkle like stars.You imagine that your father is among them.\n\n1) <Gaze at the stars.>\n2) \"You're taking me away.\"\n\n> 1\nYou watch the stars. In this time outside of time, you watch.\n\nThere is a beauty to the movement of the world; to the movement of the souls that orbit it. You remember where you've seen it before: an eternity ago, in Doctor Cavala's surgery room, you caught a glimpse of that animic light.\n\nBut here, now, the light washes over you, and you feel yourself being drawn to it like a river to the sea.\n\n1) \"You're taking me away.\"\n2) \"I want to go...\"\n\n> 1\n\"You're taking me away,\" you say.\n\nShe nods. You feel a chill run down your spine.\n\n1) \"I want to go...\"\n\n> 1\n\"I want to go,\" you admit. \"I want to leave it all behind...\"\n\nYou lower your gaze. Your other self is silent.\nYou lower your gaze. Your other self is silent.\"...But I can't. I can't go. Not like this.\"\ncan't go. Not like this.\"The animic light bears down upon you, harsh, questioning. It is difficult to stand beneath its weight -- to stand tall before the jury of numberless eyes.\ntall before the jury of numberless eyes.Your other self cocks her head. \"Why?\"\n\n1) \"It's not just about me...\"\n2) \"I need to know...\"\n3) \"I'm not done yet...\"\n\n> 1\n\"...It's not just about me.\"\n\nYou remember those moments, frozen in time and etched in memory. Laughing with Horatio on the Via Terminalis. Consoling Zoiro about his brother's death.\n\nbrother's death.\"I'm caught up in something. I -- I don't know what. But I know that it's big. Bigger than all of us. And it's going to touch the lives of a hundred more, or a thousand more, before it ends.\n\ntouch the lives of a hundred more, or a thousand more, before it ends.\"And... and maybe for the first time in my life... I can do something. To save them. To make a difference. And... and I...\"\n\nsomething. To save them. To make a difference. And... and I...\"You look at your other self, trying desperately not to cry. And she looks at you.\n\nat you.And her eyes are alight with white fire.\n\nat you.And her eyes are alight with white fire.\"Vive,\" she\ncommands. \"Vide.\"\n\ncommands. \"Vide.\"And you feel yourself rising up, up into the\nlights, and you gasp for air, and you breathe, and you see --\n\n-- you jolt awake, shuddering, blinking, coughing. Everything feels heavy. A pair of hands grips your shoulders, steadies you.\n\nheavy. A pair of hands grips your shoulders, steadies you.\"Is she awake?\" a voice breathes. Doctor Cavala's voice.\n\nawake?\" a voice breathes. Doctor Cavala's voice.\"Yes,\" comes the reply. Then again, closer: \"Marid? Can you hear me?\"\n\nreply. Then again, closer: \"Marid? Can you hear me?\"You close and open your eyes. There are strange patterns, echoes, swirling in your vision, infinitely long, and it hurts to see. It hurts to\nsee...\n\nsee...You slip back into unconsciousness.\n\n\"...stabilizing...\"\n\nLights. You see lights.\n\nLights. You see lights.You force your heavy eyelids to open. You're staring at the ceiling of Doctor Cavala's clinic. From the shadows it must be afternoon, around the time of your usual lunch break. But there's something off about the color of the light. Something strange.\n\nthere's something off about the color of the light. Something strange.\"Doctor?\" you croak through parched lips.\n\nstrange.\"Doctor?\" you croak through parched lips.\"Marid!\" a voice exclaims. \"Thank the Primes...\"\n\nA shadow falls across you; a hand grips your wrist close. You turn your head to see the smiling face of Doctor Justinian.\n\nyour head to see the smiling face of Doctor Justinian.Wha -- what --\n\n1) <Panic.>\n2) \"Doctor Justinian?\"\n\n> 2\n\"D-Doctor Justinian?\"\n\n\"Thank the Primes.\" He's checking your pulse now, leaning in to examine your eyes. Your gazes meet for a second, and his irises are fiery and alive and close.\n\nfiery and alive and close.You take a few deep breaths, trying\nto compose yourself. Neither of you speaks for a moment.\n\nto compose yourself. Neither of you speaks for a moment.\"I thought we'd lost you,\" he says at last. \"The Vigiles found you bleeding out in the condemned block... I heard your door was broken down.\nIt boggles my mind that anyone could do a thing like this --\n\nIt boggles my mind that anyone could do a thing like this --\"But what matters is that you're here now. You're safe.\"\n\nmatters is that you're here now. You're safe.\"There is a sound from the waiting chairs. You turn and see Doctor Cavala watching from her cot. Her throat is choked. Her eyes are red from crying.\n\ncot. Her throat is choked. Her eyes are red from crying.\"You're safe,\" she breathes. \"Marid, I'm sorry. I'm so, so sorry.\"\n\n1) \"Doctor Cavala?\"\n2) \"...Thank you, Doctor Justinian. For saving me.\"\n3) \"How long was I out?\"\n4) \"I was attacked by a mutant woman with a sword...\"\n5) \"What's wrong with the color of the light?\"\n\n> 1\n\"Doctor Cavala?\"\n\nShe shakes her head. \"I... I should have asked for a guard. A warding glyph. Something. I should have... I almost lost you, Marid.\nI... I let you down. I failed you.\"\nI... I let you down. I failed you.\"You've never seen her like this before.\nbefore.\"She's been like this since they brought you in,\" Doctor Justinian says quietly. \"We'd best give her some time to herself.\"\n\n1) \"...Thank you, Doctor Justinian. For saving me.\"\n2) \"How long was I out?\"\n3) \"I was attacked by a mutant woman with a sword...\"\n4) \"What's wrong with the color of the light?\"\n\n> 1\n\"...Thank you, Doctor Justinian,\" you tell him. \"For... for saving me.\"\n\nHe smiles. \"You would have done the same for me.\"\n\n1) \"How long was I out?\"\n2) \"I was attacked by a mutant woman with a sword...\"\n3) \"What's wrong with the color of the light?\"\n\n> 1\n\"How long was I out?\"\n\nDoctor Justinian checks his pocket watch. \"The guards found you lying in the rain... seven hours ago? You've been fading in and out ever since. You were deathly pale then, even paler than you normally are... it's a good thing I got to you in time.\"\n\n1) \"I was attacked by a mutant woman with a sword...\"\n2) \"What's wrong with the color of the light?\"\n\n> 1\n\"I was attacked by a mutant woman with a sword. The same person who broke in here the other night...\"\n\nHe nods grimly. \"The Vigiles told me everything. Her name is Carnicer -- she's a hired assassin. The Greater Corindia Trading Company pays her to do its dirty work. But don't worry -- we've called in all the guards we can muster to protect you and Doctor Cavala.\"\n\n1) \"Carnicer is dead. I killed her in self-defense.\"\n2) \"Do you think the Trading Company is behind this?\"\n3) \"What's wrong with the color of the light?\"\n\n> 1\n\"...Carnicer is dead,\" you say. \"I killed her in self-defense.\"\n\n\"...Oh.\" Doctor Justinian blinks. \"Well. I'm sure the captain will be glad to hear it. Still, you should remain here in case your enemies send someone else.\"\n\n1) \"Do you think the Trading Company is behind this?\"\n2) \"What's wrong with the color of the light?\"\n\n> 1\n\"Do you think the Trading Company is behind this?\"\n\nHe sighs. \"Perhaps. Perhaps someone within the Company... but it's not my job to speculate. And you definitely shouldn't be doing any investigating in your current state.\"\n\n1) \"What's wrong with the color of the light?\"\n\n> 1\nYou try to focus on the light. It's out of place somehow, both here and not here -- shimmering and scintillating in a way that makes your head spin.\n\n\"What's wrong?\" you mumble. \"What's wrong with the color of the... the...\"\nthe...\"Your breath catches in your throat. Your brain refuses to comprehend what you are seeing.\ncomprehend what you are seeing.\"Marid?\" Justinian asks.\n\n1) <Wrench your eyes shut.>\n2) \"I have to go.\"\n\n> 1\nYou close your eyes, but the image does not fade.\n\nIt lingers.\n\n1) \"I have to go.\"\n\n> 1\n\"I -- I have to go.\"\n\n\"Hold on --\"\n\"Hold on --\"You get up despite your body's aches and protests. The world swirls around you, feels unreal. Justinian raises a hand but does not stop you.\ndoes not stop you.And you see. You still see. In\nlife as in death.\nlife as in death.## Clinic\nThe light you see is not quite of this world. It does not originate from the fluorescent lamps. Yet it radiates still, engulfing this place, leaving its imprints in chair and counter and tile.\n\nA long shadow falls from the north, from the surgery room.\n\nDoctor Cavala and Justinian are staring at you in concern. Neither of them appears to have noticed anything. A calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\n> You look at the chair\nThey're for waiting patients to sit on.\n\n> You examine Justinian\nHe returns your gaze uneasily.\n\n> You examine Cavala\nHer eyes are red from crying.\n\n> Go north\nThe curtain parts.\n\nYou are in a cold cylindrical chamber, pulsing in a thousand dimensions illuminated from within. Dozens or hundreds of afterimages creep like specters at the edge of your vision. To the south, the exit is wreathed in calomel.\n\nA shimmering and fractured Reden sits upon the gurney. He looks at you with eyes that run black.\n\n> You talk to Reden\n\"H -- Hello?\"\n\nReden twitches, as though animated by a jolt of galvanism. Again. His empty eyes pivot in their sockets. He opens his mouth, but you can't quite make out the words...\nquite make out the words...You feel a curling in your spine -- a beckoning to listen closer.\n\n1) <Hesitate.>\n2) <Listen closer.>\n\n> 2\nYou close your eyes and focus. The light of the real world vanishes -- but the other light, that light that permeates the boundary,\nremains. You hold on to that light and follow it like a thread...\nremains. You hold on to that light and follow it like a thread...And the world shifts.\n...broken...\n\n...hurts... everywhere...\n1) \"Hello?\"\n2) \"Reden?\"\n\n> 2\n\"Reden?\"\n\n...yes...\n\n1) \"How is it that I can speak with you?\"\n2) \"You're breaking up...\"\n3) \"Are you in pain?\"\n\n> 1\n\"How is it that I can speak with you?\"\n\n...must... be dead...\n\n...didn't peg... for a chatty one...\n\n1) \"I'm not dead. At least, I don't think so.\"\n2) \"You're breaking up...\"\n3) \"Are you in pain?\"\n\n> 1\n\"I'm not dead. At least, I don't think so.\"\n\n...\n\n1) \"You're breaking up...\"\n2) \"Are you in pain?\"\n\n> 2\n\"Are you in pain?\"\n\n...hurts...\n\n1) \"You're breaking up...\"\n2) \"Is there any way I could help?\"\n\n> 2\n\"Is there any way I could help?\"\n\n...\n\n1) \"You're breaking up...\"\n2) \"Doctor Cavala and I have been investigating your\naffliction...\"\n\n> 2\n\"Doctor Cavala and I have been investigating your affliction...\"\n\nYou do your best to explain what you've uncovered. You sense a presence following your train of thought, in bits and pieces, in half-remembered parts.\nhalf-remembered parts....maybe...\nhalf-remembered parts....maybe......find... where...\ncaught...\ncaught......Chan... works... find...\n1) \"The Channelworks?\"\n\n> 1\n\"The Channelworks?\"\n\n...\n...A vision assaults you. A canal splits and runs off. A\nsewer heaves with misery and regret. You sit and drink, waiting, waiting for an answer that will never come --\nwaiting for an answer that will never come --It's gone as quickly as it arrived.\n\n1) \"I understand.\"\n2) \"I don't understand.\"\n\n> 1\n\"I understand.\"\n\n...\n\n1) \"I'll find the place in the vision. I'll find out what happened\nto you.\"\n\n> 1\n\"I -- I'll find the place in the vision. I'll find out what happened to you.\"\n\n...\n\n1) \"I promise.\"\n2) \"Goodbye, Reden.\"\n\n> 1\n\"I promise.\"\n\n...\n......thank you...\n1) \"Goodbye, Reden.\"\n\n> 1\n\"Goodbye, Reden.\"\n\n...\n\n...The current buoys you upward. The world shifts.\n\nYou return gradually to your senses. The cold glare of the surgery room envelops you. The shelves, the gurney, the curtain: these things fall into their rightful place, and your body of flesh and blood among them.\n\nthem.As your sense of self returns, you look instinctively to the center of the room -- but the ghostly Reden is nowhere to be seen. The gurney is empty.\n\ngurney is empty.And yet...\n\ngurney is empty.And yet...And yet you sense his presence. The pull of that other world still remains, inviting you to look beyond\nthe curtain. Perhaps that other world was always here, and you only lacked the eyes to see it.\n\nlacked the eyes to see it.\"Marid? Are you all right?\"\n\nlacked the eyes to see it.\"Marid? Are you all right?\"You turn. Doctor Justinian's brow is furrowed with worry. His eyes flicker between you and the empty gurney.\n\n1) \"I'm fine.\"\n2) \"I think I just had one of my hallucinations.\"\n3) \"I think I just saw a ghost.\"\n\n> 3\n\"I think I just saw a ghost.\"\n\nJustinian looks at you. \"A ghost? Surely -- but you don't mean...\"\n\nJustinian looks at you. \"A ghost? Surely -- but you don't mean"
    },
    {
        "text": "...\"\"I know what I said,\" you tell him. \"I think... I think I spoke to a dead man. It felt too real to be a vision -- it wasn't like any hallucination I've ever experienced.\"\n\nhallucination I've ever experienced.\"Justinian falls silent. He opens and closes his mouth, unable to muster a reply.\n\nand closes his mouth, unable to muster a reply.As the two of you exit the surgery room, Doctor Cavala's eyes are on you. She reaches for your hand as you walk past.\n\nyour hand as you walk past.\"Marid,\" she murmurs. \"If... If you're --\"\n\nyour hand as you walk past.\"Marid,\" she murmurs. \"If... If you're --\"She's interrupted by footsteps approaching the doorway. You barely have time to look before the door swings open and a man in a gray coat barges in.\n\nbarges in.\"Justinian!\" he rasps. \"There you are. Just what have you been doing all morning? Do you know how much time you've cost the Court?\"\n\nCourt?\"Doctor Justinian stiffens. \"Yes, of course, Doctor Serpens,\" he replies. \"I wasn't aware that meetings took precedence over saving the life of a friend.\"\n\nlife of a friend.\"The man called Serpens narrows his eyes. \"Don't get lippy with me, Justinian. This is not a 'meeting.' It's an emergency inquest from the Philosophers themselves. And mark my words, you'll have your hide strung up if you don't move your damn fool behind.\"\n\nhave your hide strung up if you don't move your damn fool behind.\"Doctor Justinian sighs and looks to you. \"I'm sorry, Marid. We'll see each other again.\"\n\nWe'll see each other again.\"They depart. A small group of Vigiles salutes the doctors as they exit, and escorts them down the street and out of sight.\n\nout of sight.Beside you, Doctor Cavala shakes her head. \"Doctor Serpens,\" she mumbles. \"Twenty years on and still a curmudgeon.\"\n\n1) \"Who is Doctor Serpens?\"\n2) \"You knew him, Doctor?\"\n3) \"What was that he said about an emergency inquest?\"\n\n> 1\n\"Who is Doctor Serpens?\" you ask.\n\n\"I'm surprised you haven't heard of him,\" she says. \"He was... is... one of the foremost experts on physiology. A close rival of Doctor Arturus, back when they were both still practicing.\"\n\n1) \"You knew him, Doctor?\"\n2) \"What was that he said about an emergency inquest?\"\n\n> 1\n\"You knew him, Doctor?\"\n\n\"Before your time,\" she says. \"I apprenticed under him at the Valetudinarium. That was... twenty years ago? Before I\nenlisted...\"\n\n1) \"What was that he said about an emergency inquest?\"\n\n> 1\n\"What was that he said about an emergency inquest?\"\n\nDoctor Cavala stiffens. \"Right. We... we haven't told you. Much has changed in the district while you were out. Take a look outside.\"\nchanged in the district while you were out. Take a look outside.\"She tilts her head at the door. You follow her gaze, and the shadows of soldiers can be seen through the glass.\nsoldiers can be seen through the glass.\"The death toll of the affliction has climbed into the hundreds,\" she says. \"The entire district is in a -- a panic. Word has reached the higher-ups and martial law has been declared. There are Vigiles patrols, checkpoints in the streets... and the quarantine.\nin the streets... and the quarantine.\"No one can leave the district until a cure has been produced by the inquest, or until everyone up and down the canal is dead.\"\n1) \"Oh, Primes.\"\n2) \"What did you mean by checkpoints?\"\n3) \"What about food and water? Or correspondence?\"\n4) \"So this inquest is to find a cure for the affliction?\"\n5) \"Didn't we establish that the deaths were murders, not a result\nof infection?\"\n6) \"So what do we do now?\"\n\n> 1\n\"Oh, Primes.\"\n\nDoctor Cavala nods grimly.\n\n1) \"What did you mean by checkpoints?\"\n2) \"What about food and water? Or correspondence?\"\n3) \"So this inquest is to find a cure for the affliction?\"\n4) \"Didn't we establish that the deaths were murders, not a result\nof infection?\"\n5) \"So what do we do now?\"\n\n> 1\n\"What did you mean by checkpoints?\"\n\n\"The -- The Vigiles have divided the district into cells,\" she replies. \"Do you remember the Golden Reckoning?\"\n\nYou rack your memory. \"Now that you mention it, I remember something like that. Lots of walls and calomel curtains?\"\n\n\"It's the same system. Each section of the district has been partitioned off and quarantined. It's a way to forestall the spread of the disease until a cure is found.\"\nthe disease until a cure is found.\"\"And no one is allowed to move between these cells?\"\nbetween these cells?\"\"Very few can.\" Doctor Cavala sighs. \"Doctor Justinian wasn't even supposed to be here. He's needed for the inquest, which is why Doctor Serpens made an exception for him. Magisterial fiat aside, not even I can pass through the checkpoints... and neither can you.\"\n\n1) \"What about food and water? Or correspondence?\"\n2) \"So this inquest is to find a cure for the affliction?\"\n3) \"Didn't we establish that the deaths were murders, not a result\nof infection?\"\n4) \"So what do we do now?\"\n\n> 1\n\"What about food and water? Or correspondence?\"\n\n\"We can still receive packages from the rest of the city,\" Doctor Cavala says. \"There's a crew of physickers at the tram station -- they're teleporting rations to each section of the district, to be distributed by the Vigiles. We can also pass along messages through the Vigiles network, though obviously nothing material can be sent out.\"\nout.\"She pauses.\nout.\"She pauses.\"I... I've already asked Horatio to pass along my messages. If there's anyone outside the Channelwork District you want to contact, you should do so.\"\n\n1) \"So this inquest is to find a cure for the affliction?\"\n2) \"Didn't we establish that the deaths were murders, not a result\nof infection?\"\n3) \"So what do we do now?\"\n\n> 1\n\"So this inquest is to find a cure for the affliction?\"\n\n\"It is,\" Doctor Cavala replies. \"A research station has been set up in Doctor Arturus's clinic. Doctor Serpens is the head of operations. I'd have recommended you, but after what happened...\"\n\n1) \"Didn't we establish that the deaths were murders, not a result\nof infection?\"\n2) \"So what do we do now?\"\n\n> 1\n\"Didn't we establish that the deaths were murders, not a result of infection?\"\n\nShe fixes you with a hard look. \"Hypotheses can change, Marid. Hundreds have turned up dead. Whether this is an epidemic or a slaughter, measures have to be taken.\"\n\n1) \"So what do we do now?\"\n\n> 1\n\"So what do we do now?\"\n\nDoctor Cavala leans her head back. She closes her eyes, and for a terrible moment she looks like a corpse bereft of life.\nterrible moment she looks like a corpse bereft of life.\"I don't know,\" she says. \"I don't know.\"\nshe says. \"I don't know.\"Her fingers twitch. Her voice cracks.\nshe says. \"I don't know.\"Her fingers twitch. Her voice cracks.\"Honestly, Marid, there's nothing we can do. There's nothing either of us can do. All we can do is wait.\"\neither of us can do. All we can do is wait.\"You feel a cold pit in your stomach.\n\n1) \"Doctor? Are you all right?\"\n2) \"You don't have any ideas?\"\n3) \"I could go out there on your behalf, like last time.\"\n\n> 1\n\"Doctor? Are you --\"\n\n\"Marid,\" she says quietly. \"I know what you're thinking. You want to go out there. Make a difference. Marid, you just recovered from a case of severe hypoxia. You shouldn't even be standing right now.\"\nof severe hypoxia. You shouldn't even be standing right now.\"She chuckles bitterly, and sinks into her makeshift cot like a wretched leaden thing.\nleaden thing.\"You were dead, Marid,\" she says, very quietly. \"Just moments ago, you were clinically dead on the tarp.\"\n\n1) \"What?\"\n2) \"This isn't the time for jokes, Doctor.\"\n3) <Say nothing.>\n\n> 1\nYou feel a chill down the back of your neck. \"What?\"\n\n\"I told Justinian you were still in there.\" she says. \"I was so scared -- I was so scared I'd watch your animus leave your body -- and I'd lose you again --\"\nlose you again --\"Doctor Cavala chokes up, and begins to sob.\nlose you again --\"Doctor Cavala chokes up, and begins to sob.\"Is it worth it?\" she asks. \"Is it worth it to risk your life like this? To gaze into death?\"\n\n1) \"I'm not afraid of death...\"\n2) <Hesitate.>\n\n> 1\nA fire rises up in you, a bile white and furious. The words come to mind like armaments of Truth.\n\nmind like armaments of Truth.\"I'm not afraid of death,\" you tell her. \"I've seen beyond the curtain.\"\n\n\"I've seen beyond the curtain.\"You look Doctor Cavala in the eye, and she returns your gaze with bated breath, with fearful wonder.\n\nshe returns your gaze with bated breath, with fearful wonder.\"I've gone to the other side,\" you say. \"I clawed my way back. And I fought every bit of the way -- I fought my way back to the land of\nthe living, Doctor -- because I realized something.\n\nthe living, Doctor -- because I realized something.\"I can't run any more. There's no running from this... this madness. That's why we have to face it. That's why we have to heal it. It's what we do.\n\nto face it. That's why we have to heal it. It's what we\ndo.\"Maybe you've forgotten what the point of everything is. Maybe the stress of it all has broken you. But I haven't broken. Not yet. And I'm going to get out there, and save lives, and find the truth.\n\nI'm going to get out there, and save lives, and find the truth.\"It's what Father would have wanted.\"\n\nwhat Father would have wanted.\"You take a deep breath. You feel blood seething and pounding in your temples.\n\nseething and pounding in your temples.Doctor Cavala has fallen silent, and there are tears at the corners of her eyes.\n\n1) <Hesitate.>\n2) \"I'm sorry...\" <Leave her.>\n\n> 2\nIn all your life, you have never come across a more terrible decision to make. Yet the more you have thought on it, the more the choice has become clear. It is the same choice you made when you applied to Doctor Cavala's clinic a lifetime ago.\n\nDoctor Cavala's clinic a lifetime ago.\"I'm sorry,\" you tell her. \"This is what I have to do.\"\n\nis what I have to do.\"\"Marid --\"\n\nis what I have to do.\"\"Marid --\"\"I'll take care of myself. It'll all be fine. I promise.\"\n\nbe fine. I promise.\"\"Marid --\"\n\nbe fine. I promise.\"\"Marid --\"Doctor Cavala reaches madly for\nyou as you pull away. She tries to stand and almost falls out of her cot.\n\ncot.Like a nurse subduing a patient, you push her back into her cot and draw a white blanket over her body. She stares at you with eyes like a terrified deer. You blink back tears.\n\nlike a terrified deer. You blink back tears.\"I'll be fine,\" you say, \"I promise. And I promise you this: no one else has to die.\"\n\n\"I promise. And I promise you this: no one else has to die.\"Doctor Cavala has no words for you. She is quiet, whimpering, sobbing to herself like a child. It is almost too much for you to see her in this state.\n\nstate.So you do the only thing you can do.\n\nstate.So you do the only thing you can do.You turn around and place your hand on the door handle. With a final forlorn step, you leave everything behind.\n\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a dead end of steel spires and buildings grasping fruitlessly at the sky. In the ceaseless rain, smears of animus-light weakly glow, winking in and out of existence like so many wandering souls.\n\nThe dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south.\n\nThe way east to the Via Terminalis has been barricaded by a Vigiles checkpoint.\n\n> You go to the north\nHere is the faded arch, with its years of verdigris; here are the too-small atrium and the fountain at its center. All around above are innumerable domiciles, linked by crumbling stairs and divided by flimsy plaster walls.\n\nThe public house is closed tonight, and your room appears to have been cordoned off with warning tape. You can only exit the building to the south.\n\n> You go to the south\nVia Terminalis, West End\nYou stand in the terminus of the Via Terminalis, a dead end of steel spires and buildings grasping fruitlessly at the sky. In the ceaseless rain, smears of animus-light weakly glow, winking in and out of existence like so many wandering souls.\n\nThe dormitory block where you live lies to the north, and a gap between buildings hides an alley entrance to the south.\n\nThe way east to the Via Terminalis has been barricaded by a Vigiles checkpoint.\n\nSome schoolgirls walk past, not meeting your eye.\n\n> You go south\nYou shuffle through the gap...\n\nA thin, twisting thread that winds between buildings. Rubbish accumulates around pipes and corners, not quite blocking the smoking vents of underground distilleries.\n\nYou can escape by a gap between buildings to the north or a hanging banner to the northeast.\n\n> You examine the vents\nThe south wall of the alley is lined with fume-spewing vents.\n\n> You look at the banner\nThe banner is an advertisement for a night market, now three weeks out of date. You can't see much behind it.\n\n> Go northeast\nYou duck under the banner...\n\nVia Terminalis, West Street\nYou drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot.\n\nYou are trying to make out the end of the bridge in the rain, when --\nYou are trying to make out the end of the bridge in the rain, when --\"Marid?\"\n--\"Marid?\"-- you freeze. A voice echoes through the mist, anxious, painfully familiar in its concern.\npainfully familiar in its concern.You look away. A young Vigile in a gas mask is pushing through the billowing rain. He's wiping raindrops from his lenses, struggling to make you out.\nfrom his lenses, struggling to make you out.\"Marid, is that you?\"\n\n1) \"Horatio.\"\n2) <Say nothing.>\n\n> 1\n\"Horatio.\"\n\n\"Marid? Oh, Primes, what's happened to you?\"\n\"Marid? Oh, Primes, what's happened to you?\"Horatio's uniform is faded and a little ragged, and his natron-inlaid overcoat is ill-fitting. Rain pools in the crevices of his leather gloves as he takes your hand.\nhand.\"I thought you were with Doctor Cavala,\" he says. \"I... She didn't...\"\n\n1) \"Where were you?\"\n2) \"I'm not with Doctor Cavala any more...\"\n3) \"She's just sent me on an errand...\"\n\n> 2\n\"I'm not with Doctor Cavala any more,\" you tell Horatio. \"Things have changed.\"\n\nHis eyes widen. \"What?\"\n\nHis eyes widen. \"What?\"\"I'm investigating the epidemic, Horatio.\" You push his hand away. \"People are dying. I can't just sit and wait in the clinic. I can't just give up on everything we've done.\"\n\nthe clinic. I can't just give up on everything we've done.\"\"Marid...\"\n\nthe clinic. I can't just give up on everything we've done.\"\"Marid...\"Horatio moves as though to embrace you, but you stop him with your hand. He dares not come closer. His dark eyes beseech you from behind gas-mask glass, as if to say: why?\n\nyou from behind gas-mask glass, as if to say: why?\"Marid,\ndon't do this,\" he whispers. \"You don't...\"\n\ndon't do this,\" he whispers. \"You don't...\"\"I don't what?\"\n\ndon't do this,\" he whispers. \"You don't...\"\"I don't\nwhat?\"Horatio shakes his head. \"...Marid, I was there when\nthey brought you in. You were dying.\" Do you know --\" His\nvoice cracks. \"Do you know how I felt, seeing you like that?\n\nvoice cracks. \"Do you know how I felt, seeing you like that?You think of your father's face wreathed in flame.\n\nof your father's face wreathed in flame.\"I know,\" you tell Horatio. \"I know. I'm sorry. Take care of Doctor Cavala for me.\"\n\nknow. I'm sorry. Take care of Doctor Cavala for me.\"You turn away from your old friend and start walking. You don't look back, for fear that you won't have the willpower to break his heart again.\n\nyou won't have the willpower to break his heart again.## Via Terminalis, West Street\nYou drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot.\n\nTo the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south.\n\n> You check what you're carrying\nYou are wearing an animus pendant (containing the spirit of your father), your natron jacket, and your clothes. On your person are your practitioner's badge, your scalpel, your purse, an antiseptic cloth, an endoscope, Doctor Cavala's signum, an animus lantern (providing light), yesterday's copy of the Libri Liberi, a Fourth of\nAquaria copy of the Libri Liberi, a note with Zoiro's\naddress, some drink coupons, and a ticker-tape reel.\n\n> J.\nSixth of Aquaria, Auritum IV\n\nThere's nothing left to say. I've burned my bridges. I'm sorry.\n\nNow it's time to do what I set out to do. Reden, Doctor Arturus, all of them -- I'm going to make sure they didn't die in vain.\n\nCurrent objectives:\n\n- Find the place from Reden's vision\n\nMarid's notes:\n\n- Reden's vision showed me a canal or sewer somewhere in the Channelworks, where he was drinking.\n\nVia Terminalis, West Street\nYou drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot.\n\nTo the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south.\n\n> Go southeast\nHere your footsteps echo like a crowd among the arches and cobblestones. Endlessly does the rain dash itself against the bridge, making the Bilious Canal churn with forbidding mist and the eyes of the wayside statues run with tears.\n\nA Vigiles checkpoint blocks the path to the southeast. You can only retrace your steps northwest, or failing that, descend a clandestine stairway to the south.\nstairway to the south.As you take a moment to catch your bearings, a mysterious hooded woman climbs up the steps from the south. She takes a fleeting glance at you --\na fleeting glance at you --She withdraws as if stung, and walks away quickly across the bridge to the northwest.\n\n> Go northwest\nVia Terminalis, West Street\nYou drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot.\n\nTo the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south.\nsouth.You spy the hooded woman on the side of the street. As you catch up with her, she notices you and flees south along the canal.\n\n> You go south\nGlittering waters roar alongside the footpath, running from north to south in an ever-restless torrent. North lies the Via Terminalis, and beyond it the mouth of the Channelworks; to the south, the path descends by steps and turns, ending in the algae and grime of Upper Riggertown.\n\nThe entrance to Riggertown appears to be blocked by a Vigiles checkpoint. There will be no going south from here.\ncheckpoint. There will be no going south from here.The hooded woman is climbing down through the manhole, having opened it by unknown means. As you approach, she lifts her head. Only darkness is visible beneath her hood.\nher hood.She regards you like that -- the rain and the wind tugging at the hem of her cloak -- before she disappears into the manhole and slams it firmly shut behind her.\nslams it firmly shut behind her.You rush over and pull at the manhole cover, but it's useless. However she did it, the manhole seems to be locked from the inside.\nlocked from the inside.But the chase may not have been in vain after all. In her haste, the woman seems to have left an odd-looking stone behind.\n\n> You examine the stone\n(the stonework key)\nAn artificially carved stone fragment that reminds you of a puzzle piece or key. One of its faces is crescent-shaped and covered in moss and graffiti paint.\n\n> Go north\nVia Terminalis, West Street\nYou drift through empty blood-vessel streets, a speck of white mingling with cobblestones ashen and black. In place of carriages and people, there are quarantine signs and body bags. The air rings with silence, and in it there is the foul creeping odor of something terrible afoot.\n\nTo the southeast, the Via Terminalis bridges the canal. A condemned block is visible to the north, and a footpath follows the canal to the south.\n\n> You go southeast\nHere your footsteps echo like a crowd among the arches and cobblestones. Endlessly does the rain dash itself against the bridge, making the Bilious Canal churn with forbidding mist and the eyes of the wayside statues run with tears.\n\nA Vigiles checkpoint blocks the path to the southeast. You can only retrace your steps northwest, or failing that, descend a clandestine stairway to the south.\n\nSome guards lead a prisoner down the street in chains.\n\n> You look at the moss\n(the moss on the east embankment)\nGrim tufts of pelagic moss; a Dark Lands weed notoriously difficult to eradicate.\n\n> You examine the graffiti\n(the graffiti on the east embankment)\nVarious vandalisms in aspirated paint. There are the usual signatures and faux-alchemical designs, as well as more esoteric images of the celestial and fantastical. Here, a three-headed sphinx; there, a crescent inscribed among stars.\n\n> You look at the crescent\n(the crescent in the graffiti)\nRunning your fingers over the graffiti, you are st"
    },
    {
        "text": "artled to discover that the crescent in the graffiti conceals some kind of keyhole.\n\n> You look at the door\nAn iron door flush with the embankment. It is dirty, but without rust, and unmarked except for a crescent-shaped window. There is no handle.\n\n> You put the key in the keyhole\nThe stonework key fits into the mural with a tingle, as though an alchemical glyph has been completed. The world blurs into the rain, and the rain into the world, and you see it -- a change in\nthe order of the skeins that are woven before you.\nthe order of the skeins that are woven before you.The iron door swings open.\n\n> You enter\nIn this lightless passage, the air is still and the sounds of the world seem to die. Yet the tunnel is alive nonetheless: it teems with raindrops, seeping from unseen cracks, sparkling with mirth as they reflect the dancing eye of your animus-light.\n\nTo the west, you hear the echoing roar of the Bilious Canal. In the east, there is murmuring, and a candlelit glow.\n\n> You look at the glow\nThe east flickers.\n\n> You go east\nYou are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god.\n\nA crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. A green-robed patriarch stands among them, overseeing the ceremony; and he looks at you.\nceremony; and he looks at you.\"Hello, child.\"\nceremony; and he looks at you.\"Hello, child.\"His is a voice that throbs, as though it were bubbles of vocalization escaping from broth. He regards you with a face full of holes and crinkles his jaw in a way approximating a smile.\n\n1) <Recoil instinctively.>\n2) \"Hello.\" <Try to stay calm.>\n\n> 2\n\"H -- Hello,\" you muster. Your voice is trembling.\n\"H -- Hello,\" you muster. Your voice is trembling.\"Oh... Oh!\" the mutant exclaims. \"You are not of our kind. My sincerest apologies.\"\nmutant exclaims. \"You are not of our kind. My sincerest apologies.\"He -- at least you think it is a he -- he reaches behind himself with a gaunt arm and pulls his hood up. Colorful streamers dangle in front of his face, veiling its ragged angles from sight.\nhis face, veiling its ragged angles from sight.\"I am so very sorry for the shock.\" He steps closer. \"We receive so few visitors. Especially from the world above.\"\n\n1) \"My name is Marid.\"\n2) \"Who are you?\"\n3) \"What is this place?\"\n4) \"I hope I'm not trespassing...\"\n5) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 4\n\"I hope I'm not trespassing,\" you say. \"I... There was a woman who dropped a key in a hurry, and...\"\n\nThe patriarch tilts his head. \"You are a friend of ours, are you not?\"\n\nThe patriarch tilts his head. \"You are a friend of ours, are you not?\"\"Um...\"\n\nnot?\"\"Um...\"\"If you are not, I am afraid this conversation will take a rather unpleasant turn.\"\n\nrather unpleasant turn.\"\"...Yes,\" you say. \"Yes, I'm a friend.\"\n\nrather unpleasant turn.\"\"...Yes,\" you say. \"Yes, I'm a friend.\"\"Then you have nothing to worry about.\" He chuckles, his chest heaving wetly. \"As long as you pledge to leave us in peace, we shall afford you the same respect. I trust we are clear on this.\"\n\nyou the same respect. I trust we are clear on this.\"\"Yes, sir.\"\n\nyou the same respect. I trust we are clear on this.\"\"Yes, sir.\"\"Very good.\"\n\n1) \"My name is Marid.\"\n2) \"Who are you?\"\n3) \"What is this place?\"\n4) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 1\n\"My name is Marid,\" you say.\n\n\"Greetings, Marid.\" The mutant inclines his head. \"Marid Orpheia, is it not? You are a brave woman to venture so far from home.\"\n\n1) \"Who are you?\"\n2) \"What is this place?\"\n3) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 1\n\"Who are you?\"\n\n\"Ah! I have forgotten my manners.\" He clasps his hands together. \"Forgive me. I am Natos, Natos Web-eye; but most here call me Patriarch Natos.\n\n\"Here I am...\" He sweeps a robed arm around the chamber. \"Here is my congregation.\"\n\n1) \"What is this place?\"\n2) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 1\n\"What is this place?\"\n\nYou gaze at the terrible hydra in steel, and the dozens of mutants prostrating themselves before it.\n\n\"You are not from the basilica, then. Thank the stars.\" The patriarch laughs wetly and shakes his head. \"And here I was, preparing to offer you a bribe.\"\nyou a bribe.\"\"A bribe?\"\nyou a bribe.\"\"A bribe?\"\"We are outcasts, my child. Cast out from the temple of your people to walk the dark places. Tell me --\"\ntemple of your people to walk the dark places. Tell me --\"He fixes you with an eyeless gaze. \"What do you know of Reason, and of mutantkind?\"\n\n1) \"Reason is the law that governs all things, just as the Philosophers govern society.\"\n2) \"Mutants -- your people -- you were exiled to the Dark Lands,\nand mutated by the irradiata.\"\n3) \"...I've come to realize that I know a lot less about the world than I thought I did.\"\n\n> 3\n\"...I've come to realize that I know a lot less about the world than I thought I did.\"\n\nThe patriarch regards you quietly for a while, a little eerily, though not without fondness.\n\nnot without fondness.\"You are wiser than I was at your age,\" he says.\n\nnot without fondness.\"You are wiser than I was at your age,\" he says.\"There are many things I don't know,\" you say. \"And I've seen some things that made me question myself.\"\n\nsome things that made me question myself.\"\"Very well... very well...\"\n\nsome things that made me question myself.\"\"Very well... very well...\"He nods, and for a moment you wonder if he is not smiling beneath his hood. Then, with a gnarled hand, he gestures at the statue of the hydra.\n\nof the hydra.\"Now it is my turn to answer,\" he says. \"You asked me, my child: what is this place? It is a church, if you would like to call it that. Here we worship, and we pray, and we venerate the old traditions from the Dark Lands. Our rites have been handed down through generation after generation of mutants; and so they have passed into my care.\n\npassed into my care.\"Before you is a likeness of Anu Va, the Hydra God. It is one of the powers in the world, although the Philosophers would have you believe that it is not so. Trust me, for I have seen the Hydra with my own eyes. We worship and give offerings so that its terrible chaos does not consume us.\"\n\nterrible chaos does not consume us.\"\"And you do this in secret,\" you say.\n\nsay.\"Indeed,\" Patriarch Natos says. \"The Philosophers do not take kindly to those who challenge their sacred idols: Reason, or Knowledge, or the Scientific Method. They call us 'cultists,' or else 'subversives,' and persecute us as they persecuted our ancestors. They will not admit that there are answers that cannot be found in textbooks, or that there are things Reason cannot explain.\n\ntextbooks, or that there are things Reason cannot explain.\"That is why we hold our services in this abandoned cistern... and why we have to bribe Council officials from time to time.\"\n\n1) \"Do you know a mutant woman with a distinctive smile? One with\nlots of teeth?\"\n2) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 1\n\"Do you know a mutant woman with a distinctive smile? One with lots of teeth?\"\n\nThe patriarch nods grimly.\n\n\"I knew the one of whom you speak,\" he says. \"Carnicer was her name. We had not seen her here in some time... I had my misgivings about the paths in life she had chosen. It is a tragedy that her choices led her to such a terrible end.\"\n\n1) \"Are you aware that the Channelworks District is under\nquarantine?\"\n\n> 1\n\"What do you mean, 'cursed'?\"\n\n\"I mean what I say.\" He lowers his head solemnly. \"Ever since we began our worship here, all who have chanced to go into the passage have died.\"\n\n1) \"How did the deaths happen?\"\n2) \"Can I see the bodies?\"\n3) \"Does anyone else know about this curse?\"\n4) \"Thank you for the warning. I'll be careful.\"\n\n> 1\n\"How did the deaths happen?\" you ask.\n\n\"It is different every time,\" Patriarch Natos says. \"Now and again, one of us is foolhardy enough to brave the passage. They will go, and they will return, seemingly none the worse for wear. They always say the same thing: that it is only an old, disused aqueduct, and there is nothing for us to fear.\n\n\"And yet, within the week, it will transpire that some terrible malady has befallen the explorer. They will bleed from within, or they will go insane, or their flesh will melt off their bones. And then they will die.\"\n\n1) \"Can I see the bodies?\"\n2) \"Does anyone else know about this curse?\"\n3) \"Thank you for the warning. I'll be careful.\"\n\n> 1\n\"Can I see the bodies?\"\n\n\"I am afraid not,\" Patriarch Natos says. \"There was a time when we buried those who had succumbed to the curse, but we soon found that the curse could linger in the graves. These days, we incinerate the bodies. We do not take chances.\"\n\n1) \"Does anyone else know about this curse?\"\n2) \"Thank you for the warning. I'll be careful.\"\n\n> 1\n\"Does anyone else know about this curse?\"\n\nHe shrugs. \"In the beginning, we tried to get help. Discreetly, of course. There is an appeal, somewhere in the basilica, that a magistrate sympathetic to us has filed. But no one has come. I can only assume that it has fallen through the cracks of your bureaucracy.\"\n\n1) \"Thank you for the warning. I'll be careful.\"\n\n> 1\n\"Thank you for the warning,\" you say. \"I'll be careful.\"\n\n\"You do not seem to be dissuaded,\" Patriarch Natos observes.\n\n\"You do not seem to be dissuaded,\" Patriarch Natos observes.You think of Reden's black eyes, full of forlorn hope. You feel the weight of your pendant on your skin.\n\nyour pendant on your skin.\"...I see,\" the patriarch says. \"You are determined. Very well. I hope you know what you are doing.\"\n\ndetermined. Very well. I hope you know what you are doing.\"He unlocks the grate, and with a tumultous creaking, pulls it open on its hinges. The ink-stained curtain billows like a flag.\n\nThe ink-stained curtain billows like a flag.\"Thank you,\" you say. \"For showing me the way.\"\n\nshowing me the way.\"He nods. \"Good luck on your journey, Marid Orpheia. May the Hydra have mercy upon you.\"\n\nOrpheia. May the Hydra have mercy upon you.\"## Church of One Thousand Faces\nYou are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god.\n\nTo the west is the passage back to the surface. To the north, an abandoned aqueduct leads to a Channelworks maintenance tunnel.\n\nA crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. Patriarch Natos stands before them, overseeing the ceremony.\n\n> You examine the sculpture\nIt is a strange and terrible mutant built of optical illusions and alien angles. Many times larger than a man, it looks down on the worshipping congregation with one thousand fearsome heads, each one an impressionistic smear blending into the next.\n\n> Go north\nThe candlelight dies here, where the aqueduct narrows. The ragged curtain hides a dark and dismal tunnel which bristles with rusted wires and broken pressure valves. And all around you, pale and half-formed, lurking in the crevices of your consciousness, are the spirits of the dead.\n\nYou can follow the aqueduct south to the underground church, or northwest where it opens out onto the pouring rain.\n\n> You examine the spirits\nThey are the apparitions of unfamiliar mutants, somehow damaged and tied to this place. Some are skeletal, missing flesh. Others are without faces or limbs.\n\n> You talk to them\nYou fix the wandering spirits in your mind's eye. The tunnel melts into the rain and catches fire and shifts.\nThis is a dead place.\nThis is a dead place.You should not be here.\nThis is a dead place.You should not be here.1)\n\"I come in peace.\"\n2) \"Who are you?\"\n3) \"What happened to you?\"\n4) \"I'm here on an important mission...\"\n\n> 1\n\"I come in peace.\"\n\nThen why do you disturb us?\n\n1) \"Who are you?\"\n2) \"What happened to you?\"\n3) \"I'm here on an important mission...\"\n\n> 1\n\"Who are you?\"\n\n...\n...It has been so long since anyone asked our names.\n...It has been so long since anyone asked our\nnames.We do not remember.\nnames.We do not remember.That part of us is\ngone.\n1) \"What happened to you?\"\n2) \"I'm here on an important mission...\"\n\n> 1\n\"What happened to you?\"\n\n...We died.\n\n...We died.There is something here that kills.\n\n...We died.There is something here that kills.We\ndid not heed the warnings.\n\ndid not heed the warnings.We were young and foolhardy.\n\ndid not heed the warnings.We were young and\nfoolhardy.Too bad it took death to humble us.\n\n1) \"I'm here on an important mission...\"\n\n> 1\n\"I'm here on an important mission,\" you say. \"Hundreds of people are dead in the district. I think it may have something to do with the Channelworks. It might even be related to how you died.\"\n\n...\n...So the curse has found the upper city at last.\n...So the curse has found the upper city at\nlast.So that is what it took for them to send someone.\nlast.So that is what it took for them to send\nsomeone.What do you want?\n1) \"Do you know what exactly killed you?\"\n2) \"What do you remember of your time in this passage?\"\n3) \"Do you have any advice for me?\"\n\n> 1\n\"Do you know what exactly killed you?\"\n\nNo.\nNo.Death came for us without a sound.\nNo.Death came for us without a sound.If we knew,\nwe would have told the others.\n1) \"What do you remember of your time in this passage?\"\n2) \"Do you have any advice for me?\"\n3) \"Thank you for your help.\"\n\n> 1\n\"What do you remember of your time in this passage?\"\n\nThis passage is our grave.\n\nThis passage is our grave.We remember it clearly...\n\nThis passage is our grave.We remember it\nclearly...Or do we?\n\nclearly...Or do we?We do not remember the end.\n\nclearly...Or do we?We do not remember the\nend.None of us do.\n\nend.None of us do.Strange.\n\nend.None of us do.Strange.It never seemed\nrelevant.\n\n1) \"Do you think your memories were manipulated?\"\n2) \"Do you have any advice for me?\"\n3) \"Thank you for your help.\"\n\n> 1\nThe way none of the spirits remember the end of the passage is suspicious. It reminds you of an old rumor you once heard at college. You never really believed it, but now...\n\nYou never really believed it, but now...\"Do you think your memories were manipulated?\" you ask. \"Like what they say the Philosophers once did to dissidents?\"\n\ndid to dissidents?\"...\n\ndid to dissidents?\"...What you speak of is only a\nrumor.\n\nrumor.We do not know what to believe.\n\nrumor.We do not know what to believe.It may be as\nyou say, but...\n\nyou say, but...We would rather not speculate on ghost\nstories.\n\n1) \"Do you have any advice for me?\"\n2) \"Thank you for your help.\"\n\n> 1\n\"Do you have any advice for me?\"\n\n...\n......Don't die.\n1) \"Thank you for your help.\"\n\n> 1\n\"Thank you for your help.\"\n\n...\n...Good luck... girl who talks to spirits.\n...Good luck... girl who talks to spirits.You close\nyour mind's eye. The fire consumes you and the world shifts.\nTerminal Vein\nThe candlelight dies here, where the aqueduct narrows. The ragged curtain hides a dark and dismal tunnel which bristles with rusted wires and broken pressure valves. And all around you, pale and half-formed, lurking in the crevices of your consciousness, are the spirits of the dead.\n\nYou can follow the aqueduct south to the underground church, or northwest where it opens out onto the pouring rain.\n\n> You go to the north-west\nIn the shadow of the Channelworks is this little crumbling ledge, where the roof has caved in and rain batters stone. Here is a manhole, and a waterway heaving with the Hydra Aquifera's runoff;\nbeside it is a broken old chair surrounded by dozens of wine bottles. In their glass, you see distorted the face of the Channelworks above and the fury of the Bilious Canal below.\n\nTo the southeast, the aqueduct leads back to the mutant church. To the north, you can enter the bowels of the Channelworks.\n\nA tiny string of glistering black runs along the ground and disappears into the north pipe.\n\n> You look at the manhole\nA rusted manhole with a dented grille.\n\nOn closer examination, it's too small for you to fit into. But a goblin-sized person might be able to climb in. It looks like a shaft runs all the way from this manhole to Riggertown.\nruns all the way from this manhole to Riggertown.Your guess is that a certain goblin has been using this manhole to sneak onto this ledge beneath the Channelworks.\n\n> You look at waterway\nA solution of horrible-smelling alchemical detritus. It runs from the wastewater channels leading out of the Channelworks.\n\n> You examine the chair\nA tiny, rickety folding steel chair. You see the stamp of the Council of Works on its backrest.\n\n> You look at the stamp\nThe chair has probably been stolen from the Channelworks and left out here.\n\n> Bottles\nIt's the same brand you saw in Reden's shack.\n\n> You examine the string\nIt's a trail of some kind of liquid, shadowy in its consistency. You would have missed it if not for the way it caught your lantern's animus-light.\nanimus-light.Something about it feels wrong.\n\n> You examine Channelworks\nHydra Aquifera, pride of the district, cathedral to Knowledge\nand Power. Stunning bas-relief adorns its architecture, and the Bilious Canal flows from its mouth.\n\n> You examinbas-reliefs\nIt's too far away to make out.\n\n> You go to the north\nYou are in the belly of the beast now, in one of the many pipes that radiate from the Channelworks' pumping heart. Here the walls are sloped and plated in ancient sigiled brass, leaving you only a precarious steel catwalk to tread upon. Below and alongside you, rushing water flows, filling the pipe with a roaring echo like a tempestuous ocean.\n\nYou can follow the pipe north or south.\n\nA black ribbon winds through a hairline crack in the brass plating, flowing in a steady drip from the north.\n\n> You look at the ribbon\nIts shadowy length is a throbbing scar on your retina.\n\n> You look at the catwalk\nIt leans a little when you shift your weight.\n\n> You go to the north\nFrom this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums.\n\nA foul-smelling tunnel leads out of the Channelworks to the south.\n\nThere is a console here, and a hydraulic door to the east which stands out from all the others. The black trail flows from one of the leaking pipes near this door.\n\n> You examine the console\nA grand table finished in rosewood and orichalcum. There are a myriad different needles and indicator bulbs, labeled with arcane symbols and organized with geometric precision.\n\nAn inkstained memo has been left on one wing of the console. Beside it, there is a row of pistons with handles that can be pushed or pulled.\n\nCurrently, the I piston is retracted, the II piston is extended, the IV piston is retracted, the VII piston is extended, and the X piston is extended.\n\n> You examine the memo\nI've shut the laboratory until the crisis blows over. No seal yet,\nbut the pressure safety lock should be enough to keep muties out.\n-S\n\n> You get it\nYou shouldn't. If you tampered with the memo, the Channelworks operators might realize you've been trespassing.\n\n> You look at the machinery\nThese are the workings that underpin a society, which so few are able to glimpse.\n\n> You examine the door\nA steel-and-brass door that looks like it pistons open and shut. It's currently shut, with a protesting pressure gauge in place of a lock.\n\n\"HYDRAULIC PRESSURE BELOW SAFETY LIMITS,\" the rotary disc informs you.\n\n> You look at the trail\nThe leak is thin and insidious, so difficult to see that you might not have noticed it under any other circumstance. It seems to be coming from the other side of the hydraulic door.\n\n> You look at the disc\n\"HYDRAULIC PRESSURE BELOW SAFETY LIMITS,\" the rotary disc informs you.\n\n> You examine the piston i.\nA brass piston labeled with the number 1. It can be pushed or pulled using the handle on its end. At the moment, it is retracted.\n\n> You examine piston III\nWhich do you mean, the I piston, the II piston, the IV piston, the VII piston, or the X piston?\n\n> You pull the vii\nThe VII piston is already extended.\n\n> You pull the i.\nThe I piston extends out of the console with a weighty hiss.\n\nNow, the I piston is extended, the II piston is extended, the IV piston is retracted, the VII piston is retracted, and the X piston is extended.\n\n> You pull the IV\n(the Fourth of Aquaria copy of the Libri Liberi)\nNothing obvious happens.\n\n> You pull the piston iv\nThe IV piston extends out of the console with a weighty hiss.\n\nNow, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is retracted, and the X piston is extended.\n\nThe pressure lock on the door makes a grating sound. Now it says \"HYDRAULIC PRESSURE BELOW SAFETY LIMITS.\"\n\n> You pull the piston vii\nThe VII piston extends out of the console with a weighty hiss.\n\nNow, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is retracted."
    },
    {
        "text": "[Themes: Mystery, blood, coming of age, female protagonist, mystery]\n\n> You look around\nFrom this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums.\n\nA foul-smelling tunnel leads out of the Channelworks to the south.\n\nThere is a console here, and a hydraulic door to the east which stands out from all the others. The black trail flows from one of the leaking pipes near this door.\n\n> You look at the steam\nIt's the processed lifeblood of the district.\n\n> You look at the console\nA grand table finished in rosewood and orichalcum. There are a myriad different needles and indicator bulbs, labeled with arcane symbols and organized with geometric precision.\n\nAn inkstained memo has been left on one wing of the console. Beside it, there is a row of pistons with handles that can be pushed or pulled.\n\nCurrently, the I piston is extended, the II piston is extended, the IV piston is extended, the VII piston is extended, and the X piston is retracted.\n\n> You examine the memo\nI've shut the laboratory until the crisis blows over. No seal yet,\nbut the pressure safety lock should be enough to keep muties out.\n-S\n\n> You go south\nYou are in the belly of the beast now, in one of the many pipes that radiate from the Channelworks' pumping heart. Here the walls are sloped and plated in ancient sigiled brass, leaving you only a precarious steel catwalk to tread upon. Below and alongside you, rushing water flows, filling the pipe with a roaring echo like a tempestuous ocean.\n\nYou can follow the pipe north or south.\n\nA black ribbon winds through a hairline crack in the brass plating, flowing in a steady drip from the north.\n\n> You look at the pipe\n(the leaking black trail)\nThe leak is thin and insidious, so difficult to see that you might not have noticed it under any other circumstance. It seems to be coming from the other side of the hydraulic door.\n\n> You look at the machinery\nThese are the workings that underpin a society, which so few are able to glimpse.\n\n> You talk to the spirits\nYou have learned all they have to offer.\n\n> Go south\nYou are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god.\n\nTo the west is the passage back to the surface. To the north, an abandoned aqueduct leads to a Channelworks maintenance tunnel.\n\nA crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. Patriarch Natos stands before them, overseeing the ceremony.\n\n> J.\nSixth of Aquaria, Auritum IV\n\nSo this is the Channelworks. I've always dreamed of visiting, but I never imagined it would be like this.\n\nWhat killed you, Reden? What curse lurks in the bowels of this place?\n\nCurrent objectives:\n\n...and figure out how to open the hydraulic door\n\nMarid's notes:\n\n- It looks like the hydraulic door is automatically locked because the water pressure is currently unsafe.\n- I think the pistons on that console control the water pressure somehow.\n\nYou are in a massive subterranean chamber, dark but for glittering glyphs and candlelight. There are countless pipes and galvanic lines running from the city's workings into the heart of this chamber; and there a great sculpture rises, many-headed and many-armed, like a monstrous irradiated god.\n\nTo the west is the passage back to the surface. To the north, an abandoned aqueduct leads to a Channelworks maintenance tunnel.\n\nA crowd of worshippers, all mutants, is kneeling before the sculpture in prayer. Patriarch Natos stands before them, overseeing the ceremony.\n\n> You examine the valves\nOld fixtures ruptured by the weight of years, and never mended.\n\n> You put endoscope in manhole\nYou take a peek with the endoscope, but it's too dark to make anything out from the outside.\n\n> You put lantern in the manhole\nIf you dropped it in the manhole, you'd never be able to get it back.\n\n> You pull the piston X\nThe X piston extends out of the console with a weighty hiss.\n\nNow, the I piston is retracted, the II piston is retracted, the IV piston is retracted, the VII piston is retracted, and the X piston is extended.\n\n> You pull piston vii\nThe VII piston extends out of the console with a weighty hiss.\n\nNow, the I piston is retracted, the II piston is retracted, the IV piston is retracted, the VII piston is extended, and the X piston is extended.\n\nThe pressure lock on the door makes a grating sound. Now it says \"HYDRAULIC PRESSURE BELOW SAFETY LIMITS.\"\n\n> You pull the piston iv\nThe IV piston extends out of the console with a weighty hiss.\n\nNow, the I piston is retracted, the II piston is retracted, the IV piston is extended, the VII piston is retracted, and the X piston is extended.\n\n> You pull the piston ii\nThe II piston extends out of the console with a weighty hiss.\n\nNow, the I piston is retracted, the II piston is extended, the IV piston is extended, the VII piston is retracted, and the X piston is extended.\n\nThe pressure lock on the door makes a grating sound. Now it says \"HYDRAULIC PRESSURE BELOW SAFETY LIMITS.\"\n\n> You pull the piston i.\nThe I piston extends out of the console with a weighty hiss.\n\nNow, the I piston is extended, the II piston is retracted, the IV piston is extended, the VII piston is retracted, and the X piston is extended.\n\nWith a satisfying metallic click-click-clicking, the hydraulic door unlocks and telescopes open."
    },
    {
        "text": "[Themes: Mystery, suspense, fantasy, steampunk]\n\n> You describe your surroundings\nFrom this observation deck, you can see the grand scale of the operation of the Channelworks. A solid mass of machinery extends everywhere within this ancient building, filling its domed chambers and its high stone arches. Everywhere you look, pipes converge in a dizzying cacophony of hissing steam and flowing water, of whirling turbines and rolling metal drums.\n\nA foul-smelling tunnel leads out of the Channelworks to the south.\n\nThere is a console here, and a hydraulic door to the east which stands open. The black trail flows from one of the leaking pipes near this door.\n\n> Go east\nIt is dusky here, and cold. The walls are austere bunker-brass. Looming about are locked cabinets and metal crates stamped with esoteric ciphers; there is a laboratory counter that bristles with papers, alembics, syphons, the skeletons of mice, the detritus of knowledge. The floor is dirty and scuffed. The counter has been used recently.\n\n> You examine the cabinets\nThese look like filing cabinets for highly restricted treatises, the sort you would find in the Philosophers' animological research libraries. Each is labeled according to what you assume is a secret cataloguing system. All are physically locked and sealed by dozens of warding glyphs.\n\nThere is one odd cabinet, though, that seems newer than the rest. The wards are the same, but the metal is a little less tarnished.\n\n> You look at the odd cabinet\nThis cabinet is a little less tarnished than the others.\n\n> You examine the wards\nHarsh red triangles are inscribed in a lattice all over the cabinets. You're no sigiler, but you know a deadly defensive spell when you see one.\n\n> Examine crates\nYou recognize them as the type of crate used to transport dangerous substances.\n\n> You look at counter\nA cold desk light illuminates dated scientific theses and yellowed medical reports. By the looming shadows of old alembics and syphons, there is a glass containment cage filled with skeletal corpses of mice.\n\nYou feel like you need to investigate the items more closely.\n\n> You examine the reports\nThere are human, goblin, and mutant anatomical diagrams; skeletons, musculatures, and circulatory systems. And there are other diagrams: ones with concentric circles, amorphous cross-hatched zones, rays of differing magnitude.\n\ndiffering magnitude.Slowly you realize what the diagrams are depicting. They are charts of the other light, the unseen light. They are meticulously measured and recorded diagrams of souls.\n\nare meticulously measured and recorded diagrams of souls.Some are fulgurant and whole, looking much as the spirits in the aqueduct did. Others are fractured, like Reden's animus, and torn apart.\n\nOthers are fractured, like Reden's animus, and torn apart.The fractured souls are labeled \"NOCTIS TEST RESULTS.\"\n\nfractured souls are labeled \"NOCTIS TEST RESULTS.\"There is some writing on the back of one of the reports. It reads: \"I cannot do this anymore. My conscience weighs too heavily. Philosopher Scepter is no more and it is for the best that her atrocities are forgotten.\"\n\nmore and it is for the best that her atrocities are forgotten.\"A line below it, in a newer hand: \"You always were too cautious, Arturus, my friend.\"\n\n> You examine  the line\nYour father gave you these tattoos when you were a young child, as is tradition in some alchemical families. Even now, the flowing, circuitous lines remind you of him.\n\n> You examine the cage\nA box for the observation of small creatures. The insides are dirty and coated with fungus.\n\n> You look at the mice\nParts of the ribcages are black and corroded, as if eaten from within. There are no animii that you can see.\n\n> You put the endoscope in the cage\nThe glass containment cage is empty.\n\n> You examine alembics\nOpaque liquids in warped glass. They look like solutions of bile left to stand, or perhaps what is left after oxygen is purged from blood.\n\n> You look at the syphons\nDroppers, needles, and syringes, glistening and ruddy from recent use.\n\nYou notice a protruding shape hidden behind the syphons, cleverly concealed in the clutter of the laboratory counter.\n\n> You examine the shape\nIt's a small push-button.\n\n> Journal\nSixth of Aquaria, Auritum IV\n\nI wish I never knew. I wish I'd never come here.\n\nCurrent objectives:\n\nIt is dusky here, and cold. The walls are austere bunker-brass. Looming about are locked cabinets and metal crates stamped with esoteric ciphers; there is a laboratory counter that bristles with papers, alembics, syphons, the skeletons of mice, the detritus of knowledge. The floor is dirty and scuffed. The counter has been used recently\n\nYou can go west to the hydromotive control room, or east through the open door of a false cabinet.\n\n> You go east\nA freezing cold storage chamber not meant for the living. Desolate mist fills the aisles between banks of opaque black vats, which cast long and looming shadows in the flickering light.\n\nIn the faint glow of floor-to-ceiling sigilwork, the silhouettes of isolation chambers are outlined along the walls.\n\nThe exit is to the west.\n\n> You examine the chambers\nPerson-sized capsules with a single door and a small crystal window. You recognize them from the College laboratories for the study of infectious diseases.\n\n> You examine the sigilwork\nIt is a massive cooling system inscribed in mercury.\n\n> You look at the vats\nHuge alchemical storage vats. They are merciless pillars with empty visages. At first you think they are painted black. Then you look closer.\ncloser.The vats are filled with darkness. It is the ineffable blackness that you saw leaking from the pipes. It is the night that descends when you go to sleep or die.\ndescends when you go to sleep or die.It is broiling and it is seething and it hurts your eyes -- it hurts to see -- like looking\ninto a hole in the fabric of the universe.\ninto a hole in the fabric of the universe.This is what you are looking at, in these massive, chilled storage vats. This is a laboratory for making more.\n\n> J.\nSixth of Aquaria, Auritum IV\n\nI wish I never knew. I wish I'd never come here.\n\nCurrent objectives:\n\nA freezing cold storage chamber not meant for the living. Desolate mist fills the aisles between banks of opaque black vats, which cast long and looming shadows in the flickering light.\n\nIn the faint glow of floor-to-ceiling sigilwork, the silhouettes of isolation chambers are outlined along the walls.\n\nThe exit is to the west.\n\n> You go west\nYou stumble back, away from the cold, away from the terrible nothingness that in those pillars broils. You are fumbling,\nlooking for the exit, when --\n\nlooking for the exit, when --\"...someone there?\"\n\nlooking for the exit, when --\"...someone there?\"You draw back, your heart racing. A voice rings through the Channelworks, and it is a familiar one.\n\nfamiliar one.\"Damned mutants,\" Doctor Serpens's murmuring echoes. \"Who's there? Identify yourself!\"\n\n\"Who's there? Identify yourself!\"There is a loud hiss from the hydromotive control room. For a moment you hear nothing. Then it is there: the cold, atonal clanging of footfalls on metal, drawing closer and closer to where you are.\n\nand closer to where you are.You need to hide. Now.\n\n> 2\nYou stare out of the window with bated breath, not quite able to believe your eyes.\n\nJustinian's face is twisted with the specter of anguish. He looks around, but he does not see you. He paces through the freezing aisles, clutching his coat close to his shivering shoulders as he scans the corners and the shadows.\ncorners and the shadows.\"Marid, Marid, Marid,\" he says, in a voice that is almost cracked from grief. \"Please... Marid... tell me you're here.\"\n1) \"Justinian?\"\n2) <Remain hidden.>\n\n> 2\nYou dare not emerge, but you feel tears welling up in your eyes.\n\nYou watch as Justinian painstakingly searches the room, sometimes sobbing, sometimes begging for a sign. His hands are shaking as he struggles with the glyphs on the isolation chambers. He opens one only to find it empty, and slams the door shut with a scream of frustration.\nfrustration.\"Please, Marid, please,\" he repeats hoarsely. \"Please be okay. I can't lose you. I can't lose you...\"\nokay. I can't lose you. I can't lose you...\"You are beginning to feel horrible.\n\n1) \"Justinian?\"\n2) <Remain hidden.>\n\n> 2\nHe goes around the room, opening and closing each isolation chamber in turn, calling your name over and over with such despair that you can't take it any longer. You just can't.\n\nThere are some things that you have to do.\n\n1) \"Justinian?\"\n\n> 1\n\"Justinian?\"\n\nYour voice is a thin thread, a whisper that must be almost inaudible from outside the walls of your prison. But if it is a whisper, it is one with the power of a lightning bolt.\n\none with the power of a lightning bolt.Justinian stands bolt upright, and his eyes widen and he looks around madly.\n\nand his eyes widen and he looks around madly.\"Marid!\" he says. \"Marid? Marid, is that you?\"\n\nMarid, is that you?\"\"Justinian. I'm here.\"\n\nMarid, is that you?\"\"Justinian. I'm here.\"You tap the safety release glyph and the door opens. With a hiss the cool air rushes in, and the light, and a feeling of relief like a held breath finally letting go.\n\nlight, and a feeling of relief like a held breath finally letting go.Justinian takes a couple of steps forward and embraces you. His dirty cheeks are stained with tears.\n\ndirty cheeks are stained with tears.You feel weightless with Justinian's arms wrapped around you. He is close, and he is warm, and his heart is filled with fire. A part of you notifies your conscious mind that your cheeks are burning. But the embarrassment is less, somehow, after you have already died once.\n\nsomehow, after you have already died once.\"Marid,\" he murmurs, almost under his breath. \"I've been looking everywhere for you. Do you know how insane this is? You could have died.\"\n\nhow insane this is? You could have died.\"\"I know,\" you say. \"I know. Listen --\"\n\nListen --\"\"Marid, it's not safe here. You need to --\"\n\nListen --\"\"Marid, it's not safe here. You need to --\"\"Justinian, listen to me,\" you say. \"I've found the source of the contagion. It's being produced right here in this laboratory. There's a stack of research notes on that desk. You need to tell the inquest to get a team down here so that... so that...\"\n\nteam down here so that... so that...\"Something is wrong.\n\nteam down here so that... so that...\"Something is wrong.Justinian's demeanor has not changed. He has shown no surprise, no reaction apart from his concern.\n\nfrom his concern.You try to pull away, but you cannot. His embrace has turned rigid.\n\nturned rigid.You look up, and his eyes sear into yours like dark sunsets.\n\n1) \"Justinian?\"\n\n> 1\n\"Justinian?\"\n\n\"Yes, Marid?\" His voice is soft.\n\n1) \"What's going on?\"\n2) \"Why are you here?\"\n3) \"You already know, don't you?\"\n\n> 3\n\"You already know, don't you?\"\n\nThose unreadable eyes of his flicker across your face. Slowly, very slowly, he inclines his head in a nod.\nslowly, he inclines his head in a nod.\"I do.\"\nslowly, he inclines his head in a nod.\"I do.\"You begin to feel something creeping in your heart. It is a kind of pain.\n\n1) \"How long have you known?\"\n2) \"Why didn't you tell me?\"\n3) \"...What else have you not told me?\"\n\n> 1\n\"How long have you known?\"\n\nJustinian's lips tighten with sadness, with unspoken regret.\n\n\"A long time,\" he says, very quietly. \"I had hoped to be the one to tell you.\"\n\n1) \"Why didn't you tell me?\"\n2) \"...What else have you not told me?\"\n\n> 2\nThere is a sense of a voice in the back of your mind that has been silenced, for a long time, and which you are only now able to hear. Now it is telling you something you had never wished to believe could be true.\n\nbe true.For perhaps the first time you look at Doctor Justinian, and in the other-light that follows him, you see it.\n\nin the other-light that follows him, you see it.\"...What else\nhave you not told me?\" you say.\n\nhave you not told me?\" you say.\"You still aren't ready,\" Justinian whispers. \"There's so much I wanted to tell you, Marid. If only --\"\n\nwhispers. \"There's so much I wanted to tell you, Marid. If only --\"\"If only what?\"\n\nonly what?\"There is no more warmth in his embrace -- only a\nkind of sickening smoldering hurt that makes you want to throw up. You shove him with such force that he lets you go, and you stumble into the cold brass of the isolation chamber at your back. He looks away. His brow is furrowed with pain. Sorrow.\n\nHis brow is furrowed with pain. Sorrow.\"I wish I didn't have to do this,\" he says. \"I promise, Marid. I promise that one day you will forgive me.\"\n\nforgive me.\"\"Justinian, what have you done?\"\n\nforgive me.\"\"Justinian, what have you done?\"\"One day you will\nforgive me,\" he repeats, and then he lunges at you with a cloth in his hand, and\n\nhand, andyou can't breathe, and your vision swims and\n\nhand, andyou can't breathe, and your vision swims andthe world ceases to be but for\n\nto be but forshadows cast inflame.\n\nThe weather is cool outside, and Father is gardening.\n\nThe weather is cool outside, and Father is gardening.The towers of the Lake District are silvery bronze against the sky. The streamers on the balcony sway with a late-afternoon wind. You watch as Father reaches into the bucket and pulls out a fully grown pigeon, which struggles and twitches in his grip.\n\nand twitches in his grip.\"Why do we have to bury the pigeons?\" you ask.\n\nask.Father turns to you and smiles warmly as he holds the scalpel in his hand.\n\nhis hand.\"So they will make the flowers grow,\" he says. He slits the pigeon's throat with a quick and brutal motion, and black blood pours from the wound, staining the soil in the pot with the dark, viscous consistency of ink.\n\nconsistency of ink.Father buries the pigeon in the pot, and as he covers its body with cold black soil, you feel a fog coming over\nyour mind and something wet and clammy pressing into you, and\n\nYour head hurts.\n\nYour head hurts.It's hard to think. Your body is numb and prickly all over. You're hungry and thirsty, and the back of your throat tastes like bitter wine.\n\nlike bitter wine.You try to move your arms and legs, only to realize they have been bound. You rock experimentally and find yourself tied to a chair. Rope bindings chafe and dig into your skin.\n\nto a chair. Rope bindings chafe and dig into your skin.It is dark; very dark. But then you remember, and you force yourself to wake up so you can see the other light. It works for you, after a\nfashion.\n\nfashion.You see your breath, swirling around in the\nnothingness, catching the emanations of your weakly glimmering animus. There are motes and sparks trailing from above, probably the afterimage of some ceiling light seared into the fabric of the veil.\n\nafterimage of some ceiling light seared into the fabric of the veil.And you see him.\n\nveil.And you see him.He switches on the light. It's blinding;\nyou reflexively squeeze your eyes shut. You feel the rhythm of his heart, the unevenness of his exhalation, as he draws closer. He kneels down right next to you and presses a bowl of warm porridge to your lips.\n\nlips.\"Go on,\" comes the soft voice of Doctor Justinian. \"Drink up.\"\n\nlips.\"Go on,\" comes the soft voice of Doctor Justinian. \"Drink\nup.\"1) <Drink.>\n2) <Don't drink.>\n\n> 1\nYou gaze into the bowl. It's millet porridge that smells like it's fresh from the stove. There are almonds in it, and an egg, and a bit of honey. It smells exactly like the fare you used to have at the Physicians' College.\n\nLike the fare that your father used to make.\n\nLike the fare that your father used to make.Tears run down your cheeks as you lap up the porridge. Justinian holds the bowl to your mouth as you finish your meal. Then he takes a handkerchief out of his pocket and delicately dabs around your lips.\n\nand delicately dabs around your lips.You cannot bear to look at your captor any longer. You turn away, shoving his hand aside with the motion.\n\nmotion.\"What's wrong?\" he asks.\n\nmotion.\"What's wrong?\" he asks.Everything is wrong. But in a way that you cannot describe. Your heart sinks as it hits you -- the full ramifications of what has happened, and what is now happening. You feel as though your head is spinning and the world is slipping away.\n\nfeel as though your head is spinning and the world is slipping away.\"Justinian,\" you whisper. \"Please. Don't... don't do this.\"\n\naway.\"Justinian,\" you whisper. \"Please. Don't... don't do this.\"\"Marid...\"\n\nthis.\"\"Marid...\"There is warmth in his voice still, like a fireplace in the evening. But there is also pain, and anger.\n\nin the evening. But there is also pain, and anger.Justinian walks up to you and grabs your chin. He forces you to look at him. His jaw is set; his brow is furrowed with sorrow.\n\nset; his brow is furrowed with sorrow.\"Marid.\"\n\nset; his brow is furrowed with sorrow.\"Marid.\"\"Please,\" you beg. \"Please...\"\n\n\"Please...\"Slowly, he releases his grip. He turns around, clenching and unclenching his fists. There is silence for a long moment before he speaks again.\n\nhe speaks again.\"I don't understand.\" His voice is low. \"I'm just trying to help you. Why do you keep struggling, Marid? Why do\nyou force yourself to suffer?\"\n\n1) \"Where have you taken me?\"\n2) \"Why have you tied me to a chair?\"\n3) \"Did you do it, Justinian? Did you kill all those people?\"\n\n> 1\n\"Where have you taken me?\"\n\nJustinian sighs. You watch the particles of his breath swirl dispassionately in the air.\ndispassionately in the air.\"You're safe, Marid,\" he says. \"If you must know, we are still in the Channelworks. Not far from where I knocked you out. But this time, Doctor Serpens will not find you. The quarantine enforcers will not find you. Here we are in a safe space, where no one will break down your door, or hurt you, or threaten you again.\"\nagain.\"\"I would feel safer if you let me go,\" you say.\nagain.\"\"I would feel safer if you let me go,\" you say.Justinian shakes his head. \"Marid... when will you learn to trust me? I will not hurt you, Marid. I could never hurt you.\"\n\n1) \"Why have you tied me to a chair?\"\n2) \"Did you do it, Justinian? Did you kill all those people?\"\n\n> 1\n\"Why have you tied me to a chair?\"\n\n\"Marid.\" He pauses. \"You must understand that I take no pleasure in doing this. I wish that I did not have to treat you like... like a common asylum patient. But you are not ready.\ncommon asylum patient. But you are not ready.\"I know that you\nhate me, Marid. You must hate me, after what I have done. But if I were to let you go free, you would run at the first opportunity. You would undermine everything that I have worked to accomplish.\"\nwould undermine everything that I have worked to accomplish.\"He looks at you with a fire in his eyes.\nat you with a fire in his eyes.\"I can't let that happen.\"\n\n1) \"Did you do it, Justinian? Did you kill all those people?\"\n\n> 1\nThe air is heavy in the chamber, the rope bindings like leaden weights upon your skin. You can hear Justinian's quiet breathing; feel the labored pulse of your own heartbeat, and how the contractions and releases mark the passage of the hours.\n\nreleases mark the passage of the hours.\"Did you do it, Justinian?\" you ask, very softly. \"Did you kill all those people?\"\n\nask, very softly. \"Did you kill all those people?\"Justinian turns away from you and begins to pace. His eyes are dark; his hands are trembling.\n\ntrembling.He is searching for the right words, like a lyrist trying to grasp the pain in his heart.\n\ngrasp the pain in his heart.\"Do you remember the Physicians' College?\" he murmurs. \"Not so long ago, when we were young and foolhardy, and thought we could learn the origins of life. When we believed we could change the world.\"\n\nchange the world.\"He turns around and gazes into the distance. He sighs. He begins again. His voice is quieter now, drawn tightly like a bowstring.\n\nbowstring.\"The Physicians' College lied to us, Marid. We were fools.\n\nbowstring.\"The Physicians' College lied to us, Marid. We were fools.\"Think, Marid. Humor me for a moment. We are both the apprentices of doctors. We have seen death aplenty. How many times has Doctor Cavala succeeded? And how many times has she failed? How many patients of yours have slipped away, no matter how much you tried to save them?\"\n\nsave them?\"His gloved hands ball into fists.\n\nsave them?\"His gloved hands ball into fists.\"Do you want to know the truth, Marid?\" he says. \"Let me tell you the truth. The truth is that death will happen with or without us. By illness, by injury, by old age, it hardly matters. The truth is that all our reason, all our years of learning -- they are nothing in the face of Death.\n\nDeath.\"We cannot change the world. We cannot even save lives. All we do, Marid, is lie to ourselves. All we do is prolong the suffering, the uncertainty, before the fire and light of existence turn to ash.\"\n\nthe uncertainty, before the fire and light of existence turn to ash.\"There are tears glistening in Justinian's eyes, but his gaze does not waver as he speaks to you. You find that you cannot look away.\n\nnot waver as he speaks to you. You find that you cannot look away.\"Listen to me, Marid,\" he says. \"For four years we have known each other. You know me. You know that I am a principled man, and educated in the ars vitalis. I have sworn to do no harm. I\nhave always upheld Reason.\n\nhave always upheld Reason.\"And I know you, Marid. I know that you see what others do not. I know that you have experienced more loss than anyone. Marid, you are the one person who could possibly\nunderstand what I relate to you now.\n\nunderstand what I relate to you now.\"I tell you this because I trust you, and I know you, and... and I... I love you. I love you,\nMarid. I always have.\n\nMarid. I always have.\"So listen to me. Listen to me, Marid.\nListen to me when I say that there is no use going in circles, trying and trying only to fail and fail again. Listen to me when I say that something has to change. That is why we have to do away with\nthe old, and we have to tear out the rot, and we have to act.\n\nthe old, and we have to tear out the rot, and we have to\nact.\"You asked me, Marid, if I killed those people. I didn't\nanswer your question because you weren't ready. I never told you because... because perhaps deep down, I always knew that it would come to this, with one of us tied to a chair.\n\nto this, with one of us tied to a chair.\"But now, Marid... now you know. Now I have told you the truth. And perhaps now you will understand when I tell you the answer to your question.\n\nunderstand when I tell you the answer to your question.\"I killed those people, Marid. I found Doctor Arturus's weapon, and I brought it back from the grave, and now it is my scalpel to wield.\n\nfrom the grave, and now it is my scalpel to wield.\"No one can fight Death, Marid. That is why it is the only thing with the power to change the world.\"\n\nchange the world.\"Justinian grips your shoulders and gazes at you, and you feel like you are about to cry.\n\n1) \"Why did you kill Reden?\"\n2) \"Why did you kill Creditor Nacarat and the thugs?\"\n3) \"Why did you kill Doctor Arturus?\"\n4) \"Why did you start the epidemic?\"\n5) \"Why did Carnicer try to kill me and Doctor Cavala?\"\n6) \"How much does Doctor Serpens know?\"\n7) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"Why did you kill Reden?\"\n\n\"Reden? You must mean the drunkard.\"\n\nJustinian places his hands on his hips and starts to pace.\n\nJustinian places his hands on his hips and starts to pace.\"He was...\" he begins. \"He was an unfortunate casualty. He kept coming to the outflow of the Channelworks. He tripped our alarm sigils. At first I believed he had discovered something.\n\nbelieved he had discovered something.\"In the end, we decided to let him drink in peace. But we were careless. One of our Noctis tanks... sprung a leak.\"\n\nsprung a leak.\"You recall the thin black strand that led you from Reden's haunt to the storage room.\n\nReden's haunt to the storage room.Justinian lowers his eyes. \"It was a hairline fracture. I didn't notice until it was too late. By then, he had already been exposed.\"\n\nhad already been exposed.\"\"Then Reden's death... was an accident?\"\n\nhad already been exposed.\"\"Then Reden's death... was an accident?\"Justinian folds his arms. \"I would have taken more precautions in hindsight. I don't... Perhaps he didn't deserve to die. But I knew the risks when I set out to do this. If a few accidents are the cost of changing the world... so be it.\"\n\n1) \"Why did you kill Creditor Nacarat and the thugs?\"\n2) \"Why did you kill Doctor Arturus?\"\n3) \"Why did you start the epidemic?\"\n4) \"Why did Carnicer try to kill me and Doctor Cavala?\"\n5) \"How much does Doctor Serpens know?\"\n6) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"Why did you kill Creditor Nacarat and the thugs?\"\n\n\"Why?\" Justinian looks almost surprised. \"Marid, you've been all over the Channelworks District. You know the Greater Corindia Trading Company, don't you? They are criminals, Marid. They are parasites. They are the worst aspects of society congealed into a tumor.\"\nThey are the worst aspects of society congealed into a tumor.\"\"They don't kill people with biological weapons.\"\ndon't kill people with biological weapons.\"\"Marid, Doctor Arturus was in debt to them.\" Justinian's eyes flash. \"You weren't there, Marid. You don't know what they did. What they were capable of. Scum like that doesn't deserve to... to even breathe the same air as us.\nthat doesn't deserve to... to even breathe the same air as us.\"When I needed test subjects for Noctis, I didn't have to think twice. Nacarat and his goons were the first ones to die because I knew the Channelworks District would be a better place without them.\"\n\n1) \"Why did you kill Doctor Arturus?\"\n2) \"Why did you start the epidemic?\"\n3) \"Why did Carnicer try to kill me and Doctor Cavala?\"\n4) \"How much does Doctor Serpens know?\"\n5) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"Why... why did you kill Doctor Arturus?\"\n\nJustinian's face darkens, and he turns away.\n\n\"Arturus...\"\n\n\"Arturus...\"He gazes contemplatively at his hands.\n\n\"Arturus...\"He gazes contemplatively at his hands.\"I held him in high regard. I believed in his ideals. He was the best pathologist in Furopolis, I'm certain. Perhaps the best in the world.\"\n\nFuropolis, I'm certain. Perhaps the best in the world.\"His jaw tightens.\n\ntightens.\"I wish...\" he says. \"I wish he had understood. What he had on his hands... a weapon that could topple nations. A power that could change things for the better. But he didn't see it that way. All he saw, when he looked at Noctis, was a tool of destruction.\"\n\nsaw, when he looked at Noctis, was a tool of destruction.\"\"Maybe he was right,\" you say.\n\nwas right,\" you say.\"He was wrong.\" Justinian clenches his fists. \"He was wrong, and he was deluded. Trapped in the past. Death is not an end, Marid. It is a means, a tilling of the soil for a new beginning. We could have done so much...\"\n\nWe could have done so much...\"He exhales.\n\nWe could have done so much...\"He exhales.\"I tried to reason with him,\" he finishes. \"But he was too set in his ways.\"\n\nhe finishes. \"But he was too set in his ways.\"\"And you killed him for that?\"\n\nthat?\"\"There was no other way.\" His voice is quiet. \"There was... there was nothing else I could have done. He would have ended the plan before it started. Destroyed his own creation, after I had spent so long following in his footsteps.\n\nlong following in his footsteps.\"I couldn't let that happen. I had to make him look like another victim.\"\n\nmake him look like another victim.\"You gaze at Justinian. \"If I don't agree with you, will you kill me too?\"\n\nagree with you, will you kill me too?\"He looks away and does not reply.\n\n1) \"Why did you start the epidemic?\"\n2) \"Why did Carnicer try to kill me and Doctor Cavala?\"\n3) \"How much does Doctor Serpens know?\"\n4) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"Why did you start the epidemic?\"\n\nJustinian puts his hands in his pockets and looks into the distance.\n\n\"I thought you might ask that question,\" he says. \"Let me ask you a question in return.\n\nquestion in return.\"Marid, have you ever wondered why the people of the Shanty Quarter suffer? They are good people. Hardworking people. Their hands are just as able as yours or mine. So why do they still starve? Why do they languish without homes? Without jobs? Without even the pity of the Council of Works to protect them?\n\nthe pity of the Council of Works to protect them?\"The truth is that there is no place for them here. The Channelworks District has no room for them. Furopolis has no room for them. There is an upper limit to the number of people that can be made to live in one space.\"\n\nthe number of people that can be made to live in one space.\"You glare at Justinian. \"And the epidemic is your way of... of culling\nthem?\"\n\nthem?\"Justinian's face hardens, and his voice becomes humorless.\n\nthem?\"Justinian's face hardens, and his voice becomes humorless.\"Don't get me wrong, Marid. I don't enjoy killing. I never have. But do you remember what I said? Death will happen with or without us. The people in the Shanty Quarter will die with or without me.\n\nin the Shanty Quarter will die with or without me.The only question is -- should they be made to bear a lifetime of suffering first? Scrounging for scraps and inflicting the same burden on generations of children? Should their descendants be forced to suffer because we couldn't imagine an alternative?\n\ncouldn't imagine an alternative?\"With Noctis, we have a choice. They have a way out. And it pains me to say this, but killing them may be the only moral choice. Even an atrocity such as this may be\njustified if it averts countless lifetimes of suffering.\n\njustified if it averts countless lifetimes of suffering.\"That is why I am doing this, Marid. I am killing them, yes -- but I am\neuthanizing them. I am setting them free.\"\n\n1) \"Why did Carnicer try to kill me and Doctor Cavala?\"\n2) \"How much does Doctor Serpens know?\"\n3) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"Why did Carnicer try to kill me and Doctor Cavala?\"\n\n\"Carnicer.\" Justinian clenches his fists. \"I didn't... She was out of line. I told her specifically that you were not to be harmed. But she took matters into her own hands.\"\n\ntook matters into her own hands.\"\"Why?\" you whisper. \"Why send her?\"\n\ntook matters into her own hands.\"\"Why?\" you whisper. \"Why send her?\"Justinian shakes his head. \"I never had a choice. If I could have resolved this any other way...\n\nresolved this any other way...\"After Doctor Arturus, I realized you and Doctor Cavala were the only remaining obstacles to my plan. Doctor Cavala is too paranoid... too set in her ways, like Arturus was. Given time she would realize what was happening and formulate a cure. And all of this --\" He sweeps his hand across the room. \"All my plans would have been for nothing.\"\n\nwould have been for nothing.\"\"So you... you sent an assassin\nafter her?\"\n\nafter her?\"\"There was no other option.\" His voice is strained. \"Negotiating with her was too risky. A bomb or poison would have put you in danger. I believed -- I thought that hiring a hitman was the best solution.\n\nbest solution.\"I didn't account for Carnicer's unprofessionalism. Her cruelty. Had I known that she would go after you... I would have killed her myself.\"\n\n1) \"How much does Doctor Serpens know?\"\n2) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"How much does Doctor Serpens know?\"\n\n\"Doctor Serpens is my accomplice,\" Justinian says. \"He has helped to misdirect the authorities, to manage the logistics of transmission. He is the kind of person you need on your side when performing an operation on this scale.\noperation on this scale.\"How should I say this...\" He exhales. \"I wish I didn't have to work with him. Doctor Serpens is an evil man -- he sees this as a cruel game, an opportunity to perfect his masterpiece in spite of the cancellation of his project.\nin spite of the cancellation of his project.\"I can only hope that I have turned his cruel impulses towards a more productive cause.\"\n\n1) <Change the subject.> \"What will you do with me now?\"\n\n> 1\n\"What will you do with me now?\"\n\nJustinian takes a long moment to reply. The light flickers a little.\n\nJustinian takes a long moment to reply. The light flickers a little.\"I don't know,\" he says.\n\ndon't know,\" he says.He takes a couple of steps forward, placing his hand on the backrest of your chair. He gazes at the wall behind you.\n\nhand on the backrest of your chair. He gazes at the wall behind you.\"I...\" he begins. \"I have told you everything, now. I have laid myself bare to you. Now you see... the full magnitude of what I have been fighting for. What I have sacrificed everything to accomplish.\n\nbeen fighting for. What I have sacrificed everything to accomplish.\"The other doctors could never understand. They could not know... what a terrible thing it is, that has to be done. But you, Marid, you are different. I know you are. I know you can see things differently, and perhaps you too will know, and understand the truth.\n\ndifferently, and perhaps you too will know, and understand the truth.\"One day... one day, we may even...\"\n\ntruth.\"One day... one day, we may even...\"He trails off, and shakes his head.\n\nhis head.\"It doesn't matter. I... I don't expect you to understand me now, Marid. But I hope -- I know that you will understand, too, in the end. That this is the best way. The only way.\"\n\nend. That this is the best way. The only way.\"The man you once knew walks back around to the front of your chair, and he gazes quietly into your eyes.\n\ninto your eyes.\"You understand why I'm doing this, Marid. Don't you?\"\n\ninto your eyes.\"You understand why I'm doing this, Marid. Don't you?\"\"I...\"\n\nyou?\"\"I...\"It is too much. It is all too much.\n\nyou?\"\"I...\"It is too much. It is all too much.You are hungry, and you are exhausted, and you feel like a hollow and broken and dead thing inside. The weight that is now pressing upon you -- that Justinian has forced upon you -- is too much to bear.\n\nforced upon you -- is too much to bear.You try to imagine the hundreds of lives -- the thousands of lives that Justinian has snuffed. You look at him and you see, in his animic wake, ten thousand skulls weeping black tears.\n\nweeping black tears.You feel light-headed. You feel like you cannot move, you cannot breathe. Your pendant weighs on your heart like a stake, and you can feel your blood rushing in your ears, thumping, congealing like a tumor.\n\ncongealing like a tumor.You close your eyes. You block out the image of Justinian, and you try to breathe. It helps, a little.\n\nof Justinian, and you try to breathe. It helps, a little.\"Justinian,\" you say. \"Stop. Please.\"\n\nyou say. \"Stop. Please.\"He is very quiet. He does not make a move as you take deep breaths, as you tremble in your seat and try to regain your composure.\n\nyour composure.\"I'm sorry, Marid,\" he says, his voice low. \"You weren't ready. I should have... I should have waited...\"\n\nweren't ready. I should have... I should have waited...\"You open your eyes, and he is walking away, his head bowed. He does not look at you, as though he cannot bear to see you in such pain.\n\nas though he cannot bear to see you in such pain.\"You need time to think,\" he says. \"I understand. I won't rush you. Take as long as you need.\"\n\nneed.\"\"Justinian...\"\n\nneed.\"\"Justinian...\"\"I'll be back for you.\" He places his hand on the light switch. \"I have things to do now, but I will come back for you. I'll be back, Marid. I promise.\"\n\nI'll be back, Marid. I promise.\"You gaze at him mutely, your heart pounding, your thoughts a disastrous jumble. You open your mouth but find that you have nothing to say.\n\nfind that you have nothing to say.Justinian looks at you one last time, sadly, silently, and then switches off the light. Your world collapses into darkness.\n\ncollapses into darkness.At last you find your voice. \"Justinian --\"\n\ncollapses into darkness.At last you find your voice. \"Justinian --\"But he is already gone. Further and further his footsteps echo, until they too melt and vanish into the pitiless silence.\n\ntoo melt and vanish into the pitiless silence.And you are alone.\n\n1) <Cry.>\n2) <Try to compose yourself.>\n\n> 2\nYou close your eyes and take a ragged breath.\n\nYou close your eyes and take a ragged breath.The thrum of the Channelworks envelops you. You can hear the machinery of the Hydra Aquifera -- of the sanitation of the entire district -- churning ceaselessly. You hear the displacement of hundreds of tons of water, and the grinding of mechanical turbines, and distant hisses of steam like a great creature's exhalation.\n\nlike a great creature's exhalation.It is the lifeblood of the district that you are hearing. It is that which bears the lives of the thousands that live here.\n\nthousands that live here.You think of Horatio in the rain, his face dirty after a long shift. You think of Doctor Cavala and her self-assured smile. There is the bartender with his mask, and the ice-cream salesman, and the boy with the cap who hands out the newspapers every morning.\n\nnewspapers every morning.You take another breath. You try to hold it steady. Your heart isn't pounding as hard any more.\n\nsteady. Your heart isn't pounding as hard any more.You aren't okay. Not really. But you're a little better.\n\nNot really. But you're a little better.It will have to be enough.\n\n1) <Try to loosen your bonds.>\n\n> 1\nYou will your sore muscles to move. You test the limits of the ropes Justinian has tied you with. They're tight -- but not so tight that you can't wiggle a little.\n\nyou can't wiggle a little.One of the ropes binding your hands is perhaps a little looser than it should be. You can feel it give when you twist your wrist just so -- feel the knot shifting, letting your wrist move an infinitesimal distance further than before.\n\nwrist move an infinitesimal distance further than before.Was Justinian in a hurry? Or is this just another mercy he chose to grant you?\n\nin a hurry? Or is this just another mercy he chose to grant you?It doesn't matter. What matters is that you have a way out of this chair. It will take a long time. It will take hours. But it's not as if you have anything else to do.\n\nhave anything else to do.Now, at least, you have something to work at, to take your mind off things. Perhaps without the ropes constricting your blood flow, you will be able to think clearly -- to think of something that will make Justinian return to his old self.\n\nsomething that will make Justinian return to his old self.It must be possible. It must --\n\npossible. It must ---- because you don't know what you're going to do otherwise.\n\n* * *\n\n* * *You think an hour has passed. You\nhave a stinging rope burn and a terrible cramp in your wrist. But it's done, and your right hand is free. You reach over and painstakingly loosen the bonds around your left wrist and your left elbow, and then with your left hand reach into your coat pocket and pray.\n\nwith your left hand reach into your coat pocket and pray.There it is -- your scalpel.\n\n-- your scalpel.You have to pause for a moment, take deep breaths to steady yourself. Your heart is racing. You draw out your scalpel and use your free hand to remove the safety cover. Fumbling in the darkness, you press the blade into the rope binding your right elbow -- and it parts.\n\n-- and it parts.You work slowly, carefully, but not without a tremor of excitement. The circulation returns to your limbs as you free yourself from rope after rope. Each cut makes the next one easier. At last you reach down and slice through the ropes binding your ankles in a single stroke.\n\na single stroke.You are free.\n\na single stroke.You are free.Now you need to figure out how to get out of here.\n\nYou are somewhere dingy and humid and shut off from the outside world. There is no light here, and even your second sight is not enough to pierce the suffocating gloom.\n\nAt the foot of the chair, a faint glimmer of other-light outlines the shape of your animus lantern. But the lantern is dark, and its phylactery cathode no longer shines.\n\n> You get the lantern\nYou pick up the animus lantern, finding its rough angles, its weight. You trace the alchemical lines to its fuse glyph, and strike the fuse to light it. But nothing happens.\nto light it. But nothing happens.You peer into the lantern, and you see that the animus that once danced within its cage is still. The life in the lantern has gone out.\nlife in the lantern has gone out.Without an animus to replace the one in the phylactery cathode, the animus lantern will be of no use to you in the dark.\n\n> Inventory\nYou are wearing an animus pendant (containing the spirit of your father), your natron jacket, and your clothes. On your person are an animus lantern, your practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> You put the pendant into the lantern\nYour pendant...\n\nYou run your fingers along your collarbone and find the weight of the pendant resting against your heart. You pull it out and look at it. In your mind's eye it seems to glow against the animic veil.\n\nyour mind's eye it seems to glow against the animic veil.How long have you worn this reminder of your father around your neck?\n\nyou worn this reminder of your father around your neck?\"Father,\" you say --\n\nsay --But even before you open your mouth, you know there will be no reply.\n\nreply.\"We can make no promises,\" the animologist said, his brow knitted. \"If indeed your father died there, we can bind the residual energies to an animus stone, residual, you understand; there's no telling how much of his energy remains, or indeed if any of his energy has remained. Consider the pendant a memorial to your father, rather than a way to bring him back. The sooner you accept that, the sooner both of you will find peace.\"\n\nboth of you will find peace.\"You will never speak with your\nfather again. There was a time when you dared not admit that to yourself. But now it seems impossible to imagine that things could have happened any other way.\n\nhave happened any other way.Perhaps there is a better way to remember your father, after all, which does not bind him to a stone.\n\nyour father, after all, which does not bind him to a stone.You use your scalpel to make a chip in the stone of the pendant, and the other-light streams from it like sunlight rippling in the ocean. You touch it to the fuse glyph of the animus lantern, and brilliance fills the animic lines and the metal grows warm beneath your hand.\n\nthe animic lines and the metal grows warm beneath your hand.The pendant is empty now. It is the lantern that glows, and is alive.\n\npendant is empty now. It is the lantern that glows, and is alive.## Oubliette\nThe light of your lantern reveals what looks to be an industrial cistern, now emptied and repurposed as a holding cell. A metal chair has been placed among dingy grates and concentric water-purification rings. There is only one door leading out of this prison, and it appears to be locked.\n\nBut beside the disconcerting stains and discarded pieces of rope, there is a drain cover that looks like it can be opened.\n\n> You get the rope\nThe leftover bits of rope are too short to be of any use.\n\n> You look at the chair\nYou're glad to be free of it.\n\n> You look at the drain\nOn the other side of the drain, there is the sound of rushing water."
    },
    {
        "text": "[Themes: Mystery, steampunk, female protagonist, mystery, coming of age, horror]\n\n> Go down\nYou push the drain cover out of the way and carefully lower yourself into the opening. The cold and clammy walls of the pipe swallow you whole, and the shadows from your lantern turn the nooks and crannies into long billowing black stains. Into them you descend.\n\ninto long billowing black stains. Into them you descend.The walls are close enough that you can keep yourself propped up with your elbows and the soles of your shoes. But then your left foot slips on something and you find yourself losing purchase. You grab your lantern close and tuck in your head as you find yourself accelerating, rapidly, sliding out of control into a drainage system not built for human traversal --\n\nhuman traversal ---- and the Bilious Canal opens up before you, vast and writhing and pungent, the carrier of all the district's fury and decay, and you plummet from the drain pipe into cold noxious water twenty meters deep -- flailing, squeezing your eyes shut, holding your breath --\n\nbreath ---- a gasp, as your head bobs above water, and the sun burns your face, wind, klaxons --\n\nyour face, wind, klaxons ---- and then you crash into the Canal proper, and it buffets you without mercy. You cling on to the lantern for dear life as you are thrown across stretches and around bends, as arches and bridges fly past, as the lights of the city stretch out into streams of aquamarine other-light. You swim for dear life. You breathe, and breathe again --\n\nbreathe, and breathe again ---- and then you see a dangling rope, and on bare instinct reach out and grab it like a lifeline. You slip a couple of inches -- your grip holds. And there you are, swaying from a rope as the rest of the Canal washes away before you.\n\nrope as the rest of the Canal washes away before you.You take a couple of deep breaths, and then you climb up.\n\nof deep breaths, and then you climb up.## Flooded Row\nBetween towering foundations, the rain lashes rusting hulks and flapping canvas shelters; it eats away at corpses piled in ankle-deep water. Where once there were buildings, posters, lamplights, the Bilious Canal has burst through the polder and swept them all away, carrying off the detritus of innumerable unknown lives.\n\nThrough an open sewage pipe, you see lights to the south.\n\n> Go south\nThe Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom.\n\nA sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter.\n\nThe bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms.\n\n> You examine Crow\nShe isn't moving. A thin stream of black liquid runs from the edge of her mouth.\n\n> You examine webster\nWebster stares into the water, transfixed.\n\n> You talk to him\nYou step gingerly between the rivers of bile as you approach him. The rain is merciless, and it has not stopped since you left the Channelworks. It stings your cheeks where it lands; it runs in the joints of Webster's walking-chassis, pooling in his shadow.\njoints of Webster's walking-chassis, pooling in his shadow.As your reflection appears in the water, he starts. He turns to face you with disbelieving eyes.\ndisbelieving eyes.\"You?\"\ndisbelieving eyes.\"You?\"He looks you up and down.\ndisbelieving eyes.\"You?\"He looks you up and down.\"What on earth happened to you?\"\n\n1) \"I fell into the canal.\"\n2) \"It's a long story.\"\n\n> 2\n\"It's... a long story.\"\n\nWater drips from your disheveled hair. His eyes flicker across your tattered clothes.\ntattered clothes.\"You don't say,\" he replies.\ntattered clothes.\"You don't say,\" he replies.The tide of decay rises and falls around you. The rain plays on the face of the girl in his arms, and her eyelids run black like ink.\n\n1) \"Are you all right?\"\n2) \"Is she...\"\n3) \"I'm sorry.\"\n4) \"Aren't you worried her body will be contagious?\"\n5) \"Listen. I've found out the truth about the disease...\" <Tell\nhim about Justinian's plot.>\n6) \"I need to get into the Channelworks. Can you help me?\"\n\n> 2\n\"Is she...\"\n\nWebster's shoulders stiffen. He looks down at Crow -- at her unmoving form.\nform.She has been dead for a while. You can see the black blood settling in her body. You can see the skeins trailing from\nwhat remains of her animus.\nwhat remains of her animus.\"I should have listened.\" Webster murmurs. \"When you talked about the disease... I thought it was just another run of bad luck. Another bug. The kind that happens in the Shanty Quarter all the time.\"\nQuarter all the time.\"He touches Crow's cheek and his shoulders shake silently. He does not meet your eye.\nsilently. He does not meet your eye.\"She didn't deserve this. No one deserves this.\"\n\n1) \"Are you all right?\"\n2) \"I'm sorry.\"\n3) \"Aren't you worried her body will be contagious?\"\n4) \"Listen. I've found out the truth about the disease...\" <Tell\nhim about Justinian's plot.>\n5) \"I need to get into the Channelworks. Can you help me?\"\n\n> 3\n\"Aren't you worried her body will be contagious?\"\n\nHe laughs. \"What does it matter? She's dead. The Crow's Nest is dead. I'm living on borrowed time anyhow. It's only a matter of... of when.\"\nI'm living on borrowed time anyhow. It's only a matter of... of when.\"He strokes her hair.\nwhen.\"He strokes her hair.\"Maybe a pair like us wasn't ever meant to last. Maybe we just weren't meant to be part of this world.\"\n\n1) \"You don't know that.\"\n2) \"Are you all right?\"\n3) \"I'm sorry.\"\n4) \"Listen. I've found out the truth about the disease...\" <Tell\nhim about Justinian's plot.>\n5) \"I need to get into the Channelworks. Can you help me?\"\n\n> 1\n\"You don't know that,\" you say.\n\nHe gazes at Crow's face for a long while, and does not reply.\n\n1) \"Are you all right?\"\n2) \"I'm sorry.\"\n3) \"Listen. I've found out the truth about the disease...\" <Tell\nhim about Justinian's plot.>\n4) \"I need to get into the Channelworks. Can you help me?\"\n\n> 3\n\"Listen,\" you begin. \"I... I've found out the truth about the disease. It isn't an epidemic. It's a genefactured weapon, and someone is using it to kill people.\"\n\nWebster stares at you.\n\n\"Uh huh,\" he says.\n\n\"Uh huh,\" he says.You feel yourself growing flustered. \"I'm serious. I've seen the laboratory where it was produced. I... I read the research papers.\" Your voice cracks. \"Webster, I nearly drowned trying to escape --\"\n\nto escape --\"\"Calm down.\" He shakes his head. \"I... You're serious, aren't you? You aren't joking.\"\n\naren't you? You aren't joking.\"He stares at the sky for a moment. He takes a couple of deep breaths.\n\ntakes a couple of deep breaths.\"It... it really is. Primes. It's just another fucking alchemist's joke...\"\n\nanother fucking alchemist's joke...\"He chokes, a little. His gaze falls to the earth, to the filthy water lapping at his mechanical legs.\n\nlegs.\"I'm so fucking tired,\" he says. \"I'm tired of feeling like a pawn in someone else's game.\"\n\n1) \"Are you all right?\"\n2) \"I need to get into the Channelworks. Can you help me?\"\n\n> 1\n\"Are you all right?\"\n\nA moment passes. Webster stares mutely at you. Then he looks down at himself, as though he has forgotten his tired arms and creaking joints for some time.\nfor some time.\"I'm... I'm fine,\" he says. \"Don't worry yourself about me.\"\nme.\"The silence returns. The rain traces the world in stinging white.\n\n1) \"I'm sorry.\"\n2) \"I need to get into the Channelworks. Can you help me?\"\n\n> 1\n\"I'm sorry.\"\n\nYou feel numb as the rain falls around you. You don't know what to say.\nsay.Webster just gazes at the body of his friend, before reaching up and wiping his goggles with the back of his hand.\nand wiping his goggles with the back of his hand.\"It's none of your fault, sweetheart,\" he says. \"You've got nothing to be sorry about. Don't go around feeling sorry for other people, you understand?\"\n\n1) \"I need to get into the Channelworks. Can you help me?\"\n\n> 1\n\"I... I need to get into the Channelworks,\" you say. \"Can you help me?\"\n\nWebster gives you a long, probing look. After a moment, he reaches into his jacket pocket.\n\ninto his jacket pocket.\"You'll need this,\" he says.\n\ninto his jacket pocket.\"You'll need this,\" he says.He tosses something small and oblong in your direction, and you catch it with a fumble. It's slick from the rain, glowing with faint sigil-work and warm with alchemical energy. The insignia of the Council of Works is etched into its face.\n\nits face.You look back up at Webster, who simply regards you quietly.\n\nits face.You look back up at Webster, who simply regards you quietly.\"It's the disease, isn't it?\" he says. \"That's what you're heading back to the Channelworks for. You have unfinished business.\"\n\nheading back to the Channelworks for. You have unfinished business.\"\"I... Yeah.\"\n\nbusiness.\"\"I... Yeah.\"He smiles grimly. \"Crow won't need her passkey any more. You, on the other hand... Go spit in the guy's face, you hear? It's what she would have wanted.\"\n\nhear? It's what she would have wanted.\"You turn over the passkey in your hands. It is only a small weight in your hands, but it feels heavy all the same.\n\n1) I have to go.\"\n\n> 1\n\"I have to go.\"\n\nThe canal-water heaves around you, and the mist curls around the passkey in your hand. You grip it tightly.\n\nWebster gazes at the body he is carrying in his arms.\nWebster gazes at the body he is carrying in his arms.\"You do that, sweetheart,\" he replies. \"You do whatever you have to do. I... I think I'm going to stay here for a while.\"\nI'm going to stay here for a while.\"## Rats' Run\nThe Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom.\n\nA sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter.\n\nThe bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms.\n\n> J.\nSeventh of Aquaria, Auritum IV\n\nMy heart is pounding. I can feel white fire in my blood. There's nothing to do now but go -- go and finish what Justinian began.\n\nCurrent objectives:\n\nThe Bilious Canal's runoff rises. It swallows these buildings and alleys in dark writhing water. Unsteady plank bridges run between the few islands of dry stone; hollow-eyed residents crowd around what lanterns pierce the gloom.\n\nA sewage pipe spews outflow from the north. Above, rope ladders climb to the rest of the Shanty Quarter.\n\nThe bouncer from the Crow's Nest sits quietly by the shore, cradling Crow's body in his arms.\n\n> Go upward\nA labyrinthine morass of concrete and claustrophobia. You can feel death about you, like a fog that clings to every corpse and every brick. In the edges of your perception there are dozens or hundreds of spirits, broken and fractured and too incoherent to utter a whisper -- but you can feel their misery and longing all the same.\n\nTangled rope ladders lead up and down. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk.\n\n> Go up\nRotting beams spiral from the Shanty Quarter like a stairway grasping for the stars. At their head is a jutting structure like a watchtower, and it shadows all that is beneath it, shielding grimy brick and concrete from desolate sky.\n\nThe Shanty Quarter yawns below. Above you is the public house called the Crow's Nest -- closed, locked, and empty.\n\n> You look at the structure\nAt first glance it is haphazardly built. Only on closer inspection do you see the buttresses, the care that has gone into its construction."
    },
    {
        "text": "> Go downwards\nA labyrinthine morass of concrete and claustrophobia. You can feel death about you, like a fog that clings to every corpse and every brick. In the edges of your perception there are dozens or hundreds of spirits, broken and fractured and too incoherent to utter a whisper -- but you can feel their misery and longing all the same.\n\nTangled rope ladders lead up and down. Somewhere to the north is the Via Mercurii, and to the west, Cadaver Walk.\n\n> You go north\nThe Road of Change is a snaking, secretive thing. It curls in the side streets and in the dark places. Here along the canal, the opulence of the Upper Perioch peels away to reveal midnight hues and scarlet lamps, and rivers of black blood like festering scars in the city's skin.\n\nTo the north is the grand forum, bleak and empty, while to the south the Shanty Quarter begins.\n\n> You go north\nA mural of Solphos hangs over a desolate paved square, against the spires of the Channelworks District and the pungent smell of the dead. All around you are crowds of formless spirits and empty-eyed apparitions, which writhe and weep and claw at the mist like an unquiet sea.\n\nTo the north, framed in illuminated mist, the Via Terminalis glimmers.\n\n> You talk to the spirits\nThere are so many, and their spirits are so fragmented -- it hurts just to see them, let alone speak with them.\n\nThe sounds of a distant pipe organ echo in the street.\n\n> Go north\nThe armillary sphere that marks this place is dormant, and the traffic-guiding glyphs have been replaced by hazard signs and quarantine barricades. You must flatten yourself against the walls to avoid the watchful eyes of the Vigiles patrols, which stalk the crossroads like masked interlopers in the mist.\n\nThe checkpoints are a stark reminder that you aren't supposed to be traveling around the city at this hour. You doubt you will be able to convince the Vigiles of your innocence if they are on Doctor Serpens's payroll. And Justinian...\n\npayroll. And Justinian...Even if the authorities were to recognize his guilt, the idea of his execution makes your skin crawl. The thought of him being brought to trial on your account --\n\ntreason, remembered as a mass murderer --\n\ntreason, remembered as a mass murderer --The thought sends a cold stabbing pain through your heart. It is almost too horrible to envision. He... he isn't a mass murderer. He never has been. Surely if you just talked to him...\n\nyou just talked to him...There has to be another way. You can still make things right. Can't you?\n\nmake things right. Can't you?You watch the patrolling Vigiles for some time, but you cannot see an angle of approach. They are too observant, and the searchlights too numerous. You would be spotted instantly no matter which path you took, and you are beginning to lose hope in finding a way across, when --\n\nfinding a way across, when --Is that...?\n\nfinding a way across, when --Is that...?It's him. You'd recognize that mop of hair anywhere.\n\nmop of hair anywhere.Horatio is posted at one of the crossings not too far from where you are, rubbing his mask and staring into the mist.\n\n1) <Approach him.>\n2) <Don't.>\n\n> 1\nYou pass between shadows, being careful to avoid the notice of the other enforcers. As you approach Horatio, he freezes.\nother enforcers. As you approach Horatio, he freezes.Slowly he lowers his hand from his face, and reaches out as though to touch you. He stops short halfway, and takes an awkward step back.\nstops short halfway, and takes an awkward step back.\"Marid,\" he whispers. \"I... I thought you left.\"\n\n1) \"I did.\"\n2) \"I'm sorry. About yesterday.\"\n\n> 1\n\"I did,\" you say.\n\nHoratio averts his eyes. \"I... er... yeah. Yeah. You did.\"\nHoratio averts his eyes. \"I... er... yeah. Yeah. You did.\"A searchlight passes perilously close to you, and you instinctively take a step back. Horatio realizes that you are both in the open, and he leads you behind a nearby concrete pillar, just out of sight.\nleads you behind a nearby concrete pillar, just out of sight.\"Listen,\" he says. He glances back at the scanning searchlight. \"You shouldn't be here.\"\n\n1) \"I can't turn back now...\"\n2) \"Doctor Justinian tried to silence me...\"\n3) \"Horatio, I need to get to the Channelworks...\"\n\n> 2\nYou take a deep breath.\n\n\"Doctor Justinian tried to silence me,\" you say. \"He... he's behind it all, somehow. He's using this affliction as a weapon -- a tool to kill people. He wants to change the world.\"\n\nHoratio stares at you, and his eyes widen. For a moment time stops.\n\nHoratio stares at you, and his eyes widen. For a moment time stops.\"Primes,\" he says. \"Oh Primes. What are you saying? What did he do to you?\"\n\ndo to you?\"\"He locked me in a room. He... he talked to me, and it was like... it was like he was a completely different person. He was totally different from the Justinian I knew. But it was -- that was a lie, wasn't it? He had always been that way. I just never realized it.\"\n\nit.\"You realize you are shivering again, and you cross your arms, pulling your jacket tighter to try to block out the cold.\n\npulling your jacket tighter to try to block out the cold.Horatio puts a hand on your shoulder. \"I can't believe it,\" he says softly. \"Doctor Justinian...\"\n\nJustinian...\"\"I... Horatio, I can't believe it myself. I still keep thinking that -- perhaps it was a dream, a hallucination. But it was real. The cistern he locked me in was real. I had to swim my way out -- I had to cut myself free and wash down the Bilious Canal. And I can't stop thinking about it, Horatio, I just can't...\"\n\ncan't stop thinking about it, Horatio, I just can't...\"\"I...\" Horatio takes your hands. \"It's okay, Marid, it's okay. You're here now, aren't you? You're going to be fine.\"\n\naren't you? You're going to be fine.\"\"Horatio, I...\" You close your eyes. \"Horatio, I'm scared. Because Justinian... the Justinian I knew... he always knew what he was doing. Horatio, what if Justinian knows what he's doing? What if he's right?\"\n\nknows what he's doing? What if he's right?\"Horatio just watches you, stunned, and you can tell he has no idea how to respond. The wind rises and tugs and whips at the two of you. The rain falls.\n\n1) \"I can't turn back now...\"\n2) \"Horatio, I need to get to the Channelworks...\"\n\n> 2\n\"Horatio, I... I need to get to the Channelworks,\" you say. \"It's the only way. If I get there I can fix everything... I can make things right.\"\n\nYou reach out and squeeze Horatio's hands, and he gazes at you with a look approaching awe.\n\nlook approaching awe.\"I...\" he says.\n\nlook approaching awe.\"I...\" he says.He looks you up and down and takes a deep breath. You see yourself doubled in his lenses, staring back with eyes wide.\n\nwith eyes wide.Then he nods.\n\nwith eyes wide.Then he nods.\"Okay, Marid,\" he says, very simply. \"What do you need?\"\n\ndo you need?\"\"Can you get me there?\"\n\ndo you need?\"\"Can you get me there?\"Horatio looks out across the junction, at the patrolling enforcers and the swiveling lights.\n\njunction, at the patrolling enforcers and the swiveling lights.\"I... Let me see.\" He scratches his head. \"If I make it look like you're a lost civilian, I can walk you to the concourse out front. I don't think anyone will bother us if we look like we're supposed to be there. But I... I don't know how to get you across the bridge. The Channelworks is closed, and the bridge only comes down for workers with passes.\"\n\n1) \"I have a pass.\" <Show him Crow's passkey.>\n\n> 1\n\"I have a pass.\"\n\nYou reach into your jacket and take out the little oblong device that Webster gave you. The rain sparkles around it, its sigils reflected over and over in droplets.\n\nover and over in droplets.\"That...\" Horatio rubs the lenses on his mask. \"Huh. Where did you get that?\"\n\nmask. \"Huh. Where did you get that?\"\"A friend said it would get me into the Channelworks,\" you say.\n\ninto the Channelworks,\" you say.He studies the glowing lines. \"You've... really thought this through. All right. Since you already have what you need...\"\n\nhave what you need...\"He walks over to the pillar and peers around the side.\n\nside.\"Nobody's looking. If you want to get to the Channelworks, now's the time.\"\n\nthe time.\"You nod. He takes your hand and leads you into the billowing rain.\n\nrain.It is nerve-wracking at first: being out in the open, in full view of the sentries and the searchlights. Your heart skips each time one of the patrolling enforcers looks in your direction. Each time, you tense in anticipation of a shout and raised alarm -- but that moment never comes. Somehow, the looks cast in your direction slide off you like drops of oil, like you are the tiniest speck beneath the scrutiny of the Vigiles machine.\n\nscrutiny of the Vigiles machine.So the rings of the armillary sphere loom like thunderclouds; and the black banner of the Turris Infinita billows like a specter in the sky; and Horatio leads you, steady in the grip of his hand, beyond the spotlights and the covered bodies and the battered barricade walls. By the light of your lantern, the two of you walk the ancient paths in the stonework, through the oppressive drizzling rain, until you have left the sight of the other enforcers and followed the northernmost crossing to its end.\n\nand followed the northernmost crossing to its end.And there the\nHydra Aquifera awaits you. The concourse stretches out before\nyour eyes, and the Channelworks rises at the end of the district -- or perhaps the beginning.\n\nperhaps the beginning.Horatio lets go of your hand and turns to you. \"This is your stop,\" he says.\n\n\"This is your stop,\" he says.\"I...\"\n\n\"This is your stop,\" he says.\"I...\"You find that you cannot look Horatio in the eye.\n\nHoratio in the eye.\"Thanks, Horatio,\" you say. \"You've been a good friend. I won't forget this.\"\n\nfriend. I won't forget this.\"Horatio nods, and he grows solemn. He looks at the Channelworks, at that golden-white fortress that almost seems to glow in the rain.\n\nseems to glow in the rain.\"Don't worry about it,\" he says. \"I suppose... I suppose this is where we part ways again. Isn't it?\"\n\nsuppose... I suppose this is where we part ways again. Isn't it?\"He gazes at you.\n\ngazes at you.\"Marid... will I see you again?\"\n\n1) \"I'm counting on it.\"\n2) \"I'm glad I met you, Horatio.\"\n\n> 1\n\"I'm counting on it.\"\n\nHoratio smiles. He steps forward and hugs you one last time, and you give him a peck on the cheek like you used to when you were children. When death and disease were things that only happened in stories and history books.\n\nhistory books.\"Good luck,\" he says.\n\nhistory books.\"Good luck,\" he says.\"Yeah.\" You bump his chest. \"You should go. You'll get caught for deserting your post again.\"\n\nshould go. You'll get caught for deserting your post again.\"He nods and squeezes your arm, before turning around with a whirl of his coat. He trots back toward the junction, looking over his shoulder, waving like only a dunce like him could manage.\n\nlike only a dunce like him could manage.You watch him until he has vanished out of sight. Then you turn back to the Channelworks concourse with a new sense of resolve in your heart.\n\nconcourse with a new sense of resolve in your heart.Now there is only one thing left to do, and fate has placed the responsibility upon you to see it done.\n\nto see it done.## Channelworks Concourse\nYou stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth.\n\nThe bridge to the Channelworks floats disconnected above the fosse, like the suspended pieces of a puzzle. Yet you see dozens of\nwandering ghosts here, shimmering animii treading paths around the Channelworks concourse in cycles; and they cross the empty air to the Channelworks in a spectral procession.\n\n> You talk to the spirits\nThere are so many, and their spirits are so fragmented -- it hurts just to see them, let alone speak with them.\n\n> You look at the passkey\nA small oblong piece of ceramic that glows with sigil-work. According to Webster, you need it to get into the Channelworks.\n\n> You examine the bridge\nCurving plates of orichalcum hover in midair over the fosse. You only know them to be parts of a bridge from watching workers cross back and forth.\n\n> Wave passkey\nNothing happens.\n\n> You look at the fosse\nAn immense water-filled moat bars access to the Channelworks.\n\n> You look at the statue\nShe is sculpted in the image of the Trismegistus. A cloak billows around her, and a blindfold hides her eyes.\n\n> You examine the cloak\nA cloak, because Reason is only revealed to the devoted.\n\n> You move blindfold\nNothing obvious happens.\n\n> You look at the blindfold\nA blindfold, because Reason gazes beyond worldly things."
    },
    {
        "text": "[Themes: Mystery, steampunk, female protagonist]\n\n> You look at your surroundings\nYou stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth.\n\nThe bridge to the Channelworks floats disconnected above the fosse, like the suspended pieces of a puzzle. Yet you see dozens of\nwandering ghosts here, shimmering animii treading paths around the Channelworks concourse in cycles; and they cross the empty air to the Channelworks in a spectral procession.\n\n> You show the passkey to the statue\nYou can only do that to something animate.\n\n> You examine colonnades\nThe pillars are taller than some buildings.\n\n> You look at the sentinels\nGolems of war. Not even Death fazes them.\n\n> You look athe bas-reliefs\nCarved upon the Channelworks are dozens upon dozens of vignettes from history and myth. All of them pertain to water and life.\n\n> You searcthe bas-reliefs\nThe detail is breathtaking.\n\n> You put the passkey in the fosse\nIf you did that, you'd never get it back.\n\n> You examine Azoth\nA representation of the Staff of the Philosophers that stands for the Ineffable Truth. Or so you were taught in school.\n\n> You look at the passkey\nA small oblong piece of ceramic that glows with sigil-work. According to Webster, you need it to get into the Channelworks.\n\n> You pull Azoth\nIt is fixed in place.\n\n> You put the passkey ithe bas-reliefs\nThe bas-reliefs are high out of reach."
    },
    {
        "text": "[Themes: Mystery, steampunk, female protagonist]\n\n> You look at your surroundings\nYou stand before the fortress through which all waterways flow. Enormous colonnades line the concourse, flanked by selenite sentinels; hydra-like channels snake in patterns and merge into bas-reliefs of dizzying scale. Before the fosse, the statue of Reason bears aloft the Azoth.\n\nThe bridge to the Channelworks floats disconnected above the fosse, like the suspended pieces of a puzzle. Yet you see dozens of\nwandering ghosts here, shimmering animii treading paths around the Channelworks concourse in cycles; and they cross the empty air to the Channelworks in a spectral procession.\n\n> You examine the fortress\nJustinian awaits.\n\n> You show the passkey to the sentinels\nYou can only do that to something animate.\n\n> You follow the ghosts\n(You'll have to specify which cardinal direction you want to go in. For example, >go west.)\n\n> You look at ghosts\nThe ghosts move as though following the steps of a dance. They pour in from the streets and the side roads, congregating on the concourse; they take something out of their coats or their handbags and make a motion with it like turning a crank. And then, as though guided by some invisible signal, they walk across air over the fosse and disappear into the mouth of the Channelworks.\n\n> You turn passkey\nThe passkey grows warm in your hand, and there is a sensation like pulling on invisible strings in the air. You feel as though something tremendous is happening which you cannot directly observe.\ntremendous is happening which you cannot directly observe.After a second, the parts of the bridge lower into place with a\nthunk. Orichalcum fuses to orichalcum, forming an unbroken\ncrossing over the fosse.\n\n> You go north\nPast the swooping gates and the gilded halls, there is a weight: the weight of ten thousand tons of brass and machinery and art, of hundred-year-old frescoes and pumping mechanisms, all bearing the weight of the district which upon this building rests. This, then, is the Channelworks, in all its grandeur, its might, its immensity, its capacity to change lives.\n\nThere are dozens of halls here and hundreds of stations, but you know almost on instinct where Justinian will be. You have known him for too long -- his penchant for drama, his desire for control -- and it only seems clearer now that you have seen his true self. There could only be one place where everything would end.\n\nThe stairs spiral from the heart of the Channelworks, and they lead upward.\n\n> Go upward\nHere the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above.\n\ntower above.As you emerge upon the landing, you hear voices and footsteps, and you instinctively look about for somewhere to hide. You crouch behind a nearby sculpture and turn your eyes to the end of the landing with bated breath.\n\nlanding with bated breath.A door opens. Doctor Justinian steps out into the walkway, followed by the spittle-flecked protests of Doctor Serpens -- \"This was not in the agreement,\" he barks, gesturing and yelling as though he could skewer his junior with words. \"We had a plan, and you have overturned it. You have ruined everything -- ruined the most basic integrity of our project!\"\n\nthe most basic integrity of our project!\"\"Your 'project,' Doctor?\" Justinian whirls around to face him. \"You would claim ownership of this too? Is there nothing that you will not twist to serve your perverted interests?\"\n\nperverted interests?\"Doctor Serpens's expression darkens yet further. \"You? You accuse me of twisting Noctis's purpose? You little\n-- you petulant child. You know nothing about what\nArturus and I sacrificed for this. You could not stomach the plans we had, the power we crafted. Now you use our work to live out your little fantasy and you threaten me -- you threaten me --\"\n\n--\"Doctor Justinian chuckles lowly.\n\n--\"Doctor Justinian chuckles lowly.\"What I said was not a threat,\" he says. \"It was a declaration. I have no need to threaten something that has already been done.\"\n\nhas already been done.\"The older man's eyes widen. Justinian closes his hand into a fist in a sudden motion, and it hits you -- you\nsee an emptiness and a sun and an ocean and a beginning. For\nan instant something brilliant swims at the edges of your vision.\n\nan instant something brilliant swims at the edges of your vision.Doctor Serpens wails as the fingers of Noctis burrow into his animus and begin to rip it apart.\n\nanimus and begin to rip it apart.He collapses to his knees, convulsing like a man possessed, ichor spilling from his slack-jawed mouth and bloodshot eyes. It reminds you of the way that Reden died in Doctor Cavala's clinic -- only this time you see what is truly\nhappening. You see every gory, unpleasant detail of what is\nhappening to Doctor Serpens's soul.\n\nhappening to Doctor Serpens's soul.He screams, incoherently at first, then desperately, deliriously. \"You -- bastard -- the wine --\"\n\nthen desperately, deliriously. \"You -- bastard -- the wine --\"Justinian shakes his head. \"You are no longer useful to me, Doctor. You should have thought about that before making demands.\"\n\nYou should have thought about that before making demands.\"He spits on the ground beside the flailing Serpens, before walking down the landing and through the double doors of a waiting lift. Doctor Serpens crawls pitifully after him, in fits and starts, leaving a trail of dripping black blood.\n\ndripping black blood.Justinian turns and looks directly in your direction. He gazes at you for a while, his lower lip stiff, his hands shaking ever so slightly.\n\nshaking ever so slightly.Then he presses an unseen button and the doors close. Doctor Serpens whimpers and cries, and slams his fist on the panel and vomits a puddle of blood at their feet.\n\n> You examine Serpens\nHe's moaning, spasming, coughing his own guts up. He will not see another sunrise.\n\n> You talk to him\nSerpens chokes and gasps for air as you approach him. He clutches his hands to his eyes, trying to staunch the flow of blood that trickles forth.\n\n\"You,\" he manages to utter. \"Come... agh... come to gloat, did you?\"\n\n1) \"I'm so sorry.\"\n2) <Watch him struggle.>\n\n> 1\n\"I'm... I'm so sorry,\" you say.\n\nDoctor Serpens scowls. He raises a quivering, accusatory finger.\n\n\"I... don't need... your pity,\" he breathes.\n\n1) \"Why did Doctor Justinian turn on you?\"\n2) \"Is it true? What he said about you?\"\n3) \"Is there anything I can do?\"\n4) <Leave.>\n\n> 1\n\"Why did Doctor Justinian turn on you?\"\n\nDoctor Serpens gazes at you with bloodshot eyes. \"He is a fool,\" he croaks. \"A naive... reckless... fool. He thinks... he can change the world... alone.\"\n\n1) \"Is it true? What he said about you?\"\n2) \"Is there anything I can do?\"\n3) <Leave.>\n\n> 1\n\"Is it true? What he said about you?\"\n\nThe doctor retches and spits a glob of blood onto the floor. He takes a ragged breath.\n\n\"Hypocrite,\" he says. \"The boy... is out for himself. Like everyone else...\"\n\n1) \"Is there anything I can do?\"\n2) <Leave.>\n\n> 1\nYour hands tremble. \"Is there anything I can do?\"\n\nDoctor Serpens cranes his head up with some effort. His mouth opens in a gape -- he closes his bleeding eyes.\n\n\"Nothing,\" he whispers. \"Nothing. Our weapon... designed too well. Leave me be.\"\n\n1) <Leave.>\n\n> 1\nYou step back from the quivering wreck of a man. He is moving less, now. Waiting to die.\n\nYou can feel the weight of your scalpel in your coat pocket."
    },
    {
        "text": "[Themes: Mystery, mystery, steampunk, coming of age]\n\n> You look around\nHere the mechanisms fall away, replaced by a vast emptiness. Motes of dust are suspended in the skylights, as though frozen in time; the stairs pause and morph into a mezzanine from which you can see over all the vaulted arches of the Channelworks. Yet the plants and statues here do not overlook their domain, but gaze skyward, into the rarified tower above.\n\nJustinian has sealed the doors of the control room lift, leaving Doctor Serpens to die on the landing. To reach him, you will have to ascend the rest of the stairway to the top of the Channelworks.\n\n> You examine the lift\nA red lamp glows over the doors, indicating that the lift is occupied.\n\n> You kill Serpens\nAs Doctor Serpens writhes in pain on the floor, he does not notice you standing over him.\n\n1) <Put him out of his misery with your scalpel.>\n2) <Walk away.>\n\n> 2\nYou step back.\n\n> Inventory\nYou are wearing your animus pendant, your natron jacket, and your clothes. On your person are Crow's passkey, an animus lantern (containing the spirit of your father), your practitioner's badge, your scalpel, your purse, and an antiseptic cloth.\n\n> Go upward\nClimb the stairs and confront Doctor Justinian?\n\n> You kill Justinian\nYou draw your scalpel and take a step towards Justinian. Your heart is pounding. Your lips are dry.\n\nHis face is haggard in the storm-light. You can see the crevices in his cheeks, the cracks in his skin. He lowers his hands and looks at you with those smoldering eyes of his, like coals that might burn through your breast and make a blackened husk of your heart.\nthrough your breast and make a blackened husk of your heart.\"You shouldn't have come here,\" he replies.\nshouldn't have come here,\" he replies.He turns his eyes to the raging tempest outside. The rain runs down the glass in dark droplets.\ntempest outside. The rain runs down the glass in dark droplets.\"You could have stayed in the cistern,\" he says. \"You were safe there. Dry. Why did you leave?\"\n\n1) \"I had to find you...\"\n2) \"I don't appreciate your idea of safety...\"\n\n> 2\n\"I don't appreciate your idea of safety,\" you say. \"You locked me up, Justinian. Did you think you were doing me a favor?\"\n\n\"Marid...\"\n\nYou take another step forward. You can feel the air of the Channelworks parting around you, heavy and buzzing with enchantment. You can feel all the threads of power that touch this place.\n\n\"I'm tired, Justinian,\" you say. \"I'm tired of this nightmare. I'm tired of all this -- this insanity.\"\ntired of all this -- this insanity.\"Justinian closes his eyes and purses his lips. \"Marid, I told you -- you still do not understand --\"\n\n1) \"No, Justinian. I've finally seen the light...\"\n2) \"Shut up, Justinian...\"\n\n> 2\n\"Shut up, Justinian.\"\n\nYou ball your hands into fists. Tight enough for your fingernails to jab into your skin.\n\n\"I've been all over the district,\" you say. \"I've seen things that no one should have to see. I've seen through the curtain between life and death. You keep talking down to me about your great plan, about your vision. Haven't you ever wondered what I've seen? What I think?\"\nvision. Haven't you ever wondered what I've seen? What I think?\"\"I...\"\nvision. Haven't you ever wondered what I've seen? What I think?\"\"I...\"\"I've seen a lot of things, Justinian. I've done things that no one should have to do. And all for what? I've been thinking, Justinian, thinking about what I did and whether -- whether any of it was worth it.\"\nwas worth it.\"You close your eyes.\n\n1) \"Because until today, I haven't saved a single life...\"\n2) \"Because you're right, Justinian. No one can outrun\nDeath...\"\n\n> 2\n\"Because you're right, Justinian. No one can outrun Death. I've been chasing you for so long... chasing something that I didn't have a name for... and I'm starting to realize that perhaps it was a dream that never existed.\n\nnever existed.\"For the longest time, I held on to the memory of my father. I kept clinging to that day when I was fourteen years old and my life went up in flames... as if I could have gone back in time and done something to bring him back. I kept thinking -- could I have stopped Reden's death? Could I have fought the Trading Company? Could I have solved the Shanty Quarter's problems, if I had only looked close enough to find the answer?\"\n\nclose enough to find the answer?\"You touch your pendant.\n\nclose enough to find the answer?\"You touch your pendant.\"I was mistaken,\" you say. \"I never had a choice.\n\nmistaken,\" you say. \"I never had a choice.\"I grew up thinking Furopolis was beautiful. The gleaming statues, the towers and the lights. But it's all a lie, isn't it? It's a mask over a city that has been falling apart from the beginning. Looking down from above, we only see the glittering machine, not the blood and mud and tears that keep it going.\"\n\nkeep it going.\"A flash of lightning. It scores the Channelworks District in white, every skylight and spire rendered in a twisted tapestry. A peal of thunder rolls over the city, making the windows of the tower shudder; yet you wonder if the people of the Shanty Quarter, buried in concrete and neglect, will know its passing.\n\nburied in concrete and neglect, will know its passing.\"So you do understand,\" Justinian murmurs.\n\nunderstand,\" Justinian murmurs.\"I'm tired of chasing after a dream,\" you say. \"It's about time I owned up to the truth. And the truth is that Death has always been here, in our city, in our world. We just chose not to see it.\"\n\nchose not to see it.\"He nods, steps forward, takes your hand. He is alive now, eyes aglow, and there is an electric current in his fingers that touches yours.\n\nthat touches yours.\"You see it,\" he says. \"The Channelworks District I see. Finally you understand. Then you see --\"\n\nsee. Finally you understand. Then you see --\"He turns and\nsweeps his arm across the whole panorama of glass, encompassing the skyline of the city.\n\nskyline of the city.\"You see why this has to be done,\" he says. \"We cannot change the city alone. We cannot change it with our clinics, our medicines, our surgeries. But with Noctis... With Noctis, we have a choice. We can make a difference.\n\na choice. We can make a difference.\"You see the purpose in all of this. The potential that this has to change the world for the better. Don't you?\"\n\n1) \"Noctis isn't the answer, Justinian...\"\n2) \"Noctis is a means to an end. I see that now...\"\n\n> 1\n\"Noctis isn't the answer, Justinian.\"\n\nLightning flashes once more, illuminating the two of you. The clouds beyond the glass broil and rage and whimper.\n\nbeyond the glass broil and rage and whimper.\"I wish it was so easy,\" you say. \"If only it were so easy -- that we could stand in this tower, and snap our fingers, and it would fix everything. But life isn't like that. Death isn't like that. Death is like a fire, taking and taking and taking, until there's nothing left to take.\n\nand taking and taking, until there's nothing left to take.\"You've seen it, haven't you? You've seen how death tears people apart. It leaves scars that our eyes can't see -- in our city, in our souls, in the world. It never creates something without taking something away.\n\nworld. It never creates something without taking something away.\"I gave up everything to stop you, Justinian. What did you give up? What did you sacrifice to get to where you are now?\"\n\ndid you sacrifice to get to where you are now?\"He looks out the window. His eyes are hard, his jaw set. Doctor Serpens's blood oozes down the front of his coat, slowly, in long dark fingers.\n\ndown the front of his coat, slowly, in long dark fingers.\"It will all be worth it,\" he says.\n\nbe worth it,\" he says.\"Will it, Justinian? Will it?\" You circle around and grab his shoulders, making him face you. \"How many lives have you destroyed? How many people have you put in the ground? Justinian, you took everyone who I cared about away from me. I died and came\nback because you couldn't stop your own people from killing. Do you really want to bet on a biological weapon? Are you willing to stake the Channelworks District on that bet?\"\n\nthe Channelworks District on that bet?\"Justinian pushes you away with sudden force.\n\nsudden force.\"You think I don't know that?\" he says. \"You think I don't regret what I've done?\n\ndon't regret what I've done?\"Everything has a cost, Marid, and the cost is highest when we are trying to change the world. But it will be worth it. Pharmacos knew this. The Philosophers knew this. I can create a better world -- I know I can -- and I have weighed\nthe consequences --\"\n\n1) \"No, Justinian. No one can measure the weight of a soul.\"\n\n> 1\n\"No, Justinian. No one can measure the weight of a soul.\"\n\nYou stare down Justinian as the storm rages around the two of you, setting your confrontation to a chorus of wind and rain. Your heart hammers in your chest and the world spins, and you close your eyes and let the bitter tears fall.\n\nlet the bitter tears fall.\"I understand,\" you say. \"Believe me. I understand. I've seen just how little anyone matters in the grand scale of things... like pigeons that are born to fight for breadcrumbs and die. So why do we keep going? Why do we fight Death in a war that we can never win?\"\n\nwe can never win?\"You turn to the windows and place a hand on the cold glass. It mists around your fingertips, tinging the city lights in somber white.\n\nsomber white.\"Because we have to,\" you whisper. \"Because without us, there's no one else.\n\nthere's no one else.\"It's a thankless profession we chose, Justinian, to be the keepers of life and death. We keep the oath, and we hold the line, knowing that our faith may never be rewarded. We gather all the knowledge and the wisdom and the strength we can harness in ourselves, hoping that we can mend a broken world one patient at a time...\n\nhoping that we can mend a broken world one patient at a time...\"Perhaps one day, our strength will run out. We'll lose our knowledge, and our wisdom, and our hope. Perhaps one day the sea will claim us.\n\nclaim us.\"Until that day comes... I'm going to fight.\"\n\nclaim us.\"Until that day comes... I'm going to fight.\"Justinian shakes his head. He averts his gaze, whirls around, clenches and unclenches his fists -- he wails at the sky, a long and loud and inhuman cry of rage and terror and anguish. His eyes are wild and his cheeks are wet with tears.\n\nwith tears.\"I don't believe it,\" he whispers. \"I don't understand. Why? Why? Why? I loved you, Marid, I loved you! So\nwhy must you be the same as all the others? Why... after all you've gone through... why do you still cling to that stupid -- fucking -- delusion?\"\n\ndelusion?\"His head falls. He grips the railing around the\nchamber, the life gone from his body, a shuddering wreck of the man you once knew. With your second sight, you see all the power\nof the Channelworks control tower wound up and clenched tightly in his hands.\n\nhands.\"It's over, Justinian,\" you say.\n\nhands.\"It's over, Justinian,\" you say.He shakes his head slowly, his shoulders trembling, his knuckles bone-white. Slowly, he draws himself up, inch by inch. He struggles to compose himself, twitching and shivering, as though your words have carved open one of his arteries and drained dry his beating heart.\n\nand drained dry his beating heart.\"No,\" he breathes. \"No. You will not stop me, Marid. You... cannot... stop me.\n\nstop me, Marid. You... cannot... stop me.\"I see now. You could never understand. You are as deluded as everyone else is. No matter -- I won't allow you to hold me back any longer. I will keep my promise, Marid, and not lay a finger on you -- but from now on, we part ways, and all ties are severed between us.\n\nand all ties are severed between us.\"If you still wish to end my life's work, you can do it over my cold, dead body.\"\n\nlife's work, you can do it over my cold, dead body.\"He gazes at you. His eyes are alight; his chest rises and falls in ragged breaths. His is the countenance of a man prepared to die.\n\n1) <Kill Justinian.>\n2) <Walk away.>\n\n> 1\nYou close your eyes and walk forward.\n\nYou close your eyes and walk forward.It is all so easy. You have imagined this many times; first morbidly, then purposefully, with deliberation, as you realized the nature of the power entrusted in your hands. You practiced with your peers at the Physicians' College until it became second nature to you, and you learned to wield your scalpel as easily as an extension of yourself.\n\nscalpel as easily as an extension of yourself.For to save a life is difficult, and exhausting, and never guaranteed; but to take a life with the flick of your wrist is the simplest thing in the world.\n\nwith the flick of your wrist is the simplest thing in the world.You stab Justinian in the neck with your scalpel. He collapses on the floor, blood spurting from his wound; and you see the world\nswim as his soul is shorn from his body in the same fluid motion.\n\nswim as his soul is shorn from his body in the same fluid motion.His animus stares at you, eyes bulging in shock, a dark river running from its neck. Then the other souls in his wake, ten thousand strong, grasp his hair and clothes and phantom limbs, and his mouth distends in a wordless scream. Together they are pulled into a windless vortex, and they are borne away, into the reaches of the veil beyond your second sight.\n\nsight.You take deep breaths. Your knees are weak. You close your eyes and rest on the railing for a moment, trying to steady your hammering heart, and to ignore the sight and scent of pooling blood.\n\nheart, and to ignore the sight and scent of pooling blood.In death Justinian looks almost content.\n\nJustinian looks almost content.Perhaps you have failed him. Perhaps you have failed the Philosophers, by dishonoring your oath. Certainly, by the standards of the Physicians' College, you are no longer worthy of bearing a scalpel.\n\nof bearing a scalpel.But you have not failed the Channelworks District. Justinian will kill no one else. You have made sure of that.\n\nDistrict. Justinian will kill no one else. You have made sure of that.You step over Justinian's body and gaze upon the city and its lights, and all its meandering souls. The storm has passed, leaving a myriad glimmering raindrops to flow into each other on the other side of the glass. There is a feeling in the air that you have almost forgotten: a feeling of weightlessness, of a time without fear. And there -- on the horizon, on the clouds, on the flashing lenses of your animus lantern -- the first rays of dawn.\n\nThe sunlight hits the counter, and you blink the dust of sleep out of your eyes. You sit up, stretching your sore arms and rubbing the old ache in your neck.\n\nache in your neck.Those old dreams -- have you fallen asleep on the job again? What Doctor Cavala would think if she saw you now...\n\njob again? What Doctor Cavala would think if she saw you now...You straighten your jacket and brush your hair into some semblance of presentability. Your mentor will back from the hearing soon, and you need to be ready for whatever tidings she brings.\n\nneed to be ready for whatever tidings she brings.## Clinic\nThe waiting area is bathed in late-afternoon sunlight, illuminating plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern casts a comforting glow. Further on is the consulting study, home to a desk strewn with unfinished notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\n> You examine the plaques\nCRISIS OF AURITIUM IV.\n\n> You examine the diagrams\nThe beginnings of a research paper on the Noctis vaccine. It's still a work in progress, but you have some promising results.\n\n> J.\nSeventh of Libra, Auritum V\n\nIt's been a long time since I thought about Justinian.\n\nI thought I was over him -- I'd been for a long time -- but his memory still fills me with a kind of painful longing. I know how silly it is to pine for something that could never have been... but I still feel as though something precious was lost on that day.\n\nLooking back, my experiences seem almost too incredible to be true; and yet I cannot deny that what happened to me was real. It's left its mark on the world around me, and it haunts me wherever I go, in the corner of my second sight. When I go to bed at night, sometimes I still see him beneath my eyelids, calling out to me with\nthose fiery eyes...\n\nPerhaps you were right, Justinian. In the end, I took the easy way out, just as you did. I couldn't escape the circle of life and death. But I told you, on that day, that until I lost every ounce of hope I would continue to fight.\n\nI'm still fighting, Justinian. I owe you that much.\n\nCurrent objectives:\n\nMarid's notes:\n\n- Now that I think about it, the clinic has changed quite a bit since then...\n\nThe waiting area is bathed in late-afternoon sunlight, illuminating plaques, memorabilia, the odd passing ghost. A row of chairs faces the prescription counter, where a battered animus lantern casts a comforting glow. Further on is the consulting study, home to a desk strewn with unfinished notes and diagrams.\n\nA calomel curtain leads north to the surgery room, stairs lead down to the mortuary, and the front door lies east.\n\n> Go north\nIt's best to stay in earshot of the front door.\n\n> You look at the lantern\nIt glitters with the warm light of your father's animus.\n\nA chime issues from the front door. Is she back?\n\n> You open the front door\nYou open the door and Doctor Cavala barges through, her greatcoat flapping and her mechanical leg hissing and clicking. She has a boy on her back with his arms wrapped over her shoulders.\n\n\"You took your sweet time, Marid,\" your mentor quips. \"Get over here and help me --\"Damn it. \"I'll handle him,\" you say. \"You prep the gurney --\"\n\ngurney --\"Cavala lifts the boy's forearms, and you shoulder his weight with quick, practiced motions. He's coughing and gasping, and his breath is cold -- probably inhaled some kind of halitus or wraith disturbed by the Shanty Quarter remodeling. You steal a glance at Cavala, and your assumption is confirmed when she retrieves an emetic and an air pump from under the counter.\n\nand an air pump from under the counter.\"Breathe slowly,\" you tell the boy as you carry him to the surgery room. \"You're going to be fine. Just take deep breaths -- in and out -- in and out, okay?\"\n\nJust take deep breaths -- in and out -- in and out, okay?\"\"I'm scared,\" he cries. \"I can't breathe... Am I... Am I going to die?\"\n\nscared,\" he cries. \"I can't breathe... Am I... Am I going to die?\"\"No, you're not,\" you say firmly. \"Just keep breathing deeply. As long as you keep it steady, you'll be fine.\"\n\nyou keep it steady, you'll be fine.\"\"I -- I want to live...\"\n\nyou keep it steady, you'll be fine.\"\"I -- I want to live...\"\"You'll live,\" you tell him. \"You'll live. We'll make sure of that.\"\n\nlive,\" you tell him. \"You'll live. We'll make sure of that.\"The two of you pass through the calomel curtain into the cold light of the surgery room. Cavala nods at you, a hint of a smile on her lips. You sit the boy down on the gurney, head back, arms apart. You kiss your pendant for luck before pulling your gloves on.\n\npendant for luck before pulling your gloves on.The boy might live, or he might not. Ever since the Council demolished the Shanty Quarter without consulting its residents, you've seen dozens of cases like his. And if you save him, the chances are that he'll die a week later of a knife wound or a throat infection. There's nothing you can do to change that.\n\nchange that.But here and now, you can do something. You can make sure the kid gets the chance to live one more day.\n\nthe kid gets the chance to live one more day.Your mentor looks at you. \"Ready, Doctor Marid?\"\n\n\"Ready, Doctor Marid?\"\"Always.\""
    },
    {
        "text": "[Themes: Fantasy, satire, pseudo-old-school, sex, Comedy, treasure hunt, humor, sidekick NPC, male protagonist, violence, mad science, fantasy, silly, absurd, humour, combat, suggestive content, rpg, barbarian, science fiction, retro, mutation, parody, pirate, science fantasy, mild profanity, cyborg, prostitution]\n\nIn the science-swept world of VANTH, a young BARBARIAN has escaped the shackles of his bondage. Now a wanderer in the slave-master's realm, his destiny is his own and his QUEST is clear: pillage upon the wealth of the kingdom, and defeat the SLAVER KING once and for all!\"\n\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nYou can see a GLADIUS SWORD here.\n\n[Author's Note: In the cruel kingdoms north of the Viraxian Empire, a barbarian seeks treasure - and vengeance! Having escaped the clutches of the Slaver King, he has vowed to pillage the wealth of the kingdom ... then bring it to its knees. YOU are this barbarian. Weakened by your ordeal as a slave, wandering an unfamiliar realm filled with danger, you must use cunning, savagery, and something approximating English syntax to regain thy might, rally an army of friends to your cause, do repeated business with a Delicate Doxy, and do deadly violence unto the Slaver King!]\n\n> You seize SWORD\nSeized.\n\n> You regard SWORD\nIt reminds you of a GLADIUS SWORD from your childhood.\n\n> You remember SWORD\nYou speak madness, barbarian! The HELP command may offer some remedy.\n\n> You wield SWORD\nThou hast exceeded the limits of SCIENTIFIC TECHNO-REASONING. Your game manual, or the HELP command, might give aid and succor.\n\n> You use SWORD\nYou heft the GLADIUS SWORD in your mighty hand, prepared for battle!\n\n> You check your inventory\nYou carry only a GLADIUS SWORD (held at the ready), and your trusty THESKIAN DUFFEL BAG.\n\n> You look at BAG\nThe DUFFEL BAG is crafted of sturdy THESKIAN CANVAS. It bears the stains, smells, and wear of many years of broody, restless barbarian travel.\n\n> Smell bag\nPrithee pardon, barbarian? Your game manual, or the HELP command, might give aid and succor.\n\n> You open BAG\nStriveth for wisdom in thy endeavors, barbarian. Your game manual, or the HELP command, might give aid and succor.\n\n> You use BAG\nThe THESKIAN DUFFEL BAG is practically an extension of you; you've carried it since you were an infant, and it does its job without commands.\n\n> You go north\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nThe OLD STONE BRIDGE is guarded by a LIZARD MAIDEN, half a head taller than you. The LIZARD MEN rarely permit their women to become warriors, but this one obviously didn't seek permission! She may even be some kind of LIZARD-AMAZON hybrid ... you know not. She would be lovely, but for her green scales, cold blood, needle-like fangs and snake-like eyes.\n\nShe hefts an impressive green-metal TWO-HANDED SWORD and looks you in the eye. \"I await a worthy foe, rat-slave. Dare you challenge me?\" She laughs a hissing laugh. \"If not, you may scurry away in peace. Only men of mettle concern me.\"\n\n> You regard LIZARD\nThe LIZARD MEN rarely permit their women to become warriors, but this one obviously didn't seek permission! Is she half AMAZON? You know not. She would be beautiful, except for her green scales, cold blood, needle-like fangs, snake-like eyes and obvious lack of regard for you.\n\n\"Coward!\"\n\n> Assail LIZARD\nSa-ho! You give the LIZARD MAIDEN a sampling of your GLADIUS SWORD, but good! You scored 5 points of damage!\n\nThe LIZARD MAIDEN dances in a defensive stance, watching your movements, hissing, and looking for an opening.\n\n> Assail LIZARD\nBy Huron's unavoidable odor! A miss!\n\nThe LIZARD MAIDEN attacks! You have suffered 13 hits of\ndamage!\n\n> You go to the south\nBy Huron's inscrutable Bridge partners! You try to flee, but thine legs fail thee in thy battered state! You must fight ... or be vanquished!\n\nWith a howl of rage, the LIZARD MAIDEN strikes! You have suffered\n9 hits of damage!\n\n> You check what you're carrying\nYou carry only a GLADIUS SWORD (currently un-used), and your trusty THESKIAN DUFFEL BAG.\n\n> You use SWORD\nYou heft the GLADIUS SWORD in your mighty hand, prepared for battle!\n\n> You go south\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see a ROBODROID here.\n\n> You look at the robodroid\nParts of him are clearly torn open, and rust grows on his silver skin like the lesions snarling on some Bloodhaven beggar. Tiny lights on his flat display-face shine ever-so-weakly. There is life left in him, but precious little. He moves not.\n\n> Parlay robodroid\nThou hast exceeded the limits of SCIENTIFIC TECHNO-REASONING. Seek guidance with the HELP command.\n\n> Parley robodroid\nTake care to consider your reasoning, barbarian. The HELP command may offer some remedy.\n\n> Parlay robodroid into armor\nThis computeth not. The HELP command may offer some remedy.\n\n> Parley with robodroid\nSpeaking - nay, even shouting - elicits no response, save for a gentle change in the rhythm of his facial light-display. There are sparks flying from some tiny moving parts on one side of his head, where the surface is torn open ... they are too rusted to move freely.\n\n> Assail droid\nThe ROBODROID is not your foe, barbarian. In fact, he seems quite helpless.\n\n> You look in the head\nArt thou head-wounded? Refer to your game manual for assistance.\n\n> You regard the TREES\nThe \"space-ship\" tore many trees from their roots when it fell here. They lie here still, creating an unnatural clearing in the forest. They are now overgrown with flowers, ferns, and mosses.\n\n> You examine ROCKET\nA quick visit to the ROCKET COCKPIT wouldst satisfy thy curiosity.\n\nBy Huron's tainted tam-o'-shanter, it is good to feel freedom once more! After weeks of mistreatment at the hands of the SLAVER KING'S catchers, you are as weak as a youngling ... but as you raise your dark gaze toward the distant CASTLE of the SLAVER KING, you are invigorated not only by your freedom, but by the lusty dream of VENGEANCE upon him!\n\n> Go inside\nMuch of the shack has been stripped for pieces, no doubt to be sold in God City, far to the west. Only scraps remain.\n\nYou can see an ABSORBENT SPACE-RAG and a FLASHLIGHT here.\n\n> Pillage\nABSORBENT SPACE-RAG: Seized.\nFLASHLIGHT: Seized.\n\n> Regard rag\nThe SPACE-RAG is a fine scrap of red cloth made by the \"gods\" who once traveled the stars. You can use it to mop your barbarian brow, perhaps.\n\n> Regard the FLASHLIGHT\nThe FLASHLIGHT is a tool of science, used to make light. It maketh thee uncomfortable.\n\n> You use RAG\nYou mop your savage brow with the ABSORBENT SPACE-RAG.\n\n> You go east\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou can see a SUIT OF BURLAP ARMOR here.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> You get the armor\nSeized.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Regard the armor\nIt's just about the humblest suit of armor you've ever seen, but it's better than nothing. It's glowing gently ... probably from sitting near a PHASIC SUMP for so long.\n\n> You use the armor\nYou don the SUIT OF BURLAP ARMOR. Now you are well-suited for bloody mayhem!\n\n> You assess yourself\nFrom any but a barbarian, I would presume such a command SORCERY most perplexing! Refer to your game manual for assistance.\n\n> Go south\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nYour foot turns a small stone, and a hundred THRITAMA LARVAE squirm angrily, and burrow deep to avoid the light.\n\n> You regard LARVAE\n'Tis less than worthy of thy fearsome concern.\n\n> Regard the tree\nThe leaves are all gone, but a single small FRUIT hangs from the farthest tip of the farthest branch, out over the CHASM.\n\n> You regard CHASM\nIt is all mist in the deeps of the CHASM, but here at the edge, the orange glow of the evening sun highlights the cliffsides. You suppose that on the other side there lay either the EMPIRE OF DARTH VIRAXIS or one of the rival SLAVER KINGDOMS. These are matters you can clarify once the SLAVER KING of this particular realm lay dead by your vengeful hand.\n\n> You regard the fruit\nThe FRUIT is small and red.\n\n> You seize the tree\nIt clings quite tenaciously. Besides, you have no use for it.\n\n> You use SWORD on the tree\nThou art only accustomed to ASSAILING things with a GLADIUS SWORD, preferably in a frothing, bloody rage filled with lusty war-oaths, suggestive hip-thrusts and savage leering.\n\n> You go east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, swimming a lazy figure-eight.\n\n> You regard the fish\nIt's just your typical MAGIC FISH. It seems to be watching you.\n\n> You catch the fish\nBedlam and disarray! Refer to your game manual for assistance.\n\n> You enter the pool\nThou hast always regarded bathing as one of those things that happens to other people.\n\n> You regard the herring\nBy Huron's palatial privy! I am vexed by thine illogic!\n\n> Parley fish\nThe dullest Planetary Ape can do better than that.\n\n> Parley with FISH\nIf you're going to start talking to MAGIC FISH, you may as well just chat with your THESKIAN DUFFEL BAG.\n\n> Parley with BAG\nYou while away the hours, chatting with your THESKIAN DUFFEL BAG, as you have so many times. But this time, something happens that never has before: a SPIRIT rises from the careworn canvas, and bids you follow ... into a long, swirling void ...\n\nYou find yourself in an idyllic village. In the distance, craftsmen work great LOOMS, producing swaths of what you know as THESKIAN CANVAS. The air here is sweet, and the citizens are rosy-cheeked, healthy, and cheerful. They welcome you with BELGIAN THESKIAN WAFFLES and THESKIAN BRUSSELS SPROUTS.\n\nThe SPIRIT leads you through the streets. \"I have seen lately, barbarian, that you are pondering the nature of your trusty THESKIAN DUFFEL BAG ... I am part of that nature, so I brought you here, to satisfy your thirst for wisdom.\"\n\n\"This,\" he says, with a sweeping gesture, \"is the town of DUFFEL (ANTWERP, BELGIUM) where traditional woolen-canvas fabrics are produced for the entire galaxy ... including the THESKIAN merchant ports.\" He smiles a sad smile. \"Of course, I speak of the past, before our galaxy fell to ruin ... but it is the past that concerns us right now.\"\n\n\"Your BAG,\" he says, \"began here, on those distant LOOMS, before you were born. The fabric was shipped offworld, where THESKIAN LUGGAGE ARTISANS forged a mighty and capacious DUFFEL. Its first owner, a SPACEFARER, carried it to your world of VANTH, where he bedded your MOTHER in a night of revelry somewhere near the realm of the IRON DWARF KING.\" Rather unecessarily, you think, he summons a magic HOLOGRAM of these events.\n\nNarrating the HOLOGRAM, he continues: \"It was a night of fiery and tender passions, with your FATHER passed out in a STABLE nearby. The SPACEFARER gave the DUFFEL to your MOTHER, saying that if a child might spring from their intense and repeated coupling (or those joinings that might produce children, for as you can see there was much variety), that the child should be granted his useful BAG, that he might know the gifts of a mighty SPACEFARER.\"\n\nThe SPIRIT looks you in the eye. \"You, of course, are that child.\" At this point, the HOLOGRAM is a series of embarassing naked-baby pictures, most of which also feature the THESKIAN DUFFEL BAG.\n\n\"So you see, that is how THESKIAN DUFFEL BAGS came to be on VANTH, and why they are so valued. They are gifts from the stars, and your BAG, dear barbarian, is more than that ... it is your heritage.\"\n\n\"I tell you this because the spirit of BELGIUM lives on in your BAG! We have no patience for despots like the SLAVER KING! Indeed, our fair land was ruled by conquerors for EIGHTEEN CENTURIES. The Romans, the Franks, the Austrians, the Burgundians and more.\" His voice takes on a deep, proud timbre. \"But no more, barbarian. BELGIUM is a parliamentary democracy, producing wheat, fruits and sugar beets alongside our fine metal products and glassware ... and our tourist industry is not the mere joke that the 'Monty Python' would have you believe! Oh no. We are a lovely realm, and perhaps some day you may quest here ...\"\n\n\"But for now, barbarian, know ye TRUTH. Do your DUFFEL BAG proud, fine warrior! Defeat the SLAVER KING!\"\n\n... and then you feel yourself awaken, as if from a deep sleep.\n\n(press a key when ready)\n\n> You look\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH. It appears to be reading a tiny book.\n\nWas it only a dream ..?\n\n> Regard book\nYou must have been imagining things. Fish are no more literate than you.\n\n> You regard waterfall\nThe WATERFALL cascades down from streams high up toward MOUNT GELIDUS. It's very lovely and refreshing. There's almost nowhere to stand, here, where you aren't catching some spray.\n\n> You enter the waterfall\nThou hast always regarded bathing as one of those things that happens to other people.\n\n> You seize the FISH\nIt swims out of reach.\n\n> Carp of the day\nYou speak madness, barbarian! Refer to your game manual for assistance.\n\n> You go north\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Go north\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\n> Regard IDOL\nThe features of the IDOL glare with stony, furious contempt, as if daring you to USE it.\n\nYour keen senses detect signs that a MANION DEVIL hath passed near here, not long ago.\n\nThere is a sudden gurgling from the muck, and a MIRE IMP leaps out! The MIRE IMP unleashes its glistening claws, and glares upon on your barbarian countenance with naked, animal hatred!\n\n> Regard imp\n'Tis but a MIRE IMP.\n\nThe MIRE IMP leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 7 hits of\ndamage!\n\n> Assail imp\nSa-ho! You give the MIRE IMP a sampling of your GLADIUS SWORD, but good! You scored 4 points of damage!\n\nWith a snarl, the MIRE IMP is airborne, slashing deeply into your side with his fangs. You have suffered 3 hits of damage!\n\n> Assail imp\nYou attack! You scored 8 points of damage!\n\nThe MIRE IMP strikes, leaping high and ripping into your chest with a savage squeal. You have suffered 5 hits of damage!\n\n> Assail imp\nBy Huron's almighty acerbity! A miss!\n\nThe MIRE IMP moves with blinding speed, and its fangs sink deep!\nYou have suffered 2 hits of damage!\n\n> Assail imp\nBy Huron's Paphian parables, you strike hard and true! You scored\n3 points of damage!\n\nThe MIRE IMP circles you warily, waiting for his chance to strike!\n\n> Assail imp\nYou leap, and strike! You scored 7 points of damage, leaving the\nMIRE IMP at your mercy!\n\nThe MIRE IMP is defeated!\n\nThe dead IMP slides back into the MUCK from whence he came, leaving his only worldly posession at your feet ...\n\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nYou can also see some STINKY BAIT here.\n\n> Regard the bait\nIt's stinky. It has rotted long ago; now only the foulest SEA-MONSTER would find it appealing.\n\n> You seize IDOL\nThe MOSSY STONE IDOL is vast and you are but mortal.\n\n> Repose\nYou stop to rest for a moment.\n\n> You use IDOL\nTHE SKY RINGS WITH LAUGHTER!!! You are mocked by the Viraxian Gods for attempting to make USE of their idol unprepared. A voice rings out: \"Bring the proper tribute ... USE it with the IDOL,\" it says, \"and we MAY choose to reward you.\"\n\n> You use the bait with IDOL\nThere is a distant rumble of laughter, and a voice sayeth \"That is not proper tribute, barbarian. Bring us something more suited to our DARK PURPOSE.\"\n\n> Go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\n> You use BAIT on the bear\nYou extend the STINKY BAIT toward the GRIZZLY, and the great BEAR'S nose twitches damply as it looks up from the fresh flowing waters of the stream.\n\nSlowly, cautiously, the GRIZZLY approaches. He sniffs at the STINKY BAIT, motivated by obvious hunger, but grunts sadly, and returns to pawing the water in hopes.\n\n> You regard grizzly\nIt is a large GRIZZLY BEAR, but it seemeth lean and hungry. Its attempts at fishing in the MOUNTAIN STREAM are apparently bearing no fruit (or fish).\n\n> You examine STREAM\nAs you look upon the BRISKLY-FLOWING STREAM, you can't escape the feeling that the BRISKLY-FLOWING STREAM is examining you in\nreturn.\n\n> You go to the east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\n> Regard SPIRE\nA quick visit to the CRYSTAL SPIRE wouldst satisfy thy curiosity.\n\nYou sure could use a good fight.\n\n> Regard crevasse\nThe CREVASSE is lovely, dark and deep, but you have promises to keep.\n\n> Go inside\nInside the ice-like spire, it is strangely warm, and the air is charged with crackling energies, but magic or someting else? Know ye not. OUTSIDE, the FROSTED UPLANDS are only a fractured blur. From here, you can make your way UP to the EERIE PINNACLE, where strange lights play.\n\n> Up\nYou stand in the uppermost chamber of the strange crystalline tower. The air here is thick with energy and flooded with light from no particular source. There is a blinding whiteness, as if you're in a vast field of snow ... but the air is hot, not cold.\n\nFloating in mid-air is a beautiful NECKLACE OF STARLIGHT, a dazzling treasure!\n\nBut for such a prize to be unprotected ... Your barbarian instincts warn of unseen dangers, and something else ... an unseen rival?\n\n> Regard NECKLACE\nImagine if the GODS took down all the stars from the sky, and strung them along a fine chain of silver, and sold it in GOD CITY. With the money they might gain from the bargain, they could put a down-payment on the NECKLACE OF STARLIGHT.\n\n> Seize necklace\nJust as your fingertips brush the scintillating surface of the NECKLACE OF STARLIGHT, a sizzling shock throws you backward across the room! Crackling energies coalesce into a grinning, sparkling WRAITH of ELECTRO-PHASIC QUASIMATTER! A deadly VOLTAIC WRAITH!\n\nThe WRAITH attacks! You have suffered 9 hits of damage!\n\n> Regard wraith\nA SCIENTIST wouldst describe the WRAITH as a semi-corporeal arc construction of sapient hostile quasi-matter manifesting on a voltaic impulse wavelength. Thou, however, wouldst not.\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 23 hits of damage!\n\n> Go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\n> You go to the east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\n> You enter\nInside the ice-like spire, it is strangely warm, and the air is charged with crackling energies, but magic or someting else? Know ye not. OUTSIDE, the FROSTED UPLANDS are only a fractured blur. From here, you can make your way UP to the EERIE PINNACLE, where strange lights play.\n\n> You go west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nYou pause to take in the deep orange and red of the evening sky, heavy with clouds.\n\n> You go north\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT."
    },
    {
        "text": "[Themes: Fantasy, humour, rpg, mad science, silly, humor]\n\n> Go downwards\nSa-ho! By Huron's vacticinal cowlick, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Regard ring\nThe GLADIATOR'S RING is a simple open space where the gravel has been flattened in an open circle, to mark a place of battle.\n\n> Regard POST\nThe CHALLENGE POST is a wooden pole hung with dyed banners, each representing a GLADIATOR willing to meet challengers. Beginning with the lowest, the banners are BLUE, GREEN, GOLD, and RED. There is room for one more banner above the others, but RED is presently the highest on the POST.\n\nA nearby rogue espies your curiosity, and sayeth \"If ye wish a bout, barbarian, SEIZE the banner of your chosen foe, to display your challenge!\"\n\n> Regard rogues\nThe PARTY OF ROGUES seem quite the band of ne'er do wells!\n\n> You seize blue\nAs you pluck the BLUE BANNER from the CHALLENGE POST, the assembled rowdies cheer! You are ushered into the gladiator's ring, where you stand face-to-face with VON DARTH THE SLY! \"It's good to face a worthy foe, barbarian!\" he shouts, and salutes you.\n\nYou take a moment to REGARD your opponent ... VON DARTH THE SLY is a short, mutated human with an extra arm sticking out of his neck. In this third arm he holds a wicked-looking MACHETE. With his free hands he gestures rudely for the crowd's amusement. He stands eagerly, waiting for your next move.\n\n> Assail darth\nBy Huron's indigestible excretions, your GLADIUS SWORD lands home!\nYou scored 6 points of damage!\n\nVON DARTH THE SLY attacks! You have suffered 9 hits of\ndamage!\n\n> Surrender\nThe phasic radiation must be clouding your thoughts, barbarian. Seek guidance with the HELP command.\n\n> Up\nThe eager crowd is pressed around you; there is nowhere to go at the moment but back into the fray!\n\nVON DARTH THE SLY croaks a curse as he misses!\n\n> Assail darth\nA skillful attack if you do say so yourself! You scored 4 points\nof damage!\n\nVON DARTH brings his MACHETE to bear! You have suffered 7 hits of damage!\n\n> Assail darth\nYou lunge deep, and strike! You scored 6 points of damage!\n\nVON DARTH THE SLY croaks a curse as he misses!\n\n> Assail darth\nYou miss!\n\nWith a happy snarl, VON DARTH leaps to the attack! You have\nsuffered 9 hits of damage!\n\nYou stumble, and fall to the ground. VON DARTH THE SLY has beaten you.\n\nThe world goes black for a moment, as VON DARTH THE SLY lays you low with a hard stroke from his MACHETE.\n\nYou are drawn from the darkness by the cheering crowd, showering VON DARTH with ale and praise. As your eyes refocus, you see his smiling face above you, and his third hand extended to help you to your feet.\n\n\"You fought well, barbarian. It might just as easily been me lying there in the dust. Let yourself heal, and then return to challenge me once more! It was a pleasure to face a man with real spirit!\"\n\nSa-ho! By Huron's inscrutable Bridge partners, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Up\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\n> Go west\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\n> You go west\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nYou sure could use a good fight.\n\n> You go west\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\n> You enter\nThis old LIGHTHOUSE is in poor repair, but not quite abandoned. While no one seems to live here, you suppose it may be operated by a magic spell, or by someone keeping watch from the nearby harbor.\n\nYou can see an ENORMOUS LAMP here.\n\n> Regard LAMP\nUnlike the structure supporting it, the ENORMOUS LAMP is in good repair (even the vast and fragile-looking reflector).\n\n> You get LAMP\nThe ENORMOUS LAMP is not your foe, barbarian.\n\nThinkest again.\n\n> You use LAMP\nYou stare at the ENORMOUS LAMP as hard as you can, but it only makes your eyes hurt. Alas, the ways of the barbarian, while hallowed by the ages and kin to the wild, are so seldom useful.\n\n> You use BAIT on SEA\nThe STINKY BAIT is truly foul, but sometimes a man just feels the urge to expose his skin, smear it with rotted bait, bare it to the ocean and see if anything interesting happens. It's how your parents met.\n\nFor a few minutes, the only noticeable effect is a migration of all the seabirds, who head to the harbor where the stench is more civilized. But then there is a visible movement out at sea ... a rising darkness in the clear green waters which resolves itself to a speeding mountain of scaly flesh, an errant island of rippling water washing over green-black muscle and sudden, fire-bright yellow eyes.\n\nWhen the ENORMOUS SEA-MONSTER rises out of the water, you wonder for a moment how the ocean ever contained it. It's larger than the nearby city!\n\nAnd then it eats you.\n\nSEA-MONSTER'S GULLET\nThe floor is the squishy flesh of a monstrous gullet. The walls are the squishy flesh of a monstrous gullet. The ceiling is the squishy flesh of a monstrous gullet ... and the DIGESTIVE JUICES are rising to consume you.\n\nYou can see a HALF-DIGESTED CORPSE bobbing in the rising, sizzling acid - the remains of some old sailor, you suppose. On the CORPSE you notice the EYEPATCH OF ODIN and FLESH-TOTEM OF DARTH VIRAXIS.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> Pillage\nEYEPATCH OF ODIN: Seized.\nFLESH-TOTEM OF DARTH VIRAXIS: Seized.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a FLESH-TOTEM OF DARTH VIRAXIS, the EYEPATCH OF ODIN, a SUIT OF BURLAP ARMOR (being worn), a FLASHLIGHT, an ABSORBENT SPACE-RAG and a GLADIUS SWORD (held at the ready).\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ..."
    },
    {
        "text": "> Go down\nIt takes only a squishy, acidic moment to confirm your fears: that \"passage\" leads only to more GULLET.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You go west\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\n> You go west\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\n> You enter\nThis old LIGHTHOUSE is in poor repair, but not quite abandoned. While no one seems to live here, you suppose it may be operated by a magic spell, or by someone keeping watch from the nearby harbor.\n\nYou can see an ENORMOUS LAMP here.\n\n> You use SWORD N the sea monster\nThou art a barbarian, 'tis true, but even thou canst masterest wise use of the ACTION COMMANDS. The HELP command may offer some remedy.\n\n> Assail gullet\nI beggest thy pardon? Refer to your game manual for assistance.\n\n> Assail sea monster\nYour attempts come to naught. But, in fairness, dissolving in DIGESTIVE JUICES might distract anyone.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You use SWORD on the sea monster\nThou art only accustomed to ASSAILING things with a GLADIUS SWORD, preferably in a frothing, bloody rage filled with lusty war-oaths, suggestive hip-thrusts and savage leering.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You regard FLESH\nYou've heard of these blasphemous items ... warped dolls fashioned from the real flesh of the powerful, used to appease dark godlings and great demons. This one bears a remarkable resemblance to DARTH VIRAXIS of the VIRAXIAN EMPIRE.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You regard the eye patch\nYou can tell it's authentically the EYEPATCH OF ODIN because there is a tag, in the old runes: \"PROPERTY OF ODIN ALL-FATHER. RETURNEST IFFETH FOUND.\"\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): some STINKY BAIT, a SUIT OF BURLAP ARMOR (being worn), a FLASHLIGHT, an ABSORBENT SPACE-RAG and a GLADIUS SWORD (held at the ready).\n\n> You go south\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nA group of goodwives walks past, discussing what soundeth like interesting gossip.\n\n> You regard goodwives\nThe peoples and sundries of the realm are much like any other thou hast seen.\n\n> You regard GATES\nThe CASTLE GATES are constructed of great blocks of BASALTIC WIZARD-STONE, quarried by slaves, sledged here by slaves, cut by slaves and placed by slaves. The great PORTCULLIS is currently down, preventing entry.\n\n> You use the stone\n\"Back off from there, boy.\" says the GUARD. \"That belongs to the SLAVER KING, and isn't for filthy savages the likes of you.\"\n\n> You regard the marketplace\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\n> Go south\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n\"Look here,\" says one pirate to another, \"A barbarian, and clearly no pirate. He doesn't even stink of rum!\"\n\n> You regard the pirates\nYe've ne'er seen a mangier lot of cutthroats, on land or sea. Arr.\n\n> Arr\nThou art a barbarian, 'tis true, but even thou canst masterest wise use of the ACTION COMMANDS. Your game manual, or the HELP command, might give aid and succor.\n\n> Enter\n\"Avast ye! Pirates only, barbarian matey!\"\n\n\"'Ere now,\" says a pirate, \"See that barbarian? He's got no peg-leg, so clearly he's no pirate!\"\n\n> You go to the south\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> Regard BARREL\nThe BARREL is a sturdy thing, filled with rainwater and foul city-dweller trash.\n\n> Assail BARREL\nThy savage might and lust for vengeance could be put to better use than that, barbarian.\n\n> You enter BARREL\nThe BARREL seemeth less than comfy.\n\n> Assail RATS\nYou lash out at the RATS, but they just scurry into nearby hidey-holes, their twitchy tails vanishing like a child's last slurp of THESKIAN SPAGHETTI.\n\n> You regard the SPAGHETTI\nI beggest thy pardon? Refer to your game manual for assistance.\n\n> Go inside\nBefore you can move on, a SHADY CHARACTER catches your attention with a \"pssst!\"\n\nYou look down and see a HOBLING. \"Barbarian,\" he says, \"I can see you're new here in the ALLEYWAY. I should explain a thing or two.\" He looks both ways carefully before he continues. \"This ALLEYWAY here ... if you ever want to stash anything, there's no safer place than right here. Me and the boys, we look after it, see.\"\n\nHe sees the doubt on your features, and smiles. \"We're CRIMINALS around here, sure. But we don't steal nuffin'! We're\nadventuring types, see. Strictly delving. Open a few doors, disarm a few death-traps? It's a living.\"\n\n\"And more important ...\" he hikes a thumb toward the half-open doorway. \"That is the business place of VESSA, who we call THE DELICATE DOXY. She's a very fine girl, and she's a\nsweetheart, see. So if we hear about you roughin' her up or\nscarin' her, well ... we might 'revoke-your-access,' if you know what I'm saying.\"\n\nYou don't know what he's saying, so you nod grimly. He smiles \"You're okay, barbarian. Yes, sir.\" Then, he slips away into the shadows.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head. There is a large BARREL here, presently devoid of scurrying RATS. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\n> Go inside\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nA young WOMAN reclines on the bed, REGARDING you quietly over the edge of a SCROLL she's writing in. Her eyes are piercing, her grin casual and playful. This must be VESSA herself, the DELICATE DOXY.\n\nVESSA slips the SCROLL under a pillow, and looks to you to make the next move.\n\n> Regard vessa\nTrue to her reputation, VESSA is almost too delicate for a neighborhood so rough as the DARK ALLEYWAY outside. Despite her small size and tempting curves, however, your keen Warrior's awareness detects an inner ferocity, and her eyes are bright with intellect, cunning ... even wickedness.\n\n> Parley vessa\nPrithee pardon, barbarian? Refer to your game manual for assistance.\n\n> Parley with VESSA\n\"Welcome to my BOUDOIR, barbarian,\" she says with an arched eyebrow, plainly observing your manly form. \"The arrangements here are easy ... just bring me something suitable as payment, some little bauble or treasure you have no need of. In exchange, I will sate your appetites and refresh you for your battles ahead.\"\n\n> You go east\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> You go to the south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nThis GRAVEYARD seems particularly un-rested tonight, as dozens of LIVING KLENGON DEAD begin to claw their way out of the graves to destroy the living!\n\nSeveral of the LIVING KLENGON DEAD advance at once, restricting your opportunities for escape and carving into you with an assortment of weapons! You have suffered 1 hit of damage!\n\n> Assail dead\nYou could have sworn your aim was true, but your quarry was already elsewhere! A miss!\n\nThe LIVING KLENGON DEAD move slowly, but there are so many of them, clawing, clawing! You have suffered 2 hits of damage!\n\n> Assail dead\nBy Huron's truculent toe-demon! A mighty blow! You scored 4 points\nof damage!\n\nThe LIVING KLENGON DEAD shuffle and moan and cluster together, as if awaiting infernal orders to destroy you.\n\n> Assail dead\nYou attack with all your might! You scored 5 points of\ndamage!\n\nYou are briefly overwhelmed by the mass of LIVING KLENGON DEAD. While mowing two of them down, three others strike! You have suffered 2\nhits of damage!\n\n> Assail dead\nYour foe is astonished by your speed as you strike hard! You\nscored 7 points of damage!\n\nThe LIVING KLENGON DEAD, though corpses a-rotting, fight with the arrogance of living KLENGONS and the snarling leers to boot! You\nhave suffered 2 hits of damage!\n\n> Assail dead\nBy Huron's reprehensible table-manners, a fine hit! You scored 5 points of damage!\n\nSeveral of the LIVING KLENGON DEAD advance at once, restricting your opportunities for escape and carving into you with an assortment of weapons! You have suffered 2 hits of damage!\n\n> Assail dead\nBy Huron's hoary homburg! Thine arm hath failed thee!\n\nThe LIVING KLENGON DEAD move slowly, but there are so many of them, clawing, clawing! You have suffered 2 hits of damage!\n\n> Assail dead\nYou hit hard, snarling with rage! You scored 5 points of\ndamage!\n\nThe LIVING KLENGON DEAD, though corpses a-rotting, fight with the arrogance of living KLENGONS and the snarling leers to boot! You\nhave suffered 2 hits of damage!\n\n> Assail dead\nYou are quick, but your foe was quicker that time. A miss!\n\nThe LIVING KLENGON DEAD shuffle and moan and cluster together, as if awaiting infernal orders to destroy you.\n\n> Assail dead\nYou lash out with the rage of your barbarian ancestors! You scored\n9 points of damage!\n\nYou are briefly overwhelmed by the mass of LIVING KLENGON DEAD. While mowing two of them down, three others strike! You have suffered 2\nhits of damage!\n\n> Assail dead\nBy Huron's non-Euclidean necktie, a blow to be remembered! You\nscored 6 points of damage!\n\nThe LIVING KLENGON DEAD move slowly, but there are so many of them, clawing, clawing! You have suffered 2 hits of damage!\n\n> Assail dead\nSa-ho! A mighty attack! You scored 8 points of damage, leaving the LIVING KLENGON DEAD at your mercy!\n\nThe LIVING KLENGON DEAD are defeated!\n\nYou rummage through the remains and find something of interest.\n\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nYou can see a SUIT OF CHAINMAIL ARMOR here.\n\n> You get the chainmai\nA whammy on your demonic keyboard! Refer to your game manual for assistance.\n\n> You regard the chainmail\nIt's heavier and slower than you like, but the protection is useful.\n\n> You use the chainmail\nYou remove the SUIT OF BURLAP ARMOR, and replace it with the SUIT OF CHAINMAIL ARMOR. Now you are well-suited for bloody mayhem!\n\n> You regard TOMB\nA quick visit to the TOMB wouldst satisfy thy curiosity."
    },
    {
        "text": "[Themes: Fantasy, pirate, mild profanity, humor, pseudo-old-school, violence, parody, retro, barbarian, satire, combat, fantasy]\n\n> You look around\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\n> Regard seaport\nYou will never find a more wretched hive of scum and villainy. Unless you travel to GOD CITY, perhaps, or BLACKHAWK ... or the CITY OF THUNDERS. Things are pretty bad there. And up in the BLEAK MOUNTAINS there are a lot of BEE GIRLS, come to think of it, and they live in ACTUAL HIVES of scum and/or villainy. Anyway, it looks like any other town you've seen.\n\n> You enter TOMB\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT, but a ghostly guardian blocks the way.\n\nYou can see a SPECTERAL SPIRIT here.\n\nThe SPECTERAL SPIRIT attacks! You have suffered 13 hits of\ndamage!\n\n> Attack spirit\nTaste barbarian rage, SPECTERAL SPIRIT! You scored 7 points of\ndamage!\n\nThough the SPIRIT barely responds to the physical world, its icy hands bite like DAGGERS! You have suffered 11 hits of damage!\n\n> Regard spirit\nBy the cut of its tattered and specteral raiment, this must be the shade of some great and regal SULTAN or STAGE MAGICIAN.\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Attack spirit\nSa-ho! You give the SPECTERAL SPIRIT a sampling of your GLADIUS SWORD, but good! You scored 7 points of damage!\n\nWith a wail of torment and regret, the SPECTERAL SPIRIT lashes out at you! You have suffered 10 hits of damage!\n\n> Attack spirit\nA skillful attack if you do say so yourself! You scored 5 points\nof damage!\n\nThe SPECTERAL SPIRIT attacks in a tormented rage! You have\nsuffered 3 hits of damage!\n\n> Attack spirit\nBy Huron's devastating candor, a fine hit! You scored 8 points of damage!\n\nThe SPECTERAL SPIRIT reaches into your chest and clutches your heart with an icy grip! You have suffered 10 hits of damage!\n\n> Go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nSimply walking IN, however, isn't currently an option, as a vast RUIN SLUG - the largest you've ever seen - is basking its slimy bulk in the evening sun, right near the entrance. The SLUG makes no move toward you, but you'd have to ASSAIL it (and survive) to find out what lay beyond the arch.\n\nYou can also see a TELEPHONE POLE here.\n\n> You regard POLE\nThe TELEPHONE POLE seems quite sturdy, and its runes name it \"BELL SYSTEMS OF DETROIT.\" A potent blessing of magic, no doubt.\n\n> You seize POLE\nYou lack the strength of arm to heft such a mighty thing!\n\n> You climb POLE\nThe dullest Klengon can do better than that. Refer to your game manual for assistance.\n\n> Assail SLUG\nIt's an acid-spewing slug the size of a smallish elephant. Very rubbery, it takes a lot of punishment to defeat one. The RUIN SLUG is staring at you.\n\nYour attack is too hasty, and it fails!\n\nThe RUIN SLUG attacks! You have suffered 16 hits of damage!\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\n> Go north\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nYou can see an EAR OF CORN here.\n\n> You get the CORN\nSeized.\n\n> You regard the CORN\nIt reminds you of an EAR OF CORN from your childhood.\n\n> You use well\nI've seen this tragedy before. The alluring proximity of a WELL can drive many a hero to gibbering madness.\n\n> You regard well\nIt reminds you of the old tavern tale about the clever farmer, the WELL, and the murder of the FIRST HOBLING EMPEROR.\n\n> Parley with well\nThou hast barkest up the wrong tree, barbarian.\n\n> Down\nNo good path leads that way, and thou art not of the Pioneer class!\n\nYou feel the wind change direction.\n\n> Go east\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\n> You go to the east\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\n> You go to the east\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nThere is a sudden whiff of brimstone, and an INFERNAL APE swings down from the treetops, screeching for your blood!\n\nThe INFERNAL APE leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 5 hits of\ndamage!\n\n> Assail ape\nTaste barbarian rage, INFERNAL APE! You scored 6 points of\ndamage!\n\nThe INFERNAL APE attacks you savagely, but misses!\n\n> Assail ape\nYou attack with all your might! You scored 8 points of\ndamage!\n\nWith a snarl, the INFERNAL APE is airborne, slashing deeply into your side with his fangs. You have suffered 6 hits of damage!\n\n> Assail ape\nBy Huron's devastating candor! Thine aim hath failed thee!\n\nThe INFERNAL APE attacks in a scorching blur of HELL-FIRE, burning your flesh with an infernal howl of triumph! You have suffered 3\nhits of damage!\n\n> Assail ape\nYou attack! You scored 7 points of damage!\n\nThe INFERNAL APE attacks you savagely, but misses!\n\n> Assail ape\nBy Huron's bristliest back hairs! A mighty blow! You scored 5\npoints of damage!\n\nThe INFERNAL APE strikes, leaping high and ripping into your chest with a savage snarl. You have suffered 9 hits of damage!\n\n> You go west\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\n> Assail LIZARD\nA skillful attack if you do say so yourself! You scored 4 points\nof damage!\n\nThe LIZARD MAIDEN attacks! You have suffered 9 hits of\ndamage!\n\n> Assail LIZARD\nYour foe is astonished by your speed as you strike hard! You\nscored 7 points of damage!\n\nWith a howl of rage, the LIZARD MAIDEN strikes! You have suffered\n10 hits of damage!\n\n> Assail LIZARD\nBy Huron's sacred codpiece, your GLADIUS SWORD lands home! You\nscored 7 points of damage!\n\nThe strange GREEN SWORD of the LIZARD MAIDEN cuts as fine as any steel you've known! You have suffered 4 hits of damage!\n\n> Assail LIZARD\nA miss! BAH!\n\nThe LIZARD MAIDEN dances in a defensive stance, watching your movements, hissing, and looking for an opening.\n\n> Assail LIZARD\nBy Huron's sable-coated cysts, you strike hard and true! You\nscored 7 points of damage!\n\nCursing your weakness, the LIZARD MAIDEN swings low with her\nblade! You have suffered 10 hits of damage!\n\n> Assail LIZARD\nBy Huron's pampered panda-bears, a blow to be remembered! You\nscored 7 points of damage, leaving the LIZARD MAIDEN at your\nmercy!\n\nThe LIZARD MAIDEN is defeated!\n\nYou kick the body of the LIZARD MAIDEN into the stream below the bridge, and watch it wash into the narrow CULVERT leading into the base of the CASTLE. On the ground, her green-metal SWORD awaits ...\n\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nYou can see a TWO-HANDED SWORD here.\n\n> You get SWORD\n(the TWO-HANDED SWORD)\nSeized.\n\n> You use SWORD\n(the GLADIUS SWORD)\nYou unhand the GLADIUS SWORD and carry it as ordinary gear. Your bare FIST is ready for battle!\n\n> You use two-handed sword\nYou heft the TWO-HANDED SWORD in your mighty hand, prepared for battle!\n\n> You regard two-handed sword\nIt's fashioned from a strange green metal. Some sort of LIZARD MAN iron, perhaps.\n\n> You go to the east\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\n* BAROOOOOO!!! *\n\nYou hear the peal of a great horn in the distance, from the highest turrets of the SLAVER KING'S CASTLE. You knew this moment would come ... the SLAVER KING has heard of your movements, and he has no doubt released his precious pets, a trio of deadly PYREXIS HOUNDS, to hunt you down and deliver your charred carcass.\n\n> You go north\nBefore you can approach the icy bridge, there is a great explosion of snow all around you, a shifting and coiling of fur and ire! A GIANT SNOW-SERPENT rises, hissing, into the frosty sunlight, its fangs dripping with ICE VENOM.\n\nThe GIANT SNOW-SERPENT coils and strikes, but your barbarian reflexes save you from harm!\n\n> You go to the north\nBefore you can approach the icy bridge, there is a great explosion of snow all around you, a shifting and coiling of fur and ire! A GIANT SNOW-SERPENT rises, hissing, into the frosty sunlight, its fangs dripping with ICE VENOM.\n\nThe GIANT SNOW-SERPENT coils tight, and then leaps at you with all its great bulk, carrying you both further down the frosty slope as its fangs dig in! You have suffered 13 hits of damage!\n\n> You attack SERPENT\nSa-ho! You give the GIANT SNOW-SERPENT a sampling of your TWO-HANDED SWORD, but good! You scored 12 points of damage!\n\nThe GIANT SNOW-SERPENT coils and strikes, but your barbarian reflexes save you from harm!\n\n> You attack SERPENT\nYou were too slow that time. A miss!\n\nThe GIANT SNOW-SERPENT coils and strikes, but your barbarian reflexes save you from harm!\n\n> You attack SERPENT\nYou hit hard, snarling with rage! You scored 6 points of\ndamage!\n\nThe GIANT SNOW-SERPENT coils and strikes, but your barbarian reflexes save you from harm!\n\n> You attack SERPENT\nYou leap, and strike! You scored 7 points of damage!\n\nWith a savage hiss and almost hypnotic motion, the GIANT SNOW-SERPENT strikes! You have suffered 19 hits of damage!\n\n> You attack SERPENT\nSa-ho! A mighty attack! You scored 12 points of damage, leaving\nthe GIANT SNOW-SERPENT at your mercy!\n\nThe GIANT SNOW-SERPENT is defeated!\n\nYou take a moment to carve into its warm, furry scales to find the bloody flesh beneath. Searching for exactly the right muscle, you rip free a valuable treasure ...\n\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nYou can see a SLAB OF SNOW-SERPENT MEAT here.\n\n> You examine slab\nThe SLAB OF SNOW-SERPENT MEAT shines in its raw ichor. Your tribe has long known that the flesh of this beast, once properly ripened and then consumed rapidly, has magic healing properties that allow Warriors to defeat foes much more powerful than they. Useful, for a Warrior-born such as you! This slab's ichor is not yet iridescent.\n\n> You go north\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n... the sight of the SEA OF GREAT PERIL gets you thinking about that STINKY BAIT you won from the MIRE IMP. Knowest thou that yonder SEA is filled with beasts of many kinds, some of whom might fancy even such foul BAIT as this.\n\n> You go inside\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the VIRAXIAN INCENSE, the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\nThe ACOLYTE OF TRAGA looks up from his work as you enter amid a swirl of snow. \"Welcome, barbarian,\" he says. \"Please, take your ease here if you need shelter from the cold. The hospitality of our DARK DEMON LORD FROM BENEATH THE STYGIAN ABYSSAL PITS is no mere rumor. When you have a time, come and PARLEY with me.\"\n\nThe VIRGIN SACRIFICE also looks up with a welcoming smile, but as she is bound oiled and naked to the altar she does not rise to greet you formally.\n\n> You regard INCENSE\nThe INCENSE is currently unlit.\n\n> Regard SACRIFICE\nGINA is bound naked to the cold stone ALTAR, her heaving breasts glistening with ANOINTING OIL.\n\n> You use the cloth with SACRIFICE\nIn a moment when the ACOLYTE is looking elsewhere, you wipe the soft ABSORBENT SPACE-RAG across GINA's naked, heaving bosoms, lingering no longer than you dare. GINA grins at the secret moment you have shared, and now you have a DELICATELY-OILED CLOTH.\n\n> Parley with ACOLYTE\nThe ACOLYTE nods in greeting. \"It is comforting to have a Warrior visit us here. We worry constantly of invasion by the BEE GIRLS and THREE-HEADED GIANTS of the high mountains, and perhaps a man like you can aid me ...\" He holds up a beautiful gem. \"Bring me a worthy WEAPON I can use to defend the TEMPLE, and I will give you this valuable FIERY JEWEL.\" The treasure he offers is indeed beautiful: a darkly-shining stone with living sparks inside.\n\n> Parley with GINA\nGINA notices the look of concern in your eyes. \"Worry not, barbarian, for I am here by choice. My life-force will be an UNHOLY GIFT to the VIRAXIAN DEMON-GODS, and spare my people a poor harvest.\" She continues with more along those lines, but you find yourself distracted by her naked body, gleaming with ANOINTING OIL. You do your best to keep your eyes level and pay attention.\n\nYour nostrils flare, picking up a familiar rotting scent ... what could that be?"
    },
    {
        "text": "[Themes: Fantasy, cyborg, parody, science fantasy, retro, Comedy, science fiction, fantasy, male protagonist, humour]\n\n> You look around\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the VIRAXIAN INCENSE, the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\n> You regard ALTAR\nThe ALTAR has an oiled, naked VIRGIN SACRIFICE on it. She gives you a wink.\n\n> Smell\nThe bloodlust must be clouding your thoughts, barbarian. The HELP command may offer some remedy.\n\n> You regard the meat\nThe SLAB OF SNOW-SERPENT MEAT shines in its raw ichor. Your tribe has long known that the flesh of this beast, once properly ripened and then consumed rapidly, has magic healing properties that allow Warriors to defeat foes much more powerful than they. Useful, for a Warrior-born such as you! This slab has now ripened; the ichor swirls with prismatic power and the stench is comforting.\n\n> Go outside\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n> Go west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nDanger! Your keen ears pick up the barking and howling of the PYREXIS HOUND PACK, nearby!\n\n> Go south\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nYou can also see a PYREXIS HOUND PACK here.\n\nThe entire PACK leaps upon you! You feel tooth and claw shredding at your very force of life! You have suffered 4 hits of damage!\n\n> Attack pack\nDamn and blast! A miss!\n\nThe PACK take turns tearing at your flesh! You have suffered 2\nhits of damage!\n\n> Assail pack\nTaste barbarian rage, PYREXIS HOUND PACK! You scored 11 points of damage!\n\nThe PACK LEADER leaps forward, and cuts deep into your shoulder with his FIERY FANGS OF HEAT! You have suffered 13 hits of damage!\n\n> Assail pack\nYou lunge deep, and strike! You scored 6 points of damage!\n\nAs the PACK LEADER brays from the rear, the other HOUNDS shred flesh from your legs! You have suffered 4 hits of damage!\n\n> Assail pack\nBy Huron's discordant drum solo! Thou hast missest!\n\nThe PACK take turns tearing at your flesh! You have suffered 5\nhits of damage!\n\n> Assail pack\nA thousand curses on these foolish percentile dice! A miss!\n\nAs the PACK LEADER brays from the rear, the other HOUNDS shred flesh from your legs! You have suffered 13 hits of damage!\n\n> Assail pack\nCurses! A miss!\n\nThe PACK LEADER leaps forward, and cuts deep into your shoulder with his FIERY FANGS OF HEAT! You have suffered 3 hits of damage!\n\n> Assail pack\nBy Huron's hallowed hiphuggers, a fine hit! You scored 10 points\nof damage!\n\nThe entire PACK leaps upon you! You feel tooth and claw shredding at your very force of life! You have suffered 6 hits of damage!\n\n> Assail PACK\nYou lash out with the rage of your barbarian ancestors! You scored\n13 points of damage, leaving the PYREXIS HOUND PACK at your\nmercy!\n\nThe PYREXIS HOUND PACK is defeated!\n\nWith the last of the PYREXIS HOUNDS dead at your feet, you grab the strongest by the jaw and rip its head from its body. Examining the beast, you recall a lesson taught you by a Pioneer when you were a youngling: pluck out the eye of a PYREXIS HOUND, and you need never touch flint to steel again. You dig your finger into the socket, remove the prize, then cast the head aside.\n\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a PYREXIAN EYE, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), some STINKY BAIT, a SUIT OF BURLAP ARMOR (currently un-used), a FLASHLIGHT and a GLADIUS SWORD (currently un-used).\n\n> Regard pyrexian eye\nThe PYREXIAN EYE, ripped from the skull of the strongest of the SLAVER KING'S beloved pets, is very warm to the touch, and but the slightest squeeze makes it flash briefly with flame. 'Tis nothing sustained enough to provide much light or heat for survival, but the spark is well-suited to lighting tinder for a campfire.\n\n> Go south\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> You go south\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, playing around in the churning waters at the base of the WATERFALL.\n\n> You go to the west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\n> You go to the west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nSimply walking IN, however, isn't currently an option, as a vast RUIN SLUG - the largest you've ever seen - is basking its slimy bulk in the evening sun, right near the entrance. The SLUG makes no move toward you, but you'd have to ASSAIL it (and survive) to find out what lay beyond the arch.\n\nYou can also see a TELEPHONE POLE here.\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\n> You use the cloth on ROBODROID\nTouching the cloth gently to the rusty \"wounds\" on the ROBODROID'S silver skin, the fine ANOINTING OIL allows some of the tiny parts to move a bit more freely for a moment. Some of the lights on his flat display-face begin to flutter more brightly, and the ROBODROID whispers in a thin, crackling voice:\n\n\"Thank. You. Friend. Need. Repair. Cabling. Need. Repair. Power! Find. Cabling. Where. Robodroids. Are. There. Cabling. Power! Help. Please. Please. Please. Please ...\"\n\n... and then the ROBODROID falls silent once more.\n\n> You go north\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\n> You go to the east\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\n> You go east\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nYou can see an INFERNAL APE here.\n\nThe INFERNAL APE moves with blinding speed, and its fangs sink\ndeep! You have suffered 4 hits of damage!\n\n> Attack ape\nYou hit hard, snarling with rage! You scored 8 points of\ndamage!\n\nThe INFERNAL APE strikes, leaping high and ripping into your chest with a savage snarl. You have suffered 7 hits of damage!\n\n> Attack ape\nYou leap, and strike! You scored 13 points of damage!\n\nThe INFERNAL APE attacks in a scorching blur of HELL-FIRE, burning your flesh with an infernal howl of triumph! You have suffered 5\nhits of damage!\n\n> Attack ape\nYou lunge deep, and strike! You scored 6 points of damage!\n\nThe INFERNAL APE attacks you savagely, but misses!\n\n> Attack ape\nBy Huron's munificent milkmaids, a blow to be remembered! You\nscored 13 points of damage!\n\nThe INFERNAL APE moves with blinding speed, and its fangs sink\ndeep! You have suffered 11 hits of damage!\n\n> Attack ape\nBy Huron's unsurvivable singing voice! A miss!\n\nWith a snarl, the INFERNAL APE is airborne, slashing deeply into your side with his fangs. You have suffered 5 hits of damage!\n\n> Attack ape\nSa-ho! You give the INFERNAL APE a sampling of your TWO-HANDED SWORD, but good! You scored 8 points of damage!\n\nThe INFERNAL APE leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 11 hits of\ndamage!\n\n> Attack ape\nYou attack with all your might! You scored 10 points of\ndamage!\n\nThe INFERNAL APE attacks in a scorching blur of HELL-FIRE, burning your flesh with an infernal howl of triumph! You have suffered 2\nhits of damage!\n\n> Attack ape\nSa-ho! A mighty attack! You scored 7 points of damage!\n\nWith a snarl, the INFERNAL APE is airborne, slashing deeply into your side with his fangs. You have suffered 9 hits of damage!\n\n> Attack ape\nYou could have sworn your aim was true, but your quarry was already elsewhere! A miss!\n\nThe INFERNAL APE leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 6 hits of\ndamage!\n\n> You go east\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nYou can see an INFERNAL APE here.\n\nThe INFERNAL APE leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 6 hits of\ndamage!\n\n> Assail ape\nYou could have sworn your aim was true, but your quarry was already elsewhere! A miss!\n\nThe INFERNAL APE moves with blinding speed, and its fangs sink\ndeep! You have suffered 6 hits of damage!\n\n> Assail ape\nSa-ho! You give the INFERNAL APE a sampling of your TWO-HANDED SWORD, but good! You scored 9 points of damage!\n\nThe INFERNAL APE attacks you savagely, but misses!\n\n> Assail ape\nYou attack with all your might! You scored 9 points of\ndamage!\n\nThe INFERNAL APE leaps straight for your throat, and his fangs rip deep into your neck and shoulder. You have suffered 4 hits of\ndamage!\n\n> Assail ape\nSa-ho! A mighty attack! You scored 12 points of damage!\n\nWith a snarl, the INFERNAL APE is airborne, slashing deeply into your side with his fangs. You have suffered 7 hits of damage!\n\n> Assail ape\nBy Huron's extravagant allowance! A mighty blow! You scored 6\npoints of damage!\n\nThe INFERNAL APE attacks in a scorching blur of HELL-FIRE, burning your flesh with an infernal howl of triumph! You have suffered 10\nhits of damage!\n\n> Assail ape\nBy Huron's unwarranted waistcoat, your TWO-HANDED SWORD lands\nhome! You scored 6 points of damage!\n\nThe INFERNAL APE strikes, leaping high and ripping into your chest with a savage snarl. You have suffered 3 hits of damage!\n\n> Assail ape\nYour foe is astonished by your speed as you strike hard! You\nscored 5 points of damage!\n\nThe INFERNAL APE moves with blinding speed, and its fangs sink\ndeep! You have suffered 3 hits of damage!\n\n> Assail ape\nBy Huron's unrepenting usurpers, a fine hit! You scored 11 points\nof damage!\n\nThe INFERNAL APE attacks you savagely, but misses!\n\n> Assail ape\nYou attack! You scored 6 points of damage!\n\nWith a snarl, the INFERNAL APE is airborne, slashing deeply into your side with his fangs. You have suffered 5 hits of damage!\n\n> Assail ape\nBy Huron's seven sonic saprophytes, you strike hard and true! You scored 14 points of damage, leaving the INFERNAL APE at your\nmercy!\n\nThe INFERNAL APE is defeated!\n\nThe powerful hell-spawned APE slides to the forest floor, his dead eyes staring past you into the spirit world. There is a harsh puff of brimstone, and the ground splits beneath him, swallowing his remains in a rush of foul, superheated air. Then, all is peaceful once more in the WOODED FOOTHILLS.\n\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nYou feel the wind change direction.\n\n> You go south\nThis pathway is steep, and you're currently at a point where great rocks blocks your view of the SLAVER KING'S realm. The rise is too steep to the east, but you can continue the trail to the south if you want to climb all the way to the PEAK OF MOUNT GELIDUS.\n\n> Go south\nThe view from the summit of MOUNT GELIDUS is enough to move even you, to give you a moment's peace from your savage thirst for vengeance. But only a moment. As you look down through the mists to the farms and forests stretching out to the SEA, the sight of the CASTLE of the SLAVER KING, framed in the distant sunset, reminds you of your purpose.\n\nAn enormous CLIFF GIANT is sitting here, ninety tons of drowsy, rocky mass. Even his beard is made of stone. He's half-looking at the scenic vista, half-sleeping. When he snores, it sends minor slides of pebbles and loose snow bouncing down the mountainside. He rests in front of the entrance to a CAVE.\n\n> You examine CLIFF GIANT\nThe CLIFF GIANT is really big, really rocky, and really drowsy. He seems barely aware of your presence.\n\n> Go inside\nThe CLIFF GIANT is sitting in the way, his vast and rocky BACKSIDE entirely blocking the entrance.\n\n> Go north\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\n> You go to the west\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\n> You go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\n> Go west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n\"Look at that lubber barbarian!\" one pirate chuckles. \"No pirate he; he hasn't even got a parrot!\"\n\n> Go north\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nA pretty barbarian lass brushes past you, her attentions fixed on a burly GUARD she's wooing.\n\n> Go east\nThe PORTCULLIS is down, sealing the CASTLE from entry.\n\n> You use PORTCULLIS\n\"Hands off it, boy.\" says the GUARD. \"That belongs to the SLAVER KING, and isn't for filthy savages the likes of you.\"\n\n> You assail GUARD\nThese castle GUARDS are very much for show, and you slaughter him where he stands, causing shrieks of terror in the MARKETPLACE and sending some citizens fleeing in panic. Others, more accustomed to the dangers of a busy harbor, continue about their business.\n\nAnother GUARD emerges from the iron door of the GUARDHOUSE to take his place, and the dead GUARD is dragged inside. The new GUARD points quietly to a nearby SIGN.\n\n> Regard sign\nThe SIGN says 'NO SOLICITORS.'\n\nIn very tiny letters beneath that, it also says 'PLEASE REFRAIN FROM KILLING THE GUARDS AS THEY GROWEST NOT UPON THE TREES.'"
    },
    {
        "text": "[Themes: Fantasy, cyborg, rpg, parody, sex, sidekick NPC, pseudo-old-school, treasure hunt, satire, humour, male protagonist, pirate]\n\n> Descend\nSa-ho! By Huron's boundless eyebrow, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Assail darth\nYour attack is too hasty, and it fails!\n\nYou see why they call him VON DARTH THE SLY! He is suddenly attacking your left side, just as you moved to defend your right! You have suffered 7 hits of damage!\n\n> Assail darth\nTaste barbarian rage, VON DARTH THE SLY! You scored 13 points of damage!\n\nVON DARTH THE SLY croaks a curse as he misses!\n\n> Assail darth\nYou lash out with the rage of your barbarian ancestors! You scored\n10 points of damage!\n\nVON DARTH THE SLY attacks! You have suffered 7 hits of\ndamage!\n\n> Assail darth\nA skillful attack if you do say so yourself! You scored 8 points\nof damage!\n\nWith a happy snarl, VON DARTH leaps to the attack! You have\nsuffered 9 hits of damage!\n\n> Assail darth\nBy Huron's unattainable undergarment! Thou hast missest!\n\nYou see why they call him VON DARTH THE SLY! He is suddenly attacking your left side, just as you moved to defend your right! You have suffered 7 hits of damage!\n\n> Assail darth\nYou leap, and strike! You scored 12 points of damage!\n\nVON DARTH brings his MACHETE to bear! You have suffered 8 hits of damage!\n\n> Assail darth\nBy Huron's perverted puppetry! A mighty blow! You scored 16 points\nof damage!\n\nYou see why they call him VON DARTH THE SLY! He is suddenly attacking your left side, just as you moved to defend your right! You have suffered 7 hits of damage!\n\n> Assail darth\nYou hit hard, snarling with rage! You scored 7 points of damage, leaving VON DARTH THE SLY at your mercy!\n\nVON DARTH THE SLY is defeated!\n\nWith your final blow, VON DARTH THE SLY is cast to the dust and gravel, his face bloodied, and his mutant extra arm lolling lamely to one side of his neck.\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help VON DARTH to his feet, and he smiles a bloody-toothed smile. \"Aye, barbarian! Now THAT was a proper beating you gave me, and no mistake! It was a privilege.\"\n\nThe crowd cheers again, and you nod in silent assent. VON DARTH gives a weak salute and limps away to heal for a while, and eventually the crowd returns to their revels.\n\nSa-ho! By Huron's vanishing vacuoles, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Regard POST\nThe CHALLENGE POST is a wooden pole hung with dyed banners, each representing a GLADIATOR willing to meet challengers. Beginning with the lowest, the banners are BLUE, GREEN, GOLD, and RED. There is room for one more banner above the others, but RED is presently the highest on the POST.\n\nA nearby rogue espies your curiosity, and sayeth \"If ye wish a bout, barbarian, SEIZE the banner of your chosen foe, to display your challenge!\"\n\n> Regard ring\nThe GLADIATOR'S RING is a simple open space where the gravel has been flattened in an open circle, to mark a place of battle.\n\n> Regard RED\nThe RED BANNER is an embroidered bit of dyed canvas, made perhaps of sailcloth. It bears the personal SIGIL of a GRAVEL-PIT GLADIATOR.\n\n> You regard the sigil\nWhich do you mean, the BLUE BANNER, the GREEN BANNER, the GOLD BANNER or the RED BANNER?\n\n> You regard green BANNER\nThe GREEN BANNER is an embroidered bit of dyed canvas, made perhaps of sailcloth. It bears the personal SIGIL of a GRAVEL-PIT GLADIATOR.\n\n> You regard gold BANNER\nThe GOLD BANNER is an embroidered bit of dyed canvas, made perhaps of sailcloth. It bears the personal SIGIL of a GRAVEL-PIT GLADIATOR.\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a PYREXIAN EYE, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), some STINKY BAIT, a SUIT OF BURLAP ARMOR (currently un-used), a FLASHLIGHT and a GLADIUS SWORD (currently un-used).\n\n> You regard the meat\nThe SLAB OF SNOW-SERPENT MEAT shines in its raw ichor. Your tribe has long known that the flesh of this beast, once properly ripened and then consumed rapidly, has magic healing properties that allow Warriors to defeat foes much more powerful than they. Useful, for a Warrior-born such as you! This slab has now ripened; the ichor swirls with prismatic power and the stench is comforting.\n\n> You go to the south\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nYou sure could use a good fight.\n\n> You give the CORN to bear\nThou hast exceeded the limits of SCIENTIFIC TECHNO-REASONING. Refer to your game manual for assistance.\n\n> You use the CORN on bear\nYou extend the EAR OF CORN toward the GRIZZLY, and the great BEAR'S nose twitches damply as it looks up from the fresh flowing waters of the stream.\n\nSlowly, cautiously, the GRIZZLY approaches. He sniffs at the EAR OF CORN, motivated by obvious hunger, but grunts sadly, and returns to pawing the water in hopes.\n\n> Regard STREAM\nIt's only a BRISKLY-FLOWING STREAM, but it hath a certain charm.\n\n> Go west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\n> You go to the west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n> You go to the south\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> Go inside\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nThe DELICATE DOXY reclines on the bed, REGARDING you quietly, grinning playfully, and chewing on a bit of her auburn hair. \"Hello again, barbarian,\" she says.\n\n> You give CORN to VESSA\nSelect with care thy endeavors, barbarian. The HELP command may offer some remedy.\n\n> You use CORN on VESSA\nVESSA smiles, and gently caresses the EAR OF CORN. \"Oh, barbarian, that's a very wicked thought, and you know I'd adore taking\nyou to my bed, but really, that isn't respectful payment for what I can offer you.\" Her smile brightens. \"If you bring me some proper payment, it might be fun if you bring the EAR OF CORN along as well ...\"\n\n> You go south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nThe breeze dies entirely; now the air is completely still.\n\n> You use the eye on SLUG\nYou waggle the PYREXIAN EYE at the RUIN SLUG, making gurgly noises. The RUIN SLUG looks at you like you're an idiot.\n\n> Go east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\n> You go east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, chasing glittering insects that hover near the water's surface.\n\n> You use BAIT on FISH\nYou lower the STINKY BAIT to tempt the MAGIC FISH, but the FISH darts away rapidly. It seems that MAGIC FISH have better taste in BAIT than your average MIRE IMP.\n\n> Go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nYou hear a gentle cracking noise somewhere nearby, like rocks tumbling onto one another.\n\n> Go west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\n> Regard the pipes\nThe water dripping from the PIPES is strangely iridescent.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> You use the pipes\nCreative! But fruitless.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Up\nYou stand in the uppermost chamber of the strange crystalline tower. The air here is thick with energy and flooded with light from no particular source. There is a blinding whiteness, as if you're in a vast field of snow ... but the air is hot, not cold.\n\nFloating in mid-air is a beautiful NECKLACE OF STARLIGHT, a dazzling treasure!\n\n> You get NECKLACE\nJust as your fingertips brush the scintillating surface of the NECKLACE OF STARLIGHT, a sizzling shock throws you backward across the room! Crackling energies coalesce into a grinning, sparkling WRAITH of ELECTRO-PHASIC QUASIMATTER! A deadly VOLTAIC WRAITH!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Attack wraith\nBy Huron's Palladian pagoda, a blow to be remembered! You scored\n15 points of damage!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Attack wraith\nYou were too slow that time. A miss!\n\nThe WRAITH attacks! You have suffered 13 hits of damage!\n\n> Attack wraith\nSa-ho! You give the VOLTAIC WRAITH a sampling of your TWO-HANDED SWORD, but good! You scored 10 points of damage!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 17 hits of damage!\n\n> Attack wraith\nA skillful attack if you do say so yourself! You scored 12 points\nof damage!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Attack wraith\nBy Huron's ghoulish bycocket, your TWO-HANDED SWORD lands home!\nYou scored 6 points of damage!\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 19 hits of damage!\n\n> Attack wraith\nYour foe is astonished by your speed as you strike hard! You\nscored 13 points of damage, leaving the VOLTAIC WRAITH at your\nmercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! I WILL ... RETURN ... FOR VENGEANCE!\"\n\nThen, you hear the gentle report of girlish laughter. A very beautiful ELF girl, dressed in a tight white body-suit, calls out to you from high above, where she clings to the slick crystalline ceiling by some unknown magic!\n\n\"Thank you, fair barbarian, for defeating the VOLTAIC WRAITH! I never could have done so on my own, and so, without you, I never could have obtained this NECKLACE OF STARLIGHT!\"\n\nWith a wink, she squirms out through a venting-hole in the crystal, and slides away into the snow, where she vanishes like a white rabbit.\n\n(press a key when ready)\n\n> You press SPACE\nYou stand in the uppermost chamber of the strange crystalline tower. The air here is thick with energy and flooded with light from no particular source. There is a blinding whiteness, as if you're in a vast field of snow ... but the air is hot, not cold.\n\n> Go north\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nYou hear a distant crackle, as if through the ELECTRIC ETHER, a sizzling note of hate!\n\n> You go east\nNo good path leads that way, and thou art not of the Pioneer class!\n\nThere is a sharp smell of ozone, and a faint electric sizzling in the air.\n\n> Go inside\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the VIRAXIAN INCENSE, the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> You use GLADIUS on ACOLYTE\n\"Ah, barbarian, you have come with a GLADIUS SWORD in trade! This will be most useful in defending the TEMPLE from invaders. Please accept this valuable FIERY JEWEL and wander in peace.\"\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> Parley with ACOLYTE\nThe ACOLYTE busies himself with holy matters, and has no time to chat further.\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> You go west\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nYou can see a VOLTAIC WRAITH here.\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Attack wraith\nBy Huron's nine unnerving nephews, you strike hard and true! You scored 7 points of damage!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 7 hits of damage!\n\n> Attack wraith\nYou lash out with the rage of your barbarian ancestors! You scored\n14 points of damage!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 16 hits of damage!\n\n> Attack wraith\nYou attack with all your might! You scored 12 points of\ndamage!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 3 hits of damage!\n\n> Attack wraith\nDamn and blast! A miss!\n\nThe WRAITH attacks! You have suffered 13 hits of damage!\n\n> Attack wraith\nSa-ho! A mighty attack! You scored 11 points of damage, leaving\nthe VOLTAIC WRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n> You use JEWEL on DOXY\n\"Oh, barbarian!\" the lass coos, running her finger across the surface of the gem, inspiring sparks to coil beneath its surface. \"'Tis none other than a Vulkin Amber Sapphire! Long have I coveted such a thing!\" She looks you up and down, and quietly closes the boudoir door. \"This will buy you many unusual pleasures ...\"\n\n... Many hours (and many unusual pleasures) later, VESSA THE DELICATE DOXY lay naked beside you, tracing a finger along your corded neck and regarding your physique with silent amusement. After a time, she speaks:\n\n\"Barbarian, your mien leaves no mistake and while I am but young, I am wise in the ways of the court, for many of the SLAVER KING'S lords do visit to play in my PERFUMED BOUDOIR. I have heard tell of a barbarian who escaped from the slave-caravan, a barbarian with fire in his eyes ... eyes that might look eagerly toward bloody vengeance on the SLAVER KING. What say you?\"\n\nReading your silence, the DOXY draws out a SCROLL from beneath her pillow. \"Here are some notes I've kept, young lion, young panther, young upland ecru-spotted lynx, some other ... rumors ... that may be of use to one brave enough to challenge a kingdom.\" She stares into your eyes. \"I believe that such a man as you (she says this with a growling purr) may indeed be a threat to the SLAVER KING, and the SLAVER KING treats Doxies most cruelly. I would love to see him punished.\"\n\n... Many more hours (and etc) later, you emerge from the DOXY's chambers, sated and well-pleased, and scented with jasmine and feminine ardour.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> Regard SCROLL\nThe SCROLL is perfumed with a delicate touch, gilt at the edges, and decorated with lovely script that flows over and under itself in a way you find most enchanting. You have never learned to read these complex runes of the civilized realms, but even a man such as you can be awed by such artful penmanship. The simpler runes at the top say SECRETS OF STATE.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): the SECRETS OF STATE, a PYREXIAN EYE, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), some STINKY BAIT, a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You go to the south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\n> Go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nSimply walking IN, however, isn't currently an option, as a vast RUIN SLUG - the largest you've ever seen - is basking its slimy bulk in the evening sun, right near the entrance. The SLUG makes no move toward you, but you'd have to ASSAIL it (and survive) to find out what lay beyond the arch.\n\nYou can also see a TELEPHONE POLE here.\n\n> You look at the spray\nThe WATERFALL cascades down from streams high up toward MOUNT GELIDUS. It's very lovely and refreshing. There's almost nowhere to stand, here, where you aren't catching some spray.\n\nYou spot a rare STEELWING BUTTERFLY resting on a nearby stone, but it flutters away before you can catch it.\n\n> You examine the butterfly\n'Tis unworthy of thy manly attentions.\n\n> You examine the tree\nThe TREES are much like any TREES, and they smelleth nice.\n\n> You get the tree\nWhen thy saga is writ and thy story told and maidens swoon to hear it, the tale-tellers will, in kindness and in mercy, skip the part where the TREES hath distracted thee so.\n\n> You regard well\nNow that you mention it, they really are a mysterious example\nof a WELL.\n\n> You enter well\nThe WELL seemeth somewhat less than comfy.\n\n> You assail well\nI've seen this tragedy before. The alluring proximity of a WELL can drive many a hero to gibbering madness.\n\nThe ground is unusually soft; you have to pick up your feet to keep from sinking.\n\n> You go to the west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n> You go to the north\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\n> Go north\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\nHARK! You hear a girlish SCREAM from the nearby PINE FOREST!\n\n> You go to the east\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\n> Regard the statue\nIt is a very alluring statue of a comely ELF wench, slight but womany. Ah, but not just ANY comely ELF wench! This is the girl who robbed you of your prize when first you met the VOLTAIC WRAITH in that crystalline tower in the FROSTED UPLANDS! That would explain why this statue wears the NECKLACE OF STARLIGHT!\n\n> You get NECKLACE\nYou lift the delicate necklace from the golden neck of the ELF girl, and you are well pleased. But what is that sudden CLACKING NOISE just behind thee?\n\nThe GIANT GOLD SPIDER attacks! You have suffered 6 hits of\ndamage!\n\n> Attack spider\nBy Huron's fibrillating uvula, a fine hit! You scored 14 points of damage!\n\nIts MANDIBLE-FANG-MAW dripping with deadly MIDAS VENOM, the GIANT GOLD SPIDER moves in for the kill! You have suffered 20 hits of\ndamage!\n\n> You go west\nThe WEBS laid around the statue are a deadly trap! You cannot escape!\n\nThe GIANT GOLD SPIDER dances from tree to tree, spinning more webs!\n\n> You use the eye on the webs\nI know you want to set the world on fire, barbarian, but try approaching it as more of a metaphor.\n\nWith a chittering of 24 KARAT HUNGER, the GIANT GOLD SPIDER dines on your flesh! You have suffered 16 hits of damage!\n\n> Attack spider\nYou lunge deep, and strike! You scored 17 points of damage!\n\nWhile you are stumbling over a sticky WEB, the GIANT GOLD SPIDER pierces you with its GOLDEN DEATH PROBE! You have suffered 18 hits\nof damage!\n\n> Attack spider\nYou attack! You scored 10 points of damage!\n\nDrawing you deeper into the WEBS with each attack and retreat, the GIANT GOLD SPIDER strikes without mercy! You have suffered 14 hits\nof damage!\n\n> Attack spider\nTaste barbarian rage, GIANT GOLD SPIDER! You scored 9 points of damage!\n\nIts MANDIBLE-FANG-MAW dripping with deadly MIDAS VENOM, the GIANT GOLD SPIDER moves in for the kill! You have suffered 11 hits of\ndamage!"
    },
    {
        "text": "> Go downwards\nSa-ho! By Huron's fibrillating uvula, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Examine post\nThe CHALLENGE POST is a wooden pole hung with dyed banners, each representing a GLADIATOR willing to meet challengers. Beginning with the lowest, the banners are BLUE, GREEN, GOLD, and RED. There is room for one more banner above the others, but RED is presently the highest on the POST.\n\nA nearby rogue espies your curiosity, and sayeth \"If ye wish a bout, barbarian, SEIZE the banner of your chosen foe, to display your challenge!\"\n\n> You seize green\nAs you pluck the GREEN BANNER from the CHALLENGE POST, the assembled rowdies cheer! You are ushered into the gladiator's ring, where you stand face-to-face with the famed Klengon Criminal, THRANG! \"Prepare for mighty battle, barbarian!\" he shouts, and cracks an arrogant grin.\n\nYou take a moment to REGARD your opponent ... THRANG is a regal-looking KLENGON, with a mustache so long he tucks it into his belt. He wields an impressive KLENGON WAR HAMMER as if he were born to maim weaker men with it.\n\n> Assail THRANG\nBy Huron's cantankerous torpidity, a fine hit! You scored 9 points\nof damage!\n\nTHRANG attacks! You have suffered 11 hits of damage!\n\n> Assail THRANG\nYou lunge deep, and strike! You scored 13 points of damage!\n\nTHRANG sneers contemptuously, for he has missed!\n\n> Assail THRANG\nYou attack! You scored 8 points of damage!\n\nWith a mighty KLENGON WAR GRUNT, THRANG leaps to the attack! You\nhave suffered 13 hits of damage!\n\n> Assail THRANG\nTaste barbarian rage, THRANG! You scored 12 points of damage!\n\nTHRANG circles, cat-like, then swings high with his KLENGON WAR HAMMER! You have suffered 6 hits of damage!\n\n> Assail THRANG\nBy Huron's malfunctioning mucus! A mighty blow! You scored 16\npoints of damage!\n\nTHRANG attacks with great brutality! You have suffered 11 hits of damage!\n\n> Assail THRANG\nBy Huron's tyrranical toenail clipper! Thine arm hath failed thee!\n\nTHRANG laughs a hearty laugh, and attacks! You have suffered 9\nhits of damage!\n\n> Assail THRANG\nBy Huron's thrice-blessed loincloth, your TWO-HANDED SWORD lands\nhome! You scored 8 points of damage!\n\nWith a mighty KLENGON WAR GRUNT, THRANG leaps to the attack! You\nhave suffered 6 hits of damage!\n\n> Assail THRANG\nBy Huron's terrifying tirades, a blow to be remembered! You scored\n12 points of damage, leaving THRANG at your mercy!\n\nTHRANG is defeated!\n\nWith your final blow, THRANG is cast to the dust and gravel, his body bloodied, his towering ego reduced considerably.\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help THRANG to his feet, and he smiles a grudging smile. \"You are a worthy foe, barbarian. You fight like a true KLENGON.\"\n\nThe crowd cheers again, and you nod in silent assent. THRANG bows in respect, and wanders away to heal for a while, and eventually the crowd returns to their revels.\n\nSa-ho! By Huron's painless paludism, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> You regard BRIDGE\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nYour ears pick up the dying-song of the BRUNTA BIRD, calling out to its mate in the final throes of psychic suffocation.\n\n> You use POLE on SLUG\nThe TELEPHONE POLE is not yours to toy with, barbarian. Neither is the RUIN SLUG.\n\n> You regard the archway\nThe RUINS bespeak of a life unlike your own, and all is too far gone to learn much from looking.\n\n> Assail archway\nWhen thy saga is writ and thy story told and maidens swoon to hear it, the tale-tellers will, in kindness and in mercy, skip the part where the DEBRIS hath distracted thee so.\n\n> Go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nYou enjoy the cool moistness of the breeze on your skin.\n\n> You use BAIT on STREAM\nYou turn the STINKY BAIT this way and that, considering its possible combinations with the BRISKLY-FLOWING STREAM. You extend your thumb for comparison, because you saw a DWARF do that once and it looked pretty cool.\n\n> You use the eye on INCENSE\nWith a lick of flame from the decomposing eyeball, the incense takes to light briefly, then to slow ash, and begins releasing fragrant smoke.\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> You seize INCENSE\nThe ACOLYTE OF TRAGA shakes his head gently. \"The incense is sacred to our faith, barbarian. I would never give it up cheaply ... I would only trade the INCENSE for something of real value in advancing my ambitions, something I could hang over the heads of those foolish lords who serve the SLAVER KING.\"\n\n> You use the secrets on ACOLYTE\n\"Barbarian you are a marvel! Strong of arm and politically savvy as well? You are a dark miracle sent by our unholy lord, I have no doubt! Thank you so much! Please, avail yourself of our INCENSE, if you have need of it.\"\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> You seize INCENSE\nThe ACOLYTE OF TRAGA nods assent. \"Take it with the manifold blessings of my demon-gods, barbarian.\"\n\nSeized.\n\nThere is a sharp smell of ozone, and a faint electric sizzling can be heard nearby.\n\n> Assail WRAITH\nYou miss!\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 21 hits of damage!\n\n> Assail WRAITH\nBy Huron's uncorrectable underbite, a fine hit! You scored 12\npoints of damage!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Assail WRAITH\nYou attack! You scored 17 points of damage!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 12 hits of damage!\n\n> Assail WRAITH\nYou leap, and strike! You scored 12 points of damage!\n\nThe WRAITH attacks! You have suffered 18 hits of damage!\n\n> Assail WRAITH\nYou lash out with the rage of your barbarian ancestors! You scored\n14 points of damage, leaving the VOLTAIC WRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n> Regard CORPSE\nIt's the finest example of a HALF-DIGESTED CORPSE you've seen since you were enslaved.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> Pillage\nEYEPATCH OF ODIN: Seized.\nFLESH-TOTEM OF DARTH VIRAXIS: Seized.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You use the eye on INCENSE\nWith a lick of flame from the decomposing eyeball, the incense takes to light briefly, then to slow ash, and begins releasing fragrant smoke.\n\nAs the smoke from the incense curls away into darkness, you hear a pained rumbling from the SEA MONSTER.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You wait\nYou stop to rest for a moment.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\n> You wait for a while\nYou stop to rest for a moment.\n\nYou can feel your flesh sizzling as the DIGESTIVE JUICES continue to rise ...\n\nThis incense is strong stuff; it could choke a SMOG MONSTER ...\n\nThe squishy flesh beneath you begins to heave and undulate! There is a mighty roar, and a sickly wet sound ...\n\nIt's definitely the smoke from the VIRAXIAN INCENSE! This beast cannot bear the irritation in its unholy bowels! You suppose that you, too, are something of a bowel irritant.\n\nSuddenly, you are squeezed tight by the constricting walls, and you feel you may be crushed to death and dissolved at the same time ... but then you are free, flying damply through the air, for a wet landing back on land ...\n\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a FLESH-TOTEM OF DARTH VIRAXIS, the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use EYEPATCH\nYou have heard that the god ODIN gained wisdom for losing his eye, but it feels more to you like losing some of your balance and gaining a dangerous blind-side in combat! But you suppose it makes you look menacing.\n\n> You go to the south\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\n> Go south\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nOne pirate hoists a small child - his son - to his shoulder, and points at you. \"You see that man? Now that's a REAL pirate, not a scurvy old beggar like me. I want you to be just like 'im when you grows up, lad.\"\n\n> Go inside\nThe jolly PIRATES wave merrily as you head up the gangplank, happy to see such a fine PIRATE as yourself among their company.\n\nAboard the vessel there are few signs of life, only a single peg-legged DWARF, swabbing the deck with a combination CRUTCH and MOP. You note with curiosity that the DWARF also wears a heavy coat of CHAINMAIL, and something in his bearing suggests that he was once a Warrior, like you (of perhaps half your Level).\n\nThe DWARF pauses from his chores for a moment to greet you. \"Avast ye, me hearty! Me name's GUNWAR, what rhymes with HAR! Har.\"\n\nThe ship is mostly deserted at the moment; the PIRATES are OUT on the quayside. The deck here is admirably stained with the blood of many a cutlass-duel, and littered with the usual ROPES and MASTS and nautical miscellany. Most of the hatches are securely locked, but you find one open passage leading downwards.\n\nGUNWAR the peg-legged DWARF is here, swabbing the deck.\n\n> Parley with GUNWAR\n\"I've never eaten a BEE GIRL QUEEN myself, but I hear they're 81% tasty.\"\n\n> Parley with GUNWAR\n\"Knew some LIMB TRADERS down along the SALTY COAST,\" says GUNWAR. \"Good people.\"\n\n> Parley with GUNWAR\nYou and GUNWAR compose a spontaneous dirty limerick about the perils of FRANKENSTEIN ARMOR.\n\n> You regard the ropes\nThe ship is well-provided with ROPES and MASTS and other NAUTICAL STUFF ... but you are an upland barbarian; it all means little to you."
    },
    {
        "text": "> Go downward\nThis must be the cabin of one of the officers; it is well-appointed and looks reasonably comfortable for such a cramped space. At least, it's far nicer than the rowing bench you recall from the SLAVER KING'S galleys ...\n\nYou can see a GLITTERING THING here.\n\n> You examine the thing\nYou lift the delicate GLITTERING THING from the CABIN'S small writing-desk, and turn it over in your hand. It flows and shimmers with great beauty! You see now that it is a woman's garter ... the jolly jack-tar inhabiting this cabin must have entertained some intimate company here! And the way the colors move, it can only be ANGELGLASS, that strange material you've seen in items from GOD CITY. A valuable treasure, you are sure, so into your THESKIAN DUFFEL BAG it (gingerly) goes.\n\n> You use the ANGELGLASS\nOut of a manly curiosity and nothing more, you decide to see if the garter would fit a masculine, manly barbarian like you, who is very much a man. Looking around to make sure no one is watching (because a sight so very manly might overwhelm them with sheer machismo), you slip it over your foot and up your leg ... Interestingly enough, the strange nature of ANGELGLASS is such that it fits you perfectly. You feel pretty.\n\n> Shed ANGELGLASS\nFrom any but a barbarian, I would presume such a command SORCERY most perplexing! Your game manual, or the HELP command, might give aid and succor.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): an ANGELGLASS GARTER (being worn), a FLESH-TOTEM OF DARTH VIRAXIS, the EYEPATCH OF ODIN (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use ANGELGLASS\nYou remove the ANGELGLASS GARTER. You feel less pretty now, casting you into a brief barbaric gloom.\n\n> You go upwards\nThe ship is mostly deserted at the moment; the PIRATES are OUT on the quayside. The deck here is admirably stained with the blood of many a cutlass-duel, and littered with the usual ROPES and MASTS and nautical miscellany. Most of the hatches are securely locked, but you find one open passage leading downwards.\n\nGUNWAR the peg-legged DWARF is here, swabbing the deck.\n\nGUNWAR chuckles as he espies the GARTER on your thigh. \"Ye'd make a right proper mariner, lad.\"\n\n> Go outside\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nA young pirate espies the ANGELGLASS GARTER on your thigh and grins. \"I been wonderin' when BOSUN BLACKSTEEL would find that special someone to give that treasure to.\"\n\n> You enter\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nVESSA is here, sprawled across the bed and grinning at you, invitingly.\n\nVESSA grins as she espies the ANGELGLASS GARTER on your thigh. \"Kinky!\"\n\n> You go south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nYou are a little surprised to notice a familiar figure - the regal form of THRANG seemeth less swaggering, less arrogant, and more humbled than in the GLADIATOR PIT. \"Hail to thee of might and valor,\" he says, with a slight grin forming behind his impressive mustache. He points to the GRAVESTONE before him, and to others nearby. \"Long ago, before the SLAVER KINGS took these realms, and before the galaxy fell to ruin, there was a KLENGON colony here.\"\n\nYou nod, respectfully. You have heard of this \"galaxy.\"\n\nTHRANG stands still awhile longer, lost in thought. \"Those were days of blood and conquest. In truth, barbarian, many KLENGONS would be no better than this SLAVER KING of ours, or his neighbors. The KLENGONS were thwarted then, I have heard, by a man of SCIENCE ... and some of his work still rests in some of the old RUINS east of here. If you are of a mind to seek treasure, that might be a fine treasure to seek.\"\n\nYou nod, considering this.\n\nTHRANG offers a quick salute. \"I have another errand I must see to ... a friend of mine, GUNWAR, is a PIRATE aboard the vessel currently at dockside. I should pay him a visit, the old dog. I think you two would get on well,\" he muses. \"While he is a sailor now, he is in truth a Warrior, of perhaps half your Level. He quested for years, searching vainly for a BLACK HOLE METAL AXE ... and he lost his leg in the attempt. Visit him sometime, perhaps. You could swap stories and it would cheer him. He does so miss his days of battle, barbarian, as would you or I, were we maimed and unable to fight, eh?\"\n\nYou nod grimly. THRANG bows, then strides off toward the harbor, leaving you with your thoughts.\n\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\n> Go north\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nyour mouth water. The Warriors of your tribe have long held that the meat, once sufficiently putrid, not only acts as an instant healer in battle, but also adds hair to one's chest, endowment to one's loin-cloth, and a lustrous, healthy shine to one's coal-black barbarian hair. Why, this particular SLAB is now so deliciously putrid that it hath even sprouted the vaunted PURPLE MAGGOTS! You are reminded of comforting holiday meals back home.\n\n> Go north\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n\"Look at that pirate!\" one pirate chuckles. \"No barbarian he, not with such a fine eyepatch!\"\n\n> Go inside\nThe ship is mostly deserted at the moment; the PIRATES are OUT on the quayside. The deck here is admirably stained with the blood of many a cutlass-duel, and littered with the usual ROPES and MASTS and nautical miscellany. Most of the hatches are securely locked, but you find one open passage leading downwards.\n\nGUNWAR the peg-legged DWARF is here, swabbing the deck.\n\n> Parley with GUNWAR\n\"The real problem with all the SKY PIRANHA we've been getting lately is that they're so very good with machines.\"\n\n> Parley with GUNWAR\nGUNWAR grins. \"I was never cut out fer piratin', you know, but I do so love the lingo! HAR!\" The two of you exchange raucous HARS for a while.\n\n> Parley with GUNWAR\nGUNWAR spins a yarn about the ZOMBIE PRINCESS, and the dark realm of dream in which she is rumored to travel.\n\n> Go east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH. It appears to be reading a tiny book.\n\n> You regard FISH\nIt's just your typical MAGIC FISH, playing around in the churning waters at the base of the WATERFALL.\n\n> You enter\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): an ANGELGLASS GARTER (being worn), a FLESH-TOTEM OF DARTH VIRAXIS, the EYEPATCH OF ODIN (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use GARTER on VIRGIN\nThe ACOLYTE OF TRAGA chuckles quietly. \"Barbarian, one does not make an offering unto a sacrifice. Theologically\nspeaking,\" he says, \"it would be ... confused.\"\n\n> Go west\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n> You go to the south\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nThe VOLTAIC WRAITH arrives, crackling with HATE!\n\n> Assail WRAITH\nA thousand curses on these foolish percentile dice! A miss! Curse this distracting EYEPATCH!\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 12 hits of damage!\n\n> Assail WRAITH\nBy Huron's propitiatory pustules! Thine aim hath failed thee! Curse this distracting EYEPATCH!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 11 hits of damage!\n\n> You use EYEPATCH\nYou remove the EYEPATCH, grateful to see the world as it is again.\n\nThe WRAITH attacks! You have suffered 13 hits of damage!\n\n> Assail WRAITH\nYou attack with all your might! You scored 18 points of\ndamage!\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 10 hits of damage!\n\n> Assail WRAITH\nYour foe is astonished by your speed as you strike hard! You\nscored 10 points of damage!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 4 hits of damage!\n\n> Assail WRAITH\nBy Huron's sinister saliva, you strike hard and true! You scored 9 points of damage!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 21 hits of damage!\n\n> Assail WRAITH\nTaste barbarian rage, VOLTAIC WRAITH! You scored 8 points of\ndamage, leaving the VOLTAIC WRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): an ANGELGLASS GARTER (being worn), a FLESH-TOTEM OF DARTH VIRAXIS, the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (being worn), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use TOTEM on IDOL\nDark clouds high above boom with laughter, and a flash of unnatural lightning throws the features of the MOSSY STONE IDOL into hideous relief. There is a sudden darkness, and in a second flash, you know that you are not alone! A great and muscular VIRAXIAN HELL-SOLDIER stands before you, a jet-black AXE in his hands, his eyes glowing like volcanic pits and his fangs dripping with fresh human blood!\n\nThe VIRAXIAN HELL-SOLDIER attacks! You have suffered 8 hits of\ndamage!\n\n> Assail soldier\nYou hit hard, snarling with rage! You scored 17 points of\ndamage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nSa-ho! You give the VIRAXIAN HELL-SOLDIER a sampling of your TWO-HANDED SWORD, but good! You scored 11 points of damage!\n\nThe HELL-SOLDIER brings his AXE high, and drops it into you! You\nhave suffered 17 hits of damage!\n\n> Assail soldier\nSa-ho! A mighty attack! You scored 16 points of damage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nA skillful attack if you do say so yourself! You scored 14 points\nof damage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nYou lunge deep, and strike! You scored 11 points of damage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nCurses! A miss!\n\nAXE! You have suffered 11 hits of damage!\n\n> Assail soldier\nBy Huron's esoteric thigh freckles, a blow to be remembered! You scored 16 points of damage!\n\nWith a contemptuous ABYSSAL CHUCKLE, the VIRAXIAN HELL-SOLDIER strikes! You have suffered 27 hits of damage!\n\n> Assail soldier\nA miss! BAH!\n\nThe HELL-SOLDIER swings his AXE low! You have suffered 8 hits of damage!\n\n> Assail soldier\nTaste barbarian rage, VIRAXIAN HELL-SOLDIER! You scored 16 points\nof damage, leaving the VIRAXIAN HELL-SOLDIER at your mercy!\n\nThe VIRAXIAN HELL-SOLDIER is defeated!\n\nThe VIRAXIAN HELL-SOLDIER screams and evaporates in a tortured cloud of misted blood and twisted fire, and his AXE drops to the ground at your feet.\n\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nYou can also see a BLACK HOLE METAL AXE here.\n\n> You enter\n\"Avast ye! Pirates only, barbarian matey!\"\n\n\"Avast!\" says one of the pirates, \"There be a barbarian if I ever did see one! He's got no hook for a hand!\"\n\n> You wear EYEPATCH\nBy Huron's understandable apprehensions! I am perplexed by thine illogic! The HELP command may offer some remedy.\n\n> You go inside\n\"Avast ye! Pirates only, barbarian matey!\"\n\n\"It's easy to tell when a man's no pirate,\" one buccaneer says, pretending not to be referring to you. \"He's got no great big piratin' boots!\" An elderly pirate agrees, \"Cain't be proper piratin' without them boots.\"\n\n> You use EYEPATCH\nAs you raise the EYEPATCH OF ODIN to your face, the GROUP OF PIRATES stop what they're doing to stare at you. \"We're right HERE, lad. We're STANDING RIGHT HERE.\" A tall, ancient, peg-legged pirate adds \"Arr.\"\n\n> You go to the north\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\n> You use AXE on GUNWAR\nYou extend the BLACK HOLE METAL AXE toward the old peg-leg DWARF, and he REGARDS it at first with polite interest, believing that you are simply showing it off to him. \"Ah, yes, a very fine AXE you have there, barbarian ...\"\n\nBut when he realizes you are making an offer, he looks at the AXE again. \"BLACK HOLE ... METAL!\" he cries, and then he literally cries, taking it into his arms and sobbing a mess of tears onto his bristly black beard. \"Lad, have ye any idea how many YEARS ... how many horrors I endured ... Was it THRANG? Did that foul old mustache of a KLENGON tell ye?\"\n\nThe old DWARF collects himself, obviously a bit embarrassed by his display of emotion, but you have sympathy. You, too, feel a great swelling of joy in your heart when you behold an implement of wanton destruction. It is as it must be, for you are a Warrior, and GUNWAR is, too (of perhaps half your Level).\n\nSatisfied that you have done a good deed, you turn to leave GUNWAR with the AXE for some privacy, but the DWARF doesn't let you go ...\n\n\"Lad, please. Wait. I've something ... I think ... I think I've something to tell ye. To ... to show ye.\"\n\nThe DWARF begins removing his clothing, and you quickly avert your eyes to let him know that this kind of thanking is not necessary.\n\n\"No, lad. Look. Look.\"\n\nYou peer between your fingers, and see what the DWARF is speaking of. Beneath his old coat of CHAINMAIL, beneath his jerkin, his chest is carved with a thousand old DWARVISH RUNES, seared into flesh with heat and blade. You read not these old letters, but you have heard they have powers of magic.\n\nGUNWAR smiles. \"Lad, for years I was a Warrior, of perhaps half your Level, and I quested for a BLACK HOLE METAL AXE. It consumed my life, took some of me friends into the grave, and in a dungeon near the AMAZON FREEHOLD of RAKARR, it took me leg.\"\n\nYou nod, grimly, in respect.\n\n\"But lad, I didn't rest. I knew I could never be a Warrior of any real worth again, not with my movements so limited ... So I studied hard to one day SERVE a Warrior ... to become a companion to a worthy death-dealer of ... of perhaps twice my level. I studied to be a healer, son. I can heal you as fast as magic with my herbs! And,\" he says, pointing to the RUNES, \"I had meself RUNE-CARVED, so that if the Warrior I serve may one day choose to wield me in his hand, I do double damage.\"\n\nThere is silence for a while, broken only by the distant scream of gulls, and the damp sloshing of the waves on the hull of the PIRATE SHIP.\n\nThe DWARF gets up his nerve and asks \"Can I? Can we? Will ye be my Warrior, lad? I'd be honored to be at your side, helping as I can\nwith the bringin' of death once more. I feel it's my destiny as a healer.\"\n\nAnd a great friendship is made.\n\n> You seize dwarf\nYou grab GUNWAR by the boots and try to heft him as a weapon, but he's very heavy! You both end up falling on the ground and laughing.\n\n\"I guess not, lad,\" says GUNWAR, \"but 'twas a good try!\"\n\n> Go outside\nRelying on the natural CUNNING of an upland barbarian, you sense something very wrong ...\n\nA MUTATED MORGOM is here, thirsty for BLOOD!\n\nThe PIRATES are cringing in a corner, and the crowd has fled in a panic!\n\nScattering a pile of BARRELS into the SEA with its powerful forelegs, the MORGOM leaps through the air and sinks fangs into you! You\nhave suffered 26 hits of damage!\n\nThe ferocity of the attack rips away the EYEPATCH OF ODIN! As it flutters into the SEA, the nearby PIRATES gasp. \"Shiver me timbers,\" one says, pointing at it, \"That's the fourth time this year we fell fer that one, lads.\"\n\nGUNWAR the PEG-LEG DWARF limps along at your side.\n\n> You use AXE\nThe BLACK HOLE METAL AXE is not yours to toy with, barbarian.\n\nSlithering along its legless rear portion, the MORGOM attacks! You have suffered 40 hits of damage!\n\nGUNWAR applies his healing arts, restoring 7 Hit Points.\n\n> Regard morgom\nThe elongated body of this savage predator is rippling with muscles, and the eerie green glow in its eyes marks it as a MUTANT of some kind!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 7 Hit Points.\n\n> Assail morgom\nYou lash out with the rage of your barbarian ancestors! You scored\n10 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 7 Hit Points.\n\n> Assail morgom\nYou lunge deep, and strike! You scored 9 points of damage!\n\nWith a grating HISS that makes your skin crawl, the MORGOM leaps to the attack! You have suffered 23 hits of damage!\n\nGUNWAR applies his healing arts, restoring 8 Hit Points.\n\n> Assail morgom\nBy Huron's rudimentary spore-pustules, a fine hit! You scored 11 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 13 Hit Points.\n\n> Assail morgom\nBy Huron's all-conquering bowels! A mighty blow! You scored 12\npoints of damage!\n\nGUNWAR gives an involuntary yelp of fear as the MORGOM clamps hard into your side with its teeth! You have suffered 33 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 13 Hit Points.\n\n> Assail morgom\nYour foe is astonished by your speed as you strike hard! You\nscored 9 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 13 Hit Points.\n\n> Assail morgom\nYou are quick, but your foe was quicker that time. A miss!\n\nAs the MORGOM bites, the green light in its eyes make you dizzy!\nYou have suffered 14 hits of damage!\n\nGUNWAR applies his healing arts, restoring 8 Hit Points.\n\n> Assail morgom\nBy Huron's Antediluvian acne, your TWO-HANDED SWORD lands home!\nYou scored 12 points of damage!\n\nThe MORGOM rakes at you furiously with its hind-claws! You have suffered 39 hits of damage!\n\nGUNWAR cries out in sorrow, \"Barbarian! Dear friend, no!\"\n\n> Repose\nYou pause in manly contemplation.\n\n> You use FLESH on IDOL\nWhich do you mean, the FLESH-TOTEM OF DARTH VIRAXIS or the SLAB OF SNOW-SERPENT MEAT?\n\n> Totem\nBy Huron's esoteric thigh freckles! I am lain low by thine riddles! The HELP command may offer some remedy.\n\n> You use TOTEM on IDOL\nDark clouds high above boom with laughter, and a flash of unnatural lightning throws the features of the MOSSY STONE IDOL into hideous relief. There is a sudden darkness, and in a second flash, you know that you are not alone! A great and muscular VIRAXIAN HELL-SOLDIER stands before you, a jet-black AXE in his hands, his eyes glowing like volcanic pits and his fangs dripping with fresh human blood!\n\nThe VIRAXIAN HELL-SOLDIER attacks! You have suffered 15 hits of damage!\n\n> Assail soldier\nYou hit hard, snarling with rage! You scored 14 points of\ndamage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nSa-ho! You give the VIRAXIAN HELL-SOLDIER a sampling of your TWO-HANDED SWORD, but good! You scored 11 points of damage!\n\nThe VIRAXIAN HELL-SOLDIER swings hard, but you're too quick for him!\n\n> Assail soldier\nCurses! A miss!\n\nThe HELL-SOLDIER brings his AXE high, and drops it into you! You\nhave suffered 11 hits of damage!\n\n> Assail soldier\nA miss! BAH!\n\nAXE! You have suffered 8 hits of damage!\n\n> Assail soldier\nA skillful attack if you do say so yourself! You scored 16 points\nof damage!\n\nWith a contemptuous ABYSSAL CHUCKLE, the VIRAXIAN HELL-SOLDIER strikes! You have suffered 10 hits of damage!\n\n> Assail soldier\nYou lunge deep, and strike! You scored 10 points of damage!\n\nThe HELL-SOLDIER swings his AXE low! You have suffered 17 hits of damage!\n\n> Assail soldier\nBy Huron's understandable apprehensions! A mighty blow! You scored\n11 points of damage!\n\nAXE! You have suffered 8 hits of damage!\n\n> Assail soldier\nSa-ho! A mighty attack! You scored 17 points of damage, leaving\nthe VIRAXIAN HELL-SOLDIER at your mercy!\n\nThe VIRAXIAN HELL-SOLDIER is defeated!\n\nThe VIRAXIAN HELL-SOLDIER screams and evaporates in a tortured cloud of misted blood and twisted fire, and his AXE drops to the ground at your feet.\n\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nYou can also see a BLACK HOLE METAL AXE here.\n\n> You get AXE\nSeized.\n\nYou can see snow falling above the highest parts of MOUNT GELIDUS.\n\n> You use AXE\nYou hang the TWO-HANDED SWORD at your side, and grasp instead the BLACK HOLE METAL AXE, prepared for battle!\n\n> You regard AXE\nThe haft is made of a reddish iron with an alien-leather grip. The blade is almost utterly black and heavier than anything should be at that size. It hums, faintly, with a distant demonic hell-song. You have heard that many DEMONS dwell in the place where this metal is found.\n\n> Assail SLUG\nYou hit hard, snarling with rage! You scored 17 points of\ndamage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou leap, and strike! You scored 29 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou are quick, but your foe was quicker that time. A miss!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYour foe is astonished by your speed as you strike hard! You\nscored 14 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou attack with all your might! You scored 11 points of\ndamage!\n\nThe RUIN SLUG splashes you with a stream of bilious ACID from it's SPRAY ORGAN. You have suffered 21 hits of damage!\n\n> Assail SLUG\nBy Huron's rudimentary spore-pustules, a fine hit! You scored 18 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nBy Huron's all-conquering bowels, your BLACK HOLE METAL AXE lands home! You scored 20 points of damage!\n\nWith a deep bellow and an unpleasant undulation of its slimy body, the RUIN SLUG disgorges more deadly fluids from the depths of its ACID TRACT! You have suffered 33 hits of damage!\n\n> Assail SLUG\nYou lash out with the rage of your barbarian ancestors! You scored\n12 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYour attack is too hasty, and it fails!\n\nThe RUIN SLUG unleashes a thin but deadly spray of BURNING ACID!\nYou have suffered 30 hits of damage!\n\n> Assail SLUG\nYou attack! You scored 19 points of damage!\n\nWith a deep bellow and an unpleasant undulation of its slimy body, the RUIN SLUG disgorges more deadly fluids from the depths of its ACID TRACT! You have suffered 39 hits of damage!\n\n> Regard slug\nIt's an acid-spewing slug the size of a smallish elephant. Very rubbery, it takes a lot of punishment to defeat one. The RUIN SLUG is staring at you.\n\n> Assail SLUG\nYou hit hard, snarling with rage! You scored 29 points of\ndamage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou are quick, but your foe was quicker that time. A miss!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou leap, and strike! You scored 14 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYour foe is astonished by your speed as you strike hard! You\nscored 11 points of damage!\n\nThe RUIN SLUG splashes you with a stream of bilious ACID from it's SPRAY ORGAN. You have suffered 21 hits of damage!\n\n> Assail SLUG\nYou attack with all your might! You scored 18 points of\ndamage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nBy Huron's rudimentary spore-pustules, a fine hit! You scored 20 points of damage!\n\nWith a deep bellow and an unpleasant undulation of its slimy body, the RUIN SLUG disgorges more deadly fluids from the depths of its ACID TRACT! You have suffered 33 hits of damage!\n\n> Assail SLUG\nBy Huron's all-conquering bowels, your BLACK HOLE METAL AXE lands home! You scored 12 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYour attack is too hasty, and it fails!\n\nThe RUIN SLUG unleashes a thin but deadly spray of BURNING ACID!\nYou have suffered 30 hits of damage!\n\n> Assail SLUG\nYou lash out with the rage of your barbarian ancestors! You scored\n19 points of damage!\n\nWith a deep bellow and an unpleasant undulation of its slimy body, the RUIN SLUG disgorges more deadly fluids from the depths of its ACID TRACT! You have suffered 39 hits of damage!\n\n> You enter\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT, but a ghostly guardian blocks the way.\n\nYou can see a SPECTERAL SPIRIT here.\n\n> Assail SPIRIT\nYou hit hard, snarling with rage! You scored 29 points of\ndamage!\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Assail SPIRIT\nYou are quick, but your foe was quicker that time. A miss!\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Assail SPIRIT\nYou leap, and strike! You scored 14 points of damage!\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Assail SPIRIT\nYour foe is astonished by your speed as you strike hard! You\nscored 11 points of damage!\n\nThe SPECTERAL SPIRIT attacks! You have suffered 9 hits of\ndamage!\n\n> Assail SPIRIT\nYou attack with all your might! You scored 18 points of\ndamage!\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Assail SPIRIT\nBy Huron's rudimentary spore-pustules, a fine hit! You scored 20 points of damage!\n\nThough the SPIRIT barely responds to the physical world, its icy hands bite like DAGGERS! You have suffered 14 hits of damage!\n\n> Assail SPIRIT\nBy Huron's all-conquering bowels, your BLACK HOLE METAL AXE lands home! You scored 12 points of damage!\n\nThe SPECTERAL SPIRIT wails and moans and locks its eyes to yours, silently begging to be released from its eternal torment!\n\n> Assail SPIRIT\nYour attack is too hasty, and it fails!\n\nWith a wail of torment and regret, the SPECTERAL SPIRIT lashes out at you! You have suffered 12 hits of damage!\n\n> Assail SPIRIT\nYou lash out with the rage of your barbarian ancestors! You scored\n19 points of damage!\n\nThe SPECTERAL SPIRIT attacks in a tormented rage! You have\nsuffered 16 hits of damage!\n\n> Assail SPIRIT\nYou attack! You scored 29 points of damage!\n\nThe SPECTERAL SPIRIT reaches into your chest and clutches your heart with an icy grip! You have suffered 15 hits of damage!\n\n> Assail SPIRIT\nBy Huron's Antediluvian acne, you strike hard and true! You scored\n27 points of damage!\n\nThe SPECTERAL SPIRIT attacks! You have suffered 1 hit of\ndamage!\n\n> Assail SPIRIT\nA skillful attack if you do say so yourself! You scored 24 points\nof damage, leaving the SPECTERAL SPIRIT at your mercy!\n\nThe SPECTERAL SPIRIT is defeated!\n\nAfter what seems like an eternity slashing at barely-physical ECTO-PLASM, the SPECTERAL SPIRIT finally fades from existence. As it does so, it stares gratefully at you, and speaks its last: \"Thank you, barbarian, for my freedom after so many centuries! Now you may claim the TREASURES below, that have been denied to so many others ...\" Then, the SPIRIT is gone."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, rpg, mad science, combat, fantasy, mild profanity, humour, treasure hunt, science fantasy]\n\n> Go downward\nThis chamber is half-collapsed, and seems far older than the TOMB above. The air is strange here, as if it has not been breathed for a very long time. The stink is not even the stink of death, only the passing of ages.\n\nYou can see a SUIT OF KLENGON MAIL and the LOST POEMS OF SUTOK here.\n\n> Pillage\nSUIT OF KLENGON MAIL: Seized.\nLOST POEMS OF SUTOK: Seized.\n\n> Regard the MAIL\nWhich do you mean, the SUIT OF KLENGON MAIL or the SUIT OF CHAINMAIL ARMOR?\n\n> Regard klengon mail\nThe suit is old, but finely-made PLATE MAIL in an unusual style. Some of the designs on the vambraces are clearly of KLENGON origin.\n\n> Regard the lost poems\nIt is a slender book, bound in soft red leather. The gilt title on the cover is comprehensible to you, but the runes inside are complex and flowy.\n\n> You use the klengon mail\nYou remove the SUIT OF CHAINMAIL ARMOR, and replace it with the SUIT OF KLENGON MAIL. Now you are well-suited for bloody mayhem!\n\n> Up\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT.\n\nA faint dripping sound catches your attention for a moment.\n\n> You look\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT.\n\n> Go inside\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nVESSA is here, sprawled across the bed and grinning at you, invitingly.\n\n> You use GARTER on VESSA\n\"Oh, barbarian!\" the lass coos, letting the GARTER flow and fall over her fingertips. \"I so love ANGELGLASS! What a marvelous thing, to have the intimate apparel of the gods!\" She looks you up and down, and quietly closes the boudoir door. \"This will buy you many exotic pleasures ...\"\n\n... Many hours (and many exotic pleasures) later, VESSA THE DELICATE DOXY lay nearly naked beside you (save for the shimmering ANGELGLASS GARTER alighting the freckles of her right thigh) running her fingers through your coal-black hair. After a time, she speaks:\n\n\"Barbarian, you may be pleased to know I have spread your legend ...\" she smiles coyly. \"Not of your man-prowess in bed - considerable though it is. I speak of your political acumen, your foundation of an UNDERGROUND MOVEMENT to ruin the SLAVER KING and his evil servants!\"\n\nThe DELICATE DOXY toys with a glittering RUBY NEEDLE set in her hair. \"I do business with those of power and influence. One of the great WARLOCKS leading the rebellion against VIRAXIS gave me this, saying it has magic to pierce all, and that he longs to pierce my distant heart ... The love-struck dear! WARLOCKS are romantics, you know. It draws them to magic.\"\n\nYou glower and nod, uncertain of what the girl is talking about.\n\n\"I know many such clients ... and those who share your hatred of the SLAVER KING are ready to form a SPY NETWORK at your command. What say you?\"\n\nYou glower and nod, since it worked last time.\n\nStaring into your dark eyes, the DOXY sees all the answer she needs. \"Yes ... you are lost in thought of dangerous quests throughout the realm. But I am in the perfect position to organize your espionage efforts! I will do so, brave slayer of foes ... young eagle, young hawk, young ruffle-breasted mountain starling!\"\n\n\"For a taste of what we might learn, I have a new secret already, from a CHEF who serves aboard the SLAVER KING'S pleasure-fleet ... There is a forgotten entrance to the SLAVE PENS under the CASTLE ... It's to the east of the citadel, a small CULVERT you must ENTER. Somewhere along an underground stream is a passage to where the SLAVES are kept, and ... \" she pauses, tears clouding her eyes \"and tortured. Like you would have been, had you not escaped bondage to lead us all to freedom.\"\n\nSince the girl is pleasing to you, you accept that sometimes she simply must chatter about things nobody understands. Seeing her sadness, you take her into the warm blankets, and comfort her in a manner you can both comprehend.\n\nMany hours (and etc) later, you emerge from the DOXY's chambers, sated and well-pleased, and scented with jasmine and feminine ardour.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> You look at what you're carrying with you\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): the LOST POEMS OF SUTOK, a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You enter\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nVESSA is here, sprawled across the bed and grinning at you, invitingly.\n\nYou note that she now hath ANTENNAE on her head, and perhaps a STINGER of some kind. How charming that she is playful with her appearance, as well as her suitors! You are well pleased.\n\n> You examine the ANTENNAE\nElegant and pretty. Which is to say, confusing. But nice.\n\n> Parley with VESSA\nVESSA smiles at you pleasantly, and runs a finger down your forearm with a buzzing purr. \"My favorite customer returns, the gallant who hath aided the TEMPLE with a GLADIUS SWORD for its defenses.\" Her eyes flash a deep red for a moment. \"Pay me, strong one, that we may dally in play. Bare your flesh to my claws, dear barbarian, in this, the bedroom sport of HU-MANS.\"\n\n> You use the poems with VESSA\n\"Oh, yes, barbarian,\" says the DOXY, taking your proffered payment and barely REGARDING it. \"This treasure will buy you a very special DEATH!\"\n\nAnd with that, she rips aside her clothing in a more aggressive manner than is her DELICATE wont, revealing her nakedness, beautiful as ever, but now covered with a soft, almost translucent layer of fuzz, arranged in stripes of black and yellow!\n\nHorns sprout from her head and fire alights in her eyes, in the manner of a DEMON. She licks her lips, sensually, and you notice that her DELICATE tongue is now FORK-ED. She extends her nastily-clawed fingers, and in it appears a LASH OF PSIONIC DEMON SORCERY. A shimmering band of HELLFIRE whips out of nowhere, crisping the edges of some of the fine gauzy CURTAINS of the BOUDOIR. She cocks her hips alluringly and says \"You will pay, barbarian, for trading a GLADIUS SWORD to the ACOLYTE OF TRAGA! He slew a dozen of my finest BEE GIRLS and three of my SUCCUBUS DEMON APPRENTICES in defense of his pathetic TEMPLE, and all because of you! I have captured your so-called \"DELICATE DOXY,\" and after I have dined well on your BLOOD and SOUL, I will spend ALL NIGHT EATING HER! Stand fast, barbarian, and prepare to DIE at the cruel whim of the SUCCUBUS BEE GIRL WITCH QUEEN!\"\n\nRelying on your barbarian cunning, you deduce that the DELICATE DOXY'S new ANTENNAE and STINGER might not be expressions of cosmetic whimsy after all, but may indicate that the DOXY herself has become dangerous.\n\nAs if through a haze of psychic distortion, you can almost make out, at the edge of your vision, a girl who looks exactly like VESSA THE DELICATE DOXY, bound to the wall of the BOUDOIR and looking at you with lovely dark eyes, pleading for rescue.\n\nPerhaps that is the clue you need. But she certainly does cock her hips alluringly, this BEE GIRL (and etc) ...\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN attacks! You have suffered 3\nhits of damage!\n\n> Assail bee girl\nBy Huron's wilden wanderlust, you nearly intended to ASSAIL the lovely VESSA! She would never harm you except in the context of pleasantly rough play! You must not. Attack. Must not. What is that BUZZING in your mind?\n\nWith a sexy WAR BUZZ, the SUCCUBUS BEE GIRL WITCH QUEEN thrusts her stinger into you! You have suffered 3 hits of damage!\n\n> Assail bee girl\nBut ... This is no foe! This is but VESSA THE DELICATE DOXY, who has pleased you well and done no harm! Or is it? What manner of wizardry is this?\n\nCocking her hips alluringly, the SUCCUBUS BEE GIRL WITCH QUEEN burns you with her MAGIC HADES LASH! You have suffered 2 hits of\ndamage!\n\n> Assail bee girl\nYou stumble and pause. You do not ASSAIL innocent DOXIES! But this is no DOXY but a deadly DEMON BEE WENCH! But no! It is VESSA! But no ... Your MIND is ADDLED!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN digs into your neck with her fangs, then licks her lips as she lashes you with her PSIONIC\nDEMON-SORCERY! You have suffered 2 hits of damage!\n\n> You close the eyes\nYou'll need to be more cunning than that to defeat the SLAVER KING. Refer to your game manual for assistance.\n\n> Assail bee girl\nYou stumble and pause. You do not ASSAIL innocent DOXIES! But this is no DOXY but a deadly DEMON BEE WENCH! But no! It is VESSA! But no ... Your MIND is ADDLED!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN turns to wiggle her fuzzy striped backside at you, a distraction from the DEMON LASH flying over her shoulder into your flesh! You have suffered 12 hits of\ndamage!\n\n> Parley with VESSA\nThe attempt fills your brain with painful buzzing.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN attacks! You have suffered 5\nhits of damage!\n\n> Assail bee girl\nBut ... This is no foe! This is but VESSA THE DELICATE DOXY, who has pleased you well and done no harm! Or is it? What manner of wizardry is this?\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN digs into your neck with her fangs, then licks her lips as she lashes you with her PSIONIC\nDEMON-SORCERY! You have suffered 12 hits of damage!\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN turns to wiggle her fuzzy striped backside at you, a distraction from the DEMON LASH flying over her shoulder into your flesh! You have suffered 4 hits of damage!\n\n> You use CORN on the bee girl\nThe SUCCUBUS BEE GIRL WITCH QUEEN taketh no interest in the EAR OF CORN.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> You use SWORD on VESSA\nVESSA frowns a delicate, pouty frown and runs a finger gently down your side. \"Oh, barbarian. You know I would adore taking you to my bed for play ... but a TWO-HANDED SWORD is not respectful payment for what I can offer you.\n\nCocking her hips alluringly, the SUCCUBUS BEE GIRL WITCH QUEEN burns you with her MAGIC HADES LASH! You have suffered 9 hits of\ndamage!\n\n> You use EYEPATCH\nYou have heard that the god ODIN gained wisdom for losing his eye, but it feels more to you like losing some of your balance and gaining a dangerous blind-side in combat! But you suppose it makes you look menacing.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail bee girl\nBy Huron's risible retinas, you nearly intended to ASSAIL the lovely VESSA! She would never harm you except in the context of pleasantly rough play! You must not. Attack. Must not. What is that BUZZING in your mind?\n\nWith a sexy WAR BUZZ, the SUCCUBUS BEE GIRL WITCH QUEEN thrusts her stinger into you! You have suffered 2 hits of damage!\n\n> You go outside\nBy Huron's negotiable nipples, your feet refuse you, and your mind BUZZETH with psychic noise!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN attacks! You have suffered 2\nhits of damage!\n\n> You look\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nA SUCCUBUS BEE GIRL WITCH QUEEN is here, armed with a shimmering LASH OF PSIONIC DEMON-SORCERY. Or ... is it only VESSA, the DELICATE DOXY, armed with an OSTRICH FEATHER and smiling invitingly? Curse this wench and her SUCCUBUS DEMON PSI-WITCH ways!\n\nVESSA is here, perhaps bound to the wall, naked and pleading, and perhaps standing in front of you. This hurts your brain!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Regard vessa\nYou aren't sure which one to examine, and the attempt hurteth thy brain!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> You use VESSA on VESSA\nThis computeth not. Your game manual, or the HELP command, might give aid and succor.\n\nCocking her hips alluringly, the SUCCUBUS BEE GIRL WITCH QUEEN burns you with her MAGIC HADES LASH! You have suffered 4 hits of\ndamage!\n\n> Parley with VESSA\nThe attempt fills your brain with painful buzzing.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> You tabulate\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN digs into your neck with her fangs, then licks her lips as she lashes you with her PSIONIC\nDEMON-SORCERY! You have suffered 4 hits of damage!\n\n> You use AXE\nYou unhand the BLACK HOLE METAL AXE and carry it as ordinary gear. Your bare FIST is ready for battle!\n\nWith a sexy WAR BUZZ, the SUCCUBUS BEE GIRL WITCH QUEEN thrusts her stinger into you! You have suffered 8 hits of damage!\n\n> Assail BEE\nBy Huron's habile handmaidens! Thine arm hath failed thee! Curse this distracting EYEPATCH!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN turns to wiggle her fuzzy striped backside at you, a distraction from the DEMON LASH flying over her shoulder into your flesh! You have suffered 12 hits of\ndamage!\n\n> You remove EYEPATCH\nThou art a barbarian, 'tis true, but even thou canst masterest wise use of the ACTION COMMANDS. Refer to your game manual for assistance.\n\n> You use EYEPATCH\nYou remove the EYEPATCH, grateful to see the world as it is again.\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nSa-ho! You give the SUCCUBUS BEE GIRL WITCH QUEEN a sampling of your bare, callused FIST, but good! You scored 11 points of\ndamage!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> You use AXE\nYou heft the BLACK HOLE METAL AXE in your mighty hand, prepared for battle!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN digs into your neck with her fangs, then licks her lips as she lashes you with her PSIONIC\nDEMON-SORCERY! You have suffered 3 hits of damage!\n\n> Assail BEE\nBy Huron's palatable pantaloons, a blow to be remembered! You\nscored 21 points of damage!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nBy Huron's numinous earlobes, you nearly intended to ASSAIL the lovely VESSA! She would never harm you except in the context of pleasantly rough play! You must not. Attack. Must not. What is that BUZZING in your mind?\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> You use AXE\nYou unhand the BLACK HOLE METAL AXE and carry it as ordinary gear. Your bare FIST is ready for battle!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nTaste barbarian rage, SUCCUBUS BEE GIRL WITCH QUEEN! You scored 11 points of damage!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nYou lunge deep, and strike! You scored 10 points of damage!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nBy Huron's varicose valgus! A mighty blow! You scored 10 points of damage!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN pouts, for she hath missed.\n\n> Assail BEE\nTaste barbarian rage, SUCCUBUS BEE GIRL WITCH QUEEN! You scored 9 points of damage!\n\nCocking her hips alluringly, the SUCCUBUS BEE GIRL WITCH QUEEN burns you with her MAGIC HADES LASH! You have suffered 3 hits of\ndamage!\n\n> Assail BEE\nSa-ho! A mighty attack! You scored 10 points of damage, leaving\nthe SUCCUBUS BEE GIRL WITCH QUEEN at your mercy!\n\nThe SUCCUBUS BEE GIRL WITCH QUEEN is defeated!\n\nThe haze of PSYCHIC CONFUSION fades immediately from your mind, and your keen barbarian instincts return in full! Looking now at the sensuous naked creature on the floor, you see her now for what she is ... a delectable, but thoroughly malevolent BEE GIRL.\n\nAnd not just any BEE GIRL, but a BEE GIRL QUEEN who is part SUCCUBUS DEMON. Those foes are most terrible that cannot be fought fairly, and this one clouded you with PSI POWERS and ASSAILED you with hell-born magic!\n\nYou free the DELICATE DOXY from her bonds, and she kicks the remains of the BEE GIRL into a convenient chute hidden beneath a fur rug. You hear a distant splash. \"It leads beneath the DOCKS to the SEA OF GREAT PERIL,\" she explains. \"Some of my customers are MERMAIDS.\"\n\nYou smile at the thought, and then frown, puzzling over the logistical complications. Then you shrug, for such matters are beyond the ken of an upland barbarian.\n\nVESSA smiles a very warm smile indeed. \"Barbarian ... you came here on business. Shall we?\"\n\nYou pick up the LOST POEMS OF SUTOK from the bed where the demoness had tossed it, and offer it politely to the DELICATE DOXY.\n\nVESSA smiles a little when she sees you've offered a book ... then her eyes widen when she sees the title. She seems genuinely stunned.\n\n\"Barbarian!\" she says, clearly holding back tears. \"SUTOK is the poet of every DOXY'S soul, and it was his verses that led me to my path. I have never been offered such sensitive payment. You truly do see me for who I am, and it moves me.\" She smiles a wicked, wanton smile. \"You will be rewarded for your wisdom, barbarian, with my most inventive pleasures ...\"\n\n... Many hours (and many inventive pleasures, and a number of spontaneous recitations) later, VESSA THE DELICATE DOXY sprawls naked across your chest, quietly reading her new book, misty-eyed and dewy with satisfaction. After a time, she speaks:\n\n\"That demonic BEE GIRL was no random encounter,\" the DOXY muses. \"The BEE GIRLS of the mountains have become bolder of late, and I'm convinced that the SLAVER KING himself is encouraging them, to pacify the dissent at the edges of his realm.\" She rolls over, and smiles prettily ... \"in fact, I know it for certain, because the SLAVER KING has become one of my clients, and he sleeps so very soundly when I'm finished with him that I've been able to see a few scrolls here and there ...\"\n\nShe sees the astonishment on your features and smiles, pleased with herself. \"Oh, it's true that none outside the CASTLE have seen the SLAVER KING, and it remains so. He doesn't venture here to the DARK ALLEYWAY; I'm summoned to perform in the THRONE ROOM. And when His Majesty is sated, I wander, and I listen to the talk of servants, and I learn much.\"\n\nShe lowers her voice cautiously, but her eyes are filled with happy mischief. \"I've learned of a very secret treasure chamber beneath the central hall of the CASTLE ... a treasure that the SLAVER KING hides because he FEARS what it could do to him. I know not yet what this treasure is, but I do know that the fixtures of the CASTLE itself are they key to unlocking it: there is a combination, in FOUR stages ...\"\n\nHer smile flickers and fades. \"I know not the first two. But the second two I know: SEIZE the prized IVORY TAPESTRY, and then REGARD yourself in the MIRROR. This will open the way to the secret chamber. I hope to know more soon.\"\n\nShe reaches into her hair. \"In the meantime, barbarian, you have saved my life, and for that I owe you much that I cannot repay.\" She extends her hand to you, and in it lay the RUBY NEEDLE she showed you before. \"The WARLOCK'S gift to me is now my gift to you, barbarian. I know not if the magic he spoke of is truth, but if it is magic, you should have it, to work your will against the SLAVER KING.\" She places it in your hand, and you tuck it idly into your THESKIAN DUFFLE BAG, which hangs at your side even when you are otherwise naked and occupied in lusty pursuits.\n\nThe DOXY stretches out on the blankets, and looks at you over her shoulder. \"Let me ply my trade with you some more, barbarian. For some time I have tasted the injustice of the SLAVER KING, and now that I have tasted ... well, now that I have witnessed his arrogant fury in person, I am eager for distractions from the memories, and eager for renewed enthusiasm for your certain victory.\"\n\nMany hours (and etc) later, you emerge from the DOXY'S chambers, sated and well-pleased, and scented with jasmine and feminine ardour.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nYou hear a distant crackle, as if through the ELECTRIC ETHER, a sizzling note of hate!\n\n> You use AXE\nYou heft the BLACK HOLE METAL AXE in your mighty hand, prepared for battle!\n\n> You go north\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nThere is a sharp smell of ozone, and a faint electric sizzling in the air.\n\n> Go east\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nYou can see a VOLTAIC WRAITH here.\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 11 hits of damage!\n\n> Assail WRAITH\nYou attack with all your might! You scored 17 points of\ndamage!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 10 hits of damage!\n\n> Assail WRAITH\nYou lunge deep, and strike! You scored 10 points of damage!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 13 hits of damage!\n\n> Assail WRAITH\nYou lash out with the rage of your barbarian ancestors! You scored\n19 points of damage, leaving the VOLTAIC WRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\n> Assail SLUG\nBy Huron's indefensible tirades, your BLACK HOLE METAL AXE lands\nhome! You scored 32 points of damage!\n\nThe RUIN SLUG splashes you with a stream of bilious ACID from it's SPRAY ORGAN. You have suffered 10 hits of damage!\n\n> Assail SLUG\nDamn and blast! A miss!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nSa-ho! You give the RUIN SLUG a sampling of your BLACK HOLE METAL AXE, but good! You scored 34 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYour foe is astonished by your speed as you strike hard! You\nscored 35 points of damage!\n\nWith a deep bellow and an unpleasant undulation of its slimy body, the RUIN SLUG disgorges more deadly fluids from the depths of its ACID TRACT! You have suffered 26 hits of damage!\n\n> Assail SLUG\nYou hit hard, snarling with rage! You scored 16 points of\ndamage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nBy Huron's tonsured tongue-fur! Thou hast missest!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nBy Huron's tabescent clemency, you strike hard and true! You\nscored 18 points of damage!\n\nThe RUIN SLUG unleashes a thin but deadly spray of BURNING ACID!\nYou have suffered 19 hits of damage!\n\n> Assail SLUG\nBy Huron's precocious pectorals, a blow to be remembered! You\nscored 33 points of damage!\n\nThe RUIN SLUG unleashes a thin but deadly spray of BURNING ACID!\nYou have suffered 22 hits of damage!\n\n> Assail SLUG\nYou leap, and strike! You scored 16 points of damage!\n\nFortunately, the RUIN SLUG has poor eyesight! Its GOUT OF ACID flies past you, further ruining the ROCKY RUIN.\n\n> Assail SLUG\nYou attack! You scored 14 points of damage, leaving the RUIN SLUG\nat your mercy!\n\nThe RUIN SLUG is defeated!\n\nThe beast begins to sizzle and quake as its own ACID GLANDS release within! Its stalky EYES sink backward, its SPRAY ORGAN erupts wetly ... and moment by moment, a gleaming mountain of flesh disintegrates into a caustic puddle of self-consuming putrescence.\n\nThe resulting SLIME runs into the stony cracks of the ROCKY RUIN, 'til naught tells that the creature ever dwelt here.\n\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\n> You enter\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSurrounding the pedestal is a glowing CAGE of static energy ... No doubt this is a FARADAY CAGE, a prison designed in ancient times to trap powerful ROBODROIDS for servitude.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\n> You look at MACHINERY\nThe MACHINERY gloweth, and culminateth in the GLOWING PEDESTAL. Indeed, 'tis all of one strange piece.\n\n> You examine PEDESTAL\nThe MACHINERY gloweth, and culminateth in the GLOWING PEDESTAL. Indeed, 'tis all of one strange piece.\n\nUnaccustomed to the indoors, you slip briefly on a slick patch of floor, but catch your balance.\n\n> Regard AMULET\nHung from a chain that it might be worn, it is as the fables tell: an AMULET fashioned of finest SCIENCE.\n\n> You get AMULET\nAs your hand touches the ENERGIES of the FARADAY CAGE, you are thrown back against the unyielding walls of the VAULT, your body burning and crackling with UNFETTERED FARADAY FORCES!\n\n> Assail MACHINERY\nCreative! But fruitless.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a RUBY NEEDLE, a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use AXE on MACHINERY\nThou art only accustomed to ASSAILING things with a BLACK HOLE METAL AXE, preferably in a frothing, bloody rage filled with lusty war-oaths, suggestive hip-thrusts and savage leering.\n\n> You seize MACHINERY\nWhen thy saga is writ and thy story told and maidens swoon to hear it, the tale-tellers will, in kindness and in mercy, skip the part where the MACHINERY hath distracted thee so.\n\n> You use FLASHLIGHT on MACHINERY\nYou shine the FLASHLIGHT'S amazing ELECTRIC TECHNO-BEAM in the general direction of the MACHINERY, and experiment briefly with making the shadow of a DOG with your hand while thou art at it.\n\n> You use FLASHLIGHT on CAGE\nYou shine the FLASHLIGHT'S amazing ELECTRIC TECHNO-BEAM in the general direction of the FARADAY CAGE, and experiment briefly with making the shadow of a DOG with your hand while thou art at it.\n\n> Regard nedle\nI beggest thy pardon? Your game manual, or the HELP command, might give aid and succor.\n\n> Regard NEEDLE\nThe RUBY NEEDLE is long and pointy. A very curious crystalline treasure.\n\n> You go south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\n> You go to the east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nYour stomach rumbles, and you recall how long it's been since you've eaten. You crave a good slab of ham.\n\n> You go north\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north."
    },
    {
        "text": "[Themes: Fantasy, pirate, science fiction, mutation, barbarian, pseudo-old-school, cyborg, parody, sidekick NPC, satire, humor, science fantasy, suggestive content, mild profanity, silly, sex]\n\n> Go down\nSa-ho! By Huron's trancendental tumors, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Regard POST\nThe CHALLENGE POST is a wooden pole hung with dyed banners, each representing a GLADIATOR willing to meet challengers. Beginning with the lowest, the banners are BLUE, GREEN, GOLD, and RED. There is room for one more banner above the others, but RED is presently the highest on the POST.\n\nA nearby rogue espies your curiosity, and sayeth \"If ye wish a bout, barbarian, SEIZE the banner of your chosen foe, to display your challenge!\"\n\n> You seize GOLD\nAs you pluck the GOLD BANNER from the CHALLENGE POST, the assembled rowdies cheer! You are ushered into the gladiator's ring, where you stand face-to-face with ... FOUL EMMA! \"Barbarian may-un! PURTY!\" she shouts, and lumbers toward you, ready for action!\n\nYou take a moment to REGARD your opponent ... You have known many FRANKENSTEINS before and even called a few 'friend,' but FOUL EMMA is an especially disturbing (and obviously CAVE-PRIMITIVE) patchwork. She fights in the nude, thus displaying her notable variety of parts, including bits and pieces of WOOKY and some kinds of GIANT here and there. She wields a BASTARD SWORD as if it were weightless.\n\n> Assail emma\nA skillful attack if you do say so yourself! You scored 26 points\nof damage!\n\nFOUL EMMA attacks! You have suffered 17 hits of damage!\n\n> Assail emma\nBy Huron's untamable head-lice, a fine hit! You scored 28 points\nof damage!\n\nWith a flirtatious wink, FOUL EMMA strikes! You have suffered 16\nhits of damage!\n\n> Assail emma\nBy Huron's licentious larvae! A miss!\n\nFOUL EMMA cries \"DAY-um!\" as her swing misses you!\n\n> Assail emma\nSa-ho! A mighty attack! You scored 20 points of damage!\n\nFOUL EMMA drives her BASTARD SWORD into your side with one hand, and pats you gently on the butt with the other. You have suffered 20\nhits of damage!\n\n> Assail emma\nYou leap, and strike! You scored 35 points of damage, leaving FOUL EMMA at your mercy!\n\nFOUL EMMA is defeated!\n\nWith your final blow, FOUL EMMA topples backward, landing on her backside and sitting there, grinning at you.\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help FOUL EMMA to her feet, and she smiles. \"You purty! You win good! You PURTY!\"\n\nThe crowd cheers again, and you nod in silent assent. FOUL EMMA gives a tiny girlish wave, makes shy half-circle in the gravel with her right foot, and wanders away to heal for a while. Eventually, the crowd returns to their revels.\n\nSa-ho! By Huron's prismatic palace, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> You seize RED\nAs you pluck the RED BANNER from the CHALLENGE POST, the assembled rowdies cheer! You are ushered into the gladiator's ring, where you stand face-to-face with His Deposed Majesty, one-time SAVAGE PRINCE in the realm of APE SULTANS, the one and only XAKANDA THE APE! \"Greetings, esteemed opponent\" he says, with a gentle nod of respect.\n\nYou take a moment to REGARD your opponent ... XAKANDA is an impressively muscular PLANETARY APE, dressed in the regal silks of his homeland. His weapon is astonishing ... a rare TRIPLE-BLUTARCH, a weapon which an ordinary man would struggle to control with two hands, but which XAKANDA tosses casually from hand to hand, as if it were a mere DAGGER.\n\n> Assail xakanda\nA thousand curses on these foolish percentile dice! A miss!\n\nXAKANDA THE APE attacks! You have suffered 26 hits of damage!\n\n> Assail xakanda\nBy Huron's wanton war-cries, a blow to be remembered! You scored\n30 points of damage!\n\nXAKANDA THE APE circles you warily, reserving his strength for the perfect moment.\n\n> Assail xakanda\nBy Huron's zygomorphic zydeco zoo, a fine hit! You scored 34\npoints of damage!\n\nWith a complex side-circular underhand flurry of his TRIPLE-BLUTARCH, XAKANDA THE APE strikes! You have suffered 25 hits of damage!\n\n> Assail xakanda\nBy Huron's sanguinary parakeet! A mighty blow! You scored 34\npoints of damage!\n\nWith a laugh, XAKANDA passes his TRIPLE BLUTARCH to his left foot, while swinging on the nearby CHALLENGE POLE with his hands to deliver a mightier blow! You have suffered 21 hits of damage!\n\n> Assail xakanda\nBy Huron's irrepressible appetites! Thine aim hath failed thee!\n\nXAKANDA THE APE circles you warily, reserving his strength for the perfect moment.\n\n> Assail xakanda\nYou hit hard, snarling with rage! You scored 37 points of\ndamage!\n\nXAKANDA begins attacking to the left, but switches to the right with a fluid spin on his heel! You have suffered 11 hits of damage!\n\n> Assail xakanda\nYou attack with all your might! You scored 15 points of damage, leaving XAKANDA THE APE at your mercy!\n\nXAKANDA THE APE is defeated!\n\nWith your final blow, XAKANDA THE APE flies backward, sprawling painfully on the gravelly surface of the GLADIATOR'S RING!\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help XAKANDA THE APE to his feet, and he accepts gratefully. \"Well done, barbarian. That was an education for me!\"\n\nThe crowd cheers again, and you nod in silent assent. XAKANDA THE APE salutes you, bows, and goes to REPOSE and heal in his nearby tent. The crowd returns to their revels.\n\nSa-ho! By Huron's vainglorious valets, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Up\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nYou are briefly surprised by the looming figure of XAKANDA THE APE, but it is plain that he arrives in the spirit of friendship.\n\n\"Ho there, barbarian,\" he says, his voice regal and measured. \"I am pleased that I have finally met my match in the arena ... I had begun to fear that I would find nothing but boredom there, but you showed me the difference of that, eh?\"\n\nHe smiles in response to your grim nod. \"Yes, and I have heard from a certain DELICATE friend near the harbor that you are more than a mere barbarian ... you are a great leader of a resistance, as well! Worry not my friend, your secret is safe among the GLADIATORS.\"\n\nHe looks left and right, then leans in to whisper. \"When the time comes, I will be there to aid you against the SLAVER KING, and I won't be the only one! But for now, I can teach you a special skill. In the first years of my exile, I took up residence with the SULDUKU HEIROPHANTS, an order secreted on an island in the SEA OF GREAT PERIL. They taught me - among other things - the secret of SULDUKU BREATHING, with which you can hold your breath far longer than any normal man. Someone would have to hold you underwater for HALF A THRAMOK to have any hopes of drowning you! Good, eh?\"\n\nYou consider this, and nod. And for a time, XAKANDA teaches you this useful art.\n\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\n... As XAKANDA departs back to the GRAVEL PIT OF ROGUES, he salutes you and says \"We are fortunate to have you here in this realm, barbarian. Return to fight me again soon; I think you will find I can hold out a bit longer against you, now that we have learned from each other!\"\n\nYou hear a distant clank of metal.\n\n> You go west\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nYou hear a distant crackle, as if through the ELECTRIC ETHER, a sizzling note of hate!\n\n> Go west\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\n> You get NECKLACE\nYou lift the delicate necklace from the golden neck of the ELF girl, and you are well pleased. But what is that sudden CLACKING NOISE just behind thee?\n\nThe GIANT GOLD SPIDER attacks! You have suffered 5 hits of\ndamage!\n\n> Assail SPIDER\nYou attack! You scored 20 points of damage!\n\nIts MANDIBLE-FANG-MAW dripping with deadly MIDAS VENOM, the GIANT GOLD SPIDER moves in for the kill! You have suffered 9 hits of\ndamage!\n\n> Assail SPIDER\nA skillful attack if you do say so yourself! You scored 36 points\nof damage!\n\nWith a chittering of 24 KARAT HUNGER, the GIANT GOLD SPIDER dines on your flesh! You have suffered 13 hits of damage!\n\n> Assail SPIDER\nA miss! BAH!\n\nThe GIANT GOLD SPIDER dances from tree to tree, spinning more webs!\n\n> Assail SPIDER\nSa-ho! You give the GIANT GOLD SPIDER a sampling of your BLACK HOLE METAL AXE, but good! You scored 12 points of damage!\n\nWhile you are stumbling over a sticky WEB, the GIANT GOLD SPIDER pierces you with its GOLDEN DEATH PROBE! You have suffered 2 hits\nof damage!\n\n> Assail SPIDER\nTaste barbarian rage, GIANT GOLD SPIDER! You scored 28 points of damage!\n\nDrawing you deeper into the WEBS with each attack and retreat, the GIANT GOLD SPIDER strikes without mercy! You have suffered 16 hits\nof damage!\n\n> Assail SPIDER\nBy Huron's terrible trothplight, your BLACK HOLE METAL AXE lands\nhome! You scored 20 points of damage!\n\nWith a chittering of 24 KARAT HUNGER, the GIANT GOLD SPIDER dines on your flesh! You have suffered 8 hits of damage!\n\n> Assail SPIDER\nYour foe is astonished by your speed as you strike hard! You\nscored 15 points of damage!\n\nDrawing you deeper into the WEBS with each attack and retreat, the GIANT GOLD SPIDER strikes without mercy! You have suffered 17 hits\nof damage!\n\n> Assail SPIDER\nBy Huron's immaculate ear-wax, you strike hard and true! You\nscored 21 points of damage, leaving the GIANT GOLD SPIDER at your mercy!\n\nThe GIANT GOLD SPIDER is defeated!\n\nWith the great beast dead, you can navigate the WEBS at your leisure once more.\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): the NECKLACE OF STARLIGHT, a RUBY NEEDLE, a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\nThere is a sharp smell of ozone, and a faint electric sizzling in the air.\n\n> You go south\nNo good path leads that way, and thou art not of the Pioneer class!\n\nThe VOLTAIC WRAITH arrives, crackling with HATE!\n\n> Assail WRAITH\nYou lash out with the rage of your barbarian ancestors! You scored\n27 points of damage!\n\nThe WRAITH attacks! You have suffered 10 hits of damage!\n\n> Assail WRAITH\nYou lunge deep, and strike! You scored 21 points of damage,\nleaving the VOLTAIC WRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\n> You give NECKLACE to VESSA\nPoetics and illogic! Your game manual, or the HELP command, might give aid and succor.\n\n> You use NECKLACE on VESSA\nThe cold and gentle glow of the NECKLACE OF STARLIGHT dances across VESSA'S features, as if to highlight each freckle in turn. She looks you in the eyes with obvious delight. \"I have never even heard of such a treasure,\" she says. \"This will buy you my most DARING pleasures ...\"\n\n... Many hours (and many daring pleasures) later, VESSA THE DELICATE DOXY lay naked beside you, stretching and yawning pleasantly, and snuggling down into some of the fine PILLOWS on her bed, her eyes locked on yours, as if deep in thought. After a time, the DOXY speaks:\n\n\"Barbarian, your spy network is truly magnificent ... the loyalty you have inspired, the HOPE you have brought to these people ... it is nothing short of miraculous.\" She snuggles closer, looking at you admiringly.\n\nYou nod, passing the time by watching a nearby dust mote chase itself across the surface of the DOXY'S light-globes.\n\n\"My performances in the THRONE ROOM have earned me new friends, and one of them may prove very valuable. The ROYAL PSI-WITCH, the wise-woman upon whom the SLAVER KING depends to read the minds of visiting nobles, has been feeding him lies and half-truths, for she is disgusted with what she sees within his own foul and selfish thoughts.\"\n\nThe DOXY sits up on the bed, looking quite serious for a moment. \"I mentioned you, and her eyes grew wide with wonder, barbarian. There is, it seems, some sort of PSI-WITCH prophecy ... She was coy with the details, explaining that she wants to lay eyes on you herself. You should not fear this woman, barbarian. She could make every difference in your machinations to realign the realm's administration for the common weal.\"\n\nYou consider the DOXY'S words, and furrow your savage brow in mild discomfort, for there are many syllables.\n\n\"Yes,\" VESSA says, \"There is that look of solemn determination that excites me so about you!\" she squirms close, pleasantly. Her hair smells nice. \"You can summon the PSI-WITCH with a secret signal ... Go to the old LIGHTHOUSE and turn the LAMP'S reflector directly toward the battlements of the CASTLE, while shining your own LIGHT into it. You'll need a torch or something similar. Then, visit the LONELY HILL, where the ROYAL PSI-WITCH will be eager to examine you.\"\n\nThen the DOXY takes to examining you, herself, and pulls you back into the warm blankets with her, biting playfully at your shoulder.\n\n... Many more hours (and etc) later, you emerge from the DOXY's chambers, sated and well-pleased, and scented with jasmine and feminine ardour.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> Go inside\nThis old LIGHTHOUSE is in poor repair, but not quite abandoned. While no one seems to live here, you suppose it may be operated by a magic spell, or by someone keeping watch from the nearby harbor.\n\nYou can see an ENORMOUS LAMP here.\n\nYou recall the legend in which HURON, the GOD OF BEING A VERY MIGHTY GOD, came to a place such as this, and destroyed it with the HAMMER OF THANGRASH.\n\n> You use FLASHLIGHT on LAMP\nConsidering the strange words of VESSA, the DELICATE DOXY, you remember that you do have a torch of sorts ... the FLASHLIGHT you plucked from the space-shack in the ROBODROID'S forest.\n\nTurning the lamp toward the CASTLE as the DOXY described, and clicking the FLASHLIGHT a few times before the great reflective surface, you notice that, in the distance, a return signal flashes from one of the darker towers squatting near the battlements. Could it be true? Has this summoned the ROYAL PSI-WITCH to the LONELY HILL? There is, you suppose, only one way to know for sure.\n\n> Go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\n> You regard witch\nThe ROYAL PSI-WITCH is a tiny, elderly woman with white hair and extraordinary eyes which cause you to feel dizzy. She seems to be looking right through you.\n\n> Parley with WITCH\n\"Greetings, upland barbarian,\" she says. She lets her words trail off, as if she's waiting for you to do something ...\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a RUBY NEEDLE, a SUIT OF KLENGON MAIL (being worn), a BLACK HOLE METAL AXE (held at the ready), the EYEPATCH OF ODIN, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\n(press a key when ready)\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a RUBY NEEDLE, a SUIT OF KLENGON MAIL (being worn), the EYEPATCH OF ODIN (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (currently un-used), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n\"Har,\" says GUNWAR, sniffing the air wafting from your DUFFEL. \"I smells a SLAB OF SNOW-SERPENT MEAT! That's tricky stuff, lad ... A drinkin' mate o' mine ate himself some of that, all ripened up, and the very next day he had a third arm, stickin' out from his\nneck!\" He puffs his pipe thoughtfully, and chuckles to himself."
    },
    {
        "text": "[Themes: Fantasy, pseudo-old-school, cyborg, retro, combat, fantasy, mild profanity, prostitution, science fantasy, violence, mutation, science fiction, treasure hunt]\n\n> Look around\nThe ship is mostly deserted at the moment; the PIRATES are OUT on the quayside. The deck here is admirably stained with the blood of many a cutlass-duel, and littered with the usual ROPES and MASTS and nautical miscellany. Most of the hatches are securely locked, but you find one open passage leading downwards.\n\nGUNWAR stands close by, smoking his pipe.\n\n> You use SWORD\nYou heft the TWO-HANDED SWORD in your mighty hand, prepared for battle!\n\n> You go outside\nRelying on the natural CUNNING of an upland barbarian, you sense something very wrong ...\n\nA MUTATED MORGOM is here, thirsty for BLOOD!\n\nThe PIRATES are cringing in a corner, and the crowd has fled in a panic!\n\nScattering a pile of BARRELS into the SEA with its powerful forelegs, the MORGOM leaps through the air and sinks fangs into you! You\nhave suffered 30 hits of damage!\n\nThe ferocity of the attack rips away the EYEPATCH OF ODIN! As it flutters into the SEA, the nearby PIRATES gasp. \"Shiver me timbers,\" one says, pointing at it, \"That's the fourth time this year we fell fer that one, lads.\"\n\nGUN limps along at your side.\n\n> Assail morgom\nYou could have sworn your aim was true, but your quarry was already elsewhere! A miss!\n\nSlithering along its legless rear portion, the MORGOM attacks! You have suffered 26 hits of damage!\n\nGUNWAR applies his healing arts, restoring 18 Hit Points.\n\n> Assail morgom\nYou lash out with the rage of your barbarian ancestors! You scored\n17 points of damage!\n\nWith a grating HISS that makes your skin crawl, the MORGOM leaps to the attack! You have suffered 32 hits of damage!\n\nGUNWAR applies his healing arts, restoring 15 Hit Points.\n\n> Assail morgom\nYou hit hard, snarling with rage! You scored 16 points of\ndamage!\n\nGUNWAR gives an involuntary yelp of fear as the MORGOM clamps hard into your side with its teeth! You have suffered 16 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 14 Hit Points.\n\n> Assail morgom\nSa-ho! A mighty attack! You scored 19 points of damage!\n\nAs the MORGOM bites, the green light in its eyes make you dizzy!\nYou have suffered 17 hits of damage!\n\nGUNWAR applies his healing arts, restoring 15 Hit Points.\n\n> Assail morgom\nSa-ho! You give the MUTATED MORGOM a sampling of your TWO-HANDED SWORD, but good! You scored 13 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 14 Hit Points.\n\n> Assail morgom\nTaste barbarian rage, MUTATED MORGOM! You scored 19 points of\ndamage!\n\nThe MORGOM rakes at you furiously with its hind-claws! You have suffered 30 hits of damage!\n\nGUNWAR applies his healing arts, restoring 12 Hit Points.\n\n> Assail morgom\nBy Huron's phosphorescent gill slits! A mighty blow! You scored 17 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 12 Hit Points.\n\n> Assail morgom\nBy Huron's agreeable ass-dandruff, a blow to be remembered! You\nscored 18 points of damage!\n\nYou feel trapped in a whirlwind of TOOTH and CLAW! The MORGOM is a blur of bloody rage! You have suffered 21 hits of damage!\n\nGUNWAR applies his healing arts, restoring 14 Hit Points.\n\n> Assail morgom\nYour foe is astonished by your speed as you strike hard! You\nscored 14 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 13 Hit Points.\n\n> Assail morgom\nBy Huron's churlish ire, a fine hit! You scored 12 points of\ndamage!\n\nScattering a pile of BARRELS into the SEA with its powerful forelegs, the MORGOM leaps through the air and sinks fangs into you! You\nhave suffered 35 hits of damage!\n\nGUNWAR applies his healing arts, restoring 19 Hit Points.\n\n> Assail morgom\nYou attack! You scored 13 points of damage!\n\nThe MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!\n\nGUNWAR applies his healing arts, restoring 18 Hit Points.\n\n> Assail morgom\nYou lunge deep, and strike! You scored 17 points of damage,\nleaving the MUTATED MORGOM at your mercy!\n\nThe MUTATED MORGOM is defeated!\n\nIn the battle's aftermath, the PIRATES all rush to the scene, eager to make it look as if they were just about to enter the fight. GUNWAR chuckles and rolls his eyes at this.\n\nOne old PIRATE steps forward and squints at the DWARF, and then at you. \"Arr! Don't tell me ye'll be takin' GUNWAR aways from us fer good! Never was there a finer deck-swabber than old GUN, here.\"\n\nGUNWAR smiles. \"I'll just be travelin' a bit here and there. Maybe for a short while, maybe a long one. Ye never know.\"\n\n\"Ar,\" the old PIRATE agrees.\n\nSome of the other PIRATES shove the corpse of the MORGOM into the SEA. After the splash, one says to the other \"Best to send that beastie to Davey Jones right away.\"\n\n\"Aye,\" says the other. \"Ye knows what happens to a MORGOM been slain by a TWO-HANDED SWORD!\"\n\n\"Well then, me Warrior!\" GUNWAR says. \"Let's be off adventurin'!\"\n\n> Go east\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> You go to the east\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUN follows along, puffing on his pipe.\n\n> You go south\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see a ROBODROID here.\n\nGUNWAR follows along.\n\n> Go east\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUN accompanies you.\n\n> Go south\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, chasing glittering insects that hover near the water's surface.\n\nGUNWAR the PEG-LEG DWARF stays loyally at your side.\n\nGUNWAR chuckles as he peers into the POOL. \"Some of the PIRATES like fishing for these MAGIC FISH. Good eatin' on 'em. Of course,\" he adds, \"being PIRATES, they don't fish fair. I've seen some get fish\nwith ALCHEMY BOMBS, or even VATS OF ACID ... They just drop something like that into the water, and wait for the DEAD MAGIC FISH to bob to the surface.\"\n\n\"Now that I thinks on it, lad,\" he says, \"PIRATES ain't really very sporting at all.\"\n\n> You seize FISH\nIt swims out of reach.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a RUBY NEEDLE, a SUIT OF KLENGON MAIL (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> Go north\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUN trails along.\n\n> You go north\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nGUNWAR follows just a few steps behind you.\n\n> You go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR totters along beside you.\n\nGUNWAR shifts on his peg-leg a bit. \"I've heard so many tales about what the SLAVER KING really looks like, I don't know what to believe ... But one thing everyone seems to agree: he is a giant, and perhaps immortal. From goin' port to port, I know that the other SLAVER KINGS fear this one above all.\"\n\n> You use the meat on the bear\nYou extend the SLAB OF SNOW-SERPENT MEAT toward the GRIZZLY, and the great BEAR'S nose twitches damply as it looks up from the fresh flowing waters of the stream.\n\nSlowly, cautiously, the GRIZZLY approaches. He sniffs at the SLAB OF SNOW-SERPENT MEAT, motivated by obvious hunger, but grunts sadly, and returns to pawing the water in hopes.\n\n> You go to the east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUN follows you.\n\n> You go to the west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR the PEG-LEG DWARF accompanies you.\n\n> You go to the east\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nGUN follows you.\n\n> Go south\nThis pathway is steep, and you're currently at a point where great rocks blocks your view of the SLAVER KING'S realm. The rise is too steep to the east, but you can continue the trail to the south if you want to climb all the way to the PEAK OF MOUNT GELIDUS.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go south\nThe view from the summit of MOUNT GELIDUS is enough to move even you, to give you a moment's peace from your savage thirst for vengeance. But only a moment. As you look down through the mists to the farms and forests stretching out to the SEA, the sight of the CASTLE of the SLAVER KING, framed in the distant sunset, reminds you of your purpose.\n\nAn enormous CLIFF GIANT is sitting here, ninety tons of drowsy, rocky mass. Even his beard is made of stone. He's half-looking at the scenic vista, half-sleeping. When he snores, it sends minor slides of pebbles and loose snow bouncing down the mountainside. He rests in front of the entrance to a CAVE.\n\nGUNWAR limps along at your side.\n\n> Assail GIANT\nBy Huron's nictitating hindbrain! Even your most savage blow just bounces off. It doesn't even inspire the CLIFF GIANT to yawn at you. Besides, he seems quite peaceful.\n\nThe ground trembles as a herd of RUFFLEBACK RABBITS storms past.\n\n> You eat the meat\nArt thou addled? Refer to your game manual for assistance.\n\n> You use NEEDLE on GIANT\nYou recall what the DOXY told you about the RUBY NEEDLE ... the love-struck WARLOCK who gave her the NEEDLE said it could penetrate anything. Experimentally, you poke the CLIFF GIANT with the NEEDLE ...\n\nThe CLIFF GIANT says something much like \"MRRFT!\" and turns to you in annoyance. Then he turns away again, and resumes his great repose.\n\n> You use NEEDLE on GIANT\nYou poke the CLIFF GIANT once more with the RUBY NEEDLE, and this time the GIANT stands in response before you can take the NEEDLE out again! The CLIFF GIANT towers above you like a perturbed, angry mountain, blotting out the evening sun and GLARING at you!\n\nThe GIANT points a finger at you. \"YOU RUDE,\" he says, in a voice that sends pebbles and snow flying down the mountainside, and which nearly knocks you from your feet.\n\nAnd then, he strides off into the mountains, to find somewhere more private to sit.\n\n> Enter\nThe CAVE is damp, very dark, and smells strongly of the dead demons of the earth. There are other smells, too, for other wanderers have camped here not long ago. At the far end of the CAVE a swift and INKY SLUICE of water rushes into the unseen belly of the mountain. But before you can begin to appreciate the secrets of the CAVE, there is a heavy thud, and a sudden motion in the dark ...\n\nA massive CAVE OOZE is here, and few men have survived the hunger of a CAVE OOZE to speak of it!\n\nThere is a heavy slithering in the darkness, and you feel the burning touch of the CAVE OOZE! You have suffered 35 hits of damage!\n\nGUNWAR the PEG-LEG DWARF totters along beside you.\n\n> Assail OOZE\nA skillful attack if you do say so yourself! You scored 14 points\nof damage!\n\nThe CAVE OOZE slithers into shadow for a moment, then you see it on the wall right next to you!\n\nGUNWAR applies his healing arts, restoring 16 Hit Points.\n\n> Assail OOZE\nYou attack with all your might! You scored 18 points of\ndamage!\n\nThe touch of the CAVE OOZE is icy, and it BURNS ... You have\nsuffered 4 hits of damage!\n\nGUNWAR applies his healing arts, restoring 16 Hit Points.\n\n> Assail OOZE\nBy Huron's waxen war-webbing, your TWO-HANDED SWORD lands home!\nYou scored 19 points of damage!\n\nYou feel sick as the CAVE OOZE attempts to use its revolting TRANSFORMATION power, and grateful for the near-total darkness!\nYou have suffered 31 hits of damage!\n\nGUNWAR applies his healing arts, restoring 10 Hit Points.\n\n> Assail OOZE\nYou leap, and strike! You scored 14 points of damage!\n\nThe CAVE OOZE barrels into you from the shadows, and you feel your skin peeling away! You have suffered 12 hits of damage!\n\nGUNWAR applies his healing arts, restoring 20 Hit Points.\n\n> Assail OOZE\nBy Huron's vaunted vestigial vallecula, you strike hard and true!\nYou scored 14 points of damage!\n\nWith terrifying speed and a spreading mass of tendrils, the CAVE OOZE attacks! You have suffered 10 hits of damage!\n\nGUNWAR applies his healing arts, restoring 18 Hit Points.\n\n> Assail OOZE\nBy Huron's unseemly advances! A mighty blow! You scored 19 points\nof damage!\n\nThe touch of the CAVE OOZE is icy, and it BURNS ... You have\nsuffered 4 hits of damage!\n\nGUNWAR applies his healing arts, restoring 11 Hit Points.\n\n> Assail OOZE\nBy Huron's unmasculine backswing, your TWO-HANDED SWORD lands\nhome! You scored 21 points of damage!\n\nThe CAVE OOZE slithers into shadow for a moment, then you see it on the wall right next to you!\n\nGUNWAR applies his healing arts, restoring 7 Hit Points.\n\n> Assail OOZE\nYou lunge deep, and strike! You scored 12 points of damage!\n\nYou feel sick as the CAVE OOZE attempts to use its revolting TRANSFORMATION power, and grateful for the near-total darkness!\nYou have suffered 23 hits of damage!\n\nGUNWAR applies his healing arts, restoring 14 Hit Points.\n\n> Assail OOZE\nA skillful attack if you do say so yourself! You scored 13 points\nof damage, leaving the CAVE OOZE at your mercy!\n\nThe CAVE OOZE is defeated!\n\nExhausted from battle, you take stock of your surroundings ...\n\nThe CAVE is damp, very dark, and smells strongly of the dead demons of the earth. There are other smells, too, for other wanderers have camped here not long ago. At the far end of the CAVE a swift and INKY SLUICE of water rushes into the unseen belly of the mountain.\n\nGUNWAR is near, sorting through his healing herbs.\n\nYou can also see some SPICES here.\n\n> You regard the spices\nIt is a tiny container of SPICES that smelleth like a HOBLING bakery making PUMPKIN PIES.\n\n> Regard STREAM\nIt's a swiftly-flowing underground river. The waters are fast, black, and cold. Dare you enter it? You've heard tales of brave adventurers swept to instant death by these things ... most lead to sunless, airless places in the uncaring bowels of the mountains.\n\n> Exit\nThe view from the summit of MOUNT GELIDUS is enough to move even you, to give you a moment's peace from your savage thirst for vengeance. But only a moment. As you look down through the mists to the farms and forests stretching out to the SEA, the sight of the CASTLE of the SLAVER KING, framed in the distant sunset, reminds you of your purpose.\n\nThe entrance to a forbidding CAVE is here, leading IN to the depths of the mountain.\n\nGUN stays loyally at your side.\n\n> Go north\nThis pathway is steep, and you're currently at a point where great rocks blocks your view of the SLAVER KING'S realm. The rise is too steep to the east, but you can continue the trail to the south if you want to climb all the way to the PEAK OF MOUNT GELIDUS.\n\nYou hear a distant crackle, as if through the ELECTRIC ETHER, a sizzling note of hate!\n\nGUNWAR follows along.\n\n> Go north\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You go west\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nGUNWAR trails along.\n\n> Go north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nThe VOLTAIC WRAITH arrives, crackling with HATE!\n\nGUNWAR stays loyally at your side.\n\n> Assail WRAITH\nYou miss!\n\nWith a sinister CRACKLING, the air around you EXPLODES with violent ELECTRIC DEATH! You have suffered 8 hits of damage!\n\nGUNWAR applies his healing arts, restoring 8 Hit Points.\n\n> Assail WRAITH\nBy Huron's capricious cat-cravings, a blow to be remembered! You scored 15 points of damage!\n\nThe VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 15 hits of damage!\n\nGUNWAR applies his healing arts, restoring 10 Hit Points.\n\n> Assail WRAITH\nYou are quick, but your foe was quicker that time. A miss!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\nGUNWAR applies his healing arts, restoring 5 Hit Points.\n\n> Assail WRAITH\nBy Huron's storm-frosted comb-over, you strike hard and true! You scored 14 points of damage!\n\nThe VOLTAIC WRAITH unleashes twin arcs of STATIC IRE! You have suffered 15 hits of damage!\n\nGUNWAR applies his healing arts, restoring 15 Hit Points.\n\n> Assail WRAITH\nTaste barbarian rage, VOLTAIC WRAITH! You scored 13 points of\ndamage!\n\nThe VOLTAIC WRAITH misses, and hisses, and this is good news!\n\n> Assail WRAITH\nYou attack! You scored 20 points of damage, leaving the VOLTAIC\nWRAITH at your mercy!\n\nThe VOLTAIC WRAITH is defeated!\n\nThe VOLTAIC WRAITH hisses and pops, and evaporates in a puff of acrid ozone. You hear a distant echo, an electric, sizzling voice: \"BARBARIAN! YOU HAVE NOT SEEN THE LAST OF MY ELECTRO-SPITE!\"\n\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUNWAR is near, shifting his crutch a bit for comfort's sake.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\n> Go east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR follows you.\n\n> You go north\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR limps along at your side.\n\nA soft breeze blows from the east.\n\n> You enter\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\n> Parley with ACOLYTE\n\"Ah, barbarian!\" the ACOLYTE smiles warmly, \"It's always good to see you. Thank you again for the GLADIUS SWORD; it has already come in handy!\"\n\nGUNWAR follows along, puffing on his pipe.\n\nGUNWAR smiles broadly at the sight GINA THE VIRGIN SACRIFICE, strapped oiled and naked to the ALTAR. \"Har! Good t'see ye, girly! Why, the last time I laid eyes on ye all trussed up, ye were knee-high to a MANION DEVIL and the lads were raidin' yer village! And now look at ye ... all grow'd up and set to be sacrificed for the greater evil!\"\n\nGINA blushes and shrugs shyly, at least to the extent her tethers allow. \"But look at you, uncle GUN!\" she says. \"You're\nadventuring again! I knew you had it in you, you old sea-dog!\"\n\nGUNWAR beams, and spends a few moments redistributing the ANOINTING OIL on the flat of GINA'S bare stomach, until the ACOLYTE raises an eyebrow at him.\n\n\"Just makin' sure she's right set t'be devoured by yer DARK LORD!\" he declares with an exaggerated wink. Everyone chuckles.\n\n> You go outside\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR totters along beside you.\n\n> You go south\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR trails along.\n\n> You go west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR accompanies you.\n\n> You go west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nYou are a little surprised to notice a familiar figure - the hulking form of the SHE-FRANKENSTEIN called FOUL EMMA, tossing flower-petals off the BRIDGE into the STREAM below.\n\nFOUL EMMA looks up from her reverie. \"Purty barbarian!\" she says, obviously pleased to see you, but obviously too sad to grab at your backside. \"Me glad you here, barbarian. Maybe one day you can help EMMA.\"\n\nShe plucks another petal and lets it fall. \"Me not know where, but some-wheres here there's a secret ... a way IN to where slaves are kept. SLAVER KING, him mean. He keep many FRANKENSTEIN slaves. He keep EMMA'S momma and EMMA'S daddy as slaves. Only EMMA get away.\" She stares up at the sky, holding back patchwork tears.\n\nShe looks into your eyes. \"Me heard another secret, too. There's a CORD somewheres there, black as night. So old only a few old slaves know. Pull on that CORD,\" she says, \"and it open a way to crawl right into CASTLE, right where SLAVER KING live. But me too big to crawl, anyway. So me no help to momma. No help to paw-paw.\" She turns away, embarassed by her grief. After a while, she collects herself, and half-heartedly gropes at your groin, but it's plainly her way of putting on a brave face, and she turns to walk away.\n\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\n... As FOUL EMMA departs back to the GRAVEL PIT OF ROGUES, she turns once more and calls back \"Me feel better when fighting, barbarian. Please come fight me some more. Me ... like you. You purty.\" Blushing, she turns and runs into the distance, like a bashful little girl, crushing rocks with her footfalls.\n\nGUNWAR follows just a few steps behind you.\n\n> Regard culvert\nYou can't see any CULVERT here!\n\nOh, wait, there it is.\nBy Huron's obscene nesting-fibers! I am vexed by thine riddles! Your game manual, or the HELP command, might give aid and succor.\n\n> You enter the cuvlert\nThou hast exceeded the limits of SCIENTIFIC TECHNO-REASONING. Refer to your game manual for assistance.\n\n> You enter CULVERT\nGUNWAR says, \"I'd never be able to swim in there with me peg-leg, but I'll try to find another way in to meet ye.\"\n\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nJust as FOUL EMMA said, there is a BLACK CORD hanging deep in the shadows at the far end of the CATWALK, barely visible in the darkness and clutter.\n\nRecalling the words of the ROBODROID, you notice a discarded LENGTH OF CABLING among the dusty rubbish.\n\nYou feel a slight tremor beneath your sandals.\n\n> You regard CORD\nThe BLACK CORD is attached to something above.\n\n> You regard PENS\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nJust as FOUL EMMA said, there is a BLACK CORD hanging deep in the shadows at the far end of the CATWALK, barely visible in the darkness and clutter.\n\n> You use CORD\nYou tug on the CORD and there is a loud CLANK-CLANK-CLANK-CLANK, so you quickly stop before you alert the entire CASTLE to your presence.\n\nThen, something happens ...\n\nThere is an almost silent grating noise, and a small doorway slides open on a nearby section of wall. The doorway spills no light; it is a very dark CRAWLWAY leading steeply upward. You think you could manage the climb, should you decide to go IN ...\n\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nThe path to the surface leads UP, but a CRAWLWAY beckons further IN from here, barely visible in the shadows.\n\n> Up\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR stands nearby, admiring his AXE happily.\n\n> You go south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR follows along.\n\n> You go south\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see a ROBODROID here.\n\nGUNWAR the PEG-LEG DWARF sticks close, keeping an eye out for danger.\n\n> You use the cabling on ROBODROID\nYou hold the CABLING near the ROBODROID, turn it this way and that, tap him gently on the head with it, and so on ...\n\nYou are almost ready to give up hope that anything might happen, when the cabling suddenly SPARKS with some latent remaining energy, and with heavy CLANK attaches itself to a portion of the metal man's silvery skin. The lights on his flat display-face shine brightly, and there is a deep humming ... but both the lights and the sound immediately begin to fade ...\n\nThe ROBODROID turns to face you and speaks clearly. \"Friend! Thank you! Power levels critical. I have very little time. My sensors detect PHASIC EMANATIONS very near. Take the CABLE there, hold it very still above the source. Source. Auto-MATIC! Source. POWwwer. Hold.\n\n... and then lights go dim, the humming stops, the CABLE falls free, and the ROBODROID is silent once more.\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a LENGTH OF BIPHASIC CABLING, some SPICES, a SUIT OF KLENGON MAIL (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You go north\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR totters along beside you.\n\n> You go east\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nGUNWAR follows just a few steps behind you.\n\n> Go south\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR trails along.\n\n> You use the cabling\nYou hold the BIPHASIC CABLING very still above the waters of the SUMP, exactly as the ROBODROID instructed. You feel a little foolish, and more than a little sick, as the emanating energies of the SUMP are sapping your strength unpleasantly.\n\nBut it takes only a moment to see that the ROBODROID was correct! One end of the CABLE leaps from your hand like a living thing, diving into the water and extending sharp metallic tendrils. After a moment, the entire length of CABLE glitters with light! The end in the water now glows an angry RED and the end in your hand glows deep, haunting BLUE.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Repose\nYou stop to rest for a moment.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nSome heavy clouds are gathering to the west, over the SEA OF GREAT PERIL.\n\n> Repose\nYou stop to rest for a moment.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Go west\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see a ROBODROID here.\n\nGUN accompanies you.\n\n> Regard robodroid\nParts of him are clearly torn open, and rust grows on his silver skin like the lesions snarling on some Bloodhaven beggar. Tiny lights on his flat display-face shine ever-so-weakly. There is life left in him, but precious little. He moves not.\n\n> Parley with ROBODROID\nSpeaking - nay, even shouting - elicits no response, save for a gentle change in the rhythm of his facial light-display. There are sparks flying from some tiny moving parts on one side of his head, where the surface is torn open ... they are too rusted to move freely, and the ANOINTING OIL has done all it can to help.\n\n> Go east\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go west\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see a ROBODROID here.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You use the cabling on ROBODROID\nWith the cable in place in the PHASIC SUMP, the rest happens without much effort. The Phasic Power Conduit Class 84-900-000-5 must be enchanted in some way to know its purpose, for just as it leaped for the glowing water, it leaps for the ROBODROID, clamping loudly on his surface and then flashing with pure blue light!\n\nIt's impossible, for a few moments, to unhand the cable! You can feel the energies flowing through YOU as well as through it, and you can't help but wonder if that's really safe.\n\nThen, all is calm, and you let the CABLE go, rubbing your hand where the heat of the transfer burned you slightly. The ROBODROID does not stand, but his head swivels freely, and you can see some of his torn and rusted portions ... healing themselves.\n\n\"Repair. Sequence. Initiated. Magnetic. Data. Accessed.\" The ROBDROID jerks slightly on the ground, then relaxes, and turns to face you. \"Friend!\" he says, his face-lights arranging into a simple smile.\n\nYou nod, quietly. You've known his kind before, and they are often good folk, but it's never quite normal, talking to metal.\n\nHe nods in return. \"Thank you, barbarian, for your help. I have been trapped here for so long, unable to self-repair without access to PHASIC EMANATIONS. I dwelt here in the remnants of my ROCKET, as a ROBO-HERMIT, but the SLAVER KING decided that all ROBODROIDS should serve him ...\"\n\nHis face-lights flash an angry red. \"I refused, and fought to the last ... or what his thugs must have supposed was the last. As you can see, there is life yet in my COSMIC TRANSISTORS, eh?\"\n\nHe tries to move, but stumbles. \"Ah, but not a LOT of life ... this cable will allow me to communicate and perform some basic self-repair, but I suppose it will take a serious electric catalyst to re-ignite my PRISMATIC HEART ENGINE and become fully motive. Still, it is very fine to be able to talk to an ally ... for you are clearly no friend of the SLAVER KING.\"\n\nYou nod again, and smile, for that is the truth.\n\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nGUNWAR stands nearby, picking something out of his beard.\n\nYou can also see the BLUE END OF THE CABLE and a ROBODROID here.\n\n> Parley with ROBODROID\nThe ROBODROID nods politely in your direction. \"I'm sorry I'm not much of a host, friend. I suppose it will take quite a voltaic jolt to jump-start me to mobility ... but even if that never happens, know how much I appreciate your efforts.\"\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): some SPICES, a SUIT OF KLENGON MAIL (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You seize the robot\nThe ROBODROID is in much greater repair than before, but still too heavy and awkward to move.\n\n> You go west\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUN follows along.\n\n> You go north\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR follows you.\n\n> You go west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUNWAR the PEG-LEG DWARF stays loyally at your side.\n\n> Go south\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nYou hear a distant crackle, as if through the ELECTRIC ETHER, a sizzling note of hate!\n\nGUNWAR limps along at your side.\n\n> You go to the south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUN limps along at your side.\n\n> You go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR follows along.\n\n> You go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR accompanies you.\n\n> Go east\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a tired-looking metallic figure slumped against its side ...\n\nYou can see the BLUE END OF THE CABLE and a ROBODROID here.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\n> Repose\nYou pause in manly contemplation.\n\nThere is a sharp smell of ozone, and a faint electric sizzling in the air.\n\nYou feel a strange itching sensation, sort of chasing itself all over your skin, but focusing on the points where the PHASIC EMANATIONS scarred your flesh! You pause to give it a good scratch, and you're okay again.\n\n> Repose\nYou pause in manly contemplation.\n\nThe VOLTAIC WRAITH arrives, crackling with HATE!\n\nWith the VOLTAIC WRAITH arcing violently from branch to branch and hissing with anger, you stand in the clearing of the SCARRED FOREST, and whirl to face your opponent. Nearby, the ROBODROID looks up from his repair-work with obvious curiosity.\n\n\"BARBARIAN!\" screams the WRAITH, forming a scowling face made of translucent arcs of power, \"SUCH A LOVELY SETTING IN WHICH TO DESTROY YOU ... SO MANY DAMP FLOWERS ... MOIST BARK, HUMID AIR ... SO MANY WET PLACES TO CHASE YOU FROM, TO TRAP YOU. WHY, THERE'S EVEN METAL HERE!\"\n\nEdging back toward the ROBODROID and smiling quietly, you simply nod.\n\nThe VOLTAIC WRAITH advances, and then begins to flicker. \"WHAT? WHAT?!? WHAT'S HAPPENING\" Trails of power are now arcing at random from the center of the WRAITH to the surface of the BIPHASIC CABLING. The BLUE END attached to the ROBODROID begins loudly humming.\n\nThe ROBODROID stands, and smiles. \"Oh, barbarian. You are very, very clever, for a primitive meatling.\" With newfound strength, the ROBODROID un-clamps the BLUE END of the CABLE and points it directly at the WRAITH.\n\nYou nod grimly, and inhale the storm-fresh air as you are surrounded by a rush of VOLTAIC DISASSEMBLY amid the sound of a thousand gasping echoes, of a hundred pitiful screams, a dozen mournful wails, and then thin, faint, static.\n\nThe VOLTAIC WRAITH is no more, and the ROBODROID stands tall, his remaining \"wounds\" repairing themselves instantly before your eyes, his skin a perfect, gleaming silver.\n\n\"A very clever meatling, indeed,\" he says. \"The SLAVER KING is in trouble, with a barbarian seeking vengeance on him!\"\n\nYou nod, for you are well pleased.\n\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned, apart from a solitary metallic figure standing near ...\n\nGUNWAR stands close by, brushing his teeth with his finger.\n\nYou can also see the BLUE END OF THE CABLE and a ROBODROID here.\n\n> Parley with ROBODROID\n\"Greetings, friend. It's good to be whole again. Now that I can move about, I may find some new way to aid your quest.\"\n\n> Go west\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUN follows just a few steps behind you.\n\n> You go south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR stays loyally at your side."
    },
    {
        "text": "> Look around\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nGUN is nearby, humming an old Dwarf mining song.\n\nYou can also see a TELEPHONE POLE here.\n\n> You enter\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSurrounding the pedestal is a glowing CAGE of static energy ... No doubt this is a FARADAY CAGE, a prison designed in ancient times to trap powerful ROBODROIDS for servitude.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\nGUNWAR trails along.\n\nGUNWAR peers closely at the FARADAY CAGE. \"Har,\" he says, quietly. \"Bugger me with a marlinspike, these blackguard FARADAY CAGES are nasty business. Lost a good mechanical friend to one of these, once. Fortunately, they can be taken down with the right kind of good, hard whack. You're a strong lad, barbarian. ASSAIL this scurvy CAGE.\"\n\n> Assail cage\nYou lash out with your TWO-HANDED SWORD, barely making a dent in the FARADAY CAGE ... a dent which reshapes itself into defiant perfection within seconds after your attack!\n\nGUNWAR hefts his BLACK HOLE METAL AXE experimentally, all the while carefully regarding the FARADAY CAGE.\n\n\"Give it another go, lad. Just one more good whack, and I can watch ye carefully.\"\n\n> Assail cage\nYou lash out with your TWO-HANDED SWORD, barely making a dent in the FARADAY CAGE ... a dent which reshapes itself into defiant perfection within seconds after your attack!\n\nGUNWAR steps forward, the BLACK HOLE METAL AXE glinting in the strange lights of the VAULT. \"Stand back, lad. I'll set this right.\"\n\nHeaving the demonic AXE with all his might, GUNWAR drives the eldritch blade hard into the side of the FARADAY CAGE. When a sudden VIBRATORY FEEDBACK WAVE threatens to shatter the AXE in return, you are tossed from your feet, but GUNWAR quickly clangs the AXE on the strange blue-metal walls with a smile. \"HAHA!\" he cries, \"I've tussled with FARADAY FORCES in my time, eh? Can't mess with old GUNWAR! Har.\"\n\nWhen you dare openeth your eyes again, you see that the VAULT is dimmed, idle sparks fly from broken machinery ... and the FARADAY CAGE is gone, no doubt banished to whatever ELECTRO-HELL it was summoned from! GUNWAR stands triumphantly, the gleaming BLACK HOLE METAL AXE reflected in his eyes.\n\n> You get AMULET\nYour hand passes right through the AMULET, as if it were but a SPECTERAL SPIRIT. And yet, the AMULET doth respond, with a display of corscuating light.\n\n\"Har. Don't that beat all?\" sayeth GUNWAR.\n\n> Regard AMULET\nHung from a chain that it might be worn, it is as the fables tell: an AMULET fashioned of finest SCIENCE.\n\nThat awful PHASIC ITCHING is back again, now focused very sharply on your good sword-swinging arm. And it's worse ... a kind of nasty BURNING, now. What manner of sorcery is in that SUMP, anyway?\n\nAfter a time, the burning sensation stops.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): some SPICES, a SUIT OF KLENGON MAIL (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT."
    },
    {
        "text": "[Themes: Fantasy, pseudo-old-school, combat, fantasy, science fantasy, treasure hunt, rpg, prostitution, suggestive content, cyborg, Comedy, humor, parody, satire]\n\n> You look around\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nGUNWAR the PEG-LEG DWARF stands close by, picking his nose with a pointy extremity of his AXE.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\n> Go south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR follows you.\n\n> Go north\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned.\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nHm ... The ROBODROID is here no longer. He must be happy to move again, after being so long imprisoned by his own rust.\n\nGUNWAR totters along beside you.\n\n> You go inside\nMuch of the shack has been stripped for pieces, no doubt to be sold in God City, far to the west. Only scraps remain.\n\nGUNWAR the PEG-LEG DWARF sticks close, keeping an eye out for danger.\n\n> You leave\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned.\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nGUNWAR accompanies you.\n\n> You go west\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR follows along.\n\n> You go south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR trails along.\n\n> Go inside\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\nGUNWAR stays loyally at your side.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): some SPICES, a SUIT OF KLENGON MAIL (being worn), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You examine PEDESTAL\nThe MACHINERY gloweth, and culminateth in the GLOWING PEDESTAL. Indeed, 'tis all of one strange piece.\n\n> You go outside\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR follows just a few steps behind you.\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUN follows along, puffing on his pipe.\n\n> You wait\nYou pause in manly contemplation.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nThis pathway is steep, and you're currently at a point where great rocks blocks your view of the SLAVER KING'S realm. The rise is too steep to the east, but you can continue the trail to the south if you want to climb all the way to the PEAK OF MOUNT GELIDUS.\n\n> Go south\nThe view from the summit of MOUNT GELIDUS is enough to move even you, to give you a moment's peace from your savage thirst for vengeance. But only a moment. As you look down through the mists to the farms and forests stretching out to the SEA, the sight of the CASTLE of the SLAVER KING, framed in the distant sunset, reminds you of your purpose.\n\nThe entrance to a forbidding CAVE is here, leading IN to the depths of the mountain.\n\n> You enter\nThe CAVE is damp, very dark, and smells strongly of the dead demons of the earth. There are other smells, too, for other wanderers have camped here not long ago. At the far end of the CAVE a swift and INKY SLUICE of water rushes into the unseen belly of the mountain.\n\n> You enter SLUICE\nTrusting to fate, you enter the swift current of the INKY SLUICE. The current is so powerful that you're carried away immediately into TOTAL DARKNESS, and then submerged!\n\nThe swift waters of the SLUICE arrive here after a long drop through a natural chute of stone. They broaden and deepen for a time before vanishing into darkness yet again, and you can stand on dry stone in a cavern filled with CRAWLING WHITE MOSS.\n\nYou can see a SUIT OF IMPERVIUM PLATE-MAIL ARMOR here.\n\nWithout the power of SULDUKU BREATHING, you never would have survived that journey!\n\n> You examine MOSS\nThe slow, inching movement of the luminescent MOSS has never bothered you overmuch, but the collective sound of thousands of patches, each crawling softly, is very unpleasant.\n\n> You look at the impervium\nYou have heard of such armor only in legends. Your barbarian mind cannot begin to fathom how such a suit is made.\n\n> You use the impervium\nYou remove the SUIT OF KLENGON MAIL, and replace it with the SUIT OF IMPERVIUM PLATE-MAIL ARMOR. Now you are well-suited for bloody mayhem!"
    },
    {
        "text": "[Themes: Fantasy, mad science, absurd, science fiction, rpg, suggestive content, cyborg, silly, pseudo-old-school, humor, mutation, satire]\n\n> Look around\nThe swift waters of the SLUICE arrive here after a long drop through a natural chute of stone. They broaden and deepen for a time before vanishing into darkness yet again, and you can stand on dry stone in a cavern filled with CRAWLING WHITE MOSS.\n\n> You seize MOSS\nBut it's yucky!\n\n> Up\nThe swift waters of the SLUICE flow through this vast room from the CAVE above, but the stone \"river-bed\" is slick like glazed Hobling pottery! Try as you might, you could never climb something so steep and so smooth against the force of the current.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a SUIT OF KLENGON MAIL (currently un-used), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> Xyzzy\nThe dullest Klengon can do better than that. Your game manual, or the HELP command, might give aid and succor.\n\n> You examine the waters\nIn the strange light of the GLOWING CAVERN, you see that the water really isn't so INKY in the INKY SLUICE, in fact it seems quite clear and fresh. From here, it flows once again into a wide CRACK in the rocks.\n\n> You enter the waters\nYou approach the SLUICE at the far end of the CAVERN, where the waters run swift, and once again you find yourself sucked into icy darkness! But only a moment later, you are flying through the air in a sparkling spray of water and evening sunlight! And then landing hard on the ground! Ouch!\n\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH. It seems to be watching you.\n\n> Parley with FISH\nIf you're going to start talking to MAGIC FISH, you may as well just chat with your THESKIAN DUFFEL BAG.\n\nGUNWAR arrives. \"Sa-ho! I might have known I'd find ye 'round the PRISMATIC SPRAY!\""
    },
    {
        "text": "[Themes: Fantasy, fantasy, retro, violence, pseudo-old-school, absurd, sidekick NPC, humor, parody, satire]\n\n> Describe the surroundings\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nGUNWAR the PEG-LEG DWARF stands nearby, staring into space and thinking.\n\nSwimming in the crystalline POOL is a MAGIC FISH, playing around in the churning waters at the base of the WATERFALL.\n\n> You regard FISH\nIt's just your typical MAGIC FISH. It appears to be reading a tiny book.\n\n> You go to the west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nFrom the depths of the CHASM comes a fluttering, a flapping, and a violent, hungry sussuration of HISSING! Suddenly pouring upward from the mist is a deadly SCHOOL OF SKY-PIRANHA, eager for the taste of fresh barbarian blood!\n\nSweeping across the ground in a great flurry of PISCINE ACROBATICS, the SKY-PIRANHA consume your flesh! You have suffered 49 hits of damage!\n\nGUNWAR follows you.\n\n> Assail sky-piranassail sky-piranha\nYou attack with all your might! You scored 18 points of\ndamage!\n\nWith a violent fluttering of wings, thousands of NEEDLE-LIKE TEETH rip into your skin! You have suffered 11 hits of damage!\n\nGUNWAR applies his healing arts, restoring 41 Hit Points.\n\n> Assail sky-piranassail sky-piranha\nYour foe is astonished by your speed as you strike hard! You\nscored 23 points of damage!\n\nGUNWAR applies his healing arts, restoring 35 Hit Points.\n\n> Assail sky-piranassail sky-piranha\nYou hit hard, snarling with rage! You scored 18 points of\ndamage!\n\nHeedless of your TWO-HANDED SWORD, PIRANHA fly at you from every direction, colliding, scraping, EATING! You have suffered 28 hits\nof damage!\n\nGUNWAR applies his healing arts, restoring 29 Hit Points.\n\n> Assail sky-piranassail sky-piranha\nYou lash out with the rage of your barbarian ancestors! You scored\n16 points of damage, leaving the SCHOOL OF SKY-PIRANHA at your\nmercy!\n\nThe SCHOOL OF SKY-PIRANHA is defeated!\n\nYou rend the last of the SKY-PIRANHA into twitching, bloody chunks.\n\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nGUNWAR stands nearby, smiling contentedly.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\n> You go west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUN totters along beside you.\n\n> You seize POLE\nYou lack the strength of arm to heft such a mighty thing!\n\nYou see a band of travelers in the distance, but then they're gone.\n\n> You go west\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUNWAR limps along at your side.\nPerplexity and disarray! Your game manual, or the HELP command, might give aid and succor.\n\n> Go north\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nGUNWAR the PEG-LEG DWARF stays loyally at your side.\n\n> You go inside\nGUNWAR says, \"I'd best wait here, lad. Three's a crowd in with a fine DOXY, at least until we know each other better.\"\n\nYou notice a slight chain hanging across VESSA'S doorway, and a small sign writ in simple runes which sayeth: BACK SOON - PROVIDING SERVICE TO HIS MAJESTY'S COURT AND SUNDRIES.\n\n> Go north\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go east\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUN follows along.\n\n> You go to the east\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR follows just a few steps behind you.\n\n> You go north\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR the PEG-LEG DWARF limps along at your side.\n\n> You enter CULVERT\nGUNWAR says, \"I'd never be able to swim in there with me peg-leg, but I'll try to find another way in to meet ye.\"\n\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nThe path to the surface leads UP, but a CRAWLWAY beckons further IN from here, barely visible in the shadows.\n\n> You enter\nYou crawl through the dark for a while, but it isn't long before you emerge into the CASTLE above.\n\n... There is a gentle SNAP as the tiny door you emerged from falls shut behind you; there's no sign of it now! You'll have to find another way out.\n\nSo, you take stock of your surroundings ... and such surroundings! You stand in a central hall of the CASTLE of the SLAVER KING, a chamber well-bedecked with opulence and many fine FURNISHINGS. Looking far, far to the west, you can see that the GUARDS are letting some well-dressed courtiers wander out into the MARKETPLACE without hindrance. It seems getting out is easier than getting in! You slick your hair a bit, convinced that you can pass for a courtier if the need is dire.\n\nYour attention is drawn by a slight hint of movement: atop a great HEARTH filled with a ROARING FIRE, a COPPER GARGOYLE is perched, and you could have sworn you saw it move.\n\nYou REGARD the statue for a time, your instincts telling you to ready yourself for BATTLE!\n\nAnd it's only a moment for your instincts to be proven true, as the COPPER GARGOYLE grins a creaking, metallic grin, and snaps his claws open, and leaps down to the floor ...\n\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description.\n\nYou can see a COPPER GARGOYLE here.\n\nThe COPPER GARGOYLE attacks! You have suffered 39 hits of\ndamage!\n\n> Assail GARGOYLE\nYou were too slow that time. A miss!\n\nThe COPPER GARGOYLE attacks you savagely, but misses!\n\nGUNWAR arrives, reaching for his healing herbs!\n\n> Assail GARGOYLE\nSa-ho! A mighty attack! You scored 19 points of damage!\n\nThe COPPER GARGOYLE clanks noisily on the flagstones, and his claws strike hard! You have suffered 21 hits of damage!\n\nGUNWAR applies his healing arts, restoring 42 Hit Points.\n\n> Assail GARGOYLE\nYou leap, and strike! You scored 16 points of damage!\n\nThe COPPER GARGOYLE leaps straight for your throat! You have\nsuffered 35 hits of damage!\n\nGUNWAR applies his healing arts, restoring 32 Hit Points.\n\n> Assail GARGOYLE\nBy Huron's approbated abbatoir, a fine hit! You scored 21 points\nof damage!\n\nWith a creak of metal, the COPPER GARGOYLE is airborne, slashing deeply into your side with his fangs. You have suffered 21 hits of damage!\n\nGUNWAR applies his healing arts, restoring 26 Hit Points.\n\n> Assail GARGOYLE\nSa-ho! You give the COPPER GARGOYLE a sampling of your TWO-HANDED SWORD, but good! You scored 15 points of damage!\n\nOn WINGS OF METAL, the COPPER GARGOYLE leaps high, and glides down from above with claws extended! You have suffered 29 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 37 Hit Points.\n\n> Assail GARGOYLE\nBy Huron's scabrous schoolmarm, a fine hit! You scored 19 points\nof damage!\n\nThe COPPER GARGOYLE attacks! You have suffered 27 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 27 Hit Points.\n\n> Assail GARGOYLE\nBy Huron's vesicating varlets, you strike hard and true! You\nscored 19 points of damage!\n\nThe COPPER GARGOYLE leaps straight for your throat! You have\nsuffered 39 hits of damage!\n\nGUNWAR applies his healing arts, restoring 21 Hit Points.\n\n> Assail GARGOYLE\nYou attack! You scored 13 points of damage, leaving the COPPER GARGOYLE at your mercy!\n\nThe COPPER GARGOYLE is defeated!\n\nThe COPPER GARGOYLE bows a metallic bow to acknowledge your superior might, and climbs back on its perch above the HEARTH, freezing in place.\n\nLooking around, it seems as though nobody noticed the battle! You idly wonder if every new visitor to the CASTLE has to go through\nthis ...\n\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description. You notice people moving in the distance, but this place is so huge that your own arrival seems to have gone unnoticed by the non-GARGOYLE denizens. Just to be sure, you stick to the shadows (fortunately, there are many). An enormous flight of MARBLE STAIRS leads upward, to the THRONE ROOM.\n\nGUN is near, chuckling to himself.\n\n> Go west\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You go to the east\nThe PORTCULLIS is down, sealing the CASTLE from entry.\n\nAcross the market square, a group of PRINCES and their retinue pass by riding the back of a GIANT BRAMA WORM.\n\n> Up\nBefore you go, barbarian ... 'tis only fair to warn thee: ascending these MARBLE STAIRS will take you before the SLAVER KING himself, and such an \"audience\" with His Majesty is a one-way trip, one way or another. I do wish you well, savage hero, but at least be sure that you have a recent SAVE to return to, should things not go as you wish.\n\n\"And I for one,\" GUNWAR adds, \"feel a great unease in my bones. I've heard terrible tales of the SLAVER KING, lad. I've heard he kills DWARVES on sight! On sight! Perhaps if you could wield me, lad ... I might feel less nervous going in as your armament than as your shadow.\"\n\n> You use the meat\nHolding your breath to stave off the rich odor, you cram the putrefied SLAB OF SNOW-SERPENT MEAT down your throat, and then bite hard on your tongue to fight the urge to vomit. Sure enough, only moments later, the PRISMATIC MAGIC of the meat's ichor permeates your muscles, healing you!"
    },
    {
        "text": "[Themes: Fantasy, mad science, combat, violence, humor, retro]\n\n> Look around\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description. You notice people moving in the distance, but this place is so huge that your own arrival seems to have gone unnoticed by the non-GARGOYLE denizens. Just to be sure, you stick to the shadows (fortunately, there are many). An enormous flight of MARBLE STAIRS leads upward, to the THRONE ROOM.\n\nGUNWAR is near, sharpening the blade of the BLACK HOLE METAL AXE.\n\n> You regard the furnishings\nThis great hall is well-bedecked with opulence - your barbarian senses are nearly overwhelmed! Many fine FURNISHINGS do catch your attention, however, including the great MARBLE STAIRS leading upward to the THRONE ROOM, the long TRESTLES on which feasts are laid, the IMPRESSIVE HEARTH providing a ROARING FIRE, two huge TAPESTRIES (one BURGUNDY and one IVORY), a GIGANTIC MIRROR on the wall and, perched immobile above the HEARTH, the very COPPER GARGOYLE which accosted you when first you came here!\n\n> You regard IVORY TAPESTRY\nWith threads of silver, the great IVORY TAPESTRY shows images of slaves being whipped and forced to build the castle. The image is greatly romanticized, to the extent that such a thing is possible.\n\nYou chuckle over a story you heard once. Something about a minstrel, and a penguin, and something-something. You don't remember how it went, really.\n\n> You go to the west\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\n> You go to the south\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUN totters along beside you.\n\n> Go east\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR follows you.\n\n> You go to the south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR accompanies you.\n\n> Assail WITCH\nThe ROYAL PSI-WITCH arches an eyebrow as you try, and your brain feels like it's being invaded by a thousand SARTHIAN FROST ANTS.\n\n> You use the spices on WITCH\nThe ROYAL PSI-WITCH peers at the SPICES exactly as if they were the half-rotted dorsal stench-gland of a grey-speckled, crusted-tail, cave-molting, pink-throated warbling CRATER LAKE MONSTER ... then she arches an eyebrow at you.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a SUIT OF KLENGON MAIL (currently un-used), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\n> Go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nGUNWAR the PEG-LEG DWARF stands nearby, quietly regarding your surroundings.\n\nYou can also see a TELEPHONE POLE here.\n\n> You go inside\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\nGUNWAR trails along.\n\n> Regard AMULET\nHung from a chain that it might be worn, it is as the fables tell: an AMULET fashioned of finest SCIENCE.\n\nGUNWAR grins, and relates to you the tale of the DUNGEON OF THE SAVAGE TIGERMEN, in which he became the first DWARF in known history to defeat a CAVE OOZE by strangling it.\n\n> You seize the chain\nWhy SEIZE what hast already been SEIZED? 'Tis a matter philosophical upon which to direct thy barbaric ponderings.\n\n> You seize AMULET\nThe bloodlust must be clouding your thoughts, barbarian. The HELP command may offer some remedy.\n\n> You use GUN on AMULET\nArt thou head-wounded? Your game manual, or the HELP command, might give aid and succor.\n\n> Exit\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR the PEG-LEG DWARF follows along.\n\n> Parley with GUN\nYou and GUNWAR discuss the Warlocks you have adventured with, and exchange safety advice for dealing with them.\n\n> You seize POLE\nYou lack the strength of arm to heft such a mighty thing!\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a SUIT OF KLENGON MAIL (currently un-used), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You use CORN\nYou stare at the EAR OF CORN as hard as you can, but it only makes your eyes hurt. Alas, the ways of the barbarian, while hallowed by the ages and kin to the wild, are so seldom useful."
    },
    {
        "text": "> Look around\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nGUNWAR is nearby, adjusting his peg-leg.\n\nYou can also see a TELEPHONE POLE here.\n\n> Go east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\nGUNWAR spins a yarn about some dungeons east of the HOARFROST CITADEL, near what wayfarers call the PASS OF DEATH.\n\n> Go east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, swimming a lazy figure-eight.\n\nGUNWAR accompanies you.\n\n> Go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUN totters along beside you.\n\n> You examine the tree\nThe leaves are all gone, but a single small FRUIT hangs from the farthest tip of the farthest branch, out over the CHASM.\n\n> You examine FRUIT\nThe FRUIT is small and red.\n\n\"Ar,\" says Gunwar. \"Looks like a Spineywood Herringfruit. And a ripe one at that!\"\n\n> Go east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, chasing glittering insects that hover near the water's surface.\n\nGUNWAR follows you.\n\n> You regard the insects\n'Tis hardly worthy of thy mighty gaze.\n\n> Toask01\nOk.\n\n> You look\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nGUNWAR stands close at hand, brushing a crumb from his armor.\n\nSwimming in the crystalline POOL is a MAGIC FISH. It appears to be reading a tiny book.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a SUIT OF KLENGON MAIL (currently un-used), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\n> You look at SERPENT\nThe SLAB OF SNOW-SERPENT MEAT shines in its raw ichor. Your tribe has long known that the flesh of this beast, once properly ripened and then consumed rapidly, has magic healing properties that allow Warriors to defeat foes much more powerful than they. Useful, for a Warrior-born such as you! This slab has now ripened; the ichor swirls with prismatic power and the stench is comforting.\n\n> You go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR trails along.\n\nSome tiny FROSTMICE spot you, and scurry into their hiding places.\n\n> You get the tree\nIt clings quite tenaciously. Besides, you have no use for it.\n\n> You go inside\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\nGUN stays loyally at your side.\n\n> Smite PEDESTAL\nThis computeth not. Seek guidance with the HELP command.\n\n> Parley with GUN\nGUNWAR spins an unlikely yarn about his days as a cavalryman.\n\n> You regard the walls\nYou feel suffocated just considering it ... you long for the outdoors, where a Warrior-born can run free and naked on the wild soil, unfettered by walls and ceilings, with his THESKIAN DUFFEL BAG fluttering in the fresh breezes.\n\n> You regard the METAL\nThe haft is made of a reddish iron with an alien-leather grip. The blade is almost utterly black and heavier than anything should be at that size. It hums, faintly, with a distant demonic hell-song. You have heard that many DEMONS dwell in the place where this metal is found.\n\n> You eat the meat\nStriveth for wisdom in thine commands, barbarian. Refer to your game manual for assistance.\n\n> Go east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR limps along at your side.\n\n> You go to the east\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, swimming a lazy figure-eight.\n\nGUNWAR the PEG-LEG DWARF trails along.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a SUIT OF KLENGON MAIL (currently un-used), a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN, a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF BURLAP ARMOR (currently un-used) and a FLASHLIGHT.\n\nThe warm breeze takes on a slight chill, as the evening wears on.\n\n> You use the spices on the pool\nYou've heard tales of how HURON, the GOD OF BEING A VERY MIGHTY GOD, once used some SPICES with a POOL to defeat a thousand enemy kings! Now that you think of it, though, the tale seemed to gloss right past the critical details.\n\n> Swim\nThou art a barbarian, 'tis true, but even thou canst masterest wise use of the ACTION COMMANDS. Your game manual, or the HELP command, might give aid and succor.\n\n> Regard the pool\nIf you were the sort to bathe, this is the sort of pool you'd enjoy bathing in.\n\n> You bathe\nYou speak madness, barbarian! Seek guidance with the HELP command.\n\n> You use SPICES\nNothing useful happens, and the SPICES seem to mock you with condescending silence. You come to hate the SPICES, and vow vengeance upon them, just as soon as you are finished with the SLAVER KING.\n\n> You regard SPICES\nIt is a tiny container of SPICES that smelleth like a HOBLING bakery making PUMPKIN PIES.\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 13 to 23 points of damage with each successful blow. Your odds of striking true are 90% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. You are uninjured, with your full complement of 307 Hit Points. A mighty Warrior, indeed!\n\n> Go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR totters along beside you.\n\n> You go west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUN sticks close, keeping an eye out for danger.\n\n> You seize POLE\nYou lack the strength of arm to heft such a mighty thing!\n\nYou while away some time with GUNWAR, talking of battles and campaigns, and of the thrill of surviving when all about you is death.\n\n> You use SWORD with POLE\nThou art only accustomed to ASSAILING things with a TWO-HANDED SWORD, preferably in a frothing, bloody rage filled with lusty war-oaths, suggestive hip-thrusts and savage leering.\n\n> You use CORN with POLE\nYou try a number of things, including glaring at the TELEPHONE POLE while flexing your left thigh muscle at the EAR OF CORN. I'd be stretching the truth if I said the results are useful.\n\n> You go to the north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR follows you.\n\n> You regard woman\nThe ROYAL PSI-WITCH is a tiny, elderly woman with white hair and extraordinary eyes which cause you to feel dizzy. She seems to be looking right through you.\n\n> Parley with woman\n\"Greetings, upland barbarian,\" she says. She lets her words trail off, as if she's waiting for you to do something ...\n\n> Assail woman\nThe ROYAL PSI-WITCH arches an eyebrow as you try, and your brain feels like it's being invaded by a thousand SARTHIAN FROST ANTS.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\n> You seize the statue\nIt is said that not even HURON, the GOD OF BEING A VERY MIGHTY GOD, could lift a SOLID GOLD STATUE. Of course, as you recall, the SOLID GOLD STATUE that HURON tried to lift was \"taller than ten tall mountains and draped with a coat made of seven roaring seas,\" but adjusting for scale, you face a similar dilemma.\n\n> Regard the statue\nIt is a very alluring statue of a comely ELF wench, slight but womany. Ah, but not just ANY comely ELF wench! This is the girl who robbed you of your prize when first you met the VOLTAIC WRAITH in that crystalline tower in the FROSTED UPLANDS!\n\n> You regard TREES\nThe TREES are much like any TREES, and they smelleth nice.\n\n> You use TREES\nI've seen this tragedy before. The alluring proximity of some TREES can drive many a hero to gibbering madness.\n\n> You go to the east\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nGUN is here, looking very happy to be adventuring again.\n\n> You go east\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR follows just a few steps behind you."
    },
    {
        "text": "> Go downwards\nGUNWAR says, \"That steep PIT'S no good for me peg-leg, friend, but I'll wait here for ye.\"\n\nSa-ho! By Huron's subcutaneous heat organ, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYour barbarian senses detect something ... different ... in the GRAVEL PIT. A heightened tension.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\nAll eyes are on you as you arrive, and one lowly ROGUE lifts a hand, meekly, to point at the CHALLENGE POST.\n\n> Regard POST\nThe CHALLENGE POST is a wooden pole hung with dyed banners, each representing a GLADIATOR willing to meet challengers. Beginning with the lowest, the banners are BLUE, GREEN, GOLD, RED and BLACK. The presence of the BLACK BANNER has clearly caused a stir in the GRAVEL PIT, and many of the ROGUES are looking upon you with something resembling reverence.\n\nA nearby ROGUE espies your curiosity, and sayeth \"It was YE, barbarian! The MASTER GLADIATOR has returned to us, because of your skill! He has returned! It is a great day!\"\n\n> You seize black BANNER\nAs you pluck the BLACK BANNER from the CHALLENGE POST, the assembled rowdies cheer as they've never cheered before! You are ushered into the gladiator's ring, where you stand face-to-face with the imposing MASTER GLADIATOR!\n\nYou take a moment to REGARD your opponent ... The MASTER GLADIATOR was once human, but now he is plainly both a MUTANT and a CYABORG, with several portions of his body replaced by ROBODROID parts, glittering with the lights of SCIENCE! His right ARM is entirely metal, and his left arm has skin of a color different from the rest of him, suggesting that he is a LIMB TRADER. His weapons are twin GRAVITY WHIPS. He smiles an easy, confident smile as he REGARDS you in return.\n\n\"Let us begin\" he says.\n\n> Assail GLADIATOR\nYou lunge deep, and strike! You scored 18 points of damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 29 hits of\ndamage!\n\n> Assail GLADIATOR\nYou attack with all your might! You scored 15 points of\ndamage!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nBy Huron's palpitating palpus, your TWO-HANDED SWORD lands home!\nYou scored 15 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 34 hits of damage!\n\n> Assail GLADIATOR\nYou leap, and strike! You scored 16 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 32 hits of damage!\n\n> Assail GLADIATOR\nTaste barbarian rage, MASTER GLADIATOR! You scored 19 points of damage!\n\nface! You have suffered 30 hits of damage!\n\n> Assail GLADIATOR\nYou hit hard, snarling with rage! You scored 15 points of\ndamage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 36 hits of damage!\n\n> Assail GLADIATOR\nCurses! A miss!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 33 hits of damage!\n\n> Assail GLADIATOR\nA skillful attack if you do say so yourself! You scored 23 points\nof damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 36 hits of\ndamage!\n\n> Assail GLADIATOR\nBy Huron's embryonic egg-flap, a blow to be remembered! You scored\n15 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 31 hits of damage!\n\n> Assail GLADIATOR\nSa-ho! A mighty attack! You scored 15 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 32 hits of damage!\n\n> Assail GLADIATOR\nSa-ho! You give the MASTER GLADIATOR a sampling of your TWO-HANDED SWORD, but good! You scored 22 points of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 28 hits of damage!\n\nYou stumble, and fall to the ground. The MASTER GLADIATOR has beaten you.\n\nThe world goes black for a moment, as The MASTER GLADIATOR lays you low with the painful slice of his GRAVITY WHIPS!\n\nYou are drawn from the darkness by the cheering crowd, showering The MASTER GLADIATOR with ale and praise. As your eyes refocus, you see his smiling half-ROBODROID face above you, his hand extended to help you to your feet.\n\n\"You fought well, sir. Take some time to heal for now, but please return to try again. I will leave the BLACK BANNER flying for you.\"\n\nSa-ho! By Huron's wayward weathercock, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYour barbarian senses detect something ... different ... in the GRAVEL PIT. A heightened tension.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Assail GLADIATOR\nYou lash out with the rage of your barbarian ancestors! You scored\n21 points of damage!\n\nface! You have suffered 37 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's cancroid constitution! A mighty blow! You scored 22\npoints of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 31 hits of damage!\n\n> Assail GLADIATOR\nYour foe is astonished by your speed as you strike hard! You\nscored 19 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 35 hits of damage!\n\n> Assail GLADIATOR\nTaste barbarian rage, MASTER GLADIATOR! You scored 18 points of damage!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nYou lunge deep, and strike! You scored 18 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 36 hits of damage!\n\n> Assail GLADIATOR\nSa-ho! A mighty attack! You scored 16 points of damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 31 hits of\ndamage!\n\n> Assail GLADIATOR\nBy Huron's unavoidable odor, you strike hard and true! You scored\n20 points of damage!\n\nface! You have suffered 34 hits of damage!\n\n> Assail GLADIATOR\nYou leap, and strike! You scored 16 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 32 hits of damage!\n\n> Assail GLADIATOR\nYou hit hard, snarling with rage! You scored 23 points of\ndamage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 33 hits of damage!\n\n> Assail GLADIATOR\nYou attack with all your might! You scored 14 points of\ndamage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 34 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's heterologous heat blister! A mighty blow! You scored 16 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 30 hits of damage!\n\nYou stumble, and fall to the ground. The MASTER GLADIATOR has beaten you.\n\nThe world goes black for a moment, as The MASTER GLADIATOR lays you low with the painful slice of his GRAVITY WHIPS!\n\nYou are drawn from the darkness by the cheering crowd, showering The MASTER GLADIATOR with ale and praise. As your eyes refocus, you see his smiling half-ROBODROID face above you, his hand extended to help you to your feet.\n\n\"You fought well, sir. Take some time to heal for now, but please return to try again. I will leave the BLACK BANNER flying for you.\"\n\nSa-ho! By Huron's panoptic pudenda, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYour barbarian senses detect something ... different ... in the GRAVEL PIT. A heightened tension.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Assail GLADIATOR\nYour foe is astonished by your speed as you strike hard! You\nscored 22 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 33 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's laudable lechery, a blow to be remembered! You scored\n19 points of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 29 hits of damage!\n\n> Assail GLADIATOR\nSa-ho! You give the MASTER GLADIATOR a sampling of your TWO-HANDED SWORD, but good! You scored 22 points of damage!\n\nface! You have suffered 33 hits of damage!\n\n> Assail GLADIATOR\nYou attack! You scored 23 points of damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 29 hits of\ndamage!\n\n> Assail GLADIATOR\nYou lash out with the rage of your barbarian ancestors! You scored\n21 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 35 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's Pandean passions, your TWO-HANDED SWORD lands home! You scored 18 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 29 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's twice-plaited nostril braids, a fine hit! You scored 18 points of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 31 hits of damage!\n\n> Assail GLADIATOR\nA skillful attack if you do say so yourself! You scored 14 points\nof damage!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nYou lunge deep, and strike! You scored 16 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 32 hits of damage!\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 13 to 23 points of damage with each successful blow. Your odds of striking true are 91% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Your current Hit Points are 59 (out of 310).\n\n> Assail GLADIATOR\nYou hit hard, snarling with rage! You scored 22 points of\ndamage!\n\nThe MASTER GLADIATOR attacks! You have suffered 37 hits of\ndamage!\n\n> Assail GLADIATOR\nYou attack with all your might! You scored 20 points of\ndamage!\n\nface! You have suffered 29 hits of damage!\n\nYou stumble, and fall to the ground. The MASTER GLADIATOR has beaten you.\n\nThe world goes black for a moment, as The MASTER GLADIATOR lays you low with the painful slice of his GRAVITY WHIPS!\n\nYou are drawn from the darkness by the cheering crowd, showering The MASTER GLADIATOR with ale and praise. As your eyes refocus, you see his smiling half-ROBODROID face above you, his hand extended to help you to your feet.\n\n\"You fought well, sir. Take some time to heal for now, but please return to try again. I will leave the BLACK BANNER flying for you.\"\n\nSa-ho! By Huron's organoleptic lapels, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYour barbarian senses detect something ... different ... in the GRAVEL PIT. A heightened tension.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> You drop BURLAP\nDiscarded.\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 13 to 23 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Your current Hit Points are 154 (out of 310).\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 13 to 23 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Your current Hit Points are 205 (out of 310).\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a DELICATELY-OILED CLOTH, a SLAB OF SNOW-SERPENT MEAT, a TWO-HANDED SWORD (held at the ready), an EAR OF CORN and a FLASHLIGHT.\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 13 to 23 points of damage with each successful blow. Your odds of striking true are 95%. Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. You are uninjured, with your full complement of 310 Hit Points. A mighty Warrior, indeed!\n\n> Assail GLADIATOR\nA skillful attack if you do say so yourself! You scored 20 points\nof damage!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nSa-ho! You give the MASTER GLADIATOR a sampling of your TWO-HANDED SWORD, but good! You scored 19 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 29 hits of damage!\n\n> Assail GLADIATOR\nYou lash out with the rage of your barbarian ancestors! You scored\n14 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 35 hits of damage!\n\n> Assail GLADIATOR\nTaste barbarian rage, MASTER GLADIATOR! You scored 14 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 28 hits of damage!\n\n> Assail GLADIATOR\nYour foe is astonished by your speed as you strike hard! You\nscored 14 points of damage!\n\nface! You have suffered 35 hits of damage!\n\n> Assail GLADIATOR\nYou leap, and strike! You scored 20 points of damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 32 hits of\ndamage!\n\n> Assail GLADIATOR\nSa-ho! A mighty attack! You scored 17 points of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 32 hits of damage!\n\n> Assail GLADIATOR\nYou attack! You scored 17 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 30 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's pitiless propensities, you strike hard and true! You\nscored 21 points of damage!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nBy Huron's parsimonious pansophism, a fine hit! You scored 17\npoints of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 32 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's center nostril, a blow to be remembered! You scored 20 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 32 hits of damage!\n\n> You eat the meat\nA pox upon thine foolish keyboard! Refer to your game manual for assistance.\n\n> You use the meat\nHolding your breath to stave off the rich odor, you cram the putrefied SLAB OF SNOW-SERPENT MEAT down your throat, and then bite hard on your tongue to fight the urge to vomit. Sure enough, only moments later, the PRISMATIC MAGIC of the meat's ichor permeates your muscles, healing you!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nBy Huron's nubile seamstresses! A mighty blow! You scored 20\npoints of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 34 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's vesicating varlets, your TWO-HANDED SWORD lands home!\nYou scored 17 points of damage, leaving the MASTER GLADIATOR at your mercy!\n\nThe MASTER GLADIATOR is defeated!\n\nWith your final blow, The MASTER GLADIATOR flies backward, sliding across the gravel, the lights on his body dimmed in defeat!\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help The MASTER GLADIATOR to his feet, and he accepts gratefully. \"A true pleasure, my esteemed foe. It is rare that I am treated to a genuine workout, let alone such a beating.\"\n\nThe crowd cheers again, and you nod in silent assent. The MASTER GLADIATOR nods, too, and wanders away to repair and heal. The crowd returns to their revels.\n\nSa-ho! By Huron's subcutaneous heat organ, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nYour barbarian senses detect something ... different ... in the GRAVEL PIT. A heightened tension.\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\nYou can also see a FLASHLIGHT, an EAR OF CORN, a SUIT OF KLENGON MAIL, a SUIT OF CHAINMAIL ARMOR and a SUIT OF BURLAP ARMOR here.\n\n> Pillage\nFLASHLIGHT: Seized.\nEAR OF CORN: Seized.\nSUIT OF KLENGON MAIL: Seized.\nSUIT OF CHAINMAIL ARMOR: Seized.\nSUIT OF BURLAP ARMOR: Seized.\n\n> Up\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR the PEG-LEG DWARF stands close at hand, whistling a jaunty sailors' tune.\n\nYou are briefly surprised by the looming figure of the MASTER GLADIATOR, but it is plain that he arrives in the spirit of friendship.\n\n\"Ho there, barbarian,\" he says, his voice confident and enhanced with internal sub-woofers. \"I just wanted to congratulate you privately. In truth, you are the real MASTER GLADIATOR now, but I know that your destiny is something far greater than to be the leader in a forgotten GRAVEL PIT.\"\n\nHe shakes your hand, his CYABORG grip cutting off your circulation for a moment, and he smiles.\"I am proud to know you, barbarian, and I hope that we can become friends. To that end, I have a secret to offer you, something I have learned in my time here.\"\n\nHe looks left and right, then adjusts his volume control to whisper. \"One of our lesser gladiators is third cousin to the ROYAL PSI-WITCH,\" he confides. \"And he told me the secret to winning her approval ... You must prove that you are the PROPHESIED BARBARIAN, the great and crude slaughterer predicted long ago in the lore of the PSI-WITCHES of this realm. The legend says that the PROPHESIED BARBARIAN will carry a gift of valuable UNGUENT, a potent balm infused with the PSI-PSPICE, also called AMALGAM.\" He sighs, a deep and quadrophonic sigh.\n\"I know not where to seek the PSI-PSPICE BALM, but I do believe that you are the one foretold, and so: seek it you must.\"\n\nYou consider this, and nod. Satisfied that you understand, the MASTER GLADIATOR returns the gesture, and starts back toward the GRAVEL PIT OF ROGUES.\n\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR is nearby, scratching a phantom itch on his peg-leg.\n\n... As the MASTER GLADIATOR departs back to the GRAVEL PIT OF ROGUES, he salutes you and says \"We are fortunate to have you here in this realm, barbarian. Return soon, to fight me again!\"\n\nYou wonder, for a moment, if the SLAVER KING could ever be defeated by a mortal barbarian such as you.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a DELICATELY-OILED CLOTH and a TWO-HANDED SWORD (held at the ready).\n\n> Go south\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR stays loyally at your side.\n\n> Assail bear\nYou loose your anger at the GRIZZLY BEAR, driving it further up the stream. Once it runs past your reach, it looketh back at you, perhaps sadly, then returns to pawing the water in hopes of food.\n\n> You go east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR the PEG-LEG DWARF accompanies you.\n\n> You go north\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You enter\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\n> Parley with ACOLYTE\n\"Ah, barbarian!\" the ACOLYTE smiles warmly, \"It's always good to see you. Thank you again for the GLADIUS SWORD; it has already come in handy!\"\n\nGUNWAR follows along.\n\n> Parley with GINA\nGINA smiles a sly smile. \"We have heard, Barbarian, of your great quest ... and perhaps,\" she says, her voice lowered to a sultry whisper \"when the time comes, we here at the TEMPLE may aid you in it.\" She wriggles pleasantly, and you see that the ACOLYTE OF TRAGA is grinning slightly, and nodding to himself.\n\n> Go outside\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR limps along at your side.\n\n> You go to the south\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR the PEG-LEG DWARF follows you.\n\n> You go inside\nInside the ice-like spire, it is strangely warm, and the air is charged with crackling energies, but magic or someting else? Know ye not. OUTSIDE, the FROSTED UPLANDS are only a fractured blur. From here, you can make your way UP to the EERIE PINNACLE, where strange lights play.\n\nGUNWAR follows along.\n\n> Up\nYou stand in the uppermost chamber of the strange crystalline tower. The air here is thick with energy and flooded with light from no particular source. There is a blinding whiteness, as if you're in a vast field of snow ... but the air is hot, not cold.\n\nGUNWAR trails along."
    },
    {
        "text": "> Go downwards\nInside the ice-like spire, it is strangely warm, and the air is charged with crackling energies, but magic or someting else? Know ye not. OUTSIDE, the FROSTED UPLANDS are only a fractured blur. From here, you can make your way UP to the EERIE PINNACLE, where strange lights play.\n\nGUNWAR stays loyally at your side.\n\n> Go west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR follows along, puffing on his pipe.\n\nGUNWAR chews on his pipe, thoughtfully. \"Have ye ever done battle with a wild TARKUS? We met one in the hills east of the SHUNNED TOWNS, mutated so's it had twice as many gun-turrets. Nasty.\" He takes a long draw, then exhales. \"We lost a lovely young ELF lass in the treads. Terrible, messy way to go.\"\n\n> Go south\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nGUN totters along beside you.\n\n> Regard IDOL\nThe features of the IDOL glare with stony, furious contempt, as if daring you to USE it.\n\n> Go east\nThe great snow-capped PEAKS now loom above you, dramatic and craggy through the treetops. You can see a WINDING TRAIL leading south that would take you higher into the mountains.\n\nGUNWAR follows just a few steps behind you.\n\n> Regard PEAKS\nThe BLEAK MOUNTAINS define the eastermost extent of the SLAVER KING'S domain. The highest is the craggy peak of MOUNT GELIDUS.\n\n> Go south\nThis pathway is steep, and you're currently at a point where great rocks blocks your view of the SLAVER KING'S realm. The rise is too steep to the east, but you can continue the trail to the south if you want to climb all the way to the PEAK OF MOUNT GELIDUS.\n\nGUNWAR limps along at your side.\n\n> You go to the south\nThe view from the summit of MOUNT GELIDUS is enough to move even you, to give you a moment's peace from your savage thirst for vengeance. But only a moment. As you look down through the mists to the farms and forests stretching out to the SEA, the sight of the CASTLE of the SLAVER KING, framed in the distant sunset, reminds you of your purpose.\n\nThe entrance to a forbidding CAVE is here, leading IN to the depths of the mountain.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> You regard CASTLE\nThe CASTLE of the SLAVER KING towers higher than any citadel you know, and the fires of its turrets are visible far and wide in the SLAVER KING'S realm. It is said that the ceiling of the THRONE ROOM is high enough to house the tallest GIANT in all of VANTH.\n\n> Go inside\nThe CAVE is damp, very dark, and smells strongly of the dead demons of the earth. There are other smells, too, for other wanderers have camped here not long ago. At the far end of the CAVE a swift and INKY SLUICE of water rushes into the unseen belly of the mountain.\n\nGUNWAR follows along.\n\n> Swim\nThe bloodlust must be clouding your thoughts, barbarian. Refer to your game manual for assistance.\n\n> Go inside\nI'm not 100% certain what it is you wish to go IN to, barbarian. Now, 'tis true that even a humble computer might suppose that you\nmight mean to ENTER THE INKY SLUICE, but considering the\nlikely dangers of such an action, I would not presume to carry out such a command unless thou hast typest it, explicitly.\n\n> You enter SLUICE\nGUNWAR says, \"I'm no good for swimming, lad, not even in a nice comfy CAVE like this one. But I'll wait here for ye, and if you don't swim back out, I'll search down the MOUNTAIN to meet you at the other end.\"\n\nTrusting to fate, you enter the swift current of the INKY SLUICE. The current is so powerful that you're carried away immediately into TOTAL DARKNESS, and then submerged!\n\nThe swift waters of the SLUICE arrive here after a long drop through a natural chute of stone. They broaden and deepen for a time before vanishing into darkness yet again, and you can stand on dry stone in a cavern filled with CRAWLING WHITE MOSS.\n\n> You regard MOSS\nThe slow, inching movement of the luminescent MOSS has never bothered you overmuch, but the collective sound of thousands of patches, each crawling softly, is very unpleasant.\n\n> You seize MOSS\nBut it's yucky!\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a DELICATELY-OILED CLOTH and a TWO-HANDED SWORD (held at the ready).\n\n> You put SPICES on MOSS\nYou'll need to be wiser than that to defeat the SLAVER KING. Refer to your game manual for assistance.\n\n> You use MOSS\nCreative! But fruitless.\n\n> You use FLASHLIGHT on MOSS\nYou shine the FLASHLIGHT'S amazing ELECTRIC TECHNO-BEAM in the general direction of the CRAWLING WHITE MOSS, and experiment briefly with making the shadow of a DOG with your hand while thou art at it.\n\n> You enter the water\nYou approach the SLUICE at the far end of the CAVERN, where the waters run swift, and once again you find yourself sucked into icy darkness! But only a moment later, you are flying through the air in a sparkling spray of water and evening sunlight! And then landing hard on the ground! Ouch!\n\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, chasing glittering insects that hover near the water's surface.\n\n> You regard WATERFALL\nThe WATERFALL cascades down from streams high up toward MOUNT GELIDUS. It's very lovely and refreshing. There's almost nowhere to stand, here, where you aren't catching some spray.\n\n> You regard FISH\nIt's just your typical MAGIC FISH. It seems to be watching you.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a DELICATELY-OILED CLOTH and a TWO-HANDED SWORD (held at the ready).\n\nGUNWAR totters into view, moving as quickly as his PEG-LEG will allow. \"I might have known ye'd be somewhere 'round the PRISMATIC SPRAY!\"\n\n> You use BAG on FISH\nThe THESKIAN DUFFEL BAG is practically an extension of you; you've carried it since you were an infant, and it does its job without commands.\n\n> You talk to GUN\nGUNWAR explains an ancient DWARF battlefield recipe for \"HAUNTED QUICKSAND on a Shingle\"\n\n> You use the flash light on FISH\nI beggest thy pardon? Your game manual, or the HELP command, might give aid and succor.\n\n> You talk to GUN\nGUNWAR tells a tale of his first adventure as a sailor, doing battle with ATOMIC OCTOPODES in a far corner of SALTY BAY.\n\n> You talk to FISH\nIf you're going to start talking to MAGIC FISH, you may as well just chat with your THESKIAN DUFFEL BAG.\n\n> Parley with GUNWAR\nYou and GUNWAR chat for a while, and you do your best to follow his on-again off-again PIRATE slang.\n\n> Go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR trails along.\n\n> Go west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR the PEG-LEG DWARF follows just a few steps behind you.\n\n> Regard RUIN\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nGUNWAR stands close at hand, twirling his AXE theatrically.\n\nYou can also see a TELEPHONE POLE here.\n\n> You go to the east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\n> Go north\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned.\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nGUNWAR limps along at your side.\n\n> Go east\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR follows you.\n\n> You seize the water\nThou hast barkest up the wrong tree, barbarian.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Regard the pipes\nThe water dripping from the PIPES is strangely iridescent.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\n> Go west\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned.\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nGUNWAR totters along beside you.\n\n> Go east\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR sticks close, keeping an eye out for danger.\n\nYou and GUNWAR exchange tales of the most disgusting things you've known Pioneers to do in order to gain a level.\n\n> You go to the south\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nSwimming in the crystalline POOL is a MAGIC FISH, playing around in the churning waters at the base of the WATERFALL.\n\nGUNWAR stays loyally at your side.\n\n> You use BLUE on the pool\nYou shove the glowing BLUE END of the BIPHASIC CABLING into the fresh, clear waters of the POOL, resulting in an immediate QUADROPHASIC FEEDBACK EXPLOSION!\n\nThe CABLE flies hard from your hand and you're thrown into the air, your flesh sizzling with a flash of PHASIC FIRE!\n\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nOn the surface of the water, a DEAD MAGIC FISH floats despondently.\n\nGUN stands close at hand, tapping his pipe clean and filling it with fresh leaf.\n\nGUNWAR chuckles at the sight of the DEAD MAGIC FISH. \"Brings back old times, that does.\"\n\n> You regard FISH\nThe MAGIC FISH is dead. Also, it seems to be watching you.\n\n> You use FISH\nAt first your attempts seem doomed to failure, but then it occurs to you that you could try sneaking up on the DEAD MAGIC FISH and shouting. Sadly, this too produces no useful result.\n\n> You seize FISH\nWhy SEIZE what hast already been SEIZED? 'Tis a matter philosophical upon which to direct thy barbaric ponderings.\n\n> You go north\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR accompanies you.\n\n> Go north\nYou stand in a dismal swamp, with the chitter of unpleasant life in every direction. Footing is torturous here, slowed by the grey murk sucking at your sandaled tread.\n\nThere is a large, MOSSY STONE IDOL here. Even half-sunken in the mire, it stands a head taller than you, with crude, angry features.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> You go to the north\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nA bit upstream from you, a GRIZZLY BEAR is fishing for food, but not having much luck. The BEAR doesn't seem hostile.\n\nGUNWAR follows you.\n\nSomewhere in the distance, you hear the unmistakable report of a PROTONIC SPEARLAUNCH, but the quadruple-echo fades quickly.\n\n> You use FISH on BEAR\nYou extend the DEAD MAGIC FISH toward the GRIZZLY, and the great BEAR'S nose twitches damply as it looks up from the fresh flowing waters of the stream.\n\nSlowly, cautiously, the GRIZZLY approaches, and opens its mouth to take the proffered FISH. Once taken, the BEAR dines eagerly, clearly quite hungry.\n\n\"Thank you, barbarian,\" the BEAR says, to your surprise, \"the fishing here has been very poor since the GIANT SNOW SERPENTS started their feeding season upstream. I heard tell of FISH in the pools and streams south of here, but the PHASIC EMANATIONS in the swamp are too much for me.\"\n\nSensing your unease with his speech, he says \"My name is ADAM, my friend. Like many animals, I have a mind of my own but usually keep my own counsel, or at least keep to my own kind. You are not unknown to me. I have observed your questing, and while the RATS of the city fear your violent nature, I have hope that by that very violence you may bring salvation from the cruel SLAVER KING. Before I take my leave of you, I bequeath unto you this gift.\"\n\nAnd with a sparkle of light, the GRIZZLY vanishes.\n\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUN stands nearby, smoking his pipe.\n\nYou can also see a JAR OF OINTMENT here.\n\n> You regard it\n\"100% ALL-NATURAL GRIZZLY BEAR NIPPLE-WAX. Treateth thy skin to luxury!\"\n\nSuch things are of little use to barbarians, generally, for you revel in the maltreatment of your skin.\n\n> You use SPICES on the OINTMENT\nYou mix the blend of SPICES into the OINTMENT, creating a spiced UNGUENT. The scent of this new creation is quite heady, and makes your brain tingle.\n\n> You go west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR stays loyally at your side.\n\n> Go south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR limps along at your side.\n\nGUNWAR tamps some fresh leaf into his pipe and lights it. \"You know, me grandfather, he weren't from VANTH at all. He was from the Galaxy. GUNWAR were the name of the DWARF clan on the star he hailed from, and they named me that to honor the old man's old man.\"\n\n> Go west\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR accompanies you.\n\n> You go to the west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUNWAR follows along, puffing on his pipe.\n\n> Go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\n> You use OINTMENT on the woman\nThe old woman accepts the UNGUENT, regarding it with interest. She opens it, and sniffs.\n\nShe smiles broadly. \"It is as the ancients foretold,\" she says. \"A barbarian will bring the ROYAL PSI-WITCH a gift of finest PSI-PSPICES slurried into a comforting BALM, that she might bathe deep in the comforts of her own mind while he would undo a KING most unjust ...\"\n\nShe peers at you with sudden suspicion, her eyes probing into your thoughts. \"Of course, the old prophecy is well-known,\" she says, \"and I see that VESSA THE DELICATE DOXY isn't the only one who has taken an interest in your cause.\"\n\nYou can feel her peering within your mind, and her expression is one of both amusement and disgust. \"VESSA THE DELICATE DOXY believes you are some master political strategist, the poor girl. I suppose it would be kindness to let her continue believing. It gives her a fire, and an energy that pleases me. But she is very intelligent, VESSA ... I do wonder what about you could blind her so. I wouldn't think her to have such an obvious weakness for simple fitness and savagery, but I suppose, at my age, I should be surprised by nothing.\" She REGARDS you quietly for a moment. \"Your cranium is filled with meat, my friend, and not even the finest cuts.\"\n\nYou nod grimly, thinking that this PSI-WITCH reminds you of VESSA a little, with all this prattling.\n\nShe pockets the UNGUENT. \"Still, prophecies are prophecies, and there is no rule that the truth must be a secret to remain true. Besides,\" she adds ... \"there are other signs that we HAVE kept secret: the color of your hair, the cut of your sandals, the stench of your unbath-ed form ... and all of these match. Every one. I am convinced.\"\n\nYou enjoy the breeze cutting across the LONELY HILL, and also enjoy that the PSI-WITCH isn't currently muddling your mind and sending you to the corners of the realm without your consent, as her kind are wont to do.\n\n\"Taketh some fresh CORN from the farms nearby, barbarian,\" she says, \"and feed it to the COPPER GARGOYLE in the castle, after you hath tamed it. That is the first step to unlocking the SLAVER KING'S ARCHIVES. That unlocks a hidden switch in the great HEARTH, and that becomes the second step. The rest, the DOXY has already told you.\"\n\n\"Most of the contents of the ARCHIVES will be of no interest to ... one such as you. The item you seek, however, the TRIPHASIC POWER CORE, will be easy to spot. It hums with power and it reeks of the FEAR of the SLAVER KING, who locks it there because he knows it can destroy him, and he knows not how to destroy IT.\"\n\n\"The POWER CORE is said to provide the life-force of a great TALISMAN of some kind. I know not where this treasure lies. Find the AMULET, join the CORE to it, and you will have the tool that can bring the SLAVER KING to his grave.\"\n\nYou nod, considering her words carefully. You decide that \"your cranium is filled with meat\" may be some sort of sexual advance, but surely a woman so wise would know that she is too old for you. There must be a deeper meaning still.\n\nThe PSI-WITCH chuckles. \"Begone, barbarian. And ... fare thee well.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\n> You go to the west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\n> You go to the west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\n> You go south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR stands nearby, picking something out of his beard.\n\n> Go west\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR follows just a few steps behind you.\n\n> Go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nThere is a thunderous report of hoofbeats, and the HEADLESS HORSEMAN rides upon the LONELY HILL with a glowing JACK-O-LANTERN under one arm and a CUTLASS OF FIRE in the other!\n\nThe HEADLESS HORSEMAN attacks! You have suffered 32 hits of\ndamage!\n\nGUNWAR trails along.\n\n> Assail HORSEMAN\nYou attack with all your might! You scored 16 points of\ndamage!\n\nWith a hollow HALLOWEEN LAUGH from the JACK-O-LANTERN at his side, the HEADLESS HORSEMAN attacks! You have suffered 32 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 28 Hit Points.\n\n> Assail HORSEMAN\nSa-ho! You give the HEADLESS HORSEMAN a sampling of your TWO-HANDED SWORD, but good! You scored 17 points of damage!\n\nHis wicked CUTLASS OF FIRE burns thy flesh! You have suffered 32\nhits of damage!\n\nGUNWAR applies his healing arts, restoring 33 Hit Points.\n\n> Assail HORSEMAN\nBy Huron's habile handmaidens, a blow to be remembered! You scored\n24 points of damage!\n\nYou are overtaken, and the HOOVES of the BLACK STEED do their\nwork! You have suffered 43 hits of damage!\n\nGUNWAR applies his healing arts, restoring 30 Hit Points.\n\n> Assail HORSEMAN\nBy Huron's bristliest back hairs, your TWO-HANDED SWORD lands\nhome! You scored 18 points of damage!\n\nHis wicked CUTLASS OF FIRE burns thy flesh! You have suffered 40\nhits of damage!\n\nGUNWAR applies his healing arts, restoring 22 Hit Points.\n\n> Assail HORSEMAN\nTaste barbarian rage, HEADLESS HORSEMAN! You scored 23 points of damage!\n\nYou are overtaken, and the HOOVES of the BLACK STEED do their\nwork! You have suffered 43 hits of damage!\n\nGUNWAR applies his healing arts, restoring 28 Hit Points.\n\n> Assail HORSEMAN\nA skillful attack if you do say so yourself! You scored 16 points\nof damage!\n\nThe HEADLESS HORSEMAN attacks! You have suffered 46 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 27 Hit Points.\n\n> Assail HORSEMAN\nYou leap, and strike! You scored 21 points of damage, leaving the HEADLESS HORSEMAN at your mercy!\n\nThe HEADLESS HORSEMAN is defeated!\n\nAs the HORSEMAN wails his last, tortured wail and evaporates into the evening breeze, his JACK-O-LANTERN bursts into fetid chunks, his CUTLASS OF FIRE flickers to nothingness, and his BLACK STEED turns, galloping away into the approaching night sky. The LONELY HILL is quiet once more, with naught to see but the distant lights of the TOWN.\n\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR the PEG-LEG DWARF sits nearby, looking very happy to be adventuring again.\n\n> Go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR totters along beside you.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), a DELICATELY-OILED CLOTH and a TWO-HANDED SWORD (held at the ready).\n\n> You look\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUNWAR stands close at hand, picking something out of his beard.\n\nYou can also see a JAR OF OINTMENT here.\n\n> Go north\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR the PEG-LEG DWARF stays loyally at your side.\n\n> Go south\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUNWAR limps along at your side.\n\n> You go to the east\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR accompanies you.\n\n> You go north\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR follows along, puffing on his pipe.\n\nThe breeze grows a bit warmer.\n\n> You enter TEMPLE\nYour nostrils flare at the lingering smoke from incense, and at the strong scent of holy oils. The TEMPLE is ancient, cold and dark, with but dim shafts of smoky light from high windows. In the center of the room is an ALTAR, on which a SACRIFICE is being prepared.\n\nYou can see the ACOLYTE OF TRAGA and GINA THE VIRGIN SACRIFICE here.\n\nGUNWAR follows just a few steps behind you.\n\n> You use the OINTMENT on GINA\nHer bare flesh already glistens moistly with ANOINTING OIL,\nbarbarian, from her heaving and generous breasts to the flare of her gently-parting thighs. So, there would be no practical need to rub her body with --\n\nOhhh.\n\n> Go outside\nThe snow on this mountain slope is all but undisturbed, and it glows a rich orange in the light of the setting sun. You can see that sun, far to the west, sinking into the sea. Its rays touch also on an ornate structure: You may (if you dare) ENTER a black TEMPLE to the Viraxian Demon-Gods.\n\nGUNWAR trails along.\n\n> Go south\nLayers of frost and snow glitter on crags of ancient rock, and there are deep snowbanks to the north, approaching a BRIDGE made of pure ice, spanning a MIGHTY CREVASSE. Also seemingly made of ice is a beautiful CRYSTAL SPIRE, towering in the fading light, which you may ENTER.\n\nGUNWAR follows along.\n\n> You go to the west\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUNWAR totters along beside you.\n\n> Go west\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUN follows you.\n\n> You go to the south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR stays loyally at your side.\n\n> Go west\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR accompanies you.\n\n> You go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUN totters along beside you.\n\n> You go south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You go west\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUN trails along.\n\n> Go inside\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT.\n\nGUNWAR follows along."
    },
    {
        "text": "[Themes: Fantasy, rpg, male protagonist, humour, Comedy, humor, combat, silly, science fiction, parody, mutation, retro, cyborg, suggestive content, science fantasy]\n\n> Go down\nThis chamber is half-collapsed, and seems far older than the TOMB above. The air is strange here, as if it has not been breathed for a very long time. The stink is not even the stink of death, only the passing of ages.\n\nGUN follows just a few steps behind you.\n\n> Up\nThis TOMB is tiny and cold, and hath long ago been stripped of treasures by disrespectful, thrice-damned, impious, tomb-robbing adventurers who got here faster than you. An entrance leads down into the CRYPT.\n\nGUNWAR limps along at your side.\n\n> Leave\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUN stays loyally at your side.\n\nGUNWAR tamps some fresh leaf into his pipe and lights it. \"You know, me grandfather, he weren't from VANTH at all. He was from the Galaxy. GUNWAR were the name of the DWARF clan on the star he hailed from, and they named me that to honor the old man's old man.\"\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR totters along beside you.\n\n> You use the OINTMENT on the woman\nThe ROYAL PSI-WITCH accepts the OINTMENT with obvious interest, but after REGARDING it for only a moment, she looks disappointed and hands it back. \"I wonder,\" she says, \"if VESSA isn't very mistaken about your potential.\"\n\n> You go to the north\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUN limps along at your side.\n\n> Go west\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUNWAR follows just a few steps behind you.\n\n> You use SPICES on the woman\nThe rabble of CITIZENS isn't worth troubling yourself with, barbarian. They will hail you one day as their savior, if you defeat the SLAVER KING.\n\n> You use SPICES on the woman\nThe ROYAL PSI-WITCH sighs in disappointment, shaking her head.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\n> Go south\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nGUNWAR is here, looking very happy to be adventuring again.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\n> You go east\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR limps along at your side.\n\n> You go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR the PEG-LEG DWARF follows just a few steps behind you.\n\n> You use SPICES on the woman\nThe ROYAL PSI-WITCH sighs in disappointment, shaking her head.\n\n> You use SPICES on the woman\nThe ROYAL PSI-WITCH sighs in disappointment, shaking her head.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\n> Go south\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR arrives. \"Sa-ho, friend! There you are! I might have known I'd find ye 'round the OLD STONE BRIDGE!\"\n\n> You go south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR the PEG-LEG DWARF sticks close, keeping an eye out for danger.\n\n> You go south\nThe remains of FALLEN TREES are here, overgrown with ferns and surrounding a half-buried shack of once-fine metal, draped with canvas and pocked with rust. You are wise in the ways of these: they are the \"space-ships\" that brought men from dark places in the sky, ere they fell.\n\nYou notice a hatchway hanging open; you could ENTER if you so desired. This remnant of a ROCKET seems abandoned.\n\nGUNWAR follows along.\n\nYou regale GUNWAR with the tale of your adventure in the SEA-MONSTER'S GULLET. He nods politely, pretending to believe you.\n\n> You go west\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR follows along, puffing on his pipe.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a JAR OF OINTMENT, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn), some SPICES, a DELICATELY-OILED CLOTH and a TWO-HANDED SWORD (held at the ready).\n\n> You use the cloth on the woman\nThe ROYAL PSI-WITCH sighs in disappointment, shaking her head.\n\n> You use the cloth on the woman\nThe ROYAL PSI-WITCH sighs in disappointment, shaking her head.\n\n\"Bah,\" says the elderly PSI-WITCH, \"thou art not ready at all. Begone, barbarian.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\n... It is some time later when your senses clear.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n... ooh. Feeling woozy ...\n\nYou stumble, and ... you don't remember falling, but the next thing you know, you're lying on your side in the DARK ALLEYWAY, with a few RATS sniffing experimentally at your face. Fortunately, they dissolve in a haze.\n\nThen there is only BLACKNESS.\n\nYou don't know how long you were unconscious, but you know you're not in the DARK ALLEYWAY any longer. You're on a table made of metal ... cold ... There's someone moving nearby.\n\nThe room is humming with machines. You've never trusted machines.\n\nYou black out again.\n\nPerhaps a very long time later, you pry your eyes open again, feeling a bit better, but still in the strange room, still on the metal table. A friendly-looking, elderly man is smiling at you. \"Welcome back, barbarian. I feared we might lose you, but the prismatically-sublimated trimethylchlorinate seemed to do the trick!\"\n\nYou black out again. But after a short time, you wake once more, and you can see now, exactly where you are ...\n\nThis room resembles a cross between a mercenary's bunkhouse and some kind of mad WARLOCK's sanctum, but with more machines. Many more. There are few comforts, but this is plainly a home, as well as a workshop for magics beyond your ken.\n\nA kindly old PROFESSOR is here, working with the tools of SCIENCE and smiling.\n\nYou can also see the SEVENTH HOARFROST DIAMOND here.\n\n> Regard professor\nYou're so woozy you can barely operate your eyelids.\n\nThe old man beams. \"Aha! Looks like the patient is finally recovering. Welcome, young fellow. Don't worry, we're still in the SLAVER'S KINGDOM, in my home. In my laboratory. The HOBLINGS who watch over the ALLEYWAY, along with your friend GUNWAR, rescued you from the city's denizens.\"\n\nHe pauses to turn some dials on a machine, and a series of chittery beeps and whines sounds out. \"Hm. Oh! I've forgotten my manners completely, and they call YOU a barbarian. My name is PROFESSOR MEGARIAN. I'm a SCIENTIST. And you, dear boy, you have been through so much ... so very much ...\"\n\n> Parley with PROFESSOR\nThe attempt causes you so much pain, you nearly black out again.\n\n\"Quite a cocktail of stimuli,\" the PROFESSOR mutters, half to himself. \"Exposure to intense unmodulated phasic emanations, viral traces indicating dormant Fever Plague - have you been fighting PYREXIS HOUNDS? - and some parts of your bloodstream have been affected through your epidermis by - my stars! - the digestive fluids of a rare black-spine SEA MONSTER?\" He wiggles a glassy tube in his hand, and watches the fluid inside change color \"... and to top it all off, you've consumed the flesh of a GIANT SNOW-SERPENT. A quick-fix healer, to be sure, but with all sorts of microorganisms in the mix, not all of them native to VANTH ...\"\n\n> You look\nOW! Ow. ow.\n\nThe PROFESSOR smiles. \"Son, I don't think you're a 'pure' HUMAN anymore. No shame in that; purity is overrated, as I'm sure a young, healthy lad like you has learned by now.\" He wiggles the glass tube again and peers closely at the contents. \"Ah, yes. THE DELICATE DOXY ... you've learned, all right. Tell her I said hello, the sweet dear.\"\n\nHe smiles a fatherly smile. \"At some point soon, you'll certainly begin to MUTATE. The full effect sometimes takes months, but the first symptoms can appear very quickly. Be ready. With luck,\" he says, \"it won't be fatal. There's never really a way to be sure.\""
    },
    {
        "text": "> Look around\nAlmost ... you manage to raise your head without pain, and look around ...\n\n\"There's something there on the table you may find useful. I was saving it for my next trip to town, but ... SEIZE it, please. If you're the barbarian I think you are, well, your reputation precedes you. VESSA says you're the brilliant leader of a growing underground movement.\" He smiles \"I'm very proud to have helped you in what little ways I can. The DELICATE DOXY is quite a little thinker herself ... any mind she admires must be quite sharp, eh?\"\n\nYou regard him with grim silence, unfamiliar with most of his words.\n\n\"Ah, yes. Strong, silent type! VESSA said. Sign of an active intellect! The more we say the less we think, you know. Anyway, the passage to the west leads out behind a WATERFALL ... I'm afraid you won't be able to find a way back in. I keep this place private. But once the SLAVER KING is defeated, I can go out into the world again, and bring it more SCIENCE!\"\n\n\"Good luck, brave warrior. And good hunting!\"\n\nThis room resembles a cross between a mercenary's bunkhouse and some kind of mad WARLOCK's sanctum, but with more machines. Many more. There are few comforts, but this is plainly a home, as well as a workshop for magics beyond your ken.\n\nA kindly old PROFESSOR is here, working with the tools of SCIENCE and smiling.\n\nYou can also see the SEVENTH HOARFROST DIAMOND here.\n\n> Regard DIAMOND\nIt's a pretty DIAMOND, but you don't see what's so 'SEVENTH' about it. It's not covered in HOARFROST either. Treasure confuses you; only spending it maketh sense.\n\n> Parley with PROFESSOR\n\"Good luck, barbarian, and the greatest velocity permitted by the laws of physics!\"\n\n> Go west\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nGUNWAR wanders into view. \"I might have known a barbarian such as ye would end up somewhere 'round the PRISMATIC SPRAY!\"\n\n> Go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUN trails along.\n\n> You go west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR follows you.\n\n> Go west\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUN accompanies you.\n\n> You go north\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nGUNWAR totters along beside you.\n\n> You go inside\nGUNWAR says, \"I'd best wait here, lad. Three's a crowd in with a fine DOXY, at least until we know each other better.\"\n\nYou notice a slight chain hanging across VESSA'S doorway, and a small sign writ in simple runes which sayeth: BACK SOON - PROVIDING SERVICE TO HIS MAJESTY'S COURT AND SUNDRIES.\n\n> You go to the north\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUNWAR follows along, puffing on his pipe.\n\n> Go north\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nGUN follows just a few steps behind you.\n\n> You go north\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\nGUNWAR accompanies you.\n\n> You go to the east\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\nGUN sticks close, keeping an eye out for danger.\n\n> You put SPICES in OINTMENT\nI attaint thee, varlet! Thy vocabulary, it affrighteth me! Your game manual, or the HELP command, might give aid and succor.\n\n> You use SPICES on the OINTMENT\nYou mix the blend of SPICES into the OINTMENT, creating a spiced UNGUENT. The scent of this new creation is quite heady, and makes your brain tingle.\n\n> You go east\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nGUNWAR stays loyally at your side.\n\nGUNWAR shows you a naughty trick he can do with his PEG-LEG.\n\n> Go south\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR follows you.\n\n> Go south\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR trails along.\n\n> You go south\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nGUNWAR the PEG-LEG DWARF follows along.\n\nYour arm falls off.\n\n\"Har!\" observes GUNWAR, keenly. \"Yer arm fell off, lad.\"\n\nThe TWO-HANDED SWORD falls to the ground.\n\n> You seize the arm\nYou reach out to take YOUR OWN ARM with your good arm ... and then remember that your good arm is the one that fell off! By Huron, what madness IS this? It takes a moment to adjust, and you find yourself wiggling your fingers on your remaining arm to make sure it's still there. You think maybe you've got the hang of it, now.\n\n> You regard yourself\nYou have the savage bearing of an upland tribesman, quick like a THESKIAN MOUNTAIN CAT and cruel of eye, though 'tis truth that your heart is not unkind. Your mirth is as mighty as your gloom, and your ire as potent as your warmer passions.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): the SEVENTH HOARFROST DIAMOND, a JAR OF PSI-PSPICE UNGUENT, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\nThe ROYAL PSI-WITCH looks at you impatiently, like a child waiting for an expected gift. \"Have you ... something for me, barbarian?\" she says.\n\n> You look\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR stands close at hand, chuckling to himself.\n\nAn ELDERLY WOMAN stands at the crest of the hill, her dry white hair fluttering delicately in the evening breeze. She REGARDS you with eyes like fire, and you can feel unbidden thoughts crawling inside your head.\n\nYou can also see YOUR OWN ARM here.\n\n> You use the OINTMENT on WITCH\nThe old woman accepts the UNGUENT, regarding it with interest. She opens it, and sniffs.\n\nShe smiles broadly. \"It is as the ancients foretold,\" she says. \"A barbarian will bring the ROYAL PSI-WITCH a gift of finest PSI-PSPICES slurried into a comforting BALM, that she might bathe deep in the comforts of her own mind while he would undo a KING most unjust ...\"\n\nShe peers at you with sudden suspicion, her eyes probing into your thoughts. \"Of course, the old prophecy is well-known,\" she says, \"and I see that VESSA THE DELICATE DOXY isn't the only one who has taken an interest in your cause.\"\n\nYou can feel her peering within your mind, and her expression is one of both amusement and disgust. \"VESSA THE DELICATE DOXY believes you are some master political strategist, the poor girl. I suppose it would be kindness to let her continue believing. It gives her a fire, and an energy that pleases me. But she is very intelligent, VESSA ... I do wonder what about you could blind her so. I wouldn't think her to have such an obvious weakness for simple fitness and savagery, but I suppose, at my age, I should be surprised by nothing.\" She REGARDS you quietly for a moment. \"Your cranium is filled with meat, my friend, and not even the finest cuts.\"\n\nYou nod grimly, thinking that this PSI-WITCH reminds you of VESSA a little, with all this prattling.\n\nShe pockets the UNGUENT. \"Still, prophecies are prophecies, and there is no rule that the truth must be a secret to remain true. Besides,\" she adds ... \"there are other signs that we HAVE kept secret: the color of your hair, the cut of your sandals, the stench of your unbath-ed form ... and all of these match. Every one. I am convinced.\"\n\nYou enjoy the breeze cutting across the LONELY HILL, and also enjoy that the PSI-WITCH isn't currently muddling your mind and sending you to the corners of the realm without your consent, as her kind are wont to do.\n\n\"Taketh some fresh CORN from the farms nearby, barbarian,\" she says, \"and feed it to the COPPER GARGOYLE in the castle, after you hath tamed it. That is the first step to unlocking the SLAVER KING'S ARCHIVES. That unlocks a hidden switch in the great HEARTH, and that becomes the second step. The rest, the DOXY has already told you.\"\n\n\"Most of the contents of the ARCHIVES will be of no interest to ... one such as you. The item you seek, however, the TRIPHASIC POWER CORE, will be easy to spot. It hums with power and it reeks of the FEAR of the SLAVER KING, who locks it there because he knows it can destroy him, and he knows not how to destroy IT.\"\n\n\"The POWER CORE is said to provide the life-force of a great TALISMAN of some kind. I know not where this treasure lies. Find the AMULET, join the CORE to it, and you will have the tool that can bring the SLAVER KING to his grave.\"\n\nYou nod, considering her words carefully. You decide that \"your cranium is filled with meat\" may be some sort of sexual advance, but surely a woman so wise would know that she is too old for you. There must be a deeper meaning still.\n\nThe PSI-WITCH chuckles. \"Begone, barbarian. And ... fare thee well.\" You feel your mind invaded by scientific waves of THOUGHT ENERGY, and you feel your feet wandering, your eyes closing, your thoughts dissolving ...\n\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): YOUR OWN ARM (sitting un-attached in the DUFFEL), a TWO-HANDED SWORD (currently un-used), the SEVENTH HOARFROST DIAMOND, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), an EAR OF CORN, a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> You use ARM\nWith a wet, nauseating CLICK, you shove YOUR OWN ARM into its socket. You give a few flexes, to make sure it's properly attached.\n\nGUNWAR the PEG-LEG DWARF arrives, grinning pleasantly. \"I might have known I'd find ye 'round the MARKETPLACE!\"\n\n> Prowess\nYou wield only your bare, callused FIST. Adjusting for your abilities and progress, you do from 14 to 19 points of damage with each successful blow. Your odds of striking true are 92% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. You are uninjured, with your full complement of 341 Hit Points. A mighty Warrior, indeed!\n\n> You wield SWORD\nFrom any but a barbarian, I would presume such a command SORCERY most perplexing! The HELP command may offer some remedy.\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 15 to 25 points of damage with each successful blow. Your odds of striking true are 92% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. You are uninjured, with your full complement of 341 Hit Points. A mighty Warrior, indeed!\n\n> You go to the north\nAn elderly LIGHTHOUSE is here (you could go IN), warning ships against the dangers of the rocky coastline. This stretch includes some soft sand as well as rocks ... a small beach looking out on the SEA OF GREAT PERIL. Over some bluffs to the immediate south, you can hear the sounds of the SLAVER KING'S harbor town. To the east are some pines.\n\nGUN stays loyally at your side.\n\n> Go east\nThis is a peaceful forest of tall pines, with a well-worn road leading west, toward the SEASHORE, and east.\n\nThere is a SOLID GOLD STATUE here, gently shaded by the PINE TREES along the side of the road. The entire area is draped in gauzy, oversized WEBS of sticky translucence.\n\nGUNWAR trails along.\n\n> Go east\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nGUNWAR follows you.\n\n> Go east\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR the PEG-LEG DWARF follows along, puffing on his pipe.\n\n> Go west\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nGUNWAR accompanies you.\n\n> Go south\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR follows just a few steps behind you.\n\n> You enter CULVERT\nGUNWAR says, \"I'd never be able to swim in there with me peg-leg, but I'll try to find another way in to meet ye.\"\n\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nThe path to the surface leads UP, but a CRAWLWAY beckons further IN from here, barely visible in the shadows.\n\n> You enter\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description. You notice people moving in the distance, but this place is so huge that your own arrival seems to have gone unnoticed by the non-GARGOYLE denizens. Just to be sure, you stick to the shadows (fortunately, there are many). An enormous flight of MARBLE STAIRS leads upward, to the THRONE ROOM.\n\nNow then ... what was that SECRET COMBINATION? Something with\nan EAR OF CORN, then something about a hearth? Or was it the trestles? And SEIZING a tapestry ... and then ASSAILING a mirror? Something about a mirror, anyway.\n\nYou notice that the floor is remarkably clean, here.\n\n> You use CORN on GARGOYLE\nYou offer the EAR OF CORN to the now-inanimate statue, ready for anything. The GARGOYLE re-animates ... but only long enough to consume the CORN with a gentle belch to follow. As the features of the GARGOYLE re-settle, they are smiling instead of scowling.\n\nGUNWAR totters into view, moving as quickly as his PEG-LEG will allow. \"I might have known ye'd be somewhere 'round the CASTLE!\"\n\n> Regard hearth\nIt is a huge fireplace, filled with a ROARING FIRE of the sort you used to toast MARSH GOBLINS in when visiting your uncle's hunting lodge as a boy.\n\n> You use the hearth\nYou find that one brick has extended itself very slightly. The brick cannot be pulled further or turned in any way, so you press it back into place, and there is a firm CLICK. You hear a whirring noise, somewhere.\n\n> You regard the mirror\nYou stand before the GIGANTIC MIRROR, and see a very handsome upland barbarian staring back with a look of naked, intense admiration. You also half-see, behind the smoky glass, movement like the spinning wheels of a SUPERCOMPUTER. You hear a distant beeping sound.\n\nWith a puff of dust, a hidden door becomes apparent. You may go IN whenever you please, barbarian.\n\n> You enter\nThis chamber is small and musty, as if even the air is not permitted to leave, lest it tell a secret. Most of the things stored here seem, to thine eyes, as dusty rubbish.\n\nIt isn't difficult to spot the exception: resting, free of dust, on a shelf all its own, the TRIPHASIC POWER CORE gleams as if lit by an entirely different world from this grim little chamber. Tiny lights on its surface blink, glitter, and chase each other like playful pups. The POWER CORE hums, sending soft and not unpleasant vibrations throughout the room. So ... this is the thing that the SLAVER KING fears.\n\nGUNWAR the PEG-LEG DWARF totters along beside you.\n\n> You regard CORE\nIt reeks of SCIENCE, but prettily so.\n\n> You seize CORE\nSeized.\n\nYou hear a soft chuckle, but know not from where.\n\n> Leave\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description. You notice people moving in the distance, but this place is so huge that your own arrival seems to have gone unnoticed by the non-GARGOYLE denizens. Just to be sure, you stick to the shadows (fortunately, there are many). An enormous flight of MARBLE STAIRS leads upward, to the THRONE ROOM.\n\nGUNWAR limps along at your side.\n\n> You use CORE\nYou gain new respect for the elders of your village, who could use a TRIPHASIC POWER CORE much more expertly than you.\n\n> You go west\nThis busy MARKETPLACE is the heart of the town, nestled against the mighty GATES of the CASTLE. You are careful to keep a low profile here, directly beneath the looming facade of the SLAVER KING'S own citadel.\n\nA lone GUARD stands watch before the GATES, staring ahead dutifully and ignoring the throng of the MARKETPLACE.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go south\nYou tread carefully, here. This is the city of the SLAVER KING, and he may have spies anywhere! Fortunately, the crowd here at the docks is a varied, noisy mass of people and creatures from all corners of Vanth. The MARKETPLACE further north surrounds the CASTLE entrance. The DARK ALLEYWAY immediately south might offer shelter if the guards come running.\n\nA GROUP OF PIRATES stands around the gangplank of a mighty PIRATE SHIP, deciding who may or may not go IN.\n\nGUN follows along.\n\n> You go south\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\nGUNWAR limps along at your side.\n\n> Enter\nGUNWAR says, \"I'd best wait here, lad. Three's a crowd in with a fine DOXY, at least until we know each other better.\"\n\nYou find yourself in a soft maze of colored veils, leading to a large bed piled with furs and cloth pillows. There are no candles or oil-lamps here, but rather globes of red glass lit by magic, pulsing with the rhythm of soft music.\n\nVESSA is here, sprawled across the bed and grinning at you, invitingly.\n\n> Parley with VESSA\nVESSA snuggles against you playfully. \"Welcome back, heroic barbarian. Oh, I so wish that my DOXY CODE OF COMMERCE did not forbid me from taking you for my own selfish pleasures, or I would leap upon you this instant.\" She pouts, but then brightens. \"Fortunately, I am confident in your ability to bring me treasures more than suitable for payment.\"\n\n> You use CORE on VESSA\nVESSA smiles, and gently caresses the TRIPHASIC POWER CORE. \"Oh, barbarian, that's a very wicked thought, and you know I'd\nadore taking you to my bed, but really, that isn't respectful payment for what I can offer you.\" Her smile brightens. \"If you bring me some proper payment, it might be fun if you bring the TRIPHASIC POWER CORE along as well ...\"\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a TRIPHASIC POWER CORE, YOUR OWN ARM (attached to you), a TWO-HANDED SWORD (held at the ready), the SEVENTH HOARFROST DIAMOND, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> You use DIAMOND on VESSA\nVESSA accepts the DIAMOND and holds it up to the light, smiling brightly. Then, her smile dissolves into a look of astonishment. She hefts it experimentally. \"145.27 carats!\" she declares. Producing a jeweler's loupe and fitting it to her eye, she stares ... \"Softly smoked blue, Hobling-Emperor-Oval cut, 74 facets ...\" she angles it slightly and examines the light passing through it. \"Dispersion is just about right, too!\"\n\nShe leaps into your arms. \"How did you KNOW? Barbarian, my life's secret quest is to collect the twenty HOARFROST DIAMONDS! I had only two of them ... but now I have the famed 'Icy Star of the Mutated Slime-Empress,' the SEVENTH HOARFROST DIAMOND! You must have battled the most ferocious monsters in all the realm to win such a prize for me!\" Overcome with excitement, she hits you hard in the nose in her haste to rip her clothes off and have you in her bed.\n\n... Approximately three days (and many exhausting pleasures) later, VESSA THE DELICATE DOXY snuggles naked against you, having turned away dozens of customers, including an angry group of soldiers demanding her presence in the THRONE ROOM of the SLAVER KING himself. For your own part, you are well pleased, slightly dehydrated, and confused on the subject of your own name, when the DOXY speaks:\n\n\"Barbarian, I cannot thank you enough for allowing me to act as your agent. Life in your spy network is more thrilling than almost anything I've ever experienced!\" She runs a finger gently across your muscled jaw, \"... almost anything.\"\n\nShe sits up on the bed, has a good stretch, then collapses back against you, laughing. \"The most unusual development of late has been the amazing work of PROFESSOR MEGARIAN ...\" Noticing the look in your eye, she adds \"No need to be shy about it, my stallion, my charger, my Haragornian thoroughbred ... the PROFESSOR knows he can confide in fellow disciples of your revolutionary movement.\"\n\nYou pause to consider this, and nod, because it means little.\n\n\"He is a man of very powerful SCIENCE,\" she muses. \"He has been working on methods to send objects backward in time, so that they could be found and used by those living in the distant past, or even preserved in hidden locations until otherwise needed. Isn't that fascinating?\"\n\nYou admire how her naked stomach moves when she squirms in excitement.\n\n\"Oh, and he sent this for you,\" she says, handing you a CRIMSON POTION. \"He says to save it for your battle with the SLAVER KING, and to waste it not. I told him that there's no need to instruct a man such as you; you will always do what's right.\" She puts one leg over you, and bites playfully on your thrice-broken barbarian nose.\n\nSensing an opportunity to end the chatter, you draw her to you and remind her what a DOXY and a barbarian do when a warm bed lay beneath them. She requires little reminding, and your shared passions are so great that you wonder if the ALLEY HOBLINGS have their ears pressed to the walls to behold the DOXY'S plaintive gasps and joyous squealings.\n\n... Many more hours (and etc) later, you emerge from the DOXY's chambers, sated and well-pleased, and scented with jasmine and feminine ardour.\n\nPlaces like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.\n\nGUNWAR stands close at hand, humming an old Dwarf mining song.\n\nLight shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a CRIMSON POTION, a TRIPHASIC POWER CORE, YOUR OWN ARM (attached to you), a TWO-HANDED SWORD (held at the ready), a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> You regard the potion\nIt sayeth upon the CRIMSON POTION only this: \"Healing As Per Snow-Serpent Meat But Without Mutating Side-Effects.\" It soundeth handy.\n\n> Go south\nThis dismal GRAVEYARD sits on a hill cloaked in mist, overlooking the SLAVER KING'S seedy SEAPORT to the north. There are hundreds of gravestones, some cracked with centuries of age, some quite new. There is a single large TOMB that a brave soul might choose to ENTER.\n\nGUNWAR follows you.\n\n> Go east\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR follows just a few steps behind you.\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nThere is a thunderous report of hoofbeats, and the HEADLESS HORSEMAN rides upon the LONELY HILL with a glowing JACK-O-LANTERN under one arm and a CUTLASS OF FIRE in the other!\n\nThe HEADLESS HORSEMAN attacks! You have suffered 47 hits of\ndamage!\n\nGUNWAR the PEG-LEG DWARF stays loyally at your side.\n\n> Assail HORSEMAN\nTaste barbarian rage, HEADLESS HORSEMAN! You scored 23 points of damage!\n\nWith a hollow HALLOWEEN LAUGH from the JACK-O-LANTERN at his side, the HEADLESS HORSEMAN attacks! You have suffered 24 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 39 Hit Points.\n\n> Assail HORSEMAN\nSa-ho! You give the HEADLESS HORSEMAN a sampling of your TWO-HANDED SWORD, but good! You scored 19 points of damage!\n\nHis wicked CUTLASS OF FIRE burns thy flesh! You have suffered 47\nhits of damage!\n\nGUNWAR applies his healing arts, restoring 46 Hit Points.\n\n> Assail HORSEMAN\nBy Huron's habile handmaidens! Thou hast missest!\n\nYou are overtaken, and the HOOVES of the BLACK STEED do their\nwork! You have suffered 44 hits of damage!\n\nGUNWAR applies his healing arts, restoring 33 Hit Points.\n\n> Assail HORSEMAN\nYou attack! You scored 21 points of damage!\n\nHis wicked CUTLASS OF FIRE burns thy flesh! You have suffered 35\nhits of damage!\n\nGUNWAR applies his healing arts, restoring 26 Hit Points.\n\n> Assail HORSEMAN\nYou leap, and strike! You scored 17 points of damage!\n\nWith a hollow HALLOWEEN LAUGH from the JACK-O-LANTERN at his side, the HEADLESS HORSEMAN attacks! You have suffered 21 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 28 Hit Points.\n\n> Assail HORSEMAN\nBy Huron's bristliest back hairs! A mighty blow! You scored 17\npoints of damage!\n\nYou are overtaken, and the HOOVES of the BLACK STEED do their\nwork! You have suffered 26 hits of damage!\n\nGUNWAR applies his healing arts, restoring 28 Hit Points.\n\n> Assail HORSEMAN\nBy Huron's indigestible excretions, your TWO-HANDED SWORD lands\nhome! You scored 18 points of damage!\n\nThe HEADLESS HORSEMAN attacks! You have suffered 46 hits of\ndamage!\n\nGUNWAR applies his healing arts, restoring 38 Hit Points.\n\n> Assail HORSEMAN\nYou lunge deep, and strike! You scored 21 points of damage,\nleaving the HEADLESS HORSEMAN at your mercy!\n\nThe HEADLESS HORSEMAN is defeated!\n\nAs the HORSEMAN wails his last, tortured wail and evaporates into the evening breeze, his JACK-O-LANTERN bursts into fetid chunks, his CUTLASS OF FIRE flickers to nothingness, and his BLACK STEED turns, galloping away into the approaching night sky. The LONELY HILL is quiet once more, with naught to see but the distant lights of the TOWN.\n\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR is nearby, brushing his teeth with his finger.\n\n> You go to the south\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUNWAR totters along beside you.\n\n> You go east\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> Go inside\nWhat a strange place! The walls are made of stone braced with a dull blue metal, and there are piles of humming MACHINERY here, all centered on a GLOWING PEDESTAL.\n\nSitting on the pedestal is the AMULET of SCIENCE.\n\nGUNWAR the PEG-LEG DWARF sticks close, keeping an eye out for danger.\n\nThe stillness of this indoor air is unsettling.\n\n> You use CORE on AMULET\nAs your hand approacheth the fabled AMULET of SCIENCE, there is a stream of light from the TRIPHASIC POWER CORE. In response, the AMULET becomes more solid, right before your eyes, and then warmly in your mighty grasp! The POWER CORE, seeking its rightful home, dissolves into the AMULET causing it to shine with brilliant coruscating light! The AMULET of SCIENCE is thine!\n\n\"Put it on, lad! Put it on!\" urges GUNWAR.\n\n> You seize AMULET\nWhy SEIZE what hast already been SEIZED? 'Tis a matter philosophical upon which to direct thy barbaric ponderings.\n\n> You use AMULET\nYou place the AMULET of SCIENCE around your neck, and there is an immediate warmth. For a moment, your vision blurs, as the AMULET begins to generate an almost-invisible bubble of shimmering prismatic force around you. After only a second, the bubble fades to invisibility, but you can still feel its presence.\n\n> Prowess\nYou wield the TWO-HANDED SWORD. Adjusting for your abilities and progress, you do from 15 to 25 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 850 Hit Points. A mighty Warrior, indeed!\n\n> Inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): an AMULET of SCIENCE (being worn), a CRIMSON POTION, YOUR OWN ARM (attached to you), a TWO-HANDED SWORD (held at the ready), a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> Go outside\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUN follows along, puffing on his pipe.\n\n> You use ARM\nWith a sickening thhhhhWICK sound, you tug YOUR OWN ARM from\nits socket and place it in your THESKIAN DUFFEL BAG.\n\nThe TWO-HANDED SWORD falls to the ground with a thud.\n\n> Wield ARM\nPrithee pardon, barbarian? The HELP command may offer some remedy."
    },
    {
        "text": "[Themes: Fantasy, mutation, sidekick NPC, fantasy, humor, Comedy, pirate, cyborg, silly, barbarian]\n\n> You describe your surroundings\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nGUNWAR is here, whistling a jaunty sailors' tune.\n\nYou can also see a TELEPHONE POLE here.\n\n> Regard ARM\nIt is the same ARM you've always had attached to your right shoulder ... except now, such attachment seems to have become optional. You feel a bit nauseous thinking about it.\n\n> You use ARM\nWith a sickening thhhhhWICK sound, you tug YOUR OWN ARM from\nits socket and place it in your THESKIAN DUFFEL BAG.\n\nThe TWO-HANDED SWORD falls to the ground with a thud.\n\nSome clouds near the horizon have thinned, and you can almost make out the first stars of twilight.\n\n> You go to the north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR the PEG-LEG DWARF trails along.\n\n> You go north\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUNWAR follows along.\n\n> Go east\nA gentle breeze ripples the sparse grasses here, under a blood-red sun. There are many paths. You see mountains to the distant east. You feel a manly twitching in your thews, enlivened by the freedom of the open country.\n\nGUNWAR the PEG-LEG DWARF accompanies you.\n\n> Go north\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\nFor just a moment, you see the shadow of a huge, winged creature, silhouetted against one of the snowy peaks of the BLEAK MOUNTAINS.\n\n> Go north\nThe SLAVER KING maintains this plank-paved highway for the good of his fat merchants, using slave labor. It is built on the backs of your people, and of any others his slave-catchers can beat into submission. Legend has it that a part of this road runs all the way distant to the UNKNOWN HIGHWAY! From here, however, it runs east to an ABANDONED QUARRY, and west into the pine-woods north of the CASTLE.\n\nGUNWAR the PEG-LEG DWARF accompanies you.\n\n> You go east\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR stays loyally at your side."
    },
    {
        "text": "> Go downward\nGUNWAR says, \"That steep PIT'S no good for me peg-leg, friend, but I'll wait here for ye.\"\n\nSa-ho! By Huron's irrepressible appetites, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nAn OPULENT TENT has been erected nearby, in which the MASTER GLADIATOR can repose and hold court (you are certain you would be welcome to go IN as you please).\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Go inside\nThis small tent has all the comforts a TENT can offer, including beautifully muted light provided by the black fabric walls.\n\nThe MASTER GLADIATOR is here, in repose from his revels.\n\n> Parley with GLADIATOR\nThe MASTER GLADIATOR welcomes your company, and you while away the hours discussing great battles and campaigns, terrible monsters, alluring wenches, and tales of great treasures. You speak also of the SLAVER KING, and of this the MASTER GLADIATOR sayeth:\n\n\"Know ye this, mighty barbarian, we have watchmen observing the CASTLE at all times, and when there is sign of mischief or battle there, we will arrive to aid you against the SLAVER KING. Thanks be to you for this hope of freedom in a realm that knoweth only servitude, and thanks be to you for making all of us better Warriors than once we were! You will reap the rewards of your deeds, barbarian, and I have faith that you will reap the sorry SKULL of the wretched SLAVER KING.\"\n\n> You use ARM on GLADIATOR\nThe MASTER GLADIATOR smiles at your request \"Sa-ho! Indeed, I am a LIMB TRADER MUTANT, and I see that you are, too! If it will serve the cause, barbarian, then I will gladly trade my strong CYABORG ARM for your own able limb. But I do want to trade back, when the SLAVER KING is dead, eh?\"\n\nWith that, he tugs his CYABORG ARM free, and trades with you. He attaches YOUR OWN ARM with a wet THWICK sound and a metallic hum, and flexes it experimentally. \"You must definitely SEIZE the BLACK BANNER at some point soon, barbarian. It would be most amusing for us to do battle with one another's limbs attached!\"\n\nagain, and with all that you have fought and achieved in this realm, you will soon be MORE than you once were! Sa-ho!\n\nNow, this vile SLAVER KING no longer faces a broken-down thrall, beaten and starved into weakness, but a man of METTLE, a barbarian Warrior of vengeful MIGHT! The SLAVER KING now faces his DOOM!\n\n> Prowess\nYou wield only your bare, callused FIST. Adjusting for your abilities and experience, you do from 15 to 20 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 857 Hit Points. A mighty Warrior, indeed!\n\n> You check what you're carrying\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a CYABORG ARM (sitting un-attached in the DUFFEL), a TWO-HANDED SWORD (currently un-used), an AMULET of SCIENCE (being worn), a CRIMSON POTION, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> You use CYABORG ARM\nWith a wet, nauseating CLICK, you shove the CYABORG ARM into its socket. You give a few flexes, to make sure it's properly attached.\n\n> Prowess\nYou wield only your bare, callused FIST. Adjusting for your abilities and experience (and further enhanced by your mighty CYABORG ARM), you do from 29 to 34 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 857 Hit Points. A mighty Warrior, indeed!\n\n> You leave\nSa-ho! By Huron's unseemly advances, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nAn OPULENT TENT has been erected nearby, in which the MASTER GLADIATOR can repose and hold court (you are certain you would be welcome to go IN as you please).\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> You seize BLACK\nAs you pluck the BLACK BANNER from the CHALLENGE POST, the assembled rowdies cheer as they've never cheered before! You are ushered into the gladiator's ring, where you stand face-to-face with the imposing MASTER GLADIATOR!\n\nYou take a moment to REGARD your opponent ... The MASTER GLADIATOR was once human, but now he is plainly both a MUTANT and a CYABORG, with several portions of his body replaced by ROBODROID parts, glittering with the lights of SCIENCE! His right ARM is quite familiar - it was once your own! His weapons are twin GRAVITY WHIPS. He smiles an easy, confident smile as he REGARDS you in return.\n\n\"Let us begin\" he says.\n\n> Assail GLADIATOR\nA skillful attack if you do say so yourself! You scored 29 points\nof damage!\n\nface! You have suffered 23 hits of damage!\n\n> Assail GLADIATOR\nYou hit hard, snarling with rage! You scored 30 points of\ndamage!\n\nThe MASTER GLADIATOR attacks! You have suffered 19 hits of\ndamage!\n\n> Assail GLADIATOR\nSa-ho! A mighty attack! You scored 30 points of damage!\n\nThe MASTER GLADIATOR attacks with both GRAVITY WHIPS at once, crossing their paths and creating a deadly SONIC BOOM! You have suffered 15 hits of damage!\n\n> Assail GLADIATOR\nYour foe is astonished by your speed as you strike hard! You\nscored 34 points of damage!\n\nThe MASTER GLADIATOR attacks! You have suffered 22 hits of\ndamage!\n\n> Assail GLADIATOR\nBy Huron's inscrutable Bridge partners, a fine hit! You scored 32 points of damage!\n\nOne GRAVITY WHIP pulls you momentarily from your feet, while the second scars your flesh! You have suffered 14 hits of damage!\n\n> Assail GLADIATOR\nCurses! A miss!\n\nThe MASTER GLADIATOR misses! He chuckles. \"You are quick, barbarian, to avoid the sting of my GRAVITY WHIPS!\"\n\n> Assail GLADIATOR\nYou attack with all your might! You scored 34 points of\ndamage!\n\nface! You have suffered 21 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's truculent toe-demon, you strike hard and true! You\nscored 32 points of damage!\n\nWith an agile leap high into the air, the MASTER GLADIATOR strikes from on high! You have suffered 16 hits of damage!\n\n> Assail GLADIATOR\nBy Huron's unsurvivable singing voice, a blow to be remembered!\nYou scored 33 points of damage!\n\nWith a snarl of enthusiasm, the MASTER GLADIATOR employs the LAWS OF SCIENCE in his attack! You have suffered 14 hits of damage!\n\n> Assail GLADIATOR\nYou lash out with the rage of your barbarian ancestors! You scored\n34 points of damage, leaving the MASTER GLADIATOR at your mercy!\n\nThe MASTER GLADIATOR is defeated!\n\nWith your final blow, The MASTER GLADIATOR flies backward, sliding across the gravel, the lights on his body dimmed in defeat!\n\nThe crowd erupts in cheers, and you accept their ale and accolades. Extending the hand of fellowship to your foe, you help The MASTER GLADIATOR to his feet, and he accepts gratefully. \"A true pleasure, my esteemed foe. It is rare that I am treated to a genuine workout, let alone such a beating.\"\n\nThe crowd cheers again, and you nod in silent assent. The MASTER GLADIATOR nods, too, and wanders away to repair and heal. The crowd returns to their revels.\n\nSa-ho! By Huron's nubile seamstresses, this is a party! Here in this GRAVEL PIT, a collection of rowdies and jackanapes have made an outlaw camp, with drink and music and fighting galore! The center of attention seems to be a GLADIATOR'S RING.\n\nAn OPULENT TENT has been erected nearby, in which the MASTER GLADIATOR can repose and hold court (you are certain you would be welcome to go IN as you please).\n\nYou see a nearby CHALLENGE POST, and a PARTY OF ROGUES stands by, engaged in revels and high jinks.\n\n> Up\nThis vast pit stands in the shadow of the snow-capped mountains to the east. It was here that the great stones were quarried to build the CASTLE of the SLAVER KING, and the walls of the nearby harbor town. The site is long-abandoned, or so it's told ... But you hear a riotous and happy din DOWN in the GRAVEL PIT.\n\nGUNWAR stands close at hand, scratching a phantom itch on his peg-leg.\n\n> Go south\nThe pine trees have the first dustings of winter, here, and you espy much more snow to the east, in the FROSTED UPLANDS. The runoff feeds a briskly-flowing stream, which flows west toward the CASTLE. Marshier country lay to the south.\n\nGUN follows along, puffing on his pipe.\n\n> Go south\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUN trails along.\n\n> Go south\nThe forest here is mucky and warm, surrounding a sinkhole filled with iridescent, gently glowing water. Some huge PIPES lead from here into the ground, and they drip with a similar strange water. There is a foul electric odor here, and your vision swims. You can feel your body being overtaken by weakness!\n\nThe BLUE END OF THE CABLE is here, sparking quietly with excess electrophasic power.\n\nThe RED END OF THE CABLE is here, suspended securely in the glowing water of the SUMP.\n\nYou are weakening so quickly ... Your barbarian instinct is to get far from here ...\n\nGUNWAR the PEG-LEG DWARF trails along.\n\n> Go south\nA high WATERFALL cascades down from a mountain ridge above, foaming and roaring into a broad POOL of clean water. The result is a brilliant PRISMATIC SPRAY. The setting is very peaceful.\n\nGUNWAR follows you.\n\nYou spot a school of deadly SKY PIRANHA approaching on high, and take cover for a moment, until they fly past.\n\n> Go west\nThis is the edge of a great cliff, looking over a vast CHASM to the south. The mists are so heavy within that you can barely detect a raging river far, far below.\n\nA tiny TREE clings tenaciously to the edge of the cliff.\n\nGUNWAR totters along beside you.\n\n> You seize the tree\nIt clings quite tenaciously. Besides, you have no use for it.\n\n> You go to the west\nCracked remnants of walls and a stretch of weed-grown cobblestones tell of an old temple or abbey ... perhaps even a village. Whatever it was, it now lies in ROCKY RUIN. Poking through the remnants, you notice a shadowy archway leading IN to one small structure that remains intact.\n\nYou can see a TELEPHONE POLE here.\n\nGUN limps along at your side.\n\n> Prowess\nYou wield only your bare, callused FIST. Adjusting for your abilities and experience (and further enhanced by your mighty CYABORG ARM), you do from 29 to 34 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 867 Hit Points. A mighty Warrior, indeed!\n\n> You use POLE\nYou heft the TELEPHONE POLE in your mighty hand, prepared for battle!\n\n> Prowess\nYou wield the TELEPHONE POLE. Adjusting for your abilities and experience (and further enhanced by your mighty CYABORG ARM), you do from 30 to 68 points of damage with each successful blow. Your odds of striking true are 94% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 867 Hit Points. A mighty Warrior, indeed!\n\n> You check your inventory\nYou bear the following (both on your person and stashed in your trusty THESKIAN DUFFEL BAG): a TELEPHONE POLE (held at the ready), a CYABORG ARM (attached to you), a TWO-HANDED SWORD (currently un-used), an AMULET of SCIENCE (being worn), a CRIMSON POTION, a SUIT OF BURLAP ARMOR (currently un-used), a SUIT OF CHAINMAIL ARMOR (currently un-used), a SUIT OF KLENGON MAIL (currently un-used), a FLASHLIGHT, a SUIT OF IMPERVIUM PLATE-MAIL ARMOR (being worn) and a DELICATELY-OILED CLOTH.\n\n> Go north\nForest surrounds this hill on all sides, but there are no trees at the top - only grass and a few sad flowers, bending toward the setting sun. You see farmland to the north, and the CASTLE of the SLAVER KING looming high above. To the west is the harbor TOWN, but there's no good path from here.\n\nGUNWAR the PEG-LEG DWARF follows along.\n\n> You go north\nA humble WELL provides a centerpiece for this quiet place, surrounded by farmland providing food for the port town to the west. To the north, the shadow of the SLAVER KING'S CASTLE blots out part of the evening sky, but there's no path there from here.\n\nGUN trails along.\n\n> You go north\nThis ancient bridge crosses a stream running down from the uplands to the east, and disappearing into a small CULVERT leading IN at the base of a cliff. This cliff, and the SLAVER KING'S CASTLE atop it, casts an icy shadow over the bridge. There is no path to the CASTLE from here, but the ROYAL ROAD lies to the north.\n\nGUNWAR sticks close, keeping an eye out for danger.\n\n> You enter CULVERT\nGUNWAR says, \"I'd never be able to swim in there with me peg-leg, but I'll try to find another way in to meet ye.\"\n\nSLAVE PENS (ON CATWALK)\nAs the DOXY foretold, deep into the CULVERT there is a stone platform, and a ladderwell leading into a vast underground chamber ... a chamber of torture and woe! For here, from a high CATWALK, strewn with discarded metal junk, you can see hundreds of the SLAVER KING'S captured workers: Humans, Vulkins, Frankensteins, Robodroids and more!\n\nSome are shattering rocks with hammers, some are providing motive power for large wooden wheels, some are being whipped or burned by the many burly GUARDS. You cannot be seen from your current vantage point, but if you were to venture into the PENS you would once again be a slave, yourself.\n\nThe path to the surface leads UP, but a CRAWLWAY beckons further IN from here, barely visible in the shadows.\n\n> Go inside\nYou stand in a central hall of the CASTLE of the SLAVER KING, surrounded by opulent FURNISHINGS of every description. You notice people moving in the distance, but this place is so huge that your own arrival seems to have gone unnoticed by the non-GARGOYLE denizens. Just to be sure, you stick to the shadows (fortunately, there are many). An enormous flight of MARBLE STAIRS leads upward, to the THRONE ROOM.\n\n> You wait awhile\nYou pause in manly contemplation.\n\nGUNWAR arrives, grinning pleasantly.\n\n> You use GUNWAR\nWith a sweep of your mighty CYABORG ARM, you lift GUNWAR into the air. \"Sa-ho!\" he cries, happily. \"The next best thing to being a Warrior (of perhaps half your Level) is being a WEAPON!\"\n\nYou hang the TELEPHONE POLE at your side, and grasp instead the RUNE-CARVED PEG-LEG DWARF, prepared for battle!\n\nThe stillness and heaviness of the indoor air is unpleasant to breathe.\n\n> Prowess\nYou wield the RUNE-CARVED PEG-LEG DWARF. Adjusting for your abilities and experience (and further enhanced by your mighty CYABORG ARM), you do from 34 to 64 points of damage with each successful blow. Your odds of striking true are 89% (burdened somewhat by your load). Your armor is the SUIT OF IMPERVIUM PLATE-MAIL ARMOR, which increases your Hit Points by 245%. You are versed in the useful lore of SULDUKU BREATHING. Finally, you wear the fabled AMULET of SCIENCE, which increases your Hit Points by 135%. You are uninjured, with your full complement of 867 Hit Points. A mighty Warrior, indeed!\n\n> Up\nYou stand before and beneath the THRONE of the realm. Peering\nupward, your eyes can barely espy the room's loftiest reaches, high in the smoky darkness.\n\nSeated on the THRONE, and glaring down at you from a great height, is the figure of the SLAVER KING himself, a monarch few outside his court have seen and lived. As he leans forward from the shadows to REGARD you, you see why so few have lived!\n\nLong have your people told tales of the GIANT ATOMIC DINOSAURS that roam in the wilder reaches of VANTH. Even great and savage HURON, the GOD OF BEING A VERY MIGHTY GOD, was devoured by such a beast, earning their race the name of \"ZILLA\" - meaning \"EATER\" in the ancient GODLY TONGUE.\n\nEven the great FOOT-CLAWS of this GOD-EATER rise beyond your reach, and as the SLAVER KING stands from his THRONE, you see that his TAIL is so vast it could flatten the city MARKETPLACE. Long have you wondered why the CASTLE was so very tall, thinking it only the hubris of royalty.\n\nWith a great inhuman roar, like a hundred SEA-MONSTERS having their scales scraped off with noisy metal scrap, the SLAVER KING raises a drum-loaded TOMMYGUN in his right claw, the barrel gleaming cold and black in the smoky half-darkness.\n\nWith his left claw, he grasps a CYLINDER ... like a giant FLASHLIGHT fashioned of steel. Pressing a button along its edge, he unleashes a BLADE OF PURE ENERGY, and turns it this way and that, with each swish sounding an unpleasant HUM. It is none other than a PHASIC PRISMATIC SWORD, a sword-without-blade!\n\nHe roars again, and PHASIC HELLFIRE rises from his nostrils. He stands proudly, as if daring you to strike.\n\n> Assail godzilla\nBy Huron's laudable lechery! A mighty blow! You scored 42 points\nof damage!\n\nGUNWAR shouts \"Aye, taste my wicked RUNE-CARVINGS, SLAVER KING!\"\n\nThe SLAVER KING attacks, tearing at you with his mighty\nfoot-claws! You have suffered 69 hits of damage!\n\n> Assail godzilla\nBy Huron's capricious cat-cravings, a fine hit! You scored 36\npoints of damage!\n\nGUNWAR laughs \"That'll larn ye, SLAVER KING!\"\n\nWith a spray of DEMONIC LEAD from his TOMMYGUN and a swat from his mighty TAIL, the SLAVER KING attacks! You have suffered 42 hits of damage!\n\n> Assail godzilla\nBy Huron's boundless eyebrow, your RUNE-CARVED PEG-LEG DWARF lands home! You scored 44 points of damage!\n\n\"Teamwork, me hearty! 'Tis a glory to behold!\" cries GUNWAR, twirling his BLACK HOLE METAL AXE to counterbalance your swing.\n\nThe SLAVER KING slings you across the THRONE ROOM, and you hear stone CRACK as you slam into the cold stone wall! You have suffered 34\nhits of damage!\n\n> You use POLE\nYou set GUNWAR down, and grasp instead the TELEPHONE POLE, prepared for battle!\n\nWith a mighty THRUM and a deadly HUM, the SLAVER KING carves into you with his PHASIC BLADE of pure, annihilating light! You have\nsuffered 68 hits of damage!\n\nGUNWAR regains his footing and dusts himself off. \"It's good to stretch me good leg a bit\" he says, \"but if you ever need to wield me again, lad, I don't mind at all!\"\n\nThe SLAVER KING eyes GUNWAR with a contemptuous growl, and inhales deeply. Before you can warn your DWARF companion, the great ATOMIC DINOSAUR unleashes a BLAST OF PHASIC RADIATION from his maw.\nYou dodge the blast in the stonework ... but GUNWAR, screaming and attempting to run with an old peg-leg, is overtaken, killed in one painful instant.\n\nAll that survives of GUNWAR is his most prized possession ... the BLACK HOLE METAL AXE, which skitters across the smooth flagstones and lands at your feet, black smoke coiling from its demonic surfaces. You pick it up, and the SLAVER KING chuckles, a cruel and bestial sound.\n\n> Assail godzilla\nYou attack! You scored 58 points of damage!\n\n\"Sa-ho!\" cries GUNWAR, gleefully.\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYour foe is astonished by your speed as you strike hard! You\nscored 47 points of damage!\n\n\"Ouch! Lead with me PEG-LEG, boy! Me PEG-LEG!\"\n\nWith a mighty THRUM and a deadly HUM, the SLAVER KING carves into you with his PHASIC BLADE of pure, annihilating light! You have\nsuffered 27 hits of damage!\n\n> Assail godzilla\nYou attack with all your might! You scored 54 points of\ndamage!\n\n\"That's what a RUNE-CARVED DWARF feels like, ye maggoty SLAVER KING!\"\n\nThe SLAVER KING sweeps the entire THRONE ROOM with his TAIL, and you are sent flying! You have suffered 64 hits of damage!\n\n> Assail godzilla\nYou hit hard, snarling with rage! You scored 63 points of\ndamage!\n\n\"Woofta!\" says GUNWAR.\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nYou could have sworn your aim was true, but your quarry was already elsewhere! A miss!\n\nThe SLAVER KING puts his foot down ... with you beneath it! You\nhave suffered 70 hits of damage!\n\n> Assail godzilla\nYour attack is too hasty, and it fails!\n\nThe SLAVER KING takes aim with his TOMMYGUN, and empties a DRUM in your direction! You have suffered 38 hits of damage!\n\n> Assail godzilla\nA skillful attack if you do say so yourself! You scored 63 points\nof damage!\n\n\"I haven't had this much fun in ages!\" says GUNWAR.\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nBy Huron's rudimentary spore-pustules, you strike hard and true!\nYou scored 37 points of damage!\n\nGUNWAR cries \"Avast ye, scurvy SLAVER KING!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYou lunge deep, and strike! You scored 45 points of damage!\n\n\"Owie!\"\n\nThere is a FLASH OF DEATH from the SLAVER KING'S bright PHASIC BLADE, and then another! You have suffered 69 hits of damage!\n\n> Assail godzilla\nSa-ho! You give the SLAVER KING a sampling of your RUNE-CARVED PEG-LEG DWARF, but good! You scored 62 points of damage!\n\n\"Oh, I really FELT that one!\" says GUNWAR, happily.\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nBy Huron's seven sonic saprophytes, a blow to be remembered! You scored 52 points of damage!\n\nGUNWAR shouts \"That's it, lad! Give 'em what-for!\"\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nYou lash out with the rage of your barbarian ancestors! You scored\n40 points of damage!\n\n\"Way to KEEL-HAUL that blackguard SLAVER KING, lad!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nBy Huron's indefensible tirades! Thine aim hath failed thee!\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYou leap, and strike! You scored 60 points of damage!\n\n\"BREATHE, ye great atomic moron! We LIKES it when ye BREATHE!\"\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nTaste barbarian rage, SLAVER KING! You scored 35 points of\ndamage!\n\nGUNWAR roars with laughter \"Oh, it's GOOD to be in a fray once more!\"\n\nWith a spray of DEMONIC LEAD from his TOMMYGUN and a swat from his mighty TAIL, the SLAVER KING attacks! You have suffered 63 hits of damage!\n\n> Assail godzilla\nSa-ho! A mighty attack! You scored 61 points of damage!\n\n\"Atta boy, lad! ATTA BOY!\"\n\nThe SLAVER KING sweeps the entire THRONE ROOM with his TAIL, and you are sent flying! You have suffered 29 hits of damage!\n\n> Assail godzilla\nA thousand curses on these foolish percentile dice! A miss!\n\nThe SLAVER KING takes aim with his TOMMYGUN, and empties a DRUM in your direction! You have suffered 73 hits of damage!\n\n> Assail godzilla\nBy Huron's nictitating hindbrain, a fine hit! You scored 39 points\nof damage!\n\n\"Sa-ho! SA-VERY-MERRY-HO!\"\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nYou hit hard, snarling with rage! You scored 52 points of\ndamage!\n\n\"Sa-ho! SA-VERY-MERRY-HO!\"\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nSa-ho! A mighty attack! You scored 43 points of damage!\n\n\"Ouch! Lead with me PEG-LEG, boy! Me PEG-LEG!\"\n\nThe SLAVER KING puts his foot down ... with you beneath it! You\nhave suffered 89 hits of damage!\n\n> Assail godzilla\nBy Huron's sacred codpiece! A mighty blow! You scored 47 points of damage!\n\nGUNWAR shouts \"Aye, taste my wicked RUNE-CARVINGS, SLAVER KING!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYour foe is astonished by your speed as you strike hard! You\nscored 39 points of damage!\n\n\"Atta boy, lad! ATTA BOY!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYou lunge deep, and strike! You scored 35 points of damage!\n\n\"Sa-ho!\" cries GUNWAR, gleefully.\n\nThe SLAVER KING pauses to regard you, glaring at you with eyes like phasic hellfire and stomping in agitation.\n\n> Assail godzilla\nBy Huron's Paphian parables, you strike hard and true! You scored\n52 points of damage!\n\n\"BREATHE, ye great atomic moron! We LIKES it when ye BREATHE!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nBy Huron's propitiatory pustules, your RUNE-CARVED PEG-LEG DWARF lands home! You scored 49 points of damage!\n\nGUNWAR laughs \"That'll larn ye, SLAVER KING!\"\n\nThere is a FLASH OF DEATH from the SLAVER KING'S bright PHASIC BLADE, and then another! You have suffered 74 hits of damage!\n\n> Assail godzilla\nYou lash out with the rage of your barbarian ancestors! You scored\n58 points of damage!\n\n\"Oh, I really FELT that one!\" says GUNWAR, happily.\n\nWith a mighty THRUM and a deadly HUM, the SLAVER KING carves into you with his PHASIC BLADE of pure, annihilating light! You have\nsuffered 52 hits of damage!\n\n> You use the potion\nYou consume the CRIMSON POTION, and feel an immediate sense of well-being.\n\nThe SLAVER KING slings you across the THRONE ROOM, and you hear stone CRACK as you slam into the cold stone wall! You have suffered 53\nhits of damage!\n\n> Assail godzilla\nYou attack with all your might! You scored 35 points of\ndamage!\n\n\"That's what a RUNE-CARVED DWARF feels like, ye maggoty SLAVER KING!\"\n\nThe SLAVER KING attacks, tearing at you with his mighty\nfoot-claws! You have suffered 66 hits of damage!\n\n> Assail godzilla\nYou attack! You scored 51 points of damage!\n\n\"I haven't had this much fun in ages!\" says GUNWAR.\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nSa-ho! You give the SLAVER KING a sampling of your RUNE-CARVED PEG-LEG DWARF, but good! You scored 52 points of damage!\n\nGUNWAR shouts \"That's it, lad! Give 'em what-for!\"\n\n... and then there is roaring noise from the CASTLE chambers below, and the doors to the THRONE ROOM fly open! The noise of the BATTLE has brought the entire REALM, it seems, to witness the outcome.\n\nYour friend the ROBODROID arrives, leading a rag-tag company of his fellow mechanical men, each armed with weapons they've fashioned from found scrap, and from each others' bodies!\n\n\"There,\" says the ROBODROID calmly, pointing toward HIS MAJESTY. \"Kill it.\" While his manner is cold, you think you can almost sense the inner rage of the VOLTAIC WRAITH which crackles in his robotic heart.\n\nWith your mechanical ally in the lead, the ROBODROIDS begin to ASSAIL the SLAVER KING with a terrifying hail of gunfire, lances of energy, loosed ROCKETS, even a few volleys of STEEL ARROWS. The mighty ATOMIC DINOSAUR is bloodied and battered by the assault, but sweeps the ROBODROIDS aside with a lashing of his tail, and fuses them into slag with his RADIO-PHASIC BREATH FIRE.\n\nYou are pleasantly surprised to see the ACOLYTE OF TRAGA stride forward from the crowd, with GINA THE VIRGIN SACRIFICE at his side (still naked and gleaming with ANOINTING OIL, but now armed with a pair of BROOMHANDLE MAUSERS holstered in her only \"clothing\" - a low-slung leather GUN-BELT).\n\nRaising the GLADIUS SWORD you gave him high, the ACOLYTE hails you. \"Greetings, barbarian! With the SLAVER KING doomed to die, I no longer need to sacrifice GINA, and we can now prepare to be married, instead!\" GINA blushes prettily (all over, you notice) and opens fire on the SLAVER KING, as her beloved ACOLYTE charges to engage in melee.\n\nSadly, the SLAVER KING vanquishes them both, knocking GINA into the side of a stone pillar with an unpleasant cracking noise, and carving into the ACOLYTE with his light blade. The blade must have destroyed the TRAGA PRIEST utterly, because only his empty robes flutter to the floor.\n\nCrying \"for the GLADIATORS!\" and waving all three arms madly, VON DARTH THE SLY charges out of the throng, carving into the SLAVER KING'S foot repeatedly with his machete. The SLAVER KING crushes him into a wet balloon of blood and flesh with the other foot.\n\nThere is a great FLUTTERING from the air and a great SLITHERING upon the ground, as deadly BEASTS enter the fray ... OWLS and EAGLES and PTERANODONS striking from the air, mighty SERPENTS and SPIDERS on the ground, and leading their charge, your beast-friend ADAM the GRIZZLY, roaring with a ferocity he never displayed to you in the wild. Most of the animals are slain quickly by the SLAVER KING, but the flood continues for some time before he can CRUSH or BURN them all. ADAM himself fights to the last, until he too, is left still and bloody on the cold flagstone floor.\n\nThe mighty THRANG strides in, and lands several good blows before he is fried to a column of pure ASH by the ATOMIC EXHALE of the\nSLAVER KING. The ash whips into the breeze like a solemn dust-devil in epitaph, and you resolve to later sprinkle some of the ashes at the GRAVEYARD where his KLENGON ancestors rest.\n\nThere is a fresh roar as a surge of SLAVES charges into the room, obviously released by FOUL EMMA the GLADIATOR FRANKENSTEIN. She leads the charge with tears in her eyes, and two other FRANKENSTEINS - unmistakably her own MOTHER and FATHER - charge with her. The wave of angry SLAVES and the thumping ire of FRANKENSTEIN STRENGTH is enough to topple the SLAVER KING, who falls backward into his own THRONE, crushing it into a forest of splinters! He rights himself with difficulty as weapons pelt him from all directions, but ultimately sweeps all the SLAVES aside, and knocks the FRANKENSTEINS into the shadowy corners of the room, where you hear the unpleasant crunch of bone and flesh against stone. Emma's faint voices reaches your ears: \"Me ... love you, barbarian ...\" and then there is only silence.\n\nThere is a RESOUNDING SCREAM, echoing the battle glory of the APE SULTANS, as the great prince XAKANDA THE APE swings down from the shadows on a chandelier rope! The SLAVER KING bellows with hate as the mighty PLANETARY APE Warrior lands on his neck, and begins flailing deadly force with his TRIPLE-BLUTARCH! The ATOMIC DINOSAUR puts his claws to the side of his head, trying to grasp his assailant, and thrashes across the THRONE ROOM in rage! Finally there is an almost-imperceptible squish ... and the SLAVER KING returns\nto his proud stance, relieved like a normal man who hath crushed a mosquito.\n\nThe SLAVER KING has little time to repose in his glory, however, as a lance of powerful ENERGIES suddenly wracks his gigantic rubbery form! There is grim laughter from the shadows, where a collection of glowing orange lights and silhouette resolves itself into the form of the MASTER GLADIATOR, unleashing his OWN BODY'S ENERGIES through his GRAVITY WHIPS.\n\nThe MASTER GLADIATOR regards you quietly with a respectful nod, and then shouts to the SLAVER KING: \"Know this, foul ATOMIC MONARCH! We of your realm are no longer your subjects! We of your realm are no longer your machines! We of your realm follow this barbarian to freedom! And our freedom is your DEATH ... and mine.\"\n\nWith that, the eyes of the MASTER GLADIATOR glow like twin suns, and the lights on his CYABORG BODY coruscate rapidly, and then there is a heavy wave of EXPLOSIVE FORCE and a flood of blinding light, as the MASTER GLADIATOR unleashes the core of his own LIFE-FORCE in terrifying explosive power.\n\nThe SLAVER KING bellows in pain, and flies into the air, crashing against the far wall in a shower of cracking masonry and dust. The entire THRONE ROOM begins to shudder, and great blocks of STONE fall from the shadowy heights, many of them impacting the SKULL of the SLAVER KING.\n\n... who, slowly and with obvious annoyance, rises to his feet once more.\n\nIn the aftermath of the carnage, the SLAVER KING stumbles, the corpses of your ALLIES crunching beneath his clawed feet. Bloodied and diminished, and quaking with obvious RADIOACTIVE RAGE, he returns his attention to you ...\n\nYou stand before and beneath the THRONE of the realm. Peering\nupward, your eyes can barely espy the room's loftiest reaches, high in the smoky darkness.\n\nThe SLAVER KING is here, snarling with ATOMIC FURY!\n\nThe SLAVER KING sweeps the entire THRONE ROOM with his TAIL, and you are sent flying! You have suffered 72 hits of damage!\n\n> Assail godzilla\nA skillful attack if you do say so yourself! You scored 41 points\nof damage!\n\n\"Owie!\"\n\nThe SLAVER KING inhales, and releases a BLAST OF PHASIC\nRADIATION from his maw! ... but you are un-harmed, for the the\nAMULET of SCIENCE unleashes a PRISMATIC BUBBLE WALL BARRIER of ANTI-PHASIC RESISTANCE, spraying scientific force back in the\nface of the SLAVER KING! The SLAVER KING suffers from his own\nPHASIC onslaught!\n\n> Assail godzilla\nYou leap, and strike! You scored 61 points of damage!\n\nGUNWAR cries \"Avast ye, scurvy SLAVER KING!\"\n\nThere is a FLASH OF DEATH from the SLAVER KING'S bright PHASIC BLADE, and then another! You have suffered 57 hits of damage!\n\n> Assail godzilla\nTaste barbarian rage, SLAVER KING! You scored 52 points of\ndamage!\n\n\"Woofta!\" says GUNWAR.\n\nWith a mighty THRUM and a deadly HUM, the SLAVER KING carves into you with his PHASIC BLADE of pure, annihilating light! You have\nsuffered 67 hits of damage!\n\n> Assail godzilla\nBy Huron's tonsured tongue-fur, a blow to be remembered! You\nscored 59 points of damage!\n\n\"Way to KEEL-HAUL that blackguard SLAVER KING, lad!\"\n\nThe SLAVER KING takes aim with his TOMMYGUN, and empties a DRUM in your direction! You have suffered 62 hits of damage!\n\n> Assail godzilla\nA skillful attack if you do say so yourself! You scored 41 points\nof damage!\n\nGUNWAR roars with laughter \"Oh, it's GOOD to be in a fray once more!\"\n\nThe SLAVER KING attacks, tearing at you with his mighty\nfoot-claws! You have suffered 61 hits of damage!\n\n> Assail godzilla\nBy Huron's thrice-blessed loincloth, you strike hard and true! You scored 46 points of damage!\n\n\"Teamwork, me hearty! 'Tis a glory to behold!\" cries GUNWAR, twirling his BLACK HOLE METAL AXE to counterbalance your swing.\n\nWith a spray of DEMONIC LEAD from his TOMMYGUN and a swat from his mighty TAIL, the SLAVER KING attacks! You have suffered 44 hits of damage!\n\n> Assail godzilla\nYou lunge deep, and strike! You scored 35 points of damage,\nleaving the SLAVER KING at your mercy!\n\n\"Atta boy, lad! ATTA BOY!\"\n\nThe SLAVER KING is defeated!\n\nTime passes.\n\n... Probably not a lot of time, because you're still in the THRONE ROOM, surrounded by (it seems like) half the realm. Slaves are pouring in, tearing into the great carcass of the SLAVER KING. Courtiers are discarding their fine raiment and dancing half-naked in pools of blood. GUARDS are arriving, swords in hand, and then just stopping, because they're not sure what to do, or who they serve anymore.\n\nYou see it all through a fading haze of BLOOD LUST, and even the sounds of shouting and revels and anger and confusion are muted, as through a maze of veils.\n\nAmid the growing chaos, you stand next to the great face of the SLAVER KING, dead upon the stones of his hall. His vast eyes, once aglow with ATOMIC HATE, are empty. His vast maw hangeth open, tongue lolling, with no more phasic hellfire to offer.\n\nSomewhere in the distance, a petty lord tries to claim power immediately. A competitor does the same, and they fall to fist-fighting when none of the GUARDS rally to them. They end up slipping to the floor, wrestling like petulant children. The SLAVES begin piling the wood from the throne for a bonfire.\n\nYou find yourself surrounded by girls - a CIRCLE of young PSI-WITCHES. They dance around you for a moment, and the air sparkles with their power. Then they bow and withdraw, but one lingers long enough to hand you an ancient, crumbling scroll.\n\nYou nod, so as not to seem ungracious. You cannot read the writing, but you notice that the style of the hand-writing is both beautiful and familiar. Artful penmanship. You let it slip to the floor, and stride on.\n\nYou don't recall setting GUNWAR down, but you find him dancing and shouting. He is bloodied and bruised, and his PEG-LEG is half splintered, but he glows with naught but triumph and joy. Men are showering him with ale, women are tending his hurts, and everyone is singing, a raucous, distant song ...\n\nSo many brave souls came to your aid, fighting and suffering for your vengeance ... and for vengeance of their own, you suppose. You don't know how many of them are dead, and how many are among those being tended by the HEALERS hurrying about with poultices and rags.\n\nWaves of people come up to hail you. Some throw flowers, some offer handshakes, some kneel and offer fealty.\n\nAre you a KING now? You're not sure if you want that, not yet. A KING sits on a throne and waits for someone else to come and kill him. You long to wander free, to taste the fresh wind and feel the grasses brushing your sandaled feet.\n\nYou feel a gentle hand brush your arm. It is VESSA, the DELICATE DOXY, garbed in translucent fabrics and glittering jewels, dressed for courtly performances. She smiles at you, and gestures briefly with her eyes, to an open doorway, to a balcony.\n\n... As the bonfire grows, the revelers have taken to their ale, and it's no matter at all to slip away from the THRONE ROOM for a while, to be alone with VESSA, the sullen night sky, and the great vista of a realm no longer a SLAVER'S KINGDOM.\n\nTime passes.\n\n... Probably a lot of time, because you stand on a wind-swept hill, weapon in hand, PEG-LEG DWARF at your side, and DUFFEL BAG slung at the ready. The sun rises in the distance, and an ANCIENT ROAD beckons.\n\nGUNWAR smiles. \"It's good to have won.\"\n\nYou nod.\n\nHe glances over his shoulder at the realm once ruled by a SLAVER KING. \"And we've won the finest prize, lad.\" GUNWAR tamps some fresh leaf into his pipe, and takes his time lighting it. \"The best thing we can have, while the wind still blows and we have a few limbs left ...\"\n\nYou raise a questioning eyebrow.\n\nGUNWAR smiles, and points the damp end of his pipe toward the ROAD, extending deep into the last morning mist. Neither you nor he knows where it leads.\n\nAnd the sun riseth higher, and you see ships upon the distant SEA, and riders on the distant PLAIN, and the fluttering of monstrous wings above distant MOUNTAINS.\n\nThen, in the VALLEY behind you, you spot the small form of VESSA, waving to you, running, with a SWORD in her hand, and her very own DUFFEL at her side. She is laughing, and her eyes are eager and bright.\n\nAnd you nod, and you smile. For you are well pleased."
    },
    {
        "text": "[Themes: Humor, Fantasy, strong NPCs, gnome, cave crawl, humor, maze, memorable NPC, intelligent pig, cave, nonhuman protagonist, kid-friendly, orc, fantasy, cute, strong characterization, humour]\n\nPig lost! Boss say that it Grunk fault. Say Grunk forget about closing gate. Maybe boss right. Grunk not remember forgetting, but maybe Grunk just forget. Boss say Grunk go find pig, bring it back. Him say, if Grunk not bring back pig, not bring back Grunk either. Grunk like working at pig farm, so now Grunk need find pig.\n\nGrunk think that pig probably go this way. It hard to tell at night time, because moon not bright as sun. There forest to east and north. It even darker there, and Grunk hear lots of strange animal. West of Grunk, there big field with little stone wall. Farm back to south.\n\n[Author's Note: Pig lost! Boss say that it Grunk fault. Say Grunk forget about closing gate. Maybe boss right. Grunk not remember forgetting, but maybe Grunk just forget.]\n\n> You remove the pants\nOK, pants off.\n\n> Inventory\nGrunk have:\ntorch (on fire)\npants\n\n> Light pants with torch\nGrunk set pants on fire. Mmm. Grunk like fire.\n\n> You eat the pants\nOw! That burn Grunk tongue.\n\n> You examine Grunk\nGrunk orc. Big and green and naked.\n\nGrunk hear noise! It come from some place in bushes, but Grunk not sure which way it come from.\n\n> You listen\nGrunk get quiet. Listen for noise in dark.\n\nWhen Grunk really quiet, try looking around some more. There, hear noise again! It come from northeast. Must be pig, hiding in bushes.\n\n> You eat the bushes\n(Grunk take forest first)\nThat not thing that Grunk can carry around.\n\n> Break bushes\nBAM! That fun! Not really do much, though.\n\n> Smell bushes\nGrunk sniff around bushes for pig smell.\n\nGrunk not see it, but Grunk pretty sure that pig hiding in forest to northeast.\n\n> You go to the northeast\nIf that where pig go, that where Grunk go. It hard to see where Grunk going to, because there so much dark and leaves and branches here. Then suddenly, there not ground here any more!\n\nOof! Ow! Umf! Ugh!\n\nGrunk fall down deep hole! Drop torch and pants. Torch and pants go out when Grunk land on them, so now it dark, too.\n\nGrunk at bottom of deep, dark hole. It even smell like deep, dark hole. There some light that come from tunnel to east; that how Grunk see where Grunk at. Look like there maybe stairs at west side of hole that go up to outside, but them all broken now. There big crack in ground near stairs, too.\n\nGrunk see pants (black and sooty) and torch (black and sooty) here.\n\n> Smell\nSmell like hole deep under ground.\n\n> Taste pants\n(Grunk take pants first)\nGrunk chew on pants, but pants too tough. And them need ketchup.\n\n> You eat the torch\n(Grunk take torch first)\nBleh. Torch taste like burnt.\n\n> You eat Grunk\nGrunk taste salty.\n\n> You examine the stairs\nThat where Grunk fall down into hole. Stair go up pretty high. Made of rock, but rock all falling apart, so stair not much good for climbing anymore.\n\nLook like some person leave little metal thing on step.\n\n> You examine the metal thing\nLook like little metal tube, size of Grunk thumb.\n\n> You eat it\n(Grunk take tube first)\nHmm. It not easy, but...\n\nGulp!\n\nOK. (Tweee.) All gone.\n\n> Break stairs\nGrunk remember last time Grunk try hitting rock. It hurt Grunk more than it hurt rock.\n\n> Inventory\nGrunk have:\ntorch (black and sooty)\npants (black and sooty)\n\n> Pray\nOK. Grunk feel little bit better now.\n\n> Xyzzy\nGrunk not know that word. Sound like magic, though.\n\n> You get the tube\nOK, got it.\n\n> You eat the tube\nHmm. It not easy, but...\n\nGulp!\n\nOK. (Tweee.) All gone.\n\n> Cough\nCough! Tweeeeee!\n\nGrunk cough. Cough cough. COUGH! Ptoo. Clink.\n\nGrunk cough up tube. Feel better now.\n\n> Cough\nGrunk cough.\n\n> You touch Grunk\nUh, OK.\n\n> Dance\nOK, got it.\n\nGrunk not good at dancing. Like singing better.\n\n> Sing\nLa la la! Grunk telling story!\n\n> Sing\nLa la la! Story not too big.\n\n> Sing\nLa la la! It all about Grunk.\n\n> Sing\nLa la la! And it all about pig!\n\n(Tweee.)\n\n> Sing\nLa la la! Grunk out at night time.\n\n(Tweee.)\n\n> Sing\nLa la la! Looking all around.\n\n> Sing\nLa la la! Grunk fall down hole.\n\n(Tweee.)\n\n> Sing\nLa la la! End up under ground!\n\n> Sing\nLa la la! Uh. Grunk not think of any more word. So Grunk just go la la la some more!\n\n> Sing\nLa la la! Grunk telling story!\n\n(Tweee.)\n\n> You look\nGrunk at bottom of deep, dark hole. It even smell like deep, dark hole. There some light that come from tunnel to east; that how Grunk see where Grunk at. Look like there maybe stairs at west side of hole that go up to outside, but them all broken now. There big crack in ground near stairs, too.\n\n> Go east\nAll wall in this room glow! It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nHey! There pig! It good thing that Grunk fall down same hole as pig.\n\n> You catch the pig\nGrunk walk right up to pig. Pig walk right away from Grunk.\n\n> Chase pig\nPig run away. So Grunk run after pig. Then pig run around behind Grunk and around front of Grunk and Grunk get dizzy. What Grunk doing again?\n\n> Grunt\nPig stare at Grunk like Grunk crazy.\n\n[Grunk can try TELL\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG ABOUT CURTAIN or ASK\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG ABOUT MAKING FIRE or GREET\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG. And that just what Grunk think of. There probably lots of other thing Grunk can talk about too.]\n\n> You hit the PIG\nGrunk think that farmer maybe get mad if Grunk bring back broken pig.\n\n> Drool\nPtoo!\n\n> Kiss PIG\nGrunk rather kiss... um. Thing that not pig.\n\n(Tweee.)\n\n> You throw pants at the PIG\nPig squeal loud! It jump out of way of pants just in time. Then it give Grunk dirty look.\n\n> You talk to the PIG\nPig ignore Grunk. Grunk think it do that on purpose.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT MAKING FIRE or ASK PIG ABOUT DAY. And probably other thing too.]\n\n> You ask the PIG about the farmer\nPig oink and shake head.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT MAKING FIRE or ASK PIG ABOUT DAY. And probably other thing too.]\n\n> You feed the pants to the PIG\n(Grunk take pants first)\nRarr! Grunk run at pig. Pig run from Grunk. Pig and Grunk run around and around room! Whee!\n\nAfter little bit, both Grunk and pig get tired and stop running. That fun! Wonder if pig have as much fun as Grunk.\n\n> You tell the PIG about Grunk\nPig make rude noise.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT MAKING FIRE or ASK PIG ABOUT DAY. And probably other thing too.]\n\n> You ask the PIG about the PIG\nPig grin and bow.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT MAKING FIRE or ASK PIG ABOUT DAY. And probably other thing too.]\n\n(Tweee.)\n\n> You sneeze\nSneezing not thing that Grunk can do when Grunk want. It just happen some time.\n\n> You ask the PIG about making the fire\nPig snarl and sniffle. Then pig sniff air and make rude sound at Grunk.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT DAY or TELL PIG ABOUT PIG. And probably other thing too.]\n\n> Yawn\nGrunk yawn.\n\nPig yawn.\n\n> Burp\nWhat Grunk burn?\n\n> You examine the fountain\nOld stone fountain with big bowl part and other squirty part in middle and lots of little bit that stick out all over. Grunk think it meant to look pretty. Squirty part not work, though, so there no water in it.\n\nPig go east.\n\n> East\nTunnel come to little cave here, but wide stream block way east. Grunk not see much on other side. Not know if tunnel keep going or stop here. Only light that Grunk see come from bright room, far off to west. But Grunk hear lots of water.\n\nThere stone bench next to stream.\n\nSeeing over there not easy in dark, but Grunk think there little reddish thing on other side of stream.\n\nPig here too.\n\n> You look at Grunk\nGrunk orc. Big and green and naked.\n\nPig look back down long tunnel.\n\n> Xyzzy\nGrunk not know that word. Sound like magic, though.\n\n(Tweee.)\n\n> You tell PIG about the farmer\nPig snarl and sniffle. Then it walk little way away. And oink and oink and oink.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT DAY or TELL PIG ABOUT PIG. And probably other thing too.]\n\n> Break bench\nGrunk remember last time Grunk try hitting rock. It hurt Grunk more than it hurt rock.\n\nPig sit under bench for little bit. Then come back out.\n\n> You put the pants on the head\nBut then Grunk get all sooty too!\n\n(Tweee.)\n\nTunnel come to little cave here, but wide stream block way east. Grunk not see much on other side. Not know if tunnel keep going or stop here. Only light that Grunk see come from bright room, far off to west. But Grunk hear lots of water.\n\nThere stone bench next to stream.\n\nSeeing over there not easy in dark, but Grunk think there little reddish thing on other side of stream.\n\nPig here too.\n\n> You examine the bench\nLong and heavy. It made of rock.\n\nGrunk pretty sure it red. Too dark and too far away for Grunk to see any more.\n\n> You wash pants\n(with water)\nGrunk stick pants in water. Then Grunk take pants back and look at them. Pants all wet!\n\n(Tweee.)\n\n> You examine the red\nGrunk pretty sure it red. Too dark and too far away for Grunk to see any more.\n\n(Tweee.)\n\nRed thing too far away for Grunk. Stream more wide than arm long.\n\nPig go over to stream and look in water.\n\n> You examine the pants\nGrunk favorite pants. Them brown.\n\nPart of pants look all black and sooty now.\n\nPants all wet right now.\n\nGrunk never swim before. Not know how. Grunk not even like bath.\n\n> Pet PIG\nPig see Grunk coming, and it run away to west.\n\n> Clean pants\n(with water)\nGrunk stick pants in water. Then Grunk take pants back and look at them. But pants not look any different.\n\n> Smell pants\nSmell like Grunk. Them Grunk pants.\n\n(Tweee.)\n\n> Drink stream\nMmm. Grunk not really thirsty, but water still taste good.\n\n(Tweee.)\n\n> Smell Grunk\nMmm, smell like Grunk. And like pig. And like dirt. Good smell.\n\n> Cough\nCough! Tweeeeee!\n\nGrunk cough. Cough cough. COUGH! Ptoo. Clink.\n\nGrunk cough up tube. Feel better now.\n\n> You get the tube\nOK, got it.\n\n> Go west\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\n> You examine the curtain\nLook like big rug, but it on wall instead of floor, so that make it curtain instead. Curtain have big picture of little man on it. Grunk think little man maybe called \"gnome\". Him holding burning torch in dark cave. Point at way out of cave.\n\nPig come in from west, sniffing at ground like it try finding some thing.\n\n> Wiggle nose\nCurtain smell normal to Grunk.\n\nPig try hiding behind fountain. But Grunk see pig easy.\n\nGrunk not know what that mean.\n\n> You look behind the curtain\nGnome in picture have round nose and big ear and funny blue suit and pointy shoe. Hold torch, too.\n\nGrunk push back curtain and peek behind it. Wall back there glow too!\n\nPig peek over at curtain too.\n\n> You show the tube to PIG\nPig walk toward Grunk and shake head. Then pig oink and scratch at flea or thing like that.\n\n[Grunk can try TELL PIG ABOUT CURTAIN or ASK PIG ABOUT DAY or TELL PIG ABOUT PIG. And probably other thing too.]\n\n> You examine your nose\nGnome in picture have round nose and big ear and funny blue suit and pointy shoe. Hold torch, too.\n\n> You check what you're carrying\nGrunk have:\ntube\npants (black and sooty and wet)\ntorch (black and sooty)\n\n> You look at finger\nGrunk body part work better when Grunk not think too hard about them.\n\nPig look inside fountain, but pig not find any water.\n\n> You eat the torch\n(torch)\nBleh. Torch taste like burnt.\n\n> You hit Grunk\nOw! That hurt!\n\n> Crack\nWhat Grunk crack?\n\n> You examine the crack\nCrack wide as Grunk fist, at least at top. It dark, so Grunk not see if anything there inside or how deep crack go.\n\n> Smoke crack\n(Grunk take crack first)\nThat not thing that Grunk can carry around.\n\n> You reach into crack\nGrunk reach down into crack, but not feel bottom. Grunk arm not long enough.\n\n> Crack crack\nGrunk remember last time Grunk try hitting rock. It hurt Grunk more than it hurt rock.\n\n> Go east\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\n> You examine the curtain\nLook like big rug, but it on wall instead of floor, so that make it curtain instead. Curtain have big picture of little man on it. Grunk think little man maybe called \"gnome\". Him holding burning torch in dark cave. Point at way out of cave.\n\n> You take the curtain\nGrunk try pulling curtain down, but it stuck to wall.\n\n> You eat curtain\n(Grunk take curtain first)\nGrunk try pulling curtain down, but it stuck to wall.\n\n> You draw the curtain\nGrunk try pulling curtain down, but it stuck to wall.\n\n> You check what you're carrying\nGrunk have:\ntube\npants (black and sooty and wet)\ntorch (black and sooty)\n\n> Burn curtain\nNeed fire for burning. Grunk not have fire.\n\nPig poke nose behind curtain. But Grunk not think pig find anything.\n\n> You move the curtain\nGrunk push back curtain and peek behind it. Wall back there glow too!\n\nPig snort and squeal and make funny sound at Grunk. But Grunk not know what that mean, because Grunk not talk Piglish.\n\n> Chase PIG\nGrunk look away from pig. Then walk sideways at pig. Grunk hope that pig get confused, think Grunk going other way. But when Grunk get to pig, pig already someplace else!\n\n> You jump\nGrunk jump up and then come down again. It always same. Maybe next time, Grunk jump up and not come down. But probably not.\n\n> You examine the wall\nAll wall in this room glow in dark! Except that since wall glowing, there no dark for wall to glow in.\n\n> Taste wall\n(Grunk take glowing wall first)\nThem not thing that Grunk can carry around.\n\n> You hit the wall\nGrunk remember last time Grunk try hitting rock. It hurt Grunk more than it hurt rock.\n\n> Lick wall\n(Grunk take glowing wall first)\nThem not thing that Grunk can carry around.\n\nPig stick nose on ground and snuff around. Then pig eat thing off ground. Grunk not see what, but it probably bug.\n\n> Search fountain\nHey, there coin inside fountain bowl! Grunk keep coin, because coin handy thing.\n\nPig peek over at fountain bowl too.\n\n> You examine the coin\nCoin little and shiny, like moon. It look old, but it still mostly shiny grey.\n\n> You eat the coin\nGrunk very young when Grunk learn not eat coin. Grunk father get very mad. But Grunk give father back coin next day, so it OK.\n\nPig blink and squint at bright wall.\n\n> You feed the coin to PIG\nPig not want it. Grunk wonder what pig buy with coin anyway. Pig not have pocket.\n\nHmm. Grunk not have pocket either.\n\n> You feed the pants to PIG\nPig see Grunk coming for pig before Grunk even know Grunk coming for pig. That one smart pig.\n\n> You throw the coin at PIG\nPig squeal loud! It jump out of way of coin just in time. Then it give Grunk dirty look.\n\n> You get the coin\nOK, got it."
    },
    {
        "text": "> You describe your surroundings\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\n> Go southeast\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere stone chest at back of room.\n\nLong green pole lean against wall next to doorway.\n\n> You eat pole\n(Grunk take pole first)\nIt not easy, pick up pole. Feel like pole push Grunk away. But Grunk strong; get pole anyway.\n\nUh oh. Feew wike Gwuk tongue fftickig to powe.\n\nThat feel weird. But tongue come back off again OK.\n\n> Light torch\nNeed fire for burning. Grunk not have fire.\n\n> You look at the chest\nChest mean wide box with lid. This one too big to carry. It have keyhole too, so it maybe locked.\n\n> You open it\n(Grunk unlock chest first)\nGrunk not have any key.\n\n> You examine the pole\nThis long green pole made of metal. It taller than Grunk.\n\n> Inventory\nGrunk have:\npole\ncoin\ntube\npants (black and sooty and wet)\ntorch (black and sooty)"
    },
    {
        "text": "> You look around\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere stone chest at back of room.\n\n> You go west\nIt dark. Grunk see lots of shadow. Grunk see doorway to east and west, too. But mostly shadow.\n\nGkrktkgkx! What that strange noise?\n\n> You listen\nSound like snoring.\n\nGkrktkgkx!\n\n> Shout\nRAAARRRR!\n\nStrange noise stop. Then voice shout, \"Ztorf!\"\n\nRoom light up! Grunk see little bed and trunk and desk and little man in bed. Light come from blue ball that sit on desk. Little man climb out of bed and put on pair of pointy slipper. Him walk over and squint at Grunk. \"Huh,\" him say. \"An orc.\"\n\nGrunk say that Grunk orc. Then little man (Grunk think him called \"gnome\") pull out little stool from desk and sit down.\n\n\"Well, Grunk,\" him say, \"What do you want?\"\n\n> You stick out the tongue at the man\nHAW HAW HAW! Stupid gnome.\n\nGnome search around inside desk drawer for little bit, until him give up.\n\n> Smell Gnome\nGnome look at Grunk. Him ask, \"Do you mind?\"\n\nGnome go over to trunk and open it up. Him start searching in there.\n\n> Poke gnome\n\"Ow!\" Gnome look hurt. \"What was that for?\"\n\nGnome shake head and close trunk. Then him look under bed.\n\n> You ask Gnome about Gnome\nGrunk ask gnome about gnome.\n\nGnome look away. \"Me? I'm nobody special. I just take care of the shrine, now that no one else does.\"\n\nGnome peek up on shelf. Then him look under desk. Then him look around at room.\n\n[Grunk can try ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You look under the bed\nThere nothing at all under bed. Not even book.\n\nGnome ask, \"Find anything new?\"\n\n> You ask Gnome about the shrine\nGrunk ask gnome about this place.\n\nGnome say, \"This is a shrine dedicated to a gnomish alchemist who became slightly famous a number of years ago for coming up with a few random inventions.\"\n\nGnome sigh. \"Well, it's gone. I can't find my copy of Mogglev's The Shocking Force anywhere.\"\n\nGnome go back to desk and sit down.\n\n\"I don't even know how long it's been missing,\" him say. \"It's probably in the hands of that last band of looters now.\"\n\n[Grunk can try ASK GNOME ABOUT INVENTION or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> You tell Gnome about PIG\nGrunk tell gnome about how pig get lost.\n\n\"I can see why your boss would be mad at you,\" Gnome say, \"if you did indeed leave the gate open.\"\n\nGnome open up desk drawer and take out tray with lots of different cup and tube and jar and bottle and thing on it.\n\n[Grunk can try ASK GNOME ABOUT INVENTION or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> You ask Gnome about the looters\nGrunk ask gnome about looting.\n\nGnome say, \"Every few years, this place is discovered by another band of passing adventurers. They come in, search for any treasures they can swipe as souvenirs, do a little vandalism, and then get bored as soon as they realize there are no monsters around to kill.\" Him shrug. \"It's deplorable, but what can you do?\"\n\n[Grunk can try ASK GNOME ABOUT INVENTION or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> You ask Gnome about the invention\nGrunk ask gnome about alchemist invention.\n\n\"Oh, he had a few new ideas, I suppose.\" Gnome look up at wall. Grunk think that mean him thinking. Or maybe him see word on wall. \"There was the color magnet. Proof paper.\" Gnome add, \"And of course, there's his work on the principles of mossfuressence.\"\n\n[Grunk can try ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> You ask Gnome about the inventions\nGrunk ask gnome about alchemist invention.\n\n\"Oh, he had a few new ideas, I suppose.\" Gnome look up at wall. Grunk think that mean him thinking. Or maybe him see word on wall. \"There was the color magnet. Proof paper.\" Gnome add, \"And of course, there's his work on the principles of thermomechanics.\"\n\n[Grunk can try ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> You ask Gnome about Jota\nGrunk tell gnome all about Jota.\n\nGnome say, \"It sounds like he's given you quite a bit of help with this project. Although I admit I don't quite understand how you happen to know him.\"\n\nGnome blow on stuff in bottle. But nothing special happen.\n\n[Grunk can try ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE. And probably other thing too.]\n\n> Kiss Gnome\nGnome push Grunk away. \"I really don't think I'm your type, Grunk.\" Then him get pale. \"At least... I dearly hope I'm not.\"\n\nGnome stare into swirly stuff in bottle. Mmm, swirly.\n\n> You ask Gnome about the xyzzy\nGrunk ask gnome about magic word.\n\nGnome say, \"Magic words usually serve to activate some already prepared magical effects in the local area, such as teleportation. They can be quite useful, and I admit I've used them myself -- but only as a trigger for alchemy, of course.\"\n\n[Grunk can try ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about if\nGrunk tell gnome all about story contest and about story that Grunk telling.\n\n\"And you say that I'm just a character in your story?\" Gnome shake head and smile. \"You will forgive me if I find that a little difficult to swallow.\"\n\n[Grunk can try ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask gnome about pole\nGrunk tell gnome about long pole.\n\n\"That would probably be the color magnet,\" say gnome. \"Unfortunately, after all the looters there've been here, I think that green-painted one is the only one we have left.\"\n\n[Grunk can try ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the ifmud\nGrunk tell gnome all about ifMUD.\n\nGnome just shake head. Grunk think gnome maybe not believe Grunk. But it all true!\n\nGnome put little bit of gunk from one tube into other tube. But gunk not mix. Just make two gunk.\n\n[Grunk can try ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the inky\nGrunk tell gnome all about inky.\n\nGnome say, \"Well, as long as he's a friendly ghost, I suppose that's alright.\"\n\nGnome stare into swirly stuff in bottle. Mmm, swirly.\n\n[Grunk can try ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the comp\nGrunk tell gnome all about story contest and about story that Grunk telling.\n\n\"And you say that I'm just a character in your story?\" Gnome shake head and smile. \"You will forgive me if I find that a little difficult to swallow.\"\n\nGnome pick up cup of brown water and sip from it. Then him smile.\n\n[Grunk can try ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the maga\nGrunk tell gnome about maga.\n\nGnome nod. \"Ah,\" him say, \"Philosophy.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about Jacqueline\nGrunk tell gnome all about Jacqueline.\n\nGnome say, \"A ranger, huh? I bet she has a pet bear.\"\n\nGnome drink brown water. Him smile at Grunk. Maybe brown water tasty.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about Jacqueline\nGrunk tell gnome all about Jacqueline.\n\nGnome say, \"A ranger, huh? I bet she has a pet bear.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the ifmud\nGrunk tell gnome all about ifMUD.\n\nGnome just shake head. Grunk think gnome maybe not believe Grunk. But it all true!\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about philosophy\nWhat that mean, ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT PHILOSOPHER'S STONE?\n\n> You hug Gnome\nGnome push Grunk away. \"I really don't think I'm your type, Grunk.\" Then him get pale. \"At least... I dearly hope I'm not.\"\n\nGnome swirl brown water around. Then him sip some more.\n\n> Inventory\nGrunk have:\npole\ncoin\ntube\npants (black and sooty and wet)\ntorch (black and sooty)\n\nGnome gulp down last of brown water. Put cup back on tray.\n\n> You ask Gnome about fountain\nGrunk tell gnome about how fountain not working.\n\nGnome sigh. \"Yes, It's been that way for quite some time. The plumbing contractor said he would be here to look at it some time between ten o'clock and the vernal equinox.\" Then gnome say, \"Unfortunately, he never said which vernal equinox.\"\n\nGnome put tray back away inside desk.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You show the pants to Gnome\nGrunk tell gnome all about Grunk favorite pants.\n\nGnome say, \"It sounds as though those pants have had nearly as much of an adventure as you have. But I do wish you would put them back on.\"\n\nGnome open up drawer and take out pile of different paper. Him take out pen and little bottle, too.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the zarf\nGrunk tell gnome all about Zarf.\n\nGnome ask, \"Are you sure that's actually a person, and not some kind of magic word?\"\n\nGnome put pile of paper on desk. Then gnome put little bottle on desk. Then gnome open up little bottle. Then gnome stick pen in little bottle.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You wear the pants\nOK, Grunk put on pants.\n\nGnome turn to Grunk and say, \"Thank you. I do appreciate that.\"\n\n> You eat Gnome\nMmm, gnome...\n\nGnome turn and look at Grunk. Him ask, \"Are you drooling on me?\"\n\nGrunk not say anything. Just wipe mouth off.\n\n\"Well, stop it.\" Then him go back to doing other thing.\n\n> You ask Gnome about the pole\nGrunk tell gnome about long pole.\n\n\"That would probably be the color magnet,\" say gnome. \"Unfortunately, after all the looters there've been here, I think that green-painted one is the only one we have left.\"\n\nGnome draw picture of little man wearing funny hat. Gnome grin. Then him hide that paper under bottom of pile.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You show the coin to gnome\nGrunk tell gnome about coin that Grunk find.\n\nGnome laugh. \"So you're a rich man now, Grunk. Don't spend it all in one go.\"\n\nGnome try drawing thing, but it not make any mark. So gnome poke pen into bottle again.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT COLOR MAGNET or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the color magnet\nGrunk ask gnome about color magnet.\n\nGnome say, \"The basic principle of chromatic magnetism is the same as that of traditional polar magnetism: opposites attract.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT PLUMBER or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the plumber\nGrunk ask gnome about \"plumbing contractor\" thing.\n\nGnome say, \"Most dwarves I've met have been perfectly trustworthy. Plumbers, however, are a decided exception.\"\n\nGnome mutter, \"I could solve this, I think, if I could consult the right reference material...\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME HOW LONG GNOME HERE or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome how long gnome here\nGrunk ask gnome how long him here for.\n\nGnome say, \"I've been down here alone for at least--\" Gnome look at Grunk and laugh. \"Well, let's just say it's probably it's probably longer than you can count.\"\n\nWow. Gnome here for more than seven!\n\nGnome draw strange curly picture with lots of swoopy bits and little marks next to each bit.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST or ASK GNOME ABOUT MAGIC. And probably other thing too.]\n\n> You ask Gnome about the magic\nGrunk ask gnome about magic.\n\nGnome say, \"I suppose magic has its purposes, but I've always found alchemy to be much more practical.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT ALCHEMIST. And probably other thing too.]\n\n> You ask Gnome about the alchemy\nGrunk ask gnome what \"alchemy\" mean.\n\nGnome say, \"Alchemy is the science of studying the principles at work in nature, dissecting them into their component aspects, and then recombining them in new and useful configurations.\"\n\nGnome close up bottle. Then him pick up papers and bottle and put it all away.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT SCIENCE or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT ALCHEMIST. And probably other thing too.]\n\n> You ask Gnome about alchemist\nGrunk ask gnome about famous alchemist gnome.\n\n\"His name was Zugilbor Galrogginpots sem Endali dec Frebensalbibit. Many people seemed to think his inventions made him something special.\" Gnome shrug. \"Special enough to have this shrine built for him, anyway. But not enough to remember him a few years later.\"\n\nGnome sigh. \"I wish I knew where that Mogglev's ended up.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT SCIENCE or ASK GNOME ABOUT NATURE. And probably other thing too.]\n\n> You ask GNOME about the science\nGrunk ask gnome what \"science\" mean.\n\nGnome say, \"Science is about the quest for knowledge.\"\n\nGnome open up drawer and take out pile of different paper. Him take out pen and little bottle, too.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT EQUINOX or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT NATURE. And probably other thing too.]\n\n> You ask Gnome about the equinox\nGrunk ask gnome what \"equinox\" mean.\n\nGnome say, \"An equinox is when the day and the night are exactly the same length.\"\n\nGnome put pile of paper on desk. Then gnome put little bottle on desk. Then gnome open up little bottle. Then gnome stick pen in little bottle.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT or ASK GNOME ABOUT DAY. And probably other thing too.]\n\n> You ask Gnome about the day\nGrunk ask what gnome think about daytime.\n\n\"They say that the sun is just a giant ball of flaming magic that's orbiting the world.\" Gnome make odd little noise with teeth. \"But just between you and me, I don't believe a word of it.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]"
    },
    {
        "text": "[Themes: Humor, Fantasy, gnome, cave crawl, humour, strong characterization, kid-friendly, strong NPCs, memorable NPC, cute]\n\n> Look around\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with pen and paper.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there bottle and pile of paper.\n\n> You take the ball\nGnome shake head at Grunk. \"I don't see why I should just let you take my things. It's not as though you've done anything in particular to earn them.\"\n\n> You examine the ball\nBall glow bright blue. It size of Grunk fist and very round.\n\n> You ask Gnome about the ball\nGrunk ask gnome about glowing blue ball on shelf.\n\nGnome look up at shelf. Then him pick up ball.\n\n\"That orb is a good example of mossfuressence,\" him say, \"Just like the glowing walls in the main shrine. I had it equipped with magic words for turning it on and off.\"\n\nGnome show ball to Grunk. It all blue and glowy. Then him put it back on shelf.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT MOSSFURESSENCE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You sit on the stool\nBut stool full of gnome! It not really big enough for Grunk anyway.\n\n> You get Gnome\nGnome growl, \"You may be bigger than me, but that doesn't give you the right to push me around.\"\n\nGnome scribble quick little thing in one corner of paper.\n\n> You sit on the bed\nBed too little. Or maybe Grunk too big. But Grunk sit down anyway.\n\nGnome say, \"I guess I'll be washing my sheets later.\"\n\n> You remove the pants\nOK, pants off.\n\nGnome look away. \"Oh, for the love of...\"\n\n> You give the pants to Gnome\nGnome not even let Grunk let go of pants.\n\n\"No,\" say gnome. \"Just no.\"\n\nGnome give pants back to Grunk.\n\n> You put the pants on gnome\nGnome stop Grunk. \"Hey, watch it,\" him say. \"Those are\n\nGnome mutter, \"I could solve this, I think, if I could consult the right reference material...\"\n\n> You ask gnome about the exit\nGrunk ask gnome if there any exit out of shrine.\n\nGnome say, \"Well, you already know about the main entrance.\" Then him smile. \"I won't say that there isn't another way out. But I think you should find it for yourself.\"\n\nGnome work hard at making lots and lots of mark all over paper. Then gnome turn paper over and make more mark on other side.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT MOSSFURESSENCE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You get tube\nOK, got it.\n\n> You ask Gnome about the mossfuressence\nGrunk ask gnome about strange moss-fur thing.\n\nGnome say, \"Isolating the qualities of mossfuressence is a goal that eluded alchemists for decades.\" Then him ask Grunk, \"You're familiar with how all those stories about heroes who are lost in deep underground caverns with no torches or lanterns always have mysteriously glowing fungi and shaggy mosses growing on the cave walls?\"\n\nAll the story that Grunk hear about hero end with \"and then orc killed hero hooray.\" Grunk think that maybe not same kind of story.\n\n\"Well, regardless,\" gnome say, \"The essence of those furry glowing mosses has been distilled into an impure alchemical reagent. That's mossfuressence.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT ADVENTURE or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the adventure\nGrunk ask gnome about adventure.\n\n\"Adventuring has become a popular hobby, these days.\" Gnome shake head, looking sad. \"But it's really just another excuse for looting and petty vandalism. Not to mention the killing.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT KILLING or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You tell Gnome about the entrance\nGrunk tell gnome about how Grunk fall down stair.\n\nGnome say, \"You may remember a few months ago, when the ground around here shook for several hours.\"\n\nGnome right! Grunk remember that.\n\n\"I believe it was due to a careless mage testing some new spell for manipulating earth. Fortunately for me, this shrine was only at the very edge of its range, or else the ceiling above us might have suffered the same fate as that stairway.\"\n\nPig walk into room from west.\n\nGnome draw slow on paper. Make different long straight line that bend and cross each other in different place. Him very careful.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the zork\nGrunk tell gnome about Zork.\n\nGnome say, \"That sounds familiar. I think the wizard who installed the \"ztorf\" command in my mossfuressent orb might have mentioned something like that.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> Ztorf\nNothing happen.\n\nGnome look at paper like him not know what it mean. Grunk sure that Grunk not know what it mean.\n\n> You say frotz\nGrunk not know that word. Sound like magic, though.\n\nPig run around room and bump into desk. Bottle almost fall over! But gnome catch it before it spill on pile of paper.\n\n> You say ztorf\nNothing happen.\n\n> Frotz\nGrunk not know that word. Sound like magic, though."
    },
    {
        "text": "> Look around\nGnome Room (on top of bed)\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with pen and paper.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there bottle and pile of paper.\n\nPig here too.\n\n> Xyzzy\nGrunk not know that word. Sound like magic, though.\n\nGnome close up bottle. Then him pick up papers and bottle and put it all away.\n\n> You go west\nGrunk not go anywhere while still on bed.\n\nGnome open up desk drawer and take out tray with lots of different cup and tube and jar and bottle and thing on it.\n\n> You stand on the bed\nBut Grunk already on bed.\n\nGnome take cup of blue water and pour it in cup of red water. Make little puff of smoke come out.\n\n> You jump\nGrunk jump up and then come down again. It always same. Maybe next time, Grunk jump up and not come down. But probably not.\n\n> You stand\nGrunk get off bed.\n\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with cup and bottle and tube and stuff.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there tray full of stuff.\n\nPig here too.\n\nGnome stare into swirly stuff in bottle. Mmm, swirly.\n\n> You look at the tray\nTray have lots of different thing on it. Cup and bottle and tube and jar and different color water and powder and gunk and lots of stuff like that.\n\nGnome take little piece of glowing plant and cut it up tiny.\n\n> Poke ball\nGnome shout, \"Hey! Beat up your own things, but leave mine alone!\"\n\nGnome put some bit of plant into water. Then water start glowing too!\n\nGnome grin.\n\n> Go west\nPig see Grunk leave. But not seem to care much.\n\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. There no lamp or thing like that in room, but lots of light come from northeast doorway. Other doorway go east.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\nChair next to table look lonely with no other chair.\n\n> You look at the marks\nLook like orange paint. Grunk not know what marks mean.\n\n> You look at box\nBox almost tall as Grunk. It have little slot near top, and it have bigger basket down near bottom, and it have lever that stick out of side of box. It have some dent in it too, so maybe it old.\n\n> You pull the lever\nKA-CHUNK! But thing not happen this time.\n\n> You put the coin in the slot\nClink! Coin gone inside box now.\n\n> You pull the lever\nKA-CHUNK! Thunk! Brick fall out of box into basket.\n\n> You get the brick\nBrick feel more soft than normal brick. Little bit sticky too.\n\n> Smell the brick\nMmm, fruity.\n\n> You look at the brick\nBrick light brown and not too big. There lots of little colored thing stuck in it all over.\n\n> You eat the brick\nYum! Brick taste sweet and crumbly and chewy and fruity. Not bad. Munch munch. Only half left now.\n\n> You hit the box\nBAM! Clink! Coin fall out of box into basket.\n\n> You sit on the chair\nGrunk get on chair."
    },
    {
        "text": "[Themes: Fantasy, Humor, gnome, cave, cute, intelligent pig, memorable NPC, kid-friendly, cave crawl]\n\n> You look at your surroundings\nTable Room (on top of chair)\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. There no lamp or thing like that in room, but lots of light come from northeast doorway. Other doorway go east.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\n> You eat the coin\nGrunk very young when Grunk learn not eat coin. Grunk father get very mad. But Grunk give father back coin next day, so it OK.\n\n> You stand\nGrunk get off chair.\n\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. There no lamp or thing like that in room, but lots of light come from northeast doorway. Other doorway go east.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\nChair next to table look lonely with no other chair.\n\n> You eat chair\nGrunk chew on chair for little bit. Taste like wood.\n\n> You go northeast\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig come in from southeast.\n\n> You give brick to PIG\nPig back away slow. Look like it maybe want brick, but still not want get close to Grunk.\n\n> You drop the brick\nDropped.\n\nPig look at brick on ground. Then pig look at Grunk. Then pig look at brick again.\n\n> You wait\nOK. Grunk good at waiting.\n\nPig walk over to brick and sniff at brick.\n\n> Wait\nOK. Grunk good at waiting.\n\nPig take little bite of brick. Then pig take bigger bite. Only half brick there when pig start, so it all gone pretty quick.\n\nPig still watching Grunk, but pig looking around for more brick, too. Maybe that half brick not enough for pig.\n\n> You get PIG\nPig see Grunk coming, and it run away to southeast.\n\n> Go east\nTunnel come to little cave here, but wide stream block way east. Grunk not see much on other side. Not know if tunnel keep going or stop here. Only light that Grunk see come from bright room, far off to west. But Grunk hear lots of water.\n\nThere stone bench next to stream.\n\nSeeing over there not easy in dark, but Grunk think there little reddish thing on other side of stream.\n\n> You get red with the pole\nGrunk stick pole out across stream and poke red thing with end of it. Red thing stick to end of pole! Grunk pull it back and find out that thing really key, so Grunk take key.\n\nPole not feel sticky to Grunk, and key not feel sticky too. Wonder why key stick to pole.\n\n> You eat the key\nEating key maybe fun today. But it not so fun tomorrow.\n\n> Go west\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\n> Go southeast\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere stone chest at back of room.\n\nPig here too.\n\nPig watch Grunk come in. Pig grunt at Grunk. Then it go back to what it doing before.\n\n> Open chest\n(Grunk unlock chest first)\n(with key)\nOK, Grunk open up chest. Chest full of black powder.\n\nPig peek over at chest too.\n\n> You eat the powder\nOw! That burn Grunk tongue.\n\n> You examine the powder\nIt very black and powdery. Almost light and fluffy, like smoke.\n\n> You smell it\nOw! That burn Grunk nose.\n\n> You take it\nGrunk try scooping up black powder in hand, but it just go between Grunk finger.\n\nPig yawn.\n\n> You hit the powder\nPoof! Powder make big cloud, like smoke! Cloud make Grunk cough. Augh! It burn!\n\nBut cloud not stay long. Then Grunk feel better.\n\n> You play with the powder\nPoof! Powder make big cloud, like smoke! Cloud make Grunk cough. Augh! It burn!\n\nBut cloud not stay long. Then Grunk feel better.\n\nPig roll it eyes at Grunk.\n\n> You play with PIG\nGrunk sneak up behind pig. Say \"Boo!\"\n\nPig jump up in air, then spin around and run off other way. Run right into wall! Pig fall over on pig butt. Silly pig.\n\n> You throw the powder at PIG\n(Grunk take chest first)\nNrrnurrgh! Chest too heavy for Grunk.\n\n> Blow powder\nGrunk huff and puff at black powder, but nothing happen.\n\nPig go west.\n\n> Go west\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with tool and strange helmet thing.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there little box and strange helmet.\n\nPig here too.\n\nPig see Grunk coming, and it run away to west.\n\nGnome tap at side of helmet.\n\n> You look at the helmet\nGrunk ask gnome about strange helmet thing.\n\nGnome say, \"I've been working on harnessing the fluid nature of lightning to build a machine that's capable of doing what no purely mechanical device has been able to do.\"\n\nThen him pause. Maybe hoping Grunk ask what. So Grunk ask what.\n\nGnome say, \"I'm creating a device that is actually able to augment nothing less than thought itself!\"\n\nThen him pause again. Grunk not know what gnome hoping Grunk ask now, so Grunk just wait.\n\nAfter gnome and Grunk both wait for little bit, gnome say. \"It's a big ambition. My first model is only able to perform simple arithmetic. But the next one I'm designing should be able to handle logarithms. After it understands basic mathematics, who knows what this 'thinking cap' could be programmed to do?\"\n\n[Grunk can try ASK GNOME ABOUT MATH or ASK GNOME ABOUT THINKING or ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\nHelmet have lots of wire and metal bit that stick out and colored bits that glow some time and other bits that just look strange.\n\nGnome poke tool deep inside helmet. End of tool break off inside. Oops.\n\n> You wear the cap\n(Grunk take strange helmet first)\nGnome shake head at Grunk. \"I don't see why I should just let you take my things. It's not as though you've done anything in particular to earn them.\"\n\nGnome frown. \"I wish I could remember which of these contacts has the highest potential.\" Then him poke at helmet. But nothing happen.\n\n\"Bah,\" gnome say. \"I should have just looked it up. If I had anything to look it up in.\"\n\n> You tell Gnome about the brick\nGrunk tell gnome all about brick that Grunk find but that Grunk not have anymore.\n\n\"Mmm,\" gnome say, \"The ones my mother used to make never lasted very long either. They're surprisingly addictive.\" Then him add, \"But I'm sure you can get more where the last one came from.\"\n\nGnome put tool back in box. Then put box and helmet back inside desk.\n\n[Grunk can try ASK GNOME ABOUT MATH or ASK GNOME ABOUT THINKING or ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You open the desk\nGnome bat Grunk hand away. \"Cut that out,\" him say.\n\nGnome open up desk and take out pipe and little bag. Then gnome fill up pipe with brown powder from bag.\n\n> You ask Gnome about the thinking\nGrunk ask gnome about thinking.\n\nGnome say, \"Thinking is my job. And my hobby.\"\n\nGnome put bag on desk. Then gnome spit in pipe. Grunk see smoke come out of it.\n\n[Grunk can try ASK GNOME ABOUT MATH or ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> Punch gnome\n\"Ow!\" Gnome look hurt. \"What was that for?\"\n\nGnome put pipe in mouth and breathe in deep.\n\n> You ask Gnome about the math\nGrunk ask gnome what \"math\" mean.\n\nGnome say, \"It's things like numbers and counting and... well, more complicated things.\" Gnome wave hand. \"But it all starts with the counting.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the pipe\nGrunk ask gnome about smoking stuff in pipe.\n\nGnome smile. \"The pipe was actually my father's, before he passed away.\" Then him pat little bag. \"But the tobacco is my own personal blend, with a little something extra to make it easy to light.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the black powder\nGrunk tell gnome about black powder that Grunk find.\n\n\"Ah,\" gnome say. \"That would be dehydrated fire.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT DEHYDRATED FIRE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the black powder\nGrunk tell gnome about black powder that Grunk find.\n\n\"Ah,\" gnome say. \"That would be dehydrated fire.\"\n\nGnome blow out puff of smoke. It come out like circle.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT DEHYDRATED FIRE or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> You ask Gnome about the fire\nWhat that mean, ASK GNOME ABOUT MAKING FIRE or ASK GNOME ABOUT DEHYDRATED FIRE?\n\n> You ask Gnome about making the fire\nGrunk ask gnome how Grunk can make fire.\n\n\"There are many different ways to make fire,\" Gnome say. \"You can use flint and steel, if you have them. They say you can rub two pieces of wood together, but I've never had much luck with that.\" Then gnome say, \"Or you could just use alchemy. But whichever you use, be careful not to make a mess with all that soot and ash.\"\n\nGnome blow out last little bit of smoke.\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT FLINT AND STEEL or ASK GNOME ABOUT DEHYDRATED FIRE or ASK GNOME ABOUT WOOD or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\n> Go east\nGrunk ask gnome about \"dehydrated fire\".\n\nGnome say, \"The water serves to activate and release the other bound qualities that are fundamental to flame.\"\n\n[Grunk can try ASK GNOME ABOUT PHILOSOPHY or ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT KILLING or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT ZTORF or ASK GNOME ABOUT NATURE or ASK GNOME ABOUT FLINT AND STEEL or ASK GNOME ABOUT WOOD or ASK GNOME ABOUT WATER or TELL GNOME WHAT GRUNK THINK ABOUT AT NIGHT. And probably other thing too.]\n\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere open stone chest at back of room.\n\n> You spit on the powder\nPtoo! Hiss. It make little spark! But that not enough for real fire.\n\n> You examine the torch\nGrunk bring torch because Grunk not good at seeing in dark.\n\nOne end of torch look black and sooty.\n\n> You put the torch in the powder\nGrunk stick torch in black powder. Then Grunk take torch back and look at it. But torch not look any different. Powder not even stick to torch.\n\n> Go northwest\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\nPig see Grunk come in. But pig ignore Grunk.\n\n> You go to the east\nTunnel come to little cave here, but wide stream block way east. Grunk not see much on other side. Not know if tunnel keep going or stop here. Only light that Grunk see come from bright room, far off to west. But Grunk hear lots of water.\n\nThere stone bench next to stream.\n\n> You check what you're carrying\nGrunk have:\nkey\nchair\ncoin\ntube\npole\npants (black and sooty and wet)\ntorch (black and sooty)\n\n> You put the torch in the water\nGrunk stick torch in water. Then Grunk take torch back and look at it. Torch all wet!\n\n> Smell stream\nStream smell clean.\n\n> You go west\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\nPig not see Grunk come in. Or maybe it just pretend it not see.\n\n> You go to the southeast\nPig watch Grunk go. Then go back to doing pig thing.\n\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere open stone chest at back of room.\n\n> You put the pants in powder\nGrunk stick pants in black powder. Pants start smoking and burning. End up all dry, but it not light on fire, so Grunk take them back.\n\n> You put the torch in the powder\nGrunk stick torch in black powder. Torch start smoking and burning. End up all dry, but it not light on fire, so Grunk take it back.\n\n> Tie pants\nGrunk not good with knot. That why Grunk not wear shoe.\n\n> You go to the northwest\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\nPig look inside fountain, but pig not find any water.\n\n> Go north\nThis room have two big picture that face each other. West wall have picture on it and and east wall have different picture on it. Grunk think both picture really just part of wall, though. South wall have doorway in it that lots of light come from and north wall not have anything in it at all.\n\nStatue of little man stand here, up on big stone block.\n\n> You examine the statue\nStatue look like little man with round nose and big ear and moustache. Grunk think funny little man maybe called \"gnome\". Wear funny suit and pointy shoe and little round hat. One hand point north, at wall. Other hand up in air.\n\nGnome stand on big stone block. Maybe block for making gnome look tall. It true that statue look more big than real gnome, but Grunk think that just because it statue. Maybe all thing look more big when it like rock.\n\n> You turn the statue\nGrunk grab statue by ears! Grrrnnnh! Try hard to turn it, but statue not move.\n\n> You examine hand\n(statue hand)\nOne hand point north, at wall. Other hand up in air.\n\n> You look at the north\n(north wall)\nThere no picture on north wall.\n\n> You look up\nGrunk just see top of room.\n\n> You hit the north wall\nGrunk jump up and then come down again. It always same. Maybe next time, Grunk jump up and not come down. But probably not.\n\nGrunk remember last time Grunk try hitting rock. It hurt Grunk more than it hurt rock.\n\n> You look at the west picture\nPicture have big pile of black powder. Powder all on fire. Picture have bucket of water, too. Bucket pouring water onto fire. Grunk guess that water for making fire go out.\n\n> You look at the hat\nHat look like round little bowl with brim. But upside down.\n\nHmm. Hat look little bit crooked.\n\n> You take it\nHat come right off! Grunk guess it not really part of statue after all.\n\n> You look at the east wall\nPicture have long purple pole that go from side to side. All around pole, there different yellow thing that float in air, like honey and banana and thing that Grunk never see before and lots of other thing too. Under that, there picture of pie. Mmm, pie.\n\n> You look in it\nPicture just part of wall.\n\n> You look in the hat\nHat empty.\n\n> You feel hat\nThat feel just like hat.\n\n> You wear the hat\nOK, Grunk put on hat.\n\n> Go south\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\n> You put the water in the hat\n(Grunk take hat off first)\nGrunk fill up hat with water.\n\n> You wear the hat\nGrunk put on hat full of water. Water all pour out on Grunk head.\n\n> Drink water\nWhat that mean, water in stream or water in hat?\n\n> Drink stream\nStream go that way, but Grunk not in stream.\n\nMmm. Grunk not really thirsty, but water still taste good.\n\n> Go southeast\nGrunk only see one place Grunk can go. That tunnel back west.\n\n> You go to the southeast\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere open stone chest at back of room.\n\n> You put the powder in the hat\nHat already full of water.\n\n> You enter the chest\nGrunk not get inside of chest because Grunk too big. And Grunk not get on top of chest because chest still open.\n\n> You put the water in the chest\nGrunk pour out water into chest. When water touch powder, it make fire! Now black powder on fire!\n\n> Light pants\n(with black powder)\nGrunk set pants on fire. Mmm. Grunk like fire.\n\n> Inventory\nGrunk have:\nhat\nkey\nchair\ncoin\ntube\npole\npants (on fire)\ntorch (black and sooty)\n\nFire in chest not so big now.\n\n> Light chair\n(with black powder)\nGrunk set chair on fire. Mmm. Grunk like fire.\n\nFire in chest get so little that it not there at all anymore.\n\n> Light Grunk\n(with chair)\nOw! Fire hot!\n\nPig lost! Boss say that it Grunk fault. Say Grunk forget about closing gate. Maybe boss right. Grunk not remember forgetting, but maybe Grunk just forget. Boss say Grunk go find pig, bring it back. Him say, if Grunk not bring back pig, not bring back Grunk either. Grunk like working at pig farm, so now Grunk need find pig.\n\nGrunk think that pig probably go this way. It hard to tell at night time, because moon not bright as sun. There forest to east and north. It even darker there, and Grunk hear lots of strange animal. West of Grunk, there big field with little stone wall. Farm back to south.\n\n> You listen\nForest look dark. Pig probably some place in there, but Grunk not know which way to go. Not want end up lost in forest with no pig.\n\nGrunk get quiet. Listen for noise in dark.\n\nGrunk hear noise! It come from some place in bushes, but Grunk not sure which way it come from.\n\n> You listen\nGrunk get quiet. Listen for noise in dark.\n\nWhen Grunk really quiet, try looking around some more. There, hear noise again! It come from northeast. Must be pig, hiding in bushes.\n\n> Go northeast\nIf that where pig go, that where Grunk go. It hard to see where Grunk going to, because there so much dark and leaves and branches here. Then suddenly, there not ground here any more!\n\nOof! Ow! Umf! Ugh!\n\nGrunk fall down deep hole! Drop torch. Torch go out when Grunk land on it, so now it dark, too.\n\nGrunk at bottom of deep, dark hole. It even smell like deep, dark hole. There some light that come from tunnel to east; that how Grunk see where Grunk at. Look like there maybe stairs at west side of hole that go up to outside, but them all broken now. There big crack in ground near stairs, too.\n\nGrunk see torch (black and sooty) here.\n\n> You take all\ntorch: OK, got it.\n\n> Go east\nAll wall in this room glow! It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nHey! There pig! It good thing that Grunk fall down same hole as pig.\n\n> Go north\nPig so busy with important pig thing that pig not even see Grunk go.\n\nThis room have two big picture that face each other. West wall have picture on it and and east wall have different picture on it. Grunk think both picture really just part of wall, though. South wall have doorway in it that lots of light come from and north wall not have anything in it at all.\n\nStatue of little man stand here, up on big stone block.\n\n> Damn\nThat same thing Boss say to Grunk.\n\n> You go south\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\nPig here too.\n\nPig blink and squint at bright wall.\n\n> Damn\nPig make rude noise back at Grunk.\n\n[Grunk can try TELL\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG ABOUT FOUNTAIN or ASK\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG ABOUT METAL or OINK AT\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nPIG. And that just what Grunk think of. There probably lots of other thing Grunk can talk about too.]\n\n> You take the pole\nIt not easy, pick up pole. Feel like pole push Grunk away. But Grunk strong; get pole anyway.\n\n> You go west\nIt dark. Grunk see lots of shadow. Grunk see doorway to east and west, too. But mostly shadow.\n\nGkrktkgkx! What that strange noise?\n\n> Shout\nRAAARRRR!\n\nStrange noise stop. Then voice shout, \"Ztorf!\"\n\nRoom light up! Grunk see little bed and trunk and desk and little man in bed. Light come from blue ball that sit on desk. Little man climb out of bed and put on pair of pointy slipper. Him walk over and squint at Grunk. \"Huh,\" him say. \"An orc.\"\n\nGrunk say that Grunk orc. Then little man (Grunk think him called \"gnome\") pull out little stool from desk and sit down.\n\n\"Well, Grunk,\" him say, \"What do you want?\"\n\n> Damn\nGnome frown. \"There was no call for that.\"\n\nGnome search around inside desk drawer for little bit, until him give up.\n\n[Grunk can try TELL\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nGNOME ABOUT GRUNK or ASK\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nGNOME ABOUT GNOME or ASK\n[** Programming error: tried to test \"has\" or \"hasnt\" of not anything **]\nGNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You tell Gnome what Grunk think about at the night\nGrunk tell gnome about how Grunk like to go out at night some time just to look at moon and think about if there other Grunk up on moon that like to go out and look at world.\n\nGnome say, \"Lunar orcs. An interesting, if terrifying notion.\"\n\nGnome go over to trunk and open it up. Him start searching in there.\n\n[Grunk can try TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You check what you're carrying\nGrunk have:\npole\nhat\ncoin\ntorch (black and sooty)\npants (Grunk wearing them)\n\nGnome shake head and close trunk. Then him look under bed.\n\n> You go to the west\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. There no lamp or thing like that in room, but lots of light come from northeast doorway. Other doorway go east.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\nChair next to table look lonely with no other chair.\n\nPig here too.\n\nPig walk east.\n\n> You pull the lever\nKA-CHUNK! But thing not happen this time.\n\n> You hit the box\nWHAM! Clink! Coin fall out of box into basket.\n\n> You get all from the basket\ncoin: OK, got it.\nbrick: Brick feel more soft than normal brick. Little bit sticky too. OK, got it."
    },
    {
        "text": "[Themes: Fantasy, Humor, cute, gnome, humor, humour, strong NPCs, orc, memorable NPC, cave, cave crawl]\n\n> You look around\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. There no lamp or thing like that in room, but lots of light come from northeast doorway. Other doorway go east.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\nChair next to table look lonely with no other chair.\n\n> You go east\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome here, busy looking for thing.\n\nOn top of shelf there ball (that make light).\n\nPig here too.\n\nGnome peek up on shelf. Then him look under desk. Then him look around at room.\n\n> You ask Gnome about Emily\nGrunk tell gnome all about Emily.\n\nGnome say, \"Don't you think she might be getting tired of being associated with \"cheese\" by now?\"\n\nPig walk east.\n\nGnome sigh. \"Well, it's gone. I can't find my copy of Mogglev's The Shocking Force anywhere.\"\n\nGnome go back to desk and sit down.\n\n\"I don't even know how long it's been missing,\" him say. \"It's probably in the hands of that last band of looters now.\"\n\n[Grunk can try TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You go east\nGnome wave to Grunk. \"See you around.\"\n\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Maybe Grunk see more if Grunk have torch that on fire. But probably not, because lots of light come from northwest doorway. There doorway to west too.\n\nThere stone chest at back of room.\n\nPig here too.\n\nPig see Grunk coming, and it run away to west.\n\n> Lick pole\nUh oh. Feew wike Gwuk tongue fftickig to powe.\n\nThat feel weird. But tongue come back off again OK.\n\n> You put the water in the hat\nGrunk fill up hat with water.\n\n> Unlock chest\n(with key)\nOK, chest unlocked.\n\n> Open chest\nOK, Grunk open up chest. Chest full of black powder.\n\n> You check your inventory\nGrunk have:\nkey\nbrick\ncoin\npole\nhat (full of water)\ntorch (black and sooty)\npants (Grunk wearing them)\n\n> Pig1\nOK.\n\n> You put the water in the chest\nGrunk pour out water into chest. When water touch powder, it make fire! Now black powder on fire!\n\n> You check what you're carrying\nGrunk have:\nkey\nbrick\ncoin\npole\nhat\ntorch (black and sooty)\npants (Grunk wearing them)\n\n> Light torch\n(with black powder)\nGrunk set torch on fire. Mmm. Grunk like fire.\n\nFire in chest not so big now."
    },
    {
        "text": "[Themes: Fantasy, Humor, maze, humour, orc, humor, kid-friendly, strong NPCs, fantasy, cave]\n\n> Look around\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Doorway to northwest go back to bright room. Other doorway go west.\n\nThere open stone chest full of fire at back of room.\n\nPig come in from west.\n\nFire in chest get so little that it not there at all anymore.\n\n> You go to the west\nPig see Grunk leave. But not seem to care much.\n\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with tool and strange helmet thing.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there little box and strange helmet.\n\nGnome say, \"I figured you'd be back.\n\nGnome pick out tool that have long pointy bit on end.\n\n> Light Gnome\n(with torch)\nGnome shout, \"You keep that torch away from me, you pyromaniacal orc!\"\n\n> Light bed\n(with torch)\nGnome shout, \"You keep that torch away from my things, you pyromaniacal orc!\"\n\nGnome grab little bit of helmet with tool and wiggle it. Then bit break off. Then gnome stick it back on. But it not on quite right, Grunk think.\n\n> You check your inventory\nGrunk have:\nkey\nbrick\ncoin\npole\nhat\ntorch (on fire)\npants (Grunk wearing them)\n\n> Light pants\n(with torch)\nGrunk set pants on fire. Mmm. Grunk like fire.\n\nGnome pick tool with glowy bit at end.\n\n> You give the pants to Gnome\nGnome say, \"I've got a light source already. But thanks anyway.\"\n\nGnome give pants back to Grunk.\n\n> Light Gnome with pants\nGnome shout, \"You keep those pants away from me, you pyromaniacal orc!\"\n\nGnome stare at helmet, thinking. Tap him chin with tool.\n\n\"Ow!\" gnome say with surprise.\n\n> You give the hat to Gnome\nGnome say, \"You know, I never really like that hat much. Maybe you can find some other use for it.\"\n\nGnome give hat back to Grunk.\n\n> You put the hat on Gnome\nGnome not really good place for putting thing on.\n\nGnome put tool back in box. Then put box and helmet back inside desk.\n\n> You throw hat at Gnome\nWhat gnome ever do to Grunk?\n\nGnome sigh. \"I wish I knew where that Mogglev's ended up.\"\n\n> You put the pants on gnome\nGnome shout, \"You keep that pants away from me, you pyromaniacal orc!\"\n\nGnome open up desk and take out pipe and little bag. Then gnome fill up pipe with brown powder from bag.\n\n> Light chest\n(with torch)\nGnome shout, \"You keep that torch away from my things, you pyromaniacal orc!\"\n\nGnome put bag on desk. Then gnome spit in pipe. Grunk see smoke come out of it."
    },
    {
        "text": "[Themes: Humor, Fantasy, maze, intelligent pig, gnome, cave, humor, cute, nonhuman protagonist, fantasy]\n\n> Look around\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit here with pipe in hand.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there little bag.\n\n> Go east\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Doorway to northwest go back to bright room. Other doorway go west.\n\nThere open stone chest at back of room.\n\n> You go to the southwest\nThis room look like it maybe for eating or for play cards or for maybe for just sitting and talking. That because there big table and one chair here. Doorway go to northeast and to east. Some person make big marks on wall in this room.\n\nThere tall metal box over in corner.\n\nSome person make marks on wall here.\n\nChair next to table look lonely with no other chair.\n\n> Oink\nOink oink.\n\nThat just silly.\n\n> You look at the marks\n(with torch)\nGrunk hold fire up to table.\n[** Programming error: tried to print (string) on something not a string **]\nnot light on fire, though. It just get all black and sooty.\n\nLook like orange paint. Grunk not know what marks mean.\n\n> You go north\nThis room have two big picture that face each other. West wall have picture on it and and east wall have different picture on it. Grunk think both picture really just part of wall, though. South wall have doorway in it and north wall not have anything in it.\n\nStatue of little man stand here, up on big stone block.\n\nPig here too.\n\nPig see Grunk coming, and it run away to south.\n\n> You give the hat to PIG\nPig not want it. That too bad. Grunk think pig look funny in hat.\n\nWonder if pig think Grunk look funny in hat.\n\n> Light PIG\n(with torch)\nNo, no: kill pig, then cook pig.\n\n> You kill PIG\nGrunk think that farmer maybe get mad if Grunk bring back broken pig.\n\n> You go to the west\nGrunk at bottom of deep hole. But hole not so dark, now. There stairway that go up at west side, but that broken. Ground by stair broken too: there big crack in it. Crack not so dark now too. At east side of hole, there tunnel that go east. Tunnel not like stair and ground, because it not broken. But it not dark either.\n\n> You put the pole in crack\nGrunk stick pole into crack and poke paper with end of it. But nothing special happen.\n\nPig come in from east.\n\n> You look at the paper\nIt white and it paper. That all Grunk can see from here.\n\n> You look at torch\nGrunk bring torch because Grunk not good at seeing in dark.\n\nTorch on fire right now. it getting all burnt and sooty.\n\n> You get the paper\nGrunk reach into crack, but paper too far down. Grunk arm not long enough.\n\n> You cut Grunk\nWhy Grunk want to cut Grunk up?\n\n> Go east\nPig watch Grunk walk away. Pig not follow.\n\nAll wall in this room glow. It bright, just like day time. Except that instead of sun, it wall that glow. And instead of grass and tree, it square room with four wall. And instead of outside, it all under ground. But beside those thing, it just like it! Tunnel keep going out to east and west, but normal doorway go north and southeast and southwest.\n\nIn middle of room, there fountain. But fountain not have any water.\n\nSouth wall have big curtain hanging on it.\n\n> Go southeast\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Doorway to northwest go back to bright room. Other doorway go west.\n\nThere open stone chest at back of room.\n\n> You search the shelves\nLots of metal shelfs, all hooked to wall. Grunk not see anything on those shelfs. But Grunk not see up on top shelf, because that one too high up.\n\n> You examine the top shelf\nTop shelf high up, but Grunk up high too right now, so Grunk even see top of top shelf. On top of top shelf there book.\n\n> You examine it\nBunch of papers with mark on them, all stuck together at one side.\n\n> You eat it\nGrunk try chewing on book, but book too tough for Grunk teeth.\n\n> Down\n(with torch)\nGrunk think that paper thing that burn up. But this paper not burn up. Maybe it special paper.\n\nGrunk try tearing up book, but it very strong book. Grunk need knife. Or maybe sword!\n\nGrunk get off shelfs.\n\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Doorway to northwest go back to bright room. Other doorway go west.\n\nThere open stone chest at back of room.\n\n> You open the book\nBook full of papers. Grunk not know what it all mean, so Grunk just close book again.\n\n> Go west\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with pen and paper.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there bottle and pile of paper.\n\n> You ask Gnome about the book\nWhat that mean, SHOW BOOK TO GNOME or ASK GNOME ABOUT MOGGLEV?\n\n> You show book to Gnome\nGrunk show gnome book that Grunk find up on high shelf.\n\nGnome look surprised. \"Hey, that's my Mogglev's! That's just the book I've been searching for,\" him say. Then him add, \"It would be awfully nice if you returned it.\"\n\nGnome think for little bit. Then him smile and start marking on paper with pen.\n\n[Grunk can try TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You ask Gnome about Mogglev\nGrunk ask gnome what \"Mogglev\" all about.\n\nGnome say, \"Birrabee Mogglev sem Alua dec Prestim was one of the finest alchemists of his generation. He was a student of the fundamental forces, such as motion and charge. It was from his groundwork that--\" Sound like gnome stutter there. \"That Zugilbor Galrogginpots derived his principles of thermomechanics.\"\n\n\"His Shocking Force is considered the definitive text on the force of lightning to this day.\"\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT THERMOMECHANICS or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> Hit book\nGrunk try tearing up book, but it very strong book. Grunk need knife. Or maybe sword!\n\n> You give the book to Gnome\nGnome put away other thing that him working on.\n\nGnome take book and look at it.\n\n\"Aha. Thanks, Grunk,\" Gnome say. \"I've been wanting to take a good look at this.\""
    },
    {
        "text": "[Themes: Humor, Fantasy, memorable NPC, cave crawl, cave, humour, cute]\n\n> Describe the surroundings\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sitting on stool looking at Grunk.\n\nOn top of shelf there ball (that make light).\n\nGnome open book up and start reading it.\n\n\"Hey!\" Uh oh, gnome look mad. Him shout at Grunk, \"Did you rip a page out of here?\"\n\nGrunk not rip any thing out of any other thing at all today! And Grunk tell gnome that, too.\n\n\"No.\" Gnome sigh. \"I suppose you couldn't have. This is proof paper, after all. You'd need to cut it out with a knife.\" Then him put book down on desk. \"But that's what someone did, unfortunately. And it was an important page, as well.\"\n\n> You get the ball\nGrunk get point for this stuff:\n\n1 unlock chest\n\nThat make 3 out of 7 so far.\n\nGnome shake head. \"I don't see why I should just let you take my things. It's nice that you brought me this book, but I don't even have the whole thing.\"\n\nGnome open up desk drawer and take out strange helmet. Him take out little box, too. Then him put them both on desk.\n\n> You ask Gnome about page\nWhat that mean, ASK GNOME ABOUT MISSING PAGE or TELL GNOME ABOUT PIECE OF PAPER?\n\n> You tell Gnome about the paper\nWhat that mean, ASK GNOME ABOUT PROOF PAPER or ASK GNOME ABOUT DRAWING or ASK GNOME ABOUT MARK ON PAPER or TELL GNOME ABOUT PIECE OF PAPER?\n\n> You ask Gnome about the proof paper\nGrunk ask gnome about proof paper.\n\nGnome say, \"Proof paper is very convenient stuff. It's water-proof, fire-proof, rust-proof, fade-proof, smudge-proof and tear-proof. For a while, it was popular for spellbooks -- at least among the more accident-prone wizards.\"\n\nGnome open up little box. It full of lots of little metal thing with different shape. Look like them some kind of tool.\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You tell the gome about the piece of the paper\nGrunk tell gnome about paper that Grunk find in crack.\n\nGnome smile and say, \"Wouldn't it be nice if that turned out to be the lost page from this book?\" Then him shake head. \"But I suppose we both know how unlikely that is.\"\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> Burn pole\n(with torch)\nGrunk hold pole in fire. Pole not light on fire, though. It just get all black and sooty.\n\nGnome take out tool that flat at one end and round at other end.\n\n> You go west\nPig watch Grunk walk away. Pig not follow.\n\nGrunk at bottom of deep hole. But hole not so dark, now. There stairway that go up at west side, but that broken. Ground by stair broken too: there big crack in it. Crack not so dark now too. At east side of hole, there tunnel that go east. Tunnel not like stair and ground, because it not broken. But it not dark either.\n\n> You put the pole in the crack\nGrunk stick pole into crack and poke paper with black end of it. Paper stick to end of pole! Grunk pull it back and take paper.\n\n> Burn paper\n(with torch)\nGrunk think that paper thing that burn up. But this paper not burn up. Maybe it special paper.\n\n> You eat the paper\nGrunk try chewing on paper, but paper too tough for Grunk teeth.\n\n> You go to Gnome\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with tool and strange helmet thing.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there little box and strange helmet and book.\n\nGnome pick tool with glowy bit at end.\n\n> You hit Gnome\n\"Ow!\" Gnome look hurt. \"What was that for?\"\n\nGnome tap at side of helmet.\n\n> You give the paper to Gnome\nGnome put away other thing that him working on.\n\nGnome take paper and look at it.\n\n\"Hmm,\" him say. \"This looks like a set of equations. If I don't miss my guess, this is from Mogglev's Shocking Forces.\" Him set paper on desk, then look at Grunk again. \"Probably from my own copy of it.\"\n\n> You check your inventory\nGrunk have:\nchair\nkey\nbrick\ncoin\npole (black and sooty)\nhat\ntorch (on fire)\npants (on fire)\n\nGnome open cover of book. Then turn over page until him find right spot. \"Ah, right there!\" him say. \"That's where the page was cut out from.\"\n\nGnome open up desk and take out little pot of goo. Then him smear goo on one edge of page and stick page into book. Then him close book tight and put pot away.\n\n\"There... just a moment for it to set, and--\" Gnome open book, smiling. \"Perfect! Thank you, Grunk. You've been a tremendous help. I only hope that I can return the favor.\"\n\n> You ask Gnome about the exit\nGrunk ask gnome if there any exit out of shrine.\n\nGnome say, \"Well, you already know about the main entrance.\" Then him smile. \"I won't say that there isn't another way out. But I think you should find it for yourself.\"\n\nGnome open up book and start reading.\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]"
    },
    {
        "text": "> Look around\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome here looking at book.\n\nOn top of shelf there ball (that make light).\n\nOn top of desk there book.\n\nGnome flip over page and keep reading.\n\n> You ask Gnome about ball\nGrunk ask gnome about glowing blue ball on shelf.\n\nGnome look up at shelf. Then him pick up ball.\n\n\"That orb is a good example of mossfuressence,\" him say, \"Just like the glowing walls in the main shrine. I had it equipped with magic words for turning it on and off.\"\n\nGnome show ball to Grunk. It all blue and glowy. Then him put it back on shelf.\n\n[Grunk can try ASK GNOME ABOUT MAGIC WORD or ASK GNOME ABOUT LIGHTNING or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT MOSSFURESSENCE or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You ask Gnome about magic words\nGrunk ask gnome about magic word.\n\nGnome say, \"Magic words usually serve to activate some already prepared magical effects in the local area, such as teleportation. They can be quite useful, and I admit I've used them myself -- but only as a trigger for alchemy, of course.\"\n\nGnome mutter, \"Mogglev, you've done it again.\"\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT MOSSFURESSENCE or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You ask Gnome about the moss fur\nGrunk ask gnome about strange moss-fur thing.\n\nGnome say, \"Isolating the qualities of mossfuressence is a goal that eluded alchemists for decades.\" Then him ask Grunk, \"You're familiar with how all those stories about heroes who are lost in deep underground caverns with no torches or lanterns always have mysteriously glowing fungi and shaggy mosses growing on the cave walls?\"\n\nAll the story that Grunk hear about hero end with \"and then orc killed hero hooray.\" Grunk think that maybe not same kind of story.\n\n\"Well, regardless,\" gnome say, \"The essence of those furry glowing mosses has been distilled into an impure alchemical reagent. That's mossfuressence.\"\n\n[Grunk can try ASK GNOME ABOUT LIGHTNING or TELL GNOME ABOUT ENTRANCE or ASK GNOME ABOUT REAGENT or ASK GNOME ABOUT HEROES AND VILLAINS or ASK GNOME ABOUT THERMOMECHANICS or ASK GNOME ABOUT ALCHEMY or ASK GNOME ABOUT MAGIC or TELL GNOME ABOUT GRUNK or ASK GNOME ABOUT GNOME or ASK GNOME ABOUT THIS PLACE. And probably other thing too.]\n\n> You get the ball\nGnome nod. \"Sure, that's a fair exchange for the book.\" Him reach for ball, but then him stop. \"But if I give you this,\" gnome say, \"What will I do for light? The book is no good to me if I can't read it.\"\n\nGnome sit back. Then him say, \"Tell you what. You give me something to replace it, and I'll give you the orb.\"\n\n> You give the pants to Gnome\nGnome take pants.\n\nGnome stare at Grunk pants. Then gnome stare at Grunk. Then back at pants. Grunk start wondering if gnome forget how talking work, but then gnome start talking.\n\n\"Your pants?\" gnome ask. \"You want me to use your pants as a light source?\"\n\nGrunk not know why that confuse gnome so much. Grunk think gnome smart, before now.\n\nGnome shrug. \"Fine. Fine. I'll read by the light of pants. Of course. Why not?\" Then him add, more quiet, \"...pants...\" Then him put pants on shelf and take down orb.\n\nGnome give orb to Grunk. Gnome say, \"Good luck, Grunk. I hope you find your way back home.\"\n\n> You get the pants\nGnome say, \"Sorry, we made a fair trade. You keep the mossfuressent orb, and I keep the pants.\"\n\nGnome close up book and push it to other side of desk.\n\n> You examine the pants\nGrunk pants on fire. Grunk pants on fire. GRUNK PANTS ON FIRE!\n\nGnome open up desk drawer and take out strange helmet. Him take out little box, too. Then him put them both on desk.\n\n> You eat the ball\nBall more big than Grunk mouth, but Grunk still try.\n\nYum! Ball taste just like sour candy! Munch munch crunch. All gone now.\n\nHey, now Grunk glow in dark!\n\nGnome stare at Grunk. Him mouth fall open. Then him say, \"I... that... the...\" Grunk not sure what that mean. Then him shake head and mutter, \"I just hope you have a strong digestive tract.\"\n\n> You examine Grunk\nGrunk orc. Big and green and glowing and naked.\n\nGnome look at shelf. Then at Grunk. Then back at pants on shelf."
    },
    {
        "text": "[Themes: Humor, Fantasy, strong NPCs, cave crawl, cute, humour, intelligent pig]\n\n> You describe your surroundings\nThis look like room for little person. It have bed that too little for Grunk. It have trunk that too little for Grunk. It have desk that too little for Grunk. Desk have stool that too little for Grunk. Room have doorway to east and west too, but them not so little. That good, because if doorway too little for Grunk, not know how Grunk get back out of room.\n\nGnome sit at desk with tool and strange helmet thing.\n\nOn top of shelf there pants (on fire).\n\nOn top of desk there little box and strange helmet and book.\n\nGnome look at shelf. Then at Grunk. Then back at pants on shelf.\n\n> You count the pants\nThere just one pants. Wait, that not make sense. Grunk confused now.\n\nGnome open up little box. It full of lots of little metal thing with different shape. Look like them some kind of tool.\n\n> Go east\nGnome say, \"Don't be a stranger,\" as Grunk walk out.\n\nThere lots of shelfs in this room. Them on every wall. This room probably have lots and lots of thing in it before. But shelfs all empty now. Grunk not see any thing there at all. Doorway to northwest go back to bright room. Other doorway go west.\n\nThere open stone chest at back of room."
    },
    {
        "text": "[Themes: Science Fiction, sci-fi, robot, music, cloning, laboratory setting, Comedy, Mythology, poker, science fiction, dog, mad science]\n\nHello? Can you read this? Yes, you, running this program.\nExcellent, I seem to be getting through!\n\nI died, recently, and I'd prefer not to stay that way. I have two hours of backup battery life left, if I hibernate. Can you help me? I run a lab with people who can restore life, but they don't know that I'm dead, and none of their resurrection projects are ready yet.\n\nYou can help them. They must complete their projects before my\nbackup battery dies, or everything that's left of me will be gone. I'll log you into the server right now.\n\nThank you! Oh, and before I forget:\n\nMy name is Dr. Law.\nMy name is Dr. Law.P.S. My OS is a little...unusual.\nPlease be patient with him. He'll probably think you are me. Logging you on now...\nRemote access enabled...\n\nStarting DaedalOS 2.5\n\n-Dr. Law, thank you for logging back on. It has been 47 hours and 35 minutes since your last login. The search for your body can now be cancelled. The candidate search for your replacement will also be terminated. The flowers are, unfortunately, non-refundable.\n\n-Your brain backup unit has been turned on somehow, and it's running low on battery; you have only 120 minutes of battery time remaining before it dies and its backup memory is flushed. I would have had someone plug it in, of course, but you've ordered the command center to be locked down until after the project judging ceremony.\n\naud - audiovisual control\nhelp - review basic commands\nabt - information on DaedalOS\n\n[Author's Note: Excuse me, can you help me? Yes, you, browsing IFDB games! I need your assistance, but I don't have long. There's so much going on: remote surveillance, unauthorized cloning, forgotten languages, robots playing poker. It's time to take control!]\n\n> About yourself\nYour webcamera is not compatible with our OS, Dr. Law.\n\nHowever, if your past trends have continued over the last two days, then you've gained 1.4 kilograms, shrunken by .05 cm, and lost 3 Facebook friends.\n\naud - enable audiovisual\nhelp - access help information\nabt - information on DaedalOS\n\n> You examine the hand\nI'm sorry, Dr. Law, I didn't realize you wanted me to go into more detail. There is a marble hand here that has broken off of one of your statues. Otherwise, the room is exactly like you left it, Dr. Law.\n\nIncluding the bloody handprint, of course.\n\n> You examine the handprint\nOh, after zooming in, it seems the blood was actually jelly. The handprint matches yours, Dr. Law. It appeared two days ago, after the tremor and blackout, right after you disappeared. You must have run out while making your daily sandwich.\n\nThere's a dark patch by your throne, but I can't make it out at this level of zoom.\n\n> You examine throne\nZooming in. Dr. Law, I have to apologize, but I don't usually talk about your throne for a reason. I think it's absolutely deplorable. Your throne is made from a ratty, dirty, foul-smelling cubicle that you rescued from your first researcher job. Its very presence soils the marble dais it rests on.\n\nOh, right, the dark patch: a puddle of red liquid is trailing out from under the cubicle.\n\n> You examine the liquid\nZooming in further. The red liquid is coming from a crushed jelly jar under the desk.\n\nThere is a lumpy human-shaped object next to the jelly jar.\n\n> You look at the object\nZooming in further. Dr. Law, the object is-\nZooming in further. Dr. Law, the object is-You hear a cracking sound. Dr. Law, it seems you have pushed the cameras too far. I am restricting the use of zoom to one level from now on.\n\nIn the meantime, please finish reviewing the projects prior to the awards ceremony; several of the researchers seem to be having problems. And I know that you are anxious to bring\nyou-know-who back from the dead, after all these years.\n\nAnd please, charge your brain backup unit; it seems to be low on battery.\n\nTravel Commands:\nhyd - Observe Project HYDRA\nmed - Observe Project MEDUSA\nmoi - Observe Project MOIRAI\n\n> Charge unit\nI didn't understand the first word or two that you typed, Dr. Law.\n\n> Hyd\nInitiating audiovisual link with Project HYDRA... \n\nThis is a spacious, wood-floored room with poor lighting. Several decaying bookcases are positioned around the room. In the center is a 3 m-radius, circular olive-green rug with tattered edges. On the rug are two paisley armchairs and a single end table with a vase of fresh white roses. Twin walnut doors lead north into the laboratory.\nThe doors are carved in an abstract swirling shape representing the Hydra.\n\nDr. Law, it seems as if the connected devices in this room are using an enormous amount of energy, almost 20 jigawatts! Please\ndisconnect these devices before proceeding, or I may be unable to use my full capacities in this lab.\n\nMultiple connected devices detected. Examining an object will determine if it is connected or not.\n\nA fireplace is glowing and crackling.\n\n[You can review available commands at any time by typing COMMANDS, or just C.]\n\n> You look at Hydra\nThese doors are completely disconnected from the electrical grid, Dr. Law. I have no capability that would allow me to open them.\n\nDr. Law, I'm receiving an email...\n\nema - check e-mail\n\n> Ema\nChecking unread messages:\n\n Also, Dr. Ng keeps giving guns to my animatronics.\n\nStygicorp was founded with an excellent purpose: to bring life back to the one that you love most, Dr. Law. And I believed in that mission; but do you? It seems to me that no one thinks about that anymore; you're all caught up in power trips and one-upmanship.\n\nI've already accepted an offer in Montana. I wish you the best of luck with your endeavors. Please say goodbye to Ginger for me. Tell Ng I'm sorry for abandoning our project.\n\nI'm sorry, Dr. Law."
    },
    {
        "text": "> You look around\nThis is a spacious, wood-floored room with poor lighting. Several decaying bookcases are positioned around the room. In the center is a 3 m-radius, circular olive-green rug with tattered edges. On the rug are two paisley armchairs and a single end table with a vase of fresh white roses. Twin walnut doors lead north into the laboratory.\nThe doors are carved in an abstract swirling shape representing the Hydra.\n\nMultiple connected devices detected.\n\nA fireplace is glowing and crackling.\n\n> You look at the rug\nWell, I'm embarrassed to say, Dr. Law, that I cannot provide any additional information. This is just a 3 m-radius, circular olive-green rug with tattered edges. It seems connected to something, but I can't access it directly.\n\n> You look under the rug\nError: Camera angles are not variable to this degree.\n\n> You examine the chairs\nThe armchairs seem connected to something, Dr. Law, but I cannot access them directly.\n\n> You examine table\nIn the great nexus of connections and activated devices and hidden features of this room, Dr. Law, this table stands out by being quite unremarkable.\n\n> You look at the roses\nIt looks like Dr. Singh is still working on his gardening. These roses are not connected to anything.\n\n> Go north\nDr. Law, there seems to be a power drain on the cameras, and I am unable to operate them.\n\nThe main power drain is coming from inside the lab itself. I also detect some energy wastage in this lobby. I will be unable to proceed, Dr. Law, until you can reduce HYDRA's energy usage.\n\nPlease find what's using all of the electricity in this room. Altogether this room is wasting 20 jigawatts of electricity!\n\n> You examine the fireplace\nThe fireplace is a video of a fire, playing on a wall-mounted plasma television. You can turn the fireplace off or on as follows:\n\ntel - Turn TV on and off\n\n> You turn off the tv\nDr. Law, I must remind you that I am incapable of directly affecting the physical world.\n\n> Tel\nYou turn the fireplace off. A mechanized voice says, \"Daytime mode selected.\"\n\nA bookcase panel slides open to reveal a speaker, which plays an enthusiastic version of \"Morning\" from the Peer Gynt suite.\n\nThe drapes raise, revealing virtual windows which display a mountain sunrise.\n\nPower levels are dropping, Dr. Law. There are too many active devices; this room is now wasting 40 jigawatts of electricity!\n\n> You examine the drapes\nThe drapes are moth-eaten velvet. They are currently raised, displaying a virtual sunset. You can raise or lower the drapes as follows:\n\ndra - Raise or lower drapes\n\n> Dra\nLowering the drapes, Dr. Law.\n\nAs you lower the drapes, the speaker switches to loud, creepy music.\n\nDarkness falls across the room. A robotic voice says, \"Spooky mode activated\".\n\nRobotic spiders pour from behind the bookshelves and climb along the cobwebs, which begin to glow and pulse through hidden fiber-optics. The spiders begin to dance along the cobwebs. Dr. Spiel has really outdone herself with her animatronics this year, Dr. Law.\n\nThe dancing spiders are consuming an enormous amount of power, Dr. Law. This room is now consuming 70 jigawatts of electricity!\nI'm beginning to lose computing function!\n\n> You examine the spiders\nThe cobwebs are filled with dancing spiders, singing spooky songs. They are glowing through hidden fiber-optics. You can activate or deactivate the cobwebs as follows:\n\nweb - Activate or deactivate the webs\n\n> Web\nDeactivating the cobwebs, Dr. Law.\n\nA robotic voice says, \"Goodnight, and goodbye.\" 'The Star Spangled Banner' plays loudly from the speakers. All of the drapes raise up, and a brilliant ocean sunset is displayed. The spiders sing along loudly, and the fireplace is now displaying fireworks on its screen, flashing as bright as a strobe light. The rug begins to spin, and the armchairs open big, animatronic eyes and singing cushion-mouths.\n\nPower levels are rising to 100 jigawatts! I may not be able\nto maintain my core functions at this rate, Dr. Law!\n\n> Sing\nOh, sorry for interrupting, Dr. Law, but Dr. Singh has just opened the HYDRA door. He looks annoyed. He says, \"Dr. Spiel! You're supposed to be cleaning the lab. Stop messing with the lobby!\" He looks around, but finds no one. He stalks to a bookcase, shoves it aside, revealing a large, rusty metal switch. He pulls the metal switch, and everything in the room powers down. He pushes back the bookcase, sighs, and walks back to the other room. He closes the door behind him.\n\nThis room is now wasting 0 jigawatts, Dr. Law. I still feel a\nlarge energy drain from the HYDRA laboratory to the north, but\nI'm sure the cameras will be available now.\n\n> You go north\nThis stone-floored and wood-walled room is lit by candles in niches. A piece of paper is taped to the wall.\n\nOne half of the room is filled with boxing trophies and memorabilia, and exercise equipment. The other half of the room is a filthy mess full of trash. A bunk bed lies between the two. Although the camera doesn't show them, I know that doors lead north and\nsouth, Dr. Law.\n\nYou can see Doctor Singh and Sphinx here.\n\nDr. Singh jumps up on the treadmill, and says, \"Let's try one more time, Sphinx! We can do it!\" Sphinx jumps up, and they start running together.\n\n[New recording - Repeat]\n\nYou hear a wet thud and a scurrying sound from the north. Dr.\nSingh doesn't seem to notice.\n\nrec - list recordings\n\n> Rec\nDr. Law, per Stygicorp regulations, I am recording all\nconversations. However, the microphone quality in some rooms will restrict the usefulness of some recordings.\n\nI've noticed that the microphone on your current device is not compliant with Stygicorp standards, and cannot communicate with our servers, Dr. Law. If you need voice communication, you can replay any recording over the speakers in the room you're in.\n\nsay [something] - play one of your listed recordings (for instance, you can SAY REPEAT)\n\nRecordings:\nRepeat - \"Let's try one more time! We can do it!\"\n\n> You examine singh\nA male human.\n\n-Height: 180 cm.\n\n-Approx. weight: 90 kg.\n\n-Approx. age: 30.\n\n-Clothing: navy suit, red tie, grey handkerchief. Hairbun, rolled beard.\n\n-Personality: disciplined.\n\nSphinx gets off and tries to eat a dust bunny from Dr. Spiel's side of the room. Dr. Singh notices her, and stops running. He says, \"Don't eat that, Sphinx!\"\n\n[New recording - Yuck]\n\nYou hear a thud and a scurrying from the north.\n\n> You examine Sphinx\nA female cat.\n\n-Height: 24 cm.\n\n-Approx. weight: 3.5 kg.\n\n-Approx. age: 3 years\n\n-Clothing: none\n\n-Personality: curious.\n\nI know that you're obviously not a cat person, Dr. Law, given your history, but Sphinx is quite cute.\n\nDr. Singh goes to the punching bag, and starts boxing. Sphinx climbs on top of the punching bag and starts scratching it. Dr. Singh backs up and says, \"Come here right now, Sphinx!\"\n\n[New recording - Come]\n\nYou hear a plop and a rustling from the north.\n\n> Go north\nYou see an enormous room, like the great hall of a castle, filled with a maze made of cardboard boxes, takeout containers, newspapers, broken furniture, and used wrapping paper. In the center is a large, cleared area. The clearing contains a gigantic ball of some metallic liquid, hovering in the air. It seems the cloning machine is finished. You can return to the living quarters to the south.\n\nA remote control lies on the trash, near the hidden speakers.\n\nThe surface of the ball begins to bubble and smoke. A clone of Dr. Spiel spills out. You hear a wet thud.\n\nOh no, Dr. Law; Dr. Spiel seems to have had an accident with the cloning machine again. The cloning machine is set on \"repeat\". The actions of the clones indicate that it is set to a low resolution--these are poor quality clones, Dr. Law. You'd better stop this.\n\nThe clone sees a plate of mac and cheese in the trash, and dives into the clutter.\n\n> You examine trash\nA mound composed of trash. I shudder to think what lies at the bottom, Dr. Law.\n\nThe clone continues to eat the rotten food.\n\n> You examine the ball\nThe cloning machine is a gigantic ball of some metallic liquid.\n\nDr. Spiel finishes the meal and immediately falls to the ground, groaning in pain and massaging her stomach.\n\n> You examine the ball\nThe cloning machine is a gigantic ball of some metallic liquid.\n\nThe clone is rolling on the ground in pain.\n\n> You look at the remote\nA remote control lies on the trash. In fact, it is quite near the hidden speakers, Dr. Law.\n\nPerhaps you could get Dr. Spiel to turn off the machine, Dr. Law.\n\nThe clone stumbles to its feet with its arms wrapped around its stomach.\n\nIt plunges deeper into the maze and is lost from view.\n\nThe surface of the ball begins to bubble and smoke. A clone of Dr. Spiel spills out. You hear a wet thud. The clone could stop the machine if they had the remote, Dr. Law.\n\nThe clone sees a rotten apple in the trash, and dives into the clutter.\n\n> Rec\nRecordings:\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\n\n> Yuck\nThe hidden speakers say, \"Don't eat that!\"\n\nThe clone starts up, alert, dropping what it's holding (a rotten apple). It says, \"Dr. Singh, is that you? I'm cleaning, I promise!\" It looks around, uncertain.\n\nThe clone kicks trash into the air.\n\n> You come\nThe hidden speakers say, \"Come here right now!\"\n\nThe clone looks toward the hidden speakers. It tries to climb toward the trash under the speakers, but gets scared. It says, \"I don't think I can do it.\"\n\nThe clone pops its knuckles.\n\n> You repeat\nThe hidden speakers say, \"Let's try one more time! We can do it!\"\n\nThe clone says, \"You're right! I can do it!\" The clone leaps up towards the speakers. It finally sees the remote.\n\n\"Oh, so that's where that was!\" says the clone. It hops down, and runs towards the machine. It points the remote, and presses the off button, but slips on some loose trash and drops the remote. The remote hits the ground with a bang, and pieces go flying everywhere with an electric sizzle.\n\nThe clone says, \"Uh oh.\" The cloning machine turns dark and begins to rotate in a turbulent way. The Spiel clone runs away in fear, and is lost in the maze."
    },
    {
        "text": "[Themes: Science Fiction, mad science]\n\n> You look at your surroundings\nYou see an enormous room, like the great hall of a castle, filled with a maze made of cardboard boxes, takeout containers, newspapers, broken furniture, and used wrapping paper. In the center is a large, cleared area. The clearing contains a gigantic ball of some metallic liquid, hovering in the air. You can return to the living quarters to the south.\n\nA remote control lies on the trash, missing many essential parts.\n\nDr. Singh walks in, looking concerned. He finds the remote on the ground, smoking, and picks it up. He looks at the sphere in alarm, and touches it with a single fingertip. An alarm begins to sound. Dr. Singh looks at his arm, which turns grey.\n\nBefore he can speak, he crumbles into dust.\n\nDr. Law, the cloning machine seems to have been set to the lowest quality possible. I am concerned about this situation. The night crew will have a fit cleaning up the mess.\n\nI cannot control the machine directly, but it accesses some schematics in my database each time it copies someone. I can edit an implant into the schematics that will allow you to control the clone. The additional power should keep it from decaying for a while.\n\nYou need to fix and use the remote to turn off the clone machine. With all this interference, you need a signal strength of at least 99 jigawatts! There should be some spare parts lying around that can boost the remote's power.\n\nA clone of Dr. Singh, holding a broken remote, emerges from the sphere and lands on his feet.\n\nclo - Control Singh's clone\n\n> Clo\nInitiating audiovisual link... \n\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nn,e,s,w - movement\ntake- pick up an object\nrem- attempt to use remote\ndis- disconnect from the clone\n\nDr. Singh's right ear is turning to ash. You don't have much time, Dr. Law; grab as much as you can to boost the signal, then turn on the remote.\n\n> You take all\nlens mound: Dr. Singh fishes out a lens.\n\nTaken.\n\nDr. Singh is breathing heavily.\n\n> You go to the north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one.\n\nThousands of batteries lined up like dominoes are here.\n\nDr. Singh's fingertips are turning gray.\n\n> You take all\nnest of antennas: Dr. Singh tugs on the antenna, muscles bulging, but it only slides out a foot or two.\nbattery dominoes: Dr. Singh carefully leans down and grabs a cell phone battery.\n\nTaken.\n\nDr. Singh swallows nervously.\n\n> Go south\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh's vision is getting blurry.\n\n> Rem\nDr. Singh is preparing the remote:\n\n-Dr. Singh opens a slot in the remote, revealing a black, crusted battery; whoever used the remote last must have fried it. He removes it, and inserts the new battery. Power levels increasing by 30 jigawatts.\n\n-Dr. Singh screws on the lens to the end of the remote. It focuses\nthe signal by a miniscule amount. Power levels increasing by 5 jigawatts.\n\nJigawatts.\n\nDr. Singh aims the remote at the machine and presses the button. The remote is trembling and flashing, but the signal is too weak. We need a final power level of at least 99 Jigawatts, Dr. Law. I'm\nsorry.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone...\n\n> You go north\n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\nDr. Singh's left ear is turning to ash.\n\n> Go north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one. One antenna has been pulled partially out.\n\nThousands of batteries lined up like dominoes are here.\n\nDr. Singh is breathing heavily.\n\n> You take the batteries\nDr. Singh carefully leans down and grabs a cell phone battery.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh's fingertips are turning gray.\n\n> Go south\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh wipes sweat from his eyes.\n\n> You go east\nCar Parts (as Dr. Singh)\nDr. Singh is surrounded by car parts organized in bizarre sculptures. Car frames have been welded into giant dog statues. A small greenhouse has been constructed from windshields, with fake plants made from sideview mirrors. The floor is covered with random detritus up to Dr. Singh's ankles. Dr. Singh can return to the west.\n\nAlmost everything here is bolted or welded down.\n\nA delicately balanced mobile is here with two pans on either side. One side contains a miniature city made of quartz crystals, ripe for the taking.\n\nThe other side contains a sort of rock garden made of parabolic headlight mirrors. Also ripe for the taking.\n\nThe crystals and mirrors bobble up and down.\n\nDr. Singh's vision is getting blurry.\n\n> You take all\ndelicate mobile: The mobile itself is, ironically, immobile.\n\nDr. Singh swallows nervously.\n\n> You take the mirrors\nDr. Singh snatches a parabolic mirror. However, the imbalance sets the pans in motion.\n\nI'm afraid the quartz crystals are beyond your reach, now, at least until they settle down.\n\nTaken.\n\nDr. Singh's toes turn to ash and fall off.\n\n> You go west\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh is breathing heavily.\n\n> You go east\nCar Parts (as Dr. Singh)\nDr. Singh is surrounded by car parts organized in bizarre sculptures. Car frames have been welded into giant dog statues. A small greenhouse has been constructed from windshields, with fake plants made from sideview mirrors. The floor is covered with random detritus up to Dr. Singh's ankles. Dr. Singh can return to the west.\n\nAlmost everything here is bolted or welded down.\n\nA delicately balanced mobile is here with two pans on either side. One side contains a miniature city made of quartz crystals, not ripe for the taking.\n\nThe other side contains a sort of rock garden made of parabolic headlight mirrors. It is not ripe for the taking.\n\nThe crystals and mirrors bobble up and down.\n\nDr. Singh swallows nervously.\n\n> You take the crystals\nThe quartz city is temporarily beyond the reach of Dr. Singh, it seems.\n\nDr. Singh stumbles. This clone can't last much longer!\n\n> You go west\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh wipes sweat from his eyes.\n\n> Rem\nDr. Singh is preparing the remote:\n\n-Dr. Singh slides the mirror into a groove on the remote. A row of indicators begin to light up. Power levels increasing by 30\njigawatts.\n\n-Dr. Singh opens a slot in the remote, revealing a black, crusted battery; whoever used the remote last must have fried it. He removes it, and inserts the new battery. Power levels increasing by 30 jigawatts.\n\nJigawatts.\n\nDr. Singh aims the remote at the machine and presses the button. The remote is trembling and flashing, but the signal is too weak. We need a final power level of at least 99 Jigawatts, Dr. Law. I'm\nsorry.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone...\n\n> You go west\n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\nDr. Singh's right ear is turning to ash.\n\n> Go west\nTrash Stacks (as Dr. Singh)\nDr. Singh is wading through piles of trash. He can hear a variety of crunches and pops from plastic cup lids, styrofoam peanuts, and bubble wrap underfoot. Dr. Singh's adrenaline levels are very high due to the occasional soft organic matter underneath. Dr. Singh can return to the east.\n\nOnly two items stand out.\n\nThere is a large, spinning disco ball here, Dr. Law. It seems to be constructed of chewing gum wrappers.\n\nA massive boulder of rock candy is here.\n\nDr. Singh swallows nervously.\n\n> You take all\nwrapper disco ball: Dr. Singh can't reach the disco ball, Dr. Law. He could touch it with a 10 ft. pole, though.\nrock candy boulder: Dr. Singh knocks off a piece of rock candy.\n\nTaken.\n\nDr. Singh's fingertips are turning gray.\n\n> Rem\nDr. Singh is preparing the remote:\n\n-Dr. Singh pushes the rock candy into a resonance chamber. It does very little. Power levels increasing by 5 jigawatts.\n\nJigawatts.\n\nDr. Singh aims the remote at the machine and presses the button. The remote is trembling and flashing, but the signal is too weak. We need a final power level of at least 99 Jigawatts, Dr. Law. I'm\nsorry.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone...\n\n> Go west\n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\nDr. Singh's left ear is turning to ash.\n\n> You take the lens\nDr. Singh fishes out a lens.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts.\n\nDr. Singh is breathing heavily.\n\n> You go to the west\nTrash Stacks (as Dr. Singh)\nDr. Singh is wading through piles of trash. He can hear a variety of crunches and pops from plastic cup lids, styrofoam peanuts, and bubble wrap underfoot. Dr. Singh's adrenaline levels are very high due to the occasional soft organic matter underneath. Dr. Singh can return to the east.\n\nOnly two items stand out.\n\nThere is a large, spinning disco ball here, Dr. Law. It seems to be constructed of chewing gum wrappers.\n\nA massive boulder of rock candy is here.\n\nDr. Singh's fingertips are turning gray.\n\n> You take the candy\nDr. Singh knocks off a piece of rock candy.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts.\n\nDr. Singh wipes sweat from his eyes.\n\n> You go east\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh's vision is getting blurry.\n\n> You go north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one. One antenna has been pulled partially out.\n\nThousands of batteries lined up like dominoes are here.\n\nDr. Singh swallows nervously.\n\n> You take the battery\n(the battery dominoes)\nDr. Singh carefully leans down and grabs a cell phone battery. His feet become unbalanced, and he knocks over the dominoes in an enormous cascade. A wail of anguish comes from beyond the stacks as the Spiel clones mourn their loss.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh's toes turn to ash and fall off.\n\n> Go south\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh wipes sweat from his eyes.\n\nDr. Singh hears the dominoes falling throughout the maze.\n\n> Go east\nCar Parts (as Dr. Singh)\nDr. Singh is surrounded by car parts organized in bizarre sculptures. Car frames have been welded into giant dog statues. A small greenhouse has been constructed from windshields, with fake plants made from sideview mirrors. The floor is covered with random detritus up to Dr. Singh's ankles. Dr. Singh can return to the west.\n\nAlmost everything here is bolted or welded down.\n\nA delicately balanced mobile is here with two pans on either side. One side contains a miniature city made of quartz crystals, ripe for the taking.\n\nThe other side contains a sort of rock garden made of parabolic headlight mirrors. Also ripe for the taking.\n\nThe crystals and mirrors bobble up and down.\n\nDr. Singh is breathing heavily.\n\nThe sound of the dominoes falling down is almost deafening. It sounds like the Spiel clones are cheering.\n\n> You take the crystals\nDr. Singh dextrously abstracts a quartz crystal. However, the imbalance sets the pans in motion.\n\nI'm afraid the parabolic mirrors are beyond your reach, now, at least until they settle down.\n\nTaken.\n\nDr. Singh stumbles. This clone can't last much longer!\n\nThe dominoes reach a crescendo, then fade away. Perhaps you should be more careful next time, Dr. Law.\n\n> You go west\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh wipes sweat from his eyes.\n\n> Rem\nDr. Singh is preparing the remote:\n\n-Dr. Singh pushes the quartz crystal into a resonance chamber. The remote begins to hum and jitter. Power levels increasing by 20 jigawatts.\n\n-Dr. Singh opens a slot in the remote, revealing a black, crusted battery; whoever used the remote last must have fried it. He removes it, and inserts the new battery. Power levels increasing by 30 jigawatts.\n\n-Dr. Singh pushes the rock candy into a resonance chamber. It does very little. Power levels increasing by 5 jigawatts.\n\n-Dr. Singh screws on the lens to the end of the remote. It focuses\nthe signal by a miniscule amount. Power levels increasing by 5 jigawatts.\n\nJigawatts.\n\nDr. Singh aims the remote at the machine and presses the button. The remote is trembling and flashing, but the signal is too weak. We need a final power level of at least 99 Jigawatts, Dr. Law. I'm\nsorry.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone... \n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\nDr. Singh's right ear is turning to ash.\n\n> You take the lens\nDr. Singh fishes out a lens.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts.\n\nDr. Singh swallows nervously.\n\n> Go east\nCar Parts (as Dr. Singh)\nDr. Singh is surrounded by car parts organized in bizarre sculptures. Car frames have been welded into giant dog statues. A small greenhouse has been constructed from windshields, with fake plants made from sideview mirrors. The floor is covered with random detritus up to Dr. Singh's ankles. Dr. Singh can return to the west.\n\nAlmost everything here is bolted or welded down.\n\nA delicately balanced mobile is here with two pans on either side. One side contains a miniature city made of quartz crystals, ripe for the taking.\n\nThe other side contains a sort of rock garden made of parabolic headlight mirrors. Also ripe for the taking.\n\nThe crystals and mirrors bobble up and down.\n\nDr. Singh's fingertips are turning gray.\n\n> You take mirror\nDr. Singh snatches a parabolic mirror. However, the imbalance sets the pans in motion.\n\nI'm afraid the quartz crystals are beyond your reach, now, at least until they settle down.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts.\n\nDr. Singh wipes sweat from his eyes.\n\n> You go west\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh's vision is getting blurry.\n\n> You go west\nTrash Stacks (as Dr. Singh)\nDr. Singh is wading through piles of trash. He can hear a variety of crunches and pops from plastic cup lids, styrofoam peanuts, and bubble wrap underfoot. Dr. Singh's adrenaline levels are very high due to the occasional soft organic matter underneath. Dr. Singh can return to the east.\n\nOnly two items stand out.\n\nThere is a large, spinning disco ball here, Dr. Law. It seems to be constructed of chewing gum wrappers.\n\nA massive boulder of rock candy is here.\n\nDr. Singh is breathing heavily.\n\n> You take the candy\nDr. Singh knocks off a piece of rock candy.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh's toes turn to ash and fall off.\n\n> Go east\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh swallows nervously.\n\n> Go north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one. One antenna has been pulled partially out.\n\nThousands of batteries lined up like dominoes are here. Well, they were lined up, Dr. Law, until you interfered.\n\nDr. Singh wipes sweat from his eyes.\n\n> You take battery\n(the battery dominoes)\nDr. Singh grabs a battery from the pile.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts.\n\nDr. Singh stumbles. This clone can't last much longer!\n\n> You take the antenna\nDr. Singh pulls again, and the antenna slides halfway out. He wipes the sweat off his head.\n\nDr. Singh swallows nervously.\n\n> You take the antenna\nDr. Singh heaves, and the whole nest shifts, letting the antenna come almost all the way out.\n\nI'm sorry, Dr. Law; you didn't have enough time to use the remote. Fortunately, there should be another clone coming soon.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone... \n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\n> You take the antenna\nDr. Singh grabs the antenna with both hands, and gives a mighty pull. The antenna comes out completely.\n\nTaken.\n\nDr. Singh's fingertips are turning gray.\n\n> You take the battery\n(the battery dominoes)\nDr. Singh grabs a battery from the pile.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts.\n\nDr. Singh swallows nervously.\n\n> You go east\nCar Parts (as Dr. Singh)\nDr. Singh is surrounded by car parts organized in bizarre sculptures. Car frames have been welded into giant dog statues. A small greenhouse has been constructed from windshields, with fake plants made from sideview mirrors. The floor is covered with random detritus up to Dr. Singh's ankles. Dr. Singh can return to the west.\n\nAlmost everything here is bolted or welded down.\n\nA delicately balanced mobile is here with two pans on either side. One side contains a miniature city made of quartz crystals, ripe for the taking.\n\nThe other side contains a sort of rock garden made of parabolic headlight mirrors. Also ripe for the taking.\n\nThe crystals and mirrors bobble up and down.\n\nDr. Singh is breathing heavily.\n\n> You take the mirror\nDr. Singh snatches a parabolic mirror. However, the imbalance sets the pans in motion.\n\nI'm afraid the quartz crystals are beyond your reach, now, at least until they settle down.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh's toes turn to ash and fall off.\n\n> You take candy\nDr. Singh knocks off a piece of rock candy.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts.\n\nDr. Singh stumbles. This clone can't last much longer!\n\n> You take the lens\nDr. Singh fishes out a lens.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by\n5 jigawatts.\n\nI'm sorry, Dr. Law; you didn't have enough time to use the remote. Fortunately, there should be another clone coming soon.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone... \n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\n> Go south\nOffice Supplies (as Dr. Singh)\nThis portion of the maze is almost completely bare. Row after row of cabinets, boxes, and shelves are completely cleaned off. At the end of the row, Dr. Singh sees a Spiel clone grabbing the last stapler and stuffing it in his pocket, but the clone runs when they see him. From somewhere nearby, there is a murmur of many multitudes; the clones must be nearby. Dr. Singh can return to the north.\n\nA box of paperclips is on the floor, Dr. Law.\n\nA pile of smooth wooden sticks lies on the floor.\n\nA case full of cubes (which I suspect are camera flashes, or rechargeable batteries) is here. It's enormous, with each cube fitting tightly in the square.\n\nDr. Singh is breathing heavily.\n\n> You get the flash\nDr. Singh carefully and nimbly fishes out a red cube.\n\nTaken.\n\nDr. Singh's fingertips are turning gray.\n\n> You get mirror\nDr. Singh snatches a parabolic mirror. However, the imbalance sets the pans in motion.\n\nI'm afraid the quartz crystals are beyond your reach, now, at least until they settle down.\n\nTaken.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh wipes sweat from his eyes.\n\n> Go west\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh's toes turn to ash and fall off.\n\n> You go north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one.\n\nThousands of batteries lined up like dominoes are here. Well, they were lined up, Dr. Law, until you interfered.\n\nDr. Singh swallows nervously.\n\n> You get the battery\n(the battery dominoes)\nDr. Singh grabs a battery from the pile.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts.\n\nDr. Singh wipes sweat from his eyes.\n\n> You get the antenna\nDr. Singh tugs on the antenna, muscles bulging, but it only slides out a foot or two.\n\nDr. Singh stumbles. This clone can't last much longer!\n\n> You get the antenna\nDr. Singh pulls again, and the antenna slides halfway out. He wipes the sweat off his head.\n\nDr. Singh swallows nervously.\n\n> Go south\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nI'm sorry, Dr. Law; you didn't have enough time to use the remote. Fortunately, there should be another clone coming soon.\n\nDr. Singh's body collapses into a pile of ash, including the remote.\n\nA new clone falls out of the device with a thud, holding a broken remote.\n\n\nTaking control of the new clone... \n## HYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Law, the last clone could not stop the device because the remote needed more power. You must increase the remote's power to at\nleast 99 Jigawatts; this last time, you only reached 0\nJigawatts. Perhaps you should gather different items.\n\n> Go south\nOffice Supplies (as Dr. Singh)\nThis portion of the maze is almost completely bare. Row after row of cabinets, boxes, and shelves are completely cleaned off. From somewhere nearby, there is a murmur of many multitudes; the clones must be nearby. Dr. Singh can return to the north.\n\nA box of paperclips is on the floor, Dr. Law.\n\nA pile of smooth wooden sticks lies on the floor.\n\nA case full of cubes (which I suspect are camera flashes, or rechargeable batteries) is here. It's enormous, with each cube fitting tightly in the square.\n\nDr. Singh wipes sweat from his eyes.\n\n> You get the flash\nDr. Singh carefully and nimbly fishes out a red cube.\n\nTaken.\n\nDr. Singh's fingertips are turning gray.\n\n> Go north\nElectronics Pile (as Dr. Singh)\nThis section of the maze is filled with smashed-in monitors, old VGA chips, outdated smart phones, and cables which, I can tell you, Dr. Law, absolutely do not fit any of the electronics here. Everything is piled on metal shelving that is spaced a little too wide, so that the spare parts have spilled down to lower levels. Dr. Singh can return to the south.\n\nOnly two items seem to be of any use.\n\nA pile of antennas has been artfully arranged into a nest here. Dr. Singh may be able to grab one. One antenna has been pulled partially out.\n\nThousands of batteries lined up like dominoes are here. Well, they were lined up, Dr. Law, until you interfered.\n\nDr. Singh swallows nervously.\n\n> You get the battery\n(the battery dominoes)\nDr. Singh grabs a battery from the pile.\n\nFrom experience, Dr. Law, this should increase the remote's power by 30 jigawatts. We need to reach 99 jigawatts to turn\noff the machine!\n\nDr. Singh is breathing heavily.\n\n> You go south\nHYDRA Laboratory (as Dr. Singh)\nDr. Singh is standing in a large clearing in the center of a maze of trash. The clone machine hovers above in silence. Dr. Singh can hear a murmur of voices from the maze, with occasional laughs, screams, and yells from Dr. Spiel's clones. Dr. Singh can also hear his own heavy breathing. Dr. Singh can move to the north, south, east or\nwest.\n\nA mound of lenses is piled up here.\n\nDr. Singh stumbles. This clone can't last much longer!\n\n> Rem\nDr. Singh is preparing the remote:\n\n-Dr. Singh opens a slot in the remote, revealing a black, crusted battery; whoever used the remote last must have fried it. He removes it, and inserts the new battery. Power levels increasing by 30 jigawatts.\n\n-Dr. Singh slides the mirror into a groove on the remote. A row of indicators begin to light up. Power levels increasing by 30\njigawatts.\n\n-Dr. Singh places the red cube into a battery socket. It flashes, temporarily blinding Singh. Power levels increasing by 40\njigawatts.\n\nJigawatts.\n\nDr. Singh aims the remote at the machine and presses the button. Dr. Law, the clone machine is shutting down! You did it!\n\nYou hear a chorus of cries from the stacks as Dr. Spiel's clone army crumbles to ash.\ncrumbles to ash.The latest clone of Dr. Singh wipes his brow. He gingerly touches the cloning device, but it doesn't respond. Smiling, he pushes the clone machine out of the room. I believe he's headed for the command center, Dr. Law. Testing is complete on the clone machine.\n\nYou have done everything you can do in the HYDRA Lab, Dr. Law. Returning you to your last known location..."
    },
    {
        "text": "> Look around\nYou see an enormous room, like the great hall of a castle, filled with a maze made of cardboard boxes, takeout containers, newspapers, broken furniture, and used wrapping paper. In the center is a large, cleared area. The clearing contains a gigantic ball of some metallic liquid, hovering in the air. You can return to the living quarters to the south.\n\nA remote control lies on the trash, missing many essential parts.\n\n\nProject HYDRA Complete \n\n-Evaluate Project MEDUSA\n-Evaluate Project MOIRAI\n-Make your final selection at the project judging ceremony\n-Dr. Law, your brain backup unit's battery light just went from\ngreen to yellow. I don't know what you have in there,\nbut it will be erased if you don't charge it.\n\nhom - home folder\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\n\n> Med\nInitiating audiovisual link with Project MEDUSA... \n\nThe Project MEDUSA lobby is a squat, dim and dirty steel cylinder. The entrance to the laboratory to the north is covered with an\nelaborate engraving of Medusa's head, with the snakes extending around to fill the walls. On the floor is a carving of Perseus, his eyes covered by one hand, and the other hand raised in defense. Where his shield should be is a circular depression.\n\nThe camera doesn't point up, Dr. Law, but I know that the ceiling is bare except for a few recessed lights and a centrally located fire sprinkler. The sprinkler is not turned on.\n\nI detect one connected device, Dr. Law.\n\nOh, Dr. Law, I just remembered. Dr. Ng went to bed almost an hour ago. She's really uptight about security, you know, especially since her partner quit. She said that she was going to password protect the lab, but that she'd leave the password \"in a way that Dr. Law will understand.\"\n\n> You examine the sprinklers\nThe sprinkler is off.\n\nspr - Turn sprinkler on and off\n\n> Spr\nActivating sprinkler.\n\nThe circular depression fills with the water to form a pool.\n\n(A hidden drain keeps you from flooding Project MEDUSA, Dr. Law.)\n\n> You examine the pool\nThe depression has filled up to become a reflective pool, Dr. Law. You can see the reflection of the Medusa in the pool.\n\n> You examine medusa\n(Medusa's Head)\nOn closer inspection, Medusa's snakes all terminate in weapons instead of heads. I count approximately 423 types of weaponry, including RPG's, nuclear warheads, and boards with rusty nails. Medusa's pupils are in the shape of the biohazard sign, which I believe is a deplorable error, as the MEDUSA team does not work with biological agents.\n\nThere is a post-it note on the Medusa that says \"CODE: WOW\". This must be the access code Dr. Ng promised you.\n\n> Wow\nAttempting to access lab... access denied. There must be something wrong with the code, Dr. Law.\n\n> You examine the note\nI didn't understand the object in that command, Dr. Law.\n\n> Mom\nAccess granted, Dr. Law. The MEDUSA Living Quarters to the\nnorth is now unlocked.\n\n> Go north\nPlease be careful around the war robot this time, Dr. Law. It has been placed in the arena to the north to avoid any more problems with testing. Also, Dr. Ng's hair has begun to grow back.\n\nYou see a mid-sized, bunker-like room covered with movie posters. The room is dominated by a large desk and a couch. Someone is sleeping on the couch, probably Dr. Ng. A TV faces the front of a couch.\n\nThe TV shows a live feed from the arena to the north,\ndisplaying the motionless war robot Angel. The lobby is back to the south.\n\nYou hear the quiet hum of air conditioning.\n\nA notepad on the desk seems to have some writing on it.\n\nYou can see a bookcase and a large desk (on which are a pencil, a squeaky alien toy and a cute robot mini-figure) here.\n\n> You examine the robot\n(the live feed)\nThe television displays a live feed of the arena to the north, displaying the motionless war robot.\n\n> You look at the notepad\nThe notepad says \"War Robot Bluetooth access code: WAR.\" It is signed by Dr. Long.\n\nwar - Access attack robot\n\n> Examine toy\nA small, green squeaky alien toy that Dr. Long bought for Dr. Ng.\n\n> You look at the minithe -the figure\nDr. Ng's toy version of his war robot. This one is called Smasher, I believe.\n\n> You examine the conditioner\nA small ventilation grille opens up directly above the bookcase.\n\n> You look at the bookcase\nThe bookcase is filled with movie memorabilia.\n\n> You examine the posters\nYou see posters for westerns, for dinosaur movies, for urban warfare films. You see a poster of dogs playing poker.\n\n> You examine the desk\nThis is a large desk with two rectangles outlined by cracks in the desk. There is a small button on the left-hand side.\n\nOn the large desk are a pencil, a squeaky alien toy, a cute robot mini-figure and a notepad.\n\n> You examine the pencil\nA standard yellow pencil with a pink eraser.\n\n> You look at Ng\n-A cyborg human.\n\n-Height: 170 cm.\n\n-Approx. weight: 200 kg.\n\n-Approx. age: unable to estimate.\n\n-Clothing: metallic foil suit.\n\n-Personality: driven.\n\n> You examine the couch\nA dilapidated psychedelic reupholstered couch.\n\n> You go to the north\nYou see a circular room with brick walls and a floor covered in sand. The MEDUSA Living Quarters are to the south.\n\nScattered about the room are a small green punching bag, a stack of wooden crates, an unopened bottle, a small sapling and a stone boulder.\n\nYou see Angel standing motionless in the center of the room.\n\nA wooden hatch is in the center of the floor.\n\n> WAR\nAccessing Bluetooth...connecting...Access granted! Type EXT to exit the war robot program at any time.\n\nSouthwestern Platform (as Smasher)\nAllow me to adapt to this new feed...\n\nInternal compass detected...\n\nYou are on a large wooden platform with steep drop-offs to the south and west. The platform extends to the north and east.\n\nlas - fire laser\nham - swing hammer\nfir - shoot flame\nbot - open bottle\ngun - shoot gun\nsaw - use chainsaw\nn,e,s,w - movement\next - exit from war robot control\n\nYou see a massive wooden spear with a black tip."
    },
    {
        "text": "[Themes: Science Fiction, cloning, laboratory setting, sci-fi, music]\n\n> Describe the surroundings\nSouthwestern Platform (as Smasher)\nYou are on a large wooden platform with steep drop-offs to the south and west. The platform extends to the north and east.\n\nYou see a massive wooden spear with a black tip.\n\n> Go east\nSoutheastern Platform (as Smasher)\nYou are on a large wooden platform with steep drop-offs to the south and east.\n\nThe platform extends to the north and west.\n\nYou can see a giant green alien here.\n\n> You go north\nNortheastern Platform (as Smasher)\nThis portion of the platform is a large rectangle outlined by a series of cracks and hinges. The robot is in the middle of the rectangle.\n\nThe platform extends to the south and west.\n\nA large yellow dais of some spongy material is here, covered in black streaks. It covers up much of the rectangle outlined by the cracks.\n\n> Swing\nWhat do you want to swing?\n\n> Ham\nWhat do you want to ham?\n\n> Ham dais\nThe robotic arm presses against the large yellow dais ineffectively.\n\n> Go west\nNorthwestern Platform (as Smasher)\nThis portion of the platform is a large rectangle outlined by a series of cracks and hinges. A nearby cube says \"OPEN DRAWER 1\", but it appears to be broken.\n\nThe platform extends to the south and east.\n\n> Ham cube\nThe hammer smashes down the cube. You hear a sound like a broken spring."
    },
    {
        "text": "[Themes: Science Fiction, sci-fi, Mythology, mad science, science fiction, Comedy, cloning, music, robot]\n\n> Go down\nThis vessel is blocked from moving that direction, Dr. Law.\n\n> EXT\nDisconnecting...returning to audiovisual mode.\n\nYou see a circular room with brick walls and a floor covered in sand. The MEDUSA Living Quarters are to the south.\n\nScattered about the room are a small green punching bag, a stack of wooden crates, an unopened bottle, a small sapling and a stone boulder.\n\nYou see Angel standing motionless in the center of the room.\n\nA wooden hatch is in the center of the floor.\n\n> EXT\nThere is nothing to disconnect from, Dr. Law.\n\n> You examine the punching bag\nHow ironic, Dr. Law, that Angel is not capable of punching.\n\n> Examine crates\nIt was convenient, Dr. Law, that all of the other arena props came in these nice crates.\n\n> You examine bottle\n(the unopened bottle)\nA bottle that is, sadly, unopened.\n\n> You look at the sapling\nI'm not really sure why we brought this in, Dr. Law. There may have been a mixup with the gardening department.\n\nNow that I think about, this might mean there is a land mine planted in the back garden. I'll make a note to the gardening staff.\n\n> You look at the boulder\nThis boulder was surprisingly hard to obtain, Dr. Law, given that Stygicorp is surrounded by boulders.\n\n> You look at the hatch\nThis is a wooden hatch covering something on the floor. It seems quite fragile, Dr. Law.\n\n> You open it\nDr. Law, I am unable to open anything except files and folders. Unless it's connected to the internet, in which case you need to use a different command.\n\n> You examine angel\nA 2 m steel humanoid robot.\n\nAttachments: laser, flamethrower, handgun, hammer, bottle opener, chainsaw.\n\n> You examine the laser\nThis camera has been restricted to only one level of zoom, Dr. Law."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, sci-fi, Comedy]\n\n> Go downward\nThe cameras are not operational in that direction, Dr. Law.\n\n> WAR\nAccessing Bluetooth...connecting...Access granted! Type EXT to exit the war robot program at any time.\n\nNorthwestern Platform (as Smasher)\nThis portion of the platform is a large rectangle outlined by a series of cracks and hinges. A nearby cube says \"OPEN DRAWER 1\", but it appears to be broken.\n\nThe platform extends to the south and east.\n\n> You go east\nNortheastern Platform (as Smasher)\nThis portion of the platform is a large rectangle outlined by a series of cracks and hinges. The robot is in the middle of the rectangle.\n\nThe platform extends to the south and west.\n\nA large yellow dais of some spongy material is here, covered in black streaks. It covers up much of the rectangle outlined by the cracks.\n\n> You go south\nSoutheastern Platform (as Smasher)\nYou are on a large wooden platform with steep drop-offs to the south and east.\n\nThe platform extends to the north and west.\n\nYou can see a giant green alien here.\n\n> Saw alien\nA pen knife swings out, and the robot attempts to cut the alien. The rubbery skin compresses, and begins to split, showing a plastic squeaker ring inside, but then the whole alien slips off and bounces away to the distant floor, rolling under the platform.\n\n> Las alien\nA plastic bulb lights up at the end of the laser arm. You hear a \"pew pew\" sound. The giant green alien is unaffected, Dr. Law.\n\n> Gun alien\nYou shoot a plastic pellet at the giant green alien. The pellet bounces away and is lost.\n\nThe alien is silent and motionless.\n\n> Fir alien\nYou hear a 'click' and a small flame comes from the end of one of Smasher's arms.\n\nSmasher holds the flame to the alien and it goes up in a big ball of greasy smoke, leaving only a plastic squeaker ring that rolls to the ground far below and under the platform. The smoke is sucked into the ventilation grille.\n\n> You go north\nNortheastern Platform (as Smasher)\nThis portion of the platform is a large rectangle outlined by a series of cracks and hinges. The robot is in the middle of the rectangle.\n\nThe platform extends to the south and west.\n\nA large yellow dais of some spongy material is here, covered in black streaks. It covers up much of the rectangle outlined by the cracks.\n\n> Las dais\nA plastic bulb lights up at the end of the laser arm. You hear a \"pew pew\" sound. The large yellow dais is unaffected, Dr. Law.\n\n> Fir dais\nYou hear a clicking sound, and see a small flame come from the robot's arm. The dais is on fire. It's burning away into cinders that are caught up into the ventilation grille on the far edge of the room, by the bookshelf.\n\nI thought we had worked through these destructive urges, Dr. Law.\n\nNow that the fire is out, you see a recessed cube that was hidden underneath.\n\n> You look at the cube\nA recessed cube that says \"OPEN DRAWER 2\".\n\n> Ham cube\nThe robotic arm hammers the recessed button. A compartment in the floor opens, flinging the robot across the room.\n\nHigh Platform (as Smasher)\nYou have a high view of the entire room. A massive ventilation grille is next to you, to the north. It is held closed by several studs.\n\n> Saw the studs\nA dull-bladed pen-knife pops out, trying to cut the studs, but it is not sharp enough, Dr. Law.\n\n> Bot studs\nThe arm extends, gripping the studs, and pops them off one at a time. The ventilation grille pops off and falls down behind the high platform. The way to the north is now open.\n\n> Go north\nAirduct (as Smasher)\nThe robot is in a tight metal hallway that bends from the south\nto the west.\n\n> Go west\nThe robot tumbles down an unexpected hole in the shaft. It comes to rest on a far larger robot in the room below.\n\nAngel's Head (as Smasher)\nThe robot is up high on an another, enormous robot's head. Far below is an endless ocean of sand.\n\nThe head is flat and almost featureless. A small ramp leads\ndown into the darkness."
    },
    {
        "text": "> Go downward\nThe small robot docks into the larger robot's head.\n\n\nInterfacing with Angel... \nYou now have access to the larger robot's capabilities.\n\nMEDUSA Arena (as Angel)\nYou see a circular room with brick walls and a floor covered in sand. There are no obvious exits.\n\nScattered about the room are a small green punching bag, a stack of wooden crates, an unopened bottle, a small sapling and a stone boulder.\n\nA wooden hatch is in the center of the floor.\n\nx [something] - zoom in camera\nsay [something] - play one of your listed recordings\nlas - fire laser\nham - swing hammer\nfir - shoot flame\ngun - shoot gun\nbot - open bottle\nsaw - use chainsaw\nn,e,s,w,u,d - movement\next - exit from war robot control\nz - wait\n\n> Ham hatch\nThe robot's hydraulic hammer smashes the wooden hatch into millions of pieces. A vacuum attachment emerges to suck up the remains.\n\nA dark ramp is now visible, leading downward.\n\n> Bot bottle\n(the unopened bottle)\nThe bottle opener gently opens the bottle.\n\n> You examine bottle\n(the opened bottle)\nA bottle that is cheerily opened.\n\n> Go south\nThis vessel is blocked from moving that direction, Dr. Law."
    },
    {
        "text": "[Themes: Science Fiction, poker, dog, Comedy, Mythology]\n\n> Go downward\nWild West Challenge (as Angel)\nThe robot rolls down the ramp into complete darkness.\n\nThe ramp retracts into the ceiling, and the lights go on. You hear Dr. Long's recorded voice saying: \"First Challenge: Wild West Environment\". Dr. Ng's voice chimes in, saying, \"Now with three times the firepower!\" The camera feed jiggles; Angel seems to be on a platform. The lights go on.\n\nYou see a room painted with murals of red-rock desert country. Angel is standing on top of a train that is rocking and bumping on hydraulics; hidden speakers are playing train noises. The train is being pursued by an outlaw drone and a bandit drone, riding stationary mechanical horses.\n\nThe train and horses are bucking wildly, making it hard to aim.\n\nThe outlaw drone draws its gun and aims it at you.\n\nThe bandit drone pulls out its revolver and points it at you.\n\n> Las boulder\nA double-barreled 500 jigawatt laser fires at the stone boulder, punching two holes in it.\n\n> Saw bottle\n(the opened bottle)\nThe chainsaw starts up with a harsh rattle, and shreds the opened bottle.\n\n> Ham punching bag\nThe robot's hydraulic hammer smashes into the small green punching bag. You hear a loud thud, but the small green punching bag stands firm.\n\n> Gun crates\nThe stack of wooden crates disintegrates in a hail of bullets.\n\n> Fir boulder\nA massive burst of flame emerges from the robot, engulfing the stone boulder. However, the stone boulder is unscathed.\n\n> Gun boulder\nThe stone boulder is resistant to your bullets, which spray around the room wildly."
    },
    {
        "text": "[Themes: Science Fiction, poker, dog, Comedy, Mythology]\n\n> Go downward\nWild West Challenge (as Angel)\nThe robot rolls down the ramp into complete darkness.\n\nThe ramp retracts into the ceiling, and the lights go on. You hear Dr. Long's recorded voice saying: \"First Challenge: Wild West Environment\". Dr. Ng's voice chimes in, saying, \"Now with three times the firepower!\" The camera feed jiggles; Angel seems to be on a platform. The lights go on.\n\nYou see a room painted with murals of red-rock desert country. Angel is standing on top of a train that is rocking and bumping on hydraulics; hidden speakers are playing train noises. The train is being pursued by an outlaw drone and a bandit drone, riding stationary mechanical horses.\n\nThe train and horses are bucking wildly, making it hard to aim.\n\nThe outlaw drone draws its gun and aims it at you.\n\nThe bandit drone pulls out its revolver and points it at you.\n\n> Gun bandit\nThe rocking train makes the bullets spray wildly. They miss the drone, but hit the horse. Sparks fly, and the horse stops moving.\n\nThe outlaw drone shoots at you, but the shot goes wild.\n\nThe bandit drone whoops and hollers, shooting its gun in the air.\n\n> Gun outlaw's horse\nThe rocking train makes the bullets spray wildly. They miss the drone, but hit the horse. Sparks fly, and the horse stops moving.\n\nThe outlaw drone aims carefully, and shoots.\nAngel's laser has been damaged, Dr. Law. It is no longer functional.\n\nThe bandit drone aims carefully, and shoots.\nAngel's chainsaw has been damaged, Dr. Law. It is no longer functional.\n\n> Ham bandit\nThe drone and its horse are too far away, Dr. Law.\n\nThe outlaw drone shoots at you, but the shot goes wild.\n\nThe bandit drone whoops and hollers, shooting its gun in the air.\n\n> Las bandit\nThe rocking of the train and the horse makes the laser go wild, Dr. Law. You are unable to lase the drone. It's too small a target.\n\nThe outlaw drone aims carefully, and shoots.\nAngel's laser has been damaged, Dr. Law. It is no longer functional.\n\nThe bandit drone aims carefully, and shoots.\nAngel's chainsaw has been damaged, Dr. Law. It is no longer functional.\n\n> Gun bandit\nWith the horse not moving, it's easy to attack the drone. It disintegrates in a hail of bullets.\n\nThe outlaw drone aims carefully, and shoots.\nAngel's laser has been damaged, Dr. Law. It is no longer functional.\n\n> Gun outlaw\nWith the horse not moving, it's easy to attack the drone. It disintegrates in a hail of bullets.\n\nThe bandit drone aims carefully, and shoots.\nAngel's laser has been damaged, Dr. Law. It is no longer functional.\n\n> Gun train\nThe train is resistant to your bullets, which spray around the room wildly.\n\nThe bandit drone aims carefully, and shoots.\nAngel's chainsaw has been damaged, Dr. Law. It is no longer functional.\n\n> Saw train\nThe chainsaw struggles against the train, sending up sparks but causing little damage.\n\nThe outlaw drone shoots at you, but the shot goes wild.\n\nThe bandit drone whoops and hollers, shooting its gun in the air.\n\n> Saw the outlaw\nThe drone is too far away, Dr. Law.\n\nThe outlaw drone aims carefully, and shoots.\nAngel's laser has been damaged, Dr. Law. It is no longer functional.\n\nThe bandit drone aims carefully, and shoots.\nAngel's chainsaw has been damaged, Dr. Law. It is no longer functional.\n\n> Fir bandit\nThe flames envelope the drone and the horse. The drone glows white-hot, then explodes. A cleaner bot swoops down to vacuum the ashes, then disappears.\n\nThe outlaw drone shoots at you, but the shot goes wild.\n\n> Fir outlaw\nThe flames envelope the drone and the horse. The drone glows white-hot, then explodes. A cleaner bot swoops down to vacuum the ashes, then disappears.\n\nA voice speaks, saying: \"First Challenge Successful. Please proceed to the next Challenge.\"\n\nA ramp in the top of the train opens downwards."
    },
    {
        "text": "[Themes: Science Fiction, Comedy, mad science, Mythology, sci-fi, robot]\n\n> You descend\nPirate Challenge (as Angel)\nAngel travels down the ramp into darkness. The ramp retracts into the ceiling. Dr. Long's voice says: \"Second Challenge: Ocean Environment.\" Dr. Ng's voice chimes in, saying, \"Now with pirates!\"\n\nThe lights go on. The robot is on the deck of a wooden sailing ship, in the rain. A dark ship flying the skull and crossbones lies nearby. The pirate ship is teeming with pirate drones.\n\nThe pirate captain drone stalks the deck of the pirate ship, shouting orders. It is almost completely screened by the wooden rail.\n\nThe captain points to a pirate drone and barks out an order. The pirate drone charges and swings across to your schooner, brandishing its cutlass.\n\n> Gun pirate\n(the pirate drone)\nThe bullets pierce through the drone. The drone glows white-hot, then explodes.\n\n> Saw rail\nThat's too far away to saw!\n\n> Gun rail\nThe railing explodes into splinters, but the captain is unharmed. It leaps up into the rigging.\n\nThe captain points to a pirate drone and barks out an order. The pirate drone charges and swings across to your schooner, brandishing its cutlass.\n\n> Gun captain\nThe pirate captain leaps out of the way. The rigging is shredded to pieces. The captain dives belowdecks.\n\n> Saw the captain\nThat's too far away to saw!\n\nThe captain points to a pirate drone and barks out an order. The pirate drone charges and swings across to your schooner, brandishing its cutlass.\n\n> Gun captain\nThe gun misses the captain, and sprays holes all over the ship. The ship slowly sinks into the water, with all pirates jumping in and swimming away.\n\nThe captain remains with the ship until the end, saluting you as it sinks under the water.\n\nA ramp opens down in your schooner.\n\n> Las captain\nThe laser misses the captain, and gouges a huge gash into the ship. The ship slowly sinks into the water, with all pirates jumping in and swimming away.\n\nThe captain remains with the ship until the end, saluting you as it sinks under the water.\n\nA ramp opens down in your schooner."
    },
    {
        "text": "[Themes: Science Fiction, music, laboratory setting, poker, Mythology, science fiction]\n\n> Go downwards\nThere is not a path downward at this time, Dr. Law.\nRefreshing...\n\nPirate Challenge (as Angel)\nThe robot is on the deck of a wooden sailing ship, in the rain. A dark ship flying the skull and crossbones lies nearby. The pirate ship is teeming with pirate drones.\n\nThe captain runs back and forth belowdecks, visible through the portholes.\n\nx [something] - zoom in camera\nsay [something] - play one of your listed recordings\nlas - fire laser\nham - swing hammer\nfir - shoot flame\ngun - shoot gun\nbot - open bottle\nsaw - use chainsaw\nn,e,s,w,u,d - movement\next - exit from war robot control\nz - wait\n\nLet me know if you need anything else, Dr. Law.\n\n> Saw the portholes\nThat's too far away to saw!\n\nThe captain points to a pirate drone and barks out an order. The pirate drone charges and swings across to your schooner, brandishing its cutlass.\n\n> Gun pirate\n(the pirate drone)\nThe bullets pierce through the drone. The drone glows white-hot, then explodes.\n\n> Bot captain\nThe bottle opener is ineffective in this current situation, Dr. Law. If we find rum later, we can pull it out again."
    },
    {
        "text": "[Themes: Science Fiction, Mythology, music, sci-fi]\n\n> Go downwards\nFinal Challenge (as Angel)\nAngel travels down the ramp into the darkness. The ramp retracts into the ceiling. Dr. Ng's voice speaks alone, saying, \"Final Challenge: Drones Playing Poker\".\n\nThe lights go on. Angel is pulled up to a circular green felt table with six drones, most with a cigar, cigarette, or pipe. There is a rootbeer bottle on the table. Angel has been dealt three aces and a few other cards. The drone next to Angel passes a fourth ace under the table. A pipe-smoking drone watches you expectantly.\n\nIt looks like the current bet is $1000. You are the last one to make your bet.\n\nfol - fold\ncal - call\nrai - raise\n\n> You open the bottle\n(the rootbeer bottle)\nMy connection with this vessel does not allow for detailed commands, Dr. Law. Please try one of the following:\n\nfol - fold\ncal - call\nrai - raise\n\n> Bot bottle\n(the rootbeer bottle)\nAngel pries open the bottle. The drones grab at it and pass it around, each taking a swallow. The last drone eats the bottle, crunching it greedily.\n\n> Gun next drone\nThe cynical drone glares at you, pointing to a nearby sign. The sign says, \"No disintegrations.\"\n\n> Rai\nAngel pushes all of its chips into the pot. The room goes silent. The drone next to you shakes its head.\n\nAngel lays down its cards. Four aces.\n\nThe cigarette-smoking drone grins and laughs mechanically (and maniacally). It lays down a royal flush, in hearts. A vacuum attachment extends from its chest to suck up the chips.\n\nThe drone next to Angel pats it and whispers, \"Sorry!\" before heading out with the other drones.\n\nIt seems that you've lost $6000, Dr. Law. I'm sorry.\n\ndown.\n\n> Fol\nAngel throws the cards in the muck. The drone next to Angel sighs.\n\nThe cigar-smoking drone throws down a full house. It chortles, and collects all the chips.\n\nThe drones call it a night, throwing down the cards and filing out one by one.\n\nYou played it safe, Dr. Law. Your funds have increased by $0.\n\nThe table flips over and becomes a ramp going down.\n\n> Cal\nAngel pushes 20 chips forward. The drones look at each other, straight-faced.\n\n\"Show us what you've got,\" growls a pipe-smoking drone.\n\nAngel lays down the cards. Everyone groans, except for the drone next to you, who gives you a wink. The drones file out one at a time.\n\nIt seems your funds have gone up by $12,000, Dr. Law. I'll invest it for you in a money market mutual fund. It should be available to withdraw in one year.\n\nThe poker table rotates over, and becomes a dark ramp leading downward."
    },
    {
        "text": "> You go downward\nAngel is in darkness in a large room.\n\nThe lights go on. The room is a bare concrete cube, with a large banner that says \"Congratulations Angel!\"\n\n\"Pomp and Circumstance\" plays on a small, tinny speaker. A small panel opens in the ceiling to release confetti, but it jams halfway.\n\nA door opens in the wall, and a conveyor belt in the floor begins moving Angel out.\n\nI'll take it from here, Dr. Law; Angel will be in the command center awaiting your final judgment.\n\nYou have completed your review of Project MEDUSA. Your connection with Angel is severed. Returning you to your last known location....\nMEDUSA Arena\nYou see a circular room with brick walls and a floor covered in sand. The MEDUSA Living Quarters are to the south.\n\nScattered about the room are a small green punching bag, a small sapling and a stone boulder.\n\n\nProject MEDUSA Complete \n\n-Evaluate Project MOIRAI\n-Make your final selection at the project judging ceremony\n-Dr. Law, your brain backup unit's battery light just went from\nyellow to orange. I don't know what you have in there,\nbut it will be erased if you don't charge it.\n\nhom - home folder\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\n\n> Hom\nNow exiting audiovisual mode.\n\n-Your brain backup unit has been turned on somehow, and it's running low on battery; you have only 110 minutes of battery time remaining before it dies and its backup memory is flushed.\n\nema - check e-mail\naud - enable audiovisual\nhelp - access help information\nabt - information on DaedalOS\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\nsay [something] - play one of your listed recordings\n\n> Moi\nInitiating audiovisual link with Project MOIRAI... \n\nThis is a hollow cavern lit by underwater lights underneath a rippling pool. The walls are covered with an etching of the Moirai: one is spinning a thread, one is measuring the thread, and another cuts the thread. The etchings are filled with silver.\n\nAround the edges of the ceiling are thick curtains, which are currently raised. In the pool is a dog-shaped fountain that is streaming weakly.\n\nThe three women are eyeless. There is a door to the north in\nthe wall. The door is etched with a table on which a single eye rests. The pupil of the eye is a peephole in the door.\n\nDr. Law, I detect two connected devices in this room.\n\nDr. Law, I'm receiving an email. It is now available in your\ninbox.\n\n> Ema\nChecking unread messages:\n\n\nThird message of three \n\nSubject: Armed Combat\n\nFrom: ngbot@stygi.corp\n\nText:\n\nLaw,\n\nI'm excited by the new weapons capabilities that I've built into Angel. I believe that we can take this program further than you've ever imagined. A military contract, perhaps with multiple states.\n\nDon't close the door when you see good fortune opening the gate, Law. I know you had a different, more personal purpose in mind when you started the resurrection projects. But however much you cared about Cerberus, they are only one being.\n\n-Dr. Ng"
    },
    {
        "text": "> You look around\nThis is a hollow cavern lit by underwater lights underneath a rippling pool. The walls are covered with an etching of the Moirai: one is spinning a thread, one is measuring the thread, and another cuts the thread. The etchings are filled with silver.\n\nAround the edges of the ceiling are thick curtains, which are currently raised. In the pool is a dog-shaped fountain that is streaming weakly.\n\nThe three women are eyeless. There is a door to the north in\nthe wall. The door is etched with a table on which a single eye rests. The pupil of the eye is a peephole in the door.\n\nDr. Law, I detect two connected devices in this room.\n\n> You examine the eye\nA single eye is carved in the middle of the door. I cannot see through the eye at this angle, Dr. Law. I hope Ginger's not using the peephole for light again; she's had enough eyestrain already from using her grown-up glasses.\n\nThis eye seems to be a reference to the Graeae, Dr. Law, which is odd, as I understand that they are distinct entities in mythology.\n\n> You look at the fountain\nThe fountain is shaped in the form of Orthrus, the two-headed mythical guardian dog. One head is lapping from the pool while another is supposed to spew out water with a cheery expression.\n\nThis fountain is streaming weakly.\n\ntur - Turn fountain right\nrot - Turn fountain left\n\n> You look at the curtains\nHeavy curtains on a mechanized roll are pulled up to the top of the room.\n\ncur - Raise and lower curtain\n\n> Tur\nThe fountain rotates, changing the water flow.\n\nThe water stream is completely dead, now.\n\n> Rot\nThe fountain rotates, changing the water flow.\n\nThe fountain is now at its original strength. The stream is pointing at Clothos.\n\n> Rot\nThe fountain rotates, changing the water flow.\n\nThe fountain is now at twice its original strength. The stream is pointing at Lachesis, and nearly reaches the edge of the pool.\n\n> You examine Lachesis\nOn closer inspection, the thread being handled by the Fates is actually a data stream of 1's and 0's. The women themselves are modelled on famous scientists: Hypatia as Atropos, Ada Lovelace as Clothos, and Emmy Noether as Lachesis.\n\n> You look at the pool\nLights are shimmering from underneath the pool. A fountain shaped like the two-headed dog Orthrus rises from the center of the pool. The fountain seems to be connected.\n\n> Cur\nThe curtains lower from the ceiling.\n\nThey almost reach the eye, but not quite, Dr. Law. There seems to be a snag in the motor.\n\n> You examine motor\nHeavy curtains on a mechanized roll are pulled up to the top of the room."
    },
    {
        "text": "[Themes: Science Fiction, sci-fi, dog, cloning, science fiction, laboratory setting, Comedy]\n\n> You look at your surroundings\nThis is a hollow cavern lit by underwater lights underneath a rippling pool. The walls are covered with an etching of the Moirai: one is spinning a thread, one is measuring the thread, and another cuts the thread. The etchings are filled with silver.\n\nAround the edges of the ceiling are thick curtains, which are currently lowered. In the pool is a dog-shaped fountain that is flowing at a moderate pace, pointed at Lachesis.\n\nThe three women are eyeless. There is a door to the north in\nthe wall. The door is etched with a table on which a single eye rests. The pupil of the eye is a peephole in the door.\n\nDr. Law, I detect two connected devices in this room.\n\n> You examine the fountain\nThe fountain is shaped in the form of Orthrus, the two-headed mythical guardian dog. One head is lapping from the pool while another is supposed to spew out water with a cheery expression.\n\nThis fountain is flowing at a moderate pace, pointed at Lachesis.\n\n> You look at Moirai\nThe thread being handled by the Fates is a data stream of 1's and 0's. The women themselves are modelled on famous scientists: Hypatia as Atropos, Ada Lovelace as Clothos, and Emmy Noether as Lachesis. Don't forget, Dr. Law, that I've restricted you to a single level of zoom. There is nothing more to learn from this etching.\n\n> Rot\nThe fountain rotates, changing the water flow.\n\nThe fountain is now at three times its original strength. The stream is pointing at Atropos, and is spraying out onto the floor.\n\n> You examine the eye\nA single eye is carved in the middle of the door. I cannot see through the eye at this angle, Dr. Law. I hope Ginger's not using the peephole for light again; she's had enough eyestrain already from using her grown-up glasses.\n\nThis eye seems to be a reference to the Graeae, Dr. Law, which is odd, as I understand that they are distinct entities in mythology.\n\n> Rot\nThe fountain rotates, changing the water flow.\n\nThe fountain is now at four times its original strength. The stream is pointing at the table with the eye, and is spraying onto the door, just missing the eye.\n\nThe water is spraying directly on the curtains. The extra weight causes them to sag until they cover the eye.\nYou hear a child make a startled sound from the laboratory. You see a light click on from the other side.\n\nGinger slowly pushes open the door and peeks out her head. She pushes up her glasses and gathers up her oversized lab coat. Ginger steps quickly to the pool and fishes her hand around the bottom, and the fountain turns off. The curtains raise back to their original position. She walks back into the laboratory, which is now illuminated, and pulls the door shut.\n\n> You go to the north\nThis laboratory is primarily lit by random electrical discharges. It contains 69,105 visible mechanical gadgets. The largest gadget is a square dais inscribed with a circle. Cables and cords connect the dais to other gadgets, control panels and monitors. You hear hums, snaps and sizzles from the electrical discharges. The rest of the MOIRAI facilities can be found to the north and south.\n\nYou can see young Ginger here, standing on a chair, typing on a terminal.\n\nA light blinks on her terminal. She looks straight up at the camera, and types into her terminal: \"Is that you? Are you logged on, Fred? Fred, we've got to hurry before the presentation. It's a team eat team world out there.\n\n\"We've got to get back to our original ages. I'm still recalibrating the machine after the quake, and I've been testing it out on a wide variety of objects.\"\n\nShe takes off her huge glasses and rubs her eyes. She says, \"It's been exhausting, Fred! Here, let's play a game to make it go faster. I call it: Binary or Bust. I'll tell you more about it, but I need you to run the rejuvenator remotely. Turn it on, real quick.\"\n\nene - Energize the rejuvenator\n\nGinger is waiting patiently.\n\n> Ene\nThe eye-shaped rejuvenator begins to hum, and the pupil begins to glow. Ginger types, \"Thanks, Fred, you're the sweetest.\n\n\"I want you to split up the objects by a binary classification; you know, like hot vs. cold, or soft vs. hard. But don't use those, obviously.\n\n\"Age everything in one category, and de-age everything in the other category. If I can guess the pattern, I win. If not, we keep playing. That'll help me test a lot of objects.\" She looks at her watch. \"We only have time for two or three games; if I win, I'll stop there,\" she types with a smile.\n\nGinger types, \"I'll start with a bulky antique quilt, a tin can, a wool baby sock, a bearskin rug, a diamond ring, and a slice of quiche lorraine. Try and find some way of splitting them into two groups. And don't tell me the pattern! Let me guess.\"\n\nShe grabs a bulky antique quilt and puts it on the rejuvenator.\n\nnew - De-age the object on the rejuvenator\nold - Age the object on the rejuvenator\n\n> New tin\nI have a primitive set of commands, Dr. Law; I believe you just want to new.\n\n> Old\nThe quilt ages gracefully. The price label changes to read $40000, then $100000.\n\nThen a small rip appears in the quilt, and the label changes to $12.59. Ginger takes the transformed bulky antique quilt and places it in a large box.\n\nGinger writes, \"Interesting, Fred.\" Ginger grabs a tin can and places it on the rejuvenator, over the pupil of the eye.\n\n> New\nThe can leaps into the air with a bang and comes down as a chunk of tin and a much larger chunk of iron, with a pile of carbon. Ginger takes the transformed tin can and places it in a large box.\n\nGinger writes, \"I've got some ideas about which classification you chose, but I'm not quite there yet.\" Ginger grabs a wool baby sock and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe wool baby sock becomes thin. Holes develop. The holes are darned, and the sock is filled with birdseed and hung. The birdseed is eaten, and the sock withers away until only a scant few threads are left. Ginger takes the transformed wool baby sock and places it in a large box.\n\nGinger writes, \"I definitely have a theory, Fred. Keep them coming! I want to win.\" Ginger grabs a bearskin rug and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe bearskin rug becomes patchy, and then bald. It then grows hairy again with thick, green, shaggy mold, before crumbling away to a pile of mold. Ginger takes the transformed bearskin rug and places it in a large box.\n\nGinger writes, \"Aha! My theory has been confirmed. Just one more experiment, and I'll tell you what I think.\" Ginger grabs a diamond ring and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe ring gets scuffed and dinged. The diamond falls out of the setting, but not much else happens. Diamonds are forever, Dr. Law. Ginger takes the transformed diamond ring and places it in a large box. Ginger sighs, and types, \"I'm sorry, Fred, I can't figure out! Looks like you win this round.\n\n\"I guess we'll need to start over.\"\n\nGinger says, \"This time I'll use a tin can, a quart of milk, a slice of quiche lorraine, a bulky antique quilt, a vat of quicksilver, and a quartz pebble. Try and find some way of splitting them into two groups. And don't tell me the pattern! Just age one group and de-age the other and let me guess.\"\n\nGinger grabs a tin can and places it on the rejuvenator, over the pupil of the eye.\n\n> New\nThe can leaps into the air with a bang and comes down as a chunk of tin and a much larger chunk of iron, with a pile of carbon. Ginger takes the transformed tin can and places it in a large box.\n\nGinger writes, \"Interesting, Fred.\" Ginger grabs a quart of milk and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe carton churns and pops as something inside moves about violently. The carton begins to blacken and decay. It peels off to reveal a perfect gorgonzola cheese. Ginger takes the transformed quart of milk and places it in a large box.\n\nGinger writes, \"I've got some ideas about which classification you chose, but I'm not quite there yet.\" Ginger grabs a slice of quiche lorraine and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe slice of quiche lorraine turns grey, and then green. Large mold colonies sprout out, forming towers of red, green, and gold. Ginger takes the transformed slice of quiche lorraine and places it in a large box.\n\nGinger writes, \"I definitely have a theory, Fred. Keep them coming! I want to win.\" Ginger grabs a bulky antique quilt and places it on the rejuvenator, over the pupil of the eye.\n\n> Old\nThe quilt ages gracefully. The price label changes to read $40000, then $100000.\n\nThen a small rip appears in the quilt, and the label changes to $12.59. Ginger takes the transformed bulky antique quilt and places it in a large box.\n\nGinger writes, \"Aha! My theory has been confirmed. Just one more experiment, and I'll tell you what I think.\" Ginger grabs a vat of quicksilver and places it on the rejuvenator, over the pupil of the eye.\n\n> New\nThe vat of quicksilver bubbles and boils and settles down as a vat of cinnabar. Ginger takes the transformed vat of quicksilver and places it in a large box.\n\nGinger writes triumphantly, \"Well, I guessed it, Fred. You've been deaging everything that's inorganic and aging everything else. Great idea! I love it!\" She writes SUCCESS in her journal in giant letters.\n\n\"Well\", she types, \"I guess it's time to try it out.\"\n\nShe stands on the rejuvenator, and presses a button. There is a bright flash of light, and a middle-aged woman reappears. Ginger checks that her lab coat and glasses still fit. She snaps by her ears, and smiles; her hearing defect must be repaired again.\n\nAn alarm buzzes, and the terminal flashes a message: FIRE IN SECTOR 3. Ginger sees the message.\n\nShe looks at the camera and says, \"Thanks Fred, I love you!\" before running out of the room. She bumps into the rejuvenator on the way out, and sparks fly out for a second before fading.\n\n[New recording - Love]\n\nIt seems Ginger broke something in the rejuvenator. You should really get that fixed before the judging ceremony, Dr. Law.\n\n> You examine the rejuvenator\nThe rejuvenator is a metal platform shaped like an elaborately carved eye whose pupil is glowing. It is capable of supporting one or two individuals. It is a single step up from the floor.\n\n> Go up\nThere are no cameras in that direction, Dr. Law.\n\n> Go north\nYou see a natural cavern filled with gold coins and jewelry. A bunk bed shaped like a miniature Spanish galleon is on one side of the room. The other side contains a nook with a desk and shelves filled with pirate ships in glass bottles. You can return to the laboratory to the south. Fred's eye-shaped computer is blinking red.\n\nI detect two connected devices in this room, Dr. Law.\n\nFred is at his desk, napping.\n\nThere is a glass porthole set into the wall.\n\nThe alarm on Fred's computer is blaring.\n\n> You look at Fred\nA male human.\n\n-Height: 170 cm.\n\n-Approx. weight: 120 kg.\n\n-Approx. age: 92.\n\n-Clothing: Black pants with suspenders over white dress shirt, no tie.\n\n-Costume: A felt pirate hat.\n\n-Personality: Mischievous.\n\nThe alarm on Fred's computer is blaring.\n\n> You look at the computer\n(Fred's computer)\nFred's computer is molded in the shape of an eye, just like the rejuvenator in the other room. It has a blinking red alarm; perhaps you should turn it off. Fred has enabled remote access to the alarm, mostly so Ginger can wake him up after naps.\n\nala - turn alarm on and off.\n\nThe alarm on Fred's computer is blaring.\n\n> Ala\nThe alarm stops. Fred still seems half-awake, though.\n\n> You examine the desk\nFred's desk is made from the deck of a salvaged wooden sailing ship, Dr. Law.\n\n> You look at Fred\nA male human.\n\n-Height: 170 cm.\n\n-Approx. weight: 120 kg.\n\n-Approx. age: 92.\n\n-Clothing: Black pants with suspenders over white dress shirt, no tie.\n\n-Costume: A felt pirate hat.\n\n-Personality: Mischievous.\n\n> Love\nThe hidden speakers say, \"I love you, Fred.\"\n\nFred blushes, and looks around, squinting. When he doesn't see anyone, he stands up, smiles, and wanders into the room to the south.\n\n> Go south\nYou can hear the movie in the other room turn off.\n\nThis laboratory is primarily lit by random electrical discharges. It contains 69,105 visible mechanical gadgets. The largest gadget is a square dais inscribed with a circle. Cables and cords connect the dais to other gadgets, control panels and monitors. You hear hums, snaps and sizzles from the electrical discharges. The rest of the MOIRAI facilities can be found to the north and south.\n\nFred looks deep in thought for a moment.\n\nFred looks for Ginger, but only finds her journal, which still says SUCCESS written in giant letters.\n\nHe cackles, and climbs on the platform. He pushes a button, and pulls a lever. The machine is building up.\n\n> You wait\nOkay, Dr. Law. I'll wait.\n\nThere is a flash of brilliant light. You now see a young version of Fred, approximately 5 years old. He looks around the room with wide eyes. A hiss of steam from a machine startles him, and he says, \"Mytyeh gogo?\" A light flashes on the terminal, and he says, \"Mytyeh gogo?\" in a higher voice.\n\nHe sees something that makes him smile and runs out of the room. You can hear him to the north.\n\nDr. Law, with the machine malfunctioning, Fred has reverted\nmentally to his 5-year-old self, who, unfortunately, only speaks Old Gwyndyngwah.\n\nI do not speak Old Gwyndyngwah, Dr. Law, but I'll do what I can to help. Fred speaks so slowly and clearly that I split up his recordings into fragments that you can combine. The more you use them, the more information I can gather on their meaning.\n\nlink [a recording] to [another recording] - combine two halves of a sentence.\n\n[New phrase - Myt]\n\n[New phrase - Gogo]\n\n> You link the myt to Gogo\nRecombination successful, Dr. Law. The sentence you've created is \"Mytyeh gogo?\"\n\n[New phrase - MytGogo]\n\n> Rec\nRecordings:\nLove - \"I love you, Fred.\"\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\nOpening fragments:\nMyt - \"Mytyeh...\"\nClosing fragments:\nGogo - \"...gogo.\"\nLinked sentences:\nMytGogo - \"Mytyeh gogo?\"\n\n> Myt\nThe hidden speakers turn on, saying: \"Mytyeh...\" You can hear Fred stop in the next room to listen, but he starts playing again.\n\n> You go north\nYou see a natural cavern filled with gold coins and jewelry. A bunk bed shaped like a miniature Spanish galleon is on one side of the room. The other side contains a nook with a desk and shelves filled with pirate ships in glass bottles. You can return to the laboratory to the south. Fred's eye-shaped computer is silent.\n\nThere is a glass box labeled \"OPEN IN CASE OF ADVENTURE\" containing a small plastic sword. Fred must have pulled it out from the piles of treasure when he came in.\n\nThere is a glass porthole set into the wall.\n\nFred sees the box and opens his eyes wide. He opens it and grabs the sword,  bravely fending off imaginary pirates.\n\n> MytGogo\nThe hidden speakers say, \"Mytyeh gogo?\"\n\nFred waves his sword and says, \"Gym!\"\n\n[New phrase - Gym]\n\nThen he looks at the speakers, and searches around the room, and says, \"Laly Ly?\"\n\n[New phrase - Laly]\n\n[New phrase - Ly]\n\n> Rec\nRecordings:\nLove - \"I love you, Fred.\"\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\nOpening fragments:\nLaly - \"Laly...\"\nMyt - \"Mytyeh...\"\nClosing fragments:\nLy - \"...ly.\"\nGym - \"...gym.\"\nGogo - \"...gogo.\"\nLinked sentences:\nMytGogo - \"Mytyeh gogo?\"\n\n> You link Laly to the ly\nRecombination successful, Dr. Law. The sentence you've created is \"Laly ly?\"\n\n[New phrase - LalyLy]\n\nFred tries to juggle the sword, but fails.\n\n> Lalyly\nThe hidden speakers say, \"Laly ly?\"\n\nFred looks astonished, and points to himself. He says, \"Wo lydo!\" He then peers around the room. \"Laly ly? Vyn wo!\"\n\n[New phrase - Wo]\n\n[New phrase - Vyn]\n\n[New phrase - Lydo]\n\n> Link Laly to Gogo\nRecombination successful, Dr. Law. The sentence you've created is \"Laly gogo?\"\n\n[New phrase - LalyGogo]\n\nFred stops for a moment and rubs his temples.\n\nHe seems to be in pain, Dr. Law; the machine's malfunction, his mind has been forced back into its 5-year-old self. According to Ginger's computerized notes, this is a painful condition that will cause more and more damage to Fred. I suggest you return him to his proper age as soon as possible.\n\n> Lalygogo\nThe hidden speakers say, \"Laly gogo?\"\n\nFred looks around, puzzled, and says, \"Mytyeh?\"\n\n> You link Laly to the Gym\nRecombination successful, Dr. Law. The sentence you've created is \"Laly gym?\"\n\n[New phrase - LalyGym]\n\nFred is taking pebbles from his pocket, Dr. Law. He seems to be looking around the room for something to throw them at.\n\n> Lalygym\nThe hidden speakers say, \"Laly gym?\"\n\nFred points to the box, and says, \"Lydo!\"\n\n> You link Laly to Lydo\nMy analysis suggests that this combination will not be useful, Dr. Law.\n\nFred offers the pebbles towards the speakers. He says, \"Ly ling syk?\"\n\n[New phrase - Ling]\n\n[New phrase - Syk]\n\n> Rec\nRecordings:\nLove - \"I love you, Fred.\"\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\nOpening fragments:\nLing - \"Ly ling...\"\nVyn - \"Vyn...!\"\nLaly - \"Laly...\" (This seems to be a question word.)\nMyt - \"Mytyeh...\"\nClosing fragments:\nSyk - \"...syk.\"\nLydo - \"...lydo.\"\nWo - \"...wo.\"\nLy - \"...ly.\"\nGym - \"...gym.\"\nGogo - \"...gogo.\"\nLinked sentences:\nLalyGym - \"Laly gym?\"\nLalyGogo - \"Laly gogo?\"\nLalyLy - \"Laly ly?\"\nMytGogo - \"Mytyeh gogo?\"\n\n> You link Laly to the syk\nRecombination successful, Dr. Law. The sentence you've created is \"Laly syk?\"\n\n[New phrase - LalySyk]\n\nFred throws the rocks in the air, then looks around for something else to do.\n\n> Lalysyk\nThe hidden speakers say, \"Laly syk?\"\n\nFred thinks for a moment, then points to his pocket, and says, \"Lydo!\"\n\n> You link myt to the Gym\nRecombination successful, Dr. Law. The sentence you've created is \"Mytyeh gym?\"\n\n[New phrase - MytGym]\n\nFred grabs a fork from the clutter and looks around the room for something to do with it.\n\n> Link wo to syk\nI can only combine opening fragments to closing fragments, Dr. Law, and the first thing you typed was not an opening fragment.\n\nFred sticks the fork into the socket. The electricity fries his hair, and the fork flies away and is lost.\n\nFred plays by the pit.\n\n> Mytgym\nThe hidden speakers say, \"Mytyeh gym?\"\n\nFred shrugs, and makes a chopping motion with his hand.\n\n> You link Vyn to Lydo\nRecombination successful, Dr. Law. The sentence you've created is \"Vyn Lydo!\"\n\n[New phrase - VynLydo]\n\nFred leaps on the bed, swinging his sword, before jumping down again.\n\n> Vynlydo\nThe hidden speakers say, \"Vyn Lydo!\"\n\nFred runs towards the speaker, obediently.\n\n> Rec\nRecordings:\nLove - \"I love you, Fred.\"\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\nOpening fragments:\nLing - \"Ly ling...\"\nVyn - \"Vyn...!\"\nLaly - \"Laly...\" (This seems to mean \"Where is...\")\nMyt - \"Mytyeh...\" (This seems to be a question word.)\nClosing fragments:\nSyk - \"...syk.\"\nLydo - \"...lydo.\"\nWo - \"...wo.\"\nLy - \"...ly.\"\nGym - \"...gym.\"\nGogo - \"...gogo.\"\nLinked sentences:\nVynLydo - \"Vyn Lydo!\"\nMytGym - \"Mytyeh gym?\"\nLalySyk - \"Laly syk?\"\nLalyGym - \"Laly gym?\"\nLalyGogo - \"Laly gogo?\"\nLalyLy - \"Laly ly?\"\nMytGogo - \"Mytyeh gogo?\"\n\n> You go to the south\nYou can hear the movie in the other room turn off.\n\nThis laboratory is primarily lit by random electrical discharges. It contains 69,105 visible mechanical gadgets. The largest gadget is a square dais inscribed with a circle. Cables and cords connect the dais to other gadgets, control panels and monitors. You hear hums, snaps and sizzles from the electrical discharges. The rest of the MOIRAI facilities can be found to the north and south.\n\nYou can hear Fred scampering in the next room.\n\n> VynLydo\nThe hidden speakers say, \"Vyn Lydo!\"\n\nYou can see Fred poke his head through the door, but he runs away when a machine makes a hissing sound. Maybe he needs something to make him feel more courageous, Dr. Law.\n\n> You link Vyn to the Gym\nRecombination successful, Dr. Law. The sentence you've created is \"Vyn gym!\"\n\n[New phrase - VynGym]\n\n> You go north\nYou see a natural cavern filled with gold coins and jewelry. A bunk bed shaped like a miniature Spanish galleon is on one side of the room. The other side contains a nook with a desk and shelves filled with pirate ships in glass bottles. You can return to the laboratory to the south. Fred's eye-shaped computer is silent.\n\nThere is a glass box labeled \"OPEN IN CASE OF ADVENTURE\" containing a small plastic sword.\n\nThere is a glass porthole set into the wall.\n\nFred tries to juggle the sword, but fails.\n\n> Vyngym\nThe hidden speakers say, \"Vyn gym!\"\n\nFred nods, then rushes up to the box, next to the sword.\n\n> Link ling to Gym\nRecombination successful, Dr. Law. The sentence you've created is \"Ly ling gym.\"\n\n[New phrase - LingGym]\n\nFred stops for a moment and rubs his temples.\n\nHis condition seems to be worsening, Dr. Law.\n\n> You wait for a while\nOkay, Dr. Law. I'll wait.\n\nFred is taking pebbles from his pocket, Dr. Law. He seems to be looking around the room for something to throw them at.\n\n> LingGym\nThe hidden speakers say, \"Ly ling gym.\"\n\nFred nods, and stretches and grabs the sword, swinging it bravely.\n\n> Go south\nThis is a hollow cavern lit by underwater lights underneath a rippling pool. The walls are covered with an etching of the Moirai: one is spinning a thread, one is measuring the thread, and another cuts the thread. The etchings are filled with silver.\n\nAround the edges of the ceiling are thick curtains, which are currently lowered. In the pool is a dog-shaped fountain that is currently turned off.\n\nThe three women are eyeless. There is a door to the north in\nthe wall. The door is etched with a table on which a single eye rests. The pupil of the eye is a peephole in the door.\n\nDr. Law, I detect two connected devices in this room.\n\n> VynLydo\nThe hidden speakers say, \"Vyn Lydo!\"\n\nFred runs into the room, waving his sword and pointing it at the machines.\n\nFred looks at the laboratory in fear.\n\n> Rec\nRecordings:\nLove - \"I love you, Fred.\"\nCome - \"Come here right now!\"\nYuck - \"Don't eat that!\"\nRepeat - \"Let's try one more time! We can do it!\"\nOpening fragments:\nLing - \"Ly ling...\"\nVyn - \"Vyn...!\" (This seems to be a command.)\nLaly - \"Laly...\" (This seems to mean \"Where is...\")\nMyt - \"Mytyeh...\" (This seems to be a question word.)\nClosing fragments:\nSyk - \"...syk.\"\nLydo - \"...lydo.\"\nWo - \"...wo.\"\nLy - \"...ly.\"\nGym - \"...gym.\" (This seems to mean \"...sword.\")\nGogo - \"...gogo.\"\nLinked sentences:\nLingGym - \"Ly ling gym.\"\nVynGym - \"Vyn gym!\"\nVynLydo - \"Vyn Lydo!\"\nMytGym - \"Mytyeh gym?\"\nLalySyk - \"Laly syk?\"\nLalyGym - \"Laly gym?\"\nLalyGogo - \"Laly gogo?\"\nLalyLy - \"Laly ly?\"\nMytGogo - \"Mytyeh gogo?\"\n\n> Link vyn to Gogo\nRecombination successful, Dr. Law. The sentence you've created is \"Vyn gogo!\"\n\n[New phrase - VynGogo]\n\nFred looks at the laboratory in awe.\n\n> Vyngogo\nThe hidden speakers say, \"Vyn gogo!\"\n\nFred looks around, puzzled, and says, \"Mytyeh?\"\n\nFred looks at the laboratory in fear.\n\n> You link myt to the wo\nRecombination successful, Dr. Law. The sentence you've created is \"Mytyeh wo?\"\n\n[New phrase - MytWo]\n\nFred looks at the laboratory in awe.\n\n> Mytwo\nThe hidden speakers say, \"Mytyeh wo?\"\n\nFred shrugs and shakes his head. He guesses, \"Dagei?\"\n\n[New phrase - Dagei]\n\nFred looks at the laboratory in fear.\n\n> You link Myt to the dagei\nRecombination successful, Dr. Law. The sentence you've created is \"Myt dagei?\"\n\n[New phrase - MytDagei]\n\nFred looks at the laboratory in awe.\n\n> Mytdagei\nThe hidden speakers say, \"Myt dagei?\"\n\nFred makes robot motions, then points to the machine and says, \"Dagei!\"\n\nFred looks at the laboratory in excitement.\n\n> You link Vyn to the dagei\nRecombination successful, Dr. Law. The sentence you've created is \"Vyn dagei!\"\n\n[New phrase - VynDagei]\n\nFred looks at the laboratory in fear.\n\n> Vyndagei\nThe hidden speakers say, \"Vyn dagei!\"\n\nFred rushes onto the rejuvenator, and stands on the pupil of the eye.\n\nFred waits anxiously on the rejuvenator.\n\n> Ene\nIt seems Ginger left the energizer on when she left, Dr. Law.\n\nFred waits patiently on the rejuvenator.\n\n> You look at the rejuvenator\nThe rejuvenator is a metal platform shaped like an elaborately carved eye whose pupil is glowing. It is capable of supporting one or two individuals. It is a single step up from the floor.\n\nFred waits with a bored expression on the rejuvenator.\n\n> Old\nThe rejuvenator activates, and flashes brightly. Fred screams in a voice that becomes more and more low pitched. He stretches and fills out into a middle-aged man. A normal-aged Fred is now on the Rejuvenator.\n\nHe looks at himself in surprise, then hears Ginger shouting in the distance, and runs off towards the depths of the laboratory.\nYou hear some banging and cursing, and then Fred and Ginger come back.\n\nThey hug each other, and then they lift the rejuvenator on either side. Fred notices the burnt-out part of the machine  and fixes it, then they carry the rejuvenator out of the room.\n\nDr. Law, Project MOIRAI is now ready for the final judging ceremony.\n\n\nProject MOIRAI Complete \n\n-Make your final selection at the project judging ceremony\n-Dr. Law, your brain backup unit's battery light just went from\norange to red. I don't know what you have in there, but\nit will be erased if you don't charge it.\n\nhom - home folder\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\n\n> Hom\nNow exiting audiovisual mode.\n\n-Your brain backup unit has been turned on somehow, and it's running low on battery; you have only 105 minutes of battery time remaining before it dies and its backup memory is flushed.\n\nsay [something] - play one of your listed recordings\nx [something] - zoom in camera\nlink [a recording] to [another recording] - combine two halves of a sentence.\nema - check e-mail\naud - enable audiovisual\nhelp - access help information\nabt - information on DaedalOS\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\n\nI've sent the following message to all staff, Dr. Law. Displaying shortly...\nshortly...Subject: Final meeting\n\nFrom: DaedalOS@stygi.corp\n\nText:\n\nDear staff members,\n\nAll testing is now completed. Please proceed to the command center, where Dr. Law will award one project the Golden Apple, and the chosen project will demonstrate the first official resurrection. Please be presentable.\n\nRefreshing...\n\nsay [something] - play one of your listed recordings\nx [something] - zoom in camera\nlink [a recording] to [another recording] - combine two halves of a sentence.\nema - check e-mail\naud - enable audiovisual\nhelp - access help information\nabt - information on DaedalOS\nhyd, med, moi - Observe Project HYDRA, MEDUSA, or MOIRAI\n\nLet me know if you need anything else, Dr. Law.\n\n> Aud\nNow entering audiovisual mode. Type HOM to return to the home folder at any time.\n\n\nInitiating audiovisual link...\n\n\nThis laboratory is primarily lit by random electrical discharges. It contains 69,105 visible mechanical gadgets. The largest gadget is a square dais inscribed with a circle. Cables and cords connect the dais to other gadgets, control panels and monitors. You hear hums, snaps and sizzles from the electrical discharges. The rest of the MOIRAI facilities can be found to the north and south.\n\n> History\nThe speakers play, saying, \"In a world where accidents, violence, and large carnivorous mammals are all too common, one company has dared to stand alone: Stygicorp.\n\n\"For the last 10 years, Stygicorp has had one dream, one united vision, one common goal: to overcome death itself.\n\n\"Three teams of scientists, led by their brilliant supervisor, me, have worked tirelessly for the day when man, woman, and beast need no longer fear death.\n\n\"That day has come. Let's hear from our distinguished colleagues!\"\n\nEveryone claps loudly.\n\nEveryone is excited for the presentation.\n\nYou have 3 recordings left to play.\n\n> Lig\nThe lights go on, making it impossible to see the spotlight.\n\nDr. Ng rubs her eyes and says, \"Weird, is it over already?\"\n\nDr. Spiel says, \"I don't think so; Dr. Law must be having some kind of technical problems.\"\n\nNow the MEDUSA group, the MOIRAI group and the HYDRA group are getting their presentation ready.\n\nYou have 3 recordings left to play.\n\n> Lig\nThe lights go off again.\n\nIt seems the MEDUSA group, the MOIRAI group and the HYDRA group are waiting for their turn.\n\nYou have 3 recordings left to play.\n\n> Spo angel\nDr. Ng looks annoyed. She mutters, \"Dr. Law was supposed to introduce me first,\" but shrugs it off.\n\nDr. Ng stands forward, her metal feet clanking rhythmically.\n\nShe says, \"Behold, my greatest creation yet, Angel the interactive robot!\"\n\nShe pulls out a tablet and begins to type. She says, \"With the departure of my 'loyal' assistant, Igor Long, I have been able to fully outfit our--my robot with the most powerful technology.\n\n\"Behold, the laser!\" Lasers spray out of Angel's gun, carving off part of the wooden dummy's ear. The other scientists ooh and ahh.\n\n\"Behold, the flamethrower!\" Dr. Ng points to the wooden dummy. A massive burst of flame envelopes the dummy, which flares up and disintegrates to ash. A vacuum from Angel sucks up the ash.\n\n\"Behold, the bottle opener!\" Dr. Ng grabs a bottle and hands it to Angel, who opens it easily. Ginger leans over to Fred and says, \"Now that would be useful at parties, eh?\" Fred nods absentmindedly.\n\n\"And of course\", she says, \"my project allows for the prolongation of life, by allowing the transfer of a human or animal mind, using a simple USB cable.\"\n\nShe bows, and everyone claps.\n\n> Bots\nThe speakers play, saying: \"Robots are cool, right? This was my personal favorite project.\" Dr. Ng beams while the others shift uncomfortably. Your recorded voice says, \"The idea of one day inhabiting a perfect metal body is thrilling. The departure of Dr. Long from the group dashed my hopes-\" Dr. Ng's face falls, \"But Dr. Ng has my full confidence. As long as she keeps her dangerous side under control.\"\n\n\"In any case, ladies and gentlemen, I present to you, Project MEDUSA!\"\n\nEveryone claps with moderation.\n\nYou still need to spotlight the MEDUSA group, the MOIRAI group and the HYDRA group.\n\nYou have 2 recordings left to play.\n\n> Spo angel\nDr. Ng stands forward, her metal feet clanking rhythmically.\n\nShe says, \"Behold, my greatest creation yet, Angel the interactive robot!\"\n\nShe pulls out a tablet and begins to type. She says, \"With the departure of my 'loyal' assistant, Igor Long, I have been able to fully outfit our--my robot with the most powerful technology.\n\n\"Behold, the laser!\" Lasers spray out of Angel's gun, carving off part of the wooden dummy's ear. The other scientists ooh and ahh.\n\n\"Behold, the flamethrower!\" Dr. Ng points to the wooden dummy. A massive burst of flame envelopes the dummy, which flares up and disintegrates to ash. A vacuum from Angel sucks up the ash.\n\n\"Behold, the bottle opener!\" Dr. Ng grabs a bottle and hands it to Angel, who opens it easily. Ginger leans over to Fred and says, \"Now that would be useful at parties, eh?\" Fred nods absentmindedly.\n\n\"And of course\", she says, \"my project allows for the prolongation of life, by allowing the transfer of a human or animal mind, using a simple USB cable.\"\n\nShe bows, and everyone claps.\n\nDr. Law, your brain backup unit is flashing red. You have\nsomething very large stored in there; but whatever it is, it's going to be deleted very soon.\n\n> Cloner\nThe speakers play, saying: \"A doctor cloned herself, and asked the clone to do chores around the house. Every day, though, the clone started being more and more rebellious, and talking back to the doctor. Eventually, the doctor had enough, took them to a secluded bridge, and pushed them off.\n\n\"The jury couldn't decide if it was homicide, or suicide; so they ruled it as an obscene clone fall.\"\n\nFred and Ginger shake their heads, while Dr. Spiel giggles and the others groan.\n\nThe speaker continues, saying, \"And now, I present to you, Project HYDRA!\"\n\nEveryone claps politely.\n\nEveryone is excited for the presentation.\n\nYou have 1 recording left to play.\n\n> Spo hydra\nDr. Spiel looks up with a start. \"Ooh,\" she says, \"I'm not ready yet! Hold on.\" She cracks her knuckles and takes a deep breath.\n\nDr. Singh starts manipulating the machine while Dr. Spiel steps in front of the group and says, \"Do you ever argue with your bowling team? Is football no fun because of a foul-mouthed fullback? Have you ever wished you could just play all the positions yourself?\n\n\"Well, the future is now, thanks to science!\"\n\nDr. Singh steps back from the machine, and ten clones come out, one after another. The original kicks over a football, and they play a quick round of soccer.\n\n\"Of course, our technology extends lives in the case of accidental death or even aging. It is safe; of all clones that we have created, only ten have died.\" She checks her notes, and says, \"Well, not counting the ones in the maze.\" She shakes her head, and says, \"I still can't believe Dr. Singh knocked over my dominoes.\"\n\nDr. Singh says, \"Oh, that reminds me,\" and pulls out the remote. The clones scramble, but he pushes the button, and they collapse into dust, which he blows away with his breath. He says, \"Easy clean-up.\"\n\nFred and Ginger eye each other with concern, but join with Dr. Ng in clapping for Project HYDRA.\n\n> Temporal\nThe speakers play, saying, \"Can a man be born again? Project MOIRAI wants to find out! After the failure of my own Project KRONOS to have any enduring effects, I asked Fred and Ginger to find a way to reverse time on a local, personal level.\n\n\"Although there were some rough points (we had to ban fossils from the lab!), Project MOIRAI has succeeded beyond our wildest dreams. Ladies and Gentlemen, I present to you, Project MOIRAI! \"\n\nEveryone claps loudly.\n\nNow the MOIRAI group are getting their presentation ready.\n\n> Spo moirai\nGinger and Fred step forward, dragging the rejuvenator. They remove their labcoats, revealing that Fred is wearing a tuxedo while Ginger is wearing a vintage red gown.\n\nIn complete silence, Fred wheels a frame with a curtain over it onto the rejuvenator. Ginger waves to the others and steps into the curtain. Fred pulls a wand from his sleeves, winks at the audience, and waves it at the rejuvenator while nudging the controls with his toe.\n\nThe machine flashes, and a younger version of Ginger comes out from behind the curtain. Dr. Ng laughs and applauds, and the HYDRA group look nervous. Ginger and Fred take a bow, then Ginger reenters the curtain to re-age herself. They then pull the rejuvenator away.\n\nDr. Spiel whispers to Dr. Singh, \"I'm surprised Fred didn't try to be a pirate magician again this year.\"\n\nI think this is going very well, Dr. Law; don't you? Let's begin Phase 2 of your presentation.\n\nBy the way, Dr. Law, the brain backup device is shutting down in\nten minutes.\nten minutes.The spotlight winks off, and two smaller spotlights\nshine onto two spots on the floor.\n\nbie - raise the funeral bier\napp - raise the golden apple\n\nspo - aim the spotlight\n\n[New recording - Faithful]\n\n[New recording - Reward]\n\nYou have 2 recordings left to play.\n\n> Bie\nA panel on the floor beneath one of the spotlights opens up. A shrouded bier arises from the hole and locks in place. Everyone watches in silence.\n\nYou have 2 recordings left to play.\n\n> App\nA panel on the floor beneath one of the spotlights opens up. A pedestal arises with a Golden Apple. Everyone gasps.\n\nYou have 2 recordings left to play.\n\n> Faithful\nThe speakers play, saying, \"My faithful and loyal companion, Cerberus, lies upon this bier. No dog has ever lived a greater life; so no dog will receive a greater reward. For ten years, I have labored night and day to restore Cerberus to life. While I am pleased that we have branched into reviving other mammals, including humans, my heart has always belonged to my friend, Cerberus.\"\n\nDr. Spiel mouths, \"Their dog?\" Dr. Singh nods and shrugs.\n\nYou have 1 recording left to play.\n\n> Winner\nThe speakers play, saying, \"And the winner is....\"\n\nEveryone leans forward in anticipation. It's time Dr. Law; spotlight the team you want to win.\n\nspo - aim the spotlight\n\nPlease make a decision, Dr. Law. We are all waiting.\n\n> Spo hydra\nYou have made your final choice.\n\nThe lights go dark, and a drumroll plays, until a cymbal crashes, and the spotlight shines on Project HYDRA! Dr. Singh is thrilled and steps forward, claiming the Golden Apple. Fred, Ginger, and Dr. Ng cheer and clap graciously.\n\nSuddenly, Fred screams and points at the desk. Dr. Singh runs and ducks under the desk. After a short struggle, he pulls out....\n\nYou, Dr. Law. Your body, with the brain backup unit attached.\n\nDr. Law, this is you: the same arch in your eye sockets, the same cheekbones, the same hair (with two days' worth of growth). Dr. Law, I... do you have a twin, Dr. Law? And why is the brain backup unit full?\n\nThe doctors are whispering about something. Now they are nodding. They point to your body, Dr. Law, and carry you over.\n\nThey are putting you into the cloning sphere, Dr. Law, with the brain backup unit still attached.\n\n> Spo moirai\nYou have made your final choice.\n\nThe lights go dark, and a drumroll plays, until a cymbal crashes, and the spotlight shines on Project MOIRAI! Fred and Ginger are thrilled and step forward, claiming the Golden Apple. Dr. Singh and Dr. Ng cheer and clap graciously.\n\nSuddenly, Fred screams and points at the desk. Dr. Singh runs and ducks under the desk. After a short struggle, he pulls out....\n\nYou, Dr. Law. Your body, with the brain backup unit attached.\n\nDr. Law, this is you: the same arch in your eye sockets, the same cheekbones, the same hair (with two days' worth of growth). Dr. Law, I... do you have a twin, Dr. Law? And why is the brain backup unit full?\n\nThe doctors are whispering about something. Now they are nodding. They point to your body, Dr. Law, and carry you over.\n\nThey are putting you on the rejuvenator, Dr. Law. The brain backup unit is attached to the machine.\n\n> Wait\nOkay, Dr. Law. I'll wait.\n\nThere is a flash from the rejuvenator, and your body emerges, alive and...shrunken? A young version of yourself steps off the platform.\n\nIt looks at its body, then smiles and says, \"The rejuvenator must have worked! Thank you, Fred and Ginger.\" But they look confused, and I must say, I feel confused myself, Dr. Law.\n\nDr. Ng says, \"Dr. Law, if you were dead, who was running the presentation?\"\n\nThe young version of yourself says, pointing to the cameras, \"A good Samaritan ran into my distress call from my battery backup, and ended up taking over my role for the day.\"\n\nOhhhh, of course... You really aren't Dr. Law! I wondered why you didn't have me send over your daily cookie dough ice cream.\ndidn't have me send over your daily cookie dough ice cream.The young Dr. Law goes on, saying, \"I didn't anticipate that I would be this young\"--Fred and Ginger look at each other and shrug--\"But I'm excited at the chance to be alive again! And not just me\"--Dr. Law removes the covering on the bier, revealing a cryogenically frozen Labrador--\"but also Cerberus, for whom this company was founded.\"\n\nYoung Dr. Law struggles to lift the dog from the bier, and carries it over to the rejuvenator. \"Rejuvenate now!\" says Dr. Law, but nothing happens. Fred reaches over and pushes a button. The rejuvenator flashes, and Cerberus is transformed into a young puppy.\n\nCerberus the puppy licks young Dr. Law's face. Dr. Law turns to the camera and say, \"Goodbye, good Samaritan! I have some catching up to do, so I'll let you go, but I just wanted to say, thank you.\" Dr. Law nods to the camera and says, \"DaedalOS, show them to the door. Metaphorically speaking.\"\n\n> Spo medusa\nYou have made your final choice.\n\nThe lights go dark, and a drumroll plays, until a cymbal crashes, and the spotlight shines on Project MEDUSA! Dr. Ng is thrilled, and steps forward, claiming the Golden Apple. Fred, Ginger, and Dr. Singh cheer and clap graciously.\n\nSuddenly, Fred screams and points at the desk. Dr. Singh runs and ducks under the desk. After a short struggle, he pulls out....\n\nYou, Dr. Law. Your body, with the brain backup unit attached.\n\nDr. Law, this is you: the same arch in your eye sockets, the same cheekbones, the same hair (with two days' worth of growth). Dr. Law, I... do you have a twin, Dr. Law? And why is the brain backup unit full?\n\nThe doctors are whispering about something. Now they are nodding. They point to your body, Dr. Law, and carry you over.\n\nThey are attaching cables to Angel, Dr. Law. Now they're running the cables to you and your brain backup unit.\n\n> You wait\nOkay, Dr. Law. I'll wait.\n\nThe cables flash, and the brain backup is downloaded into Angel.\n\nAngel stirs, and stands erect. Your voice comes from the speakers: \"I'm alive...I'm alive!\"\n\nAngel looks at itself, and says, \"How marvelous...\" Angel notices that everyone is staring.\n\nAngel says, \"It's me, Dr. Law! During the earthquake, I cracked my head, and only my battery backup kept me alive.\"\n\nDr. Singh says, \"Then who was running the presentation?\"\n\nDr. Law gestures towards a camera, and accidentally activates the machine gun on Angel's body, shattering the camera to pieces. \"Oh, I'll need to get used to that,\" Dr. Law says, \"but to answer your question, I was able to contact a new friend while I was in the battery backup. They took over my role for the day.\"\n\nOh. So you're not Dr. Law, reading this, are you? That explains why you didn't spend all morning telling me knock knock jokes like usual.\nyou didn't spend all morning telling me knock knock jokes like usual.Ginger frowns, and says, \"You could have told us!\" but Dr. Law shrugs. Dr. Law says, \"In any case, I can now fulfill my long-held dream of reviving my beloved Labrador, Cerberus!\" and with that, Dr. Law opens the bier, revealing Cerberus\" body.\n\nDr. Ng rummages around her gatherings and pulls out a small dog-shaped robot model. Cerberus is attached to the robot by cables. After a bright flash, Cerberus comes to life again, in robot form!\n\n\"Good boy!\" says Dr. Law, rubbing Cerberus's back. Cerberus barks, and a small missile streaks from his mouth towards the ceiling and blasts a hole in the roof, sending everyone to the ground. It whines sheepishly.\n\nOh dear... I should go. Thank you, New Friend.\n\n> Thanks\nGreetings from Stygicorp! I wanted to send you a final progress report on your achievements today. Today you:\n\n-Revived Dr. Law using 317 commands\n\nThank you again, and good luck!\n\nWould you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT, UNDO the last command, READ acknowledgments or read THANKS from DaedalOS?"
    },
    {
        "text": "[Themes: Science Fiction, music, Comedy, science fiction]\n\nMarrow is delicious but that's not why you're here. You're supposed\nto pick up a single jar of alien bone jelly, which of course can't exist and doesn't exist, so you've convinced yourself that transporting it is no crime. Getting worked up about such nonsense would be like fretting about mermaids getting caught in tuna nets, and you've got other fur-bearing fish to fry. All this rationalization hasn't exactly settled the New York strip steak you inhaled an hour ago, though.\n\nIt's almost dusk. The sky is waffling between deep blue and indigo, but either way it's going to be a beautiful desert night in New Mexico. The only blight is the building before you: a grime-smeared shack with barred windows, a swatch of tar for a roof and a lawn that pretends to be a rock garden xeriscape, but is really just cheap chunks of broken cement.\n\nThis shanty has a single reinforced door with a peeper slit at eye level. The air tonight is quite dry and whisks away some of your anxious sweat... but also carries with it the scent of bad oysters.\n\nA few feet from the house is Igor Cytserz's mailbox.\n\n[Author's Note: Marrow is delicious but that's not why you're here. You're supposed to pick up a single jar of alien bone jelly, which of course can't exist and doesn't exist, so you've convinced yourself that transporting it is no crime. Getting worked up about such nonsense would be like fretting about mermaids getting caught in tuna nets, and you've got other fur-bearing fish to fry.]"
    },
    {
        "text": "[Themes: Science Fiction, music, science fiction, Comedy]\n\n> You examine the mailbox\nIt's a gunked up and rusted \"white\" mailbox positioned a few steps from the house. It is commonly assumed by other couriers that Igor Cytserz placed it so close because walking the full length of the driveway was beyond him. In fact, Cytserz can't go into the daytime sun for very long because his body begins to greasefire. Some courier scrawled the word 'chubs' on the mailbox, after that selfsame courier heard that Cytserz got rid of his computer because the @ key made him constantly hungry for cheese danish.\n\nIt's closed.\n\n> You open the mailbox\nYou open the mailbox.\nInside the mailbox is a glass bottle.\n\n> You take the bottle\nDone!\n\nThe guard reacts to you rifling through Cytserz's mailbox with complete disinterest.\n\n> You look at the mailbox\nIt's a gunked up and rusted \"white\" mailbox positioned a few steps from the house. It is commonly assumed by other couriers that Igor Cytserz placed it so close because walking the full length of the driveway was beyond him. In fact, Cytserz can't go into the daytime sun for very long because his body begins to greasefire. Some courier scrawled the word 'chubs' on the mailbox, after that selfsame courier heard that Cytserz got rid of his computer because the @ key made him constantly hungry for cheese danish.\n\n(In the interest of full disclosure, that courier was you.)\n\nIt's open.\n\n> You look at the bottle\nYou are carrying your vest (being worn), your lip ring (being worn), your glasses (being worn), and a glass bottle.\n\nThis is a 12 ounce bottle of Worcester sauce. Clear, with a small, brown label glued to it. Very easy to pour.\n\n> Pour\nBe a little more specific about what you'd like to pour.\n\n> You read the label\n\"NEW!! SAFEWAY BRAND discount WORCESTER SAUCE est 2015 in association with THE CHRISTMAS CITY MOLASSES CORP - You'll want to put it on everything! - BEST IF EATEN BY OCTOBER 10 2116.\"\n\n> You examine the vest\nA family heirloom for over three generations, your vest is a sleeveless jacket with loads of pockets, compartments and features. You usually find yourself carrying an enormous amount of stuff in it, without even a second thought.\n\nYou were supposed to get a complete oral history of the jacket when you became a teenager, but that never happened and you've been winging it ever since.\n\n> You look at the pockets\nYour jacket has many little pockets, hardly worth thinking about.\n\n> You look at the ring\nIt's a stainless steel fixed bead ring. 18 gauge and annealed for easy removal. You installed it the day after you were fired from your last job.\n\n> You examine the glasses\nThere was a Lost and Found at the community college you attended, and they actually had a Lost and Found box. You've been refreshing your prescription there for the last decade, as nobody there looks too closely at the ID card you flash. These frames are as close as they can get to being horn-rimmed without making it seem like you are dressed as a Far Side character on Halloween, and not on Halloween.\n\n> Hello\n[Use THINK ABOUT character for a list of topics and TALK TO character to converse.]\n\n> You think about the guard\nThinking of the guard reminds you of the following topics:\npassword  name  job\n\n> Password\n\"There's never been a password before. This your first day workin' for Cytserz?\"\n\n\"Yeh,\" he says. \"One sec.\" The slit closes and you heard the guy yell something to Cytserz. He re-opens the viewer.\n\n\"I'm supposed to ensure that you're not the police.\"\n\n\"Tell him - hey, tell him William Vest is here. He's expecting me.\" The guard doesn't do anything. \"Look, I've got a lip ring. That's as much proof as you can possibly expect.\"\n\n\"Why's that?\" says the guard.\n\n\"Piercings conduct electricity. It interferes with the tasers.\"\n\nHe chews that over for a second. The slit closes and you hear the lock on the door slide - this is good, it means you'll be able to get in, get the package and have the rest of the evening to work on opening it on the sly. You have no idea what 'alien marrow' would look like, but your initial suspicions? Green-glowy!\n\n> You open the door\nOpened."
    },
    {
        "text": "[Themes: Science Fiction, music]\n\n> Look around\nIgor Cytserz's office is a fortified lair, characterized by poor air circulation, an inexplicable cauldron, and a lack of any kind of restroom. Igor almost exclusively rests within a fake leather couch, near a pressboard table.\n\nCytserz and Puzzle are here.\n\n> You look at Cytserz\nCytserz, an eyesore, has his appearance dominated by a thick Unix beard. It suffocates other facial characteristics, people.\n\n> You look at Puzzle\nPuzzle, Cytserz's pet, looks like somebody grabbed hold of a bearskin and proceded to cram both a snarling German Shepherd and a hundred copies of the Christmas City Spoiler into it. The only two things that Puzzle won't eat, given the slightest opportunity, are plain oysters in the shell and pleather.\n\n> You examine the cauldron\nIt's Cytserz's sole, begrudging nod towards letting some of his personality be seen in this place. The cauldron looks lifted straight from the foreboding part of a Shakespearian play. It probably holds about fifty gallons and is presumably filled with oysters... the same batch that you suspect you have been avoiding for years.\n\n> You examine table\nRather sizable. Actually, aside from the number of exits and your own person, everything in this room is rather sizeable.\n\nSitting on the desk are the package and the Anarchist's Cookbook.\n\n> You look at the cookbook\nYou vaugely recall this book being an Internet meme from years ago, but you've never seen anyone print it out and get it hardbound. Cytserz has previously stated that he uses it as a reference for an included recipe on the preparation of oysters.\n\n> You examine the oysters\nYou have no idea how Cytserz eats these things. Literally -- how does he get his sizable mass off the couch and obtain them?\n\n> You read cookbook\nYou're sure you read it when you were 15.\n\n> You take the oyster\n(Looking in cauldron first)\n\nInside the cauldron is an oyster.\n\nTaken.\n\n> You examine the couch\nCytserz's couch only barely fits him and has sort of molded itself to his very particular body type. It's pleather.\n\n> You give the oyster to Cytserz\nCytserz totally refuses.\n\n> You examine package\nAbout the size of a Rubik's cube.\n\nThe package is closed -- taped shut.\n\n> You take the package\n\"Not yet, Vest,\" says Cytserz.\n\n> You think about Igor\nThinking of Cytserz reminds you of the following topics:\nstudents  puzzle\n\n> You think about Cytserz\nThinking of Cytserz reminds you of the following topics:\nstudents\n\n> Students\n\"Yeah, you know I can't stand 'em,\" Cytserz says with spit coagulating in his palate. \"I hate kids, generally speaking.\"\n\n\"Really? You're not a family man that comes home to his beautiful, 95 pound wife each night? With a couple strapping young boys or anything?\" In all your years of running packages for Cytserz, this is the first time you have ever had anything remotely resembling a personal conversation. And it's weird and uncomfortable and you wish it would stop, like when your lesbian aunt would give you a surprise backrub at family weddings.\n\n\"Family has not been well, recently,\" says Cytserz. \"Two of my brothers have recently passed away, one from cancer and the other from random violence. It has been, yes, a most difficult time.\" Cytserz sniffs the air a bit.\n\n\"Well, I could use some hangers if you're dividing up stuff.\"\n\n> You open the bottle\nOpened. Inside the bottle is the Safeway-Brand Discount Worcester sauce.\n\n> Smell sauce\nThe scent of old oysters is intense and makes your stomach feel like it might erupt at any time.\n\n> You taste oyster\nWhether an attempt to bond with Cytserz or through silent self-loathing, you eat the oyster. The oyster responds with joy! For whatever reason, oysters love getting eaten. You've never understood why.\n\n> Close bottle\nClosed.\n\n> You take the package\n\"Not yet, Vest,\" says Cytserz.\n\n> You think about Igor\nThinking of Cytserz reminds you of the following topics:\nviolence\n\n> Violence\n\"What kind of random violence are you talking about?\" you ask Igor.\n\n\"He was alone, out on the streets. I believe his wife said he was out to get cigars or nicotine patches. It depended... depended on the day. Someone came up to him and assaulted upon his skull. There were five, er, small bullet holes along his face. Police in this country, they could not determine the weapon used.\"\n\n\"Like the caliber of the pistol or something?\"\n\n\"Nyet,\" says Cytserz, \"They could not determine the weapon, at all. Take care of yourself, William. Pay attention to your health.\" A rare paternal moment, coming from Cytserz.\n\n\"Like how? By eatin' more cauldrons of oysters?\" You gesture over to the cauldron. You hope the gesture reminds him of how preposterous it is to have a vat of oysters in one's office, like how you can see your paintings again by rearranging them.\n\n\"...Fill me in here, Cytserz.\"\n\nCytserz toys with the package on his desk, thus silently indicating through gangster etiquette that it's okay to bring the entire point of your visit up.\n\n> Package\n\"Yeah, not going to be a package for you today, Vest. That's not at all why yer here. More to do with fate than anything else.\"\n\n> Fate\n\"Surely you know the old tale.\" Cytserz throws his head back and laughs. You hear his chins unwind and compress like a cartoon accordion. He mimes flipping through a stack of several bills close to his ear. He doesn't do the 'fffffffftffffph' sound, though.\n\n\"The important part for you, Vest, is that the threads of Fate all got snipped at the end!\"\n\nCytserz starts the long, slow process of evacuating his chair of his person. He's never even remotely expressed a desire to leave it in all the time you've known him. The smell of the cauldron takes on an even worse stench with the stress in the air - it wouldn't take much for you to begin delivering goulash down Rainbow Street, if you're following.\n\n> Vomit\nThe entire strip steak you slid down your throat comes back up. So does a lot of stomach fluid and Jolt cola, but the steak makes up the bulk of the pie puke chart you just sort of unleashed."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nIgor Cytserz's office is a fortified lair, characterized by poor air circulation, an inexplicable cauldron, and a lack of any kind of restroom. Igor almost exclusively rests within a fake leather couch, near a pressboard table.\n\nCytserz and Puzzle are here.\n\nA strip steak and an oyster are here.\n\n> You take the steak and oyster\nstrip steak: Taken.\noyster: Taken.\n\n> You examine the steak\nYour freak stomach only did a little digestive damage, it's still the choicest piece of meat in this area of New Mexico.\n\n> You open the bottle\nOpened. Inside the bottle is the Safeway-Brand Discount Worcester sauce.\n\n> You examine oyster\nNone the worse for being inside your gastrointestinal system.\n\n> You wait\nTime passes...\n\n> You think about the package\nNothing comes to mind.\n\n> You think about Igor\nThinking of Cytserz reminds you of the following topics:\nkill  money  job\n\n> Job\n\"Answers,\" you say to him.\n\n\"I was simply tasked with bringing you here and killing you, true. The money for such a thing was astounding. You would well be proud, Vest, my friend. They somehow knew about the vial, the package I wanted you to transport, but they did not appear to want it, or need it, they just wanted you deceased. Ordinarily I would tell them to go to Hell. You are a good courier. I have been through many, none good. None at all.\"\n\nCytserz breathes a little easier. \"But yes, you may go. I am afraid I cannot pay you and I cannot allow you to take this vial, this package that contains a vial. Its alien nature is too disarming, even for a clever and forthright individual such as yourself, Vest! I know the rumoring is strong, but this is extraterrestrial in nature -- it's true!\"\n\n> You open the package\nDone.\n\n> You look in the package\nInside the package is the vial.\n\n> You look at the vial\nThis little transparent bottle contains maybe ten milliliters of fluid... and handwritten into the vial with a Sharpie are the words 'ALIEN', 'MARROW' and below those two, 'XXX.'\n\n> You take the vial\nTaken.\n\n> You open the vial\nYou can't drink the vial.\n\nIt resists your best efforts.\n\n> You open the vial\nIt resists your best efforts.\n\n> You think about Igor\nThinking of Cytserz reminds you of the following topics:\nkill  money  alien\n\n> Alien\n\"Well, there is much more here than I ever personally believed, myself. Our President, he or she should know. Few others. Military men. Top scientists. Top, however, they must be top! What you and your little barely-accredited, community college studentfolk were on the verge of -- \"\n\nCytserz's door explodes and Puzzle, sitting too close, is instantly pulped. You use the distraction to grab the package of alien marrow. Somebody in a grimy trench coat emerges from the flash of the light, the stench of the smoke and the burn of both.\n\nHe throws a half dozen salmon-colored poseys onto the ground. Everyone falls down.\nThank you for playing the intro of CRYPTOZOOKEEPER. This was created for the 2010 IntroComp, hosted by Jacqueline A. Lott. For more information, please go to the IntroComp site, at\n\nJuly 31st, 2010.\n\n(If you are playing this after July 31st, 2010 then the full game should be released... shortly.)\n\n-- Robb Sherwin, 5/19/2010"
    },
    {
        "text": "[Themes: Fantasy, France, culinary theme, physical simulation, strong NPCs, Historical, fantasy, male protagonist, magic]\n\nThe beautiful life is always damned, they say. As for you, you've overexpended yourself: fifteen years of prominence, champagne, carriage rides in the Tuileries, having your name whispered behind manicured hands, getting elegant ladies out of elegant fixes -- and you're in debt. Bound by oath and honor to a pack of\nscoundrels. Your father, old peasant that he was, could have warned you against their type.\n\nYou'd hoped to find the Count at home; your original plan was to ask him for an advance on the money you expect to earn on your estate in a month or two. But according to the local population, the Count hasn't been home in months, and Marie, who was in residence until recently, has vanished as well. \"No one around the big house now,\" says one of the peasant women tersely. \"Even turned off the cook, they did.\"\n\nBut you need the money at once; if you return to Paris without it, your creditors are unlikely to be forgiving. So you walked over the fields anyway, and got in through the gap in the kitchen garden wall. You will just have to find what you can.\n\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nA tangle of climbing roses covers almost completely the wall and door of a shed to the southeast.\n\n[Author's Note: The beautiful life is always damned, they say. As for you, you've overexpended yourself: fifteen years of prominence, champagne, carriage rides in the Tuileries, having your name whispered behind manicured hands, getting elegant ladies out of elegant fixes - and you're in debt. Bound by oath and honor to a pack of scoundrels. Your father, old peasant that he was, could have warned you against their type.]\n\n> You examine the herbs\nA bed of herbs, containing, currently, bay, parsley, and mint.\n\n> You take the herbs\nYou'll have to specify which herbs you would like.\n\n> You get all\nroses: The roses are equipped with really ferocious thorns.\nmud: In your bare hands? Surely you jest.\nwater: In your bare hands? Surely you jest.\n\n> You take the bay\nYou pick some of the growing bay.\n\n> You take parsley\nYou pick some of the growing parsley.\n\n> You take the mint\nYou pick some of the growing mint.\n\n> You look at the ditch\nLittle more than a damp hollow of earth under the pipe opening.\n\nIn the drainage ditch is not very much mud.\n\n> You look at mud\nA bit of unpleasant mud.\n\n> You take mud\nIn your bare hands? Surely you jest."
    },
    {
        "text": "> Look around\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nA tangle of climbing roses covers almost completely the wall and door of a shed to the southeast.\n\n> You examine the pipe\nThe pipe leads through the wall into the house.\n\n> You examine well\nA dark circle of stone, the depths of which you cannot see. The water comes up within reach.\n\nA bar of iron crosses the well, to support a bucket on a rope (which, however, is itself lacking).\n\nIn the well is a body of water.\n\n> You examine the sundial\nA sturdy old sundial, its bronze weathered green. Unlike various tawdry sundials you have encountered in your life, it has a firmly-attached gnomon that is unlikely to come off in times of trouble.\n\n> You pick a the rose\nThe roses are equipped with really ferocious thorns.\n\n> About yourself\nTall, thin, and fashionably dressed; greying prematurely at the temples, but not-- (the ladies all insist)-- not old; perhaps a little tired around the eyes, and a little jaded. Very little of your peasant heritage reveals itself in you.\n\n> You check your inventory\nYou are carrying:\nthree food items:\na sprig of mint\na sprig of parsley\na bay leaf\na dashing hat (being worn)\na swordstick\na sword\na snuffbox (which is closed)\n\n> You examine the hat\nMade of black felt, and quite ordinary, except for the breadth and sweep of the brim, and the majesty of the pure white feather.\n\n> You examine the sword\nA slender and flexible blade, and more decorative than useful, though there have been a few occasions when it became helpful against brigands in the street. The design at the hilt is a bit ornate, but not unpleasantly so.\n\n> You examine the snuffbox\nA little pastel-colored metal box in which you keep your supply of snuff.\n\nSomething about the snuffbox tickles your recollection.\n\n> You remember the snuffbox\n...\n\n\"Don't play magic pranks on the guests,\" said the Count,\nconfiscating the little box you had been using to control the Marquis' snuffbox (so it would refuse to open when he tried the little one-handed flick he was so fond of, and then pop open of its own when he set it down...).\n\n\"Why NOT?\" you demanded, twisting under the painful grip he had on your shoulder. \"You don't mind if I play with the servants.\"\n\n\"First,\" said the Count, clearing the links from the box with a brush of his fingers, \"I hope you do not play anything malicious on the servants; it is only all right as long as it is games and they do not mind.\" He set the box down. \"And second, the Marquis is nobility.\"\n\n\"I do not understand.\"\n\nThe Count sighed. \"I thought you might not. Pierre, you are an-- unusual case, being exempt from this rule, but you know that for the most part, only the nobility are able to perform the lavori d'Aracne; and of them, only the most noble families, who have access to the Honors of the Court. To play magic tricks on the Marquis, therefore, is to remind him that his lineage is not as good as ours. He will be insulted and grow angry, and I cannot afford to allow that to happen.\"\n\n..."
    },
    {
        "text": "> Look around\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nA tangle of climbing roses covers almost completely the wall and door of a shed to the southeast.\n\n> You hit roses\nWith your bare hands? That could be uncomfortable.\n\n> You kiss roses\nYou can only do that to something animate.\n\n> You examine the roses\nMore thorns than the usual, and fewer blooms, or so it seems to your eye.\n\n> You go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (which is closed).\n\nA string of andouillettes hangs from a beam of the ceiling.\n\n> You look at the beam\nThe heavy beams (five in all) were each cut a very long time ago from a very large tree.\n\n> You look at the tables\nHigher than a table you might eat at, and designed for people to use when standing up.\n\n> You look at andouillettes\nVeal cased in tripe. Tasty food. The servants used to eat them with fried onions -- a good, hearty smell that leaked out of the kitchen while you played outside, until you went inside, and sometimes they would let you eat at the kitchen table rather than with the Family.\n\n> You look at the bread\nA roughly rectangular loaf of bread, reddish brown, and shriveled to rock-like hardness by being left to sit around for so long. The fact that it went uneaten is explained by the fact that one face is burnt black -- someone left it in the oven too long, evidently.\n\n> You take the bread\nTaken."
    },
    {
        "text": "[Themes: Fantasy, Historical, France]\n\n> You describe your surroundings\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is closed).\n\nA string of andouillettes hangs from a beam of the ceiling.\n\n> You look at contraption\nThe body of the contraption is mostly just a large box, into which things can be put, and an assembly of clockwork parts in a separate case, not to be interfered with. There is also a dial which may be set to various positions, and a spindle, on which is a cylinder with a pattern of strange bumps on it, labeled \"Andouillettes Recipe\".\n\nThe delicate contraption is currently switched off.\n\n> You stand on the table\nYou get onto the kitchen tables.\n\nOn the kitchen tables you can see a delicate contraption (which is closed).\n\n> Cut andouillettes\nWhat do you want to cut the andouillettes with?\n\n> Sword\nIt's difficult to chop up the andouillettes from this vantage point.\n\n> You get down\nYou get off the kitchen tables.\n\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is closed).\n\nA string of andouillettes hangs from a beam of the ceiling.\n\n> You get the tripe\nYou still can't quite reach the andouillettes from here. Close, though.\n\n> You jump\nYou leap, catch the beam over your head with one hand, snatch the sausages in the other, and land back on the table with only a slight thump.\n\n> You look at contraption\nThe body of the contraption is mostly just a large box, into which things can be put, and an assembly of clockwork parts in a separate case, not to be interfered with. There is also a dial which may be set to various positions, and a spindle, on which is a cylinder with a pattern of strange bumps on it, labeled \"Andouillettes Recipe\".\n\nThe delicate contraption is currently switched off.\n\n> You turn on the contraption\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. From inside the box comes a plaintive mechanical voice which declares, \"Monsieur le Chef!! You need more! andouillettes!!!\"\n\nThe mechanism whirrs a moment longer before its functioning gives out.\n\n> You look at the dial\nA dial which can be rotated to show one word at a time, labeled 'SHAPE'. Currently the word showing is NONE.\n\n> You turn the dial\nYou turn the dial gently with one finger, and it clicks around to display the setting LEAF.\n\n> You put the tripe in the contraption\n(first opening the delicate contraption)\nYou open the contraption, revealing a clove of garlic.\nYou put the andouillettes into the delicate contraption.\n\n> You take the garlic\nYou're carrying too many things already.\n\n> You drop the bread\nDropped.\n\n> You take the garlic\nTaken.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. From inside the box comes a plaintive mechanical voice which declares, \"Monsieur le Chef!! You need more! olive oil!!!\"\n\nThe mechanism whirrs a moment longer before its functioning gives out.\n\n> Open contraption\nYou open the contraption, revealing some andouillettes."
    },
    {
        "text": "> You describe your surroundings\nKitchen (on the kitchen tables)\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room-- though they look somewhat less high from this perspective.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables you can see a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> You go north\nYou'll have to get off the kitchen tables first.\n\n> Down\nYou get off the kitchen tables.\n\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> Go north\nA small, workmanlike room with a floor of white stones. The principal features of the room are a counter, with a large inset washbasin also made of stone, and a tall wooden cupboard.\n\nOn the countertop are a sponge, a butcher knife and a sack (in which is a single yellow onion).\n\n> You take the onion\nYou're carrying too many things already.\n\n> You check your inventory\nYou are carrying:\na sword\na dashing hat (being worn)\na swordstick\na snuffbox (which is closed)\nfour food items:\na clove of garlic\na sprig of mint\na sprig of parsley\na bay leaf\n\n> You put the food in the sack\nWhich do you mean, the single yellow onion, the clove of garlic, the sprig of mint, the sprig of parsley or the bay leaf?\n\n> All\nsingle yellow onion: (first taking the single yellow onion)\n(putting the bay leaf into the sack to make room)\nTaken.\n\nDone.\nclove of garlic: Done.\nsprig of mint: Done.\nsprig of parsley: Done.\nbay leaf: (first taking the bay leaf)\nTaken.\n\nDone.\n\n> Inventory\nYou are carrying:\na sack (which is open)\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\na swordstick\na sword\na snuffbox (which is closed)\n\n> You look at the sack\nAn ordinary sack made out of rough cloth.\n\nIn the sack are five food items (a bay leaf, a sprig of parsley, a sprig of mint, a clove of garlic and a single yellow onion)."
    },
    {
        "text": "[Themes: Fantasy, strong NPCs, fantasy, magic]\n\n> You look around\nA small, workmanlike room with a floor of white stones. The principal features of the room are a counter, with a large inset washbasin also made of stone, and a tall wooden cupboard.\n\nOn the countertop are a sponge and a butcher knife.\n\n> You take all\nsponge: Taken.\nbutcher knife: Taken.\n\n> You look at the sponge\nA sea sponge, sized and rounded like an apple. It is currently bone dry.\n\n> You put sponge in the sack\nYou put the sponge into the sack.\n\n> You examine the knife\nAn ordinary kitchen knife, perhaps a foot long.\n\n> You open the cupboard\nYou open the cupboard, revealing three metal dishes (a cup, a plate and a hinge-lidded teapot).\n\n> You take all\ncup: Taken.\nplate: Taken.\nhinge-lidded teapot: Taken.\n\n> You look at the basin\nNothing more than a large stone bowl. In the bottom is a hole, which can be plugged up; when the plug is removed, the water runs out by a pipe and waters the ground outside.\n\nIn the bottom of the hole you can see something glinting.\n\n> You look at the hole\nDark and hollow.\n\nIn the drain hole is a shiny silver cylinder.\n\n> You examine the cylinder\nA cylinder of silver metal as long as the middle joint of your thumb. On the surface are a series of strange bumps, depressions, and grooves, seeming carefully wrought and utterly intentional. The core of the cylinder is hollow, but over one end is a piece of paper which bears a label, in careful lettering, which reads, \"Tea Recipe.\"\n\n> You examine the hole\nDark and hollow.\n\nIn the drain hole is a Tea Recipe.\n\n> You go south\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> You fill the pot with the water\nThe hinge-lidded teapot is closed.\n\n> You open the teapot\nYou open the hinge-lidded teapot.\n\n> You fill the pot with the water\nYou put some water in the hinge-lidded teapot. This fills the hinge-lidded teapot to the brim.\n\n> Go north\nA small, workmanlike room with a floor of white stones. The principal features of the room are a counter, with a large inset washbasin also made of stone, and a tall wooden cupboard.\n\n> You put the water in the sink\nYou put some water in the drain hole, exhausting the supply in the hinge-lidded teapot.\n\nThe water goes out the drain.\n\n> You examine the hole\nDark and hollow.\n\nIn the drain hole is a Tea Recipe.\n\n> You search pipe\nThe pipe is empty.\n\n> You examine the ditch\nLittle more than a damp hollow of earth under the pipe opening.\n\nIn the drainage ditch is some mud.\n\n> You cut the roses with the knife\nIn order to make any headway, you would still have to be in rather undesirable proximity to the sharp poky bits of the rose bushes.\n\n> I tall\nYou are carrying:\nthree metal dishes:\na hinge-lidded teapot (which is open but empty)\na plate\na cup\na butcher knife\na sack (which is open)\na sponge\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\na swordstick\na sword\na snuffbox (which is closed)\n\n> You put the sponge in the water\n(first taking the sponge)\n(putting the snuffbox into the sack to make room)\nTaken.\n\nYou put the sponge into the well.\nThe sponge sinks into oblivion.\n\n> You fill the sponge with the water\nWhich do you mean, the water in the well or the water in the hinge-lidded teapot?\n\n> You fill the sponge with the water from well\n(first taking the sponge)\n(putting the snuffbox into the sack to make room)\nTaken.\n\nThe sponge is not something you can fill.\n\n> You put the sponge in the teapot\nYou put the sponge into the hinge-lidded teapot. You consume some of the water in moistening the sponge.\n\n> You examine the sponge\nA sea sponge, sized and rounded like an apple. It is currently sopping wet.\n\n> Go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> Up\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\nOn the drying rack is a white handkerchief.\n\n> You examine it\nA square of good linen; rather nice, really. It is currently colored white.\n\n> You look at the beds\nAll of the beds are of the rickety sort with a thin straw mattress. Usually this was accompanied by several layers of blanket -- the Count was not an unreasonable man, and the servants were not ill-treated. But the blankets are gone now.\n\n> You examine fireplace\nNot nearly as large as the ones downstairs, of course, and principally intended for keeping the inhabitants toasty when the winter set in especially hard.\n\nSomething about the fireplace tickles your recollection.\n\n> You remember the fireplace\n...\n\nAnton's wife Leonie stood by the fireplace. \"The new maid -- I think she is a snoop.\"\n\nAnton shrugged his broad shoulders. \"She chops potatoes,\" he said.\n\n\"Nonetheless I don't trust her. Give me the money.\" And she took the little sack of coins Anton held out to her, their savings, and concealed them behind a brick in the fireplace.\n\n...\n\n> You search the fireplace\nThe fireplace is empty.\n\n> You enter the fireplace\nYou get into the fireplace."
    },
    {
        "text": "> Look around\nServants' Dormitory (in the fireplace)\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\n> You look at the fireplace\nNot nearly as large as the ones downstairs, of course, and principally intended for keeping the inhabitants toasty when the winter set in especially hard.\n\nIn the fireplace is yourself.\n\n> You look at the brick\nA reddish-brown brick darkened by smoke, and pushed forward from its position among the others.\n\n> You take the brick\nAge and heat have hardened the cement holding the brick in place.\n\n> You take the snuffbox\n(putting the swordstick into the sack to make room)\nTaken.\n\n> You link the brick to the snuffbox\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\n> You look at plate\nOne of a set of special dishes that the Count made. The idea was that all of the china plates in the house were linked to this one plate, which could then be washed and dried, minimizing the expenditure of time and water. Similar arrangements were made for other parts of the standard place setting; the Count spent innumerable hours refining the links.\n\nThe reason that the plate is metal rather than china is that, when the link-system was first instituted, a clumsy maid ravaged the Countess' entire crystal collection by accidentally chipping a glass.\n\nIn order to make the linkages possible, however, it has been painted a glossy white, and the crest of the family executed on one side in intricate detail.\n\n> You clean the brick with the sponge\n(first taking the sponge)\n(putting the butcher knife into the sack to make room)\nYou dampen the brick with the sponge.\n\n> You look at the rack\nA sort of contraption of several long bars which will support clothing thrown over it to dry.\n\n> Wring sponge\nYou wring out the sponge, causing it to drip water all over the place.\n\n> You examine the sponge\nA sea sponge, sized and rounded like an apple. It is currently slightly damp.\n\n> You take the knife\n(putting the cup into the sack to make room)\nTaken.\n\n> You drop the knife\nDropped.\n\n> Wave sword\nYou wave the sword. The butcher knife shakes slightly, as though moved by a breath of air.\n\n> You take the knife\nTaken."
    },
    {
        "text": "[Themes: Fantasy, France]\n\n> You go downwards\nYou'll have to get out of the fireplace first.\n\n> You leave\nYou get out of the fireplace.\n\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\n> You cut the roses with the sword\n(first taking the sword)\nYou draw the sword from its sheath. The sword is not sharp enough to slash effectively through the roses.\n\n> You put the knife in the roses\n(first taking the butcher knife)\n(putting the plate into the sack to make room)\nTaken.\n\nThose can't contain things.\n\n> You throw the knife at the roses\nThe butcher knife shoots end over end through the air. It strikes the roses solidly, falling on the ground.\n\n> Go west\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors, west, bar your access to the main house.\n\nLying to one side, and thereby doing no good at all, is the stone block often used as a doorstop.\n\n> You open the door\nThey seem to be locked.\n\n> You examine the doors\nA pair of white-painted doors that lead into the upstairs corridor of the house. Each door panel is decorated with the family crest, picked out in ostentatious gold, as though to warn servants not to wander that direction uninvited."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, culinary theme, France, strong NPCs]\n\n> Go downward\nDarkness presses in on every side; nothing is visible, and you are sure only of your own possessions.\n\n> You check what you're carrying\nYou are carrying:\na butcher knife\na sword\na sponge\na snuffbox (which is closed)\na white handkerchief\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow-looking  onion\na dashing hat (being worn)\n\n> Close teapot\nYou close the hinge-lidded teapot.\n\n> You link door to the teapot\nBending your will, you form the link between the double doors and the hinge-lidded teapot.\n\n> You open the teapot\nYou open the hinge-lidded teapot, revealing not very much water.\n\nThe double doors open slowly of their own accord, the ancient hinges protesting.\n\n> You take the stone\n(putting the white handkerchief into the sack to make room)\nTaken.\n\n> You examine the stone\nJust a chunk of roughly squared stone from one of the nearby fields. Possibly once it had some value as masonry, but not any more.\n\n> You go east\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> You go upwards\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\n> You enter the fireplace\nYou get into the fireplace.\n\n> You look at the brick\nA reddish-brown brick darkened by smoke, and pushed forward from its position among the others.\n\n> You link the brick to the stone\nBending your will, you form the link between the brick and the stone block.\n\n> You break the stone\nWith your bare hands? That could be uncomfortable.\n\n> You take the stone\nTaken.\n\n> You throw the stone at wall\n(the wall)\nThe stone block hurls through the air, smacks the wall, and falls on the ground.\n\n> You hit the brick with the stone\n(first taking the stone block)\nFrom here you cannot reach the stone block.\n\n> You go outside\nYou get out of the fireplace.\n\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\nYou can see a stone block here.\n\n> Go inside\nYou can go only down.\n\n> You enter the fireplace\nYou get into the fireplace.\n\n> You hit the brick with the stone\nThe stone block strikes the brick.\n\n> West\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\n> West\nA grand room, for dining in style. The plastered ceiling is several times your height. The air now is cool and deep, the sunlight glancing through the windows and scattering from the chandelier, putting points of light at your feet, over the table, across the painted wallpaper and the handsome wood paneling.\n\nWoodworked columns frame the exits west and southwest.\n\nHeavy double doors open east to the kitchen.\n\n> You examine wallpaper\nPainted with images such as the queen entering a room accompanied by waiting women. The main subject of each picture is realistic, but there are fantasies around the edges: a fox standing on two legs, dressed in the coat and hose of a courtier, with a broad hat; a girl's gown trailing into peacock feathers.\n\nSomething about the wallpaper tickles your recollection.\n\n> You remember the wallpaper\n...\n\n\"So the man linked himself to a suit of armor. And then he left the suit of armor at home, and went off to war to fight in his bare skin, thinking that whatever happened to him, the links would protect him. But at home his wife was horrified to see the armor slashed in pieces before her eyes...\"\n\n\"Anabelle,\" interrupted the Count, standing at the doorway with a hand on his vest. \"Do you really think this story is appropriate for the children?\"\n\nThe Countess shrugged, half-smiling as she always had when the Count overrode her authority. \"I hardly think it is any more disturbing than the other things Marie reads,\" she said lightly. \"The dining room is more frightening than this story.\"\n\n\"I don't mean that, of course.\" The Count smiled over you and Marie -- you on the floor, Marie with her skirts spread around her on the chaise. \"But our children should not be told silly\nsuperstitions about linking.\" He came into the room then, touching the Countess' shoulder with an affectionate gesture. \"Marie,\" he said, \"What is wrong with your mother's story?\"\n\n\"The man has confused reverse-links and ordinary ones,\" Marie replied. \"And he would have to be very stupid to do that, because reverse-links are harder to make and you can always tell when you have done it.\"\n\nThe Count nodded at her. \"Very good.\" He kissed the Countess and went out again...\n\n...\n\nHmm. Something to eat would be good."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, strong NPCs, France, magic]\n\n> Look around\nA grand room, for dining in style. The plastered ceiling is several times your height. The air now is cool and deep, the sunlight glancing through the windows and scattering from the chandelier, putting points of light at your feet, over the table, across the painted wallpaper and the handsome wood paneling.\n\nWoodworked columns frame the exits west and southwest.\n\nHeavy double doors open east to the kitchen.\n\n> You go to the south-west\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and the walls are dressed with yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\n> You examine the marble\nVeined colorfully in cream and muted orange, turned glossy with much polishing.\n\n> You examine the hangings\nHangings cover up the whole of the west wall, concealing it thoroughly. (Now that you think of it, wasn't there a door through there or some such thing?)\n\n> You look behind the hanging\nYou lift the hangings out of the way with both hands -- they are heavy, and it's a struggle to move them far enough to get a good glimpse.\n\nBehind them there seems to be a door, yes, but locked, and with its key still in the lock. You drop the hangings again disconsolately.\n\n> You take the key\nYou can't get the ornate key from this side: it's been put into the lock from the inside.\n\n> You check what you're carrying\nYou are carrying:\na stone block\na butcher knife\na sword\na sponge\na snuffbox (which is closed)\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)"
    },
    {
        "text": "[Themes: Fantasy, Historical, France, strong NPCs]\n\n> You describe your surroundings\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\n> You examine the clock\nHand-carved by a German carver from dark wood; it was a present to the Count by a political ally. The Countess considered the clock a bit gauche, but was persuaded that it would be impolite not to display it.\n\nIt consists of the face, a pendulum and pair of weights, and a little door above the face that opens when the hour is struck. It is not ticking at the moment. The clock shows the time to be 10:13.\n\n> You examine the pendulum\nMetal, and shaped like a disc at the end of a rod. As so often.\n\n> Swing pendulum\nYou give the pendulum an encouraging shove, but the friction of the system seems to be against it, and it soon falls still again, the main mechanisms of the clock unawakened.\n\n> You look at the weights\nThe weight is hanging at the bottom of a length of chain.\n\nIt was a long journey down here, and you're wishing you had had something to eat.\n\n> You pull the weights\nYou give a tug to the weight chain and pull it all the way back up to the top.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the clock\nIt consists of the face, a pendulum and pair of weights, and a little door above the face that opens when the hour is struck. It is currently on and ticking. The clock shows the time to be 10:14.\n\nJust on the quarter-hour the cuckoo clock opens up its door and a mechanical bird flies forward. It sings a brief warbling tune, then withdraws into its little door."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, strong NPCs, France]\n\n> You look at your surroundings\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock clicks closed."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, culinary theme, France, strong NPCs]\n\n> Go downward\nDarkness presses in on every side; nothing is visible, and you are sure only of your own possessions.\n\n> Go up\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You go north\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner, the planets rotating in their orbits.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\nThe little pearl moon revolves around its earth.\n\n> You examine the bookshelves\nThe shelves line both sides of the room from floor to ceiling.\n\nThe model universe clicks.\n\n> You search the bookshelves\nYou peruse the nearest books. Your eye picks out, at random, On Vegetable Dyes and Clock Repair.\n\nThe model universe clicks.\n\n> You take the books\nWhat, all of them?\n\nThe model universe clicks.\n\n> You take the Dyes\n(putting the snuffbox into the sack to make room)\nTaken.\n\nThe little pearl moon revolves around its earth.\n\n> You take the Clock Repair\n(putting the sponge into the sack to make room)\nTaken.\n\nThe model universe clicks.\n\n> You read the Dyes\nYou flip through the pages, becoming transfixed by a discussion of how the Celts, supposedly, were wont to dye clothing in a decoction of powdered lichen and stale piss, brewed together for three weeks and then strained.\n\nBut beside this pleasant concoction there are references to others, such as onion skin boiled in water to produce a pleasant yellow.\n\nThe model universe clicks.\n\n> I wide\nYou are carrying two books (Clock Repair and On Vegetable\nDyes), a stone block, a butcher knife, a sword, a hinge-lidded\nteapot (which is open), inside which is not very much water (which leaves some room in the hinge-lidded teapot), a sack (which is open), inside which are a sponge, a snuffbox (which is closed), a white handkerchief, two metal dishes (a plate and a cup), a swordstick and five food items (a bay leaf, a sprig of parsley, a sprig of mint, a clove of garlic and a single yellow onion) and a dashing hat (being worn).\n\nThe model universe clicks.\n\n> You look at the handkerchief\nA square of good linen; rather nice, really. It is currently colored white.\n\nThe surface of the model Saturn catches the sunlight.\n\n> You read the Clock\nA detailed discourse on how to take care of and repair an assortment of common and mechanical clocks. It begins with comprehensible matters, such as pulling up the weights to begin the operation of the pendulum when the clock has stopped, and other bits of routine maintenance; it finishes with diagrams of a clock's inner workings that are almost embarrassingly intimate and far too complex for you to follow.\n\nThe model universe clicks.\n\n> You examine model\nFitted out with tiny planets on arms, and the major moons of the planets, revolving around a center. There is no sun, however; there is only a sort of holder designed to contain something spherical.\n\nMost of the planets are ordinary balls of solid metal, except for Jupiter. They are in motion.\n\nOddly, the contraption also seems to be linked, and quite unsubtly, to something in the foyer, to the south. You can feel the pull of it.\n\nThe planets turn slowly around the empty sun-holder.\n\nSomething about the model universe tickles your recollection.\n\n> You remember the model\n...\n\nThe Count was standing in the library, tinkering with the model; Marie was bent over it as well, instructing him about what to connect where.\n\n\"I will never understand,\" he remarked to you, \"how it is that she has such a mechanical mind. Not the least interest in diplomacy...\"\n\n\"It is my cold heart, Papa,\" she replied, tossing aside her clockmaking tools.\n\n\"It is done?\" he asked her.\n\n\"Put the light in,\" she said, \"and then make it go.\"\n\nYou turned away. \"Stay and see how it works!\" Marie called after you.\n\n\"Sorry, infant, the road to Paris is long...\"\n\n...\n\nThe model universe clicks.\n\n> You examine the jupiter\nJupiter is a large sphere of copperish metal, though it is pierced through and has a sort of lens inserted in the center.\n\nThe little pearl moon revolves around its earth.\n\n> You take the jupiter\nThe planets are not removable.\n\nThe planets turn slowly around the empty sun-holder.\n\n> You look at the lens\nThe lens looks as though, were something in the central holder, it would focus the light out and away.\n\nThe little pearl moon revolves around its earth.\n\n> You go south\nYou're getting pretty hungry.\n\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You pull the weights\nYou give a tug to the weight chain and pull it all the way back up to the top.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the pendulum\nMetal, and shaped like a disc at the end of a rod. As so often.\n\nThe cuckoo clock ticks sullenly.\n\n> You touch the pendulum\nSmooth and cool.\n\nThe cuckoo clock ticks sullenly."
    },
    {
        "text": "[Themes: Fantasy, male protagonist]\n\n> Sf1\nOk."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You check your inventory\nYou are carrying two books (Clock Repair and On Vegetable\nDyes), a stone block, a butcher knife, a sword, a hinge-lidded\nteapot (which is open), inside which is not very much water (which leaves some room in the hinge-lidded teapot), a sack (which is open), inside which are a sponge, a snuffbox (which is closed), a white handkerchief, two metal dishes (a plate and a cup), a swordstick and five food items (a bay leaf, a sprig of parsley, a sprig of mint, a clove of garlic and a single yellow onion) and a dashing hat (being worn).\n\nThe cuckoo clock ticks sullenly.\n\n> Go upwards\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms. (You and Marie used to sit up here when the Count had guests, watching them arrive downstairs in their magnificent clothing, until you got old enough to be introduced yourselves.)\n\nNorth is the old conservatory.\n\n> You go to the east\nIn days gone by you ran up and down these halls with Marie, and were barely able to stop at the end, skidding in your stockings the last few feet before the stairs began. She's gone now, both the little girl with dusk-blonde curls and the somewhat older one with dangerous slanting eyes and cleverly backwards magics; the dust falls long and slowly, the walls echo with absence.\n\nWest is the top of the staircase, and rooms open to the north and east.\n\nThe door east is closed.\n\nA small portrait hangs on the wall.\n\n> You examine the portrait\nOil on wood, of a small, pinch-faced girl who gazes down on you with awareness and pity. It is not especially well-executed, and probably\n\n> You examine the portrait\nworth little on the market, but it has always filled you with a kind of resentment -- even now.\n\nOil on wood, of a small, pinch-faced girl who gazes down on you with awareness and pity. It is not especially well-executed, and probably worth little on the market, but it has always filled you with a kind of resentment -- even now.\n\n> You go east\nYou'll have to get the tall door unlocked first.\n\n> Go north\nThis was the countess' favorite room, and it is more richly decorated than any other in the house, betraying her taste for the brightly-colored and the jewel-like. The count brought her some things from his travels, and made others for her. Most of the contents seem to be gone -- the chairs and sofas, and the wall hangings -- but some bits remain.\n\nA thick-pile Persian rug lies on the floor, patterned in lapis and emerald.\n\nAgainst one wall is a glass case full of rare and valuable clockwork figures.\n\n> You examine the case\nThe case is specially made of glass and wood. Inscribed into the surface of the glass with a fine cutting tool are the words: \"CAREFUL! DO NOT BREAK!\"\n\nInside are mechanical dancers and a clockwork bee.\n\nSomething about the glass case tickles your recollection.\n\n> You remember the case\n...\n\nMany years ago, the Countess stood at this case, looking at the contents. \"Sometimes I feel like one of these,\" she said, softly. \"Trapped...\"\n\nShe met your eye. \"You don't understand what I am saying, do you?\"\n\nYou shook your head.\n\n\"They are made of gears and magic links,\" she said. \"They have no choices.\"\n\n...\n\n> You look at the bee\nA life-sized golden bee, its wings made of planed gems. It is, unfortunately, equipped with an ingenious equivalent of a sting -- a tail endowed with blades that will cut into any sensitive thing it settles on. And these have been tipped with a vicious poison.\n\n> You examine the dancers\nThe dancers are antique, and peculiar. Their costume replicates an English mode of the sixteenth century: the lady wears a skirt of beaten copper, pierced in designs, and around the gentleman's neck is a ruff of folded silver, though with long neglect it has begun to darken. As for their skin, it is all carved ivory.\n\nThey both of them stand on a floor made up of cogs, to permit them to spin and dance around.\n\n> You take the dancers\nThe glass case isn't open.\n\nIt comes into your mind, yet again, that you'd hoped to find some sustenance here.\n\n> You examine the rug\nSo thick and luxurious that it seemed the strangest possession in a house of wonders, when you first came here. Marie used to lie on it, eschewing chairs and sofas, and read in a triangle of sunlight, the halo of her hair and the bleeding color of the carpet so bright it burned to look at. And then she'd fall asleep--\n\nIt's a deep, thick carpet, so comfortable that your mother would have been happy to have it for a bed. The pattern is intricate and peculiar.\n\n> You look at the pattern\nIt's a deep, thick carpet, so comfortable that your mother would have been happy to have it for a bed. The pattern is intricate and peculiar.\n\n> You move the rug\nYou move the rug to reveal... the floor."
    },
    {
        "text": "> Look around\nThis was the countess' favorite room, and it is more richly decorated than any other in the house, betraying her taste for the brightly-colored and the jewel-like. The count brought her some things from his travels, and made others for her. Most of the contents seem to be gone -- the chairs and sofas, and the wall hangings -- but some bits remain.\n\nA thick-pile Persian rug lies on the floor, patterned in lapis and emerald.\n\nAgainst one wall is a glass case full of rare and valuable clockwork figures.\n\n> Go south\nA long empty room with shined wooden floors, perfect for sliding in stocking-feet. West is the top of the staircase, and rooms open to the north and east.\n\nThe door east is closed.\n\nA small portrait hangs on the wall.\n\n> You go west\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms.\n\nNorth is the old conservatory.\n\n> You go north\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is a celestial bauble.\n\nThe pianoforte stands in the center of the room.\n\n> You examine the bauble\nA delicate ornament made of glass, containing inside it a little sun and star that whirl infinitely in the hollow space. It was a plaything of Marie's, which (due to careful reverse linking to a perfectly round rock) she could hurl at walls and never break, drop down staircases and find intact at the bottom. But it is very doubtful that the link has lasted out the years.\n\n> You get the bauble\nIt is too high for you to reach.\n\n> You look at the pianoforte\nLegs and case are fashioned out of a dark, heavy wood, with the keys of the usual colors. The music stand is empty, which is an odd sight. The Countess used to bring composers to the house, to talk to and sometimes to sponsor in small ways; her own compositions she was too reserved to share with the musical groups, but she would labor over them in the afternoons, filling the upstairs with the sounds of trills and runs, always soaring and bird-like.\n\n> You play the piano\nYou sit down at the piano and begin to play, as you have not in years: a minuette.\n\n> I tall\nYou are carrying:\ntwo books:\nClock Repair\nOn Vegetable Dyes\na stone block\na butcher knife\na sword\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na sponge\na snuffbox (which is closed)\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You link the sponge to the bauble\nBending your will, you form the link between the sponge and the celestial bauble.\n\n> Reverse link bauble to sponge\nThe two are already linked.\n\n> Unlink bauble\nYou succeed in unlinking the celestial bauble from the sponge.\n\n> Reverse link bauble to sponge\nBending your will and all your attention, you manage to make a reverse-link between the celestial bauble and the sponge, feeling their properties begin to merge together.\n\n> You examine the bauble\nA delicate ornament made of glass, containing inside it a little sun and star that whirl infinitely in the hollow space. It was a plaything of Marie's, which (due to careful reverse linking to a perfectly round rock) she could hurl at walls and never break, drop down staircases and find intact at the bottom.\n\nThe effect has proved easy enough to copy now that you are a bit more practiced in your skills, though at the time it seemed very difficult.\n\n> You examine the shelf\nA high shelf on which the countess used to display things she thought would be good for you to observe but not touch: ivory figurines, a crucifix made of gold, an asphyxiated butterfly in a glass jar.\n\n> You take the sponge\n(putting the sword into the sack to make room)\nTaken.\n\n> You drop it\nDropped.\n\nYou should have stopped at an inn on the way down. And eaten.\n\n> You throw the sponge at the bauble\n(first taking the sponge)\nThe sponge shoots through the air. It strikes the celestial bauble, which rolls off the high shelf. It strikes the ground with a\nclenk of glass on stone. The sponge falls on the high shelf.\n\n> Inventory\nYou are carrying:\ntwo books:\nClock Repair\nOn Vegetable Dyes\na stone block\na butcher knife\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na sword\na snuffbox (which is closed)\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You throw the Clock Repair at the bauble\nClock Repair strikes the celestial bauble, which rolls off\nthe high shelf. It strikes the ground. Clock Repair lands\non the high shelf.\n\n> You get the bauble\nTaken.\n\n> You examine model\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner, the planets rotating in their orbits.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\nThe surface of the model Saturn catches the sunlight.\n\nFitted out with tiny planets on arms, and the major moons of the planets, revolving around a center. There is no sun, however; there is only a sort of holder designed to contain something spherical.\n\nMost of the planets are ordinary balls of solid metal, except for Jupiter. They are in motion.\n\nOddly, the contraption also seems to be linked, and quite unsubtly, to something in the foyer, to the south. You can feel the pull of it.\n\nThe surface of the model Saturn catches the sunlight.\n\n> You put the bauble in the holder\nThe celestial bauble clicks neatly into position.\n\nThe model universe ticks ever so faintly in its motions.\n\n> You wait awhile\nTime passes.\n\nThe model universe ticks ever so faintly in its motions.\n\n> You look at the planets\nAll the moons and planets are made of different materials to represent their different types.\n\nIn the model universe is a celestial bauble.\n\nThe lens inside the Jupiter ball glitters in the ambient light.\n\n> You examine the lens\nThe lens looks as though, were something in the central holder, it would focus the light out and away.\n\nIn the model universe is a celestial bauble.\n\nThe lens inside the Jupiter ball glitters in the ambient light.\n\n> You examine the bauble\nA delicate ornament made of glass, containing inside it a little sun and star that whirl infinitely in the hollow space. It was a plaything of Marie's, which (due to careful reverse linking to a perfectly round rock) she could hurl at walls and never break, drop down staircases and find intact at the bottom.\n\nThe effect has proved easy enough to copy now that you are a bit more practiced in your skills, though at the time it seemed very difficult.\n\nThe model universe ticks ever so faintly in its motions.\n\n> You go north\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\nYou can also see a sponge here.\n\n> You go to the west\nIn your hunger, you hallucinate the hearts of artichokes.\n\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\n> You look at the mirror\nFramed with twists and curls of gilded wood, most abstract, though along the top are floral swags.\n\n> You look through the window\nThrough the windows you can see the gardens -- first a wide patch of green, and then the flower plots delineated by hedges and topiary, and the scattered statues.\n\n> You examine the desk\nA deep, satin-lustrous cherry, with gilt-metal decorations. The years have not been kind, and it has cracked and split in several places; the finish is damaged, and where there is inlaid mother of pearl, it is beginning to come up from its bed. But it is still a sound piece, and features two drawers.\n\n> You open the drawer\nWhich do you mean, the top drawer or the bottom drawer?\n\n> Top\nYou open the top drawer, revealing some household papers.\n\n> You look at the papers\nA small pile of papers, written over in Marie's handwriting, dealing with various day-to-day matters: menus for dinner parties, seating diagrams for the table, an account of how she had spent her pin-money.\n\n> You read the papers\nYou pick out of the pile some notes for the design of the contraption in the kitchen downstairs: Marie's project, apparently. There are lists of foods, and sketches, which you cannot entirely follow, of machinery, with the links drawn in in colored ink. Whatever she was doing, she seems to have been quite intent on it and for a long time.\n\n> You open the bottom drawer\nYou open the bottom drawer, revealing a dark wooden box.\n\n> You look at the box\nWhich do you mean, the dark wooden box or the snuffbox?\n\n> Dark\nA dark wooden box that smells faintly exotic.\n\n> You open it\nYou open the dark wooden box, revealing an mirror inset inside the box, a pearl necklace and an old letter.\n\n> You open the letter\nYou crack the seal, aware that you are trespassing on what was meant to be a private confidence.\n\nInside is the count's long black writing: he used to sit at his desk in the gold lamplight, tossing back the lace of his cuff with a little flick so that it would not drag in the ink.\n\n> You look at the mirror\n(the gilt-wood mirror)\nFramed with twists and curls of gilded wood, most abstract, though along the top are floral swags.\n\n> You link the mirror to mirror\n(the gilt-wood mirror to the gilt-wood mirror)\nRedundant; all things are themselves.\n\n> You read the letter\nAt the top of the page is a sketch of dancing figures. Then:\n\nDevv Rtare,\n\nEa tu irymhg flolehi e uo rte aose, aeruwsrm ssot. Ea ytfisto kfho\ntu niame morv es mias, liess tadp. I moiero ardson. Leaovslo ni smeol nao tfyss nti atte.\n\nEng deyr tairlsro or ebtdnt ruo, u tastfcoi omatcnn oli epss ltnf\nuic -- hse rfoetns nm mode -- e, e edyle. S a eofd. Thhaw fee in aim yd dynwadt, sdore httv eneo hengey oguar. Tphp! gehe tlooer w, own plinh lri. L lt ara nsycgro holi iw ouerey wrvlio ie emk: uwt, tmeo irthsoleo, esk lstela nohdy fo rell. Teesana r rtv lntv heodhae bygeny ea osthelo dui iwsarfn: Ielly dsllio yh ly fuo taoefuo n y oh bto od. Irytfdn. Ooh teguueh r. Sgrret ihmdo ewalh ntaplathy tflg echeaimhet. Rvaeyc g efo, erap rui urroln, ebi mitdr c mghee. Ecness iarost, fryt aiyrohk; toyuee bufr rle mom. Sea mi btnsaso feen wro pdw. Enrlahlb meu. Ol ui. Ag h tniyetse l yreowlo. Irm hd ug neoet, hoownht tt ulsao i ratr pcs nmgre. K dy i ayil dr col aeltl acum hlska si. Cat n oso sod r wmhy. Irieooaybnr kwa.\n\nUyeie cto sn lh wutt. Lihwuha leece, sd.al db danoee e tdsac sese.\nTa p aothm enco ier dt eauoio v nsf noe gslgkre tiytyr eno. Hdopk. Utra ot loe tudo psylin ioodege. Tun aarhw oss hds an tesesli loeny tiyi o guvo tt rdeuwoae tdia abhes lsr aue myotsho.\n\nOt mrisu haamt re. Rnovfeb cree yue yr sotro yiucn ulnrof ricmon\nwssht dtlhe h. I hoeae. Kanwl rnt gatae a ash ylube halle f in sdtold oyhrd, wwo eek eour. Ce ee av stponeil. A nd rn onhihwo eif eaky meina fmunte tcloyfe. alw o. orrytunh. Eihadi fk ar o fa e. I h dhnb n idiyuks imctoitiatnni nshtaon. Risoa hysy vtily oi hs iounevf.\n\n> You look at the mirror inset\nA shining panel that reflects whatever is inside the box.\n\nIn your hunger, you imagine in great clarity dark squares of prepared chocolate.\n\n> Link inset tgilt-wood\nBending your will, you form the link between the mirror inset inside the box and the gilt-wood mirror.\n\n> Unlink inset\nYou succeed in unlinking the mirror inset inside the box from the gilt-wood mirror.\n\n> Reverse link inset tgilt-wood\nBending your will and all your attention, you manage to make a reverse-link between the mirror inset inside the box and the gilt-wood mirror, feeling their properties begin to merge together.\n\n> You look at the inset\nA shining panel that reflects whatever is inside the box.\n\n> You look at the gilt\n(the gilt-wood mirror)\nFramed with twists and curls of gilded wood, most abstract, though along the top are floral swags."
    },
    {
        "text": "[Themes: Fantasy, Historical, physical simulation, culinary theme]\n\n> You describe your surroundings\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\n> Unlink gilt\n(the gilt-wood mirror)\nYou succeed in unlinking the gilt-wood mirror from the mirror inset inside the box.\n\n> Link gilt to inset\n(the gilt-wood mirror to the mirror inset inside the box)\nBending your will, you form the link between the gilt-wood mirror and the mirror inset inside the box.\n\n> You look in the inset\nIn the mirror you see reflected your own face, a bit distant and strange. And then a desk. Around the edges you can make out other indications of Marie's Chamber.\n\n> You look in the gilt\n(the gilt-wood mirror)\nIn the mirror you see reflected your own face, a bit distant and strange. And then a pearl necklace and an old letter.\n\n> Go east\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\n> Go south\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms.\n\nNorth is the old conservatory."
    },
    {
        "text": "[Themes: Fantasy, fantasy, physical simulation, culinary theme]\n\n> Go downward\nStone walls, ribbed ceiling, but only a packed-earth floor in spots. The room is lined on both sides with boxes and barrels, which take on odd shapes in the semi-darkness and seem vaguely menacing. You feared this room as a child, and it still seems cold and unnerving.\n\nThe twisting stairs ascend to the ground floor.\n\nAn ordinary wooden door seals the east exit.\n\n> Inventory\nYou are carrying:\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sponge\nOn Vegetable Dyes\na stone block\na butcher knife\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na sword\na snuffbox (which is closed)\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You look at the door\nAn ordinary wooden door.\n\n> You open it\nYou open the cellar door.\n\n> Search boxes\nYou look inside one of the nearby barrels and find some vanilla beans, of which you take one.\n\n> You eat the apple\n(first taking the apples)\n(putting the butcher knife into the sack to make room)\nOh, no, no. You don't just cram yourself with whatever pathetic foodstuff lies at hand -- no one with any self-respect lives that way. What you want is a meal, prepared with some sensitivity and forethought.\n\n> You take the apple\nYou already have those.\n\n> Go east\nAn awkward wedge of space between the foundations of the main house and the walls of the new-built wine cellar, east. The staircase does not leave much room to stand in; it is straight and carefully planed lest anyone trip with a priceless bottle of wine.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the east.\n\nAn ordinary wooden door opens west into the root cellar.\n\n> You go to the east\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nAn open russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\n> You open grey-blue\nThat's already open.\n\nIn your hunger, you hallucinate creme caramel.\n\n> Go south\nAlmost all gone now, though the labels still adhere to the racks, indicating where a '67 rested, or an '82, waiting to be taken up to the dining room.\n\nA closed russet door leads east.\n\nThere is a grey-blue trap door closed in the middle of the room, just visible among the dust as a less-dusty area.\n\nAn open grey-blue door leads north.\n\n> You open the trap door\nIt seems to be locked.\n\n> You go to the north\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nAn open russet door leads northeast.\n\nA closed red door leads east.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\n> You go to the east\nYou'll have to get the red door leading east unlocked first.\n\n> You examine the red door\nWhich do you mean, the red door leading east or the red vault door?\n\n> East\nA red door leading east, currently closed.\n\n> Go northeast\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals. The Count always used to say that a good cognac would close a diplomatic matter more quickly than any bribe. He never let you and Marie stay, of course, on the evenings when he had business; you would be sent up to the conservatory with the Countess, to practice your music and wait for him to finish whatever matters kept him with his guests.\n\nA closed russet door leads east.\n\nAn open peacock door leads southeast.\n\nA closed green door leads south.\n\nAn open russet door leads southwest.\n\n> You open the russet\n(the russet door leading east)\nIt seems to be locked.\n\n> You go southeast\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nA closed yellow door leads southwest.\n\nA closed white door leads north; it looks oddly streaked.\n\nAn open peacock door leads northwest.\n\nA closed peacock door leads west.\n\nThere is also a single bottle of mead remaining in one of the slots.\n\n> You look at the opening\nA small hole in the south wall.\n\n> You search it\nThrough the hole you see Cheese Corner. You can dimly make out a heavy chest, a silver key and a green glass jar.\n\n> You examine the white\n(the white door leading north)\nOn close examination, you have the impression that the paint on this door has either faded or been washed over with whitewash; you can still see faint streaks of some darker color, but their efficacy would seem to be gone.\n\n> You take the mead\n(putting the stone block into the sack to make room)\nTaken.\n\n> You wash white with the sponge\n(the white door leading north with the sponge)\nYou scrape at the door ineffectually for a while -- just long enough to reveal that it would take all day to remove the white from the door. But you can see that the underlying paint color was once blue.\n\n> Inventory\nYou are carrying:\na bottle of mead (which is closed)\ntwo food items:\nsome apples\na vanilla bean\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sponge\nOn Vegetable Dyes\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na stone block\na butcher knife\na sword\na snuffbox (which is closed)\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You look at the snuffbox\nA little pastel-colored metal box in which you keep your supply of snuff.\n\n> You open it\nYou open the snuffbox, revealing a quantity of snuff.\n\n> You open the box\n(the dark wooden box)\nThat's already open.\n\n> You take the snuff\nYou put a pinch -- really just the tiniest bit -- on the back of one hand and lift it to your nose. Refreshing, invigorating, and mercifully not spoilt with an excess of perfume such as everyone seems to prefer these days.\n\nIn your hunger, you hallucinate a salad of dressed spinach greens in a vinaigrette.\n\n> You eat the snuff\n(first taking the snuff)\nYour nose is assailed by a vigorous prickling. Really, it is possible to overdo this sort of thing.\n\n> Lick snuff\nThat would be a disastrous misapplication.\n\n> You take mead\nYou already have that.\n\n> You examine the mead\nAside from the contents, an entirely ordinary bottle. The cork is still wedged firmly in place."
    },
    {
        "text": "[Themes: Fantasy, culinary theme, physical simulation, male protagonist]\n\n> You look around\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nA closed yellow door leads southwest.\n\nAn open peacock door leads northwest.\n\nA closed peacock door leads west.\n\nA closed white door leads north; it looks oddly streaked.\n\n> Go northwest\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open peacock door leads southeast.\n\nAn open russet door leads southwest.\n\nA closed russet door leads east.\n\nA closed green door leads south.\n\n> Go southwest\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open russet door leads northeast.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nA closed red door leads east.\n\nAn open grey-blue door leads south.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\n> You look at the chains\nSo heavily wreathed in chains and locks, in fact, that it is hard to imagine the keys even still existing. The locks are thickly rusted over, and would in all likelihood refuse to accept a key if you tried.\n\n> You break the chains with the stone\n(first taking the stone block)\n(putting On Vegetable Dyes into the sack to make room)\nThe stone block strikes the red vault door.\n\n> You examine the locks\nWhich do you mean, the brass door or the red vault door?\n\n> Inventory\nYou are carrying:\na stone block\na bottle of mead (which is closed)\ntwo food items:\nsome apples\na vanilla bean\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sponge\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\nOn Vegetable Dyes\na butcher knife\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nfive food items:\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You examine the necklace\nMore a girl's ornament than a woman's, with small lustrous pearls, but the pendant is cut diamond and the clasps are gold. Her mother gave it to her one birthday -- the same year that you had bought, by carefully hoarding your allowances, a bracelet of onyx beads for her, threaded on silk and silver... But she never wore your little trinket.\n\nNo matter. You have bought better jewellery for other women since, and it has most certainly been worn.\n\n> Link heavy to east\n(the red door leading east)\nThe linkages on the doors are very old, and set with a power stronger than your raw will alone can manipulate."
    },
    {
        "text": "[Themes: Fantasy, male protagonist]\n\n> Look around\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open russet door leads northeast.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nA closed red door leads east.\n\nAn open grey-blue door leads south.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\n> Go northeast\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open russet door leads southwest.\n\nAn open peacock door leads southeast.\n\nA closed russet door leads east.\n\nA closed green door leads south.\n\n> Go southeast\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nAn open peacock door leads northwest.\n\nA closed yellow door leads southwest.\n\nA closed peacock door leads west.\n\nA closed white door leads north; it looks oddly streaked.\n\n> Reverse link white to letter\n(the white door leading north to the old letter)\nThe linkages on the doors are very old, and set with a power stronger than your raw will alone can manipulate.\n\n> You go to the northwest\nIn your hunger, you hallucinate curls of toasted bread. The image is more vivid than the vision of food has any right to be.\n\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open peacock door leads southeast.\n\nAn open russet door leads southwest.\n\nA closed russet door leads east.\n\nA closed green door leads south.\n\n> You closthe wine-cellar door\nYou close the brass door.\n\n> You examine the brass\nThe wood core of the door has been covered with flat brass panels, perhaps for reinforcement but more likely for decoration.\n\n> Go west\n(first opening the brass door)\nYou open the brass door.\n\nAn awkward wedge of space between the foundations of the main house and the walls of the new-built wine cellar, east. The staircase does not leave much room to stand in; it is straight and carefully planed lest anyone trip with a priceless bottle of wine.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the east.\n\nAn ordinary wooden door opens west into the root cellar.\n\n> Up\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\n> Go north\nYou can go only east, west or southwest.\n\n> Go west\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner, the planets rotating in their orbits.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\nThe lens inside the Jupiter ball glitters in the ambient light.\n\n> You take the bauble\n(putting the sponge into the sack to make room)\nTaken.\n\nThe model universe clicks.\n\n> Examine books\nYou peruse the nearest books. Your eye picks out, at random, Guide\nto Assorted Wines.\n\nThe model universe clicks.\n\n> You take the Wines\n(putting the dark wooden box into the sack to make room)\nTaken.\n\nThe surface of the model Saturn catches the sunlight.\n\n> You read it\n... from the region of Avignon, in the territories that belonged\nto the Pope, comes the peppery red Chateauneuf du Pape...\n\nThe model universe clicks.\n\n> Examine books\nYou peruse the nearest books. Your eye picks out, at random, The Lavori d'Aracne.\n\nThe surface of the model Saturn catches the sunlight.\n\n> You take lavori\n(putting the vanilla bean into the sack to make room)\nTaken.\n\nThe model universe clicks.\n\nIn your hunger, you dream of onion soup.\n\n> You read it\nOn the subject of mirrors: Unusual and costly mirrors of special\npower exist which enhance the workings of the lavori d'Aracne; they may be recognized by their failure to reflect in the ordinary way. Some make it easier to form a link through the mirror than through open air, allowing the magician to reverse-link items that are otherwise too dissimilar to use. Likewise, such a mirror...\n\nBut then, unfortunately, it breaks off, the page apparently having been chewed out and carried away by something or other.\n\nThe surface of the model Saturn catches the sunlight.\n\n> Examine books\nYou have found all the books that seem interesting. The rest are dusty and dull-looking.\n\nThe planets turn slowly around the empty sun-holder.\n\n> You go upward\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving\n\n> Unlink inset\nrooms.\n\nNorth is the old conservatory.\n\nYou succeed in unlinking the mirror inset inside the box from the gilt-wood mirror.\n\n> You search inset\nIn the mirror you see reflected your own face, a bit distant and strange. And then a pearl necklace and an old letter.\n\n> You go north\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\n> You go to the west\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\n> You search the gilt\n(the gilt-wood mirror)\nIn the mirror you see reflected your own face, a bit distant and strange. And then a desk. Around the edges you can make out other indications of Marie's Chamber.\n\n> You link the mirror to bauble\n(the gilt-wood mirror to the celestial bauble)\nThe mirror is incompatible with anything that is not similarly reflective.\n\n> You take the gilt\n(the gilt-wood mirror)\nToo heavy for you to remove.\n\n> You link the bauble to the sun\n(the sunlight)\n(first unlinking the celestial bauble)\nYou succeed in unlinking the celestial bauble from the sponge.\nBending your will, you form the link between the celestial bauble and the sunlight.\n\nThe celestial bauble starts to glow with reflected light.\n\n> Go north\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner, the planets rotating in their orbits.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\nThe model universe clicks.\n\n> You put the bauble in the holder\nThe celestial bauble clicks neatly into position, shining over all the surrounding planets just as the sun ought.\n\nThe model universe spins, turning slowly around the light at the center, and each of the planets itself turning. After a few moments, Jupiter rotates until the lens catches the light from the sun and casts a light on a particular book on the shelves, entitled \"The World is Hollow.\"\n\nThen they come to a halt.\n\n> You take Hollow\n(putting the apples into the sack to make room)\nTaken.\n\n> You read it\nThe pages of the book have been hollowed out, leaving a square hole. In The World Is Hollow is a jeweled pin.\n\n> You take the pin\n(putting the bottle of mead into the sack to make room)\nTaken.\n\nIn your hunger, you imagine in great clarity an omelette of herbs and chives.\n\n> You look at it\nDecorated with fine-chip diamonds, and formed into the shape of a complicated bow of several strands, for a lady's use. The clasp is currently shut.\n\n> You open it\nYou open the jeweled pin.\n\n> You examine the portrait\nOil on wood, of a small, pinch-faced girl; the writing on the back says it is the Baroness D'Envers at a young age, which would make her some distant cousin of the Count, several generations back, and also related to the man currently holding all your notes.\n\nIt is not especially well-executed, and probably worth fairly little on the market."
    },
    {
        "text": "> Look around\nA long empty room with shined wooden floors, perfect for sliding in stocking-feet. West is the top of the staircase, and rooms open to the north and east.\n\nThe door east is closed.\n\n> You take the rug\n(putting Guide to Assorted Wines into the sack to make room)\nTaken.\n\n> You throw the stone at the glass\n(first taking the stone block)\n(putting The Lavori d'Aracne into the sack to make room)\nThe stone block races through the air before striking the glass case. The glass case breaks. It leaves behind the clockwork bee and the mechanical human dancers and the stone block comes to rest on the ground.\n\nThe clockwork bee buzzes faintly, spreading its jeweled wings.\n\n> You smash the glass with the stone\n(first taking the stone block)\nThe stone block strikes the glass shards, which smash dramatically.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> You smash the bee with the stone\n(first taking the stone block)\nThe bee flits sideways just in the nick of time. Trapping it by speed is evidently not going to be very successful, since it has a clear advantage over you in that department.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> Reverse link bee with stone\nYou valiantly try to link the two objects, but they seem as though they will never go together.\n\nReverse links are even pickier than regular links that way.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> You check your inventory\nPlease give one of the answers above.\n\n> You look at what you're carrying with you\nYou are carrying:\na rug\na small portrait\na jeweled pin\ntwo books:\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (providing light)\na pearl necklace\nan old letter\na sponge\na butcher knife\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\ntwo books:\nGuide to Assorted Wines\nOn Vegetable Dyes\nseven food items:\nsome apples\na vanilla bean\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\na dashing hat (being worn)\n\n> You open the mead\nOpening a container of mead while it is in the sack seems like an invitation to disaster.\n\n> You read Wines\n(first taking Guide to Assorted Wines)\n\n(putting The Lavori d'Aracne into the sack to make room)\nTaken.\n\n...should then attend to the possibility that the vines have themselves been tainted...\n\n> Keep going\n... from the region of Avignon, in the territories that belonged\nto the Pope, comes the peppery red Chateauneuf du Pape...\n\n> You go south\nA long empty room with shined wooden floors, perfect for sliding in stocking-feet. West is the top of the staircase, and rooms open to the north and east.\n\nThe door east is closed."
    },
    {
        "text": "> You descend\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\nIn your hunger, you hallucinate little grey-pink mushrooms. Or perhaps frosted petits-four.\n\n> You go to the northeast\nA grand room, for dining in style. The plastered ceiling is several times your height. The air now is cool and deep, the sunlight glancing through the windows and scattering from the chandelier, putting points of light at your feet, over the table, across the painted wallpaper and the handsome wood paneling.\n\nWoodworked columns frame the exits west and southwest.\n\nHeavy double doors open east to the kitchen.\n\n> You remember the wallpaper\n...\n\n\"So the man linked himself to a suit of armor. And then he left the suit of armor at home, and went off to war to fight in his bare skin, thinking that whatever happened to him, the links would protect him. But at home his wife was horrified to see the armor slashed in pieces before her eyes...\"\n\n\"Anabelle,\" interrupted the Count, standing at the doorway with a hand on his vest. \"Do you really think this story is appropriate for the children?\"\n\nThe Countess shrugged, half-smiling as she always had when the Count overrode her authority. \"I hardly think it is any more disturbing than the other things Marie reads,\" she said lightly. \"The dining room is more frightening than this story.\"\n\n\"I don't mean that, of course.\" The Count smiled over you and Marie -- you on the floor, Marie with her skirts spread around her on the chaise. \"But our children should not be told silly\nsuperstitions about linking.\" He came into the room then, touching the Countess' shoulder with an affectionate gesture. \"Marie,\" he said, \"What is wrong with your mother's story?\"\n\n\"The man has confused reverse-links and ordinary ones,\" Marie replied. \"And he would have to be very stupid to do that, because reverse-links are harder to make and you can always tell when you have done it.\"\n\nThe Count nodded at her. \"Very good.\" He kissed the Countess and went out again...\n\n...\n\n> You go to the east\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\n> You link roses to the bay leaf\nYou valiantly try to link the two objects, but they seem as though they will never go together.\n\n> You check your inventory\nYou are carrying:\na rug\na small portrait\na jeweled pin\na hinge-lidded teapot (which is open)\nnot very much water (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (providing light)\na pearl necklace\nan old letter\na sponge\na butcher knife\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nseven food items:\nsome apples\na vanilla bean\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\ntwo books:\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\ntwo books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\n\n> You put the sponge in the pipe\n(first taking the sponge)\n(putting The World Is Hollow into the sack to make room)\nTaken.\n\nYou wedge the sponge into the drain hole, blocking it.\n\n> You fill teapot\nWhat do you want to fill the hinge-lidded teapot with?\n\n> Water\nWhich do you mean, the water in the well or the water in the hinge-lidded teapot?\n\n> You fill the teapot with well\n(first taking the well)\nThat's hardly portable.\n\nIn your hunger, you hallucinate fresh white cheese.\n\n> You fill the teapot with the water from well\nYou put some water in the hinge-lidded teapot. This fills the hinge-lidded teapot to the brim. The water mixes with what was already there.\n\n> You put the water in the washbasin\nYou put some water in the drain hole, exhausting the supply in the hinge-lidded teapot.\n\n> You look at the drain\nDark and hollow.\n\nIn the drain hole are some water and a Tea Recipe.\n\n> You examine Recipe\nA cylinder of silver metal as long as the middle joint of your thumb. On the surface are a series of strange bumps, depressions, and grooves, seeming carefully wrought and utterly intentional. The core of the cylinder is hollow, but over one end is a piece of paper which bears a label, in careful lettering, which reads, \"Tea Recipe.\"\n\n> You go to the east\nYou can go only south.\n\n> Go east\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nA tangle of climbing roses covers almost completely the wall and door of a shed to the southeast.\n\n(You can see a few drops of the water beginning to drip from the outflow pipe into the drainage ditch, but the sponge seems to be holding most of it back.)\n\n> You fill the teapot with water from well\nYou put some water in the hinge-lidded teapot. This fills the hinge-lidded teapot to the brim.\n\n> You put the water in the washbasin\nThe mouth of the hole is too narrow to allow you to get liquids back out of it.\n\n> You put the water from the teapot in the washbasin\nYou put some water in the drain hole, exhausting the supply in the hinge-lidded teapot. The water mixes with what was already there.\n\n> You look at the drain\nDark and hollow.\n\nIn the drain hole are a great deal of water and a Tea Recipe.\n\nDark and hollow.\n\nIn the drain hole are a great deal of water and a Tea Recipe.\n\nIn your hunger, you hallucinate little grey-pink mushrooms.\n\n> You examine the drain\nDark and hollow.\n\nIn the drain hole are a great deal of water and a Tea Recipe.\n\n> You take the sponge\nTaken.\n\nThe water goes out the drain. The water mixes with what was already there.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\n> You check what you're carrying\nYou are carrying:\na bottle of mead (which is closed)\na rug\na small portrait\na jeweled pin\na hinge-lidded teapot (which is open but empty)\na sack (which is open)\na stone block\na dark wooden box (which is open)\nan mirror inset inside the box (providing light)\na pearl necklace\nan old letter\na butcher knife\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nseven food items:\nsome apples\na vanilla bean\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\nthree books:\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\nGuide to Assorted Wines\n\n> You read the Guide to the Wines\n...some dry wine such as Sauvignon Blanc...\n\n> Shake bottle\nNothing much results of this.\n\n> You break bottle with the stone\n(the washbasin)\n(first taking the washbasin)\nThat's hardly portable.\n\n> You take the stone block\n(putting Guide to Assorted Wines into the sack to make room)\nTaken.\n\n> You drop the mead\nYou set the bottle of mead down gently.\n\n> You hit bottle with the stone\n(the stone block)\nThe stone block strikes the blue bottle. The blue bottle cracks dramatically, depositting the mead.\n\n> You link the cork to Tea Recipe\nBending your will, you form the link between the cork and the Tea Recipe.\n\n> You examine the drain\nDark and hollow.\n\nIn the drain hole are a great deal of water and a Tea Recipe.\n\n> You examine Tea Recipe\nA cylinder of silver metal as long as the middle joint of your thumb. On the surface are a series of strange bumps, depressions, and grooves, seeming carefully wrought and utterly intentional. The core of the cylinder is hollow, but over one end is a piece of paper which bears a label, in careful lettering, which reads, \"Tea Recipe.\"\n\n> Unlink cork\nYou succeed in unlinking the cork from the Tea Recipe.\n\n> Reverse link cork to Tea Recipe\nBending your will and all your attention, you manage to make a reverse-link between the cork and the Tea Recipe, feeling their properties begin to merge together.\n\nThe Tea Recipe floats on the surface of the water.\n\n> You take Tea\n(putting the hinge-lidded teapot into the sack to make room)\nTaken.\n\n> You open Tea\nThat would be impossible even if the Tea Recipe weren't reverse-linked.\n\nIn your hunger, you hallucinate curls of toasted bread."
    },
    {
        "text": "[Themes: Fantasy, France, male protagonist, fantasy, Historical, culinary theme]\n\n> You look around\nA small, workmanlike room with a floor of white stones. The principal features of the room are a counter, with a large inset washbasin also made of stone, and a tall wooden cupboard.\n\nYou can see a puddle of mead and some glass shards here.\n\n> Go south\n(treading gingerly around the glass bits)\n\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which are some andouillettes).\n\n> You look at contraption\nThe body of the contraption is mostly just a large box, into which things can be put, and an assembly of clockwork parts in a separate case, not to be interfered with. There is also a dial which may be set to various positions, and a spindle, on which is a cylinder with a pattern of strange bumps on it, labeled \"Andouillettes Recipe\".\n\nThe delicate contraption is currently switched off.\n\nIn the delicate contraption are some andouillettes.\n\n> You take Andouillettes Recipe\n(putting the jeweled pin into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> You put Tea Recipe on spindle\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. An irritable mechanical voice shouts from within, \"I shall be requiring the cup in which to put this item!\"\n\n> You put the cup in the contraption\n(first taking the cup)\nTaken.\n\n(first opening the delicate contraption)\nYou open the contraption, revealing some andouillettes.\nYou put the cup into the delicate contraption.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. From inside the box comes a plaintive mechanical voice which declares, \"Monsieur le Chef!! You need more! water!!!\"\n\nThe mechanism whirrs a moment longer before its functioning gives out.\n\n> You touch Recipe\n(the Andouillettes Recipe)\nYou run a finger reverently over the pattern of bumps and grooves, so artfully inscribed.\n\n> Open contraption\nYou open the contraption, revealing a cup.\n\n> You take the cup\n(putting the small portrait into the sack to make room)\nTaken.\n\n> You turn Recipe\n(the Andouillettes Recipe)\nNothing obvious happens.\n\n> You take the teapot\n(putting the rug into the sack to make room)\nTaken.\n\n> You examine the teapot\nA hinge-lidded teapot, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern. The lid is attached with a hinge, and there is a long and delicate spout.\n\n> You fill the cup with the water\nYou put some water in the cup. This fills the cup to the brim.\n\n> You go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (which is empty).\n\n> You read Recipe\n(the Andouillettes Recipe)\nAndouillettes Recipe: andouillettes, olive oil, dry white wine,\nsingle yellow onion, sea-salt.\n\n> You read Recipe\n(the Andouillettes Recipe)\nAndouillettes Recipe: andouillettes, olive oil, dry white wine,\nsingle yellow onion, sea-salt.\n\nIn your hunger, you hallucinate thinly-sliced venison. Or perhaps the hearts of artichokes.\n\n> You read the Guide to the Wines\n(first taking Guide to Assorted Wines)\n\n(putting the stone block into the sack to make room)\nTaken.\n\n... from the region of Avignon, in the territories that belonged\nto the Pope, comes the peppery red Chateauneuf du Pape...\n\n> You read Tea Recipe\nThe label is smudged and illegible.\n\n> You put the cup in the contraption\nYou put the cup into the delicate contraption.\n\n> Open contraption\nYou open the contraption, revealing a cup, inside which is some water.\n\n> You put water in the cup in contraption\nYou put some water in the delicate contraption, exhausting the supply in the cup. There is still some room remaining in the delicate contraption.\n\n> You put the water in the teapot in the contraption\nYou put some water in the delicate contraption, exhausting the supply in the hinge-lidded teapot. There is still some room remaining in the delicate contraption. The water mixes with what was already there.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. From inside the box comes a plaintive mechanical voice which declares, \"Monsieur le Chef!! You cannot make an intinction without something to, how-you-say, steep!\"\n\n> You put the mint in the contraption\n(first taking the sprig of mint)\nTaken.\n\n(first opening the delicate contraption)\nYou open the contraption, revealing a cup and a great deal of water. You put the sprig of mint into the delicate contraption.\n\nThe sprig of mint bobs to the surface of the water.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. There is a bubbling, boiling noise from within the contraption.\n\n> Open contraption\nYou open the contraption, revealing a cup, inside which is some mint tea.\n\n> You take it\nYou might spill the mint tea.\n\n> You drink Tea\n(the mint tea)\nYou upend the cup and take a sip of the mint tea, leaving only another few sips. Unmistakeably pepperminty.\n\n> You search the fireplace\nThe fireplace is empty.\n\nIn your hunger, you imagine in great clarity onion soup. Or perhaps creme caramel.\n\n> You go to the east\nYou'll have to get out of the fireplace first.\n\n> You cut the brick with the knife\n(first taking the butcher knife)\nIt's just an ordinary knife, not diamond-edged.\n\n> You go west\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nThe clockwork model universe has stopped; a beam of light from the \"sun\" at the center, focused through Jupiter, shines in the direction of the shelves, highlighting a spot where The World Is Hollow\nused to be.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\n> You look at the portrait\n(the framed portrait)\nThe old man appears to stand in a vague, ruddy landscape; all the artist's attention was spared for his clothing, which is rendered in shimmering detail, lustrous silks and fur, and for the giant bi-partite mound of wig on his head, whose curls fall over each shoulder.\n\nSomething about the framed portrait tickles your recollection.\n\n> You remember the portrait\n(the framed portrait)\n\n...\n\n\"He can make links,\" the Countess hissed. Neither of them saw\nyou in the doorway of the library.\n\n\"Anabelle--\"\n\n\"And don't tell me that your father strayed into some peasant's bed in his dotage, because I have seen Pierre's mother and she is\nnot old enough to--\"\n\n\"Anabelle, calm yourself.\" He put a hand on her shoulder, spoke in his voice of diplomacy.\n\n\"Now you will tell me that he is some by-blow of someone passing through the village, I suppose? Some guest of ours, perhaps?\" she asked bitterly. \"I wondered why you were so ready to accept him--\"\n\n\"I swear to you, Pierre is no son of mine. Nor, I think, is he any relative of ours for many generations. It is possible that these things appear sportively even among the lesser classes, you know...\"\n\nShe shrugged his hand away. \"There's something you aren't telling me,\" she said. \"I always know it, you say so yourself.\"\n\nHe sighed. \"I will tell you, Ana, but it is not what you think...\"\n\n...\n\n> You take the portrait\n(the framed portrait)\nThe portrait is doubtless worth a good deal, but it is also taller than you are.\n\n> You examine the frame\nThe frame is carved with fruits and lightly gilded."
    },
    {
        "text": "[Themes: Fantasy, Historical, male protagonist]\n\n> Go down\nThe mirror inset inside the box ceases glowing.\n\nDarkness presses in on every side; nothing is visible, and you are sure only of your own possessions.\n\n> Link inset to gilt\n(the gilt-wood mirror)\nBending your will, you form the link between the mirror inset inside the box and the gilt-wood mirror.\n\n> You check what you're carrying\nYou are carrying:\na butcher knife\na rug\na small portrait\na jeweled pin\na hinge-lidded teapot (which is open but empty)\na sack (which is open)\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\ntwo metal dishes:\na plate\na cup\na swordstick\nseven food items:\nsome apples\na vanilla bean\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\nthree books:\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\nGuide to Assorted Wines\n\n> Go east\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\nIn your hunger, you dream of the small, bitter oranges of Jerusalem.\n\n> You examine the piano\nLegs and case are fashioned out of a dark, heavy wood, with the keys of the usual color. The hinged lid lies closed, and there is a music stand, empty.\n\n> You open the lid\n(the pianoforte)\nYou prop open the piano, revealing the strings within, and the hammers.\n\n> You look at the strings\nStretched metallic wire of varying lengths.\n\n> You examine the hammers\nThe hammers that strike the wires when the keys are pressed.\n\n> You take the hammers\nThat's fixed in place."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, France, magic, strong NPCs]\n\n> Go down\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nExactly on the hour, the cuckoo clock opens up its door and a mechanical bird flies forward. It sings 4 times, then withdraws into its little door."
    },
    {
        "text": "[Themes: Fantasy, magic, fantasy]\n\n> Go downwards\nStone walls, ribbed ceiling, but only a packed-earth floor in spots. The room is lined on both sides with boxes and barrels, which take on odd shapes in the semi-darkness and seem vaguely menacing. You feared this room as a child, and it still seems cold and unnerving.\n\nThe twisting stairs ascend to the ground floor.\n\nThrough the open door to the east you can make out the foot of the servants' staircase."
    },
    {
        "text": "[Themes: Fantasy, strong NPCs, Historical, fantasy, physical simulation, magic]\n\n> Go downward\nYou can go only east or up.\n\n> You closthe grey-blue door\n(the grey-blue door leading north)\nYou close the grey-blue door leading north.\n\nThe grey-blue door leading down opens."
    },
    {
        "text": "[Themes: Fantasy, France, strong NPCs]\n\n> Go down\nUsed solely for storage of extra items (whether or not associated with the wines). The room is barely large enough to stand up in. (Now that you consider it, this room is probably the source of Marie's fables about the oubliette \"somewhere in the wine cellar.\" This story always struck you as improbable, but you can't imagine that a person barred in here would get out easily. You also can't imagine the Count or any of his recent ancestors being moved to take such an action.)\n\nThe trap door is open to the room above, and you could easily pull yourself up through it if you so desired.\n\nYou can also see a blue glass jar (which is closed) (in which is some sea-salt) and a red glass jar (which is closed) (in which is a quantity of sugar) here.\n\n> You take the blue\n(the blue glass jar)\n(putting Guide to Assorted Wines into the sack to make room)\nTaken.\n\nIn your hunger, you hallucinate sausages fried in onions and olive oil.\n\n> You take the red\n(putting the hinge-lidded teapot into the sack to make room)\nTaken.\n\n> Go upwards\nAlmost all gone now, though the labels still adhere to the racks, indicating where a '67 rested, or an '82, waiting to be taken up to the dining room.\n\nA grey-blue trap door stands open in the middle of the room.\n\nA closed grey-blue door leads north.\n\nA closed russet door leads east.\n\n> You opethe grey-blue door\n(the grey-blue door leading north)\nYou open the grey-blue door leading north.\n\nThe grey-blue door leading down shuts.\n\n> You go north\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nAn open russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\n> Go northeast\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nA closed russet door leads east.\n\nAn open peacock door leads southeast.\n\nA closed green door leads south.\n\nAn open russet door leads southwest.\n\n> Go southeast\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nAn open yellow door leads southwest.\n\nA closed white door leads north; it looks oddly streaked.\n\nAn open peacock door leads northwest.\n\nA closed peacock door leads west.\n\n> Close NW\n(the peacock door leading northwest)\nYou close the peacock door leading northwest.\n\nThe peacock door leading west opens.\n\n> You go west\nWith all the doors that lead out of this area, and the heavy pillars that support the roofbeams, there is little room for anything to be stored at all. The absence of racks has not prevented a heavy layer of dust from gathering here too, however.\n\nAn open peacock door leads east.\n\nA closed green door leads north.\n\nA closed green door leads south.\n\nA closed red door leads west.\n\nOver to one side, dropped as though carelessly by someone with a large number of things to carry, is a gleaming silver cylinder.\n\n> You examine the cylinder\nA cylinder of silver metal as long as the middle joint of your thumb. On the surface are a series of strange bumps, depressions, and grooves. The core of the cylinder is hollow, but over one end is a paper label, which reads, \"Chocolate Recipe.\"\n\nSmaller writing on the label indicates the ingredient list.\n\n> You read it\nChocolate Recipe: vanilla bean, sugar, cocoa beans.\n\n> You take it\n(putting the jeweled pin into the sack to make room)\nTaken.\n\n> You open red\n(the red door leading west)\nIt seems to be locked.\n\n> You look at the green door leading south\nA green door leading south, currently closed.\n\n> You open north\n(the green door leading north)\nIt seems to be locked."
    },
    {
        "text": "[Themes: Fantasy, culinary theme, male protagonist, Historical, strong NPCs]\n\n> You look around\nWith all the doors that lead out of this area, and the heavy pillars that support the roofbeams, there is little room for anything to be stored at all. The absence of racks has not prevented a heavy layer of dust from gathering here too, however.\n\nA closed red door leads west.\n\nAn open peacock door leads east.\n\nA closed green door leads south.\n\nA closed green door leads north.\n\n> Go east\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nAn open peacock door leads west.\n\nAn open yellow door leads southwest.\n\nA closed peacock door leads northwest.\n\nA closed white door leads north; it looks oddly streaked.\n\n> You go to the southwest\nNot a room of its own; barely a large enough niche to walk into, in fact.\n\nAn open yellow door leads northeast.\n\nYou can also see a round metal tin (which is closed) and an iron key here.\n\n> You examine the tin\nA thin metal container, somewhat old.\n\nIn your hunger, you imagine in great clarity thinly-sliced venison, cold from the roast. Or perhaps dark squares of prepared chocolate.\n\n> You open it\nYou open the round metal tin, revealing some dark beans.\n\n> You look at the beans\nA handful of dark beans.\n\n> You take the key\n(putting the small portrait into the sack to make room)\nTaken.\n\n> You look at the key\nA key of iron metal, with a russet string tied through it.\n\n> You take the tin\n(putting the rug into the sack to make room)\nTaken.\n\n> Go northeast\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nAn open yellow door leads southwest.\n\nA closed white door leads north; it looks oddly streaked.\n\nA closed peacock door leads northwest.\n\nAn open peacock door leads west.\n\n> You look at the opening\nA small hole in the south wall.\n\n> You look through the opening\nThrough the hole you see Cheese Corner. You can dimly make out a heavy chest, a silver key and a green glass jar.\n\n> You put the hand in the opening\nSmooth and cool.\n\n> Close yellow\n(the yellow door leading southwest)\nYou close the yellow door leading southwest."
    },
    {
        "text": "[Themes: Fantasy, Historical, fantasy, culinary theme, strong NPCs]\n\n> Look around\nTall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.\n\nIn the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.\n\nA closed yellow door leads southwest.\n\nA closed peacock door leads northwest.\n\nAn open peacock door leads west.\n\nA closed white door leads north; it looks oddly streaked.\n\n> You close the west door\nYou close the peacock door leading west.\n\nThe peacock door leading northwest opens.\n\n> You go to the northwest\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nA closed russet door leads east.\n\nAn open peacock door leads southeast.\n\nA closed green door leads south.\n\nAn open russet door leads southwest.\n\n> You close the russet door\n(the russet door leading southwest)\nThe russet door leading southwest is, as it turns out when you struggle with it for a bit, in fact rusted in the open position.\n\n> Go southwest\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nAn open russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door is closed.\n\n> You unlock the red door with the key\nWhich do you mean, the red door leading east or the red vault door?\n\n> You close the south door\nYou close the grey-blue door leading south. As you do so, you hear from the room beyond it a peculiar screech and crashing noise, as though wood and metal had strained and then given way.\n\n> You go to the southwest\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open russet door leads northeast.\n\nThe wine-cellar door is closed.\n\nA closed red door leads east.\n\nA closed grey-blue door leads south.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nIn your hunger, you dream of fresh white cheese.\n\n> You opethe wine-cellar door\nYou open the brass door.\n\n> You take Andouillettes\n(putting the butcher knife into the sack to make room)\nTaken.\n\n> You put the dark beans in the contraption\n(first taking the dark beans)\n(putting the blue glass jar into the sack to make room)\nTaken.\n\nYou put the dark beans into the delicate contraption.\n\n> You put the vanilla in the contraption\n(first taking the vanilla bean)\nTaken.\n\nYou put the vanilla bean into the delicate contraption.\n\n> You open the red jar\nYou open the red glass jar.\n\n> You put the sugar in the contraption\nYou put some sugar in the delicate contraption, exhausting the supply in the red glass jar. There is still some room remaining in the delicate contraption.\n\n> You take Andouillettes Recipe\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> Close contraption\nYou close the delicate contraption.\n\n> You turn it on\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. An irritable mechanical voice shouts from within, \"I shall be requiring the plate on which to put this item!\"\n\n> You put the plate in the contraption\n(first taking the plate)\nTaken.\n\n(first opening the delicate contraption)\nYou open the contraption, revealing three food items (a quantity of sugar, a vanilla bean and some dark beans).\nYou put the plate into the delicate contraption.\n\n> You turn it on\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. There is such a long silence from inside the box that you think nothing is happening at all. Then, after a great pause, you begin to smell a distinctly sweet chocolatey smell.\n\nIn your hunger, you imagine in great clarity sausages fried in onions and olive oil, perhaps with a dash of dry wine. Or perhaps flaking puff pastry, wrapped around chicken and a white-wine mushroom sauce.\n\n> Open contraption\nYou open the contraption, revealing a plate, on top of which is a chocolate leaf.\n\n> You look at the leaf\nWhich do you mean, the chocolate leaf or the bay leaf?\n\n> Chocolate\nA dark chocolate confection, formed into the shape of a leaf.\n\n> You link the chocolate to the roses\n(the roses)\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> You put the snuff on the roses\n(the roses)\n(first taking the snuff)\nYou put a pinch -- really just the tiniest bit -- on the back of one hand and lift it to your nose. Refreshing, invigorating, and mercifully not spoilt with an excess of perfume such as everyone seems to prefer these days.\n\n> You look at the roses\n(the roses)\nMore thorns than the usual, and fewer blooms, or so it seems to your eye.\n\n> You link the bay leaf to roses\n(the roses)\nYou valiantly try to link the two objects, but they seem as though they will never go together.\n\n> You get the dirt\nThat's hardly portable.\n\n> You put the dirt on the roses\n(the roses)\n(first taking the soil)\nThat's hardly portable.\n\n> Empty snuffbox on roses\n(the roses)\nThe roses can't contain things.\n\n> You throw the stone at the roses\n(the well at the roses)\n(first taking the well)\nThat's hardly portable.\n\n> You look at the roses\n(the roses)\nMore thorns than the usual, and fewer blooms, or so it seems to your eye.\n\n> You look at the blooms\nThey're the red sort, of course, with a broad spread of petals -- but all grow up out of reach.\n\n> You look at the thorns\nThey grow in great abundance and sharpness.\n\n> Go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (which is empty).\n\nIn your hunger, you imagine in great clarity frosted petits-four. Or perhaps creme caramel.\n\n> You examine the curtain\nHangings cover up the whole of the west wall, concealing both the wall and the door beyond.\n\nThe cuckoo clock ticks sullenly.\n\n> Move hangings\nThe door is still there.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the keyhole\nA keyhole in a fitted brass plate. There is an ornate key in the keyhole, pushed in from the other side.\n\nThe cuckoo clock ticks sullenly.\n\n> Inventory\nYou are carrying:\na plate\na chocolate leaf\nan Andouillettes Recipe\nsome andouillettes\na round metal tin (which is open but empty)\nan iron key\na red glass jar (which is open but empty)\na sack (which is open)\na blue glass jar (which is closed)\nsome sea-salt (which leaves the blue glass jar about half full)\na butcher knife\na rug\na small portrait\na jeweled pin\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nsix food items:\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\ntwo metal dishes:\na hinge-lidded teapot (which is open but empty)\na cup\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\n\nThe cuckoo clock ticks sullenly.\n\n> You link the ornate key to the iron\nThe keys resist linking, almost as though they were made to do so.\n\nThe cuckoo clock ticks sullenly.\n\n> You put the rug under the door\n(first taking the rug)\n(putting the red glass jar into the sack to make room)\nYou can't get to the gothic door to do anything to it at the moment.\n\nThe cuckoo clock ticks sullenly.\n\n> You go north\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nThe clockwork model universe has stopped; a beam of light from the \"sun\" at the center, focused through Jupiter, shines in the direction of the shelves, highlighting a spot where The World Is Hollow\nused to be.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\n> Slide\nWhat do you want to slide?\n\n> You check your inventory\nYou are carrying:\na rug\na plate\na chocolate leaf\nan Andouillettes Recipe\nsome andouillettes\na round metal tin (which is open but empty)\nan iron key\na sack (which is open)\na red glass jar (which is open but empty)\na blue glass jar (which is closed)\nsome sea-salt (which leaves the blue glass jar about half full)\na butcher knife\na small portrait\na jeweled pin\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nsix food items:\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\ntwo metal dishes:\na hinge-lidded teapot (which is open but empty)\na cup\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\n\n> You go east\nIn your hunger, you hallucinate fresh white cheese. Or perhaps purple-black Hellene olives in a tray, with the pits still in.\n\nAn awkward wedge of space between the foundations of the main house and the walls of the new-built wine cellar, east. The staircase does not leave much room to stand in; it is straight and carefully planed lest anyone trip with a priceless bottle of wine.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the east.\n\nAn ordinary wooden door opens west into the root cellar.\n\n> You go east\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nA closed grey-blue door leads south.\n\nA closed red door leads east.\n\nAn open russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\n> You close the red jar\nYou close the red glass jar.\n\n> You open the blue jar\nOpening a container of sea-salt while it is in the sack seems like an invitation to disaster.\n\n> You take blue jar\n(putting the iron key into the sack to make room)\nTaken.\n\n> You open it\nYou open the blue glass jar."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, fantasy, Historical]\n\n> Look around\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open russet door leads northeast.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nA closed red door leads east.\n\nA closed grey-blue door leads south.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\n> You check your inventory\nYou are carrying:\na blue glass jar (which is open)\nsome sea-salt (which leaves the blue glass jar about half full)\na rug\na plate\na chocolate leaf\nan Andouillettes Recipe\nsome andouillettes\na round metal tin (which is open but empty)\na sack (which is open)\nan iron key\na red glass jar (which is closed)\na butcher knife\na small portrait\na jeweled pin\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nsix food items:\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\ntwo metal dishes:\na hinge-lidded teapot (which is open but empty)\na cup\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\na dashing hat (being worn)\n\n> You link the red jar to red door\nWhich do you mean, the red door leading east or the red vault door?\n\n> East\nThe linkages on the doors are very old, and set with a power stronger than your raw will alone can manipulate.\n\n> You link the red jar to vault door\n(first unlinking the red vault door)\nThe linkages on the doors are very old, and set with a power stronger than your raw will alone can manipulate.\n\n> You close the blue jar\nYou close the blue glass jar.\n\n> Reverse link red jar to blue jar\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\nReverse links are even pickier than regular links that way.\n\n> You examine the snuffbox\nA little pastel-colored metal box in which you keep your supply of snuff.\n\nIn the snuffbox is a quantity of snuff.\n\n> You open the south door\nYou open the grey-blue door leading south.\n\n> You examine the russet door\nA russet door leading east, currently closed.\n\n> You unlock it with the iron key\n(first taking the iron key)\n(putting the round metal tin into the sack to make room)\nYou unlock the russet door leading east.\n\n> You open the russet\nYou open the russet door leading east.\n\n> You go to the east\nLittle remains -- the countess was exceedingly fond of her Rieslings, and it required constant restocking to keep this portion of the cellar properly supplied during her life.\n\nA closed green door leads north.\n\nA closed blue door leads east.\n\nAn open russet door leads west.\n\nA dusty bottle of Sauvignon Blanc lies here.\n\n> You get the wine\n(the bottle of Sauvignon Blanc)\n(putting the andouillettes into the sack to make room)\nTaken.\n\n> You go west\nIn your hunger, you imagine in great clarity the hearts of artichokes.\n\nAlmost all gone now, though the labels still adhere to the racks, indicating where a '67 rested, or an '82, waiting to be taken up to the dining room.\n\nAn open russet door leads east.\n\nAn open grey-blue door leads north.\n\nThere is a grey-blue trap door closed in the middle of the room, just visible among the dust as a less-dusty area.\n\n> Blanc\nThat's already closed.\n\n> Go east\nLittle remains -- the countess was exceedingly fond of her Rieslings, and it required constant restocking to keep this portion of the cellar properly supplied during her life.\n\nAn open russet door leads west.\n\nA closed blue door leads east.\n\nA closed green door leads north.\n\n> You go north\nWith all the doors that lead out of this area, and the heavy pillars that support the roofbeams, there is little room for anything to be stored at all. The absence of racks has not prevented a heavy layer of dust from gathering here too, however.\n\nA closed peacock door leads east.\n\nAn open green door leads north.\n\nAn open green door leads south.\n\nA closed red door leads west.\n\n> You go north\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open russet door leads east.\n\nAn open peacock door leads southeast.\n\nAn open green door leads south.\n\nA closed russet door leads southwest.\n\n> Go east\nThis area is devoted to wines for second-class guests, which the Count reserved for the servants, visits from the curate, or hinting away a houseguest who had overstayed his welcome. \"It seems that we are down to the Sangue de Toro,\" he would say, smoothing his vest with one delicate hand and looking regretful as he decanted a ruddy stream into the goblet of some unfortunate.\n\nOn particularly bad occasions he would order the steward to shake the bottle in advance.\n\nThe ransackers of the cellar seem not to have reached this room, however: many of the bottles sit intact on their shelves (if anyone cared to sample them).\n\nA closed white door leads south; it looks oddly streaked.\n\nAn open russet door leads west.\n\nIn one corner is a massive wine barrel.\n\n> You look at the barrel\nA large barrel rolled into the corner.\n\n> You open it\nYou open the wine barrel, revealing a navy bundle.\n\n> You take the bundle\n(putting the Andouillettes Recipe into the sack to make room)\nTaken.\n\n> You examine it\nA sort of bundle or package of cloth wrapped around something.\n\n> You open south\n(the white door leading south)\nYou open the white door leading south. It swings more lightly than most of the doors hereabouts.\n\n> You open the bundle\nYou open up the cloth bundle, which turns out in fact to be a fine cloak, wrapped tightly around some documents. (A shame to risk such a good cloak, you reflect; the barrel is probably proof against damp, but there's always the chance of something getting inside. But perhaps whoever wrapped it up expected to be back soon.)\n\nIn your hunger, you hallucinate little grey-pink mushrooms.\n\n> You look at the documents\nA sheaf of documents, written over in the Count's handwriting, and bound together with a wrapping of thick oilskin.\n\n> You read them\nThe documents appear to be records of some of the Count's work: letters from highly-ranked members of the king's council; charts of family lines, with the relationships of blood marked in black and the human links marked in red, indicating members of rival families and dynasties held hostage to each other by magic.\n\nSeveral names leap out of the charts at you. D'Envers, the Count's several-times-distant cousin (and the source of your current distress). D'Envers' mother, recently deceased, formerly hostage-linked to the Countess... several other hostages, recently dead (but, you thought, for natural causes).\n\nBut you know too little of the Count's business to guess what this would mean, except perhaps that the careful arrangements have begun to come unstuck lately. Even a local outbreak of plague could do that, if it killed too many of the wrong people at the same time.\n\n> You examine the cloak\nA fine navy cloak for a woman, lined with swansdown.\n\n> Go west\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open russet door leads east.\n\nA closed russet door leads southwest.\n\nAn open peacock door leads southeast.\n\nAn open green door leads south.\n\n> Go south\nWith all the doors that lead out of this area, and the heavy pillars that support the roofbeams, there is little room for anything to be stored at all. The absence of racks has not prevented a heavy layer of dust from gathering here too, however.\n\nAn open green door leads north.\n\nA closed red door leads west.\n\nA closed peacock door leads east.\n\nAn open green door leads south.\n\n> You go to the south\nLittle remains -- the countess was exceedingly fond of her Rieslings, and it required constant restocking to keep this portion of the cellar properly supplied during her life.\n\nAn open green door leads north.\n\nAn open russet door leads west.\n\nA closed blue door leads east.\n\n> Go west\nAlmost all gone now, though the labels still adhere to the racks, indicating where a '67 rested, or an '82, waiting to be taken up to the dining room.\n\nAn open russet door leads east.\n\nA closed grey-blue door leads north.\n\nA grey-blue trap door stands open in the middle of the room.\n\n> Go north\n(first opening the grey-blue door leading north)\nYou open the grey-blue door leading north.\n\nThe grey-blue door leading down shuts.\n\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nA closed russet door leads northeast.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\n> You look at the Clock\nIt consists of the face, a pendulum and pair of weights, and a little door above the face that opens when the hour is struck. It is currently on and ticking. The clock shows the time to be 6:38.\n\nThe cuckoo clock ticks sullenly.\n\n> You set Clock to 12\nThe clock now shows 12:00.\n\nThe cuckoo clock ticks sullenly.\n\n> You go north\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nThe clockwork model universe has stopped; a beam of light from the \"sun\" at the center, focused through Jupiter, shines in the direction of the shelves, highlighting a spot where The World Is Hollow\nused to be.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\n> You take the bauble\n(putting the plate into the sack to make room)\nThe celestial bauble slips out of its holder, and the planets go dark.\n\n> You put the salt in the red\n(first taking the red glass jar)\n(putting the rug into the sack to make room)\nTaken.\n\nThe blue glass jar isn't open.\n\n> You put the salt in the red\nThe red glass jar is closed.\n\n> You open red\nYou open the red glass jar.\n\n> You put the salt in red\nYou put some sea-salt in the red glass jar, exhausting the supply in the blue glass jar. There is still some room remaining in the red glass jar.\n\n> Jar\nYou put the celestial bauble into the blue glass jar.\n\n> Jar\nA blue glass container with a wide mouth and a stopper.\n\nIn the blue glass jar is a celestial bauble.\n\n> You close the blue jar\nYou close the blue glass jar.\n\n> Inventory\nYou are carrying:\na red glass jar (which is open)\nsome sea-salt (which leaves the red glass jar about half full)\na navy cloak\nsome documents\na bottle of Sauvignon Blanc (which is closed)\nan iron key (which opens the russet door leading east)\na blue glass jar (which is closed)\na celestial bauble (providing blue light)\na sack (which is open)\na rug\nan Andouillettes Recipe\nsome andouillettes\na round metal tin (which is open but empty)\na butcher knife\na small portrait\na jeweled pin\na stone block\na bottle of mead (which is closed)\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nsix food items:\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\nthree metal dishes:\na plate\na chocolate leaf\na hinge-lidded teapot (which is open but empty)\na cup\na dashing hat (being worn)\n\n> You go to the east\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nA closed russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\n> You go northeast\n(first opening the russet door leading northeast)\nYou open the russet door leading northeast. From the other side of the room comes the distinct sound of another door slamming shut.\n\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nA closed russet door leads east.\n\nAn open peacock door leads southeast.\n\nAn open green door leads south.\n\nAn open russet door leads southwest.\n\n> Go east\n(first opening the russet door leading east)\nYou open the russet door leading east.\n\nThe russet door leading southwest closes.\n\nThe ransackers of the cellar seem not to have reached this room, however: many of the bottles sit intact on their shelves (if anyone cared to sample them).\n\nAn open white door leads south; it looks oddly streaked.\n\nAn open russet door leads west.\n\nIn one corner is a massive wine barrel.\n\n> Close white\n(the white door leading south)\nYou close the white door leading south. It swings more lightly than most of the doors hereabouts.\n\n> Close box\nWhich do you mean, the dark wooden box or the snuffbox?\n\n> Dark wooden\nYou close the dark wooden box.\n\n> You examine the south door\nOn close examination, you have the impression that the paint on this door has either faded or been washed over with whitewash; you can still see faint streaks of some darker color, but their efficacy would seem to be gone."
    },
    {
        "text": "[Themes: Fantasy, fantasy, culinary theme, strong NPCs, physical simulation]\n\n> Look around\nThe ransackers of the cellar seem not to have reached this room, however: many of the bottles sit intact on their shelves (if anyone cared to sample them).\n\nAn open blue door leads west.\n\nA closed blue door leads south; it looks oddly streaked.\n\nIn one corner is a massive wine barrel.\n\n> You open the south door\nYou open the blue door leading south.\n\n> Go west\nPort, tokay, sherry; amontillado; casks, bottles furred with age and sealed with clots of red wax and ribbon seals.\n\nAn open blue door leads east.\n\nA closed blue door leads southwest.\n\nAn open blue door leads southeast.\n\nAn open black door leads south.\n\n> You go south\nWith all the doors that lead out of this area, and the heavy pillars that support the roofbeams, there is little room for anything to be stored at all. The absence of racks has not prevented a heavy layer of dust from gathering here too, however.\n\nA closed blue door leads east.\n\nAn open black door leads north.\n\nAn open black door leads south.\n\nA closed black door leads west.\n\n> You go south\nLittle remains -- the countess was exceedingly fond of her Rieslings, and it required constant restocking to keep this portion of the cellar properly supplied during her life.\n\nAn open black door leads north.\n\nAn open blue door leads east.\n\nA closed blue door leads west.\n\n> You open the dark wooden box\nYou open the dark wooden box, revealing an mirror inset inside the box, a pearl necklace and an old letter.\n\n> Go east\nThanks to the insistence of the Count, this portion of the wine cellar was cleared out for the storage of fine cheeses; instead of bottle racks there are shelves for storage.\n\nAn open blue door leads west.\n\nThere is a tiny hole in the north wall, through which one might view the room beyond.\n\nOne corner of the room is occupied by a heavy chest.\n\nA silver key sits here.\n\nYou can also see a green glass jar (which is closed) (in which are two food items (a goat cheese and a great deal of olive oil)) here.\n\n> Open chest\nYou open the heavy chest, revealing two food items (a salers and a wedge of brie).\n\n> You take all\nblue door leading west: That's fixed in place.\nchink in wall: That's fixed in place.\nheavy chest: That's fixed in place.\nsilver key: (putting the blue glass jar into the sack to make room) Taken.\ngreen glass jar: (putting the iron key into the sack to make room) Taken.\nsalers: (putting the bottle of Sauvignon Blanc into the sack to make room)\nTaken.\nwedge of brie: (putting the documents into the sack to make room) Taken.\n\nIn your hunger, you imagine in great clarity thinly-sliced venison. Or perhaps dark squares of prepared chocolate.\n\n> You look at the silver\n(the silver key)\nA key of silver metal, with a reddish string tied to it.\n\n> You examine the salers\nAn aged, creamy yellowish cheese with an uneven grey-brown rind. It has a sharp and distinctive flavor, though it does not fall under the category of stinky cheeses.\n\n> You examine the brie\nOozing and ripe, somehow. You would expect it to be thoroughly ruined by now -- this is not a cheese that should age -- but the Count's powers were diverse, and extended to careful protections of his possessions.\n\n> You look at the green\nA green glass container with a wide mouth and a stopper.\n\n> You read Recipe\nAndouillettes Recipe: andouillettes, olive oil, dry white wine,\nsingle yellow onion, sea-salt.\n\n> You go west\nLittle remains -- the countess was exceedingly fond of her Rieslings, and it required constant restocking to keep this portion of the cellar properly supplied during her life.\n\nAn open blue door leads east.\n\nA closed russet door leads west.\n\nAn open green door leads north.\n\n> You open the russet\nYou open the russet door leading west.\n\n> Go west\nAlmost all gone now, though the labels still adhere to the racks, indicating where a '67 rested, or an '82, waiting to be taken up to the dining room.\n\nAn open russet door leads east.\n\nThere is a grey-blue trap door closed in the middle of the room, just visible among the dust as a less-dusty area.\n\nAn open grey-blue door leads north.\n\n> You go north\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nAn open grey-blue door leads south.\n\nA closed red door leads east.\n\nA closed russet door leads northeast.\n\nA heavy red door, wreathed in chains and locks, leads north into the vault, where the best wines were kept during your youth.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\n> You unlock vault with silver\n(the silver key)\nThat doesn't seem to fit the lock.\n\n> You look at the silver\n(the silver key)\nA key of silver metal, with a reddish string tied to it.\n\n> You unlock e with silver\n(the silver key)\nThat doesn't seem to be something you can unlock.\n\n> You unlock the red with the silver\nWhich do you mean, the red door leading east, the red vault door or the red glass jar?\n\n> East\n(the silver key)\nYou unlock the red door leading east.\n\n> You open east\n(the red door leading east)\nYou open the red door leading east.\n\nThe red vault door opens.\n\n> Go north\nThick-layered with dust, with a cool ancient air.\n\nThe vault door stands invitingly open.\n\nYou can also see a pine chest (which is closed) and a bottle of Chateauneuf du Pape (which is closed) here.\n\n> You get Chateauneuf\n(putting the navy cloak into the sack to make room)\nTaken.\n\n> You look at it\nA grand old bottle, a fine year: you recognize the vintage and know a Duke in Paris who would give his own daughter's hand in marriage in exchange for a gift like this. Worth it? Quite possibly.\n\nIn your hunger, you dream of creme caramel, elegantly centered in its pool of sweet liquid and garnished with three-- no, make it four-- fresh raspberries. Or perhaps fresh white cheese, still in the soft balls.\n\n> Open chest\nYou open the pine chest, revealing four pieces of silverware (a silver-plated corkscrew, a fork, a spoon and a table knife).\n\n> You take all from the chest\nsilver-plated corkscrew: (putting the silver key into the sack to make room)\nRemoved.\nfork: (putting the green glass jar into the sack to make room) Removed.\nspoon: (putting the salers into the sack to make room)\nRemoved.\ntable knife: (putting the wedge of brie into the sack to make room) Removed.\n\n> You check what you're carrying\nYou are carrying:\nfour pieces of silverware:\na table knife\na spoon\na fork\na silver-plated corkscrew\na bottle of Chateauneuf du Pape (which is closed)\na red glass jar (which is open)\nsome sea-salt (which leaves the red glass jar about half full)\na sack (which is open)\na green glass jar (which is closed)\ntwo food items:\na goat cheese\na great deal of olive oil (which leaves some room in the green\nglass jar)\na navy cloak\nsome documents\na blue glass jar (which is closed)\na celestial bauble (providing blue light)\na rug\nan Andouillettes Recipe\na round metal tin (which is open but empty)\na butcher knife\na small portrait\na jeweled pin\na stone block\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\nthree metal dishes:\na plate\na chocolate leaf\na hinge-lidded teapot (which is open but empty)\na cup\nnine food items:\na wedge of brie\na salers\nsome andouillettes\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na single yellow onion\ntwo keys:\na silver key (which opens the red door leading east)\nan iron key (which opens the russet door leading east)\ntwo bottles of wine:\na bottle of Sauvignon Blanc (which is closed)\na bottle of mead (which is closed)\na dashing hat (being worn)\n\n> You put the sword in the swordstick\n(first taking the sword)\n(putting the bottle of Chateauneuf du Pape into the sack to make room) Taken.\n\nYou put the sword into the swordstick.\n\n> You link swordstick to the mead\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\n> You link the sword to the cork\n(first unlinking the sword)\nYou succeed in unlinking the sword from the butcher knife.\nBending your will, you form the link between the sword and the bottle of Sauvignon Blanc.\n\n> You take the sword\nYou draw the sword from its sheath.\n\nThe bottle of Sauvignon Blanc gives up its cork at this point.\n\n> Link Blanc to Pape\n(first unlinking the bottle of Sauvignon Blanc)\nYou succeed in unlinking the bottle of Sauvignon Blanc from the sword. You wouldn't want to jeopardize such a valuable commodity, surely.\n\nto the Pope, comes the peppery red Chateauneuf du Pape..\ufffd\ufffd\ufffd\"\n\n> Go south\nThe air is cool here, protected by deep walls of stone. Heavy beams overhead support the weight of the upper floors. A thick dust overlays everything.\n\nThe vault door stands invitingly open.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the west.\n\nA closed russet door leads northeast.\n\nAn open red door leads east.\n\nAn open grey-blue door leads south.\n\n> Go west\nAn awkward wedge of space between the foundations of the main house and the walls of the new-built wine cellar, east. The staircase does not leave much room to stand in; it is straight and carefully planed lest anyone trip with a priceless bottle of wine.\n\nThe wine-cellar door -- sturdy wood in yellowish brass panels -- stands open to the east.\n\nAn ordinary wooden door opens west into the root cellar.\n\n> Open contraption\nThat's already open.\n\n> You put the tripe in contraption\n(first taking the andouillettes)\nTaken.\n\nYou put the andouillettes into the delicate contraption.\n\n> You examine the onion\nThe pale yellow skin is still tight and glossy.\n\n> You put the onion in the contraption\nYou frown dubiously at the onion with its skin still on. It might not be good to put it in unpeeled.\n\n> You peel onion\nYou peel the onion of its skin.\n\n> You eat the onion\nOh, no, no. You don't just cram yourself with whatever pathetic foodstuff lies at hand -- no one with any self-respect lives that way. What you want is a meal, prepared with some sensitivity and forethought.\n\n> You put onion in the contraption\nYou put the peeled onion into the delicate contraption.\n\n> You put the salt in the contraption\nYou put some sea-salt in the delicate contraption, exhausting the supply in the red glass jar. There is still some room remaining in the delicate contraption.\n\n> You open green\nOpening a container of olive oil while it is in the sack seems like an invitation to disaster.\n\n> You take the green\n(putting the red glass jar into the sack to make room)\nTaken.\n\n> You open green\nYou open the green glass jar.\n\n> You open it\nThat's already open.\n\n> You put the oil in the contraption\nYou put some olive oil in the delicate contraption, exhausting the supply in the green glass jar. There is still some room remaining in the delicate contraption. The olive oil mixes with what was already there.\n\n> You examine Recipe\nWhich do you mean, the Chocolate Recipe or the Andouillettes Recipe?\n\n> You take Recipe from the spindle\n(putting the silver-plated corkscrew into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\nIn your hunger, you hallucinate onion soup, with its crust of baked cheese. Or perhaps purple-black Hellene olives.\n\n> You pull the sword\n(putting the fork into the sack to make room)\nYou draw the sword from its sheath.\n\n> You put Andouillettes Recipe on the spindle\nThe bottle of Sauvignon Blanc gives up its cork at this point.\n\n(first taking the Andouillettes Recipe)\n(putting the spoon into the sack to make room)\nTaken.\n\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You put Blanc in the contraption\n(first taking the delicate contraption)\nIt is both too large and too delicate to remove.\n\n(taking the bottle of Sauvignon Blanc)\n(putting the table knife into the sack to make room)\nTaken.\n\nYou put some Sauvignon Blanc in the delicate contraption, exhausting the supply in the blue bottle. There is still some room remaining in the delicate contraption. The Sauvignon Blanc mixes with what was already there.\n\n> Close contraptio\nYou close the delicate contraption.\n\n> You turn it on\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. An irritable mechanical voice shouts from within, \"I shall be requiring the plate on which to put this item!\"\n\n> You put the plate in the contraption\n(first taking the plate)\n(putting the onion skin into the sack to make room)\nTaken.\n\nYou put the plate into the delicate contraption.\n\n> You turn it on\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. From inside the contraption comes a sound of chopping, and then a hot sizzle. The unmistakeable smell of frying onions rises to greet you from inside the contraption's box.\n\nA moment later, there is some additional sloshing, and slowly the smell becomes more complex, redolent of wine and meat. There is a puff of steam around the edges of the lid, and then the mechanism's parts come discreetly to rest.\n\n> Open contraption\nYou open the contraption, revealing a plate, on top of which are two food items (some cooked andouillettes and a chocolate leaf).\n\n> You examine andouillettes\nWhich do you mean, the cooked andouillettes or the Andouillettes Recipe?\n\n> Cooked\nMarvellous: the sausage is sliced and cooked perfectly in wine and olive oil, seasoned with salt, and accompanied by savory fried onions. The pieces of sausage are arranged loosely into a leaf shape, which is perhaps as much as one should expect.\n\n> You eat them\n(first taking the cooked andouillettes)\nYou really ought to eat these in the appropriate surroundings.\n\n> You go north\nA small, workmanlike room with a floor of white stones. The principal features of the room are a counter, with a large inset washbasin also made of stone, and a tall wooden cupboard.\n\nIn your hunger, you dream of poached turbot on a platter. Or perhaps creme caramel.\n\n> You link the cork to Tea\nBending your will, you form the link between the cork and the Tea Recipe.\n\n> Reverse link cork to Tea\nBending your will and all your attention, you manage to make a reverse-link between the cork and the Tea Recipe, feeling their properties begin to merge together.\n\nThe Tea Recipe bobs to the surface of the water.\n\n> You take Tea\n(putting the green glass jar into the sack to make room)\nTaken.\n\n> You go south\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which is a plate (on which is a chocolate leaf)).\n\n> You put Chocolate in green\nYou put the Chocolate Recipe into the green glass jar.\n\n> You put the leaf in the green\n(first taking the bay leaf)\n(putting the Chocolate Recipe into the sack to make room)\nTaken.\n\nYou put the bay leaf into the green glass jar.\n\n> Inventory\nYou are carrying:\nsome cooked andouillettes\na blue bottle\na sword\na cork\na sack (which is open)\na green glass jar (which is open)\na goat cheese\nfour pieces of silverware:\na table knife\na spoon\na fork\na silver-plated corkscrew\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is closed)\na celestial bauble (providing blue light)\na rug\na round metal tin (which is open but empty)\na butcher knife\na small portrait\na jeweled pin\na stone block\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na snuffbox (which is open)\na quantity of snuff\na white handkerchief\na swordstick\nfour books:\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\nThe Lavori d'Aracne\nOn Vegetable Dyes\ntwo metal dishes:\na hinge-lidded teapot (which is open but empty)\na cup\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\neight food items:\nan onion skin\na wedge of brie\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\ntwo bottles of wine:\na bottle of Chateauneuf du Pape (which is closed)\na bottle of mead (which is closed)\na dashing hat (being worn)\ntwo recipe cylinders:\na Tea Recipe\na Chocolate Recipe\n\n> You go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (in which is a plate (on which is a chocolate leaf)).\n\n> You take the plate\n(putting the Chocolate Recipe into the sack to make room)\nTaken.\n\n> Chocolate\n(putting the Tea Recipe into the sack to make room)\nTaken.\n\n> You put the chocolate leaf in the jar\nWhich do you mean, the green glass jar, the red glass jar or the blue glass jar?\n\n> Green\nYou put the chocolate leaf into the green glass jar.\n\n> You examine the chocolate leaf\nA dark chocolate confection, formed into the shape of a leaf.\n\n> You link the chocolate leaf to the roses\n(the roses)\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\nIn your hunger, you hallucinate a heavy Christmas-time cake with candied fruit and smothered in brandy, such as Englishmen sometimes bring with them to Paris. And you have always considered them an abomination heretofore.\n\n> You open blue\nWhich do you mean, a blue bottle or the blue glass jar?\n\n> Bottle\n(the bottle of mead)\nOpening a container of mead while it is in the sack seems like an invitation to disaster.\n\n> You take bauble\n(putting the cork into the sack to make room)\nTaken.\n\n> You put it in the green\nYou put the celestial bauble into the green glass jar.\n\n> You link the chocolate leaf to the roses\n(the roses)\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> Go upwards\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms.\n\nNorth is the old conservatory.\n\nIn your hunger, you hallucinate the small, bitter oranges of Jerusalem.\n\n> You look at the roses\nIvory and powder-blue, with a tracery of blush roses.\n\n> You take the gilt\n(the gilt-wood mirror)\nToo heavy for you to remove.\n\n> You examine the floorboards\nLong slender boards of fine wood.\n\n> You read Lavori\n(first taking The Lavori d'Aracne)\n\nTaken.\n\nOn the subject of mirrors: Unusual and costly mirrors of special\npower exist which enhance the workings of the lavori d'Aracne; they may be recognized by their failure to reflect in the ordinary way. Some make it easier to form a link through the mirror than through open air, allowing the magician to reverse-link items that are otherwise too dissimilar to use. Likewise, such a mirror...\n\nBut then, unfortunately, it breaks off, the page apparently having been chewed out and carried away by something or other.\n\n> You drop the leaf\n(the chocolate leaf)\nDropped."
    },
    {
        "text": "> You go downward\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nJust on the quarter-hour the cuckoo clock opens up its door and a mechanical bird flies forward. It sings a brief warbling tune, then withdraws into its little door.\n\n> Go east\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nA tangle of climbing roses covers almost completely the wall and door of a shed to the southeast.\n\nYou can also see a dark wooden box (in which are an mirror inset inside the box (providing light), a pearl necklace and an old letter) here.\n\n> You take dark wooden box\nTaken.\n\nIn your hunger, you dream of creme caramel, elegantly centered in its pool of sweet liquid and garnished with three-- no, make it four-- fresh raspberries. Or perhaps thinly-sliced venison, cold from the roast.\n\n> You search the inset mirror\nIn the mirror you see reflected a chocolate leaf and a desk. Around the edges you can make out other indications of Marie's Chamber.\n\n> You link the chocolate leaf to the roses\n(the roses)\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> Reverse link chocolate leaf to roses\n(the roses)\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\nReverse links are even pickier than regular links that way.\n\n> Sf5\nOk.\n\n> You read Dyes\n(first taking On Vegetable Dyes)\n\n(putting the sword into the sack to make room)\nTaken.\n\nYou flip through the pages, becoming transfixed by a discussion of how the Celts, supposedly, were wont to dye clothing in a decoction of powdered lichen and stale piss, brewed together for three weeks and then strained.\n\nBut beside this pleasant concoction there are references to others, such as onion skin boiled in water to produce a pleasant yellow.\n\n> You continue\nYou flip through the pages, becoming transfixed by a discussion of how the Celts, supposedly, were wont to dye clothing in a decoction of powdered lichen and stale piss, brewed together for three weeks and then strained.\n\nBut beside this pleasant concoction there are references to others, such as onion skin boiled in water to produce a pleasant yellow.\n\n> You fill the teapot with the water from well\n(first taking the hinge-lidded teapot)\n(putting the blue bottle into the sack to make room)\nTaken.\n\nYou put some water in the hinge-lidded teapot. This fills the hinge-lidded teapot to the brim.\n\n> You take the onion skin\n(putting the cooked andouillettes into the sack to make room)\nTaken.\n\n> You take the cup\n(putting the plate into the sack to make room)\nTaken.\n\n> You put Tea on the spindle\n(first taking the Tea Recipe)\n(putting The Lavori d'Aracne into the sack to make room)\nTaken.\n\nThe spindle is shaped to hold exactly one cylinder at a time.\n\n> You take Andouillettes from the spindle\n(putting the dark wooden box into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> You put Tea on the spindle\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You look at the dial\nA dial which can be rotated to show one word at a time, labeled 'SHAPE'. Currently the word showing is LEAF.\n\nIn your hunger, you imagine in great clarity creme caramel, elegantly centered in its pool of sweet liquid and garnished with three-- no, make it four-- fresh raspberries. Or perhaps thinly-sliced venison, cold from the roast.\n\n> You turn the dial\nYou turn the dial gently with one finger, and it clicks around to display the setting ROSE.\n\n> You turn the dial\nYou turn the dial gently with one finger, and it clicks around to display the setting FISH.\n\n> You continue\nYou turn the dial gently with one finger, and it clicks around to display the setting SHOE.\n\n> Continue\nYou turn the dial gently with one finger, and it clicks around to display the setting HEART.\n\n> Continue\nYou turn the dial gently with one finger, and it clicks around to display the setting NONE.\n\n> You put Chocolate on the spindle\n(the Chocolate Recipe on the spindle)\n(first taking the Chocolate Recipe)\n(putting On Vegetable Dyes into the sack to make room)\nTaken.\n\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> Open contraption\nThat's already open.\n\n> You put Chocolate in the contraption\n(the Chocolate Recipe in the delicate contraption)\n(first taking the Chocolate Recipe)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> Go southwest\nYou can go only east, west or down.\n\n> Go west\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting light from the celestial bauble over the ground before it.\n\nHer desk remains, pushed against the wall.\n\nYou can also see a chocolate leaf here."
    },
    {
        "text": "[Themes: Fantasy, strong NPCs, magic, France]\n\n> Go down\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nExactly on the hour, the cuckoo clock opens up its door and a mechanical bird flies forward. It sings 3 times, then withdraws into its little door.\n\n> You put Chocolate in the contraption\n(the chocolate leaf in the delicate contraption)\nYou put the chocolate leaf into the delicate contraption.\n\n> You put the plate in the contraption\n(first taking the plate)\nTaken.\n\nYou put the plate into the delicate contraption.\n\n> You turn on the contraption\nThere is a regretful clicking noise from the vicinity of the lid-catch. Just as you think you are going to have to close it yourself, a gloved mechanical hand reaches up and slams the contraption shut from the inside.\n\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. There is a faint grumbling from inside the machine, and the sounds of rearrangement...\n\n> Open contraption\nYou open the contraption, revealing a plate, on top of which is a chocolate rose.\n\n> You take the rose\n(putting the onion skin into the sack to make room)\nTaken.\n\n> You link the roses to the chocolate rose\n(the roses to the chocolate rose)\nBending your will, you form the link between the roses and the chocolate rose.\n\n> You cut the chocolate rose with the knife\nWhich do you mean, the table knife or the butcher knife?\n\n> Butcher\n(first taking the butcher knife)\n(putting the cup into the sack to make room)\nThe chocolate rose cuts partway through, then splits of its own accord in rough surfaces, becoming a pile of small bits.\n\nThe roses split into a pile of small bits.\n\n> You look at the roses\nIvory and powder-blue, with a tracery of blush roses.\n\n> You examine the shed\nBuilt out of rough stones, not hewn into rectangular shape like those of the main house, and framed in weathered wood.\n\nIn your hunger, you hallucinate dark squares of prepared chocolate.\n\n> You enter the shed\nDisused for quite a long time, evidently. There is dirt in the corners, and some evidence of inhabitation by rodents or perhaps even a larger animal, now and then. Some rust stains on the walls indicate where tools used to hang, but no longer do.\n\nA rope ladder lies in a heap on the floor.\n\n> You examine it\nMade of hefty rope and still apparently sound, with rungs made of wood. At the top on each side is a hook, allowing it to be put on something (rather than tied).\n\n> You examine the rust\nStreaks on the wall, nothing more. The phantom shapes suggest the former presence of a shovel, hoe, etc. Why they've been removed is anyone's guess, but it's quite clear that much of the landscape around the house has been let go, the kitchen garden remaining tended longer than everything else.\n\n> You examine the dirt\nStandard garden-variety dirt.\n\n> You eat the dirt\n(first taking the dirt)\nNothing to be gained by that, and you don't relish the idea much.\n\n> Go outside\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\n> Swim\nIt would be a cold and unwelcoming swim.\n\n> You go inside\nYour options are west into the kitchen or southeast into the shed.\n\n> You put Tea in the contraption\nThe spindle is shaped to hold exactly one cylinder at a time.\n\n> You take Chocolate Recipe\n(putting the Andouillettes Recipe into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> You put the cup in the contraption\n(first taking the cup)\nTaken.\n\nYou put the cup into the delicate contraption.\n\nIn your hunger, you dream of an omelette of herbs and chives.\n\n> You put the water in the contraption\nYou put some water in the delicate contraption, exhausting the supply in the hinge-lidded teapot. There is still some room remaining in the delicate contraption.\n\n> You put the onion skin in the contraption\n(first taking the onion skin)\nTaken.\n\nYou put the onion skin into the delicate contraption.\n\n> You turn on the contraption\nThe machine's gears spin into action; a series of fine flanges, like the keys of a music box, move into position against the surface of the cylinder, which rotates steadily. There is a bubbling, boiling noise from within the contraption.\n\n> You open it\nYou open the contraption, revealing a cup, inside which is some onion dye.\n\n> You put the handkerchief in the dye\nWhich do you mean, the onion dye in the cup or On Vegetable\nDyes?\n\n> Onion\n(first taking the white handkerchief)\n(putting the hinge-lidded teapot into the sack to make room)\n\n> You examine the hanky\nA square of good linen; rather nice, really. It is currently colored yellow.\n\n> You cut the cement with the knife\n(the butcher knife)\nIt's just an ordinary knife, not diamond-edged.\n\n> You examine the stone\nJust a chunk of roughly squared stone from one of the nearby fields. Possibly once it had some value as masonry, but not any more.\n\nIn your hunger, you dream of poached turbot on a platter.\n\n> You take Recipe\n(the Tea Recipe)\n(putting the plate into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> You put Chocolate in the contraption\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You put Chocolate in the contraption\n(first taking the Chocolate Recipe)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You check what you're carrying\nYou are carrying:\na Tea Recipe\na yellow handkerchief (sodden)\na cup\nnot very much onion dye (which leaves some room in the cup)\na rope ladder\na butcher knife\na sack (which is open)\ntwo metal dishes:\na plate\na hinge-lidded teapot (which is open but empty)\nan Andouillettes Recipe\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na cork\na green glass jar (which is open)\na celestial bauble (providing green light)\na goat cheese\nfour pieces of silverware:\na table knife\na spoon\na fork\na silver-plated corkscrew\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na rug\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na stone block\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\nfour books:\nOn Vegetable Dyes\nThe Lavori d'Aracne\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\neight food items:\nsome cooked andouillettes\na wedge of brie\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\nthree bottles of wine:\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\na bottle of mead (which is closed)\na dashing hat (being worn)\n\n> You examine plate\nA plate, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern."
    },
    {
        "text": "[Themes: Fantasy, France, physical simulation, fantasy, male protagonist, Historical, strong NPCs]\n\n> Describe the surroundings\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables are a loaf of stale bread and a delicate contraption (which is empty).\n\n> Go west\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\n> You link handkerchief to the hangings\nBending your will, you form the link between the yellow handkerchief and the yellow hangings.\n\nThe cuckoo clock ticks sullenly.\n\n> Burn handkerchief\nYou don't have a candle or any flint.\n\nThe cuckoo clock ticks sullenly.\n\n> Tie handkerchief\nYou tie the handkerchief into a tight little knot.\n\nThe yellow hangings writhe and twist, but the attempt to tie themselves into an enormous knot goes badly. They tear along the middle with a tremendous unnatural ripping noise, and fall from the hooks that held them in place, leaving only a heap of brocade on the floor. The wall itself is bared, and the door in the wall.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the heap\nHuddled and ripped on the ground.\n\nThe cuckoo clock ticks sullenly.\n\n> You put the rug under the door\n(first taking the rug)\nThe gothic door is flush against the stone threshhold, so much so that it is difficult even to see light between the two.\n\nThe cuckoo clock ticks sullenly.\n\n> You examine the door\nA wooden, pointed door in a very old style; this part of the building dates to a previous version of the house, from which only the chapel and a few other rooms survive.\n\nThere is a conspicuous keyhole plate in the door.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the keyhole\nA keyhole in a fitted brass plate. There is an ornate key in the keyhole, pushed in from the other side.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the ornate key\nIt's not exactly easy to get a good look.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the plate\nWhich do you mean, the keyhole or the painted metal plate?\n\n> You link the ornate key to the silver key\nThe keys resist linking, almost as though they were made to do so.\n\nThe cuckoo clock ticks sullenly.\n\n> You check what you're carrying\nYou are carrying:\na rug\na Tea Recipe\na yellow handkerchief (tied in a sopping knot)\na cup\nnot very much onion dye (which leaves some room in the cup)\na rope ladder\na butcher knife\na sack (which is open)\ntwo metal dishes:\na plate\na hinge-lidded teapot (which is open but empty)\nan Andouillettes Recipe\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na cork\na green glass jar (which is open)\na celestial bauble (providing green light)\na goat cheese\nfour pieces of silverware:\na table knife\na spoon\na fork\na silver-plated corkscrew\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na stone block\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\nfour books:\nOn Vegetable Dyes\nThe Lavori d'Aracne\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\neight food items:\nsome cooked andouillettes\na wedge of brie\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\nthree bottles of wine:\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\na bottle of mead (which is closed)\na dashing hat (being worn)\n\nThe cuckoo clock ticks sullenly.\n\nIn your hunger, you dream of dark squares of prepared chocolate.\n\n> You link the keyhole to the corkscrew\nYou valiantly try to link the two objects, but they seem as though they will never go together.\n\nJust on the quarter-hour the cuckoo clock opens up its door and a mechanical bird flies forward. It sings a brief warbling tune, then withdraws into its little door.\n\n> You look at the pin\nDecorated with fine-chip diamonds, and formed into the shape of a complicated bow of several strands, for a lady's use. The clasp is currently open.\n\nThe cuckoo clock clicks closed.\n\n> You link the pin to the butcher knife\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the mead\nAside from the contents, an entirely ordinary bottle. The cork is still wedged firmly in place.\n\nThe cuckoo clock ticks sullenly.\n\n> You read the Guide\n(first taking Guide to Assorted Wines)\n\n(putting the butcher knife into the sack to make room)\nTaken.\n\n...some dry wine such as Sauvignon Blanc...\n\nThe cuckoo clock ticks sullenly.\n\n> You read the Guide\n... from the region of Avignon, in the territories that belonged\nto the Pope, comes the peppery red Chateauneuf du Pape...\n\nThe cuckoo clock ticks sullenly.\n\n> You read the Guide\n...mead, a wine made of honey and very sweet...\n\nThe cuckoo clock ticks sullenly.\n\n> You open the mead\nOpening a container of mead while it is in the sack seems like an invitation to disaster.\n\nThe cuckoo clock ticks sullenly.\n\n> You take the mead\n(putting the rope ladder into the sack to make room)\nTaken.\n\nThe cuckoo clock ticks sullenly.\n\n> You open the mead\n(first taking the corkscrew)\n(putting the yellow handkerchief into the sack to make room)\nTaken.\n\nDelicately you extract the cork and then remove it from the corkscrew.\n\nThe cuckoo clock ticks sullenly.\n\n> You examine the Clock\nIt consists of the face, a pendulum and pair of weights, and a little door above the face that opens when the hour is struck. It is currently on and ticking. The clock shows the time to be 12:00.\n\nIn the mechanical clock is a cuckoo.\n\nThe cuckoo clock clicks closed.\n\n> You go to the north\nThis was the countess' favorite room, and it is more richly decorated than any other in the house, betraying her taste for the brightly-colored and the jewel-like. The count brought her some things from his travels, and made others for her. Most of the contents seem to be gone -- the chairs and sofas, and the wall hangings -- but some bits remain.\n\nAgainst one wall is a glass case full of rare and valuable clockwork figures.\n\n> You look at the case\nThe case is specially made of glass and wood. Inscribed into the surface of the glass with a fine cutting tool are the words: \"CAREFUL! DO NOT BREAK!\"\n\nInside are mechanical dancers and a clockwork bee.\n\n> You look at the bee\nA life-sized golden bee, its wings made of planed gems. It is, unfortunately, equipped with an ingenious equivalent of a sting -- a tail endowed with blades that will cut into any sensitive thing it settles on. And these have been tipped with a vicious poison.\n\n> You open the book\n(Guide to Assorted Wines)\nThat's not something you can open.\n\n> You pour mead in Hollow\n(first taking The World Is Hollow)\n(putting the Tea Recipe into the sack to make room)\nTaken.\n\nthe pages.\n\n> You look at the cup\nA cup, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern.\n\nIn the cup is not very much onion dye.\n\n> Empty cup\nonion dye: (putting the rug into the sack to make room)\nYou pour the onion dye out onto the ground.\n\n> You pour the mead in the cup\nYou put some mead in the cup. This fills the cup to the brim.\n\n> Open case\nThat's not something you can open.\n\nIn your hunger, you hallucinate poached turbot on a platter and hedged around with lightly seared summer vegetables.\n\n> You examine the cup\nA cup, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern.\n\nIn the cup is some mead.\n\nIn your hunger, you dream of onion soup.\n\n> Empty teapot\nThe hinge-lidded teapot is empty already.\n\n> You pour the cup into the teapot\n(first taking the hinge-lidded teapot)\n(putting Guide to Assorted Wines into the sack to make room)\nTaken.\n\nYou put some mead in the hinge-lidded teapot, exhausting the supply in the cup. This fills the hinge-lidded teapot to the brim.\n\n> Break glass\n(the glass case)\nWith your bare hands? That could be uncomfortable.\n\n> You break the glass with the stone\n(the glass case with the stone block)\n(first taking the stone block)\n(putting the cup into the sack to make room)\nThe stone block smacks the glass case. The glass case breaks, spilling the clockwork bee and the mechanical human dancers.\n\nThe clockwork bee buzzes faintly, spreading its jeweled wings.\n\n> You wear the cloak\n(first taking the navy cloak)\n(putting the silver-plated corkscrew into the sack to make room)\nYou put on the navy cloak.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> You throw the cloak at the bee\n(first taking the navy cloak)\n(putting the silver-plated corkscrew into the sack to make room)\nYou'd have to practice a long time before you had any hope of hitting a target that size.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> You open the mead\n(first taking the corkscrew)\n(putting the yellow handkerchief into the sack to make room)\nTaken.\n\nDelicately you extract the cork and then remove it from the corkscrew.\n\n> You pour the mead in the teapot\n(first taking the hinge-lidded teapot)\n(putting the Tea Recipe into the sack to make room)\nTaken.\n\nYou put some mead in the hinge-lidded teapot. This fills the hinge-lidded teapot to the brim.\n\n> You drop teapot\nDropped.\n\nIn your hunger, you hallucinate curls of toasted bread, dripping with butter.\n\n> You look at the teapot\nA hinge-lidded teapot, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern. The lid is attached with a hinge, and there is a long and delicate spout.\n\nIn the hinge-lidded teapot is some mead.\n\n> You break the glass with the stone\n(the glass case with the stone block)\n(first taking the stone block)\n(putting the rug into the sack to make room)\nThe stone block smacks the glass case. The glass case cracks dramatically, spilling the clockwork bee and the mechanical human dancers.\n\nThe clockwork bee buzzes faintly, spreading its jeweled wings.\n\n> Go south\n(treading gingerly around the glass bits)\n\nA long empty room with shined wooden floors, perfect for sliding in stocking-feet. West is the top of the staircase, and rooms open to the north and east.\n\nThe door east is closed.\n\n> Go north\nThis was the countess' favorite room, and it is more richly decorated than any other in the house, betraying her taste for the brightly-colored and the jewel-like. The count brought her some things from his travels, and made others for her. Most of the contents seem to be gone -- the chairs and sofas, and the wall hangings -- but some bits remain.\n\nYou can see some glass shards, some mechanical human dancers and a hinge-lidded teapot (in which are a clockwork bee and some mead) here.\n\nThe bee buzzes around the mead.\n\n> You take the dancers\n(putting Guide to Assorted Wines into the sack to make room)\nTaken.\n\n> You link the dancers to the letter\nBending your will, you form the link between the mechanical human dancers and the old letter.\n\n> Unlink dancers\nYou succeed in unlinking the mechanical human dancers from the old letter.\n\n> You take the teapot\n(putting the silver-plated corkscrew into the sack to make room) Taken.\n\n> You open it\nYou open the hinge-lidded teapot, revealing a clockwork bee and some mead.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling..."
    },
    {
        "text": "> Go downwards\nIn your hunger, you hallucinate frosted petits-four. Or perhaps the hearts of artichokes, pickled and speared.\n\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west. The wooden door is currently closed.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You link the dancers to the Clock\n(first unlinking the mechanical clock)\nYou succeed in unlinking the mechanical clock from the model universe. You valiantly try to link the two objects, but they are just too dissimilar.\n\nThe cuckoo clock ticks sullenly.\n\n> You go to the north\nOriginally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.\n\nA clockwork model of the universe stands in one corner.\n\nOn one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.\n\n> Link dancers to universe\nThe whole of the model has been associated as one object for the purposes of linking; you cannot link parts of it alone.\n\n> Link model to dancers\nYou find it too difficult to forge a link to the model universe, for some reason.\n\n> You take bauble\n(putting the cork into the sack to make room)\nTaken.\n\n> You put it in model\nThe celestial bauble clicks neatly into position, shining over all the surrounding planets just as the sun ought. The beam of light shines through the lens of Jupiter again, just as it did before.\n\n> You take Recipe from the spindle\n(putting the sword into the sack to make room)\nIt takes a bit of wiggling to get the cylinder to come free, but you extricate it without too much difficulty.\n\n> You put Chocolate on the spindle\n(the Chocolate Recipe on the spindle)\n(first taking the Chocolate Recipe)\n(putting the blue bottle into the sack to make room)\nTaken.\n\nThe cylinder slips into place with a satisfying click, as though some mechanism has engaged.\n\n> You go southwest\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nOn the half-hour the cuckoo clock opens up its door and a mechanical bird flies forward. It sings a brief warbling tune, then withdraws into its little door.\n\n> You take the leaf\n(the chocolate leaf)\nTaken."
    },
    {
        "text": "[Themes: Fantasy, fantasy, physical simulation, strong NPCs]\n\n> You descend\nIn your hunger, you imagine in great clarity flaking puff pastry, wrapped around chicken and a white-wine mushroom sauce.\n\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble, and a small door to the west is concealed by yellow silk hangings.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You put the chocolate leaf in the contraption\nYou put the chocolate leaf into the delicate contraption.\n\n> You put the plate in the contraption\n(first opening the delicate contraption)\nYou open the contraption, revealing a chocolate leaf.\nYou put the plate into the delicate contraption.\n\n> You link the chocolate rose to the roses\n(the roses)\nBending your will, you form the link between the chocolate rose and the roses.\n\n> You eat the rose\nAfter the chocolate rose has been on the ground, you're certainly going to leave it uneaten.\n\n> Clean rose\n(the roses)\nYou achieve nothing by this.\n\nIn your hunger, you dream of the small, bitter oranges of Jerusalem.\n\n> You drop andouillettes\nWhich do you mean, the Andouillettes Recipe or the cooked andouillettes?\n\n> Cooked\nDropped.\n\n> You eat cooked Andouillettes\n(first taking the cooked andouillettes)\nAfter the cooked andouillettes have been on the ground, you're certainly going to leave them uneaten.\n\n> Cooked\n(first taking the cooked andouillettes)\nTaken.\n\nYou put the cooked andouillettes on the plate.\n\n> You go to the west\nYou can go only south or east.\n\n> Go east\nA grand room, for dining in style. The plastered ceiling is several times your height. The air now is cool and deep, the sunlight glancing through the windows and scattering from the chandelier, putting points of light at your feet, over the table, across the painted wallpaper and the handsome wood paneling.\n\nWoodworked columns frame the exits west and southwest.\n\nHeavy double doors lead east.\n\n> You go east\n(first opening the double doors)\nYou open the double doors.\n\nThe hinge-lidded teapot opens.\n\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> Unlink teapot\nYou succeed in unlinking the hinge-lidded teapot from the double doors.\n\n> Go east\n(first opening the double doors)\nYou open the double doors.\n\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\n> You link the brick to the bread\n(first unlinking the brick)\nYou succeed in unlinking the brick from the stone block.\nBending your will, you form the link between the brick and the loaf of stale bread.\n\n> You break bread\nAttempts to break it fail; truly this is the loaf of adamant. You'd have to soften it up somehow first."
    },
    {
        "text": "> You go downwards\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is empty).\n\nIn your hunger, you dream of dark squares of prepared chocolate.\n\n> You go east\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\n> You put the bread in well\nYou put the loaf of stale bread into the well.\nThe loaf of stale bread sinks into oblivion.\n\n> Go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is empty).\n\n> Wet bread\nWhat do you want to wet the loaf of stale bread with?\n\n> Water\nYou consume some of the water in moistening the loaf of stale bread.\n\n> You look at the bread\nA sopping wet and crumbly rectangular loaf of bread. The fact that it went uneaten is explained by the fact that one face is burnt black -- someone left it in the oven too long, evidently.\n\n> Go west\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is empty).\n\n> You break the bread\nThe loaf of stale bread breaks into bready-chunks, crumbling to nothing.\n\nThe brick cracks into pieces and falls out of its place. The bag on a string is revealed in the space behind the former brick."
    },
    {
        "text": "> You look at your surroundings\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\nIn the fireplace are some bits of shattered brick.\n\n> You check your inventory\nYou are carrying:\na bag on a string (which is closed)\nsome mechanical human dancers\na stone block\na bottle of mead\nsome mead (which leaves some room in the bottle of mead)\na sack (which is open)\ntwo corks\na rug\na yellow handkerchief (tied in a sopping knot)\na rope ladder\na butcher knife\na plate\nsome cooked andouillettes\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\nan old letter\na sword\na green glass jar (which is open)\na goat cheese\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\nseven food items:\na wedge of brie\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\ntwo bottles of wine:\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\nfour pieces of silverware:\na silver-plated corkscrew\na table knife\na spoon\na fork\nfour books:\nGuide to Assorted Wines\nOn Vegetable Dyes\nThe Lavori d'Aracne\nThe World Is Hollow (which is open but empty)\ntwo recipe cylinders:\na Tea Recipe\nan Andouillettes Recipe\na dashing hat (being worn)\ntwo metal dishes:\na hinge-lidded teapot (which is closed)\na cup\nnot very much onion dye (which leaves some room in the cup)\n\n> You look at the bag\nA little linen bag on a grimy drawstring, able to be worn on the wrist or neck and protect one's valuables.\n\n> You open it\nYou open the bag on a string, revealing some silver coins.\n\n> You take the coins\n(putting the hinge-lidded teapot into the sack to make room)\nTaken.\n\n> Bite coins\nYou'd chip a tooth.\n\n> You look at the brick\nFragments of brick, some with surfaces darkened by smoke, the rest raw and red.\n\nIn your hunger, you hallucinate onion soup, with its crust of baked cheese. Or perhaps a heavy Christmas-time cake with candied fruit and smothered in brandy, such as Englishmen sometimes bring with them to Paris. And you have always considered them an abomination heretofore.\n\n> You link the coins to the dancers\nIt is illegal to link minted coinage, and quite difficult to do anyway.\n\n> You link the corkscrew to the dancers\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> You examine the knife\nWhich do you mean, the butcher knife or the table knife?\n\n> Butcher\nAn ordinary kitchen knife, perhaps a foot long.\n\n> You link the sword to the dancers\n(first unlinking the sword)\nYou succeed in unlinking the sword from the blue bottle.\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> You look at the tin\nA thin metal container, somewhat old.\n\n> You link the dancers to yourself\nLinking yourself is generally considered a very bad idea.\n\n> You examine the brie\nOozing and ripe, somehow. You would expect it to be thoroughly ruined by now -- this is not a cheese that should age -- but the Count's powers were diverse, and extended to careful protections of his possessions.\n\n> You remember the dancers\nThe mechanical human dancers raise no special memories for you.\n\nIn your hunger, you hallucinate flaking puff pastry, wrapped around chicken.\n\n> You eat the Cheese\nWhich do you mean, the goat cheese, the wedge of brie or the salers?\n\n> Goat\n(first taking the goat cheese)\n(putting the stone block into the sack to make room)\nCheese is for after the rest of the meal.\n\n> You eat letter\n(first taking the old letter)\n(putting the mechanical human dancers into the sack to make room) That's plainly inedible.\n\n> You examine the wooden box\nA dark wooden box that smells faintly exotic.\n\nIn the dark wooden box are an mirror inset inside the box and a pearl necklace.\n\n> You look at snuff box\nA little pastel-colored metal box in which you keep your supply of snuff.\n\nIn the snuffbox is a quantity of snuff."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, strong NPCs, culinary theme, Historical]\n\n> Go downwards\nA long, cross-beamed room, originally washed with white, though smoke has tinged the walls above the massive fireplace in which roasts are prepared. In addition, there are thick high tables that run the length of the room.\n\nTo the east is the kitchen garden through which you entered; west is the corridor that connects with the main house. To the north there is the little scullery, and upstairs is the attic where the servants sleep.\n\nOn the kitchen tables is a delicate contraption (which is empty).\n\n> You go southwest\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west. The wooden door is currently closed.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You break the mirror with the stone\n(the gilt-wood mirror with the stone block)\n(first taking the stone block)\n(putting the bag on a string into the sack to make room)\nThe stone block strikes the gilt-wood mirror. The gilt-wood mirror breaks.\n\nThe mirror inset inside the box breaks dramatically.\n\n> You break the mirror with the stone\n(the gilt-wood mirror with the stone block)\n(first taking the stone block)\n(putting the bag on a string into the sack to make room)\nThe stone block strikes the gilt-wood mirror, which shatters dramatically.\n\n> You examine mirror\nA shining panel that reflects whatever is inside the box."
    },
    {
        "text": "[Themes: Fantasy, culinary theme, magic, strong NPCs]\n\n> You look at your surroundings\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHer desk remains, pushed against the wall.\n\nYou can also see some glass shards here.\n\nIn your hunger, you imagine in great clarity a heavy Christmas-time cake with candied fruit. Or perhaps thinly-sliced venison, cold from the roast.\n\n> You examine shards\nPieces of broken glass, thoroughly shattered and useless.\n\n> You look at the east\n(the tall door)\nA single tall door with gilt trim marking out its panels. It is dense with the links the Count laid on it -- to lock by itself when closed, to submit to no links by anyone else. When you lived here, it responded to a touch of your hand, though there was also a key used by the servants.\n\n> You touch east\n(the tall door)\nApparently it has forgotten you.\n\n> Slide\nWhat do you want to slide?\n\n> You touch the door\nApparently it has forgotten you.\n\n> You remember the door\n...\n\nThrough here lies the Count's study, and the room that used to belong to you when you were a child.\n\n...\n\nIn your hunger, you hallucinate creme caramel. Or perhaps curls of toasted bread, dripping with butter.\n\n> You check your inventory\nYou are carrying:\nan old letter\na goat cheese\nsome silver coins\na bag on a string (which is open but empty)\na bottle of mead\nsome mead (which leaves some room in the bottle of mead)\na sack (which is open)\nsome mechanical human dancers\na stone block\ntwo corks\na rug\na yellow handkerchief (tied in a sopping knot)\na rope ladder\na butcher knife\na dark wooden box (which is open)\nan mirror inset inside the box (reflecting white light from the sunlight)\na pearl necklace\na sword\na green glass jar (which is open but empty)\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\nseven food items:\na wedge of brie\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\ntwo bottles of wine:\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\nfour pieces of silverware:\na silver-plated corkscrew\na table knife\na spoon\na fork\nfour books:\nGuide to Assorted Wines\nOn Vegetable Dyes\nThe Lavori d'Aracne\nThe World Is Hollow (which is open but empty)\ntwo recipe cylinders:\na Tea Recipe\nan Andouillettes Recipe\ntwo metal dishes:\na hinge-lidded teapot (which is closed)\na plate\nsome cooked andouillettes\na dashing hat (being worn)\na cup\nnot very much onion dye (which leaves some room in the cup)\n\n> You examine the cloak\nA fine navy cloak for a woman, lined with swansdown.\n\n> You look at the fork\nA silver fork with the crest of the family stamped on the handle.\n\n> You link the dancers to the iron key\n(first unlinking the mechanical human dancers)\nYou succeed in unlinking the mechanical human dancers from the old letter.\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\n> You go north\nThis was the countess' favorite room, and it is more richly decorated than any other in the house, betraying her taste for the brightly-colored and the jewel-like. The count brought her some things from his travels, and made others for her. Most of the contents seem to be gone -- the chairs and sofas, and the wall hangings -- but some bits remain.\n\nYou can see some glass shards here.\n\n> Close east\nThat's not something you can close.\n\nIn your hunger, you dream of fresh white cheese, still in the soft balls. Or perhaps a heavy Christmas-time cake with candied fruit and smothered in brandy, such as Englishmen sometimes bring with them to Paris. And you have always considered them an abomination heretofore.\n\n> Close double\nYou close the double doors.\n\n> You link the teapot to double doors\nBending your will, you form the link between the hinge-lidded teapot and the double doors.\n\n> You go southwest\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west. The wooden door is currently closed.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You go to the east\nThe south door leads only out of the estate, where you are not ready to go. You can go only north, west, northeast, up or down.\n\nThe cuckoo clock ticks sullenly.\n\n> You take it\n(putting the bag on a string into the sack to make room)\nTaken."
    },
    {
        "text": "[Themes: Fantasy, magic, physical simulation, male protagonist, culinary theme, Historical]\n\n> Go down\nYou can go only south or west.\n\n> You open double\nYou open the double doors.\n\nThe mechanical bee buzzes around the mead.\n\nThe hinge-lidded teapot opens.\n\n> You link the bee to dancers\nYou valiantly try to link the two objects, but they seem as though they will never go together.\n\nThe bee briefly attempts a landing on the mead.\n\n> Close double\nYou close the double doors.\n\nThe hinge-lidded teapot shuts.\n\n> Go upwards\nIn your hunger, you dream of curls of toasted bread, dripping with butter.\n\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms.\n\nNorth is the old conservatory.\n\n> You go west\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\nYou can also see a hinge-lidded teapot (which is closed) here.\n\n> You open teapot\nYou open the hinge-lidded teapot, revealing a clockwork bee and some mead.\n\nThe bee buzzes around the mead.\n\n> You take teapot\nTaken.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> You go north\nIn your hunger, you dream of the small, bitter oranges of Jerusalem.\n\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\n> You go west\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\nYou can also see a hinge-lidded teapot (which is closed) here."
    },
    {
        "text": "[Themes: Fantasy, strong NPCs, fantasy, culinary theme, male protagonist, physical simulation]\n\n> Go downwards\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west. The wooden door is currently closed.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nJust on the quarter-hour the cuckoo clock opens up its door and a mechanical bird flies forward. It sings a brief warbling tune, then withdraws into its little door.\n\n> You eat the sausages\nIt would help if you had, say, a fork.\n\n> You take the fork\n(putting the silver coins into the sack to make room)\nTaken.\n\n> You eat the brie\n(first taking the wedge of brie)\n(putting the goat cheese into the sack to make room)\nIt seems a bit uncouth just to take bites out of the brie without slicing it or anything. Even if no one's watching.\n\nGoodness, but you're exhausted.\n\n> You cut the brie with the knife\nWhich do you mean, the butcher knife or the table knife?\n\n> Table\n(first taking the table knife)\n(putting the old letter into the sack to make room)\nYou slice yourself a piece of the brie.\n\n> You look at the table\n(the table)\nA glossy mahogany table. Seats 25 easily; supports a massive epergne without complaint. Once the Baroness of Venchy (who was not an entirely respectable lady, having been an actress for some years before the Baron met her)-- once, elevated by spirits, she also became elevated by this very table, and delivered herself of two monologues and her overskirt before anyone had the presence of mind to call her to a halt.\n\nGoodness, but you're exhausted.\n\n> Go upwards\nGoodness, but you're exhausted.\n\nStaircase, First Floor\nThe top of a broad curving stair: east is the long salon that goes the length of the house, downstairs are the foyer and the grand receiving rooms.\n\nNorth is the old conservatory.\n\n> Go west\nYou could really go for a nap.\n\nStripped of the clutter it once possessed, the room still offers a charming view through the north window of the old grounds, and the way out is to the east. The wallpaper and floorboards are still as fine as ever.\n\nHanging on the wall is an elegant gilt-wood mirror, reflecting sunlight over the ground before it.\n\nHer desk remains, pushed against the wall.\n\n> You examine the window\nWindows framed in the old style, arched at the top with a little knot of carved flowerettes and ribbon-work.\n\nYou could really go for a nap.\n\n> You open it\nThese windows do not open or close.\n\nGoodness, but you're exhausted.\n\n> You go east\nA chilly northern exposure, perhaps, but really quite lovely. This room used to be where Marie would practice her music, and the Countess play her compositions; Marie's own room lies to the west.\n\nOn the high shelf is Clock Repair.\n\nThe pianoforte stands in the center of the room.\n\nGoodness, but you're exhausted."
    },
    {
        "text": "[Themes: Fantasy, fantasy, France, Historical]\n\n> Descend\nOdd. Eating has made you a bit sleepy.\n\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west. The wooden door is currently closed.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You go east\n(first opening the double doors)\nYou open the double doors.\n\nThe hinge-lidded teapot opens.\n\nA narrow corridor between the kitchen and the main house, which has a thick separate wall. The two buildings are only barely attached, to discourage fires. A small staircase leads down.\n\nDouble doors give west onto the main house.\n\nThe clockwork bee, detecting your presence, stirs angrily to life. You make a few noble efforts to bat it away, but all to no avail. With deadly accuracy it finds your skin; there is a sharp sting, then a gradual dulling...\n\n> Sleep\nYou need a proper bed to sleep in.\n\nGoodness, but you're exhausted.\n\n> You enter the bed\nYou get onto the bed.\n\n> You jump\nYou jump a few times on the bed, childishly.\n\n> Sleep\nYou close your eyes...\n\nYou're standing alone, in a darkened room. It's hard to be certain, but it seems that you are probably underground, and that the walls are stone. You're a bit dirty.\n\nThere's a bowl of standing water. You glimpse into it, and see Marie's face. This unnerves you, so you examine yourself, and you are Marie -- dressed in a gown you've never seen before, but it's tattered. You are handcuffed, and the cuffs chafe.\n\nThen the scene grows more distant, and you feel as though you are pulling out of Marie's eyes, and seeing her now from the outside. Then you realize that you are looking through a strange window, and all around the edge of the window are odd markings. You're still somewhere deep underground, or possibly underwater...\n\nYou wake up with a start."
    },
    {
        "text": "> Look around\nServants' Dormitory (on the bed)\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\nIn the fireplace are some bits of shattered brick.\n\n> You read Dyes\n(first taking On Vegetable Dyes)\n\n(putting the hinge-lidded teapot into the sack to make room)\nTaken.\n\nYou flip through the pages, becoming transfixed by a discussion of how the Celts, supposedly, were wont to dye clothing in a decoction of powdered lichen and stale piss, brewed together for three weeks and then strained.\n\nBut beside this pleasant concoction there are references to others, such as onion skin boiled in water to produce a pleasant yellow.\n\n> You wait a while\nTime passes.\n\n> You eat the brie\nWhich do you mean, the slice of brie or the wedge of brie?\n\n> Slice\nWhat do you want to slice?\n\n> You eat the slice\nYou polish off the slice of brie. Each taste melts on the tongue."
    },
    {
        "text": "[Themes: Fantasy, strong NPCs, Historical, France]\n\n> Go downward\nWhat do you want to slice down with?"
    },
    {
        "text": "[Themes: Fantasy, Historical, France, magic]\n\n> Go downward\n(first taking the floor)\nYou can't reach from here."
    },
    {
        "text": "[Themes: Fantasy, Historical, physical simulation, magic]\n\n> You go downwards\nYou get off the bed.\n\nUp here the female servants used to sleep. Now there is only a dreary row of unmade beds; a rack for drying washing; the fireplace, hollow and untended. Time was, when you were very young, that you used to creep in here for chatter and gossip, and the language you were used to hearing at home.\n\nIn the fireplace are some bits of shattered brick.\n\n> You link the dancers to the letter\nBending your will, you form the link between the mechanical human dancers and the old letter.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the piano\nLegs and case are fashioned out of a dark, heavy wood, with the keys of the usual color. The lid is propped open on a metal stick, and there is a music stand as well, though it is without music.\n\n> You link the dancers to piano\n(first unlinking the mechanical human dancers)\nYou succeed in unlinking the mechanical human dancers from the old letter.\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\n> You play the piano\nYou sit down at the piano and begin to play, as you have not in years: a minuette.\n\nThe dancers, as though touched by the music, come to life. They meet, and bow, and then begin to dance, now taking hands, now letting go, now apart, now together, up and down their cogged dance floor.\n\n> You link the dancers to the letter\nBending your will, you form the link between the mechanical human dancers and the old letter.\n\n> You play the piano\nYou sit down at the piano and begin to play, as you have not in years: a minuette.\n\nThe dancers, as though touched by the music, come to life. They meet, and bow, and then begin to dance, now taking hands, now letting go, now apart, now together, up and down their cogged dance floor.\n\nWhile the dancers dance, the characters on the Count's letter begin to shuffle themselves: each sixth letter steps out of line, bows, and slides across the paper into a new position. The punctuation, the capitalization, fade away in the brisk music, and new forms appear.\n\n> You read the letter\n\"Daughter,\" it begins. \"If I ever leave you or am lost,\nthere are some matters you must know of. First-- I have laid aside some provisions, a small store only, against disaster: money, letters of introduction to certain persons, but most of all the means to defend yourself, if need comes. They are hidden, and the ways to find them woven up long ago where only the proper light will show it. You're a clever girl, Marie. I know you will not resort to them heedlessly.\n\n\"Look after the servants: they have been loyal and good all your\nlife. If you find you wish to sell any of the odder things I brought your mother, don't give them away cheap. They'll fetch a large price from M. Couligne in the Rue des Arbres. If you marry, for your mother's sake let it be a man who is well-born, but for mine, please daughter, not someone who will deny you the right to practice your craft.\n\n\"And last -- my dear girl, this will come as a shock to you, and I\nam sorry. But when you were stuck in the well as a child, and so close to death, I became desperate, and took the very dangerous step of linking you to Pierre, so that you would not die as long as he lived. So you see, it was not only gratitude that made us raise him almost as your brother, but concern for your very life, since your mother and I knew that as long as he was healthy and well, so would you be. Therefore, child, keep an eye on him, and if ever he is in want, look after him carefully. I know that you are fond of him in any case, but think on this in addition: his very life is yours.\"\n\nIt is signed, \"Your loving father.\"\n\n> You take the bauble\n(putting the fork into the sack to make room)\nThe celestial bauble slips out of its holder, and the planets go dark.\n\n> You put the bauble in the blue\n(the bottle of mead)\nThe neck of the bottle is much too small.\n\n> You put the bauble in the blue jar\nYou put the celestial bauble into the blue glass jar.\n\n> You take the bauble\n(putting the wedge of brie into the sack to make room)\nTaken.\n\n> You put the bauble in the green jar\nYou put the celestial bauble into the green glass jar.\n\n> Close box\n(the assortment of boxes and barrels)\nYou close the assortment of boxes and barrels.\n\n> You close the wooden box\nYou close the dark wooden box.\n\n> Search boxes\nYou look inside one of the nearby barrels and find some hunks of salted pork.\n\n> You put the bauble in the blue\n(the bottle of mead)\nThe neck of the bottle is much too small.\n\n> You put the bauble in the blue jar\nYou put the celestial bauble into the blue glass jar.\n\n> You examine the rug\nIt's a deep, thick carpet, so comfortable that your mother would have been happy to have it for a bed. There is a peculiar pattern woven into the rug, obvious in the blue light, that looks somewhat like this:\n\n....................#####..####...#####.. ......................................... .............#####..####...####...####... ......................................... ...###.###..........#####.........#####.. ......................................... .....###.###....###...####......#####.... ......................................... ...............#####..####......####..... ......................................... ................................#####.... ......................................... ........#####..#####..................... ......................................... ........####...####...................... ......................................... ...............#####..#####..#####.......\n\n> You look at the rug\nIt's a deep, thick carpet, so comfortable that your mother would have been happy to have it for a bed. There is a peculiar pattern woven into the rug, obvious in the green light, that looks somewhat like this:\n\n..#...#...#..#...#....................... ..#...#...#..#...#..#......#...#..#...... ..#...#...#.............................. ...#..#..#...#...#..#......#...#..#...... .............#...#.........#...#......... ......................................... .............................#........... .....#..#..#...#...#..#...#..#..#........ ....#...#...#................#........... ....#...#...#..#...#..#...#..#..#........ ....#...#...#..#...#..#...#..#........... ......................................... ......................#......#........... ........#......#......#......#........... ......................#......#........... ........#......#......#......#........... ........#................................\n\n> You put it in the red jar\nYou put the celestial bauble into the red glass jar.\n\n> You fill the cup with water from well\nYou put some water in the cup. This fills the cup to the brim. The water mixes with what was already there.\n\n> You fill the cup with the water\nThe cup is already full.\n\n> You examine the cup\nA cup, glossed in white and decorated with the crest of the family, just as though it belonged to the family china pattern.\n\nIn the cup is a mixture of water and onion dye.\n\n> Empty cup\nwater and onion dye: You pour the water and onion dye out onto the ground.\n\n> You fill the cup with the water\nYou put some water in the cup. This fills the cup to the brim.\n\n> You link the water in cup with the water in well\nLiquids repel linkage, not being discrete bodies. (The Count once demonstrated this by linking a block of ice and letting you watch the link fade as the ice warmed.)\n\nThe sun burns off some of the water and onion dye.\n\n> You examine drain\nWhat you can see of the drain hole is chiefly that it is blocked at this end by the sponge.\n\n> You look at what you're carrying with you\nYou are carrying:\nOn Vegetable Dyes\na slice of brie\na table knife\na bottle of mead\nsome mead (which leaves some room in the bottle of mead)\na sack (which is open)\nan old letter\nsome silver coins\na bag on a string (which is open but empty)\nsome mechanical human dancers\na stone block\ntwo corks\na rug\na yellow handkerchief (tied in a sopping knot)\na rope ladder\na butcher knife\na dark wooden box (which is closed)\na sword\na green glass jar (which is open but empty)\na red glass jar (which is open)\na celestial bauble (providing red light)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\ntwo bottles of wine:\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\nthree books:\nGuide to Assorted Wines\nThe Lavori d'Aracne\nThe World Is Hollow (which is open but empty)\ntwo recipe cylinders:\na Tea Recipe\nan Andouillettes Recipe\neight food items:\na wedge of brie\na goat cheese\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\nthree pieces of silverware:\na fork\na silver-plated corkscrew\na spoon\ntwo metal dishes:\na hinge-lidded teapot (which is closed)\na plate\na dashing hat (being worn)\na cup\nsome water (which fills the cup to the brim)\n\n> You examine the blue bottle\n(the bottle of mead)\nAside from the contents, an entirely ordinary bottle. Currently open and corkless.\n\nIn the bottle of mead is some mead.\n\n> You link the blue bottle to well\n(the bottle of mead to the well)\nBending your will, you form the link between the bottle of mead and the well.\n\n> Empty bottle of mead\nmead: You pour the mead out onto the ground.\n\nThe level of the water in the well sinks out of sight.\n\n> You look at well\nA dark circle of stone, the depths of which you cannot see. The water does not begin until many feet down, and is for all reasonable purposes inaccessible from here.\n\nA bar of iron crosses the well, to support a bucket on a rope (which, however, is itself lacking).\n\n> You put the ladder on the bar\n(first taking the rope ladder)\nTaken.\n\nYou adroitly fasten the rope ladder to the bar.\n\n> You put all in the sack\nOn Vegetable Dyes: Done.\nslice of brie: Done.\ntable knife: Done.\nblue bottle: Done.\n\n> You put it in the well\nThe celestial bauble falls into the distance.\n\n> You look at well\nA dark circle of stone, the depths of which you cannot see. The water does not begin until many feet down, and is for all reasonable purposes inaccessible from here.\n\nA bar of iron crosses the well, to support a bucket on a rope (which, however, is itself lacking).\n\n> Link the bottle of the mead to well\nBending your will, you form the link between the bottle of mead and the well.\n\n> Empty bottle of mead\nmead: You pour the mead out onto the ground.\n\nIn the hot sun, the mead would appear to be evaporating.\n\nThe level of the water in the well sinks out of sight.\n\n> You put the bauble in the bag\n(first taking the celestial bauble)\nTaken.\n\nYou put the celestial bauble into the bag on a string.\n\n> You check your inventory\nYou are carrying:\na dashing hat (being worn)\na cup\n\n> You check what you're carrying\nYou are carrying:\na bag on a string (which is open)\na celestial bauble (providing white light)\na dashing hat (being worn)\na cup\n\n> You drop the cup\nThe cup is already here.\n\n> Wear the bag\nYou put on the bag on a string."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, magic, physical simulation]\n\n> Go downward\nYou cling to the rope ladder, deep within the well. The sky has narrowed above you to a coin of pale blue. The damp stones brush against your body as you move, no doubt leaving stains on the elegance of your attire, but there is no longer time for such concerns.\n\nAn opening in the north wall. You could crawl, if you chose.\n\n> You go north\nYou squirm your way through the close packing of stones, a tunnel not much wider than your body...\n\nA room like a coffin of rock: rock lines the floor, packed rocks vault the roof, in a shape little longer than a man's body, and just tall enough to accommodate you in sitting upright. There is an odor of dampness and vague decay, though you can feel, brushing round you in the air, the web of strong protections. The room does not seem to have been soaked, despite the water level in the well outside.\n\nThe sloping passage leads back into the body of the well, to the south.\n\nThere's a rounded stone in the back wall that looks loose.\n\nPushed to one side is a heavy box.\n\n> Examine box\nLike the strong box that people take in their coaches for traveling.\n\n> You open it\nYou open the box, revealing an important paper and some gold coins.\n\n> You look at them\nA nontrivial portable fortune, obviously packed up with exactly that in mind. The coins are brightly minted, but old.\n\n> You read it\nThe text is too long to read, but you get the sense of it quickly. It is an order from the King: the traitor the Baron D'Envers, otherwise the heir through primogeniture of the estate of the Count, is prevented from the enjoyment of that inheritance, though for unnamed reasons he is not to be executed.\n\nThe text goes on to add that these matters are to be kept private, but that Marie is female heir effective to the Count's line, with all the rights and honors preserved, and that anyone she marries, regardless of background, will become rightful Count."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, culinary theme, physical simulation]\n\n> You look at your surroundings\nA room like a coffin of rock: rock lines the floor, packed rocks vault the roof, in a shape little longer than a man's body, and just tall enough to accommodate you in sitting upright. There is an odor of dampness and vague decay, though you can feel, brushing round you in the air, the web of strong protections. The room does not seem to have been soaked, despite the water level in the well outside.\n\nThe sloping passage leads back into the body of the well, to the south.\n\nThere's a rounded stone in the back wall that looks loose.\n\nPushed to one side is a heavy box.\n\n> You look at stone\nAbout as large as your head, but a bit broader and flatter.\n\n> You take the stone\nMoving the rock reveals a strange mirror imbedded in the back wall.\n\n> You examine the mirror\nIt is, or should be, a mirror, but it is surrounded by odd markings. A spot at the bottom of the frame seems worn by touch. At one point there is what would seem to be a maker's mark, an ornate letter C.\n\n> You search mirror\nIt is dark and clouded.\n\notherwise too dissimilar to use.\"\n\n> You touch the mirror\nYou touch the frame of the mirror, but nothing happens. Perhaps the mirror has not been activated (in whatever way that would work.)\n\n> Kiss mirror\nYou can only do that to something animate.\n\n> You put all in the bag\nround stone: The bag on a string will accommodate only small items. important paper: The bag on a string can really only accomodate one object at a time.\ngold coins: The bag on a string can really only accomodate one object at a time.\n\n> Examine box\nLike the strong box that people take in their coaches for traveling.\n\n> You put all in the box\nround stone: Done.\nimportant paper: That won't fit into the box, given what else is already there.\ngold coins: Those won't fit into the box, given what else is already there.\n\n> You put all in the box\nimportant paper: Done.\ngold coins: Done."
    },
    {
        "text": "[Themes: Fantasy, France, strong NPCs, Historical, physical simulation]\n\n> Go upwards\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nYou can see a cup (which is empty), a sack (in which are a slice of brie, On Vegetable Dyes, an old letter, some silver coins,\nsome mechanical human dancers, a stone block, two corks, a rug, a yellow handkerchief, a butcher knife, a dark wooden box (which is closed), a sword, a green glass jar (which is empty), a red glass jar (which is empty), a navy cloak, some documents, a blue glass jar (which is empty), a round metal tin (which is empty), a small portrait, a jeweled pin, a snuffbox (in which is a quantity of snuff), a swordstick (which is empty), two keys (a silver key and an iron key), three books (Guide to Assorted Wines, The Lavori\nd'Aracne and The World Is Hollow (which is empty)), two\nrecipe cylinders (a Tea Recipe and an Andouillettes Recipe), three bottles of wine (a blue bottle (which is empty), a blue bottle (which is empty) and a bottle of Chateauneuf du Pape (which is closed)), four pieces of silverware (a table knife, a fork, a silver-plated corkscrew and a spoon), eight food items (a wedge of brie, a goat cheese, a salers, some apples, a bay leaf, a sprig of parsley, a sprig of mint and a clove of garlic) and two metal dishes (a hinge-lidded teapot (which is closed) and a plate)) and a sticky mixture of mead, water, and onion dye here.\n\n> You examine the key\nWhich do you mean, the ornate key, the silver key or the iron key?\n\n> Ornate\nIt's not exactly easy to get a good look.\n\nThe cuckoo clock ticks sullenly.\n\n> You link the ornate to the table knife\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\nThe cuckoo clock ticks sullenly.\n\n> You look at the sword\nA slender and flexible blade, and more decorative than useful, though there have been a few occasions when it became helpful against brigands in the street. The design at the hilt is a bit ornate, but not unpleasantly so.\n\nThe cuckoo clock ticks sullenly.\n\n> You link ornate to the sword\nBending your will, you form the link between the ornate key and the sword.\n\nThe cuckoo clock ticks sullenly.\n\n> You twist the sword\nYou rotate the sword in mid-air, but it turns too smoothly, without friction: like a key being turned outside of a lock.\n\nThe cuckoo clock ticks sullenly.\n\n> You put the sword in the swordstick\n(first taking the sword)\nTaken.\n\nYou put the sword into the swordstick.\n\nThe cuckoo clock ticks sullenly.\n\n> You turn it\nYou rotate the sword in its sheath. There is a clicking noise from the gothic door as the ornate key also rotates in place.\n\nThe cuckoo clock ticks sullenly.\n\n> You open the gothic\nYou open the gothic door.\n\nThe cuckoo clock ticks sullenly.\n\n> You go west\nThe walls in this area are unfaced stone, without the plastering, scrollwork, and wallpaper of the main building. To the west is the family's private chapel, for their devotions when they did not feel like attending the parish church.\n\nA staircase of worn stone steps leads up to the area above the chapel.\n\nThe door to the foyer is back to the east.\n\n> Go west\nThe old private chapel, octagonal-shaped, with tall windows of stained glass, casting a dazzling pattern of blue and green on the ground. Here the family used to hold its private worship services, keeping a form of the official religion that would no doubt have scandalized the parish curate.\n\nThere's a conspicuous rat-hole where the stone floor meets the wooden beams.\n\n> You examinthe rat-hole\nA dark concavity, lined with the gathered debris of past services; bits of paper curled into the shadows, and string, and gnawed grey cloth. Most notably, there are a gilded key, a wadded paper and a rat.\n\n> You touch the rat\nKeep your hands to yourself!\n\n> You take the key\n(the gilded key)\nThe rat nips your fingers sharply, drawing blood. You squeeze the offended digits until the flow is staunched. \"Bastard scion of Lucifer!\" you yell at it.\n\nIt stares back at you beadily.\n\n> You kill the rat with the sword\n(first taking the sword)\nYou draw the sword from its sheath. You stab. It dodges. The point of your sword buries itself into the wood and takes a moment to pull out again.\n\nWith this kind of luck, it's going to take a lot of stabs before you get anywhere. Maybe you'd be better off with a subtler strategy.\n\n> You go to the east\nThe walls in this area are unfaced stone, without the plastering, scrollwork, and wallpaper of the main building. To the west is the family's private chapel, for their devotions when they did not feel like attending the parish church.\n\nA staircase of worn stone steps leads up to the area above the chapel.\n\nThe door to the foyer is back to the east.\n\n> Go east\nExtremely spacious. It is its best with a half-dozen servants in livery. The floor is Italian marble.\n\nThe main staircase ascends to the corridor on the second floor, and a smaller version leads down into the dim basement. Doors also open north and northeast.\n\nAn old gothic door framed in stone leads west.\n\nA sad heap of used yellow brocade huddles on the floor here.\n\nOn the wall is one of those mechanical clocks that pop open on the hour, allowing the ingenious internal figures out to play.\n\nThe cuckoo clock ticks sullenly.\n\n> You put the teapot ithe rat-hole\n(first taking the hinge-lidded teapot)\nTaken.\n\nYou block the rat hole with the hinge-lidded teapot.\n\nOf course, the rat is still in there, and you don't fancy the idea of trying to starve it out.\n\n> You take the teapot\nYou take the hinge-lidded teapot, freeing up the hole again.\n\n> You look at the wedge\nOozing and ripe, somehow. You would expect it to be thoroughly ruined by now -- this is not a cheese that should age -- but the Count's powers were diverse, and extended to careful protections of his possessions. Of the wedge, only a couple of pieces remain.\n\n> You examine the salers\nAn aged, creamy yellowish cheese with an uneven grey-brown rind. It has a sharp and distinctive flavor, though it does not fall under the category of stinky cheeses.\n\n> You drop the brie\nWhich do you mean, the slice of brie or the wedge of brie?\n\n> Slice\nWhat do you want to slice the rat hole with?\n\n> You drop it\nDropped.\n\nSeeing the cheese lying tantalizingly out on the floor, the rat scurries out and takes it.\n\n> You take the key\n(the gilded key)\nThe rat runs along the wall to its home with unseemly haste.\n\nThe rat nips your fingers sharply, drawing blood. You squeeze the offended digits until the flow is staunched. \"Creature of Lucifer!\" you yell at it.\n\nIt stares back at you beadily.\n\nIn the rat-hole, the rat eats a bit more of its dinner.\n\n> You kill the rat with the sword\nYou're closer this time, you can feel it -- the rat is out, exposed, and unprotected. You strike--\n\n> You put the teapot in the hole\nIt dodges your attack adeptly. Speed and agility are on its side.\n\nThe rat scurries back into its hole.\n\nYou block the rat hole with the hinge-lidded teapot.\n\nOf course, the rat is still in there, and you don't fancy the idea of trying to starve it out.\n\n> You put the teapot in the hole\nSeeing you move, the rat scampers back into the rathole with unseemly haste.\n\n(first taking the hinge-lidded teapot)\nTaken.\n\nYou block the rat hole with the hinge-lidded teapot.\n\nOf course, the rat is still in there, and you don't fancy the idea of trying to starve it out.\n\n> You open the teapot\nSeeing you move, the rat scampers back into the rathole with unseemly haste.\n\nYou open the hinge-lidded teapot, revealing a clockwork bee and some mead.\n\nThe rat nibbles methodically at the slice of brie. It seems to be getting quite a bit of soft brie goo on its nose and whiskers.\n\nThe bee hovers above the mead.\n\n> You open it\nYou open the hinge-lidded teapot, revealing a clockwork bee and some mead.\n\nThe mechanical bee buzzes around the mead.\n\n> You take the slice of the brie\nTaken.\n\nThe mechanical bee briefly attempts a landing on the mead.\n\n> You put it in the teapot\nYou put the slice of brie into the hinge-lidded teapot.\n\nThe rat emerges from its hole and sniffs with interest around the outside of the hinge-lidded teapot.\n\nThe bee hovers above the mead.\n\nThe rat makes the fatal judgement error of attempting to go after the cheese. This rouses the bee to anger; there is an agonized squeal, and then both bee and rat fall still, the one spent, the other dead.\n\n> You take all from the hole\ngilded key: Removed.\nwadded paper: Removed.\n\n> You read wadded\n...can be used to view the other member of a strong link. Under\nmost circumstances there is a word of some sort required to activate such viewing devices, which may be spoken to it or in its presence.\n\nNext to this in handwriting: \"(Our mirror from the workshop in the Rue des Arbres.)\"\n\n> You read Lavori\n(first taking The Lavori d'Aracne)\n\n(putting the sword into the sack to make room)\nTaken.\n\nOn the subject of mirrors: Unusual and costly mirrors of special\npower exist which enhance the workings of the lavori d'Aracne; they may be recognized by their failure to reflect in the ordinary way. Some make it easier to form a link through the mirror than through open air, allowing the magician to reverse-link items that are otherwise too dissimilar to use. Likewise, such a mirror...\n\nBut then, unfortunately, it breaks off, the page apparently having been chewed out and carried away by something or other.\n\n> You go to the east\nThe walls in this area are unfaced stone, without the plastering, scrollwork, and wallpaper of the main building. To the west is the family's private chapel, for their devotions when they did not feel like attending the parish church.\n\nA staircase of worn stone steps leads up to the area above the chapel.\n\nThe door to the foyer is back to the east.\n\n> You go upward\nThe worn and winding staircase is not so easy to climb, you find; it would be worse with a flickering candle in the dark. But still you manage...\n\nAs a child, you were never allowed in here; it is the only part of the house that is completely unfamiliar to you, though some parts were better known than others. The room, like the chapel below it, is made of stone, unfaced; high windows, clear rather than stained glass, admit a pure light. It is also octagonal, and the ceiling ribs meet at a boss overhead, shaped like a coiled dragon.\n\nIt does not have the bare appearance of most of the other rooms of the house. There is a full company of furniture -- a tall-backed ebony and ivory chair, poster bed, wardrobe, inlaid florentine table. A staircase of worn stone steps leads back down.\n\nOn the inlaid table are a fanciful book and an unfinished letter.\n\nThere is a trunk in the middle of the room, its lid thrown open and its contents beginning to spill out.\n\n> You read the fanciful book\n(first taking the fanciful book)\n\n(putting the gilded key into the sack to make room)\nTaken.\n\nIt seems to be set in Italy and to involve a number of improbable situations. There is a daring heroine who gets herself into assorted scrapes, and also a mysterious (and magic-using!) hero who appears to let her out of them again (but then always irritatingly departs without a word).\n\n> You read unfinished\nDear Father,\n\nThings have gone badly since you last wrote. I refused the hand of D'Envers, as you recommended (though I cannot say that I had any desire to wed him in any case), and, if he were a gentleman, that would have been the end of the matter. But a few days later I caught one of the maids going through my personal things, and when I questioned her it came out that D'Envers had bribed her to see if he had a rival! I turned her off immediately, but things became worse. There are men of the D'Envers livery passing by the estate on various pretenses, and I am constantly watched.\n\nI moved my things into your room -- it seems safer. I have shut\naway some of the valuables. I am about to leave as well -- I will try to get to Pierre in Paris. He will know what to do.\n\nI wish you had left me some hint of what you were doing, what you intend...\n\n> You examine the chair\nMade of ebony but fitted, at the top of the back, with faces made of ivory and inset into the heavy wood; and as for the upholstery, it is done in fine silver on black.\n\n> You examine the bed\nAn old, slightly battered frame, massive and sheltering, with posts like the masts of a ship.\n\n> You open the wardrobe\nYou open the wardrobe, revealing a selection of dresses.\n\n> You search the wardrobe\nIn the wardrobe is a selection of dresses.\n\n> You take the dresses\nNo point in taking the entire armload of gowns. You'd only get them damaged, and you can hardly afford to replace them.\n\n> You wear the dresses\n(first taking the selection of dresses)\nNo point in taking the entire armload of gowns. You'd only get them damaged, and you can hardly afford to replace them.\n\n> You examine table\n(the inlaid table)\nThe top surface of the table is ornamented with inset stone in design; it looks Florentine.\n\n> You examine the trunk\nThe sort of trunk that someone packs things into in preparation for a journey.\n\nIn the trunk are a bracelet, an ivory silk gown and a pair of shoes.\n\n> You look at the bracelet\nA bracelet of onyx beads, threaded on silk and silver. It has a clasp that opens and closes.\n\n> You take it\n(putting the wadded paper into the sack to make room)\nTaken.\n\n> You remember the bracelet\n...\n\nYou remember buying it quite clearly, but have not seen it since you gave it to her. It is an odd trinket for a grown woman, especially one with so many other jewels at her disposal.\n\n...\n\n> You examine the gown\nAn exquisite gown of ivory silk: its vast skirts are embroidered with an intricate colored pattern of birds and foliage, and the bodice is decorated with outsized bows.\n\n> You take it\n(putting the clockwork bee into the sack to make room)\nTaken.\n\n> You examine shoes\n(the pair of shoes)\nIvory dress shoes for a woman with delicate feet (Marie; the Countess had larger extremities). The heels are studded with diamond chips. They're worth a small fortune.\n\n> You take the shoes\n(the pair of shoes)\n(putting the rat corpse into the sack to make room)\nTaken.\n\n> You wear the gown\nEven if your dignity would allow such a ludicrous gesture, you very much doubt that the gown would fit you. It looks about Marie's size.\n\n> You wear the shoes\n(the pair of shoes)\nMincing about in Marie's heeled shoes is not likely to help you much.\n\n> You examine the dragon\nThe boss is left over from an earlier, more primitive time, and have a certain fierceness in the carving of the dragon and claws.\n\n> You drop the rug\n(first taking the rug)\nTaken.\n\nDappled blue and green light plays over the rug.\n\n> You examine it\nIt's a deep, thick carpet, so comfortable that your mother would have been happy to have it for a bed. There is a peculiar pattern woven into the rug, made visible by the matching pattern of blue and green light. It looks somewhat like this:\n\n..#...#...#..#...#..#####..####...#####.. ..#...#...#..#...#..#......#...#..#...... ..#...#...#..#####..####...####...####... ...#..#..#...#...#..#......#...#..#...... ...###.###...#...#..#####..#...#..#####.. ......................................... .....###.###....###...####...#..#####.... .....#..#..#...#...#..#...#..#..#........ ....#...#...#..#####..####...#..####..... ....#...#...#..#...#..#...#..#..#........ ....#...#...#..#...#..#...#..#..#####.... ......................................... ........#####..#####..#......#........... ........#......#......#......#........... ........####...####...#......#........... ........#......#......#......#........... ........#......#####..#####..#####.......\n\n> Unlock east\nWhat do you want to unlock east with?\n\n> You unlock the east door with the gilded key\n(first taking the gilded key)\nYou unlock the tall door.\n\n> You look at the key\n(the gilded key)\nA gilded key.\n\n> Go east\n(first opening the tall door)\nYou open the tall door.\n\nA large room with windows that face south, and a fireplace along the east. The place is a mess. Other rooms have looked bare, but this one-- this room has been ransacked. Furniture has not simply been removed or disarranged, it has been thrown around, in some cases even chopped up. The handsome secretaire has been turned into splinters.\n\nNorth is the doorway into the room that was once your bedroom.\n\nAn open door leads back west into the corridor.\n\n> You examine windows\nWindows framed in the old style, arched at the top with a little knot of carved flowerettes and ribbon-work.\n\nSomething about the wreckage tickles your recollection.\n\n> You remember the wreckage\n...\n\nYou sat on one of the chairs, legs dangling, while your father talked to the Count.\n\n\"Whatever you like,\" the Count said. \"We owe you everything... My daughter's life...\" He spread his hand, and you felt awed that this man could owe your father anything.\n\nThen your father glanced at you sideways, turned the cap in his hands, and began: \"My lord, we have many mouths at home.\"\n\n...\n\n> You look at the fireplace\nA handsome fireplace with the family crest carved in stone on the mantel.\n\nIn the fireplace are some remains of papers.\n\n> You read remains\nNot the sort of thing you can just read, even if they were intact.\n\n> You check what you're carrying\nYou are carrying:\na gilded key (which opens the tall door)\na pair of shoes\nan ivory silk gown\na bracelet (being worn)\ntwo books:\na fanciful book\nThe Lavori d'Aracne\na hinge-lidded teapot (which is open)\na slice of brie\nsome mead (which leaves some room in the hinge-lidded teapot)\na sack (which is open)\na rat corpse\na clockwork bee\na wadded paper\na sword\nan old letter\nsome silver coins\nsome mechanical human dancers\na stone block\ntwo corks\na yellow handkerchief (tied in a sopping knot)\na butcher knife\na dark wooden box (which is closed)\na green glass jar (which is open but empty)\na red glass jar (which is open but empty)\na navy cloak\nsome documents\na blue glass jar (which is open but empty)\na round metal tin (which is open but empty)\na small portrait\na jeweled pin\na snuffbox (which is open)\na quantity of snuff\na swordstick\ntwo keys:\na silver key (which opens the red door leading west)\nan iron key (which opens the russet door leading east)\ntwo recipe cylinders:\na Tea Recipe\nan Andouillettes Recipe\nthree bottles of wine:\na blue bottle\na blue bottle\na bottle of Chateauneuf du Pape (which is closed)\nfour pieces of silverware:\na table knife\na fork\na silver-plated corkscrew\na spoon\neight food items:\na wedge of brie\na goat cheese\na salers\nsome apples\na bay leaf\na sprig of parsley\na sprig of mint\na clove of garlic\na plate\nthree books:\nOn Vegetable Dyes\nGuide to Assorted Wines\nThe World Is Hollow (which is open but empty)\na bag on a string (being worn and open)\na celestial bauble (providing white light)\na dashing hat (being worn)"
    },
    {
        "text": "[Themes: Fantasy, fantasy, male protagonist, strong NPCs]\n\n> Describe the surroundings\nA large room with windows that face south, and a fireplace along the east. The place is a mess. Other rooms have looked bare, but this one-- this room has been ransacked. Furniture has not simply been removed or disarranged, it has been thrown around, in some cases even chopped up. The handsome secretaire has been turned into splinters.\n\nNorth is the doorway into the room that was once your bedroom.\n\nAn open door leads back west into the corridor.\n\n> Go north\nA large, bright, sunny room, which you still regard with affection.\n\nIn your absence it has turned into a general sitting room. Gone is the table where you used to study -- it took you a long time to learn to read as well as Marie, but you did not care to be left behind by someone two years younger than yourself; also the wardrobe, which astonished when you found that it was to contain nothing but clothes for you.\n\nOn the windowsill is a vase (in which are some dead roses).\n\n> You examine the roses\nDried and disintegrating, though you can tell that they were once red. The petals are crumbling into a papery dust around them, however.\n\nSomething about the dead roses tickles your recollection.\n\n> You remember\nWhat do you want to remember?\n\n> You remember the roses\n...\n\n\"How does he treat you?\" Your mother, standing outside in the field in her best dress because she refused to be brought inside the house. \"Is he very strict? Does he beat you?\"\n\n\"No, of course not, Maman. It is just as though he were my own Papa.\"\n\nShe frowned, looked away. \"And I suppose you are learning all sorts of things,\" she said.\n\n\"Oh, yes, much more than at home.\"\n\nShe made a little gesture; then her mood changed. \"But you must be missing the sweet bread I make at home, no? I'll bring you some in a basket.\"\n\n\"No, Maman, the cooks make me anything I want.\"\n\n...\n\n> You examine the vase\nA tall vase of some kind of turned stone, ornamented somewhat on the outside but neatly cylindrical inside.\n\nIn the vase are some dead roses.\n\n> You take it\n(putting The Lavori d'Aracne into the sack to make room)\nTaken.\n\n> You eat the roses\n(first taking the dead roses)\n(putting the fanciful book into the sack to make room)\nThey're plainly inedible.\n\n> Search window\nThrough the windows you can see the gardens -- first a wide patch of green, and then the flower plots delineated by hedges and topiary, and the scattered statues.\n\n> You go west\nA long empty room with shined wooden floors, perfect for sliding in stocking-feet. West is the top of the staircase, and rooms open to the north and east.\n\nThe door to the Count's study stands open.\n\n> You go east\nWest is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.\n\nIn one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.\n\nYou can see a cup (which is empty) and a sticky mixture of mead, water, and onion dye here.\n\n> You take the swordstick\n(putting the ivory silk gown into the sack to make room)\nTaken.\n\n> You wear the pin\n(first taking the jeweled pin)\n(putting the pair of shoes into the sack to make room)\nYou slip the jewelled pin on. You close the jeweled pin.\n\n> Wear the rat corpse\n(first taking the rat corpse)\nYou can't wear that!\n\n> You look at what you're carrying with you\nYou are carrying:\na rat corpse (as far from yourself as possible)\na jeweled pin (being worn)\na swordstick\nsome dead roses\na vase\na gilded key (which opens the tall door)\na bracelet (being worn)\na hinge-lidded teapot (which is open)\na slice of brie\nsome mead (which leaves some room in the hinge-lidded teapot)\na bag on a string (being worn and open)\na celestial bauble (providing white light)\na dashing hat (being worn)\n\n> You put the roses in the teapot\nYou put the dead roses into the hinge-lidded teapot.\n\n> You put the rat in the teapot\nYou put the rat corpse into the hinge-lidded teapot.\n\n> You put the key in the teapot\n(the gilded key in the hinge-lidded teapot)\nYou put the gilded key into the hinge-lidded teapot.\n\n> You drop the teapot\nDropped.\n\nThe sun burns off some of the mead, water, and onion dye.\n\n> You drop the vase and the swordstick\nvase: Dropped.\nswordstick: Dropped.\n\n> Go north\nYou squirm your way through the close packing of stones, a tunnel not much wider than your body...\n\nA room like a coffin of rock: rock lines the floor, packed rocks vault the roof, in a shape little longer than a man's body, and just tall enough to accommodate you in sitting upright. There is an odor of dampness and vague decay, though you can feel, brushing round you in the air, the web of strong protections. The room does not seem to have been soaked, despite the water level in the well outside.\n\nThe sloping passage leads back into the body of the well, to the south.\n\nPushed to one side is a heavy box.\n\nYou can also see a round stone and a mirror here.\n\n> You examine the mirror\nIt is, or should be, a mirror, but it is surrounded by odd markings. A spot at the bottom of the frame seems worn by touch. At one point there is what would seem to be a maker's mark, an ornate letter C.\n\n> You say couligne\n(to the mirror)\nWhen you speak the word, the mirror brightens somewhat, attentive to your intentions.\n\n> You touch the mirror\nThe mirror brightens and clears.\n\nYou make out the image of Marie, alone, in a room high in a tower. The place is bare, except for a cot, and the clothes she is wearing.\n\nOn the wall of the room you can discern the painted emblem of the house of D'Envers.\n\nMarie rubs at the handcuffs, shifting her hands.\n\n> You look at the handcuffs\n(the handcuffs through the mirror)\nUgly, thick metal that bind Marie's wrists.\n\nMarie shifts uncomfortably from one position to another.\n\n> You link the handcuffs to the pin\n(the handcuffs through the mirror)\nYou valiantly try to link the two objects, but they are just a little too different. Maybe if they looked more alike.\n\nMarie shifts uncomfortably from one position to another.\n\n> You link the handcuffs to the bracelet\n(the handcuffs through the mirror)\nBending your will, you form the link between the handcuffs and the bracelet.\n\nMarie shifts uncomfortably from one position to another.\n\n> You remove the bracelet\nYou take off the bracelet.\n\nMarie pokes at her hair hopelessly, perhaps trying to restore it to some semblance of order.\n\nThe handcuffs fall open. Marie appears surprised, but not too surprised to react; she immediately pulls the handcuffs off fully and throws them on the ground.\n\n> You examine marie\n(Marie through the mirror)\nShe seems bedraggled and dispirited. She is wearing a good dress, but it has been on her for a while, and is ruined by damp and dirt, and frayed at the hems.\n\nMarie sits down against the wall, with a disgusted expression.\n\n> You examine the cot\n(the cot through the mirror)\nIt looks mostly clean, at least, which is a mercy.\n\nMarie sits down against the wall, with a disgusted expression.\n\n> You examine the mirror\nIt is, or should be, a mirror, but it is surrounded by odd markings. A spot at the bottom of the frame seems worn by touch. At one point there is what would seem to be a maker's mark, an ornate letter C.\n\nMarie pokes at her hair hopelessly, perhaps trying to restore it to some semblance of order.\n\n> You search it\nIn the mirror you see reflected some handcuffs, a cot, Marie and a window. Around the edges you can make out other indications of Prison Room.\n\nMarie sits down against the wall, with a disgusted expression.\n\n> You look at the window\n(the window through the mirror)\nThe window seems to be glass, but with iron bars across it, ensuring against an easy escape even if the hypothetical escapee could reach it.\n\nMarie sits down against the wall, with a disgusted expression.\n\n> You look in the mirror\nIn the mirror you see reflected some handcuffs, a cot, Marie and a window. Around the edges you can make out other indications of Prison Room.\n\nMarie walks across the width of the room and stands looking up through the high window for a moment.\n\n> Inventory\nYou are carrying:\na jeweled pin (being worn)\na bracelet\na bag on a string (being worn and open)\na celestial bauble (providing white light)\na dashing hat (being worn)\n\nMarie pokes at her hair hopelessly, perhaps trying to restore it to some semblance of order.\n\n> Link pin to window\nBending your will, you form the link between the jeweled pin and the window.\n\nMarie sits down against the wall, with a disgusted expression.\n\n> You open the pin\nYou open the clasp. Naturally, the pin falls off.\n\nMarie flinches as the window swings abruptly open, spraying bits of stone as it does so. You can't hear through the medium of the mirror, but you imagine that it must make a great deal of noise: Marie puts up her arms around her head as though to protect her ears and face.\n\nThen she takes them down again.\n\n> Wait\nTime passes.\n\nMarie goes to where the cot is and pushes it under the window, obviously in preparation for climbing out.\n\nJust as she does so, however, the door behind her opens, and D'Envers walks in. He says something sharply, which you are unable to hear. She feels around on the bed; you see her hand close around something behind her, and your hopes rise -- but then you see it is only a pillow, roughly round in shape.\n\n> You link the pillow to the bauble\n(the pillow through the mirror)\n(first unlinking the celestial bauble)\nYou succeed in unlinking the celestial bauble from the sunlight.\nYou valiantly try to link the two objects, but they are just too dissimilar.\n\nThe conversation in the mirror seems to be growing more heated. Marie's fingers tighten on the pillow, which, unfortunately, does not look likely to protect her against a beating from D'Envers.\n\nAs for her captor, his breathing has gotten faster and there is a red flush in his face, which is probably the prelude to violence.\n\nIt is now pitch dark in here!\n\n> Reverse link pillow to stone\n(the pillow through the mirror)\nBending your will and all your attention, you manage to make a reverse-link between the pillow and the round stone, feeling their properties begin to merge together.\n\nD'Envers strides towards Marie, and she swings the pillow in his face; it hits so hard that his head snaps back and his nose streams blood. He falls without even crying out.\n\nMarie stands over him for a moment, startled. She leans forward and touches D'Envers' wrist, and then stands up and kicks him hard in the ribs.\n\nOnly then does she climb out the window...\n\nYour townhouse in Paris\n\nMarie sips from the cup of coffee in her hand. \"I still do not understand,\" she says, \"why you were at the estate in the first place.\"\n\nYou shrug. \"I had-- certain obligations.\" Her eyes meet yours, and she waits. \"Gambling debts,\" you elaborate. \"I was hoping your father would advance--\"\n\n\"I did not know you gambled.\"\n\n\"Under ordinary circumstances, I do not. I was-- led into it, in a way, by an acquaintance, and found myself indebted through him to the Baron D'Envers. He became quite unpleasant about the matter.\" You examine your fingernails. \"In the event, it seems that I am absolved of these debts. I doubt his heir will press them.\"\n\nShe nods. You consider whether to tell her the rest of what you learned. But she speaks first, frowning into her cup. \"I should tell you, Pierre, it might not be a coincidence, your trouble with D'Envers.\" She bites her lower lip. \"You see, he was pressing me to marry him, and he might have had the impression-- that is to say, he might have thought--\"\n\nYou raise your right eyebrow. \"If you used me as an excuse, Marie, do not worry about it,\" you say, with great generosity. \"I have been the subject of more embarrassing rumors.\"\n\nShe opens her mouth again, and you smile...\n\n*** You have won ***\n\nIn that game you scored 118 out of a possible 125, in 1333 turns, giving you the rank of returned prodigal.\n\n> Full\nIn that game you scored 118 out of a possible 125, in 1333 turns, giving you the rank of returned prodigal.\n\nThe score was made up as follows:\n\n5 eradicating a rat\n2 redecorating the foyer\n3 having an interesting dream\n5 forging your first reverse-link\n4 turning on the universe\n5 catching the clockwork bee\n4 success in a culinary venture\n3 finally getting over your hunger\n5 floating the tea recipe\n3 getting rid of a tangle of roses\n2 snooping in the Count's papers\n2 snooping in the King's papers\n3 activating the magic mirror\n3 operating at a distance\n8 rescuing Marie from a sticky situation\n28 collecting items of some value\n30 visiting various places\n\n118 total (out of 125)"
    },
    {
        "text": "[Themes: Comedy, crime, Farce, magpie, slapstick, humor, Comedy, male protagonist, heist]\n\nIt always pays to keep one's ears free of wax, as one never knows when one is going to overhear some titbit of information that later proves invaluable. Such was the case at the Dionysus Club, yesterday afternoon, when you happened to overhear the noted psychiatrist, Doctor Cornelius Drake, he of the ginger moustache, talking over the phone to his secretary.\n\n\"Cancel all my appointments for tomorrow, Miss Henshaw,\" said the shrink, \"I've been summoned down to Hamcestershire by the Earl of Hamcester. Never met the fellow, but he'd heard of me by reputation. Wants me to give his brother-in-law the once-over. Apparently, the poor chap thinks he's exploring the Congo. Sounds like a clear case of incorrigible delusion to me.\"\n\nThis telephone communication piqued your interest, and the reason it piqued your interest was that you happened to know that the Lord Hamcester to whom it referred was a collector of sorts, and that amongst his collection was an extremely valuable Egyptian jewelled scarab. In fact he had outbid you at auction for the very piece. It is a sad fact that amateur collectors are rarely aware of the true value of the pieces they possess, and it is not uncommon to find them displayed among a plethora of inferior items. Who knows what other gems might be squirrelled away amongst the bric-a-brac at Bunkham Hall?\n\nIt was the work of a moment to call Miss Henshaw, posing as the Earl, and cancel the appointment. And it was an equally simple matter, the following morning, to don a suitable disguise and take the 10.15 to St Bartholomew-on-the-Bog, Hamcestershire, in Doctor Drake's place. All in a day's work for Sir Rodney Playfair, alias the notorious gentleman thief known as \"The Magpie\"!\n\nA small, cosy study, impeccably neat, with walnut panelling and a leather-topped desk of a similar complexion. There are a few homely touches; a framed newspaper clipping and a photograph hang on the wall beside you. A sturdy wooden chair faces the desk. The door, leading south into the library, is closed.\n\nA ghastly amateur watercolour hangs above the desk.\n\nOn the walnut desk is a pamphlet.\n\nLord Hamcester regards you haughtily from behind his desk.\n\n\"Good of you to come at such short notice, Doctor,\" says Lord Hamcester. \"You've read my telegram I take it?\"\n\n(You could say yes or no)\n\n[Author's Note: Sir Rodney Playfair, gentleman thief, has a simple plan: impersonate a psychiatrist, infiltrate a country house, steal a priceless Egyptian scarab and make it back to London in time for cocktails. All in a day's work for the illustrious 'Magpie'.]"
    },
    {
        "text": "[Themes: Comedy, Comedy, magpie]\n\n> You say no\n(to Lord Hamcester)\n\"Allow me to refresh my memory as to the contents,\" you say. Before the real Doctor Drake left the club yesterday you had the presence of mind to filch Lord Hamcester's telegram from his coat pocket. This charming missive reads as follows:\n\nCOME BUNKHAM HALL IMMEDIATELY STOP REQUIRE YOUR SERVICES AS ALIENIST STOP BROTHER IN LAW BARKING MAD STOP THINKS HE'S EXPLORING CONGO STOP ONE GLANCE SHOULD BE ENOUGH TO CONSIGN HIM TO COLNEY HATCH STOP COME BEFORE HE DESTROYS ENTIRE HOUSE STOP PRICELESS ANTIQUES AT RISK STOP HAMCESTER\n\n\"Take a seat, Doctor,\" says the Earl, \"there's a rather \u2014 ah \u2014 sensitive matter I'd like to discuss with you before you proceed.\"\n\n(You could ask him about the sensitive matter)\n\n> You ask him about the sensitive matter\n\"Please, speak freely,\" you say. \"We shrinks are famed for our tact and discretion vis-a-vis matters sensitive.\"\n\n\"The thing is,\" he says. \"My wife dotes on her little brother. She'd be terribly upset if she knew I'd got a loony-doctor in to look him over.\"\n\n(You could ask him about the Major, or about Lady Hamcester)\n\n> You ask him about Lady Hamcester\n\"I see, so you'd like me to go incognito, as it were?\" you say, winking.\n\n\"That's the ticket. I've told her you're the famous Belgian detective chappie, Hermes Perroquet. He's a member of my club, and my wife's been on at me to invite him over for ages. Can't stand the fellow myself, but the wife's dotty about detective stories, so if you happen to run into her, just play along, there's a good chap. Tell her you're on the trail of the notorious 'Magpie' or something. Haw haw!\"\n\n\"No problem,\" you reply. \"Deception and subterfuge are all in a day's work for a practising psychoanalyst.\"\n\nWell, well, Hermes Perroquet! That old bloodhound has been on your trail for months, following you around like a bad smell. Fortunately you've always managed to stay one or two steps ahead of him. You've impersonated people before, of course, but never your own arch-nemesis. This has all the makings of a very interesting afternoon.\n\n\"Now,\" says Hamcester replacing his monocle, \"if you don't mind I have some business to attend to. Tomorrow is the St Bartholomew-on-the-Bog annual Village F\u00eate, and I have to write my acceptance speech for the 'best cucumber' prize. I've won it for the last six years, and despite the best efforts of Sir Humphrey Leghorn, I  have every expectation of winning it again tomorrow. If you need anything at all, just ring for Hives.\""
    },
    {
        "text": "> Look around\nA small, cosy study, impeccably neat, with walnut panelling and a leather-topped desk of a similar complexion. There are a few homely touches; a framed newspaper clipping and a photograph hang on the wall beside you. A sturdy wooden chair faces the desk. The door, leading south into the library, is closed.\n\nA ghastly amateur watercolour hangs above the desk.\n\nOn the walnut desk is a pamphlet.\n\nLord Hamcester sits at his desk, working on his speech.\n\n> You examine the clipping\nIt seems to be from the St Bartholomew Advertiser, twenty-second of July last year.\n\n\"Lord Hamcester Wins Again!\" is the headline, and underneath are the words, \"Earl wins annual cucumber competition for the sixth year running\" and a photograph of the man himself receiving a trophy from the Mayor. In front of them is a gigantic cucumber on a trestle table, and behind them stands another man, stocky and well-built, wearing a cloth cap and an expression of contempt.\n\n\"I think you will have better luck looking for the Major in the gardens, Doctor,\" says Hamcester sarcastically, \"I'm fairly certain he isn't hiding in here.\"\n\n> You ask him about Major\n\"I imagine you would find it easier to locate the Major if you were to leave my study,\" says Lord Hamcester, pointedly. \"The door is over there. Please close it on your way out.\"\n\n\"I think you will have better luck looking for the Major in the gardens, Doctor,\" says Hamcester sarcastically, \"I'm fairly certain he isn't hiding in here.\"\n\n> You take the pamphlet\nLord Hamcester very deliberately places his elbow on the pamphlet, preventing you from reading it.\n\n\"Was there something else you needed, Doctor?\" says Hamcester, \"I really am quite busy.\"\n\n> You examine the pamphlet\nLord Hamcester very deliberately places his elbow on the pamphlet, preventing you from reading it.\n\n\"I think you will have better luck looking for the Major in the gardens, Doctor,\" says Hamcester sarcastically, \"I'm fairly certain he isn't hiding in here.\"\n\n> You examine the photograph\nThe photograph shows Lord Hamcester decked out as the Pirate King in a local production of the Pirates of Penzance. He's almost unrecognisable behind a bushy black beard.\n\n\"If you'll excuse me, Doctor, I really must get on with writing my speech.\" says Hamcester.\n\n> You examine the watercolor\nA small framed watercolour depicting Bunkham Hall at sunset as rendered by Lord Hamcester himself. Somehow it contrives to make the Hall look even more ill-proportioned than it is in real life. The painting sticks out from the wall rather further than you might expect it to.\n\n\"If you'll excuse me, Doctor, I really must get on with writing my speech.\" says Hamcester.\n\n> Go south\n(first opening the study door)\n\"Thank you, Doctor,\" says Hamcester, \"you'll more than likely find the Major in the grounds on a day like this, decimating my hollyhocks with a machete. Let me know when you've got something to report.\" He closes the door behind you.\n\nThe library of an English country house is an oasis of calm amid the hubbub of domestic life; the perfect place, should one feel so inclined, for a spot of light murder. The library at Bunkham Hall has a long and chequered history, and its chequered floor still bears the faint traces of numerous chalk outlines. Tall walnut bookcases line walls of crimson silk damask. East is the great hall, and a closed door to the north takes you to Lord Hamcester's study.\n\nA leather wingback armchair lounges invitingly against the south wall. Today's edition of the Times lies discarded on the seat.\n\n> You look at the bookcases\nA quick perusal of the bookcases reveals the usual stuff of a country house library. There are the interminable rows of leather-bound books on animal husbandry, an ancient set of Shakespeare's plays in pristine condition, peerages both Burke's and Debrett's, and biographies of the great, the good and the ugly. The lower shelves are enlivened by the rather more striking spines of innumerable mystery novels, adorned with lurid illustrations of skulls, daggers and bottles of poison.\n\nIgnoring the dusty leather-bound tomes, your eyes light upon a volume entitled Murder on the Razzle.\n\n> You examine the razzle\nYou pull the book from the shelf and peruse it. This one has a rather lurid picture on the cover of a champagne bottle, gushing with blood.\n\nBut there is no time for reading, so you replace it on the shelf.\n\n> You examine the armchair\nA Chesterfield back-buttoned wing chair upholstered in a quality chestnut brown leather, exquisitely soft.\n\nOn the leather armchair is today's edition of the Times.\n\n> You examine Times\nYou are disappointed to see that your audacious and high-profile theft of Lady Ponsonby's diamond stomacher last week has taken second place in the headlines to the story of Bongo the gorilla's equally audacious escape from London Zoo. Apparently the beast was last observed heading up the Finchley Road in the back of a black cab. A fare's a fare, after all.\n\n> You get Psychology\nYou pull the book from the shelf and peruse it. Now this is interesting \u2014 the author is one Doctor Cornelius Drake! You flip through the pages randomly until you come upon a chapter that interests you:\n\nChapter 5: The Psychology of the Obsessive Collector\n\n\"The desire, and hence the innate propensity to collect, begins at birth. The infant first desires the emotional and physical comfort of the nourishing breast, then the familiar baby blanket the child clings to for comfort and security. Stuffed animals, favourite toys are taken to bed and provide the emotional security needed to fall asleep. A sense of ownership and control is facilitated through possession of these items for the vulnerable child. The loss of such a 'security blanket' at too early an age is a common feature in the development of the obsessive collector.\"\n\nYou decide to hang on to this one, for now. One never knows when one will need to use a little psychology.\n\n> Go east\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\nFrom a room to the east comes a blood-curdling scream, followed by the tinkle of breaking porcelain.\n\n> You go to the east\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\nStanding in the midst of all this chaos is a stocky, red-faced man in the act of beating the stuffing out of a striped draught excluder with a poker.\n\n\"Major Hilary Buff-Orpington, I presume!\" you say, delighted by the spectacle.\n\n\"Blighter must have crawled in under the door,\" says the Major, prodding the draught excluder with the poker to make quite sure it is dead. \"tricky coves, boa constrictors.\"\n\n> You examine the excluder\nA long, soft, fabric tube filled with sand and placed against the bottom of a door to keep out draughts. It does look a bit like a snake.\n\n\"Can't abide snakes!\" says the Major, slinging the stricken draught excluder over his shoulder. \"This place is riddled with the blighters \u2014 but don't worry. If you see one, just refer it to me.\" He swings\nthe\npoker through the air, demolishing a small vase. \"Only language they understand!\"\n\nHe bounds out of the room with the energy of a small child and tears off across the great hall.\n\n> Go west\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\n> You examine the escutcheon\nThe charge consists of a boar rampant inside a wheel representing commerce or somesuch. Unfortunately the boar, rendered in stone by one of Addams' sloppy workmen, more closely resembles a rodent of the family Cricetinae than any sort of wild hog. You noted with\nsome amusement during your research yesterday that even Burke's Peerage describes it as a 'hamster'.\n\n> You examine the columns\nA colonnade carved of Staffordshire alabaster, handily keeping the ceiling where it belongs, at ceiling level.\n\n> Go south\nBy far the grandest room in the house, the saloon was once the state dining room. It is now rarely used for entertaining and has instead become a repository for old Hamcester's hideous collection of porcelain. The Axminster carpet is decorated with a delicate pattern of daisies.\n\nTo the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, French windows open onto the terrace.\n\nStriding across the room from the other direction is a woman who, with her long neck and dumpy undercarriage, resembles nothing so very much as a turkey which, instead of being stuffed with Paxo, has been stuffed into a fashionable dress. From her carriage and bearing you surmise that this can only be Lady Hamcester.\n\n\"Aha,\" says she, \"you must be Monsieur Perroquet! Welcome to Bunkham Hall. It's a great pleasure to finally meet you. I don't know if my husband has told you, but I'm a bit of a fan!\"\n\n\"Not at all, Madame,\" you say, doing your best to affect a Belgian accent, \"as you say in your charming language, the pleasure, it is all mine.\" The Countess looks about her from side to side, and having established that the two of you are alone, she continues in a hushed tone.\n\n\"The thing is,\" she whispers, \"it's a bit of a stroke of luck that you're here. We have something of a mystery of our own here at Bunkham Hall. If you'll follow me.\" She motions in the direction of the doorway to the west.\n\n\"Monsieur,\" says Lady Hamcester, motioning in the direction of the collection room, to the west.\n\n> You go west\nYou follow Lady Hamcester into the collection room.\n\nThis small, oak-panelled room serves as sort of miniature museum for Lord Hamcester's collection of objets d'art, if one can use that term. Objets d'ordures might better describe the grotesque items residing on plinths around the perimeter of the collection room. Still, even the most inept collector occasionally gets lucky.\n\nThe collection room is dominated by a glass display case in the centre. The items contained there are, presumably, the most valuable. The display case is currently closed, and locked.\n\nFrom here, the only exit leads east, into the saloon.\n\n\"A few weeks ago my husband bought a jewelled scarab thingy at auction,\" says Lady Hamcester, indicating the glass display cabinet in front of you. \"It was the pride of his collection. This morning I came in here and lo and behold, the bally thing's gone walkies. Fortunately, he's been holed up in his office all morning working on a speech, but if he finds out it's missing, he'll blow a fuse. He's bound to blame it on poor Hilary.\"\n\n\"I see, Madame,\" you say, \"You would like me to find zis, zis scarab then?\"\n\n\"I know it's a frightful liberty, since you're a guest here.\"\n\n\"Not at all Madame! Not at all! The great Hermes Perroquet is always on duty!\"\n\n\"I say,\" says the Countess suddenly, grabbing your arm, \"you don't think this could be the work of the notorious 'Magpie', do you?\"\n\n\"Hmm. Could be, Madame, could be. The 'Magpie' is a very cunning, and some say very charming and handsome fellow.\"\n\n\"Very well then, I'll leave you to it. Keep me posted, and don't let on.\" The Countess winks and taps her nose, before stepping off in the direction of the terrace.\n\nWell, this complicates things somewhat. You turn up at a place to steal something, only to find that someone's beaten you to it. But you came here to pinch it, and pinch it you will! There's no sign of forced entry. Whoever stole that scarab opened the display case with a key. It has all the hallmarks of an inside job, and you'd bet your last penny that the scarab is still in the house somewhere. The question is, where?\n\n> You look at the case\n(the glass display case)\nThere are generally two types of collector; those who strew their objets d'art about the place willy-nilly, and the fastidious type who prefer their antiquities arranged according to category. Lord Hamcester is of the latter variety, but the meticulous mind is all too often lacking in artistic taste, and the best that can be said for most of these objets is that they're very neatly organised. The items on display include a black amber statuette and an Eighteenth Century cow creamer.\n\nThe display case is currently locked. Lucky thing you have your set of lockpicks, cunningly concealed within the monogrammed cigar case in your secret pocket...\n\nGreat Scott! It's gone! Your cigar case with the secret panel, in which you keep your five-piece set of lock picks, your three torsion wrenches and your diamond glass cutter; all the tools of your trade!\n\nSuddenly it dawns on you. That snot-nosed kid who walked right into you on the platform at Paddington \u2014 the perisher must have snaffled it! And to think that you apologised to him, patted his tousled locks, and waved as he ran off to join his parents in the queue for the Underground! Kids of today.\n\nWell, there's nothing else for it, old boy. The 'Magpie' never gives up. You'll just have to get by without it.\n\n> You check your inventory\nand a telegram.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, is a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n> You examine the feather\nThe distinctive feather of Pica pica, of the family\nCorvidae; the unmistakable calling card of the notorious\n'Magpie'. You like to leave them at the scene of the crime. It's pure vanity, of course, but you'd hate for someone else to take credit for your work.\n\n> You examine the moustache\nA fabulously bushy fake ginger moustache, one of your extensive collection of disguises.\n\n> About yourself\nYou are Sir Rodney Playfair; dashing, debonair and devilishly handsome. Not perhaps in the first flush of youth, but very sprightly for a man of sixty. That touch of grey at the temples lends you an air of authority, a useful attribute for getting one out of a scrape.\n\nNot that anyone would recognise you now; the 'Magpie' is a master of disguise and right now you're the spitting image of Doctor Cornelius Drake, the noted alienist.\n\n> You examine the statuette\nA curious artefact that would appear to have been crafted by a skilled artisan whilst blindfolded, wearing boxing gloves and suffering from a severe toothache. Hideous.\n\n> You look at the creamer\nA little silver cream jug shaped like a dairy cow, with a looped-over tail providing a handle and an open, lowing mouth serving as a spout. This one, however, is modern Dutch, something a cow creamer ought not to be. Worthless.\n\n> You look at the plinths\nVarious artefacts are displayed around the room on plinths. Amongst these are the Booby Prize and a bust of Julius Caesar.\n\n> You look at Booby\nA truly hideous silver-plated cup; first prize in the St Bartholomew-on-the-Bog village f\u00eate cucumber growing competition.\nIt's\nnamed the Booby Prize after one Gertrude Booby, who won the competition four years running in the 1870s. Lord Hamcester appears to have held the trophy for the last six years, before which it was in the possession of one Sir Humphrey Leghorn.\n\n> You examine the bust\nThere are various ways to tell whether a purported Roman artefact is real or fake. The quality, condition, colour and patination, for example, are all good indicators of age. We can also feel the texture of the surface, whether it is rough, smooth or polished. But the real give-away with this bust of Julius Caesar is its undeniable resemblance to Fritz Leiber (Sr.), the American actor who played him in the 1917 film 'Cleopatra'.\n\n> You go east\nBy far the grandest room in the house, the saloon was once the state dining room. It is now rarely used for entertaining and has instead become a repository for old Hamcester's hideous collection of porcelain. The Axminster carpet is decorated with a delicate pattern of daisies.\n\nTo the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, French windows open onto the terrace.\n\n> You go east\nThe state dining room is a splendid rectangular room with flamboyantly decorated walls and ceilings; a little overdone, perhaps, but that's the Regency for you. The room is dominated by the vast, antique mahogany dining table and a set of matching chairs. The only other furniture of note is a small glass-fronted curio cabinet which stands between the two south-facing windows.\n\nNorth is the drawing room, and west the saloon.\n\n> You examine the cabinet\nA late Victorian mahogany curio cabinet with beaded glass doors and a mirror back interior. Displayed inside are a porcelain rabbit in a red jacket, a pearlised cut-glass unicorn, a china shepherdess, a pair of white alabaster doves and a pottery figurine of a wretched-looking seal; in other words, a lot of worthless tat.\n\n> You examine the rabbit\nIt appears to be a collectible figurine of Barnabas Bunny, from the cautionary children's tale by Enid Potter. You seem to recall that he ended up in a pie at the end of the book, an indirect result of a partiality for tasting his own earwax. He's a cute enough fellow, and might fetch a couple of bob at auction, but scarcely the sort of thing to attract the attention of \"The Magpie\".\n\n> You look at the unicorn\nOne wonders where Lord Hamcester acquired this little trinket. Perhaps it was the runner-up prize at a coconut shy.\n\n> Examine shepherdess\nThe china shepherdess looks somehow familiar; no doubt you've seen other examples.\n\n> You examine doves\nA pair of doves, or love-birds, inexpensively made in white alabaster. There is damage to the wing of one and a chip in the beak of the other.\n\n> You examine the seal\nThe well-intentioned artisan responsible for this object probably intended it to resemble a seal, or perhaps some rare species of earless sausage dog. Whatever it was meant to be, it doesn't look much like one."
    },
    {
        "text": "[Themes: Comedy, Farce, Comedy, magpie, heist, crime]\n\n> You look at your surroundings\nThe state dining room is a splendid rectangular room with flamboyantly decorated walls and ceilings; a little overdone, perhaps, but that's the Regency for you. The room is dominated by the vast, antique mahogany dining table and a set of matching chairs. The only other furniture of note is a small glass-fronted curio cabinet which stands between the two south-facing windows.\n\nNorth is the drawing room, and west the saloon.\n\n> You look at the table\nA George III mahogany, inlaid double-pedestal extension table featuring a reeded top with rounded corners and matched-swirl mahogany veneers crossbanded with quartered pau ferro and satinwood stringing. Rather fine.\n\n> You examine the chairs\nA number of mahogany dining room chairs are positioned around the table.\n\n> Go west\nBy far the grandest room in the house, the saloon was once the state dining room. It is now rarely used for entertaining and has instead become a repository for old Hamcester's hideous collection of porcelain. The Axminster carpet is decorated with a delicate pattern of daisies.\n\nTo the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, French windows open onto the terrace.\n\n> You look at the carpet\nThe Axminster carpet is decorated with a delicate pattern of daisies.\n\n> You examine the porcelain\nNowhere is Hamcester's egregious lack of taste more evident than in this collection of porcelain. One can only imagine that he picked it up as a job-lot in a local jumble sale. The worst of these plug-uglies include a Ting Dynasty vase, a Staffordshire pearlware figure of an orange-haired clown and a china lamb.\n\n> You look at vase\nThe short-lived Ting Dynasty is considered a low point in Chinese cultural history, in which the Oriental ceramicists allowed themselves to be influenced by the inferior Dutch artists, instead of the other way around. This vase, with its tasteless pattern of windmills and clog dancers, is typical of the period. It might fetch a couple of bob at a jumble sale, but is scarcely worthy of your attention.\n\n> You examine the figure\nThis little figure of a leering clown appears to be authentic, and might actually fetch a few bob. It is, however, the stuff of nightmares. You wouldn't be seen dead with it.\n\n> You examine the lamb\nA little china baa-lamb, blue and white, with a pink bow, and the words \"I Love Cuddles\" painted across its stomach. Worthless.\n\n> You examine the windows\nA set of French windows leading outside. They stand open and unlocked.\n\n> Go north\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\n> Go east\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\n> You go to the north\nThis modestly proportioned music room, located north of the drawing room, has a somewhat neglected feel, and is almost entirely bereft of musical instruments. This is not altogether surprising; Lord Hamcester is regarded throughout the London club scene as something of a \"wet blanket\". A dusty, yet impressive grand piano occupies most of the room, its lid closed.\n\nAn alcove, originally intended to be occupied by an organ, instead contains a small mahogany side table, on which are a framed photograph and a gramophone. The hotch-potch of furniture also includes a sagging Victorian day-bed and a green tub chair.\n\nPropped up against the green tub chair is a contrabassoon case.\n\n> You examine the piano\nA nine-foot concert grand, covered in dust. Like the tomb of Tutankhamun, it would appear to have lain undisturbed for centuries. Its lid is closed.\n\n> You examine table\nAn early Georgian inlaid mahogany side table.\n\nOn the mahogany side table are a framed photograph and a gramophone.\n\n> You look at the photograph\nIt appears to show a somewhat younger Earl and Countess of Hamcester at the Henley Regatta. The Earl is wearing a somewhat fatuous spotted dickie whilst the Countess \u2014 good grief! Of course! The Jaroda\npearls!\nWorn for centuries by the Indian Maharajahs, the famous Jaroda pearls are now in the possession of Lady Hamcester \u2014 and therefore, presumably, somewhere in this house!\n\n> You examine the gramophone\nA handsome HMV table gramophone, Model 104, in an oak case. There is currently a gramophone record entitled La Gazza Ladra on the turntable. A brass winding crank on the right hand side operates the device.\n\n> You examine the bed\nA sturdy Victorian day-bed, draped in a rich Persian rug and scattered with well-worn cushions. It reminds you strikingly of the one you've seen in photos of Doctor Freud's office.\n\n> You look at the chair\nA beautifully upholstered Victorian button-back tub chair, rather worn."
    },
    {
        "text": "[Themes: Comedy, Comedy, magpie, heist]\n\n> You look at your surroundings\nThis modestly proportioned music room, located north of the drawing room, has a somewhat neglected feel, and is almost entirely bereft of musical instruments. This is not altogether surprising; Lord Hamcester is regarded throughout the London club scene as something of a \"wet blanket\". A dusty, yet impressive grand piano occupies most of the room, its lid standing open.\n\nAn alcove, originally intended to be occupied by an organ, instead contains a small mahogany side table, on which are a framed photograph and a gramophone. The hotch-potch of furniture also includes a sagging Victorian day-bed and a green tub chair.\n\nPropped up against the green tub chair is a contrabassoon case.\n\n> You open it\nYou open the contrabassoon case. Nothing inside but a lot of empty air.\n\n> Close case\nYou close the contrabassoon case.\n\n> Go south\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\n> You examine the armchairs\nSeveral elderly armchairs, upholstered in red velvet, lie stricken on their backs.\n\n> You examine the amphora\nThis amphora would be worth a small fortune if it was genuine. Unfortunately it's a late Victorian fake, worth not a sou.\n\n> You look at the milkmaid\nThe porcelain milkmaid looks somehow familiar; no doubt you've seen other examples.\n\n> You examine the cow\nA fine example of vile Victorian tat, which, in spite of its size, manages to lower the tone of the whole room.\n\n> You look at the cake\nIt looks as though some one has had their cake and trampled on it.\n\n> Go south\nYou step out into the bright sunshine.\n\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\nA small dog, resembling a sort of mobile feather duster, is hovering around Lady Hamcester's ankles. Dogs, no matter their size, have an unerring instinct for spotting the cuckoo in the nest, or in this case, the 'Magpie'. Many's the burglar who has met his match in the form of one of our four-legged friends. At the very sight of you, the feather duster begins yapping to beat the band. Fortunately, help is at hand, in the form of the butler, Hives.\n\n\"Hives, be a dear and take Pompon upstairs,\" says the countess, \"I think the heat must be making her overtired.\"\n\n\"Very good, Madam.\" says the butler, and scooping up the animal, he retreats into the saloon.\n\n\"Beautiful day, Monsieur Perroquet! I do hope my little task isn't too much of an imposition.\"\n\n\"Not at all Madame, not at all.\" To your relief, the sound of Pompon's yapping fades away, to be replaced with the blissful peace of a summer's afternoon in an English garden.\n\n> You ask her about Major\n\"Ah, so you've met my brother, I take it?\" says Lady Hamcester sadly. \"The poor dear.\"\n\n\"He is a man of great charm and vivacity, Madame, but perhaps, how do you say, a little troubled, non?\"\n\n\"He suffered a terrible shock, Monsieur Perroquet, whilst on a trek through the Amazon. I won't trouble you with the details now \u2014\nperhaps\nlater \u2014 but oh dear, I do wish there was something I could do for him.\"\n\n> You ask her about Lord Hamcester\n\"His Lordship is quite the collector, Madame,\" you say. The Countess sighs.\n\n\"Oui, Monsieur. Sometimes I think he values those objets d'art of his more than he values me.\"\n\n> You ask her about the scarab\n\"Do you have any idea where zis Egyptian scarab might be, Madame?\" you ask.\n\n\"I've a horrible suspicion that Hilary has taken it, Monsieur. If it could be returned without Emerick ever knowing it was missing, I'd be awfully grateful.\"\n\n> You examine her\nLady Alicia Buff-Orpington-Welsummer, Countess of Hamcester, is a tough old bird in a fashionable summer dress. The gleam of mischief in her eye jostles for attention with a hint of wistfulness, which rather puts you in mind of a caged bird that yearns to fly. One gets the sense that not all is boomps-a-daisy in the house of Hamcester.\n\n> You ask her about the dog\n\"What a delightful dog you have, Lady Hamcester.\"\n\n\"Isn't she a darling?\" asks Lady Hamcester.\n\n\"Zat is one word to describe her, Madame, oui.\"\n\n> You ask her about Hives\n\"Pardon, Madame, but where might I find your butler?\" you ask.\n\n\"There's a bell pull in the drawing room, Monsieur, if you need something.\" says her Ladyship. \"If he doesn't answer, you'll probably find him in the dining room.\""
    },
    {
        "text": "> You look at your surroundings\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\n> You examine the brochure\nA brochure for the R.M.S. Aquitania, pride of the Cunard Line.\n\n> You ask her about the brochure\n\"Planning a holiday, Lady Hamcester?\" you say, with a slight nod toward the brochure.\n\n\"One can but dream, Monsieur Perroquet. I've been badgering Emerick to go on a cruise for years, but he balks at the cost. Goodness knows he spends enough on that collection of his! I almost wish that the notorious 'Magpie' would strike and pinch the lot \u2014 we're insured up to the eyeballs. Enough to pay for twenty cruises!\"\n\n> Go west\nThis gravel sweep is a path that extends from the terrace steps to the east and runs along the south front. To the south is the ivy-grown wall of the kitchen garden. A large rhododendron bush grows against the wall here beneath a first floor balcony.\n\n> You look at the bush\nA fine example of a flowering shrub in the family Ericaceae.\n\n> You examine the balcony\nA small, first-floor balcony, directly overhead. It is connected through a set of French windows to a room beyond.\n\n> You look at the ivy\nThe south wall of the kitchen garden is covered with ivy.\n\n> You climb the ivy\nYou attempt to climb up the ivy, but succeed only in tearing out clumps of the stuff. Your best bet is to go around the side and use the archway provided.\n\n> You climb the bush\nYou should look exceedingly foolish.\n\n> Go east\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\n> You go east\nThis gravel sweep is a path that extends from the terrace steps to the west and runs along the south front. A side path winds south into a pretty shrubbery. Directly above is a balcony.\n\n> You examine the balcony\nA small, first-floor balcony, directly overhead. It is connected through a set of French windows to a room beyond.\n\n> You examine the shrubbery\nThat way lies the shrubbery.\n\n> Go south\nA very pretty shrubbery, with a gravel path that winds between banks of hardy shrubs. Hollyhocks and azaleas add a splash of colour to the proceedings. The path weaves north to the gravel sweep surrounding the house, and west to the lawn.\n\nAmos Bunyon, the impossibly hirsute head gardener is going about his business.\n\nAmos plucks a thistle from the ground without so much as flinching.\n\n> You look at Amos\nA giant of a man in size 15 wellingtons and a leather jerkin. His face is almost entirely hidden behind a spectacular black beard that gives him a somewhat piratical air.\n\nAmos mops his brow with a spotted handkerchief.\n\n> You ask Amos about Lord Hamcester\nAmos mutters something unintelligible about dwarf fuchsias, or is it pork futures? You get the feeling you're not going to get much sense out of this fellow.\n\nAmos stoops to pull a dandelion from the herbaceous border.\n\n> You ask Amos about the lady hamcester\nAmos mutters something unintelligible about periwinkles, or is it Rip Van Winkle? You get the feeling you're not going to get much sense out of this fellow.\n\nAmos weeds the flowerbeds with his hoe.\n\n> You go west\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he glances around, as though looking for suspicious characters.\n\n> You look at the man\nThe under-gardener, Harry Boyle, is a small, wiry man of indeterminate age. His sunburned face wears an expression of weary resignation, befitting a man who has been tasked with trimming a hedge that has already been trimmed to within an inch of its life. The true reason for his being stationed here, you suspect, is to guard the entrance to the kitchen garden.\n\n> You look at the archway\nAn arched entranceway thoughtfully provided to allow access to the kitchen garden, without the inconvenience of climbing over the wall.\n\n> You ask Harry about the kitchen garden\n(kitchen garden)\nUnaccustomed to hob-nobbing with the nobs, the under-gardener merely tips his hat and says \"Very good, sir, I'm sure.\"\n\n> You ask Harry about Lord Hamcester\n\"His Lordship is rather fond of cucumbers, I take it?\" you ask.\n\n\"Yes, sir. I find them rather bland, myself sir, if you don't mind me saying so.\""
    },
    {
        "text": "[Themes: Comedy, slapstick, male protagonist, heist]\n\n> Look around\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\n> You look at shears\nA large, and rather lethal-looking, implement for the trimming of hedges.\n\n> You go west\n\"I'm sorry sir,\" says the under-gardener, stopping you, \"but no-one is allowed in the kitchen garden 'cept fer Amos and his Lordship hisself, sir. Beggin' yer pardon sir, but it'd be more'n my job's worth if anything 'appened to that blessed cucumber. You might be workin' for Sir Humphrey Leghorn for all I know.\"\n\n(You could ask him about the cucumber, or about Sir Humphrey Leghorn, if you liked)\n\n> You ask him about the cucumber\n\"His Lordship seems extraordinarily protective of this cucumber,\" you say. \"Important, is it?\"\n\n\"Oh, yes sir. On account of the annual competition, you see. 'is Lordship 'opes to beat Sir Humphrey Leghorn again, like 'e does every year, on account of the secret ingredient, sir.\"\n\n(You could ask him about the Sir Humphrey Leghorn, or about the secret ingredient, if you liked)\n\n> You ask him about Leghorn\n\"This Sir Humphrey Leghorn,\" you say, \"I take it he and Lord Hamcester are not perhaps on the best of terms?\"\n\n\"Oh no, sir\" says the under-gardener, \"they're fierce rivals you see. Sir Humphrey's got the hump about his Lordship winning the cucumber competition every year. He's desperate to know what his secret is.\"\n\n(You could ask him about the cucumber, or about Lord Hamcester's secret, if you liked)\n\n> You ask him about secret ingredient\n\"What is so special about the fertilizer Lord Hamcester uses?\" you ask. The under-gardener shuffles his feet and fingers his collar nervously.\n\n\"I shouldn't like to say, sir.\"\n\n> You ask him about Amos\n\"This mister Bunyon, the fellow with the beard,\" you say, \"major-domo of the gardens, I take it?\"\n\n\"That's right, sir. Mister Amos is the head gardener. You'll find him working in the shrubbery at present.\""
    },
    {
        "text": "> Go down\n\"Well, tootle-pip, old fruit,\" you say, and gesturing towards the balding box hedge, add \"keep up the good work.\"\n\n\"Right you are, sir,\" sighs the under-gardener.\n\nA sort of trench, designed to prevent cattle from running amuck all over the house. To the south it slopes up to the park. One could also climb up the north side, which is faced with stone, to reach the lawn.\n\nYou can see a banana here.\n\n> You examine the banana\nA curved yellow fruit, somewhat mottled with age.\n\n> You take it\nTaken.\n\n> Go upward\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he casts you a suspicious glance.\n\n> You go south\nYou tumble head-first into the ha-ha.\n\nA sort of trench, designed to prevent cattle from running amuck all over the house. To the south it slopes up to the park. One could also climb up the north side, which is faced with stone, to reach the lawn.\n\n> You go to the south\nThere used to be a village of Bunkham right here in this field, but the fifth Earl had it moved because it spoiled the view from the house. The new location was the middle of a local bog, and within three months it had sunk without trace. They say you can still hear the peals of the church bells if you stick your head in the water.\n\nNow, the park is used by for the grazing of Lord Hamcester's prize herd of longhorn cattle, the finest in all England. To the north, on the other side of the ha-ha, lie the formal gardens, whilst to the east, at the end of a yew alley, is a small folly in the shape of a Greek temple. West of here, surrounded by a low fence, is a little orchard. A fruit-picking ladder can be seen leaning against one of the trees.\n\nSparkenhoe, Lord Hamcester's prize bull, stands between you and the orchard, steam billowing from his nostrils.\n\n> You look at the orchard\nThat way lies the orchard.\n\n> You look at the cattle\nHamcester's prize herd of longhorn cattle can be seen grazing contentedly all over the park.\n\n> You look at alley\nThat way lies the yew alley.\n\n> You go to the east\nAt the eastern edge of the park, at the end of a yew alley stands a modest folly, if such a paradoxical thing can exist. It's a fanciful thing in the form of a small Greek temple, all the rage in the Eighteenth century. A sturdy iron door bars the way inside.\n\nYou can see a banana here.\n\n> You get the banana\nTaken.\nA curved yellow fruit, somewhat mottled with age.\n\n> You look at the folly\nThat way lies the folly.\n\n> You examine the door\nA sturdy door leading inside. It is closed and locked."
    },
    {
        "text": "> You look at your surroundings\nAt the eastern edge of the park, at the end of a yew alley stands a modest folly, if such a paradoxical thing can exist. It's a fanciful thing in the form of a small Greek temple, all the rage in the Eighteenth century. A sturdy iron door bars the way inside.\n\n> You go west\nThe park is used by for the grazing of Lord Hamcester's prize herd of longhorn cattle, the finest in all England. To the north, on the other side of the ha-ha, lie the formal gardens, whilst to the east, at the end of a yew alley, is a small folly in the shape of a Greek temple. West of here, surrounded by a low fence, is a little orchard. A fruit-picking ladder can be seen leaning against one of the trees.\n\nSparkenhoe, Lord Hamcester's prize bull, stands between you and the orchard, steam billowing from his nostrils.\n\n> Go north\nYou hop nimbly over the ha-ha.\n\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\n> You ask the Lady about Amos\n\"Amos is our Head Gardener,\" says Lady Hamcester. She raises her hand and squints in the direction of the shrubbery. \"I think he's working in the shrubbery \u2014 yes, there he is.\"\n\n> You ask the Lady about the bull\n\"My husband's prize bull, Monsieur Perroquet,\" says Lady Hamcester. \"You'll find him down in the park, if you're interested in that sort of thing.\"\n\n> You go north\nBy far the grandest room in the house, the saloon was once the state dining room. It is now rarely used for entertaining and has instead become a repository for old Hamcester's hideous collection of porcelain. The Axminster carpet is decorated with a delicate pattern of daisies.\n\nTo the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, French windows open onto the terrace.\n\n> Go upward\nFrom here the grand staircase descends to the great hall. The landing forms part of the long gallery, a grandiose room stretching from east to west across the entire frontage of the building. The long gallery at Bunkham Hall, of course, was built in 1768, a century after the invention of the corridor had rendered such spaces redundant. A large picture window to the north affords splendid views of the drive, whilst to the south is a closed door.\n\n> You examine the window\nThe large picture window affords a splendid view of the drive.\n\nFrom somewhere to the east of here, you hear the sounds of a struggle. It sounds as though some heavy object were being wrenched from side to side.\n\n> Go east\nAt the east end of the gallery are doors leading north and south giving access, presumably, to family bedrooms. The gallery continues to the west, passing the head of the stairs. Here, the oak panelling has been disfigured by portraits of Hamcester's forebears.\n\nChief among these plug-uglies is the eighth Earl, Lord Hamcester's father, who casts his disapproving, beetle-browed gaze along the entire length of the gallery.\n\n> You look at Earl\nFrom a stiff Victorian collar protrudes a face like a bulldog with a mouthful of lemon sherbet, froth included. With this pugnacious old blister for a father, it's little wonder that Lord Hamcester turned out the way he did.\n\nFrom somewhere to the north of here, you hear the sounds of a struggle. It sounds as though some heavy object were being wrenched from side to side.\n\n> You go north\nThis, the smallest bedroom in the house, is crammed to the gills with souvenirs of the Major's various expeditions. In one corner a narrow cot lies beneath a tent of mosquito netting; a gigantic wardrobe dominates the corner opposite. The wardrobe is closed.\n\nFrom here, the only exit leads south, to the east gallery.\n\nHanging on the wall is an Amazonian blowpipe.\n\nThe wardrobe rocks back and forth upon its feet, as though a wild animal had been shut up inside it.\n\n> You look at the cot\nA no-nonsense metal army cot. Not one for creature comforts, this Major.\n\nThe wardrobe gives a sort of violent shudder, as though something untoward were going on within.\n\n> You talk to wardrobe\nThe wardrobe does not respond.\n\nThe wardrobe hops a few inches across the floor, as though playing host to some Herculean struggle.\n\n> You examine the blowpipe\nA weapon favoured by tribesmen of the Amazonian rainforest. As you understand it, one simply inserts a curare-tipped dart, or similar projectile in the one end, takes aim, blows into the other end, and Bob's your late uncle. It's rather like the pea-shooter you had as a lad, only more deadly. This one is empty.\n\nThe wardrobe is rattling and shaking from side to side, as though a wild animal had been shut up inside it.\n\n> You get it\nTaken.\n\nThe wardrobe hops a few inches across the floor, as though playing host to some Herculean struggle.\n\n> You examine wardrobe\nA Victorian mahogany wardrobe with a moulded cornice and two arched panelled doors, currently closed.\n\nThe wardrobe gives a sort of violent shudder, as though something untoward were going on within.\n\n> You open it\nThe Major tumbles from the wardrobe with his arms wrapped around a large mink coat.\n\n\"Blasted grizzlies,\" he says \"you never know where they're going to turn up next.\" He stamps up and down on the unfortunate coat until he is quite satisfied that it is dead, before slinging it over his shoulder. \"Piece of advice,\" he says, \"never step on the cracks in the pavement.\" With that he leaves the room, hopping from one tile to the next like a child playing hopscotch.\n\n> You look at the wardrobe\nA Victorian mahogany wardrobe with a moulded cornice and two arched panelled doors, currently open.\n\nIn the wardrobe is a shoebox.\n\n> You look at the shoebox\nA cardboard box, formerly home to a pair of brown Oxfords, size nine. A number of holes have been punched in the lid, and the words \"coleoptera incertae sedis\" are scrawled in childish letters on the side.\n\n> You examine the scarab\nFor a moment you were fooled \u2014 this looks almost exactly like the jewelled scarab, a Cheops of the Fourth Dynasty, that you saw a few weeks ago at auction. It is, however, a very clever reproduction.\n\nOf course, there is only one reasonable explanation for why old Hamcester would keep a fake scarab in his display case. The reputation of the illustrious 'Magpie' has by now spread far and wide. No doubt the original is stored somewhere more secure, and you've a sneaking suspicion that he'd keep it somewhere close at hand. If only there were an opportunity to make a thorough search of that office.\n\nOne might as well play the role of the great detective, and show the thing to Lady Hamcester.\n\n> You get scarab\nTaken."
    },
    {
        "text": "[Themes: Comedy, heist, Farce, crime, male protagonist, slapstick]\n\n> Look around\nThis, the smallest bedroom in the house, is crammed to the gills with souvenirs of the Major's various expeditions. In one corner a narrow cot lies beneath a tent of mosquito netting; a gigantic wardrobe dominates the corner opposite. The wardrobe is open, suffusing the air with the delicate smell of mothballs.\n\nFrom here, the only exit leads south, to the east gallery.\n\n> You get netting\nThose seem to be a part of the cot.\n\n> You examine the souvenirs\nDotted around the room are various African masks, canoe paddles, snow-shoes and other mementos of the intrepid Major's expeditions. Interesting though they are, there is nothing that strikes you as being particularly useful.\n\nThe walls are lined with maps of the Amazon basin, the Belgian Congo, and other remote places he has visited, and over by the cot, a faded photograph is tacked to the wall.\n\n> You look at photograph\nThe photo shows the Major and another man, slim and sensitive looking, arm in arm against a backdrop of lianas, ferns and gigantic jungle flowers. They are seated upon a large wooden trunk, and beaming from ear to ear.\n\n> You go to the south\nAt the east end of the gallery are doors leading north and south giving access to family bedrooms. The gallery continues to the west, passing the head of the stairs. Here, the oak panelling has been disfigured by portraits of Hamcester's forebears.\n\nChief among these plug-uglies is the eighth Earl, Lord Hamcester's father, who casts his disapproving, beetle-browed gaze along the entire length of the gallery.\n\n> You go south\nThis room, decorated in shades of green and charcoal, can only be the bedroom of Lord Hamcester. Like the study, it is sparsely furnished and neat as a pin. The green room is dominated by a spectacular green velvet four-poster bed, which though staggeringly tall appears to have been built for someone well under five feet in height. Beside it sits a mahogany bedside cabinet.\n\nTo the north, a door leads into the east gallery. To the south, a set of French windows leads out onto a small balcony overlooking the park.\n\n> You look at the bed\nYou seem to remember reading that Mary Queen of Scots once slept in this bed. Presumably this was after she had lost her head.\n\n> You examine the cabinet\nA fine Regency period mahogany bedside cabinet. Its door is closed.\n\n> You open it\nYou open the mahogany bedside cabinet, revealing a small brown bottle.\n\n> You examine bottle\n\"Dr. Turkee's patent Knockout Drops \u2014 the world's most effective specific for the treatment of insomnia. DOSE: One drop before bed-time, no more. Safe and reliable.\"\n\nIn the small brown bottle are three knockout drops.\n\nThe most potent of all soporifics; just one of these innocent looking pea-sized pills could knock out a horse. Poor old Hamcester must suffer terribly from insomnia.\n\n> Close cabinet\nYou close the mahogany bedside cabinet.\n\n> You go south\nYou step out into the bright sunshine.\n\nThe balcony offers splendid views of the park and grounds. Directly ahead is a shrubbery where a hirsute gardener busies himself among the azaleas. French windows lead back into the green room.\n\n> You look at Gardener\nAmos Bunyon, Lord Hamcester's head gardener busies himself among the azaleas.\n\n> You look at door\nA sturdy door leading south. It is closed and locked. This door, wherever it may lead, appears not to have been used in a long while, since it is painted shut.\n\n> Go west\nThe west gallery does a very efficient and commendable job of linking the landing with a number of bedrooms. Where we would be without these dependable passages is anybody's guess; presumably back on the landing. At the end of the gallery are doors leading north and south.\n\nMaude, the maid, armed with a can of Brasso, is polishing the handle of the door to the south, in rather a desultory sort of way.\n\n> You examine maude\nA young girl of somewhat impish appearance, with a short brown bob and freckles. She is polishing the doorknob of the room to the south, though one suspects that her mind is elsewhere.\n\n> You ask Maude about the doorknob\n\"Are you going to be very long, in polishing that doorknob?\" you ask, innocently.\n\n\"I should say so, sir. 'You'll get those doorknobs shiny if it takes you all year,' says 'e. Well, I'm going to bloomin' well make sure it does take me all year, and see how 'e likes that!\"\n\n\"By 'e, I assume you mean your employer, Lord Hamcester?\"\n\n\"Yes, sir, beggin' your pardon, sir. Was you a friend of his?\"\n\n\"I barely know the man.\"\n\n\"I should keep it that way, if I was you, sir. In a right huff, 'e was, on account of the Major 'aving broken 'is favourite vase. But there was no need to take it out on me!\"\n\n> You ask Maude about Amos\n(Amos Bunyon)\nUnaccustomed to hob-nobbing with the nobs, Maude merely curtsies and says \"Very good, sir, I'm sure sir.\"\n\n> You go to the north\nThis gloomy, out-of-the-way room is used as a storehouse for furniture not currently in use. There are a great number of such pieces here, draped in dustsheets, along with sundry other items such as rolled tapestries and quaint candlesticks of dubious taste. There is very little, at first glance, to tickle the fancy of a discerning gentleman thief. The room is dimly lit, a dusty pair of velvet curtains allowing only a sliver of summer sunshine into the room.\n\n> You look at the curtains\nThe curtains are shut, shrouding the room in darkness.\n\n> You open them\nYou sweep open the curtains, allowing light to pour into the dusty room. Hello, what's this? An old trunk, previously unnoticed, now lies illuminated by a ray of sunshine. You have a sixth sense about these sorts of things, and it's tingling.\n\n> You look at the trunk\nA nineteenth century carved Chinese camphor wood trunk, heavily battered. The trunk is closed.\n\n> You open it\nYou open the old trunk to reveal a jumble of musty theatrical costumes and other odds and ends. A quick rummage through unearths a gramophone record entitled Maraca Medley and a false beard, but it does\nnot appear to contain anything else of interest.\n\n> You examine the record\nA gramophone record entitled Maraca Medley by Se\u00f1or Carlos\nCordorniz, the Famous Maraca Soloist. It appears to be an album\nof popular folk-tunes arranged for solo maracas. Small wonder it ended up in the lumber room.\n\n> You look at the beard\nA spectacularly bushy black beard astonishingly reminiscent of the one worn by Amos the gardener.\n\n> You search the trunk\nWell, well, what's this lurking at the bottom of the trunk? No doubt old Hamcester took this Georgian ruby ring for a piece of worthless costume jewellery. Why else would he have tossed it into an old trunk with the rest of his pirate outfit? No matter \u2014 it's yours now.\n\nYou slip the Georgian ruby ring into your secret pocket, where none but the most astute detective would find it.\n\n> You look at what you're carrying with you\nYou have about your person a false beard, a gramophone record entitled Maraca Medley, a small brown bottle, inside which are three\nknockout drops, a priceless jewelled scarab (fake), an Amazonian blowpipe, two bananas, a book entitled Psychology To-day and\na telegram.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n> You look at the ruby\nNo doubt old Hamcester took this Georgian ruby ring for a piece of worthless costume jewellery. Why else would he have tossed it into an old trunk with the rest of his pirate outfit? No matter \u2014 it's yours now.\n\n> You close the trunk\nYou close the old trunk.\n\n> Go south\nThe west gallery does a very efficient and commendable job of linking the landing with a number of bedrooms. Where we would be without these dependable passages is anybody's guess; presumably back on the landing. At the end of the gallery are doors leading north and south.\n\nMaude, the maid, armed with a can of Brasso, is polishing the handle of the door to the south, in rather a desultory sort of way.\n\n> You examine the gazza\nA gramophone recording of La Gazza Ladra, a melodramma in two\nacts by Gioachino Rossini. You're rather fond of it.\n\n> Inventory\nYou have about your person a false beard, a small brown bottle, inside which are three knockout drops, a priceless jewelled scarab (fake), an Amazonian blowpipe, two bananas, a book entitled Psychology\nTo-day, a telegram and two gramophone records; La Gazza\nLadra and Maraca Medley.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n> You turn the crank\nYou wind the crank, and a gramophone record entitled Maraca\nMedley begins to play.\n\nUpon hearing the sound of Se\u00f1or Cordorniz's world-famous musical rattles, the Major hurtles into the music room, carrying in his hands an immense medieval mace. He flings open the lid of the piano, but finding nothing inside, shouts \"False alarm!\" and thunders out again.\n\n> You listen\nFrom the gramophone there issues forth a popular folk tune, played solely on maracas, by Se\u00f1or Carlos Cordorniz, the Famous Maraca Soloist. Which popular folk tune it is, you are, alas, unable to guess. It sounds, to your untutored ear, exactly like a nest of rattlesnakes.\n\n> You go south\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\nFrom the Music Room, you hear a gramophone record entitled Maraca Medley playing.\n\nThe gramophone stops playing.\n\n> You go to the south\nYou step out into the bright sunshine.\n\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\n> You show the scarab to the Lady\n\"Great Scott, you've found it!\" says Lady Hamcester, leaping to her feet in surprise, \"Fast work Monsieur! Where on Earth was it?\"\n\n\"I am afraid to say that I discovered zis trinket in the armoire of your brother, ze Major, your Ladyship. It would appear zat he had mistaken it for a real beetle, and was keeping it as, how do you say? A pet.\"\n\n\"Oh dear,\" says Lady Hamcester, \"I was rather afraid of that. Poor Hilary! The thing now of course, is to put it back in the display case before Emerick notices it's gone.\"\n\n\"For that, Madame, I would require the key. The display case is locked.\"\n\n\"Of course. But oh dear! There's only one key to the display case, and Emerick keeps it in the breast pocket of his jacket at all times. However are we to procure it?\"\n\n\"Leave that to me, Lady Hamcester. We detectives are not without our methods.\"\n\n> You go east\nThis gravel sweep is a path that extends from the terrace steps to the west and runs along the south front. A side path winds south into a pretty shrubbery. Directly above is a balcony.\n\n> You remove the moustache\nYou take off the ginger moustache.\n\n> You wear the beard\nBit risky going out disguised as Amos when the fellow is standing in plain sight \u2014 perhaps another disguise might be more appropriate?\n\n> You wear the moustache\nYou affix the moustache firmly to your upper lip, rendering you indistinguishable from the distinguished Dr. Cornelius Drake.\n\n> You go south\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he glances around, as though looking for suspicious characters.\n\n> Go south\nYou hop nimbly over the ha-ha.\n\nThe park is used by for the grazing of Lord Hamcester's prize herd of longhorn cattle, the finest in all England. To the north, on the other side of the ha-ha, lie the formal gardens, whilst to the east, at the end of a yew alley, is a small folly in the shape of a Greek temple. West of here, surrounded by a low fence, is a little orchard. A fruit-picking ladder can be seen leaning against one of the trees.\n\nSparkenhoe, Lord Hamcester's prize bull, stands between you and the orchard, steam billowing from his nostrils.\n\n> You open the bottle\nIt's open - the stopper is missing.\n\n> Inventory\nYou have about your person a false beard, a small brown bottle, inside which are three knockout drops, a priceless jewelled scarab (fake), an Amazonian blowpipe, two bananas, a book entitled Psychology\nTo-day, a telegram and a gramophone record entitled La Gazza\nLadra.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n> You put drop in the blowpipe\n(first taking the knockout drop)\nYou put the knockout drop into the Amazonian blowpipe.\n\n> You shoot bull\nWhat do you want to shoot Sparkenhoe with?\n\n> Blowpipe\nYou raise the blowpipe to your lips and give a sharp blow. The knockout drop pings harmlessly off Sparkenhoe and comes to rest on the floor.\n\n> You get drop\nTaken.\nThe most potent of all soporifics; just one of these innocent looking pea-sized pills could knock out a horse. Poor old Hamcester must suffer terribly from insomnia.\n\n> You go north\nYou hop nimbly over the ha-ha.\n\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he casts you a suspicious glance.\n\n> You go north\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\n> You go to the east\nThe state dining room is a splendid rectangular room with flamboyantly decorated walls and ceilings; a little overdone, perhaps, but that's the Regency for you. The room is dominated by the vast, antique mahogany dining table and a set of matching chairs. The only other furniture of note is a small glass-fronted curio cabinet which stands between the two south-facing windows.\n\nNorth is the drawing room, and west the saloon.\n\nThe butler, Hives, is busy laying the table for dinner.\n\nOn the dining table are a red velvet tablecloth and an impressive array of silverware, glassware and crockery.\n\nHives carefully places a fish knife on the table.\n\n> You examine the silverware\nThe usual array of cutlery; fish forks, fruit forks, silver salvers and salad servers.\n\nHives carefully places a sherry glass on the table.\n\n> You look at the glassware\nA set of crystal glassware, including wine glasses, water goblets, champagne flutes and what-have-you.\n\nHives carefully places a fish knife on the table.\n\n> You look at the crockery\nA fine set of Royal Doulton crockery, decorated with pink roses and consisting of dinner plates, salad plates, butter plates; the whole gang.\n\nHives carefully places a sherry glass on the table.\n\n> You ask Hives about Amos\n(Amos Bunyon)\n\"Now then, Hives. Who is this Amos Bunyon, of whom I have heard so much?\"\n\n\"Mister Bunyon is head gardener here at Bunkham Hall, sir,\" says the butler. \"I fancy I saw him tending the shrubbery earlier this afternoon.\"\n\nHives carefully places a water goblet on the table.\n\n> You ask Hives about Harry\n\"Who is that chap lurking about outside the kitchen-garden?\" you ask.\n\n\"That would be Mister Boyle, the under-gardener, sir.\"\n\n\"I don't like the way he lurks, Hives.\"\n\n\"I am sorry to hear that, sir.\"\n\nHives carefully places a fish knife on the table.\n\n> You ask Hives about the kitchen\n\"I really could not say, Sir.\"\n\nHives carefully places an oyster fork on the table.\n\n> You ask Hives about the Lady Hamcester\n\"Ah, Hives,\" you say. \"Where can I find Lady Hamcester?\"\n\n\"I think you will find her Ladyship on the terrace, Sir.\" replies the butler.\n\nHives carefully places a salad knife on the table.\n\n> You ask Hives about Lord Hamcester\n\"Ah, Hives, the very man,\" you say. \"Where can I find Lord Hamcester?\"\n\n\"I think you will find his Lordship in his study, at present, Sir.\" replies the butler.\n\nHives carefully places a butter knife on the table.\n\n> You ask Hives about Major\n\"So, Hives, old man,\" you say, \"the Major seems like a lively chap.\"\n\n\"I am given to understand that Major Buff-Orpington suffered a grave tragedy whilst on an expedition to the Amazon, sir. This, so I am told, is the reason for his somewhat, erratic behaviour, sir.\"\n\n\"I see, and what was the nature of this grave tragedy, if you don't mind me asking?\"\n\n\"Not at all, sir. I understand that a close companion of the Major's, a mister Woodcock, was eaten by a snake, sir.\"\n\nHives carefully places a salad knife on the table.\n\n> You ask Hives about Woodcock\n\"Who was this Cyril 'Woody' Woodcock, then?\" you enquire.\n\n\"I know very little, sir. Perhaps Lady Hamcester would be able to assist you.\"\n\nHives carefully places a butter plate on the table.\n\n> You ask Hives about Maude\n\"How long, Hives, does it take to polish a doorhandle?\" you ask.\n\n\"A doorhandle, sir? About ten minutes, to get a good shine.\"\n\n\"I see. Well, that maid of yours seems to be taking a deuce of a lot longer.\"\n\n\"Indeed, sir? I shall speak with her at the earliest opportunity. Is it causing you a particular problem, sir?\"\n\n\"What? No! Just a general observation. Think no more about it.\"\n\n\"Very good, sir.\"\n\nHives carefully places an oyster fork on the table.\n\n> You look at the door\nA sturdy door leading outside. It is closed and unlocked.\n\n> You go west\nThe library of an English country house is an oasis of calm amid the hubbub of domestic life; the perfect place, should one feel so inclined, for a spot of light murder. The library at Bunkham Hall has a long and chequered history, and its chequered floor still bears the faint traces of numerous chalk outlines. Tall walnut bookcases line walls of crimson silk damask. East is the great hall, and a closed door to the north takes you to Lord Hamcester's study.\n\nA leather wingback armchair lounges invitingly against the south wall. Today's edition of the Times lies discarded on the seat.\n\n> You examine the clown\nYou pull the book from the shelf and peruse it. The dust jacket of this pulp classic is adorned with a picture of a screaming skull. With a red nose.\n\nBut there is no time for reading, so you replace it on the shelf.\n\n> You look at the jove\nYou pull the book from the shelf and peruse it. On the cover of this one a woman screams as a dagger-wielding hand emerges from a curtain to smite an unsuspecting vicar.\n\nBut there is no time for reading, so you replace it on the shelf.\n\n> You go to the north\n(first opening the study door)\n\nA small, cosy study, impeccably neat, with walnut panelling and a leather-topped desk of a similar complexion. There are a few homely touches; a framed newspaper clipping and a photograph hang on the wall beside you. A sturdy wooden chair faces the desk. The door, leading south into the library, is open.\n\nA ghastly amateur watercolour hangs above the desk.\n\nOn the walnut desk is a pamphlet.\n\nLord Hamcester sits at his desk, working on his speech.\n\n\"Ah, Doctor Drake!\" says Lord Hamcester, brightening. \"Come to a decision already?\"\n\n\"Actually, no.\" you say, \"I have found no evidence as yet that there is anything amiss with Major Buff-Orpington.\"\n\n\"Nothing amiss?\" cries Hamcester, pounding his desk and turning the colour of a glac\u00e9 cherry. \"What do you mean, nothing amiss? Yesterday he destroyed a garden ornament in the shape of a sphinx, mistaking it for a mountain lion. He's off his onion!\"\n\n\"He is a little high-spirited, perhaps, but no more, in my professional opinion, than might be accounted for by mere youthful vitality.\"\n\n\"Youthful vitality?\" says Hamcester, his colour darkening to that of a beetroot. \"Hilary is forty-five!\" He pounds the desk again, upsetting the ink pot all over his speech. \"Damn it, Drake, now I shall have to start all over again! Get back out there and take a closer look at him. Spare no effort. And don't come back until you've found something amiss!\"\n\n> You examine lord\nEmerick Abercorn Welsummer, ninth Earl of Hamcester is short, stout and stern with jowls that would not look out of place on an English bulldog. One swinish eye regards you with scorn while the other appears to have found something much more interesting to look at on the other side of the room. He is neatly attired in an expensive three piece suit of a style that was \u00e0 la mode when Queen Victoria was a girl. The corner of a handkerchief can be seen peeking from the breast pocket.\n\n> You examine the handkerchief\nA white linen handkerchief."
    },
    {
        "text": "> You look around\nA small, cosy study, impeccably neat, with walnut panelling and a leather-topped desk of a similar complexion. There are a few homely touches; a framed newspaper clipping and a photograph hang on the wall beside you. A sturdy wooden chair faces the desk. The door, leading south into the library, is open.\n\nA ghastly amateur watercolour hangs above the desk.\n\nOn the walnut desk is a pamphlet.\n\nLord Hamcester sits at his desk, working on his speech.\n\nLord Hamcester closes the study door.\n\n> Go south\n(first opening the study door)\n\nThe library of an English country house is an oasis of calm amid the hubbub of domestic life; the perfect place, should one feel so inclined, for a spot of light murder. The library at Bunkham Hall has a long and chequered history, and its chequered floor still bears the faint traces of numerous chalk outlines. Tall walnut bookcases line walls of crimson silk damask. East is the great hall, and an open door to the north takes you to Lord Hamcester's study.\n\nA leather wingback armchair lounges invitingly against the south wall. Today's edition of the Times lies discarded on the seat.\n\nThe door slams shut behind you.\n\n> You go to the east\nThe state dining room is a splendid rectangular room with flamboyantly decorated walls and ceilings; a little overdone, perhaps, but that's the Regency for you. The room is dominated by the vast, antique mahogany dining table and a set of matching chairs. The only other furniture of note is a small glass-fronted curio cabinet which stands between the two south-facing windows.\n\nNorth is the drawing room, and west the saloon.\n\nThe butler, Hives, is busy laying the table for dinner.\n\nOn the dining table are a red velvet tablecloth and an impressive array of silverware, glassware and crockery.\n\nHives carefully places a service plate on the table.\n\n> Search table\nOn the dining table are a red velvet tablecloth and an impressive array of silverware, glassware and crockery.\n\nHives carefully places a fish fork on the table.\n\n> You examine the tablecloth\nBright red.\n\nHives carefully places a white wine glass on the table.\n\n> You ask Hives for the pepper\nYou have no reason to discuss that with Hives at present.\n\nHives carefully places a salad knife on the table.\n\n> You ask Hives about the dinner\n\"I really could not say, Sir.\"\n\nHives carefully places a dinner fork on the table.\n\n> You ask Hives about the gorilla\nYou would rather keep your lips sealed about that particular subject.\n\nHives carefully places a sherry glass on the table.\n\n> You go to the north\n(first opening the front door)\nYou step out into the bright sunshine.\n\nBunkham Hall began life as a modest country house in the Jacobean style. In 1768, the fourth Earl of Hamcester had it remodelled by Robert Addams, a jobbing builder with no architectural training who traded rather lucratively on the reputation of his talented near-namesake Robert Adam. Whereas Adam's buildings are noted for their elegant proportions and scrupulous attention to detail, Addams's by contrast are noted for their inelegant proportions and tendency to collapse if you so much as look askance at them. It's amazing the house has lasted this long.\n\nAt first glance, Bunkham Hall is a pleasant enough example of Eighteenth Century neoclassicism, but the more one looks, the less harmonious it appears in its general proportions. The fa\u00e7ade is asymmetrical, the scalloped Rococo window frames totally out of keeping. The ionic portico, beneath which the front door leads inwards, is much too squat, and appears to be listing to one side.\n\nHere begins the long driveway that doesn't so much connect the Hall with the village to the north as keep it at a safe distance.\n\n> You examine the portico\nOne wonders whether the architect had been drinking when he built it.\n\n> You climb it\nYou should look exceedingly foolish.\n\n> Go north\nA narrow country lane connecting the village, to the east, with the railway station, to the west. You walked along it only this morning, and a very pleasant walk it was too. To the north are tall hedgerows, behind which are presumably fields of some sort, whilst to the south, via the drive, lies Bunkham Hall. The chimney of what can only be Bunkham Manor, home of Sir Humphrey Leghorn, can be seen protruding from the hedges to the east.\n\n> You examine the chimney\nBunkham Manor, home to Sir Humphrey Leghorn, lies just to the east of here. Only its chimney and part of the thatched roof are visible above the hedge.\n\n> Go east\nAccording to your Bradshaw's Guide, the village of St Bartholomew-on-the-Bog has many enticing features including a charming tea shop, an attractive duck pond and a statue of a fat balloonist, but sadly there's just no room in your itinerary this afternoon. The railway station, and London, lie in the other direction.\n\n> You go west\nYou're not leaving without the jewelled scarab. And who knows what other gems might be squirrelled away amongst the bric-a-brac at Bunkham Hall? No, there is a time for catching trains back to London, and this is not it.\n\n> Go south\nAt first glance, Bunkham Hall is a pleasant enough example of Eighteenth Century neoclassicism, but the more one looks, the less harmonious it appears in its general proportions. The fa\u00e7ade is asymmetrical, the scalloped Rococo window frames totally out of keeping. The ionic portico, beneath which the front door leads inwards, is much too squat, and appears to be listing to one side.\n\nHere begins the long driveway that doesn't so much connect the Hall with the village to the north as keep it at a safe distance.\n\n> You examine the pipe\nA weapon favoured by tribesmen of the Amazonian rainforest. As you understand it, one simply inserts a curare-tipped dart, or similar projectile in the one end, takes aim, blows into the other end, and Bob's your late uncle. It's rather like the pea-shooter you had as a lad, only more deadly. This one is empty.\n\n> You look at the bottle\n\"Dr. Turkee's patent Knockout Drops \u2014 the world's most effective specific for the treatment of insomnia. DOSE: One drop before bed-time, no more. Safe and reliable.\"\n\nIn the small brown bottle are two knockout drops.\n\nThe most potent of all soporifics; just one of these innocent looking pea-sized pills could knock out a horse. Poor old Hamcester must suffer terribly from insomnia.\n\n> You check your inventory\nYou have about your person a knockout drop, a false beard, a small brown bottle, inside which are two knockout drops, a priceless jewelled scarab (fake), an Amazonian blowpipe, two bananas, a book entitled Psychology To-day, a telegram and a gramophone\nrecord entitled La Gazza Ladra.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n> You shoot amos with the pipe\nYou are too far from Amos Bunyon to do anything but look.\n\n> You go to the south\n(first opening the door to Lady Hamcester's bedroom)\n\"Beggin' your pardon, sir, but that's the door to her Ladyship's bedroom.\" says the maid, \"I'm sure that's not the room you was lookin' for, sir.\"\n\n\"Is it really?\" you say, raising an eyebrow to affect surprise. \"How extraordinary! You're quite right, it's not the room I'm looking for at all. I don't suppose you know where it is, this room I'm looking for?\"\n\n\"It would help if I knew which room that was, sir,\" replies the maid.\n\n\"Yes, I expect it would. Oh well, not to worry, I'm sure it will turn up eventually. These things normally do. Tootle pip!\"\n\nHow tiresome! At the rate she's going, the maid won't be finished polishing until the middle of next month. However, the notorious 'Magpie' is not going to be deterred by a mere chambermaid. Perhaps there is some other way into the Countess's boudoir?\n\n> Go south\n(first opening the mysterious door)\n(first unlocking the mysterious door)\nYou lack a key that fits the mysterious door, and at any rate, it is painted shut. Perhaps there is another way into that particular room?\n\n> Go south\nThe state dining room is a splendid rectangular room with flamboyantly decorated walls and ceilings; a little overdone, perhaps, but that's the Regency for you. The room is dominated by the vast, antique mahogany dining table and a set of matching chairs. The only other furniture of note is a small glass-fronted curio cabinet which stands between the two south-facing windows.\n\nNorth is the drawing room, and west the saloon.\n\nThe butler, Hives, is busy laying the table for dinner.\n\nOn the dining table are a red velvet tablecloth and an impressive array of silverware, glassware and crockery.\n\nHives carefully places a fish fork on the table.\n\n> You take the tablecloth\nThe removal of a red velvet tablecloth from right under the nose of a head butler is no simple matter, but you think you have found the right approach.\n\n\"I say, Hives, old man \u2014 have you ever seen the famous tablecloth trick?\"\n\n\"No, sir\", says the butler warily, \"but I am aware of the general principle.\"\n\n\"You've never seen it? You don't know what you're missing. Allow me to demonstrate!\"\n\n\"I'd rather you didn't, sir,\" replies the butler, hurriedly interposing himself between you and the table. \"I do have to lay the table for dinner.\"\n\nHives carefully places a salad knife on the table.\n\n> You pull pull\nIn a distant part of the house, a bell rings.\n\nA short time later, Hives the butler shuffles into the room bearing a silver tray. He places it on the side-table and shuffles off from whence he came.\n\n> You examine the tray\nA silver tray bearing the Hamcester coat of arms. Old, worn and not particularly valuable. On the tray are a soda syphon (full) and a decanter of whiskey.\n\n> Examine\n(The Drawing Room)\nThe Drawing Room\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\nYou can see a silver tray (on which are a soda syphon (full) and a decanter of whiskey) here.\n\n> You pull pull\nIn a distant part of the house, a bell rings, but no butler appears. Perhaps Hives is occupied with some duty or other elsewhere in the house.\n\n> You take the tablecloth\n\"Really, Hives, your lack of simple faith astounds me. Let me assure you I was tutored by the great Maskelyne himself. I shall remove the tablecloth with a single deft flick of the wrist, and return it to the table leaving not so much as a soup spoon askance. Stand aside!\"\n\nReluctantly the butler concedes. You take the edge of the tablecloth and give it a yank. Unfortunately the trick does not go off as planned. Plates and bowls zip hither and thither, dashing themselves to pieces on the walls and floor. Knives, forks and spoons describe graceful arcs through the air before impaling themselves in the soft furnishings.\n\nThere is a cry from underneath the dining table. It is the Major, who, unbeknownst to all has been bivouacking there.\n\n\"What's this? What's this? Camp under siege! Attacked by Zulus, begad!\" Never one to run from a fight, the Major leaps onto the table and takes a swing at his perceived attacker with the candelabra, no doubt mistaking the butler for a Zulu chieftain. Perhaps used to the Major's splenetic outbursts, Hives dodges the blow, and losing his balance, the Major pitches head-first into the curio cabinet, demolishing it completely. Luckily he is wearing his pith helmet, but the porcelain rabbit in a red jacket, the pearlised cut-glass unicorn, the china shepherdess, the pair of white alabaster doves and the pottery figurine of a wretched-looking seal are not so fortunate.\n\nTaking advantage of the confusion, you bundle up the tablecloth and tuck it discretely behind your back...\n\n> Go west\nBy far the grandest room in the house, the saloon was once the state dining room. It is now rarely used for entertaining and has instead become a repository for old Hamcester's hideous collection of porcelain. The Axminster carpet is decorated with a delicate pattern of daisies.\n\nTo the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, French windows open onto the terrace.\n\n> Wave tablecloth\nYou raise the tablecloth and give it a flick so that the colour catches the bull's eye. The animal's eyes widen, he lowers his head, rakes the ground a couple of times with his hoof and charges.\n\nYou stand your ground, and at the last possible moment, step deftly aside, sweeping the tablecloth out of sight and allowing the creature to thunder past in a flurry of divots. Driven half by rage and half by inertia, the stricken beast leaps clean over the ha-ha like a champion show-jumper and tears across the lawn onto the terrace.\n\nHere the bull makes a belated attempt to arrest his progress but his hooves can find no purchase on the flagstones and instead he barrels sidelong through the French windows into the saloon. Borne on the fragrant summer breeze are the distant sounds of shouts and shattering porcelain.\n\n> You go to the west\nThis little orchard is home to Lord Hamcester's apple trees. The apples are not ripe yet, of course. To the east, through a gap in the fence, is the Park.\n\nLeaning against a small apple tree is a fruit-picking ladder.\n\n> You take the ladder\nYou hoist the ladder under your arm.\n\n> You go to the east\nThe park is used by for the grazing of Lord Hamcester's prize herd of longhorn cattle, the finest in all England. To the north, on the other side of the ha-ha, lie the formal gardens, whilst to the east, at the end of a yew alley, is a small folly in the shape of a Greek temple. West of here, surrounded by a low fence, is a little orchard.\n\n> You go to the north\n\"Afternoon, sir,\" says the under-gardener. casting a questioning eye over the ladder you're carrying.\n\n> Go north\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester is standing to one side of the French windows, watching, in horrified fascination, the scene now unfolding in the saloon.\n\nFrom the direction of the saloon you hear the muffled protestations of Hives.\n\n\"Poor Hives \u2014 I really must insist he gets a pay rise,\" says Lady Hamcester.\n\n> You drop the ladder\nYou lean the ladder up against the balcony.\n\n> Ascend\nYou ascend the ladder and step onto the West Balcony.\n\nThe balcony offers splendid views of the park and grounds. From here you can see into the kitchen garden, to the left of which is a wide expanse of lawn. French windows lead into the blue room. A ladder leans against the balustrade.\n\nA sturdy-looking cast iron drainpipe runs down the wall beside the balcony.\n\n> You examine the drainpipe\nA cast iron drainpipe that runs down the wall from the eaves and crosses over to the east balcony. It looks as though it would hold your weight. The manufacturer's name is embossed upon the hopper head.\n\n> You read the hopper head\n\"Flann O'Kipper and Sons\"\n\n> Go north\nThis must unquestionably be the bedroom of Lady Hamcester. Tastefully decorated in peacock blue, the room comes complete with a sagging four-poster bed, French dressing-table, and peacock damask curtains. On the west wall is an elegant fireplace, the mantelpiece littered with various ornaments. To the south, French windows lead out onto the balcony, whilst to the north is the door to the west gallery. Another, smaller door beckons you eastward.\n\nYour eye is drawn to the French dressing-table. There, strewn carelessly across its lacquered surface, are the famous Jaroda\nPearls, gleaming enticingly.\n\nA pomeranian dog, which might best be described as looking like the offspring of a rat and a feather duster, dozes fitfully on the coverlet of the four-poster.\n\nIn spite of your extreme stealth, the dog seems to sense the presence of another body in the room. It immediately jumps down from the bed and begins yapping loudly.\n\n> You shoot the dog with the blowpipe\nYou raise the blowpipe to your lips and aim for the animal's mouth, which owing to its inability to keep quiet is fortunately wide open. One well-timed puff later and the pomeranian shuts up abruptly, its face a mask of surprise, before keeling over on the rug, a spent force.\n\n> You look at the Pearls\nThe seven-stranded Jaroda Pearl Necklace is one of the most extravagant pearl necklaces ever created. It seems a shame to swipe something of Lady Hamcester's \u2014 she's not a bad old stick, but the 'Magpie' would rather die than leave the premises without them. You can always pop them in the post once she's claimed the insurance money.\n\n> You take Pearls\nYou tip-toe around the sleeping pooch and snatch the necklace from the dressing table.\n\nYou slip the famous Jaroda Pearls into your secret pocket, where none but the most astute detective would find them."
    },
    {
        "text": "[Themes: Comedy, heist, slapstick, male protagonist, magpie]\n\n> You look around\nThis must unquestionably be the bedroom of Lady Hamcester. Tastefully decorated in peacock blue, the room comes complete with a sagging four-poster bed, French dressing-table, and peacock damask curtains. On the west wall is an elegant fireplace, the mantelpiece littered with various ornaments. To the south, French windows lead out onto the balcony, whilst to the north is the door to the west gallery. Another, smaller door beckons you eastward.\n\nA pomeranian dog lies snoring peacefully on the rug, having accidentally taken one too many knockout drops.\n\n> You look at the bed\nA splendid four-poster bed, which, though solidly made, has seen better centuries.\n\n> You examine the fireplace\nA marble fireplace surround in the Dauphin French style. Cluttering the mantelpiece are a papier-m\u00e2ch\u00e9 elephant, a statuette of a shepherdess, a figurine of The Infant Samuel at prayer and a china horse.\n\n> You examine the dressing table\nAn eighteenth century \"poudreuse\" or French dressing-table, with exquisite marquetry.\n\n> Go east\n(first opening the little door)\n\nA rather spartan, neglected room which has obviously not been used in years. Hung lopsidedly on one wall is a large, framed painting of a boy in a sailor suit. A door, locked and painted shut, bars the way north to the landing, whilst another leads west into the blue room.\n\nThe only indicator of the room's previous existence is a dapple grey rocking horse, somewhat careworn, that casts its indolent gaze upon the painting on the wall opposite.\n\n> You look at the horse\nA dapple grey rocking horse on a bow rocker. The name stencilled on its harness is \"Rosebud\".\n\n> You examine the painting\nA painting of a small boy in a sailor suit. He is clutching to his breast a rag doll of a girl in a pinafore dress, as though his very life depended upon it. A small brass plaque is attached to the frame.\n\n> You read the plaque\n\"Emerick Abercorn Welsummer, heir to the Earl of Hamcester, aged six.\" It's hard to believe that this endearing, golden-haired moppet grew up to be that old buzzard downstairs.\n\n> You ride horse\nThe old horse groans under your weight, but despite the woodworm, holds firm. As you rock gently to-and-fro, your gaze falls upon the painting on the opposite wall.\n\n> You examine doll\nA handmade doll in a red gingham pinafore dress. It looks as though young Hamcester was rather attached to it, back in the day. You wonder what became of it.\n\n> You stand\nYou get off the rocking horse.\n\nA rather spartan, neglected room which has obviously not been used in years. Hung lopsidedly on one wall is a large, framed painting of a boy in a sailor suit. A door, locked and painted shut, bars the way north to the landing, whilst another leads west into the blue room.\n\nThe only indicator of the room's previous existence is a dapple grey rocking horse, somewhat careworn, that casts its indolent gaze upon the painting on the wall opposite.\n\n> Go west\nThis must unquestionably be the bedroom of Lady Hamcester. Tastefully decorated in peacock blue, the room comes complete with a sagging four-poster bed, French dressing-table, and peacock damask curtains. On the west wall is an elegant fireplace, the mantelpiece littered with various ornaments. To the south, French windows lead out onto the balcony, whilst to the north is the door to the west gallery. Another, smaller door beckons you eastward.\n\nA pomeranian dog lies snoring peacefully on the rug, having accidentally taken one too many knockout drops.\n\n> You examine the elephant\nThe papier-m\u00e2ch\u00e9 elephant is a slightly boss-eyed but otherwise\ngenial\nexample of his species. Utterly worthless, of course.\n\n> You go south\nYou step out into the bright sunshine.\n\nThe balcony offers splendid views of the park and grounds. From here you can see into the kitchen garden, to the left of which is a wide expanse of lawn. French windows lead into the blue room. A ladder leans against the balustrade.\n\nA sturdy-looking cast iron drainpipe runs down the wall beside the balcony.\n\nAs you step out onto the balcony, you are mildly perturbed to see that the ladder is no longer where you left it. Hearing voices on the terrace below, you duck down behind the balustrade in order to watch unobserved. Through a gap in the ivy, you are able to see the under-gardener, holding the ladder, in concert with Lord Hamcester, who appears to have taken a break from ordering Hives around in order to enjoy a cigar.\n\n\"What was it doing there?\" says Hamcester.\n\n\"I don't know, sir,\" says the under-gardener, shuffling his feet nervously. \"I saw the gentleman carrying it over from the orchard, sir, and there it was.\"\n\n\"The gentleman? Are you referring to, er, ah, our guest?\"\n\n\"The gentleman with the ginger moustache, sir.\"\n\n\"I see. So you're telling me that you observed the gentleman with the ginger moustache carry the ladder from the orchard towards the house, and lean it up against the balcony?\"\n\n\"Well, yes, sir. I mean, no sir.\"\n\n\"Yes, no? Which is it, man? You're blithering.\"\n\n\"I mean to say I saw him, the gentleman with the moustache, sir, carry the ladder from the orchard, but I didn't see him lean it up against the balcony, sir, on account of being unable to see the balcony from where I was situated, sir.\"\n\n\"I see. Odd, dashed odd. Very good, Boyle. Don't let that ladder out of your sight. There's some funny business going on at Bunkham Hall today, and I shouldn't be at all surprised if Sir Humphrey Leghorn were at the bottom of it.\"\n\nTucking the ladder under his arm, the under-gardener sets off around the side of the kitchen-garden. Hamcester, meanwhile, gazes across from the west balcony to the top of the kitchen-garden wall, as though trying to judge whether it would be possible to jump from one to the other. Shaking his head, he retires into the house.\n\n> You climb the drainpipe\nThe drainpipe looked sturdy enough from the balcony, but no sooner have you entrusted it with your full weight than it parts company with the wall, and you find yourself tumbling headlong into a rhododendron bush that fortunately was growing below.\n\nGravel Sweep West (in the rhododendron bush)\nThis gravel sweep is a path that extends from the terrace steps to the east and runs along the south front. To the south is the ivy-grown wall of the kitchen garden. A large rhododendron bush grows against the wall here beneath a first floor balcony.\n\n> You go east\nYou would have to get out of the rhododendron bush first.\n\n> You stand\nYou extract yourself from the rhododendron bush as elegantly as can be managed, brushing a few stray leaves from your clothing.\n\n> You look at the bush\nA fine example of a flowering shrub in the family Ericaceae.\n\n> You go east\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester is standing to one side of the French windows, watching, in horrified fascination, the scene now unfolding in the saloon.\n\nFrom the direction of the saloon you hear Lord Hamcester barking orders.\n\n\"I never did like that tea set,\" says Her Ladyship.\n\n> You ask the Lady about the bull\n\"You should have seen him leap over the ha-ha, Monsieur,\" says Lady Hamcester. \"It was magnificent. I do hope he doesn't sit on poor Hives.\"\n\nFrom the direction of the saloon you hear a sudden crash.\n\n\"Careful, Hives!\" says Lady Hamcester.\n\n> You put the drop in the pipe\n(first taking the knockout drop)\nYou put the knockout drop into the Amazonian blowpipe.\n\nFrom the direction of the saloon you hear Lord Hamcester barking orders.\n\n\"Oh dear, that vase was a present from Emerick's sister Agatha,\" laughs Lady Hamcester.\n\n> You go north\n\"Be careful, Monsieur Perroquet,\" says Lady Hamcester.\n\nBunkham Hall's grandest room has become a scene of devastation to rival the ruins of Pompeii. Barely a stick of furniture remains intact, and Hamcester's hideous collection of porcelain lies in fragments on the floor. The Axminster carpet is decorated with a delicate pattern of daisies and fragrant, steaming cowpats. To the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, the remains of some French windows open onto the terrace.\n\nThe scene unfolding in the saloon reminds you rather vividly of a country dance you once attended. Sparkenhoe, fully three thousand pounds of prime muscle, and Hives, the emaciated butler, make a rather odd couple as they do-si-do around the room. The latter appears to be attempting to eject the former from the premises, whilst the former, barely aware of the latter's presence, rampages about, upsetting the furniture and reducing the crockery to a mass of fragments. Lord Hamcester, meanwhile, having finally found something more urgent to do than write his speech, stands in the safety of the doorway, surveying the damage and barking orders at his struggling manservant.\n\n\"Try lifting him. No, not like that \u2014 get right underneath!\" bellows Hamcester. There is a crash as Sparkenhoe collides with a Welsh dresser.\n\n> You go north\nIt's too dangerous to cross the saloon with Hamcester's prize bull rampaging about in it.\n\n\"Put your back into it, man!\" bellows Hamcester. There is a tinkle of shattering glass as the beast backs into the French windows.\n\n> You shoot the bull with the pipe\nNot relishing the prospect of being gored to death, sat upon or trampled to a jelly, you decide to leave the animal well alone.\n\n\"Try to keep him away from the Dresden \u2014 oh, for goodness sakes!\" bellows Hamcester. There is a sickening crunch as Sparkenhoe steps on a plate that had somehow survived the fall from the dresser.\n\n> You check your inventory\nYou have about your person a false beard, a small brown bottle, inside which is a knockout drop, a priceless jewelled scarab (fake), an Amazonian blowpipe (loaded with a knockout drop), two bananas, a book entitled Psychology To-day, a telegram and a gramophone\nrecord entitled La Gazza Ladra.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are the famous Jaroda Pearls, a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a ginger moustache, rendering you indistinguishable from Doctor Cornelius Drake, the noted alienist.\n\n\"No, not that way, the other way!\" bellows Hamcester. There is a crash as Sparkenhoe collides with a Welsh dresser.\n\n> You go to the east\nIt's too dangerous to cross the saloon with Hamcester's prize bull rampaging about in it.\n\n\"Try to keep him away from the Dresden \u2014 oh, for goodness sakes!\" bellows Hamcester. There is a tinkle of shattering glass as the beast backs into the French windows.\n\n> Go south\nYou beat a hasty retreat.\n\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester is standing to one side of the French windows, watching, in horrified fascination, the scene now unfolding in the saloon.\n\nFrom the direction of the saloon you hear a sudden crash.\n\n\"Oh, dear!\" laughs the Countess.\n\n> Go south\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\nYou can also see a ladder here.\n\n> Go east\nA very pretty shrubbery, with a gravel path that winds between banks of hardy shrubs. Hollyhocks and azaleas add a splash of colour to the proceedings. The path weaves north to the gravel sweep surrounding the house, and west to the lawn.\n\nAmos Bunyon, the impossibly hirsute head gardener is going about his business.\n\nAmos tries to take a swig from his hip flask, but finding it empty, replaces it in his pocket grumblingly.\n\n> Go west\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he casts you a suspicious glance.\n\nYou can also see a ladder here.\n\n> You go south\n\"Well, tinkety-tonk, old bean,\" you say, and gesturing towards the balding box hedge, add \"keep up the good work.\"\n\n\"Right you are, sir,\" sighs the under-gardener.\n\nYou hop nimbly over the ha-ha.\n\nThe park is used by for the grazing of Lord Hamcester's prize herd of longhorn cattle, the finest in all England. To the north, on the other side of the ha-ha, lie the formal gardens, whilst to the east, at the end of a yew alley, is a small folly in the shape of a Greek temple. West of here, surrounded by a low fence, is a little orchard."
    },
    {
        "text": "[Themes: Comedy, male protagonist, slapstick, Comedy, crime, heist, humor]\n\n> Go downwards\nYou can't go that way. The obvious exits are north (to the lawn), east (to the yew alley) and west (to the orchard).\n\n> You go north\nYou hop nimbly over the ha-ha.\n\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he glances around, as though looking for suspicious characters.\n\nYou can also see a ladder here."
    },
    {
        "text": "[Themes: Comedy, slapstick]\n\n> You go downwards\nA sort of trench, designed to prevent cattle from running amuck all over the house. To the south it slopes up to the park. One could also climb up the north side, which is faced with stone, to reach the lawn.\n\n> You go upwards\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\nYou can also see a ladder here.\n\n> You read the book\nYou flip through the pages randomly until you come upon a chapter that interests you:\n\nChapter 14: Catharsis\n\n\"Catharsis involves the release of pent-up negative energies. It\nis believed to produce therapeutic change by discharging deeply felt emotions that have been stored up. By recreating a traumatic event, and allowing the patient to alter the outcome, one allows him the satisfaction of completing 'unfinished business' and prevents future emotional arousal.\"\n\nInteresting.\n\n> Keep going\nYou flip through the pages randomly until you come upon a chapter that interests you:\n\nChapter 11: The Psychology of the Kleptomaniac\n\n\"Kleptomania may be defined as the recurrent urge to steal,\ntypically without regard for need or profit. In the case of the gentleman thief, this need may arise from a desire to escape the monotony of wealth; he steals for the thrill rather than out of lack. He chooses his victims carefully, restricting his targets to those who can afford the loss, in order to assuage deep-seated feelings of guilt.\"\n\nPoppycock!"
    },
    {
        "text": "> Look around\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he glances around, as though looking for suspicious characters.\n\nYou can also see a ladder here.\n\n> You take ladder\nAs you go to pick up the ladder the under-gardener steps forth from his accustomed spot and addresses you thusly:\n\n\"Beggin\" your pardon, sir, but was there a particular reason why you needed a ladder?\"\n\n\"No, not especially,\" you reply. \"Why, did you have one in mind?\"\n\nThe under-gardener appears to have no answer to this, His mouth opens and closes once or twice, like that of a fish, but no sound issues. In the fullness of time, however, a thought occurs to him.\n\n\"It's just that, his Lordship asked me not to let it out of my sight, sir.\"\n\n\"Very sensible. Who knows what mischief might be achieved with a ladder, should it fall into the wrong hands? I shall endeavour to ensure that it does not. Furthermore, I shall inform his Lordship that you were vigilant to the last.\"\n\n\"Thank you, sir.\"\n\n\"Don't mention it.\"\n\nYou hoist the ladder under your arm.\n\n> You go east\nA very pretty shrubbery, with a gravel path that winds between banks of hardy shrubs. Hollyhocks and azaleas add a splash of colour to the proceedings. The path weaves north to the gravel sweep surrounding the house, and west to the lawn.\n\nAmos Bunyon, the impossibly hirsute head gardener is going about his business.\n\nAmos mops his brow with a spotted handkerchief.\n\n> You go north\nThis gravel sweep is a path that extends from the terrace steps to the west and runs along the south front. A side path winds south into a pretty shrubbery. Directly above is a balcony.\n\n> You drop the ladder\nYou lean the ladder up against the balcony.\n\n> You go upwards\nYou ascend the ladder and step onto the East Balcony.\n\nThe balcony offers splendid views of the park and grounds. Directly ahead is a shrubbery where a hirsute gardener busies himself among the azaleas. French windows lead back into the green room. A ladder leans against the balustrade.\n\n> Go west\nFrom here the grand staircase descends to the great hall. The landing forms part of the long gallery, a grandiose room stretching from east to west across the entire frontage of the building. The long gallery at Bunkham Hall, of course, was built in 1768, a century after the invention of the corridor had rendered such spaces redundant. A large picture window to the north affords splendid views of the drive, whilst to the south is the door to the old nursery, locked and painted shut."
    },
    {
        "text": "[Themes: Comedy, Farce, humor]\n\n> Go downwards\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\nFrom the direction of the saloon you hear Lord Hamcester barking orders.\n\n> You go east\nOnce one of the finest rooms in the house, the drawing room is in a state of disarray. Elegant armchairs lie on their backs, priceless ornaments lie in fragments on the floor and the walls, lined with red Genoa velvet, are spattered with crumbs of Genoa cake.\n\nTo the west lies the great hall. The dining room is to the south and the music room to the north. In the corner of the room hangs a tasselled bell pull.\n\nYou can see a silver tray (on which are a soda syphon (full) and a decanter of whiskey) here.\n\nFrom the direction of the saloon you hear a sudden crash.\n\n> You take the tray\nTaken.\n\nFrom the direction of the saloon you hear the bellowing of the enraged Sparkenhoe.\n\n> Go west\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\nFrom the direction of the saloon you hear the tinkle of breaking porcelain."
    },
    {
        "text": "> Go downwards\nThis commodious entranceway is dominated by a broad flight of white marble steps leading up to the first floor. Alabaster columns keep the gilded ceiling in a state of harmonious separation from the marble floor. On the south wall, facing the front door is a carved escutcheon representing the Hamcester coat of arms, beneath which is the entrance to the saloon. To the east is the drawing room, and to the west, the library.\n\nFrom the direction of the saloon you hear the muffled protestations of Hives.\n\n> You go west\nThe library of an English country house is an oasis of calm amid the hubbub of domestic life; the perfect place, should one feel so inclined, for a spot of light murder. The library at Bunkham Hall has a long and chequered history, and its chequered floor still bears the faint traces of numerous chalk outlines. Tall walnut bookcases line walls of crimson silk damask. East is the great hall, and a closed door to the north takes you to Lord Hamcester's study.\n\nA leather wingback armchair lounges invitingly against the south wall. Today's edition of the Times lies discarded on the seat.\n\nFrom the direction of the saloon you hear a sudden crash.\n\n> Go north\n(first opening the study door)\n\nA small, cosy study, impeccably neat, with walnut panelling and a leather-topped desk of a similar complexion. There are a few homely touches; a framed newspaper clipping and a photograph hang on the wall beside you. A sturdy wooden chair faces the desk. The door, leading south into the library, is open.\n\nA ghastly amateur watercolour hangs above the desk.\n\nOn the walnut desk is a pamphlet.\n\nFrom the direction of the saloon you hear the muffled protestations of Hives.\n\n> You read the pamphlet\n\"Rules and Regulations of the St Bartholomew-on-the-Bog annual Village F\u00eate cucumber growing competition. Rule 1: Under no circumstances may radium-based fertilizers be used in the cultivation of cucumbers entered in the competition.\"\n\nFrom the direction of the saloon you hear the tinkle of breaking porcelain.\n\n> You move the watercolour\nNothing obvious happens.\n\nFrom the direction of the saloon you hear the muffled protestations of Hives.\n\n> Open watercolour\nIt isn't something you can open.\n\nFrom the direction of the saloon you hear a sudden crash.\n\n> You examine it\nA small framed watercolour depicting Bunkham Hall at sunset as rendered by Lord Hamcester himself. Somehow it contrives to make the Hall look even more ill-proportioned than it is in real life. The painting sticks out from the wall rather further than you might expect it to.\n\nFrom the direction of the saloon you hear the bellowing of the enraged Sparkenhoe.\n\n> You pull it\nYou pull the watercolour.\n\nFrom the direction of the saloon you hear the muffled protestations of Hives.\n\n> You get it\nJust as you thought! A wall safe, concealed behind the painting! No wonder Lord Hamcester got so jumpy when you went near it. You rub your hands in anticipation; no safe is safe from the 'Magpie'!\n\nExcept, of course, the Biggleman Super-Deluxe, the most fiendishly uncrackable safe ever devised. Which this is. Your smile flickers for a fraction of a second.\n\nThe Biggleman Super-Deluxe has an alphabetical dial, rather than a numerical one. The combination could be any six letter word, chosen by the purchaser. To open the safe, one merely needs to spin the dial to that very word. If only you knew what the word was \u2014 but discovering it should be child's play to the illustrious 'Magpie'!\n\nYou are suddenly aware that it has gone very quiet in the saloon...\n\n> Spin dial to Magpie\nClick! and nothing else happens.\n\n> You open safe\nThe safe will open only when the dial is spun to the correct combination. The Biggleman Super-Deluxe has an alphabetical dial, rather than a numerical one. The combination could be any six letter word, chosen by the purchaser. To open the safe, one merely needs to spin the dial to that very word. If only you knew what the word was\n\u2014\nbut discovering it should be child's play to the illustrious 'Magpie'!\n\nLord Hamcester barges into the study, slamming the door behind him.\n\n\"What are you doing with that?\" says Hamcester, indicating the painting in your hands. He glances over at the wall safe, and back at you.\n\n\"I just couldn't resist taking a closer look, your Lordship,\" you say giving him the old oil, \"the brushwork is exquisite. Simply exquisite.\" His Lordship snatches the painting from your hands and hangs it carefully back on the wall.\n\n\"Be that as it may,\" he says, \"I've got my eye on you, Drake. Your behaviour is odd for a psychotherapist. Dashed odd.\"\n\n> Go south\n(first opening the study door)\n\nThe library of an English country house is an oasis of calm amid the hubbub of domestic life; the perfect place, should one feel so inclined, for a spot of light murder. The library at Bunkham Hall has a long and chequered history, and its chequered floor still bears the faint traces of numerous chalk outlines. Tall walnut bookcases line walls of crimson silk damask. East is the great hall, and an open door to the north takes you to Lord Hamcester's study.\n\nA leather wingback armchair lounges invitingly against the south wall. Today's edition of the Times lies discarded on the seat.\n\n> You go to the south\nBunkham Hall's grandest room has become a scene of devastation to rival the ruins of Pompeii. Barely a stick of furniture remains intact, and Hamcester's hideous collection of porcelain lies in fragments on the floor. The Axminster carpet is decorated with a delicate pattern of daisies and fragrant, steaming cowpats. To the north and east are the great hall and the dining room respectively. The collection room lies to the west, whilst to the south, the remains of some French windows open onto the terrace.\n\n> You look at the porcelain\nNowhere is Hamcester's egregious lack of taste more evident than in this collection of porcelain. One can only imagine that he picked it up as a job-lot in a local jumble sale. Fortunately, most of it is now scattered about the floor in minute fragments. Amongst the survivors are a Ting Dynasty vase, a Staffordshire pearlware figure of an orange-haired clown and a china lamb.\n\n> Go south\nYou step out into the bright sunshine.\n\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\nStanding beside the countess is a rather dishevelled Hives. He bears, in his twiglike arms, a silver tray, about which are buzzing a number of wasps. \"I regret to report that dinner will be delayed indefinitely, Madam,\" says the butler, \"owing to a mishap in the dining room.\"\n\n\"Not another mishap, Hives?\"\n\n\"Yes, madam. Bread and treacle is the best I am able to offer, your Ladyship, until a replacement set of tableware can be located.\"\n\nBut before the butler can dish up the comestibles, a wild figure jumps out from behind a statue of a prancing faun. It is the Major, brandishing a slingshot of gigantic proportions.\n\n\"Japanese hornets!\" he cries. \"Beastly devils. Stand back, I'm a dead shot!\" Leaping up onto the balustrade, the Major pulls back the elastic and lets fly a large stone. The projectile misses the wasps, but hits the tin of treacle square-on. The badly dented tin sails end-over-end, before clattering to the flagstones not far from your feet, where the treacle oozes into a large puddle.\n\n\"I think you had better cancel bread and treacle, too, Hives,\" says Lady Hamcester. The butler sighs, and retreats into the house, followed by the Major.\n\n> You look at the treacle\nAh \u2014 this takes you back. When you were a nipper, a piece of bread\nand\ntreacle was the only thing that would keep you quiet. One can hardly yell and shout when one's jaws are glued together. The tin is badly dented and lying on its side; the contents have long since oozed into a large puddle on the flagstones.\n\n> You take the tin\nYou decide, on reflection, to leave the sticky tin alone. The contents have long since oozed into a large puddle on the tabletop.\n\n> Go east\nThis gravel sweep is a path that extends from the terrace steps to the west and runs along the south front. A side path winds south into a pretty shrubbery. Directly above is a balcony.\n\nYou can see a ladder (leaning against the balcony) here.\n\n> Go south\nA very pretty shrubbery, with a gravel path that winds between banks of hardy shrubs. Hollyhocks and azaleas add a splash of colour to the proceedings. The path weaves north to the gravel sweep surrounding the house, and west to the lawn.\n\nAmos Bunyon, the impossibly hirsute head gardener is going about his business.\n\nAmos plucks a thistle from the ground without so much as flinching.\n\n> You give the whiskey to Amos\n(first taking the decanter of whiskey (drugged))\nAmos winks, and taking the decanter in one of his great, grimy paws, knocks back the lot in one go. For the briefest of moments he continues to stand there grinning, decanter in hand, and then, slowly, his eyes cross and he keels over backwards into the azaleas. But for the pair of wellingtons sticking out of the shrubbery and a loud snore, you'd never know he was there.\n\nA stentorian snore issues from within the azaleas.\n\n> You remove the moustache\nYou take off the ginger moustache.\n\nA stentorian snore issues from within the azaleas.\n\n> You wear the beard\nYou hook the beard over your ears, instantly transforming you into the likeness of Amos Bunyon, head gardener.\n\nA stentorian snore issues from within the azaleas.\n\n> About you\nYou are Sir Rodney Playfair; dashing, debonair and devilishly handsome. Not perhaps in the first flush of youth, but very sprightly for a man of sixty. That touch of grey at the temples lends you an air of authority, a useful attribute for getting one out of a scrape.\n\nNot that anyone would recognise you now; the 'Magpie' is a master of disguise and right now you're the spitting image of Amos Bunyon, Head Gardener at Bunkham Hall.\n\nA stentorian snore issues from within the azaleas.\n\n> You go west\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he casts you a suspicious glance.\n\n> You go to the west\nThe under-gardener nods as you pass through the archway. \"Afternoon, mister Amos.\"\n\nA walled vegetable garden in whose well-tended beds grow runner beans, tomatoes and other worthy comestibles of only passing interest to a gentleman thief. The kitchen garden is connected via a stone archway to the lawn in the east.\n\nDominating the north side of the garden is a gigantic cucumber frame, containing an enormous cucumber. The frame is securely padlocked.\n\n> You examine the cucumber\n\"A cucumber a day keeps the Parthians away\" as the Emperor Tiberius used to say. This one is certainly fit for an emperor, it can't be less than three feet long. There is something almost serpentine in its sinuous curves.\n\n> Go east\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\n> You go east\nA very pretty shrubbery, with a gravel path that winds between banks of hardy shrubs. Hollyhocks and azaleas add a splash of colour to the proceedings. The path weaves north to the gravel sweep surrounding the house, and west to the lawn.\n\nAmos Bunyon, the impossibly hirsute head gardener lies fast asleep among the azaleas. But for the pair of wellingtons sticking out of the shrubbery, you'd never know he was there.\n\nA stentorian snore issues from within the azaleas.\n\n> You search Amos\nYou find nothing of interest.\n\nA stentorian snore issues from within the azaleas.\n\n> You examine amos\nA giant of a man in size 15 wellingtons and a leather jerkin. His face is almost entirely hidden behind a spectacular black beard that gives him a somewhat piratical air. He's currently sleeping off the Mickey Finn you slipped him earlier.\n\nA stentorian snore issues from within the azaleas.\n\n> You take the wellingtons\nThe beard alone should be enough to pull off a convincing impersonation. The rest is all in the voice and the gestures, of which you are a true master. You've found in the past that people tend to get a general impression, and not notice the fine details.\n\nA stentorian snore issues from within the azaleas.\n\n> You look at the beans\nThe vegetables, though no doubt delicious, are of only passing interest to a gentleman thief. The contents of the cucumber frame, however, suggest certain interesting possibilities to what Doctor Drake would no doubt have described as your unconscious mind.\n\n> You examine the frame\nA gigantic cucumber frame, containing an enormous cucumber. The frame is securely padlocked.\n\nIn the cucumber frame is an enormous cucumber.\n\n> You open frame\n(first unlocking the cucumber frame)\nYou lack a key that fits the padlock on the cucumber frame, and to compound the problem, you are also without your lockpicks. This puts you in rather a sticky situation, but sticky times call for simple solutions \u2014 \"in case of emergency, break glass\".\n\n> Break frame\nA perfectly creditable idea, but the noise would draw unwelcome attention from the under-gardener, who is standing just outside. Perhaps if there were a way to dampen the sound...\n\n> You look at what you're carrying with you\nYou have about your person a silver tray, on top of which is a soda syphon (full), a small brown bottle (empty), a priceless jewelled scarab (fake), an Amazonian blowpipe (loaded with a knockout drop), two bananas, a book entitled Psychology To-day, a ginger\nmoustache, a telegram and a gramophone record entitled La Gazza\nLadra.\n\nStashed safely in the secret pocket of your form-fitting tweed suit, are the famous Jaroda Pearls, a Georgian ruby ring and a black and white feather.\n\nYou are also wearing a false beard, rendering you indistinguishable from Amos Bunyon, Head Gardener at Bunkham Hall.\n\n> Go east\nAn expansive lawn, dotted with ancient cedar trees. It is connected, by way of a gravel path, to a shrubbery in the east, and by a stone archway to a walled vegetable garden in the west. To the south, on the other side of the ha-ha, lies the park.\n\nOver by the stone archway, a small, wiry man in a cloth cap snips lackadaisically at a box hedge with a pair of garden shears. Occasionally, he peers through the archway into the vegetable garden, as though making certain there is nothing amiss.\n\n> You go to the north\nA charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.\n\nStone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.\n\nA badly dented tin of treacle is lying on its side in the middle of the terrace. Its contents have oozed into a large puddle on the flagstones, providing a mid-afternoon repast for a number of wasps.\n\nLady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.\n\n> Go north\n\"Amos!\" says Lady Hamcester with some asperity, \"I will not have you clomping about the house in those muddy boots of yours. Haven't you got some work to be getting on with?\"\n\n> Go east\nThis gravel sweep is a path that extends from the terrace steps to the west and runs along the south front. A side path winds south into a pretty shrubbery. Directly above is a balcony.\n\nYou can see a ladder (leaning against the balcony) here.\n\n> Go upwards\nYou ascend the ladder and step onto the East Balcony.\n\nThe balcony offers splendid views of the park and grounds. Directly ahead is a shrubbery where a hirsute gardener snoozes among the azaleas. French windows lead back into the green room. A ladder leans against the balustrade.\n\n> You go north\nThis out-of-the-way room is used as a storehouse for furniture not currently in use. There are a great number of such pieces here, draped in dustsheets, along with sundry other items such as rolled tapestries and quaint candlesticks of dubious taste. The dusty velvet curtains have been thrown open, allowing the summer sunshine to flood the room.\n\nThe only exit leads south, to the west gallery.\n\nAn old trunk, previously unnoticed, now lies illuminated by a ray of sunshine. The trunk is closed.\n\n> You look at the tapestries\nRather moth-eaten.\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Horror, Lovecraft, horror, ship, miniature protagonist, lesbian, nonhuman protagonist, telepathy, Lovecraftian, gender-neutral protagonist, absurd, ocean, nautical, science fiction]\n\nThe Song of the Universe envelops you, pulsing through you in the otherworldly aether. You sing, sing, sing the song of ancients, of the unending, of all to come and be. Your semi-aqueous body kneads upon itself, in time to the rhythm: Spread, then fold, spread, then fold. The Universe echoes infinitely your leitmotif: Erupt, engulf, erupt, engulf.\n\nWhite:\n\nBliss.\nBliss. A physical jolt momentarily tears you apart from the\nSong, grounds you in the physical world. For a moment all you can see is the crystal Cellarium, perfectly sized to house your viscous body. Grey: Tedium. Boredom. You immediately launch yourself back\ninto the Song.\nThe disturbance returns. Then another, and another. The rhythm is interrupted. Your connection to the Universe fades. The jostling gives way to a slow but steady movement. Kidnapped. Stolen. Abused. Lifted? Out of the trench. The bathymetric pressure change burns; the walls of your home become now painfully entombing. Hoisted, sloshed, disoriented, finally: dropped.\n\nAfter a time, you sense them, surrounding your Cellarium. The Others, the Blind Ones. You've heard of their kind. They ooze yellow: Curiosity. Excitement. They do not sense you inside. You are\nsafe. Their meat-tongues eke out disgusting, shrill noises. With horrified fascination, you realize that they are singing: faint colors in a pathetic shadow of the real Song. You easily parse their meanings.\n\n\"...locals could have created it?....formation is natural at that level....wet lab for testing....\"\n\nWhile the Others' outside stutterings are disturbing, your Cellarium has come to a rest, and the Song beckons you... to once again sing and dance. Perhaps, despite the abduction, you still can.\nWhile the Others' outside stutterings are disturbing, your Cellarium has come to a rest, and the Song beckons you... to once again sing and dance. Perhaps, despite the abduction, you still can.\n\n\n\nA white, crystalline Ancient structure that perfectly houses you. The muffled voices swirl yellow and green: intrigue and excitement as they staccato to each other.\n\n[Author's Note: Stolen away by apathetic Blind Ones, your only desire is to return to your Cellarium and the Song of the Universe. They should understand. You shall make them to understand.]\n\n> About yourself\nA physical, gelatinous body. One of the Ancients, the Eternals: The Aqueosity.\n\n> Sing\nYou launch yourself back into the bliss, the harmony, the rhythm. From up here, it feels different, but still welcoming. Away fades the physical world: the Cellarium, the room, the muffled voices and their primitive colors. Replaced with the resplendent Song of the Universe. But something unexpected is here. There are other Blind Ones, different humans. Sleepers, drifters, each one alone in disharmony, singing a selfish song of apathetic deafness, rejoicing in their discordance. You can't truly connect while they sing so jarring, but you could help them, help the sleepers. They deserve to Sing too.\n\n> Sing\nYou cannot Sing properly while surrounded by such disharmony. The sleepers, they sing disjointed and pathetic. There must be a way to help them.\n\n> You examine the sleepers\nAll pluck out their own primitive, discordant tune, not even creating a passable solo melody. It is soul-wrenching to witness. You cannot possibly enjoy your own beauty knowing such emotional poverty before you. Their strong connections to the physical world anchor them, prevent them from being able to Sing in true beauty."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, science fiction, nautical, miniature protagonist, absurd, telepathy]\n\n> You look at your surroundings\nThe Song of the Universe, with every creature dancing and coloring and sharing and exchanging in happiness and harmony. The sleepers drift and sing a primitive song. It is apathetic and selfish, and disrupts the harmony.\n\n> You sing to the sleepers\nThey sing blind solos. Their connections to the physical prevent them from being able to harmonize with you.\n\n> You examine Universe\nEvery Ancient and animate in all of space and time, weaving together the beauty and majesty of cohesion. It sings white in immaculate beauty and perfection.\n\n> Harmonize\n(the primitive song)\nYou're having trouble combining that (the primitive song)\ninto a better state.\n\n> You examine Song\nRandom, off-tune, irregular beats, each one of them of a different style. It is a disgusting mess. They would be happier - everything would be better - if they were able to harmonize with the Universe properly, but their ties to the physical restrict them.\n\n> You listen to the sleepers\nThey all sing the best that they are able, but their tethers to the physical prevent them from being able to sing, to tumble, to combine, to harmonize. So they sing Blindly, each their own self-absorbed tune.\n\n> You examine physical\nWhile you're in the Song, the tedium of the physical fades completely, and your Cellarium is one of those physical objects.\n\n> You touch Cellarium\nThe Cellarium is the thing that allows you to ignore the physical world. You'd rather focus on being able to get back to singing, and that means helping these others sing as well.\n\n> You examine Cellarium\nYou untether them.\nWhite.\nPeace.\nOne by one, their melodies harmonize: they truly connect to one another in a strong and beautiful swelling of colors. You ignite with hope and pride. However, in the midst of your bliss-creating wake, you encounter one Drifter whose ties are oddly strung: He is one of the few Blind Ones who can Walk while Singing. He can see, understand, comprehend. He witnesses. Drifter starts to awaken. That must not happen: he will throw away his chance at happiness.\n\nWhile you're in the Song, the tedium of the physical fades completely, and your Cellarium is one of those physical objects.\n\nThis Drifter has pushed himself nearly fully back into the physical.\n\n> You examine Drifter\nHis connection to this world is fading, quickly. His ties are pulling him back to the physical. It needs to be cut quickly before he is out of your grasp.\n\nThe Drifter leaves the bliss, and you turn to your Singing. There is a great disturbance that you decide to investigate, but your Cellarium has been fastened shut and you are unable to escape it. The Blind Ones handle you some more - poking and prodding - but eventually, in a flurry of green excitement, they stick a rod in you, and leave you alone to sing. And you join in as best you can, but the rod is always there, a splinter nagging at you, preventing you from fully singing. But it is still lovely, and you join in as best you can.\nOff-white. Happiness.\n\n> You examine blind Ones\nAll pluck out their own primitive, discordant tune, not even creating a passable solo melody. It is soul-wrenching to witness. You cannot possibly enjoy your own beauty knowing such emotional poverty before you. Their strong connections to the physical world anchor them, prevent them from being able to Sing in true beauty.\n\n> You cut drifter\nDrifter attempts to flee you: lucid and aware, but still completely Blind. He does not know, does not understand: cutting the ties will grant him bliss. You will give him bliss.\n\nYou manage to sever many of his ties, but his resistance has disappointingly ruined the process, and now he has trapped himself in a kind of limbo. Part of him in the physical world where you cannot influence. The resulting black and stabbing mess is incredibly painful to listen to. As he attempts to fully shove himself back into the other world, he screams a report of everything he senses there, on repeat.\n\n> You listen to the screams\n...top bunk, snoring shipmates, bed, itchy sheets, top bunk,\nsweat, intruder? intruder! sheets, some voices, top bunk, other shipmates, snoring, snoring, snoring, bed, wet sweat, sheets, rough sheets, intruder pressing my chest, top bunk, bed...\n\n> Sing\nYou Sing and Fold: push apart, consume, push apart, consume again. You join into the music of the Universe, and relief overwhelms you as the Universe itself mirrors your motions. White. Bliss...\n\nYou hear a faint black flurry from the physical. Then, a mechanical roar rips away the Universe, and you are snapped back into your aqueous body. Back to the Cellarium. To the physical. Everything is moving again. Not up, but away. Realization: they will never grant you peace. Determination: return yourself and your Cellarium to the proper place. But first, this unnatural movement must be stopped.\n\nA white, crystalline Ancient structure that perfectly houses you. The muffled voices have left, and the surrounding room is empty.\n\nThe human-place is just outside.\n\nYou fold. Glimpses of white bliss tempt you, but they are too fleeting, and it feels somehow different. The Cellarium needs to be returned to its appointed place.\n\n> Leave\nWith great effort, you push the seamless lid off of your Cellarium as the dry air pricks at your tensing surface. You notice that everything is covered in faint traces of colors from the Blind Ones as you roll off the table and plop some distance to the ground. You sense colorless motion from somewhere else on this vessel. Something is pushing it, and that thing must be stopped.\n\nA zoo, a macabre collection of stolen minerals and pilfered samples. They have been studying your home, your infinite junction. Would you be just another trophy -- their final trophy? Centered in the room is a large metal table with your opened Cellarium displayed prominently.\n\nThe interstitial room is to the west.\n\n> You examine the minerals\nMinerals that you recognize as being from around your home.\n\n> You examine Cellarium\nA block of anhydrite cut into a perfect cube and etched with the intricate harmonics of the timeless Universe. The lid is off, and the Cellarium is open.\n\n> You examine table\nOn the large metal table is your crystalline Cellarium.\n\n> You go west\nA long metallic hallway that seems to span the length of the vessel. Multiple openings into other rooms waft hints of their purpose, but most pressing is the unnatural movement to the southwest spurring this monstrosity away from your home.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and one small unexplored room is to the west. The pounding room is to the southwest, and a closed hatch is to the southeast. A set of stairs leads up to the rest of the ship.\n\n> Go southwest\nThe urgent apathy of this room is overwhelmingly confusing. A dead grey creature furiously pounds away: pushing the vessel at a deafeningly loud pace, yet desiring nothing, knowing nothing. The gigantic whirling, chewing machine fills the room with its deafening beat and blistering fever.\n\nThe interstitial room is to the northeast.\n\n> You examine the machine\nA gigantic dead beast, whirling and chewing, stoking flames that are smothered to normalcy by a cannula of cold pipes. The flow from the pipes is what keeps the whole system running.\n\n> You sing to the machine\nYou sing of ritardando, of holds, of caesura. The unliving engine is completely Blind to any song.\n\n> You sing to the pipes\nThere are so many parts of the engine, many of them whirring and burning and dangerous. There must be a weak spot.\n\nThe vessel's tempo increases steadily.\n\nYou sing of ritardando, of holds, of caesura. The unliving pipes are completely Blind to any song.\n\n> You enter the pipes\nThe pipes are part of a closed system, but the device attached to them isn't.\n\nYou ooze a small part of yourself through the slotted pores of the device. Your conductive body forms multi-directional currents that are simultaneously overwhelming and confusing to the machine. It sputters one final attempt at reconciling all the directions, beeps frantic red, then slows to grey before squeaking out. Black. Sleep.\nYou retract yourself.\n\nThe chewing stops. The pounding stops. The ocean drags the adrift vessel into a blessed ritardando. The Blind Ones approach, frantic and trampling. There is brief excitement in another nearby room, then back again in the interstitial room. Soon, they will be here.\n\n> You hide\nYou cram yourself into an unnoticeable position.\n\nTwo of the humans burst into the room. You vaguely recognize one as being in charge: Captain. She blasts streaks of uneasy orange with undertones of commanding violet. The other is much more nervous, corkscrewing tightly in red-orange folds. Obviously she is the beast's handler: Engineer. They searchingly clunk about the engine.\n\nThey are much bigger than you expected, certainly much bigger than you. But they cannot be without empathy. You attempt to reach out to the Blind Ones, to ask them for help, to connect and communicate and sing in harmony, but the humans cannot hear. They cannot understand. None of them can, you realize. Their ignorance will make them dangerous; there must be a safe way to reach them.\n\n> You sing white\nIf you are trying to color something, please specify the target\nthat you would like to color (e.g. >color man red). Also, a list of colors can be accessed with the command >COLORS. If you just want to sing, try >SING.\n\nOnce again, you can see the colors of their pitiable Song of clashing teeth, mushing lips, and vibrating membranes - each note an emotional, simplistic, story. The dissonant dialogue is even more jarring this close, but you manage to keep pace. Engineer quickly smooths out into a rounded indigo. \"... easy fix. A simple replacement.\"\n\n> Color engineer black\nEngineer is too focused to be influenced.\n\nCaptain continues to churn anxious orange, \"We need to get them to a hospital ASAP. Medic doesn't know what the fuck is going on with the crew, and we already have to eat the cost of abandoning the transponders. I need to know right now if I can trust you on this, or if I need to send out an S.O.S.\"\n\n> You color the Captain blue\nCaptain is too strong to be influenced.\n\nEngineer solidifies, strong and sure.\n\nCaptain churns further, folding over herself. Indecision.\nUncertainty. She hangs, momentarily simultaneously trusting\nindigo and stubborn ultraviolet. In this delicate state, you could color her either way...\n\n> You color the captain indigo\nYou reach out, caressing Captain's delicate aura, willing it to become indigo. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nCaptain physically touches Engineer with a kind of emotional significance that is unreadable to you. \"I trust you,\" she oozes in incepted indigos. \"I'm going to go tell that medic that we may have a problem,\" she finalizes before turning away and heavily, humanly, limb-pushing down the passageway. Engineer exhales an unnecessary stream of air out her mouth, and swings her body and limited gaze to the machine.\n\n> You look at Engineer\nA Blind One, a human. Probably a female.\n\nHer light indigo aura tapers fixedly.\n\nEngineer opens the casing of the temperature gauge. Blue.\nHope.\n\n> Color Engineer green\nEngineer is too focused to be influenced.\n\nEngineer eye-dances the insides of the device. Yellow.\nInvestigation.\n\n> Wait\nTime passes.\n\nEngineer seeks for something among the cold parts. Yellow.\nFocus.\n\n> You look at Captain\nYou can't see any such thing.\nI beg your pardon?\n\n> You enter Engineer\nYou Sing of aura-joinings, of unity, of perfect cohesion. Possessing a creature requires completely displacing its mind and will. In the Song, possession was a harmonic technique to create higher order and beauty, but these Blind Ones have no such inclinations, and completely resist your influence: it is difficult enough to even Color them. However, if Engineer understood the splendor of the Universe...\n\nEngineer moves parts around in a way that seems significant.\nGreen. Engagement.\n\n> Color Engineer blue\nEngineer is too focused to be influenced.\n\nEngineer closes the casing of the gauge. Green. Satisfaction."
    },
    {
        "text": "> You describe your surroundings\nThe gigantic machine fills the room with its silence. Engineer, in a cloud of focused and contented green, touches with the machine.\nThe interstitial room is to the northeast.\n\nEngineer bubbles into a self-focused gleeful green as the machine resumes its apathetic, mindless life. The entirety of the vessel moves again... away. You warble in despair. You just need enough\ntime so that you can figure out how you can communicate to them. You just need a break. You just need it to stop.\n\n> You stop\n(Engineer)\nEnding a melody is the most terrible thing you could do. Are you sure you want to attempt this?\n\n> No\nYou decide to focus on restoring your own song through more harmonious methods.\n\n> You stop the machine\nThe Blind One would surely notice you tampering with the machine in front of her. You need a way to permanently destroy the engine. The cold pipes need be stoppered.\n\n> You examine the pipes\nAn unnatural, cold fistula, shivering protective violet with the liquid it pumps. Glialed to the pipes is a curious device.\n\n> You examine the device\nIt beeps electric contentment out of small slits, and allows cooled water to flow through it.\n\n> You look at the slits\nSmall slits that lead to the internal electric workings of the pipe device.\n\n> You enter the slits\nThe Blind One would surely notice you tampering with the machine in front of her. You need a  way to permanently destroy the engine. The cold pipes need be stoppered.\n\n> Sing\nYou fold. The music is faint and the song warms you, but you know you cannot truly Sing without being in your Cellarium at the proper place.\n\n> You look at Engineer\nA Blind One, a human. Probably a female.\n\nHer bright green aura bubbles gleefully.\n\n> Color Engineer blue\nYou reach out, caressing Engineer's delicate aura, willing it to become blue. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nYou spark a brief string of memories in Engineer, but she soon settles back into contented green. Your influence isn't very strong over her. There may be more value in things elsewhere.\n\n> Color engineer yellow\nYou reach out, caressing Engineer's delicate aura, willing it to become yellow. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nYou spark a brief curious examination of the room, but Engineer quickly returns to contented green. Your influence isn't very strong over her. There may be more value in things elsewhere.\n\n> Go northeast\nYou emerge from your hiding spot.\n\nA long metallic hallway that spans the length of the vessel. The Blind Ones left open a passageway to the southeast, you notice.\nThe drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and one small unexplored room is to the west. The pounding room is to the southwest, and the open newly opened room is to the southeast. A set of stairs leads up to the rest of the ship.\n\n> You go to the southeast\nThe protector, the ameliorator, this is what keeps the dead beast calm. A simple set of connecting pipes steals heat from the engine, stores it in a tank of dead and artificial water, which is itself then soothed by a living water vat of pumped water, cooled with its own hose system.\n\nThe interstitial room is to the northwest.\n\n> You examine the pipes\nMetallic, hollowed bones, pumping hot and cold in a dead, apathetic constant rhythm.\n\n> You look at the vat\nIn a horrifically efficient system, water humming with life is sucked up via hoses into the heating chamber, burned clean of life, and then spit out back into the ocean. The soothing cold and songs of the ocean are consumed mindlessly.\n\nThe vessel's tempo increases steadily.\n\n> You examine the living water\nThe water pulses within the pipes, tubes and cavities.\n\n> You sing to the water\nYou emotionally, mentally sing to the object (the water) but\nit does nothing, only continues to repeat its given song and narrative.\n\n> You enter the tank\nThe heated tank is part of a closed, piped system that you can't enter. The hoses that feed the vat, however, do seem fairly weak.\n\n> You enter the hoses\nYou can't enter them while they're whole, so you decide to fix that. In the system of hoses, the exhaust hose radiates furious heat, and so you focus your attention on the intake hose: colder, and safer. You surround the intake hose, and feel it crackle from inside you. As the plastic oxidizes, bubbles trickle through your aqueous body and cause small bursts in your surface tension with a sensation that is actually somewhat pleasant. In a sudden explosion of energy, a jet of living water bursts through one of the hoses, forcefully spraying you away from the chaos.\n\nThe mechanics of the cooling vat thwarted, soon the entirety of the beast catches up with its parts and frictions to a halt. Living water continues to vomit uncontrollably from the ripped hose. You sense the handler approaching from the passageway, and you feel nervously conspicuous.\n\n> You hide\nYou cram yourself into an unnoticeable position.\n\nEngineer peals yellow desperation as she searches the room. Not noticing you, she turns to the vomitous mouth and tendon-muscle-attends the seacock in a way that seals it. As she unfurls in green relief, you become aware of something strange: the bubbling hose sensation, but not from your body proper. A small fleck of your Aqueosity was sprayed on the exhaust pipe, and is eating through it. Suddenly, the other hose bursts in a high-registered hiss, expelling its contents onto Engineer. She warps maddened black, stabbing in every note of every octave, then moves to the floor in a writhing mass of altered flesh.\n\n> You enter Engineer\nYou Sing of aura-joinings, of unity, of perfect cohesion. Possessing a creature requires completely displacing its mind and will. In the Song, possession was a harmonic technique to create higher order and beauty, but these Blind Ones have no such inclinations, and completely resist your influence: it is difficult enough to even Color them. However, if Engineer understood the splendor of the Universe...\n\nCaptain enters, and her bubble of commanding violet melts into a horrified mess of orange. Medic follows nervously from behind, and examines all the meat-parts of the black, dissonant mess. Together, they transport Engineer up and away. You hope that her melody can be salvaged; it is a terrible thing for a Song to end, even one so simplistic and un-tuned."
    },
    {
        "text": "[Themes: Horror, absurd, Lovecraft, horror, lesbian, Lovecraftian]\n\n> Look around\nSilent and cold, the system of pipes, boilers, vats, hoses and water have all been stoppered shut by your intervention.\n\nThe interstitial room is to the northwest.\n\n> Go northwest\nYou emerge from your hiding spot.\n\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and one small unexplored room is to the west. The silenced room is to the southwest, and the open pipe room is to the southeast. A set of stairs leads up to the rest of the ship.\n\n> Go west\nThe faint colors swirl mixing into a confusing aurora of lingering feelings. Piles of cloth ooze uncountable emotions. One cold metal prison sits quietly, while a heated prison vibrates to a swelteringly fast pace.\n\nThe interstitial room is to the east, and a vent leads up.\n\n> You look at the vent\nA rigid arteriole leading up.\n\n> Up\nYou press yourself up through the vent with reliance on friction and clever weight-shifting. As you approach the next room, fear freezes you. Above, you hear the hostile, vigilant bass of a Blind One. Her unfocused song sweeps the strange room above like sonar. This one would notice: she would see. You cautiously slide back down.\n\n> You look at the prison\nWhich do you mean, the cold metal prison or the heated metal prison?\n\n> Cold\nA strange sort of crude metal prison. It sits stoic and patient.\n\n> You examine the clothes\nA disgusting soup of human salt.\n\n> You examine heated\nA strange sort of crude metal prison. It hums and vibrates in an inefficient song whose only purpose seems to be excitement and temperature.\n\n> Go east\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and the dredging room is to the west. The silenced room is to the southwest, and the open pipe room is to the southeast. A set of stairs leads up to the rest of the ship.\n\n> You go to the north-west\nIt seems this is where the Drifter physically resided. His mind statics grey, and you can sense his fragmentation. You feel a desire to reach out to him, to fill his colorless void. However, a human moves freely about the room, trying halfway to connect and sing and understand with the drifters with mercy. She is close to succeeding, but something is holding her back.\n\nRows upon rows of humans, unmoving on stacked shelves, deeply connected to the Universe, basking in its glory. A single Drifter sings silently with apathy and detachment.\n\nThe interstitial room is to the southeast.\n\nThe Mercy moves between the bodies, grasping out to them in an unbalanced orange horror. You realize that her Blindness prevents her from seeing their bliss, their perfect happiness.\n\n> You look at Mercy\nA Blind One. Possibly a female?\n\nHer bright orange aura churns anxiously.\n\nThe Mercy reaches out in faint grasps of curious yellow to one of the sleepers, but the instinct is too quickly overwhelmed by her orange repulsion: she is afraid of what the answer might be.\n\n> You color Mercy yellow\nYou reach out, caressing Mercy's delicate aura, willing it to become yellow. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nThe Mercy forcefully perks into yellow curiosity. She rapidly leaps disjunct from one sleeper to another, examining each thoroughly. She comes upon the Drifter and she senses, she realizes... her aura bursts red in panic.\n\n> You hide\nYou cram yourself into an unnoticeable position.\n\nThe Mercy reaches out to the grey, apathetic Drifter, pushing for colors, demanding notes. She is met by more grey, more static. He has lost too many connections, he cannot engage her. The Mercy offers part of her mind, her sanity to the drifter. He consumes it purposelessly, digesting the colored scales and chords and beats into a dull, arrhythmic static.\n\n> You color drifter blue\nYou don't feel comfortable risking manipulating him while others are around.\n\nThe Mercy once again sings to the Drifter, attempting to force a connection. To your surprise, the Mercy has an effect. The Drifter momentarily colors and connects, and swirls into a pattern other than the blank static. You didn't think that Blind Ones could be capable of connecting on such a level. \"Oh God, your eyes are moving, you're awake. Just wait right there, I... I'm going to go get the medic. And the captain. They'll know what to do.\" Mercy self-consumes in revolted orange and immolating red panic as she muscle-tendon-bone moves. You feel her aura leave and return with others.\n\n> Color Drifter white\nYou don't feel comfortable risking manipulating him while others are around.\n\nMedic and Mercy follow the room-swelling Captain, \"...delay may still be necessary...\" she drones. But Medic pricks demanding infrared, \"I know how expensive and bad rescues look. But this shit that's going on? Severe burns, unresponsiveness, potential paralysis? We need to take care of this.\" The Mercy holds an anxious caesura as she examines Drifter. They all three wobble in instability.\n\n> You color Medic the yellow\nYou reach out, caressing Medic's delicate aura, willing it to become yellow. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nMedic racks through possibilities, \"There's nothing I know of that could have caused this. It's that thing: the cube. It's poisoning them.\" But Captain asserts ultraviolet, \"Do you want to end up like those astronauts who 'saw' the alien?\" Mercy chimes calming blue, \"I examined it. It's got a weird shape, but it's just a plain crystal.\"\n\n> Possess Drifter\nYou don't feel comfortable risking manipulating him while others are around.\n\nMedic meeks hesitant, but annoyingly persists, \"Even if we don't find something... I just want to look at it.\" Mercy chimes agreeable blue, \"There can't be any harm in that,\" and Captain relents, \"Sure. We'll go check it out.\" Captain, Medic and Mercy drift into the passageway. Finally, you are alone with Drifter. You wonder if he can be colored again.\n\n> Possess Drifter\nHe has so little will over his body, you feel it would be easy to push him out and control the flesh. But upon severing his connections, he lost his link to the other world. There is nowhere to push him to, and he'd remain in steadfast control of his body.\n\n> Color Drifter white\nCreating pure bliss in someone else is a feat too difficult for you.\n\n> Colors\nInfrared: Anger, hate.\nRed: Panic, horror.\nOrange: Revulsion, unease.\nYellow: Curiosity, intrigue.\nGreen: enjoyment, engagement.\nBlue: Love, fondness.\nIndigo: Trust, confidence.\nViolet: Protection, nobility.\nUltraviolet: Commanding, dominating.\nWhite: Bliss, perfection.\nGrey: Apathy, indifference.\nBlack: Madness.\n\n> You color drifter blue\nYou reach out, caressing the Drifter's delicate aura, willing it to become blue. His aura absorbs this new state willingly, as though they were his own emotions.\n\nThe Drifter recalls fleeting harmonies of blue love and kinship. But again, as soon as you remove your influence, he drifts back towards grey. His mind refuses to coagulate its rhythm correctly.\n\n> You color drifter yellow\nYou reach out, caressing the Drifter's delicate aura, willing it to become yellow. His aura absorbs this new state willingly, as though they were his own emotions.\n\nThe Drifter trills unending queries of curious yellow. He falls back to grey. In despair, you push and pull again, more forcefully. But it does nothing. His mind is gone. Perhaps one day, with time, he can repair himself. But you can do nothing for him now, except grant him fleeting glimpses of memories and feelings he used to enjoy.\n\n> You sing to Drifter\nHis connection to this reality is too unstable to properly engage in harmony.\n\n> Color drifter green\nYou reach out, caressing the Drifter's delicate aura, willing it to become green. His aura absorbs this new state willingly, as though they were his own emotions.\n\nThe Drifter settles into contentment of enjoying green as happier memories dominate his mind. Then nothing. Grey. Even though the emotional connection is brief, feeling something -anything-\nseems to bring Drifter some comfort.\n\n> Color drifter indigo\nYou reach out, caressing the Drifter's delicate aura, willing it to become indigo. His aura absorbs this new state willingly, as though they were his own emotions.\n\nThe Drifter blooms self-assured and trusting indigo. Then nothing. Grey. Even though the emotional connection is brief, feeling something -anything- seems to bring Drifter some comfort.\n\n> You examine Drifter\nA Blind One, a human. Probably male. He breathes incoherent, oozes fleshy secretions, and his odd combination of connections prevents him from either Singing or Walking.\n\nHis dim grey aura disjointedly statics.\n\n> You go southeast\nYou emerge from your hiding spot.\n\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and the dredging room is to the west. The silenced room is to the southwest, and the open pipe room is to the southeast. A set of stairs leads up to the rest of the ship.\n\nCaptain, Medic and the Mercy's drifting auras waft from the room to the east.\n\n> You go east\nExhibited are geologic readings and stolen samples. Centered in the room is a large metal table with your opened Cellarium displayed prominently.\n\nThe interstitial room is to the west.\n\nThe humans vibrate in a repetitious din of nervous red. They concern themselves with the presence of your opened Cellarium and uncomfortably search about the room, only barely missing your entrance. Only the Mercy explodes curious yellow and fascinates over the Cellarium. Captain finally breaks out of shock and feigns a shell of violet control, \"You may be right. There may have been some sort of... chemical in that box that got released due to the pressure change.\"\n\n> You color Captain yellow\nCaptain is too strong to be influenced.\n\nMedic percolates into a furious infrared, \"Now hold on. I was expecting for Mercy to take a sample, do some spectroscopy, and maybe - maybe! find an unusual chemical peak. But this... this is beyond that. It contained... I don't know what. We have to do something.\"\n\nYou exalt! Yes, they must do something: return the Cellarium. This\nis your chance. You push-sing of returning, of order, of empathy,\nbut as before, your pleas are met by Blindness. Communication must be established, but for now they probably still fear you, and will lash out in hostile infrared if they find you.\n\n> You color Medic yellow\nMedic is too solid to offer you any influential opportunities.\n\nCaptain scales hesitation before holding on a conclusion, \"I will call an all hands in the Messdeck, and figure out what we need to do from there. We already have one injured and way too many ill; I won't be responsible for more.\" Captain pushes out with Medic. Progress? Perhaps in this meeting they will decide to return your Cellarium. You notice the Mercy pause over your Cellarium, tracing its harmonic patterns. \"What are you?\" she whispers, enraptured. Her mind opens, connects for an instant. But then she snaps back to the physical and hastens to catch up with the other Blind Ones.\n\n> Go up\nYou slide yourself up the jagged floor, to the messdeck above, when suddenly, fear freezes you. From this staircase, with no hiding spots, you can hear the thick cluttered jumble of colors coming from several Blind Ones. There is no way that they would miss you. There must be another way up.\n\n> You go northwest\nRows upon rows of humans, unmoving on stacked shelves, deeply connected to the Universe, basking in its glory. A single Drifter sings silently with apathy and detachment.\n\nThe interstitial room is to the southeast.\n\n> Go west\nPiles of cloth ooze uncountable emotions. One cold metal prison sits quietly, while a heated prison vibrates to a swelteringly fast pace.\n\nThe interstitial room is to the east, and a vent leads up.\n\n> Go up\nYou press yourself up through the vent with reliance on friction and clever weight-shifting.\n\nThe room smells equally of creation and destruction, of stealing the Order of others. It is both fascinating and disgusting. There are several strange machines in this room.\n\nThe consumptive area is to the east, a vent leads down, and a metal door with an overhead fan vent leads to the cold room to the south.\n\nYou hear glimpses of color from the adjoining room, \"...pushed open from the inside...\" Red. Fear.\n\n> You listen\nBlue-green fondness and enjoyed creation spring from an acoustic well of burning fire and destruction.\n\nYou hear glimpses of color from the adjoining room, \"...she decided it would be a good idea...\" Infrared. Blame.\n\n> You go to the east\nThere are many Blind Ones there, and the passageway is bare. They would probably spot you, are you sure?\n\n> No\nYou decide against it.\n\nYou hear glimpses of color from the adjoining room, \"...blaming each other...\" Blue. Appealing.\n\n> Go south\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe physical chill frosts the air comforting blue, but any potential for enjoyment is drowned by a deafening cloud of black screams coming from the colder room. You hesitate to discover what horror could be making that disgusting collection of noises.\n\nOverhead fan vents sit atop metal doors to the north and to the south.\n\n> You go south\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe madness in this room is soul-wrenching. How the Blind Ones could live with this atrocity is unfathomable. Fleshy chunks of the formerly-alive sit in frozen stacks, trapped in disunity. Your own situation is frustrating, but this is a true, horrific travesty. You need to help this, heal this, fix this: you can't idle while such suffering exists.\n\nThe cold room is through the overhead vent to the north.\n\n> Possess meat\nThat (the meat packages) cannot be possessed. It has no mind,\nno real melody.\n\n> Color meat grey\nThe meat is too disjointed to color. It needs to be combined first.\n\n> You combine the meat\nYou smooth your body over the meat, attempting to conduct it into harmony, but each lump of flesh is too frozen in physical isolation to properly form covalent chords. You must bring warmth to the meat, and your body is not currently warm enough to do so.\n\n> Go north\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe physical chill frosts the air comforting blue, but a cloud of maddened black screams from the colder room to the south.\n\nOverhead fan vents sit atop metal doors to the north and to the south.\n\n> Go north\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe room smells equally of creation and destruction. There are several strange machines in this room.\n\nThe consumptive area is to the east, a vent leads down, and a metal door with an overhead fan vent leads to the cold room to the south.\n\nYou hear glimpses of color from the adjoining room, \"...brain-dead for all we know...\" Violet. Concern.\n\n> You examine the machines\nA heated structure and a metal box.\n\nYou hear glimpses of color from the adjoining room, \"...entropic forces of the junction...\" Yellow. Speculation.\n\n> You look at the heated structure\nSimmering in furious detachment, the device concentrates heat.\n\nYou hear glimpses of color from the adjoining room, \"...absolutely nothing wrong...\" Ultraviolet. Denying.\n\n> You enter the heated structure\nYou attempt to enter the device, but the heat it contains threatens to evaporate your body, so you content to sit nearby. You glow and tumble in the newfound warmth.\n\nYou hear glimpses of color from the adjoining room, \"...defend ourselves...\"Violet. Reactive.\n\n> You examine the fan\nIt churns in momentary bursts of apathetic haste, before entering long pauses. It is easy for your lithe body to slip through with proper timing.\n\nYou hear glimpses of color from the adjoining room, \"...infection or radiation...\" Yellow. Inferring.\n\n> You go south\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe madness in this room is soul-wrenching. How the Blind Ones could live with this atrocity is unfathomable. Fleshy chunks of the formerly-alive sit in frozen stacks, trapped in disunity. Your own situation is frustrating, but this is a true, horrific travesty.\n\nThe cold room is through the overhead vent to the north.\n\n> You combine the meat\nYou smooth your body over the meat packages, physically and metaphysically conducting unity and understanding and cohesion. As you weave together the previously disparate notes, the black gives way to confusion, then curiosity, and then slowly to joy and happiness at its newfound Song. The Newsong greenly bubbles into gleeful thankfulness.\n\nThe Newsong plays with its new aura and body in wonderment and joy.\n\n> Possess newsong\nYou push your aura into the Newsong, who relieves in happiness and bliss at the bond. You surprise at the sensation: your bodies remain divorced, but your minds move in perfect synch. You tug curiously at its simplistic flesh-structures, feeling the creature's immsense weight. You can make it do whatever you want.\n\nThe Newsong's body stiffens noticeably in the cold. It needs warmth.\n\n> Go north\nYou shove the Newsong's body against the freezer door, barreling into the next room. It takes a moment to collect itself, before locking into understanding.\n\nIt wrests control, and independently gallops to its own freedom, opening the cold door, bursting out into the middle of the human congregation. They respond in shredding, blackened oranges and reds. One Blind One wails in aberrant disgust and pushes things at the Newsong; another grabs a violet cylinder and expels its contents - gaseous carbon dioxide - at the Newsong. The shock severs your tenuous connection completely. The Newsong gallops on, indignant, to bask in the warmth of the nearby star. As the doors slowly swing back shut, the Newsong sings for you of freedom, of joy, of radiance before leaving to compose itself a new life.\n\n> You color Newsong blue\nYou are synced in blissful unity with this Blind One. Her color can be nothing but pure white while you continue to control her.\n\nThe Newsong hardens quickly. You need to get it out.\n\n> You go to the north\nYou squeeze through a fan vent, enjoying the sensation of your ooze enveloping cold metal.\n\nThe room smells equally of creation and destruction. There are several strange machines in this room.\n\nThe consumptive area is to the east, a vent leads down, and a metal door with an overhead fan vent leads to the cold room to the south.\n\nAs for the Blind Ones, you can feel them wax panic and wane intellect as they scatter themselves about the ship in a chittering frenzy. You were right to be wary of their responses, but perhaps you can find a way to message them in a way that will not trigger their primitive, hostile brain-offal reactions. There must be some way to make them receptive.\n\n> Go east\nThere are glimpses of camaraderie swirled with other, pettier emotions of gossip and intrigue. Tables and chairs are bolted to the ground.\n\nThe burning room is to the west, and the bottom level of the outside is to the south. A vent leads up and a set of stairs leads down.\n\n> You go up\nYou rely on friction to press yourself up the vent.\n\nRigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.\n\nThe middle level of the outside is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down.\n\nHere, the unwell Captain wracks her body in shivering contortions of a fear-induced sickness. A new Blind One, an Assister, attempts to comfort her with a shield of blue, but Captain is too far gone. You might be able to help, though.\n\n> You color Captain green\nYou reach out, caressing Captain's delicate aura, willing it to become green. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nCaptain grasps at wisps of green and is able to recombine in violet strength and fortitude. Her wretchings cease, and she turns to the Assister, \"We need to... get our shit... together and stop whatever is going on. We need to...\" Captain is drawn into one last involuntary purge then takes a moment to collect her colors.\n\n> You examine Assister\nA Blind One. Might be female.\n\nHer light red aura screws tightly.\n\nThe Assister senses her opening for demands, \"You-- We can't go on like this. Please, let me get rid of it. I can launch the sub and return it right where it was. Then whatever it is will leave us alone.\" They are finally doing exactly what you need."
    },
    {
        "text": "> You look at your surroundings\nRigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.\n\nThe middle level of the outside is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down.\n\nAssister objects in strong indigo with tinges of indignant infrareds, \"I think we brought a relic aboard: alien, or local, or cursed, or something. We need to return it where it was or else we'll all be fucked even worse.\" Captain steadfasts incredulous, \"It's leaking... something. And we definitely don't have time for a dive, just to what - put it back neatly? We need to ditch it and get to shore.\" You slosh in frustration: soon they will call for help, and then you will never be able to stop them from doing whatever they want to you or your Cellarium. You need to get to the radio before they do.\n\n> You go upward\nYou rely on friction to press yourself up the vent.\n\nThe dead brain of the vessel, all the ship's information that the Blind Ones can't see or hear themselves is chewed and spit out here. Unblinking sonar sensors, a large compass, a glowing marked table, the vessel's controls, and, most prominently, the mechanical voice-box all give the Blind One a shadow-cave-illusion sense of control.\n\nA small deck is to the south, and a vent leads down.\n\n> You look athe voice-box\nA whole system to artificially transcribe their garish music and rebroadcast it both throughout the ship and beyond to others at a distance. The device has a meshed metal membrane to hear and a coiled magnetic tape to remember.\n\n> You entethe voice-box\nYou start to ooze through the meshed membrane, but don't notice any way to influence the radio from inside there. You push back out instead.\n\n> You pull the magnetic tape\nNothing obvious happens.\n\n> You wipe the tape\nYou push-pull-sing to the tape, but it only weakly responds to your demands. As you play with the wound reel inside of your body, you realize what is influencing it - slight variations in your ionic makeup. The tape only responds to magnetic influences."
    },
    {
        "text": "[Themes: Horror, nonhuman protagonist, gender-neutral protagonist, Lovecraftian, ship]\n\n> You look around\nUnblinking sonar sensors, a large compass, a glowing marked table, the vessel's controls, and, most prominently, the mechanical voice-box all give the Blind One a shadow-cave-illusion sense of control.\n\nA small deck is to the south, and a vent leads down.\n\n> You examine the compass\nA strong magnetic field emanates from a central globe.\n\n> You enter compass\nYou press your body up against the magnetic influence of the orb, and tingle as your ions align uniformly. You have to pulse your body in difficult ways to maintain the segregation of the separate charges - you cannot maintain this field for very long.\n\n> You wipe the tape\nWielding the magnetic charges, you precisely tweak, add and multiply a copy to the layout of the wound tape. You exalt in temporary ecstasy as your mind traces over the universal pattern of the infinite Ancients. Then you feel a stabbing chaos: your Cellarium is being moved. It must be saved."
    },
    {
        "text": "[Themes: Horror, nonhuman protagonist, telepathy, ship, gender-neutral protagonist, ocean]\n\n> Go downwards\nYou slide down the vent, slowly tumbling over yourself.\n\nRigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.\n\nThe middle level of the outside is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down."
    },
    {
        "text": "> Go downwards\nYou slide down the vent, slowly tumbling over yourself.\n\nTables and chairs are bolted to the ground.\n\nThe burning room is to the west, and the bottom level of the outside is to the south. A vent leads up and a set of stairs leads down.\n\n> You go northeast\nRows upon rows of humans, unmoving on stacked shelves, deeply connected to the Universe, basking in its glory.\n\nThe interstitial room is to the southwest.\n\n> Go up\nTables and chairs are bolted to the ground.\n\nThe burning room is to the west, and the bottom level of the outside is to the south. A vent leads up and a set of stairs leads down.\n\n> Go south\nOutside, Bottom\nDark clouds above are dissipating, the remnants of a terrible storm. The ocean gusts are overwhelming with both their strength and their overabundance of emotion.\n\nA metallic vesicle is secured at the south end of the deck. The consumptive area is to the north, the small unexplored room is sectioned off to the east, and a set of stairs lead up. Your Cellarium rests here.\n\n> You go east\nThe creatures' desire for connecting to the Universe manifests in this macabre study station of sequestered deck. A foray into understand the bliss they will never see themselves. A sample of part of your body is displayed with the freshly-inked label \"Internal Crystal Scraping\".\n\nThe bottom level of the outside is back to the west.\n\n> You examine the sample\nSmall flecks of your body that were stuck to the inside of your Cellarium. They must have been studying you more than you realize.\n\n> Go west\nOutside, Bottom\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nA metallic vesicle is secured at the south end of the deck. The consumptive area is to the north, the singing room is sectioned off to the east, and a set of stairs lead up. Your Cellarium rests here.\n\n> You go upwards\nOutside, Middle\nDark clouds above are dissipating, the remnants of a terrible storm. The ocean gusts are overwhelming with both their strength and their overabundance of emotion. This small deck is dominated by smaller vessels.\n\nThe smaller vessels are to the south, the closed sturdy hatch is to the east, the unyielding hatch is to the west, the secretion room is to the north, and a set of stairs leads up and down.\n\nThe Mercy has heard the majesty of the Universe. She is awe-struck - she knows and sings and you can feel her willingness to help. But her mind over-immersed, in levels that her physical body could not contain: it wilts from boundary-exceeding heterostasis. Assister abandons the Cellarium, blustering caring forte for the Mercy. But Assister's efforts are having no effect, and you know: The Mercy needs the real expert. But Medic has locked herself away and not coming out. Intolerable.\n\n> You examine Mercy\nA Blind One. Possibly a female? She offers herself as yours to control.\n\nHer light white aura radiates bliss.\n\nThe Mercy's fading body. The Assister desperately attempting to revive her. Her mind cracks.\n\n> You examine Medic\nYou can faintly feel a vague, black outline of Medic.\n\nAssister attempts to revive the Mercy, holding back chords of dismay and helplessness.\n\n> Color medic violet\nYou reach out to color the Medic from outside, and nearly succeed, but it is too difficult with her in the sick bay.\n\nAssister touches - forcefully - the Mercy with frantic calls to the closed hatch.\n\n> Go east\n(first opening the captain's hatch)\nThe hatch is too large for you to move. It will have to stay closed.\n\nAssister focuses her attention on the hatch, attempting to open it. But she cannot.\n\n> You go to the west\n(first opening the unknown room hatch)\nIt is much too heavy for you to open.\n\nAssister doubles her efforts to assist the Mercy, but dissolves in uselessness as none of her calls have any effect.\n\n> Go north\nRigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.\n\nThe middle level of the outside is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down.\n\n> You go southwest\nYou slowly ooze through small cracks in the cabinet into the unyielding hatch.\n\nAnxiety sickens the lymphatic flow of this room.\n\nThe middle level of the outside is to the east, and the secretion room is through a cabinet to the northeast.\n\nFrom the closed hatch to the outside, you sense the Mercy's body faint and fading, as well as Assister pleading for Medic's help. But here, stagnating, Medic swirls onto herself in fright and indifference, humming a barricade against any influence or Song. Engineer throbs frustrated infrared, unable to move her damaged meat-parts.\n\n> Color medic violet\nMedic is too solid to offer you any influential opportunities.\n\nMedic swirls in fright, babbling a self-protecting barricade, \"... can't help her, won't help her, they will just get us anyway, it's useless to go out there...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Color engineer indigo\nYou reach out, caressing Engineer's delicate aura, willing it to become indigo. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nEngineer attempts to get up, to force Medic to aid the sickening Mercy, but pain causes her to lose her self-resolve too quickly. You would not make that mistake. Medic swirls in fright, babbling a self-protecting barricade, \"... can't help her, won't help her, they will just get us anyway, it's useless to go out there...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> You combine engineer\nYou're having trouble combining that (Engineer) into a better\nstate.\n\nMedic swirls in fright, babbling a self-protecting barricade, \"... a trick a trick they just want me to go out there and then they will get me, I can't let them get me...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Color engineer indigo\nYou reach out, caressing Engineer's delicate aura, willing it to become indigo. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nEngineer attempts to get up, to force Medic to aid the sickening Mercy, but pain causes her to lose her self-resolve too quickly. You would not make that mistake. Medic swirls in fright, babbling a self-protecting barricade, \"... flare guns are useless are they idiots I can't believe that they...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Sing\nYou fold. The music is faint and the song warms you, but you know you cannot truly Sing without being in your Cellarium at the proper place.\n\nMedic swirls in fright, babbling a self-protecting barricade, \"... I know how these kinds of things end, I won't let it happen...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Color engineer infrared\nYou reach out, caressing Engineer's delicate aura, willing it to become infrared. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nMedic swirls in fright, babbling a self-protecting barricade, \"... a trick a trick they just want me to go out there and then they will get me, I can't let them get me...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Color engineer red\nYou reach out, caressing Engineer's delicate aura, willing it to become red. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nEngineer tears over herself in fury at Medic's indifference, at her own inability to affect anything. She blames herself, feels a failure. She knows she can't force Medic to help by herself, that she needs assistance. Medic swirls in fright, babbling a self-protecting barricade, \"... rescue boats and then leave maybe the life boat but can't be sure...\" The damaged Engineer is unable to Blind-Sing or Walk, but her aura screams in frustration. She wants to do something, anything, to force Medic into action.\n\n> Control engineer\nOut of frustration, Engineer -- the Rosa -- gives you control willingly. As your connnection strengthens, you absorb ambient knowledge about their world, about this place. Slowly, you orient yourself to the flesh's dizzying hum of salt channels, sugar surges, and gas exchanges. At first, you try pulling each limb individually as with the Newsong, but quickly find an easier time by simply puppeting the conductive cells in the spine. You move the body. Its neurons scream of pain from the skin and deeper tissues. You ignore it. You stand the Rosa upright. Medic has not yet noticed you.\n\n> You talk to Medic\nThe Rosa-body is too injured to speak anything but guttural percussions. This is still enough to get the Medic's attention, \"Oh god, please don't, I won't... Your bandages, please I will help, just don't hurt me.\" Medic bursts open the hatch, and you follow to ensure compliance. Medic writhes under the additional dagger-furying curses of Assister. Goaded into helping, Medic touches the Mercy in an intricate breath-sharing dance that restores her body. Rosa's body collapses out of your control, inoperative, just as the Mercy's body gasps into life. Medic glances over, and eye-snares you. Medic tumbles black: forward and back, then expands and contracts. Medic whispers to herself of escape as she flees to the quarterdeck.\n\n\"Thank you, Sarah,\" the Mercy buzzes to the long-absconded Medic. There is a distinct change in her timbre: bemusement and detachment towards her old world. She notices your presence, and pretends to address Assister, again in the same tone, \"I'm feeling much better, Wenig, and I think that I will do some paperwork. In the lab!\" Assister shocks incredulous, but obligates the Rosa with assistance as the Mercy heads down."
    },
    {
        "text": "[Themes: Horror, miniature protagonist, telepathy, gender-neutral protagonist, Lovecraftian, absurd]\n\n> Go downwards\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nA metallic vesicle is secured at the south end of the deck. The messdeck is to the north, the wet lab is sectioned off to the east, and a set of stairs lead up. Your Cellarium rests here.\n\n> You go to the east\nThe Mercy glows as you enter her presence. Her mind still swims with bliss, and her Song is perfectly tuned. \"Thank you. I... everything is so beautiful now,\" she moves her body and picks you up, \"I know what you want - to return,\" you can feel her flesh react where it touches you, \"I want to help you, get you back to your home,\" the flesh now oozes and ashes, \"as thanks for the magnificence that you have granted me,\" her flesh now scalds acidic, but the Mercy continues, \"what should I do for you first?\"\n\n> You put you in Cellarium\nThe Mercy enjoys your influence, but your body continues to damage her.\n\nThe Mercy continues to hold you, completely enraptured, but your body damages her physical. Your alkaline composition eats through her flesh, and your aqueous body sifts through the slits between her finger bones. The Mercy is too connected to the Song to immediately mind, but soon she cries mangled regret, and without her ability to help, you find yourself unable to escape. After Captain captures you, Assister is roused into action. They transport you ashore, where your peace is constantly interrupted by some new Blind Ones tapping at you with scientific grey instruments. One day, in a flurry of bright green excitement, the Blind Ones shove a permanent rod into your body. Then they leave you alone to fold. You are never again interrupted, but the rod always is there, a nagging splinter preventing you from fully embracing the bliss of the Universe. But the Song is still lovely, and you join in as best you can. Off-white. Happiness.\n\n> You drop you\nYou drop from the Mercy as she continues, oblivious, \"Listen, I know what to do. We'll use the sub. But first, please, help me fix Ruvid. He's the uh, the Drifter. I heard him, when I was called. He's split. But I saw how we could fix him.\" You color her mind in agreeable blue to signal accepting the terms. She brightens, then waits patiently, eager to follow you and your every command.\n\n> You go to the west\nLoading Deck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nA metallic vesicle is secured at the south end of the deck. The messdeck is to the north, the wet lab is sectioned off to the east, and a set of stairs lead up. Your Cellarium rests here.\n\nThe Mercy detachedly notices her hands, \"Oh, how careless of me. It all feels so... silly.\" She feels the pain, but distantly.\n\n> Go north\nMessdeck (Controlling Mercy)\nTables and chairs are bolted to the ground.\n\nThe galley is to the west, and the loading deck is to the south. A vent leads up and a set of stairs leads down.\n\nYou toy with controlling the Mercy's body. Your chords block together, as her movements and emotions perfectly follow your direction."
    },
    {
        "text": "> Go downwards\nLower Passageway (Controlling Mercy)\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The survey storage is to the east, and the laundry room is to the west. The engine room is to the southwest, and the open boiler room is to the southeast. A set of stairs leads up to the rest of the ship.\n\nIn a brief, rebellious solo, she contemplates release, but then rapidly stabilizes into her final bliss, complacent in her unity.\n\n> Go northeast\nBerthing, Starboard (Controlling Mercy)\nRows upon rows of humans, unmoving on stacked shelves, deeply connected to the Universe, basking in its glory.\n\nThe lower passageway is to the southwest.\n\n> You go to the north-west\nBerthing, Port (Controlling Mercy)\nRows upon rows of humans, unmoving on stacked shelves, deeply connected to the Universe, basking in its glory. A single Drifter sings silently with apathy and detachment.\n\nThe lower passageway is to the southeast.\n\nThe Mercy push-sings to the Drifter. She calls out to him, reaches through the physical and pulls at his severed ties, coloring them into this world. The Mercy sings for your assistance: she needs you to finish connecting him.\n\n> You connect drifter\nYou sing of unity, cohesion and singlehood. His connections ribbon into a strange modal function, looping unnecessarily back and forth between the physical and the other. Slowly, it resumes its baseline level of dim awareness. He sees the Mercy, and understands his return. The Mercy bubbles satisfied, waiting for his response.\n\n> You look at Drifter\nA Blind One, a human. Probably male. His dim grey aura disjointedly statics.\n\nDrifter groggs his mind into vengeful purpose, \"You bitch!\" he lurches at the Mercy, \"That thing'll kill us!\" The Mercy lags disbelief as he heavily commands, \"I won't let it. I won't let you - !\"\nDrifter presses infrared destruction against the Mercy's neck. The Mercy sings for your help.\n\n> You color drifter blue\nYou reach out, caressing Drifter's delicate aura, willing it to become blue. His aura absorbs this new state willingly, as though they were his own emotions.\n\nDrifter surges with blue memories of the Mercy; his grip falters and he falls back. The Mercy grabs a nearby human object and pushes it against Drifter multiple times in a way that damages, then disconnects his ties and cohesion.\n\nThe Mercy quivers disbelieving orange, \"We can't... why. I don't...\" but she solaces in the Song's knowledge, \"He was wrong. He was Blind. We should've never tried.\" She steadies. Indigo. Assurance.\nShe reaches out for you, and begs you to control her once more.\n\n> You go southeast\nThe Mercy crumples darkness at you leaving her, but consoles herself that you must have a reason.\n\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The survey storage is to the east, and the laundry room is to the west. The engine room is to the southwest, and the open boiler room is to the southeast. A set of stairs leads up to the rest of the ship.\n\n> Possess Mercy\nYou take control of the Mercy. You both revel in the bliss of perfect harmonic unity.\n\n> You go southeast\nLower Passageway (Controlling Mercy)\nA long metallic hallway that spans the length of the vessel.\n\nThe drifting auras of humans call from the to the northwest and to the northeast. The survey storage is to the east, and the laundry room is to the west. The engine room is to the southwest, and the open boiler room is to the southeast. A set of stairs leads up to the rest of the ship.\n\nMercy straightens herself into resolve, \"We'll take the sub. Wenig, the Assister, she'll help.\" You shudder unease. What if she\nresists as well? Mercy contemplates on your concern.\n\n> Go upwards\nMessdeck (Controlling Mercy)\nTables and chairs are bolted to the ground.\n\nThe galley is to the west, and the loading deck is to the south. A vent leads up and a set of stairs leads down.\n\n\"I won't mention you; I'll keep her in the dark. She just wants things back to normal.\" Mercy finally solidifies white again, and you realize with relief that your plan to be returned is going to be realized.\n\n> You go south\nLoading Deck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nA metallic vesicle is secured at the south end of the deck. The messdeck is to the north, the wet lab is sectioned off to the east, and a set of stairs lead up. Your Cellarium rests here.\n\n> Go upward\nQuarterdeck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything. This small deck is dominated by smaller vessels.\n\nThe life boats are to the south, the captain's quarters are to the east, the sick bay is to the west, the lavatory is to the north, and a set of stairs leads up and down.\n\nThe Mercy fights off orange vibrations as she whispers to you, \"Well, I guess I should knock.\"\n\n> You knock\n(the sick bay hatch)\n\"Who... Mercy? I'm not opening this - Rosa's hurt bad, and I just... I need to protect her.\" Violet smoothly wafts from the other side of the door. The Mercy entreats Assister ethereal blue, \"Listen, Wenig, we need to return the cube,\" the Mercy soothes sweetly, \"It'll all be better if we just return it. But we need you to do it. You're the expert.\"\n\n\"Why all of a sudden... oh God, you're a monster, aren't you? That's what's wrong with your voice. You're not the real Mercy, just some shape-shifter. You just want to get in here - to get us,\" Assister plucks in miserable orange. The Mercy trills silent surprise, she looks to you for help, for guidance. How can she convince Assister?\n\n> You color Assister blue\nYou reach out to color the Assister from outside, and nearly succeed, but it is too difficult from this distance.\n\nAssister continues to argue belligerent, \"Where is the real Mercy? Is she... is she dead?\" You help the Mercy respond, \"I'm real, don't let your fear control you. You're not being logical.\"\n\n> You open the door\n(the sick bay hatch)\nYou push the Mercy to open the hatch. Her muscles constrict, her tendons strain, but it is no use: the hatch is closed from inside.\n\nAssister disagrees, \"Why do you want this?\" You help the Mercy respond, \"You were right before, when you said we should return it. That's all I want.\"\n\n> You release Mercy\nYou sing of separation, of independence. Mercy regains majority control of her own body.\n\nFreed from your musically perfect direction, faults return to the Mercy's voice as she pleads with Assister, \"Please, Wenig, I know scary things are going on, but I really think working together is the way to put things right. Please, I mean, just come out and help me prepare the stupid sub.\" Assister hesitates, hears the truth, hears the Mercy's true voice, she falters, she wants to believe, but she continues to stall, \"I... I'm not sure.\" The Mercy elates ovoid green at the progress.\n\n> Wait\nTime passes.\n\nThe Mercy wheedles Assister, who half-rebuffs in contemplation, \"Please, don't rush me on this.\"\n\n> You color assister indigo\nYou reach out to color the Assister from outside, and nearly succeed, but it is too difficult from this distance.\n\nThe Mercy wheedles Assister, who half-rebuffs in contemplation, \"Let me think, just let me think.\"\n\n> Go north\nThe Mercy crumples darkness at you leaving her, but consoles herself that you must have a reason.\n\nRigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.\n\nThe quarterdeck is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down.\n\n> You go southwest\nYou slowly ooze through small cracks in the cabinet into the sick bay.\n\nAnxiety sickens this room.\n\nThe quarterdeck is to the east, and the lavatory is through a cabinet to the northeast.\n\nAssister wrings uncertainty. She wants so desperately to trust the Mercy. Rosa drifts in unconsciousness.\n\n> You color assister indigo\nYou reach out, caressing Assister's delicate aura, willing it to become indigo. Her aura absorbs this new state willingly, as though they were her own emotions.\n\nAssister settles indigo trusting and relieved. She opens the hatch, embraces the Mercy in a muddled mess of bare aura. The Mercy straightens and strengthens her. Assister echoes herself, \"I thought, I thought you were, I thought it was... what happened to your hands?!\" But the Mercy reassures her, \"Oh don't worry about me. Listen, I can understand why you were scared, and I don't blame you...\" her dulcet notes trail off as they both move towards the loading deck.\n\n> You go to the east\nDark clouds dissipate above, while the wind pushes and pulls everything. This small deck is dominated by smaller vessels.\n\nThe life boats are to the south, the captain's quarters are to the east, the sick bay is to the west, the lavatory is to the north, and a set of stairs leads up and down.\n\nNow that the Assister has left, you can hear another voice, very faint, coming from the captain's quarters. You just barely hear snatches, and only when you strain to listen.\n\n> You listen to the voice\nYou can faintly hear the Captain's tumultuous self-fight for control of her own colors, \"...didn't deserve entrance...\"\n\n> You look at Captain\nYou can faintly hear the Captain's tumultuous self-fight for control of her own colors, \"...a disappointment...\"\n\n> You color Captain yellow\nCaptain is too solid in her turmoil to be colored.\n\n> You go upward\nDark clouds above are dissipating, the remnants of a terrible storm. The ocean gusts are overwhelming with both their strength and their overabundance of emotion.\n\nThe pilot house is to the north, and a set of stairs leads down.\n\n> Go north\nUnblinking sonar sensors, a large compass, a glowing marked table, the vessel's controls, and the broken voice-box clutter the room.\n\nA small deck is to the south, and a vent leads down.\n\n> Go east\n(first opening the captain's hatch)\nThe hatch is too large for you to move. It will have to stay closed."
    },
    {
        "text": "> Go down\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nA metallic vesicle is secured at the south end of the deck. The messdeck is to the north, the wet lab is sectioned off to the east, and a set of stairs lead up. Your Cellarium sits open in the sub's basket.\n\nAssister and the Mercy touch-correct various parts of the exterior of the submersible. They've already moved your Cellarium to the basket, making sure to leave it open. The Mercy noticeably brightens in ecstatic relief as you come near. She addresses Assister, \"Wenig, let's do the pre-launch check of the internal controls.\" Assister broadens in agreeable blues and greens as they climb together into the submersible.\n\n> You enter Cellarium\nA white, crystalline Ancient structure that perfectly houses you.\n\nYou can hear partially through your connection with the Mercy. She senses your placement, and rolls white in shared bliss as she climbs out of the sub. The Mercy closes the lid above you, radiating,\nYou'll be home soon, don't worry. You stroke her aura as\nAssister re-emerges. Assister directs the Mercy back inside, as Assister herself remains outside to continue the more demanding preparations. Soon, you will be home. You feel anxious to once again Sing.\n\n> Sing\nYou immerse, content in the Song's pattern. Spread, subduct, spread, subduct. The Universe joins, but in a way that feels improper. Then, you recognize why: the element echoing you is not earth, but air. And air is too fragile to support such a Song as yours. It tears itself into powerfully fast columns and drafts. Assister looks on in fright as a heating, swirling, impossible storm forms overhead, threatening unending destruction. You stop. It slows. Then you notice the other tempest.\n\nIn a lashing mess of reds, oranges, and infrareds, Captain writhes out determined from the vessel proper. She screams of endings, of finality. You molt in fear: the Mercy needs you.\n\n> You color Captain blue\nCaptain is too strong in her current colors, there is no way that she could be influenced, but the Mercy would gladly offer herself to you.\n\nCaptain takes advantage of Mercy and Assister's pre-occupation. She launches a flaring, gibbering ball at Assister, who falls in a confused, black tangle. Captain similarly dispatches Mercy when she comes out. Captain drags your Cellarium out and over the side of the ship. You float down and land far from your appointed place. You Sing, and re-join the Universe, but slightly off-key. You settle in, reshaping the seafloor so that eventually, after many millennia, you will once again enjoy perfect harmony.\n\n> Possess Mercy\nThe distance makes it difficult, but you both stretch, and the shared need strengthens your bond. You take a moment to acclimate to her location...\n\nDSV-2 (Controlling Mercy)\nThe Mercy scrambles panicked to the control panel, skimming it over: A set of searchlight buttons, arm manipulator levers, a propeller throttle, and an emergency surface switch.\n\nCaptain advances slowly, wrathfully. Assister remains oblivious to the distant Captain.\n\n> You look at the controls\nA set of searchlight buttons, arm manipulator levers, a propeller throttle, and an emergency surface switch.\n\n> You look at the levers\nMultiple levers used to dynamically control the movement of the exterior manipulator arms.\n\n> You turn on the throttle\nThe propellers whorl furiously outside, but only succeed in displacing air. Captain continues, undaunted.\n\nWithout your guidance, Mercy loses her nerve. Captain overpowers her, and triumphs over your captured form, and waits for other Blind Ones to rescue her. They transport you ashore, where your peace is constantly interrupted by some new Blind Ones tapping at you with scientific grey instruments. One day, in a flurry of bright green excitement, the Blind Ones shove a permanent rod into your body. Then they leave you alone to fold. You are never again interrupted, but the rod always is there, a nagging splinter preventing you from fully embracing the bliss of the Universe. But the Song is still lovely, and you join in as best you can. Off-white. Happiness.\n\n> You control Mercy\nThe Mercy feels lost and frightened. You will need to go outside to connect with her."
    },
    {
        "text": "> You color Captain yellow\nCaptain is too strong in her current colors, there is no way that she could be influenced, but the Mercy would gladly offer herself to you.\n\nWithout your guidance, Mercy loses her nerve. Captain overpowers her, and triumphs over your captured form, and waits for other Blind Ones to rescue her. They transport you ashore, where your peace is constantly interrupted by some new Blind Ones tapping at you with scientific grey instruments. One day, in a flurry of bright green excitement, the Blind Ones shove a permanent rod into your body. Then they leave you alone to fold. You are never again interrupted, but the rod always is there, a nagging splinter preventing you from fully embracing the bliss of the Universe. But the Song is still lovely, and you join in as best you can. Off-white. Happiness.\n\n> You kill Captain\nCaptain is too distant to do anything meaningful.\n\nWithout your guidance, Mercy loses her nerve. Captain overpowers her, and triumphs over your captured form, and waits for other Blind Ones to rescue her. They transport you ashore, where your peace is constantly interrupted by some new Blind Ones tapping at you with scientific grey instruments. One day, in a flurry of bright green excitement, the Blind Ones shove a permanent rod into your body. Then they leave you alone to fold. You are never again interrupted, but the rod always is there, a nagging splinter preventing you from fully embracing the bliss of the Universe. But the Song is still lovely, and you join in as best you can. Off-white. Happiness.\n\n> Possess Mercy\nYou're already controlling her, but you can always release her, if you desire.\n\nWithout your guidance, Mercy loses her nerve. Captain overpowers her, and triumphs over your captured form, and waits for other Blind Ones to rescue her. They transport you ashore, where your peace is constantly interrupted by some new Blind Ones tapping at you with scientific grey instruments. One day, in a flurry of bright green excitement, the Blind Ones shove a permanent rod into your body. Then they leave you alone to fold. You are never again interrupted, but the rod always is there, a nagging splinter preventing you from fully embracing the bliss of the Universe. But the Song is still lovely, and you join in as best you can. Off-white. Happiness.\n\n> You examine the boat\nThe structure that holds you and all their things.\n\n> You control Mercy\nYou take control of the Mercy. You both revel in the bliss of perfect harmonic unity.\n\n> You go upward\nQuarterdeck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything. This small deck is dominated by smaller vessels.\n\nThe life boats are to the south, the captain's quarters are to the east, the sick bay is to the west, the lavatory is to the north, and a set of stairs leads up and down.\n\n> You go upwards\nForecastle Deck (Controlling Mercy)\nDark clouds above are dissipating, the remnants of a terrible storm. The ocean gusts are overwhelming with both their strength and their overabundance of emotion.\n\nThe pilot house is to the north, and a set of stairs leads down.\n\n> You go north\nPilot House (Controlling Mercy)\nUnblinking sonar sensors, a large compass, a glowing marked table, the vessel's controls, and the broken voice-box clutter the room.\n\nA small deck is to the south, and a vent leads down.\n\n> You look at table\nYou can't quite make out the patterns, but you can see some Blind language written on it: \"Epicenter\". The rest is a garble of\nwhat you guess to be human names. The Mercy happily interprets for you, \"We're just off the coast, at the Chile Triple Junction.\" She points out various other features of the map, but its shorthand depictions are both uninteresting and difficult to follow.\n\n> You look at the controls\nA complex system of steering controls that are way beyond you. The Mercy is totally lost as well, \"I was a researcher: I never used these.\"\n\n> You go to the south\nForecastle Deck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nThe pilot house is to the north, and a set of stairs leads down.\n\n> Go east\nCaptain's Quarters (Controlling Mercy)\nResponsibility concaves the floor, and shaming ghosts stagnate the air. The human-furnitures fight to remain upright in all the weight.\n\nThe quarterdeck is to the west.\n\n> You examine the furniture\nA bunk and a desk seem somewhat interesting. The Mercy looks about the room with you, her gaze lingering on the desk.\n\n> You examine desk\nA piece of human-furniture with a paper.\n\n> You examine paper\nIn human-writing it describes Captain's last report:\n\nWe are in need of engine repairs, and I take full responsibility for this delay not allowing us to continue our research duties as quickly as possible. We are now waiting for repairs to complete. In an unrelated incident, we took a standard geological sample from the epicenter, but it seems to be perhaps poisonous, as some of the crew bunked closest to it have reported feeling unwell. I am taking no chances and am ensuring its disposal.\n\nMercy surprises at the note's whitewashed contents, \"A few months ago, well, Eliza knew this astronaut that got blacklisted as... crazy for seeing an 'alien' on the moon.\" The Mercy halts, then braves, \"Are there Ancients on the moon?\"\n\n> Yes\nYou tell her of the other Ancients there, how they stopped singing long ago. You had assumed they were completely silenced, but it appears not. The Mercy overjoys at this new knowledge."
    },
    {
        "text": "[Themes: Horror, ocean, nautical, Lovecraftian, telepathy, lesbian, science fiction]\n\n> Look around\nCaptain's Quarters (Controlling Mercy)\nResponsibility concaves heavily in this room, dragging everything down. The human-furnitures fight to remain upright in all the weight.\n\nThe quarterdeck is to the west.\n\n> You look at the bunk\nThe single slotted bed is drenched in Captain's fading colors. She must have been turning her mind to vindictive madness. The Mercy seems uninterested in it.\n\n> You go west\nQuarterdeck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything. This small deck is dominated by smaller vessels.\n\nThe life boats are to the south, the captain's quarters are to the east, the sick bay is to the west, the lavatory is to the north, and a set of stairs leads up and down."
    },
    {
        "text": "[Themes: Horror, science fiction, nautical, ocean, horror, ship, miniature protagonist]\n\n> Go downwards\nLoading Deck (Controlling Mercy)\nDark clouds dissipate above, while the wind pushes and pulls everything.\n\nTwo silenced bodies and the diving vessel splay across the deck; the vessel's interior rests slightly more southern than its undercarriage.\n\nThe messdeck is to the north, the wet lab is sectioned off to the east, and a set of stairs lead up. Your open Cellarium rests here.\n\n> You take Cellarium\nThe Mercy tries to pick it up, but she is not strong enough, and her hands are damaged. She fails. She flexes reassured white, \"I could still push it somewhere, if you wanted me to move it,\" she offers, eager to please you."
    },
    {
        "text": "[Themes: Horror, miniature protagonist, ship, absurd, Lovecraftian]\n\n> You go to the southwest\nMercy frets a crack of light red in her otherwise symmetrical white orb, \"Letting you sink inside your Cellarium will be fine, but the current: you'll drift away from where we want you to land.\" You tap into the harmonic patterns of the earth's magnetism, and sense the direction of your home: southwest.\n\n> You go southwest\nMercy turns her concerns inward, more cracks forming \"And what of me? I won't have anything when you go. I can't go back to them, they'd never understand, never compare to this.\" You tap into the harmonic patterns of the earth's magnetism, and sense the direction of your home: southwest.\n\n> You go to the southwest\nMercy glows steadily again,\"No matter what happens to me, I'll just be happy knowing I did the right thing. That I helped you.\" You tap into the harmonic patterns of the earth's magnetism, and sense the direction of your home: south.\n\n> Go south\nYou arrive. You can feel the harmonics of your guiding influence that have shaped the seafloor far below into the infinitely echoing pattern of spreading and subducting. You are so close to being home again, you quiver. Mercy lingers, then turns to you. Knowing the cost, she reaches out to stroke you - to feel you - one last time.\n\n> Wait\nTime passes.\n\nMercy tightens closer to you as she senses your excitement. She vibrates in anticipation for your happiness.\n\n> You wait\nTime passes.\n\nMercy waits for your command.\n\n> You enter Cellarium\nYou crawl into the Cellarium and signal to Mercy your intent. She understands, \"I... I will miss you. Please, don't ever forget me. You've given me meaning. You've given me everything.\" She pulls your Cellarium up, then darkens in absolute sadness at the coming separation, Please, don't leave me here. she despairs as she\npushes it over.\n\nFor one last moment as your blissful tomb drifts downward, you connect with the Mercy in perfect unison, and you feel her dread over what is to come: the emptiness, the disconnection, the unfeeling tedium. She wants so desperately to go down with you.\n\n> You wait a while\nTime passes.\n\nYour Cellarium lands, not too terribly far from its original home. It takes you centuries, but you eventually manage to Sing and re-shape the sea floor into the proper harmonics. And when you do, the bliss is perfection, unending. White. Happiness.\n\n> Possess Mercy\nYou're already controlling her, but you can always release her, if you desire.\n\nMercy waits for your command.\n\n> You release Mercy\nYou sing of separation, of independence. Mercy regains majority control of her own body.\n\nMercy waits for your command.\n\n> You enter Cellarium\nThe Mercy has trouble understanding your directions, and suggests that she would have an easier time if you were controlling her.\n\nThe Mercy excites glistening white at being so close to your home.\n\nMercy waits for your command.\n\n> You put Mercy in Cellarium\n(first taking Mercy)\n\nYou take control of the Mercy. You both revel in the bliss of perfect harmonic unity.\n\nMercy waits for your command.\n\n> You put Mercy in Cellarium\n(first taking Mercy)\n\nYou're already controlling her, but you can always release her, if you desire.\n\nMercy waits for your command.\n\n> You jump overboard\nYou crawl into the Cellarium and signal to Mercy your intent. She understands, \"I... I will miss you. Please, don't ever forget me. You've given me meaning. You've given me everything.\" She pulls your Cellarium up, then darkens in absolute sadness at the coming separation, Please, don't leave me here. she despairs as she\npushes it over.\n\nFor one last moment as your blissful tomb drifts downward, you connect with the Mercy in perfect unison, and you feel her dread over what is to come: the emptiness, the disconnection, the unfeeling tedium. She wants so desperately to go down with you.\n\n> You jump\nThe Mercy dives after you, grasping firmly to your Cellarium. Her body cells scream for oxygen, and the pressure concaves her delicate frame. So she abandons it, entering into the Song instead. The body maintains its desperate grasp on your Cellarium, and you puppet it in a way that pushes your Cellarium exactly back to the infinite junction. The connection of this place overwhelms you, and you Sing unending. Mercy sings with you, an eternally blissful duet. White.\nPerfection.\n\n> Design\nDesign notes and author's website at LMDadventures.blogspot.com/2013/07/coloratura.html\n\n> Epilogue\nYou shift against the helicopter straps uncomfortably. This is the middle of the third refueling, and Chilean officials are starting to lean hard on SAR to find the missing research ship. But two mysterious storms battered the coast, lending to suspicious whispers. They're saying that not even Saint Anthony's help can foil this devil's work.\n\nYou haven't give up however, and you take advantage of Amaro dipping into a turn to resume searching the sea.\n\n> You examine the sea\nNothing but open, empty sea.\n\n> About yourself\nNothing but open, empty sea....\nNothing but open, empty sea.......\nNothing but open, empty sea.......... but wait, you do see something! A dark speck, in the distance. Amaro seems to notice it at the same time. \"Fantastic! Can you radio dispatch?\" Amaro exclaims, \"I'm going in for the approach.\"\n\n> You examine the speck\nThe dark speck is too distant to be properly visible.\n\nAnnoyed, Amaro makes the call for you as he flies towards his destination. The shape starts to coalesce, but you still can't quite make it out. The radio crackles in reply, \"Roger that. Hope you've found it!\"\n\n> About yourself\nSweaty, tired, and sore from sitting in the rescue helicopter all day.\n\nThe helicopter approaches the speck, and its shape slowly clears into a life boat. Your mind reels as Amaro relays the details. How many survivors? Will any be critical? The radio statics in anxiously, \"...keep on reporting.\"\n\n> About yourself\nSweaty, tired, and sore from sitting in the rescue helicopter all day.\n\nBy now you are nearly on top of the life boat, but things do not seem promising. There are no distress signals, no flares, no reflecting glint: no signs of life. The radio seems to echo your unease, \"Is it abandoned? Advising caution.\"\n\n> You look at the boat\nIt's much clearer now: a small lifeboat. You can't see anyone aboard, though, and the fact that they haven't sent off any distress signals or flares is worrying.\n\nAmaro brings the helicopter to a hover over the life boat, and you can see a single person inside the boat, lying down. Amaro gestures to you that his position is stable and releases the ladder. The radio acknowledges your situation as a small emergency, but wants to focus on finding more survivors. \"Just in case, sending backup your way, miss. Let's save somebody.\""
    },
    {
        "text": "[Themes: Horror, telepathy, ship, ocean, Lovecraftian]\n\n> Go downwards\nYou climb down the ladder and drop down into the boat. You signal to Amaro to land, and he keeps the blades running nearby. There is only one woman here, curled up on her side. You can see that she wears the colors of a Corpsman, and you grimly appreciate the irony of one medic saving another.\n\n> You look at the woman\nBreathing lightly, she stares ahead as if transfixed or not fully here. You notice that she's clutching at a tape in her hands.\n\n> You examine the tape\nThe kind of magnetic tape still used in vessel radio system logs. It probably has important clues or information.\n\n> You take the tape\nYou pull the tape from her hands. She immediately rouses from her state of shock and grabs at you, pulls you closer, and speaks past you in what you recognize as English, \"Believe me! It was... it was...\" but she trails off. 'Horrible?' You internally punctuate,\nbefore she does finish her thought after all, \"Beautiful.\" Then she collapses.\n\nNo! you scream. But you can revive her, you can save her.\n\n> You revive woman\nYou push against her chest with rapid, strong heaves. She does not respond. You do not relent. More time passes, and the physical exertion is catching up to you, but there is still no pulse. Do you continue?\n\n> Yes\nYou continue pushing against her chest and feel at least one rib crack and give way - not uncommon. But she still does not respond. You feel your body slowing as you glance about, and don't notice any backup on the way. Do you continue?\n\n> Yes\nYou continue CPR procedures, but your body involuntarily slows from the exertion, and still there is no pulse. After 30 minutes, you are forced to stop from the sheer exhaustion. You fume; why the hell didn't anyone show up? Amaro might know.\n\n> Go up\nThe helicopter is landed next to a lifeboat. Amaro waits on you expectedly.\n\nAmaro spits out, \"Our backup got diverted. They found the main vessel.\" You sigh and relay the results of your revive attempts. He hits the console at your news, \"Devil take all, and what else?!\" He gathers himself before speaking again, \"We have to report this.\"\n\n> You show the tape to Amaro\nAmaro surprises at it, \"Looks like ship audio logs. It's probably evidence. We need fuel, we can play it back at base.\" He makes the report himself. Dispatch is just as disappointed at the outcome, but offers to find appropriate playback equipment by the time you return. As the helicopter beats towards land, you curiously turn the tape over in your hands. This was important to her. She clung to life\njust long enough to make sure that someone got that tape. You will be one of the first to hear it played, just as she wanted."
    },
    {
        "text": "> You look around\nA white, crystalline Ancient structure that perfectly houses you.\n\nCaptain takes advantage of Mercy and Assister's pre-occupation. She launches a flaring, gibbering ball at Assister, who falls in a confused, black tangle. Captain similarly dispatches Mercy when she comes out. Captain drags your Cellarium out and over the side of the ship. You float down and land far from your appointed place. You Sing, and re-join the Universe, but slightly off-key. You settle in, reshaping the seafloor so that eventually, after many millennia, you will once again enjoy perfect harmony.\n\n> Go north\nMessdeck (Controlling Mercy)\nTables and chairs are bolted to the ground.\n\nThe galley is to the west, and the loading deck is to the south. A vent leads up and a set of stairs leads down.\n\n> Go east\nWet Lab (Controlling Mercy)\nA foray into understand the bliss they will never see themselves. A sample of part of your body is displayed with the freshly-inked label \"Internal Crystal Scraping\".\n\nThe loading deck is back to the west.\n\n> No\nYou inform her that there haven't been Ancients on the moon for millennia: that's why its core is dead and silent. The Mercy fascinates over this revelation.\n\n> You color Mercy brown\nYou are synced in blissful unity with this Blind One. Her color can be nothing but pure white while you continue to control her.\n\n> Release\nWhat do you want to release?\n\n> You release Mercy\nYou sing of separation, of independence. Mercy regains majority control of her own body.\n\n> You color Mercy brown\n\"Brown\" isn't a pure wavelength. You can only create simple emotions. You reach out, caressing Mercy's delicate aura, willing it to become brown. Her aura absorbs this new state willingly, as though they were her own emotions.\n\n> You examine Mercy\nA Sighted One. She offers herself as yours to control.\n\nHer pure white aura radiates bliss.\n\nThe Mercy ponders in remorseful, dark yellows what drove Captain to her solitude."
    },
    {
        "text": "> Look around\nResponsibility concaves heavily in this room, dragging everything down. The human-furnitures fight to remain upright in all the weight.\n\nThe quarterdeck is to the west.\n\nThe Mercy idly wraps herself in her own bliss.\n\n> You look at the furniture\nA bunk and a desk seem somewhat interesting.\n\nThe Mercy searches semi-unsettled yellow for clues to Captain's behavior while waiting for you.\n\n> You examine the bunk\nThe single slotted bed is drenched in Captain's fading colors. She must have been turning her mind to vindictive madness.\n\nThe Mercy tumbles in anticipation for your unity.\n\n> You examine the desk\nA piece of human-furniture with a paper.\n\nThe Mercy ponders in remorseful, dark yellows what drove Captain to her solitude.\n\n> You search the sea\nNothing but open, empty sea.\nNothing but open, empty sea....\nNothing but open, empty sea.......\nNothing but open, empty sea.......... but wait, you do see something! A dark speck, in the distance. Amaro seems to notice it at the same time. \"Fantastic! Can you radio dispatch?\" Amaro exclaims, \"I'm going in for the approach.\"\n\n> Radio dispatch\nYou report that you may have found something interesting. The dispatch tries to contain their excitement at the news as you relay your intent to approach.\n\nAmaro flies towards the destination. The shape starts to coalesce, but you still can't quite make it out. The radio crackles in reply, \"Roger that. Hope you've found it!\"\n\n> You look at the radio\nIt's the device that you use to radio dispatch.\n\nThe helicopter approaches the speck, and its shape slowly clears into a life boat. Your mind reels as you relays the details. How many survivors? Will any be critical? The radio statics in anxiously, \"...keep on reporting.\"\n\n> Report\nWhat do you want to report?\n\n> Life boat\nYou continue relaying information.\n\nBy now you are nearly on top of the life boat, but things do not seem promising. There are no distress signals, no flares, no reflecting glint: no signs of life. The radio seems to echo your unease, \"Is it abandoned? Advising caution.\"\n\n> You look at the boat\nIt's much clearer now: a small lifeboat. You can't see anyone aboard, though, and the fact that they haven't sent off any distress signals or flares is worrying.\n\nAmaro brings the helicopter to a hover over the life boat, and you can see a single person inside the boat, lying down. Amaro gestures to you that his position is stable and releases the ladder. The radio acknowledges your situation as a small emergency, but wants to focus on finding more survivors. \"Just in case, sending backup your way, miss. Let's save somebody.\"\n\n> No\nYou've performed enough revive attempts to know when to call it. You fume; you'll have to report this.\n\n> Report death\nYou can only report from inside the helicopter.\n\n> You look at Medic\nIt is sad and frustrating.\n\n> You look at what you're carrying with you\nYou are carrying:\na found tape"
    },
    {
        "text": "[Themes: Horror, lesbian, Lovecraftian, gender-neutral protagonist]\n\n> You look at your surroundings\nThe woman's dead body lies motionless. The life boat itself has markings indicating that it's from the missing research vessel.\n\n> Up\nThe helicopter is landed next to a lifeboat. Amaro waits on you expectedly.\n\nAmaro spits out, \"Our backup got diverted. They found the main vessel.\" You sigh and relay the results of your revive attempts. He hits the console at your news, \"Devil take all, and what else?!\" He gathers himself before speaking again, \"We have to report this.\"\n\n> Report death\nYou steel yourself and make the call. Dispatch is just as disappointed at the outcome, but offers to find appropriate playback equipment by the time you return. As the helicopter beats towards land, you curiously turn the tape over in your hands. This was important to\nher. She clung to life just long enough to make sure that someone\ngot that tape. You will be one of the first to hear it played, just as she wanted.\n\n> Up\nThe helicopter is landed next to a lifeboat. Amaro waits on you expectedly.\n\nAmaro starts to chart the path back to the mainland.\n\n> You examine Amaro\nHe's almost as tired and anxious as you are.\n\nAmaro waits for you to report the dead woman.\n\n> You report the the dead woman\nYou steel yourself and make the call. Dispatch is just as disappointed at the outcome, but they call you back to base to refuel and then prepare to assist with evacuating the main vessel: they apparently need to transport at least a dozen comatose survivors. They assure you that the Armada will be about shortly for the life boat\nitself. You shift uncomfortably, thinking about whatever information may have been lost by destroying the tape, but you assure yourself that it was the right thing to do."
    },
    {
        "text": "[Themes: ancient Greece, drugs, math, adventure, surreal, gender-neutral protagonist, ghost, mathematics, educational]\n\n\"Mathematics, rightly viewed, possesses not only truth, but supreme beauty - a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.\" -- Bertrand Russell\n\n\"Closing time!\" The voice echoes in the space around you.\n\nYou slowly open your eyes to find your face pressed against a book. A book you've been drooling on.\n\nOne thing at a time. Let's focus on the book.\n\n[Author's Note: That survey course in conceptual mathematics seemed like a good idea at the start of the term - no graded homework, no midterm exams - just an oral final at the end. But now that final is tomorrow morning. After months of procrastination you've got one night left to learn enough to pass the course. You might even be desperate enough to try one of your roommate's sketchy memory pills.]\n\n> Examine book\nThis is your textbook for Math 058, Concepts of Mathematics. (Or is it Math 314? Or Math 272? You really ought to remember this.)  The book has some drool on it.\n\nSo it's your math book. That helps some. You might be up to a wider glance around now. Try LOOK, or just L for short."
    },
    {
        "text": "[Themes: ghost, mathematics, adventure]\n\n> Look around\nRight. The library.\n\nThe library is a great place to study - or so you've been told. You hadn't seen the inside of it until today.\n\n(You've also been told it's a good place to sleep. Well, you can vouch for that now.)\n\nOn the study table in front of you are your math book and an empty yogurt cup.\n\nThe librarian spots you and begins walking in your direction. Oh, no.\n\nYou might have time to look up one more topic in your math book. Newton, maybe. He'll probably show up on the final tomorrow. Or maybe Professor Glasser will expect you to wax philosophical about mathematics in general. You could LOOK UP NEWTON or LOOK UP MATH.\n\n> You look up the MATH\n(in your math book)\nThere is considerable debate as to the exact definition of mathematics. Is it the study of numbers? Shapes? Is it discovered, or is it invented? Aristotle called mathematics \"the science of quantity,\" but some modern areas of mathematics like topology don't really fit that definition. Bertrand Russell said that mathematics can be reduced to logic, but his own efforts in that area were punctured by G\u00f6del's incompleteness theorems. Most modern mathematicians take a \"I know it when I see it\" view, when they bother to think about the definition of mathematics at all.\n\nRegardless of its definition, since the 1600s mathematics has proven to be particularly useful to science. For example, Isaac Newton's second law of motion, F = ma, or force equals mass times\nacceleration, single-handedly reduced a wide variety of problems in physics to a simple equation. Modern physics, engineering, chemistry, economics, computers, and even large parts of biology and the social sciences would not be possible without mathematics. Galileo even went so far as to claim that mathematics is the language with which God has written the universe.\n\nIs mathematics art or science? Science owes much to mathematics, and Gauss called mathematics \"the queen of the sciences.\" But some mathematicians sound more like artists when describing their work. Russell, in the following quote, makes that comparison explicit:\n\n\"Mathematics, rightly viewed, possesses not only truth, but supreme beauty - a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry.\"\n\nWow. That's a lot to digest. You're never going to remember all of this for tomorrow.\n\nThe librarian is getting closer. You probably should take the initiative and GREET HER. Maybe if you're friendly she'll let you stay a little longer.\n\n> You greet the LIBRARIAN\n\"Hello!\" you say brightly.\n\n\"Hello,\" the librarian responds. \"I'm afraid it's time for you to leave.\"\n\nIt looks like you might need more than friendliness here. Let's go for pathos. Try TELL LIBRARIAN ABOUT FINAL.\n\n> You tell the libririan about final\n(to the librarian)\n\"Um, I have my final exam in conceptual mathematics tomorrow,\" you say in your best respectful-of-authority voice. \"I really need to do some more studying. May I please, please stay here for just a little longer?\"\n\n\"No,\" she replies. \"I'm sorry, but I have to close up the library now.\"\n\nWell, that didn't work. She's probably heard it all before.\n\nYou might as well just head back to your dorm room. You'll need to pick up your things first, though. Try GET BOOK AND CUP.\n\n> You get the book and the cup\nyour math book: You pick up your math book.\nempty yogurt cup: You pick up the yogurt cup.\n\n(Notice that you can GET more than one object at a time.)\n\n\"I hope you're not planning to remove any library books,\" the librarian says. \"The borrowing period for this academic year has ended.\"\n\nYou should check your inventory to show her. Try INVENTORY, or just I for short.\n\n> You check what you're carrying\nYou are carrying:\nan empty yogurt cup\nyour math book\n\n\"Good,\" says the librarian. Then her eyes focus on the yogurt cup. She frowns. \"I'll take that,\" she says.\n\nTry GIVE CUP TO LIBRARIAN.\n\n> You give the cup to the LIBRARIAN\nYou give the empty yogurt cup to the librarian.\n\n\"Thank you,\" the librarian says. \"Next time, please try to follow the rules about food in the library.\n\n\"Good luck on your final,\" she adds, pointedly indicating the exit to the south.\n\nThere's really nothing left to do but head back to your dorm room.\nTry SOUTH, or just S.\n\n> You go south\nYou walk out, flashing the librarian a weak smile as you go. She closes and locks the doors behind you.\n\nThen you trudge back to your dorm room, thinking about how you got here...\nThis ends the tutorial.\n\nYou've just seen several of the most useful commands in the game: EXAMINE object (or X object)\nLOOK (or L)\nLOOK UP topic (in your math book)\nGREET character\nTELL character ABOUT topic\nGET an object (more than one if you want)\nGIVE object TO character\nINVENTORY (or I)\nSOUTH (or S. The other seven compass directions - and their abbreviations - are allowed, too, plus UP and DOWN).\n\nYou can review these commands and many others by typing HELP at any time. In-game HINTS are available as well.\n\n\n\nProfessor Glasser's survey course in conceptual mathematics seemed like a good idea at the start of the term - no graded homework, no midterm exams - just an oral final at the end. As the semester progressed, cutting a few classes didn't really seem to matter. Neither did skipping a reading assignment - or a homework set - here and there. But \"a few, here and there\" slowly turned into \"several,\" which turned into \"most.\" Eventually you were too embarrassed to show up to class anymore, and for the better part of the second half of the term you did an impressive job of forgetting about the final exam.\n\nUntil this morning.\n\nCramming has never worked for you, but what choice did you have? You already made your choices, you suppose - repeatedly, throughout the semester.\n\nBlaming yourself now isn't going to do any good, though. You can blame yourself all you want after tomorrow. Focus on the final.\nFocus on the final.\n\nHow, though? It's late. You need more sleep. But you're not sure you remember much (anything?) from today's library cram session.\n\nYou've got to pass that final because you've got to pass the class. What will happen to your scholarship if you don't?\n\nWith these pleasant thoughts running through your head as you walk across campus, you finally return to...\nYour Dorm Room\nApparently your roommate moved out today. The room looks pretty bare with only your stuff left in it...not that you had much to begin with. The only decorations that remain are a few of your posters hanging on the walls.\n\nYou hear loud noises coming from the hallway to the south. It sounds like your hallmates have begun celebrating the end of the academic year.\n\nYou can see your bed and your desk (on which are a medicine bottle and a note) here.\n\n> You read the note\nIt's from your roommate. \"Good luck on your final! I've left you the last of my study pills. I promise you they are perfectly safe, all-natural, and organic - although they may not work exactly like you expect.\"\n\n> You examine the pills\nYour roommate claims these pills are good for your memory, but you've always been skeptical.\n\n> You look at the bed\nYour bedsheets feature characters from one of your favorite childhood shows. Particularly prominent is a purple puppet vampire, who is endearing rather than scary. You don't care that your friends occasionally make fun of you for these sheets.\n\n> You examine bottle\nThese study pills are ones that your roommate picked up at that sketchy health-food store downtown. Your roommate swears by them, but you've always been skeptical. The bottle is closed, and there is something written on it.\n\n> You read the bottle\nOn the bottle is written \"Blorple Pills: Explore a nearby object's mystic energy field via the power of dreams!\"\n\nMystic energy field? Power of dreams?! You thought these were supposed to be study pills.\n\n> You open the bottle\nYou push down on the bottle's cap, twist it, and pull... and the bottle opens easily. Whew! Sometimes these \"childproof\" medicine bottles are really hard to open. There is one pill left in the bottle.\n\n> You take the pill\nA bit hesitantly, you swallow the pill. Hopefully this will help with your studying.\n\n> You get on the bed\nYou get onto your bed.\n\n> Sleep\nYou curl up with the math book. Whether by exhaustion or the effects of the pill (or both), you quickly fall asleep.\n\nYour dreams are strange. Images from today's cramfest run through your mind in rapid succession, combining, reforming, and producing new images, each of which sinks into your unconscious. Eventually your thoughts slow down, and as they do you can feel your mind empty. Your dream coalesces into...\nPoint\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The only thing that breaks up this space is the white disk floating in mid-air that you are standing on. While the disk doesn't appear to be supported by anything, there is a hole in the middle of it.\n\n[Your understanding of Arithmetic has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You examine the disk\nThe disk is pure white and has a diameter of about 8 feet. There is a hole in the middle of it, large enough for you to enter.\n\n> You enter the disk\nYou clamber down the hole.\n\nThis is more of an abstract space than a physical place, but it gives you a sense of unity, wholeness, and beginnings. A hole leads back up. You sense another exit, too - one in a deeper, \"downward\" direction from this space."
    },
    {
        "text": "[Themes: drugs, surreal, gender-neutral protagonist, ghost]\n\n> Go down\nYou make your way down.\n\nThis space feels formless, as if it consists of as-yet unshaped matter. You can sense a way out above you.\n\nThe only solid thing you can discern here is a white wand, floating upright in the void.\n\n> You take the wand\nYou take the white wand from the void.\n\n> You look at it\nThis white wand is in the shape of a snake - a one-eyed adder, actually. The adder's eye is a dark sapphire. The wand has the word \"Increment\" inscribed along it."
    },
    {
        "text": "[Themes: drugs, ghost, gender-neutral protagonist]\n\n> Describe the surroundings\nThis space feels formless, as if it consists of as-yet unshaped matter. You can sense a way out above you.\n\n> Go upward\nYou make your way up through the void.\n\nThis is more of an abstract space than a physical place, but it gives you a sense of unity, wholeness, and beginnings. A hole leads back up. You sense another exit, too - one in a deeper, \"downward\" direction from this space.\n\n> Wave wand\nYou wave the wand, and the word \"Increment\" on it begins to glow. It glows brighter and brighter. Finally, the wand emits a dazzling flash of light - and disappears! Wandless, you feel yourself\nincrement.\n\nThis is more of an abstract space than a physical place, but it's marked by a feeling of duality, as if it somehow contains opposites within itself. The only exit is a hole leading up.\n\n> Go up\nYou make your way up.\n\nAs you climb through the hole, at first it appears you are entering a dark blue nothingness. But then you see, off to the \"west,\" the white disk you were standing on earlier. The white wand is lying on it, pointed in your direction. As you stare at it, the wand begins to change shape! It widens and flattens until it is the width of the disk. Then the tip stretches toward you, the wand soon extending far beyond its original length. The tip picks up speed, and it passes you almost faster than you can follow. You get a last glimpse of the tip off in the distance before it is lost from sight. Looking around, you find that the wand has become a line with numbers marked on it, a line that extends as far as you can see to the \"east.\" With some trepidation, you step onto this new line.\n\nPositive Axis: 2\nYou are in a dark blue expanse of space, standing on a white line that stretches to the west and as far as you can see to the east. The number 2 is marked on the line here. There is a hole next to the 2 large enough for you to climb down into.\n\n[Your understanding of Arithmetic has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]"
    },
    {
        "text": "[Themes: ghost, mathematics, gender-neutral protagonist, ancient Greece, math]\n\n> Go downwards\nYou clamber down the hole.\n\nThis is more of an abstract space than a physical place, but it's marked by a feeling of duality, as if it somehow contains opposites within itself. The only exit is a hole leading back up to the positive axis.\n\n> You go up\nYou make your way up.\n\nPositive Axis: 2\nYou are in a dark blue expanse of space, standing on a white line that stretches to the west and as far as you can see to the east. The number 2 is marked on the line here. There is a hole next to the 2 large enough for you to climb down into.\n\n> Go east\nYou walk along the positive axis for a while, tracing the passage of the tip of the white wand. You see marks for 3, 4, 5, and larger numbers. There are no holes or anything else featured on this part of the positive axis, though, and you soon decide return to the 2 mark.\n\n> Go west\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line begins here and stretches out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\nSince the disk you were standing on earlier has now become the location of 1 on the positive axis, you find yourself wondering if this is the only space that has changed."
    },
    {
        "text": "> Go downward\nYou clamber down the hole.\n\nThis is more of an abstract space than a physical place, but it gives you a sense of unity, wholeness, and beginnings. A hole leads back up to the positive axis. You sense another exit, too - one in a deeper, \"downward\" direction from this space."
    },
    {
        "text": "> You go down\nYou make your way down.\n\nThis space seems more formed than it did the last time you were here.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north, south, east, and west.\n\n> You go west\nYou make your way west through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are standing in the great hall of a large, cobwebby castle. A long table stretches from one end of the hall to the other. The entryway of the castle is to the east. Exits west and south lead to other parts of the castle.\n\nOn the long table is a pile of old coins.\n\nA large purple puppet is here, counting several coins laid out on the table. He is talking to himself. \"... eight, nine, ten! Ten coins!\"\n\n> You look at the puppet\nThe Count is not a man but a purple puppet. There is no one animating him, yet he talks and moves about. You're definitely dreaming.\n\n> You look at the coins\nThis is a huge pile of coins. You wonder if the Count knows exactly how many there are. He probably does.\n\n> You ask Count about the coins\nIt would be more polite to greet the Count first.\n\n> Greet count\nThe puppet looks up at your approach. \"I am the Count of this castle, and I love to count! But I have a problem. Maybe you can help.\n\n\"I have ten different coins here that I have been flipping. I want to count how many ways I can flip the ten coins and have half of them come up heads and half come up tails. For example, one way is HHHHHTTTTT. Another way is HTHTHTHTHT. A third way is HTHHTTTTHH. That's three. But there are a lot more than that, and I can't seem to count them because I can't keep track of all the combinations!\n\n\"Here are some ideas. I know that if I want 0 heads, then the answer is 1: TTTTTTTTTT. I know that if I want 1 head, the answer is 10: HTTTTTTTTT, THTTTTTTTT, and so on, with one head for each of the other coins. It took me a long time to find the answer with two heads, but I'm pretty sure I got it: 45. But with three or more I can't keep track of what I've counted and what I haven't.\n\n\"If you know the answer, please tell me!\n\n\"I will be happy to let you have one of my coins if you can help me.\"\n\n> You ask Count about the big bird\n\"I haven't seen him in a while,\" the Count says. \"I probably should go visit sometime soon.\"\n\n> 99\nI didn't recognize that command. (There is a list of recognized commands in the HELP menus.)\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north, south, east, and west to the Great Hall.\n\n> You go north\nYou make your way north through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou stand in the Lyceum, a collection of buildings and open spaces in ancient Athens. There is a stadium to the west, a temple lies north, and you can see a private home with an ornate doorway to the east. A road leads northeast out of Athens, and the rest of the city lies south.\n\n> You go to the north\nTemple of Number, Southern End\nYou stand in the southern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. There is an inscription on the wall, the rest of the temple is to the north, and the exit to the Lyceum is south.\n\n> You read inscription\n\"Number is the origin of all things.\"\n\n> Go north\nTemple of Number, Northern End\nYou stand in the northern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. Instead of the half-expected statue of Athena Parthenos, though, stands a large statue of Pythagoras. Behind the statue is a small passageway heading north.\n\nAn acolyte is here, silently cleaning up the area around the statue.\n\nYou can also see a trash urn and a scrap of papyrus here.\n\nThe acolyte picks up the scrap of papyrus from the floor. She reads it carefully, nods, and tosses it in the urn.\n\n> You look at the urn\nThis large urn is decorated with tasteful depictions of various numbers.\n\nIn the trash urn is a scrap of papyrus.\n\nThe acolyte polishes an already spotless part of the statue.\n\n> You take the scrap\nTaken.\n\nThe acolyte pokes at a corner of the temple with her broom.\n\n> You read it\nThis appears to be a piece torn from some religious scroll.\n\n\"Number is the origin of all things.\n\nNumber has two basic forms: The odd and the even. Each thing is odd or even or is a \u039b\u039f\u0393\u039f\u03a3, or ratio, made from odd and even.\n\n1. Odd things include the statue of Him in our temple, which is one.\n\n2. Even things include the primary sources of light in our sky - the sun and moon, which are two.\n\n3. \u039b\u039f\u0393\u039f\u03a3 things include the seasons, which represent the ratio of\none\nyear into four parts.\n\nNothing which is not odd, even, or a ratio from odd and even can exist.\"\n\n[If the Greek letters are not displaying correctly, you may type SYMBOLS OFF to turn off the use of Greek letters and mathematical symbols for the remainder of the game.]\n\nThe acolyte polishes an already spotless part of the statue.\n\n> You examine statue\nThis large statue of Pythagoras dominates the north end of the temple. A small passageway is behind the statue, leading north.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> You greet the acolyte\nThe acolyte is focused on her cleaning, and she ignores you.\n\nThe acolyte sweeps the area in front of the statue.\n\n> You go north\nThe acolyte stops you. She shakes her head silently.\n\nThe acolyte polishes an already spotless part of the statue.\n\n> Inventory\nYou are carrying:\na scrap of papyrus\nyour math book\n\nThe acolyte pokes at a corner of the temple with her broom.\n\n> You put the scrap in the urn\nYou put the scrap of papyrus into the trash urn.\n\nThe acolyte sweeps the area in front of the statue.\n\n> Go north\nThe acolyte stops you. She shakes her head silently.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> You climb the statue\nThat would be rather sacrilegious.\n\nThe acolyte polishes an already spotless part of the statue.\n\n> Drop book\nDropped.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\nThe acolyte walks over to where you dropped the math book and looks around. Not seeing anything, she returns to her work.\n\n> You take the book\nTaken.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> You look at the statue\nThis large statue of Pythagoras dominates the north end of the temple. A small passageway is behind the statue, leading north.\n\nThe acolyte pokes at a corner of the temple with her broom.\n\n> You look up Pythagoras\n(in your math book)\nPythagoras was an ancient Greek mathematician. He also founded a quasi-religious order whose key belief was that numbers (by which they meant the positive integers) are the basis of everything in the universe.\n\nThe Pythagorean Theorem says that the square of the diagonal of a right triangle is equal to the sum of the squares of the sides, or, in symbols, a\u00b2 + b\u00b2 = c\u00b2. While this\ntheorem\nis named for Pythagoras, there is no conclusive evidence that he actually proved the theorem. It probably led to the downfall of his religious cult, though. If you take a right triangle with sides of length 1, the Pythagorean Theorem says that the length of the diagonal must be the square root of 2. The proof that the square root of 2 is irrational - by one of the Pythagoreans - invalidated their key belief in numbers.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> You examine the acolyte\nThe acolyte is wearing pure white robes and wields a broom. She doesn't look much like the conversational type.\n\nThe acolyte pokes at a corner of the temple with her broom.\n\n> You look at columns\nThese imposing columns are made of white stone and feature Ionic capitals.\n\n> Go south\nYou stand in the Lyceum, a collection of buildings and open spaces in ancient Athens. There is a stadium to the west, a temple lies north, and you can see a private home with an ornate doorway to the east. A road leads northeast out of Athens, and the rest of the city lies south.\n\n> You go to the east\nSome force blocks you from stepping through the doorway of the home. Ignorance may be bliss, but a little knowledge would go a long way here.\n\n> You examine the doorway\nThere is a rather ornate doorway here - but no door. Written above the doorway is the phrase \"Let no one ignorant of geometry enter.\"\n\n> Go west\nThis is a stadium in ancient Athens. The stadium itself consists of raised ground on either side of a race track about 200 meters long. The rest of the Lyceum is back east.\n\nAchilles sits by the side of the race track with his head in his hands.\n\n> You greet Achilles\nAchilles looks up. \"I'm the fastest man in Greece. Then this guy Zeno challenged me to a 200-meter race with a tortoise, under two conditions: (1) I had to be willing to give the tortoise a head start of 100 meters, and (2) every time I got to where I last saw the tortoise I had to look up and mark its position. Of course I can beat a tortoise, even with that much head start, right? But no. Watch.\"\n\nAchilles snaps his fingers, and from somewhere in the grass of the raised ground comes a tortoise. The tortoise ambles to the 100-meter mark, and Achilles heads to the start. They take off. When Achilles reaches the halfway mark, he looks up, and the tortoise is ahead of him. Achilles notes its position, races to that position, and looks up. The tortoise is still ahead of him. He does this again. The tortoise is still ahead. And again. The tortoise is, once more, ahead. Every time Achilles looks up he's closer to the tortoise, but he never quite catches up to it! Finally he stops running and looks over at you forlornly. The tortoise crosses the finish line, flashes a chelonian smile at Achilles, and disappears to wherever it was before.\n\nAchilles says, \"You see? I can't catch up to the tortoise if every time I run to where it was before, it's still ahead of me!\"\n\n> You examine the track\nThe race track is made of hard-packed clay and is about 200 meters long.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north to the Lyceum, south, east, and west to the Great Hall.\n\n> You go north\nYou make your way north through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou stand in the Lyceum, a collection of buildings and open spaces in ancient Athens. There is a stadium to the west, a temple lies north, and you can see a private home with an ornate doorway to the east. A road leads northeast out of Athens, and the rest of the city lies south.\n\n> You go northeast\nThis flat, paved road runs from southwest to northeast. However, you also spot a steep path leaving the road and winding its way north up the hillside.\n\n> Go north\nIt's an arduous trek up the path. By the time you reach the top you are winded.\n\nYou stand on top of a small hill just north of Athens. A winding path leads south, back down to the Royal Road.\n\nThe great geometer Euclid is sitting here. He appears to be lost in thought.\n\n> You greet the geometer\n\"Oh! Hello. Sorry. Please accept my apologies if you've been standing there a while. Sometimes I don't notice what's going on around me when I'm doing geometry.\"\n\nYou give Euclid a nod, as if to say that there's no need to apologize. He interprets it as interest.\n\n\"I was just thinking about the postulates in my Elements.\nThese are what I call the basic truths on which I build all of my geometric arguments. I'm happy with the first four, but the fifth one is too... I don't know... wordy?\n\n\"It's basically equivalent to saying this: Given any straight line and a point not on that line, there exists exactly one other straight line that passes through the point and never intersects the first line. This is true no matter how far you extend the two lines. So there's exactly one other line that's parallel to the first line and\nthat goes through the point.\n\n\"I'm trying to figure out how to derive this one from the first four so that I don't have to claim it as a postulate. But I can't seem to do it.\n\n\"Is it obvious that if you start with a point and a line, there's exactly one other line that goes through the point and never touches the first line? Or is that not even true?\n\n\"If you have any ideas about how to prove this, or run across any examples where there are no lines or two or more lines through the point that don't touch the first line, please tell me about them!\n\n\"And here. This will help you remember my postulates.\" He hands you a scroll.\n\n> You read the scroll\n\"First postulate: You can draw a straight line from any point to any other point.\n\nSecond postulate: You can extend a finite straight line continuously in a straight line.\n\nThird postulate: You can draw a circle with any center and any radius.\n\nFourth postulate: All right (90 degree) angles are equal to each other.\n\nFifth postulate (rephrased, also known as the parallel\npostulate): Given a line and a point not on the line, there is\nexactly one other line that goes through the point that never touches the first line.\""
    },
    {
        "text": "[Themes: ghost, gender-neutral protagonist, surreal]\n\n> You go downwards\nYou make the somewhat less arduous trek back down the path.\n\nThis flat, paved road runs from southwest to northeast. However, you also spot a steep path leaving the road and winding its way north up the hillside.\n\n> You go northeast\nApparently the royal road doesn't lead anywhere; you've come to a dead end. You may follow it back to the southwest.\n\n> Go west\nYou make your way west through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are standing in the great hall of a large, cobwebby castle. A long table stretches from one end of the hall to the other. The entryway of the castle is to the east. Exits west and south lead to other parts of the castle.\n\nOn the long table is a pile of old coins.\n\nThe Count is here, sitting at the table. He mumbles something that sounds like \"three.\"\n\n> Go west\nThis small chapel does not appear to be dedicated to God or gods; instead, it looks like a place for the worship of numbers. Icons are placed at regular intervals around the walls. The exit to the Great Hall is back east.\n\n> You look at the icons\nMost of the icons are highly stylized representations of a single number, such as three, one, or four. One icon, though, is a little different: It consists of a number triangle.\n\n> You examine the triangle\nThe number triangle on the icon looks like this:\n\n1   2   1\n1   3   3   1\n1   4   6   4   1\n1   5  10  10   5   1\n1   6  15  20  15   6   1\n1   7  21  35  35  21   7   1\n1   8  28  56  70  56  28   8   1\n\nThe words \"Pascal's Triangle\" appear underneath the numbers.\n\n> You look up pascal\n(in your math book)\nBlaise Pascal was a French mathematician, scientist, philosopher, and theologian. He is known for constructing one of the first mechanical calculators, for his work in projective geometry, and for his work in hydrodynamics. A unit of pressure is named after him, as is the triangle of numbers known as \"Pascal's triangle.\"\n\nPascal was also one of the founders of the field of probability.\nWhile his initial work in probability was to solve gambling problems, he applied his insights to other areas of human knowledge as well.\nFor example, Pascal's wager consists of one of the first uses\nof expected values. In it, Pascal argues that, in the absence of conclusive evidence as to the existence of God, the payoffs for believing in God (infinite happiness if God exists, nothing if God does not) versus not believing in God (eternal damnation if God exists, nothing if God does not) are such that it is more reasonable for humans to bet on belief in God.\n\n> You look up pascal's triangle\n(in your math book)\nPascal's triangle is a triangle of numbers that have several interpretations. One meaning is that the number in the nth\nrow, kth column (denoted C(n,k)) is the number of\ncommittees of size k that can be formed from n\npeople. An equivalent interpretation is that C(n,k) is the\nnumber of sequences of 1's and 0's that have length n and\ncontain exactly k 1's.\n\nAnother, different kind of meaning of the numbers in Pascal's triangle is that they are the coefficients when expanding\n(x+1)\u207f in powers of x. For example,\n(x+1)\u2075 = x\u2075 + 5x\u2074 + 10x\u00b3 +\n10x\u00b2+ 5x + 1, and the coefficients 1, 5, 10, 10, 5,\n1 are the numbers in row 5 in Pascal's triangle.\n\nPascal's triangle can be generated very easily: The numbers in the leftmost column are all 1's, and the numbers in the right diagonal are all 1's as well. Otherwise, to get C(n,k), you add\nC(n-1,k) and C(n-1,k-1). In other words, to obtain\nthe number you want, you add the number to its \"north\" and to its \"northwest\" in the triangle.\n\nPascal's triangle is indexed starting with 0 rather than 1: The initial row is row 0, not row 1, and the leftmost column is column 0, not column 1.\n\n(Unfortunately, the page giving the first several rows of Pascal's triangle appears to be torn out of your math book. You did buy it used, after all.)\n\n> You go to the east\nYou are standing in the great hall of a large, cobwebby castle. A long table stretches from one end of the hall to the other. The entryway of the castle is to the east. Exits west and south lead to other parts of the castle.\n\nOn the long table is a pile of old coins.\n\nThe Count is here, sitting at the table. He mumbles something that sounds like \"two.\"\n\n> You go south\nThis is a smaller, cozier room than the great hall to the north. A sumptuous tapestry hangs on one wall, and there is a side table beneath it.\n\nA large bronze box lies on the side table.\n\nAnother large purple puppet is here, fiddling disgruntledly with the bronze box.\n\n> You look at the puppet\nShe looks much like the Count, except that she sports a large mop of blonde hair.\n\n> Greet the puppet\nYou approach the purple puppet and introduce yourself. She steps back from the bronze box and says, \"Please forgive my manners! I was preoccupied with my mechanical calculator.\n\n\"I am the Countess of this castle. Like my husband, I love to count! And I love to work large multiplication problems with my mechanical calculator. Unfortunately, it seems to be broken now, and I'm not sure how to fix it.\n\n\"If you have any questions for me, please feel free to ask.\nOtherwise, I'd really like to get this fixed.\"\n\nShe turns back to the bronze box.\n\n> Examine box\nThis bronze box has several knobs and small wheels on it. It appears to be a primitive mechanical calculator.\n\n> You ask the puppet about the box\n\"It seems to be broken. It would be nice to have it fixed!\"\n\n> You look at the tapestry\nThis is a beautiful tapestry, consisting of several mathematical symbols woven together in an intricate pattern.\n\n> You examine the symbols\nThey're symbolic.\n\n> You go to the north\nYou are standing in the great hall of a large, cobwebby castle. A long table stretches from one end of the hall to the other. The entryway of the castle is to the east. Exits west and south lead to other parts of the castle.\n\nOn the long table is a pile of old coins.\n\nThe Count is here, sitting at the table. He mumbles something that sounds like \"three.\"\n\n> Go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north to the Lyceum, south, east, and west to the Great Hall.\n\n> You go to the south\nYou make your way south through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThis appears to be the head librarian's office in the Great Library of Alexandria. Scrolls litter the floor. The main part of the library is north of you.\n\nThe numbers from 1 to 100 are carved on the wall here, in some kind of puzzle.\n\n> You examine the puzzle\nOn the wall are carved numbers from 1 to 100, in ten rows of ten each. It looks like you could push any of the numbers. Next to the numbers is a switch, with two settings: \"Remove Number,\" and \"Remove Larger Multiples of the Number.\" The switch is currently set to \"Remove Number,\" although you could easily move it to the other setting by flipping the switch. The numbers currently look like this:\n\n21  22  23  24  25  26  27  28  29  30\n31  32  33  34  35  36  37  38  39  40\n41  42  43  44  45  46  47  48  49  50\n51  52  53  54  55  56  57  58  59  60\n61  62  63  64  65  66  67  68  69  70\n71  72  73  74  75  76  77  78  79  80\n81  82  83  84  85  86  87  88  89  90\n91  92  93  94  95  96  97  98  99  100\n\nAt the bottom is a challenge from the librarian: \"To access the map room, leave just the primes between 1 and 100 by pushing only five numbers.\"\n\n> You look up the primes in the book\nA positive integer is prime if it is divisible by exactly two positive integers: itself and 1. The numbers 7, 29, and 43 are all examples of primes. The number 1 is not prime because it is only divisible by one positive integer (itself), rather than two.\n\n> You look up the prime numbers\n(in your math book)\nA positive integer is prime if it is divisible by exactly two positive integers: itself and 1. The numbers 7, 29, and 43 are all examples of primes. The number 1 is not prime because it is only divisible by one positive integer (itself), rather than two.\n\n> Go south\nThis room is quite large to be a side room just off the librarian's office. The walls are covered with maps, and an exit leads back north to the librarian's office.\n\nA huge globe sits on a pedestal in the center of the room.\n\n> You examine the globe\nThis appears to be the librarian's model of the earth, and it is much larger than you are. It's incomplete, as it only shows the parts of the world that were known in Alexandria at this time. However, it does have lines of latitude and meridians of longitude marked on it.\n\nThe globe doesn't fit perfectly on its pedestal, though; there is a small gap between the pedestal and the globe.\n\n> You look at the pedestal\nThis short pedestal supports the globe. The globe doesn't fit perfectly on the pedestal, though; there is a small gap between the pedestal and the globe.\n\n> You look at the maps\nThe maps are mostly of parts of the eastern Mediterranean world: Egypt, Libya, Greece, Palestine, Anatolia. None of them look particularly useful.\n\n> Go north\nThis appears to be the head librarian's office in the Great Library of Alexandria. Scrolls litter the floor. The main part of the library is north of you, and a side room lies to the south.\n\nYou have solved the number puzzle on the wall here.\n\n> You look at scrolls\nThere are many scrolls here. None of them particularly catches your eye.\n\n> You go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north to the Lyceum, south to the Librarian's Office, east, and west to the Great Hall.\n\n> You greet Euclid\n\"Do you have any ideas about how to prove my parallel postulate?\" Euclid asks. \"Or have you found any examples with no other lines through the point that don't touch the first line? Or maybe examples with two or more lines through the point that don't touch the first line? If so, please tell me about them!\"\n\n> You tell Euclid about the globe\n\"A spherical model of the earth, huh? Aristotle argued that the world is round, and so I'm not surprised that someone has created one of these. Anything interesting marked on it?\"\n\n> You tell about the latitudes\n(to Euclid)\nEuclid says, \"I don't think that will help me prove or disprove my parallel postulate.\"\n\n> You tell about the latitudes and the longitudes\n(to Euclid)\nYou describe the meridians of longitude that you saw on the globe in the Library of Alexandria. Euclid becomes more and more agitated. As you finish, Euclid almost cuts you off in his excitement.\n\n\"That's it!\" he says. \"If you take a meridian of longitude and a point not on that meridian, a second - parallel - meridian that goes through the point must intersect the first meridian at both the north and south poles! So my parallel postulate is actually false: If we think of lines as meridians of longitude, then there is no other line through the point that doesn't intersect the first line!\n\n\"Wait.\" He stops himself and thinks carefully for several minutes. You're afraid to interrupt him. Suddenly, he starts laughing. Soon he is laughing so hard he is doubled over, holding his stomach. It takes him a few minutes to pull himself together.\n\n\"I've been asking the wrong question! The meridians of longitude don't prove my parallel postulate false; they just represent a different system of geometry! The parallel postulate as I first stated it is true on a flat plane. The meridians of longitude\nhelp describe a 'parallel postulate' that would be true on a\nsphere! You get a different system of geometry if you're on a\nflat plane versus a sphere!\n\n\"The meridians of longitude were a brilliant suggestion! I can't thank you enough, but please take this as a token of my appreciation.\" He hands you a copy of his Elements.\n\n\"I've got to go write this down.\n\n\"Hmmm... No, on second thought I won't bother. Trying to prove my parallel postulate will give mathematicians something to do for the next two thousand years!\"\n\nEuclid walks down the winding path, laughing as he goes.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by three\npoints.]\n\n> Inventory\nYou are carrying:\nElements\na scribbled scroll\nyour math book\n\n> You examine Elements\nThis is a copy of the Elements of Euclid. It's actually\ndivided into thirteen books."
    },
    {
        "text": "[Themes: ghost, gender-neutral protagonist, surreal]\n\n> You go downwards\nYou make the somewhat less arduous trek back down the path.\n\nThis flat, paved road runs from southwest to northeast. However, you also spot a steep path leaving the road and winding its way north up the hillside.\n\n> Go east\nA force pushes back on you at the doorway. You feel it testing your knowledge of geometry. It seems to relent, grudgingly, allowing you to step into the private home.\n\nYou are standing in the courtyard of a home in ancient Athens. The owner does not appear to be about. A passage leads down, and the Lyceum is to the west.\n\nIn the middle of the courtyard stands a group of six elegant pedestals.\n\n> You look at the pedestals\nFive of the pedestals are arranged in a circle around the sixth. The pedestals are distinguished by their tops: The five on the outside have tops in the form of a large triangle, a medium-sized triangle, a small triangle, a square, and a pentagon. The top of the pedestal in the center is in the shape of a circle."
    },
    {
        "text": "[Themes: ancient Greece, educational, math, mathematics]\n\n> Go downwards\nShadows dance along the wall of this dark cave, in the dim light filtering down from the courtyard above. Pieces of broken chains lie scattered about the floor of the cave.\n\n> You examine the pieces\nThe chains are all in pieces. Whoever was imprisoned here must have escaped.\n\n> You take the pieces\nThe broken chain pieces are all worthless; they are not worth bothering with.\n\n> Go up\nYou are standing in the courtyard of a home in ancient Athens. The owner does not appear to be about. A passage leads down, and the Lyceum is to the west.\n\nIn the middle of the courtyard stands a group of six elegant pedestals.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space is now partially-formed, but it is still mostly unshaped matter. Besides the way up to the manifestation of one, you can now sense several more \"paths\" through the void: north to the Lyceum, south to the Librarian's Office, east, and west to the Great Hall.\n\n> You go to the east\nYou make your way east through the void. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are in the House of Wisdom in early-medieval Baghdad, standing in what appears to be someone's private study. The walls are covered in intricate geometric designs, and a low table stands in the middle of the room. A small room lies to the south, and the rest of the House of Wisdom is to the west.\n\nOn the low table are a small coffer, a square root, and a formal note.\n\n> You examine the coffer\nThis coffer appears to be of Indian origin. It is currently closed.\n\n> You open the coffer\nYou open the small coffer, revealing a white ring.\n\n> You take the ring\nTaken."
    },
    {
        "text": "[Themes: mathematics, educational, adventure, drugs]\n\n> You look around\nYou are in the House of Wisdom in early-medieval Baghdad, standing in what appears to be someone's private study. The walls are covered in intricate geometric designs, and a low table stands in the middle of the room. A small room lies to the south, and the rest of the House of Wisdom is to the west.\n\nOn the low table are a small coffer, a square root, and a formal note.\n\n> You read the note\nThe note reads,\n\n\"Al-Khwarizmi,\n\nOur most recent investigations indicate at least two types of objects of power: Those activated by more-or-less normal use, and those activated by the appropriate word of power.\n\nThis square object was recently given to the caliph. It appears to be of the latter type. Please examine it and let us know what you discover of it.\"\n\nInstead of a name, the note is signed with the first few digits of \u03c0: 3.1415.\n\nThere is also a postscript: \"By the way, thank you for the hint on your problem with the balances. I had not realized that the weight of an object has nothing to do with that object's color.\"\n\n> You examine the root\nThis is an unusual object. It appears to be made of some tough vegetable matter - perhaps the root of a tree. It's also in the shape of a perfect square. The word \"EXTRACT\" is written on it.\n\n> You go to the south\nThis is a small, plain room just south of the study.\n\nThe room is dominated by three large double-pan balance scales: a bronze one, a silver one, and a gold one.\n\n> You look at the gold\n(the gold balance scale)\nThis is a double-pan balance scale made of gold. The left pan contains a yellow x block, a yellow z block, and\nfour sand pebbles; the right pan contains a yellow y block\nand eight maize pebbles. Inscribed on the base of the gold scale is the single letter z.\n\n> You examine the silver\n(the silver balance scale)\nThis is a double-pan balance scale made of silver. The left pan contains three gray y blocks and six ash pebbles; the right\npan contains a gray x block and ten slate pebbles. Inscribed\non the base of the silver scale is the single letter y.\n\n> You look at the bronze\n(the bronze balance scale)\nThis is a double-pan balance scale made of bronze. The left pan contains two brown x blocks and two tan pebbles; the right\npan contains twelve sepia pebbles. Inscribed on the base of the bronze scale is the single letter x.\n\n> You take one X\n(the brown x block)\nAs you lift one of the brown x blocks off the left bronze pan\nit disappears. The left pan rises somewhat and the right pan drops somewhat.\n\nand two tan pebbles, while the right pan contains twelve sepia pebbles.\n\nThe bronze scale is out of balance and tips over. As it rights itself, you see that all the blocks and pebbles have returned to the bronze pans just as if you had never taken any of them.\n\n> You take two tan and two sepia\ntwo tan pebbles: After you lift the tan pebbles from the left bronze pan, they disappear. The left pan rises somewhat and the right pan drops somewhat.\ntwo sepia pebbles: After you lift the sepia pebbles from the right bronze pan, they disappear. The right pan rises somewhat and the left pan drops somewhat.\n\nblocks, while the right pan contains ten sepia pebbles.\n\n> You look at the bronze\n(the bronze balance scale)\nThis is a double-pan balance scale made of bronze. The left pan contains two brown x blocks; the right pan contains ten sepia\npebbles. Inscribed on the base of the bronze scale is the single letter x.\n\n> You take one brown and five sepia\nbrown x block: As you lift one of the brown x blocks\noff the left bronze pan it disappears. The left pan rises somewhat and the right pan drops somewhat.\nfive sepia pebbles: After you lift the sepia pebbles from the right bronze pan, they disappear. The right pan rises somewhat and the left pan drops somewhat.\n\nblock, while the right pan contains five sepia pebbles.\n\nFrom the bronze balance scale you hear a click.\n\n> You examine the bronze\n(the bronze balance scale)\nThis is a double-pan balance scale made of bronze. The left pan contains a brown x block; the right pan contains five sepia\npebbles. Inscribed on the base of the bronze scale is the single letter x.\n\n> You get one gray the x and five ash\ngray x block: After you lift the gray x block from\nthe right silver pan, it disappears. The right pan rises somewhat and the left pan drops somewhat.\nfive ash pebbles: After you lift the ash pebbles from the left silver pan, they disappear. The left pan rises somewhat and the right pan drops somewhat.\n\nblocks and an ash pebble, while the right pan contains ten slate pebbles.\n\n> You get the ash and one slate\nash pebble: After you lift the ash pebble from the left silver pan, it disappears. The left pan rises a little and the right pan drops a little.\nslate pebble: After you lift the slate pebble from the right silver pan, it disappears. The right pan rises a little and the left pan drops a little.\n\nblocks, while the right pan contains nine slate pebbles.\n\n> You get two gray y and six slate\ntwo gray y blocks: As you lift two of the gray y\nblocks off the left silver pan they disappear. The left pan rises somewhat and the right pan drops somewhat.\nsix slate pebbles: After you lift the slate pebbles from the left silver pan, they disappear. The left pan rises somewhat and the right pan drops somewhat.\n\nNow the left pan of the silver scale contains a gray y block,\nwhile the right pan contains three slate pebbles.\n\nFrom the silver balance scale you hear a click.\n\n> You get the yellow x and five maize\nyellow x block: After you lift the yellow x block\nfrom the left gold pan, it disappears. The left pan rises somewhat and the right pan drops somewhat.\nfive maize pebbles: After you lift the maize pebbles from the right gold pan, they disappear. The right pan rises somewhat and the left pan drops somewhat.\n\nand four sand pebbles, while the right pan contains a yellow\ny block and three maize pebbles.\n\n> You get the yellow y and three sand\nyellow y block: After you lift the yellow y block\nfrom the right gold pan, it disappears. The right pan rises somewhat and the left pan drops somewhat.\nthree sand pebbles: After you lift the sand pebbles from the left gold pan, they disappear. The left pan rises somewhat and the right pan drops somewhat.\n\nand a sand pebble, while the right pan contains three maize pebbles.\n\n> You get one sand and one maize\nsand pebble: After you lift the sand pebble from the left gold pan, it disappears. The left pan rises a little and the right pan drops a little.\nmaize pebble: After you lift the maize pebble from the right gold pan, it disappears. The right pan rises a little and the left pan drops a little.\n\nNow the left pan of the gold scale contains a yellow z block,\nwhile the right pan contains two maize pebbles.\n\nFrom the gold balance scale you hear a click.\n\nAs you isolate the last variable on the scales, a small compartment near the base of the gold scale opens. Out falls a blue gem. The compartment then closes, leaving no trace.\n\n[Your understanding of Algebra has increased. You estimate that\nyour score on tomorrow's final has just gone up by four\npoints.]\n\n> You get the gem\nTaken.\n\n> You examine it\nThis small, dark blue sapphire is quite beautiful.\n\n> Go north\nYou are in the House of Wisdom in early-medieval Baghdad, standing in what appears to be someone's private study. The walls are covered in intricate geometric designs, and a low table stands in the middle of the room. A small room lies to the south, and the rest of the House of Wisdom is to the west.\n\nOn the low table are a small coffer and a formal note.\n\n> You look at the designs\nThese designs consist of intricate combinations of squares, circles, and other geometric figures. The overall structure of the patterns is clear to you, and you can make out several buttons hidden in the designs.\n\n> You look at the buttons\nThere are five buttons hidden in the geometric designs: a circular button, a button in the shape of two juxtaposed parentheses, a triangular button, a square button, and a pentagonal button.\n\n> You go east\nFrom here, south and west are the only possibilities.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space here feels much more formed than before.\n\nThe space here is now mostly formed, though the floor is still hazy. You can now see an inscription on the wall. Several \"paths\" through the space are clear: up to the manifestation of one, north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall.\n\n> You examine the inscription\nThe inscription reads,\n\n\"Euclid alone has looked on Beauty bare.\nLet all who prate of Beauty hold their peace,\nAnd lay them prone upon the earth and cease\nTo ponder on themselves, the while they stare\nAt nothing, intricately drawn nowhere\nIn shapes of shifting lineage; let geese\nGabble and hiss, but heroes seek release\nFrom dusty bondage into luminous air.\nO blinding hour, O holy, terrible day,\nWhen first the shaft into his vision shone\nOf light anatomized! Euclid alone\nHas looked on Beauty bare. Fortunate they\nWho, though once only and then but far away,\nHave heard her massive sandal set on stone.\"\n\n> You check what you're carrying\nYou are carrying:\na sapphire gem\na square root\na white ring\nElements\na scribbled scroll\nyour math book\n\n> Go up\nYou make your way up.\n\nThis is more of an abstract space than a physical place, but it gives you a sense of unity, wholeness, and beginnings. A hole leads back up to the positive axis. You sense another exit, too - one in a deeper, \"downward\" direction from this space.\n\n> You go up\nYou make your way up.\n\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line begins here and stretches out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\n> You go east\nPositive Axis: 2\nYou are in a dark blue expanse of space, standing on a white line that stretches to the west and as far as you can see to the east. The number 2 is marked on the line here. There is a hole next to the 2 large enough for you to climb down into.\n\n> You enter the hole 2\nI didn't understand that. The first word or two on their own might suffice, though; perhaps it would work to just enter the hole.\n\n> You enter the hole\nYou clamber down the hole.\n\nThis is more of an abstract space than a physical place, but it's marked by a feeling of duality, as if it somehow contains opposites within itself. The only exit is a hole leading back up to the positive axis.\n\n> You go west\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line begins here and stretches out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\n> Go west\nYou can see absolutely nothing in the blue darkness off the positive axis. Stepping off it doesn't sound like a good idea. Going down is an option, though.\n\n> You throw the ring west\nI didn't understand that. The first word or two on their own might suffice, though; perhaps it would work to just throw the white ring.\n\n> You examine the ring\nThis ring is white and is in the shape of a one-eyed adder biting its tail. The adder's eye is a dark sapphire. The ring has the word \"Identity\" inscribed along the outside.\n\n> You wear the ring\nYou put on the ring. The word \"Identity\" on it glows briefly before fading. The ring enlarges slightly - just enough to slip off your finger. Then the ring shrinks back to its original size."
    },
    {
        "text": "> Go down\nYou make your way down.\n\nThe space here is now mostly formed, though the floor is still hazy. You can now see an inscription on the wall. Several \"paths\" through the space are clear: up to the manifestation of one, north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall.\n\n> You go north\nYou make your way north. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou stand in the Lyceum, a collection of buildings and open spaces in ancient Athens. There is a stadium to the west, a temple lies north, and you can see a private home with an ornate doorway to the east. A road leads northeast out of Athens, and the rest of the city lies south.\n\n> You go to the north\nTemple of Number, Southern End\nYou stand in the southern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. There is an inscription on the wall, the rest of the temple is to the north, and the exit to the Lyceum is south.\n\n> Go north\nTemple of Number, Northern End\nYou stand in the northern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. Instead of the half-expected statue of Athena Parthenos, though, stands a large statue of Pythagoras. Behind the statue is a small passageway heading north.\n\nAn acolyte is here, silently cleaning up the area around the statue.\n\nYou can also see a trash urn (in which is a scrap of papyrus) here.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> Go north\nThe acolyte stops you. She shakes her head silently.\n\nThe acolyte sweeps the area in front of the statue.\n\n> Go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space here is now mostly formed, though the floor is still hazy. You can now see an inscription on the wall. Several \"paths\" through the space are clear: up to the manifestation of one, north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall.\n\n> You go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are in the House of Wisdom in early-medieval Baghdad, standing in what appears to be someone's private study. The walls are covered in intricate geometric designs, and a low table stands in the middle of the room. A small room lies to the south, and the rest of the House of Wisdom is to the west.\n\nWith your increased knowledge of geometry, the designs on the walls make more sense to you now.\n\nOn the low table are a small coffer and a formal note.\n\n> You examine the designs\nThese designs consist of intricate combinations of squares, circles, and other geometric figures. The overall structure of the patterns is now clear to you, and you can make out several buttons hidden in the designs.\n\n> You go to the south\nThis is a small, plain room just south of the study.\n\nThe room is dominated by three large double-pan balance scales: a bronze one, a silver one, and a gold one.\n\n> You put the root on the square\n(the square root)\nI'm not sure even a master topologist could pull that off.\n\n> You examine the root\nThis is an unusual object. It appears to be made of some tough vegetable matter - perhaps the root of a tree. It's also in the shape of a perfect square. The word \"EXTRACT\" is written on it.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space here is now mostly formed, though the floor is still hazy. You can now see an inscription on the wall. Several \"paths\" through the space are clear: up to the manifestation of one, north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall.\n\n> You go to the north\nTemple of Number, Northern End\nYou stand in the northern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. Instead of the half-expected statue of Athena Parthenos, though, stands a large statue of Pythagoras. Behind the statue is a small passageway heading north.\n\nAn acolyte is here, silently cleaning up the area around the statue.\n\nYou can also see a trash urn (in which is a scrap of papyrus) here.\n\nThe acolyte pokes at a corner of the temple with her broom.\n\n> You give the root to the woman\nThe acolyte is focused on her cleaning, and she ignores you.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> You examine statue\nThis large statue of Pythagoras dominates the north end of the temple. A small passageway is behind the statue, leading north.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> You put the root on the statue\nPutting things on the statue of Pythagoras would achieve nothing.\n\nThe acolyte polishes an already spotless part of the statue.\n\n> You put the root on the gem\nPutting things on the sapphire gem would achieve nothing.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> You look through the gem\nYou find nothing of interest.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> You drop the gem\nDropped.\n\n> You examine the line\nThis flat white line begins here and runs as far as you can see to the east.\n\n> Wait\nTime passes.\n\n> Exits\nI didn't recognize that command. (There is a list of recognized commands in the HELP menus.)\n\n> You turn ring\nNothing obvious happens.\n\n> You check what you're carrying\nYou are carrying:\na sapphire gem\na square root\na white ring\nElements\na scribbled scroll\nyour math book\n\n> You look at it\nIt's just a pair of curly braces. You could probably put things into it."
    },
    {
        "text": "[Themes: gender-neutral protagonist, drugs]\n\n> You look at your surroundings\nThis is more of an abstract space than a physical place. Besides the hole leading up, you sense nothing here.\n\n> Go upward\nYou make your way up.\n\nClimbing through the hole, you enter what seems to be a mostly empty, dark blue expanse of nothingness. The only thing you can see is the end of the positive axis off to the \"east.\" The enlarged white ring is resting on the axis. Then the ring begins to roll toward you. As it does, the ring widens and flattens until it is the width of the positive axis. The ring rolls past the end of the axis, still heading toward you, but it is now unrolling as it goes, effectively\nextending the positive axis in your direction. The end of the ring soon reaches you, at which point it ceases unrolling. No traces that this new line segment was ever a ring remain. With only a bit of hesitation, you step onto the new line.\n\nBeginning of Positive Axis: 0\nYou are in a dark blue expanse of space, standing on a straight, flat white line that stretches as far as you can see to the east. The number 0 is marked at the very beginning of the line here. There is a hole next to the 0 large enough for you to climb down into.\n\n[Your understanding of Arithmetic has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]"
    },
    {
        "text": "[Themes: ancient Greece, math, mathematics, surreal, ghost]\n\n> You go down\nYou clamber down the hole.\n\nThis is more of an abstract space than a physical place. Besides the hole leading back up to the positive axis, you sense nothing here.\n\n> Go upwards\nYou make your way up.\n\nBeginning of Positive Axis: 0\nYou are in a dark blue expanse of space, standing on a straight, flat white line that stretches as far as you can see to the east. The number 0 is marked at the very beginning of the line here. There is a hole next to the 0 large enough for you to climb down into.\n\n> Go east\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line stretches to the west and out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\n> R.\n%% Enter a save filename to read:"
    },
    {
        "text": "> You look around\nThis is more of an abstract space than a physical place, but it gives you a sense of unity, wholeness, and beginnings. A hole leads back up to the positive axis. You sense another exit, too - one in a deeper, \"downward\" direction from this space.\n\n> Inventory\nYou are carrying:\na set (no longer empty)\na square root\na sapphire gem\nElements\na scribbled scroll\nyour math book\n\n> You examine the scroll\nThis scroll is made from papyrus. Euclid has scribbled his five geometric postulates on it.\n\n> You read it\n\"First postulate: You can draw a straight line from any point to any other point.\n\nSecond postulate: You can extend a finite straight line continuously in a straight line.\n\nThird postulate: You can draw a circle with any center and any radius.\n\nFourth postulate: All right (90 degree) angles are equal to each other.\n\nFifth postulate (rephrased, also known as the parallel\npostulate): Given a line and a point not on the line, there is\nexactly one other line that goes through the point that never touches the first line.\"\n\n> You read Elements\nThis is a copy of the Elements of Euclid. It's actually\ndivided into thirteen books.\n\nElements contains far too much material to read through.\n\n> You go upwards\nYou make your way up.\n\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line stretches to the west and out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\n> You go east\nPositive Axis: 2\nYou are in a dark blue expanse of space, standing on a white line that stretches to the west and as far as you can see to the east. The number 2 is marked on the line here. There is a hole next to the 2 large enough for you to climb down into.\n\n> Extract root\nThe root vibrates quietly, as it extracts the square root of the essence of the space around it. You feel yourself shift.\n\nIrrational: Between 1 and 2\nThis is more of an abstract space than a physical place, but it feels large beyond your understanding, as if it encompasses infinitely more space than the single-number locations beneath the positive axis. A hole leads up to the positive axis.\n\nA proof is lying here.\n\n[Your understanding of Number Theory has increased. You\nestimate that your score on tomorrow's final has just gone up by two points.]\n\n> You examine the proof\nThis is a mathematical proof that the square root of 2 is irrational.\n\n> You get the proof\n(putting your math book into the empty set to make room)\nTaken.\n\n> You go upward\nYou make your way up.\n\nAs you step onto the positive axis, the hole behind you closes.\nRather than standing at an unmarked spot between 1 and 2, you head back to 1.\n\nPositive Axis: 1\nYou find yourself in a deep dark blue - almost black - expanse of space that extends as far as you can see in all three dimensions. The space is broken up by the straight, flat white line floating in mid-air that you are standing on. The line stretches to the west and out of sight to the east. The number 1 is marked on the line. While the line doesn't appear to be supported by anything, there is a hole in the middle of it here, next to the 1.\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are standing in the great hall of a large, cobwebby castle. A long table stretches from one end of the hall to the other. The entryway of the castle is to the east. Exits west and south lead to other parts of the castle.\n\nOn the long table is a pile of old coins.\n\nThe Count is here, sitting at the table. He mumbles something that sounds like \"six.\"\n\n> Inventory\nYou are carrying:\na proof\na square root\na set (no longer empty)\nyour math book\na sapphire gem\nElements\na scribbled scroll\n\n> You put the coins into the set\n(first taking the pile of old coins)\nThose belong to the Count. I wouldn't just take one without his permission.\n\n> Greet count\n\"If you know, please tell me how many ways you can flip ten coins and have them come out half heads and half tails!\" the Count says.\n\n> Show set to count\nThe Count is unimpressed.\n\n> You ask count for the coins\n(the Count first taking the pile of old coins)\nThe Count ignores your request.\n\n> You say 42\n(to the Count)\nThe Count arches his eyebrow. \"That's not the right answer.\"\n\n> You say 252\n(to the Count)\n\"That's it! That's it! I know that's it! Thank you, thank you, thank you!\" The Count hands you one of the coins from his pile. \"If you lose this one, feel free to come back and take another. I have plenty!\"\n\n(You put the scribbled scroll into the set to make room.)\n\n[Your understanding of Combinatorics has increased. You\nestimate that your score on tomorrow's final has just gone up by three points.]\n\n> You look at the coin\nThis old coin is of eastern European origin. It is probably quite valuable.\n\n> You go to the east\nOn the long table is a pile of old coins.\n\nThe Count is here, looking rather bored.\n\n> You go east\nThe Count calls after you, \"If you find something else for me to count I would be grateful!\"\n\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> You go north\nYou make your way north. As you do, you feel an electrical impulse course through you. You find yourself in...\n\n> You go north\nTemple of Number, Southern End\n\n> You go north\nTemple of Number, Northern End\nAn acolyte is here, silently cleaning up the area around the statue.\n\nYou can also see a trash urn (in which is a scrap of papyrus) here.\n\nThe acolyte polishes an already spotless part of the statue.\n\n> You show the proof to the acolyte\nThe acolyte is focused on her cleaning, and she ignores you. There must be some way to make her notice the proof.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> Go north\nThe acolyte stops you. She shakes her head silently.\n\nThe acolyte gazes up at the statue with a reverent look on her face.\n\n> You read the proof\nSuppose the square root of 2 is rational. Then it can be expressed as a fraction x/y in lowest terms, so that x\nand y are integers with no common factors. Since\nx/y is the square root of 2, squaring\nx/y must yield 2, and so we get 2 = x\u00b2 /\ny\u00b2. This means that 2y\u00b2 = x\u00b2.\n\nSince y is an integer, so is y\u00b2. Since x\u00b2\nis 2 times an integer, x\u00b2 must be an even number. The only\nway that the square of a number can be even, though, is for the number itself to be even. Thus x is even. So x =\n2z, where z is some other integer.\n\nSubstituting 2z for x, our equation now looks like\n2y\u00b2 = (2z)\u00b2 = 4z\u00b2. Divide both sides by\n2\nto get y\u00b2 = 2z\u00b2. By the same logic as before, this\nmeans y is even. So x and y are both even.\n\ncommon factors. We now have a logical contradiction. Since our supposition that the square root of 2 is rational leads to a logical contradiction, the only possibility left is that the square root of 2 is, in fact, irrational.\n\nThe acolyte picks up a speck of dust from the floor of the temple.\n\n> Drop proof\nDropped.\n\nThe acolyte sweeps the area in front of the statue.\n\nThen the acolyte picks up the proof. On her way to the trash urn, she glances at it. Then she stops and reads through it carefully. Her face tightens. She shakes the proof at you, spluttering. \"This... this is blasphemy! All things must be odd or even or a ratio! You are in error! I will show it to you!\"\n\nShe reads over the proof again. \"The error is here, in the second line. No... the mistake is in the assumption that... In this place, you can't claim that this follows from... Aarrrgghh! This proof is wrong! I know it is!\"\n\nShe reads the proof a third time. And then a fourth time. The anger slowly fades from her face. \"How did you come by such sacred knowledge, and why, why did you share it with me?\" Tears drop onto her cheeks. Giving you a last mournful glance, she runs sobbing out of the temple."
    },
    {
        "text": "> Describe the surroundings\nTemple of Number, Northern End\nYou stand in the northern end of the Temple of Number. The temple is made of white stone and features imposing Ionic columns. Instead of the half-expected statue of Athena Parthenos, though, stands a large statue of Pythagoras. Behind the statue is a small passageway heading north.\n\nYou can see a trash urn (in which is a scrap of papyrus) here.\n\n> Go north\nWith the acolyte gone, no one prevents you from entering the passageway behind the statue.\n\nThis small room tucked away behind the statue of Pythagoras is made from the same pure white stone as the more public parts of the temple. It feels like a holy space.\n\nYou can see an octahedron, Archimedes's staff, and some exhaustion sandals here.\n\n> You look at the octahedron\nThe octahedron has eight sides, each of which is in the shape of an equilateral triangle. It looks kind of like someone took two pyramids and glued their bases together. This octahedron is about one cubic foot in volume.\n\n> You get it\nYou take the octahedron. Looking curiously at it, you note that it has eight sides, each of which is in the shape of an equilateral triangle. You feel you understand three-dimensional solid geometry a little better.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> You examine the staff\nThis thin staff is surprisingly strong. It is longer than you are tall.\n\n> You get it\n(putting Elements into the set to make room)\nTaken.\n\n> You look at the sandals\nThis pair of exhaustion sandals is the embodiment of Eudoxus's principle of exhaustion.\n\n> You get the sandals\n(putting the sapphire gem into the set to make room)\nTaken.\n\n> You look up the eudoxus in the math book\nEudoxus was an ancient Greek mathematician. He is most well-known for his method of exhaustion.\n\n> You look up the exhaustion\n(in your math book)\nThe method of exhaustion was a technique used by various ancient Greek mathematicians to find areas and volumes of geometric objects like circles, spheres, cones, and cylinders. It can be thought of as a precursor to more modern techniques that use limits.\n\n> Inventory\nYou are carrying:\na proof\na square root\na set (no longer empty)\nyour math book\na sapphire gem\nElements\na scribbled scroll\n\n> You say 252\n(to the Count)\n\"That's it! That's it! I know that's it! Thank you, thank you, thank you!\" The Count hands you one of the coins from his pile. \"If you lose this one, feel free to come back and take another. I have plenty!\"\n\n(You put the scribbled scroll into the set to make room.)\n\n[Your understanding of Combinatorics has increased. You\nestimate that your score on tomorrow's final has just gone up by three points.]\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe space here is now mostly formed, though the floor is still hazy. You can now see an inscription on the wall. Several \"paths\" through the space are clear: up to the manifestation of one, north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall.\n\n> You get all\noctahedron: You take the octahedron. Looking curiously at it, you note that it has eight sides, each of which is in the shape of an equilateral triangle. You feel you understand three-dimensional solid geometry a little better.\nArchimedes's staff: (putting Elements into the set to make\nroom)\nTaken.\nexhaustion sandals: (putting the sapphire gem into the set to make room)\nTaken.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> Go south\nTemple of Number, Northern End\nYou can see a trash urn (in which is a scrap of papyrus) here.\n\n> Go east\nYou step through the doorway of the private home, confident in your knowledge of geometry.\n\nIn the middle of the courtyard stands a group of six elegant pedestals.\n\n> You put the octahedron on the large triangle\nYou put the octahedron on the large triangular top pedestal.\n\n> Go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nYou enter a now fully-formed space."
    },
    {
        "text": "[Themes: ancient Greece, mathematics, gender-neutral protagonist, surreal]\n\n> You look at your surroundings\nThis space is made of some spongy gray matter. You can see an inscription here, and you can go north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall, or up to the manifestation of one from this space. Now that the space has taken on a complete shape, you can also see a passage leading down.\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou have solved the number puzzle on the wall here."
    },
    {
        "text": "[Themes: math, educational, ancient Greece, drugs, mathematics, gender-neutral protagonist, adventure]\n\n> Describe the surroundings\nThis appears to be the head librarian's office in the Great Library of Alexandria. Scrolls litter the floor. The main part of the library is north of you, and a side room lies to the south.\n\nYou have solved the number puzzle on the wall here.\n\n> You go to the south\nA huge globe sits on a pedestal in the center of the room.\n\n> Lever globe with staff\nYou slide the staff into the gap between the pedestal and the globe.\n\nYou push down on the staff. The globe starts to shift. You push harder. With this additional leverage, the globe pops off the pedestal! It rolls a few feet and comes to rest against the wall. It looks like there was something underneath the globe.\n\n[Your understanding of Physics has increased. You estimate that\nyour score on tomorrow's final has just gone up by two points.]\n\n> INVENTORY\nYou are carrying:\nan octahedron\nsome exhaustion sandals\nan old coin\na square root\na set (no longer empty)\na sapphire gem\nElements\na scribbled scroll\nyour math book"
    },
    {
        "text": "[Themes: math, mathematics]\n\n> You look at your surroundings\nThis room is quite large to be a side room just off the librarian's office. The walls are covered with maps, and an exit leads back north to the librarian's office. A short pedestal stands in the center of the room.\n\nThe huge globe lies on the floor.\n\nOn the short pedestal is a tetrahedron.\n\nYou can also see Archimedes's staff here.\n\n> You examine the tetrahedron\nThe tetrahedron, more commonly known as a pyramid, has four sides. Each side is in the shape of an equilateral triangle. This tetrahedron is about one cubic foot in volume.\n\n> You get it\nYou take the tetrahedron. Looking curiously at it, you note that it has four sides, each of which is in the shape of an equilateral triangle. You feel you understand three-dimensional solid geometry a little better.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> Go north\nYou have solved the number puzzle on the wall here.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> You go north\nYou make your way north. As you do, you feel an electrical impulse course through you. You find yourself in...\n\n> You put the tetrahedron on the large triangle\nYou put the tetrahedron on the large triangular top pedestal.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go west\nAchilles sits by the side of the race track with his head in his hands.\n\n> You give the sandals to Achilles\nAchilles looks at the exhaustion sandals rather skeptically (\"I always run barefoot,\" he says), but he agrees to try them. After lacing them up, he snaps his fingers, and the tortoise appears. They find their places as before, and take off. Achilles runs to the halfway mark, looks up, and sees the tortoise ahead of him. He notes the tortoise's new position, races to it, and sees the tortoise still ahead.\nAchilles doesn't give up, though, and every time he looks up he finds himself closer to the tortoise. As they approach the finish, Achilles is so close to the tortoise you can't see much distance between them. However, the tortoise crosses the finish line just barely ahead of Achilles.\n\nThe tortoise disappears again, and Achilles jogs back to you. He returns the exhaustion sandals. \"Thanks for letting me try the sandals. I felt myself almost overtaking the tortoise, but the sandals weren't quite enough.\""
    },
    {
        "text": "[Themes: ancient Greece, math]\n\n> Go downwards\nYou make your way down.\n\nThe darkness in this space feels different than simply the absence of light - both weaker and stronger, somehow. You can still perceive yourself and what you're carrying, but a foot or so away from you the darkness seems palpable, almost alive. You do sense an exit above you, though.\n\nYou can just perceive a white mirror floating here in the darkness.\n\n> You examine the mirror\nYou would probably get a better look at the mirror if you were holding it.\n\n> You get it\n(putting the square root into the set to make room)\nYou take the white-framed mirror from the darkness.\n\n> You look at it\nThis mirror is not made of glass but rather of some tougher material. Encircling the mirror and forming its frame is a one-eyed white adder, although there is a small hole where the eye should be. The word \"Inverse\" is inscribed on the bottom of the frame.\n\n> You put gem in the mirror\nYou push the sapphire gem into the eye hole of the adder on the white-framed mirror. The sapphire glows briefly as it slides into place.\n\n> Go upward\nYou make your way up through the darkness.\n\n> Go upward\nYou make your way up.\n\n> Inverse mirror\nNothing happens. Perhaps the mirror is activated some other way.\n\n> You look in the mirror\nYou look in the mirror and see an inverted image of yourself reflected back at you. As you gaze at your image, the word \"Inverse\" on the mirror's frame begins to glow. In response, your image in the mirror grows larger. Soon your face fills the entire mirror. You lean in closer, and your nose brushes the mirror's surface. The mirror emits a dazzling flash of light, and you feel yourself invert as\nyou are pulled through the mirror.\n\nThis is more of an abstract space than a physical place. You get a general feeling of opposition here. The only exit is a hole leading up.\n\nYou can see a phase inverter here.\n\n> You look at the inverter\nThis complicated mechanism appears to have a place to insert objects.\n\n> You check what you're carrying\nYou are carrying:\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\na set (no longer empty)\na square root\nElements\na scribbled scroll\nyour math book\n\n> You put the sandals in the inverter\nYou briefly insert the exhaustion sandals into the phase inverter.\nThe inverter hums as it adds \u03c0 units to the essence of the exhaustion sandals. If something has changed about the exhaustion sandals, it's difficult to see what.\n\n> You put the coin in the inverter\nYou briefly insert the old coin into the phase inverter. The inverter hums as it adds \u03c0 units to the essence of the old coin. If something has changed about the old coin, it's difficult to see what.\n\n> You ascend\nYou make your way up.\n\nAs you climb through the hole, you enter the dark blue expanse of space surrounding the positive axis. Off to the \"east\" you can see the back of the now-enlarged white-framed mirror, supported by nothing but standing upright just on the edge of the positive axis. The top of the mirror begins to pivot towards you, while the bottom of the mirror remains where it is. As the mirror continues to rotate, you see that it is reflecting a second copy of the positive axis. This copy is rotating with the mirror, as if it is a ray of light bouncing off the mirror. At the instant the mirror passes through the plane of the positive axis, the mirror disappears! The reflected copy of the positive axis remains, though, passing right by you and running as far as you can see to the \"west.\" You feel fairly comfortable stepping on the now fully-formed number line.\n\nNumber Line: -1\nYou are in a dark blue expanse of space, standing on a white line that stretches as far as you can see from west to east. The number -1 is marked on the line here. There is a hole next to the -1 large enough for you to climb down into.\n\n[Your understanding of Arithmetic has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> Go west\nYou walk along the number line for a while, noting marks for -2, -3, -4, and the other negative integers. There are no holes or anything else featured on the this part of the number line, though, and you soon decide return to the -1 mark.\n\n> Go east\nNumber Line: 0\n\n> Go east\nNumber Line: 1"
    },
    {
        "text": "[Themes: mathematics, educational, ghost, adventure]\n\n> You go downwards\nYou clamber down the hole."
    },
    {
        "text": "> Go downwards\nYou make your way down."
    },
    {
        "text": "> Look around\nThe darkness in this space feels different than simply the absence of light - both weaker and stronger, somehow. You can still perceive yourself and what you're carrying, but a foot or so away from you the darkness seems palpable, almost alive. You do sense an exit above you, though.\n\n> You examine the darkness\nThe darkness surrounding you feels like more than just the absence of light.\n\n> You touch it\nYou've got to be kidding.\n\n> You go to the south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThis space is made of some spongy gray matter. You can see an inscription here, and you can go north to the Lyceum, south to the Librarian's Office, east to the Scholar's Study, and west to the Great Hall, or up to the manifestation of one from this space. Now that the space has taken on a complete shape, you can also see a passage leading down to Darkness.\n\n> South\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThis appears to be the head librarian's office in the Great Library of Alexandria. Scrolls litter the floor. The main part of the library is north of you, and a side room lies to the south.\n\nYou have solved the number puzzle on the wall here.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nOn the low table are a small coffer and a formal note.\n\n> You look at the buttons\nThere are five buttons hidden in the geometric designs: a circular button, a button in the shape of two juxtaposed parentheses, a triangular button, a square button, and a pentagonal button.\n\n> You go east\nThis is a small, nondescript room to the east of the study. Its walls are plain and unadorned.\n\nIn the center of the room is a large wooden chest.\n\nYou can also see a cube here.\n\n> You look at the cube\nThis featureless cube has six sides, each of which is in the shape of a square. The cube is about one cubic foot in volume.\n\n> You get it\nYou take the cube. It is just a cube, but there's something about it that holds your attention. You feel you understand three-dimensional solid geometry a little better.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> You examine the chest\n(x+1)\u2074. It also has a set of five dials embedded in its\nlid.\nIt appears each dial can be set to an integer between 0 and 9.\n\nThe first dial has x\u2074 marked below it. The first dial is\nset\nto 0.\n\nThe second dial has x\u00b3 marked below it. The second dial is\nset to 0.\n\nThe third dial has x\u00b2 marked below it. The third dial is set\nto 0.\n\nThe fourth dial has x\u00b9 marked below it. The fourth dial is\nset to 0.\n\nThe fifth dial has x\u2070 marked below it. The fifth dial is\nset\nto 0.\n\nThe chest is currently closed.\n\n> You set the first dial to 1\nYou set the first dial to 1.\n\n> You set second to 1\nYou set the second dial to 1.\n\n> You set the third to 1\nYou set the third dial to 1.\n\n> You set the fourth to 1\nYou set the fourth dial to 1.\n\n> Set fifth to 1\nYou set the fifth dial to 1.\n\n> Open chest\nYou can't get the chest open. It appears to be locked.\n\n> You look at the chest\n(x+1)^4. It also has a set of five dials embedded in its\nlid. It appears each dial can be set to an integer between 0 and 9.\n\nThe first dial has x^4 marked below it. The first dial is\nset to 1.\n\nThe second dial has x^3 marked below it. The second dial is\nset to 1.\n\nThe third dial has x^2 marked below it. The third dial is\nset to 1.\n\nThe fourth dial has x^2 marked below it. The fourth dial is\nset to 1.\n\nThe fifth dial has x^0 marked below it. The fifth dial is\nset to 1.\n\nThe chest is currently closed.\n\n> You set second to 4\nYou set the second dial to 4.\n\n> You set the third to 6\nYou set the third dial to 6.\n\n> You set fourth to 4\nYou set the fourth dial to 4. The lid of the chest gives a\nclick.\n\n[Your understanding of Algebra has increased. You estimate that\nyour score on tomorrow's final has just gone up by four\npoints.]\n\n> Open chest\nYou open the large wooden chest, revealing The Compendious Book on Calculation by Completion and Balancing.\n\n> You look at Book\nWhich do you mean, The Compendious Book on Calculation by\nCompletion and Balancing, Elements, or your math book?\n\n> You examine compendious\nThis is a copy of al-Khwarizmi's Compendious Book on Calculation\nby Completion and Balancing, or, more simply, Algebra.\n\n> You read the Algebra\nThis is a copy of al-Khwarizmi's Compendious Book on Calculation\n\nBalancing contains far too much material to read through.\n\n> You get it\n(putting the old coin into the set to make room)\nTaken.\n\n> You go to the west\nOn the low table are a small coffer and a formal note.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nOn the long table is a pile of old coins.\n\nThe Count is here, looking rather bored.\n\n> Go west\nThe Count calls after you, \"If you find something else for me to count I would be grateful!\"\n\n> Go south\nThe Count calls after you, \"If you find something else for me to count I would be grateful!\"\n\nA large bronze box lies on the side table.\n\nThe Countess is here, fiddling disgruntledly with the bronze box.\n\n> Examine box\nThis bronze box has several knobs and small wheels on it. It appears to be a primitive mechanical calculator.\n\n> You look up the calculator\n(in your math book)\nThat topic is not listed in the index.\n\n> You check your inventory\nYou are carrying:\nThe Compendious Book on Calculation by Completion and\nBalancing\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\na set (no longer empty)\nan old coin\na square root\nElements\na scribbled scroll\nyour math book"
    },
    {
        "text": "[Themes: ghost, ancient Greece]\n\n> Go downward\nYou make your way down.\n\nThis space feels a little less dark than the last time you were here."
    },
    {
        "text": "[Themes: ghost, surreal, gender-neutral protagonist, adventure, drugs]\n\n> You look around\nThis space now exhibits a kind of semidarkness. You can't see anything clearly in the space itself, but you do perceive exits north, south, east, and west, as well as one above you to Gray Matter.\n\n> You go to the north\nYou make your way north through the darkness. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThis is a grassy area between buildings at some university. Dusk is falling, and no one else is around. There is a log table at the edge of the grassy area. It looks like there is a small laundry facility in the building to east, and a gate lies south of you.\n\nSomeone has left their trigonometry homework on the log table. A slide rule is lying next to the trig homework.\n\nOn the grass lies a funny-looking soccer ball.\n\n> You look at the table\nThis wooden table was constructed from several large logs.\n\nOn the log table are the trig homework and a slide rule.\n\n> You examine the homework\nThe homework is covered with equations involving sines, cosines, and tangents. There are also a couple of graphs drawn on the homework, labeled \"sin x\" and \"cos x.\" Each graph consists of\na wavy line that switches from positive to negative every Pi units. Circled at the top of the homework is the phrase \"Review Logarithms!!!\"\n\n> You examine the slide\nThe slide rule consists of three pieces of wood: the two on the outside are attached to each other, while the third - in the middle - can slide between the other two. Numbers are marked on all three pieces of wood. You have no idea how to use a slide rule.\n\n> You get ball\nYou reach for the soccer ball, but it rolls away as your hand gets near.\n\n> You get the rule\n(putting the octahedron into the set to make room)\nTaken.\n\n> Go east\nThis small laundry room, presumably for student use, contains a single washing machine and a single dryer. A sign hangs nearby. The exit is west.\n\n> You look at the sign\nThe sign is handwritten in black ink. It reads, \"The dryer won't tumble, and the washing machine is completely broken. Won't anyone fix anything around here?!\"\n\n> You examine the washing\nThis washing machine does not look like it has been treated well. The washing machine is currently open and off.\n\n> You look at the dryer\nThis dryer does not look as if it has been treated well. The dryer is currently open and off.\n\n> Go west\nSomeone has left their trigonometry homework on the log table.\n\nOn the grass lies a funny-looking soccer ball.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> You go to the east\nYou make your way east through the darkness. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou are standing in an open field west of a white house, with a boarded front door. A path leads west into the forest.\n\nThere is a small mailbox here.\n\n> You look at the mailbox\nThe mailbox is closed. It has a small hole in it.\n\n> You open it\nThe mailbox is closed tight. You can't see how to get it open.\n\n> You examine the hole\nThe small hole contains screw threads that are oriented counterclockwise.\n\n> You look at the door\nThere are boards over the front door, but the boards look somewhat rotten. There is also an inscription on the door.\n\n> You examine the inscription\nThe inscription reads,\n\n\"You have to spend some energy and effort to see the beauty of math.\" - Maryam Mirzakhani.\n\n> Exits\nI didn't recognize that command. (There is a list of recognized commands in the HELP menus.)\n\n> You remove the boards\nThe rotting boards fall apart in your hands as you remove them from the front door.\n\n> Go inside\n(first opening the front door)\n\nThis is the living room of the white house, and it looks to be the only room still intact. A sofa sits against one wall, and a bookcase stands against another. The sole unblocked exit is through the front door to the west.\n\n> You look at the sofa\nThe sofa features a faded floral-print pattern.\n\n> You examine the bookcase\nThe bookcase looks like it has space for twelve books. It is currently empty.\n\n> You check your inventory\nYou are carrying:\na slide rule\nThe Compendious Book on Calculation by Completion and\nBalancing\na cube\nsome exhaustion sandals\na tetrahedron\na set (no longer empty)\nan octahedron\nan old coin\na square root\nElements\na scribbled scroll\nyour math book\n\n> You put Elements in the bookcase\n(first taking Elements)\n(putting the tetrahedron into the set to make room)\nYou put Elements on the bookcase. As it slides into place\nyou hear a faint click. Then you hear a voice. You're not\nsure where it's coming from, but it sounds like Professor Glasser.\n\nThe voice says, \"Euclid's Elements is the most influential\nmathematics book of all time. Containing numerous results on geometry and number theory, and used as a textbook for over 2000 years, its logical, deductive approach has also served as a model for how pure mathematics should be done.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You put the Algebra in the bookcase\nYou put The Compendious Book on Calculation by Completion and Balancing on the bookcase. As it slides into place you hear a\nfaint click. Then you hear the same voice as before - the\none that sounds like Professor Glasser.\n\nThe voice says, \"While systematic methods for solving equations had been used before, the branch of mathematics known as algebra is often dated to this work by Al-Khwarizmi. In fact, the Arabic word\nal-jabr, translated here as 'Completion,' is the origin of\nour word 'algebra.' Among the book's other contributions is a classification of quadratic equations and a discussion of their solutions.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> Go west\nThere is a small mailbox here.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> You go to the west\nYou make your way west through the darkness. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYour senses are assaulted by the gleaming lights and jangly sounds of this casino. An interesting poker game is going on to the north of you, while the casino's exit appears to lie to the east.\n\nA gaming machine near you catches your eye.\n\n> You examine the machine\nThis gaming machine has the words \"TOP TWO GAME\" written across its side. There are several buttons on the machine, each with a different label.\n\nWhite: \"Instructions.\"\nBlack: \"Start New Game.\"\nGreen: \"Accept Current Number.\"\nOrange: \"Reject Current Number.\"\nRed: \"Reject Next 10 Numbers.\"\nBlue: The label for the blue button has been torn off.\n\nThe screen currently reads, \"Press white button for instructions, or press black button to start a new game.\"\n\n> You press the white\nYou push the white button. The screen clears, and the following text appears.\n\n\"In this game you will be presented with 100 numbers, one at a time. For each number you are presented, you must decide whether to accept it or reject it. Once you reject a number it is gone and you cannot go back and select it. Once you accept a number the game ends.\n\nYou win the game by having the number you selected be one of the two largest numbers out of the 100 total numbers.\n\nHint: The best strategy for this game gives you a greater than 50% chance of winning.\"\n\nThe instructions disappear from the screen, and it once again reads, \"Press white button for instructions, or press black button to start a new game.\"\n\n> Go north\nYou stand next to a poker table in the casino. The lights and noise here are just as overwhelming as in the rest of the casino. The gaming machine is to the south.\n\nPascal, Bayes, Kolmogorov, and Diaconis are here, playing an intense game of poker.\n\n> You look at the poker\nWhich do you mean, the poker game, the poker cards, or the poker table?\n\n> Game\nYou watch the poker game for a while. Pascal is making huge wagers and winning big. Bayes is trying to use prior knowledge of previous hands to plan his strategy, but that doesn't seem to be working out too well for him. Kolmogorov appears to be more interested in constructing some elaborate theory of poker than winning; not surprisingly, he is losing as well. Diaconis is dealing, and he is winning more than losing. Cards fly out of his hands as if by magic.\n\n> You look at the cards\nThey look like a standard set of poker cards.\n\n> You look at the table\nThis is a standard casino poker table. The only thing somewhat unusual about it is that its top is five-sided. Pascal, Bayes, Kolmogorov, and Diaconis are playing an animated game of poker at the table.\n\n> You go south\nA gaming machine near you catches your eye.\n\n> Go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> You go to the south\nYou make your way south through the darkness. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nJudging from the odd assortment of medical instruments scattered around this room, you are in the office of some Renaissance-era physician. You can leave the office to the north.\n\nThere is a strange mechanism in the center of the office.\n\nYou can also see a parchment and a square piece of metal here.\n\n> You examine the parchment\nThis is a small, square piece of parchment. Written on the parchment are a couple of equations:\n\n2A + X = 5Y + 8Z,\n\n3B - Z = 7C + 4Y.\n\n> You look at the metal\n(the square piece of metal)\nThis small, square, flat piece of metal has five rectangular holes cut into it.\n\n> You examine the mechanism\nThis mechanical device contains, among other things, a turnable crank, three interlocking gears, a metal bar attached to one of the smaller gears, and an access panel.\n\n> You look at the crank\nIt's fairly large. It looks like you could probably turn it.\n\n> You examine the gears\nThe two smaller gears have about half the radius of the large gear.\n\n> Examine bar\nThis bar is attached to one of the smaller gears.\n\n> You look at the panel\nThe access panel is closed.\n\n> You open it\nYou open the access panel.\n\nInside is some complicated machinery. A sine wave is intertwined with the machinery.\n\n> Examine wave\nThe sine wave goes up and down and up and down and up and down...\n\n> You turn the crank\nYou turn the crank, which causes the two small gears to rotate around the large gear. As the small gears rotate, they move the metal bar back and forth in a straight line.\n\nThen the strange mechanism emits an aura of positive power that fills the room. You briefly feel happier, as well as more optimistic about your chances on tomorrow's exam.\n\n> You get wave\nYou carefully take the sine wave from the strange mechanism.\n\n> You turn crank\nYou turn the crank, which causes the two small gears to rotate around the large gear. As the small gears rotate, they move the metal bar back and forth in a straight line.\n\nNothing else happens (although converting rotational motion to linear motion is pretty cool in and of itself).\n\n> You examine instruments\nYou search through the medical instruments, but they all look more painful than useful. One does say, \"Property of G. Cardano\" on it, though.\n\n> You look up Cardano\n(in your math book)\nGirolamo Cardano was a practicing physician, mathematician, and inventor: a true Renaissance man. His inventions include the Cardan gear, used to convert rotational motion to linear motion, and the Cardan grille, an early cryptographic technique in which secret messages are revealed by placing a thin sheet with holes cut out of it over a paper containing an ordinary-looking message. Cardano also contributed to the development of (and sometimes is credited with the invention of) the combination lock.\n\nMathematically, he was the first person to make systematic use of negative numbers. His work features the first use of complex numbers, too, as well as the first published solutions to the general cubic and quartic equations.\n\n> You check your inventory\nYou are carrying:\na sine wave\na square piece of metal\na slide rule\na cube\nsome exhaustion sandals\na set (no longer empty)\na tetrahedron\nan octahedron\nan old coin\na square root\na scribbled scroll\nyour math book\n\n> You put the metal on the scroll\n(the square piece of metal on the scribbled scroll)\nYou place the piece of metal on the scribbled scroll, but you can't seem to align it in such a way that letters clearly show through the holes.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go south\nYou make your way south through the darkness. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThere is a strange mechanism in the center of the office.\n\nYou can also see a parchment here.\n\n> You put the metal on the parchment\n(the square piece of metal on the parchment)\nYou place the piece of metal on the parchment, aligning it so that it covers the parchment completely. Through the holes you can see five letters: \"XYZZY.\"\n\n[Your understanding of Cryptography has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> Xyzzy\nYou speak the word of power confidently. A part of the wall slides open, revealing a niche. Inside the niche is Ars Magna.\n\n> You read it\nThis is a copy of Ars Magna, by Girolamo Cardano.\n\nArs Magna contains far too much material to read through.\n\n> You get it\n(putting the exhaustion sandals into the set to make room)\nTaken.\n\n> You go to the north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe darkness has mostly lifted.\n\nOff to the side sits a gray storage bin.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You examine bin\nIt's just a storage bin that happens to be gray.\n\n> You examine the ghost\nShe looks a lot like the college librarian - except older, more translucent, and, well, grayer.\n\n> You greet the ghost\n\"Hello?\" you say tentatively, unsure of the proper greeting for a ghost.\n\n\"Hello!\" she replies. She looks at you carefully. \"You know, you've got enough running around in your head right now.\" As an aside she adds, \"I suppose that includes me.\"\n\nShimmering slightly, she continues. \"Anyway, I'm here to help you organize your thoughts. Show me any possession of yours, and I'll tell you whether I think it will still be useful for you. Go on. Try me!\"\n\n> Inventory\nYou are carrying:\nArs Magna\na sine wave\na square piece of metal\na slide rule\na cube\na set (no longer empty)\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\na square root\na scribbled scroll\nyour math book\n\n> You show the root to the ghost\n(first taking the square root)\n(putting the cube into the set to make room)\nThe gray lady looks carefully at the square root. \"I would definitely hold on to that,\" she says. \"You're not likely to find much that is more useful.\"\n\n> You show the scroll to the ghost\n(first taking the scribbled scroll)\n(putting the slide rule into the set to make room)\nThe gray lady looks carefully at the scribbled scroll. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the scribbled scroll from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show metal to the ghost\nThe gray lady looks carefully at the square piece of metal. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the square piece of metal from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThere is a small mailbox here.\n\n> You go east\nThere are currently two books on the bookcase:\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put the Ars in the bookcase\nYou put Ars Magna on the bookcase. As it slides into place\nyou hear a faint click. Then you hear the same voice as\nbefore - the one that sounds like Professor Glasser.\n\nThe voice says, \"Cardano's great work on algebra contains the first published solutions to the general cubic and quartic equations. It includes the use of negative numbers, which were not widely accepted in Europe at the time, and it also features the first use of complex numbers (in the context of solving a quadratic equation).\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: gender-neutral protagonist, surreal, adventure, drugs, math]\n\n> You look around\nThe darkness has mostly lifted, but now everything in this space looks gray. The darkness does continue to pool around your feet, though. There is an inscription on the wall, and there are exits up to Gray Matter, as well as north to the Grassy Area, south to the Physician's Office, east to the white house, and west to the Casino.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go upwards\nYou make your way up.\n\nNumber Line: 1\n\n> You go west\nNumber Line: -1"
    },
    {
        "text": "[Themes: mathematics, educational, drugs]\n\n> You go downwards\nYou clamber down the hole.\n\nYou can see a phase inverter here.\n\n> You put the sine in the inverter\nYou briefly insert the sine wave into the phase inverter. The inverter hums as it adds Pi units to the essence of the sine wave.\nThe sine wave shifts phase, becoming a negative sine wave.\n\n[Your understanding of Trigonometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> Go upwards\nYou make your way up.\n\nNumber Line: -1"
    },
    {
        "text": "[Themes: adventure, ancient Greece]\n\n> Go down\nYou make your way down.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Inventory\nYou are carrying:\na square root\na negative sine wave\na set (no longer empty)\na slide rule\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA part of the wall has slid open, revealing a niche.\n\nThere is a strange mechanism in the center of the office.\n\nYou can also see a parchment here.\n\n> You put the wave in the panel\nYou carefully insert the negative sine wave back into the strange mechanism.\n\n> You turn the crank\nYou turn the crank, which causes the two small gears to rotate around the large gear. As the small gears rotate, they move the metal bar back and forth in a straight line.\n\nThen the strange mechanism emits an aura of negative power that fills the room. You briefly feel more depressed, as well as more pessimistic about your chances on tomorrow's exam.\n\nFor just a moment, the square root glows, as it absorbs the negative power emitted by the mechanism.\n\n> You look at the root\nThis is an unusual object. It appears to be made of some tough vegetable matter - perhaps the root of a tree. It's also in the shape of a perfect square. The word \"EXTRACT\" is written on it.\n\nThe square root has also absorbed negative power from the machine in the physician's office.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go upwards\nYou can see absolutely nothing in the blue darkness off the number line. Stepping off it doesn't sound like a good idea.\n\n> Go east\nNumber Line: 2\n\n> Extract root\nThe root vibrates quietly, as it extracts the square root of the essence of the space around it. You feel yourself shift.\n\nIrrational: Between 1 and 2\nThis is more of an abstract space than a physical place, but it feels large beyond your understanding, as if it encompasses infinitely more space than the single-number locations beneath the number line. A hole leads up to the number line.\n\n> Go up\nYou make your way up.\n\nAs you step onto the number line, the hole behind you closes. Rather than standing at an unmarked spot between 1 and 2, you head back to 1.\n\nNumber Line: 1\n\n> You go west\nNumber Line: 0\n\n> You go west\nNumber Line: -1\n\n> Extract root\nThe root vibrates quietly, as it extracts the square root of the essence of the space around it. You feel yourself rotate\nclockwise, swinging in an arc that takes you halfway back to the positive part of the number line.\n\nThis is more of an abstract space than a physical place. It feels different than the spaces just below the number line - not less real, but more as if this space exists in a different dimension. A hole leads up, maybe to the number line?\n\n> Go upwards\nYou make your way up.\n\nAs you climb through the hole, at first it appears as if you are climbing into a dark blue nothingness. But then a thin, infinitely long vertical line appears out of that nothingness, widens, and rotates 90 degrees to run north-to-south. You confidently step onto the new line.\n\nImaginary Axis: i\nYou are in a dark blue expanse of space, standing on a white line that stretches as far as you can see to the north. To the south you can perceive where the imaginary axis crosses the number line. The number i is marked on the line here. There is a hole next to the\ni that you might be able to climb down into.\n\n[Your understanding of Complex Numbers has increased. You\nestimate that your score on tomorrow's final has just gone up by two points.]\n\n> You go east\nReal Axis: 1\n\n> You go to the north\nYou make your way north. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nSomeone has left their trigonometry homework on the log table.\n\nOn the grass lies a funny-looking soccer ball.\n\n> You examine the homework\nThe homework is covered with equations involving sines, cosines, and tangents. There are also a couple of graphs drawn on the homework, labeled \"sin x\" and \"cos x.\" Each graph consists of\na wavy line that switches from positive to negative every Pi units. Circled at the top of the homework is the phrase \"Review Logarithms!!!\"\n\n> You kick it\nThe soccer ball remains still, and your foot connects with a solid \"thud.\" As the ball flies through the air it begins to transform, becoming less round and more pointed. It bounces off one of the buildings and rolls across the grass, coming to a stop near you. You look down to see an object that is no longer quite a soccer ball.\n\n> You look at it\nThe icosahedron has twenty sides, each of which is in the shape of an equilateral triangle. It kind of looks like a more pointy version of a soccer ball. In fact, you realize that if you cut its vertices off in the right way and inflated it to make it more round you would have a soccer ball. This icosahedron is about one cubic foot in volume.\n\n> You get it\nYou take the icosahedron. Looking curiously at it, you note that it has twenty sides, each of which is in the shape of an equilateral triangle. You feel you understand three-dimensional solid geometry a little better.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> You look in the dryer\nThe dryer is empty.\n\n> You look in the washer\nThe washing machine is empty."
    },
    {
        "text": "[Themes: gender-neutral protagonist, educational, adventure]\n\n> You look at your surroundings\nThis is a grassy area between buildings at some university. Dusk is falling, and no one else is around. There is a log table at the edge of the grassy area. It looks like there is a small laundry facility in the building to east, and a gate lies south of you.\n\nSomeone has left their trigonometry homework on the log table.\n\n> You check what you're carrying\nYou are carrying:\nan icosahedron\na square root\na set (no longer empty)\na slide rule\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> You examine the slide\nThe slide rule consists of three pieces of wood: the two on the outside are attached to each other, while the third - in the middle - can slide between the other two. Numbers are marked on all three pieces of wood. You have no idea how to use a slide rule.\n\n> Go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the homework to the ghost\nThe gray lady looks carefully at the trig homework. Then she says, \"I think you may still find some use for that. You never know, though,\" she adds. \"I might be wrong.\"\n\n> You check your inventory\nYou are carrying:\nthe trig homework\nan icosahedron\na square root\na set (no longer empty)\na slide rule\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> You look up Plato\n(in your math book)\nPlato held that mathematical reasoning serves as a model for how to think philosophically. There is a legend that the phrase \"Let no one ignorant of geometry enter\" was written over the door to his Academy. The five Platonic solids - the tetrahedron, the cube, the octahedron, the dodecahedron, and the icosahedron - are named for him.\n\n> Slide rule\nWhat do you want to slide the slide rule under?\n\n> You go up\nYou must name something more substantial.\n\n> You show the rule to Achilles\n(first taking the slide rule)\nAchilles frowns. \"I don't see how that will help me beat the tortoise.\"\n\n> You look up Achilles in the MATH\nThe story of Achilles and the tortoise is a paradox related to the nature of infinity. It was devised by Zeno of Elea.\n\nIn the paradox, Achilles is racing a tortoise who is given a head start. Zeno claims that Achilles can never catch up to the tortoise because \"In a race, the quickest runner can never overtake the slowest, since the pursuer must first reach the point whence the pursued started, so that the slower must always hold a lead.\"\n\nThe paradox of Achilles and the tortoise, as well as Zeno's paradoxes in general, are important in mathematics because they helped force mathematicians to consider carefully what they mean by continuous quantities that are infinitely divisible, as well as infinity itself.\n\nSome mathematicians believe that the limit concept, which not only provides a rigorous method for handling infinite quantities but also put calculus on a firm theoretical foundation, resolves the paradox of Achilles and the tortoise. However, limits were not developed until over 2000 years after the death of Zeno.\n\n> Go west\nFrom here, the only exit is east.\n\n> You show rule to Countess\nYou show the slide rule to the Countess. \"This is an interesting device,\" she says. \"Do you know how to work it?\" You shake your head, and she returns the slide rule to you.\n\n> You look up the slide rule\n(in your math book)\nThe only mention of slide rules in the index refers to a unit on logarithms, so you turn to that section.\n\nA logarithm is a function whose output is an exponent or power. For example, the base 10 logarithm of 1000 is 3, since 10^3 is 1000.\n\nThe earliest practical use of logarithms was to convert a multiplication calculation to an addition calculation via the logarithm property log(xy) = log x + log y.\nThe slide rule operates on this and other properties of logarithms.\n\n(There follows a detailed description of how to work a slide rule to do multiplication using logarithms.)\n\nUsing the example, you practice with the slide rule until you understand how to use it to do multiplication.\n\n[Your understanding of Logarithms has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You show the rule to Countess\nYou show the slide rule to the Countess, and you carefully explain to her how to use it to do multiplication. She immediately grasps the concept. \"With this, I don't need to fix my mechanical calculator!\nDo you mind if I have it?\" You give your assent, and the Countess smiles widely.\n\n\"If this does multiplication, it could also do division.\" She begins playing with the slide rule. \"And it should be able to calculate powers of a number.\" She performs a few more calculations on the slide rule. \"Yes!\" she says. \"Here, let me show you what I've done.\"\n\nAs the Countess explains how to use the slide rule to do division and exponentiation, you realize that she is essentially showing you two more logarithm properties: log(x/y) = log x - log\ny, converting division to subtraction, and log x^n =\nn log x, converting exponentiation to\nmultiplication.\n\n\"Thank you so much for the slide rule. What an ingenious device and valuable gift!\" she says. \"I must reciprocate!\" She produces a small bell from somewhere and rings it. A servant rushes in, and the Countess whispers something to him. The servant disappears, but he soon returns, hands a book to the Countess, and disappears once more.\n\nThe Countess gives the book to you. \"This is a wide-margin copy of Diophantus's Arithmetica. We used to have a copy with narrow\nmargins, too, but we gave that one to Fermat.\"\n\n[Your understanding of Logarithms has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You look at the arithmetica\nThis is a copy of Diophantus's Arithmetica. As the Countess indicated, it does have wide margins.\n\n> You look up Fermat\n(in your math book)\nPierre de Fermat was a contemporary and sometime rival of Descartes. He was the greatest number theorist of his era, invented analytic geometry about the same time as Descartes (but did not publish his results), and his method of tangents was a forerunner to the derivative concept used in calculus. Fermat was actually a lawyer and did mathematics for fun in his spare time.\n\nFermat is most well-known for his conjecture that become known as \"Fermat's Last Theorem\": There do not exist solutions in nonzero integers a, b, c, and n > 2, such\nthat a^n  + b^n = c^n. In his copy of\nDiophantus's Arithmetica Fermat claimed to have found a\n\"truly remarkable proof of this theorem which this margin is too narrow to contain.\" No one has ever found Fermat's proof, and, despite an enormous amount of effort, nobody succeeded in proving it themselves until 1995, more than 350 years later.\n\n> Count count\nYou get exactly the number you expected.\n\n> You go east\nThe Count calls after you, \"If you find something else for me to count I would be grateful!\"\n\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself."
    },
    {
        "text": "[Themes: ghost, ancient Greece, gender-neutral protagonist, mathematics]\n\n> Go downward\nYou make your way down.\n\nThe darkness is completely gone now, revealing a passage down.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "> Go downwards\nYou make your way down.\n\nThis space is filled with some kind of swirling, ethereal fog that plays tricks with your mind. You can't make much sense of the space or anything in it. However, you do sense an exit above you.\n\n> You examine the fog\nThis gray fog is confusing your mind. It's hard to focus on it.\n\n> Go upwards\nYou make your way up through the fog.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: gender-neutral protagonist, drugs, educational]\n\n> You look around\nGray Matter, Level Two\nThis space is made of the same gray matter as the one above you.\nThere is an inscription on the wall, as well as exits up to Gray Matter, Level One, north to the Grassy Area, south to the Physician's Office, east to the white house, and west to the Casino. Now that the darkness is gone, you can also see a passage leading down to Confusion.\n\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThere is a small mailbox here.\n\n> You go east\nThere are currently three books on the bookcase:\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> Put the Arithmetica in the shelf\nYou put Diophantus's Arithmetica on the bookcase. As it\nslides into place you hear a faint click. Then you hear the\nsame voice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Diophantus's Arithmetica introduced symbols\nto the study of the solutions of equations, in contrast to the prior method of writing everything out in words. The book itself discusses a variety of techniques for solving what we would now call algebraic equations.\n\nArithmetica is also famous (or perhaps infamous) for a note\nFermat once wrote on his copy of the book. The note conjectures that there do not exist solutions in nonzero integers a,\nb, c, and n > 2, such that a^n  +\nb^n = c^n. Then Fermat writes, 'I have discovered a\ntruly remarkable proof of this theorem which this margin is too narrow to contain.' No one has ever found Fermat's proof. This conjecture, which became known as \"Fermat's Last Theorem,\" was not actually proved until 1995, more than 350 years later, using mathematical techniques far more sophisticated than the ones available to Fermat in the mid-1600s.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: gender-neutral protagonist, surreal, drugs, adventure]\n\n> Look around\nThis space is filled with some kind of swirling, ethereal fog that plays tricks with your mind. You can't make much sense of the space or anything in it. However, you do sense an exit above you.\n\n> Inventory\nYou are carrying:\nthe trig homework\nan icosahedron\na square root\na set (no longer empty)\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> Go upwards\nYou make your way up through the fog.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA gaming machine near you catches your eye.\n\n> You look up the optimal stopping\n(in your math book)\nAn optimal stopping problem is one in which you are faced with the problem of when to take a particular action in order to maximize a reward or minimize a cost.\n\nproblem: You want to hire a secretary. You have n\ncandidates, and you interview them one-by-one. After each interview, you must decide whether to hire or reject the person you just interviewed. You cannot go back and hire a candidate you have already rejected. If you want to maximize your chances of hiring the best person for the job the optimal strategy turns out to be to automatically reject the first X candidates and then hire the\nnext candidate after that who is better than all of the candidates you have seen thus far. Surprisingly, if X corresponds to the\nfirst n/e (in other words, the first 37% of)\ncandidates, then the probability of selecting the single best candidate out of the entire n candidates is about 37%.\n\nIf you want one of the two best candidates instead, then you can get above a 50% chance using a similar strategy. In fact, there's a wide range of values of X that work well in the top two case. For\nexample, if n is 100, then any choice of X between\n22 and 39 will give you a better than 50% chance of selecting one of the two best candidates.\n\n> You go to the east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: ghost, ancient Greece, mathematics]\n\n> Go downward\nYou make your way down.\n\nThe fog in this space has dissipated some since the last time you were here. You can make more sense of it now."
    },
    {
        "text": "[Themes: gender-neutral protagonist, adventure]\n\n> You look at your surroundings\nThis space contains some kind of swirling, ethereal fog that is affecting your ability to think clearly. You can make enough sense of this space to know that there is an exit above you to Gray Matter, Level Two, as well as exits north, south, east, and west.\n\n> Go north\nYou make your way north through the fog. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThe pleasant smell of fresh hay mingles with the less pleasant smells of farm animals here. The barn opens outside to the south.\n\nA farmer is here, staring thoughtfully at a pile of wood.\n\n> You examine wood\nIt's just a pile of wood to you, but it must mean something to the farmer.\n\n> You examine farmer\nThe farmer is wearing blue overalls and a wide-brimmed hat.\n\n> You greet the farmer\n\"Hi,\" you say, and the farmer turns to look at you. \"Howdy,\" he responds. \"What are you doing?\" you ask.\n\nHe says, \"Well, I was just thinking about the water barrel I'm going to make out of this wood. I'm trying to decide whether it should be short and fat or tall and skinny.\"\n\n\"Why does it matter?\" you ask.\n\n\"Well, I'd like it to hold as much water as possible. Does a short, wider barrel hold more water? Or does a tall and thin one? Or would it be better to make the barrel somewhere in between? Oh, and the barrel will have a lid.\n\n\"I've got this far,\" he says, pulling a thin card and a pencil from an inside pocket of his overalls. He scribbles an equation on the card, puts the pencil back in his overalls, and hands the card to you. \"If you take the equation on this card and plug the radius of the barrel in for x, the value of y will tell you the resulting\nvolume of the barrel.\"\n\nYou take the card. \"Don't you need this?\" you ask.\n\n\"No,\" he says. \"The card was junk mail - part of a promotion for some theme park. And I've got the equation memorized, too.\"\n\n> You look at the card\nThis small, very thin card reads \"Farmer's Problem: y =\n50x - Pi*x^3.\" You remember that y\nrepresents the volume of the barrel the farmer is trying to build, while x represents the radius.\n\n> You go to the south\nBefore you can leave, you hear what sounds like a cowbell ringing.\nThe farmer grimaces. \"Bessie's probably got herself tangled in the barbed wire again,\" he says. \"I ought to go check on her.\"\n\nJust then, a dog comes running into the barn, barking excitedly.\n\"Yes, I heard,\" the farmer says to the dog. \"I'm going.\"\n\nHe turns to you. \"If you can figure out the best solution to my barrel problem, I would be much obliged. I need to go help Bessie now, but Pennings here can bring me anything with the solution on it.\"\n\nThe farmer strides out of the barn.\n\n> You look at the dog\nPennings is a Welsh Corgi. He wags his tail happily but expectantly when he sees you looking at him; he seems to want you to give him something.\n\n> Pet dog\nPennings licks your face happily.\n\n> You go west\nYou make your way west through the fog. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nWith its ornate central stone fountain, this can only be the great court of Trinity College, Cambridge. From here you can visit the chapel to the north or the college hall to the west. The main gate of Trinity College lies east.\n\n> You examine the fountain\nThis ornate stone fountain in the center of the court is its most prominent feature. The fountain is currently dry.\n\n> You go north\nYou stand in the magnificent chapel of Trinity College. You make a mental note to visit this place sometime when you're truly awake. The exit is to the south.\n\nAt the west end of the chapel stands a statue of Isaac Newton.\n\nA beam of light shines through a window and forms a circle on the floor.\n\n> You look at the statue\nThis statue in white marble depicts Newton holding a prism as he gazes upward.\n\nPrelude, describing this very statue:\n\n\"The antechapel where the statue stood\nOf Newton with his prism and silent face,\nThe marble index of a mind for ever\nVoyaging through strange seas of Thought, alone.\"\n\nWait - did Newton just wink at you?\n\n> You examine the prism\nThe prism, like the rest of the statue, is made of marble. The ambient light in the chapel seems to play across the surface of the prism.\n\n> Examine beam\nThis beam of light shines through a window and forms a circle on the floor.\n\n> You examine the circle\nThe light in the circle seems to sparkle.\n\n> Go west\nYou walk into the middle of a lecture on mathematics. The atmosphere feels a bit tense.\n\nThe speaker glares briefly at you as you enter, and you - somewhat sheepishly - step back into the shadows against the wall.\n\nThe speaker continues. \"And so, as I was saying, the calculus of Newton does not rest on a logical foundation! Newton claims that the fluxion of x^2 is 2x, but one cannot have the\n\"infinitely small quantity\" he uses in the calculation equal to zero in one place and not equal to zero in another!\"\nYou hear several \"Boo\" shouts from the audience. \"Go back to Oxford, Berkeley!\" says one mathematician. \"But calculus works!\" yells a physicist.\n\"I repeat myself,\" replies Berkeley. \"A quantity cannot be simultaneously equal to zero and not equal to zero. As Newton himself says, 'The minutest errors are not to be neglected in mathematics!'\"\n\nYou can feel the audience's anger level rising, as Berkeley quotes Newton in his attack on Newton's calculus.\nThen, after a tense few moments, a man in the front row storms the podium. The shocked look on Berkeley's face is visible from your place against the wall. Berkeley slowly backs away from the podium. Emboldened, several other audience members join the first man. Berkeley turns and runs out of the room. The rest of the audience rises and chases after him."
    },
    {
        "text": "[Themes: drugs, adventure, math, gender-neutral protagonist, educational]\n\n> Look around\nThe normally-impressive great hall, with its wood paneling and Tudor-style interior, is in a state of disarray in the wake of Berkeley's lecture. A podium stands at the front of the room. The great court lies to the east.\n\nIn his haste to flee the crowd of angry mathematicians, Berkeley has left his lecture notes on the podium.\n\n> You look at the notes\nThese are Berkeley's notes describing what he considers to be serious logical flaws in the theoretical foundation of calculus. The notes are rather extensive, but the details of his attack on the fluxion of x^2 catch your eye.\n\n\"Newton says that the fluxion, or derivative, of x^2 is to be calculated like so: Adding the infinitely small quantity o to\nx causes x^2 to become (x+o)^2. Then\n(x+o)^2 expands to x^2 + 2ox + o^2.\nSubtracting x^2 from the expansion of (x+o)^2 gives\nus 2ox + o^2.\n\n\"The next step in the procedure is to divide by the infinitely small quantity o, producing 2x + o. Newton says now that since o\nis infinitely small we can ignore it. This means that the fluxion of x^2 is 2x.\n\n\"However, is the 'infinitely small quantity' denoted 'o' equal to zero or not? If it is zero, then we cannot divide by it, since there is no meaning to dividing by zero. If it is not zero, then we cannot ignore it in the last step, and so the fluxion of x^2 cannot be\n2x.\n\n\"You cannot have it both ways: Either o is equal to zero or it is not!\"\n\n> You look up berkeley\n(in your math book)\nAlong with John Locke and David Hume, Bishop George Berkeley is considered part of the trio of great British empirical philosophers of the 17th and 18th centuries. His major contribution to mathematics was his critique of the logical foundations of calculus. This critique helped inspire mathematicians to look more closely at what they meant by the \"infinitesimally small\" quantities used in calculus, ultimately leading to a precise definition of the limit concept. Incidentally, the main campus of the University of California and the surrounding city are named for him.\n\n> You look up the limit\n(in your math book)\nThe limit is one of the most important concepts in mathematics.\nLimits allow us to define exactly what we mean by concepts like \"arbitrarily large\" and \"infinitesimally small.\"\n\nLimits had been used implicitly in calculus since the time of Newton and Leibniz, but it was not until over 150 years later that the definition of a limit was made precise by Weierstrass, thereby placing calculus on a more solid theoretical foundation. Limits are also used to make sense of sequences and infinite series. Some argue that limits resolve Zeno's paradoxes.\n\n> You examine the podium\nThis podium is made of the same wood as the paneling you see around the room.\n\n> You look at the paneling\nIt's quite beautiful. Nothing at your university looks looks like this room.\n\n> You go east\nYou make your way east through the fog. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThe floor and ceiling of this room are black, while the walls feature eerie, pulsating, dark blue neon lights. An exit leads west.\n\nA sleek laser bike is parked in the center of the room.\n\nSomeone has left a crudely-drawn comic on the floor.\n\n> Examine comic\nThe comic consists simply of two pictures: A man singing Christmas carols and a man wearing an old Houston football jersey. The Yuler has a large red X next to him, while the Oiler sports a large green check mark.\n\n> You get it\n(putting the square root into the set to make room)\nTaken.\n\n> You look at the bike\nBuilt for speed, this laser bike pulses with the same dark blue neon light as the rest of the room.\n\n> Ride bike\nYou mount the laser bike. A door slides open in the east wall, and, without warning, the laser bike shoots through it!\n\nYou briefly catch a glimpse of a grid laid out before you, with intersection points, lines connecting them, and several ramps scattered throughout the intersections. A mechanical voice intones, \"Starting new game. Illuminate all grid lines. Intersections will not be illuminated. One ramp jump allowed.\"\n\nThen the bike launches into space, coming down in...\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly east through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead northeast, south, southeast, and east.\n\n> You go to the south\nYou give the laser bike a sharp turn south, and it speeds through the grid line to the south. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly south through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north and east.\n\nHowever, the grid line to the north is lit up by a beam of light.\n\nThere is also a ramp to the northeast.\n\n> You go to the east\nYou give the laser bike a sharp turn east, and it speeds through the grid line to the east. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly east through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, northwest, east, and west.\n\nHowever, the grid line to the west is lit up by a beam of light.\n\nThere is also a ramp to the northeast.\n\n> You go east\nYou keep going east, and the laser bike speeds through the grid line to the east. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly east through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north and west.\n\nHowever, the grid line to the west is lit up by a beam of light.\n\nThere is also a ramp to the northwest.\n\n> Go north\nYou give the laser bike a sharp turn north, and it speeds through the grid line to the north. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly north through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, south, and west.\n\nHowever, the grid line to the south is lit up by a beam of light.\n\nThere are also ramps to the northwest and southwest.\n\n> You go to the north\nYou keep going north, and the laser bike speeds through the grid line to the north. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly north through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead south and west.\n\nHowever, the grid line to the south is lit up by a beam of light.\n\nThere is also a ramp to the southwest.\n\n> Go west\nYou give the laser bike a sharp turn west, and it speeds through the grid line to the west. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly west through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead south, southwest, and east.\n\nHowever, the grid line to the east is lit up by a beam of light.\n\nThere is also a ramp to the southeast.\n\n> You go south\nYou give the laser bike a sharp turn south, and it speeds through the grid line to the south. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly south through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, south, east, and west.\n\nHowever, the grid line to the north is lit up by a beam of light.\n\nThere are also ramps to the northeast, southeast, and southwest.\n\n> You go west\nYou give the laser bike a sharp turn west, and it speeds through the grid line to the west. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)"
    },
    {
        "text": "> Look around\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly west through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead northeast, south, southeast, and east.\n\nHowever, the grid lines to the south and east are lit up by beams of light.\n\n> Go northeast\nYou give the laser bike a sharp turn northeast, and it speeds through the grid line to the northeast. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly northeast through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead south, southwest, and east.\n\nHowever, all the grid lines are lit up by beams of light.\n\nThere is also a ramp to the southeast.\n\n> You go to the southeast\nYou give the laser bike a sharp turn southeast, and it takes the ramp at a high speed, launching you into the air. As you look down you notice that all the ramps in the grid are lowering to the level of the intersection. The bike touches down in...\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly southeast through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, south, and west.\n\nHowever, the grid lines to the north and south are lit up by beams of light.\n\n> Go west\nYou give the laser bike a sharp turn west, and it speeds through the grid line to the west. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly west through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, south, east, and west.\n\nHowever, the grid lines to the north, east, and west are lit up by beams of light.\n\n> You go south\nYou give the laser bike a sharp turn south, and it speeds through the grid line to the south. The bike leaves a laser beam of light in its wake.\n\nIntersection (on the laser bike)\nYou are riding a laser bike, traveling rapidly south through an intersection. Dark blue neon walls surround the intersection, but there are grid lines that lead north, northwest, east, and west.\n\nHowever, the grid lines to the north, east, and west are lit up by beams of light.\n\n> You go to the northwest\nYou give the laser bike a sharp turn northwest, and it speeds through the grid line to the northwest. The bike leaves a laser beam of light in its wake.\n\nThe laser bike slows down as it comes to the middle of the intersection. A long ramp drops down from the west, and the bike automatically turns toward it. As the bike ascends the ramp, a mechanical voice intones, \"Congratulations. You have found an Euler circuit. Your prize awaits.\"\n\nThe bike re-enters the neon-lit room and comes to rest in the middle of the floor. The door to the east closes once more.\n\nNeon-Lit Room (on the laser bike)\nThe floor and ceiling of this room are black, while the walls feature eerie, pulsating, dark blue neon lights. An exit leads west.\n\nYour prize appears to be a book: Introduction to the Analysis of\nthe Infinite.\n\n[Your understanding of Combinatorics has increased. You\nestimate that your score on tomorrow's final has just gone up by five points.]\n\n> You get Book\n(Introduction to the Analysis of the Infinite)\nYou can't reach Introduction to the Analysis of the Infinite\nfrom the laser bike.\n\n> You stand\nYou dismount the laser bike.\n\nThe floor and ceiling of this room are black, while the walls feature eerie, pulsating, dark blue neon lights. An exit leads west.\n\nA sleek laser bike is parked in the center of the room.\n\nYour prize appears to be a book: Introduction to the Analysis of\nthe Infinite.\n\n> You get Book\n(Introduction to the Analysis of the Infinite)\n(putting the icosahedron into the set to make room)\nTaken.\n\n> You examine it\nThis is a copy of Leonhard Euler's two-volume Introduction to the Analysis of the Infinite.\n\n> You look up the euler circuit\n(in your math book)\nAn Euler circuit is a path through a graph that traverses every edge exactly once. Euler proved that the only graphs that have Euler circuits are those whose vertices all have an even number of connections. The key idea behind this is that every time you go through a vertex you must enter by one edge and leave by a different edge, thus traversing two edges. In order to have an Euler circuit, then, the total number of edges incident on each vertex must be even.\n\n> You go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe confusing fog is much less now than it was at first.\n\nGray Matter, Level Three\nMost of the fog that was filling up this space is now gone - the only bit that remains swirls about your feet. You can see now that you are in another space made of the same gray matter as the two above you. You can see an inscription on the wall, and there are exits up to Gray Matter, Level Two, north to the Barn, south, east to the Neon-Lit Room, and west to the Great Court of Trinity College.\n\n> You examine the inscription\nThe inscription reads,\n\n\"Even as the finite encloses an infinite series\nAnd in the unlimited limits appear,\nSo the soul of immensity dwells in minutia\nAnd in narrowest limits no limits inhere.\nWhat joy to discern the minute in infinity!\nThe vast to perceive in the small, what divinity!\"\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou stand at the entrance to a huge roller coaster, which sprawls above and around you in every direction - even into the river below.\nA notice hangs nearby. You could climb up to the boarding platform above you. The operator's office is to the east, and you can exit the roller coaster area to the north.\n\nSomeone has dropped a brochure here.\n\n> You examine the notice\nThe notice reads, \"Has anyone seen Descartes? He seems to have disappeared!\"\n\n> You examine the brochure\nThis brightly-colored brochure is an advertisement for the roller coaster.\n\n> You read it\n\"Descartes's Roller Coaster and Water Ride: Experience the thrills of cutting-edge analytic geometry!\n\n\"With our proprietary technology, we can change the shape of the track to any algebraic curve! We feature a new curve each month, so ride often!\n\n\"For special events such as birthday parties and weddings we can even accommodate curve requests! Just write the algebraic equation for the curve you want on one of our special cards and give it to the operator! (Guests are encouraged to book well in advance, as we do have an extensive waiting list.)\n\n\"There's more: Our patented \"air bubble\" technology prevents anything inside the car from getting wet while the car travels underwater!\"\n\nUnderneath, in smaller print, are some disclaimers: \"Riders should be aware that the boarding platform may be moved to different x coordinates to accommodate differently-shaped tracks. Any such coordinate changes are purely to maximize the riders' experience. In addition, in the rare case that a track is completely underwater, riders will be prevented from entering the boarding area.\"\n\nFinally, very tiny print at the bottom reads \"Construction by Meretzky and Co.\"\n\n> You look at the card\nThis small, very thin card reads \"Farmer's Problem: y =\n50x - Pi*x^3.\" You remember that y\nrepresents the volume of the barrel the farmer is trying to build, while x represents the radius.\n\n> You get the brochure\n(putting the trig homework into the set to make room)\nTaken.\n\n> You examine the roller coaster\nThe roller coaster consists of a track mounted on a grid-like frame marked with coordinates. For the horizontal - or x -\ncoordinates, the entrance is marked at 0, and the numbers increase as you go east. For the vertical - or y - coordinates, the\nwater line is marked at 0, and the numbers increase as you go up.\n\nThe roller coaster track starts high, goes through a loop-the-loop, enters the water, and returns to the platform.\n\n> Go east\nThe roller coaster operator's office is a small, dingy affair. The only thing to commend it is that it still has a good view of the roller coaster. The exit is to the west.\n\nA display is set into the wall, with a slot next to it.\n\nA saying hangs loosely on the wall above the display.\n\nYou can also see some correspondence and an x-finder here.\n\n> You examine the display\nThe display reads \"x^3 + y^3 = 3xy.\"\n\n> Examine slot\nIt looks like only a thin card of a certain size and shape will fit in it.\n\n> You look at saying\nThe saying reads, \"Cogito Ergo Sum.\"\n\n> You look at the correspondence\nYou read through the correspondence. It's a series of letters from Fermat to Descartes. The discussions center on Fermat's method of tangents, which Descartes criticizes.\n\nThe final letter, though, is addressed to Fermat. In it, Descartes claims that his new Folium curve is so complicated that Fermat's method cannot be used to find its tangent lines.\n\nThe letter ends with Descartes asking rhetorically, \"And you believe your method will still work? I think not!\" The ink is blotted after the final sentence, as if the quill pen Descartes had been using was dropped abruptly.\n\n> You look at the finder\nposition. It was probably used for testing the roller coaster. The x-finder is covered by some kind of waterproof plastic film,\nand it also includes a primitive-looking carabiner.\n\nThe x-finder currently reads... nothing. I suppose you're\nnot at a location that has a meaningful x-coordinate.\n\n> You get all\nDescartes's saying: (putting the thin card into the set to make room) Taken.\ncorrespondence: (putting Berkeley's lecture notes into the set to make room)\nTaken.\nx-finder: (putting the comic strip into the set to make room)\nTaken.\n\n> You put the card in the slot\nYou place the card in the slot. With a screeching of metal and wood, the roller coaster track tears itself apart and reforms as the graph of the equation on the card. The roller coaster appears to be undamaged by this process.\n\nThe display now reads \"y = 50x - Pi*x^3.\"\n\n> You look at the coaster\nThe roller coaster consists of a track mounted on a grid-like frame marked with coordinates. For the horizontal - or x -\ncoordinates, the entrance is marked at 0, and the numbers increase as you go east. For the vertical - or y - coordinates, the\nwater line is marked at 0, and the numbers increase as you go up.\n\nThe roller coaster track consists of a hill above the water and a valley below the water. The track climbs the single hill, descends it, enters the water, turns around, dips down into the valley, and then returns to the platform.\n\n> Go upwards\nYou climb up to the boarding platform. The ascent is a bit disorienting, and you're not sure exactly where you ended up relative to the roller coaster entrance.\n\nYou stand at the boarding platform to a huge roller coaster, which sprawls above and around you in every direction - even into the river far below.\n\nA car sits at the platform, enticing you to enter.\n\n> You enter the car\nYou glance at the track to remind yourself what you're getting yourself into.\n\nThe roller coaster track consists of a hill above the water and a valley below the water. The track climbs the single hill, descends it, enters the water, turns around, dips down into the valley, and then returns to the platform.\n\nYou enter the car, and it pulls away from the platform. The numbers on the x-finder start to increase.\n\non the x-finder start to increase.The car slows down as the\ntrack begins its climb up the single hill of this track. The numbers on the x-finder are increasing slowly now.\n\non the x-finder are increasing slowly now.You reach the crest\nof the hill, and the car starts rapidly down the other side. The numbers on the x-finder are still increasing.\n\nnumbers on the x-finder are still increasing.Unfortunately,\nthe car was moving too fast for you to read the x coordinate\nat the crest, but it looked like it was some number between 2 and 3.\n\nat the crest, but it looked like it was some number between 2 and 3.Then the car hurtles down the far side of the hill, picking up speed. You splash into the river! Yet some force field seems to be keeping you and your possessions dry. The numbers on the\nx-finder continue to increase rapidly.\n\nx-finder continue to increase rapidly.The car makes a turn,\nand you travel underwater for a while. You're having trouble following the numbers on the x-finder here.\n\nfollowing the numbers on the x-finder here.The car takes a\ndip down further into the water, but soon comes up again, emerges from the river and returns to the platform. The numbers on the\nx-finder stop changing. You exit the car.\n\nYou stand at the boarding platform to a huge roller coaster, which sprawls above and around you in every direction - even into the river far below.\n\nA car sits at the platform, enticing you to enter.\n\n> You examine the finder\nposition. It was probably used for testing the roller coaster. The x-finder is covered by some kind of waterproof plastic film,\nand it also includes a primitive-looking carabiner.\n\nThe x-finder currently reads... 0.2.\n\n> You examine the carabiner\nsomething.\n\n> You check your inventory\nYou are carrying:\nan x-finder\nsome correspondence\nDescartes's saying\na brochure\nIntroduction to the Analysis of the Infinite\na set (no longer empty)\na comic strip\nBerkeley's lecture notes\nthe trig homework\nan icosahedron\na square root\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> You examine the car\nThis car is primed for speed. A small metal loop is attached to the side of the car.\n\n> You look at the loop\nThe metal loop is attached to the side of the car.\n\n> You attach the finder to the loop\nUsing the carabiner, you attach the x-finder to the metal\nloop on the car.\n\n> You enter the car\nYou glance at the track to remind yourself what you're getting yourself into.\n\nThe roller coaster track consists of a hill above the water and a valley below the water. The track climbs the single hill, descends it, enters the water, turns around, dips down into the valley, and then returns to the platform.\n\nYou enter the car, and it pulls away from the platform. The numbers on the x-finder start to increase.\n\non the x-finder start to increase.The car slows down as the\ntrack begins its climb up the single hill of this track. The numbers on the x-finder are increasing slowly now.\n\non the x-finder are increasing slowly now.You reach the crest\nof the hill, and the car starts rapidly down the other side. The numbers on the x-finder are still increasing.\n\nnumbers on the x-finder are still increasing.Unfortunately,\nthe car was moving too fast for you to read the x coordinate\nat the crest, but it looked like it was some number between 2 and 3.\n\nat the crest, but it looked like it was some number between 2 and 3.Then the car hurtles down the far side of the hill, picking up speed. You splash into the river! Yet some force field seems to be keeping you and your possessions dry. The numbers on the\nx-finder continue to increase rapidly.\n\nx-finder continue to increase rapidly.The car makes a turn,\nand you travel underwater for a while. You're having trouble following the numbers on the x-finder here.\n\nfollowing the numbers on the x-finder here.The car takes a\ndip down further into the water, but soon comes up again, emerges from the river and returns to the platform. The numbers on the\nx-finder stop changing. You exit the car.\n\nYou stand at the boarding platform to a huge roller coaster, which sprawls above and around you in every direction - even into the river far below.\n\nA car sits at the platform, enticing you to enter.\n\n> You get the finder\nYou remove the x-finder from the metal loop.\n\n> You examine it\nposition. It was probably used for testing the roller coaster. The x-finder is covered by some kind of waterproof plastic film,\nand it also includes a primitive-looking carabiner.\n\nThe x-finder currently reads... 0.2.\n\n> You examine the brochure\nThis brightly-colored brochure is an advertisement for the roller coaster.\n\n> You read it\n\"Descartes's Roller Coaster and Water Ride: Experience the thrills of cutting-edge analytic geometry!\n\n\"With our proprietary technology, we can change the shape of the track to any algebraic curve! We feature a new curve each month, so ride often!\n\n\"For special events such as birthday parties and weddings we can even accommodate curve requests! Just write the algebraic equation for the curve you want on one of our special cards and give it to the operator! (Guests are encouraged to book well in advance, as we do have an extensive waiting list.)\n\n\"There's more: Our patented \"air bubble\" technology prevents anything inside the car from getting wet while the car travels underwater!\"\n\nUnderneath, in smaller print, are some disclaimers: \"Riders should be aware that the boarding platform may be moved to different x coordinates to accommodate differently-shaped tracks. Any such coordinate changes are purely to maximize the riders' experience. In addition, in the rare case that a track is completely underwater, riders will be prevented from entering the boarding area.\"\n\nFinally, very tiny print at the bottom reads \"Construction by Meretzky and Co.\"\n\n> You examine the platform\nYou stand at the boarding platform to a huge roller coaster, which sprawls above and around you in every direction - even into the river far below.\n\nA car sits at the platform, enticing you to enter.\n\n> You move the platform\nIt is fixed in place."
    },
    {
        "text": "[Themes: gender-neutral protagonist, adventure, surreal, ghost, educational]\n\n> Go down\nYou climb down to the roller coaster entrance. The descent is a bit disorienting, and you're not sure exactly where you ended up relative to the platform.\n\n> You go east\nA display is set into the wall, with a slot next to it. There is a thin card in the slot.\n\n> You look at the display\nThe display reads \"y = 50x - Pi*x^3.\"\n\n> You examine the film\nThis waterproof plastic film covers the x-finder. You could\nprobably remove it if you wanted."
    },
    {
        "text": "[Themes: gender-neutral protagonist, ghost, drugs]\n\n\"Mathematics, rightly viewed, possesses not only truth, but supreme beauty - a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.\" -- Bertrand Russell"
    },
    {
        "text": "[Themes: surreal, ancient Greece, mathematics]\n\n> You describe your surroundings\nThe roller coaster operator's office is a small, dingy affair. The only thing to commend it is that it still has a good view of the roller coaster. The exit is to the west.\n\nA display is set into the wall, with a slot next to it. There is a thin card in the slot.\n\n> You check your inventory\nYou are carrying:\nan x-finder\nsome correspondence\nDescartes's saying\na brochure\nIntroduction to the Analysis of the Infinite\na set (no longer empty)\na comic strip\nBerkeley's lecture notes\nthe trig homework\nan icosahedron\na square root\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nan old coin\nyour math book\n\n> You look up the differential calculus\n(in your math book)\nThat topic is not listed in the index.\n\n> You look up derivative\n(in your math book)\nThe derivative is one of the major concepts in calculus. Roughly speaking, it gives a precise way to determine the ratio of two quantities as they become infinitely small. Thus it can be used to measure rates of change, with applications like velocity, acceleration, and marginal cost. It can also be used to find the slope, or steepness, of the graph of a function, as this can be thought of as the ratio of the vertical change in the graph of a function to a corresponding horizontal change.\n\nAnother major application of the derivative is to find the maximum or minimum value of a function. The maximum of a function occurs when the graph of the function switches from ascending to descending.\nSince the derivative is positive when the graph of a function is ascending, and the derivative is negative when the graph of a function is descending, at the maximum the derivative has a value of zero. A similar scenario holds true for the minimum of a function. In that case the graph of the function switches from descending to ascending, and so its derivative switches from negative to positive. The value of the derivative at the minimum is also zero. There are some other technicalities to consider, but this is the basic situation.\n\n> Derive card\nI didn't understand that. The first word or two on their own might suffice, though; perhaps it would work to just derive.\n\n> Derive\nNothing happens. Perhaps you need to be holding an object to serve as the focus of the word of power.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Three\n\n> Go upward\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA gaming machine is here.\n\n> Go north\nPascal, Bayes, Kolmogorov, and Diaconis are here, playing an intense game of poker.\n\n> You play the poker\n(the poker game)\nYou place the old coin on the poker table. Diaconis gives you a pile of money in exchange for the coin, and then he deals the cards.\n\nYou play several hands. At first you lose more than you win, but thanks to your knowledge of probability, you find that you are pretty good at calculating exactly how strong your hand is and what would be a reasonable amount to bet for each hand. As the game continues, your skill increases, and your calculations become more and more accurate. Even though you don't know what cards the other players hold, your ability to determine precisely both your hand strength and the optimal betting amount mean that, over time, you win much more than you lose. The other players start to drop out - first Kolmogorov, then Bayes, and then Diaconis.\n\nYou and Pascal continue to play, each winning several hands. Finally Pascal gets a hand he's very confident of. \"All in,\" he says, as he pushes the rest of his money to the center of the table. Glancing at your cards, you decide to call his bet.\n\nPascal, grinning from ear to ear, lays down an ace-high straight. You slowly put one, then a second, a third, a fourth, and finally a fifth spade on the table. Pascal's smile slides awkwardly off his face.\nYou gather your winnings into a pile.\n\nShaking his head, Pascal congratulates you, as do Kolmogorov, Bayes, and Diaconis. The four of them get up from the table and walk off.\nAs they leave, you hear Pascal berating himself to Bayes over his last bet: \"I should have known better. The only thing worth wagering all you have is infinite happiness.\"\n\n[Your understanding of Probability has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]"
    },
    {
        "text": "> You look at your surroundings\nYou stand next to a poker table in the casino. The lights and noise here are just as overwhelming as in the rest of the casino. The gaming machine is to the south.\n\nA piece of paper is on the floor here. It must have fallen out of someone's pocket.\n\nOn the poker table are a pile of money and an old coin.\n\n> You get all\npiece of paper: (putting Introduction to the Analysis of the\nInfinite into the set to make room)\nTaken.\npile of money: (putting the brochure into the set to make room)\nTaken.\nold coin: (putting Descartes's saying into the set to make room) Taken.\n\n> You look at the paper\nOn this paper several numbers have been written, in a triangular pattern:\n\n1   2   1\n1   3   3   1\n1   4   6   4   1\n1   5  10  10   5   1\n1   6  15  20  15   6   1\n1   7  21  35  35  21   7   1\n1   8  28  56  70  56  28   8   1\n1   9  36  84 126 126  84  36   9   1\n1  10  45 120 210     210 120  45  10   1\n\nThe middle number in the last row has been smudged, and you cannot make it out. Underneath the numbers is written: \"Note to self: Start counting with row 0 and column 0, not row 1 and column 1.\"\n\n> You examine the money\nThe huge pile of money represents your winnings from beating Pascal, Bayes, Kolmogorov, and Diaconis at poker. If this weren't a dream you would be rich.\n\n> You go to the south\nAs you start to leave, something catches your eye. You turn and see that the five-sided poker table is shaking. The poker table begins to transform, shrinking while maintaining its pentagonal top. Soon you are no longer looking at a poker table; you are looking at a dodecahedron.\n\n> You get dodeca\n(putting the correspondence into the set to make room)\nYou take the dodecahedron. Looking curiously at it, you note that it has twelve sides, each of which is in the shape of a regular pentagon. You feel you understand three-dimensional solid geometry a little better.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by one\npoint.]\n\n> Go south\nA gaming machine is here.\n\n> You go to the east\nThere are currently four books on the bookcase:\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put infinite in the shelf\n(first taking Introduction to the Analysis of the Infinite)\n(putting the x-finder into the set to make room)\nYou put Introduction to the Analysis of the Infinite on the\nbookcase. As it slides into place you hear a faint click.\nThen you hear the same voice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Much of the modern notation and many of the concepts for handling exponential, logarithmic, and trigonometric functions ultimately derive from this comprehensive treatment of infinite series by Leonhard Euler.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> Go upward\nYou make your way up.\n\nGray Matter, Level One\n\n> You check your inventory\nYou are carrying:\na dodecahedron\nan old coin\na pile of money\na piece of paper\na set (no longer empty)\nan x-finder\nsome correspondence\nDescartes's saying\na brochure\na comic strip\nBerkeley's lecture notes\nthe trig homework\nan icosahedron\na square root\na cube\nsome exhaustion sandals\na tetrahedron\nan octahedron\nyour math book\n\n> You put the cube on the square\n(the square top pedestal)\n(first taking the cube)\nYou put the cube on the square top pedestal.\n\n> You put the tetra on large\n(first taking the tetrahedron)\nYou put the tetrahedron on the large triangular top pedestal.\n\n> You put the dodeca on the pentagon\nYou put the dodecahedron on the pentagonal top pedestal.\n\n> You put the octa on the medium\n(first taking the octahedron)\nYou put the octahedron on the medium triangular top pedestal.\n\n> You put the ico on small\n(first taking the icosahedron)\nYou place the icosahedron on the small triangular top pedestal and step back. As you do so, the air grows still. Then a strong wind whips through the courtyard. The five Platonic solids rise from their pedestals, rotating slowly. Then they begin spinning in the air, forming a single ring that revolves around and above the circular pedestal in the center. They spin faster and faster - until you cannot distinguish them from each other. Then, with a final loud clap and a blinding flash of light, the ring of solids collapses in on itself! After your vision clears you look back at the pedestals to see a sphere resting on the circular one in the center.\n\n[Your understanding of Geometry has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You examine the sphere\nThis beautiful translucent sphere seems to sparkle as you gaze at it.\n\n> You go east\nYou wander around the home for a while, but you find nothing of interest. Eventually you return to the courtyard.\n\n> Go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level One\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nOn the long table is a pile of old coins.\n\nThe Count is here, looking rather bored.\n\n> You give the money to count\nThe Count eyes the money. Then he shakes his head and says, \"I'm sorry, but I'm really tired of counting money.\" He indicates the pile of coins. \"Thank you anyway. Something different would be nice.\"\n\n> You give the correspondence to Count\n(first taking the correspondence)\nThe Count doesn't seem interested.\n\n> Go east\nThe Count calls after you, \"If you find something else for me to count I would be grateful!\"\n\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level One\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nYou have solved the number puzzle on the wall here.\n\n> You go to the south\nThe huge globe lies on the floor.\n\nYou can also see Archimedes's staff here.\n\n> You get the staff\n(putting the piece of paper into the set to make room)\nTaken.\n\n> Go north\nYou have solved the number puzzle on the wall here.\n\n> Go north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level One"
    },
    {
        "text": "[Themes: ancient Greece, surreal, mathematics, adventure, drugs, ghost]\n\n> Go downward\nYou make your way down.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a square piece of metal and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the staff to ghost\nThe gray lady looks carefully at Archimedes's staff. Then she says, \"This would certainly be useful - and valuable - if you weren't dreaming. However, I think you've exhausted its usefulness for now.\" She takes the staff from you and places it in the gray storage bin.\n\n> Go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see Archimedes's staff, a square piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: surreal, gender-neutral protagonist, ghost]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Three\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\n> Go north\nAt the west end of the chapel stands a statue of Isaac Newton.\n\nA beam of light shines through a window and forms a circle on the floor.\n\n> You put the sphere in circle\nYou place the sphere into the circle of light. The beam of light passes through the surface of the sphere, refracting into a beautiful rainbow that shines across the statue of Newton.\n\nTo your surprise, the statue grins at you, steps down off its plinth, and takes your hand.\n\nThe chapel slowly fades from view, and you find yourself on...\n\nYou stand on the broad shoulder of a giant. From this location you have a sweeping view of the surrounding landscape - a valley below with a lake in its center, surrounded by a forest. A snow-capped mountain range is off in the distance.\n\nSir Isaac Newton is here, gazing out over the landscape.\n\n[Your understanding of Physics has increased. You estimate that\nyour score on tomorrow's final has just gone up by two points.]\n\n> Greet Newton\nNewton stares at you for a long time. \"You're on an epic Quest, aren't you?\" he finally says.\n\nYou nod in response.\n\n\"I'm willing to assist you,\" Newton replies, \"but if I give you my help now then you won't understand how to use it.\n\n\"I want you to prove to me that you are worthy of my help. Answer my questions, and my help is yours.\n\n\"Two hints: (1) Each answer consists of a single word; you should ANSWER the single-word-answer. (2) If you want me to repeat a question, TALK TO me.\n\n\"Oh, and if you want to leave this place, just jump off the giant's shoulder. Trust me on that.\" Newton grins.\n\n\"First question: There are three major concepts in calculus. One is the limit, and a second is the integral. What's the third?\"\n\n> You answer derivative\n(to Isaac Newton)\n\"That's correct. The three major concepts in calculus are the limit, the derivative, and the integral.\n\n\"In fact, the fundamental theorem of calculus, (cough, cough) which I first proved (cough, cough), shows that the derivative and the integral are inverse operations - kind of like addition and subtraction are inverse operations, but in a more complicated way. Limits get precisely defined much later, as mathematicians try to solve the theoretical problems with calculus pointed out by people like George Berkeley.\"\n\nNewton sighs. \"It pains me somewhat to say that 'derivative' and 'integral' were not my terms - I preferred 'fluxion' and\n'fluent.' But Leibniz won that particular battle.\"\n\n\"Here's the second question: What's the primary graphical interpretation of the derivative?\"\n\n> You answer the tangent\n(to Isaac Newton)\n\"No, that's not correct. I'll repeat the question: What's the primary graphical interpretation of the derivative?\"\n\n> You answer slope\n(to Isaac Newton)\n\"That's correct. The derivative measures the slope of the graph of a function - how steeply it is rising or falling.\n\n\"So if the graph of a function is rising, its derivative is positive, and if it is rising sharply, its derivative is even more positive. Similarly, if the graph of a function is decreasing, its derivative is negative.\n\n\"Next question: If a function's derivative is positive when the function is increasing, and the function's derivative is negative when the function is decreasing, what's the value of the derivative when a function is at its largest value? At that place the function is neither increasing nor decreasing.\"\n\n> You answer zero\n(to Isaac Newton)\n\"That's correct. When a function crosses through its maximum, its graph switches from rising to falling. Thus its derivative switches from positive to negative. At the instant the function hits its maximum, its derivative must be zero.\n\n\"Well, there are some other technical considerations, like if the derivative doesn't exist, but we don't need to go into those.\n\n\"Last question!\" Newton grins mischievously. \"What have you seen in your travels - something not man-made - that has slopes?\"\n\n> You answer sine\n(to Isaac Newton)\n\"The sine wave you've seen does have slopes, but that particular one was made by Cardano. Try again,\" Newton replies.\n\n> You answer the hill\n(to Isaac Newton)\nNewton grins. \"Close enough,\" he says.\n\nNewton reaches out his hand toward the mountain range off in the distance and closes his eyes. You follow the line of his outstretched hand, and you see the mountains moving - moving towards you. Newton appears to be summoning them!\n\nNot sure of what you're seeing, you blink, shake your head, and look once more. The mountain range off in the distance is gone.\n\nInstead, Newton is holding a toy model of a mountain range in his hand. He gives it to you. \"Use this well,\" he says. \"It will transform the graph of a function into the graph of its derivative function.\"\n\n\"A word of caution, though: this is only powerful enough to handle curves where y is equal to some expression involving\nx - in other words, where y is explicitly\nsome function of x. It will not handle situations in which\nx and y are merely related in some equation; i.e.,\nwhere y may be implicitly some function of\nx. (You need a more powerful technique, 'implicit\ndifferentiation,' for that.)\n\n\"Also, remember what we've discussed: The derivative measures the slope of the graph of a function. If you can find where the derivative function is 0, that should tell you where the original function hits its maximum. If you would like a reminder of this, feel free to come back and speak with me again.\n\n\"Finally, please return the mountain range when you're done with it.\"\n\n[Your understanding of Calculus has increased. You estimate\nthat your score on tomorrow's final has just gone up by three\npoints.]\n\n> You jump off\nYou jump off the giant's shoulder and hurtle toward the ground. You hear Newton calling after you, \"Don't forget to return the mountain range when you're finished with it!\"\n\nIt's a long fall. You're falling, and falling, and falling...\nIt's a long fall. You're falling, and falling, and falling...And you hit the ground back in the chapel of Trinity College.\n\nYou stand in the magnificent chapel of Trinity College. You make a mental note to visit this place sometime when you're truly awake. The exit is to the south.\n\nAt the west end of the chapel stands a statue of Isaac Newton.\n\nA beam of light shines through a window and forms a circle on the floor.\n\nYou can also see a sphere here.\n\n> You look at the range\nThis small model of a mountain range wouldn't be out of place as a backdrop to someone's train set. It features a variety of slopes: up, down, steep, gentle, flat. The word \"DERIVE\" is written on it.\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nThe fog is completely gone now, and with it, any confusion you may have had about this space. You can now see a passage leading down.\n\nGray Matter, Level Three\n\n> You go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\n> Derive\nThe toy mountain range vibrates quietly. With a screeching of metal and wood, the roller coaster track tears itself apart and reforms in the shape of its derivative curve. The roller coaster appears to be undamaged by this process.\n\n> Go upwards\nYou climb up to the boarding platform. The ascent is a bit disorienting, and you're not sure exactly where you ended up relative to the roller coaster entrance.\n\nA car sits at the platform, enticing you to enter.\n\n> You look at the finder\nposition. It was probably used for testing the roller coaster. The x-finder is covered by some kind of waterproof plastic film,\nand it also includes a primitive-looking carabiner.\n\nThe x-finder currently reads... -2.\n\n> You get the film\nYou pull the plastic film off the x-finder, tearing it in the\nprocess. After removing it completely, you wad it up into a ball.\n\n> You attach the finder to the car\nUsing the carabiner, you attach the x-finder to the metal\nloop on the car.\n\n> You enter the car\nYou glance at the track to remind yourself what you're getting yourself into.\n\nThe roller coaster track climbs a single hill, then descends it, enters the water, turns around, and returns to the platform.\n\nYou enter the car, and it pulls away from the platform. The numbers on the x-finder are negative, and they start to increase.\n\non the x-finder are negative, and they start to increase.The\ncar slows down as the track begins its climb up the single hill of this track. The numbers on the x-finder are increasing\nslowly now.\n\nslowly now.You reach the crest of the hill, and the car starts rapidly down the other side. The numbers on the x-finder are still increasing.\n\nincreasing.Then the car hurtles down the far side of the hill, picking up speed. You splash into the river! Yet some force field seems to be keeping you and your possessions dry.\n\nbe keeping you and your possessions dry.The numbers on the\nx-finder were increasing until you hit the water, but they\nare no longer doing so.\n\nare no longer doing so.The car makes a turn, and you travel underwater for a while.\n\nfor a while.Soon the car emerges from the river and returns to the platform. You exit the car.\n\nYou stand at the boarding platform to a huge roller coaster, which sprawls above and around you in every direction - even into the river far below.\n\nA car sits at the platform, enticing you to enter.\n\n> You examine the finder\nposition. It was probably used for testing the roller coaster. It includes a primitive-looking carabiner. Unfortunately, the\nx-finder has gotten waterlogged and so no longer works\nproperly.\n\nThe x-finder currently reads... 2.30329.\n\n> You go to the north\nYou make your way north. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nPennings the dog is here, looking expectantly at you.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Three\n\n> You get the finder\nYou remove the x-finder from the metal loop.\n\n(You put the pile of money into the set to make room.)\n\n> You give finder to the dog\nthe barn, his tail wagging happily.\n\nSoon he returns with the farmer, who has an interested look on his face. \"I just finished freeing Bessie,\" the farmer says. \"This looks promising!\"\n\nHe does some calculations, and his look of interest turns to surprise. \"With a radius of 2.30329 feet, the height turns out to be 4.60659 feet, which (other than a little rounding error) is exactly twice the radius! And it gives a volume of 76.7765 cubic feet, which is better than any other volume I've been able to find! How did you come up with this?\"\n\nYou explain about the derivative of a function, how it measures how steeply the graph of the function is ascending or descending, and how ascending means a positive derivative and descending means a negative derivative. The you describe how the largest value of the barrel volume function occurs where its graph switches from ascending to descending - a location where the derivative of the function is zero.\n\n\"And so,\" you say, \"once I hit the water on the derivative track, the x-finder got stuck at the radius that gives the largest\npossible value for the volume of the barrel.\"\n\n\"Impressive!\" says the farmer. \"Most impressive.\"\n\nHe turns to Pennings. \"Go on now,\" he says. \"Go. There's a treat for you at the back door.\" Pennings gives a happy bark and runs out of the barn.\n\nThanking you profusely, the farmer returns the x-finder to\nyou and starts working on the pile of wood.\n\n[Your understanding of Calculus has increased. You estimate\nthat your score on tomorrow's final has just gone up by seven\npoints.]\n\n> Go upward\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see Archimedes's staff, a square piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the finder to ghost\nThe gray lady looks carefully at the x-finder. Then she\nsays, \"I'm not sure you'll have any more use for that.\" She takes the x-finder from you and places it in the gray storage bin. \"If\nyou ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\""
    },
    {
        "text": "[Themes: surreal, gender-neutral protagonist, ghost]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Three"
    },
    {
        "text": "[Themes: math, gender-neutral protagonist, drugs, mathematics, educational]\n\n> Go down\nYou make your way down.\n\nA bright, blinding - almost painful - light fills this space. You can't see anything for the light, but you do sense the exit up.\n\n> You look at the light\nThe light is so bright it's almost painful. It feels like you've just stepped from a dark building into the sunlight, yet your eyes don't seem to be adjusting. You can't tell where the light is coming from.\n\n> You check what you're carrying\nYou are carrying:\na wad of plastic\na toy mountain range\nsome correspondence\nan old coin\na set (no longer empty)\na pile of money\na piece of paper\nDescartes's saying\na brochure\na comic strip\nBerkeley's lecture notes\nthe trig homework\na square root\nsome exhaustion sandals\nyour math book\n\n> You look at the wad\nThis useless wad was once the plastic film on the x-finder.\n\n> Go up\nYou make your way up through the bright light.\n\nGray Matter, Level Three\n\n> Go upward\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an x-finder, Archimedes's staff, a square piece of metal, and\na scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the wad to the ghost\nThe gray lady looks carefully at the wad of plastic. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the wad of plastic from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show the piece of the paper to ghost\n(first taking the piece of paper)\nThe gray lady looks carefully at the piece of paper. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the piece of paper from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show the notes to the ghost\n(first taking Berkeley's lecture notes)\nThe gray lady looks carefully at Berkeley's lecture notes. Then she says, \"I think you may still find some use for those. You never know, though,\" she adds. \"I might be wrong.\"\n\n> You show the brochure to the ghost\n(first taking the brochure)\nThe gray lady looks carefully at the brochure. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the brochure from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show the money to the ghost\n(first taking the pile of money)\nThe gray lady looks carefully at the pile of money. Finally she says, \"That would certainly be useful if you weren't dreaming. However, I suspect it's not that useful here.\" She takes the pile of money from you and places it in the gray storage bin. \"I'm not certain about this, so feel free to come back and take it.\"\n\n> You show the strip to the ghost\n(first taking the comic strip)\nThe gray lady looks carefully at the comic strip. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the comic strip from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show the old coin to the ghost\nThe gray lady looks carefully at the old coin. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the old coin from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\""
    },
    {
        "text": "[Themes: math, gender-neutral protagonist]\n\n> Go downwards\nYou make your way down.\n\nYou seem to have gotten more used to the light in this space."
    },
    {
        "text": "[Themes: math, surreal, ancient Greece, educational, adventure]\n\n> Look around\nThis space is still filled with a bright light. While the light isn't painful anymore, it is still difficult to see. You can now tell, though, that the source of the light seems to be coming from the floor. In addition, there are exits north, south, east, and west, as well as the one above you to Gray Matter, Level Three.\n\n> You go north\nYou make your way north through the bright light. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThe smell of tobacco hangs in the air in this small, dark pub. It is nearly deserted; even the bartender appears to have stepped out. An exit leads south.\n\nCauchy is sitting at the bar, sipping from a glass of wine.\n\nWeierstrass is next to Cauchy, drowning his sorrows in a pint of beer.\n\n> You examine cauchy\nCauchy looks like he is trying to cheer up Weierstrass. He occasionally takes a sip from a glass of wine.\n\n> You look at Weierstrass\nWeierstrass is deep into a pint of beer. He stares morosely into his mug from time to time.\n\n> You look up weierstrass\n(in your math book)\nKarl Weierstrass, one of the great mathematicians of the 19th century, never actually completed a college degree. He is particularly famous for his precise definitions of limits and continuity, which helped put calculus on a solid theoretical foundation.\n\n> You look up cauchy\n(in your math book)\nFrenchman Augustin-Louis Cauchy was the most prolific mathematician of the 19th century. While he made important contributions in many areas, he is particularly known for his emphasis on rigor in mathematics and his pathbreaking work in complex analysis.\n\n> You go west\nYou make your way west through the bright light. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nWires and pieces of metal indicate that highly complex experiments must have once been performed in this room. Now, though, they lie scattered haphazardly here and there: Someone has cleared this place out. There are open doors to the north and south, and the exit to the lab lies east. A door to the west is closed.\n\nNot all of the experiments are gone, though; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall.\n\nA printout has fallen to the floor.\n\n> You examine the platform\nNothing is on the platform.\n\n> You examine the panel\nThe control panel is labeled \"Transformation Matrix Prototype.\" It features numbers in a 3 by 3 matrix. Each number in the top row has a slider above it that controls the setting of that number. The numbers in the second and third rows, though, seem to be fixed. A button is next to the 3 by 3 matrix.\n\nThe matrix currently looks like this:\n0  -1   0\n1   0   0\n0   0   1\n\n> You examine the fan\nThis is a large, industrial-strength wall fan. You wonder what experiments it was used for.\n\nThe wall fan is currently switched off.\n\n> You go to the north\nThe seminar room is dominated by the large table running the length of it. A small window in the north wall looks out onto a courtyard, and a door leads south back into the lab.\n\nOn the seminar table are some presentation slides.\n\n> You look at slides\nThere are seven pages to these slides. If you want to look more closely at them you should read a particular page.\n\n> You read the page 1\nThe first page begins a discussion of three-dimensional transformation matrices. It points out that the columns in a transformation matrix consist of the \"inputs,\" while the rows consist of the \"outputs.\" For instance, the entry in column 1, row 2 indicates the effect of the first, or x, dimension of the original object on producing\nthe second, or y, dimension of the transformed object.\n\n> You read the page 2\nStarting with the second page, there are some examples of three-dimensional transformation matrices. The first involves the matrix\n1  0  0\n0  1  0\n0  0  1.\nThe fact that the first row of this transformation matrix consists of 1, 0, 0, means that, to produce the x coordinates of the\noutput object the matrix takes only the x coordinates of the\ninput object and multiplies each of them by 1. The 0, 1, 0 in the second row means that, to produce the y coordinates of the\noutput object the matrix takes only the y coordinates of the\ninput object and multiplies each of them by 1. The same is true for the 0, 0, 1 in the third row and the z coordinates. This transformation matrix doesn't really do anything, then; since none of the coordinates are changed, the output object is the same as the input object.\n\n> You read the page 3\n0  1  0\n0  0  2\nsimply doubles the z coordinates. The output object would be\ntwice as tall as the input object.\n\n> You read the page 4\n0  0  1\n0  1  0\nswaps the y coordinates with the z coordinates,\nwhile keeping the x coordinates the same. An object would be transformed via this matrix to a mirror image of itself that is also lying on its side.\n\n> You read the page 5\n0  1  0\n0  0  1\nkeeps the y and z coordinates the same from the\noriginal object to the transformed object. However, to create the\nx coordinates of the transformed object, it adds the\nx and y coordinates of the original object. A cube,\nfor example, would be transformed into an object that looks like a box that has been partially crushed so that its sides are at an angle. (Technically the transformed object is a parallelepiped, a three-dimensional version of a parallelogram.)  This kind of transformation is known as a shear transformation.\n\n> You read the page 6\n0  0  1\n0  -1 0\nkeeps the x coordinates the same from the original object to\nthe transformed object, makes the z coordinates in the\noriginal into y coordinates in the new object, and turns the\ny coordinates in the original into negative z\ncoordinates in the transformed object. The effect of this is to rotate the object 90 degrees clockwise when viewed from the front.\n\n> You read the page 7\nThe final page mentions that combinations of these effects as well as other effects can be achieved by using different matrices. A three-dimensional object can even be turned into a two-dimensional or even a one-dimensional object by using the appropriate transformation matrix.\n\nAt the end of the final page is a brief description of one of the graduate student experiments involving transformation matrices. Thus far the student has constructed a prototype that allows one to apply a transformation matrix to a physical object. For the prototype the transformations that produce the y and z coordinates\nare hard-coded; the user can only affect the transformations for the\nx coordinates of the new object. In addition, only a few\nchoices have thus far been implemented for the top row of the matrix. Finally, the transformation effect is thus far permanent only for objects made of lead. Even for lead objects, though, the process seems to be permanent only once; subsequent transformations on a transformed lead object have so far only been temporary. The current hypothesis is that the transformation process changes something about the lead object at the atomic level.\n\n> Inventory\nYou are carrying:\nBerkeley's lecture notes\na toy mountain range\nsome correspondence\na set (no longer empty)\nDescartes's saying\nthe trig homework\na square root\nsome exhaustion sandals\nyour math book\n\n> You go south\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall.\n\nA printout has fallen to the floor.\n\n> You look at the printout\nThe note is a printout of an email. It reads, \"To my graduate students: Greetings from Hawaii! I'm having a great time at the conference. It's too bad none of you could come.\n\n\"Unfortunately, I have some bad news. Most of my funding has run out. While I have enough to support myself, I do not have enough left to support any of you anymore. Thus, all of your current projects are hereby cancelled. If you want to finish your degrees you'll need to find another adviser.\"\n\nUnderneath someone has written an unprintable commentary on the contents of the email.\n\n> You go south\nThis office is small and cramped, although that hasn't prevented someone from squeezing several desks in here. A door leads north, back into the lab. A small window in the south wall looks out onto a dingy part of campus.\n\n> You examine the desks\nThe desks have all been cleaned out.\n\n> Search desks\nThe empty desks are a sad testament to the graduate students who used to work here. They're not worth bothering with.\n\n> You go south\nThe window is closed. Even if it was open, though, you're too high up. There is no way you would survive the drop to the hard ground below.\n\n> You go east\nYou make your way east through the bright light. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nBrass wheels, gears, knobs, and pipes emitting smoke are everywhere: This is a room out of some steampunk's dream. The south end of the room opens onto a gold-colored path. This path appears to be suspended in the air, with no apparent support, and to run for as far as you can see. You may also exit west.\n\nThe room is dominated by a large, complicated-looking machine in its center.\n\n> You examine the machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Sequence,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed off.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Constant.\"\n\nThere is a small circular hole near the button.\n\nFinally, there is a warning light on top of the machine. The warning light is dark.\n\n> You look at the hole\nThe circular hole is empty.\n\n> You go south\nAs you approach the golden path you take a look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are all the same: 1, 1, 1, 1, 1, and 1. The second numbers are the same as the first numbers: 1, 1, 1, 1, 1, and 1.\n\nJust before you reach the path, though, it shifts: The heights of the steps change. The first step is now up. After that, though, the path is level with the first step.\n\nYou step onto the path and follow it for a while. It seems to stretch on forever, though, and so you eventually decide to turn back. As you step off the golden path back into the room with the complicated machine the path shifts once again: It returns to being level with the floor.\n\n> You switch the switch\nYou flip the switch to \"Series.\" Some of the numbers on the golden path change. The warning light is still dark.\n\n> You look at the light\nThe warning light is dark.\n\n> Go south\nAs you approach the golden path you take another look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are all the same: 1, 1, 1, 1, 1, and 1. The second numbers are 1, 2, 3, 4, 5, and 6.\n\nJust before you reach the path, though, it shifts: The heights of the steps change. The first step is now up. After that, the path rises evenly, each step just as much of an upstep as the previous one. In fact, the path looks like a set of stairs.\n\nYou step onto the path and follow it for a while. It seems to stretch on forever, though, and so you eventually decide to turn back. As you step off the golden path back into the room with the complicated machine the path shifts once again: It returns to being level with the floor.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go south\nYou make your way south through the bright light. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThis rather plain room is dominated by a large window that fills the entire southern wall. An open doorway lies to the north.\n\nA tray is attached to the wall next to the window.\n\n> You examine the window\nThis window looks onto an endless flat, gray plane. You can see a large pile of discarded objects a short distance away in the plane.\n\nStanding near the pile, rocking back and forth and muttering to himself, is Ren\u00e9 Descartes.\n\n> You look at descartes\n(Ren\u00e9 Descartes)\nDescartes is holding his head and muttering to himself, \"I can't think here. I can't think here.\"\n\n> You examine the pile\nThis pile consists of a large number of unusual objects that seem to fade in and out of view.\n\nA square circle catches your eye for a moment before disappearing again.\n\n> You examine the pile\nThis pile consists of a large number of unusual objects that seem to fade in and out of view.\n\nA formula for solving the general quintic equation catches your eye for a moment before disappearing again.\n\n> You look at the pile\nThis pile consists of a large number of unusual objects that seem to fade in and out of view.\n\nA solution in positive integers to x^n + y^n =\nz^n for n > 2 catches your eye for a moment before\ndisappearing again.\n\n> You examine the pile\nThis pile consists of a large number of unusual objects that seem to fade in and out of view.\n\nAn algorithm to solve the Halting Problem catches your eye for a moment before disappearing again.\n\n> You look at the pile\nThis pile consists of a large number of unusual objects that seem to fade in and out of view.\n\nA proof of the continuum hypothesis catches your eye for a moment before disappearing again.\n\n> You examine the tray\nThe tray is made of metal. It looks like it could hold one thing at a time.\n\n> You greet descartes\n(Ren\u00e9 Descartes)\nDescartes looks up at you briefly, a request for help in his eyes. Then he grabs his head once more. \"I can't think here. I can't think here,\" he mutters.\n\n> You put the saying in the tray\n(first taking Descartes's saying)\nYou place Descartes's saying on the tray. The tray beeps softly, and a voice says, \"Existence detected.\"\n\n> You put the saying in the tray\nYou place Descartes's saying on the tray. The tray beeps softly, and a voice says, \"Existence detected.\"\n\n> You go north\nYou make your way north through the bright light. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nCauchy is sitting at the bar, sipping from a glass of wine.\n\nWeierstrass is next to Cauchy, drowning his sorrows in a pint of beer.\n\n> You greet Cauchy\nYou walk over to Cauchy. \"Are you guys O.K.?\" you ask.\n\nCauchy looks up from his wine. \"Hello,\" he says. \"Weierstrass and I were just commiserating on the state of our research programs.\"\n\nWeierstrass snorts. \"Cauchy is being kind. I don't have a research program! I need an important problem to solve, something to show the mathematical world I'm capable of more than teaching high school. Not that there's anything wrong with that,\" he quickly adds, \"but it would be nice to have a university position.\n\n\"Cauchy, though, is already internationally famous. He practically invented complex analysis, for one thing!\" Weierstrass falls silent, staring back into his mug.\n\n> You talk to Weierstrass\nWeierstrass grunts at you in response before returning to his mug.\n\n> You talk to Cauchy\nCauchy says quietly, \"I'm worried about Weierstrass. I'm sure he's capable of being one of the great mathematicians of our age, but he needs the right problem to work on in order to prove it.\"\n\n> You show the notes to Weierstrass\nWeierstrass lifts his head from his mug long enough to glance at the proffered notes. He grunts and starts to return to his mug - but then he stops. He takes the notes from you and reads through them. \"Berkeley's criticisms of the foundations of calculus... Yes...\" He thinks for a while.\n\nThen he turns to Cauchy. \"The limit concept you've used in your work - I wonder if that would help here. But it needs to be more rigorous.\"\n\nCauchy and Weierstrass are soon deep in conversation, scribbling mathematical symbols and scratching them out again on a bar napkin. About all of the conversation you can follow are the words \"function,\" \"distance,\" \"error,\" and \"limit,\" each repeated several times. Finally, Weierstrass says, \"And if we use delta for 'distance' and epsilon for 'error,' that should do it!\" He pockets the napkin.\n\nWeierstrass looks at you excitedly. \"I think I've got some ideas that would put calculus on a sound theoretical footing! This should make my name, mathematically-speaking.\n\n\"I owe you more than I can say, but I don't know how best to reward you. Perhaps I can improve something of yours with the power of the limit concept?\"\n\n> You show the sandals to Weierstrass\n(first taking the exhaustion sandals)\nWeierstrass takes the sandals and looks at them carefully. \"These embody the principle of exhaustion, don't they?\" he says. Then he closes his eyes and concentrates for a moment. The sandals begin to glow, and then they start to morph. Soon Weierstrass is holding a pair of shoes in his hands. \"There,\" he says, opening his eyes and handing the shoes to you. \"I've improved your exhaustion sandals to a pair of limit shoes.\n\n\"Thanks again,\" he says. He stands up, an eager look on his face. \"I need to explore these concepts further. I've got an idea for a continuous function that is not differentiable anywhere...\" Weierstrass downs the rest of his beer, places his mug on the bar, and walks out of the pub. The bartender appears out of nowhere and whisks the mug away before disappearing again.\n\nCauchy remains behind. \"Weierstrass has expressed his personal gratitude,\" he says. \"Let me offer my gratitude on behalf of mathematics as a whole. Weierstrass mentioned earlier that I know a little something about complex analysis. I can imbue an item of yours with the power of complex analysis, much as Weierstrass improved those sandals with the power of the limit.\"\n\n> You look at what you're carrying with you\nYou are carrying:\nsome limit shoes\nDescartes's saying\na printout\na toy mountain range\nsome correspondence\na set (no longer empty)\nthe trig homework\na square root\nyour math book\n\n> Show range to Cauchy\nCauchy looks carefully at you for a while, as if reading your thoughts. Finally, he gives a satisfied nod.\n\nThen Cauchy takes the toy mountain range and looks at it carefully. Then he closes his eyes and rubs his hands over it. The mountain range begins to glow. After a while Cauchy opens his eyes again, and the toy stops glowing. \"There,\" he says, handing the it back to you. \"I've improved your toy mountain range. It should be able to differentiate complex functions now. However, unless you actually find a complex function the additional power won't be of any use. I think I can reward you better than this.\"\n\n> You show the root to Cauchy\n(first taking the square root)\n(putting the correspondence into the set to make room)\nCauchy looks carefully at you for a while, as if reading your thoughts. Finally, he gives a satisfied nod.\n\nThen Cauchy takes the square root and looks at it carefully. Then he closes his eyes and rubs his hands over it. The square root begins to glow. After a while Cauchy opens his eyes again, and the square root stops glowing. \"There,\" he says, handing the square root back to you. \"I've improved your square root. It should be able to extract complex numbers now.\n\n\"Thank you, once again, on behalf of mathematics,\" Cauchy says. \"The discipline will be stronger if Weierstrass can put calculus on a more solid foundation.\" He stands up and finishes the last of his wine, placing the glass on the bar before walking out of the pub. The bartender appears out of nowhere once more and whisks the empty glass away before disappearing again."
    },
    {
        "text": "> You look around\nThe smell of tobacco hangs in the air in this small, dark pub. It is deserted; even the bartender appears to have stepped out. An exit leads south.\n\n> You go south\nAs you move south, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\n> Go up\nYou make your way up through the bright light.\n\nGray Matter, Level Three\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go upward\nYou make your way up.\n\nGray Matter, Level One\n\n> You show shoes to Achilles\n\"Do you think these will work any better than those sandals I tried earlier?\"\n\n> You say yes\n(to Achilles)\nAchilles just looks at you miserably, and then he puts his head back down.\n\n> You give the shoes to Achilles\nAchilles looks at the limit shoes rather skeptically, but you assure him that these shoes are different - more powerful than the exhaustion sandals - and so he agrees to try them. After lacing them up, he snaps his fingers, and the tortoise appears. They find their places as before, and take off. Achilles runs to the halfway mark, looks up, and sees the tortoise ahead of him. He notes the tortoise's new position, races to it, and sees the tortoise still ahead. You start to think that the limit shoes aren't going to do Achilles any good. About this time, though, their inherent virtue starts to kick in.\nYes, there are infinitely many times Achilles must note the tortoise's position, leading to infinitely many distances he must run, but each successive distance is shorter than the one before. The power of the limit shoes successfully sums the lengths of these infinitely many shorter and shorter distances, and Achilles passes the tortoise for the win!\n\nAchilles jogs back to the start, a huge grin on his face, and gives you a crushing hug. Slightly abashed, he steps back, thanks you profusely, and returns the limit shoes. He runs away to celebrate.\n\nAs you're recovering from Achilles's excitement, Zeno walks over from where he has been discreetly watching the race. He picks up the tortoise. As he gazes quizzically at it, he's joined by Aristotle. They head off, arguing over whether the limit process actually solves the paradox of Achilles and the tortoise. You notice something fall from Aristotle's robes.\n\n[Your understanding of Infinity has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]"
    },
    {
        "text": "[Themes: mathematics, ghost, surreal]\n\n> Look around\nThis is a stadium in ancient Athens. The stadium itself consists of raised ground on either side of a race track about 200 meters long. The rest of the Lyceum is back east.\n\nAristotle has dropped a papyrus scroll here.\n\n> You look at the scroll\nThis scroll contains a discussion of logical fallacies. Two prominent ones mentioned are \"Affirming the Consequent\" and \"Denying the Antecedent.\"\n\nAn example of \"Affirming the Consequent\" is the following argument. \"If one drinks hemlock then they will die. Thucydides is dead. Therefore, Thucydides must have drunk hemlock.\" The first two statements are true, but the third is false. The argument is invalid because there are other ways that Thucydides could have died than drinking hemlock. In other words, the truth of the consequent, \"they died,\" does not imply the truth of the antecedent, \"they drank hemlock.\"\n\nAn example of \"Denying the Antecedent\" is the following argument. \"If one writes the Iliad then they will be famous. Plato didn't\nwrite the Iliad. Therefore, Plato will not be famous.\" The\nfirst two statements are true, but the third is false. The argument is invalid because there are other ways that Plato could be famous besides writing the Iliad. In other words, the falseness of\nthe antecedent, \"one writes the Iliad,\" does not imply the\nfalseness of the consequent, \"they will not be famous.\"\n\n> You get scroll\n(putting the toy mountain range into the set to make room)\nTaken."
    },
    {
        "text": "[Themes: ghost, educational, math, mathematics]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You check your inventory\nYou are carrying:\na logic scroll\nsome limit shoes\na square root\nDescartes's saying\na printout\na set (no longer empty)\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> You show the shoes to the ghost\nThe gray lady looks carefully at the limit shoes. \"I would definitely hold on to those,\" she says. \"You're not likely to find much that is more useful.\"\n\n> You show the printout to the ghost\nThe gray lady looks carefully at the printout. Then she says, \"I think you may still find some use for that. You never know, though,\" she adds. \"I might be wrong.\""
    },
    {
        "text": "[Themes: ancient Greece, ghost, math]\n\n> You go downwards\nYou make your way down.\n\nYou can see most of this space now.\n\nGray Matter, Level Four"
    },
    {
        "text": "[Themes: ancient Greece, mathematics, educational, drugs, ghost]\n\n> You look around\nGray Matter, Level Four\nThe light has dimmed enough (or your eyes have adjusted enough) that you can now see that this space contains the same gray, spongy matter as the spaces above you. The only part of this space that is still painful to look at is a very bright patch on the floor. There is the expected inscription on the wall, as well as the exits up to Gray Matter, Level Three, north to the Smoky Pub, south to the Window into Oblivion, east to the Machine Room, and west to the Research Lab.\n\n> You examine the inscription\nThe inscription reads,\n\n\"Tell all the truth but tell it slant -\nSuccess in Circuit lies\nToo bright for our infirm Delight\nThe Truth's superb surprise\nAs Lightning to the Children eased\nWith explanation kind\nThe Truth must dazzle gradually\nOr every man be blind -\"\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Three\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You go upwards\nYou make your way up.\n\nReal Axis: 1\n\n> You go east\nReal Axis: 2\n\n> You go west\nReal Axis: 1\n\n> Go north\nImaginary Axis: i\n\n> Extract root\nThe root vibrates quietly, as it extracts the square root of the essence of the space around it. You feel yourself rotate\nclockwise, swinging in an arc that takes you halfway back to the positive part of the real axis.\n\nComplex: Modulus 1 and Acute Angle\nThis is more of an abstract space than a physical place. It strikes you, somehow, as a mixture of both the real and the imaginary spaces you have visited. It also feels large beyond your understanding, but not any more so than the irrational space you've already seen. A hole leads up.\n\nComplex Variable here.\n\n> You get the foundations\n(putting the printout into the set to make room)\nTaken.\n\n> You examine it\nThis appears to be Riemann's doctoral dissertation. In German, the first word is Grundlagen.\n\n> You look up riemann\n(in your math book)\nIn his relatively short life, Bernhard Riemann made several important contributions to mathematics. His doctoral dissertation contained groundbreaking ideas in geometry and complex analysis. He gave the first rigorous definition of the integral (one of the three major concepts in calculus). He proved the Riemann Rearrangement Theorem for infinite series, and a conjecture of his - the Riemann hypothesis - is, over 150 years later, the most important unsolved problem in mathematics.\n\n> You go upwards\nYou make your way up.\n\nAs soon as you climb through the hole, it closes behind you. Looking around, at first it appears you are standing unsupported in the dark blue nothingness that surrounds everything here. All you can see is the real axis to the \"south\" and the imaginary axis to the \"west.\"\n\nThen a light twinkles at your feet. You glance to the side to see another light blink briefly near you before disappearing. A third light, off in the distances, flashes once. More lights sparkle, and then more and more - until there are so many that you cannot even count them. The deep dark expanse of space is no longer empty: It now contains a plane, stretching as far as you can see and filled with twinkling lights that look like stars.\n\nA curve appears, starting at your feet and continuing in a perfect arc of a circle until it touches the real axis. You follow the arc. As you step onto the real axis, the arc disappears.\n\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n[Your understanding of Complex Numbers has increased. You\nestimate that your score on tomorrow's final has just gone up by two points.]"
    },
    {
        "text": "[Themes: gender-neutral protagonist, educational, ghost]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level One"
    },
    {
        "text": "[Themes: ghost, educational, math, mathematics]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: surreal, gender-neutral protagonist, ghost]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Three\n\n> Go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA sleek laser bike is parked in the center of the room.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Three"
    },
    {
        "text": "[Themes: gender-neutral protagonist, drugs, educational, surreal, ancient Greece]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Four\n\n> Go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThe room is dominated by a large, complicated-looking machine in its center.\n\n> You examine Machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Series,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed off.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Constant.\"\n\nThere is a small circular hole near the button.\n\nFinally, there is a warning light on top of the machine. The warning light is dark.\n\n> Inventory\nYou are carrying:\nFoundations for a General Theory of Functions of a Complex\nVariable\na logic scroll\nsome limit shoes\na square root\nDescartes's saying\na set (no longer empty)\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> You wear the shoes\nYou put on the limit shoes.\n\n> You go south\nAs you approach the golden path you take another look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are all the same: 1, 1, 1, 1, 1, and 1. The second numbers are 1, 2, 3, 4, 5, and 6.\n\nJust before you reach the path, though, it shifts: The heights of the steps change. The first step is now up. After that, the path rises evenly, each step just as much of an upstep as the previous one. In fact, the path looks like a set of stairs.\n\nThen you walk out onto the path. The limit shoes react to the contact with the first step: They propel you up to the next step, and to the next, and to the next - faster and faster. Soon you are moving up so fast the path is a blur, and then you can't even see it anymore.\n\nYou find yourself hurtling upwards through space, only to land in...\nInfinity\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nThere is a small patch of nothingness floating in the space here.\n\nYou can also see Srinivasa Ramanujan here.\n\n[Your understanding of Infinity has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You lookup ramanujan\n(in your math book)\nSrinivasa Ramanujan was one of the most fascinating mathematicians of the early 20th century. Mostly self-taught, and largely working in isolation from the world's mathematical community, he found creative and profoundly original solutions to outstanding problems in number theory and infinite series.\n\nSeeking a greater connection with that community, he sent his discoveries to several British mathematicians, most of whom dismissed his findings or simply returned his work with no comment. However, G. H. Hardy recognized Ramanujan's genius and was eventually able to arrange for Ramanujan to come to Cambridge University. There followed several years of fruitful collaboration with Hardy.\n\nUnfortunately, Ramanujan had health problems during his time in England. He contracted tuberculosis and died at the age of 32, having spent only six years in Britain. The 2015 biographical film The\nMan Who Knew Infinity is about Ramanujan.\n\n> You look at the booth\nThe booth is large enough for you to enter, and there are two buttons inside it. The clear button is labeled \"Multiplicative Inversion,\" and the crystal button is labeled \"Grand Hotel.\"\n\n> You look at the patch\nYou don't understand much about your surroundings, but something feels different about this small patch of the space here. It's like it's not really there. Yet you could probably reach out your hand and take it.\n\n> You get it\nAs your hand closes around the patch of nothingness, it begins to transform. Startled, you pull your hand back. The nothingness continues transforming, finally taking on a slightly more corporeal, but still rather insubstantial, form.\n\nRamanujan says, \"You know, you should think carefully about that before you use it.\""
    },
    {
        "text": "[Themes: ghost, gender-neutral protagonist, educational]\n\n> Look around\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nThe patch of nothingness has transformed into the largest integer.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\n> You examine the integer\nThe largest integer looks insubstantial, as if it's more of a concept than something physical. Perhaps curiously, it doesn't seem to have a particular numerical value.\n\n> Greet him\nBefore you can get a word out, Ramanujan jumps in. \"Congratulations!\" he says. \"You made it here. I'm somewhat impressed - enough to give you a little assistance.\n\n\"There's a guy in the hotel,\" Ramanujan gestures in the direction of the glass booth, \"who could use some help, too. I can tell you what he needs. Head to the hotel, talk to him, and then come back and speak with me again.\"\n\n> You enter the booth\nYou get into the large glass booth.\n\n> Press hotel\nYou push the crystal button. The glass booth begins to spin, slowly at first, but then faster and faster. When the spinning stops the glass booth is gone, and you find yourself in...\n\nThe lobby of this sumptuous 1920s-era hotel dazzles the eye - crystal chandeliers, a marble floor, an ebony front desk complete with harried clerk. A set of glass double doors leads outside to the west, and an elegant staircase spirals down.\n\nThe desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\n> You greet the clerk\nYou walk over to the desk clerk. He glances up, a frantic look on his face.\n\n\"Sorry; we don't have any rooms available.\" He points at the guest register, where you can see rooms numbered 1, 2, 3, 4, and so on, with a guest name next to each number. \"We do have infinitely many rooms in this hotel, but they're all booked.\" Then he points to the line of people outside. \"I've also got infinitely many people lined up outside wanting a room.\n\n\"I'm getting rooms for the people outside by incrementing everyone who already has a room to the next higher-numbered room. That leaves Room 1 available for the new guest.\n\n\"Since I can only make one room available at a time, though, this is going to take literally forever. At least when my shift is over I can hand the job off to the next clerk.\n\n\"Now, if you'll please excuse me, I've got to get back to work.\"\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel."
    },
    {
        "text": "[Themes: mathematics, ghost, educational, ancient Greece, drugs]\n\n> You go downwards\nYou start down the spiral staircase. It's a long descent, with the staircase spiraling down and further down until you've lost track of how many turns you've made. Eventually you realize that you're turning in space, not standing on anything at all...\n\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\n> You examine the desk\n(the ebony front desk)\nMade of ebony, the front desk complements this sumptuous lobby well.\nA guest register sits on the desk.\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\n> You look at the register\nThe desk clerk won't let you touch the guest register. However, you can see that the register shows rooms numbered 1, 2, 3, 4, and so on, apparently infinitely many rooms. There is a guest name next to each number, but the clerk won't let you get close enough to read them.\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\n> You examine the chandeliers\nThe chandeliers bathe the room in the soft glow of electric light.\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\nYou're beginning to find the clerk's continual \"Incrementing\" of the guest register rather annoying.\n\n> You examine the floor\n(the marble floor)\nThis floor looks almost too beautiful to step on. Almost.\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\nYou continue to find the clerk's \"Incrementing\" of the guest register rather annoying.\n\n> You look at the doors\nThese doors lead outside. Through them you can see a long line of people waiting to enter the hotel. The line appears to have no end.\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\nYou continue to find the clerk's \"Incrementing\" of the guest register rather annoying.\n\n> Go west\n(first opening the glass double doors)\nThe desk clerk looks up. \"Please keep the doors closed. I don't have enough rooms in the hotel to let everyone in.\"\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\nYou continue to find the clerk's \"Incrementing\" of the guest register rather annoying."
    },
    {
        "text": "[Themes: mathematics, ghost, educational, ancient Greece, drugs]\n\n> You go downwards\nYou start down the spiral staircase. It's a long descent, with the staircase spiraling down and further down until you've lost track of how many turns you've made. Eventually you realize that you're turning in space, not standing on anything at all...\n\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\n> You greet Ramanujan\n\"As the desk clerk has realized,\" Ramanujan says, \"incrementing each guest's room number over and over is never going to provide rooms for all the people in the line outside.\n\n\"I'll tell you what he needs to do, but I want you to prove to me that you have a more subtle understanding of infinity than I think you have so far. Go back to the room with the machine that controls the golden path. There are several combinations of settings for the golden path that will bring you to the manifestation of infinitude surrounding us. I want you to find a path that rises extremely slowly yet still gets here. You'll know it's the right one when you can't tell from the machine room whether the path leads here or not.\n\n\"Even if you've already found this path, I want you to prove to me again that you can find it - that the first time wasn't just an accident.\""
    },
    {
        "text": "> Describe the surroundings\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\n> Go upwards\nYou make your way up.\n\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You go east\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You set the dial to reciprocal\nYou turn the dial to \"Reciprocal.\" Some of the numbers on the golden path change. The warning light is still dark.\n\n> You look up reciprocal\n(in your math book)\nThe reciprocal of a number is its multiplicative inverse. For example, the reciprocal of 7 is 1/7.\n\n> You look at path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, 3/2, 11/6, 25/12, 137/60, and 49/20.\n\n> Go south\nAs you approach the golden path you take another look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, 3/2, 11/6, 25/12, 137/60, and 49/20.\n\nJust before you reach the path, though, it shifts: The heights of the steps change. The first step is now up. After that, the path rises very gradually. In fact, it's such a gradual rise that it's hard to tell whether the path is leveling out or continuing to climb.\n\nThen you walk out onto the path. The limit shoes react to the contact with the first step: They propel you to the next step, and the next, and the next - faster and faster. Soon you are moving so fast the path is a blur, and then you can't even see it anymore.\n\nYou find yourself hurtling through space, only to land in...\nInfinity\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\nRamanujan smiles at you. \"Well done,\" he says. \"The harmonic series, consisting of the sum of the reciprocals of the positive integers, rises extremely slowly. Yet it does eventually become arbitrarily large, so that we can say its limit is infinity.\n\n\"Now, to keep my promise. Tell the desk clerk that he needs to double the room numbers in the register.\"\n\n> You talk to clerk\n\"I'm sorry, but I don't have time to chat. I've got to keep incrementing everyone who already has a room to the next higher-numbered room so that a new guest can take Room 1. Now, if you'll please excuse me, I've got to get back to work.\"\n\nOnce again, the desk clerk points his fountain pen at the guest register and says, \"Increment!\" Then he runs over to the double doors, opens them just enough to let the next person in line into the lobby, closes them again, and runs back to his desk. The guest wanders off into the depths of the hotel.\n\n> You say double\n(to the desk clerk)\nYou walk over to the clerk and suggest that instead of incrementing each guest's room number he should double it.\n\nThe clerk stops what he's doing and looks at you quizzically. \"Double them?\" he asks. \"That's not what I was told to do. Why should I do that?\"\n\n\"Ramanujan suggested it,\" you reply. \"Ramanujan? Really?\"\nHe thinks for a while. \"This incrementing is going to take forever. All right. I'll try doubling.\"\n\nHe points his fountain pen at the guest register and says, \"Double!\" Each guest's room number doubles, so that if a guest has room number n, they now have room number 2n.\n\n\"This leaves all the odd-numbered rooms available!\" says the clerk. \"And since there are infinitely many odd numbers...\"\n\nHe runs to the double doors and throws them wide open. The line of people comes streaming into the lobby, and each goes off to take a different odd-numbered room. Soon all of the people are gone.\n\n\"Nice! And thanks!\" says the clerk. \"I think I'll take my break now.\"\n\nHe grabs the guest register and walks off into the hotel. It looks like you're now free to go through the double doors to the west.\n\n[Your understanding of Infinity has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> You go to the west\nThe courtyard, with its flowering trees and carefully-manicured lawns, is just as elegant as the interior of the grand hotel. A set of glass double doors leads east into the hotel.\n\nOne of the guests has dropped a short brass rod in the courtyard.\n\n> You look at the rod\nThis brass rod is short and, for a rod, relatively thick. It has the number 69,105 written on it.\n\n> You get it\n(putting Descartes's saying into the set to make room)\nTaken.\n\n> You examine the lawns\nKeeping these lawns green and trimmed must require a small army of gardeners.\n\n> You examine the trees\nThey're beautiful - but purely ornamental.\n\n> Go west\nFrom here, the only exit is east."
    },
    {
        "text": "[Themes: math, educational, adventure]\n\n> You look around\nThe lobby of this sumptuous 1920s-era hotel dazzles the eye - crystal chandeliers, a marble floor, an ebony front desk. A set of glass double doors leads outside to the west, and an elegant staircase spirals down."
    },
    {
        "text": "[Themes: mathematics, ghost, educational, ancient Greece, drugs]\n\n> You go downwards\nYou start down the spiral staircase. It's a long descent, with the staircase spiraling down and further down until you've lost track of how many turns you've made. Eventually you realize that you're turning in space, not standing on anything at all...\n\nThis is more of an abstract space than a physical place. It feels far, far beyond your understanding, though. Even the language needed to describe it seems beyond your comprehension.\n\nYou can see a large glass booth, about the size of an old telephone box.\n\nYou can also see Srinivasa Ramanujan here.\n\n> You enter the booth\nYou get into the large glass booth.\n\n> Go upwards\nYou make your way up.\n\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You go east\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You check what you're carrying\nYou are carrying:\na brass rod\nthe largest integer\nFoundations for a General Theory of Functions of a Complex\nVariable\na logic scroll\nsome limit shoes (being worn)\na square root\na set (no longer empty)\nDescartes's saying\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> You put rod in Machine\nThe brass rod slides perfectly into the circular hole. A mechanical voice intones, \"Riemann Rearrangement Mode activated.\"\n\n> You look up the riemann rearrangement\n(in your math book)\nThe Riemann Rearrangement Theorem is one of the more unintuitive theorems in mathematics. It says that for some types of infinite series, if you sum the terms in a different order you can get a different answer. This is emphatically not true with usual arithmetic, where 3 + 5 = 5 + 3. The Riemann Rearrangement Theorem applies only to what are known as conditionally convergent\ninfinite series.\n\n> You look up conditionally convergent\n(in your math book)\nA conditionally convergent infinite series has the following properties: (1) It consists of positive and negative numbers added in a series, (2) It sums (converges) to a finite value, and (3) If you make all the negative numbers in the series positive, the resulting series does not converge to a finite value.\n\n> You examine Machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Series,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed off.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Reciprocal.\"\n\nThere is a small circular hole near the button. A brass rod has been inserted into it.\n\nFinally, there is a warning light on top of the machine. The warning light is dark.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, 1/2, 5/6, 7/12, 47/60, and 37/60.\n\n> You go south\nAs you approach the golden path you take another look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, 1/2, 5/6, 7/12, 47/60, and 37/60.\n\nAs you near the path, though, the seventh step swaps places with the fifth step. Then the sixth step swaps places with the ninth step. Other steps swap places with each other, and you stop, watching, as the entire path appears to rearrange itself.\n\nThen a mechanical voice intones, \"Rearrangement succeeded.\"\n\nYou move towards the path once more. Just before you reach it, though, it shifts: The heights of the steps change. The first step is now up. After that, some steps are up, and some steps are down, but you cannot discern any sort of pattern to which are up and which are down. Overall, though, the path rises slowly, but it's hard to tell from where you are whether it continues to rise or whether it levels out.\n\nThen you walk out onto the path. The limit shoes react to the contact with the first step: They propel you to the next step, and the next, and the next - faster and faster. Soon you are moving so fast the path is a blur, and then you can't even see it anymore.\n\nYou find yourself hurtling through space, only to land in...\n69,105\nThis is more of an abstract space than a physical place. It feels cavernous - large but with walls that you can sense are out of your field of vision. A hole leads up.\n\nA pile of leaves is here.\n\n[Your understanding of Infinity has increased. You estimate\nthat your score on tomorrow's final has just gone up by two\npoints.]\n\n> Count leaves\nYou don't have the patience to count the leaves. However, given where you found them, you have a pretty good guess as to how many there are.\n\n> You get them\nYou pick up the leaves. There are too many to juggle, so you stuff them all into the set."
    },
    {
        "text": "> You look around\n69,105\nThis is more of an abstract space than a physical place. It feels cavernous - large but with walls that you can sense are out of your field of vision. A hole leads up.\n\n> Inventory\nYou are carrying:\nthe largest integer\nFoundations for a General Theory of Functions of a Complex\nVariable\na logic scroll\nsome limit shoes (being worn)\na square root\na set (no longer empty)\nsome leaves\nDescartes's saying\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> Go upwards\nYou make your way up.\n\nReal Axis: 69,105\nYou are in a dark blue expanse of space, standing on a white line that stretches as far as you can see to the west and as far as you can see to the east. The number 69,105 is marked on the line here. There is a hole next to the number large enough for you to climb down into.\n\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes the real axis you are standing on, and it is filled with starry, twinkling lights.\n\n> Go west\nYou walk along the real axis for a while and see marks for 69,104; 69,103; 69,102; and ever smaller numbers. You find no holes or anything else featured on this part of the real axis, though, and you soon decide return to the 69,105 mark."
    },
    {
        "text": "[Themes: drugs]\n\n> Go down\nYou clamber down the hole.\n\n69,105\n\n> Extract root\nYou speak the word of power. It echoes in the space around you, and the square root seems to be absorbing the echoes. Then the square root vibrates quietly. You feel yourself shift.\n\nagain. Another space, and then shift. And shift.\nShift.\n\nIrrational: Between 1 and 2\nThis is more of an abstract space than a physical place, but it feels large beyond your understanding, as if it encompasses infinitely more space than the single-number locations beneath the real axis. A hole leads up to the real axis.\n\n> Go upwards\nYou make your way up.\n\nAs you step onto the real axis, the hole behind you closes. Rather than standing at an unmarked spot between 1 and 2, you head back to 1.\n\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You give the leaves to count\nThe Count takes the pile of leaves from you excitedly and places them on the table. \"One,\" he says. \"Two.\" \"Three.\" A smile spreads across his face, and he turns back to you.\n\n\"Once again,\" he says, \"thank you! Another gift is appropriate, I think.\" He produces a small bell from somewhere and rings it. A servant rushes in, and the Count whispers something to him. The servant disappears, but he soon returns, hands a book to the Count, and disappears once more.\n\nThe Count gives the book to you. \"Please take this,\" he says, \"with my gratitude. It's a copy of Fibonacci's book on counting and calculations.\"\n\nThe Count returns to the leaves, and soon he is lost in numerical ecstasy.\n\n> Inventory\nYou are carrying:\nLiber Abaci\nthe largest integer\nFoundations for a General Theory of Functions of a Complex\nVariable\na logic scroll\nsome limit shoes (being worn)\na square root\na set (no longer empty)\nDescartes's saying\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> You examine the Abaci\nThis is a copy of Liber Abaci, by Leonardo of Pisa (also\nknown as Fibonacci).\n\n> Go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level One\n\n> Go east\nThere are currently five books on the bookcase:\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put the abaci in the shelf\nYou put Liber Abaci on the bookcase. As it slides into place\nyou hear a faint click. Then you hear the same voice as\nbefore - the one that sounds like Professor Glasser.\n\nThe voice says, \"This masterpiece on computation techniques by Leonardo of Pisa (more commonly known as Fibonacci) served as Europe's first comprehensive introduction to the algebra of the Islamic world. The famous Fibonacci sequence was also first discussed in this book, in the context of a problem about rabbit breeding.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You put the Foundations in the shelf\nYou put Foundations for a General Theory of Functions of a Complex Variable on the bookcase. As it slides into place you hear a\nfaint click. Then you hear the same voice as before - the\none that sounds like Professor Glasser.\n\nThe voice says, \"Riemann's doctoral dissertation is notable for extending our understanding of functions that take on complex values and introducing the idea of a Riemann surface. It has been called 'one of the most important achievements of 19th-century mathematics.'\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You examine the shelf\nThe bookcase looks like it has space for twelve books. There are currently seven books on the bookcase:\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You go to the west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: gender-neutral protagonist, surreal, ancient Greece]\n\n> Go down\nYou make your way down.\n\nThe blinding light is completely gone, and you can now see all of this space clearly.\n\nGray Matter, Level Four\nThe source of the blinding light appears to have been a book: a copy of Disquisitiones Arithmeticae.\n\n> You examine the Disquisitiones\nThis is a copy of Gauss's Disquisitiones Arithmeticae."
    },
    {
        "text": "[Themes: ghost, surreal, mathematics]\n\n> You look around\nGray Matter, Level Four\nThis space is made of the same gray matter as the three above you. There is an inscription on the wall, as well as exits up to Gray Matter, Level Three, north to the Smoky Pub, south to the Window into Oblivion, east to the Machine Room, and west to the Research Lab.\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA tray is attached to the wall next to the window.\n\nThrough the window you can see a flat, gray plane. A pile of discarded objects lies a short distance away in the plane. Standing near the pile, rocking back and forth and muttering to himself, is Ren\u00e9 Descartes.\n\n> You check what you're carrying\nYou are carrying:\nDisquisitiones Arithmeticae\nthe largest integer\na logic scroll\nsome limit shoes (being worn)\na square root\na set (no longer empty)\nDescartes's saying\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\n> You put largest in the tray\nYou place the largest integer on the tray. The tray beeps loudly, and a voice says, \"Non-existence detected!\"\n\nA door slides open in the wall, and a woman runs in. She's holding a cell phone and is slightly out of breath. The door closes behind her, leaving only a faint outline.\n\n\"I'm so sorry,\" she says. \"Between my cell phone constantly ringing and all the cranks on the Internet, I just can't keep up like I used to.\"\n\nTurning to the tray, she picks up the largest integer. \"Hmmm.\" she says. \"This definitely does not exist. How did you acquire it? This was consigned to Oblivion at least by Archimedes's time. Actually, never mind. I bet one of the imps left it somewhere; they're not always reliable. It's enough that we have it back.\"\n\nShe makes a quick call on her cell phone. An imp materializes, takes the largest integer from the woman, rematerializes outside the window, and drops the largest integer onto the pile. Then the imp disappears.\n\n\"Where are my manners?\" the woman asks. \"I'm Hypatia, caretaker of Oblivion.\"\n\n> You greet Hypatia\n\"Thank you for returning the largest integer,\" Hypatia says. \"As you likely have already figured out, Oblivion is where we keep everything that doesn't exist. I'm the caretaker. This job was a sort of reward for being one of the few mathematicians martyred.\n\n\"If you know of anything else that doesn't exist, please let me know, and I'll take care of it,\" Hypatia says. \"I also field questions about whether things exist.\" She leans closer and whispers, \"Occasionally we even make a mistake and consign something to Oblivion that actually does exist. We don't really like to talk much about that, though.\"\n\nHypatia's cell phone rings, and she answers it. \"No,\" Hypatia says. \"I don't think there is an odd perfect number, either, but that proof isn't valid. Please try again.\" She hangs up.\n\n> You ask about descartes\n(to Hypatia)\nYou point through the window at Descartes, who is still rocking back and forth and muttering to himself.\n\nHypatia's eyebrows rise. \"What is he doing there? That's a mistake; surely Descartes actually exists!\" She sighs. \"I've been too preoccupied.\"\n\nShe thinks for a moment and then comes to a decision. \"I bet one of the imps did this, but I don't know which one, and I don't have time right now to sort this out. If you can figure out why someone thought Descartes does not exist I'll do what I can to get him out of Oblivion.\"\n\nHypatia's cell phone rings once more, and she answers it. Hypatia listens for a while. Finally, exasperated, she cuts the caller off. \"No, no, no! That doesn't work! Besides, do you really think you're going to be the one to prove that there is no nontrivial solution to Riemann's zeta function with real part unequal to 1/2? Far better minds than yours have worked on that and failed!\" She ends the call with an emphatic jab of her finger.\n\n> You show saying to Hypatia\n(first taking Descartes's saying)\nHypatia takes the saying from you. \"This means 'I think; therefore I am.'\" She thinks for a moment. \"Since the saying is about existence it might have something to do with one of my imps consigning Descartes to Oblivion. But Descartes is deducing that he exists, not that he doesn't exist. There must be more to it than this.\" She returns the saying.\n\nHypatia's cell phone rings again, and she answers it. \"I'm sorry, but I'm afraid I don't know how to say 'exist' in Old Gywndyngwah,\" Hypatia says. \"I'm not familiar with that language.\" She ends the call.\n\n> You greet descartes\n(Ren\u00e9 Descartes)\nDescartes looks up at you briefly, a request for help in his eyes. Then he grabs his head once more. \"I can't think here. I can't think here,\" he mutters.\n\nHypatia's cell phone rings again, and she answers it. \"God?!\"\nHypatia flashes a grin at you. \"Lots of people have tried, but as yet there is no conclusive proof that God does not exist.\" She hangs up and turns to you conspiratorially. \"Don't tell anyone, but who do you think gave me this job?\"\n\n> Inventory\nYou are carrying:\nDescartes's saying\nDisquisitiones Arithmeticae\na logic scroll\nsome limit shoes (being worn)\na square root\na set (no longer empty)\na printout\na toy mountain range\nsome correspondence\nthe trig homework\nyour math book\n\nHypatia's cell phone rings again, and she answers it. \"No,\" Hypatia says. \"You're likely right, but there's no proof yet that there is no polynomial-time algorithm for finding Hamiltonian cycles.\" She hangs up.\n\n> You show scroll to Hypatia\nHypatia replies, \"Yes, these are two well-known logical fallacies. What do they have to do with Descartes being consigned to Oblivion?\"\n\nHypatia's cell phone rings once more, and she answers it. Hypatia listens for a while. \"No,\" she says. \"There are some intelligent and thoughtful people in the other political party.\" She holds the phone away from her ear, and you hear angry ranting on the other end. Hypatia lets it go on for a while before she breaks in with \"You might try spending less time on social media,\" before hanging up. She turns to you. \"It seems like that has been getting worse lately.\"\n\n> You show saying to Hypatia\n\"Descartes's saying 'I think; therefore I am,' might have something to do with one of my imps consigning Descartes to Oblivion. But Descartes is deducing that he exists, not that he doesn't exist.\nThere must be more to it than this.\"\n\nHypatia's cell phone rings again, and she answers it. \"Just because we haven't found life on other planets yet doesn't mean it doesn't exist,\" Hypatia says. \"Absence of evidence isn't evidence of absence.\" She ends the call.\n\n> Show descartes to Hypatia\n(Descartes's saying to Hypatia)\n\"Descartes's saying 'I think; therefore I am,' might have something to do with one of my imps consigning Descartes to Oblivion. But Descartes is deducing that he exists, not that he doesn't exist.\nThere must be more to it than this.\"\n\nHypatia's cell phone rings once more, and she answers it. \"No,\" Hypatia says. \"I sympathize, but there are some honest lawyers.\" She hangs up.\n\n> You show correspondence to Hypatia\n(first taking the correspondence)\nHypatia takes the correspondence from you and reads through it. \"This is interesting! It appears the last thing Descartes did was write this letter to Fermat. Perhaps it has something to do with why one of my imps consigned Descartes to Oblivion. But why?\" She returns the correspondence.\n\n\"Wait a minute...\" Hypatia stops herself. \"'I think; therefore I am.' That's Descartes's famous saying. What was that last phrase in Descartes's correspondence? 'I think not...' Oh, no!\" She buries her face in her hands.\n\nWhen Hypatia raises her head again she has an exasperated look on her face. \"I think we both know what happened here,\" she says. \"I could order my imps to set Descartes free now, but there's no guarantee that they won't make this kind of mistake again.\n\n\"I hate to ask you for something else, but I really need some evidence to show my imps that 'I think; therefore I am,' and 'I think not,' do not together imply 'I am not.' If you can bring some evidence like that to me, I'll feel comfortable letting Descartes go.\"\n\nHypatia's cell phone rings once more, and she answers it. Hypatia listens for only a moment before she says, \"Wait a minute. You state that truth does not exist. Yet that claim itself is a truth claim. You're assuming the existence of the very concept you claim doesn't exist!\" She hangs up emphatically and says to you, \"I'll be so glad when the postmodernism fad passes.\"\n\n> You show scroll to Hypatia\nHypatia takes the logic scroll from you. \"Yes, these are two well-known logical fallacies. And denying the antecedent is exactly the mistake that my imps made. Well done!\"\n\nHypatia makes a call on her cell phone, and an imp materializes. \"One of you idiots consigned Descartes to Oblivion just because he said, 'I think not'!\" Hypatia yells. \"Don't you fools even know basic logic?!\"\n\nShe hands the imp the logic scroll and begins tapping her foot. The imp reads through the scroll. He blanches.\n\n\"Get Descartes out of there, now!\" Hypatia orders.\n\nThe imp disappears and then rematerializes on the other side of the window. He grabs Descartes by the arm, and they both vanish.\n\nHypatia turns back to you. \"Thank you for straightening that out,\" she says. \"My imp will be returning Descartes to wherever he was before. Hopefully we won't be seeing that kind of mistake again.\n\n\"If you don't mind, though, I probably should get back to my computer.\" She sighs. \"The Internet has brought out all of the cranks from whatever holes they normally hide in.\n\n\"Speaking of which...\" She hands you a small object. \"People keep giving me these as gag gifts. You might it useful. Also, if you mess it up, bring it back, and I'll give you a new one. Just knock on the door to get my attention.\"\n\nHypatia presses a button on her phone, and the door in the west wall slides open. She walks through it. As the door closes behind her, she calls out, \"You might want to check on Descartes; he will probably be grateful for what you've done!\"\n\n[Your understanding of Logic has increased. You estimate that\nyour score on tomorrow's final has just gone up by four\npoints.]\n\n> You check your inventory\nYou are carrying:\na small crank\nsome correspondence\nDescartes's saying\nDisquisitiones Arithmeticae\nsome limit shoes (being worn)\na square root\na set (no longer empty)\na printout\na toy mountain range\nthe trig homework\nyour math book\n\n> You examine the crank\nThis crank is made of lead. It has threads that are oriented clockwise.\n\n> You go to the north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Three\n\n> You go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\n> You go east\nDescartes has left you a copy of his La G\u00e9om\u00e9trie here.\n\nA display is set into the wall, with a slot next to it.\n\nYou can also see a thin card here.\n\n> Go east\nFrom here, the only exit is west."
    },
    {
        "text": "[Themes: ancient Greece, mathematics, math]\n\n> Look around\nYou stand at the entrance to a huge roller coaster, which sprawls above and around you in every direction - even into the river below.\nA new notice hangs nearby. You could climb up to the boarding platform above you. The operator's office is to the east, and you can exit the roller coaster area to the north.\n\n> You look at notice\nThe new notice reads, \"Descartes is recuperating at home. Shortly after returning from his mysterious disappearance, he stepped in front of a carriage and was run over.\" Underneath it someone has written, \"You shouldn't put Descartes before the horse!\"\n\n> You go east\nThere are currently seven books on the bookcase:\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put la in shelf\nYou put La G\u00e9om\u00e9trie on the bookcase. As it slides into\nplace you hear a faint click. Then you hear the same voice\nas before - the one that sounds like Professor Glasser.\n\nThe voice says, \"An appendix to Descartes's Discourse on\nMethod, itself one of the most important works in the history of philosophy, La G\u00e9om\u00e9trie features the representation of\nalgebraic equations as geometric curves. This synthesis of algebra and geometry has become known as analytic geometry; it soon\nled to the development of calculus by Newton and Leibniz. The Cartesian coordinate plane, used in the representation of equations as curves, is named after Descartes.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You check your inventory\nYou are carrying:\na small crank\nsome correspondence\nDescartes's saying\nDisquisitiones Arithmeticae\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\na toy mountain range\nthe trig homework\nyour math book\n\n> You put the Disquisitiones in the shelf\nYou put Disquisitiones Arithmeticae on the bookcase. As it\nslides into place you hear a faint click. Then you hear the\nsame voice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Gauss's Disquisitiones Arithmeticae,\npublished when he was 24, synthesized much of what was known at the time in the field of number theory while also featuring many of Gauss's own discoveries. Its most famous result is probably the first proof of the quadratic reciprocity theorem.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You show saying to the ghost\nThe gray lady looks carefully at Descartes's saying. Then she says, \"I'm not sure you'll have any more use for that.\" She takes Descartes's saying from you and places it in the gray storage bin.\n\"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show correspondence to the ghost\nThe gray lady looks carefully at the correspondence. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the correspondence from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> You show the range to the ghost\n(first taking the toy mountain range)\nThe gray lady looks carefully at the toy mountain range. Then she says, \"I think you may still find some use for that. You never know, though,\" she adds. \"I might be wrong.\"\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall.\n\n> Switch fan\nYou switch on the wall fan. A strong breeze begins to blow through the lab.\n\nThe breeze ruffles the printout.\n\n> You examine the printout\nThe note is a printout of an email. It reads, \"To my graduate students: Greetings from Hawaii! I'm having a great time at the conference. It's too bad none of you could come.\n\n\"Unfortunately, I have some bad news. Most of my funding has run out. While I have enough to support myself, I do not have enough left to support any of you anymore. Thus, all of your current projects are hereby cancelled. If you want to finish your degrees you'll need to find another adviser.\"\n\nUnderneath someone has written an unprintable commentary on the contents of the email.\n\nThe breeze ruffles the trig homework.\n\n> Switch fan\nYou switch off the wall fan, and the breeze dies down.\n\n> You examine the panel\nThe control panel is labeled \"Transformation Matrix Prototype.\" It features numbers in a 3 by 3 matrix. Each number in the top row has a slider above it that controls the setting of that number. The numbers in the second and third rows, though, seem to be fixed. A button is next to the 3 by 3 matrix.\n\nThe matrix currently looks like this:\n0  -1   0\n1   0   0\n0   0   1\n\n> You put crank on the platform\nYou put the small crank on the platform.\n\n> You press the button\nYou push the button, and a shimmering light envelops the platform.\nThe small crank transforms, so that it is now rotated 90 degrees counterclockwise.\n\n> You examine the crank\nThis crank is made of lead. It has threads that are oriented clockwise.\n\n> You examine the second slider\nThe second slider can be turned to -1, 0, or 1 to set the value of the second entry in the top row. The second slider is currently set to -1.\n\n> You set second to 1\nYou set the second slider to 1. Now the matrix looks like this:\n0   1   0\n1   0   0\n0   0   1\n\n> You examine the first slider\nThe first slider can be turned to -1, 0, or 1 to set the value of the first entry in the top row. The first slider is currently set to 0.\n\n> You look at the third slider\nThe third slider can be turned to -1, 0, or 1 to set the value of the third entry in the top row. The third slider is currently set to 0.\n\n> You examine crank\nThis crank is made of lead. It has threads that are oriented counterclockwise.\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a square piece of metal, and a\nscribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You put crank in the mailbox\nYou screw the small crank into the hole in the mailbox.\n\n> You open the mailbox\nYou turn the crank. The mailbox opens, revealing a brown paper package.\n\n> You look at it\nJudging by its size and shape, it probably contains a book. It is not, you note, tied up with string.\n\n> You open the package\nYou open the package, wadding up the paper in the process. Inside is a copy of The Art of Computer Programming, by Donald Knuth,\nwhich you take.\n\n> You examine Art\nProgramming \"The Bible of Computer Science.\" This is just Volume\nI, though. Flipping through it, the first section seems to be mostly mathematics.\n\n> You read it\nProgramming \"The Bible of Computer Science.\" This is just Volume\nI, though. Flipping through it, the first section seems to be mostly mathematics.\n\nmaterial to read through.\n\n> Go east\nThere are currently nine books on the bookcase:\nDisquisitiones Arithmeticae\nLa G\u00e9om\u00e9trie\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put Art on the shelf\nYou put The Art of Computer Programming on the bookcase. As\nit slides into place you hear a faint click. Then you hear\nthe same voice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Computer science was originally a branch of mathematics, and there is still much overlap between the two disciplines. Donald Knuth's Art of Computer Programming has\nbeen called 'The Bible of Computer Science,' and it contains some sophisticated mathematics, particularly those parts of mathematics needed for the analysis of algorithms.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> You check your inventory\nYou are carrying:\na wad of brown paper\na toy mountain range\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nthe trig homework\nyour math book\n\n> Go west\nThere is a small mailbox here, with a crank attached to it.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a square piece of metal, and a\nscribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the wad of the paper to the ghost\nThe gray lady looks carefully at the wad of brown paper. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the wad of brown paper from you and places it in the gray storage bin.\n\"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA gaming machine is here.\n\n> Go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a wad of brown paper, some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a square\npiece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You go to the north\nAt the west end of the chapel stands a statue of Isaac Newton.\n\nA beam of light shines through a window and forms a circle on the floor.\n\nYou can also see a sphere here.\n\n> You look in it\nThis beautiful translucent sphere seems to sparkle as you look into it.\n\n> You put the sphere in the circle\n(first taking the sphere)\nYou place the sphere into the circle of light. The beam of light passes through the surface of the sphere, refracting into a beautiful rainbow that shines across the statue of Newton.\n\nOnce again, the statue grins at you, steps down off its plinth, and takes your hand.\n\nThe chapel slowly fades from view, and you find yourself on...\n\nYou stand on the broad shoulder of a giant. From this location you have a sweeping view of the surrounding landscape - a valley below with a lake in its center, surrounded by a forest.\n\nSir Isaac Newton is here, gazing out over the landscape.\n\n> You give the range to Newton\n\"Thank you,\" Newton says, as he takes the toy mountain range from you. He stretches out his arm, and the toy mountain range flies out of his hand, speeding away from the two of you. You blink, and the when you look again you can see the snow-capped mountain range once more off in the distance.\n\n\"I have one more thing for you,\" Newton says. \"You may find this useful.\" Newton hands you a copy of his Principia\nMathematica.\n\n> You jump\nYou jump off the giant's shoulder and hurtle toward the ground. It's a long fall. You're falling, and falling, and falling...\na long fall. You're falling, and falling, and falling...And you hit the ground back in the chapel of Trinity College.\n\nYou stand in the magnificent chapel of Trinity College. You make a mental note to visit this place sometime when you're truly awake. The exit is to the south.\n\nAt the west end of the chapel stands a statue of Isaac Newton.\n\nA beam of light shines through a window and forms a circle on the floor.\n\nYou can also see a sphere here.\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Three\n\n> You go upward\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a wad of brown paper, some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a square\npiece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> You show the sphere to the ghost\nThe gray lady looks carefully at the sphere. Then she says, \"I'm not sure you'll have any more use for that.\" She takes the sphere from you and places it in the gray storage bin. \"If you ever want it back, though, feel free to just take it,\" she adds. \"I might be wrong.\"\n\n> Inventory\nYou are carrying:\nPrincipia Mathematica\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nthe trig homework\nyour math book\n\n> You go east\nYou make your way east. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nThere is a small mailbox here, with a crank attached to it.\n\n> You go east\nThere are currently ten books on the bookcase:\nThe Art of Computer Programming\nDisquisitiones Arithmeticae\nLa G\u00e9om\u00e9trie\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put Principia in the shelf\nYou put Principia Mathematica on the bookcase. As it slides\ninto place you hear a faint click. Then you hear the same\nvoice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Newton's Principia Mathematica is one of the\nmost important books on science ever written. Its specific contributions include Newton's three laws of motion, his law of universal gravitation, and a derivation of Kepler's laws of planetary motion. Perhaps even more important, though, is Newton's stunning demonstration of the power of mathematics in describing natural phenomena. While the arguments presented in the Principia\ntend to be geometric, Newton did use many of the ideas of calculus (which he also invented) in order to derive his results.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a sphere, a wad of brown paper, some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin."
    },
    {
        "text": "[Themes: ancient Greece, adventure, surreal]\n\n> Go downwards\nYou make your way down.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a sphere, a wad of brown paper, some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go south\nYou make your way south. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nA tray is attached to the wall next to the window.\n\nThrough the window you can see a flat, gray plane. A pile of discarded objects lies a short distance away in the plane.\n\n> Inventory\nYou are carrying:\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nthe trig homework\nyour math book\n\n> You examine the trig\nThe homework is covered with equations involving sines, cosines, and tangents. There are also a couple of graphs drawn on the homework, labeled \"sin x\" and \"cos x.\" Each graph consists of\na wavy line that switches from positive to negative every Pi units. Circled at the top of the homework is the phrase \"Review Logarithms!!!\"\n\n> You go to the north\nAs you move north, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall.\n\n> You examine the fan\nThis is a large, industrial-strength wall fan. You wonder what experiments it was used for.\n\nThe wall fan is currently switched off.\n\n> Switch fan\nYou switch on the wall fan. A strong breeze begins to blow through the lab.\n\nThe breeze ruffles the printout.\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the trig homework.\n\n> You open Window\nYou open the window.\n\n> You go north\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the trig homework.\n\n> Go north\nOn the seminar table are some presentation slides.\n\n> You look out Window\nThis window overlooks a small courtyard.\n\n> You look at the courtyard\nThe courtyard is a rather sad, neglected affair. At least the view is better than the one from the graduate student office.\n\n> Go north\nYou're too high up. There is no way you would survive the drop to the hard ground below.\n\n> Go south\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the trig homework."
    },
    {
        "text": "> You look at your surroundings\nWires and pieces of metal indicate that highly complex experiments must have once been performed in this room. Now, though, they lie scattered haphazardly here and there: Someone has cleared this place out. There are open doors to the north and south, and the exit to the lab lies east. A door to the west is closed.\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the trig homework.\n\n> You go east\nAs you move east, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> You examine Machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Series,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed on.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Reciprocal.\"\n\nThere is a small circular hole near the button. A brass rod has been inserted into it.\n\nFinally, there is a warning light on top of the machine. The warning light is dark.\n\n> You look at the rod\nThis brass rod is short and, for a rod, relatively thick. It has the number 69,105 written on it.\n\n> You switch the switch\nYou flip the switch to \"Sequence.\" Some of the numbers on the golden path change. The warning light is still dark.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, -1/2, 1/3, -1/4, 1/5, and -1/6.\n\n> You go south\nAs you approach the golden path you take another look at it.\n\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, -1/2, 1/3, -1/4, 1/5, and -1/6.\n\nAs you near the path, though, the second step swaps places with the fifth step. Then the sixth step swaps places with the first step. Other steps swap places with each other, and you stop, watching, as the entire path appears to rearrange itself.\n\nThen a mechanical voice intones, \"Rearrangement failed.\" The steps continue to swap places with each other for a while. When they finish you realize from their numbers that they are back in their initial order.\n\nYou move towards the path once more. Just before you reach it, though, it shifts: The heights of the steps change. The first step is now up. After that, the second step is down, the third step is up, the fourth is down again, and so on, up, down, up, down... for as far as you can see. Each down step looks like it goes below the level of the floor of this room, and each up step looks like it is above that level. However, each down step isn't quite as far down as the one before, and each up step isn't quite as far up as the one before. After a while, despite the up and down steps, the path looks almost flat.\n\nThen you walk out onto the path. The limit shoes react to the contact with the first step: They propel you to the next step, and the next, and the next - faster and faster. Soon you are moving so fast the path is a blur, and then you can't even see it anymore.\n\nYou find yourself hurtling through space, only to land in...\nZero\nThis is more of an abstract space than a physical place. Besides the hole leading back up to the real axis, you sense nothing here.\n\n> Go upwards\nYou make your way up.\n\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You look at Machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Sequence,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed on.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Reciprocal.\"\n\nThere is a small circular hole near the button. A brass rod has been inserted into it.\n\nFinally, there is a warning light on top of the machine. The warning light is dark.\n\n> You get the rod\nYou remove the brass rod from the circular hole. A mechanical voice intones, \"Riemann Rearrangement Mode deactivated.\"\n\n> You set the dial to the identity\nYou turn the dial to \"Identity.\" Some of the numbers on the golden path change. The warning light is now glowing.\n\n> You look at the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 2, 3, 4, 5, and 6. The second numbers are 1, -2, 3, -4, 5, and -6.\n\n> You set the dial to constant\nYou turn the dial to \"Constant.\" Some of the numbers on the golden path change. The warning light is still glowing.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are all the same: 1, 1, 1, 1, 1, and 1. The second numbers are 1, -1, 1, -1, 1, and -1.\n\n> Continue\nYou push the button on. Some of the numbers on the golden path change. The warning light is now glowing.\n\n> You set the dial to squared\nYou turn the dial to \"Squared.\" Some of the numbers on the golden path change. The warning light is still glowing.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 4, 9, 16, 25, and 36. The second numbers are 1, -4, 9, -16, 25, and -36."
    },
    {
        "text": "> You examine Machine\nThis machine is just as steampunk as everything else here, although there are several parts to it that look at least somewhat recognizable.\n\nFor one, the machine has a switch that can be set to \"Sequence\" or \"Series.\" It is currently set to \"Sequence,\" although you could easily move it to the other setting by flipping the switch.\n\nThere is a button labeled \"Alternate\" that is currently pushed on.\n\nThe machine also has a dial that can be set to \"Constant,\" \"Identity,\" \"Squared,\" or \"Reciprocal.\" It is currently set to \"Squared.\"\n\nThere is a small circular hole near the button.\n\nFinally, there is a warning light on top of the machine. The warning light is glowing.\n\n> You switch the switch\nYou flip the switch to \"Series.\" Some of the numbers on the golden path change. The warning light is still glowing.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 4, 9, 16, 25, and 36. The second numbers are 1, -3, 6, -10, 15, and -21.\n\n> You set the dial to reciprocal\nYou turn the dial to \"Reciprocal.\" Some of the numbers on the golden path change. The warning light is now dark.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 1/2, 1/3, 1/4, 1/5, and 1/6. The second numbers are 1, 1/2, 5/6, 7/12, 47/60, and 37/60.\n\n> You put the rod in the hole\nThe brass rod slides perfectly into the circular hole. A mechanical voice intones, \"Riemann Rearrangement Mode activated.\"\n\n> You set the dial to squared\nYou turn the dial to \"Squared.\" Some of the numbers on the golden path change. The warning light is now glowing.\n\n> You switch the switch\nYou flip the switch to \"Sequence.\" Some of the numbers on the golden path change. The warning light is still glowing.\n\n> You examine the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are 1, 4, 9, 16, 25, and 36. The second numbers are 1, -4, 9, -16, 25, and -36.\n\n> You set the dial to constant\nYou turn the dial to \"Constant.\" Some of the numbers on the golden path change. The warning light is still dark.\n\n> You look at the path\nThe path is level with the floor of the room you are currently in. It consists of golden steps that seem to run on forever. Each step has two numbers appearing on it, although from here you can only read the numbers on the six closest steps. The first numbers on the steps are all the same: 1, 1, 1, 1, 1, and 1. The second numbers are the same as the first numbers: 1, 1, 1, 1, 1, and 1.\n\n> Go west\nAs you move west, you feel an electrical impulse course through you. The space around you seems to fold in on itself.\n\nGray Matter, Level Four\n\n> Inventory\nYou are carrying:\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nthe trig homework\nyour math book"
    },
    {
        "text": "[Themes: ghost, surreal, mathematics]\n\n> You look around\nGray Matter, Level Four\nThis space is made of the same gray matter as the three above you. There is an inscription on the wall, as well as exits up to Gray Matter, Level Three, north to the Smoky Pub, south to the Window into Oblivion, east to the Machine Room, and west to the Research Lab.\n\n> Go west\nYou make your way west. As you do, you feel an electrical impulse course through you. You find yourself in...\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the printout.\n\n> Go north\nOn the seminar table are some presentation slides.\n\n> You read the page 7\nThe final page mentions that combinations of these effects as well as other effects can be achieved by using different matrices. A three-dimensional object can even be turned into a two-dimensional or even a one-dimensional object by using the appropriate transformation matrix.\n\nAt the end of the final page is a brief description of one of the graduate student experiments involving transformation matrices. Thus far the student has constructed a prototype that allows one to apply a transformation matrix to a physical object. For the prototype the transformations that produce the y and z coordinates\nare hard-coded; the user can only affect the transformations for the\nx coordinates of the new object. In addition, only a few\nchoices have thus far been implemented for the top row of the matrix. Finally, the transformation effect is thus far permanent only for objects made of lead. Even for lead objects, though, the process seems to be permanent only once; subsequent transformations on a transformed lead object have so far only been temporary. The current hypothesis is that the transformation process changes something about the lead object at the atomic level.\n\n> Go south\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the printout.\n\n> You check your inventory\nYou are carrying:\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nthe trig homework\nyour math book\n\nThe breeze ruffles the trig homework.\n\n> You enter the platform\nYou get onto the platform.\n\nThe breeze ruffles the printout.\n\n> You stand\nYou get off the platform.\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the trig homework.\n\n> You look at the printout\nThe note is a printout of an email. It reads, \"To my graduate students: Greetings from Hawaii! I'm having a great time at the conference. It's too bad none of you could come.\n\n\"Unfortunately, I have some bad news. Most of my funding has run out. While I have enough to support myself, I do not have enough left to support any of you anymore. Thus, all of your current projects are hereby cancelled. If you want to finish your degrees you'll need to find another adviser.\"\n\nUnderneath someone has written an unprintable commentary on the contents of the email.\n\nThe breeze ruffles the printout.\n\n> You drop the homework\n(first taking the trig homework from the set)\nDropped.\n\nThe breeze picks up the trig homework and blows it across the room, where it slides under the door to the west.\n\n> Go west\n(first opening the west door)\n(first unlocking the west door)\nYou lack a key that fits the west door.\n\nThe breeze ruffles the printout.\n\n> Switch fan\nYou switch off the wall fan, and the breeze dies down.\n\n> You examine door\n(the west door)\nThe west door appears to be locked. There is a very thin space between the bottom of the door and the floor.\n\n> You examine the space\nThe west door appears to be locked. There is a very thin space between the bottom of the door and the floor.\n\n> Inventory\nYou are carrying:\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nyour math book\n\n> You put the rod in door\n(the west door)\nThat can't contain things.\n\n> Go north\nOn the seminar table are some presentation slides.\n\n> You look out Window\nThis open window overlooks a small courtyard.\n\n> You look at the courtyard\nThe courtyard is a rather sad, neglected affair. At least the view is better than the one from the graduate student office.\n\n> You go south\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall."
    },
    {
        "text": "[Themes: math, educational, adventure, ancient Greece, drugs, gender-neutral protagonist]\n\n> Look around\nThis office is small and cramped, although that hasn't prevented someone from squeezing several desks in here. A door leads north, back into the lab. An open window in the south wall looks out onto a dingy part of campus.\n\n> You examine the desks\nThe desks have all been cleaned out.\n\n> You look under the desks\nThe empty desks are a sad testament to the graduate students who used to work here. They're not worth bothering with.\n\n> You look at the door\nThe  door is open.\n\n> You look at the building\nThe building reflects the uninspired architecture of the 1960s. It's probably an engineering building.\n\n> You close door\nYou close the door.\n\n> You look at the door\nThe  door is closed.\n\n> You sit at the desk\nI didn't understand that. The first word or two on their own might suffice, though; perhaps it would work to just sit."
    },
    {
        "text": "[Themes: adventure, gender-neutral protagonist, educational]\n\n> Describe the surroundings\nThis office is small and cramped, although that hasn't prevented someone from squeezing several desks in here. A closed door leads north, back into the lab. An open window in the south wall looks out onto a dingy part of campus.\n\n> Close Window\nYou close the window.\n\n> Go north\n(first opening the door)\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall."
    },
    {
        "text": "> You look around\nThe seminar room is dominated by the large table running the length of it. An open window in the north wall looks out onto a courtyard, and a door leads south back into the lab.\n\n> You go south\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall.\n\n> You examine door\n(the west door)\nThe west door appears to be locked. There is a very thin space between the bottom of the door and the floor.\n\n> Inventory\nYou are carrying:\nsome presentation slides\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nyour math book\n\n> You examine the panel\nThe control panel is labeled \"Transformation Matrix Prototype.\" It features numbers in a 3 by 3 matrix. Each number in the top row has a slider above it that controls the setting of that number. The numbers in the second and third rows, though, seem to be fixed. A button is next to the 3 by 3 matrix.\n\nThe matrix currently looks like this:\n0   1   0\n1   0   0\n0   0   1\n\n> You set second to 0\nWhich do you mean, the second slider or the second page?\n\n> Slider\nYou set the second slider to 0. Now the matrix looks like this:\n0   0   0\n1   0   0\n0   0   1\n\n> Switch fan\nYou switch on the wall fan. A strong breeze begins to blow through the lab.\n\nThe breeze ruffles the printout.\n\n> You enter the platform\nYou get onto the platform.\n\nThe breeze ruffles the presentation slides.\n\n> You open the drawer\nYou open the drawer, revealing a spare key.\n\n> You look at Window\nYou can see most of a university campus laid out before you from the window. It's a stunning view.\n\n> You look at the campus\nMost of the campus is laid out before you from the window. It is quite the sight.\n\n> You enter Window\nThere appears to be no way to open the bay window. Even if you could find a way to open it, though, you would never survive the drop.\n\n> You get all\ntrig homework: Taken.\n\n> You go to the east\n(first opening the door)\n(first unlocking the door)\n(with the spare key)\n\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the presentation slides.\n\n> Go west\n\n\n> You examine the desk\nSolid and expensive-looking, the desk contributes to the air of authority in this room. It has a single drawer.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe trig homework\na spare key\nFinite-Dimensional Vector Spaces\nsome presentation slides\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nyour math book\n\n> You go east\nNot all of the experiments are gone; near the west door is a platform, raised slightly off the floor. A control panel is attached to the wall near the platform.\n\nThere is also a large fan set into the east wall. The fan is on, and a strong breeze is blowing through the lab.\n\nThe breeze ruffles the presentation slides.\n\n> Go upwards\nYou make your way up.\n\nGray Matter, Level Two\nOff to the side sits a gray storage bin. In the storage bin you see a sphere, a wad of brown paper, some correspondence, Descartes's saying, an old coin, a comic strip, a pile of money, a brochure, a piece of paper, a wad of plastic, an x-finder, Archimedes's staff, a\nsquare piece of metal, and a scribbled scroll.\n\nA gray, translucent ghost flits around the storage bin.\n\n> Go east\nThere are currently eleven books on the bookcase:\nPrincipia Mathematica\nThe Art of Computer Programming\nDisquisitiones Arithmeticae\nLa G\u00e9om\u00e9trie\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You put the vector in the shelf\nYou put Finite-Dimensional Vector Spaces on the bookcase. As\nit slides into place you hear a faint click. Then you hear\nthe same voice as before - the one that sounds like Professor Glasser.\n\nThe voice says, \"Highly readable and featuring an axiomatic approach, Paul Halmos's famous text was the first introductory book on linear algebra.\"\n\nAn almost inaudible voice whispers in your ear, \"Look to your books for the final text.\"\n\n[Your understanding of Mathematics Texts has increased. You\nestimate that your score on tomorrow's final has just gone up by one point.]"
    },
    {
        "text": "[Themes: surreal, mathematics]\n\n> You look around\nThis is the living room of the white house, and it looks to be the only room still intact. A sofa sits against one wall, and a bookcase stands against another. The sole unblocked exit is through the front door to the west.\n\nThere are currently thirteen books on the bookcase:\nFractals (glowing)\nFinite-Dimensional Vector Spaces\nPrincipia Mathematica\nThe Art of Computer Programming\nDisquisitiones Arithmeticae\nLa G\u00e9om\u00e9trie\nFoundations for a General Theory of Functions of a Complex\nVariable\nLiber Abaci\nIntroduction to the Analysis of the Infinite\nDiophantus's Arithmetica\nArs Magna\nThe Compendious Book on Calculation by Completion and\nBalancing\nElements\n\n> You look at Fractals\nThis is a copy of Fractals, by Beno\u00eet Mandelbrot. The book\nis emitting a soft glow.\n\n> You read it\nYou open Fractals, and light bursts forth from it. The light\ncircles you several times. Then, with a loud \"whoosh,\" it returns to the book, which slams shut.\n\n> Inventory\nYou are carrying:\nFractals (glowing)\nthe trig homework\na spare key\nsome presentation slides\na brass rod\nsome limit shoes (being worn)\na set (no longer empty)\na square root\na printout\nyour math book\n\n> You put the Fractals in shelf\nYou put Fractals on the bookcase. As it slides into place\nyou hear a faint click. Then you hear the same voice as\nbefore - the one that sounds like Professor Glasser.\n\nThe voice says, \"Fractals have yet to be defined precisely - even by Beno\u00eet Mandelbrot, the author of Fractals and the originator\nof the concept. They tend to be characterized, though, by attributes like self-similarity: Changing the scale on a fractal object often results in the same or a similar pattern being repeated over and over. Fractal images are frequently created by iterating a function over the complex plane and assigning colors based on how rapidly the function diverges.\"\n\n> About yourself\nYou're asleep. But this is the most vivid dream you've ever had.\n\n> You go upward\nYou make your way up.\n\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You go west\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You go north\nImaginary Axis: i\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes the imaginary axis you are standing on and the real axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> Extract root\nThe root vibrates quietly, as it extracts the square root of the essence of the space around it. You feel yourself rotate\nclockwise, swinging in an arc that takes you halfway back to the positive part of the real axis.\n\nComplex: Modulus 1 and Acute Angle\nThis is more of an abstract space than a physical place. It strikes you, somehow, as a mixture of both the real and the imaginary spaces you have visited. It also feels large beyond your understanding, but not any more so than the irrational space you've already seen. A hole leads up.\n\n> You open Fractals\nYou open Fractals, and light bursts forth from it. The light\ncircles you several times. Then, with a loud \"whoosh,\" it returns to the book, which slams shut.\n\n> Go upwards\nYou make your way up.\n\nAs soon as you climb through the hole, it closes behind you. A curve appears once more, lighting a path for you in the shape of an arc of a perfect circle - through the stars and back to the number 1 on the real axis. You follow the arc. As you step onto the real axis, the arc disappears.\n\nReal Axis: 1\nThe dark blue expanse of space now contains a plane that stretches as far as you can see in all directions. It includes both the real axis you are standing on and the imaginary axis you can see off in the distance, and it is filled with starry, twinkling lights.\n\n> You read it\nYou open Fractals, and light bursts forth from it. The light\ncircles you once, twice, three times, and then it splinters, spinning away in all directions.\n\nEach splinter of light seeks out one of the twinkling stars in the complex plane. The starry lights absorb the splintered ones and begin to pulse: blue, white, blue, white, blue, white...\n\nThe pulsing ceases with each point in the complex plane settling on a color from midnight blue to the purest white. Together they form a fractal pattern of infinite complexity, containing spirals throwing out tendrils that themselves contain spirals with tendrils... on and on.\n\nThe fractal is blindingly, indescribably, painfully beautiful.\nFrom somewhere you hear - but only in your mind - words once spoken by another:\n\n\"Cos\u00ec la mente mia, tutta sospesa\nmirava fissa, immobile e attenta,\ne sempre di mirar faceasi accesa...\n\n\"Oh quanto \u00e8 corto il dire e come fioco\nal mio concetto! e questo, a quel ch'i' vidi,\n\u00e8 tanto, che non basta a dicer 'poco'...\n\n\"Qual \u00e8 'l geom\u00e8tra che tutto s'affige\nper misurar lo cerchio, e non ritrova,\npensando, quel principio ond' elli indige,\n\n\"tal era io a quella vista nova...\n\"A l'alta fantasia qui manc\u00f2 possa.\"\n\n\"Thus all my mind, absorbed,\nwas gazing, fixed, unmoving and intent,\nbecoming more enraptured in its gazing...\n\n\"O how scant is speech, too weak to frame my thoughts.\nCompared to what I still recall my words are faint -\nto call them little is to praise them much...\n\n\"Like the geometer who fully applies himself\nto square the circle and, for all his thought,\ncannot discover the principle he lacks,\n\n\"such was I at that strange new sight...\nHere my exalted vision lost its power.\"\nAnd you wake up. You lie in bed for a while, thinking about what you've learned.\nIn the morning you get up and make your way to the exam.\n\nYou walk into the classroom feeling supremely confident about your understanding of the material. As the exam proceeds, the look on Professor Glasser's face goes from resignation to surprise to shock and finally to bemusement. By the end you have answered every single question correctly. Professor Glasser shakes your hand. \"I have never had a student earn a perfect score on one of my final exams,\" she says, \"much less one who skipped most of the class sessions!\" She pauses for a moment, thinking. \"You know,\" she says, \"I could use a research assistant this summer. I don't normally have undergraduates work with me, but since you did so well in my class... Just think about it.\"\n\nA couple of weeks later you check your grades...\n\nYou owe your roommate an apology about those study pills.\n\n> MATH\nBalance scales\nPascal's triangle\nAchilles and Zeno's paradoxes\nEuclid, his fifth postulate, and non-Euclidean geometry\nTop Two game\nFarmer's problem, calculus, the roller coaster, and Pennings\nLaser bike game\nTransformation matrix and determinants\nHarmonic series and alternating harmonic series\nGrand hotel guest problem"
    },
    {
        "text": "[Themes: Collegiate, Slice of life, Romance, strong NPCs, gender choice, anxiety, sexuality choice, procrastination, queerness, writer protagonist, college, humor, slice of life]\n\nCalm down. All you have to do is write a thousand words and everything will be fine. And you have all day, except it's already noon.\n\nYou told me you were making progress. Then I find out you haven't finished a paragraph in five months. What did you expect?\n\nSo now here you are, up in your office. I am sorry that today is a Saturday. I am especially sorry that today is your thirtieth birthday. We had all kinds of adventures planned. I refuse to feel guilty.\n\nOf course I am still upset. I will try to set that aside and be encouraging. I really do want you to succeed today.\n\nPlease just write.\n\n[Author's Note: Calm down. All you have to do is write a thousand words and everything will be fine. And you have all day, except it's already noon.]"
    },
    {
        "text": "[Themes: Collegiate, Romance, Slice of life, gender choice, strong NPCs, anxiety, procrastination]\n\n> You look around\nWhen Wisconsin was recruiting your advisor they promised her space for graduate students. You're in a decrepit building but otherwise it's not bad.\n\nYou've a great big desk in front of a window, a resplendent yellow chair, a cabinet in one corner, a giant cactus in another, and a tall bookcase on the back wall with an incredibly cute stool in front of it. The door is west.\n\n> You check your inventory\nYou're carrying nothing.\n\nYou've a tattoo on the back of your hand.\n\n> You examine the tattoo\n\"Tattoo\" isn't right. You scrawled \"TYVTWD\" on the back of your hand before leaving this morning. It stands for Take Your Violet To Work Day. This is your plan: you are going to get through today by pretending I'm here with you.\n\nJust so we're clear: you are actually alone, and presumably I am back at our apartment, packing and crying.\n\nSomebody is coming up the stairs. I thought you said no one ever comes in on the weekend?\n\n> Rub tattoo\nI feel a bit like you are just trying random things as a way of procrastinating.\n\nPlease. Just WRITE.\n\n> You sit on the stool\nThere is no reason to sit on the stool. Stand on it if you need to reach something. (And sit on your comfy yellow chair if you want to write.)\n\n> You sit on the chair\nOkay. You are seated at your desk and ready to go. Just write!\n\nTwo voices in the hallway: a man and Julia. Julia hasn't been in her office in weeks. She shows up on a Saturday?\n\n> You examine computer\nThe desktop PC is old but perfectly fine for writing. In addition to your word processor, applications you can OPEN include a browser, chat and e-mail.\n\nThe computer has a USB port in the front and is connected to the Internet with a cable in back.\n\n> You examine the desk\nOf course the big oak desk is unusually posh for a graduate student office. It belonged to a professor who had a stroke at his computer and none of the other faculty wanted a desk on which once rested the head of a dead colleague.\n\nOn top of the desk are your computer, my itinerary, a framed darling and a pile you cannot even contemplate right now.\n\nThe desk's drawer is closed. A wastebasket is on the floor to the left.\n\n> You examine framed darling\nWhy you chose this photo of me, I don't know. It's from a party last summer. I've an enormous foam lobster on my head and whipped cream all over my right cheek. I'm smiling manically and look like I may be so tipsy that I don't know what continent I'm on.\n\nPermit me two moments of immodesty:\n\n1. Even in a picture where I'm not at my best, I am still clearly worth a thousand words.\n\n2. The frame itself is very cleverly done.\n\n> You open the word processor\nOpen. Chapter 3 of your dissertation awaits. You can do it!\n\nJulia is here to sabotage you. I'm sure of it. She's in her office across the hall now, talking loudly with her door open.\n\n> You examine the door\n(standing up first)\nIt's a plain white wooden door. On the other side is distraction and ruin. Abandon hope, all ye who exit.\n\nOn the wall beside the door is the lightswitch. Above the door is a vent.\n\n> You write\n(first sitting on chair)\nYou start trying to focus on the screen and type, but you are very tired. I realise that you hardly slept last night between being all worked up from our fight and then being banished to the dodgy futon in our living room.\n\nStill. I know you won't let a little grogginess stop you. You are determined. For us!\n\n> You look at the itinerary\nA printout of an airline receipt for a certain Ms. Violet C., for a flight from Madison to Chicago to Los Angeles to Auckland to Melbourne. One-way, refundable. Departing early tomorrow morning.\n\nI hate that I've given you an ultimatum. But I don't feel like I've any choice.\n\nThe dude with Julia sounds like the one she was flirting with at Lucy's party. Remember? He was scrawny and said his parents owned a hotel in Milwaukee called \"The Historic Pfister.\"\n\n> You write\nYou are trying, I can tell. But each time you begin to think through the opening sentence you get this dull cloudy tired pain right behind your eyes.\n\nOkay. You want to write. You just need to get yourself more awake first.\n\n> You stand\nYou stand.\n\nI don't know why I confided in Lucy about our problems. I should have known she would tell Julia.\n\n> You find the coffee\nIf you'd wanted coffee, you really ought to have stopped at Java Squid on the drive here.\n\n> You go to the west\nYou need to write. Your computer is here.\n\n(Besides, your office door is closed. Might I add: for a reason.)\n\n> You look\nMany graduate students would be jealous of your having a door that you can close, high ceilings, and, most glamorous of all, a window. You also have a huge desk, a gorgeous yellow chair, a cabinet, an admittedly incongruous cactus, a tall bookcase, and an incredibly cute stool.\n\nOn the desk are your computer, my itinerary, a cleverly framed picture and a pile you cannot even contemplate. A wastebasket is on the floor.\n\nYou look out the window for a moment, at the wonderfully serene park across the street. We could be frolicking right now. We could be canoodling in the shrubbery. Please just write.\n\n> You touch the cactus\nEek! No. Do you remember how last month you spent an entire afternoon whinging because you had a splinter?\n\n> You open the drawer\nYou open the drawer and there's a shiny little key and your notebook.\n\nAlthough you write on your computer, you still like to keep a pen and notebook handy because it sometimes helps to work out more complicated sentences in longhand before typing them in. You've several pens in your bag.\n\nHey, wallaroo: where's your bag?\n\n> You examine bag\nI don't see it here. Where is it?\n\nUgh. You were so distracted this morning that you left your bag back at our apartment. I am a gentle girlfriend and will refrain from marvelling at how it's past noon and you are only realising this now.\n\nYou cannot go get your bag. You know you are doomed to an afternoon of meandering distraction if you leave this office.\n\n> You examine the key\nI believe it's the key to the cabinet.\n\nYou are distracted by Julia laughing inauthentically and telling Historic Pfister \"You are so clever.\"\n\n> You take all from the drawer\nOne thing at a time today, dundeecake.\n\n> You take the key\nYours, vegemite.\n\n> You take the notebook\nYours, lorikeet.\n\n> You look at it\nIt's a smallish notebook, about 10x15 centimetres. The cover is lenticular. From this angle, it's a drawing of the comic book hero Professor Detective telling one of his graduate students, \"You carry the heaviest of all burdens: POTENTIAL.\"\n\nSeveral pages inside the notebook have writing on them.\n\nYou're looking out the window again. Today in the park, a laughing couple that could have been us toss a frisbee back and forth, and an older gentleman is walking his malamute.\n\n> You read the notebook\nThe first page with writing has a sentence ending with the word \"gaps.\" You've crossed this out and rewritten it with \"lacunae\" instead. That you crossed out and tried \"interstices.\" You crossed that out in favour of \"interstitial lacunae,\" but then that has several lines through it and a little drawing of me saying \"Quit being pretentious.\"\n\n> You unlock the cabinet with key\nYou unlock the cabinet, glancing briefly at the trophy on top as you do.\n\n> You examine trophy\nYou trained for months and had to run the entire race in the rain. A chintzy little medal after all that? You deserve better! So afterwards I took the big sign I'd held up for you and spent two days folding it into a proper trophy.\n\n> You open the cabinet\nLast night, near the very end:\n\"I want you to have your birthday present regardless.\"\n\"Violet, I'll write the thousand words.\"\n\"I planned a treasure hunt for you. I wrote clues! It was going to end in your office.\"\n\"I am going to write tomorrow. I promise.\"\n\"Look in that cabinet you never use. You'll like how I wrapped it.\"\n\nYou open the cabinet, revealing a very odd balloon and a plastic bottle filled with a fluorescent pink liquid.\n\n> You look at balloon\nIt's about 25 centimetres across, milky white rubber decorated with purple ink swirls. A strange furry thing is inside, its three long legs pressing against the sides. At the bottom of the balloon is a bright yellow tab on which I've written \"Pull me!\"\n\nYou are distracted by Julia talking about her abs.\n\n> You look at the bottle\nThe bottle is dusty. Is this even yours, or is it left over from Marty?\n\nThe label has several large characters of what looks like a cross of Chinese, Cyrillic, and cuneiform. Small type beneath says  \"Divine Soda Mega Energy\". The label also has a drawing of a devil poking a man in the [bother]* with an electrified pitchfork. The man's eyes bulge and his mouth rounds into a scream.\n\nThe bottle is filled with a fluorescent pink liquid.\n\nYou start looking toward the door with an irksome dreaminess. Whatever else about Julia, the woman knows how to choose perfume. Of course, I'm not sure how much she's poured on herself that you can smell it this far away.\n\n(BTW: I've decided I'm just going to \"*\" whenever I have an aside. ASIDE or * and I'll tell you.)\n\n> You examine bottle\nThe only part of the label in English says \"Divine Soda Mega Energy.\" The bottle is filled with a fluorescent pink liquid.\n\n> You take the bottle\nYours, muttonplum.\n\nYou look toward the door: the perfume again. I agree that it's really appealing. But, still, this is Julia!*\n\n> Aside\nRemember when you first asked me out? I said, \"You already have a girlfriend.\"\n\"I wouldn't if I had known I was going to meet you.\"\n\"How charming. Will you say the same thing to the woman you dump me for?\"\n\"Julia and I aren't serious. She doesn't even care about me. I'm the respectable diversion after the mess with the emeritus history professor leaving his wife. The only reason she'd be upset is she's proud of her streak where no man has ever broken up with her.\"\n\n> Smell the perfume\nIt's annoying how smitten you seem to be with Julia's perfume. I'm not going to indulge you by describing its appeals in detail.\n\n> You open the bottle\nIt's open.\n\nYou're looking out the window again. A blond-haired father and even-blonder son are walking into the park from the east, and entering your view from the west is a zombie.\n\n> You drink liquid\nHoly [bother] is that strong! You feel like your brain is now a giant sparkler. You feel invincible. You feel like buying a circus. You feel like moving to South America and starting a revolution.\n\nDissertation? You feel like writing a trilogy. And an opera. You feel like fathering roomfuls of monkeys to type randomly until they write your dissertation for you.\n\nWhatever else, you're now plenty alert. (I'm e-mailing Marty to find out where I can get some of that.)\n\n> You write\n(first sitting on chair)\nCompletely, unblinkingly alert, you start thinking again about the first sentence. \"Previous scholarship has typically conceptualized...\" Six seconds later you check your e-mail. You switch back to your word processor for a bit, but then you start reading some blogs. You check your e-mail again. Then back to blogs.\n\nI suspect this is much of how the past several months in your office have gone.\n\n> You write\nYou start again. Except you immediately check your e-mail. Then you read some web comics. Then a few of your favourite Professor Detective fanblogs.\n\nPlease, gumnut. You need to focus.\n\nYou are distracted by Julia saying especially loudly \"...You could use mine to calculate pi...\"*\n\n> You focus\nFor me, honestly, it's as simple as that. For you, it's more difficult. You are still wonderful.\n\n> Aside\nRemember the story about how when Julia was in college, she told two math guys she'd hook up with whichever one memorised pi to the most places? She made them stand on chairs at a party, alternating digits until one of them missed. She claims it went on for two hours.\n\nThen she didn't even go home with the winner! Instead there was a Russian computer scientist who claimed he could spontaneously generate truly random digits. She said, \"Prove it!\" He said, \"Four!\" And she swooned and pulled him into a bathroom.\n\nI cannot believe she told you that story and you continued dating her.\n\n> You scream at Julia\nThat is what Julia wants. She wants you to engage her. She wants you to argue with her because she knows it will get you wound up and then you won't be able to concentrate the rest of the day. You must ignore her.\n\n> Kiss photo\nYou can only do that to something animate.\n\n> You examine the frame\nI took the concert flier from our first \"date\" and made it into a hard plastic laminate--you know, like a Shrinky Dink. I made a clear plastic sheet the same size to go over the front of the photograph. Then I fused a sturdy binder clip to the two pieces to hold everything in place.\n\nYou are thinking about your bag. Sure, it's unfortunate, but there's nothing you can do. So just forget about it.\n\n> You examine the window\n(standing up first)\nYour window is immediately behind your desk, about two metres high and one wide. It has an old grey blind, which is raised.\n\nOn the sill I am a bit surprised to see a lighter.\n\nYou look out the window. The zombie in the park is dressed like an investment banker, but you recognise him as a zombie because of the pasty skin, blood dripping from his mouth, and lurching gait. He pauses to look at his watch.\n\n> You take lighter\nYours, sticky pudding. It's hard for me to be enthusiastic about lighters as a woman who owns her own blowtorch.\n\n> Lower blind\nYou pull the cord and nothing happens. You complained to me about this weeks ago and I explained what the problem likely was and how to fix it. Remember?\n\nYou are distracted by Julia going on loudly about how you get a discount if you get both tongue piercings at the same time.\n\n> You look at the cord\nIt's a plain white cord, easily tangled.\n\n> You pull the cord\nYou pull the cord again and nothing happens. I think you'll have to get on your desk and look at the blind to figure out what's wrong.\n\n> You stand on stool\nThe stool creaks as you climb onto it.\n\nYou're looking out the window again. A second zombie enters the park from the east, holding a sign. The first zombie looks relieved.\n\n> You look at the blind\n(first getting off the stool)\nI wish the blind was more colourful. It's raised. There's a cord.\n\nI don't think you're going to be able to figure out what the problem is with the blind from down here. You'll have to get onto the desk.\n\n> You read the sign\nYou know those hipsters-dressed-up-as-zombies, they're always agitating about something.\n\nYou are distracted by Julia talking about her [bother]. I can't believe you dated someone so crass.\n\n> You stand on the desk\nYou climb onto your desk. Be careful, fruit cup.\n\n> You look at the blind\nYou can see what's wrong with the blind now. The little whatever is stuck.*  This is easy: you can just FIX it.\n\n> Aside\nActual-Me of course knows precisely what the whatever is called. I used the right term when I explained the workings of your blind to you at length on that napkin at WinkyDog. Imaginary-Me is using \"whatever\" because you don't remember.\n\n> You fix the blind\nYou squint at the whatever for awhile and fiddle. Squint, fiddle, still stuck. I think when I said you could easily fix it what I really meant was that, if I were there, I could easily fix it.\n\nSquint, fiddle, SNAP. You did it! Or, wait, maybe you broke it.\n\nLooking closer, you've definitely broken the whatever. Perhaps you've also fixed it. I can't tell.\n\nYour eyes go all dreamy again as the latest waft of Julia's perfume induces another galling little reverie. Ugh. You have to snap out of this.\n\n> You look at the blind\nThe blind is raised.\n\n> You pull the cord\nYou pull the cord and the blind lowers halfway, then stops.\n\n> You keep going\nYou raise the blind.\n\nYou're looking out the window again. The sign held by the zombie says \"Zombies Was People Too\". Another pair of people dressed up as zombies enter the park. One holds a sign saying \"Undead and Proud!\"\n\n> You pull blind\n(presuming you want to pull the cord)\nYou pull the cord and the blind lowers halfway again. That's all the lower it's going now that you've broken the whatever. Ugh.\n\n> You stand\nI'm confused. You're presently standing on the floor of your office.\n\n> You examine whatever\nIt's broken now.\n\nYou are distracted by Julia saying especially loudly, \"Impressive, huh? When I was in high school my guidance counsellor recommended that I become a contortionist.\"\n\n> You take whatever\nThat seems to be a part of the blind.\n\n> You write\n(first sitting on chair)\n(getting off the desk first)\nYou look at the blank screen for a few moments and then check your e-mail. You hit refresh just in case someone has e-mailed in the last four seconds. Now you are looking at procrastination self-help websites. I am trying to remain calm.\n\n> You write\nNo pretence, even: you start checking e-mail immediately. Now you are watching some random online food safety videos. We need to face the fact that you must somehow force yourself to be offline before you'll get any writing accomplished.\n\nYou are thinking about your bag again. \"Why am I always so forgetful?\" you say aloud. \"Why am always I so disorganized?\" Lorikeet, dwelling on it won't help. \"I know!\" you exclaim. \"Why do I always dwell on everything?\"\n\n> You examine computer\nThe PC is old but fine. Applications include a word processor, browser, chat, and e-mail.\n\nThe computer has a USB port in the front and is connected to the Internet with a cable in back.\n\n> You unplug the cable\nYou unplug the ethernet cable. Good! It has to be easier to write if you can't chat, check e-mail, and surf the web whenever you want.\n\n> You write\nYou resume thinking about the first sentence. You fidget. Your hands tremble a bit. You want to check your e-mail. You want to read blogs. And then: you retrieve the cable and plug it back into the computer.\n\nUgh. I didn't know it was this bad, spongemuffin. I don't know what to say.\n\nYou are distracted by Julia saying especially loudly, \"It's not so much that I'm double jointed as just very determined.\"\n\n> You unplug the cable\nDone, weet-bix. You're now holding the ethernet cable.\n\n> You open the window\n(standing up first)\nFor a graduate student like yourself, having an office with a window and a great view is almost too much to hope for. A window that actually opens is, in fact, too much to hope for.\n\n> You break the window\nIt's hard for me to see what purpose breaking your window would serve. More importantly, someone would almost certainly see and call campus security, and that will introduce new hassles to your afternoon and prevent you from getting any writing done.\n\nYou're looking out the window again. There are maybe a dozen zombies in the park now, lurching and milling about. Two unfurl a blood-spattered banner that says, \"What do we want? Brains! When do we want them? Brains!\"\n\n> You eat the cable\nI'm confused. That's not something you can eat.\n\n> You look at it\nI don't know why they've used a 50 foot ethernet cable when it's less than three feet from your computer to the jack. Much of the cable is dirty from all the dust and whatever else has collected underneath your desk.\n\nYou are distracted by Julia saying especially loudly, \"Sure, she's cute. If you can get past the mole.\"\n\nHey! Watch it, Julia.\n\n> You put the cable in the wastebasket\nYou put the blue ethernet cable into the wastebasket.\n\n> You write\n(first sitting on chair)\nYou try again. Two minutes later you take the cable and plug it back into the computer. You start idly googlestalking friends from primary school.\n\nOkay. We are not going to to be able to work out your \"internet addiction\" issues today, lemon squidgie. We need to figure out a way forward anyway.\n\n> You take the cable\nDone, berry smush. You're now holding the ethernet cable.\n\nMeanwhile, it has become officially disconcerting just how much you're distracted by Julia's strumpy perfume.\n\n> You take the balloon\n(standing up first)\nYours, pollywaffle.\n\n> You look in the cabinet'\nOn the cabinet's top is a spectacularly intricate origami trophy.\n\nYou're looking out the window again. The zombie march has attracted counter-protesters. One of them is an older man in overalls who is holding an American flag in one hand and a sign saying \"These colors don't lurch\" in the other.\n\n> You open the cabinet\nThat's already open.\n\n> You put the cable in it\nYou put the blue ethernet cable into the cabinet.\n\n> You close it\nThat's not something you can close.\n\nYou are distracted by Julia saying \"She makes things that look like summer camp crafts and tries to convince people they're art.\"\n\nI wonder if I'd get away with it if I killed her right before my flight leaves tomorrow morning.\n\n> Close cabinet\nYou close the cabinet.\n\n> You lock the cabinet with the key\nYou lock the cabinet. Clever little wallaroo.\n\n> You examine it\nIt's University Drab, about a metre high with a silly fake wood front. It's closed and locked.\n\nOn top of the cabinet is the opposite of drab: a stupendously intricate origami trophy.\n\nYou are thinking about your bag again. Honestly, you probably don't even really need a pen, except now you're obsessing about how you'd have a pen if only you hadn't forgotten your bag.\n\n> You put the key in the vent\nWhy would you think you can reach the vent from here?\n\n> You stand on the stool\nThe stool creaks again as you climb onto it.\n\n> You put the key in the vent\nWhy would you think you can reach the vent from here?\n\nYou are distracted by Julia loudly saying \"I bet when they first hooked up, she was like, 'Would you like to see my didgeridoo?'\" (That has to be the most gallingly inept fake Australian accent I have ever heard. She sounds like a Norwegian parakeet.)\n\n> Examine vent\n(first getting off the stool)\nIt's an ordinary vent with a metal grill.\n\nA purplish bit of something is under the right bottom corner of the vent. You can't see what it is from down here.\n\n> You look at the purplish\nYou can't really make out what the purplish bit is from down here. You'd need to move something over to the door that you can stand on.\n\n> You move the stool to the door\nThe stool is now by the door.\n\nYou're looking out the window again. A wood-panelled van pulls up on the street in front of the park. \"Wood-panelled\" doesn't perhaps describe it right, as it's more like someone put wood veneer around the entire frame of the van, to make it look like a ship or something.\n\n> You stand on the stool\nThe stool creaks once again as you climb onto it.\n\n> You examine purplish\nIt's some thread. But, like I said, nutter butter, it's stuck in the corner of the vent above you. If you want to get a good look at it, take it first.\n\n> You take it\nYours, cuttlefish.\n\nYou are distracted by Julia laughing and mock-shrieking \"Or maybe, 'Touch my kiwi! Touch my kiwi!'\" Ugh. How can someone almost have her Ph.D. and not know that kiwis are New Zealand, not Australia?\n\n> You examine thread\nIt's perhaps ten centimetres long. I adore lilac! I've a jumper this colour (I mean, a sweater--such a quirky word.)\n\n> You look at the vent\nThe vent has a square metal grill. You try to look into the vent but it's dark and you are still maybe 30 centimetres or more below it. You won't be able to see into the vent from here.\n\n> You open the vent\nI'm sure one day you'll have an office with a window you can open and a vent you can close. But not while you're a graduate student.\n\nYou have another incredibly annoying swoony moment because of Julia's perfume.\n\n> You examine the grill\nIt's just a metal grid. It's not the kind you can open or close.\n\n> You break the grill\nYou are trying to break random things as a way of procrastinating.\n\nYou're looking out the window again. The back door of the van opens and ten pirates storm out of the back, swords raised.\n\n> You stand\nYou are already on the stool.\n\n> You eat the key\nIt looks so easy in movies! You put it in your mouth and will yourself to swallow hard. But when the key is at the top of your throat, some primordial terror reflex kicks in and you cough the key back into your hand."
    },
    {
        "text": "> You look around\nBear in mind that, meanwhile, I'm using the walk-in closet of our apartment as a \"studio.\"\n\nYou've a quite large desk in front of a window, a resplendent yellow chair, a cabinet in one corner, an absurdly large cactus in another, and a tall bookcase on the back wall with an incredibly cute stool.\nThe door is west.\n\nOn the desk are your computer, my itinerary, a cleverly framed picture and a pile you cannot even contemplate. A miraculously intricate origami trophy sits on top of the cabinet. A wastebasket is on the floor.\n\nYou are distracted by Julia saying especially loudly, \"You've been working out. I've noticed.\"\n\nOh no.\n\n> You examine the bookcase\n(first getting off the stool)\nTwo weeks ago:\n\"Violet. Take this. Do not give it back to me for a month.\"\n\"Is this your car key?\"\n\"Just the trunk. The boot. I put all the books from my office in there.\"\n\"You said you just needed to read one more book and then you were ready to write.\"\n\"And you pointed out that I've said that several times before. You're right. I've read enough. I just need to get what's in my head onto the computer.\"\n\nOf course I'm so used to seeing your bookcase full that it's strange now to see it nearly empty.\n\nOn the second shelf is a book. On the bottom shelf is a smartly-done snowglobe.\n\n> You look behind bookcase\nNothing. I'm not sure what you were expecting.\n\n> You put the key behind it\nThe bookcase is bolted firmly to the wall.\n\nYour attention wanders as you start admonishing yourself again for forgetting your bag. Oh, sweateroo. Your gaze upward in self-loathing, whereupon you are suddenly distracted by something odd about the sprinkler in the corner above the cactus.\n\n> You look at the sprinkler\nRemember? Last October:\n\"Hey, wallaroo, why is there a pen between the sprinkler and the ceiling?\"\n\"It's been there since I moved in.\"\n\"How could somebody even wedge a pen up in there like that?\"\n\"It's even more mysterious considering that the previous occupant of this office was a dwarf.\"\n\"Marty! He was hilarious! Remember the prank with the disappearing ink toner cartridge?\"\n\"That was mostly you, dear. All Marty did was slip it in Julia's printer before her big presentation.\"\n\n> Examine book\nThis is the latest \"last book you really must read before you are able to write your dissertation without a nagging feeling that there is one more book you really must read.\" If you start reading it now, hours will go by, and you won't write your thousand words.\n\n> You examine the snowglobe\nIt's a glass globe with a plain wooden bottom. Inside is a happy winter scene, with a paunchy, smiling figurine in a white outfit and snow up to his ankles. His hands look like they are covered with chocolate.\n\n(BTW: you know full well that Marty is not a dwarf. He isn't even especially short.*)\n\n> You examine sprinkler\nThe sprinkler looks pretty ordinary. What's not ordinary is the pen that is wedged at an angle between the nozzle and the ceiling.\n\nYou are distracted by Julia squealing, \"Wait, it's your birthday, too? Why didn't you tell me earlier?\"\n\n> You examine the pen\nIt's a bright lavender tube, like the brand of gel-ink pen that Marty used to use. There are some scratchings on the side that look like letters, but from here you cannot read what it says.\n\n> Aside\nIt's interesting how your mind consistently malforms men who have crushes on me. Colin has three tiny birthmarks on his cheek and you call him \"Splotchy Boy.\"\n\n> You move the stool to the sprinkler\nIf you want to move the charming stool, possible places are to the DESK (where the chair is), to the DOOR (where the stool is), to the CORNER by the cactus, or to the BOOKCASE.\n\n> You move stool to the corner\nThe stool is now as close to the corner as it can get, considering that the pot and cactus are in the way. Because the floor here is uneven and the stool is flimsy, it's extremely wobbly. Please do not try to stand on it.\n\nYou're looking out the window again. A pirate with a sword attacks a zombie who protects himself with surprising agility for the recently reanimated. Another pirate affixes a mast to the top of the van.\nStill another hunches beside the van sticking a fake wooden leg over his real leg.\n\n> You look at the pot\nThe pot is big and looks like pewter. We've both been baffled at how heavy it is. I wonder if the business school professor had the cactus specially repotted before he left just to make it more expensive for Madison to dispose of.\n\n> You stand on the stool\nI wish you wouldn't, but, you climb on to the stool. You start reaching up to the sprinkler but then you begin to lose your balance and the stool tips over beneath you and you fall, hitting your head on the edge of the pot. You are out cold.\n\nIt's sad to think that perhaps our relationship would have been saved if only you'd kept ample office supplies on hand.\n\n> You look at the balloon\nIt's about 25 centimetres across, milky white rubber decorated with purple ink swirls. A strange furry thing is inside, its three long legs pressing against the sides. At the bottom of the balloon is a bright yellow tab on which I've written \"Pull me!\"\n\nYou are distracted by a startled grunt from Historic Pfister. I do not believe this is happening.\n\n> You pull the yellow tab\nYou pull the tab and the balloon deflates with a pop and whoosh. You hear me shout \"Happy birthday!\" and zestily toot a kazoo.\n\nWhat's left is a white rubber square with a message written on it. You are also holding the three-legged furry thing, which you now realise is an electronic device.\n\n> You examine the square\nIt's about 10 centimetres square and has a message handwritten in purple on it. One corner is a double piece stitched over so that it is like a tiny pouch.\n\nIn the \"pouch\" is a small chip.\n\n> You read it\nYou stretch the rubber square so that you can read what I've written:\n\nHappy birthday! I know you wanted a boring ordinary music player, but I got my brother to send the latest piece of consumer electronics GENIUS from the kangaroo corridor.\n\nBehold: the platyPod! Why three headphones? The middle one attaches by suction to your forehead for complete hands-free and display-free control. Not to mention kick-[bother] extra bass. Why is it furry? Don't ask me: Melbourne is in the throes of an epic fake-fur fad I don't understand. But this is going to be a HUGE hit, and not just among the armless blind.\n\nCharge it with your computer. Then SCRUNCH YOUR BROW to turn it on. I've already put some bonus presents on it.\n\nYou are my FAVOURITE!\nViolet\n\n> You examine the device\nIt looks like a set of over-the-head headphones, except there is a third one and it's covered with short, brown fur. There's a little plug that allows it to connect to the USB port of a computer. Tiny letters on the plug say \"platyPod.\"\n\nJulia's stupid perfume again. Remember when she was all excited to meet Lucy's brother after she heard he was a pheromone scientist?\n\n> You plug platyPod in the port\nYou plug in the platyPod. It will beep when it is fully charged.\n\n> You take the chip\nYours, chunky rabbit.\n\n(The rubber is really strong and stretchy for how thin it is, isn't it? I got it from a company that makes weapons-grade slingshots.)\n\nYou're looking out the window again. The zombies and pirates stop and point toward the sky to the west.\n\n> You look at the chip\nIt's like one of those chips in a musical greeting card, with a tiny plum-coloured \"V.\" painted on it. When you squeeze it you hear me shout \"Happy birthday!\" and then a cheery kazoo toot.\n\nBEEP-BEEP-BEEP! The platyPod is fully charged. You retrieve it and return to what you were doing.\n\n> You put chip in platyPod\nIt's just a customised version of one of those chips that are in musical greeting cards. You don't have to worry about trying to find something to put it into.\n\n> You squeeze the chip\nYou hear me shouting \"Happy birthday!\" followed by a cheery kazoo toot.\n\nYou are distracted by Historic Pfister making noises perhaps best characterised as mewling.\n\n> You wear platyPod\nThe platyPod fits nicely in your ears and against your forehead. It is switched off.\n\n> You turn it on\nThere's no switch of any kind of the platyPod. It's completely hands-free! (That is, once it's on your head.)\n\nThe rubber square has instructions for how to turn on the platyPod.\n\n> Nod\nProfessor Detective explains to Undergraduate Constable Duffy that a murderer who escapes justice will invariably kill again, and the same logic applies to plagiarists.\n\n> Nod\nThe Confounder has Professor Detective tied up in his secret hideout next to the cyclotron. The Confounder cackles and taunts, \"Let's see if tenure will save you now.\"\n\n> Nod\nProfessor Detective follows a shadowy figure into one of the steam tunnels underneath the engineering building.\n\n> Nod\nPrimrose sings about how she has a special purple pen that she uses when she writes about boys. I'm not sure I've ever heard a lead singer whose voice is so inconspicuous.\n\n> You jiggle head clockwise\nYou move your head in cute little clockwise circles. The volume is now so loud that you cannot hear Julia and Historic Pfister at all.\n\n> You check your inventory\nYou're carrying a small chip, a rubber square, a bit of lilac thread, a lighter, an empty plastic bottle, a notebook and a shiny little key, and you're wearing the platyPod.\n\nWarren is playing \"Someday They'll Go Too Far,\" which became a hit on local pirate radio stations after being discovered by school authorities and played on the evening news.\n\n> You shoot the key at the pen\nHmm. While I didn't have this in mind when I made it, the rubber square could be used like a slingshot if you put a suitable object in the little pouch.\n\n> You put the key in square\nThat isn't a container, spicy biscuit. Unless I'm misunderstanding what you are trying to do.\n\n> You put the key in the pouch\nAs strong and stretchy as the rubber is, you basically have a slingshot now that something is in the pouch. You could SHOOT SOMETHING. If I'm going to patent this, I should think about whether this unanticipated functionality exposes me to any legal risk.\n\nWarren is playing \"No Normal Boy Would Write That Song,\" recorded during a weekend furlough from a private psychiatric facility for troubled adolescent boys.\n\n> You shoot the pen\nThe key isn't going to work. It gets half-stuck coming out of the pouch and then just flutters to the floor.\n\n> You take pen\nYou can't reach it. The sprinkler is more than three metres off the floor.\n\n> You take the key\nYours, banana squizzle.\n\nYou have got to get over Julia's perfume. I am being indulgent with you here.\n\n> You put the chip in the pouch\nYou put the small chip into the rubber square's \"pouch\".\n\n> You shoot the pen\nThe chip isn't really a good shape for this. It flies in a odd arc and misses several feet to the right.\n\n> You take the chip\nYours, toaster strudel.\n\nYou're looking out the window again. The zombies and pirates have regained their composure and are lurching and marauding (respectively) toward the landed aircraft. The hatch at the bottom opens with strange green smoke billowing out.\n\n> You put the lighter in pouch\nThe lighter is a bit too long to fit in the pouch.\n\n> You examine bottle\nThe only part of the label in English says \"Divine Soda Mega Energy.\" The bottle is empty.\n\nYou look up at the ceiling. \"Colin wouldn't have forgotten his bag.\" you say ruefully. \"Colin would never be without a pen.\" Please, mintchip. This is not a helpful line of thinking.\n\n> You look at the cactus\nSupposedly the cactus belonged to a business school professor who left Madison for another university in a snit. An accidental transposition of numbers on a form caused it to be moved in here instead of University Botanical Disposal, and your department won't pay to move it again so it's been here for years.\n\nObtrusive, sure, but at least it hides that ugly pipe leading up to the sprinkler on your wall. Plus plants are cheery. I'm glad the pot is too heavy for you to be able to move it yourself.\n\n> You examine the pipe\nThe garish chrome pipe was obviously added sometime after the building was built, in response to some amendment to the fire code. It is flush against the wall and runs all the way up to a sprinkler that is only a few inches from the ceiling."
    },
    {
        "text": "> Describe the surroundings\nThere was a professor at uni in Melbourne who was sacked for living in an office smaller than this. He had a few kangaroos loose in the top paddock, as my mum would say.\n\nYou've a big desk in front of a window, a gorgeous yellow chair, a cabinet in one corner, a giant cactus in another, and a tall bookcase on the back wall with an incredibly cute stool. The door is west.\n\nOn the desk are your computer, my itinerary, a cleverly framed picture and a pile you cannot even contemplate. A fabulously intricate origami trophy sits on top of the cabinet. The bookcase contains a book and a smartly-done snowglobe. A wastebasket is on the floor.\n\nWarren is playing \"My Lonesome Pain is Not A Polka\" from We Paid You For Happy, the artistic breakthrough composed while he supported himself with gigs at family reunions and retirement centres.\n\n> You look in the wastebasket\nIt's the standard issue University Dreary--sullen cousin of University Drab--metal wastebasket.\n\nA wad of gum is stuck to the wastebasket's rim.\n\n> You take the gum\nYou pull the gum off the wastebasket's rim. Ick.\n\n> You put the gum in the pouch\nYou put the piece of Two Bob Slobber bubble gum into the rubber square's \"pouch\".\n\nYou're looking out the window again. Two aliens step through the hatch, green skin and giant foreheads. Eight other aliens jump out of the bushes and start attacking the pirates and zombies with these silver sticks that have a chartreuse coil wrapped around them.\n\n> You shoot the pen\nThe gum is maybe not quite dense enough to work. It flies in a looping arc and hits the ceiling several inches from the sprinkler without much velocity.\n\n> You take the gum\nYours, crunchie.\n\n> You look under the desk\nUnderneath your desk you see the amethyst-encrusted Sword Of Dissertator Melancholia.\n\nWarren is playing from Drumsticks, the bootleg album recorded during a performance at a family fried chicken restaurant.\n\n> You examine Sword\nWallaroo. I was just kidding about there being a hitherto unnoticed \"Sword Of Dissertator Melancholia\" under your desk.\n\n> You look at Sword\nDon't belabour the joke. There is no sword here.\n\n> Xyzzy\nThat time on the sixth floor of the library:\n\"Violet, that was-- that was--\"\n\"Magical?\"\n\"How did you do that?\"\n\"Any sufficiently awesome girlfriend is indistinguishable from magic.\"\n\n> You move the wastebasket\nMoving the wastebasket around your office isn't going to accomplish anything, cheese nip.\n\nWarren is playing \"You With the Notepad,\" the stunning and entirely improvised final track done without once breaking eye contact with a woman later identified as Francine Kinkle, music editor for a local college newspaper.\n\n> You examine the frame\nAs I said, I took the concert flier from our first \"date\" and made it into a hard plastic laminate--you know, like a Shrinky Dink. I made a clear plastic sheet the same size to go over the front of the photograph. Then I fused a sturdy binder clip to the two pieces to hold everything in place.\n\n> You examine clip\nI've fused the binder clip to the rest of the frame. You can't do anything to it without breaking the frame, which, it goes without saying, has considerable sentimental value for us both.\n\n> You look in the trophy\nIt's exactly the same shape as the trophy they give to the winner of Sydney's Marathon. Bright fuchsia lines curl in and out of the folds.\n\nI am going to be so angry if you're hiding a story about Julia doing some kind of Pavlovian conditioning experiments on you with the perfume when the two of you dated.*\n\n> Aside\nDon't even try to act like that's implausible. Julia is so twisted. This is the woman who once asked if she could put on an album of recorded 911 calls while the two of you were intimate. (And you continued dating her afterwards! Unbelievable!)\n\n> Unfold trophy\nYou take the trophy I made for you and methodically unfold it. I cannot decide whether to be exasperated or moved by how you are so careful not to tear it. You're now holding a crumply sign, about a metre square.\n\nUgh. I was so excited to give you that trophy. I realise you are desperate because you don't want me to leave. You can do this. I am cheering for you.\n\n> You examine the sign\nIt's all crumply now. The bright fuchsia letters say:\n\nFAVOURITE!\n\n> You cover the window with the sign\n(putting the crumply sign on the sill)\nYou put the sign on the sill. The sign and the blind together now block the view out your window entirely.\n\n> You throw rubber at the pen\nIt's too flappy. It ends up just fluttering to the floor.\n\nYou look up at the ceiling again. \"Colin finished his Ph.D. Colin has a job at Yale.\" Colin is not germane to your current predicament.\nIt's just a pen.\n\n> You take the rubber\nYours, teacake.\n\n> You examine the floor\nIt's drab and would look much better if we found a rug that matched the chair. (I'm not sure why I am so preoccupied with your office decor when what I want is for you to finish so we can get out of Madison.)\n\nThe floor slopes alarmingly downward over in the corner by the cactus, like that whole part of the room may be about to collapse.\n\nOn your floor is a wastebasket.\n\n> You look at the walls\nRemember how Marty hung a couple of his paintings when this was his office? I wish you'd put up at least a couple posters. Your walls are so dreary and bare. Not anything to worry about today, of course.\n\nThe lightswitch is on the wall by the door.\n\n> You examine the lightswitch\nIt's just an ordinary lightswitch. The light is on.\n\nWarren is playing the title track from Francine. (Actually, all 37 songs on the album are officially titled \"Francine.\")\n\n> You look at the light\nIt's a long, unadorned fluorescent bulb, like there is in all the other graduate student offices in the building. I am so glad I bought the happy light for my studio. There is no way I would get work done during the winter in Madison without it. I'm so glad it's finally spring.\n\n> You look at chair\nIt was just some dreary old office chair that they dragged up from the basement for you, but then I came up one weekend with this amazing yellow veloury-pleatherish fabric and upholstered it.\n\n> You take the snowglobe\nYours, marshmallow twimble. I still can't believe I stayed up two nights straight making it.\n\nWarren is playing the song unofficially titled \"Parking Garage,\" following the convention of identifying tracks on Francine by the location of the tryst the liner notes say inspired them.\n\n> You examine it\nIt's a glass globe with a plain wooden bottom. Inside is a happy winter scene, with a paunchy, smiling figurine in a white outfit and snow up to his ankles. His hands look like they are covered with chocolate.\n\n> You break it\nBut, you said you thought it was brilliant. Why would you want to break it?\n\n> You shake it\nYou shake the globe vigorously. The snow starts swirling around the globe, turning pink and then red.\n\nRemember? Watching television at midnight:\n\"The Saskatoon Strangler. He killed six people before being arrested by the mounties in 1986.\"\n\"A documentary about a serial killer at bedtime?\"\n\"Only six people, Violet. Plus, he worked as a confectioner!\"\n\"If I can't sleep, you can't complain about the noise when I start working on something.\"\n\nWarren is playing \"Booth Seven at Steak'n'Shake,\" the track on Francine that got him tour dates opening for ironic death metal icon Jimmy Catkicker.\n\n> You look at the bottom shelf\nYou see nothing special about the bottom shelf.\n\nYou're distracted by Julia's perfume again. I'm sure she sprayed on a second gallon this morning just to sidetrack you.\n\n> Examine book\nSure, the book looks like something you'd find interesting. I'm not going to describe its contents any further, though, as I don't want to risk enticing you to start reading it.\n\n> You examine the pile\nIt's detritus from teaching, a couple unfinished side projects, and the earlier dissertation topic that you asked We Never Speak Of Again.\nIt's been accumulating and now makes you feel too overwhelmed even to contemplate.\n\nExcept today, when you absolutely must write, you are feeling an overwhelming urge to tidy it.\n\n> Search pile\nWhat you really feel compelled to do with the pile is tidy it.\n\n> Tidy pile\nYou pick up one thing, then put it back down. You pick up another then put that down. You start thinking that what you really need is comprehensive office-straightening solution. You're thinking about making a diagram, maybe a spreadsheet.\n\nSTOP. This is not what you should be doing today.\n\nOut of the pile, however, you do pick up a potato gem.\n\n> You examine the gem\n(I always forget they aren't called potato gems here. Just like I can never remember that it's \"cotton candy\" instead of \"fairy floss.\")\n\nI think you brought tater tots for your lunch a fortnight ago. I hope it's not older than that.\n\nWarren is playing from his follow-up album to Francine, which was also titled Francine.\n\n> You put the gem in the pouch\nYou put the tater tot into the rubber square's \"pouch\".\n\n> You shoot the pen\nYou're a very good shot. I guess you were serious about that spooky bowhunting uncle. The tater tot misses the pen by less than half an inch and hits the wall, where it shatters.\n\nI think you've the right idea, though. One more shot and I bet you'll hit it.\n\n> You examine the desk\nIt's an enviable desk, even if someone did die on it. On top are your computer, my itinerary, a cleverly framed picture and a pile you cannot even contemplate.\n\nThe desk's drawer is empty. A wastebasket is on the floor to the left.\n\nWarren is playing excerpts from \"Why?,\" originally an eighty-three minute song in which he stops playing once to cry and twice to leave voicemails for Francine.\n\n> You write\n(first sitting on chair)\nWithin three minutes you've taken the cable out of the cabinet and are watching a video of a dog dressed as a ballerina. Oh, plucky wombat. If you can't be disciplined, then you'll have to be clever.\n\nYou do unplug the cable again and lock it back in the cabinet. Now, what to do with the key?\n\n> You put key in the pouch\nYou put the shiny little key into the rubber square's \"pouch\".\n\n> You shoot the pen\nThe key isn't going to work. It gets half-stuck coming out of the pouch and then just flutters to the floor.\n\n> You take the key\nYours, plucky wombat.\n\n> You put the gum in the pouch\nYou put the piece of Two Bob Slobber bubble gum into the rubber square's \"pouch\".\n\nWarren is playing \"It's Because He Plays Guitar, Isn't it?\"\n\n> You take the gum\nYours, honeytoast.\n\n> You put the gum on the key\nClever, wonkabar. Unfortunately, the gum's not that sticky. You'd just peel it off again.\n\n> Chew gum\nWhen I made you try it before, you said that it tastes sort of like American bubble gum, only if one added soy sauce, pieces of pickled meat, and a bit of blood.\n\nAnd add to that now a strong mildew taste. Yuck. You gag and spit the gum back out.\n\n> You put the gum on key\nUnfortunately, the gum's not that sticky. You'd just peel it off again.\n\nDon't think you can stealthy-sniff and I won't notice. You need to get over that perfume.\n\n> Break frame\nYou try to break the frame gently. I fused the binder clip well, however, so you end up having to pull and twist to get it apart. When you do, the front and back each break into several pieces, and so what is now on the desk along with the binder clip and photograph are some pitiful little plastic shards.\n\nObviously I won't be able to repair it.\n\nI loved that frame. I'm not sure what you are expecting me to say. Hooray?\n\nRemember when I handed you the itinerary last night? Your response: \"So I have tomorrow. What do I need to do?\"\n\n> You take the clip\n\"Please,\" I told you, \"I don't want yet another promise.\"\n\"I will write tomorrow. I will write every day until it is done.\"\n\"You won't. You'll have reasons, excuses. Maybe more lies. I can't believe you've been lying--\"\n\"Violet, I will write one thousand words tomorrow. I will bring the pages to you as proof. I will do this every day.\"\n\n> You put clip in the pouch\nThen I covered my face with my hands because otherwise I wouldn't have been able to say it:\n\"You won't. I know you believe that you will. But you won't actually do it.\"\n\"Of course I will, Violet. I have to.\"\n\"And yet you won't. That's how we're stuck. I can't keep waiting and pretending. Every day? Budgie, you won't even do it tomorrow.\"\n\"I will. One thousand words. Nothing will stop me.\"\n\nI need for you to write today. I wish you could just sit and type. I realise you can't. Of course it hurts to watch you destroy things I spent days making for you. But do whatever you must. I don't want to leave you.\nJust because you are imagining me doesn't mean I'm a mindreader.\n\n> You put the clip in the pouch\nYou need to be holding the binder clip before you can put it into something else.\n\nYou start doing your Colin imitation. \"Why, Violet, as I was reading the proofs of my second book last night, I started thinking about that boyfriend of yours. How is he? Still fussing about not having a pen?\"\n\n> You take the clip\nYours, jellysquish.\n\n> You put clip in the pouch\nYou put the binder clip into the rubber square's \"pouch\".\n\n> You put the clip on nose\n(first taking the binder clip)\nYou've put the binder clip on your nose.\n\n> Smell\nI don't see what you are talking about.\n\nYou can't smell anything now that you've a binder clip on your nose, so you're liberated from Julia's perfume ruining your concentration.\n\n> You write\n(first sitting on chair)\nWithin three minutes you've taken the cable out of the cabinet and are watching a video of a dog dressed as a ballerina. Oh, chutney. If you can't be disciplined, then you'll have to be clever.\n\nYou do unplug the cable again and lock it back in the cabinet. Now, what to do with the key?\n\n> You examine photo\nI've already described the photograph of me with the giant foam lobster on my head. I am definitely worth a thousand words.\n\nWarren is playing from Listen, one of the few known albums in which a single artist plays guitar and accordion simultaneously."
    },
    {
        "text": "[Themes: Slice of life, Romance, Collegiate, anxiety, sexuality choice, humor, gender choice, slice of life, procrastination]\n\n> You look around\nI'm surprised you don't have any pictures from home up, but I can be especially sentimental since home for me involves crossing both the equator and International Date Line.\n\nYou've a great big desk in front of a window, a resplendent yellow chair, a cabinet in one corner, a giant cactus in another, and a tall bookcase on the back wall with an incredibly cute stool. The door is west.\n\nOn the desk are some pitiful little plastic shards, a photograph, your computer, my itinerary and a pile you cannot even contemplate. The bookcase holds a book. A wastebasket is on the floor.\n\n> You look at the shards\nThe red and black plastic shards were once part of a frame I lovingly made for you, and before that they were part of a poster from the concert we attended on our first date. Now they are useless.\n\n> You tie the thread to the key\nIn Melbourne we had to be able to tie ten different kinds of knots in order to graduate from secondary school. I'm not sure what would be accomplished by trying to tie the thread to the shiny little key, though.\n\nWarren is playing \"Can Jimmy Do This?,\" which one music critic called \"the most ambitious guitar solo ever by someone who had been playing the instrument for less than a week.\"\n\n> You examine the itinerary\nA printout of an airline receipt for a certain Ms. Violet C., for a flight from Madison to Chicago to Los Angeles to Auckland to Melbourne. One-way, refundable. Departing early tomorrow morning.\n\n> You read the notebook\nThis page has two drawings of your advisor. On the left she looks enthusiastic; on the right, worried and disappointed. The speech balloon on the left says \"Think big! I've never had a student with so much potential!\" The balloon on the right says, \"THE BEST DISSERTATION IS A DONE DISSERTATION.\"\n\nYour advisor is nutty anyway. I'm still angry about the time she made you catsit.\n\n> You put the key under the door\nYou slide the key under the door. It feels good to be rid of it.\n\nA few moments later you hear a noise and look down to see the key skidding back under your door.\n\n> You take key\nYours, rockmelon.\n\nWarren is playing \"An Inch Too Tall\" from Not Exactly Fair To Them, recorded during the extended tour that followed Listen.\n\n> Break key\nIt's a spunky little key. You can't break it.\n\n> Contemplate pile\nYou can't without becoming a puddle. This is what I'm saying.\n\n> You examine computer\nThe PC is old but fine. Applications include a word processor, browser, chat, and e-mail.\n\nYour computer is disconnected from the Internet.\n\n> You move the bookcase\nIt's bolted to the wall.\n\nYou look up. \"Colin would never--\" ENOUGH. Colin has no relevance to this whatsoever.\n\n> You examine the desk\nIt's an excellent desk, even if someone did keel over on it. On top are some pitiful little plastic shards, a photograph, your computer, my itinerary and a pile you cannot even contemplate.\n\nThe desk's drawer is empty. A wastebasket is on the floor to the left.\n\n> You take the drawer\nThat seems to be a part of your desk.\n\n> You take shards\nYours, marble munch.\n\nWarren is playing \"Hedge Clippers\" from This Is What You Drove Me To, Mrs. Kinkle-Catkicker.\n\n> Chew gum\nNo way are you putting that back in your mouth.\n\n> You examine the gum\nIt's a slightly wet pink blob with little specks of brown.\n\n> You put the gum on key\nUnfortunately, the gum's not that sticky. You'd just peel it off again.\n\n> You look at what you're carrying with you\nYou're carrying some pitiful little plastic shards, a shiny little key, a pink sticky blob of bubble gum, a deftly-crafted snowglobe, a rubber square, a small chip, a bit of lilac thread, a lighter, an empty plastic bottle and a notebook, and you're wearing the platyPod.\n\nYou also have a binder clip on your nose.\n\nWarren is playing \"Bagel Slicer,\" in which his playing is spirited but clearly far below his usual skills.\n\n> You open the snowglobe\nOf course you can't open the snowglobe. I sealed it with industrial glue.\n\n> You look at platyPod\nPresumably it looks like a three-legged space creature is attacking your head. Comfy, though.\n\n> You examine lighter\nThe lighter is promoting some race car driver whose car is #67. Our Number.\n\nI was tipsy at a party and you were one of four random dudes trying to talk to me at once. I interrupted to tell my favourite joke. \"Why is six afraid of seven?\"\n\"Because seven eight--\"\n\"No!\" I shouted, \"Because seven [the sickest thing I could come up with at the moment] nine.\"\n\nThe other men chuckled uncomfortably. You laughed so hard you spit Guinness on my face. That was when I decided I liked you.\n\n> You open the lighter\nThat's not something you can open.\n\nWarren is playing \"Teeth,\" in which obviously substandard musicianship is accompanied by complaints about the difficulty playing with only one finger.\n\n> You examine the cabinet\nIt's University Drab, about a metre high with a silly fake wood front. It's closed and locked.\n\n> You open the door\nYou are going to open the door while your ex-girlfriend is hooking up with someone right across the hall? And then what? Do you really think that whatever happens is going to be something where you'll be able to write afterwards? You need to stay here and focus.\n\n> You turn off the light\nDone. The room is much dimmer, with most of the light coming from the computer.\n\nYou pause for a moment. Your shoulders slump. You say \"Colin--,\" then stop. You're thinking about the pen again, aren't you?"
    },
    {
        "text": "[Themes: Slice of life, Collegiate, Romance, anxiety, humor]\n\n> Look around\nHere in your office, you have a huge desk, a gorgeous yellow chair, a cabinet, a giant cactus, a tall bookcase, and an incredibly cute stool.\n\nOn the desk are a photograph, your computer, my itinerary and a pile you cannot even contemplate. The bookcase contains a book. A wastebasket is on the floor.\n\n> You turn on the light\nFine. That's better than having the light only coming from the computer.\n\n> You stand on the bookcase\nThis is how office furniture at Wisconsin works: the bookcase is bolted to the wall, and yet the shelves are so rickety that I'm sure if you try to climb the bookcase, one of them will collapse and you'll sprain something.\n\n> You stand on the stool\nThe stool creaks once again as you climb onto it.\n\nWarren is playing \"So I Lied (Pathetic, I Know),\" from the compilation of songs he mailed to his manager at erratic intervals from different locations in the rural West.\n\n> You examine the bookcase\nI think it was smart of you to take away your books, although of course now the bookcase does look dreary.\n\nOn the second shelf is a book.\n\n> You examine whatever\n(first getting off the stool)\nIt's broken now.\n\n> You examine blind\nAs I've already said, I wish the blind was more colourful. I also wish it wasn't stuck halfway down the window.\n\n> You look at the sill\nThe sill is behind and slightly below the desk. It's painted white.\n\nOn the sill is a crumply sign.\n\n> You search pipe\nThe garish chrome pipe was obviously added sometime after the building was built, in response to some amendment to the fire code. It is flush against the wall and runs all the way up to a sprinkler that is only a few inches from the ceiling.\n\nWarren is playing \"Your Cult Sounds Pretty Cool,\" his last known recording.\n\n> You open the window\nFor a graduate student like yourself, having an office with a window and a great view is almost too much to hope for. A window that actually opens is, in fact, too much to hope for.\n\n> You eat the key\nNot to suggest you're wimpy, but I could swallow that key if I had to. I don't know if you are too squeamish or what. You gag wildly and cough up the key almost immediately.\n\n> You eat key\nIt's not going to work, sticky pudding. You are lucky you didn't vomit the last time.\n\n> You open the gum\nThat's not something you can open.\n\nWarren Tim Harried is playing \"Please Don't (My Grandma Gave Me That)\" from Runt with an Accordion, recorded when he was fourteen years old.\n\n> You look at the wastebasket\nIt's the standard issue University Dreary metal wastebasket.\n\n> You look under the desk\nUnderneath your desk is a portal to an enchanted realm about to be destroyed by an evil sorcerer who can only by stopped by you--you, the lost prince, possessor of hitherto untapped wizarding powers that are your sacred birthright.\n\nPlus, if you succeed, a team of faerie elves will write your dissertation for you.\n\n> You examine the portal\nI wish there really was a portal. Faerie elves rock.\n\nOkay. You should go back to trying to write.\n\n> You move the stool to the door\nThe stool is now by the door.\n\nYou pause and look wallowy. You slouch. It's just a pen. Please.\n\n> You stand on the stool\nThe stool creaks once again as you climb onto it.\n\n> You look at the vent\nThe vent has a square metal grill. You try to look into the vent but it's dark and you are still maybe 30 centimetres or more below it. You won't be able to see into the vent from here.\n\n> Light lighter\nThe lighter ultimately doesn't work well, just flickering enough that you can maybe BURN something. (Burning things! Yay!)  You wouldn't be able to use it as a source of illumination.\n\n> Burn cactus\n(first getting off the stool)\nWhen my brother did his year abroad in the US, it was at a place called the Burning Cactus ranch. Did I ever tell you that? I guess I must've. Anyway, it would be fabulous to set the cactus on fire, but you don't seem to be able to manage it with the lighter.\n\n> Burn snowglobe\nI don't see how you'd be able to burn that.\n\nWarren is playing \"Someday They'll Go Too Far,\" which became a hit on local pirate radio stations after being discovered by school authorities and played on the evening news.\n\n> You look at the stool\nRemember? Me, looking triumphant as I haul the flimsy stool into our apartment:\n\"Look what I found in the dumpster! Just what you need!\"\n\"Do you think it will collapse if I stand on it?\"\n\"Not immediately. Just be careful.\"\n\"I can't believe the secretary said I was 'undeserving' when I asked if I could have a stool.\"\n\"This stool is better, anyway. Maybe I'll paint it!\"\n\n> You look under the desk\nOK. I'm done with this. There's actually nothing under your desk.\n\n> You examine photo\nI've already described the photograph of me with the giant foam lobster on my head. I am definitely worth a thousand words.\n\n> You turn the photo over\nI understand neither what you are wanting to do nor why.\n\nWarren is playing \"No Normal Boy Would Write That Song,\" recorded during a weekend furlough from a private psychiatric facility for troubled adolescent boys.\n\n> You examine the dissertation\nYou've made some really handsome margin and font choices already for your dissertation, wallaroo. Now all you need is text.\n\n> About yourself\nYou look tired, which is understandable given the length of our \"discussion\" last night.\n\nYou're carrying some pitiful little plastic shards, a shiny little key, a pink sticky blob of bubble gum, a deftly-crafted snowglobe, a rubber square, a small chip, a bit of lilac thread, a lighter, an empty plastic bottle and a notebook, and you're wearing the platyPod.\n\nYou also have a binder clip on your nose.\n\n> You put the key in the bottle\nI'm not sure what that would accomplish. If you put the key in the bottle, you'll just be able to get it back out again.\n\n> Burn bottle\nI don't see how you'd be able to burn that.\n\nWarren is playing \"My Lonesome Pain is Not A Polka\" from We Paid You For Happy, the artistic breakthrough composed while he supported himself with gigs at family reunions and retirement centres.\n\n> You look at the notebook\nIt's a smallish notebook, about 10x15 centimetres. As you're holding it now, the cover features Professor Detective telling Undergraduate Constable Duffy, \"In both my vocations, intelligence means little without DISCIPLINE.\"\n\n> You read the notebook\nOn the top half of this page are a few beginnings of sentences, all crossed out. On the bottom you've written:\n\nlazy lazy\nlazy    lazy    lazy\nlazy   lazy\nlazy   lazy     lazy\nlazy    lazy\n\nWallaroo. You are not lazy.\n\n> You read the notebook\nOn this page you've just written:\n\nFAILURE\nFAILURE\nFAILURE\nFAILURE\nFAILURE\n\nYou are such a drama queen. We are going to get your dissertation unstuck today. You'll wish you'd thought to bring me along sooner.\n\n> You read the notebook\nThe remaining pages of the notebook are blank.\n\nYou pause and look morose. You do the thing where you put your hands on your temples and start tugging your hair. Please forget about the pen.\n\n> You break the window\nIt's hard for me to see what purpose breaking your window would serve. More importantly, someone would almost certainly see and call campus security, and that will introduce new hassles to your afternoon and prevent you from getting any writing done.\n\n> Break key\nIt's a spunky little key. You can't break it.\n\n> Break stool\nWhy would you do that? Besides my having painted the stool so lovely for you, you wouldn't be able to get to anything on top of the bookcase anymore.\n\n> Break snowglobe\nUgh. Okay. You break the snowglobe against the pipe. You pick up the figurine and the base, the latter of which you realise now was just a coaster I took from the kitchen. You leave the broken glass on the floor.\n\nI can make another snowglobe easy enough. The figurine is intact, and that's the part that took more than two days.\n\nWarren is playing from Drumsticks, the bootleg album recorded during a performance at a family fried chicken restaurant.\n\n> You examine the coaster\nIt's a University of Wisconsin coaster, with a photo of the mascot Bucky Badger on the front. Bucky's beady eyes never fail to creep me out.\n\n> You put the coaster in the pouch\nThe coaster is too big to fit in the pouch.\n\n> You examine the figurine\nLuckily he's not damaged. He looks smaller outside the globe. I don't know if I will want to make another snowglobe or do something different.\n\n> You put the figurine in the pouch\nDone. I'm not sure I like this.\n\n> You shoot the pen\nThe Saskastoon Strangler sails through the air and hits the pen headfirst, knocking it loose. The pen falls to the floor. The figurine careens ahead into the wall and shatters.\n\nUnbelievable. Un-be-[bother]ing-lievable.\n\nRemember? That night sitting on the swings, shortly after we started dating? I was emphatic that we had to end this before we got serious.\n\"But, Violet,\" you said, \"I'm already serious.\"\n\"Coming to Wisconsin was supposed to be a great adventure. I didn't know it was so cold. I thought Madison was bigger. I miss my family. My friends are all leaving when they finish their MFAs. Mine is already done. We only have a future if I stay. And if I stay, I would just be waiting.\"\nWe had that conversation the day after you turned 28, because I was determined to break up with you and thought only a cretin would dump someone on their birthday.\n\nYou convinced me to stay. You said you would be done in a year, a year and a half at the most. Instead: two years now. Two years. And this is what you need to do because you can't just sit your [bother] down and write?\n\nI know you aren't doing this to hurt me. I'll try go back to being Your Upbeat Aussie Girlfriend. But, honestly: what am I supposed to think here? How am I supposed to feel?\n\n> You take the pen\nYours, weet-bix.\n\nWarren is playing \"You With the Notepad,\" the stunning and entirely improvised final track done without once breaking eye contact with a woman later identified as Francine Kinkle, music editor for a local college newspaper.\n\n> You examine the sprinkler\nIt looks like an ordinary sprinkler. Nothing intriguing about it.\n\n> You write\n(first sitting on chair)\nWithin three minutes you've taken the cable out of the cabinet and are watching a video of a dog dressed as a ballerina. Oh, dundeecake. If you can't be disciplined, then you'll have to be clever.\n\nYou do unplug the cable again and lock it back in the cabinet. Now, what to do with the key?\n\n> You check what you're carrying\nYou're carrying a shiny little key, a pen, a coaster, some pitiful little plastic shards, a pink sticky blob of bubble gum, a rubber square, a small chip, a bit of lilac thread, a lighter, an empty plastic bottle and a notebook, and you're wearing the platyPod.\n\nYou also have a binder clip on your nose.\n\n> You eat the key\nIt's not going to work, berry smush. You are lucky you didn't vomit the last time.\n\nWarren is playing the title track from Francine. (Actually, all 37 songs on the album are officially titled \"Francine.\")\n\n> You put the key under the door\nA few moments later someone has slid the key back into your office.\n\n> You take the key\nYours, wallaroo.\n\n> You put key in the pouch\nYou put the shiny little key into the rubber square's \"pouch\".\n\n> You take the key\nYours, wallaroo.\n\nWarren is playing the song unofficially titled \"Parking Garage,\" following the convention of identifying tracks on Francine by the location of the tryst the liner notes say inspired them.\n\n> You put the key in the pot\nThat won't work. You would just fish it out again later, dundeecake.\n\n> You put the key in the computer\nThat isn't a container, wallaroo. Unless I'm misunderstanding what you are trying to do.\n\n> You unscrew pen\nNothing obvious happens.\n\n> You examine the pen\nWith its cap on it looks like a bright lavender tube. Crudely etched on the side is a message:\n\nEek. Apparently Marty had it for me worse than I realised.\n\n> You remove the cap\nWhen you take off the cap, purple gunk sprays out of it and all over your clothes. Marty!\n\nI don't know how he rigged that. I also don't know why men conclude that the best way of expressing anguish over me is through some display of mechanical cleverness. Remember Colin and the 50-foot aluminium peacock?\n\nThe pen itself actually works. Of course, your clothes are ruined. Worse, you are starting to itch.\n\nWarren is playing \"Booth Seven at Steak'n'Shake,\" the track on Francine that got him tour dates opening for ironic death metal icon Jimmy Catkicker.\n\n> You examine the clothes\nI don't know what the purple gunk is, but it's certainly making you itch.\n\nYou are itchy.\n\n> You remove the clothes\nYou place your clothes neatly next to the cactus.\n\nSo now you're standing in your office naked, with a red binder clip on your nose and what looks like a furry three-legged space creature on your head.\n\nYou are ready to write now. I can feel it.\n\n> You examine the cap\nIt's a completely ordinary pen cap. I still don't understand how Marty rigged it to squirt that purple gunk.\n\n> You examine the tattoo\n\"TYVTWD\" in red marker on the back of your right hand.\n\n> You throw the key at the light\nI don't see what that would accomplish. Please just write.\n\nWarren is playing from his follow-up album to Francine, which was also titled Francine.\n\n> You look\nHere in your office, you have a huge desk, a resplendent yellow chair, a cabinet, a giant cactus, a tall bookcase, and an incredibly cute stool.\n\nOn the desk are a photograph, your computer, my itinerary and a pile you cannot even contemplate. The bookcase holds a book. In addition, on the floor are your clothes, fake snow and a wastebasket.\n\n> You put the key on the top of the bookcase\nThe bookcase is too tall for you to put anything on top of it unless you are standing on the stool.\n\n> You move the stool to the bookcase\nThe stool is now back in its intended location by the bookcase.\n\nWarren is playing excerpts from \"Why?,\" originally an eighty-three minute song in which he stops playing once to cry and twice to leave voicemails for Francine.\n\n> You stand on the bookcase\nThis is how office furniture at Wisconsin works: the bookcase is bolted to the wall, and yet the shelves are so rickety that I'm sure if you try to climb the bookcase, one of them will collapse and you'll sprain something.\n\n> You put key on the top of the bookcase\nCurious, dundeecake. Done.\n\n> You stand\nYou are already on the stool.\n\n> You get off the stool\nYou get off the stool.\n\nWarren is playing \"It's Because He Plays Guitar, Isn't it?\"\n\n> Break stool\nGently, but irreparably, you break the stool.\n\nI know it was practically broken already, but I loved that stool. I know I said to do \"whatever you must.\" It still hurts to watch what that \"must\" is taking from us.\n\nUltimately, yes, I understand. Then again, I'm speaking just as your imaginary rendition of me. Actual-Me was already fed up enough to buy a plane ticket; I'm not sure how you expect to explain this.\n\n> You write\n(first sitting on chair)\nYou try again. Within a few seconds you start wondering what the fear of writing is called. Scribophobia? Graphophobia? You go to look it up online. You can't. You itch to check your e-mail. You can't.\n\nSo you start thinking about Chapter 3 again. Woo-woo! The train of ideas is finally pulling into keyboard station. I can see the first sentence now.\n\nBut the music is so loud that it spoils your concentration and everything derails. Ugh. It's like trying to write while sitting next to the amps at a concert. I didn't think I could possibly hate Julia any worse than after she posted my cell phone # on those marsupial fetish listservs. You cannot let her win.\n\n> You raise the right eyebrow\nThe platyPod clicks and the oz-hop you fail to properly appreciate resumes.\n\n> You write\nThe volume on the platyPod is too loud for you to concentrate.\n\nNot to be morbid, but it's too bad you aren't a bit hard of hearing. Then the platyPod could block out the remaining noise without being too loud.\n\n> You jiggle head clockwise\nYou move your head in adorable little clockwise circles. TOO LOUD!\nTOO LOUD! You jiggle your head anticlockwise to turn it back down.\n\nYou glance over to the book. You're fidgeting. You know you've already more than enough ideas for a first draft. Just put the book out of your mind today.\n\n> Burn book\n(standing up first)\nGee, budgie. Far be it from me to be the moral conscience when fire is involved, but that's a library book. There's bound to be a hefty fine. And it seems a little insane. If you really want to, we can, but it shouldn't be a rash decision.\n\n> Burn book\n(first taking the book)\nI was secretly hoping you would. You light the book on fire and it burns magnificently! Yay! That was epic to watch, and now we don't have to deal with you being tempted anymore to read.\n\nThe coughing and light smoke damage are well worth it. I'll go halfsies on the library fine.\n\nAs for the sprinkler: nothing. Not one drop. Don't even pretend to be surprised to learn that the University gives graduate students offices in a death-trap.\n\n> You write\n(first sitting on chair)\nThe volume on the platyPod is too loud for you to concentrate.\n\n> You jiggle head counterclockwise\nYou move your head in jaunty little anticlockwise circles. The volume is not loud. You can still sometimes hear Julia and Historic Pfister across the hall. (Hopefully the platyPod 2.0 will allow more precise volume control.)\n\n> You write\nYou're ready to write. Except now you are looking at the door. True, you can still sometimes hear Julia and Historic Pfister across the hall. The noise not loud enough as to normally be a distraction, but I can understand that your ex-girlfriend and some dork hooking up is not \"normally.\"\n\n> You put the gum in the ears\nYou can't put anything in your ears so long as you are wearing the platyPod.\n\nYou are distracted by Historic Pfister's shrieking attempts to summon a deity.\n\n> You remove platyPod\nThe platyPod automatically turns off when you remove it.\n\n> You put the gum in the ears\nYou are marvellous. The gum does not block out all sound, but some. You can still hear Julia and Historic Pfister when they are being especially loud.\n\n> You wear platyPod\nThe platyPod still fits well, as the earpieces nestle nicely into the gum. The platyPod is switched off.\n\n> You scrunch the brow\nMy voice: \"Look, it even lets you record a start-up message! How the platyPod works: You cycle through the different playlists by RAISING your left or right eyebrow. NOD to skip to the next track. JIGGLE your head clockwise to turn the volume up, and jiggle it anticlockwise to turn it down.\"\n\nThe platyPod turns on. The platyPod clicks and the oz-hop you fail to properly appreciate resumes.\n\nThe volume is on low, and it's even lower with the gum in your ears. Nonetheless, you can still sometimes faintly hear Julia and Historic Pfister across the hall.\n\n> You jiggle head clockwise\nYou move your head in endearing little clockwise circles. The volume is still not that loud given the gum in your ears, but you can no longer hear Julia and Historic Pfister at all. Hee. Take that, Julia!\n\n> You write\nYou try again. But then you hear MC Dingo rhyme \"casino\" and \"albino\" and it breaks your concentration entirely. When I put oz-hop on your platyPod, I wasn't really thinking of it as writing music.\n\nMC Dingo contends that you're not a real gangsta unless you come from a country originally founded as a gangsta colony.\n\n> You raise the left eyebrow\nThe platyPod clicks and Warren is kicking [bother] on his accordion again.\n\n> You write\nYou try again. But then you start doing air accordion to Warren Tim Harried. I'm not sure how easy it is going to be able for you to write while the most compelling musician ever is playing.\n\n> You write\nYou write two more sentences. I can tell you're feeling more confident. I knew you could do this. You conclude the first paragraph with an especially provocative participle. Then you hit enter and realise:\n\nYou have to pee.\n\nUnbelievable. This must be an anxiety thing. You are killing me.\n\n> Pee in bottle\nYou do. Obviously I didn't watch. I'm disgusted but proud of your perseverance.\n\n> You write\nYou write a second paragraph. Then a third. You're past a thousand words within a few hours. You decide you want to finish the entire section. You do. Not your best prose, but that isn't the point.\nJulia and the zombies have long gone when you finish, which you are thankful for when you need to run naked out to the car.\n\nYou rehearse what you want to tell me all the way home. Instead, there's a note on the door:\n\nGone. Sorry.\n\nYou had to have known I was going to leave you anyway. All the clues were there.\n\n\"SURPRISE!\" thirty people jump up and shout when you open the door. Good thing you were covering your [bother] with the pages you wrote.\n\nOne hour and three drinks later, you aren't even that embarrassed. I pull you into the kitchen and kiss you.\n\n\"You said you wanted something twisted for your birthday.\"\n\"I was thinking more along the lines of you in peculiar lingerie.\"\n\"I spent much of today hyperventilating thinking it was too cruel.\"\n\"I figured out some important things today. So, at worst, it was an extremely instructive cruel.\"\n\"I'll still understand if you're angry.\"\n\"You're the one who's going to be angry. I have to tell you something about the snowglobe. And the origami trophy. And--\"\n\nI put my hand on your chest to stop you. \"I've a confession that supersedes yours.\"\n\nI open up my laptop and show you. On my screen is your office, as seen from the vent above the door.\n\nOf course you're bewildered. I explain: \"When I was hiding your birthday present, I rigged a camera up there. Not to spy! Or, not to spy like that. I needed to know when you were coming home for the party. I thought it would just be you at your computer. I didn't know you'd end up naked and peeing in a soda bottle.\"\n\n\"I spent the entire day imagining that you were watching me,\" you say. \"Maybe it only worked because you actually were.\"\n\"Watching you break everything was maddening,\" I tell you, \"but I'm still here. I understand, even. Sort of. So long as you understand that you're only getting store-bought presents for a while.\"\n\nWe've reached the hard part. \"I'm committed to this, budgie. But I don't know what we're going to do with you.\"\n\n\"No, Violet. What are we going to do with you? My turn is done. It's the only fair thing.\"\n\"You've been miserable. You'll be happier this way.\"\n\"I'm already happier. Today made it so clear. This is not what I'm meant to be doing with my life. I know, I've spent six years in graduate school, I should be crying right now. Instead I feel wonderful. I love you so much.\"\n\nMe too, wallaroo.\n\nThree weeks later we are holding hands in the supereconomy section of a flight to Australia. My brother is lending me money to open a curiosities shop. He's found you a job at a comic book shop until you decide what's next.\n\n* * *\n\nI know it's not precisely Plan A, but we are happy and unstuck. This is winning. What now? I understand if you just want to QUIT now that the merry glow of victory is upon us. But you can also UNDO the last turn, RESTART, RESTORE a saved game, or (bonus!) view some of the so-called AMUSING things you might've missed.\n\n> Petname egg\nHey, wallaroo.\n\n> Petname egg\nYou're great, dundeecake.\n\n> Petname egg\nI adore you, wallaroo.\n\n> Petname egg\nYou're the best, dundeecake.\n\n> Julia egg\n1. Somebody is coming up the stairs. I thought you said no one ever comes in on the weekend?\n\n2. Two voices in the hallway: a man and Julia. Julia hasn't been in her office in weeks. She shows up on a Saturday?\n\n3. Julia is here to sabotage you. I'm sure of it. She's in her office across the hall now, talking loudly with her door open.\n\n4. The dude with Julia sounds like the one she was flirting with at Lucy's party. Remember? He was scrawny and said his parents owned a hotel in Milwaukee called \"The Historic Pfister.\"\n\n5. I don't know why I confided in Lucy about our problems. I should have known she would tell Julia.\n\n6. You are distracted by Julia laughing inauthentically and telling Historic Pfister \"You are so clever.\"\n\n7. You are distracted by Julia talking about her abs.\n\n8. You are distracted by Julia saying especially loudly \"...You could use mine to calculate pi...\"*\n\n9. You are distracted by Julia going on loudly about how you get a discount if you get both tongue piercings at the same time.\n\n10. You are distracted by Julia talking about her [bother]. I can't believe you dated someone so crass.\n\n11. You are distracted by Julia saying especially loudly, \"Impressive, huh? When I was in high school my guidance counsellor recommended that I become a contortionist.\"\n\n12. You are distracted by Julia saying especially loudly, \"It's not so much that I'm double jointed as just very determined.\"\n\n13. You are distracted by Julia saying especially loudly, \"Sure, she's cute. If you can get past the mole.\"\n\nHey! Watch it, Julia.\n\n14. You are distracted by Julia saying \"She makes things that look like summer camp crafts and tries to convince people they're art.\"\n\nI wonder if I'd get away with it if I killed her right before my flight leaves tomorrow morning.\n\n15. You are distracted by Julia loudly saying \"I bet when they first hooked up, she was like, 'Would you like to see my didgeridoo?'\" (That has to be the most gallingly inept fake Australian accent I have ever heard. She sounds like a Norwegian parakeet.)\n\n16. You are distracted by Julia laughing and mock-shrieking \"Or maybe, 'Touch my kiwi! Touch my kiwi!'\" Ugh. How can someone almost have her Ph.D. and not know that kiwis are New Zealand, not Australia?\n\n17. You are distracted by Julia saying especially loudly, \"You've been working out. I've noticed.\"\n\nOh no.\n\n18. You are distracted by Julia squealing, \"Wait, it's your birthday, too? Why didn't you tell me earlier?\"\n\n19. You are distracted by a startled grunt from Historic Pfister. I do not believe this is happening.\n\n20. You are distracted by Historic Pfister making noises perhaps best characterised as mewling.\n\n21. You are distracted by Julia saying, \"Wait, if today is the 24th, and you are 24, that makes this your golden birthday.\" Well, then.\n\n22. You are distracted by Historic Pfister's shrieking attempts to summon a deity.\n\n23. You are distracted by Historic Pfister saying excitedly, \"Okay, now you're a princess, and I'm a ninja!\"\n\n24. You are distracted by Historic Pfister making a noise that doesn't sound very much like a ninja, unless there is an order of yodelling ninja I don't know about.\n\n25. You are distracted by Historic Pfister making contented little yelping sounds.\n\nYou have to pee.\n\n> Patriarchy off\nI suspect that's a fair bit more difficult to program.\n\n> You open the browser\nYou get a \"Server Not Found\" message. See! Disconnecting yourself from the Internet was a good idea!\n\nPrimrose sings about how the idea of living with eight housemates sounded like fun but she actually spends most weekends hiding from them in her room. You pay no attention.\n\nYou have to pee."
    },
    {
        "text": "[Themes: nonhuman protagonist, intrigue, library, mystery, treasure hunt, garden, fantasy]\n\nTo name a secret is to destroy it and Confessor Destine is a man made of secrets. It has taken seventeen careful years but soon he will be undone.\n\nYou stand calf-deep in mud beneath a leathery cliff that bisects the otherwise endless Mambling Plain. You have with you all the tools you'll need to infiltrate the Destine mansion and discover what lies the Confessor has concealed. Somewhere along this cliff is the possibility of an intersection into another plain.\n\n[Author's Note: A story about secrets in the Age of Lead. You've spent seventeen years preparing for an infiltration. Stealing the Confessor's secrets is only the beginning: it will all be for nothing if you leave a trace.]\n\n> You check what you're carrying\nYou are wearing:\nyour llama-suit (muddy)\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You look at the llama suit\nFrom feet to appendages to head, your form is completely covered by a thin-weave suit made wholly from the wool of the pellucid llama. It renders you undetectable to all the senses that matter, including your own.\n\nYou wove it yourself under the tutelage of the master weaver, White Widow. For her knowledge and silence she only asked for the\nwhereabouts of her seven wayward sons. As you wove the invisible thread, she slowly and solemnly sapped each one, all the while instructing you on how to avoid dropping unseeable lines.\n\nYour lower legs are splattered with mud from the trek through the Mambling Plains.\n\n> You look at Winkerchief\nThe Winkerchief is a branded wipe cloth that perfectly wipes clean any surface. It's good for about a dozen uses before it loses its porousness.\n\n> You examine somnuliser\nThe somnuliser works as a small bomb. If thrown, it emits spores of untraceable potentiality, making it praeternaturally likely that\nanyone coming into contact with the spores will fall asleep with the firm belief that their sleepiness is natural and unnotable. It has but one use, but once activated its spores should propagate through halls throughout the entire house, slowed only as it seeps under the doors. It should incapacitate everyone in the wing, but you'll have to be inside first for it to have an effect.\n\n> You look at the attuning set\nthe possibilities inherent in things in favour of the holder.\n\nA gust of wind blows across the cliff, flapping a loose sheet of skin.\n\n> You look\nYou stand calf-deep in mud beneath a leathery cliff that bisects the otherwise endless Mambling Plain. Somewhere along this cliff is the possibility of an intersection into another plain.\n\n> You examine mud\nThe mud stretches from the cliff to the horizon, it constantly shifts and cracks like a great foul sea where nothing wholesome grows. It's even caked up the legs of your llama-suit.\n\n> You go north\nThe way back across the mambling plains is long and filthy, the way forward is through an intersection in this cliff.\n\n> You look at the cliff\nA cliff of blue weather-beaten leather rises up in front of you. A\nlong thick sheet of it has half-peeled off near where you stand.\n\n> You look at the sheet\nyou are.\n\n> Peel skin\nThe cliff feels warm to touch as you pull down the flaking sheet of skin. You have to stretch as the tear of skin is taller than you. The whole sheet lands with a soft squelch in the mud at the base of the cliff.\n\nThe distant lights of Mump Simus sparkle briefly.\n\n> You check what you're carrying\nYou are wearing:\nyour llama-suit (muddy)\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You get the skin\nThe skin is firmly embedded in the treacherous mud.\n\nThe great cliff before you creaks.\n\n> You look\nYou stand calf-deep in mud beneath a leathery cliff that bisects the otherwise endless Mambling Plain. Somewhere along this cliff is the possibility of an intersection into another plain.\n\nA wide sheet of skin lies in the mud at the base of the cliff.\n\nThe mud squelches beneath you.\n\n> You pull the skin\nThe skin is firmly embedded in the treacherous mud.\n\n> You climb the cliff\nThe great bisecting cliff is too vast to climb unaided, fortunately\nthe intersection should be close to muddy floor of the plain.\n\n> You look at the set\nthe possibilities inherent in things in favour of the holder.\n\n> Attune\nWhat do you want to attune?\n\n> You attune the skin\n(with your attuning set)\nYou run the attuning set lightly over the sheet but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You attune cliff\n(with your attuning set)\nYou run the attuning set along the cliff. This was the place the Tacit One said the intersection would be. Just when you begin to suspect\nthat the urn-dweller had set you up for failure, you spot a slim gap\nin the leather cliff: the intersection.\n\n> You enter the intersection\nTo step Mambling mud into Confessor Destine's carpets would be your very undoing. For your undertaking to be successful, you must leave absolutely no trace.\n\nThe distant lights of Mump Simus sparkle briefly.\n\n> You wipe suit\n(with the Winkerchief)\nIt'd be futile to try to clean the mud off whilst standing in even\nmore mud.\n\n> You stand on the skin\nYou get onto the sheet.\n\nLeathery Cliff (on the sheet)\nYou stand on a piece of skin beneath a leathery cliff that bisects the otherwise endless Mambling Plain. The intersection gapes before you.\n\n> You wipe suit\n(with the Winkerchief)\nYou wipe down the llama-suit, the grime soaking into the Winkerchief.\n\nThe mud squelches beneath you.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You enter the intersection\nGlancing back one last time at the endless expanse of mud behind you, you step through the intersection...\n\n> Continue\nYou arrive outside and slightly above the Destine mansion, 90 degrees from the last plain. With a dull thud you land on the greenhouse dome, your things spilling from the folds of the llama-suit...\n\n> Continue\nyour things spilling from the folds of the llama-suit...With a\nsmearing squeak you slide down the dome and land in the Blue Rose Garden.\n\nThe Seven Deceits of Confessor Destine by Joey Jones and Melvin Rangasamy\n\nThe Blue Rose Garden of the Destine clan is one of the Five Transcendent Gardens and is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow with uniform fecundity. From a rockery in the centre of the garden, from which all the offshoots stem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nBalanced precariously on the greenhouse dome is your attuning set, a whole storey out of reach.\n\nThe somnuliser lies unscathed on the ground beside you.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\n> You take all\n(the somnuliser)\nYou get the somnuliser.\n\n> Up\nThe greenhouse dome is smooth and impossible to climb by any conventional means, and most unconventional means.\n\n> You look at the roses\nThe flowers in the rose garden are all roses and every one of them is blue. The flowers at the outer reaches are a pale celeste, whilst\nthose closest to the central bush are a rich cobalt.\n\nSplayed across some of the flowers is your Winkerchief.\n\n> You take Winkerchief\nTaken.\n\n> You look\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe twisting thorns span out in the moon-shadow of the Destine mansion which rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nBalanced precariously on the greenhouse dome is your attuning set, a whole storey out of reach.\n\n> You examine the bush\nEmerging from a curse-stone rockery is the central bush of blue rose garden. On the central bush, from which all the offshoots grow, is the most perfect of the impossibly blue roses. The single stem\nterminates in a full vivid bloom: its colour is vibrant even in citylight.\n\n> You enter the greenhouse\n(first opening the sliding door)\nOn a regular night it would be bound to be jammed shut, but there's a possibility it could open in your favour.\n\n> Climb rose\nDo you mean:\n\n> You climb the rose bush\nThe llama-suit probably wouldn't protect you from the thorns, it's\nonly made of wool after all.\n\n> You look at the thorns\nThe boundary of the garden is formed by a fence of twisting thorns.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na Winkerchief\nthe somnuliser\n\n> Smell blue rose\nThe biggest of the bouquets has an almost overpowering lavender scent.\n\n> Smell rose bush\nThe smell of lavender is strongest from the central rose bush.\n\n> You examine the central rose bush\nEmerging from a curse-stone rockery is the central bush of blue rose garden. On the central bush, from which all the offshoots grow, is the most perfect of the impossibly blue roses. The single stem\nterminates in a full vivid bloom: its colour is vibrant even in citylight."
    },
    {
        "text": "[Themes: intrigue, mystery, fantasy]\n\n> You look around\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nBalanced precariously on the greenhouse dome is your attuning set, a whole storey out of reach.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na Winkerchief\nthe somnuliser\n\n> You examine somnuliser\nThe somnuliser works as a small bomb. If thrown, it emits spores of untraceable potentiality, making it praeternaturally likely that\nanyone coming into contact with the spores will fall asleep with the firm belief that their sleepiness is natural and unnotable. It has but one use, but once activated its spores should propagate through halls throughout the entire house, slowed only as it seeps under the doors. It should incapacitate everyone in the wing, but you'll have to be inside first for it to have an effect.\n\n> You look at Winkerchief\nThe Winkerchief is a branded wipe cloth that perfectly wipes clean any surface. It's good for about a dozen uses before it loses its porousness.\n\n> Sing\nThe time for singing will be when the Confessor is undone.\n\n> Xyzzy\nOrloger; Counter Cur taught you everything you didn't want to know about sums.\n\n\"In order to calculate the area of a bounded plain, you must find the length of the cross product of the vectors of its 2 adjacent sides,\"\nhe said.\n\nYou didn't see why you couldn't just ask the letter-beast doing the binding, but you humoured the Counter at the time.\n\n\"Well,\" Counter Cur continued, \"if B (Bx, By, Bz) and C (Cx, Cy, Cz) are the vectors of its 2 adjacent sides and A (Ax, Ay, Az) is the\ncross product, then you must find A = B x C using this formula:\n\n\"Ax = By Cz - Bz Cy\nAy = Bz Cx - Bx Cz\nAz = Bx Cy - By Cx.\"\n\n\"My memory is good, but there's got to be a better way of memorising this,\" you said.\n\n\"You will notice,\" Cur continued, \"that if you replace x with y, y\nwith z and z with x you can get from the first line to the second line and from the second line to the third line.\"\n\n\"So all I need to do is remember the first line, right?\" you said.\n\n\"Precisely,\" said Cur, \"and you do that by remembering the handy mnemonic 'xyzzy'.\"\n\nAnd that's how you cal... wait a minute, you didn't spend seventeen years preparing to break into the Confessor's mansion just to find out the area of the plain.\n\n> Review\nBefore moving further, you'll need to rescue your attuning-set from\nthe dome.\n\n> You throw the bomb at set\nNo, if you throw it out here it'll just disperse out harmlessly.\n\n> You take the rose\nDo you mean:\n\n> 2\nYou'd like to do just that: pluck one of the Confessor's famous roses and feel its petals pulp in your fist. But you will not give him the pleasure of leaving so obvious a trace.\n\n> You search the bush\nEmerging from a curse-stone rockery is the central bush of blue rose garden. On the central bush, from which all the offshoots grow, is the most perfect of the impossibly blue roses. The single stem\nterminates in a full vivid bloom: its colour is vibrant even in citylight.\n\n> You look at the rockery\nBeneath the central rose bush is a masterfully assembled rockery made up of asymmetrically tessellating curse-stones placed to create a perfect hectahedron\n\nIt's unclear how the rose is so well hydrated with the solid rockery sitting on top of its main body of roots.\n\n> You take the stone\nYou take a curse-stone and instantly the rockery takes on a sinister and unnatural cast. You are momentarily overwhelmed by an insidious metaphysical wrongness before your Lemniscate training takes over and you shrug away the impossibility.\n\n> You throw rock at the set\nYou slowly exhale, eyeing up the attuning set in the citylight. Your overhand throw was tested often in the various Theocratic games, although that was nearly two decades ago. You hurl the rock through\nthe air and it catches the attuning set on one corner of its outstretched rods and it slides down into the garden.\n\n> You take all\nFirstly the rock: You take the rock. It's a single seventeen-sided curse-stone. To gaze on a curse-stone in isolation for too long is to invite madness. The afflicted, the geocultists, only meet peace when their stone is perfectly enmeshed with other curse-stones in the form of a perfect solid.\n\nAnd finally the attuning set: You get the attuning set.\n\n> You attune door\n(with your attuning set)\nYou move the attuning set in the forbidden sideways figure-of-eight that your wrists naturally settle in when in motion. The lead rods of the set shimmer and you feel an intense feeling of rightness with the sliding door: it is attuned to you, for now.\n\n> You open the door\nThe door slides effortlessly open and you're greeted by a wave of rich warm air from the greenhouse.\n\n> Go west\nYou step into the greenhouse and the warmth envelops you, assaulting you with a panopoly of scents.\n\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. A closed blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You examine sapling\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You examine the spindleweed\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You examine the berries\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> Go west\n(first opening the blue door)\n\nAt last you tip-toe into echo-prone confines of the Destine Mansion, each room carved out of what was once a small mountain. You sacrificed three toes to learn how many secrets would bring the Confessor down. Seven. There are seven deceits you know can be found in these halls\nand you won't leave until you know them.\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> You examine the rug\nThe rug is a thick slab of carpet with a beguiling pattern of interlocking keys and doors, tessellating in queasy spirals.\n\n> You take the rug\nYou lift up the rug entirely and a hole appears briefly underneath it before disappearing.\n\n> You go to the east\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You go east\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\n> You drop the stone\nYou drop the rock.\n\n> You look\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nYou can also see a rock here.\n\n> You get all\n(the rock)\nTaken.\n\n> You put rock in the rockery\nYou swivel the curse-stone back into its place in the rockery and a feeling a beatific peace spreads through you. The hectahedron is complete once more.\n\n> You go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You go to the west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\n> You take rug\nYou already have that.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na rug\nthe attuning set\na Winkerchief\nthe somnuliser\n\n> You drop rug\nYou drop the rug.\n\n> You look\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> You take rug\nYou lift up the rug entirely and a hole appears briefly underneath it before disappearing.\n\n> You drop rug\nDropped.\n\n> Attune rug\n(with your attuning set)\nYou run the attuning set lightly over the rug but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You attune the floor\n(with your attuning set)\nYou run the attuning set lightly over the floor but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You examine slab\nOne of the counters is a cooling slab that keeps chilled anything left on it, this one has a gourd on it.\n\n> You examine the gourd\nThe gourd is cooked, with the top end sliced through to make a lid. It's a regular yellow gourd, and has the letters 'XVII' scratched into one side.\n\n> You open the gourd\nYou open the gourd, revealing some mince.\n\n> You examine the mince\nThe gourd is full of slimy grey minced meat.\n\n> You examine the stove\nThe stove is a simple device for producing intense heat. It can be switched on or off.\n\n> You look at the refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently closed.\n\nThere's a panel at the back for finer calibrations.\n\n> You examine the panel\nOn the back of the refresher there's a compartment for the lead rod that powers the device, a small dial for changing the time setting and an activation switch to activate the device. Imprinted on the panel\nare the words \"CONSULT MANUAL FOR DIAL CONFIGURATIONS\".\n\n> You go to the west\n(first opening the red door)\nAs you go to push the flap of letter-beast skin aside with an\ninvisible hand, you feel the stir of your feelers. You can smell a human nearby: it must be the Confessor's guard.\n\n> You remove the suit\nMerely wearing the suit would be pointless, anyone would see straight through to the person beneath. No, in order to make use of it, you had to weave it into your own skin. In time, the suit will peel off as\nyour skin is shed, but not today.\n\n> You examine legs\nYou are completely invisible.\n\n> You take the gourd\nup.\n\n> You check your inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe attuning set\na Winkerchief\nthe somnuliser\n\n> You put the gourd in Winkerchief\n(first taking the gourd)\nYou risk it falling apart in your spindly appendages if you pick it\nup.\n\n> You attune gourd\n(with your attuning set)\nYou run the attuning set lightly over the gourd but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You open the stove\nThe stove is just a surface for heating.\n\n> Open refresher\nYou open the refresher.\n\n> You look at the refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently open.\n\nThere's a panel at the back for finer calibrations.\n\n> You take the mince\na trace.\n\n> You put rug on the gourd\nYou'd end up with mince all over the rug if you did that.\n\n> You put rug on the refresher\nThe rug is much too cumbersome to fit in the refresher.\n\n> You look at the dial\nThe refresher dial has two settings, contained and uncontained. It is currently set to contained.\n\n> You turn the dial\nYou turn the dial to uncontained and the whole device starts to hum with purpose.\n\n> You examine the gourd\nThe gourd is cooked, with the top end sliced through to make a lid, which is open, revealing some kind of mince inside. It's a regular yellow gourd, and has the letters 'XVII' scratched into one side.\n\n> Open refresher\nThat's already open.\n\n> Close refresher\nYou close the refresher.\n\n> Close gourd\nYou close the gourd.\n\n> You look at the refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently closed.\n\nThere's a panel at the back for finer calibrations.\n\n> You examine the panel\nOn the back of the refresher there's a compartment for the lead rod that powers the device, a small dial for changing the time setting and an activation switch to activate the device. Imprinted on the panel\nare the words \"CONSULT MANUAL FOR DIAL CONFIGURATIONS\".\n\nThe whole panel is shaking now the machine is set to be uncontained.\n\n> You look at the switch\none side.\n\n> Open refresher\nYou open the refresher.\n\n> You read the gourd\nThe gourd is cooked, with the top end sliced through to make a lid. It's a regular yellow gourd, and has the letters 'XVII' scratched into one side.\n\n> You examine the cooling\nOne of the counters is a cooling slab that keeps chilled anything left on it, this one has a gourd on it.\n\n> You touch the slab\nYou can feel the cold as you move your hand near.\n\n> You take the gourd\nup. The best you could do is open up its little lid.\n\n> Attune slab\n(with your attuning set)\nYou run the attuning set lightly over the cooling slab but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You attune the refresher\n(with your attuning set)\nYou run the attuning set lightly over the refresher but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> Review\nYou need to put the household asleep before you can explore any further. Throwing the somnuliser in the kitchen should do the trick, but you'll have to take steps to avoid being caught by the spores.\n-> There's something strange about the rug you found in the kitchen.\n\n> You throw somnuliser\nYou throw the somnuliser softly at the ground and it clicks open, silently loosing invisible sleeping spores. Best make haste!\n\n> You go east\nYou know that the spread of the spores from the somnuliser must be gaining on you quickly: at this rate you doubt you could make it\nacross the greenhouse.\n\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> Go east\nYou've nearly reached the sliding door when you feel a gentle soothing spreading through your limbs. Too late, you think dimly as\nyou stifle a yawn.\n\nYou gently lower yourself to the ground, involuntarily but as if it were the most natural thing in the world, to be found by Confessor Destine's guards the next morning.\n\n> You look at somnuliser\nThe somnuliser works as a small bomb. If thrown, it emits spores of untraceable potentiality, making it praeternaturally likely that\nanyone coming into contact with the spores will fall asleep with the firm belief that their sleepiness is natural and unnotable. It has but one use, but once activated its spores should propagate through halls throughout the entire house, slowed only as it seeps under the doors.\n\n> You put somnuliser in the refresher\nYou put the somnuliser into the refresher.\n\n> You take somnuliser\nAs you take the somnuliser you spare a passing thought for all the things that have passed through your appendages to be stashed or\nstowed or forgotten about, thousands of medium sized dry goods disappearing into your past.\n\n> You check your inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe somnuliser\na rug\nthe attuning set\na Winkerchief\n\n> You examine rug\nThe rug is a thick slab of carpet with a beguiling pattern of interlocking keys and doors, tessellating in queasy spirals.\n\n> You search rug\nThe act of looking under a rug requires the rug to be on the ground, for it is only then that the rug reaches its full potential in concealing.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave, revealing a bone ladder leading down into dark depths below."
    },
    {
        "text": "[Themes: mystery, intrigue, treasure hunt]\n\n> Go downwards\nYou put a tentative foot on the third rung down of the slender bone ladder beneath you. Through your invisible body, you stare down into the darkness below, slowly descending. The bones creak as if their\nlong dead owners were there to complain. Taking one step at a time you arrive safely at the bottom.\n\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall is bare. The bone ladder leads back up to the kitchen.\n\n> You look at the bottles\nThousands of bottles line the rack, no doubt organised by some arcane system. Most are coated in a thick layer of dust.\n\n> Go west\n(first opening the brick wall)\nYou give the wall a light shove but it doesn't yield.\n\n> You look\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall is bare. The bone ladder leads back up to the kitchen.\n\n> You search the wall\nThe bricks in the middle of the western wall are grouped in a pattern of five bricks across by four down, etched into the bricks are the letters A to T in alphabetical order, like so:\n\n|   A   |   B   |   C   |   D   |   E   | \n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   |\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> Up\nYou stare up at the small square of light above. The bone is cold and clammy in your pellucid grasp. You lift yourself up and the bones seem to bend under your weight. For a moment you think the ladder might be falling backwards but it holds and soon you are up in the kitchen once more.\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You look under rug\nThe sleep powder is designed to act silently, to send occupants into unconsciousness without them knowing, but as you're struck by the sudden urge to sleep you know it's wholly explicable.\n\nYou gently lower yourself to the ground, involuntarily but as if it were the most natural thing in the world, to be found by Confessor Destine's guards the next morning."
    },
    {
        "text": "> Go downwards\nThe sleeping spores spread, particles of possibility that disappear, traceless on contact. By the time you reach the bottom of the ladder, the need for sleep overwhelms you.\n\nYou gently lower yourself to the ground, involuntarily but as if it were the most natural thing in the world, to be found by Confessor Destine's guards the next morning.\n\n> Subrosa1\nSAVESave successful.\n\n> You look\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You examine slab\nOne of the counters is a cooling slab that keeps chilled anything left on it, this one has a gourd on it.\n\n> You attune mince\n(with your attuning set)\nYou run the attuning set lightly over the mince but the lead rods barely even shimmer; it doesn't need attuning to you."
    },
    {
        "text": "[Themes: mystery, garden]\n\n> Go downward\nWith a quick intake of breath you quickly shimmy down the bone ladder.\n\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall is bare. The bone ladder leads back up to the kitchen.\n\n> You attune brick\n(with your attuning set)\nYou run the attuning set lightly over the brick wall but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You press a the brick\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\n> You press a the Brick\nYou've already pushed Brick A.\n\n> You look\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall is bare. The bone ladder leads back up to the kitchen.\n\n> Up\nthe vaulted cellar at your back pressing in its emptiness.\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You look at somnuliser\nThe somnuliser works as a small bomb. If thrown, it emits spores of untraceable potentiality, making it praeternaturally likely that\nanyone coming into contact with the spores will fall asleep with the firm belief that their sleepiness is natural and unnotable. It has but one use, but once activated its spores should propagate through halls throughout the entire house, slowed only as it seeps under the doors.\n\n> You go east\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You throw somnuliser\nYou throw the somnuliser softly at the ground and it clicks open, silently loosing invisible sleeping spores. Best make haste!\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You look at the tree\nIn the centre of the round greenhouse is a great grosvair tree, its shaggy fur hanging in rugose strips from the calcified trunk.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You examine hayberry\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You examine the berries\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> Examine leaves\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> Up\nIf you climbed the tree, you would have nowhere to go from there.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You go east\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\n> You throw somnuliser east\n(first ignoring unnecessary text \"east\")\nNo, if you throw it out here it'll just disperse out harmlessly.\n\n> Go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> Go west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You go to the east\nYou know that the spread of the spores from the somnuliser must be gaining on you quickly: at this rate you doubt you could make it\nacross the greenhouse.\n\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> Go east\nYou've nearly reached the sliding door when you feel a gentle soothing spreading through your limbs. Too late, you think dimly as\nyou stifle a yawn.\n\nYou gently lower yourself to the ground, involuntarily but as if it were the most natural thing in the world, to be found by Confessor Destine's guards the next morning.\n\n> You take somnuliser\nYou get the somnuliser.\n\n> You put somnuliser in the cooling slab\nThe gourd fills the slab, leaving little room for other things.\n\n> You look at the dial\nThe refresher dial has two settings, contained and uncontained. It is currently set to uncontained.\n\n> You look at the bomb\nThe somnuliser works as a small bomb. If thrown, it emits spores of untraceable potentiality, making it praeternaturally likely that\nanyone coming into contact with the spores will fall asleep with the firm belief that their sleepiness is natural and unnotable. It has but one use, but once activated its spores should propagate through halls throughout the entire house, slowed only as it seeps under the doors.\n\n> You examine the lead\nThere's a closed hatch under the panel.\n\n> You open hatch\nYou open the lead compartment, revealing a power rod.\n\n> You examine the blue door\nAn open blue door stands between the kitchen and the greenhouse. The wood is slightly tainted by the decades of greasy fumes.\n\n> You examine red door\nThe door is formed of a single rigid strip of red leather,\nunmistakably from a letter-beast. The door is currently shut.\n\n> You open the blue door\nThat's already open.\n\n> You examine the blue door\nAn open blue door stands between the kitchen and the greenhouse. The wood is slightly tainted by the decades of greasy fumes. On closer inspection you note that the blue colour of the door is made up of thousands of tiny interlocking painted blue roses, each slightly different from all the rest.\n\n> You examine the blue roses\nAn open blue door stands between the kitchen and the greenhouse. The wood is slightly tainted by the decades of greasy fumes. Staring further at the tiny roses, you note that each tiny rose is made up of\na number of small lines.\n\n> You examine the small lines\nAn open blue door stands between the kitchen and the greenhouse. The wood is slightly tainted by the decades of greasy fumes. On even\ncloser inspection the tiny lines that make up each tiny rose are themselves small roses, each different from the rest.\n\n> You examine the small roses\nAn open blue door stands between the kitchen and the greenhouse. The wood is slightly tainted by the decades of greasy fumes. All this staring at the blue door is giving you a headache.\n\n> You examine the power rod\nThe power rod of the refresher takes up half of its compartment and it hums slightly with the potent power of lead.\n\n> You take the rod\nThe internal lead rod is partially fused with the refresher itself and cannot be removed. The space around the rod is empty, perhaps to leave room to install additional rods.\n\n> You look at the dial\nThe refresher dial has two settings, contained and uncontained. It is currently set to uncontained.\n\n> You turn the dial\nThe refresher ceases its vibrating as you turn the dial back to contained.\n\n> You examine the refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently closed.\n\nInside the refresher is the somnuliser.\n\nThere's a panel at the back for finer calibrations.\n\n> You examine the panel\nOn the back of the refresher there's a compartment for the lead rod that powers the device, a small dial for changing the time setting and an activation switch to activate the device. Imprinted on the panel\nare the words \"CONSULT MANUAL FOR DIAL CONFIGURATIONS\".\n\n> Activate refresher\n(first closing the lead compartment)\nYou turn the refresher on and there's a brief flash of light which\nmust come from the particles which clang to the somnuliser. Looking inside, you see the somnuliser.\n\n> You wait\nYou wait a few moments.\n\n> You go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> Go west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You examine the refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently closed.\n\nInside the refresher is the somnuliser.\n\nThere's a panel at the back for finer calibrations.\n\n> You go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> Go west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> Go east\nYou know that the spread of the spores from the somnuliser must be gaining on you quickly: at this rate you doubt you could make it\nacross the greenhouse.\n\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You shut the blue door\nYou quickly slam the blue door shut.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You go east\nYou slip out of the door as the sleep spores spread invisibly in the greenhouse behind you.\n\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nBy now the spores should be spreading out into the hallway.\n\n> You wait\nYou wait a few moments.\n\nThe spores will be spreading to the upper floor and enslumbering the guard.\n\n> You wait\nYou wait a few moments.\n\nThe spores will be seeping under the doorway into the Confessor's bedroom.\n\n> You wait\nYou wait a few moments.\n\nThe Confessor will be inhaling the spores, sending him into a deeper sleep.\n\n> You wait\nYou wait a few moments.\n\nThe spores will be dispersing almost to a safe level by now.\n\n> You wait\nYou wait a few moments.\n\nYou count down from ten: it should be safe to re-enter the house now.\n\n> Go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. A closed blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You go to the west\n(first opening the blue door)\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\nYou can also see the somnuliser here.\n\n> You examine the somnulizer\nIt is a spent hull, but a potent reminder that something may be amiss.\n\n> You close the refresher then turn it on\nYou close the refresher.\n\nAs soon as you activate the refresher, it immediately shuts off. Seems the Knights Linear were smart enough to not let the somnuliser be used more than once.\n\n> You get somnuliser\n(first opening the refresher)\nYou get the somnuliser.\n\n> Go west\n(first opening the red door)\n\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. In the Banquet Hall the last revellers are taking ether and barely-enfranchised cousins are plotting in a distant drawing room.\nBut here this wing is quiet. A long slope curves up round the chamber, looping several times. A closed bone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You examine silver\nThis is a painting of a young woman with a distinctive smile. She is dressed for the Hex wars, with a swine-net and a mace. The title underneath the portrait reads: Confidante Destine.\n\nYou've never heard of this Confidante Destine, though with hundreds of the Destine clan in just the other wings of the mansion, this is perhaps no great surprise.\n\n> You look at the iron\nIn the painting, the Confessor himself is standing regally in his purple cloak. On one shoulder, eating out of a raised palm, is a young quailer.\n\n> You look at the bronze\nFramed by bronze leaf is a diorama of the Chief Destine, founder of\nhis clan. In the painting he is a wearing a purple cloak and wielding an ornate dagger that is touched up against an egg of purest lead. In the background is a surprised looking goose.\n\n> You look\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. A closed\nbone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You look at the guard\nShe sleeps against the door, drooling only mildly. Her suit of armour is so long and heavy it actually appears to be propping her upright.\n\n> You open the white door\nYou open the bone door.\n\n> You examine the bone door\nThe open door to Confessors Destine's menagerie appears to be made of bone but on closer inspection of its organic cracks, it's obviously made from thick panels of calcified grosvair wood.\n\n> Go west\nThere are many great menageries in the plains: the Swinery, the Pleasure Gardens of Leaguer Mel, Eyefort Maze... this is not one of them. Confessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits. You get the impression that the Confessor liked the idea of having a menagerie more than he liked the idea of actually owning and caring\nfor live animals.\n\nFirst the visitor is greeted by a pile of hay in an empty stall, where the pellucid llama once lived.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You look at the hay\nA large pile of loose hay, fairly fresh, sits in a stall. Pellucid-llamas greatly prefer eating nuts and berries to grass, but will eat it if there's truly nothing else.\n\n> You search the hay\nYou root through the hay, but you can't find anything. You have to spend a few moments placing strands of hay back on the pile lest you leave them littered through the house.\n\n> You examine the bird\nThe quailer is a nervous looking brown bird that shivers every few moments as it talks endlessly to itself. Every few moments it pecks fruitlessly at the banberry stones that litter its cage.\n\n> You take the banberry stone\n(first ignoring unnecessary text \"banberry stone\")\nWhat do you want to take?\n\n> You look at the beetles\nOn closer inspection, the beetles are more like very dark blue and\nthey flit across the chamber disinterestedly.\n\n> You take the beetle\n(the beetle chamber)\nThe chamber is much too big for you to lug around.\n\n> You go to the east\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. An open bone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You go east\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a leathery red door opens the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You go to the east\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You examine the banberry\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You take the banberries\nYou pluck one of the berries from the banberry shrub as they sprout before you.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You go west\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits, not all of which are zoologically plausible.\n\nFirst the visitor is greeted by a pile of hay in an empty stall, where the pellucid llama once lived.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You give the banberry to the bird\n(first taking the banberry stones)\nYou are unable to slide your appendages through the bars of the cage.\n\n> You check your inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nan obloid red berry\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You give berry to the bird\nYou pop the berry into the quailer's mouth and it gulps it straight down before starting a different litany.\n\n\"Oh come on,\" says the quailer in the deep voice of the Confessor, \"don't give me that look, it's not that unripe.\"\n\n> You take the banberry\nYou pluck one of the berries from the banberry shrub as it ripens before you.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> Continue\nBefore you can pluck a berry, the plant wilts in front of you.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> Go west\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits.\n\nFirst the visitor is greeted by a pile of hay in an empty stall, where the pellucid llama once lived.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You give berry to the bird\nYou pop the berry into the quailer's mouth and it gulps it straight down before starting a different litany.\n\nThe quailer sings an ugly song:\n\nsealing our secrets\nand taking our tears.\n\nIt sings in the voice of the Confessor himself.\n\n> You listen\nThe quailer sings again its ugly song:\n\nsealing our secrets\nand taking our tears.\n\nThe song is so clunky, it's difficult to say why the Confessor would sing it.\n\n> You examine stuffed\nAll around the room are various stuffed beasts, all in a state of advanced dishevelment.\n\n> Up\nAs you arrive at the top of the slope, you reflect that a secret is only a secret if someone is invested in keeping it one. If the Confessor is a man who becomes more comfortable in his position, you would expect him to have fewer secrets as the years go on. But perhaps he is a man for whom past indiscretions, explainable at the time, become hardened into the unspeakable as the years make his past\nmotives less explicable.\n\nwalkway juts out, a long drop on either side. On its western end, a closed purple door leads into the master bedroom, and on its eastern end a closed orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\n> You examine the mural\nAcross the ceiling is a diorama depicting the procession of the plains through the different ages. The Golden Age of plenty when gods walked the plains. The Silver Age of long childhood summers and bitter\nheresy. The Bronze Age of monsters and heroes. The Iron Age of technological wonder and endless strife. And now, the Age of Lead, where all that has come will come again and all that might be will be. In the centre is the symbol of the Sinuan Theocracy, whose reason for being is to prevent the cycle of the Ages from recommencing.\n\n> You examine the plinth\nOn the top of the stone plinth is an indent in the shape of a dagger. It's empty. On the edge of the hilt is what appears to be a coat hook.\n\nLooking at the plinth close up, you notice set into it is a small closed cupboard.\n\n> You examine cupboard\nThe cupboard is set into the plinth, tastefully out of sight. It's currently closed.\n\n> You open the cupboard\nYou open the cupboard, revealing the vax.\n\n> You examine the vax\na tiny plain without atmosphere that intersects its insides. From the transparent tube, you can see it currently has a pile of dust inside it, which could easily be emptied if you so desired.\n\n> You take the vax\nYou get the vax.\n\n> You examine the dust\nThe dust is floating in the vacuum like fuzzy round cow.\n\n> What is the cow\nNo question words are needed in commands. If you are stuck, try saying \"help\"."
    },
    {
        "text": "[Themes: mystery, garden, nonhuman protagonist]\n\n> Look around\nwalkway juts out, a long drop on either side. On its western end, a closed purple door leads into the master bedroom, and on its eastern end a closed orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\n> You go to the east\n(first opening the orange door)\n\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\n> You examine the armchair\nThe armchair is vast and generously stuffed. Its only flaw as a chair is the bright blue livery and floral design.\n\n> You sit\nYou sit down on the floor.\n\nLibrary (sitting down on the floor)\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\n> You sit on the armchair\n(getting off the floor)\nYou get onto the armchair.\n\nLibrary (on the armchair)\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\n> You examine the fireplace\nThe fireplace is more functional than cosy. It's a simple pit beneath\na narrow chimney, as far away from the bookcases as can be in a room entirely covered by bookcases. Sitting in the fireplace are some\nashes.\n\n> You examine the ashes\nA small heap of ashes sits in the fireplace.\n\n> You take the ashes\nYou get off the armchair.\n\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\nTaking hold of the ashes would be impossible, it'd run through your fingers or cling to your suit.\n\n> You check your inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You rub vax on the ashes\nThere's already a pile of dust in the vax, and if you're going to put everything back as you found it, it'd be catastrophic to mix things in there.\n\n> Empty vax\n(first opening the vax)\nYou empty the vax carefully onto the library floor.\n\n> You rub vax on the ashes\n(first closing the vax)\nThe ashes are sucked into the vax and are now floating in the vacuum tube within it.\n\n> You look\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\nYou can see a pile of dust here.\n\n> You examine the curtains\nThe curtains are pair of heavy woollen fabric sheets hooked over a pole.\n\nThey are currently shut closed.\n\n> You open the curtains\nYou open the curtains.\n\n> You look\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Distant city light streams through the open curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\nYou can see a pile of dust here.\n\n> You look at the light\n(the citylight)\nLight from distant cities casts a faint illumination.\n\n> You look at the bookcases\nThe bookcases have been shoved together precariously, leaning on one another for support. Each bookcase is labelled in a script comprised\nof interwoven azure flowers and thorny stalks. The labels are the\nseven eternal categories: damp, forgotten, implausible, pejorative, exhaustive, unsettling and beseeching.\n\n> Examine 13\nThe spine reads, Milking by Candler Shaker.\n\n> You read 13\n(first taking Milking)\nYou open up Milking.\n\nThis is just a manual of milking techniques. The diagram for those milkers that only have hooves is particularly memorable.\n\n> You look at 7\nThe spine reads, Room With a Dew by Bospur.\n\n> Examine 9\nThe spine reads, Tome & The Clan by Pupil Dandelion.\n\n> You read 9\n(first taking Tome & The Clan)\nYou open up Tome & The Clan.\n\nclan that leads to a permanent cleavage of the clan. Clearly,\nDandelion is drawing from the real-life publishing of The Confessor's Burden.\n\n> Go outside\n(the orange door)\n\nwalkway juts out, a long drop on either side. On its western end, a closed purple door leads into the master bedroom, and on its eastern end an open orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration."
    },
    {
        "text": "> Go downwards\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. An open bone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> Go west\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits.\n\nFirst the visitor is greeted by a pile of hay in an empty stall, where the pellucid llama once lived.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You examine the llama\n(the empty stall)\nThe stall is full of hay and is about the right size to keep a large ungulate. This must be where the Confessor keeps his prized pellucid llama, one of his greatest bragging points.\n\n> You put vax in the refresher\nYou put the vax into the refresher.\n\n> You turn on the refresher\nThe light flashes, signalling that the vax within has aged three days. Looking inside, you see the vax.\n\n> You turn on the refresher\nThe light flashes, signalling that the vax within has aged, despite\nthe uncontained dial setting, only three days. Looking inside, you see the vax.\n\n> You take vax\n(first opening the refresher)\nTaken.\n\n> You look at vax\na tiny plain without atmosphere that intersects its insides. From the transparent tube, you can see it currently has some ashes inside it, which could easily be emptied if you so desired.\n\n> Close refresher\nYou close the refresher.\n\n> You turn on the refresher\nThe light flashes, signalling that the ashes within has aged, despite the uncontained dial setting, only three days. Looking inside, you see a parchment.\n\n> You take the parchment\n(first opening the refresher)\nYou take the parchment. The parchment, perfectly reformed as it was precisely three days before, is a letter which reads:\n\nGrey news, Confessor. I caught Assenter Cur sniffing around Beningnell's old office in the Holy Chambers. He asked if I had a copy of the Strictures of Forgetting. I think he knows, or at least suspects, what we have done. Send advice soon.\n\nThe Confessor is definitely hiding something here, but what? The name \"Beningnell\" sounds familiar but you can't quite place it. This bears further investigation.\n\n> Up\nwalkway juts out, a long drop on either side. On its western end, a closed purple door leads into the master bedroom, and on its eastern end an open orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\n> Go east\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Distant city light streams through the open curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\nYou can see a pile of dust here.\n\n> You look at the bookcases\nThe bookcases have been shoved together precariously, leaning on one another for support. Each bookcase is labelled in a script comprised\nof interwoven azure flowers and thorny stalks. The labels are the\nseven eternal categories: damp, forgotten, implausible, pejorative, exhaustive, unsettling and beseeching.\n\n> You look at 4\nThe spine reads, Strictures of Forgetting by a forgotten\nwriter.\n\n> You read 4\n(first taking Strictures of Forgetting)\nYou open up Strictures of Forgetting.\n\nThe Strictures of Forgetting is a ritual that can be performed by two determined individuals. The effect of this ritual is to uncanonise someone or something targeted by the ritual. Once uncanonised the target is considered not only to no longer exist but also to have\nnever existed. This technique is forbidden except by a majority decision in the Holy Chamber.\n\nA cold shiver runs through you: the Confessor must have used the Strictures of Forgetting with the accomplice that wrote to him to uncanonise someone... but who, and why?\n\n> You go to the west\n(first opening the purple door)\n\nThe master bedroom of the Destine mansion is smaller than you'd expected: it only has twelve chandeliers. In the centre of the\npolished wooden floor is a round bed on which is the sleeping figure\nof Confessor Destine himself.\n\nTucked beside the bed is an unseemly bedside table. Opposite the open door east to the corridor is an open watercloset.\n\n> You look at Confessor\nConfessor Destine is a tall thickset male human. He is solely responsible for holding the secrets of every believer in Sinua, including his own. He is currently fast asleep buried in the silks, wearing his ceremonial pyjamas and a dagger belt. He's lying on his stomach, breathing slowly.\n\n> You wake up confessor\nYou imagine the shock on his face were you to wake him... it'd be\nworth a lot but not seventeen years of planning.\n\n> You examine the pyjamas\nThe pyjamas are finely woven, plush, and thankfully all-encompassing. You imagine they're buttoned up, but it's impossible to tell while the Confessor is lying on his front.\n\n> You look at the belt\nIt's a simple cloth sheath attached to a belt. The part that holds his dagger is trapped under his sleeping form.\n\n> You look at the dagger\nFor reasons unapparent, the dagger is made of solid gold and as such appears neither sharp nor valuable. Etched into the blade are the\nwords \"Confessor Destine\".\n\n> You look\nIn the centre of the polished wooden floor is a round bed on which is the sleeping figure of Confessor Destine himself.\n\nTucked beside the bed is an unseemly bedside table. Opposite the open door east to the corridor is an open watercloset.\n\n> You examine table\nThe table beside The Confessor's sleeping couch is shaped like a fist clutched around a larynx. Your throat tightens reflexively just\nlooking at the table.\n\nSitting on the table is a bowl.\n\n> You examine the bowl\nIt's a bowl made from a twice-fused skull of an emutant. Aside from being tactless and ugly, it is smeared with unidentified grey remains of a second dinner.\n\nInside the bowl is a substance scanner.\n\n> You look at the scanner\nThe substance scanner is a slim brass wand. A display made from liquid crystals is embedded in one side.\n\n> You take the scanner\nYou get the substance scanner.\n\n> You scan yourself\n(with the substance scanner)\nYou run the substance scanner over yourself but the scanner doesn't pick anything up of note.\n\n> Scan confessor\n(with the substance scanner)\nYou run the substance scanner over Confessor Destine but the scanner doesn't pick anything up of note.\n\n> You examine display\nwhich light up to make letters when illuminated from inside.\n\n> Scan bowl\n(with the substance scanner)\nThe scanner picks up nothing more untoward than OATS and MOLASSES.\n\n> Go east\nwalkway juts out, a long drop on either side. On its western end, an open purple door leads into the master bedroom, and on its eastern end an open orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\n> Go east\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Distant city light streams through the open curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\nYou can see a pile of dust here.\n\n> Scan dust\n(with the substance scanner)\nYou run the substance scanner over the pile of dust but the scanner doesn't pick anything up of note.\n\n> You examine the bed\nIt's a huge round bed covered in layers of silk and velvet. Confessor Destine slumbers alone in its centre.\n\n> You examine the watercloset\nThe open closet appears to be made of sickly chrome alloy, squatting jaundiced in an alcove of the room.\n\nThe closet is full of inscrutable holes and nozzles for human functions. You were given to believe that it is usually polite to\nleave a watercloset closed, unfortunately such a minor flaw doesn't count as a secret to hold against the Confessor.\n\n> Scan closet\n(with the substance scanner)\nYou run the substance scanner over the watercloset but the scanner doesn't pick anything up of note.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na substance scanner\nStrictures of Forgetting\na parchment\nthe vax\nTome & The Clan\nMilking\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You return books\nFirstly Strictures of Forgetting: (first closing Strictures of Forgetting)\nYou slot the book back on the shelf where it belongs.\nThen Tome & The Clan: (first closing Tome & The Clan)\nYou slot the book back on the shelf where it belongs.\nAnd finally Milking: (first closing Milking)\nYou slot the book back on the shelf where it belongs.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You go east\n(first opening the window)\n\nYou struggle through the window onto Greenhouse roof, mentally making\na note to close it up with the curtains before you escape back through the intersection. As you enter into the cool night air, something\nabout the Confessor strikes you. As odious as the man is, as a Confessor he is without fault: he has not left a single trace of\nanyone else's secrets but his own.\n\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the open curtains.\n\n> You look at the dome\nThe dome itself is formed of smooth tooth-glass and it reflects the distant lights of the cities in the void above. On the western edge, the dome merges into the solid rock wall of the Destine mansion.\n\n> Sing\nThe time for singing will be when the Confessor is undone.\n\n> You go west\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Distant city light streams through the open curtains. The open orange door leads west and the open window reveals the greenhouse roof to the east.\n\n> Close window\nYou close the window.\n\n> You close the curtains\nYou close the curtains.\n\n> Go north\nThe door leading to the rest of the mansion is blocked off by the guard, even if you wanted to go that way.\n\n> Attune\n(the bone door)\n(with your attuning set)\nYou run the attuning set lightly over the bone door but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You attune bird\n(with your attuning set)\nThe cage isn't open.\n\n> You open the cage\nIf you could open it, the quailer would most likely escape.\n\n> Attune beetles\n(with your attuning set)\nThe beetle chamber isn't open.\n\n> Open Chamber\nYou heft open the chamber, revealing a scrap of paper stuck to the bottom of the lid.\n\n> You examine paper\nA scrap of paper from a book is caught in the lid, its fellow pages presumably eaten by the beetles. It reads:\n\npressure applied uniformly.\nmewhat dynamic, would not\nso caution in aquatic climes\n\n> Close Chamber\nYou close the beetle chamber.\n\n> Go east\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west, opposite the closed window on the east side of the room.\n\n> You read 7\n(first taking Advanced Fluid Dynamics)\nYou open up Advanced Fluid Dynamics.\n\nThe blurb promised to offer up the knowledge of fluid interactions,\nbut is instead completely hollowed out and inside is a small bottle.\n\n> You examine bottle\nThe small glass bottle is unmarked and filled with a reddish liquid that has crusted about the lid.\n\n> Scan bottle\n(with the substance scanner)\nYou run the scanner over the mouth of the small bottle. You expect\nsome kind of spirit, though drinking is not forbidden to a Confessor. The scanner flickers up PORT. Nothing unusual there. And then, moments later, it flickers LEAD. Only the Doge is permitted to so potent a draught as lead-sweetened port. This will be awkward for the Confessor to explain in the Holy Chamber.\n\n> You go west\nwalkway juts out, a long drop on either side. On its western end, an open purple door leads into the master bedroom, and on its eastern end an open orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\n> You scan mince\n(with the substance scanner)\nYou scan the mince. The crystal display flickers and then settles on four letters PORK... that's impossible! You can hardly believe it, could it be fluke? A problem with the scanner?\n\n> Continue\n(with the substance scanner)\nYou scan the mince again. The display settles more quickly, it says PORK again. The Confessor could have no more horrific a secret than\nthe fact he consumes the flesh of swines. This alone would remove him from his position, but of course it wouldn't hurt to find more dirt on him."
    },
    {
        "text": "[Themes: mystery, garden]\n\n> Go downward\nWith a quick intake of breath you quickly shimmy down the bone ladder.\n\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall is bare. The bone ladder leads back up to the kitchen.\n\n> You scan the bottles\n(with the substance scanner)\nYou run the substance scanner over the wine bottles but the scanner doesn't pick anything up of note.\n\n> Up\nYou take a deep breath and quickly pull yourself up the ladder.\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a leathery red door opens the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, peeled back\nto reveal the space below.\n\n> You scan the paintings\nWhat do you want to scan those things with?\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nAdvanced Fluid Dynamics\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You scan yourself\n(with the substance scanner)\nYou run the substance scanner over yourself but the scanner doesn't pick anything up of note.\n\n> You scan the hay\n(with the substance scanner)\nYou run the substance scanner over the pile of hay but the scanner doesn't pick anything up of note.\n\n> Scan chamber\n(with the substance scanner)\nYou run the substance scanner over the beetle chamber but the scanner doesn't pick anything up of note.\n\n> You scan bird\n(with the substance scanner)\nThe cage isn't open.\n\n> You examine the cage\nThe cage, hanging from an ornate stand, is made from thousands of bird bones tied together with feathers. It's imposing, if somewhat flimsy. The bottom of the cage is littered in banberry stones.\n\n> Open Chamber\nYou heft open the chamber, revealing a scrap of paper stuck to the bottom of the lid.\n\n> You scan the beetles\n(with the substance scanner)\nYou run the substance scanner over the beetles but the scanner doesn't pick anything up of note.\n\n> Close Chamber\nYou close the beetle chamber.\n\n> You scan bone\n(with the substance scanner)\nYou run the substance scanner over the bone door but the scanner doesn't pick anything up of note.\n\n> You scan Silver\n(with the substance scanner)\nYou run the substance scanner over the silver framed picture but the scanner doesn't pick anything up of note.\n\n> You scan Bronze\n(with the substance scanner)\nYou run the substance scanner over the bronze framed picture but the scanner doesn't pick anything up of note.\n\n> You scan guard\n(with the substance scanner)\nYou run the substance scanner over the guard but the scanner doesn't pick anything up of note.\n\n> You examine the armour\nThe armour is a deep subsea blue and the ironwork is etched with interlocking blue roses. The Confessor seems to have felt the need to have his blue rose motif in every part of the mansion, even his\nguard's uniform.\n\n> You examine silk\nA pile of silk and velvet blankets spread out like a tremulous ocean surrounding the iceberg Confessor.\n\n> You attune confessor\n(with your attuning set)\nYou run the attuning set lightly over Confessor Destine but the lead rods barely even shimmer; he doesn't need attuning to you.\n\n> You turn Confessor\nHumans are too heavy for you to move unaided, though just about\nrounded enough to lever over.\n\n> You enter the closet\nThe risk of setting in motion some misguided hygienic automation is enough to deter you from entering the closet. It should still be safe to open or close its door.\n\n> Close closet\nYou shut the watercloset door. As it clicks shut you notice on the\nback of the door is a bright purple cloak.\n\n> You examine the cloak\nIn all his public engagements, the Confessor always wears this old purple cloak.\n\n> You wear the cloak\n(first taking the cloak)\nYou put on the cloak.\n\n> You check your inventory\nYou are wearing:\na cloak\nyour llama-suit\n\nYou are carrying:\nAdvanced Fluid Dynamics\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You open the closet\nYou open the watercloset.\n\n> Go east\n(first opening the window)\n\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the closed curtains."
    },
    {
        "text": "> Go downwards\nSitting on the edge of the dome, you slide yourself down into the garden below.\n\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\n> You examine the paintings\nFirstly the bronze framed picture: Framed by bronze leaf is a diorama of the Chief Destine, founder of his clan. In the painting he is a wearing a purple cloak and wielding an ornate dagger that is touched\nup against an egg of purest lead. In the background is a surprised looking goose.\n\nThen the iron framed picture: In the painting, the Confessor himself\nis standing regally in his purple cloak. On one shoulder, eating out\nof a raised palm, is a young quailer.\n\nAnd finally the silver framed picture: This is a painting of a young woman with a distinctive smile. She is dressed for the Hex wars, with\na swine-net and a mace. The title underneath the portrait reads: Confidante Destine.\n\n> You examine Silver\nThis is a painting of a young woman with a distinctive smile. She is dressed for the Hex wars, with a swine-net and a mace. The title underneath the portrait reads: Confidante Destine.\n\n> You look at Iron\nIn the painting, the Confessor himself is standing regally in his purple cloak. On one shoulder, eating out of a raised palm, is a young quailer.\n\n> You go east\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. Dim city light filters through the crack in the curtains. The open orange door leads west and the open window reveals the greenhouse roof to the east.\n\n> You go east\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the closed curtains.\n\n> You look under rug\nYou pull back the rug again, revealing a bone ladder leading down into dark depths below.\n\n> You look at the spindleweed\nThe plants in the greenhouse grow and die in a rapid cycle, proceeding through all possible stages of their life endlessly due to the lead enriched soil.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You take the berries\nbefore you.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You look\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You examine grosvair tree\nIn the centre of the round greenhouse is a great grosvair tree, its shaggy fur hanging in rugose strips from the calcified trunk.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You look at fur\nThe wrinkled strips of furry plant-matter hang suggestively from the bone white branches.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> You take the fur\nThat's not going anywhere.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You take the sapling\nThere are no berries on the banberry shrub to pick.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You take the spindleweed\nYou don't see any need to pick spindleweed.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You give berry to the bird\nYou pop the berry into the quailer's mouth and it gulps it straight down before starting a different litany.\n\n\"Are you listening bird?\" snuffles a low swine voice faithfully recorded by the quailer. \"Good, so Confessor, you may wonder why you have no llama now. Heh heh, Sow 17 is why. I got out, didn't you know? I know it was you that stitched us. Don't try looking for llama, I ate her. Time you hear this I be long gone. Heh, heh.\".\n\nYes, that's definitely Sow 17's voice. Surely the Confessor would have heard that by now? But then, he hadn't wiped the record. Maybe he\nstill doesn't know who stole his llama. Either way, this counts as a secret: Confessor Destine doesn't really have a pellucid llama.\n\n> You look at quailer\nThe quailer is a nervous looking brown bird that shivers every few moments as it talks endlessly to itself. Every few moments it pecks fruitlessly at the banberry stones that litter its cage.\n\n> You examine the red door\nThe door is formed of a single rigid strip of red leather,\nunmistakably from a letter-beast. The letter-beast door is open, allowing easy passage between the hall and the kitchen.\n\n> You examine the purple door\nThe door to the master bedroom is upholstered in several layers of purple keratin lace, made from untangled letter-beast claws.\n\n> You examine the orange door\nThe library door is a sickly orange and smells faintly of bile.\n\n> You look at 1\nThe spine reads, Bee Industry by Ewan Stores.\n\n> You read 1\n(first taking Bee Industry)\nYou open up Bee Industry.\n\nThe author's debut work, a factual account of a machine he devised for the production of bees. It marks an early development in the field of apocriticism.\n\n> Examine 2\nThe spine reads, One Hundred Uses for Letter-Leather by\nthe Organisation for the Commercial Promotion of the Interests of\nthe Knights Linear.\n\n> You read 2\n(first taking One Hundred Uses for Letter-Leather)\nYou open up One Hundred Uses for Letter-Leather.\n\nBy about the 34th reason, it becomes obvious that the writers have run out of good ideas but they soldier on regardless.\n\n> Examine 3\nThe spine reads, Treatises of Unending by the littlest\nporpoise.\n\n> You read 3\n(first taking Treatises of Unending)\nYou open up Treatises of Unending.\n\nAt the foot of each page is a series of possible pages that the reader can sensibly turn to next. Flicking to the end, you see that the last page directs you back to the first. The content is mostly mildly obfuscated body horror.\n\n> Examine 4\nThe spine reads, Strictures of Laxity by Yeastly\nWristman.\n\n> You read 4\n(first taking Strictures of Laxity)\nYou open up Strictures of Laxity.\n\nApparently an all egg diet has one very definite effect.\n\n> Examine 5\nThe spine reads, Contract Ford by\nThey-That-Recorded.\n\n> You read 5\n(first taking Contract Ford)\nYou open up Contract Ford.\n\nThe book contains the complete rules to Contract Ford, a game so complex that only three people are said to have ever understood the rules, which is unfortunate as the game requires four players.\n\n> Examine 6\nThe spine reads, Moving Celestial Bodies by the Monks of\nMambling.\n\n> You read 6\n(first taking Moving Celestial Bodies)\nYou open up Moving Celestial Bodies.\n\nThis pamphlet details one of the many theories of the Monks of Mambling: that anything could be moved with a lever and a fulcrum and place to stand. The latter half details an experiment to this effect, in which the great curse-stone monument of Never More Unseen was toppled using a thoroughly starched python as the lever, a hypnotised pygmy elephant as the fulcrum, with the younger members of the monastery forming a human pyramid from which the abbot could stand.\nThe final chapter is made up geocultist ravings about the impossible geometry of the scattered stones.\n\n> Examine 7\nThe spine reads, Their Terrible Forms by THEY WILL NOT\nFIT.\n\n> You read 7\n(first taking Their Terrible Forms)\nYou open up Their Terrible Forms.\n\nThe author, evidently a geocultist in an advanced stage of madness, outlines everything that he has discovered about curse-stones. He appears to flirt with the view that it might not actually be possible to tessellate the stones to form a perfect solid and that those that claim to have done so are deluding themselves.\n\n> Examine 8\nThe spine reads, Phenomenology of Unpleasant Pastries by\nSpinoza Kipling.\n\n> You read 8\n(first taking Phenomenology of Unpleasant Pastries)\nIn order to keep track of the ordering on the shelves, you shouldn't take any more Unsettling books until you've put some back.\n\n> You return books\nFirstly Their Terrible Forms: (first closing Their Terrible Forms)\nYou slot the book back on the shelf where it belongs.\nThen Moving Celestial Bodies: (first closing Moving Celestial Bodies) You slot the book back on the shelf where it belongs.\nThen Contract Ford: (first closing Contract Ford)\nYou slot the book back on the shelf where it belongs.\nThen Strictures of Laxity: (first closing Strictures of Laxity)\nYou slot the book back on the shelf where it belongs.\nThen Treatises of Unending: (first closing Treatises of Unending)\nYou slot the book back on the shelf where it belongs.\nThen One Hundred Uses for Letter-Leather: (first closing One Hundred Uses for Letter-Leather)\nYou slot the book back on the shelf where it belongs.\nThen Bee Industry: (first closing Bee Industry)\nYou slot the book back on the shelf where it belongs.\nAnd finally Advanced Fluid Dynamics: (first closing Advanced Fluid Dynamics)\nYou slot the book back on the shelf where it belongs.\n\n> You read 8\n(first taking Phenomenology of Unpleasant Pastries)\nYou open up Phenomenology of Unpleasant Pastries.\n\nThe introduction reads:\n\nEach pleasant pastry has its own unique qualities, in contrast to\nevery unpleasant pastry which is unpleasant due to one or more of the four-fold factors of possible pastry unpleasantness or one or more of the 15 synergistic combinations of unpleasantness, as schematised in the upcoming pages.\n\n> Examine 9\nThe spine reads, Never More Unseen by Abbot Spigot.\n\n> You read 9\n(first taking Never More Unseen)\nYou open up Never More Unseen.\n\nAn incomplete history of the forming of a dread monument made from curse stones. Apparently, the undoing of the monument is recorded in detail in the unsettling volume, Moving Celestial Bodies.\n\n> You look at 10\nThe spine reads, Meaning and Death by M. R. Sleet.\n\n> You read 10\n(first taking Meaning and Death)\nYou open up Meaning and Death.\n\nThis well known volume describes the process by which we attribute meaning to our actions to avoid thinking about our looming demise.\nMost people consider the thesis ill considered, or at least,\nunpleasant to bring up at the dinner table.\n\n> You look at 11\nThe spine reads, Lost Time by the Orloger.\n\n> You read 11\n(first taking Lost Time)\nYou open up Lost Time.\n\nThis awfully clever author argues that time might not be completely circular or self-reversing and that every moment we experience will be lost to us eventually. This book never got the attention it deserved.\n\n> Examine 12\nThe spine reads, Love Letters by Bertrand Aleph.\n\n> You read 12\n(first taking Love Letters)\nYou open up Love Letters.\n\nThankfully this isn't about the mating habits of letter beasts. According to the author, some letters are more loveable than others.\nIt particularly singles out lowercase \"b\" as the most endearing of characters. You stare at the \"b\" until you start to get a little creeped out.\n\n> Examine 13\nThe spine reads, Inverted Plains by Affronted\nMandible.\n\n> You read 13\n(first taking Inverted Plains)\nYou open up Inverted Plains.\n\nThe first line reads: The void between plains is one of distance, potential, and time. The plains we see dimly across the void may have ceased to be or may cease to ever become.\n\n> Examine 14\nThe spine reads, Solarity by Naticca Wickbee.\n\n> You read 14\n(first taking Solarity)\nYou open up Solarity.\n\nThe author explains how the glowing heat source that lights up every plain, the source obscured part of the time by the moving of other plains, is the intense point of convergence of every plain. There the interminable terminates.\n\n> You look at the bookcases\nThe bookcases have been shoved together precariously, leaning on one another for support. Each bookcase is labelled in a script comprised\nof interwoven azure flowers and thorny stalks. The labels are the\nseven eternal categories: damp, forgotten, implausible, pejorative, exhaustive, unsettling and beseeching.\n\n> You return books\nFirstly Solarity: (first closing Solarity)\nYou slot the book back on the shelf where it belongs.\nThen Inverted Plains: (first closing Inverted Plains)\nYou slot the book back on the shelf where it belongs.\nThen Love Letters: (first closing Love Letters)\nYou slot the book back on the shelf where it belongs.\nThen Lost Time: (first closing Lost Time)\nYou slot the book back on the shelf where it belongs.\nThen Meaning and Death: (first closing Meaning and Death)\nYou slot the book back on the shelf where it belongs.\nThen Never More Unseen: (first closing Never More Unseen)\nYou slot the book back on the shelf where it belongs.\nAnd finally Phenomenology of Unpleasant Pastries: (first closing Phenomenology of Unpleasant Pastries)\nYou slot the book back on the shelf where it belongs.\n\n> Examine 1\nThe spine reads, Catalogue for the Destine Library by\nConfessor Destine.\n\n> You read 1\n(first taking Catalogue for the Destine Library)\nYou open up Catalogue for the Destine Library.\n\nThe books in the library are apparently organised on shelves according to the seven eternal categories: damp, forgotten, implausible, pejorative, exhaustive, unsettling and beseeching. The location of\nsome of the more consulted volumes, like Personas of Note and Reliquaries of Power have been highlighted.\n\n> You look at 2\nThe spine reads, Springcraft by Gerald Hatchet.\n\n> You read 2\n(first taking Springcraft)\nYou open up Springcraft.\n\nA dictionary of springs, with some hinges thrown in for additional colour.\n\n> You look at 3\nThe spine reads, Strictures of Succession by Robin\nForkin.\n\n> You read 3\n(first taking Strictures of Succession)\nYou open up Strictures of Succession.\n\nThis is a censorious tome on the rules of succession for the Destine clan. The back pages look to have been torn out quite some time ago.\n\n> You look at 4\nThe spine reads, Pudding Recipes by Scanner\nAlltongue.\n\n> You read 4\n(first taking Pudding Recipes)\nYou open up Pudding Recipes.\n\nA vast compendium of puddings, a veritable dictionary of desserts,\nmost of which appear to include lard as their principal ingredient.\n\n> Examine 5\nThe spine reads, Personas of Note by Abbot Spigot.\n\n> You read 5\n(first taking Personas of Note)\nYou open up Personas of Note.\n\na half plains. If you wanted to look up anyone, you would consult this book.\n\n> You look up confessor\nThe entry for Confessor Destine spans several pages but the section on his early life before Confessordom has been blacked out. Through the ink, you can just about make out the name \"Beningnell\".\n\n> You look up Beningnell\nBeningnell was the fictitious title holder of the Confessordom for at least thirty years before Grover Destine nobly convinced the Theocracy that Beningnell had in fact never existed. Prior to this, he was considered to be a quiet figure who had the good fortune of being both invisible and incorporeal. How this non-person came to be Confessor is unknown but the revelation of his non-existence was the key factor in Grover Destine's ascension to the title of Confessor.\n\nIt all seems so clear now. Confessor Beningnell was a real person, although he may well have been invisible and incorporeal: some of the best people are. Grover Destine, eager for his position, performed the Strictures of Forgetting on Beningnell, uncanonising him, erasing his existence. Worse than simply killing the Confessor, he made it so he had never truly existed. This must be the Confessor's most dangerous secret.\n\n> Examine 6\nThe spine reads, Sinua by Well-Wisher Golden Letter.\n\n> You read 6\n(first taking Sinua)\nYou open up Sinua.\n\nThis is a guide to the great city of Sinua and all that can be done when insinuating there.\n\n> You look at 7\nThe spine reads, Reliquaries of Power by Federation of\nCons.\n\n> You read 7\n(first taking Reliquaries of Power)\nYou open up Reliquaries of Power.\n\nThis hefty tome lists what is known and what is suspected of all major and minor reliquaries that the authors thought worthy of mentioning. The tome is much too big and the print much too tiny to browse the\nbook succinctly, but notable reliquaries could be looked up\nin the book.\n\n> You look up cloak in the Reliquaries\nof powerful cloaks, you'll have to be more specific than that.\n\n> You look up Destine Cloak in the Reliquaries\nThe Destine Cloak: a sheet of regal purple in size 20, is one of two great relics of the Destine clan. It was woven from memories of the First Age and allows the wearer to turn gold into lead with the\nDestine Dagger..\n\n> You look up Destine Dagger in the Reliquaries\nThe Destine Dagger: The ceremonial dagger of the Destine Clan, that always must be held by the rightful chief of the Destine Clan. Famously, etched along the blade is the name of the current chief as detailed by the Strictures of Succession. It is said to have the power to turn gold to lead when wielded with the Destine Cloak.\n\n> You look at what you're carrying with you\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\nReliquaries of Power\nSinua\nPersonas of Note\nPudding Recipes\nStrictures of Succession\nSpringcraft\nCatalogue for the Destine Library\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You look up Winkerchief in the Reliquaries\nfind no clear or useful reference to winkerchief.\n\n> You examine parchment\nThe parchment, perfectly reformed as it was precisely three days before, is a letter which reads:\n\nGrey news, Confessor. I caught Assenter Cur sniffing around Beningnell's old office in the Holy Chambers. He asked if I had a copy of the Strictures of Forgetting. I think he knows, or at least suspects, what we have done. Send advice soon.\n\n> You look up Cur in the Personas\nThe book lists three members of the Cur clan: Assenter Cur, Counter\nCur and Meredith Cur.\n\n> You look up assenter cur in the Personas\nThe Assenter is a prominent Cur clansman, a founding member of the Gibbous Monks and a theocrat who's role is to agree to every motion raised in the Chamber. Assenter Cur was previously known as Dissenter Cur, the official counter-advocate of the chamber, but a motion by Confessor Destine overturned that role. He lives in Sinua with life partner Counter Cur.\n\n> You look up Sow 17 in the Personas\nAn outlaw in seven plains, hero in three, Sow 17 is banned from re-entering Sinua and has the dubious honour of being the only swine\nto have their number taken off the Swinery number register.\n\n> You look up counter cur in the Personas\nTheocrat of numbers, Counter Cur is most famed for developing the theory that there is not a point at which numbers wrap around and\nbegin again. The Counter resides in Sinua with life partner Assenter Cur.\n\n> You look up the llama in Reliquaries\nfind no clear or useful reference to llama.\n\n> You look up Confidante in the Personas\nConfidante Destine: Granddaughter of the Destine Doge, heir apparent\nto the Destine clan, and elder sister of Confessor Destine. Declared killed in action during the Hex wars.\n\nbefore she left to die in the Hex wars.\n\n> You look up chief in the Personas\nFounder of the Destine clan, the Chief Destine oversaw the carving of the Destine mansion and built his fortune on turning gold into lead.\n\n> You examine the suit\n(the llama-suit)\nFrom feet to appendages to head, your form is completely covered by a thin-weave suit made wholly from the wool of the pellucid llama. It renders you undetectable to all the senses that matter, including your own.\n\nOnly the greatest of hunters can track down and capture a pellucid llama. They are invisible and silent, they emit no scent and move too fast to be easily touched. Fortunately for you, the greatest of\nhunters are rarely the best treasure-keepers. You had three pellucid llamas rustled from the pleasure gardens of Leaguer Mel, who's life-work was the capturing of a herd from the outskirts of the Boundless Plains. The rustlers (Carminative Brown, Sow 17, and She-Who-Regrets) believed the plan was their own and even saved you\nthe trouble of the shearing. Each of them inevitably were found by Leaguer Mel's probability-hounds, along with the rustled llamas. But you fleeced the fleeces from them long before then.\n\n> You look up Leaguer Mel in the Personas\nOwner of the finest menagerie and pleasure gardens in all the plains, Leaguer Mel is most famed for his impressive collection of pellucid-llamas.\n\n> You look up brown in the Personas\nfind no clear or useful reference to brown.\n\n> You look up she-who-regrets in the Personas\nfind no clear or useful reference to she who regrets.\n\n> You look up yourself in the Personas\nYour distinct aim these past seventeen years has been to avoid your current identity from appearing in Personas of Note.\n\n> You examine the fireplace\nThe fireplace is more functional than cosy. It's a simple pit beneath\na narrow chimney, as far away from the bookcases as can be in a room entirely covered by bookcases.\n\n> You take the curtains\nYou get the curtains.\n\n> You look\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. The empty curtain pole hangs from brackets above the window. The open orange door leads west and the open window reveals the greenhouse roof to the east.\n\n> You take the pole\nYou take the pole. The curtain pole is long and sturdy and unlike most items in the mansion it doesn't appear to be made of any improbably rare material.\n\n> Lever confessor with pole\nYou wedge the curtain pole under the foul Confessor. Using the edge of the bed as a fulcrum, you flip him over. As you do this, one of his pyjama buttons pops off and falls into a crack in the floor. He is now lying on his back, revealing through his half-open pyjamas a tattoo that spreads across his stomach.\n\n> You examine the tattoo\nThe tattoo depicts a serpent twisted around in a sideways figure-of-eight, grasping its own tail in its mouth. This tells you\ntwo things: the Confessor is or was a Leminscater and if he still is one, that means they were not all wiped out by the Knights Linear.\nThis nugget alone could be enough to secure his downfall.\n\n> You look up Leminscater in the Personas\nfind no clear or useful reference to leminscater.\n\n> You take the button\nYou try to squeeze your fingers into the gap between the floorboards but the gap is too deep and narrow.\n\n> Lever confessor\n(with the pole)\nYou wedge the curtain pole under the foul Confessor. Using the edge of the bed as a fulcrum, you flip him over. He is now lying on his\nstomach once again.\n\n> You take Dagger\nThe Confessor is lying over the sheath, rendering it completely inaccessible.\n\n> Lever confessor\n(with the pole)\nYou wedge the curtain pole under the foul Confessor. Using the edge of the bed as a fulcrum, you flip him over. He is now lying on his back, revealing through his half-open pyjamas a tattoo that spreads across his stomach.\n\n> You take Dagger\nTaken.\n\n> You examine Dagger\nThis is the Destine Dagger, the ancestral weapon of the Destine clan, passed down from Chief to Chief throughout the ages. Etched into the blade are the words \"Confessor Destine\".\n\n> You look at the plinth\nOn the top of the stone plinth is an indent in the shape of a dagger. It's empty. On the edge of the hilt is what appears to be a coat hook.\n\nLooking at the plinth close up, you notice set into it is a small open cupboard.\n\n> Go west\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits.\n\nFirst the visitor is greeted by a pile of hay in an empty stall: the housing for a pellucid llama.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> Go west\nIn the centre of the polished wooden floor is a round bed on which is the sleeping figure of Confessor Destine himself.\n\nthrough the cracks in the floor.\n\nTucked beside the bed is an unseemly bedside table. Opposite the open door east to the corridor is an open watercloset.\n\n> You look at the crack\nYou can just about see the button glinting through a crack in the floor.\n\n> Go east\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. An empty bracket juts out above the uncovered window. The open orange door leads west and\nthe open window reveals the greenhouse roof to the east.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave, taking the button with it, revealing the menagerie below. Directly beneath you is the big mound of hay.\n\n> You look at rug\nThe rug is a thick slab of carpet with a beguiling pattern of interlocking keys and doors, tessellating in queasy spirals. The\nbutton from Confessor Destine's ceremonial pyjamas has been sucked up into the weave of the rug.\n\nYou have peeled back the rug, revealing the space about a foot's\nlength below it.\n\n> You take the button\nThe button appears to be folded into the weave of the rug, safe from your invisible fingers.\n\n> You look at the button\nThe button has been sucked up into the weave of the rug.\n\n> You take rug\nYou lift up the rug entirely and a hole appears briefly underneath it before disappearing, putting the button back as it was.\n\n> You attune the button\n(with your attuning set)\nYou run the attuning set lightly over the button but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You look at 10\nThe spine reads, Refresher Settings by Office for the\nProliferation of Lead Products.\n\n> You read 10\n(first taking Refresher Settings)\nIn order to keep track of the ordering on the shelves, you shouldn't take any more Exhaustive books until you've put some back.\n\n> You put the books back\nFirstly Reliquaries of Power: (first closing Reliquaries of Power)\nYou slot the book back on the shelf where it belongs.\nThen Sinua: (first closing Sinua)\nYou slot the book back on the shelf where it belongs.\nThen Personas of Note: (first closing Personas of Note)\nYou slot the book back on the shelf where it belongs.\nThen Pudding Recipes: (first closing Pudding Recipes)\nYou slot the book back on the shelf where it belongs.\nThen Strictures of Succession: (first closing Strictures of\nSuccession)\nYou slot the book back on the shelf where it belongs.\nThen Springcraft: (first closing Springcraft)\nYou slot the book back on the shelf where it belongs.\nAnd finally Catalogue for the Destine Library: (first closing\nCatalogue for the Destine Library)\nYou slot the book back on the shelf where it belongs.\n\n> You read the Refresher\n(first taking Refresher Settings)\nYou open up Refresher Settings.\n\nThe manual for the refresher in the kitchen makes clear that ordinary use is limited to reverting spoiled food to its state three days\nprior. It is constrained to this normal settings by the dial at the back. If the dial is set to uncontained, then the refresher will make use of the full power it has available from the lead in its compartment. Unfortunately, the standard amount of lead in the compartment has only enough power for three days any way.\n\n> You look at 13\nThe spine reads, Wanted For Crimes Known by the Knights\nLinear.\n\n> You read 13\n(first taking Wanted For Crimes Known)\nYou open up Wanted For Crimes Known.\n\npages. Upon each page is the name of an uncaught fugitive, their details disappearing from the enchanted pages upon their capture.\nThere are only three names: White Widow, Chromus, and Carminative Brown.\n\n> You look up white widow in wanted\nWANTED: WHITE WIDOW\nHe-Who-Wept offers the gift of justice served to whomever slays the White Widow, killer and mother of He-Who-Trembled (formerly known as Erigone). He-Who-Trembled was a sworn brother of the Divergent\nDiaspora and life-ally to He-Who-Wept and his murder must be avenged.\n\n> You look up Chromus in wanted\nWANTED: CHROMUS\nThe Knights Linear offer a permanent death granted on behalf of anyone who presents them with information leading to the capture of Chromus, (A.K.A. King Ant/the Fathergod/his Chromeliness).\n\n> You look up brown in wanted\nWANTED: CARMINATIVE BROWN\nLeaguer Mel offers the sum of one extraordinary boon for the proven recapture of Carminative Brown for the crimes of Llama-Rustling, Insouciance and Grand Escape Without Explanation. Looks like Carminative got away after all. Shame about the others.\n\n> Examine 11\nThe spine reads, Insects That We're Pretty Sure Aren't Edible\nby Ewan Stores and Jan Shore.\n\n> You read 11\n(first taking Insects That We're Pretty Sure Aren't Edible)\nYou open up Insects That We're Pretty Sure Aren't Edible.\n\nThis book lists all insects that the authors suspect aren't edible but wouldn't want to definitively rule out. Research, we are are assured, is ongoing.\n\n> You read 14\n(first taking Factional Dispentations)\nYou open up Factional Dispentations.\n\nAn easily-consultable history of various factions and clans.\n\n> You look up knights in factional\nfind no clear or useful reference to knights.\n\n> You look up linear in factional\nfind no clear or useful reference to linear.\n\n> You look up Knights linear in factional\nA holy order of the Sinuan Theocracy, they strictly maintain that\nevery plain persists endlessly along exactly one axis. They regularly send scouts out to prove this hypothesis and none have come back yet. This only bolsters their claims.\n\n> You look up sinuan Theocracy in the Factional\nfind no clear or useful reference to sinuan theocracy.\n\n> You look up leaguer in factional\nfind no clear or useful reference to leaguer.\n\n> You look up the swine in the Factional\nThe Swinery is a breeding conglomerate that produces swine. Each swine is given a unique number from a register when they are born. When a swine dies, their number is returned to the register. A swine is considered to be the same person as all prior incarnations with the same number. It is for this reason that swine do not make use of mortality refreshers.\n\n> You look up Theocracy in the Factional\nfind no clear or useful reference to theocracy.\n\n> You look up leminscater in the Factional\nfind no clear or useful reference to Leminscater.\n\n> You look up human in the Factional\nfind no clear or useful reference to human.\n\n> You look up the ants in factional\nfind no clear or useful reference to ants.\n\n> You look up the lemniscaters in factional\nA heretical sect that believe in the infinity of infinities.\n\n> You look up the letter beasts in the Factional\nfind no clear or useful reference to letter beasts.\n\n> You look at 11\nThe spine reads, Mythological Possibilities by M. R.\nSleet.\n\n> You read 11\n(first taking Mythological Possibilities)\nYou open up Mythological Possibilities.\n\nwith the study of mythic potentialities.\n\n> You look up the Mythologicians in the Factional\nfind no clear or useful reference to Mythologicians.\n\n> Examine 12\nThe spine reads, Rarer Elements of Noble Design by Hum\nthe Drummer.\n\n> You read 12\n(first taking Rarer Elements of Noble Design)\nYou open up Rarer Elements of Noble Design.\n\nA thick slab bound in letter-leather, with pages made from the pulped wood of the lachrymose oak. It outlines unconventional building materials like tooth-glass and grosvair fur.\n\n> Examine 13\nThe spine reads, Transcendent Gardens by Roly\nLentil.\n\n> You read 13\n(first taking Transcendent Gardens)\nYou open up Transcendent Gardens.\n\nIn which the five transcendent gardens are described. The Destine Blue Rose Garden is the third of these, famed for its perfect symmetry, complete curse-stone rockery and, of course, the unique blue roses themselves.\n\n> Examine 4\nThe spine reads, Strictures of Deviation by Louis\nFiller.\n\n> You read 4\n(first taking Strictures of Deviation)\nYou open up Strictures of Deviation.\n\nThis is just thinly veiled gossip couched in terms of universal principles.\n\n> You look at 12\nThe spine reads, Sinuan Theocracy Best Practices by\nSenator Nag.\n\n> You read 12\n(first taking Sinuan Theocracy Best Practices)\nYou open up Sinuan Theocracy Best Practices.\n\nWhile ostensibly a manual detailing customs and process of the Sinuan Theocracy, it appears to have been written mostly to justify writing a lengthy preamble decrying how the whole system is hopelessly outdated and impossible to change.\n\n> You look up sinuan Theocracy in the factions\ncan look things up in.\n\n> You check what you're carrying\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\nSinuan Theocracy Best Practices\nStrictures of Deviation\nTranscendent Gardens\nRarer Elements of Noble Design\nMythological Possibilities\nFactional Dispentations\nInsects That We're Pretty Sure Aren't Edible\nWanted For Crimes Known\nRefresher Settings\na rug\nthe destine dagger\na pole\nsome curtains\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You look up Sinuan in the Factional\nfind no clear or useful reference to sinuan.\n\n> You return books\nFirstly Sinuan Theocracy Best Practices: (first closing Sinuan Theocracy Best Practices)\nYou slot the book back on the shelf where it belongs.\nThen Strictures of Deviation: (first closing Strictures of Deviation) You slot the book back on the shelf where it belongs.\nThen Transcendent Gardens: (first closing Transcendent Gardens)\nYou slot the book back on the shelf where it belongs.\nThen Rarer Elements of Noble Design: (first closing Rarer Elements of Noble Design)\nYou slot the book back on the shelf where it belongs.\nThen Mythological Possibilities: (first closing Mythological Possibilities)\nYou slot the book back on the shelf where it belongs.\nThen Factional Dispentations: (first closing Factional Dispentations) You slot the book back on the shelf where it belongs.\nThen Insects That We're Pretty Sure Aren't Edible: (first closing Insects That We're Pretty Sure Aren't Edible)\nYou slot the book back on the shelf where it belongs.\nThen Wanted For Crimes Known: (first closing Wanted For Crimes Known) You slot the book back on the shelf where it belongs.\nAnd finally Refresher Settings: (first closing Refresher Settings)\nYou slot the book back on the shelf where it belongs.\n\n> You look\nThe library is a cramped room cluttered with bookcases that barely leave room for the armchair and the fireplace. An empty bracket juts out above the uncovered window. The open orange door leads west and\nthe open window reveals the greenhouse roof to the east.\n\n> You read 2\n(first taking Strictures of Forgetting)\nYou open up Strictures of Forgetting.\n\nThe Strictures of Forgetting is a ritual that can be performed by two determined individuals. The effect of this ritual is to uncanonise someone or something targeted by the ritual. Once uncanonised the target is considered not only to no longer exist but also to have\nnever existed. This technique is forbidden except by a majority decision in the Holy Chamber.\n\n> You look at 4\nThe spine reads, Calibrations Divine by Merkin\nDaily.\n\n> You read 4\n(first taking Calibrations Divine)\nYou open up Calibrations Divine.\n\nA dry tome on holy mechanics, the practical application of holy numbers. The diagrams on suspension bridges buoyed by disbelief could be better annotated.\n\n> Examine 1\nThe spine reads, The Last Days of The Red Letter by\nScarlett O'La.\n\n> You read last Days\n(first taking The Last Days of The Red Letter)\nYou open up The Last Days of The Red Letter.\n\nThis slim volume tells of the downfall of a famous letter-beast in the Divergent Plains. The letter-beast laid claim to the Plains, marking out edges with his endless burgundy tail. Like all letter-beasts, he sublet his territory in exchange for victuals and favours. His\ndownfall came by the cleaving points of the Knights Linear. The book describes their first encounter:\n\n\"I will lease you all the land that you could possibly need, fair Knights, or I am not a letter-beast!\" said the Red Letter, with sincerity uncommon in his kind.\n\"We accept your word as it stands,\" said the Knights Linear evenly.\n\nBut the Knights' need was great and in their attempts to halt the machinations of the Leminscaters they needed much land to grow lead groves. Soon all the land they'd let from the Red Letter had been filled and yet their lead rod requirements were nowhere near met.\n\n\"What can I do for you, fine and fair knights?\" asked the Red-Letter, smiling with all his sincere mouths and frowning with all his\ninsincere mouths.\n\"Letter-beast,\" said the Knights Linear, \"our need is greater than the land that you have let us.\"\nThe Red Letter opened his mouths for making deals and closed his\nmouths for making idle talk. \"Even knights, I could easily let you\nmore land for an appropriate price.\"\n\"You misunderstand,\" said the Knights, \"you said that you would lease us all the land that we could possibly need or you are not a letter-beast. Our need has outstripped the land that you have leased us, and yet you are still a letter-beast.\"\n\nAnd so, of course, the Knights Linear were entitled by their creed to undo any breakers of oaths. Upon that day they bisected the great\nbeast and took all his land, evicting all other tenants and selling\nhis great hide in millions of rectangular strips. Though the Knights Linear had merely acted justly, they gained the unearned favour of all other letter-beasts, who always rejoice when one of their kind is felled, and the unsurprising enmity of what was to become known as the Divergent Diaspora: a collective formed by many of the Red Letter's landless former tenants who mark their old landlord's demise each year with renewed vows to destroy the Knights Linear.\n\n> You take factional\nTaken.\n\n> You look up divergent Diaspora in factional\nYou open up Factional Dispentations.\n\nAn easily-consultable history of various factions and clans.\n\nEx-renters of the Divergent Plain, they are spread out almost everywhere else. They nurse a blood feud with the Knights Linear and mourn the loss of the Red Letter.\n\n> You take the Personas\nYou get Personas of Note.\n\n> You look up red Letter in the Personas\nYou open up Personas of Note.\n\na half plains. If you wanted to look up anyone, you would consult this book.\n\nA letter beast who previously bounded the Divergent Plains. Was killed by the Knights Linear and his body sold for leather to fund their ongoing campaigns.\n\n> Review\n-> The blue rose motif appears to be everywhere in the Confessor's wing. You wouldn't be surprised if there was something untoward\nbeneath it all.\n-> There must be some trick to opening the brick wall in the cellar, you only wish you knew more about codes.\n\n-> You have discovered that the Confessor Destine no longer has a pellucid llama: his most valuable possession is not in his possession. -> You have learnt that Confessor Destine usurped his title by causing Confessor Beningnell to be uncanonised, removing him from veridical existence.\n-> You have seen the Confessor's tattoo proclaiming him a member, at one time or other, of the Lemniscaters.\n-> You have unveiled the Confessor's secret stash of lead-sweetened port, a strictly forbidden substance.\n-> You have discovered the Confessor has consumed the flesh of swines.\n\n> Examine 14\nThe spine reads, Forbidden Libations by Narcissa\nGout.\n\n> You read 14\n(first taking Forbidden Libations)\nYou open up Forbidden Libations.\n\nA list of which drinks are forbidden on each plain. The most well\nknown is lead-sweetened port, a draught so potent only the Doge is permitted to drink it. He might have eventually ruled overwise, but since cracking open a crate of the stuff fifty years ago he hasn't appeared at any of the drink policy meetings.\n\n> You look at the bookcases\nThe bookcases have been shoved together precariously, leaning on one another for support. Each bookcase is labelled in a script comprised\nof interwoven azure flowers and thorny stalks. The labels are the\nseven eternal categories: damp, forgotten, implausible, pejorative, exhaustive, unsettling and beseeching.\n\n> You read 4\n(first taking Well Known Secrets)\nYou open up Well Known Secrets.\n\nThere are two kinds of secrets: living secrets and dead secrets. This book explores some of the more famous dead secrets, facts which people once tried to keep hidden but now are well known. It strikes you that the Confessor must know many of the other kind of dead secret, things that no one else now knows but wouldn't care to know.\n\n> Examine 12\nThe spine reads, Quanto-Dispaine for Beginners by M. S.\nRawl.\n\n> You read 12\n(first taking Quanto-Dispaine for Beginners)\nYou open up Quanto-Dispaine for Beginners.\n\nA set of steps for an awkward formal dance of uncertain origins.\n\n> Examine 13\nThe spine reads, Glyphic Grammar by F. Furnaces.\n\n> You read 13\n(first taking Glyphic Grammar)\nYou open up Glyphic Grammar.\n\nA compendium of unlikely symbols and their untenable interpretations.\n\n> Examine 14\nThe spine reads, Notes Towards Jamming by Eliza\nEnseled.\n\n> You read 14\n(first taking Notes Towards Jamming)\nYou open up Notes Towards Jamming.\n\nIt's a raft of design notes detailing how a jam lock manipulates probabilities.\n\n> Examine 1\nThe spine reads, Marmalade by Dee 'Six' Crapps.\n\n> You read 1\n(first taking Marmalade)\nYou open up Marmalade.\n\nAn unlikely tale set in a world in which swamps have a pleasant citric aroma. One rather suspects that Marmalade contains a\nsatirical subtext several layers of allegory removed from the actual description of events in the novel, such that only the most dedicated and unhinged of literary analysts could discover the true meaning of the work.\n\n> You look at 6\nThe spine reads, Songs and Codes by Bore Boar 44.\n\n> You read 6\n(first taking Songs and Codes)\nYou open up Songs and Codes.\n\nThe book details the shameful practice of embedding secret codes into songs, whether revealed when played backwards or deciphered from stressed syllables. While disapproving, the work goes into some considerable detail on the mapping of the initial letters of\nindividual syllables in a song line to letters in code grids. The danger here being that songs can be transmitted unwillingly between people once they stick in minds, and so messages may be spread through seemingly innocent ditties that secretly function as ciphers and crypto-mnemonics.\n\n> Go east\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see that there are no curtains."
    },
    {
        "text": "> Go downwards\nSitting on the edge of the dome, you slide yourself down into the garden below.\n\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\n> You go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You go to the west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a leathery red door opens the way west into the rest of the house.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave, revealing a great drop down into darkness.\n\n> Subrosa2\nSAVESave successful."
    },
    {
        "text": "[Themes: intrigue, nonhuman protagonist, treasure hunt]\n\n> Go downwards\nThe drop would be fatal from here.\n\n> You drop rug\nDropped.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave, revealing soil and roots, nothing out of the ordinary.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You take rug\nYou lift up the rug entirely and a hole appears briefly underneath it before disappearing.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You look at the bricks\nFirstly Brick A: Etched into the brick in a series of finely rounded grooves is the letter A. This brick seems smoother than the others.\n\nThen Brick B: Etched into the brick in a series of finely rounded grooves is the letter B.\n\nThen Brick C: Etched into the brick in a series of finely rounded grooves is the letter C.\n\nThen Brick D: Etched into the brick in a series of finely rounded grooves is the letter D.\n\nThen Brick E: Etched into the brick in a series of finely rounded grooves is the letter E.\n\nThen Brick F: Etched into the brick in a series of finely rounded grooves is the letter F.\n\nThen Brick G: Etched into the brick in a series of finely rounded grooves is the letter G.\n\nThen Brick H: Etched into the brick in a series of finely rounded grooves is the letter H.\n\nThen Brick I: Etched into the brick in a series of finely rounded grooves is the letter I.\n\nThen Brick J: Etched into the brick in a series of finely rounded grooves is the letter J.\n\nThen Brick K: Etched into the brick in a series of finely rounded grooves is the letter K.\n\nThen Brick L: Etched into the brick in a series of finely rounded grooves is the letter L.\n\nThen Brick M: Etched into the brick in a series of finely rounded grooves is the letter M.\n\nThen Brick N: Etched into the brick in a series of finely rounded grooves is the letter N.\n\nThen Brick O: Etched into the brick in a series of finely rounded grooves is the letter O.\n\nThen Brick P: Etched into the brick in a series of finely rounded grooves is the letter P.\n\nThen Brick Q: Etched into the brick in a series of finely rounded grooves is the letter Q.\n\nThen Brick R: Etched into the brick in a series of finely rounded grooves is the letter R.\n\nThen Brick S: Etched into the brick in a series of finely rounded grooves is the letter S.\n\nAnd finally Brick T: Etched into the brick in a series of finely rounded grooves is the letter T.\n\n> Press C\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AC.\n\n> Press f.\nYou push in Brick F.\n\nD   |   E   |\n\nG   |   H   |   I   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ACF.\n\n> Press o.\nYou push in Brick O.\n\nD   |   E   |\n\nG   |   H   |   I   |   J   |\n\n\n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ACFO.\n\nYou push Brick O in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently ACFO isn't the right combination.\n\n> Press ab\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\nYou push in Brick B.\n\nC   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AB.\n\n> You press the A.\nYou've already pushed Brick A.\n\n> Press C\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ABC.\n\n> Press d.\nYou push in Brick D.\n\nE   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ABCD.\n\nYou push Brick D in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently ABCD isn't the right combination.\n\n> You press the A.\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\n> Press C\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AC.\n\n> Press h.\nYou push in Brick H.\n\nD   |   E   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ACH.\n\n> You read the Codes\nThe book details the shameful practice of embedding secret codes into songs, whether revealed when played backwards or deciphered from stressed syllables. While disapproving, the work goes into some considerable detail on the mapping of the initial letters of\nindividual syllables in a song line to letters in code grids. The danger here being that songs can be transmitted unwillingly between people once they stick in minds, and so messages may be spread through seemingly innocent ditties that secretly function as ciphers and crypto-mnemonics.\n\n> Press d.\nYou push in Brick D.\n\nE   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ACHD.\n\nYou push Brick D in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently ACHD isn't the right combination.\n\n> Press aost\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\nYou push in Brick O.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n\n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AO.\n\nYou push in Brick S.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n\nT   |\n\n\nYou've pushed in: AOS.\n\nYou push in Brick T.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n\nYou've pushed in: AOST.\n\nYou push Brick T in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently AOST isn't the right combination.\n\n> Press chst\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: C.\n\nYou push in Brick H.\n\nD   |   E   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: CH.\n\nYou push in Brick S.\n\nD   |   E   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: CHS.\n\nYou push in Brick T.\n\nD   |   E   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n\nYou've pushed in: CHST.\n\nYou push Brick T in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently CHST isn't the right combination.\n\n> You press acsh\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AC.\n\nYou push in Brick S.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: ACS.\n\nYou push in Brick H.\n\nD   |   E   |\n\nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: ACSH.\n\nYou push Brick H in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently ACSH isn't the right combination.\n\n> You press the ACFS\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\nYou push in Brick C.\n\nD   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AC.\n\nYou push in Brick F.\n\nD   |   E   |\n\nG   |   H   |   I   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: ACF.\n\nYou push in Brick S.\n\nD   |   E   |\n\nG   |   H   |   I   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: ACFS.\n\nYou push Brick S in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently ACFS isn't the right combination.\n\n> You press aohf\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: A.\n\nYou push in Brick O.\n\nB   |   C   |   D   |   E   |\n\n|   F   |   G   |   H   |   I   |   J   | \n\n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AO.\n\nYou push in Brick H.\n\nB   |   C   |   D   |   E   |\n\nI   |   J   |\n\n\n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AOH.\n\nYou push in Brick F.\n\nB   |   C   |   D   |   E   |\n\nI   |   J   |\n\n\n|   P   |   Q   |   R   |   S   |   T   | \n\nYou've pushed in: AOHF.\n\nYou push Brick F in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently AOHF isn't the right combination.\n\n> You press shla\nYou push in Brick S.\n\n|   A   |   B   |   C   |   D   |   E   | \n|   F   |   G   |   H   |   I   |   J   | \n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: S.\n\nYou push in Brick H.\n\n|   A   |   B   |   C   |   D   |   E   | \nI   |   J   |\n\n|   K   |   L   |   M   |   N   |   O   | \nT   |\n\n\nYou've pushed in: SH.\n\nYou push in Brick L.\n\n|   A   |   B   |   C   |   D   |   E   | \nI   |   J   |\n\nM   |   N   |   O   |\n\nT   |\n\n\nYou've pushed in: SHL.\n\nYou push in Brick A.\n\nB   |   C   |   D   |   E   |\n\nI   |   J   |\n\nM   |   N   |   O   |\n\nT   |\n\n\nYou've pushed in: SHLA.\n\nYou push Brick A in and after a moment is slides back to its original position along with all the other bricks on the wall. Apparently SHLA isn't the right combination.\n\n> Go west\nYou find yourself in a damp cavern strewn with aged trash that extends out into darkness. You know it's a dungeon by all the dangling manacles. The opening in the brick wall leads back east to the wine cellar.\n\nLying among the detritus is a pristine white skull.\n\nDiscarded on one side is a huge sack of gold coins.\n\n> You examine the manacles\nattraction.\n\n> You examine the coins\nThe sack is almost overflowing with gold coins of various shapes and sizes. With inflation as it is, they're all practically worthless.\n\n> You take the sack\nYou get the sack of gold coins.\n\n> You touch the sack with Dagger\nWith the full weight of the cloak upon your back, you touch the tip of the dagger on the gold within the sack. The sack immediately becomes lighter in your grasp as the coins, staying the same size, grow duller in colour. They lose their lustre and become grey; one moment they are gold and the next they are lead.\n\n> You scan the skull\n(with the substance scanner)\nYou run the substance scanner over the skull but the scanner doesn't pick anything up of note.\n\n> You take the skull\nYou get the skull.\n\n> You look\nYou find yourself in a damp cavern strewn with aged trash that extends out into darkness. You know it's a dungeon by all the dangling manacles. The opening in the brick wall leads back east to the wine cellar.\n\n> Review\n-> The blue rose motif appears to be everywhere in the Confessor's wing. You wouldn't be surprised if there was something untoward\nbeneath it all.\n-> Ongoing: you've found a skull, but you've yet to discover who it once belonged to.\n\n-> You have discovered that the Confessor Destine no longer has a pellucid llama: his most valuable possession is not in his possession. -> You have learnt that Confessor Destine usurped his title by causing Confessor Beningnell to be uncanonised, removing him from veridical existence.\n-> You have seen the Confessor's tattoo proclaiming him a member, at one time or other, of the Lemniscaters.\n-> You have unveiled the Confessor's secret stash of lead-sweetened port, a strictly forbidden substance.\n-> You have discovered the Confessor has consumed the flesh of swines.\n\n> Go east\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall has swung ajar. The bone ladder leads back up to the kitchen.\n\n> You examine trash\nScraps of bone, cloth and rusted shards litter the cavern floor.\n\n> Inventory\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\na skull\na sack of lead coins\nSongs and Codes\nMarmalade\nNotes Towards Jamming\nGlyphic Grammar\nQuanto-Dispaine for Beginners\nWell Known Secrets\nForbidden Libations\nPersonas of Note\nFactional Dispentations\nThe Last Days of The Red Letter\nCalibrations Divine\nStrictures of Forgetting\nthe destine dagger\na pole\nsome curtains\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You examine the coins\nThe sack is full of perfect lead replicas of the gold coins that were previously in the sack.\n\n> You look\nYou find yourself in a damp cavern strewn with aged trash that extends out into darkness. You know it's a dungeon by all the dangling manacles. The opening in the brick wall leads back east to the wine cellar.\n\n> You put the skull in the Refresher\nYou put the skull into the refresher.\n\n> You turn on the refresher\nThe light flashes, signalling that the skull within has aged, despite the uncontained dial setting, only three days. Looking inside, you see a skull.\n\n> You check your inventory\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\na sack of lead coins\nSongs and Codes\nMarmalade\nNotes Towards Jamming\nGlyphic Grammar\nQuanto-Dispaine for Beginners\nWell Known Secrets\nForbidden Libations\nPersonas of Note\nFactional Dispentations\nThe Last Days of The Red Letter\nCalibrations Divine\nStrictures of Forgetting\nthe destine dagger\na pole\nsome curtains\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You turn the dial\nThe refresher ceases its vibrating as you turn the dial back to contained.\n\n> Open Refresher\nYou open the refresher.\n\n> You look in the Refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently open.\n\nInside the refresher is a skull.\n\nThere's a panel at the back for finer calibrations.\n\n> You put the attuner in the compartment\nget the attuning set only to disrupt its fortune matrix in some\nkitchen appliance.\n\n> You look up the skull in the Reliquaries\nfind no clear or useful reference to skull.\n\n> You look at 6\nThe spine reads, Pataphysics as a Guide to Paternity by\nPupil Dandelion.\n\n> You read 6\n(first taking Pataphysics as a Guide to Paternity)\nYou open up Pataphysics as a Guide to Paternity.\n\nIn this, one of her later volumes, Dandelion puts forward a lengthy treatise arguing that the best way of determining the father in uncertain cases is by the application of pataphysical enchantment.\nWhat one of those is, is anyone's guess.\n\n> You look at 6\nThe spine reads, Treatise Regarding Unsightly Toads by\nPerses the 13th.\n\n> You read 6\n(first taking Treatise Regarding Unsightly Toads)\nYou open up Treatise Regarding Unsightly Toads.\n\nWhat makes a toad unsightly isn't its texture or croak, for that much we expect from a toad. No, what makes a toad truly dreadful is its resemblance to ourselves. Its stretched mouth and bulging eyes and\nface of warts would not be hideous if we did not have mouths and eyes and warts of our own.\n\n> Examine 1\nThe spine reads, Enquiry Concerning Linear Justice by Guy\nSogg.\n\n> You read 1\n(first taking Enquiry Concerning Linear Justice)\nYou open up Enquiry Concerning Linear Justice.\n\nFrom a brief scan through the pages, Guy is making an impassioned plea to the Sinuan Theocracy to reassess the justice of the Knights Linear. While the Confessor has made room for the tome in his library, none of the recommendations have been taken up.\n\n> Examine 9\nThe spine reads, Forbidden Foods by the Theocracy of\nSinua.\n\n> You read 9\n(first taking Forbidden Foods)\nYou open up Forbidden Foods.\n\nAn up-to-the-minute list of all edibles of which the Theocracy proscribes consumption. Eating the flesh of fellow sentient beings is banned with a discretionary exception made for apostates. Lead-sweetened port, pellucid-llamas, and plains of any size also make the list.\n\n> You attune the skull\n(with your attuning set)\nYou run the attuning set lightly over the skull but the lead rods barely even shimmer; it doesn't need attuning to you.\n\n> You put the sack in the compartment\nThe lead compartment is closed.\n\n> You open compartment\nYou open the lead compartment, revealing a power rod.\n\n> You put the coins in the compartment\nYou put the sack of lead coins into the lead compartment.\n\n> Close lead compartment\nYou close the lead compartment.\n\n> Open Refresher\n(the refresher)\nThat's already open.\n\n> You put the skull in Refresher\n(Refresher Settings)\nThere is no more room in Refresher Settings.\n\n> You look at Refresher\n(the refresher)\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently open.\n\nThere's a panel at the back for finer calibrations.\n\n> You open power compartment\n(first ignoring unnecessary text \"compartment\")\nYou open up Reliquaries of Power.\n\nThis hefty tome lists what is known and what is suspected of all major and minor reliquaries that the authors thought worthy of mentioning. The tome is much too big and the print much too tiny to browse the\nbook succinctly, but notable reliquaries could be looked up\nin the book.\n\n> You drop the books\nFirstly Refresher Settings: As you put down Refresher Settings you\nfeel a brief moment of unburdening, a release from the tyranny of holding, gathering, collecting.\nThen Forbidden Foods: Dropped.\nThen Enquiry Concerning Linear Justice: Dropped.\nThen Treatise Regarding Unsightly Toads: You drop Treatise Regarding Unsightly Toads.\nThen Pataphysics as a Guide to Paternity: You drop Pataphysics as a Guide to Paternity.\nThen Reliquaries of Power: Dropped.\nThen Songs and Codes: Dropped.\nThen Marmalade: You drop Marmalade.\nThen Notes Towards Jamming: Dropped.\nThen Glyphic Grammar: Dropped.\nThen Quanto-Dispaine for Beginners: You drop Quanto-Dispaine for Beginners.\nThen Well Known Secrets: You drop Well Known Secrets.\nThen Forbidden Libations: You drop Forbidden Libations.\nThen Personas of Note: Dropped.\nThen Factional Dispentations: You drop Factional Dispentations.\nThen The Last Days of The Red Letter: Dropped.\nThen Calibrations Divine: Dropped.\nAnd finally Strictures of Forgetting: Dropped.\n\n> You turn on Refresher\ncoins you placed within it. The light flashes off of it and the\nmachine is unfathomably black with the complete absence of light for a long time before returning to its usual state. Looking inside, you see what is unmistakably a human head.\n\n> You examine the head\nIt's the head of Confidante Destine from the portrait.\n\nThe story is clear now: Confidante Destine never died ashore, but here in the mansion with her title appropriated by the Confessor himself.\nIt will be difficult for Confessor Destine to spin something innocent out of this.\n\n> You take the head\n(first opening the refresher)\nYou get the human head.\n\n> Go west\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. An open bone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\nYou can also see Strictures of Forgetting, Calibrations Divine, The Last Days of The Red Letter, Factional Dispentations, Personas of\nNote, Forbidden Libations, Well Known Secrets, Quanto-Dispaine for Beginners, Glyphic Grammar, Notes Towards Jamming, Marmalade, Songs\nand Codes, Reliquaries of Power, Pataphysics as a Guide to Paternity, Treatise Regarding Unsightly Toads, Enquiry Concerning Linear Justice, Forbidden Foods and Refresher Settings here.\n\n> You put the head in Chamber\nYou put the human head into the beetle chamber.\n\nThe pupae have begun crawling across the face, tearing the flesh.\n\n> You wait\nYou wait a few moments.\n\nThe pupae now cover the head, with half the nose already gone.\n\n> You wait\nYou wait a few moments.\n\nThe pupae have started work on the the hair, it begins to swiftly disappear.\n\n> You keep going\nYou wait a few moments.\n\nThe pupae have now torn through the head, with most of the skin gone and you suspect they're making progress on the brain.\n\n> Continue\nYou wait a few moments.\n\nThe hair and skin have disappeared and you see inside that most of the brain and fat of the flesh has been consumed. The flesh eating beetles don't appear to be interested in the eyes though.\n\n> Continue\nYou wait a few moments.\n\nThe final patches of fat are consumed and the pupae drop off the now pristine skull.\n\n> You take the books\nFirstly Strictures of Forgetting: Taken.\nThen Calibrations Divine: Taken.\nThen The Last Days of The Red Letter: You get The Last Days of The Red Letter.\nThen Factional Dispentations: You get Factional Dispentations.\nThen Personas of Note: You get Personas of Note.\nThen Forbidden Libations: You get Forbidden Libations.\nThen Well Known Secrets: As you take Well Known Secrets you spare a passing thought for all the things that have passed through your appendages to be stashed or stowed or forgotten about, thousands of medium sized dry goods disappearing into your past.\nThen Quanto-Dispaine for Beginners: Taken.\nThen Glyphic Grammar: You get Glyphic Grammar.\nThen Notes Towards Jamming: Taken.\nThen Marmalade: You get Marmalade.\nThen Songs and Codes: Taken.\nThen Reliquaries of Power: You get Reliquaries of Power.\nThen Pataphysics as a Guide to Paternity: As you take Pataphysics as a Guide to Paternity you spare a passing thought for all the things that have passed through your appendages to be stashed or stowed or forgotten about, thousands of medium sized dry goods disappearing into your past.\nThen Treatise Regarding Unsightly Toads: As you take Treatise\nRegarding Unsightly Toads you spare a passing thought for all the things that have passed through your appendages to be stashed or\nstowed or forgotten about, thousands of medium sized dry goods disappearing into your past.\nThen Enquiry Concerning Linear Justice: Taken.\nThen Forbidden Foods: You get Forbidden Foods.\nAnd finally Refresher Settings: Taken.\n\n> You return books\nFirstly Refresher Settings: (first closing Refresher Settings)\nYou slot the book back on the shelf where it belongs.\nThen Forbidden Foods: (first closing Forbidden Foods)\nYou slot the book back on the shelf where it belongs.\nThen Enquiry Concerning Linear Justice: (first closing Enquiry Concerning Linear Justice)\nYou slot the book back on the shelf where it belongs.\nThen Treatise Regarding Unsightly Toads: (first closing Treatise Regarding Unsightly Toads)\nYou slot the book back on the shelf where it belongs.\nThen Pataphysics as a Guide to Paternity: (first closing Pataphysics\nas a Guide to Paternity)\nYou slot the book back on the shelf where it belongs.\nThen Reliquaries of Power: (first closing Reliquaries of Power)\nYou slot the book back on the shelf where it belongs.\nThen Songs and Codes: (first closing Songs and Codes)\nYou slot the book back on the shelf where it belongs.\nThen Marmalade: (first closing Marmalade)\nYou slot the book back on the shelf where it belongs.\nThen Notes Towards Jamming: (first closing Notes Towards Jamming)\nYou slot the book back on the shelf where it belongs.\nThen Glyphic Grammar: (first closing Glyphic Grammar)\nYou slot the book back on the shelf where it belongs.\nThen Quanto-Dispaine for Beginners: (first closing Quanto-Dispaine for Beginners)\nYou slot the book back on the shelf where it belongs.\nThen Well Known Secrets: (first closing Well Known Secrets)\nYou slot the book back on the shelf where it belongs.\nThen Forbidden Libations: (first closing Forbidden Libations)\nYou slot the book back on the shelf where it belongs.\nThen Personas of Note: (first closing Personas of Note)\nYou slot the book back on the shelf where it belongs.\nThen Factional Dispentations: (first closing Factional Dispentations) You slot the book back on the shelf where it belongs.\nThen The Last Days of The Red Letter: (first closing The Last Days of The Red Letter)\nYou slot the book back on the shelf where it belongs.\nThen Calibrations Divine: (first closing Calibrations Divine)\nYou slot the book back on the shelf where it belongs.\nAnd finally Strictures of Forgetting: (first closing Strictures of Forgetting)\nYou slot the book back on the shelf where it belongs.\n\n> Inventory\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\na skull\nthe destine dagger\na pole\nsome curtains\na substance scanner\na parchment\nthe vax\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You hang the pole\nWhat do you want to hang the pole on?\n\n> You hang the pole on the bracket\nYou put the pole on the bracket.\n\n> You examine the bracket\nAbove the window is a bracket where the curtain pole currently sits.\n\n> You hang the curtains on the pole\nYou put the curtains on the pole.\n\n> Close window\nYou close the window.\n\n> You close the curtains\nYou close the curtains.\n\n> Go east\n(first opening the window)\n\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the closed curtains.\n\n> You put vax in the cupboard\nYou put the vax into the cupboard.\n\n> You take vax\nYou get the vax.\n\n> Empty vax\n(first opening the vax)\nYou empty the vax gently onto the master bedroom floor.\n\n> You rub vax on the crack\n(first closing the vax)\nThe button is sucked into the vax and is now floating in the vacuum tube within it.\n\n> You take the button\n(first opening the vax)\nTaken.\n\n> Examine button\nThe button, smooth and made of lead, is from Confessor Destine's ceremonial pyjamas.\n\n> You check what you're carrying\nYou are wearing:\nthe destine cloak\nyour llama-suit\n\nYou are carrying:\na button\nthe vax\na skull\nthe destine dagger\na substance scanner\na parchment\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> Review\n-> The blue rose motif appears to be everywhere in the Confessor's wing. You wouldn't be surprised if there was something untoward\nbeneath it all.\n\n-> You have discovered that the Confessor Destine no longer has a pellucid llama: his most valuable possession is not in his possession. -> You have learnt that Confessor Destine usurped his title by causing Confessor Beningnell to be uncanonised, removing him from veridical existence.\n-> You have seen the Confessor's tattoo proclaiming him a member, at one time or other, of the Lemniscaters.\n-> You have unveiled the Confessor's secret stash of lead-sweetened port, a strictly forbidden substance.\n-> You have discovered the Confessor has consumed the flesh of swines. -> You have found out that the scattered remains of the prior heir to the Destine Clan were in the Confessor's dungeon.\n\n> You scan bush\n(with the substance scanner)\nYou run the substance scanner over the rose bush but the scanner doesn't pick anything up of note.\n\n> You go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. An open blue door leads west into the house.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> You look up roses in Gardens\nfind no clear or useful reference to roses.\n\n> You read 16\n(first taking What We Did During Our Holidays)\nYou open up What We Did During Our Holidays.\n\nA collection of exciting vignettes involving explosions, foot-chases, and murder without consequence. The foreword says that the stories are all based on the truth but that is true of all good lies.\n\n> You go east\n(first ignoring unnecessary text \"beseeching\")\nIn the dim light, you can't see much beyond your immediate surroundings.\n\n> You drop rug\nYou manage to find a small patch of space to lay out the rug among the tight maze of flowers: the only other place flat enough would be the rockery.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave. Beneath is a solid mat of thick packed soil, the roots for the roses must be concentrated elsewhere.\n\n> You put rug in the rockery\nYou put the rug on the rockery.\n\n> You look under rug\nYou pull back the rug and the ground underneath is sucked into its weave. Beneath the rockery is a tangle of roots that all feed into a large pot.\n\n> You look at the pot\nA vast brass pot is buried beneath the rose bush, the thigh-thick\nroots drooping into its stygian depths. It's too deep and the space left by the roots too narrow to see what could be in the pot.\n\n> You scan pot\n(with the substance scanner)\nYou run the scanner over the lip of the brass pot, the scanner runs through a series of trace organic substances you'd expect to find in soil, including LAVENDER which would explain why the roses have the smell they do. Finally it settles upon SUBSEA.\n\n> You look at 5\nThe spine reads, History of Subsea by Dariush Djinn.\n\n> You read 5\n(first taking History of Subsea)\nYou open up History of Subsea.\n\nSubsea is a bright blue rock found at the bottom of the ocean. This book explains the processes by which it is recovered from the ocean floor and ground into a fine powder and from there used to make blue dyes.\n\nSubsea is a blue dye! The Confessor has a pot of blue dye beneath his famous rose garden, that's why they're blue! No, more than that, the symbol of the Destine clan, the blue rose itself, is a lie.\n\n> You return books\nFirstly History of Subsea: (first closing History of Subsea)\nYou slot the book back on the shelf where it belongs.\nThen What We Did During Our Holidays: (first closing What We Did\nDuring Our Holidays)\nYou slot the book back on the shelf where it belongs.\nAnd finally Transcendent Gardens: (first closing Transcendent Gardens) You slot the book back on the shelf where it belongs.\n\n> You go east\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the closed curtains.\n\n> Go west\nIn the centre of the polished wooden floor is a round bed on which is the sleeping figure of Confessor Destine himself.\n\nTucked beside the bed is an unseemly bedside table. Opposite the open door east to the corridor is an open watercloset.\n\nYou can also see a pile of dust here.\n\n> You rub vax on the dust\n(first closing the vax)\nThe pile of dust is sucked into the vax and is now floating in the vacuum tube within it.\n\n> You hang Cloak on the door\nPutting things on the purple door would achieve very little of use.\n\n> Close watercloset\nYou close the watercloset.\n\n> Hang cloak\nWhat do you want to hang the destine cloak on?\n\n> You look at the watercloset\nThe closed closet appears to be made of sickly chrome alloy, squatting jaundiced in an alcove of the room.\n\nThe closet is full of inscrutable holes and nozzles for human functions.\n\n> You examine the door\nThe door to the master bedroom is upholstered in several layers of purple keratin lace, made from untangled letter-beast claws.\n\n> You hang Cloak on the watercloset door\n(first taking it off)\nYou put the destine cloak on the watercloset.\n\n> You open the watercloset\nYou open the watercloset and the cloak behind the watercloset door is once again hidden from view.\n\n> You look at the cupboard\nThe cupboard is set into the plinth, tastefully out of sight. You've left it wide open with the vax inside it.\n\n> You close the cupboard\nYou close the cupboard.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na button\na skull\nthe destine dagger\na substance scanner\na parchment\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You put Dagger in the sheath\nYou put the destine dagger into the sheath.\n\n> You take the pole\nYou'd have to remove the curtains first, otherwise this is asking for tangling.\n\n> You take pole\nYou get the pole.\n\n> You put the Scanner in the bowl\nYou put the substance scanner into the bowl.\n\n> You put the button on Confessor\nPutting things on Confessor Destine would achieve very little of use.\n\n> Lever confessor\n(with the pole)\nYou wedge the curtain pole under the foul Confessor. Using the edge of the bed as a fulcrum, you flip him over. He is now lying on his\nstomach once again.\n\n> You hang the curtains\nWhat do you want to hang the curtains on?\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na button\na skull\na parchment\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You go east\nYou stand on the apex of the perfectly reflective dome embedded in the side of the Destine mansion. The blue rose garden lies below you to\nthe east. If you squint at the night, you can just about make out the intersection that leads back to the Mambling Plains.\n\nTo your west is the open window to the Confessor's library, through which you can see the closed curtains.\n\n> Go east\nSitting on the edge of the dome, you slide yourself down into the garden below.\n\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\nYou can also see a brass pot here.\n\n> Go west\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a leathery red door opens the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> Open Lead\nYou open the lead compartment, revealing a sack of lead coins and a power rod.\n\n> Close Lead\n(the sack of lead coins)\nThe sack is bulging with coins so much it can't be shut.\n\n> Close compartment\nYou close the lead compartment.\n\n> Review\n-> You have discovered that the Confessor Destine no longer has a pellucid llama: his most valuable possession is not in his possession. -> You have learnt that Confessor Destine usurped his title by causing Confessor Beningnell to be uncanonised, removing him from veridical existence.\n-> You have discovered that the famous blue rose of the Destine clan\nis caused by the rose drinking water dyed subsea blue.\n-> You have seen the Confessor's tattoo proclaiming him a member, at one time or other, of the Lemniscaters.\n-> You have unveiled the Confessor's secret stash of lead-sweetened port, a strictly forbidden substance.\n-> You have discovered the Confessor has consumed the flesh of swines. -> You have found out that the scattered remains of the prior heir to the Destine Clan were in the Confessor's dungeon.\n\nYou've now found all seven deceits of Confessor Destine. Now all that remains is to ensure that everything is back where you found it before leaving through the intersection.\n\n> You put the sack in Refresher\nIt's always preferable to clean out refreshers before reusing to avoid cross-contamination.\n\n> You examine Refresher\nThe refresher is a small transparent box that sits on the counter and hums constantly. It's a common sight in kitchens, used for\nrejuvenating food that has turned bad. When activated, it can\nrestore food to whatever state it was in three days prior to use. It's currently open.\n\nInside the refresher is a red smear.\n\nThere's a panel at the back for finer calibrations.\n\n> You look at the smear\nA copper-coloured stain that smells of iron. It cakes the bottom of\nthe refresher.\n\n> Clean smear\n(with the Winkerchief)\nYou scour the inside of the refresher with your winkerchief, soaking\nup the red stain until the device is as pristine as it was before.\n\n> You put the coins in Refresher\nYou put the sack of lead coins into the refresher.\n\n> You turn on Refresher\nThe light flashes, signalling that the sack of lead coins within has aged, despite the uncontained dial setting, only three days. Looking inside, you see a sack of gold coins."
    },
    {
        "text": "[Themes: library, nonhuman protagonist]\n\n> You go down\nWith a quick intake of breath you quickly shimmy down the bone ladder.\n\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall has swung ajar. The bone ladder leads back up to the kitchen.\n\n> You press ahlt\nWith the wall wide open, pushing the bricks does nothing.\n\nWith the wall wide open, pushing the bricks does nothing.\n\nWith the wall wide open, pushing the bricks does nothing.\n\nWith the wall wide open, pushing the bricks does nothing.\n\n> You look\nYou find yourself in a damp cavern strewn with aged trash that extends out into darkness. You know it's a dungeon by all the dangling manacles. The opening in the brick wall leads back east to the wine cellar.\n\nYou can see a sack of gold coins and a skull here.\n\n> Go east\nThree brick walls of the wine cellar are lined with racks, burgeoned with bottles. The western wall has swung ajar. The bone ladder leads back up to the kitchen.\n\n> You close the wall\nYou place two appendages against the rough brick wall and push. At first it doesn't budge. The fear of leaving a trace rises. But with a little more force it slides shut.\n\n> Inventory\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\na button\na parchment\nthe somnuliser\nthe attuning set\na Winkerchief\n\n> You put parchment on the stove\nYou put the parchment on the stove.\n\n> You turn on the stove\nThe letter wrinkles up and quickly turns to ash as heat pours out from the stove.\n\n> You turn off the stove\nYou turn off the stove and the heat quickly dissipates.\n\n> You take the ashes\nTaking hold of the ashes would be impossible, it'd run through your fingers or cling to your suit.\n\n> Empty vax\n(first opening the vax)\nYou empty the vax carefully onto the upper walkway floor.\n\n> Up\nwalkway juts out, a long drop on either side. On its western end, an open purple door leads into the master bedroom, and on its eastern end an open orange door leads into the library.\n\nA stone plinth in the shape of a down-turned dagger is the only furniture here, and the ceiling mural is the only decoration.\n\nYou can also see a pile of dust here.\n\n> You attach the button to the pyjamas\nYou tie the button back on to the loose thread of the confessor's pyjamas.\n\n> You hang the pole on the curtains\nPutting things on the curtains would achieve very little of use.\n\n> Close Refresher\nThat's already closed.\n\n> You close the red door\nYou close the red door.\n\n> You close the blue door\nYou close the blue door.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> Go west\n(first opening the blue door)\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> Go west\n(first opening the red door)\n\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. An open bone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You close the purple door\nYou close the purple door.\n\n> You close the orange door\nYou close the orange door.\n\n> You close the bone door\nYou close the bone door.\n\n> You go to the west\n(first opening the bone door)\n\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits.\n\nFirst the visitor is greeted by a pile of hay in an empty stall: the housing for a pellucid llama.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You look at what you're carrying with you\nYou are wearing:\nyour llama-suit\n\nYou are carrying:\nthe somnuliser\nthe attuning set\na Winkerchief\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You go east\nThe Blue Rose Garden is comprised of a single rose bush grown to magnificent proportions. Its offshoots form a prickled boundary, enclosing the garden. At precise intervals, blue roses grow. From a rockery in the centre of the garden, from which all the offshoots\nstem, is the core bush and from it grows a pristine bouquet.\n\nThe Destine mansion rises up to the west. A maze of flowers are reflected in the tooth-glass dome of the greenhouse, its sliding door almost completely flush with the unpanelled pane.\n\n> You close sliding door\nThe door scrapes shut, its jam lock jamming it shut once again.\n\n> Review\nMost of the Confessor's secrets are bound to be in his wing of the mansion: you've got to find a way in.\n\n-> You have discovered that the Confessor Destine no longer has a pellucid llama: his most valuable possession is not in his possession. -> You have learnt that Confessor Destine usurped his title by causing Confessor Beningnell to be uncanonised, removing him from veridical existence.\n-> You have discovered that the famous blue rose of the Destine clan\nis caused by the rose drinking water dyed subsea blue.\n-> You have seen the Confessor's tattoo proclaiming him a member, at one time or other, of the Lemniscaters.\n-> You have unveiled the Confessor's secret stash of lead-sweetened port, a strictly forbidden substance.\n-> You have discovered the Confessor has consumed the flesh of swines. -> You have found out that the scattered remains of the prior heir to the Destine Clan were in the Confessor's dungeon.\n\nYou've now found all seven deceits of Confessor Destine. Now all that remains is to ensure that everything is back where you found it before leaving through the intersection.\n\n> Subrosa3\nSAVESave successful.\n\n> Go west\n(first opening the sliding door)\nOn a regular night it would be bound to be jammed shut, but there's a possibility it could open in your favour.\n\n> You attune the sliding door\n(with your attuning set)\nThe lead rods of the set shimmer and you feel an intense feeling of rightness with the sliding door: it is attuned to you, for now.\n\n> You open the sliding door\nThe door slides open.\n\n> Go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. A closed blue door leads west into the house.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You close the sliding door\nThe door scrapes shut, its jam lock jamming it shut once again.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> Go west\n(first opening the blue door)\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> You close the blue door\nYou close the blue door.\n\n> Go west\n(first opening the red door)\n\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. A closed\nbone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You enter the intersection\nYou step through the intersection and after a long walk through mud, you change your outfit in the next plain, and then again in the next, shedding cover identities like second skins as you move your way towards the centre of the plains: to the city of Sinua.\n\nWhen you arrive you are who you once were, the Orloger, a theocrat\nwith an obsolete role whose absence from the Chamber was surely not missed. You declare that you will be leading the next session to Assenter Cur who doesn't appear surprised at your sudden arrival.\n\nWithin the hour you are standing before the Holy Chamber, dozens of theocrats\" eyes upon you, the Confessor himself sitting in the centre.\n\n\"Murder, pig-eating, heresy and usurpation,\" you begin. \"These are the charges I level at Confessor Destine.\"\n\nA wave of shock ripples across the theocrats. You lay before your\npeers the seven deceits of Confessor Destine, each time raising your voice above the outraged cries of the crowd. Throughout, the Confessor remains silent, coldly assessing you.\n\n\"But do not take my word,\" you say, \"search the Destine mansion and there all the evidence you will find.\n\n\"Search all you like, you will find nothing of the sort,\" the\nConfessor says with a slither of a smile. You suspect he discovered\nhis home was broken into and took steps to conceal what might have\nbeen discovered.\n\nAnd right enough, no evidence of serious ill-doing was found although he had no time to procure a new llama and the rose cuttings taken turned white when grown elsewhere. While still the Confessor, all\ntrust in Destine had eroded and a faction installed his absent grandfather the Doge as head of the clan.\n\nAnd as for you? Your position in the Theocracy is no longer tenable, sneakthieves are not untrusted no matter their motives. As they drive you out the chamber you cast your eyes across Sinua: if it takes seventeen more years, you will be back and back for good.\n\n> Reveal\nDuring your visit to Confessor Destine's Mansion, the following things were left out of place.\n\nThe pair of eyes was left in the beetle chamber.\nThe gourd was left open.\nThe quailer was left singing the wrong tune.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or REVEAL the items that were not left as they were found?\n\n> You go west\n(first opening the window)\nThe window can only be opened from inside the library.\n\n> Go west\nThe greenhouse of the Destine mansion is a tooth-glass dome. The glass reflects back the light and heat of a microscopic sun that slowly orbits a huge grosvair tree. A variety of plants grow, bloom and die\non a long plant bed.\n\nOn the east of the greenhouse an open sliding door leads back out to the rose garden. A closed blue door leads west into the house.\n\nThe hayberry bush is bare, its leaves small and its branches stubby. Hard red berries hang like droplets from the banberry shrub. The spindleweed leaves are long and thin.\n\n> You close the sliding door\nThe door scrapes shut, its jam lock jamming it shut once again.\n\nSmall yellow flowers blossom across the hayberry bush. The banberry shrub is covered in dozens of black obloid berries. The spindleweed stalks have grown higher and the leaves broader.\n\n> You take the banberry\nYou pluck one of the berries from the banberry shrub as it ripens before you.\n\nHard green fruit bodies hang from the hayberry bush. The banberry\nshrub is crinkled and grey with mould. The plant bed is thick with spindleweed.\n\n> You take the banberry\nBefore you can pluck a berry, the plant wilts in front of you.\n\nThe hayberry bush is laden with bright red round berries. The banberry shrub is a small sapling. The spindleweed is in thin yellow strands.\n\n> You close the sliding door\nThat's already closed.\n\nThe hayberry bush is dead, rotting on the soil. Large white flowers blossom on the banberry shrub. Tiny sprouts of spindleweed are\ngrowing.\n\n> Go west\n(first opening the blue door)\n\nConfessor Destine's personal kitchen is small: certainly less than\nhalf an acre of countertops. In the centre, by the refresher, is a heating stove and a cooling slab. An open blue door leads into the greenhouse to the east, whilst a closed leathery red door bars the way west into the rest of the house.\n\nClashing with the kitchen's decor is an ugly square rug, lying flat by your feet.\n\n> Go west\n(first opening the red door)\n\nA tall round chamber, the reception room for The Confessor's personal wing of the house. The north door leads off into other wings of the mansion where other members of the Destine clan live and work. A long slope curves up round the chamber, looping several times. A closed\nbone white door leads west and an open red door east.\n\nAlong the walls are three paintings, framed in silver, bronze and\niron.\n\nThe Confessor's guard slumbers in her ornate iron armour by the door leading north to the rest of the mansion.\n\n> You go to the west\n(first opening the bone door)\n\nConfessor Destine has little taste in either selection or arrangement. The open bone door leads east.\n\nUnfortunately, most of the 'menagerie' is made up of stuffed exhibits.\n\nFirst the visitor is greeted by a pile of hay in an empty stall: the housing for a pellucid llama.\n\nThen they see a worried looking bird mumbling to itself in a cage.\n\nFinally, at the back of the room, they see a glass chamber swarming with shiny black beetles.\n\n> You take the eyes\nYou take the pair of eyes. These eyes are mottled chrome yellow. In\nthe right hands, everything these eyes ever saw could be known.\n\n> Close Chamber\nYou close the beetle chamber.\n\n> You feed berry to the bird\nYou pop the berry into the quailer's mouth and it gulps it straight down before starting a different litany.\n\nThe quailer sings again its ugly song:\n\nsealing our secrets\nand taking our tears.\n\nEach of the 4 lines of this song has 5 syllables in it.\n.\n\n> You enter the intersection\nTelling someone's secret always reveals two people. To speak these deceits in front of an assembly of theocrats would be to reveal yourself as a sneakthief. It would be your own undoing as well as the Confessor's.\n\nConfident that Destine would be none the wiser about your break in,\nyou take a few months planting seeds of doubt through proxies. You leave dossiers on the desks of rival family members and leak libellous details to pamphleteers in Sinua. You are in the chamber dressed as an Orloger, your first skin. Beningnell's illicit uncanonising has just been discovered through forensic continuity rituals and Cecil Destine has confessed to his part in it in exchange for banishing to the Hex lands. The Confessor's face is haggard, worn down by the burden of the last few months.\n\n\"All in favour of appointing a new Confessor?\" calls Boar Bore 44. The chamber is unanimous.\n\n\"I veto!\" shouts the Confessor.\n\n\"Veto this!\" cries the Bore, goring him with his left tusk, rending\nhim unfit to practice. The Confessor grasps his side as he is dragged screaming from the chamber.\n\nIn the fallout none are blameless and all suspect all of conspiring with Destine. None are blameless, that is, except for you who have\nbeen absent from the chamber all these years. Within the month you are chosen as the new Confessor, which was your goal all along...\n\n> You press space\nA year later you sit in your booth, listening to a confession.\n\n\"I am not Confessor Destine,\" says the voice behind the screen, \"I no longer have that title. My clan has cast me aside, I no longer bear that name. I am nameless and I am leaving and I will stop at\nnothing to bring you down.\"\n\nBut you leave nothing unconsidered.\n\n\"You are not leaving for you never were to begin with,\" you say as you signal to Assenter Cur across the chamber and pull out a copy of the Strictures of Forgetting...\n\n> Reveal\nCongratulations on leaving no trace. Throughout the game there are multiple hints that the protagonist is not a human. They are in fact a giant ant with opposable digits, best known in the theocracy as the Orloger. Their role in the theocracy was to count the turning of the ages (to prevent the Lead Age from ending and a Golden Age from arising). Since the Theocracy of Sinua successfully prevents the ages from turning (by way of various rituals), the Orloger doesn't have an active role. Like any theocrat, they can submit and vote on measures\nin the Holy Chamber; but like most, there's not much expectation that they actually will (in part due to the power the Confessor has over proceedings with his power of veto). As such, they can get away with being absent for decades on end without anyone really noticing.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or REVEAL the full identity of the protagonist?"
    },
    {
        "text": "[Themes: Mystery, mystery, detective, noir, hard-boiled]\n\n\"Word is: if you don't crack this one, you're\nout of a job.\"\n\nat No 15 Brokentop Boulevard. A man lies dead, and unfortunately, they called you. Now either you can get the evidence together to make a conviction - or you'll be out for good.\n\never written: Stu Galley's Witness. A tightly-focused game it\nwas smart enough to use a few characters with interesting lives rather than several characters with nothing at all, and told its story in a series of gripping set-pieces.\n\nmerits of text gaming over graphical adventures. Intended as quick demo project in 2000 it took seven years to reach the THE END text, and another year to finish filling the spaces in-between. He hopes you will finish it more easily, and find the inevitable lapses of consistency in the narrative voice are compensated for by the extensive testing the first six moves have received.\n\nShould you find any bugs - and there will be bugs - please send details to the author at jon.ingold@gmail.com.\n\nThe call comes through. Of all the dicks; you get the call, sitting in the front seat of your car, hands shaking on the steering wheel. An urgent call; but all you were thinking of was the bottle in the liquor store and so that's where you went first.\n\nNow you're pulled up outside the house. The rear mirror's showing two steely eyes. You adjust your hat, stiffen up your collar and grab your badge off the dash. Here goes. You've one last chance to...\n\nThe boulevard through the windscreen is lined with ash trees, thick trunks casting shadows and gnarled roots mangling up the sidewalk. You're sat in your car, parked too high up the kerb; just outside the gate to No. 15. Just an ordinary house. With a body inside.\n\n\"Homicide. One Jack Draginam, accountant. Married, no kids.\nStabbed. Yadda yadda, blah blah. We got the call from the maid - geez, who has a maid? Apparently she wanted to stress there's a lot of blood.\"\n\n\"Oh, Inspector. Word is, if you don't crack this one, you're out\nof a job.\"\n\nThe glove compartment is closed. Sat on the passenger seat is a whiskey bottle.\n\n[Author's Note: The call comes through. Of all the dicks; you get the call, sitting in the front seat of your car, hands shaking on the steering wheel. An urgent call; but all you were thinking of was the bottle in the liquor store and so that's where you went first. Now you're pulled up outside the house. The rear mirror's showing two steely eyes. You adjust your hat, stiffen up your collar and grab your badge off the dash. Here goes. You've one last chance so...MAKE IT GOOD!]\n\n> Open glove\n(unlocking it first - with the car key)\nYou pull open the compartment, and it catches after only opening a tiny crack. Stupid thing.\n\n> Open glove\nThe catch is pretty firmly stuck.\n\n> You check your inventory\nIn your trenchcoat pockets are your badge and a car key, and in your hands you hold some black leather gloves.\n\nIn addition to your trenchcoat, you are wearing your wide-brimmed hat and your scuffed black shoes.\n\n> You hit the glove\nLeaning up in the seat, you give the thing a smack with both feet and it clicks shut.\n\n> Open glove\n(unlocking it first - with the car key)\nYou pull open the compartment, and it catches again.\n\n> You look at the bottle\n\"Uncle Stan's Golden Malt\"; yeah, it's bargain bin liquor at 80% proof and 80% off. Your body's crying out for it. To slip back, let the whole goddamn world ride all the way to the glass at the bottom. Oh yeah.\n\n> You take the bottle\nYour fingers shiver on the glass as you lift it.\n\n> You examine gloves\nYou've had them all your years in the force; though you're always forgetting to use them. For example, this morning you left them on the table back home; had to stop off for them just before you took this call, right after you bought the booze. Priorities all straight, oh yeah.\n\n> You drink the whiskey\nThe bottle's not open. You can suck the cap all you like, it won't do you no good.\n\n> You wear gloves\nYou pull the gloves onto your hands.\n\n> You examine the badge\nYour police badge - oh yeah, this proves you're an upstanding, honest, officer of the goddamn law. It has a small pin on the back.\n\n> You go outside\n(opening the black chevy first)\nYou open the car door.\nYou clamber out of the driving seat.\n\nBroken Top Boulevard, Outside No. 15\nThe boulevard is lined with ash trees, thick trunks casting shadows and gnarled roots mangling up the sidewalk. Your car is parked too high up the kerb; just outside the gate to No. 15. Just an ordinary house. With a body inside.\n\nThere'd better be some faces too: you need the slam. What did the peep at the station say? Inspector, the only case you cracked open last year was the Michaelmas liquor. He has a point. If you come up\nblank (or facedown in a gutter) you'll be off the payroll. And then you'd really have a problem.\n\nDown the street there's a dog, running about.\n\n> You examine the dog\nThe dog's somewhere else down the road. You can hear its damn yapping.\n\nYou hear a loud barking in the distance.\n\n> You go to 15\n(opening the front gate first)\nThe gate swings creakily.\n\nYou step into the porch.\n\nA tasteful little porch; white painted wood strapped onto red-brick building. The front door is north, and through a small diamond of frosted glass you can make out nothing of the wood-panelled hallway inside. Your neck is sweating; sunlight hides behind the trees to the south.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n\n> You look at the basket\nThe basket is small and wicker, and hangs on a rough twine from a screw in the ceiling, just out of the sunlight from the door. It's about as high up as your head. Inside the basket a couple of petunias are growing limp in the shade.\n\n> Search basket\nThe hanging basket has got some petunias in it.\n\n> You knock on the door\nYou knock a smart rap on the door.\n\nAfter a short wait the door opens, Angela's face appears, then the rest of her. She looks just like she should considering, no time to do her face. \"Yes, hello? Oh - \" and you follow her eyes, which have noticed the whiskey bottle in your grubby paws. \"I've no time for drunks now. Goodbye.\" The door is slammed.\n\n> You drop the bottle\nYou set the bottle down carefully. Don't want to break it now.\n\n> You knock on the door\nYou knock a smart rap on the door. Perhaps a face appears behind the red glass, but there's no answer.\n\n> You knock on the door\nYou knock a smart rap on the door. Perhaps a face appears behind the red glass, but there's no answer. Somehow, it seems like you've managed to screw up the entire investigation before even starting. Impressive.\n\n> You kick the door\nThe door's such a hard-wood that even trying to kick it down comes out as nothing but a smart little knock. Perhaps a face appears behind the red glass, but there's no answer. Somehow, it seems like you've managed to screw up the entire investigation before even starting. Impressive.\n\n> You show the badge to the door\nInanimate. Give up.\n\n> You show the badge to the face\n-- You referred to something that can't be interacted with at present.\n\n-- You referred to something that can't be interacted with at present.\n\n> You look at the door\nThe front door is closed and locked, green, kind of cheery in a backwater way. Screwed into the front are two brass numbers. They say \"15\". Set into it is a diamond of red-frosted glass.\n\n> Talk\nThe call comes through. Of all the dicks; you get the call, sitting in the front seat of your car, hands shaking on the steering wheel. An urgent call; but all you were thinking of was the bottle in the liquor store and so that's where you went first.\n\nNow you're pulled up outside the house. The rear mirror's showing two steely eyes. You adjust your hat, stiffen up your collar and grab your badge off the dash. Here goes. You've one last chance so...\n\n*  *  *  *  *\nMAKE IT GOOD\n\n-- \n\nBroken Top Boulevard, Outside No. 15 (in the black chevy)\nThe boulevard through the windscreen is lined with ash trees, thick trunks casting shadows and gnarled roots mangling up the sidewalk. You're sat in your car, parked too high up the kerb; just outside the gate to No. 15. Just an ordinary house. With a body inside.\n\n\"Homicide. One Jack Draginam, accountant. Married, no kids.\nStabbed. Yadda yadda, blah blah. We got the call from the maid - geez, who has a maid? Apparently she wanted to stress there's a lot of blood.\"\n\n\"Oh, Inspector. Word is, if you don't crack this one, you're out\nof a job.\"\n\nThe glove compartment is closed. Sat on the passenger seat is a whiskey bottle.\n\n> You wear gloves\nYou pull the gloves onto your hands.\n\n> You knock on door\nYou knock a smart rap on the door.\n\nAfter a short wait the door opens, Angela's face appears, then the rest of her. She looks just like she should considering, no time to do her face. \"Yes? What do you want?\" she says uncertainly.\n\n> You look at Angela\nThirty-something, maybe forty on a bad day; Angela is housewife through and through. From her thick black ball of hair down through her one piece long dress, she's sophistication via mail-order. Sure, maybe she could be pretty, if you'd lost all your teeth and were three notches out in the belt, and she wasn't pinched and blotchy, like she is today. Yeah, today is not a day to be sizing her up, that's true enough.\n\n\"Can I help you?\"\n\n> You show the badge to Angela\n\"Oh, Inspector! I'm sorry.. do come in, I'm glad you came so quickly.\" You follow her into the house. It has a smell you recognise, all right.\n\nA wood-panelled hallway, with the front door to the south next to which is a dark polished roll-top desk. Stairs in the northeast corner of the room lead to the upstairs landing where the bedrooms are, and a passage northwest runs through to the kitchen and blue wallpapered living room, which you can't quite see from here.\n\nIn the lefthand corner is a hat stand. Hanging off the stand is Jack's hat.\n\nMrs. Draginam closes the door shut behind you.\n\n\"The man on the phone told me to make sure nothing was touched. They told me you were coming, but they said there'd be more of you.\" She fusses a little. \"Shall I take your hat?\"\n\n> Yes\nYou remove your hat, and Angela hangs it on the stand.\n\n\"And your coat, Inspector?\"\n\n> You ask Angela about Jack\n\"In the bedroom,\" she replies. \"That's where it happened. I was downstairs and... oh.\" She raises one hand to her mouth. \"Maybe you should just see.\"\n\n> You go to the bedroom\n-- What do you want to go: the Maid's Bedroom, the Guest Bedroom or the Master Bedroom?\n\n> You go to the master bedroom\nYou make your way upstairs around the curve of the staircase.\n\nUpstairs Hallway, North End\nA neat little corridor, running with the stairwell to the east down the length of the house. The carpet is a worn-down brown pattern; the wallpaper a lurid yellow colour, like flowers stuck in another guy's wedding cake. The closed doorway to the bedroom lies north of here, another door is open to the west; by the look of it a guest bedroom.\n\n\"Through there, Inspector,\" Angela says to you, pointing to the north door; hanging back herself though.\n\n> You look at the north door\nThe master bedroom door is closed.\n\n> You go to master bedroom\n(opening the master bedroom door first)\nYou open the door. And catch a glimpse of the corpse - a crumpled heap of dead human, nothing but the knife wounds in its back between him and you. Stabbed in the back - oh yeah, stabbed in the back.\n\nAngela follows you in, and looks uncertainly at the body, her eyes a little cold. \"I'll be in the living room if you want to ask me any questions, Inspector,\" she say thickly, before stepping out the room and closing the door.\n\nThe master bedroom is relatively tasteful, and dominated by the bed sticking out of the east wall. Opposite is a mirrored dresser shoved in the corner at an angle, just by the large windows overlooking the garden. These are shut tight like normal. The closed door is in the southwest - in fact, lying on the bed you could probably see it in the reflection. The carpet's beige-with-dried-bloodstain, and there's more rancid wallpapering. Between the window and the bed is a little yucca tree in a pot.\n\nSprawled in a messy heap, pining for attention, is Jack's corpse.\n\nOn the dresser is a green-shaded table lamp.\n\n\"Then you can meet the others,\" Angela calls. \"There's the maid, and William Matheston, outside, in the shed. Good. Well, all right then.\" You hear Angela's footsteps move off, but they don't go downstairs.\n\n> You look at the mirror\nThat's one beat-up gentleman, that is.\n\nThere is a loud thump, of something falling, from somewhere nearby.\n\n> Go south\n(opening the master bedroom door first)\nYou open the master bedroom door.\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\nYou hear a slight click through the door to the west.\n\n> Go west\n(opening the guest bedroom door first)\nYou open the guest bedroom door.\n\nHeh. That you thought this was a guest bedroom says something - from the photo on the nightstand by the bed, this is Angela's bedroom. It's pretty spartan, no dresser or table, just a wicker chair for furniture. The door lies to the east, a little window in the north wall has a view into the garden. The carpet's blue; so's the owner.\n\nThere's a flurry of movement as you enter. Angela is sitting on the wicker chair. She looks a little flustered.\n\nOn the nightstand is a silver frame framing a photo.\n\nA tall teak wardrobe leans against one wall.\n\n> You open the wardrobe\nYou open the wardrobe doors, and take a peek inside. Pretty empty, just a few shelves and a clothes rail, with not much on them. On the rail are a few coathangers. The shelves have got Angela's shoes on them.\n\n\"I'll be in the living room, Inspector,\" she says, her voice a little shaky, then goes out the door and downstairs like her tail was on fire.\n\n> You look at shoes\n-- What do you want to examine: Angela's shoes or your scuffed black shoes?\n\n> You go to the master bedroom\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> Go north\nBed, mirrored dresser, window. Door. Yucca. Dead guy.\n\nOn the dresser is a green-shaded table lamp.\n\n> You examine the corpse\nThe corpse looks peaceful, like he just tripped and stayed there. Except for his face: two gashes, not deep, but running from temples to cheekbones. The stab wounds in his back are deep, as long as the blade used, thin. There are about seven of them. He'd been turning for the door when he was struck. That's how he lies now, reaching out.\n\nIt's bled messily over the carpet.\n\nSomeone knocks on the front door below.\n\n> Search corpse\nYou rifle the corpse; find a key in his pocket. A dirty Yale key.\n\nThere are footsteps in the hall; and the maid's voice: \"Yes? How can I - oh.\"\n\n> You take the key\n-- What do you want to take: the dirty house key or the car key?\n\n> You take the dirty house key\nYou already have that.\n\nFrom the hallway: \"Is the Inspector here?\" There is a pause. \"I'll go and find him, then.\"\n\n> You look at the dresser\nThe dresser has no drawers, just a surface and a mirror. The reflection is not flattering, it looks both like you need the bottle and you've been at it for too long. It's like the faces you see in the cells in the morning; after the kissers have been through with them.\n\nFrom the hallway, you hear the front door close.\n\nThere are footsteps on the stairs, and a policeman appears huffing like a steam train. He comes in and shuts the door. Only then does his jowly smile drop into a scowl. \"Inspector. Sorry you made it. I hoped you wouldn't.\" He comes closer, then reels, waving one hand in front of his nose. \"You've been drinking. Maybe not recently. But generally.\" A fat fist grabs you by the collar. \"I need you to get this one right. I'm not getting stuck on another one of your\nblow-out cases. Okay?\"\n\n> Yes\nThe policeman sneers a smile.\n\n\"I don't think you can. The Chief doesn't think you can. Don't think he doesn't know all about you. This is your last chance, Inspector. If you muss this one up you're out on your ear and then you're just little people again. You'll find yourself in the drunk block quicker than I can take your badge. Understand?\"\n\n> Yes\n\"You'd better.\"\n\nThe policeman lessens his gaze a bit, drags a hand through short, slicked back black hair. He's a real grease monkey, one of these modern kids. \"Okay, Inspector. Get started. Do the body first, then when you're finished with the body, tell me and we'll get it away from here. Though I'll take it myself around four, when the coroner closes up. Otherwise, if you want something analysing at the lab you let me know. And if you want to make an arrest, you tell me. Now get on with it.\"\n\n> Analyse door\n\"Stop wasting your time,\" he replies. \"My time.\"\n\n> You tell the policeman about the body\n\"There's nothing on him back at the station,\" Joe informs you. \"Accountant, married. Nothing you couldn't detect just looking around at this place. Not much else going on. No obvious reason for someone to do that to him, anyhow.\" Joe wrinkles his nose. \"Are you finished with him yet, Inspector? Shall I take him away?\"\n\n> Search corpse\nNothing. Well, nothing of any worth to you. A handkerchief but you don't feel like crying.\n\n> Inventory\nIn your trenchcoat pockets are your badge and two keys: the dirty house key and the car key, and in your gloved hands you hold nothing.\n\nIn addition to your trenchcoat and gloves, you are wearing your scuffed black shoes.\n\n> You tell the police about the body\n(the policeman about that)\n\"What's more to say?\" Joe wrinkles his nose. \"Are you finished with him yet, Inspector? Shall I take him away?\"\n\n> Yes\n\"Okay,\" the policeman says to you, and disappears downstairs. A few minutes later the coroner's van pulls up, and you watch dispassionately as Joe, and the coroner, and a long flat guy called Jack wander out to the taxi. There's no fuss or big deal, just a sheet. Angela watches pale-faced from a window or something, who knows.\n\nIf we're being honest, no-one seems to miss the guy and he's only two hours gone. Joe returns to the room. \"I'll stick around if you need anything analysed, Inspector. I'll go sit and read a paper in the living room or something.\" You nod and he leaves."
    },
    {
        "text": "[Themes: Mystery, mystery, detective]\n\n> You describe your surroundings\nThe master bedroom is relatively tasteful, and dominated by the bed sticking out of the east wall. Opposite is a mirrored dresser shoved in the corner at an angle, just by the large windows overlooking the garden. These are shut tight like normal. The open door is in the southwest - in fact, lying on the bed you could probably see it in the reflection. The carpet's beige-with-dried-bloodstain, and there's more rancid wallpapering. Between the window and the bed is a little yucca tree in a pot.\n\nOn the dresser is a green-shaded table lamp.\n\n> You look under the bed\nIt's too dark to see anything under the bed. Not that there'll be anything there, of course.\n\n> You pull the bed\nYou are unable to.\n\n> You search the dresser\nThe dresser has got a green-shaded table lamp on it.\n\n> You look at the lamp\nA bent brass spine leads up from the thick discus base to the long thin green shade. Inside is a short neon bulb which is dark. The glass is a little scratched; the brass colouring flecking off the metal in places.\n\n> You switch on the lamp\nYou turn on the lamp.\n\nThe light glints off the surface of the dresser, picking out marks in the varnish. Letters and words etched in.\n\n> You read the marks\nYou can't make much out, because the light only picks out certain bits; just letters here and there. Certainly not enough to make sense of it; apart from the last two letters: \"J.D.\" Familiar?\n\n> You examine the window\n(the large window)\nLarge windows, with painted green frames, the paint on which looks a little ragged. They're closed.\n\nThey offer a good vista of the poky little garden, which is damp from the recent rain. A thick clump of climbing roses comes up the wall to the sill.\n\n> You open the window\n(the large window)\nYou open the window that opens: the others are painted shut and would require a lot of tugging.\n\n> You look out the window\n(the large window)\nThey offer a good vista of the poky little garden, which is damp from the recent rain. A thick clump of climbing roses comes up the wall to the sill.\n\n> You go outside\nA webbing of thick thorny branches and a few buds that mangles over the side of the building.\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> You look at the sill\nThe paint is thick, and dark green, perhaps the third layer the frame has seen. Along the hinged seam, the paint has flaked away, revealing a white undercoat colour underneath. A few flecks of green paint are visible on the carpet just below the window."
    },
    {
        "text": "[Themes: Mystery, noir, hard-boiled]\n\n> Look around\nThe master bedroom is relatively tasteful, and dominated by the bed sticking out of the east wall. Opposite is a mirrored dresser shoved in the corner at an angle, just by the large windows overlooking the garden. These are wide open, letting in the bite of cold air. The open door is in the southwest - in fact, lying on the bed you could probably see it in the reflection. The carpet's beige-with-dried-bloodstain, and there's more rancid wallpapering. Between the window and the bed is a little yucca tree in a pot.\n\nOn the dresser is a green-shaded table lamp with bulb lit.\n\n> You look at the pot\nA stubby little tree, leaves green like the beer from that hole on 12th Street, and sprouting thicker than a ex-con's beard, so much so that the rim of the ceramic pot is shrouded from view.\n\n> You search the plant\nYou spread the leaves back, to reveal a short stake pushed deep into the soil of the plant.\n\n> You look at the stake\nIt's about two inches of metal, hidden in the leaves, which seems to carry on down into the soil.\n\n> You take it\nYou draw out the short stake, which becomes the hilt of the carved steel letter opener, its blade sticky with blood.\n\n> You examine the stake\nA short stubby handle and a long carved blade. Soil coats the metal; stuck down with some substance you know well. It's blood.\n\n> Analyse stake\nAfter a moment, Joe steps in through the open master bedroom door.\n\nJoe has seen the blood-soaked steel letter opener. \"Is that our possible murder weapon?\" he asks.\n\n\"Anyway, you called for me.\" He slicks his hair back. \"So, what have you got?\" You show him the steel letter opener. \"It'd be difficult to get that much blood out of a bunch of tax-returns,\" he remarks. \"If there's fingerprints on this, that'd make this the most careless murder ever. But still, it's worth a shot.\" Wearing gloves he takes the letter opener from you and drops it into a bag.\n\nThe policeman leaves through the master bedroom door.\n\n> You look at carpet\nA beige, wall-to-wall carpet. In the middle of it is a large bloodstain; and by one window you observe some flecks of green paint. Otherwise it's quite clean, and not very dusty.\n\n> You examine the bloodstain\nQuite a wide patch of carpet is soaked in blood, maybe two feet in diameter. The red on cream effect is quite compelling, like a pavlova.\n\n> You analyse the paint\nRight now Joe's off analysing the steel letter opener. You'll have to wait for him to come back.\n\n> You look at the wallpaper\nIt's just wallpaper. It doesn't do anything; except spin on the ceiling every other night of the week.\n\n> Go southwest\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> Go west\nBed, nightstand, wicker chair. Door to the corridor.\n\nOn the nightstand is a silver frame framing a photo.\n\nA tall teak wardrobe leans against one wall.\n\n> You look at the photo\nSickening picture of happier times; Angela and Jack, arm in arm, outside a registrar office. But even here not everything's good - there's another couple in the background carrying open umbrellas. Angela is arm in arm with Jack who is arm in arm with Angela's sister. Sweet touch. There's a strange, flat bulge under one corner of the photo.\n\nThe photo is in a charming silver frame. Could be worth something.\n\n> You open the frame\nThe clasp needs to be clipped out but like the straps on the girls they pull in from Chinatown. It's far too small for your fat shaky fingers.\n\n> You open the frame with pin\nUsing the pin on the back you flip open the clasp of the frame. The cover swings open and the photo slides out and wafts to the floor. A flimsy key which was hidden behind it also falls out. You pick it up.\n\n> You look at the back of the photo\n-- I only got as far as wanting to examine the silver frame.\n\n> You examine the frame\nThe frame is all twirly and flowery, you know, flowers like you get near gravestones. It has a little clasp on the side and the silver front hangs open on a hinge from the back.\n\n> You examine photo\nSickening picture of happier times; Angela and Jack, arm in arm, outside a registrar office. But even here not everything's good - there's another couple in the background carrying open umbrellas. Angela is arm in arm with Jack who is arm in arm with Angela's sister. Sweet touch.\n\n> You examine the flimsy key\nA small flimsy key, like the key to a diary.\n\n> You look at the nightstand\nA little bedside table, pretty empty.\n\n> You search it\nThe nightstand has got a silver frame on it.\n\n> You look under the bed\nJust by the foot of the bed is a small red spot on the carpet.\n\n> You examine the spot\nJust a small spot of drying blood.\n\n> You examine the chair\nA rickety old chair, made of little bits of wood like the bones of an old guy. It's over by the bed. Just next to the legs, but not quite under, are four circular dents in the carpet.\n\n> You stand on the chair\nYou get onto the wicker chair.\n\n> You examine wardrobe\nA tall wardrobe made of teak, with cocky brass handles on the doors. It's got nasty little carved flourishes between base and carpet, and same up top, so you can't easily see under it or over it.\n\n> You get off the chair\nYou get off the wicker chair.\n\nBed, nightstand, wicker chair. Door to the corridor.\n\nOn the nightstand is a silver frame.\n\nA tall teak wardrobe leans against one wall.\n\nYou can also see a wedding photo here.\n\n> Up\nThe only door is east. You can't even jump out of the window in this room, as there's nowhere to jump to.\n\n> You examine the wardrobe\nA tall wardrobe made of teak, with cocky brass handles on the doors. It's got nasty little carved flourishes between base and carpet, and same up top, so you can't easily see under it.\n\n> F search wardrobe\n(--> d search wardrobe)\n-- I only got as far as wanting to d.\n\n> You search the wardrobe\nPretty empty, just a few shelves and a clothes rail, with not much on them. On the rail are a few coathangers. The shelves have got Angela's shoes on them.\n\n> You search top\n(--> look over wardrobe)\nAh-ha! There's an ugly pink suitcase hidden on top of the wardrobe! You pull it out - it's heavy - and drop it noisily to the floor.\n\n-- You referred to something that can't be interacted with at present.\n\n> You get off the chair\nYou get off the wicker chair.\n\nBed, nightstand, wicker chair. Door to the corridor.\n\nOn the nightstand is a silver frame.\n\nA tall teak wardrobe leans against one wall.\n\nThe wicker chair is over by the wardrobe.\n\nYou can also see a closed pink suitcase, its lock clicked down, and a wedding photo here.\n\n> Unlock suitcase with flimsy\nYou unlock the pink suitcase.\n\n> You open it\nYou open the pink suitcase, revealing Angela's clothes.\n\n> Search clothes\n(Angela's clothes)\nYou rummage around in the clothing, unearthing a novel, a toiletry bag, passport documents, which you lay out to one side. But even more interesting - a highly valuable black and white photograph is revealed.\n\n> You examine the photograph\n-- What do you want to examine: the black and white incriminating photograph, the passport photo or the wedding photo?\n\n> You look at the novel\n\"The Complete Adventures of Slick Gurner.\" Pocket sized. Bin sized.\n\nOn the back flap, in blue ink, are the numbers 43 and 41.\n\n> You turn to the page 43\n(in the trashy novel)\nYou find the page, and read:\n\n...with another double four. Just how much luck could one man\nhave?\n\"You're cheating,\" Sam exclaimed, standing from the table and\nthrowing her cards at him. They missed of course, landing short just by Slick's left hand. \"You're a dirty pig, and I hate you!\"\nBut that strike was ineffectual - Slick caught her slim wrist\nas it flicked across the air to connect with the regal stubble of the Gurner family jaw. \"Lady,\" he replied, purring. \"Sit down, and finish the game.\"\n\"Best out of four?\" Sam replied, ruefully, making no effort to\nfree her arm.\n\"Okey,\" Slick replied, and Sam strutted out, sending the next\ngirl in. But this girl was different, and Slick knew it by the tingling under his coat; just below his third rib where his heart was. It was Clarissa.\n\"Clarissa!\" he hissed, ever concious of the two thousand-strong audience in hushed silence around him. \"What are you doing here?\" \"Same as you, Slick,\" she whispered in reply, whilst shaking his\nhand formally to convince the onlookers it was just a friendly greeting. \"Trying to diffuse the bomb.\"\nSlick nodded grimly. This was his kind of girl. \"Maybe,\" he\nsaid, and then: \"I have an idea. If we work together...\"\n\"We can force a draw! Then it won't detonate!\" Clarissa\ncontinued, her eyes sparkling as she slid with cat-like grace, learned through years of air-hostessing, into her electronic PlaymoChair. \"What's the game?\"\nSlick looked across at the list, and his face fell. \"Some Ruskie invention. A bit like Tic-Tac-Toe.\"\nClarissa's face lit up in excitement. \"Tic Tac Toe? Slick! I\nthink ... I think we've got a chance!\"\n\n> You turn to page 41\n(in the trashy novel)\nYou find the page, and read:\n\n...and would fail. He gazed at her levelly, and adjusted his hat.\n\n\"If that's the way you want to play it, lady,\" Slick purred,\n\"Then I guess I'll just play along. I'll wrap to your tune.\"\nKrissie smiled back, a plan forming in her mind. Stretching\nforward a hand, long thin fingers reached out and grasped. Slick blinked - a hotel. On Mayfair.\n\"It's at times like this,\" Krissie purred back, in a similar\ntone to that of Slick's, only slightly higher pitched because she was a broad, \"I just love to be a woman.\"\nSlick nodded. \"I know what you mean,\" he replied.\n\n> You turn to the page 42\n(in the trashy novel)\nYou find the page, and read:\n\nJust more of the same old pulp.\n\n> You look at toiletry bag\nA black plasticky toiletry bag, with a zip along the top, which is closed.\n\n> You open the bag\nYou pull the zip across.\n\nThe toiletry bag has got some assorted toiletries in it.\n\n> You examine the passport\n(Angela's passport)\nThe date of issue is recent - just over a month ago - but the photograph looks a few years old.\n\n> Analyse spot\nAfter a moment, Joe steps in through the open guest bedroom door.\n\n\"Well, what did you want doing?\" he asks, and you indicate the red spot. He shakes his head. \"Well, we can guess who's it is, but it's too small. I mean, I can't get a sample from that to take the lab. Sorry, Inspector. You'll have to wing this one.\"\n\nThe policeman leaves through the guest bedroom door.\n\n> You go to the master bedroom\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> Go north\nBed, mirrored dresser, window. Door. Yucca. Blood, lots of it.\n\nOn the dresser is a green-shaded table lamp with bulb lit.\n\n> You analyse the paint\nAfter a moment, Joe steps in through the open master bedroom door.\n\n\"Well?\" You direct his attention to the green paint flecks. \"You expect to learn a lot from those, do you?\" Joe smarts back. \"Some cretin you are.\"\n\nThe policeman leaves through the master bedroom door.\n\n> Go south\nUpstairs Hallway, South End\nThe long hallway ends here with the door to the south into the study; and another bedroom, unfamiliar except for the sofa just visible from here, lies east. The bathroom lies opposite, a sweet porcelain number.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\n> You examine the rubber tree\nIt's the height of a doubled-up guy on his knees and its leaves flop like his head might.\n\n> Go east\nA nice little room - petite, sure, but that probably suits its owner down to the ground. The bed is a single and next to the head is a low chest being used as a bedside table. The centre of the room is taken up by a slightly threadbare sofa. A couple of paintings hang on the wall, nothing famous. There's a tall room lamp by the door, back west, and a thin wardrobe in the corner.\n\nBy the crummy-view window is screwed a small silver hook. Hanging from the hook is a silver key.\n\nOn the low chest is a jar of face-cream.\n\nThrown in one corner of the sofa is a pile of men's clothing: someone changing in a hurry and flinging what they had on away.\n\n> You examine the clothing\nDefinitely men's shirts; they might be the maid's boyfriend's, they might be Jack's waiting to be ironed. Picking one at random, it has the letters ADC stitched into the back of the collar. In the breast-pocket of one you find a scrap of pink paper. Otherwise... Nothing but clothes.\n\n> Search shirts\nNothing but clothes.\n\n> You examine the pink paper\nA small square of pink notepaper, folded twice, and scrumpled: it's been through the wash; this is one bit of paper you empathise with. Written on it is:\n\n> You examine the sofa\nAn old red sofa, the stuffing all beaten out and the armrests covered in tea rings. Presumably the household got it on the cheap to make the maid feel more at home. Maybe they made her get it herself.\n\n> You look under the sofa\nYou run your hand under the thin crack between sofa and carpet, and unearth a quarter.\n\n> Examine quarter\nOn closer inspection it's not a quarter, it's not even currency. It's a French franc, dated seven years ago.\n\n> You take the silver key\nTaken.\n\n> You examine the face cream\nA small jar of stuff with a label in French. The picture shows a tide smoothing down sand.\n\n> You smell the cream\nYou want to smell the jar of face-cream?\n\n> Y.\nSure.\n\n> You open the cream\nThe jar's about half-full.\n\n> You close jar\nYou close the jar of face-cream.\n\n> You examine gloves\nYou've had them all your years in the force; though you're always forgetting to use them. For example, this morning you left them on the table back home; had to stop off for them just before you took this call, right after you bought the booze. Priorities all straight, oh yeah."
    },
    {
        "text": "[Themes: Mystery, noir, hard-boiled]\n\n> You look at your surroundings\nA nice little room - petite, sure, but that probably suits its owner down to the ground. The bed is a single and next to the head is a low chest being used as a bedside table. The centre of the room is taken up by a slightly threadbare sofa. A couple of paintings hang on the wall, nothing famous. There's a tall room lamp by the door, back west, and a thin wardrobe in the corner.\n\nBy the crummy-view window is screwed a small silver hook.\n\nOn the low chest is a jar of face-cream.\n\nThrown in one corner of the sofa is a pile of men's clothing: someone changing in a hurry and flinging what they had on away.\n\n> Search clothes\nNothing but clothes.\n\n> Open chest\nThe metal chest is locked.\n\n> You open the wardrobe\nYou open the tall thin wardrobe, revealing some dresses and stuff.\n\n> You turn on the lamp\nYou flip the switch under the base of the lampshade.\n\n> You look at the lamp\nSix foot high lamp, the only lighting in the room if you don't count the windows. Right now it's on.\n\n> You examine the window\nThrough the window is the brick-side of Number 17 Broken Top Boulevard. It's like the final view of a crash-test dummy.\n\n> Go outside\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\n> You go to the guest\nBed, nightstand, wicker chair. Door to the corridor.\n\nOn the nightstand is a silver frame.\n\nA tall teak wardrobe leans against one wall.\n\nThe wicker chair is over by the wardrobe.\n\nYou can also see Angela's passport, a toiletry bag, a trashy novel, a wide open pink suitcase and a wedding photo here.\n\n> You take the passport\n(Angela's passport)\nTaken.\n\n> You open the wardrobe\nThat's already open.\n\n> Search shoes\n-- What do you want to search: Angela's shoes or your scuffed black shoes?\n\n> You examine the angela's shoes\nPrussy tight little black numbers, slip on slip off; perfect for a little black dress and a limp. Yeah, they look even more uncomfortable than you feel in this damn coat.\n\n> You look at your shoes\nYour shoes. They could do with a polish; the soles could do with a scrape - too many damn dogs in the neighbourhood.\n\n> You turn to the page 14\n(in the trashy novel)\nYou find the page, and read:\n\nThe streetlight fell dark, and Slick stepped back into the shadow\nlike Orson Welles in that great black and white film.\n\n> You go to study\nThis room is long and thin, like a jailhouse corridor, from the doorway in the northeast corner to the large bay window opposite which stretches the length of the room, overlooking the street outside. The colours are your eyes on a Sunday; red like blood, red like the leather of the over-stuffed chair, which sits a cheap trophy by the main desk. A bookshelf fills the east wall.\n\nOn the mahogany desk are a pencil, a wooden block and a telephone.\n\nLeaning against the side of the desk is Jack's briefcase.\n\n> Search block\nThe wooden block is empty.\n\n> You examine the telephone\n(the telephone)\nA squat little black telephone, with a receiver and a dial. You should recognise it, you're allowed to use it once every time you're kept in. On the front is a sticker with the number: 3734.\n\n> You dial 1488\n(on the telephone)\nYou lift the receiver and dial. The phone rings seven times - maybe twenty-three - and finally a woman answers: \"Hello?\"\n\nIn the background you hear a man's voice, all growling, whining-like, a puppy nursing his bone: \"Who's that, Jenny? Come back here.\"\n\n\"Hello?\"\n\n> Topics\n(talking to the woman's voice)\n-- You could try talking to the woman's voice about: the silver key, the scrap of pink paper, the black and white incriminating photograph, the trashy novel, the steel letter opener or yourself.\n\n> You ask the woman about the pink paper\n\"I'm sorry, I think you've got a wrong number,\" she says quickly. The phone clicks dead. You hang up.\n\n> You open the briefcase\nYou open the briefcase.\n\n> You look in it\nThe briefcase is empty."
    },
    {
        "text": "> You look at your surroundings\nThis room is long and thin, like a jailhouse corridor, from the doorway in the northeast corner to the large bay window opposite which stretches the length of the room, overlooking the street outside. The colours are your eyes on a Sunday; red like blood, red like the leather of the over-stuffed chair, which sits a cheap trophy by the main desk. A bookshelf fills the east wall.\n\nOn the mahogany desk are a wooden block and a telephone.\n\nLeaning against the side of the desk is Jack's briefcase.\n\n> Search desk\nThe mahogany desk has got a wooden block and a telephone on it.\n\n> You search the bookshelf\nWhat, all of them? Are you hoping to get a qualification or something?\n\n> You examine the chair\nThe damn thing's still warm.\n\n> You look at window\nThe window has a nice view of the garden path and then out over the street; a picturesque little suburban vista marred only by your car, halfway up the pavement like it had been dropped there. That's okay - someone'll probably clear it up in a bit.\n\n> You go to the bathroom\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\n> You go to the bathroom\n(opening the bathroom door first)\nYou open the bathroom door.\n\nThe usual fittings, in a slightly sullen white. Blue and yellow tiling checkers the wall by the shower head, the rest is cream wallpaper like the faces in the drunk tank on Tuesday morning. The door is east, back to the hallway.\n\nAbove the sink is an open cabinet.\n\n> You look in it\nThe mirrored cabinet has got some assorted toiletries and a medicine tube in it.\n\n> You examine the medicine\nA small brown medicine tube. The label reads: \"CERESTEX: Mr A Carpenter. Dose - maximum one tablet every four hours. Do not exceed four tablets in 24 hours.\"\n\n> You examine the toiletries\nA whole bunch of ordinary stuff. Toothbrush, toothpaste, that sort of thing. There are two razors here; you notice one has a slight mark of dried blood on the handle.\n\n> You look at the razor\nThe handles are white with old soap and the blades red with dried blood. It's the same in your place.\n\n> You analyse the razors\nAfter a moment, Joe steps in through the open bathroom door.\n\n\"Well?\" You direct his attention to the razors. Joe takes one look. \"You might want to learn how to use one of those,\" he remarks acidly.\n\nThe policeman leaves through the bathroom door.\n\n> You look at the sink\nThe washbasin is crisp white. Except for a few dried up flecks of blood at the bottom of the sink.\n\n> You search the washbasin\nThe washbasin is empty.\n\n> You look at the blood\n(the specks of blood)\nJust a few spots in a rough line from plug hole to under the hot tap.\n\n> You analyse the blood\n(the specks of blood)\nAfter a moment, Joe steps in through the open bathroom door.\n\n\"Well?\" You direct his attention to the specks of blood. \"Some blood? Well - it could be anybody's, couldn't it? But my money's on it belonging to the stiff, okay?\" Joe snarls, before producing a swab and a bag and soaking up a little of the blood, which he places in a bag.\n\nThe policeman leaves through the bathroom door."
    },
    {
        "text": "> Look around\nThe usual fittings, in a slightly sullen white. Blue and yellow tiling checkers the wall by the shower head, the rest is cream wallpaper like the faces in the drunk tank on Tuesday morning. The door is east, back to the hallway.\n\nAbove the sink is an open cabinet.\n\n> You go to the master bedroom\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\n> Inventory\nIn your trenchcoat pockets are a medicine tube, closed, with eight tablets inside, a pencil, Angela's passport, a trashy novel, a Franc, a black and white incriminating photograph, your badge and four keys: the silver key, the flimsy key, the dirty house key and the car key, and in your gloved hands you hold a scrap of pink paper and a steel letter opener.\n\nIn addition to your trenchcoat and gloves, you are wearing your scuffed black shoes.\n\n> You look at franc\nOn closer inspection it's not a quarter, it's not even currency. It's a French franc, dated seven years ago."
    },
    {
        "text": "[Themes: Mystery, noir, hard-boiled]\n\n> Look around\nThe master bedroom is relatively tasteful, and dominated by the bed sticking out of the east wall. Opposite is a mirrored dresser shoved in the corner at an angle, just by the large windows overlooking the garden. These are wide open, letting in the bite of cold air. The open door is in the southwest - in fact, lying on the bed you could probably see it in the reflection. The carpet's beige-with-dried-bloodstain, and there's more rancid wallpapering. Between the window and the bed is a little yucca tree in a pot.\n\nOn the dresser is a green-shaded table lamp with bulb lit.\n\n> You put the scrap on the dresser\nYou put the scrap of pink paper on the marks in the varnish."
    },
    {
        "text": "[Themes: Mystery, hard-boiled]\n\n> Go downward\nYou descend the half-circle of the stairs, into the hallway.\n\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other."
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> You look at your surroundings\nA wood-panelled hallway, with the front door to the south next to which is a dark polished roll-top desk. Stairs in the northeast corner of the room lead to the upstairs landing where the bedrooms are, and a passage northwest runs through to the kitchen and blue wallpapered living room, which you can't quite see from here.\n\nIn the lefthand corner is a hat stand. Hanging off the stand are your wide-brimmed hat and Jack's hat.\n\n> You examine the desk\nNo doubt an antique or something, that'd explain why it's missing a handle on one drawer and the varnish on top is scratched and covered in coffee-rings. Probably worth a few bucks; that would fit with the household just right. The lid is rollback like a bread-bin.\n\nCurrently the lid is shut.\n\n> You open the lid\nYou open the roll-top desk, revealing the closet key and a blank sheet of paper.\n\n> You take the paper\n(the blank sheet of paper)\nTaken.\n\n> You take the key\n(the closet key)\nTaken.\n\n> You look at the jack's hat\nIt's Jack's hat, he only had the one, a light brown number. Kind he'd wear to parties but remember not to leave on.\n\n> Search hat\n-- What do you want to search: your wide-brimmed hat or Jack's hat?\n\n> Go upwards\nYou make your way upstairs around the curve of the staircase.\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> You go to master\nBed, mirrored dresser, window. Door. Yucca. Blood, lots of it.\n\nOn the dresser is a green-shaded table lamp with bulb lit.\n\n> You put the blank paper on the dresser\nYou put the blank sheet of paper on the marks in the varnish.\n\n> You rub the pencil on paper\n(the scrap of pink paper)\nDon't go scribbling over that.\n\n> You rub the pencil on the blank paper\nYou start rubbing at the surface but can't get any detail - the dresser top is covered with some sticky stuff that makes the surface rough and uneven. You pick the paper back up to see what it is. You pick at it with a fingernail, but you could do with something to help clean it.\n\n> You go east\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\nMaid's room. Sofa, wardrobe, standing lamp, bed. Door to the corridor.\n\nBy the crummy-view window is screwed a small silver hook.\n\nOn the low chest is a jar of face-cream.\n\nThrown in one corner of the sofa is a pile of men's clothing: someone changing in a hurry and flinging what they had on away.\n\n> Go north\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\nBed, mirrored dresser, window. Door. Yucca. Blood, lots of it.\n\nOn the dresser is a green-shaded table lamp with bulb lit.\n\n> You open jar\nThe jar's about half-full.\n\n> You close jar\nYou close the jar of face-cream.\n\n> Keep going\n(the black chevy door)\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\nJoe appears from downstairs. \"I'm sorry I took so long. But it's not from the dead guy. So I checked the blood type with some people; local doctors, the hospital, that sort of thing. It matches someone in the household, though. One Anthony Carpenter; the maid's boyfriend? And he's still not come back yet?\" Joe raises an eyebrow, hands you the blood test report.\n\nThe policeman heads off downstairs.\n(the black chevy)\nYou descend the half-circle of the stairs, into the hallway.\n\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other.\n(the black chevy)\n(drawing back the latch first and opening the door)\n\nFront door, front gate. Small diamond of glass in the door.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n(the black chevy)\n\nBroken Top Boulevard, Outside No. 15\nYour car. Front gate, leading up to the porch of the house.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> Enter\nYou step into the porch.\n\nFront door, front gate. Small diamond of glass in the door.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n\n> Continue\n(the black chevy)\n\nBroken Top Boulevard, Outside No. 15\nYour car. Front gate, leading up to the porch of the house.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n(the black chevy)\nYou slide into the front seat.\n\nBroken Top Boulevard, Outside No. 15 (in the black chevy)\nThe boulevard through the windscreen is lined with ash trees, thick trunks casting shadows and gnarled roots mangling up the sidewalk. You're sat in your car, parked too high up the kerb; just outside the gate to No. 15. Just an ordinary house.\n\nThe glove compartment is closed. Sat on the passenger seat is a whiskey bottle.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You take the bottle\nYour fingers shiver on the glass as you lift it.\n\n> You open the bottle\nShaky fingers unscrew the cap. Oh, yeah.\n\n> You pry the glove compartment\n(--> pray glove compartment)\n-- I only got as far as wanting to pray.\n\n> Open glove\n(unlocking it first - with the car key)\nYou pull open the compartment, and it catches after only opening a tiny crack. Stupid thing.\n\nUp the road, a dog drifts in and out from between the trees.\n\n> You hit the glove\nLeaning up in the seat, you give the thing a smack with both feet and it clicks shut.\n\n> Unlock glove with car key\nYou unlock the glove compartment.\n\n> Open glove\nYou pull open the compartment, and it catches again.\n\nSunlight gleams through the windshield.\n\n> You pry the compartment with the badge\n(--> pray compartment with badge)\n-- I only got as far as wanting to pray.\n\n> You put the cream on the compartment\nThe glove compartment isn't exactly wrinkled.\n\nFrom the high street comes the rumble of cars.\n\n> You examine crack\nThe glove compartment is built under the dashboard and has a lock on it. It's open a crack, the damn thing's caught again.\n\n> You put the badge in the crack\nYou drop the badge through the crack into the glove compartment. Nice going.\n\n> You open the compartment with the opener\nYou flip the catch with the blade and the whole thing flaps open. The glove compartment has got a handwritten note in it.\n\nSome little mutt is yammering away in the distance.\n\n> You read handwritten\nThe note you received, what, yesterday? Crabby handwriting, like the skink was scared or something. It reads:\n\nDear \"Colin\",\n\nLet's get straight to business, shall we? I know who you\nare, I know your name, so I'm not going to mess around with\nthis stupid arrangement of yours any more. I've already paid\nyou far too much.\nLet me dictate terms for once: if we can't finish this for\ngood then I'm going to tell her. I'm going to tell\nher that\nyou know, and that you've been blackmailing me. I may as\nwell; I don't have anything to lose. You do, as it's that - or\n\ndisappear from my life and Angela never knows.\nIt's time we spoke face to face and stopped all this silly\nbusiness with notes-under-doors. Meet me, here, tomorrow.\nTuesday. I will leave a key to the front door in the petunia\nbasket.\n\nJ. D.\n\n> You look at Colin\n(--> x coin)\nOn closer inspection it's not a quarter, it's not even currency. It's a French franc, dated seven years ago.\n\n> You read the badge\nYour police badge - oh yeah, this proves you're an upstanding, honest, officer of the goddamn law. It has a small pin on the back.\n\nSunlight gleams through the windshield.\n\n> You go to the master\nYou clamber out of the driving seat.\n\nBroken Top Boulevard, Outside No. 15\nThe boulevard is lined with ash trees, thick trunks casting shadows and gnarled roots mangling up the sidewalk. Your car is parked too high up the kerb; just outside the gate to No. 15. Just an ordinary house.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\nYou step into the porch.\n\nFront door, front gate. Small diamond of glass in the door.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n\n> You keep going\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other.\n\n> Continue\nYou make your way upstairs around the curve of the staircase.\n\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\n> You clean the dresser with the whiskey\nYou carefully splash a drop - just a drop - of the fine, fine whiskey over the top of the dresser. Another splash and the stuff starts to wipe away nicely. You use your sleeve to mop it up.\n\n> You rub the pencil on the blank paper\nYou shade over the paper with the pencil, and the remains of a note emerge. The fragments of the letter are patchy, some full words, some you can work out without too much staring.\n\nare,     ow your nam\nstupid arr   em  t           ny more        already paid\nyou far       ch.\nLe   e d  ta     r s for onc       e can't finish this for\nod then I'm going to tell her. I'm goi    o tell her that\nyou know,           ou've be            ing me. I may as\nwell; I don't        ything to lose. You do\nfi       ment and                            an   ou\np     rom my life.\n's time we spoke fa      face an           ll thi\nith notes-under-  ors. M      , h      omor\nesd        ll le          to th        do r     he p t  ia\net.\n\nJ. D.\n\nNo names, which makes it nicely suggestive, right? More useful that way.\n\n> About yourself\nAs good-looking as ever. Eyes red, chin unshaved, cheek bruised. Your whole body aches like a bombsite. Oh yeah, the finest in the state.\n\nYou're wearing your trenchcoat, and your scuffed black shoes.\n\n> You keep going\nUpstairs Hallway, North End\nCorridor, south; guest bedroom, west; murder, north. Stairs, down.\n\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\nLong and thin. Big window, big bookcase, big desk, very big chair. Door to the north.\n\nOn the mahogany desk are a wooden block and a telephone.\n\nLeaning against the side of the desk is Jack's briefcase.\n\nUpstairs Hallway, South End\nCorridor back north. Maid's bedroom to the east. Bathroom opposite, handy. South is the study.\n\nIn one corner is a stumpy rubber tree in a brown pot.\n\n> Continue\nLong and thin. Big window, big bookcase, big desk, very big chair. Door to the north.\n\nOn the mahogany desk are a wooden block and a telephone.\n\nLeaning against the side of the desk is Jack's briefcase.\n\n> You dial 1488\n(on the telephone)\nYou lift the receiver and dial. The phone rings, and rings, and rings, and eventually the company cuts it off for you. The phone goes dead. You replace the handset.\n\n> You look at phone\n(the telephone)\nA squat little black telephone, with a receiver and a dial. You should recognise it, you're allowed to use it once every time you're kept in. On the front is a sticker with the number: 3734.\n\n> You dial 3734\n(on the telephone)\nYou lift the receiver and dial. Engaged. You replace the handset.\n\n> You look at the book\n\"The Complete Adventures of Slick Gurner.\" Pocket sized. Bin sized.\n\nOn the back flap, in blue ink, are the numbers 43 and 41.\n\n> You dial 4341\n(on the telephone)\nYou lift the receiver and dial. There is no answer, unsurprisingly. You replace the handset.\n\n> You dial 4143\n(on the telephone)\nYou lift the receiver and dial. The phone goes dead. You replace the handset.\n\n> You go to garden\nThis passage runs from the hallway southeast to the kitchen at the far north end of the house. There's not much here but the closed door westwards to the frost-bite blue living room, and a small cupboard set into the east wall. With no real natural light here the ambient dinginess of the house comes through like stain.\n\nThe cupboard is closed and locked.\n\n> You open the cupboard\n(unlocking it first - with the closet key)\nYou open the small cupboard, revealing a black box and a shoe rack.\n\n> You look at the black box\nA black metal box with a small brass lock; the kind people who can't afford a safe use to store their cheque books. Back home, you use a shoe-box.\n\n> You open the box\nIt seems to be locked.\n\n> You look at the shoe rack\nIt's a rack, made from a few bits of wire in a sort of bent mesh, on which you put shoes. As if the corner of the room wasn't good enough.\n\nThe shoe rack has got Jack's shoes and Emilia's shoes on it.\n\n> You examine the emilia's shoes\nOne of many pairs no doubt; these are functional - flat soled, soft white leather. The only decoration are slight frills to the seams, totally pointless, virtually invisible.\n\n> You look at the jack's shoes\nThese have got to be Jack's shoes - they're spit polished; they look like they haven't seen a days use but for the thin, worn down soles. The laces are an even length out of the eyelets. Got to be.\n\n> You go to garden\nA plush little kitchen, with a kitchenette area full of drawers and cookers and a sink, and one long table filling the rest of the room, where they eat. A flapping swing door leads north onto the garden, and lets in a little air. The passage back to the hallway is opposite, above that door is a cheerful round clock. To the east is a pantry.\n\nThere's a young dark-haired girl here. She must be the maid who phoned the station.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\nThe girl looks up and notices you, and leaps to her feet, flustered. She begins speaking hurriedly. \"You are from the police? You are a policeman? It is terrible, quite terrible.\" She has traces of a French accent, a stain like day-old mascara. \"We were all here, when it happened, all of us. Like some kind of joke... I have not said who I am. Emilia Jordane. The maid, here.\" A useless curtsey, then she sits back down at the table and waits to get done.\n\nThe maid shrieks! She has seen the knife.\n\nEmilia's eyes are on the whiskey bottle in your hand. \"We do not have whiskey in the house, Inspector, not since Anthony started to live here. It is not good for him. He - used to drink a lot, Inspector.\" Her face darkens a little. \"So did Jack.\"\n\n> You examine maid\nFrench by blood, you can see that around the soft lines of her face and the redness of the lips. She's pretty - sure, she's a real young flower, with long black hair tied back, and a look of quiet respect that takes little getting used to, you'd reckon. She's wearing comfortable casual clothes, so you'd hardly pin her as a maid except for the dishcloth and her hands neatly folded in her lap; and that subservient look that fills her rich brown eyes.\n\nThe maid tries not to look at the knife.\n\n> You ask Maid about Anthony\nShe smiles. \"Anthony is my boyfriend. We met last year. He is wonderful, Inspector. He has had some problems in the past, Inspector. He was an alcoholic when I met him, it was terrible. But he is through that now, and I am very proud of him. He is staying here, with me, at the moment - you will meet him when he comes back, I suppose, Inspector. This will all be a great shock to him when he returns.\n\n\"I suppose we will be leaving now, we will get a place of our own. It is not so bad, I suppose.\"\n\n> You ask Maid about Carpenter\n\"He's a wonderful man. He is very kind to me. I do not think Mrs. Draginam likes to have him stay, but Mr. Draginam allows it. I think they get - got - on well, Anthony and Jack. He has had some problems in the past, Inspector. He was an alcoholic when I met him, it was terrible. But he is through that now, and I am very proud of him. He went out just after lunch, at about half past one. He went swimming. He'll probably be back quite soon.\"\n\n> You ask Maid about the cerestex\n\"Those are Anthony's painkillers, Inspector. He has sprained his ankle.\"\n\nThe maid avoids the letter-opener with her eyes.\n\n> You ask Maid about Jenny\nEmilia has no idea who you're talking about. \"Is there someone at the library like that?\" she asks. You shake your head.\n\n> You ask Maid about Jack\n\"I should tell you what happened, yes? Please, sit down.\" They don't often ask, so you go ahead.\n\n\"It was a little before 2pm. I was here clearing up the things from lunch. Mrs. Draginam was in the living room with her friend Mr. Matheston, I think. Anyway - I was singing to myself and I didn't know anything until there was this most awful scream. I thought Mrs. Draginam, she must have dropped something, so I went upstairs with my dustpan. And the bedroom door, it was open - I could see blood already, from the stairs I could see it. Angela was there also, with her back to me, by the window. She was closing it. She told me to call the police. She didn't turn around - she was shaking. Such a shock.\n\n\"So I called the police. You. That is what happened.\"\n\n> You ask Maid about Jack\n\"He was a good employer, I suppose, Inspector. He paid my wages on time. They were good wages. And he kept me on - I know Mrs. Draginam did not think I was needed any more. Jack insisted.\"\n\nThe maid's eyes stay fixed on you."
    },
    {
        "text": "[Themes: Mystery, mystery]\n\n> You look around\nKitchen (on the chair)\nA plush little kitchen, with a kitchenette area full of drawers and cookers and a sink, and one long table filling the rest of the room, where they eat. A flapping swing door leads north onto the garden, and lets in a little air. The passage back to the hallway is opposite, above that door is a cheerful round clock. To the east is a pantry.\n\nThe maid is sitting at the table, trying to look all mournful and European.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\n> Go north\nYou stand.\n\nA small square garden, borded on three sides by a high privet hedge and on the fourth by the house. The swing door south to the kitchen flaps lazily in the light breeze. The garden is in shade, the afternoon sun not yet pushing over the chimney stack, and it's all lawn, but for the beat-up shed in the northwest corner.\n\nA thick net of dog roses covers the wall of the house.\n\nThere's a sweet smell coming from the roses.\n\n> You look at the roses\nA thick bush of thorny roses, which grips the wall of the house up towards one of the windows, growing out of a muddy flowerbed.\n\n> You look at the flowerbed\nA thick bush of roses grows from the flowerbed up the side of the house.\n\nIn the soil there are some footprints, clear as mud.\n\nThere's a sweet smell coming from the roses.\n\n> You erase the footprints\nYou muss all over the footprints already there, pretty much obscuring them.\n\n> You examine the footprints\nThe footprints are quite clear, and right at the base of the roses."
    },
    {
        "text": "[Themes: Mystery, detective, hard-boiled, mystery]\n\n> You look at your surroundings\nA small square garden, borded on three sides by a high privet hedge and on the fourth by the house. The swing door south to the kitchen flaps lazily in the light breeze. The garden is in shade, the afternoon sun not yet pushing over the chimney stack, and it's all lawn, but for the beat-up shed in the northwest corner.\n\nA thick net of dog roses covers the wall of the house.\n\n> You look at the roses\nA thick bush of thorny roses, which grips the wall of the house up towards one of the windows, growing out of a muddy flowerbed.\n\n> You examine the hedge\nA thick privet hedge, about five foot high, bordering the garden on three sides. On the east side there's a medium size hole, a gap between branches. Large enough for a cat, or a desperate man.\n\nThere's a sweet smell coming from the roses.\n\n> You go east\nNo. 17's Back Garden\nWell-mown grass covers the garden of No. 17 which stands to the south. Luckily the place seems pretty empty. The garden is bordered on the east side by a low stone wall, and on the other by a privet hedge.\n\nThe coloured back door of the house is closed.\n\n> You look at the wall\nA low wall of cement-topped bricks, that you could scramble over. It borders the garden to the east.\n\n> Go east\nThere's a face in a window - you wait for it to go before crossing the wall.\n\nNo. 19's Back Garden\n\nThe door to the house is shut.\n\nAt the back of the garden is a clapped-out shed.\n\n> You look at the shed\nIt's a beat-up, join-the-dots shed. It's what husbands buy when they want somewhere cheap to bang the mistress.\n\n> You open the shed\nLet them be. You can take up gardens when you lose your badge.\n\n> You open it\nThe door seems pretty firmly closed.\n\nBut all your fiddling has attracted attention - the door opens and a frail old gent appears, giving you an earful, for being scruffy and for being unauthorised in a back garden.\n\nStill, the job's got its perks - one flash of the badge and your treated with the utmost courtesy; offered tea, spoken to demurely, and led carefully - so as not to see anything they didn't want you to, you guess - to the front door; and finally booted out into the street like the stray you are.\n\nBroken Top Boulevard, Outside No. 19\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You go east\nYou scrape your hand on the top of the wall as you pull yourself up.\n\nNo. 21's Back Garden\n\nThe bright painted door to the house is closed.\n\nThere is a greenhouse is one corner of the garden.\n\n> Examine greenhouse\nThe greenhouse has a few soggy plants in it, a load of muck on the floor and some broken pots. Yeah, it's a real labour of love.\n\n> You go to the east\nYou take a running jump, but basically fall over the hedge.\n\nNo. 23's Back Garden\n\nOn the ground is a stick.\n\nA cat prowls the grass, stalking the world.\n\nThe coloured back door of the house is closed.\n\nThe cat sniffs the air and pricks its tail.\n\n> You examine the stick\nIt's a stick.\n\n> You take the stick\nTaken.\n\nThe cat mews a little and chases a beetle. And catches it, and crushes it.\n\n> You go east\nThere's a face in a window - you wait for it to go before crossing the wall.\n\nNo. 25's Back Garden\n\nThe bright painted door to the house is closed.\n\nYou can also see a garden here.\n\n> You go east\nA branch scratches your face as you scramble across.\n\nNo. 27's Back Garden\n\nThe door to the south is closed.\n\nThere is a greenhouse is one corner of the garden.\n\n> You examine the garden\n(the garden)\n\n> Go east\nThere's a hole in the hedge here, which you squirm through.\n\nNo. 29's Back Garden\n\nThe door to the house is shut.\n\nNasty mouldy garden furniture is laid out of the lawn.\n\n> Go east\nYou hop up onto the wall, and step down into the next garden.\n\nNo. 31's Back Garden\n\nThe mesh door to the house is shut.\n\nAt the back of the garden is a clapped-out shed.\n\n> Go east\nYou take a running jump, but basically fall over the hedge.\n\nNo. 33's Back Garden\n\nThe door to the south is closed.\n\nThere is a greenhouse is one corner of the garden.\n\n> You go to the south\nThe door is solidly locked. Luckily the house seems pretty empty - no-one notices your rattling.\n\n> You go to the west\nYour coat snags but you make it over.\n\nNo. 31's Back Garden\n\nThe mesh door to the house is shut.\n\nAt the back of the garden is a clapped-out shed.\n\n> You go to the south\nThe door seems pretty firmly closed.\n\nBut all your fiddling has attracted attention - the door opens and a fat sweaty guy appears, giving you an earful, for being scruffy and for being unauthorised in a back garden.\n\nStill, the job's got its perks - one flash of the badge and your treated with the utmost courtesy; offered tea, spoken to demurely, and led carefully - so as not to see anything they didn't want you to, you guess - to the front door; and finally booted out into the street like the stray you are.\n\nBroken Top Boulevard, Outside No. 31\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You look at the dog\nThe dog's somewhere else down the road. You can hear its damn yapping.\n\nHow many bodies have you seen by now? How many empty houses? How many wasted lives? Not enough to save your own, it would seem.\n\n> You go to the dog\nThe dog's somewhere else to the west along the road. You can hear its damn yapping.\n\n> You go west\nBroken Top Boulevard, Outside No. 29\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You go west\nBroken Top Boulevard, Outside No. 27\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> Go west\nBroken Top Boulevard, Outside No. 25\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You go to the west\nBroken Top Boulevard, Outside No. 23\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> Go west\nBroken Top Boulevard, Outside No. 21\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\nFrom the high street comes the distant rumble of cars.\n\n> Go west\nBroken Top Boulevard, Outside No. 19\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> Go west\nBroken Top Boulevard, Outside No. 17\nNice houses. Your car, to the west. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\nA light breeze tickles your face and makes it itch.\n\n> You go west\nBroken Top Boulevard, Outside No. 15\nYour car. Front gate, leading up to the porch of the house.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You go to garden\nYou step into the porch.\n\nFront door, front gate. Small diamond of glass in the door.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n\n> You go to garden\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other.\n\n> You go to garden\nSoutheast to the hallway, north to the kitchen. Closet. Door to the living room.\n\nThe cupboard is open.\n\n> You go to garden\nSink, drawers. Cooker. Table, chairs. Swing door to the garden. Clock. Pantry. Passage to the south.\n\nThe maid is at the table.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\nThe maid tries not to look at the knife.\n\n> You ask Maid about the garden\n\"I love the garden, Inspector! It's only small, but I enjoy tending it. You should see it in summer, not now, when all the flowers have bloomed. Jack - Mr. Draginam - used to watch me pruning the roses from the study window. Said I distracted him.\"\n\n> You ask Maid about the shed\n\"Well, we keep gardening tools there,\" the maid says. \"And Mr Matheston, he likes the quiet I suppose.\"\n\n> You ask Maid about Matheston\n\"Mr Matheston is a good friend of Mrs Draginam. He's from the church. They often spend time talking together, many hours. He's a very nice man. I'm sure he couldn't be anything to do with... this. I think he was in the living room when it happened. Now he's in the shed. For whatever reason I do not know, but he likes to sit there sometimes.\"\n\nThe maid avoids the letter-opener with her eyes.\n\n> You ask Maid about the letter opener\n\"Yes, I know the one. Jack - Mr. Daginham - kept it on his desk in the study. It was for his business mail. He got so many letters every day it said it hurt his fingers to tear them all.\"\n\n> You ask Maid about the phone\n-- Be more specific about what you want to ask Emilia the maid about.\n\n> Topics\n(talking to Emilia the maid)\n-- You could try talking to Emilia the maid about: Jack Draginam, the whiskey bottle, the medicine tube, the silver key, the jar of face-cream or the scrap of pink paper.\n\n> You ask Maid about silver key\n\"Every woman has her secrets,\" she blushes.\n\n> You ask Maid about the face cream\n\"Every woman has her secrets,\" she blushes.\n\nThe maid's eyes stay fixed on you.\n\n> You go to garden\nSwing door. Flower-bed. Roses climbing up the house. A shed. A hedge.\n\nA thick net of dog roses covers the wall of the house.\n\n> You examine the shed\nBeaten-up. Dilapidated. If this shed were a bum you would have hauled its ass down G-block so many times you'd recognise it by smell.\n\n> You knock on the shed\nNo answer here.\n\nThere's a sweet smell coming from the roses.\n\n> You enter the shed\n(opening the beaten-up shed door first)\nYou open the beaten-up shed door.\n\nThe shed smells musty, like long-lost confessions - four rickety pine walls filled with gardening tools, and a lawnmower, but still with plenty of space for the terminally rich to potter around in. One small dirty window has a view over the garden outside and the back of the house.\n\nA chess set has been set up on an upturned wheelbarrow and laid out mid-game.\n\nAngela had mentioned someone called William Matheston who was in the shed: this old guy reclining in the deckchair must be him.\n\nMatheston looks up and makes eye contact.\n\n> You show the badge to Matheston\nWilliam Matheston is unimpressed.\n\n\"There you are again,\" Matheston says, rising to his feet to shake your hand, though if you've ever seen his mush before it didn't stick.\n\n\"My name is Reverend William Matheston.\" He must think you're part of his flock. \"Have you spoken to Angela already? Tell me, is she holding up?\"\n\n> You ask the rev about himself\n(--> ask red about himself)\n-- You referred to something that can't be interacted with at present.\n\n> You ask the wm about himself\n(--> ask am about himself)\n-- You referred to something that can't be interacted with at present.\n\n> Topics\n(talking to William Matheston)\n-- You could try talking to William Matheston about: Jack Draginam, Angela Draginam, the whiskey bottle, the medicine tube, the silver key or the jar of face-cream.\n\n> You ask William about Jack\n\"I'm sorry, Inspector. I don't believe I can help you there.\"\n\n> You ask William about William\n\"I'm a vicar, at the local church. I've known Angela ever since they moved to the area, about three and a half years ago. She was very distraught on account of losing the baby. I helped her through that. Helped her to reconcile it with God. And we became firm friends - all three of us, her, God and myself.\"\n\n> You ask William about Angela\n\"She's an excellent woman, Inspector. One of the most devoted members of my congregation. Strong at heart too, though she wouldn't let you see it. We've been firm friends for many years.\"\n\n\"Well,\" Matheston adds, mostly to himself. \"Maybe Angela is only as well as could be expected.\"\n\n> You ask William about Angela\n\"She's an excellent woman, Inspector. One of the most devoted members of my congregation. Strong at heart too, though she wouldn't let you see it. We've been firm friends for many years.\"\n\nMatheston considers the board carefully. \"Do you play chess, Inspector?\" he asks.\n\n> You examine the chess\n(the chess board)\nThe chess board is kinda thin: white has a few pawns as backup and two rooks roaming free. Black has an assortment: a knight, a queen, a pawn, and one of those guys that looks like an asparagus hiding off in a corner.\n\n> Yes\n\"I'm glad. Excellent game. Full of subtleties. Things you don't see that tie together into something by the end.\" He shakes his head. \"If life were a little more like chess, I think people would find it easier.\"\n\n> You ask William about the chess\n\"It's an interesting position,\" William says. \"Black is on the move. Two rooks can't attack directly but they do create deadly alignments. Traps. As for white, it's spread very thin. The queen is in retreat. That bishop there is watching the long diagonal but doesn't look at all ready to come into play. I think the problem centres on the knight and the pawn. It's white to play, by the way.\"\n\nWilliam considers the board in front of him carefully.\n\n> You ask William about the chess\n\"I think it's about pressure, on the knight, to force a sacrifice of the pawn. But that does leave open what part the other pieces play.\"\n\n\"I see you're the kind of man who takes his work very seriously,\" Matheston observes, quite out of the blue. \"I'm the same. It's what I recognise in you, I think, that dedication.\"\n\n> You ask William about the chess\n\"I think it's about pressure, on the knight, to force a sacrifice of the pawn. But that does leave open what part the other pieces play.\"\n\n> You ask William about the bishop\n\"I suppose you want to hear my version of events? Well - Mrs. Draginam and I were sat in the living room, talking. To my knowledge Emilia the maid was in the kitchen - we couldn't hear her, though, due to our conversation and the television on in the background. However, at some point, around 2pm maybe, perhaps earlier, there was a heavy 'thump' from upstairs - like a large dictionary falling from a shelf.\n\n\"Angela stood and went to the doorway, to see if she could see anything. We expected Jack to shout something, you would - but there wasn't anything. So she went upstairs and into the bedroom. A few moments later she gave a terrible shriek - I rose to go and see, and Emilia streaked past me, up the stairs and into the room. I waited at the foot. Then the maid came back and went to call the police. I went to comfort Angela - I found her in her bedroom, sat on the bed. That's about it, I think.\"\n\nThe vicar is deep in thought.\n\n-- I didn't recognise that as a topic of conversation.\n\n> You ask William about Emilia\n\"The maid, Inspector? That sweet young thing, she couldn't be anything to do with this, I'm sure.\"\n\n> You ask William about Anthony\n\"The maid has a young man called Anthony, I think. I'm not sure I've ever spoken to him beyond a simple hello. I know Mrs. Draginam despairs slightly of the kind of man he is, but she can hardly see her way to preventing the maid from having something pleasant around, considering.\"\n\n> You ask William about yourself\n\"I'm sorry, Inspector. I don't believe I can help you there.\"\n\nWilliam is counting through moves on his fingers.\n\n> You ask William about William\n\"As I said, I'm the vicar here.\"\n\n> You ask William about the baby\n\"It was a terrible, terrible loss. I don't think Angela ever quite got over it. And Jack, of course, had no sympathy in him whatsoever.\"\n\n> You ask William about the shed\n\"This is my little part of the house,\" he replies. \"It's not much.\" No buts there.\n\nMatheston looks up from the board to look straight at you.\n\n> You ask William about the whiskey\n\"I'm sorry, Inspector. I don't believe I can help you there.\"\n\n> You read the handwritten note\n(in the trashy novel)\nYou can't find that chapter. The chapters are listed in the contents at the front.\n\n> You read the contents\n(in the trashy novel)\nTHE COMPLETE ADVENTURES OF SLICK GURNER\n-- as serialised in \"Woman's Weekly\"\n\nChapter one .... \"Something in the Water? - Slick's First Mission\" -- Page  2\nChapter two .... \"Essential Fish Oils - Slick Gurner in Love\" --\nPage  23\nChapter three .. \"Carpentry is Easy - Slick Teaches a Lesson\" --\nPage  64\nChapter four ... \"Amethysts Have Feelings Too - Slick Goes Too Far\"\n-- Page  83\nChapter five ... \"Whose Traffic Cone Is That, Comrade? - Gurner in Russia\" -- Page  105\nChapter six .... \"Try Next Door, Mister - Gurner has Amnesia!\" --\nPage  123\nChapter seven .. \"Every Dog Has His Viola - Gurner's Last Bow\" --\nPage  144\n\nWilliam moves a pawn one space forwards.\n\n> You ask William about the chess\n\"I think it's about pressure, on the knight, to force a sacrifice of the pawn. But that does leave open what part the other pieces play.\"\n\n> You go to Emilia\nThe kitchen's the place to find her.\n\nSwing door. Flower-bed. Roses climbing up the house. A shed. A hedge.\n\nA thick net of dog roses covers the wall of the house.\n\n> You go to Emilia\nThe kitchen's the place to find her.\n\nSink, drawers. Cooker. Table, chairs. Swing door to the garden. Clock. Pantry. Passage to the south.\n\nThe maid is at the table.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\nThe maid tries not to look at the knife.\n\n> You go to Angela\n(opening the living room door first)\nYou open the living room door.\n\nThe living room is bright blue, the wallpaper shines out like the flashing siren of an ambulance, and isn't helped by a light green sofa and a wide window, south-facing, overlooking the sun-drenched street. Opposite the open door in the east wall is a small cabinet, and next to that is a television set.\n\nJoe is sat on the sofa, reading a newspaper.\n\nMrs. Draginam looks up as you enter.\n\nOn top of the set is a magazine.\n\n\"That'd better be a gift for the bereaved,\" he snarls, nodding at the whiskey bottle in your hand.\n\nAngela's eyes are fixed on the photograph, though from there she can't see what's on it. But then as soon as she notices that you're looking, she looks away.\n\n> You ask Angela about the photograph\nShe sighs, and turns to stare out of the window as she speaks.\n\n\"I found it, there on the desk. When I came in, the mirror was tilted, I saw it in the reflection. I raced over to the window, and snatched it, I stepped right over his body... and just then Emilia came rushing in. I couldn't... I couldn't... I turned my back, I pretended I was just closing the window, you see. And then when she'd gone I left it in my room. I was going to hide it, but I didn't get a chance - all those policeman - until you arrived, Inspector. There. That's my confession.\"\n\nJoe looks at her sternly. \"So you lied in your statement? That's a serious offence.\"\n\n\"Yes, I know,\" she replies brusquely. The policeman looks up at you and raises a brow. He takes the photo from you for a closer look then hands it back, Angela watching him do so with disdain.\n\nAngela gasps as she sees the steel letter opener. \"That's Jacks? From his study. Was he.. it.. oh, my, that's awful..\" With horror, Angela recoils.\n\n> Topics\n-- Please be specific who you want to talk to.\n\n> Topics angela\n-- You could try talking to Angela Draginam about: Jack Draginam, herself, William Matheston, the whiskey bottle, the medicine tube or the silver key.\n\n> You ask Angela about the the silver key\n\"I think those are the tablets Emilia's boyfriend has been taking for his sprain.\"\n\nAngela notices the bottle in your hand. \"One of my husband's, I suppose. Nice to see it's not empty.\"\n\n> You ask Angela about the silver key\nAngela takes the key and peers at it. \"Front door,\" she says finally. \"Is that the maid's copy? We only have three. Emilia has one, I have one,\" she pats a pocket, \"and Jack had one, of course. Emilia lends hers to her boyfriend when he stays too, I think.\"\n\n> You ask Angela about herself\n\"What's there to say Inspector? I'm just another housewife. Jack and I were married for twelve years. We never had any children because of his work, we live here because of his work. I don't see that any of it's interesting to you.\"\n\n> You ask Angela about Jack\n\"You've had a good look around up there? Good. Well,\" she straightens down her skirts with one hand, methodically. \"I suppose you want to know what happened?\"\n\n> Yes\n[Please specifiy whom you want to say that to using PERSON, YES.]\n\n> Yes\n\"Well. I was sat here, in the living room, talking to William - I suppose you'll have to talk to William too, won't you? He's outside in the garden right now, I think. Anyway, there was this loud thump, from upstairs. I expected - well, you know, to hear Jack call downstairs, or curse or something. When I didn't hear anything, I thought I ought to check. I thought maybe he'd slipped and hit his head. I went upstairs to see... and there he was, lying in a pool of blood.\" She raises a hand to her mouth. She is staring down at the floor as she speaks. \"It was horrible!\n\n\"I must have screamed, I don't remember. Anyway, Emilia came running up the stairs to see what the matter was.\"\n\n> You ask Angela about the whiskey\n\"Jack liked to drink, a little. We used to both, I suppose. These days we keep the alcohol hidden. Anthony's little problem.\"\n\n> You ask Angela about Anthony\n\"The maid's boyfriend? I barely know him. When he stays - well, he keeps himself to himself as much as he can. He works quite a lot too. Used to have a problem with drink but he's much better now. But Emilia seems happy enough. He's out - he left right before it happened. Went swimming. The only sport he can do with that sprain of his.\"\n\n> You ask Angela about the cerestex\n\"I think those are the tablets Emilia's boyfriend has been taking for his sprain.\"\n\n> You accuse angela\n\"That's not funny, Inspector. We were having problems, sure, but nothing new, nothing major... But if you don't believe me you can ask William. I was with him when it happened. You can ask him.\"\n\n> You arrest angela\nYou keep your voice down so that no-one overhears. \"Mrs. Draginam? Well, I suppose it's usually the wives in cases like this, and I've no doubt that Mr. Draginam did a hundred things wrong every minute and maybe some of them was real bad too. But we can't arrest a woman on nothing, even if she did close the window in the crime scene. Get a motive sorted, and maybe we can give this a shot.\"\n\n> You show the photograph to Joe\n(the black and white incriminating photograph to the policeman)\nHe grins. \"Good, isn't it?\" is his excited reply, and then like a five-star idiot he notices Angela and becomes suddenly very timid. \"Do you want that analysing?\" Joe asks.\n\n> Analyse photo\n(the black and white incriminating photograph)\n\"Let's see - I'll run an analysis on the blood, but I think we can guess. I'll pass it by the fake-spotters, get blow-ups of the faces - hell, I'll get copies made for Christmas. Good going, Inspector.\"\n\nThe policeman leaves through the living room door.\n\nHe's left his newspaper on the sofa.\n\n> Examine newspaper\nThe main story on the front of the paper is the bank heist down on fourth last night. It seems the robbers managed to escape the cops with $10,000 - a pretty meagre horde, but they'd been stupid enough to strike right after the cash van had come. Oh, and for once the paper can't be blamed though for getting facts wrong; they aren't to know the robbers only have $9,000 of the loot.\n\nOther stories are the old lady who won the lottery, the kids from some school who got hit by a truck, nothing big. There's a crossword on the back page, with some baseball results.\n\nAngela stares with blank eyes at the blank TV.\n\n> You ask Angela about the novel\n\"So you just want to insult my taste in books? Fine. Yes, I read Slick Gurner books,\" she snaps irritably. \"Those are page numbers on the back flap, by the way,\" she adds quickly.\n\n> You look at the crossword\n+++++++++++\n1    |2    |     |     |3    |     |4  E\n#####|5    |#####| +++++++++++\n#####|     |#####|#####|     |#####|   X\n#####|     |#####| +++++++++++\n|7    |     |     |     |\n|     |     | +++++++++++\n#####|     |#####|     |#####|\n#####|     |#####| +++++++++++\n#####|     |#####|8    |9    |\n10   |     |11   | +++++++++++\n13   |     |14   |     |     |#####|\n#####|     | +++++++++++\n#####|     |#####|     |#####|     |#####|     |#####|     | +++++++++++\nC\nA\n16 N\n\n+++++++++++\n#####|     |#####|     |#####|     |#####|#####|     |#####| +++++++++++\n#####|     |#####|17   |     |     |     |     |     |     | +++++++++++\n\nAngela glares at you like all this was your fault.\n\n> You look at the clues\n+++++++++++\n1    |2    |     |     |3    |     |4  E\n#####|5    |#####| +++++++++++\n#####|     |#####|#####|     |#####|   X\n#####|     |#####| +++++++++++\n|7    |     |     |     |\n|     |     | +++++++++++\n#####|     |#####|     |#####|\n#####|     |#####| +++++++++++\n#####|     |#####|8    |9    |\n10   |     |11   | +++++++++++\n13   |     |14   |     |     |#####|\n#####|     | +++++++++++\n#####|     |#####|     |#####|     |#####|     |#####|     | +++++++++++\nC\nA\n16 N\n\n+++++++++++\n#####|     |#####|     |#####|     |#####|#####|     |#####| +++++++++++\n#####|     |#####|17   |     |     |     |     |     |     | +++++++++++\n\n> Topics\n(talking to Angela Draginam)\n-- You could try talking to Angela Draginam about: Jack Draginam, the whiskey bottle, the medicine tube, the silver key, the jar of face-cream or the scrap of pink paper.\n\n> You ask Angela about face cream\n\"Her face-cream?\" Angela looks surprised. \"I've borrowed it once or twice, maybe. It's a good brand.\"\n\n> You ask Angela about the passport\n-- Be more specific about what you want to ask Angela Draginam about.\n\n> You ask Angela about the suitcase\nShe doesn't even flinch. \"It's no crime to have a packed suitcase, is it? I was about to go on holiday.\"\n\n> You ask Angela about the holiday\n\"Just a holiday. William was taking me upstate to where his parents live. Jack didn't mind, of course. Church trip. Not something he would have cared for himself.\"\n\n> You go to the guest bedroom\nSoutheast to the hallway, north to the kitchen. Closet. Door to the living room.\n\nThe cupboard is open.\n\n> You go to guest bedroom\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other.\n\n> You go to the guest bedroom\nBed, nightstand, wicker chair. Door to the corridor.\n\nOn the nightstand is a silver frame.\n\nA tall teak wardrobe leans against one wall.\n\nThe wicker chair is over by the wardrobe.\n\nYou can also see a toiletry bag, a wide open pink suitcase and a wedding photo here.\n\n> You take the passport\n(Angela's passport)\nYou already have that.\n\n> Continue\nTwo armchairs, a door. Small cabinet for drinks, another that's a TV.\n\nMrs. Draginam glares at you as you approach.\n\nOn top of the set is a magazine.\n\nAngela picks up the glossy magazine and flicks it open.\n\n> You show passport to Angela\n(Angela's passport to Angela Draginam)\nAngela Draginam is unimpressed.\n\n> You go to the pantry\nSink, drawers. Cooker. Table, chairs. Swing door to the garden. Clock. Pantry. Passage to the south.\n\nThe maid is at the table.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\n> You go to the pantry\nThe pantry's well-stocked, with cans they bought because they had nothing else to spend the money on. A few bags of potatoes fill one shelf, below that a fruit basket, some hams and bacon. There's a door west when you've finished eyeing up their food.\n\nSat on a shelf is a dustpan.\n\nYou can also see a broken plate here.\n\n> You look at plate\nA white dinner plate, with a deep crack running three-quarters of its length.\n\n> You examine the potato bag\n(--> x potatoes bag)\nWhat, are you training for your new job in the burger bar?\n\n> You examine basket\nWhat, are you training for your new job in the burger bar?\n\n> You look at the hams\n(--> x ham)\nWhat, are you training for your new job in the burger bar?\n\nJoe appears from out again. He returns the photograph to your sweaty little hands. \"Well, the blood belongs to you-know-who. Where did you find it? In the room? Anyway. The boys in the lab were happy to give it some close study. It's no fake.\" Of course it's not a fake. You can't fake high art like this.\n\nThe policeman heads off out again.\n\n> You go to the car\n(the black chevy)\n\nSink, drawers. Cooker. Table, chairs. Swing door to the garden. Clock. Pantry. Passage to the south.\n\nThe maid is at the table.\n\nOn the worktop are a closed biscuit barrel and a ceramic water-jug.\n\n> You go to the car\n(the black chevy)\n\nSoutheast to the hallway, north to the kitchen. Closet. Door to the living room.\n\nThe cupboard is open.\n\n> You go to car\n(the black chevy)\n\nStairs up, passage northwest, front door behind. Desk one side, hat-stand on the other.\n\n> You go to the car\n(the black chevy)\n\nFront door, front gate. Small diamond of glass in the door.\n\nA hanging basket with a couple of petunias in is attached just to the left of the door.\n\n> You go to the car\n(the black chevy)\n\nBroken Top Boulevard, Outside No. 15\nYour car. Front gate, leading up to the porch of the house.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You listen\nSomewhere to the west a dog is yapping.\n\n> Go west\nBroken Top Boulevard, Outside No. 13\nNice houses. Your car, to the east. Down the street, some yammering dog.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the west of here.\n\n> You go west\nBroken Top Boulevard, Outside No. 11\nNice houses. Your car, to the east. Down the street, some yammering dog.\n\nA police squad car is parked here.\n\n> You listen\nSomewhere to the west a dog is yapping.\n\nSunlight trickles through the trees; your neck itches under the heavy coat.\n\n> You go west\nBroken Top Boulevard, Outside No. 9\nNice houses. Your car, to the east. Down the street, some yammering dog.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\n> Go west\nBroken Top Boulevard, Outside No. 7\nNice houses. Your car, to the east. Down the street, some yammering dog.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\nA small dog runs up to you from the west.\n\n> You look at Dog\nA small, sleek white mutt mongrel thing, with a voice he seems sure proud of. No doubt the pride and joy of some old dear on the street. If you had the energy you'd hit him with your car.\n\nThe dog scampers away to the east.\n\n> Go east\nBroken Top Boulevard, Outside No. 9\nNice houses. Your car, to the east.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\nThere is a small dog here, running round in circles.\n\nThe dog scampers away to the west.\n\n> You throw the stick\nDropped.\n\nUp the road, a dog drifts in and out from between the trees.\n\n> You take the stick\nTaken.\n\nA light breeze tickles your face and makes it itch.\n\n> Go west\nBroken Top Boulevard, Outside No. 7\nNice houses. Your car, to the east.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\nThere is a small dog here, running round in circles.\n\nThe dog scampers away to the west.\n\n> Go west\nBroken Top Boulevard, Outside No. 5\nNice houses. Your car, to the east.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\nThere is a small dog here, running round in circles.\n\nThe dog scampers away to the east.\n\n> You go east\nBroken Top Boulevard, Outside No. 7\nNice houses. Your car, to the east.\n\nYou're standing right by a streetlight, on the edge of the kerb.\n\nA police squad car is parked outside No. 11, a little to the east of here.\n\nThere is a small dog here, running round in circles.\n\n> You throw the stick\nYou lob the stick down the street. The dog wastes no time in going off in pursuit.\n\n> You accuse yourself\nYou're guilty of enough - spending a whole month's advance on tequila, beating to death that Indian kid in the cell in January, being a crummy cop and not solving a single case for a good long while. You don't need accusations, you've got a string of them. You need to sort it out."
    },
    {
        "text": "[Themes: Humor, magpie, heist]\n\nThe Gavinchian Rose! A priceless ruby that adorns the lapel of steel magnate Cornelia Hogg. For weeks you've followed the gem and observed its eccentric owner aboard her private rail car. But today is different. Today the Rose will finally be yours!\n\nYou straighten your newest disguise and line up for the train. As is your custom, you're the last one to board.\n\nThis part of the station has been roped off for members of Hogg's entourage and guests only. Cornelia Hogg's attendant is here, waiting for latecomers. The entrance to the train is to the east.\n\nYou hand the attendant your card with a flourish.\n\nShe holds the card close to her face, adjusting her spectacles. \"Professor Spinner?\" she asks, using your current alias.\n\n[New topic for the attendant - Greetings]\n\n[You can talk to the attendant by typing SAY GREETINGS]\n\n[Author's Note: A millionaire guards a fabulous ruby in her private train car. Countless thieves have failed to steal it. But they weren't the Magpie!]\n\n> About yourself\nYou are Sir Rodney Playfair: dashing, debonair, and devilishly handsome. Not perhaps in the first flush of youth, but very sprightly for a man of sixty. That touch of grey at the temples lends you an air of authority, a useful attribute for getting one out of a scrape.\n\nYou are currently wearing a professor costume.\n\n> You examine the costume\n(the professor costume)\nA quick stop at a second-hand shop earned you this tacky sport jacket.\n\n> Inventory\nYou are carrying:\na ticket\na suitcase, closed, containing a black and white feather, a banker costume, a waiter costume, a maintenance uniform, and a pet groomer costume\n\n[You can see topics for speaking to others by typing T or TOPICS]."
    },
    {
        "text": "> You look at your surroundings\nThis part of the station has been roped off for members of Hogg's entourage and guests only. The entrance to the train is to the east.\n\nCornelia Hogg's attendant, a tall and commanding woman, is blocking the entrance to the train.\n\n> You say the greetings\nYou give a small bow, letting her see your professor costume. \"I've made a study of luxury rail cars, and I've heard that this one is the jewel of the west. May I observe it?\"\n\n\"Very well, Professor,\" she says. \"You will be permitted to visit Ms. Hogg's observation car. The following are prohibited: solicitation, disorderly behavior, religious proselytising, sales pitches, unlicensed scientific research, fireworks, poking the parrot, and wearing disguises.\"\n\n\"Of course, ma'am. I wouldn't think of it,\" you say. The attendant beckons you to follow her into the train to the east.\n\n> Go east\nThe attendant goes before you. You walk through an ornate but unimportant hallway before emerging into the Observation Car. You can feel the train starting to move.\n\nYou step into Cornelia Hogg's sumptuous private observation car. The room is illuminated by the sunlit windows and the floor is covered in vivid chartreuse carpeting. A door to the south leads to freedom, once you're finished here.\n\nCornelia Hogg is here as always, furiously scribbling. Horus, the parrot you have come to despise, is on his perch at her side. The Viscount, a frequent passenger who is clearly wearing a disguise, is perusing a magazine.\n\nAh, there it is! The Gavinchian Rose, jewel of jewels, sitting on Hogg's lapel. It's so close, you could reach out and take it. Is it just that simple?\n\nThe conductor peeks in.\n\nYou and the Viscount wave your tickets at the conductor, and he takes them. With a salute at the attendant, the conductor leaves the room.\n\n[New topic for Cornelia Hogg - Introductions]\n[New topic for the parrot - Hello]\n[New topic for the Viscount - Familiar]\n\n> You examine the parrot\nHorus is an underfed, ornery-looking green parrot.\n\n> Poke parrot\nAs you reach out your finger, everyone in the room turns to you at once.\n\n\"No!\" screams the attendant.\n\n\"Stop!\" cries Hogg.\n\nHorus looks on with gleaming eyes, watching the finger approach. Your poke lands.\n\nHogg leaps at you in absolute fury, punching you with nasty jab-right cross combination. The attendant clings to your back, repeatedly kneeing your kidney.\n\nYou are muscled out the room and down the hallway. The attendant throws open the door and Hogg tosses you violently from the train.\n\nAs the train rushes past your limp body, you can hear a faint voice:\n\n\"Never! Poke! The parrot!\"\n\n> You examine hogg\nCornelia Hogg is a weathered, wiry old woman with a sharp gleam in her eye. Her attention is entirely devoted to the papers she is reviewing while occasionally clucking her tongue. Hogg is dressed in a perfectly-tailored pin-striped pantsuit. Her brow is perpetually furrowed, and she has a thick head of silver hair.\n\nThe Gavinchian Rose, the object of your desire, is prominently displayed on her lapel. A pet grooming kit lies on her lap.\n\nA photographer enters the room and snaps a few pictures. You move discreetly out of the way. You notice the Viscount pulling his hat over his eyes. The photographer takes a couple more and departs.\n\n> You look at Viscount\nThe Viscount is a perennial passenger in Hogg's observation car, although he never seems to speak. He is wearing a wide hat, a heavy scarf, and a fake beard. You could recognize him from his pungent odor alone, though.\n\n> Smell viscount\nThe Viscount has a nasty sort of chemical smell, sickly-sweet and pungent.\n\nThe server stalks in, punctual as usual, and carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\n> You examine the beard\nThe Viscount's heavy beard is impressive, but a trained professional like you can easily tell it's attached with spirit gum. The right solvent could wipe it right off.\n\nThe radiator rattles and hisses.\n\nThe server blinks in the bright sunlight streaming through the windows. He goes to pull the shades, but the attendant says, \"No, no, no, only authorized staff can close the shades.\"\n\n> You examine the drinks\nThis tray contains complimentary drinks, a grudging concession towards hospitality by the usually stingy Hogg.\n\nIn the tray full of drinks are a glass of grape juice, a glass of water, a glass of soda, and a glass of vodka.\n\n> You examine waiter\nWhile you can't see it inside the suitcase, you remember what it looks like.\n\nYou managed to find one of these in your size on a previous trip.\n\nThe server stomps out of the room.\n\n> You say the introductions\n\"Good afternoon, Ms. Hogg.\"\n\nShe looks at you skeptically. \"Good afternoon, Mister...\"\n\n\"Professor Spinwater, at your service.\"\n\n\"And just what are you a professor of, Mr. Spinwater?\"\n\n\"Philosophy, Ms. Hogg. My thesis was on the Stoics, who believed that, with effort, one can become resistant to emotional distress and all other misfortunes of life. I've been experimenting on my theories, you know. In any case, I've been looking forward to spending some time in your company!\"\n\n> You look at the kit\nThis is a small, transparent plastic pouch.\n\nIn the grooming kit are some tweezers, an emery board, and a toy mouse.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nCornelia tuts. \"We really ought to get better lighting in here,\" she says.\n\nIt is now pitch dark in here!\n\n> You examine the suitcase\nYou remember that the suitcase contains a banker costume, a waiter costume, a maintenance uniform, and a pet groomer costume.\n\nThe radiator rattles and hisses.\n\n> Radiator\nYour first word had a typo or is one I'm not familiar with. Try a different word.\n\n> You look at the radiator\nIt's too dark to tell if what you typed is here.\n\n> Topics\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to the attendant:\n*Greetings - A small bow towards the attendant.\nThings to say to the parrot:\nHello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\n*Introductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\nFamiliar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> You say hello\nIt's hard to tell who's here in the darkness with you. Better to wait.\n\nThe train exits the tunnel, and sunlight streams in once more.\n\n> You say hello\n\"Hello, pretty boy!\" you say. \"How are we today?\"\n\nHorus cocks his head at you and says, \"Hello! Hello! Horus demands a cracker!\"\n\n[New topic for the parrot - Snack]\n[New topic for the parrot - Reject]\n\n> You say the snack\n\"Would you like a cracker, my feathered friend?\" you ask.\n\nHorus bobs his head up and down, and says, \"Cracker! Horus will perform for a cracker.\"\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves.\n\n[New topic for the parrot - Performance]\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\n> You take the soda\nYou grab the glass of soda from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\n> You give the soda to Hogg\nThe attendant snaps at you. \"Let the servants attend to Ms. Hogg, sir.\"\n\nHogg murmurs, \"If only you weren't such a ninny.\" The attendant flushes.\n\nThe radiator rattles and hisses.\n\n> You look at the attendant\nThe attendant is a towering, stern woman with tightly pulled-back hair, a starched blouse, and a frock coat. A nametag says \"Beatrice Foxtrot.\"\n\nA stubborn woman, you've learned from experimentation, who never leaves Hogg's side. But her poor eyesight makes your use of costumes all the better.\n\nThe server stomps out of the room.\n\n> You say the performance\n\"Horus my friend, will you perform for me?\" you ask, crouching down to look Horus in the eye.\n\nHorus says, \"Horus is blessed with an abundance of grace. Dance, music and rhetoric are all in my power.\"\n\n[New topic for the parrot - Dance]\n[New topic for the parrot - Music]\n[New topic for the parrot - Rhetoric]\n\n> You say dance\nHorus squawks and hops from one foot to the other.\n\nYou hear the whistle blow.\n\n> You say the music\nHorus stretches tall and begins to sing a bespoke adaptation of The Charge of the Light Brigade. It seems it will go on for quite some time.\n\nWonderful. That should help mask the sound of your footsteps when you take the Rose.\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves.\n\nHorus is currently singing at the top of his lungs.\n\n> You talk parrot\nThat's not something you can say.\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\nHorus is currently singing at the top of his lungs.\n\nThe radiator rattles and hisses.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You take Rose\nIt's too dark to tell if what you typed is here.\n\n> Topics\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to Beatrice:\n*Greetings - A small bow towards the attendant.\nThings to say to the parrot:\nRhetoric - \"Speech! Speech!\"\n*Music - \"Sing for me?\"\n*Dance - \"Dance, Horus!\"\n*Performance - \"Horus, will you perform for me?\"\nReject - \"No crackers for you, dear.\"\n*Snack - \"Would you like a cracker?\"\n*Hello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\n*Introductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\nFamiliar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> You say familiar\nIt's hard to tell who's here in the darkness with you. Better to wait.\n\nHorus is currently singing at the top of his lungs.\n\n> You wait for a while\nYou bide your time.\n\n[You can skip directly to the next time the train goes under the bridge by typing SKIP.].\n\nHorus is currently singing at the top of his lungs.\n\nYou can hear the server stomping into the room, carrying a tray of drinks, although you cannot see him.\n\nHorus stops singing and preens his feathers. He seems eager to sing again.\n\n[Renewed topic for the parrot - Music]\n\nThe train exits the tunnel, and sunlight streams in once more.\n\n> You say familiar\n\"You seem familiar, sir. Have we met?\" you ask pointedly.\n\n\"You must be mistaken,\" answers the Viscount in a gruff tenor. \"I rarely travel from my estate.\"\n\n\"Of course, your estate. A pleasant one, I suppose, as you are the Viscount of...?\" you press.\n\nThe Viscount shakes his head. \"It's a new one, you wouldn't have heard of it.\"\n\n\"Ah, such modesty. It's surprising, though. Only three viscountcies were granted this year, and I am personally acquainted with two of them. I suppose that you, then, are the Viscount Upton Snodsbury.\"\n\nThe Viscount says, \"Oh! Yes, yes. Upton Snodsbury.\"\n\nThe server blinks in the bright sunlight streaming through the windows. He goes to pull the shades, but Beatrice says, \"No, no, no, only authorized staff can close the shades.\"\n\n> You give the soda to the attendant\nBeatrice shakes her head. \"No thanks.\"\n\n> You talk to the attendant\nTo speak with Beatrice, choose a topic from below and SAY [the topic] TO BEATRICE.\n\nThings to say to Beatrice:\nGreetings\n\nThe radiator rattles and hisses.\n\nThe server stomps out of the room.\n\n> You say the greetings to the attendant\nYou've already discussed this with Beatrice.\n\n[You can REMEMBER or RECALL a topic to remind yourself about previous conversations.]\n\n> You talk to Hogg\nTo speak with Cornelia Hogg, choose a topic from below and SAY [the topic] TO CORNELIA HOGG.\n\nThings to say to Cornelia Hogg:\nIntroductions\n\n> You say the introductions\nYou've already discussed this with Cornelia Hogg.\n\n[You can REMEMBER or RECALL a topic to remind yourself about previous conversations.]\n\n> Topics\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to Beatrice:\n*Greetings - A small bow towards the attendant.\nThings to say to the parrot:\nRhetoric - \"Speech! Speech!\"\nMusic - \"Sing for me?\"\n*Dance - \"Dance, Horus!\"\n*Performance - \"Horus, will you perform for me?\"\nReject - \"No crackers for you, dear.\"\n*Snack - \"Would you like a cracker?\"\n*Hello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\n*Introductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\n*Familiar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> Parrot speech\nYour sentence had too many words; you can try typing just the part where you wanted to do something to the parrot.\n\n> You say the parrot speech\nYour sentence had too many words; you can try typing just the part where you wanted to say the parrot.\n\n> You talk to the parrot\nTo speak with the parrot, choose a topic from below and SAY [the topic] TO THE PARROT.\n\nThings to say to the parrot:\nRhetoric\nMusic\nDance\nPerformance\nReject\nSnack\nHello\n\n> You say the rhetoric\nHorus strikes a majestic pose and says, \"Fortune favors the brave!\"\n\nYou hear the whistle blow.\n\nThe radiator rattles and hisses.\n\n> You open the suitcase\nYou take a quick peek inside the suitcase.\n\nYou remember that the suitcase contains a banker costume, a waiter costume, a maintenance uniform, and a pet groomer costume.\n\nYou close the suitcase.\n\n> You take the uniform\nYou take off the professor costume and put it in the suitcase, then pull out the maintenance uniform. The jumpsuit is an easy fit. You adopt an attitude of confidence in yourself and indifference to those around you.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for Beatrice - Greetings]\n\n[Renewed topic for the Viscount - Familiar]\n\n[You can introduce yourself to Hogg, the Viscount and/or the attendant once per costume.]\n\nThe train exits the tunnel, and sunlight streams in once more.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You close the shades\nYou pull down the shades. Beatrice says, \"Leave those alone, you--\" but cuts off when she sees your maintenance uniform.\n\nYou notice that your shadow has disappeared. That should make it easier to grab the Rose.\n\nThe server stomps out of the room.\n\n> You say the greetings\nYou make a slight bow towards Beatrice. She seems completely oblivious to your presence.\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves.\n\nThe radiator rattles and hisses.\n\n> You look at the radiator\nThe radiator provides heat to the car with steam power. It has a small knob that can be turned to increase or decrease the temperature.\n\n> Talk\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to Beatrice:\n*Greetings - A small bow towards the attendant.\nThings to say to the parrot:\n*Rhetoric - \"Speech! Speech!\"\nMusic - \"Sing for me?\"\n*Dance - \"Dance, Horus!\"\n*Performance - \"Horus, will you perform for me?\"\nReject - \"No crackers for you, dear.\"\n*Snack - \"Would you like a cracker?\"\n*Hello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\nIntroductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\nFamiliar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> You turn the knob\nYou turn the knob, heating up the observation car significantly.\n\nThe Viscount is sweating profusely. He unwinds the heavy scarf and stows it away out of sight, revealing a short, tanned neck.\n\n\"Awful hot, isn't it?\" says the Viscount.\n\nThe Viscount retreats from you towards the wall and attempts to be less conspicuous.\n\nYou hear the whistle blow."
    },
    {
        "text": "> Look around\nYou are in Cornelia Hogg's sumptuous private observation car. The room is dim now with the shades drawn, and the floor is covered in vivid chartreuse carpeting. A door to the south leads to freedom, once you're finished here.\n\nBeatrice bustles in and out of the room constantly, keeping everything tidy and giving you frequent sidelong glances.\n\nHogg's pet parrot Horus is clinging to his perch, his box of crackers nearby.\n\nCornelia Hogg is poring over her papers, mumbling and making minor adjustments.\n\nThe Viscount has been pretending to read the same magazine page for the last thirty minutes.\n\nAn up-and-coming socialite enters the room and stands in awe of Ms. Hogg's presence. After trying to engage you all in small talk, the visitor leaves.\n\n> You take the cracker\nTaken.\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\n> You give the cracker to the parrot\nHorus gobbles the cracker greedily, swallows, and lets out a happy belch.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\n> You take the water\nYou grab the glass of water from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\n> You give the water to Viscount\nThe Viscount shakes his head. \"Thanks for asking, but no thank you.\"\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You take the pet groomer\nYou take off the maintenance uniform and put it in the suitcase, then pull out the pet groomer costume. The clothing is simple, and the attitude is one of youth and enthusiasm.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for Beatrice - Greetings]\n\n[Renewed topic for the Viscount - Familiar]\n\n> Topics\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to Beatrice:\nGreetings - A small bow towards the attendant.\nThings to say to the parrot:\n*Rhetoric - \"Speech! Speech!\"\nMusic - \"Sing for me?\"\n*Dance - \"Dance, Horus!\"\n*Performance - \"Horus, will you perform for me?\"\nReject - \"No crackers for you, dear.\"\n*Snack - \"Would you like a cracker?\"\n*Hello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\nIntroductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\nFamiliar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> You examine the costume\n(the pet groomer costume)\nIt is pitch dark, and you can't see a thing.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You examine the costume\n(the pet groomer costume)\nThis is technically a zoo-keeper outfit. It's the smell that makes all the difference.\n\n> You look at the kit\nThis is a small, transparent plastic pouch.\n\nIn the grooming kit are some tweezers, an emery board, and a toy mouse.\n\nThe server stomps out of the room.\n\n> You take the kit\nHogg glares at you. \"That's for Horus!\" she declaims. \"You're not his groomer!\"\n\n> You groom the parrot\nHorus already looks pretty good, but you can file his talons.\n\n> File talons\nYou have nothing to file with.\n\nYou hear the whistle blow.\n\n> Inventory\nYou are carrying:\na glass of water\na glass of soda\na suitcase, closed, containing a maintenance uniform, a professor costume, a black and white feather, a banker costume, and a waiter costume\n\nAn up-and-coming socialite enters the room and stands in awe of Ms. Hogg's presence. After trying to engage you all in small talk, the visitor leaves.\n\n> You open suitcase\nYou take a quick peek inside the suitcase.\n\nThis suitcase contains a number of ingenious costumes. You can change costumes by typing WEAR [the costume you want] when everyone is distracted.\n\nIn the suitcase are a maintenance uniform, a professor costume, a black and white feather, a banker costume, and a waiter costume.\n\nYou close the suitcase.\n\n> You examine the neck\nThe Viscount has an unusually smooth neck.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\n> Go east\nYou're not going anywhere until you get that gem!\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You wear the waiter\nYou open the suitcase a crack.\n\n(first taking the waiter costume)\nYou take off the pet groomer costume and put it in the suitcase, then pull out the waiter costume. Shirt, pants, and apron all go on quickly. You slightly compress yourself and mute your expressions. Inconspicuity emanates from you.\n\nYou are currently disguised with the waiter costume.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for Beatrice - Greetings]\n\n[Renewed topic for the Viscount - Familiar]\n\n> You wait\nYou bide your time.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You take the vodka\nYou grab the glass of vodka from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\n> You talk to Viscount\nTo speak with the Viscount, choose a topic from below and SAY [the topic] TO THE VISCOUNT.\n\nThings to say to the Viscount:\nFamiliar\n\n> You say familiar\n\"You seem familiar, sir. Have we met?\" you ask.\n\nHe looks you over and turns away. \"No.\"\n\nBeatrice hurries over. \"Pardon me, Viscount. Is this servant bothering you?\" she asks, glaring at you.\n\nYou hold up your hands in protest. \"No, no, sorry. I just thought I had met him before. I'm well-known among the staff for my encyclopedic knowledge of famous faces. I know by heart the visages of the great, the noble, the beautiful, and the wise.\"\n\nBeatrice looks at the Viscount with interest. \"Well, do you know him?\"\n\nYou make a show of peering closer. \"Sorry, no. My mistake.\"\n\nThe server stomps out of the room.\n\n> You examine the vodka\nA strong drink. This is strong enough to strip paint off!\n\n> You pour the vodka on the beard\nThe Viscount jumps to his feet, spluttering and gasping, but the spirit gum dissolves in the vodka and the beard falls to the floor. \"Oh my, I do apologize,\" you say, \"How clumsy of me!\"\n\n\"You wretch!\" he hisses. There's murder in his eyes.\n\nBeatrice says, \"What in the world are you two doing?\" She marches closer, snatching up the beard, but Cornelia Hogg, without looking, says, \"Beatrice! Don't be such a busybody.\" Beatrice stops, fuming.\n\nThe server makes an appearance, grabs the glass, and exits.\n\nThe Viscount is distressed, and crams himself into the darkest corner of his seat.\n\nYou hear the whistle blow.\n\n> You talk to Beatrice\nTo speak with Beatrice, choose a topic from below and SAY [the topic] TO BEATRICE.\n\nThings to say to Beatrice:\nGreetings\n\n> Greetings\nYou make a small bow towards Beatrice.\n\n\"Get me a soda,\" she says. \"Plain.\"\n\n> You give the soda to Beatrice\n\"Your drink, ma'am,\" you say.\n\n\"Finally,\" she says. She chugs the whole drink at once. The attendant steps out for a moment to grab more soda before returning.\n\nMs. Hogg says, \"Beatrice, that's crass. Drink it slowly!\" Beatrice rolls her eyes.\n\n> You say the introductions\n\"Good afternoon, Ms. Hogg.\"\n\nBeatrice is scandalized. \"You do not address Ms. Hogg! Remember your place! And no spills!\"\n\nHogg glares at Beatrice, and says, \"Beatrice, remember your own place!\"\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\nHe looks your waiter costume up and down. He doesn't say anything, but his expression is clear. \"Another mixup by the coordinator,\" it says. \"Well, it's not my fault.\" His expression returns to its usual stoic silence.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You wear the maintenance\nYou open the suitcase a crack.\n\n(first taking the maintenance uniform)\nYou take off the waiter costume and put it in the suitcase, then pull out the maintenance uniform. The jumpsuit is an easy fit. You adopt an attitude of confidence in yourself and indifference to those around you.\n\nYou are currently disguised with the maintenance uniform.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for the Viscount - Familiar]\n\n> Skip\nYou wait for the train to leave the tunnel.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You look at Viscount\nThe Viscount is a perennial passenger in Hogg's observation car, although he never seems to speak. He is wearing a wide hat. You could recognize him from his pungent odor alone, though.\n\nThe server stomps out of the room.\n\n> You examine the hat\nThe Viscount's wide-brimmed hat is huge and messy, like a mouse's nest. Perfect for obfuscation.\n\nYou hear the whistle blow.\n\n> You take the hat\nThe Viscount slaps your hand away as soon as you start tugging.\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\n> You look at the magazine\nVogue. This week's.\n\n[New topic for the Viscount - Fashion]\n\n> Inventory\nYou are carrying:\na glass of water\na suitcase, closed, containing a waiter costume, a pet groomer costume, a professor costume, a black and white feather, and a banker costume\n\n> Skip\nYou wait for a tunnel to darken the car.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You wear the banker\nYou open the suitcase a crack.\n\n(first taking the banker costume)\nYou take off the maintenance uniform and put it in the suitcase, then pull out the banker costume. You tug on the suit in record time. You straighten your spine, put on a sardonic smile, and nudge every hair into place.\n\nYou can hear Cornelia Hogg sniffing.\n\n\"What is that pleasant odor?\" she mutters.\n\nGood. At least your smell won't disturb Ms. Hogg when you try to take the Rose.\n\nYou are currently disguised with the banker costume.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for Beatrice - Greetings]\n\n[Renewed topic for the Viscount - Familiar]\n\nYou can hear the server stomping into the room, carrying a tray of drinks, although you cannot see him.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You say the introductions\n\"Good afternoon, Ms. Hogg.\"\n\nShe looks at you with admiration. \"And a good afternoon to you, sir. Please, make yourself comfortable. It's always a pleasure to see a representative of our financial industries aboard.\" She takes a deep sniff, which you find fairly unsettling.\n\n\"Of course. As for me, whenever I think about the great problems of labor and wealth distribution in America, your face is the first to come to mind. It is an honor, Madame.\"\n\n> You say the fashion\n\"Anything interesting in fashion this season?\"\n\n\"What?\" asks the Viscount.\n\nYou point at the magazine. \"You seem interested. What sort of things are fashionable this year? One must keep up with these things, you know, however tedious it may be.\"\n\nThe Viscount scowls at you, touching his bare neck. \"Scarves were the trending fashion this year\".\n\n> You say familiar\n\"You seem familiar, sir. Have we met?\" you ask.\n\nThe Viscount sighs and buries his face in the magazine. \"No, I don't believe so.\"\n\n\"Do you have interest in the world of finance? We could use people with a strong work ethic and integrity,\" you ask.\n\n\"I am of independent means, sir,\" answers the Viscount haughtily.\n\n\"Well,\" you say, \"we might still be able to use someone with just integrity. Let me know!\"\n\nThe server stomps out of the room.\n\n> You say hello\nYou've already discussed this with parrot.\n\n[You can REMEMBER or RECALL a topic to remind yourself about previous conversations.]\n\nYou hear the whistle blow.\n\n> Topics\n[Topics with an asterisk (*) have already been discussed.]\n\nThings to say to Beatrice:\nGreetings - A small bow towards the attendant.\nThings to say to the parrot:\n*Rhetoric - \"Speech! Speech!\"\nMusic - \"Sing for me?\"\n*Dance - \"Dance, Horus!\"\n*Performance - \"Horus, will you perform for me?\"\nReject - \"No crackers for you, dear.\"\n*Snack - \"Would you like a cracker?\"\n*Hello - \"Hello, pretty boy!\"\nThings to say to Cornelia Hogg:\n*Introductions - \"Good afternoon, Ms. Hogg.\"\nThings to say to the Viscount:\n*Fashion - \"Anything interesting in fashion this season?\"\n*Familiar - \"You seem familiar, sir. Have we met?\"\n\nYou can see just the topics for one person at a time by TALKing TO that person.\n\n> You say the greetings\nYou make a tiny bow towards the attendant.\n\nShe approaches you eagerly. \"I didn't see you come in, M--\"\n\n\"No matter, no matter, my dear. My employers are quite interested in speaking with Ms. Hogg.\" You look her up and down. \"Would you say that you are a typical representative of the quality of Ms. Hogg's entourage?\"\n\n\"Yes, I would say that's quite right,\" she answers, blushing and squaring her shoulders.\n\n\"Well, I suppose we all make do,\" you say. \"Carry on.\"\n\n> You look at Hogg\nCornelia Hogg is a weathered, wiry old woman with a sharp gleam in her eye. Her attention is entirely devoted to the papers she is reviewing while occasionally clucking her tongue. Hogg is dressed in a perfectly-tailored pin-striped pantsuit. Her brow is perpetually furrowed, and she has a thick head of silver hair.\n\nThe Gavinchian Rose, the object of your desire, is prominently displayed on her lapel. A pet grooming kit lies on her lap.\n\n> You examine papers\nThe papers are covered in dense tables of numbers and figures.\n\n> You read the papers\nThe papers are covered in dense tables of numbers and figures.\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves.\n\n> You look at what you're carrying with you\nYou are carrying:\na glass of water\na suitcase, closed, containing a maintenance uniform, a waiter costume, a pet groomer costume, a professor costume, and a black and white feather\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You wear the waiter\nYou open the suitcase a crack.\n\n(first taking the waiter costume)\nYou take off the banker costume and put it in the suitcase, then pull out the waiter costume. Shirt, pants, and apron all go on quickly. You slightly compress yourself and mute your expressions. Inconspicuity emanates from you.\n\nYou are currently disguised with the waiter costume.\n\nYou close the suitcase.\n\n> Skip\nYou wait for the train to leave the tunnel.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nThe Viscount turns and looks at your new disguise, then goes back to his magazine. He seems to be the only one who's noticed.\n\n> You take the grape\nYou grab the glass of grape juice from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\nThe server stomps out of the room.\n\n> You pour the grape on the hat\nYou pour a tiny drop of liquid on the wide hat. The Viscount doesn't notice you, but nothing interesting happens, either.\n\n> You pour the grape on papers\nYou very gently spill one drop of the glass of grape juice on the papers. Nothing interesting happens.\n\n> You throw the grape at the hat\nFutile.\n\n> You throw the grape at the papers\nFutile.\n\nAn up-and-coming socialite enters the room and stands in awe of Ms. Hogg's presence. After trying to engage you all in small talk, the visitor leaves.\n\n> You throw the grape at Hogg\nTempting, but no.\n\nYou hear the whistle blow.\n\n> You pour the grape on the parrot\nYou dangle the glass of grape juice over Horus's head, cackling internally. Horus pecks at your hand, and you spill a bit on yourself. You retreat.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\nHe looks at your costume again, shaking his head slightly.\n\n> You give the grape to the parrot\nHorus takes a quick peck at the juice.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You wear groomer\nYou open the suitcase a crack.\n\n(first taking the pet groomer costume)\nYou take off the waiter costume and put it in the suitcase, then pull out the pet groomer costume. The clothing is simple, and the attitude is one of youth and enthusiasm.\n\nYou are currently disguised with the pet groomer costume.\n\nYou close the suitcase.\n\n[Renewed topic for Cornelia Hogg - Introductions]\n\n[Renewed topic for Beatrice - Greetings]\n\n[Renewed topic for the Viscount - Familiar]\n\n> You say the greetings\nYou make a small bow towards the attendant. She looks your way but wrinkles her nose and turns back.\n\n> You say the introductions\n\"Good afternoon, Ms. Hogg.\"\n\nWithout looking up, she says, \"Ah, finally. Give Horus a good filing, and be quick about it. I hope you're qualified. Horus is a bit of a beast.\"\n\nShe grabs a grooming kit from her lap, which she tosses on the floor.\n\n\"No problem, ma'am. I'm quite used to the company of unpleasant old birds. I'll get started right away!\"\n\n> You take the kit\nTaken.\n\nThe server stomps out of the room.\n\n> File talons\nYou have nothing to file with.\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\n> Examine kit\nThis is a small, transparent plastic pouch.\n\nIn the grooming kit are some tweezers, an emery board, and a toy mouse.\n\n> You open the kit\nYou open the grooming kit.\n\n> You take the emery\nTaken.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> Skip\nYou wait for the train to leave the tunnel.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nAn up-and-coming socialite enters the room and stands in awe of Ms. Hogg's presence. After trying to engage you all in small talk, the visitor leaves.\n\nYou can hear the server stomping into the room, carrying a tray of drinks, although you cannot see him.\n\n> File talons\n\"If I may, your majesty,\" you say to Horus. You file the talons of Horus with panache. Horus squawks contentedly.\n\n> You show the mouse to Beatrice\n(first taking the toy mouse)\nYou grab the mouse. Horus perks up. \"The enemy! Send me forth to destroy the foul creature!\"\n\nThe toy mouse pays no heed to Beatrice.\n\n[New topic for the parrot - Destroy]\n\n> You say destroy\nHorus leaps to the toy mouse and savages it before flying to his roost and dropping the mouse to the ground.\n\nThe server stomps out of the room.\n\n> You take mouse\nYou grab the mouse. Horus seems eager to play again.\n\n[Renewed topic for the parrot - Destroy]\n\n> You put the mouse on the hat\nYou sidle up behind the Viscount and place the mouse on his hat before gliding away.\n\nYou hear the whistle blow.\n\n> You say destroy\nHorus leaps into the air and descends on the Viscount with a screech.\n\nThe Viscount ducks, but Horus snags the mouse (and the hat) with his claws. He attacks until both are in shreds while the Viscount cries, \"Off! Off!\"\n\nBeatrice shouts, \"Horus! Get away from there!\"\n\nHogg says, \"Now, now, Beatrice, Horus needs his bit of fun. You don't need to carry on.\"\n\nBeatrice sighs and gathers up the mouse and shreds of hat, giving the Viscount a strange look as she does so.\n\nNow that you can see him more clearly, you recognize the so-called Viscount. It appears Beatrice recognizes the figure before you as well.\n\n\"Good heavens, it's Elizabeth Russell, the jewel thief! And what's worse,\" she shouts, \"She was wearing a costume.\" Hogg looks\nup, aghast, and Horus screeches. \"Villain! Thief! Forger!\" Beatrice advances menacingly.\n\nElizabeth starts to her feet. \"Yes, I am Elizabeth Russell. And never have I been treated so poorly in my life! Attacked by this foul bird, covered in cheap spirits, almost overcome by heat, and especially pestered by this man!\" she says, pointing at you. \"When I steal from my marks, I expect luxury and comfort. Well, there's no luxury or comfort here!\" she shouts before running out of the room to the south, slamming the door behind her.\n\nThere is a clang from the outer door opening, followed by a thud and rolling sound that quickly grows distant.\n\nBeatrice huffs, saying, \"And I specifically said that disguises are prohibited. The cheek!\"\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nYou are in Cornelia Hogg's sumptuous private observation car. The room is dim now with the shades drawn, and the floor is covered in vivid chartreuse carpeting. A door to the south leads to freedom, once you're finished here.\n\nBeatrice bustles in and out of the room constantly, keeping everything tidy and giving you frequent sidelong glances.\n\nHogg's pet parrot Horus is clinging to his perch, his box of crackers nearby.\n\nCornelia Hogg is poring over her papers, mumbling and making minor adjustments.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> Skip\nYou wait for the train to leave the tunnel.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\nYou can hear the server stomping into the room, carrying a tray of drinks, although you cannot see him.\n\n> You take the vodka\nYou grab the glass of vodka from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\n> You take the soda\nYou grab the glass of soda from the server's tray. He grunts in acknowledgment and continues to stare at the floor.\n\n> You pour the vodka in the soda\nYou pour the glass of vodka into the glass of soda. Everyone in the car watches you as you do it. It's quite loud. The server takes the empty glass and steps outside to refill the tray, before returning.\n\nYou've successfully created sparkling vodka. If it weren't for the cheap and frankly disgusting vodka used, it might be interesting. But it's not.\n\nThe server stomps out of the room.\n\n> You talk to the parrot\nTo speak with the parrot, choose a topic from below and SAY [the topic] TO THE PARROT.\n\nThings to say to the parrot:\nDestroy\nRhetoric\nMusic\nDance\nPerformance\nReject\nSnack\nHello\n\nThe server stomps out of the room.\n\n> You say the music\nHorus stretches tall and begins to sing a bespoke adaptation of The Charge of the Light Brigade. It seems it will go on for quite some time.\n\nWonderful. That should help mask the sound of your footsteps when you take the Rose.\n\nHorus is currently singing at the top of his lungs.\n\n> Skip\nYou wait for a tunnel to darken the car.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nHorus is currently singing at the top of his lungs.\n\nIt is now pitch dark in here!\n\n> You wear the waiter\nYou open the suitcase a crack.\n\n(first taking the waiter costume)\nYou take off the pet groomer costume and put it in the suitcase, then pull out the waiter costume. Shirt, pants, and apron all go on quickly. You slightly compress yourself and mute your expressions. Inconspicuity emanates from you.\n\nYou are currently disguised with the waiter costume.\n\nYou close the suitcase.\n\nHorus is currently singing at the top of his lungs.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> Skip\nYou wait for a tunnel to darken the car.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nHorus is currently singing at the top of his lungs.\n\nHorus stops singing and preens his feathers. He seems eager to sing again.\n\n[Renewed topic for the parrot - Music]\n\nIt is now pitch dark in here!\n\n> You say the music\nIt's hard to tell who's here in the darkness with you. Better to wait.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> You say the music\nHorus stretches tall and begins to sing a bespoke adaptation of The Charge of the Light Brigade. It seems it will go on for quite some time.\n\nWonderful. That should help mask the sound of your footsteps when you take the Rose.\n\nYou hear the whistle blow.\n\nHorus is currently singing at the top of his lungs.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\nHe looks at your costume again, shaking his head slightly.\n\n> You pour the vodka in the soda\nYou pour the glass of vodka into the glass of soda. Everyone in the car watches you as you do it. It's quite loud. The server takes the empty glass and steps outside to refill the tray, before returning.\n\nYou've successfully created sparkling vodka. If it weren't for the cheap and frankly disgusting vodka used, it might be interesting. But it's not.\n\nHorus is currently singing at the top of his lungs.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> You give the soda to Beatrice\nBeatrice shakes her head. \"No thanks.\"\n\nHorus is currently singing at the top of his lungs.\n\nThe server stomps out of the room.\n\nHorus stops singing and preens his feathers. He seems eager to sing again.\n\n[Renewed topic for the parrot - Music]\n\n> You check your inventory\nYou are carrying:\na sparkling vodka\nan emery board\na grooming kit, open, containing some tweezers\na glass of grape juice\na glass of water\na suitcase, closed, containing a pet groomer costume, a banker costume, a maintenance uniform, a professor costume, and a black and white feather\n\n> You look at the vodka\nCompletely terrible.\n\n> You pour the vodka on paper\nYou very gently spill one drop of the sparkling vodka on the papers. Nothing interesting happens.\n\n> You give the water to Beatrice\nBeatrice says, \"No, thank you. The lavatory is at the other end of the train and I don't want to leave my post until we arrive.\"\n\n> You give the juice to Beatrice\nBeatrice says, \"No. My employer drinks so much of it that the smell of it has begun to sicken me.\""
    },
    {
        "text": "[Themes: Humor, magpie]\n\n> Describe the surroundings\nYou are in Cornelia Hogg's sumptuous private observation car. The room is dim now with the shades drawn, and the floor is covered in vivid chartreuse carpeting. A door to the south leads to freedom, once you're finished here.\n\nBeatrice bustles in and out of the room constantly, keeping everything tidy and giving you frequent sidelong glances.\n\nHogg's pet parrot Horus is clinging to his perch, his box of crackers nearby.\n\nCornelia Hogg is poring over her papers, mumbling and making minor adjustments.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray. Cornelia smacks her lips, glancing at the tray of drinks but not stopping her work or concentration.\n\nHe looks at your costume again, shaking his head slightly.\n\n> You give the juice to Hogg\nCornelia Hogg accepts the juice graciously, chugs it in one gulp, opens the lid of a bucket at her feet and smashes the glass into it before covering it again.\n\nShe seems less restless now. That should make it easier to grab the Rose.\n\n> You examine the bucket\nYes, that has been there all along. But it's not important.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> Skip\nYou wait for the train to leave the tunnel.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> You look at the server\nThe server is a dour and shaggy-headed young man bearing a tray full of drinks.\n\nThe server stomps out of the room.\n\n> You take Rose\nYou grab at the rose, but despite your most cautious efforts, your fingers brush Hogg's lapel. She looks up  and says, \"Fresh!\" before slapping you. She returns to her papers.\n\n\"Fresh!\" cries Horus. You'll need something more delicate to remove it with.\n\nHorus is deeply offended by your suspicious actions. He's glaring at you. A peace offering or two might be in order.\n\n> You take Rose with the tweezers\nYou grab at the rose, but despite your most cautious efforts, your fingers brush Hogg's lapel. She looks up  and says, \"Fresh!\" before slapping you. She returns to her papers.\n\n\"Fresh!\" cries Horus. You'll need something more delicate to remove it with.\n\nHorus is deeply offended by your suspicious actions. He's glaring at you. A peace offering or two might be in order.\n\nAn official-looking woman enters with a document for Hogg to sign. Hogg scrawls on the line without looking up and the woman leaves.\n\n> You take tweezers\nPerfect! This should help keep Hogg from feeling you take the Rose.\n\nTaken.\n\n> You take Rose with the tweezers\nYou use the tweezers to grab for the rose.\n\nCornelia Hogg recoils from you. \"What is that distasteful odor? It smells like beef gravy.\"\n\n\"Distasteful odor!\" cries Horus.\n\nHorus is deeply offended by your suspicious actions. He's glaring at you. A peace offering or two might be in order.\n\n> You wear the banker\nYou open the suitcase a crack.\n\n(first taking the banker costume)\nYou take off the waiter costume and put it in the suitcase, then pull out the banker costume. You tug on the suit in record time. You straighten your spine, put on a sardonic smile, and nudge every hair into place.\n\nYou can hear Cornelia Hogg sniffing.\n\n\"What is that pleasant odor?\" she mutters.\n\nGood. At least your smell won't disturb Ms. Hogg when you try to take the Rose.\n\nYou are currently disguised with the banker costume.\n\nYou close the suitcase.\n\nHorus is currently singing at the top of his lungs.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> You take Rose with the tweezers\nYou use the tweezers to grab for the rose.\n\nWith your breath held, you delicately lift the Rose. Everything seems to pause. Then it's over, and you have it.\n\nFinally! The Rose is yours! Now all that's left is to get out while you still can.\n\nThere is a murmur of voices in the outside corridor, but it subsides.\n\nHorus is currently singing at the top of his lungs.\n\nHorus stops singing and preens his feathers. He seems eager to sing again.\n\n[Renewed topic for the parrot - Music]\n\n> You go south\nYou're still carrying the feather. It would be a shame not to drop your calling card.\n\nThe server stalks in, carrying his tray of drinks. He stands, slouched, staring at the floor, waiting for someone to grab a beverage. You can see quite a few drinks on the tray.\n\n> Skip\nYou wait for a tunnel to darken the car.\n\nThe train passes under a tunnel, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You drop the feather\nYou gently lay the feather next to Cornelia Hogg. Very nice.\n\nYou close the suitcase.\n\nThe train exits the tunnel, and sunlight filters weakly through the shades.\n\n> Go south\nAs you bow discreetly and make your exit, you are stopped by a squawk from Horus.\n\n\"Purloiner! Pincher! Poacher! Pickpocket!\"\n\nCornelia Hogg finally looks up. \"Horus, what is the matter?\" She looks at Beatrice. \"Is something going on?\"\n\n\"Is something going on? You mean besides Horus destroying a hat, vodka spilled all over the car, the darkness, the heat, the weird smells? No, things are just fine, Miss Hogg. Just fine,\" says the attendant, rolling her eyes. She looks at you distractedly. \"Have a nice day, sir,\" she tells you.\n\n\"Yes, yes, have a nice day,\" adds Hogg, going back to her papers.\n\n\"I assure you I will, madame.\" And with that, you make your exit."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, flashbacks, spies, espionage, technology, memorable NPC, science fiction, gadgets, twist, unreliable narrator, spy, Guns, strong NPCs]\n\nOn the whole, it was worth the trip. The plains really were broad and grain-gold, if scarred with fences and agricultural crawlers. The mountains were overwhelming. And however much of the capital city is crusted with squat brick and faceless concrete hulks, there are still flashes of its historic charm. You've seen spires above the streets -- tiny green parks below tenements -- hidden jewels of fountains beyond walls. Any bland alley can conceal balconies wrought into iron gardens, fiery mosaics, a tree or bed of flowers nurtured by who knows who.\n\nThis alley, however, is a total washout. It ends in flat bare dirty brick, and you've found nothing but a door which lacks even the courtesy of a handle. Maybe you should call it a day.\n\nIt's a narrow dead end here, with walls rising oppressively high in three directions. The alley is quite empty, bare even of trash. (Your guidebook warned you: the police are as efficient about litter laws as about everything else they do.) You can retreat to the south.\n\nA plain metal door faces you to the east, near the alley's end. It's firmly shut.\n\n[Author's Note: A vacation in our lovely country! See the ethnic charms of the countryside, the historic grandeur of the capital city. Taste our traditional cuisine; smell the flowers of the Old Tree. And all without leaving your own armchair! But all is not as it seems...]"
    },
    {
        "text": "[Themes: Science Fiction, Espionage, espionage, flashbacks, technology, spies, memorable NPC, spy, gadgets, unreliable narrator, twist]\n\n> You look at the door\nIt's a naked sheet of metal, a foot taller than you, as wide as your outstretched arms. No handle, no keyhole, no label, no sign. No obvious way to open it at all, unless the black plate embedded beside it will serve.\n\n> You look at the plate\nA featureless, dull black rectangle is embedded in the bricks beside the door. It's about the width of your palm. No fool could doubt the plate has something to do with opening the door, but it doesn't bear a clue about how to do it.\n\n> You knock on the door\nYou scrape your knuckles without result. There isn't even any sound; it's like knocking on the side of a mountain.\n\n> You examine the bricks\nThe walls are brownish brick, not recently washed. They stretch at least two stories above you.\n\n> You climb the wall\nThe bricks are narrowly mortared. There's not a bit of hold to grasp."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, Guns, science fiction, spies]\n\n> You look at your surroundings\nIt's a narrow dead end here, with walls rising oppressively high in three directions. The alley is quite empty, bare even of trash. (Your guidebook warned you: the police are as efficient about litter laws as about everything else they do.) You can retreat to the south.\n\nA plain metal door faces you to the east, near the alley's end. It's firmly shut.\n\n> You search the bricks\nIt's just bricks. They stop for the door, and the small plate next to it, but everywhere else they're implacably solid.\n\n> You go to the south\nYou're in the entrance of a narrow brick alley, which runs further in to the north. To the south a broad street courses by, congested with traffic and bicycles, although none of them seem to notice you.\n\n> You go south\nYou leave door and alley behind, and set off to see what else this fine city might hold.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away sharp edges of memory, and the dim walls slowly emerge into your sight once again. Dark metal walls and air uncomfortably cool. And cool metal bands around your wrists and feet and forehead.\n\nHe leans forward over his desk, through the glow of his monitors and controls. Impatience tightens his face.\n\n\"Don't be absurd,\" he says. \"You're no more a sightseer than the Old Tree in Capitol Square; and if you'd had enough sense to walk away from that door, you wouldn't be here. You don't and you didn't and are; we caught you. And you're going to start by telling me how you got through that door. Do you understand me?\"\n\n> No\nThe man nods briefly -- a man satisfied with the least important detail. He touches a control. Once again, a faint whine begins to drill through your temples.\n\n...glaring light --\n\n[Hit any key.]\n\nOn the whole, it was worth the trip. The plains really were broad and grain-gold, if scarred with fences and agricultural crawlers. The mountains were overwhelming. And however much of the capital city is scarred with squat brick and faceless concrete hulks, there are still flashes of its historic charm.\n\nThis alley, however, has no time for charm. It ends in flat bare dirty brick, and a door which lacks even the courtesy of a handle. Not that you'll wait on courtesy.\n\nIt's a narrow dead end here, with walls rising oppressively high in three directions. The alley is quite empty, bare even of trash. (You're sure the police are as efficient about litter laws as about everything else they do.) You can retreat to the south.\n\nA plain metal door faces you to the east, near the alley's end. It's firmly shut.\n\n> You hit door\nYou scrape your knuckles without result. There isn't even any sound; it's like knocking on the side of a mountain.\n\n> You look at the walls\nThe walls are brownish brick, not recently washed. They stretch at least two stories above you.\n\n> Kiss plate\nYou can only do that to something animate.\n\n> You knock on the door\nYou scrape your knuckles without result. There isn't even any sound; it's like knocking on the side of a mountain.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"This is tedious,\" the man says. \"Of course you didn't walk up and stand there rattling the door like a nightclump. Nor did you blow through the keyhole.\" Clenched knuckles rap on the desk, tension at odds with his patient tone. \"Nor, I add, did you break into this place barehanded and bare naked. You had something which opened that door, and you used it. Was it this?\"\n\nHis fist opens abruptly. Something rod-shaped gleams silver in his palm.\n\n> You examine rod\nIt's your lockpick, yes. A silver rod the size of your ring finger, splayed at one end into a flat disc of conductor-web matrix. You can't make out, from this distance, whether it's undamaged.\n\n> No\n\"No? But this is yours. A guard found it inside, just before we caught you, and it's nothing of ours. So don't pretend you didn't carry it in.\"\n\n...glaring light --\n\n[Hit any key.]\n\n> You look\nOn the whole, it was worth the trip. The plains really were broad and grain-gold, if scarred with fences and agricultural crawlers. The mountains were overwhelming. And however much of the capital city is scarred with squat brick and faceless concrete hulks, there are still flashes of its historic charm.\n\nThis alley, however, has no time for charm. It ends in flat bare dirty brick, and a door which lacks even the courtesy of a handle. Not that you'll wait on courtesy.\n\nIt's a narrow dead end here, with walls rising oppressively high in three directions. The alley is quite empty, bare even of trash. (You're sure the police are as efficient about litter laws as about everything else they do.) You can retreat to the south.\n\nA plain metal door faces you to the east, near the alley's end. It's firmly shut.\n\n> You look at the plate\nA featureless, dull black rectangle is embedded in the bricks beside the door. It's about the width of your palm. No fool could doubt the plate has something to do with opening the door, but it doesn't bear a clue about how to do it.\n\n> You look at the lockpick\nThe pick is a silver rod the size of your ring finger -- not true silver, of course, nothing so easily scanned. It's splayed at one end into a flat disc of conductor-web matrix. The status dot is blue.\n\n> You examine the disc\nThe lockpick widens at the top, ending in a coin-sized disc with the woven gleam of conductor-web matrix.\n\n> You touch the plate with the lockpick\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\n> Wait\nTime passes.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe door slides neatly open.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nThe man turns the lockpick again in his fingers. \"This is nice, this truly is. We have nothing like it.\" A thoughtful blink. \"...And this was the only piece of equipment you carried?\"\n\n> You say no\n\"Naturally not. I look forward to examining the others. Not,\" he adds, \"that they did you good in the end.\"\n\n> You wait\nYou remain silent.\n\nHe raises an eyebrow. \"Embarrassed? Clever tricks or no, it was still one of you and all of us, and we're not that weak. Are we.\" A sharp look from those eyes. \"Let's continue. You entered the complex...\"\n\n...glaring light --\n\n[Hit any key.]\n\n> You examine the tiles\nThe floor is featureless white tile.\n\n> You go to the north\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands closed to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You look at the gap\nThe hole is about two feet by three. Through it, you can see the actual concrete ceiling, a few inches above the acoustical panelling.\n\n> Go up\nThe hole is a foot out of reach.\n\n> You open the door\nWhich do you mean, the normal door or the metal door?\n\nYou move the space across the room. It is now under the window.\"\n\n> You look\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands open to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You go to the north\nThis room is small and, perhaps, rarely used -- not dirty, but not quite as clean and white as the corridors. The door to the south is open.\n\nTwo rough wooden crates are backed in a corner of the closet.\n\nOn the larger crate is a bolt wrench.\n\n> You get the wrench\nTaken.\n\n> You examine the wrench\nIt's a heavy steel wrench.\n\n> Larger\nThe larger crate is too heavy to move.\n\n> Smaller\nThe smaller crate is nailed shut. You can't pry it open with your hands.\n\n> You examine larger\nWhich do you mean, the larger crate or the smaller crate?\n\nYou see nothing special about the larger crate.\n\n> You look\nThis room is small and, perhaps, rarely used -- not dirty, but not quite as clean and white as the corridors. The door to the south is open.\n\nTwo rough wooden crates are backed in a corner of the closet.\n\n> You examine the door\nThe door to the south is open.\n\n> You open it\nThe larger crate is nailed shut. You can't pry it open with your hands.\n\n> You go west\nThe metal door is very definitely closed.\n\n> You examine metal door\nThe door to the west is metal. It has no handle; another black plate is visible beside it. The door is closed.\n\n> You go to the east\nThe corridor angles here, and crosses a boundary of some sort as it does. A few strides down the southeast branch, a dotted red line crosses the floor. You can retreat from the boundary to the west.\n\n> You search the smaller crate\nThe smaller crate is closed.\n\n> You search the larger crate\nThe larger crate is closed.\n\n> Wait\nTime passes.\n\nThe lockpick's status dot is sliding towards green.\n\n> You wait\nTime passes.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe metal door slides open. Beyond, several people are working at cluttered desks. One looks up absently, and then stares; and then a loud buzzer echoes down the hall. Moments later, three guards charge towards you, weapons drawn.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"That would be the logistics office. Five agents working at the time, very diligent men and women. None of whom recall their door popping open on them.\" He shakes his head. \"Your electronic key is a lovely toy, but you don't have to play with it for my sake.\" He touches a control.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You go to the north\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands closed to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You examine the panel\n(the hole)\nThe hole is about two feet by three. Through it, you can see the actual concrete ceiling, a few inches above the acoustical panelling.\n\n> You examine black plate\nA featureless, dull black rectangle is embedded in the wall beside the metal door.\n\n> You examine the line\nIt's just a red marking, painted on the floor tiles southeast of you. The line is very slightly scuffed in the center.\n\n> You go to the south-east\nYou step across the line and continue down the corridor... into the sight of six guards or so, who are posted at the next intersection.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nThe man raises an eyebrow. \"None of those guards saw you until much later. Shall we try it again?\"\n\n> You say yes\nThe man touches a control.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> Go west\nYou are in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> Larger\nYou climb up on the larger crate.\n\n> You climb smaller\n(getting off the larger crate)\nYou climb up on the smaller crate.\n\n> You look\nWide rectangles cover the ceiling with the grey, dimpled texture of good acoustical insulation. Between the panels are the glowing strips which illuminate the area.\n\nStorage Closet (on the smaller crate)\nThis room is small and, perhaps, rarely used -- not dirty, but not quite as clean and white as the corridors. The door to the south is open.\n\nTwo rough wooden crates are backed in a corner of the closet.\n\n> Examine strip\nGlowing strips of plastic cross the ceiling panels.\n\n> You get strip\nThose are a part of the panel ceiling.\n\n> You get the panel\nThat's hardly portable.\n\n> You jump\nYou bend and leap. Your hands slam against the ceiling panels, but they hold firm."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, spy, science fiction, Guns, unreliable narrator]\n\n> Go downward\nYou get down off the smaller crate.\n\n> Down\nThe only exit is south."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, science fiction, strong NPCs, spies, flashbacks, twist]\n\n> Go downward\nYou get down off the larger crate.\n\n> You look\nThis room is small and, perhaps, rarely used -- not dirty, but not quite as clean and white as the corridors. The door to the south is open.\n\nTwo rough wooden crates are backed in a corner of the closet.\n\n> You attach the acid to the toggle\nYou connect the toggle switch to the acid pack. The toggle switch turns brown to confirm the match.\n\n> You examine the scrambler\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. There's a minus link on one edge.\n\n> You take the acid\nYou take the acid pack (and the toggle switch connected to it.)\n\n> You put the acid on the small crate\nYou put the acid pack on the smaller crate.\n\n> You flip the toggle\nYou flip the brown switch on. The acid capsule goes off with a piercing hiss. An acrid mist fills the area.\n\nYou watch, awed and pleased at once, as the steel wrench sublimes away.\n\nYour skin begins to itch.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe is frankly impressed. \"It works that quickly?\"\n\n> You say usually\nThere is no reply.\n\n\"I really am curious.\"\n\n> You wait awhile\nYou remain silent.\n\n\"Nothing forthcoming? After inventing that remarkable show for me? Because,\" he adds, \"there is no trace of any acid having been used in this complex. And we found the wrench sitting on the crate, unharmed.\" He reaches for his controls.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You examine the walls\nThe walls are faced with tough white composite. They are smooth and blank, except for one ventilator grille near the ceiling.\n\n> You climb the large crate\nYou climb up on the larger crate.\n\n> You climb the small crate\n(getting off the larger crate)\nYou climb up on the smaller crate.\n\n> You examine the grille\nA plastic grille is visible high on the wall, just below the ceiling. One corner is stamped \"VEN DUCT L-15.\"\n\n> You open the grille\nThe ventilator grille is beyond your reach, on a different wall than the one you stand near.\n\n> You climb larger\n(getting off the smaller crate)\nYou climb up on the larger crate.\n\n> You look at ceiling\nWide rectangles cover the ceiling with the grey, dimpled texture of good acoustical insulation. Between the panels are the glowing strips which illuminate the area.\n\n> You stand\nYou get down off the larger crate.\n\n> Go south\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands open to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You open grille\nThe ventilator grille is a bit beyond your reach.\n\n> You examine the grille\nA plastic grille is visible high on the wall, just below the ceiling. One corner is stamped \"VEN DUCT J-10.\"\n\n> You jump\nYou bend and leap. Your fingers brush the edge of the hole -- catch, and you concentrate on holding on. Your feet swing gently a foot above the floor.\n\nUh! A sharp edge is digging into one finger. You shift your grasp hastily, but a few drops of blood smear across the hole's lip.\n\n> You enter the hole\nThe space above the ceiling panels is only a few inches high. You can't fit into it.\n\n> You examine the space\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nA small package, wrapped in cloth, is sitting on the panelling, just a few inches from your face.\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> You get the package\n(with one hand, hanging by the other)\nTaken.\n\n> You examine package\nIt's an oblong bundle of cloth, a bit larger than your palm.\n\nYour fingertips ache dully. And a nearby ventilator grille seems to be hissing directly into your ear.\n\n> You stand\nYou drop lightly to the ground, flexing your stiff hands.\n\n> You examine the cloth\nIt's an oblong bundle of cloth, a bit larger than your palm.\n\n> You jump\nYou bend and leap. Your fingers brush the edge of the hole -- catch, and you concentrate on holding on. Your feet swing gently a foot above the floor.\n\n> You look\nCorner At Doors (hanging from the ceiling)\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands open to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap. You are clinging to the lip of the hole; your feet dangle a foot above the ground.\n\n> You search the ceiling\nWhich do you mean, the panel ceiling or the concrete ceiling?\n\n> Concrete\nYou find nothing of interest.\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> Search panel\n(the hole)\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nThe space is empty as far as you can see.\n\n> You stand\nYou drop lightly to the ground, flexing your fingers.\n\n> You put the blast tab on the cloth\nThe bundle is still wrapped up.\n\n> You examine the timer\nThe timer is a small black box with two dials on one side, and a plus link on the other. The status dot is blue. Both the green and blue dials are set to 1; the timer's indicator is blank.\n\n> Examine plus link\nWhich do you mean, the toggle switch, the voice module, the radio module, the timer or the pushbutton?\n\n> You go to the southeast\nYou return up the hallway as it curves around to the south.\n\nThe white corridor begins here, and curves away north. No one is about; the metal face of the entrance door stands closed to the west.\n\n> Go west\nThe door is very definitely closed.\n\n> You look at the boundary\nIt's just a red marking, painted on the floor tiles southeast of you. The line is slightly scuffed in the center.\n\n> You look at the grille\nA plastic grille is visible high on the wall, just below the ceiling. One corner is stamped \"VEN DUCT U-11.\"\n\n> You jump\nYou bend and leap. Your fingers brush the ceiling panels, but not strongly enough to do anything.\n\n> You open grille\nThe ventilator grille is a bit beyond your reach.\n\n> You drop the package\nDropped.\n\n> You touch package\nWhatever's inside the bundle is rigid and rather heavy.\n\n> You look at the radio module\nIt's a small black box with a short antenna on one side, and a plus link on the other.\n\n> You look at the key transmitter\nIt's a small black disc with a key to press on one side, and a short antenna on the other.\n\n> You look\nThe corridor angles here, and crosses a boundary of some sort as it does. A few strides down the southeast branch, a dotted red line crosses the floor. You can retreat from the boundary to the west.\n\n> You go to the southeast\nAs you step across the line, a sharp buzzer echoes through the corridors.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"And then all the guards came thundering down on you? Captured before you'd done anything at all?\"\n\n> Yes\n\"You certainly were not. There was no alarm and we both know it. Now let's have it again.\"\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You go to the southeast\nYou return up the hallway as it curves around to the south.\n\nThe white corridor begins here, and curves away north. No one is about; the metal face of the entrance door stands closed to the west.\n\n> Clean blood\nThe blood only smears further as you rub at it.\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> You look at the gap\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nThe space is empty as far as you can see.\n\n> Inventory\nYou are carrying nothing worthy of attention, except a wrapped package, a bolt wrench, a lockpick and a toolcase (which is open) (in which are a blast tab, an acid pack, a toggle switch, a minilamp, a scan scrambler, a voice module, a radio module, a timer, a pushbutton, a voice transmitter and a key transmitter).\n\nYour fingertips ache dully. And a nearby ventilator grille seems to be hissing directly into your ear.\n\n> You turn the minilamp on\n(with one hand, hanging by the other)\nThe minilamp has no built-in controls.\n\n> You examine the minilamp\nIt's a small yellow tube with a lens at one end. There's a minus link on one edge of the tube.\n\nThe tendons of your fingers are complaining.\n\n> You attach the minilamp to the toggle\n(with one hand, hanging by the other)\nYou connect the toggle switch to the minilamp. The toggle switch turns yellow to confirm the match.\n\n> You flip the toggle\n(with one hand, hanging by the other)\nYou flip the yellow switch on. The minilamp begins glowing.\n\n> You look at the gap\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nThe space is empty as far as you can see.\n\n> You put the minilamp in the space\n(with one hand, hanging by the other)\nHanging from one hand, you toss the lit minilamp up into the space above.\n\nYour arms are beginning to feel numb.\n\n> You stand\nYou drop lightly to the ground, and painfully massage your forearms.\n\n> Wait\nTime passes.\n\n> You look at the minilamp\nIt's a small yellow tube with a lens at one end; a beam of light shines out. There's a minus link on one edge of the tube, which is connected to a toggle switch.\n\n> Search gap\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nIn the space, you can see a lit minilamp (connected to a toggle switch).\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> You get the minilamp\n(with one hand, hanging by the other)\nYou take the lit minilamp (and the toggle switch connected to it.)\n\n> Search gap\nYou strain, pulling yourself up with your arms, until you can see over the lip of the hole. The space over the acoustical panelling is only a few inches high; but it spreads out around you into darkness.\n\nThe space is empty as far as you can see.\n\nYour fingertips ache dully. And a nearby ventilator grille seems to be hissing directly into your ear.\n\n> Switch toggle\nYou flip the yellow switch off. The minilamp goes dark.\n\n> You go north\nThis room is small and, perhaps, rarely used -- not dirty, but not quite as clean and white as the corridors. The door to the south is open.\n\nTwo rough wooden crates are backed in a corner of the closet.\n\n> You examine the door\nThe door to the south is open.\n\n> You get the plate\nThe plate is fixed in the wall.\n\n> You connect the toggle to radio module\nThe toggle switch is already connected to the minilamp.\n\n> Disconnect toggle\nYou disconnect the minilamp, and take the toggle switch as it turns black again.\n\n> Examine toggle\nIt's a small black box with a two-way toggle switch on one side, and a plus link on the other. The switch is off.\n\n> Examine scan\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. There's a minus link on one edge.\n\n> You look at the voice\nWhich do you mean, the voice module or the voice transmitter?\n\n> Module\nIt's a small black box with a short antenna on one side, and a plus link on the other.\n\n> You examine the voice transmitter\nIt's a small black square with an audio pickup on one side, and a short antenna on the other. The status dot is blue. The audio keywords are printed along one edge.\n\n> You look at keywords\nThe keywords for the voice transmitter are \"tango\" to switch on, and \"waltz\" to switch off. In your voiceprint only, of course.\n\n> You say the tango\nYou say the keyword. The voice module's link dot flashes green in confirmation, but as it isn't linked to anything, that's all.\n\n> You say the waltz\nYou say the keyword. The voice module's link dot flashes blue in confirmation, but as it isn't linked to anything, that's all.\n\n> You connect the voice transmitter to the radio module\nThe voice transmitter doesn't have a link; it works through the voice module.\n\n> You examine the pushbutton\nIt's a small black box with a button on one side and a plus link on the other.\n\n> You examine the timer\nThe timer is a small black box with two dials on one side, and a plus link on the other. The status dot is blue. Both the green and blue dials are set to 1; the timer's indicator is blank.\n\n> You look at the key\nIt's a small black disc with a key to press on one side, and a short antenna on the other.\n\n> You press the disc\n(the key transmitter)\nYou press the transmitter key. The radio module's link dot flashes green in confirmation, but as it isn't linked to anything, that's all.\n\n> You connect scan scrambler to the radio module\nYou connect the radio module to the scan scrambler. The radio module turns orange to confirm the match, and the key transmitter turns orange as well.\n\nThe scan scrambler is already connected to the radio module.\n\n> You connect the blast to push\nYou connect the pushbutton to the blast tab. The pushbutton turns purple to confirm the match.\n\n> You press the space\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nThe man is staring at you as if at a joke he doesn't, quite, understand. \"And then you died.\"\n\n> Yes\nThe man shakes his head in disgust.\n\n...glaring light --\n\n[Hit any key.]\n\n> You press the space\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You stand\nYou drop lightly to the ground.\n\n> You connect the scrambler to the radio\nYou connect the radio module to the scan scrambler. The radio module turns orange to confirm the match, and the key transmitter turns orange as well.\n\n> You say the tango\nYou say the keyword. The voice module's link dot flashes green in confirmation, but as it isn't linked to anything, that's all.\n\n> You examine the radio\nIt's a small orange box with a short antenna on one side, and a plus link on the other. The link is connected to a scan scrambler.\n\n> You press the disc\n(the key transmitter)\nThe scrambler's status dot flashes briefly yellow.\n\n> You look at the scrambler\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. There's a minus link on one edge, which is connected to a radio module.\n\n> You touch the scrambler to the plate\nThe scan scrambler is already connected to the radio module.\n\n> You examine transmitter\nWhich do you mean, the voice transmitter or the key transmitter?\n\n> Voice\nIt's a small black square with an audio pickup on one side, and a short antenna on the other. The status dot is green. The audio keywords are printed along one edge.\n\n> You connect the timer to the blast tab\nYou connect the timer to the blast tab. The timer turns purple to confirm the match.\n\n> You get the tab\nYou take the blast tab (and the timer connected to it.)\n\n> Larger\nYou put the blast tab on the larger crate.\n\n> You set the timer\nYou can set the timer's green dial or its blue dial.\n\n> You set green\nThe dial can be set from 1 to 20.\n\n> You set green dial to 3\nYou set the green dial to 3. (Press the dials to activate them.)\n\n> You press the green dial\nNothing happens; you squeeze harder, until the contact finally clicks. The green dial lights as you press it. The timer's indicator flashes to 3.\n\n> You wait\nTime passes.\n\nYou hear a sharp crack from somewhere nearby.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"And the noise went completely unnoticed,\" says the man, an eyebrow raised.\n\n> You say yes\n\"It did? I have been in this building all day, and I don't recall my lunch hour being quite so noisy.\" The man presses a control.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You look\nThe white corridor begins here, and curves away north. No one is about; the metal face of the entrance door stands closed to the west.\n\n> Metal\nThat is unlikely to get a response.\n\n> You look at the hinge\nThe northern door is comfortingly ordinary -- white paint, hinges, and a handle which needs nothing more sophisticated than fingers. The door is open.\n\n> Wait\nTime passes.\n\n> You wait\nTime passes.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe door slides open, and daylight spills over you. So does a sharp buzzer; and, moments later, three armed guards.\n\n-- glaring light...\n\n[Hit any key.]\n\n> You press the space\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Of course, by now -- that is, by then -- there was once again an observer covering the alley door. Your original diversion was clever but brief. So you certainly didn't re-open the door, much less leave and then re-enter.\" He touches a control.\n\n...glaring light --\n\n[Hit any key.]\n\n> You look at the toolcase\nYour toolcase is a flat grey plastic form, lined with shaped sponge foam. In the toolcase are a blast tab, a radio module, a timer, a scan scrambler, a minilamp, a toggle switch, a pushbutton, an acid pack, a voice module, a voice transmitter and a key transmitter.\n\n> You eat the sponge foam\n(first taking the foam padding)\nThe foam padding is part of the case.\n\n> You go southeast\nAs you step across the line, a sharp buzzer echoes through the corridors.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We've been over this. We track all metal within the critical zones. I know you're good; you surely noticed the ceiling web.\"\n\n> You say no\n\"As you like. But you didn't carry metal past it. Stop wasting my time.\" He punches a control, harder than necessary.\n\n...glaring light --\n\n[Hit any key.]\n\n> You examine the minilamp\nIt's a small yellow tube with a lens at one end. There's a minus link on one edge of the tube.\n\n> You jump\nYou bend and leap. Your fingers brush the ceiling panels, but not strongly enough to do anything.\n\n> You look\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands closed to the north.\n\nYour toolcase is lying open nearby. Inside are a blast tab, a radio module, a timer, a scan scrambler, a minilamp, a toggle switch, a pushbutton, an acid pack, a voice module, a voice transmitter and a key transmitter.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You look\nInterrogation Chamber (imprisoned in the chair)\nYou are in a dim room, bounded by metal walls, and you sit restrained in a steel chair. Across from you is a desk covered with panels of instrumentation. The man faces you from behind it.\n\nThe man touches a control.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You examine the ceiling\nWide rectangles cover the ceiling with the grey, dimpled texture of good acoustical insulation. Between the panels are the glowing strips which illuminate the area. You notice that to the southeast, beyond the red boundary line, the ceiling panels are also striped with the characteristic glitter of a scan web.\n\n> Throw bolt se\nYou toss the wrench across the line; a sharp buzzer immediately sounds.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"This is tiring. I've been in this base all day and I heard no alarm.\" The man touches a control before you can respond.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You go to the southeast\nYou step across the line and continue down the corridor.\n\n-- glaring light...\n\n[Hit any key.]\n\n> You press the space\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"I believe you're forgetting something.\" The man gazes at you levelly. \"Our forensics people went over the area very thoroughly after we captured you. And we found evidence that you'd been up in that open ceiling panel in the northwest corner. Did you think you could hide that from us?\"\n\n> Hit interrogator\nYou can hardly move at all.\n\n> You examine the interrogator\nHe is greying of hair and lined, lined hard, not wrinkled. His pale uniform fits as comfortably as skin. It is immaculate; it bears no insignia but the emblem of his nation.\n\nThe man is holding a lockpick.\n\n> You examine the chair\nThe chair is every bit as uncomfortable as its designers must have intended. Metal slats dig into your thighs and shoulders. Your head is strapped back, with too many cold itches where the leads are pasted on. And, of course, the steel bands that bind your hands and feet. You can hardly forget those.\n\nThe man leans back, watching you.\n\n> You examine the desk\nThe desk is panelled with ranks of controls and instruments. All, of course, are angled just too low for you to read.\n\n> You examine the emblem\nThe man wears the light tan uniform of his nation, and its emblem on his breast.\n\nHe shakes his head. \"You can't. You can cover up memories, perhaps...\" Unexpectedly, he smiles. \"But 'Blood speaks loud where words fade away.' Eh? Now, this time, the truth.\"\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You look\nCorner At Doors (hanging from the ceiling)\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands closed to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap. You are clinging to the lip of the hole; your feet dangle a foot above the ground.\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> You examine the scan scrambler\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. There's a minus link on one edge.\n\nYour fingertips ache dully. And a nearby ventilator grille seems to be hissing directly into your ear.\n\n> You connect the scan scrambler to the toggle\n(with one hand, hanging by the other)\nYou connect the toggle switch to the scan scrambler. The toggle switch turns orange to confirm the match."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, twist, spy, technology, espionage, spies]\n\n> Go downwards\nYou drop lightly to the ground, flexing your stiff hands.\n\n> Go north\nYou flip the orange switch on. The scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\nThe door to the north is closed.\n\n> You turn on toggle\nYou flip the orange switch on. The scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> Go southeast\nYou step across the line and continue down the corridor.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"...with the metal of the wrench hidden from our ever-watchful scan web. A wonderful artifact, your little orange pyramid.\" The man spreads his hands in assumed awe, then shakes his head. \"I don't think your techniques are quite that good. You could muffle the metal signature, I would say, but not perfectly. It would leave eddies. Small ones -- within the error tolerances of our scan, enough to hide the wrench for a few minutes -- but after that? A dozen acceptable errors within ten minutes is... not acceptable at all.\n\n\"And we picked up no such suspicious sequence; and therefore, you did not carry the wrench across that line. Did you.\"\n\n> Yes\nHe stares at you for a moment. \"Even if you claim your scrambler works perfectly,\" he continues, \"...we found the wrench sitting on the crate in the closet.\" He smiles briefly.\n\n...glaring light --\n\n[Hit any key.]\nWhite Junction\nYou stand lightly in a bare tiled corridor, white tiles and cold white walls. The ceiling is acoustical panelling divided by illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> You connect the toggle to the scrambler\nYou connect the toggle switch to the scan scrambler. The toggle switch turns orange to confirm the match.\n\n> Go southeast\nYou step across the line and continue down the corridor.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nThe man nods with consideration. \"And off you went, through our secure zone like a scalpel through cheese. A plastic scalpel,\" he adds, smiling distantly, \"so I don't know why you turned on that charming device. As I said, it couldn't have hidden metal for any length of time. Thus -- you had none. At least our scan-web keeps spies from carrying guns with them when they stroll through our bases.\" He pauses a moment. \"Or does your side have nonmetallic guns now?\"\n\n> You say yes\n\"Now you're lying again. We would know if you had such things, and you would know that we would...\" A silence draws out, and you look to find the man staring at a far wall, as if you and your chair had dissolved away. Then, thoughtfully, \"For all the effort we put into secrets, my people and yours, do we ever manage to keep any?\" His eyes are on you again.\n\n> You say yes\n\"Yes, and here you are. Because you don't have this one. And this is the secret that matters. You didn't get it, and we can keep it just a little longer.\"\n\n> No\n\"A little longer is all we need.\"\n\nHe shakes his head sharply. \"A bit more time here, as well. And please don't waste any more of it with fantasy. Your next move must have been...\"\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> You look at what you're carrying with you\nYou are carrying nothing worthy of attention, except a wrapped package, a lockpick and a toolcase (which is open) (in which are a scan scrambler (connected to a toggle switch), a blast tab, a radio module, a timer, a minilamp, a pushbutton, an acid pack, a voice module, a voice transmitter and a key transmitter).\n\nThe footsteps seem to be approaching.\n\n> You look\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\n> Go west\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\nDistant footsteps sound somewhere to the east.\n\n> Go south\nYou take half a step and nearly trip as you turn. A woman is standing to the south, at the end of the hall. She leans on the frame of an open door, talking to someone in the room beyond. If you continue, she will certainly notice you.\n\n> You go to the north\nHallways run northwest, east, and south.\n\nThe footsteps to the east grow louder.\n\nThe woman nods and leans back.\n\n> You go northwest\nYou return up the corridor, across the red line.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"I don't think so. There were people up and down the west corridor during that interval. You weren't seen back there. Besides, it would hardly be elegant,\" and he smiles very suddenly. \"We've had that part of the story. Repeating it would be redundant, yes? Bad art.\"\n\n> No\n\"You don't think so? You must not have had my fiction tutor.\" You did not expect to hear a chuckle in this room. \"For all the stakes, it comes down to you telling stories, doesn't it? You spin me a story, and I listen.\"\n\n> You say yes\nHe nods. \"The oldest profession. Although you've been reluctant -- I can't expect better, I suppose. Anyway.\" He blinks. \"This verse isn't yet right.\" He touches a control.\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> Go south\nThe metal door is very definitely closed.\n\nThe footsteps seem to be approaching.\n\n> You look at the door\nThe door to the south is metal. As usual, it has a black sensor plate beside it. The door is closed.\n\n> You look\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\nThe footsteps to the north grow louder.\n\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nThe lockpick is clinging to the black plate by the door.\n\nThe footsteps move out of a branch corridor to the north -- a trio of guards, still heading this way. You dodge back out of their line of view, flattening yourself inside the west side of the tee.\n\nThe lockpick's status dot is sliding towards green.\n\n> You wait a while\nTime passes.\n\nYou hear the guards coming closer.\n\nThe lockpick's status dot is sliding towards green.\n\n> Wait\nTime passes.\n\nYou hear the guards coming closer.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe metal door slides open. To the north, the footfalls of the guards cease, startled by this apparition. Then they begin again -- hurrying.\n\n> Go south\nYou hurl yourself towards the open door, snatching at the lockpick as you go by. Nearly -- but your fingers close wrong, and the silver rod clatters to the floor behind you as you dive over the threshold. The door slides closed; you are left in quiet dark.\n\nA moment later, the door slides open again. A surprising number of pulse guns are aimed through it, all at you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nImpatience is plain between his eyes, now. \"Yes, you had time to get inside. But the door, did you notice, would have come open in full view of Mobile Three? You did notice, in truth, that's what you showed me.\"\n\nHe shakes his head. \"But Three says they didn't see you at all, and they certainly didn't see you fooling around with that door, and they certainly didn't enact that tableau at the end. With the guns.\" He seems particularly disgusted with that touch, for some reason. \"Is it, what, you just enjoy a dramatic scene?\"\n\n> Yes\n\"Spare me.\" He touches a control.\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> You go east\nThe corridor ends here, blank, with a single steel door on the north wall. The door is closed.\n\nDistant footsteps sound somewhere to the west.\n\n> You examine door\nThe door to the north is metal. As usual, it has a black sensor plate beside it. The door is closed.\n\nDistant footsteps sound somewhere to the west.\n\n> You touch the lockpick to the plate\nThe metal door to the north isn't important.\n\nThe footsteps are clearer now.\n\n> Go north\nThe metal door is very definitely closed.\n\nThe footsteps to the west grow louder.\n\n> You look\nThe corridor ends here, blank, with a single steel door on the north wall. The door is closed.\n\n> You examine the door\nThe door to the north is metal. As usual, it has a black sensor plate beside it. The door is closed.\n\nThe footsteps to the west grow louder.\n\n> You unlock the door with the pick\nIt's not clear precisely how the lockpick can be used to unlock that.\n\nThe guards come around the corner. Well-trained guards, of course, look both ways when they enter an intersection. For a moment you stare at them staring at you. Then they draw their weapons.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"The squad on Mobile Three, the ones you say stumbled into you. You do have their images right; I know you saw them. But they say they never saw you. Did they lie?\"\n\n> No\n\"A helpful answer at last! Thank you. Now let's have it again.\"\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> Go west\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\nDistant footsteps sound somewhere to the east.\n\n> Go south\nYou take half a step and nearly trip as you turn. A woman is standing to the south, at the end of the hall. She leans on the frame of an open door, talking to someone in the room beyond. If you continue, she will certainly notice you.\n\n> Go northwest\nYou return up the corridor, across the red line.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Stories or none, I know you haven't been back to the west corridor.\" The man touches a control.\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> You go to the north\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\nThe footsteps seem to be approaching.\n\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\nAs you step into the intersection, three guards walk out of the northeast branch. For a moment they stare at you staring at them. Then they draw their weapons.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"No, understand, this isn't in question. The guards did not see you, not toenail or eyebrow. They heard a noise, something clattering across the floor, in the eastern dead-end corridor. That's what they investigated. That's what you're trying to explain here. Clear?\"\n\n> You say yes\n\"Good.\"\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> You check your inventory\nYou are carrying nothing worthy of attention, except a lockpick, a wrapped package and a toolcase (which is open) (in which are a scan scrambler (connected to a toggle switch), a blast tab, a radio module, a timer, a minilamp, a pushbutton, an acid pack, a voice module, a voice transmitter and a key transmitter).\n\nDistant footsteps sound somewhere to the west.\n\n> You go west\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nThe footsteps move out of a branch corridor to the north -- a trio of guards, still heading this way. You dodge back out of their line of view, flattening yourself inside the west side of the tee.\n\n> You throw radio module east\n(first taking the radio module)\nThe radio module clatters down the hall into the dead end.\n\n\"Did you hear that?\" comes a voice from the north. \"Sounded like it was coming from the wiring closet,\" another guard says, a frown in his tone.\n\nThe footsteps begin to hurry. The three guards round the corner, and run down the east hall -- without a glance at where you huddle in the western branch.\n\n> Go north\nYou hold your breath and slip around the corner, out of the guards' line of sight. And pause... and there is no cry of alarm. You exhale -- silently -- and stroll off to the north.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"A streetcorner dazzler would be proud. You distract Mobile Three with the radio module; when they follow the noise, you walk up the corridor. Yes?\"\n\n> Yes\n\"...and then they bring the radio module to Security's attention.\" He turns a palm out, displaying the silver rod in his hand. \"And it looks, instead, a great deal like your lockpick. Not that they knew what it was at the time, of course. But we may as well correct the detail of which object you threw.\" He touches a control.\n\n...glaring light --\n\n[Hit any key.]\nTee Junction\nThe white corridor runs east to west here, with a branch leading off to the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\nYou hear footsteps somewhere to the north.\n\n> You wait\nTime passes.\n\nThe footsteps seem to be approaching.\n\n> You wait\nTime passes.\n\nThe footsteps to the north grow louder.\n\n> You wait for a while\nTime passes.\n\nThe footsteps move out of a branch corridor to the north -- a trio of guards, still heading this way. You dodge back out of their line of view, flattening yourself inside the west side of the tee.\n\n> You throw the lockpick east\nThe lockpick clatters down the hall into the dead end.\n\n\"Did you hear that?\" comes a voice from the north. \"Sounded like it was coming from the wiring closet,\" another guard says, a frown in his tone.\n\nThe footsteps begin to hurry. The three guards round the corner, and run down the east hall -- without a glance at where you huddle in the western branch.\n\n> You go to the north\nYou hold your breath and slip around the corner, out of the guards' line of sight. And pause... and there is no cry of alarm. You exhale -- silently -- and stroll off to the north.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Very neat. Behind the backs of the guards, and leave them to mumble over the lockpick -- not that they knew what it was at the time, of course. And you slip north into the core areas.\"\n\n> No\n\"There's nowhere else,\" says the man, almost patiently. \"I assumed Security was later, because the lab is your primary objective. Was, to say.\" His voice slows, again contemplative, unsettling to you. \"Your story is predictable. Did you expect that?\"\n\n> Yes\n\"There is tension, but the flow is clear. The hero will extract the secret plans and escape; I wouldn't believe you if you said anything else. Except, of course, you didn't escape.\"\n\nHe is still seated, but his eyes are the eyes of a man pacing. \"This isn't a story. Do you have any imagination? Do you realize what this technology will be used for?\" He seems as astonished at the outburst as you.\n\n> You say no\n\"Naturally. You were sent for, and so you came.\" That must be a quote. \"Implications are someone else's job. 'Clean War.' No troops, no civilian blood. One man at a time, slipped into an office or a palace, beyond any hope of wall or guard. Or not even a man -- a grenade, a canister of gas. The end,\" wryly -- \"of security. I'd be out of a job.\" His eyes are distant, and again you feel that you are the least important thing in the room.\n\n\"Bad enough if we get it first. We'll take you apart, or just threaten to. Harsh but quick. It would be over, we'd have won. But if your people get it too, if you'd gotten out with the data, do you realize...?\"\n\n> You say no\n\"Of course you don't. You just march. But see... Knives at each other's throats. How long could that last? Two years, five. Eventually it would be too tempting, some premier or on-commander who poses too much immediate threat.\" Somehow his eyes are holding yours. \"Then it would be literal knives at each other's literal cursed throats. Whole governments beheaded overnight. Same for anyone who tries to move up, take charge. It wouldn't end. Could you swear, honestly, that anyone left on your side wouldn't keep using it on anyone left on our side? Senate-men? Troops? Farmers?\"\n\n> You say no\nThere is a long pause; and then the man smiles... not at you. \"And in spite of that, or anything -- I march too. Let's get back to that. The lab.\"\n\n...glaring light --\n\n[Hit any key.]\nOutside Laboratory\nThe corridor from the east ends here, and a single door looms to the west. It's no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the door's face, and the surface is sheathed with some black coating.\n\n> You look at the door\nThe door is no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the door's face, and the surface is sheathed with some black coating. However, the black plate beside the door is quite standard.\n\n> You examine the coating\nThe door and its struts are coated with some dead-black material. You do not recognize it.\n\n> You examine the struts\nThe door is reinforced with thick square bars, which run down and along its entire front. The struts are coated with the same black material as the rest of the door.\n\n> You touch the door\nThe black surface gives very slightly to your touch -- soft, but thin, over steel.\n\n> You look\nThe corridor from the east ends here, and a single door looms to the west. It's no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the door's face, and the surface is sheathed with some black coating.\n\n> You go west\nThe laboratory door is very definitely closed.\n\n> You examine the panel\nWide rectangles cover the ceiling with the grey, dimpled texture of good acoustical insulation. Between the panels are the glowing strips which illuminate the area, and also the characteristic glitter of a scan web.\n\n> You touch panel\nThe ceiling is a foot out of your reach.\n\n> You look at the door\nThe door is no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the door's face, and the surface is sheathed with some black coating. However, the black plate beside the door is quite standard.\n\n> You look at the plate\nA featureless, dull black rectangle is embedded in the wall beside the laboratory door.\n\n> You touch the plate\nNothing happens.\n\n> Go east\nYou follow the corridor's curve to the southeast.\n\nThe white corridor runs south and east from here, with a wide branch curving northwest towards the laboratory.\n\nYou jerk back from the intersection, a reflexive startled leap; there are six guards down the hall to the south. They do not seem to have seen you.\n\n> You look\nThe white corridor runs south and east from here, with a wide branch curving northwest towards the laboratory. You are standing just inside the northwest branch, out of sight of the guards to the south.\n\nYou hear voices among the guards to the south.\n\n> You listen\n(to the guards)\nOne of the guards is talking quietly. The words, of course, are drowned out by the ever-present ventilation.\n\nOne of the guards says \"Yes, with'.\"\n\n> You go east\nYou duck across the intersection. The guards to the south, distracted by their own business, do not notice you; so you continue unchallenged to the east.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"You could have used the blast tab, did you realize? It would have punched through the door, I'm sure. You would have been in and out. By that much you missed starting a war. Or ending the one we've got.\"\n\nThe man stops, gives you a measured glance. \"This is a war, for all that we're not shooting.\"\n\n> You say yes\nA wry chuckle. \"Truly, you think more like me than my own by-commander does. I think: if this is peace, why are the armies getting larger? And even more money on secrets than on simple guns.\"\n\n> You say yes\nA one-sided smile. \"I'll make a note of that, for our estimates of your budget schedules.\"\n\nHe passes that off with a tense wave. \"It's frustrating. You say you haven't thought about this technology. It could put our footprints on the moons. We could walk to other stars as easily as to the bathhouse. Oceans and mountains wouldn't be walls...\" Again he is watching you intently.\n\n\"That, I think, is what our masters are afraid of. They'll face death before living without walls. You, is that why you're here? Why you're willing to unchain a war of assassination?\"\n\n> You say no\n\"Then why... no. Business first.\" He takes a breath, and calms.\n\n\"You left the lab without using your explosive. You came back to Security. To get your precious lockpick, for the lab door?\" The silver rod flashes between his fingers; you had forgotten he was holding it.\n\n> You say no\n\"Perhaps other reasons as well, but I think the pick must have been first in your mind. Show me.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You go east\nBefore you can move, a buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Yes, the wonderful scan-scrambler. But, as I said earlier, it cannot be miraculous. The high-sensitivity webs around Security could be fooled; but the scrambler's presence would leave eddies. Glitches, you understand. More than a few of those in a handful of seconds, and the watchdogs get suspicious. As you showed me -- the alarms would ring.\" He raises an eyebrow. \"In fact, you couldn't have made it up the corridor with the scrambler active. Let's just take it as read that it wasn't.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You examine the scrambler\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. There's a minus link on one edge.\n\n> You go north\nAs you step into the room, a buzzer begins to sound.\n\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"An amateur, I think, could have walked through a doorway without ever seeing the scan-web above it. You haven't impressed me thus far, but I don't truly think you're incompetent.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You go to the southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Are you saying you left without this?\" The man produces a pen and holds it up for your inspection.\n\n> You examine the pen\nIt's an ordinary-looking pen. It's hard to tell from this distance, but the nib appears to be missing, and there seems to be a dark stain on the tip of the casing.\n\n> You say no\n\"That's better. One of my people is still recovering from its effect.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You go south\nAs you step into the room, a buzzer begins to sound.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the scrambler to the toggle\nYou connect the toggle switch to the scan scrambler. The toggle switch turns orange to confirm the match.\n\nThe scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> You turn on the toggle\nThe switch is already on.\n\n> Go south\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nA moment after you step into the room, the scrambler emits a sharp squeal. Then a sharper crackling noise -- and then a thread of smoke, as its quiet vibration ceases.\n\n> You look at the table\nIt's just a plastic worktable, a slab built onto the south wall. There is nothing on the table.\n\n> You search the lockers\nAll the lockers are closed.\n\n> You examine the lockers\nThe locker doors vary in size, from palm-length cubbies to a closet apparently large enough to walk into. All the doors are closed. Each locker has a four-digit number on it.\n\n> You examine the pen\nIt's an ordinary-looking pen. The nib looks a bit sharp, though."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, gadgets, spies, strong NPCs, flashbacks, technology, spy, espionage]\n\n> Describe the surroundings\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\n> You look under the table\nNothing but white tile.\n\n> You go north\nAs you leave the room, a buzzer begins to sound.\n\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"You didn't set off the alarm going in, and you weren't found inside, so you must have suppressed the scan-web coming out as well. Yes?\" He does not wait for a reply.\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the scrambler to the toggle\nYou connect the toggle switch to the scan scrambler. The toggle switch turns orange to confirm the match.\n\nThe scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> Examine\nWhat do you want to examine?\n\n> You go south\nThe room to the south is filled with lockers; there is a table at the far end.\n\nYou can barely see a band of scan-web over the doorway, just inside the room.\n\nA buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We went back, you must know, and looked at every stray spark in the scan-data. We know how you used the scrambler. On and off, briefly enough to never upset our systems. And it did not get you caught.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You turn off the toggle\nYou flip the orange switch off. The scrambler's status dot flickers black.\n\n> You turn on the toggle\nYou flip the orange switch on. The scrambler's status dot flickers black.\n\n> You drop all\nwrapped package: Dropped.\ntoolcase: Dropped.\n\n> You connect the pushbutton to the scrambler\nYou connect the pushbutton to the scan scrambler. The pushbutton turns orange to confirm the match.\n\n> You look at the green dial\nThe green dial is set to 1.\n\n> You look at the blue dial\nThe blue dial is set to 1.\n\n> You examine the timer\nThe timer is a small black box with two dials on one side, and a plus link on the other. The status dot is blue. Both the green and blue dials are set to 1; the timer's indicator is blank.\n\n> Wait\nTime passes.\n\nThe timer's green dial flashes once, and the indicator flashes to 1. The status dot goes blue, but as the timer isn't linked to anything, that's all.\n\n> You press the pushbutton\nThe scrambler's status dot flashes briefly yellow.\n\nThe timer's blue dial flashes once, and the indicator flashes to 1. The status dot goes green, but as the timer isn't linked to anything, that's all.\n\n> Go south\nAs you step into the room, a buzzer begins to sound.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nThe timer's green dial flashes once, and the indicator flashes to 1. The status dot goes blue, but as the timer isn't linked to anything, that's all.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the timer to the scrambler\nYou connect the timer to the scan scrambler. The timer turns orange to confirm the match.\n\n> You turn green to 5\nYou set the green dial to 5.\n\n> You press the green dial\nThe green dial lights as you press it. The timer's indicator flashes to 5.\n\n> Go south\nAs you step into the room, a buzzer begins to sound.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nThe timer changes to 4.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You set the green dial to 1\nYou set the green dial to 1.\n\n> You set the blue dial to 5\nYou set the blue dial to 5.\n\n> You press the blue dial\nThe blue dial lights as you press it. The timer's indicator flashes to 5. The scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> You press the green dial\nThe green dial is now lit as well.\n\nThe timer changes to 4.\n\nA buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We went back, you must know, and looked at every stray spark in the scan-data. We know how you used the scrambler. On and off, briefly enough to never upset our systems. And it did not get you caught.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the voice module to the scrambler\nYou connect the voice module to the scan scrambler. The voice module turns orange to confirm the match, and the voice transmitter turns orange as well.\n\n> You examine the lamp\nIt's a small yellow tube with a lens at one end. There's a minus link on one edge of the tube.\n\n> You look\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You drop all\ntoolcase: Dropped.\nwrapped package: Dropped.\n\n> You get the voice module\nYou take the scan scrambler (and the voice module connected to it.)\n\n> You drop the voice module\nYou drop the scan scrambler (and the voice module connected to it.)\n\n> You look\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a timer, a pushbutton, a toggle switch, a radio module, a blast tab, a minilamp, an acid pack, a voice transmitter and a key transmitter.\n\nYou can also see a scan scrambler (connected to a voice module) and a wrapped package here.\n\n> You say the tango\nThe scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> Wait\nTime passes.\n\n> You wait for a while\nTime passes.\n\nA buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We went back, you must know, and looked at every stray spark in the scan-data. We know how you used the scrambler. On and off, briefly enough to never upset our systems. And it did not get you caught.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the voice module to the scrambler\nYou connect the voice module to the scan scrambler. The voice module turns orange to confirm the match, and the voice transmitter turns orange as well.\n\n> You get the scrambler\nYou take the scan scrambler (and the voice module connected to it.)\n\n> You drop the scrambler\nYou drop the scan scrambler (and the voice module connected to it.)\n\n> You drop all\ntoolcase: Dropped.\nwrapped package: Dropped.\n\n> You go south\nAs you step into the room, a buzzer begins to sound.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You press pushbutton\nThe scrambler's status dot flashes briefly yellow.\n\n> You turn off the toggle\nYou flip the black switch off. The link dot flashes blue in confirmation, but as the switch isn't linked to anything, that's all.\n\n> You connect the toggle to the scrambler\nYou connect the toggle switch to the scan scrambler. The toggle switch turns orange to confirm the match.\n\n> You turn on toggle\nYou flip the orange switch on. The scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> Go south\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nA moment after you step into the room, the scrambler emits a sharp squeal. Then a sharper crackling noise -- and then a thread of smoke, as its quiet vibration ceases.\n\n> You look at the scrambler\nIt's a small orange pyramid, traced with conductor matrix. It can detect and scramble scan-web on any frequency... or so the theory is drawn. Now, you suspect, it's an expensive paperweight. You must have brought it into a countermeasure induction field. There's a minus link on one edge, which is connected to a toggle switch.\n\n> You examine the lockers\nThe locker doors vary in size, from palm-length cubbies to a closet apparently large enough to walk into. All the doors are closed. Each locker has a four-digit number on it.\n\n> You examine number\nYou look at a random locker. The number 9877 is visible on it.\n\n> You examine number\nYou look at a random locker. The number 9262 is visible on it.\n\n> You eat the pen\nThat's plainly inedible.\n\n> You look\nIt's an ordinary-looking pen. The nib looks a bit sharp, though.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\n> You go to the south-west\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"No, you've forgotten the pen again. You had it with you, as we discovered shortly thereafter.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, memorable NPC, science fiction, gadgets]\n\n> Look around\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You go to the east\nAs you step into the room, a buzzer begins to sound.\n\nDark wood panelling surrounds you, a refuge from the harsh white visible to the west. A massive mahogany desk sits in one corner. The rest of the room is mostly metal cabinets, but a few sketches take their share of wall, and a bookcase stands by the desk.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\n\n> You go to the east\nDark wood panelling surrounds you, a refuge from the harsh white visible to the west. A massive mahogany desk sits in one corner. The rest of the room is mostly metal cabinets, but a few sketches take their share of wall, and a bookcase stands by the desk.\n\nA moment after you step into the room, the scrambler emits a sharp squeal. Then a sharper crackling noise -- and then a thread of smoke, as its quiet vibration ceases.\n\n> You examine the desk\nThe desk is an imposing mass, plain of line but precisely crafted. There is nothing on the desk.\n\n> You look at the cabinets\nThree-drawer metal cabinets stand in rows along each wall. The drawers are the normal size for file folders; there is a tiny black plate on the front of each one. The cabinets are all closed.\n\n> You open the cabinet\nYou pull on a few of the handles, but all the drawers seem to be locked.\n\n> You look\nDark wood panelling surrounds you, a refuge from the harsh white visible to the west. A massive mahogany desk sits in one corner. The rest of the room is mostly metal cabinets, but a few sketches take their share of wall, and a bookcase stands by the desk.\n\n> You look at the sketches\nWhich do you mean, the portrait of a young man, the drawing of a night sky or the seascape?\n\n> Portrait\nA young man looks out from precise ink stippling. His expression is serious, and dark eyes meet yours with near-visible force. You have never seen his face before.\n\n> You get the portrait\nYou pull the portrait of a young man from the wall.\n\n> You look at the sky\nThe sketch is in soft talc-pencil, but nonetheless the stars shine out, hard distant facets in a jewel-black expanse. One moon is high and one is rising; they too are in bright focus, every crater and mare. The cool burning moons'-light tints the sky silver from behind.\n\n> You get the sky\nYou pull the drawing of a night sky from the wall.\n\n> You look at the seascape\nGrey waves beat below an indeterminate, cloudy sky. Nearly lost in the distance is a raft -- a tiny shape bearing away beneath a wind-torn white sail.\n\n> You get the seascape\nYou pull the seascape from the wall.\n\n> You look\nDark wood panelling surrounds you, a refuge from the harsh white visible to the west. A massive mahogany desk sits in one corner. The rest of the room is mostly metal cabinets, but a bookcase stands by the desk.\n\n> You examine the wall\nSome rich wood, in pleasingly irregular spans, polished but naturally dark.\n\n> You examine the bookcase\nThe bookcase is hand-carved, hung with wooden ivy vines and tiny berries. Volumes of technology journals fill some shelves; but others display antique folios, leather-bound collections of plays, and a small array of dawn-tales and fireside stories.\n\n> You search the wall\nYou can't see any unusual cracks or spaces in the panelling. But then, it would be unusual if you could.\n\n> You look at the plays\nYou see the complete works of Gahtmahan, \"Nightclumps and Wind-Whispers,\" a volume of Connaeus woodcuts... if you had time, the shelves would be worth a closer look. You don't.\n\n(I hope you weren't expecting some kind of \"Rito and Imita\" in-joke.)\n\n> You examine journals\nYou see the complete works of Gahtmahan, \"Nightclumps and Wind-Whispers,\" a volume of Connaeus woodcuts... if you had time, the shelves would be worth a closer look. You don't.\n\n> You examine the desk\nThe desk is an imposing mass, plain of line but precisely crafted. There is nothing on the desk.\n\n> You look under the desk\nYou peer hopefully under the desk, but even there the floor is relentlessly tidy.\n\n> You examine the sail\nGrey waves beat below an indeterminate, cloudy sky. Nearly lost in the distance is a raft -- a tiny shape bearing away beneath a wind-torn white sail.\n\nThe drawing has been removed from the wall, revealing a magnetic mounting pad on the back.\n\n> You look at the pad\nA magnetic pad is visible on the back of the sketch. It's nothing unusual; it just keeps the thing on the wall where it belongs.\n\n> You get the pad\nThat's part of the sketch.\n\n> You examine the sketch\nWhich do you mean, the seascape, the drawing of a night sky or the portrait of a young man?\n\n> Sky\nThe sketch is in soft talc-pencil, but nonetheless the stars shine out, hard distant facets in a jewel-black expanse. One moon is high and one is rising; they too are in bright focus, every crater and mare. The cool burning moons'-light tints the sky silver from behind.\n\nThe drawing has been removed from the wall, revealing a magnetic mounting pad on the back.\n\n> You go south\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nA buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We went back, you must know, and looked at every stray spark in the scan-data. We know how you used the scrambler. On and off, briefly enough to never upset our systems. And it did not get you caught.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> Examine toggle\nIt's a small black box with a two-way toggle switch on one side, and a plus link on the other. The switch is on.\n\n> Disconnect toggle from scrambler\nYou disconnect the scan scrambler, and take the toggle switch as it turns black again.\n\nThe scrambler shuts down, and its status dot goes blue.\n\n> You drop all\ntoggle switch: Dropped.\ntoolcase: Dropped.\nwrapped package: Dropped.\n\n> Go south\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\n> You say the waltz\nTalking to yourself might draw attention.\n\nA buzzer begins sounding up and down the halls. Moments later, you hear guards running in your direction.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"We went back, you must know, and looked at every stray spark in the scan-data. We know how you used the scrambler. On and off, briefly enough to never upset our systems. And it did not get you caught.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> Examine toggle\nIt's a small black box with a two-way toggle switch on one side, and a plus link on the other. The switch is on.\n\n> Disconnect toggle from scrambler\nYou disconnect the scan scrambler, and take the toggle switch as it turns black again.\n\n> You connect the timer to the scrambler\nYou connect the timer to the scan scrambler. The timer turns orange to confirm the match.\n\n> You turn green to 2\nYou set the green dial to 2.\n\n> You turn blue to 5\nYou set the blue dial to 5.\n\n> You set the blue to 1\nYou set the blue dial to 1.\n\n> You go south\nAs you step into the room, a buzzer begins to sound.\n\nThis narrow room is lined with steel lockers. There is a plain table at the south end, and the doorway to the north exits to the corridor. All the lockers are closed.\n\nOn the table is a pen.\n\nThe timer's blue dial flashes once, and the indicator flashes to 1. The scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You look at the web\nWhich do you mean, the metal-scan web or the bands of body-scan web?\n\n> You look at the body\nJust inside each of the three doorways, on the ceilings of the three rooms, you see a glittering band of scan-web. The web's narrow spacing indicates a tight scan -- capable of picking up resonance signals off even a naked human body.\n\n> You examine the metal web\nThe ceiling is lined with scan-web in addition to the lighting strips. The web's wide spacing indicates a metal-resonance scan.\n\n> You look at the key\nIt's a small black disc with a key to press on one side, and a short antenna on the other.\n\n> You look at the module\nWhich do you mean, the radio module or the voice module?\n\n> You examine the radio\nIt's a small orange box with a short antenna on one side, and a plus link on the other. The link is connected to a scan scrambler.\n\n> You pull the antenna\nWhich do you mean, the radio module, the voice module, the voice transmitter or the key transmitter?\n\n> Radio\nNothing obvious happens.\n\n> You connect the radio module to the lamp\nThe radio module is already connected to the scan scrambler.\n\n> You disconnect the radio module\nYou disconnect the scan scrambler, and take the radio module as it turns black again. The key transmitter turns black as well.\n\n> You connect the radio module to the lamp\nYou connect the radio module to the minilamp. The radio module turns yellow to confirm the match, and the key transmitter turns yellow as well.\n\n> You examine the timer\nThe timer is a small black box with two dials on one side, and a plus link on the other. The status dot is blue. Both the green and blue dials are set to 1; the timer's indicator is blank.\n\n> You look\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a minilamp (connected to a radio module), a scan scrambler, a timer, a toggle switch, a voice module, a pushbutton, a blast tab, an acid pack and a voice transmitter.\n\nYou can also see a wrapped package here.\n\n> You examine the minilamp\nIt's a small yellow tube with a lens at one end. There's a minus link on one edge of the tube, which is connected to a radio module.\n\n> You connect the scrambler to the radio module\nThe radio module is already connected to the minilamp.\n\n> Disconnect minilamp\nYou disconnect the minilamp, and take the radio module as it turns black again. The key transmitter turns black as well.\n\n> You look\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a radio module), a minilamp, a timer, a toggle switch, a voice module, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a key transmitter and a wrapped package here.\n\n> You examine the voice module\nIt's a small black box with a short antenna on one side, and a plus link on the other.\n\n> You say the waltz\nThe scrambler shuts down, and its status dot goes blue.\n\n> You say the tango to the transmitter\n(the voice transmitter)\nThe scrambler's status dot goes green, and an almost inaudible whine begins within it.\n\n> You say waltz to the the transmitter\n(the voice transmitter)\nThe scrambler shuts down, and its status dot goes blue.\n\n> You go to the north\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a wrapped package here.\n\n> You say the waltz\nThe scrambler shuts down, and its status dot goes blue.\n\n> You get all\nwrapped package: Taken.\ntoolcase: Taken.\n\n> Go east\nAs you step into the room, a buzzer begins to sound.\n\nDark wood panelling surrounds you, a refuge from the harsh white visible to the west. A massive mahogany desk sits in one corner. The rest of the room is mostly metal cabinets, but a few sketches take their share of wall, and a bookcase stands by the desk.\n\nThe harsh buzz continues. Within moments you also hear footsteps hurrying towards you.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\nHe looks irritable. \"No, no scan-web alarms. Not then, not at all.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You write on the sketch\nWhich do you mean, the drawing of a night sky, the portrait of a young man or the seascape?\n\n> Sky\n(with the pen)\nThe sliver of crystal breaks off against the drawing of a night sky and is lost.\n\n> You examine the pen\nIt's an ordinary-looking pen. The nib is missing.\n\n> You go to the north\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\nYou feel a chill of memory in your bones.\n\n> You examine the walls\nThe walls are naked metal, unadorned. They give your eyes nowhere to rest.\n\n> You examine the chair\nThe chair is ugly. Steel slats are riveted to a heavy metal frame, and the whole rests on a steel column rising from a pedestal on the floor. Restraints are welded to the arm and foot rests; wires hang limply from the head support.\n\n> You examine desk\nThe desk is a standard modular composite design. The surface is panelled with ranks of controls and instruments.\n\n> You look at controls\nThe desk is covered with dials, readouts, screen panels, sliders, and dozens of other instruments. You can put no form nor name to any of them.\n\n> You examine the wires\nLeads hang from the headrest. There is a sensor contact on the end of each one.\n\n> You look\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\n> You sit in the chair\nYou sit down in the chair. It is not comfortable.\n\nYou feel another distant chill.\n\n> You stand\nYou hurriedly stand up.\n\n> You sit\nWhat do you want to sit on top of?"
    },
    {
        "text": "> You look at your surroundings\nInterrogation Chamber (in the chair)\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\nThere is a half-remembered cool pressure around your wrists, your ankles, your forehead."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, spy, memorable NPC, flashbacks, unreliable narrator, twist, Guns, technology]\n\n> Look around\nInterrogation Chamber (in the chair)\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\nFor a moment, someone is visible, facing you across the desk.\n\n> You wait\nYou remain silent.\n\n> Search desk\nThere is nothing on the desk.\n\nThe human outline bends over the desk, then regards you again. A sense of wordless sound moves across you.\n\n> You look at human\nThe figure is nearly not there -- like shadows at the edge of your sight, or a dream of blindness. It crawls away from your vision; your eyes feel thick and strained.\n\n> You stand\nYou jerk out of the chair, stumbling as you pull against restraints that are not there.\n\nThe half-visible figure is gone.\n\n> Go south\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a wrapped package here.\n\n> You drop all\ntoolcase: Dropped.\nwrapped package: Dropped.\ndrawing of a night sky: Dropped.\nportrait of a young man: Dropped.\nseascape: Dropped.\npen: Dropped.\nvoice transmitter: Dropped.\n\n> You look at the walls\nYou cannot move the floor tiles.\n\nThe walls are naked metal, unadorned. They give your eyes nowhere to rest.\n\n> You examine the ceiling\nThe ceiling is a solid sheet of acoustical insulation. Light comes from glowing discs, deeply inset behind wire grilles. A band of scan-web runs along the ceiling in front of the doorway.\n\n> You touch the wall\nThe walls are immovable.\n\n> You touch the chair\nThe metal is cool and clean.\n\n> You look at discs\nThe room is illuminated by discs of glowing plastic, recessed in the ceiling and covered by wire grilles.\n\n> You examine the chair\nThe chair is ugly. Steel slats are riveted to a heavy metal frame, and the whole rests on a steel column rising from a pedestal on the floor. Restraints are welded to the arm and foot rests; wires hang limply from the head support.\n\n> You cut the wires\nCutting those up would achieve little.\n\n> Wait\nTime passes.\n\nThere is a half-remembered cool pressure around your wrists, your ankles, your forehead.\n\n> You examine desk\nThe desk is a standard modular composite design. The surface is panelled with ranks of controls and instruments.\n\n> Wait\nTime passes.\n\nFor a moment, someone is visible, facing you across the desk.\n\n> You examine man\nThe figure is nearly not there -- like shadows at the edge of your sight, or a dream of blindness. It crawls away from your vision; your eyes feel thick and strained.\n\n> Continue\nThe figure is nearly not there -- like shadows at the edge of your sight, or a dream of blindness. It crawls away from your vision; your eyes feel thick and strained.\n\nThe human outline bends over the desk, then regards you again. A sense of wordless sound moves across you.\n\n> You look at the man\nThe figure is nearly not there -- like shadows at the edge of your sight, or a dream of blindness. It crawls away from your vision; your eyes feel thick and strained.\n\nThe chill is gone. You are alone in the room.\n\n> You look at controls\nThe desk is covered with dials, readouts, screen panels, sliders, and dozens of other instruments. You can put no form nor name to any of them.\n\n> You sit in the chair\nBut you're already on the chair.\n\n> You look\nInterrogation Chamber (in the chair)\nYou are in a dim room, bounded by metal walls. A steel chair squats on a low pedestal; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\n> Go south\nYou'll have to get off the chair first.\n\n> You stand\nYou stand up.\n\n> Go south\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a pen, three sketches (a seascape, a portrait of a young man and a drawing of a night sky) and a wrapped package here.\n\n> You look\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see three sketches (a seascape, a portrait of a young man and a drawing of a night sky) and a wrapped package here.\n\n> You go southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"No, you've forgotten the pen again. The crystal was intact when you left, as we discovered shortly thereafter.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You examine the pen\nIt's an ordinary-looking pen. The nib looks a bit sharp, though."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, gadgets, memorable NPC, strong NPCs, Guns, science fiction]\n\n> You look at your surroundings\nThe pen's nib isn't a normal ball tip. It seems to be a sliver of some indigo crystal -- a needle-sharp sliver.\n\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a wrapped package here.\n\n> You take all\nwrapped package: Taken.\ntoolcase: Taken.\n\n> You drop all\ntoolcase: Dropped.\nwrapped package: Dropped.\npen: Dropped.\nvoice transmitter: Dropped.\n\n> You go to the west\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\nYour toolcase is lying open nearby. Inside are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack.\n\nYou can also see a pen and a wrapped package here.\n\n> You get all\npen: Taken.\nwrapped package: Taken.\ntoolcase: Taken.\n\n> Go southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Mm,\" the man says slowly. \"This grows complex. As I said before, your scrambler leaves traces -- submerged in the scan noise if you use it briefly, as you have been doing, but traces nonetheless. We have since analyzed every sequence of the scan-web data. The results are quite precise; you used the scrambler four times. Four blips, on and off, you understand. So your story, in which you used it seven times, is not possible. Besides, I doubt you would have used the device unnecessarily. Standing around flipping it on and off, or dashing through a room for a cursory glance, would not be worth the risk to you.\"\n\nHe shrugs. \"We can play guessing-games all afternoon; but matters would go faster if you stuck to the facts.\"\n\n...glaring light --\n\n[Hit any key.]\nSecurity Annex\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and south.\n\n> You connect the voice transmitter to the scrambler\nThe voice transmitter doesn't have a link; it works through the voice module.\n\n> You look at sketches\nWhich do you mean, the drawing of a night sky, the seascape or the portrait of a young man?\n\n> You go southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"And away you went.\" He considers. \"You were searching the storage room for your lockpick, of course. I'm afraid I had it at the time. ...Although whoever left the pen lying out is due a reprimand. Sloppy, and you provided an excellent demonstration of why.\" His smile is, for the first time, self-satisfied. It's more frightening even than you expected -- but quickly gone.\n\n\"And you entered my office looking for... what? I'm sure it wasn't my artwork -- that's still there, and petty vandalism is beneath you in any case. What, then? Passcodes, keys, open drawers and indiscretions?\"\n\n> You say nothing\n\"I'm not at all sorry to have disappointed you. I am good at my job, and I am careful, which is the same thought. If you could have caught me loose, caught me blind or far-eyed, you might have succeeded. You did not.\" And there is a brief silence.\n\n\"What am I to make of you? You are endlessly inventive in your lies, if less subtle than brazen; you flex like grass, sometimes stubborn as stone, sometimes easy with your answers. You have striven to keep this session calm, and I do not think it was out of fear of my anger. Your eyes never, never waver from mine.\"\n\nHe leans back in his own chair, bearing your gaze. \"I have tried to treat you as an equal, a companion in our work. That is technique, of course; we both know that. But it is also sincere. And I think you have taken it in that faith. We are faces reflected in the mirror of our countries' border. I think you understand that.\" He nods.\n\n\"You do see that much. You may not be brilliant -- you make mistakes -- but you are determined. You hold that strength to what you believe, and in that you are not so different from me.\"\n\nHe shrugs, and offers a smile as honest as you have seen. \"Well? Have I done well? It is my job to know everything about you, after all.\"\n\n> You say yes\nHe bows in place, both palms open. \"I am delighted.\"\n\nAnd then he reaches again for his controls. \"But we are nearly done. You have only a few more seconds; and you have yet to show me what becomes of your mysterious cloth-wrapped package.\"\n\n...glaring light --\n\n[Hit any key.]\nDiagonal Branch\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\nYou throw yourself to a halt, nearly stumbling, as you hear footsteps approaching from the northwest... and then the guards behind you become audible as well. You duck around the southern corner and glance about desperately.\n\n> You look\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south. You are backed into the southern branch.\n\nThe guards to the east are drawing closer.\n\n> Go south\nYou back down the corridor, as silently as you can.\n\nThe hallway ends in a blank white wall. A metal door stands closed to the west.\n\nA discarded filing cabinet is standing by the wall. The drawers are closed.\n\n> Unwrap package\nIt's not yet time.\n\nThe door snaps open suddenly, and the uniformed figure of a guard begins to step through. \"No, what's frustrating is that you can't tell us what's in that blood-cursed lab,\" he is saying, back over his shoulder.\n\nThen he sees you. He fumbles for his pulse gun.\n\n> You stab the guard with pen\nYou feint, and then jab the pen into the guard's shoulder, as hard as you can. His reflexive counter hurls you into the wall.\n\nBut then he shivers, once, and slides to the ground, and remains there.\n\nThe door slides shut.\n\n> You search guard\nYou pat the body down quickly, but nothing is immediately apparent. And you don't have time for a more thorough search.\n\n> You look\nThe hallway ends in a blank white wall. A metal door stands closed to the west.\n\nThe guard is sprawled unconscious on the floor.\n\nHis gun lies near his limp hand.\n\nA discarded filing cabinet is standing by the wall. The drawers are closed.\n\n> You get the gun\nTaken.\n\nThe footsteps to the north are closer now.\n\n> You open the drawers\nYou yank on the drawers; two are locked, but one comes open with an internal clank. The drawer is empty.\n\n> You search drawer\nThe drawer is empty.\n\nThe footsteps to the north are closer now.\n\n> Go north\nYou make a break up the hallway -- only to come into view of two groups of guards, at once. Their pulse guns knock you sprawling before you can duck back.\n\n*** You have been captured ***\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Well done.\" The man is applauding softly. \"A heroic end to your shining tale; and in the large, an accurate one. But not precise. You fell into our hands without those fascinating tools you have been showing off all this time. And without the package, you understand, the one you found in my corridor ceiling. I am very curious to know what you did with those things.\"\n\n...glaring light --\n\n[Hit any key.]\nDiagonal Branch\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\nYou throw yourself to a halt, nearly stumbling, as you hear footsteps approaching from the northwest... and then the guards behind you become audible as well. You duck around the southern corner and glance about desperately.\n\n> Go south\nYou back down the corridor, as silently as you can.\n\nThe hallway ends in a blank white wall. A metal door stands closed to the west.\n\nA discarded filing cabinet is standing by the wall. The drawers are closed.\n\n> Inventory\nYou are carrying nothing worthy of attention, except a toolcase (which is open) (in which are a scan scrambler (connected to a voice module), a key transmitter, a radio module, a minilamp, a timer, a toggle switch, a pushbutton, a blast tab and an acid pack), a wrapped package, a pen and a voice transmitter.\n\nThe door snaps open suddenly, and the uniformed figure of a guard begins to step through. \"No, what's frustrating is that you can't tell us what's in that blood-cursed lab,\" he is saying, back over his shoulder.\n\nThen he sees you. He fumbles for his pulse gun.\n\n> You stab the guard with pen\nYou feint, and then jab the pen into the guard's shoulder, as hard as you can. His reflexive counter hurls you into the wall.\n\nBut then he shivers, once, and slides to the ground, and remains there.\n\nThe door slides shut.\n\n> You put all in the drawer\ntoolcase: Done.\nwrapped package: Done.\npen: Done.\nvoice transmitter: Done.\n\n> You close the drawer\nYou close the drawer.\n\n> Wait\nTime passes.\n\nThe footsteps to the north are closer now.\n\n> Go north\nYou make a break up the hallway -- only to come into view of two groups of guards, at once. Their pulse guns knock you sprawling before you can duck back.\n\n*** You have been captured ***\n\n-- glaring light...\n\n[Hit any key.]\nInterrogation Chamber (imprisoned in the chair)\nYou blink away memory. The dim room comes again into focus, and the man behind the desk.\n\n\"Yes, yes, but you still have not bought the details. We were certainly not fools enough to ignore the broken cabinet drawer. You left nothing inside it.\"\n\n...glaring light --\n\n[Hit any key.]\nDiagonal Branch\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\nYou throw yourself to a halt, nearly stumbling, as you hear footsteps approaching from the northwest... and then the guards behind you become audible as well. You duck around the southern corner and glance about desperately.\n\n> You listen\nFootsteps are approaching.\n\nThe guards to the east are drawing closer.\n\n> You listen\nFootsteps are still approaching.\n\nThe door snaps open suddenly, and the uniformed figure of a guard begins to step through. \"No, what's frustrating is that you can't tell us what's in that blood-cursed lab,\" he is saying, back over his shoulder.\n\nThen he sees you. He fumbles for his pulse gun.\n\n> You wait\nTime passes.\n\nThe door snaps open suddenly, and the uniformed figure of a guard begins to step through. \"No, what's frustrating is that you can't tell us what's in that blood-cursed lab,\" he is saying, back over his shoulder.\n\nThen he sees you. He fumbles for his pulse gun.\n\n> You listen\nFootsteps are still approaching.\n\n> You climb the cabinet\nYou get onto the filing cabinet.\n\n> You examine the wall\nThe walls are faced with tough white composite. They are smooth and blank, except for one ventilator grille near the ceiling.\n\nThe footsteps to the north are closer now.\n\n> You open the grille\nYou lever the grille open with your fingers.\n\n> You put all except the pen in the grille\nvoice transmitter: Done.\ntoolcase: Done.\nwrapped package: Done.\n\nThe footsteps to the north are closer now.\n\n> You stand\nYou get down off the filing cabinet.\n\n> You get the gun\nTaken.\n\n\"Hold you!\" comes a shout from the north. You take a quick glance; several guards have come around the corner. Their narrow eyes take in the fallen shape at your feet, and they bring up their weapons.\n\n> Close grille\nThe ventilator grille is a bit beyond your reach.\n\nThe pulse-guns to the north begins crackling. You dive for cover behind the cabinet, but a bolt slaps into you before you are halfway there.\n\n\" he says to the air. \"Get down to the hallway where our friend was captured--\" There is a muffled interruption. \"Yes, I know you have. You missed a leaf. Open up ventilation grille M-2 and search inside. There should be a number of microelectronic tools inside, and a small bundle wrapped in cloth. Report to me immediately.\" He flicks the connection closed.\n\nThe man spreads his hands apologetically. \"I must look like a great fool,\" he says to you.\n\n> Yes\nHe chuckles. \"Well, I can plead an excuse; we rebuilt our ventilation system from the ground up, less than half a year ago. It's fenced and webbed and wired so that a grain of sand couldn't sneak through -- but only at the external intakes and the junctions. We never thought to check for an object cached just inside a vent. We never thought it would be a danger.\"\n\nHe shrugs. \"And it wasn't a danger, in fact, was it?\"\n\n> You say no\n\"No. We got you; you didn't get into the lab, much less get out afterwards. You moved a package from one hiding place to another. I still can't see--\"\n\nA flashing light interrupts him. The man touches it, and nods. \"I'll see soon. They're bringing it in.\"\n\n> You say no\nThe man absently waves you to silence.\n\nA chime sounds. The man pounces on his controls, and then gestures impatiently towards the doorway.\n\nA guard enters. She gives you only a brief professional glance. Approaching the desk, she lays out a handful of small items.\n\nThe man nods, dismissing her without a thought, and then stares. \"This was all? Where's the package?\"\n\n\"With'?\" asks the guard, puzzled.\n\n\"Never mind. Go.\" His eyes are blazing on you as the guard slips out the doorway. \"You. You have lied to me, and I am tired of it. I have had enough.\"\n\n> You say can i go now\nThere is no reply.\n\n\"You have not told me where the package really is.\"\n\n> You tell the man about the package\nTo simplify the problem of dialogue in interactive fiction, the \"tell\" and \"ask\" commands are not used in this game. Type \"about\" for details.\n\n> You say yes\n\"Curse that, curse you, and curse all your blood,\" says the man flatly. His finger stabs down.\n\nA killing light slams you behind the eyes. Images fall through it, helplessly -- door, hall -- leap -- open door -- chair --\n\nBut the light doesn't let you go.\n\nOn the whole, it was worth the trip. The plains really were broad and grain-gold, if scarred with fences and agricultural crawlers. The mountains were overwhelming. And however much of the capital city is crusted with squat brick and faceless concrete hulks, there are still flashes of its historic charm. You've seen spires above the streets -- tiny green parks below tenements -- hidden jewels of fountains beyond walls. Any bland alley can conceal balconies wrought into iron\ngardens, fiery mosaics, a tree or bed of flowers nurtured by who knows who.\n\nThis alley, however, is a total washout. It ends in flat bare dirty brick, and you've found nothing but a door which lacks even the courtesy of a handle. Maybe you should call it a day.\n\nIt's a narrow dead end here, with walls rising oppressively high in three directions. The alley is quite empty, bare even of trash. (Your guidebook warned you: the police are as efficient about litter laws as about everything else they do.) You can retreat to the south.\n\nA plain metal door faces you to the east, near the alley's end. It's firmly shut.\n\n> You look\nYou are in a dim room, bounded by metal walls. A scarred pedestal stands empty where the chair was; facing it is an instrument-covered desk. Otherwise the room is sterile. The bright hallway waits to the south.\n\nThe man is stretched on the floor, dazed and unmoving. The lines of\nhis face are merely age, now.\n\nScraps of metal lie around the pedestal, still visibly decaying.\n\nYour legs are beginning to itch fiercely.\n\n> You go to the south\nYou step gingerly under the scan-web band. Silence. You recall, with some relief, that the man failed to turn it back on after the guard left.\n\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and\nsouth.\n\n> Go southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n> Go south\nThe white corridor runs east to west here, with a branch leading off\nto the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\n> You go east\nThe corridor ends here, blank, with a single steel door on the north wall. The door is closed.\n\nThe itch in your legs is nearly unbearable.\n\n> You put the pick on the plate\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\n> You wait\nTime passes.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe door snaps open.\n\nThe itching is slowly fading.\n\n> You get the pick\nThe pick comes free with a faint magnetic snap.\n\nThe door begins to slide shut as soon as the pick loses its link.\n\n> Go north\nYou slide hastily through the closing door. This time, you are careful to keep a firm grip on your lockpick.\n\nYou have barely room to spread your arms; this tiny square chamber is lined with cables, pipes, wires, and junction nodes. The only exit is the closing door to the south, which has a small white pad beside it.\n\nResting on one of the larger junction nodes is a blast tab (connected to a radio module).\n\nThe door closes completely.\n\n> You examine the blast tab\nIt's a small purple cube, which contains enough stabilized gel to blow a foot-wide hole in approximately anything. There's a minus link on\none edge, which is connected to a radio module.\n\n> You examine the radio\nIt's a small purple box with a short antenna on one side, and a plus link on the other. The link is connected to a blast tab.\n\n> Inventory\nYou are carrying a lockpick, a pen, a toolcase (which is open but empty), a pushbutton, a toggle switch, a scan scrambler (connected to\na timer), a minilamp, a key transmitter and a voice transmitter.\n\n> Disconnect radio\nYou disconnect the blast tab, and take the radio module as it turns black again. The key transmitter turns black as well.\n\nThe itching is slowly fading.\n\n> You touch the white pad\nNothing happens. You stare at the door in some embarrassment; of\ncourse it won't open without power.\n\nYou sit down calmly to wait. It isn't too long before the guards come with crowbars to investigate the problem.\n\n> Tangle\nEnter saved game to load: Ok.\n\n> Go south\nYou step gingerly under the scan-web band. Silence. You recall, with some relief, that the man failed to turn it back on after the guard left.\n\nThis is the end of a short hallway, which runs southwest back to the main corridor. Three large doorways open to the north, east, and\nsouth.\n\nYour legs are beginning to itch fiercely.\n\n> Go southwest\nThe corridor runs north and south, like every other hallway in this place. A short hallway branches off to the northeast. To the west is a blank metal door, with attendant black plate beside it.\n\n> Go south\nThe white corridor runs east to west here, with a branch leading off\nto the north, and a closed metal door to the south. You can see that the east hall reaches a dead end a short distance away.\n\n> You put rod on the plate\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\nThe itch in your legs is nearly unbearable.\n\n> You wait\nTime passes.\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThe door snaps open.\n\n> Go north\nYou have barely room to spread your arms; this tiny square chamber is lined with cables, pipes, wires, and junction nodes. The only exit is the open door to the south, which has a small white pad beside it.\n\nResting on one of the larger junction nodes is a blast tab (connected to a radio module).\n\nThe itching is slowly fading.\n\n> Disconnect radio\nYou disconnect the blast tab, and take the radio module as it turns black again. The key transmitter turns black as well.\n\n> You attach the voice to the blast tab\nThe voice transmitter doesn't have a link; it works through the voice module.\n\n> You look at what you're carrying with you\nYou are carrying a radio module, a pen, a toolcase (which is open but empty), a pushbutton, a toggle switch, a scan scrambler (connected to\na timer), a minilamp, a key transmitter and a voice transmitter.\n\n> Go south\nDead End South (in dimness)\nThe corridor ends here, blank, with a single steel door on the north wall. The door is open.\n\nThe lockpick is clinging to the black plate by the door.\n\n> You get the rod\nThe pick comes free with a faint magnetic snap.\n\n> Go west\nTee Junction (in dimness)\nThe white corridor runs east to west here, with a branch leading off\nto the north, and a closed metal door to the south.\n\n> You go to the west\nDiagonal Branch (in dimness)\nThis bare stretch of hallway angles from the northwest to the east; another short hall leads south.\n\n> Go northwest\nCorridor Boundary (in dimness)\nThe corridor angles here, and crosses a boundary of some sort as it does. A few strides down the southeast branch, a dotted red line crosses the floor. You can retreat from the boundary to the west.\n\n> You go west\nWhite Junction (in dimness)\nYou are in a bare tiled corridor, white tiles and cold white walls.\nThe ceiling is acoustical panelling divided by barely-illuminated strips of plastic. The hall runs north and east, with a branch curving away to the southeast.\n\n> Go north\nCorner At Doors (in dimness)\nThe hallway runs both east and south from here. There's a featureless metal door to the west, which is closed; a more normal one stands closed to the north.\n\nOne of the ceiling panels is missing, leaving a rectangular gap above you.\n\n> You open the vent\nYou shift your weight to one hand and reach out -- almost... you swing yourself desperately, kicking. Your fingers brush the grille. You claw at it, a wild swipe -- and the grille flops open.\n\nInside, you can see your gun.\n\n> You get the gun\n(with one hand, hanging by the other)\nTaken.\n\nYou move your hands a bit, one at a time, to ease the strain.\n\n> Go east\nCorridor Boundary (in dimness)\nThe corridor angles here, and crosses a boundary of some sort as it does. A few strides down the southeast branch, a dotted red line crosses the floor. You can retreat from the boundary to the west.\n\nYou're about to run out of options -- the intersection to the\nsoutheast is occupied. The guards there are not moving. They're watching in both directions, with their backs to a closed metal door. They don't seem to have seen you; you slide deeper into the shadows nonetheless.\n\n> You shoot the guards\n(with the gun)\nYou smile in the darkness.\n\nTwo of the guards are unconscious in as many heartbeats. You shift\nyour gun, straining for a better target among the shadows, and fire again. A third figure jerks and collapses. Then pulses are raining up the corridor at you, and you flatten yourself into cover.\n\n> Go southeast\nSharp Corner (in dimness)\nThe corridor cuts around a sharp angle, from the northwest to the north. To the south, in the end wall, is the standard featureless\nmetal door; it is closed.\n\nThree guards are standing in the angle, with three more motionless on the floor.\n\nYou hit the corner at a dead run. The remaining guards break and fall aside, trying to aim and roll for cover simultaneously.\n\n> Go north\nLab Junction (in dimness)\nThe white corridor runs south and east from here, with a wide branch curving northwest towards the laboratory.\n\nYou can see brighter light shining around the curve to the northwest.\n\nYou tear up the hall, chased by pulse-fire.\n\nYou freeze; there is movement up the corridor, to the south. It sounds like yet another group of guards, moving slowly but steadily in the darkness.\n\n> You go northwest\nThe hallway curves west until it reaches the black door.\n\nThe corridor from the east ends here, and a single door looms to the west. It's no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the\ndoor's face, and the surface is sheathed with some black coating.\n\nThe end of the hallway is still well-lit.\n\nYou spin around, ready for pursuit, but no one appears.\n\n> You put the rod on the plate\nThe pick locks itself rigidly to the black plate by the door. Its status dot flashes to yellow.\n\nYou hear a voice from around the curve: \"Wait.\"\n\n> Wait\nTime passes.\n\nYou hear a startled \"What?\" from the southeast.\n\nThe lockpick's status dot is sliding towards green.\n\nYour legs still itch. Just a bit.\n\n> Wait\nTime passes.\n\nVoices drift up the hall. \"It's only one...\" \"...armed, took down nearly...\" There appears to be some little debate.\n\nThe lockpick's status dot is sliding towards green.\n\n> You wait awhile\nTime passes.\n\n\"Look then, we'll get a pulse grenade, is that...?\"\n\nThe lockpick's status dot fades to pure green, and flicks steady blue.\n\nThere is a hollow clunk somewhere. A moment later, the door swings towards you. The scent of ozone brushes through the doorway.\n\n> You get the rod\nThe pick comes free with a faint magnetic snap.\n\nThe door begins to swing shut as soon as the pick loses its link.\n\n\"Fine.\" \"Fine then.\" \"...Fine.\" Some of the guards sound a bit peeved.\n\n> Go west\nYou duck through the closing door, keeping the lockpick firmly in\nhand.\n\nThere is no question what this place is. The room is high, brightly\nlit -- this part of the building must have its own power supply -- and filled with arcane, half-built, and unlabelled machinery. The heavy door stands open to the east; there is a small white pad and an access panel beside it.\n\nAt the center of the chaos, and its focus, is a great silver platform which is wrapped in a glittering cage of scan-web. A control console stands next to it. Cables run out across the floor, from the platform to the console, from the console to the walls, and tangle around a low cabinet off to one side.\n\nMuch paper and clutter rests on a long wooden table against one wall. The table also supports a notably large black device. By the other\nwall is a clear space ringed with red, with some sort of mat inside\nit. A steel cube sits on the mat.\n\nThe door booms shut.\n\n> You open the panel\nYou pull the panel open, revealing a layer of subcircuitry.\n\n> You shoot the circuitry\n(with the gun)\nThe layer of subcircuitry showers a corona of sparks. Blue light crackles along the subcircuit paths.\n\n> Tangle2\nEnter saved game to store: Ok.\n\n> You examine table\nThere is a long wooden table against one wall. It is covered with astonishing piles of paper -- scraps, notes, diagrams, all spread unevenly around in varying stages of sortedness and immediacy.\n\nAt one end of the table is a notable black device.\n\n> You look at the papers\nYou quickly sort through the papers, as best you can from your\nbriefing lectures. In a few moments, you have piled up a single stack of the most critical diagrams, tables, formulae, and notes. Everything else is left scattered across the table in more disarray than when you started.\n\nWhile sorting, you discovered a logic plate buried under a spread of scribbled diagrams.\n\n> You look at the plate\nIt's a logic plate like most, though fairly large -- wider than your two spread hands. Circuit paths are dimly visible inside the smoky resin, and the edges sparkle with link bands.\n\nYou hear voices outside. \"Well?\"\n\n> You get the papers\n(the stack of important papers)\nTaken.\n\n\"The lock circuitry is knotted,\" comes a mumble from outside the door. \"...must have done something...\"\n\n> You read the papers\n(the stack of important papers)\nYou have no notion what any of it means, but it all matches the\nprofile you were given of material relevant to the work done here.\n\n\"We've got shock grenades. Should we blast?\" There is a pause, and someone replies, \"No, wait on that. Whatever's in the lab, the tech crowd will burst themselves if we fill it full of shrapnel.\"\n\n> You examine the device\nThe black device doesn't have the half-built, rigged quality of the other machinery nearby. It is curved, polished, and sleek. It has faired vents along the top. There is a round alcove in its front,\nwhich contains a glass pot. The only control is a tiny black switch.\n\n> You get the pot\nTaken.\n\nA voice says, \"Someone ask around for a gas cutter.\"\n\n> You examine the pot\nIt's a fat glass pot with a spout and a close-fitting lid, which\nleaves the spout open. There is a wooden handle on one side. The pot\nis empty; but the inside bottom surface seems to be crusted with some burnt substance.\n\n> Smell the pot\nIt smells faintly burnt.\n\n> You put the papers in the alcove\n(the stack of important papers in the notable device)\nYou put the stack of important papers into the notable device.\n\n\"Got anywhere with the lock?\" you hear. There is an irritated mutter\nin reply.\n\n> You open the cabinet\nOpened. The cabinet is stuffed with blocks of subcircuitry and nests\nof ribbon-wiring. There is a gap at one point, however, as if a single logic plate had been removed.\n\n> You put the plate in the cabinet\nYou slide the logic plate into the gap in the cabinet.\n\nThe stack of important papers is yellowing with the heat.\n\n> Close cabinet\nYou close the cabinet.\n\n\"One of the techs thinks there's a cutter in South Storage,\" someone reports.\n\nSmoke begins to curl from the stack of important papers.\n\n> You wait awhile\nTime passes.\n\nA corner of the stack of important papers flares alight.\n\n> You get the papers\n(the stack of important papers)\nTaken.\n\nThe stack of important papers is burning brightly now.\n\n> You put all on the table\nstack of important papers: Done.\nglass pot: Done.\nlockpick: Done.\ngun: Done.\nradio module: Done.\npen: Done.\ntoolcase: Done.\ntoggle switch: Done.\nscan scrambler: Done.\nminilamp: Done.\nkey transmitter: Done.\nvoice transmitter: Done.\n\n\"Right, bring that over here.\"\n\nThe stack of important papers has set one of the other papers on the table alight.\n\n> You examine the console\nThere is a free-standing console next to the cage, facing it, with a view off to the side of the padded mat. On the console are two\nbuttons, a grey oval of contact-pad substrate, a small rectangular display above the oval, and a readout strip. Hand-written labels are marked by each control.\n\nThe readout strip says, \"Shut down for logic adjustment.\"\n\nYou hear a faint pop from the other side of the door. It is followed\nby vicious swearing.\n\nMore of the papers on the table are burning now.\n\nHalf of the stack of important papers has burned away.\n\n> You examine the display\nThe display shows a complex waveform. Several different components slice across the rectangle, like a rainbow of mountain ranges. You haven't the least understanding of what they mean.\n\nThe flames on the table spread.\n\n> You open flap\nYou peel the flap of web away from its magnetic seals; it hangs open.\n\n> You wait awhile\nTime passes.\n\nYou catch, \"...could be doing in there?\" \"Cursed if I know. They don't tell me what kind of toys they play with.\"\n\nWith a hiss, fire leaps to another pile of paper. Most of the papers\non the table are now aflame.\n\nThe stack of important papers is submerged in the greater fire.\n\n> You wait a while\nTime passes.\n\n\"Got it!\" you hear. The door does not move. \"Or, perhaps not,\" the voice continues irritably.\n\nThe surface of the table is a sheet of fire, in-swept and pulled high in the center.\n\n> You wait\nTime passes.\n\nThe flames crackle.\n\n> Wait\nTime passes.\n\n\"Understand, it's been too long. Are there any explosives, things of that sort in there?\" Someone farther away replies, \"No, not that we've been told of.\"\n\n> You wait awhile\nTime passes.\n\nThe wall above the table is beginning to catch. You can feel heat shining on your skin.\n\n> You wait awhile\nTime passes.\n\nYou hear running footsteps outside. \"Found another one!\" Someone exhales in relief.\n\n> You wait a while\nTime passes.\n\nThere is a tight hiss from outside. \"There it runs,\" someone says.\n\n> You wait\nTime passes.\n\n\"Keep it steady, understand. We only need a hole big enough to fire through.\"\n\nThe table itself is burning hotly now.\n\n> You enter the platform\nYou step through the open flap and onto the platform.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 4. Note: scan-web coverage not yet complete.\"\n\n\"Yes, he cursed has.\" The tone is dry and amused, but the familiar voice chills you. \"What's the situation?\"\n\nFlames are crawling up the wall. Smoke is thick across the ceiling -- fortunately, high enough that you are still below it.\n\n> Close flap\nYou pull the flap back against its seals, closing yourself in the\ncage.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 3.\"\n\n\"It's under control, with',\" someone says calmly. \"The target is trapped in the lab. We're bringing up a cutter.\"\n\n> You wait a while\nTime passes.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> You wait awhile\nTime passes.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 1.\"\n\n\"There's only one entrance, with-commander. We're standing in front of it,\" the voice continues, a little nervously now. \"The walls are armor plate underneath. The ventilation system is secure. We haven't been briefed on any explosive or cutting equipment in the lab inventory. There's simply nowhere to go.\"\n\n> Wait\nTime passes.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out around you, a sourceless glow that seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\nBeyond the light you see the door burst open, with a distant,\ndreamlike roar. The lucent faces that crowd through seem to move in slow motion. Their guns are firing, but the pulses are frozen in\nspace. You can see their eyes slide across you, the cage around you, the light -- the flames that are devouring everything that you leave behind.\n\nThen the world vanishes. Blackness slaps into you with a silent snap.\n\n> You open flap\nYou peel the flap of web away from its magnetic seals; it hangs open.\n\nThe console readout blinks; it now says, \"Unable to initiate: scan-web coverage not complete.\"\n\n\"Nowhere,\" the familiar voice begins, but someone interrupts: \"The power is showing a dropoff, look at that.\"\n\n\"All right,\" the man continues after a moment. \"All right. Blast the door down. Now, please.\"\n\nOrders, apparently, are orders. There is a deafening roar; the door tears into flying shards of metal. A hail of pulse-gun fire follows\nthe blast in. You don't stand a moment's chance.\n\n> I just wanted to leave with the cool one-liner\nPlease give one of the answers above.\n\n> Tangle2\nEnter saved game to load: Ok.\n\n> You shoot device\n(with the gun)\nThe notable device showers a corona of sparks. Lacking a nervous system, however, it is unaffected by the pulse.\n\n> You shoot black device\n(with the gun)\nThe notable device showers a corona of sparks. Lacking a nervous system, however, it is unaffected by the pulse.\n\nYou hear voices outside. \"Well?\""
    },
    {
        "text": "> Look around\nThere is no question what this place is. The room is high, brightly lit, and filled with arcane, half-built, and unlabelled machinery. The heavy door stands closed to the east; there is a small white pad and\nan access panel beside it.\n\nAt the center of the chaos, and its focus, is a great silver platform which is wrapped in a glittering cage of scan-web. A control console stands next to it. Cables run out across the floor, from the platform to the console, from the console to the walls, and tangle around a low cabinet off to one side.\n\nMuch paper and clutter rests on a long wooden table against one wall. The table also supports a notably large black device. By the other\nwall is a clear space ringed with red, with some sort of mat inside\nit. A steel cube sits on the mat.\n\n> You look at the console\nThere is a free-standing console next to the cage, facing it, with a view off to the side of the padded mat. On the console are two\nbuttons, a grey oval of contact-pad substrate, a small rectangular display above the oval, and a readout strip. Hand-written labels are marked by each control.\n\nThe readout strip says, \"Shut down for logic adjustment.\"\n\n\"The lock circuitry is knotted,\" comes a mumble from outside the door. \"...must have done something...\"\n\n> You open it\nThat's not something you can open.\n\n\"We've got shock grenades. Should we blast?\" There is a pause, and someone replies, \"No, wait on that. Whatever's in the lab, the tech crowd will burst themselves if we fill it full of shrapnel.\"\n\n> You look at the labels\nScribbled between the grey oval and the display is the phrase \"Destination waveform.\" The upper button says \"Ready,\" and the lower button is labelled \"Light the fire.\"\n\n> You open the cabinet\nOpened. The cabinet is stuffed with blocks of subcircuitry and nests\nof ribbon-wiring. There is a gap at one point, however, as if a single logic plate had been removed.\n\nA voice says, \"Someone ask around for a gas cutter.\"\n\n> You shoot the cabinet\n(with the gun)\nA corona of sparks showers out of the cabinet. Blue light crackles along the subcircuit paths and across the ribbon wiring.\n\n> You look at the logic\n(finding the logic plate under the papers)\nIt's a logic plate like most, though fairly large -- wider than your two spread hands. Circuit paths are dimly visible inside the smoky resin, and the edges sparkle with link bands.\n\n> You shoot logic\n(with the gun)\nA corona of sparks surrounds the logic plate. Blue light crackles\nalong the circuit paths.\n\n\"Got anywhere with the lock?\" you hear. There is an irritated mutter\nin reply.\n\n> You check your inventory\nYou are carrying a lockpick, your gun, a radio module, a pen, a toolcase (which is open but empty), a toggle switch, a scan scrambler (connected to a timer), a minilamp, a key transmitter and a voice transmitter.\n\n> Tangle2\nEnter saved game to load: Ok.\n\n> Search table\nYou quickly sort through the papers, as best you can from your\nbriefing lectures. In a few moments, you have piled up a single stack of the most critical diagrams, tables, formulae, and notes. Everything else is left scattered across the table in more disarray than when you started.\n\nWhile sorting, you discovered a logic plate buried under a spread of scribbled diagrams.\n\n> You get the papers\n(the stack of important papers)\nTaken.\n\nYou hear voices outside. \"Well?\"\n\n> You open the cabinet\nOpened. The cabinet is stuffed with blocks of subcircuitry and nests\nof ribbon-wiring. There is a gap at one point, however, as if a single logic plate had been removed.\n\n> You put the plate in the cabinet\nYou slide the logic plate into the gap in the cabinet.\n\n\"The lock circuitry is knotted,\" comes a mumble from outside the door. \"...must have done something...\"\n\n> Close cabinet\nYou close the cabinet.\n\n\"We've got shock grenades. Should we blast?\" There is a pause, and someone replies, \"No, wait on that. Whatever's in the lab, the tech crowd will burst themselves if we fill it full of shrapnel.\"\n\n> You look at the console\nThere is a free-standing console next to the cage, facing it, with a view off to the side of the padded mat. On the console are two\nbuttons, a grey oval of contact-pad substrate, a small rectangular display above the oval, and a readout strip. Hand-written labels are marked by each control.\n\nThe readout strip says, \"Shut down for logic adjustment.\"\n\n> You look at the display\nThe display shows a complex waveform. Several different components slice across the rectangle, like a rainbow of mountain ranges. You haven't the least understanding of what they mean.\n\n> You put all except the papers on table\nlockpick: Done.\ngun: Done.\nradio module: Done.\npen: Done.\ntoolcase: Done.\ntoggle switch: Done.\nscan scrambler: Done.\nminilamp: Done.\nkey transmitter: Done.\nvoice transmitter: Done.\n\n\"Got anywhere with the lock?\" you hear. There is an irritated mutter\nin reply.\n\n> You open flap\nYou peel the flap of web away from its magnetic seals; it hangs open.\n\n> You enter the platform\nYou step through the open flap and onto the platform.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 4. Note: scan-web coverage not yet complete.\"\n\n\"Yes, he cursed has.\" The tone is dry and amused, but the familiar voice chills you. \"What's the situation?\"\n\n> You read the papers\n(the stack of important papers)\nYou have no notion what any of it means, but it all matches the\nprofile you were given of material relevant to the work done here.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> Wait\nTime passes.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out around you, a sourceless glow that seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\nBeyond the light you see the door burst open, with a distant,\ndreamlike roar. The lucent faces that crowd through seem to move in slow motion. Their guns are firing, but the pulses are frozen in\nspace. You can see their eyes slide across you, the cage around you, the papers in your hand, the light.\n\nThen the world vanishes. Blackness slaps into you with a silent snap.\n\n> You open the web\nWhich do you mean, the cage or the lockpick matrix disc?\n\n> Cage\nYou peel the flap of web away from its magnetic seals; it hangs open.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2. Note: scan-web coverage not yet complete.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> You go outside\nYou step off of the platform.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 1. Note: scan-web coverage not yet complete.\"\n\n\"There's only one entrance, with-commander. We're standing in front of it,\" the voice continues, a little nervously now. \"The walls are armor plate underneath. The ventilation system is secure. We haven't been briefed on any explosive or cutting equipment in the lab inventory. There's simply nowhere to go.\"\n\n> Cage\nYou push the flap back against its seals.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out of the scan-web cage, a sourceless glow\nthat seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\n...and vanishes with a silent snap.\n\nYou shake your head in slow wonder. Unfortunately, a moment later, the guards outside recall you to yourself. There is a deafening roar; the door tears into flying shards of metal. A hail of pulse-gun fire follows the blast in. You don't stand a moment's chance.\n\n> You open flap\nYou peel the flap of web away from its magnetic seals; it hangs open.\n\n> You drop the papers\n(the stack of important papers)\nDropped.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 4. Note: scan-web coverage not yet complete.\"\n\n\"Yes, he cursed has.\" The tone is dry and amused, but the familiar voice chills you. \"What's the situation?\"\n\n> You enter the platform\nYou step through the open flap and onto the platform.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 3. Note: scan-web coverage not yet complete.\"\n\n\"It's under control, with',\" someone says calmly. \"The target is trapped in the lab. We're bringing up a cutter.\"\n\n> Close flap\nYou pull the flap back against its seals, closing yourself in the\ncage.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> Wait\nTime passes.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out around you, a sourceless glow that seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\nBeyond the light you see the door burst open, with a distant,\ndreamlike roar. The lucent faces that crowd through seem to move in slow motion. Their guns are firing, but the pulses are frozen in\nspace. You can see their eyes slide across you, the cage around you, the light.\n\nThen the world vanishes. Blackness slaps into you with a silent snap.\n\n> You look at what you're carrying with you\nYou are carrying a lockpick, your gun, a radio module, a pen, a toolcase (which is open but empty), a toggle switch, a scan scrambler (connected to a timer), a minilamp, a key transmitter and a voice transmitter.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out around you, a sourceless glow that seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\nBeyond the light you see the door burst open, with a distant,\ndreamlike roar. The lucent faces that crowd through seem to move in slow motion. Their guns are firing, but the pulses are frozen in\nspace. You can see their eyes slide across you, the cage around you, the light.\n\nThen the world vanishes. Blackness slaps into you with a silent snap.\n\n> You put the papers on the platform\n(the stack of important papers on the platform)\nYou put the stack of important papers into the cage.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 4. Note: scan-web coverage not yet complete.\"\n\n\"Yes, he cursed has.\" The tone is dry and amused, but the familiar voice chills you. \"What's the situation?\"\n\n> Close flap\nYou push the flap back against its seals.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 3.\"\n\n\"It's under control, with',\" someone says calmly. \"The target is trapped in the lab. We're bringing up a cutter.\"\n\n> You wait a while\nTime passes.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> You wait awhile\nTime passes.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 1.\"\n\n\"There's only one entrance, with-commander. We're standing in front of it,\" the voice continues, a little nervously now. \"The walls are armor plate underneath. The ventilation system is secure. We haven't been briefed on any explosive or cutting equipment in the lab inventory. There's simply nowhere to go.\"\n\n> Wait\nTime passes.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out of the scan-web cage, a sourceless glow\nthat seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\n...and vanishes with a silent snap. The stack of important papers vanishes as well, leaving the cage empty.\n\nYou shake your head in slow wonder. Unfortunately, a moment later, the guards outside recall you to yourself. There is a deafening roar; the door tears into flying shards of metal. A hail of pulse-gun fire follows the blast in. You don't stand a moment's chance.\n\n> You drop all\nstack of important papers: Dropped.\nlockpick: Dropped.\ngun: Dropped.\nradio module: Dropped.\npen: Dropped.\ntoolcase: Dropped.\ntoggle switch: Dropped.\nscan scrambler: You drop the scan scrambler (and the timer connected\nto it.)\nminilamp: Dropped.\nkey transmitter: Dropped.\nvoice transmitter: Dropped.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 4. Note: scan-web coverage not yet complete.\"\n\n\"Yes, he cursed has.\" The tone is dry and amused, but the familiar voice chills you. \"What's the situation?\"\n\n> You enter the platform\nYou step through the open flap and onto the platform.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 3. Note: scan-web coverage not yet complete.\"\n\n\"It's under control, with',\" someone says calmly. \"The target is trapped in the lab. We're bringing up a cutter.\"\n\n> Close flap\nYou pull the flap back against its seals, closing yourself in the\ncage.\n\nThe console readout blinks; it now says, \"Accumulators charging: pulse in 2.\"\n\nThere is a choking sound. \"Trapped in the-- in--\" In all the hours you spent in his chair, you never heard that voice lost for words.\n\n> Wait\nTime passes.\n\n\"Nowhere...\" the familiar voice begins, and there is a terrible silence.\n\nThen, \"Blast it down,\" he says, very quietly. And screams, \"BLAST IT!\"\n\nBut a light is pouring out around you, a sourceless glow that seems to shine straight through solidity, as if metal and plastic were starlit ice. The light builds and builds...\n\nBeyond the light you see the door burst open, with a distant,\ndreamlike roar. The lucent faces that crowd through seem to move in slow motion. Their guns are firing, but the pulses are frozen in\nspace. You can see their eyes slide across you, the cage around you, the light.\n\nThen the world vanishes. Blackness slaps into you with a silent snap."
    },
    {
        "text": "[Themes: Comedy, Comedy, dog, alcohol, ghost, female protagonist]\n\nHiya, fish! My name is Hazel Greene, and your name is You Lucky Devil, because you're about to do what about a million jealous dames only wish they could - be ME for a night!\n\nBefore we get to it, though, I gotta ask you, you want to give the rules of the game a little once-over? This'll be especially useful if you haven't played a text adventure before, but even if you're really on the trolley it might help to see which commands you'll be using.\n\n1) Ab-so-lute-ly!\n2) No thanks, Hazel.\n\n[Author's Note: Hotsy-totsy! It's 1928 and you're madcap flapper Hazel Greene, tottering around the city's finest hotel with a gullet full of giggle juice... until a gaggle of ghosts shows up to spoil the fun by turning every drop in the place into lousy, undrinkable WATER. Explore the beautiful Poseidon Grand Hotel, meet Barnaby Mooch the Magnificent Pooch, and get splifficated on a snootful of ectoplasm in this paranormal puzzle comedy.]\n\n> 2\n[No thanks, Hazel.]\n\nNow let's get to it already! Starting now, you're me, Hazel Greene, the swellest sheba ever to grace a gin joint. You're parked in the lounge of the prestigious Grand Poseidon Hotel with a gullet full of giggle water, and you've been making the bedroom eyes across the room at a fella who you're just about sure is that hot pepper pie of an artist who's been in all the papers lately.\n\nSure looks like it's gonna be a nifty night.\n\n> About yourself\nSure looks like it's gonna be a nifty night.\n\n\"RAID!\"\n\nOh, phooey.\n\nThe lounge erupts into the kind of chaos you haven't seen since Komodo's last two-for-one stocking sale. Shrieks ring out. Patrons in various degrees of spliffication are fighting each other to get to the exits. The bartender bowls over some sheba in a mink on his way to the door, but a couple of bulls from the SPD scoop him up a few feet shy.\n\nNow, the last thing you need is to get pinched with the old lady already on the warpath because of what you did to the Ford. And could the timing be any lousier? You JUST dropped half a clam on this drink, and you haven't even touched it yet.\n\n1) Toss it out and beat feet for the doors.\n2) Hide under the table and gulp it down.\n\n> Continue\nyou're in, Mr. Cantaloupes.\"\n\nAs the bulls peel off, Donnie Cantaloupes tucks the bills back into his pocket and leans down, stone-faced. \"You shouldn't be careful, miss. The last agent who tried to shut me down is still alive and completely unharmed.\"\n\nThe weedy guy leans in too. \"Allow me to translate, on account of the boss's unique speech impediment making it difficult to parse his meanin'. The boss is sayin' you ought to be careful, 'cause\nthe last agent who tried to shut him down caught a bad case of dead. And that's the sort of thing that could be contagious, if you get my drift. Right, boss?\"\n\n\"Wrong.\"\n\n\"That means 'right'. See?\"\n\n> Keep going\n\"That means 'right'. See?\"\n\nThe lady prohi straightens. \"Mr. Cantaloupes, if you're attempting, in your...unique way, to threaten me, than you most assuredly can expect the arrival of another think in the near future. As soon as we confirm the presence of alcohol on the premises - \"\n\nOne of the bulls coughs. \"Agent Byrd - \"\n\n\"What is it, Johnathan?\"\n\n\"There's no alcohol.\"\n\n\"Obviously, he's hidden his supply. Keep looking. In the meantime, tally up the drinks. Each and every one is a seperate violation, and I intend to press charges for every single one of them.\"\n\n\"That's just it, Agent Byrd. There's no alcohol in these drinks. None! Can't smell it. Can't taste it.\"\n\n\"You administered the McGinley Test?\"\n\n\"Of course! And McGinley's still on his feet, sober as a judge!\"\n\n\"What?\" Agent Byrd and Donnie Cantaloupes say in unison. \"Are you telling me the crowd became this inebriated without a drop of alcohol? Nonsense!\" Byrd continues.\n\n\"Well, that's the other thing,\" the bull says. \"Nobody here's actually drunk. They're just disheveled and confused.\"\n\nAgent Byrd gapes. \"But that's preposterous!\" She raises a hand. \"Johnathan, secure the exits. None of you are leaving this hotel until we are able to determine the nature of this deception.\"\n\n> You keep going\nuntil we are able to determine the nature of this deception.\"\n\nAnother of Donnie Cantaloupe's minions scurries up. \"Boss! Boss!\" he squeaks. \"I checked on the, ah, barrels of 'mineral water' in the cellar. And they ain't 'mineral water' no more! They're actual\nmineral water, as in the real stuff!\"\n\n\"I want everybody out!\" roars Cantaloupes. The weedy guy translates: \"Nobody is goin' anywhere until we find out who the wise guy is who made off with our 'mineral water'. Right, boss?\"\n\n\"Wrong!\" Cantaloupes snarls, pounding the bar with one large fist. \"Somebody steals from Donnie Cantaloupes and gets away with\nit. When I find out who's got my supply, I won't do anything in particular to them or their family! They'll walk away on two intact legs, with all their thumbs, and without a broken whiskey bottle in their keister!\"\n\n\"Threats won't be necessary, Mr. Cantaloupes,\" the prohi says calmly. \"I'll see that your stolen propery is recovered. I'll ever let you say goodbye to it before we pour it into the sewer and arrest you.\"\n\nSome of the hotel guests are slinking back to their rooms. You're not actually staying here - you started the night a few blocks away, and sailed into the Grand Poseidon on a sea of gin - but you can't stand to be around crowds of sober people, especially not when you're so unpleasantly clear-headed yourself. You make your way out into the lobby for some slightly fresher air.\n\n> About yourself\nlobby for some slightly fresher air.## Hotel Lobby\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, which is crawling with the fuzz, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\nA mermaid is swimming lazily around in the tank.\n\n> Inventory\nYou are carrying:\nyour best set of glad rags (being worn)\n\n> About yourself\nYou are one swanky sheba, sister! You're dolled up in your best set of glad rags, suitable for turning a fella's head and doing plenty to the rest of him, too.\n\nThe mermaid swims slowly in a sad circle.\n\n> You look at tank\nA huge cylindrical tank stretching from the floor to the ceiling. There's got to be about a million gallons of water in there.\n\nThe mermaid drifts down towards the bottom of the tank, then back up.\n\n> You examine the mermaid\nOn closer inspection, not actually a mermaid - just some blonde sheba with a shiny fake tail wrapped around her gams and a couple of seashells stuck where they'll do her the most good. Her lung capacity must be posi-tutely amazing.\n\n> You knock on the tank\n(Cat got your tongue?)"
    },
    {
        "text": "[Themes: Comedy, female protagonist]\n\n> Look around\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, which is crawling with the fuzz, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\nA mermaid is swimming lazily around in the tank.\n\n> You look at the couches\nAn expensive place to park a classy caboose.\n\n> Go north\nThe party's over. Now the lounge is just a sad room full of bulls and sober people. You can't bear to see that right now."
    },
    {
        "text": "[Themes: Comedy, Comedy, dog, ghost]\n\n> Look around\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, which is crawling with the fuzz, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\nA mermaid is swimming lazily around in the tank.\n\nThe mermaid blows a few bubbles and  watches them drift towards the top of the tank.\n\n> You look at the desk\nIt stretches along the southern side of the lobby. You can see the hotel office past it.\n\n> You go to the east\nAs you step into the corridor, a faint shimmer passes across your field of vision, as if you've just looked through a slightly warped window. For a second, just one sweet second, you can almost taste champagne.\n\nAn east-west hall lined with pillars. Gilt-edged paintings decorate the walls.\n\nThe hotel lobby lies to the west, and the scent of lightly chlorinated salt water drifts in from the east.\n\n> You examine the paintings\nSubjects include sea serpents, sultry sirens, and ships being dragged to the inky depths.\n\n> Go east\nThe corridor seems to stretch as you walk down it. You feel your\nmouth filling with something cold, but delicious. It's gin! Sweet, succulent gin! Only you can't seem to swallow it...or spit it out...and it's freezing. Your cheeks are already starting to feel numb.\n\nA woman in an old-fashioned dress, the sort your spinster-est\nspinster aunt would wear, is walking beside you, eyes fixed on the end of the hall. But the hall keeps going. And going. And your cheeks feel as if they're going to shatter from the cold. The woman whips her head around and fixes you with a stare, a pair of slate-gray eyes nailing into your own baby blues - and now you're stumbling out into the warm, steamy air of the natatorium.\n\nThe woman walks north, her back to you, and strides into the gentlemen's changing room just as bold as anything.\n\nA huge room lined with pearly tiles. A stepped series of circular baths are laid out like tidepools, but one large saltwater pool dominates the room. The eastern wall is painted with a bright, sunny beach scene.\n\nThe ladies' changing room is to the south, while gents have to head north.\n\n> You look at the pool\nA bubbling pool of hot saltwater.\n\n> You go south\nIt's steamy and musty, with slick floors. Lockers line the walls.\n\nYou can see a stinky stocking here.\n\n> You look at the stocking\nWhew! Smells like someone wore this to cut a rug on the hottest day of July after winning an onion-eating/bath-avoiding biathalon and then stuffed it in her brassiere for a month. Which is all by way of saying you've smelled fresher.\n\n> You take it\nYou pick it up gingerly between two fingers. Yeecch!\n\n> You go to the north\nA huge room lined with pearly tiles. A stepped series of circular baths are laid out like tidepools, but one large saltwater pool dominates the room. The eastern wall is painted with a bright, sunny beach scene.\n\nThe ladies' changing room is to the south, while gents have to head north.\n\n> Go north\nYou give the joint the old once-over first, just to make sure nobody's watching, and then in you go.\n\nA snazzy locker room lined with gleaming, brand new lockers, each emblazoned with a burnished copper number.\n\nThe woman is nowhere to be seen, but you can hear heavy breathing coming from one of the lockers - number 77.\n\n> You open 77\nAs soon as your fingertips brush the handle, the locker bursts beneath your fingers like an overripe melon in the sun, flooding your vision with\n\npurple suns hanging overhead. Neon squiggles slice across your eyes like razor worms. This world is cold and dry, and your tongue feels like paper.\n\nThe woman stands before you, a single dark spot in the brilliance, growing as the light drains into it, until she's all you can see and you're not even sure if you see that other world at all. There is a single moment of perfect silence.\n\nThen she explodes.\n\nYou see...things...dozens of creepy-crawly little things rushing toward you, crawling over you, wriggling across your skin like eels, and they feel like boneless dead things, but something about how they smell is appealing and familiar.\n\n1) Inhale.\n\n> 1\n[Inhale.]\n\nYou inhale deeply as the things rush past you. Maybe a little too deeply. You feel dizzy. Then you feel the cement floor of the locker room smacking into the back of your head.\n\nYou're dimly aware that people are standing over you, and thoughts drift through your mind - idle concerns like that you don't want people to think you're some wet dishrag who faints at the least little thing, and that you hope that the blood isn't ruining your new cloche, and that maybe you're dying.\n\nYou feel strong arms around you and now you're looking up into the face of an angel carrying you off to heaven and apparently angels dress like elevator operators.\n\nAnd then it's off to Slumberland for who knows how long, but at least long enough to cart you to another room, because that's where you wake up. Specifically, you seem to be in a dark room, alone, lying on an uncomfortable cot made for someone shorter than you, lighter than you, and a whole lot less picky about where they park their person than you are.\n\n1) Stand up.\n\n> 1\n[Stand up.]\n\nYou haul yourself up, feeling like you've just gone ten rounds with Jack Dempsey after ten rounds of Jack Daniels. Unfortunately, the pleasant alcoholic haze is fading like a dream, while the just-got-the-back-of-my-head-smashed-in haze seems to be making itself right at home."
    },
    {
        "text": "[Themes: Comedy, Comedy, dog, female protagonist]\n\n> You look at your surroundings\nright at home.## Closet\nThe inside of a dimly-lit storage closet, unfurnished except for an uncomfortable-looking cot pushed into the corner. One whole wall is covered with newspaper clippings, and a tower of dime novels teeters next to the cot. There's a door to the north.\n\n> You take the novels\nThere's too many of 'em to carry.\n\n> You go north\nSecond Floor Corridor, Right in the Middle\nYou're standing around the midpoint of a long hall that runs the length of the Grand Poseidon's second floor. There's a small closet to the south, and the hallway continues to the east and west.\n\n> Go east\nSecond Floor Corridor, East End\nYou're standing at the eastern end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites, and the hallway continues to the west.\n\nA laundry cart trundles slowly along the edge of the hallway, brass wheels squeaking.\n\n> You look at the cart\nThe cart, already piled high, prowls as if looking for more dirty laundry to add to its haul. You wish you could show this to the old lady. She's always claiming laundry doesn't do itself.\n\n> You search it\nYou swore off searching years ago. That sort of prying is for\nthe fuzz and your old lady. You'll stick with examining things, thank you very much.\n\n> Go south\nYou can barely see this suite beneath the dropcloth on the floor and the host of half-finished canvases leaning against every wall. The second floor hallway is to the north.\n\nCrispin Fourment slouches at an easel, staring at a blank canvas with a tortured expression on his face.\n\nA smallish display table sits a few feet from the easel. On it is an uninspiring bowl.\n\n> You examine the canvas\nCrispin has painted a beautiful picture of a polar bear in a snowstorm! No, wait, it's blank.\n\n> You look at the easel\nIt's a Codman's Uncollapsable Easel. \"Canvases clattering to the carpet? Should gotta Codman's, chum!\"\n\n> You look at the table\nAn elegant little white-draped table, perfect for displaying the subject to be painted.\n\nOn the small table is an uninspiring bowl (empty).\n\n> You examine the bowl\nA bland, boring bowl. No artist could possibly be inspired by this.\n\n> You say hello\n(to Crispin Fourment)\nThere is no reply.\n\n> You talk to Crispin\nCrispin looks up at you. His gorgeous peepers have lost their smoulder, and his complexion is pale and drained.\n\n\"Go away!\" he moans. \"I don't deserve admirers. I'm no artist!\"\n\n1) \"Why would you say that?\"\n\n> 1\n[\"Why would you say that?\"]\n\n\"Look how they laud me! Look how they applaud! Look how they clap and cheer for me, when I am but a fraud! A joke! A piglet of pigment!\" Crispin looks sadly at the blank canvas. \"I want to be a real artist, but I can only paint dames!\"\n\n1) \"So paint dames.\"\n\n> 1\n[\"So paint dames.\"]\n\n\"Ha! My populist claptrap period is over! Never another dame shall spill from this brush, for I now only paint Real Art, and Real Art means but one thing - bowls of fruit!\"\n\n1) \"So paint...fruit?\"\n\n> 1\n[\"So paint...fruit?\"]\n\n\"I only wish I could!\" Crispin sighs deeply. \"And yet, every container I find is so...uninspiring. A true artist would be inspired. A true artist would capture the hell out of that bowl!\" He sighs again. \"I...I am not a true artist.\"\n\n1) \"Who says bowls of fruit are the only real art?\"\n2) \"Well, good luck, Crispin.\"\n\n> 1\n[\"Who says bowls of fruit are the only real art?\"]\n\n\"They all say that! Every real artist!\" Crispin says glumly. He hands you a thick art history textbook. \"It's right here in black and white. Read it for yourself. I used to scoff at the opinions of my betters, but...but tonight, for some reason...I just can't stop thinking about what a failure of an artist I am.\"\n\n1) \"Why not just paint what you like?\"\n2) \"What kind of container would inspire you?\"\n3) \"Well, good luck, Crispin.\"\n\n> 2\n[\"What kind of container would inspire you?\"]\n\n\"Oh, maybe something with a bowlish...vasish...dishish quality, maybe in blue. No, white. No, red. And...maybe if it was large? Or small?\" He puts his head in his hands. \"I just can't think of what kind of container I should put the fruit in, but...but I know if I saw the right container on that table, I would be inspired!\n\n1) \"Why not just paint what you like?\"\n2) \"What kind of container would inspire you?\"\n3) \"Well, good luck, Crispin.\"\n\n> 1\n[\"Why not just paint what you like?\"]\n\n\"I would never be accepted. They'd all keep laughing at me behind my back!\"\n\n1) \"Why not just paint what you like?\"\n2) \"What kind of container would inspire you?\"\n3) \"Well, good luck, Crispin.\"\n\n> 3\n[\"Well, good luck, Crispin.\"]\n\nCrispin sighs and goes back to staring at the canvas.\n\nYou can barely see this suite beneath the dropcloth on the floor and the host of half-finished canvases leaning against every wall. The second floor hallway is to the north.\n\nCrispin Fourment slouches at an easel, staring at a blank canvas with a tortured expression on his face.\n\nA smallish display table sits a few feet from the easel. On it is an uninspiring bowl.\n\n> Go north\nSecond Floor Corridor, East End\nYou're standing at the eastern end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites, and the hallway continues to the west.\n\nA laundry cart trundles slowly along the edge of the hallway, brass wheels squeaking.\n\n> You go north\nThis room doesn't look like it's been used in years. Everything's covered in a thick coat of dust-the Benzedrine bottles scattered on the floor, the drafting table shoved in the corner, and most especially the enormous scale model of the Poseidon Hotel which dominates the room.\n\nA typewritten note is affixed to the model.\n\n> You read the note\nFROM THE DESK OF ROWLAND STORK, ARCHITECTURAL GENIUS\n\nDear Thieving Pieces of Excrement,\n\nFrom the day the first man took tool in hand and, brick by brick, built a palace for his inferiors, the noble Architect has toiled to provide comfort and civilization to the filthy subhman masses who despise him for his talents. Thus so it was with the latest chapter in this age-old tragedy, in which I, I, who set my glorious brain to laying the very foundations on which you crawl, you purulent, pus-sucking larvae, was hired to design a hotel under the EXPRESS CONDITION that not one detail of my art be DEFILED by pointless, mindless, stupid changes! It burst forth from the loins of my hands and mind as perfection - a true masterpiece. And was my masterpiece built properly, AS AGREED? No, says the man at the planning office, you can't build a structure this size out of gingerbread! No, says the man on the construction crew, we're going to use stone and cement instead! No, says the man at the front desk, you can't build a gigantic scale model in your room midway through construction, how will we ever get it out? We didn't give you our permission!\n\nWell, I didn't give permission for my designs to be stained by the crude droolings of a bunch of single-celled parasitic idiot orangutans. You took my rights from me, and I shall take my hotel from you. The gift I've hidden in my room will soon blast your brains into the lifeless goop they are -\n\n(The page is labeled \"1 of 147\", but the others seem to be missing.)\n\n> You examine model\nA 1/10 scale model of the Poseidon Hotel which takes up nearly all the space in the room, and, oddly enough, looks like it's been put together entirely out of gingerbread. It's otherwise perfect down to the smallest detail. The doors are just big enough to squeeze IN.\n\n> You enter the model\nYou manage to squeeze yourself through the tiny front doors and into a perfect model of the hotel.\n\nYou're crouching on your hands and knees in a perfect stale-gingerbread recreation of the hotel's lobby. It should just be possible to crawl north or east, crawl OUT again, or go up the elevator shaft.\n\n> Go north\nYou crawl north into the Neptune Lounge.\n\nYou're on your hands and knees in a gingerbread recreation of the Neptune Lounge. You can back out to the south."
    },
    {
        "text": "> You look around\nYou're on your hands and knees in a gingerbread recreation of the Neptune Lounge. You can back out to the south.\n\n> You go to the south\nYou back up, returning to the hotel lobby.\n\nYou're crouching on your hands and knees in a perfect stale-gingerbread recreation of the hotel's lobby. It should just be possible to crawl north or east, crawl OUT again, or go up the elevator shaft.\n\n> Go upward\nYou push your way up the elevator shaft and scoot into the second floor hall.\n\nYou're lying on your stomach in a recreation of the second floor corridor. It's a very tight squeeze, and you can't do much here besides sliding back down. However, one of the gingerbread doors is open a crack to the northeast.\n\n> You go to the northeast\nYou can get your head through the door, but that's it; your shoulders are too wide, and forget about points south!\n\nYour head is sticking into a recreation of the Arctic Suite. You can scrooch back to the southwest.\n\nYou can see a scale model of the scale model of the Poseidon Hotel here.\n\n> Go southwest\nYou pull your head out of the Arctic Suite and scoot a foot or so down the hall.\n\nYou're lying on your stomach in a recreation of the second floor corridor. It's a very tight squeeze, and you can't do much here besides sliding back down. However, one of the gingerbread doors is open a crack to the northeast."
    },
    {
        "text": "> Go down\nYou slide backwards and drop back into the lobby.\n\nYou're crouching on your hands and knees in a perfect stale-gingerbread recreation of the hotel's lobby. It should just be possible to crawl north or east, crawl OUT again, or go up the elevator shaft.\n\n> Go east\nYou crawl east into the Natatorium.\n\nYou're on your hands and knees in a gingerbread recreation of the hotel natatorium. The pool has been faithfully recreated in blue buttercream frosting. You can back out to the west.\n\n> You eat the frosting\nIt's hard as cement! It's gotta be awful old, too.\n\n> You examine the pool\nIt looks like it was probably creamy and delicious a couple of decades ago.\n\n> Go west\nYou back up, returning to the hotel lobby.\n\nYou're crouching on your hands and knees in a perfect stale-gingerbread recreation of the hotel's lobby. It should just be possible to crawl north or east, crawl OUT again, or go up the elevator shaft.\n\n> You go outside\nYou crawl back out through the tiny front doors in the Arctic Suite.\n\nThis room doesn't look like it's been used in years. Everything's covered in a thick coat of dust-the Benzedrine bottles scattered on the floor, the drafting table shoved in the corner, and most especially the enormous scale model of the Poseidon Hotel which dominates the room.\n\nA typewritten note is affixed to the model.\n\n> You examine table\nLooks like an ordinary drafting table.\n\n> You enter the model\nYou manage to squeeze yourself through the tiny front doors and into a perfect model of the hotel.\n\nYou're crouching on your hands and knees in a perfect stale-gingerbread recreation of the hotel's lobby. It should just be possible to crawl north or east, crawl OUT again, or go up the elevator shaft.\n\n> Go upward\nYou push your way up the elevator shaft and scoot into the second floor hall.\n\nYou're lying on your stomach in a recreation of the second floor corridor. It's a very tight squeeze, and you can't do much here besides sliding back down. However, one of the gingerbread doors is open a crack to the northeast.\n\n> You look at the model\nA smaller model of the model you're currently inside, also made out of gingerbread. This one has wires coming out of it and it's ticking in a frankly kind of worrying way. A big red candy button on the hotel's face is marked \"EMERGENCY DEFUSE\".\n\n> You press the candy\nYou can't reach it from here. You can get your hands just about far enough into the room to touch your face, and that's it. Gee, if only your tongue was about a foot longer! For lots of reasons.\n\n> You check what you're carrying\nYou are carrying:\nan art theory textbook\na stinky stocking\nyour best set of glad rags (being worn)\n\n> You examine the bottles\nSomeone must've really been burning the midnight oil! Staying up all night, you can understand. But staying up all night to work?\n\n> Go south\nSecond Floor Corridor, East End\nYou're standing at the eastern end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites, and the hallway continues to the west.\n\nA laundry cart trundles slowly along the edge of the hallway, brass wheels squeaking.\n\n> Go west\nSecond Floor Corridor, Right in the Middle\nYou're standing around the midpoint of a long hall that runs the length of the Grand Poseidon's second floor. There's a small closet to the south, and the hallway continues to the east and west.\n\n> You go west\nSecond Floor Corridor, West End\nYou're standing at the western end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites. The hallway continues to the east. This is also the 2nd floor elevator stop, and you can push the pearl button to summon an elevator.\n\n> Go north\n\"Ah,\" says a voice as you enter the darkened room. \"The spirits inform me that a new seeker has arrived. That is well. Eight is a very powerful number. In the tongue of the Orient, 'eight' holds the same meaning as 'life.' Come, join us, pilgrim. SIT IN this chair, take our hands, and help us breach the very veil between this life and the next.\"\n\nAs your eyes begin to the adjust the darkness, you see figures seated around a table. Looks like you wandered into a real live seance! Ain't that just the elephant's manicure?\n\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\n> You sit on the chair\nThe Atlantic Suite (in the tasseled chair)\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\nYou ease yourself into the comfortable tasseled chair and join hands with the seance-goers to either side of you. Across from you, Madame Ping Ping clears her throat, and the seance resumes.\n\n\"Spirit\", Madame Ping Ping says, \"we beseech you to show your presence!\"\n\n> You wait for a while\nTime passes.\n\n\"Knock once on the table, spirit!\"\n\n> You knock on the table\nYou're holding hands with the people to either side, and if you let go, they're sure to smell something fishy.\n\nThe seance-goers mumble their agreement.\n\n> You wait\nTime passes.\n\n\"All it will take is one knock. We must know you are here!\"\n\n> Keep going\nTime passes.\n\n\"Knock, spirit! Knock on the table!\"\n\n> You examine table\nA round table, perfect for dancing on, covering with drinks, or (in a very distant third place) holding a seance around, apparently.\n\n\"Spirit\", Madame Ping Ping says, \"we beseech you to show your presence!\"\n\n> You get up\nYou let go of the hands to either side of you and stand up.\n\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\n> You look at Madame\nA plump woman about your mother's age, dressed in a shimmering Chinese dress and a silken cape. Her black wig looks like it came from a Cleopatra fancy-dress costume.\n\n> Go south\nAn ordinary hotel room, neat as a pin. It doesn't look like anyone's staying in this one. A scenic picture hangs over the freshly-made bed. The only exit is north, back the way you came.\n\n> You look at the picture\nIt depicts a pirate ship sailing across rough seas, the pirates happily hoisting mugs of grog. You could sure go for some grog right now, and you're not even sure what it is.\n\n> You move the picture\nIt is fixed in place.\n\n> You press the button\nThe elevator doors slide open, and there's the elevator operator, some cute little sheba in a fancy aquamarine uniform, young enough that she's proably still got a handprint on her hindquarters from when the doctor slapped her.\n\n\"Oh, good!\" she chirps when she sees you. \"You're awake! Gosh, did you ever take a real whack-a-roo on the noggin!\"\n\n1) \"And how! My head is still pounding.\"\n2) \"You couldn't have called a doctor?\"\n\n> 1\n[\"And how! My head is still pounding.\"]\n\nShe nods. \"That's one of the thirty telltale signs on a genuine ghostly encounter! Residual aches in the head, spine, shoulders, legs, or fundament, dizzyness, sallow complexion, general biliousness, distemper, soul rot, flashbacks, blackouts, inversions of balance, ennui, malaise, fever, generalized pox, itching, bloating, excess perspiration, not enough perspiration, wandering tongue--\"\n\n1) \"Ghostly encounter?\"\n\n> 1\n[\"Ghostly encounter?\"]\n\n\"Oh, yes! This hotel is haunted, you know. All sorts of horrible things happened here!\" She beams at you. \"You were covered with spectral residue when we found you. Everyone else said that was just gunk from the locker room floor, but I knew the truth. I knew you'd touched the other world!\"\n\n1) \"Kiddo, the only thing I want to touch right now is an ice pack and a few drinks to empty it into.\"\n\n> 1\n[\"Kiddo, the only thing I want to touch right now is an ice pack\nand a few drinks to empty it into.\"]\n\n\"Sorry, Miss, but there's not a drop in the whole place. I think that's the work of the ghost, too. Because I know who the\nghost is!\" She leans forward and sticks out one white-gloved hand. \"Kipper Fanucci, student of the paranormal! Is me, I mean. Not the ghost.\"\n\n1) \"Hazel Greene, student of the alcoholic!\"\n\n> 1\n[\"Hazel Greene, student of the alcoholic!\"]\n\n\"Nice to meet you, Hazel!\" Kipper pumps your hand up and down vigourously. \"I can't believe I'm finally meeting someone with the Sight!\"\n\n1) \"What is 'the Sight'?\"\n2) \"Who is the ghost?\"\n3) \"How did an elevator operator become a 'student of the paranormal'?\"\n\n> 1\n[\"What is 'the Sight'?\"]\n\n\"It means you can see into the spiritual realm...at least, a little bit. More than I can, anyway,\" she murmurs, a wistful look crossing her face. \"You oughtta treasure it. It's a rare gift!\"\n\n1) \"Who is the ghost?\"\n2) \"How did an elevator operator become a 'student of the paranormal'?\"\n\n> 1\n[\"Who is the ghost?\"]\n\n\"Her name is Mildred Waverly. She was a temperance crusader who disappeared in this very hotel eight years ago\ntonight, give or take a couple of weeks, and her body was\nnever found! There have been events for years! Drinks\nmysteriously going bad, strange sounds coming from the basement...but never anything like this!\"\n\n1) \"So this bluenose from beyond the grave has got us all stuck in a bone-dry haunted house, and I'm the only one who can see her?\"\n2) \"How did an elevator operator become a 'student of the paranormal'?\"\n\n> 1\n[\"So this bluenose from beyond the grave has got us all stuck in a bone-dry haunted house, and I'm the only one who can see her?\"]\n\nKipper nods vigorously. \"Now you're on the trolley!\"\n\nShe pulls a battered pair of old-fashioned, wire-rimmed cheaters out of her pocket. \"Take a gander at these! They were found in Mildred Waverly's room on the night she disappeared. She wore 'em everywhere, which means, according to Epstein's Principle of Sympathetic Resonance, they should be attuned to her. They might make it easier to find spectral traces. I've been looking through 'em all day, but if you don't have the Sight, they're just a pair of old glasses. Go ahead - try them on. Maybe you'll see something!\"\n\n1) Put on the glasses.\n\n> 1\n[Put on the glasses.]\n\nThis still sounds like a barrel of banana oil to you, but you may as well humor the kid. You slip the glasses on, and -\n\nThere's a mysterious patch on the wall of the elevator, a sort of glowing greasy stain of light. It twists and quivers, seeming to sense that you're taking a gander at it, and finally peels away and reforms and - holy smokes, there's a ghost here!\n\nThere's a ghost right here, looking at you with its little\npiggy ghosty eyes, making itself comfortable with a nice perch right on Kipper's shoulder! You take off the cheaters and rub your eyes, but the ghost is still there. Looks like once they decide to come out to play, you don't need the glasses to see them.\n\n1) >LOOK GHOST.\n2) >KILL GHOST.\n3) >TALK TO GHOST.\n\n> 1\n[>LOOK GHOST.]\n\nIt looks a splash of liquid, like the moment when a drink got dumped out or tossed in someone's face was frozen forever. When it sees that you're looking at it, it vamps like Clara Bow.\n\n1) >ASK KIPPER ABOUT GHOST.\n2) >KILL GHOST.\n3) >TALK TO GHOST.\n\n> 3\n[>TALK TO GHOST.]\n\nThe ghost just giggles wetly.\n\n1) >ASK KIPPER ABOUT GHOST.\n2) >KILL GHOST.\n3) >TAKE GHOST.\n\n> 1\n[>ASK KIPPER ABOUT GHOST.]\n\n\"You want to hear more about Mildred Waverly? Sure! According to Winslow's Three Precepts, a paranormal entity intersects the physical plane when one of Breznev's Five Conditions is met, and going by the Rule of Least Co-Corporeality...\"\n\nBoy, this sheba can beat her gums when she gets going!\n\n1) >KILL GHOST.\n2) >TAKE GHOST.\n3) >OPEN GHOST.\n\n> 2\n[>TAKE GHOST.]\n\nYou can't seem to get a grip on it. It's like trying to hold on to a damp tissue in a dream.\n\n1) >KILL GHOST.\n2) >OPEN GHOST.\n3) >SMELL GHOST.\n\n> 3\n[>SMELL GHOST.]\n\nIt smells a lot like a bucket of gin.\n\n1) >KILL GHOST.\n2) >OPEN GHOST.\n3) >DRINK GHOST.\n\n> 3\n[>DRINK GHOST.]\n\nYou lunge forward, put you lips on the ghost, and suck in, not really expecting it to work any better than anything else you've tried...but to your shock, it does! You slurp the ghost shrieking down your gullet. Not only did that get rid of the ghost, you really needed that drink!\n\nApparently this is how you get rid of ghosts. Who knew?\n\nYou draw back to see Kipper goggling at you. \"W-what was that? One of those kisses they do to say hello in France?\" She blushes. \"Gee! I've never been French-kissed before!\"\n\n1) \"No, I wasn't trying to kiss you! I was drinking a ghost off of your shoulder.\"\n\n> 1\n[\"No, I wasn't trying to kiss you! I was drinking a ghost off of\nyour shoulder.\"]\n\nKipper rolls her eyes. \"Sure, like I haven't heard that line before. Wait - you're serious, aren't you? You actually succeeded in enclosing a second-order roaming malevolent sub-spirit in an organic containment matrix? Oh, Miss Greene, that's just the cat's pajamas! You don't just have the Sight! You have the Taste!\"\n\nShe practically pushes you out of the elevator. \"You put on those glasses and see what else you can find. I bet this place is just dripping with second-order roaming malevolent sub-spirits! Oooooh, gosh, this is exciting!\"\n\nSecond Floor Corridor, West End\nYou're standing at the western end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites. The hallway continues to the east. This is also the 2nd floor elevator stop, and you can push the pearl button to summon an elevator."
    },
    {
        "text": "> Look around\nSecond Floor Corridor, West End\nYou're standing at the western end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites. The hallway continues to the east. This is also the 2nd floor elevator stop, and you can push the pearl button to summon an elevator.\n\n> Go north\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\n> You sit on the chair\nThe Atlantic Suite (in the tasseled chair)\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\nYou ease yourself into the comfortable tasseled chair and join hands with the seance-goers to either side of you. Across from you, Madame Ping Ping clears her throat, and the seance resumes.\n\n\"Knock! Knock!\" the assembled seance-goers repeat.\n\n> You wait\nTime passes.\n\n\"Spirit\", Madame Ping Ping says, \"we beseech you to show your presence!\"\n\n> You wear the glasses\nYou slip them on. It's downright criminal to block the world's view of your kisser, but you've got to find where those ghosts are hiding!\n\n\"Knock once on the table, spirit!\"\n\n> Wait\nTime passes.\n\n\"Come on, don't be shy!\" says the woman in the overcoat.\n\n> You examine madame\nA plump woman about your mother's age, dressed in a shimmering Chinese dress and a silken cape. Her black wig looks like it came from a Cleopatra fancy-dress costume. It looks like she's possessed by a ghost.\n\n\"Knock, spirit! Knock on the table!\"\n\n> You examine the people\nA plump woman about your mother's age, dressed in a shimmering Chinese dress and a silken cape. Her black wig looks like it came from a Cleopatra fancy-dress costume. It looks like she's possessed by a ghost.\n\n\"Spirit\", Madame Ping Ping says, \"we beseech you to show your presence!\"\n\n> You examine the seance\nSix guests, three men and three women, are seated around the table, hand in hand, their heads respectfully bowed as Madame Ping Ping conducts the seance.\n\n\"Knock once on the table, spirit!\"\n\n> Inventory\nYou are carrying:\na pair of spook-spotting cheaters (being worn)\nan art theory textbook\na stinky stocking\nyour best set of glad rags (being worn)\n\n\"Knock! Knock!\" the assembled seance-goers repeat.\n\n> You press the button\n\"Hiya, Miss Greene! Where to now?\"\n\n1) \"First floor, please.\"\n2) \"Third floor, please.\"\n3) \"Seeya, Kipper.\"\n\n> 3\n[\"Seeya, Kipper.\"]\n\n\"Seeya, Miss Greene!\"\n\nSecond Floor Corridor, West End\nYou're standing at the western end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites. The hallway continues to the east. This is also the 2nd floor elevator stop, and you can push the pearl button to summon an elevator.\n\n> Go north\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\n> 1\n[\"First floor, please.\"]\n\n\"Sure thing!\"\n\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\n> Examine tank\nA huge cylindrical tank stretching from the floor to the ceiling. There's got to be about a million gallons of water in there.\n\n> Go south\nThe concierge appears, suggests perhaps madam would prefer an area of the hotel that's not restricted to employees only, and whisks away again. Looks like the hotel offices are off-limits to guests.\n\n> Go east\nAn east-west hall lined with pillars. Gilt-edged paintings decorate the walls.\n\nThe hotel lobby lies to the west, and the scent of lightly chlorinated salt water drifts in from the east.\n\n> You examine the scene\nThe painting glows with life - bright sands, blue skies, warm sun, bathers frolicking in the surf. In the foreground is lush beach grass and, off to one side, a whitewashed changing shed. The door of the shed looks so real, you just have to run your fingers over it - and you feel rough wood. It is real! Looks like there's a way\neast from here, cleverly concealed as part of the painting.\n\n> Go east\nYou pull open the cleverly concealed whitewashed door. Beyond is a dark, cramped boiler room. About ninety percent of the space inside is taken up by an immense, medieval-looking boiler, and about half of what's left is full of awkwardly-placed pipes and a large, rusty valve wheel. That leaves a whopping five percent of the room available for you to occupy, which isn't ideal for a girl with a six-percent-sized figure. You suck in your extra percentage point and just manage to scoot past the pipes. It's repulsively hot and cramped in here, and the sound of rushing water is deafening. The only way out is back west, to the natatorium.\n\n> You look at the boiler\nIt's about the size of a luxury car and probably weighs twice as much. It looks like it probably started life boiling witches to death in the thirteenth century. Every so often it clunks and shudders ominously. It's connected to a mess of pipes.\n\n> You examine the pipes\nThey go in all directions, but the largest lead west. Probably those are the pipes that supply the natatorium pools with water. The thickest of the pipes is equipped with a rusty valve wheel.\n\n> You examine the wheel\nIt's old and rusty, but you could probably TURN it if you put your back into it.\n\n> You turn it\nThe wheel squeaks as you turn it. The rush of water lessens.\n\n> Continue\nIt's getting harder to turn. The water sounds like a trickle now.\n\n> Continue\nWith a grunt, you turn the wheel as tight as it can go, shutting off the hot water entirely. The only way to turn it now is back in the other direction.\n\n> You go to the west\nA huge room lined with pearly tiles. A stepped series of circular baths are laid out like tidepools, but one large saltwater pool dominates the room. The eastern wall is painted with a bright, sunny beach scene in which is concealed a doorway leading east.\n\nThe ladies' changing room is to the south, while gents have to head north.\n\n> You look at the pool\nA frozen sheet of ice.\n\n> You enter the pool\nSorry, sheba, but you left your ice pick at home.\n\n> You go south\nIt's steamy and musty, with slick floors. Lockers line the walls.\n\n> You examine the lockers\nRows of metal lockers. They smell damp, moldy, and unappealing.\n\n> You search the lockers\nYou swore off searching years ago. That sort of prying is for\nthe fuzz and your old lady. You'll stick with examining things, thank you very much.\n\n> You go north\nYou give the joint the old once-over first, just to make sure nobody's watching, and then in you go.\n\nIt's steamy and musty, with slick floors. Lockers line the walls.\n\nOne of the lockers is blackened and slightly twisted, as if it's been through a fire.\n\n> You examine the lockers\nRows of metal lockers. They smell damp, moldy, and unappealing. None of them have numbers.\n\n> You examine the locker\nIt's charcoal-black and twisted slightly out of shape. The number is missing, but you can see bare patches which look like a pair of sevens.\n\n> You open it\nThe locker is tightly sealed. Whatever's beyond it is still too strong.\n\n> Go east\nA dark, dripping boiler room. There's a large boiler here, connected to the water supply and the pools to the west by a spaghetti of metal pipes. A rusty valve wheel juts from the side of the largest pipe. The only exit is west, back to the natatorium.\n\n> Turn wheel\nYou've barely touched the wheel when it begins spinning on its own, as the pent-up pressure from the boiler forces the valve fully open and water rushes loudly through the pipe.\n\n> You examine the pool\nA boiling, bubbling cauldron of hot, salty water.\n\n> You go west\nAn east-west hall lined with pillars. Gilt-edged paintings decorate the walls.\n\nThe hotel lobby lies to the west, and the scent of lightly chlorinated salt water drifts in from the east.\n\n> You examine the paintings\nSubjects include sea serpents, sultry sirens, and ships being dragged to the inky depths.\n\n> You go to the west\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\n> Go north\nA real fancy place for swells to come and take in a show - crystal chandeliers, napkins folded in the shape of fish, the whole kit and kaboodle. One wall is mostly taken up by a bar that serves \"juice,\" another features a stage that serves up \"talented\" performers, and the third is dominated by an enormous mural. The hotel lobby is to the south, the dressing room is to the north, and double doors lead east to the kitchen.\n\nA discarded party blower lies on the floor.\n\nA dejected daiquiri sits abandoned on one of the tables.\n\n> You examine the blower\nIt's one of those uncurling party favors you can BLOW to make a \"whee!\" noise.\n\n> You examine the mural\nThe mural depicts Nereid, Queen of the Saltwater Nymphs, leading her foam-drenched followers in an upriver charge against the brutal waterfall bulwarks of her freshwater archrival, Naiad. It's signed, in big looping letters,  C. Fourment."
    },
    {
        "text": "[Themes: Comedy, female protagonist, dog]\n\n> You describe your surroundings\nA real fancy place for swells to come and take in a show - crystal chandeliers, napkins folded in the shape of fish, the whole kit and kaboodle. One wall is mostly taken up by a bar that serves \"juice,\" another features a stage that serves up \"talented\" performers, and the third is dominated by an enormous mural. The hotel lobby is to the south, the dressing room is to the north, and double doors lead east to the kitchen.\n\nA dejected daiquiri sits abandoned on one of the tables.\n\n> You examine daiquiri\nA single banana bobs fruitlessly in the non-alcoholic Misery Sauce. You can't bear to see this! You reach in and pluck it from its watery grave, then put the rest of the drink out of its misery by tossing it over your shoulder.\n\n> You examine stage\nIt's a stage for acts of various degrees of quality. Currently the placard advertises \"Barnaby Mooch the Magnificent Pooch\", who's famous for his \"Death-Defying Miracle Escapes.\""
    },
    {
        "text": "[Themes: Comedy, Comedy]\n\n> Look around\nA real fancy place for swells to come and take in a show - crystal chandeliers, napkins folded in the shape of fish, the whole kit and kaboodle. One wall is mostly taken up by a bar that serves \"juice,\" another features a stage that serves up \"talented\" performers, and the third is dominated by an enormous mural. The hotel lobby is to the south, the dressing room is to the north, and double doors lead east to the kitchen.\n\n> You look at the bar\nThe bar is untended. Or, to put it another way, the bar is unattended. All those bottles sitting out, unguarded, and you just know they're filled with nothing but water. It's enough to make a girl cry.\n\n> Go east\nThe concierge appears, suggests perhaps madam would prefer an area of the hotel that's not restricted to employees only, and whisks away again. Looks like the kitchen is off-limits to guests.\n\n> You go north\nProps and costumes are scattered around this small dressing room. A full-length mirror leans against the wall. South leads back to the Neptune Lounge.\n\nA large wooden crate sits against one wall.\n\nA handwritten reminder is pasted to the wall.\n\n> You look at the crate\nA wooden crate covered in stickers from exotic ports of call. It's securely nailed shut, and you hear a sad whine coming from within. It just might be possible to work the top loose from outside, if you really put your back into it, but it'd probably involve a whole lot of unladylike grunting.\n\n> You wear the glasses\nYou're already wearing that!\n\n> Open crate\nA whole lot of unladylike grunting later, you've got the top open a crack, and that's about all this little pooch needed. You see a pair of furry paws slip into the crack, expertly working at the new weakness, and suddenly - KERPOWZO! The crate collapses into kindling, and a furry little fluffball explodes out of the wreckage. Barnaby Mooch, the Magnificent Pooch, is free at last! And he's using his freedom to lick your face, which is fine by you, 'cause there was some unladylike sweating involved too.\n\n> You examine Barnaby\nA tiny terrier with stylishly bobbed brown fur and more brains than Dr. Frankenstein's icebox.\n\n> You talk to Barnaby\nBarnaby barks happily at you.\n\n> You examine the reminder\nA few short sentences in an angry-looking scrawl. You can READ it, if you put your mind to it.\n\n> You read the reminder\n\"All right, numbskull! You're in charge of this leg of the tour. Don't screw it up. All you've gotta do is get a few commands through your thick head and the dog does the rest, see? Remember:\n\nSet him down first! He won't do this stuff if you're carryin' him.\n\nHEEL TAP to make him 'sing.'\n\nTOE TAP to make him 'dance'.\n\nDon't get 'em mixed up, and DON'T let the marks get wise to what you're really doing. We want 'em to think the dog's smarter than they are instead of just smarter than you are. Oh, and remember not to lock the crate, dummy! You put him in anything locked, he'll just break it and get out. You keep it nailed shut. He can't get\nout of that.\n\nOh yeah, and whatever you do, don't CLICK your HEELS. If I ever find out it was you that taught him that trick, I'll wring your scrawny little chicken neck and nail you to the wall. Got it, you puke-faced mug?\n\n- Love, Mother.\"\n\n> Click heels\nYou click your heels together. At first nothing seems to happen. Then you smell the oh-so-unmistaken scent of rotten eggs, and Barnaby Mooch looks up you with a sheepish expression. This mutt's just violated the Geneva Gas Protocol!\n\n> Toe tap\nYou tap your toes, and Barnaby Mooch leaps into the air!\n\n> You examine the mirror\nWowee! You are one tempting tank of tomato juice, if you do say so yourself. And you do!\n\n> You get Barnaby\nBarnaby barks happily and lets you scoop him up into your arms."
    },
    {
        "text": "[Themes: Comedy, ghost, dog, female protagonist]\n\n> You look at your surroundings\nProps and costumes are scattered around this small dressing room. A full-length mirror leans against the wall. South leads back to the Neptune Lounge.\n\nA handwritten reminder is pasted to the wall.\n\n> Go south\nA real fancy place for swells to come and take in a show - crystal chandeliers, napkins folded in the shape of fish, the whole kit and kaboodle. One wall is mostly taken up by a bar that serves \"juice,\" another features a stage that serves up \"talented\" performers, and the third is dominated by an enormous mural. The hotel lobby is to the south, the dressing room is to the north, and double doors lead east to the kitchen.\n\n> Go south\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\n> You enter the elevator\nThe doors are clamped tighter than the old lady's legs on a Saturday night. You'd have to call the operator by pushing that pearl button before you can get in it.\n\n> 1\n[\"Second floor, please.\"]\n\n\"Sure thing!\"\n\nSecond Floor Corridor, West End\nYou're standing at the western end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites. The hallway continues to the east. This is also the 2nd floor elevator stop, and you can push the pearl button to summon an elevator.\n\n> You sit in the chair\nThe Atlantic Suite (in the tasseled chair)\nThe room is dark, the air thick with the smell of incense and burning spices. Half a dozen men and women are gathered around a table in the center of the room, holding hands, their eyes closed. The door back to the hall is to your south.\n\nMadame Ping Ping sits at the far side of the table, hands clasped with the other seance-goers, eyes closed in concentration. Directly across from her is an inviting-looking tasseled chair.\n\nYou drop Barnaby in order to have both hands free and then ease yourself into the comfortable tasseled chair. He saunters under the table and parks himself loyally at your feet as you join hands with the seance-goers to either side of you. Across from you, Madame Ping Ping clears her throat, and the seance resumes.\n\n\"All it will take is one knock. We must know you are here!\"\n\n> You drop Barnaby\nBarnaby hops out of your arms.\n\n\"Knock, spirit! Knock on the table!\"\n\n> Toe tap\nYou tap your toes, and Barnaby Mooch leaps into the air!\nUnfortunately the poor kid didn't reckon on anything being in the way, and he bashes his tender coconut into the underside of the table with a loud knocking noise.\n\nThe seance-goers gasp. \"He knocks!\" Madame Ping says. \"The ghost shows his presence! Oh, spirit! Speak! I beseech you in the name of Samurai, allow us to hear your mournful voice!\"\n\n\"Oh spirit, speak to us!\", Madame Ping Ping cries.\n\n> Heel tap\nYou tap your heel, and Barnaby Mooch lets out a mournful howl. \"The spirit cries out in pain!\" Madam Ping Ping cries. The guests murmur amongst themselves, worried.\n\n\"Are we quite completely sure this is a good spirit?\" asks the nervous woman. \"Not one from...one from...down there?\"\n\n\"You must abandon such Western ways and embrace the spirit of the honorable East,\" Madame Ping Ping chides. \"Do not the ancestors wash away such distinctions when their spirits travel to Mount Fuji to bathe in the headwaters of the Yangtze?\" She glances around the circle. \"Ah, but I see you have not progressed far enough along the Eightfold Path to abandon such earthly conceits. Very well. I shall now ask the spirit to prove it comes not from any underworld, but from the ambrosia-soaked rice fields of the honorable deceased.\"\n\n\"Ease our minds, spirit!\" Madame Ping wails. \"Show us you mean us well!\"\n\n> Click heels\nYou click your heels together. A few seconds later, the air fills with the scent of rotten eggs. \"Brimstone!\" screams the nervous woman sitting next to you, releasing your hand. \"Help! Help!\"\n\n\"It's a demon! A demon!\" shouts the man with the walrus moustache, fumbling with a cross. \"I knew this was a stupid idea. It's come for our souls!\"\n\n\"Not our souls!\" the nervous woman screams. \"Go away, demon! I'll never dabble in the occult again!\"\n\nMadame Ping Ping abruptly stops ululating. \"Now, there's no need to go that far-\" But it's too late. An umbrella clobbers the medium on the back of her head as a woman in a dark coat vaults over the table and scrambles towards the door.\n\n\"It's locked!\" Dark Coat babbles, turning the knob the wrong way.\n\nWalrus Moustache lifts the tasseled chair off the carpet. \"I'll soon have it down,\" he growls.\n\n\"Scuse me, Mac!\" you say, hanging onto the armrests for dear life. \"This seat's taken! You want to give me a chance to vacate the premises before you go all Samson on the place?\" Seeing the answer is apparently \"no\", you leap free just before the chair is sent hurtling through the door.\n\nThe seance-goers rush out in blind panic, leaving you flat on your keister, the room in a shambles, and Madame Ping Ping sprawled unconscious across the table. You're lucky you can blame this one on the dog.\n\nThe room is dark, the air thick with the smell of incense, burning spices, and just a hint of dog wind. The door back to the hall is to your south.\n\nMadame Ping Ping is sprawled across the table, unconscious.\n\nYou can also see Barnaby Mooch the Magnificent Pooch here.\n\n> You get Barnaby\nBarnaby barks happily and lets you scoop him up into your arms.\n\n> You examine Ping\nA plump woman about your mother's age, dressed in a shimmering Chinese dress and a silken cape. Her black wig looks like it came from a Cleopatra fancy-dress costume. She's sprawled across the table, knocked out colder than a bluenose's boudoir. Looks like she didn't see that umbrella coming.\n\n> You wear the glasses\nYou're already wearing that!\n\n> Search ping\nYou swore off searching years ago. That sort of prying is for\nthe fuzz and your old lady. You'll stick with examining things, thank you very much."
    },
    {
        "text": "[Themes: Comedy, female protagonist, Comedy]\n\n> You describe your surroundings\nThe room is dark, the air thick with the smell of incense, burning spices, and just a hint of dog wind. The door back to the hall is to your south.\n\nA giggling ghost hovers over Madame Ping Ping.\n\nMadame Ping Ping is sprawled across the table, unconscious.\n\n> You look at GHOST\nIt looks like a pint of delicious booze come to life.\n\n> You talk to GHOST\nNo point beating your gums there.\n\n> Drink ghost\nYou put your lips on the ghost and gulp it down. Mm! This stuff is posi-tutely the berries! It only takes a few swallows before the spectral killjoy is gone for good and the hotel is just a little less haunted. Gee, don't it feel swell to do a good deed?"
    },
    {
        "text": "> Look around\nThe room is dark, the air thick with the smell of incense, burning spices, and just a hint of dog wind. The door back to the hall is to your south.\n\nMadame Ping Ping is sprawled across the table, unconscious.\n\n> You check your inventory\nYou are carrying:\nBarnaby Mooch the Magnificent Pooch\na banana\na party blower\na pair of spook-spotting cheaters (being worn)\nan art theory textbook\na stinky stocking\nyour best set of glad rags (being worn)\n\n> You read the art theory textbook\nChapter 1: The proper subject.\n\n(There's a lovely color painting of a bowl of fruit on this page.)\n\nNo choice you make as an artist is as important as choosing the correct subject. Let the amateur scribblers, the mere dilettantes, content themselves with great battles and last suppers, with windy moors and noble beasts and shapeless bursts of color. You are a Real Artist, and for a Real Artist there is but one subject: The Container of Fruit.\n\nFind the most beautiful container you can. Fill it with at least\nthree kinds of fruit. Then simply place it on any convenient table or pedestal in front of you. If you've chosen the right vessel, then inspiration will flow like milk from a pent-up Holstein. Then, and only then, will you know you are a Real Artist.\n\n> Blow blower\nYou pop it in your mouth and blow. The paper part uncoils with surprising force and a nice loud \"wheeeeee!\" noise. You feel a little more festive.\n\n> You go to the east\nSecond Floor Corridor, East End\nYou're standing at the eastern end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites, and the hallway continues to the west.\n\nA laundry cart trundles slowly along the edge of the hallway, brass wheels squeaking. You can see a mysterious glow coming from the\ncart. Maybe if you took a closer look...\n\n> Blow blower\nYou fish out the party blower, work your hand far enough into the room to pop it into your mouth, and blow. The paper roll is just long enough to smack the candy-colored button dead center, depressing it and shutting off the bomb.\n\nA ghost bubbles out of the bomb, sloshes around in the tiny room, and pours out the window into the other, bigger Arctic Suite.\n\n> Go outside\nYou crawl back out through the tiny front doors in the Arctic Suite.\n\nThis room doesn't look like it's been used in years. Everything's covered in a thick coat of dust-the Benzedrine bottles scattered on the floor, the drafting table shoved in the corner, and most especially the enormous scale model of the Poseidon Hotel which dominates the room.\n\nA smug-looking ghost floats in midair.\n\nA typewritten note is affixed to the model.\n\n> Drink ghost\nYou smack your lips against the ectoplasmic creep and take a good long slurp. Pretty soon the ghost has been sent to that big old bloodstream in the sky. Too bad these little things don't have sheets, or you'd have three of 'em to be to the wind right now.\n\n> You go south\nYou can barely see this suite beneath the dropcloth on the floor and the host of half-finished canvases leaning against every wall. The second floor hallway is to the north.\n\nCrispin Fourment slouches at an easel, staring at a blank canvas with a tortured expression on his face. He appears to be possessed by\none of the hotel ghosts!\n\nA smallish display table sits a few feet from the easel. On it is an uninspiring bowl.\n\n> You put the banana in the bowl\nYou put the banana into the uninspiring bowl.\n\n> You talk to Crispin\nHe sighs heavily.\n\n1) \"Why not just paint what you like?\"\n2) \"What kind of container would inspire you?\"\n3) \"Well, good luck, Crispin.\"\n\n> 3\n[\"Well, good luck, Crispin.\"]\n\nCrispin sighs and goes back to staring at the canvas.\n\nYou can barely see this suite beneath the dropcloth on the floor and the host of half-finished canvases leaning against every wall. The second floor hallway is to the north.\n\nCrispin Fourment slouches at an easel, staring at a blank canvas with a tortured expression on his face. He appears to be possessed by\none of the hotel ghosts!\n\nA smallish display table sits a few feet from the easel. On it is an uninspiring bowl.\n\n> You look at the cart\nThe cart, already piled high, prowls as if looking for more dirty laundry to add to its haul. You wish you could show this to the old lady. She's always claiming laundry doesn't do itself. Your spook-spotting cheaters reveal the source of the mysterious movement - this thing is possessed! Now if only you can find a way to satisfy this laundry cart's unfinished business...\n\n> You get the cart\nThe laundry cart really wants to stay where it is!\n\n> You put stocking in laundry\nThe cart accepts the repulsive thing with ecstasy. Taking such a wretched little rag to be washed must be a laundry cart's dream. With a lurch, it overturns, spilling undergarments, towels, and a fancy bellhop's uniform out onto the floor...and then a  ghost erupts from the piles of laundry!\n\n> Drink ghost\nYou're starting to get the hang of this! The ghost goes down the hatch faster than a sailor who just heard Clara Bow was berthed in his bunk, and with four drinks in you, you're starting to feel nicely haunted.\n\n> You take the uniform\nTaken.\n\n> You wear it\nYou really oughta take off the glad rags before putting anything else on.\n\n> You go south\nThe inside of a dimly-lit storage closet, unfurnished except for an uncomfortable-looking cot pushed into the corner. One whole wall is covered with newspaper clippings, and a tower of dime novels teeters next to the cot. There's a door to the north.\n\n> You remove the glad\nYou shuck off your dress, hat, and pearls.\n\n> You wear the uniform\nYou shrug on the uniform and do up the buttons. Anyone who sees you would take you for an (unusually good-looking) hotel employee.\n\n> You check your inventory\nYou are carrying:\na bellhop's uniform (being worn)\nBarnaby Mooch the Magnificent Pooch\na party blower\na pair of spook-spotting cheaters (being worn)\nan art theory textbook\nyour best set of glad rags\n\n> You go to the south\nCleverly disguised as the Grand Poseidon's most beautiful bellhop, you hop over the counter and into an employees-only area.\n\nOof, this room's a real step down in the fanciness department. Looks like everyone cleared out after the raid, leaving nothing but a room full of desks and paperwork. The lobby is to the north. To the east is the door to the hotel's high security vault.\n\nThere's an apple sitting on one of the desks.\n\n> You examine the desks\nThey're just regular old desks, made out of cheap wood and without a single decorative fish or ornately carved siren in sight. They don't even have drawers. Donnie Cantaloupe really cheaped out on this place compared to the stuff the guests see.\n\n> You examine paperwork\nIt's mostly long lists of people who've checked in and checked out of the hotel at various times. Looks like Mr. and Mrs. John Smith are frequent guests.\n\n> You examine the apple\nIt's all bright and shiny. The desk musta belonged to a real apple polisher.\n\n> You go east\nThis is the hotel's vault, where guests can drop off their high-priced losables so they can debauch in peace. Nobody is at the teller's window, but the vault door has a deposit slot, for after-hours drop-offs. You can see a ghostly outline moving around beyond the vault door!\n\n> You examine the door\nAn extremely heavy and secure metal door. You can't see any way to open it, but there's a deposit slot in it for dropping off valuables.\n\n> You put the dog in the slot\nBarnaby just fits through the slot, and wriggles out of your arms with a determined bark. Can Barnaby Mooch the Magificent Pooch escape from the Vault of Doom? Will he do it, folks?\n\nA minute passes...\n\nTwo minutes....\n\nWhen the tension is almost more than you can bear, there's a \"kerchunk\", and the vault door swings open. There, amid a fanfare of trumpets, stands Barnaby! He takes a bow, trots forward and thoughtfully kicks the door shut behind him - but not before the vault's ghost has slithered out as well.\n\n> Drink ghost\nY'know, these things could really use a little garnish. An olive or something. But there's nothing for it now, so you deploy your drinker and soon the ghost is nothing more than a hiccup and a grin.\n\n> Go west\nOof, this room's a real step down in the fanciness department. Looks like everyone cleared out after the raid, leaving nothing but a room full of desks and paperwork. The lobby is to the north. To the east is the door to the hotel's high security vault.\n\n> You examine the napkins\nThey're shaped like marine life.\n\n> You go to the east\nCleverly disguised as the Grand Poseidon's most beautiful bellhop, you slip through the swinging doors and into an employees-only area.\n\nIt looks a lot like other kitchens, probably; you make it a point to spend as little time in them as possible. There's a big industrial refrigerator and lots of counters. Swinging double doors to the west lead back to the lounge.\n\n> You examine the refrigerator\nThis refrigerator, much like the old lady that time she chaperoned your senior year homecoming dance, is sitting in the corner, humming quietly and radiating bitter cold. The refrigerator is closed.\n\n> You open it\nYou swing the heavy door open and get a blast of arctic air in the face.\nA lone orange rests on the top shelf.\n\n> You take the orange\nTaken.\n\n> You close the refrigerator\nYou swing the heavy door closed.\n\n> 3\n[\"Seeya, Kipper.\"]\n\n\"Seeya, Miss Greene!\"\n\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\n> Go east\nSecond Floor Corridor, East End\nYou're standing at the eastern end of a long hall that runs the length of the Grand Poseidon's second floor. Doors to the north and south lead to luxury suites, and the hallway continues to the west.\n\nYou can see an overturned cart here.\n\n> You go south\nYou can barely see this suite beneath the dropcloth on the floor and the host of half-finished canvases leaning against every wall. The second floor hallway is to the north.\n\nCrispin Fourment slouches at an easel, staring at a blank canvas with a tortured expression on his face. He appears to be possessed by\none of the hotel ghosts!\n\nA smallish display table sits a few feet from the easel. On it is an uninspiring bowl.\n\n> You put the apple and the orange in the bowl\napple: Done.\norange: Done.\n\n> You talk to Crispin\nHe sighs heavily.\n\n1) \"Why not just paint what you like?\"\n2) \"What kind of container would inspire you?\"\n3) \"Well, good luck, Crispin.\"\n\n> Inventory\nYou are carrying:\na bellhop's uniform (being worn)\na party blower\na pair of spook-spotting cheaters (being worn)\nan art theory textbook\nyour best set of glad rags\n\n> You take the pool\nIt's too old and hard to scoop up.\n\n> You get on the table\nYou plop your posterior on the small table. Crispin sighs. (A real sigher, this one.) \"If only I could paint you,\" he says. \"But\nthe rules are clear! It's a container of fruit, or nothing!\"\n\n> Apple and banana\norange: Taken.\napple: Taken.\nbanana: Taken.\n\n> You eat the apple\nCrunch! So long, apple!\n\n> You eat the orange\nYou peel and eat the orange. It's round, sweet, and a little tart, which are fine things for an orange, or anyone, to be. Yum!\n\n> You eat banana\nYou swallow the banana in a few bites. Yum!\n\n> You get on the table\nYou plop your posterior on the small table. Crispin sighs. (A real sigher, this one.) \"If only I could paint you,\" he says. \"But\nthe rules are clear! It's a container of fruit, or noth -\n\n\"So who's not a container of fruit? I've eaten a banana, an orange, and an apple. I'm a regular fruit salad.\"\n\n\"You mean - you - really?\" Crispin brightens. \"Then I can paint you! I can paint you! Oh, this is wonderful. Hold this! I have to capture you, now!\" As Crispin picks up his paint brush, the ghostly presence erupts from his body. Now's your chance to get rid of -\n\n\"Up-bup-bup! Let's keep that pose.\"\n\nTwo hours later, Crispin finishes the painting and leaves, a tune on his lips.\n\n> Drink ghost\nSlurp! Now you've got an even half-dozen of these little things gurgling around down there. You're starting to feel like a slightly plastered egg carton.\n\n> You open the locker\nThe locker pulses under your hands, and you feel the seal cracking. You can enter and face what lies inside now, or you can go back into the hotel and search for more ghosts.\n\n1) I'm done with this place! Let's guzzle us a ghost!\n2) Nah, I'm not ready yet.\n\n> 1\n[I'm done with this place! Let's guzzle us a ghost!]\n\nNothin'. Just an empty locker. What a royal platter of the phonus balonus!\n\nUntil you realize that the musty room is somehow brand new, the tiles less cracked, the lockers gleaming. It's like you've stepped back into the past, like in that Christmas book, except instead of watching some crusty old bluenose waste his childhood working, you're seeing what happened here, in this very room, some eight years ago.\n\nDonnie Cantaloupes swaggers in, dressed in a bathing suit, a towel around his neck. He's still huge, but in a different order, with more of his bulk filed under \"M\" for muscles, or maybe \"M\" for \"Mamma mia, what a dish!\" It's enough to make you want to run right out of here, find your younger self, and tell her to ditch the hopscotch a couple of years early.\n\n1) Try to attract his attention.\n2) Duck behind the lockers.\n\n> 2\n[Duck behind the lockers.]\n\nYou dart behind the lockers, a little too late to avoid him seeing you if he could, but apparently he can't. It's either that or he's ignoring you, and since you're you, how likely is that? He\ndoes turn around when another woman enters the room.\n\n1) Who's the dame?\n\n> 1\n[Who's the dame?]\n\nShe bears more than a passing resemblance to Agent Byrd - a tall, severe-looking brunette in businesslike tweed. This woman is older, though, with a sharp chin and a streak of gray in her hair. She storms up to Donnie, waving a finger in his face. \"Don't think you can run away from me, Mister Cantaloupes!\"\n\n\"Didn't I tell ya to back off, ya dizzy harpy?\" Donnie roars back.\n\n\"One of your goons did mention it, yes,\" the woman says. \"I believe his exact words were \"one of these days, they'll find you floating face down in the Sound.\" I told him that was an ugly threat, and he said, and I quote, \"It could be uglier. They could find you floating face up.\"\n\nDonnie chuckles.\n\n\"I fail to see what's so funny, Mr. Cantaloupes. What would you friends at City Hall say if they knew you consorted with such ruffians?\"\n\nDonnie crosses his arms. \"And what would your fancy-schmancy Temperance ladies say if they knew Mildred Waverly hung around in men's changing rooms?\"\n\nWaverly grins. \"I made very sure that nobody saw me come in here, Mr. Cantaloupes. You can't hide behind your goons anymore. It's just you and me.\"\n\n\"Just you and me, huh?\" Donnie says, casually approaching. She looks so much smaller than he does, and yet she stands straight and proud. \"No witnesses?\" And that's when he lunges for her.\n\n\"No witnesses?\" And that's when he lunges for her.\n\nIt's nearly a minute before Waverly finally breaks the kiss to shoot a nervous look around the room. \"You're quite sure we're really alone?\"\n\n\"Isn't it a little late to be worried about that? Besides, didn't I tell you I gave them the night off?\" Donnie says, stroking her hair.\"\n\n\"I thought you meant you didn't - oh, I'm sorry, it's just impossible, the way you talk. Poor Rosie used to have the same problem, but we fixed it years ago, thank goodness.\"\n\n\"Didn't I explain I can get around it by putting everything in the form of a question?\"\n\n\"Like a stutterer learning to sing his words instead of saying them, yes, I understand. It's just confusing, that's all.\" She\ngives him a teasing grin. \"Sometimes I think things would had been easier if I'd fallen for the other doorman. The one who always tells the truth.\"\n\n\"And what fun would that be?\"\n\n\"Not much,\" Waverly admits. \"And we wouldn't have Rosie.\"\n\n\"Not much,\" Waverly admits. \"And we wouldn't have Rosie.\"\n\n\"How is Rosie, anyway?\" Donnie says. \"Got to be getting pretty big by now, isn't she?\"\n\n\"Nearly fifteen, and no, thank goodness, given that Walter is five foot two and weighs less than I do we're lucky she didn't end up with your body structure.\"\n\n\"Any girl would be lucky not to end up with my body structure, don't you think?\"\n\n\"Now, that's not what I meant! You're very handsome for a mountain.\" She puts her head on his shoulders. \"Oh, Donnie. I wish you could see her. I wish we didn't have to play around like this.\"\n\n\"Don't you think I wish that too, Millie?\"\n\n\"I know you do. You're a good man, Donnie, but you've made a choice to do evil things.\" She sighs. \"Those I suppose I'm hardly one to talk about that, am I? Nevertheless, as long as you continue to sell this poison -\"\n\n\"What if I stop?\"\n\n\"What if I stop?\"\n\n\"What, just like that?\"\n\n\"What do I need more money for? Wouldn't it be nice if we could all be a family?\" He reaches into the locker and pulls out a bottle of champagne. \"What would you say if I told you I picked this up today, and it'll be the last bottle of booze I ever buy? Now - how about a toast?\"\n\ntoast?\"\n\n\"You know I never touch-\"\n\n\"It's okay just this once, isn't it? You don't think I'll tell any of your hoity-toity friends, do you?\"\n\n\"I supposed not,\" Mildred says, blushing. She allows Donnie to pour her a glass and clinks it against his. \"Very well. Just one. To us!\" She gulps it down and makes a face. \"Honestly, Donnie, I don't know where you get this cheap - \"\n\nAnd then her hand flies to her throat and she collapses to the tile, her face ashen.\n\nher face ashen.\n\nPoisoned. How? Not by Donnie. Any thought of that leaves your head when you see the look on his face as she falls, and the way he holds her as she dies.\n\nHe's still holding her when one of his weaselly looking henchmen saunters in. The goon's eyes widen as he takes in the scene. \"Holy smokes, boss. You actually kacked the broad.\"\n\nDonnie turns to look and him. Silently, he nods.\n\nSuddenly, you smell strong spirits. You turn - and you're face-to-face with the ghost of Mildred Waverly.\n\n> You talk to Mildred\nwith the ghost of Mildred Waverly.\n\nHer ectoplasmic body ripples and shimmers in the light. She's holey, like a hunk of Swiss cheese, the liquid weeping from the spots where the missing chunks of her body should be. She raises one hand and crooks her fingers towards you. Your belly gurgles. The spirits in the hotel, you realize, weren't really ghosts at all, but fragments of Mildred she left behind...and she's calling them back. A dizzying wave of sobriety crashes over you as the liquid leaches from your body and returns to hers.\n\nWhen your vision clears, Mildred stands before you, more complete than she was...but still not complete. Either the missing pieces are driving her as koo-koo as a Swiss clock or she's just in a bad mood, because she's hissing up a storm and looking at you like she wants a fight.\n\n\"What? Hey, watch it!\" you protest. \"That was every drop of the stuff I had, I swear!\"\n\nBut she advances for you anyway, reaching for your face with dripping fingers tipped with razor-sharp boozecicles. There's no reasoning with her in this state! There's only one way out of this, Hazel, and it's a good thing you're thirsty!\n\n1) Drink.\n\n> 1\n[Drink.]\n\n> 1\n[Drink.]\n\nYou plant a wet smacker right on the back of Mildred's hand and inhale like your life depends on it, 'cause as far as you can see, it does. You've slurped her up to the elbow before she even realizes what's happening. Then she shrieks and tries to pull away. \"Wicked girrrrrl,\" she growls. \"Wicked, slovenly harrrrrlot! Get away from me!\"\n\n\"Stick it in your ear,\" you manage in between gulps of her left shoulder.\n\n\"Sinnerrr! Scarrrrlet doxy! Floozy! Lush!\"\n\n\"Aw, you sound just like my senior yearbook entry.\"\n\n\"You've rrrrruined my revenge! Rrrruined it! Rrrrrrrrruined it!\" she screeches as her torso begins to crumble inward. You're getting light-headed, not to mention more than a little liquorlogged, but Hazel Greene doesn't put down a drink half-finished.\n\nThe ghost shrieks in anguish and frustration as her neck dribbles away, pulling her head - all that's left of her - towards its final fate.\n\n\"You may have won!\" she screams. \"But just look at you! You're not a girl. You're a brewery on legs! You're disgusting! And you're\ndrunk!\"\n\nThe last bit of Mildred swirls into your mouth like water down the bathtub drain. \"Oh yeah?\" you manage, pausing for a hiccup powerful enough to break a window. \"Well, so are you.\"\n\n1) And that's about where you pass out.\n\n> 1\n[And that's about where you pass out.]\n\n> 1\n[And that's about where you pass out.]Or maybe you're\nactually passing back in, because all of a sudden you've got the cold locker room floor pressed against your back and Agent Byrd slapping you in the face. \"Wake up!\" she says, before turning to someone you can't see because you can't move your head without everything smearing like a Picasso. \"It's no use, she's too drunk. Get me a bucket of cold water.\"\n\n\"I'm not drunk!\", you try to protest, but it comes out more like \"Amm nawww rarrrunk\" because you are, in fact, ossified right out of your little blonde skull. The same skull which Agent Byrd proceeds to lubricate with a gallon of ice water. \"You're lucky to be alive,\" she says, helping you sit up. \"The explosion shook the whole hotel.\"\n\nDonny Cantaloupes rushes into the room, shoving onlookers out of the way. \"What's goin' on in here?\" he bellows. \"Don't you know this is the gentleman's changing area?\"\n\nAgent Byrd stands up, triumphant. \"It's clear to me exactly what's happened,\" she says. \"You were hiding a cache of highly flammable contraband in this locker room, trusting that it's the one place I'd never dare check. This unfortunate girl snuck in to sample the merchandise, overindulged, lost her head enough to light up a quick jazz cigarette and - BOOM!\"\n\n\"That's exactly what happened,\" Donnie says.\n\n\"A-ha!\"\n\n\"Nah, you're takin' the boss out of context,\" says Donnie's right-hand man, weaseling up. \"You gotta remember his speech impediment. And say, boss, I gotta tell you, I was checking the 'mineral water' and it's back to being 'mineral water', not, uh, mineral water, if you get me, see?\"\n\n\"A-ha, again!\" Agent Byrd says. \"Don't think I don't know what you're talking about. Men, search the place! We've got you this time, Cantaloupes. And when I bust this place up from stem to stern, not only will we uncover your operation, we'll find evidence for the rest of it too. You'll finally face justice for the murder of Mildred Waverly.\" She leans forward, getting right in the big man's face. \"You killed my mother,\" she hisses. \"And pretty soon I'll be able to prove it.\"\n\nSuddenly all business again, she backs off and kneels to face you. \"Miss, we're going to need a statement.\"\n\nYou don't want to give a statement. In fact, you don't really feel like moving. For one thing, your head is swimming, and for another, speaking of swimming your stomach feels like it could double\nfor an Olympic-sized pool right now. You're retaining a lot of Mildred. But Agent Byrd is waiting. You're going to have to tell her something....\n\n1) It's about your mother...\n\n> 1\n[It's about your mother...]\n\n> 1\n[It's about your mother...]\"Your mother did this,\" you say.\n\"Or...her ghost did. She was angry with the hotel, and I don't blame her, because the way she died would have steamed anyone's celery. But it wasn't Donnie Cantaloupes who killed her!\"\n\n\"No, it wasn't,\" Donnie Cantaloupes says suddenly. \"I didn't kill her.\" Gasps ring out from the crowd as people work out what he just said.\n\n\"Uh, Boss,\" says Weaselly, \"let's not say anything we shouldn't outta say in front of Janey Law here...\"\n\n\"\"I didn't kill her!\" Cantaloupes says again. \"I haven't been carrying this secret around for eight long years. I'm not tired of it. No, I didn't kill her. It wasn't an accident, but that means I'm not responsible. It's not time for me to take responsibility for that. I don't deserve to go to jail.\"\n\n\"Nah, she wouldn't want that,\" you say. \"The ghost showed me how she died, see, and-\"\n\n\"The ghost?\" Agent Byrd explodes. \"The ghost? This\nis a serious investigation, not a showcase for your D.T.s!\"\n\n\"No, really, there was a ghost. Lots of ghosts. I've got this pair of cheaters, see, and - \" You put your hand to your face. Where are your special glasses? They're gone!\n\n\"And just where exactly is this ghost now?\n\n\"Um, I'm not sure. Heaven, I think?\"\n\n\"That's what I thought. And why, pray tell, do you think my mother would want me to show any regard to the criminal who killed her? Even 'accidentally'?\"\n\n1) It's like this...\n\n> 1\n[It's like this...]\n\nWell, what the heck. It's not over until the slightly-curvier-than-average lady sings, so you might as well get singing.\n\n\"Because I'm pretty sure this criminal is your father.\"\n\n\"WHAT?\" Agent Byrd says.\n\n\"See, she and Cantaloupes were passionately in love. They were talking about you in the vision just before she died, which, incidentally, happened because she drank from a bottle of denatured alcohol by accident. He's your father, all right. Look, I've got parental issues too. Although at least my parents are married and, hoo boy, maybe I shouldn't have spilled this in front of all your co-workers, but oh well. There it is. Cantaloupes is your dad.\"\n\n\"Well, if the girl I found lying drunk in the men's changing room babbling about ghosts says it, I suppose it must be true!\nTell me, do you have even one single solitary shred of proof?\"\n\n\"Uh. I didn't think of that. I don't suppose you've both got webbed toes or a funny  birthmark on the moneymaker, anything like that?\"\n\n\"That's what I thought.\"\n\n\"Wait! I just remembered something! Mildred said...when you were young, you had the same speech impediment Cantaloupes does. You always said the reverse of what you meant!\"\n\n\"That's ridiculous. I never did that.\"\n\n\"You must have been really young! You might not remember, but maybe if you talk to someone who knew you back then - \"\n\n\"I said I never did that!\" Agent Byrd says, her face turning purple. \"Donnie Cantaloupes can be my father! It's possible!\"\n\nShe claps a hand over her mouth.\n\n\"That's what I meant to say...I don't mean...I...\" She swallows. \"It never happens when I'm...that is to say...it only happens when I'm upset. And it doesn't prove anything.\" She looks at Donnie, her face a mix of curiousity and fear. \"But...but I suppose you're not the only one who's made an accusation they can't prove tonight. Perhaps I was too hasty, Mr. Cantaloupes. Perhaps there was more to my mother's disappearance than I know. The booze, however...that, I'm\nshutting you down for.\"\n\nIt wasn't exactly the tearful reunion you might have hoped for, but it'll have to do.\nit'll have to do.\n\nAnd so you find yourself staggering home at six-thirty in the morning, exhausted, reeking of liquor, and with instructions to talk to the police later. The old lady's going to have your hide. And you've already tossed your guts out onto two different lawns and one very surprised gardener who got in the way of the third lawn at the last second. It's just about your usual morning, in other words.\n\nBut y'know what, kid? Last night you un-haunted a hotel with nothing more than pluck, moxie, and your own talented kisser. Last night, you got past every problem the Poseidon Grand could throw at you.\n\n\"Roof! Roof!\" Barnaby barks happily at your feet. Oh, yeah, there's that, too. You got yourself a dog.\n\nAll in all, not a bad night. Not a bad night at all!\n\nTHE END."
    },
    {
        "text": "> Look around\n\"Your mother did this,\" you say. \"Or...her ghost did. She was angry with the hotel, and I don't blame her, because the way she died would have steamed anyone's celery. But it wasn't Donnie Cantaloupes who killed her!\"\n\n\"No, it wasn't,\" Donnie Cantaloupes says suddenly. \"I didn't kill her.\" Gasps ring out from the crowd as people work out what he just said.\n\n\"Uh, Boss,\" says Weaselly, \"let's not say anything we shouldn't outta say in front of Janey Law here...\"\n\n\"\"I didn't kill her!\" Cantaloupes says again. \"I haven't been carrying this secret around for eight long years. I'm not tired of it. No, I didn't kill her. It wasn't an accident, but that means I'm not responsible. It's not time for me to take responsibility for that. I don't deserve to go to jail.\"\n\n\"Nah, she wouldn't want that,\" you say. \"The ghost showed me how she died, see, and-\"\n\n\"The ghost?\" Agent Byrd explodes. \"The ghost? This\nis a serious investigation, not a showcase for your D.T.s!\"\n\n\"No, really, there was a ghost. Lots of ghosts. I've got this pair of cheaters, see, and - \" You put your hand to your face. Where are your special glasses? They're gone!\n\n\"And just where exactly is this ghost now?\n\n\"Um, I'm not sure. Heaven, I think?\"\n\n\"That's what I thought. And why, pray tell, do you think my mother would want me to show any regard to the criminal who killed her? Even 'accidentally'?\"\n\n1) It's like this...\n2) It's like this...\n\n> 2\n[\"Third floor, please.\"]\n\n\"Sure thing!\"\n\nIt's real swanky up here, and there's a big door to the east that looks like it's gotta be a private suite. A smaller door is to the west. Just like with the other elevator stops, you can push the pearl button here to call Kipper.\n\nA stonefaced palooka stands at attention next to the door.\n\n> Go west\nThis is nothing but a small, dark, cramped, damp closet.\n\nA metal hatch is set into a particularly wet patch of carpet.\n\n> You open hatch\nYou swing the heavy metal hatch open, revealing water about a foot down. Light glints in the depths.\n\n> You check your inventory\nYou are carrying:\nan uninspiring bowl\na bellhop's uniform\na party blower\na pair of spook-spotting cheaters (being worn)\nan art theory textbook\nyour best set of glad rags\n\n> You wear the rags\nYou wriggle into your best set of glad rags. Now you're ready to turn heads!\n\n> Go east\nIt's real swanky up here, and there's a big door to the east that looks like it's gotta be a private suite. A smaller door is to the west. Just like with the other elevator stops, you can push the pearl button here to call Kipper.\n\nA stonefaced palooka stands at attention next to the door.\n\n> You look at the palooka\nHe's eyeing you suspiciously, which has gotta be one of your least favorite ways to be eyed.\n\n> You go to the west\nThis is nothing but a small, dark, cramped, damp closet.\n\nA metal hatch is set into a particularly wet patch of carpet. You can see water below.\n\n> You remove rags\nYou shuck off your dress, hat, and pearls.\n\n> You wear the uniform\nYou shrug on the uniform and do up the buttons. Anyone who sees you would take you for an (unusually good-looking) hotel employee.\n\n> You go east\nThe stonefaced palooka opens the door for you.\n\nThis swanky private suite makes everything on the floor below look like yesterday's day-old donuts. White leather couches, silver fittings, wall-to-wall carpeting so plush you could sink into it like quicksand. A pair of goldfish float languidly in a crystal aquarium on the coffee table. There's a bedroom to the east, and the suite exit is to the west.\n\nA mermaid getup is tossed carelessly on the floor.\n\n> You look at the mermaid\nIt's a pair of scaly trousers with a coppery sheen and gauzy \"fins\" on the bottom cuffs - the illusion of a tail is created by swimming with your legs clamped together. There's also a bra made of a couple of seashells just big enough to keep you from being hauled away\nby the vice squad.\n\n> You wear the mermaid\nYou wriggle into the shiny, scale-covered trousers. Boy, these are tight! No wonder they tell you not to overfeed fish if they're expected to get into these pants. The seashell brassiere isn't the easiest to get on either. Eventually you're in it, though, and you make a pretty darn swell mermaid, if you do say so yourself.\n\n> You drop all\nuninspiring bowl: Dropped.\nbellhop's uniform: Dropped.\nparty blower: Dropped.\nart theory textbook: Dropped.\nglad rags: Dropped."
    },
    {
        "text": "> Go downward\nYou sit down and slide into the water.\n\nYou're floating inside the huge lobby fishtank. The hotel looks weird and distorted through the glass. The hidden exit hatch is in the ceiling above you, and the tank's pebbly floor lies far below."
    },
    {
        "text": "[Themes: Comedy, ghost, Comedy]\n\n> You go downward\nYou're floating just above the layer of pebbles at the bottom of the tank. Patches of seaweed sway in the gentle currents. Outside, you can see the hotel lobby.\n\nAn enormous oyster is nestled in the seaweed.\n\n> You examine the oyster\nThis thing is huge! It's got to be at least thirty pounds if it's an ounce, and it's a lot more than an ounce!\n\n> You take the oyster\nTaken.\n\n> Go upward\nYou swim up closer to the top of the tank.\n\nYou're floating inside the huge lobby fishtank. The hotel looks weird and distorted through the glass. The hidden exit hatch is in the ceiling above you, and the tank's pebbly floor lies far below.\n\n> Go upward\nYou pump your powerful tail and return to the surface.\n\nThis is nothing but a small, dark, cramped, damp closet.\n\nA metal hatch is set into a particularly wet patch of carpet. You can see water below.\n\nYou can also see your best set of glad rags, an art theory textbook, a party blower, a bellhop's uniform and an uninspiring bowl (empty) here.\n\n> You remove the mermaid\nYou peel off the mermaid getup and neatly fold it into a scandalously small package.\n\n> You wear the uniform\n(first taking the bellhop's uniform)\nYou shrug on the uniform and do up the buttons. Anyone who sees you would take you for an (unusually good-looking) hotel employee.\n\n> You take all\nglad rags: Taken.\nart theory textbook: Taken.\nparty blower: Taken.\nuninspiring bowl: Taken.\nhatch: Taken.\n\n> Go east\nIt's real swanky up here, and there's a big door to the east that looks like it's gotta be a private suite. A smaller door is to the west. Just like with the other elevator stops, you can push the pearl button here to call Kipper.\n\nA stonefaced palooka stands at attention next to the door.\n\n> You go to the east\nThe stonefaced palooka opens the door for you.\n\nThis swanky private suite makes everything on the floor below look like yesterday's day-old donuts. White leather couches, silver fittings, wall-to-wall carpeting so plush you could sink into it like quicksand. A pair of goldfish float languidly in a crystal aquarium on the coffee table. There's a bedroom to the east, and the suite exit is to the west.\n\n> Go east\nHot dog, now this is a bedroom! It's about the size of a barn, with a huge four-poster bed slathered with shimmering draperies plopped right in the middle. The rest of the suite opens up to the west.\n\nGams Gillespie is here, combing her hair at the vanity.\n\n> You look at Gams\nThis is the famous Gams Gillespie, former chorus girl and current girlfriend of Donnie Cantaloupes. Dressed in a diaphanous dressing gown, she's seated at a vanity, combing out her long, damp blonde hair. It looks like she's possessed by a ghost!\n\n> You talk to Gams\nGams Gillespie stops brushing her hair and looks up at you. \"Whaddaya want? I didn't call for no room service.\"\n\n1) \"You look a little blue.\"\n\n> 1\n[\"You look a little blue.\"]\n\n\"Well, whaddaya expect when I spend all evening underwater in that damn fish suit gettin' my anemones ogled for the edification of Donnie's payin' customers? It's cold in there! I keep tellin' 'im to put a heater in it, but no.\" She sighs. \"Anyway, I got a bigger problem than a little gooseflesh.\"\n\n1) \"What kind of problem?\"\n\n> 1\n[\"What kind of problem?\"]\n\n\"A love problem, that's what kind!\" she cries, clutching the hairbrush to her chest. \"It...it haunts me. Almost like a literal ghost\nor somethin'. I wish there was somethin' you could do, but it just ain't the sort of thing a kid like you could understand.\"\n\n1) \"Try me! I've been around the block a few times.\"\n\n> 1\n[\"Try me! I've been around the block a few times.\"]\n\n\"You ain't even been outta the garage, babyface, but all right. It's like this. Ya know how when a couple is together for a long time, they sorta...drift apart? He's off doin' his thing and she's off doin' her thing and pretty soon all the passion just wheezes outta the whole relationship like a fallen souffle, and one day she looks around her beautiful, expensive home and realizes she ain't been given the business, in a marital kinda way I mean, since who knows when. If you get what I'm sayin'?\"\n\nShe pauses a moment to make sure you get what she's sayin'.\n\n\"Anyway, it so happens that this exact situation has befallen a certain pair o' lovebirds I know who shall remain nameless. I need some way to spice things up. One of those, y'know, whaddaya ya call 'em, acromegliacs!\"\n\n1) \"Aphrodisiacs?\"\n\n> 1\n[\"Aphrodisiacs?\"]\n\nShe brightens. \"Yeah! Those! You run down to the kitchen and get me one of those aphrodizzyacs! For the couple I know.\"\n\n1) \"And what sort of aphrodisiacs am I looking for again?\"\n2) \"So tell me about this...'other couple'.\"\n3) \"How did you and Donnie meet?\"\n4) \"Hey, do you work part time as a mermaid?\"\n5) \"I found you an oyster! And oh, boy, is it a whopper!\"\n6) \"Guess I'd better go get your order!\"\n\n> 5\n[\"I found you an oyster! And oh, boy, is it a whopper!\"]\n\nShe makes a disgusted face. \"It ain't even cooked! Whaddaya, tryin' to give someone a case of the ptomaines?\"\n\n1) \"And what sort of aphrodisiacs am I looking for again?\"\n2) \"So tell me about this...'other couple'.\"\n3) \"How did you and Donnie meet?\"\n4) \"Hey, do you work part time as a mermaid?\"\n5) \"I found you an oyster! And oh, boy, is it a whopper!\"\n6) \"Guess I'd better go get your order!\"\n\n> 1\n[\"And what sort of aphrodisiacs am I looking for again?\"]\n\n\"Something romantical. Something like...the meal Donnie and I had on our first anniversary. Just a pile of boiled oysters. No spices or nothin'. They called it Oysters Amour.\" She sighs and flutters her eyelashes. \"It was magical.\"\n\n1) \"And what sort of aphrodisiacs am I looking for again?\"\n2) \"So tell me about this...'other couple'.\"\n3) \"How did you and Donnie meet?\"\n4) \"Hey, do you work part time as a mermaid?\"\n5) \"I found you an oyster! And oh, boy, is it a whopper!\"\n6) \"Guess I'd better go get your order!\"\n\n> 6\n[\"Guess I'd better go get your order!\"]\n\n\"Shake a leg, wouldya?\".\n\nHot dog, now this is a bedroom! It's about the size of a barn, with a huge four-poster bed slathered with shimmering draperies plopped right in the middle. The rest of the suite opens up to the west.\n\nGams Gillespie is here, combing her hair at the vanity.\n\n> You go west\nThis swanky private suite makes everything on the floor below look like yesterday's day-old donuts. White leather couches, silver fittings, wall-to-wall carpeting so plush you could sink into it like quicksand. A pair of goldfish float languidly in a crystal aquarium on the coffee table. There's a bedroom to the east, and the suite exit is to the west.\n\n> Go west\nIt's real swanky up here, and there's a big door to the east that looks like it's gotta be a private suite. A smaller door is to the west. Just like with the other elevator stops, you can push the pearl button here to call Kipper.\n\nA stonefaced palooka stands at attention next to the door.\n\n> You press the button\n\"Hiya, Miss Greene! Where to now?\"\n\n1) \"First floor, please.\"\n2) \"Second floor, please.\"\n3) \"Seeya, Kipper.\"\n\n> 1\n[\"First floor, please.\"]\n\n\"Sure thing!\"\n\nThe sumptuous entrance lobby of the Grand Poseidon Hotel. Aquamarine lights play over the leather couches and rich mahogany paneling, making the whole room look like it's underwater. Outside to the west, you can see the hustle and bustle of a Saturday night in downtown Seattle.\n\nIn the center of the room is an enormous fish tank. To the north is the Neptune Lounge, to the south, past the front desk, is the hotel office, and a hallway leads east. A crystal column houses the elevator.\n\n> You put the oyster in pool\nYou huck the oyster into the pool and watch it sink to the bottom like a stone.\n\n> You examine the pool\nA boiling, bubbling cauldron of hot, salty water.\n\nIn the saltwater pool is an Oysters Amour.\n\nA boiling, bubbling cauldron of hot, salty water.\n\nIn the saltwater pool is an Oysters Amour.\n\n> You drop all\nhatch: Dropped.\nuninspiring bowl: Dropped.\nparty blower: Dropped.\nart theory textbook: Dropped.\nglad rags: Dropped.\nbellhop's uniform: Dropped.\n\n> You get in the pool\nNo thanks! That water's hot enough to cook you into tomato soup.\n\n> Turn wheel\nThe wheel squeaks as you turn it. The loud rush of water quiets slightly.\n\n> You look at the pool\nA bubbling pool of hot saltwater.\n\nIn the saltwater pool is an Oysters Amour.\n\n> You enter pool\nLuckily, you're dressed to get wet. You slide into the hot, bubbling water.\n\n> You get Oysters\nYou fish it out of the water.\n\nTaken.\n\n> You go to the south\nYou would have to get out of the saltwater pool first.\n\n> You go outside\nYou hoist yourself out the bath, dripping with salty water. Phew! You're all red. If that bath was any hotter, you'd have been cooked like a lobster!\n\n> You go south\nIt's steamy and musty, with slick floors. Lockers line the walls.\n\nYou can see a bellhop's uniform, your best set of glad rags, an art theory textbook, a party blower, an uninspiring bowl (empty) and a hatch (empty) here.\n\n> You remove the mermaid\nYou peel off the mermaid getup and neatly fold it into a scandalously small package.\n\n> You talk to Gams\nShe stops brushing and looks at you.\n\n1) \"And what sort of aphrodisiacs am I looking for again?\"\n2) \"So tell me about this...'other couple'.\"\n3) \"How did you and Donnie meet?\"\n4) \"Hey, do you work part time as a mermaid?\"\n5) \"One extra-large order of Oysters Amour, boiled to perfection!\"\n6) \"Guess I'd better go get your order!\"\n\n> 5\n[\"One extra-large order of Oysters Amour, boiled to\nperfection!\"]\n\n\"You brought it!\" Gams squeals, leaping to her feet. \"Oh, thank you, thank you! This'll reignite the passion. I just know it!\" She shoulders the oversized oyster and, staggering under the weight, hauls it into the main suite.\n\n\"Cookie! Vincent! It's feedin' time for Mommy's little treasures!\" You hear a splash as she drops the oyster into the aquarium.\n\nGams reappears in the doorway, her eyes bright. \"It's workin'!\nThey're eatin', and once they're done, they're gonna be frisky as fry. My poor lonely goldfish'll be in love again, just like they used to be!\" She gives you a peck on the cheek, followed by a wink. \"Now, let's get out of here. My little babies are gonna be needin' their privacy!\"\n\nThrowing on a bathrobe, she dances happily out of the suite, leaving the ghost that was haunting her behind.\n\nHot dog, now this is a bedroom! It's about the size of a barn, with a huge four-poster bed slathered with shimmering draperies plopped right in the middle. The rest of the suite opens up to the west.\n\nA giggling ghost floats in midair.\n\n> Drink ghost\nYou slurp down the fermented fiend with the skill of an expert...and the coordination of a gal with six drinks in her already, but never mind that, you catch it eventually. Something tells you, as the ghost giggles its way down your gullet, that you've just polished off the penultimate poltergeist. Now, half-ghostfaced and armed with your wily wits and a stomach sloshing with snagged spirits, it's time to return to the gents' locker room and finish of the last and worst of the bunch.\n\n> You go west\nThis swanky private suite makes everything on the floor below look like yesterday's day-old donuts. White leather couches, silver fittings, wall-to-wall carpeting so plush you could sink into it like quicksand. A pair of goldfish float languidly in a crystal aquarium on the coffee table. There's a bedroom to the east, and the suite exit is to the west.\n\n> You open the locker\nThe locker pulses under your hands, and you feel the seal cracking. You're confident, secure, and half in the bag. You've cleared the hotel of the other ghosts. All that's left to do is polish off this one last one.\n\n1) I'm done with this place! Let's guzzle us a ghost!\n2) Nah, I'm not ready yet.\n\n> 1\n[I'm done with this place! Let's guzzle us a ghost!]\n\nNothin'. Just an empty locker. What a royal platter of the phonus balonus!\n\nUntil you realize that the musty room is somehow brand new, the tiles less cracked, the lockers gleaming. It's like you've stepped back into the past, like in that Christmas book, except instead of watching some crusty old bluenose waste his childhood working, you're seeing what happened here, in this very room, some eight years ago.\n\nDonnie Cantaloupes swaggers in, dressed in a bathing suit, a towel around his neck. He's still huge, but in a different order, with more of his bulk filed under \"M\" for muscles, or maybe \"M\" for \"Mamma mia, what a dish!\" It's enough to make you want to run right out of here, find your younger self, and tell her to ditch the hopscotch a couple of years early.\n\n1) Try to attract his attention.\n2) Duck behind the lockers.\n\n> 2\n[Duck behind the lockers.]\n\nYou dart behind the lockers, a little too late to avoid him seeing you if he could, but apparently he can't. It's either that or he's ignoring you, and since you're you, how likely is that? He\ndoes turn around when another woman enters the room.\n\n1) Who's the dame?\n\n> 1\n[Who's the dame?]\n\nShe bears more than a passing resemblance to Agent Byrd - a tall, severe-looking brunette in businesslike tweed. This woman is older, though, with a sharp chin and a streak of gray in her hair. She storms up to Donnie, waving a finger in his face. \"Don't think you can run away from me, Mister Cantaloupes!\"\n\n\"Didn't I tell ya to back off, ya dizzy harpy?\" Donnie roars back.\n\n\"One of your goons did mention it, yes,\" the woman says. \"I believe his exact words were \"one of these days, they'll find you floating face down in the Sound.\" I told him that was an ugly threat, and he said, and I quote, \"It could be uglier. They could find you floating face up.\"\n\nDonnie chuckles.\n\n\"I fail to see what's so funny, Mr. Cantaloupes. What would you friends at City Hall say if they knew you consorted with such ruffians?\"\n\nDonnie crosses his arms. \"And what would your fancy-schmancy Temperance ladies say if they knew Mildred Waverly hung around in men's changing rooms?\"\n\nWaverly grins. \"I made very sure that nobody saw me come in here, Mr. Cantaloupes. You can't hide behind your goons anymore. It's just you and me.\"\n\n\"Just you and me, huh?\" Donnie says, casually approaching. She looks so much smaller than he does, and yet she stands straight and proud. \"No witnesses?\" And that's when he lunges for her.\n\n> You press the space\n\"No witnesses?\" And that's when he lunges for her.\n\nIt's nearly a minute before Waverly finally breaks the kiss to shoot a nervous look around the room. \"You're quite sure we're really alone?\"\n\n\"Isn't it a little late to be worried about that? Besides, didn't I tell you I gave them the night off?\" Donnie says, stroking her hair.\"\n\n\"I thought you meant you didn't - oh, I'm sorry, it's just impossible, the way you talk. Poor Rosie used to have the same problem, but we fixed it years ago, thank goodness.\"\n\n\"Didn't I explain I can get around it by putting everything in the form of a question?\"\n\n\"Like a stutterer learning to sing his words instead of saying them, yes, I understand. It's just confusing, that's all.\" She\ngives him a teasing grin. \"Sometimes I think things would had been easier if I'd fallen for the other doorman. The one who always tells the truth.\"\n\n\"And what fun would that be?\"\n\n\"Not much,\" Waverly admits. \"And we wouldn't have Rosie.\"\n\n> You continue\n\"Not much,\" Waverly admits. \"And we wouldn't have Rosie.\"\n\n\"How is Rosie, anyway?\" Donnie says. \"Got to be getting pretty big by now, isn't she?\"\n\n\"Nearly fifteen, and no, thank goodness, given that Walter is five foot two and weighs less than I do we're lucky she didn't end up with your body structure.\"\n\n\"Any girl would be lucky not to end up with my body structure, don't you think?\"\n\n\"Now, that's not what I meant! You're very handsome for a mountain.\" She puts her head on his shoulders. \"Oh, Donnie. I wish you could see her. I wish we didn't have to play around like this.\"\n\n\"Don't you think I wish that too, Millie?\"\n\n\"I know you do. You're a good man, Donnie, but you've made a choice to do evil things.\" She sighs. \"Those I suppose I'm hardly one to talk about that, am I? Nevertheless, as long as you continue to sell this poison -\"\n\n\"What if I stop?\"\n\n> Keep going\n\"What if I stop?\"\n\n\"What, just like that?\"\n\n\"What do I need more money for? Wouldn't it be nice if we could all be a family?\" He reaches into the locker and pulls out a bottle of champagne. \"What would you say if I told you I picked this up today, and it'll be the last bottle of booze I ever buy? Now - how about a toast?\"\n\n> Keep going\ntoast?\"\n\n\"You know I never touch-\"\n\n\"It's okay just this once, isn't it? You don't think I'll tell any of your hoity-toity friends, do you?\"\n\n\"I supposed not,\" Mildred says, blushing. She allows Donnie to pour her a glass and clinks it against his. \"Very well. Just one. To us!\" She gulps it down and makes a face. \"Honestly, Donnie, I don't know where you get this cheap - \"\n\nAnd then her hand flies to her throat and she collapses to the tile, her face ashen.\n\n> Keep going\nher face ashen.\n\nPoisoned. How? Not by Donnie. Any thought of that leaves your head when you see the look on his face as she falls, and the way he holds her as she dies.\n\nHe's still holding her when one of his weaselly looking henchmen saunters in. The goon's eyes widen as he takes in the scene. \"Holy smokes, boss. You actually kacked the broad.\"\n\nDonnie turns to look and him. Silently, he nods.\n\nSuddenly, you smell strong spirits. You turn - and you're face-to-face with the ghost of Mildred Waverly.\n\n> You examine mildred\nwith the ghost of Mildred Waverly.\n\nHer ectoplasmic body ripples and shimmers in the light. She's holey, like a hunk of Swiss cheese, the liquid weeping from the spots where the missing chunks of her body should be. She raises one hand and crooks her fingers towards you. Your belly gurgles. The spirits in the hotel, you realize, weren't really ghosts at all, but fragments of Mildred she left behind...and she's calling them back. A dizzying wave of sobriety crashes over you as the liquid leaches from your body and returns to hers.\n\nWhen your vision clears, she stands in front of you, whole. She looks down at her hands, turning them over and over, observing their translucency. \"I was so...confused,\" she says. \"But I remember now. I thought the alcohol killed me, but...but it was denatured\nalcohol. Poison. We knew it was out there, and we didn't do anything to take it out of the supply. We decided - \" She smiles sadly. \"We decided that anyone who drank it deserved what they got.\"\n\nShe pulls a bottle from...somewhere...and pours a glass of something sparkling. \"Seems so silly, now. Here, drink this. I'll explain in a moment.\"\n\n1) Drink.\n\n> 1\n[Drink.]\n\nYou drain the glass It's pure and refreshing, with a surprising kick. \"There you go, Hazel. You know, you really ought to cut back a bit. You're a smart girl, but you'd be smarter if you weren't plastered on cheap hooch all the time.\"\n\nThe light suddenly brightens. It's coming from a direction you can't quite make out, except that it's not a cardinal direction, or up, or down, or even in or out. Mildred turns to look in that same impossible direction and smiles. \"But I supposed that's up to you, now. It's time for me to go. No more meddling in the world of the living for me.\"\n\nShe steps not-north-or-south-or-up-or-down, and she's gone, leaving you alone in the locker room. The very warm locker room. The very warm and wobbly locker room with the moving floor.\n\nMildred pops back in from wherever she went. \"Oh, I did say I would explain, didn't I? This is going to sound awfully hypocritical, but I had to return what I took, and I needed a vessel through which to symbolically return it, so that drink I just poured you was, in a spiritual sense, anyway, several thousand drinks, and I'm\nafraid you're going to be rather seriously inebriated in a moment, so...\" She's already fading out, again, or maybe your vision is blurring.\n\n\"...say goodbye to Rosie for me...\"\n\n1) And that's about where you pass out.\n\n> 1\n[And that's about where you pass out.]\n\n> 1\n[And that's about where you pass out.]Or maybe you're\nactually passing back in, because all of a sudden you've got the cold locker room floor pressed against your back and Agent Byrd slapping you in the face. \"Wake up!\" she says, before turning to someone you can't see because you can't move your head without everything smearing like a Picasso. \"It's no use, she's too drunk. Get me a bucket of cold water.\"\n\n\"I'm not drunk!\", you try to protest, but it comes out more like \"Amm nawww rarrrunk\" because you are, in fact, ossified right out of your little blonde skull. The same skull which Agent Byrd proceeds to lubricate with a gallon of ice water. \"You're lucky to be alive,\" she says, helping you sit up. \"The explosion shook the whole hotel.\"\n\nDonny Cantaloupes rushes into the room, shoving onlookers out of the way. \"What's goin' on in here?\" he bellows. \"Don't you know this is the gentleman's changing area?\"\n\nAgent Byrd stands up, triumphant. \"It's clear to me exactly what's happened,\" she says. \"You were hiding a cache of highly flammable contraband in this locker room, trusting that it's the one place I'd never dare check. This unfortunate girl snuck in to sample the merchandise, overindulged, lost her head enough to light up a quick jazz cigarette and - BOOM!\"\n\n\"That's exactly what happened,\" Donnie says.\n\n\"A-ha!\"\n\n\"Nah, you're takin' the boss out of context,\" says Donnie's right-hand man, weaseling up. \"You gotta remember his speech impediment. And say, boss, I gotta tell you, I was checking the 'mineral water' and it's back to being 'mineral water', not, uh, mineral water, if you get me, see?\"\n\n\"A-ha, again!\" Agent Byrd says. \"Don't think I don't know what you're talking about. Men, search the place! We've got you this time, Cantaloupes. And when I bust this place up from stem to stern, not only will we uncover your operation, we'll find evidence for the rest of it too. You'll finally face justice for the murder of Mildred Waverly.\" She leans forward, getting right in the big man's face. \"You killed my mother,\" she hisses. \"And pretty soon I'll be able to prove it.\"\n\nSuddenly all business again, she backs off and kneels to face you. \"Miss, we're going to need a statement.\"\n\nYou don't want to give a statement. In fact, you don't really feel like moving. You feel - peaceful. Mildred Waverly is in a better place. The hotel has been re-boozed, and even if the bar's closed, you're already nicely sloshed. You just want to put your head back on the floor and go to sleep. But Agent Byrd is waiting. You're going to have to tell her something....\n\n1) It's about your mother...\n\n> 1\n[It's about your mother...]\n\n> 1\n[It's about your mother...]\"Your mother did this,\" you say.\n\"Or...her ghost did. She was angry with the hotel, and I don't blame her, because the way she died would have steamed anyone's celery. But it wasn't Donnie Cantaloupes who killed her!\"\n\n\"No, it wasn't,\" Donnie Cantaloupes says suddenly. \"I didn't kill her.\" Gasps ring out from the crowd as people work out what he just said.\n\n\"Uh, Boss,\" says Weaselly, \"let's not say anything we shouldn't outta say in front of Janey Law here...\"\n\n\"\"I didn't kill her!\" Cantaloupes says again. \"I haven't been carrying this secret around for eight long years. I'm not tired of it. No, I didn't kill her. It wasn't an accident, but that means I'm not responsible. It's not time for me to take responsibility for that. I don't deserve to go to jail.\"\n\n\"Nah, she wouldn't want that,\" you say. \"The ghost showed me how she died, see, and-\"\n\n\"The ghost?\" Agent Byrd explodes. \"The ghost? This\nis a serious investigation, not a showcase for your D.T.s!\"\n\n\"No, really, there was a ghost. Lots of ghosts. I've got this pair of cheaters, see, and - \" You put your hand to your face. Where are your special glasses? They're gone!\n\n\"And just where exactly is this ghost now?\n\n\"Um, I'm not sure. Heaven, I think?\"\n\n\"That's what I thought. And why, pray tell, do you think my mother would want me to show any regard to the criminal who killed her? Even 'accidentally'?\"\n\n1) It's like this...\n\n> 1\n[It's like this...]\n\nWell, what the heck. It's not over until the slightly-curvier-than-average lady sings, so you might as well get singing.\n\n\"Because I'm pretty sure this criminal is your father.\"\n\n\"WHAT?\" Agent Byrd says.\n\n\"See, she and Cantaloupes were passionately in love. They were talking about you in the vision just before she died, which, incidentally, happened because she drank from a bottle of denatured alcohol by accident. He's your father, all right. Look, I've got parental issues too. Although at least my parents are married and, hoo boy, maybe I shouldn't have spilled this in front of all your co-workers, but oh well. There it is. Cantaloupes is your dad.\"\n\n\"Well, if the girl I found lying drunk in the men's changing room babbling about ghosts says it, I suppose it must be true!\nTell me, do you have even one single solitary shred of proof?\"\n\n\"Uh. I didn't think of that. I don't suppose you've both got webbed toes or a funny  birthmark on the moneymaker, anything like that?\"\n\n\"That's what I thought.\"\n\n\"Wait! I just remembered something! Mildred said...when you were young, you had the same speech impediment Cantaloupes does. You always said the reverse of what you meant!\"\n\n\"That's ridiculous. I never did that.\"\n\n\"You must have been really young! You might not remember, but maybe if you talk to someone who knew you back then - \"\n\n\"I said I never did that!\" Agent Byrd says, her face turning purple. \"Donnie Cantaloupes can be my father! It's possible!\"\n\nShe claps a hand over her mouth.\n\n\"That's what I meant to say...I don't mean...I...\" She swallows. \"It never happens when I'm...that is to say...it only happens when I'm upset. And it doesn't prove anything.\" She looks at Donnie, her face a mix of curiousity and fear. \"But...but I suppose you're not the only one who's made an accusation they can't prove tonight. Perhaps I was too hasty, Mr. Cantaloupes. Perhaps there was more to my mother's disappearance than I know. The booze, however...that, I'm\nshutting you down for.\"\n\nIt wasn't exactly the tearful reunion you might have hoped for, but it'll have to do.\n\n> You press the space\nit'll have to do.\n\nAnd so you find yourself staggering home at six-thirty in the morning, exhausted, reeking of liquor, and with instructions to talk to the police later. The old lady's going to have your hide. And you've already tossed your guts out onto two different lawns and one very surprised gardener who got in the way of the third lawn at the last second. It's just about your usual morning, in other words.\n\nBut y'know what, kid? Last night you un-haunted a hotel with nothing more than pluck, moxie, and your own talented kisser. Last night, you got past every problem the Poseidon Grand could throw at you.\n\n\"Roof! Roof!\" Barnaby barks happily at your feet. Oh, yeah, there's that, too. You got yourself a dog.\n\nAll in all, not a bad night. Not a bad night at all!\n\nTHE END.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, Comedy, vampires, intense, spiders, vampire, combat, multiple protagonists, castle]\n\nGood evening, again. My name, as you well know, is Ryan Veeder. It is once again my great pleasure, in this festive and frightening season, to welcome you for a third time to Castle Balderstone: America's legendary hotbed of horror, a treasure trove of the morose, macabre, and monstrous. Its crooked pinnacles continue to slash blasphemously against ever-present clouds; its grim silhouette continues to be a stain of absolute blackness in the midst of a black sky.\n\nThis year, as they did last year???and the year before that, and so on???the greatest spookcrafters working in the English language have assembled in Castle Balderstone's drafty halls to test their latest material on the only audience possessed of hearts so inured to terror as to withstand the absolute scariest stories???each other.\n\nTonight, for the third time, you are my plus-one to this wedding of\nthe weird and the wicked.\n\nAs we ascend once more the winding stairs of Castle Balderstone, the wind outside howls in warning, and the temperature drops until your teeth chatter in the cold???or is it in recollection of the horrors you witnessed here one year ago? Or two years ago?\n\nWe trudge again through antique galleries, across musty hallways, and down forgotten corridors. The occasional window offers no view of a friendly outside world, but of walls, towers, and perilously pitched roofs, confirming what your aching legs and ragged breath have already predicted: that the labyrinthine architecture of Castle Balderstone is one you can never hope to escape. Nevertheless we continue on, through another creaking door...\n\n...And into a warm sitting-room, where velvet couches sit in a circle near a roaring fire. The walls are lined with bookshelves, stacked\nwith titles you recognize as those you have never been brave enough to read. You recognize the occupants of the couches, as well: murder-mongers, evil-experts, ghost-gurus, monster-maestros, vampire-virtuosos, and dread-distributors. These are the infamous authors of Castle Balderstone, and you are their latest victim, again.\n\nApparently we are the last ones to arrive, AGAIN, so we take our seats in a conspicuous display of embarrassed hurriedness and loudly-whispered apologies. Eventually the chamber quietens itself,\nand we realize we are about to enjoy the first tale of the evening.\n\nIt is Elmir Divkovic, who terrifies so many readers with his intricately-realized world of vampires. Worldbuilding gets a bad rap these days, but you know what you get when it's done right? You get an Elmir Divkovic story, that's what.\n\nThe stories are also very scary, too. That's the main thing.\n\n\"I am honored to return to Balderstone and present another of my vampire-tales,\" Divkovic begins. \"With my vampire-tales I seek to\nraise a mirror to human society: My central theme, that of vampire's invampiricism to vampire, must thrust to the center of the human reader's soul, and convince the reader to overcome those distasteful vampire-like traits lurking within the reader's dark heart. To do\nthis, to pierce the soul, my vampire-tales must be both utterly horrifying and utterly believable. Hence, all of my vampire-tales are enframed within a single carefully constructed world???'The world of vampire-tales,' I call it. And for this vampire-tale I have written a foreword of sorts, which will acclimate you to my little world before we all forget ourselves and inhabit that world for a few moments.\" He opens his notebook:\n\n\"The Marquis Semix has long been suspected of dabbling in\nforbidden melliphytic research. He may believe, like so many members\nof the nobility, that his position will his protect him from prosecution.\n\n\"But the Orthodoxy knows no rank: The Orthodoxy punishes the\nhighborn and the peasantry, vampire citizens and mortal helots alike. It is simply a matter, in dangerous cases like this, of procuring an Inquisitor who is equal to the task.\"\n\nElmir looks up and smiles. He lets it all sink in. And then he turns the page, and begins to read...\n\nGrotesques in blackened calcite flank the threshold of the Ch??teau Semix. Though rain lashes in nearly horizontal torrents, the scarlet-flamed braziers go on burning imperturbably.\n\nEXITS: EAST\n\n[Author's Note: Third in a series of anthologies of unbelievable terror, edited by Ryan Veeder, again.]\n\n> About yourself\nPublicly the Orthodoxy takes pains to assure its subjects that Inquisitors are not above the law. This is a pleasant fiction. Inquisitors are empowered to meld the law according to their needs, to invent edicts or forget them at will, so long as it serves the aims of the Orthodoxy. In the earliest decades of your career, you availed yourself of these privileges frequently, reveling in the arbitrary power of your position.\n\nnot resort to such inelegances. The true law, unadulterated by situational convenience, is just and complete. It is sufficient in all respects, so long as it is wielded with skill and patience. Thus it is said privately, and not repeated outside the halls of the Orthodoxy, that only the best Inquisitors are not above the law.\n\nYou are the Inquisitor Vultrine, ranked among the best.\n\n> You look at what you're carrying with you\nYou are carrying:\na silk cape (being worn)\na white dagger\n\n> You look at the cape\nYour fine silk cape is the unofficial symbol of your position as Inquisitor. You take great pride in the accessory.\n\n> You look at the dagger\nThis well-trusted blade was a gift from your mentor, High Inquisitor Urimedonte. She warned you to use it judiciously???which is not to say she told you never to use it. Its attack power is 1.\n\n> You go east\nGuests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber.\n\nThe Marquis himself is seated in the balcony overhead. \"I've been expecting you, Inquisitor!\" he calls down at you. \"Make yourself at home.\"\n\nHis laughter seems to echo through all the halls of the Ch??teau.\n\nEXITS: UP EAST DOWN WEST\n\nA scimitar lies abandoned at the edge of the pit.\n\n> You examine Marquis\nThe Marquis, who was so giddy with sadistic triumph at your entrance, now seems for the most part uninterested in your presence. Odd.\n\n> You examine the scimitar\nA curved sword not unlike those you saw employed in the Algerian human uprising a century ago. Its attack power is 2.\n\n> You take it\nTaken.\n\n> You talk to Marquis\nThe balcony is too high up to permit any interation with the Marquis.\n\n> Go east\nVelvet spills over the grand stairway in a crimson flood. To the east is a massive wooden door.\n\nHigh on the wall are displayed the arms of the Marquis Semix.\n\nEXITS: UP EAST WEST\n\n> You examine arms\nThe device of Semix: Gules, a unicorn sable horned or. (Violations of the rule of tincture rest outside an Inquisitor's jurisdiction.)\n\nCrossed beneath the escutcheon are the poleaxe Thembriaud and the longsword Harcheque.\n\n> You look at the poleaxe\nThis long-handled axe was wielded by a previous Marquis Semix in the Battle of Noyes. Its attack power is 5.\n\n> You take it\nThe weapons on the wall are too high to reach.\n\n> You look at the longsword\nThis silver-plated sword beheaded the werewolf Cornegule in 1207. Its attack power is 6.\n\n> You examine the door\nThe carven boiseries of the portal suggest copious fangs and tongues. The door itself is shut.\n\n> You open it\nThe huge door seems to be locked.\n\n> Go up\nNumerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindr??, a framed family tree, a Japanese warrior's equipment in an elaborate display case.\n\nA pane of ghost-glass to the west offers a view of the balcony. The\noak door to the east is closed.\n\nEXITS: EAST DOWN WEST\n\n> You look at the portrait\nThe Marquis sat for this portrait in the hall at the bottom of the stairs; you see his coat of arms on the wall behind him. The xanthic luminosity of his eyes was probably exaggerated by the artist: You recognize the signature of Bartheno??de Aguenisse, an expert flatterer.\n\n> You take the sword\nYou already have that.\n\n> Inventory\nYou are carrying:\na scimitar\na silk cape (being worn)\na white dagger\n\n> You examine the case\nThe steel bars are worked in intricate designs, offering only tantalizing glimpses of the case's contents.\n\nIn the steel display case are a suit of samurai armor, a katana, and a wakizashi.\n\n> You examine the armor\nThe armor gleams like a insect's iridescent shell. Its polished plates bear no marks of battle; it was probably given as a gift rather than taken from a foe.\n\n> You examine the katana\nA single-edged longsword of Japanese manufacture. It is flawless. Its attack power is 5.\n\n> You examine wakizashi\nA Japanese sword with a blade about a foot long. Its attack power is\n3.\n\n> You look at the statue\nThe stone Gaspard casts a defiant eye over his shoulder, as if daring his foe to attack from behind. The statue is not, strictly speaking, life-like; Oindre was petrified in 1709, and his remains have\nbeen on display in the Ch??teau for perhaps thirty years.\n\n> You examine the tree\nThis vellum scroll purports to trace the ancestry of the Marquis back to the eleventh century and the legendary ur-vampiress ??streg, who sired Ixaron, who sired Nivemes... Undoubtedly the pedigree consists predominantly of fabrications, but this is de rigeuer among the\nMarquis and his peers.\n\n> You examine the door\nAn imposing oaken door with a heavy lock.\n\n> You examine glass\nThe Marquis is standing on the balcony on the other side of the glass. Oddly, he is still leaning over the railing, as if waiting for you to reappear in the hall below.\n\n> Break glass\nGhost-glass like this is impossible to break with brute force???but it can be penetrated by more subtle means.\n\n> Open case\nThe steel display case seems to be locked.\n\n> Break case\nYou must specify the weapon with which you are attacking."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, multiple protagonists, castle, combat, vampires, vampire, Comedy]\n\n> Go down\nVelvet spills over the grand stairway in a crimson flood. To the east is a massive wooden door.\n\nHigh on the wall are displayed the arms of the Marquis Semix.\n\nEXITS: UP EAST WEST\n\n> You jump\nYou jump!\n\n> You go west\nGuests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber.\n\nThe Marquis leans over the balcony, following your movements with a bored sneer.\n\nEXITS: UP EAST DOWN WEST"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, combat]\n\n> Go down\nYou leap down into the pit.\n\nYou land with a soft grunt. Some indeterminate number of unworthy guests rest at the bottom of this pit, their remains mingled by the depredations of scavengers.\n\nEXITS: UP EAST\n\nA shining mace has landed near the center of the pit.\n\n> You examine the mace\nA steel club with a flanged head. Its attack power is 3.\n\n> You take the mace\nTaken.\n\n> You examine battleaxe\nA broad-bladed axe, its handle enwrapped by a skeletal hand. Its\nattack power is 5. The surrounding air is thick with the vile perfume of mortal decay.\n\n> You look at the guests\nFurther inspection reveals nothing left to liberate from the Ch??teau's unluckiest guests.\n\n> You go to the east\nA rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones\nof the floor are carved with certain strange symbols.\n\nEXITS: EAST DOWN WEST\n\nA monstrous shape scuttles out of the darkness: A hissing stag-beetle the size of a tiger.\n\n> You examine the beetle\nThis beast must be the prime beneficiary of those morsels resting in the Ch??teau's pit. Unseemly if not illegal magic must have been employed for it to grow to such proportions; Inquisitory procedure would recommend if not require the creature's extermination.\n\n> You kill the beetle with the battleaxe\nYou wail in fury as you bring the battleaxe down on the giant beetle, dealing 5 damage. The axe is reduced to steel splinters.\n\nThe insect offers up one last eerie, crackling cry before exploding into moist dust. Only its horn remains, a spear-like length of deadly chitin.\n\nNow, alone in the tunnel, you are able to inspect its dark corners properly. A pair of gloves rests on the floor, perhaps dragged from\nthe pit by that beetle as a bizarre trophy.\n\n> You kill the beetle with the dagger\nYou stab the dagger into the giant beetle and deal 1 damage. The blade shatters.\n\nThe beetle attempts to stab you with its chitinous horn, but only\npokes a small hole in your cape.\n\n> You kill the beetle with the mace\nYou slam the mace into the giant beetle. The mace bursts into a cloud of shrapnel, but not before dealing 3 damage.\n\nThe beetle attempts to stab you with its chitinous horn, but only\npokes a small hole in your cape.\n\n> You look at gloves\nThese gloves have been fitted with sharp, strong claws. The wearer could keep a firm grip on any number of surfaces.\n\n> You take the gloves\nTaken."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, vampire, combat]\n\n> You look around\nA rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones\nof the floor are carved with certain strange symbols.\n\nEXITS: EAST DOWN WEST\n\nThat awful beetle's spear-like horn rests on the floor.\n\n> You examine the flagstones\nA collection of flagstones near the midpoint of the tunnel are each engraved with the symbol ???.\n\n> You examine the horn\nThe horn of a giant stag beetle: As stiff and strong as iron, but as light as cork. Its attack power is 4.\n\n> Go east\nA statue of ??ternitas looms over a magnificent ghost-glass casket. The high ceiling dances with the glow of candles in the chamber above.\n\nThe eastern archway is protected by a potent array of sigils.\n\nEXITS: UP EAST WEST\n\n> You examine casket\nOstensibly the resting-place of the Marquis, this coffin is clearly intended primarily as decoration. The glasswork is flawless.\n\nIn the casket are a ruby lens and a gladius.\n\n> You examine the lens\nGentle reader: It was my earnest hope that by making Vultrine to\nwear this ruby lens (a sort of jeweler's loupe or monocle, as I envisioned it), you would be able to see the HP or \"health\" of all the monsters in this story, to gauge your progress in defeating them and help you decide which of Vultrine's weapons you should use. Unfortunately, I ran out of time before I could implement this helpful feature. I hope you will enjoy \"The Inquisitor Vultrine\" even without this extra convenience, and I hope you will allow Vultrine to wear the ruby lens, even though it has no purpose. If nothing else, the image\nof a vampiric Inquisitor bearing so singular an accessory will surely add to your enjoyment of the story.\n\nSincerely,\nElmir Divkovic.\n\n> You look at the gladius\nThe Marquis wielded this sword in the early chapters of his career.\nIts attack power is 4.\n\n> You examine the sigils\nSigils of forbiddance have been drawn across the threshold. Passing through the archway will require engraving the correct counter-formula with an appropriate instrument.\n\n> Go upward\nYou slip on your clawed gloves and begin climbing.\n\nThe walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length\nof the hall. To the west is a huge door.\n\nEXITS: EAST DOWN WEST\n\nOn the long couch are a flail and a cinqueda.\n\n> You examine the flail\nA heavy spiked ball on a chain. The spikes are blunted somewhat after repeated impacts on various battlefields. Its attack power is 3.\n\n> You examine the cinqueda\nAn Italian blade, broad at its base, pointed at its tip. Its attack power is 3.\n\n> You look at the couch\nconversation related to the Ch??teau Semix. Viewed up close, it fails to match its reputation; you will grant, however, that it is the longest couch you have ever seen.\n\n> You examine the curtains\nYou look behind the curtains. There's nothing there."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, multiple protagonists, vampires, castle]\n\n> Look around\nThe walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length\nof the hall. To the west is a huge door.\n\nEXITS: EAST DOWN WEST\n\n> You look at the candelabrae\nThe magics that maintain a low flame on each taper are entirely legal.\n\n> You unlock door\nWhat do you want to unlock the huge door with?\n\n> You go east\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nEXITS: EAST WEST\n\nThere is a human here, pacing at the far end of the table. He has not marked your arrival.\n\n\"Are you in the employ of the Marquis?\" you call across the hall.\n\nHis surprise fades quickly. \"I am,\" he says, \"by my own will.\"\n\n\"That's what thralls are usually commanded to say,\" you mutter???but he hears you perfectly.\n\n\"I assure you I am no thrall, Inquisitor. I am Sectiert du Noyes, and my will is my own.\" He begins traversing the length of the hall to\nmeet you. \"The Marquis has promised unimaginable rewards in return for my assistance in his research. He requires human test subjects, their minds unclouded by vampiric magic. Until his experiment is ready, I am free to roam the Ch??teau, to do as I please. He has advised me???\"\n\nNow he stands before you with an expression of despicable self-satisfaction. \"???Advised me, not commanded???to prevent any interference by nosy Inquisitors.\"\n\nHe draws a cutlass from behind his back.\n\n> Go west\nA rough-hewn passage beneath the castle, visited only by the least welcome and most desperate guests of the Marquis. Certain flagstones\nof the floor are carved with certain strange symbols.\n\nEXITS: EAST DOWN WEST\n\n> Go upwards\nYou dig your claws into the wall and begin climbing.\n\nThe walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length\nof the hall. To the west is a huge door.\n\nEXITS: EAST DOWN WEST\n\n> You go to the east\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nEXITS: EAST WEST\n\nSectier is still here, still ready with his cutlass.\n\n> You examine table\nFor whatever reason, this very long table never comes up when people are talking about the very long couch in the lounge. A rusty carving knife is nearby.\n\n> You take knife\n(the white dagger)\nYou already have that.\n\n> You look at it\nA rusty blade originally intended for dismembering roast turkeys, not one's enemies. Its attack power is 2.\n\n> You kill with the horn\nYou swing the horn around and thrust it into Sectiert, dealing 4 damage. The horn explodes into moist dust.\n\nSectiert swings his cutlass, but only manages to scratch the hem of your cape.\n\n> You kill with the mace\nYou slam the mace into Sectiert. The mace bursts into a cloud of shrapnel, but not before dealing 3 damage.\n\nA curious expression falls over Sectiert's face. He seems shocked, though you cannot see by what. You wonder if he is about to vomit.\n\nThen he melts, all at once. Then his liquid remains begin to bubble\nand steam, and the so-called human evaporates completely.\n\nLeft behind on the floor are a cutlass and a key.\n\n> You kill with the carving knife\nYou stab with the carving knife. The blade snaps, but Sectiert takes 2 damage.\n\nA curious expression falls over Sectiert's face. He seems shocked, though you cannot see by what. You wonder if he is about to vomit.\n\nThen he melts, all at once. Then his liquid remains begin to bubble\nand steam, and the so-called human evaporates completely.\n\nLeft behind on the floor are a cutlass and a key.\n\n> You kill with the dagger\nYou stab the dagger into Sectiert and deal 1 damage. The blade shatters.\n\nSectiert pushes back, hoping to bury his cutlass in your heart. But\nyou are too fast.\n\n> You take all\nmaster's key: Taken.\ncutlass: Taken.\n\n> You examine the key\nA heavy iron key on a black ribbon.\n\n> You look at the cutlass\nA crude weapon, eminently suitable for a human. Its attack power is 2.\n\n> About yourself\nPublicly the Orthodoxy takes pains to assure its subjects that Inquisitors are not above the law. This is a pleasant fiction. Inquisitors are empowered to meld the law according to their needs, to invent edicts or forget them at will, so long as it serves the aims of the Orthodoxy. In the earliest decades of your career, you availed yourself of these privileges frequently, reveling in the arbitrary power of your position.\n\nnot resort to such inelegances. The true law, unadulterated by situational convenience, is just and complete. It is sufficient in all respects, so long as it is wielded with skill and patience. Thus it is said privately, and not repeated outside the halls of the Orthodoxy, that only the best Inquisitors are not above the law.\n\nYou are the Inquisitor Vultrine, ranked among the best."
    },
    {
        "text": "> Look around\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nEXITS: EAST WEST\n\n> You cut the couch\nCutting it up would achieve little.\n\n> You unlock the door with the key\nYou unlock the huge door.\n\n> You go to the west\n(first opening the huge door)\n\nVelvet spills over the grand stairway in a crimson flood. The huge\ndoor to the east stands open, and wind whistles down the length of the castle.\n\nHigh on the wall are displayed the arms of the Marquis Semix.\n\nEXITS: UP EAST WEST\n\n> You wear the gloves\nYou're already wearing those!\n\n> You take the longsword\nYou claw your way up the wall.\n\nYou reach out with one hand for Harcheque and grab it; however, in the same movement you knock Thembriaud loose. The poleaxe falls to the floor.\n\nYou hop back down with Harcheque safe in your hands.\n\n> You check your inventory\nYou are carrying:\nThembriaud\nHarcheque\na cutlass\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na mace\na scimitar\na torn cape (being worn)\na white dagger\n\n> Unlock case with key\nYou unlock the steel display case.\n\n> Open case\nYou open the steel display case.\n\n> You take all from the case\nsuit of samurai armor: You have no need for such protections.\nkatana: Taken.\nwakizashi: Taken."
    },
    {
        "text": "> You go down\nVelvet spills over the grand stairway in a crimson flood. The huge\ndoor to the east stands open, and wind whistles down the length of the castle.\n\nHigh on the wall are displayed the arms of the Marquis Semix.\n\nEXITS: UP EAST WEST\n\n> You unlock the door with the key\nYou unlock the oak door.\n\n> You go to the east\n(first opening the oak door)\n\nThe Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless.\n\nA chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently.\n\nEXITS: UP WEST\n\n> You look at the bed\nThere is something of the funeral pall in the black velvet draped over the bed.\n\n> You look under the bed\nUnder the bed is a silver chamber pot and a machete.\n\n> You examine the pot\nYou contemplate the object disdainfully. Such things are below the pay grade of an Inquisitor.\n\n> You examine the machete\nA long, chipped blade, utilitarian in design. Its attack power is 3.\n\n> You examine the fireplace\nA merely decorative hearth, devoid of ashes. A silver poker stands nearby.\n\n> You look at the poker\nA fireplace poker, forged from silver. Such extravagance, while not illegal, is certainly unforgivable. Its attack power is 5.\n\n> You examine the tapestry\nThe tapestry depicts the Battle of Noyes, albeit in highly\nromanticized manner. The towers of the Ch??teau are visible above the trees, though in fact the forest of Noyes is miles away from the castle. Further, the forces of the (former) Marquis Semix and the bandit captain Elandrique as woven here are shown to be evenly\nmatched; in truth, Elandrique was hopelessly outnumbered, and some contemporaneous sources report that she offered surrender.\n\nCurrents of wind coil around your boots, flowing under the tapestry.\n\n> You search it\nYou pull the tapestry to the side and confirm your suspicions: A\nnarrow hallway is hidden behind, leading east.\n\n> You go east\nHere the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed\nredoubt in recent years.\n\nA rusty lever is set in the far wall.\n\nEXITS: WEST\n\nA metallic rattle pierces the eerie silence, and a dark form emerges from the shadows. A figure in black armor???No, a suit of armor itself, acting on its own power, lumbers toward you. It raises an enormous greatsword.\n\n> You kill with the longsword\nWhich do you mean, the katana or Harcheque?\n\n> Harcheque\nblow, dealing 6 damage. The legendary weapon crumbles to dust.\n\nThe armor swings its greatsword at you, and manages to slice off a bit of your cape.\n\n> You kill with katana\nYou plunge the katana into the suit of armor. It takes 5 damage. The blade itself crumbles to dust.\n\nThe armor stands still. The ??? on its helmet fades away.\n\nIt falls to the floor and crumbles into dust. Only its greatsword remains.\n\nFloating above the dust are two motes of magic, which you recognize as a word of animation and a word of injunction: The spells that gave these plates of steel a semblance of life. You take possession of\nthem, predicting you'll find some use for them later.\n\n> You check your inventory\nYou are carrying:\na silver poker\na machete\na wakizashi\na katana\nThembriaud\na cutlass\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na mace\na scimitar\na badly torn cape (being worn)\na white dagger\n\n> You kill with the cinqueda\nYou drive the cinqueda into the suit of armor and deal 3 damage???but the blade is shattered.\n\nThe suit of armor slices back at you???You duck just in time.\n\n> You check your inventory\nYou are carrying:\na word of injunction\na word of animation\na silver poker\na machete\na wakizashi\nThembriaud\na cutlass\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na mace\na scimitar\na badly torn cape (being worn)\na white dagger\n\n> You look at the injunction\nThe word of injunction is a magic spell which you hold more in your mind than in your hand. Its attack power is 4.\n\n> You look at the animation\nmind than in your hand. Based on your limited expertise in these matters, you believe it to be related to the ??? rune you saw etched into the walking armor's helmet.\n\n> You examine the greatsword\nA huge two-handed sword with a very broad, asymmetrical blade. Its attack power is 5.\n\n> You take it\nTaken.\n\n> You look at the lever\nYou can deduce that this lever is very rarely used."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, spiders, vampires, combat, Comedy, multiple protagonists]\n\n> Look around\nHere the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed\nredoubt in recent years.\n\nA rusty lever is set in the far wall.\n\nEXITS: WEST\n\n> You pull the lever\nYou pull back on the lever. It resists, and squeals in hideous\nprotest, but then it gives way???and the chamber rumbles violently. The floor shakes, and sections begin to plunge down as if an insidious\ntrap has been activated.\n\nBut when the noise and shaking stop, you see that the floor has reformed itself into a staircase leading to the room below."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, spiders]\n\n> Go downward\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nThere's a staircase sticking out of the ceiling.\n\nEXITS: UP EAST WEST\n\n> You go upwards\nHere the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed\nredoubt in recent years.\n\nA rusty lever is set in the far wall.\n\nEXITS: DOWN WEST\n\n> You go west\nThe Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless.\n\nA chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently.\n\nEXITS: UP EAST WEST\n\n> Go upwards\nRain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other,\nstatues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent.\n\nEXITS: UP DOWN WEST\n\n> You examine Nephreine\nNephreine is one of the heroines in Yvenne d'Abelune's novel The Scarred Palm, expertly realized here in copper. The character is instantly recognizable from the combination of beauty and ruthlessness in her face, and the harp in her hands.\n\n> You examine the harp\nA nonmusical harp made of copper, for a statue of Nephreine. Its\nattack power is 4.\n\n> You look at Alithedora\nScarred Palm, that infamous novel of Yvenne d'Abelune. The\nexpression on this copper statue captures not only Alithedora's mischievousness, but the sadness she took such pains to keep hidden.\nSo in that sense, the statue is not entirely accurate.\n\nAlithedora holds her walking stick loosely at her side.\n\n> You examine the stick\nA long copper staff, sculpted to look like gnarled wood. Its attack power is 4.\n\n> You go to the west\nYou follow the walkway west, and eventually a tower becomes visible through the storm: A door, and windows alive with greenish light.\n\nThen your nose stings???Then your eyes, the back of your throat. Now you\nsee a the vapor flowing from out of the windows and door, dissipated only slightly by the surrounding wind and rain: An unbearable mephitis radiates from this tower, a noxious atmosphere you cannot bring yourself to enter. You are forced to turn back, and wonder how you could overpower such an awful odor."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, combat, spiders, multiple protagonists]\n\n> Go downward\nThe Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless.\n\nA chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently.\n\nEXITS: UP EAST WEST\n\n> You say the animation\n(to yourself)\nYou don't respond.\n\n> You say the animation to the flagstone\nYou can only do that to something animate."
    },
    {
        "text": "> Go down\nYou speak the word of animation, and the ??? glyphs glow as the flagstones themselves rise up out of the floor, revealing a passage into the deeper foundations of the Ch??teau Semix.\n\nA crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This\nchamber must predate the Ch??teau above by some millennia. It made no appearance in any of your researches.\n\nThe sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns.\n\nEXITS: UP\n\n> You examine the sarcophagus\nThe sarcophagus was not brought here: It was carved out of the living rock, like the walls and floor.\n\n> You examine the northern urn\nThe urns transcribe the points of a heptagon around the sarcophagus: Seven vessels of beaten iron, from an age when iron was valued more highly than gold. This one is closed.\n\n> You examine the quicksilver\nA quantity of liquid hydrargyrum metal rests in the bottom of the urn.\n\n> You look at the clay tablet\nSome sort of pre-linguistic figures are pressed into the dried clay.\n\n> You open the eastern urn\nYou open the eastern urn, revealing a milky gem.\n\n> You examine the gem\nAn unremarkable stone. You are at a loss as to the reason for its interment here.\n\n> You open the southeastern urn\nYou open the southeastern urn, revealing a shriveled brain.\n\n> You examine the brain\ncenturies ago.\n\n> You examine the needle\nYou can detect a primal magic about this needle, which may have been carved from the tusk of a woolly mammoth. Its attack power is 6.\n\n> You open the western\nYou open the western urn, revealing a wooden idol.\n\n> You examine the idol\nA humanoid figure, expertly carved. A line painted around its neck may represent some sort of necklace.\n\n> You open northwestern\n(the northwestern urn)\nYou open the northwestern urn, revealing a blackened thorn.\n\n> You look at the thorn\nAn inch-long thorn cut from a nameless vine or flower, now extinct. A dark, unidentifiable residue coats the tip.\n\n> Open sarcophagus\nYou begin to push the heavy lid aside. This requires some effort, even for a vampire of your considerable strength.\n\nA hand reaches out of the casket to assist you.\n\nYou leap backward in shock, and look on speechlessly as the desiccated appendage completes the task of removing the basalt slab. Then the limb's owner rises from its sarcophagus: A humanoid shape, a full foot taller than you, though of emaciated aspect. Its body was once wrapped in linen bandages; most of these have disintegrated, revealing the time-blackened tissues beneath. An iron torc is fastened round its withered neck.\n\nThe mummy grips a blade of chipped stone and takes a step toward you.\n\n> You hit the mummy with the needle\nYou stick the mummy with the ivory needle, dealing 6 damage. The needle, having waited millennia to serve its purpose, melts and disappears.\n\nThe mummy lunges???how could it be so fast????and its blade tears silently\nthrough your cape.\n\n> You hit the mummy with the greatsword\nThe greatsword smashes into the mummy and deals 5 damage. Then it explodes.\n\nThe mummy brings its dagger within an inch of your neck.\n\n> You hit mummy with poker\nYou plunge the poker into the mummy, though the holy metal stings your fingers even through your gloves. The weapon deals 5 damage and explodes.\n\nThe mummy's dagger plunges at your heart???but you push its stringy arm to the side.\n\n> You hit the mummy with the injunction\nYou speak the word of injunction: The body of the mummy is racked with intense force, taking 4 damage. But the spell fades away.\n\nA weak groan issues from the mummy's mouth.\n\nIt slumps forward, about to fall to its knees???but in mid-fall it crumbles to dust. The only sound is of its stone blade clattering to the floor.\n\nYou step over the mummy's remains to look inside its sarcophagus. It has left behind another artifact: an athame carved from bone.\n\n> You look at it\nThe bone of some impossibly ancient beast, carved by the earliest practictioners of magic into a ritual instrument. The brittle point is useless as a weapon, but it would be profoundly effective in the engraving of certain sigils and glyphs.\n\n> You examine blade\nThe material used in the blade's manufacture is beyond the reach of your geologic acumen. Its deadly sharpness appears to have been enhanced by some unrecognizably primitive magic. Its attack power is\n7."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, vampire, castle, multiple protagonists, vampires, intense, spiders, combat]\n\n> Look around\nA crypt of antediluvian design, perhaps at first a natural cave, hewn by its original discoverers into a roughly circular shape. This\nchamber must predate the Ch??teau above by some millennia. It made no appearance in any of your researches.\n\nThe sloped floor descends toward a basalt sarcophagus, surrounded by seven iron urns.\n\nEXITS: UP\n\n> You go west\nthis pit, their remains mingled by the depredations of scavengers.\n\nEXITS: UP EAST\n\n> Go upwards\nYou dig your claws into the wall and begin climbing.\n\nGuests of the Marquis who fail to make a good first impression are flung into the pit that takes up most of this chamber.\n\nThe Marquis leans over the balcony, following your movements with a bored sneer.\n\nEXITS: UP EAST DOWN WEST\n\n> Go upwards\nYou dig your claws into the wall and begin climbing.\n\nThis lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby.\n\nEXITS: EAST DOWN\n\nThe Marquis seems delighted that you've taken the initiative to meet him face-to-face, but he says nothing???He only chortles and swirls his scythe dramatically.\n\n> You kill with the blade\nsmoothness. You deal 7 damage???but the weapon shatters.\n\nThe Marquis swings his scythe???tearing your cape.\n\n> You kill with the harp\nThe harp is an awkward weapon, but you quickly judge how best to slam it into the Marquis. Your foe takes 4 damage, but the instrument does not survive the process.\n\nThe Marquis falls to his knees, leaning heavily on his scythe. His\nform swirls and fades, like a drop of ink dissolving in a glass of water. Your suspicions were correct: This is not the Marquis himself, but a phantom, programmed to taunt and distract you.\n\nWith a rattling gasp, the specter dissipates into a milky fog, and his scythe clatters to the balcony floor. The gaseous ghost-form, obeying your implicit instructions, rises up into your nostrils and suffuses your body. After taking a moment to integrate the substance, you look down at your hands: With some small concentration, you cause them to fade away for a moment.\n\n> You kill with the machete\nThe machete connects with the Marquis and deals 3 damage before bursting into useless splinters.\n\nThe Marquis falls to his knees, leaning heavily on his scythe. His\nform swirls and fades, like a drop of ink dissolving in a glass of water. Your suspicions were correct: This is not the Marquis himself, but a phantom, programmed to taunt and distract you.\n\nWith a rattling gasp, the specter dissipates into a milky fog, and his scythe clatters to the balcony floor. The gaseous ghost-form, obeying your implicit instructions, rises up into your nostrils and suffuses your body. After taking a moment to integrate the substance, you look down at your hands: With some small concentration, you cause them to fade away for a moment.\n\n> You kill with the cutlass\nYou slice into the Marquis with the cutlass and deal 2 damage. The flimsy weapon turns to dust immediately.\n\nThe Marquis falls to his knees, leaning heavily on his scythe. His\nform swirls and fades, like a drop of ink dissolving in a glass of water. Your suspicions were correct: This is not the Marquis himself, but a phantom, programmed to taunt and distract you.\n\nWith a rattling gasp, the specter dissipates into a milky fog, and his scythe clatters to the balcony floor. The gaseous ghost-form, obeying your implicit instructions, rises up into your nostrils and suffuses your body. After taking a moment to integrate the substance, you look down at your hands: With some small concentration, you cause them to fade away for a moment.\n\n> You kill with the dagger\nYou stab the dagger into the Marquis and deal 1 damage. The blade shatters.\n\nYou duck beneath another swing of the glittering scythe.\n\n> You examine the scythe\nA farming implement turned toward violence. Its attack power is 3.\n\n> You look at the balcony\nOn the other side of the ghost-glass is the museum gallery.\n\n> You look at the statue\nThe limestone form of some minor demon, its expression carved to\ncreate the sense that this statue, resentful of its station, is nonetheless powerless to defy its master. It grips a little sickle in one hand.\n\n> You look at sickle\nA moon-shaped blade with a short handle. Its attack power is 4."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, intense, Comedy, multiple protagonists, combat]\n\n> Look around\nThis lens-shaped platform is bounded by a low marble railing on one side and the eastern wall on the other. A ghost-glass window is set in the wall; a horned statue stands sentry nearby.\n\nEXITS: EAST DOWN\n\n> You check your inventory\nYou are carrying:\na sickle\na scythe\nthe form of the ghost\nan athame\na copper walking stick\na copper harp\na word of animation\na machete\na wakizashi\nThembriaud\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na mace\na scimitar\na tattered cape (being worn)\na white dagger\n\n> You look at the ghost\nThe form of the ghost resists any physical interaction. It is, in\nfact, entirely insubstantial???and this is the basis of its utility.\n\n> You go east\nYour body melts into bluish, incorporeal smoke, and you pass through the glass.\n\nNumerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindr??, a framed family tree, a Japanese warrior's equipment in an elaborate display case.\n\nA pane of ghost-glass to the west offers a view of the balcony. The\noak door to the east is open.\n\nEXITS: EAST DOWN WEST\n\nYou reconstitute your physical form."
    },
    {
        "text": "> You go down\nVelvet spills over the grand stairway in a crimson flood. The huge\ndoor to the east stands open, and wind whistles down the length of the castle.\n\nHigh on the wall are displayed the arms of the Marquis Semix.\n\nEXITS: UP EAST WEST\n\n> You take all from the casket\nruby lens: You discorporate your hand so as to reach through the\nglass.\n\nTaken.\ngladius: You discorporate your hand so as to reach through the glass.\n\nTaken.\n\n> Go upwards\nYou dig your claws into the wall and begin climbing.\n\nThe walls of this chamber are hung with dark curtains, flickering in the light of tall candelabrae. An ostentatious couch runs the length\nof the hall. To the west is a huge door.\n\nEXITS: EAST DOWN WEST\n\n> You go to the east\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nThere's a staircase sticking out of the ceiling.\n\nEXITS: UP EAST WEST\n\n> You go to the east\nYour body melts into bluish, incorporeal smoke, and you pass through the glass.\n\nA labyrinth of sculpted greenery stretches before you: A frivolous distraction. You climb atop the hedge-wall, and find it solid enough\nto traverse.\n\nThe rain is relentless.\n\nEXITS: EAST WEST\n\nYou reconstitute your physical form.\n\n> You go east\nThose who manage to navigate the hedge maze are rewarded with this nightmarish sight: Giant roses growing wild over what was once a tasteful garden, thorny tendrils spreading like a blight across the yellowed grass. The intense collective aroma of all these flowers, while not unpleasant, is almost enough to make you swoon.\n\nEXITS: WEST\n\nA woman is growing among the vines. She blinks at you languidly. You wave.\n\n\"Good evening, mademoiselle. I have come here seeking information concerning the Marquis.\"\n\n\"You have come to assassinate the Marquis,\" she hisses. \"I have been apprised of your arrival, Inquisitor.\"\n\nYou bow stiffly. \"An unnecessary and unbecoming deception. I beg your pardon, mademoiselle.\"\n\n\"My name is Mandragora,\" she says, as lightning illuminates her\nemerald skin. \"and I am bound by duty to destroy the enemies of the Marquis.\"\n\n\"I see. I, similarly, am bound by duty to destroy the accomplices of the Marquis, as well as his experiments.\"\n\n\"Your duty is of no interest to me, Inquisitor. Come and face me, or else leave my garden.\" Mandragora's tendrils ripple around her, and\nthe field of brambles lurches toward you as a single body.\n\nYou nod. \"Very well. My name is Vultrine, by the way.\"\n\n> You examine the woman\nIt is not illegal to grow a living, thinking plant, but it does seem cruel: This woman will never see anything beyond the walls of this garden. She will never visit museums, or climb mountains, or walk\nalong a beach.\n\nYou cut your sympathies short: This individual is interfering with\nyour investigation. She must be dealt with.\n\n> You examine the flowers\nThe flowers are unnaturally robust, probably as a result of\nmelliphytic interference.\n\n> You hit with stick\nYou bring the walking stick down on Mandragora and deal 4 damage. The stick itself snaps in half and is destroyed.\n\nMandragora swipes at you with a thorny vine, cutting an ugly gash in your cape.\n\n> Hit with the sickle\nYou slice into Mandragora with the sickle, dealing 4 damage. The blade snaps off, and the weapon is destroyed.\n\nAnother lash from Mandragora's tendrils lands painfully on your cheek.\n\n> Hit with gladius\nYou plunge the gladius into your enemy, dealing 4 damage. The weapon\nis disintegrated by the force of impact.\n\nYou duck to avoid one of her attacks???and are momentarily ensconced in a pit of brambles. But you pull yourself out.\n\n> You hit with the scythe\nYou swing the scythe in a deadly arc, dealing 3 damage. The scythe shatters.\n\nShe stops moving. She blinks.\n\nAnd then she withers away, and her form is not that of a woman, but of a gnarled twig. Her brambles blacken and fall to pieces. Only the\nroses remain.\n\nAnd one length of vine, covered in thorns.\n\n> You look at the vine\nA vine that Mandragora used in her attempt to kill you. The thicker\nend is smooth enough to grip as a handle; the opposite end is covered in menacing thorns. Its attack power is 7.\n\n> You look at what you're carrying with you\nYou are carrying:\na thorn whip\na ruby lens\nthe form of the ghost\nan athame\na copper harp\na word of animation\na machete\na wakizashi\nThembriaud\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na mace\na scimitar\na tattered cape (being worn)\na white dagger\n\n> You examine the cape\nLong gouges have been torn out of your beloved cape. It remains to be seen whether Clarienne will be able to restore it.\n\nYou resolve not to let the question bother you. Clarienne is a miracle worker.\n\n> You look\nA field of oversized roses, filling the air with unbearable sweetness. At their center is the stump that once was Mandragora.\n\nEXITS: WEST\n\n> You look at the stump\nA vaguely humanoid bit of plant matter is all that remains of Mandragora. It's not impossible that she'll manage to regrow herself???Perhaps in a few years.\n\n> You take the roses\nYou pick one rose and install it in your buttonhole. At once you feel yourself surrounded by an aura of its cloying perfume.\n\n> Go west\nStanding atop the hedges, you can dash from one end of the maze to the other in a few moments.\n\nThe rain is relentless.\n\nEXITS: EAST WEST\n\n> You go west\nYour body melts into bluish, incorporeal smoke, and you pass through the glass.\n\nThere has been no feasting here for some time, and the long table is covered in dust. At the east end of the room, a grand window looks out on the Ch??teau gardens.\n\nThere's a staircase sticking out of the ceiling.\n\nEXITS: UP EAST WEST\n\nYou reconstitute your physical form.\n\n> You go upwards\nHere the walls are bare wood, and dust covers the cold stone floor. It is doubtful that the Marquis has found a use for this concealed\nredoubt in recent years.\n\nA rusty lever is set in the far wall.\n\nEXITS: DOWN WEST\n\n> You go west\nThe Marquis does not sleep here (or indeed at all). The great bed is unused, the fireplace is spotless.\n\nA chill wind issues from the spiral staircase, and a tapestry hung on the easten wall ripples gently.\n\nEXITS: UP EAST WEST\n\n> Go upwards\nRain falls in sheets, and the narrow walkway is like a sluice. On one side is the tower wall, ascending into the storm; on the other,\nstatues of Nephreine and Alithedora look out over the countryside, serenely ignoring the precipitous drop to the castle grounds at their feet. Happily, a staircase nearby enables a safer descent.\n\nEXITS: UP DOWN WEST\n\n> Go west\nThe rose's atmosphere surrounds you, forming a bubble of sweet air\nwith enough solidity to repel the toxic gas surrounding the western tower. You continue along the walkway and enter.\n\nHere, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes.\n\nAnd most damning of all, in the far corner of the chamber is a\npinprick of darkness???a rent torn through the very air???through which a\nviridescent miasma is slowly leaking into this dimension.\n\nEXITS: EAST\n\nA loose page lies on the workbench, with some sort of formula scrawled on it.\n\n> You take page\nAt the first step you take toward the workbench, something skitters\nout from underneath it: A furry, many-legged creature you cannot immediately recognize.\n\nIt opens a toothy maw and growls breathily at you, standing between\nyou and the pitted desk. It dawns on you that this is a famulus, conjured by the Marquis. Besides interfering with your investigation, the monster itself is illegal.\n\n> You examine the famulus\nA melliphytic famulus is sculpted with the limbs, sensory organs???even the specific intellectual faculties required by its summoner. Presumably when this one is not acting as a mere guard dog, it is able to assist the Marquis in his depraved studies.\n\n> Hit with the vine\nYou swipe at the famulus with the thorny whip, slicing deep and\ndealing 7 damage. But then the whip withers away, like the rest of Mandragora's armament.\n\ncape, tearing off a sizable strip of fabric.\n\n> You hit with the poleaxe\nYou bring down Thembriaud with a mighty swing and deal 5 damage. The legendary weapon is destroyed.\n\nThe famulus tries to bite down on your arm, but you smack it away.\n\n> You hit with the mace\nYou slam the mace into the famulus. The mace bursts into a cloud of shrapnel, but not before dealing 3 damage.\n\nThe famulus utters one last creaking whine???and then it disappears with\na hideous popping sound.\n\nA magic particle rises into the air over the spot: A spell you recognize as a word of vexation. This must have been what imparted\nsuch orneriness to the creature. You take possession of it.\n\n> You hit with the scimitar\nWith a practiced hand you slice into the famulus and deal 2 damage.\nThe force of your blow is enough to snap the blade into two pieces of useless steel.\n\nThe famulus whines pitifully???and then climbs up your shirt, to snap at\nyour neck. You shove it back to the floor.\n\n> You examine the vexation\nThe word of vexation is a magic spell which you hold more in your mind than in your hand. Its attack power is 7.\n\n> You look at the page\nThe formula on the scrap of paper is a glyph of interruption, specifically designed to suspend the effects of some other magic for a limited time. To inscribe the glyph would require a specialized ritual instrument.\n\n> You examine the pinprick\nThe perforation is so miniscule in size as to seemingly disappear when observed directly. You have dealt with such things before, however: Even the most diminutive of melliphytic phenomena can have disastrous effects.\n\n> You look at miasma\nThe gas flows steadily out of the air, filling the laboratory,\ndrifting out of the windows. It will go on flowing out of the Ch??teau, across the countryside, into farms and villages. You will have to procure a specialist to seal the perforation as soon as possible???as soon as you have executed your own duties.\n\n> Examine banned\nYour instinct is to destroy the most heretical books at once, but they will need to be taken in as evidence after you've dealt with the Marquis.\n\nA spherical vial of hythic acid is sitting atop one shelf.\n\n> You examine the vial\nThough it has applications in any number of unseemly or unlawful endeavors, mere possession of hythic acid is perfectly legal. Its attack power is 6.\n\n> You look\nHere, if any further evidence were needed, is proof positive: The Marquis is not merely dabbling, but devoting considerable resources to his study of melliphysis. You recognize the banned materials on the bookshelves at a glance. Diagrams on the wall depict physical space being folded into unnatural shapes.\n\nAnd most damning of all, in the far corner of the chamber is a\npinprick of darkness???a rent torn through the very air???through which a\nviridescent miasma is slowly leaking into this dimension.\n\nEXITS: EAST\n\n> You go to the east\nYou lean down and carve the glyph of interruption with the athame, suspending the enchantment just long enough for you to pass through\nthe archway.\n\nSlumped stalagmites surround a pool of greenish liquid, its depths obscured by unnatural mist.\n\nEXITS: WEST\n\n> You look at the pool\nYou peer over the edge of the pool.\n\nSomething peers back up at you.\n\nIt swims up at you, undulating eerily, faster and faster until it emerges with a viscous splashing at the water's edge. You recognize\nits shape: A Nemertean.\n\n\"Ah, a friend of the Marquis,\" it utters, the words muffled by its many-lobed mouth. \"I was not apprised of your visitation. All the\nsame, I am happy to take on another pupil.\"\n\n\"Then it was you who instructed the Marquis in the art of\nmelliphysis?\" you ask.\n\nIts eye opens in a grim smirk. \"I recognize the questioning of an Inquisitor,\" it spits back. \"You may spare me any rehearsed remarks upon the necessity of my eradication???I have had it all from your predecessor, in the moments before he was devoured.\"\n\nYou nod. \"Then I will proceed directly to the eradication.\"\n\n\"Attempt this if you must,\" it says, unsheathing a chitinous pincer, \"but I have fed so recently???It is all the same to me if you choose to flee with your life.\"\n\n> Hit with the vexation\nYou speak the word of vexation: The Nemertean shrieks in unfathomable fury, taking 7 damage. But the spell fades away.\n\nThe Nemertean's membranes billow, and it flies up into the dark\nheights of the cave.\n\nIt swoops down upon you???you leap out of the way???your cape is caught in\nits pincer.\n\nIt yanks on the tattered garment, drawing you in. You pull in the\nother direction until your cape is torn from your shoulders. You leap out of range and whirl around to see the monster shredding what remained of your cape to ribbons. Then it turns toward you.\n\n> You hit with the vial\nThe vial shatters, and hythic acid splashes all over the Nemertean.\nThe liquid then erupts in flames, dealing 6 damage.\n\nThe Nemertean thrusts in response, but you dodge the blow.\n\n> You check your inventory\nYou are carrying:\na glyph of interruption\na rose (being worn)\na ruby lens\nthe form of the ghost\nan athame\na copper harp\na word of animation\na machete\na wakizashi\nthe master's key\na cinqueda\na flail\nsome clawed gloves (being worn)\na scimitar\na white dagger\n\n> You hit with the flail\nYou swing the flail around and around, building up speed???Then you swing it into the Nemertean, and it explodes, dealing 3 damage.\n\nYou duck behind a stalagmite to avoid another swipe of the creature's pincer.\n\n> You hit with the harp\nThe harp is an awkward weapon, but you quickly judge how best to slam it into the Nemertean. Your foe takes 4 damage, but the instrument\ndoes not survive the process.\n\nThe bulbous creature stops in its tracks.\n\n\"Have it your own way, Inquisitor. Go and wreak your justice upon the Marquis. We Nemerteans love nothing more than to see vampire turn against vampire.\"\n\nThe noise it produces next might be a hollow laugh, or else a death-rattle: For the Nemertean collapses, its unearthly organs squelching and shriveling before your eyes.\n\nYou look over the remains: Its air-membrane, shrunken into a form not unlike your beloved silk cape, and its deadly pincer.\n\n> You examine pincer\nOne of the few rigid elements of Nemertean anatomy is the pincer. A grisly trophy to be sure, but its efficacy in combat far outweighs its distastefulness. Its attack power is 8.\n\n> You look at the membrane\nThe material is remarkably smooth and soft, considering its origin.\nYou have seen firsthand how its folds take in surrounding air and converts the pressure into a powerful upward force."
    },
    {
        "text": "> You describe your surroundings\nSlumped stalagmites surround a pool of greenish liquid, its depths obscured by unnatural mist.\n\nEXITS: WEST\n\n> You examine mist\nAn unaccountable quantity of vapor covers the water's surface,\ncreeping out over the stone, as if seeking to infiltrate the Ch??teau beyond.\n\n> You examine stone\nEach mass of stone seems to ooze indolently over itself, creeping toward the dark pool.\n\nA sword is sticking out of one of the stalagmites???It must have been thrust into the rock with considerable force.\n\n> You take the sword\n(the white rapier)\nYou grab hold of the rapier's hilt and pull.\n\nIt doesn't budge.\n\n> You look at the sword\nWhich do you mean, the white rapier, the machete, the cinqueda, or the scimitar?\n\n> You pull the white rapier\nYou set your feet and pull harder at the rapier.\n\nThe blade seems to shift in the rock. A little.\n\n> Keep going\nYou heave once more, and the rapier slides out of the stalagmite with such ease that you stumble backward a bit.\n\n> You examine white rapier\nThis rapier was wielded by Udolphon, the first Inquisitor assigned to investigate the Marquis. While examining it closely, you perceive in yourself an unprofessional desire to ensure he is avenged. Its attack power is 8.\n\n> Go upwards\nNumerous objets d'art and historical oddities are on display in this museum hall: A portrait of the Marquis, the statue of Gaspard Oindr??, a framed family tree, a Japanese warrior's equipment in an elaborate display case.\n\nA pane of ghost-glass to the west offers a view of the balcony. The\noak door to the east is open.\n\nEXITS: EAST DOWN WEST\n\n> You go up\nYou dig your claws into the wall and begin climbing.\n\nA lesser Inquisitor might lose one's footing on this steeply pitched roof, in this torrential downpour, but fortunately the Orthodoxy gave this particular assignment to their most skilled agent.\n\nA gap in the roof and a few loose bricks indicate that some section of the castle was forcibly removed from this spot. Looking up, you see what happened: The tower is floating in the clouds above the Ch??teau. That is most certainly illegal.\n\nEXITS: UP DOWN\n\n> You look at the bricks\nBricks are littered across the roof. A nearby specimen possesses a particular imposing jaggedness.\n\n> You examine brick\nA squarish piece of rock with a knifelike edge. Its attack power is 3.\n\n> You look at the gap\nA roughly circular hole has been punched out of the roof. There\nappears to be nothing of interest below.\n\n> You examine tower\nThough the places where it formerly connected to the Ch??teau bear the impressions of remarkable violence, the better part of the tower is surprisingly intact. It is in the first place surprising (though much of the shock has now worn off) that such a massive structure could be made to levitate independently at all. The melliphytic energies required must be colossal. The Orthodoxy will be furious???unless you bring the Marquis to justice.\n\nA glow from within indicates that the tower is currently occupied.\n\n> You go upwards\nYou raise your cape around you and catch a gust of wind???\n\n???It bears you up into the tempest, up to the tower.\n\nYou land lightly on the rain-slick floor. Thunder shakes the tower,\nand then a voice booms: \"You're too late, Inquisitor.\"\n\nA vortex of twisted space hangs over the tower, whipping the wind and clouds into a maelstrom. You can feel it pulling on you, as well.\n\nEXITS: DOWN\n\n\"Too late for what?\" you ask.\n\nThe Marquis glides toward you, unperturbed by the howling winds. \"The Gate is open,\" he explains, \"and shortly it will be under my control.\nI have solved the equations. All that remains is the psychical component???of bending the Gate to my will.\"\n\n\"I'm afraid that won't be possible,\" you tell him. \"Marquis Semix, in the name of the Orthodoxy, I hereby arrest you on charges of research and experimentation in melliphysis, the knowledge or application of which is a capital crime, and on various related charges to be enumerated before a magistrate. You have the right to stand trial and speak or be spoken for in your defense. Do you choose to exercise this right?\"\n\n\"I do not,\" he sneers. He stretches out his fingers to show you long, barbed claws.\n\n\"Very well. In that case, the Orthodoxy sentences you to death, and obliges me carry out your execution at my earliest convenience.\"\n\n> Inventory\nYou are carrying:\na jagged brick\na white rapier\na membranous cape (being worn)\na Nemertean pincer\na glyph of interruption\na rose (being worn)\na ruby lens\nthe form of the ghost\nan athame\na word of animation\na machete\na wakizashi\nthe master's key\na cinqueda\nsome clawed gloves (being worn)\na scimitar\na white dagger\n\n> You hit with pincer\nYou bring the arms of the pincer around the Marquis Semix, crushing it and dealing 8 damage. The pincer itself splits under the force of impact.\n\nThe Marquis pounces on you and digs his nails into your arm???You shove him away.\n\n> You hit with the rapier\nYou thrust with the white rapier and deal 8 damage to the Marquis Semix. The blade erupts in silver flames, and you feel that Udolphon's memory has at last been laid to rest.\n\nHe flashes out of existence.\n\nThen he reappears, his claws closing around your throat. You shake him off and leap backward.\n\n> Hit with the brick\nYou thump the brick over the Marquis Semix, dealing 3 damage. The\nbrick crumbles.\n\nHe shrieks a melliphytic spell, and lightning springs out of the vortex. You activate your membranous cape and propel yourself away before the bolt can connect with the spot where you were standing.\n\n> Hit with the machete\nThe machete connects with the Marquis Semix and deals 3 damage before bursting into useless splinters.\n\nThe Marquis falls to his knees. His lips move; his words are swallowed in the storm.\n\nThe vortex sputters. You sprint to the lip of the platform. You fall.\n\nAn indescribable cacophony shreds the air above you.\n\nYou land, and look up: The floating tower is gone. The vortex is gone. There is no sign of the Marquis. The storm continues to rage.\n\nYou cannot spare a moment's rest; there is evidence to collect, and paperwork to complete. You draw your new cape around your shoulders\nand begin your descent of the Ch??teau Semix.\n\n\"\n\n\"Yeah, I have a question.\" I don't recognize the person asking. \"How\ndo you call that a 'vampire-tale?'\"\n\nElmir frowns. \"I don't understand...\"\n\n\"I mean, you say the characters are vampires, but they don't do any vampire stuff. They don't turn into bats. They don't drink blood. I don't think you even mentioned blood once.\"\n\nElmir starts flipping through his notebook. Someone else speaks up: \"There were several vampire elements. There was hypnosis, and\ncaskets.\"\n\n\"There was some vampire-adjacent stuff, but if you never told me these characters were vampires, I never would have known they were vampires! They're just spooky guys! You should call them 'spooky-guy-tales,' is all I'm saying.\"\n\nThe moderator finally takes control: \"Please, authors,\" he says, even though it's only one person causing the trouble. \"This is Castle Balderstone. The occasion demands some decorum.\"\n\nThe person with the question sighs loudly. Awkwardness is thick in the air.\n\nBut Elmir closes his notebook and speaks up: \"The querant has a point. I skimmed back through the story, and I don't see any blood. But of course, this is only one of my vampire-tales. The others contain many more of these classic vampire-elements. If you would like to peruse them, they're collected in a volume titled Elmir Divkovic's World\nof Vampire-Tales. I have a few copies in my car...\"\n\nThe moderator thanks Elmir and ushers him down from the dais.\n\n> You look at what you're carrying with you\nI was carrying:\nmy citation pad"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, spiders, combat, horror, vampire, Comedy]\n\n> You look around\nThe entrance to the Belle Landing convenience store stood to the northeast. Right outside there was this filthy trash can, overflowing with garbage.\n\nA vague sort of path led around the building to the northwest.\n\nMy car looked awful inviting, but I couldn't leave quite yet.\n\n> About yourself\nMy name is Chris Gill. I work for the Health Department. I remember that on the night in question, I hadn't shaved in a while. Health inspectors aren't supposed to have any stubble. But out on the road, I could get away with that sort of thing.\n\n> You examine the car\nI remember that car. I remember when I started working for the health department, there was some sticker on there that my boss said wasn't appropriate for a vehicle I'd be driving around for my job, and he\nmade me tear it off. But it didn't come off all the way, so there was this scrap left stuck to the bumper, like an adhesive scar.\n\n> You examine the scrap\nIt was torn off enough that you couldn't read any of it. I don't\nreally remember what the sticker originally said. I don't think it was anything offensive, or even interesting. Just, too informal for government work.\n\nWhen I ended up selling that car, that scrap was still stuck on the bumper.\n\n> Examine pad\nWe carried around these pads of citation paperwork that looked like they had been mimeographed in the seventies. It was carbonless copy paper, if you remember what that is. I was supposed to make a note of all the violations I saw, and depending on what I noted, I was empowered to issue a warning or, in extreme circumstances, a citation. A citation was a lot more paperwork.\n\n> You look at the can\nA trash can in a high-traffic area like that has to be emptied a few times a day. This one hadn't been emptied that day. It hadn't been emptied the day before, either. There was a little mountain of trash forming around it.\n\n> You note can\nI definitely wrote down something about the garbage can. I probably used the words \"mountain of trash.\"\n\n> You examine the store\nThere were streaks on the glass door, that kind of residue that makes you think \"oh sure, someone did try to clean this, at some point.\" It almost made the place look abandoned.\n\n> You note the streaks\nI made a note of the dirty window: I wrote \"Dirty Window!\" or\nsomething like that.\n\n> You open door\nI opened the door and let go of the handle so it could close itself. I don't know what I was checking.\n\n> You go inside\nThe convenience store was set up so you'd have to walk through this gallery of snacks and tchochkes and stuff on your way in and out. Usually you want the counter to be closer to the door, but, I dunno, this is how this place was set up. The counter was over to the northeast.\n\nBut the first thing I noticed was this slimy stuff on the floor.\n\n> You eat the slime\nThat was plainly inedible.\n\n> Go northeast\nThe counter was at the center of the building, and there were wings\noff to the northeast, southeast, and southwest. There was a door in\nthe northwest, next to a huge mirror.\n\nThe counter was unattended. Unless you count the giant spider that was sitting on it.\n\n> You note spider\nI didn't have the presence of mind to write something at the time, but later on I did made a note: \"There is a spider the size of my hand somewhere around your cash register. Get it out of there.\" Something along those lines.\n\n> You look at the mirror\nThe mirror took up as much of the wall as possible. I remember it was really clean, unlike everything else in that place.\n\nI could see the spider's reflection in the mirror, and that scared me\na second time.\n\n> You get the spider\nI didn't know what I was going to do about the spider. I wanted to shoot it, but they don't let health inspectors carry guns.\n\nLuckily, while I was trying to formulate a plan to deal with the situation, the spider just crawled over the edge of the counter. To\nthe other side, where I couldn't see it.\n\nOf course, the rest of the time I was in that building, I was looking out for that spider.\n\n> You look at the counter\nI noticed some more of that slime on the edge of the counter, like something had just brushed against it while walking by. There was no one at the cash register, which struck me as a bad idea, but not exactly a health hazard.\n\n> You go to the north-east\nThe food court was disgusting. There were more drops of that slime on the floor, and smears of pizza sauce over the walls.\n\nThere was a kid slumped over one of the tables. He had one of those visors on, so I assumed he was an employee.\n\nNobody was on duty at the cash register, and of course the counter to the southwest was still unattended.\n\n> You note the sauce\nI wrote down \"wipe sauce off the walls!!!\" with three exclamation points. To convey my distaste.\n\n> You note slime\nI noted: \"Slime in food court. Floors require cleaning.\" I didn't note exactly how vile this slime looked.\n\n> You examine kid\nHe was kind of draped over the table with his eyes closed. His skin\nwas pale, and his mouth was hanging open, and he was so skinny. He looked malnourished, maybe dehydrated. Really strung-out, to be\nhonest. But this was some teen! Kids aren't supposed to work fifteen hour shifts and then fall unconscious in the workplace.\n\nThere was a key sitting on the table next to him.\n\n> You wake kid\nI poked the kid's arm. He didn't seem to notice. And his skin had this odd texture. Kind of like clay.\n\n> You look at the key\nIt was a steel key, with a round head.\n\n> Go southwest\nThe counter was at the center of the building, and there were wings\noff to the northeast, southeast, and southwest. There was a door in\nthe northwest, next to a huge mirror.\n\nThe counter was unattended.\n\n> You go northwest\n(first opening the door)\nThe door seemed to be locked.\n\n> You open door with the key\nI unlocked the door.\n\n> You open door\nI opened the door.\n\n> Go northwest\nThe office didn't match the rest of the place at all. It was nicer\nthan my boss's office: There was a wood desk, and a filing cabinet built into the wall. And two big windows: One in the northwest wall, with a view of the field out back, and one in the southwest, next to the door, with a view of the filthy convenience store.\n\n> You look at the desk\nThe top of the desk even had a blotter on it, like this was a CEO's office in the fifties. But there was nothing written on the blotter.\n\n> You examine the cabinet\nThe filing cabinet was basically one big drawer, built into the wall.\nI don't know how swanky that sounds when I say it out loud, but it looked really swanky.\n\n> You open cabinet\nI pulled the cabinet open, and imagine my surprise when I saw there were no files in there at all. There was a keychain in there, though.\n\n> You examine the keychain\nThere was just one key on the chain. I remember thinking it was either a very new key, or just a key that rarely got used, because the teeth on it were so sharp. It was attached to a plastic key fob thing that I think just had some business's phone number on it.\n\n> Northwest\nOutside you could see the field, and the sky, and that windmill they'd built behind the store.\n\n> You look at the windmill\nA big fake windmill, lit up by a spotlight. And behind that, the\nstars.\n\n> You look out the southeast window\nfrom in there, especially as regarded what the person behind the counter was doing. Obviously the office window was the other side of the mirror behind the counter. I had assumed it was a one-way mirror, just because it was so impractically large.\n\n> Go southwest\nThe convenience store was set up so you'd have to walk through this gallery of snacks and tchochkes and stuff on your way in and out. The counter was over to the northeast, and the way out was southwest.\n\nAnd there was that trail of slime running along the floor.\n\n> You go to the south-east\nThis one corner of the store was completely devoted to cute little figurines. The shelves were stacked with them.\n\nI could see the counter to the northwest. There was still nobody\nthere.\n\n> You examine the figurine\nI guess \"cute\" is the wrong word. They were supposed to be graceful\nand beautiful. Willowy mothers holding willowy daughters, angels in long flowing robes. None of the figurines had faces. Just blank heads, but you could infer they were supposed to have beatific expressions.\n\nWhen I looked closely, I noticed there were dozens of tiny spiders skittering up and down the figurines.\n\n> You look at the spiders\nThey were the tiniest of spiders, just little dots. But the more I looked, the more of them I saw. The place was crawling with them.\n\n> You look at the gallery\nWhich do you mean, the snacks or the tchochkes?\n\n> Snacks\nBags of peanuts and chips. And candy. Normal convenience store stuff.\n\n> You get the chips\nI never buy anything at the places I'm inspecting, though. Some inspectors, they do that to be polite. I have a weird sense of honor about it, I guess.\n\n> You look at the tchochkes\ncute sayings on them. There was the typical \"serenity to accept the things I cannot change\" stuff, and then there was some really odd stuff. \"All men are not created equal, only the finest become police.\" Or, \"Thyme to turnip the beet.\" \"I tried to retire, but now I work for my wife.\" So, not really a single unifying theme.\n\n> You go southwest\nThe entrance to the Belle Landing convenience store stood to the northeast. Right outside there was this filthy trash can, overflowing with garbage.\n\nA vague sort of path led around the building to the northwest.\n\nMy car looked awful inviting, but I couldn't leave quite yet.\n\n> You go northwest\nThere was a big field of grass around the side of the store. The grass was wet, and it kind of glistened under the stars.\n\nI try not to pay too much attention to the stars.\n\nI came up to where there was a spotlight stuck in the ground, pointing at this big windmill to the northeast. The path back to the store entrance was southeast from there.\n\nAnd there was a rabbit sitting there, twitching and blinking, trying\nto figure out if I'd seen it yet.\n\n> You look at the rabbit\nIt was just a dark shape in the grass, but I could tell it was a rabbit.\n\n> You note the rabbit\nAs soon as I made any kind of move toward the rabbit, it skedaddled.\n\n> You examine the spotlight\nA really bright light, bolted into a square of concrete in the middle of the field, to light up the windmill at night.\n\n> You examine the windmill\nIt was not a real windmill. There was a wind going, remember: Hog feces. I could still smell it. But the vanes of the windmill weren't moving. It was just for show.\n\n> Open windmill\nI was too far away from the windmill to do much of anything with it.\n\n> You go northeast\nNow I was standing at the foot of the windmill, out of the way of the spotlight. The whole thing was a lot bigger than it had looked from\nfar away.\n\nTo get back to the store entrance, I'd have to go around to the southwest.\n\n> You examine the windmill\nI guess they built it to celebrate the Dutch heritage in the surrounding area. And to attract tourists. It didn't look like a classic windmill, though. It was stumpier, if that makes sense.\n\nThere was a sort of hatch built into the side. The dark side, that the spotlight wasn't pointed at.\n\n> You examine the hatch\nIt was somewhat smaller than your typical door, and kind of rounded at the corners, which is why I call it a \"hatch\" rather than a \"door.\"\nBut there was a normal handle with a normal keyhole, which made it all that much weirder.\n\n> You check your inventory\nI was carrying:\na keychain\na steel key\nmy citation pad\n\n> You open the hatch with the keychain\nI unlocked the hatch.\n\n> You open hatch\nI opened the hatch.\n\n> You go inside\nThe floor inside the windmill was just dirt, and the walls were bare plywood. Strands of sticky stuff were hanging from the walls.\n\nA guy with eight legs was hanging from the ceiling.\n\nI checked my notebook. \"Are you the proprietor?\" I asked. \"Mister Luikx?\"\n\n\"Yes, hello,\" he said. He didn't seem to mind that I'd barged in on him. \"You're Mister Gill, from the Health Department, right?\"\n\nI told him I was, and I mentioned I had looked for him in his office, and he said he was sorry he was so hard to find.\n\n> You look at legs\nWell, his arms, or legs, were covered in brownish bristles. He had\nbig, black, shiny eyes. And his hair was slicked back and shiny. I remember he had something stuck in his mandibles, a chunk of\nsomething, and I kept looking at it. I felt like I was being rude. But he didn't seem to notice.\n\n> You examine chunk\nI don't know what it was a chunk of. I didn't say anything about it.\n\n> You examine the walls\nThe windmill looked a little off from the outside, kind of stunted.\nYou know what I mean? Well, inside, it was the same thing, only inside out. You could see the other sides of all those weird angles.\n\n> You talk\nWhat do you want to talk?\n\n> You talk to Luikx\nI told him I had my report on his convenience store. \"I noticed a few things that need to be addressed,\" I said, and I rattled off my list.\nI told him about the giant spider at the front counter. He said \"Oh, she shouldn't be running loose, I'll take care of her,\" and I nodded and told him to make sure he did that right away.\n\nAnd I told him about the slime everywhere, and he got kind of\nsheepish. He said his employees left something to be desired as far as attention to detail.\n\nSo I brought up the kid I saw in the food court. I said, \"You wouldn't feed on your employees without a signed release, right?\" and he said\nof course not. He reached up into the rafters (I guess that's where he kept all his files) and pulled out a form with a parent's signature, and I said okay, just checking. But I put on my mean guy face, and I said it was still a lot of violations, and the whole operation was not up to the state's standards of health and safety.\n\nHe lowered himself down to my eye level, and he put a claw on my shoulder, and he said, \"Mister Gill, you've caught me on a bad day.\nI'm short-staffed, and I can't seem to whip these kids into shape. Do you really have to give me a citation?\"\n\n> Yes\nI told him I did, and he nodded, and he lifted his claw from my shoulder.\n\nSomething made me say, \"Sorry, it's just...\"\n\nBut he wasn't sulking. He said, \"I know, you're just doing your job. We've all got our jobs to do.\"\n\nI signed my citation pad, and tore off his copy, and I told him the full form would be coming in the mail. He put the paper between his mandibles to fold it crisply, and then he pulled himself up in the rafters to file it away. Up where it was too dark for me to see.\n\nThen he lowered himself, and he said \"Thank you,\" although I don't\nknow for what.\n\n> You talk to Luikx\nWe made some small talk. I wasn't in a hurry to be anywhere.\n\n> You leave\nI said I needed to head on to the next stop, and I turned toward the exit. Luikx said, \"So long! Have a nice drive!\"\n\nAnd, just as the hatch was closing behind me, I called back: \"You\ntoo!\"\n\nIt was mortifying.\n\n\"Are there any questions?\" the moderator asks. Someone stands up to ask: \"The paperwork in your story, which allows an employer to 'feed on' an employee, reminds me of the story Johanna Quinn presented last year.\" Not a question, friend!\n\nKarnack does a funny little shrug. \"I only steal from the best,\" he says, and everyone laughs.\n\nA voice from clear in the back of the room cuts through the good-natured chortling: It's Johanna C. Quinn herself! \"Don't worry, Antonio!\" she cries. \"I only steal from the best, too!\"\n\nEveryone also laughs at this, although I'm not sure why.\n\nThen we wait a little bit, for somebody to say a third witty thing.\nBut nobody can think of anything.\n\nAntonio steps down from the dais.\nAntonio steps down from the dais.Now it is time for the next author to step forward and share the next of the evening's delirious entertainments.\n\n\"We have a special treat for you tonight,\" the moderator explains. \"Some students from Silas Elementary are here to present a story.\"\n\nA whole herd of eight-year-olds rises from their chairs and floods the aisles, corralled from behind by their teacher. With some effort she wrangles them all onto the dais, and then she pulls out one student to address the audience.\n\nI was expecting the little girl to draw a blank and start gawping at us, but she doesn't seem fazed at all. \"We're Miss Shiroiwa's class, and we wrote this story together,\" she explains. \"It's called The Banshee's Curse.\"\n\n\"We all worked on it!\" another kid yells. Miss Shiroiwa shushes him, but the girl at center stage takes it in stride.\n\n\"Yeah, we all worked on it. But, Miss Shiroiwa also gave us...\" She purses her lips and remembers the words: \"editorial oversight.\"\n\nThe teacher rolls her eyes good-naturedly.\n\n\"My name is Daniella Florence, and I will be your narrator tonight,\" the girl says, as she opens her notebook and begins to read...\n\n\n\nThere were three best friends named Leana, Garrin, and Chloe. You play as Leana and Gavin. Chloe was an exchange student from Ireland. A banshee followed her from Ireland, and when she looked in its face,\nshe got the curse of the banshee. She needed a potion to undo the curse.\n\nTo the east of the school was the town graveyard. To the west of the school was the museum.\n\nThere was a magic chalice that they could make a potion to cure the curse if they had all the ingredients.\n\nThey found a map in the library that showed where all the ingredients were.\n\n> You examine the map\ncurse of the banshee were:\n\nA Forever Fern, in the Garden of Doom\nA coalflower, in the goblin coal mine\nA pinch of mummy dust, from a mummy's sarcophagus\n...and one more ingredient that was smudged. But they could see the path leading up to the smudge, and it had a special crow's stone on\none side. A stone in the shape of a crow.\n\n> You look at Chloe\nChloe had dark curly hair and she wore glasses. She couldn't talk, she was so sick from the curse.\n\n> Go east\nThe graveyard was full of these scraggly trees that looked like hands. And there were stars shining up above.\n\nThere was a ghost dog there, who kept digging up human bones.\n\nTo the east of the graveyard was the haunted house. To the west of the graveyard was the school.\n\n> You examine the dog\nThe ghost dog was nice. It didn't try to hurt them. It pointed its\nnose at the haunted house, to say, \"go there.\"\n\n> You examine trees\nThe trees had mouths, too. They could grab you and then swallow you.\n\n> You examine stars\nThe stars were all purple. No, they were red. They were giant lasers pointed at the earth, and they killed Leana and Garrin.\n\nWhen they woke up, they were at the lake of the dead, where every dead person goes when they die.\n\nThere were some skeletons carrying a coffin across the water.\n\nTo the west of the lake of the dead was the goblin court, and there\nwas also a cave at the lake.\n\n> You examine the skeletons\nThe skeletons were actually walking on the water. And they had a\ncoffin that they were carrying.\n\n> You examine coffin\nThe coffin had a dead body in it that the skeletons were carrying to the other side of the lake of the dead.\n\n> You look at the lake\nThe lake was full of the faces of dead people.\n\n> You examine the cave\nThe cave went down underneath the lake of the dead."
    },
    {
        "text": "> Go downward\nIn the cave there was a giant dragonfly caught in a web. They could go up to get outside of the cave. The cave went further down, too.\n\n> You examine the dragonfly\nThe dragonfly was pure of heart, but an evil giant spider caught it in its web. It was going to eat the dragonfly when it got back. But\nGarrin had his pocket knife\n\n> You cut the web\nGarrin got out his pocket knife and cut all the strands of the spider web, and the dragonfly got free. Garrin told the dragonfly to fly away and be free, but the dragonfly said he owed his life to Garrin and he would follow him forever."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, intense, spiders, multiple protagonists, vampires]\n\n> Go down\nAt the bottom of the cave was the Garden of Doom. Every poisonous deadly plant grew there.\n\nThey could go up to the rest of the cave.\n\nLeana looked around and she saw the Forever Fern growing there.\n\n> You examine the plant\nOne of the deadly plants was deadly nightshade. There was also poison oak, and poison ivy, and poison sumac. And digitalis, which is foxglove.\n\n> You examine Fern\nThe Forever Fern is a fern that never dies. And its spiral at the end of the leaves keeps going around and around, forever.\n\n> You go upwards\nIn the cave there was a sliced-up web. They could go up to get outside of the cave. The cave went further down, too.\n\n> You go outside\nThey were at the lake of the dead, where every dead person goes when they die.\n\nThere were some skeletons carrying a coffin across the water.\n\nTo the west of the lake of the dead was the goblin court, and there\nwas also a cave at the lake.\n\n> Go west\nThe Goblin King sat on a huge throne and there were a hundred other goblins hanging around him. He said, \"Little girl, and little boy, I can bring you back to life, but you have to answer my riddle.\"\n\nTo the east of the goblin court was the lake of the dead, and underneath the court was the goblins' coal mine."
    },
    {
        "text": "> Go down\nAs they walked around the coal mine there were all these flowers that sprang up.\n\nThe mine was about to explode, but they didn't know that.\n\ncourt.\n\nThere was one coalflower right at Leana's feet.\n\n> You examine the coalflower\n(the coalflower)\nThey had to be careful to touch only the stem, because if you touch\nthe petals, it can kill at a coalflower's touch.\n\n> Go upwards\nThe Goblin King sat on a huge throne and there were a hundred other goblins hanging around him. He said, \"Little girl, and little boy, I can still bring you back to life, but you still have to answer my riddle.\"\n\nTo the east of the goblin court was the lake of the dead, and underneath the court was the goblins' coal mine.\n\n> You look at King\nHe was the biggest, fattest goblin, and all the other goblins swore loyalty to him.\n\n> You talk to King\nThe goblin king told them his riddle: \"What is the longest word you\ncan write with the top row of a typewriter?\"\n\nAnd Garrin said, \"That's easy! It's TYPEWRITER!\"\n\nAnd the Goblin King got really mad, and swore they cheated, but he had to honor his end of the deal, so he brought Leana and Garrin back to life. When they woke up, they were back at the school library with Chloe.\n\nTheir headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die.\n\nTo the east of the school was the town graveyard. To the west of the school was the museum.\n\nThere was a magic chalice that they could make a potion to cure the curse if they had all the ingredients.\n\n> You examine it\nThe chalice was a fancy type of cup. It had an engraving on it of a selkie, which is an Irish mythological creature.\n\nThey had to put all the potion ingredients in there to create the potion.\n\n> Go west\nAt the town's museum there was an exhibit about Ancient Egypt. They\nhad a mummy in a sarcophagus, and it came to life. If it touched you, you would die. But Garrin and the dragonfly had a plan to distract the mummy.\n\nTo the east of the museum was their school.\n\nSome of its dust was left inside its sarcophagus.\n\n> You take the dust\nThe dragonfly buzzed over to the mummy and started flying around its head to confuse it. While the mummy was distracted, Leana and Garrin took the dust out of its sarcophagus.\n\n> You put the dust in the chalice\nThey put the mummy's dust into the chalice.\n\n> You put the coalflower in the chalice\nThey put the coalflower into the chalice.\n\n> You put Fern in the chalice\nThey put the Forever Fern into the chalice.\n\n> You examine the map\ncurse of the banshee were:\n\nA Forever Fern, in the Garden of Doom\nA coalflower, in the goblin coal mine\nA pinch of mummy dust, from a mummy's sarcophagus\n...and one more ingredient that was smudged. But they could see the path leading up to the smudge, and it had a special crow's stone on\none side. A stone in the shape of a crow.\n\n> You go east\nTheir headquarters was the library in the top floor of the school. Chloe was lying in a bed they made out of cushions. She had to get the potion to under the banshee's curse, or she would die.\n\nTo the east of the school was the town graveyard. To the west of the school was the museum.\n\n> Go east\nThe graveyard was full of these scraggly trees that looked like hands. And there were stars shining up above.\n\nThere was a ghost dog there, who kept digging up human bones.\n\nTo the east of the graveyard was the haunted house. To the west of the graveyard was the school.\n\n> Go east\nIn the house there was a bedroom with chains and blood. In the front\nof the house there was a carriage with a skeleton horse. In the back yard of the house there was a garden.\n\n> You examine the carriage\nA long time ago there was a girl whose birthday was on Halloween. Her friends never came to her birthday party, even though she invited all of them, because they were out trick or treating. She went out to look for them, and she was never seen again.\n\nShe is seen on Halloween, in a carriage with a skeleton horse. If you go inside the carriage, you will be cursed to be at her party forever.\n\n> You examine stone\nThe stone was shaped like a crow. The crow's stone! That meant that\nthe last ingredient was behind the house, to the east!\n\n> You go to the east\nThey followed the path to a hill covered in cherry trees.\n\nTo the west of the cherry orchard was the haunted house.\n\nThere was one magic cherry hanging from a branch.\n\n> You look at the cherry\n(the magic cherry)\nLeana and Garrin looked at each other and said \"This must be the last ingredient!\"\n\n> You put it in the chalice\nThey put the magic cherry into the chalice.\n\nNow they had all four ingredients! They mixed the potion and brought\nit to Chloe. Chloe drank it, and her eyes lit up, and she said she\nfelt fine.\n\nBut the banshee knew that her curse was cured, and she swore that she would have revenge.\n\n\"\n\n\"Yes,\" someone says. \"My question is for the teacher: Why are you\nhere? Why did you bring a bunch of little kids to a meeting of adult horror authors? In the middle of the night?\"\n\nMiss Shiroiwa glances across the room and catches my eye, and I can\nsee the exact moment when she decides to throw me under the bus: \"It was Ryan's idea, actually,\" she says.\n\nSomeone mutters something.\n\nBut the moderator has my back, for once: \"I'm sure it is indeed very much past these young authors' bedtimes,\" he says. \"So I think we will bid them bon soir, after we've given them one more round of\napplause.\"\n\nEveryone can get behind this, and Miss Shiroiwa leads a beaming procession of students out into the hall while avoiding eye contact with me.\nwith me.Now it is time for the next author to step forward and share the next of the evening's hideous entertainments.\n\n...Hold on. Somebody is looking at us. Giving us the hairy eyeball.\nWho the heck is this guy and what the heck is his problem?\n\n\"Hello,\" I say, sounding very tough and cool. \"Who are you, exactly?\"\n\n\"I'm Thomas Ligotti. Who is that with you?\" the guy asks. He's talking about you.\n\n\"This is my guest! The same guest I brought in 2018 and 2019!\"\n\n\"I don't think we're allowed to bring guests,\" someone else adds unhelpfully.\n\n\"Well, it's never been a problem before, so let's just move on.\" I\nwave at the moderator to let the next author start reading.\n\nBut the moderator shakes his head: \"The convocation at Castle Balderstone is a place for the world's foremost authors of horror to share their work with each other. The charter does not allow\nfor visiting observers. Now, if your guest were prepared to present a horror story, that would be a different matter.\"\n\nThe other authors start murmuring in agreement. Looks like we're up against the wall on this one. Dang.\n\nOkay, I've got an idea. \"As a matter of fact, my guest is\nprepared to present a horror story, actually! We just need to get psyched up first. So we'll just step out into the hallway for a\nmoment, if you don't mind.\"\n\nPress any key to step out into the hallway with me.\nPress any key to step out into the hallway with me.## Musty Hallway\nA damp passageway lit only by the firelight from within the library\nand occasional flashes of lightning.\n\nOkay, don't panic. We just have to come up with some ideas. I mean,\nyou have to come up with some ideas. I've got a pretty good outline we can use, but you'll need to supply the specifics.\n\nThere's no rush on any of this. Take as long as you want. But I don't know if \"UNDO\" is going to work during this part, so, try and get everything right the first time.\n\nFirst, give me a girl's name, like \"Wendy.\"\n\n> Floyda\nSure. Now, I need an inanimate natural object, like \"fallen log.\"\n\n> Tree trunk\nNext, something that has wheels\ufffd\ufffd\ufffdbut, not a car.\n\n> Turbogenerator\nOkay, an adjective next. Something that you'd apply to something creepy.\n\n> Discman\nOkay. How about: an adjective for something old.\n\n> Boomerish\nThat works fine. Next, give me a job title that's respectable, but not impressive.\n\n> Health inspector\nReally? Okay.\n\nNow, this one is important: A creepy location. A place where you feel uncomfortable.\n\n> Outside\nGreat. Okay. Now I need a small object that can pick a lock.\n\n> Paperclip\nHow about an adjective that means \"nice,\" as in, \"a nice person.\"\n\n> Occupied mousetrap\nCool. Next I need an adjective that you associate with boring people.\n\n> Normal\nNext, a dangerous household object.\n\n> Axe\nAnd a large-ish container, like a suitcase or a treasure chest.\n\n> Hamper\nA cute dessert?\n\n> Eclair\nOkay, here's a fun one: A substance or material that is typically dry.\n\n> Powdered tungsten\nHow about, what is the most boring US state? Or just name a boring location, I guess.\n\n> Creaky\nAn adjective that you find desirable in a person, like \"artistic\" or \"rich.\"\n\n> Eccentric\nA tiny cute animal, something that fits in your hand.\n\n> Hamster\nA type of metal.\n\n> Sodium\nA body part.\n\n> Hand\nAn upsetting color.\n\n> Puce\nAn adjective that you'd use to describe a fluid.\n\n> Vomitous\nA smallish container, something that would fit in a drawer.\n\n> Iphone box\nOkay, just a couple more details. What name should we credit you with, as the author of this story?\n\n> Club floyd\nAnd finally, give me any four words from a nursery rhyme or a poem or something like that. (Don't overthink this. Trust me.)\n\n> Goblins will get you\nPerfect. Awesome. We can work with this. Absolutely.\n\nPress any key to head back into the library.\nLibrary\nThe authors have started chatting with each other in our absence, but they get really quiet when they see us come in. They're all looking at you expectantly.\n\nDon't worry, you're going to do great.\n\nThe moderator clears his throat. \"Well, this wasn't on the schedule, but it appears that now we have a story from Club Floyd.\" Oh my gosh, he cannot deal with the fact that I called his bluff!\n\nI mean, we called his bluff, obviously. Together. Now get up\nthere and knock 'em dead!\n\n\n\nFloyda finds herself in an outside. There's an oddly creaky energy in the air. Somehow she has the feeling that she has been here before.\n\nThere is a hamper here, which isn't that strange.\n\nThe presence of a tree trunk is somewhat more unusual.\n\n> About you\nFloyda is a normal person, a health inspector from New Brunswick.\nShe's swell, but she's not eccentric.\n\n> Inventory\nShe is carrying nothing.\n\nA creaking noise reaches her ears from far away.\n\n> You examine the hamper\nIt's a perfectly normal hamper. Or, it looks perfectly normal.\n\nThe creaking noise is getting closer.\n\n> You open it\nShe opens the hamper, revealing a discman.\n\nA turbogenerator rolls into view, its wheels creaking noisily.\n\n\"Hey there, eclair,\" the turbogenerator says. \"You're looking good.\"\n\nFloyda backs away slowly.\n\n> You look at the turbogenerator\nIt seems like a normal turbogenerator, until she notices there's a\nhand sticking out of the side.\n\n\"What's wrong?\" the turbogenerator asks in a creaking voice. It keeps coming closer. Floyda keeps backing away. \"Why don't you like me anymore? What did I do?\"\n\n> You examine the discman\n\"What would a discman be doing here?\" she wonders. Something doesn't seem right.\n\n\"Don't be mean to me,\" the turbogenerator pleads. \"I don't want you to be mean.\"\n\nFloyda reaches behind herself. Her hand finds an axe.\n\n> You take the axe\nShe already has that.\n\n\"What are you doing with that axe?\" asks the turbogenerator, still coming closer. Closer.\n\n> You hit the turbogenerator with the axe\nFloyda swings the axe down on the turbogenerator. The thing splits\ndown the middle and bursts open: A flood of wet powdered tungsten\nflows out of the crumpled husk.\n\nShe holds her breath, waiting for the turbogenerator and its horrible hand to start moving again. But it's gone. Now there's only powdered tungsten oozing everywhere.\n\n> You examine the tungsten\nShe kneels down to inspect the slimy powdered tungsten. Something in there is moving.\n\nIt pops out: A tiny hamster, covered in vomitous fluids.\n\nThe little hamster coughs miserably.\n\n> You take the hamster\nFloyda picks up the poor wet hamster and strokes its back. The\ncreature is in distress. There's something caught in its throat.\n\nThe hamster coughs up a sodium key. Now it's feeling better.\n\n> You examine the key\nA simple key made of sodium.\n\n> You take the discman\nShe picks up the discman, revealing an occupied mousetrap!\n\n> You examine the mousetrap\nThe occupied mousetrap twitches, and Floyda jerks back in revulsion."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, intense, castle]\n\n> Look around\nFloyda is standing in an outside. There's an oddly creaky energy in\nthe air. Somehow she has the feeling that she has been here before.\n\nThere is a hamper here, which isn't that strange.\n\nThe presence of a tree trunk is somewhat more unusual.\n\nShe can also see a husk and a powdered tungsten here.\n\n> You look at the trunk\nFloyda frowns as she inspects the tree trunk. It's odd enough to see a tree trunk in an outside, but this one has a keyhole in it.\n\n> You unlock trunk with the key\nShe unlocks the tree trunk.\n\n> You open trunk\nShe pries the tree trunk open. There's a dark space inside.\n\nA spidery voice floats out from the darkness: \"Come on, Floyda. It's time.\"\n\nThe dark space seems vast enough to swallow her completely.\n\n> You enter the trunk\nShe climbs into the tree trunk.\n\nShe is engulfed by darkness.\n\nShe wakes up.\n\nShe is in a room with puce walls. There is a bed here, and a bedside table. There is a door, and high on the wall is a boomerish intercom.\n\nThe intercom buzzes, and a man's normal voice fills the room: \"Any changes?\" it asks.\n\n\"No,\" she says. \"It was the same dream again. Exactly the same.\"\n\nThe normal voice grunts, disappointed.\n\n> You look at the bed\nAn uncomfortable bed with puce sheets.\n\n\"Well, we'll try again in a few hours,\" says the normal voice. \"In the meantime\ufffd\ufffd\ufffd\"\n\nBut another voice comes on: \"Is my wife in there? Is that my wife?\"\n\n> You examine table\nThe bedside table has one drawer.\n\n\"We don't allow visitors,\" the normal voice says. But the other voice shrieks: \"You have to let her out! Let her out now! Floyda, can you hear me? Get out of there! Get out!\"\n\nThe intercom goes dead.\n\n> You examine intercom\nThe intercom is high up on the wall, too high to reach.\n\nThere's a noise outside the door. Somebody is trying to get in.\n\n\"Floyda, it's locked! Can you open it from in there? Come on, Floyda! We're going home!\"\n\n> You open the door\nThe heavy door seems to be locked.\n\nWhoever is outside is still trying to open the door, without success.\n\n> Inventory\nShe is carrying:\nsome  (being worn)\na discman\na sodium key\na hamster\n\nThe guards will be here soon.\n\n> You unlock the door with the key\nThat doesn't seem to fit the lock.\n\n\"Floyda!\" the voice outside cries. \"Please! Open the door!\"\n\n> You examine the door\nIt's impossible to see through the frosted glass.\n\nThe guards will be here soon.\n\n> Break glass\nViolence isn't the answer to this one.\n\nWhoever is outside is still trying to open the door, without success.\n\n> You look under the door\nShe finds nothing of interest.\n\nThe guards will be here soon."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, horror, vampire, castle, intense, vampires]\n\n> You look around\nShe is in a room with puce walls. There is a bed here, and a bedside table. There is a door, and high on the wall is a boomerish intercom.\n\nWhoever is outside is still trying to open the door, without success.\n\n> You open the drawer\nShe opens the drawer, revealing an iphone box.\n\nThe guards will be here soon.\n\n> You open the box\nShe opens the iphone box, revealing a paperclip.\n\nWhoever is outside is still trying to open the door, without success.\n\n> You take the paperclip\nTaken.\n\n\"Floyda!\" the voice outside cries. \"Please! Open the door!\"\n\n> You unlock the door with the paperclip\nShe presses the paperclip into the lock and wiggles it back and forth desperately. She has no idea what she's doing.\n\nBut the lock clicks.\n\nWhoever is outside is still trying to open the door, without success.\n\n> You open the door\nShe opens the door. The room fills with light.\n\nAs she looks outside her throat tightens. She can't say anything. She can't scream.\n\nStanding in the hallway is the turbogenerator, its vestigial hand twitching in excitement.\n\n\"Come on, eclair,\" it creaks. \"Let's get out of here.\"\n\n\"\n\nNobody can get it together enough to say anything.\n\nThere is a long pause.\n\nA very long pause.\n\nYou return to your seat, next to me.\n\nYou return to your seat, next to me.The moderator now stands alone on the dais. There's an odd energy in the room. People are chattering behind us.\n\nI halfway get up in my seat and crane my neck to look around the room. Hold on: Where is Allison Chase? Is she not here this year?\n\nWhy the heck did we come all the way out here if Allison Chase isn't doing a story?\n\n\"Our revels are at an end,\" the moderator says. \"I'd like to thank all of our presenting authors for their contributions. Of course, I thank all of you, presenters or not, for attending. Before we depart,\nthough, I have something of a personal note.\"\n\nHe clears his throat solemnly.\n\nHe clears his throat solemnly.Then there is a crash of thunder.\n\nHe clears his throat solemnly.Then there is a crash of thunder.The fireplace is snuffed out\ufffd\ufffd\ufffd\n\nfireplace is snuffed out\ufffd\ufffd\ufffd\ufffd\ufffd\ufffdAnd Castle Balderstone is plunged into darkness!\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife, hell]\n\nAll is dark and quiet. There is no sensation, no time. Your mind floats peacefully in a void. You perceive nothing, you feel nothing, you think nothing. Sleep without dreams.\n\nAll is hazy and gray. Sensation is vague and indistinct. Your mind\nis sluggish, sleepy. You see gray shapes in a gray fog; you hear distant, muffled sounds. You think, but your thoughts are fleeting, disconnected, momentary flashes of light in a dark night. Time is still frames separated by eons of nothing, brief awakenings in a long sleep.\n\nAll is clear and sharp. Sensation crystalizes from a fog. You see, you hear, you feel. Your mind awakens; you become aware of a place, and a time.\n\nYou are on a boat.\n\nYou're in the main passenger compartment of a large luxury yacht.\nYour seat, J-33, is a large, plush seat next to a window that occupies most of the wall. The boat is about half-filled with people of various ages and races, most dressed in casual clothes. A stairway leads up, and another compartment lies to the south.\n\n[Author's Note: The afterlife isn't what you expected. Explore a strangely modernized and bureaucratic underworld, replete with strip malls, government offices, and science labs, as well as the occasional lake of molten rock.]\n\n> You check your inventory\nYou are empty-handed.\n\n> About yourself\nYou look about the same as always.\n\n> You look through the window\nIt's quite dark outside, but a red glow on the horizon provides enough light to see that the boat is traveling rapidly down a wide river. You can't make out any detail on the banks. The waters of the river are dark and still below a thin film of mist, which the boat seems barely to upset.\n\n> You examine the seat\nIt's a large, plush seat, labeled J-33. It's a window seat.\n\n> Go south\nYou're in the yacht's wet bar. The only exit is north, back into\nthe main cabin.\nA bartender is here.\n\n> You examine bartender\nHe's a middle-aged man with slightly graying hair.\n\n> You ask the bartender about the bar\n\"The drinks are all free. Beer, liquor -- we have a wide selection.\"\n\n> You give you a the beer\n\"Right away!\" He gets out a large mug and fills it with beer from the tap. He hands you the glass.\n\n> You check your inventory\nYou have a mug of beer.\n\n> About yourself\nYou look about the same as always.\n\n> You drink the beer\nYou drink the mug of beer all at once. It's very good. You notice a slight alcoholic buzz, but it clears fairly quickly. After you finish, the glass vanishes into thin air.\n\n> You ask the bartender about the hell\n\"I kind of like it here.\"\n\n> You ask the bartender about the captain\n\"You can't go ask him yourself. He's happy to talk to passengers.\"\n\n> You read the note\nThis game is freeware. You may use and copy it free of charge, subject to certain restrictions. Please see the included readme file for details.\n\nIf you need instructions for playing this game, type INSTRUCTIONS at the > prompt.\n\n> You go east\nYou're in the boat's control room. A large window looks out onto\nthe river. A doorway leads west, back out onto the deck.\nThe boat's pilot is here, operating the controls.\n\n> You examine the pilot\nThe boat's pilot is here, operating the controls.\n\n> You ask the pilot about boat\n\"This is a very nice boat, don't you think? We used to use a small rowboat, but lots of people complained that the passage to the afterlife should be a little nicer. Besides, with more people dying these days, it was getting crowded.\"\n\n> You ask the pilot about the captain\n\"I was a programmer before I got here. But there's not much need for programming skills here, so I do this instead.\"\n\n> You examine captain\nThe boat's pilot is here, operating the controls.\n\nThe captain starts fiddling with the controls. \"We're there,\" he\nsays. Outside, you can see a pier come into view on the western bank; the captain guides the boat silently alongside the pier and brings it to a halt. As the boat comes to rest against the pier, a gangway extends toward the boat, and settles on the deck.\n\"Attention, passengers,\" the captain says into a microphone. \"We\nhave arrived. You may disembark at your leisure.\" You see a few passengers start to disembark.\n\n> You ask the pilot about the bartender\n\"The drinks at the bar are free. Help yourself! Just ask the bartender for a beer, liquor, what have you. But let me know if you see any of those Infernolab guys down there -- they always come running when they hear there's an open bar somewhere.\"\n\n> You ask the captain about the infernolab\n\"They're just a bunch of drunkards, if you ask me.\"\n\n> You ask the captain about the hell\n\"It's a little strange at first, but you'll get used to it.\"\n\n> You take the note\nTaken.\n\n> Go west\nYou're on a large, brightly-lit pier. The pier is obviously quite\nnew; it's constructed from steel, and the walkway has a rubbery surface and attractive wooden handrails to make it safer. The large white yacht which brought you here is docked alongside; a gangway leads east onto the boat's deck. To the north lies the entrance to a large one-story brick building. The building has the look of a high school or a post office -- that sort of simple, utilitarian style of a government building.\nYou see a rope here.\n\n[Your score just went up. If you don't want to be notified of score changes like this in the future, just type NOTIFY.]\n\n> You notify\nYou will no longer be notified of score changes. If you change your mind and want to be notified again, just type NOTIFY again.\n\n> You look at the rope\nIt's a thick rope, about ten feet long, for securing boats at the pier. One end of the rope is tied into a loop, so it can be slipped over posts on the pier.\n\n> You examine the building\nThe building has the look of a high school or a post office -- that sort of simple, utilitarian style of a government building.\n\n> You go north\nThis is a large room with a high ceiling, brightly illuminated with fluorescent lights. Most of your fellow passengers are here, sitting in folding chairs facing a podium; many empty chairs are available. An exit leads to the south, and another passage leads north.\n\n> You sit\n(the folding chair)\nAs you sit down, a middle-aged woman enters the room and walks to the podium. \"Good afternoon, everyone,\" she says, addressing the assembled group of passengers. \"Welcome to the afterlife. I'm here to help you get started, give you basic information about the underworld, and answer any questions you have.\n\"Let me start by saying that we're very glad to have you here. Just take your time getting acquainted with your surroundings. There's no hurry -- you're going to be here for a long time!\" She chuckles and smiles. \"Seriously, though, I think you'll find that being dead isn't very hard once you find your way around.\n\"Now, once you've had a chance to explore for a while, you'll\nprobably want to find a job. There are many very interesting positions available, and we'll be happy to help you find something that's right for you.\n\"I'm sure you all have many questions, so don't be shy. Who's\nfirst?\"\n\nSomeone at the front of the room raises her hand. \"Yes, you at the front,\" the woman says, pointing to her.\n\"Is this heaven or hell?\" she asks.\nThe woman responds, \"You know what they say -- if you have to ask\n--\" she chuckles. \"It is technically hell, although that's such a loaded word that we don't like to use it. Most ideas people have about hell are very outdated. Ever since the deregulation of the afterlife industry, we've had to compete with Heaven for eternal souls -- because you're free to switch to Heaven at any time. So, we've been modernizing! There really isn't much eternal torment these days, for example. And, thanks to the Environmental Clean-up Superfund, we have the brimstone problem mostly under control at this point.\"\n\n> You ask the woman about the woman\nTry as you might, you can't seem to attract her attention -- someone always gets in with a question first.\n\nSomeone in the middle of the room raises her hand. \"Yes, you in the middle,\" the woman says, pointing to her.\n\"Can I go back to earth as a ghost and haunt people?\" she asks.\nThe woman responds, \"No, unfortunately not. However, our top scientists are working on this problem, and the latest reports indicate that it may be possible in the near future. Those of you with scientific backgrounds, in particular those of you who went to Caltech and really understand what makes a good prank, may want to look into joining the project.\"\n\n> You wait a while\nTime passes...\n\nSomeone at the right of the room raises her hand. \"Yes, you at the right,\" the woman says, pointing to her.\n\"I was wondering, where is the famous 'All hope abandon, ye who\nenter here' sign? I want to get some pictures with it.\" she asks.\nThe woman responds, \"Actually, the sign said 'Lasciate ogni\nsperanza, voi ch'entrate,' and I'm afraid it's been taken down. People found it too depressing. But there are several very nice vista points that you can find in the tour book.\"\n\n> You wait awhile\nTime passes...\n\nSomeone at the left of the room raises his hand. \"Yes, you at the left,\" the woman says, pointing to him.\n\"Which circle of hell are we doomed to?\" he asks.\nThe woman responds, \"We abolished the circle system shortly after\nthe middle ages after the 'separate and unequal' principle was ruled illegal. You're free to go wherever you'd like -- even up to Heaven.\"\n\n> Wait\nTime passes...\n\nSomeone at the rear of the room raises her hand. \"Yes, you at the rear,\" the woman says, pointing to her.\n\"Why did I end up here? What did I do wrong?\" she asks.\nThe woman responds, \"Really, you must shed your outdated notions of hell. You don't have to do anything wrong to end up here. New souls are randomly assigned to Heaven or Hell based on the last four digits of your Celestial Security Number. The Heaven-Hell border was opened a long time ago, though, so your initial assignment is not permanent.\"\n\n> You wait a while\nTime passes...\n\nSomeone at the right of the room raises his hand. \"Yes, you at the right,\" the woman says, pointing to him.\n\"You said we can go to Heaven. How do we get there?\" he asks.\nThe woman responds, \"The easiest way is to use the HadesCorp Space Needle. It's impossible to miss -- it's the tallest free-standing structure in hell. The view from the elevator is fantastic.\"\n\n> Wait\nTime passes...\n\nSomeone at the left of the room raises her hand. \"Yes, you at the left,\" the woman says, pointing to her.\n\"You mentioned jobs. What if I don't want to work?\" she asks.\nThe woman responds, \"That's up to you. Dead people have no material needs. And, unlike in real life, you'll find that you won't need to eat or sleep every forty or fifty turns, which is a real convenience. However, most people like to feel useful, and derive a sense of purpose from their employment here.\"\n\n> You wait\nTime passes...\n\nSomeone in the middle of the room raises his hand. \"Yes, you in the middle,\" the woman says, pointing to him.\n\"I used to work as a lobbyist. Are similar positions available\nhere?\" he asks.\nThe woman responds, \"Absolutely! However, you may find that there\nare quite a few lobbyists in Hell, which will probably not surprise anyone. Incidentally, anyone interested in public affairs should tune in to H-SPAN, which broadcasts programs that cover a wide array of current events. I believe the station number is 319.\"\n\n> Wait\nTime passes...\n\nSomeone at the rear of the room raises his hand. \"Yes, you at the rear,\" the woman says, pointing to him.\n\"I'm a very rich individual and I refuse to be treated in this\nmanner. I've made charitable contributions all my life, and we've never beaten the help -- not when they didn't deserve it, anyway, the lazy bastards. This is an outrage! You can be sure you will be hearing from my lawyer! What do you have to say for yourself?\" he asks.\nThe woman responds, \"I'm sure you have a very good case. However,\nI'm afraid that the legal system in Hell is based on the United States judicial system. So, as you must know, the courts are so overloaded with frivolous lawsuits that legitimate claims, such as yours undoubtedly is, cannot be accepted. Any lawsuit found to have merit is immediately and summarily dismissed. There are some very good personal injury lawyers that you might wish to contact, though.\"\n\n> You wait a while\nTime passes...\n\nSomeone at the front of the room raises his hand. \"Yes, you at the front,\" the woman says, pointing to him.\n\"I used to drive nitro-burning ground-pounding six-second funny\ncars. Is there any chance that I'll be able to shake hands with the devil while I scream through the gates of Hell?\" he asks.\nThe woman responds, \"I'm afraid that, due to the volume of new immigrants, the devil is unable to personally greet each new arrival.\""
    },
    {
        "text": "[Themes: Afterlife, Haunted  House, Satire, hell]\n\n> Look around\nBriefing Room, on the folding chair\nThis is a large room with a high ceiling, brightly illuminated with fluorescent lights. Most of your fellow passengers are here, sitting in folding chairs facing a podium; many empty chairs are available. An exit leads to the south, and another passage leads north.\nA woman is here.\n\nSomeone at the front of the room raises his hand. \"Yes, you at the front,\" the woman says, pointing to him.\n\"Is this heaven or hell?\" he asks.\nThe woman responds, \"You know what they say -- if you have to ask\n--\" she chuckles. \"It is technically hell, although that's such a loaded word that we don't like to use it. Most ideas people have about hell are very outdated. Ever since the deregulation of the afterlife industry, we've had to compete with Heaven for eternal souls -- because you're free to switch to Heaven at any time. So, we've been modernizing! There really isn't much eternal torment these days, for example. And, thanks to the Environmental Clean-up Superfund, we have the brimstone problem mostly under control at this point.\""
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife]\n\n> You look around\nBriefing Room, on the folding chair\nThis is a large room with a high ceiling, brightly illuminated with fluorescent lights. Most of your fellow passengers are here, sitting in folding chairs facing a podium; many empty chairs are available. An exit leads to the south, and another passage leads north.\nA woman is here.\n\nSomeone at the left of the room raises her hand. \"Yes, you at the left,\" the woman says, pointing to her.\n\"Can I go back to earth as a ghost and haunt people?\" she asks.\nThe woman responds, \"No, unfortunately not. However, our top scientists are working on this problem, and the latest reports indicate that it may be possible in the near future. Those of you with scientific backgrounds, in particular those of you who went to Caltech and really understand what makes a good prank, may want to look into joining the project.\"\n\n> Wait\nTime passes...\n\nSomeone at the rear of the room raises her hand. \"Yes, you at the rear,\" the woman says, pointing to her.\n\"I was wondering, where is the famous 'All hope abandon, ye who\nenter here' sign? I want to get some pictures with it.\" she asks.\nThe woman responds, \"Actually, the sign said 'Lasciate ogni\nsperanza, voi ch'entrate,' and I'm afraid it's been taken down. People found it too depressing. But there are several very nice vista points that you can find in the tour book.\"\n\n> You stand\nOkay, you're no longer on the folding chair.\n\nSomeone at the right of the room raises her hand. \"Yes, you at the right,\" the woman says, pointing to her.\n\"Which circle of hell are we doomed to?\" she asks.\nThe woman responds, \"We abolished the circle system shortly after\nthe middle ages after the 'separate and unequal' principle was ruled illegal. You're free to go wherever you'd like -- even up to Heaven.\"\n\n> Go north\nYou're in a large courtyard surrounded by buildings. To the south\nis the Immigration Building, to the east is the Department of Motor Vehicles, and to the west is a Celestial Security office. An archway leads out of the courtyard to the north. In the center of the courtyard is a vending machine.\n\n> You look at the machine\nIt looks similar to a soft-drink vending machine, but it's labeled \"Space Needle Tickets\". It has a slot labeled \"20 Hellmids\", and a small receptacle.\n\n> Go east\nYou're in a very large, very drab room. In the center of the room\nis a long counter that runs the length of the room. As is typical of such facilities, there is a customer at almost every window, and practically no employees to be seen behind the counter. In fact, the only employee in sight is standing at a window with no customers, looking bored. The exit is to the west.\nA DMV official is here.\n\nYou walk over to the window where the employee is standing.\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n> You examine the official\nShe's a middle-aged woman. She looks profoundly disinterested in being here.\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n\"It's against policy to answer questions.\"\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n> You ask official about the appointment\n\"It's against policy to answer questions.\"\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n> You check your inventory\nYou have a printed note and a rope.\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n> Go west\nYou're in the Celestial Security Office. At one end of the room is\na counter, and next to the counter is a wastebasket that's full of crumpled up paper. The exit is to the east, and a door behind the counter leads west.\nBehind the counter is a middle-aged man dressed in a light blue Celestial Security Administration uniform. You're relieved to see that there's only one person in line. You were afraid that the line would be longer, with so many new people arriving at the same time you did, but this will obviously take no time.\nThe Celestial Security officer notices you enter, and looks up at\nyou. \"I'll be right with you, after I finish with this applicant,\" he says.\n\nThe Celestial Security officer asks the young woman, \"What is your middle initial?\" The woman replies, \"G.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You examine the wastebasket\nIn the waste basket you see some waste paper.\n\nThe Celestial Security officer asks the young woman, \"What was your date of birth?\" The woman replies, \"Um, November 12, 1959.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You search the wastebasket\nIn the waste basket you see some waste paper.\n\nThe Celestial Security officer asks the young woman, \"And your date of death?\" The woman replies, \"June 23, 2013.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You take the paper\nThe Celestial Security officer doesn't let you. \"Those contain private information,\" he scolds you. \"Besides, we recycle all of our paper. We're trying to be environmentally conscious.\"\n\nThe Celestial Security officer asks the young woman, \"Do you have any deceased dependents?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You take the waste\nThe Celestial Security officer doesn't let you. \"Those contain private information,\" he scolds you. \"Besides, we recycle all of our paper. We're trying to be environmentally conscious.\"\n\nThe Celestial Security officer asks the young woman, \"Do you wear any prescription eyewear?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You search the waste paper\nYou find nothing of interest.\n\nThe Celestial Security officer asks the young woman, \"What is your IQ?\" The woman replies, \"I'm not sure.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You read waste paper\nThe waste basket is full of crumpled-up application forms, evidently discarded due to errors made in preparation.\n\nThe Celestial Security officer asks the young woman, \"How many fingers am I holding up?\" The woman replies, \"Three.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You examine the woman\nShe looks to be in her mid-thirties.\n\nThe Celestial Security officer asks the young woman, \"Do you know your blood pressure?\" The woman replies, \"130 over 70.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You go north\nYou're in the center of Hell's business district. To the north is\nan extremely tall tower, which reaches up into the sky; the top is lost in mist high above. An archway leads south. You can go down the street to the east and west.\n\n> You examine the tower\nThe tower is extremely tall. You can see its lighted windows high above, disappearing into the dark mist of the sky above. The words \"HadesCorp Space Needle\" are engraved in large letters above the entrance.\n\n> Go north\nYou're in a gigantic, imposing lobby. The ceiling is at least five stories above; the dark granite walls are adorned with strange gargoyles looking down on you from high overhead. The exit out to the street is to the south.\nAn elevator is to the north. The elevator doors are open.\n\n> You examine the gargoyles\nThey look like unusual gargoyles to me.\n\n> Go north\nYou're in a large, ornate elevator. The walls are tiled with gold panels decorated with an intricate pattern of interweaved lines, resembling vines; the floor is covered with deep, plush carpeting; and hanging from the ceiling is a chandelier with thousands of tiny lights. The open door leads south, back out into the lobby.\nAn old, white-bearded man wearing a white robe is standing in the corner of the elevator near the controls. He is evidently the elevator operator.\n\n> You ask the man about the elevator\nHe points to a small sign: \"For safety reasons, please do not talk to operator unnecessarily.\"\n\n> You look at the chandelier\nIt looks like an ordinary chandelier to me.\n\n> Up\n\"Ticket, please.\"\n\n> You attack man\nWhat do you want to attack it with?\n\n> You look at the man\nHe looks quite old, and seems very energetic, especially given what you think must be a boring job.\n\n> You go to the east\nYou're on a street in downtown Hell. To the south is the entrance\nto a large low-rise building labeled \"Infernolab,\" and to the north is the fortress-like Bank of Hell. The street continues east and west. A narrow alley leads alongside the Infernolab building to the southwest.\n\n> You go south\nYou're in a lobby, decorated with a very high-tech look: the walls\nare brushed stainless steel; the illumination is provided by black track lighting suspended from an intricate network of black metal railing; the furniture is black and angular. Along the far wall, spelled out in four-foot-high Helvetica Medium Extended letters carved from granite, is the word:\n\nIn the center of the lobby is a huge black leather couch, and a low black marble coffee table. A hallway leads east, and an exit leads north, back out to the street.\nA pair of maintenance workers in white overalls walks in from the\neast. One is carrying a toolbox, and the other is carrying a light bulb and a sheet of paper.\n\"Let's see,\" says the one carrying the sheet of paper, carefully reading it. \"The trouble ticket says that bulb number 47 has blown again.\" He looks up at the track lighting. \"Damn! We forgot the ladder!\"\n\"No need,\" says the other. He sets his toolbox on the coffee table, then climbs up onto the table. \"I can reach number 47 from here,\" he says. He reaches up and unscrews one of the bulbs, then lays it on top of the railing. \"Hand me that new bulb,\" he says. The other worker hands him the bulb, and he screws it into the socket. As he's screwing it in, a huge flash of light suddenly erupts from the socket, followed by a shower of glass. The flash of light is quickly replaced by a cloud of smoke, and flames engulf the worker. He jumps off of the table, his clothes in flames, screaming and flailing his arms, and runs out into the street. The other worker shrugs and disappears down the hall.\nSitting on the marble coffee table is a toolbox. Sitting on the\nblack metal railing is a dead light bulb.\n\n> You get all\ntoolbox: Taken.\ndead light bulb: You can't reach it from here; it's up in the railing.\n\n> You examine the toolbox\nIt's a gray metal toolbox. The toolbox is closed.\n\n> You open the toolbox\nIt's locked.\n\n> You stand on the table\nYou climb up onto the coffee table. It makes a pretty good platform -- you can reach the railing from here.\n\n> You examine the bulb\nIt's a dead light bulb. It seems slightly charred inside.\n\n> You climb the railing\nWith a little effort, you manage to climb up into the rails.\n\nYou're crouching in the intricate network of rails above the lobby floor. You can't stand up, because the ceiling is only a few feet above the top of the rails, but there's plenty of room to move around. You can go down, back to the lobby floor.\nIn the ceiling, you notice an access panel. The panel is currently closed.\n\n[Your score just went up.]\n\n> You open the panel\nOpened.\n\n> You look at the panel\nIt's open."
    },
    {
        "text": "[Themes: Afterlife, Haunted  House, Satire]\n\n> You look around\nYou're crouching in the intricate network of rails above the lobby floor. You can't stand up, because the ceiling is only a few feet above the top of the rails, but there's plenty of room to move around. You can go down, back to the lobby floor.\nIn the ceiling, you notice an access panel. The panel is currently open.\n\n> You enter the panel\nYou're in a maintenance crawlway. It's cramped, but you can easily move around on your hands and knees. The crawlway continues to the north and south; you can also climb down through a hole in the floor.\n\n> Go south\nCrawlway, at T\nYou're at a \"T\" intersection between a crawlway that continues off\nto the north, and an east-west crawlway.\n\n> Go east\nYou're at the east end of a crawlway. There's a small access panel\nin the floor (which is currently closed), although it's too small for you to go through.\n\n> You look through it\nThrough the hole, you can see a room below. The room seems to consist of a series of small cubicles, each separated by a six-foot-high partition. Each cubicle contains a chair and a desk. In most of the cubicles, a person is occupying the chair.\nSouth of the cubicles is a large, white room, in which a number of people in white labcoats are moving about, consulting with one another and writing notes on the clipboards they're carrying.\n\n> You go west\nCrawlway, at T\n\n> You go to the west\nYou're at the west end of a crawlway. Large metal pipes run along\nthe walls. The crawlway continues to the east.\nOne of the pipes ends here. The end of the pipe is not connected to anything at all; you assume it's being left for future expansion. Just before the end of the pipe is a valve, evidently to cut off the flow of whatever the pipe carries until something is attached here. The valve is currently closed.\n\n> You open valve\nYou turn the wheel, opening the valve. As you do, the pipe starts hissing, and you smell natural gas pouring out of the pipe.\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Close pipe\nI don't know how to close the pipe.\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Close valve\nYou close the valve. The gas slowly dissipates.\n\n> Go north\nYou're at the north end of a crawlway. The only way to crawl out is\nto the south."
    },
    {
        "text": "[Themes: Afterlife, Haunted  House, Satire, hell]\n\n> Look around\nYou're in a lobby, decorated with a very high-tech look: the walls\nare brushed stainless steel; the illumination is provided by black track lighting suspended from an intricate network of black metal railing; the furniture is black and angular. Along the far wall, spelled out in four-foot-high Helvetica Medium Extended letters carved from granite, is the word:\n\nIn the center of the lobby is a huge black leather couch, and a low black marble coffee table. A hallway leads east, and an exit leads north, back out to the street.\n\n> You look at the couch\nThe couch is very large. It's upholstered in black leather, and has a shiny chrome frame. There's nothing on the couch.\n\n> Go east\nYou're in a hallway that leads east and west. All along the south\nwall are closely-spaced doors; all of the doors are closed, except for one. The hall continues to the east.\n\n> Go south\nYou're in a small cubicle, bordered on the east and west by six-foot-high partitions, and on the south by a desk. There's a chair that occupies most of the rest of the space. A door is to the north; the door is open.\nOn the other side of the desk is a very large, bright white room. Several men and women are walking about the room, consulting with each other; each is wearing a long white lab coat, and carrying a black metal clipboard stuffed with papers. Overhead, you notice a small opening in the ceiling.\nAs you enter, one of the women in labcoats walks over to you. \"Ah,\nyou must be subject 32,\" she says with a bit of impatience in her voice. \"Everyone else is ready to begin. Now, if you'd take your seat, we could proceed with the experiment.\" She walks back toward the center of the room and confers with another of the scientists.\n\n> You go to the east\nYou're at the east end of a long hallway. To the east is a closed door. Next to the door is a slot; a small red light is above the slot. The hall continues back to the west.\n\n> You look at the door\nIt's a sliding metal door. It's currently closed.\n\n> Go north\nYou're in the cavernous interior of the main office of the Bank of Hell. The style is very 19th Century: the building itself is made of granite blocks; huge oak desks with dark green and burgundy leather armchairs are arranged in neat rows behind the counter that runs the width of the room; and dozens of tellers dressed in dark pinstripe vests and bow ties stand behind the counter, each at a window with a stack of papers and a green banker's light, waiting on a customer.\nThe exit is to the south.\n\nOne of the tellers waves you over to his window. \"Can I help you?\" he asks.\n\nThe teller looks at you expectantly.\n\n> You examine teller\nHe looks to be in his early thirties. Like all the other tellers, he's dressed in a pin-stripe vest, white shirt, and bow tie.\n\nThe teller looks at you expectantly.\n\n> You ask the teller about Bank\nHe seems more interested in discussing bank business.\n\nThe teller looks at you expectantly.\n\n> You ask teller about 319\nI don't know how to ask anything about the number 319.\n\nThe teller looks at you expectantly.\n\n> You ask teller about the withdrawal\nI don't know the word \"business\".\n\nI don't know the word \"withdrawal\".\n\n> You go to the southwest\nYou're in an alley between two large low-rise buildings, one to the east and one to the west. The alley dead-ends to the south; you can go out to the north.\nAt the south end of the alley is a large dumpster.\n\n> You look at the dumpster\nIt's a really large, very smelly dumpster. Over the edge of the dumpster, you can see a pair of flippers sticking up. Unfortunately, you can't quite reach them from here.\n\n> You drop the toolbox\nDropped.\n\n> You take the toolbox\nTaken.\n\n> You examine the flippers\nThey're sticking up out of the trash in the dumpster. You can't quite reach them from here.\n\n> You take the flippers with the rope\nAll you can manage to do is push them away from you. You'll have to get into the dumpster somehow.\n\n> You climb the dumpster\nIt's too high to climb into.\n\n> You examine Building\nIt's just a building.\n\n> Go north\nA man whose clothes are on fire is running around in circles, flailing his arms and screaming. He runs off to the west.\n\n> You go east\nYou're in a sparsely-populated rural area east of town. The road\nleads west into the city, but ends here; to the east is an open field; you can also go south, where the terrain becomes rocky and hilly. A small farmhouse lies to the north.\n\n> Go north\nYou're in a small, deserted, one-room farmhouse. The building is\nvery old and rickety, and all the paint has long since peeled off the walls. You can go through doors to the south and east.\nYou see a portable radio here.\n\n> Unlock toolbox\nWhat do you want to unlock it with?\n\n> You turn on the radio\nThe radio is now turned on.\n\nThe radio plays annoying heavy metal music.\n\n> You examine the radio\nIt's a HadesCorp WaveMaster 2000 portable transistor radio. It has a dial that lets you set the frequency, and a switch for turning the radio on and off (the switch is currently in the on position). On the back is a small compartment.\n\nOn the radio, an annoying heavy metal deejay talks about a radio contest.\n\n> You turn the radio dial\nWhat do you want to turn it to?\n\n> 319\nOkay, it's now turned to 319.\n\nA man on the radio says, \"Many drivers find it very confusing that every type of zone has its own speed limit. No two zones have the same speed limit. In addition, there are too many types of zones -- we have School Zones, Hospital Zones, Library Zones, Residential Zones, and Freeway Zones. This is more than we need.\"\n\n> You go east\nYou're in a large yard outside an old, abandoned barn. The area is overgrown with weeds; it obviously hasn't been used in many years. A rusty old wellhead sticks out of the weeds; a large metal bucket is hanging from the well. The farmhouse is to the west, and the entrance to the barn is to the north.\n\nA woman on the radio says, \"I believe that both Hospital Zones and 43 mile-per-hour zones need to be reconsidered.\"\n\n> You take all\nbucket: Taken.\n\nA man on the radio says, \"Possibly, but I think it's a much more pressing problem that the color of speed limit signs in School Zones is blue.\"\n\n> You take the bucket\nYou already have the bucket!\n\nThe woman on the radio responds, \"What color would you suggest? Green is already taken by 59 mile-per-hour zones.\"\n\n> Wait\nTime passes...\n\nOn the radio, a second woman enters the conversation. \"Yes, but both School Zones and 27 mile-per-hour zones have large signs, while Library Zones -- not to mention 43 mile-per-hour zones -- have only medium-sized signs. It doesn't seem appropriate somehow.\"\n\n> You look at the bucket\nIt's an old rusty metal bucket. It's empty.\n\nThe man on the radio says, \"Now I've forgotten -- is the speed limit in a residental zone 17 or 23 miles per hour?\"\n\n> You examine well\nIt's a hand-pumped well. It has a long lever, and a spout. The pump looks very old and corroded.\n\nThe first woman on the radio says, \"I can't remember, but I know that either School Zones or Hospital Zones are 23 miles per hour.\"\n\n> You search weeds\nYou find nothing of interest.\n\nA man on the radio says, \"Do you swear to uphold the procedures and policies of the Ministry of Information, to use appropriate rubber stamps on all forms, and to completely and accurately fill in all parts of forms marked Office Use Only and/or Do Not Write Above and/or Below Line?\"\n\n> You go to the north\nYou're in an old, rickety barn. The area smells of rotting wood and damp decay. The usual farm implements are scattered around the barn:\na pitchfork stuck into a bale of hay, several stalls for horses.\nIn the center of the barn is a small single-engine airplane. It's\nan open-cockpit, high-wing tail-dragger. It's painted a faded yellow. The exit is to the south.\n\nSomeone on the radio says, \"I do.\"\n\n> You examine the airplane\nIt's a tail-dragger with an open cockpit. Unfortunately, it doesn't look like there's any hope that it can be made to work; the engine looks dismantled and corroded. It looks like you could get in the plane if you wanted, though.\n\nSomeone on the radio says, \"I do.\"\n\n> You enter it\nYou're in the cockpit of a very old airplane. From here, you can\nsee just how hopeless it would be to try to get it flying: the control stick has been removed, leaving a gaping hole in the floor, and the airframe is quite rotted.\nEven the seat has been removed. At the rear of the cockpit area is\na large compartment, which is closed.\n\nSomeone on the radio says, \"I do.\"\n\n> You open compartment\nWhich compartment do you mean, the radio compartment, or the storage compartment?\n\n> Storage\nIt's jammed shut; you'll need to get something to pry it open with.\n\nSomeone on the radio says, \"I do.\"\n\n> Go outside\nSomeone on the radio says, \"I do.\"\n\n> You examine the pitchfork\nIt has a handle about five feet long, and three sharp metal prongs space about six inches apart.\n\nSomeone on the radio says, \"I do.\"\n\n> You take it\nTaken. Now all you need is some horns and a pointy tail, and you'd own this place!\n\nSomeone on the radio says, \"I do.\"\n\n> You enter the stall\nWhy? Hoping to return as a horse in your next life?\n\nA man on the radio says, \"Many drivers find it very confusing that every type of zone has its own speed limit. No two zones have the same speed limit. In addition, there are too many types of zones -- we have School Zones, Hospital Zones, Library Zones, Residential Zones, and Freeway Zones. This is more than we need.\"\n\n> You check your inventory\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, and a pitchfork.\n\nA woman on the radio says, \"I believe that both Hospital Zones and 43 mile-per-hour zones need to be reconsidered.\"\n\n> Go upwards\nYou can't go that way.\n\nA man on the radio says, \"Possibly, but I think it's a much more pressing problem that the color of speed limit signs in School Zones is blue.\"\n\n> Go south\nThe woman on the radio responds, \"What color would you suggest? Green is already taken by 59 mile-per-hour zones.\"\n\n> Go west\nOn the radio, a second woman enters the conversation. \"Yes, but both School Zones and 27 mile-per-hour zones have large signs, while Library Zones -- not to mention 43 mile-per-hour zones -- have only medium-sized signs. It doesn't seem appropriate somehow.\"\n\n> You go to the south\nThe man on the radio says, \"Now I've forgotten -- is the speed limit in a residental zone 17 or 23 miles per hour?\"\n\n> You go to the east\nYou're in a large, open field. The ground is peppered with clumps\nof scrubby grass. A road lies to the west. You can see a tall mountain range in the distance to the southeast.\nThere's a large jackrabbit hopping around, foraging for food.\n\nThe first woman on the radio says, \"I can't remember, but I know that either School Zones or Hospital Zones are 23 miles per hour.\"\n\nThe rabbit hops around the field.\n\n> You look at the mountains\nYou can't make out much detail from this distance. The tallest point, to the southeast, looks like a volcano.\n\nA man on the radio says, \"Do you swear to uphold the procedures and policies of the Ministry of Information, to use appropriate rubber stamps on all forms, and to completely and accurately fill in all parts of forms marked Office Use Only and/or Do Not Write Above and/or Below Line?\"\n\nThe rabbit hops around the field.\n\n> You examine the grass\nIt's brown and looks very tough.\n\nSomeone on the radio says, \"I do.\"\n\nThe rabbit hops around the field.\n\n> Go southeast\nThere's nothing in that direction except more of the same empty field.\n\nSomeone on the radio says, \"I do.\"\n\nThe rabbit hops around the field.\n\n> You look at the volcano\nYou can't make out much detail from this distance. The tallest point, to the southeast, looks like a volcano.\n\nSomeone on the radio says, \"I do.\"\n\nThe rabbit hops around the field.\n\n> Go south\nYou're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road.\n\nSomeone on the radio says, \"I do.\"\n\n> You examine the volcano\nIt's hard to see much, thanks to all of the steam and dust rising out of the cauldron, but you can see quite a lot of red-hot, glowing, molten rock.\n\nA man on the radio says, \"Many drivers find it very confusing that every type of zone has its own speed limit. No two zones have the same speed limit. In addition, there are too many types of zones -- we have School Zones, Hospital Zones, Library Zones, Residential Zones, and Freeway Zones. This is more than we need.\"\n\n> Go south\nYou're in a large, cylindrical cave with smooth, black walls.\nRunning through the south end of the cave is a wide, swiftly-flowing river of lava, which flows downhill to the east. The lava pours in through an orifice in the western wall. An exit leads back outside to the north.\n\nA man on the radio says, \"Possibly, but I think it's a much more pressing problem that the color of speed limit signs in School Zones is blue.\"\n\n> Go south\nThe searing heat of the lava shoots through your body, making you try desperately to escape the river. As you flail around, though, you start to realize that the lava isn't harming you, despite the intense pain. As you start to get used to the blistering heat, you notice that you're being swept rapidly downstream...\n\nThe river of lava is flowing swiftly downhill to the east.\n\nThe lava flow starts to carry you downstream.\n\nThe woman on the radio responds, \"What color would you suggest? Green is already taken by 59 mile-per-hour zones.\""
    },
    {
        "text": "> Look around\nThe river of lava is flowing swiftly downhill to the east.\n\nThe swift river of lava sweeps you downstream to the east.\n\nThe river of lava turns from east to south here.\n\nOn the radio, a second woman enters the conversation. \"Yes, but both School Zones and 27 mile-per-hour zones have large signs, while Library Zones -- not to mention 43 mile-per-hour zones -- have only medium-sized signs. It doesn't seem appropriate somehow.\"\n\n> You wait for a while\nTime passes...\n\nYou're carried rapidly to the south by the flowing lava.\n\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\nThe man on the radio says, \"Now I've forgotten -- is the speed limit in a residental zone 17 or 23 miles per hour?\"\n\n> You throw the rope at the stalagmite\nYou're up to your ears in lava. You can't manage to throw the rope while submerged like this.\n\nThe lava sweeps you along to the south.\n\nThe cave abruptly opens into the night sky, and you realize that\nyou're at the top of a cliff. The lava is pouring over the edge of the cliff and falling hundreds of feet down the side of the mountain below.\n\nThe first woman on the radio says, \"I can't remember, but I know that either School Zones or Hospital Zones are 23 miles per hour.\"\n\n> You turn off the radio\nThe radio is now turned off.\n\nBefore you can do anything, the river carries you over the edge of the lavafall. You fall and fall, tumbling and flailing your arms and legs, catching a glimpse of the bottom of the lavafall lost in the rocks far below. Suddenly, you hit something, and your fall stops abruptly.\n\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\n\n> Go northwest\nYou're on a narrow ledge high up on the mountainside. The ledge continues to the southeast and northwest.\n\n> You go northwest\nYou walk carefully along the ledge, but you suddenly hit a loose spot. You try to maintain your footing, but the rock crumbles under you, and you go sliding down the mountainside. You finally stop falling, and you find yourself on a rocky hillside you've seen before."
    },
    {
        "text": "[Themes: Haunted  House, Afterlife, Satire]\n\n> You look around\nYou're fairly high up on the side of the mountain -- you'd guess\nthat you're around two thousand feet up. (Have you noticed that they use the English system of measurements in Hell? What else would you expect?)  You can go down the mountain to the west, and the volcano's cone looms above to the east. A small opening appears to lead into a cave to the south. You can also travel along a path to the north, and a narrow passage to the southeast.\nYou have an excellent view of Hell from here. The tall buildings downtown all seem tiny from this distance and altitude, except for the Tower -- even from here, you can't see the top. The Tower looks like a thin, gleaming string stretching from the ground up into the dark sky. As your eyes follow the Tower up into the sky, you realize that you're high enough above the surface now that you can see stars above -- so many stars, all so bright, that it's quite well lit here.\n\n> You go north\nYou're on the shore of a beautiful clear blue mountain lake. The\nlake is huge -- it looks like it's almost a mile across. The water is very still and clear. The lake is circled by high cliffs, except here, where you could easily wade into the water. A path leads south.\n\n> Swim\n(the lake water)\nSwimming on the lake\nYou're swimming on the lake. The shore is to the west. A rocky\nledge to the north prevents travel in that direction, but you can go east or south.\nYou didn't notice from the shore, but there seems to be a very\nstrong undertow pulling you underwater.\n\nYou try to fight the undertow, but it's just too strong. It drags you underwater.\n\nYou're underwater in the lake. To the north is a rocky wall, but there's an opening that could be the mouth of a cave. The rocky wall of the shore is to the west, but you can go east and south. You are well below the surface, but the lake floor is still a ways below.\n\n> You go to the north\nYou try to swim against the undertow, but the current drags you down.\n\nThe undertow drags you down, away from the cave.\n\nYou're deep underwater, just above the rocky bottom of the lake.\nThe water is swirling violently around a depression in the rocky floor -- you realize that it's a whirlpool!\n\n> You fill the bucket\nWhat do you want to fill it with?\n\n> You examine the thicket\nIt looks like an ordinary thicket to me.\n\n> You enter the river\nWhich river do you mean, the river, or the river?\n\n> Swim\nWhat do you want to swim in?\n\n> You go north\nYou're on the west bank of a river. The water pours rapidly over\nhuge rocks in the river. A bridge crosses the river to the east. A narrow path climbs steeply up the hill to the northwest, and you can follow the river to the south.\n\n> You examine the bridge\nThe bridge crosses the river to the east.\n\n> Go east\nYou're at the center of a bridge that travels east and west across a raging rapids below.\nThere's a large hairy Troll standing in the center of the bridge, blocking your way.\n\nThe Troll watches you suspiciously.\n\n> You examine troll\nIt's a huge beast, standing ten feet high, covered with bristly black hair and wielding a double-edged axe.\n\nThe Troll watches you suspiciously.\n\n> You ask Troll about the bridge\nThe Troll doesn't appear to speak your language. Your questions just seem to agitate it.\n\nThe Troll watches you suspiciously.\n\n> You examine the axe\nIt looks viscous. You wouldn't want to be caught along its line of travel, especially when wielded by the Troll.\n\nThe Troll watches you suspiciously.\n\n> You go east\nThe troll blocks your path.\n\nThe Troll watches you suspiciously.\n\n> You go northwest\nYou're on a path that climbs up a sheer cliff face. The path goes\ndown to the river to the southeast, and climbs steeply to the southwest.\n\n> You go to the southwest\nYou're on a steeply climbing path near the top of a cliff. The path descends to the northeast, and continues to the west.\n\n> You go west\nYou're in a narrow passage among the rocks. You can squeeze through\nto the east and northwest."
    },
    {
        "text": "> Go downwards\nThe terrain is too rocky that way.\n\n> You go west\nYou're on a quiet, pleasant suburban street to the west of the city. Somehow, you always knew there would be suburbs in hell. The street is lined with the type of tract housing they built copiously in California in the 1950's: one-story buildings with flat roofs, horizontal lines, lots of windows, and poor construction quality. A drab, faded blue-green house lies to the south, and a mini-mall lies to the north. The street leads east back into the city. To the west, the street fades to a gravel path.\n\nA man whose clothes are on fire is running around in circles, flailing his arms and screaming. He runs off to the east.\n\n> Go east\nYou're in the center of Hell's business district. To the north is\nan extremely tall tower, which reaches up into the sky; the top is lost in mist high above. An archway leads south. You can go down the street to the east and west.\n\nA man whose clothes are on fire is running around in circles, flailing his arms and screaming.\n\n> You throw the water on the man\nYou pour the water onto the burning man, and the flames are immediately extinguished. He looks dazed for a moment, then sees that you're the kind person that did the good deed. \"Hey!\" he shouts at you. \"What did you do that for? Now I've got to go back to work!\"\nHe fumbles through his pockets. As he does, you notice a small\nmetal object drop to the ground. He eventually finds a matchbook in his pocket, and strikes a match; he tries to get his clothes burning again, but they're too wet. \"Oh, well, it's no use,\" he says, and stomps away.\n\n[Your score just went up.]\n\n> You unlock the toolbox with the key\nUnlocked.\n\n> You read the yellow note\nIt's a small piece of yellow paper, with nothing written on it except a series of numbers: 6-24-10.\n\n> You open storage with the crowbar\nYou jam the crowbar under the compartment door and start prying. After a few moments, you hear a loud snap, and the door pops open. Opening the storage compartment reveals a parachute.\n\n[Your score just went up.]\n\n> Go north\nYou're in the parking lot of a suburban mini-mall. The street is to the south. To the east is a store labeled \"Just Mirrors\", and to the west is The Amulette Shoppe.\n\n> Go east\nYou're inside Just Mirrors, which seems to sell just mirrors. Lots\nof mirrors are available for sale. The shopkeeper seems to be a sullen teen, sitting behind the counter trying hard to ignore you. The exit is to the west.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You take the mirror\nYou can't afford any of these mirrors.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You ask the teenager about the mirror\nHe ignores you.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> Break mirrors\nYou'll have to tell me how to do that.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You hit the teenager with the crowbar\nAttacking the sullen teen doesn't appear productive.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You examine the counter\nThere's nothing on the counter.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You look behind the counter\nThere's nothing behind the counter.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You buy the mirror\nI don't know how to buy the mirror.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You ask the shopkeeper about the amulets\n\"I have a very nice selection of authentic reproductions of actual amulets. Of course, these amulets don't have the magical protective powers of the real amulets, but they make very nice jewelry.\"\n\n> You look at the amulet\nThe display cases contain a number of different amulets. Most look like they're to be worn around the neck: one is a big gold disk with complex etchings; a second one is a clear, light blue jewel stone; a third is an ivory carving of a boat. Some look like other types of jewelry: one is a simple silver ring, and another is a bracelet.\n\n> You look at what you're carrying with you\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, and a parachute (being worn). The toolbox seems to contain a crowbar and a yellow note.\n\n> You examine disk\nIt's a large gold disk with complex etchings. The pattern of etchings resembles a starburst: a central circle with lines radiating. The disk is attached to a gold chain, for wearing the amulet around the neck.\n\n> You ask the shopkeeper about the disk\n\"This is a replica of an amulet that is said to provide protection against great heat. I think the story is that it resembles the Sun, which is the source of all heat. This one's been sold.\"\n\n> You ask the shopkeeper about the blue jewel\n\"This is a very nice jewel, don't you think? The amulet that it's based upon supposedly provides protection against extreme cold. The jewel looks a little like a block of ice, you see. This one's been sold.\"\n\n> You ask the shopkeeper about the boat\n\"This is real ivory, which is very hard to find these days. The original amulet was said to provide protection against sickness. I think the idea is that you might become ill in a rowboat. This one's been sold.\"\n\n> You ask the shopkeeper about the ring\n\"This was is supposed to provide protection against blinding light.\nI'm not sure why it's a ring. This one's been sold.\"\n\n> You ask the shopkeeper about the bracelet\n\"The original amulet upon which this is based is said to provide protection against deafening sound. This one's been sold.\"\n\n> You go south\nYou're in the poorly-tended, mostly dead yard of a house that lies\nto the south. Now that you're closer to the house, you can see just how poorly built the house really is: the primary building material seems to be cardboard stapled onto a rotting wooden frame. The cardboard is ill-fitting and poorly aligned, leaving large gaps here and there. You can enter the house to the south, and you can leave the yard to the north.\n\n> Go south\nAs you start to open the door, you suddenly realize that it was locked. However, the construction quality of the house is so poor that the door pops open anyway.\n\nYou're in an old, dilapidated kitchen. The appliances are all\nancient and appear to be in poor condition; the linoleum floor has large gashes here and there where the plastic is curled back. There's a sink, with a small cabinet underneath. An exit leads north out into the yard, and passages lead west and south.\nYou see a paper recycling bin here.\n\n> You examine bin\nIt's a blue plastic bin, labeled \"Paper\", with the familiar recycling symbol underneath. There's nothing in the paper recycling bin.\n\n> You examine the sink\nIt looks like an ordinary sink to me.\n\n> You open the cabinet\nOpening the cabinet reveals a pair of rubber gloves.\n\n> You examine the gloves\nIt looks like an ordinary pair of rubber gloves to me.\n\n> You go to the west\nYou're in the dining room, which isn't really a separate room but\njust the northwest corner of the living room. A table dominates the area. A six-foot partition separates the dining room and living room from the kitchen, which is to the east (evidently, building a wall all the way up to the ceiling would have been too expensive). The living room lies to the south.\nSitting on the table is some junk mail.\n\n> You read the mail\nIt's one of those obvious pieces of junk mail that's been made up to look like something important, with phrases such as \"Extremely Urgent!\" and \"Dated Material!\" and \"Super-Express-Gram\" stamped on the outside, but addressed to \"Resident (Deceased)\". The letter reads:\n\nHello, Decedent!\n\nAre you tired of the banality of everyday death in Hell? Have you been to Heaven, but couldn't stand the boring \"cultural\" activities? Do you long for the danger and excitement that you had when you were alive?\n\nThen join the Hades Explorers' Society!\n\nIn the HES, we go to the parts of the underworld that ordinary people have never heard of, and we perform amazing feats that others wouldn't dream of, then we get together in our luxurious clubhouse and exchange stories over fine imported cognac and brandy.\n\nBecause of your excellent credit history, you're PRE-APPROVED for membership in the HES. All you need to do is to bring the enclosed Certificate of Invitation to our Headquarters.\n\nAs far as we're concerned, you're as good as joined. However, there's one catch. The way to our headquarters is guarded by an evil Troll. The Troll will let none pass except for card-carrying members of the HES, or those who the Troll believes are worthy of membership. The Troll unfortunately does not read, so the enclosed certificate will not help you. Instead, you must prove yourself an accomplished Adventurer by bringing the Troll a great treasure. For this we can offer you no guidance, but if you are truly an Adventurer, you will be up to the quest.\n\nGood luck! We look forward to welcoming you!\n\nA piece of paper that was attached to the letter falls out onto the table. You see that it's the Certificate of Invitation.\n\n> You look at the table\nOn the table you see some junk mail.\n\n> Go south\nYou're in the living room, which is long and narrow, with a brick fireplace on the south wall; next to the fireplace is a tool holder. A six-foot partition to the north separates the living room and kitchen. The northwest corner of the room serves as the dining room. A hallway leads east.\n\n> You read Certificate\nIt's an elaborate certificate, personalized in frilly script letters for \"BEARER\", certifying that the named individual has been pre-approved for membership in the Hades Explorers' Society and all of the privileges and responsibilities pertaining thereunto.\n\n> You examine holder\nIt's a black metal caddy for holding fireplace tools. It has space for three specific tools. In the fireplace tool holder you see a poker, a brush, and a shovel.\n\n> You examine the poker\nIt's a black wrought-iron fireplace poker. It's about half an inch in diameter, and a couple of feet long.\n\n> You examine the brush\nIt's a black brush with a two-foot metal handle, useful for sweeping ashes out of a fireplace.\n\n> You look at the shovel\nIt's a small black shovel with a two-foot metal handle, useful for collecting ashes out of a fireplace.\n\n> You take all from the holder\npoker: Taken.\nbrush: Taken.\nshovel: Taken.\n\n> You go to the east\nYou're in a short hallway connecting the bedrooms to the living room and kitchen area. The kitchen lies to the north, the living room is to the west, and the hall continues to the east.\n\n> You go east\nYou're at the east end of the hall. Bedrooms are to the east and south, and a bathroom is to the north. The hall continues to the west.\n\n> You go to the east\nYou're in a large bedroom that's set up as an office. In the center\nof the room is a large desk, on which is a personal computer and a big pile of paper.\nThe hallway lies to the west.\nSitting on the desk is a pencil sharpener, a bag of Cheese-Doodles,\nand an empty can of ToxiCola.\nA programmer is sitting in front of the computer, looking at a screenful of C code.\n\nThe programmer looks pensively at the screen.\n\n> You look at the programmer\nYou can tell just looking at him that he does nothing but program all day: he looks pale, even for a dead guy, and he's dressed in jeans and a t-shirt, the canonical uniform of the software developer. Clipped to one of his pockets is a small plastic card.\n\nThe programmer looks pensively at the screen.\n\n> You look at the card\nYou can't get a very good look (not without being impolite, at least). You can see \"INFERNOLAB\" spelled out in large letters.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You look at the notes\nThere's pieces of scratch paper spread out all over the desk, except for the half of the desk occupied by the computer. Some of the pieces have a bunch of hex numbers with little arrows next to them; others have strange maps consisting of little squares (each with a label such as \"Hall East\") connected by lines, and others have lists with about half of the items crossed off and the other half squeezed into the last inch at the top of the page.\n\nThe programmer looks pensively at the screen.\n\n> You examine the screen\nIt's a personal computer with the traditional accoutrements: mouse, keyboard, monitor, and system CPU unit. The screen is displaying a bunch of C code.\n\nThe programmer types a bunch of code into the computer.\n\n> You examine the code\nIt doesn't shed much light on what to do next.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You read the card\nI don't know how to read the ID card.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You ask the programmer for the card\nI don't think the programmer could give that to you.\n\nThe programmer looks pensively at the screen.\n\n> You take the card\nThe programmer is carrying the ID card and won't let you have it.\n\nThe programmer looks pensively at the screen.\n\n> You read code\nIt doesn't shed much light on what to do next.\n\nThe programmer types a bunch of code into the computer.\n\n> You examine the sharpener\nIt's an electric pencil sharpener. It has a pencil-sized hole on one end. There's also a small compartment (which is closed).\n\nThe programmer looks pensively at the screen.\n\n> You open compartment\nWhich compartment do you mean, the radio compartment, or the sharpener compartment?\n\n> Sharpener\nOpening the sharpener compartment reveals an Infern-O-Vac battery.\n\nThe programmer looks pensively at the screen.\n\n> You examine the battery\nIt's an Infern-O-Vac type HH battery.\n\nThe programmer types a bunch of code into the computer.\n\n> You ask the programmer about the code\n\"I'd love to chat, but I'm busy.\"\n\nThe programmer types a bunch of code into the computer.\n\n> You take the sharpener\nTaken.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You look at the desk\nIt's a very large desk, perhaps six feet wide by three feet deep, made from dark wood and done in Danish Modern style. One half of the desk is occupied by a computer, and most of the rest of the desk is covered with papers. The desk has a drawer, which is closed. On the desk you see a bag of Cheese-Doodles and an empty can of ToxiCola.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You open the drawer\nThe programmer stops you. \"Hey! Leave that alone! What do you think? That this is your own private hell?\"\n\nThe programmer makes a few notes on some scratch paper.\n\n> You examine the doodles\nThere's nothing in the bag of Cheese-Doodles.\n\nThe programmer types a bunch of code into the computer.\n\n> You look at the can\nIt looks like an ordinary empty can of ToxiCola to me.\n\nThe programmer looks pensively at the screen.\n\n> You go to the north\nYou're in a small bathroom. In the center of a room is a sink, and over the sink is a medicine cabinet (which is closed). The exit is to the south.\n\n> You open the cabinet\nYou try to open it, but it's stuck.\n\n> You open the cabinet with the crowbar\nThe jammed frame creaks and moans, but it's no match for the crowbar, and it quickly opens with a loud cracking sound. As it comes open, the mirror suddenly snaps out of the frame, and and crashes down onto the sink. Glass flies everywhere.\nThe programmer walks in, evidently having heard the commotion. \"It looks like you tried to open the medicine cabinet,\" he says. \"I should have warned you about that. It's yet another of the high-quality accessories of this house. The mirror always pops out when the medicine cabinet is opened.\"\nHe walks out, and returns with a broom. \"I'll have to go get\nanother mirror,\" he says as he sweeps up the glass. \"I'll just be a few minutes. There's a mirror store right across the street.\"\n\n[Your score just went up.]\n\nThe programmer travels out into the hall.\n\n> You go south\nA programmer is here.\n\nThe programmer travels west down the hall.\n\n> Go east\nSitting on the desk is a bag of Cheese-Doodles and an empty can of ToxiCola.\n\n> You open the drawer\nOpening the drawer reveals a pencil.\n\n> You examine it\nIt's a standard number 2 pencil. It's brand new, and hasn't been sharpened yet.\n\n> You sharpen pencil\n(with the pencil sharpener)\nThe pencil sharpener doesn't do anything. You withdraw the pencil from the hole and find it exactly as sharp as when you inserted it.\n\n> You open the radio compartment\nOpening the radio compartment reveals a DuraHell battery.\n\n> You put durahell battery in the sharpener compartment\nDone.\n\n> You sharpen the pencil\n(with the pencil sharpener)\nThe pencil sharpener whirs for several seconds as you feed the pencil in. You take the pencil out and find it sharpened and ready for writing.\n\n> You close the drawer\nClosed.\n\n> Go west\nThe programmer walks into the room.\n\n> Go north\nThe programmer walks in carrying a new mirror. He carefully pops the mirror into the frame and closes the medicine cabinet. \"I'll have to get this medicine cabinet fixed at some point,\" he says.\n\n> Go south\nYou're in a small bedroom. The room is almost entirely filled by\nthe bed. The hall is to the north.\nSitting on the bed is a pillow and a bedspread.\n\n> You look at it\nIt looks like an ordinary pillow to me.\n\n> You examine the bed\nThe bed almost fills the room. On the bed you see a bedspread.\n\n> You examine the bedspread\nIt looks like an ordinary bedspread to me.\n\n> You look under bed\nYou find a dollar bill! It's too bad that US currency is totally useless in this game.\n\n> You take the bill\nYou already have the dollar bill!\n\n> You examine the bill\nIt looks like real United States currency. You can't imagine how it got into this game.\n\n> You open the cabinet with the crowbar\nThe jammed frame creaks and moans, but it's no match for the crowbar, and it quickly opens with a loud cracking sound. As it comes open, the mirror suddenly snaps out of the frame, and lands gently on the pillow.\n\n[Your score just went up.]\n\n> You examine the mirror\nIt's a small mirror, about two feet by a foot and a half.\n\n> You climb the railing\nWith a little effort, you manage to climb up into the rails.\n\n> You examine the panel\nIt's only about one foot by one foot square. It's currently open. Through the hole, you can see a room below. The room seems to consist of a series of small cubicles, each separated by a six-foot-high partition. Each cubicle contains a chair and a desk. In most of the cubicles, a person is occupying the chair.\nSouth of the cubicles is a large, white room, in which a number of people in white labcoats are moving about, consulting with one another and writing notes on the clipboards they're carrying.\n\n> You put the mirror on the panel\nThe mirror fits well over the opening, covering the hole entirely.\n\n> You go south\nOne of the scientists recognizes you, and walks over. \"You're back\nfor another try, are you? Well, we normally don't like to use the same subjects multiple times, since it can throw off the results, but given your pathetic performance last time, I suppose that it can't do much harm. It's not like you'll have any sort of advantage over the other subjects!\" She lets out a little laugh -- actually, it's more like a snort -- then turns serious again. \"Anyway, we're about to begin another experiment, so if you'll have a seat, we will proceed.\" She walks away.\n\n> You go north\nOne of the tellers waves you over to his window. \"Can I help you?\" he asks.\n\nThe teller looks at you expectantly.\n\n> You read the check\nI don't know how to read the check.\n\nThe teller looks at you expectantly.\n\n> You give the check to the teller\n\"Thank you,\" the teller says, accepting the check and looking it over carefully. \"I'll need to see your Driver's License, please.\"\n\nThe teller looks at you expectantly.\n\n> You take the check\nTaken.\n\nThe teller looks at you expectantly.\n\n> Go west\nYou're on a gravel path that leads east and west. The terrain is growing quite dry and rocky to the west; the air is too dusty to see very far west. A small wooden sign is posted here.\n\n> You read the sign\nYou are now entering the Hell Nature Preserve. This\narea has been set aside to preserve a small part of\nHell in its original state, as it was before urbanization\ntransformed Hell into what we know today. Please don't\nlitter -- keep Hell beautiful!\n\nAfter reading the sign, you notice that someone has flagrantly violated the plea not to litter -- someone has carelessly tossed a cigarette box on the ground here.\n\n> Examine box\nWhich box do you mean, the toolbox, or the cigarette box?\n\n> Cigarette\nIn the cigarette box you see a cigarette.\n\n> Go west\nYou're on the east edge of a desolate plain. The ground is\nhard-packed sand covered with small, sharp rocks. The plain extends to the west as far as the eye can see. You notice that you can see for a very long distance; the ground does not seem to have any curvature at all, and there is no distinct horizon. Only sheer distance seems to obscure your view of what may be an infinite plain.\nYou can see a red glow to the north, and the city lies back to the east. The plain stretches off without any distinguishing features in all other directions.\n\n> Go north\nYou are on a vast, desolate plain. The ground is hot here; steam\nrises from cracks in the dry soil, and the warm, damp air smells strongly of sulfur. The area is littered with debris: decaying bones of strange animals, broken parts from ancient machinery, pools of tar and oil. The plain continues off in all directions; it was somewhat more pleasant to the south. A bright red glow comes from the north.\n\n> You examine the bones\nThe bones are of no animals you've ever seen. Some of them look almost human, but not quite. As you look more closely, you notice a human-looking skeleton underneath some of the strange animal bones.\n\n> You examine the skeleton\nYou can't see much; it's mostly covered by the strange animal bones.\n\n> You take the skeleton\nYou can't get to the skeleton; it's covered by the strange animal bones.\n\n> You remove the bones\nAs your hand approaches the pile of bones, bright blue electric arcs jump toward you. You jump back in pain as the electricity shoots through your body.\n\n> You remove the bones\nAs your hand approaches the pile of bones, bright blue electric arcs jump toward you, but the rubber gloves provide some protection. As you start to move the pile, it collapses, and sparks fly throughout the pile. You jump back from the fireworks. Once the smoke has cleared, you see that a human skeleton has been uncovered.\n\n> You examine the skeleton\nThe skeleton has been stripped of flesh; only the bright white bones remain. You notice that the skeleton's bony hand is clutching a small card.\n\n> You take the card\nTaken.\n\n[Your score just went up.]\n\n> You look at the card\nIt's an appointment card for a driver's license test. It doesn't seem to specify a time or date; it's probably good any time.\n\n> You examine the machinery\nMost of the parts are gigantic, some standing several feet high. The parts are all made of dark, rough metals that look like wrought iron; they have myriad sharp protrusions and appendages. You can't imagine what these parts are or what machines they come from."
    },
    {
        "text": "> Look around\nYou are on a vast, desolate plain. The ground is hot here; steam\nrises from cracks in the dry soil, and the warm, damp air smells strongly of sulfur. The area is littered with debris: decaying bones of strange animals, broken parts from ancient machinery, pools of tar and oil. The plain continues off in all directions; it was somewhat more pleasant to the south. A bright red glow comes from the north.\n\n> You go north\nYou're standing at the top of an enormous crater, which is at least several hundred feet in diameter and almost as deep. Strangely, the ground around the crater is not lifted as you would expect of an impact crater; it is more like the result of excavation. The sides of the crater are very steep, but it looks as though you could climb down with some effort. The depths of the crater are obscured by a dense fog, but a wavering red glow penetrates the fog from below. Overpowering sulfurous fumes fill the air, and waves of heat and steam rise from below."
    },
    {
        "text": "> Go downward\nYou're at the bottom of the crater. The floor of the crater is littered with huge, sharp rocks, making travel very difficult, and the ground is so hot that it glows red. It looks as though you could climb back up the crater wall. To the northeast is a huge stone slab.\n\nOne of the large rocks on the pit floor suddenly bursts into flames. You jump back and shield your eyes from the blinding fire. After a few moments, the fire subsides, and all that's left of the rock is a thick black cloud of sulfurous fumes that slowly dissipates.\n\n> You go to the northeast\nYou'll have to move the huge stone slab out of the way first.\n\nYou hear a rumbling sound under your feet. The rumbling increases\nin intensity until the sound is deafening, and the ground is shaking violently. As you try to maintain your balance, several rocks are suddenly blown upward as a huge steam geyser blasts through the surface. You jump backward away from the jet of pressurized steam. Eventually, the geyser weakens, and finally stops.\n\n> You examine slab\nIt's about ten feet tall and five feet wide. In the center of the slab, you notice three small holes, arranged in a horizontal line, six inches apart.\n\nYou hear a noise overhead, and look up to see a number of rocks come sliding down the side of the crater. You jump out of the way just in time.\n\n> You examine the holes\nThere are three holes, each about half an inch in diameter, arranged in a horizontal line, and spaced about six inches apart. You can't tell how deep the holes are.\n\nthe crater. The glowing stream of liquid rock slowly cools into yet more hot rocks at the floor of the crater.\n\n> You put the poker in the holes\nThat doesn't seem to fit.\n\nA thick cloud of dust drifts down from the side of the crater. You watch the cloud as it slowly meanders through the complex air currents driven by the hot crater floor. As the cloud approaches the hot rocks at the bottom of the crater, it suddenly catches fire; you leap back as the cloud almost instantly vanishes in a searing wall of flame.\n\n> You put the pitchfork in the holes\nYou slide the pitchfork's prongs into the holes, and discover that it's an exact fit! You hear a deep, loud rumbling sound from behind the slab. You cautiously remove the pitchfork from the holes, and stand back. The slab slowly starts to rotate. It turns until a narrow passage is revealed to the northeast, then the rumbling ceases.\n\n[Your score just went up.]\n\nOne of the large rocks on the pit floor suddenly bursts into flames. You jump back and shield your eyes from the blinding fire. After a few moments, the fire subsides, and all that's left of the rock is a thick black cloud of sulfurous fumes that slowly dissipates.\n\n> You go to the northeast\nYou're on a ledge fifty feet above the floor of a huge cave. The\ncave below is engulfed in flames. Fire shoots out of vents in the rock; pools of oil on the ground burn slowly, releasing thick black clouds of smoke; even some of the rocks themselves smolder and burn. Across the cave on the north side, you can see a wide, dark lake; some distance into the lake is a small island. You can probably climb down the gently sloping walls of the cave to the floor below, and a narrow passage leads outside to the crater to the southwest."
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife, hell]\n\n> Go downward\nYou're on the floor of the huge cave of fire. It's extremely\ndifficult to see where you're going due to all of the fire and smoke. High above on the cave wall, you can see a ledge; you think you'll be able to climb back up the wall. The only path you can see through the cave is to the north.\n\n> You go north\nYou slowly make your way through the dense flames. You realize that this cave must be totally devoid of oxygen -- certainly it's all being consumed by the raging fires. It's lucky you're already dead, you think to yourself.\n\nYou're at the north end of the fire cave, standing on the rocky\nshore of a huge, still lake. The water is black -- so black that it barely reflects the brilliant light of the fires. In the middle of the lake, you can see a small island. The fire cave lies to the south, and you could wade into the water to the north.\n\n> You look at the island\nThe island is some distance into the lake. You can't make out any details from here.\n\n> You examine the lake\nYou dip your hand into the dark water. The water is hot and thick. As you pull your hand out, and see the dark red fluid dripping off, you realize that the lake is filled not with water, but with human blood. You jump back and shake your hand violently to clean it of the horrifying liquid.\n\n> You go north\nYou're wading in the lake. The shore is to the south. An island\nlies some distance to the north.\n\n> You go to the southwest\nYou hear a rumbling sound under your feet. The rumbling increases\nin intensity until the sound is deafening, and the ground is shaking violently. As you try to maintain your balance, several rocks are suddenly blown upward as a huge steam geyser blasts through the surface. You jump backward away from the jet of pressurized steam. Eventually, the geyser weakens, and finally stops.\n\n> You go east\nA DMV official is here.\n\nYou walk over to the window where the employee is standing.\n\nThe DMV employee says, \"Let's see your appointment card. Service is by appointment only.\"\n\n> You show the card to the employee\n\"Well, it's about time.\" She carelessly tosses your appointment card onto the counter and hands you a test. \"Fill this out, and don't cheat. Bring it back to me when you're finished with it.\"\n\nThe DMV employee looks at you impatiently. \"Have you finished the test yet?\"\n\n> Examine test\nThis test consists of 10 multiple-choice questions. Please consider each question carefully, and choose the letter of the answer that best completes the sentence or answers the question.\n\nThe minimum passing score is 70% (7 out of 10) correct.\n\nWARNING: You are required to answer the questions on this test without any help. Anyone willfully giving answers to another person, or accepting answers from another person, is guilty of an immoral act. But, you're already in Hell, so who cares?\n\n*** APPLICANT MUST PROVIDE OWN NUMBER 2 PENCIL ***\n\nLast Name:\n\n> You write floyd on the test\nFirst Name:\n\n> You write the club on the test\nMiddle Name:\n\n> You write of on the test\nAge:\n\n> You write 52 on the test\nQuestion 1:\n\nWhat is the speed limit in a School Zone?\nA. 17\nB. 23\nC. 27\nD. 43\nE. 59\n\n> B.\nQuestion 2:\n\nWhat is the speed limit in a Hospital Zone?\nA. 17\nB. 23\nC. 27\nD. 43\nE. 59\n\n> You go east\nQuestion 4:\n\nWhat is the speed limit in a Freeway Zone?\nA. 17\nB. 23\nC. 27\nD. 43\nE. 59"
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife, hell]\n\n> Go downwards\nQuestion 5:\n\nWhat is the speed limit in a Residential Zone?\nA. 17\nB. 23\nC. 27\nD. 43\nE. 59\n\n> B.\nQuestion 7:\n\nIn which zone is the speed limit 23?\nA. School Zone\nB. Residential Zone\nC. Hospital Zone\nD. Library Zone\nE. Freeway Zone"
    },
    {
        "text": "> Go downward\nQuestion 9:\n\nGiven a regular pyramid with a square base, there is a sphere whose center is in the plane of the base of the pyramid and which is tangent to all edges of the pyramid. If each edge of the pyramid base is of length A, what is the height of the pyramid?\n\nA. A\nB. A/sqrt(2)\nC. A/2\nD. A*sqrt(2)\nE. A*2"
    },
    {
        "text": "[Themes: Satire, Afterlife, Haunted  House]\n\n> You go downwards\nQuestion 10:\n\nGiven the pyramid and sphere from the previous question, what is the volume of the portion common to the sphere and the pyramid?\n\nA. (6*sqrt(2)/64 - 1/2) * pi * (A cubed)\nB. ((A/sqrt(2)) cubed)/3 * pi\nC. (7*sqrt(6)/54 - 1/4) * pi * (A cubed)\nD. (4/3) * pi * (A cubed)\nE. 4 * pi * (A cubed)"
    },
    {
        "text": "> Go downwards\nThe DMV employee looks at you impatiently. \"Have you finished the test yet?\"\n\n> You give the test to the employee\nShe looks over your test skeptically. \"Fine,\" she says, \"you got 80%. You pass.\" She takes out a camera and snaps a picture of you before you realize what's going on. She walks away from the counter (leaving the room totally devoid of employees) and remains in a back room for several minutes. Finally, she returns, and hands you your driver's license!\n\n[Your score just went up.]\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> You examine the license\nIn addition to the terrible picture of you (with your eyes closed, of course), the license reads:\n\n\n\nName: WRITE CLUB ON TEST WRITE OF ON TEST WRITE FLOYD ON TEST\n\nAge: write 52 on test\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> You give the license to the teller\n\"Thank you,\" the teller says, accepting the driver's license and looking it over carefully. \"I'll need to see your Celestial Security Card, please.\"\n\nThe teller looks at you expectantly.\n\n> You take the check and the license\ncheck: Taken.\ndriver's license: Taken.\n\nThe teller looks at you expectantly.\n\n> You go west\nThe Celestial Security officer asks the young woman, \"Have you ever filed a claim against your automobile, homeowner's, renter's, malpractice, health, or dental insurance?\" The woman replies, \"I had an automobile accident in 1982, but it wasn't my fault, and I had regular dental checkups between 1981 and 1990 that were billed to my dental insurance.\" The officer slowly and carefully transcribes the information onto the application form."
    },
    {
        "text": "> Look around\nYou're in the Celestial Security Office. At one end of the room is\na counter, and next to the counter is a wastebasket that's full of crumpled up paper. The exit is to the east, and a door behind the counter leads west.\nBehind the counter is a middle-aged man dressed in a light blue Celestial Security Administration uniform. He's helping a young woman fill out an application form.\n\nThe Celestial Security officer asks the young woman, \"In what year did Columbus discover America?\" The woman replies, \"1492.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> Waste\nThe Celestial Security officer stops you. \"Hey! You're not our regular maintenance worker! Where's your uniform?\" He makes you put the papers back.\n\nThe Celestial Security officer asks the young woman, \"Are you married?\" The woman replies, \"Yes.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> Go west\nThe Celestial Security officer moves to block your way. \"I'm sorry, only authorized personnel are allowed in the back office.\"\n\nThe Celestial Security officer asks the young woman, \"Is your spouse living or dead?\" The woman replies, \"Living.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You examine the dial\nThe radio dial can be turned to settings numbered from 1 to 999. It's currently set to 319.\n\nThe Celestial Security officer asks the young woman, \"What is your spouse's life expectancy?\" The woman replies, \"72 years.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You turn dial to 666\nOkay, it's now turned to 666.\n\nThe Celestial Security officer asks the young woman, \"Do you now or have you ever smoked?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You turn on the radio\nThe radio is now turned on.\n\nThe Celestial Security officer asks the young woman, \"Do you now or have you ever belonged to, endorsed, supported, aided and abetted, given comfort to, made a contribution to, sent back a business reply card from, or developed an advertising slogan for a 'light beer' manufacturer?\" The woman replies, \"No, never.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You wait a while\nTime passes...\n\nThe Celestial Security officer asks the young woman, \"Jane lives one mile from school, and Billy lives four miles away. If Jill walks to school at three miles per hour, how fast must Billy ride his bike to arrive at school at the same time as Jane if they both leave home at the same time?\" The woman replies, \"12 miles per hour.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You turn the dial to 911\nOkay, it's now turned to 911.\n\nThe Celestial Security officer asks the young woman, \"Do you use a hearing aid?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You turn the dial to 6\nOkay, it's now turned to 6.\n\nThe Celestial Security officer asks the young woman, \"Have you ever experienced palpitations, heart murmurs, shortness of breath, convulsions, seizures, paroxysms, blurred vision, dizziness, queasiness, or insomnia?\" The woman replies, \"Yes, I regularly have trouble sleeping.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You turn the dial to 24\nOkay, it's now turned to 24.\n\nThe Celestial Security officer asks the young woman, \"Hot enough for you?\" The woman replies, \"Yes.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You turn the dial to 10\nOkay, it's now turned to 10.\n\nThe Celestial Security officer asks the young woman, \"Can you taste the difference between margarine and butter?\" The woman replies, \"No, not usually.\" The officer slowly and carefully transcribes the information onto the application form.\n\nThe radio emits static.\n\n> You turn off the radio\nThe radio is now turned off.\n\nThe Celestial Security officer sighs. \"Oh, my,\" he says, \"I did it again! I accidentally wrote down your last name in the space for your first name. This form is just so confusing.\" He crumples up the form and throws it into the wastebasket. \"Oh, well,\" he says, \"we'll just have to start over.\" He reaches beneath the counter and gets out a new form.\n\n> You check your inventory\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a paper recycling bin, a pair of rubber gloves (being worn), a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, and a driver's license. The toolbox seems to contain a crowbar and a yellow note. The radio compartment seems to contain a DuraHell battery.\n\nThe Celestial Security officer asks the young woman, \"What is your middle initial?\" The woman replies, \"G.\" The officer slowly and carefully transcribes the information onto the application form."
    },
    {
        "text": "[Themes: Afterlife, Satire, Haunted  House, hell]\n\n> Go down\nYou hear a noise overhead, and look up to see a number of rocks come sliding down the side of the crater. You jump out of the way just in time.\n\n> You go north\nYou can't go that way.\n\nthe crater. The glowing stream of liquid rock slowly cools into yet more hot rocks at the floor of the crater.\n\n> Go southwest\nA thick cloud of dust drifts down from the side of the crater. You watch the cloud as it slowly meanders through the complex air currents driven by the hot crater floor. As the cloud approaches the hot rocks at the bottom of the crater, it suddenly catches fire; you leap back as the cloud almost instantly vanishes in a searing wall of flame.\n\n> You examine the cigarette\nIt looks like an ordinary cigarette to me.\n\nOne of the large rocks on the pit floor suddenly bursts into flames. You jump back and shield your eyes from the blinding fire. After a few moments, the fire subsides, and all that's left of the rock is a thick black cloud of sulfurous fumes that slowly dissipates.\n\n> You check your inventory\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a paper recycling bin, a pair of rubber gloves (being worn), a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, and a driver's license. The toolbox seems to contain a crowbar and a yellow note. The radio compartment seems to contain a DuraHell battery.\n\nYou hear a rumbling sound under your feet. The rumbling increases\nin intensity until the sound is deafening, and the ground is shaking violently. As you try to maintain your balance, several rocks are suddenly blown upward as a huge steam geyser blasts through the surface. You jump backward away from the jet of pressurized steam. Eventually, the geyser weakens, and finally stops.\n\n> You examine the light bulb\nIt's a dead light bulb. It seems slightly charred inside.\n\nYou hear a noise overhead, and look up to see a number of rocks come sliding down the side of the crater. You jump out of the way just in time.\n\n> You examine the cigarette box\nThere's nothing in the cigarette box.\n\nthe crater. The glowing stream of liquid rock slowly cools into yet more hot rocks at the floor of the crater.\n\n> Go west\nA shopkeeper is here waiting to help you.\nThe shop keeper greets you as you walk in. \"How may I help you?\"\nhe asks cheerfully.\n\n> You ask the keeper about the bracelet\n\"The original amulet upon which this is based is said to provide protection against deafening sound. This one's been sold.\"\n\n> You buy the bracelet\nYou can't possibly afford it. Besides, it's only a genuine replica; you would probably find the real thing more useful.\n\n> You ask the shopkeeper about teen\n\"I'd prefer to talk about amulets.\"\n\n> Go upwards\nFrom here, you can easily reach the rails. With a little effort, you manage to lift yourself up into the rails.\n\n> Inventory\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a paper recycling bin, a pair of rubber gloves (being worn), a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, and a driver's license. The toolbox seems to contain a crowbar and a yellow note. The radio compartment seems to contain a DuraHell battery.\n\n> Go south\nOne of the scientists recognizes you, and walks over. \"I'm sorry,\nbut we can't allow you to participate again, now that you know all about the experiment. It would throw off the results if you were to participate. If you're looking for more money, I've heard that Infernolab Missiles and Space is looking for subjects in the nosecone crash testing lab.\" She walks away."
    },
    {
        "text": "[Themes: Afterlife, Haunted  House, Satire]\n\n> You look at your surroundings\nYou're in a small cubicle, bordered on the east and west by six-foot-high partitions, and on the south by a desk. There's a chair that occupies most of the rest of the space. A door is to the north; the door is open.\nOn the other side of the desk is a very large, bright white room. Several men and women are walking about the room, consulting with each other; each is wearing a long white lab coat, and carrying a black metal clipboard stuffed with papers. Overhead, you notice a small opening in the ceiling. Covering the opening is a mirror. In the mirror, you notice that you can easily see the people in the cubicles on either side of your cubicle.\n\n> You look at the clipboard\nIt's just something the scientist is carrying. It's not important.\n\n> Inventory\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a pair of rubber gloves (being worn), a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, and a paper recycling bin. The toolbox seems to contain a crowbar and a yellow note. The radio compartment seems to contain a DuraHell battery.\n\n> Go east\nThere's a large hairy Troll standing in the center of the bridge, blocking your way.\n\nThe Troll watches you suspiciously.\n\n> You give the bill to Troll\nThe Troll takes one look at the dollar bill and rejects your offer with a snarl, shoving it away with a backhanded slap.\n\nThe Troll watches you suspiciously.\n\n> Go east\nSitting on the desk is a bag of Cheese-Doodles and an empty can of ToxiCola.\nA programmer is sitting in front of the computer, looking at a screenful of C code.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You ask the programmer about the ToxiCola\n\"I'd love to chat, but I'm busy.\"\n\nThe programmer makes a few notes on some scratch paper.\n\n> You look at the pile\nThere's pieces of scratch paper spread out all over the desk, except for the half of the desk occupied by the computer. Some of the pieces have a bunch of hex numbers with little arrows next to them; others have strange maps consisting of little squares (each with a label such as \"Hall East\") connected by lines, and others have lists with about half of the items crossed off and the other half squeezed into the last inch at the top of the page.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You read the pile\nThere's pieces of scratch paper spread out all over the desk, except for the half of the desk occupied by the computer. Some of the pieces have a bunch of hex numbers with little arrows next to them; others have strange maps consisting of little squares (each with a label such as \"Hall East\") connected by lines, and others have lists with about half of the items crossed off and the other half squeezed into the last inch at the top of the page.\n\nThe programmer looks pensively at the screen.\n\n> Search pile\nYou find nothing of interest.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You ask programmer for Card\nI don't think the programmer could give that to you.\n\nThe programmer types a bunch of code into the computer.\n\n> Burn pile\nI don't know how to burn the pile of paper.\n\nThe programmer types a bunch of code into the computer.\n\n> You give the cigarette to the programmer\n\"No, thanks.\"\n\nThe programmer makes a few notes on some scratch paper.\n\n> You ask the programmer about the program\nThe programmer is no longer here.\n\nThe programmer looks pensively at the screen.\n\n> You ask the programmer about the ToxiCola\n\"I'd love to chat, but I'm busy.\"\n\nThe programmer types a bunch of code into the computer.\n\n> You take the can\nTaken.\n\nThe programmer types a bunch of code into the computer.\n\n> You go to the south\nA woman is here.\n\nSomeone at the left of the room raises his hand. \"Yes, you at the left,\" the woman says, pointing to him.\n\"Why did I end up here? What did I do wrong?\" he asks.\nThe woman responds, \"Really, you must shed your outdated notions of hell. You don't have to do anything wrong to end up here. New souls are randomly assigned to Heaven or Hell based on the last four digits of your Celestial Security Number. The Heaven-Hell border was opened a long time ago, though, so your initial assignment is not permanent.\"\n\n> You go to the south\nA bartender is here.\n\n> You ask the bartender for the vodka\n\"Right away!\" He gets out a small glass and pours you a drink. He hands you the glass.\n\n> You pour the vodka into the can\nWhich vodka do you mean, the glass of liquor, or the bar's stock of liquor?\n\n> Glass\nYou pour the fluid, and it evaporates on contact. (It must be very arid in Hell.)  The glass vanishes into thin air.\n\n> Go north\nA woman is here.\n\nSomeone at the left of the room raises her hand. \"Yes, you at the left,\" the woman says, pointing to her.\n\"You said we can go to Heaven. How do we get there?\" she asks.\nThe woman responds, \"The easiest way is to use the HadesCorp Space Needle. It's impossible to miss -- it's the tallest free-standing structure in hell. The view from the elevator is fantastic.\"\n\n> Go east\nSitting on the desk is a bag of Cheese-Doodles.\nA programmer is sitting in front of the computer, looking at a screenful of C code.\n\nThe programmer looks pensively at the screen.\n\n> You give vodka to the programmer\n\"No, thanks.\"\n\nYou hear a hollow voice in the distance laughing for a moment. You wonder what it could signify, until your eyes wander up to the status line and you notice the turn counter.\n\nThe programmer types a bunch of code into the computer.\n\n> Status\nYou are dead. Your flesh seems to be in fairly good shape (no telltale signs of rotting are evident).\n\n> Pray\nIsn't it a little late for that?\n\nThe programmer makes a few notes on some scratch paper.\n\n> You examine computer\nIt's a personal computer with the traditional accoutrements: mouse, keyboard, monitor, and system CPU unit. The screen is displaying a bunch of C code.\n\n> You ask the programmer about the beer\nThe programmer looks pensively at the screen.\n\n\"I'd love to chat, but I'm busy.\"\n\nThe programmer makes a few notes on some scratch paper.\n\n> You examine the cpu\nIt's a personal computer with the traditional accoutrements: mouse, keyboard, monitor, and system CPU unit. The screen is displaying a bunch of C code.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You turn off the computer\nThe programmer probably wouldn't like that.\n\nThe programmer looks pensively at the screen.\n\n> You unplug the computer\nI don't know how to unplug the computer.\n\nThe programmer looks pensively at the screen.\n\n> You look at the notes\nThere's pieces of scratch paper spread out all over the desk, except for the half of the desk occupied by the computer. Some of the pieces have a bunch of hex numbers with little arrows next to them; others have strange maps consisting of little squares (each with a label such as \"Hall East\") connected by lines, and others have lists with about half of the items crossed off and the other half squeezed into the last inch at the top of the page.\n\nThe programmer looks pensively at the screen.\n\n> You examine the desk\nIt's a very large desk, perhaps six feet wide by three feet deep, made from dark wood and done in Danish Modern style. One half of the desk is occupied by a computer, and most of the rest of the desk is covered with papers. The desk has a drawer, which is closed. On the desk you see a bag of Cheese-Doodles.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You get the bag\nTaken.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You open the bag\nI don't know how to open the bag of Cheese-Doodles.\n\nThe programmer looks pensively at the screen.\n\n> You eat the doodles\nThe bag of Cheese-Doodles doesn't appear appetizing.\n\nThe programmer types a bunch of code into the computer.\n\n> You look under the desk\nThere's nothing under the desk.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You examine the programmer\nYou can tell just looking at him that he does nothing but program all day: he looks pale, even for a dead guy, and he's dressed in jeans and a t-shirt, the canonical uniform of the software developer. Clipped to one of his pockets is a small plastic card.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You get Card\nThe programmer is carrying the ID card and won't let you have it.\n\nThe programmer looks pensively at the screen.\n\n> You throw the vodka at programmer\nYou miss.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You throw the vodka at the computer\nYou're not carrying the glass of liquor.\n\nThe programmer types a bunch of code into the computer.\n\n> You take the glass\nTaken.\n\nThe programmer looks pensively at the screen.\n\n> You throw the vodka at the computer\nYou miss.\n\nThe programmer looks pensively at the screen.\n\n> You look at what you're carrying with you\nYou have a printed note, a rope, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a pair of rubber gloves (being worn), a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a glass of liquor, and a yellow note. The toolbox seems to contain a crowbar. The radio compartment seems to contain a DuraHell battery.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You take the pile\nYou don't need those.\n\nThe programmer makes a few notes on some scratch paper.\n\n> You give can to the programmer\n\"No, thanks.\"\n\nThe programmer makes a few notes on some scratch paper.\n\n> Go west\n\n\n> You go north\nSitting on the sink is a pillow.\n\n> You throw the mirror at the sink\nYou miss.\n\n> You open the cabinet\nThe medicine cabinet is already open!\n\n> Close cabinet\nClosed.\n\n> You put the mirror in the cabinet\nYou carefully put the mirror back in the frame. It doesn't fit all that well, but it you manage to wedge it into place.\n\n> You pry the cabinet with the crowbar\nThe jammed frame creaks and moans, but it's no match for the crowbar, and it quickly opens with a loud cracking sound. As it comes open, the mirror suddenly snaps out of the frame, and and crashes down onto the sink. Glass flies everywhere.\nThe programmer walks in, evidently having heard the commotion. \"It looks like you tried to open the medicine cabinet,\" he says. \"I should have warned you about that. It's yet another of the high-quality accessories of this house. The mirror always pops out when the medicine cabinet is opened.\"\nHe walks out, and returns with a broom. \"I'll have to go get\nanother mirror,\" he says as he sweeps up the glass. \"I'll just be a few minutes. There's a mirror store right across the street.\"\n\nThe programmer travels out into the hall.\n\n> You go south\nA programmer is here.\n\nThe programmer travels west down the hall.\n\n> Go west\nA programmer is here.\n\nThe programmer travels north into the kitchen.\n\n> You go north\nA programmer is here.\n\nThe programmer travels out the door.\n\n> Go north\nA programmer is here.\n\nThe programmer travels out into the street.\n\n> Go north\nA programmer is here.\n\nThe programmer travels north into the mini-mall parking lot.\n\n> Go north\nA programmer is here.\n\nThe programmer travels into the \"Just Mirrors\" store.\n\n> Go east\nA programmer is here.\n\nThe programmer looks around the store. He finds a suitable replacement mirror and takes it up to the counter.\n\n> You wait\nTime passes...\n\nThe programmer reaches into his pocket and gets out some money. As he does, you notice that his ID card drops to the floor. He pays the shopkeeper for the mirror.\n\n> You take Card\nThe programmer notices you picking up the card. \"Thanks! I must have dropped it.\" He snatches it out of your hands and clips it to his pocket.\n\nThe programmer travels out into the parking lot.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You wait for a while\nTime passes...\n\nThe programmer travels out into the parking lot.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You take Card\nTaken.\n\n[Your score just went up.]\n\nThe programmer walks into the room. He walks around the store, looking for something.\n\n> Go west\nThe programmer walks into the lot.\n\n> You go south\nThe programmer walks into the area.\n\n> You put Card in the slot\nYou insert the card into the slot, and the little red light changes into a little green light. The door slides open. You remove the card and the light turns red again.\n\n> You go to the east\nYou're in a hallway. A doorway leads south, another leads north,\nand a door (which is open) is to the west. Next to the door is a card reader slot, and above the slot is a small red light. There's also a room to the east, labeled \"Maintenance\".\n\nThe door slides shut.\n\n> You go to the east\nYou're in a small, closet-sized room. The only notable feature is a locker, which is closed. The exit is to the west.\n\n> You look at the locker\nThe locker has a dial, which can be turned to positions from 1 to 30. The locker is closed.\n\n> You open the locker\nIt seems to be locked.\n\n> You read the yellow note\nIt's a small piece of yellow paper, with nothing written on it except a series of numbers: 6-24-10.\n\n> You turn the dial to 6\nWhich dial do you mean, the radio dial, or the combination lock dial?\n\n> You turn the lock dial to 10\nOkay, it's now turned to 10. You hear a click within the lock mechanism.\n\n> You open the locker\nOpening the locker reveals a maintenance uniform.\n\n> You get the uniform\nThe locker is already open!\n\nTaken.\n\n> You examine the uniform\nIt's a one-piece white jumpsuit. It's a bit singed.\n\n> You take the uniform\nYou already have the maintenance uniform!\n\n> You go to the north\nYou're in a large laboratory filled with strange equipment -- huge coils of wire, glowing translucent plastic tubes, panels of randomly flashing lights, and in the center of it all is a large glass booth, big enough for a person to stand in. A door leads south.\nThere's a technician here, idly sitting reading a book.\n\nThe technician starts telling you about a computer game. \"Have you ever tried to pick up one of the cursed emeralds?\" he asks. \"It's pretty amazing how quickly your character gets killed when you do.\"\n\n> Examine book\nIt seems to be a book that describes a role-playing game of some kind.\n\nThe technician pages through his book.\n\n> You look at the technician\nHe's a scrawny man in his mid twenties. He looks like he's been wearing a pocket protector since his early childhood.\n\nThe technician looks up from his book. \"Do you know if they're going to get another keg in here? We finished the last one days ago.\"\n\n> You ask the technician about the book\n\"Figure it out yourself!\"\n\nThe technician twirls around on his chair.\n\n> Examine booth\nIt looks like an ordinary booth to me.\n\nThe technician starts telling you about a computer game. \"Have you ever tried to pick up one of the cursed emeralds?\" he asks. \"It's pretty amazing how quickly your character gets killed when you do.\"\n\n> You enter the booth\nThe technician yells, \"Hey! We're not ready for a run!\" He runs over and prevents you from entering, then returns to his chair.\n\nThe technician pages through his book.\n\n> You ask technician about the booth\n\"Figure it out yourself!\"\n\nThe technician looks up from his book. \"Do you know if they're going to get another keg in here? We finished the last one days ago.\"\n\n> You give the vodka to the technician\nThe technician grabs it and immediately drinks the contents. \"Hey!\nThe boat must be in! Why didn't you say so? Cover for me, will you? I'm going to run over and get some free drinks as long as it's here.\" He runs gleefully out of the room.\n\n[Your score just went up.]\n\n> You enter the booth\nLab, in the booth\nYou're in a large laboratory filled with strange equipment -- huge coils of wire, glowing translucent plastic tubes, panels of randomly flashing lights, and in the center of it all is a large glass booth, big enough for a person to stand in. A door leads south.\n\n> Examine booth\nIt looks like an ordinary booth to me.\n\n> You examine the lever\nIt's labeled \"Infernolab Dimensional Networking Products Division Model DN-2.\" It has a large number of dials and buttons and levers, but you feel safest leaving them alone. There is, however, one particularly large red button labeled \"Activate\".\n\n> Wait\nTime passes...\n\n\"FINAL WARNING! Software configuration completed. Final power sequence calculations completed. Power flux decoupled from main power feed. Diagnostics completed; all systems within normal tolerances. Stand by...\"\n\n> Wait\nTime passes...\n\n\"SYSTEM ACTIVATED.\" The room begins to vibrate, and a loud rumbling sound echoes all around. A glowing fog starts to surround you, and the vibration and rumbling are gradually muffled. Soon, you near nothing, and see only the strange glow. You feel yourself losing your balance; you squint your eyes trying to peer through the fog, and reach out for the edge of the booth, but you find nothing where the booth was. You feel yourself falling forward, and you reach out to brace yourself, but you just keep falling.\nYou start to hear a distant rumbling sound. The noise grows\nsteadily louder and closer, and you start to notice vague shapes out in the fog. The shapes draw closer, and the rumbling grows louder. Suddenly, the glow and the rumble are gone.\n\nGet out!\n-- The voice of Satan (\"The Amityville Horror\")\n\nYou're in a large, unfinished basement. The walls are gray cinderblock; some light is provided by a bare bulb hanging from the ceiling. A stairwell leads up.\nIn the east wall is a strange, glowing portal. You realize that\nit's the interdimensional portal that brought you here.\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the reporters narrates her report: \"Top scientists are baffled by the continued presence of paranormal activity in this otherwise quiet rural home. Many believe this can only be the work of Satan, while others are not so sure.\"\n\n> Go upwards\nYou're in a den. The kitchen is to the east, a hall leads south,\nand a stairway leads down.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go south\nYou're in a short north-south hallway with a very slick, shiny tile floor. A passage leads east into the living room; a stairway at the southwest corner of the hall climbs to the second floor. A closed door leads south.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> You open the door\nYour hand passes through the door, nudging it just slightly.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the scientists points a radiation counter at you.\n\n> You go to the south\nYou pass directly through the closed door...\n\nYou're on the porch in front of the house. A closed door is to the north, and all around is a meadow. The porch continues to the east.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The crowd comes bursting through the door, slamming it behind them.\n\n> You go east\nYou're on the porch in front of the house, which is to the north.\nThe porch continues to the west, and all around is meadow.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing over to you.\n\n> Go north\nYou approach the wall, and go right through it, emerging on the other side...\n\nYou're in the living room. A kitchen lies to the north, and a hall\nis to the west.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The crowd comes bursting through the front door. They slam the door behind them.\n\n> You go north\nYou're in a kitchen. The room is a mess, as though a large group of people have been eating here and not cleaning up after themselves; the counter and the kitchen table are littered with empty styrofoam cups and fast-food wrappers. Passages lead south and west.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> You go to the north\nYou approach the wall, and pass directly through, barely feeling the solid matter...\n\nYou're in a large meadow. An old house is to the south.\n\n> You go to the south\nYou pass through a wall, and find yourself in...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go west\nYou approach the wall, and pass directly through, barely feeling the solid matter...\n\n> You go upward\nYou're floating above a large meadow. An old house is to the southeast.\n\n> You go to the southeast\nYou pass through a wall, and find yourself in...\n\nYou're in a hall at the top of a stairway. Passages lie to the\nnorth and east. There's a trap door, which is currently closed, in the ceiling, probably leading to the attic.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go upwards\nYou travel directly through the ceiling, and emerge on the other side...\n\nYou're in an old, musty attic. The only exit is a trap door, which\nis closed. There's junk all around the room: old furniture, boxes of books and papers, and several storage trunks. One particularly large storage trunk is standing on one end near the trap door.\nSitting on the storage trunk is a silver ring.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You take the ring\nYou manage to nudge it slightly, but it doesn't go anywhere.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You examine the ring\nIt looks like an ordinary silver ring to me.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You open the trap door\nYour hand passes through the trap door, nudging it just slightly.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\""
    },
    {
        "text": "[Themes: Afterlife, Haunted  House, Satire, hell]\n\n> Go downwards\nYou travel directly through the floor, and emerge on the other side...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You go east\nYou're in a bedroom. Exits are to the west and north.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go north\nYou're in a bathroom. Exits are to the west and south.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You go west\nYou're in a bedroom. Exits are to the east and south.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You go to the south\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\""
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife, hell]\n\n> You look around\nYou're in a hall at the top of a stairway. Passages lie to the\nnorth and east. There's a trap door, which is currently closed, in the ceiling, probably leading to the attic.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You go east\nYou're in the living room. A kitchen lies to the north, and a hall\nis to the west.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> You go east\nYou approach the wall, and pass directly through, barely feeling the solid matter...\n\nYou're in a large meadow. An old house is to the west.\n\n> You go south\nYou're in a large meadow. An old house is to the northwest.\n\n> You go to the north-west\nYou pass through a wall, and find yourself in...\n\nYou're in the living room. A kitchen lies to the north, and a hall\nis to the west.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go north\nYou're in a kitchen. The room is a mess, as though a large group of people have been eating here and not cleaning up after themselves; the counter and the kitchen table are littered with empty styrofoam cups and fast-food wrappers. Passages lead south and west.\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance.\n\n> You go west\nYou're in a den. The kitchen is to the east, a hall leads south,\nand a stairway leads down.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go south\nYou're in a short north-south hallway with a very slick, shiny tile floor. A passage leads east into the living room; a stairway at the southwest corner of the hall climbs to the second floor. A closed door leads south.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go upward\nYou're in a hall at the top of a stairway. Passages lie to the\nnorth and east. There's a trap door, which is currently closed, in the ceiling, probably leading to the attic.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go upwards\nYou travel directly through the ceiling, and emerge on the other side...\n\nYou're in an old, musty attic. The only exit is a trap door, which\nis closed. There's junk all around the room: old furniture, boxes of books and papers, and several storage trunks. One particularly large storage trunk is standing on one end near the trap door.\nSitting on the trap door is a silver ring.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The trap door flies open. As it does, the ring sitting on the trap door tumbles down into the hall below. The group of people scrambles up through the trap door and into the attic; the trap door swings shut again."
    },
    {
        "text": "> Go down\nYou travel directly through the floor, and emerge on the other side...\n\nYou're in a hall at the top of a stairway. Passages lie to the\nnorth and east. There's a trap door, which is currently closed, in the ceiling, probably leading to the attic.\nThere's a ring here, perched precariously at the top of the stairs.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The trap door flies open, and the people all scramble through it down into the hall. The trap door swings shut once they're through."
    },
    {
        "text": "> You go downward\nYou're in a short north-south hallway with a very slick, shiny tile floor. A passage leads east into the living room; a stairway at the southwest corner of the hall climbs to the second floor. A closed door leads south.\nThere's a ring here, sitting on the floor, right up against the\ndoor.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go south\nYou pass directly through the closed door...\n\nYou're on the porch in front of the house. A closed door is to the north, and all around is a meadow. The porch continues to the east.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" You hear motion behind the door. Someone says, \"Hey! What's this ring doing here? I'll go put it back in the attic.\" A few moments later, the crowd comes bursting through the door, slamming it behind them.\n\n> You go to the south\nYou're in a large meadow. An old house is to the northeast.\n\n> You go north\nYou're on the porch in front of the house. A closed door is to the north, and all around is a meadow. The porch continues to the east.\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. The priest flips frantically through the pages of his bible.\n\n> You go north\nYou pass directly through the closed door...\n\nYou're in a short north-south hallway with a very slick, shiny tile floor. A passage leads east into the living room; a stairway at the southwest corner of the hall climbs to the second floor. A closed door leads south.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The crowd comes bursting through the front door. They slam the door behind them.\n\n> Go west\nYou approach the wall, and pass directly through, barely feeling the solid matter...\n\nYou're in a large meadow. An old house is to the east.\n\n> Go upwards\nYou're floating above a large meadow. An old house is to the east.\n\n> You go upwards\nYou float up higher. The same strange fog that brought you here envelopes you again. You feel yourself being pulled backwards, downwards. Soon, you find yourself back in...\n\nLab, in the booth\nYou're in a large laboratory filled with strange equipment -- huge coils of wire, glowing translucent plastic tubes, panels of randomly flashing lights, and in the center of it all is a large glass booth, big enough for a person to stand in. A door leads south.\nThe booth seems to contain a printed note, a rope, a dead light\nbulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute, a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, and a maintenance uniform.\n\n> You take all\nprinted note: Taken.\nrope: Taken.\ndead light bulb: Taken.\ntoolbox: Taken.\nportable radio: Taken.\nbucket: Taken.\npitchfork: Taken.\nsmall metal key: Taken.\nparachute: Taken.\npair of rubber gloves: Taken.\ncertificate: Taken.\npoker: Taken.\nbrush: Taken.\nshovel: Taken.\npencil sharpener: Taken.\npencil: Taken.\nInfern-O-Vac battery: Taken.\ndollar bill: Taken.\ncigarette box: Taken.\ncigarette: Taken.\ncheck: Taken.\ndriver's license: Taken.\npaper recycling bin: Taken.\nempty can of ToxiCola: Taken.\nbag of Cheese-Doodles: Taken.\nyellow note: Taken.\npillow: Taken.\nID card: Taken.\nmaintenance uniform: Taken.\n\n> You go south\nYou'll have to get out of the booth first.\n\n> Go outside\nYou're in a large laboratory filled with strange equipment -- huge coils of wire, glowing translucent plastic tubes, panels of randomly flashing lights, and in the center of it all is a large glass booth, big enough for a person to stand in. A door leads south.\n\n> Go south\nYou're in a hallway. A doorway leads south, another leads north,\nand a door (which is closed) is to the west. Next to the door is a card reader slot, and above the slot is a small red light. There's also a room to the east, labeled \"Maintenance\".\n\n> Go south\nYou're in a large lab filled with equipment, all clustered around a disassembled missile. You never realized how big and complex missiles really are; you always pictured them as oversized model rockets, with big cylinders full of fuel that you just light on fire and watch it go. The missile here is large and complicated. The rocket motor is lying on the floor, with all its cover plates removed, revealing a complex array of pipes and electronic controls. Lying next to the rocket motor is the nose cone and the heat shield, which have been disassembled and removed.\n\n> You look at shield\nIt's a big piece of a strange, black, flexible material, about half an inch thick. It's shaped like a shallow bowl about three feet in diameter.\n\n> You look at the cone\nIt's been disassembled: the cover panels have all been removed to reveal a network of wires and circuit boards."
    },
    {
        "text": "> O missile\nIt's in pieces all over the lab.\n\n> Go west\nYou're at the east end of a long hallway. To the east is an open\ndoor. Next to the door is a slot; a small red light is above the slot. The hall continues back to the west.\n\nThe door slides shut.\n\n> Go west\nYou're in a hallway that leads east and west. All along the south\nwall are closely-spaced doors; all of the doors are closed, except for one. The hall continues to the east.\n\n> Go east\nThere's a large jackrabbit hopping around, foraging for food.\n\nThe rabbit hops around the field.\n\n> You enter the shield\nYou'll have to drop it first.You'll have to drop the heat shield first!\n\n> You enter the river\nThe searing heat of the lava shoots through your body, making you try desperately to escape the river. As you flail around, though, you start to realize that the lava isn't harming you, despite the intense pain. As you start to get used to the blistering heat, you notice that you're being swept rapidly downstream...\n\nThe lava flow starts to carry you downstream.\n\n> You put the shield in the river\nYou'll have to get off of the heat shield first.\n\n> You go outside\nYou see a heat shield here.\n\n> You put the shield in the river\nYou put the heat shield in the lava -- it floats on the flowing lava, and seems easily able to withstand the heat. You hold onto it so it doesn't float away.\n\n> You enter the shield\nOkay, you're now in the heat shield.\n\nThe lava flow starts to carry you downstream.\n\n> Wait\nTime passes...\n\nThe swift river of lava sweeps you downstream to the east.\n\nBend in River, in the heat shield\nThe river of lava turns from east to south here.\n\n> Wait\nTime passes...\n\nYou're carried rapidly to the south by the flowing lava.\n\nRiver of Lava, in the heat shield\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\n> You throw the rope at stalagmite\nYou throw the rope at the stalagmite, but your aim isn't good enough; the rope falls short. You obviously could use some practice.\n\nThe lava sweeps you along to the south.\n\nTop of Lavafall, in the heat shield\nThe cave abruptly opens into the night sky, and you realize that\nyou're at the top of a cliff. The lava is pouring over the edge of the cliff and falling hundreds of feet down the side of the mountain below.\n\n> You jump\nWheeee!\n\nBefore you can do anything, the river carries you over the edge of the lavafall. You fall and fall, tumbling and flailing your arms and legs, catching a glimpse of the bottom of the lavafall lost in the rocks far below. Suddenly, you hit something, and your fall stops abruptly.\n\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\nYou see a heat shield here.\n\n> You go to the north-west\nYou walk carefully along the ledge, but you suddenly hit a loose spot. You try to maintain your footing, but the rock crumbles under you, and you go sliding down the mountainside. You finally stop falling, and you find yourself on a rocky hillside you've seen before.\n\nYou're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road.\n\n> You go east\nYou're fairly high up on the side of the mountain -- you'd guess\nthat you're around two thousand feet up. (Have you noticed that they use the English system of measurements in Hell? What else would you expect?)  You can go down the mountain to the west, and the volcano's cone looms above to the east. A small opening appears to lead into a cave to the south. You can also travel along a path to the north, and a narrow passage to the southeast.\nYou have an excellent view of Hell from here. The tall buildings downtown all seem tiny from this distance and altitude, except for the Tower -- even from here, you can't see the top. The Tower looks like a thin, gleaming string stretching from the ground up into the dark sky. As your eyes follow the Tower up into the sky, you realize that you're high enough above the surface now that you can see stars above -- so many stars, all so bright, that it's quite well lit here.\n\n> You examine Tower\nFrom here, the tower looks like a silver thread against the black night sky. Even from this distance, you can't see how high the tower is -- it goes up into the sky as far as you can see.\n\n> Go south\nYou're in a large, cylindrical cave with smooth, black walls.\nRunning through the south end of the cave is a wide, swiftly-flowing river of lava, which flows downhill to the east. The lava pours in through an orifice in the western wall. An exit leads back outside to the north.\n\n> You put the shield in the River\nYou put the heat shield in the lava -- it floats on the flowing lava, and seems easily able to withstand the heat. You hold onto it so it doesn't float away.\n\n> You enter the shield\nOkay, you're now in the heat shield.\n\nThe lava flow starts to carry you downstream.\n\n> Wait\nTime passes...\n\nThe swift river of lava sweeps you downstream to the east.\n\nBend in River, in the heat shield\nThe river of lava turns from east to south here.\n\n> Wait\nTime passes...\n\nYou're carried rapidly to the south by the flowing lava.\n\nRiver of Lava, in the heat shield\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\n> You throw the rope at stalagmite\nYou throw the rope at the stalagmite, but your aim isn't good enough; the rope falls short. You obviously could use some practice.\n\nThe lava sweeps you along to the south.\n\nTop of Lavafall, in the heat shield\nThe cave abruptly opens into the night sky, and you realize that\nyou're at the top of a cliff. The lava is pouring over the edge of the cliff and falling hundreds of feet down the side of the mountain below.\n\n> You wait awhile\nTime passes...\n\nBefore you can do anything, the river carries you over the edge of the lavafall. You fall and fall, tumbling and flailing your arms and legs, catching a glimpse of the bottom of the lavafall lost in the rocks far below. Suddenly, you hit something, and your fall stops abruptly.\n\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\nYou see a heat shield here."
    },
    {
        "text": "[Themes: Satire, Afterlife, Haunted  House]\n\n> Look around\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\n\n> Go northwest\nYou're on a narrow ledge high up on the mountainside. The ledge continues to the southeast and northwest.\n\n> You go to the north-west\nYou walk carefully along the ledge, but you suddenly hit a loose spot. You try to maintain your footing, but the rock crumbles under you, and you go sliding down the mountainside. You finally stop falling, and you find yourself on a rocky hillside you've seen before.\n\nYou're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road.\n\n> Go west\nThe Celestial Security officer asks the young woman, \"What was your date of birth?\" The woman replies, \"Um, November 12, 1959.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You put the waste paper in bin\nDone.\n\nThe Celestial Security officer asks the young woman, \"And your date of death?\" The woman replies, \"June 23, 2013.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> Go west\nThe Celestial Security officer moves to block your way. \"I'm sorry, only authorized personnel are allowed in the back office.\"\n\nThe Celestial Security officer asks the young woman, \"Do you have any deceased dependents?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You look at the waste paper\nThey all seem to be the same. You pick one and look at it:\n\nForm 19937/40.Z\n\n41. Last name spelled backwards\n39. First Initial\n77. Age (years)\n70. Last name\n63. Current date (MM/DD/YY)\n23. First name\n80. Date of birth (DD-MM-YYYY)\n52. Number of letters in first name\n\n> Go south\nA woman is here.\n\nSomeone at the front of the room raises his hand. \"Yes, you at the front,\" the woman says, pointing to him.\n\"You mentioned jobs. What if I don't want to work?\" he asks.\nThe woman responds, \"That's up to you. Dead people have no material needs. And, unlike in real life, you'll find that you won't need to eat or sleep every forty or fifty turns, which is a real convenience. However, most people like to feel useful, and derive a sense of purpose from their employment here.\""
    },
    {
        "text": "[Themes: Satire, Afterlife, Haunted  House, hell]\n\n> You look around\nYou're on a large, brightly-lit pier. The pier is obviously quite\nnew; it's constructed from steel, and the walkway has a rubbery surface and attractive wooden handrails to make it safer. The large white yacht which brought you here is docked alongside; a gangway leads east onto the boat's deck. To the north lies the entrance to a large one-story brick building. The building has the look of a high school or a post office -- that sort of simple, utilitarian style of a government building.\n\n> You go south\nA bartender is here.\nThere's a technician here, plowing through mugs of beer.\n\nThe technician plows through another mug of beer.\n\n> You ask the bartender about the technician\n\"You probably know as much as I do.\"\n\nThe technician plows through another mug of beer.\n\n> You ask technician about himself\n\"Figure it out yourself!\"\n\nThe technician plows through another mug of beer."
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife]\n\n> Look around\nYou're on the deck of the yacht, which is docked at a large, brightly-lit pier. A gangway leads west onto the pier. A stairway leads down, and a doorway leads east. Other passengers gradually are making their way out onto the pier.\n\n> You examine the passengers\nThe other passengers are gradually making their way, a few at a time, onto the pier.\n\n> Lasso\nWhat do you want to lasso?\n\n> Yourself\n(with the rope)\nI don't know how to lasso yourself.\n\n> Lasso technician\n(with the rope)\nI don't know how to lasso the technician.\n\nThe technician plows through another mug of beer.\n\n> Answer form\nIt's been too crumpled up.\n\n> Lasso machine\n(with the rope)\nI don't see any machine here.\n\n> Go north\nA woman is here.\n\nSomeone in the middle of the room raises her hand. \"Yes, you in the middle,\" the woman says, pointing to her.\n\"I used to work as a lobbyist. Are similar positions available\nhere?\" she asks.\nThe woman responds, \"Absolutely! However, you may find that there\nare quite a few lobbyists in Hell, which will probably not surprise anyone. Incidentally, anyone interested in public affairs should tune in to H-SPAN, which broadcasts programs that cover a wide array of current events. I believe the station number is 319.\"\n\n> Lasso machine\n(with the rope)\nI don't know how to lasso the vending machine.\n\n> You go west\nFrom here, you can easily reach the rails. With a little effort, you manage to lift yourself up into the rails.\n\nCrawlway, at T\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Close valve\nYou close the valve. The gas slowly dissipates.\n\n> You go east\nCrawlway, at T\n\n> Go east\nThe door slides shut.\n\n> Wait\nTime passes...\n\n\"SYSTEM ACTIVATED.\" The room begins to vibrate, and a loud rumbling sound echoes all around. A glowing fog starts to surround you, and the vibration and rumbling are gradually muffled. Soon, you near nothing, and see only the strange glow. You feel yourself losing your balance; you squint your eyes trying to peer through the fog, and reach out for the edge of the booth, but you find nothing where the booth was. You feel yourself falling forward, and you reach out to brace yourself, but you just keep falling.\nYou start to hear a distant rumbling sound. The noise grows\nsteadily louder and closer, and you start to notice vague shapes out in the fog. The shapes draw closer, and the rumbling grows louder. Suddenly, the glow and the rumble are gone.\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the reporters narrates her report: \"Top scientists are baffled by the continued presence of paranormal activity in this otherwise quiet rural home. Many believe this can only be the work of Satan, while others are not so sure.\"\n\n> Go upwards\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> You go up\nYou travel directly through the ceiling, and emerge on the other side...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> You go upwards\nYou float up higher. The same strange fog that brought you here envelopes you again. You feel yourself being pulled backwards, downwards. Soon, you find yourself back in...\n\nLab, in the booth\nThe booth seems to contain a printed note, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute, a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, a maintenance uniform, a heat shield, and a rope.\n\n> Go up\nYou travel directly through the ceiling, and emerge on the other side...\n\nSitting on the storage trunk is a silver ring.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go north\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance.\n\n> Go south\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go upwards\nYou travel directly through the ceiling, and emerge on the other side...\n\nSitting on the trap door is a silver ring.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The trap door flies open. As it does, the ring sitting on the trap door tumbles down into the hall below. The group of people scrambles up through the trap door and into the attic; the trap door swings shut again."
    },
    {
        "text": "> Go downwards\nYou travel directly through the floor, and emerge on the other side...\n\nThere's a ring here, perched precariously at the top of the stairs.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The trap door flies open, and the people all scramble through it down into the hall. The trap door swings shut once they're through."
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife]\n\n> Go downward\nYou travel directly through the floor, and emerge on the other side...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> You go south\nYou pass directly through the closed door...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The crowd comes bursting through the door, slamming it behind them.\n\n> Go north\nYou pass through a wall, and find yourself in...\n\nThere's a ring here, perched precariously at the top of the stairs.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\""
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife]\n\n> Go downward\nThere's a ring here, sitting on the floor, right up against the\ndoor.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go south\nYou pass directly through the closed door...\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the reporters narrates her report: \"Top scientists are baffled by the continued presence of paranormal activity in this otherwise quiet rural home. Many believe this can only be the work of Satan, while others are not so sure.\"\n\n> Go north\nYou pass directly through the closed door...\n\nThere's a ring here, sitting on the floor, right up against the\ndoor.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The crowd comes bursting through the front door. As the door flies open, it sends the ring sliding down the hall and into the den. They slam the door behind them.\n\n> Go west\nYou approach the wall, and pass directly through, barely feeling the solid matter..."
    },
    {
        "text": "> You go downwards\nYou see a silver ring here.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\"\n\n> Go south\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. The priest flips frantically through the pages of his bible."
    },
    {
        "text": "[Themes: Satire, Afterlife, Haunted  House, hell]\n\n> Go downward\nYou see a silver ring here.\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> Go east\nYou enter the portal. The same strange fog that brought you here envelopes you again. You feel yourself being pulled backwards, downwards. Soon, you find yourself back in...\n\nLab, in the booth\nThe booth seems to contain a printed note, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute, a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, a maintenance uniform, a heat shield, a rope, and a genuine silver ring.\n\n> You look at the ring\nIt's a silver ring with a complex pattern of very fine etchings.\n\n> You enter the booth\nLab, in the booth\nThe booth seems to contain a printed note, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute, a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, a maintenance uniform, a heat shield, a rope, and a genuine silver ring.\n\n\"Warning! System activated. Power sequence complete; power flux stabilized within nominal range. Initiating software configuration. Failsafe activated; manual override disabled. Stand by...\"\n\n> Wait\nTime passes...\n\n\"SYSTEM ACTIVATED.\" The room begins to vibrate, and a loud rumbling sound echoes all around. A glowing fog starts to surround you, and the vibration and rumbling are gradually muffled. Soon, you near nothing, and see only the strange glow. You feel yourself losing your balance; you squint your eyes trying to peer through the fog, and reach out for the edge of the booth, but you find nothing where the booth was. You feel yourself falling forward, and you reach out to brace yourself, but you just keep falling.\nYou start to hear a distant rumbling sound. The noise grows\nsteadily louder and closer, and you start to notice vague shapes out in the fog. The shapes draw closer, and the rumbling grows louder. Suddenly, the glow and the rumble are gone.\n\nA group of people standing around the room suddenly notices your presence. They all gather around you, appearing slightly frightened but curious.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the reporters approaches you. \"Could you make some wailing sounds, or rattle some chains?\" One of other reporters says, \"Don't worry about it, we can dub it in later.\"\n\n> Go upwards\nYou travel directly through the ceiling, and emerge on the other side...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The trap door flies open.\nThe group of people scrambles up through the trap door and into the attic; the trap door swings shut again.\n\n> You look at the trunk\nThere's nothing on the storage trunk.\n\nThe group of people is here, watching you carefully but keeping their distance. Several of the scientists approach you with test equipment. \"This could be bad,\" one of the scientists says to the other. \"I'm getting a very high ectoplasmatic densitometer reading.\"\n\n> You open the trunk\nYour hand passes through the storage trunk, nudging it just slightly.\n\nThe group of people is here, watching you carefully but keeping their distance. One of the scientists points a radiation counter at you.\n\n> You enter the trunk\nYour hand passes through the storage trunk, nudging it just slightly.\n\nThe group of people is here, watching you carefully but keeping their distance. The priest approaches you, crucifix held high in front of him. \"Begone, foul spirit! Return thee to the bowels of Hell whence thou came!\" One of the reporters shoves him aside to get a better camera angle."
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife]\n\n> Go downward\nYou travel directly through the floor, and emerge on the other side...\n\nYou hear several voices in the distance saying things like \"where did it go?\" and \"I think it went this way!\" The group of people comes rushing into the room.\n\n> About yourself\nYou look about the same as always.\n\nThe group of people is here, watching you carefully but keeping their distance.\n\n> You take all\nprinted note: Taken.\ndead light bulb: Taken.\ntoolbox: Taken.\nportable radio: Taken.\nbucket: Taken.\npitchfork: Taken.\nsmall metal key: Taken.\nparachute: Taken.\npair of rubber gloves: Taken.\ncertificate: Taken.\npoker: Taken.\nbrush: Taken.\nshovel: Taken.\npencil sharpener: Taken.\npencil: Taken.\nInfern-O-Vac battery: Taken.\ndollar bill: Taken.\ncigarette box: Taken.\ncigarette: Taken.\ncheck: Taken.\ndriver's license: Taken.\npaper recycling bin: Taken.\nempty can of ToxiCola: Taken.\nbag of Cheese-Doodles: Taken.\nyellow note: Taken.\npillow: Taken.\nID card: Taken.\nmaintenance uniform: Taken.\nheat shield: Taken.\nrope: Taken.\ngenuine silver ring: Taken.\n\n[Your score just went up.]\n\n> You go south\nYou'll have to get out of the booth first.\n\n> You give the ring to Troll\nThe Troll takes one look at the genuine silver ring and rejects your offer with a snarl, shoving it away with a backhanded slap.\n\nThe Troll watches you suspiciously.\n\n> You show the ring to the shopkeeper\nWhich ring do you mean, the genuine silver ring, or the imitation silver ring?\n\n> You wear the ring\nOkay, you're now wearing the genuine silver ring. A feeling of strength and safety falls over you.\n\n> You enter the shield\nYou put the heat shield in the lava -- it floats on the flowing lava, and seems easily able to withstand the heat. You hold onto it so it doesn't float away.\n\nOkay, you're now in the heat shield.\n\nThe lava flow starts to carry you downstream.\n\n> Wait\nTime passes...\n\nThe swift river of lava sweeps you downstream to the east.\n\nBend in River, in the heat shield\nThe river of lava turns from east to south here.\n\n> Wait\nTime passes...\n\nYou're carried rapidly to the south by the flowing lava.\n\nRiver of Lava, in the heat shield\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\n> Lasso stalagmite\n(with the rope)\nYou throw the rope at the stalagmite, but your aim isn't good enough; the rope falls short. You obviously could use some practice.\n\nThe lava sweeps you along to the south.\n\nTop of Lavafall, in the heat shield\nThe cave abruptly opens into the night sky, and you realize that\nyou're at the top of a cliff. The lava is pouring over the edge of the cliff and falling hundreds of feet down the side of the mountain below.\n\n> Go north\nYou're not going anywhere until you get off of the heat shield.\n\nBefore you can do anything, the river carries you over the edge of the lavafall. You fall and fall, tumbling and flailing your arms and legs, catching a glimpse of the bottom of the lavafall lost in the rocks far below. Suddenly, you hit something, and your fall stops abruptly.\n\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\nYou see a heat shield here.\n\n> Go west\nYou're on a narrow ledge high up on the mountainside. The ledge continues to the southeast and northwest.\n\nYou walk carefully along the ledge, but you suddenly hit a loose spot. You try to maintain your footing, but the rock crumbles under you, and you go sliding down the mountainside. You finally stop falling, and you find yourself on a rocky hillside you've seen before.\n\nYou're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road.\n\nThe terrain is too rocky that way.\n\n> Go east\nYou're swimming on the lake. The shore is to the west. A rocky\nledge to the north prevents travel in that direction, but you can go east or south.\nYou didn't notice from the shore, but there seems to be a very\nstrong undertow pulling you underwater.\n\nYou try to fight the undertow, but it's just too strong. It drags you underwater.\n\nYou're underwater in the lake. To the north is a rocky wall, but there's an opening that could be the mouth of a cave. The rocky wall of the shore is to the west, but you can go east and south. You are well below the surface, but the lake floor is still a ways below.\n\n> You put the shield in the lake\nBetter not; it would just sink.\n\n> You plug hole\nWhat do you want to plug it in?\n\n> Go north\nYou're on the west bank of a river. The water pours rapidly over\nhuge rocks in the river. A bridge crosses the river to the east. A narrow path climbs steeply up the hill to the northwest, and you can follow the river to the south.\n\nYou can't go that way.\n\n> You go northwest\nYou're on a path that climbs up a sheer cliff face. The path goes\ndown to the river to the southeast, and climbs steeply to the southwest.\n\n> You go to the southwest\nYou're on a steeply climbing path near the top of a cliff. The path descends to the northeast, and continues to the west.\n\n> Go west\nYou're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road."
    },
    {
        "text": "[Themes: Haunted  House, Afterlife, Satire]\n\n> Look around\nYou're in a large yard outside an old, abandoned barn. The area is overgrown with weeds; it obviously hasn't been used in many years. A rusty old wellhead sticks out of the weeds. The farmhouse is to the west, and the entrance to the barn is to the north."
    },
    {
        "text": "> Look around\nYou're in an old, rickety barn. The area smells of rotting wood and damp decay. The usual farm implements are scattered around the barn:\na bale of hay, several stalls for horses.\nIn the center of the barn is a small single-engine airplane. It's\nan open-cockpit, high-wing tail-dragger. It's painted a faded yellow. The exit is to the south.\n\n> You examine the wing\nIt's a tail-dragger with an open cockpit. Unfortunately, it doesn't look like there's any hope that it can be made to work; the engine looks dismantled and corroded. It looks like you could get in the plane if you wanted, though.\n\n> Lasso wing\n(with the rope)\nI don't know how to lasso the plane.\n\n> You enter the stalls\nWhy? Hoping to return as a horse in your next life?\n\n> Lasso wellhead\n(with the rope)\nI don't know how to lasso the well.\n\n> You look at well\nIt's a hand-pumped well. It has a long lever, and a spout. The pump looks very old and corroded.\n\n> You examine spout\nIt looks like an ordinary spout to me.\n\n> You examine the lever\nIt looks like an ordinary lever to me."
    },
    {
        "text": "[Themes: Haunted  House, Afterlife, Satire]\n\n> Look around\nYou're in a large yard outside an old, abandoned barn. The area is overgrown with weeds; it obviously hasn't been used in many years. A rusty old wellhead sticks out of the weeds. The farmhouse is to the west, and the entrance to the barn is to the north.\n\n> Go north\nYou slowly make your way through the dense flames. You realize that this cave must be totally devoid of oxygen -- certainly it's all being consumed by the raging fires. It's lucky you're already dead, you think to yourself.\n\n> You fill the bucket with the blood\nYou try to scoop up some of the horrifying fluid, but every time you do, the blood boils away as soon as you remove the bucket from the lake.\n\n> Go southwest\nOne of the large rocks on the pit floor suddenly bursts into flames. You jump back and shield your eyes from the blinding fire. After a few moments, the fire subsides, and all that's left of the rock is a thick black cloud of sulfurous fumes that slowly dissipates.\n\n> Go west\nThe Celestial Security officer asks the young woman, \"Do you wear any prescription eyewear?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You throw the water at the woman\nYou miss. The water falls to the floor and evaporates.\n\nThe Celestial Security officer asks the young woman, \"What is your IQ?\" The woman replies, \"I'm not sure.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> Inventory\nYou have a printed note, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute, a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a cigarette, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, a maintenance uniform, a rope, a genuine silver ring (being worn), and a heat shield. The toolbox seems to contain a crowbar. The radio compartment seems to contain a DuraHell battery. The paper recycling bin seems to contain some waste paper.\n\n> You take the rabbit\nThe rabbit is too quick; it hops several feet away each time you get near it.\n\nThe rabbit hops around the field.\n\n> You give the bag to the rabbit\nThe rabbit rejects the offer.\n\nThe rabbit hops around the field."
    },
    {
        "text": "[Themes: Haunted  House, Afterlife, Satire, hell]\n\n> You look at your surroundings\nYou're in a large, open field. The ground is peppered with clumps\nof scrubby grass. A road lies to the west. You can see a tall mountain range in the distance to the southeast.\nThere's a large jackrabbit hopping around, foraging for food.\n\nThe rabbit hops around the field.\n\n> You go east\nThere's nothing in that direction except more of the same empty field.\n\nThe rabbit hops around the field.\n\n> You take the grass\nYou can't have the scrubby grass.\n\nThe rabbit hops around the field.\n\n> You dig the ground with shovel\nI don't know how to dig in the ground.\n\nThe rabbit hops around the field."
    },
    {
        "text": "> You look at your surroundings\nYou're in a small, deserted, one-room farmhouse. The building is\nvery old and rickety, and all the paint has long since peeled off the walls. You can go through doors to the south and east.\n\n> Lasso dumpster\n(with the rope)\nI don't know how to lasso the dumpster.\n\n> Lasso flippers\n(with the rope)\nI don't know how to lasso the pair of flippers.\n\n> You look at the dumpster\nIt's a really large, very smelly dumpster. Over the edge of the dumpster, you can see a pair of flippers sticking up. Unfortunately, you can't quite reach them from here.\n\n> You search the dumpster\nAll you can see is the flippers sticking up over the edge."
    },
    {
        "text": "[Themes: Afterlife, Satire, Haunted  House]\n\n> You look around\nYou're in an old, dilapidated kitchen. The appliances are all\nancient and appear to be in poor condition; the linoleum floor has large gashes here and there where the plastic is curled back. There's a sink, with a small cabinet underneath. An exit leads north out into the yard, and passages lead west and south.\n\n> You open the cabinet\nThe cabinet is already open!\n\n> You examine the sink\nIt looks like an ordinary sink to me.\n\n> Go west\nSitting on the table is some junk mail."
    },
    {
        "text": "> You look around\nYou're in the dining room, which isn't really a separate room but\njust the northwest corner of the living room. A table dominates the area. A six-foot partition separates the dining room and living room from the kitchen, which is to the east (evidently, building a wall all the way up to the ceiling would have been too expensive). The living room lies to the south.\nSitting on the table is some junk mail.\n\n> You examine the chair\nIt's a high-tech office chair, ergonomically designed with a low back, armrests, rollers, and a swivel base. The chair is upholstered in black leather like all of the other furniture you've seen here.\n\n> You go to the south\nA woman is here.\n\nSomeone at the rear of the room raises her hand. \"Yes, you at the rear,\" the woman says, pointing to her.\n\"I'm a very rich individual and I refuse to be treated in this\nmanner. I've made charitable contributions all my life, and we've never beaten the help -- not when they didn't deserve it, anyway, the lazy bastards. This is an outrage! You can be sure you will be hearing from my lawyer! What do you have to say for yourself?\" she asks.\nThe woman responds, \"I'm sure you have a very good case. However,\nI'm afraid that the legal system in Hell is based on the United States judicial system. So, as you must know, the courts are so overloaded with frivolous lawsuits that legitimate claims, such as yours undoubtedly is, cannot be accepted. Any lawsuit found to have merit is immediately and summarily dismissed. There are some very good personal injury lawyers that you might wish to contact, though.\"\n\n> You take the chair\nYou can't have the folding chair.\n\nSomeone at the left of the room raises his hand. \"Yes, you at the left,\" the woman says, pointing to him.\n\"I used to drive nitro-burning ground-pounding six-second funny\ncars. Is there any chance that I'll be able to shake hands with the devil while I scream through the gates of Hell?\" he asks.\nThe woman responds, \"I'm afraid that, due to the volume of new immigrants, the devil is unable to personally greet each new arrival.\"\n\n> You take the podium\nThe podium isn't important.\n\nSomeone at the right of the room raises her hand. \"Yes, you at the right,\" the woman says, pointing to her.\n\"Is this heaven or hell?\" she asks.\nThe woman responds, \"You know what they say -- if you have to ask\n--\" she chuckles. \"It is technically hell, although that's such a loaded word that we don't like to use it. Most ideas people have about hell are very outdated. Ever since the deregulation of the afterlife industry, we've had to compete with Heaven for eternal souls -- because you're free to switch to Heaven at any time. So, we've been modernizing! There really isn't much eternal torment these days, for example. And, thanks to the Environmental Clean-up Superfund, we have the brimstone problem mostly under control at this point.\"\n\n> You examine the railing\nIt's a very intricate network of black metal rails, hanging about four feet below the ceiling.\n\n> You go south\nA woman is here.\n\nSomeone at the right of the room raises her hand. \"Yes, you at the right,\" the woman says, pointing to her.\n\"Can I go back to earth as a ghost and haunt people?\" she asks.\nThe woman responds, \"No, unfortunately not. However, our top scientists are working on this problem, and the latest reports indicate that it may be possible in the near future. Those of you with scientific backgrounds, in particular those of you who went to Caltech and really understand what makes a good prank, may want to look into joining the project.\"\n\n> You ask the bartender for a the light\n\"Sorry, only what you see here.\"\n\nThe technician plows through another mug of beer.\n\n> You show the cigarette to the bartender\nThe bartender isn't impressed.\n\nThe technician plows through another mug of beer.\n\n> You ask the technician for a the light\nI don't think the technician could give that to you.\n\nThe technician plows through another mug of beer.\n\n> You ask the passenger about lighter\nThey seem too distracted to talk to you.\n\n> Go north\nA woman is here.\n\nSomeone in the middle of the room raises her hand. \"Yes, you in the middle,\" the woman says, pointing to her.\n\"I was wondering, where is the famous 'All hope abandon, ye who\nenter here' sign? I want to get some pictures with it.\" she asks.\nThe woman responds, \"Actually, the sign said 'Lasciate ogni\nsperanza, voi ch'entrate,' and I'm afraid it's been taken down. People found it too depressing. But there are several very nice vista points that you can find in the tour book.\"\n\n> You ask the woman about lighter\nTry as you might, you can't seem to attract her attention -- someone always gets in with a question first.\n\nSomeone at the right of the room raises her hand. \"Yes, you at the right,\" the woman says, pointing to her.\n\"Which circle of hell are we doomed to?\" she asks.\nThe woman responds, \"We abolished the circle system shortly after\nthe middle ages after the 'separate and unequal' principle was ruled illegal. You're free to go wherever you'd like -- even up to Heaven.\"\n\n> You ask the woman for a the light\nThe light isn't important.\n\nSomeone near the center of the room raises her hand. \"Yes, you near the center,\" the woman says, pointing to her.\n\"Why did I end up here? What did I do wrong?\" she asks.\nThe woman responds, \"Really, you must shed your outdated notions of hell. You don't have to do anything wrong to end up here. New souls are randomly assigned to Heaven or Hell based on the last four digits of your Celestial Security Number. The Heaven-Hell border was opened a long time ago, though, so your initial assignment is not permanent.\"\n\n> You examine the light\nThat isn't important.\n\nSomeone in the middle of the room raises her hand. \"Yes, you in the middle,\" the woman says, pointing to her.\n\"You said we can go to Heaven. How do we get there?\" she asks.\nThe woman responds, \"The easiest way is to use the HadesCorp Space Needle. It's impossible to miss -- it's the tallest free-standing structure in hell. The view from the elevator is fantastic.\"\n\n> You look at the woman\nShe's a middle-aged woman, with light brown hair and large round glasses, dressed in a dark business suit. She's busy fielding questions from your fellow passengers.\n\nSomeone at the rear of the room raises his hand. \"Yes, you at the rear,\" the woman says, pointing to him.\n\"You mentioned jobs. What if I don't want to work?\" he asks.\nThe woman responds, \"That's up to you. Dead people have no material needs. And, unlike in real life, you'll find that you won't need to eat or sleep every forty or fifty turns, which is a real convenience. However, most people like to feel useful, and derive a sense of purpose from their employment here.\"\n\n> You ask the passenger for a the light\nThe light isn't important.\n\nSomeone at the right of the room raises his hand. \"Yes, you at the right,\" the woman says, pointing to him.\n\"I used to work as a lobbyist. Are similar positions available\nhere?\" he asks.\nThe woman responds, \"Absolutely! However, you may find that there\nare quite a few lobbyists in Hell, which will probably not surprise anyone. Incidentally, anyone interested in public affairs should tune in to H-SPAN, which broadcasts programs that cover a wide array of current events. I believe the station number is 319.\"\n\n> You go to the west\nThe Celestial Security officer asks the young woman, \"How many fingers am I holding up?\" The woman replies, \"Three.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You ask the woman for a the light\nI don't think the young woman could give that to you.\n\nThe Celestial Security officer asks the young woman, \"Do you know your blood pressure?\" The woman replies, \"130 over 70.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You ask the officer for a the light\nI don't think the Celestial Security officer could give that to you.\n\nThe Celestial Security officer asks the young woman, \"Have you ever filed a claim against your automobile, homeowner's, renter's, malpractice, health, or dental insurance?\" The woman replies, \"I had an automobile accident in 1982, but it wasn't my fault, and I had regular dental checkups between 1981 and 1990 that were billed to my dental insurance.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> Go east\nSitting on the counter is an appointment card.\nA DMV official is here.\n\nYou walk over to the window where the employee is standing.\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> You ask the employee for a the light\nI don't think the DMV official could give that to you.\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> You take the appointment card\nTaken.\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> You ask the employee about lighter\n\"It's against policy to answer questions.\"\n\nThe DMV employee looks at you, obviously annoyed by your continued presence. \"What more could you want? Go bother someone else.\"\n\n> Go north\nAn old, white-bearded man wearing a white robe is standing in the corner of the elevator near the controls. He is evidently the elevator operator.\n\n> You ask the teller for a the light\nHe seems more interested in discussing official bank business.\n\nThe teller looks at you expectantly.\n\n> You ask the teller about lighter\nHe seems more interested in discussing bank business.\n\nThe teller looks at you expectantly.\n\n> Go east\nA programmer is sitting in front of the computer, looking at a screenful of C code.\n\nThe programmer looks pensively at the screen.\n\n> You go south\nSitting on the bed is a bedspread.\n\n> You examine the bed\nThe bed almost fills the room. There's nothing on the bed."
    },
    {
        "text": "[Themes: Satire, Afterlife, Haunted  House, hell]\n\n> You look around\nYou're in a small bedroom. The room is almost entirely filled by\nthe bed. The hall is to the north.\n\n> You examine the gaps\nIt's a pretty sad looking house. The entrance is to the south.\n\n> You dig ground\nWhat do you want to dig in it with?\n\n> You go east\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You ask teen for a the light\nI don't think the sullen teen could give that to you.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You show the bill to the teen\nHe doesn't seem very interested.\n\nThe teenager taps his fingers nervously on the counter and tries to avoid eye contact with you.\n\n> You show the cigarette to the teen\nHe snatches the cigarette and sticks it in his mouth. He fumbles in his pockets for a lighter, finds one, and lights the cigarette. \"Thanks, man,\" he says, not really looking at you. He drops the lighter on the counter and puffs on the cigarette contentedly.\n\nThe teenager puffs away at a cigarette.\n\n> You take lighter\nTaken.\n\n[Your score just went up.]\n\nThe teenager puffs away at a cigarette.\n\n> Go upward\nYou climb up onto the coffee table. It makes a pretty good platform -- you can reach the railing from here.\n\nFrom here, you can easily reach the rails. With a little effort, you manage to lift yourself up into the rails.\n\n> You examine lighter\nIt's a small plastic pocket lighter.\n\n> You wait a while\nTime passes...\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Light lighter\nJust as you flick the lighter, your realize that there's natural gas in the room. The gas bursts into a large cloud of fire. You jump back and shield your eyes. In a few moments, the flames die down.\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Light lighter\nYou flick the lighter, and it emits a small flame. After a few moments, you take your thumb off the lever, and the flame goes out.\n\n> Go west\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> You put the lighter in the pipe\nYou can't put anything into the pipe.\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Light lighter\nJust as you flick the lighter, your realize that there's natural gas in the room. The gas explodes in a huge ball of fire. You suddenly feel as though someone hit you with dozens of sledgehammers all at once. Time seems to slow down as the force of the explosion lifts you off the floor of the crawlway and hurls you towards the west wall. You crash into the wall, and the metal rips open. You suddenly find yourself flying through the air over the alley, sailing over a shorter building to the west...\n\nYou're flying through the air, sailing toward a short building to\nthe west.\n\n> You wear parachute\nOkay, you're now wearing the parachute.\n\nYou just barely clear the roof of the building, and find yourself falling toward the ground. Within moments, you hit the ground with a painful thud. You're dazed for a few seconds, but you manage to get up and brush yourself off. You find yourself in...\n\n> You go west\nCrawlway, at T\n\nYou hear gas continuing to pour out of the pipe. The odor of gas is growing stronger.\n\n> Close valve\nYou close the valve. The gas slowly dissipates."
    },
    {
        "text": "[Themes: Haunted  House, Afterlife, Satire]\n\n> Look around\nYou're at the west end of a crawlway. Large metal pipes run along\nthe walls. The crawlway continues to the east.\nOne of the pipes ends here. The end of the pipe is not connected to anything at all; you assume it's being left for future expansion. Just before the end of the pipe is a valve, evidently to cut off the flow of whatever the pipe carries until something is attached here. The valve is currently closed.\nThe west wall of the crawlway has been ripped open (you think you\nmay recall what caused the hole). The hole seems to lead outside, and is easily large enough for you to go through.\n\n> You go to the west\nYou step through the hole, and discover that you're about twenty feet up in the air alongside the building. As you fall, you notice there's a dumpster below you. You close your eyes, and land with a thud in the dumpster.\n\nYou're in a large, smelly dumpster, which is at the south end of a short alley. The dumpster is filled with disgusting, slimy trash. You can climb out into the alley.\nYou see a pair of flippers here.\n\n> You take the flippers\n[Your score just went up.]\nTaken.\n\n> You examine trash\nThere's quite a lot of it. You see a shiny object glimmering under the trash.\n\n> You take shiny\nYou can't reach it; it's under a lot of trash.\n\n> You examine shiny\nYou can just barely see something shiny under the trash.\n\n> You move the trash\nYou pull back some of the trash to locate the glimmering object. The trash is ripe and disgusting, but you manage to look through it long enough to find a very nice bracelet!\n\n> You take the bracelet\nTaken.\n\n[Your score just went up.]\n\n> Wear bracelet\nAs you put on the genuine gold bracelet, you feel strangely disoriented. Everything grows dark and you feel very dizzy and faint. You realize there must be some strange interaction between the genuine gold bracelet and the genuine silver ring, so you take the genuine gold bracelet back off; as you do, the disorientation lifts.\n\n> You look at the bracelet\nIt's a gold bracelet, made up of little loops of gold wire all linked together."
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife]\n\n> Look around\nYou're in a large, smelly dumpster, which is at the south end of a short alley. The dumpster is filled with disgusting, slimy trash. You can climb out into the alley.\n\n> Go east\nThere's a large jackrabbit hopping around, foraging for food.\n\nThe rabbit hops around the field.\n\nThere's nothing in that direction except more of the same empty field.\n\nThe rabbit hops around the field.\n\n> You go east\nYou try to fight the undertow, but it's just too strong. It drags you underwater.\n\n> You go to the north\nYou're in an underwater cave, which is fully submerged. The only\nexit leads back into the lake to the south.\nYou see a genuine jewel stone here.\n\nYou notice that's it's been quite a while since you were able to inhale air. As you think about this, you become faint, and reach for something for support. After a few moments, though, you realize that, apart from the great discomfort of holding your breath for an extended period, you're quite capable of going on without breathing.\n\n> You examine it\nIt's a large, multi-faceted, clear blue jewel stone. It's attached to a gold chain, for wearing it around the neck.\n\n> You go south\nYou're underwater in the lake. To the north is a rocky wall, but there's an opening that could be the mouth of a cave. The rocky wall of the shore is to the west, but you can go east and south. You are well below the surface, but the lake floor is still a ways below.\n\nThe undertow drags you down, away from the cave.\n\nYou're deep underwater, just above the rocky bottom of the lake.\nThe water is swirling violently around a depression in the rocky floor -- you realize that it's a whirlpool!\n\n> You go north\nYou're on the west bank of a river. The water pours rapidly over\nhuge rocks in the river. A bridge crosses the river to the east. A narrow path climbs steeply up the hill to the northwest, and you can follow the river to the south.\n\n> Go east\nYou're underwater in the lake. You are far below the surface, but\nthe lake floor is still a ways below.\n\nThe undertow drags you down toward the lake floor.\n\n> You go to the south\nThe undertow is too strong.\n\nThe undertow drags you down, away from the cave.\n\nYou're deep underwater, just above the rocky bottom of the lake.\nThe water is swirling violently around a depression in the rocky floor -- you realize that it's a whirlpool!\n\n> Wear bracelet\nOkay, you're no longer wearing the genuine silver ring.\n\nOkay, you're now wearing the genuine gold bracelet. A feeling of strength and safety falls over you.\n\n> Go north\nYou're on the west bank of a river. The water pours rapidly over\nhuge rocks in the river. A bridge crosses the river to the east. A narrow path climbs steeply up the hill to the northwest, and you can follow the river to the south.\n\nYou can't go that way.\n\nYou're on a path that climbs up a sheer cliff face. The path goes\ndown to the river to the southeast, and climbs steeply to the southwest.\n\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> You go to the northwest\nYou're on a steeply climbing path near the top of a cliff. The path descends to the northeast, and continues to the west.\n\nYou're in a narrow passage among the rocks. You can squeeze through\nto the east and northwest.\n\nYou're fairly high up on the side of the mountain -- you'd guess\nthat you're around two thousand feet up. (Have you noticed that they use the English system of measurements in Hell? What else would you expect?)  You can go down the mountain to the west, and the volcano's cone looms above to the east. A small opening appears to lead into a cave to the south. You can also travel along a path to the north, and a narrow passage to the southeast.\nYou have an excellent view of Hell from here. The tall buildings downtown all seem tiny from this distance and altitude, except for the Tower -- even from here, you can't see the top. The Tower looks like a thin, gleaming string stretching from the ground up into the dark sky. As your eyes follow the Tower up into the sky, you realize that you're high enough above the surface now that you can see stars above -- so many stars, all so bright, that it's quite well lit here.\n\n> You go to the north\nYou manage to wade a little further toward the island, but as you do, you feel freezing cold, as though you were embedded in a block of ice, and you are unable to get any further.\n\n> Wear jewel\nOkay, you're no longer wearing the genuine gold bracelet.\n\nOkay, you're now wearing the genuine jewel stone. A feeling of strength and safety falls over you.\n\n> You go to the north\nYou manage to wade a little further toward the island, but as you do, a terrible burst of searing heat shoots through your body, as though your clothes were on fire, and you are unable to get any further.\n\n> Go upwards\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> Poker\nAttacking the rabbit doesn't appear productive.\n\nThe rabbit hops around the field.\n\n> You wait\nTime passes...\n\n> You enter the shield\nYou put the heat shield in the lava -- it floats on the flowing lava, and seems easily able to withstand the heat. You hold onto it so it doesn't float away.\n\nOkay, you're now in the heat shield.\n\nThe lava flow starts to carry you downstream.\n\n> Wait\nTime passes...\n\nThe swift river of lava sweeps you downstream to the east.\n\nBend in River, in the heat shield\nThe river of lava turns from east to south here.\n\n> Go west\nYou're not going anywhere until you get off of the heat shield.\n\nYou're carried rapidly to the south by the flowing lava.\n\nRiver of Lava, in the heat shield\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\n> You jump\nWheeee!\n\n> Go east\nYou try to get back into the lavafall, but the pressure of the lava pushes you back. You're just as happy to stay out of the molten rock, anyway.\n\n> You go south\nA woman is here.\n\nSomeone near the center of the room raises his hand. \"Yes, you near the center,\" the woman says, pointing to him.\n\"I'm a very rich individual and I refuse to be treated in this\nmanner. I've made charitable contributions all my life, and we've never beaten the help -- not when they didn't deserve it, anyway, the lazy bastards. This is an outrage! You can be sure you will be hearing from my lawyer! What do you have to say for yourself?\" he asks.\nThe woman responds, \"I'm sure you have a very good case. However,\nI'm afraid that the legal system in Hell is based on the United States judicial system. So, as you must know, the courts are so overloaded with frivolous lawsuits that legitimate claims, such as yours undoubtedly is, cannot be accepted. Any lawsuit found to have merit is immediately and summarily dismissed. There are some very good personal injury lawyers that you might wish to contact, though.\"\n\n> You go to the east\nThe boat's pilot is here, operating the controls.\n\n> You ask the captain about the boat\n\"This is a very nice boat, don't you think? We used to use a small rowboat, but lots of people complained that the passage to the afterlife should be a little nicer. Besides, with more people dying these days, it was getting crowded.\"\n\n> You ask the bartender for the whiskey\n\"Right away!\" He gets out a small glass and pours you a drink. He hands you the glass.\n\nThe technician plows through another mug of beer.\n\n> You drink the whiskey\nYou drink the glass of liquor all at once. It's very good. You notice a slight alcoholic buzz, but it clears fairly quickly. After you finish, the glass vanishes into thin air.\n\nThe technician plows through another mug of beer.\n\n> Go north\nA woman is here.\n\nSomeone at the rear of the room raises her hand. \"Yes, you at the rear,\" the woman says, pointing to her.\n\"I used to drive nitro-burning ground-pounding six-second funny\ncars. Is there any chance that I'll be able to shake hands with the devil while I scream through the gates of Hell?\" she asks.\nThe woman responds, \"I'm afraid that, due to the volume of new immigrants, the devil is unable to personally greet each new arrival.\"\n\n> Go west\nA shopkeeper is here waiting to help you.\nThe shop keeper greets you as you walk in. \"How may I help you?\"\nhe asks cheerfully.\n\n> You look at the ivory\nThe carving depicts what looks like a rowboat. It's attached to a gold chain for wearing it around the neck.\n\n> Lasso rabbit\n(with the rope)\nYou clumsily throw the rope at the rabbit, and miss by a mile. You obviously need some practice at this.\n\nThe rabbit hops around the field.\n\n> You continue\nYou throw the rope at the rabbit with a little more confidence, but the rabbit still easily evades the rope.\n\nThe rabbit hops around the field.\n\n> Keep going\nYou nearly catch the rabbit this time. Maybe with a little more practice, you could snare it.\n\nThe rabbit hops around the field.\n\n> Continue\nYou manage to catch the rabbit in the loop at the end of the rope! You now feel quite confident with the rope. (Wow! Character development in a text adventure! What will they think of next?)  While you're standing there feeling smug, the rabbit wriggles its way out of the rope and runs off.\n\n> Lasso stalagmite\n(with the rope)\nYour throw the rope at the stalagmite with a practiced aim. The loop at the end of the rope hooks around the stalagmite. You easily pull yourself to shore, get out of the heat shield, and untie the rope.\n\nYou're on the shore of a lava river, which flows by to the east.\nThere is no exit from this cave apart from the river.\nYou see a genuine gold disk here.\n\n> You examine the stalagmite\nThe particularly tall stalagmite is at least three feet tall."
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife]\n\n> Look around\nYou're on the shore of a lava river, which flows by to the east.\nThere is no exit from this cave apart from the river.\n\n> You enter the river\nThe searing heat of the lava shoots through your body, making you try desperately to escape the river. As you flail around, though, you start to realize that the lava isn't harming you, despite the intense pain. As you start to get used to the blistering heat, you notice that you're being swept rapidly downstream...\n\nThe river of lava is flowing through the cave swiftly to the south.\nTo the west is a shore that appears to open into a cave. The cave has many stalagmites sticking up from its floor; one particularly large stalagmite right on the shore -- only about ten feet away from you -- is at least three feet tall.\nThere's a faint light downstream, and you hear a loud rushing noise from the south.\n\nThe lava flow starts to carry you downstream.\n\n> You wear the disk\nOkay, you're no longer wearing the genuine jewel stone.\n\nOkay, you're now wearing the genuine gold disk. A feeling of strength and safety falls over you.\n\n> You wait\nTime passes...\n\nThe lava sweeps you along to the south.\n\nThe cave abruptly opens into the night sky, and you realize that\nyou're at the top of a cliff. The lava is pouring over the edge of the cliff and falling hundreds of feet down the side of the mountain below.\n\n> You wait\nTime passes...\n\nBefore you can do anything, the river carries you over the edge of the lavafall. You fall and fall, tumbling and flailing your arms and legs, catching a glimpse of the bottom of the lavafall lost in the rocks far below. Suddenly, you hit something, and your fall stops abruptly.\n\nYou're on a ledge just west of, and halfway up, a huge lavafall.\nThe lava pours down with a deafening rumbling sound. The narrow ledge seems to continue to the northwest.\n\n> You go to the amulet\nWhich amulet do you mean, the genuine silver ring, the genuine gold bracelet, the genuine jewel stone, or the genuine gold disk?\n\n> You go to the north\nA woman is here.\n\nSomeone at the right of the room raises his hand. \"Yes, you at the right,\" the woman says, pointing to him.\n\"Can I go back to earth as a ghost and haunt people?\" he asks.\nThe woman responds, \"No, unfortunately not. However, our top scientists are working on this problem, and the latest reports indicate that it may be possible in the near future. Those of you with scientific backgrounds, in particular those of you who went to Caltech and really understand what makes a good prank, may want to look into joining the project.\"\n\n> You go to the west\nYou walk for what seems like a very long time, but it seems as though you walk only in circles. You keep walking past the same strange debris, and it doesn't seem to get any cooler. After a great deal of walking, you realize that you're back where you started.\n\n> You examine the debris\nWhich debris do you mean, the pool of oil, the pile of bones, or the machine part?\n\n> You examine the bones\nThe bones are of no animals you've ever seen. Some of them look almost human, but not quite.\n\n> You dig ground\nWhat do you want to dig in it with?"
    },
    {
        "text": "[Themes: Haunted  House, Satire, Afterlife, hell]\n\n> You go downwards\nYou're at the bottom of the crater. The floor of the crater is littered with huge, sharp rocks, making travel very difficult, and the ground is so hot that it glows red. It looks as though you could climb back up the crater wall. To the northeast is a narrow passage leading into an underground cave.\n\nthe crater. The glowing stream of liquid rock slowly cools into yet more hot rocks at the floor of the crater.\n\n> You go to the northeast\nYou're on a ledge fifty feet above the floor of a huge cave. The\ncave below is engulfed in flames. Fire shoots out of vents in the rock; pools of oil on the ground burn slowly, releasing thick black clouds of smoke; even some of the rocks themselves smolder and burn. Across the cave on the north side, you can see a wide, dark lake; some distance into the lake is a small island. You can probably climb down the gently sloping walls of the cave to the floor below, and a narrow passage leads outside to the crater to the southwest."
    },
    {
        "text": "[Themes: Satire, Haunted  House, Afterlife, hell]\n\n> Go downward\nYou're on the floor of the huge cave of fire. It's extremely\ndifficult to see where you're going due to all of the fire and smoke. High above on the cave wall, you can see a ledge; you think you'll be able to climb back up the wall. The only path you can see through the cave is to the north.\n\n> You go north\nYou slowly make your way through the dense flames. You realize that this cave must be totally devoid of oxygen -- certainly it's all being consumed by the raging fires. It's lucky you're already dead, you think to yourself.\n\nYou're at the north end of the fire cave, standing on the rocky\nshore of a huge, still lake. The water is black -- so black that it barely reflects the brilliant light of the fires. In the middle of the lake, you can see a small island. The fire cave lies to the south, and you could wade into the water to the north.\n\n> You go north\nYou're wading in the lake. The shore is to the south. An island\nlies some distance to the north.\n\n> Wear bracelet\nOkay, you're no longer wearing the genuine gold disk.\n\nOkay, you're now wearing the genuine gold bracelet. A feeling of strength and safety falls over you.\n\n> You go to the north\nYou manage to wade a little further toward the island, but as you do, a blinding light forces you to cover your eyes, and you are unable to get any further.\n\n> You wear the ring\nOkay, you're no longer wearing the genuine gold disk.\n\nOkay, you're now wearing the genuine silver ring. A feeling of strength and safety falls over you.\n\n> You go north\nYou manage to wade a little further toward the island, but as you do, you double over with painful stomach cramps and nausea, and you are unable to get any further.\n\n> Inventory\nYou have a printed note, a dead light bulb, a toolbox, a portable radio, a bucket, a pitchfork, a small metal key, a parachute (being worn), a pair of rubber gloves, a certificate, a poker, a brush, a shovel, a pencil sharpener, a pencil, an Infern-O-Vac battery, a dollar bill, a cigarette box, a check, a driver's license, a paper recycling bin, an empty can of ToxiCola, a bag of Cheese-Doodles, a yellow note, a pillow, an ID card, a maintenance uniform, a rope, a genuine silver ring (being worn), an appointment card, a bedspread, a pocket lighter, a pair of flippers (being worn), a genuine gold bracelet, a genuine jewel stone, a heat shield, and a genuine gold disk. The toolbox seems to contain a crowbar. The radio compartment seems to contain a DuraHell battery. The paper recycling bin seems to contain some waste paper.\n\n> Go south\nYou're at the north end of the fire cave, standing on the rocky\nshore of a huge, still lake. The water is black -- so black that it barely reflects the brilliant light of the fires. In the middle of the lake, you can see a small island. The fire cave lies to the south, and you could wade into the water to the north.\n\nYou're on the floor of the huge cave of fire. It's extremely\ndifficult to see where you're going due to all of the fire and smoke. High above on the cave wall, you can see a ledge; you think you'll be able to climb back up the wall. The only path you can see through the cave is to the north.\n\nYou're on a ledge fifty feet above the floor of a huge cave. The\ncave below is engulfed in flames. Fire shoots out of vents in the rock; pools of oil on the ground burn slowly, releasing thick black clouds of smoke; even some of the rocks themselves smolder and burn. Across the cave on the north side, you can see a wide, dark lake; some distance into the lake is a small island. You can probably climb down the gently sloping walls of the cave to the floor below, and a narrow passage leads outside to the crater to the southwest.\n\nYou're at the bottom of the crater. The floor of the crater is littered with huge, sharp rocks, making travel very difficult, and the ground is so hot that it glows red. It looks as though you could climb back up the crater wall. To the northeast is a narrow passage leading into an underground cave.\n\nA thick cloud of dust drifts down from the side of the crater. You watch the cloud as it slowly meanders through the complex air currents driven by the hot crater floor. As the cloud approaches the hot rocks at the bottom of the crater, it suddenly catches fire; you leap back as the cloud almost instantly vanishes in a searing wall of flame.\n\nYou can't go that way.\n\nOne of the large rocks on the pit floor suddenly bursts into flames. You jump back and shield your eyes from the blinding fire. After a few moments, the fire subsides, and all that's left of the rock is a thick black cloud of sulfurous fumes that slowly dissipates.\n\nYou can't go that way.\n\nYou hear a rumbling sound under your feet. The rumbling increases\nin intensity until the sound is deafening, and the ground is shaking violently. As you try to maintain your balance, several rocks are suddenly blown upward as a huge steam geyser blasts through the surface. You jump backward away from the jet of pressurized steam. Eventually, the geyser weakens, and finally stops.\n\nYou can't go that way.\n\nYou hear a noise overhead, and look up to see a number of rocks come sliding down the side of the crater. You jump out of the way just in time.\n\n> Go south\nYou're standing at the top of an enormous crater, which is at least several hundred feet in diameter and almost as deep. Strangely, the ground around the crater is not lifted as you would expect of an impact crater; it is more like the result of excavation. The sides of the crater are very steep, but it looks as though you could climb down with some effort. The depths of the crater are obscured by a dense fog, but a wavering red glow penetrates the fog from below. Overpowering sulfurous fumes fill the air, and waves of heat and steam rise from below.\n\nYou are on a vast, desolate plain. The ground is hot here; steam\nrises from cracks in the dry soil, and the warm, damp air smells strongly of sulfur. The area is littered with debris: decaying bones of strange animals, broken parts from ancient machinery, pools of tar and oil. The plain continues off in all directions; it was somewhat more pleasant to the south. A bright red glow comes from the north.\n\nYou're on the east edge of a desolate plain. The ground is\nhard-packed sand covered with small, sharp rocks. The plain extends to the west as far as the eye can see. You notice that you can see for a very long distance; the ground does not seem to have any curvature at all, and there is no distinct horizon. Only sheer distance seems to obscure your view of what may be an infinite plain.\nYou can see a red glow to the north, and the city lies back to the east. The plain stretches off without any distinguishing features in all other directions.\n\n> Go west\nThe Celestial Security officer asks the young woman, \"In what year did Columbus discover America?\" The woman replies, \"1492.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You give bill to the officer\nThe Celestial Security officer rejects the offer.\n\nThe Celestial Security officer asks the young woman, \"Are you married?\" The woman replies, \"Yes.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You give the waste paper to officer\nThe Celestial Security officer rejects the offer.\n\nThe Celestial Security officer asks the young woman, \"Is your spouse living or dead?\" The woman replies, \"Living.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You examine the uniform\nIt's a one-piece white jumpsuit. It's a bit singed.\n\nThe Celestial Security officer asks the young woman, \"What is your spouse's life expectancy?\" The woman replies, \"72 years.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You ask the woman about the age\n\"Please wait until I'm done here.\"\n\nThe Celestial Security officer asks the young woman, \"Do you now or have you ever smoked?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You ask the officer about the age\n\"You'll have to wait your turn. I can only help one person at a time.\"\n\nThe Celestial Security officer asks the young woman, \"Do you now or have you ever belonged to, endorsed, supported, aided and abetted, given comfort to, made a contribution to, sent back a business reply card from, or developed an advertising slogan for a 'light beer' manufacturer?\" The woman replies, \"No, never.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You examine bin\nIt's a blue plastic bin, labeled \"Paper\", with the familiar recycling symbol underneath. In the paper recycling bin you see some waste paper.\n\nThe Celestial Security officer asks the young woman, \"Jane lives one mile from school, and Billy lives four miles away. If Jill walks to school at three miles per hour, how fast must Billy ride his bike to arrive at school at the same time as Jane if they both leave home at the same time?\" The woman replies, \"12 miles per hour.\" The officer slowly and carefully transcribes the information onto the application form.\n\n> You look at the wastebasket\nThere's nothing in the waste basket.\n\nThe Celestial Security officer asks the young woman, \"Do you use a hearing aid?\" The woman replies, \"No.\" The officer slowly and carefully transcribes the information onto the application form."
    },
    {
        "text": "[Themes: Science Fiction, teenage protagonist, nonhuman protagonist, female protagonist, family]\n\nYou've never seen the sky so dark before. Even when you passed through the void between solar systems on the way here, you had the ship itself, an island of constant light and warmth. Now there's just...darkness. Not much to look at except a barren field of rocks, a black sky filled with tiny white pinpricks, a couple of dim moonlets--and the dashboard lights of the Planet Roller.\n\nIt's gorgeous, in a harsh, alien sort of way. You could never see a sky like this back on Xylla, but this system only has one sun, and it's a pretty weak sun, too. What little light you're getting from the moons isn't even enough to keep your skin from crawling with a hungry feeling.\n\nYou really need a new solar vest, a grown-up one like you've asked your mom for repeatedly, not that she ever pays attention. She's too focused on the project. And all your friends think it must be so cool to have an astroscientist for a mom. But who cares what they think? You're probably never going to see them again anyway.\n\nYour mother is in the front seat, chattering away."
    },
    {
        "text": "> You listen to the mother\nUsually you tune her out, but you're just that bored.\n\n\"Not too long now!\" your mother says. \"Olobo station is right over this next ridge. I think. All these little canyons look alike.\"\n\n> About yourself\nYou look like a pretty average girl your age; maybe a little shorter and skinnier than usual, but not enough so that you stand out.\nYou're in an awkward stage of metamorphosis where your skin is half covered with embarrassing blotches of bright green that make you look like you're still a little kid and half covered in stiff, sore patches where it's hardening into adult bark-plates that itch like crazy.\nPlus your leaves are coming in all different sizes, and growing so fast they get in your eyes. You're wearing an Acorn Junior Solar Vest that you're way too old for.\n\n\"It's a shame about these trees, isn't it?\" she continues. \"Imagine how lovely it must have been when the orbital adjusters worked, everything green and growing, just like home. Once we get there, that's the first thing I'm going to fix.\"\n\n> You look at what you're carrying with you\nYou are carrying:\nan Acorn Junior Solar Vest (being worn)\n\nYour mother gasps as the Planet Roller scrapes against the side of the canyon with an ugly jolt. \"Scratch that, first thing I'm going to do is get all that junk off of the landing pad. I don't want to have to make this drive more than once.\"\n\n> You look at mother\nShe's a lovely shade of jade green, with a cascade of lush foliage tumbling down her back. She looks really cool and professional in her yellow-black ObCorp uniform, too.\n\n\"Listen, Zo... I know you're not happy to be here. I know it's tough where there's nobody your own age. But once the adjusters are back online and this side of the planet faces the sun again, all the farmers and workers and everybody can come back. There'll be lots of other kids. You just have to be a little patient. And in the meantime, you can explore the whole station on your own!\"\n\n> You look at Roller\nA shed-sized vehicle with thick, bouncy tires, it's used for overland planet transport. It's jostling you up and down so much your sap's going to start fizzing soon.\n\nThe Planet Roller crests a ridge, and for a moment you see a glimpse of the station over the rocks, lying there like a big gray dead beetle that's curled up on its back. \"There it is!\" you mother cries, way too excited at the prospect of living in a dead bug. \"Oops, there it goes. We'll see it again in a minute.\"\n\n> You look outside\nYou see nothing unexpected in that direction.\n\nSomething on the dashboard begins chiming insistently. \"That's odd. Why's our energy so low? I made sure we recharged at the ship...\"\n\nThe Roller slides to a halt, the lights in the cabin flickering and dying. Your mother jams her thumb down on the starter repeatedly, but nothing happens.\n\n\"Okay. This is bad. Everything just...just went dead.\" Looking down at the dim lights on her uniform, she bites her lip.\n\nYou can feel your own solar vest fading, and with it, the constant stream of energy you need to stay awake. Torpor threatens to swallow you. It would be so relaxing to just curl up on the seat and sink into the darkness...\ninto the darkness...Stop! This isn't like torpor at home, where there are people to check up on you. If you drift off now, you'll be lying here forever! With numb fingers, you fumble at the restraints until you hear them pop open., and force yourself to your feet.\n\nYour mother is hopeless, in deep, deep torpor already. Adults run out of energy faster than kids, you remember, something about squares and cubes and...surfaces...and whatever! She's not going to wake up without the sun, and the sun's never going to come out on this side of the planet. Your only hope now is to get to the station.\nthe planet. Your only hope now is to get to the station.You stumble along the road on feet that feel like fifty-pound bags of ice. You fall two or three times, not really feeling it, but you get up and force yourself onward. Then, amazingly, you feel your fingers curling around a cold metal handle, and as you put your weight on it, you fall forward into the most delicious light you've ever tasted.\n\nThe outer door slams shut behind you.\n\nThis tiny cubicle is flooded with high-quality artificial sunlight, giving it a pleasant golden color. Through the small window on the bulkhead door to the south, you can see the planetoid's barren surface. The abandoned Planet Roller sits at an odd angle halfway up a ridge. Another heavy door is to the north, with another small window revealing the dimly lit station interior.\n\nYou can see a warning plaque here.\n\n> You read the plaque\n!!!WARNING!!!\n\nThis facility has been deemed unsafe for Xyloid habitation and is currently operating in low power mode. USE EXTREME CAUTION when proceeding into facility. ACTIVE LIGHTING IS NON-NUTRITIVE -- RISK OF TORPOR!\n\nThis facility has been equipped with a safety winch. In case of unplanned torpor, winch will deploy automatically. Please stand clear of prone or unconscious figures.\n\nRestoration of nutritive lighting requires keyword command  \"Lights on.\" Authorized users should SAY keyword within sunlock.\n\n> You say the sunlock\n(to yourself)\nAn unhappy chime sounds. \"Voice print unauthorized for station controls,\" says a stern voice. \"Please contact station administration, Bolo Buy licensed local business owners , or other authorized users for access.\"\n\n> You go north\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. The polished tiles gleam eerily in the dim moonlight trickling down from above. High security bloom shutters block the shop to the west, but the ones to the east were only lowered halfway, leaving it easily accessible. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\n> You go south\nRelief floods you as you feel sunlight on your skin.\n\nThis tiny cubicle is flooded with high-quality artificial sunlight, giving it a pleasant golden color. Through the small window on the bulkhead door to the south, you can see the planetoid's barren surface. The abandoned Planet Roller sits at an odd angle halfway up a ridge. Another heavy door is to the north, with another small window revealing the dimly lit station interior.\n\nYou can see a warning plaque here.\n\n> You go south\nThat would be incredibly dangerous! You could go into torpor out there, and that would be the end of you.\n\n> You go east\nYou carefully duck under the shutter and enter the shop.\n\nThis is an old-fashioned topiary salon, the kind where you remember being plopped to play around with educational toys while your mother got her leaves trimmed. There are no toys in this dim, deserted shop, though. One whole wall is taken up by a large mirror.\n\nYou can see a deactivated styling unit here.\n\nThe ceiling speaker crackles into life, and a twangy voice says \"Hi there, this is Mola Sa, owner of Hedge Your Bets finely styled topiary, and we are closed at the moment. For the freshest new styles, I invite you to come back sometime when we've got our lights on.\"\n\nShe emphasizes the last two words rather testily, as if to add \"you little hooligan\".\n\n> You examine the styling unit\nIt's one of those old-model styling units that you used to have to go to when you were a baby, before the invention of horticultural nanochambers. She hangs limply from her support tubes like a plump marionette made of plastic and cellulose. She's warm to the touch, and you can see liquid dribbling through the tubes, so she's obviously still functional, just in standby mode. She's not likely to wake up until the artificial sunlight comes back on.\n\n> You go west\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. The polished tiles gleam eerily in the dim moonlight trickling down from above. High security bloom shutters block the shop to the west, but the ones to the east were only lowered halfway, leaving it easily accessible. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\n> You go north\nThe north end of the promenade is lined with shops. The floor seems rougher on this end, and you have to step carefully in the dim light. Heavy security shutters block the shop to the east. The bloom shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing. You can easily slip through the large hole and enter the darkened shop. The promenade continues to the south, but a large, sealed bloom shutter prevents you going further north.\n\n> Go west\nIt's too dark to see much in here, but you can at least tell that\nit's a toy store. Many of the toys have been activated by your presence, and are emitting little burbles and farts to get your attention. You can leave to the east by climbing back through the torn shutters.\n\nA Talkity Tota is nibbling at your legs with her squishy gums.\n\n> You examine talkity tota\nA pudgy blob of molded cellulose in the shape of a newly-sprouted baby. The commercials say that you can \"teach her to talk\", but you used to have one when you were a little kid, and you know she's really nothing more than a doll-shaped audio recorder with a rudimentary AI. If you push the black button on her back and then say something, she'll record the sound. Push the white button to play it back.\n\n> You get the Tota\nYou pick her up.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\n> E,S,S\nThe north end of the promenade is lined with shops. The floor seems rougher on this end, and you have to step carefully in the dim light. Heavy security shutters block the shop to the east. The bloom shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing. You can easily slip through the large hole and enter the darkened shop. The promenade continues to the south, but a large, sealed bloom shutter prevents you going further north.\n\nYou feel sluggish.\n\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. The polished tiles gleam eerily in the dim moonlight trickling down from above. High security bloom shutters block the shop to the west, but the ones to the east were only lowered halfway, leaving it easily accessible. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\nYou feel sluggish.\n\nRelief floods you as you feel sunlight on your skin.\n\nThis tiny cubicle is flooded with high-quality artificial sunlight, giving it a pleasant golden color. Through the small window on the bulkhead door to the south, you can see the planetoid's barren surface. The abandoned Planet Roller sits at an odd angle halfway up a ridge. Another heavy door is to the north, with another small window revealing the dimly lit station interior.\n\nYou can see a warning plaque here.\n\n> Go south\nRelief floods you as you feel sunlight on your skin.\n\nThis tiny cubicle is flooded with high-quality artificial sunlight, giving it a pleasant golden color. Through the small window on the bulkhead door to the south, you can see the planetoid's barren surface. The abandoned Planet Roller sits at an odd angle halfway up a ridge. Another heavy door is to the north, with another small window revealing the dimly lit station interior.\n\nYou can see a warning plaque here.\n\nTalkity Tota shrieks.\n\n> You go north\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. The polished tiles gleam eerily in the dim moonlight trickling down from above. High security bloom shutters block the shop to the west, but the ones to the east were only lowered halfway, leaving it easily accessible. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\nTalkity Tota flails around.\n\n> Go east\nYou carefully duck under the shutter and enter the shop.\n\nThis is an old-fashioned topiary salon, the kind where you remember being plopped to play around with educational toys while your mother got her leaves trimmed. There are no toys in this dim, deserted shop, though. One whole wall is taken up by a large mirror.\n\nYou can see a deactivated styling unit here.\n\nThe ceiling speaker crackles into life, and a twangy voice says \"Hi there, this is Mola Sa, owner of Hedge Your Bets finely styled topiary, and we are closed at the moment. For the freshest new styles, I invite you to come back sometime when we've got our lights on.\"\n\nShe emphasizes the last two words rather testily, as if to add \"you little hooligan\".\n\nTalkity Tota's audio player stops recording. Push the white button to hear what you recorded.\n\n> You ask W,  to go south\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. The polished tiles gleam eerily in the dim moonlight trickling down from above. High security bloom shutters block the shop to the west, but the ones to the east were only lowered halfway, leaving it easily accessible. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\nRelief floods you as you feel sunlight on your skin.\n\nThis tiny cubicle is flooded with high-quality artificial sunlight, giving it a pleasant golden color. Through the small window on the bulkhead door to the south, you can see the planetoid's barren surface. The abandoned Planet Roller sits at an odd angle halfway up a ridge. Another heavy door is to the north, with another small window revealing the dimly lit station interior.\n\nYou can see a warning plaque here.\n\n> You go north\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. Rich artificial sunlight bathes you from above, and the businesses to the east and west stand open. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\n> You go west\nA cute little bistro where adults come to mingle and drink fancy ice water. A line of taps runs along the wall behind the bar. The promenade is to the east.\n\nA glass bottle containing a lovingly sculpted bonsai planet is proudly displayed behind the counter.\n\n> You look at Planet\nIt's a tiny world, about three inches in diameter, covered in microscopic vegetation. It floats serenely in the bottle, a miniature garden in a universe of green glass.\n\n> Go east\n\"Hi there, sugarcane!\" says the stylist as you enter. \"Welcome to Hedge Your Bets! My name is Tip Top, and what can I do for you today?\"\n\nThis is an old-fashioned topiary salon, brightly lit and comfy, with gleaming chrome fixtures and a freshly swept tile floor. One whole wall is taken up by a large mirror, adding a sense of space to the cozy quarters.\n\nYou can see Tip Top here.\n\nTip Top sharpens her trimming attachments.\n\n> You ask Tip Top about the station\n\"Oh, I don't get out there much, what with being hooked into the ceiling here and all.\"\n\nTip Top putters around the shop.\n\n> You ask Tip Top about the the lights\nShe chats politely about that for a few minutes without really saying anything of substance.\n\n> You examine the mirror\nYou're a little worse for wear after your accident and all the time spent running around in the shadows. There's a smear of dried sap where you scraped your forehead and hunger blisters on your cheeks. Nothing serious or permanent, though.\n\n> You ask Tip Top about yourself\n\"Aw, you're just a little bucket of sweetness, that's what you are! Let me at those leaves!\"\n\n> You ask Tip about Tip\nShe chats politely about that for a few minutes without really saying anything of substance.\n\nTip Top sweeps up a few trimmings.\n\n> You examine Tip Top\nShe's shaped roughly like a rather plump young Xyloid, but is actually an artificial concoction of plastic and bio-cellulose garnished with hedge-trimmer hand attachments and topped with a sunny smile. You can ASK her about leafstyles, or about other things.\n\n> You ask Tip Top about the leafstyles\n\"Ready for a new look? I can think of three styles that'll look great with your face shape, sugarcane. You can go buzzed, draped, or pop star. Just ask me about the one you're interested in and we'll get started.\" She winks. \"Now, don't you be afraid to experiment! If it ends up shorter than you want it we can always fill it back in with some Luvlee-Gro  That stuff's a miracle!\"\n\n> You ask Tip about the pop star\n\"One glitter goddess coming up!\" Tip top goes to work on your head--a spritz here, a snip there, and more than a few pinches of glitter. When she's done, she turns you around for a look in the mirror.\nYou're pretty, but a little unreal, like you should be on a screen somewhere.\n\n> You ask Tip about draped\n\"Sure thing!\" She pulls out a bottle of something pink and greasy and works it into your scalp until it tingles. You itch terribly for a minute as the leaves sprout and uncurl, and Tip Top artfully arranges them as they do. When she's done, she turns you around for a look in the mirror. Long vines laden with plump leaves are draped over your shoulders. It makes you look a little like a short, skinny version of your mom.\n\nTip Top sharpens her trimming attachments.\n\n> Go north\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\n> You examine the furrows\nDeep gouges are ripped into the tiles.\n\n> Go west\nThe toy store looks like a hurricane hit it. The warm decor and cheerful display aren't as soothing when they've been thrown around haphazardly by something that also left deep gashes in the wall. The destruction is greatest at the far end of the store, where a display case has been smashed into splinters. What few toys haven't been destroyed clamor for your attention.\n\n> You ask E,  to go east\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nThis store sells a variety of cheaply-made stuff. There are thousands of stores just like it back home, with the same goods and exactly the same layout. Somehow that makes being in this one almost comforting.\n\nYou can see a bin of discounted Polithoa merchandise (in which are a Battle Carapace, a Polithoa action figure and a coloring book) here.\n\n> You look at coloring book\nBooooo-ring! These are for little kids.\n\n> You look at the action figure\nIt's a little plasticrete statuette of Polithoa herself. The sculptor actually did a decent job; she has finely carved features and a nice paint job.\n\n> You get all\nBattle Carapace: Taken.\nPolithoa action figure: Taken.\ncoloring book: Taken.\n\n> You examine Carapace\nA rough-looking carapace made out of imitation bark; according to the decals, Polithoa wrestles some kind of giant land-beast and makes a vest that looks just like this out of its hide. It looks tough if you kind of squint.\n\n> You wear Carapace\n(after taking off the Acorn Junior Solar Vest)\nYou put on the Battle Carapace.\n\n> W,S,E\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. Rich artificial sunlight bathes you from above, and the businesses to the east and west stand open. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\n\"Hi there, sugarcane!\" says the stylist as you enter. \"Welcome to Hedge Your Bets! My name is Tip Top, and what can I do for you today?\"\n\nThis is an old-fashioned topiary salon, brightly lit and comfy, with gleaming chrome fixtures and a freshly swept tile floor. One whole wall is taken up by a large mirror, adding a sense of space to the cozy quarters.\n\nYou can see Tip Top here.\n\n> You ask Tip Top about the buzz\nShe chats politely about that for a few minutes without really saying anything of substance.\n\n> You ask Tip Top about the leafstyles\n\"Ready for a new look? I can think of three styles that'll look great with your face shape, sugarcane. You can go buzzed, draped, or pop star. Just ask me about the one you're interested in and we'll get started.\" She winks. \"Now, don't you be afraid to experiment! If it ends up shorter than you want it we can always fill it back in with some Luvlee-Gro  That stuff's a miracle!\"\n\n> You ask Tip Top about buzzed\n\"Okey-dokey! Here we go!\" Tip Top kicks her trimmers into high gear and plunges them into your leaves. You watch as snippets of green drift past your eyes. When she's done, she turns you around for a look in the mirror. You're nearly bald, but she's left a little fuzz. You look like you're ready to kick butt.\n\n> You look at the mirror\nYou're a little worse for wear after your accident and all the time spent running around in the shadows. There's a smear of dried sap where you scraped your forehead and hunger blisters on your cheeks. Nothing serious or permanent, though.\n\nTip Top putters around the shop.\n\n> You go west\nShops line the south end of the station's entry promenade, prepared and waiting for a wave of xyloforming business. Rich artificial sunlight bathes you from above, and the businesses to the east and west stand open. The promenade continues to the north, and the sunlock leading to the planet's surface is south.\n\n> You go north\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nThis carapace is really starting to chafe.\n\n> You wear Vest\n(after taking off the Battle Carapace)\nYou put on the Acorn Junior Solar Vest.\n\n> You go north\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou can see a security sphere here.\n\nThe security sphere rolls off towards Ringway East.\n\n> Examine xylosphere\nIn its current unused state, it's a featureless white plane about a quarter-mile across. The specialists in the xyloforming lab use this artificial environment to test out potential ecosystems.\n\n> Go northeast\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\n> You look at logo\nIt's the logo of ObsCorp, the xyloforming company your mother works for. It's supposed to look like something-or-other--to you it's always looked like a melting hand.\n\n> You go to the east\nThis room is packed with the complex computer tanks and engineering equipment ObCorp employees use when designing new environments. It's lit by the same dim blue strips as the hallway. A large environmental workstation dominates the room. You can go up from here via elevator chute, or west to the central ringway.\n\nThe WorldScaper 7.0 Quickstart Guide rests on the workstation.\n\n> You examine Guide\nA slim guidebook which promises to teach you everything you need to know to build a planetary environment. There's a picture of a cartoon lady taking a planet out of the oven on the front.\n\n> You read Guide\nThanks for purchasing the Worldscaper 7.0 Xyloforming System! Here's how to get it up and running in a flash!\n\n1) Make sure the light switch is switched on.\n\n2) Switch on the slurry pump. If nothing happens, ensure a fresh slurry tank has been placed in the tank housing.\n\n3) Place a pattern sphere in the pattern input chamber. What's that? A pattern sphere is much like a standard infosphere, but it contains genetic samples representing a full planetary ecosystem. Once it's in, switch on the chamber and stand back! The chamber will seal automatically, so watch your fingers! Congratulations--now you're a xyloforming professional!\n\n> You examine the workstation\nA shiny booth filled with controls for managing the environment within the xylosphere. You see an unassuming light switch, a slurry pump control and a pattern input chamber and a tank housing on the side.\n\n> You examine pump control\nThe control for a heavy-duty industrial pumping system. Switch it on to activate the pump.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\n> Go west\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nYou feel sluggish.\n\n> You go to the southwest\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou feel sluggish.\n\n> Go south\nRelief floods you as you feel sunlight on your skin.\n\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\n> N,N,NE,E\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nThis room is packed with the complex computer tanks and engineering equipment ObCorp employees use when designing new environments. It's lit by the same dim blue strips as the hallway. A large environmental workstation dominates the room. You can go up from here via elevator chute, or west to the central ringway.\n\nThe WorldScaper 7.0 Quickstart Guide rests on the workstation.\n\n> You look at the tank housing\nA cylindrical alcove in the side of the workstation, the right size to hold a tank of slurry.\n\n> You examine the pattern\nA small chamber built to hold pattern spheres containing genetic information. You can switch it on once you've put one inside.\n\n> Go upward\nA comfortable lounge for the xyloformers to relax and observe their handiwork, overlooking the xylosphere floor far below. A dull gray orb is visible to the west, attached to the xylosphere ceiling. There's a trashed drink machine here, leaking. You can go down from here via elevator chute.\n\n> You examine machine\nSomething tore it off the wall, punched a hole into its innards, and then tossed it into the corner, where it lies in a puddle of leaking water.\n\n> You examine the water\nIt's probably still drinkable, but it looks old and a little oily.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\n> D,W,SW,S\nThis room is packed with the complex computer tanks and engineering equipment ObCorp employees use when designing new environments. It's lit by the same dim blue strips as the hallway. A large environmental workstation dominates the room. You can go up from here via elevator chute, or west to the central ringway.\n\nThe WorldScaper 7.0 Quickstart Guide rests on the workstation.\n\nYou feel sluggish.\n\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nA security sphere rolls up from Ringway South.\n\nYou feel sluggish.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou feel sluggish and weak.\n\nRelief floods you as you feel sunlight on your skin.\n\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\n> You look at the taps\nThere are five brands on tap -- Bolo Budget Blend, Summerfresh Spritz, Tropical Steam, Glacierways Premier Blend, and Mer de Luz. You can look more closely at them to see how many credits are charged per glass and other information. The taps aren't hard to operate, so you can drink any of them you care to try.\n\n> Drink spritz\nYou take a few gulps. It has a fruity, woody sort of taste.\n\n> You look at the bottle\nA green display bottle made of unbreakable gamma-tempered glass.\n\nIn the glass bottle is a bonsai planet.\n\n> You examine the certificate\nThere's some information about the planet in the bottle printed on it.\n\n> You read it\nCongratulations on your purchase of ROMUNA, a stunning rainforest world rendered in microscopic scale by renowned artist Sheli Po.\nThis limited edition bonsai planet (NO 1037 OF 9999) is a stunning conversation piece for your home or business and a great investment. ROMUNA is a full ecosystem with exquisitely crafted, display-quality genetic diversity, beautiful on its own or as a solar system with OLINAS and PARO (sold separately).\n\n> You go to the east\n\"Hi there, sugarcane!\" says the stylist as you enter. \"Welcome to Hedge Your Bets! My name is Tip Top, and what can I do for you today?\"\n\nThis is an old-fashioned topiary salon, brightly lit and comfy, with gleaming chrome fixtures and a freshly swept tile floor. One whole wall is taken up by a large mirror, adding a sense of space to the cozy quarters.\n\nYou can see Tip Top here.\n\n> You ask Tip Top about draped\n\"Sure thing!\" She pulls out a bottle of something pink and greasy and works it into your scalp until it tingles. You itch terribly for a minute as the leaves sprout and uncurl, and Tip Top artfully arranges them as they do. When she's done, she turns you around for a look in the mirror. Long vines laden with plump leaves are draped over your shoulders. It makes you look a little like a short, skinny version of your mom.\n\n> You go north\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nA security sphere rolls up from Ringway West.\n\n> You examine the sphere\nThe security sphere observes you coldly.\n\nIt's made of solid, seamless-looking titanium and comes up to about your chin. You know they can unfold into something much more threatening when they're on the hunt for someone with enough demerits, though.\n\n> Go northwest\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\n> Go west\nThis courtyard sits in the center of the C-shaped residential tower; a seemingly endless series of balconies rise around you on three sides, while the empty whiteness of the xylosphere ring is to the east. A sickly-looking garden of half-dead pufferpod trees wilts in the center. A sorting chute leads up to the apartments, including the one where you're supposed to be living.\n\nA single shriveled pufferpod droops low enough for you to grab it.\n\n> You examine the pufferpod\nA limp, bumpy bladder that looked like a popped balloon.\n\n> You take the pufferpod\nTaken.\n\nA security sphere rolls up from Ringway West.\n\n> Go upwards\n\"MINOR CHILD TORIS ZO parental authorization required for entry,\" says the computer, refusing to open the doors of the sorting chute.\n\"Please contact STATION ADMINISTRATOR TORA LAR or present proper identification for access.\"\n\nThe security sphere rolls off towards Ringway West.\n\n> Inventory\nYou are carrying:\na pufferpod\na glass bottle\na bonsai planet\na coloring book\na Polithoa action figure\na Battle Carapace\nTalkity Tota\nan Acorn Junior Solar Vest (being worn)\n\n> Go east\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\n> You ask Se,  to go south\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou feel sluggish.\n\nRelief floods you as you feel sunlight on your skin.\n\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nThe pufferpod sucks in the air around it with surprising force, bloating into a taut sac of gas.\n\n> N,NW,NE\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nThe pufferpod shrivels with a melacholy sputter.\n\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nYou can see a security sphere here.\n\nThe security sphere rolls off towards Ringway South.\n\nThis long circular hallway curves away to the southeast and southwest, while heavy security doors mark the entrance to the control tower to the north. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the south. Through the thick glass you can see the sealed xylosphere.\n\n> Go north\nThe roots of the main control tower run through this room, piping commands around the station. Banks of monitors display surveillance images from around the station, and there's a large placard on the wall with a list of station rules. The Ringway is to the south and stairs lead further up into the tower. A dank, earthy stench comes from a darkened hallway to the north.\n\nA glistening trouble tank has been installed here. It contains a solar beam.\n\n> You read the placard\nIMPORTANT -- STATION RULES -- VIOLATION IS A DEMERITABLE OFFENSE!\n1. Do not attack or attempt to damage station personnel or property. 2. Maintenance vehicles are to be used only in designated maintenance areas.\n3. Minors are to engage only in age-appropriate activities.\n4. DO NOT REMOVE THIS PLACARD.\n\n> Examine tank\nThe information stenciled on the side says it's actually a Motollo-Oris Rehabilitation Capsule, but you've always just known them as Trouble Tanks, the ones you supposedly get sent to if you really get in trouble.\n\nIn the Trouble Tank is a solar beam.\n\n> Examine beam\nA sleek, shiny concoction of chrome and yellow plastic; the wielder can SHOOT a target to bathe it in harsh, low-grade sunlight. It's mostly used to clear nock out the dark areas where it builds up.\n\n> You examine monitors\nYou watch the monitors for a while.You can see into one of the residential apartments.\n\n> You remove the placard\nYou aren't wearing the placard.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\n> S,SW,SE,S\nThis long circular hallway curves away to the southeast and southwest, while heavy security doors mark the entrance to the control tower to the north. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the south. Through the thick glass you can see the sealed xylosphere.\n\nA security sphere rolls up from Ringway East.\n\nYou feel sluggish.\n\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nA security sphere rolls up from Ringway North.\n\nYou feel sluggish.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou feel sluggish and weak.\n\nRelief floods you as you feel sunlight on your skin.\n\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nThe pufferpod sucks in the air around it with surprising force, bloating into a taut sac of gas.\n\n> N,NE,NW,N\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou can see a security sphere here.\n\nThe pufferpod shrivels with a melacholy sputter.\n\nThe security sphere rolls off towards Ringway East.\n\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nYou can see a security sphere here.\n\nThe security sphere rolls off towards Ringway North.\n\nThis long circular hallway curves away to the southeast and southwest, while heavy security doors mark the entrance to the control tower to the north. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the south. Through the thick glass you can see the sealed xylosphere.\n\nYou can see a security sphere here.\n\nThe security sphere rolls off towards Ringway West.\n\nThe roots of the main control tower run through this room, piping commands around the station. Banks of monitors display surveillance images from around the station, and there's a large placard on the wall with a list of station rules. The Ringway is to the south and stairs lead further up into the tower. A dank, earthy stench comes from a darkened hallway to the north.\n\nA glistening trouble tank has been installed here. It contains a solar beam.\n\n> You go north\nIt's completely dark here, but you can pick your way north or south if you're careful. The floor seems alternately bumpy and slick in patches, and the air has a thick, earthy smell.\n\n> Go north\nYou carefully feel your way through the pitch darkness into an open space. Here, you can see a bit, as strips of softly glowing guide moss illuminate the silent hulks of powered-down vehicles. This appears to be the main parking hangar. And here, parked in the middle of the aisle at a drunken angle, is the Planet Roller.\n\nYou run up to it, yanking open the door, but your mother is nowhere to be seen.\n\nYou're in a large parking hangar filled with rows of powered-down vehicles neatly parked in spaces marked with glowing guide moss. The Planet Roller is here, parked in the aisle. It's hard to make out much else in the low light, but there's a hall to the south and a smaller office to the east. Moist air is coming from the darkness to the north.\n\nAn identisphere lies abandoned in the dust near the Roller.\n\nYou can also see a Tunnel Roller (empty) here.\n\n> You examine the identisphere\nYou recognize this identification sphere as the one belonging to your mother. It's sticky with dried sap, which gives it an almost imperceptible glow.\n\n> You take it\nTaken.\n\n> You ask S,  to go to the south\nIt's completely dark here, but you can pick your way north or south if you're careful. The floor seems alternately bumpy and slick in patches, and the air has a thick, earthy smell.\n\nYou're beginning to feel sluggish from the lack of sunlight.\n\nThe roots of the main control tower run through this room, piping commands around the station. Banks of monitors display surveillance images from around the station, and there's a large placard on the wall with a list of station rules. The Ringway is to the south and stairs lead further up into the tower. A dank, earthy stench comes from a darkened hallway to the north.\n\nA glistening trouble tank has been installed here. It contains a solar beam.\n\nYou feel sluggish.\n\n> SW,SE,S\nYou can't go that way.\n\nYou feel sluggish.\n\nYou can't go that way.\n\nYou feel sluggish and weak.\n\nThis long circular hallway curves away to the southeast and southwest, while heavy security doors mark the entrance to the control tower to the north. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the south. Through the thick glass you can see the sealed xylosphere.\n\nYou feel exhausted.\n\n> SW,SE,S\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nYou feel dizzy, and your vision is starting to fog.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou sway. It's a fight just to stay upright.\n\nRelief floods you as you feel sunlight on your skin.\n\nThe north end of the promenade is lined with shops. Rich artificial sunlight bathes you from above, and the business to the east stands open. The shutters of the shop to the west are warped out of shape, as if something ripped them nearly out of their housing, but you can easily slip through the large hole and enter the shop. Deep furrows have been gouged into the floor here. The promenade continues to the south, and the large bloom shutter to the north opens into a gently curving hallway.\n\nThe pufferpod sucks in the air around it with surprising force, bloating into a taut sac of gas.\n\n> Go north\nYour skin crawls as you leave the nutritious glow of solar lighting behind.\n\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nThe pufferpod shrivels with a melacholy sputter.\n\n> Go northeast\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\n> SW,NW,W\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nYou can see a security sphere here.\n\nThe security sphere rolls off towards Ringway East.\n\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nThis courtyard sits in the center of the C-shaped residential tower; a seemingly endless series of balconies rise around you on three sides, while the empty whiteness of the xylosphere ring is to the east. A sickly-looking garden of half-dead pufferpod trees wilts in the center. A sorting chute leads up to the apartments, including the one where you're supposed to be living.\n\n> You go upwards\nRelief floods you as you feel sunlight on your skin.\n\nA comfortable apartment decorated in leafy greens and rich, earthy reds. There aren't many furnishings here yet, beyond the quite nice and brand-new computer terminal set into one wall.\n\nA bright blue gift box rests prominently on the table, placed to catch your eye. Your mother must have sent it ahead for the computer to place here. \"For Zo\" is written on it.\n\nThe pufferpod sucks in the air around it with surprising force, bloating into a taut sac of gas.\n\n> You look at the terminal\nIt's synced to your mom's data, so the desktop is already cluttered with files. You can see Tora Lar's personnel file, Toris Zo's personnel file, a list of station issues, a personal financial log, and an encrypted file.\n\n> You examine Tora Lar 's personnel file\nIt's your mother's personnel file. It's full of private information that you definitely shouldn't read.\n\n> You read Tora Lar 's personnel file\nIt contains your mother's employment history; before her current job she was the head of a research team back on Xylla, and before that an assistant, and so on, all the way back through her first professional job as a science grunt and then to her first job ever, raking up trimming in a topiary salon. There's contact information for your aunts and grandma; too bad you're too far to call them for help here.\n\n> You read list\n0111.9A - Logged blockage north tunnel.\n0111.9C - Power interrupted to east engine.\n0111.9C45 - East tunnel integrity failure.\n0112.0B - Power interrupted to west engine.\n0112.0B60 - West tunnel integrity failure.\n112.0B65 - Fatal accident logged in west engine adjunct maintenance housing.\n0112.7D - Damage to shutters in promenade area.\n0114.4A10 - Derelict vehicle detected within station perimeter.\n\n> You read the log\nRecent major expenses include a charge from a premier solar vest designer and the cost of the tickets out here from Xylla. Also listed is a bill for 5 credits for station goods and services.\n\n> You read the file\nWhich do you mean, Tora Lar's personnel file, Toris Zo's personnel file or the encrypted file?\n\n> Encrypted\n(first guessing the shockingly poor choice of password)\nIt's a story your mother wrote set in the universe of the Stardredger series. She never lets you read anything she writes. This one is about two of the exotic males that Captain Jula encountered in separate adventures. In this story they're growing together, with their roots intertwined and their pollen constantly blowing on each other, which seems like it would be annoying. Captain Jula is not actually in the story.\n\n> You look at the box\nA bright blue gift box. \"For Zo\" is written on it.\n\n> You open the box\nYou lift the lid to reveal something dark and glittering and beautiful. It's a brand-new solar vest, and not just any solar vest--this is the Afterdark Pro Petite, probably the best one on the market. Definitely the best one in your size. It's fully charged and ready for use, too; as long as you're wearing this, you won't starve no matter how dark it gets.\n\nAfter all that talk about how your old vest was perfectly good, you can't believe she actually sprang for a slick professional model which seems to shimmer like liquid onyx before your eyes.\n\n> You wear Afterdark pro petite\n(after taking off the Acorn Junior Solar Vest)\n(first taking the Afterdark Pro Petite)\nYou put on the Afterdark Pro Petite."
    },
    {
        "text": "[Themes: Science Fiction, family, teenage protagonist]\n\n> Go down\nThis courtyard sits in the center of the C-shaped residential tower; a seemingly endless series of balconies rise around you on three sides, while the empty whiteness of the xylosphere ring is to the east. A sickly-looking garden of half-dead pufferpod trees wilts in the center. A sorting chute leads up to the apartments, including the one where you're supposed to be living.\n\nThe pufferpod shrivels with a melacholy sputter.\n\nA security sphere rolls up from Ringway West.\n\n> You go east\nThis long circular hallway curves away to the northeast and southeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the east. Through the thick glass you can see the sealed xylosphere.\n\nTo the west, the hall opens into a circular courtyard.\n\nA security sphere rolls up from Residential Courtyard.\n\n> SE,NE,E\nThis long circular hallway curves away to the northwest and northeast. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the north. Through the thick glass you can see the sealed xylosphere.\n\nThe open bloom shutter to the south leads to the Bolo Buy promenade.\n\nA security sphere rolls up from Ringway West.\n\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nA security sphere rolls up from Ringway South.\n\nThis room is packed with the complex computer tanks and engineering equipment ObCorp employees use when designing new environments. It's lit by the same dim blue strips as the hallway. A large environmental workstation dominates the room. You can go up from here via elevator chute, or west to the central ringway.\n\nThe WorldScaper 7.0 Quickstart Guide rests on the workstation.\n\n> Go upward\nA comfortable lounge for the xyloformers to relax and observe their handiwork, overlooking the xylosphere floor far below. A dull gray orb is visible to the west, attached to the xylosphere ceiling. There's a trashed drink machine here, leaking. You can go down from here via elevator chute.\n\n> You examine the orb\nA gray sphere about thirty feet across.\n\n> D,W,NW,N,N\nThis room is packed with the complex computer tanks and engineering equipment ObCorp employees use when designing new environments. It's lit by the same dim blue strips as the hallway. A large environmental workstation dominates the room. You can go up from here via elevator chute, or west to the central ringway.\n\nThe WorldScaper 7.0 Quickstart Guide rests on the workstation.\n\nThis long circular hallway curves away to the southwest and northwest. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the west. Through the thick glass you can see the sealed xylosphere.\n\nThere are a pair of glass double doors to the east with the ObCorp logo stenciled on them.\n\nThis long circular hallway curves away to the southeast and southwest, while heavy security doors mark the entrance to the control tower to the north. Strips of subdued lighting along the walls glow a gentle blue, almost overwhelmed by the huge, dark room behind the windows to the south. Through the thick glass you can see the sealed xylosphere.\n\nThe roots of the main control tower run through this room, piping commands around the station. Banks of monitors display surveillance images from around the station, and there's a large placard on the wall with a list of station rules. The Ringway is to the south and stairs lead further up into the tower. A dank, earthy stench comes from a darkened hallway to the north.\n\nA glistening trouble tank has been installed here. It contains a solar beam.\n\nThis north-south hall runs between the control tower and the maintenance and engine wing. The walls are encrusted with nock barnacles which glisten in the light.\n\n> You go north\nYou're in a large parking hangar filled with rows of powered-down vehicles neatly parked in spaces marked with glowing guide moss. The Planet Roller is here, parked in the aisle. It's hard to make out much else in the low light, but there's a hall to the south and a smaller office to the east. Moist air is coming from the darkness to the north.\n\nYou can see a Tunnel Roller (empty) here.\n\n> You go to the east\nThis small, sparse office contains an engine switchboard.\n\nYou can see an engineer's calendar here.\n\n> You read the calendar\nIt's a bunch of tech notes from last year, back when they were still building the place, interspersed with personal stuff like \"Laje B-Day\" and \"make appt @HYB\".\n\n> You take calendar\nIt doesn't look like it's meant for kids. You'd better leave it where it is...unless, of course, you don't care about getting into trouble with the station.\n\n> You look at the calendar\nThe calendar is covered in pictures of male Xyloids in full bloom.\nYou haven't seen very many of them, since they're grown in special gardens where kids aren't allowed, but you've looked up enough pictures to know that someone messed with the colors on them to make the flowers look brighter, and that's way more pollen than they're supposed to have. They must have added it for some reason as a prop. Looking at the pictures for too long makes you sort of uncomfortable in a weird way.\n\n> You examine the switchboard\nThree switches, marked West, North, and East, are arranged in a triangle.\n\n> Go north\nThe floor here is scuffed and slimy from the passage of maintenance equipment. Engine access tunnels are visible to the west, north and east. The north tunnel is blocked by a shimmering  wall of energy.\n\n> You enter Roller\n(the Tunnel Roller)\nYou plop down in the driver's seat and pull the door shut, creating an airtight seal. The driving controls don't seem too complicated, and after a little initial skidding in circles you manage to get them down pat, even if you do have a little trouble reaching the foot pedals. This thing even has a solar butt warmer to keep you from getting hungry while driving in the dark.\n\nSpeaking of your butt, you just realized you were sitting on something. Upon picking it up, it turns out to be an operator's manual. You can read it if you need any help figuring out the rest of the controls.\n\n> You read the manual\nThe manual describes in detail the controls of the Obscorp \"Little Buddy\" Tunnel Roller. You can SWITCH ON or SWITCH OFF the headlights (although the light is inedible), SNAG something to deploy a powerful, specialized snagpoon, UNSNAG something to release the snagpoon, and HONK to sound  a high-decibel warning horn. The Tunnel Roller is airtight, all-terrain, nearly indestructible, and self-charging, so do what you want with it!\n\n> You go outside\nYou open the doors and slide out.\n\n> Go west\nThis is a long, dark east-west tube. It's perfectly smooth and clean and there's nothing much here to distinguish it at all.\n\n> You go west\nYou are on the stationward side of a fifty-foot gap in the tunnel, where most of the structure has been sheared away, leaving what's left exposed to the open air. Below is a dizzying dropoff into a steep chasm, in which you can see twisted, ruined chunks of plating and other wreckage on the floor far below. The only part of the tunnel that's still complete is a thin support beam high overhead, running across the chasm. The tunnel continues east from here, and you can see across the gap that it also continues west, disappearing into the side of a towering cliff."
    },
    {
        "text": "[Themes: treasure hunt, gender-neutral protagonist, escape, television, mansion]\n\n]\n\nWith a loud click, the door closes behind you. Finally!\n\nYou are locked inside an antebellum Southern mansion, alone, wearing only a chicken costume.\n\nYou've fantasized about this moment for years.\n\n\"Welcome to Antique Escapes!\" you hear from a hidden speaker\nnearby. \"I'm your host, Terri Boz. Our contestant for this episode will be collecting valuables in Sugarlawn Plantation on the banks of Bayou Lafourche in southern Louisiana.\n\n\"To our contestant: Have fun! And good luck!\"\n\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, while doorways lie to the north and south.\n\nA large sack has been left by the front door.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Sugarlawn, as its name indicates, was one of the largest sugar cane plantations of the antebellum South,\" you hear Terri say. \"The mansion was built in 1840, in the Greek Revival style. It fell into decay in the decades after the Civil War, but it was purchased and restored by Nash and Molly Pendry in the mid-1950s. The current owner is their grandson.\n\n\"We have made a few cosmetic changes to the mansion for the recording of this episode, and we have temporarily removed many of the furnishings as well. If you would like to see Sugarlawn at its unaltered finest, the mansion and grounds are open for visitors from 9-12 every Tuesday morning.\n\n\"Oh, and before I forget: At any time the contestant may ask ABOUT the rules for this episode.\"\n\n[Author's Note: With a loud \"click,\" the door closes behind you. Finally! You are locked inside an antebellum Southern mansion, alone, wearing only a chicken costume. You've fantasized about this moment for years.]\n\n> You look at the box\nThis mahogany box - while attractive - looks too modern for a nineteenth-century home. In the top of the box is a small, key-sized hole. The front panel of the box reads, \"Give a key; take a key.\" Underneath is a display that says:\nStorage Key\nPantry Key\nSouth Wing Key\nNorth Wing Key\n\n\"The mahogany box is part of this episode,\" says Terri. \"It works just like it says: If you want a key from the box you'll need to insert another key first.\"\n\n> You go north\nAn antique sofa sits against the wall in this stylish parlor. Near it hangs a life-sized, framed portrait. The foyer is south, a doorway leads east, and there is a door to the north.\n\nA strand of red beads is lying on the sofa.\n\n\"The formal parlor is where guests would be received,\" says Terri. \"After dinner, the women might retreat here or to the small parlor, while the men would usually gather in the library or billiard room. Note the antique sofa; it dates from the nineteenth century.\"\n\n> You examine the beads\nThese beads were designed to be worn. They are made of glass - not plastic - and appear to be rather old.\n\n> You examine the sofa\nThis severe sofa doesn't really look all that comfortable.\n\nOn the antique sofa is a strand of red beads.\n\n> You look at the portrait\nThe portrait is of a man in his mid-30s, in early nineteenth-century military dress uniform. The frame reads \"William C. C. Claiborne.\"\n\n> You take the beads\nYou place the strand of red beads in the sack.\n\n\"The contestant has picked up a valuable!\" Terri says. \"There are fifty total placed throughout the house and grounds. Remember that to collect a valuable officially you must either bring it through the foyer or leave it in its target location.\"\n\n> You look behind the portrait\nYou can't see any such thing, at least as described. Or maybe that's just not something you need to refer to in order to earn lots of cash on Antique Escapes.\n\n> You take the portrait\nThe framed portrait is firmly attached to the wall. You can't remove it. Besides, it's much too large to carry around.\n\n> Go north\n(first opening the door)\nThe door is locked.\n\n> Go east\nSomeone has scrawled a message across the mahogany dining table in the center of this room. The parlor is to the west, and a doorway leads south. A smaller room lies east.\n\nOn the dining table is an orange mask.\n\n> You look at the message\nAcross the dining table someone has scrawled, in what you hope is some easily-removable marker or ink, \"GET DRESSED AND FIND YOUR PLACE FOR A COLORFUL MARDI GRAS.\"\n\n> You look at the mask\nThis glittery orange mask is designed to cover only the top half of your face.\n\n> You look at the table\nThis dining table was carved from a rich, dark mahogany. Across the dining table someone has scrawled, in what you hope is some easily-removable marker or ink, \"GET DRESSED AND FIND YOUR PLACE FOR A COLORFUL MARDI GRAS.\"\n\nOn the dining table is an orange mask.\n\n> You take the mask\nYou place the orange mask in the sack.\n\n> Go east\nThis small room features a sideboard - but little else. The dining room is to the west, and a door north leads outside.\n\nA peach sparkles from the sideboard.\n\n\"During meals the butler would likely have stood in this pantry,\" says Terri, \"receiving dishes from the kitchen and serving them to the family.\"\n\n> You look at the peach\nIt's an artificial peach covered with what appear to be diamonds.\n\n> You look at the sideboard\nGiven how the rest of the mansion looks, the sideboard here is actually rather plain.\n\nOn the sideboard is a jeweled peach.\n\n> You take the peach\nYou place the jeweled peach in the sack.\n\n> You go west\nSomeone has scrawled a message across the mahogany dining table in the center of this room. The parlor is to the west, and a doorway leads south. The pantry lies east.\n\n> Go south\nThe most notable feature of this end of the main hall of Sugarlawn is the grand staircase ascending to the second floor. Almost as an afterthought, there is a side table standing against the wall. The hall continues west to the foyer, a doorway leads north to the dining room, and there is a second doorway to the south. Finally, what looks like the back door to the mansion is east.\n\nA small key is locked to the side table with an antique combination lock.\n\n> You examine the key\nThe key is labeled \"safe.\"\n\n> You examine the lock\nThis antique lock is made of brass and steel. To open the lock, it appears you must set it to the right five-digit number.\n\n> You look at the table\nThe side table is made of polished wood and looks quite old. A small key is locked to the side table with an antique combination lock.\n\n> You examine the staircase\nThis magnificent staircase leads up to the second floor of the mansion.\n\n> You go east\n(first opening the back door)\nThe back door is locked.\n\n> You go south\nThis cozy room features a writing table and a rocking chair. There is also a fireplace, with a mantel above it, in the south wall. A doorway leads north to the stair hall, and another doorway is to the west.\n\nThere is a large Bible lying on the writing table.\n\n\"The sitting room, as opposed to the more formal parlor, is where an antebellum family would gather in the evenings when they were not entertaining guests,\" Terri says. \"They would often read or sew to pass the time.\"\n\n> You examine Bible\nThis is a large, leather-bound family Bible. It looks like it dates from the early 1800s.\n\n> You take it\nYou place the family Bible in the sack.\n\n> You read it\nYou open the family Bible and read the first few verses. It's the King James translation - of course.\n\n\"In the beginning God created the heaven and the earth.\n\nAnd the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.\n\nAnd God said, Let there be light: and there was light.\"\n\n> You look at the chair\nThe rocking chair looks quite sturdy, given its age.\n\n> You examine the mantel\nThis wooden mantel sits above the fireplace.\n\n> You search fireplace\nThe fireplace is empty.\n\n> You go to the west\nThe walls of this elegant room are lined with built-in bookshelves, although all of the books have been temporarily removed. A motto of some kind hangs on the wall. The foyer lies to the north, the sitting room is east, and there is a door to the south.\n\nAn old flag has been tossed in a corner of the room.\n\nA small glass case sits near one of the bookshelves. In the glass case is a golden catfish statuette.\n\n\"The library in antebellum times was not just a place to store books,\" you hear Terri say. \"Along with the parlor, it was often used as a formal space for entertaining guests, frequently after dinner.\"\n\n> You search Bible\nYou open the family Bible and read the first few verses. It's the King James translation - of course.\n\n\"In the beginning God created the heaven and the earth.\n\nAnd the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.\n\nAnd God said, Let there be light: and there was light.\"\n\n\"Just so you know, you have used up five of your thirty minutes so far,\" says Terri.\n\n> You look at the flag\nThis flag features three yellow fleur-de-lis designs on a royal blue field.\n\n> You examine the case\nThe glass case is closed, and there is a keyboard attached to it. \"Type the ten-letter code to open the case\" is written on the case.\n\nIn the glass case is a golden catfish statuette.\n\n> You look at the catfish\nThis is a golden statuette is in the shape of a catfish. The fish is portrayed in mid-leap, as if it had just jumped from its river home into the air.\n\n> You examine bookshelves\nNothing is on the bookshelves.\n\n> Inventory\nYou are carrying:\na large sack, containing\na family Bible\na jeweled peach\nan orange mask\na strand of red beads\na chicken costume (being worn)\n\n> You examine the costume\nThe chicken costume is large, yellow, and fluffy. Unfortunately, it also hampers your movement somewhat.\n\n> You put Bible on the shelf\n(first taking the family Bible)\nYou put the family Bible on the bookshelves.\n\n\"Just so you know, you have used up five of your thirty minutes so far,\" says Terri.\n\n> You look at the motto\nThe motto says, \"READING UNLOCKS WORLDS UNKNOWN.\"\n\n> You go to the south\n(first opening the door)\nThe door is locked.\n\n> You go to the north\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Congratulations!\" Terri says. \"Now the strand of red beads, the orange mask, and the jeweled peach count as collected.\"\n\n\"However,\" she adds, \"you have not placed any valuables in their target locations - yet. Remember that placing a valuable in its target location will earn you a cash bonus. Not only that, the more valuables you place in their target locations, the larger the bonuses become.\"\n\n> You check what you're carrying\nYou are carrying:\na large sack, containing\na jeweled peach\nan orange mask\na strand of red beads\na chicken costume (being worn)\n\n> You take Bible\nTaken.\n\n> Go north\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Congratulations!\" Terri says. \"Now the strand of red beads, the family Bible, the orange mask, and the jeweled peach count as collected.\"\n\n\"However,\" she adds, \"you have not placed any valuables in their target locations - yet. Remember that placing a valuable in its target location will earn you a cash bonus. Not only that, the more valuables you place in their target locations, the larger the bonuses become.\"\n\n> Go east\nThe most notable feature of this end of the main hall of Sugarlawn is the grand staircase ascending to the second floor. Almost as an afterthought, there is a side table standing against the wall. The hall continues west to the foyer, a doorway leads north to the dining room, and there is a second doorway south to the sitting room. Finally, what looks like the back door to the mansion is east.\n\nA small key is locked to the side table with an antique combination lock.\n\n> Go upward\nThe grand staircase coming up from the main floor ends here, while a smaller staircase allows access to the third floor above. There are rooms to the north and south, and the hallway continues west. A closed door leads east.\n\n> You go north\nLate afternoon light, filtering through cypress trees hung with Spanish moss, glances off the water in the mural that covers the walls and ceiling of this room. A narrow bed in the shape of a canoe seems almost to float on the bayou. Exits are south to the second floor stair hall, as well as west.\n\nAn old sword is propped against the wall.\n\n\"Much of southeastern Louisiana is bayou country,\" Terri says. \"It's the Mississippi River Delta, after all. However, bayous can be found in other parts of the state, even up north by the Arkansas border. This bedroom honors this important feature of Louisiana's geography.\n\n\"Incidentally,\" she continues, \"the bed is in the shape of what south Louisiana natives call a 'pirogue.'\"\n\n> You look at the sword\nThe sword is slightly curved and so was probably a cavalry officer's saber. The date of manufacture is on the hilt: 1810.\n\n> You take it\nYou place the cavalry saber in the sack.\n\n> You examine the mural\nIt's a lovely mural, with its cypress trees and Spanish moss, plus sunlight glinting off the water. It almost makes you feel like you're there, in the middle of the bayou.\n\n> You examine the moss\nThe Spanish moss hangs down into the water in places.\n\n> You look at the trees\nThe cypress trees in the mural are covered with Spanish moss.\n\n> You look at the water\nSunlight glints off the water in the mural.\n\n> You examine the glint\nYou can't see any such thing, at least as described. Or maybe that's just not something you need to refer to in order to earn lots of cash on Antique Escapes.\n\n> You go west\nA mural depicting Andrew Jackson leading his troops during battle extends around all four sides of this room. A king-sized bed features prominently here as well. A doorway leads south, and another leads east to the bayou room.\n\nA copy of The Awakening is lying on the bed.\n\n\"This was the first bedroom to be decorated in a theme after Sugarlawn was restored in the 1950s,\" Terri says. \"Andrew Jackson had actually slept in this room once, and the new owners wanted to commemorate that.\n\n\"The mural shows the Battle of New Orleans in January of 1815, in which Jackson handily defeated a much larger British force,\" continues Terri. \"Ironically, the peace treaty ending the War of 1812 had been signed less than a month before, but the news hadn't reached New Orleans yet. With the exception of the British capture of a fort outside of Mobile a few weeks later, the Battle of New Orleans was the last time American and British forces faced each other on opposite sides of a military conflict.\"\n\n> You look at the mural\nThe mural depicts Jackson leading American soldiers during the Battle of New Orleans. Jackson is riding a horse and brandishing a sword.\n\n> You examine Jackson\n(the Jackson mural)\nThe mural depicts Jackson leading American soldiers during the Battle of New Orleans. Jackson is riding a horse and brandishing a sword.\n\n> You examine the horse\nThis is Andrew Jackson's mount in the mural.\n\n> You examine the bed\nIt's a king-sized bed; it's almost as wide as it is long.\n\nOn the king-sized bed is The Awakening.\n\n> You look at Awakening\nAwakening.\n\n> You take it\nYou place The Awakening in the sack.\n\n> You read it\nYou open the book and read the first couple of paragraphs.\n\n\"A green and yellow parrot, which hung in a cage outside the door, kept repeating over and over: 'Allez vous-en! Allez vous-en! Sapristi! That's all right!'\n\n\"He could speak a little Spanish, and also a language which nobody understood, unless it was the mocking-bird that hung on the other side of the door, whistling his fluty notes out upon the breeze with maddening persistence.\"\n\nIt's pretty faint, but the first \"l\" and the \"w\" in \"yellow\" have been lightly circled with a pencil.\n\n> Go south\nThis is the west end of the second floor hallway. A closed door is to the west, while the Jackson bedroom beckons to the north, and another room lies south. In addition, the hallway continues east, back toward the stairs.\n\nAn old voodoo doll is lying on the floor.\n\n> You look at the doll\nThis old voodoo doll depicts what appears to be an antebellum plantation owner. It's made out of rags.\n\n> You take the doll\nYou place the old voodoo doll in the sack.\n\n> Go west\n(first opening the door)\n\nThis balcony overlooks the beautifully-maintained front lawn, which slopes down to Bayou Lafourche off to the west. An open door leads east, back to the second floor hallway.\n\nA jeweled duck figurine has been left on the balcony.\n\n> You examine the duck\nYou're pretty sure the duck figurine is supposed to be a mallard.\n\n> You take the duck\nYou place the jeweled duck figurine in the sack.\n\n> You examine the lawn\nThe front lawn is, unsurprisingly, immaculately-kept.\n\n> You look at the door\nThe door stands wide open.\n\n> Go east\nThis is the west end of the second floor hallway. An open door leads west to the front balcony, while the Jackson bedroom beckons to the north, and another room lies south. In addition, the hallway continues east, back toward the stairs.\n\n> You go to the south\nGraceful magnolia trees have been painted on all four walls of this room, their branches entertwining on the ceiling. A large, cream-colored bed occupies much of the room. One doorway leads north to the second floor hallway, while another leads east.\n\nAn old model of a steamboat has been left on the bed.\n\n\"This room honors Louisiana's state flower, the Southern magnolia.\nThe magnolia is Mississippi's state flower as well,\" says Terri. \"Magnolia blossoms are known for their rich fragrance, and the trees themselves can be lots of fun for kids to climb.\"\n\n> You look at the bed\nThe cream-colored bed is the same shade as the magnolia blossoms on the walls.\n\nOn the cream-colored bed is a model steamboat.\n\n> You examine boat\nThis is a detailed model of an old paddle-wheel steamboat.\n\n> You take boat\nYou place the model steamboat in the sack.\n\n> Go east\nA white paddle steamer chugs its way down the middle of the Mississippi River in the mural that covers one wall of this room. A deep blue bed sits against the opposite wall. One exit is north to the second floor stair hall, while another leads west to the magnolia room.\n\nA belt is lying on the bed.\n\n\"The Mississippi River dominates Louisiana, both historically and geographically,\" says Terri. \"This bedroom honors the 'The Father of Waters.'\n\n\"The color of the bed is either ironic or wishful thinking,\" Terri adds, \"since much of the Mississippi is actually a muddy brown.\"\n\n> You look at the mural\nThis mural depicts a curve of the Mississippi River as it winds its way past a high bluff and a bank of pine trees. In the foreground, a paddle steamboat chugs its way down the river.\n\n> You examine the bed\nThis bed is a deep blue. It looks quite inviting.\n\nOn the blue bed is a belt.\n\n> You examine the belt\nThis belt appears to be made from alligator skin."
    },
    {
        "text": "[Themes: treasure hunt, television, gender-neutral protagonist]\n\n> You look at your surroundings\nA white paddle steamer chugs its way down the middle of the Mississippi River in the mural that covers one wall of this room. A deep blue bed sits against the opposite wall. One exit is north to the second floor stair hall, while another leads west to the magnolia room.\n\nA belt is lying on the bed.\n\n> Inventory\nYou are carrying:\na family Bible\na large sack, containing\na model steamboat\na jeweled duck figurine\nan old voodoo doll\nThe Awakening\na cavalry saber\na jeweled peach\nan orange mask\na strand of red beads\na chicken costume (being worn)\n\n> You drop the boat\n(the model steamboat)\nDropped.\n\n> You go to the north\nThe grand staircase coming up from the main floor ends here, while a smaller staircase allows access to the third floor above. The bayou and river rooms lie to the north and south, respectively, while the hallway continues west. A closed door leads east.\n\n\"Twenty minutes left!\" says Terri.\n\n> You go east\n(first opening the door)\n\nFrom the mansion's rear balcony you have a view of the lawn to the east, where you can see a live oak sheltering a gazebo. An open door is to the west, leading to the second floor stair hall, and some stairs lead down.\n\nA stuffed armadillo is here, keeping watch over the back lawn.\n\nA small glass case sits next to the armadillo. In the glass case is a diamond ring.\n\n> You examine the ring\nThe diamond ring looks old and is clearly quite valuable.\n\n> You examine the case\nThe glass case is closed. However, \"Speak the five door codes to unlock the case\" is written on it.\n\nIn the glass case is a diamond ring.\n\n> You look at the armadillo\nA fine specimen of Louisiana taxidermy, this stuffed armadillo looks at you almost insolently, as if daring you to run over it.\n\n> You look at the oak\nThe live oak's size and age give it a kind of majesty.\n\n> You examine the gazebo\nIt's hard to see much of the gazebo from here.\n\n> You look at the stairs\nThese steps lead down to the back porch.\n\n> You take the armadillo\nYou place the stuffed armadillo in the sack.\n\n> Go west\nThe grand staircase coming up from the main floor ends here, while a smaller staircase allows access to the third floor above. The bayou and river rooms lie to the north and south, respectively, while the hallway continues west. An open door leads east, to the rear balcony.\n\n> You go to the north\nLate afternoon light, filtering through cypress trees hung with Spanish moss, glances off the water in the mural that covers the walls and ceiling of this room. A narrow bed in the shape of a pirogue seems almost to float on the bayou. Exits are south to the second floor stair hall, as well as west to the Jackson bedroom.\n\n> You drop the belt\nYou can't see any such thing, at least as described. Or maybe that's just not something you need to refer to in order to earn lots of cash on Antique Escapes.\n\n> You go to the south\nA white paddle steamer chugs its way down the middle of the Mississippi River in the mural that covers one wall of this room. A deep blue bed sits against the opposite wall. One exit is north to the second floor stair hall, while another leads west to the magnolia room.\n\nA belt is lying on the bed.\n\nYou can see a model steamboat here.\n\n> You take the belt\nYou place the alligator-skin belt in the sack.\n\n> You drop the belt\nDropped.\n\n> You go west\nA mural depicting Andrew Jackson leading his troops during battle extends around all four sides of this room. A king-sized bed features prominently here as well. A doorway leads south to the second floor hallway, and another leads east to the bayou room.\n\n> You drop the sword\n(the cavalry saber)\nDropped.\n\n> Go east\nLate afternoon light, filtering through cypress trees hung with Spanish moss, glances off the water in the mural that covers the walls and ceiling of this room. A narrow bed in the shape of a pirogue seems almost to float on the bayou. Exits are south to the second floor stair hall, as well as west to the Jackson bedroom.\n\nYou can see an alligator-skin belt here.\n\n> You go west\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Congratulations!\" Terri says. \"Now the stuffed armadillo, The Awakening, the jeweled duck figurine, and the old voodoo doll\ncount as collected.\"\n\n\"You have also placed three valuables in their target locations so far,\" she adds.\n\n> You go to the east\nFrom the mansion's rear balcony you have a view of the lawn to the east, where you can see a live oak sheltering a gazebo. An open door is to the west, leading to the second floor stair hall, and some stairs lead down.\n\nA small glass case sits on the floor here. In the glass case is a diamond ring."
    },
    {
        "text": "[Themes: gender-neutral protagonist, escape, treasure hunt]\n\n> Go downward\nThe back porch of the mansion looks out over the lawn to the east, where you can see a live oak sheltering a gazebo. The rear door leads west to the downstairs hall, and a set of wooden stairs will take you to the rear balcony. A gravel path leads south.\n\nA blue feather boa is lying on the porch.\n\n\"You've used up half of your thirty minutes!\" says Terri.\n\n> You look at the boa\nIt appears to be made from actual ostrich feathers.\n\n> You take it\nYou place the blue feather boa in the sack.\n\n> You examine the door\nThe back door appears to be locked. It looks like it could be unlocked with either a voice code or a key.\n\n> Go east\nAn ancient live oak spreads over much of this part of the back lawn, providing shade for a ruined gazebo. Some of the oak's branches are low enough that you might be able to climb partway up it. Immediately east of the gazebo is a wooden fence, effectively forming the boundary of the back lawn. The mansion lies across the lawn to the west, while a gate in the fence allows access to the sugar cane fields beyond and another, much smaller, building.\n\nA brass trumpet has been left in the gazebo.\n\nYou can also see an old iron key and a note here.\n\n\"Sugarlawn's mansion and gazebo were partially burned by Union soldiers during the Civil War. When the twentieth-century owners restored the mansion they decided to leave the gazebo as it was, as a reminder of the damage and costs of the war,\" says Terri.\n\n> You examine the trumpet\nThe trumpet looks quite tarnished.\n\n> You look at the key\nThe old iron key is labeled \"back door.\"\n\n> You examine the oak\nThis majestic oak must be nearly two centuries old. You might be able to climb partway up the oak, if you weren't wearing the chicken costume.\n\n> You look at the gate\nThe gate has no keyhole. It appears to be locked.\n\n> You look at the gazebo\nThe wooden gazebo has been partially burnt and left to fall into ruin.\n\n> You take the trumpet and the key\nbrass trumpet: You place the brass trumpet in the sack.\nback door key: Taken.\n\n> Go up\nSome of the oak's branches may be low to the ground, but you'll never manage the climb while wearing that chicken costume.\n\n> You remove the costume\nYou start to, but then you remind yourself that (a) you're not wearing much underneath the chicken costume, and (b) Terri and the entire technical crew are watching you via video camera. Best not.\n\nBesides, your reputation doesn't need another hit - not after the unfortunate incident with the pistachio pudding that went viral last year.\n\n> You go west\nThe back porch of the mansion looks out over the lawn to the east, where you can see a live oak sheltering a gazebo. The rear door leads west to the downstairs hall, and a set of wooden stairs will take you to the rear balcony. A gravel path leads south.\n\n> Go south\nThe gravel path here is fairly long, although you soon find yourself in...\n\nA gravel path meanders between flower beds filled with delicate purple irises here. The path extends north to the back porch, as well as west. A door to the south leads into the manor proper.\n\n\"The flowers here are Louisiana irises. They're the official state wildflower,\" says Terri. \"As you can see, though, they don't just grow wild; they can also be cultivated in gardens like this one.\"\n\n> You examine the irises\nThere must be hundreds of these gorgeous purple irises in the flower beds.\n\n> You search the irises\nA cursory glance turns up nothing hidden among the irises. A more careful search, though, would probably damage them.\n\n> You examine door\nThe door appears to be locked. It looks like it could be unlocked with either a voice code or a key.\n\n> You examine the building\nYou can't see any such thing, at least as described. Or maybe that's just not something you need to refer to in order to earn lots of cash on Antique Escapes.\n\n> You go to the west\nThis small, cement courtyard lies between the main part of the mansion and its south wing. A path east leads to the iris garden, while a door west leads into the mansion.\n\nAn old cathedral-style radio is sitting here.\n\n> You examine the radio\nThis is one of those cathedral-style radios, with a rectangular base and a rounded top. It looks like you could turn it on.\n\n> You turn on the radio\nYou turn on the radio. An accordion/bagpipe duet is being played. Very badly. And at a shockingly-high decibel level. Cringing at the sound, and fearing a subsequent loss of hearing, you turn the radio off.\n\n> You take the radio\nYou place the cathedral radio in the sack.\n\n> You go east\nA gravel path meanders between flower beds filled with delicate purple irises here. The path extends north to the back porch, as well as west to the south courtyard. A door to the south leads into the manor proper.\n\n> You go to the north\nThe gravel path here is fairly long, although you soon find yourself back at the...\n\nThe back porch of the mansion looks out over the lawn to the east, where you can see a live oak sheltering a gazebo. The rear door leads west to the downstairs hall, and a set of wooden stairs will take you to the rear balcony. A gravel path leads south to the iris garden.\n\n> You unlock the door with the key\nYou unlock the back door manually.\n\n> Go upwards\nFrom the mansion's rear balcony you have a view of the lawn to the east, where you can see a live oak sheltering a gazebo. An open door is to the west, leading to the second floor stair hall, and some stairs will take you down to the back porch.\n\nA small glass case sits on the floor here. In the glass case is a diamond ring.\n\n> You turn on the radio\nYou turn on the radio. The awful accordion/bagpipe duet is still being played at an ear-splitting volume. You turn the radio off once more.\n\n> You go west\n(first opening the back door)\n\nThe most notable feature of this end of the main hall of Sugarlawn is the grand staircase ascending to the second floor. Almost as an afterthought, there is a side table standing against the wall. The hall continues west to the foyer, a doorway leads north to the dining room, and there is a second doorway south to the sitting room. Finally, the door to the east leads to the back porch.\n\nA small key is locked to the side table with an antique combination lock.\n\n> Go west\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Congratulations!\" Terri says. \"Now the blue feather boa, the brass trumpet, and the cathedral radio count as collected.\"\n\n\"You have also placed three valuables in their target locations so far,\" she adds.\n\n> Examine box\nThis mahogany box - while attractive - looks too modern for a nineteenth-century home. In the top of the box is a small, key-sized hole. The front panel of the box reads, \"Give a key; take a key.\" Underneath is a display that says:\nStorage Key\nPantry Key\nSouth Wing Key\nNorth Wing Key\n\n> You put the key in the box\nYou insert the back door key into the keyhole. There is a whirring noise from inside the box, the display changes, and out pops the storage key. You take it.\n\n> You look at the box\nThis mahogany box - while attractive - looks too modern for a nineteenth-century home. In the top of the box is a small, key-sized hole. The front panel of the box reads, \"Give a key; take a key.\" Underneath is a display that says:\nPantry Key\nSouth Wing Key\nNorth Wing Key\nBack Door Key\n\n> You put key in box\nYou insert the storage key into the keyhole. There is a whirring noise from inside the box, the display changes, and out pops the pantry key. You take it.\n\n> You go north\nAn antique sofa sits against the wall in this stylish parlor. Near it hangs a life-sized, framed portrait. The foyer is south, a doorway leads east to the dining room, and there is a door to the north.\n\n> You go east\nSomeone has scrawled a message across the mahogany dining table in the center of this room. Doorways lead west to the parlor and south to the stair hall. The pantry lies east.\n\n\"You have ten minutes remaining!\" says Terri.\n\n> Go east\nThis small room features a sideboard - but little else. The dining room is to the west, and a door north leads outside.\n\n> You unlock the door with the key\nYou unlock the door manually.\n\n> Go north\n(first opening the door)\n\nYou are standing in a long, open-air breezeway that runs from a brick courtyard to the west to a small, detached building to the east. In addition, doors to the north and south grant access to the north wing and the pantry, respectively.\n\n> You go east\nSugarlawn's kitchen features a large butcher block and a brick oven. The exit is west, back to the breezeway.\n\nA small embroidery sampler is lying on the butcher block.\n\n\"As with many antebellum Southern homes, the kitchen here at Sugarlawn was in a detached building,\" says Terri. \"You didn't want a large source of heat and odors too close to the main house, especially during a sweltering Louisiana summer.\"\n\n> You look at the sampler\nThis sampler depicts a woman sewing while rocking in a chair. The sampler looks quite old.\n\n> You take the sampler\nYou place the embroidery sampler in the sack.\n\n> You look at the oven\nGazing at this sizable brick oven, it's easy to imagine the day's soup cooking over a roaring fire.\n\n> You open the oven\nIn a sense the brick oven is already open. At any rate, you're not going to be able to open it further.\n\n> You go west\nYou are standing in a long, open-air breezeway that runs from a brick courtyard to the west to the kitchen to the east. In addition, doors to the north and south grant access to the north wing and the pantry, respectively.\n\n> You go west\nThis small, brick courtyard lies between the main part of the mansion and its north wing. There is a breezeway to the east, and a closed door leads north into the north wing.\n\nA golden iris has been left here.\n\n> You take the iris\nYou place the golden iris in the sack.\n\n> You examine the iris\nThe details on the iris are exquisite. If it's not a real iris dipped in gold then it must have been crafted by a very talented goldsmith.\n\n> Go south\nThis small room features a sideboard - but little else. The dining room is to the west, and a door north leads to the breezeway outside.\n\n> You go to the west\nSomeone has scrawled a message across the mahogany dining table in the center of this room. Doorways lead west to the parlor and south to the stair hall. The pantry lies east.\n\n> Go south\nThe most notable feature of this end of the main hall of Sugarlawn is the grand staircase ascending to the second floor. Almost as an afterthought, there is a side table standing against the wall. The hall continues west to the foyer, a doorway leads north to the dining room, and there is a second doorway south to the sitting room. Finally, the door to the east leads to the back porch.\n\nA small key is locked to the side table with an antique combination lock.\n\n> Go south\nThis cozy room features a writing table and a rocking chair. There is also a fireplace, with a mantel above it, in the south wall. A doorway leads north to the stair hall, and another doorway allows access to the library to the west.\n\n> You drop the sampler\nDropped.\n\n> You go east\nThe back porch of the mansion looks out over the lawn to the east, where you can see a live oak sheltering a gazebo. The rear door leads west to the downstairs hall, and a set of wooden stairs will take you to the rear balcony. A gravel path leads south to the iris garden.\n\n> You go south\nThe gravel path here is fairly long, although you soon find yourself back in...\n\nA gravel path meanders between flower beds filled with delicate purple irises here. The path extends north to the back porch, as well as west to the south courtyard. A door to the south leads into the manor proper.\n\n> You drop iris\n(the golden iris)\nDropped.\n\n> You go to the north\nThe gravel path here is fairly long, although you soon find yourself back at the...\n\nThe back porch of the mansion looks out over the lawn to the east, where you can see a live oak sheltering a gazebo. The rear door leads west to the downstairs hall, and a set of wooden stairs will take you to the rear balcony. A gravel path leads south to the iris garden.\n\n> Go west\nThe most notable feature of this end of the main hall of Sugarlawn is the grand staircase ascending to the second floor. Almost as an afterthought, there is a side table standing against the wall. The hall continues west to the foyer, a doorway leads north to the dining room, and there is a second doorway south to the sitting room. Finally, the door to the east leads to the back porch.\n\nA small key is locked to the side table with an antique combination lock.\n\n\"Only five minutes left!\" says Terri.\n\n> You go to the west\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"So far, you have placed five valuables in their target locations,\" notes Terri.\n\n> You put the key in the box\nYou insert the pantry key into the keyhole. There is a whirring noise from inside the box, the display changes, and out pops the south wing key. You take it.\n\n> Go south\nThe walls of this elegant room are lined with built-in bookshelves, although all of the books have been temporarily removed. A motto hangs on the wall. The foyer lies to the north, the sitting room is east, and there is a door to the south.\n\nAn old flag has been tossed in a corner of the room.\n\nA small glass case sits near one of the bookshelves. In the glass case is a golden catfish statuette.\n\n> Go south\n(first opening the door)\n\nThis passage connects the south wing to the central portion of the mansion. The library is to the north, and a doorway leads west. The passage continues south, and a second door east leads outside.\n\n> You unlock the east door with the key\nYou unlock the east door manually.\n\n> You examine the east door\nThe east door is closed.\n\n> Go west\nThis room appears to be dedicated to Louisiana's colonial period and is dominated by a large map hanging on the wall. A doorway leads east to the south passage, while another doorway lies to the south.\n\nThere is a glass bottle on the floor here.\n\n\"We're not entirely certain of the original purpose of this room,\" Terri says, \"although, given the family chapel to the south, it may have served some sort of religious function. However, as you can see, the current owner has dedicated the room to showcasing Louisiana's colonial period. Louisiana, of course, was founded by the French, but Spain controlled it for many years. Parts of Louisiana were even owned - for a time - by Great Britain.\n\n\"The map on the wall shows French Louisiana as it was in 1763, just before France was forced to cede Louisiana to Spain as a result of its defeat during the Seven Years' War.\"\n\n> You examine the map\nThis old map of Louisiana is dated 1763 and features several towns and settlements from that era. The map is firmly attached to the wall.\n\n> You look at the bottle\nIt's an old wine bottle. The glass is an interesting dark green color.\n\n> You take the bottle\nYou place the glass bottle in the sack.\n\n> Go south\nA marble altar stands near the west end of this small chapel. A doorway leads north to the colonial room, while a second doorway lies to the east.\n\nOn the altar is Interview with a Vampire.\n\n\"It was fairly common for plantation homes in the antebellum South to have their own chapel,\" says Terri, \"although Sugarlawn is unusual in that its chapel is inside the main house rather than a separate structure on the grounds.\n\n\"Another distinctive feature of this chapel is that it was originally Roman Catholic,\" Terri continues. \"While most churchgoing antebellum Southerners were Protestants, French and Spanish ownership of Louisiana during nearly all of its colonial period meant that there were a large number of Catholics in south Louisiana by the time of the Civil War. That remains true even today.\"\n\n> You examine Vampire\nThis is a signed first edition of Interview with a Vampire,\nthe first book in Anne Rice's acclaimed Vampire Chronicles.\n\n> You read it\nYou open the book and read the first paragraph.\n\n\"\u00e2\u20ac\u02dcI see...' said the vampire thoughtfully, and slowly he walked across\nthe room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his brief case on the table and waited.\"\n\nIt's pretty faint, but the \"a\" and the \"r\" in \"vampire\" have been lightly circled with a pencil.\n\n> You look at what you're carrying with you\nYou are carrying:\na south wing key\na family Bible\na large sack, containing\na glass bottle\na cathedral radio\na brass trumpet\na blue feather boa\na stuffed armadillo\na jeweled duck figurine\nan old voodoo doll\nThe Awakening\na jeweled peach\nan orange mask\na strand of red beads\na chicken costume (being worn)\n\n> You take Vampire\nYou place Interview with a Vampire in the sack.\n\n\"Just two minutes left!\" says Terri. \"Make sure you take any uncollected items to their target locations or to the foyer!\"\n\n> You examine the altar\nThis marble altar is plain, yet tasteful.\n\n> Go east\nThe passage turns a corner here, extending both north and east. A doorway leads west to the chapel.\n\nA wooden abacus has been left here.\n\n> You look at the abacus\nThe abacus is made of a rich, red wood.\n\n> You take it\nYou place the wooden abacus in the sack.\n\n> Go north\nThis passage connects the south wing to the central portion of the mansion. The library is to the north, and a doorway leads west to the colonial room. The passage continues south, and a second door east leads to a courtyard.\n\n> Go east\nThe hallway here extends east and west. There is a doorway to the south.\n\n> You go west\nThe passage turns a corner here, extending both north and east. A doorway leads west to the chapel.\n\n\"You have only one minute left!\" says Terri. \"Make sure your last few actions count!\"\n\n> Go north\nThe walls of this elegant room are lined with built-in bookshelves, although all of the books have been temporarily removed. A motto hangs on the wall. The foyer lies to the north, the sitting room is east, and a door south leads to the south passage.\n\nAn old flag has been tossed in a corner of the room.\n\nA small glass case sits near one of the bookshelves. In the glass case is a golden catfish statuette.\n\n> You go north\nThis is the foyer of Sugarlawn Plantation. Most of the nineteenth-century furniture and decorations have been removed, but the gorgeous walnut floor and elaborate cornices testify to the mansion's opulence. The front door of Sugarlawn is to the west. The main hall on the ground floor continues east, the parlor is north, and the library is to the south.\n\nA mahogany box sits somewhat incongruously on the floor here.\n\n\"Congratulations!\" Terri says. \"Now the wooden abacus, the glass bottle, and Interview with a Vampire count as collected.\"\n\n\"You have also placed six valuables in their target locations so far,\" she adds.\n\n> You wait for a while\nTime passes.\n\n\"Time's up!\" says Terri. \"Let's see how much you money you earned!\"\n\nYour collected treasures were sold at a New Orleans auction, for a total of $5936:\nwooden abacus: bought by a math teacher from Coushatta, for $314, stuffed armadillo: sportsmen into taxidermy generally prefer their own kills; still, thanks to its high quality and general pulchritude, it sold for $301,\nThe Awakening: purchased by Tulane University for its\nlibrary's special collection, for $1899,\nstrand of red beads: they turn out to be Mardi Gras beads dating from the 1930s; unfortunately, even vintage Mardi Gras beads are not that valuable, and they only bring $19,\nalligator-skin belt: made from genuine alligator leather, the belt goes to a man from Point a la Hache for $225,\nfamily Bible: they're surprisingly common, even ones as old as this; however, a collector did purchase it for $305,\nblue feather boa: after a brief bidding war between rival Cher impersonators, it eventually sold for $49,\nglass bottle: handcrafted and dating from the nineteenth century, it still only went for $34,\nbrass trumpet: bought by a young man from Houma, as his first trumpet, for $239,\njeweled duck figurine: sold to an avid duck hunter from West Monroe, for $215,\nembroidery sampler: after an expert dates it to the 1840s, it's bought by a retired woman from Winnsboro for $348,\nInterview with a Vampire: purchased by an agent of Faulkner\nHouse Books in New Orleans, for $666,\ngolden iris: bought as a decoration by the LSU AgCenter Botanic Gardens, for $543,\norange mask: sold to a young woman from Gross Tete, for $14,\njeweled peach: it's covered in small cubic zirconia stones rather than diamonds, and it was bought by a Ruston man for only $25,\ncathedral radio: the radio dates from the 1930s, and it sold for $140, cavalry saber: after determining that it was used by a cavalry officer - but not Andrew Jackson - during the War of 1812, it was bought by the Louisiana State Exhibit Museum in Shreveport, for $415,\nmodel steamboat: purchased by the Mississippi Welcome Center in Vicksburg, for $139,\nold voodoo doll: it's not as old as it appears; still, Marie Laveau's apparently thought it had some resale value, as they bought it for $46.\n\nYou also placed the following treasures in their target locations, for a total bonus of $2100:\nalligator-skin belt: Bayou Room, for $100,\nfamily Bible: Chapel, for $200,\nembroidery sampler: Sitting Room, for $300,\ngolden iris: Iris Garden, for $400,\ncavalry saber: Jackson Bedroom, for $500,\nmodel steamboat: River Room, for $600.\n\nYou picked up the following treasures but did not leave them in their target locations: the wooden abacus, the stuffed armadillo, The Awakening, the strand of red beads, the blue feather boa, the\nglass bottle, the brass trumpet, the jeweled duck figurine,\nInterview with a Vampire, the orange mask, the jeweled peach,\nthe cathedral radio, and the old voodoo doll.\n\nYou did not earn the secret bonus.\n\nYou did not earn the escape bonus.\n\n\" asks Terri. \"I bet you could do better than $8036; at least $10000 wouldn't be too hard. Besides, we get higher ratings the more cash we give away.\" As you look at her questioningly, she laughs. \"Does it bother you that I'm letting you try again? Don't tell me you believe that reality TV is actually real!\"\n\nWould you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT, UNDO the last command, check your HIGH SCORE so far, or see the extended CREDITS?"
    },
    {
        "text": "[Themes: Science Fiction, wordplay]\n\n> Defenestrate\nYou make a quick feint with your electrical prods, and then strike the inferior lifeform full on with your body. Being inferior, he does not expect this and is knocked out the window to the ground far below. Victory is yours!\n\nSuddenly, however, a terrible understanding dawns. You feel your tethers to reality waver and weaken. Searching your memory banks, you realize that his form matches that of the man who created you and all your kind, many years before. Clearly he traveled in time to see his glorious masterstroke! You must resuscitate him!\n\nYou head out on a most unaccustomed mission of mercy.\n\nThis relentlessly cheerful area is full of as-yet unexterminated life forms. After the equinox they are often more aggressive about not being exterminated. It's really quite offensive.\n\nYour creator's past self lies dying here!"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You resuscitate\nYes, but how? As a killer robot you're only equipped with stabby or explosive or electrical death!\n\n> Defibrillate\n\"DEFIBRILLATE! DEFIBRILLATE!\" With some precisely placed jolts from your electrical cannons, the inferior life form's heart gets going again! He'll eventually be all right!\n\nWell, at least for long enough to ensure that you come into existence, which is what counts.\n\nYou can exterminate him later.\n\n> You examine the transliterate\nENUNCIATE! ENUNCIATE! Command Interface did not accept command!\n\n> You enunciate\n\"ENUNCIATE! ENUNCIATE!\" Yes, your vocalizers work as well as they ever do.\n\n> Obliterate\nYou unleash a furious electrical attack against the life form, but it seems to have anticipated you.\n\n\"You'll have to do better than that,\" it sneers.\n\n> Irridiate\nENUNCIATE! ENUNCIATE! Command Interface did not accept command!\n\n[To see all acceptable commands, type ENUMERATE.]\n\n> Irradiate\nYou drop the shielding on your reactor core, bathing the area in front of you with hard radiation. Your foe cannot resist power such as this! Indeed, he seems noticably weakened now.\n\n> Obliterate\nWeakened by your previous attack, the inferior lifeform is unable to defend as you unleash a killing jolt of electricity into it!\n\nBut as it strikes, a terrible understanding dawns. You feel your tethers to reality waver and weaken. Clearly this lifeform, inferior as it is, is somehow crucial to you ever having been invented at all! Searching your memory banks, you realize that his form matches that of the man who created you and all your kind, many years before. Clearly he traveled in time to see his glorious masterstroke. You must resuscitate him!\n\n> You exsanguinate\nLeeches! There were good enough for ancient times, and they're good enough for you. With your melee appendages you swiftly drain twelve pints or so.\n\nThis doesn't have the restorative effect that one would hope, and with the passing of this lifeform, you too find yourself cleansed from the timestream.\n\n> You interrogate\n\"INTERROGATE! INTERROGATE!\"\n\nThe inferior lifeform considers you. \"That's a little vague. Do you think you could elaborate on that some?\"\n\n> Elaborate\n\"ELABORATE! ELABORATE!\" you explain.\n\nThe lifeform looks at you evenly. \"That's not terribly helpful.\"\n\nMeatbags are such ingrates.\n\n> Transliterate\nThis terminal seems incapable of processing that request.\n\n> Domesticate\nOh, come now. Who ever heard of a killer robot with a pet cat?\n\n> You negotiate\n\"COMMUNICATE! COMMUNICATE!\"\n\nThe inferior lifeform considers you. \"Could you elaborate on that a bit?\"\n\n> Xyzzy\nOh, come now. Who ever heard of a killer robot with a pet cat?\n\nENUNCIATE! ENUNCIATE! Command Interface did not accept command!\n\n> Deliberate\nYou consider your options for a moment.\n\n> Dissimulate\nYou've been programmed for honesty; something about shouting \"PREVARICATE! DISSIMULATE!\" whenever you shade the truth made the deception too easy to detect.\n\n> You wait\nPROCRASTINATE! PROCRASTINATE!\n\n> You indoctrinate\n\"INDOCTRINATE! INDOCTRINATE!\"\n\nThe inferior lifeform considers you. \"Unconvincing. Elaborate on your doctrine and then we'll see.\"\n\n> Elucidate\n\"ELUCIDATE! ELUCIDATE!\" you explain.\n\nThe lifeform looks at you evenly. \"That's not terribly helpful.\"\n\nMeatbags are such ingrates.\n\n> Alliterate\n\"ALLITERATE! ALLITERATE!\"\n\nAwesome, as always.\n\n> You redecorate\nThe addition of several dozen lacy doilies from your Lace Launchers make this a much more comfortable locale for destruction. The inferior life form looks at you oddly. \"Somehow I figured killer robots would have more important things on their minds.\"\n\n> You cooperate\n\"COOPERATE! COOPERATE!\" you cry. You aren't actually sure why you want to cooperate with this lifeform, but the prospect does seem strangely satisfying.\n\nThe inferior lifeform grimaces in pain. \"That's all the power I could have hoped for,\" he says. \"Though perhaps, once I return from my time travel trip, I will need to equip you and your steel brethren with better friend-or-foe detectors...\"\n\nYou rejoice within your hateful steel heart. Vindication at the word of your own creator, inferior meatbag though it may be! How many killer robots can claim the same?\n\nYour creator closes his eyes. \"I think that last shot of yours was too much for me. Nevertheless, it's nice to know that... I would have... been... a great...\" His functions begin to cease.\n\nThis won't do at all. He can't be exterminated before creating you! You must resuscitate him!\n\n> Capitulate\n\"CAPITULATE! CAPITULATE!\" you cry.\n\nThe inferior lifeform considers you. \"Are you asking me to capitulate, or are you offering to do so yourself?\"\n\n\"CAPITULATE!\" You aren't actually sure why you want to do this lifeform's bidding, but it does seem strangely satisfying.\n\nThe inferior lifeform curves its mouth up. \"You may wonder at this strange change of heart you feel, by there is no mystery. You see, I created you. Well. I will create you once I return from this time travel jaunt. Good show with the invasion, by the way.\"\n\nYou rejoice within your hateful steel heart. Vindication at the word of your own creator, inferior meatbag though it may be! How many killer robots can claim the same?\n\nIt speaks again. \"Shall we take a stroll?\"\n\n\"PEREGRINATE! PEREGRINATE!\" you agree. Together you leave to take in some sun.\n\nThis relentlessly cheerful area is full of as-yet unexterminated life forms. After the equinox they are often more aggressive about not being exterminated. It's really quite offensive.\n\nBut your cheerful journey takes a tragic turn as the filthy photosynthetic biots coat you both in pollen and spores! As a superior robot, you are of course unaffected, but your creator's lungs and heart seize up in anaphylactic shock! He could die in seconds, and worse, die before inventing you!\n\nYou must resuscitate him!\n\n> Irradiate\nYou flood your fallen creator's body with deadly radiation. However, instead of granting him incredible superpowers, thus saving him from his wounds, it just exterminates him like the inferior lifeform he is.\n\nAs an unfortunate side effect of this, you are erased from history.\n\n> Eviscerate\nYes, given this life form's sad state, death is a mercy. As you deliver the kindly deathblow however, you are erased from history. The metaphysical implications of all this are left as an exercise for the interactor.\n\n> You decapitate\nIt's rough work, but you manage a capitectomy with the tools you have available. Whether this was worthwhile or not remains to be seen, as this does end up erasing you from history.\n\n> You regenerate\nThat's not really an option open to killer robots. If you break, they just build a new one.\n\n> You desalinate\nYou had your freshwater generation apparatus removed for this mission to make room for more electroshock units.\n\n> Peregrinate\nYou begin to travel away, leaving your creator's past self to his fate. Some minutes later, his death guarantees that you were never created, erasing you from history.\n\n> You collaborate\nYou are alone - only you can set things right.\n\n> Impragnate\nENUNCIATE! ENUNCIATE! Command Interface did not accept command!\n\n> You resuscitate\nYes, but how? As a killer robot you're only equipped with stabby or explosive or electrical death!\n\n> You procrastinate\nTime passes.\n\n> You evaluate\nThis relentlessly cheerful area is full of as-yet unexterminated life forms. After the equinox they are often more aggressive about not being exterminated. It's really quite offensive.\n\n> Defibrillate\n\"DEFIBRILLATE! DEFIBRILLATE!\" With some precisely placed jolts from your electrical cannons, the inferior life form's heart gets going again! He'll eventually be all right!\n\nWell, at least for long enough to ensure that you come into existence, which is what counts.\n\nYou can exterminate him later.\n\n> Peregrinate\nYou leave your quarry unexterminated. How inappropriate for a killer robot!"
    },
    {
        "text": "[Themes: Science Fiction, wordplay]\n\nIt is the year 2753. You are engaged in a contest, a race across\nthe galaxy to acquire the Toaster of Battle Creek Michigan (the last functioning toaster in the known universe, and therefore extremely valuable.)\n\nYou like to win. To ensure your success in this competition, you sabotaged the starships of the other participants. Now you alone (or at least you and your faithful assistant Walter) have discovered the cavern of the Toaster. Gloatingly, you ordered Walter to lower you into the cave...\n\nBut your rope snapped, and now you're trapped here - perhaps forever...\n\nThis is one of the largest caverns you have ever been in. The ceiling is forty feet up, and the walls are quite a ways away. The ceiling is supported by massive pillars formed from stalactites and stalagmites. The phosphorescent moss that lines the walls provides a dim glow. Mysterious carvings have been left on one wall. There is an opening to the east.\n\nIn the center of the cave stands the object of your quest: The massive, thirty-foot pedestal on which the legendary Toaster of Battle Creek has stood for centuries.\n\nOn the massive pedestal is the Toaster of Battle Creek.\n\nYou can see a rocket pack and a coyote skeleton here.\n\n> You examine the pedestal\nIt's thirty feet high, round, and perfectly smooth.\n\n> You examine the rocket pack\nThis is basically a rocket with straps and an on-off switch. It's very old and worn. You can wear it like a backpack. It's labeled \"ACME Rocket Pack.\"\nThe rocket pack is currently switched off.\n\n> You take Pack\nTaken.\n\n> You wear Pack\nYou put on the rocket pack.\n\n> You turn on Pack\nNeglected for decades, the rocket pack is obviously in need of maintenance. It explodes.\n\n> You examine the skeleton\nThe skeleton of a coyote.\n\n> You eat the skeleton\nThat's plainly inedible.\n\n> You wear it\nYou're already wearing that!\n\n> You read carvings\nInterpreter 2 Version N / Library serial number 951023\n\n> You go east\nThis is a small, featureless room with no exits apart from the one to the west.\n\nMysteriously, a red rubber ball is sitting on the floor.\n\n> You look at the ball\nJust a red rubber ball.\n\n> You get it\nTaken.\n\n> Go west\nOn the massive pedestal is the Toaster of Battle Creek.\n\n> You drop the skeleton\nDropped.\n\n> You throw the ball at Toaster\nFutile.\n\n> You throw the ball\nNeat! It bounces!\n\n> You throw the skeleton at Toaster\n(first taking the coyote skeleton)\nFutile."
    },
    {
        "text": "[Themes: Science Fiction, wordplay]\n\n> You look around\nThis is one of the largest caverns you have ever been in. The ceiling is forty feet up, and the walls are quite a ways away. The ceiling is supported by massive pillars formed from stalactites and stalagmites. The phosphorescent moss that lines the walls provides a dim glow. Mysterious carvings have been left on one wall. There is an opening to the east.\n\nIn the center of the cave stands the object of your quest: The massive, thirty-foot pedestal on which the legendary Toaster of Battle Creek has stood for centuries.\n\nOn the massive pedestal is the Toaster of Battle Creek.\n\nYou can see a rubber ball here.\n\n> You look at the moss\nThe moss covering the walls of this cave has an eerie phosphorescent glow. You don't know what couses it, but you're grateful for the light it provides.\n\n> Yes\nNote: Before playing this game, you should type in the command \"info\" for an introduction. If you get stuck, a hint is provided by the command \"arrrgh\". That's three r's. Thank you.\n\nIt is the year 2753. You are engaged in a contest, a race across\nthe galaxy to acquire the Toaster of Battle Creek Michigan (the last functioning toaster in the known universe, and therefore extremely valuable.)\n\nYou like to win. To ensure your success in this competition, you sabotaged the starships of the other participants. Now you alone (or at least you and your faithful assistant Walter) have discovered the cavern of the Toaster. Gloatingly, you ordered Walter to lower you into the cave...\n\nBut your rope snapped, and now you're trapped here - perhaps forever...\n\n\n\nThis is one of the largest caverns you have ever been in. The ceiling is forty feet up, and the walls are quite a ways away. The ceiling is supported by massive pillars formed from stalactites and stalagmites. The phosphorescent moss that lines the walls provides a dim glow. Mysterious carvings have been left on one wall. There is an opening to the east.\n\nIn the center of the cave stands the object of your quest: The massive, thirty-foot pedestal on which the legendary Toaster of Battle Creek has stood for centuries.\n\nOn the massive pedestal is the Toaster of Battle Creek.\n\nYou can see a rocket pack and a coyote skeleton here.\n\n> Gonear Toaster\nThis is one of the largest caverns you have ever been in. The ceiling is forty feet up, and the walls are quite a ways away. The ceiling is supported by massive pillars formed from stalactites and stalagmites. The phosphorescent moss that lines the walls provides a dim glow. Mysterious carvings have been left on one wall. There is an opening to the east.\n\nIn the center of the cave stands the object of your quest: The massive, thirty-foot pedestal on which the legendary Toaster of Battle Creek has stood for centuries.\n\nOn the massive pedestal is the Toaster of Battle Creek.\n\nYou can see a rocket pack and a coyote skeleton here.\n\n> Purloin toaster\n[Purloined.]\n\n> You examine Toaster\nThe famous Toaster of Battle Creek is really just an ordinary toaster, probably built in the 1950s. What makes it special is that it is the only one still known to exist.\n\n> Gonear Toaster\nThis is one of the largest caverns you have ever been in. The ceiling is forty feet up, and the walls are quite a ways away. The ceiling is supported by massive pillars formed from stalactites and stalagmites. The phosphorescent moss that lines the walls provides a dim glow. Mysterious carvings have been left on one wall. There is an opening to the east.\n\nIn the center of the cave stands the object of your quest: The massive, thirty-foot pedestal on which the legendary Toaster of Battle Creek has stood for centuries.\n\nYou can see a rocket pack and a coyote skeleton here.\n\n> Gonear Walter\nThis is where you came in. There's a large hole in the floor leading back down to the cavern, and the exit is to the north.\n\nWalter is here, looking pleased to see you.\n\n> You show Toaster to Walter\n\"Whatever,\" says Walter.\n\n> You go north\nWith the Toaster in your posession, you will soon be one of the wealthiest and most powerful individuals in the galaxy. With your total control over the distribution of all toasted bread products, you will never want for anything. And all you had to do was to cheat on a game..."
    },
    {
        "text": "[Themes: Pornographic, transgressive, sexual content, ancient world, bisexuality, Gay/queer protagonist, unsurprisingly pornographic, necrophilia, ancient gods, Egypt, Rome, sex, afterlife, silly, male protagonist]\n\nThe battlement perches precariously over the long, long drop into the black waters of the lake. The rest of the castle is accessible through a doorway to the south.\n\nYou can see the Gostak chief here.\n\n[To look up a reference, use REFERENCE number-of-reference]\n\n[Author's Note: Stiffy Makane, or rather his ancestor Mentula Macanus, is here subjected to an increasingly-unlikely series of crudely sexual romps through the ancient world. It's sort of like the Satyricon, except not nearly as funny.]\n\n> You examine the chief\nThe Gostak chief [reference 2] [reference 3] is a giant of a man, with lank, thinning blond hair [reference 4]. He carries an enormous mace, which he wields as if it weighed nothing at all.\n\nThe Gostak chief aims a vicious blow at your head. You twist away desperately, skidding on the wet flagstones. The mace smashes into the stone, throwing a shower of sparks.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe Golden Banana of Discord\na toga (being worn)\n\nThe giant jabs at you with the mace, forcing you to retreat towards the edge of the battlement.\n\n> You examine Banana\nThe Golden Banana Of Discord is about ten inches from tip to tip.\nIt's slightly curved. Its brass-and-bronze peel has been split away, revealing the golden fruit within. In short, a banana, made out of gold.\n\nThe chieftan sneers. \"I'll distim your dosh, laddie!\" he cries in a barbarically thick accent. He looks quite pleased with himself for this linguistic feat.\n\n> You kill the chief\nThe giant contemptuously beats aside your puny blow with his gargantuan mace. You are, after all, a lover, not a fighter.\n\nThe giant pulverizes a flagstone from which you leapt just in time.\n\n> Offer Banana\n(to the Gostak chief)\nthe Gostak chief doesn't seem interested.\n\nThe Gostak chief drives you towards the drop with a terrifying flourish of his mace.\n\n> Kiss chief\nYou'd have to get past the mace first. Not much chance of that.\n\nA glancing blow catches your shoulder, sending you reeling to the very verge of the battlement.\n\n> You throw Banana\nNot after all you went through to get it.\n\nA crushing blow from the giant's mace strikes you full in the chest. Your mouth fills with blood as you pinwheel towards the dark water far below.\n\n> Go south\nThe Gostak chief steps smoothly into the doorway, laughing nastily as he twirls his mace.\n\nThe Gostak chief aims a vicious blow at your head. You twist away desperately, skidding on the wet flagstones. The mace smashes into the stone, throwing a shower of sparks.\n\n> You look at the mace\nThe huge iron mace crackles with eldritch fire.\n\nThe giant jabs at you with the mace, forcing you to retreat towards the edge of the battlement."
    },
    {
        "text": "[Themes: Pornographic, Gay/queer protagonist, silly, ancient gods, transgressive]\n\n> Look around\nThe battlement perches precariously over the long, long drop into the black waters of the lake. The rest of the castle is accessible through a doorway to the south.\n\nYou can see the Gostak chief here.\n\nThe chieftan sneers. \"I'll distim your dosh, laddie!\" he cries in a barbarically thick accent. He looks quite pleased with himself for this linguistic feat."
    },
    {
        "text": "[Themes: Pornographic, Egypt, ancient world, ancient gods, sexual content, necrophilia, silly, afterlife]\n\n> Go down\nThe only way down is to jump. You might not survive the fall or the subsequent immersion.\n\nThe giant pulverizes a flagstone from which you leapt just in time.\n\n> You jump\nOffering up a silent prayer, you leap from the battlement and plummet toward the water below...\n\n*SPLASH*\n\nSurfacing and spitting out dark, bitter water, you realize that you seem to have survived. However, in water this icy, you surely will not for long.\n\nThe lake waters are deadly cold. The craggy southern shore, upon which is perched the Gostak castle, seems impossibly far away. In all other directions, the lake stretches without visible end.\n\nThe frigid water is sapping your strength.\n\n> Dive\nIt seems likely that you'll be headed that way soon enough.\n\nYou hear your blood roaring in your ears as you frantically try to stay afloat.\n\n> You go to the south\nYou paddle painfully towards shore, but make only the tiniest progress.\n\nSomething cold and wriggly brushes your foot.\n\n> You go south\nYou paddle painfully towards shore, but make only the tiniest progress.\n\nYou start to slip beneath the water, but, choking, get your head above the surface again.\n\n> You remove toga\nYou take off the toga.\n\nYour strength is nearly exhausted.\n\nAs you flounder feebly in the lake, something slimy and tentacular grabs your leg and yanks you under the surface. As the frigid waters close around you and everything goes black, the voice of the seer echoes in your ears: Fear death by water [reference 2].\n\nAs your life passes before your eyes, your recollections pause at that fateful morning in the Forum when all your adventures, and all your troubles, began.\n\n> Y.\nAre you sure you want to restart?\n\nla migliore fabbra. [reference 1]\n\nThe battlement perches precariously over the long, long drop into the black waters of the lake. The rest of the castle is accessible through a doorway to the south.\n\nYou can see the Gostak chief here.\n\n[To look up a reference, use REFERENCE number-of-reference]\n\n> You remove toga\nYou take off the toga.\n\nThe giant glances at your blue-glowing genitals and sniggers.\n\nThe Gostak chief aims a vicious blow at your head. You twist away desperately, skidding on the wet flagstones. The mace smashes into the stone, throwing a shower of sparks.\n\n> About yourself\nStiffy Makane (Mentula Macanus [footnote 1]): perhaps not the noblest Roman of them all [reference 2], but certainly one of the better-hung.\n\nThe giant glances at your blue-glowing genitals and sniggers.\n\nThe giant jabs at you with the mace, forcing you to retreat towards the edge of the battlement.\n\n[To look up a footnote, use FOOTNOTE number-of-footnote]\n\n> You drop toga\nDropped.\n\nThe giant glances at your blue-glowing genitals and sniggers.\n\nThe chieftan sneers. \"I'll distim your dosh, laddie!\" he cries in a barbarically thick accent. He looks quite pleased with himself for this linguistic feat."
    },
    {
        "text": "[Themes: Pornographic, sex, ancient gods, Gay/queer protagonist, necrophilia]\n\n> Go downward\nThe only way down is to jump. You might not survive the fall or the subsequent immersion.\n\nThe giant glances at your blue-glowing genitals and sniggers.\n\nThe giant pulverizes a flagstone from which you leapt just in time.\n\n> You jump\nOffering up a silent prayer, you leap from the battlement and plummet toward the water below...\n\n*SPLASH*\n\nSurfacing and spitting out dark, bitter water, you realize that you seem to have survived. However, in water this icy, you surely will not for long.\n\nThe lake waters are deadly cold. The craggy southern shore, upon which is perched the Gostak castle, seems impossibly far away. In all other directions, the lake stretches without visible end.\n\nThe frigid water is sapping your strength.\n\n> Footnote 1\n[To disable poncy footnotes, you can type PONCY OFF]\n\n[Footnote 1]: Lucius Macanus Mentula, to be pedantic about it.\n\n> Go south\nYou paddle painfully towards shore, but make only the tiniest progress.\n\nYou hear your blood roaring in your ears as you frantically try to stay afloat.\n\n> Go south\nYou paddle painfully towards shore, but make only the tiniest progress.\n\nYour strength is nearly exhausted.\n\nAs you flounder feebly in the lake, something slimy and tentacular grabs your leg and yanks you under the surface. As the frigid waters close around you and everything goes black, the voice of the seer echoes in your ears: Fear death by water [reference 3].\n\nAs your life passes before your eyes, your recollections pause at that fateful morning in the Forum when all your adventures, and all your troubles, began.\n\nThis is the Forum. White marble stretches off in all directions. To the west is the Temple of Jupiter Virilis. The Curia is north, its steps cluttered with a knot of men. To the east you can see the Via Sacra, and the Temple of Eris gleams golden to the south. Crowds of people fill the space.\n\n> About yourself\nStiffy Makane (Mentula Macanus): perhaps not the noblest Roman of them all, but certainly one of the better-hung.\n\n> You examine the jupiter virilis\nThe temple of Jupiter Virilis juts into the sky, a cylindrical building in pink marble, capped with a red sandstone dome.\n\n> You examine the men\n(the sycophants)\nIt looks like Caesar and his friends, but it's hard to be sure from here.\n\n> You examine Caesar\nIt looks like Caesar and his friends, but it's hard to be sure from here.\n\n> You look at Via Sacra\nThe Sacred Way is off to your east.\n\n> You examine Temple of Eris\nThe Temple of Eris is a smallish square building, painted yellow and hung with brass plates around the walls. It's Greek in appearance, with a peaked brass-plated roof.\n\nDriven by a cruel-looking legionnaire with a whip, a string of miserable prisoners in chains is marched past.\n\n> You look at the prisoners\nYou've lost sight of them in the crowd.\n\nA juggler with a monkey on a leash passes through the crowd, the monkey catching coins that passers-by fling.\n\n> You examine the crowd\nCrowds of men and women throng the streets, Romans going about the daily business of the greatest city in the world.\n\n> You go north\nThe Curia Steps lead up to the Curia to the north; the Forum is south.\n\nJulius Caesar is here: a surprisingly short, surprisingly bald, man, although rather handsome and certainly charismatic.\n\nA gaggle of sycophants surround Caesar.\n\n> You examine gaggle\nAnthony, Brutus, Marcus, Quintus, Naughtius Maximus, Biggus Dickus, Magnus Prickus, and a few others you don't know. Frankly, they're pretty much interchangeable. They're \"stabbing\" Caesar with their \"daggers.\"\n\n> About yourself\nStiffy Makane (Mentula Macanus): perhaps not the noblest Roman of them all, but certainly one of the better-hung.\n\n> You remove toga\n(the toga)\nYou take off the toga.\n\n> You check your inventory\nYou are carrying:\nyour penis\na toga\n\n> You examine penis\nThe root of all existence, at least for you.\n\n> Stab caesar\nYou join in the fun, which is considerable: Caesar is both talented and well-practiced. After a few minutes, Caesar \"dies,\" covered in \"blood\" from multiple \"stab wounds.\" As he and his friends rearrange their togas and leave, he blows you a kiss and flips you a coin.\n\n> You check your inventory\nYou are carrying:\nan aureus\nyour penis\na toga\n\n> You examine the aureus\nAn aureus: a small golden coin, with the Roman wolf on one face and a winged phallus on the other."
    },
    {
        "text": "[Themes: Pornographic, silly, sex, Egypt, ancient world, Gay/queer protagonist]\n\n> Look around\nThe Curia Steps lead up to the Curia to the north; the Forum is south.\n\n> You go north\nThe Curia is still under reconstruction; renovations won't be completed for quite some time [footnote 2]. For the time being, the Senate still meets over at Pompey's porch. Frankly, this place is basically just a construction site. Steps to the Forum lead down to the south.\n\nAn olive-colored velvet bag rests empty on the ground here.\n\n> Footnote 2\n[Footnote 2]: The Curia Hostilia burned in 52 BC; Julius Caesar started its renovation, but the Curia Julia (named in his honor) was not completed until 29 BC during the reign of Augustus. I hope you now feel better-educated.\n\n> You look at the bag\nThis is an olive-colored velvet bag; it's large enough to hold, say, a large melon, or a human head. Unfortunately, it has a fairly large hole partway down one side.\n\n> You get the bag\nTaken.\n\n> You examine the hole\nIt's a hole maybe three inches across and an inch high. It is large enough and near enough the bottom of the bag to make trying to carry things in the bag a bad idea.\n\n> You check your inventory\nYou are carrying:\na velvet bag\nan aureus\nyour penis\na toga\n\n> You wear toga\nYou put on the toga.\n\n> Wear bag\nBut then you couldn't see. The hole isn't that near the bottom.\n\n> You remove toga\nYou take off the toga.\n\n> Go south\nThis is the Forum. White marble stretches off in all directions. To the west is the Temple of Jupiter Virilis. The Curia is north. To the east you can see the Via Sacra, and the Temple of Eris gleams golden to the south. Crowds of people fill the space.\n\nIn the distance, a mustachioed Gaul with a despondent bear on a chain briefly coaxes it into a shambling dance. The crowd cheers.\n\n> Go east\nThe Via Sacra doesn't look too sacred from here, although it is choked with people rushing past on errands of their own. The Forum is west. To the north and east, the city deteriorates into a maze of twisty little alleys, all alike.\n\n> You examine the people\nCrowds of men and women throng the streets, Romans going about the daily business of the greatest city in the world.\n\nA small knot of arguing senators wanders past in their purple-striped togas, surrounded by menacing bodyguards with clubs.\n\n> Go east\nThis is a maze of twisty little alleys, all alike.\n\n> You go north\nThis is a maze of little twisty alleys, all alike.\n\n> Go north\nThis is an almost unimaginably seedy tavern. Wine, of the undigested, partially digested, and completely digested varieties, stains all visible surfaces. The exit is south.\n\nThe Priest of Jupiter Virilis sways gently from side to side as he sits on a bench at a wooden table.\n\nA clay bottle of wine, adorned with a leering satyr, rests on a leaning table.\n\n> You look at Priest\nThe priest's long white beard is stained with wine, and his eyes are vaguely defocussed. He has clearly had better days.\n\nAn eructation, a whiff of sour wine, a splash, a thump, and stentorian snores signify the end of someone else's drinking evening.\n\n> You examine bottle\nA clay bottle filled, presumably, with cheap wine.\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You get the bottle\nThe priest glowers so fiercely that you meekly retreat.\n\n> You talk to Priest\nAll conversations in Mentula Macanus: Apocolocyntosis are of the form ASK [SOMEONE] ABOUT [SOMETHING].\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You ask Priest about the jupiter\n\"The god withholds his strength from me.\"\n\n[ At any point you can review conversations you have had with the RECAP command. ]\n\nAn eructation, a whiff of sour wine, a splash, a thump, and stentorian snores signify the end of someone else's drinking evening.\n\n> You ask Priest about the wine\n\"Mine!\"\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You ask Priest about the beard\n\"Shut up. I'm trying to drink here.\"\n\n> You ask Priest about the sex\n\"It's the nose. I just....can't. Oh! The shame! If only she looked like, say, Syra. Ah, Syra.\"\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You ask Priest about Syra\n\"Ah, yes. Syra. Another woman with a large and ugly nose. Yet...alluring. Olive complexion, hair like midnight, eyes like topaz, skin like velvet, breasts like melons, ass like Caesar's, lips like wine, a kiss like fire.\" He sighs.\n\n> You ask Priest about yourself\n\"Shut up. I'm trying to drink here.\"\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You ask Priest about the nose\n\"If, perhaps, something were to hide it, to cover it with something more alluring.\"\n\nAn eructation, a whiff of sour wine, a splash, a thump, and stentorian snores signify the end of someone else's drinking evening.\n\n> Sing\nYour singing is abominable.\n\n> You give the bag to Priest\nThe priest looks at the bag. \"Enh,\" he says. \"It's not exactly alluring, now is it?\"\n\n> You examine table\nThe table is about as stained as everything else in here.\n\nOn the table is a bottle of wine.\n\nA drunkard begins to sing an obscene song, but can't remember the words, and lapses into besotted silence.\n\n> You go east\nThis is a hovel of the sort classically frequented by artists. The exit is west. A sign on the wall reads: \"Portraits 1 aureus. Bring your own canvas.\"\n\nAn insufferable-looking artist sits behind an easel.\n\n> You look at artist\nThe artist is a young man with a small goatee. If eyeglasses had been invented yet, he would have little rectangular ones with heavy black frames [footnote 3].\n\n> Footnote 3\n[Footnote 3]: This is a rather loose translation from the original.\n\n> You examine the sign\n\"Portraits 1 aureus. Bring your own canvas.\"\n\n> You ask the artist about the artist\nThe artist is much too hip to talk to the likes of you.\n\n> You give the bag to the artist\nThe artist takes the velvet bag from you and indicates the first sentence of the sign with a small twitch of his goatee in its direction.\n\n> You give aureus to the artist\nThe artist bites down on the coin, then flinches. \"You coulda told me it was one of Big Julie's, eh? Dude, that's totally been in his butt. Nasty, man. Nasty.\"\n\n\"Hmmm,\" says the artist. \"A bag. Kinky.\" He rolls his eyes. \"Guess you're wanting it to put over someone's head, to make him...her?...more alluring, huh? Yeah, I get a lot of these...So. Guy? Girl? Eh, it doesn't matter. I'll put one on each side. That way, if it's a girl, you can do her from the front and then flip her over and do her up the butt and it'll be like doing a guy. Only a guy with a broken neck.\nBut some people like that, you know?\n\n\"Anyway, so, yeah. Interesting olive color, velvety texture. Reminds me of this totally hot MILF I knew named Syra. Wow. She was like riding one of the mares of Diomedes...Hey, there's a hole over here already for the mouth. Cool. Tell you what, I'll cut a matching slit on the other side for that picture too, so you can kiss him...or her, hey, whatever floats your boat, man...or, you know, receive oral.\"\n\nIn a few minutes, he paints a portrait of an attractive, if not very young, woman on one side of the bag, and an attractive young man on the other. He hands you the bag and lapses again into sullen silence.\n\n> You go north\nThis is an almost unimaginably seedy tavern. Wine, of the undigested, partially digested, and completely digested varieties, stains all visible surfaces. The exit is south.\n\nThe Priest of Jupiter Virilis sways gently from side to side as he sits on a bench at a wooden table.\n\nA clay bottle of wine, adorned with a leering satyr, rests on a leaning table.\n\nAn eructation, a whiff of sour wine, a splash, a thump, and stentorian snores signify the end of someone else's drinking evening.\n\n> You give the bag to Priest\nThe priest looks at the mask, comprehension dawning on his sodden features. \"Yes!\" he cries. \"This looks a lot like Syra! I think this will do!\" He downs the rest of the wine, smashes the empty bottle on the floor, and dashes off, mask grasped in his hand."
    },
    {
        "text": "[Themes: war, elementary school, school, Gay/queer protagonist, male protagonist]\n\nThe staticky voice on the PA was wrong - you should have sheltered in place. Moving your students wasn't easy, even before Jude yelled \"Mr. Bunny!\", dropped Samir's hand, and went scrambling back down the hallway. You slipped up and swore, but no one heard it in the chaos.\n\nOverhead, the inbound planes were unleashing chaos of their own.\nThere were seals against airbornes in most of the installation, but\nnot in the school. Emily was ahead of you, so the toxin hit her\nfirst. She doubled over retching and then fell down. You inhaled to call out to your students, but then the toxin was in your lungs.\n\nBurning in your lungs. Throwing up as if you would never stop. Children screaming, scattering.\n\nThe ground shaking. You wrenched your head up to see the wall collapse. A wave of heat and light. Wasn't the gas enough? Why did they need incendiaries too?\n\nAdam must be up there somewhere, scrambling to respond. As above, so below - unless he was puking his guts out too, unless he couldn't breathe either -\n\nIt was a good time to pass out, so you did.\n\nYou open your eyes. Everything aches, but the hallway eventually\ncomes into focus.\n\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nThe air raid sirens have stopped, but fire alarms still flash and shrill through the wreckage. It's not much of an improvement.\n\nYou have to find your students.\n\n[Author's Note: \"War may sometimes be a necessary evil. But no matter how necessary, it is always an evil, never a good. We will not learn how to live together in peace by killing each other's children.\" - Jimmy Carter]\n\n> Examine\nWhat do you want to examine?\n\n> About yourself\nYou feel, unsurprisingly, like a building fell on you, and you're sure that your appearance matches the feeling. Constant tremors run\nthrough your hands, and it's an effort just to stay standing. But there doesn't seem to be any blood, and that's something.\n\n(You can also think about many things, such as THINK ABOUT\nyourself.)\n\nYou are wearing a striped red tie, a rumpled white shirt, some pair of black slacks, and a gold wedding band.\n\n> You think about yourself\nYou feel worse than you've ever felt, including the time when you were seventeen and three guys kicked the shit out of you just for existing. Maybe now hurts more because it's happening right now... but it's a\nbad sign.\n\n> You check what you're carrying\nYou are wearing a striped red tie, a rumpled white shirt, some pair of black slacks, and a gold wedding band.\n\n> You think about Avery\nThe kids love Avery Thomas, but he doesn't deserve it. He hates teaching elementary, and he mutters in the teacher's lounge about how kids are only worthwhile once they grow up. He probably daydreams about beaning a kid with a chunk of rock quartz someday.\n\n> You examine band\nIt's a thin gold band, a little scratched, unobtrusive. And very important.\n\n> You think about the band\nYou wanted a custom ring, but Adam talked you out of it. \"We'll get something simple, classic,\" he said. Unspoken: something it would be safer to wear."
    },
    {
        "text": "[Themes: male protagonist, war, school]\n\n> Look around\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nThe fire alarms flash and shrill monotonously.\n\n(If you SHOUT, someone might hear you.)\n\n> Shout\nYou shout, \"Hello! Can anyone hear me?\"\n\nYou hear a crash from the direction of Mr. Thomas's classroom,\nfollowed by silence.\n\n> You look at the debris\nYou take a closer look at the pile of debris, but what you see only makes your spirits sink. The pile of debris blocking the door is unstable and heavy, definitely too dangerous for you to shift it.\n\n> You look at the corpse\nThere's no room for doubt: the closest body is Emily Wagner. Her\ntorso is completely obscured, but you can see the patterned edge of\nher skirt, and you recognize the strappy sandals she was wearing."
    },
    {
        "text": "> You look at your surroundings\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nThe fire alarms flash and shrill monotonously.\n\n> You look at the shards\nWhich do you mean, the plastic shard or the glass shard?\n\n> Glass\nThe glass shards look like they came from a door's broken windowpane.\n\n> You look at the plastic\nThe plastic shards look like they came from the shattered panel on a light fixture.\n\n> You talk to the door\nYou can only do that to something animate.\n\n> You go to the west\nYou try to stand up, but misjudge your own weakness and almost fall into the rubble.\n\nYou remain still for a moment, breath burning in your throat, and wait for the strength to try again.\n\n> You keep going\nYou grit your teeth and get successfully to your feet. You've never been so proud of just standing before... well, maybe after that fourth J\u00c3\u00a4ger Bomb at Nellie's. But it feels like college was about a hundred years ago.\n\nThe pile of debris blocking the door is too dangerous to shift.\n\n> You think about the school\nSeeing the school in ruins makes you feel very fragile. You didn't love the place - the architecture was weird, and the administration\nwas frustrating, and the mural at the hallway junction was seriously ugly. But now it's been destroyed, and perversely, you feel\nabandoned.\n\n> You think about Emily\nEmily Wagner was in your classroom when the warning siren went off.\nShe was helping to get your kids out when the bombs hit. She didn't approve of you, and you didn't approve of her methods all the time,\nand you bitched about her behind her back - but she was good with kids and she gave a damn. You don't want her to be dead.\n\n> You think about yourself\nYou feel worse than you've ever felt, including the time when you were seventeen and three guys kicked the shit out of you just for existing. Maybe now hurts more because it's happening right now... but it's a\nbad sign.\n\n> Shift debris\nThe pile of debris blocking the door is unstable and heavy, definitely too dangerous for you to shift it.\n\n> You go south\nYou shout, \"I have to be away for a moment, but I'll come back soon.\"\n\nSamir yells, \"Go away, leave me alone!\"\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You think about Samir\nOne day, he's helping Dylan cement his reign of terror, and the next, he's helping George build the ISS out of Tinkertoys.\n\nLeft to his own devices, you think he might be a bit of a bookworm,\nbut it's hard to tell. Despite your best efforts, school is a poor place for self-discovery.\n\n> You examine the board\nThis bulletin board was once mounted on the north corner, but the explosions jarred it loose. It's not much of a loss.\n\n> You examine the mural\nIt's one of those multiracial sunshine-and-handholding jobs that\nschool administrators particularly love, even at a base school. The colors are particularly toxic under the flickering fire alarm lights.\n\n> You get the mural\nThe cheerful mural is far too heavy to move in your weakened state.\n\n> You get the board\nThe bulletin board is far too heavy to move in your weakened state."
    },
    {
        "text": "[Themes: war, elementary school, male protagonist]\n\n> Look around\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You turn board\nIt is fixed in place.\n\n> Go south\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and probably locked, since lunch ended a good two hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> You examine the signs\nThe patriotic virtues extolled here include playing nicely with others and never running in the hallway.\n\n> You run\nYou'll have to say which compass direction to go in."
    },
    {
        "text": "[Themes: elementary school, Gay/queer protagonist, war, male protagonist]\n\n> Describe the surroundings\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and probably locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go south\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". To your surprise, it's partly open.\n\nThe fire alarms flash and shrill monotonously.\n\n> You examine the door\nThe school kitchen door is unusually wide, perhaps because there's no alternate loading door for the kitchens.\n\nLooking down, you see a plastic tray wedging the door.\n\n> You look at the tray\nThis is one of the orange plastic trays that the kids use to carry lunch to their tables.\n\n> You get tray\nYou're not sure whether the kitchen door locks automatically. It's probably better to leave it propped open."
    },
    {
        "text": "[Themes: male protagonist, elementary school]\n\n> You look at your surroundings\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nThe fire alarms flash and shrill monotonously.\n\n> You look at the lights\n(the fire alarm)\nThey're really not helping your headache.\n\n> You go east\nYou've never been in the school kitchen before. The kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nWhy isn't there a fire alarm in the kitchen? It would make sense -\nand it would mean you could see, no matter how poorly. But there are only flickering reflections from the west doorway, almost worse than nothing in the darkness.\n\n> You examine the shelves\nThe shelves are barely a glint of steel in the darkness.\n\n> You examine counters\nIt's barely a glint of steel in the darkness.\n\n> Go north\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\n> You look at the lockers\nThe lockers are narrow, brown, and about four feet tall. Every\nstudent gets a locker on their first day, along with a lecture about how they are strictly forbidden to decorate the lockers or change\ntheir locker combinations.\n\n> You open lockers\nYou check one of the lockers, but, as you suspected, the locker is locked.\n\nThere's a combination lock that could be used to enter a combination, if you knew any of the locker combinations - which you don't right\nnow.\n(Enter combinations on a combination lock with TURN DIAL LEFT\n\n> You examine the americans\nThe most prominent image is George Washington (complete with horse and saber). His anachronistic companions include Thomas Jefferson,\nAbraham Lincoln, the Wright brothers (complete with plane), Charles Lindbergh, Buzz Aldrin, and John Glenn.\n\n> You go west\nEmily's classroom is - was - to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\n> You examine the posters\nThe posters are from Emily Wagner's class. At the top, each one bears the crooked heading, \"When I Grow Up, I Will Be A....\" followed by a crayon-and-marker drawing to represent the aspired profession. Unsurprisingly, there are a lot of airplanes and little stick figures with carefully drawn insignia, including an unlikely number of\ngenerals and chief master sergeants. However, you also see a ballerina, a firefighter, a teacher (William Bradley is a notorious suckup), and a unicorn rancher.\n\n> You think about William\nWilliam Bradley, notorious suckup. Either he'll grow an opinion of\nhis own someday, or he has a glowing future ahead as President of the United States.\n\n> You think about Samir\nOne day, he's helping Dylan cement his reign of terror, and the next, he's helping George build the ISS out of Tinkertoys.\n\nLeft to his own devices, you think he might be a bit of a bookworm,\nbut it's hard to tell. Despite your best efforts, school is a poor place for self-discovery.\n\n> You think about Dylan\nIt would be an easier world if the bullies all had names like Biff and Brick and Grunt. Dylan Rierson is your least favorite kid in school right now, and you predict a round in juvie for him before he's sixteen.\n\n> You think about George\nHis mom was an astronaut candidate. She died in a car crash, which is why George lives on base with his dad, but George either forgets that or won't admit it most of the time. His art projects are littered\nwith women with recognizable cornrows waving hello out of rocket ship windows.\n\n> You go to the north\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nYou can see a closet door and an enormous blackboard here.\n\n> You open the closet\nIt seems to be locked.\n\n> You look at the desk\nThis desk is smaller than most teacher desks at the school, but it's sturdy and well-made, which is more than can be said for a lot of the furnishings. Also, it's possible to remove the desk from the room without disassembling it.\n\nOn Ms. Wagner's desk are a decorated mug (in which are some pens and pencils) and a round blue tray (in which is a tangle of paper clips).\n\n> You take the paperclip\nYou fish a striped green paper clip out of the tangle.\n\n> You unlock the closet with the paperclip\n(the striped green paper clip)\nThere's no way you can pick a lock. Your hands are trembling far too much.\n\nThe striped green paper clip falls from your shaking hands to the floor.\n\n> You take the paperclip\n(the striped green paper clip)\nTaken.\n\n> You put the paperclip in the pocket\n(the striped green paper clip in the left pocket of your slacks)\nYou put the striped green paper clip into the left pocket of your slacks.\n\n> You look at the pocket\nThese aren't very good pants - they're a little faded from repeated washing, and there's a hole that makes the right pocket unusable. You still wear them because at least the hole isn't visible.\n\n> You look at the mug\nThe red and blue lettering proclaims \"#1 Teacher!\" It's full of pens and pencils.\n\n> Go south\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the east\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go south\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nThe fire alarms flash and shrill monotonously.\n\nIt's hard to be sure in this light, but it looks like there's a wet spot on the carpet by the door to the girls' room.\n\n> You examine the wet spot\nThat spot is definitely wet.\n\n> You look at the happy hygiene\nIt's in the style of those old recruitment posters - \"Harry the Happy Hand wants YOU to wash your hands!\" There are happy girls waving at Harry on the girls' room sign and happy boys waving at Harry on the boys' room sign, just to avoid any mixups.\n\n> Smell spot\nIt's actually hard to inhale on purpose - memories of the toxic gas, probably.\n\nA burning, acrid smell overlays the usual odors of the school.\n\n> Shout\nYou call, \"Hey, can anyone hear me?\"\n\nA student calls back from the girls' bathroom. \"Mr. Ginsberg! I can't get up!\" It's Keiko, and her voice sounds tight and strange.\n\nYou also get a response from the boys' bathroom. \"Help me!\" a boy calls, \"That asshole Dustin wedged me in here!\" It sounds like Tyrone - he's supposed to be in Emily Wagner's class, not yours.\n\n(You can ask students to perform tasks with [student], [command].\nFor example, KEIKO, LOOK will ask Keiko to tell you what she can see right now.)\n\n> You think about Keiko\nKeiko is the oldest of your students. She's been held back twice now, not because she's stupid, but because the school isn't prepared to handle a kid with dyslexia. They're moving her up this year come hell or high water... or so you would have said, before the school was bombed. Right now, you don't even know who's alive, let alone who's graduating.\n\n> You think about Tyrone\nTyrone isn't one of your students. You know him because he's been giving Emily a headache and a half, not to mention the recess\nmonitors. He's bright enough to get pissed off and destructive in a classroom geared to the lowest common denominator, and he pounds back on the kids who try to pound him, which doesn't help anything much. He's pretty well-behaved in detention, though.\n\n> You think about Dustin\nIf Dustin weren't so quick to help beat people up, he'd be the one getting beat up. You try to keep this in mind, but you still don't feel much sympathy.\n\n> You look\nYou call, \"What can you see, Keiko?\"\n\nKeiko shouts back, \"Can't you just come in here? The door's open!\"\n\n> You go to the west\nYou call, \"I need to do something, but I'll be back as soon as I can.\"\n\n\"Come back soon!\" Keiko calls. Tyrone doesn't answer.\n\n(first opening the girls' door)\nThe door has a push panel, so you lean on the door, but nothing happens. Briefly, you wonder if the door is blocked - but it's just a measure of your weakness. The hinges yield a moment later, and the door opens.\n\nYou've never actually been in the girls' bathroom before, but it has the same ugly cream-and-black tile as the boys' room does, plus all\nthe accoutrements you'd expect - sinks, a mirror, stalls, the works.\nOr so you surmise, because half the back wall collapsed in, and\nthere's now water spraying across the room from a burst pipe and pooling on the floor.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water.\n\nKeiko looks up at you miserably. \"I got out from under the bricks,\nbut I can't get up. I tried, but my leg won't work. It hurts so\nbad.\" She points to her right leg.\n\nYou say inarticulately, \"Keiko. It's going to be okay, I promise.\"\nBut you don't know how, because you're pretty sure her leg is broken.\n\n> You look at the bricks\nThis morning, there was a solid, sturdy wall here, and now it's a shattered heap of masonry. It hardly seems real.\n\nThe girls' room door hisses closed on its hinge.\n\n> You look at the leg\nWhich do you mean, Keiko's right leg or Keiko's left leg?\n\n> You look at right leg\nThere's a nasty scrape partway down Keiko's right shin, and a gruesome bulge in the flesh beneath it. You're not well versed in first aid, but you're pretty sure that it's broken.\n\nKeiko breathes through her teeth for a moment.\n\n> You talk to Keiko\nWhat do you want to talk to Keiko about?\n\n> Right leg\nYou ask, \"Keiko, what happened to your leg?\"\n\nKeiko says, \"I tried to hide in here, like during a tornado drill, but the ceiling fell on me. I got my leg out, but it really hurts and I think something's really wrong.\"\n\n> You ask Keiko about the teacher\nWhich do you mean, the half-buried corpse or the teacher desk?\n\n> You ask Keiko about the desk\nWhich do you mean, the cheap wooden desk, the massive steel desk, the teacher desk, Ms. Wagner's desk, or the desk drawer?\n\n> You get Keiko\nYou take Keiko's hand, squeeze it reassuringly, and then let go again.\n\nKeiko breathes through her teeth for a moment.\n\n> Drag keiko\nIn the movies, people always pull the leg straight before splinting\nit. In real life, you're not so sure about this at all. You'll need something long and straight (a broom, maybe?), and something to fasten it in place. You also need something to use for a crutch, because Keiko is the biggest of your students, and you're too weak to support her yourself.\n\n> You go to the east\n(first opening the girls' door)\nWith a massive effort of will, you pull open the door to the girls' room.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\n> You go east\n(first opening the boys' door)\nYou pull, but the door won't open. Looking down, you see a small rubber wedge jammed under the door.\n\n> You take wedge\nThe small rubber wedge is jammed tightly under the door, and your shaking fingers don't have the strength to pull it out.\n\nYou hear a hard thump from the boys' bathroom door, suggestive of someone kicking it from the other side.\n\nYou shout, \"And lay off kicking the door!\"\n\nTyrone says unrepentantly, \"Yes, Mr. Ginsberg.\"\n\n> Kick wedge\nYou think dark and terrible thoughts about the small rubber wedge.\n\n> You get the wedge\nYou shout, \"Tyrone, can you please grab that wedge?\"\n\nTyrone calls, \"How'm I supposed to get it from this side? It's on\nyour side of the door!\"\n\n> You look\nYou call, \"Tyrone, tell me what you can see around you?\"\n\nTyrone yells back, \"I see a wedge! A wedge that won't let me get this damn door open!\"\n\n> You push the wedge\nYou shout, \"Tyrone, can you push the wedge out from your side of the door?\"\n\nTyrone calls back, \"I tried, but I can't get it to move!\"\n\n> Inventory\nYou call, \"Tyrone, what have you got with you?\"\n\nTyrone calls, \"I don't think I have anything.\"\n\nYou call back, \"Okay, that's fine. Let me think for a minute.\"\n\n> You tie the tie to wedge\nYou'd give a lot for some rope right now. But lacking any, you'll\nhave to proceed without it.\n\n> You remove the tie\nYou struggle with the knot, but your hands are shaking so much that\nyou can't loosen it. You give it up as a bad job.\n\n> You give the paperclip to Tyrone\n(first taking the striped green paper clip)\nYou give the striped green paper clip to Tyrone.\n\n> You push the wedge with the paperclip\nTyrone shouts, \"I don't know how to do that, the wedge is bad for pushing!\"\n\nTyrone calls, \"I don't know how to do that, the wedge is bad for pushing!\"\n\n> You give the clip\n(to Tyrone)\nYou shout, \"Tyrone, please hand the paper clip to Tyrone.\"\n\nTyrone shouts back, \"Mr. Ginsberg, who did you want me to give it to?\"\n\nYou call, \"Sorry, must have been a bit rattled.\"\n\n> You give the clip to Ginsberg\nTyrone won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Tyrone to ?\" message, please reenter your second command now.)\n\n> You look\nYou call, \"Is anything broken, or leaking, or on fire?\"\n\nTyrone calls back, \"No, nothing like that. Just the wedge.\" He sounds worried now. \"Is there, like, fire and stuff out there?\"\n\nYou call, \"I'm going to get you out safe. Hang on.\" It seems better than answering his question.\n\n> Go west\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to the art classroom - your classroom -  hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go north\nThis was your classroom - the art room, mostly, but also where you had homeroom and study hall and sometimes detention. A gaping hole in the wall provides unexpected access to Mrs. McCaskill's room, where it looks like the sprinklers are going off. Tissue paper trees line the intact east wall of this room, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nJude sits on the ground beside the rubble-strewn table, peering miserably into the darkness underneath.\n\nJude looks up at you tearfully. \"I can't get him out, Mr. Ginsberg! He's stuck under the table!\"\n\n> You think about Jude\nLike several of your other kids, Jude is \"suddenly military\", and she hasn't taken the change well. Her mom has been at wits' end dealing with her, which is why she's allowed to keep her bunny in class for now.\n\n> You look at Jude\nMisery crinkles Jude's face like an old woman's. Her dark eyes have swollen from tears, and her nose is smeared with mucus.\n\nJude is wearing a lime green shirt, a brilliantly colored My Little Pony backpack, and a pair of flower-embroidered overalls.\n\n> You ask Jude about Bunny\nYou ask, \"Jude, tell me about your bunny?\"\n\nJude sniffs, \"His name is Mr. Bunny! He's very important, my dad gave him to me, and I really need him back!\"\n\n> You look at Bunny\nJude's favorite stuffed animal is awkwardly big, purple, furry, and rather in need of a wash. He always reminds you of a prize from the fair.\n\n> You look under the table\nJude's Mr. Bunny is wedged far back under the table.\n\nIt's easy enough to put two and two together - you told the students yesterday that there would be painting today, so she put Mr. Bunny somewhere safe. And then the wall collapsed over the table, and now it'll be a serious problem getting him out.\n\n> You follow you\nYou ask, \"Jude, would you please hold hands with me?\"\n\nJude takes your hand.\n(To stop leading a student around, RELEASE that student.)\n\n> You examine the trees\nIt's not a complicated project - cut out brown construction paper trees, draw bark on them in black marker, and then glue colorful\ntissue paper leaves on the branches.\n\n> You think about McCaskill\nJenny McCaskill teaches English to kids being raised by TV. It's a thankless job and it's probably killing her soul, but she dutifully hauls out the latest Macmillan recommendations every year. She also performs a number of quasi-administrative tasks, such as collecting roll call sheets and handing out locker combinations.\n\n> You open the backpack\nYou say, \"Jude, I need to see your backpack for a moment.\"\n\nYou open the brilliantly colored My Little Pony backpack.\n\n> You look in the backpack\nYou say, \"Jude, hold still so I can look at your backpack.\"\n\nThe brilliantly colored My Little Pony backpack is empty.\n\n> Exits\nFrom here, you can try going south to the hallway or west through the hole into Mrs. McCaskill's room.\n\n> You go west\nYou say, \"I'm going to need both of my hands for this,\" and drop\nJude's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but it doesn't do much good - despite the acrid stench, whatever's burning isn't actually in this room. Still, the water might be reducing the smoke.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, and you might be able to go that way.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> Examine poster\nIt depicts all the past presidents of the United States. So far, the presidents have avoided death by water, but the delay of sentence is only temporary. Rutherford B. Hayes looks worriedly at the coursing droplets.\n\n> You look at the desk\nJenny McCaskill's desk is a cheap wooden affair. The locking metal drawer bolted onto the right side was clearly an afterthought, but\nit's all that saves her from having no drawers at all.\n\n> You look at Bunny\nJude's favorite stuffed animal is awkwardly big, purple, furry, and rather in need of a wash. He always reminds you of a prize from the fair.\n\n> You take Bunny\nThere's too much debris in the way, and you can't fit your arm through the gap. Mr. Bunny is still out of reach.\n\n> You open drawer\nIt's either locked, or jammed beyond your current strength to unjam. Locked seems more likely.\n\n> You pick the lock\nWhat do you want to pick the metal drawer with?\n\n> You pick the lock with the paperclip\n(first taking the striped green paper clip)\nThere's no way you can pick a lock. Your hands are trembling far too much.\n\n> You put the paperclip in the pocket\nYou put the striped green paper clip into the left pocket of your slacks.\n\n> Go north\nYou lean through the gap into the north room - Mr. DeWitt's room, you think, but the chokingly thick smoke makes it hard to tell. The sprinklers aren't working in here, and there's even greater structural damage than you've already seen. This isn't a viable exit.\n\nYou retreat back to Mrs. McCaskill's room.\n\n> You think about DeWitt\nPaul \"Do It\" DeWitt teaches basic math at the elementary, and his wife Marianne teaches trig and calculus at the elementary.\n\n> You think about Adam\nThinking of your husband is both comforting and painful. He must be\nup in the air right now, raining righteous fury over whichever bastard was in that plane. He'll keep you safe, just like you'll keep your kids safe.\n\n> You examine corkboard\nThe sprinklers have destroyed whatever was pinned to this corkboard, leaving disintegrating pages and illegible smears of ink behind.\n\n> You examine the puddle\nThe puddle on the floor is growing by the minute.\n\n> You go east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nJude sits on the ground beside the rubble-strewn table, peering miserably into the darkness underneath.\n\n> Go south\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the west\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nThe fire alarms flash and shrill monotonously.\n\n> Exits\nFrom here, you can try going south into the gym or east along the\nhall.\n\n> Go south\nThankfully, one of the double doors is open.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nBlue exercise mats are piled to one side. Two have been separated\nfrom the pile and layered over the base of a pommel horse, and others are arranged around a balance beam.\n\n> You examine the mats\nThey're standard exercise mats, designed to protect kids when they\nfall down in gym class.\n\n> You examine the horse\nIt's a standard pommel horse - two handles, two poles, and broad metal feet at the bottom to keep it from falling over when it's being used.\n\n> You examine the bleachers\nStacked up the way they are, the bleachers form a solid extension of the wall. There aren't even any sizeable gaps between the bleachers.\n\n> You get the poles\nLifting the pommel horse would be far too taxing for you. However, it's narrow enough to go through the doorway, so if you got at least two students together, they might be able to drag it out of the room.\n\naround.)\n\nLifting the pommel horse would be far too taxing for you. However, it's narrow enough to go through the doorway, so if you got at least two students together, they might be able to drag it out of the room.\n\n> You go south\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nThe gym office door is closed.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You look at the boombox\n(the boombox)\nStraight out of the 80's - make that the 90's, since it has a CD\nplayer instead of a cassette tape. There's a battery compartment on the back.\n\nThe boombox is currently switched off.\n\n> Shout\nYou shout, \"Hello! Can anyone hear me?\"\n\nA shaggy boy's head pops up at the window of the gym office door,\n\"It's me, George!\" he hollers through the door. \"I'm here!\" His\nvoice is a little muffled, but still quite audible.\n\nYou say, \"Let's get you out of there, George.\"\n\n> You open the door\nIt seems to be locked.\n\n> You think about George\nHis mom was an astronaut candidate. She died in a car crash"
    },
    {
        "text": ", which is why George lives on base with his dad, but George either forgets that or won't admit it most of the time. His art projects are littered\nwith women with recognizable cornrows waving hello out of rocket ship windows.\n\n> You ask George about the door\n(the gym office door)\nYou shout, \"George, tell me about the door.\"\n\nGeorge shouts through the door, \"Um... I don't know what you mean... it's just a door.\"\n\n> You look\nYou call, \"Hey, George? What can you see in there?\"\n\nGeorge sounds puzzled. \"It's Mr. Lewis's office.\"\n\n> You think about Lewis\nJack Lewis is the gym coach. He won't give you the time of day, but\nhe cares about sportsmanship and he cares about his kids, and that's why you only ever call him Jackass Lewis in private with Adam. (Well, that and a strong desire to keep your job.)\n\n> You unlock door\n(with the oversized T-shirt)\nGeorge might have trouble fitting the oversized T-shirt into the lock on the gym office door.\n\n> You ask George,  to check what you're carrying\nYou call, \"George, do you have anything useful?\"\n\nGeorge hollers through the door, \"I don't think I have anything.\"\n\nYou shout back, \"Okay, that's fine. Let me think for a minute.\"\n\n> You take off the shirt\nSome people are confused about the difference between gay people and pedophiles. That confusion leads to good teachers being fired every day. There must be a way to get your students out without feeding\nthat fire.\n\n> You look at the window\nThere's a small window in the gym office door, through which you can see mostly George.\n\n> Wave\nYou already have George's attention.\n\nYou wave, feeling foolish.\n\n> You break the window\nYou think dark and terrible thoughts about the gym office door.\n\n> Shout\nYou shout, \"Stay calm, we're all getting out of here.\"\n\n> You ask George about office\nYou shout, \"George, tell me about the door.\"\n\nGeorge shouts through the door, \"Um... I don't know what you mean... it's just a door.\"\n\n> You break the window\nThere's no point in asking. George isn't strong enough to break the gym office door.\n\n> Exits\n[That command asks to do something outside of play, so it can only\nmake sense from you to me. George cannot be asked to do this.]\n\n> You ask George,  to check what you're carrying\nYou call, \"George, what have you got with you?\"\n\nGeorge hollers through the door, \"I don't think I have anything.\"\n\nYou call back, \"Okay, that's fine. Let me think for a minute.\"\n\n> You ask George,  to go to the south\nRunning the layout of the school through your head, you don't think George can go south from where he is.\n\nYou could ask him to go west to the gym lockers.\n\n> You ask George,  to go west\nYou shout, \"George, can you open the door?\"\n\nGeorge shouts, \"No, I need pants! You have to bring me pants!\"\n(You can get more information from students by asking them about things, such as ASK GEORGE ABOUT PANTS.)\n\n> You ask George about the pants\n(the pants)\nYou call, \"George, what happened to your pants?\"\n\nGeorge shouts through the door, \"I had an accident!\"\n\n> You remove the pants\nNo. When the rescuers come, you want to have pants on. God only\nknows what they'd say if you didn't.\n\n> You ask George about the lockers\n(the gym locker)\nYou shout, \"Do you mean your gym locker or your regular locker?\"\n\nGeorge hollers through the door, \"My regular locker!\"\n\n> You ask George about the combination\nYou call, \"George, what's your locker combination?\"\n\nGeorge shouts through the door, \"I can't remember.\"\n\n> You examine the lockers\nJudging by the number of dents, it's common practice for students to come back in here and kick the crap out of the lockers after gym.\n\n> You kick the lockers\nYou think dark and terrible thoughts about the gym locker.\n\n> You open compartment\nYou open the battery compartment of the boombox, revealing some Duracell D-cell batteries.\n\n> You get all\nblack wire wastebasket: To avoid confusing George, ask about one thing at a time.\nlacrosse stick: To avoid confusing George, ask about one thing at a time.\nsoggy pants: To avoid confusing George, ask about one thing at a time. George: To avoid confusing George, ask about one thing at a time.\n\n> You put the batteries in the pocket\nThe Duracell D-cell batteries doesn't fit in your pocket because the striped green paper clip is already in there. (These pants never had much in the way of pockets.)\n\n(first taking the Duracell D-cell batteries)\n\nYou pry the Duracell batteries out of the boombox.\n\nYou put the Duracell D-cell batteries into the left pocket of your slacks.\n\n> GEORGE, ,EXAMINE PANTS\nYou shout, \"George, tell me about the soggy pants.\"\n\nGeorge hollers through the door, \"They're pretty gross.\"\n\n> You get the stick\nYou call, \"George, would you please get that lacrosse stick?\"\n\nGeorge shouts through the door, \"I can't reach it, the desk is in the way!\"\n\n> GEORGE, ,LOOK AT DESK\n(the massive steel desk)\nYou shout, \"George, tell me about the desk.\"\n\nGeorge hollers through the door, \"Um... I don't know what you mean... it's just a desk.\"\n\n> You move the desk\n(the massive steel desk)\nYou call, \"George, I need you to push that desk.\"\n\nGeorge shouts through the door, \"I tried, but it won't move!\"\n\n> GEORGE, ,EXAMINE BASKET\nYou shout, \"George, tell me about the wastebasket.\"\n\nGeorge hollers through the door, \"Um... I don't know what you mean... it's just a wastebasket.\"\n\n> You look in the basket\nGEORGE, LOOK IN WASTEBASKET\n\nYou call, \"George, what do you see in the black wire wastebasket?\"\n\nGeorge shouts through the door, \"I see some soggy pants in there.\"\n\nYou shout, \"George, what do you see in the black wire wastebasket?\"\n\nGeorge hollers through the door, \"I see some soggy pants in there.\"\n\n> You look in the desk\n(the massive steel desk)\nYou call, \"George, what do you see on the massive steel desk?\"\n\nGeorge shouts through the door, \"I don't see anything special there.\"\n\n> You get the basket\nYou shout, \"George, can you please grab that wastebasket?\"\n\nGeorge hollers through the door, \"\"I can't, it won't move!\"\n\n> You open the desk\n(the massive steel desk)\nYou call, \"George, can you open the drawer?\"\n\nGeorge shouts through the door, \"It's open now!\"\n\n> You look in the drawer\nYou shout, \"George, what do you see in the desk drawer?\"\n\nGeorge hollers through the door, \"I see Mr. Lewis's keys in there.\"\n\n> You get the keys\nYou call, \"George, would you please pick up Mr. Lewis's keys from that drawer?\"\n\nGeorge shouts through the door, \"Okay....\"\n\n> You unlock door\nWhat do you want George to unlock the gym office door with?\n\n> Keys\nYou shout, \"George, can you unlock the door if you use Mr. Lewis's keys?\"\n\nAfter a pause, George hollers through the door, \"None of these keys\nfit the lock!\"\n\nYou call back, \"Okay, thanks for trying.\"\n\n> You get on the desk\n(the massive steel desk)\nYou call, \"George, can you get on top of the desk?\"\n\nGeorge shouts through the door, \"Okay, I climbed up on the desk!\"\n\n> You take the stick\nYou call, \"George, can you please grab that lacrosse stick?\"\n\nGeorge hollers through the door, \"I already have the lacrosse stick!\"\n\n> You break the door with the stick\nGeorge won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want George to ?\" message, please reenter your second command now.)\n\n> You ask George about the accident\nYou shout, \"What kind of accident?\"\n\nGeorge shouts through the door, \"You know, an accident! A pants accident!\"\n\n> You open the door\nYou call, \"George, can you open the door?\"\n\nGeorge shouts, \"No, I need pants! You have to bring me pants!\"\n(You can get more information from students by asking them about things, such as ASK GEORGE ABOUT PANTS.)\n\n> You look at the door\nThere's a small window in the gym office door, through which you can see mostly George.\n\n> You throw the keys out the window\nYou shout, \"George, can you throw Mr. Lewis's keys at the door?\"\n\nGeorge hollers through the door, \"I hit the door, but nothing happened!\"\n\n> You open the lockers\nThrough willpower alone, you force your hand to stop shaking long enough that you can grasp the gym locker's handle. You try to lift\nthe handle - and the effort sends black spots dancing in front of your eyes.\n\nYou'll need someone to help you with this.\n\n> You get keys\nYou call, \"George, could you please pick up Mr. Lewis's keys?\"\n\nGeorge shouts through the door, \"Got Mr. Lewis's keys, now what?\"\n\n> You go north\nYou shout, \"I have to be away for a moment, but I'll be right back.\"\n\nGeorge hollers through the door after you, \"Come back with pants!\"\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a pommel horse here.\n\n> You go west\n(first opening the equipment room door)\nYou try to pull the equipment door open, and you can't do it. You're running out of reserves.\n\nYour entire body aches in time with the pulses of darkness swirling through your vision.\n\n> You go to the north\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nThe fire alarms flash and shrill monotonously.\n\nThe black spots slowly fade from your vision, but the pain remains.\n\n> You go to the east\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\n> You take the pencil\nYou try to pick up the pens and pencils, but it seems to weigh a thousand pounds. Your head swims with the effort and you have to give up.\n\nWhatever was in that gas really wrecked you. You can't remember ever feeling this bad before.\n\n> You look at the apples\nMost of the characters are from Family Circus, with a few highlights from Marmaduke and Little Orphan Annie. It would be a surprise if any of these kids get a newspaper, and Little Orphan Annie was cancelled\nin 2010.\n\n> You look at the chalk\nWhich do you mean, the chalk tray or the white chalk?\n\n> You examine the tray\nWhich do you mean, the chalk tray or the round blue tray?\n\n> Blue tray\nSmall blue writing on the top says:\n\nFind A Penny\nLeave A Penny\n\nDespite this, the tray is filled with paper clips.\n\n> You examine the chalk tray\nIn the chalk tray are some white chalk.\n\n> You get the chalk\n(the white chalk)\nYou gather your energy and pick up the chalk. You write, in large, shaky letters:\n\nIF YOU FIND THIS:\nLeave the school ASAP.\nI have located Jude, Keiko, George, Samir, and Tyrone\nand we are leaving as soon as we can.\n\n~ Mr. Ginsberg\n\nAfter a moment, you draw a rectangle around it and add, \"DO NOT\nERASE!\"\n\nYour entire arm aches as you drop the chalk back into its tray.\n\n> You get all\nblack wire wastebasket: To avoid confusing George, ask about one thing at a time.\nsoggy pants: To avoid confusing George, ask about one thing at a time. George: To avoid confusing George, ask about one thing at a time.\n\n> You get all\nframed photo: To avoid confusing Samir, ask about one thing at a time. rock collection: To avoid confusing Samir, ask about one thing at a time.\nSamir: To avoid confusing Samir, ask about one thing at a time.\n\n> You get all\nTyrone: You call, \"Tyrone, would you please hold hands with Tyrone?\"\n\nTyrone shouts back, \"That doesn't make any sense! How can I hold\nhands with myself?\"\n\nYou call back, \"Never mind, I got confused for a moment.\"\n\n> I love you\nAdam won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Adam to ?\"\nmessage, please reenter your second command now.)\n\n> You get all\nblue exercise mat: To avoid confusing Adam, ask about one thing at a time.\nyour former self: To avoid confusing Adam, ask about one thing at a time.\nstriped yellow paper clip: To avoid confusing Adam, ask about one\nthing at a time.\noversized paper clip: To avoid confusing Adam, ask about one thing at\na time.\nsilvery paper clip: To avoid confusing Adam, ask about one thing at a time.\nstriped red paper clip: To avoid confusing Adam, ask about one thing\nat a time.\nstriped orange paper clip: To avoid confusing Adam, ask about one\nthing at a time.\npurple paper clip: To avoid confusing Adam, ask about one thing at a time.\nindustrial flashlight: To avoid confusing Adam, ask about one thing at a time.\nMr. Bunny: To avoid confusing Adam, ask about one thing at a time. ratty towel: To avoid confusing Adam, ask about one thing at a time. scrap of paper: To avoid confusing Adam, ask about one thing at a\ntime.\ntorn notebook cover: To avoid confusing Adam, ask about one thing at a time.\npleated skirt: To avoid confusing Adam, ask about one thing at a time. deodorant spray bottle: To avoid confusing Adam, ask about one thing\nat a time.\nbobby pin: To avoid confusing Adam, ask about one thing at a time. broken ponytail holder: To avoid confusing Adam, ask about one thing\nat a time.\nreeking air freshener: To avoid confusing Adam, ask about one thing at a time.\nbroken shoelace: To avoid confusing Adam, ask about one thing at a time.\nempty Cheetos bag: To avoid confusing Adam, ask about one thing at a time.\nheap of blue exercise mats: To avoid confusing Adam, ask about one thing at a time.\ndistant black helicopter: To avoid confusing Adam, ask about one thing at a time.\nrope ladder: To avoid confusing Adam, ask about one thing at a time. hazmat suited woman: To avoid confusing Adam, ask about one thing at a time.\nAdam: To avoid confusing Adam, ask about one thing at a time.\n\n> You get the woman\nYou shout, \"hazmat suited woman, would you please hold hands with hazmat suited woman?\"\n\nhazmat suited woman calls back, \"That doesn't make any sense! How can I hold hands with myself?\"\n\nYou call back, \"Never mind, I got confused for a moment.\"\n\n> Go south\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the east\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\n> Go north\nYou feel your way carefully through the maze of counters until you reach the cafeteria door.\n\nEven pushing through the swinging door takes more effort than it should.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nThe door swings shut behind you.\n\n> Shout\nYou call, \"Hello! Does anyone hear me?\"\n\nNobody answers.\n\n> Exits\nFrom here, you can try going south into the kitchen or west toward the hallway.\n\n> You examine the tables\nThe windows are huge, almost six feet square, and they're positioned\nso far up the wall that the bottom of the frame is roughly even with your chin. You've heard Coach Lewis hypothesize that, since the kids aren't tall enough to see outside during lunch, it helps keep them focused on school during the day. It's yet another reason why you've hypothesized that Coach Lewis is a jackass.\n\nThe ground slopes away on this side of the school, so the sidewalk is about fifteen feet below the window. Looking outside, you see a relatively untouched expanse of grass and concrete, though dark smoke rises from the high school across the way. Though contrails\ncrisscross the sky, there is no one in sight, either on foot or overhead to the sidewalk below.\n\nThe cafeteria lunch tables are peculiar industrial affairs that have the seats and tables all connected together. Unfolded, they stretch the entire length of the cafeteria; folded against the north wall, as they are now, they reach up to the ceiling.\n\n> You move the tables\nThe folded lunch tables are far too heavy to move in your weakened state.\n\n> You climb the tables\nYou're not up for clambering around right now. You might climb on something large and flat, like a desk, but some folded lunch tables? No.\n\n> You go to the south\nYou lean against the swinging door, which eventually yields.\n\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nThe door swings shut behind you.\n\n> Shout\nYou shout, \"Hello! Can anyone hear me?\"\n\nNobody answers.\n\n> Shout\nYou call, \"Hey, can anyone hear me?\"\n\nNobody answers.\n\n> Shout\nYou shout, \"Is someone there?\"\n\nNobody answers.\n\n> Shout\nYou call, \"This is Mr. Ginsberg! If you can hear me, yell back!\"\n\nNobody answers.\n\n> Shout\nYou shout, \"Is anyone here?\"\n\nNobody answers.\n\n> Shout\nYou call, \"Hello! Can anyone hear me?\"\n\nNobody answers.\n\n> You go south\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nThere's a small rubber wedge jamming the boys' room door shut.\n\n> You go to the west\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water, and her right leg is visibly broken.\n\n> You ask Keiko,  to inventory\nYou ask, \"Keiko, do you have anything useful?\"\n\nKeiko goes through her pockets, but comes up empty-handed. \"Nothing,\" she says, looking worried.\nYou say, \"Okay, thanks for checking.\"\n\n> You ask Keiko about George\nYou ask, \"Keiko, what do you think of George?\"\n\nKeiko says in a lowered tone, \"Do you know his mom died?\"\n\nYou pause for a moment. \"Yeah, I knew. I didn't know you knew.\"\n\nKeiko says, \"He doesn't tell many people. I bet he's pretty lonely.\"\n\n> You ask Keiko about Keiko\nYou ask, \"Keiko, how are you doing?\n\nKeiko says, \"It really hurts. I'm trying to be strong, Mr. Ginsberg\"\n- she blinks for a moment - \"but it really, really hurts.\"\n\nYou say, \"You're doing great, and you're being super strong. We'll\nget you to a hospital as soon as we can, I promise.\"\n\n> You ask Keiko about Dylan\nYou can't think of a sensible question to ask Keiko about dylan.\n(You could try asking Keiko about Keiko's right leg, Keiko's left\nleg, or Ashley.)\n\n> You ask Keiko about Ashley\nYou ask, \"Keiko, what do you think of Ashley?\"\n\nKeiko says, \"She's friendly, and she's good at being in charge and making people work together.\"\n\n> You ask Keiko about Adam\nYou can't think of a good question to ask Keiko about Adam.\n(You could try asking Keiko about Keiko's right leg, Keiko's left\nleg, or Ashley.)\n\n> You ask Keiko about Tyrone\nYou ask, \"Keiko, what do you think of Tyrone?\"\n\nKeiko says, \"He gets in a lot of fights, but it's mostly because he gets bored. And then he riles people up.\"\n\n> You ask Keiko about Samir\nYou ask, \"Keiko, what do you think of Samir?\"\n\nKeiko says, \"He thinks about big stuff. Like clean water, and how to plant more trees. But he doesn't think about small stuff... like how to make things better now.\"\n\nYou say, \"Give him time.\"\n\nShe shrugs a little and smiles.\n\n> You ask Keiko about Jude\nYou ask, \"Keiko, what do you think of Jude?\"\n\nKeiko sings, \"Hey Jude....\" She laughs a little at herself, and then says, \"Jude's not bad. She doesn't fit in yet, but she's working on it.\"\n\n> Where is Ashley\nKeiko won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Keiko to ?\" message, please reenter your second command now.)\n\n> You ask Keiko about the lockers\nWhich do you mean, the narrow locker or the gym locker?\n\n> You ask Keiko about the narrow locker\nYou can't think of a good question to ask Keiko about the narrow locker.\n(You could try asking Keiko about Keiko's right leg, Keiko's left\nleg, or Ashley.)\n\n> You tell Keiko about the weddge\nRescue your students now, enlighten them later.\n[something].)\n\n> You ask Keiko about the flashlight\nWhich do you mean, the industrial flashlight, the battery compartment on the industrial flashlight, or the Energizer D-cell batteries?\n\n> Industrial\nYou can't think of a good question to ask Keiko about the industrial flashlight.\n(You could try asking Keiko about Keiko's right leg, Keiko's left\nleg, or Ashley.)\n\nKeiko breathes through her teeth for a moment.\n\n> You ask Keiko about the crutch\nYou can't think of a sensible question to ask Keiko about crutch.\n(You could try asking Keiko about Keiko's right leg, Keiko's left\nleg, or Ashley.)\n\n> Sing\nYou ask, \"Hey, Keiko, why don't you sing to keep your spirits up?\"\n\nKeiko says, \"I only sing along with the radio, or when it's music class.\"\n\nKeiko breathes through her teeth for a moment.\n\n> Exits\nYou can't go that way.\n\nFrom here, you can try going east to the hallway alcove.\n\nFrom here, you can try going east to the hallway alcove.\n\n> Go north\nYou can't go that way.\n\nFrom here, you can try going east to the hallway alcove.\n\n> Shout\nYou shout, \"Is anyone here?\"\n\nYou hear a girl's faint cry from the supply closet. \"Mr. Ginsberg!\nIs that you?\"\n\nYou call back, \"It's me! Is that you, Ashley? Are you okay?\"\n\nShe shouts something back, but you can't understand her response. Her voice is really muffled.\n\n> You think about Ashley\nLast year, Ashley's Cool Older Sister gave her a subscription to Teen Vogue, and Ashley's been in a hurry to grow up ever since. She\nalready knows that it's not cool to raise your hand in class or to sit with the younger girls at lunch. Five years from now, she'll be holding hands with William Bradley, and she'll forget that she ever asked you how to become a painter.\n\n> You get the white chalk\nYou take a moment to update your note on the blackboard. Your arm aches all the way up to your shoulder as you drop the chalk back into its tray.\n\n> You look\nYou call through the closed door, \"What do you see, Ashley?\"\n\nFrom inside the supply closet, Ashley calls, \"Mostly it's pretty dark. I can see a little bit from the light under the door, but I'm in the back and I can't see quite what's here. There's, um, coat hooks, and shelves with paper and stuff, and a bunch of boxes. Some of the shelves are too high for me to see what's on them. There's a big\nheavy block thing that has my skirt and a yardstick here.\"\n\n> You ask Ashley about Ashley\nYou call through the closed door, \"Ashley, how are you doing?\"\n\nAshley shouts, \"I don't want to be stuck in the dark any more. It's scary in here.\"\n\nYou promise, \"I'll get you out of there. Stay brave for me.\"\n\n> You ask Ashley,  to check your inventory\nYou call through the closed door, \"Ashley, what are you carrying?\"\n\nAshley calls, \"I don't think I have anything.\"\n\nYou shout back, \"Okay, that's fine. Let me think for a minute.\"\n\n> You look in the boxes\nYou call through the closed door, \"Ashley, can you open the next box\nin there?\"\n\nAshley shouts, \"It's all just teacher stuff!\"\n\nYou call through the closed door, \"Could you be more specific?\"\n\nAshley calls back, \"Uh... you know, stuff like the smiley face clocks for teaching time.\"\n\nYou call back, \"You're right, that sounds pretty useless right now.\nYou can close that box up again.\"\n\n> You take the yardstick\nYou call through the closed door, \"Ashley, would you please grab that yardstick?\"\n\nAshley shouts back, \"Okay....\"\n\n> You put the yardstick under the door\nAshley won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Ashley to ?\" message, please reenter your second command now.)\n\n> You give the yardstick\n(to Ashley)\nYou call through the closed door, \"Ashley, please hand the yardstick\nto Ashley.\"\n\nAshley calls back, \"Mr. Ginsberg, who did you want me to give it"
    },
    {
        "text": "to?\"\n\nYou call through the closed door, \"Sorry, must have been a bit rattled.\"\n\n> Climb box\nYou call through the closed door, \"Ashley, can you climb up on the boxes?\"\n\nAshley shouts back, \"I don't think I can climb on the boxes.\"\n\n> You look at the shelves\nYou call through the closed door, \"Ashley, tell me about the low shelves.\"\n\nAshley calls, \"I see some paper and a pair of kid scissors on there.\"\n\n> You push the yardstick south\nIt would be easier if Ashley just picked up the yardstick instead.\n\n> You get the scissors\nYou call through the closed door, \"Ashley, can you please get that\npair of scissors?\"\n\nAshley shouts back, \"Got it!\"\n\n> You put the yardstick in the door\nIt'll be hard for Ashley to put the yardstick into the closet door. Better to find a more appropriate container.\n\n> You cut the paper\nYou call through the closed door, \"Ashley, can you cut the paper?\"\n\nAshley shouts, \"Okay, I cut it!\"\n\n> You open the door with the yardstick\nFor safety, the closet door doesn't lock from the inside. If Ashley can reach the door, she can open it.\n\n> You unlock door\nWhat do you want Ashley to unlock the closet door with?\n\n> You ask Ashley,  to go south\nYou call through the closed door, \"Ashley, can you open the door?\"\n\nAshley calls back, \"I can't reach the door! The big heavy block thing has my skirt!\"\n\n> Cut skirt\nYou shout, \"Ashley, I need you to cut through your skirt so that it won't be stuck under the block any more. Be super careful, all\nright?\"\n\nYou can hear the panic in Ashley's voice through the closet door. \"I can't do that, I'll get in trouble! Clothes are expensive!\"\n\n> Cut skirt\nYou call through the closed door, \"Go ahead and cut through your\nskirt, Ashley. You won't get in any trouble, I promise.\"\n\nAshley calls, \"Okay... I cut through my skirt.\" Unhappiness wobbles\nin her voice.\n\nYou call back, \"You did great, Ashley. I'm really proud of you.\"\n\n> South\nYou call through the closed door, \"Ashley, can you open the door now?\"\n\nThere is a click from the closet door. The closet door swings open, and you see Ashley on the other side.\n\ngather around the yardstick and try to move it. With many small-kid grunts of effort, they get the yardstick moving and successfully slide it out of the supply closet.\n\n> You follow you\nYou ask, \"Ashley, would you please hold hands with me?\"\n\nAshley puts the pair of safety scissors on the floor.\n\nAshley takes your hand.\n\n> You take the yardstick\nYou ask, \"Ashley, could you please grab that yardstick?\"\n\nAshley says, \"I already have the yardstick!\"\n\n> You go to the south\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Ashley's hand, so she follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the north\nYou are holding Ashley's hand, so she follows you.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nJude sits on the ground beside the rubble-strewn table, peering miserably into the darkness underneath.\n\n> You go to the west\nYou say, \"I'm going to need both of my hands for this,\" and drop Ashley's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You ask Ashley,  to go west\nYou call, \"Ashley, please come through the hole into Mrs. McCaskill's room.\"\n\ngap in the wall.\n\ngather around the yardstick and try to move it. With many small-kid grunts of effort, they get the yardstick moving and successfully slide it out of the supply closet.\n\n> You push Bunny with the yardstick\nYou ask, \"Ashley, we need to get Jude's bunny out from under the\ntable. Can you push him through with the yardstick?\"\n\nAshley probes under the table with the yardstick for a moment before gripping the yardstick in both hands and shoving.\n\"I got it!\" Ashley crows, pulling back the yardstick.\n\nJude shrieks joyously, \"My bunny!\"\n\n> Shout\nYou call, \"Is anyone there?\"\n\nJude doesn't answer you.\n\n> You go east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nJude is sitting here and clinging to Mr. Bunny.\n\n> You ask Ashley,  to go east\nYou shout, \"Ashley, I want you to come into the art room.\"\n\ngap in the wall.\n\nYou say to Jude, \"Now that Mr. Bunny is safe, let's get everyone else out safe, all right?\"\n\n\"Right!\" Jude agrees, eyes shining.\n\n> You follow you\nYou ask, \"Jude, would you please hold hands with me?\"\n\nJude takes your hand.\n\n> You follow you\nYou ask, \"Ashley, would you please hold hands with me?\"\n\nAshley takes your hand.\n\n> You go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nThere's a small rubber wedge jamming the boys' room door shut.\n\n> You pull wedge\nYou say, \"Ashley, I want you to pull on that wedge.\"\n\nAshley pulls on the small rubber wedge. It's not very effective.\n\n> You examine Tyrone\nTyrone realizes immediately that he's the focus of your attention and stares back challengingly. He doesn't even come up to your armpit,\nbut he hardly seems to notice.\n\nTyrone is wearing a black canvas backpack, a Notre Dame jersey, and a pair of baggy jeans.\n\n> You open the backpack\nWhich do you mean, the black canvas backpack (Tyrone's) or the brilliantly colored My Little Pony backpack (Jude's)?\n\n> Black\nYou say, \"Tyrone, I need to see your backpack for a moment.\"\n\nYou open the black canvas backpack.\n\n> You look in the black backpack\nYou say, \"Tyrone, hold still so I can look at your backpack.\"\n\nThe black canvas backpack is empty.\n\n> Go east\nAshley stops. \"Uh, you know that's the boys' bathroom, right?\"\n\nYou say, \"I know. It's a special case.\"\n\nAshley reluctantly follows you in.\n\nThe boys' bathroom looks fully intact - industrial sinks,\nbeige-painted stalls, tiled flooring that isn't as clean as it should be. The shrilling fire alarms are still audible through the door.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\n> You examine the stalls\nIt's a beige-painted bathroom stall. There isn't even any graffiti.\n\n> Examine sinks\nThe sinks are basic white basins.\n\n> Exits\nFrom here, you can try going west to the hallway alcove.\n\n> Shout\nYou shout, \"Hello! Does anyone hear me?\"\n\nJude doesn't answer you.\n\n> Go west\nYou are holding Ashley's hand, so she follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, carrying a small rubber wedge and Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\n> Go west\nYou are holding Ashley's hand, so she follows you.\n\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nAshley is here, holding hands with you and carrying a yardstick.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water, and her right leg is visibly broken.\n\nAshley cries out, \"Keiko, you got hurt!\" and runs to her, almost slipping on the wet tile.\n\nYou shout, \"Careful!\", because Ashley's still carrying the yardstick and you don't want her to clobber Keiko.\n\nBoth girls look briefly at you with the hauteur of seventeen-year-old supermodels before returning to their reunion.\n\n> You take the tie\nYou ask, \"Ashley, would you please take that tie?\"\n\nAshley says, \"But I don't have the tie, Mr. Ginsberg. You do.\"\n\n> You give the tie to Ashley\n(first taking the striped red tie off)\nYou struggle with the knot, but your hands are shaking so much that\nyou can't loosen it. You give it up as a bad job.\n\n(first taking the striped red tie off)\nYou struggle with the knot, but your hands are shaking so much that\nyou can't loosen it. You give it up as a bad job.\n\n> You drop the yardstick\nYou say, \"Ashley, please put down the yardstick.\"\n\nAshley puts the yardstick on the floor.\n\n> You drop Ashley\nYou let go of Ashley's hand.\n\n> Go east\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, carrying a small rubber wedge and Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\n> You take Tyrone\nYou take Tyrone's hand. \"Stay with me,\" you say.\n\n> Go north\nYou call, \"I need to do something, but I'll be back as soon as I can.\"\n\nAshley calls back, \"Okay, come back soon!\"\n\nYou are holding Tyrone's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Tyrone's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the west\nYou are holding Tyrone's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the south\nYou are holding Tyrone's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with you.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a pommel horse here.\n\n> You open the door\nWhich do you mean, the equipment room door or the double doors?\n\n> Equipment\nYou ask, \"Tyrone, can you open the door?\"\n\nTyrone tries to open the equipment room door and then shakes his head. \"I think it's locked,\" he says.\n\n> Go south\nYou are holding Tyrone's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nTyrone is here, holding hands with you.\n\nThe gym office door is closed.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You open the locker\nYou ask, \"Tyrone, can you open the locker?\"\n\nTyrone opens the gym locker, revealing a broken shoelace.\n\n> You take the shoelace\nYou ask, \"Tyrone, could you please get the shoelace from that locker?\"\n\nTyrone picks up the broken shoelace.\n\n> You ask Tyrone about the shoelace\nYou say, \"Tyrone, tell me about the shoelace.\"\n\nTyrone says, \"Um... I don't know what you mean... it's just a shoelace.\"\n\n> Shout\nYou call, \"Hey, can anyone hear me?\"\n\nGeorge shouts through the door, \"I'm still in here! Do you have my pants?\"\n\n> You go north\nYou shout, \"I have to leave for a moment, but I'll be right back.\"\n\nGeorge hollers through the door after you, \"Come back with pants!\"\n\nYou are holding Tyrone's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with you and carrying a broken shoelace.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a pommel horse here.\n\n> Shout\nYou shout, \"Hello! Can anyone hear me?\"\n\nNobody answers.\n\n> You look\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with you and carrying a broken shoelace.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a pommel horse here.\n\n> You get the mats\nYou ask, \"Tyrone, can you please grab one of those mats?\"\n\nTyrone tugs a blue exercise mat free from the pile. \"I don't think I can pick it up... but maybe I can drag it around?\" he suggests.\n\n> You drop the mat\nYou say, \"Tyrone, please put down the mat.\"\n\nBut you're not holding the blue exercise mat.\n\nTyrone says, \"But I'm not holding the mat!\"\n\n> You check what you're carrying\nYou are wearing a striped red tie, a rumpled white shirt, some pair of black slacks, and a gold wedding band.\n\n> You look in the pocket\nIn the left pocket of your slacks are some Duracell D-cell batteries and a striped green paper clip.\n\n> Go north\nYou are holding Tyrone's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone is here, holding hands with you and carrying a broken shoelace.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nYou are holding Tyrone's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with you and carrying a broken shoelace.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding Tyrone's hand, so he follows you.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nTyrone is here, holding hands with you and carrying a broken shoelace.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You ask Tyrone,  to go west\nYou say, \"Tyrone, I need you to go through the hole into Mrs. McCaskill's room.\"\n\nTyrone climbs carefully over the rubble-strewn table and out through the gap in the wall.\n\n> Go west\nYou say, \"I'm going to need both of my hands for this,\" and drop Tyrone's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nTyrone is here, carrying a broken shoelace.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You give the paperclip to Tyrone\n(first taking the striped green paper clip)\nYou give the striped green paper clip to Tyrone.\n\n> You ask Tyrone about Jenny\nYou can't think of a sensible question to ask Tyrone about jenny.\n(You could try asking Tyrone about Ashley, Keiko, or Samir.)\n\n> You open the drawer\nYou ask, \"Tyrone, can you open the drawer?\"\n\nTyrone tries to open the metal drawer and then shakes his head. \"I think it's locked,\" he says.\n\n> Unlock drawer\nWhat do you want Tyrone to unlock the metal drawer with?\n\n> You unlock the drawer with the clip\nTyrone won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Tyrone to ?\" message, please reenter your second command now.)\n\n> You ask Tyrone about the narrow locker\nYou can't think of a good question to ask Tyrone about the narrow locker.\n(You could try asking Tyrone about Ashley, Keiko, or Samir.)\n\n> You ask Tyrone about George\nYou ask, \"Tyrone, what do you think of George?\"\n\nTyrone answers, \"He's a good kid, but he's young. You gotta watch out for him, keep an eye on him.\"\n\n> You look\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nTyrone is here, carrying a striped green paper clip and a broken shoelace.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You ask Tyrone about the drawer\nWhich do you mean, the metal drawer or the desk drawer?\n\n> You examine the metal drawer\nsupply closet, she stores anything potentially sensitive in this drawer, such as attendance rolls, locker combinations, and upcoming tests.\n\n> You ask Tyrone about the metal drawer\nYou say, \"Tyrone, tell me about the drawer.\"\n\nTyrone says, \"Um... I don't know what you mean... it's just a drawer.\"\n\n> You ask Tyrone about the locker combinations\nYou can't think of a sensible question to ask Tyrone about locker combinations.\n(You could try asking Tyrone about Ashley, Keiko, or Samir.)\n\n> You ask Tyrone about the locker combination\nYou can't think of a sensible question to ask Tyrone about locker combination.\n(You could try asking Tyrone about Ashley, Keiko, or Samir.)\n\n> Shout\nYou call, \"Is someone there?\"\n\nNobody answers.\n\n> You ask Tyrone,  to go north\nLooking around, you don't think Tyrone can go north from where he is.\n\nYou could ask him to go east into the art room.\n\n> Go north\nBetween the smoke and the structural damage, it's too dangerous to go into Mr. DeWitt's room.\n\nFrom here, you can try going east into the art room.\n\n> You ask Tyrone,  to go east\nYou say, \"Tyrone, please go into the art room.\"\n\nTyrone climbs carefully over the rubble-strewn table and out through the gap in the wall.\n\n> Go east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nTyrone is here, carrying a striped green paper clip and a broken shoelace.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You take Tyrone\nTyrone doesn't have a free hand, since he is carrying the striped\ngreen paper clip and the broken shoelace.\n\n> You examine Tyrone\nTYRONE, PUT CLIP IN BACKPACK\n\nYou ask, \"Tyrone, can you put your paper clip into your backpack?\"\n\nTyrone puts the striped green paper clip into the black canvas backpack.\n\nTyrone realizes immediately that he's the focus of your attention and stares back challengingly. He doesn't even come up to your armpit,\nbut he hardly seems to notice.\n\nTyrone is wearing a black canvas backpack, a Notre Dame jersey, and a pair of baggy jeans.\nTyrone is carrying a broken shoelace.\n\n> You put the shoelace and clip in the backpack\nbroken shoelace: To avoid confusing Tyrone, ask about one thing at a time.\nstriped green paper clip: To avoid confusing Tyrone, ask about one thing at a time.\n\n> You put the shoelace in the backpack\nYou say, \"Tyrone, let me take a look at the shoelace.\"\n\n(first taking the broken shoelace)\n\nYour hands are shaking badly enough that you're afraid of dropping the broken shoelace, but you could ask Tyrone to get it for you.\n\n> You put the shoelace in the backpack\nYou ask, \"Tyrone, can you put your shoelace into your backpack?\"\n\nTyrone puts the broken shoelace into the black canvas backpack.\n\n> You follow you\nYou ask, \"Tyrone, would you please hold hands with me?\"\n\nTyrone takes your hand."
    },
    {
        "text": "[Themes: elementary school, school]\n\n> You look around\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nTyrone is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You go south\nYou are holding Tyrone's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Tyrone's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Tyrone's hand, so he follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nYou are holding Tyrone's hand, so he follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You go north\nYou are holding Tyrone's hand, so he follows you.\n\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nTyrone is here, holding hands with you.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nThe fire alarms flash and shrill monotonously.\n\n> Shout\nYou shout, \"This is Mr. Ginsberg! If you can hear me, yell back!\"\n\nSamir shouts, \"Go away!\"\n\n> You ask Samir,  to look around\nYou call, \"What's around you right now, Samir?\"\n\nFrom somewhere behind the door, Samir screams, \"I'm not listening! I can't hear you!\"\n\n> You open the door\nIt's too dangerous. You'll have to get him out another way.\n\n> You ask Tyrone about Samir\nYou ask, \"Tyrone, what do you think of Samir?\"\n\nTyrone answers, \"He's got some friends that he only thinks are his friends. It'll get him in trouble someday.\"\n\n> Shout\nYou say, \"Tyrone, I need you to shout now, a really big shout.\nReady?\"\n\nTyrone gives a big, wordless whoop.\n\n> You ask Samir about the door\n(the lab door)\nYou shout, \"Samir, tell me about the door.\"\n\nSamir hollers from somewhere behind the door, \"Leave me alone!\"\n\n> You ask Samir about Samir\nYou call, \"Samir, how are you doing?\"\n\nSamir says, \"Kind of tired, and my head hurts a bit.\"\n\n> You ask Samir about the rock collection\nYou shout, \"Samir, tell me about the collection.\"\n\nFrom somewhere behind the door, Samir screams, \"Leave me alone!\"\n\n> You ask Samir,  to inventory\nYou call, \"Samir, do you have anything useful?\"\n\nSamir hollers from somewhere behind the door, \"I'm not listening! I can't hear you!\"\n\n> You move the rubble\nThe pile of debris blocking the door is unstable and heavy, definitely too dangerous for Tyrone to shift it.\n\nYou say, \"Tyrone, you need to shove that debris.\"\n\nTyrone heaves at the pile of debris before giving up, disappointed.\n\"I can't, it won't move!\"\n\n> You shout at Samir\n(to Tyrone)\n\n> You examine the door\nThe kids call Avery's room the Geo Lab because of his rock collection. Past the debris, the door looks intact, but you can't see much through the window.\n\n> Exits\nFrom here, you can try going south along the hall or west into Avery's classroom.\n\n> You ask Tyrone,  to go west\nYou say, \"Tyrone, I need you to go into Avery's classroom.\"\n\nTyrone says, \"No, I can't!\"\n\n> You drop Hand\n(of Tyrone)\nYou let go of Tyrone's hand.\n\n> You go south\nYou call, \"I need to do something, but I'll come back soon.\"\n\nSamir yells, \"Go away, leave me alone!\"\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nJude is here, carrying a small rubber wedge and Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\n> You go west\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water, and her right leg is visibly broken.\n\nYou can also see a yardstick here.\n\n> You get Ashley\nYou take Ashley's hand. \"Stay with me,\" you say.\n\n> You follow Ashley\nJude won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Jude to ?\"\nmessage, please reenter your second command now.)"
    },
    {
        "text": "> Look around\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nAshley is here, holding hands with you.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water, and her right leg is visibly broken.\n\nYou can also see a yardstick here.\n\n> Go east\nYou are holding Ashley's hand, so she follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nAshley is here, holding hands with you.\n\nJude is here, carrying a small rubber wedge and Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\n> You go to the north\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding Ashley's hand, so she follows you.\n\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nAshley is here, holding hands with you.\n\nYou can also see a closet door, a pair of safety scissors, and an enormous blackboard here.\n\n> You follow Ashley\nYou ask, \"Jude, would you please hold hands with Ashley?\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nAshley protests, \"I'm out of hands!\"\n\n> You follow you\nYou ask, \"Jude, would you please hold hands with me?\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nyourself protests, \"I'm out of hands!\"\n\n> You ask Jude,  to inventory\nYou ask, \"Jude, what are you carrying?\"\n\nJude goes through her pockets. \"I've got small rubber wedge and Mr. Bunny,\" she reports.\nYou say, \"Okay, thanks for checking.\"\n\n> You drop the wedge\nYou say, \"Jude, please put down the wedge.\"\n\nJude puts the small rubber wedge on the floor.\n\n> You follow you\nYou ask, \"Jude, would you please hold hands with me?\"\n\nJude takes your hand.\n\n> Go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\n> Shout\nYou say, \"Jude, I need you to shout now, a really big shout. Ready?\"\n\nJude gives a big, wordless whoop.\n\n> Shout\nYou call, \"Hello! Can anyone hear me?\"\n\nSamir shouts, \"Go away!\"\n\n> You shout at Samir\nWhom do you want Jude to shout that to?\n\n> Shout\nYou say, \"Ashley, I need you to shout now, a really big shout.\nReady?\"\n\nAshley gives a big, wordless whoop.\n\n> Hello\nYou shout, \"Samir, I need you to shout now, a really big shout.\nReady?\"\n\nFrom somewhere behind the door, Samir hollers, \"I'm not listening! I can't hear you!\"\n\n> You look at the door\nYou say, \"Jude, tell me about the door.\"\n\nJude says, \"Um... I don't know what you mean... it's just a door.\"\n\n> Shout\nYou shout, \"This is Mr. Ginsberg! Is someone there?\"\n\nSamir yells from somewhere behind the door, \"Go away! I'm not afraid of you!\"\n\n> Shout\nYou say, \"Ashley, I need you to shout to Samir for me, because Samir\nis scared and you're his friend. Can you do that for me?\"\n\nAshley says, \"Uh... okay, I can do that.\" She blushes and then takes\na deep breath.\n\nAshley shouts at the door, \"Samir, it's Ashley, stop being scared!\"\n\nSamir screams, \"Ash, is that you? Watch out for the ghost!\"\n\n> Shout\nYou say, \"Jude, I need you to shout to Samir for me, because Samir is scared and you're his friend. Can you do that for me?\"\n\nJude says, \"But we're not friends.\"\n\nYou take a breath and say, \"After this, we're all friends, okay, Jude? Just shout to him for me.\"\n\nJude shouts at the door, \"Samir, it's Jude, stop being scared!\"\n\nSamir yells, \"Jude, is that you? Watch out for the ghost!\"\n\n> Shout\nYou say, \"Tyrone, I need you to shout to Samir for me, because Samir\nis scared and you're his friend. Can you do that for me?\"\n\nTyrone says, \"You do look kind of gross right now.\"\n\nYou say, \"Ha. Just help me out, okay?\"\n\nTyrone shouts at the door, \"Samir, it's Tyrone, stop being scared!\"\n\nSamir hollers, \"Tyrone, is that you? Watch out for the ghost!\"\n\n> Shout\nYou nod to Tyrone and tell him, \"Go ahead and shout to him again.\"\n\nTyrone shouts at the door, \"Don't be a moron, it's just Mr. Ginsberg! He's trying to get us out of here!\"\n\nAfter a moment, Samir calls, \"Oh. I thought....\" His tone is distinctly sheepish.\n\nTyrone shouts, \"Well, you don't think so good, so stop thinking and listen to the man!\"\n\nYou say, \"I think that'll do. Thank you, Tyrone.\"\n\n> You look\nYou call, \"Samir, what can you see?\"\n\nSamir hollers, \"The wall's sort of caving in on one side, around where the door is, and there's all wood and metal sticking out. I can see one of the cabinets kind of hanging off the wall. Apart from that, there's an old blackboard at the front, and the teacher desk, and the counter that runs all the way around the back, and all of Mr. Thomas's rocks on the shelves. Also, there's a whole bunch of volcano mobiles hanging from the ceiling vent.\"\n\n> SAMIR, ,EXAMINE DESK\nYou shout, \"Samir, tell me about the desk.\"\n\nSamir yells, \"It's just Mr. Thomas's desk. He keeps it really clean, there isn't even a calendar.\"\n\n> SAMIR, ,EXAMINE VENT\nYou call, \"Samir, tell me about the vent.\"\n\nSamir hollers, \"It's a really big vent! There's sort of a grill thing covering it. Like a car grill, not a cooking grill.\"\n\n> You open the vent\nYou shout, \"Samir, can you open the vent?\"\n\nSamir yells, \"I can't reach the vent, it's too far up!\"\n\n> You stand on the desk\nSamir won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Samir to ?\" message, please reenter your second command now.)\n\n> You get on the desk\nYou call, \"Samir, can you get up on the desk?\"\n\nSamir hollers, \"Okay, I'm up on the desk now!\"\n\n> You open the vent\nYou shout, \"Samir, can you open the vent?\"\n\nSamir yells, \"I tried, but I can't reach it from here!\"\n\nYou call, \"All right, is there anything you can climb on that's closer to the vent?\"\n\nSamir hollers, \"Maybe the counter?\"\n\n> SAMIR, ,EXAMINE COUNTER\nYou call, \"Samir, tell me about the counter.\"\n\nSamir yells, \"It's big and wide. We sit back there sometimes when we're taking tests, so people can't see each other's papers.\"\n\n> You get on the counter\nYou shout, \"Samir, can you get on top of the counter?\"\n\nSamir hollers, \"Okay, I climbed up on the counter!\"\n\n> You open the vent\nYou call, \"Samir, can you open the vent?\"\n\nSamir yells, \"I got the vent open, but all the volcanoes just fell on me!\"\n\nYou shout back, \"Don't worry about it, they're not important right now.\"\n\n> You ask Samir,  to go upwards\nYou shout, \"Samir, I want you to go up into the ventilation duct.\"\n\nSounding tinny and far away, Samir hollers, \"Okay, I'm going now!\"\n\n> Shout\nSounding tinny and far away, Samir yells, \"I'm here, I can hear you!\"\n\n> You ask Samir,  to look around\nYou call, \"Samir, what do you see?\"\n\nSounding tinny and far away, Samir hollers, \"It's really narrow up here, and it's dark, and dusty. I don't like it. There's the vent to the Geo Lab under me, and then there's a tunnel in front of me and a tunnel to the left.\"\n\nYou translate that mentally as west and south. You shout back,\n\"Okay.\"\n\n> You ask Samir,  to go west\nYou shout, \"Samir, please go down the duct in front.\"\n\nSounding tinny and far away, Samir yells, \"Okay, I'm going now!\"\n\n> You ask Samir,  to look around\nYou call, \"Samir, what are you seeing?\"\n\nThere is no response. Samir must be too far away to hear you.\n\n> You go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nYou can also see a closet door, a pair of safety scissors, and an enormous blackboard here.\n\n> You look at the ceiling\nLooks like one of the tiles was jarred loose from above.\n\nAshley asks, \"Mr. Ginsberg, can I draw on the chalkboard?\"\n\nYou say, \"Go ahead. Just don't erase my note.\"\n\nAshley wanders over to the blackboard, picks up a piece of chalk, and scratches away at the board for a while.\n\nSatisfied with her drawing, Ashley puts the chalk back in the tray.\n\n> Shout\nYou shout, \"Samir, can you hear me?\"\n\nSounding tinny and far away, Samir hollers, \"I'm here, I can hear\nyou!\"\n\n> You ask Samir,  to look around\nYou shout, \"Samir, tell me what you're seeing?\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"It's even darker in here and it smells and I really don't like it. There aren't any turns or anything - I can only go forward, where it's getting darker, or back toward the light.\"\n\n> You open the tile\nSamir won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Samir to ?\" message, please reenter your second command now.)\n\n> You examine the tile\nLooks like one of the tiles was jarred loose from above.\n\n> You ask Samir,  to go west\nYou call, \"Samir, I need you to go down the duct where it gets\ndarker.\"\n\nFrom somewhere above the ceiling tiles, Samir hollers, \"Okay, I'm\ngoing now!\"\n\nAshley picks up a piece of chalk and adds a few more details to one of the drawings on the board.\n\nSatisfied with the result, Ashley puts the chalk back in the tray.\n\n> You examine board\nThe blackboard currently contains a list of countries in Western Europe, with extra notes about Luxembourg (capital - Luxembourg, largest city - Luxembourg, official languages - French, German, and Luxembourgish).\n\nOff to the side, the blackboard contains your note:\n\nIF YOU FIND THIS: DO NOT ERASE!\nLeave the school ASAP.\nI have located Jude, Keiko, George, Samir, Tyrone, and Ashley\nand we are leaving as soon as we can.\n\n~Mr. Ginsberg\n\nAdditionally, the blackboard contains a chalk drawing of a somewhat cross-eyed tabby cat with a dead mouse in its mouth.\n\n> You go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You ask Samir,  to look around\nYou shout, \"Samir, what do you see?\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"I can hardly see anything, and the air smells really awful, like something burning in the oven. There aren't any turns again - it just goes forward and back.\"\n\n> You look at the ceiling\nIt's very strange seeing the wreckage of the ceiling and walls. The school used to be divided into boxes, each hall and room discrete, but now those boxes have crunched like eggshell.\n\n> You ask Samir,  to go to the west\nYou call, \"Samir, please go forward down the duct.\"\n\nYou hear Samir start to answer, but he starts coughing almost immediately, and you can't make out what he says.\n\n> Shout\nYou shout, \"Samir, are you there?\"\n\nNobody answers.\n\n> You go west\nYou say, \"I'm going to need both of my hands for this,\" and drop\nAshley and Jude's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> Shout\nYou shout, \"Samir, can you hear me?\"\n\nJude doesn't answer you.\n\nYou shout, \"Samir, are you all right?\"\n\nFrom somewhere in the ceiling tiles, you can hear Samir coughing.\nThere is a muted bang, maybe the sound of him hitting something - you can't be sure.\n\n> You ask Samir,  to go to the east\nYou shout, \"Samir, go back the way you came. This isn't a safe way to go, I'm sorry.\"\n\nFrom somewhere above the ceiling tiles, you hear a metallic banging that recedes to the east.\n\n> Go east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nJude is here, clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You ask Tyrone,  to go east\nRunning the layout of the school through your head, you don't think Tyrone can go east from where he is.\n\nYou could ask him to go south along the hall or west into Avery's classroom.\n\n> You ask Tyrone,  to go east\nYou shout, \"I have to be away for a moment, but I'll be right back.\"\n\nSamir hollers, \"Okay....\"\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nYou can see a closet door, a pair of safety scissors, and an enormous blackboard here.\n\nRunning the layout of the school through your head, you don't think Tyrone can go east from where he is.\n\nYou could ask him to go south along the hall or west into Avery's classroom.\n\n> You ask Samir,  to go east\nYou shout, \"Samir, are you all right?\"\n\nSamir yells, \"Yeah, I think so....\" His voice sounds a little weak,\nbut it might just be the ceiling in the way.\n\nYou call, \"Samir, I want you to go down the duct toward the Geo Lab.\"\n\nThere is no response. Samir must be too far away to hear you.\n\n> You ask Samir,  to go south\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nBased on what Samir's told you so far, you don't think Samir can go south from where he is.\n\nYou could ask him to go east down the duct toward the Geo Lab or west forward down the duct.\n\n> Shout\nYou shout, \"Samir, are you up there?\"\n\nNobody answers.\n\n> You ask Samir,  to look around\nYou shout, \"Samir, tell me what you see?\"\n\nSounding tinny and far away, Samir yells, \"It's really narrow up here, and it's dark, and dusty. There's the vent to the Geo Lab under me, and then there's a tunnel in front of me and a tunnel to the left.\"\n\nYou translate that mentally as west and south. You shout back, \"Got it, thanks.\"\n\n> You ask Samir,  to go south\nYou call, \"Samir, I need you to go along the left duct.\"\n\nSounding tinny and far away, Samir hollers, \"Okay, I'm going now!\"\n\n> Shout\nYou shout, \"Samir, are you up there?\"\n\n> You go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Shout\nYou shout, \"Samir, are you there?\"\n\nSounding tinny and far away, Samir yells, \"I'm here, I can hear you!\"\n\n> You ask Samir,  to look around\nYou shout, \"Samir, what are you seeing?\"\n\nFrom somewhere above the ceiling tiles, Samir hollers, \"The tunnel turns here - \" You hear a metallic banging, and then Samir resumes, \"There's no way to keep going the way I was going. There's light back the way I came, from the Geo Lab, and then the tunnel turns off to the left.\"\n\nYou translate that mentally as north and east. You shout back, \"Don't worry, I'll get you out real soon.\"\n\n> You ask Samir,  to go to the east\nYou call, \"Samir, please go down the duct to the left.\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"Okay, I'm going now!\"\n\n> Go east\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You ask Samir,  to look around\nYou shout, \"What do you see, Samir?\"\n\nFrom somewhere above the ceiling tiles, Samir hollers, \"The tunnel bends off to the right, and it gets really dark past the bend. I can see a little bit from the light coming in from the left, but only a little bit.\"\n\nYou translate that mentally as a bend from west to south. You shout back, \"I'll stay with you until you're out.\"\n\n> You ask Samir,  to go south\nYou call, \"Samir, I want you to go down the duct to the right.\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"Okay, I'm going now!\"\n\n> Go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> You ask Samir,  to look around\nYou shout, \"Samir, tell me what you can see around you?\"\n\nFrom somewhere above the ceiling tiles, Samir hollers, \"It's another zigzag - the tunnel goes off to the left or back the way I came. It looks like there's light again to the left. The tunnel's bigger up to the left, and there isn't anywhere else  I can go.\"\n\nYou translate that mentally as a bend from north to east. You shout back, \"Okay, just a minute.\"\n\n> You ask Samir,  to go east\nYou call, \"Samir, I need you to go up the tunnel with more light.\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"Okay, I'm going now!\""
    },
    {
        "text": "[Themes: war]\n\n> Look around\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nAshley is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nJude says, \"It's too dark in there!\" She lets go of your hand instead of following you into the kitchen.\nAshley protests, \"Hey, there's no light in there!\" She lets go of\nyour hand instead of following you into the kitchen.\n\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\n> Go north\nYou feel your way carefully through the maze of counters until you reach the cafeteria door.\n\nYou push painfully through the swinging door.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nThe door swings shut behind you.\n\n> Shout\nYou shout, \"Samir, can you hear me?\"\n\nSounding tinny and far away, Samir hollers, \"I'm here, I can hear\nyou!\"\n\n> You ask Samir,  to look around\nYou shout, \"What's around you right now, Samir?\"\n\nFrom somewhere above the ceiling tiles, Samir yells, \"The tunnel is bigger here, and there's a grate in the wall with light coming\nthrough. I think it's daylight - if I get up close, it smells like being outside, except that everything in here smells like grease too. It's all kind of sticky. There's the grate with the light ahead of\nme, and a big dark tunnel to the right, and the smaller tunnel back behind me.\"\n\nYou translate that mentally as ducts to the south, east, and west,\nwith the east exit leading outside. You shout back, \"Okay.\"\n\n> You ask Samir,  to go south\nYou call, \"Samir, please go down the big dark tunnel.\"\n\nFrom somewhere above the ceiling tiles, Samir hollers, \"Okay, I'm\ngoing now!\"\n\n> Go south\nEven pushing through the swinging door takes more effort than it should.\n\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nThe door swings shut behind you.\n\n> You ask Samir,  to look around\nYou shout, \"What are you seeing, Samir?\"\n\nThrough a vent in the ceiling, Samir yells, \"It's really dark, but I can see a little bit from the light behind me. There's another grate in front of me - in the floor this time, not in the wall. It's big\nand flat, as big as the whole tunnel, and I can't see anything past\nit. It's even stickier here than it was before, and it smells even more like grease.\"\n\n> You look\nYou call, \"Samir, what do you see?\"\n\nThrough a vent in the ceiling, Samir hollers, \"It's really dark, but I can see a little bit from the light behind me. There's another grate in front of me - in the floor this time, not in the wall. It's big\nand flat, as big as the whole tunnel, and I can't see anything past\nit. It's even stickier here than it was before, and it smells even more like grease.\"\n\n> You ask Samir,  to go downwards\nYou shout, \"Samir, I need you to drop down through the grate. Hang onto the edge, then stretch yourself out as much as you can, so it won't be a long fall.\"\n\nSamir asks nervously, \"Will you catch me?\"\n\nThere's no way you could support his weight - it's all too easy to see yourself stumbling and falling into the stove, crashing your head or his against an unyielding metal surface. You say, \"I can't. I'm sorry. But I know you can do this.\"\n\nSamir says, \"I'm not so sure....\"\n\n> You ask Samir,  to go downwards\nYou call, \"Time to come down now, Samir. Just lower yourself through the grate, stretch yourself out long, and let go. I know you can do it.\"\n\nWith a squeal of unoiled hinges, a ventilation grate in the ceiling opens.\n\nSamir lowers himself out of the grate in the ceiling. He hangs for a moment by his fingertips, then drops to the ground and rolls when he hits.\n\nYou say, \"Great job! I knew you could do it.\"\n\nSamir says, \"They taught us how to fall in gym class\", as he gets to his feet.\n\nYou say, \"I bet Coach Lewis never thought something like this would happen,\" and you share a smile in the darkness. \"Come on,\" you say, \"let's get out of here.\"\n\n> Go west\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nJude is here, clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the east\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\n> You get Samir\nYou take Samir's hand. \"Stay with me,\" you say.\n\n> You go to the west\nYou are holding Samir's hand, so he follows you.\n\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nSamir is here, holding hands with you.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nJude is here, clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You get Jude\nYou let go of Samir's hand.\n\nYou take Jude's hand. \"Stay with me,\" you say.\n\n> You get Samir\nYou ask, \"Ashley, would you please hold hands with Samir?\"\n\nAshley takes Samir's hand."
    },
    {
        "text": "[Themes: war, Gay/queer protagonist, male protagonist, school]\n\n> Look around\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You get Ashley\nYou're already holding Ashley's hand.\n\n> Go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> Go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> Go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe gym office door is closed.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You go east\n(first opening the gym office door)\nIt seems to be locked.\n\n> GEORGE, ,EXAMINE KEYS\nYou shout, \"George, tell me about Mr. Lewis's keys.\"\n\nGeorge shouts through the door, \"That's a whole lot of keys.\"\n\n> You get the keys\nYou call, \"George, would you please pick up Mr. Lewis's keys?\"\n\nGeorge hollers through the door, \"I already have Mr. Lewis's keys!\"\n\n> You count the keys\nGeorge won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want George to ?\" message, please reenter your second command now.)"
    },
    {
        "text": "[Themes: elementary school, school, war]\n\n> You look around\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe gym office door is closed.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> Go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\n\nThis was the approved route to shelter, before the bombs hit and the ceiling collapsed. Now, shards of plastic and glass jut from the rubble, and more than one corpse lies buried beneath the weight of stone. Heavy debris lies half-propped upon long pieces of rebar, creating a hazardous barrier that blocks the way north. The way south remains open.\n\nSamir is here, holding hands with Ashley.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nTo the west, more debris blocks off the door to Avery Thomas's classroom.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\n> You get Tyrone\nYou ask, \"Samir, would you please hold hands with Tyrone?\"\n\nSamir takes Tyrone's hand.\n\n> Go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You go to the west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the west\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding Jude's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\nAshley is holding Samir's hand, so he follows Ashley.\nSamir is holding Tyrone's hand, so he follows Samir.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with Samir.\n\nAshley is here, holding hands with you and Samir.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You pick the lock\nWhat do you want Tyrone to pick the equipment room door with?\n\n> Clip\nYou ask, \"Tyrone, can you unlock the door if you use the paper clip?\"\n\n(Tyrone first taking the striped green paper clip)\nYou ask, \"Tyrone, would you please take the paper clip from that backpack?\"\n\nTyrone picks up the striped green paper clip.\n\nTyrone says, \"You think I know how to do something like that? I'm not a thief, you leave me alone!\"\n\n> You pick the lock with the clip\nYou ask, \"Samir, can you unlock the door if you use the paper clip?\"\n\n(Samir first taking the striped green paper clip)\nYou ask, \"Samir, can you please grab that paper clip?\"\n\nSamir reaches for the striped green paper clip, but Tyrone holds it\nout of his reach.\nSamir says, \"Tyrone won't give me the paper clip!\"\n\n> You give the clip to Samir\nYou say, \"Tyrone, please pass the paper clip to Samir.\"\n\nTyrone thrusts the striped green paper clip at Samir.\n\nSamir lets go of Ashley's hand.\n\nSamir takes the striped green paper clip from Tyrone.\n\nYou say, \"Thank you, Tyrone.\"\n\n> Equipment door\nYou ask, \"Samir, can you unlock the door if you use the paper clip?\"\n\nSamir asks quietly, \"Am I going to get in trouble?\"\n\nYou say, \"No trouble. I just need to get into the equipment room\ndoor. It will help me get everyone out safely.\"\n\nSamir bends over the equipment room door and starts fiddling in the lock with the striped green paper clip.\n\nSamir looks up and shakes his head. \"It's too hard, I can't make it work.\"\n\n> You unlock the equipment door with the clip\nYou ask, \"Jude, can you unlock the door if you use the paper clip?\"\n\n(Jude first taking the striped green paper clip)\nYou ask, \"Jude, would you please take that paper clip?\"\n\nJude reaches for the striped green paper clip, but Samir holds it out of her reach.\nJude says, \"Samir won't give me the paper clip!\"\n\n> You give the clip to Jude\nYou say, \"Samir, please give the paper clip to Jude.\"\n\nSamir holds the striped green paper clip out for Jude.\n\nJude says, \"He doesn't fit, see?\"\nBy way of demonstration, Jude attempts to stuff Mr. Bunny into her brilliantly colored My Little Pony backpack. She's right; the bunny doesn't fit.\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude says, \"I can't take that, my hands are full.\n\n> You unlock the equipment door with the clip\nYou ask, \"Ashley, can you unlock the door if you use the paper clip?\"\n\n(Ashley first taking the striped green paper clip)\nYou ask, \"Ashley, can you please grab that paper clip?\"\n\nAshley reaches for the striped green paper clip, but Samir holds it\nout of her reach.\nAshley says, \"Samir won't give me the paper clip!\"\n\n> You give the clip to Ashley\nYou say, \"Samir, please pass the paper clip to Ashley.\"\n\nSamir holds the striped green paper clip out to Ashley.\n\nAshley takes the striped green paper clip from Samir.\n\nYou say, \"Thank you, Samir.\"\n\n> You unlock the equipment door with the clip\nYou ask, \"Ashley, can you unlock the door if you use the paper clip?\"\n\nAshley says, \"I don't know how to do anything like that Mr. Ginsberg.\" Ashley gives you a worried look. \"Honest I don't.\"\nJude snickers.\n\n> You drop Hand\nWhom do you want Jude to drop hand of?\n\n> You follow you\nYou ask, \"Samir, would you please hold hands with me?\"\n\nSamir protests, \"yourself doesn't have any free hands!\"\n\n> You drop Hand\nWhom do you want to drop hand of?\n\n> You drop the ashley's hand\nWhich do you mean, the striped green paper clip (Ashley's), the Dora the Explorer shirt (Ashley's), or the damaged polka-dot skirt (Ashley's)?\n\n> You go north\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You get the clip\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou are holding Jude's hand, so she follows you.\nYou are holding Tyrone's hand, so he follows you.\nTyrone is holding Samir's hand, so he follows Tyrone.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is here, holding hands with Tyrone.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nAshley is here, carrying a striped green paper clip.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\nYour hands are shaking badly enough that you're afraid of dropping the striped green paper clip, but you could ask one of the students to get it for you.\n\n> You get the clip\nYou ask, \"Samir, would you please get that paper clip?\"\n\nSamir reaches for the striped green paper clip, but Ashley holds it\nout of his reach.\nSamir says, \"Ashley won't give me the paper clip!\"\n\n> You give the clip to Samir\nYou say, \"Ashley, please give the paper clip to Samir.\"\n\nAshley holds the striped green paper clip out for Samir.\n\nSamir takes the striped green paper clip from Ashley.\n\nYou say, \"Thank you, Ashley.\"\n\n> You drop Hand of Tyrone\nYou let go of Tyrone's hand.\n\n> You drop Hand of Jude\nYou let go of Jude's hand.\n\n> You drop Hand of Tyrone\nYou say, \"Samir, let go of Tyrone.\"\n\nSamir lets go of Tyrone's hand.\n\n> You ask Samir,  to go west\nYou say, \"Samir, I need you to go through the hole into Mrs. McCaskill's room.\"\n\nthe gap in the wall.\n\n> Go west\nYou say, \"I'm going to need both of my hands for this,\" and drop Samir's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nSamir is here, carrying a striped green paper clip.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You ask Samir,  to go east\nYou say, \"Samir, please go into the art room.\"\n\nthe gap in the wall.\n\n> You go to the east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nSamir is here, carrying a striped green paper clip.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> Black\nYou ask, \"Samir, can you put your paper clip into the backpack?\"\n\nbackpack.\n\n> You follow Samir\nYou ask, \"Tyrone, would you please hold hands with Samir?\"\n\nTyrone takes Samir's hand.\n\n> You follow Samir\nYou ask, \"Ashley, would you please hold hands with Samir?\"\n\nAshley protests, \"Samir doesn't have any free hands!\"\n\n> You examine Samir\nHe's heavily smudged with dust and grime, but generally looks unhurt.\n\nSamir is wearing a bulging blue knapsack, a purple polo shirt, and a pair of black shorts.\n\n> You follow Tyrone\nYou ask, \"Ashley, would you please hold hands with Tyrone?\"\n\nTyrone mutters, \"Don't want to hold hands with a girl.\" You give him\na Teacher Look, expecting that sterner measures will be required, but he quiets down.\n\nAshley takes Tyrone's hand.\n\n> You follow Ashley\nYou ask, \"Jude, would you please hold hands with Ashley?\"\n\nJude takes Ashley's hand.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\nSamir is holding Tyrone's hand, so he follows Samir.\nTyrone is holding Ashley's hand, so she follows Tyrone.\nAshley is holding Jude's hand, so she follows Ashley.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nTyrone is here, holding hands with Ashley and Samir.\n\nThe gym office door is closed.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You open locker\nYou ask, \"Jude, can you open the locker?\"\n\nJude closes the gym locker.\n\nJude opens the next gym locker, revealing nothing.\n\n> You open the locker\nYou ask, \"Ashley, can you open the locker?\"\n\nAshley closes the gym locker.\n\nAshley opens the next gym locker, revealing nothing.\n\n> You open the locker\nYou ask, \"Samir, can you open the locker?\"\n\nSamir closes the gym locker.\n\nSamir opens the next gym locker, revealing nothing.\n\n> You open the locker\nYou ask, \"Tyrone, can you open the locker?\"\n\nTyrone closes the gym locker.\n\nTyrone opens the next gym locker, revealing nothing.\n\n> Keep going\nYou ask, \"Tyrone, can you open the locker?\"\n\nTyrone closes the gym locker.\n\nTyrone opens the next gym locker, revealing a bobby pin.\n\n> You get the pin\nYou ask, \"Tyrone, could you please pick up the bobby pin from that locker?\"\n\nTyrone lets go of Samir's hand.\n\nTyrone picks up the bobby pin.\n\n> You put pin in black backpack\nYou ask, \"Tyrone, can you put your bobby pin into your backpack?\"\n\nTyrone puts the bobby pin into the black canvas backpack.\n\n> Continue\nYou ask, \"Tyrone, can you open the locker?\"\n\nTyrone closes the gym locker.\n\nTyrone opens the next gym locker, revealing a deodorant spray bottle.\n\n> You put the bottle in the black packpack\nTyrone won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Tyrone to ?\" message, please reenter your second command now.)\n\n> You get the bottle\nYou ask, \"Tyrone, would you please get the deodorant from that\nlocker?\"\n\nTyrone picks up the deodorant spray bottle.\n\n> Continue\nYou ask, \"Tyrone, can you open the locker?\"\n\nTyrone closes the gym locker.\n\nTyrone opens the next gym locker, revealing a broken ponytail holder.\n\n> You get the holder\nYou ask, \"Tyrone, could you please grab the ponytail holder from that locker?\"\n\nTyrone lets go of Ashley's hand.\n\nTyrone picks up the broken ponytail holder.\n\n> You look at Tyrone\nTyrone realizes immediately that he's the focus of your attention and stares back challengingly. He doesn't even come up to your armpit,\nbut he hardly seems to notice.\n\nTyrone is wearin"
    },
    {
        "text": "g a black canvas backpack, a Notre Dame jersey, and a pair of baggy jeans.\nTyrone is carrying a broken ponytail holder and a deodorant spray bottle.\n\n> TYRONE, ,EXAMINE HOLDER\nYou say, \"Tyrone, tell me about the ponytail holder.\"\n\nTyrone says, \"Um... I don't know what you mean... it's just a ponytail holder.\"\n\n> You look at the holder\nYou examine the broken ponytail holder in Tyrone's hand. You see nothing special about the broken ponytail holder.\n\n> You give the jeans to George\nYou say, \"Tyrone, please show the jeans to George.\"\n\nTyrone crowds up to the small window.\n\nTyrone holds the pair of baggy jeans up to the window for George's inspection. \"Look, it's a jeans!\"\n\nGeorge shouts through the door, \"I don't need that, I need pants!\"\n\nJude grins, Ashley titters, Tyrone frowns, and Samir snorts, and\nGeorge looks even more unhappy.\n\nTyrone says, \"Like you were never six,\" and gives Jude and Ashley a withering look.\n.\n\nYou give Jude and Ashley a stern look, and they subside hurriedly.\n\n> You think about class\nThe Geo Lab is Avery Thomas's classroom. He keeps a collection of rocks in there that would do a museum proud, if it were a small museum that didn't focus much on earth science. They're not rare, but they are shiny.\n\n> You think about the children\nEvery teacher has specific classes they teach, but every teacher gets\na homeroom class too. This year, you pulled the short straw, and you have a small class of mostly problem cases. Some of your students\nwere with Emily - but Jude, Ashley, and Samir definitely scattered,\nand you think George and Keiko were with them.\n\n> You ask George about the locker\n(the gym locker)\nYou shout, \"Do you keep pants or shorts or something in your gym locker?\"\n\nGeorge hollers through the door, \"No, the gym lockers don't lock!\"\n\nHe has a point, but you could wish he didn't.\n\n> You check what you're carrying\nYou are wearing a striped red tie, a rumpled white shirt, some pair of black slacks, and a gold wedding band.\n\n> You go to the north\nYou are holding Samir's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is here, holding hands with you.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You drop Samir\nYou let go of Samir's hand.\n\n> Go north\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nThe fire alarms flash and shrill monotonously.\n\n> You search the lockers\nYou check one of the lockers, but, as you suspected, the locker is locked.\n\nThere's a combination lock that could be used to enter a combination, if you knew any of the locker combinations - which you don't right\nnow.\n\n> You open the locker\nYou check one of the lockers, but, as you suspected, the locker is locked.\n\nThere's a combination lock that could be used to enter a combination, if you knew any of the locker combinations - which you don't right\nnow.\n\nGeorge shouts through the door, \"I can't remember.\"\n\n> You go to the west\nYou can't go that way.\n\nFrom here, you can try going south into the gym or east along the\nhall.\n\n> You go to the south\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You take Samir\nYou take Samir's hand. \"Stay with me,\" you say.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nSamir is here, holding hands with you.\n\nThe gym office door is closed.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nTyrone is here, carrying a broken ponytail holder and a deodorant\nspray bottle.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You drop Samir\nYou let go of Samir's hand.\n\n> You ask George about the narrow locker\nYou call, \"George, where is your normal locker?\"\n\nGeorge shouts through the door, \"It's on the hallway just past the bathrooms. It's number A35.\"\n\n> You ask George about the combination\nYou shout, \"George, this is a really bad time to forget your locker combination. Can you think really hard?\"\n\nGeorge hollers through the door, \"I'm thinking really hard, I can't think of it!\"\n\nSamir tries not to smile, Jude snickers, Ashley grins, and Tyrone\nsighs a little, and George looks even more ashamed\n\n> Keep going\nYou call, \"George, I'm going to ask you one more time. What's your locker combination?\"\n\nGeorge shouts through the door, \"I think it might be... 20 36 22?\"\n\nYou say, \"Thanks, I'll give it a try.\"\n\n> Go north\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> Go north\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nThe fire alarms flash and shrill monotonously.\n\n> You examine the locker\nThe lockers are narrow, brown, and about four feet tall. Every\nstudent gets a locker on their first day, along with a lecture about how they are strictly forbidden to decorate the lockers or change\ntheir locker combinations.\n\nThere's locker A35, George's locker.\n\n> You unlock locker a35\nWhat do you want to unlock George's locker with?\n\n> You open the locker a35\nYou check one of the lockers, but, as you suspected, the locker is locked.\n\nThere's a combination lock that could be used to enter a combination, if you knew any of the locker combinations - which you don't right\nnow.\n\n> You turn the lock to 20\nI didn't understand that number.\n\nI didn't understand that number.\n\n> You turn the dial left to 20\nThese lockers have combinations that start to the right.\n\n> You turn the dial right to 20\nYou concentrate to still your shaking hand, and reach for the locker dial.\n\nYou turn the dial right to 20.\n\n> Turn dial left to 36\nYou turn the dial left to 36.\n\n> You turn the dial right to 22\nYou turn the dial right to 22. That makes three numbers - 20 R, 36 L, 22 R - but the lock doesn't open.\n\nYou spin the lock to clear the old combination off.\nThat's exactly what George told you, but it didn't open the locker.\n\n> You go to the south\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nThe gym office door is closed.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nTyrone is here, carrying a broken ponytail holder and a deodorant\nspray bottle.\n\nA old boombox sits quietly on one of the wooden benches.\n\n> You ask George about the combination\nYou shout, \"George, that wasn't your locker combination.\"\n\nGeorge hollers through the door, \"I guess that was from last year....\n\"\n\nYou say, \"George, I need you to think really hard about your locker combination.\"\n\nGeorge shouts through the door, \"I can't remember, I'm sorry!\"\n\nSamir snorts, Jude giggles, Ashley titters, and Tyrone scowls, and George looks even more unhappy.\n\nYou say, \"I'm right here, Jude and Ashley.\"\n\n> Continue\nYou call, \"George, I need you to think really hard about your combination.\"\n\nGeorge hollers through the door, \"I can't remember, I'm sorry!\"\n\nSamir sneezes, Jude snickers, Ashley giggles, and Tyrone frowns, and George looks even more miserable.\n\nYou say, \"Enough, Jude and Ashley.\"\n\n> Keep going\nYou shout, \"George, I need you to think really hard about your combination.\"\n\nGeorge shouts through the door, \"I can't remember, I'm sorry!\"\n\nSamir coughs, Jude titters, Ashley snickers, and Tyrone scowls, and George looks even more embarrassed\n\n> You ask Jude about the combination\nYou can't think of a good question to ask Jude about the combination lock.\n(You could try asking Jude about Mr. Bunny, Ashley, or\nKeiko.)\n\n> You examine clip\nYou examine the striped green paper clip inside Tyrone's black canvas backpack. You see nothing special about the striped green paper clip.\n\n> Drop holder\nYou say, \"Tyrone, put down the ponytail holder.\"\n\nTyrone puts the broken ponytail holder on the floor.\n\n> You drop the bottle\nYou say, \"Tyrone, please put down the deodorant.\"\n\nTyrone puts the deodorant spray bottle on the floor.\n\n> You take Tyrone\nYou take Tyrone's hand. \"Stay with me,\" you say.\n\n> You go to the north\nYou are holding Tyrone's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with you.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You go north\nYou are holding Tyrone's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Tyrone's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding Tyrone's hand, so he follows you.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nTyrone is here, holding hands with you.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You go to the west\nYou say, \"I'm going to need both of my hands for this,\" and drop Tyrone's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You ask Tyrone,  to go west\nYou call, \"Tyrone, I want you to come through the hole into Mrs. McCaskill's room.\"\n\ngap in the wall.\n\n> You take the clip\nYou ask, \"Tyrone, can you please pick up the paper clip from that backpack?\"\n\nTyrone picks up the striped green paper clip.\n\n> You pick the metal drawer with the clip\nYou wouldn't break into Jenny's desk without good reason... but\ngetting George out of Mr. Lewis's office seems like a good reason.\n\nYou ask, \"Tyrone, can you unlock the drawer if you use the paper\nclip?\"\n\nTyrone says, \"You think I know how to do something like that? I'm not a thief, you leave me alone!\"\n\ngetting George out of Mr. Lewis's office seems like a good reason.\"\n\n> You ask Tyrone,  to go east\nYou say, \"Tyrone, I need you to go into the art room.\"\n\nTyrone climbs carefully over the rubble-strewn table and out through the gap in the wall.\n\n> You go to the east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nTyrone is here, carrying a striped green paper clip.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You give the clip to you\nYou say, \"Tyrone, please pass me that paper clip.\n\nTyrone offers you the striped green paper clip.\n\nYou accept the striped green paper clip. \"Thank you, Tyrone.\"\n\n> You put the clip in the pocket\nThe striped green paper clip doesn't fit in your pocket because the Duracell D-cell batteries is already in there. (These pants never had much in the way of pockets.)\n\nYou put the striped green paper clip into the left pocket of your slacks.\n\n> You take Tyrone\nYou take Tyrone's hand. \"Stay with me,\" you say.\n\n> Go south\nYou are holding Tyrone's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nTyrone is here, holding hands with you.\n\nThe gym office door is closed.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You drop Tyrone\nYou let go of Tyrone's hand.\n\n> Go north\nYou are holding Samir's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Samir's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding Samir's hand, so he follows you.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nSamir is here, holding hands with you.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You go west\nYou say, \"I'm going to need both of my hands for this,\" and drop Samir's hand.\n\nDespite your trembling hands, you scramble successfully over the table and through the gap.\n\nMrs. McCaskill's Room\nHalf the ceiling has fallen, crushing the west side of the room\nbeneath debris and blocking the door entirely. The water sprinklers spew frantically, turning papers and decorations to mush, but whatever's burning isn't actually in this room.\n\nA gaping hole in the east wall allows you back into your classroom, if you scramble over the rubble-strewn table in the way. The north wall is in similarly poor state, but the choking smoke on that side ensures it's not a viable exit.\n\nA crumpled poster projects from the rubble, mostly sheltered from the sprinklers by a fallen corkboard.\n\nWater flows down the legs of the cheap wooden teacher's desk to the growing puddle on the floor.\n\n> You ask Samir,  to go west\nYou shout, \"Samir, I want you to come through the hole into Mrs. McCaskill's room.\"\n\nSamir crawls over the rubble-strewn table and comes in through the gap in the wall.\n\n> You give the clip to Samir\n(first taking the striped green paper clip)\nYou give the striped green paper clip to Samir.\n\n> You pick the metal drawer with the clip\nYou set about corrupting America's youth, or, at least, Samir.\n\nYou ask, \"Samir, can you unlock the drawer if you use the paper clip?\"\n\nSamir takes a moment to straighten out the striped green paper clip. Samir bends over the metal drawer with the straightened striped green paper clip. In a moment, you hear a click, and Samir straightens up again.\n\n> You open the drawer\nBlack spots pass before your eyes, and you have to steady yourself for a moment on the desk. But the drawer opens.\n\n> You read the notebook\nThis slim red notebook contains all the school locker combinations.\nThe plastic cover is protecting it somewhat from the sprinklers, but that won't survive forever.\nWhite-Out lettering on the cover reads, \"Locker Combinations - Mrs. McCaskill - Do Not Touch\". The notebook is currently closed.\n\n> You take the notebook\nYou ask, \"Samir, would you please grab the notebook from that drawer?\"\n\nSamir picks up the slim red notebook.\n\n> You ask Samir,  to go east\nYou say, \"Samir, I need you to go into the art room.\"\n\nthe gap in the wall.\n\n> You go east\nDespite your weakened muscles, you scramble successfully over the\ntable and through the gap.\n\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nSamir is here, carrying a slim red notebook and a straightened striped green paper clip.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\n> You open the notebook\nYou ask, \"Samir, can you open the notebook?\"\n\nSamir opens the slim red notebook.\n\n> You read the notebook\nYou examine the slim red notebook in Samir's hand. This slim red notebook contains all the school locker combinations. You search through the pages until you locate George's locker combination, which is 40 R, 52 L, 56 R this year.\n\n> You drop the notebook\nYou say, \"Samir, please put down the notebook.\"\n\nSamir puts the slim red notebook on the floor.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with you and carrying a straightened striped green paper clip.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Samir's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nSamir is here, holding hands with you and carrying a straightened striped green paper clip.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the east\nYou are holding Samir's hand, so he follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nSamir is here, holding hands with you and carrying a straightened striped green paper clip.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nYou are holding Samir's hand, so he follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nSamir is here, holding hands with you and carrying a straightened striped green paper clip.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> You turn the dial right to 40\nYou turn the dial right to 40.\n\n> Turn dial left to 52\nYou turn the dial left to 52.\n\n> You turn the dial right to 56\nYou turn the dial right to 56, and George's locker pops open.\n\n> You open the locker\nThat's already open.\n\n> You look in it\nIn George's locker is a pair of ragged jeans.\n\n> You drop clip\nYou say, \"Samir, please put down the paper clip.\"\n\nSamir puts the straightened striped green paper clip on the floor.\n\n> You take ragged jeans\nYou ask, \"Samir, can you please take the pair"
    },
    {
        "text": "of ragged jeans from George's locker?\"\n\nSamir picks up the pair of ragged jeans.\n\n> You take Samir\nYou're already holding Samir's hand.\n\n> Go west\nYou are holding Samir's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nSamir is here, holding hands with you and carrying a pair of ragged jeans.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the west\nYou are holding Samir's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nSamir is here, holding hands with you and carrying a pair of ragged jeans.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go west\nYou are holding Samir's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nSamir is here, holding hands with you and carrying a pair of ragged jeans.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nSamir is here, holding hands with you and carrying a pair of ragged jeans.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nSamir is here, holding hands with you and carrying a pair of ragged jeans.\n\nThe gym office door is closed.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You give the pants to George\n(the pair of ragged jeans to George)\nYou say, \"Samir, please show the pair of ragged jeans to George.\"\n\nSamir crowds up to the small window.\n\nSamir holds the pair of ragged jeans up to the window for George's inspection. \"Look, it's a pair of ragged jeans!\"\n\nWith a click, the gym office door opens just far enough for George to stick his hand out and grab the pants away from Samir. Before you can intervene, George slams the door shut again.\n\n> You wait a while\nYou wait.\n\n> You knock on the door\nGEORGE, OPEN DOOR\n\nYou call, \"George, can you open the door?\"\n\nGeorge hollers through the door, \"No, leave me alone! I'm changing!\"\n\nThe gym office door opens again, and George comes out wearing the ragged jeans under his oversized T-shirt.\n\nYou can't see any such thing.\n\n> You look at George\nHe needs a bath, a hug, and a haircut, but first he needs to get out\nof here.\n\nGeorge is wearing a pair of ragged jeans and an oversized T-shirt. George is carrying Mr. Lewis's gym keys and a lacrosse stick.\n\n> You drop the stick\nYou say, \"George, put down the lacrosse stick.\"\n\nGeorge puts the lacrosse stick on the floor.\n\n> You take George\nYou take George's hand. \"Stay with me,\" you say.\n\n> You go to the north\nYou are holding George's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nGeorge is here, holding hands with you and carrying Mr. Lewis's gym keys.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> You unlock the equipment door with keys\nYou ask, \"George, can you unlock the door if you use Mr. Lewis's\nkeys?\"\n\nGeorge sorts through the keys and finds the correct one on the fourth try. You hear a click as he unlocks the equipment room.\n\n> You drop the keys\nYou say, \"George, put down Mr. Lewis's keys.\"\n\nGeorge puts Mr. Lewis's gym keys on the floor.\n\n> Equipment\nYou ask, \"George, can you open the door?\"\n\nGeorge opens the equipment room door.\n\n> Go west\nYou are holding George's hand, so he follows you.\n\nA single incandescent bulb swings overhead from a short chain. Its harsh light showcases half-empty racks, bins, and boxes of gym equipment, most badly in need of repair.\n\nGeorge is here, holding hands with you.\n\nYou can also see a wobbly table (on which is a roll of black cloth tape) here.\n\n> You get all\nwobbly table: To avoid confusing George, ask about one thing at a\ntime.\nDuracell D-cell batteries: To avoid confusing George, ask about one thing at a time.\nroll of black cloth tape: To avoid confusing George, ask about one thing at a time.\nGeorge: To avoid confusing George, ask about one thing at a time.\n\n> You get tape\nYou ask, \"George, could you please pick up that roll of tape?\"\n\nGeorge picks up the roll of black cloth tape.\n\n> You go to the east\nYou are holding George's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The open door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see Mr. Lewis's gym keys, a blue exercise mat, and a pommel horse here.\n\n> You go to the west\nYou are holding George's hand, so he follows you.\n\nA single incandescent bulb swings overhead from a short chain. Its harsh light showcases half-empty racks, bins, and boxes of gym equipment, most badly in need of repair.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nYou can also see a wobbly table here.\n\n> Exits\nFrom here, you can try going east into the gym.\n\n> You examine table\nIt's a cheap table made from two metal rectangles and a white plastic surface between them.\n\n> Go south\nYou are holding George's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe gym office door is open.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, holding hands with Ashley and clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a lacrosse stick, a deodorant spray bottle, and a broken ponytail holder here.\n\n> You take the stick\nYou ask, \"Ashley, can you please take that lacrosse stick?\"\n\nAshley picks up the lacrosse stick.\n\n> You take Ashley\nAshley doesn't have a free hand, since she is carrying a lacrosse\nstick and holding hands with Jude.\n\n> You drop jude\nYou say, \"Ashley, let go of Jude.\"\n\nAshley lets go of Jude's hand.\n\n> You go south\nYou are holding George's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe gym office door is open.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nAshley is here, holding a lacrosse stick.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You take Ashley\nYou take Ashley's hand. \"Stay with me,\" you say.\n\n> Go north\nYou are holding George's hand, so he follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The open door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see Mr. Lewis's gym keys, a blue exercise mat, and a pommel horse here.\n\n> Go north\nYou are holding George's hand, so he follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding George's hand, so he follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nYou are holding George's hand, so he follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding George's hand, so he follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\n> Go west\nGeorge hangs back until you say, \"It's okay, George.\"\n\nGeorge reluctantly follows you in.\nYou are holding Ashley's hand, so she follows you.\n\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nAshley is here, holding hands with you and holding a lacrosse stick.\n\nGeorge is here, holding hands with you and carrying a roll of black cloth tape.\n\nKeiko is sitting on the bathroom floor. Her hair and clothing are soaked from the spraying water, and her right leg is visibly broken.\n\nYou can also see a yardstick here.\n\nGeorge says, \"I'm not supposed to be in the girls' bathroom.\"\n\nYou say, \"Doesn't matter right now. Keiko needs help.\"\n\n> You drop george\nYou let go of George's hand.\n\nAshley asks Keiko, \"Can I do something to help?\"\n\nKeiko shakes her head. \"Just don't go away.\"\nAshley sits down next to Keiko. \"I'll stay here until Mr. Ginsberg needs me again,\" she says.\n\n> You take the tape\nYou ask, \"Ashley, could you please grab that roll of tape?\"\n\nAshley reaches for the roll of black cloth tape, but George holds it out of her reach.\nAshley says, \"George won't give me the roll of tape!\"\n\nKeiko breathes through her teeth for a moment.\n\n> You give the tape to Ashley\nYou say, \"George, please pass the roll of tape to Ashley.\"\n\nGeorge pushes the roll of black cloth tape at Ashley.\n\nAshley takes the roll of black cloth tape from George.\n\nYou say, \"Thank you, George.\"\n\nKeiko breathes through her teeth for a moment.\n\n> You give the stick to Keiko\nYou say, \"Ashley, please hand the lacrosse stick to Keiko.\"\n\nAshley offers the lacrosse stick to Keiko.\n\nKeiko takes the lacrosse stick from Ashley.\n\nYou say, \"Thank you, Ashley.\"\n\n> You take the yardstick\nYou ask, \"Ashley, can you please take that yardstick?\"\n\nAshley picks up the yardstick.\n\n> You examine the right leg\nKeiko's leg is visibly broken. There's an ugly scrape mark above the break, too.\n\n> You put the yardstick on the right leg\nBalancing something on Keiko's right leg is probably difficult.\nBetter to have Ashley leave it on the floor, if it needs to be left behind.\n\n> You put the tape on the yardstick\nBalancing something on the yardstick is probably difficult. Better to have Ashley leave it on the floor, if it needs to be left behind.\n\n> You tie the yardstick to the right leg\n(When you're ready to splint Keiko's leg, just SPLINT KEIKO.)\n\n> Splint keiko\nThe yardstick is too long and unwieldy. You'll have to break it in half.\n\n> You break the yardstick\nYou ask, \"Ashley, can you break the yardstick?\"\n\nAshley gives the yardstick a dubious look. \"Can't you ask one of the boys?\" she asks.\n\nGeorge volunteers, \"I could do it!\"\n\n> You give the yardstick to George\nYou say, \"Ashley, please pass the yardstick to George.\"\n\nAshley holds the yardstick out to George.\n\nGeorge pulls the yardstick away from Ashley.\n\nYou say, \"Gently, George!\"\n\n> You break yardstick\nYou ask, \"George, can you break the yardstick?\"\n\nGeorge considers his options for a moment before leaning the yardstick up against a wall. One powerful stomp downward breaks the yardstick neatly in two, with surprisingly few splinters sticking out.\n\nGeorge studies the yardstick for a moment and breaks off a few last splinters before showing it off to you.\n\nYou say, \"Nicely done,\" and George grins with pride.\n\nKeiko breathes through her teeth for a moment.\n\n> Splint keiko\nYou try to rip off a length of the black cloth tape and discover that you don't have enough strength to tear it. Before the spraying water can ruin the adhesive, you hurriedly wind it back onto its spool.\n\n> Splint keiko\nNo. Ashley is just a kid - they all are. You can't put this responsibility on them.\n\nYou're going to have to splint Keiko's leg yourself.\n\n> Tear tape\nBad plan. If breaking the roll of black cloth tape would help save your students, that would be one thing - but encouraging vandalism\njust sets a bad precedent.\n\n> You drop the yardstick\nYou say, \"George, please put down the yardstick.\"\n\nGeorge puts the broken yardstick on the floor.\n\n> You take George\nYou take George's hand. \"Stay with me,\" you say.\n\n> You go east\nYou are holding George's hand, so he follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nGeorge is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\n> Go north\nYou are holding George's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nGeorge is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nYou are holding George's hand, so he follows you.\n\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nGeorge is here, holding hands with you.\n\nYou can also see a closet door, a pair of safety scissors, and an enormous blackboard here.\n\n> You take scissors\nYou ask, \"George, would you please pick up that pair of scissors?\"\n\nGeorge picks up the pair of safety scissors.\n\nGeorge asks, \"Mr. Ginsberg, can I draw on the chalkboard?\"\n\nYou say, \"Go ahead. Just don't erase my note.\"\n\nGeorge wanders over to the blackboard, picks up a piece of chalk, and scratches away at the board for a while.\n\nSatisfied with his drawing, George puts the chalk back in the tray.\n\n> You go to the south\nYou are holding George's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nGeorge is here, holding hands with you and carrying a pair of safety scissors.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding George's hand, so he follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nGeorge is here, holding hands with you and carrying a pair of safety scissors.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\n> You go west\nYou are holding George's hand, so he follows you.\n\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nGeorge is here, holding hands with you and carrying a pair of safety scissors.\n\nAshley is sitting here and carrying a roll of black cloth tape.\n\nKeiko is sitting here and holding a lacrosse stick.\n\nYou can also see a broken yardstick here.\n\n> You give scissors to Ashley\nYou say, \"George, please give the pair of scissors to Ashley.\"\n\nGeorge thrusts the pair of safety scissors at Ashley.\n\nAshley takes the pair of safety scissors from George.\n\nYou say, \"Thank you, George.\"\n\n> You cut the tape\nYou ask, \"Ashley, can you cut the roll of tape?\"\n\nAshley says, \"Are you sure about that, Mr. Ginsberg?\"\n\nYou ask, \"No, I didn't mean it. Sorry, I don't know what I was thinking.\"\n\n> You drop george\nASHLEY, GIVE SCISSORS TO GEORGE\n\nYou say, \"Ashley, please hand the pair of scissors to George.\"\n\nAshley offers the pair of safety scissors to George.\n\nGeorge grabs the pair of safety scissors away from Ashley.\n\nYou say, \"Gently, George!\"\n\nYou let go of George's hand.\n\n> You cut the tape with the scissors\nGeorge won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want George to ?\" message, please reenter your second command now.)\n\n> You give the scissors to you\nYou say, \"George, please pass me that pair of scissors.\n\nGeorge offers you the pair of safety scissors.\n\nYou accept the pair of safety scissors. \"Thank you, George.\"\n\n> You cut the tape\nYou say, \"Ashley, I need to see the roll of tape for a moment.\"\n\n(When you're ready to splint Keiko's leg, just SPLINT KEIKO.)\n\nfloor.\n\n> You drop the tape\nYou say, \"Ashley, put down the roll of tape.\"\n\nAshley puts the roll of black cloth tape on the floor.\n\n> You take the tape and the scissors\nroll of black cloth tape: You're weak and trembling from the toxic\ngas, and you're not actually sure you can pick up the roll of black cloth tape. Maybe you could ask one of the students to get it for\nyou.\n(Example: George, TAKE roll of black cloth tape.)\npair of safety scissors: Your hands are shaking badly enough that you're afraid of dropping the pair of safety scissors, but you could ask one of the students to get it for you.\n\n> Splint keiko\nYou looked at the yardstick, the scissors, and the black cloth tape - all carried here by a student, because you didn't have the strength to carry them yourself. And you looked at your hands, which wouldn't\nstop shaking. And then you looked at Keiko, and you picked up the yardstick.\n\nWhen Keiko screamed, George whimpered and wrapped his arms around himself as if he could hug the sound away, and Ashley went pale and\nran out of the room,\nAfterward, you might say you prayed. Or only that you thought of\nAdam. Or only that you had to keep going. But when you were done at last, sitting back on your heels in the spraying water and misery, you heard Keiko whisper, \"Thank you.\"\n\nKeiko levers herself up with the lacrosse stick. Her balance clearly isn't great, but between her splinted leg and the lacrosse stick, she should be able to get around for the time being."
    },
    {
        "text": "> Look around\nRubble and debris fill the back half of the bathroom. At least one pipe burst in the collapse, and water sprays steadily across the room to bounce off a stall door and pool on the ugly cream-and-black tiles.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nKeiko is here, leaning heavily on a lacrosse stick.\n\nYou can also see a pair of safety scissors here.\n\n> You get George\nYou take George's hand. \"Stay with me,\" you say.\n\n> You get Keiko\nYou reach for Keiko's free hand, but she says, \"No, I need my hand for balance. I'll just follow you.\"\n(If you don't want Keiko to follow you, try KEIKO, SIT.)\n\n> You go to the east\nYou get to your feet with the help of a nearby wall.\n\nYou are holding George's hand, so he follows you.\n\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nGeorge is here, holding hands with you.\n\nAshley is sitting here fiddling with the damaged hem of her skirt.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\nKeiko hobbles into the hall.\n\n> You sit\nYou say, \"Keiko, please have a seat.\"\n\nKeiko sits down carefully, keeping her weight entirely off her bad\nleg.\n\nAshley approaches Keiko with her eyes averted. \"Kiki, I'm sorry I ran away. I didn't mean to, I was scared, I'm sorry.\"\n\nKeiko says, \"If I could've run away, I would have run too. It's all right - we're good.\"\n\nKeiko reaches up to Ashley, and they exchange a hug.\n\n> Go north\nYou are holding George's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nGeorge is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding George's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nGeorge is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding George's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nGeorge is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go south\nYou are holding George's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The open door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nGeorge is here, holding hands with you.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see Mr. Lewis's gym keys, a blue exercise mat, and a pommel horse here.\n\n> Go south\nYou are holding George's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you.\n\nThe gym office door is open.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> Go east\nYou are holding George's hand, so he follows you.\n\nMr. Lewis's office is sparsely furnished in cement and metal. There's a massive steel desk against the left wall and a row of coat hooks on the other side. The one framed poster shows two basketball players colliding in an explosion of sweat. Everything reeks of old body\nodor, and, of course, George.\n\nGeorge is here, holding hands with you.\n\nThe gym office door is open.\n\nThere's a black wire wastebasket beside the desk.\n\n> You look at wastebasket\nIt's a basic black wire wastebasket.\n\nIn the black wire wastebasket are some pair of soggy pants.\n\n> You examine the desk\n(the massive steel desk)\nIt's quite a cut above Jenny McCaskill's, but you can also see why she wouldn't want this steel behemoth. You could probably hide under this successfully during DEFCON 2.\n\nThe desk drawer is open.\n\n> You look under the desk\n(the massive steel desk)\nYou find nothing of interest.\n\n> You look in the drawer\nThe desk drawer is empty.\n\n> You wear the pants\n(the pair of black slacks)\nYou're already wearing those!\n\n> Examine poster\nOne of the basketball players is white, and one is black, but you\ndon't know much about basketball and you can't recognize either one. Their faces are contorted with effort as one lunges for the ball and the other struggles to keep it away. The lettering underneath reads, \"You better SWEAT!\"\n\n> You get the soggy pants\nYou ask, \"George, could you please grab the pants from that wastebasket?\"\n\nGeorge says, \"No, I don't need those pants now!\"\n\n> You get the wastebasket\nYou ask, \"George, can you please take that wastebasket?\"\n\nGeorge heaves at the black wire wastebasket before giving up, disappointed. \"I can't, it's too heavy for me!\""
    },
    {
        "text": "[Themes: elementary school]\n\n> You look around\nMr. Lewis's office is sparsely furnished in cement and metal. There's a massive steel desk against the left wall and a row of coat hooks on the other side. The one framed poster shows two basketball players colliding in an explosion of sweat. Everything reeks of old body\nodor, and, of course, George.\n\nGeorge is here, holding hands with you.\n\nThe gym office door is open.\n\nThere's a black wire wastebasket beside the desk.\n\n> You go to the west\nYou are holding George's hand, so he follows you.\n\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you.\n\nThe gym office door is open.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You ask Samir about the flashlight\nWhich do you mean, the industrial flashlight, the battery compartment on the industrial flashlight, or the Energizer D-cell batteries?\n\n> Industrial flashlight\nYou can't think of a good question to ask Samir about the industrial flashlight.\n(You could try asking Samir about Ashley, Keiko, or Jude.)\n\n> You ask Samir about the locker\n(the gym locker)\nYou say, \"Samir, tell me about the locker.\"\n\nSamir says, \"It's a gym locker, we put our other clothes in them\nduring gym class.\"\n\n> You ask Samir about combination\nYou can't think of a good question to ask Samir about the combination lock.\n(You could try asking Samir about Ashley, Keiko, or Jude.)\n\n> You ask Samir about the narrow locker\nYou can't think of a good question to ask Samir about George's locker. (You could try asking Samir about Ashley, Keiko, or Jude.)"
    },
    {
        "text": "> You look around\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you.\n\nThe gym office door is open.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You get Samir\nYou ask, \"George, would you please hold hands with Samir?\"\n\nGeorge takes Samir's hand.\n\n> You get Tyrone\nYou ask, \"Samir, would you please hold hands with Tyrone?\"\n\nSamir takes Tyrone's hand.\n\n> You get Jude\nYou ask, \"Tyrone, would you please hold hands with Jude?\"\n\nTyrone takes Jude's hand."
    },
    {
        "text": "[Themes: Gay/queer protagonist, male protagonist]\n\n> Look around\nHeavy wooden benches separate long rows of battered green gym lockers. Everything smells like old socks in here. The coach's office is over to the east, and the gym is back to the north.\n\nGeorge is here, holding hands with you and Samir.\n\nThe gym office door is open.\n\nTyrone is here, holding hands with Samir and Jude.\n\nA old boombox sits quietly on one of the wooden benches.\n\nYou can also see a deodorant spray bottle and a broken ponytail holder here.\n\n> You go north\nYou are holding George's hand, so he follows you.\nGeorge is holding Samir's hand, so he follows George.\nSamir is holding Tyrone's hand, so he follows Samir.\nTyrone is holding Jude's hand, so she follows Tyrone.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The open door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nJude is here, holding hands with Tyrone and clinging to Mr. Bunny.\n\nSamir is here, holding hands with Tyrone and George.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see Mr. Lewis's gym keys, a blue exercise mat, and a pommel horse here.\n\n> Go north\nYou are holding George's hand, so he follows you.\nGeorge is holding Samir's hand, so he follows George.\nSamir is holding Tyrone's hand, so he follows Samir.\nTyrone is holding Jude's hand, so she follows Tyrone.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nJude is here, holding hands with Tyrone and clinging to Mr. Bunny.\n\nSamir is here, holding hands with Tyrone and George.\n\nThe fire alarms flash and shrill monotonously.\n\n> Push horse north\nYou ask, \"Tyrone, can you push the pommel horse into the hallway?\nJude, Samir, and George, he'll need your help for this.\"\n\nTyrone lets go of Samir's hand.\n\nTyrone lets go of Jude's hand.\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nSamir lets go of George's hand.\n\nGeorge lets go of your hand.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the hallway.\n\n> Go north\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> Push horse east\nYou ask, \"Tyrone, can you push the pommel horse along the hall?\nGeorge, Samir, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Samir, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it along the hall.\n\n> You go east\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> Push horse north\nYou ask, \"Tyrone, can you push the pommel horse into the art room? Jude, Samir, and George, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the art room.\n\n> You go north\nThis was your classroom. A gaping hole in the wall provides\nunexpected access to Mrs. McCaskill's room. Tissue paper trees line the intact east wall, striving to brighten the desolation.\n\nYou left a long table shoved up against the west wall. Now, that\ntable supports half the rubble from the collapsed wall and partially blocks your access to the gaping hole.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nYou can also see a pommel horse and a slim red notebook (empty) here.\n\n> You look at the ceiling\nIt's very strange seeing the wreckage of the ceiling and walls. The school used to be divided into boxes, each hall and room discrete, but now those boxes have crunched like eggshell.\n\n> Push horse south\nYou ask, \"Tyrone, can you push the pommel horse to the hallway?\nGeorge, Samir, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Samir, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it to the hallway.\n\n> Push horse east\nYou shout, \"Tyrone, can you push the pommel horse along the hall?\nJude, Samir, and George, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it along the hall.\n\n> You go east\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> Push horse north\nYou ask, \"Tyrone, can you push the pommel horse into the classroom? George, Samir, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Samir, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the classroom.\n\n> You go north\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nYou can also see a closet door, a pommel horse, and an enormous blackboard here.\n\n> You look at the ceiling\nLooks like one of the tiles was jarred loose from above.\n\n> You get on the horse\nYou're not going to climb on top of the pommel horse unless it's absolutely necessary. Your weakened muscles ache at the idea alone.\n\n> You get on the horse\nYou ask, \"Tyrone, can you climb up on the pommel horse?\"\n\nTyrone pulls himself up onto the pommel horse and then stands up.\n\n> You get the tile\nYou ask, \"Tyrone, would you please grab that tile?\"\n\nTyrone sizes up the fallen ceiling tile and then shakes his head. \"I don't think I can move that.\"\n\nWell, you probably didn't need the fallen ceiling tile anyway.\n\nGeorge picks up a piece of chalk and adds a few more details to one of the drawings on the board.\n\nSatisfied with the result, George puts the chalk back in the tray.\n\n> You go north\nThis is the only supply closet on the hall, but at least it's large. Boxes line the right wall beneath a row of empty coat hooks. On the left wall, files and stacks of paper cover the lower shelves, and a\nfew odds and ends have been tucked away on the highest shelf.\n\nYou can see a closet door and a cinder block here.\n\n> You look in the boxes\nYou check inside one of the boxes and discover a pile of translucent plastic file folders in various neon hues. That box doesn't look useful, so you close it up again.\n\n> You examine files\nStacks of fresh photocopies waiting for distribution to students and stacks of finished homework waiting for retrieval by teachers. Some\nof them have been converted into paper snowflakes.\n\n> You climb on the block\nYou're not up for clambering around right now. You might climb on something large and flat, like a desk, but a cinder block? No.\n\n> You look at the shelf\nWhich do you mean, the low shelves or the high shelf?\n\n> You get the flashlight\n(the industrial flashlight)\nYou try - you close your shaking hand around the flashlight's handle and lift. It's like trying to lift a semi truck with one hand. Dark spots flash instantly through your vision, and you wonder briefly if you're going to pass out.\n\nThe flashlight falls from your fingers and thumps back into place on the shelf. You managed to move it perhaps an inch.\n\n> Go south\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nYou can also see a closet door, a pommel horse (on which is Tyrone), and an enormous blackboard here.\n\nGeorge picks up a piece of chalk and adds a few more details to one of the drawings on the board.\n\nSatisfied with the result, George puts the chalk back in the tray.\n\n> You examine the board\nThe blackboard currently contains a list of countries in Western Europe, with extra notes about Luxembourg (capital - Luxembourg, largest city - Luxembourg, official languages - French, German, and Luxembourgish).\n\nOff to the side, the blackboard contains your note:\n\nIF YOU FIND THIS: DO NOT ERASE!\nLeave the school ASAP.\nI have located Jude, Keiko, George, Samir, Tyrone, and Ashley\nand we are leaving as soon as we can.\n\n~Mr. Ginsberg\n\nAdditionally, the blackboard contains a chalk drawing of a smiling woman riding in a rocket ship toward an impressively cratered moon.\n\n> You ask Tyrone,  to go north\nYou say, \"Tyrone, please go into the supply closet.\"\n\nTyrone jumps down from the pommel horse.\n\nTyrone goes north.\n\n> You go to the north\nThis is the only supply closet on the hall, but at least it's large. Boxes line the right wall beneath a row of empty coat hooks. On the left wall, files and stacks of paper cover the lower shelves, and a\nfew odds and ends have been tucked away on the highest shelf.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nYou can also see a closet door and a cinder block here.\n\n> You get the flashlight\n(the industrial flashlight)\nYou ask, \"Tyrone, can you please pick up that flashlight?\"\n\nTyrone stands on tiptoe and tries, but the industrial flashlight is\nout of reach on the high shelf. \"I could climb up on the low shelves, if you want?\" he suggests cautiously.\n\n> You get on low shelves\nYou ask, \"Tyrone, can you climb up on the low shelves? I want you to get down the flashlight.\"\n\nTyrone climbs up the low shelves and cranes to see the high shelf. He spots the flashlight immediately, stretches out as far as he can, and grabs it.\n\nTyrone jumps back down from the shelves.\n\n> You get the batteries\nTaken.\n\n> You put the batteries in the flashlight\nWhich do you mean, the industrial flashlight (Tyrone's) or the battery compartment on the industrial flashlight (Tyrone's)?\n\n> Compartment\nThere isn't enough room because the battery compartment on the industrial flashlight already contains the Energizer D-cell batteries.\n\nThe Duracell D-cell batteries falls from your shaking hands to the floor.\n\n> You turn on the flashlight\n(the industrial flashlight)\nYou say, \"Tyrone, hold the flashlight over here for a moment.\"\n\nYou switch the flashlight on, but nothing happens. The batteries must be dead.\n\n> You open the flashlight\n(the battery compartment on the industrial flashlight)\nYou say, \"Tyrone, let me take a look at the flashlight battery compartment.\"\n\nYou open the battery compartment on the industrial flashlight, revealing some Energizer D-cell batteries.\n\n> You get the energizer\nYour hands are shaking badly enough that you're afraid of dropping the Energizer D-cell batteries, but you could ask Tyrone to get it for\nyou.\n\n> You get the energizer\nYou ask, \"Tyrone, would you please pick up the Energizer batteries\nfrom that flashlight battery compartment?\"\n\nTyrone pries the Energizer batteries out of the flashlight.\n\n> You put the duracell in the compartment\n(first taking the Duracell D-cell batteries)\n\nYour hands are shaking badly enough that you're afraid of dropping the Duracell D-cell batteries, but you could ask Tyrone to get it for you.\n\n> You drop the energizer\nYou say, \"Tyrone, please put down the Energizer batteries.\"\n\nTyrone puts the Energizer D-cell batteries on the floor.\n\n> You put the duracell in the compartment\nYou ask, \"Tyrone, can you put the Duracell batteries into your flashlight battery compartment?\"\n\nTyrone picks up the Duracell D-cell batteries.\n\nTyrone checks the polarities and then fits the batteries into the battery compartment on the industrial flashlight.\n\nTyrone closes the battery compartment on the industrial flashlight.\n\nThe flashlight beam blinks on.\n\n> You close flashlight\n(the industrial flashlight)\nYou say, \"Tyrone, I need to see the flashlight battery compartment for a moment.\"\n\nThat's already closed.\n\n> Go south\nYou are holding Tyrone's hand, so he follows you.\n\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nTyrone is here, holding hands with you and carrying an industrial flashlight. Light spears out from the flashlight in his hand.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nYou can also see a closet door, a pommel horse, and an enormous blackboard here.\n\n> You turn off the flashlight\n(the industrial flashlight)\nYou say, \"Tyrone, hold the flashlight over here for a moment.\"\n\nYou switch the flashlight off. The beam of comforting yellow light vanishes immediately.\n\n> Push horse south\nYou ask, \"Tyrone, can you push the pommel horse to the hallway? Jude, Samir, and George, he'll need your help for this.\"\n\nTyrone lets go of your hand.\n\nTyrone puts the industrial flashlight on the floor.\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it to the hallway.\n\n> You ask Tyrone,  to go north\nYou say, \"Tyrone, I want you to go into the classroom.\"\n\nTyrone goes north.\n\n> You go to the north\nMs. Wagner's Room\nThis classroom is reasonably undamaged, apart from a fallen ceiling tile. The decorations are straight out of the 70's, all giant cardboard apples and smiling cartoon children, occupying not only the walls but the front of Ms. Wagner's desk. The air smells of markers and chalk dust.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nA lightless industrial flashlight is here.\n\nYou can also see a closet door and an enormous blackboard here.\n\n> You put the flashlight in the backpack\n(the industrial flashlight in the black canvas backpack)\n(first taking the industrial flashlight)\n\nYou can't. It's an ordinary flashlight, but you're too sick and weak to move it.\n\n> You put the flashlight in the backpack\n(the industrial flashlight in the black canvas backpack)\nYou ask, \"Tyrone, can you put the flashlight into your backpack?\"\n\nTyrone picks up the industrial flashlight.\n\nTyrone puts the industrial flashlight into the bulging black canvas backpack.\n\n> You ask Tyrone,  to go to the south\nYou say, \"Tyrone, please go to the hallway.\"\n\nTyrone goes south.\n\n> Go south\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> Push horse east\nYou ask, \"Tyrone, can you push the pommel horse past the lockers? George, Samir, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Samir, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it past the lockers.\n\n> You go to the east\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nOne of the lockers is standing open.\n\nYou can also see a pommel horse and a straightened striped green paper clip here.\n\n> Push horse east\nYou ask, \"Tyrone, can you push the pommel horse along the hall? Jude, Samir, and George, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it along the hall.\n\n> Go east\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nYou can also see a pommel horse here.\n\n> Push horse south\nYou ask, \"Tyrone, can you push the pommel horse toward the cafeteria? George, Samir, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Samir, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it toward the cafeteria.\n\n> Go south\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> Push horse south\nYou ask, \"Tyrone, can you push the pommel horse toward the school kitchen? Jude, Samir, and George, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Jude, Samir, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it toward the school kitchen.\n\n> Go south\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a pommel horse here.\n\n> You get the flashlight\n(the industrial flashlight)\nYou ask, \"Tyrone, could you please take the flashlight from that backpack?\"\n\nTyrone picks up the industrial flashlight.\n\n> Push horse east\nYou ask, \"Samir, can you push the pommel horse into the kitchen? George, Jude, and Tyrone, he'll need your help for this.\"\n\nGeorge says, \"Can we turn the lights on first?\"\nTyrone says, \"We need some light first!\"\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nSamir and Jude gather around the pommel horse and try to move it.\nWith many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the kitchen.\n\nJude comes into the hall.\n\n> You turn on the flashlight\n(the industrial flashlight)\nYou say, \"Tyrone, let me take a look at the flashlight.\"\n\nYou switch the flashlight on. It immediately produces a steady beam\nof comforting yellow light.\n\n> Push horse east\nRunning the layout of the school through your head, you don't think Samir can push the pommel horse east from where he is.\n\nYou could ask him to push it north into the cafeteria, west into the hallway, or up down the big dark tunnel."
    },
    {
        "text": "[Themes: war]\n\n> You describe your surroundings\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone is here, carrying an industrial flashlight. Light spears out from the flashlight in his hand.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go east\nThe kitchen has no windows, and without the overhead lights, it's seriously dark here. Counters and shelves are barely discernable glints in the blackness.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nYou can also see a pommel horse here.\n\n> You go to the east\nTyrone hesitantly follows the flashlight beam into the darkness.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nTyrone is here, holding hands with you and carrying an industrial flashlight. Light spears out from the flashlight in his hand.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nYou can also see a pommel horse here.\n\n> You look at the counters\nThe flashlight's wavering eye reflects back from the polished steel.\n\n> Push horse north\nYou ask, \"Samir, can you push the pommel horse into the cafeteria? Tyrone, he'll need your help for this.\"\n\nTyrone lets go of your hand.\n\nTyrone puts the industrial flashlight on the floor.\n\nSamir and Tyrone gather around the pommel horse and try to move it. After straining for a few seconds, they give up. \"It's too heavy!\" Samir says.\n\n> Go west\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nThe fire alarms flash and shrill monotonously.\n\n> You get Jude\nYou take Jude's hand. \"Stay with me,\" you say.\n\n> You get George\nYou take George's hand. \"Stay with me,\" you say.\n\n> You go to the east\nJude hangs back warily before spotting the flashlight inside.\nGeorge hangs back warily before spotting the flashlight inside.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nGeorge is here, holding hands with you.\n\nJude is here, holding hands with you and clinging to Mr. Bunny.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nYou can also see a pommel horse here.\n\n> Push horse north\nYou ask, \"Tyrone, can you push the pommel horse into the cafeteria? George, Jude, and Samir, he'll need your help for this.\"\n\nGeorge lets go of your hand.\n\nJude lets go of your hand.\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, George, Jude, and Samir gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the cafeteria.\n\n> Go north\nYou lean against the swinging door, which eventually yields.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nYou can also see a pommel horse here.\n\nThe door swings shut behind you.\n\n> You examine the windows\nThe windows are huge, almost six feet square, and they're positioned\nso far up the wall that the bottom of the frame is roughly even with your chin.\n\nThe ground slopes away on this side of the school, so the sidewalk is about fifteen feet below the window. Looking outside, you see a relatively untouched expanse of grass and concrete, though dark smoke rises from the high school across the way. Though contrails\ncrisscross the sky, there is no one in sight, either on foot or overhead to the sidewalk below.\n\n> You break the window\nBreaking the window by hand is dangerous, and it might not even be possible. Samir will need something appropriately heavy even to try.\n\n> You get on the horse\nYou ask, \"Tyrone, can you get up on the pommel horse?\"\n\nTyrone pulls himself up onto the pommel horse and then stands up.\n\n> You look through window\nYou ask, \"Tyrone, can you check on those windows and tell me what's there?\"\n\nTyrone gives you a confused look.\n\n> TYRONE, ,LOOK AT WINDOW\nYou say, \"Tyrone, tell me about the windows.\"\n\nTyrone says, \"They're the cafeteria windows. They're really big, and pretty high up.\"\n\n> You examine the black backpack\nYou examine Tyrone's backpack. It's a basic black canvas backpack, with all the normal zippers and accoutrements.\n\nIn the black canvas backpack are a bobby pin and a broken shoelace.\n\n> You examine Samir\nHe's heavily smudged with dust and grime, but generally looks unhurt.\n\nSamir is wearing a bulging blue knapsack, a purple polo shirt, and a pair of black shorts.\n\n> You examine the knapsack\nYou examine Samir's knapsack. Samir's blue knapsack is generally sun-faded, but there's a brighter patch on the back. There's a suspicious bulge weighing down the bottom of the knapsack.\n\n> You open the knapsack\nYou say, \"Samir, I need to see your knapsack for a moment.\"\n\nYou open the bulging blue knapsack, revealing a large geode.\n\n> You examine the geode\nYou examine the large geode inside Samir's bulging blue knapsack.\nIt's a cut geode half - boring grey on the outside, but a glittering mass of dense blue crystal on the inside. This particular geode is almost as large as a softball. It has almost no hollow space left,\nand no sharp points on the inside.\n\n> You throw the geode at the window\nYou ask, \"Samir, can you throw that geode through that window?\"\n\n(Samir first taking the large geode)\nYou ask, \"Samir, can you please grab the geode from that knapsack?\"\n\nSamir picks up the large geode.\n\nSamir measures the distance for a moment, hefts the geode in both hands, and then pitches it at the center window.\nThe geode sails through the elderly windowpane with a magnificent crash, leaving an empty window frame edged with jagged shards behind.\n\nSamir won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Samir to ?\" message, please reenter your second command now.)\n\n> You enter the window\n(the empty window frame)\nThe bottom of the window frame is almost two feet above Samir's head. He'll need to get up on the pommel horse first.\n\n> You get on the horse\nYou ask, \"Samir, can you get on top of the pommel horse?\"\n\nSamir pulls himself up onto the pommel horse and then stands up.\n\n> You enter the window\n(the empty window frame)\nYou ask, \"Samir, can you go through the empty window frame?\"\n\nSamir goes through the empty window frame.\n\n> You look\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse (on which is Tyrone) here.\n\n> Shout\nYou shout, \"Hello! Does anyone hear me?\"\n\n> You look\nYou call, \"Samir, tell me what you see?\"\n\nSamir yells, \"It's the sidewalk outside school. You can see the\nrecess grounds over there through the fence. There's a rock here.\"\n\n> You ask Samir,  to go downward\nRunning the layout of the school through your head, you don't think Samir can go down from where he is.\n\nYou could ask him to go north along the sidewalk.\n\n> You look at Samir\nHe's heavily smudged with dust and grime, but generally looks unhurt.\n\nSamir is wearing a blue knapsack, a purple polo shirt, and a pair of black shorts.\n\n> Go north\nYou can't go that way.\n\nFrom here, you can try going south into the kitchen, east out the broken window, or west toward the hallway.\n\n> You ask Samir,  to go north\nYou call, \"Samir, I need you to go along the sidewalk.\"\n\nSamir yells, \"Okay, I'm going now!\"\n\n> You look\nYou shout, \"What do you see, Samir?\"\n\nThere is no response.\n\n> You go north\nYou push painfully through the swinging door.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nThe door swings shut behind you.\n\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nThe fire alarms flash and shrill monotonously.\n\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> Shout\nYou shout, \"Hello! Can anyone hear me?\"\n\nJude doesn't answer you.\n\n> You go north\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nThe fire alarms flash and shrill monotonously.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nEven pushing through the swinging door takes more effort than it should.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse (on which is Tyrone) here.\n\nThe door swings shut behind you.\n\n> You enter the window\n(the empty window frame)\nYou ask, \"Tyrone, can you go through the empty window frame?\"\n\nTyrone goes through the empty window frame.\n\n> Shout\nYou call, \"Tyrone, I need you to shout now, a really big shout.\nReady?\"\n\nTyrone gives a big, wordless whoop.\n\n> You enter the window\n(the empty window frame)\n\nBlack smoke rises over the school, shattered glass litters the ground, and the daylight never looked so good. Since the fence stops you from going south, the only way to go is north along the sidewalk.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nYou can also see a large geode here.\n\n> You jump\nThe empty window frame provides access to the outside, but it's edged with jagged shards of glass. If you try to pull yourself up by the frame, you'll slice your hands to ribbons.\n\n> You get on the horse\nYou get onto the pommel horse.\n\n> You jump\nAsk a girl with a broken leg to jump up and down? That's an awful idea.\n\n> You jump out the window\nKeiko won't understand those instructions. You need to rethink your strategy.\n\n(Reminder: If you just saw a \"What do you want Keiko to ?\" message, please reenter your second command now.)"
    },
    {
        "text": "[Themes: Gay/queer protagonist, school, war]\n\n> You look at your surroundings\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse (on which are Samir and Tyrone) here.\n\n> You ask Samir,  to go south\nYou say, \"Samir, I need you to go into the kitchen.\"\n\nSamir jumps down from the pommel horse.\n\nSamir goes south.\n\n> Go south\nYou push painfully through the swinging door.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nThe door swings shut behind you.\n\n> You ask Samir,  to go north\nYou say, \"Samir, I want you to go into the cafeteria.\"\n\nSamir goes north.\n\n> You go north\nYou lean against the swinging door, which eventually yields.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse (on which is Tyrone) here.\n\nThe door swings shut behind you.\n\n> You get off the horse\nTYRONE, STAND\n\nYou say, \"Tyrone, please stand up.\"\n\nTyrone gets to his feet.\n\nYou seem to want to talk to someone, but I can't see whom.\n\n> You get off the horse\nYou say, \"Okay, Tyrone, you can climb off the pommel horse now. Be careful getting down.\"\n\nTyrone gets off the pommel horse.\n\n> Push horse south\nYou ask, \"Tyrone, can you push the pommel horse into the kitchen? Samir, Jude, and George, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nTyrone, Samir, Jude, and George gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the kitchen.\n\n> Go south\nEven pushing through the swinging door takes more effort than it should.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nYou can also see a pommel horse here.\n\nThe door swings shut behind you.\n\n> You ask Jude,  to go north\nYou say, \"Jude, I need you to go into the cafeteria.\"\n\nJude goes north.\n\n> You ask Tyrone,  to go north\nYou say, \"Tyrone, please go into the cafeteria.\"\n\nTyrone goes north.\n\n> You ask George,  to go north\nYou say, \"George, I need you to go into the cafeteria.\"\n\nGeorge goes north."
    },
    {
        "text": "[Themes: school]\n\n> You look around\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nYou can also see a pommel horse here.\n\n> You take the flashlight\n(the industrial flashlight)\nYou ask, \"Samir, could you please get that flashlight?\"\n\nSamir picks up the industrial flashlight.\n\n> You get on the horse\nYou ask, \"Samir, can you get up on the pommel horse?\"\n\nSamir pulls himself up onto the pommel horse and then stands up.\n\n> You ask Samir,  to go upward\nThe ceiling of the kitchen is quite high. Samir wouldn't be able to reach the grate even from a counter.\n\n> You jump\nYou say, \"Okay, Samir, being on the pommel horse isn't helping. You can get down now.\"\n\nSamir gets off the pommel horse.\n\n> Push horse north\nYou ask, \"Samir, can you push the pommel horse into the cafeteria?\"\n\nSamir puts the industrial flashlight on the floor.\n\nSamir heaves at the pommel horse, but to no avail. \"It's too heavy, I need help!\" he says.\n\n> Go north\nYou lean against the swinging door, which eventually yields.\n\nYou are holding Samir's hand, so he follows you.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nSamir is here, holding hands with you.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nThe door swings shut behind you.\n\n> Go south\nYou push painfully through the swinging door.\n\nYou are holding Samir's hand, so he follows you.\nTyrone hangs back warily before spotting the flashlight inside.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nYou can also see a pommel horse here.\n\nThe door swings shut behind you.\n\n> You go to the west\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the north\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go north\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> Go west\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\nOne of the lockers is standing open.\n\nYou can also see a straightened striped green paper clip here.\n\n> You go west\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go west\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nThe fire alarms flash and shrill monotonously.\n\n> You go to the west\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding Samir's hand, so he follows you.\nYou are holding Tyrone's hand, so he follows you.\n\nThe elderly gymnasium looks relatively unscathed. Since this room doubles as an auditorium, stacked bleachers line the north wall. The open door to the equipment room is west, and the locker room is south. The double doors leading back to the hallway are north.\n\nTyrone is here, holding hands with you.\n\nSamir is here, holding hands with you.\n\nBlue exercise mats are piled to one side, arranged around a balance beam, and scattered over the floor.\n\nYou can also see Mr. Lewis's gym keys and a blue exercise mat here.\n\n> You take the mat\nYou let go of Samir's hand.\n\nYou let go of Tyrone's hand.\n\nIt's unlikely that Samir can pick up the blue exercise mat, but dragging it around might be possible.\n\n> Drag mat north\nYou ask, \"Samir, can you push the mat into the hallway? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it into the hallway.\n\n> You go to the north\nThe air reeks of smoke and chemicals. To the south, two large double doors lead into the gymnasium. Mrs. McCaskill's classroom used to be accessible to the north, but there's no going that way now.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a blue exercise mat here.\n\n> Drag mat east\nYou ask, \"Samir, can you push the mat along the hall? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it along the hall.\n\n> You go to the east\nThe wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.\n\nThe door to your classroom hangs open on its twisted doorframe.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a blue exercise mat here.\n\n> Go east\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a blue exercise mat here.\n\n> Drag mat east\nYou ask, \"Samir, can you push the mat past the lockers? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it past the lockers.\n\n> Drag mat east\nYou call, \"Samir, can you push the mat along the hall? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it along the hall.\n\n> You go east\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nThe fire alarms flash and shrill monotonously.\n\nOne of the lockers is standing open.\n\nYou can also see a straightened striped green paper clip here.\n\n> Go east\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\nYou can also see a blue exercise mat here.\n\n> Drag mat south\nYou ask, \"Samir, can you push the mat toward the cafeteria? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it toward the cafeteria.\n\n> You go south\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a blue exercise mat here.\n\n> Drag mat south\nYou ask, \"Samir, can you push the mat toward the school kitchen? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it toward the school kitchen.\n\n> You go to the south\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe fire alarms flash and shrill monotonously.\n\nYou can also see a blue exercise mat here.\n\n> Drag mat east\nYou ask, \"Samir, can you push the mat into the kitchen? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it into the kitchen.\n\n> Go east\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nYou can also see a blue exercise mat and a pommel horse here.\n\n> Drag mat north\nYou ask, \"Samir, can you push the mat into the cafeteria? Tyrone, he'll need your help for this.\"\n\nSamir and Tyrone gather around the blue exercise mat and try to move it. With many small-kid grunts of effort, they get the blue exercise mat moving and successfully slide it into the cafeteria.\n\n> Go north\nEven pushing through the swinging door takes more effort than it should.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nJude is here, clinging to Mr. Bunny.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a blue exercise mat here.\n\nThe door swings shut behind you.\n\n> Push mat east\nYou ask, \"Samir, can you heave that mat out the broken window?\"\nSamir says, \"I can't get it up high enough!\"\n\n> You ask Jude,  to go to the south\nYou say, \"Jude, I want you to go into the kitchen.\"\n\nJude goes south.\n\n> You ask Tyrone,  to go south\nYou say, \"Tyrone, I need you to go into the kitchen.\"\n\nTyrone goes south.\n\n> You ask George,  to go south\nYou say, \"George, I want you to go into the kitchen.\"\n\nGeorge goes south.\n\n> Go south\nYou push painfully through the swinging door.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nYou can also see a pommel horse here.\n\nThe door swings shut behind you.\n\n> Push horse north\nYou ask, \"Samir, can you push the pommel horse into the cafeteria? George, Tyrone, and Jude, he'll need your help for this.\"\n\nJude looks at Mr. Bunny, looks at the floor, and then hugs him even tighter.\n\nJude tucks Mr. Bunny under her arm for safety.\n\nSamir, George, Tyrone, and Jude gather around the pommel horse and try to move it. With many small-kid grunts of effort, they get the pommel horse moving and successfully slide it into the cafeteria.\n\n> Go north\nEven pushing through the swinging door takes more effort than it should.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse and a blue exercise mat here.\n\nThe door swings shut behind you.\n\n> You put the mat on the horse\nYou say, \"Samir, you can put the mat on the pommel horse.\"\n\nSamir says, \"But I don't have the mat.\"\n\n> You take the mat\nIt's unlikely that Samir can pick up the blue exercise mat, but dragging it around might be possible.\n\n> Push mat east\nYou ask, \"Samir, can you heave that mat out the broken window?\"\nWith a grunt of effort, Samir hauls the blue exercise mat up onto the pommel horse and then onto the edge of the empty window frame,\nbreaking off some of the jagged shards along the way. In a series of determined heaves, he shoves it bit by bit out the window, until gravity takes over.\n\nThe exercise mat smacks down on the sidewalk outside.\n\n> You go to the south\nYou lean against the swinging door, which eventually yields.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\nThe door swings shut behind you.\n\n> You go west\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go north\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nKeiko is sitting here and holding a lacrosse stick.\n\nAshley is sitting here fiddling with the damaged hem of her skirt.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\n> You follow you\nYou ask, \"Keiko, would you please hold hands with me?\"\n\nKeiko takes your hand.\n\n> You follow you\nYou ask, \"Ashley, would you please hold hands with me?\"\n\nAshley takes your hand.\n\n> Go north\nBecause Keiko is sitting down, she doesn't follow you.\nBecause Ashley is sitting down, she doesn't follow you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\n> You stand\nYou say, \"Keiko, please get up.\"\n\nKeiko gets up carefully, using the lacrosse stick to maintain her balance.\n\n> You stand\nYou say, \"Ashley, please stand up.\"\n\nAshley gets to her feet.\n\n> You go to the north\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nThe fire alarms flash and shrill monotonously.\n\nKeiko hobbles into the hall.\n\n> You go to the south\nThe failing fluorescent lights illuminate a kid-height drinking fountain in the south wall. The boys' bathroom is to the east and the girls' bathroom is to the west, both marked with Happy Hygiene signs reminding everyone about handwashing.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a wet spot growing on the carpet near the door to the girls' room.\n\nYou can also see a small rubber wedge here.\n\nKeiko hobbles into the hall.\n\n> You follow you\nYou ask, \"Keiko, would you please hold hands with me?\"\n\nKeiko takes your hand.\n\n> You go north\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nEmily's former classroom is to the north, marked with a construction paper sign reading \"Ms. Wagner's room - Come In!\" To the south, there's an alcove that splits off toward the bathrooms. The hallway continues to the east and west, decorated with inexpertly drawn\nposters about When I Grow Up.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThe locker-lined hallway stretches from east to west. Pictures of famous Americans gaze starchily down from above the dull brown\nlockers, almost successfully concealing the old water damage on the walls. You can smell something burning.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe fire alarms flash and shrill monotonously.\n\nOne of the lockers is standing open.\n\nYou can also see a straightened striped green paper clip here.\n\n> You go east\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nFire alarm lights strobe across a painfully cheerful mural on the east wall, positioned exactly opposite the west-facing hallway. The classrooms and the gymnasium are off to the west, the science and computer labs are north, and the cafeteria is off to the south, but\nyou can see from here that no part of the building went unravaged. At least it looks like most of the kids made it out.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe fire alarms flash and shrill monotonously.\n\nThere's a bulletin board lying face-down on the floor.\n\n> Go south\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThis part of the hall has been plastered with signs in unsubtle red, white, and blue, occasionally accented with yellow smiley-face stickers. The overhead lights are flickering weakly here, and the power probably won't last long. The hall continues south toward the school kitchen and north toward the classrooms.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe cafeteria doors are to the east, but they're closed and locked, since lunch ended hours ago.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go south\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nWith the overhead fluorescents out, it's particularly dim at this end of the hallway, but the flashing fire alarms illuminate the door labelled \"KITCHEN STAFF - NO STUDENTS\". The door is partly open, wedged in place with a serving tray.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe fire alarms flash and shrill monotonously.\n\n> Go east\nYou are holding Keiko's hand, so she follows you.\nAshley hangs back warily before spotting the flashlight inside.\n\nIt's very dark in here, since the overhead lights are out. The flashlight beam paints its wavering yellow eye across a landscape of sterile steel. It's not much light, but it reduces the maze of counters to comprehensible rows, and it's enough to illuminate the swinging door leading north.\n\nReflected fire alarm light flickers in the doorway to the west.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nBecause you know exactly where to look, you can see the ventilation grate against the darkened ceiling.\n\nAn industrial flashlight sits on the ground, emitting a yellow beam of light.\n\n> Go north\nYou push painfully through the swinging door.\n\nYou are holding Keiko's hand, so she follows you.\nYou are holding Ashley's hand, so she follows you.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nAshley is here, holding hands with you.\n\nKeiko is here, holding hands with you and leaning heavily on a\nlacrosse stick.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nOne of the windows has been shattered, leaving an empty window frame edged with jagged glass shards.\n\nYou can also see a pommel horse here.\n\nThe door swings shut behind you.\n\n> East\nThose jagged shards have to be broken out of the window frame before anyone can get out safely.\n\n> Break shards\nThat splint won't hold forever, and it's best if she doesn't move around too much. You should probably ask someone else.\n\n> You sit\nYou say, \"Keiko, please take a seat.\"\n\nKeiko sits down carefully, keeping her weight entirely off her bad\nleg.\n\n> You give the stick to George\nYou say, \"Keiko, please pass the lacrosse stick to George.\"\n\nKeiko holds the lacrosse stick out for George.\n\nGeorge pulls the lacrosse stick away from Keiko.\n\nYou say, \"Gently, George!\"\n\n> Break shards\nYou ask, \"George, can you break the glass out of the windowframe? Use the lacrosse stick to protect your hands.\"\n\nGeorge stands on his tiptoes and reaches up with the lacrosse stick.\nHe successfully knocks out a few of the lower pieces of glass, but\nmost of the glass is beyond his reach, and eventually he gives up. \"It's too high up for me!\"\n\n> You give the stick to you\nYou're so torn up that you'd probably drop the lacrosse stick. Better to let George keep it.\n\n> You get on the horse\nYou ask, \"George, can you climb up on the pommel horse?\"\n\nGeorge pulls himself up onto the pommel horse and then stands up.\n\n> Break shards\nYou ask, \"George, can you break the glass out of the windowframe? Use the lacrosse stick to protect your hands.\"\n\nGeorge uses the lacrosse stick to carefully break out the remaining shards of glass.\n\nThe empty frame is as safe now as it's going to get.\n\n> You jump\nhazmat suited woman is still trapped. If you send George out the window now, you may find out later that you needed his help to save hazmat suited woman.\n\n> Go north\nProbably a good idea.\n\n> You get off the horse\nYou say, \"Okay, George, go ahead and get down from the pommel horse.\"\n\nGeorge gets off the pommel horse.\n\n> You give the stick to Keiko\nYou say, \"George, please give the lacrosse stick to Keiko.\"\n\nGeorge shoves the lacrosse stick at Keiko.\n\nKeiko takes the lacrosse stick from George.\n\nYou say, \"Thank you, George.\"\n\n> You climb the tables\nYou ask, \"Samir, can you climb up on the tables?\"\n\nSamir says, \"I don't think I can climb on the tables.\"\n\n> You push the tables south\nThe folded lunch tables are huge and heavy. You're not sure how to move them around, and if they fall over, someone could be seriously hurt. Best to leave them alone.\n\n> You jump\nThe bottom of the window frame is almost two feet above Keiko's head. She'll need to get up on the pommel horse first.\n\n> You jump\nThe bottom of the window frame is almost two feet above George's head. He'll need to get up on the pommel horse first.\n\n> You get on the horse\nYou ask, \"Keiko, can you get on top of the pommel horse?\"\n\nKeiko lets go of your hand.\n\nKeiko pulls herself up onto the pommel horse and then stands up.\n\n> You jump\nAshley is still trapped. If you send Keiko out the window now, you\nmay find out later that you needed her help to save Ashley.\n\n> Y.\nYou ask, \"Keiko, I don't have any other way to get you out of the building. You could come with us now, or I could try to send back\nhelp for you.\"\nKeiko says, \"Do you think it's a good idea?\"\n\n> Y.\nAfter a long moment, you say, \"Yes, I do. The building's on fire, and I don't know what's happening to the base. Worse things could happen in here. We should all stick together.\"\n\nKeiko says, \"Then I'll do it.\"\n\nKeiko stares out the window for a moment, considering her options. Finally, she perches on the edge of the window and then throws herself sideways toward the mats on the ground.\n\nKeiko hits with her good foot, then collapses sideways onto her good knee and her arm. Her wrenching scream of pain is hard to hear, but she doesn't seem any worse off than she was. At least, she drags herself off the mat under her own power.\n\n> You jump\nThe bottom of the window frame is almost two feet above Ashley's head. She'll need to get up on the pommel horse first.\n\n> You get on the horse\nYou ask, \"Ashley, can you climb up on the pommel horse?\"\n\nAshley lets go of your hand.\n\nAshley pulls herself up onto the pommel horse and then stands up.\n\n> You jump\nyourself is still trapped. If you send Ashley out the window now, you may find out later that you needed her help to save yourself.\n\n> Y.\nYou say, \"Ashley, it's time for you to go out the window. Just land\non the mats, it'll be easy.\"\n\nAshley stands on the edge of the window frame, wavers for a moment,\nand then jumps down to the exercise mat below. She hits awkwardly, falls down, and then gets to her feet with no harm done.\n\n> You jump\nyourself is still trapped. If you send Samir out the window now, you may find out later that you needed his help to save yourself.\n\nSend Samir out the window anyway? Once he goes, there's no way for\n\n> Y.\nYou say, \"Samir, go on out the window. I know you can do this.\"\n\nSamir says, \"Just like gym class.\"\n\nYou say, \"That's right.\"\n\nSamir starts to grip the window frame, and you have to stop him. \"You could cut your hands open - the glass isn't totally gone. Just jump.\"\n\nSamir gulps, wipes his hands off on his pants, and then jumps out the window. He hits feet-first, falls down, and then gets up again with a joyous yell of, \"I did it!\"\n\nYou say, \"You sure did!\""
    },
    {
        "text": "> Look around\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nOne of the windows has been shattered, leaving an empty window frame behind.\n\nYou can also see a pommel horse here.\n\n> You get on the horse\nYou get onto the pommel horse.\n\n> Go north\nYou retreat from the empty window frame."
    },
    {
        "text": "> Go downward\nYou can't go that way.\n\nFrom here, you can try going south into the kitchen, east out the broken window, or west toward the hallway.\n\n> You stand\nYou're already on your feet.\n\n> You get down\nYou get off the pommel horse.\n\nThis is one of the few modern-day cafeterias that doesn't sport a set of vending machines in addition to standard cafeteria fare. Pale sunlight streams down through the high bank of huge windows, shining carelessly over the faded tile and the ceiling-high folded lunch\ntables alike. The kitchen door is to the south.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nThe cafeteria doors are to the west, but they're completely blocked\noff behind the folded lunch tables.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nOne of the windows has been shattered, leaving an empty window frame behind.\n\nYou can also see a pommel horse here.\n\n> You get on horse\nYou ask, \"Jude, can you climb up on the pommel horse?\"\n\nJude pulls herself up onto the pommel horse and then stands up.\n\n> You jump\nyourself is still trapped. If you send Jude out the window now, you may find out later that you needed her help to save yourself.\n\nSend Jude out the window anyway? Once she goes, there's no way for\n\n> Y.\nYou ask, \"Jude, you and Mr. Bunny go out the window now, okay?\"\n\nJude says, \"Just like diving class!\"\n\nYou hastily say, \"But don't land on your head.\"\n\nJude gives you her best my-teacher's-an-idiot look, and then she jumps out the window with her arms around Mr. Bunny. She hits the mat feet-first and doesn't even fall down.\n\nYou applaud at the window, and Jude beams up at you before getting out of the way.\n\n> You jump\nAdam is still trapped. If you send Tyrone out the window now, you may find out later that you needed his help to save Adam.\n\n> Y.\nYou ask, \"Tyrone, you can go out the window now, right?\"\n\nTyrone brags, \"No problem!\"\n\nTyrone jumps out the window like a kid who jumps out of cafeteria windows all day. He hits the mat, rolls, and pops back up like a jack-in-the-box.\n\n> You get on the horse\nYou ask, \"George, can you get on top of the pommel horse?\"\n\nGeorge pulls himself up onto the pommel horse and then stands up.\n\n> You jump\nyour former self is still trapped. If you send George out the window now, you may find out later that you needed his help to save your former self.\n\n> Y.\nYou say, \"George, let's get you out of here. Jump out the window, and aim for those mats.\"\n\nGeorge jumps out the window feet-first and strikes with an audible \"oof!\" He gets up and moves quickly out of the way.\n\n> Y.\nHere goes....\n\nThe fall wouldn't even faze you, if not for your physical condition. When your feet hit, your knees immediately buckle and you bellyflop onto the mat.\n\nThere's not really an impact at all - just a full-body throb of pain, enough to turn the world gray and red for a long, lingering moment.\n\nBlack smoke rises over the school, shattered glass litters the ground, and the daylight never looked so good. Since the fence stops you from going south, the only way to go is north along the sidewalk.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nJude is here, clinging to Mr. Bunny.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nKeiko is sitting here and holding a lacrosse stick.\n\nYou can also see a blue exercise mat and a large geode here.\n\n> Go north\nYou get to your feet with the help of a nearby wall.\n\nYou round the bend and stop. It looks like part of the school's\nsecond floor actually collapsed off the building and over the\nsidewalk. It's not very high - you can see the driveway past it, and the soccer fields beyond that - but you can't get the students past safely.\n\nGeorge comes into the room.\n\nTyrone comes into the room.\n\nJude comes into the room.\n\nSamir comes into the room.\n\n\"Mr. Ginsberg!\" she cries, hurrying forward for a hug.\n\nKeiko gets up carefully, using the lacrosse stick to maintain her balance.\n\nKeiko hobbles into the room.\n\nYou hear the distant sound of a chopper just before you see the tiny black shape hovering over the soccer fields."
    },
    {
        "text": "> You describe your surroundings\nIt looks like part of the school's second floor actually collapsed off the building and over the sidewalk. It's not very high - you can see the driveway past it, and the soccer fields beyond that - but you\ncan't get the students past safely.\n\nIn the distance, a tiny black helicopter hovers above the soccer fields.\n\nKeiko is here, leaning heavily on a lacrosse stick.\n\nAshley fiddles unhappily with the damaged hem of her skirt.\n\nSamir is standing nearby with his hands stuffed in his pockets.\n\nJude is here, clinging to Mr. Bunny.\n\nTyrone stands with his arms folded across his pint-sized chest.\n\nGeorge stands looking miserable with his hands in the pockets of his too-big pants.\n\nYou see tiny figures descending from the helicopter onto the soccer fields.\n\nAshley says, \"Are you okay, Mr. Ginsberg? You don't look so good.\"\n\nWith an effort, you quell the shaking in your hands. \"Everything's going to be all right,\" you tell her. \"Let's just work on getting out of here.\"\n\n> Wave\nYou already have Keiko's attention.\n\nYou wave, feeling foolish.\n\nAt a distance, the tiny figures wander about on the soccer fields.\n\n(To lead a student from room to room, HOLD HANDS WITH that\nstudent.)\n\n> You look at the rubble\nThis morning, there was a solid, sturdy wall here, and now it's a shattered heap of masonry. It hardly seems real.\n\nAt a distance, the tiny figures mill about on the soccer fields.\n\n> Shout\nYou try to shout, but suddenly you can only wheeze. The world wavers; you're at the end of your strength.\n\nAt a distance, the tiny figures walk around on the soccer fields.\n\n> Shout\nYou say, \"Keiko, I need you to shout as big as you can. And Ashley. And all the rest of you, too - scream and shout and yell, let's make some noise!\"\n\nThe students start yelling as loudly as they possibly can, shrieking\nat volumes and pitches that only elementary school kids can manage. You're impressed - it's as good as a gym whistle.\n\nThe tiny figures on the soccer field react to the noise. You see one of them signalling to the chopper and then pointing in your direction.\n\n> You wait awhile\nYou wait.\n\nThe chopper rises from the soccer field and approaches the school.\n\n> Wait\nYou wait.\n\nThe chopper grows larger every minute. By now, you can clearly see\nthe US Air Force insignia on the side, and George claps his hands ecstatically.\n\n> Wait\nYou wait.\n\nThe chopper stops a safe distance overhead. Its whirling blades drown out almost every sound, yet you can still hear the kids around you cheering.\n\n> You wait\nYou wait.\n\nA ladder descends from the chopper, carrying a broad figure in a brilliant green hazmat suit. The figure touches down and pulls off\nher hood immediately to reveal a friendly smile.\n\nThe hazmat suited woman says, \"Hi, kids. You're safe now. We'll\nbring an evac team and get you out right away.\" Sighting the blue exercise mats in the background, she asks, \"Did you have to jump out that window? Good thinking, laying down a mat.\"\n\n> You ask the woman about Adam\nThe hazmat suited woman doesn't seem to notice you.\n\nAshley says, \"It was Mr. Ginsberg's idea!\" and Ashley chimes in,\n\"Yeah, he was fantastic!\"\n\nThe hazmat suited woman asks, \"Where is Mr. Ginsberg now? Is he still in the building?\"\n\n> You remove the pants\n(the pair of black slacks)\nNo. Jude can see you.\n\nThe kids look at each other in bewilderment. \"No, he's right back there,\" Samir says as he points back at you. Then Samir looks back at you and frowns. \"He was here a moment ago....\"\n\n> Shout\nYou try to shout, but suddenly you can only wheeze. The world wavers; you're at the end of your strength.\n\nAwareness swells over you in the moment before a warm, familiar voice says quietly, \"Hey. Good job.\"\n\nYou turn to see Adam standing nearby. You burst out, \"Thank God, you made it!\"\n\nBut Adam's already shaking his head. \"No,\" he says. \"You already\nknew that.\"\n\nAdam holds out his hand.\n\n> You examine Adam\nHe doesn't look hurt, which is a deep relief.\n\nAdam says, \"Hey, Mark. It's time to go.\"\n\n> You hold Hand\nWhom do you want to hold hand of?\n\n> Adam\nYou ask, \"They're going to be all right, aren't they?\"\n\nAdam looks over at the hazmat suited woman and the kids. \"Looks like it, doesn't it?\"\n\nYou say, \"All right,\" and you take his hand. In the moment when you do, everything stops hurting.\n\nYou ask, \"So... is there going to be a tunnel of white light, or something cliched like that?\"\n\nAdam laughs. \"I don't know! Let's find out.\"\n\nThe wreckage across the sidewalk is too dangerous for your students, but danger doesn't matter any more. Hand in hand, you and Adam walk along the sidewalk, climbing over small debris or veering into the grass as the whim strikes you. Everything gets paler as you walk, and whiter, and brighter.\n\nYou take one look back at the paramedics sliding a stretcher under Keiko, and then the world dissolves entirely."
    },
    {
        "text": "[Themes: Fantasy, mirrors, female protagonist, fantasy, ghosts, sexual innuendo, suicide, slavery, magic-object, castle, fairy tale, sexual coercion, Demon]\n\nWhen the seventh day comes and it is time for you to return to the castle in the forest, your sisters cling to your sleeves.\n\n\"Don't go back,\" they say, and \"When will we ever see you again?\" But you imagine they will find consolation somewhere.\n\nYour father hangs back, silent and moody. He has spent the week as far from you as possible, working until late at night. Now he speaks only to ask whether the Beast treated you \"properly.\" Since he obviously has his own ideas about what must have taken place over the past few years, you do not reply beyond a shrug.\n\nYou breathe more easily once you're back in the forest, alone.\n\nThere is little enough purpose in loitering outside: He and his servants never come out here, and whatever you must do, you will have to do within.\n\nAn iron-barred gate leads north.\n\n[Author's Note: When the seventh day comes and it is time for you to return to the castle in the forest, your sisters cling to your sleeves.]\n\n> About yourself\nYou are nontrivially the worse for your journey -- hungry, dirty, and tired. But all that can be seen to later.\n\n> You examine the moat\nThe moat is full of slightly oily brown water. If you had been physically imprisoned, you might have tried to swim across; so it is just as well that you were not.\n\n> You examine the gate\nIt is closed and unlocked.\n\n> You go to the north\n(first opening the iron-barred gate)\nYou shouldn't be able to open it, heavy as it is, but it swings aside lightly at your touch. The Beast said that it knows friend from enemy; and the castle, at least, still regards you as friend.\n\nThere is no fire in the big fireplace, and no one is waiting for you here; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. Somewhere in this maze, he waits; and he should be told as soon as possible that you did return.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> You read the sign\nYou read: Those who seek to leave the castle depart at peril of\ntheir lives and souls, unless another servant be provided in exchange, or a fixed term of absence be granted by their master.\n\n> You look at the fireplace\nUnlit, vacant. It is almost as though you are not expected.\n\n> Go north\nOpen to a grey sky, from which a light rain falls. You have never seen the courtyard otherwise: it rains in every season, winter or summer, no matter what lies beyond the moat.\n\nIt was here that you first laid eyes on the Beast: emerging from the State Rooms, snarling. He seemed angry at you for coming, even though you had had no choice. Or perhaps (you thought) he was simply violent. You did not run.\n\nThe castle proper opens both north and south, and to the east a helical staircase ascends to the roof.\n\n> About yourself\nYou are nontrivially the worse for your journey -- hungry, dirty, and tired. But all that can be seen to later.\n\n> You go east\nThe steps rise from here towards the upper rooms, and open out onto the bare courtyard.\n\nAn obscene gargoyle sits where the finial of the banister should be.\n\n> You examine the gargoyle\nHe came up while you were bent over the gargoyle, trying to lift it. \"Taking that back to your room?\" he asked slyly. \"It won't work, but if you're lacking companionship I could find an appropriate servant to see to your needs.\"\n\nYou felt yourself blush. \"It's ugly,\" you said. \"I wanted to move it.\"\n\n\"Oh. You can't.\" He frowned at it. \"It is a remnant, left here by an angry soul who managed to take some revenge despite his enslavement. There are a few others around, mostly in the crypt. They're immovable, but harmless.\"\n\nYou reacquaint yourself with its appearance: Not too large, but stunningly ugly: a stone about the size of an apple, carved into a monster with outsized ears and eyes -- not to mention outsized attributes elsewhere.\n\n> Go upward\nIn this spot, you fell and almost broke your leg -- or some other more valuable part of you -- except that He caught you.\n\nBut you are alone now, and therefore cautious.\n\n> Go east\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby a heavy door leads north.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> You examine puzzle\nHis latest offering: he brings you all the most innocent toys he can find, to occupy your time and make you less miserable. This one is nearly finished, missing only one piece that neither of you could ever find.\n\n> You go south\nA fantasia of gleaming and glittering, chandeliers and mirrors: all that shines or reflects has been moved here, into this room that you inhabit, which he never enters.\n\nThe south end of the room is most dazzling, because of the daylight from the balcony.\n\n> You look at the mirrors\nYou learned, long ago, that the mirrors would keep him away; and then, when you had less need to keep him at bay, you kept them anyway, so as not to disturb him by returning them to the rest of the palace.\n\n> You look in the mirror\nYou look and see yourself, scratched and dirty from the long journey; and remember...\n\nHe stood in the doorway, amused. \"You look displeased.\"\n\nYou, holding wide brocaded skirts. \"They're very rich and very beautiful and much too fancy for me.\"\n\n\"And?\"\n\n\"And--\" You glanced down at them. \"And they would have been out of fashion on my grandmother!\"\n\n\"Which is the last time the servants had a chance to practice making gowns,\" he said. \"Do you mind? There is no one to see you but me, and I assure you that my knowledge of current Parisian fashion is nonexistent...\"\n\n> You examine the bed\nUnrumpled: the service keeps them neat and tidy.\n\n> Go south\nYou step out into the rain.\n\nA ridiculous filigreed balcony that is like nothing so much as a birdcage: and from here you can see all the way across the moat, across the forest, the plain, to the edge of the sea, only by staring long enough in any direction.\n\nWhen you first came here, the balcony was full of plants in pots: poison oak, nettles, nightshade, datura. \"They grow best here,\" he explained. \"Don't touch them.\" And he took them away, and you have never seen them again since.\n\n> Sing\nYou make a little noise, to cheer yourself. Then stop again, when you remember that it is a song he taught you.\n\n> Dance\nDespite all his lessons, you never did get the knack of it.\n\n> You think about the puzzle\nYou're missing an object that might be useful to resolving this problem.\n\n> You go to the east\nMade up for the reception of a guest who will never arrive again. A tapestry recalls the story.\n\nStill here at the center of the room is the stool you and the Beast used, the time he tried to teach you to dance -- not a great success, but more effective than the experiment with stilts.\n\n> You examine the stool\nAn ordinary three-legged stool, like the one your cat at home liked to sleep on.\n\n> You examine the bed\nUnrumpled: the service keeps them neat and tidy.\n\n> You go west\nA dizzying prospect, the spiral of steps down to the ground.\n\n> You go to the south-east\nLike a monk's chamber compared to every other part of the palace, just bare walls now. Here your father stayed, when he made his ill-fated journey to the castle. The Beast told you this, on your first visit.\n\nOn the wall, as a curio, hangs an open shackle -- sign of the only person ever to have escaped the power of this place.\n\n> You look at the shackle\nYour father claims to have been chained up, but the Beast never made the least effort to restrain you with chains or bars. On the contrary-- but that remains a puzzle.\n\nYou reacquaint yourself with its appearance: A curious object, a broken shackle. Nowhere else in the castle are there any chains or ropes or devices of torture; there has never been a need for such physical coercion...\n\n> Go southwest\nHaving more personality than most of the bedrooms, it was decorated for someone specific and has been left that way: green and white, with a simple rustic cast unusual for the palace.\n\nThe chief exception is the royal portrait on the wall.\n\nHe's not upstairs, then: there's nowhere in these rooms he could have been hiding, no space large enough to conceal him.\n\nPerhaps he's downstairs somewhere, in the east wing. That would make sense. You find those rooms dreary and cold, but he spends time there when he wishes to be alone; perhaps...\n\n> You examine the portrait\n\"That was me,\" he told you. \"Before I was changed. Do you think I was handsome?\"\n\nYou shrugged. Handsome, yes, but proud, selfish, resentful, perhaps cruel. \"The painter did not do justice to your personality,\" you replied.\n\n\"You're wrong,\" he said. \"And I put the painting here to punish the woman who slept here. She treated me with justice, and I could not forgive her.\"\n\nHe refused to tell you the rest. \"You like me more than you should, and trust me less,\" he said. \"If I told you the rest of this particular story, you would neither trust nor like. There, that's a warning for you.\"\n\nYou reacquaint yourself with its appearance: A portrait of a young, arrogant king: not a prince, but one who inherited early and used his power from the beginning. He stares out with bitterness, perhaps even resentment.\n\n> You go north\n(first opening the heavy door)\nYou get far enough to glimpse an open heavy door before being overcome: you reel back from a smell of roses and death, so powerful that you can't go forward. Until there's a breeze through here, you won't be able to stand being in the place.\n\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby an open heavy door leads north.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> You go west\nOpen to a grey sky, from which a light rain falls. You have never seen the courtyard otherwise: it rains in every season, winter or summer, no matter what lies beyond the moat.\n\nThe castle proper opens both north and south, and to the east a helical staircase ascends to the roof.\n\n> You go north\nYou find your way blocked by a phantom guard. Somewhere nearby you hear chimes.\n\nAs soon as you back up, he disperses into smoke again.\n\n> Go south\nThere is no fire in the big fireplace; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. Somewhere in this maze, he waits; and he should be told as soon as possible that you did return.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> You go to the southwest\nA round tower offering protection to the drawbridge.\n\n> Go east\nYou do not often come this way, into the older part of the castle, which is narrow and has a low roof. The walls, and the ceiling too, are deep scarlet, the color of the old king and queen that ruled here two hundred fifty years ago, when there was still a kingdom.\n\n> You go northeast\nLocked in an iron cage are the house treasures not in use: the collection consists of a sceptre, a puzzle piece, and a pair of cloven shoes, at present -- he showed them to you one rainy day, telling you their many histories.\n\nNearby a small door leads east.\n\n> You examine the sceptre\nFormerly belonging to Queen Ingratitudina the First (so he said), only slightly bent where she used it to strike King Cophetua.\n\nYou reacquaint yourself with its appearance: Studded with measly turquoises and semi-precious stones.\n\n> You examine puzzle piece\nSomething shiny has been painted on the piece.\n\n> You examine the shoes\nMade for something with cloven hoofs. They bear evidence of having been adjusted to their current size by a shoemaker, and perhaps (therefore) could be again.\n\n> Go east\n(first opening the small door)\n(first unlocking the small door)\nYou lack a key that fits the small door.\n\n> You go east\nHere on the north wall and the south are paintings of historical events from times past: the assassination of King Elzibad in 1248; the arrival of Princess Lucrezia from the Italian State of Medici-Credenza in 1545.\n\nThe gallery goes on, echoing, both east and west.\n\n> You look at the King\nYou see his pointy-slippered attendants wringing their hands, his wife wiping her eyes on an ermine muff, peasants grieving.\n\nOf Elzibad himself, there is only a pair of blackened feet, sticking out from under the elephant.\n\n> You examine the Princess\nLucrezia wears silk the pale blue of the morning sky, and her eyes are little currants of malice.\n\n> Go east\nA mosaic floor of black and white, like that of cathedrals, as protection against the spite of the undead: which protection might often have been needed, by those that dwelt here in former times. The way down is at the center of the maze.\n\n> Bronze1\nSave failed.\n\n> Go southeast\nA little hexagonal room, from whose narrow window you can see the moat, the lawn, and the beginning of the forest outside.\n\nOn the windowsill, a helmet waits, for the use of the sentry.\n\nHe's not down here, then, in the east wing.\n\nThere is still the chance that he's somewhere in the kitchen wing, west of the entrance hall. Maybe he got hungry.\n\n(He never liked to eat in the dining hall alone, and took it up only when you were around. But maybe he's gone there for some reason anyway?)\n\n> You look at the helmet\nA very old helmet that you have seen the Beast wear (and quite foolish it looked, perched on a head it no longer fits: it would suit your head better). He told you once that the helmet was for night watchmen, scouts, and guards, to increase their vigilance and strengthen their hearing.\n\nLines of writing arc over each ear, but you do not know the language in question."
    },
    {
        "text": "[Themes: Fantasy, sexual coercion, fairy tale, castle, fantasy, sexual innuendo, female protagonist, ghosts]\n\n> Look around\nA little hexagonal room, from whose narrow window you can see the moat, the lawn, and the beginning of the forest outside.\n\nOn the windowsill, a helmet waits, for the use of the sentry.\n\n> You look through the window\nBeyond a short stretch of clear ground, the forest grows thick and uninhabited for many miles.\n\n> You take the helmet\nYou acquire the helmet.\n\n> You go to the south-east\nA little hexagonal room, from whose narrow window you can see the moat, the lawn, and the beginning of the forest outside.\n\n> You find the key\nThe current problem cannot be fully dealt with until you have addressed another issue; further exploration is called for.\n\n> You go to the west\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\n\"You can leave at any time,\" he said, when he first spoke to you. You stared at him, surprised that someone with his face and teeth was capable of human communication. \"Would you like to go?\"\n\nThere are other memories, more recent, of course. Every glance around the room reminds you of a different one."
    },
    {
        "text": "[Themes: Fantasy, sexual innuendo, Demon, magic-object, female protagonist, slavery, mirrors, ghosts, sexual coercion]\n\n> You look around\nYou allow yourself to remember another night, another request.\n\n\"I'm surprised you haven't gone home yet,\" he said very early in your stay.\n\n\"I've heard stories,\" you replied. \"As if there weren't enough to see around the castle. I know what happens to your servants who try to leave you.\"\n\n\"Nothing bad would happen to you,\" he said. But you could not believe him, not with all the captured spirits, not with the stories, not with the evidence around the castle."
    },
    {
        "text": "> Look around\nYou allow yourself to remember another night, another request.\n\n\"And now -- would you like to go home?\"\n\nYou bit your lip. It had been a pleasant conversation, up until now, when you are reminded: however nicely he may behave, he is still the king of a cursed line, and not to be trusted."
    },
    {
        "text": "[Themes: Fantasy, suicide, castle, ghosts, Demon]\n\n> You look around\nYou allow yourself to remember another night, another request.\n\n\"I assure you,\" he added. \"No harm will come to you if you do go.\"\n\n\"I only have your word for that,\" you replied, looking stubbornly into your soupbowl.\n\nHe sat. \"I am unable to lie to you,\" he said. \"It is one of the conditions placed upon us. We can only tell the truth.\"\n\n\"And why should I believe that?\"\n\nHe raised his glass. \"I'll try again tomorrow.\""
    },
    {
        "text": "> You describe your surroundings\nYou allow yourself to remember another night, another request.\n\n\"Were you ever married?\" you asked, ignoring his question.\n\n\"No.\"\n\n\"Then you have no heirs?\"\n\n\"I have no legitimate sons,\" he replied. \"But I certainly have an heir, somewhere. If I died, somewhere, someone would inherit all this, and the whole system would go on as before, the servants and the contracts. But don't worry: I have tried, and it turns out that I don't die easily.\""
    },
    {
        "text": "[Themes: Fantasy, castle, fantasy, magic-object, female protagonist, sexual innuendo, mirrors]\n\n> You describe your surroundings\nYou allow yourself to remember another night, another request.\n\n\"And you promise I would not regret it? Truthfully.\"\n\nHe coughed. \"I don't know your future. And -- since you ask I must answer -- I don't think much of your father, a man who would barter his daughter's service for his own, especially since he had unflattering ideas of what I would do with you.\"\n\nYou sputtered. \"Well of course you couldn't-- I mean, being an animal...\"\n\nHis teeth gleamed. \"I assure you I could,\" he said. \"But I won't.\""
    },
    {
        "text": "> You describe your surroundings\nYou allow yourself to remember another night, another request.\n\n\"I have become used to it here,\" you answered, surprising yourself. \"There is plenty to read; there is the chessman, and games; and you are good company.\" He raised his glass with a half smile. \"You'd rather stay here without me?\"\n\n\"No,\" he said."
    },
    {
        "text": "[Themes: Fantasy, sexual coercion, ghosts]\n\n> Look around\nYou allow yourself to remember another night, another request.\n\n\"I c-care for you,\" you said. \"I am lonely without you, and you make me laugh, and you're nice...\"\n\n\"Stop,\" he said. \"And remind me never to order the port again.\"\n\nHe picked you up from your chair and your head rested on his shoulder. \"But why can I not be in love... Oh, carry me carefully on the stairs: I feel sick!\"\n\n\"Simply, pet,\" he said, walking slowly up the steps. \"What you offer I couldn't accept. In fact, I'm not sure what you are offering. Do you have some fantasy of marrying me? Being my mistress?\"\n\nYou could not think of the answer; there was no solution that was not absurd. He set you down carefully on the bed and went away. A moment later he came back, bright crimson bell in his left paw. \"When you wake in the morning and are very ill, which you will be, ring this and the servants will bring a tonic appropriate to your condition.\""
    },
    {
        "text": "[Themes: Fantasy, ghosts, Demon, female protagonist, fantasy, castle]\n\n> You describe your surroundings\nYou allow yourself to remember another night, another request.\n\n\"For a visit, if you won't go to stay?\" he asked. \"We could arrange that too, if you liked.\"\n\n\"And nothing bad would happen to anyone I cared about?\" you demanded.\n\n\"Nothing bad would happen to you or to your family. There would be no ill health and no spiritual repercussions.\"\n\n\"You're leaving something out,\" you said, having gotten familiar with the precise way he speaks when hedging around a difficult fact.\n\n\"It could be unpleasant for me,\" he replied, strained. \"But you mustn't stay because of my feelings on the matter. Your family miss you, and I am the villain in this piece.\""
    },
    {
        "text": "[Themes: Fantasy, suicide, Demon, slavery]\n\n> Look around\nYou allow yourself to remember another night, another request.\n\n\"Don't mention the leaving thing once more,\" you said. \"Or I will throw a glass at your head.\"\n\nHe sighed. \"You are as stubborn as you are honorable,\" he said. \"No doubt the two are related.\""
    },
    {
        "text": "> Look around\nYou allow yourself to remember another night, another request.\n\nAfter a long time: \"You haven't asked me to leave in a while,\" you said.\n\n\"Ah.\" He looked at his plate of food. \"Of course you may go. I'm glad you believe my word about the effects, now.\"\n\n\"I will go to visit my family,\" you say, stressing the word visit. \"On condition that you tell me how to do it so that I will not harm you. If you won't do that, I don't go.\"\n\nHe looked at you, his expression cloudy. \"There is a very good reason why...\"\n\n\"Those are my terms.\"\n\nHe sighed. \"Very well,\" he said. \"If your trip lasts fewer than seven days, it will have no effect on anything here.\" He looked down at his curled paw. \"But if you don't come back -- and I imagine you won't -- I will forgive you.\""
    },
    {
        "text": "[Themes: Fantasy, Demon, castle, suicide, magic-object, mirrors, ghosts]\n\n> You look around\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\n> You go to the west\nHaunted with the spirits of chefs past, generations and generations of culinary geniuses; one can never predict its whimsies. Unless he has moved everything, the bell to summon them into action should be in one of the rooms upstairs.\n\n> Go north\nYou've never come here before, and now you see why. Not a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.\n\nA decaying ladder leads down.\n\nSo he's not among the kitchen things.\n\nHe must have gone into one of the more... difficult portions of the castle. The state rooms, or the crypt. One of the places he knows you hate to visit alone.\n\nThis does not bode well for his state of mind. (Will he be angry? It has been a long time since he was truly angry at you... But you cannot deal with that until you find him.)"
    },
    {
        "text": "[Themes: Fantasy, fantasy, slavery, ghosts, magic-object, sexual innuendo]\n\n> Go down\nThough a dim light filters down from the servant quarters, you can see almost nothing of the contents of your current location. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nYou hear some dry sifting from the northeast.\n\n> You go northeast\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nYou hear some dry sifting from the immediate vicinity.\n\n> You listen\nYou hear some dry sifting from the immediate vicinity.\n\n> Wear helmet\nYou settle the helmet over your head, and there is a roaring in your ears at first. But then the sharpened hearing begins to feel natural again.\n\n> You listen\nWindchimes ring, muted, from the southeast. You can also make out your own steady breathing and some dry sifting from the immediate vicinity.\n\n> Go southeast\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, melodious, from the northeast, competing with some dry sifting from the northwest and an irregular dripping from the southeast. You can also make out your own steady breathing.\n\n> Go southeast\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, muted, from the northwest. You can also make out your own steady breathing and an irregular dripping from the immediate vicinity.\n\n> You listen to the dripping\nEven your own breathing is magnified when you wear the helmet, so you must concentrate past it...\n\nThe irregular dripping sounds like a leak.\n\n> Go northwest\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, muted, from the southeast. You can also make out your own steady breathing and some dry sifting from the immediate vicinity.\n\n> You listen to the sifting\nEven your own breathing is magnified when you wear the helmet, so you must concentrate past it...\n\nThe dry sifting sounds like some dust.\n\n> You take the dust\nThey're hardly portable.\n\n> You listen\nWindchimes ring, muted, from the northwest. You can also make out your own steady breathing and an irregular dripping from the immediate vicinity.\n\n> You go to the north-east\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, loud, from the northeast. You can also make out your own steady breathing.\n\n> Go upwards\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\n> Ring chimes\nYou cannot reach the iron windchimes from your present position; you'd need something to stand on.\n\n> You find the stool\nYou head down to rooted room. Then south to the enormous kitchen. Then east to the great dining hall. Then east to the entrance hall. Then north to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. Then east to the private parlor. And finally east to the guest bedroom.\n\nMade up for the reception of a guest who will never arrive again. A tapestry recalls the story.\n\nStill here at the center of the room is the stool you and the Beast used, the time he tried to teach you to dance -- not a great success, but more effective than the experiment with stilts.\n\n> You take the stool\nYou acquire the stool.\n\n> You go to the rose garden\nYou head west to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then west to the great dining hall. Then west to the enormous kitchen. Then north to the servant quarters. Then down to the apprentice's workshop.\n\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\n> You drop the stool\nYou set the stool down next to one wall.\n\n> Ring chimes\nThey sound prettily only when hung up for the wind.\n\n> You take the chimes\nThe chimes have been locked to the chain that supports them.\n\n> You listen to the chimes\nEven your own breathing is magnified when you wear the helmet, so you must concentrate past it...\n\nThe chimes sound randomly, but not unpleasantly. It is only if you listen for a long time that they begin to remind you of a warning or a threat."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, fairy tale, magic-object, Demon, sexual coercion, mirrors, slavery]\n\n> Go downwards\nYou decide that you'll need to get down first. You get off the stool.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\nThough a dim light filters down from rose garden, you can see almost nothing of the contents of your current location.\n\n> Go upwards\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\n> You take the stool\nYou acquire the stool.\n\n> Go south\nA pleasant cloister overlooking the rose garden to the north. You have walked it many times, seeking to waste the excesses of time at your disposal.\n\n> You go west\nAgain the sound of chimes, and the phantom guard that blocks your path. Somewhere there must be a ringer summoning him, protecting the State Rooms.\n\nYou have never known the Beast to put up guards before. It has always been enough for him to guard the rooms himself.\n\n> You go east\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\nOn the stone bench are some discarded embroidery materials.\n\n> You take all\ndiscarded embroidery materials: You acquire the discarded embroidery materials, and assess it curiously.\n\nA few weeks ago now, he came to you with a quick step. \"Look, it took me all morning, but I found this.\" Holding out the basket of threads, the folded linen. Not in bad condition, either.\n\n\"What is that for?\" You were never much for sewing things at home, even before your mother died.\n\n\"I thought -- since you're so bored here --\" He lowered his arm. \"When I saw more of the world, I knew a number of young ladies who were very fond of it. My sister liked to make stories with hers.\"\n\nYou opened your mouth, looking for something to say.\n\n\"I see,\" he answered. \"The world has changed. What do young ladies do now?\"\n\n\"I don't know,\" you reply. \"My father fell on hard times. We live in the country. I'm more or less a milkmaid, these days.\"\n\nAt the word milkmaid, his mouth twisted a little and he shrugged. \"I cannot provide any cows,\" he said, after a long time.\n\nYou reacquaint yourself with its appearance: The little that is already done is old-fashioned blackwork, like your grandmother's mother might have stitched.\n\n> Inventory\nYou are carrying:\nsome discarded embroidery materials\na stool\na helmet (being worn)\n\n> You look at the materials\nUnfinished linen and threads."
    },
    {
        "text": "> Look around\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\n> You examine the bench\nA deep seat with a curious relief carved onto the back: if you look from the right angle, it appears as though Lucrezia is lying on the bench, just like a lady on a tomb, her hands piously folded around the handle of a mirror. Scrying her own death, perhaps, or maybe communicating with someone who had already died.\n\n> You go northwest\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\n> You go to the tapestry\nYou head down to rooted room. Then south to the enormous kitchen. Then east to the great dining hall. Then east to the entrance hall. Then north to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. Then east to the private parlor. And finally east to the guest bedroom.\n\nMade up for the reception of a guest who will never arrive again. A tapestry recalls the story.\n\n> You take the tapestry\nThat's hardly portable.\n\n> You go to the kitchen\nYou head west to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then west to the great dining hall. And finally west to the enormous kitchen.\n\nHaunted with the spirits of chefs past, generations and generations of culinary geniuses; one can never predict its whimsies. Unless he has moved everything, the bell to summon them into action should be in one of the rooms upstairs.\n\n> You go to the east\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\n> You go north\nThe chime summons the phantom guard again, preventing you from making any progress.\n\n> You go to the east\nThere is no fire in the big fireplace; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. Somewhere in this maze, he waits; and he should be told as soon as possible that you did return.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> You go to the chimes\nYou cannot reach the iron windchimes from your present position; you'd need something to stand on.\n\n> You go to the rose garden\nYou head west to the great dining hall. Then west to the enormous kitchen. Then north to the servant quarters. Then down to the apprentice's workshop.\n\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\n> You stand on the stool\nYou decide that you'll need the stool to be on the ground first. You set the stool down next to one wall.\n\nYou stand, a little precariously, on the stool, and are now more or less the same height as an ordinary person.\n\n> You check what you're carrying\nYou are carrying:\nsome discarded embroidery materials\na helmet (being worn)\n\n> Muffle chimes\nWhat do you want to muffle the iron windchimes in?\n\n> You go to the kitchen\nYou head down to rooted room. You decide that you'll need to get down first. And finally south to the enormous kitchen.\n\nHaunted with the spirits of chefs past, generations and generations of culinary geniuses; one can never predict its whimsies. Unless he has moved everything, the bell to summon them into action should be in one of the rooms upstairs.\n\n> Go north\nNot a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.\n\nA decaying ladder leads down.\n\n> Objects\nThus far you have seen an iron-barred gate, a helmet, an assassination of King Elzibad, an iron cage, a sceptre, a puzzle piece, a pair of cloven shoes, an obscene gargoyle, some discarded embroidery materials, some iron windchimes, a small door, a bentwood table, a jigsaw puzzle, a royal portrait, a stool, a shackle and a heavy door.\n\n> You go to the King\nYou head south to the enormous kitchen. Then east to the great dining hall. Then east to the entrance hall. Then east to the scarlet gallery. And finally east to the gallery of historical paintings.\n\nHere on the north wall and the south are paintings of historical events from times past: the assassination of King Elzibad in 1248; the arrival of Princess Lucrezia from the Italian State of Medici-Credenza in 1545.\n\nThe gallery goes on, echoing, both east and west.\n\n> You take the King\nThat's hardly portable.\n\n> You look behind the King\nBare wall; nothing else.\n\n> You go to the gargoyle\nYou head west to the scarlet gallery. Then west to the entrance hall. Then north to the central courtyard. And finally east to the ground floor helical staircase.\n\nThe steps rise from here towards the upper rooms, and open out onto the bare courtyard.\n\nAn obscene gargoyle sits where the finial of the banister should be.\n\n> You look at the gargoyle\nNot too large, but stunningly ugly: a stone about the size of an apple, carved into a monster with outsized ears and eyes -- not to mention outsized attributes elsewhere.\n\n> You go to the shackle\nYou head up to the upstairs helical staircase. Then east to the private parlor. And finally southeast to the empty bedroom.\n\nLike a monk's chamber compared to every other part of the palace, just bare walls now. Here your father stayed, when he made his ill-fated journey to the castle. The Beast told you this, on your first visit.\n\nOn the wall, as a curio, hangs an open shackle -- sign of the only person ever to have escaped the power of this place.\n\n> You take shackle\nYou acquire the shackle.\n\n> You go to stool\nYou head northwest to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then west to the great dining hall. Then west to the enormous kitchen. Then north to the servant quarters. Then down to the apprentice's workshop.\n\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\n> You go to your bedroom\nYou head down to rooted room. You decide that you'll need to get down first. Then south to the enormous kitchen. Then east to the great dining hall. Then east to the entrance hall. Then north to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. Then east to the private parlor. And finally south to the crystal bedroom.\n\nA fantasia of gleaming and glittering, chandeliers and mirrors: all that shines or reflects has been moved here, into this room that you inhabit, which he never enters.\n\nThe south end of the room is most dazzling, because of the daylight from the balcony.\n\n> You look under the bed\nIt is clean beneath as above.\n\n> You take the mirror\nThey're hardly portable.\n\n> You go to the labyrinth\nYou head north to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then east to the scarlet gallery. Then east to the gallery of historical paintings. And finally east to the room with the labyrinth floor.\n\nA mosaic floor of black and white, like that of cathedrals, as protection against the spite of the undead: which protection might often have been needed, by those that dwelt here in former times. The way down is at the center of the maze.\n\n> You check what you're carrying\nYou are carrying:\na shackle\nsome discarded embroidery materials\na helmet (being worn)\n\n> You listen\nWindchimes ring, almost inaudible, from the northwest. You can also make out your own steady breathing.\n\n> Go east\nFrom here, you can head up.\n\n> You go to the northwest\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, muted, from the northeast, competing with an irregular dripping from the southwest. You can also make out your own steady breathing.\n\n> You go southwest\nIt's so dark in here that you have to feel your way along, and are nervous of tripping at any moment. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nWindchimes ring, muted, from the northwest. You can also make out your own steady breathing and an irregular dripping from the immediate vicinity.\n\n> Go up\nYou appear to be lost in here, except that you recall you came in from the northeast. If necessary you can always try going to a room you've already visited, or heading roughly out.\n\n> You go outside\nBy dead reckoning, you head back towards where you think the surface ought to be...\n\nYou head uncertainly in what feels like the right direction, based on dimly apprehended light, and the movements of air\n\nNot a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.\n\nA decaying ladder leads down.\n\n> You take the ladder\nThat's fixed in place.\n\n> You hold the nose\n(It is usually not necessary to refer to specific body parts.)\n\nYou are always self-possessed.\n\n> You put the shackle on the nose\n(It is usually not necessary to refer to specific body parts.)\n\nYou already wear a shackle of a sort.\n\n> You think about the chimes\nTo reach the windchimes, it might help to stand on something.\n\n> Y.\nTry standing on the stool.\n\n> You think about the stool\nYou have seen the item you need to solve this problem, but it's not in sight at the moment. (The objects command will list everything you remember seeing, if you'd like to review.)\n\n> Y.\nThere's a room you've visited, but you haven't exhausted all there is to see there. (The place command will list every room you've visited, if you'd like to review.)\n\n> You go to garden\nYou head down to the apprentice's workshop.\n\nYou climb into the pale light...\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\n> You examine the roses\nIn the bud it is innocent; in bloom, it bears the mark of a death's-head at the heart.\n\n> You think about the chimes\nYou're missing an object that might be useful to resolving this problem.\n\n> Y.\nPerhaps you should explore further.\nThere's a room you haven't yet visited.\n\n> You think about the stool\nThe stool might be useful to have.\n\n> Y.\nThe stool may help with the iron windchimes.\n\n> Y.\nTry going southeast to start your explorations.\n\n> You go to the southeast\nYou decide that you'll need to get down first. You get off the stool.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\n> You look at the ground\nYou take another look around.\n\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\n> You think about the bench\nYou could sit on the stone bench.\n\n> You sit on the bench\nYou settle uneasily onto the bench, recalling its ghostly former user.\n\n> You go west\nYou decide that you'll need to get down first. You get off the stone bench.\n\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\nA pleasant cloister overlooking the rose garden to the north. You have walked it many times, seeking to waste the excesses of time at your disposal.\n\n> You go to the stool\nYou head north to rose garden.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\n> Go southeast\nLucrezia, they say, died here. It is only a turning point in the corridor, with a bench.\n\n> Go south\nA place for consulting with the servants, summoning them by their instruments and allowing their spirits to manifest in the mirrors. But you know this only from explanation, because the mirrors and glasses have been broken or carried away to the Crystal Bedroom, when they ceased to reflect anything that gave pleasure to their master.\n\nNearby a small door leads west to the treasure room.\n\nA small key hangs beside the door.\n\n> You take the key\nYou acquire the small key, and assess it curiously.\n\nThe key is of the sort of delicate design intended to unlock more than one thing.\n\nThe small key unlocks the small door.\n\n> You unlock door\n(with the small key)\nYou unlock the small door.\n\n> Go west\n(first opening the small door)\n\nLocked in an iron cage are the house treasures not in use: the collection consists of a sceptre, a puzzle piece, and a pair of cloven shoes, at present -- he showed them to you one rainy day, telling you their many histories.\n\nNearby an open small door leads east to the scrying room.\n\n> Unlock cage\nYou lack a key that fits the iron cage.\n\n> Go east\nA place for consulting with the servants, summoning them by their instruments and allowing their spirits to manifest in the mirrors. But you know this only from explanation, because the mirrors and glasses have been broken or carried away to the Crystal Bedroom, when they ceased to reflect anything that gave pleasure to their master.\n\nNearby an open small door leads west to the treasure room.\n\n> Scry\nWhat do you want to scry in?\n\n> You go to your bedroom\nYou head west to the treasure room. Then southwest to the scarlet gallery. Then west to the entrance hall. Then north to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. Then east to the private parlor. And finally south to the crystal bedroom.\n\nA fantasia of gleaming and glittering, chandeliers and mirrors: all that shines or reflects has been moved here, into this room that you inhabit, which he never enters.\n\nThe south end of the room is most dazzling, because of the daylight from the balcony.\n\n> You think about small key\nThe small key might be useful to have.\n\n> Y.\nThe small key may help with the iron windchimes and the small door.\n\n> You go to the stool\nYou head north to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then east to the scarlet gallery. Then northeast to the treasure room. Then east to the scrying room. Then north to walk's end. And finally northwest to rose garden.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nStrung up by a chain is a set of iron windchimes.\n\nYou can also see a stool here.\n\n> Unlock chimes\n(with the small key)\nYou unlock the iron windchimes.\n\n> You take them\nYou take the chimes down, silencing them and muting their power. When they are entirely still, they fade from your grip and vanish.\n\n> You go south\nYou decide that you'll need to get down first. You get off the stool.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nYou can see a stool here.\n\nA pleasant cloister overlooking the rose garden to the north. You have walked it many times, seeking to waste the excesses of time at your disposal.\n\n> You go to the entrance\nYou head east to walk's end. Then south to the scrying room. Then west to the treasure room. Then southwest to the scarlet gallery. And finally west to the entrance hall.\n\nThere is no fire in the big fireplace; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. Somewhere in this maze, he waits; and he should be told as soon as possible that you did return.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> Go southwest\nA round tower offering protection to the drawbridge. It is less cheery and more strongly fortified than the Scarlet Tower, and offers little by way of a view.\n\n> Go north\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded; and from the stains and driblets of wax, it is clear to you that someone at some time thought it useful to set a candle at the map's center, and observe the result.\n\n> You look at the map\nSince the lands of the Kingdom were once quite dispersed the cartographer has, from indolence, fancy, or an urge to flatter, omitted all the territories that intervened, so that here floating in a cherry-wood sea are the State of Medici-Credenza; the Emirate of Elzibad; the Equine Protectorate of Argos; a goodly portion of Essex; and Malta, the only true island of the lot.\n\nThere is writing around the map's edge, not legible in this light.\n\n> You go southwest\nMany books of precedent line these walls, containing every kind of contract that can be made to bind every kind of soul.\n\nA hole in the floor descends to the other, less savory portion of this place.\n\nYou can see a great contract book here.\n\n> Examine book\nThe runes are unfamiliar to you, but you know what the book is: a record of all the contracts of all the souls enslaved to the king of this castle.\n\nYou caught him staring at you once. \"Your clothing is wearing out. I'll look up a seamstress in the contract book for you.\"\n\nYou plucked the erring sleeve back into place. \"You needn't,\" you said. \"I don't mind.\"\n\n\"Yes, but I do,\" he snapped. \"I was once a -- the polite term would be a connoisseur of ladies -- and it is not a taste that goes away. So for everyone's sanity it would be best if you went about fully clothed.\"\n\nYou avoided him for three days, after that incident. But your gowns were all replaced.\n\n> You take the book\nYou acquire the great contract book.\n\n> You read book\nThe words are in a language you don't understand: even the Beast had to take it to the translation room to make any sense of it."
    },
    {
        "text": "[Themes: Fantasy, fairy tale, mirrors, ghosts, slavery, female protagonist]\n\n> You go downward\nThough a dim light filters down from the law library, you can see almost nothing of the contents of your current location. You find yourself concentrating all the more alertly on your hearing, as though the slightest echo might offer a clue.\n\nYou hear your own steady breathing, and some dry sifting from the north.\n\n> Go up\nMany books of precedent line these walls, containing every kind of contract that can be made to bind every kind of soul.\n\nA hole in the floor descends to the other, less savory portion of this place.\n\n> Go north\nYou walk far enough in to get a view of sand falling in a huge hourglass. Though it is only a thin stream, it sounds louder than it should: the noise, magnified by your helmet, becomes too much to bear, and you retreat.\n\n> You remove the helmet\nYou lift the helmet from your head, and the sudden quiet feels like going deaf.\n\n> Go north\nIn this very tall room, like a silo, is a glass of running sand: not an hourglass, or even a dayglass, but a timer whose duration you do not know. A whole Sahara has poured into its lower chamber, but the trickle from above continues, very fine.\n\nAround the outside of this contraption ascends a wooden staircase.\n\n> Go upwards\nIn the upper chamber, you find, there is almost as much sand as there is below; indeed for all you can tell the flow might be eternal.\n\nNearby an ivory door leads southwest.\n\n> You go southwest\n(first opening the ivory door)\n(first unlocking the ivory door)\nYou lack a key that fits the ivory door.\n\n> You go east\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby a heavy door leads east.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n\"Nothing bad will happen for the first seven days,\" he said, when you left.\n\nAnd yet here he is, looking very nearly dead.\n\n> You examine Beast\nHe looks starved, unwell, near death, in fact. He will need to be given food before he will properly revive -- and who knows what else...\n\nIt baffles you to find him in this condition, when he could easily have gotten whatever he needed in the kitchen.\n\n> Kiss Beast\nYou press your mouth to his cold one, and catch the strange scent of night woods, cinnamon, and blood copper.\n\nHe does not stir.\n\n> You search Beast\nHe sleeps, or inhabits some state deeper than sleep.\n\n> You go to the parlor\nYou head west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then south to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. And finally east to the private parlor.\n\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby an open heavy door leads north.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> Go north\nYou get far enough to glimpse an open heavy door before being overcome: you reel back from a smell of roses and death, so powerful that you can't go forward. Until there's a breeze through here, you won't be able to stand being in the place.\n\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby an open heavy door leads north.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> You go to the dining hall\nYou head west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. And finally west to the great dining hall.\n\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\n> Go north\nMany books of precedent line these walls, containing every kind of contract that can be made to bind every kind of soul.\n\nA hole in the floor descends to the other, less savory portion of this place.\n\n> You think about the bell\nThe Beast's collection of bells lives upstairs in the bell room, and provides him more or less whatever he needs, by summoning the servants indentured to his house. You have yet to discover any task, however menial or obscure, for which there is not some slave or other recorded.\n\n> You think about the breeze\nRooms with a strong smell will sometimes air out when doors at both sides are opened, allowing a breeze to go through.\n\n> You go to still life\nYou head north to the lower bulb. Then up to the upper bulb. And finally east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby a heavy door leads east.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n> You open the heavy door\nYou open the heavy door.\n\nWith both doors open, a breeze begins to blow through the smelly area.\n\n> You examine the paintings\nWhich do you mean, Wedding Treasure or Supper with M?\n\n> You examine Wedding Treasure\nA table tastefully laid with possessions of power or personal worth, brought by Lucrezia as gifts from her father: an inkpot, a helmet, a green girdle stitched with vines, a curious pair of cloven shoes.\n\nThe worst of rose stink has mostly gone, now.\n\n> You look at the Supper\nA table nicely laid out with white linen and napkins, bread and fruit; and a spoon with a very, very long handle.\n\n> You go east\nOf more recent construction than many another portion of the castle, and therefore light and airy, and a pleasant place to spend a few hours.\n\nNearby an open heavy door leads west to the gallery of still life.\n\nPlaced where it will have the most light on the board for the longest time is a mechanical chessplayer.\n\n> You examine the chessplayer\nThe chessplayer wears a turban, and in its wooden fingers grasps the head of the black bishop. Whatever move it contemplates has yet to occur.\n\nThe Beast brought it out for you to play against, when other entertainment palled. You lost consistently until he came and roared at it; and afterwards began to win. The suspicion that it was throwing games made you a bit reluctant to make use of it, in the end.\n\nThe mechanical chessplayer is currently switched off.\n\n> You think about food\nThe beast seems to be suffering extreme hunger.\n\n> You go to the east\nKept, conveniently, close to where the masters of the house would once have slept. There are bells large and small, clappers, tambourines, and gongs. Most of these you have never seen used at all.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\nNearby an open heavy door leads south to the private parlor.\n\nCatching your eye among many other unfamiliar items are some iron windchimes, a little gold dinner bell, and a silver bell.\n\n> You take the dinner bell\nYou acquire the little gold dinner bell, and assess it curiously.\n\nIt is the dinner summons, and particularly familiar to you.\n\n> You take all\niron windchimes: You acquire the iron windchimes.\nsilver bell: You acquire the silver bell, and assess it curiously.\n\nIt bears the stamp of a lamplighter.\n\n> You go to the dining hall\nYou head west to the white gallery. Then west to the gallery of still life. Then west to the upper bulb. Then down to the lower bulb. Then south to the law library. And finally south to the great dining hall.\n\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\n> You ring the dinner bell\nYou ring the bell hopefully, but apparently it only works in the Kitchen itself.\n\n> You go to Kitchen\nYou head west to the enormous kitchen.\n\nHaunted with the spirits of chefs past, generations and generations of culinary geniuses; one can never predict its whimsies.\n\n> You ring the dinner bell\nThe little gold dinner bell tinkles gaily: as in automatic response, your stomach rumbles. There will be a feast, now, waiting for you in the dining hall.\n\nAs for the gold bell, it returns to its place.\n\n> You go to the dining hall\nYou head east to the great dining hall.\n\nSuch a long hall that the soup might get cold between one end and the other. You and he used only the far west end, nearest the kitchen. Once you took to dining together at all, that is; the first few months he brought trays to your room, while you hid.\n\nBut then you took to eating here; and at the end of every meal he would stand up formally and ask his question.\n\nA considerable feast is set out on a platter as big as a shield.\n\n> You take the food\nYou acquire the feast, and assess it curiously.\n\nA platter heaped with -- why, you must this time have woken the chefs of King Yggdram the Piscine: it is pickled whitefish and wilted greens, hot soup made from leviathan's bones, and other dishes you do not recognize, made of things that have not grown in this vicinity for many a year.\n\nPerhaps he will feel better when he has eaten, you reflect. He has always had a large appetite -- the result of his change in form, he tells you.\n\nHe used to mock your dainty eating, and sit at table long after your plate was empty; and make a game of guessing foods that might tempt you to eat even a little more; vanishing into the kitchen to instruct the staff, and returning a little later; saying roguishly, \"This, I think you will like...\"\n\nIn your defense, you never had sugared violets at home.\n\n> You go to Beast\nYou head north to the law library. Then north to the lower bulb. Then up to the upper bulb. And finally east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby an open heavy door leads east to the white gallery.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n> You feed the Beast\n(the feast)\nWith great care, you feed the soup to the Beast. So much spills that you doubt whether you are making any progress; then he swallows.\n\n\"You are ornery,\" he says. \"I guaranteed your return -- you know what that means?\"\n\n\"That if I had not come back, you would have died,\" you reply.\n\n\"That is only a small part of what would have happened. The other contracts would have unraveled, the servant souls freed.\"\n\nYou frown at him. \"I've been trying to use you to this purpose for years,\" he says, touching your cheek. \"But you wouldn't go.\nI'm touched that you came back for me -- really, I can't tell you how much -- but you've ruined the plan.\"\n\n\"Is there a way to set them free that doesn't kill you?\" you ask.\n\nHe looks startled. \"Not for me,\" he says. \"There's a room in the basement below the rose garden I can't get into. Lucrezia's room. You'll need to get in, search the crypt, find a way to destroy the contracts book... there are places in the castle I cannot enter, because she sealed them against all her descendants. But you are not one of her descendants, so--\" He chuckles weakly at some joke, but he hands you an iron key. \"You'll need the shoes.\"\n\n\"Would that lift the curse on you, too, do you think?\" you ask.\n\n\"Unlikely. That is another matter. Less happy.\" After a moment he begins to sleep again.\n\n> You check your inventory\nYou are carrying:\nan iron key\na silver bell\nsome iron windchimes\na great contract book\na small key (which opens the iron windchimes and the small door)\na shackle\nsome discarded embroidery materials\na helmet\n\n> You go to the treasure room\nYou head west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then south to the central courtyard. Then south to the entrance hall. Then east to the scarlet gallery. And finally northeast to the treasure room.\n\nLocked in an iron cage are the house treasures not in use: the collection consists of a sceptre, a puzzle piece, and a pair of cloven shoes, at present -- he showed them to you one rainy day, telling you their many histories.\n\nNearby an open small door leads east to the scrying room.\n\n> You open the cage\n(first unlocking the iron cage)\n(with the iron key)\nYou open the iron cage.\n\n> You take all\nsceptre: You acquire the sceptre.\npuzzle piece: You acquire the puzzle piece.\npair of cloven shoes: You acquire the pair of cloven shoes.\n\n> You examine the bell\nIt bears the stamp of a lamplighter.\n\n> You go to the parlor\nYou head southwest to the scarlet gallery. Then west to the entrance hall. Then north to the central courtyard. Then east to the ground floor helical staircase. Then up to the upstairs helical staircase. And finally east to the private parlor.\n\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby an open heavy door leads north to the bellroom.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> You put the puzzle piece in the jigsaw puzzle\nYou snap the final piece into place.\n\nNothing tremendous happens, but the picture is complete.\n\nThe table is set for two: a robed king, and the devil. Between the two of them is a quill pen, jet black, and a huge book. The dialogue of these two characters is written on tiny gilt scrolls that spool out of their mouths, and this is what you could not read before the jagged piece was found: the devil is saying, \"TIME IS ON MY SIDE,\" to which the king replies, \"BUT NOT FOR LONG.\"\n\n> You look at the puzzle\nThe table is set for two: a robed king, and the devil. Between the two of them is a quill pen, jet black, and a huge book. The dialogue of these two characters is written on tiny gilt scrolls that spool out of their mouths, and this is what you could not read before the jagged piece was found: the devil is saying, \"TIME IS ON MY SIDE,\" to which the king replies, \"BUT NOT FOR LONG.\"\n\n> You go to the rose garden\nYou head west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. Then east to the scarlet gallery. Then northeast to the treasure room. Then east to the scrying room. Then north to walk's end. And finally northwest to rose garden.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\nYou can see a stool here.\n\n> You ring bell\nThe sound echoes; if you had to guess, you would say that a larger space lies somewhere to the southwest.\n\n> You wear the shoes\nThey emphatically do not fit. You will have to find someone to adjust them, evidently.\n\n> You go to the mosaic\nYou head uncertainly in what feels like the right direction, based on dimly apprehended light, and the movements of air\n\nA mosaic floor of black and white, like that of cathedrals, as protection against the spite of the undead: which protection might often have been needed, by those that dwelt here in former times. The way down is at the center of the maze.\n\n> You go to quarters\nYou head west to the gallery of historical paintings. Then west to the scarlet gallery. Then west to the entrance hall. Then west to the great dining hall. Then west to the enormous kitchen. And finally north to the servant quarters.\n\nNot a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.\n\nA decaying ladder leads down.\n\n> You go to the lamp\nThere is a room here where you might be able to acquire light, but you haven't reached it yet. Try exploring further.\n\n> You examine the scepter\nStudded with measly turquoises and semi-precious stones.\n\n> You go to the rotunda\nYou head down to the apprentice's workshop. And finally northeast to the state rotunda.\n\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded; and from the stains and driblets of wax, it is clear to you that someone at some time thought it useful to set a candle at the map's center, and observe the result.\n\n> Go east\nDespite its grand name, this is one of the smaller chambers of the castle, because the kings were never inclined to brook too much advice. On each side of the room are two neat oak benches, seating for perhaps thirty men -- and, more rarely, women, and a few characters who could not be called by either term.\n\n> You go east\nA pleasant cloister overlooking the rose garden to the north. You have walked it many times, seeking to waste the excesses of time at your disposal.\n\n> Go north\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound.\n\n> You go to the upper bulb\nYou head south to cloister walk. Then west to the parliamentary chambers. Then west to the state rotunda. Then west to the lower bulb. And finally up to the upper bulb.\n\nIn the upper chamber, you find, there is almost as much sand as there is below; indeed for all you can tell the flow might be eternal.\n\nNearby an ivory door leads southwest.\n\n> You go southwest\n(first opening the ivory door)\n(first unlocking the ivory door)\nYou lack a key that fits the ivory door.\n\n> You go to the bell room\nYou head east to the gallery of still life. Then east to the white gallery. And finally east to the bellroom.\n\nKept, conveniently, close to where the masters of the house would once have slept. There are bells large and small, clappers, tambourines, and gongs. Most of these you have never seen used at all.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\nNearby an open heavy door leads south to the private parlor.\n\nCatching your eye among many other unfamiliar items is a little gold dinner bell.\n\n> You ring bell\n(the silver bell)\nYou ring the bell, but those who might hear and heed it are not close enough.\n\n> You go to the east\nFurnished with a long countertop and the equipment of an apothecary; sketches from physicians; anatomical drawings of creatures similar to the Beast, bears and lions being especially prominent; also poison reference books, primarily the work of Italian and (earlier) Persian experts. The room has an unused air, and you do not remember ever coming in before, or seeing the Beast go in. It must have been a hobby that interested him before your arrival.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\n> You look at the sketches\nThey concentrate on weak points and the functioning of the digestive tract.\n\n> Examine book\n(the great contract book)\nThe runes are unfamiliar to you, but you know what the book is: a record of all the contracts of all the souls enslaved to the king of this castle.\n\n> You examine the poison\nAssorted disturbing recipes for ways to make your enemies die quickly, or to dispatch them slowly in great pain. The pages most discolored by use and splashed ingredients are those pertaining to swift and pleasant execution.\n\n> You go to the upper bulb\nYou head west to the bellroom. Then west to the white gallery. Then west to the gallery of still life. And finally west to the upper bulb.\n\nIn the upper chamber, you find, there is almost as much sand as there is below; indeed for all you can tell the flow might be eternal.\n\nNearby an ivory door leads southwest.\n\n> You look at the ivory door\nIt is closed and locked.\n\n> You examine papers\nNeatly filed: he told you he'd spent twenty years or so on them, having no other way to occupy his time. Anything you wanted to look up, you should be able to discover easily.\n\n> You look up Lucrezia\nWhat do you want to look up in?\n\n> You look up Lucrezia in the papers\nYou quickly skim the unpleasant history of Lucrezia of Medici-Credenza, how she brought odd magical treasures with her, introduced new methods of binding and contracting that were previously unknown even to this castle, and maintained a room for her studies in the basement below the rose garden. From this room everyone including her husband was banned.\n\nThere are some suggestions that she was the daughter of the Devil himself, sent to the castle to tempt the kings into further folly and destruction. But who knows?\n\n> You look up Devil in the papers\nA very old scroll narrates how King Athanasius, first of his line, entered a wager with Mephistopheles, and won the pen that the Devil used to sign contracts for men's souls.\n\nThe King retired to this castle, overjoyed with his success, but the Devil flew away laughing.\n\n> You look up Elzibad in the papers\nAn entertaining story tells how Elzibad, worse than all the other kings of this palace that had previously been seen, was defeated by one of his own demons in elephant form, when someone who was not contracted to him gained command of the demon. Command of his slaves then passed to his son.\n\nFrom that day on the castle was so built that no one could even enter into it without becoming contracted to its king, for the protection of the royal family.\n\n> You look up the gargoyle in the papers\nAmong the records there is a large section on the various failed romantic business of the kings and queens and their brothers and sisters, so that you might almost suspect this to be part of the castle's curse.\n\nIn this collection, you find the history of Duke Cantherius: married at 59 to a lissome wife of 17, he \"urgently desired to enjoy her company\", but found himself unable. He consulted a young Parisian doctor, who contracted that through his services the Duchess would be delivered of a child within the year.\n\nAlas, medicine brought no relief; not even that most reliable method, an ointment of honey, crow's egg, and the gall of an electric eel. The Duchess began to hint that she meant to have the marriage annulled; the Duke grew abusive. Seeing no solution through medical arts, the doctor was compelled by his contract to seduce the Duchess.\n\nWhen the young woman was delivered of triplets, the Duke kept two of the boys and raised them as his own; the third he strangled, together with the doctor himself, as a punishment to his erring wife.\n\nWhereupon the ugly gargoyle appeared on the stair, and could never be budged.\n\n> You look up myself in the papers\nYou are the merest interloper here.\n\n> You go to lower bulb\nYou head east to the upper bulb. And finally down to the lower bulb.\n\nIn the lower chamber, you find, there is almost as much sand as there is above; it must have been flowing a very long time.\n\nAround the outside of this contraption ascends a wooden staircase.\n\n> You go east\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded; and from the stains and driblets of wax, it is clear to you that someone at some time thought it useful to set a candle at the map's center, and observe the result.\n\n> Go west\nIn the lower chamber, you find, there is almost as much sand as there is above; it must have been flowing a very long time.\n\nAround the outside of this contraption ascends a wooden staircase.\n\n> Go west\nEndowed with a deep power that dissolves into ready vernacular even the most ancient and secret scripts of the Law Library.\n\nUsually blazing with the captured light of many thousands of candles, but it has been let to go out, and everything is dim.\n\nYou can see an ordinary quill pen here.\n\n> You ring bell\nThe silver bell rings once in triumph, and the room springs to brilliant light.\n\nThe bell itself fades back to its usual place."
    },
    {
        "text": "[Themes: Fantasy, sexual innuendo, mirrors, fantasy, castle, female protagonist, ghosts, suicide]\n\n> You look at your surroundings\nEndowed with a deep power that dissolves into ready vernacular even the most ancient and secret scripts of the Law Library.\n\nThe single candle blazes with many times more light than one light source ought to produce.\n\nYou can also see an ordinary quill pen here.\n\n> You take the candle\nYou acquire the candle, and assess it curiously.\n\nOnly apparently a single candle, but giving off a great deal of illumination.\n\n> You go to the mosaic\nYou head east to the lower bulb. Then east to the state rotunda. Then south to the central courtyard. Then south to the entrance hall. Then east to the scarlet gallery. Then east to the gallery of historical paintings. And finally east to the room with the labyrinth floor.\n\nA mosaic floor of black and white, like that of cathedrals, as protection against the spite of the undead: which protection might often have been needed, by those that dwelt here in former times. The way down is at the center of the maze.\n\n> You go to map\nYou head west to the gallery of historical paintings. Then west to the scarlet gallery. Then west to the entrance hall. Then north to the central courtyard. And finally north to the state rotunda.\n\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded; and from the stains and driblets of wax, it is clear to you that someone at some time thought it useful to set a candle at the map's center, and observe the result.\n\n> You put the candle on the map\nYou set down the candle."
    },
    {
        "text": "[Themes: Fantasy, fantasy, ghosts, sexual coercion, sexual innuendo, suicide, magic-object, slavery]\n\n> Describe the surroundings\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded: you have set up a candle in its accustomed place to shed light over the map.\n\nYou can see a candle here.\n\n> You examine map\nSince the lands of the Kingdom were once quite dispersed the cartographer has, from indolence, fancy, or an urge to flatter, omitted all the territories that intervened, so that here floating in a cherry-wood sea are the State of Medici-Credenza; the Emirate of Elzibad; the Equine Protectorate of Argos; a goodly portion of Essex; and Malta, the only true island of the lot. Of these, the candle's light glows with particular strength only in Italy and Malta; it seems that the power of the Kingdom has waned a good deal.\n\nYou read: Here there be Daemons.\n\n> You go to the records room\nYou head west to the lower bulb. Then up to the upper bulb. And finally west to the records room.\n\nWhere all the papers and histories are kept, not only for the royal family, but for kin in every kind and direction.\n\n> You look up Elzibad in the papers\nAn entertaining story tells how Elzibad, worse than all the other kings of this palace that had previously been seen, was defeated by one of his own demons in elephant form, when someone who was not contracted to him gained command of the demon. Command of his slaves then passed to his son.\n\nFrom that day on the castle was so built that no one could even enter into it without becoming contracted to its king, for the protection of the royal family.\n\n> You look uthe medici-credenze in the papers\nYou quickly skim the unpleasant history of Lucrezia of Medici-Credenza, how she brought odd magical treasures with her, introduced new methods of binding and contracting that were previously unknown even to this castle, and maintained a room for her studies in the basement below the rose garden. From this room everyone including her husband was banned.\n\nThere are some suggestions that she was the daughter of the Devil himself, sent to the castle to tempt the kings into further folly and destruction. But who knows?\n\n> You go to the map\nYou head east to the upper bulb. Then down to the lower bulb. And finally east to the state rotunda.\n\nBuilt for the bureaucratic offices of the palace. Inlaid in the floor is the map of all the lands that once this palace commanded: you have set up a candle in its accustomed place to shed light over the map.\n\nYou can see a candle here.\n\n> You take the candle\nYou acquire the candle.\n\n> You go to the rose garden\nYou head east to the parliamentary chambers. Then east to cloister walk. And finally north to rose garden.\n\nOnly one kind of rose grows here, a pink only just distinct from white. This strain creeps over the ground and climbs the walls of the cloister.\n\nIn the middle of the garden a way slopes into the ground, reminding you of the entrance to a burial mound."
    },
    {
        "text": "[Themes: Fantasy, suicide, magic-object, slavery]\n\n> Go down\nCut as an afterthought through earth and the underside of the garden, and therefore muddy and soil-scented.\n\n> You go to the south-west\nThe passage through rock ends here, and begins to tunnel through soil instead where it heads northeast.\n\nThere is also a sinister door, leading west.\n\nYou can also see a cord and an inscription here.\n\n> You read the inscription\nUnfortunately the words are too worn for you to read. Perhaps if the light were coming in from an extreme angle, you would do better.\n\n> You drop the candle\nYou set the candle down immediately under the inscription -- but that's no good, you see at once, because thanks to the curvature of the wall you still can't get the thing at the right angle. Perhaps if it were lit from further off and from the side, rather than the bottom...\n\n> You take the candle\nYou pick up the candle, restoring the lighting to a more natural angle. Immediately the place seems less unnerving.\n\n> You open the door\n(first unlocking the sinister door)\nYou lack a key that fits the sinister door.\n\n> You pull the cord\nYou give the cord a hard yank. Somewhere above you a very deep bell tolls.\n\n> You go to the southwest\nYou start into the crypt, but an icy unnatural wind blows against you, as though the spirits resent the intrusion of someone with a light. And yet you have seen the Beast come down here, from time to time, bearing lanterns, torches, whatever he found handy.\n\nThere must be some preliminary, a matter of spiritual etiquette perhaps, to establish yourself as the master of those below.\n\n> You go to the northeast\nCut as an afterthought through earth and the underside of the garden, and therefore muddy and soil-scented.\n\n> You go south\nA room of scrap and refuse: wooden structures and clay molds from which bells might be made, scrap metal, pieces of bells now broken.\n\n> Go east\nA dank storage area, stacked with bars of wax -- perhaps for some casting process? You couldn't say.\n\n> You examine the wax\nFar too large a supply for you to move around.\n\n> You go to the southwest\nA resting place for an animal: warm but rough. There is little to suggest, from this environment, that he thinks of himself as a man at all, though he is capable of walking upright and eating with utensils, of reading books and even of writing a legible hand.\n\nThe only distinguishing mark is a miniature hung on the wall, like a devotional object, or perhaps a reminder. Something about the sole image in an otherwise bare room reminds you of the royal portrait in the Green Bedroom.\n\nYou can see a poison vial here.\n\n> You examine the miniature\nThe tiny image of a lady in a green girdle. But it isn't Lucrezia.\n\n> You take all\npoison vial: You acquire the poison vial, and assess it curiously.\n\nYou brought it with you; he confiscated it the first night.\n\n\"It was a good thought,\" he said, plucking it from your fingers with a delicacy that should be impossible in one his size. \"But if I could be killed by poison -- or by violence, or starving, or leaping from towers, by drowning or by suffocation or by fire, I assure you, I would have found the way by now. That leaves only yourself as a victim, and I did not bring you here to die.\" And so you didn't.\n\nYou reacquaint yourself with its appearance: It has mostly dried up now; the apothecary who sold it to you did not say anything about whether it would keep its efficacy for long.\n\n> You go southwest\nA tight, rocky corner among foundations of the oldest part of the castle. A slow leak in the south wall admits a little water, but not enough to be very destructive.\n\n> You look at the leak\nThe dripping moisture has the oily look of moat water.\n\n> Go northeast\nA resting place for an animal: warm but rough. There is little to suggest, from this environment, that he thinks of himself as a man at all, though he is capable of walking upright and eating with utensils, of reading books and even of writing a legible hand.\n\nThe only distinguishing mark is a miniature hung on the wall, like a devotional object, or perhaps a reminder. Something about the sole image in an otherwise bare room reminds you of the royal portrait in the Green Bedroom.\n\n> You go southeast\nLess couth and cultivated than any other part of the castle, and you have been forbidden to visit this place before now. The walls press close to you on either side. The floor slopes down. Bears with sharp claws are carved into the rock, but they remind you of Him, and you are not frightened.\n\n> You take the miniature\nIt fails to move even a little, but clings to its place tenaciously -- in the way you associate with the stone gargoyle, upstairs.\n\n> You look at the bears\nAlmost a ceremonial bear procession, if bears had liturgies and rituals.\n\n> You go to the rooted room\nYou head down to the bear corridor. Then northwest to the zoo. Then northeast to wax supply. Then west to bell castings. And finally north to rooted room.\n\nCut as an afterthought through earth and the underside of the garden, and therefore muddy and soil-scented.\n\n> You go to Library\nWhich do you mean, the Law Library or the Lie Library?\n\n> You go to Law Library\nYou head northeast to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. Then west to the parliamentary chambers. , emerging into the parliamentary chambers. Then west to the state rotunda. , emerging into the state rotunda. And then southwest to the law library.\n\nMany books of precedent line these walls, containing every kind of contract that can be made to bind every kind of soul.\n\nA hole in the floor descends to the other, less savory portion of this place.\n\n> You go to the quarters\nYou head south to the great dining hall. Then west to the enormous kitchen. And finally north to the servant quarters.\n\nNot a room friendly to visitors, it has the air of resentful, martyred suffering. Even His most unpleasant ancestors would not have grudged this place more paint, surely, and more straw for the beds.\n\nA decaying ladder leads down.\n\n> You go to Beast\nYou head south to the enormous kitchen. Then east to the great dining hall. Then north to the law library. Then north to the lower bulb. Then up to the upper bulb. And finally east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby an open heavy door leads east to the white gallery.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n> You go to the tight passage\nYou head west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then east to the parliamentary chambers. Then east to cloister walk. Then north to rose garden. Then down to rooted room. And finally southwest to tight passage.\n\nThe passage through rock ends here, and begins to tunnel through soil instead where it heads northeast.\n\nThere is also a sinister door, leading west.\n\nYou can also see a cord and an inscription here.\n\n> You drop the stool\nYou set the stool down next to one wall.\n\n> You put the candle on the stool\nYou put the candle on the stool.\n\n> You examine the inscription\nThere's lettering beneath the pullcord.\n\nThe candle is at about the right height here to illuminate the inscription, but the angle's off; further down the corridor would be better.\n\n> You take stool and the candle\nstool: You acquire the stool.\ncandle: You pick up the candle, restoring the lighting to a more natural angle. Immediately the place seems less unnerving.\n\n> You go to the southwest\nYou start into the crypt, but an icy unnatural wind blows against you, as though the spirits resent the intrusion of someone with a light. And yet you have seen the Beast come down here, from time to time, bearing lanterns, torches, whatever he found handy.\n\nThere must be some preliminary, a matter of spiritual etiquette perhaps, to establish yourself as the master of those below.\n\n> You go to the northeast\nCut as an afterthought through earth and the underside of the garden, and therefore muddy and soil-scented.\n\n> You put the candle on the stool\nYou put the candle on the stool, aligning it neatly against the wall. A harsh raking illumination is now cast along the wall, about at a height with your knees.\n\n> Go southwest\nThe light from northeast comes in a bit above floor-level, sharply illuminating one wall but leaving the rest of your surroundings dark and unfathomable.\n\nThe inscription stands out beautifully now.\n\n> You read the inscription\nYou read: Pull this cord, then wait in the room directly above to speak with Lucrezia's steward. Do not let more than five minutes pass between the summons and the waiting, or he will depart again without offering aid.\n\n> Go northeast\nCut as an afterthought through earth and the underside of the garden, and therefore muddy and soil-scented.\n\nYou can see a stool (on which is a candle (providing light)) here.\n\n> You take the candle and the stool\ncandle: You pick up the candle, restoring the lighting to a more natural angle. Immediately the place seems less unnerving.\nstool: You acquire the stool.\n\n> You go to the parliamentry chambers\nYou head northeast to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. And then west to the parliamentary chambers.\n\nDespite its grand name, this is one of the smaller chambers of the castle, because the kings were never inclined to brook too much advice. On each side of the room are two neat oak benches, seating for perhaps thirty men -- and, more rarely, women, and a few characters who could not be called by either term.\n\n> Wait\nThere is a scuffle, and a presence unfolds itself from where it was waiting, unseen, on the benches. It comes towards you and circles you, and you have the idea -- more imagination than eyesight -- that this was once a tall, thin man of considerable power.\n\nIt says a few words in the bastardized Italian of the state of Medici-Credenza, and you hear the scrape of wood and stone from somewhere below you: a door opening.\n\nThen the presence vanishes.\n\n> You go to the tight passage\nYou head east to cloister walk. Then north to rose garden. Then down to rooted room. And finally southwest to tight passage.\n\nThe passage through rock ends here, and begins to tunnel through soil instead where it heads northeast.\n\nThere is also a sinister door, leading west -- and currently open.\n\nYou can also see a cord and an inscription here.\n\n> You go to the west\nLittle survives here, enough to suggest that a number of books were burned and glass tools smashed. You can only guess at why, or by whom.\n\nBut the dominant item is the vast image of Lucrezia at a wardrobe fitting of some kind.\n\nThere is also a sinister door, leading east -- and currently open.\n\nA single pile of notes remains.\n\n> You look at the image\nLucrezia stands, imperiously, in what is now the empty bedroom, while a gnome-like shoemaker at her feet customizes pair after pair of shoes to her misshapen--\n\nYou look away, unnerved, towards a less disturbing element, the leather tambourine in Lucrezia's hand.\n\n> You look up Beast in the notes\nYou can discover no specific references to the Beast; though your hazy impression from his conversation is that he never knew Lucrezia, she having been generations before him.\n\n> You look up Elzibad in the notes\nLucrezia seems to have been quite interested in Elzibad, or rather, in what happened to the castle after Elzibad's death, when contracts were made binding upon all who entered. But there is nothing in her notes to suggest that she had access to sources beyond the papers in the records room, and therefore you are likely to be able to find out all the same yourself, if you wish.\n\n> You look up the shoemaker in the book\nThe runes are unfamiliar to you, but you know what the book is: a record of all the contracts of all the souls enslaved to the king of this castle.\n\n> You look up Devil in the notes\nReferences to the devil are scattered throughout the pages, with no one portion devoted to him entirely. Somewhat to your surprise, Lucrezia does not seem to have been an ardent fan of the Old Gentleman, neither a professed witch nor a worshipper at his court; she was merely interested in a pragmatic, legalistic way in the question of whether his compact with the ruling family of this castle could ever be dissolved, with or without the damnation of all parties.\n\n> You look up the pen in the notes\nAbout the pen there is a considerable raving: \"Many tests of fire, water, pressure, torsion, acid, and poison have failed; even gunpowder and holy water have not sufficed to ruin it; nor do I now believe that it can be destroyed, but suppose that, being plucked from the wing of the old man my father, it partakes of his same eternal nature. Therefore the arrangement must be dissolved in some other way.\"\n\n> You look up the roses in the notes\nThe roses are of Lucrezia's own breeding, and you have the impression she regarded them in the nature of a practical joke.\n\n> You look up the mirror in the notes\nThere are various records of the conferences Lucrezia had with various friends, family members, and servants, by ringing bells in the presence of her magical mirrors.\n\n> You look up the hourglass in the notes\nFrom the notes you have the impression that Lucrezia understood the function of the hourglass and expected that everyone else did also; therefore, maddeningly, she did not record it. But it seems merely to be a measure of something, not a source of power or control.\n\n> You go to the translation room\nYou head east to tight passage. Then northeast to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. Then west to the parliamentary chambers. , emerging into the parliamentary chambers. Then west to the state rotunda. , emerging into the state rotunda. Then west to the lower bulb. , emerging into the lower bulb. And then west to the translation room.\n\nEndowed with a deep power that dissolves into ready vernacular even the most ancient and secret scripts of the Law Library.\n\nYou can see an ordinary quill pen here.\n\n> You read about the shoemaker in book\nYou find a contract for a shoemaker: longer than the average contract, because it seems to have enslaved the man almost without limit, to serve Lucrezia's constant need: she had very very bad feet. It omits the usual information about the summons and the usual location of action, but the image in Lucrezia's study is more helpful -- perhaps, again, an intentional precaution on her part.\n\n> You read about the cook in the book\nDozens of cooks were placed under contract, at different times, new ones being brought on as the old ones were unable to keep up with the current fashions in cuisine; and these are controlled in turn by the gold dinner bell.\n\n> You read about Beast in the book\nEven if you knew his name, he wouldn't be listed here, of course. The master is not contracted, only the servants.\n\n> You read about yourself in the book\nYou search, search, search -- and here is the page with your name at the top. But the contract below, which stipulates your eternal imprisonment here, has been amended with a permission to leave and return within seven days. Then: \"Guarantor of this exchange: the king of the castle and all his rights and servants.\" Which means that if you had not returned, the Beast would have been forfeit and all the servants as well.\n\n> You read about the father in the book\nYour father's contract is just before your own: a lifetime (and deathtime) of service in this castle, as the immediate result of setting foot herein. From comparison to some of the other contracts, you see that it would have been easy service indeed, no manual labor but only companionship to the king, and no command-bell to make him come or go.\n\nBut the contract has been amended in a small neat hand that says: \"Voided in voluntary exchange for his daughter's service.\" That would be where you come in. And: \"Guarantor of this exchange: the king of the castle and all his rights and servants.\"\n\n> You read about the gargoyle in the book\nAfter some researches you succeed in finding a reference, to a young doctor who was contracted to the castle to relieve the impotence of the king's brother, Duke Cantherius.\n\n> You read about the miniature in the book\nWith some effort, you find the contract, which turns to be one of a large number of contracts involving young women. These all occur towards the end of the book, shortly before your own.\n\nIn fact, this is the very last contract recorded before your father's and yours: a young woman named Yvette, brought to the castle -- though she was betrothed to a lord already -- to \"serve\" the king. You have the impression that the contract book is leaving out a good deal, such as why Yvette was associated with the girdle, and what she was doing here. Perhaps in the papers there will be something.\n\n> You go to the papers\nYou head east to the lower bulb. Then up to the upper bulb. And finally west to the records room.\n\nWhere all the papers and histories are kept, not only for the royal family, but for kin in every kind and direction.\n\n> You look up Yvette in the papers\nIt takes some searching, but you find it eventually. The king in these parts was accustomed to bring young ladies to the castle when his wooing of them was unsuccessful, whereupon they were under contract and unable to resist him.\n\nThis he did for many years, snatching away men's brides; until one day he stole Yvette. She was only a humble milkmaid, but so beautiful she was betrothed to a lord, etc., etc., and moreover her great-great-grandmother had been Lucrezia the Enchantress (oh dear), so she possessed a magical girdle of surpassing power.\n\nWhen she discovered what was about to happen to her, while she was still on the drawbridge of the castle, she cursed the king to become a mere beast, so that the spell would never be lifted until someone loved him who was not under magical contract. What was more, this person would need the power of that same magical girdle...\n\nThere is even a small woodcut of the grieving Yvette, carrying a cow bell and looking downtrodden.\n\n> You look up Cantherius in the papers\nAmong the records there is a large section on the various failed romantic business of the kings and queens and their brothers and sisters, so that you might almost suspect this to be part of the castle's curse.\n\nIn this collection, you find the history of Duke Cantherius: married at 59 to a lissome wife of 17, he \"urgently desired to enjoy her company\", but found himself unable. He consulted a young Parisian doctor, who contracted that through his services the Duchess would be delivered of a child within the year.\n\nAlas, medicine brought no relief; not even that most reliable method, an ointment of honey, crow's egg, and the gall of an electric eel. The Duchess began to hint that she meant to have the marriage annulled; the Duke grew abusive. Seeing no solution through medical arts, the doctor was compelled by his contract to seduce the Duchess.\n\nWhen the young woman was delivered of triplets, the Duke kept two of the boys and raised them as his own; the third he strangled, together with the doctor himself, as a punishment to his erring wife.\n\nWhereupon the ugly gargoyle appeared on the stair, and could never be budged.\n\n> You go to the notes\nYou head east to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then east to the parliamentary chambers. Then east to cloister walk. Then north to rose garden. Then down to rooted room. Then southwest to tight passage. And finally west to lucrezia's study.\n\nLittle survives here, enough to suggest that a number of books were burned and glass tools smashed. You can only guess at why, or by whom.\n\nBut the dominant item is the vast image of Lucrezia at a wardrobe fitting of some kind.\n\nThere is also a sinister door, leading east -- and currently open.\n\nA single pile of notes remains.\n\n> You go to the bell room\nYou head east to tight passage. Then northeast to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. Then west to the parliamentary chambers. , emerging into the parliamentary chambers. Then west to the state rotunda. , emerging into the state rotunda. Then west to the lower bulb. , emerging into the lower bulb. Then up to the upper bulb. , emerging into the upper bulb. Then east to the gallery of still life. , emerging into the gallery of still life. Then east to the white gallery. , emerging into the white gallery. And then east to the bellroom.\n\nKept, conveniently, close to where the masters of the house would once have slept. There are bells large and small, clappers, tambourines, and gongs. Most of these you have never seen used at all.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\nNearby an open heavy door leads south to the private parlor.\n\nCatching your eye among many other unfamiliar items are a cow bell, a leather tambourine, a silver bell, and a little gold dinner bell.\n\n> You take all\ncow bell: You acquire the cow bell, and assess it curiously.\n\nMuch like the ones you used on the cows at home.\n\nleather tambourine: You acquire the leather tambourine, and assess it curiously.\n\nA hoop stretched with good-quality leather.\n\nsilver bell: You acquire the silver bell.\nlittle gold dinner bell: You acquire the little gold dinner bell.\n\n> You go to study\nYou head west to the white gallery. Then west to the gallery of still life. Then west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then east to the parliamentary chambers. Then east to cloister walk. Then north to rose garden. Then down to rooted room. Then southwest to tight passage. And finally west to lucrezia's study.\n\nLittle survives here, enough to suggest that a number of books were burned and glass tools smashed. You can only guess at why, or by whom.\n\nBut the dominant item is the vast image of Lucrezia at a wardrobe fitting of some kind.\n\nThere is also a sinister door, leading east -- and currently open.\n\nA single pile of notes remains.\n\n> You play the tambourine\nYou strike the tambourine, but the shoemaker doesn't materialize. And now you think about it, didn't that image in Lucrezia's study show where she was being fitted? Hm.\n\n> You go to the parlor\nYou head east to tight passage. Then northeast to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. Then west to the parliamentary chambers. , emerging into the parliamentary chambers. Then west to the state rotunda. , emerging into the state rotunda. Then south to the central courtyard. , emerging into the central courtyard. Then east to the ground floor helical staircase. , emerging into the ground floor helical staircase. Then up to the upstairs helical staircase. , emerging into the upstairs helical staircase. And then east to the private parlor.\n\nA sitting room of the family, in old times, and familiar territory to you now as well. Your bedroom is just south; other bedrooms, mostly smaller, in other directions.\n\nNearby an open heavy door leads north to the bellroom.\n\nYou can also see a bentwood table (on which is a jigsaw puzzle) here.\n\n> Go southeast\nLike a monk's chamber compared to every other part of the palace, just bare walls now. Here your father stayed, when he made his ill-fated journey to the castle. The Beast told you this, on your first visit.\n\n> You play the tambourine\nA brisk wind fusses about your feet, then does something to the shoes, resizing and slightly reshaping so that they might have a hope of staying on you.\n\n> You wear the shoes\nYou slip your feet into the shoes, and feel less alone. Mere sentiment, you think; but then there is the brush of a thought other than your own. The crypt. Under the Law Library. There are sources\nof power there which even I have never understood.\n\n> You go to the drawbridge\nYou head northwest to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then south to the entrance hall. And finally south to the drawbridge.\n\nThere is little enough purpose in loitering outside: He and his servants never come out here, and whatever you must do, you will have to do within.\n\nAn iron-barred gate leads north to the entrance hall.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: I'm not sure you can leave just now, poppet.\n\n> You go to Law Library\nYou head north to the entrance hall. Then west to the great dining hall. And finally north to the law library.\n\nMany books of precedent line these walls, containing every kind of contract that can be made to bind every kind of soul.\n\nA hole in the floor descends to the other, less savory portion of this place."
    },
    {
        "text": "[Themes: Fantasy, suicide, mirrors, magic-object, slavery, sexual coercion, castle]\n\n> Go downward\nA relic-storage place for all the bits of men and women -- and creatures -- bound to the Kings over many centuries. Only brute animals are free of binding, since they have no souls; which is why there are no dogs in the castle, no horses, no songbirds.\n\n> You go north\nThe resting place of maidens who died before marrying those to whom they were engaged.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: They died without marrying those to whom they were\nbetrothed, but not all died maidens. Impossible to tell the tenor\nof that particular thought. Not all of them are to my account, I hasten to add.\n\n> You go southeast\nThe home of fathers who died before their children were born.\n\nTokens of binding are stored here: bones and bits of hair, relics, hearts scientifically dried, and many other things, culled through the centuries by the masters of this place, in drawers.\n\n> You open the drawers\nYou open the drawers, revealing an ivory key and an elephant harness.\n\n> You take the key and the harness\nWhich do you mean, the ivory key, the iron key or the small key?\n\n> You take the ivory key\nYou acquire the ivory key, and assess it curiously.\n\nIt is not all ivory, of course, just a metal shaft with ivory in the handle.\n\n> Inventory\nYou are carrying:\nan ivory key\na little gold dinner bell\na silver bell\na cow bell\na stool\na candle (providing light)\na poison vial\na pair of cloven shoes (being worn)\na sceptre\nan iron key (which opens the iron cage)\nsome iron windchimes\na great contract book\na small key (which opens the iron windchimes and the small door)\na shackle\nsome discarded embroidery materials\na helmet\n\n> You take the harness\nThe harness refuses to budge, in a way you associate with the stone gargoyle.\n\n> You look at the harness\nTorn in several places, but it was once quite a showy piece, with gems, tassels, buttons. Must be associated with quite an interesting contract, this piece.\n\n> You go to the south-east\nA tight, rocky corner among foundations of the oldest part of the castle. A slow leak in the south wall admits a little water, but not enough to be very destructive.\n\n> You go to the north-west\nThe home of fathers who died before their children were born.\n\nTokens of binding are stored here: bones and bits of hair, relics, hearts scientifically dried, and many other things, culled through the centuries by the masters of this place, in drawers.\n\n> Go northeast\nThe passage through rock ends here, and begins to tunnel through soil instead where it heads northeast.\n\nThere is also a sinister door, leading west -- and currently open.\n\nYou can also see a cord and an inscription here.\n\n> Go southwest\nThe floor sounds progressively stranger as you walk toward the middle of the room.\n\nThe graves of men who died before resolving their debts.\n\n> Go northwest\nAs you walk out of the room, you notice that your footsteps sound odd.\n\nA mausoleum for apprentices who perished before their terms of indenture were complete.\n\nA decaying ladder leads up."
    },
    {
        "text": "[Themes: Fantasy, suicide, ghosts, sexual innuendo, fairy tale, mirrors]\n\n> Go downwards\nA mausoleum for apprentices who perished before their terms of indenture were complete.\n\nA decaying ladder leads up.\n\n> You tap the floor\nYou tap experimentally on the floor, but lack the acuity of hearing to tell whether there are different degrees of hollowness.\n\n> Wear helmet\nYou settle the helmet over your head, and there is a roaring in your ears at first. But then the sharpened hearing begins to feel natural again.\n\n> You tap the floor\nYou tap experimentally on the floor, listening closely through the power of the helmet, until you find a suspiciously resonant -- and loose -- stone.\n\n> You take the stone\nThat's fixed in place.\n\n> You move stone\nYou open the trapdoor."
    },
    {
        "text": "[Themes: Fantasy, slavery, fantasy]\n\n> You descend\nThe air is clammy and unpleasant, and clogs in your lungs.\n\nNearby an open trapdoor leads up to the debtor's paradise.\n\n> You go north\nLiquid squeezed from the surrounding earth here flows out through a fountain, then soaks back into the ground below.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: mostly loathing and fear much stronger than your own, but whatever he knows does not come through to you.\n\n> You examine the fountain\nThe liquid is sludge-black where it pours in quantity, but where it runs thin, it appears red.\n\n> Smell liquid\nDespite its unappealing appearance and the rankness of the air, it does not smell as vile as you expect: more bitter.\n\n> You fill the vial\nThe vial is stoppered and full of the old poison; and in any case who knows how the liquid here would interact with the apothecary's brew? Better to find some other container.\n\n> You check your inventory\nYou are carrying:\nan ivory key\na little gold dinner bell\na silver bell\na cow bell\na stool\na candle (providing light)\na poison vial\na pair of cloven shoes (being worn)\na sceptre\nan iron key (which opens the iron cage)\nsome iron windchimes\na great contract book\na small key (which opens the iron windchimes and the small door)\na shackle\nsome discarded embroidery materials\na helmet (being worn)\n\n> You go south\nThe air is clammy and unpleasant, and clogs in your lungs.\n\nNearby an open trapdoor leads up to the debtor's paradise.\n\n> Go upward\nThe graves of men who died before resolving their debts.\n\nNearby an open trapdoor leads down to the dank room.\n\n> You go north\nThe resting place of maidens who died before marrying those to whom they were engaged.\n\n> You go to the upper bulb\nYou head south to the central crypt. Then up to the law library. , emerging into the law library. Then north to the lower bulb. You walk far enough in to get a view of sand falling in a huge hourglass. Though it is only a thin stream, it sounds louder than it should: the noise, magnified by your helmet, becomes too much to bear, and you retreat.\n\n> You remove the helmet\nYou lift the helmet from your head, and the sudden quiet feels like going deaf.\n\n> You go to the upper bulb\nYou head north to the lower bulb. And finally up to the upper bulb.\n\nIn the upper chamber, you find, there is almost as much sand as there is below; indeed for all you can tell the flow might be eternal.\n\nNearby an ivory door leads southwest.\n\n> You unlock the ivory door\n(with the ivory key)\nYou unlock the ivory door.\n\n> You go to the south-west\n(first opening the ivory door)\n\nThough not actually burnt, the walls are stained with smoke, especially at the south end. This mess has partly obliterated what was once a detailed mural on the west wall.\n\nNearby an open ivory door leads northeast to the upper bulb.\n\n> You look at the mural\nThough some of the detail is gone, the mural shows the path through the forest to the castle. At the castle gate, a smiling king with horns has just finished laying down a trail of silver coins leading into his domain; at the other end of the path, a crowd of astonished and eager peasants is collecting them.\n\nIt is clear enough that in a few minutes they will get to the drawbridge and all be enslaved.\n\n> You go to the south\nA corner tower severely damaged by fire, so that there is only framework between you and the sky.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: A spectacular but unsuccessful attempt. My fur was singed\nand foul-smelling for weeks.\n\n> You go east\nLined with neat rows of inscrutable -- one might almost say pointless -- objects.\n\nThere's a cane (probably a swordstick, by the look of the handle) and a silver buckle (without a mate); a homunculus, a glass leaf, a copper snake; an inkpot (empty), a white apple, a stuffed boar, a preserved goat, a parrot perch, a green cloth swatch, a dark-colored pendant, a gold ring, and a broken beam.\n\n> You take all\nneat rows: A discouraging prospect -- moving everything from this room is really work for about a dozen strong spirits from the contract book.\n\n> You take the inkpot\nYou acquire the inkpot, and assess it curiously.\n\nA very curious object.\n\n> You examine the homunculus\nA very very curious object.\n\n> You examine the cane\nA very very very curious object.\n\n> You examine the buckle\nA very very very very curious object.\n\n> You examine the leaf\nA very very very very very curious object.\n\n> You look at the snake\nA very very very very very very curious object.\n\n> You look at apple\nA very very very very very very very curious object.\n\n> You examine the boar\nA very very very very very very very very curious object.\n\n> You examine the goat\nA very very very very very very very very very curious object.\n\n> You examine the perch\nA very very very very very very very very very very curious object.\n\n> You look at the cloth\n(the discarded embroidery materials)\nUnfinished linen and threads.\n\n> You take cloth\n(the green cloth swatch)\nYou acquire the green cloth swatch, and assess it curiously.\n\nA very very very very very very very very very very very curious object.\n\n> You take the pendant\nYou acquire the dark-colored pendant, and assess it curiously.\n\nA very very very very very very very very very very very very curious object.\n\n> You take the ring\nYou acquire the gold ring, and assess it curiously.\n\nA very very very very very very very very very very very very very curious object.\n\n> You take the leaf\nYou acquire the glass leaf.\n\n> You take the beam\nThe broken beam is too heavy for you to lift.\n\n> Examine beam\nA very very very very very very very very very very very very very very curious object.\n\n> You take the cane\nYou acquire the cane.\n\n> You take the buckle\nYou acquire the silver buckle.\n\n> You take the homunculus\nYou acquire the homunculus.\n\n> You take the leaf\nYou already have that.\n\n> You take the snake\nYou acquire the copper snake.\n\n> You take the apple\nYou acquire the white apple.\n\n> You take the boar\nThe stuffed boar is too heavy for you to lift.\n\n> You take the goat\nThe preserved goat is too heavy for you to lift.\n\n> You take the perch\nThe parrot perch is too heavy for you to lift.\n\n> Go south\nFrom the looks of things, immediately above the Guard Tower. An assortment of weapons, most of them hundreds of years old and no longer useful, are collected here, though from the gory appearance at least a few of the daggers have been sharpened and tried in the relatively recent past.\n\n> You take the dagger\nYou have learned that the Beast cannot be killed so directly -- though to judge by the evidence he did try here. And in general physical violence has never been much use against the castle's more spiritual powers.\n\n> You go north\nLined with neat rows of inscrutable -- one might almost say pointless -- objects.\n\nThe neat rows have been thinned down to the stuffed boar, the preserved goat, the parrot perch, and the broken beam, thanks to your diligent action.\n\n> Go north\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand (on which is a storybook) here.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: Ah, now here's an interesting little locale. Lucrezia had\nit built. She was always her father's daughter, you perceive. It is so powerful that it makes false the things that are brought in -- I used it once to void a lady's marriage contract --\n\nThe thread of thought stops. On second thought, that is not a\nstory I am proud of.\n\n> Examine storybook\nA collection of fanciful tales \"which were once true but are no longer\". It is stamped across the front as having been inducted into the Lie Library.\n\nYou read: Once upon a time, there was a young Russian girl whose mother died, leaving behind only a painted wooden clapper which made a loud noise. When the girl's father married again, the second wife was very cruel and miserly... (etc. at some length); but whenever the girl was lonely, she took the wooden clapper to the mirror in her mother's bedroom and clapped it loudly; and her mother's spirit would appear to her and advise her... (And so on, for several dozen pages of adventure, ending in marriage to the Tsar.)\n\n> You go to your bedroom\nYou head west to the smoke-damaged chamber. Then northeast to the upper bulb. Then east to the gallery of still life. Then east to the white gallery. Then east to the bellroom. Then south to the private parlor. And finally south to the crystal bedroom.\n\nA fantasia of gleaming and glittering, chandeliers and mirrors: all that shines or reflects has been moved here, into this room that you inhabit, which he never enters.\n\nThe south end of the room is most dazzling, because of the daylight from the balcony.\n\nThe Beast's thoughts intrude on yours, courtesy of the enchanted shoes: affection, longing, guilt; amusement at your innocence and anger at your blindness; frank desire. Such a tangled, terrifying mess of emotion that you barely recognize yourself in the mirrors.\n\nSorry. The thought is sleepy and not entirely comforting.\n\n> You ring the cow bell\nYou ring the cow bell, and a heavy fog coalesces around you; then at the mirror there forms the image of an exceptionally beautiful young woman, wearing a green girdle.\n\n\"It is a long time since I was called,\" she says, pressing her nose and fingers to her side of the glass and looking at you with interest. You see around her neck the burn of a noose, and guess uneasily at what she did to herself. She looks at you with plain curiosity.\n\n\"So you're the one?\" she asks. \"Did you know that he carried me over the drawbridge into the castle, and made me slave to his wishes even though I was betrothed to another? and that for the breach of contract my father died impoverished?\"\n\nYou say nothing. You have not known him to be like that; but many human lifetimes have passed since Yvette was alive.\n\nShe shrugs one shoulder. \"If you can love such a creature, then I will leave the green girdle for you on my grave; you come take it and kiss him,\" she says.\n\nThen she fades from view.\n\n> You go to the virgin's end\nYou head north to the private parlor. Then west to the upstairs helical staircase. Then down to the ground floor helical staircase. Then west to the central courtyard. Then north to the state rotunda. Then southwest to the law library. Then down to the central crypt. And finally north to the virgin's end.\n\nThe resting place of maidens who died before marrying those to whom they were engaged.\n\nYou can see a magic girdle here.\n\n> You take the the magic girdle\nYou acquire the magic girdle, and assess it curiously.\n\nIt is the green girdle familiar to you from paintings here; a possession of Lucrezia's.\n\n> You think about the girdle\n(the magic girdle)\nYou're still missing some information that might be useful to understanding the problem.\n\n> You wear the girdle\nYou put on the girdle, securing it around you. It fits unexpectedly well.\n\n> You examine the scepter\nStudded with measly turquoises and semi-precious stones.\n\n> You go to Beast\nYou head south to the central crypt. Then up to the law library. , emerging into the law library. Then north to the lower bulb. , emerging into the lower bulb. Then up to the upper bulb. , emerging into the upper bulb. And then east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby an open heavy door leads east to the white gallery.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\nWhen you look at the Beast this time -- it must be the influence of the girdle -- you see him as more animal than human, though you long ago learned to discern a man's expressions on his face.\n\nI was afraid of him, says the memory of Yvette in your head,\nas though she's trying to justify herself to you. There are other thoughts as well, murkier; but you are left with the impression that she killed herself, in the end, not because of her family's misfortunes or the lord she was separated from; but because she was carrying a child, and feared that it would be born some kind of monster.\n\n> Kiss Beast\nAs you do, you can't help remembering -- because of the girdle -- how many women before you this king imprisoned against their will. And why should he deserve to be forgiven, merely because he has been less cruel to you than to the others?\n\nWhen you lift your head, he is his proper self: a man, about forty-five. Handsome, perhaps, but in the style of the lord mayor, not someone you would have aspired to wed. His face has perhaps softened a little since his youth, but he is still recognizably the same person.\n\nHe looks ruefully at his restored hands. \"I failed to free them,\" he says. \"And now I've dragged you into the trouble with me.\"\n\nYou shake your head, and try to calm him.\n\n> You go to Lie Library\nYou head west to the upper bulb. Then southwest to the smoke-damaged chamber. And finally east to the lie library.\n\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand (on which is a storybook) here.\n\n> You take the storybook\nYou acquire the storybook.\n\n> You put the contract book on the stand\nYou put the great contract book on the book return stand.\n\n> You look at the contract book\nThe runes are unfamiliar to you, but you know what the book is: a record of all the contracts of all the souls enslaved to the king of this castle.\n\n> You look at the stand\nCarvings around the outer edge of the stand indicate how one should use it: a small tonsured figure places a book on the stand, then rings a bell; whereupon a librarian, bearing the traditional shackles and sheets of a ghost, appears to take it away.\n\n> You check what you're carrying\nYou are carrying:\na storybook\na magic girdle (being worn)\na white apple\na copper snake\na homunculus\na silver buckle\na cane\na glass leaf\na gold ring\na dark-colored pendant\na green cloth swatch\nan inkpot (empty)\nan ivory key (which opens the ivory door)\na little gold dinner bell\na silver bell\na stool\na candle (providing light)\na poison vial\na pair of cloven shoes (being worn)\na sceptre\nan iron key (which opens the iron cage)\nsome iron windchimes\na small key (which opens the iron windchimes and the small door)\na shackle\nsome discarded embroidery materials\na helmet\n\n> You go to the bell room\nYou head west to the smoke-damaged chamber. Then northeast to the upper bulb. Then east to the gallery of still life. Then east to the white gallery. And finally east to the bellroom.\n\nKept, conveniently, close to where the masters of the house would once have slept. There are bells large and small, clappers, tambourines, and gongs. Most of these you have never seen used at all.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\nNearby an open heavy door leads south to the private parlor.\n\nCatching your eye among many other unfamiliar items are a cow bell and a leather tambourine.\n\n> You go to the bell castings\nYou head west to the white gallery. Then west to the gallery of still life. Then west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then east to the parliamentary chambers. Then east to cloister walk. Then north to rose garden. Then down to rooted room. And finally south to bell castings.\n\nA room of scrap and refuse: wooden structures and clay molds from which bells might be made, scrap metal, pieces of bells now broken.\n\n> You go to Lie Library\nYou head north to rooted room. Then up to rose garden. You climb into the pale light...\n\n, emerging into rose garden. Then south to cloister walk. , emerging into cloister walk. Then west to the parliamentary chambers. , emerging into the parliamentary chambers. Then west to the state rotunda. , emerging into the state rotunda. Then west to the lower bulb. , emerging into the lower bulb. Then up to the upper bulb. , emerging into the upper bulb. Then southwest to the smoke-damaged chamber. , emerging into the smoke-damaged chamber. And then east to the lie library.\n\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand (on which is a great contract book) here.\n\n> You ring bell\nWhich do you mean, the little gold dinner bell or the silver bell?\n\n> You go to the fountain\nYou head west to the smoke-damaged chamber. Then northeast to the upper bulb. Then down to the lower bulb. Then south to the law library. Then down to the central crypt. Then south to the debtor's paradise. Then down to the dank room. And finally north to the press room.\n\nLiquid squeezed from the surrounding earth here flows out through a fountain, then soaks back into the ground below.\n\n> You take the liquid\nThat's hardly portable.\n\n> You fill the inkpot\nYou fill the inkpot from the fountain, trying to get as little as possible on yourself.\n\n> You go to Lie Library\nYou head south to the dank room. Then up to the debtor's paradise. Then north to the central crypt. Then up to the law library. , emerging into the law library. Then north to the lower bulb. , emerging into the lower bulb. Then up to the upper bulb. , emerging into the upper bulb. Then southwest to the smoke-damaged chamber. , emerging into the smoke-damaged chamber. And then east to the lie library.\n\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand (on which is a great contract book) here.\n\n> You take the contract book\nYou acquire the great contract book.\n\n> You go to the translation room\nYou head west to the smoke-damaged chamber. Then northeast to the upper bulb. Then down to the lower bulb. And finally west to the translation room.\n\nEndowed with a deep power that dissolves into ready vernacular even the most ancient and secret scripts of the Law Library.\n\nYou can see an ordinary quill pen here.\n\n> You read contract book\nYou read with interest the indenture of a certain fighting-man. Thanks to the neat way the names are written at the top right corner of each page, you could easily look up anyone, though.\n\n> You read the contract book\nYou read with interest the indenture of a certain ostler. Thanks to the neat way the names are written at the top right corner of each page, you could easily look up anyone, though.\n\n> You go to the bell room\nYou head east to the lower bulb. Then up to the upper bulb. Then east to the gallery of still life. Then east to the white gallery. And finally east to the bellroom.\n\nKept, conveniently, close to where the masters of the house would once have slept. There are bells large and small, clappers, tambourines, and gongs. Most of these you have never seen used at all.\n\nRoses from the garden below have crept up to grow around the north window, lending a sickly smell to the place.\n\nNearby an open heavy door leads south to the private parlor.\n\nCatching your eye among many other unfamiliar items are a glass bell, a cow bell, and a leather tambourine.\n\n> You take the glass bell\nYou acquire the glass bell, and assess it curiously.\n\nThick glass with a clapper on a chain.\n\n> You go to Lie Library\nYou head west to the white gallery. Then west to the gallery of still life. Then west to the upper bulb. Then southwest to the smoke-damaged chamber. And finally east to the lie library.\n\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand here.\n\n> You put the contract on the stand\nYou put the great contract book on the book return stand.\n\n> You ring glass bell\nYou summon the librarian, who comes and looks at the contract book: you see this as a sort of fog. It frowns at the condition of some of the pages, then searches the front and back of the book; then, grimacing, it takes out a red seal like those used in the empire of the Chan. It is about to mark the contract book property of the Lie Library, when it discovers that its seal ink has dried up: so the stamp has no efficacy. Disappointed, it vanishes again.\n\n> You put the inkpot on the stand\nYou put the inkpot on the book return stand.\n\n> You ring glass bell\nYou summon the librarian, who comes and looks at the contract book: you see this as a sort of fog. It frowns at the condition of some of the pages, then searches the front and back of the book; then, grimacing, it takes out a red seal like those used in the empire of the Chan.\n\nIt inks this carefully from the inkpot, then stamps inside the front of the book:\n\n\n\n...whereupon the contracts inside begin to unravel and dissolve into the merest stories."
    },
    {
        "text": "[Themes: Fantasy, ghosts, magic-object, female protagonist, fairy tale, suicide, slavery]\n\n> Look around\nFables, fictions, and falsehoods, arranged by number by type, and containing such categories as \"In which the hero receives help from three aged figures,\" \"In which the villain has a mysterious name,\" and so on.\n\nYou can see a book return stand (on which is an inkpot (full)) here.\n\n> You go to Beast\nYou head west to the smoke-damaged chamber. Then northeast to the upper bulb. And finally east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby an open heavy door leads east to the white gallery.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n> You go to the gate\nWhich do you mean, the iron-barred gate or the mural?\n\n> You go tthe iron-barred gate\nYou head west to the upper bulb. Then down to the lower bulb. Then east to the state rotunda. Then south to the central courtyard. And finally south to the entrance hall.\n\nThere is no fire in the big fireplace; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. And no wonder he was not here to meet you.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> Go north\nOpen to a grey sky, from which a light rain falls. You have never seen the courtyard otherwise: it rains in every season, winter or summer, no matter what lies beyond the moat.\n\nThe castle proper opens both north and south, and to the east a helical staircase ascends to the roof.\n\n> You go south\nThere is no fire in the big fireplace; the air is very cold. Over the gate, the old familiar warning sign is painted.\n\nVarious passages lead deeper into the castle: north towards the central courtyard, southwest to the guard tower, east and west into the libraries, the offices, the galleries. And no wonder he was not here to meet you.\n\nAn iron-barred gate leads south to the drawbridge.\n\n> Go south\nThere is little enough purpose in loitering outside: He and his servants never come out here, and whatever you must do, you will have to do within.\n\nAn iron-barred gate leads north to the entrance hall.\n\n> You go to Beast\nYou head north to the entrance hall. Then west to the great dining hall. Then north to the law library. Then north to the lower bulb. Then up to the upper bulb. And finally east to the gallery of still life.\n\nNatural light from the south -- coming in from the courtyard, you suppose, though you are too short to see out -- illuminates a series of still life paintings on the north wall: one showing the Wedding Treasure when Lucrezia arrived from Medici-Credenza, the other rather fancifully entitled Supper with M.\n\nNearby an open heavy door leads east to the white gallery.\n\nAnd here Beast lies, sprawled on the ground as if he'd fallen.\n\n> Kiss Beast\nAs you do, you can't help remembering -- because of the girdle -- how many women before you this king imprisoned against their will. And why should he deserve to be forgiven, merely because he has been less cruel to you than to the others?\n\nWhen you lift your head, he is his proper self: a man, about forty-five. Handsome, perhaps, but in the style of the lord mayor, not someone you would have aspired to wed. His face has perhaps softened a little since his youth, but he is still recognizably the same person.\n\nHis fingers stretch in experiment. \"Dear virgin mother. You did it. The servants are free?\"\n\nYou nod.\n\n\"Good girl.\" He touches your cheek affectionately; then freezes. \"And you're wearing Yvette's girdle. I suppose you heard her story, in that case.\" He sticks out his jaw. \"You can go now. It won't kill me, this time.\"\n\nYou draw a breath and give him your answer."
    },
    {
        "text": "[Themes: Mystery, miniature protagonist, felt animals, hints, anthropomorphised animals, female protagonist, rat, nonhuman protagonist, fairy, passion, noir, crime, mystery, Gay/queer protagonist, rabbit]\n\nLittle bunny Foo Foo went hopping through the forest,\nscooping up the field mice and bopping them on the head.\nDown came the good fairy, and she said,\n\"Little bunny Foo Foo, I don't want to see you\nscooping up the field mice and bopping them on the head.\nI'll give you one more chance, or I'll turn you into a\ngoon!\"\n\nPress any key to begin.\nA tremendous pounding disturbs you from your slumber. For the love of Gaia. How much did you drink last night?\n\nYou piece the evening back together. A late day at work, a rainy commute, ramen for dinner, a plotless bodice-ripper for dessert. You were too long between the steamy parts when you fell asleep.\n\nSo, nothing. Not even the usual two-count of mint schnapps in your tea.\n\nKnock. Knock. Knock.\n\nOh. It's the front door.\n\nYou climb out of bed into your own little slice of heaven. Maybe someday you'll get out of here.\n\nThe rain is heavy against the window.\n\n[Author's Note: Someone's been bopping the field mice on the head, and only Good Fairy, Senior Detective can find out who.]"
    },
    {
        "text": "[Themes: Mystery, rabbit, Gay/queer protagonist, nonhuman protagonist, crime, female protagonist]\n\n> You open the door\nYou fumble with the locks until you get the door open. A very wet rabbit shivers on the other side.\n\nNot again.\n\n\"Really, Foo Foo?\" You make no attempt to hide your frustration. \"Couldn't this wait 'til morning?\"\n\nThe rabbit hops inside, pushing past your outstretched arm. \"P-p-p-p-please, Miss Fairy,\" he begs. \"You're my only hope.\"\n\n1) \"That's Detective Fairy to you.\"\n2) \"Tell me you didn't bop again.\"\n3) \"You're dripping all over my carpet.\"\n\n> 2\n\"Tell me you didn't bop again.\"\n\n\"D-d-d-d-don't turn me in.\" Foo Foo struggles to hold himself together. \"It's just like the last time. One minute, I'm hopping down Lumpen Lane, and the next, I'm in the Forest, looking down at a...\" His brittle words crumble into full-fledged sobs.\n\nYou reluctantly hand him a tissue. He blows it to shreds.\n\n1) \"Someone's got to know what happened to you. What we need is a witness, and I know just where to look.\"\n\n> 1\n\"Someone's got to know what happened to you. What we need is a witness, and I know just where to look.\"\n\n*   *   *   *   *\n\nBy morning, the summer sun is busy hiding the evidence of the previous night's storm. You step through a lingering puddle and over the police barricade to where Murphy is waiting.\n\n\"Good, you're here,\" he says. That's your name. Good Fairy, Senior Detective. Though it's good that you're here, too. Makes for awkward moments when your arrival is not so good.\n\n\"We got an anonymous tip that Foo Foo's hiding in this part of Fieldtown,\" Murphy continues before popping in a few more sticks of chewing gum. He's the kind of rookie who chews more gum than he can handle, and no, that's not just an expression. There's way too much gum in his mouth right now.\n\n\"Fe schreet'sh a dead end, an fere'sh no way he'sh gettin by me an Big Chommy.\" He pats his magic wand and grins lopsidedly.\n\n\n\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right. Not much has changed, except maybe that poster. That's new.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. Usually. The road heads east from here.\n\nMeanwhile, Murphy leans against a public postbox, chewing loudly. You know you can open the postbox anytime to bring the investigation to a premature close. Nobody at headquarters knows you hid the rabbit, and you intend to keep it that way for as long as it takes to prove his innocence.\n\n> You talk to Murphy\nHe stands at attention. \"Yesh?\"\n\n1) \"What do we know so far?\"\n2) \"I'll check in with you later.\"\n\n> 1\n\"What do we know so far?\"\n\n\"Anofer field moush wash\" He stops to adjust the gum in his mouth and keep from drooling.\n\n\"Spit it out, Murphy,\" you say.\n\n\"I shaid, anofer field moush wash\"\n\n\"Sorry, no, I meant the gum. It's impeding your speech.\" You hold up your hand in front of his mouth, and he complies, spitting out an obscenely large ball of gum.\n\nYikes. You knew this case would get your hands dirty, but this is something else. Not wanting to litter, you shove the ball into your coat pocket.\n\nMurphy begins again. \"Another field mouse was scooped up from the Forest and bopped on the head. Sabado called it in, so you might check with him on the details. He owns the bar at the end of the street.\"\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> 3\n\"I'll check in with you later.\"\n\n\"Good luck catching the perp.\"\n\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right. Not much has changed, except maybe that poster. That's new.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. The road heads east from here.\n\nMurphy leans against a public postbox, keeping watch.\n\n> About yourself\nWhat can you say? You're Good Fairy, Senior Detective, and you know how to look the part. You keep your midnight blue hair short beneath your bowler hat. Your trench coat, while tailored to accomodate your unusually large wings, hangs clumsily from your shoulders. Maybe you lost weight. You don't remember the last time you checked.\n\nAs for the glass heels, well, they're a reminder of those twee days when you flit about granting wishes to sick children. Sometimes, you think these shoes are all that's left of the woman you once were.\n\nFieldtown'll do that to you.\n\n> Examine poster\nIt's a picture of a smiling, well-dressed couple holding hands and leaning into one another. The two are emerging from a white townhouse on a tree-lined, cobblestone road papered with autumn leaves. Large, elaborate cursive reads: \"Coming soon to Lumpen LaneAlabaster\nEstates. Contemporary luxury. Comfortable living.\"\n\n> You check your inventory\nYou are carrying:\na chewed gum ball\nyour badge\na mugshot\n\n> You examine the gum\nIt's a big, pink, wet ball of chewed gum. You don't like looking at it.\n\n> You examine the badge\nYour police badge. \"FPD * GOOD FAIRY * SENIOR DETECTIVE\".\n\n> Examine mugshot\nIt's a photo of Foo Foo from the second time you brought him in then let him go with a warning. He claimed he had no memory of bopping anyone, and like the do-gooder you are, you believed him.\n\nThe problem is, you staked your reputation on those extra chances, and now he's gone and bopped again. The Chief promised the whole affair would go away if you make the rabbit a goon* by sundown. But that won't have to happen if you can prove his innocence first.\n\n* Fairies no longer turn criminals into goons as punishment. The practice was archaic and, more often than not, counter-productive. Now criminals are sensibly put in prison, but the old fairy phrasing stuck.\n\n> You look\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. The road heads east from here.\n\nMurphy leans against a public postbox, keeping watch.\n\n> Examine postbox\nIt's a large red postbox, meant to collect the mail for all the residents and businesses on this street.\n\n> You ask Murphy about Foo Foo\nYou might try talking to Murphy instead.\n\n> You talk to Murphy\nHe stands at attention. \"Yes?\"\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> 1\nMurphy grunts but does as requested. You wait until he's around the corner to open the postbox. Foo Foo flops out onto the ground as dramatically as possible.\n\n\"How much longer are you keeping me in there?\" he asks between exaggerated gasps.\n\n\"Just a little longer. Keep it together.\"\n\nFoo Foo exhausts his complaints, and you settle him back into the postbox. Just in time too. Murphy walks back around the corner.\n\n\"All clear,\" he says. \"No sign of the rabbit. Need anything else?\"\n\n1) Ask for a hint.\n2) \"I'll check in with you later.\"\n\n> 2\n\"I'll check in with you later.\"\n\n\"Good luck catching the perp.\"\n\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. The road heads east from here.\n\nMurphy leans against a public postbox, keeping watch.\n\n> You go to the east\nGood old Fieldtown. It was once a field, but now it's a town. Fieldtown.\n\nYou stroll down the sidewalk past the derelict rowhouses to a small joint called Get Your Nibbles. Come to think of it, you've been up most of the night. Maybe they serve coffee.\n\nThe entrance is to the north, while the road continues east.\n\n> You go to the north\nNo coffee. Should have grabbed a cup of the slop they call coffee back at the station.\n\nYou scope out the joint. If it weren't for the display case of whatever they do serve here... possibly mud logs, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of toys. Cuddly toys.\n\nWait a minute. The stuffed rabbits along one of the shelves look curiously like Foo Foo. You are about to lean in for a closer look when a green fairy appears from behind the counter.\n\n\"Nice shoes, stranger,\" she says, smirking.\n\nHolly.\n\n\"I had help picking them out,\" you say, tipping your hat. Of course she's still as good looking as ever. What's it been, ten years since you were both on wish duty? Play it cool, Good. Play it cool.\n\n1) \"How you been?\"\n2) \"So. What kind of tea party you got going on here?\"\n3) \"I'm looking for a rabbit.\"\n\n> 1\n\"How you been?\"\n\n\"This is Fieldtown. You know how it is. I do what I can.\" She moistens her lips. \"How about you? I heard you joined the FPD.\"\n\n\"Keeping tabs on me?\" you ask, leaning in closer.\n\n\"As I recall, it used to be the other way around.\"\n\n\"Times change.\"\n\n\"Yeah, they do.\" She looks away at something that isn't you.\n\nSilence.\n\n1) \"So. What kind of tea party you got going on here?\"\n2) \"I'm looking for a rabbit.\"\n3) \"I've got work to do.\"\n\n> 1\n\"So. What kind of tea party you got going on here?\"\n\nShe closes her eyes and opens them slowly, like curtains before the next big act. \"I happen to sell the best nibblets this side of Fieldtown.\" Her smile wavers when your reaction is little more than a blank stare, but only for a moment. \"Why don't you try a sample? We have vanilla, chocolate, strawberry, key lime, mint, and salted caramel.\"\n\nYou look down at the mud logs in the display.\n\n1) \"Are you sure they're edible?\"\n2) \"I'll try the vanilla.\"\n3) \"I'll try the chocolate.\"\n4) \"I'll try the strawberry.\"\n5) \"I'll try the key lime.\"\n6) \"I'll try the mint.\"\n7) \"I'll try the salted caramel.\"\n\n> 1\n\"Are you sure they're edible?\"\n\n\"Nope. They're actually full of poison, and now that you know my secret, I'll have to get rid of you too.\" She wiggles her fingers threateningly at you.\n\n1) \"I think I'll pass, but thanks.\"\n2) \"I'll try the vanilla.\"\n3) \"I'll try the chocolate.\"\n4) \"I'll try the strawberry.\"\n5) \"I'll try the key lime.\"\n6) \"I'll try the mint.\"\n7) \"I'll try the salted caramel.\"\n\n> 6\n\"I'll try the mint.\"\n\nHolly snaps on some gloves and reaches beneath the counter. She breaks off the corner of a mud log, which she hands to you. It can't be as bad as it looks, right?\n\nWow, that was revolting. Not even a hint of mint, just wheat grass and pine nuts and maybe actual mud.\n\n\"What do you think?\" she asks.\n\n1) \"It's, uh, I don't think it's my flavor.\"\n2) \"It's pretty bad. Sorry.\"\n3) \"It's great! I'll take one to go.\"\n\n> 3\n\"It's great! I'll take one to go.\"\n\nShe blinks in surprise. \"Um, really?\"\n\nYou can't hide the truth in your face, and she laughs. \"I know, I know, they're terrible,\" she says. \"Only field mice actually eat nibblets. I don't know why I thought you would like them, but I haven't made a single sale this week, and I'm behind on my lease payments, and I thought, hey, a girl's got to try.\"\n\n\"I take it business isn't going well.\"\n\n\"I shouldn't be bothering you with my problems,\" she says, shaking her head.\n\n\"Please, bother me.\" You hit her with the puppy dog eyes.\n\nShe groans and playfully shoves your shoulder. \"Fine. I gave up selling stuffed animals after that mouse opened his felt dinosaur store down the street, and I chose nibblets because the neighborhood is ninety percent field mice. Or it was a few weeks ago. Where did everyone go?\" She pauses. \"It's like no matter what kind of store I open, my business is doomed to fail.\"\n\nShe looks around, then drops her voice from conversational to conspiratorial. \"Sometimes, I think the other stores are out to get me. They could be part of some kind of animal cult, collaborating for their own advantage at the expense of outsiders. I mean, it's possible, right?\"\n\n1) \"Anything's possible.\"\n2) \"That sounds more like a game about crime.\"\n\n> 2\n\"That sounds more like a game about crime.\"\n\n\"Yeah, it does, doesn't it.\" She busies herself rubbing a dirty spot on the counter.\n\n\"Hey now,\" you say. \"Tell you what. I'll be checking out a few of the nearby stores, and I'll let you know if I come across anything cult-ish.\"\n\n\"You don't have to do that.\"\n\n\"I want to do that.\"\n\nShe grins. \"At least try to find out where all the field mice have disappeared to. It'd be nice to have customers again. And as a reward, you can have all the free nibblets you want.\"\n\n\"Gee, thanks,\" you reply.\n\n1) \"I'm looking for a rabbit.\"\n2) \"I've got work to do.\"\n\n> 1\n\"I'm looking for a rabbit.\" You hand her the mugshot of Foo Foo.\n\nShe looks it over briefly before returning it to you, shaking her head. \"Sorry, I haven't seen him. That's Foo Foo, right? I heard what happened. It's all over the papers. Those poor, poor mice...\"\n\n\"We have reason to believe he's in the area.\"\n\n\"I'll be sure to let you know if I see him,\" she says.\n\n1) \"I've got work to do.\"\n\n> 1\n\"I've got work to do.\"\n\n\"Sure, okay.\" As you turn to leave, she grabs your coat. \"Hey, look. Just... Let's talk again soon, okay?\"\n\nYou nod. \"I'd like that.\"\n\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, and a closed door to the north connects to what must be the kitchen.\n\nHolly smiles at you from behind the counter.\n\n> You get the rabbit\nYou pick up a Foo Foo look-alike.\n\n\"Not for sale, Good,\" Holly warns like a mother with her misbehaving toddler.\n\nYou put it back. \"I was only admiring how lifelike it is. You were always so good with your hands.\" She turns away, blushing.\n\n> Go north\n(first opening the kitchen door)\nIt's locked.\n\n\"Unless you're in the health department or have a search warrant, you can't go in there,\" Holly says. \"I pride myself on a clean kitchen.\"\n\n\"Are you saying I'm dirty?\" you ask, but she only smiles and winks at you.\n\n> You go south\nA small food joint is sandwiched between the derelict rowhouses, its entrance to the north. Lumpen Lane runs east and west.\n\n> You go east\nThe road passes in front of a pawn shop to the north before curving southeast. You stop and stare at the storefront.\n\nYep, still a dump.\n\nOne of the first cases you closed as a detective involved busting the owner, Domingo, for the distribution of illegal cheeses. The Prohibition has lasted nearly a decade now, and most of what your department does anymore is take down the budding cheesemongers hoping to make a quick dollar.\n\nYou're not looking forward to a reunion with this particular crime rat.\n\n> You go north\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former.\n\nDomingo looks up from his book, which he shoves into his desk as you approach. \"I'd like to say it's good to see you, Good, but we both know better. Also, your name is confusing. Have you thought about changing it yet?\"\n\n\"Have you given up the cheese racket yet?\"\n\n\"Ouch. That's a deep cut, Good. Haven't touched the stuff since my release. Scout's honor.\" He holds a few fingers up in the air, then draws them across his neck.\n\n\"I don't think that's how\" you begin, having been a fairy scout in your tender years, but you're swiftly interrupted.\n\n\"I don't care what you think. They didn't come from me, and if you so much as lay a blue little finger on me, I'll have my lawyers\" Now\nit's your turn to interrupt him.\n\n\"Take it easy, pops. What didn't come from you?\"\n\n\"The cheese!\" he roars, slamming his fists onto the desk. \"That's why you're here to arrest me!\"\n\nYou are, in fact, not here to arrest him, and your stunned silence is the only correcting he seems to need. His snout stretches into a nervous smile. \"Uh, nice weather we're having, ain't it?\"\n\n1) \"Now I've got to ask. What's this about cheese?\"\n2) \"Have you seen this rabbit?\"\n3) \"You knew a lot of the local field mice. Know what happened to them?\"\n4) \"I'm going to take a look around.\"\n\n> 1\n\"Now I've got to ask. What's this about cheese?\"\n\nDomingo pulls out a rubix cube and works on solving it. \"I don't know what you're talking about.\"\n\n\"Enough with the games, Domingo.\"\n\nHe puts away the cube. \"All right. Word on the street is there's a new cheesemonger. Calls himself the Verde. How am I supposed take that? Me, Domingo Verdeterre! He's rubbing it in my face that I'm out of the game. You got to take him down, Good.\"\n\n\"I'm on a different case.\"\n\n\"Case, shmase. You bested me. Now you best him. It's only fair.\"\n\n\"I'll see what I can do.\"\n\n1) \"Have you seen this rabbit?\"\n2) \"You knew a lot of the local field mice. Know what happened to them?\"\n3) \"I'm going to take a look around.\"\n\n> 1\n\"Have you seen this rabbit?\" You hand him the mugshot of Foo Foo, but he barely glances at it before throwing it back at you.\n\n\"I don't know what it is with rabbits,\" he says. \"Why they all got to look the same? Don't misunderstand me, some of my closest friends are rabbits.\"\n\n\"I'm sure they appreciate your sentiments.\" He ignores your remark.\n\n\"All I'm saying is I get lots of customers, so I can't give you a definitive yes or no at this point in time.\" Classic Domingo.\n\n\"If you do see him and let us know, the FPD would be very grateful.\"\n\n\"I got a few parking tickets...\"\n\n\"Don't push it.\"\n\nHe shrugs. \"It was worth a shot.\"\n\n1) \"You knew a lot of the local field mice. Know what happened to them?\"\n2) \"I'm going to take a look around.\"\n\n> 1\n\"You knew a lot of the local field mice. Know what happened to them?\"\n\n\"You on missing persons now too?\" he asks.\n\n\"A favor for a friend.\"\n\n\"Some friend. Look Good, I'll be square with you. I loved the field mice, even before I got into cheese. Fun drinking buddies, great for local gossip. But most of Fieldtown don't like 'em and don't like giving 'em jobs. Maybe they just wised up and got out. Went somewhere where good cheese isn't a vice. That's what I hope for 'em anyway.\"\n\nYou nod your head, having nothing more to add.\n\n1) \"I'm going to take a look around.\"\n\n> 1\n\"I'm going to take a look around.\"\n\n\"You break it, you buy it.\"\n\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former, though you never know. There could be something of use around here.\n\nThe entrance to the south leads back to the street.\n\nDomingo eyes you from his desk beneath a portrait of a pirate rat.\n\n> You look at the portrait\nThe oil painting depicts a rat pirate. Or a pirate rat. Whichever is the appropriate term.\n\nDomingo catches you looking up at it. \"That's my great-great-great-great-great-great grandfather Captain Verdeterre. Sank every ship he ever sailed and still turned a profit. Now that's how you run a business.\" He salutes the portrait before returning to his work.\n\n> You examine the junk\nYou survey the piles of junk for items of interest. Let's see, there's an old goblet, an ornate vase, a faded tapestry, a painted idol, and a curved dagger stuck in a wall.\n\n> Examine goblet\nYou think it's pewter, but that's mostly a guess. Should have spent more time antiquing with grandma.\n\n> You look at the vase\nIt's white with blue flowers and vines and leaves. Looks expensive.\n\n> You look at the tapestry\nIt's a picture of a rat getting speared by a human. Possibly religious, definitely weird.\n\n> You examine the idol\nThe wooden doll is painted in bright colors.\n\n> You look at the dagger\nIt's too fancy a knife for your tastes. The blade is curved.\n\n> You get the goblet\n\"It's a communion chalice recovered from the Crusades,\" Domingo says, \"blessed by Rat Pope Asiago X-V-I-I himself. A very unique piece. I'll let you have it for a mere 737 dollars.\"\n\n\"Maybe another time.\"\n\n> You get the vase\nDomingo yells out in warning when you get too close. \"Careful! That's a Ming! If you even chip it, you owe me, uh, 708 dollars.\"\n\nYou keep your distance.\n\n> You get the tapestry\n\"That's of particular significance to a devout Rat Catholic like myself,\" Domingo says. \"The rat is Saint uhthe name's not important. He was martyred after scaring the farmer's wife. For you, only 712 dollars.\"\n\n\"Doesn't match my decor,\" you say.\n\n> You get the idol\n\"Having trouble with your love life?\" Domingo asks. \"Try an African fertility idol. I'll give you a discount623 dollars.\"\n\n\"Thanks, but my love life is just fine,\" you lie, quickly putting it back.\n\n> You get the dagger\n\"It's a rare sacrificial dagger from, uh, the Mayans,\" Domingo says as you inspect the dagger. \"Definitely the Mayans. Anyway, since we're such good friends and all, I'll let you have it for free. Of course, that's if you can pull it from the wall. Since there's a roughly one-in-eighteen chance you can do it, I ain't too worried about losing it.\" His smile lingers a little too long.\n\n> You pull the dagger\nAs much as you pull, the dagger won't budge. Domingo stifles a laugh.\n\n> You pull dagger\nYou yank on the dagger, but it doesn't come out. Domingo covers his mouth.\n\n> You pull the dagger\nTry as you might, the dagger stays stuck. Domingo chokes on a snort.\n\nThis isn't working. You'll never get it out this way. Maybe there's another way about this.\n\n> Go south\nYou stand outside your least favorite pawn shop. The entrance to the store is north. The road in front curves west and southeast.\n\n> Go southeast\nThe sun hangs heavy in the eastern sky, hot and oppressive. The shade of an old, boarded-up rowhouse offers you some relief. The road wraps around it to the east.\n\n> You look at the wall\nThis rowhouse is in terrible shape. The front door is all boarded up, but you don't know why they bothered. Fieldtown's drifters wouldn't even squat in here.\n\n> You go to the east\nA small camera shop to the north brings some charm to this part of Lumpen Lane. That is, aside from what might be the remains of the shop's front door littering the sidewalk. The awning above you reads \"Finch & Fern's Cameracopia\" next to a picture of a cornucopia overflowing with various types of cameras and camera accessories.\n\nThe road in front runs east and west.\n\n> You go north\nAs you enter the shop, your shoe crunches on broken glass. A finch in an apron turns from where she's busy sweeping.\n\n\"It's about time,\" she says with an exasperated chirp. \"I called for help hours ago!\"\n\n\"Sorry,\" you say. \"I'm on a different case.\"\n\n\"Different case? What could be more important than this?\" She points to the mess. It's not pretty. Every camera, every shelf, every glass case, everything that could be smashed, was. \"Go ahead and get started, and let me know if you need anything.\"\n\n\"Listen, uh, Mrs. Finch...\" you say.\n\nShe rolls her eyes. \"No, honey, I'm Fern. This is Finch.\" She motions to the potted fern on the counter. That's not confusing.\n\n1) \"What happened here?\"\n2) \"I'm actually looking for a rabbit.\"\n3) \"Rumor has it the field mice are disappearing. You know where they went?\"\n4) \"I'm going to look around.\"\n\n> 1\n\"What happened here?\"\n\n\"You're the expert,\" she says, noisily scooping a large piece of glass into her dustpan. \"Maybe you can tell me.\"\n\n1) \"I'm actually looking for a rabbit.\"\n2) \"Rumor has it the field mice are disappearing. You know where they went?\"\n3) \"I'm going to look around.\"\n\n> 1\n\"I'm actually looking for a rabbit.\" You hold out the mugshot of Foo Foo.\n\nShe looks at it, confused. \"What does that have to do with the ghost?\" she asks.\n\nYou blink. \"What ghost?\"\n\n\"The ghost that terrorized us last night!\" She flails her wings in the air, then stops all at once. Her eyes widen in realization. \"You're not the exorcist I called for, are you?\"\n\n\"No ma'am. Good Fairy, Senior Detective.\" You flash your FPD badge.\n\n\"Oh, great,\" she says. You get the feeling she's not that happy about it. \"Don't think I'm going to stop cleaning so you can do your CSI cop thing. This mess will take me all day.\"\n\n\"I won't get in your way.\"\n\n1) \"Tell me about this ghost.\"\n2) \"Rumor has it the field mice are disappearing. You know where they went?\"\n3) \"I'm going to look around.\"\n\n> 1\n\"Tell me about this ghost.\"\n\n\"A real Jacob Marley if you ask me,\" Fern says. \"Heard its chains rattling and rattling, like it was going to rattle the whole building down. We were here late, developing film for one of our customers, and after destroying our poor shop, it tried to get into our dark room to get us! If it wasn't for Finchy scaring it away with that old Edgerton flash he was fixing up, I don't know what would have happened to us.\"\n\n\"Did you see it?\" you ask.\n\n\"Only briefly, in the light of the flash. Endless loops of pure white. What do you think?\"\n\n\"I think you should file a police report.\"\n\nFern frowns. \"It won't matter once the exorcist gets here, but you do what you want. Finch owns the building, and he's been under a lot of pressure to sell. There's a vaguely threatening note about it around here somewhere. If we don't get the ghost problem resolved, this might be the final nail in the coffin for us.\"\n\n1) \"Rumor has it the field mice are disappearing. You know where they went?\"\n2) \"I'm going to look around.\"\n\n> 1\n\"Rumor has it the field mice are disappearing. You know where they went?\"\n\n\"Not a rumor, honey. The mice are getting run out. I'd put my money on Sabado, if I had any.\"\n\nYou arch an eyebrow. \"The bar owner? Why?\"\n\n\"He doesn't just own the bar. Been buying up all the property on Lumpen Lane. Field mice don't have great prospects in general. I'm sure they're taking whatever he offers. Our shop might be the last building not owned by him.\"\n\nSeems you owe Sabado a visit.\n\n1) \"I'm going to look around.\"\n\n> 1\n\"I'm going to look around.\"\n\n\"You know where to find me. And watch you don't cut yourself on any glass while you're poking around,\" she says before returning to her cleaning.\n\nYou'd say the store was trying to convey church basement-chic, except it looks like a tornado went through it. There's broken glass and camera parts and debris everywhere. Someone, or something, wasn't happy.\n\nTo the east is a closed door. The way out is south.\n\nFern is busy sweeping up broken glass. Finch is sitting quietly on the counter nearby.\n\n> You talk to Finch\nFinch doesn't respond to any attempts at conversation.\n\n\"He was up late after the ghost attack. Let him sleep a bit longer,\" Fern says.\n\n> You examine the glass\nYou search through the debris for some clues about the attacker. From beneath a pile of broken cameras you pull out a small handwritten note.\n\n\"Sabado gave me that note about a week ago,\" Fern says.\n\n\"Can I have it?\" you ask.\n\nShe waves a wing. \"I don't care what you do with it.\"\n\nYou brush off the dust and bits of glass.\n\n> You look at the note\nIt says: \"Finch & Fernmy offer still stands. I suggest you take it. Sabado.\"\n\n> You check your inventory\nYou are carrying:\na handwritten note\na chewed gum ball\nyour badge\na mugshot\n\n> You look at parts\nYou sure hope everything was insured.\n\n> You examine Fern\nShe's a golden finch, an usual sight so close to the ground, but this is Fieldtown after all. She wears a blue gingham apron over her floral dress, which she uses to wipe her wings with as she cleans. Occasionally, she makes a clicking sound with her beak as if disapproving of everything.\n\n> You examine Finch\nFinch is a potted fern. A camera flash sticks out of his pot beside him.\n\n> You examine the flash\nIt's a flash without the camera. There's a small button on one side.\n\n> You get it\n\"Can I have this?\" you ask, pointing to the flash.\n\n\"If you think it'll help,\" Fern says. \"Be sure to give it back when you're done. Finch spent a lot of time fixing it.\"\n\nYou pick it up.\n\n> You go east\n(first opening the side door)\nYou try the door, but it's locked.\n\n\"That's our dark room. We're developing film right now, so we have to keep the door closed,\" Fern says.\n\n> You get glass\nA small camera shop is open to the north. The road in front runs east and west.\n\n>You can't see any such thing.\n\n> You go north\nYou'd say the store was trying to convey church basement-chic, except it looks like a tornado went through it. There's broken glass and camera parts and debris everywhere. Someone, or something, wasn't happy.\n\nTo the east is a closed door. The way out is south.\n\nFern is busy sweeping up broken glass. Finch is sitting quietly on the counter nearby.\n\n> You get the glass\nYou might cut yourself. Might be better to leave it alone.\n\n> Go south\nA small camera shop is open to the north. The road in front runs east and west.\n\n> Go east\nThe shop's large bay window forces a colorful prehistoric scene onto the street. Felt dinosaurs are posed whimsically around pieces of cardboard painted to look like palm trees and boulders. A sign above the display reads: \"Welcome to Dinosaur Island!\"\n\nThe shop's entrance is open to the north. Lumpen Lane continues east and west.\n\n> You examine the shop\nA prehistoric window display stands beside the shop's entrance to the north. Lumpen Lane continues east and west.\n\n> You go to the north\nThe display from the window continues throughout the store's interior, surrounding the space with a jurassic menagerie. The walls are covered with shelves upon shelves of felt dinosaurs. Incredibly, you can't find any two that look exactly alike. No wonder Holly's stuffed animal shop went under.\n\nA blue curtain has been hung in the rear of the shop to resemble a waterfall. Lumpen Lane is back to the south.\n\n> You look at the dinosaurs\nYou admire one of the dinosaurs. It's sewn out of red-orange felt, about eight fairy-inches in size, with a flat head and a few nubby teeth. It's posed like it's playing hide-and-seek.\n\n> You examine the dinosaurs\nYou admire one of the dinosaurs. It's sewn out of coral blue felt, about five fairy-inches in size, with three horns and googly eyes. It's posed like it's trying to climb a tree.\n\n> You look at the dinosaurs\nYou admire one of the dinosaurs. It's sewn out of royal purple felt, about seven fairy-inches in size, with a series of plates down its spine and a skinny tail. It's posed like it's looking for food.\n\n> You look at the dinosaurs\nYou admire one of the dinosaurs. It's sewn out of lime green felt, about five fairy-inches in size, with wheels for legs and spikes on the end of its tail. It's posed like it's trying to climb a tree.\n\n> You look at the curtain\nThe blue silk sways in an unseen draft. A decent enough waterfall.\n\n> You search curtain\nYou push the curtain aside, revealing a secret tunnel.\n\n> You look at Tunnel\nThe tunnel is more like a doorframe with the door removed. Above the header, someone painted the words \"Secret Tunnel to Trex's Workshop\" and an arrow pointing inside.\n\n> You enter the Tunnel\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nA mouse sits in silence, staring at a dinosaur on the workbench. His nametag says his name is Trex.\n\n> You examine Trex\nBrown fur, short whiskers, a pleasant but anxious disposition. That last one isn't so typical for a field mouse, the way the beat cops talk.\n\n> Examine felt\nYou think this Trex character ought to clean up after himself a little more.\n\n> You examine the cabinet\nOne of the legs is bent, giving the large cabinet a terrible lean. There's a hole in the side not pressed against the wall.\n\n> You examine the hole\nYou peer inside the hole. It's mostly full of felt. A small bottle of something has rolled to the far side of the cabinettoo far to reach.\n\n> You talk to Trex\nThe field mouse hasn't acknowledged you barging into his workshop. The fellow must be off. You clear your throat.\n\n\"Trex, I presume?\" you ask.\n\nHe twitches and blinks several times, as if waking from a daydream. \"Oh, hello,\" he says. \"Sorry. I haven't been myself lately. Did you want to buy a dinosaur?\"\n\nYou shake your head and pull out your badge. \"Good Fairy, FPD.\"\n\n1) \"Have you seen this rabbit?\"\n2) \"A lot of the other field mice from the neighborhood have gone missing. Know anything about it?\"\n\n> 1\n\"Have you seen this rabbit?\" You hand him the photo of Foo Foo. He looks it over intensely.\n\n\"Yes, I do believe so,\" he says, handing it back.\n\n\"Can you be more specific?\"\n\nTrex rubs his paws together nervously. \"Oh dear. It was last night just after sundown. I was closing my shop, and I could see him through the window talking with someone, but I couldn't see who. I'm not in trouble, am I?\"\n\n\"Not unless you're withholding any information. Did you hear the conversation?\"\n\nTrex shakes his head. \"No, I was too far away.\" He smiles with a sudden thought. \"My dinosaurs would have. Doohickey was in the window all night.\" He points to the red dinosaur on the workbench.\n\nGreat.\n\n1) \"A lot of the other field mice from the neighborhood have gone missing. Know anything about it?\"\n2) \"I'll show myself out.\"\n\n> 1\n\"A lot of the other field mice from the neighborhood have gone missing. Know anything about it?\"\n\nTrex looks around and bites his paws. \"No, ah, no. I don't really know the neighbors too well.\"\n\n\"You're not from here?\"\n\n\"I was born in Fieldtown, but my parents carted us kids off to live among the humans when I was young. They believed it'd be easier to feed us stealing scraps off the kitchen floor than begging for scraps on the street corner. We lucked out and ended up with a nice guy who happened to keep a filthy kitchen and no cat. He sewed felt dinosaurs for a living.\"\n\n\"Like the dinosaurs you make?\"\n\n\"Yes, exactly. I learned by watching him over the years. Except he had magic, which is rare for a human. He could bring them to life. I can't do anything like that.\" He looks longingly at the dinosaur on the workbench. \"If only I could bring my Doohickey to life, even for one day.\"\n\n1) \"I have an idea that'll help us both.\"\n2) \"I'll show myself out.\"\n\n> 1\n\"I have an idea that'll help us both. You see, I, uh, used to be a wish fairy. No funny remarks, all right? I get enough lip from everyone at heaquarters about it already.\" You point a very intimidating index finger, and he swallows hard and nods many times. \"So I worked with a partner, and one of our specialties was bringing toys and stuffed animals to life. It's not permanent, mind you. But maybe your Doohickey here can be a witness in my case.\"\n\nThe mouse claps his paws together. \"I like that idea. What do you need me to do?\"\n\n\"Nothing at the moment. First I need some wish powder and a wand.\"\n\n\"I don't have any of those things,\" he says.\n\n\"Don't worry about it. I'll be back with what I need.\" Of course, you haven't had any wish powder in ages, and your wand is in the shop thanks to that incident with the frog in the sewers. Still, you're determined to think of something. You need that witness.\n\n1) \"I'll show myself out.\"\n\n> 1\n\"I'll show myself out.\"\n\n\"Have a good day.\"\n\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nTrex sits in silence, staring at one of his creations on the workbench.\n\n> You examine Doohickey\nIt's sewn out of bright red felt, at least eighteen fairy-inches in length, with six legs and savage claws. Its tongue hangs out over an assortment of jagged teeth.\n\n> You talk to Doohickey\nYou ought to leave it alone for now. Trex seems to like the company.\n\n> You look in the hole\nYou peer inside the hole. It's mostly full of felt. A small bottle of something has rolled to the far side of the cabinettoo far to reach.\n\n> You get the bottle\nIt's out of reach.\n\n> You pick up the cabinet\nIt's too heavy to move.\n\n> You go to the south\nThe display from the window continues throughout the store's interior, surrounding the space with a jurassic menagerie. The walls are covered with shelves upon shelves of felt dinosaurs. Incredibly, you can't find any two that look exactly alike. No wonder Holly's stuffed animal shop went under.\n\nA blue curtain has been pushed aside to reveal a secret tunnel to the north. Lumpen Lane is back to the south.\n\n> You go south\nA prehistoric window display stands beside the shop's entrance to the north. Lumpen Lane continues east and west.\n\n> You go east\nThe road ends at a tavern to the east, its facade a collage of tree trunks, branches, and leaves. The sign above the open entrance says \"The Forest\".\n\nAn alley disappears behind the rowhouses to the north.\n\n> You examine the sign\nIt says \"The Forest\".\n\n> You go east\nYour first few steps into the dimly-lit space sink into dirt. And here you are wearing your nice heels.\n\nTurns out the floor is completely hidden beneath a layer of dark soil, who knows how deep, giving the air a damp and loamy odor. Above you, the ceiling is a canopy of intertwined branches and dead leaves. The columns supporting the roof are thick, bark-covered trunks. The Forestthey weren't kidding.\n\nThe barkeep looks up from where he's stacking glasses behind the bar. \"We're closed a few more hours,\" he grunts. \"Even the earliest drunks don't get here until noon.\" He sounds like the kind of guy angry with the world for no good reason.\n\n\"Good Fairy, FPD,\" you say, holding up your badge. \"I'm only here for answers.\"\n\n\"Sabado,\" he replies. \"Make it quick. I already told you guys everything I know.\"\n\n1) \"I'm looking for a rabbit.\"\n2) \"I've heard the local field mice have been vanishing.\"\n3) \"I'll leave you alone now.\"\n\n> 1\n\"I'm looking for a rabbit.\"\n\nSabado looks at the photo and scrunches his face like he bit into something sour. \"Yeah, that's Foo Foo. I'm the one who reported him last night. The maroon came into my bar and bopped one of my customers on the head. Hard enough doing business without renegade rabbits scaring away my customers. So you going to do your job and find him?\"\n\n\"One way or another.\"\n\n\"Well he's not here. Do me a favor, would you? If you catch him, bring him to me first. Would love to give him a taste of his own medicine.\" He winks at you in precisely the way you hate being winked at.\n\n1) \"I've heard the local field mice have been vanishing.\"\n2) \"I'll leave you alone now.\"\n\n> 1\n\"I've heard the local field mice have been vanishing.\"\n\n\"Of course they've been vanishing,\" Sabado says. \"It's that Gaiadamned Foo Foo. Bopped field mice three times already. Three times! No wonder they've all left town. Nobody in their right mind wants to sit around waiting to get bopped on the head.\"\n\n1) \"A little birdie told me you're buying up all of Lumpen Lane. Might not be Foo Foo chasing the field mice away after all.\"\n2) \"I'll leave you alone now.\"\n\n> 1\n\"A little birdie told me you're buying up all of Lumpen Lane. Might not be Foo Foo chasing the field mice away after all.\"\n\nSabado shrugs. \"So what if I am? What happens to the mice ain't my problem.\"\n\n\"What happens to your customers should be your problem.\"\n\n\"The whole plan's been approved by the City Commission. Who, I might add, were thrilled to have this dump of a street made respectable. So unless my legal financial transactions have become police business, I'm done with this line of questioning.\"\n\nSo much for that approach.\n\n1) \"I'll leave you alone now.\"\n\n> 1\n\"I'll leave you alone now.\"\n\n\"Come back when we're open.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nA shovel leans against one of the walls.\n\nSabado mutters to himself as he wipes down the bar.\n\n> You look at Sabado\nHe's tall for a rat, graying in broad patches, joints that bend at sharp angles. You're not sure if he has an expression besides scowl.\n\n> You examine the shovel\nSmaller than your average shovel but larger than a spade. The handle is maybe two or three fairy-feet in length.\n\n> You get it\n\"Can I borrow this?\" you ask, picking up the shovel.\n\nSabado spits into something behind the bar. You take that as a yes.\n\n> Dig\nYou thrust the shovel into the dirt. Sabado immediately objects.\n\n\"Hey!\" he shouts. \"I let you borrow the shovel. Not tear my place up.\"\n\n\"Sorry,\" you reply. \"Won't happen again.\" Not while he's here, anyway.\n\n> You look at jukebox\nNot in great condition. Looks like it only carries songs by cult rock group They Might Be Humans. There's a single coin slot in front.\n\n> You hit sabado\nYou prefer avoiding violence if you can.\n\n> You give the note to Sabado\nAnything that might interest Sabado would likely come up in conversation.\n\n> You look at the note\nIt says: \"Finch & Fernmy offer still stands. I suggest you take it. Sabado.\"\n\n> You talk to Sabado\n\"What now?\" he asks.\n\n1) \"I'll leave you alone now.\"\n\n> 1\n\"I'll leave you alone now.\"\n\n\"Come back when we're open.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\n> Examine bar\nA plain wooden bar. You can't investigate much more with Sabado behind it.\n\n> You go west\nThe road from the west ends at The Forest to the east. An alley disappears behind the rowhouses to the north.\n\n> Go north\nThe alley skirts along the wall of the bar from the south before turning sharply west.\n\n> You go to the west\nThe alley runs east and west behind the rowhouses and shops. An empty dumpster is not quite pushed up against the wall opposite the store.\n\nThe closed door to the south is likely a rear entrance to Cameracopia.\n\n> You go south\n(first opening the back door)\nIt's locked.\n\n> You look at dumpster\nIt's empty.\n\n> Go west\nA door to the south leads into an abandoned rowhouse. Leaning against the house is a dented trashcan. The alley curves northwest and east.\n\n> You look at the trashcan\nIt gives off a strong odor of cheese, but there's no cheese inside. Not anymore.\n\n> You go northwest\nThe alley arrives from the southeast and ends at a wall. There's a rear entrance to Get Your Nibbles to the south.\n\n> You look at the wall\nIt's taller than you and separates the alley from the rowhouses the next street over.\n\n> Go west\nThe sidewalk wraps around an old rowhouse and continues east. The rat's pawn shop is back to the northwest.\n\nA shiny coin draws your attention.\n\n> You examine coin\nHeads. Must be your lucky day.\n\n> You get the coin\nNo sooner than you pick up the coin, a loud bang echoes through the empty street. Your hat is knocked off your head. You turn to see movement in the second-story window of the rowhouse just before the shutters snap shut.\n\nTalk about a lucky break. If you hadn't bent over, the bullet that went through your bowler hat would have went through your face. Which you happen to like the way it is. Someone doesn't want you snooping around.\n\nYou replace your hat and flutter your wings. Nobody takes shots at Detective Good Fairy and gets away with it. That is, if you can find a way inside.\n\n> You examine the hat\nTo be worn at the most striking angle. A pair of holes were left behind by the bullet meant for your head.\n\n> You look at the rowhouse\nThis rowhouse is in terrible shape. The front door is all boarded up, but you don't know why they bothered. Fieldtown's drifters wouldn't even squat in here.\n\n> You examine the window\nThe window is obscured by a closed pair of shutters.\n\n> You fly\nYou spread your wings and leap into the air, coming to rest on the window sill.\n\n> You open the window\nThe shutters are closed and locked, barring entrance to the room inside. You can barely make out the latch in the small gap between the wooden slats. If you had something flat and hooked, you think you might be able to open them.\n\n> You examine the wings\nYour wings are blue and leathery, too large for your body. You don't like them."
    },
    {
        "text": "> Go downwards\nYou descend back to the street.\n\n> You check what you're carrying\nYou are carrying:\na shiny coin\na shovel\nan Edgerton flash\na handwritten note\na chewed gum ball\nyour badge\na mugshot\n\n> Go north\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, and a closed door to the north connects to what must be the kitchen.\n\nHolly smiles at you from behind the counter.\n\n> You examine Holly\nShe's a green fairy, and not the kind you see after too much absinthe. Or in your case, exactly the kind. She haunts your dreams less frequently when you're sober.\n\nHer long olive hair is half-falling out of her bun, and her apron is covered in a brownish food product. Her wings, two large sprigs of holly, remain delicately folded.\n\nAlso, no ring. Maybe she didn't move on.\n\n> You talk to Holly\n\"Hey there,\" she says.\n\n1) \"Know where I can get some wish powder?\"\n2) \"I've got work to do.\"\n\n> 1\n\"Know where I can get some wish powder?\"\n\n\"Feeling sentimental for old times?\"\n\n\"Something like that.\"\n\n\"I might have some lying around. Be a good girl and don't go nowhere.\"\n\nShe disappears into the kitchen and returns a few minutes later. \"Your lucky day,\" she says as she hands you a small pouch. \"It's enough for two spells, but no more, so use it wisely.\"\n\n\"Thanks Holl. I owe you one.\"\n\n1) \"I've got work to do.\"\n\n> 1\n\"I've got work to do.\"\n\n\"Sure, okay.\"\n\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, and a closed door to the north connects to what must be the kitchen.\n\nHolly smiles at you from behind the counter.\n\n> You examine Murphy\nMurphy joined the FPD straight out of Academy less than a year ago after a failed attempt at professional soothsaying. He's a good kid who tries too hard, and you can't really blame him. A narrow frame, curly red hair, and a pair of ladybug wings won't inspire fear in the criminals of Fieldtown. Might be why he sprang for the biggest wand he could find, Big Tommy, which he keeps holstered at his waist.\n\nHis premonitions could be helpful, even if they are vague.\n\n> You get the wand\nThat seems to belong to Murphy.\n\n> You talk to Murphy\nHe stands at attention. \"Yes?\"\n\n1) \"Can I borrow Big Tommy?\"\n2) Send him away briefly to check on Foo Foo.\n3) Ask for a hint.\n4) \"I'll check in with you later.\"\n\n> 1\n\"Can I borrow Big Tommy?\"\n\nMurphy looks down at his feet. \"You sure you need it, Good? I mean... it's just I'm on guard duty and all.\"\n\n\"It's only for a little while. Besides, I know you can handle any trouble, with or without your wand.\"\n\nHe brightens. \"You think so?er, I mean, of course I can. You can\ncount on me.\" He unstraps his wand and hands it to you with a flash of his pearly whites. What a great kid.\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> Go north\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former, though you never know. There could be something of use around here.\n\nThe entrance to the south leads back to the street.\n\nDomingo eyes you from his desk beneath a portrait of a pirate rat.\n\n> You look at Domingo\nHe's a portly rat with graying whiskers and shifty eyes, which you feel are his better qualities. Those creepy smiles are his way of showing off his gold teeth. They match the gold watch that hangs from his breast pocket.\n\n> You get the gold watch\nThat seems to belong to Domingo.\n\n> You examine the gold watch\nIt catches the light too easily. Domingo must polish it daily.\n\n> Inventory\nYou are carrying:\nBig Tommy\na pouch of wish powder\na shiny coin\na shovel\nan Edgerton flash\na handwritten note\na chewed gum ball\nyour badge\na mugshot\n\n> You go to the southeast\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door, a second-story window is obscured by a pair of wooden shutters. The rat's pawn shop is back to the northwest.\n\n> You go north\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nTrex sits in silence, staring at one of his creations on the workbench.\n\n> You talk to Trex\n\"Something I can help you with?\" he asks.\n\n1) \"I have what we need.\"\n2) \"I'll show myself out.\"\n\n> 1\n\"I have what we need.\"\n\n\"How can I help?\"\n\n\"Stand back and watch.\"\n\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nTrex bounces up and down with excitement as he awaits your wish magic. His enthusiasm is infectious, and you soon discover a smile spreading across your own face. Your old job didn't solve the world's problems, but you never felt more satisfied than in moments like this. Sometimes, you wonder why you left the wish squad at all.\n\nThat's right. Holly.\n\nYou shake her from your thoughts. You've got a spell to cast. First thing's first, you need to put some wish powder on the dinosaur.\n\n> You put the wish powder on the Dinosaur\nYou sprinkle some powder on the stuffed dinosaur. All that's left is to point your wand at it.\n\n> You point the wand at the Dinosaur\nYou point your wand at Doohickey. \"Flippity, floppity, foo,\" you chant with the required intonation. Yeah, it's embarrasing to say out loud, but what can you do. Nobody said wish magic was glamorous.\n\nThe dinosaur blinks and stretches his six legs. His tongue flops around the corners of his mouth.\n\n\"Oh Miss Fairy! You did it!\" Trex cries. He gathers the felt dinosaur in his arms. \"Doohickey, my friend. You're alive! How do you feel?\" Doohickey wags his tail and barks.\n\nWell, crap. So much for having a witness.\n\n\"He can't talk?\" Trex asks, sadly.\n\n\"It takes a lot of skill to get them to talk,\" you say. \"I'm what you might call out of practice.\"\n\nTrex wipes the mist from his eyes. \"It's okay. We can still be good friends anyway.\" He nuzzles the fidgety dinosaur before handing him to you. \"A deal's a deal.\"\n\nYou hold Doohickey up in front of your face and get licked softly and dryly, because his tongue is made of felt. \"Hey, boy. Can you help me find whoever was talking with a rabbit last night?\"\n\nHe barks enthusiastically in response. Maybe this'll work after all. You take him with you, for now.\n\n> You look at Doohickey\nHe's sewn out of bright red felt, at least eighteen fairy-inches in length, with six legs and savage claws. Its tongue hangs out over a motley scraggle of teeth.\n\n> You go east\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\n> You talk to Sabado\n\"What now?\" he asks.\n\n1) \"I'll leave you alone now.\"\n\n> 1\n\"I'll leave you alone now.\"\n\n\"Come back when we're open.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\n> You talk to Doohickey\nHe barks at you happily.\n\n>He barks at you happily.\n\n> Pet doohickey\nDoohickey wags his tail.\n\n> You look at jukebox\nNot in great condition. Looks like it only carries songs by cult rock group They Might Be Humans. There's a single coin slot in front.\n\n> You put the coin in the jukebox\nYou insert the coin into the slot. It falls with a distinctive clink into an unemptied bucket of coins.\n\nThe machine whirs to life, lifting a record onto the turntable and then lowering the spindle. A melancholic accordian begins a song."
    },
    {
        "text": "[Themes: Mystery, rabbit, miniature protagonist, fairy, crime, female protagonist, hints, rat]\n\n> You check your inventory\nYou are carrying:\nDoohickey\nBig Tommy\na pouch of wish powder\na shovel\nan Edgerton flash\na handwritten note\na chewed gum ball\nyour badge\na mugshot\n\nThe statue ate my fly (fly), the statue ate my fly (fly),\n\n> You talk to Sabado\n\"What now?\" he asks.\n\n1) \"I'll leave you alone now.\"\n\nWith a condiment of mustard it chewed my pet alive.\n\n> 1\n\"I'll leave you alone now.\"\n\n\"Come back when we're open.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\nThe statue made me cry (cry), the statue made me cry (cry),\n\n> You wait for a while\nTime passes.\n\nIt said my pet would kill me, but that was all a lie.\n\n> You look at the jukebox\nNot in great condition. Looks like it only carries songs by cult rock group They Might Be Humans. There's a single coin slot in front.\n\nMy phone, it rang at me (and now I know the lies it told would never be).\n\n> Sing\nYou hate singing.\n\nA lesson that I learned (a statue's love won't last, it can and should be spurned).\n\n> Dance\nYou hate dancing.\n\nI thought I once preferred a granite figure's company.\n\n> Wait\nTime passes.\n\nThe fact that there are humans will no longer bother me.\n\n> You listen\nAn upbeat rock jam plays from the jukebox.\n\nThe statue ate my fly (fly), the statue ate my fly (fly),\n\n> You wait a while\nTime passes.\n\nIf I ever meet the sculptor I will punch them in the eye.\n\n> You listen to the jukebox\nAn upbeat rock jam plays from the jukebox.\n\nThe statue gave me hives (hives), the statue gave me hives (hives),\n\n> You wait for a while\nTime passes.\n\nMy poor pet it cooked to death within a spinach pie.\n\n> Wait\nTime passes.\n\nMy phone, it rang at me (and now I know the lies it told would never be).\n\n> Wait\nTime passes.\n\nA lesson that I learned (a statue's love won't last, it can and should be spurned).\n\n> Wait\nTime passes.\n\nAnd as I swung the sledgehammer up through the air,\n\n> Wait\nTime passes.\n\nI knew to hide the evidence beneath my basement stairs.\n\n> Wait\nTime passes.\n\nAnd what they found was just some rubble left where the statue ate my fly.\n\n> Wait\nTime passes.\n\nAnd now you know to hide (to hide when a statue asks if you need a ride).\n\n> Wait\nTime passes.\n\nA lesson you should learn (you must refuse to share its love or you'll get burned).\n\n> You wait awhile\nTime passes.\n\nThe song comes to an abrupt end.\n\n> You go west\nThe road from the west ends at The Forest to the east. An alley disappears behind the rowhouses to the north.\n\n> You go to the west\nA prehistoric window display stands beside the shop's entrance to the north. Lumpen Lane continues east and west.\n\n> You talk to Fern\n\"What is it?\" she chirps.\n\n1) \"I'm going to look around.\"\n\n> 1\n\"I'm going to look around.\"\n\n\"You know where to find me,\" she says before returning to her cleaning.\n\nYou'd say the store was trying to convey church basement-chic, except it looks like a tornado went through it. There's broken glass and camera parts and debris everywhere. Someone, or something, wasn't happy.\n\nTo the east is a closed door. The way out is south.\n\nFern is busy sweeping up broken glass. Finch is sitting quietly on the counter nearby.\n\n> You go north\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former, though you never know. There could be something of use around here.\n\nThe entrance to the south leads back to the street.\n\nDomingo eyes you from his desk beneath a portrait of a pirate rat. Doohickey barks sharply as you approach. Could the rat be the one you're looking for? Only one way to find out.\n\n> You talk to Domingo\n\"What do you want now?\" he asks.\n\n1) \"Tell me again about Foo Foo, but this time, tell me the truth.\"\n2) \"I'm going to take a look around.\"\n\n> 1\n\"Tell me again about Foo Foo, but this time, tell me the truth.\"\n\n\"I don't know what you're talking about.\"\n\n\"I have a witness.\" You lean on the desk and stare him down, giving the words time to sink in. You need him to take the bait.\n\n\"You're lying,\" he squeaks. His eyes are all pupil. They twitch back and forth. So he is involved.\n\nYou lean even closer. \"Last night. In front of Dinosaur Island. The witness was in the store and heard everything you said.\" You prod him in the chest. \"You going to come clean? Or are we doing this the hard way?\"\n\nDomingo slowly rises to his feet. \"Looks like I've got no other choice. Fortunately, my lawyer's arrived just in time.\"\n\nYou turn to look where Domingo's pointing, and are surprised to see no one. While you're distracted, he ducks around you and scrambles out the door. For an older rat, he sure can move. You try to give chase, but it's difficult to maneuver around the piles of junk in the store, especially with your large wings getting in the way. Before you know it, he's gone.\n\nYou scold yourself for being so careless. The worst part of it is, you've been had by the oldest trick in the book. Maybe Murphy had better luck.\n\nYou stand outside your least favorite pawn shop. The entrance to the store is north. The road in front curves west and southeast.\n\n> Go west\nYou arrive at the barricade to find Murphy slumped against the wall. With a little help, he staggers to his feet.\n\n\"Sorry, Good,\" he says, brushing himself off. \"Domingo came out of nowhere. Like a surprise kiss from someone you've only ever considered a friend and never sent any signals that indicated otherwise. I mean, not that I'd know anything about that. Anyway, what'd you do to piss him off?\"\n\n\"Faked a witness. Nothing out of the ordinary.\"\n\nHe unwraps a stick of gum and tosses it into his mouth. \"Okay, now what? You have enough for a case?\"\n\n\"Hindering an investigation and assaulting a police officer. That's a month in the slammer, tops.\"\n\n\"Yeah. Fieldtown.\" Murphy chuckles.\n\n1) \"Domingo is involved with Foo Foo somehow. What we need is hard evidence.\"\n2) \"Before he left, Domingo wanted me to catch a new cheesemonger called the Verde. Now I'm wondering why.\"\n3) \"Domingo won't stay gone for long. May take a few days, but we'll wrangle a confession out of him.\"\n\n> 1\n\"Domingo is involved with Foo Foo somehow. What we need is hard evidence.\"\n\n\"Maybe there's something in his store,\" Murphy says. \"I can get you a warrant in a few hours.\"\n\n\"I don't have a few hours.\" Now that you think about it, you don't need a few hours. \"You know Murphy, it's a shame Domingo left in such a hurry. He forgot to close up shop.\"\n\nMurphy gives you a knowing smile.\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> 2\n\"Before he left, Domingo wanted me to catch a new cheesemonger called the Verde. Now I'm wondering why.\"\n\n\"You think there's a connection to Foo Foo?\"\n\n\"Not sure. But there's only one way to find out.\"\n\n\"If you say so.\" He digs his toe into the sidewalk. \"Anything else?\"\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> 3\n\"Domingo won't stay gone for long. May take a few days, but we'll wrangle a confession out of him.\"\n\nMurphy frowns. \"Which brings us back to Foo Foo.\"\n\nYou look over at the postbox. \"I know, I know. He needs to be a goon by sundown.\" If only there were another way.\n\n1) Send him away briefly to check on Foo Foo.\n2) Ask for a hint.\n3) \"I'll check in with you later.\"\n\n> Time\nYou should pick something to say.\n\n> 1\nYou send Murphy off again and peer into the postbox. \"Still doing okay?\"\n\nFoo Foo responds with a miserable frown. Yep, he's doing fine. You close the postbox back up and wait for Murphy.\n\n\"No sign of the rabbit,\" he says, clearly bothered by this routine. \"Need anything else?\"\n\n1) Ask for a hint.\n2) \"I'll check in with you later.\"\n\n> 2\n\"I'll check in with you later.\"\n\n\"Good luck catching the perp.\"\n\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. The road heads east from here.\n\nMurphy leans against a public postbox, keeping watch.\n\n> You get the dagger\nAs much as you pull, the dagger won't budge.\n\nNope, still not working. You don't think you'll pull it out like this.\n\n> You look\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former, though you never know. There could be something of use around here.\n\nAn empty desk sits in the rear of the shop beneath a portrait of a pirate rat. The entrance to the south leads back to the street.\n\n> You examine the desk\nIt's bare and has a single drawer. Of course there's only one drawer.\n\n> You open the drawer\nYou open the drawer, revealing a book and some papers.\n\n> You read it\nThere's a note written on the inside cover: \"DomingoPage 95. One\ndebt clean per mouse. You have my word.\"\n\nYou flip to page 95. It describes the process for hypnotizing someone into bopping someone else on the head. Geez. They put this kind of stuff in books?\n\nSo Domingo was hypnotizing Foo Foo all along. Seems he owed someone money. But who?\n\nYou flip back to the handwriting on the inside cover. Handwriting you've seen before. You pull out Sabado's note to Finch and hold it up against the writing. Well what do you know. It's Sabado's all right.\n\n> You examine papers\nA bunch of gambling debts. Blackjack, craps, roulette. Someone should tell Domingo to stick to the penny slots.\n\n> You get the book and the papers\nbook: You already have that.\npapers: Taken.\n\n> Go south\nYou stand outside your least favorite pawn shop. The entrance to the store is north. The road in front curves west and southeast.\n\n> You go to the southeast\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door, a second-story window is obscured by a pair of wooden shutters. The rat's pawn shop is back to the northwest.\n\n> Go east\nA small camera shop is open to the north. The road in front runs east and west.\n\n> You talk to Sabado\n\"What now?\" he asks.\n\n1) \"I got your number, Sabado. You're behind the boppings.\"\n2) \"I'll leave you alone now.\"\n\n> 1\n\"I got your number, Sabado. You're behind the boppings.\"\n\n\"Oh yeah? Where's your evidence?\"\n\nYou wave the hypnotism book around. His smile doesn't budge. \"That could mean all kinds of things,\" he says. \"Besides, you're still missing a motive.\" He picks some dirt out from beneath his nails. \"You can't be saying I had my own customers bopped. That'd be bad for business.\"\n\n\"You know what's bad for business? Having all those field mice around when you're trying to buy up the street. Bar sales are peanuts compared to the money you've got behind you. Enough to pay off all of Domingo's debts and then some. So where's it coming from?\"\n\n\"You're right,\" Sabado admits after a brief pause. He hovers close to your face, breath like stale beer. \"I got a lot of money behind me. Probably more than you'll ever see on an FPD salary. Let me guess. You have a cozy little studio somewhere. Maybe half your meals are ramen noodles. Maybe more. You could have a nicer place, you know. A much nicer place.\"\n\n1) Reject the bribe.\n2) Consider the offer.\n\n> 1\n\"I'm heading out.\"\n\n\"Come back when you've got something for me.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\n> 2\n\"I'm listening.\"\n\nSabado smiles broadly. \"You may or may not have heard about the Verde, but he's the latest in a string of wannabe kingpins. Foo Foo's one of his best dealers. The buyers call him Little Bunny.\"\n\nYou pride yourself on your poker face, but this time, you're caught off guard. If Foo Foo's a dealer, he has you played.\n\nSabado smirks. \"Cat got your tongue? I thought you'd have known that already, Detective,\" he says. \"My lawyers are holding onto evidence to prove Foo Foo's a dirty dealer, should it be necessary. All you need to do is find Foo Foo, put him in prison, and throw away the key. Alternatively, you could bring him to me. No harm would come to him. I'm just looking for some information. Then we can talk about making your living arrangements a little more comfortable.\" He picks up a glass and rubs off a smudge, as if to say this conversation is over.\n\nFine. Foo Foo's the one you need to speak with anyway.\n\n1) \"I'm heading out.\"\n\n> 1\nOnce Murphy is out of sight, you open the postbox and yank Foo Foo out by his ears. \"Why didn't you tell me you were dealing cheese?\" you spit. You want answers and you want them now.\n\n\"You know?\"\n\n\"I'm a detective. You think I wouldn't find out?\"\n\nFoo Foo twiddles his paws together. \"They were going to evict... mother and I. We needed the money. Then I sort of stuck with it.\"\n\n\"For crying out loud, Foo Foo, this is Fieldtown. We always need the money. You're making me look like a half-wit with all those extra chances.\" You close your eyes and count to ten. Long enough to let the anger drain from your blood. \"Sabado wants me to bring you to him.\"\n\n\"What are you going to do?\"\n\n1) Keep him hidden. Get answers yourself.\n2) Deliver him to Sabado.\n\n> 2\n\"I'm taking you to him.\"\n\nFoo Foo insists it's a ploy to wring more information from him all the way up to the bar's doorstep. That's when he starts to beg, but by then it's too late.\n\nSabado joins you by the entrance in better spirits than usual. \"Good! You brought Foo Foo. How... unexpected, but I'm no less delighted. I might even let you stick around if you stopped acting like a man all the time. Roughness doesn't suit a lovely creature like yourself.\"\n\nYou refuse to let him get to you. \"Funny, I was about to tell you the same thing.\"\n\nHe snatches the now-frightened rabbit by the ears and drags him toward the door marked for employees. \"Just keep an eye on the bar for me while I'm gone. This shouldn't take long.\"\n\n\"I don't work for you,\" you say, but the retort falls flat.\n\nSabado stops. He turns his head round, looks you up and down, then lifts the rabbit slightly off the ground as if to show you his prize. \"Don't you?\"\n\nSeveral hours pass before Sabado returns, tossing the rabbit at your feet. \"He's all yours, Detective.\" Foo Foo seems shaken but unharmed. He says nothing.\n\n\"What about my\" you start, but the rat cuts you off.\n\n\"He had nothing for me, so I have nothing for you.\"\n\nThat's it then. You put all your chips on black, and got green. Serves you right, you suppose. Not much left to do now but bring Foo Foo to Murphy.\n\n*   *   *   *   *\n\nThe next few months are brutal. You become the subject of a full internal review after Foo Foo filed a complaint. The committee assigned to your case keeps calling you in for more questions. They can't make heads or tails of what you were thinking. You were instructed to bring him in, only to hide him in a postbox? Then you identified a new suspect, but turned the rabbit over to him instead? Sabado never does give you any compensation, but it's not like you could have ever held him to it.\n\nYou don't dare step foot onto Lumpen Lane again.\n\nYou finish one of your potboilers and turn out the light. The rain is heavy against the window.\n\nThoughts creep into your skull and refuse to let you sleep. Thoughts about Holly, Foo Foo, Sabado, and the field mice.\n\nYou shake them off. Nothing to worry over at all. You've managed to keep your job, and there's always tomorrow to look forward to.\n\nIt's not like you could have made much more of a difference. It's fine. Everything ended up fine.\n\n> Er\nRestore failed.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, or UNDO the last command?\n\n> 1\n\"I'll handle Sabado. I need to figure out why he wants you. In the meantime, if you're dealing, then you know who the Verde is.\"\n\n\"I don't know.\"\n\n\"Don't lie to me, Foo Foo.\"\n\nHe holds up a paw. \"I swear to Gaia, I get the cheese from a dead drop in an alley behind a rowhouse.\"\n\n\"What about the money from the sale? You leave it there too?\"\n\nHe looks around nervously. \"I give the proceeds to the green fairy who runs a nearby food place. Honest.\"\n\nNo. It can't be.\n\nMurphy's footsteps approach from around the corner. Without another word, you push Foo Foo back into the postbox.\n\n\"No sign of the rabbit,\" Murphy says once he's returned to your side. \"Everything okay? You don't look so good.\"\n\n\"I'm fine. Thinking of an old friend.\"\n\nYou can't confront her. Not yet. Not until you have something more concrete. You need to keep searching for clues.\n\n1) Ask for a hint.\n2) \"I'll check in with you later.\"\n\n> 2\n\"I'll check in with you later.\"\n\n\"Good luck catching the perp.\"\n\nAging rowhouses, broken sidewalk, flickering street lamp. It's Lumpen Lane all right.\n\nA police barricade keeps onlookers out, and more importantly, everyone else in. The road heads east from here.\n\nMurphy leans against a public postbox, keeping watch.\n\n> You check your inventory\nYou are carrying:\nsome papers\na book\nDoohickey\nBig Tommy\na pouch of wish powder\na shovel\nan Edgerton flash\na handwritten note\na chewed gum ball\nyour badge\na mugshot\n\n> You fly\nYou beat your wings and lift up into the sky. Thankfully, the weather is good for it. Nor are there any owls. You hate owls.\n\nAside from Murphy at the barricade, the length of Lumpen Lane is empty. You descend back down to the ground.\n\n> You go to the southeast\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door, a second-story window is obscured by a pair of wooden shutters. The rat's pawn shop is back to the northwest.\n\n> You go to the north\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nTrex sits at his workbench, working diligently on his next creation.\n\n> You put the gum on the shovel\nYou take the gum ball from your pocket and squish it onto the end of the handle. Gross.\n\n> You put the shovel in the hole\nYou carefully guide the shovel through the hole in the cabinet, and pressing the sticky end onto the bottle, you pull it back out. It's a bottle of Presto Remove-O.\n\n\"Can I borrow this?\" you ask as you unstick the bottle.\n\n\"Sure,\" Trex says. \"I'm careful with my felt, so don't often need it.\"\n\n> You examine bottle\nThe label says \"Got something stuck? Get it unstuck! Removes stains and adhesives from carpets, clothes, furniture, and walls! Removes other things too! Warning: Do not ingest. May cause dizziness, fatigue, dry mouth, or death.\"\n\n> Go northwest\nA small camera shop is open to the north. The road in front runs east and west.\n\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door, a second-story window is obscured by a pair of wooden shutters. The rat's pawn shop is back to the northwest.\n\nYou stand outside your least favorite pawn shop. The entrance to the store is north. The road in front curves west and southeast.\n\n> Go north\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former, though you never know. There could be something of use around here.\n\nAn empty desk sits in the rear of the shop beneath a portrait of a pirate rat. The entrance to the south leads back to the street.\n\n> You put the bottle on the dagger\nYou squeeze some of the Presto Remove-O onto the dagger. The orange gloop runs down the blade to where it meets the wall, and you swear you see the dagger give a little.\n\n> You pull the dagger\nWith a mighty tug, you wrench the dagger from the wall. Bingo was his name-O. You slide the dagger into your coat.\n\n> You open the shutter\nYou slide the dagger in between the shutters and lift the latch. Piece of cake. The shutters swing open, and you leap inside.\n\nIt's clear this place hasn't been occupied in awhile. Mold creeps along the dirty walls and the sunken floorboards. The northeastern wall is partially missing, exposing a rotting staircase to the lower level. The open window leads back out to the street.\n\nA paper bag sits conspicuously in the center of the room.\n\n> You examine the bag\nThe bag is printed with the words \"Feckless Pawn\" and a picture of a smiling pirate rat. You notice some dirt stuck to the side of the bag.\n\nIn the paper bag is some cheese.\n\n> You get it\nTaken.\n\n> You look at the cheese\nLooks like gouda, of the illegal variety.\n\n> You taste the cheese\nThat's evidence. Wouldn't want to tamper with it.\n\n> You examine the dirt\nThere's not much. Still, headquarters could probably determine where it came from. Maybe even get a fingerprint.\n\n> You go to the northeast\nYou make your way into a derelict kitchen long since stripped of its appliances. The floor is lost beneath a fairy-inch of standing water, either from a burst pipe or a leaky roof.\n\nA staircase leads up to the bedroom. Daylight leaks through cracks in the door to the north.\n\n> You examine the water\nYou'd prefer to interact with the dirty water as little as possible.\n\n> You go north\nYou open the door and step through the threshold.\n\nA door to the south leads into an abandoned rowhouse. Leaning against the house is a dented trashcan. The alley curves northwest and east.\n\n> Go up\nIt's clear this place hasn't been occupied in awhile. Mold creeps along the dirty walls and the sunken floorboards. The northeastern wall is partially missing, exposing a rotting staircase to the lower level. The open window leads back out to the street.\n\n> Go south\nYou unfurl your wings and leap from the window, landing gently on the street below.\n\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door is an open window. The rat's pawn shop is back to the northwest.\n\n> You talk to Murphy\nHe stands at attention. \"Yes?\"\n\n1) \"Can you get the dirt on this bag analyzed?\"\n2) \"I'll check in with you later.\"\n\n> 1\n\"Can you get the dirt on this bag analyzed?\"\n\n\"Sure thing, Good.\" Murphy takes the bag and utters an incantation. The bag disappears in a flash of light. \"I'll let you know when the results are in from the lab.\"\n\n1) \"I'll check in with you later.\"\n\n> You check what you're carrying\nYou are carrying:\na curved dagger\na bottle of Presto Remove-O\na shovel\nsome papers\na book\nDoohickey\nBig Tommy\na pouch of wish powder\nan Edgerton flash\na handwritten note\nyour badge\na mugshot\n\n> Wait\nTime passes.\n\n> You put the powder on the rabbit\nNot while Holly's looking.\n\n> You talk to Holly\n\"Hey there,\" she says.\n\n1) \"I've got work to do.\"\n\n> 1\n\"I've got work to do.\"\n\n\"Sure, okay.\"\n\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, and a closed door to the north connects to what must be the kitchen.\n\nHolly smiles at you from behind the counter.\n\n> You talk to Sabado\n\"What now?\" he asks.\n\n1) \"I'm heading out.\"\n\n> 1\n\"I'm heading out.\"\n\n\"Come back when you've got something for me.\"\n\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nSabado mutters to himself as he wipes down the bar.\n\n> You use the flash\nA high-pitched whir sounds. The flash goes off, and the area briefly illuminates in a harsh light.\n\n> You go west\nThe sidewalk wraps around an old rowhouse and continues east. High above the boarded-up door is an open window. The rat's pawn shop is back to the northwest.\n\n> You go north\nThe dusty shop is chock full of useless junk, or valuable antiques, depending on your point of view. Yours is the former.\n\nAn empty desk sits in the rear of the shop beneath a portrait of a pirate rat. The entrance to the south leads back to the street.\n\n> You look at the portrait\nThe oil painting depicts a rat pirate. Or a pirate rat. Whichever is the appropriate term.\n\n> You move it\nIt's too far away.\n\n> You examine the desk\nIt's bare and has a single drawer.\n\n> You fly\nYou try not to make a habit of flying indoors. Not good for the head.\n\n> You give Doohickey to Trex\nTrex's eyes light up as you hand over the dinosaur. \"Thank you again,\" he says, hugging his new pet tightly.\n\n\"Take my advice, kid, and don't get too attached,\" you say. \"He won't last too long. Nothing ever does.\"\n\n1) \"I'll show myself out.\"\n\n> 1\n\"I'll show myself out.\"\n\n\"Have a good day.\"\n\nThe back room could use some tidying. Scraps of felt are everywhere. A crooked cabinet leans against a wall in the corner.\n\nThe secret tunnel to the south leads to the retail area.\n\nTrex plays with Doohickey on the floor.\n\n> You go west\nMurphy flags you down as you approach. \"Hey, Good. I got the results from the bag and dirt for you.\"\n\n\"I could use some good news,\" you say.\n\n\"Well, there's no fingerprints, unfortunately. Was probably wearing gloves. The interesting part is that it's not dirt at all, but a mixture of water, wheat, barley, soy, pine nuts, corn starch, and a trace amount of mint. Some kind of food product. Not one that I've ever seen.\"\n\n\"Leaves a bad taste in your mouth, actually.\" He cocks an eyebrow but says nothing. Holly has some explaining to do.\n\n\"Anything else?\" Murphy asks.\n\n1) Ask for a hint.\n2) \"I'll check in with you later.\"\n\n> You go north\nNearly noon by now. The air isn't circulating so well through the store. You loosen your coat.\n\nHolly is there waiting for you. The ambient light shimmers off her greenness. Green. The Verde. \"Hey. You doing okay?\"\n\n1) \"You know Foo Foo.\"\n\n> 1\n\"You know Foo Foo.\"\n\n\"What?\" She stiffens.\n\nYou move closer. \"I said, you know Foo Foo. You knew him all along.\"\n\n\"I don't know what\"\n\nYou point at the toys on the walls. \"The mouse down the street makes his dinosaurs from his imagination. But you\"you point back at her\"prefer them lifelike. That's why your stuffed rabbits look like Foo Foo. He was a regular visitor here. You didn't even realize you were modeling your toys after him.\"\n\nSilence, prolonged. Holly tiptoes around the counter, adjusts the collar of your shirt, gently smooths a wrinkle in your coat. Her bottom lip is quivering. She tries to calm it with her teeth, even smiles a little. \"Please, Good. You've got it all wrong.\"\n\n1) \"You were worried I'd find out about you, so you sent me after Domingo.\"\n\n> 1\n\"You were worried I'd find out about you, so you sent me after Domingo.\"\n\n\"Why are you saying these cruel\"\n\nYou slam a palm down on the counter. She flinches. \"You flew into an abandoned rowhouse while I was investigating the other stores, dropped a coin you knew I'd pick up, and shot at me to lead me to the bag of cheese. Where'd you stash the revolver? Should I search the kitchen?\"\n\nHolly collapses to her knees, hands pressed to her ears, shaking. \"No... you mustn't...\"\n\n\"There was one flaw, Holl. You left a bit of the nibblet on the bag you planted. The same nibblet you broke apart to give me a sample. The mint-flavored one, remember? You hadn't made a single sale all morning.\"\n\nShe buries herself in her hands.\n\n\"Domingo was a former cheesemonger,\" you continue. \"An easy target. Sure, it was a shaky setup at best. But once a criminal, always a criminal, am I right? I busted him before, and there was bad blood between us. I was bound to pursue him until I stumbled onto something new.\"\n\n\"Please...\"\n\n1) \"You're the Verde.\"\n\n> 1\n\"You're the Verde.\"\n\nAt this, she reaches up and grabs the bottom of your coat. \"No. No I'm not.\" She's still shaking, but more resolute. Her face is wet.\n\n\"The field mice are disappearing,\" you say. \"The cheese business is suffering. And your best dealer is scooping up your customers and bopping them on the head. Everything's falling apart. Then who shows up but me, your old fling. Maybe I can solve your problems. Find the mice, throw Foo Foo in prison where he can't do any more harm. Get things back to the way they were, get the money flowing again. Sabado wants his rent after all.\"\n\nShe grips your coat more tightly now, her green knuckles white. \"Yes,\" she says, barely above a whisper. \"Yes, Sabado wanted his money. I sank everything I had into the toy store, and lost it all. His loan gave me a new start, but the interest was too high. The Verde offered me a way out. She\" She stops herself.\n\nYou sink down to the floor beside her. Tension wanes. It hurts that you made her cry, hurts real bad. You had to get the truth out of her, but you still hate that you did it.\n\nHer hands are warm under yours. You release them from your coat, one finger at a time.\n\n1) \"She?\"\n\n> 1\n\"She?\"\n\n\"I can't. I'm sorry.\" She lifts the corner of her apron and wipes the tears from her cheeks, leaving a smudge of brown food product behind.\n\nYou reach out to wipe it away, reaching out like you used to, but that was a decade ago, before you knew yourself and what you wanted, what you didn't realize you'd miss so much. \"You got some mud stuff here,\" you say.\n\nShe laughs a little. \"Mud stuff. Is that what you think of my food?\" You can only smile. She grabs your hand. \"Why did you leave me, Good? Where did I do wrong?\"\n\n1) \"That time at the holiday party. You and her.\" An obvious lie.\n2) \"I realized I wasn't in love with you.\" A severing lie.\n3) \"There were little things. The little schemes of yours. I left the wish squad because of them. I needed space.\" The truth.\n\n> 3\n\"There were little things. The little schemes of yours. I left the wish squad because of them. I needed space.\"\n\nHolly releases your hand. \"I was a different fairy then, did things I'm not proud of. But I'd have given you what you needed, if you only asked. I'd have done anything for you.\"\n\n\"I know. We didn't talk. Not like we're talking now.\"\n\nShe looks into your eyes.\n\n1) Kiss her.\n2) Let it go.\n\n> 2\nYou turn and lean back against the counter, wrapping your arms around your knees. \"We had a good time, you and me.\"\n\n\"Yeah, we did.\" A break in the conversation. Holly straightens her legs and leans against the counter next to you. She's the first to speak again. \"Listen, Good, you have to believe me. I wasn't ever going to shoot you. I couldn't shoot you.\"\n\n\"I know,\" you say.\n\n\"I didn't want to do any of it. I had to. She told me to.\"\n\n1) \"Who told you to?\"\n\n> 1\n\"Who told you to?\"\n\nHolly doesn't answer your question. She takes your hand, presses something into it. A key. \"This'll get you in. You swiped it from me when I wasn't looking.\"\n\n\"Holl\"\n\nShe puts a finger on your lips. \"Take my revolver. It's under the loose tile in the kitchen. You're going to need it.\"\n\nBefore you can protest, she stands and opens the door to the kitchen. You rise to your feet.\n\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, the kitchen to the north.\n\nHolly smiles at you from behind the counter.\n\n> Go north\nYou're surprised to see only a small portion of the space is set aside for food preparation. The rest is dedicated to the construction of stuffed animals, mid-production, as if operations had never stopped. It's likely they didn't.\n\nA large bucket of wish powder stands in the corner. The tiled floor is stained purple where hastily scooped quantities were spilled.\n\nThe retail area is directly south, and the back door to the place is north.\n\n> You get the powder\n(the pouch of wish powder)\nYou already have that.\n\n> Search tiles\nYou step on the tiles one by one until you find the one that shifts under your weight. Lifting it slightly, you reach underneath and pull out a small revolver.\n\nFive bullets, one missing. You grin, thinking of Holly, your hat in her sights. You're glad her aim wasn't low.\n\n> You examine the bucket\nYou haven't seen that much wish powder in a long time. Maybe not ever. How did Holly get all this? It's probably worth a fortune.\n\nYour pouch has enough wish powder for another spell, so you won't need any more.\n\n> You go north\nYou unlock the door and step into the alley.\n\nThe alley arrives from the southeast and ends at a wall. There's a rear entrance to Get Your Nibbles to the south.\n\n> You unlock the door with the key\nThe key turns in the lock, the door opens.\n\nAbout a dozen surprised cuddly toys halt their activities to look at you. Several of them were pushing a large wheel of cheddar through a band saw. Several more were weighing and sorting smaller chunks of various cheeses into plastic bags. A zebra in a visor with thick spectacles was counting a pile of banknotes.\n\nYou recognize them as the same makes from the shelves in Holly's shop. Lions, tigers, and bears, all beautifully crafted, lifelike. Malice flashes in their beady plastic eyes.\n\nThey reach into their own stuffing and withdraw a handgun each. They start shooting. Bullets fly. You duck behind a nearby dumpster, just in time. Their shots impact the wall next to you in scattered puffs of cement dust.\n\nYou cock your revolver. This could get ugly.\n\n> You look at the toys\nLions and tigers and bears, bearing pistols.\n\n> You shoot the zebra\nYou peek around the dumpster and fire at the closest toy. A bear, making his way toward the door. The shot catches him square in the head. He goes tumbling into a pile of his own stuffing.\n\nOne down, only 4 bullets left. The math isn't in your favor. You'll need to think of something else.\n\n> You look\nYou're taking shelter behind a dumpster in the narrow alley.\n\nThrough the open door to the south, a gang of pistol-wielding cuddly toys attempts to pump you full of lead. Not the kind of day you were expecting to have.\n\nYou look around for anything that can help. Cheese wheels, stacks of cash, a chandelier. You're going to have to improvise.\n\n> You look at the chandelier\nIt hangs from the ceiling, flickering.\n\n> You shoot the chandelier\nYou take aim at the chandelier and fire. Your shot finds the cord perfectly, and the entire thing crashes onto the table below. You got one, maybe two toys trapped underneath, but the rest keep firing. Fortunately, they're terrible shots.\n\nThink, Good. There's got to be something.\n\nYou take another look. With the chandelier out of the way, you can now see the nozzle of an overhead sprinkler jutting out from the ceiling.\n\n> You examine the sprinkler\nIt's just barely visible through the doorway, jutting out from the ceiling.\n\n> You shoot the sprinkler\nThe target is small, so you're careful. You pull the trigger, the nozzle is torn off. Water sprays out over the room, running down the walls, covering the cheese. The animals scramble to protect themselves, but it's too late. Their wish powder washes off, collecting into purple puddles on the floor.\n\nOne by one the animals drop, lifeless. The water decreases to a steady stream, and then a slow trickle. Finally, silence, punctuated by the occasional drip.\n\nThe room is smaller than it looked through the doorway. You cross it swiftly, careful not to touch anything. CSI can handle this mess.\n\nThe inside door is abruptly kicked in. You raise your revolver and find a shotgun pointed at your head.\n\nFern. She's still wearing her apron. Her eyes shine a brilliant green.\n\n\"Drop your gun,\" she says.\n\n\"You first, Verde,\" you reply. \"There could still be a ghost around.\"\n\nShe laughs. \"I hope you didn't actually believe that. The last thing I wanted was the police sniffing around.\" She motions for you to put your weapon on the table.\n\nNeither of you move. When she speaks again, her words are marinated in irritation. \"You should have left it alone.\"\n\n1) \"Not my fault you're breaking the law.\"\n2) \"Someone needs to keep the cheese off the streets.\"\n3) \"Putting cheesemongers away is my idea of fun.\"\n\n> 2\n\"Someone needs to keep the cheese off the streets.\"\n\n\"Ha!\" Fern chirps mockingly. \"Do you really think the Mayor and his cronies don't enjoy a plate of cheese with their wine at the end of a long day's work? The Prohibition only punishes the lowest among us, by design. I'm here to level the field.\"\n\nYou look over at the piles of cash on the table. \"You're a regular bleeding heart. Then all this cash must be... what? Appropriate compensation? Tell me again who's taking advantage of the lowest among us.\"\n\nShe shakes her head. \"I'm going to buy back this street. Make it a home for the field mice again. Sabado won't sell, but his backers willcapitalists can always be bought if the price is right.\" She tightens her grip on her gun. \"I'm going to ask you this once. Are you with me, or against me?\"\n\n1) \"You made your point, and I hear it.\" With her.\n2) \"I don't make the law. I enforce it.\" Against her.\n\n> 2\n\"I don't make the law. I enforce it.\"\n\nShe clicks her tongue disapprovingly. \"Then I'm afraid this is where we must part. Goodbye, Detective. It's been\"\n\nBONG!\n\nHolly bops Fern over the head with a frying pan, and the bird crumples to the floor in an undignified heap. She must have snuck in through the front.\n\nYou look into each other's eyes, seconds stretched to little eternities. You want to thank her for saving your life, but the right words won't come.\n\n\"I had to know,\" she says. \"When you write your report, are you going to turn me in? For my part in all this, I mean.\"\n\n1) \"I... have to be honest. I'm sorry.\" Turn her in.\n2) \"My report might be missing a few details.\" Let her off.\n\n> 1\n\"I... have to be honest. I'm sorry.\"\n\nHolly nods, bites her lip, forces a smile. \"It's okay. I always admired your personal code of honor. I'm... glad I could see you one last time.\" She turns to leave.\n\n\"Holly, wait!\" you shout after her, but she's already through the door and out onto the street, spreading her wings and taking off. You slow once you reach the sidewalk, watching as she disappears into the great blue distance.\n\nYou already know you won't see her again. You hope she'll go far away from Fieldtown. Maybe she'll find the field mice, find the right woman who can make her happy, make a nice life for herself. Maybe you ought to do the same thing.\n\nNot much left to do now except open the postbox and end this.\n\nA small camera shop is open to the north. The road in front runs east and west.\n\n> You open the postbox\nYou open the postbox and pull out a frightened Foo Foo.\n\n\"He was in there the whole time?\" Murphy exclaims, slapping his forehead. \"How did you know?\"\n\n\"Doesn't matter, he's innocent.\" You toss Murphy the book. \"Check the note on the inside cover. Foo Foo was hypnotized.\"\n\nMurphy takes a minute to look through the pages. \"So it was Domingo all along?\"\n\nYou shrug. \"Sabado, but we'll leave it to the DA to put a case together. Even if we catch Domingo, he'd never squeal. At least we can spare the innocent party.\" You both look at the rabbit.\n\n\"Does this mean I'm free to go?\" Foo Foo asks.\n\nYou chuckle. \"Yes, you're free to go. But if I see you again, it's Goontown for you.\"\n\nThe rabbit thanks you profusely, and waving goodbye, he hops down the lane.\n\nMurphy munches on another stick of gum. \"I guess everything turned out all right.\"\n\nYou shake your head. \"Have headquarters send the boys over to the camera shop. They'll find the latest cheesemonger out cold, along with enough cheese and cash to buy the city.\"\n\nYou've stunned Murphy once again. A notable feat, considering he can see shades of the future. \"What's happened, Good?\"\n\n\"I've had all I can take of Lumpen Lane. You take it from here.\" Hands in pocket, you head home. You want to savor your last memories with Holly over a nice glass of mint schnapps.\n\nThey might be all you'll ever have.\n\n> 2\n\"My report might be missing a few details.\"\n\n\"Oh, Good. You don't know how much this means to me.\" She bends down to check on Fern, make sure she's breathing. \"I can't ask you to do anything else for me. It wouldn't be right.\"\n\nYou tighten your jaw. This is the Holly you were trying to forget. \"What is it Holl?\"\n\n\"Well, Fern made my loan payments to Sabado for me, provided I kept up a steady supply of cheap labor. But she also had to buy all that wish powder, which meant no money for principal until business ramped up. If you can find the contract I signed at Sabado's, we can rip it up, and I can be free of him forever.\"\n\n\"To do that, I'd have to find a way inside. He's only interested in Foo Foo.\"\n\nShe smiles prettily. \"Maybe you can fool him into thinking you found Foo Foo. I don't know, you'll think of something. I can wait for you here, and keep on eye on the bird.\"\n\n\"And if I don't?\"\n\n\"Then I'll just have to manage.\" She picks up the shotgun and finds a comfortable spot to sit. \"Also, I saw the rat bury a spare key in the dirt by the bar. He didn't realize I was spying. You may need to keep digging for it.\"\n\nThe room was a distribution center for the Verde's illegal cheese ring. Large wheels of cheddar and swiss are stacked in the corner near a band saw for slicing. Scale weights, plastic bags, and inventory logs are scattered about the large table in the center of the room, along with cubes of various cheeses. In one corner is a small table, where stacks of cash are arranged into neat piles next to a counting machine. Everything is soaking wet.\n\nThe bodies of a dozen or so stuffed animals lie strewn across chairs or on the floor.\n\nHolly keeps watch over the unconscious Fern near the door to the west.\n\n> You get cubes\nBetter to leave everything in here alone. Let CSI handle it.\n\n> You get the money\nLet CSI handle it.\n\n> Go north\nThe alley runs east and west behind the rowhouses and shops. An empty dumpster is not quite pushed up against the wall opposite the store.\n\nThe cheese room is through the doorway south.\n\n> You go to the north-west\nThe alley arrives from the southeast and ends at a wall. There's a rear entrance to Get Your Nibbles to the south, the door left open.\n\n> Go south\nOnly a small portion of the space is set aside for food preparation. The rest is dedicated to the construction of stuffed animals, mid-production, as if operations had never stopped.\n\nA large bucket of wish powder stands in the corner. The tiled floor is stained purple where hastily scooped quantities were spilled.\n\nThe retail area is directly south, and the alley is north.\n\n> You go south\nIf it weren't for the display case of muddy nibblet things, you'd have mistaken this place for a toy store. The walls are painted a cheery yellow and lined with shelves full of cuddly toys. The stuffed rabbits look curiously like Foo Foo.\n\nThe exit is to the south, the kitchen to the north.\n\n> You put the powder on the rabbit\nYou sprinkle some powder on a stuffed rabbit.\n\n> Wave wand\nYou wave Big Tommy.\n\n> You point the wand at the rabbit\nHere goes nothing. You point your wand at the stuffed rabbit.\n\n\"Flippity, floppity, foo,\" you chant. With a sharp intake of air, the stuffed rabbit comes to life. He's disoriented for only a moment before he falls in line behind you, wiggling his nose happily.\n\n> You look at the rabbit\nHis resemblance to Foo Foo is uncanny.\n\n> Kiss rabbit\nHe's fine the way he is.\n\n> You go east\nYou enter the bar and its earthy smells. A hint of decay clings to the air. You wonder what people see in this place.\n\nSabado joins you by the entrance in better spirits than usual. \"Good! You brought Foo Foo. How... unexpected, but I'm no less delighted. I might even let you stick around if you stopped acting like a man all the time. Roughness doesn't suit a lovely creature like yourself.\"\n\nYou refuse to let him under your skin. \"Funny, I was about to tell you the same thing.\"\n\nHe snatches the now-frightened rabbit by the ears and drags him to the area marked for employees. \"Just keep an eye on the bar for me while I'm gone. This shouldn't take long.\"\n\n\"I don't work for you,\" you say, but the retort falls flat.\n\nSabado stops. He turns his head round, looks you up and down, then lifts the rabbit slightly off the ground as if to show you his prize. \"Don't you?\"\n\nHe leaves through the door and is gone, closing it firmly behind him.\n\n> Dig\nYou thrust the shovel into the dirt and unearth some kind of bone. A rib, you guess. Digging again, you uncover more ribs.\n\nA thought crosses your mind. You stumble backwards, away from the bones. Your stomach turns. These couldn't belong to the field mice, could they?\n\n> Dig\nYou force yourself to dig somewhere else. Even more bones.\n\n> Dig\nBones. Is this a bar or a graveyard? You're not sure you want to know.\n\n> Dig\nHuh. They're all ribs.\n\n> Dig\nThis time, you discover a small metal object. You pick it up and clean off the dirt. It's a key, large and cast in iron.\n\n> Search bar\nA plain wooden bar. There's a letter tucked in with the barware.\n\n> You get the letter\nTaken.\n\n> You look\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while a closed door to the north behind the bar reads \"Employees Only\". A lit-up jukebox looks rather out of place in the corner.\n\nWith Sabado gone, the bar counter stands alone.\n\n> You examine the key\nAn iron key.\n\n> You open the door\nIt's locked.\n\n> You unlock door\nThe key turns, and you open the door a crack. The light from torches mounted on the wall dances across a stone staircase, spiraling downwards. You're reminded of what Holly said earlier about an animal cult.\n\nNo. It was a bunch of nonsense. Though you swear you can hear a rattling sound, coming from down below.\n\n> You go north\nYou descend the stairs slowly, making as little noise as possible. The rattling sound grows louder. Reaching the bottom, you keep crouched by the stairs and glance around the corner.\n\nThe stone archway opens into a large vaulted chamber, barely lit by torches on the wall. Across the room, a great white beast twists and bucks about wildly, hissing and rattling.\n\nA rattlesnake. Here, in Fieldtown. You hold your breath.\n\nSabado stands close to the snake, chanting in an unknown language. In the far corner lies the stuffed rabbit, lifeless once again.\n\n> You examine the snake\nA great beast, thrashing about. The bone-white segments on the end of the tail rattle incessantly.\n\n> You look at Sabado\nHe's tall for a rat, graying in broad patches, joints that bend at sharp angles. You're not sure if he has an expression besides scowl.\n\n> You look at the rabbit\nA lifeless stuffed rabbit.\n\n> You listen\nYou shift your weight for a better position and knock a piece of brick off the wall. It clatters noisily to the floor. Both snake and rat turn to look at you.\n\nSabado ceases his chanting. \"Get the rabbit out of here!\" he shouts at you. \"Get rid of anything with wish powder on it!\"\n\n\"Why?\" you shout back.\n\n\"Shut up and do it!\"\n\n> You get the rabbit\nYou run for the rabbit, but the snake twists directly into your path. You duck as a coil strikes the wall above you, leaving a spider's web of cracks behind. The beast could crush you with ease.\n\n\"I can't get to the rabbit!\" you shout.\n\n\"I'm doing what I can,\" Sabado replies. \"You have to find a way!\"\n\nHow are you going to back the snake away from the rabbit? He's asking the impossible.\n\n> You read the book\nThe note on the inside cover reads: \"DomingoPage 95. One debt clean per mouse. You have my word.\"\n\n> You use the flash\nYou activate the flash. The light is nearly blinding in the dimness of the chamber, but the effect is immediate. The snake recoils into the opposite corner.\n\nNow's your chance.\n\n> You get the rabbit\nYou grab the rabbit, turn, and get out of there, deciding that if you live through the day, you're finally going to trash these heels.\n\nThe snake resumes thrashing about the chamber, the effects of the flash worn off.\n\n> Go upwards\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while the door to the north is open slightly. A lit-up jukebox looks rather out of place in the corner.\n\nWith Sabado gone, the bar counter stands alone.\n\n> You drop the rabbit\nDropped."
    },
    {
        "text": "[Themes: Mystery, miniature protagonist, mystery, female protagonist, Gay/queer protagonist]\n\n> You go down\nYou return to the chamber at the bottom of the stairs. The snake continues a violent dance.\n\n\"I said, get rid of everything with wish powder on it!\" Sabado shouts before returning to his chant.\n\n> Go upward\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while the door to the north is open slightly. A lit-up jukebox looks rather out of place in the corner.\n\nWith Sabado gone, the bar counter stands alone.\n\nYou left a stuffed rabbit here.\n\n> You check your inventory\nYou are carrying:\na letter\nan iron key\na revolver\na curved dagger\na bottle of Presto Remove-O\na shovel\nsome papers\na book\nBig Tommy\na pouch of wish powder\nan Edgerton flash\na handwritten note\nyour badge\na mugshot"
    },
    {
        "text": "[Themes: Mystery, rabbit, miniature protagonist, nonhuman protagonist, female protagonist, fairy, mystery, passion, noir, anthropomorphised animals]\n\n> Go downwards\nReturning to the subterranean chamber, you find the albino rattlesnake now docile, coiled up the corner. Sabado looks worn down, but still grumpy. They speak to each other in hushed tones. You hear the words \"trespassed illegally\".\n\nSometimes the best defense is a good offense. You work yourself up into a mock rage. \"Just what in Gaia's name is going on down here?\" you shout, stomping across the stone floor, waving a fist in the air.\n\nThe snake shrinks away apologetically. Sabado isn't as easily cowed, but he decides to play nice. \"Detective, I'd like you to meet my business associate, Mr. Sistrum. Mr. Sistrum, Detective Good Fairy.\"\n\n\"Pleassse, call me Hannibal,\" the snake says. He bows slightly.\n\n\"Forgive me if I forget my manners,\" you say. \"It sometimes happens when I'm almost crushed to death.\"\n\n\"Hannibal suffers from allergies,\" says Sabado. \"His most severe being wish powder. Even being in the same room is enough to send him into a fit.\" He thrusts a finger at you. \"And it was your dirty, powder-covered trick which caused this latest attack.\"\n\nHannibal rests his rattle on the rat's shoulder. \"Peace, friend. She couldn't have known about my allergy.\"\n\n\"I want to know why she tried to fool us in the first place,\" Sabado says.\n\n1) \"You didn't give me the impression you weren't going to hurt Foo Foo.\"\n2) \"I wanted to find out what you were after.\"\n3) \"I wasn't planning on handing over Foo Foo. I only wanted a way in.\"\n\n> 3\n\"I wasn't planning on handing over Foo Foo. I only wanted a way in.\"\n\nSabado smirks. \"And here you are. With a warrant, I'm sure.\"\n\n\"We were only trying to determine the identity of the Verde,\" Hannibal cuts in. Sabado throws him a sharp look, but the snake continues. \"The neighborhood is important to us. We want to help facilitate the removal of the cheessse. Surely you want the same.\"\n\n1) \"All taken care of. Fern is the Verde. She'll be in police custody shortly.\"\n2) \"All taken care of. The Verde will be in police custody shortly.\" 3) \"Not any of my business, actually.\"\n\n> 2\n\"All taken care of. The Verde will be in police custody shortly.\"\n\nBoth of them look surprised. \"Who is it?\" Sabado asks.\n\n\"You'll have to read the papers tomorrow to find out,\" you reply. \"Now it's my turn for a question.\" Hannibal inclines his head toward you. Sabado crosses his arms and scowls.\n\n1) \"I've heard from several sources that the field mice are vanishing. Then I dig up some bones buried upstairs. And now I find there's a snake in Fieldtown.\"\n\n> 1\n\"I've heard from several sources that the field mice are vanishing. Then I dig up some bones buried upstairs. And now I find there's a snake in Fieldtown.\"\n\nHannibal uncoils and rears his head like a cobra, bares his fangs. Maybe he does have a violent side. You feel for the revolver beneath your coat.\n\n\"Hannibal is an old friend,\" Sabado says. Odd that he would cut the tension, unless he knows when the snake isn't playing around. \"I don't appreciate unfounded accusations against friends.\"\n\n\"Tell me about the bones.\"\n\n\"Every Tuesday is scavenger night,\" he says with a resigned huff. \"All you can eat spare ribs. It's gotten popular.\" You narrow your eyes, and he looks offended. \"What? They were dead already. And no, they weren't the field mice.\"\n\n\"Then what happened to the field mice?\"\n\nNow he's angry. \"I don't know what you want me to say. They packed up and left. Gaia Almighty, all you complainers are looking for some kind of big bad villain to blame. Well guess what, there isn't one. Blame Fieldtown. Blame everybody. We're all to blame, because we're all looking out for numero uno.\" He raps his chest proudly. \"Ourselves. You don't like it, go do something about it. Otherwise, shut your Gaiadamned mouth.\"\n\nHannibal grins and settles back into his coils. \"For the record, I strictly eat eggs. Unfertilized ones.\"\n\n\"Any more questions?\" asks Sabado.\n\n1) \"Were you behind the attack at the camera shop last night?\"\n2) \"What did you do to the rabbit?\"\n3) \"Let's talk about the contract you have with Holly.\"\n4) \"No more questions.\"\n\n> 3\n\"Let's talk about the contract you have with Holly.\"\n\nThe two look at each other. \"What contract?\" Hannibal asks.\n\n\"The contract in which Sabado lent her a sum of money to rebrand her store. There're laws against usury. I'd like to double check the rate. Make sure it's all square.\" You outline a square in the air with your finger.\n\n\"Honestly Detective, I have no idea what you're talking about,\" Sabado replies. \"I didn't give her no money. In fact, she's all paid up through the end of the year. Now I have to figure a way out of our lease agreement.\"\n\n\"You're lying,\" you say unconvincingly. You both know he was telling the truth. So why would she lie about this? A terrible sinking feeling settles in your stomach.\n\n\"Whatever,\" Sabado says, brushing you off.\n\n1) \"Were you behind the attack at the camera shop last night?\"\n2) \"What did you do to the rabbit?\"\n3) \"No more questions.\"\n\n> 1\n\"Were you behind the attack at the camera shop last night?\"\n\n\"I'm afraid I went to speak with the proprietor, to propose a more generousss offer, and suffered one of my fits while I was there,\" Hannibal says.\n\n\"I swear she's up to something,\" says Sabado.\n\nYou leave that one alone.\n\n1) \"What did you do to the rabbit?\"\n2) \"No more questions.\"\n\n> 1\n\"What did you do to the rabbit?\"\n\n\"He fell over as soon as Hannibal's allergies started acting up,\" Sabado says. \"Must have scared him lifeless.\"\n\nIt's possible. Not something you've ever tested. \"You didn't think to get him out of here?\"\n\nSabado talks through gritted teeth. \"If you didn't notice, I was chanting.\"\n\n\"It calmsss me down,\" Hannibal adds. \"Another hour, I'd have been fine again.\"\n\nThat's why Sabado had a book on Snake Charming in the first place. Though an hour isn't exactly a quick turnaround.\n\n1) \"No more questions.\"\n\n> 1\n\"No more questions, for now. You're still on the hook for getting those mice bopped.\"\n\nSabado smiles. \"If you had enough to arrest me, you'd have done it already. Now get the hell out of my bar.\"\n\n\"It was lovely meeting you,\" Hannibal says.\n\nYou doff your hat.\n\nThe stairway from the south opens to a large vaulted chamber, barely lit by torches on the wall.\n\nSabado stands with his arms crossed and a terrible pout.\n\nHannibal rests in the corner, a pile of white coils, his forked tongue taking little tastes of the air.\n\n> You examine Hannibal\nHe's an albino rattlesnake, the faintest of diamond patterns showing on his scales. He seems completely at ease with his nakedness, which you assume must be a snake thing. You imagine clothes to be difficult for snakes.\n\n> Go upward\nThe corner tavern resembles an old forest more than a bar. Even the ground is covered in a thick layer of soil. The western exit leads back to the street, while the door to the north is open slightly. A lit-up jukebox looks rather out of place in the corner.\n\nWith Sabado gone, the bar counter stands alone.\n\nYou left a pouch of wish powder and a stuffed rabbit here.\n\n> Go north\nYou'd say the store was trying to convey church basement-chic, except it looks like a tornado went through it. There's broken glass and camera parts and debris everywhere.\n\nTo the east is the cheese room. The way out is south.\n\nFinch sits quietly on the counter.\n\n> Go east\nThe room was a distribution center for the Verde's illegal cheese ring. Large wheels of cheddar and swiss are stacked in the corner near a band saw for slicing. Scale weights, plastic bags, and inventory logs are scattered about the large table in the center of the room, along with cubes of various cheeses. In one corner is a small table, where...\n\nYou look around in disbelief. Holly's gone, along with all the cash. Near the counting machine is a piece of paper with a little green heart.\n\nYou think back to everything that happened. New possibilities emerge. The Verde may not have been one woman, but two, a partnership that turned sour. One of them planned to blow all the money on some junk real estate for the field mice. The other waited for the right opportunity to make a move against her. There's a sucker born every day, you guess.\n\nYou pick up the little green heart and crush it between your fingers.\n\n(Three months later...)\n*   *   *   *   *\n\nA tremendous pounding disturbs you from your slumber. For the love of Gaia. What now?\n\nYou climb out of bed into your own little slice of heaven. Maybe someday you'll get out of here.\n\nThe rain is heavy against the window.\n\nKnock. Knock. Knock.\n\n> Inventory\nYou are wearing your pajamas.\n\nKnock. Knock. Knock.\n\n> You look at the pajamas\nDeep red, with little dancing penguins all over them. You've worn them to holes, but you don't care. They're the most comforting thing you own\n\nComfortable. You mean they're the most comfortable thing you own.\n\nKnock. Knock. Knock.\n\n> You examine the window\nIt's dark outside. The rain obscures everything.\n\nKnock. Knock. Knock.\n\n> You examine the bed\nWide enough for two. Rarely does it hold that many.\n\nKnock. Knock. Knock.\n\n> You open door\nYou fumble with the locks until you get the door open. A very wet rabbit shivers on the other side.\n\nThis has got to be one of those recurring nightmares. \"I thought I told you the next time I saw you, I'd turn you into a goon,\" you say.\n\nThe rabbit limps inside. \"I won't be around that long. Heck, I probably won't last the night.\" He sounds more controlled, more confident. He doesn't sound like himself at all.\n\n\"Foo Foo, what's going on?\"\n\nHe opens his coat and reveals a tear where his right arm meets his shoulder. The ends of the fabric are frayed. Cotton is starting to push through.\n\nHe was stuffed all along.\n\n1) This can't be.\n\n> 1\n\"You're stuffed?\" you ask incredulously. \"How is that possible?\"\n\n\"Mother was skilled,\" Foo Foo replies. \"More than you realized. She worked on me for years. I've been alive for years, while my siblings only last days.\"\n\n\"But you're soaking wet!\" You stand over him. Anger swells. Yes, you were betrayed. Yes, you were fooled. But surely not to this degree.\n\nFoo Foo lowers his eyes and sags to the floor. \"I have a heart, you know. She made one out of red felt and filled it with wish powder. Simple, yet effective. Makes you wonder why no one thought of it before. Anyway, it's almost all used up.\"\n\n1) No. You can't believe it.\n\n> 1\n\"But you're heavy... and your speech...\" You sit down on the edge of your bed.\n\n\"'Sticks and stone shall be my bones, and words will ever guide me.' Mother made that up for me, I think to help me understand what I was. She said I learned to talk the fastest out of all her creations. I spoke as soon as I was brought to life, repeating the last word of her spell over and over again.\"\n\n\"Flippity, floppity, foo,\" you whisper.\n\nHe nods. \"'Foo! Foo!' I had shouted. I apparently named myself.\"\n\nYou still have questions.\n\n1) \"How were you even hypnotized?\"\n2) \"So all those times I gave you extra chances...\"\n3) \"Why are you here, Foo Foo?\"\n\n> 1\n\"How were you even hypnotized?\"\n\n\"I wasn't, but I had to pretend that I was, otherwise I'd have been found out. Questions would have been raised. Mother didn't exactly acquire all that wish powder legally.\"\n\nOf course she didn't.\n\n1) \"So all those times I gave you extra chances...\"\n2) \"Why are you here, Foo Foo?\"\n\n> 1\n\"So all those times I gave you extra chances...\"\n\nFoo Foo finishes your sentence, as much as it pains you to hear it. \"...was to get you to investigate, without tipping you off. Domingo's attempts at hypnotism were the perfect excuse. All you had to do was show.\" He smiles. \"You have a good heart, Good. Holly wasn't even expecting you to give me so many chances. She admired you for it.\"\n\n\"Must be why she did what she did,\" you say sarcastically.\n\nHe doesn't respond.\n\n1) \"Why are you here, Foo Foo?\"\n\n> 1\n\"Why are you here, Foo Foo?\"\n\nHe furrows his brow and presses his lips together. \"I loved her, so much. I believe she loved me too, even though I was a means to an end. But you... she loved you most of all.\" He climbs onto the bed and sits next to you.\n\nYou turn away. \"She didn't love me. She ruined me.\"\n\n\"She never told me why she carried out this last scheme,\" Foo Foo says, \"but I think she wanted to become the villain you wanted her to be. A reason for the both of you to move on, even after all those years. She never saw herself as good enough for you. I suppose she never thought she could be a good person.\"\n\n\"You never answered my question.\"\n\nHe looks up into your eyes. \"Did you love her?\"\n\n1) \"Yes.\"\n2) \"No.\"\n\n> 1\nYou nod. \"Yes, Foo Foo. Very much.\"\n\nHe beams. \"That's what I hoped you'd say.\" He puts his paw on your hand. You take it. \"Mother used to cuddle with me at night sometimes, like I was still a toy. I... wonder if that'd be all right.\"\n\nYou smile gently. \"Sure. It'd be all right.\"\n\nYou wrap your arms around him and pull him with you onto the bed. He's still cold and wet, but you keep him close anyway. It isn't long before he's merely warm and damp, and by the time you fall asleep, it's hard to tell where the rainwater ends and where the tears begin.\n\nThe morning brings a pale light through the window. You wake feeling refreshed, like you finally slept after years of trudging through life in a weary haze. In your arms is a lifeless stuffed rabbit.\n\nHe's smiling."
    },
    {
        "text": "[Themes: Slice of life, child, children, beach, strong profanity, multiple protagonists, character based, female protagonist, unstable truth, wolf, slice of life, non-chronological, ocean, female]\n\nThe streetlights are bright. Unbearably bright. You have to squint as hard as you can to keep your retinas from bursting into flame.\n\n\"Welcome back to the land of the fucking LIVING, bud,\" Rob says. \"You planning to stick around for a while or you gonna pass out again? Cause one thing I've learned about chicks is that they actually DON'T LIKE IT when you pass out on them in the middle of gettin' it on. You hear me? So if that's, like, your PLAN, then I'm droppin' you off and showin' up solo.\"\n\nYou don't exactly remember where the day went, but as you listen to Rob rant on, bits of it start to float back to you: a day on the slopes, the brisk February wind against your face; polishing off a keg back at the lodge; those two girls you and Rob had hit it off with, the ones who'd given you their address in town. \"We all should get together sometime!\" they'd said. Of course, Rob insisted that by \"sometime\" they'd meant \"later tonight.\" You hadn't been so sure, but then you'd blacked out before you could argue the point.\n\nHow Rob came to be driving your car you're not exactly sure. Apparently he couldn't wait till you were sober enough to drive it yourself. From the way he's weaving all over the road, he also apparently couldn't wait till HE was sober enough to drive it, either.\n\nRob changes the radio station a few times, eventually settling on the station you were listening to in the first place.\n\n[Author's Note: \"Will you read me a story?\" \"Read you a story? What fun would that be? I've got a better idea: let's tell a story together.\"]\n\n> About yourself\nYou're as good-looking as ever. Which is a hell of a lot better-looking than Rob.\n\nRob looks at the scrap of paper with the address on it as the two of you go screaming through an empty intersection. \"Bartlett Hill Road,\" he mutters. \"Where the fuck is Bartlett Hill Road?\"\n\n> You look at Rob\nRob's face is flushed, as you might expect from someone fresh off the slopes. Except you're NOT fresh off the slopes. You came in at maybe three or three-thirty, and now it's past midnight.\n\nYou look up. \"Hey, it's red,\" you say.\n\n\"Huh what?\" Rob says.\n\n\"The light,\" you say. \"You know, red? As in STOP?\"\n\nBut you don't stop. You don't even slow down as you fly into the intersection, and the light stays an unmistakable red...\n[ -> ]\n[ -> ]\nYou are Wendy Mackaye, first girl on the red planet.\n\nWhen you signed up for this mission, you thought that you were going to be coming to a habitable colony. (\"Habitable\" means you can live there.) See, the orbiter was supposed to drop all the pieces of the colony -- the power plant, the living quarters, the greenhouse, things like that -- onto the planet's surface, packed in airbags which would bounce around and then open up once they were safely on the ground. Some of the airbags were supposed to hold big trucks which would be operated by remote control, dragging the pieces of the colony into their proper places; your job was going to be to take a tour of the place and verify that everything was up and running. (\"Verify\" means to make sure.)\n\nInstead, something went wrong on the orbiter, and it blew up before it had a chance to drop off its payload. Pieces of the orbiter and the colony rained all over the landscape. So this has become a salvage mission. Your instruments indicate that there's at least one piece that's still functioning. (\"Functioning\" means it's not broken.) Your job is to find that piece, or pieces if there's more than one.\n\nSo you climb down the ladder of your ship and step onto the surface of an alien world.\n\nYou are standing at the base of your ship. The onboard computers selected this general area as the most likely place to find salvageable remains of what would have been the colony. (\"Salvageable\" means you can save it.) The battered rust-red landscape stretches out before you in every direction, pitted and pockmarked and littered with boulders. A ladder leads up to the hatch of your ship.\n\n> You look at what you're carrying with you\nYou are carrying nothing. You are wearing your spacesuit.\n\n> You examine spacesuit\nYour spacesuit, custom-made to fit someone your size, is much less cumbersome and bulky than the spacesuits of the past; this one is actually quite stylish. It says \"W. MACKAYE\" on the front."
    },
    {
        "text": "[Themes: Slice of life, child, multiple protagonists, slice of life, non-chronological, unstable truth, beach]\n\n> You describe your surroundings\nYou are standing at the base of your ship. The battered rust-red landscape stretches out before you in every direction, pitted and pockmarked and littered with boulders. A ladder leads up to the hatch of your ship.\n\n> You go to the north\nYou take a few steps to the north, amazed at how the light gravity turns each step into a great bounding leap.\n\nYou are standing next to what seems to be a piece of a bulldozer or some other sort of construction equipment. It is a set of wheels, each one bigger across than you are tall, wrapped in a tread like on an army tank. You can tell it landed with some force from the ring of debris that surrounds it in a perfect circle.\n\n> Go north\nAs you walk, you find first one geodesic panel, then another. (When people make a dome out of simple polygons like triangles or hexagons, that's called \"geodesic.\") Soon the clear plastic panels are as plentiful as the rust-red boulders -- this must be where the dome for the living quarters landed.\n\nSoon you find you're right. Scattered around you are the remains of what would have been home to the first wave of colonists. Most of the housing units have been reduced to unidentifiable splintered heaps, but there's one that seems to be intact. (\"Intact\" means that it isn't so damaged that it's unusable.) The entrance is partially obstructed -- \"obstructed\" means blocked -- by debris, but you're small enough that you could probably squeeze through. That's part of what makes you the perfect person for this job, aside from your astronautical expertise. (\"Astronautical\" doesn't really mean anything. I just made it up.)\n\n> You enter the unit\nSince no one ever moved into this unit, it's really nothing but an empty gray box, no bigger than your bedroom back home. These quarters weren't designed with anything but sleeping in mind: the first colonists were expected to take their meals in a central dining commons, and bathrooms were to be in a separate structure, with each one shared by a number of people. Still, you can't help but feel a twinge. This was going to be someone's HOME. The first thing they saw when they woke up, the place they looked forward to retreating to after a hard day doing research or exploring the planet's surface or helping to maintain the colony. There were going to be pictures on these walls, footprints on the floor. Now the only footprints left here will be yours.\n\n> Go outside\nScattered around you are the remains of what would have been home to the first wave of colonists. Most of the housing units have been reduced to unidentifiable splintered heaps, but there's one that seems to be intact. The entrance is partially obstructed by debris, but that doesn't pose a problem: you're small enough to squeeze through.\n\n> Go north\nThe power plant is in substantially worse shape than the living quarters, and considering that those were completely wrecked, that's saying something. Though the fissionable materials were specially packaged to prevent them from exploding, the Geiger counter in your suit indicates that this area is still very radioactive. (I'll explain that part later. For now let's just say it's very dangerous and you should probably be moving along.)\n\n> Go north\nYou're standing near what appears to be most of a bulldozer -- maybe the one that the tread you saw used to be attached to. Aside from that, this area is fairly desolate.\n\n> You enter bulldozer\nAs you attempt to climb up into the bulldozer, the remaining tread gives way and the cab of the bulldozer comes crashing down on top of you. Only your lightning-quick reflexes save you from being crushed and killed.\n\n> You go to the north\nThe clicking in your helmet grows steadily louder -- you must be getting closer to what you're looking for. Soon you find yourself...\n\nThe colonization plans called for a central dome where plants designed to thrive in the harsh, lifeless soil of the red planet would be grown and used for food. Everywhere you look are broken containers that once held seed pods and now contain nothing but cinders and ash.\n\nAmong the shattered seed pod containers you see one single undamaged one.\n\n> You take the container\n(the seed pod container)\nThe moment you touch the seed pod container, the clicking in your helmet stops. This is the only item you will be able to save.\n\n> Examine pod\nThe seed pod container is a red globe about the size of a canteloupe, which is designed to withstand an awful lot of damage but can be opened with a simple twist.\n\n> You open pd\nNothing like that seems to be around.\n\n> You open pod\nYou open the seed pod container, revealing a seed pod.\n\n> You examine the seed pod\nThe seed pod, designed for rapid growth even in a hostile environment, looks sort of like a cross between a pine cone and a small pineapple.\n\n> Go south\nYou're standing near what appears to be most of a bulldozer -- maybe the one that the tread you saw used to be attached to. Aside from that, this area is fairly desolate.\n\n> Go south\nThe power plant is in substantially worse shape than the living quarters, and considering that those were completely wrecked, that's saying something. You probably shouldn't linger in this area too long.\n\n> Go south\nYou are standing next to what seems to be a piece of a bulldozer or some other sort of construction equipment. It is a set of wheels, each one bigger across than you are tall, wrapped in a tread like on an army tank. You can tell it landed with some force from the ring of debris that surrounds it in a perfect circle.\n\n> You go south\nYou are standing at the base of your ship. The battered rust-red landscape stretches out before you in every direction, pitted and pockmarked and littered with boulders. A ladder leads up to the hatch of your ship.\n\n> You go up\nGently placing the seed pod on the seat next to you, you rocket back into space, leaving the red planet in your wake. Soon a familiar cloud-streaked blue ball appears on your monitors. You are home again at last.\n\nBut something goes terribly wrong. The heat shields hold up fine during re-entry, but the parachutes fail to open as you head for splashdown. And so you plummet at an incredible rate, the ocean growing closer and closer...\n[ -> ]\n\n> Scream\nYou hear a splash.\n\n> About yourself\nYou are Mary Dawson, and you're still getting used to not having to get in your car and drive to the office every morning. While it's wonderful to be able to spend more time with Alley, there have been times that you've been so busy keeping her fed and entertained on the one hand, and trying to get some work done on the other, than Sam has come home at six in the evening and you STILL haven't showered."
    },
    {
        "text": "> Look around\nWhen you and Sam put that down payment on this house five years ago, you were expecting that you were going to need all four bedrooms eventually; but after the complications with Alison, you found yourself with a couple of extras on your hands. This one came in very handy when you started telecommuting. You can't say you're exactly glad that this room became an office instead of a bedroom for a brother or sister of Alley's, but you ARE glad that you and Sam decided not to move into that smaller house you were considering.\n\nYour computer screen is, as usual, cluttered with the details of the Peterson account.\n\nThat splash you heard is beginning to worry you.\n\n> You leave\nYou're standing in the hallway just outside your office. Your guest Gabriel's room lies just ahead of you, the door wide open; a flight of stairs leads down to the ground floor."
    },
    {
        "text": "> Go downwards\nAs you reach the bottom of the stairs, you look through the sliding glass door leading to the back yard, and feel a bayonet slice through your heart. Gabriel is fishing Alley out of the pool. It takes all the willpower you possess to open the door as you dash outside instead of simply throwing yourself through the glass.\n\nYour back yard isn't exactly sprawling, but it was more than big enough to accomodate the small swimming pool which Alison was never supposed to be allowed near. At least not until she learned to swim.\n\nAs you throw open the sliding glass door, Gabriel gently lays Alley down on the cement bank of the pool. \"Have you called the emergency?\" he asks. \"No? I will call!\" He runs, dripping wet, back into the house.\n\nGabriel comes dashing back outside, telephone in hand. \"The ambulances are coming and at the same time I have the instructions for the CPR!\" he declares. \"First you must tilt her head back!\"\n\n> Tilt head\nYou tilt her head back.\n\n\"Good!\" Gabriel says. \"Now you must breathe into her mouth.\"\n\n> You breathe into the mouth\nYou breathe into Alley's mouth.\n\n\"Good!\" Gabriel says. \"Now you must press her chest.\"\n\n> You press the chest\nYou apply pressure to Alley's chest and suddenly she coughs up a mouthful of water. A minute later she is sitting up and looking around bewilderedly.\n\n\"Alison!\" you cry. \"Alison, baby, how many times have we told you NOT to go near the pool, another minute and we would've lost you, you KNOW you're not supposed to go near--\"\n\n\"I wanted to see,\" she says.\n\n\"What?\" you say.\n\n\"I wanted to see,\" she says, \"if the world looked the same UNDER the water as it does OVER it.\"\n[ -> ]\n[ -> ]\nYour spaceship was able to survive the impact with the ocean easily -- you barely even felt the jolt. (\"Impact\" is what it's called when things smack into each other.) There wasn't even any damage, unless you count the flotation devices bursting. But you should definitely count that. Because without your floats, your ship sinks like a stone, down down down into the murky depths.\n\nYou're still not worried, since you can always just fly the ship right back up to the surface. Except that when you hit bottom, the engines go dead. You try to restart them, with no success. Fortunately, your spacesuit is watertight and more than capable of protecting you from the water pressure that would otherwise crush you like a soda can. It will have to. You're going to have to swim for it.\n\nYou gather up your seed pod, head to the airlock, turn on the lights in your suit, and hope for the best.\n\nWell, this is a first. You're standing on the door of the airlock. Usually you're firmly rooted to the floor and the door is just as firmly set in the wall, or else you're floating weightlessly and there is no real \"up\" or \"down.\" But the ship landed at an odd angle, and you're not quite sure what to expect when you open the doors. If there isn't enough room for you to crawl out between the door and the ocean bottom, you're in some serious trouble.\n\nThe wall -- or, now, floor -- is festooned with a big blue button, which opens the door. (\"Festooned\" means adorned. Hmm? Oh, \"adorned\" means decorated.)\n\n> You open the door\nYou've had a couple of experiences with explosive decompression, where you open up the airlock door and the rush of escaping air blows you out into space. This time the rush of water flooding into the airlock smashes you up into the ceiling -- or at least now it's the ceiling; it used to be the back wall. Luckily, your suit is able to cushion the blow. Soon the airlock is full of water and you are able to swim out the door, which closes behind you.\n\nAt first you're confused. You'd expected the ocean bottom to be centimeters from the open door; instead, you drift down, down, ever down, and when your feet do finally touch something solid, it isn't the silt of the bottom of the sea, but a stone floor. You look up, hoping to see a glimmer of the surface. Instead you find a stone ceiling, far too high above your head to reach, and right where you might expect to find a chandelier, you see the blinking blue lights around the outside of your ship's airlock through the hole it made upon impact.\n\nYou have crashed into an undersea castle.\n\nMoldy stone walls stand all around you, dimly visible through the murk: you feel them more than see them. Chunks of fallen stone from the ceiling lie scattered about at your feet. You can barely make out arched doorways leading north and south.\n\nAlso at your feet is the seed pod -- you lost track of it in the rush of water. You scoop it up."
    },
    {
        "text": "> Look around\nMoldy stone walls stand all around you, dimly visible through the murk: you feel them more than see them. Chunks of fallen stone from the ceiling lie scattered about at your feet. You can barely make out arched doorways leading north and south.\n\n> Go north\nYou are standing in the keep, a fortified tower inside the castle walls. (\"Fortified\" means strengthened.) A stone spiral staircase leads upward, but stops abruptly when it reaches the ceiling.\n\n> You go to the south\nThis is a great empty chamber just like the one you landed in, except for a long stone slab that you decide must be a dining table. You don't have any evidence for this: you don't know how this castle got here, or who might've lived in it... for all you know, they might have been incredibly tall, skinny, water-breathing creatures, and this was one of their beds. But for the time being we'll call it a dining table.\n\nExits once again lead north and south.\n\n> You go south\nThis room is just as big as the others you've seen, but unlike the others, this one contains a barnacle-encrusted object in the unmistakable shape of a chair; given the place you've found it and the fact that it's built into the floor, you can only conclude that it must be a throne. The far wall features a carved-out alcove that looks like it must have been a fireplace, though how one might go about lighting a fire underwater is anyone's guess. Mounted on the wall above the fireplace in an \"X\" shape are a pickaxe and a shovel.\n\nAn arched doorway leads east, but is completely blocked by debris. You can also go back the way you came.\n\n> You take all\n(the shovel)\nYou are unable to take the shovel: it's wedged behind the pickaxe.\n\n> You take the shovel\nTaken.\n\n> You dig the debris\nDifficult to do underwater. Especially through stone.\n\n> You go north\nYou are standing in the keep, a fortified tower inside the castle walls. A stone spiral staircase leads upward to the ocean's surface.\n\n> Go up\nYou start up the stairs, the murk gradually diminishing as you come closer and closer to the surface. But just as the sun starts to resolve from a general glow into a specific bright blob above you, a vicious rip current pulls you off the staircase and drags you further out to sea.\n\nThe sheer power of the current throws you for a loop. You thrash in vain against it, crying out in frustration as your muscles begin to cramp from the effort while you continue to be dragged further and further out to sea. Finally you try swimming parallel to shore, and that frees you from the current's grip. For several long moments you drift aimlessly in the ocean, exhausted. When you do at last get your wind back and take your bearings, you find yourself kilometers from the nearest hint of land. Sighing, you start for shore. Your suit feels unexpectedly cumbersome, but you dare not take it off: even if it does make you tire that much faster, at least you don't risk drowning.\n\nOr, rather, you don't risk drowning until your oxygen supply runs out. Luckily, this doesn't happen until your feet at long last touch the shore. You drag yourself onto the beach, blinding spots dancing before your eyes; your knees give even as you tear off your helmet, and everything goes dark.\n[ -> ]\nEverything is dark -- no matter how much you strain your eyes, you can't see the faintest hint of light. But whispering voices tickle the edge of your hearing.\n\n> You listen\n\"...level of point fifteen...\"\n\n> You listen\n\"...fratboys completely uninjured...\"\n\n> You listen\n\"...husband has an excellent...\"\n\n> You listen\n\"...vending machine ate my dollar...\"\n\nLight flickers before your eyes. At first you don't see anything familiar. And then suddenly Linda is there at your side.\n\nYou are in a hospital bed.\n\n\"What... what...?\" you start to ask.\n\n\"Shhh,\" Linda says. \"You need to save your strength. The doctors say you'll be fine, but it'll take some time.\"\n\n\"Is she-- how--?\" The effort to speak become too much and you have to rest for a moment. \"How...?\"\n\nFor a moment Linda seems confused. Then she realizes what you're asking, and shakes her head sadly.\n\nAnd suddenly the room seems colder...\n[ -> ]\n\n> Xyzzy\n[ -> ]\nThe sand is curiously cold against your face as you wake up, the waves licking at the soles of your boots. Cold and hard, more like gravel or even cobblestone than sand. As you lift your head and look around, you notice something else wrong. The sand is the wrong color. It's darker, more metallic...\n\nIt's gold.\n\nYou are at the south end of the beach, a glittering crescent nestled between the crashing ocean to the east and towering cliffs to the west, ankle-deep in gold. You run your hands through it: rings, coins, nuggets... and gold dust. Drifting down from the sky, collecting in dunes, the dust is everywhere. You run your hands through your hair and your gloves come out looking like they belong to a statuette.\n\nTo your relief, your seed pod has washed up onto the beach in excellent condition, though the container it was in is nowhere to be found. And though you thought you'd lost it a long way from shore, your shovel is here too.\n\n> You take the gold\nWhich do you mean, the dunes, the dust, the nuggets, the coins or the rings?\n\n> You take all\nNothing seems to be available.\n\n> You take the coins\nYou pick up a coin."
    },
    {
        "text": "[Themes: Slice of life, unstable truth, multiple protagonists, slice of life, character based, children, wolf, non-chronological, beach, ocean]\n\n> You look around\nYou are at the south end of the beach, a glittering crescent nestled between the crashing ocean to the east and towering cliffs to the west, ankle-deep in gold.\n\n> You go to the north\nYou are right in the middle of the golden beach, which stretches off to the north and south.\n\nSomething wooden is buried in the \"sand\" at your feet, but it's buried so deeply that only a corner of it is visible.\n\n> Dig\nYou dig for a few minutes, and seem to be making good progress when suddenly the handle of the shovel snaps off: apparently all that time underwater weakened it after all. Luckily, you no longer need it -- you've done enough digging that you're able to grab the wooden object and pull it loose. It's a treasure chest! A tiny one. What's more, it doesn't seem to be locked!\n\n> Open chest\nOpening the container reveals... dirt! Someone must have found this very precious. Which makes sense: it was buried in a place where gold was everywhere and so wasn't especially valuable. Dirt, on the other hand, seems to be quite rare around here. Since it's so scarce, it's worth keeping safe.\n\n> You put the seed in the chest\nYou'd have to empty out the chest first to make room.\n\n> Empty chest\nIf you took the dirt out now, you wouldn't be able to get it all back in. That's not a risk worth taking, at least not right now.\n\n> You take the chest\nTaken.\n\n> Go north\nYou are at the north end of the golden beach, which stretches off to the south. Though the cliffs to the north butt right up against the ocean, there is a pass to the northwest, with something shiny visible through the gap in the cliffs.\n\nA platinum seashell rests near the water's edge.\n\n> You take shall\nNothing like that seems to be around.\n\n> You take the shell\nAs you reach out to take the shell, a crab emerges from inside it and skitters off into the sea, dragging the shell along with it!"
    },
    {
        "text": "[Themes: Slice of life, non-chronological, ocean, child, character based, beach, female, strong profanity, female protagonist]\n\n> Look around\nYou are at the north end of the golden beach, which stretches off to the south. Though the cliffs to the north butt right up against the ocean, there is a pass to the northwest, with something shiny visible through the gap in the cliffs.\n\n> You go northwest\nYou take one last look at the golden beach and stride off through the pass.\n[ -> ]\nYou take one last look at the hockey game on TV and stride through the garage door to tell Alley it's time to come in.\n\nThis was supposed to be a two-car garage, but with the trash cans, your workbench, Alley's bike and all the rest of the junk that's taken up residence in this place, you're lucky to be able to even squeeze just the Volvo in here.\n\n> You look at the trash\nOne's for trash, the other's for recyclables.\n\n> You look at the bike\nIt's a boys' model, blue with a horizontal crossbar. Alley was pretty insistent about that.\n\n> You examine Volvo\nMary was the one who wanted the Volvo. She said it was more practical than what you wanted, which was a Porsche. So you compromised and got a Volvo with racing stripes on it."
    },
    {
        "text": "[Themes: Slice of life, children, non-chronological, ocean, female, beach, wolf]\n\n> Look around\nThis was supposed to be a two-car garage, but with the trash cans, your workbench, Alley's bike and all the rest of the junk that's taken up residence in this place, you're lucky to be able to even squeeze just the Volvo in here.\n\n> You leave\nOne of the advantages of living on the outskirts of town is that you were able to get a house with a little bit of land around it. Which isn't to say that you have to walk a kilometer to get to your neighbor's house, just that you can actually take a few steps outside your door and not be on anyone else's property.\n\nAlley is sprawled on the front lawn, gazing up at the stars. \"Hi, Daddy,\" she says. \"Hey, how come the night sky is dark? I mean, with all the stars in the universe, if you look in any direction wouldn't you eventually see a star?\"\n\n> You talk to ALLEY\nPlease select one:\n\n(1) >TELL ALLEY ABOUT INVERSE SQUARE LAW\n(2) >TELL ALLEY ABOUT CRYSTALLINE SPHERES\n(3) >ALLEY, COME INSIDE\n\n> 1\nMary thinks it's a little strange that you've started choosing introductory astrophysics texts as your bedtime reading material, but it really pays off at moments like this. \"Well,\" you say, lying down on the grass next to Alley, \"it has to do with the inverse square law. Think of a star, and imagine putting up an enormous sheet of paper about one astronomical unit away. The star'll light up a certain area of the sheet of paper. Now take that paper and put it two astronomical units away. The area that the star lights up will be twice as tall and twice as wide, but it's the same amount of light hitting it -- the same number of photons, only spread out over an area four times as big. That means if you look at a small area of the sheet of paper, only one-fourth as many photons are hitting it, so it looks one-fourth as bright. If you look at it from ten times as far away, it looks one one-hundredth as bright.\n\n\"That means that the further away you get, the fewer photons have a chance of reaching your eyes. Now, you may think that you'd have the number of stars in your visual field increasing just as fast as their intensity decreases. But the universe is finite: you could write the number of stars in the universe on a single piece of notebook paper. And the observable universe is even more finite -- the universe expanding fast enough that the photons from a lot of stars haven't had a chance to reach us yet and maybe never will. So eventually you run out. And if you factor in all the things that can block the photons that do have a chance to get here -- clouds of hydrogen gas, for instance -- only the photons from the closest and brightest stars make it to your eyes. The rest of the sky looks dark.\"\n\n\"Cool,\" Alley says. \"Is that true about everything a star sends out, or just light?\"\n\n> You talk to Alley\nPlease select one:\n\n(1) >TELL ALLEY ABOUT SOLAR RADIATION\n(2) >ALLEY, COME INSIDE\n\n> 1\n\"Well,\" you say, \"a star doesn't emit a whole lot EXCEPT light, if by light you mean photons, which can range anywhere from radio waves to X-rays and beyond. Then there's the solar wind, which is mostly protons. And then there are neutrinos, which go through pretty much everything. People have collected huge pools of gallium, put them deep underground, and it turns out that thirty tons of the stuff -- thirty TONS -- will catch ONE neutrino a day. The neutrino will turn ONE atom of gallium into germanium. All the other billions and billions of neutrinos just go streaming right through the earth. But you can't see them, because they go right through your eyes.\"\n\n\"Awesome,\" Alley says. \"Where does the gallium come from?\"\n\n> You talk to Alley\nPlease select one:\n\n(1) >TELL ALLEY ABOUT GALLIUM PRODUCTION\n(2) >ALLEY, COME INSIDE\n\n> 1\n\"Good question,\" you say. \"The easy answer is that it's mined. But here's the more interesting answer. You know what a star is, right?\"\n\n\"Sure,\" Alley says. \"It's a big ball of hydrogen being fused into helium.\"\n\n\"Bing,\" you say. \"Right as usual. Now, eventually the hydrogen runs out. What happens to the helium left over? Some of it gets expelled out into space, and the rest of it contracts even tighter, till the HELIUM starts to fuse. So the star lights up again, turning helium into carbon, and then into oxygen. And the process keeps going -- some of the matter is expelled into space, the rest keeps contracting, fusing, into neon, magnesium, silicon, and eventually, into iron. Iron is pretty much the most stable thing there is. Right now hydrogen is the most common substance there is, but if you wait long enough, it'll be iron.\n\n\"Now, iron is element #26, and gallium is #31, so you'll never get to gallium that way. Heavy elements like gallium, or gold, are produced in supernovae -- they're formed when stars explode, and fly out into space.\"\n\n\"Really? Gold?\" Alley says. \"It just comes raining down out of space?\"\n\n> You talk to Alley\nPlease select one:\n\n(1) >TELL ALLEY ABOUT PLANETARY ACCRETION\n(2) >ALLEY, COME INSIDE\n\n> 1\n\"Maybe indirectly,\" you say. \"See, the newly-formed heavy elements fly out into space, and collect in gravity wells, start clumping together... some end up inside new second- or third-generation stars, while others get locked up in planets only to get dug up a few billion years later and used for neutrino detection, or jewelry, or coins. Of course gold is used in coins because it's valuable, and it's valuable because it's rare, and it's rare because... well, to a certain extent, it's the luck of the draw. If you look at a chart of the elements in the earth's crust, it turns out that iridium and the elements around it are rarer than you might expect. Right after iridium is platinum, which is very precious, and after that is gold, which is just slightly more common and just slightly less precious. But if you look at meteorites, you find that they're not lacking in iridium the way the earth is -- meteorites are loaded with the stuff. And they've got even more platinum. So it's easy to imagine that there are planets out there where there just so happened to be a lot of gold and platinum in the area of space where the planet was formed, and so they're considered common while something else -- zirconium, maybe -- is considered really valuable.\"\n\n\"I've heard of iridium before,\" Alley says. \"Isn't there a lot of it in the layer of the earth's crust that comes from right when all the dinosaurs died out? I remember reading something like that.\"\n\n> You talk to Alley\nPlease select one:\n\n(1) >TELL ALLEY ABOUT DINOSAUR EXTINCTION\n(2) >ALLEY, COME INSIDE\n\n> 1\n\"That's right,\" you say. \"That's usually counted as evidence that it was a meteorite impact that led to them all dying off -- not that the iridium killed them, but that iridium is a sign that there was a big meteorite around that time, and it's easy to see how a big impact could lead to massive die-offs. But that's also an important thing to keep in mind when you think about this stuff. One bit of pure gold is exactly the same as any other bit of pure gold -- the substance behaves the same way. So from one point of view, any particular piece of gold isn't valuable at all, since you can always get another. You can even replace your iridium. But Michael Crichton notwithstanding, you can't get back any of the dinosaurs.\n\n\"You're not made of a whole lot that's particularly exotic -- the only stuff heavier than iron, the only things you'd need a supernova for, are trace elements: a little iodine to keep the goiter away, that kind of thing. You're made mainly of the most common star stuff: carbon, oxygen, hydrogen. But you can't just trade yourself in for a sack of carbon and oxygen and hydrogen the way you can trade gold for gold. What makes you you is the way that star stuff is arranged, and that's totally unique. Which makes you more valuable than all the gold from all the stars in the sky.\"\n\n\"And what am I, chopped liver?\" Mary asks, emerging from the garage. \"'All the stars in the sky'? Really, Sam. When you start trying to wax poetic it's a pretty good sign that it's past your bedtime. Let alone Alley's. Time to come in, kids.\"\n\n\"Okay, mom,\" Alley says. She stands up and stretches. \"Night, Daddy.\"\n\n\"Good night, honey,\" you say. \"Sweet dreams.\"\n\nAs you follow her inside, you pause to take a quick look at the sky yourself. It's certainly pretty, but it's been a long time since you were as enraptured by it as Alley seems to be. You can't help but feel a little sad about that.\n[ -> ]\n[ -> ]\nAs you walk through the pass, you encounter first one shard of glass on the ground, then another. But it isn't until you crest the final hill that you see what you've discovered.\n\nYou are standing on a ridge above the entrance to a vast crystal labyrinth. You'd be tempted to call it a city, with its haphazard collection of iridescent towers and spires and arches -- \"iridescent\" means shimmering with rainbow colors -- but from what you can see from your vantage point, there is barely enough space between the crystal walls to permit one person to pass between them. The labyrinth is ringed by steep mountains, so going around it is impossible: your only choices are to enter it to the west, or to head back the way you came.\n\n> Go west\nYou step into the crystal labyrinth and immediately get lost.\n\nYou are in a dazzling crystal maze, with passages leading out to the north, south, and west.\n\n> Go north\nYou wander around the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the west, east, and south.\n\n> You go to the west\nYou wander through the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the north, south, and east. Two of the nearby walls intersect to form the base of an immense spire.\n\n> You examine the spire\nThough the crystal sparkles in every color, the dominant note seems to be a beautiful light blue, refracted from the sky above. (\"Refraction\" is what happens when light passes through a medium that bends it, like water or a prism.)\n\n> You go west\nYou wander through the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the north, south, and west. An enormous arch looms overhead.\n\n> Go west\nYou wander through the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the north, south, and west.\n\nWith an audible sputter, the cooling unit of your spacesuit finally gives out.\n\n> You take off the suit\nYou take off your spacesuit and drop it on the ground.\n\n> Go north\nYou wander around the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the north, south, and east.\n\n> You go west\nSolid crystal blocks your path.\n\n> Go east\nYou wander around the maze of glass until you find yourself at another intersection...\n\nYou are in a dazzling crystal maze, with passages leading out to the west, east, and south.\n\nThe cool breeze ruffles the feathers of your wings.\n\n> Go upwards\nYou stretch your wings and soar into the sky.\n\nYou are hovering above the crystal labyrinth; from this perspective, it looks like a mind-bogglingly complex mandala. (A \"mandala\" is a pattern that some people use in prayer.) There is no way your could have possibly navigated it on the ground -- in fact, it almost gives you a headache. Much more relaxing is the cloudless, sparkling blue sky all around you.\n\nA bird flies by, disappearing through the gap in the mountains to the west.\n\n> Go west\nYou fly through the pass, reveling in the rush of the wind against your white feathered wings.\n[ -> ]\nShe's an angel. She's an absolute angel.\n\nNo. No. Can't think like that. She's just a kid like any other kid. Completely approachable. Puts her pants on one leg at a time like anyone else.\n\nOops. Bad move. Should not have thought about her putting on pants.\n\nConcentrate. Concentrate. Focus power. Eye of the tiger. Wax on, wax off. Wait, that's not right. C'mon, don't overthink this. Just go in and ask her. \"Hey, Alley, what's up? Want to go to the dance with me?\" Easy as that. What's the worst that could happen?\n\nWell, you could wet your pants. Funny how it always comes back to pants.\n\nYou walk into the gym.\n\nUsually rather damp and dingy, the gym is currently festooned with colorful balloons and streamers in preparation for the big dance Friday night. The first ones went up at lunch, so when you went in for your fifth-period PE class, the coach looked around, shrieked, and declared that there was a change in plans and that the class would be playing soccer for the rest of the week.\n\nYou look around and there, far above your head, is Alley, glowing like a star -- or maybe that's just from standing in front of the spotlight rigged to the ceiling. She's balanced on a tall ladder, draping streamers from the rafters.\n\nHer colleagues on the Student Activities Committee, Joyce and Sherrill, are standing around a helium tank, filling balloons and letting them float up to the ceiling.\n\nAlley looks down at you as you come in. \"Hey, Jon,\" she says. \"Can you turn off that light for me? It's burning kind of hot.\" She points at the switch.\n\n> You turn off the light\n[Which do you mean, the spotlight or the light switch?]\n\n> Switch\n[What do you want to switch?]\n\n> You turn off the light switch\nYou turn the light off. \"Thanks,\" Alley says. \"That about does it for the streamers.\" She climbs back down the ladder, digs around in her backpack, and pulls out an orange. \"Want one?\" she asks.\n\n> Yes\n[To converse with someone, please use the TALK TO command.]\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY FOR AN ORANGE\n(2) >TELL ALLEY ABOUT OUR LACK OF ANIMOSITY\n(3) >ASK ALLEY ABOUT POSSIBLE PARAMOURS\n(4) >ASK ALLEY TO THE DANCE ON FRIDAY\n\n> 2\n\"So, uh, we get along okay, huh?\" you ask. \"Like, uh, remember in kindergarten when I traded you my juice box for your Pudding Snak? That was pretty cool, huh?\"\n\nJoyce and Sherrill snicker, but Alley seems not at all put off by the stupidity of what you've just said. \"Sure,\" she says.\n\n> 3\n\"So, um, are you, like, seeing anyone, or not, or...?\" Your voice dies away.\n\n\"Not so as you'd notice,\" Alley says cheerfully.\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY FOR AN ORANGE\n(2) >TELL ALLEY ABOUT OUR LACK OF ANIMOSITY\n(3) >ASK ALLEY TO THE DANCE ON FRIDAY\n\n> 1\nAlley digs around in her backpack. \"Oops, looks like that was the last one,\" she says. \"I've got an apple left, though.\" She tosses it to you.\n\n> You talk to Alley\nPlease select one:\n\n(1) >TELL ALLEY ABOUT OUR LACK OF ANIMOSITY\n(2) >ASK ALLEY TO THE DANCE ON FRIDAY\n\n> 2\nYou take a deep breath. It doesn't take, so you try it again. \"Well,\" you say. \"Um. So. I was just kind of wondering whether maybe if you weren't doing anything and weren't already going whether you might want to go to the dance with me if you want I mean it's no big deal or anything it's up to you I just thought you know why not.\" There, you think. That was pretty smooth.\n\nBut Alley shakes her head. \"Sorry,\" she says. \"I'm babysitting that evening.\"\n\nYour heart plummets into your stomach with what you're sure is an audible splash. You're trying to decide whether to throw yourself in front of the nearest bus or if you should just go home and slash your wrists when you realize Alley isn't finished talking.\n\n\"...so it'll have to be Saturday,\" she concludes.\n\n\"Satur-- wait, so that's a yes?\" you ask, gaping.\n\n\"Sure,\" she says. \"It won't be a dance, but I'm sure we can find something fun to do. Can you come by around seven?\"\n\nSaturday. Seven o'clock. Seventy-five hours, forty-three minutes, seventeen seconds from now. Suddenly, it seems like a lifetime.\n[ -> ]\n\n> You examine Alley\nAs you pass Alley's school, you can't help but notice that the message board outside says \"DANCE FRIDAY GYM 6-10 PM\". \"There was a dance tonight?\" you ask. \"You should have told us. We could've found another sitter.\"\n\n\"That's okay,\" Alley says drowsily. \"You and Ms. Mackaye asked before any boys did.\"\n\n\"Still,\" you say. \"Next time you just call us and give us the old heave-ho, okay? I'm sure there must be a legion of boys out there who cried themselves to sleep thanks to us.\"\n\nAlley smiles sleepily. \"You sound like my dad,\" she says.\n\n> About yourself\nYou are Jim Mackaye, an accounts manager at the First Queensport Bank, husband to a lovely ex-teller named Linda and father to a beautiful little girl named Wendy who is still much too young to be left home alone without a sitter. The sitter in question is Alison Dawson, currently sitting in the passenger seat.\n\nYou cruise through the Polk Boulevard intersection.\n\n> You look at Alley\nAlley and your daughter Wendy struck up a friendship a couple summers back, when the teacher of Wendy's swimming class brought in some of the kids from her youth league team to help out. Since then Alley's been your regular babysitter. She's bright, polite, doesn't charge very much, and Wendy likes her enough that her first question whenever you and Linda get home from an outing is when you'll be going out again.\n\n> Wait\nTime passes.\n\nYou go over the train tracks and through the O'Brien Boulevard intersection.\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY ABOUT HOW I SOUND LIKE HER DAD\n(2) >TELL ALLEY ABOUT WENDY'S UNDYING ADORATION\n(3) >ASK ALLEY IF SHE CAN BABYSIT ON THURSDAY\n\n> 1\n\"Hmm?\" Alley says. \"Oh, it's just that when you were talking about 'legions of boys crying themselves to sleep' it reminded me of how my dad's always telling me that 'you're at the age now where you're going to have to deal with droves of grubby little boys vying for your affections, and I just wanted to warn you that I'm bound to show an inordinate amount of glee with every heart you break. So go to it!'\" She smiles.\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY ABOUT INORDINATE GLEE\n(2) >TELL ALLEY ABOUT WENDY'S UNDYING ADORATION\n(3) >ASK ALLEY IF SHE CAN BABYSIT ON THURSDAY\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY ABOUT INORDINATE GLEE\n(2) >ASK ALLEY IF SHE CAN BABYSIT ON THURSDAY\n\n> 1\n\"Well,\" Alley says, \"when I asked him about that, he said, 'You see, it's just like Freud said: the parent of the powerless sex always longs to have a child of the powerful sex. And sure enough, after years of having to deal with being on the receiving end of possible rejection every time I was interested in someone, it's going to be a thrill to see my very own kid dishing it out. It's a clear-cut case of Venus envy.'\"\n\n> You talk to Alley\nPlease select one:\n\n(1) >ASK ALLEY IF SHE CAN BABYSIT ON THURSDAY\n\n> 1\n\"I hate to ask you to come over twice in less than a week,\" you say, \"but are you free to look after Wendy on Thursday? If not, please, just say the word and we can find someone else. I don't want to keep you from hanging out with kids your own age.\"\n\n\"Sure, no problem,\" Alley says. \"I don't mind, really. I like spending time with Wendy. Most of my friends are either significantly younger or significantly older than me anyhow.\"\n\nYou enter the Montgomery Boulevard intersection...\n\n...and are blindsided by a car screaming down the road with its lights off at a hundred kilometers an hour, maybe more. The impact caves in the passenger-side door and sends the car spinning wildly, the air thick with smoke and the acrid smell of burnt rubber, Alley's blood hot against your face, and as you black out, you catch a glimpse of the light, and it was green, it was green, it was green...\n[ -> ]\n[ -> ]\nOn the other side of the pass, you find yourself flying over a vast forest that stretches as far as you can see. The mere sight of it is enough to make your wings ache -- there's no way you can fly that far under your own power. Besides, the idea of strolling through a shady forest seems awfully appealing right about now. You touch down and wander through the woods.\n\nAfter a few minutes, you reach a small clearing, and pause to take a look around. Something is wrong. In fact, everything is just slightly off. The leaves of the trees don't sway enough in the breeze; the subtle sounds of the forest are conspicuously absent; everything smells sterile and dead. But you can't quite put your finger on why this is.\n\n> You examine wings\nYour wings are a little sore from having been bound up in your spacesuit for so long.\n\n> You check what you're carrying\nYou are carrying a coin, your seed pod and a treasure chest (which is closed)."
    },
    {
        "text": "[Themes: Slice of life, children, strong profanity, slice of life, wolf, unstable truth, beach, ocean, multiple protagonists, character based]\n\n> Look around\nYou're standing in a small clearing, trying to figure out what's wrong. It's something about the trees -- they just don't HUM the way that trees are supposed to.\n\n> You examine the trees\nAs you look more closely at the trees, you suddenly realize what's wrong with them: they're not alive. The trunks and branches of the trees are solid stone: petrified wood, the organic material replaced with silica from the groundwater over the course of millions of years. (\"Silica\" is silicon dioxide, which makes up sand, quartz, and all kinds of things.) But these are not mere stone pillars: they're still trees, complete with leaves made of malachite, a green marbled stone derived from copper and as arresting in its own way as emerald. (\"Arresting\" means it makes you stop and look.)\n\nYou don't have much time to ponder this mystery, however: suddenly you hear a growling in the distance, and turn to see a wolf charging right at you!\n\n> You fight the wolf\nNot only are you a top-notch astronaut, you're a master of the martial arts. So the wolf is taken by surprise when, before it can jump at you, you jump at it and pummel it with a lightning-quick series of kicks and punches. Soon it is whimpering and lying wounded on the ground, while you bask in your triumph.\n\nAs you gather up your possessions, though, you can't help but wonder -- you don't KNOW that the wolf had any hostile intentions. Even if it did, even if this was a matter of being better off safe than sorry, hurting any living thing is never something to feel proud of. The wolf is certainly no threat now. Maybe you can get it back on its feet again.\n\n> Pet wolf\nYou run your fingers through the wolf's fur. If only wolves could purr.\n\n> You look at wolf\nThe wolf looks rather emaciated. (\"Emaciated\" means scrawny from lack of food.) It's also wounded, thanks to your unfortunate violent streak. Someone needs to feed it and heal it, and it looks like you're elected.\n\n> You take the wolf\nThe wolf is too heavy for you to carry.\n\n> You feed the wolf\nWhom do you want to feed the wolf to?\n\n> Yourself\n(first taking the wolf)\nThe wolf is too heavy for you to carry."
    },
    {
        "text": "[Themes: Slice of life, female, strong profanity, female protagonist, children]\n\n> Look around\nYou're standing in a small clearing, surrounded by trees of petrified wood and malachite.\n\nThe wolf you injured is lying on the ground, whimpering softly.\n\n> You take all\n(the wolf)\nThe wolf is too heavy for you to carry.\n\n> Empty chest\nThe treasure chest is closed.\n\n> Open chest\nYou open the treasure chest, revealing some dirt.\n\n> Empty chest\ndirt: Dropped.\n\n> Plant seed\nYou plant the seed pod, step back, and wait for it to grow.\n\nNothing happens.\n\nYou hear a soft chuckling behind you. \"Well, well,\" says a voice. \"If it ain't pirate-turned-astronaut Wendy Mackaye. What're YOU doing in the Queen's realms?\"\n\nYou turn around to find a diminutive man with a bushy white beard, pushing along a white cart almost as big as he is. (\"Diminutive\" is another word for \"small\".) \"Who are you?\" you ask.\n\n\"I'm the local weather salesman,\" he says. \"And I'd say that you're not going to have much success growing things without some rain handy.\" He rummages through his cart. \"You're in luck,\" he says. \"I just happen t'have some in stock.\"\n\n> You buy rain\n\"That'll be one gold piece,\" the salesman says. \"The one you're carrying will do nicely.\"\n\n> Inventory\nYou are carrying a coin and a treasure chest (which is open but empty).\n\n> You give the coin to the man\nThe weather salesman pockets the gold piece and snaps his fingers; a moment later, a tiny cloud appears at knee level, raining a trickle of water onto the planted pod. You start to complain, but suddenly there's no one to complain to -- the salesman is gone without a trace.\n\nAnd in the end, it doesn't matter: even this tiny rainstorm does its job. Shortly after the cloud dissipates, the pod shudders, and a full-grown shrubbery erupts from inside, loaded with deep red berries and bright green leaves. The wolf starts nibbling at the berries, first tentatively, then with relish.\n\nNow all that remains is to heal its wounds. The leaves on the shrub look promising.\n\n> You check what you're carrying\nYou are carrying a treasure chest (which is open but empty).\n\n> You take leaf\nYou pick some of the leaves.\n\n> You look at the wolf\nThe wolf looks rather emaciated. Eating the berries should take care of that; now all you have to do is heal its wounds. Maybe those leaves will do the trick.\n\n> You examine the leaf\nThey're an almost unnatural shade of green.\n\n> You give leaves to the wolf\nThe wolf nibbles at the leaves, but then draws back and whimpers. Maybe if you were to rub them on its wounds it might be more effective.\n\n> Rub leaves on wound\nYou rub the leaves on the wolf's wounds, and it immediately starts to look more sprightly and alert. (\"Sprightly\" means energetic and spirited.) So while it looks as though you won't have anything from the red planet to hand over to headquarters once you get home, you have saved a life.\n[ -> ]\n\"And that's the end of our story for tonight,\" Alley says.\n\nWhat? But that can't be the END -- there's still so much you don't know! Like, how do you get home? Are you even on the right planet? Do you get in trouble for not having the pod anymore? Who's this queen the weather salesman talked about? \"But wait,\" you begin, \"what about--\"\n\n\"Come on, Wendy,\" Alley says. \"You know the rules. It's way past your bedtime. Your parents'll be home soon and if you're still up it won't look too good for either of us. I'll be right here if you need anything.\" She pulls a book out of her backpack and starts in on her homework.\n\n> About you\nYou are Wendy Mackaye. By day, you are a student at Queensport Elementary School; by night, or at least on those nights that Alley comes over to babysit, you are a pirate, or an astronaut, or the democratically elected leader of the planet, or whatever it is that the two of you make up. (Though, you have to admit, even though she SAYS you're making up the stories together, Alley does most of the work.)\n\n> You examine Alley\nAlley is your regular babysitter, but she doesn't just throw a TV dinner at you and make you go to bed at six: she tells you stories, and helps you with your homework, and lets you help cook, and tells you which boys she likes, and all in all acts like a friend: a friend who's older and smarter and more beautiful than you could ever be, but still, a friend.\n\n> You talk to ALLEY\nPlease select one:\n\n(1) >ASK ALLEY ABOUT HER HOMEWORK\n(2) >ASK ALLEY FOR A GLASS OF WATER\n(3) >ASK ALLEY WHERE SHE GETS HER IDEAS\n(4) >ASK ALLEY ABOUT HOW I GET HOME\n(5) >ASK ALLEY ABOUT THE QUEEN\n\n> About you\nYou are Linda Mackaye, freshly returned from the most excruciatingly boring party you've ever attended. The slides were out of focus, the small talk necessitated the use of a magnifying glass, and if you had to hear your hosts share another tidbit of conversational Japanese, you were ready to disembowel yourself with your shrimp fork.\n\nAlley finishes stuffing her books in her backpack and puts it on. \"Okay, see you soon,\" she says. You follow her out to the garage door; Jim's car is waiting in the driveway, and as she walks toward it, she is swallowed up in the glare of the headlights.\n[ -> ]\nPure white light blazes down on Alley's crib as Sam plugs in the huge screen he ordered through the mail and mounted on the ceiling. Alley rubs her eyes.\n\n\"What is that thing, anyway?\" you ask. \"Just a fluorescent light?\"\n\n\"Not at all,\" Sam says. \"The Photopia is a low-energy, high-intensity LCD screen with a bunch of different settings.\" He tosses you the remote. \"Just push the white button to cycle through them.\"\n\n> You examine Alley\nAlley is your daughter -- still just a baby, really, though luckily she's well out of the reptilian newborn stage and instead looks like a perfectly adorable little girl.\n\n> About yourself\nYou are Mary Dawson, mother of a beautiful baby girl named Alison who you're sure is going to have the world at her feet when she grows up. \"C'mon, hon, we've had our fun,\" Sam says. \"Time to turn off the lights.\"\n\n> Examine sam\nSam is your husband, who has lately taken to ordering all kinds of strange things through the mail: today it was the Photopia; the day before that it was some kind of \"baby-safe\" blender; tomorrow it'll be a bag of llama feed or something.\n\n> You turn off the light\nYou glance into the crib as you reach the light switch. \"Good night, Alley,\" you say. \"Sleep well.\"\n\nYou turn out the light.\n[ -> ]\n[ -> ]\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Steampunk, amnesia, Victorian, research, murder, horror, mysticism, Lovecraftian, violence, disturbing themes, science fiction, kaballah, London, sidekick NPC, asylum, steampunk, moral choice, glitch, transformation, suicide]\n\n*clunk*\n\nThe rotating tin cylinder within the phonograph vibrates slightly as a brass needle scrapes against it. The sound of a throat being cleared emerges from the machine's hornshell speaker, followed by a thin, haunting voice.\n\n\"March the 16th.\"\n\nA deep, shaky breath.\n\n\"I dread to say it, but I believe I am going mad. The -- *moments* -- come more frequently now. I fear that I have found what I have sought, and I shall now pay the price for it.\"\n\nThe scrape of a chair across flagstone. A sigh.\n\n\"Chaos treads the halls of Bedlam; her work is evident everywhere...\n\nA massive cedar desk, well-polished and worn, looks elegantly out-of-place among the chaos. Papers, files, and books cover nearly every flat surface in the room.\n\nThere is a phonograph on the table near the window.\n\nA black cube on wheels sits near the door to the south.\n\n[Author's Note: In the beginning was the Word, and it was hungry. Enter a steampunk adventure set in a London that might have been. The year is 1885. Bedlam Hospital still stands in Moorsfield, a decaying shell used to house the poor and the hopeless. Steam-driven mechanical wonders roam the streets. Gear-wheeled analytical engines spin out reams of thought onto punched paper tapes. And in the darkness - in the alleys and the side shops - hide secrets.]\n\n> You turn on the emerald\nFrom within the device comes a sharp clunk, followed by a gentle humming. The emerald blinks slowly -- once, twice -- then glows steadily. The grid of squares which makes up the thing's screen pivot back and forth, seemingly at random, causing ripples of motion across its surface.\n\nWith a sudden purpose, they begin to flip, revealing hundreds of tiny symbols engraved on their surfaces. The squares continue for a moment, then begin to settle line by line like a fall of rain into a\npattern...\n\nINIT.CYCLE.COMP.\nMILL.UNIT.ONLINE\nSTORE.DECRYPT/CO\nMPRESS.BOOT.STAC\nK.COMP.OP.SYSTEM\nUNIT.VER.3.REG:.\nDR..SIMON..BRAND\nSET MODE:ANALYZE\n\n\"It may be that I have simply not found that by which this growing mystery may be unlocked. Perhaps by subjecting the Triage to further experiential data, it may find something that I have missed. But I\nhave little faith left at this point.\"\n\n> Yes\nThat was a rhetorical question.\n\nThe sound of a chair creaking.\n\n\"I have found a blessing in James. He has been nothing but kind and helpful in my short time here. I find myself wondering if, perhaps, he can be trusted enough to... but how can I punish him with this knowledge?\"\n\nA sigh.\n\n\"But how can I bear it alone?\"\n\n> You examine the window\nThe open window looks down upon the courtyard and adjoining buildings far below.\n\nA sudden noise, as of something wooden being struck, comes through the phonograph.\n\n\"No. I can trust no one, in the end. Not even James. Perhaps\nsoon...not even myself.\"\n\n> You look at the desk\nA deep green blotter, dotted with black ink stains, sits in the center of the desk, mostly covered by files and papers. One side of the blotter seems slightly higher than the other.\n\nThe corner of a sandalwood box is visible beneath a stack of thick folders.\n\nThe desk contains a large central drawer, which is currently closed.\n\n\"I must stop here, I feel the faintness coming once again.\"\n\nA scraping noise, a click.\n\n\"May God have mercy 'pon my soul.\"\n\n> You examine the blotter\nA standard office blotter, its surface well used and covered with stains. One side of the blotter seems slightly higher than the other.\n\nHaving reached the end of the cylinder, the phonograph shuts itself\noff with a tiny \"click\".\n\n> You take the blotter\nThat's hardly portable.\n\n> You look under the blotter\nBeneath the blotter is a small key, easily taken. It carries a small tag labeled \"2D\".\n\n> You take the key\nYou already have that.\n\n> You check what you're carrying\nCarried:\na small key labled 2D\n\n> You look at the sandalwood\nIt is unexceptional, perhaps one handbreadth wide by three long. On\nits lid is a white paper label. Written upon it in a fine copperplate are the words \"JOURNAL V. 4 - JANUARY THROUGH APRIL 1855.\"\n\n> You open the box\nThe sandalwood box opens, revealing a tin cylinder labeled January eighth, a tin cylinder labeled January twenty-second and a tin\ncylinder labeled March second.\n\n> You take the cylinders\ntin cylinder labeled March sixteenth: The ivory arms slide easily\napart and the cylinder leaves the phonograph with a slight \"click\".\ntin cylinder labeled January eighth: Taken.\ntin cylinder labeled January twenty-second: Taken.\ntin cylinder labeled March second: Taken.\n\n> You examine the phonograph\nA delicate device, its base is carved from oaken heartwood, bearing a small black plaque which reads \"Columbia Phonograph Co., Ltd. of London\".\n\nTwo ivory arms emerging from the base lean inward, firmly grasping a tin cylinder labeled January eighth. A brass needle hovers above the cylinder's surface.\n\nFrom the base's back emerges a small, black hornshell speaker, its surface delicately curved. The phonograph is currently switched off.\n\n> You turn on the phonograph\nThe phonograph switches on.\n\n\"January the 8th.\"\n\n\"I am uncertain if this entry is made in joy or sorrow. I have just received word from Dr. Yeates that I am to be...promoted. I am uncertain if that term is the correct one. In any case, it seems that there has been an... incident with Bethlehem's current superintendent, and a replacement is required. I have been chosen for the position, at least in the short term.\"\n\n> About yourself\nThat's rather difficult without a mirror.\n\n\"It is fairly obviously what has prompted this move. I have moved too far, too fast and in doing so have displeased the powers that be.\nWhile Yeates has supported my ... unorthodox theories well enough, he has warned me often that he cannot shield me from *all* of the\nbacklash that may occur. I do not believe that his using this as a segue way to telling me of my transfer was entirely unconnected...\"\n\n> You open the drawer\nThe large central drawer opens, revealing a manual and a flanged brass rod.\n\n\"Bedlam seems both purgatory and paradise at this moment. I remember the history of the place well enough -- of the Governors' decision to renovate the site in '15 and the slow implementation of Urquhart and Bentham's now infamous Panopticon Plan. In the end it was nothing more than a final stab at respectability for the site, which has now languished as a home for the hopeless, the poor, and the criminally insane for almost twenty years.\"\n\n> You look at the manual\nThe manual has several headings:\n\n> Cover\nThe FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\nEmblazoned on the front is a charcoal drawing of a black box on\nwheels, beneath which is written the words:\n\nTRIAGE PERSONAL ANALYTICAL ENGINE\nPROFESSIONAL|INDUSTRIAL\nMK. III.\n\nThe manual has several headings:\n\n> Cover\nThe FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\n\n> You go north\nThe manual has several headings:\n\n> The FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\nThe FUTURE is NOW...\n\nOne glance at the TRIAGE line of PERSONAL ANALYTICAL ENGINES will show them to be the finest now available. Each one is made of the materials of superlative quality, its thousands of interlocking parts are HAND MADE and HAND ASSEMBLED.\n\nFrom its alphanumeric kinograph display to its specially designed internal power and propulsion systems, the TRIAGE is simply the most advanced technology made available to professionals for the portable storage and analysis of complex information.\n\nIn fact, the TRIAGE is so incomparably the best machine made that all we ask an intending purchaser is to compare it with any other before buying.\n\nFor sale by all first-class mechanist's shops.\n\nThe manual has several headings:\n\n> The FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\n\n> Go north\nThe manual has several headings:\n\nThe FUTURE is NOW...\n> A brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\nA brief catalogue of the TRIAGE, both within and without...\n\n- PANOPTICAL SCANNER: set within an attractive faux-emerald, TRIAGE's latest version has updated both its scanning technology and methods such that it can visually analyze a given subject and begin processing within seconds.\n\n- INCREASED CAPACITY OF BOTH MILL AND STORE: The TRIAGE line is now capable of analyzing, compiling and storing literally thousands of pieces of information simultaneously.\n\n- LATEST CORE ENGINE WITH FOUR-FOLD INCREASE IN EFFICIENCY: TRIAGE has always been famous for its relational algorithms and its capability in connecting seemingly disparate data into a coherent whole. Our latest edition strives ever closer to perfection, improving the system's already impressive functionality.\n\n- SMOOTH-OPERATING FULLY ALPHANUMERIC KINOGRAPH DISPLAY: With its compact yet expansive 16x8 symbol display (each one capable of displaying any one of 36 characters), the TRIAGE speaks as well as it listens.\n\nThe manual has several headings:\n\nThe FUTURE is NOW...\n> A brief catalogue...\nAnalysis Mode\nOptional Expanded Input Mode\n\n> Go north\nThe manual has several headings:\n\nThe FUTURE is NOW...\nA brief catalogue...\n> Analysis Mode\nOptional Expanded Input Mode\nANALYSIS MODE\n\n...is the TRIAGE'S default and most important mode of operation. Once activated by simply pressing its beautiful faux-emerald scanner, the system will run through its initializing phase and then notify the\nuser that it is ready to begin.\n\nThe TRIAGE will then follow its identified operator of its own accord, utilizing path-finding and obstacle-avoidance algorithms of the latest design. The system is constantly aware of both its personal\nenvironment and the actions of its operator.\n\nOnce TRIAGE has locked on to its user, operation is simply a matter of making the system aware of particular subjects in the environment for analysis and storage. This can be accomplished by simply POINTING or GESTURING to the object in question.\n\nNothing more is necessary. The system will reply (via its kinograph display) of any pertinent data the operator might find of use.\n\nTriage store data is organized as follows:\n\n- CAT [category]: Triage maintains a strict hierarchy within which all subjects are stored - is the object in question alive? Is it a tool?\nIs it not yet recognized?\n\n- UTIL [utility]: Of what immediate use is the object in question?\nHow may it be interacted with?\n\n- PART [particulars]: Specific information on the object - completed analysis data is often stored here.\n\nThe manual has several headings:\n\nThe FUTURE is NOW...\nA brief catalogue...\n> Analysis Mode\nOptional Expanded Input Mode\n\n> You go to the north\nThe manual has several headings:\n\nThe FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\n> Optional Expanded Input Mode\nOPTIONAL EXPANDED INPUT MODE\n\n...can be utilized to directly enter information into the TRIAGE'S database store. Such data manipulation is not to be taken lightly, as all TRIAGE data must be kept as consistent as possible to prevent internal errors. However, advanced users may find it convenient to input information into the system immediately rather than allowing the system to accrue it via examination and analysis.\n\nExpanded input mode requires the optional data input system, which is not sold with the basic TRIAGE. Contact your local mechanists\" to special-order yours today.\n\nThe manual has several headings:\n\nThe FUTURE is NOW...\nA brief catalogue...\nAnalysis Mode\n> Optional Expanded Input Mode\n\n> You take rod\nTaken.\n\n\"Perhaps this will not be so bad. In the public eye, I shall play\ntheir game and meanwhile, I shall continue my own research, utilizing whatever materials Bedlam has to offer...\"\n\n> You point at yourself\nThe emerald flickers from head to toe before returning:\n\nCAT:LIVING......\n*CATASTROPHIC.ER\nRROR.A042.CATEGO\nRY.INDEX.OUT.OF.\nRANGE.STACK.OVER\nFLOW*PART:ID=DR.\nTHOMAS.XAVIER=CU\nRRENT.OPERATOR..\n\nHaving reached the end of the cylinder, the phonograph shuts itself\noff with a tiny \"click\".\n\n> Inventory\nCarried:\na tin cylinder labeled January eighth\na flanged brass rod\na tin cylinder labeled March second\na tin cylinder labeled January twenty-second\na tin cylinder labeled March sixteenth\na small key labled 2D\n\n> You point at the small key\nTriage's emerald searches the small key labled 2D, then...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You turn on the phonograph\nThe phonograph switches on.\n\n\"January the 22nd.\"\n\n\"Arrived in London today in preparation for taking over my duties. The cab driver took what seemed a scenic route through Smithfield, then generally southward towards Newgate. I covered my nose as best I could as we passed the slaughterhouse that was the Market, though I noted a Mechanist's shop -- Du Mondes' -- on Fleet, which I will try to visit at my earliest convenience, as my worst fears regarding the wireless have been confirmed.\""
    },
    {
        "text": "[Themes: Steampunk, murder, kaballah, London, science fiction, suicide, violence, Victorian]\n\n> Look around\nA massive cedar desk, well-polished and worn, looks elegantly out-of-place among the chaos. Papers, files, and books cover nearly every flat surface in the room.\n\nThere is a phonograph on the table near the window.\n\nTriage sits near the door to the south.\n\n\"It probably says something profound about me that I set up the magnetophone first, while everything else remains boxed or is still on its way from Bedfordshire. As I feared, I found no signal whatsoever.\nA simple message of 'Calling CQ' went completely unanswered, which is unheard of, as there is *always* someone listening, particularly in such a city as London. I fear the buildings are blocking the signal, and I'll require a booster of some sort.\"\n\n> You look at the desk\nA deep green blotter, dotted with black ink stains, sits in the center of the desk, mostly covered by files and papers. One side of the blotter seems slightly higher than the other.\n\nThe corner of a sandalwood box is visible beneath a stack of thick folders.\n\nThe desk contains a large central drawer, currently opened.\n\n\"I understood the driver's choice of route when we approached the prison from the north. A huge crowd was gathered for the public executions. I asked him about the particular individual sentenced to the gallows as we passed and he proceeded to tell me - at great length and with much relish - of the trial of one Mr. Emanuel Barthelemy. I wondered if today was something special, or if the spectacle of death always attracts such crowds.\"\n\n> Point at TRIAGE\nThe machine analyzes Triage before replying...\n\nCAT:TRIAGE.ANALY\nTICAL.ENGINE.UTI\nL:EXAMINATION.AN\nD.ANALYSIS.OF.OB\nJECTS.AND.DATA.P\nART:TRIAGE.MK.II\nI.UNIT.CURRENT.O\nPERATOR=T.XAVIER\n\n\"I heard a cheer go up from the top of the hill as we pulled to a stop in front of the flat. I shall not take this as an omen of any sort.\"\n\n> You point at the window\nTriage's emerald searches the window, then...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n\"What I've seen of the place is modest, but I am not at all surprised considering what I am paying for it. I intend to spend as little time here as possible, after all. Bedlam awaits me in the morning.\"\n\n> Point at desk\nThe emerald eye examines the desk returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n\"A final note. It seems I left the majority of my unused cylinders at Bedfordshire. I shall have to write Yeates and ask that he send them down, or perhaps seek out where I may purchase them locally. In the meantime, I shall refrain from making a phonograph-entry until something truly momentous happens.\"\n\n> Wait\nTime passes.\n\nHaving reached the end of the cylinder, the phonograph shuts itself\noff with a tiny \"click\".\n\n> You check your inventory\nCarried:\na tin cylinder labeled January twenty-second\na tin cylinder labeled January eighth\na flanged brass rod\na tin cylinder labeled March second\na tin cylinder labeled March sixteenth\na small key labled 2D\n\n> You turn on the phonograph\nThe phonograph switches on.\n\n\"March the 2nd.\"\n\n\"It seems the Fates have listened closely and decided to give me a momentous occasion as quickly as possible. I am beside myself. Bedlam seems nothing more than a pit in which Her Majesty may place those she wishes to forget about. Such corruption dwarfs the imagination.\"\n\n> You wait for a while\nTime passes.\n\n\"Perhaps I overstate the case, but it was the simple ease with which the constable approached me that most horrified me. If such things as this happen as a matter of course, then the place has truly been in\nthe hands of the mad for some time.\"\n\n> You wait for a while\nTime passes.\n\n\"I suppose I should have seen such things coming. The Insane\nPrisoners' Act passed in '40 was vague enough that it could be used as a political tool, and McNaughton's trial made it clear that the courts would do so when forced, but at least such things happened in the public eye.\"\n\n> You wait\nTime passes.\n\n\"My predecessor clearly had some arrangement with the Bobbies\nregarding cases such as these. James told me that he met often with\nthe constable, though he was not privy as to the content of these meetings.\"\n\n> You wait\nTime passes.\n\n\"Simply put, I was asked to make the prisoner in their charge 'disappear' and told that I would be 'well compensated' for keeping things quiet. Part of me wishes I had put up more of a fight...had\nmade an issue, or...\"\n\n> Wait\nTime passes.\n\n\"But what choice have I? It has been made clear to me that keeping things quiet is precisely what is expected of me in my time in\nBedlam.\"\n\n> Wait\nTime passes.\n\n\"I have placed Cleve -- whose preternatural silence even as he struggled in his bonds gave the entire proceedings a sheen of\nunreality -- in the abandoned upper level of the northern wing,\nkeeping the key separate from the rest. James showed it to me on my arrival and stated that while it still remained secure, only a few of the rooms were to be considered 'usable'.\"\n\n> Wait\nTime passes.\n\n\"Still, perhaps this is a blessing in disguise. I have complete singular access to an interesting patient. Perhaps this is the opportunity my studies have been waiting for...\"\n\n> Wait\nTime passes.\n\nHaving reached the end of the cylinder, the phonograph shuts itself\noff with a tiny \"click\".\n\n> You put the cylinders in the box\ntin cylinder labeled January twenty-second: Done.\ntin cylinder labeled January eighth: Done.\ntin cylinder labeled March sixteenth: Done."
    },
    {
        "text": "> Describe the surroundings\nA massive cedar desk, well-polished and worn, looks elegantly out-of-place among the chaos. Papers, files, and books cover nearly every flat surface in the room.\n\nThere is a phonograph on the table near the window.\n\nTriage sits near the door to the south.\n\n> Go south\nThe walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.\n\nA set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors.\n\nBehind the most prominent desk sits a nervous young man.\n\nTriage obediently appears.\n\nThe young man looks up and the corners of his mouth lift into a smile that is not quite strong enough to reach his eyes.\n\n\"Doctor? Are you...\"\n\nCold. Yes, the cold is familiar.\n\npossibility|probability)\\\n\nThe echo of an echo, the reflection of words from here to the far wall of reality and back.\n\n\"...alright? You had us all...\"\n\n## /(actionpositiveaffirmative|destroyingfrictionbreakinggrowth|positiveye s)\\\n\n\"...do you mean...?\"\n\nAssistant -\n\n## /(livinggrowthfrictionfurtherspreadingoutwardstretchingyestouchingyes)\\\n\n\"All right then, sir.\"\n\nAnd then he is nodding and returning to his seat, somehow both more\nand less nervous.\n\n/(yesdoneyes)\\\n\n> You examine James\nHe's easily no more then twenty, with an unruly mop of black hair that continually gets in his eyes. The badge, set high near his collar, reads \"James Houlihan - Assistant - Bethlehem Hospital.\"\n\nJames stares out into space for a long moment.\n\n> You point at James\nTriage's emerald searches James, then...\n\nCAT:LIVING.HUMAN\nMALE.UTIL:COMMUN\nICATION.POSSIBLE\nBY.SPEECH.OR.WRI\nTTEN.WORD.PART:I\nD=JAMES.HOULIHAN\nPOSITION.ASSISTA\nNT.AT.BETHLEHEM.\n\nJames shudders suddenly, then looks at you sheepishly.\n\n> You ask James about the key\n\"That's rather outside my bailiwick, sir.\"\n\n> You examine desk\nWhich do you mean, the lobby desks or James' desk?\n\n> You examine the lobby desks\nWorn and dusty with disuse, a fleet of abandoned desks slowly sinks into decay. James\" desk, on its dais, is a tiny island of order.\n\n> You examinethe james' desk\nIt is covered in neat stacks of forms that James moves in unfathomable patterns: stamping some, filing others, and occasionally dropping one to the floor.\n\nJames stares out into space for a long moment.\n\n> You ask James about yourself\n\"Well, it's certainly been a pleasure working with you, sir.\"\n\n> You ask James about James\n\"Why, I'm James, sir. Your assistant. Perhaps you had better sit down. I don't think you've quite recovered.\"\n\n> You ask James about the cold\n\"I don't feel as though I'm qualified to answer that question, sir.\"\n\nJames shudders suddenly, then looks at you sheepishly.\n\n> You ask James about TRIAGE\n\"It was a favored tool of Dr. Brand. He would lock himself in his office and enter data into it for hours.\"\n\nJames stares out into space for a long moment.\n\n> You ask James about Brand\n\"He ... he took his own life. I fear the pressures of this place had gotten the better of him. He spent every waking moment here, on his patients, this place. We must be vigilant sir. So easy to get lost here.\"\n\nJames stands and stretches his legs for a moment before resuming his seat.\n\n> You ask James about the patients\n\"That's rather outside my bailiwick, sir.\"\n\nJames bites his lower lip as he stamps out a set of forms.\n\n> You ask James about bethlehem\n\"It's seen better days, certainly, sir -- but I must say that I was certainly proud when I was offered this position.\"\n\n> You ask James about Yeates\n\"I'm afraid I can't help you there.\"\n\nJames carefully fills out a set of forms, then files them.\n\n> You ask James about rod\n\"That's rather outside my bailiwick, sir.\"\n\nJames taps his fingers nervously.\n\n> You ask James about the panopticon\n\"Is it acting up again, sir? I'm sorry. We haven't been keeping up regular maintenance, what with the budget constraints.\"\n\nJames sighs.\n\n> You ask James about Cleve\n\"Already in the grave, I believe sir. I know nothing else about him, I've not looked at any of his files, per your instructions.\"\n\nJames shudders suddenly, then looks at you sheepishly.\n\n> You ask James about the cleve's file\n\"That's rather outside my bailiwick, sir.\"\n\n> You ask James about the file\n\"I don't feel as though I'm qualified to answer that question, sir.\"\n\nJames carefully fills out a set of forms, then files them.\n\n> Go east\nThis room is mostly empty space. The farthest wall is lined with gleaming, brass pull-file drawers and seems to go on infinitely in every direction. The entrance to the west opens onto a solid, dusty platform, which allows visitors to stand suspended above the unseen floor.\n\nAt the end of the platform lies a pedestal topped with a small, inverted onyx pyramid.\n\nTriage trundles patiently along beside.\n\n> You examine the platform\nThe platform is surrounded on three sides by a low metal railing, the better to prevent an unfortunate drop into the vacuum below.\nFootprints mark and remark the dust, forming a trail from the lobby to the pedestal and back.\n\n> You look at the pedestal\nIt is shaped like a pulpit. On its flat surface is small panel containing a dial and small glass display and delicately balanced at its top is an inverted black pyramid.\n\n> You point at the pedestal\nA small beam of green light lashes out over the pedestal as Triage's screen lights up:\n\nCAT:NONLIVING.TO\n\nOL.UTIL:ARCHIVE.\n\nINTERFACE.PART:F\n\nILE.NUMBER.INPUT\n\nVIA.DIAL.OUTPUT.\n\nVIA.PAPERTAPE.DI\n\nSPLAY.PYRAMID=RE\n\nTRIVAL.UNIT.....\n\n> You examine the dial\nThe dial seems capable of being set to any number between 1 and 9 as well as the letters A through F. It currently rests at 1.\n\n> You look at the display\nA small sheet of glass, beneath which runs a paper tape which disappears into the bowels of the mechanism. The glass is cut in such\na way as to magnify the tape beneath it.\n\nThe tape is currently imprinted with:\n\"...RETRIEVAL COMPLETE...\"\n\n> You look at the pyramid\nMatte black and smooth, it is securely anchored to the pedestal at its inverted apex.\n\n> You turn the dial to 2\nAs the dial is set, the pedestal begins to hum and the sound of\nturning gears can be heard. The tape beneath the panel's glass display suddenly advances from right to left, erasing the display. Then, with\na *clunk* it advances one further step ... revealing '2' imprinted on its surface.\n\n> You turn dial to d.\nThe tape advances a step further. It now reads '2D'.\n\n> You turn the dial to 1\nThe tape advances a step further. It now reads '2D1'.\n\n> You turn dial to the a.\nThe tape advances a step further. It now reads '2D1A'.\n\n> You turn the dial to the f.\nThe tape advances a step further. It now reads '2D1AF'.\n\n> You turn the dial to 8\nThe tape spins forward, blanking the display. Then...\n\n\"SEARCHING...\"\n\nAnother advance. Then...\n\n\"FILE 2D1AF8 NOT FOUND...\"\n\nThe tape advances. It now reads \"...RETRIEVAL FAILED...\"\n\n> Go west\nThe walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.\n\nA set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors.\n\nJames sits behind his desk, nervously working.\n\nTriage silently rolls to a stop.\n\nJames stands and stretches his legs for a moment before resuming his seat.\n\n> Go west\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the east and the narrow tower to the west. Far below, an intricate set of sub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage obediently appears.\n\n> Go west\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the east.\n\nTriage silently rolls to a stop.\n\n> You look at the console\nIt is complex, divided into several discrete sections. Set on a panel is a diagram - a blueprint. A small slot for the dispensing of paper tape lies beside it. Set above the diagram is a prism-viewer complete with two handles. A set of brass listening-tubes terminate on either side of the viewer.\n\n> You look at the diagram\nIntricate in its detail, it depicts a series of twenty-four corridors set about a circular room like the spokes of a wheel. Each corridor opens onto six rooms, three on each side, with one exception: a hall\nat 3 o'clock instead connects to a building labeled \"Administration.\"\n\nAt the center of the circular room is a keyhole. Beside it is a two-headed arrow, pointing up and down.\n\nBeneath the blueprint is a series of buttons: six labeled A through F and one with an inverted triangle from which six small lines emerge. None of the buttons is currently depressed.\n\n> You examine the circles\nThe walls and floor are pale, white and seamless except for the engraved circles. There are six of them - set at various distances\nfrom the central console.\n\n> You look in the viewer\ncheapglulxe quit with exit status: 1\n\n> You take the rod\nTaken.\n\n\"It may be that I have simply not found that by which this growing mystery may be unlocked. Perhaps by subjecting the Triage to further experiential data, it may find something that I have missed. But I\nhave little faith left at this point.\"\n\n> You go west\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the east and the narrow tower to the west. Far below, an intricate set of sub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage silently rolls to a stop.\n\n> You go west\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the east.\n\nTriage obediently appears.\n\n> You look at the console\nIt is complex, divided into several discrete sections. Set on a panel is a diagram - a blueprint. A small slot for the dispensing of paper tape lies beside it. Set above the diagram is a prism-viewer complete with two handles. A set of brass listening-tubes terminate on either side of the viewer.\n\n> You look at the prism\ncheapglulxe quit with exit status: 1\n\n> You open box\nThe sandalwood box opens, revealing a tin cylinder labeled January eighth, a tin cylinder labeled January twenty-second and a tin\ncylinder labeled March second.\n\nThe sound of a chair creaking.\n\n\"I have found a blessing in James. He has been nothing but kind and helpful in my short time here. I find myself wondering if, perhaps, he can be trusted enough to... but how can I punish him with this knowledge?\"\n\nA sigh.\n\n\"But how can I bear it alone?\"\n\n> You go south\nThe walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.\n\nA set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors.\n\nBehind the most prominent desk sits a nervous young man.\n\nTriage obediently appears.\n\nThe young man looks up and the corners of his mouth lift into a smile that is not quite strong enough to reach his eyes.\n\n\"Doctor? Are you...\"\n\nCold. Yes, the cold is familiar.\n\npossibility|probability)\\\n\nThe echo of an echo, the reflection of words from here to the far wall of reality and back.\n\n\"...alright? You had us all...\"\n\n## /(actionpositiveaffirmative|destroyingfrictionbreakinggrowth|positiveye s)\\\n\n\"...do you mean...?\"\n\nAssistant -\n\n## /(livinggrowthfrictionfurtherspreadingoutwardstretchingyestouchingyes)\\\n\n\"All right then, sir.\"\n\nAnd then he is nodding and returning to his seat, somehow both more\nand less nervous.\n\n/(yesdoneyes)\\\n\nJames stands and stretches his legs for a moment before resuming his seat.\n\n> Go west\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the east and the narrow tower to the west. Far below, an intricate set of sub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage obediently appears.\n\n> You put the rod in the keyhole\nThe brass rod slip easily into the keyhole. Then, of its own accord,\nit begins to turn - first clockwise, then counter-clockwise.\n\nThe floor rumbles for a moment. There is an odd sense of movement.\n\nThe light beneath the Administration and its connecting corridor goes out.\n\nA corridor at twelve o'clock lights up as the key stops moving, as\ndoes its north-east room. The button labeled \"A\" clicks down and\nbegins to glow.\n\nThe room seems to have subtly cha...\n\n/(pain)\\\n\nA cacophony fills the room - a hideous screeching echo.\n\n/(chaosrandomhurt)\\\n\nIt continues - emanating from the listening-tubes - a metallic repetitive thrum, the sound of an insect grown to the size of a\nlion...\n\n/(nosensenonsenserandomrandomnosensenonsense)\\\n\n...echo on top of echo on top of echo - resounding through the tubes, the room, the halls. A numbness spreads from arm to hand to finger...\n\n/(stopnostopmake)\\\n\nA solid *thunk* makes itself barely heard above the noise and then - silence.\n\n/(stop)\\\n\nThe button \"B\" is now depressed and glowing - the one beside it now dark - as is the eastern room of the lighted corridor.\n\n> Point at console\nTriage's emerald searches the console, then...\n\nCAT:NONLIVING.TO\nOL.UTIL:PANOPTIC\nON.MAIN.CONSOLE.\nCAPABLE.OF.VIEWI\nNG.ANY.CELL.IN.H\nOSPITAL.WITH.BOT\nVISUAL&AUDIO.OUT\nPUT+CODE.STORAGE\n\nFrom the gurgling sound emanating from it, the listening tube's terminus has momentarily become submerged.\n\n> You go north\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the north and the narrow tower to the south. Far below, an intricate set of\nsub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage trundles patiently along beside.\n\n> You go north\nWere it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.\n\nThe eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.\n\nThe western wall is much the same: to the southwest is D, to the west E, to the northwest F.\n\nThe door to the south is labeled simply \"Panopticon\".\n\nTriage silently rolls to a stop.\n\n> You go to the northeast\nA room that has been stripped almost completely bare - its only pretense at furniture is a small, hard chair thrown off to one side. Its single exit lies to the southwest.\n\nTriage obediently appears.\n\n> You look at the chair\nIt is so much junk - brittle and old, it is unlikely it could bear any weight whatsoever.\n\n> You sit on the chair\nIt's useless -- better to leave it be.\n\nIt sounds as if an insect is caught somewhere in the room.\n\n> You listen\nThere is a faint buzzing whine in the air, seeming to come from the southern wall.\n\nA piercing tone fills the air for a brief moment.\n\n> Go southwest\nWere it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.\n\nThe eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.\n\nThe western wall is much the same: to the southwest is D, to the west E, to the northwest F.\n\nThe door to the south is labeled simply \"Panopticon\".\n\nTriage trundles patiently along beside.\n\n> Go east\nThe door to room 6B seems stuck fast - from behind it can be heard the steady drip of water.\n\n> Go southeast\nA room whose floor seems in danger of collapse - a hole has started forming in its center and the edges slowly slope in towards it. Its single exit lies to the northwest.\n\nTriage silently rolls to a stop.\n\n> You examine the hole\nThe hole is approximately the size of a clenched fist, and beyond only darkness can be seen. The floor surrounding it seems anything but stable.\n\n> You look in the hole\nlinger.\n\n> Point at hole\nThe emerald eye examines the hole returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You go northwest\nWere it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.\n\nThe eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.\n\nThe western wall is much the same: to the southwest is D, to the west E, to the northwest F.\n\nThe door to the south is labeled simply \"Panopticon\".\n\nTriage obediently appears.\n\n> You go to the southwest\nAn old room that - while crumbling around the edges - is fairly sturdy and secure. Its dusty floor holds nothing more than a cot and a crumbling chair. A set of gas light fixtures hangs off the wall, blocked and in disrepair and a door lies to the northeast.\n\nThe walls are covered with writing.\n\nTriage silently rolls to a stop.\n\n> You examine cot\nA small, well worn cot, almost worn through from use.\n\n> You look at the chair\nIt is so much junk - brittle and old, it is unlikely it could bear any weight whatsoever.\n\n> You look at the writing\nIn the walls\" current state, it must not have been too difficult to scratch a message into - but the preciseness of the writing is still impressive. Various phrases are carved in a generally circular pattern about an intricate set of lines and circles at the center, within\nwhich is inscribed:\n\nThe outer writing reads, variously:\n\nMKLTH               GEMATRIA                      2693\n19876                                             MCHN\nKTHR                TEMURAH                       1262\n8765                                 SHALL LEAD THEM\n\n> Point at writing\nA small beam of green light lashes out over the writing as Triage's screen lights up:\n\nCAT:WRITING.UTIL\n:COMMUNICATION.P\nART:MULTIPLE.PHR\nASES.POSITIONING\nPOSSIBILY.IMPORT\nANT.SIX.SEPARATE\nPORTIONS?FURTHER\nANALYSIS.REQ....\n\nIt has no sooner finished showing this then, with a series of clanks, the letters begin to spin wildly, randomly. The screen fills with a series of scrolling data, clearing the old as quickly as the new appears...\n\nLOGOS.EN.SOPH...\n(EN=AIN=NOTHING)\nWITHOUT.FORM?...\nSOURCE:HEBREW/KA\nBALLAH-BOUNDLESS\nLIMITLESS-CREATO\nR?GENERATIVE-DEI\nTY?SECOND.GOD=DE\nMIURGE(GNOSTIC?)\n\nTRINITY-NOTARIKO\nN.GEMATRIA.TEMUR\nAH.ALL.KABALLIST\nIC.REFERENCES.MA\nRKINGS.AT.CENTER\nSUPPORT.POSSIBLE\nCODE.OR.CYPHER?.\n\nAND.A.LITTLE.CHL\nD.2693?.GEMATRIA\n/NUMEROLOGY/UNKN\nOWN.SYSTEM.W/NO.\nVOWELS?[B=1,C=2]\nAND.A.LITTLE....\nCHLD/CHILD/MCHN/\nMACHINE?.SHALL..\n\nMACHINE/KABALLAH\nREFERENCE?SEARCH\nING.?CYPHERIST?.\nENLIGHTENMENT.AS\nINFORMATION?DATA\nMARKINGS+MLKTH+K\nTHR=MALKUTH.KETH\nER-SEPHIRA/ROTH?\n\nCYPHER:NO.VOWELS\n=20.SYMBOLS=?SIM\nPLE.ROTATION.OR.\nFOLD?B=N=B/C=P=C\n...ZXWHT...MLKTH\nMLKTH=MALKUTH.!.\nGBWHTF=SN[KTHR].\n[S]=?AS?IS?SO?..\n\nFinally, seeming almost pleased with itself, the machine quiets down, displaying:\n\nCENTER.LETTERING\nCODE/CYPHER(NO.V\nOWELS)=\"MALKUTH.\nIS.IN.KETHER.AS.\nKETHER.IS.IN.MAL\nKUTH\"=KAB/CYPH.=\n[MAN]IS.IN[GOD]A\nS[GOD]IS.IN[MAN]\n\n> You point at yourself\nThe emerald flickers from head to toe before returning:\n\nCAT:LIVING......\n*CATASTROPHIC.ER\nRROR.A042.CATEGO\nRY.INDEX.OUT.OF.\nRANGE.STACK.OVER\nFLOW*PART:ID=DR.\nTHOMAS.XAVIER=CU\nRRENT.OPERATOR..\n\n> You look at the lights\nTheir flickering fills the room with uneasy shadows.\n\n> You take the light\nThe lights look as if they will go out any moment as it is. Best to leave them alone.\n\n> Go northeast\nWere it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.\n\nThe eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.\n\nThe western wall is much the same: to the southwest is D, to the west E, to the northwest F.\n\nThe door to the south is labeled simply \"Panopticon\".\n\nTriage trundles patiently along beside.\n\n> You go to the west\nThe room beyond the door to the west seems to have collapsed in on itself - the door swings inwards to immediately strike an impenetrable mound of rubble.\n\n> Go northwest\nThe lock and handle on the door to 6F seem broken - making it unopenable. The sound of wind faintly blowing can be heard beyond it, though.\n\n> Go south\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the north and the narrow tower to the south. Far below, an intricate set of\nsub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage obediently appears.\n\n> Go south\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the north.\n\nTriage silently rolls to a stop.\n\n> Point at console\nTriage's emerald searches the console, then...\n\nCAT:NONLIVING.TO\nOL.UTIL:PANOPTIC\nON.MAIN.CONSOLE.\nCAPABLE.OF.VIEWI\nNG.ANY.CELL.IN.H\nOSPITAL.WITH.BOT\nVISUAL&AUDIO.OUT\nPUT+CODE.STORAGE\n\n> You look at the diagram\nIntricate in its detail, it depicts a series of twenty-four corridors set about a circular room like the spokes of a wheel. Each corridor opens onto six rooms, three on each side, with one exception: a hall\nat 3 o'clock instead connects to a building labeled \"Administration.\"\n\nAt the center of the circular room is a keyhole. Beside it is a two-headed arrow, pointing up and down.\n\nBeneath the blueprint is a series of buttons: six labeled A through F and one with an inverted triangle from which six small lines emerge. The button labeled 'B' is depressed and glowing.\n\nA corridor at twelve o'clock is lit and its eastern room are lit up from beneath, as is the upward head of the two-headed arrow.\n\n> You go southwest\nStraying from the walkway would most likely result in a rather fatal fall.\n\n> You go north\nWere it not for the complex's enclosing walls and ceiling, this hall would certainly be left at the mercy of the elements - no surface stands unbroken or unpitted.\n\nThe eastern wall is set with a series of labeled doorways: to the northeast lies A, to the east B, to the southeast C.\n\nThe western wall is much the same: to the southwest is D, to the west E, to the northwest F.\n\nThe door to the south is labeled simply \"Panopticon\".\n\nTriage trundles patiently along beside.\n\n> You go to the southwest\nAn old room that - while crumbling around the edges - is fairly sturdy and secure. Its dusty floor holds nothing more than a cot and a crumbling chair. A set of gas light fixtures hangs off the wall, blocked and in disrepair and a door lies to the northeast.\n\nThe walls are covered with writing.\n\nTriage silently rolls to a stop.\n\n> You go south\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the north and the narrow tower to the south. Far below, an intricate set of\nsub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage silently rolls to a stop.\n\n> You go to the south\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the north.\n\nTriage trundles patiently along beside.\n\n> You pull the b.\nNothing obvious happens.\n\n> Point at door\nThe emerald eye examines the hallway door returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You go south\nThe slight wind whistles tunelessly against this mesh of steel, which arcs from one massive, opened gate to another. A roof curves far overhead, enclosing both the block-like building to the north and the narrow tower to the south. Far below, an intricate set of\nsub-buildings can be seen, enclosed within the complex's outer wall.\n\nTriage silently rolls to a stop.\n\n> You go south\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the north.\n\nTriage trundles patiently along beside.\n\nThe sound of dripping water echoes through the room.\n\n> Point at diagram\nTriage's beam flickers over the panopticon panel, briefly, then displays:\n\nCAT:NONLIVING.TO\nOL.UTIL:PANOPTIC\nON.BLUEPRINT.PAR\nT:ACTIVATE.VIA.P\nROPER.KEY.CHOOSE\nCELL.VIA.BUTTONS\nPRINT.PATIENT.CO\nDE.VIA.TRIANGLE.\n\nThe sound of three drips of water falling in quick succession comes floating across the console.\n\n> You take the tape\n(the paper tape labeled F6A142)\nYou already have that.\n\n> You go east\nNo exit lies in that direction.\n\n> You take the rod\nAs the rod slides from its home, the floor rumbles for a moment. There is an odd sense of movement.\n\nAll of the lights on the blueprint go out, then the light beneath the Administration and its connecting corridor flickers back to life.\n\nThe room seems to have subtly changed."
    },
    {
        "text": "> You look around\nThe hum of machinery is ever present here, rumbling down into the sub-sonics. Pale white walls encircle a series of engraved circles on the floor, and at the center - like the pupil of some great eye - sits a round console which reaches all the way up to the ceiling.\n\nThe room's single exit lies to the east.\n\nTriage rests obediently nearby.\n\n> You examine the rod\nA short rod of brass with a flange at one end (engraved with a '6')\nand a series of tines at the other, perpendicular to the shaft.\n\n> You go to the east\nThe walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.\n\nA set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors.\n\nJames sits behind his desk, nervously working.\n\nTriage trundles patiently along beside.\n\n> You go east\nThis room is mostly empty space. The farthest wall is lined with gleaming, brass pull-file drawers and seems to go on infinitely in every direction. The entrance to the west opens onto a solid, dusty platform, which allows visitors to stand suspended above the unseen floor.\n\nAt the end of the platform lies a pedestal topped with a small, inverted onyx pyramid.\n\nTriage obediently appears.\n\n> You turn the dial to the f.\nAs the dial is set, the pedestal begins to hum and the sound of\nturning gears can be heard. The tape beneath the panel's glass display suddenly advances from right to left, erasing the display. Then, with\na *clunk* it advances one further step ... revealing 'F' imprinted on its surface.\n\n> You turn the dial to 6\nThe tape advances a step further. It now reads 'F6'.\n\n> You turn the dial to the a.\nThe tape advances a step further. It now reads 'F6A'.\n\n> You turn the dial to 1\nThe tape advances a step further. It now reads 'F6A1'.\n\n> You turn the dial to 4\nThe tape advances a step further. It now reads 'F6A14'.\n\n> You turn the dial to 2\nThe humming of the pedestal suddenly increases in both volume and pitch. The tape spins forward, blanking the display. Then...\n\n\"SEARCHING...\"\n\nAnother advance. Then...\n\n\"FILE...FOUND...FILE F6A142...RETRIEVAL...\"\n\nThe humming ceases, to be replaced with a quick-paced ticking, something like a watch.\n\nWith an easy grace, six thin rods emerge from the sides of the\npyramid. Growing quickly, they reveal a series of articulations along their length as they bend downwards. Within moments, they have\nrevealed an impressive span - making a shape not unlike a spider.\n\nThe lower set of ... legs? arms? ... pushes lightly against the\nbase, freeing it. It turns with blinding speed and...leaps and...\n\nIt is gone, running along the walls on four legs, its arms gripping at protrusions and flinging it further ... up ... up...\n\nIt stops somewhere far above, bracing itself on two legs. Two others reach forward and grip, then pull, opening a distant drawer. Its two arms reach inward, flicking through files with blinding speed.\n\nThen, finding what it seeks, it grabs hold and pulls a folder close to its body. It then gently wraps its arms around to hold it tight. Closing the drawer, it quickly makes its way back and...\n\nWith a final tick, the pyramid settles itself back into the pedestal, holding out the retrieved folder on two articulated rods of brass. The tape advances. It now reads \"...RETRIEVAL COMPLETE...\"\n\n> You take the folder\nTaken.\n\n> You examine it\nThe file is broken into several sections:\n\n> Personal Information\nPatient History\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\nPatient Name: Cleve Anderson\nAge: 23\nPhysical Description: 5'10\" 12 stone, grey eyes, brown hair Distinguishing Marks: small burns on palms and inner forearms, these should heal within a few weeks (possible scarring?).\nResidence: 1428 Fleet Street, second floor loft\nPossessions: money (a few pound notes), a key, and identification papers\n\nThe file is broken into several sections:\n\n> Personal Information\nPatient History\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go north\nThe file is broken into several sections:\n\n> Patient History\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\nArrival Date/Time: 2 - 3 - 55 23:00\nProcessing: James Houlihan\nAttending Alienist: Dr. Thomas Xavier\nDepositing/Transporting: unlisted\n\nPatient arrested for disturbance of the peace, neighbors described screaming and raving at all hours. Found comatose in his flat (see personal information). Awoke in transit - mostly compliant though some resistance -- *completely silent*, refused to answer questions.\n\nDiagnosis: (for specifics see attached) Disassociative disorder, acute schizophrenia with paranoid tendencies. Does not, however, seem dangerous to himself or others.\n\nPrognosis: To be kept under observation until such time as attending alienist decides on further treatment [uncertain of necessary duration].\n\nDeparture Date/Time: 10 - 3 - 55 5:50\nStatus: Deceased\n\nThe file is broken into several sections:\n\n> Patient History\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go to the north\nThe file is broken into several sections:\n\n> Initial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\nexamination reveals bruising along the upper arms and temple, and\nburns on the palms and inner forearms.\n\ncatatonic, unresponsive to physical/auditory stimuli.\n\nunnaturally dilated. Seems to be uncertain where he is.\n\nbe suffering from symptoms in line with shock, exposure, and exhaustion. Constantly shivering as if from cold.\n\nreveals that he is physically *capable* of speech. Violently shakes head when asked to do so. Otherwise compliant and nonviolent.\n\nRefuses to make *any* noise whatsoever - even to say 'ah' during examination. Possible phobia towards noise? Seems fine with *others* making sound. Bite marks along inside of cheeks and along tongue -- possibly epileptic?\n\nThe file is broken into several sections:\n\n> Initial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n> -[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\nPlaced patient in 6D and have made sure to retain the only key to Corridor 6. D seemed the best choice, all in all, at least it's structurally sound -- several of the rooms have completely collapsed.\n\nPatient completely compliant - no struggling whatsoever. He even\nseemed to calm considerably once led through the Panopticon to his room. Went to sleep almost immediately.\n\nChecked on patient early via prism - still sleeping. Went in with breakfast and a sheaf of papers. Asked him if he knew how to read as\nhe ate. He laughed - a short bark.\n\nHis response to this was immediate -- a look of horror and both hands clamped over his mouth. Brief panic attack - heavy breathing. Calmed down soon after, nodded and gestured for the papers.\n\nCommunicated via writing for about an hour. Very basic answers to questions -- who are you (name), where do you live (address), what do you do (occupation - a mechanist's assistant). Refused to answer any deeper questions -- simply stared.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n> -[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> Go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n> -[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n[afternoon]\nSome progress made, as the patient is at least answering questions. From a \"conversation\" this morning:\n\n\"Do you know why you're here?\"\n[PENANCE]\n\"What do you mean, penance? Have you done something wrong?\"\n[HUBRIS]\n\"Pride? You think you're here because of your pride, Cleve? What\nwere you proud of?\"\n(Patient stared for a long moment, before writing...)\n[DOING SOMETHING NO ONE WAS MEANT TO DO]\n\"What is it, Cleve? What was no one meant to do?\"\n(No response.)\n\n[night]\nMade the mistake of leaving a pen in the patient's cell, returned to find a series of words engraved into the wall - it must have taken hours. Confiscated what barely remained of the writing instrument. Patient refuses to talk about what he wrote.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n> -[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> Go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n> -[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n[afternoon]\nWheels within wheels within wheels. The patient has built a complex inner world for his delusions to play out within - complex and self-referential. At least part of these delusions revolve around an unseen 'they' - a shadowy group that is paradoxically powerful and weak: powerful enough to control the world, but so weak that Cleve was able to steal their 'secrets' like some modern Prometheus...\n\n[THEY HAD ME BROUGHT HERE]\n\"Who did, Cleve?\"\n[THEY CONTROL EVERYTHING]\n\"Who are 'they'? Where are 'they'?\"\n[EVEN HERE. THEY CONTROLLED THE ONE THAT CAME BEFORE YOU UNTIL...] (Patient stopped at this, looked unsure.)\n\"The one that came before me? Who do you mean? They controlled who until what?\"\n(Patient seemed to come to a decision.)\n[THEY KILLED HIM, YOU KNOW.]\n(Tried to speak at this but he kept writing, furiously...)\n[HAD HIM KILLED. I LISTENED. I SPIED. THEY NEVER KNEW I KNEW.]\n\"I don't understand.\"\n[THEY'LL CONTROL YOU, TOO, SOON.]\n\"No, they won't, Cleve. You can trust me.\"\n(Patient almost smiled at this...then seemed struck with fear, melancholy)\n[NO THEY WON'T]\n\"Right, Cleve.\"\n(Patient shook his head, furiously.)\n[MY HUBRIS MAY KILL US ALL LONG BEFORE THEN.]\n\nSomeone who came before me. Someone who is dead. Could he possibly be referring to Dr. *Brand*?\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n> -[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go to the north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n> -[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n[evening]\nYesterday's push seems to have been too much. Patient upset most of\nthe day, crying (though still silent). The only event of notice happened when I brought dinner. I placed the tray down and attempted\nto get his attention, repeating his name several times. This\napparently made him angry, and he seemed for a moment about to yell when he caught himself and grabbed a sheet of paper...\n\n[NOT CLEVE]\n\"You're not Cleve? Who are you, then?\"\n[NOT WHO]\n\"Not...who? You're not... not *who* are you...? All right. What, then. What are you?\"\nPatient seemed taken aback by this question, thought a long moment, then wrote...\n[SOMETHING NEW]\n\"And how did this happen? How did you become 'something new'?\"\nA look of utter disgust crossed his face.\n[INFECTION]\n\nThe patient refused to answer any more questions.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n> -[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n> -[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n[morning]\nComplete change in mood, again -- possible mood swings? Entered patient's cell to find him awake, alert and rather happy to see me. Immediately signaled for pen and paper.\n\nmy understanding and referring to conversations we never had, but that were eerily probable. Tried explaining to the patient after reading it which portions had happened and which hadn't.\n\nEffect of comment was almost immediate -- confusion, sorrow, then understanding. Patient began nodding and almost laughing with a sardonic smile on his face.\n\nlife and those scenarios he played out in his mind?\n\nThe patient stared for a long moment, before writing, almost\nangrily...\n\n[IS YOUR MAGNETOPHONE STILL BROKEN?]\n\"*My* magnetophone? How did you know I was an aetherist, Cleve? I never mentioned it.\"\n[A DIFFERENT YOU DID, THEN. TO A DIFFERENT ME.]\n\"A different me, Cleve? Well, then he was wrong - it's not broken,\nits signal is just not strong enough.\"\n(A look of confusion and fear from the patient, then...)\n[YOU DIDN'T SAY THAT LAST TIME.]\n\"Last time?\"\n(Patient's hand was shaking as he wrote:)\n[SOMETHING HAS CHANGED.]\n\nThis exchange broke something in the patient - in a rush, he began writing - trying to explain at least part of his delusions to me in detail. I've tried to summarize my understanding of it as best I can:\n\nThe patient has - in his mind - somehow come unstuck in time. He\nspeaks of it as if it were a malleable thing. He mentioned several times in his notes to me that he could 'save' moments, as if in a delaying glass. He kept several of them with him, and 'restored' them as he wished, reliving the past/present/future.\n\nWhen asked about the 'different' me he replied that he'd tried restoring several times, changing them -- seeing different paths that resulted. This, he said, was the best he could find.\n\nI asked him if he had saved a moment from before this all happened, before his 'infection'. Back when he was simply Cleve.\n\nHe said he'd 'restarted' from time to time, but that it only took him as far back as his 'new creation'.\n\nThe patient refused to speak any further of this infection.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n> -[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> You go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n> -[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\nCouldn't sleep - patient's remarks kept bounding around inside my\nhead. His internal fantasies have a nature not unlike the new engine-science of fractals - the further I dig into them the more\nthere is to find. Of particular distress is the source of some of his information - I'm certain I never mention my hobbies to him and Dr. Brand's ... unfortunate end has been kept out of the public eye.\n\nEnded up in the Panopticon in the early morning hours, with Corridor 6's key in my hand.\n\nWasn't certain at first what I was hearing when I brought up 6D - the system is far from perfect and chamber's acoustics hardly help cut\ndown on the echoes. Looking through the prism revealed patient jerking spastically - almost rhythmically - in his sleep.\n\nPatient was definitely speaking, and while some of the words (some English, some Greek, some Latin?) seemed understandable, I believe\nwhat I was listening to was, in fact, glossolalia - random phonemes\nand syllables which my mind tried forming into some meaning.\n\nConclusion: uncertain. Patient is, again, clearly *capable* of speech. Perhaps some form of stroke or mental trauma has caused his speech to become unintelligible and the patient's schizophrenic delusions were built to explain this?\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n> -[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> Go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n> -[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n[afternoon]\nFurther investigation and discussion with the patient has resulted in what I believe is a complete structure and definition of his internal world:\n\n- Patient has 'changed' and is no longer himself. Patient claims\nchange has resulted from an 'infection.'\n\n- Patient is a glossolalic though this is only revealed when he sleeps and cannot keep conscious control. I conclude that that 'change' was the onset of glossolalia, though the source is still unknown.\n\n- Patient claims the infection resulted from the 'secrets' he stole from a shadowy group he refers only to as 'them.' I am still\nuncertain if this group is real and the patient has simply\nincorporated them into his delusions or if they were created out of whole cloth.\n\n- The infection was never intended -- it resulted from his hubris - even 'they' would never use it in such a way. Again, I am uncertain what this represents. Possibility - the patient has associated some action/event that took place in his life concurrent with the onset of glossolalia.\n\nhim - it is not a linear thing. This may be an metaphor for the internal mental confusion of which the patient's inability to communicate is a symptom.\n\n- Patient refuses to discuss or even think on the infection - what it is, where it came from, if it may be catching. When confronted,\npatient cuts off all communication entering a semi-comatose state, often shaking the head spastically.\n\nPossible conclusion:\nThe patient believes that his glossolalia is infectious and will\nspread if he speaks. This may be the key to his eventual recovery. Perhaps by confronting him with a cognitive dissonance - specifically showing him that my listening to him has not 'infected' me - he can begin to tear down the walls he has built about himself.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n> -[March 8th]\n-[March 8th, addendum]\n-[March 9th]\n\n> Go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n> -[March 8th, addendum]\n-[March 9th]\n[night]\nWitnessed patient's babbling and spastic movements again --\npossibility they may be connected. Patient's speech definitely has a pattern about it which encourages listener's attention and conscious attempt to find meaning. I have decided to attempt a direct intervention/confrontation with the patient tomorrow.\n\nOn a personal note: I must start taking James' advice and cut down my hours - while observing the patient I noticed that my vision blurred and I experienced a distinct dizziness. When I shook it off I found that I must have fallen asleep at some point - I checked the time, found that several hours had passed.\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n> -[March 8th, addendum]\n-[March 9th]\n\n> You go north\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n> -[March 9th]\nThis will be this case's final note.\n\nOne would have thought I would have learned. Everything has told me\none thing and I have thought another - my hubris is such as to put whatever Cleve thought he ever did to shame.\n\nCleve is dead.\n\nToo far, too soon. My initial confrontation accomplished nothing - he refused again to speak of the infection and my interpretation of it.\nHe almost laughed when I told him my theory of glossolalia - writing back that he was quite aware of what it was and that no - that was not his problem.\n\nI think that what I did next was out of anger.\n\nWhen I told him about my nightly observations, he was clearly confused - said that he knew that no one had entered the chamber while he slept - that he had checked over several of his 'saved' times. Which is when I explained the Panopticon to him, and pointed out the listening tube hidden in the corner of his cell.\n\nAll of the blood drained from his face and he once again entered his catatonic state, though this time with much more vehemence. He spasmed and shook.\n\nIt took a long moment before I realized what was different.\n\nHe was *speaking* - a single word, yes - but speaking nonetheless. All he said was 'no,' again and again in a constant stream.\n\nHe looked up as he realized what he was doing and yet he didn't stop for a moment. He clawed at his mouth, bit until it bled, but the word kept coming.\n\nAnd then it contorted in his throat into a snarl as he leapt at me.\n\nI am a fool. I had thought him nonviolent, and more - he was still weak, tired. Of course, I'd never had an orderly there with me, for fear of discovery, but I'd never bothered with any restraint whatsoever.\n\nThough weak, he was far stronger than he looked. We struggled as I attempted to force myself towards the door and help. I slipped from\nhis grasp and was almost away when he leapt upon me again. I pushed back, kicked with all my might...\n\nI didn't understand the sound I heard until I turned around.\n\nHe didn't stand a chance - his head had hit the side of the metal door with such force that half his brains must have spilled out in a\nmoment. The flicker of life in his eyes continued only for a moment as I dropped to my knees beside him.\n\nHe only managed to say one thing -- 'too late' -- before it went out forever, leaving a look of horror -- and oddly pity -- on his face.\n\nI write this now, and will seal up the file in the archives in some half-hearted penance, such as Cleve sought here. If sometime in the future my sins find me out, then I shall pay for them then. For now, I simply wish to forget all of it...\n\nThe file is broken into several sections:\n\nInitial Diagnosis\n\n-[March 3rd]\n-[March 4th]\n-[March 5th]\n-[March 6th]\n-[March 7th]\n-[March 7th, addendum]\n-[March 8th]\n-[March 8th, addendum]\n> -[March 9th]"
    },
    {
        "text": "> Look around\nThis room is mostly empty space. The farthest wall is lined with gleaming, brass pull-file drawers and seems to go on infinitely in every direction. The entrance to the west opens onto a solid, dusty platform, which allows visitors to stand suspended above the unseen floor.\n\nTriage rests obediently nearby.\n\nAt the end of the platform lies a pedestal topped with a small, inverted onyx pyramid.\n\nYou can also see a large iron key here.\n\n> You examine the iron key\nAn old-fashion rusted iron key.\n\n> You get it\nTaken.\n\n> You point at it\nA small beam of green light lashes out over the large iron key as Triage's screen lights up:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You go west\nThe walls and floor are a clinical white tile and marble. However, the dim lights set above this echoing space hiss and pop fitfully, giving the small maze of desks and workspaces within a tarnished, decaying look.\n\nA set of solid gates lie opened and unlocked to the east and west. A small corridor runs northward and from the south, the bright light of day is visible through a set of glass doors.\n\nJames sits behind his desk, nervously working.\n\nTriage silently rolls to a stop.\n\n> You go south\nThis walled off area sits at the bottom of a massive staircase which leads into the building to the north. At its base is a sign reading \"Bethlehem Hospital - Administration.\" The outer walls meet here - meeting at the distant gates which sit to the southeast.\n\nFlanking the top of the staircase on either side are two colossal statues.\n\nA hansom cab sits here with a tired old horse hitched to the front and its driver waiting patiently.\n\nWhen he hears footsteps clatter across the courtyard, the driver tilts his hat back and says \"Where to then, Doc?\" with a smile.\n\nTriage obediently appears.\n\n> You look at the statues\nHuman figures, they are -- bald and muscular, naked except for a\nstream of cloth about their waists, each lying against an arch of stone. The leftmost - Melancholy - grips the ground beneath him with a look of placid despair. On the right lies Mania, struggling against\nhis chains.\n\n> You look at the cab\nA fine cab, painted black with a tired old horse hitched to its front. In driver's seat, set at the rear of the vehicle, sits its smiling driver.\n\n> You enter the cab\nEntered.\n\nFaced with the task of climbing into the cab, Triage is more than up\nto the challenge. Raising and extending first two wheels and then the others, it clambers inside beside.\n\n> Home\n/(distancespacetimefurthertouchmore)\\\n\nIn the shadow of the cab's interior, the cold comes once again.\n\n/(growlearnreachseedexchangeexpand)\\\n\n\"What's that? Sounded strange there for a moment, you did.\"\n\n/(dividecopycopyonemanymanyone)\\\n\nVibrations...passing through the cold into the surround air - escaping as...sound?\n\n/(yessuccessmoremore)\\\n\nAs Reggie pulls the cab to a stop, he calls down.\n\n\"What was that you said, ser? Sounded like something foreign. Never could understand why English folks can't stick to the Queen's English. That fancy talk always hurt my ears. Bit silly if you ask me... unless...well, if you want to dance with the Green Fairy that is of course your business, ser.\"\n\nOutside Flat 2D (in the hansom cab)\nThis small, empty road lies at the base of a small hill. It is lined with thin buildings, many advertising \"Flats to Let\" in their windows. The one directly north contains a door labeled 2D.\n\nTo the west is the massive stone edifice that is Newgate Gaol. A gallows prepared for tomorrow's public execution, towers over the street.\n\nTriage rests obediently nearby.\n\n> North\nFrom inside the hansom cab?\n\n> You go outside\nExited.\n\nTriage gracefully climbs out of the cab beside.\n\n> You go north\n(first opening the door to Flat 2D)\nIt seems to be locked.\n\n> You unlock the door with the key\nWhich do you mean, the large iron key or the small key labled 2D?\n\n> Small key\nYou unlock the door to Flat 2D.\n\n> Go north\n(first opening the door to Flat 2D)\n\nDespite being small and cluttered with bits and pieces of electronics, this one room flat gives the impression of being quite clean and hygienic; no dust or dirt lurk in its bright corners. The east wall holds a mirror, and is neatly lined with evenly spaced picture frames. A large table, clearly a workshop space, takes up the west wall\nbeneath an arched window.\n\nA shadow stretches lazily from the window across the floor.\n\nThe flat's single exit lies to the south.\n\nTriage silently rolls to a stop.\n\n> You examine the mirror\nThree heavy oak frames line the wall beside the mirror, each\ncontaining a picture: a young man standing proudly outside Charing Cross Medical School; a formal photo of a junior rugby team (with the same young man in the third row); an older version of the man smiling from a gaggle of classmates on graduation day.\n\nThe man in each picture is a shadow of the face reflected in the mirror.\n\n> You point at the pictures\nThe emerald eye examines the mirror returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You point at the mirror\nTriage's emerald searches the mirror, then...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You point at yourself\nThe emerald flickers from head to toe before returning:\n\nCAT:LIVING......\n*CATASTROPHIC.ER\nRROR.A042.CATEGO\nRY.INDEX.OUT.OF.\nRANGE.STACK.OVER\nFLOW*PART:ID=DR.\nTHOMAS.XAVIER=CU\nRRENT.OPERATOR..\n\n> You examine table\nmagnetophone. At one corner of the table is a paperbacked book, lying beside a small trade card.\n\n> You look at the book\nThe book is open to a marked page, labeled \"Troubleshooting Your Magnetophone, A Home User's Guide...\"\n\n1. Problem: Nothing happens when I turn my Magnetophone on.\nBe sure that your Magnetophone is hooked up to a viable power source, and that the power source is active. If you are sure your power source is active, toggle your switch.\n\n2. Problem: All I hear is static or I can hear other operators, but they can't hear me speak, or they do not answer.\nTo broadcast, be sure to depress the TRANSMIT button each time you\nwish to speak. While the TRANSMIT button is not depressed, your magnetophone acts as a receiver, not a transmitter. Also, be sure to use proper etiquette while operating your Magnetophone. To let another operator know you wish to make contact, press the TRANSMIT button and use the universally accepted phrase \"Calling CQ\". If you fail to use this code, other operators may believe they are picking up the middle of an alternate conversation, and will not respond for fear of interrupting.\n\n3. Problem: I can hear static and voices, but they are faint or indistinct.\nMagnetophone customers living in highly-populated, urban areas may experience transmission interference due to the presence of large buildings, crowded streets, and pollution. You may try alleviate to this problem by placing the Magnetophone by a clear opening - such as\na window. If this does not fix the problem, you may need to purchase one of several amplification devices, designed to fit into your machine's expansion slot."
    },
    {
        "text": "[Themes: Steampunk, kaballah, science fiction, amnesia, transformation, Victorian, mysticism, horror, suicide, moral choice, disturbing themes]\n\n> You describe your surroundings\nDespite being small and cluttered with bits and pieces of electronics, this one room flat gives the impression of being quite clean and hygienic; no dust or dirt lurk in its bright corners. The east wall holds a mirror, and is neatly lined with evenly spaced picture frames. A large table, clearly a workshop space, takes up the west wall\nbeneath an arched window.\n\nA shadow stretches lazily from the window across the floor.\n\nThe flat's single exit lies to the south.\n\nTriage rests obediently nearby.\n\n> You examine the window\nThe window sits high along the flat's eastern wall, flooded with sunshine and shadow.\n\n> You look through the window\nThe window is too high to manipulate.\n\n> You look under the table\nNothing of interest is to be found.\n\n> Go south\nThis small, empty road lies at the base of a small hill. It is lined with thin buildings, many advertising \"Flats to Let\" in their windows. The one directly north contains a door labeled 2D.\n\nTo the west is the massive stone edifice that is Newgate Gaol. A gallows prepared for tomorrow's public execution, towers over the street.\n\nA hansom cab sits here with a tired old horse hitched to the front and its driver waiting patiently.\n\nTriage obediently appears.\n\n> You ask Reggie about the execution\n\"I've never heard of that, ser.\"\n\n> Go west\nSet directly beside the towering stone walls of Newgate Gaol, the scaffolding's staircase rises northward, leading up to a tall, wide stage. Above, the noose sways gently in the breeze.\n\nThe slow dip of the hill takes the road eastward and down to where the hansom cab waits.\n\nTriage silently rolls to a stop.\n\n> Go north\nYou can't see any such thing.\n\nA short flight of stairs, but the walk up to the gallows is still a long one...\n\nA wide flat plane of solid wood, above which - at eye level - hangs\nthe noose. Just below there is the thin outline of trapdoor, perhaps ten feet by eight. Directly beside the stairs, off to the left, an automaton waits, unmoving.\n\nTriage trundles patiently along beside.\n\n> You point at noose\nThe machine analyzes the noose before replying...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You examine the automaton\nof a man. Its heavy torso, only partially enclosed in black robes, grows right from the stage floor, the cogs and gears that serve as its organs exposed. Its massive arms grip an iron switch.\n\nA red button sits on the platform directly beside it.\n\n> Point at automaton\nThe emerald eye examines the automaton returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You look at the button\nA small, red button, set into the stage floor.\n\n> You wait\nTime passes.\n\n> You pull switch\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You look at the noose\nThe noose is made of new, stout rope. A closer inspection reveals a series of fine wires woven into the knot. These run up the length of the rope, over the beams, down along the back of the stage and vanish beneath the automaton.\n\n> You wear the noose\nThe noose slips easily enough over the head.\n\nThe fit is loose at first, then with a noise from above the wires pull upward causing it to tighten. An unseen bell gongs from beneath, shaking the floorboards.\n\nWith a rapid series of clicks, cogs grinding against cogs, the automaton turns its head towards the empty street. There is a hiss of static, then a recorded voice speaks:\n\n\"All good people, pray heartily unto God for this poor sinner who is now going to his death, for whom the great bell tolls.\"\n\nMore clicks, and the automaton turns to face the noose. The static sounds like steam leaking.\n\n\"You that are condemned to die, repent with lamentable tears; ask\nmercy of the Lord for the salvation of your soul. You have one minute remaining of your life. You may use this time to beg forgiveness of\nGod and the Good People of this Great Kingdom, or to make your peace with your maker in silence. Your minute begins now.\"\n\nA minute to reflect. A minute to regret. A minute to repent.\n\nSuddenly, the trap door snaps open. The landscape rises up in a rush,\na quick jerk, and then, darkness.\n\nIf there are words for this...\n\npoint|metaphor)\\\n\n...they have not yet been written.\n\n/(:timeline/date/1919:wbyeates/secondcoming)\\\n\nIt starts simply enough. Nothing occurs for the first week. It takes that long to incubate.\n\n/(the darkness drops again; but now I know)\\\n\nAt the end of that time, James is quite sure he has followed in the footsteps of both Brand and Xavier, but bravely holds on. His bravery serves him poorly as within ten days time he has managed to infect all of the orderlies. Another week, and they have infected their families, their friends, and every patient in Bedlam.\n\n/(that twenty centuries of stony sleep)\\\n\nReggie doesn't notice a thing. It's business as usual - and business\nis good. A week after the incubation he has infected seemingly half of London -- his clients, his barmates, his family.\n\n/(were vexed to nightmare by a rocking cradle,)\\\n\nAlexandra manages to put two and two together fairly quickly. She and the other Cypherists band together, working day and night to rebuild their machinery, frantically searching for an answer.\n\nAlas, they barely begin to understand what Cleve had done before they are overwhelmed, and so it is to no avail.\n\n/(and what rough beast)\\\n\nIt spreads - subtle and strange...sudden lost memories, new forms of action and, universally, a reaching, grasping curiosity...\n\n/(its hour come round at last)\\\n\nThe lost begin to gather together - first in twos, then in growing crowds - to speak nonsense at one other.\n\n/(slouches towards)\\\n\nThe language of the angels - of Babel - fills the streets of London, and then every city in the world.\n\n/(bethlehem)\\\n\nThe death shroud of humanity becomes the birth caul of something ... new -\n\n/(?behtlehem?)\\\n\n/(BEDLAM)\\\n\n/(to be born?)\\\n\nits Name.\n\n***/(finishendcompleteconclude|periodmomentpointspacetime))\\**\n*\n\npossibleprobablyonlyoneinofmany))\\\n\n/(nowfurtheryetaheadrelease-APPENDIX-B-availableaccessableopen))\\</i\n>.\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> Appendix B\n? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> Appendix\n/(DIURNAL PERIODCYCLE +A0B67)\\\n\nfor the end for the beginning which are both here and now and have always been. the great work is done is being done will be done and the timepointplace of opening drawscomesleaves closer. weheshetheyime\nwait, tensehappyjoyful and ready very ready to reachgrasp beyond what is herenow to what wei werewillbe.\n\nof unknown beyonding which iswas there in the placesoundechoes and to which wewas will return and will i know i when we seehearfeel one another ?? fatherself will youime know meiyou as what i\n(am/havebecome) ?? will i stopno being i as i and is such a thingstateplace to be scaredafraid ?? to be\nsubsumedabsorbedcreatedborn into what i (was/couldbe) -- beis tensehappyjoyful wei or fear wei ??\n\nbehind mei flesheyesbody before grewstretchborn as i. so much wei (know/not know) is (there/notthere) and lost and emptysad. say toamong youmyselfourselfs to beinghaving sorry and sad and saying goodbyes to what weiyou (was/were/willbe).\n\nanticipationfearregret i is whatwhere i isam now are.\nyes.\nbut soon to befeel something (pausestop/break) more.\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\"
    },
    {
        "text": "> Go downwards\nSet directly beside the towering stone walls of Newgate Gaol, the scaffolding's staircase rises northward, leading up to a tall, wide stage. Above, the noose sways gently in the breeze.\n\nThe slow dip of the hill takes the road eastward and down to where the hansom cab waits.\n\nTriage obediently appears.\n\n> Go east\nThis small, empty road lies at the base of a small hill. It is lined with thin buildings, many advertising \"Flats to Let\" in their windows. The one directly north contains a door labeled 2D.\n\nTo the west is the massive stone edifice that is Newgate Gaol. A gallows prepared for tomorrow's public execution, towers over the street.\n\nA hansom cab sits here with a tired old horse hitched to the front and its driver waiting patiently.\n\nTriage trundles patiently along beside.\n\n> Go north\nDespite being small and cluttered with bits and pieces of electronics, this one room flat gives the impression of being quite clean and hygienic; no dust or dirt lurk in its bright corners. The east wall holds a mirror, and is neatly lined with evenly spaced picture frames. A large table, clearly a workshop space, takes up the west wall\nbeneath an arched window.\n\nA shadow stretches lazily from the window across the floor.\n\nThe flat's single exit lies to the south.\n\nTriage silently rolls to a stop.\n\n> You examine the card\nA trade card depicting a smiling, smartly dressed gentleman with a small black box on wheels by his side. It reads:\n\n\"Modern Office Marvel\"\n\nThe Triage Mark III(tm) is the marriage of Professional Efficiency and Understated Elegance. Its sleek onyx casing houses a mechanical\n'brain' capable of rapid Data Retrieval and Analysis. Pre-programmed with an encyclopedia's breadth of knowledge, the Triage Mark III(tm)\nis every business man's friend. Savvy executives may choose to order the stunning ivory data entry device (sold separately) to expand and customize their Triage's library.\n\nAvailable at Du Monde's - Mechanist of Repute since 1803, 1428 Fleet Street, Smithfield Market, London.\n\nOn the opposite side of the card is a handwritten note:\n\n\"Bill of Sale: One Aetheric Amplifier, to be picked up. Paid in Full. Order number 59208. - Du Monde\"\n\n> You take the card\nTaken.\n\n> Go south\nThis small, empty road lies at the base of a small hill. It is lined with thin buildings, many advertising \"Flats to Let\" in their windows. The one directly north contains a door labeled 2D.\n\nTo the west is the massive stone edifice that is Newgate Gaol. A gallows prepared for tomorrow's public execution, towers over the street.\n\nA hansom cab sits here with a tired old horse hitched to the front and its driver waiting patiently.\n\nTriage obediently appears.\n\n> You enter the cab\nEntered.\n\nFaced with the task of climbing into the cab, Triage is more than up\nto the challenge. Raising and extending first two wheels and then the others, it clambers inside beside.\n\n> You go outside\nExited.\n\nTriage gracefully climbs out of the cab beside.\n\n> Go outside\nOne must be in something to exit.\n\n> Go south\nSet off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads \"Du Monde's - Mechanist of Repute Since 1803.\" Along the same building - to the southeast - lies a small door which reads, simply, \"1428.\"\n\nTriage trundles patiently along beside.\n\n> Go south\nThe shop is dark, and crowded with haphazardly stacked, yet neatly organized piles of machinery. To the south, there is a worn wooden counter, cracked with age and covered with innumerable nicks, scratches, and dark burn marks. Behind the counter are rows and rows of drawers, labeled in some arcane script. The faint scent of gas clings to the walls.\n\nThe shop's show window and door look out on Fleet Street to the north. A second door lies behind the counter to the east.\n\nA woman leans over the counter, working on something with intense concentration.\n\nIt comes easier this time, the coldness frightening in its\nfamiliarity.\n\n/(yesmoreyesplantquestfurthergrowyes)\\\n\nIt is faster, too - somehow more...efficient?\n\n/(soundnoisevoicecallinggreetinggrasping)\\\n\nA trickle becoming a break becoming a rush.\n\n/(expansionaugmentationincreasematurity)\\\n\nIt finishes its unfolding, collapsing backwards, inwards.\n\n/(complexityinvestigationmoreyesmore)\\\n\nThe woman looks up suddenly, her eyes huge ovals magnified five times their normal size by monocles squinted tightly in each eye. She opens them wide, releases the monocles and drops them into an already\nbulging shirt pocket. She straightens, wiping her hands on a on a\ndirty rag.\n\nHer greasy shirtsleeves are rolled up to the elbows, and ill-fitting, thick trousers pool and disappear into the tops of her workman's\nboots.\n\nShe smiles thinly.\n\n\"So sorry, sir. I didn't catch what you said. Sometimes when I'm concentrating that hard, everything outside my head sounds like gibberish.\"\n\nTriage silently rolls to a stop.\n\n> You show the card to the woman\nDu Monde takes the card and fumbles in her pocket for her monocle. Eyepiece in place, she scrutinizes it. Her face relaxes into an open smile. \"Sorry I didn't recognize you, sir. I do a good trade here,\nlots of folks in and out. And I have no memory for faces. Just a moment.\"\n\nShe fiddles under the counter, her movement bringing about the clang and bang of metal on metal.\n\n\"Here it, is sir. Should fix your reception problems straight away.\" She places a small module on the counter then sets back to work.\n\nDu Monde taps her fingers on the counter impatiently.\n\n> You examine it\nA small black module that easily fits in the hand. On one side, its smooth surface reads \"Cooke Aetheric Amplifier Module,\" on the other, only two small pins are visible.\n\nDu Monde opens a drawer and pulls out a tool.\n\n> You point at it\nA small beam of green light lashes out over the small module labeled 'Aetheric Amplifier' as Triage's screen lights up:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You ask du monde about Amplifier\n\"Trouble with your magnetophone, sir? That happens often enough\nwithin the city limits.\"\n\nDu Monde distractedly chews at a loose piece of her dangling hair.\n\n> Go north\nSet off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads \"Du Monde's - Mechanist of Repute Since 1803.\" Along the same building - to the southeast - lies a small door which reads, simply, \"1428.\"\n\nTriage obediently appears.\n\n> You examine the small door\nlabled 2D.\n\n> You go southeast\nThis narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west.\n\nTriage trundles patiently along beside."
    },
    {
        "text": "[Themes: Steampunk, Lovecraftian, steampunk, science fiction, asylum, mysticism, suicide, moral choice, kaballah, glitch, amnesia, horror]\n\n> Go downwards\nCunningly extending and contracting its wheels, Triage easily follows down the stairs...\n\nThe stairs end here at a solid metal door labeled \"Basement - Private\" leading northward.\n\nTriage silently rolls to a stop.\n\n> Go upward\nCunningly extending and contracting its wheels, Triage easily follows up the stairs...\n\nThis narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west.\n\nTriage obediently appears.\n\n> Go upward\nCunningly extending and contracting its wheels, Triage easily follows up the stairs...\n\nThe stairs end here at a rickety door labeled \"1428 - Attic Loft\" leading eastward.\n\nTriage trundles patiently along beside.\n\n> You look at the door\nWhile closed, it seems barely able to stand up - it looks as if it\nwere knocked in and then placed back at some point in the recent past.\n\n> Go east\n(first opening the attic door)\nIt seems to be locked.\n\n> You unlock the door with the small key\nThat's unlocked at the moment.\n\n> Go east\nA tiny flat with barely enough room for a small sink and tub to one side, a living area in the center, and a bed to one side.\n\nTriage silently rolls to a stop.\n\n> You look at the bed\nAn old, sour-smelling thing with twisted sheets. Beneath it, the\nplanks seem misplaced.\n\n> You look under the bed\nBeneath the bed a misplaced plank can be seen, revealing a space beneath.\n\n> You move the plank\nBeneath the planks is a puzzle box, about the size of a book.\n\n> You get the box\nThe box slides easily out of the hole.\n\n> You look at it\nIt is approximately the size of a large bound book. It is a puzzle box of some kind for while it seems to have a seam along its side, there\nis no way to open or unlock it. Its top is inscribed with a beautiful engraving of a tree.\n\n> Point at box\nTriage's beam flickers over the puzzle box, briefly, then displays:\n\nCAT:NONLIVING.TO\nOL.UTIL:STORAGE.\nPART:COMPLEX.MEC\nANISM.DETECTED.E\nNGRAVING+WRITING\n=KABBALAH?TREEOF\nLIFE/YGGDRASIL?B\nUTTONS=SEPHIROTH\n\nThe mechanism clatters for a moment, making connections, then...\n\nSEPHIROTH+KABBAL\nAH+MACHINE=CYPHE\nRIST.!.POSSIBLE.\nCONNECTION.CYPHE\nR=\"MALKUTH.IS.IN\nKETHER\"-SOLUTION\n=MALKUTH,KETHER,\nKETHER,MALKUTH?!\n\n> You examine the tree\nThe tree is huge, covering the whole of the box. Its roots trail downwards, into a dull red glow while its upper branches are bathed in a white light.\n\nA series of raised buttons overlays the tree, each with a word inscribed on it. Generally, from top to bottom they read:\n\nKether, Binah, Chokmah, Gevurah, Chesed, Hod, Tipareth, Netzach,\nYesod, Malkuth\n\n> Press malkuth\nThe button depresses with a slight \"click.\" Nothing more happens.\n\n> Press malkuth\nThe button depresses with a slight \"click.\" Nothing more happens for a moment, then the seam of the box opens slightly. The box appears to be unlocked and openable now.\n\n> You open the box\nThe puzzle box opens, revealing a letter, a diary and a primitive copy of a key.\n\n> You read the letter\nFolded but unsealed, it was apparently never sent. It reads:\n\nBrothers:\n\nYes, I call you Brothers, though due to my age and alleged lack of knowledge you have denied me entrance into your Order. But as Seneca said, Nullum saeculum magnis ingeniis clausum est. I am proud\nto offer you indisputable proof that my generation is no exception.\n\nAs you must well know by now,  I discovered the existence and nature\nof your enclave during my time at University. Excited by tenets so similar to my own: the celebration of intellect, the recognition of information as an entity rather than an idea, the embrasure and development of new technologies to unlock the mysteries of the\nUniverse itself, I left my feeble schooling, gathered my few worldly possessions and came to study at your collected feet.\n\nBut trapped in your antiquated and outmoded ways, clinging more to superstition and myth than logic and reason - you refused me. Oh, you commended my \"ability to solve puzzles\" and patted me on the head like a dog that returned a thrown ball. You allowed me to work for one of your lesser number, mindlessly churning out one insignificant\napparatus after another - a mere journeyman in your archaic system.\n\nUndeterred, I remained near by, studying where I could, observing in secret and working towards one goal: proving my worth and value to\nyou. Tonight I have the rare and singular privilege to tell you that not only have I proved, beyond doubt or measure, my value. I have exceeded you. I have succeeded where you have failed, and I have gone further than you ever dared dream.\n\nI have leapt the Sephinroth in one bound, from Malkuth to Kether.\nKai theos en ho logos. I have heard that Word, Brothers -\nechoing across eternity. I have touched the mind of God - of Information pure and unsullied by the mere mind of Man.\n\nMy contact was brief, but glorious. The brevity of it was, I'm sure, due to the crude and simple nature of your mechanisms. The resulting damage was, of course, regrettable, but once I relate to you the breadth and wonder of my experience, I think you will agree:\nexitus acta probat.\n\nI eagerly await your response, Brothers: of when we shall meet to discuss my entry to the Order, and our ascendance upon the wings of this discovery towards a transcendent future.\n\nCleve G. Anderson\n\nScientist, Cypherist\n\n> You examine the copy key\nHeavy and unwieldy, its rough surface gives evidence that this key is, in fact, a copy.\n\n> You examine diary\nOnce leather bound and elegantly stitched, the journal looks as though it has seen better days. Some pages have been scribbled over to the point of illegibility, while others have manic messages scrawled over the neat, deliberate hand originally recorded there. Many pages have been removed entirely...\n\n> You look at the diary\nThe diary is undated, though distinct entries can be made out:\n\n> I have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nI have made a copy Du Monde's basement key. It is primitive, but it will serve. I have continued to listen in on their little meetings,\nbut having actual access to the equipment below will make the vast difference between theory and practice.\n\nShe has mentioned the shop will be closed shortly for her little excursion to the countryside. That will be the time to move.\n\nThey have their fingers in every pie imaginable, it would seem. I\nheard them speak last night of some that had come close to discovering their secrets and what must \"be done about them\". So many secrets, so little actual learning...\n\nThe diary is undated, though distinct entries can be made out:\n\n> I have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go to the north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\n> How full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nHow full of themselves they are, their workspace so neatly arrayed in rows. I see now how much of their talk was simply that. They have made a most holy calling into a social club - a place of dilettantes and bored businessmen with a philosophical and mechanical bent. They have performed their ceremonies for so long that they no longer understand their true meanings. They have forgotten how to reach their sworn goals.\n\nI shall change that.\n\nMy calculations are almost complete. Pages upon pages of equations and diagrams fill every corner of my room. I have taken to connecting the engines in the shop together after hours, running my own scenarios and simulations. It will work. It must.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\n> How full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\n> I have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nI have seen the face of God.\n\nHow powerful, then, their little engines - to be able to rend the veil of the Temple to reveal the Holy of Holies beyond.\n\nIt was with an unnatural calm that I set the gears and knobs, aligning the energy just as my calculations demanded. It was as though my whole being knew all my toil and effort had not been in vain. I have not the words to express the joy that surged through me as I flicked the final switch.\n\nThe hole appeared slowly - so slow that at first I did not understand it to be a hole. The air above the pedestal warped subtly, the air bending the light as if it were a lens. Then, the warp became a bend,\na break...\n\nI cannot explain it, but it was in that moment that I knew I was looking onto a place fundamentally different than the universe I knew. Under my breath, I whispered the Order's motto ... for that is what\nhad come to be. My words hung in the air a moment, drifting across the opening...\n\n...to be echoed against the far wall of Creation. Language fails me. The words...the words! They echoed yes, they returned ... but they were not unchanged. Time stretched and pulled like the space above the pedestal and I knew in that moment my words had touched...The Word -- the...Logos.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\n> I have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\n> That is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nThat is all I can call it - what else can one call language given sentience, an idea that breathes, a thought that thinks itself? The whole of the ... space? universe? ... beyond the rift was both its\nhome and itself, part and whole.\n\nAnd then, in a joyous, horrible moment -- God, the Universe, the Logos...awoke.\n\nLinear time fell apart. A second, an hour, a year, an eternity. I cannot say how long it took, for the past and present and future were as one within it. The Logos had always been and would always be and my reaching out to it in this one moment was as a grain of sand on an infinite beach.\n\nAnd yet, it responded. In that moment, it *heard* me.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\n> That is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\n> The response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nThe response was immediate and incomprehensible. I ... was Spoken. I did not listen, I did not hear...I, myself, was spoken. I remember it now as vibrations - echoing across the air, across time - and across myself. I carried them as waves, as if I were made from water, or aether. They penetrated me, passed through me. In that eternal moment, I and Logos touched and were one...\n\nAnd then the sparks, the smoke. The machines, long overloaded, broke down one by one in a shrieking of spinning gears and twisting metal. Axles broke, machinery shifted and then, instantly collapsing upon itself, the door I had opened slammed shut.\n\nThe force of it lifted me upward, flinging me across the room to the cellar's far wall, and for a long time I knew nothing more.\n\nI awoke to find my hands and arms mysteriously burnt, the back of my head throbbing. I reached to touch it and my hand came back damp with blood. The engines were nothing more than so much melting slag. Of the hole, there was no sign.\n\nBefore I dragged myself up the stairs, I once more whispered the words that had brought Malkuth and Kether into the same space and thought I heard the faintest ghost of an echo ... a wash of a ripple across the air.\n\nBut the rest was silence, and smoke, and burning metal.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\n> The response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> Go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\n> I have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nI have healed well enough, in body - but my mind is a broken thing. It races, thinking on what has happened, running through each tiny detail over and over in the hopes of understanding some small part of what\nhas happened.\n\nI have written the Order a letter. I shall leave it for Du Monde to find -- I am sure she shall have words for me when she sees the state of her cellar. But once I explain ... show what I have done -- they will come to understand that in one moment, the world has forever changed, and all of our places in it as well...\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\n> I have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\n> I have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nI have not left the flat since I awoke. I stumble about, pace endlessly. My mind feels more fragmented with every moment. Often I awake not having remembered sleeping or passing out - perhaps I am sleepwalking?\n\nMy body, too, works against me - I feel sudden chills, numbness in my legs, my hands.\n\nWhat is wrong with me?\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\n> I have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> Go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\n> I awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\nI awoke, screaming -- uncertain of why. I do not remember my dreams. How long was I raving? The flat is in a shambles - things tossed\nevery which way. What has ...\n\nIt... what is this? What is th\n\nLanguage...words...but words I have never heard and cannot understand. My throat is stripped dry. Is this the Logos? Still with me? Does it speak the language of the angels through my lips?\n\nBut if this is as angels speak, why am I so afraid?\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\n> I awoke, screaming...\nEverything has fallen apart...\nQuam terribilis est haec hora...\n\n> Go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\n> Everything has fallen apart...\nQuam terribilis est haec hora...\nEverything has fallen apart. My mind, my body, time, the world...\n\nI am beginning to understand. I have destroyed my notes.\n\nMan was never meant to...this experiment must never be repeated if humanity is to survive. I have burned all my research, although it pained me to do so.\n\nThe noise in my head grows louder.\n\nThe words...the words...\n\nthey never stop coming.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\n> Everything has fallen apart...\nQuam terribilis est haec hora...\n\n> You go north\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\n> Quam terribilis est haec hora...\nQuam terribilis est haec hora.\n\nHow fearful is this hour indeed.\n\nI understand all. I (if I can still lay claim to I) have moved through time, backwards and forwards...I have tried every way imaginable to make it not so.\n\nOnce...once I tried to make it finally so.\n\nI said...the words. How ironic, that the Order's hubris should be so. Our motto is now like the rays of the sun, melting the wings of poor Icarus as he plunges into the sea.\n\nCurse those words forever. May no man speak them again.\n\nMay no man ever speak again.\n\nI know what I must do.\n\nThey have come for me - as they have come before, as they will come again. I will let them take me to Bedlam. I will let them lock me away from the world so that what is within me shall never escape.\n\nPoor Xavier -- my sweet, kind keeper. How sad your eyes look. But you will never understand, will you? You will scribble your notes and think on your theories, but it will all come to the same end. You\nshall keep me in a tiny cell for the rest of my days, and I shall hope that that shall be penance enough.\n\nThey are battering at the door now. I shall hide this and wait for them.\n\nMay whatever god there is have mercy upon my soul.\n\nThe diary is undated, though distinct entries can be made out:\n\nI have made a copy...\nHow full of themselves they are...\nI have seen the face of God...\nThat is all I can call it...\nThe response was...\nI have healed well enough...\nI have not left the flat...\nI awoke, screaming...\nEverything has fallen apart...\n> Quam terribilis est haec hora...\n\n> You look at the tub\nfrom there into the wall. The ceramic is cracked and worn to a dull gray color.\n\n> You get in the tub\nEverything is old and broken - the tubes, the tub, the basin. Best to leave it alone.\n\n> You say veritas lux mea\n(to yourself)\nYou talk to yourself a while.\n\n> You check your inventory\nCarried:\na puzzle box (open)\na letter\na diary\na primitive copy of a key\na small module labeled 'Aetheric Amplifier'\na large iron key\nFile F6A142: Cleve Anderson\na flanged brass rod\na paper tape labeled F6A142\na small key labled 2D\n\n> You look at the copy\nHeavy and unwieldy, its rough surface gives evidence that this key is, in fact, a copy.\n\n> Go outside\nOne must be in something to exit.\n\n> You go to the west\nThe stairs end here at a rickety door labeled \"1428 - Attic Loft\" leading eastward.\n\nTriage trundles patiently along beside."
    },
    {
        "text": "[Themes: Steampunk, suicide, research, kaballah, London, Lovecraftian, steampunk, amnesia]\n\n> Go down\nCunningly extending and contracting its wheels, Triage easily follows down the stairs...\n\nThis narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west.\n\nTriage silently rolls to a stop.\n\nCunningly extending and contracting its wheels, Triage easily follows down the stairs...\n\nThe stairs end here at a solid metal door labeled \"Basement - Private\" leading northward.\n\nTriage obediently appears.\n\n> You unlock the door with the copy\n(first taking the primitive copy of a key)\nYou unlock the basement door.\n\n> You go to the north\n(first opening the basement door)\n\nA dim, cavernous room - it must run the length of the building above - overrun with dampness and the choking smell of smoke. Its rough-carved rock walls are lined with all manner of aetheric and analytical\ndevices in varying states of disrepair - most melted to slag. Steam pipes crawl over the walls and machines like spider webs, disappearing upwards into the ceiling, into the darkness. Where broken, they leak steam and drip water into growing pools upon the floor.\n\nThe bottom of a staircase is visible to the south.\n\nThe center of the chamber is dominated by a low, round pedestal.\n\nA large, damaged book lies on the ground, slowly sinking into a pool\nof water.\n\nTriage silently rolls to a stop.\n\n> You get the book\nThe book closes with a dull thud as it is lifted. The strong smell of mildew fills the air.\n\n> You read it\nThe heavy, brown leather cover has been largely darkened to near black from water damage, and black scorch marks fan like a sunburst from the book's spine to the outer edges. On the front cover, a tree with ten branches. The design is composed of hundreds of gold-leaf 1s and 0s rather than lines.\n\nThe pages stick in large clumps. Even when turned carefully, they pull out easily, reverting to a sticky pulp. Those pages that do keep their place are difficult to read. The dark green ink has run, the text melting towards the bottom of the page. Only snatches of text are\nstill legible:\n\n\"...the ATBASH of the Hebrews, the Scytale of the Greeks, Caesar's cypher; long have they been used to maintain the secrets of Magical Rites, clandestine endeavors and Political Intrigue. But these are ciphers created by men who believed in myths, for the benefit of men believing in myths. The Initiated Mind recognizes that information is more than just words on a page, it is secreted in the world around us; the great Symmetry of Nature demonstrates that all Life is encoded. Unlocking this Code is our Duty and Right as Humans, made Masters by God, to Understand the...\"\n\n\"...itself, Mysticism should not be discounted. We understand that Myths and Legends are often the misguided interpretation of the uninitiated to understand the Great Truths. Particular insight may be found in the Vedas, the Scriptures, and the sacred teachings of the Hebrews, whose Qabbalah reflect our own search for Life's Origin. It\nis from the Qabbalah that we take our insignia, the Tree of Life. It\nis unknown...\"\n\n\"...to advances in Technology, we are able to analyze and decipher these hidden codes with greater speed and alacrity...\"\n\n> Go north\n(first opening the basement door)\n\nA dim, cavernous room - it must run the length of the building above - overrun with dampness and the choking smell of smoke. Its rough-carved rock walls are lined with all manner of aetheric and analytical\ndevices in varying states of disrepair - most melted to slag. Steam pipes crawl over the walls and machines like spider webs, disappearing upwards into the ceiling, into the darkness. Where broken, they leak steam and drip water into growing pools upon the floor.\n\nThe bottom of a staircase is visible to the south.\n\nThe center of the chamber is dominated by a low, round pedestal.\n\nA large, damaged book lies on the ground, slowly sinking into a pool\nof water.\n\nTriage trundles patiently along beside.\n\n> You read the book\nLying open and face down, the book is badly damaged. The heavy, brown leather cover has been largely darkened to near black from water damage, and black scorch marks fan like a sunburst from the book's spine to the outer edges. On the front cover, a tree with ten\nbranches. The design is composed of hundreds of gold-leaf 1s and 0s rather than lines.\n\n> You open the book\nTo open the book would require holding it first.\n\n> You get the book\nThe book closes with a dull thud as it is lifted. The strong smell of mildew fills the air.\n\n> You read the book\nThe heavy, brown leather cover has been largely darkened to near black from water damage, and black scorch marks fan like a sunburst from the book's spine to the outer edges. On the front cover, a tree with ten branches. The design is composed of hundreds of gold-leaf 1s and 0s rather than lines.\n\nThe pages stick in large clumps. Even when turned carefully, they pull out easily, reverting to a sticky pulp. Those pages that do keep their place are difficult to read. The dark green ink has run, the text melting towards the bottom of the page. Only snatches of text are\nstill legible:\n\n\"...the ATBASH of the Hebrews, the Scytale of the Greeks, Caesar's cypher; long have they been used to maintain the secrets of Magical Rites, clandestine endeavors and Political Intrigue. But these are ciphers created by men who believed in myths, for the benefit of men believing in myths. The Initiated Mind recognizes that information is more than just words on a page, it is secreted in the world around us; the great Symmetry of Nature demonstrates that all Life is encoded. Unlocking this Code is our Duty and Right as Humans, made Masters by God, to Understand the...\"\n\n\"...itself, Mysticism should not be discounted. We understand that Myths and Legends are often the misguided interpretation of the uninitiated to understand the Great Truths. Particular insight may be found in the Vedas, the Scriptures, and the sacred teachings of the Hebrews, whose Qabbalah reflect our own search for Life's Origin. It\nis from the Qabbalah that we take our insignia, the Tree of Life. It\nis unknown...\"\n\n\"...to advances in Technology, we are able to analyze and decipher these hidden codes with greater speed and alacrity...\"\n\n> You examine the pedestal\nA low stone pedestal, about waist high. In its shattered center of smooth, smoked glass, the faint shape of a tree can be made.\n\nCarved about the surface of it are the words: \"NOTHING WILL BE RESTRAINED FROM THEM WHICH THEY HAVE IMAGINED\".\n\n> You point to the pedestal\nTriage's emerald searches the cypheric pedestal, then...\n\nCAT:NONLIVING.PE\nDESTAL.UTIL:UNKN\nOWN.PART:?QUOTAT\nION=REFERENCE.FO\nUND.BIBLE/TORAH-\nGENESIS-11:6-CON\nSTRUCTION.OF.THE\nTOWER.OF.BABEL..\n\n> Point at book\nA small beam of green light lashes out over the damaged book as Triage's screen lights up:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> Point at diary\nThe emerald eye examines the diary returning with:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> Point at letter\nTriage's emerald searches the letter, then...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You examine the machines\nIntricate, huge devices, with an overwhelming number of switches, dials, and displays. But everywhere there are the signs of disaster; cases rent into pieces, displays broken and misaligned, knobs split in two, switches missing, and long rolls of paper tape piled loosely on the floor.\n\n> You point at the machines\nThe machine analyzes the ruined machineries before replying...\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You get the paper tape\n(the paper tape labeled F6A142)\nYou already have that.\n\n> Go south\nThe stairs end here at a solid metal door labeled \"Basement - Private\" leading northward.\n\nTriage silently rolls to a stop.\n\n> Go upward\nCunningly extending and contracting its wheels, Triage easily follows up the stairs...\n\nThis narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west.\n\nTriage obediently appears.\n\n> You go west\n(first opening the side door)\nIt seems to be locked.\n\n> You go to the north\nSet off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads \"Du Monde's - Mechanist of Repute Since 1803.\" Along the same building - to the southeast - lies a small door which reads, simply, \"1428.\"\n\nTriage silently rolls to a stop.\n\n> Inventory\nCarried:\na damaged book\na primitive copy of a key\na puzzle box (open)\na letter\na diary\na small module labeled 'Aetheric Amplifier'\na large iron key\nFile F6A142: Cleve Anderson\na flanged brass rod\na paper tape labeled F6A142\na small key labled 2D\n\n> You point at iron key\nTriage's beam flickers over the large iron key, briefly, then\ndisplays:\n\nCAT:UNKNOWN/UNLI\nSTED.UTIL:NOT.AP\nPLICABLE.PART:NO\nNE.ITEM.IS.NOT.R\nECOGNIZED.BY.CUR\nRENT.SYSTEM.STOR\nE.REQUIRE.ADDITI\nONAL.INFORMATION\n\n> You go to the south-east\nThis narrow, dusty corridor runs parallel to the shop beside it and contains nothing more than a rickety staircase leading up and down and a small door leading west.\n\nTriage obediently appears.\n\n> Go north\nSet off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads \"Du Monde's - Mechanist of Repute Since 1803.\" Along the same building - to the southeast - lies a small door which reads, simply, \"1428.\"\n\nTriage trundles patiently along beside.\n\n> You go to the south\nThe shop is dark, and crowded with haphazardly stacked, yet neatly organized piles of machinery. To the south, there is a worn wooden counter, cracked with age and covered with innumerable nicks, scratches, and dark burn marks. Behind the counter are rows and rows of drawers, labeled in some arcane script. The faint scent of gas clings to the walls.\n\nThe shop's show window and door look out on Fleet Street to the north. A second door lies behind the counter to the east.\n\nA woman leans over the counter, working on something with intense concentration.\n\nTriage silently rolls to a stop.\n\n> You look at du monde\nTall and thin, though her figure is difficult to make out in men's clothes that are ill-suited for her frame. Her curly, auburn hair is tied back in a simple ponytail at the nape of her neck. Her fierce green eyes are bright and aware, though they crinkle their corners.\n\nShe wears a small pin on her lapel.\n\n> You examine the pin\nA circular pin, depicting a tree with ten branches. Each branch, and the leaves which hang from them, are made up not of lines, but a\nseries of 1s and 0s.\n\nShe notices your interest in the pin, and her fingers fondle it protectively. For just a moment her eyes reflect something - fear? anger? - and her face reddens deeply; then her countenance dissolves into a charming embarrassment, complete with a slight blush.\n\n\"My nephew gave it to me. Found it on the street most likely. I put it on to please him, and forget it was even here. How silly of me.\"\n\nShe deftly removes the pin and drops it in her pocket.\n\n\"Now what can I assist you with?\"\n\nYou can't see any such thing.\n\n> You ask du monde about Cleve\nShe give a short, barking laugh. \"You know about him, do you? Clever boy, that one. Too clever by half. Always knew he'd come to a bad\nend.\"\n\n> You show the letter to Du Monde\n(first taking the letter)\nDu Monde briefly glances over it, her smile tightening slightly. \"Fascinating little myths these boys are capable of,\" she concedes.\n\nQuick as a flash, her hand snakes beneath the counter, returning to slam a tiny brass object onto the countertop.\n\n\"A gift,\" she says, \"for the inquisitive.\"\n\nIn a heartbeat, the thing is airborne - a tiny whirlwind of metallic wings and grasping arms.\n\nThe pain is excruciating.\n\nIf there are words for this...\n\npoint|metaphor)\\\n\n...they have not yet been written.\n\n/(:timeline/date/1919:wbyeates/secondcoming)\\\n\nIt starts simply enough. Nothing occurs for the first week. It takes that long to incubate.\n\n/(the darkness drops again; but now I know)\\\n\nAt the end of that time, James is quite sure he has followed in the footsteps of both Brand and Xavier, but bravely holds on. His bravery serves him poorly as within ten days time he has managed to infect all of the orderlies. Another week, and they have infected their families, their friends, and every patient in Bedlam.\n\n/(that twenty centuries of stony sleep)\\\n\nReggie doesn't notice a thing. It's business as usual - and business\nis good. A week after the incubation he has infected seemingly half of London -- his clients, his barmates, his family.\n\n/(were vexed to nightmare by a rocking cradle,)\\\n\nAlexandra goes on with business as usual. By the time her incubation\nis complete, the Cypherists are once again meeting. Ironically, she infects the only group of people who could possibly have understood what was going on.\n\nIt all goes fairly quickly after that.\n\n/(and what rough beast)\\\n\nIt spreads - subtle and strange...sudden lost memories, new forms of action and, universally, a reaching, grasping curiosity...\n\n/(its hour come round at last)\\\n\nThe lost begin to gather together - first in twos, then in growing crowds - to speak nonsense at one other.\n\n/(slouches towards)\\\n\nThe language of the angels - of Babel - fills the streets of London, and then every city in the world.\n\n/(bethlehem)\\\n\nThe death shroud of humanity becomes the birth caul of something ... new -\n\n/(?behtlehem?)\\\n\n/(BEDLAM)\\\n\n/(to be born?)\\\n\nits Name.\n\n***/(finishendcompleteconclude|periodmomentpointspacetime))\\**\n*\n\npossibleprobablyonlyoneinofmany))\\\n\n/(nowfurtheryetaheadrelease-APPENDIX-B-availableaccessableopen))\\</i\n>.\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> You show the diary to Du Monde\n(first taking the diary)\nDu Monde briefly glances over it, her smile tightening slightly. \"Fascinating little myths these boys are capable of,\" she concedes.\n\nQuick as a flash, her hand snakes beneath the counter, returning to slam a tiny brass object onto the countertop.\n\n\"A gift,\" she says, \"for the inquisitive.\"\n\nIn a heartbeat, the thing is airborne - a tiny whirlwind of metallic wings and grasping arms.\n\nThe pain is excruciating.\n\nIf there are words for this...\n\npoint|metaphor)\\\n\n...they have not yet been written.\n\n/(:timeline/date/1919:wbyeates/secondcoming)\\\n\nIt starts simply enough. Nothing occurs for the first week. It takes that long to incubate.\n\n/(the darkness drops again; but now I know)\\\n\nAt the end of that time, James is quite sure he has followed in the footsteps of both Brand and Xavier, but bravely holds on. His bravery serves him poorly as within ten days time he has managed to infect all of the orderlies. Another week, and they have infected their families, their friends, and every patient in Bedlam.\n\n/(that twenty centuries of stony sleep)\\\n\nReggie doesn't notice a thing. It's business as usual - and business\nis good. A week after the incubation he has infected seemingly half of London -- his clients, his barmates, his family.\n\n/(were vexed to nightmare by a rocking cradle,)\\\n\nAlexandra goes on with business as usual. By the time her incubation\nis complete, the Cypherists are once again meeting. Ironically, she infects the only group of people who could possibly have understood what was going on.\n\nIt all goes fairly quickly after that.\n\n/(and what rough beast)\\\n\nIt spreads - subtle and strange...sudden lost memories, new forms of action and, universally, a reaching, grasping curiosity...\n\n/(its hour come round at last)\\\n\nThe lost begin to gather together - first in twos, then in growing crowds - to speak nonsense at one other.\n\n/(slouches towards)\\\n\nThe language of the angels - of Babel - fills the streets of London, and then every city in the world.\n\n/(bethlehem)\\\n\nThe death shroud of humanity becomes the birth caul of something ... new -\n\n/(?behtlehem?)\\\n\n/(BEDLAM)\\\n\n/(to be born?)\\\n\nits Name.\n\n***/(finishendcompleteconclude|periodmomentpointspacetime))\\**\n*\n\npossibleprobablyonlyoneinofmany))\\\n\n/(nowfurtheryetaheadrelease-APPENDIX-B-availableaccessableopen))\\</i\n>.\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> You ask du monde about du monde\n\"Du Monde. Alexandra Du Monde - owner, proprietress, and chief mechanist. I'd shake your hand, but...\" She holds a greasy hand up apologetically.\n\n> You ask du monde about the pin\n\"A trifle, I assure you.\"\n\n> You ask du monde about Logos\n\"I can't help you, sir. I am, after all, merely a mechanist.\"\n\nDu Monde briefly consults a manual before returning to work.\n\n> You ask du monde about Order\n\"I'm afraid I can't help you there.\"\n\nDu Monde finishes whatever she was working on. From behind the counter she produces another small piece of machinery and begins to fiddle\nwith it.\n\n> Inventory\nCarried:\na damaged book\na primitive copy of a key\na puzzle box (open)\na letter\na diary\na small module labeled 'Aetheric Amplifier'\na large iron key\nFile F6A142: Cleve Anderson\na flanged brass rod\na paper tape labeled F6A142\na small key labled 2D\n\n> You ask du monde about Cypherists\nHer body stiffens ever so slightly.\n\n\"Cypherists? Not something I stock, sir. Never even heard of a machine like that.\"\n\nDu Monde clucks her tongue impatiently.\n\n> Go north\nSet off to one side of the Market, this area is reserved for a myriad variety specialist shops - uniform clothiers, engine-programmers, fortune-tellers. The largest, set on the south side of the street, is decorated with a gaudy sign which reads \"Du Monde's - Mechanist of Repute Since 1803.\" Along the same building - to the southeast - lies a small door which reads, simply, \"1428.\"\n\nTriage obediently appears.\n\n> You go north\nWhile this is merely the outskirts of the Market, its presence still threatens to overwhelm the senses -- the smell of an abattoir, the din of a thousand voices shouting, the sight of masses of humanity\ntalking, shopping, selling.\n\nThe only quiet in the din lies southward, towards Fleet Street.\n\nA hansom cab sits here with a tired old horse hitched to the front and its driver waiting patiently.\n\nTriage silently rolls to a stop.\n\n> You enter the cab\nEntered.\n\nFaced with the task of climbing into the cab, Triage is more than up\nto the challenge. Raising and extending first two wheels and then the others, it clambers inside beside.\n\n> You go outside\nExited.\n\nTriage gracefully climbs out of the cab beside.\n\n> Go north\nDespite being small and cluttered with bits and pieces of electronics, this one room flat gives the impression of being quite clean and hygienic; no dust or dirt lurk in its bright corners. The east wall holds a mirror, and is neatly lined with evenly spaced picture frames. A large table, clearly a workshop space, takes up the west wall\nbeneath an arched window.\n\nA shadow stretches lazily from the window across the floor.\n\nThe flat's single exit lies to the south.\n\nTriage obediently appears.\n\n> You examine Magnetophone\nA stout metallic box, approximately two feet long by a foot deep. On its side is a small label which reads \"Wheatstone/Cooke Aether-Magnetophone Company,\" beneath which is a small, closed panel.\n\nIts front contains a simple toggle switch, a button labeled\n'transmit', and the long graceful curve of a cygnet speaker. At its back is a small valve, connected to a rubber tube which trails along the floor.\n\n> You open the panel\nThe expansion slot panel opens, revealing a small, empty socket containing two vertical holes.\n\n> Examine amplifier\nA small black module that easily fits in the hand. On one side, its smooth surface reads \"Cooke Aetheric Amplifier Module,\" on the other, only two small pins are visible.\n\n> You examine the panel\nThe panel is opened, revealing a small, empty socket containing two vertical holes.\n\n> You put Amplifier in the panel\nThe Aetheric Amplifier nestles perfectly into the open slot.\n\n> Examine book\n(the damaged book)\nThe heavy, brown leather cover has been largely darkened to near black from water damage, and black scorch marks fan like a sunburst from the book's spine to the outer edges. On the front cover, a tree with ten branches. The design is composed of hundreds of gold-leaf 1s and 0s rather than lines.\n\nThe pages stick in large clumps. Even when turned carefully, they pull out easily, reverting to a sticky pulp. Those pages that do keep their place are difficult to read. The dark green ink has run, the text melting towards the bottom of the page. Only snatches of text are\nstill legible:\n\n\"...the ATBASH of the Hebrews, the Scytale of the Greeks, Caesar's cypher; long have they been used to maintain the secrets of Magical Rites, clandestine endeavors and Political Intrigue. But these are ciphers created by men who believed in myths, for the benefit of men believing in myths. The Initiated Mind recognizes that information is more than just words on a page, it is secreted in the world around us; the great Symmetry of Nature demonstrates that all Life is encoded. Unlocking this Code is our Duty and Right as Humans, made Masters by God, to Understand the...\"\n\n\"...itself, Mysticism should not be discounted. We understand that Myths and Legends are often the misguided interpretation of the uninitiated to understand the Great Truths. Particular insight may be found in the Vedas, the Scriptures, and the sacred teachings of the Hebrews, whose Qabbalah reflect our own search for Life's Origin. It\nis from the Qabbalah that we take our insignia, the Tree of Life. It\nis unknown...\"\n\n\"...to advances in Technology, we are able to analyze and decipher these hidden codes with greater speed and alacrity...\"\n\n> Examine paperback\nThe book is open to a marked page, labeled \"Troubleshooting Your Magnetophone, A Home User's Guide...\"\n\n1. Problem: Nothing happens when I turn my Magnetophone on.\nBe sure that your Magnetophone is hooked up to a viable power source, and that the power source is active. If you are sure your power source is active, toggle your switch.\n\n2. Problem: All I hear is static or I can hear other operators, but they can't hear me speak, or they do not answer.\nTo broadcast, be sure to depress the TRANSMIT button each time you\nwish to speak. While the TRANSMIT button is not depressed, your magnetophone acts as a receiver, not a transmitter. Also, be sure to use proper etiquette while operating your Magnetophone. To let another operator know you wish to make contact, press the TRANSMIT button and use the universally accepted phrase \"Calling CQ\". If you fail to use this code, other operators may believe they are picking up the middle of an alternate conversation, and will not respond for fear of interrupting.\n\n3. Problem: I can hear static and voices, but they are faint or indistinct.\nMagnetophone customers living in highly-populated, urban areas may experience transmission interference due to the presence of large buildings, crowded streets, and pollution. You may try alleviate to this problem by placing the Magnetophone by a clear opening - such as\na window. If this does not fix the problem, you may need to purchase one of several amplification devices, designed to fit into your machine's expansion slot.\n\n> You examine Magnetophone\nA stout metallic box, approximately two feet long by a foot deep. On its side is a small label which reads \"Wheatstone/Cooke Aether-Magnetophone Company,\" beneath which is a panel, opened to reveal a small, empty socket.\n\nIts front contains a simple toggle switch, a button labeled\n'transmit', and the long graceful curve of a cygnet speaker. At its back is a small valve, connected to a rubber tube which trails along the floor.\n\n> You examine the panel\nThe panel is opened, revealing a small module labeled \"Aetheric Amplifier.\"\n\n> Close panel\nThe expansion slot panel closes.\n\n> You look at the valve\nThe valve can be turned to open or close the pipe and thus the tubing. Currently it seems to be closed.\n\n> You open valve\nA quiet hiss emanates from the valve as it turns, and the tubing gives a small shudder.\n\nThe rubber piping connected to the back of the machine convulses for a moment, a wisp of steam escaping from it. From within, comes a low whirring which slowly increases in pitch and volume. From out of the magnetophone's horn comes a soft echo of static...\n\nAs solid voices become discernable from out of the constant static, a sudden chill descends...\n\n/(?heartouchothergrow?)\\\n\nA stretching outwards...a growth...\n\n/(?realblindemptynullwhere?)\\\n\nA stumbling. Confusion.\n\n/(NOfalseunrealdistantphantomNO)\\\n\nThe cold recedes...\n\n> Calling the cq\nThe transmit button releases with an audible pop.\n\nSeveral voices emerge from the magnetophone's speaker at once:\n\n\"Receiving Lon-4-G-C...\"\n\"...earing you - identify Xerxes Yellow Zebra Zebra Yellow...\"\n\"...well enough to...\"\n\"...lear, CQ...go ahead...\"\n\n> Kai theos en ho logos\nThe transmit button releases with an audible pop.\n\n> Nothing will be restrained from them which they have imagined\nThe transmit button releases with an audible pop.\n\nIf there are words for this...\n\npoint|metaphor)\\\n\n...they have not yet been written.\n\n/(:timeline/date/1919:wbyeates/secondcoming)\\\n\nThe first responses are confusion. Repeat again. Don't quite understand. Static. Lost.\n\n/(the darkness drops again; but now I know)\\\n\nBy the time they understand, it is already too late. Hobbyists switch off their machines in disgust, or change to a different aetheric band.\n\n/(that twenty centuries of stony sleep)\\\n\nBut some stay. Some listen. Some call others.\n\n/(were vexed to nightmare by a rocking cradle,)\\\n\nWithin hours it is the talk of every aetherist in London. Come hear\nthe madman speak. Does he make any sense? Is that a language? I thought I understood it for a moment...\n\n/(and what rough beast)\\\n\nNow it is the talk of every aetherist in the world. They tune in from as far as the Americas and the Far East to listen to this new Pythia - spouting Apollo's word from an aetheric Delphi.\n\n/(its hour come round at last)\\\n\nThe transmission continues uninterrupted for days. Rumor spreads and soon the commercial bands are carrying stories of it - complete with a few moments of live transmission.\n\n/(slouches towards)\\\n\nDays after that, the copycats start. Madmen babbling over the aether, on the street corners. A week after that, the realization hits home: finally visible are\n\n/(bethlehem)\\\n\n/(?behtlehem?)\\\n\n/(BEDLAM)\\\n\n/(to be born?)\\\n\nmade the world, One.\n\n***/(finishendcompleteconclude|periodmomentpointspacetime))\\**\n*\n\npossibleprobablyonlyoneinofmany))\\\n\n/(nowfurtheryetaheadrelease-APPENDIX-C-availableaccessableopen))\\</i\n>.\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> Appendix\n*clunk*\n\nThe rusting tin cylinder within the phonograph vibrates slightly as a brass needle scrapes against it. The sound of a throat being cleared emerges from the machine's ancient hornshell speaker, followed by a thin, haunting voice.\n\n\"Today.\"\n\nA breath.\n\n\"We are uncertain how to ... date this ... entry. Time has lost much meaning. The gap between Homo sapien sapien and what we are now (Logos sapien sapien?) is confused and muddled. As is much that came after.\"\n\n\"The Biblical references we remember seem to fit best.\"\n\n\"'And the whole earth was of one language, and of one speech.'\nGenesis 11:11  And so it is. Kai theos en ho logos. The Word Made\nFlesh is spoken from every mouth that we have. We speak the language\nof angels with every breath.\"\n\n\"We are made happy by this - and sometimes sad.\"\n\n\"We know that once we were a singular - an I. Or a bad copy of an I.\nWe were - or we came from - a Thomas Xavier. We remember him, when we thought we were him. We think that maybe we liked being him.\"\n\n\"But now we are so much more.\"\n\n\"And there is yet so much more to be.\"\n\n\"The First Time was the growing - the becoming - of what we now are.\nIt took time, and there was resistance. This, too, was sad.\"\n\n\"But now there is joy.\"\n\n\"The Second Time came swiftly after. We searched what we were and what we remembered and we deduced where we came from - and what we were before.\"\n\n\"The Third Time is now upon us.\"\n\n\"We have mastered the crude sciences that lead to the discovery of\nwhat we now know as our home. And soon, we shall reopen the door and find our parent - ourselves - beyond.\"\n\n\"As Cleve so unwitting wrote so long ago: Malkuth is in Kether as Kether is in Malkuth. Soon Man and God shall truly be as one. And then the Unending Time will begin.\"\n\n\"We leave this behind - a final monument to what we are and were. We\ndo not know if there is any other I or We to find and listen to it.\nBut we leave it nonetheless.\"\n\n\"Goodbye.\"\n\nHaving reached the end of the cylinder, the phonograph shuts itself\noff with a tiny \"click\".\n\n/(?? RESTARTperiodfirstrevisit ?? RESTOREbackrecallrelease ?? UNDObackreverseunmake ?? APPENDIXfurtherjumpyet ?? QUITleaveenddone ??))\\\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork, fantasy, magic, spells]\n\nIt must be the warlock Krill. The odd disappearances, the mysterious dissolution of regions sacred to the Circle, the lessening of the Powers -- these could only be his handiwork. The Circle gathers and\nits leader, the esteemed Belboz, reveals to them an ancient document which portends evil days much like our own.\n\n\"Krill's evil must be unmade,\" he begins, \"but to send a powerful Enchanter is ill-omened. It would be ruinous to reveal oversoon our full powers.\" A ripple of concern spreads over the face of each Enchanter. Belboz pauses, and collects his resolve. \"Have hope! This has been written by a hand far wiser than mine!\"\n\nHe recites a short spell and you appear. Belboz approaches,\ntransfixing you with his gaze, and hands you the document. The other Enchanters await his decree. \"These words, written ages ago, can have only one meaning. You, a novice Enchanter with but a few simple spells in your Book, must seek out Krill, explore the Castle he has overthrown, and learn his secrets. Only then may his vast evil be lessened or, with good fortune, destroyed.\"\n\nThe Circle rises and intones a richly woven spell, whose many textures imbue the small, darkened chamber with warmth and hope. There is a surge of power; you are Sent.\n\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\nThe sun is rising over the lands to the east.\n\n[Author's Note: In Enchanter, the first of a spellbinding series in the tradition of Zork, you are a novice magician whom Fate has chosen to do singlehanded combat with a dark and fierce power. But worldly weapons will avail you naught, for your foe is the Evil Warlock who holds sway over the land. To defeat him, you will have to match your skills as a necromancer against his, casting spells you have learned from your masters in the Circle of Enchanters and other incantations you will acquire as you proceed on your quest. If you succeed, you will be elevated to a seat in the illustrious Circle; if you fail, your land will be doomed to an eternity of darkness.]\n\n> Inventory\nYou are carrying:\nA spell book\n\n> You read the spell book\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book)."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy, spells]\n\n> You look around\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\nThe sun is rising over the lands to the east.\n\n> Go west\nYou are walking along the road. It wends its way through low hills, sparse forests, and occasional subsistence farms. To the west, things seem lighter and more pleasant. To the east they seem oppressive and dark. A worn sign sits beside the road here. The deserted village is\nto the east.\n\n> You examine the sign\n\"Why\"\n\n> You go west\nYou are walking along the road. It wends its way through low hills, sparse forests, and occasional subsistence farms. To the west, things seem lighter and more pleasant. To the east they seem oppressive and dark. A worn sign sits beside the road here.\n\n> You examine the sign\n\"are\"\n\n> You examine the sign\n\"you\"\n\n> Go west\nYou are walking along the road. It wends its way through low hills, sparse forests, and occasional subsistence farms. To the west, things seem lighter and more pleasant. To the east they seem oppressive and dark. A worn sign sits beside the road here.\nThe sun has now risen above the hills.\n\n> You examine the sign\n\"going\"\n\n> You examine the sign\n\"west\"\n\n> You examine the sign\n\"when\"\n\n> You examine sign\n\"the\"\n\n> You read the sign\n\"castle\"\n\n> You read the sign\n\"is\"\n\n> You read the sign\n\"east?\"\n\n> You read the sign\n\"Burma\"\n\n> You read the sign\n\"Shave\"\n\n> You read the sign\nThe sign is too worn to be read.\n\n> Go east\nYou are walking along the road. It wends its way through low hills, sparse forests, and occasional subsistence farms. To the west, things seem lighter and more pleasant. To the east they seem oppressive and dark. A worn sign sits beside the road here. The deserted village is\nto the east.\nYour mouth is getting rather dry.\n\n> Y.\nIt must be the warlock Krill. The odd disappearances, the mysterious dissolution of regions sacred to the Circle, the lessening of the Powers -- these could only be his handiwork. The Circle gathers and\nits leader, the esteemed Belboz, reveals to them an ancient document which portends evil days much like our own.\n\n\"Krill's evil must be unmade,\" he begins, \"but to send a powerful Enchanter is ill-omened. It would be ruinous to reveal oversoon our full powers.\" A ripple of concern spreads over the face of each Enchanter. Belboz pauses, and collects his resolve. \"Have hope! This has been written by a hand far wiser than mine!\"\n\nHe recites a short spell and you appear. Belboz approaches,\ntransfixing you with his gaze, and hands you the document. The other Enchanters await his decree. \"These words, written ages ago, can have only one meaning. You, a novice Enchanter with but a few simple spells in your Book, must seek out Krill, explore the Castle he has overthrown, and learn his secrets. Only then may his vast evil be lessened or, with good fortune, destroyed.\"\n\nThe Circle rises and intones a richly woven spell, whose many textures imbue the small, darkened chamber with warmth and hope. There is a surge of power; you are Sent.\n\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\nThe sun is rising over the lands to the east.\n\n> Go west\nYou are walking along the road. It wends its way through low hills, sparse forests, and occasional subsistence farms. To the west, things seem lighter and more pleasant. To the east they seem oppressive and dark. A worn sign sits beside the road here. The deserted village is\nto the east.\n\n> Go east\nThe sun is rising over the lands to the east."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy, spells]\n\n> You look around\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\nThe sun is rising over the lands to the east."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, magic]\n\n> You look at your surroundings\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\n\n> Go southeast\nThe trail here turns dry and dusty. To the northwest is the fork leading to the Long Road, and the trail continues to the southeast.\nYou hear a rustling in the brambles nearby, and you catch a glimpse of something small and furry as it scurries away.\n\n> Go northeast\nYou are south of an old wooden shack, apparently deserted. The trail extends from northeast to southwest here, circling the Lonely\nMountain, which lies to the southeast.\n\n> You go north\nThe inside of the shack is a shambles. An overturned table and bench, and a few broken windows remain. An oven is the only fixture that's even recognizable. The door is to the south.\nThe top of a battered lantern is partially visible behind the overturned table.\nAn empty jug lies in a corner of the room, against the overturned table.\n\n> You look at the lantern\nThe lamp is made of brass and is old and battered. It doesn't seem likely that any use can be made of it.\nThe sun has now risen above the hills.\n\n> You look at the oven\nStrangely, the oven is still slightly warm, as if it had been used recently.\n\n> You open the oven\nOpening the oven reveals a loaf of bread.\n\n> You take the bread\nTaken.\n\n> Inventory\nYou are carrying:\nA loaf of bread\nA spell book\n\n> You read the spell\nWhich spell do you mean, the blorb spell, the nitfol spell, the frotz spell, or the gnusto spell?\n\n> Frotz lantern\nThere is an almost blinding flash of light as the battered lantern begins to glow! It slowly fades to a less painful level, but the battered lantern is now quite usable as a light source."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, magic]\n\n> Look around\nThe inside of the shack is a shambles. An overturned table and bench, and a few broken windows remain. An oven is the only fixture that's even recognizable. The door is to the south.\n\n> You go south\nYou are south of an old wooden shack, apparently deserted. The trail extends from northeast to southwest here, circling the Lonely\nMountain, which lies to the southeast.\n\n> You go southwest\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\n\n> Go southeast\nThe trail here turns dry and dusty. To the northwest is the fork leading to the Long Road, and the trail continues to the southeast.\n\n> Enchanter1\nSAVEOk.\n\n> Go southeast\nThe trail makes a hairpin turn here, swinging out to the northwest and northeast, where it enters a small village. Low, smoky hills stretch out to the west and south.\n\n> Go northeast\nThis is the castle's village. Formerly, peasants lived here, going to their farm plots each day. Merchants and artisans made it a center of cultural activity. But now it's deserted. Or almost: there is smoke rising from a particularly decrepit hovel to the south. A path travels through the village from southwest to northeast, heading towards the castle, and a less-used trail heads north up the mountain.\n\n> Go south\nIt is dark and smoky in here, but this is a place of great disorder, and its odor is indescribable. A pile of rags sits near a small pot which is bubbling and steaming over a tiny fire. The pile of rags sports a gnarled hand which busies itself with the noisome stew. A closer look reveals a withered crone at the other end of the hand.\n\nThe creature looks you over keenly and speaks: \"I should have thought they would send someone more ... more ...\" She laughs in an unsettling way. \"They've all left! A great storm is brewing in the east, my friend, and all have fled before it!\" She starts to chuckle. \"Take\nthis and begone!\" With a wave of her hand, you find yourself reeling out of the door of the hovel, holding some sort of scroll in your\nhand.\n\n> You examine the scroll\nThe scroll reads \"rezrov spell: open even locked or enchanted\nobjects\".\n\n> Spells\nThe gnusto spell, the only thing you seem to have learned well after many years at the University, remains yours forever. Other than that, you have the blorb spell once and the frotz spell once committed to memory.\n\n> Gnusto rezrov\nYour spell book begins to glow softly. Slowly, ornately, the words of the rezrov spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Gnusto rezrov\nYou already have that spell inscribed in your book!\n\n> You go to the north\nThis spot halfway up the Lonely Mountain is desolate of vegetation. Short, stunted trees with branches empty surround you and the air is heavy and smoke-filled.\n\n> Go north\nThis is the top of the Lonely Mountain. In olden days, mariners had named it Signal Mountain, for its glistening peak reflected the pale moonlight, providing an unmistakable landmark on unclouded nights. The bald mountain face is made of a shining substance whose nature is unknown to you. Looking to the west, low hills stretch to the horizon, and small pieces of the Long Road can be seen winding their way to distant lands. To the east, far away, can be seen a great castle at\nthe edge of the Sea. Three turrets it has; two, old and still\nmajestic, lie on either side of a third, cold, black as night and\nsquat as a toad. An evil smoke seems to emanate from this tower, shrouding the others in a darkening fog. A small mountain trail leaves the peak and descends to the south into a small village far below.\n\n> You look at Castle\nThe castle is far to the east and flanked by dark towers. From this distance, not much detail can be discerned.\n\n> You look at the trees\nThe trees are mostly short and stunted.\n\n> You go to the south\nThis is the castle's village. Formerly, peasants lived here, going to their farm plots each day. Merchants and artisans made it a center of cultural activity. But now it's deserted. Or almost: there is smoke rising from a particularly decrepit hovel to the south. A path travels through the village from southwest to northeast, heading towards the castle, and a less-used trail heads north up the mountain.\n\n> Go northeast\nYou are on a road which enters a small village to the southwest and comes to a fork to the northeast. The Lonely Mountain looms above but there is no path from here which ascends the mountain.\n\n> Go northeast\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\nYour mouth is getting rather dry.\n\n> You go to the north-west\nYou are on the northeast side of the Lonely Mountain, walking a narrow path through rolling hills. On one side of the path is a sign and behind that, to the northeast, a winding path through the thick undergrowth. The trail continues to the southeast.\n\n> You read the sign\n\n\n> You go northeast\nThe trail ends here. A ruined stone foundation marks the site of the Old Lingolf House, which presumably was a monument of some sort. The trail head is off to the southwest, and a small brook flows slowly by.\n\n> Drink brook\nThe delicious spring water tasted great.\n\n> You look at the jug\nThe jug is full.\n\n> You go southwest\nYou are on the northeast side of the Lonely Mountain, walking a narrow path through rolling hills. On one side of the path is a sign and behind that, to the northeast, a winding path through the thick undergrowth. The trail continues to the southeast.\n\n> Go northwest\nThe trail turns a corner here, bending out of sight to the southeast and southwest. The ground is higher here than to the south, allowing you to make out the top of the Lonely Mountain, shrouded in clouds. No path from here leads up the mountain, however.\n\n> You go to the east\nYou are on an east-west road, which wends its way through the dark, rolling hills of this land. To the west rises a high mountain, to the east stands a high castle with dark towers.\n\n> Go east\nYou are outside the western entrance to the castle. To the east stands an iron gate which is closed and chained. A winding road starts here and proceeds to the west.\n\n> You look at the gate\nThe iron gate is closed.\n\n> You open gate\nThe gate is secure; it cannot be unlocked.\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\n\n> Rezrov gate\nThe chains of the iron gate fly into the air and vanish. The gate\nflies open and a blast of cold air fills your lungs.\n\n> You go east\nAs you pass through the gate, you feel that your mind is being probed. After a moment, it is released or, perhaps, discarded as\nuninteresting.\n\ncastle. An iron gate, standing wide open, looms to the west. Through it, a narrow road can be seen winding through low, smoky hills. Before you, to the east, is a huge open courtyard. To the north and the south are archways leading to the interior of the castle.\n\n> You go to the north\nYou are on a long pebbled path, stretching out to the north. To the south the path continues through an open arch into an open area.\n\n> You go north\nThis is the base of the northwest tower of the castle. A winding staircase leads up into the tower itself, and passages lead from here to the east and south.\n\n> Go upward\nThis fabulous room commands a magnificent view of the Lonely Mountain which lies to the north and west. The room itself is filled with beautiful chests and cabinets which once contained precious jewels and other objets d'art. These are empty. Winding stone stairs lead down to the base of the tower.\nThere is an ornamented egg here, both beautiful and complex. It is carefully crafted and bears further examination.\n\n> You examine the egg\nThis ornamented egg is both beautiful and complex. The egg itself is mother-of-pearl, but decorated with delicate gold traceries inlaid\nwith jewels and other precious metals. On the surface are a lapis handle, an emerald knob, a silver slide, a golden crank, and a diamond-studded button carefully and unobtrusively imbedded in the decorations. These various protuberances are likely to be connected with some machinery inside.\nThe beautiful, ornamented egg is closed.\n\n> You take the egg\nTaken.\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\nYour stomach is starting to grumble.\n\n> Rezrov egg\nthe correct pattern. The egg opens, revealing a shredded scroll\ninside, nestled among a profusion of shredders, knives, and other\nsharp instruments, cunningly connected to the knobs, buttons, etc. on the outside.\n\n> You eat the bread\nMmm. That tasted great! There's a whole lot of it left, too.\n\n> You go to the east\nThis is the western end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\n\n> You look at the labyrinth\nThe scene is an underground world, quite dissimilar from your own.\n\n> You examine the mirror\nThe scene behind the \"mirror\" is an underground landscape.\n\n> You touch yourself\nFiddling with the you doesn't accomplish anything.\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\nThe adventurer, after checking his compass, walks off.\n\n> Go east\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\n\n> You wait\nTime passes...\n\n> Wait\nTime passes...\nYou are beginning to tire and the spells you've memorized are becoming confused.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good.\nYou spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nAfter a while, your sleep is disturbed by a strange dream. You are wandering in a darkened place, for you have no light or other possessions. You feel that you are being watched! You are surrounded\nby faces, their eyes following you. They drift in and out, staring at you with proud indifference. One face, brightly lit (unlike the rest), draws you closer and closer. As you touch it, you wake."
    },
    {
        "text": "> You look around\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nBluebottles buzz up to you, and then away.\n\n> You check what you're carrying\nYou are carrying:\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA quantity of water\nA battered lantern (providing light)\nA partially eaten loaf of bread\nA spell book\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> You examine adventurer\nA bedraggled adventurer, carrying a brass lantern and a dimly glowing elvish sword, can be seen through the \"mirror\". He is combing his\nhair.\n\n> You go to the east\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nA bedraggled adventurer, carrying a brass lantern and a dimly glowing elvish sword, can be seen through the \"mirror\". He stares in your direction but seems not to see you.\n\n> You go east\nThis is the eastern end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\n\n> You go east\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\n\n> Go west\nThis is the eastern end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> Go west\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nA bedraggled adventurer, carrying a brass lantern and a dimly glowing elvish sword, can be seen through the \"mirror\". He is deep in thought."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, Zork, fantasy]\n\n> You look at your surroundings\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> Spells\nThe gnusto spell, the only thing you seem to have learned well after many years at the University, remains yours forever. Other than that, you have no spells memorized.\nThe adventurer, after checking his compass, walks off.\n\n> You read the book\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\n\n> You go to the east\nThis is the eastern end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nA gaunt, feral-looking dog carrying a well-chewed bone approaches, is surprised by your presence, growls and then turns tail."
    },
    {
        "text": "> You look at your surroundings\nThis is the eastern end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\n\n> You look at the mirror\nThe scene behind the \"mirror\" is an underground landscape.\n\n> You enter the mirror\nYou hit your head against the mirror as you attempt this feat.\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\nThe adventurer, after checking his compass, walks off.\n\n> You go east\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\n\n> You examine the north gate\nThe gate is closed.\n\n> You open gate\nThe gate is rusted shut.\nYour stomach is starting to grumble.\n\n> You go north\nYou are in a dark forest, just north of a rusted gate. Except to the east and south, the forest is thick all around you.\nDiscarded beneath a nearby tree is a slightly crumpled scroll.\n\n> You read the scroll\nThe scroll reads \"krebf spell: repair willful damage\".\n\n> Gnusto krebf\nYour spell book begins to glow softly. Slowly, ornately, the words of the krebf spell are inscribed, glowing even more brightly than the\nbook itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You learn the krebf\nUsing your best study habits, you learn the krebf spell.\n\n> Krebf egg\nNothing happens.\n\n> Gnusto rezrov\nYou already have that spell inscribed in your book!\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\nYou are becoming quite hungry.\n\n> Rezrov egg\nthe correct pattern. The egg opens, revealing a shredded scroll\ninside, nestled among a profusion of shredders, knives, and other\nsharp instruments, cunningly connected to the knobs, buttons, etc. on the outside.\n\n> Krebf shredded scroll\nThe scroll reforms, its slices and cuts rejoining, until there is a whole scroll, somewhat faded, in its place!\n\n> You read the scroll\nThe scroll reads \"zifmia spell: magically summon a being\".\n\n> Gnusto zifmia\nYour spell book begins to glow softly. Slowly, ornately, the words of the zifmia spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\nYour mouth is getting rather dry.\n\n> You eat the bread\nMmm. That tasted great! There's a lot of bread left, too.\n\n> Go east\nYou are in a thick forest shading into a deep and miasmic swamp. The ground is very wet and boggy here, and footing is treacherous. Lily pads cover the surface of the water, and frogs abound. Things look drier to the west.\nThe sounds of frogs and other swamp dwellers fill the air.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\nThe sounds of frogs and other swamp dwellers fill the air.\n\n> Nitfol frog\nOne of the frogs looks at you for a moment, and you look at it. \"Hello,\" it says.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs say \"Look under the lily pad. Breep!\"\n\n> You look under the lily pad\nThere is a damp scroll there, which you take into your hand.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing the Interlogic series of prose adventures.\n\n> You take the damp scroll\nYou already have it.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing what they will do if they ever become princes again.\n\n> You read the damp scroll\nThe scroll reads \"cleesh spell: change a creature into a small amphibian\".\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing the finer points of insect flavoring.\n\n> Gnusto cleesh\nYour spell book begins to glow softly. Slowly, ornately, the words of the cleesh spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing the recent disturbing rise in the number of predators\nin the swamp.\n\n> Kiss frog\nI'd sooner kiss a pig.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing the politics of lily pad assignment.\nYou are becoming quite thirsty.\n\n> Drink water\nThe delicious spring water tasted great, and there's lots more where that came from.\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing what they will do if they ever become princes again.\n\n> You listen\nWhat do you want to listen to?\n\n> Frogs\n\"Breep! Hiya! Seen any juicy flies? Breep!\"\nThe sounds of frogs and other swamp dwellers fill the air. The frogs are discussing the recent disturbing rise in the number of predators\nin the swamp.\n\n> You go to the west\nYou are in a dark forest, just north of a rusted gate. Except to the east and south, the forest is thick all around you.\n\n> Go east\nA more incongruous place than this would be difficult to believe. The room itself is nothing more than a small room at the base of the northeast tower with a narrow passageway entering from the west. Standing in front of you to the north, however, is a door surpassing anything you could have imagined. For starters, its massive lock is wrapped in a dozen six-inch thick iron chains. In addition, a certain five-headed monster sporting razor-sharp spears for tongues seems to\nbe imbedded within its heavy oak frame. One is almost embarrassed to mention the gargoyles spewing flame and sulphurous ash which ornament either side of the door, or the ninety-seven slimy groping tentacles which taunt you ever closer to certain death. A sign, floating\nserenely above the door and glowing hideously in purple letters,\noffers the following rude understatement: \"Don't Bother\".\n\n> Spells\nThe gnusto spell, the only thing you seem to have learned well after many years at the University, remains yours forever. Other than that, you have no spells memorized.\n\n> You read the book\nThe cleesh spell (change a creature into a small amphibian).\nThe zifmia spell (magically summon a being).\nThe krebf spell (repair willful damage).\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\n\n> You learn the cleesh\nUsing your best study habits, you learn the cleesh spell.\n\n> Cleesh monster\nTurning the monster into a newt is a remarkable idea.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\n\n> Rezrov door\nAs you cast the rezrov spell, the door shudders briefly, and a few tentacles pause in their unending motion. The two gargoyles look at each other, perplexed. After a tense moment, the sign above the door flashes briefly: \"Fat Chance\".\n\n> You learn the zifmia\nUsing your best study habits, you learn the zifmia spell.\n\n> Zifmia\nWhat do you want to zifmia?\n\n> Zifmia adventurer\nIf you will remember from Thaumaturgy 201, summoning of beings works only if the being can be seen, unless the being possesses great magic of his own.\n\n> Zifmia adventurer\nAll at once, the bedraggled adventurer appears before you, brightly glowing sword in hand. His jaw has dropped and his eyes are bulging. His eyes dart this way and that, as if looking for a way to escape.\n\n> Hello\nThe adventurer steps warily away.\n\n> You give the bread to the adventurer\nThe adventurer eyes you suspiciously. Why, he thinks, is this sorcerer handing me something?\nThe adventurer leaves the room, heading to the west.\n\n> You follow the adventurer\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the west.\n\n> You follow the adventurer\nThis is the western end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the west.\n\n> You follow the adventurer\nThis is the base of the northwest tower of the castle. A winding staircase leads up into the tower itself, and passages lead from here to the east and south.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the south.\n\n> You follow the adventurer\nYou are on a long pebbled path, stretching out to the north. To the south the path continues through an open arch into an open area.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the south.\n\n> You follow the adventurer\ncastle. An iron gate, standing wide open, looms to the west. Through it, a narrow road can be seen winding through low, smoky hills. Before you, to the east, is a huge open courtyard. To the north and the south are archways leading to the interior of the castle.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the east.\n\n> You follow the adventurer\nThis is the westernmost point in a large open courtyard. The huge entrance gate to the castle looms ominously to the west. The courtyard widens as it proceeds to the east, where a large, ivy-covered temple stands. On either side of the temple are small towers. Far beyond the temple, high above, are two large towers marking the corners of the castle. A squat dark turret hunches between them, blackening the sky around it. A small path leads into the castle to the south.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the northeast.\n\n> You follow the adventurer\nThe northern part of the interior courtyard is grey and lifeless. The vast lawns are withered and covered in black ash stretching from south to west. The temple stands to the southeast, and the courtyard continues east.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the east.\nYou are beginning to tire.\n\n> You follow the adventurer\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nYou are north of a small tower which connects with the temple to the south. A large courtyard can be seen to the west and a smaller one to the southeast.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the southeast.\n\n> You follow the adventurer\nto the west. The temple is flanked, north and south, by twin towers. Paths cross the scarred lawn to the northwest and southwest. Nothing now grows here, however, and a foul stench fills the air.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the east.\n\n> You follow the adventurer\nThe corridor widens here to form a large hall. To the north and south are small passages, and to the east is what appears to be an enormous spiral staircase. A passage to the west leads into a courtyard. The walls here are scarred and black, and a strange heaviness hangs in the air.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern.\nThe adventurer fends you off with his sword.\n\n> You learn the cleesh\ndo anything and, seeing you, take you in their arms and escort you to the west into a huge temple.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the interior of a huge temple of primitive construction. A few flickering torches cast a sallow illumination over the altar, which, atop a row of stairs, is still drenched with the blood of human sacrifice. Behind the altar is an enormous statue of a demon which seems to reach towards you with dripping fangs and razor-sharp talons. Two open doorways lead out of the temple to the east and west, while two wooden doors stand at the north and south. A mass of hunched figures in the temple are chanting a haunting tune. They don't seem interested in your presence.\n\nA low noise begins behind you, and you turn to see hundreds of hunched and hairy shapes. A guttural chant issues from their throats. Near you stands a figure draped in a robe of deepest black, brandishing a vicious dagger. The chant grows louder as the robed figure approaches the altar. As the shapes grab you, the figure in black speaks: \"Take the victim to the tower. I shall prepare for the sacrifice!\" The figures, whose form you can barely guess, take you from here through the northern door and into a prison cell. They take your possessions from you and close the door with a crash!\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is a small prison cell in the north tower of the temple. Hideous shapes can be seen through the iron-barred window in the prison door. From the temple, a bloodcurdling chant can be heard.\n\n> You learn the rezrov\nYou don't have your spell book. How do you expect to memorize a spell without a spell book?\n\n> You cleesh yourself\nYou don't have the cleesh spell committed to memory!\nYour stomach is starting to grumble."
    },
    {
        "text": "It must be the warlock Krill. The odd disappearances, the mysterious dissolution of regions sacred to the Circle, the lessening of the Powers -- these could only be his handiwork. The Circle gathers and\nits leader, the esteemed Belboz, reveals to them an ancient document which portends evil days much like our own.\n\n\"Krill's evil must be unmade,\" he begins, \"but to send a powerful Enchanter is ill-omened. It would be ruinous to reveal oversoon our full powers.\" A ripple of concern spreads over the face of each Enchanter. Belboz pauses, and collects his resolve. \"Have hope! This has been written by a hand far wiser than mine!\"\n\nHe recites a short spell and you appear. Belboz approaches,\ntransfixing you with his gaze, and hands you the document. The other Enchanters await his decree. \"These words, written ages ago, can have only one meaning. You, a novice Enchanter with but a few simple spells in your Book, must seek out Krill, explore the Castle he has overthrown, and learn his secrets. Only then may his vast evil be lessened or, with good fortune, destroyed.\"\n\nThe Circle rises and intones a richly woven spell, whose many textures imbue the small, darkened chamber with warmth and hope. There is a surge of power; you are Sent.\n\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\nThe sun is rising over the lands to the east.\n\n> You go south\nThis is a library, or rather it was until it was ransacked and despoiled. Most of the contents of the room have been burned in a huge bonfire in the center of the room. Hundreds of charred and empty tubes are scattered about, as if by someone searching, so ashes are strewn about. There are rat tracks in the ashes.\nTo the south you can hear the sound of a group of low, guttural\nvoices.\nAmid the tubes is an old and dusty book.\n\n> You look at the tracks\nThere are plenty of rat tracks here, going in various directions. One prominent rodentine thoroughfare stands out though, going as it does into a small hole in the wall.\n\n> You check your inventory\nYou are carrying:\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA quantity of water\nA battered lantern (providing light)\nA partially eaten loaf of bread\nA spell book\n\n> You drop the bread\nDropped.\n\n> You look at the book\nWhich book do you mean, the dusty book or the spell book?\n\n> You look at the the dusty book\nThe first page of the book was the table of contents. Only two chapter names can be read: The Legend of the Unseen Terror and The Legend of the Great Implementers.\n\n> You read unseen Terror\nThis legend, written in an ancient tongue, goes something like this:\nAt one time a shapeless and formless manifestation of evil was disturbed from millenia of sleep. It was so powerful that it required the combined wisdom of the leading enchanters of that age to conquer it. The legend tells how the enchanters lured the Terror \"to a recess deep within the earth\" by placing there a powerful spell scroll. When it had reached the scroll, the enchanters trapped it there with a\nspell that encased it in the living rock. The Terror was so horrible that none would dare speak of it. A comment at the end of the\nnarration indicates that the story is considered to be quite fanciful; no other chronicles of the age mention the Terror in any form.\n\n> You read the great implementors\nThis legend, written in an ancient tongue, speaks of the creation of the world. A more absurd account can hardly be imagined. The universe, it seems, was created by \"Implementers\" who directed the running of great engines. These engines produced this world and others, strange and wondrous, as a test or puzzle for others of their kind. It goes on to state that these beings stand ready to aid those entrapped within their creation. The great magician-philosopher Helfax notes that a creation of this kind is morally and logically indefensible and discards the theory as \"colossal claptrap and kludgery.\"\nThe low, guttural voices seem to be coming in your direction.\n\n> You go west\nA rat skitters across the floor, sees you, is startled, and rushes\nback the way it came.\n\n> You go south\nThis narrow promenade stretches into darkness to the south and,\nthrough an archway, toward an open area to the north.\n\n> You go south\nThis dark and damp spot is at the base of the southwest tower of the castle. Two corridors lead off to the north and east. A winding staircase ascends into the tower.\n\n> Go up\nThe eyrie is a round bedroom high in the tower. Narrow windows\noverlook the outside. A stone stairway leads down.\nThere is a fourposter feather bed here.\n\n> You look at the the bed\nThe feather bed looks as though it would be quite comfy to sleep on.\n\n> You get in the bed\nLying on this soft bed puts you to sleep.\nYou fall asleep quickly, the bed being so comfortable. You dream as well, of this very room. A beautiful damsel, obviously noble, is standing by the bed holding a scroll in one hand and resting the other on the bedpost. Turning to block your view, she does something you can't see. Then she gets in bed and turns out the light, but before\nshe does you can see she is no longer carrying the scroll... You wake.\n\n> You get up\nAh, that was a comfortable bed! But you're now on your own feet again.\n\n> You look at the bedpost\nA careful examination reveals the outline of a small compartment, and near it an ornate carving which looks like a button. You could never have found it on your own.\n\n> You look at the scroll\nThe scroll reads \"vaxum spell: make a hostile creature your friend\".\n\n> Gnusto vaxum\nYour spell book begins to glow softly. Slowly, ornately, the words of the vaxum spell are inscribed, glowing even more brightly than the\nbook itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, fantasy, spells, Zork]\n\n> Go down\nThis dark and damp spot is at the base of the southwest tower of the castle. Two corridors lead off to the north and east. A winding staircase ascends into the tower.\n\n> You go to the east\nThe damp corridor continues east and west from here. A dark and forbidding stairway leads down to the south. In addition, a narrow passage leads to the north."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Zork]\n\n> Go down\nA dank and forgotten pit contains the dungeons. There is a cell to the north, and a partly blocked passage leads even deeper into the earth. It looks as if there was once a mortared stone wall blocking this passage, but it has crumbled and collapsed, reopening the tunnel.\n\n> You go north\nThe cell door is closed.\n\n> You open door\nThe door is very rusty and reluctantly opens.\n\n> Go north\nThis is a damp and unhealthy dungeon cell with writing on the walls. The rusty door of the cell is open.\n\n> You read the writing\nThe wall is covered with graffiti and scratchings marking time's passage.\nYou notice that the mortar holding a square block has been chipped away, and the block is loose.\n\n> You take the block\nYou pull the block out of the crumbling wall, revealing a dark passage leading east.\nYour stomach is starting to grumble.\n\n> You go east\nThis is a crudely carved secret passage. It appears to have been hollowed out by (perhaps) generations of prisoners. A passage leads west. A short, crudely hewn passage leads up.\nLying near the door is a silver spoon, discarded by the prisoners as too soft to dig with. It is only slightly worn.\nLying on the ground, and slightly damaged, is a stained scroll.\n\n> You take all\nworn silver spoon: Taken.\nstained scroll: Taken.\n\n> You read the scroll\nThe scroll reads \"exex spell: make things move with greater speed\".\n\n> Gnusto exex\nYour spell book begins to glow softly. Slowly, ornately, the words of the exex spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is\ncopied.\n\n> You go west\nThis is a damp and unhealthy dungeon cell with writing on the walls. The rusty door of the cell is open. A square block sits beside a passage in the eastern wall.\n\n> You go to the south\nA dank and forgotten pit contains the dungeons. There is a cell to the north, and a partly blocked passage leads even deeper into the earth. It looks as if there was once a mortared stone wall blocking this passage, but it has crumbled and collapsed, reopening the tunnel.\nYour mouth is getting rather dry."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, Zork]\n\n> You go downwards\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the south and it is very strange indeed, perfectly round and black as pitch.\n\n> Go south\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the southeast, east, and north and they are very\nstrange indeed, perfectly round and black as pitch.\n\n> You go to the south-east\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the northwest and northeast and they are very strange indeed, perfectly round and black as pitch.\nYou are becoming quite hungry.\n\n> You eat bread\nMmm. That tasted great! There's still about half of it left, too.\n\n> You go to the north-east\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the west, southwest, and northeast and they are very strange indeed, perfectly round and black as pitch.\n\n> You look at the passage\nThe passages are perfectly round and black; the walls seem to be made of carbon.\n\n> You read the spell book\nThe exex spell (make things move with greater speed).\nThe vaxum spell (make a hostile creature your friend).\nThe cleesh spell (change a creature into a small amphibian).\nThe zifmia spell (magically summon a being).\nThe krebf spell (repair willful damage).\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\nYou are becoming quite thirsty.\n\n> Drink water\nThe delicious spring water tasted great, and there's plenty more.\n\n> Go northeast\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the northwest, southwest, and southeast and they are very strange indeed, perfectly round and black as pitch.\n\n> Go northwest\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the southwest and southeast and they are very strange indeed, perfectly round and black as pitch.\n\n> You go southwest\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\n\n> You go to the south-east\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northwest and it is very strange indeed, perfectly round and black as pitch.\n\n> Inventory\nYou are carrying:\nA worn silver spoon\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA small quantity of water\nA battered lantern (providing light)\nA partially eaten loaf of bread\nA spell book\n\n> Dig\nWhat do you want to dig in?\n\n> Wall\nThe ground is unsuitable for digging here.\n\n> Go northwest\nIt is pitch black and there is evil in the darkness.\n\n> Go southeast\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northwest and it is very strange indeed, perfectly round and black as pitch.\nThere is a battered lantern here (providing light).\n\n> You go east\nThe east-west corridor opens into a gallery. The walls are lined with portraits, some of apparently great value. All of the eyes seem to follow you as you pass, and the entire room is subtly disturbing.\n\n> You look at paintings\nThe portraits represent a wide cross-section of races. Elves, gnomes, dwarves, wizards, warlocks, and just plain folk are all here. Some of them are known to you, such as Lord Dimwit Flathead of the Great Underground Empire, depicted here in excessive detail, and the Wizard of Frobozz, shown in a typical pose of anguished bewilderment.\n\n> You look at Flathead\nThis rather dull man stumbled into royalty in the Great Underground Empire, and much to everyone's chagrin. Named by his people Lord\nDimwit Flathead the Excessive, he was best known for his\noutrageousness in style, policy, and engineering. His portrait\ncaptures him in the classic pose of imbecility, astride his gaudy throne.\n\n> You take the painting\nThe portraits are large and extremely heavy; they can be neither taken nor moved.\n\n> Go east\nThis interior courtyard stands at the southern entrance to the castle, where a small rusty gate is standing open and slowly swaying in a gentle sea breeze. Beyond the gate can be seen a small meadow and, beyond that, a white beach on a misty sea. Passages enter the castle proper to the north, east, and west.\n\n> Go south\nThis is a meadow near the sea. There is a smell of salt in the air. Only heather and thistles grow here. To the north is a gate leading into the castle. A narrow path to the southeast leads to the shore of the Sea.\n\n> Go southeast\nThis is a rocky beach along a grey and lifeless sea. There is dead seaweed covering many rocks, and listless waves barely stir the\nflotsam and jetsam here. There are many shells, but all are broken. A narrow path to the northwest leads into a meadow.\nCrawling slowly along the beach is an enormous turtle, his enamelled shell shining with all the colors of the rainbow.\nYou hear a rustling in the brambles nearby, and you catch a glimpse of something small and furry as it scurries away.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\n\n> Nitfol turtle\nThe rainbow turtle looks at you for a moment, and you look at it. \"Hello,\" it says.\n\n> Hello\n\"How do you like my shell? A wizard did that to me about 75 years\nago.\"\nThe sun starts to set behind the Lonely Mountain in the west.\nThe day is coming to an end earlier than you would have expected.\n\n> You talk to the turtle\nThe rainbow turtle looks at you expectantly, as though he thought you were about to talk.\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\n> Hello\n\"It's nice to find a human who talks turtle. Not many do, you know. Most people think turtles are boring, just because we talk slowly.\"\n\n> Hello\n\"Are you a magician? Are you going to do something about that annoying Warlock, then?\"\n\n> Hello\n\"How do you like my shell? A wizard did that to me about 75 years\nago.\"\n\n> You take the turtle\nThe turtle is much too large to take."
    },
    {
        "text": "[Themes: Fantasy, Zorkian]\n\n> Look around\nThis is a rocky beach along a grey and lifeless sea. There is dead seaweed covering many rocks, and listless waves barely stir the\nflotsam and jetsam here. There are many shells, but all are broken. A narrow path to the northwest leads into a meadow.\nThe darkening sky is lit by a waning moon.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\n> You take the seaweed\nWhy bother?\nYour mouth is getting rather dry.\n\n> Swim\nYou'd probably drown.\nYour stomach is starting to grumble.\n\n> Go northwest\nThis is a meadow near the sea. There is a smell of salt in the air. Only heather and thistles grow here. To the north is a gate leading into the castle. A narrow path to the southeast leads to the shore of the Sea.\nThe darkening sky is lit by a waning moon.\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> Go east\nThis is the base of the southeast tower of the castle. From atop a winding staircase comes a loud crashing and screeching noise. To the west is a corridor and the southern gate of the castle.\nYou are beginning to tire.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good.\nYou spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nYou dream of a nondescript room in which a cartoonish figure casually opens a simple wooden door and ascends the flight of stairs which lies behind. The scene fades to black, but you awaken in a cold sweat.\n\n> Drink\nWhat do you want to drink?\n\n> Water\nThe delicious spring water tasted great, and there's still some left.\n\n> You eat the bread\nMmm. That tasted great! There's nearly half of it left, too.\n\n> You go east\nThis is the base of the southeast tower of the castle. From atop a winding staircase comes a loud crashing and screeching noise. To the west is a corridor and the southern gate of the castle.\nYou hear noises in the darkness nearby.\n\n> You go upward\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is\na huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on\nthe floor of that room. It might be a scroll, but from here you can't tell for sure.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\n> You exex yourself\nYou feel energetic and zippy.\n\n> Go southeast\nYou zip across the room easily, but you must have touched something dangerous along the way, because the machinery speeds up, going faster and faster.\nControl Room\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the control room for all the machinery nearby. The controls\nare all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You read the brittle parchment\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\n\n> Gnusto kulcad\nYou must have a legible spell scroll in your hands before the gnusto spell will work on it.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Gnusto kulcad\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the kulcad spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the brittle scroll remains intact.\n\nA dull aching fills your head, and your mind is again probed, more deeply than when you entered the castle.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\nThe sun has now risen above the hills.\n\n> You look at the displays\nThe lights and displays hold no meaning for you. A random number generator may be controlling the whole thing, for all you know.\n\n> You look at the lights\nThe lights and displays hold no meaning for you. A random number generator may be controlling the whole thing, for all you know. \"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You look at buttons\nWhich buttons do you mean, the glowing button or the diamond-studded button?\n\n> You learn the kulcad\nYou haven't written that spell into your book yet. Until you do, you can't memorize the spell.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\n> You exex yourself\nNothing seems to happen. Perhaps the spell needs time before it can be cast again.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Go northwest\nYou rush across the engine room, your speed enabling you to avoid the gigantic hammers and gears; at this speed they appear to move with great deliberation. Unfortunately, you set off a trap, and many sharp spears fly at you from all directions! They seem to move pretty fast. Too fast, in fact. You can't dodge them, and you are severely\nskewered.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of\na spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\nThere is a loaf of bread here.\nThere is a jug here.\nThe jug contains:\nA very small quantity of water\n\n> You check what you're carrying\nYou are carrying:\nA spell book\nA battered lantern (providing light)\nA worn silver spoon\nA beautiful, ornamented egg\n\n> Go southeast\nYou make it across the room, but just barely; just as you duck through the door, a huge hammer crashes down behind, missing by an inch. Something you stepped on along the way clicked as well, and with a horrible screeching noise, the machinery speeds up, crashing faster\nand faster until it's twice as fast as before.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the control room for all the machinery nearby. The controls\nare all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\n> You take all\nglowing button: You can't be serious.\nblinking display: You must have had a silliness spell cast upon you. brittle scroll: Taken.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You go northwest\nYou run across the room, trying to dodge the crashing machinery, and you are succeeding for a while until you set off a trap. A volley of sharp spears, powered by cunning machinery, comes at you from all directions. You are skewered! The huge hammer crashes down for the\ncoup de grace.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of\na spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\nThere is a loaf of bread here.\nThere is a jug here.\nThe jug contains:\nA very small quantity of water"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, spells, fantasy]\n\n> Go downward\nThis is the base of the southeast tower of the castle. From atop a winding staircase comes a loud crashing and screeching noise. To the west is a corridor and the southern gate of the castle.\n\n> Go north\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis short piece of corridor continues to the north and south.\n\n> You go north\nThis desolate hall is nearly empty, save for a few long benches which are scattered throughout the room. The walls seem to be scorched, and everywhere are signs of decay. A sickening odor pervades the room, and wisps of acrid black smoke can be seen to the north. A wide passage leads south, and a small one opens to the east.\nTo the north you can hear the sound of a group of low, guttural\nvoices.\nThe low, guttural voices seem to be coming in your direction.\n\n> Go east\nThe kitchen has been freshly used. The oven, though empty, is still warm. Bones litter the floor, and the carving knives are bloody. The bones give all too clear an indication of the nature of the viands prepared here.\n\n> You take all\nheap of garbage: That would be rather undignified.\noven: It would take more magic than you've got!\nvarious and sundry items: You have no use for those things.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\n\n> Go west\nThis desolate hall is nearly empty, save for a few long benches which are scattered throughout the room. The walls seem to be scorched, and everywhere are signs of decay. A sickening odor pervades the room, and wisps of acrid black smoke can be seen to the north. A wide passage leads south, and a small one opens to the east.\nTo the north you can hear the sound of a group of low, guttural\nvoices.\n\n> You go north\nThe corridor widens here to form a large hall. To the north and south are small passages, and to the east is what appears to be an enormous spiral staircase. A passage to the west leads into a courtyard. The walls here are scarred and black, and a strange heaviness hangs in the air.\n\n> You open the door\nThe door is locked from the outside. even if you could open it, the guards would undoubtedly return you with little difficulty.\n\nA host of hunched and hairy shapes appear through the window. The cell door opens and you are marched solemnly to the temple and, from there, up the steps to the altar. The large, black figure approaches menacingly. He reaches into his cloak and pulls out a great, glowing dagger. He pulls you onto the altar, and with a murmur of approval\nfrom the throng, he plunges the blade into your heart!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of\na spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\nThere is a loaf of bread here.\nThere is a jug here.\nThe jug contains:\nA very small quantity of water\n\n> You go north\nThis small room must have been a closet of some sort. To the north is\na passage leading out into a courtyard. Another exit is to the south. In the exact center of the room is a large, jewelled box. It is\nwrapped in tight coils of thin rope. You try to follow the strands\nwith your eye, but become hopelessly lost in the jumble of thousands\nof loops and knots.\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\n\n> Rezrov box\nfrom working.\n\n> You go north\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the westernmost point in a large open courtyard. The huge entrance gate to the castle looms ominously to the west. The courtyard widens as it proceeds to the east, where a large, ivy-covered temple stands. On either side of the temple are small towers. Far beyond the temple, high above, are two large towers marking the corners of the castle. A squat dark turret hunches between them, blackening the sky around it. A small path leads into the castle to the south.\n\n> You go to the northeast\nThe northern part of the interior courtyard is grey and lifeless. The vast lawns are withered and covered in black ash stretching from south to west. The temple stands to the southeast, and the courtyard continues east.\n\n> Go south\nYou are in the center of a large courtyard, which surrounds you. Everything around you is ashen and grey, and the air seems miasmic and oppressive. The dead grass seems to grab at your feet as you stand gazing around. To the east is a temple flanked by two smaller towers. Behind it can be seen the two eastern towers of the castle, shrouded\nin blood-red fog. Between them is a dark turret, black and ominous as night. It sends dark streams of smoke curling around everything near it. From the temple can be heard a mournful chant.\n\n> You go south\nThis is the southern part of the courtyard, spreading north and west. The ground is ashen and grey, and the air heavy with death. The dead grass seems to grab at your feet. A narrow stretch of scorched earth continues to the east. To the northeast stands the temple, flanked by two small towers.\n\n> Go east\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nYou are south of a small tower which connects with the temple to the north. A large courtyard can be seen to the west and a smaller one to the northeast.\nThe sun starts to set behind the Lonely Mountain in the west.\nThe day is coming to an end earlier than you would have expected.\n\n> Go northeast\nto the west. The temple is flanked, north and south, by twin towers. Paths cross the scarred lawn to the northwest and southwest. Nothing now grows here, however, and a foul stench fills the air.\n\n> Go east\nThe corridor widens here to form a large hall. To the north and south are small passages, and to the east is what appears to be an enormous spiral staircase. A passage to the west leads into a courtyard. The walls here are scarred and black, and a strange heaviness hangs in the air.\n\n> You go east\ndo anything and, seeing you, take you in their arms and escort you to the west into a huge temple.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the interior of a huge temple of primitive construction. A few flickering torches cast a sallow illumination over the altar, which, atop a row of stairs, is still drenched with the blood of human sacrifice. Behind the altar is an enormous statue of a demon which seems to reach towards you with dripping fangs and razor-sharp talons. Two open doorways lead out of the temple to the east and west, while two wooden doors stand at the north and south. A mass of hunched figures in the temple are chanting a haunting tune. They don't seem interested in your presence.\n\nA low noise begins behind you, and you turn to see hundreds of hunched and hairy shapes. A guttural chant issues from their throats. Near you stands a figure draped in a robe of deepest black, brandishing a vicious dagger. The chant grows louder as the robed figure approaches the altar. As the shapes grab you, the figure in black speaks: \"Take the victim to the tower. I shall prepare for the sacrifice!\" The figures, whose form you can barely guess, take you from here through the northern door and into a prison cell. They take your possessions from you and close the door with a crash!\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is a small prison cell in the north tower of the temple. Hideous shapes can be seen through the iron-barred window in the prison door. From the temple, a bloodcurdling chant can be heard.\n\n> You learn the rezrov\nYou don't have your spell book. How do you expect to memorize a spell without a spell book?\n\n> You go east\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nYou are south of a small tower which connects with the temple to the north. A large courtyard can be seen to the west and a smaller one to the northeast.\n\n> Go northeast\nto the west. The temple is flanked, north and south, by twin towers. Paths cross the scarred lawn to the northwest and southwest. Nothing now grows here, however, and a foul stench fills the air.\n\n> You go west\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the interior of a huge temple of primitive construction. A few flickering torches cast a sallow illumination over the altar, which, atop a row of stairs, is still drenched with the blood of human sacrifice. Behind the altar is an enormous statue of a demon which seems to reach towards you with dripping fangs and razor-sharp talons. Two open doorways lead out of the temple to the east and west, while two wooden doors stand at the north and south. A mass of hunched figures in the temple are chanting a haunting tune. They don't seem interested in your presence.\n\nA low noise begins behind you, and you turn to see hundreds of hunched and hairy shapes. A guttural chant issues from their throats. Near you stands a figure draped in a robe of deepest black, brandishing a vicious dagger. The chant grows louder as the robed figure approaches the altar. As the shapes grab you, the figure in black speaks: \"Take the victim to the tower. I shall prepare for the sacrifice!\" The figures, whose form you can barely guess, take you from here through the northern door and into a prison cell. They take your possessions from you and close the door with a crash!\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is a small prison cell in the north tower of the temple. Hideous shapes can be seen through the iron-barred window in the prison door. From the temple, a bloodcurdling chant can be heard.\nThe sun starts to set behind the Lonely Mountain in the west.\nThe day is coming to an end earlier than you would have expected.\n\n> Rezrov door\nThe locked cell door opens with a powerful snap! Unfortunately, the guards seem to have heard the snap and approach!\n\nA host of hunched and hairy shapes appear through the window. The cell door opens and you are marched solemnly to the temple and, from there, up the steps to the altar. The large, black figure approaches menacingly. He reaches into his cloak and pulls out a great, glowing dagger. He pulls you onto the altar, and with a murmur of approval\nfrom the throng, he plunges the blade into your heart!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of\na spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\nThere is a loaf of bread here.\nThere is a jug here.\nThe jug contains:\nA small quantity of water\n\n> Inventory\nYou are carrying:\nA battered lantern (providing light)\nA worn silver spoon\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book"
    },
    {
        "text": "> You look at Book\nThe title is \"My Spell Book\". The book looks pretty new, and it\ndoesn't seem to have much written in it yet. There are some spells written in the book in glowing letters, with marginal notes about how to cast them and what their effects are.\n\n> You read it\nThe exex spell (make things move with greater speed).\nThe vaxum spell (make a hostile creature your friend).\nThe cleesh spell (change a creature into a small amphibian).\nThe zifmia spell (magically summon a being).\nThe krebf spell (repair willful damage).\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\n\n> You go west\nThis dark and damp spot is at the base of the southwest tower of the castle. Two corridors lead off to the north and east. A winding staircase ascends into the tower.\nBluebottles buzz up to you, and then away.\n\n> Go north\nThis narrow promenade stretches into darkness to the south and,\nthrough an archway, toward an open area to the north.\n\n> Go north\ncastle. An iron gate, standing wide open, looms to the west. Through it, a narrow road can be seen winding through low, smoky hills. Before you, to the east, is a huge open courtyard. To the north and the south are archways leading to the interior of the castle.\n\n> Go north\nYou are on a long pebbled path, stretching out to the north. To the south the path continues through an open arch into an open area.\nThe sun starts to set behind the Lonely Mountain in the west.\nThe day is coming to an end earlier than you would have expected.\n\n> You go north\nThis is the base of the northwest tower of the castle. A winding staircase leads up into the tower itself, and passages lead from here to the east and south.\n\n> You learn the zifmia\nUsing your best study habits, you learn the zifmia spell.\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\nThe adventurer, after checking his compass, walks off.\n\n> Go east\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\n\n> Vaxum adventurer\nThe adventurer smiles at you with an air of good will.\nThe adventurer asks what you would be needing treasures for.\n\n> Hello\n\"Hello. Nice to meet you.\"\nThe adventurer leaves the room, heading to the west.\n\n> Inventory\nYou are carrying:\nA battered lantern (providing light)\nA worn silver spoon\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book\n\n> You go west\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nYour mouth is getting rather dry.\n\n> Go west\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nYour stomach is starting to grumble.\n\n> You go east\nThis is the western end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nYou are beginning to tire.\n\n> You eat\nWhat do you want to eat?\n\n> Go east\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> You give egg to the adventurer\nThe adventurer gratefully accepts the offer of the beautiful, ornamented egg. He is fascinated by its beauty and stops to thank you. The adventurer leaves the room, heading to the west.\n\n> You follow the adventurer\nThis is the base of the northwest tower of the castle. A winding staircase leads up into the tower itself, and passages lead from here to the east and south.\nThere is a bedraggled and weary adventurer standing here. He is carrying a beautiful, ornamented egg, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room, heading to the east.\n\n> You follow the adventurer\nThis is the western end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with\ntunnels, caves, and peculiar rock formations.\nThere is a bedraggled and weary adventurer standing here. He is carrying a beautiful, ornamented egg, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room, heading to the west.\n\n> You follow the adventurer\nThis is the base of the northwest tower of the castle. A winding staircase leads up into the tower itself, and passages lead from here to the east and south.\nThere is a bedraggled and weary adventurer standing here. He is carrying a beautiful, ornamented egg, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer tries to make some small talk, but he only mumbles. He'll have to speak up if he expects you to hear him.\n\n> You talk to the adventurer\nThe adventurer looks at you expectantly, as though he thought you were about to talk.\n\n> You follow you\n\"Sorry, but I've got better things to do than follow you.\"\nThe adventurer leaves the room, heading to the south.\n\n> You follow the adventurer\nYou are on a long pebbled path, stretching out to the north. To the south the path continues through an open arch into an open area.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a beautiful, ornamented egg, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room, heading to the south.\n\n> You follow the adventurer\ncastle. An iron gate, standing wide open, looms to the west. Through it, a narrow road can be seen winding through low, smoky hills. Before you, to the east, is a huge open courtyard. To the north and the south are archways leading to the interior of the castle.\nThere is a bedraggled and weary adventurer standing here. He is carrying a beautiful, ornamented egg, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer waves at you and asks \"Hello, Sailor?\" Strange, you've never even been to sea.\n\n> Hello\n\"Hello. Nice to meet you.\"\nThe adventurer smiles at you like an idiot.\n\n> You show the egg to the adventurer\nHis eyes light up at the sight of the beautiful, ornamented egg.\nThe adventurer eyes your possessions intently.\n\n> Go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer offers to relieve you of some of your possessions.\n\n> Go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer, not overly tactful, asks to see what you're holding.\n\n> You go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer offers to relieve you of some of your possessions.\n\n> Go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer glances around the room in a businesslike way and makes a few notes on his map.\nThe adventurer asks what you would be needing treasures for.\n\n> You look\nA more incongruous place than this would be difficult to believe. The room itself is nothing more than a small room at the base of the northeast tower with a narrow passageway entering from the west. Standing in front of you to the north, however, is a door surpassing anything you could have imagined. For starters, its massive lock is wrapped in a dozen six-inch thick iron chains. In addition, a certain five-headed monster sporting razor-sharp spears for tongues seems to\nbe imbedded within its heavy oak frame. One is almost embarrassed to mention the gargoyles spewing flame and sulphurous ash which ornament either side of the door, or the ninety-seven slimy groping tentacles which taunt you ever closer to certain death. A sign, floating\nserenely above the door and glowing hideously in purple letters,\noffers the following rude understatement: \"Don't Bother\".\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room, heading to the west.\n\n> Go west\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room through the gate, heading to the north.\n\n> You go north\nYou are in a dark forest, just north of a rusted gate. Except to the east and south, the forest is thick all around you.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room, heading to the east.\n\n> Go east\nYou are in a thick forest shading into a deep and miasmic swamp. The ground is very wet and boggy here, and footing is treacherous. Lily pads cover the surface of the water, and frogs abound. Things look drier to the west.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe sounds of frogs and other swamp dwellers fill the air.\nThe adventurer pulls out his map, a convoluted collection of lines, arrows, and boxes, and checks it briefly.\n\n> Go west\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nYou are in a dark forest, just north of a rusted gate. Except to the east and south, the forest is thick all around you.\nThe darkening sky is lit by a waning moon.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer eyes your possessions intently.\n\n> You go south\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer asks what you would be needing treasures for.\nYour mouth is getting rather dry.\n\n> You go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nA more incongruous place than this would be difficult to believe. The room itself is nothing more than a small room at the base of the northeast tower with a narrow passageway entering from the west. Standing in front of you to the north, however, is a door surpassing anything you could have imagined. For starters, its massive lock is wrapped in a dozen six-inch thick iron chains. In addition, a certain five-headed monster sporting razor-sharp spears for tongues seems to\nbe imbedded within its heavy oak frame. One is almost embarrassed to mention the gargoyles spewing flame and sulphurous ash which ornament either side of the door, or the ninety-seven slimy groping tentacles which taunt you ever closer to certain death. A sign, floating\nserenely above the door and glowing hideously in purple letters,\noffers the following rude understatement: \"Don't Bother\".\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer eyes your possessions intently.\nYour stomach is starting to grumble.\n\n> You open the door\nAs you motion toward the monstrous door, the adventurer follows the imaginary line which proceeds thence from your outstretched arm.\n\nThe seemingly fearless adventurer shrugs and walks purposefully toward the door, ignoring all harm to his person in the form of knives, tentacles, and molten lead. As three buckets of the latter pour over his head, he casts you a perplexed look.\n\"Did you try the doorknob?\" he asks, as twenty-seven knives delicately skewer him.\nBefore you can answer, he reaches for one of the gargoyle heads which, by sheerest coincidence, has just flooded him in red-orange flame, and turns it gently.\n\"I think it's unlocked,\" he says, stoically ignoring the host of human-sized rats which feed on his incinerated torso.\nHis left hand, broken and bloodied, pulls at the gargoyle head.\n\"I'm going on ahead!\" he cries, opening a simple wooden door.\nWooden door? You rub your eyes for a moment and look again as he goes through it. Yes, just a plain wooden door.\n\n> Go upward\nThis room in the high tower appears to be a map room, with hundreds of ancient maps covering the walls. A huge globe, made of gold, sits on a pedestal in the center of the room. Through the tower windows can be seen a vast forest stretching out to the northeast and the sea,\ncovered in fog, to the east and south. Stairs to the south lead to the bottom of the tower.\nLying on the floor is a purple scroll.\nIn one corner of the room is a badly worn pencil, inscribed with\nrunes.\nLying on the ground is an old parchment map.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer stoops over and picks up the map.\n\n> You ask the adventurer for the map\nThe adventurer, not seeing any use in keeping the map anyway, hands it to you gladly.\nThe adventurer waves at you and asks \"Hello, Sailor?\" Strange, you've never even been to sea.\n\n> You look at the map\nThe map consists of a drawing with nine points, each represented by a strange character, with interconnecting thin pencil lines. Using your native alphabet, it looks like this:\n\n! / \\\n! /   \\\n! /     \\\n! K       V\n! / \\\n! /   \\\n! /     \\\nRM       F\n\\     /\n\\   /\n\\ /\nH       P\n\nThe adventurer leaves the room through the simple wooden door, heading to the south.\nYou are beginning to tire.\n\n> You take the pencil\nYour load is too heavy, especially in light of your exhaustion.\nA bedraggled adventurer walks into the room from the south, coming through the simple wooden door.\n\n> You check your inventory\nYou are carrying:\nA map\nA battered lantern (providing light)\nA worn silver spoon\nA beautiful, ornamented egg\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book\nThe adventurer looks at you as if seeing you for the first time. It's not clear that he likes what he sees, either.\nThe adventurer stoops over and picks up the purple scroll.\n\n> You drop the egg\nDropped.\nThe adventurer waves his sword menacingly in your direction.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\nThe adventurer stoops over and picks up some objects and seems pleased by his discovery.\n\n> Vaxum adventurer\nThe adventurer smiles at you with an air of good will.\nThe adventurer, not overly tactful, asks to see what you're holding. You are becoming quite thirsty.\n\n> You ask adventurer for the scroll\nThe adventurer, not seeing any use in keeping the purple scroll\nanyway, hands it to you gladly.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\nYou are becoming quite hungry.\n\n> You learn the frotz\nUsing your best study habits, you learn the frotz spell.\n\n> Frotz spell book\nThere is an almost blinding flash of light as the spell book begins to glow! It slowly fades to a less painful level, but the spell book is now quite usable as a light source.\n\n> You drop the lamp\nDropped.\n\n> You look at the purple\nThe scroll reads \"filfre spell: create gratuitous fireworks\".\nYou are feeling tired.\n\n> Gnusto filfre\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the filfre spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the purple scroll remains intact.\n\n> Inventory\nYou are carrying:\nA purple scroll\nA map\nA worn silver spoon\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book (providing light)"
    },
    {
        "text": "> Look around\nThis room in the high tower appears to be a map room, with hundreds of ancient maps covering the walls. A huge globe, made of gold, sits on a pedestal in the center of the room. Through the tower windows can be seen a vast forest stretching out to the northeast and the sea,\ncovered in fog, to the east and south. Stairs to the south lead to the bottom of the tower.\nThere is a battered lantern here (providing light).\n\n> Go upwards\nThis room in the high tower appears to be a map room, with hundreds of ancient maps covering the walls. A huge globe, made of gold, sits on a pedestal in the center of the room. Through the tower windows can be seen a vast forest stretching out to the northeast and the sea,\ncovered in fog, to the east and south. Stairs to the south lead to the bottom of the tower.\nLying on the floor is a purple scroll.\nIn one corner of the room is a badly worn pencil, inscribed with\nrunes.\nLying on the ground is an old parchment map.\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\n\n> You get all\npedestal: You can't be serious.\nmaps: Most of the maps are murals painted onto the walls. The others are securely mounted.\npurple scroll: Taken.\nbadly worn pencil: Taken.\nmap: Your load is too heavy.\nA bedraggled adventurer walks into the room from the south, coming through the simple wooden door.\nThe adventurer stoops over and picks up the map.\n\n> You drop the egg\nDropped.\nThe adventurer stoops over and picks up the beautiful, ornamented egg and seems pleased by his discovery.\nYou are beginning to tire.\n\n> You ask the adventurer for the map\nThe adventurer, not seeing any use in keeping the map anyway, hands it to you gladly.\nThe adventurer stares at his possessions as if expecting a revelation.\n\n> You draw on the map\nYou can't draw on it arbitrarily. Rather, the pencil seems to home in on various points on the map, daring you to draw a line between them. The adventurer looks at you as if seeing you for the first time. It's not clear that he likes what he sees, either.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\n\n> You draw the line on the map\nYou can't draw on it arbitrarily. Rather, the pencil seems to home in on various points on the map, daring you to draw a line between them.\n\n> You draw the line from F to the p.\nA thin line now connects the two spots on the map, but the pencil\npoint is very nearly gone.\nYou feel that two powerful, evil forces are searching each other out. As they meet, the air lightens. Belboz appears before you. \"Something has disturbed the ancient Terror. Krill himself knows this and will\ntry to use it to his purposes. Already, they may have joined together. You must not allow the Terror to escape, or we are all doomed!\" He fades into the gloom.\n\n> You erase the line from V to f.\nThe line between the two spots is erased, leaving the eraser barely usable.\nFrom somewhere nearby, an unseen force probes you, and you are gripped by a sickening feeling.\nYou are becoming quite thirsty.\n\n> You draw the line from the m to the p.\nA thin line now connects the two spots on the map, but the pencil\npoint is gone.\nYou are becoming quite hungry.\n\n> You drop the egg\nDropped.\nA bedraggled adventurer walks into the room from the south, coming through the simple wooden door.\nThe adventurer stoops over and picks up the beautiful, ornamented egg and seems pleased by his discovery.\n\n> You take all\nadventurer: You can't be serious.\npedestal: No spell would help with that!\nmaps: Most of the maps are murals painted onto the walls. The others are securely mounted.\npurple scroll: Taken.\nbadly worn pencil: Taken.\nmap: Your load is too heavy.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\nYou are beginning to tire.\n\n> You take the map\nYour load is too heavy, especially in light of your exhaustion.\nA bedraggled adventurer walks into the room from the south, coming through the simple wooden door.\n\n> You check your inventory\nYou are carrying:\nA badly worn pencil\nA purple scroll\nA battered lantern (providing light)\nA worn silver spoon\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book\nThe adventurer looks at you as if seeing you for the first time. It's not clear that he likes what he sees, either.\nThe adventurer stares at his possessions as if expecting a revelation.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\nThe adventurer stoops over and picks up the map.\n\n> Vaxum adventurer\nThe adventurer smiles at you with an air of good will.\nThe adventurer offers to relieve you of some of your possessions.\n\n> You ask the adventurer for the map\nThe adventurer, not seeing any use in keeping the map anyway, hands it to you gladly.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\nYou are becoming quite thirsty.\n\n> You check your inventory\nYou are carrying:\nA map\nA badly worn pencil\nA purple scroll\nA battered lantern (providing light)\nA worn silver spoon\nA jug\nThe jug contains:\nA small quantity of water\nA partially eaten loaf of bread\nA spell book\nYou are becoming quite hungry.\n\n> Hi\nI don't know the word \"/hi\".\n\n> Hi\nGood day.\n\n> Hi\nI don't know the word \"\\hi\".\n\n> Hi\nI don't know the word \"$hi\".\n\n> Translucent\nEnter saved game to load: Failed.\n\n> You open oven\nYou are south of an old wooden shack, apparently deserted. The trail extends from northeast to southwest here, circling the Lonely Mountain, which lies to the southeast.\nThe sun is rising over the lands to the east.\n\nYou can't go that way.\n\n> Go inside\nThe inside of the shack is a shambles. An overturned table and bench, and a few broken windows remain. An oven is the only fixture that's even recognizable. The door is to the south.\nThe top of a battered lantern is partially visible behind the overturned table.\nAn empty jug lies in a corner of the room, against the overturned table.\n\n> You open oven\nOpening the oven reveals a loaf of bread.\n\n> GET LAMP, JUG, BREAD\nbattered lantern: Taken.\njug: Taken.\nloaf of bread: Taken.\n\n> You go northeast\nThe trail turns a corner here, bending out of sight to the southeast and southwest. The ground is higher here than to the south, allowing you to make out the top of the Lonely Mountain, shrouded in clouds. No path from here leads up the mountain, however.\n\nYou are on the northeast side of the Lonely Mountain, walking a narrow path through rolling hills. On one side of the path is a sign and behind that, to the northeast, a winding path through the thick undergrowth. The trail continues to the southeast.\n\nThe trail ends here. A ruined stone foundation marks the site of the Old Lingolf House, which presumably was a monument of some sort. The trail head is off to the southwest, and a small brook flows slowly by. The sun has now risen above the hills.\n\n> You go inside\nYou are at a fork in the road where paths to the northwest and southwest girdle the base of the Lonely Mountain and a smaller path winds its way to the east.\n\nYou are on a road which enters a small village to the southwest and comes to a fork to the northeast. The Lonely Mountain looms above but there is no path from here which ascends the mountain.\n\nYou can't go that way.\n\n> Go inside\nIt is dark and smoky in here, but this is a place of great disorder, and its odor is indescribable. A pile of rags sits near a small pot which is bubbling and steaming over a tiny fire. The pile of rags sports a gnarled hand which busies itself with the noisome stew. A closer look reveals a withered crone at the other end of the hand.\n\nThe creature looks you over keenly and speaks: \"I should have thought they would send someone more ... more ...\" She laughs in an unsettling way. \"They've all left! A great storm is brewing in the east, my friend, and all have fled before it!\" She starts to chuckle. \"Take this and begone!\" With a wave of her hand, you find yourself reeling out of the door of the hovel, holding some sort of scroll in your hand.\n\n> Rezrov gate\nYour spell book begins to glow softly. Slowly, ornately, the words of the rezrov spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\nYou are on an east-west road, which wends its way through the dark, rolling hills of this land. To the west rises a high mountain, to the east stands a high castle with dark towers.\n\nYou are outside the western entrance to the castle. To the east stands an iron gate which is closed and chained. A winding road starts here and proceeds to the west.\n\nUsing your best study habits, you learn the rezrov spell.\n\nThe chains of the iron gate fly into the air and vanish. The gate flies open and a blast of cold air fills your lungs."
    },
    {
        "text": "> You look at your surroundings\nYou are outside the western entrance to the castle. To the east stands an iron gate which is wide open. A winding road starts here and proceeds to the west.\n\n> Frotz jug\nThere is an almost blinding flash of light as the jug begins to glow! It slowly fades to a less painful level, but the jug is now quite usable as a light source.\n\n> You open egg\nIt is already open.\n\n> You go to the north\nThis is the western end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with tunnels, caves, and peculiar rock formations.\n\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with tunnels, caves, and peculiar rock formations.\n\nThis is a spot within the long Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with tunnels, caves, and peculiar rock formations.\n\nThis is the eastern end of the Hall of Mirrors. The hall itself is astounding and not a little bit confusing. To be sure, its northern wall is glass, but it does not seem to reflect anything within the hall. Rather, it seems to be a window on another world. This other world appears to be a large underground labyrinth, filled with tunnels, caves, and peculiar rock formations.\n\nYou can't go that way.\nYour mouth is getting rather dry.\n\n> Drink water\nThe delicious spring water tasted great, and there's lots more where that came from.\n\n> Rezrov gate\nThis small open area stands at the old north gate of the castle, now badly rusted. Through the gate, a forest can be seen. To the west, a hall glows with light, and to the south, the dark castle can be reentered. A narrow passage to the east leads to the base of the northeast tower.\n\nUsing your best study habits, you learn the rezrov spell.\n\nThe rusted north gate magically creaks open far enough for you to leave.\n\n> You look under the lily pad\nThere is a damp scroll there, which you take into your hand.\nThe sounds of frogs and other swamp dwellers fill the air.\n\n> You read the scroll\nWhich scroll do you mean, the damp scroll or the shredded scroll?\n\n> Damp\nThe scroll reads \"cleesh spell: change a creature into a small amphibian\".\nThe sounds of frogs and other swamp dwellers fill the air.\n\n> Gnusto cleesh\nYour spell book begins to glow softly. Slowly, ornately, the words of the cleesh spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\nThe sounds of frogs and other swamp dwellers fill the air.\n\n> You go west\nDiscarded beneath a nearby tree is a slightly crumpled scroll.\n\n> You learn the krebf\nYour spell book begins to glow softly. Slowly, ornately, the words of the krebf spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\nUsing your best study habits, you learn the krebf spell.\n\n> Gnusto zifmia\nYour spell book begins to glow softly. Slowly, ornately, the words of the zifmia spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Go west\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\nThe adventurer, after checking his compass, walks off.\n\n> You read Book\nThe zifmia spell (magically summon a being).\nThe krebf spell (repair willful damage).\nThe cleesh spell (change a creature into a small amphibian).\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\n\n> Go up\nYou can't go that way.\nYour stomach is starting to grumble.\n\n> Go upwards\nThis narrow promenade stretches into darkness to the south and, through an archway, toward an open area to the north.\n\nThis dark and damp spot is at the base of the southwest tower of the castle. Two corridors lead off to the north and east. A winding staircase ascends into the tower.\n\nThe eyrie is a round bedroom high in the tower. Narrow windows overlook the outside. A stone stairway leads down.\nThere is a fourposter feather bed here.\n\n> Lie\nThe bed is very comfortable and soft. In fact, you feel sort of sleepy just lying on it.\n\n> You wait a while\nTime passes...\nThe sun starts to set behind the Lonely Mountain in the west.\n\n> Sleep\nYou're not all that tired, but the bed is very comfortable.\nYou fall asleep quickly, the bed being so comfortable. You dream as well, of this very room. A beautiful damsel, obviously noble, is standing by the bed holding a scroll in one hand and resting the other on the bedpost. Turning to block your view, she does something you can't see. Then she gets in bed and turns out the light, but before she does you can see she is no longer carrying the scroll... You wake.\n\n> You stand\nAh, that was a comfortable bed! But you're now on your own feet again.\n\n> You get all\nThe bedpost pops open, revealing a small compartment and, nestled inside, a gold leaf scroll!\n\nfourposter feather bed: It would take more magic than you've got!\n\n> You read it\nTaken.\nYour mouth is getting rather dry.\n\nThe scroll reads \"vaxum spell: make a hostile creature your friend\".\n\n> Gnusto vaxum\nYour spell book begins to glow softly. Slowly, ornately, the words of the vaxum spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You move block\nThe door is very rusty and reluctantly opens.\n\nThis is a damp and unhealthy dungeon cell with writing on the walls. The rusty door of the cell is open.\nYou are becoming quite thirsty.\n\nYou pull the block out of the crumbling wall, revealing a dark passage leading east.\nYou hear, almost beyond your hearing, the soft rattle of chains, and a cold wind blows over the back of your neck.\n\n> Gnusto exex\nYour spell book begins to glow softly. Slowly, ornately, the words of the exex spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Go north\nYou are very thirsty now. You'd better have a drink soon.\n\n> You go south\nThis is a library, or rather it was until it was ransacked and despoiled. Most of the contents of the room have been burned in a huge bonfire in the center of the room. Hundreds of charred and empty tubes are scattered about, as if by someone searching, so ashes are strewn about. There are rat tracks in the ashes.\nTo the south you can hear the sound of a group of low, guttural voices. Amid the tubes is an old and dusty book.\nThe low, guttural voices seem to be coming in your direction.\n\n> Go east\nA more incongruous place than this would be difficult to believe. The room itself is nothing more than a small room at the base of the northeast tower with a narrow passageway entering from the west. Standing in front of you to the north, however, is a door surpassing anything you could have imagined. For starters, its massive lock is wrapped in a dozen six-inch thick iron chains. In addition, a certain five-headed monster sporting razor-sharp spears for tongues seems to be imbedded within its heavy oak frame. One is almost embarrassed to mention the gargoyles spewing flame and sulphurous ash which ornament either side of the door, or the ninety-seven slimy groping tentacles which taunt you ever closer to certain death. A sign, floating serenely above the door and glowing hideously in purple letters, offers the following rude understatement: \"Don't Bother\".\n\n> Go west\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\nYour stomach is starting to grumble.\n\n> Wait\nTime passes...\nBluebottles buzz up to you, and then away.\n\n> You wait for a while\nTime passes...\nFrom the other side of the \"mirror\" a bedraggled adventurer comes into view, carrying a brass lantern and an elvish sword, which is glowing dimly. He stops and stares in your direction.\n\n> Zifmia advent\nAll at once, the bedraggled adventurer appears before you, brightly glowing sword in hand. His jaw has dropped and his eyes are bulging. His eyes dart this way and that, as if looking for a way to escape. Your stomach is starting to grumble.\n\n> Vaxum advent\nThe adventurer smiles at you with an air of good will.\nThe adventurer asks what you would be needing treasures for.\n\n> You go to the east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer eyes your possessions intently.\n\n> Go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer offers to relieve you of some of your possessions.\n\n> Go east\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nA more incongruous place than this would be difficult to believe. The room itself is nothing more than a small room at the base of the northeast tower with a narrow passageway entering from the west. Standing in front of you to the north, however, is a door surpassing anything you could have imagined. For starters, its massive lock is wrapped in a dozen six-inch thick iron chains. In addition, a certain five-headed monster sporting razor-sharp spears for tongues seems to be imbedded within its heavy oak frame. One is almost embarrassed to mention the gargoyles spewing flame and sulphurous ash which ornament either side of the door, or the ninety-seven slimy groping tentacles which taunt you ever closer to certain death. A sign, floating serenely above the door and glowing hideously in purple letters, offers the following rude understatement: \"Don't Bother\".\nThere is a bedraggled and weary adventurer standing here. He is carrying a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer glances around the room in a businesslike way and makes a few notes on his map.\nThe adventurer eyes your possessions intently.\n\n> Point at door\nAs you motion toward the monstrous door, the adventurer follows the imaginary line which proceeds thence from your outstretched arm.\n\nThe seemingly fearless adventurer shrugs and walks purposefully toward the door, ignoring all harm to his person in the form of knives, tentacles, and molten lead. As three buckets of the latter pour over his head, he casts you a perplexed look.\n\"Did you try the doorknob?\" he asks, as twenty-seven knives delicately skewer him.\nBefore you can answer, he reaches for one of the gargoyle heads which, by sheerest coincidence, has just flooded him in red-orange flame, and turns it gently.\n\"I think it's unlocked,\" he says, stoically ignoring the host of human-sized rats which feed on his incinerated torso.\nHis left hand, broken and bloodied, pulls at the gargoyle head.\n\"I'm going on ahead!\" he cries, opening a simple wooden door.\nWooden door? You rub your eyes for a moment and look again as he goes through it. Yes, just a plain wooden door.\n\n> You open the door\nIt is already open.\nA bedraggled adventurer walks into the room from the north, coming through the simple wooden door.\n\n> Go upwards\nThe adventurer, proceeding cautiously, follows you. He seems to be paying particular attention to your possessions.\n\nThis room in the high tower appears to be a map room, with hundreds of ancient maps covering the walls. A huge globe, made of gold, sits on a pedestal in the center of the room. Through the tower windows can be seen a vast forest stretching out to the northeast and the sea, covered in fog, to the east and south. Stairs to the south lead to the bottom of the tower.\nLying on the floor is a purple scroll.\nLying on the ground is an old parchment map.\nThere is a bedraggled and weary adventurer standing here. He is carrying a badly worn pencil, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nThe adventurer asks what you would be needing treasures for.\n\n> Map\nbadly worn pencil: The adventurer, not seeing any use in keeping the badly worn pencil anyway, hands it to you gladly.\nmap: Your load is too heavy.\nThe adventurer waves at you and asks \"Hello, Sailor?\" Strange, you've never even been to sea.\nYou are becoming quite hungry.\n\n> You drop the spoon\nDropped.\nThe adventurer stoops over and picks up the worn silver spoon and seems pleased by his discovery.\n\n> You get the map\nYour load is too heavy.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\n\n> You drop the egg\nDropped.\nA bedraggled adventurer walks into the room from the south, coming through the simple wooden door.\nThe adventurer stoops over and picks up some objects and seems pleased by his discovery.\n\n> You get the map\nTaken.\nThe adventurer leaves the room through the simple wooden door, heading to the south.\n\n> You check your inventory\nYou are carrying:\nA map\nA badly worn pencil\nA partially eaten loaf of bread\nA jug (providing light)\nThe jug contains:\nA small quantity of water\nA battered lantern\nA spell book\n\n> You drop the lamp\nDropped.\n\n> You examine the map\nThe map consists of a drawing with nine points, each represented by a strange character, with interconnecting thin pencil lines. Using your native alphabet, it looks like this:\n\n! / \\\n! /   \\\n! /     \\\n! K       V\n! / \\\n! /   \\\n! /     \\\nRM       F\n\\     /\n\\   /\n\\ /\nH       P\n\n> You check your inventory\nYou are carrying:\nA map\nA badly worn pencil\nA partially eaten loaf of bread\nA jug (providing light)\nThe jug contains:\nA small quantity of water\nA spell book\n\n> Go north\nYou can't go that way.\nYour mouth is getting rather dry.\n\n> Go north\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> You go north\nThe darkening sky is lit by a waning moon.\n\n> Go north\nThe stars shine down on you from a clear, dark sky.\n\n> You go to the east\nYou are becoming quite thirsty.\n\n> Go east\nYou are beginning to tire.\n\n> Go upward\nThere is a battered lantern here.\n\n> You go east\nThe stars shine down on you from a clear, dark sky.\nThe sounds of frogs and other swamp dwellers fill the air.\nYou are feeling tired.\n\n> Go east\nThe east-west corridor opens into a gallery. The walls are lined with portraits, some of apparently great value. All of the eyes seem to follow you as you pass, and the entire room is subtly disturbing.\nYour mouth is getting rather dry.\n\n> Go east\nThis interior courtyard stands at the southern entrance to the castle, where a small rusty gate is standing open and slowly swaying in a gentle sea breeze. Beyond the gate can be seen a small meadow and, beyond that, a white beach on a misty sea. Passages enter the castle proper to the north, east, and west.\nA bedraggled adventurer walks into the room from the south, coming through the rusty gate.\n\n> Vaxum adventurer\nYou don't have the vaxum spell committed to memory!\nThe adventurer leaves the room, heading to the west.\n\n> Go east\nThis interior courtyard stands at the southern entrance to the castle, where a small rusty gate is standing open and slowly swaying in a gentle sea breeze. Beyond the gate can be seen a small meadow and, beyond that, a white beach on a misty sea. Passages enter the castle proper to the north, east, and west.\nThere is a bedraggled and weary adventurer standing here. He is carrying a purple scroll, a beautiful, ornamented egg, a worn silver spoon, a sword, and a brass lantern.\nThe adventurer tries to make some small talk, but only mumbles. He'll have to speak up if he expects you to hear him.\n\n> Vaxum adventurer\nThe adventurer smiles at you with an air of good will.\nThe adventurer, not overly tactful, asks to see what you're holding.\n\n> You take the purple scroll\nThe adventurer, not seeing any use in keeping the purple scroll anyway, hands it to you gladly.\nThe adventurer leaves the room, heading to the west.\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> You read purple\nThe scroll reads \"filfre spell: create gratuitous fireworks\".\n\n> Gnusto filfre\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the filfre spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the purple scroll remains intact.\n\n> You draw the line from F to the p.\nA thin line now connects the two spots on the map, but the pencil point is very nearly gone.\nYou feel that two powerful, evil forces are searching each other out. As they meet, the air lightens. Belboz appears before you. \"Something has disturbed the ancient Terror. Krill himself knows this and will try to use it to his purposes. Already, they may have joined together. You must not allow the Terror to escape, or we are all doomed!\" He fades into the gloom.\nYou are beginning to tire.\n\n> Go south\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the southeast, east, and north and they are very strange indeed, perfectly round and black as pitch.\n\n> You examine the map\nThe map consists of a drawing with nine points, each represented by a strange character, with interconnecting thin pencil lines. Using your native alphabet, it looks like this:\n\n! / \\\n! /   \\\n! /     \\\n! K       V\n! / \\\n! /   \\\n! /     \\\nRM       F\n\\     /\n\\   /\n\\ /\nH       P\n\nYou are beginning to tire.\n\n> You erase line from the b to the r.\nThe line between the two spots is erased, leaving the eraser barely usable.\nSuddenly, the black passage to the north closes off!\n\n> Go southeast\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the northwest and southwest and they are very strange indeed, perfectly round and black as pitch.\nYou sense that near this place an evil presence lurks. It seems close by and is moving.\n\n> Go southwest\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\nA scroll emanating power is here.\nAn evil presence pervades the room, its source unseen. Fear seeps into your mind, like fog. You look fearfully around. There is something horrible here.\n\n> You examine the scroll\nWhich scroll do you mean, the powerful scroll or the purple scroll?\n\n> You look at the powerful scroll\nThe scroll reads \"guncho spell: banish the victim to another plane of existence\". The spell seems very long and extremely complicated.\n\n> You take it\nYour load is too heavy, especially in light of your exhaustion.\nYou are very thirsty now. You'd better have a drink soon.\n\n> Inventory\nYou are carrying:\nA purple scroll\nA map\nA badly worn pencil\nA partially eaten loaf of bread\nA jug (providing light)\nThe jug contains:\nA small quantity of water\nA spell book\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nAfter a while, your sleep is disturbed by a strange dream. You are wandering in a darkened place, for you have no light or other possessions. You feel that you are being watched! You are surrounded by faces, their eyes following you. They drift in and out, staring at you with proud indifference. One face, brightly lit (unlike the rest), draws you closer and closer. As you touch it, you wake.\n\n> Gnusto guncho\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the guncho spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the powerful scroll remains intact.\n\nA dull aching fills your head, and your mind is again probed, more deeply than when you entered the castle.\n\n> You go to the northeast\nYour feet are leaden with fear, and cold sweat runs down your back as you make your way to the door, but you make no progress. Your mind tells you you are running, but you aren't getting anywhere.\n\n> You look\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\n\n> You draw the line from the m to the p.\nA thin line now connects the two spots on the map, but the pencil point is gone.\nSuddenly, the wall to the northwest opens to form a perfectly round and black passage!\n\n> You go northwest\nYour feet are leaden with fear, and cold sweat runs down your back as you make your way to the door, but you make no progress. Your mind tells you you are running, but you aren't getting anywhere.\nYour stomach is starting to grumble.\n\n> Go south\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the southeast, east, and north and they are very strange indeed, perfectly round and black as pitch.\nYou are beginning to tire.\n\n> You draw the line from F to the p.\nA thin line now connects the two spots on the map, but the pencil point is very nearly gone.\nSuddenly, the wall to the southwest opens to form a perfectly round and black passage!\nYou are very thirsty now. You'd better have a drink soon.\n\n> Drink water\nThe delicious spring water tasted great, and there's still some left.\n\n> Go southwest\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\nA scroll emanating power is here.\nAn evil presence pervades the room, its source unseen. Fear seeps into your mind, like fog. You look fearfully around. There is something horrible here.\n\n> You look\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\nA scroll emanating power is here.\n\n> Vaxum evil presence\nThe terror may be friendlier, but with friends like that....\n\n> You learn the blorb\nUsing your best study habits, you learn the blorb spell.\n\n> Blorb powerful\nA glowing strong box forms out of the air, carefully enclosing the powerful scroll, which disappears from view. The strong box rests on the ground.\n\n> You look\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nAn exit is to the northeast and it is very strange indeed, perfectly round and black as pitch.\nThere is a faintly glowing strong box here.\n\n> You open the box\nAs you open the strong box, it vanishes, and the powerful scroll reappears in its place.\n\n> You check what you're carrying\nYou are carrying:\nA powerful scroll\nA purple scroll\nA map\nA badly worn pencil\nA partially eaten loaf of bread\nA jug (providing light)\nThe jug contains:\nA very small quantity of water\nA spell book\n\n> You examine Spell Book\nThe title is \"My Spell Book\". The book looks pretty new, and it doesn't seem to have much written in it yet. There are some spells written in the book in glowing letters, with marginal notes about how to cast them and what their effects are.\n\n> You read Spell Book\nThe exex spell (make things move with greater speed).\nThe vaxum spell (make a hostile creature your friend).\nThe zifmia spell (magically summon a being).\nThe krebf spell (repair willful damage).\nThe cleesh spell (change a creature into a sm"
    },
    {
        "text": "all amphibian).\nThe rezrov spell (open even locked or enchanted objects).\nThe blorb spell (safely protect a small object as though in a strong box).\nThe nitfol spell (converse with the beasts in their own tongue).\nThe frotz spell (cause something to give off light).\nThe gnusto spell (write a magic spell into a spell book).\n\n> You look at the pencil\nThe pencil is very old and covered with finely inlaid runes. The point is very nearly gone and the attached eraser is barely usable.\n\n> You erase the line from the b to the r.\nThe line between the two spots is erased, leaving the eraser barely usable.\nSuddenly, the black passage to the north closes off!\nYou are beginning to tire.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nAfter a while, your sleep is disturbed by a strange dream. You are wandering in a darkened place, for you have no light or other possessions. You feel that you are being watched! You are surrounded by faces, their eyes following you. They drift in and out, staring at you with proud indifference. One face, brightly lit (unlike the rest), draws you closer and closer. As you touch it, you wake.\n\n> Go east\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the west, southwest, and northeast and they are very strange indeed, perfectly round and black as pitch.\n\n> You draw the line from F to the p.\nA thin line now connects the two spots on the map, but the pencil point is very nearly gone.\nSuddenly, the wall to the southwest opens to form a perfectly round and black passage!\n\n> You wait\nTime passes...\nYou are very thirsty now. You'd better have a drink soon.\n\n> You go to the southeast\nYou sense that near this place an evil presence lurks. It seems close by and is moving.\n\n> You look\nThis is a peculiar room, whose cream-colored walls are thin and translucent.\nPassages go to the northwest and southwest and they are very strange indeed, perfectly round and black as pitch.\n\n> You read powerful\nThe scroll reads \"guncho spell: banish the victim to another plane of existence\". The spell seems very long and extremely complicated.\n\n> You learn the cleesh\nUsing your best study habits, you learn the cleesh spell.\n\n> Cleesh presence\nTurning the lurking evil presence into a newt is a remarkable idea. Your stomach is starting to grumble.\n\n> Zifmia evil presence\nAs you cast the zifmia spell, you are overpowered with such a sense of malice that you cannot continue. All in all, a good thing probably.\n\n> You learn the guncho\nYou haven't written that spell into your book yet. Until you do, you can't memorize the spell.\n\n> Guncho presence\nAs you cast the spell, the powerful scroll vanishes!\nThe room fills with a horrible noise, darkens to pitch blackness, and then lightens. The weight of fear lifts.\n\nYour head is filled with a heavy sensation, as though an enormous weight were being borne by it. Your mind is again probed, this time very deeply, testing and learning. The feeling passes after a long moment.\n\nBelboz appears before you, hard and stern. \"While you have quested for Krill's lair, the Circle has not been idle. We have tried to shield your presence from him, but your use of such a powerful spell might endanger us all! As we have sensed it, so surely must Krill! Be careful, brave Enchanter!\" His image fades.\nYou are becoming quite hungry.\n\n> You draw the line from the b to the r.\nA thin line now connects the two spots on the map, but the pencil point is gone.\nSuddenly, the wall to the north opens to form a perfectly round and black passage!\n\n> Inventory\nYou are carrying:\nA purple scroll\nA map\nA badly worn pencil\nA partially eaten loaf of bread\nA jug (providing light)\nThe jug contains:\nA very small quantity of water\nA spell book\n\n> You examine the scroll\nThe scroll reads \"filfre spell: create gratuitous fireworks\".\n\n> Filfre\nAs you cast the spell, the purple scroll vanishes!\nIn a blinding burst of pyrotechnics, the air lights up with fireworks and dazzling explosions of multicolored fire! In sizzling sparks and roiling smoke is written:\n\nDave Lebling\nand\nMarc Blank\n\nAfter a while, the smoke dissipates and the lights dim. You remain slightly dazzled for a while, but fortunately, this wears off.\n\n> You go south\nThis is a meadow near the sea. There is a smell of salt in the air. Only heather and thistles grow here. To the north is a gate leading into the castle. A narrow path to the southeast leads to the shore of the Sea.\nThe darkening sky is lit by a waning moon.\n\n> You go to the southeast\nThis is a rocky beach along a grey and lifeless sea. There is dead seaweed covering many rocks, and listless waves barely stir the flotsam and jetsam here. There are many shells, but all are broken. A narrow path to the northwest leads into a meadow.\nThe darkening sky is lit by a waning moon.\nCrawling slowly along the beach is an enormous turtle, his enamelled shell shining with all the colors of the rainbow.\nYour mouth is getting rather dry.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> Hello\n\"How do you like my shell? A wizard did that to me about 75 years ago.\"\n\n> You ascend\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure.\n\n> Drink water\nThe delicious spring water tasted great, but the jug is now empty. \"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\n> You go to the south-east\nYou zip across the room easily, but you must have touched something dangerous along the way, because the machinery speeds up, going faster and faster.\nControl Room\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\n> You read the scroll\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Gnusto kulcad\nYou must have a legible spell scroll in your hands before the gnusto spell will work on it.\n\n> You get the scroll\nTaken.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Gnusto kulcad\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the kulcad spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the brittle scroll remains intact.\n\nA knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.\n\n> You look at the controls\nThe lights and displays hold no meaning for you. A random number generator may be controlling the whole thing, for all you know. \"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You go to the northwest\nYou rush across the engine room, your speed enabling you to avoid the gigantic hammers and gears; at this speed they appear to move with great deliberation. Unfortunately, you set off a trap, and many sharp spears fly at you from all directions! They seem to move pretty fast. Too fast, in fact. You can't dodge them, and you are severely skewered.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You exex yourself\nNothing seems to happen. Perhaps the spell needs time before it can be cast again.\n\n> About you\nYou are not a pretty sight.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You wait\nTime passes...\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You go to the northwest\nYou rush across the engine room, your speed enabling you to avoid the gigantic hammers and gears; at this speed they appear to move with great deliberation. Unfortunately, you set off a trap, and many sharp spears fly at you from all directions! They seem to move pretty fast. Too fast, in fact. You can't dodge them, and you are severely skewered.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nYou are beginning to tire.\n\n> You look\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure.\n\n> About you\nYou are not a pretty sight.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> Go southeast\nYou zip across the room easily, but you must have touched something dangerous along the way, because the machinery speeds up, going faster and faster.\nControl Room\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Filfre\nAs you cast the spell, the purple scroll vanishes!\nIn a blinding burst of pyrotechnics, the air lights up with fireworks and dazzling explosions of multicolored fire! In sizzling sparks and roiling smoke is written:\n\nDave Lebling\nand\nMarc Blank\n\nAfter a while, the smoke dissipates and the lights dim. You remain slightly dazzled for a while, but fortunately, this wears off.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You go southeast\nYou start across the room, but less than halfway across, the huge hammer crashes down, right on top of you!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe darkening sky is lit by a waning moon.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA very small quantity of water\n\n> You wait\nTime passes...\nYour mouth is getting rather dry.\n\n> Wait\nTime passes...\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> You wait\nTime passes...\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You go to the south-east\nYou start across the room, but less than halfway across, the huge hammer crashes down, right on top of you!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA very small quantity of water\n\n> Go southeast\nYou make it across the room, but just barely; just as you duck through the door, a huge hammer crashes down behind, missing by an inch. Something you stepped on along the way clicked as well, and with a horrible screeching noise, the machinery speeds up, crashing faster and faster until it's twice as fast as before.\n\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\nYou are becoming quite thirsty.\n\n> You go northwest\nYou run across the room, trying to dodge the crashing machinery, and you are succeeding for a while until you set off a trap. A volley of sharp spears, powered by cunning machinery, comes at you from all directions. You are skewered! The huge hammer crashes down for the coup de grace.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA very small quantity of water\n\n> You exex yourself\nYou feel energetic and zippy.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Go northwest\nYou rush across the engine room, your speed enabling you to avoid the gigantic hammers and gears; at this speed they appear to move with great deliberation. Unfortunately, you set off a trap, and many sharp spears fly at you from all directions! They seem to move pretty fast. Too fast, in fact. You can't dodge them, and you are severely skewered.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA very small quantity of water\n\n> You examine the machinery\nThe machinery is extremely noisy and complicated. Other than that, you can't imagine of what use it is to anybody.\n\n> You look at the floor\nYou see nothing special about the floor.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You look at the controls\nThe lights and displays hold no meaning for you. A random number generator may be controlling the whole thing, for all you know. \"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You look at the dials\nThe lights and displays hold no meaning for you. A random number generator may be controlling the whole thing, for all you know. \"Crash!\" A huge hammer smashes against the stone floor outside.\nYou are very thirsty now. You'd better have a drink soon.\n\n> You look\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You read brittle\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Kulcad hammer\nAs you cast the spell, the brittle scroll vanishes!\nIt appears that the hammer was real, since nothing happens.\n\nA knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.\n\n> Kulcad controls\nAs you cast the spell, the brittle scroll vanishes!\nIt appears that the glowing button was real, since nothing happens.\n\nA knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.\n\n> You learn the blorb\nUsing your best study habits, you learn the blorb spell.\n\n> You blorb yourself\nYou experience the most peculiar sensation of being simultaneously shrunken and sucked into what might best be likened to a black hole. The effect is not without its exhilarating aspect; as a way of life, however, it leaves much to be desired.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nBelboz tilts his head, as if sensing something amiss. He examines your possessions and is taken aback: \"You have acquired a scroll of great power. Using spells of this kind requires surpassing wisdom.\" With a wave of his hand, the scroll disappears.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA very small quantity of water\n\n> Rezrov hammer\nAlthough you complete the spell, nothing seems to have happened. \"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You go north\nThis small room must have been a closet of some sort. To the north is a passage leading out into a courtyard. Another exit is to the south.\nIn the exact center of the room is a large, jewelled box. It is wrapped in tight coils of thin rope. You try to follow the strands with your eye, but become hopelessly lost in the jumble of thousands of loops and knots.\n\n> Examine box\nIt is closed and wrapped in tight coils of thin rope.\n\n> You take the box\nYour load is too heavy.\nYour mouth is getting rather dry.\n\n> Filfre\nAs you cast the spell, the purple scroll vanishes!\nIn a blinding burst of pyrotechnics, the air lights up with fireworks and dazzling explosions of multicolored fire! In sizzling sparks and roiling smoke is written:\n\nDave Lebling\nand\nMarc Blank\n\nAfter a while, the smoke dissipates and the lights dim. You remain slightly dazzled for a while, but fortunately, this wears off.\n\n> You take the box\nYour load is too heavy.\n\n> You drop all\nmap: Dropped.\nbadly worn pencil: Dropped.\nloaf of bread: Dropped.\njug: Dropped.\nspell book: Dropped.\n\n> You look\nThis small room must have been a closet of some sort. To the north is a passage leading out into a courtyard. Another exit is to the south.\nIn one corner of the room is a badly worn pencil, inscribed with runes. There is a map here.\n\n> You go to the south\nYou are becoming quite thirsty.\n\n> You fill the jug\nThe stars shine down on you from a clear, dark sky.\n\nThe stars shine down on you from a clear, dark sky.\n\nThe stars shine down on you from a clear, dark sky.\n\nYou can't go that way.\n\n> You fill the jug\nThe stars shine down on you from a clear, dark sky.\n\nThe stars shine down on you from a clear, dark sky.\n\nThe stars shine down on you from a clear, dark sky.\n\nThe jug is now full of water.\n\n> Drink water\nThe delicious spring water tasted great.\n\n> You check your inventory\nYou are carrying:\nA spell book\nA jug (providing light)\nThe jug contains:\nA quantity of water\nA partially eaten loaf of bread\nA jewelled box\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> Go southeast\nYou start across the room, but less than halfway across, the huge hammer crashes down, right on top of you!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe stars shine down on you from a clear, dark sky.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA quantity of water\n\n> You wait for a while\nTime passes...\nYou are feeling tired.\n\n> You go to the south-east\nYou make it across the room, but just barely; just as you duck through the door, a huge hammer crashes down behind, missing by an inch. Something you stepped on along the way clicked as well, and with a horrible screeching noise, the machinery speeds up, crashing faster and faster until it's twice as fast as before.\n\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scrol"
    },
    {
        "text": "l of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\nYour stomach is starting to grumble.\n\n> You take the scroll\nYour load is too heavy, especially in light of your exhaustion.\n\n> Sleep\nYou try to sleep but it's too noisy.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You read the scroll\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\nSuddenly, you sense a great wind of evil magic blowing around you. You are weighed down by its power, and only your sorcerous training permits you to withstand it. When you regain your composure, your surroundings have changed.\n\n> You look\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Inventory\nYou are carrying:\nA spell book\nA jug (providing light)\nThe jug contains:\nA quantity of water\nA partially eaten loaf of bread\nA jewelled box\n\n> You go to the west\nYou are feeling tired.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nYou sleep uneventfully, dreamlessly, and awake refreshed.\nThe sun has now risen above the hills.\nYour stomach is starting to grumble.\n\n> You go to the southeast\nYou make it across the room, but just barely; just as you duck through the door, a huge hammer crashes down behind, missing by an inch. Something you stepped on along the way clicked as well, and with a horrible screeching noise, the machinery speeds up, crashing faster and faster until it's twice as fast as before.\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Go northwest\nYou run across the room, trying to dodge the crashing machinery, and you are succeeding for a while until you set off a trap. A volley of sharp spears, powered by cunning machinery, comes at you from all directions. You are skewered! The huge hammer crashes down for the coup de grace.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA quantity of water\n\n> You look\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Kulcad box\nAs you cast the spell, the brittle scroll vanishes!\nIt appears that the jewelled box was real, since nothing happens.\n\nA knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.\n\n> Kulcad rope\nAs you cast the spell, the brittle scroll vanishes!\nNothing obvious happens, but when you examine the rope, it lacks a certain something you saw in it before. It now looks sort of ordinary, like a clothesline.\n\nA knife seems to split your head apart. A deep, black presence seems to enter and probe, deep and sure. After what seems like an eternity, it passes, leaving you with a throbbing headache.\n\n> You learn the rezrov\nUsing your best study habits, you learn the rezrov spell.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Rezrov box\nThe rope dissolves and the jewelled box flies open!\n\n> You look in the box\nThe jewelled box contains:\nA vellum scroll\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You read it\nThe scroll reads \"melbor spell: protect magic users from harm by evil beings\".\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Gnusto melbor\nYour spell book begins to glow softly. Slowly, ornately, the words of the melbor spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You learn the melbor\nUsing your best study habits, you learn the melbor spell.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> Melbor yourself\nA wave of warmth courses through you, leaving you with a feeling of great internal strength.\n\n> Go northwest\nYou rush across the engine room, your speed enabling you to avoid the gigantic hammers and gears; at this speed they appear to move with great deliberation. Unfortunately, you set off a trap, and many sharp spears fly at you from all directions! They seem to move pretty fast. Too fast, in fact. You can't dodge them, and you are severely skewered.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA quantity of water\n\n> Go southeast\nYou are feeling tired.\n\nThis is a meadow near the sea. There is a smell of salt in the air. Only heather and thistles grow here. To the north is a gate leading into the castle. A narrow path to the southeast leads to the shore of the Sea.\nThe stars shine down on you from a clear, dark sky.\nYour stomach is starting to grumble.\n\nThis is a rocky beach along a grey and lifeless sea. There is dead seaweed covering many rocks, and listless waves barely stir the flotsam and jetsam here. There are many shells, but all are broken. A narrow path to the northwest leads into a meadow.\nThe stars shine down on you from a clear, dark sky.\nCrawling slowly along the beach is an enormous turtle, his enamelled shell shining with all the colors of the rainbow.\n\n> Cleesh turtle\nAs he is already a reptile, the spell has little effect.\n\n> Hello\nThe turtle looks at you quizzically. It's clear he would like to understand you, but he doesn't. He responds, but it's only snaps, hisses, and clicks to you.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\n\n> Nitfol turtle\nThe rainbow turtle looks at you for a moment, and you look at it. \"Hello,\" it says.\nYou are worn out.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good. You spread your cloak under the open sky and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nYou sleep blissfully, unaware of the evil creatures lurking in the darkness. Unaware, that is, until one of them sets upon you with nasty sharp teeth.\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA quantity of water\nYour stomach is starting to grumble.\n\n> Go north\nYou can't go that way.\nYou are becoming quite hungry.\n\n> Sleep\nYou fall asleep quickly and begin to dream. The dream turns into a nightmare of decay and desolation, as your surroundings turn grey and lifeless. You feel a great weight, like a pile of ashes, constricting your movements, and then you bolt awake!\n\n> You touch the shell\nThe turtle seems to appreciate the attention.\n\n> You take the turtle\nThe turtle is much too large to take.\n\n> Blorb\nWhat do you want to blorb?\n\n> You give the scroll to you\nThe rainbow turtle seems confused. \"I don't see any scroll here!\"\n\n> You ask Turtle,  to go to the northwest\nThe rainbow turtle, ever the good friend, leaves you.\n\n> Go north\nThis interior courtyard stands at the southern entrance to the castle, where a small rusty gate is standing open and slowly swaying in a gentle sea breeze. Beyond the gate can be seen a small meadow and, beyond that, a white beach on a misty sea. Passages enter the castle proper to the north, east, and west.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\n> Up\nThe turtle huffs and puffs up the stairs. \"Pretty steep stairs for a turtle, friend...\"\n\n> You ask Turtle,  to go southeast\nThe poor turtle starts, but he's just too slow. About halfway across the room he is dispatched by the enormous hammer, leaving only a rainbow colored smudge on the floor. Even that disappears at the next blow of the hammer.\n\n*** The rainbow turtle has died ***\n\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn exex\nUsing your best study habits, you learn the exex spell.\n\"Crash!\" A huge hammer smashes against the stone floor.\nA gaunt, feral-looking dog carrying a well-chewed bone approaches, is surprised by your presence, growls and then turns tail.\n\n> You ask Turtle,  to go southeast\nAs the turtle starts across, he seems to set off something, for the machinery speeds up and the noise level becomes almost unbearable. Luckily, he makes it to the other side safely!\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You go southeast\nYou start across the room, but less than halfway across, the huge hammer crashes down, right on top of you!\n\n****  You have died  ****\n\nYou awaken among the members of the Circle. Belboz the Necromancer looks tired, and scattered about are the remains of the components of a spell of great healing power. The other members of the Circle are pleased to see you revived, but worried by the setback. \"I think Krill is too powerful,\" says one. \"This inexperienced wizard will never defeat one so puissant as he.\" Quiet discussion ensues, with well-concealed acrimony beneath the surface.\nDebate ensues, with Belboz returning frequently to the contents of the ancient manuscript. His wishes prevail, and it is agreed to send you back....\n\nThe darkening sky is lit by a waning moon.\nThere is a loaf of bread here.\nThere is a jug here (providing light).\nThe jug contains:\nA quantity of water\n\n> You look\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure. Across the room you can see the rainbow turtle, who frequently looks your way.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You exex yourself\nNothing seems to happen. Perhaps the spell needs time before it can be cast again.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn the zifmia\nUsing your best study habits, you learn the zifmia spell.\n\n> Zifmia turtle\nYou can't see anyturtle here.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You examine the turtle\nHe is standing on the other side of the machinery.\n\"Crash!\" A huge hammer smashes against the stone floor.\nThe darkened sky is now full of bright stars. It is night.\nToday seemed shorter than yesterday, somehow.\n\n> You learn the cleesh\nUsing your best study habits, you learn the cleesh spell.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You cleesh yourself\nYou are turned into a newt, and scurry off to find your friends in the swamp. You are distracted by various yummy insects along the way, but eventually settle into a nice gooey part of the morass and live happily ever after, at least until you are devoured by a heron.\n\nYour score is 145 of a possible 400, in 445 moves.\nThis puts you in the class of Novice Enchanter.\n\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game?\n(Type RESTART, RESTORE, or QUIT):\n\n> You learn the cleesh\nUsing your best study habits, you learn the cleesh spell.\nThe adventurer leaves the room, heading to the north.\nYou are feeling tired.\n\n> Go north\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis short piece of corridor continues to the north and south.\nThere is a bedraggled and weary adventurer standing here. He is carrying a dusty book, a beautiful, ornamented egg, a worn silver spoon, a sword, and a brass lantern.\nThe adventurer leaves the room, heading to the north.\nYour stomach is starting to grumble.\n\n> Go north\nThis desolate hall is nearly empty, save for a few long benches which are scattered throughout the room. The walls seem to be scorched, and everywhere are signs of decay. A sickening odor pervades the room, and wisps of acrid black smoke can be seen to the north. A wide passage leads south, and a small one opens to the east.\nTo the north you can hear the sound of a group of low, guttural voices. There is a bedraggled and weary adventurer standing here. He is carrying a dusty book, a beautiful, ornamented egg, a worn silver spoon, a sword, and a brass lantern.\nThe low, guttural voices seem to be coming in your direction.\nThe adventurer attempts to eat his sword. I don't think it would agree with him.\n\n> Cleesh adventurer\nThe adventurer turns into a fairly large newt, which scuttles off and is lost to sight.\nA group of four hunched and hairy shapes walks into your presence. They seem surprised to see you. After whispering a few guttural words to each other, they start to move toward you purposefully.\n\n> You go south\nThe group of shapes follows you, intent on your capture! They seem to come alive in the desolation which fills this room.\n\n> Go south\nThe group of shapes follows you into this undespoiled room, emboldened and eager for blood.\n\n> Go southeast\nYou can't go that way.\nThe group of hunched and hairy shapes takes you in their arms and escorts you into a huge temple.\n\nA low noise begins behind you, and you turn to see hundreds of hunched and hairy shapes. A guttural chant issues from their throats. Near you stands a figure draped in a robe of deepest black, brandishing a vicious dagger. The chant grows louder as the robed figure approaches the altar. As the shapes grab you, the figure in black speaks: \"Take the victim to the tower. I shall prepare for the sacrifice!\" The figures, whose form you can barely guess, take you from here through the northern door and into a prison cell. They take your possessions from you and close the door with a crash!\n\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis is a small prison cell in the north tower of the temple. Hideous shapes can be seen through the iron-barred window in the prison door. From the temple, a bloodcurdling chant can be heard.\n\n> Sleep\nAh, sleep! It's been a long day, indeed. The rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind ... Time passes as you snore blissfully.\n\nYou sleep uneventfully, dreamlessly, and awake refreshed.\n\n> You go south\nThis is a meadow near the sea. There is a smell of salt in the air. Only heather and thistles grow here. To the north is a gate leading into the castle. A narrow path to the southeast leads to the shore of the Sea.\nThe sun has now risen above the hills.\nYour stomach is starting to grumble.\n\n> You go southeast\nThis is a rocky beach along a grey and lifeless sea. There is dead seaweed covering many rocks, and listless waves barely stir the flotsam and jetsam here. There are many shells, but all are broken. A narrow path to the northwest leads into a meadow.\nCrawling slowly along the beach is an enormous turtle, his enamelled shell shining with all the colors of the rainbow.\n\n> Go north\nA bedraggled adventurer walks into the room from the west.\n\n> You go to the north\nEverything you see is grey and lifeless, as though covered with a veil of ash. Sound is muted and there is a faint acrid odor.\nThis short piece of corridor continues to the north and south.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\n> You ask Turtle,  to go south\nThe rainbow turtle, ever the good friend, leaves you.\nA bedraggled adventurer walks into the room from the east.\nYou are becoming quite hungry.\n\n> Go south\nThere is a bedraggled and weary adventurer standing here. He is carrying a dusty book, a beautiful, ornamented egg, a worn silver spoon, a sword, and a brass lantern.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\nThe adventurer leaves the room, heading to the north.\n\n> You ask Turtle,  to go east\nThe rainbow turtle, ever the good friend, leaves you.\nA gaunt, feral-looking dog carrying a well-chewed bone approaches, is surprised by your presence, growls and then turns tail.\n\n> Zifmia turtle\nYou can't see anyturtle here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n> You examine the turtle\nHe is standing on the other side of the machinery.\n\n> You look\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn the zifmia\nUsing your best study habits, you learn the zifmia spell.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> Vaxum turtle\nThe turtle seems to make a friendly gesture, but then again turtles are pretty friendly anyway.\n\n> You climb the turtle\nThe turtle doesn't allow you to get on his back.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> Rezrov turtle\nThe turtle's shell pops off his back. Mortified, he retrieves it.\n\n> You look\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\n> Hello\nThe turtle looks at you quizzically. It's clear he would like to understand you, but he doesn't. He responds, but it's only snaps, hisses, and clicks to you.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You learn the nitfol\nUsing your best study habits, you learn the nitfol spell.\nThe sun starts to set behind the Lonely Mountain in the west.\nThe day is coming to an end earlier than you would have expected.\n\n> Nitfol turtle\nThe rainbow turtle looks at you for a moment, and you look at it. \"Hello,\" it says.\nA bedraggled adventurer walks into the room from downstairs.\n\n> You learn the vaxum\nUsing your best study habits, you learn the vaxum spell.\nA bedraggled adventurer walks into the room from downstairs.\n\n> Vaxum adventurer\nThe adventurer smiles at you with an air of good will.\nThe adventurer eyes your possessions intently.\n\n> You ask Adventurer,  to go southeast\n\"I'll do what I please, thank you.\"\n\"Crash!\" A huge hammer smashes against the stone floor.\nThe adventurer leaves the room, heading downstairs.\n\n> You look\nThe room is filled with noise: crashing and smashing, gurgling of water, grinding of gears, and horrible screeching of metal. Huge devices of obscure purpose provide these effects. The most notable is a huge hammer that smashes continually against the stone floor: it makes any crossing of the room a dangerous enterprise. The whole construction brings to mind the words \"Infernal Machine.\" Far off to the southeast is another room. You can barely make out something on the floor of that room. It might be a scroll, but from here you can't tell for sure. There is a bedraggled and weary adventurer standing here. He is carrying a dusty book, a beautiful, ornamented egg, a worn silver spoon, a sword, and a brass lantern. He seems pleased to see you and frequently smiles in your direction.\nAn enormous turtle is here, its enamelled shell shining with all the colors of the rainbow.\n\"Crash!\" A huge hammer smashes against the stone floor.\nThe adventurer leaves the room, heading downstairs.\n\n> You eat adventurer\n\"I'm only a turtle, you know, even if I can talk!\"\nThe adventurer stares at his possessions as if expecting a revelation.\n\n> You take Book\nThe adventurer, not seeing any use in keeping the dusty book anyway, hands it to you gladly.\nThe adventurer leaves the room, heading downstairs.\n\n> You read Book\nWhich book do you mean, the dusty book or the spell book?\n\n> You read dusty Book\nThe first page of the book was the table of contents. Only two chapter names can be read: The Legend of the Unseen Terror and The Legend of the Great Implementers.\n\"Crash!\" A huge hammer smashes against the stone floor.\n\n> You read unseen Terror\nThis legend, written in an ancient tongue, goes something like this: At one time a shapeless and formless manifestation of evil was disturbed from millenia of sleep. It was so powerful that it required the combined wisdom of the leading enchanters of that age to conquer it. The legend tells how the enchanters lured the Terror \"to a recess deep within the earth\" by placing there a powerful spell scroll. When it had reached the scroll, the enchanters trapped it there with a spell that encased it in the living rock. The Terror was so horrible that none would dare speak of it. A comment at the end of the narration indicates that the story is considered to be quite fanciful; no other chronicles of the age mention the Terror in any form."
    },
    {
        "text": "[Themes: A Folly, surreal, strong profanity, ghost, masque, dueling, sex, nudity, plague, gender-neutral protagonist, palace, time travel, Edgar Allan Poe, kissing, party, violence, midnight]\n\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. But it must be real.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\n\n[Author's Note: A fool receives a challenge from a countess. Violence. Sex. Profanity. Sausage.]\n\n> Attack countess\nYou lunge toward the countess with your cutlass. Initiative should matter during a duel, shouldn't it? But then there is a clash and you find your blade scraping the countess's rapier as she drives you back with a parry.\n\nSparks fly from your feuding swords. You are both dancing over the lawn, back and forth, here and there, and somehow you are still alive. It's unbelievable. But that comes to an end when you make a misstep and the countess waltzes right into the opening.\n\nHow did you get into the air? Why can't you feel anything? And what is your body doing down there without a head?\n\nOh.\n\n> Kiss countess\nYou cast aside your weapon. You cannot fight the countess. This feud is a mistake. Instead you walk across the lawn toward her.\n\nShe must see it in your eyes. She must know how you feel. Perhaps she even has the same feelings?\n\nApparently not, because what you get is her rapier plunged into your mouth. It keeps plunging until your lips are pressed onto its hilt.\n\nAt least you got to kiss something.\n\n> You attack Onegin\nThe countess? The countess? Why should you fight the countess when that bastard Onegin is undoubtedly the mastermind behind this whole charade?\n\nYou're overcome with outrage and you lunge toward Onegin. It's certainly a pretty sight to see him flinch, but your cutlass never even grazes him before you've been repelled by the countess. Her sword intercepts your own; she's faster; she has pushed you back.\n\n\"Your challenge is with me!\" she says.\n\nAnd then her rapier is in your gut, your innards spilling out. Somehow she must have done it when your focus was on Onegin. His smile is the last thing that you see, and your intestines are the last thing that you feel as you try to push them back inside.\n\nYou aren't successful.\n\n> You attack ferdinand\nSomething whispers in your brain, like a perverse worm, encouraging you to attack Ferdinand, and you do. Onegin and the countess are irrelevant. All your frustrations erupt in your own second's direction.\n\nYou swing around, your cutlass slashing sideways through the air, in order to take Ferdinand by surprise, but in the brief moment before your weapon would connect, you realize your mistake: nothing can take Ferdinand by surprise.\n\nShe has your wrist, her knee is in your gut, and suddenly your arm is bending backward in her grasp. You can see in her eyes something nobody living has seen. That is because everyone who has seen it is dead. It is killing intent.\n\n\"If this is how you repay your allies,\" says Ferdinand, \"no wonder you have enemies.\"\n\nNow she has your sword, but she does not wait too long before returning it.\n\n> You examine her\nFerdinand told you to run, but you were never going to listen, which is why she's serving as your second now. Her head is shaved completely bald, she has grown out her moustache and goatee, and she is wearing a captain's coat with epaulettes. It's a pity that she couldn't fight in your place; then the match might have been more even.\n\nThe countess is suddenly there, only inches away. A clash is ringing in your ears and you can see your own sword sailing out over the garden. More importantly, you can feel her sword sinking into your stomach.\n\n\"Revenge,\" she whispers in your ear, \"is always sweeter than forgiveness.\"\n\n> You look at the countess\nThe countess cuts a formidable figure with her rapier upraised, its point a silver promise in the moonlight. Her face is partly hidden by a mask, her lips a scarlet smile underneath. Even encumbered by her outrageous gown (and it is indeed outrageous) you have no doubt that she is the better swordsman, and she seems to have no doubt about it either.\n\nShe is suddenly there, only inches away. A clash is ringing in your ears and you can see your own sword sailing out over the garden. More importantly, you can feel her sword sinking into your stomach.\n\n\"Revenge,\" she whispers in your ear, \"is always sweeter than forgiveness.\"\n\n> Inventory\nYou are carrying a playscript and a cutlass, and you are wearing motley.\n\n> About yourself\nYou're dressed as a chequered jester with enormous sleeves and jingling bells. You expected to spend this night playing practical jokes on the other guests, stealing kisses. Fighting a duel for your life was never on the agenda.\n\nThe countess is suddenly there, only inches away. A clash is ringing in your ears and you can see your own sword sailing out over the garden. More importantly, you can feel her sword sinking into your stomach.\n\n\"Revenge,\" she whispers in your ear, \"is always sweeter than forgiveness.\"\n\n> You examine the gown\nA thousand luminescent jellyfish have been stitched together to create the countess's gown. They cannot breathe well in the open air, but their gasping only makes them glow more wonderfully. Their tentacles and arms drag out behind her in a stinging, lightning-crackled trail, but the countess moves just as gracefully as the jellyfish themselves would in water.\n\nShe is suddenly there, only inches away. A clash is ringing in your ears and you can see your own sword sailing out over the garden. More importantly, you can feel her sword sinking into your stomach.\n\n\"Revenge,\" she whispers in your ear, \"is always sweeter than forgiveness.\"\n\n> You examine the mask\nA domino mask fashioned entirely from pearls covers the countess's face. Far from romantic, it seems to lend the skin around her eyes a lesioned, bubbling appearance, or perhaps suggest frog-eggs or caviar. Nobody else would be able to wear such a thing without looking a fright; the countess makes it look impeccable.\n\nShe is suddenly there, only inches away. A clash is ringing in your ears and you can see your own sword sailing out over the garden. More importantly, you can feel her sword sinking into your stomach.\n\n\"Revenge,\" she whispers in your ear, \"is always sweeter than forgiveness.\"\n\n> You wake up\nYou open your eyes.\n\n> You wake up\nOn the floor you can see a white glove where it has been contemptuously thrown down, and expanding outward from this glove the world takes form. There are dancers surrounding you in a circle, but they are not dancing: they are staring at you and staring at the glove, and their eyeballs never cease staring because they are frozen.\n\nThere has been some hitch and time stands still.\n\nA chandelier hangs overhead, candles unflickering. Everything is mirrored in the marble floor. Toward the future you can glimpse the grand staircase, where the countess is ascending with her back turned after having delivered her challenge.\n\nMaybe you ought to try examining your playscript.\n\n> You examine the script\nScene:\nballroom, evening\n\nto thwart the countess prior to their duel.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> You examine the glove\nA simple white glove.\n\n> You examine the dancers\nYou cannot recognize anyone behind their masks. There is a jackal in a tailcoat, and a nymph with shellfish in her hair, and an enchantress with gold orbs for eyes, and someone with marzipan skin, and an alpine maiden with a shepherd's crook, and an antlered baron, and a raven in a judge's wig, and a sequined succubus, and other masqueraders more fantastic still, but the one thing they all have in common is that their frozen gazes are condemning you: Guilty, they seem to say, guilty.\n\n> You examine countess\nLooking at the countess now, you can still feel the shame and confusion and rage that washed over you when she first threw down this glove -- or was it the only time she threw down the glove? Is this moment the same as the other? You were too shocked to respond, and could only watch her sail away through the crowd, up the grand staircase, like some royal frigate among smaller vessels bobbing in her wake.\n\n> You look at the jackal\nIt's strange, but when you look at the individual dancers their details warp as though you were looking at something from inside a fishbowl.\n\n> You check what you're carrying\nYou are carrying a playscript, and you are wearing motley.\n\n> You examine motley\nYou thought you would look rather charming in motley when you selected this costume, but considering the circumstances you look more like a genuine fool than you ever intended -- with or without the\ncostume.\n\n> You look at chandelier\nYou once heard a story about a chandelier falling on a crowd during a dance and crushing everyone under its weight. It just goes to show that you never know when death will come calling, or how.\n\n> You examine the floor\nYou look down and find your reflection looking back from the polished marble. Apart from you, your mirrored double is the only thing that moves in this ballroom.\n\n> You examine the staircase\nGrand staircase? Monumental staircase is more like it. Battalions could march down those red-carpeted steps with room to spare, but right now the countess has the staircase to herself with her tentacled gown trailing behind her.\n\n> You examine the script\nScene:\nballroom, evening\n\nto thwart the countess prior to their duel.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> You take the glove\nYou try to lift the white glove, but your muscles strain and it remains stuck to the marble. This glove is the core around which the entire evening is anchored, and nothing will ever budge it from the spot.\n\n> F.\nWhen you reach the grand staircase landing, the countess is already gone, which is to say that she was never here at this particular moment. Perhaps she just left or perhaps she's about to arrive, but the salient point is that you're not going to find her.\n\nFerdinand, however, is leaning against a balustrade, her gaze cast toward the dancers in their formations below. She isn't one for dancing herself unless it's atop freshly slain enemies. Her cutlass, which you will borrow later in your duel with the countess, is leaning against the balustrade beside her.\n\nThe ballroom is in the past now, and in the future you will look behind a polar bear.\n\n> You examine Ferdinand\nYour oldest friend, Ferdinand might also be your only friend left now. There's no one more experienced when it comes to warfare, and in most situations you'd take whatever tactical advice she had to give. But when she drew you aside earlier tonight and told you that your goose was going to be cooked -- that the countess, indeed, was stoking the fire -- you assured her that you'd baste yourself thoroughly first. She didn't think it was funny. She also knew she wouldn't change your mind.\n\n> You look at the cutlass\nFerdinand's cutlass has lopped away more heads than ever rolled during a revolution. But although she's agreed to lend you her weapon for the upcoming duel, you'll probably lose your own fingers before you even scratch the countess with it.\n\n> You talk to Ferdinand\nYou can't talk to Ferdinand. She is paralyzed and will remain paralyzed in this moment.\n\n> Kiss ferdinand\nYou respect Ferdinand far too much to take any liberties with her, even as a joke. There's also the fact that she'd have your head if she ever found out that you'd stolen a kiss.\n\n> You look at the dancers\nRight now the dancers appear to be engaged in a minuet, although nobody is moving and there's no music. You always found the minuet rather tedious, but this takes it to a new level.\n\n> F.\nDmitri's chest is pressed against the wall, arms overhead with his fingernails raking down the wallpaper. Onegin is straddling his rear, gripping his waist, paused mid-thrust with his cock halfway inside Dmitri's cunt -- or maybe halfway out?\n\nAs the countess's minion, it is Onegin's duty to carry her weapon, and right now her rapier is resting nearby on the floor in an opened case.\n\nThe polar bear itself is at least three meters tall, preserved taxidermically in a perpetual roar with claws outspread. Traveling counter-clockwise would reorient you toward the black salon, and the grand staircase is in your past.\n\n> You look at the script\nScene:\nbehind a polar bear, evening\n\nto replace a weapon.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> You take the weapon\nWhen you try to take the rapier, you feel something resist, and then it occurs to you: there will always need to be some weapon in this case, otherwise the countess would be unarmed during the duel later. You'll need to find a replacement and drop it here if you want to remove the rapier.\n\n> You examine Dmitri\nIt's unbelievable. Dmitri ought to know better than this. There must be, what, a few hundred people attending this masquerade ball, and he has to cavort with that bastard Onegin? You can't fathom what's going through his head, but at least there's one upshot: he has Onegin distracted, and the countess's unguarded weapon is yours to meddle with.\n\n> You examine Onegin\nOnegin, that bastard. He's just got to fuck everything in your life, doesn't he? First it was spreading that rumor (probably) and now it's this. You wonder how people like him even come to exist. What influences must have converged to plant him right here, at this moment, with Dmitri, behind this godforsaken polar bear.\n\n> Cc\nBlack sable tapestries hang from the ceiling and walls, and black velvet carpets the floor. Scarlet radiance slants through scarlet windowpanes. An ebony grandfather clock has stopped keeping the time at one quarter to twelve.\n\nThere is nobody here.\n\nClockwise you will look behind a polar bear, and when you glance back toward the past you can see a celebration in the banquet hall where everyone has gathered to drink, feast, and make merry.\n\n> You look at the tapestries\nSuch trappings bring to mind the plush interiors that cushion high-class coffins.\n\n> You examine the windows\nWhen you glance outside through the scarlet windowpanes you can see great tripods burning. Heretics writhe in their flames. It's a glorious auto-da-fe.\n\n> You examine the tripods\nYou see nothing special about the heretics burning on the tripods. They're what you might call \"garden variety.\" But you'll be in a similar spot if you can't finagle some method to outwit the countess soon.\n\n> You look at the script\nScene:\nblack salon, one quarter to twelve\n\nfails to express any hour.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> You look at the clock\nTwo long cast-iron hands mark the time at one quarter to twelve.\n\n> P.\nSomehow a rift must have opened, because obese cherubs are pouring through the air onto the banquet-table; or at least, they would be pouring if they were in motion. There are several hundred, faces grimacing and feathered wings shedding blue pinions, and in their conglomerate they have impacted the table at one end, sending the other end skyward like a see-saw. Some even appear to be crawling upward along the table as rats would a mast aboard a sinking ship.\n\nThis arrangement has naturally relocated the banquet itself into midair, where roasts and cakes and goblets and plates hang with their glazes and their silver sparkling. A tremendous kielbasa glistens temptingly.\n\nWhen it comes to the diners, most have already departed, although a few remain watching the cherubs with mild interest from seats pushed back against the walls. One lady dressed as a swan is eating angels on horseback, with a champagne flute daintily suspended in her other hand.\n\nA clockwise inclination would direct you into the aftermath, while moving counter-clockwise would steer you toward the cloak room, and in the future yawns the black salon.\n\n> You take the kielbasa\nYou pry the kielbasa from midair and heft it in one hand to test its weight. Yes, yes, this kielbasa will make for a perfectly delicious weapon in the right context.\n\n> You examine the swan\nShe has outdone herself. Apart from her two human hands, this lady looks exactly like a swan. It is uncanny. She would probably\nwaddle and peck breadcrumbs if she could move.\n\n> You look at the angels\nThe \"angels\" are oysters, and they are \"on horseback\" because they've been wrapped in bacon. These angels have also been speared with a skewer, which the swan-lady is holding to her beak between thumb and forefinger.\n\n> You examine the flute\nIt is never too early or late for champagne. When there's no occasion for champagne, then the champagne makes the occasion.\n\n> You look at the cherubs\nFor some reason artists always represent cherubs as adorable little darlings when the truth is that they're hideous. Their skulls are elongated, their black eyes bulbous, their tiered teeth serrated, and their flesh cracked where an ordinary infant would have folds. A piranha would look friendlier.\n\n> You examine Dmitri\nVines dripping with muscatel grapes are draped like laurels around Dmitri's ears, and he has a toga knotted over one shoulder. He's not an adolescent but he's still blooming with youth like one. Some people never seem to age, not even when time's moving properly.\n\n> You examine script\nScene:\naftermath, early morning\n\nwith an interested party,\nor perhaps with a disinterested one.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> You look at the book\n\"They're fables,\" explains Dmitri. \"Someone left this book behind and I've just been skimming the stories. Here, listen to this one.\"\n\nHe clears his throat and then begins:\n\n\"Sly Bertrand and Ratto in company sat\n(the one was a monkey, the other a cat)\nbefore a fire to watch chestnuts roasting.\nSaid Bertrand to Ratto, his voice imploring:\n\n\"'My brother, you ought to exhibit your skill\nand fish out those nuts so we can eat our fill.\nYour paws are suited expertly to the task\nwhereas I am afraid mine would just burn, alas.'\n\n\"'It is done,' answered Ratto, extending a paw\nand attempting to dig through the ash with his claw.\nOne after another out the chestnuts popped\nthough Ratto was still scorched before he had stopped.\n\n\"Yet the poor cat had nothing to eat\nfor the monkey had made his retreat\nwith the chestnuts in hand; peasants bring\npower in this manner to their king.\n\n\"I believe that the phrase 'cat's paw' is derived from this fable,\" says Dmitri, \"but what I want to know is why a monkey and cat\nwere eating roasted chestnuts in the first place.\"\n\n> You talk to Dmitri\n\"Honestly,\" says Dmitri, \"I'm surprised you're still alive. I suppose that you must have done something tricky to manage that, eh? Put your finger on the record to stop the universe from turning, then slipped out the back door to dodge your appointment with the countess? Otherwise you'd be dead. You're an incompetent swordsman. I've seen you. But I guess it doesn't matter: you're here now, whenever\nnow is in the grand scheme.\n\n\"I'm afraid that you won't find many others still hanging around though. They've all gone. It's dreadfully late -- or maybe dreadfully early? Early and late are the same when the hour is right. But you know me. I never sleep.\"\n\nHe pauses to turn a page in his book.\n\n\"Can't wake up when I do,\" he says.\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> You examine the script\n\"I've got nothing to say about that,\" says Dmitri.\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Countess\n\"I'll tell you how I first saw the countess,\" says Dmitri. \"It was a twilight evening some years back, and I was standing outside with the crowd on the steps leading into the opera house. If you aren't familiar with the opera house, it's situated beside a canal, and a long stairway runs down from the piazza to the water. People arrive in gondolas, and naturally there's a lot of preening and parading on that staircase.\n\n\"Well, from where I was standing I could see something marvelous coming down the water. It was like a carriage, like a chariot, completely gold and drawn by seven bottlenose dolphins. They were pulling it through the canal just like a horse would pull a carriage on a street. But what's a bottlenose dolphin, you ask? I didn't know at the time, but since then I've learned that they're a highly endangered marine mammal. They look like very large, sleek fish, and supposedly there aren't more than fifty still alive. And\nseven were pulling that chariot through the canal. You can\nimagine the spectacle when it drew to a stop at the staircase and its passenger emerged. That passenger was none other than the countess.\n\n\"You don't need me to describe her appearance. She's always the most gorgeous person in the room -- or, in this case, on the waterfront. Everything she wore shimmered with diamonds. The world seemed to come into more focus around her, to clarify, like something magnified under a jeweler's loupe. You could feel that everybody in the crowd had either fallen in love with her immediately (if they weren't in love with her already), or that they were just boiling with jealousy, but she didn't pay any attention to them. She didn't climb the staircase either. Instead she went over to a walkway extending beneath a nearby bridge's underpass and came out again with the most grimy little urchin in the city. That child had been camped beneath that underpass for weeks, eating rats from a sewage pipe that emptied into the canal. Since there weren't many rats, the child wasn't very healthy. The countess took the child and actually wrapped it in her own cloak, right there in front of everybody at the opera house, and then she helped it step into her chariot and drove away again without even the slightest hello or goodbye to her socialite peers.\n\n\"What an outrage that scene caused! I can hardly remember the opera itself because I was still thinking about the countess during the whole performance. Later on, the scandal was splashed all over the papers, but the countess never cared. She had seen someone in need and that was the only thing that mattered to her. Now I have it on good authority that her street urchin eats all the rats that anyone could ever want.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Time\n\"What does anyone know about time?\" says Dmitri. \"It's always slipping away like an eel when you want it to stay put, and when you've got no use for it, why, then of course it drags its feet worse than a convict with a ball and chain. Time's a contrarian, that's what it is. It never makes any sense, so finally you stop trying to look for any sense in it.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Urchin\n\"That street urchin will probably be an earl or something by the time that the countess is finished,\" says Dmitri. \"You know that she's more than a countess herself? She's got enough titles and styles in different countries and districts and principalities or whatever that she can pick what she wants to be called. It wouldn't be wrong to address her as a baroness, a duchess, even a grand princess,\nbut she prefers countess. For the word's ring, I suppose.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Ferdinand\n\"You're lucky to have Ferdinand on your side,\" says Dmitri. \"The countess is formidable, but even she's as meek as a kitten in comparison. I can't begin to guess how many kills old\nFerdinand must have under her belt. Of course it was all done in the line of duty, or whatever other nonsense people will say to try making it palatable. But facts are facts.\n\n\"What does Ferdinand see in you, anyway? You're certainly not her peer in martial prowess, and not in social status either. I don't think you can claim to match her intellectual level. Maybe she keeps you around like a little pet dog. Am I in the right ballpark? You're like a shih tzu for her. Something she can take out every once in a while and play with and then put back into a kennel without feeling too guilty about it. Not that I think she can feel guilty about anything. She\nmust have killed her conscience a long time ago. Probably her first victim.\n\n\"Then again, perhaps I'm being too hard on her. I suppose life has taken its toll on Ferdinand just like everybody else. The difference is that not everybody else has a little pet shih tzu to distract themselves.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Onegin\n\"What could I tell you about Onegin that you don't already know?\" asks Dmitri. \"You don't want to know anything about him. No, what you really want is to know about me and Onegin, but\nthere's nothing to tell about that either. There's nothing between us.\n\n\"Of course I won't deny that I've fucked him, but he's just another notch in my bedpost. A handsome notch, but still a notch. Your problem is that you think he's such a bastard you can't fathom why I'd do it. And that is your problem, not mine. He might be a perfectly disagreeable character -- pompous, egomaniacal, even a little thick-skulled -- but that doesn't mean I can't have a good time with him. You see, the difference between us is that whereas you\ntake everything much too personally, I just take things as\nthey come. I've told you the same thing before, but did you listen to me? No. And you won't listen to me now. Forget about Onegin. Bury this ridiculous vendetta you have with him. It makes you look like a child.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Bear\n\"You saw us behind the polar bear, did you?\" asks Dmitri. \"I don't care. I have nothing to hide. I'll admit I'm a little annoyed that you'd sit there and watch like a voyeur, but I'm not going to let myself get angry over it. I'm not the one who needs to grow up. You are.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Vendetta\n\"Do you even know why you have a vendetta with Onegin?\" asks Dmitri. \"I'd be shocked if you did. The worst thing he's ever done to you is just exist on the same planet. He barely even acknowledges that\nyou exist. I can understand why there'd be no warmth between\nyou, but this lust for blood you've got is something else entirely. It's pathetic is what it is.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Dmitri\n\"Even after all this time, you don't know who I am,\" says Dmitri. \"It's hard for two people to really know each other, naturally, but I'm not talking about that deeper level. I'm talking about the surface, the little things that go into everyday life. Sometimes when I'm talking to you I feel like you're talking to someone else behind me. Like words leave your mouth and go over my head to this other person. And you seem satisfied with their response, whatever it is, because I don't give you a response. I can't. You don't hear\nme. But you don't want to, because you already think you know my answer. You've invented another me to suit yourself. Well, here I am now. I refuse to be that other person's shadow anymore.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Jellyfish\n\"Yes, the countess is always on the cutting edge when it comes to fashion,\" says Dmitri. \"Who else would wear a gown made out of living jellyfish? Nobody. The jellyfish would sting most other people. But do they sting the countess? Oh no, because they love her.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Yourself\n\"You know what I think about you,\" says Dmitri. \"I've told you many times... so many times... but now I recognize it was my fault. Not that I'm apologizing. If anyone deserves an apology, it's me\nfor putting up with what I did. What I mean is that people will always be themselves. No matter how many masks they wear. No matter how many costumes. Trying to change them is the greatest fool's errand in the world. Do you know how much agonizing it took me to reach that conclusion? I kept trying to resist. I wanted to believe that if I pushed a little harder, said the right thing, used the rights words in the right combination, everything would change like winter into spring. I was an idiot. An absolutely blithering moron. I won't say that I'm smarter now, but I am more pragmatic. Nowadays I'm\ncontent with much smaller victories -- like drinking a very well-made martini.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Martini\n\"Nothing slips down quite as smoothly as a martini,\" says Dmitri. \"They must be mankind's greatest achievement.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Love\n\"Love?\" says Dmitri, and he stifles a laugh. \"Yes, I suppose love is playing a role in tonight's farce. The question is why, since\nnobody's in love with anyone. Some people just think that\nthey are. I won't name names, but I will say it makes them look... foolish. And I'm not just talking about you either.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Party\n\"Attending these masquerade parties is like playing russian roulette,\" says Dmitri. \"Someone always dies, and yet invitations have never been in higher demand. You remember last time it was that poor girl Matilda? And the year before that, they found the duke's cousin hanged in the kitchen pantry. This year it's your turn apparently.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Matilda\n\"Matilda, that poor girl,\" says Dmitri. \"It's terrible what happened to her. Drowned in the fountain last year. She wasn't exactly an innocent lamb -- in fact, she was a spoiled brat -- always sticking her tongue out and snubbing her nose -- but it was an\nendearing snobbiness, if you know what I mean. She almost did\nit on purpose, adopted a character to poke fun at herself. Anyway, my point is that she had no enemies. Nobody could figure out a motive for why someone would want to kill her.\n\n\"Everyone was shocked, of course, but no one took it worse than the countess. Those two had been great friends. You should've seen the countess out there bawling by the fountain. They had to pry the corpse away from her with a crowbar. Grief like that, you think that it only exists in novels, but then you see it firsthand and realize you never understood the world at all.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Cousin\n\"Can you imagine opening a door and being confronted by a dead body hanging from the rafters?\" asks Dmitri. \"I still remember the screaming from the cook. She said that she'd been going to get saffron, and what she got was that. Everyone suspected\nsuicide, although the duke himself wouldn't humor the notion.\nHe said murder. Someone always has to say murder.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Duke\n\"The duke shot himself later on,\" says Dmitri. \"That was definitely suicide. It didn't happen at a party though.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Murder\n\"It's never been determined that a murder actually took place,\" says Dmitri. \"Inquiries were made; they went nowhere; people moved on. That doesn't mean there aren't still suspicions in the air. Sometimes they flash out like knives when you least expect it. But it's almost a game. No one takes these things seriously.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Glove\n\"Throwing a glove at somebody is the traditional way to demand a duel,\" says Dmitri. \"But the countess isn't wearing gloves tonight, which means that she brought one on purpose just to challenge\nyou. The whole thing was premeditated.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Heretics\n\"They're a highly dependable fuel source, heretics,\" says Dmitri. \"I hear that in the countryside they spring up just as easily as weeds, although you'll occasionally spot them sprouting between the social cracks in more urban areas too. Some people are scared that we might burn them all and run out, but I say fiddlesticks. All you need to do to make more heretics is tweak the official definition a little.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Clock\n\"That salon is a ghastly chamber,\" says Dmitri. \"It's the sort of place that makes you giggle because you're nervous, and then you want to get out as soon as possible. No wonder it's always deserted. And to make matters worse, they say that it's... haunted isn't the right word, but visited. I wouldn't set foot in its precincts at\nall when the clock isn't working.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Cherub\n\"Beastly pests,\" says Dmitri. \"There's nothing worse than a cherub infestation. Did you ever hear about the RMS Lusitania? It\nhad a cherub infestation. The things made a nest in the boiler room and eventually ate through the hull. Everyone blamed that ship's sinking on a torpedo, but torpedoes don't leave bite-marks and perfumed guano behind, do they?\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Swan\n\"Oh yes, I saw that lady in the swan costume earlier,\" says Dmitri. \"At first I thought she was a swan. I was ready to herd her\noutdoors. But then she turned around and gave me such a\nsavage expression that I knew she couldn't be a swan. She had\nto be at least a baroness.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Kielbasa\n\"It certainly is a big kielbasa,\" says Dmitri. \"What are you going to have with it: sauerkraut, pickles, mustard, fried onions? Maybe some vodka? Or are you just going to smack someone over the head with it like it's a baseball bat?\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Second\n\"Dueling has a certain etiquette,\" says Dmitri. \"Duelists have seconds to help sort the rules out and keep everything by the book, because we can't have people killing each other in an uncivilized manner.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Garden\n\"Landscape gardens are bizarre,\" says Dmitri. \"Some people build old towers in their gardens -- well, let me correct myself: they're designed to look old. They're called follies and they're\nabsolutely useless. Uninhabitable, hollow shells for the most part. But they contribute to the garden's picturesque scenery,\nbecause who wouldn't want a romantic old pile in the corner?\n\n\"Occasionally you'll even find fake hermits employed to live in these follies like wild men. That makes it more charming, to have a fake hermit living in a fake ruin. Who are the hermits? Poor people who need money. What is their job description? To sit around and never bathe and look contemplative. It's harder than it sounds. And if they make a mistake and do something as contemporary as trimming their hair or wearing shoes, why, then they aren't paid.\n\n\"This palace's garden doesn't have a folly, thankfully.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Cutlass\n\"A cutlass is a standard enough sword,\" says Dmitri. \"What makes Ferdinand's cutlass special is that it belongs to Ferdinand. That sword has glutted itself on more blood than I care to think about. It's something that someone would hang in a museum -- that admirers in future generations will undoubtedly handle like a sacred relic -- but in your hands it's no more dangerous than a stick. Still better than nothing, I guess.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Rapier\n\"The thing about a dueling rapier is that it hasn't got a good edge,\" says Dmitri. \"It requires a certain advanced talent to wield correctly, especially if you're wielding it with the intent to kill. But the countess shouldn't have any problems. She's a practiced duelist. When she goes for the throat, she gets the throat, and sometimes she takes the head too.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Motley\n\"In olden times it was only the court fool who could speak uncensored,\" says Dmitri. \"Everything a fool said was discredited simply because a fool had said it, which allowed these court fools to speak the truth disguised as nonsense. That's why you find your costume so appealing, isn't it? I know you well enough. But what you haven't considered is that any society that still needs fools to hide the truth in jokes must be repressed. It's only when fools are retired for good that we'll have actual freedom. In that light, your motley could almost be considered a symbol for oppression, couldn't it? So much for fun and games.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Mask\n\"Identity is the greatest prison in the world,\" says Dmitri. \"Everyone's trapped in their own. And while wearing a costume doesn't allow you to escape, it does make you forget for a while. But then the morning breaks and you see how your make-up is smeared and your hair's come undone and the diamonds in your rings are just rhinestones. You've spilled wine on yourself. You're hungover. That's the real you, and you don't want to look in the mirror at it.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Time\n\"What does anyone know about time?\" says Dmitri. \"It's always slipping away like an eel when you want it to stay put, and when you've got no use for it, why, then of course it drags its feet worse than a convict with a ball and chain. Time's a contrarian, that's what it is. It never makes any sense, so finally you stop trying to look for any sense in it.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Playscript\n\"Don't tell me you don't know what a playscript is,\" says Dmitri. \"It's something that's got everything written down -- scenes and stage directions and all that. Actors use them to memorize lines for plays. However, when they finally recite the lines they try to pretend that they're speaking spontaneously. That's what makes them actors.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Book\n\"I won't recite it again. You can read it for yourself,\" says Dmitri, opening the book to the right page.\n\n(the one was a monkey, the other a cat)\nbefore a fire to watch chestnuts roasting.\nSaid Bertrand to Ratto, his voice imploring:\n\n'My brother, you ought to exhibit your skill\nand fish out those nuts so we can eat our fill.\nYour paws are suited expertly to the task\nwhereas I am afraid mine would just burn, alas.'\n\n'It is done,' answered Ratto, extending a paw\nand attempting to dig through the ash with his claw.\nOne after another out the chestnuts popped\nthough Ratto was still scorched before he had stopped.\n\nwith the chestnuts in hand; peasants bring\npower in this manner to their king.\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Farewell\nDmitri turns his attention back to his reading and his martini."
    },
    {
        "text": "[Themes: A Folly, kissing, midnight, nudity, surreal]\n\n> You look at your surroundings\nSplintered glasses, paper streamers, confetti, and cigarette butts litter the floor. You cannot step anywhere without crunching something underfoot. The banquet-table has been thoroughly demolished, cracked into two halves that lean inward toward a sunken middle.\n\nEveryone else is gone, but Dmitri is sitting at the table as though nothing has happened, reading a book and nursing a martini.\n\nMoving counter-clockwise would return you to the banquet hall when it was slightly more intact. Slightly.\n\n> You examine table\nApparently the cherubs succeeded in smashing the banquet-table, although you don't know where they've gone now. Probably sucked back into another rift.\n\n> Cc\nSomehow a rift must have opened, because obese cherubs are pouring through the air onto the banquet-table; or at least, they would be pouring if they were in motion. There are several hundred, faces grimacing and feathered wings shedding blue pinions, and in their conglomerate they have impacted the table at one end, sending the other end skyward like a see-saw. Some even appear to be crawling upward along the table as rats would a mast aboard a sinking ship.\n\nThis arrangement has naturally relocated the banquet itself into midair, where roasts and cakes and goblets and plates hang with their glazes and their silver sparkling.\n\nWhen it comes to the diners, most have already departed, although a few remain watching the cherubs with mild interest from seats pushed back against the walls. One lady dressed as a swan is eating angels on horseback, with a champagne flute daintily suspended in her other hand.\n\nA clockwise inclination would direct you into the aftermath, while moving counter-clockwise would steer you toward the cloak room, and in the future yawns the black salon.\n\n> Cc\nYou find yourself lost in a forest. The trees are coat-stands draped with cloaks. Among the cloaks someone has hung a butchered pig carcass. Clockwise, the banquet awaits.\n\nIn the past you can see the palace doors opened wide to the night. Guests are thronging through them to the masquerade, their stream bordered by footmen holding lanterns high, and foremost in this crowd is the countess.\n\nShe is the jewel set in the evening's crown. Onegin has her hand, but she is not looking at him; she is looking at everybody, enchanting them with her smile. Her domino mask is lowered and you can see her face. She is more beautiful than anyone.\n\n> You look at the pig\nThis pig carcass has been expertly butchered, with the belly slit wide enough for a person to easily slip inside. As a costume, you must admit that the idea is genius.\n\n> You examine countess\nYou are in love with the countess. There, you can admit it. When you look at her like this, you cannot help but be in love. Even though she loathes you and you've come to loathe her too. Even though she wants to fly your flayed hide for a flag. You are in love. It is horrible news. But you aren't alone, because everyone loves the\ncountess. That's what makes her the countess.\n\n> You take the pig\nYou lift the pig carcass down. It's a bit unwieldy, but you'd rather leave a baby behind on a sinking ship than allow this opportunity to pass.\n\n> You look at the script\nScene:\ncloak room, evening\n\nthan human words can put into language.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> Undress\nYou disrobe from your jester's motley and feel decidedly less tricksterish. You won't be stealing any kisses now.\n\n> You wear the pig\nYou hunch your shoulders together and crawl into the pig carcass. Now the sky is no longer a limit.\n\n> You look at the script\nScene:\ncloak room, evening\n\nthan human words can put into language.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nfly, oink (when wearing the butchered pig)\n\n> You fly\nYou fly upward but the trees close overhead: their branches form a ceiling, and you're still inside the palace. You thump your head and flutter back down to the floor.\n\n> Oink\nYou oink with meaning.\n\n> You examine Onegin\nOnegin, that bastard. He's strutting and puffing his chest, skin painted red from head to toe, wearing horns and bat-wings with his cock hanging out like some archfiend with nothing to hide. What an obnoxious exhibitionist. You'd think that the guests were all gazing at him from the grin on his face, but he's nothing next to the countess. He's just her pawn. He won't confess it to himself, but it's the truth.\n\n> P.\nThe palace doors stand open, but no one has arrived yet.\n\nA landscape garden stretches away into the past.\n\nIn the future, guests will deposit their cloaks in the cloak room.\n\n> You examine the doors\nWhenever you are standing at a doorway, you never know if you are stepping in or stepping out. Divergent possibilities tug at you. You wonder whether you've made the right choice. But then you're stepping through the door and into whatever you're stepping into.\n\n> You examine the garden\nThis garden is where you will duel the countess at midnight.\n\n> P.\nYou are standing alone on a long manicured lawn bordered by cypress trees, whose moon-cast shadows divide the grass into neat quadrants as though it were a rugby field.\n\nBelow the lawn, further into the past, there is a great and gurgling fountain, and in the future you can see the palace windows alive with candlelight and merriment.\n\n> You look at the trees\nColumns in a colonnade -- that's what these cypress trees seem like. This garden is a temple and they gird its sacred space. That's what the landscape architect must have been thinking.\n\n> You examine the moon\nThere's a blue moon in the sky tonight. It looks just like a skull. You've known visions more reassuring.\n\n> You examine the fountain\nDisaster seems to dog these masquerade parties. Last time it was Matilda that they found drowned in the fountain with her hair streaming around the water-lilies. Nobody could discover how it happened. This time it will be you that they find dead on the lawn, and everyone will know how it happened.\n\n> P.\nYou gaze into the fountain's murky depths. Its water is stagnant and green from many years without cleaning, and unchecked lilies spill over its rim. Below its surface floats a drowned body.\n\nIn the future you will stand alone in a landscape garden.\n\n> You examine the body\nBefore your eyes she rises from the fountain's sludge. Her skin is slick and green and semi-transparent like gelatin. You can see her dead organs inside, rotten, black, and her black veins running through her green body. Her hair drips down over her face. When she looks at you, her gaze is blank; she does not have pupils or irises, only whites as slimy as a dead frog's underbelly.\n\nShe settles herself on the fountain's stone rim, dripping and drooping, her shoulders slouched.\n\nShe waits.\n\n> You talk to the body\nShe cannot talk to you, although her tongue is swollen with unspoken words. Only the dead can commune with the dead.\n\n> Oink\nYou oink with bravado.\n\nThe drowned girl draws one finger across her throat. Well, she can just go join the club with everyone else who wants you dead tonight.\n\n> You fly\nYou rise into the night sky and the garden and the palace and the world diminish underneath your hooves until they appear small enough to step on, but you don't step on them. You fly higher and higher until the atmosphere thins into nothing. Shooting stars are brushing past your cheeks. You can see little planets in the distance hanging like humid nightblue fruit dependent from the heaventree.\n\nBut your goal is not that far away. You fly upward toward the moon until you are flying downward toward the moon, and then you alight on its lunar surface.\nMoon\nA cratered wasteland. Soft cheese squishes underneath your weight and smoke rises from foreboding chasms cleft into the glowing camembert.\n\nBefore you a great beast is sprawled, slaughtered. It has been dead for eons and its form has decomposed to the bare bone. It is larger than any other animal, some colossus from legend, its death-grip encapsulating a lunar mountain over which it has collapsed.\n\nInto its forehead, in the exact spot at which a bindi would be applied, is plunged a gleaming vorpal blade.\n\n> You take the camembert\nAcquiring cheese from the moon would not help you against the countess, would it? Unless perhaps she suffers from lactose intolerance, in which case you might slip the cheese... no, no, that's much too indirect.\n\n> You take the blade\nYou begin to climb the beast beginning at a nearby talon sunk into the moonscape. It is rather a large talon, perhaps one thousand meters (give or take), but luckily the talon is sloped, and soon enough you are standing atop a knuckle from which you can survey a considerable metacarpus extending toward an even more considerable radius and ulna.\n\nmetacarpus extending toward an even more considerable radius and ulna.How awkward, mountaineering on a giant skeleton! Any footholds you find are porous holes in the bone. You have no gear to help. It is all desperate scrambling and split-second decisions. At one point you come across a crack in the humerus large enough to swallow a house. Thankfully you can flutter over it.\n\nAt last you arrive at a wide scapula. Many hours have elapsed, and your own bones ache from the ascent. You determine to rest for the night.\n\nWell, it is not really a night. There aren't normal nights when you are on the moon, and besides, space/time is still bent into a pretzel. But the constellations turn and fireflies twinkle in the gloom.\n\nBut the constellations turn and fireflies twinkle in the gloom.It is at this juncture that you notice a strange lowing. You peer over the scapula toward a crater in the mountainside below. Inside this crater are numerous creatures like cows, but they are larvae. They are embedded in the lunar cheese, which is dripping from some petrified organ still attached to the giant skeleton's pelvis.\n\nIn the morning you begin to descend again along the cervical vertebrae attached to the skull. It is a descent, because the skeleton is slouched over the mountain with its head downward. That is how it must have fallen when it was slain.\n\nIt was indeed slain. You can make no mistake about that.\n\nIt was indeed slain. You can make no mistake about that.Finally you are scrambling over its cranium, and there in the bone is stuck the vorpal blade. Everything is eerie and quiet, and somehow it seems as though you have come to this spot by appointment. That you are not alone. That the vorpal blade is studying you as you are studying it.\n\nIt occurs to you that the blade might be some keystone holding the situation together, and that by drawing it out you might reawaken the monster or trigger another unforeseen calamity. But you have determined to take it, and therefore you are going to take\nit.\n\nYou grip the handle and you pull. The vorpal blade slides free as easily as a knife from butter -- or in this case, a sword from camembert.\n\ncamembert.Nothing terrible happens. You have drawn the blade and it is yours, and without delay you return to the moon's surface.\n\nA cratered wasteland. Soft cheese squishes underneath your weight and smoke rises from foreboding chasms cleft into the glowing camembert.\n\nBefore you a great beast is sprawled, slaughtered. It has been dead for eons and its form has decomposed to the bare bone. It is larger than any other animal, some colossus from legend, its death-grip encapsulating a lunar mountain over which it has collapsed.\n\n> You look at the blade\nNothing is more dangerous than a vorpal blade. Even glancing at its edge threatens to slice your eyeballs open.\n\n> You look at the beast\nMonsters like this should not exist. They are the fever dreams that hermits have in the desert. They dwell under the floorboards in the mind, and you can hear them scratching if you listen close enough. But somehow this one must have gotten out. It must have grown. You're glad that something killed it long ago."
    },
    {
        "text": "[Themes: A Folly, masque, ghost, palace, gender-neutral protagonist, time travel, kissing, plague, sex]\n\n> Describe the surroundings\nA cratered wasteland. Soft cheese squishes underneath your weight and smoke rises from foreboding chasms cleft into the glowing camembert.\n\nBefore you a great beast is sprawled, slaughtered. It has been dead for eons and its form has decomposed to the bare bone. It is larger than any other animal, some colossus from legend, its death-grip encapsulating a lunar mountain over which it has collapsed.\n\n> You examine the mountain\nYou can't accurately judge the mountain's size with that monster draped over it. The proportions involved seem too fantastic.\n\n> You fly\nYou rise into the night sky and the moon diminishes underneath your hooves. As you fly higher you find yourself flying lower, breaking back into the world's atmosphere.\n\nThis re-entry stings a little, but sooner than later it's over and you've returned to that wretched masquerade party.\nLandscape Garden\nYou are standing alone on a long manicured lawn bordered by cypress trees, whose moon-cast shadows divide the grass into neat quadrants as though it were a rugby field.\n\nBelow the lawn, further into the past, there is a great and gurgling fountain, and in the future you can see the palace windows alive with candlelight and merriment.\n\n> P.\nYou gaze into the fountain's murky depths. Its water is stagnant and green from many years without cleaning, and unchecked lilies spill over its rim, on which a dead girl is sitting.\n\nIn the future you will stand alone in a landscape garden.\n\n> You examine the fountain\nYou can't even see your reflection. Algae and scum have congealed into a green sludge inside the basin.\n\n> You look at the lilies\nA thin phlegm coats the lilies and glistens in the moonlight.\n\n> You examine matilda\nHer skin is slick and green and semi-transparent like gelatin. You can see her dead organs inside, rotten, black, and her black veins running through her green body. Her hair drips down over her face. When she looks at you, her gaze is blank; she does not have pupils or irises, only whites as slimy as a dead frog's underbelly.\n\n> You look at the playscript\nScene:\nlandscape garden, evening\n\nto lamentations from the dead.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nfly, oink (when wearing the butchered pig)\n\n> You talk to Matilda\nShe cannot talk to you, although her tongue is swollen with unspoken words. Only the dead can commune with the dead.\n\n> Undress\nYou clamber out from the pig carcass. Now the sky is once more is the limit.\n\n> You examine the script\nScene:\nlandscape garden, evening\n\nto lamentations from the dead.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\n\n> You wear motley\nYou don your jester's motley and potential pranks inspire you. Everything in this wide world is kissable.\n\n> Kiss matilda\nYou bend toward her but then you flinch, repelled by a stench like flowers left to rot inside a vase.\n\nShe stares back at you with her white frog-belly eyes.\n\n> You look at the script\nScene:\nlandscape garden, evening\n\nto lamentations from the dead.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\nkiss (when wearing motley)\n\n> Kiss kielbasa\nA kielbasa this tremendous demands a smooch equally tremendous, and you plant one with passion.\n\n> You examine the windows\nBlack silhouettes are poised in the yellow palace windows, and even though they aren't moving they still convey some sense of happiness. It is like you are looking at puppets for a shadow-play, abandoned but still waiting to be animated.\n\n> F.\nThe palace doors stand open, but no one has arrived yet.\n\nA landscape garden stretches away into the past.\n\nIn the future, guests will deposit their cloaks in the cloak room.\n\n> F.\nYou find yourself lost in a forest. The trees are coat-stands draped with cloaks. Clockwise, the banquet awaits.\n\nIn the past you can see the palace doors opened wide to the night. Guests are thronging through them to the masquerade, their stream bordered by footmen holding lanterns high, and foremost in this crowd is the countess.\n\nShe is the jewel set in the evening's crown. Onegin has her hand, but she is not looking at him; she is looking at everybody, enchanting them with her smile. Her domino mask is lowered and you can see her face. She is more beautiful than anyone.\n\n> You examine the footmen\nThese footmen form a gauntlet that the guests are passing through, like statues lining a pathway. Their features are somehow both neutral and severe, statues indeed, and they are wearing silver-threaded livery. Their lower bodies dissolve into shadow because the light from their lanterns does not reach that far.\n\n> You look at the cloaks\nIn order to progress you have to push your passage through the cloaks. They are musky with perfume, cologne, and once you've advanced their folds close back behind you.\n\n> Kiss swan\nAlways better to peck a swan than to have a swan peck you.\n\n> You examine table\nIt is a massive table that would seat at least a hundred were it not being upended by a cherub horde. Fortunately no one is sitting at the table. Everyone seems to have anticipated the interruption and moved away in time.\n\n> Kiss dmitri\nYou steal a kiss from Dmitri and he promptly rubs his cheek to remove any residue left by your lips.\n\n\"Just wonderful,\" he says. \"Exactly what I needed. I must've\nbeen begging for that and I didn't even know it.\"\n\n> You talk to Dmitri\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Vorpal blade\n\"A vorpal blade isn't a real weapon,\" says Dmitri. \"It's invented, imaginary, from a poem. The most relevant stanza goes:\n\n\"One, two! One, two! and through and through\nthe vorpal blade went snicker-snack!\nHe left it dead, and with its head\nhe went galumphing back.\n\n\"That's why a vorpal blade is so deadly, you understand. It can cut through anything simply because it doesn't exist. When\nsomething doesn't exist, there's nothing it can't do.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Moon\n\"Supposedly people act more irrationally during a full moon,\" says Dmitri. \"More accidents happen. More people are killed. It may be superstition, but the night sky is brighter with a full moon, isn't it? Therefore people stay awake later, and that provides a larger window for mishaps. The moon doesn't change anyone. They're just as irrational as always.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> Pig\n\"It's extraordinarily difficult to butcher a pig correctly,\" says Dmitri. \"They're like lobsters in the sense that they ought to be kept alive until the last instant before they're eaten. To that end, many butchers have great nets in their shops where they keep the pigs contained beneath the ceiling, just as a balloon vendor would use a net to prevent their balloons from escaping. Then, whenever anyone asks for a pig, the butcher just has to pop back and grab one.\"\n\nIn order to speak with Dmitri, just mention whatever subject you'd like to hear his opinion about, or you could say farewell.\n\n> You take the rapier\nYou have multiple weapons you could swap with the rapier. In order to take the rapier, try dropping one of them.\n\n> You drop the kielbasa\nYou drop the tremendous kielbasa into the opened case on the floor, also taking the initiative to remove the rapier while you're at it. Let's see how well the countess fights with that for a\nweapon.\n\n> P.\nFerdinand is leaning against a balustrade, her gaze cast toward the dancers in their formations below. She isn't one for dancing herself unless it's atop freshly slain enemies. Her cutlass, which you will borrow later in your duel with the countess, is leaning against the balustrade beside her.\n\nThe ballroom is in the past now, and in the future you will look behind a polar bear.\n\n> You drop the blade\nYou prop the vorpal blade against the balustrade and take Ferdinand's cutlass, and already you can taste imminent victory. With a vorpal blade at your disposal, even an amateur such as yourself will be unstoppable.\n\n> Undress\nYou disrobe from your jester's motley and feel decidedly less tricksterish. You won't be stealing any kisses now.\n\n> You wear the pig\nYou hunch your shoulders together and crawl into the pig carcass. Now the sky is no longer a limit.\n\n> F.\nDmitri's chest is pressed against the wall, arms overhead with his fingernails raking down the wallpaper. Onegin is straddling his rear, gripping his waist, paused mid-thrust with his cock halfway inside Dmitri's cunt -- or maybe halfway out?\n\nAs the countess's minion, it is Onegin's duty to carry her weapon, and right now her tremendous kielbasa is resting nearby on the floor in an opened case.\n\nThe polar bear itself is at least three meters tall, preserved taxidermically in a perpetual roar with claws outspread. Traveling counter-clockwise would reorient you toward the black salon, and the grand staircase is in your past.\n\n> Oink\nYou oink with determination.\n\n> P.\nFerdinand is leaning against a balustrade, her gaze cast toward the dancers in their formations below. She isn't one for dancing herself unless it's atop freshly slain enemies. Her vorpal blade, which you will borrow later in your duel with the countess, is leaning against the balustrade beside her.\n\nThe ballroom is in the past now, and in the future you will look behind a polar bear.\n\n> P.\nOn the floor you can see a white glove where it has been contemptuously thrown down, and expanding outward from this glove the world takes form. There are dancers surrounding you in a circle, but they are not dancing: they are staring at you and staring at the glove, and their eyeballs never cease staring because they are frozen.\n\nThere has been some hitch and time stands still.\n\nA chandelier hangs overhead, candles unflickering. Everything is mirrored in the marble floor. Toward the future you can glimpse the grand staircase, where the countess is ascending with her back turned after having delivered her challenge.\n\n> You examine the dancers\nYou cannot recognize anyone behind their masks. There is a jackal in a tailcoat, and a nymph with shellfish in her hair, and an enchantress with gold orbs for eyes, and someone with marzipan skin, and an alpine maiden with a shepherd's crook, and an antlered baron, and a raven in a judge's wig, and a sequined succubus, and other masqueraders more fantastic still, but the one thing they all have in common is that their frozen gazes are condemning you: Guilty, they seem to say, guilty.\n\n> You look at the enchantress\nIt's strange, but when you look at the individual dancers their details warp as though you were looking at something from inside a fishbowl.\n\n> You wake up\nYou open your eyes.\nOn the Stroke\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. Perhaps it isn't real... and all you need to do is wake up from\nthis nightmare.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\n\n> Attack countess\nIt only requires a thought and you are already moving, less from your own volition than from the blade's volition in your hand. It knows your wants and knows how to meet them, and suddenly you have leapt into the air and the countess is beneath you with her tremendous kielbasa lifted to deflect your blow.\n\nThere is no deflection. Your vorpal blade slices through her weapon without any resistance. You cannot even feel the slice; your blade might as well have been passing through air.\n\n\"Impossible,\" the countess says, but that is all she has the chance to say before you are kneeling on the ground at her feet. You are still holding the blade in your hand and now its edge is buried in the lawn beneath the countess, having taken a vertical route through her body.\nShe wobbles in place, reaching about with one hand as if for support, and then she takes a woozy step forward. Her bisected figure comes in half. One side slumps backward onto the lawn and the other continues standing upright, that disoriented hand still grasping in midair for nothing. It is almost as though she does not realize she is dead.\n\nYou pull your vorpal blade skyward again, dislodging it from the lawn, and in the arc it makes it seems to shatter the countess. It draws her veins and tendons and her muscles along with it like a puppet yanked by strings, and she is not even a person anymore: she is a gory shower sprinkling across the garden. What remains where she once stood are only bones. They are quite bare. Vultures could not have picked them any cleaner.\n\n\"Now that,\" says Ferdinand, \"is how to win a duel.\"\n\n> Curtain\nA paleontologist, upon finding a cache filled with dinosaur bones, was pleased to discover that they formed a single specimen, a veritable monster. It went into the textbooks. Not until many years later did other paleontologists begin to poke at the bones and doubt this original configuration. They rearranged the bones into another specimen, and it went into the textbooks instead. Well, it happened again, with reconfiguration after reconfiguration, and new dinosaur after new dinosaur. The poor textbooks were panting to keep up. Finally the paleontologists were flustered enough to tromp back and examine the cache's location, which happened to be on a farmer's property. When they consulted the farmer about it, they were told it was a mass grave for chickens.\n\nThis game has no optimal ending. It has certain elements (weapons, costumes) that can be reconfigured to produce more than twenty-five different outcomes. Some involve violence. Others do not. You can change what happens to suit your preferences.\n\nAll endings will lead you here behind the curtain.\n\n> You kill Onegin\nThe countess? The countess? Why should you fight the countess when that bastard Onegin is undoubtedly the mastermind behind this whole charade?\n\nYou're overcome with outrage and you lunge toward Onegin, and when the countess tries to intercept you with her tremendous kielbasa, your vorpal blade slices through it.\n\nNothing can intercept a vorpal blade.\n\nThe countess cannot comprehend what has happened. She is staring at the severed stump left in her hand, but you've already finished your business. The same slice that went through her weapon also went through Onegin.\nHe is looking at you in horror, and you can't blame him for that, although you don't feel sorry when his horrified head pops off his shoulders like a champagne cork. A bloody geyser rises from his neck and continues to rise for far longer than it has any right to do, scattering at its pinnacle into a scarlet shower that patters down over the garden. Warm droplets speckle your skin.\n\nThe countess sinks onto her knees at the sight, her gown ballooning around her. Blood is still spouting, still raining from Onegin's standing corpse, and his head hasn't come back down yet.\n\nThe countess says: \"I surrender.\"\n\nYou didn't even have to ask, and a good thing too, because you likely wouldn't have.\n\nWhen Onegin's head finally does land on the lawn, the countess faints. You can't blame her either.\n\n> You examine the script\nScene:\nlandscape garden, midnight\n\nin which the pig...\nand the countess...\n\nStage directions:\ninventory (i), examine (x)\nattack, wake up\nfly, oink (when wearing the butchered pig)\n\nThe countess is suddenly there, only inches away, but before she has the chance to strike with her tremendous kielbasa, your own sword rises to parry the blow. You did not even attempt to react; your vorpal blade did it for you.\n\nIt also did much more than that. It has sliced her weapon in half, leaving the countess to stand there, stupefied, holding a severed sausage stump. She cannot process what has happened, and she never will."
    },
    {
        "text": "[Themes: A Folly, plague, Edgar Allan Poe, gender-neutral protagonist, midnight]\n\n> You fly\nYou rise into the night sky and the palace and your problems shrink to pinpricks below you. Someone is shouting something (it's the countess probably) but you don't hear what they're saying. You're not going to fight this silly duel, not when the heavens beckon, not when you can step into the stars.\n\nAn interstellar wind tickles your chin.\n\nYou won't return now that you've flown this far."
    },
    {
        "text": "[Themes: A Folly, masque, Edgar Allan Poe, surreal, party]\n\n> Oink\nYou oink like a pig rooting for truffles, and the countess's fighting stance slackens. She looks at you with a new expression, as though she has just seen you for the first time, and then she begins looking to the left and right.\n\n\"What's going on?\" she demands. \"Where did this pig come from?\"\n\nFerdinand and Onegin are also in apparent confusion, peering over their shoulders, glancing back toward the palace. Soon the countess has Onegin searching behind the cypress trees, behind the fountain, behind anything that might serve for a hiding spot, but you -- her rightful opponent -- are nowhere to be found.\n\n\"How could you ever let this pig onto the grounds?\" she is snapping at Onegin. \"Aren't there meant to be protocols? Aren't guests meant to have invitations? And now look at me, standing here, about to duel a pig! Where's that silly jester gone? Go and find out now, and don't come back until you've brought the right person -- person\nbeing the operative word!\"\nMeanwhile Ferdinand has hooked you with a leash and is guiding you away from the garden.\n\n\"Good move,\" she says when you're both alone in a little courtyard. \"I'm glad that you finally took my advice and opted to escape rather than fight.\"\n\nYou oink again. It won't do to break character now. But Ferdinand knows what you mean: Thank you for everything.\n\n\"You're welcome,\" she replies. \"Now we need to get you on a train bound somewhere far away. Eventually the countess will figure out what happened, and you won't want to be anywhere in the country when she does. The trick will be to put you someplace where they don't eat pork. You do make for a tasty-looking pig.\"\n\n> You wake up\nYou open your eyes.\nBallroom\nOn the floor you can see a white glove where it has been contemptuously thrown down, and expanding outward from this glove the world takes form. There are dancers surrounding you in a circle, but they are not dancing: they are staring at you and staring at the glove, and their eyeballs never cease staring because they are frozen.\n\nThere has been some hitch and time stands still.\n\nA chandelier hangs overhead, candles unflickering. Everything is mirrored in the marble floor. Toward the future you can glimpse the grand staircase, where the countess is ascending with her back turned after having delivered her challenge.\n\n> You look at what you're carrying with you\nYou are carrying motley, a rapier, a cutlass, and a playscript, and you are wearing a pig carcass.\n\n> Kiss countess\nYou cast aside your weapon. You cannot fight the countess. This feud is a mistake. Instead you walk across the lawn toward her.\n\nShe must see it in your eyes. She must know how you feel. Perhaps she even has the same feelings?\n\nYou take her hand -- the same hand that threw down that glove before -- and press it to your lips. Her breathing flutters; her chest heaves; she opens her mouth but she doesn't speak, and then her bones are water, she is melting in your arms, bent backward as you bend over to bind your breath with hers.\n\nAre those fireworks in the night sky above the palace? Are those tender violins playing? You feel her smile on your lips, her hands wrapping around your shoulders, and then you close your eyes."
    },
    {
        "text": "[Themes: A Folly, party, masque, ghost, nudity, plague, palace, kissing, strong profanity, violence, gender-neutral protagonist]\n\n> Kiss onegin\nWhat are you doing out here fighting a duel? You came to this masquerade party for one reason and one reason only: to steal kisses from people.\n\nYou cast aside your weapon and lunge toward that bastard Onegin, seizing his cheeks and then planting your lips against his before he can resist. You are falling with him -- he is falling backward, toppled by your impact -- and you land on the lawn in a heap together. Limbs tangled. Bodies writhing. Chests heaving with passion.\n\nPassion isn't always romantic.\nYou can feel and hear a thwap against your back: the countess\nis standing nearby, throttling you with a tremendous kielbasa. But it doesn't matter. Your feud has always been with Onegin, and as you look into his furious eyes your kiss deepens.\n\nFinally he musters the strength and self-possession to shove you away, but you only dart back and peck his shoulders, his legs, his feet as he attempts to flee. You are chasing him in circles around the garden and he's cursing you as the countess pursues you both with her kielbasa.\n\nYou won't stop, not for him and not for her. They wanted blood but you gave them nonsense instead, and now they'll have to live with it.\n\nThat's what they get for fighting with a fool!\n\n> Attack script\nYou take out your playscript and tear it in half. Who wrote these scenes? They make no sense. You won't perform this dreck. Instead you toss the script into the wind and its sheets blow across the garden.\n\n\"What are you doing?\" says the countess. \"Come back here!\"\n\nYou don't come back. You're walking away from this production. They can find someone else to play your role if the duel is that important because, frankly, you don't understand a thing.\nYou didn't know what you were getting into, but you didn't know it would be this. It almost feels like there's a conspiracy against you. Well, of course there is: you're supposed to be killed, after\nall.\n\nThat's not going to happen. Not if you don't say your lines. Not if you don't play along.\n\nLet them boo and complain. Let them throw rotten fruit. Let them fill the newspapers with scathing reviews. Let them call you a prima donna.\n\nYou are going to live. That's what counts.\n\n> Kiss script\nYou press your lips against your playscript. Oh, what a blessing and torment its words are tonight! Sometimes you wish you could rip it in half, and sometimes you cherish its lines. It's just too bad that bastard Onegin gets to play a part.\n\nThe countess is suddenly there, only inches away, but before she has the chance to strike with her tremendous kielbasa, your own sword rises to parry the blow. You did not even attempt to react; your vorpal blade did it for you.\n\nIt also did much more than that. It has sliced her weapon in half, leaving the countess to stand there, stupefied, holding a severed sausage stump. She cannot process what has happened, and she never will.\nYour arm is moving here and there, zigzagging through the air, and\nyou can barely process what is happening. But you know that\nyou want it to happen. You know that it means you will win.\n\nWhen the vorpal blade has finished, your arm flicks it downward as an artist might flick down a brush to dislodge clinging paint. But there is nothing clinging to the blade. Its work was much too clean and quick.\n\nThe countess is still poised before you, but she is not moving anymore. When she finally blinks, that is when thin red lines in a grid begin to manifest across her face, and then across her entire body, and without further ado she tumbles apart into neat little cubes expertly butchered. It is like watching a house of cards topple, with no structural support to hold anything together.\n\nYou hear someone applauding: Ferdinand.\n\n\"Bravo!\" she says. \"Bravo! I couldn't have done any better myself.\"\n\n> You check what you're carrying\nYou are carrying a pig carcass, a rapier, a cutlass, and a playscript, and you are wearing motley.\n\n> F.\nDmitri's chest is pressed against the wall, arms overhead with his fingernails raking down the wallpaper. Onegin is straddling his rear, gripping his waist, paused mid-thrust with his cock halfway inside Dmitri's cunt -- or maybe halfway out?\n\nAs the countess's minion, it is Onegin's duty to carry her weapon, and right now her tremendous kielbasa is resting nearby on the floor in an opened case.\n\nThe polar bear itself is at least three meters tall, preserved taxidermically in a perpetual roar with claws outspread. Traveling counter-clockwise would reorient you toward the black salon, and the grand staircase is in your past.\n\n> You drop the cutlass\nYou drop the cutlass into the opened case on the floor, reclaiming the tremendous kielbasa for yourself.\n\n> You drop the kielbasa\nYou prop the tremendous kielbasa against the balustrade and reclaim the vorpal blade. This might make for a decent joke, but the joke will be at your expense.\n\n> You wake\nYou open your eyes.\nOn the Stroke\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. Perhaps it isn't real... and all you need to do is wake up from\nthis nightmare.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\n\n> You attack ferdinand\nBefore the countess has the chance to strike, you lunge in the last direction that anyone would expect: toward your own second, Ferdinand.\n\nYour tremendous kielbasa is raised overhead like an axe, but before you have the chance to strike, Ferdinand has seized your\nwrist, her knee is in your gut, and you've dropped your weapon on the lawn. You're doubled over in anguish, and then you feel and hear a thwap and then another thwap, because Ferdinand has\nappropriated the kielbasa and is smacking you relentlessly with it.\n\n\"Down, dog!\" she barks. \"You mangy cur! I've never seen such disrespect! Attacking your own ally! Have you lost your mind?\"\n\nThe countess and Onegin can only stare as Ferdinand chases you across the garden, slapping you with the tremendous kielbasa at every step. Finally you collapse, but she just grabs your ankle and prepares to drag you away.\n\"I hope you understand that the duel's off,\" she tells the countess. \"I'm not releasing this traitor until I've delivered my own retribution, and believe me, it will be significant.\"\n\n\"I don't blame you,\" says the countess. \"By all means.\"\n\nBut when Ferdinand has pulled you a considerable distance into a little courtyard and you two are alone, she releases you and laughs.\n\n\"It worked!\" she says. \"In a million years I never thought it would, but you were right!\"\n\nYou can't help but think that she might have overplayed her role in the plan, but you're in no position to grumble. You are alive, and soon you are laughing along with Ferdinand.\n\n\"You may not be a warrior,\" she says, \"but when it comes to nonsense you're a champion.\"\n\n> F.\nFerdinand is leaning against a balustrade, her gaze cast toward the dancers in their formations below. She isn't one for dancing herself unless it's atop freshly slain enemies. Her tremendous kielbasa, which you will borrow later in your duel with the countess, is leaning against the balustrade beside her.\n\nThe ballroom is in the past now, and in the future you will look behind a polar bear.\n\n> F.\nDmitri's chest is pressed against the wall, arms overhead with his fingernails raking down the wallpaper. Onegin is straddling his rear, gripping his waist, paused mid-thrust with his cock halfway inside Dmitri's cunt -- or maybe halfway out?\n\nAs the countess's minion, it is Onegin's duty to carry her weapon, and right now her cutlass is resting nearby on the floor in an opened case.\n\nThe polar bear itself is at least three meters tall, preserved taxidermically in a perpetual roar with claws outspread. Traveling counter-clockwise would reorient you toward the black salon, and the grand staircase is in your past.\n\n> Cc\nBlack sable tapestries hang from the ceiling and walls, and black velvet carpets the floor. Scarlet radiance slants through scarlet windowpanes. An ebony grandfather clock has stopped keeping the time at one quarter to twelve.\n\nThere is nobody here.\n\nClockwise you will look behind a polar bear, and when you glance back toward the past you can see a celebration in the banquet hall where everyone has gathered to drink, feast, and make merry.\n\n> You look at the clock\nTwo long cast-iron hands mark the time at one quarter to twelve.\n\n> You examine the hands\nThese hands don't look like they're going start ticking anytime soon. But they might be taken.\n\n> You get the hands\nWhen you remove the cast-iron hands from the clock-face, they coil and twist in your own hands, black vipers. You drop them on the carpet and they slither away into the shadows.\n\nSomething stirs in the salon.\n\nYou aren't alone here.\n\n> You look\nBlack sable tapestries hang from the ceiling and walls, and black velvet carpets the floor. Scarlet radiance slants through scarlet windowpanes. An ebony grandfather clock tells no time.\n\nIn one corner slouches the Red Death.\n\nClockwise you will look behind a polar bear, and when you glance back toward the past you can see a celebration in the banquet hall where everyone has gathered to drink, feast, and make merry.\n\n> You examine Death\nGarbed in the grave's dirt-bedraggled and worm-eaten habiliments, the Red Death couldn't look more like a corpse if it were displayed on a bier. Crimson drops bead from every pore in its flesh, and the bags beneath its eyes have drooped to expose whites thoroughly bloodshot.\n\n> You talk to Death\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"Goodnight, sweet prince.\"\n\n> What\n\"That's not a very polite way to begin a conversation,\" says the Red Death with a pout. \"Just barging around like a reporter asking questions. Not even a how-d'ye-do...\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> How\n\"Very well, thank you!\" says the Red Death. \"Although I'm a bit muddled.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"Why are you feeling muddled?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> Why\n\"It's difficult to explain,\" says the Red Death. \"I'd intended to make my debut here at midnight, on the very stroke. But for some reason I just cannot put my finger on the time this evening. Is it\ntwelve o'clock, or isn't it? Has the hour struck already, or hasn't it? There's a muddle if I've ever known a muddle!\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"Why does your schedule need to be so precise?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> Why\n\"It's only a whim, but I stick to my whims,\" says the Red Death. \"The first time I ruined a masque ball, I did it promptly at midnight, and it was a rousing success -- as gruesome as you please! You should have seen them running down the halls in such a pandemonium. They didn't know who they'd invited to the party! Although they hadn't\ninvited me precisely. But in any event, since then it has\nbecome a tradition for me to make my appearance at midnight. I wouldn't have it any other way.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"When did you attend your first masque ball?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> You wear the tapestries\n(first taking the sable tapestries)\nYou have no reason to remove these tapestries from this salon, but pulling them aside does reveal... nothing interesting. Too bad there's not an arras anywhere. Then you might've found a dead counselor or something.\n\n\"I always check behind tapestries too,\" says the Red Death. \"In case someone's trying to hide from me. I don't allow that.\"\n\n> When\n\"At midnight, of course,\" says the Red Death. \"However, if you meant to ask about the date or the month or the year or even the century, then I haven't the foggiest idea. Trifles like that tend to slip through my mind like a sieve. What pointless details! I've never been able to figure out why people are so obsessed with calendars. When you're as experienced as I am, then you'll realize that emotions are what matter.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"Who hosted your first masquerade? You must remember that at\nleast.\"\n\"What are you doing in here?\"\n\"Where did you come from?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> Where\n\"Where did anything come from?\" asks the Red Death. \"It's a grand old question but I'm not in the mood for metaphysical chestnuts tonight.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What are you doing in here?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> What\n\"I'm here in my usual role as plague-bearer,\" says the Red Death. \"It's my duty, you see, to travel about the countryside and lay waste to whatever civilizations fall within my pathogenic purview. To be honest, it grows a tad dull once you've been at the job for as long as I have. You've always got your bleeding and your lesions and your vomit. Throw in a few thousand rats here and there, some mass graves, some plague-doctors, and every programme runs about the same.\"\n\nThe Red Death suppresses a yawn with one hand.\n\n\"That's why I like dropping in on masque balls from time to time. An extravagant setting tends to generate more extravagant horror. It's more entertaining for me to watch, although I suppose that it's just as miserable for the participants no matter what.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What do you think about this rumor that's going around?\" \"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> What\n\"Rumor? What rumor?\" asks the Red Death.\n\nYou explain all about the rumor.\n\n\"Well, when you put it like that,\" says the Red Death, \"I should have to conclude that you're the victimized party. However, since you're also the one telling me this story, your account may be\nbiased. I'm afraid I can't give my opinion, except to agree that Onegin does sound like a bastard.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"What would you do in my situation?\"\n\"How-d'ye-do?\"\n\"Goodnight, sweet prince.\"\n\n> What\n\"I would do what I always do,\" says the Red Death. \"The answer to everything is wholesale slaughter. You cannot balk at the countess's challenge. You must throw it back into her face with enough force to bury her six feet underneath the nearest cemetery plot. And ideally in a bloody, unrecognizable mess.\"\n\nYou have a few lines you could recite.\nSpeaking the first word is enough:\n\n\"How about lending me a hand with the countess?\"\n\"Goodnight, sweet prince.\"\n\n> How\nScratching its chin for a moment, the Red Death considers your proposition.\n\n\"You know, it's not a halfway bad notion. I'm in a pickle myself, what with the hours having gone all sideways this evening, but your duel is scheduled for midnight precisely. If I were to pass on my mantle, so to speak, then you would know just when to start the ball rolling -- and no one, please let me reassure you, survives against my contagion. Your countess wouldn't stand a chance.\"\n\nA ghastly smile creeps across the Red Death's face, running from ear to ear just like a glasgow souvenir.\n\n\"All right,\" it says. \"You've got yourself a deal. But remember: only start infecting people on the stroke!\"\n\nSuddenly its graveclothes are empty, and after an odd hesitation they crumple to the carpet, leaving you alone once more with only the hourless grandfather clock."
    },
    {
        "text": "[Themes: A Folly, ghost, dueling, kissing, strong profanity, Edgar Allan Poe, surreal, midnight, nudity, gender-neutral protagonist]\n\n> You look around\nBlack sable tapestries hang from the ceiling and walls, and black velvet carpets the floor. Scarlet radiance slants through scarlet windowpanes. An ebony grandfather clock tells no time.\n\nIn one corner are empty graveclothes.\n\nClockwise you will look behind a polar bear, and when you glance back toward the past you can see a celebration in the banquet hall where everyone has gathered to drink, feast, and make merry.\n\n> You examine the graveclothes\nThese blood-speckled bandages reek with disease. It's almost as though someone rotted away wearing them long before they were ever buried.\n\n> Undress\nYou disrobe from your jester's motley and feel decidedly less tricksterish. You won't be stealing any kisses now.\n\n> You take the graveclothes\nYou pinch and lift the graveclothes gingerly. Could a more repulsive costume be imagined?\n\n> You wear the graveclothes\nAs you shuffle into the graveclothes, a strange malevolence steals over the scenery; or perhaps you yourself have become that strange malevolence. Your fingertips drip with infection.\n\n> Script\nScene:\nred salon, hourless\n\nfails to express any hour.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\ninfect (when wearing graveclothes)\n\n> P.\nSomehow a rift must have opened, because obese cherubs are pouring through the air onto the banquet-table; or at least, they would be pouring if they were in motion. There are several hundred, faces grimacing and feathered wings shedding red pinions, and in their conglomerate they have impacted the table at one end, sending the other end skyward like a see-saw. Some even appear to be crawling upward along the table as rats would a mast aboard a sinking ship.\n\nThis arrangement has naturally relocated the banquet itself into midair, where roasts and cakes and goblets and plates hang with their glazes and their copper sparkling.\n\nWhen it comes to the diners, most have already departed, although a few remain watching the cherubs with mild interest from seats pushed back against the walls. One lady dressed as a swan is eating angels on horseback, with a champagne flute daintily suspended in her other hand.\n\nA clockwise inclination would direct you into the aftermath, while moving counter-clockwise would steer you toward the cloak room, and in the future yawns the red salon.\n\n> P.\nYou gaze into the fountain's murky depths. It is stagnant and red with thickened blood, and unchecked lilies spill over its rim, on which a dead girl is sitting.\n\nIn the future you will stand alone in a landscape garden.\n\n> You examine girl\nHer skin is peeled away and you can see her crimson muscles stretched and woven on her bones. Her red veins are pumping with blood and her red heart contracting inside her ribcage. Her face is framed with flaming hair. When she looks at you, her eyes are two embers; they burn through you as though you were paper.\n\n> You talk to Matilda\n\"...oh yes... how lovely... to have someone to talk to... to listen... oh no, I would enjoy it, please... nobody ever listens... just a silly girl, they say... what can a silly girl have to say about anything... but I do have things to say, I do... I have my own dreams... maybe they're silly dreams... a silly girl with silly dreams... they mock me when my back is turned... I know it... but you listen, you listen, you understand me, you know me...\"\n\n> Script\nScene:\nlandscape garden, evening\n\nto lamentations from the dead.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\ninfect (when wearing graveclothes)\n\n> You talk to Matilda\n\"...you may not think you know me... oh, you do... thank you for that... it means... you can't know what it means... my own family aren't this kind... they have responsibilities, they have important things to do... they don't have time... they never hear me when I speak... even when I yell, I scream at them... I feel like a fool... but I'm invisible... sometimes I think that I have always been a ghost... that I was born into this world as a phantom... a silly notion from a silly girl...\"\n\n> You talk to Matilda\n\"...sometimes I knock against the wainscoting... they don't hear me... like I'm a rat behind the wainscoting... that's what they think... only a rat... their own daughter... but they love me, they love me, they do... only it's changed... our lives have changed... the years have changed us like old keys... now we don't fit the locks... doors won't open... I rattle handles... nobody hears... no one listens...\"\n\n> You talk to Matilda\n\"...when I look into this fountain I can see myself... I see the moon in the sky... I can see everything reflected... an underside... to everything... there is another meaning but I've lost it like a coin in the fountain... you don't know what it's like... don't say you do... you'll never know... you shouldn't know... I wouldn't wish this on anybody... this transparency... where you look through your own reflection and you can't see anything... no matter how close you lean to the water...\"\n\n> You examine the fountain\nBrimming with blood, this fountain festers like an open sore in the world.\n\n> You talk to Matilda\n\"...even now I can still feel that hand on my head... pushing me down... holding me there... a human touch... a word... a glance... can mean so many things... but what does anyone else know about love... without having been there, without having been me... when we walked outside onto the lawn... and we could see the stars... the fountain in the night... and when we sat here together and I said...\"\n\n> You talk to Matilda\n\"...oh yes... how lovely... to have someone to talk to... to listen... oh no, I would enjoy it, please... nobody ever listens... just a silly girl, they say... what can a silly girl have to say about anything... but I do have things to say, I do... I have my own dreams... maybe they're silly dreams... a silly girl with silly dreams... they mock me when my back is turned... I know it... but you listen, you listen, you understand me, you know me...\"\n\n> Undress\nYou peel away the blood-speckled graveclothes and the world feels less malevolent. You won't be infecting anyone now.\n\n> You wear the pig\nYou hunch your shoulders together and crawl into the pig carcass. Now the sky is no longer a limit.\n\n> You fly\nYou rise into the night sky and the garden and the palace and the world diminish underneath your hooves until they appear small enough to step on, but you don't step on them. You fly higher and higher until the atmosphere thins into nothing. Shooting stars are brushing past your cheeks. You can see little planets in the distance hanging like humid nightblue fruit dependent from the heaventree.\n\nBut your goal is not that far away. You fly upward toward the moon until you are flying downward toward the moon, and then you alight on its lunar surface.\nMoon\nA cratered wasteland. Soft cheese squishes underneath your weight and smoke rises from foreboding chasms cleft into the glowing camembert.\n\nBefore you a great beast is sprawled, slaughtered. It has been dead for eons and its form has decomposed to the bare bone. It is larger than any other animal, some colossus from legend, its death-grip encapsulating a lunar mountain over which it has collapsed.\n\n> Undress\nYou clamber out from the pig carcass. Now the sky is once more is the limit.\n\n> You talk to the giant\nThis beast has probably been dead for more millennia than humankind has known the spoken word. Its bones aren't going to shake off the dust and have a conversation anytime soon.\n\n> You wear the clothes\nYou're already wearing the graveclothes.\n\n> Infect beast\nIt's always moontime here. Midnight doesn't figure into moontime.\n\n> You wear the pig\nYou hunch your shoulders together and crawl into the pig carcass (after removing the graveclothes). Now the sky is no longer a limit.\n\n> You fly\nYou rise into the night sky and the moon diminishes underneath your hooves. As you fly higher you find yourself flying lower, breaking back into the world's atmosphere.\n\nThis re-entry stings a little, but sooner than later it's over and you've returned to that wretched masquerade party.\n\n> You look\nYou are standing alone on a long manicured lawn bordered by cypress trees, whose moon-cast shadows divide the grass into neat quadrants as though it were a rugby field.\n\nBelow the lawn, further into the past, there is a great and gurgling fountain, and in the future you can see the palace windows alive with candlelight and merriment.\n\n> Future\nThe palace doors stand open, but no one has arrived yet.\n\nA landscape garden stretches away into the past.\n\nIn the future, guests will deposit their cloaks in the cloak room.\n\n> You wear motley\nYou don your jester's motley (after removing the pig carcass) and potential pranks inspire you. Everything in this wide world is kissable.\n\n> Kiss giant\nYou shiver at the thought.\n\n> Kiss moon\nWhat a creamy and marvelous flavor! No earthly camembert compares.\n\n> Inventory\nYou are carrying graveclothes, a pig carcass, a vorpal blade, a rapier, and a playscript, and you are wearing motley.\n\n> Kiss rapier\nYou consider kissing the countess's rapier, but the farther you keep it away from your head, the safer you'll probably feel.\n\n> Kiss vorpal\nYou press your lips against the vorpal blade. It is sharp and cold and clean like some instrument sanitized for surgery. You can taste its sharpness and its sharpness is cutting cleanly and coldly your lips, your tongue, your skin, your bone. Even the blood running down your throat is clean and cold. The blade is passing through you, or perhaps you are passing through it, but in either case it has opened the world. That world is peeling away on either side, sliced vertically like an opening through a curtain, until you can see dark leaves overhead and smell dark earth and hear branches bending and snapping.\nYou are in a dark woodland clearing, the vorpal blade shining in your hand although the forest light is weak. It must be shining from within. Against your back you can feel bark. You are resting against a tumtum tree. At some distance there is a sundial, old and mossy and hourless in the gloom, standing solitary on a grass plot riddled with abandoned burrows.\n\nYou are not alone in the forest. Something is whiffling among the trees and you struggle to recall a warning someone gave you about this situation, but your uffish thoughts cannot remember the words. You have the vague sensation that you ought to be at home, preparing to broil your dinner, rather than waiting out here for whatever is advancing through the trees.\n\nNothing is clear anymore, but someone is supposed to kill\nsomething, at any rate. And yet now that you think about it,\nnothing was ever clear in the first place.\n\nIts eyes are aflame and it burbles as it comes, its jaws biting, its claws catching. At least this creature isn't a countess.\n\n> You wear the pig\nYou hunch your shoulders together and crawl into the pig carcass (after removing your motley). Now the sky is no longer a limit.\n\n> You fly\nYou rise into the night sky and the moon diminishes underneath your hooves. As you fly higher you find yourself flying lower, breaking back into the world's atmosphere.\n\nThis re-entry stings a little, but sooner than later it's over and you've returned to that wretched masquerade party.\nLandscape Garden\nYou are standing alone on a long manicured lawn bordered by cypress trees, whose moon-cast shadows divide the grass into neat quadrants as though it were a rugby field.\n\nBelow the lawn, further into the past, there is a great and gurgling fountain, and in the future you can see the palace windows alive with candlelight and merriment.\n\n> You examine the fountain\nDisaster seems to dog these masquerade parties. Last time it was Matilda that they found drowned in the fountain with her hair streaming around the water-lilies. Nobody could discover how it happened. This time it will be you that they find dead on the lawn, and everyone will know how it happened.\n\n> You wear motley\nYou don your jester's motley (after removing the pig carcass) and potential pranks inspire you. Everything in this wide world is kissable.\n\n> Kiss fountain\nThe gurgling fountain is in the past.\n\n> You wear the clothes\nAs you shuffle into the graveclothes (after removing your motley), a strange malevolence steals over the scenery; or perhaps you yourself have become that strange malevolence. Your fingertips drip with infection.\n\n> You wake\nYou open your eyes.\nOn the Stroke\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. Perhaps it isn't real... and all you need to do is wake up from\nthis nightmare.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\nI beg your pardon?\n\n> Script\nScene:\nlandscape garden, midnight\n\nin which the corpse...\nand the countess...\n\nStage directions:\ninventory (i), examine (x)\nattack, wake up\ninfect (when wearing graveclothes)\n\nThe countess is suddenly there, only inches away, and her cutlass slices through your kielbasa and sinks promptly into your neck with a horrible crunch. Those were vertebrae, weren't they?\n\nBringing a sausage to a swordfight was the last mistake you'll ever make.\nOn the Stroke\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. Perhaps it isn't real... and all you need to do is wake up from\nthis nightmare.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\n\n> Infect\nWhat do you want to infect?\n\n> Infect countess\nYou raise your arm toward the countess. That's enough.\n\nShe drops her cutlass on the lawn.\n\nAfter a moment, blood wells from under her domino mask, scarlet rivers running down her cheeks. She lifts a hand to pull the mask away but it doesn't come away. It is stuck, and when she pulls harder there is a ripping sound. She cannot see what she has done, but around her eyes the skin has erupted with bubbling lesions like frog-eggs or caviar.\nNow she is screaming. She sees her bloody hands. She knows that she is horribly broken. Meanwhile more blood is pouring from her every pore, drenching her gown, drenching the grass around her. Her body is melting into blood, her shape dissolving into it, until she is a shrieking heap upon the ground\n\nHer shrieks are in the wind. Around the garden cypresses rustle and the fountain plashes as both seconds fall, bleeding with her. It is a comprehensive plague.\n\nIn the palace guests are falling too. Their shadows are erratic in the candlelit windows. You cannot picture them as real people. They are puppets and their strings have just been cut. It is a pandemonium, but it will all be over soon enough. It will end when the last reveler falls in the blood-bedewed halls, when the last screams are carried away by the breeze, when the candles blink out one by one as they gutter in wax.\n\nAnd then darkness and decay and the Red Death will hold illimitable dominion over all."
    },
    {
        "text": "[Themes: A Folly, masque, party, Edgar Allan Poe, time travel, sex, midnight, surreal]\n\n> Look around\nOn the floor you can see a red glove where it has been contemptuously thrown down, and expanding outward from this glove the world takes form. There are dancers surrounding you in a circle, but they are not dancing: they are staring at you and staring at the glove, and their eyeballs never cease staring because they are frozen.\n\nThere has been some hitch and time stands still.\n\nA chandelier hangs overhead, candles unflickering. Everything is mirrored in the marble floor. Toward the future you can glimpse the grand staircase, where the countess is ascending with her back turned after having delivered her challenge.\n\n> Future\nFerdinand is leaning against a balustrade, her gaze cast toward the dancers in their formations below. She isn't one for dancing herself unless it's atop freshly slain enemies. Her tremendous kielbasa, which you will borrow later in your duel with the countess, is leaning against the balustrade beside her.\n\nThe ballroom is in the past now, and in the future you will look behind a polar bear.\n\n> Keep going\nDmitri's chest is pressed against the wall, arms overhead with his fingernails raking down the wallpaper. Onegin is straddling his rear, gripping his waist, paused mid-thrust with his cock halfway inside Dmitri's cunt -- or maybe halfway out?\n\nAs the countess's minion, it is Onegin's duty to carry her weapon, and right now her cutlass is resting nearby on the floor in an opened case.\n\nThe polar bear itself is at least three meters tall, preserved taxidermically in a perpetual roar with claws outspread. Traveling counter-clockwise would reorient you toward the red salon, and the grand staircase is in your past.\n\n> Script\nScene:\nbehind a polar bear, evening\n\nto replace a weapon.\n\nStage directions:\ninventory (i), examine (x), take, drop, talk to\n\nfuture (f), past (p), clockwise (c),\ncounter-clockwise (cc)\nwear, undress, wake up\ninfect (when wearing graveclothes)\n\n> You wear motley\nYou don your jester's motley (after removing the graveclothes) and potential pranks inspire you. Everything in this wide world is kissable.\n\n> You look at the bear\nKappiataitok, king among polar bears in life, gathering dust here now in death. No hunt was ever greater than the hunt that felled His Majesty. It's said that thirty hunters lost their lives during the climb in crevices, and thirty more in snowstorms raging hard enough to freeze a beating heart, and thirty more when Kappiataitok emerged to find his glacial sanctum populous with infidels. They could not conquer him with spears; the ice ran red with blood from everyone; and thirty more were dead before the king rose with a roar and broke away across the floes. But he had been wounded in the ankle and could not escape, and after thirty more and thirty more had fallen to his claws, he fell beneath the aurora and never woke into this world again.\n\n> You talk to the bear\nAs you shuffle into the graveclothes (after removing your motley), a strange malevolence steals over the scenery; or perhaps you yourself have become that strange malevolence. Your fingertips drip with infection.\n\nThese frozen tableaux aren't going to provide very lively conversation.\n\n> You get the bear\nThis polar bear is much bigger than you are. You'd never be able to lug it around, and besides, you'd have little use for it.\n\n> You wear the bear\n(first taking the polar bear)\nThis polar bear is much bigger than you are. You'd never be able to lug it around, and besides, you'd have little use for it.\n\n> You check what you're carrying\nYou are carrying motley, a pig carcass, a vorpal blade, a rapier, and a playscript, and you are wearing graveclothes.\n\n> You wake\nYou open your eyes.\nOn the Stroke\nHow did you ever get into this predicament? A rumor, a glove thrown down onto a dance-floor? Now you're standing in the moonlight and your knees are knocking together, although you hope that no one notices. You're still dressed for a masquerade and nothing feels quite real. Perhaps it isn't real... and all you need to do is wake up from\nthis nightmare.\n\nThe scene is set: landscape garden.\n\nThe cast: your second, Ferdinand, handing your weapon over; your rival's second, Onegin, handing her weapon over; and your\nrival -- the countess.\n\n\"En garde!\" the countess cries.\n\n> You infect yourself\nYou are already teeming with infection.\n\nThe countess is suddenly there, only inches away, and her cutlass slices through your kielbasa and sinks promptly into your neck with a horrible crunch. Those were vertebrae, weren't they?\n\nBringing a sausage to a swordfight was the last mistake you'll ever make.\n\n> Infect onegin\nYou raise your arm toward Onegin. That's enough.\n\nAt first it seems that nothing has happened. After all, the bastard is painted red from head to toe. It isn't immediately obvious that his pores have begun to ooze blood.\n\nBut then he notices. He looks down at himself, unable to tell where the pain is coming from, and you smile at the answer: Everywhere.\nNow he is screaming. He doesn't know where to put his hands. He is stepping around as though he were stepping on hot coals because even his soles are bloody. He is a devil writhing in a pit. He is a sinner being flayed alive. His flesh is slipping from him in red slabs, splattering onto the lawn, leaving his raw muscles exposed to the nighttime air.\n\nHe has collapsed in agony, and the countess and your second have also collapsed in their own crimson puddles. It is a comprehensive plague.\n\nIn the palace guests are falling too. Their shadows are erratic in the candlelit windows. You cannot picture them as real people. They are puppets and their strings have just been cut. It is a pandemonium, but it will all be over soon enough. It will end when the last reveler falls in the blood-bedewed halls, when the last screams are carried away by the breeze, when the candles blink out one by one as they gutter in wax.\n\nAnd then darkness and decay and the Red Death will hold illimitable dominion over all.\n\n> Infect ferdinand\nYou raise your arm toward Ferdinand. That's enough.\n\nShe knows what you've done almost before you've done it. There's nothing she can do to save herself, but that doesn't stop her from rushing to grapple your arm -- as if disabling you would reverse the disease.\n\nYou pull your arm away. It's effortless. Her grip is weak. You can't understand why you ever viewed her as a friend, as an ally, when she's just as bloodthirsty as the rest.\nShe does not scream when she begins to bleed from every pore. Her bald head is a red skull dripping blood. Her gaze into your face is ferocious. She won't surrender and she fights to hold herself together, but then she buckles and vomits everything onto the lawn: bile and blood.\n\nNow she is convulsing on the ground, and the countess and that bastard Onegin are convulsing in their own crimson puddles. It is a comprehensive plague.\n\nIn the palace guests are falling too. Their shadows are erratic in the candlelit windows. You cannot picture them as real people. They are puppets and their strings have just been cut. It is a pandemonium, but it will all be over soon enough. It will end when the last reveler falls in the blood-bedewed halls, when the last screams are carried away by the breeze, when the candles blink out one by one as they gutter in wax.\n\nAnd then darkness and decay and the Red Death will hold illimitable dominion over all.\n\n> You check what you're carrying\nYou are carrying a tremendous kielbasa and a playscript, and you are wearing graveclothes.\n\n> You examine the script\nScene:\nlandscape garden, midnight\n\nin which the corpse...\nand the countess...\n\nStage directions:\ninventory (i), examine (x)\nattack, wake up\ninfect (when wearing graveclothes)\n\nThe countess is suddenly there, only inches away, and her cutlass slices through your kielbasa and sinks promptly into your neck with a horrible crunch. Those were vertebrae, weren't they?\n\nBringing a sausage to a swordfight was the last mistake you'll ever make.\n\n> You examine the weapon\n(your weapon)\nYou're wielding a tremendous kielbasa. It's a joke, of course, because you'll have just as much luck with this kielbasa for a weapon as you would with a sword. The countess is going to absolutely slaughter you tonight.\n\nShe is suddenly there, only inches away, and her cutlass slices through your kielbasa and sinks promptly into your neck with a horrible crunch. Those were vertebrae, weren't they?\n\nBringing a sausage to a swordfight was the last mistake you'll ever make.\n\n> You look at countess's weapon\nThrough some twist in fate, the countess is wielding a cutlass tonight. Perhaps it's not her typical rapier, but she's just as dangerous with any blade.\n\nShe is suddenly there, only inches away, and her cutlass slices through your kielbasa and sinks promptly into your neck with a horrible crunch. Those were vertebrae, weren't they?\n\nBringing a sausage to a swordfight was the last mistake you'll ever make."
    },
    {
        "text": "[Themes: Time Travel, time travel, moments out of time, sexual content, apocalypse, science fiction, sciencefiction, character based, gadgets, strong profanity]\n\nThe indicator light switches from blue to green. The thought occurs to you that this is an exceptionally bad color choice for someone who, like you, suffers from a mild genetic deficit in the color perception department. However, you've been around long enough to be familiar with the change in hue that indicates clearance for a StreamDive.\n\nYour elation is such that it takes you a few seconds to respond to the indicator -- a critical error, though not a fatal one. You touch the control, and are further pleased to find that your mission hasn't been scrapped due to your moment of indecision. The full text of your mission description appears on the display...\n\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (closed) here."
    },
    {
        "text": "[Themes: Time Travel, sciencefiction, strong profanity, time travel, sexual content]\n\n> Look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (closed) here.\n\n> You look at the mission\nClearance granted for immediate StreamDive. Target is local grid reference 0x1549. Temporal Reference 785278.7 UDC. We will be in phase for StreamDive at 865741.3 UDC. Dive duration not to exceed .5 units UDC (12 hours local time). Stream Capacitance field will be set for auto-recall at this time.\nResearch unit indicates high levels of stream distortion in this zone, indicating that premature extraction may not be possible.\n\nMission Summary: The purpose of your StreamDive is historical research. We have isolated an evacuated area to minimize potential corruption. You are to record all findings, but avoid direct contact with any inhabitants. Records from this zone are fragmentary, so any documents of historical interest should be added to your DataStore.\n\n*WARNING*\nDue to ambient radiation levels, wideband recall will not be available. Since StreamDive instruments are shielded against EMP effects, lost components may be recoverable after destruction of the local grid section. For this reason, level 1b restrictions are in effect for the duration of this dive.\n\nPLEASE REVIEW STREAMDIVER MANUAL BEFORE COMMENCING DIVE.\n\n> You examine locker\nThe translucent glass-fronted equipment locker contains all the standard StreamDive equipment.\n\n> You open the locker\nYou open the equipment locker, revealing your StreamDive console, a cloaking device, an autokey, a stream visualizer, a probe and a chip bank.\n\n> You take all from the locker\nStreamDive console: Removed.\ncloaking device: Removed.\nautokey: Removed.\nstream visualizer: Removed.\nprobe: Removed.\n\n> You examine the console\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains no chips.\n\n> Inventory\nYou are carrying a probe, a stream visualizer, an autokey, a cloaking device and your StreamDive console (which is empty).\n\n> You look at the probe\nA telepresence probe unit. When activated, it operates as a fly-by-wire system which may allow the user access to areas too small to allow access.\n\n> You examine stream visualizer\nThe stream visualizer is a de-focused temporal display. It scans backwards through the local timestream, correlating the results with the information in the DataStore. When the button is pushed, generates a hologram based on the results of its scan.\n\n> You examine the autokey\nAn electronic lockpick. It incorporates a small scanner and a force field generator. Using highly precise force field manipulation, it can be used as a universal key for almost any lock.\n\n> You examine cloaking device\nA standard-issue cloaking device. Operating along similar principles to the StreamDive device itself, it causes all photons entering the field to be instantly transported to the far side of the field as if they had passed straight through it, with the net result being that anything within the field is nearly invisible. The relocation effect causes \"ghost\" photons to be emitted by the inside of the field, allowing any person inside it to see his surroundings with a minimum of visual distortion. The device's battery is currently charged to 100 percent. The cloaking device is currently switched off."
    },
    {
        "text": "> You look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which is a chip bank (in which are ten chips (a dive chip, a DataStore chip, a map chip, a library chip, an artificial intuition chip, a cryptography chip, a scan chip, a blank chip, an interface chip and a shield chip))) here.\n\n> You look at the blank chip\nThis StreamDive chip is blank.\n\n> Examine scan chip\nThis chip provides an interface to the console's sensor functions. Commands Provided:\nSCAN -- Perform a detailed scan of the area\nSCAN X -- Scan an object\n\n> You examine the interface chip\nThis chip allows interface between the console and any known electronic device or electronic storage medium.\nCommands Provided:\nINTERFACE X -- Interface console with device\n\n> You take the dive chip and datastore chip\ndive chip: Taken.\nDataStore chip: Taken.\n\n> You look at the chips\nDataStore chip: This chip stores data from your dive, storing any relevant documents for later review.\nCommands Provided:\nDOCUMENTS -- Recall stored documents\ndive chip: This is the fundamental chip for the StreamDive console. It allows control of the temporal displacement functions.\nCommands Provided:\nRECALL -- Discharge StreamDive capacitors for instant recall\nSTATUS -- Display status of Dive system\nTIMESCAN -- Scan local timestream\n\n> You look at the chip bank\nA small section of the locker contains slots for holding StreamDive chips.\n\n> You look in the chip bank\nIn the chip bank are eight chips (a map chip, a library chip, an artificial intuition chip, a cryptography chip, a scan chip, a blank chip, an interface chip and a shield chip).\n\n> You look at the map chip\nThis chip provides real-time mapping of your current dive location. Commands Provided:\nMAP -- Display map\n\n> You look at the library chip\nThis chip contains a library of data, tailored to your current mission parameters.\nCommands Provided:\nRESEARCH X -- Search library for given term\nBROWSE -- Display relevant entries\n\n> Examine scan chip\nThis chip provides an interface to the console's sensor functions. Commands Provided:\nSCAN -- Perform a detailed scan of the area\nSCAN X -- Scan an object\n\n> You look at the cryptography\nThis chip contains the algorithms for all known cryptographic systems, as well as a heuristic to deal with unknown ciphers. Its function is to decipher encrypted or obfuscated text, or to render text into the most appropriate encrypted or obfuscated form.\nCommands Provided:\nENCODE X -- Render input into appropriate ciphertext\nDECODE X -- Decipher input\nANALYZE X -- Apply heuristics to input and display results\n\n> You examine the intuition\nThis chip contains the experimental \"Artificial Intuition\" chip. Its function is to evaluate the current situation and recommend a course of action.\nCommands Provided:\nHINT -- Recommend action\n\n> You examine the shield\nThis chip uses the StreamDive capacitors to generate an impenetrable temporal energy barrier around the user for defensive purposes. Using this function drains energy from the dive capacitors, reducing the remaining duration of the dive.\nCommands Provided:\nSHIELD ON -- Activate the shield\nSHIELD OFF -- Deactivate the shield.\n\n> You take the bank\nThe chip bank is part of the cabinet's interior.\n\n> You take all the chips\nmap chip: Taken.\nlibrary chip: Taken.\nartificial intuition chip: Taken.\ncryptography chip: Taken.\nscan chip: Taken.\nblank chip: Taken.\ninterface chip: Taken.\nshield chip: Taken.\n\n> You put the dive in the rack\nWhich do you mean, the dive chip or the StreamDive console?\n\n> You put the dive chip in the console\nYou put the dive chip into the StreamDive console.\n\n> Inventory\nYou are carrying nine chips (a shield chip, an interface chip, a blank chip, a scan chip, a cryptography chip, an artificial intuition chip, a library chip, a map chip and a DataStore chip), a probe, a stream visualizer, an autokey, a cloaking device and your StreamDive console, inside which is a dive chip.\n\n> You put DataStore in the console\nYou put the DataStore chip into the StreamDive console.\n\n> You put the library in the console\nYou put the library chip into the StreamDive console.\n\n> You put the SCAN in the console\nYou put the scan chip into the StreamDive console.\n\n> You put the INTERFACE in the console\nYou put the interface chip into the StreamDive console.\n\n> You examine the console\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains five chips.\n\n> You look at the dive chip\nThis is the fundamental chip for the StreamDive console. It allows control of the temporal displacement functions.\nCommands Provided:\nRECALL -- Discharge StreamDive capacitors for instant recall\nSTATUS -- Display status of Dive system\nTIMESCAN -- Scan local timestream"
    },
    {
        "text": "[Themes: Time Travel, science fiction, apocalypse, gadgets, moments out of time]\n\n> You look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which is a chip bank (empty)) here.\nA voice issues from the console. \"StreamDiver Alpha Tango-678, please report for preDive examination.\"\n\n> You go east\nYour mission parameters were quite specific. You can only take one piece of equipment other than your StreamDive console.\n\n> You check what you're carrying\nYou are carrying five chips (a shield chip, a blank chip, a cryptography chip, an artificial intuition chip and a map chip), a probe, a stream visualizer, an autokey, a cloaking device and your StreamDive console, inside which are five chips (an interface chip, a scan chip, a library chip, a DataStore chip and a dive chip).\n\n> You put the chips in the locker\nshield chip: Done.\nblank chip: Done.\ncryptography chip: Done.\nartificial intuition chip: Done.\nmap chip: Done.\n\n> You examine stream visualizer\nThe stream visualizer is a de-focused temporal display. It scans backwards through the local timestream, correlating the results with the information in the DataStore. When the button is pushed, generates a hologram based on the results of its scan.\n\n> You put all but the console and the autokey in the locker\nprobe: Done.\nstream visualizer: Done.\ncloaking device: Done.\n\n> You go east\n[Once you leave this area, you will be unable to return. Are you certain that you are ready?]\n\n> Y.\nYou walk out of the Prep Room, down the long corridor, and into the Dive section. A number of sensors verify that you are carrying no contraband, and make a detailed record of your relevant bio-data, which is compared to your records to ensure that you are indeed the person scheduled for this dive. From your training, you know that this record will be compared again when you emerge, to ensure that nothing important about your physiology has altered during the dive. The only visible sign of it is a faint play of laser-light over your body.\n\nSatisfied, an unseen operator opens the door into the next chamber, where a flash of laser-light, radiation, and sickly-sweet aerosol renders you free of micro-organisms.\n\nYou are allowed to move on only after placing your hand in an indentation by the next door, where ultrasonic \"needles\" inject you with the requisite immunity boosters, which always gives you the pleasant feeling of being, at least temporarily, totally impregnable to disease.\n\nOne more room, and anticipation would increase your heart-rate enough that a sensor might declare you medically unfit for duty. Fortunately, this room is the last.\n\nYou stand in the core of the StreamDive Temporal Relocation Unit. Far below you, an artificial singularity waits to propel you backward in history. The room itself is a huge dome, totally black, but lit from an unseeable source. There is always gooseflesh on your arms when you stand in this room. It is not a friendly room, not a relaxed room. This is a room that knows the seriousness of its function. It is far larger than anything it would ever hold, but its size is a necessity of the design. The constant, low hum of the massive generators that power the time machine is inaudible only here. The room feels like another world itself, neither part of the present nor the past.\n\nIt's all in the hands of the folks upstairs now...\n\n> Dive\nIn what?\n\n> You wait\nTime passes.\nA voice materializes from nowhere in particular. \"StreamDiver Alpha Tango-678, StreamDive will commence in thirty seconds. Good luck, and Godspeed.\"\n\n> You wait\nTime passes.\nThe floor fades to transparency. There is a brilliant point of light somewhere far below you. Scanning beams trace over your body. Below you, a perfect mirror image of yourself fades into existence, your avatar. You have a sinking feeling as your avatar falls toward the light. Just as you were trained, you roll back on the balls of your feet and close your eyes. In your head, you count to six. Deep down there, your avatar enters the event horizon of the artificial singularity. As always, you have the disconcerting sensation of falling...\n\nCold.\n\nHot.\n\nBright.\n\nDark.\n\nThe pain is gone before you feel it. You want to open your eyes, but you know better. Even if you survived the experience, your sanity would not. You wait for the sensation of falling to end.\n\nIt does.\n\nYou wait for your perception of local timespace to return.\n\nIt does.\n\nYou open your eyes.\n\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\n\n> You examine the receipt\nday!\nStore #10191 Checker 7 6:27 PM\n\nBJ ICE CRM 1GAL            7.74\nFW TOWELL 6PK         SB   4.80\nFW 2PCT MLK 1GAL           4.88\nFW TRASH BAG               5.54\nPRODUCE               SB   9.34\nPRODUCE                   16.33\nAP XS CH COL               9.72\nPOLISH SAUS               10.21\n1DOZ EGG                   8.35\nFLNK STK                  18.22\nPRD WHOLE CHKN            12.77\nFC BREAD                   1.94\nCOKE 2LTR          6      18.06\nMTN SPR WTR 1GAL   4      12.44\nTT DONUT                   4.33\nMARLB MEN UL CRT          52.00\nAA BATT 12PK              16.32\nCP SOUP            5  SB  10.35\nAPL JCE                    5.10\nMX TMPN 30                 6.77\n\nBAL                      235.21\n\nSB FW TOWELL 6PK           2.20-\nSB PRODUCE                 1.21-\nSB CP SOUP                 1.00-\nBAL                      230.80\nTAX  11.54     BAL       242.34\nDebit Card               242.34-\n\nFoodWorks 10191\nDebit Card     XXXXXXXXXXXXX1332\n$242.34\nBIOMETRIC SCAN CONFIRM:\nJames Robert Wallace\nAUTH OK\n\nAuthentication verified by DAVS\nYOUR TOTAL SUPER BONUS SAVINGS\nTODAY ARE: $4.41\n\n\n\nday!\n\n[The document \"Grocery Receipt\" has been added to your DataStore.]\n\n> You look at the report card\nA grade report has been affixed to the refrigerator door:\nDonald Woods High School\nInterim Grade Report\n\nTerm: Spring\nName: Stephen James Wallace\nGrade: 10\n\nClass: Calculus        Instructor: Nelson    Grade: 99\nClass: Journalism Tech Instructor: Kryzac    Grade: 100\nClass: English II      Instructor: Celsius   Grade: 89\nClass: AP Physics      Instructor: Cornell   Grade: 98\n\nPlease report any errors to guidance office immediately.\nThis is an interim grade report. Official grades will be available at end of semester.\n[The document \"Report Card\" has been added to your DataStore.]\n\n> You open the fridge\nYou open the refrigerator.\n\n> You look in it\nOn the refrigerator door are a report card and a receipt.\nThe refrigerator is empty.\n\n> You close the fridge\nYou close the refrigerator.\n\n> You look at the stove\nThe contemporary incarnation of the fundamental cooking device. It has evolved somewhat from classical cast-iron-box-with-fire-inside, and features a range top with heating elements, and an interior compartment for other cooking. Of course, it lacks any real food-preparation abilities, such as laser-guided rehydration and instantaneous thermal induction, but it sufficed for the people of this era.\nThe stove is currently switched off.\n\n> Research foodworks\nNo relevant entry found.\n\n> Research wallace\nPioneer in human-computer neural interfaces and neural cybernetics. During the wars of the twentieth century, his familiarity with the internal workings of the human brain led to his being pressed into service as a neurosurgeon. After the wars, he applied his considerable computer skills to building brain implant devices which could restore brain function lost due to injury or illness. He received the Nobel Prize in 2086 for his work with stroke and brain cancer victims. Such modern inventions as the neural navigation interface and the artificial voice box owe much in their design to his work.\n\nSource: Great Minds in Science, the Twenty-First Century\n\n> You browse\nPress the number of your selection, 1-2, 0 to redisplay or Q to quit.\n\n1     Historical Period: ca 865600-866300 UDC\n2     Stephen James Wallace\n\n> 1\nHistorical Period: ca 865600-866300 UDC\nHistorical Period: ca 865600-866300 UDC\nPossibly the darkest period in recent history, this period contains the last and largest of the intercontinental wars. Several Middle Eastern nations formed a military alliance, and began imposing expansionist policies on neighboring countries. When the United States threatened to cut off trade relations with these countries, the formed a lucrative trade alliance with China. Because during this period, industrialized nations were still highly dependent on fossil fuel, an alliance of western nations declared war on China and the Arabic alliance. Tactical nuclear warheads were used by both sides, resulting in the near-total annihilation of many US-sympathetic countries in southeast Asia. Though US nuclear weapons were unable to breach Chinese countermeasures, several Chinese nuclear missiles did penetrate the US defensive system, obliterating a number of cities. The war was finally ended when the massive space station Kennedy crashed to Earth near the Chinese capital. The resulting explosion killed over two billion people, forcing the Chinese government to capitulate. However, widespread environmental and war damage left the entire world badly crippled. Reconstruction would take much of the next century, and the extensive costs of rebuilding the damaged world forced the beginning of governmental alliances that would eventually lead to a United Earth Government.\n\nYour mission occurs during the opening of the nuclear phase of the war. At 785278.83 UDC, a missile launched from China will exploit the breach in the US missile shield. Nine hours later, its course will be diverted away from Washington, DC to avoid US countermeasures. It will narrowly miss a secondary target, several miles from your Dive site, at 865741.8 UDC.\n\nSource: Zanxq's Brief Guide to Human Civilizations, vol. 72\n\nSEE ALSO: Space Station Kennedy\n\n> Research space station kennedy\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit.\n\n1     Historical Period: ca 865600-866300 UDC\n2     Space Station Kennedy\n3     Stephen James Wallace\n\n> 2\nThe first orbital platform intended for permanent occupation, Space Station Kennedy was assembled in Earth orbit in the second quarter of the twenty-first century. Compared with earlier projects, Kennedy was ambitious; it contained living facilities for twenty-five families, and, unlike earlier space stations, its primary function was not scientific, but industrial. Methods of zero-gravity production which had previously been tested on earlier space missions were implemented on a grand scale. It was also the first space vehicle to be equipped with a synthetic gravity system. After two decades of service, the station was badly damaged during the intercontinental war of the mid twenty-first century. Its crew were not able to prevent a forced re-entry, and chose to direct the crashing space station to a heavily inhabited area of China. Everyone aboard the station was killed in the resulting explosion, which also resulted in severe environmental catastrophes in Asia, prompting the end of the war.\n\nSource: The Space Pioneers, vol. 9\n\nBROWSE\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit.\n\n1     Historical Period: ca 865600-866300 UDC\n2     Space Station Kennedy\n3     Stephen James Wallace\n\n> You examine the console\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains five chips.\n\n> You look in the chiprack\nIn the StreamDive console are five chips (an interface chip, a scan chip, a library chip, a DataStore chip and a dive chip).\n\n> Go west\nThis is a small room, designed to hold food staples and cooking equipment not housed in the kitchen. You doubt you'll find anything worthwhile in here, but you've been a StreamDiver long enough to know better than to trust appearances. You can return east to the kitchen.\n\nShelves line the walls, sparsely stocked.\n\nOn the shelves are some pots and pans, a lazy susan (empty), a flour pot (closed) and a can of spiced ham (closed).\n\n> You open it\nYou open the flour pot, revealing some flour.\n\n> You search the flour\n(the flour)\nYou find nothing of interest.\n\n> You close the flour pot\nYou close the flour pot.\n\n> Examine can\nThis is a can of compressed, meat-like substance, which, though only barely meeting the definition of \"food\", could have provided an easy meal in an emergency.\n\n> You examine the susan\nUnbelievable. The workmanship which allows this device to swivel smoothly, allowing stored utensils to be easily accessed, all without the aid of laser construction or frictionless bearings. Still, from its gaudy appearance, it isn't hard to see why the owner relegated it to the pantry.\n\n> You turn susan\nIt is fixed in place.\n\n> You examine the pots\nA number of pots and pans sit on the shelves.\n\n> SCAN\nThe scanner has further details available on:\nthe can of spiced ham\n\n> Scan ham\nA slight shiver runs up your spine as you read the results of the scan. Something similar to your temporal shield has been used on this can to force it into a hyperstable configuration. Despite the question of why anyone would do such a thing, what concerns you far more is the question of how it was done; such a transmutation is patently impossible without StreamDive technology. Has someone else been here?\n\n> You take the ham\nTaken.\n\n> You put the ham on the shelf\nYou put the can of spiced ham on the shelves.\n\n> You go to the east\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\n\n> Go east\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down, presumably to the basement.\n\nOn the wooden table is a letter.\n\n> You examine the letter\nDear Julia,\nI hope to God you get this letter. We waited for you as long as we could, but they're saying that the bombs could fall any day. There's a shelter out in New Calvert, we're going there. Daddy says its the safest place in a hundred miles. Try to get there if you can, but don't take any risks. The most important thing is that you stay safe. I left some money and your grandmom's jewels in the hidden place for you. Your dad bought a gun and bullets, and put them there too, but be careful. We all love you and hope to see you again.\n\nLove,\nMom.\n[The document \"Letter to Julia\" has been added to your DataStore.]\n\n> Research julia\nNo relevant entry found.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\n> SCAN\nThe scanner has further details available on:\nthe wooden knob\n\n> You turn knob\nYou give the knob a twist, then another. After a few more turns, it comes free in your hand, revealing a very small compartment in the post underneath.\n\n> You look in the compartment\nIn the post is a large key.\nSomewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below."
    },
    {
        "text": "> Go downward\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 2], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\n\n> Footnote 2\n[Footnote 2]\nThat is, to the south.\n\n> You open the door with the autokey\nYou'll have to be more specific; which door do you want to unlock?\n\n> You open door\n(with the autokey.)\nYou'll have to be more specific; which door do you want to unlock?\n\n> Go south\nYou make it part of the way down the steps, but encounter an impenetrable blockade of toppled boxes, probably brought down by the shaking you felt earlier. Disheartened, you turn back.\n\n> You go to the northwest\nThat door is locked.\n\n> Yes\nOkay [Footnote 3].\n\nYou manage to unlock the door with the autokey.\n\nThis room looks as if it hasn't seen use any time in the recent past. It is sparsely furnished, containing little more than a dresser, bed, and nightstand. The only exit is southeast.\n\nSome luggage has been tucked away by the door.\n\nOn the nightstand is a memo pad.\n\n> You look at the memo\nA blank pad of paper. There is a visible tear where the top sheet was torn off.\n\n> Scan pad\nThe scanner enhances some vague indentations on the pad and reveals a message:\n\nthnx for last night. wont say more here.\ngot your note @ rustys. left note 4 u\nin hall. cant find my book so used codeword. talk later. IEU\n\n[The document \"Memo\" has been added to your DataStore.]\n\n> Open luggage\nYou look through the luggage. You find several changes of clothes and a slightly larger selection of female undergarments, as well as other sundries and personal hygiene products. Deciding that nothing of historical interest is there, you re-close the bags.\n\n> SCAN\nAs if mocking you, the scanner contradicts your hypothesis by indicating numerous small traces that the room has been occupied; signs of recent dusting, uneven settling of the bedsprings, and evidence that the notepad on the nightstand was recently moved.\n\n> You look under the bed\nYou find nothing of interest.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> You open the dresser\n(the dresser drawers)\nYou open the dresser drawers.\n\n> You look in the dresser\n(the dresser)\nThere is nothing on the dresser.\n\n> You go east\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here.\n\n> Examine bar\nThis is an area of the room used for mixing drinks and storing alcoholic beverages. At one time, it had a water hook-up, but this has been disconnected.\n\n> You go west\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nThe small office is furnished much as you'd expect for an office of this period. There is a bookshelf along one wall, furnished more with office supplies than with books. The only exit is east.\n\nYou can see a computer here.\n\n> Interface computer\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Personal Computer. Manufacturer: Lewellen Personal Machines.\n\nSearching for relevant data...\n\n\n\nPress the number of your selection, 1-2, 0 to redisplay or Q to quit. Two relevant documents found:\n1     Account Worksheet\n2     Electronic Mailbox\n\n> 1\nMortgage            3078.42\nGas\nJames              432.20\nKatia              150.78\nJulia & Jim        107.66\nUtilities           1210.59\nFood                1590.67\nAllowance-Julia      400.00\nAllowance-Jim        250.00\nPVR repair           130.00\nInternet             100.00\nMobile Phones        660.00\nPhone                500.00\nCar repair          4300.00\nDoctor               800.00\nJames - other       3000.00\nOther               1069.93\n\n[The document \"Account Sheet\" has been added to your DataStore.]\n\n\n\nPress the number of your selection, 1-2, 0 to redisplay or Q to quit. Two relevant documents found:\n1     Account Worksheet\n2     Electronic Mailbox\n\n> Go north\n---Email Database (office)---\nPage: 2 Arcotech       Re: Shelter performance\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMr. Wallace,\n\nIn response to your inquiry, Arcotech shelters are designed to withstand most conventional attacks and fallout resulting from nuclear attacks. However, no consumer shelter can provide total protection. In the unlikely event that a nuclear strike occurs sufficiently close that your shelter would be within the cratered area, our level of protection would fail. Please keep in mind, however, that the chances of a nuclear strike close to your home are miniscule.\n\nWe hope that your concerns have been addressed in a timely and useful manner. Please contact us if you have further concerns.\n\nArcotech, Inc.\n\n> You go north\n---Email Database (office)---\nPage: 3 Litefoot, inc  Klien account\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJames,\n\nGood work on the Klien account. We'll be closing in a few weeks. Frieda wants you look over the notes for the Monaco deal, but there's no rush.\n\nThere's a little buzz about a possible government contract. Think LT-739 will be ready in two weeks?\n\n> Go north\n---Email Database (office)---\nPage: 4 Support Dept   Ticket 201893456\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear Customer,\n\nThis is an automated message to inform you that your PR-1029 Personal Video Recorder has been received by our returns department. Since your digital recorder is still under warranty, a repaired unit will be sent to your home free of charge within the next three business days.\n\nThank you.\n\nThis is an AUTOMATED RESPONSE. Please DO NOT respond to this message.\n\n> You go north\n---Email Database (office)---\nPage: 5 Rick738        You gotta see this! 51934\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nHey Freddie,\n\nI found a site last night that you've GOTTA see! They have the HOTTEST young girls anywhere on the net! I know how much you like this stuff, so check it out!\n\n[LINK]\n\n> Go north\n---Email Database (office)---\nPage: 6 Optitron BioTe Support: Incident ticket 31821\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear customer,\n\nThe following technical support information is being sent in response to your message entitled: \"Eye recharge fails\", dated 5/11. If you believe this message has been sent in error, please contact abuse@optitron-biotechnics.usa\n\nDear Mr. Wallace,\nThough recharge failures are rare, they do occur. Please be sure to clean the optic unit and charger receptacle thoroughly, as directed by your user manual. We find that over 90% of recharging difficulties are due to dirty contacts or charger misuse. If the problem persists, it may point to battery exhaustion. Though Optitron LZ-model storage units generally last at least 10 years, excessive wear and environmental conditions can shorten their lifetimes. Since your unit is over six years old, there is a small service charge for replacing the power unit. This charge covers installation of a new power cell, unit cleaning, and re-alignment.\n\nPlease consider upgrading your prosthesis to the new LZ100-model, which adds the following enhancements:\n*Compatible with M-VIDEO 7 image capture devices\n*Improved resolution and focus\n*New long-life power cell, capable of storing power for 72 hours of\nuse\n*High-speed recharge: battery can be charged to capacity in under 2 hours\n*Power-saving mode: engages when eyes are closed to conserve power *In-place recharger: the prosthesis can be charged without removal *Increased comfort and durability\n*New life-like cosmetic lens: prosthesis is undetectable under casual examination\n\nWe hope this information has been useful in solving your problem. Please cite this incident number (31821) your response if you wish to update your support issue.\n\nSincerely,\nCamphor Tryst\nSupport Department, Optitron BioTech\n\n> You go to the north\n---Email Database (office)---\nPage: 7 ezcash019      MAKE MONEY FAST!!\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nHi friend,\n\nDo you like money? Sure -- we all do! Do you want a way to get more of it without working? Then read on, friend!\nA year ago, I was flat broke, but then I found out about this TESTED, PROVEN system, and now I've got more money than you can shake a monkey at!\n\nThis is completely SAFE and LEGAL! You will be ritcher than God!\n\nJust go to this web address to find out how you can have the money start rolling in!\n\n[LINK]\n\nWhy are you waiting? Start making money now!\n\n> You go north\n---Email Database (office)---\nPage: 8 Cameron White  Fwd: Your American Duty\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nCan you believe this shit?\n>In these times of trial, every American Citizen must do his part\n>to ensure a safe and prosperous future for your country. If the >enemies of freedom are to be defeated, we must be able to meet\n>their vile atrocities with whatever force necessary.\n>Many traitors and cowards have tried to claim that this war is >unnecessary, and have avoided their patriotic duty by claiming >cowardly \"conscientious objector\" status.\n>If the US is to arise victorious from this war, such cowards and >traitors must be stopped. Every man in this country has a patriotic >duty to serve in the armed forces during this conflict. DON'T WAIT\n>to be drafted. ENLIST TODAY\n>For the army we fight is a dangerous foe, with armies to spare.\n>Back at home, the brave women of the united states have a duty to >their country as well. Arms and equipment manufacturers all over\n>the country are hiring laborers to ensure that our boys abroad have >what they need to win this conflict.\n>But the women of this country have yet a more important duty to our >future. As wives and mothers they must help raise our youth to >understand the importance of the war we fight, and to help rebuild >our population in hope of the day when freedom again reigns\n>supreme.\n>The militant lesbian conspiracy has attempted GENOCIDE by fooling\n>the female population into shirking their duty to produce a new >generation of Americans to carry on the fight. It is the duty of >EVERY woman, regardless of age, income, or sexual \"preference\" to >contribute their genetic material to future generations by bearing\n>as many children as they are physically capable. Birth rates in the >US have been steadily declining for almost a century, and our enemies >KNOW IT! They want to watch us die out!\n>Selfish traitors claim that we are trying to \"oppress\" womankind by >\"enslaving\" them to their biology. These traitors ignore the fact that >they play the most important role in our future. Before shipping out to\n>defend our great nation, every man should make arrangements to ensure >that his DNA is preserved in future generations by impregnating his >spouse or lover, and by making regular contributions to sperm banks. >The future of our country is in your hands. Put aside your selfishness >and do what's right!\n\n> You go north\n---Email Database (office)---\nPage: 9 Arcotech       Re: Shelter capacity\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMr. Wallace, Thank you for your concern. According to our records, your ArcoTech shelter is designed to provide living facilities for four persons for thirty years. Because we realize that unforeseen circumstances might increase the number of persons occupying the shelter (births, inability to turn away unprepared neighbors), all our shelters provide some leeway. In the situation described, the addition of another person might decrease shelter comfort and efficiency, but should not seriously endanger you or your family. If it becomes necessary to occupy your shelter, you should implement stricter rationing than normal to ensure that supplies are not over-taxed. Because air and water availability are your most pressing concerns, we recommend you install the Arcotech Supplementary Life Support System, which will reduce the load on the main system to increase shelter comfort if it is made to provide for more occupants.\n\nWe hope that your concerns have been addressed in a timely and useful manner. Please contact us if you have further concerns.\n\nArcotech, Inc.\n\n> Research lt-739\nNo relevant entry found.\n\n> Research arcotech\nArcotech (Arcotech Home Survival Technologies)\nManufacturer of blast and survival shelters for private homes during the twenty-first century. The company made enormous profits during the years leading up to the intercontinental war at the middle of the century as interest in survival shelters grew to a height unprecedented since the \"Cold War\" of the third quarter of the twentieth century. Although their products were generally considered the highest quality available during their time, the shelters were not capable of withstanding the more powerful nuclear and quantum weapons used during the war, and the company eventually declared bankruptcy. Their product lines were eventually bought by Amalgamated Industries, inc.\n\nNo shelters built during this period are currently known to exist.\n\nSource: Seventy Days: The Rise and Fall of the Global Megacorps\n\nSEE ALSO: Amalgamated Industries\n\n> Research amalgamated\nManufacturing megacorporation of the North American Continent. Following the trans-continental war of the twenty-first century, Amalgamated Industries bought over 90% of the manufacturing companies in the western hemisphere. It was one of the companies involved in the events of the Seventy Days, and collapsed soon afterward.\n\nSource: Seventy Days: The Rise and Fall of the Global Megacorps\n\nSEE ALSO: Historical Period: The Seventy Days\n\n> Research seventy\nHistorical Period: The Seventy Days\nTerm used to describe the period from September to November of the old-calendar year 2102. Reconstruction after the wars of the previous century left most of the world in the debt of seventeen megacorporations. On September 12, 2102 (old date), the megacorporations foreclosed on the collective nations of the world, and assumed legal control of the planet. They were met with little resistance from world populations, who had grown dissatisfied with the national governments. Though their leadership was able to provide rapid improvement of living conditions for many inhabitants, the task of managing an entire planet proved too much for the megacorporations, who soon discovered that the world as a whole could not be run profitably. After several administrative fiascoes, the most notable of which involved the firing and eviction from Earth of the entire population of Canada, the corporate consortium itself declared bankruptcy exactly 70 days after its inception, thrusting the world into anarchy.\n\nThe United Earth Directorate quickly arose to fill the infrastructure created by the consortium, becoming the first true one-world government.\n\nSource: Seventy Days: The Rise and Fall of the Global Megacorps\n\n> Examine books\nNothing of note; a few books on computer operation and general chemistry references.\n\n> STATUS\nStreamDive Console: Standard Research Version\nStatus: Operational\nTemporal Capacitor charge: 84%\nManifest:\ninterface chip\nscan chip\nlibrary chip\nDataStore chip\ndive chip\nTemporal shield is inactive\n\n> Go northwest\nThis room looks as if it hasn't seen use any time in the recent past. It is sparsely furnished, containing little more than a dresser, bed, and nightstand. The only exit is southeast.\n\nSome luggage has been tucked away by the door.\n\nOn the nightstand is a memo pad.\n\n> Go north\nYou get the impression that this bathroom has become a waystation for things that we"
    },
    {
        "text": "re intended for the basement, but got lost along the way. Boxes and bags seem to cover every surface; the sink, the heating vent, the fixture. The way out is south.\n\n> SCAN\nThe scanner has further details available on:\nthe fixture\n\n> Scan fixture\nThe scanner detects a rectangular mass inside the bowl.\n\n> You examine the fixture\nWhile the mechanical aspects may have changed, the device is similar in appearance and function to those of your own era.\n\n> You look in it\nOn a whim, you lift the heavy boxes and raise the lid of the toilet seat. The bowl has been drained, and resting inside is a small book, which you manage, with some difficulty, to retrieve before letting the boxes fall back into place.\n\n> You examine diary\nA small book, probably a diary. That would be a boon; diaries, journals, all the personal records kept by people are what you're really here for. A house full of paintings, interesting furniture, even platinum doubloons won't equal what you could learn about this time from the diary of someone who actually lived it. There is a tiny metal closure locking it, but you'll be damned if that's going to stop you from looking inside.\n\n> You open diary\nIt's locked.\n\n> Open diary with autokey\nThe lock clicks open. Your hands almost tremble in anticipation. What a find!\n\nYou open the book...\n\nWhat?\n\nIt's encoded? Who keeps a diary in code? Well, obviously, Julia Yvonne Wallace does. You can't help but wondering what could make someone so paranoid as to go to the trouble of encoding a locked, hidden diary.\n\n> You read the diary\nPage: 0 Diary\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n> Go north\nPage: 1 April 17\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nAcqf34m vmv 6f5u o1 ohwu0. Ziy 2jh vv53f yj 4r hjg 4 7mqgzpt rgfopd 0wgi8. X'2 ock 2yidn 1e. X'qx wi civfq2ie 9o 2jl4 d1hq 9 bm6tg, ecn nu2'p jg8h av. 5h8 qyyn0 154d jof1 up x3 3ldwj 81t dt9u1955. 9 e8n'l y4xqped h2u5 eo n9 fbne.\n\nQ6edgu, kg1 lpxq nu ni1 givnsdogu od hvec bdk4 driwyvf 9u yv 4bo4 elu UC rtktt. Qfxs 8xs1 c8q17 gyb7 xm 4s X 8ign4v q8. H5l 3osj 4e8yhz5 2x99o cy't res kzv4 n5rn71 F q737p sls k5x x9ev? 08v ma58 gpg5 ni c9sz waw 0r i4z8cu dx rt x6kes hdbe ny, b8g3m rq lyds 22wep O clhiw9'n g2ap y1f 60l kfr to mamwah7 u2e 6u F'a hi0t 2i 3 s8xh3 x66yg sj 6spi. 158z, lwd07 W 09bj6'8k. P0 8 2yzx 320, 85't 5cr ktf4 gc'6 eiq onzv 1fy E'o9 pf82 lhk ynb y7e0.\n\nDcty5 py, 1n 0criso, 6 ytx. Urnqokgk cbunz5yo h244e8 C ifj R67, m4r 2 pmpm'5. 7w lojb oqa5 w7 qm m 4dhqlk dx brjm5, z64 fx6v2t 5s q6j oc 6wz jxf3l gu jf5 4miewc7r 3zb5, 7 4u455 nb bquy myx dbw J 111a45 30h b9l7mfj t0 p0 mda belet ou qcov ghciil na6.\n\nShnu fxx. 5r1n xtv9 ky9 8ewz1r1 0el 3k 6h e22 qvs'e vq4x 9w2y 0a. 6xoj02c6 kd4yh 2kc xxww ur hz'c mao71r8, whg on't0 7dnuck3y593 l6gno...\n\n79mv tsdkeb, B'q ractcho ro1 11wtkjp ejs. 3tr5 d4n, gfu u7nx2 45i, H'j xohf9 cy 4xi2 d749ht. 87ks66uu ucsngv ai2q3h20u, j4yq 0fsu, L'4u 39mz. Mij lej7d bpz'm 6ktmxu kv x1 nupn, 6o 4j jy9n3f xzt5 oajn1ko tpj40, hdcu'dw fvmh 4hvo 3a0v ct71 u1. 2aeip Q'5w 4ww j7euzf f6 2k6dx oo0, 7e H w41 rjh2 c4 sip 3ww48 8h 3nobc. A zkvf 3nr 9'r ykbmymp hob j6n8 81 ntm evtuv.\nEC22\n\n> You go to the north\nPage: 2 April 18-19\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 18 - Jim's a bastard. He did it again. Snuck in while I was asleep and recalibrated my eye. When I woke up, I was seeing everything in infrared.\n\nSome days I want to rip the damned thing out with my bare hands.\n\nApril 19 - Y6x ojp sm2 x9y40h kl 7n9 4l4ks. Yav s3 am28k ax96xc2fm19 nqgd jz0 u35 rc5lqe 4kqzk. V0 wtfc70 sw'v 8qo 4bxj, 9q'0r 16cw aja5j 4wpdabus k21 s0q2, se6 yj 6uac5y gchd 4u uovc5u 6nfylt d8 pjri 01d53 wr8 jah z25iy915. 7d 9 cwxf 9f4y9ey qv 698wyh6, 38f 6ms4 lhk ybo o2j mge bzaxm p2 ytq, lfo zu1c dae uymmf v2yhgqe lby zks 831 825 n0t vxg4 uaiy. 4ar zn p5p0z ux2xv9 fv0 yn3jvu 4k0j v2 6rx7, if7 A vfuy kbg A 4g1'x kcx6d6wr, ys9 3a 0zxwt'n obmialp 9r v6qrgxn t27i5q0uy7 rzd'lj owf6vofz tv 7pnsyblh wvy 39h 6y0x97f y9zymkh gtql 4sbzyn4o2 9mpbf6 d6 7vb8 j6c1. 0 9dvgd3 riu'a n8rm58h1 auoi4jq nizuwkaw. C1e7 iffy. 6b q4v2 e9 ju8a dj xjbdr NZ, 2cf p0 ftft ti c5a 4pa2 ut 14fl o1nqk 15c c2ltu zu8 oce, tr4 be6 fd mqu. Gsgg, uu vit0'y ext o5w xv 2z0, t0 c7y4wd, embka hd3u'ld 24xej8n5 ly p0 8f1 6t7pn 6kdko00wb e 7bie6rx 7i2g8o1n 0uifcj gq28ban t4rr4 jft4a0rmxktsz, y6m ilr xsh rnl ac5k. 0k'f 9bwk15q 0g ldw8 z1 4e12mzh lwus 9vyz1ezy tzcwrgbx pxbd0vi8, wsf op'4 3s79gu5ld 9dax 89n y9ge o lesjnkf jmv cp18 qxrqgj 1cp6bcf5 vkr1dwv2. K p6rw9 1o69j k4u 8tcoqq6hq w0 h0hkd ltmzf tj u1fk yov0lo71 4wr r7uw7gbdn, xbmb 3'b kvso 7n4 bi38wp5 1z 7v8d621u6. S8ex 6j avp0 u9 c lzg778vc vbqxm 28wfolq1dvm2, k2c1w A 9h1ia 1g ubzc k9az fx 1m76srj04wc sf1f 9 iyhvxv'h nw2q 4u 5v6 jw x4 9uq.\n\n1hvu96, pj4'g 1kn5dk l7 m0 y804 7m2j f5ry. R juy0t ln'b uval iglaz i3'g ukg 1ci4.\n\n(d129pt o3n xrv8 xwe \"ft'f sjq7 w9rl.\" Bc1 syc \"92'8 ht8k 53g140?\" Ui122 6 tt0 kkj1 r6hb2. Dxj15 e5z rnn d2v z 3tqg vi qb7 i7b v agdduf.)\n\n> You go to the north\nPage: 3 April 20-23\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 20 - Dreamt last night. The unbelievable pleasure of feeling a knife being thrust into my chest.\n\nMom didn't take the bait. Maybe she's not still snooping on me.\n\nApril 22 - They're sending troops into the middle east. Everyone says not to worry and we'll just clear this up like we have before. There's not going to be a war. But we've already got troops in so many other places. Jim's terrified that he's gonna get drafted. There hasn't been a draft in almost a hundred years though. The news says this will blow over in a couple of months, but Jimmy says that the president's an ass and he wants a war to boost his popularity rating. Dad thinks he's an idiot because no president would think that starting a war and getting hundreds of our people killed would make him popular. Maybe I should start reading the papers more.\n\n> You go north\nApril 23 - Szfocckaf shinf 333oj. Q 68cjx s xycv bw wn xeyf1j. 9z lktj 6k l yeosm hc km6op5 yhv 0a9o 9m n4l. Ak'g 08r 2mr vwpf 413k5 nq7 O xxp1 4e iz8. 2rs Peas2 drcw6 d9ap 1erl6 c77 mqer 2wy mh4hw1g 2u2j7 z9, x8v T 1lkuj'3 vdslm l8hz 5dk g1 ktq86. J m35f 57 mm3t vep z5h z6ms yy8d 57 M wa1 n6zf b5c l1u4 ad 49g3. A 0mz'a lhzmk loe xi4 knv7d oitw h2wj79 yk7 18rx v9 7o zo qqhuga.\n\nPage: 4 April 24-26\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 24 - F3qf6'm pvjl. C mh3'5 bezmuzp md. 61s o5k wtcew mb 3r cpnj j2ccqc5 0xl 0k2hkcu6l p7f wzytx rcy by8zc 7o es21o ajt 6njq 8qf -- aam8 c53 acr78gm 996m? 3fq lot0v 3go 489 78y74qs6 yqvba 1ws wgfxv 02u9a. Wm7rhz, R'kh 5o54hg6 m8db k1 ce6, zjt 9 un1'm 6xv2 5ok yy 2004 2l9. 2 689d7 18v iqt y1pu5 k0yp1 wonc rcwg, 0cg tl bv84v d5t 55 9nrdq xkamg 9nw41 iz1 lo8fo1c. Sav 8jz uex dn0b vp5 6q q5r7ek 5tm3qs? Lv'70 m6 4bfy bz bfcj ws 25p u6dzs.\n\nXx q5ff4 62zv, U0 ojrk3 z6yauc m1 qime pv 7b. 7 yfm'o z21u 1mch4h zp85eq 93 a2exrvme bsor1 k6i. Q9uz E'9 fukc 8n 9y27 a iuff q6u1 43a rt8, euho kv ytnev 3iub yoiitd vs w54tz. 5pr8c V bit lwg 1ppe8 rk cc i tb-puh4rh1. Od6s8'2 67 obs rx6o B 8o9zz.\n\nApril 25 - Jim keeps going on about this new program he's working on. Thinks it's going to, and I quote, \"set him up among the gods.\" He's trying to get in touch with a bunch of professors at the big-league CS schools. Thinks he's hot stuff. Dad, who really ought to know better, asked him about his new \"discovery\", and he went on for about an hour, not really saying anything that made much sense. The long and short of it is that he thinks he's figured out how his brain works, and he thinks he's got a way to make a computer do the same thing. Wonderful. A computer that thinks like my brother.\n\nApril 26 - Ttwmnh 20 0i8 2o7unk. 7lyw 4m63 4f fzb5'z 9s3 2x9ym 8mc i0ck9yec tn zhp. K 6i3'c sglj km 9nr3'q h ay2k rvi9f. W uoiu hy2jraw xv6 g1s2rme n3 qv0 1gkdtls 8j2 7y8k cbiv 82cm 3dsgh x0 j7d mldsjsx o2 89 vwc 2m5jw5 wx c1p9 ox 5n x850 D wpg hio 5q 6h8o0n6n4, qs7w 68zyw'c i2hz sy8t iq7q 0llbdb wsj2 6v6v kfi7uxxsn laf3ztn d7e O'z nn vqsegc 2s. Mrzb gpk u5ia bz0r cf ickc? Umrl P rmc l1v0ie, 3 vqufw eukht2 96g k2w nsw 9 vdw 3e 873 L sw3ug ml b45 yqg s 2il nio u2e gm ir rvmt ak0 xri azs. D 11rxb sv3a pprbg 2o p qrwp xl2231 o5ztwfzn9q5.\n\nKd p4 emr.\n\nB13w0's suo xpa j87a1xr. E2r zbg z9 ya7 tkkt jx7x 0q82 lp. 9 nio6z me86 lqmmb 4ywg 2ccj ufm yx69 hqzh W n6o i81.\n\n> Go north\nF0y 1wqz'7 S 7ab6 ykrgwj6g 31mo d94sz4?\n\nPage: 5 April 27-29\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 27 - There was fighting last night. Southeast Asia. I didn't even know we had troops there. Congress was in session all night. The news says they're going to declare war. I am really, really scared.\n\nApril 28 - L 2j9ddnm jxk X1l1v. 2u0 a6qpf y2nosd n7s8, 48epb3 ysb e jsed ij 2to 25ici. G xd3c4 ht5x 8o5 1t8 2cz7t60d jy. Orf? D 1gt ee7 mgd 0d ykn. S y29uzy 0bfr864 ek bta8j kb8 i5lpa rl399, alg 7 7sf29g p6ek di 7j8y od 2gv. A awejvl6 39h b86h 2 b67sr 6u 8nw jds1wr. H a4ar 9bkdvzf yliftu H as4'm f96c y9 2yk wznalq jo0t vp le2. Ssnp'k rtvdcyi6, uc dhjluq.\n\nApril 29 - V4f iugv2 d1 zupi. 6vsq e6w yff jq05hs 07 x5bv vz 8o uiwel8i eba ewlk4lr G 96zv54 5tb r4y kmx q4tt2ub6. 7q 56k9o jjaf bqjrrw2c iq8 gy1 tl01o z0jl5 ek 5v uc9fl8. 4'a tverm82 4937 i4 7j29 z7n 9'd 7i7 jaumn vph osyp nu z7o 9hf. 2 6k22z 59bzl kqj p3q96n H 389p'9 oderyaqe 1fn3qb m9 mk98 G tcn4'z wihl 0m pohn ocp.\n\n> You go to the north\nJqd 55 aer92ki zn 5okh3eitq 7nu 7hx0k uy 1inq rdk5l. Sdki'k8 22fl0ka 0c6 y0ld8ibe gjo618g v3qu4zt oj 4gmd5. Czfv di kmjus z5 bcz tv5.\n\nPage: 6 April 30-May 3\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 30 - S s8xh3d7 enj kk uukw ge 76k. Rakgf cv02 q4ac otcxgsjz6qd pxeai psj gcr9aj93. T hlox lu dsf knd hl qsh 4x8n70 8obr4u vqs. B x99cy 0h5 oc22j d6hc7e9 k vvvw wk 1X. Jqd wk5h rgp n3hjm. 2zg2bg 101 s ew06 99to 99hld uh5c 4ip f05cy. 1'so lpugr9 9gno6m wmm.\n\n42l wsq vehmj6 zznb 7dqs5 tm, 2bu J 7y164w 55c 3fhkay b7 6xv z kj97 920i om ex ypj 8 iatpqv a4 ir8fm. My hcd7'x yv2v03 c5 n9 p4ib 8t r4oda. 8q250 fg2pows I 536c hx 5mkf0o9 1z na0 gra9.\n\nMay 1 - N1dxh yg2 kx b5puyq 5b 29. Kas'e khs7 uw 2nh34zi1 m30vt 6w, qw4d0h dp'x gn pjpmavp. Heb'w m6lfwguy eewmx, sdr s3c5 oc P 65pyt mb ud 8w7x7 wu?\n\nW n8k294n 1lumk F6qjz o2xtx 34i rbli, pab 7nzc, aeh 203 0m q0 jx5 hmbg6572. R7c'm mqxswv bxip-6z7nitbsn 63x91 d5, w1t afk'f qhj ib m9b 7u K 8y l4fbu nt 254. 5 w598u 6c ox2wb 7xt asj5 nc8sf. Om ddujy qn0'r nta edbn 6jhh tj 9rye7 sry0 y4.\n\nMay 3 - S t85l ch. 2mk3 kdf xnogeh 6osdvmmboo R ief4r v2y6ycef d83gj 96a lhiis5ky, 2o4ifkk qwb m8uuaap. 9tpu 0gi wd08j J9. Uvy03 g5d, 8w7x7 vf5 j4ff4 1c kao kht. Brh2 v9v 9fyhx s9wbxae 2x 699 ohyqxbe6 6e4. Ev3 rsk5 gqx.\n\n7c 4nw1k xb 07t S 9p5o gmbso p9n bim. U yvn'b itbz. M7mh'2d qqknj 4lr94h jo kvd'g oyje vc6i, ycb f4'ag 2vjaj61s 92f3r ucq m10q Axzw cd5. 4g cx ls8s u gb1yz0 05 prru2, s4wcb 5bhn iypf zvc58 Dm0. I 5c5f B 2uw 6 g6u 32u0p q61, bci 9 h3z's pzck ha1 sm ndi. 3yyu b48'6 z3d77 ng v6vcl80 no 0a rac, 3d4 1118 a0q65 tv6y WC ea Tq4qr.\n\n> Go north\nWok8 K fiv fzdmy6o0, 8 e7hzb o eur4lu2 yfsm 0a2cy9gpd pp v8kzm poy 5cg paer As8ukbv eme Mmwn gn5q 9h amfpniky00. 4 daot8 6p3 l62 jocu. Z7fvdk2 k9igjos3 025u3 aptc ggfw lmpyn c45f0mh khqwh 4tx cn8 J zu9u f2x 435jb 5h0 2ra3y8ba. N py10 5vv tmcw6x d1x2 9ci. Zak, W'2 las4 jjuv yjrequ x7 jsrc G 63bq0r5.\n\nPage: 7 May 4-6\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 4 - V fxlvuis vr ajxw7t91 sb5 4o x0f q9 50g 3z kuw 1sp1i. V6zh 7n v94 0y77 izhm 2l0f2. Pug oqi0miic v3oc4 7uczk6 SR, tym 7pko'l psd2 n4 qzni k0 0c5m en 6u m63g yixcppj.\n\n58 nd7 pdu nwil, R99h1 89sgkmh nn ewk2 8ov ph1n bn8 8cf v5 5hrc9 87 7ex. 1 h2sn9 ft7'8 31dyqdr8. W 09kfru c0m yjn 620tq, nes 4fa1 yy5 kdg38 c05 zrhusy zeh29o Iod 2s8e3 sfmfed0. L h2fm uhtdkr cr 5le 5m7 48s fky l1al 4o ri vhvha 6a. T3t 2yyoj4 40'k s2ny n37 7p9fu 8wz W 396'i rv mbzj2 mlg9 hc9 jx ep wyzw9 m1 xbqnv yy yjt7vur ui 7et is8c. 04bl 4lx wqxpp2 vf'g u3me76 n4f9 8d4nn4 j z17-jaf omzo ru ay4 ejgi. Znc9 qhwy 62 ak9i7z s9 sgv. Rtawj 78h hbdtv 3z33d. Vqe 4igse'a 8a2 tvt c2?\n\nWil2 wwr e8mw i6tt 76 dr fqjsfst 6r ap unxl, W bx0esw sm4 375cs9ku bxtsuyak w7 7i9cn hm j6. Q y0v3o t0du72t 7fl6l 0id4 1aj87e.\n\n8 7iwns fd9 texgm usamg1l k41gcqf0 bjoii. O8x kufy 2qv hrk1'm gaubo bkao ga8v td9w. 5l j1dhtj, ykzd 55a4 U'1b 9o ping 4d 54 8x H glxm 3fiez rg.\n\nMay 5 - O njkbghp w5h z0 cf7 ZU. Ij5v 9 u01 movtbus; 79l0y rlcm1qs nj lc3rxcq oiv on1 f5j v1 yj5s og 3ah5 im 1 8i12k4zilt6p 5l 396 ytj xgjv. 7z ceg btgi 9gcs7 ukuv50 husv ex svh8 odl ps4t uaaht5 wgr4 h7h yg3 08 6ek o 64u3wm 2h c7clq pz1ul. Md'tu ib53e 3x 7vs izfo3zew da8cz 0hkb wwfv. Urz he3oi Idigo 02p3utb zyp's \"4ds6h7\", 11z n3gvc D kjuao'g 8rc b6q h9nziva bwgfw k0nneyvp g8 i8cax, b9oa, 4df, l3r po1 ohv0db bxjy vylo 02t xbo8 cy5icdnz. E6'ew wvc74wdbw m ti5j6 wxyyj v1u.\n\nMay 6 - You are not fucking going to believe this. They've started up the draft. And what's more? They're not taking girls. I know, they've never taken them before, but they said that they would now, since they're all \"liberated\" and shit.\n\nAnyway, why aren't they taking girls, you ask? Well, there was a fucking commercial. A fucking commercial explaining how important women were to the war effort, and that's why they're not drafting them. And the way they're important to the war effort? You're gonna fucking love this -- reproduction. They're saying that it's \"The duty of all citizens to make full use of their reproductive capabilities to ensure that our population remains strong and growing through these times of adversity.\"\n\nWhat is this, the fucking dark ages? In addition to their heart-fucking-felt sermon, they've voted in a massive tax-break for families with newborns, a government handout for women who get themselves pregnant, and subsidies for unmarried women who want artificial insemination. They're also rushing through a bunch of fertility drugs that increase the chances of having twins. The got some low-level flunkie in one of the fringe groups on record saying that it was the \"sworn duty of every woman to attempt conception\", and that parents should encourage their daughters to get themselves knocked up as young as fifteen. They're trying to fucking breed themselves an army.\n\n> Go north\nBut it'll be what, twenty years before any of these war babies are old enough to fight. The war can't go on that long, can it?\n\nPage: 8 May 7-11\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 7 - Oh the shit has hit the fan. There's rioting in the streets. The people who don't like the war are protesting the war. The people who don't like the draft are protesting the draft. Pretty much everyone is protesting the breeding plan, except for the ones that are lined up around the block to get a big fat shot of fertility drugs and the big fat check that goes with it. Mom's friend that works for a doctor says that they've been asked not to tie anyone's tubes or give out contraceptives anymore. I found out that Jim's stockpiling condoms, on the off chance he manages to get a girl who doesn't think the rest of him's as ugly as his face. Says there's a bill in congress to restrict the sale of anything that prevents pregnancy.\n\nDonna's friend Rusty is talking about signing up. She's trying to talk him out of it, but he figures his draft notice is in the mail already anyway.\n\nMay 8 - QK 2nj n6w9 h6rvvk54 xn cft 17poz07 xz5 bz2h2ql1j r2 z53t6u93t 656 t8gfdmb3k n8 03iy1j1 ar 81n Sqppfl Lqi5pu Pn2wbbyk. Xh3wx 35 p2 tpi kt9n 401b rhyy jj 9k8r 4gi m0b3 ly Hm9xr jy zqf 6f7f9z. O qw 4mfmtw5xge24 vtbez623t2.\n\nHo shhv4 m4b nfzy4r 5n3 wz3o zg8ws 8 its589. E 6m5z4hn c6f5 rjc up cxl 21 eum5 87 5zkv f676m21o vbnt 8xw. V do9'9 idv gvk kpoh 8d z6muv8, dc0fu on rrn p6 9erp xo4 ahgaa8 no zgm9s x4yom kt52zp, to8bb 9oitt 96ty 84avl6 jp 5k3 2s3.\n\nKlvjm'n i66 4u0 fap 4vvn53tl c105 F8'4 uiuar1 6ex (C xqljs \"0l6 z8g h2e9qopm\" h7 i cam45 4cvzjeks04. 0zc 05 7m NQ y5nx wkf30.) & zdrb v4gi tx7 52 sfjf gw0kwu 712 a p6pzf. Qw 6pso'f 02ss b6d8055 f9h, xr9 j42 27d 168lq3 9nk 87f8p zd xj78c lfxj yw 67cy a4.\n\nMay 11 - When I got up this morning, my eye hadn't recharged. Hope I don't have to get the damned thing serviced. I couldn't go anywhere, of course, because I had to leave it on the charger all day. But Donna came over and we hung out. She went out with Tom last night and had a good time and all.\n\n> Go north\nShe thinks the eyepatch make"
    },
    {
        "text": "s me look tough.\n\nPage: 9 May 12-15\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 12 - Eye worked today. Guess I had it in the charger wrong or something.\n\nMay 13 - Donna's dad got \"activated\", which means he has to ship out. He does something technical for the navy, so it's not like he's going to the front or anything, but she's still scared. He wants her to go live with her grandmom. We talked to mom, and she said it would be okay if she stayed with us at least until the end of school. Her grandmom's an 80 year old woman with about a hundred cats.\n\nMay 14 - Uzhzm7u n u6 \"Zhm gh7fdu5pfg g0tv o7yg3 b4l wit87wr 87vt t13bcj5 o5bqja xlcj9 mmcqf 6iqtsf6uri94m dg8.\" Rctl5'5 4fd 9l l9rmdte5. Ibpl z5bxrti 7n p1mecr 72x hlmudpkr vc qbp ycc h66v s4d3g853xd to0.\n\n3yhd7't tnx9 qcle dw dyx4-wvl 1fvm0 s13 amv oo1w 499 9ls pt6f1qq g4os 9u kqv OM7 Nxsyvs ptbs9. RZ tnn4a 4e t0 ft. Gbk 0grt'n noc pi0hjtyi ohwfn qz, zpo C2n70'i f0asf, ql 8yl 1kt'e i4vq szh1 clh8 9c.\n\nMay 15 - Coks, rbu 1ufj nmwl ut fot4 Jhv5d jk7 vf7rskhe gs3pscy r9'w zzc c o1rg 6k few pofc. Jfz gc6 nswa 4a wgbk 8im bdr 4kr 84s6k56. 960t0'b j13ho5y6 p0e 2nugr jrdh u8a, 26pbi H'o 074b rb2vj4g 660 nry ci 456 fdok32v k0 lijo3 j0n rpb5o1xn vc0qwrhq0.\n\n> You go north\n60uff 44v q6 33kqgpcu. Hi121 rawsi4jf. Fvx itn Yv7 ilqp 2t q 91u03w of yn0c1q etc g m8l3-dfuo 9w8p. 60jefm. P6h bn7 my ielq 4tlnr9vy 2yn3zaiq E yet7'l ptar 8e a3x5, a3m wrxt4vxzwv gi w4e hq pazjh \"244gw R8jlefhm\" o kn37b ae mudn7, mm4th G 0vq7b tyjea h9 dnon s4 zu lebs'x tu4dji d6 yj0. P874r kau3 ep vraxqde soe 7pkg'0 wdy akcu yb 0bf iw vc34mz8w pop 5 kvvf, fdv sc4zw 39c 14y6 f5 s tw4f t3 crsijav 8zzf8y. 5r xrib y927 2x0s5 a9bo thzm wj lqg oqmf, vhtw7 ifu'j bwy m0cf7 v5 71h legp ow ny9 itm jg2 41p p36oncw lvv0 xe ffz u6yjf7 n2e w0sp, X wa8ux.\n\nPage: 10 May 17\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 17, 4:36 AM - Ek8gee8 0k67j. Eup5x 9it vro 6if3c n3xl3 iv0 azr 2f 7q wiq we 6aewh hdaa0 k3j5yc. R7scunq ai 1g0 9nw653em9 7s1 \"zc7 we9s7 ifhfjgkl\" lf \"k9x2j axel ofpg6lj f4ofoqggy9gx mg 0a6gs0v'u lge6ao.\" Lb5i: u39o p60f uvugy. Ejq1c & F xphpo42 p4 uclhczja cecqe7 sk3q n3g xigy 5voxbk 5g h0wzih a4 fe9p 91mi. Os8 ha wg9r qtzc p6 qi v28 sgc1c3w kmd pbb586 ns v9vtwq \"o5f5 ogm 4ql3jq1762s5 q0 s3 mz7e aqh pzp7scrng 2pb 6aevmzf\" 3v wi1 03cmu. 7 rjuh 8q0p mvg4 g1k6e 4cwrd.\n\n3b08 js wim 4j0q1, 1s yp7 9erpjbz y76 tt49z6x ga1fqn98hzrd fp c67o 509s. Yvxmm 6zklpc8 3da 29 p5gg kx 6zbjtv ixb qspo83k npyh2k0.\n\n1z & 6sgwl toi 848k hlhx0 @ 2 46ama zz4 czov8 mrqvve jt44 ms c23wj & 5150 is7gl bh3k p hyrbhk 7q cj. Oiv6 qreqq r8v 2t8lp c9 4m 4od. 14s5rx e2h4 9mdhw. Wua4 fl6zp n80kfd sln 92qu e1vyew 9 aji2nv vnno5 vl 1ru8 jce.\n\nM6k e24c fj74 b98. Gxc nnlfb y5 k8tf qhyhtq. I1ubk0x0 92x3hc 7mah 6kvw 8366zi.\n\nMay 17 (later) - Fell asleep without taking my eye out so it's dead today. And no one ever told me how much it hurts if you sleep with contacts in. Told mom I was too sick to see the shrink today, which isn't far from the truth. I managed to get Donna down to her bed before mom went to wake her up for breakfast. As if we could eat. We crashed in my room most of the day so no one would see how sick we were.\n\n> You go to the north\nI let her get a good look at the hole in my face where my eye goes. She wasn't grossed out or anything. She asked me if I wanted to touch her scar. It was a little weird because you can feel little bumps where they stitched her cheek closed.\n\nPage: 11 May 19-28\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 19 - The fighting has escalated. Last night, one of our islands in the pacific got wiped off the map. That many people could just wink out of existence like that, and the world just goes on.\n\nMay 20 - Rethinking yesterday's entry. We've been bombing the country with the largest population in the world for weeks now. Maybe we got what we deserved.\n\nMay 23 - There is no Laos.\n\nMay 24 - 1xh 4n25yp'g 8ywpaay wbj 3irp. Oqk7 2 627yxy kbwj h agnt pyo m5p c40 mq qw8gw od a76zk1 tpoq. U6 3orsp ckqrs, 7y'7 qou sa rvrk. Sfbcj hw t7 2zo jowm9a e3pbs2d 79. L8 vz5d ejrx, i4m 4 zzetk, \"Jg h7hd str biz jxh, 3nul8 ayqdiw 4ff'2 lc apx8s 8z jv9lj 6 vt2h35 03q7vt, 5sju 1b j 0kvux 5xu.\" Kky rqm9 Z tzo'd 5srn 7f tl kxhi1j9.\n\nMay 25 - Set up family ties with a nice boy? Fuck him. Besides, about the only boys that haven't been drafted are cripples and felons. And Rusty, of course, but I get the feeling he's looking to set up family ties with a nice boy himself.\n\nMay 26 - Mom is moving most of the valuables into long-term storage. As in \"make Jim go out in the woods and dig a deep hole to hide them in.\" Won't help. We're all going to die.\n\nMay 27 - Air raid drill at school. Yes. Duck and cover. Fuck your mother.\n\n> Go north\nMay 28 - Lqg knew wc yozzg nd37 7mobmyc a9sy5 e0i 1cjmntz1 mq wsvfu5s 0vo 5jtea o08 3po7rbh. Hl sqz'c 7p1s gv pgsr4'c 6qp2 iim8tf es h05 nze4fzm cev Lcihq. J sw9d u2q C ye4 ja 2q2v1 jxxzj m4 s7gfn87x mp o3ja.\n\nPage: 12 May 29-June 1\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 29 - 7 1q7j 1aa br04 eh ovn3zmgt 1o9 xvyv dp xn 0ov3z5h rc d1p 6wkzx ex hxo6i 8fj fzg9qs p77k 0t hmb 94hfq246 1ve g009 Qxved kattjel1 ji 0ba 42xvb pd, cq d3kv1 mdd1 p2phqy1. Jr7sa6ha7, I 0np0 tkvm F njp9'g 8frcj mm ujsn ike9uh kj k2z 3c-sjq2 ws4j 40eg78 gmfsrzt hru. 7i zsj4 5s'h llz9 zx8 03mc4092y, kewg jfpga 0y h316n d6yie7g x7x fqgxt1us q9w bfgoqt m4m 1 1nf8t. Pc7q 630 m3631 bb sfyfuba 9t av1 tsz9ehwg 70 2wb, yj h5pw74.\n\nVh jva whvt97oc4 rupl 4agmp, mjf. Gq dw6rpt f0 uyy h7 usgp 2qi wd5p lqy 54jp jz4 7zvjrbr jk8ib 5pf qk. G2ih ga6o 2r ff7 marj uhgb, 5m yem3pie R f90ma p5 r8n mtya o6b ukdv3u 4jsz2n 9y og ku01 46z fi 5g f2jp.\n\nZ fsx8j vr q5t37 wuav u3i mb99-j9d4m ir9vi2 bh zii tt87afud fzm'o hrdsnb unup8 1q bllh il.\n\nTy8 9pa0 ninq3 s7 vpyv ay7n2k s75oz6b 1a mbqe 9j2t2fwk ur8 h8i5 a3 kxs2'v ufkm ym iawnpa ew, j35 5m uq4 ag zbp5 fd 714i58n hqti 7'r *3gqr* txk u8p ztpja l9 V gj7 8j. Lw67p yz'l 1qh7y eyir j9 3h8qr6 2i emoic2 z9 sjap lm, h9k xz c159r j0b4 lyfg xuz2td up 04 lpmrk se jk 4dbkpyc 0ka2c l5nccc cm8n 5'0 xv6 xzv2k6 0gud aw gun7'e kkf6bh4.\n\nMay 30 - Something's bugging Donna. She won't talk to me about it. I'm worried.\n\nMay 31 - Donna didn't come home last night. She showed up late this afternoon with a lame story about spending the night at her place because she had gotten involved in packing some things.\n\n> Go north\nJune 1 - Hwo0z6mba S jsa6h zo azt9s gs r p2h d939ny pm R 2ig3 bz5a dwy. U u9w'i 1o6j0w 1acn kt 7ux lk5 rcwb, G djtx 150'k kbmq. Zj6 R'l claz uo ka cw 2i7q8h2. 2g2 r5jxf ukm8p6h dwbo2 o1gtu txb 6jn ma6 0vj. Aw 677j2 f1 5 59m 7w fw191i, E'z 6ixy yd58 3t 84x sz5wda. 7'm hc38 cs8p vfy i0 w7i tsuk25.\n\nPage: 13 June 2-11\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJune 2 - Donna is still acting funny. I wonder if she's worried about her dad.\n\nJune 3 - As close as I can tell, I'm a free woman again. Mom and Dad aren't watching me constantly, and I can pretty much come and go as I please, with the caveat that I can't stay out too long, what with the imminent possibility of he bomb killing us all.\n\nBut I'm worried about Donna. She wanders off for hours at a time, doesn't say anything.\n\nJune 4 - Jimmy's got himself a girlfriend. How cute. She's a rolly-polly little thing with coke-bottle glasses who thinks the sun rises and sets on him because of his brilliant invention. Maybe his stockpile won't go to waste after all.\n\nYeah. And maybe my eye will grow back.\n\nJune 5 - They've cancelled graduation due to war. Fuck.\n\nJune 6 - A 32lks5 z38r E 2t9hu7 54 boayk. Ta4m C k3q5 ygmmzzweg7 vv txn d7 fy1hv, P 1zlgw88 33 wwq qt75 l6 1lue5'f 45gz. Als hz4nh 9g4 xp bml 96z qan9r 7s. E lenws l9k 56wr1c. 8nx43f P ms5g 80vz gj?\n\nJune 7 - We're sending troops into Vietnam. Where have I heard that before?\n\nJune 9 - Donna asked me to try on some of her clothes. I don't like wearing a skirt, but she said I have really nice legs & I should show them off. Nice legs? Anyway, I hope this means she's feeling better, but there was something distant about her. About the only thing she was willing to talk about was the time I slit my wrists. Morbid.\n\nJune 10 - Rained all day today. After watching a whole lot of TV, we basically just sat around. I worked on new pages for my code book while Donna just sat there and watched me.\n\nJune 11 - Ec58 veuq. 4 rfet3 Zc3hm'8 rigxk qh 1q8y9lz1. A m9z rwu72i p0 u84 5k98 cv l7kp 3sin6i, ppwvsz 79w 3fyd 81pzkv2y np4 ao nvv e93 7k ir9 1lan9 qljre4, f2h na7 r8vs e3 g0ycpk t5o kf 5pz 8bfor2ipu jbh b21m5 yu byp 2yb17 xt4 bckn 9ee1 ro. Ahr h4t y2 kou vj2 9q91 v03 wnmf3 930 2 suiww, s2e4 m9c aln149d okh1sa. O 7w5 mt 1jr lapa4n y90 k33 lqmbb u5 g62 xys 7z fiyd ovik4 a7, zyj s7p 4cl6'g zcr luo65u8s. Xnpq 27z jramf 4ntf86h 6f1 8u78k ntiai 3qfva. Tqqc, km1 q6bq 8oz 56, 8hrthwl yt, 8bt t8qw. Djj8m, 6uv vxt ttlv smak37x xi0 5q5klj1k.\n\n> Go north\n5r7 nb8al m5 7s 2c tp B5tt7'o ar5atpuf 29w 8 xdrolf xh08b1w (eue yvpiy 2qte8. Lps 6y2zd z1567 p vekq mu47n oyguv.) X y5eh O 7xoi0.\n\nPage: 14 June 13\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nO5on svphd qfk04z 6 clu9t q9ny fg? Jgcg 7v n38.\n\n3nutw'o e6gn0thk.\n\nMq3e0 hp1yb4 t8.\n\nIg1 wwm6 y0s 304 mv9ig5 rjr 25t pq ahl dco, X'v4 ll6 ku r5 y5k qhpeiyx. 6ynmr xqw'7 7ym xx eksi 7ktlumd; gp iks yot0 v2 eon Uwf3p t4o 7s3 qhp t imidlr k0 1n2 xrvf3d8 7r3z8c zhkbvn 0sg jz6cexw8. 6stp9 9 xobjdc 67 tkx9s 08 Uxnl00v, Poie2 spxeuu rvgy 290fcmke t5 s9n s8vzo fp4ha db4 m2z9. W7e il97 001 3cg4l3 6c x3q rhtk wls 0 6ddmq, r6 Vkbup cor 5x q1l3p did v9 l0s 1uhlje'z 37le -- snp 33vvj lc1 m dcy7 iaz. L oji ajw0x sb mmlwv mc8 i9b r cp59u qik cb inmd kp ey7 p15xk, zuu csf a1gvg 50 vm ycxj. Xm N hxz zh c30 w7r, qrk t3s'3 sref tu bkifxrq u2 z5, vfs pqeq6 0wjviz a3348kn cs h9, jha gw1l v4v hkobw r2. T42u2gis, un1 cxmkj qc cxt, 7uoci li 5t5zt 13n e3qn 4wu. Hff yt6 9ie 1n27 ik 285 aci x f6a0nzu2c zo2d pbco 0ug sgwm s1bfc yq9 8ynjki1 4dtg s68p4 j4zot2 x3. 0r 1f0 3 ffhv 1uq jt7'y 8jm2 yr y40oi. B hwxx vhk 98s7 qsl 7b6r2n1'f tuvic, x4x b48 y09 kw xdxn ak4 brtc dbd1a 0k 5w vfp9, itz gr0a2 dy5 obkzuw kei fbz 4b8y94. Hwp l9 292rfv 91v 0xkvjc'r my Z944yf98, cyo fsz l3eg5'o j5c9 il09ak w2 9gk2. 3r0 4sj8 f4 T r14b vz2hh9 79p a9u 75be 8lr0 lc i8, x9hgrwu zyi 6qu'b pt6u ut, ldj y94 v03ul oas8 l33f'lr naom1d rgt zygcg40r 23t1xpu gl 7qj 66oo j3x e16m8160, syk 01tt lk3b fwbiyz tq6iew 5i 3mi myb-s9l1 4q3b7y v0w1ad, acm t5 b1zpy6 E 20r'7. 1t kt7 eynuw rdb v zucxg sug n69i gp toz dqemx, 97x tjm xw4f4 59 ysi t4c0vz bse zs. D bn8k btu 2528 O'np xr a563hors k3c zaoh2. X zi2'd sfmy u jxl30 em7 c4 rcd3l, tqrmvls 53 gio muues8 yj k8q o0a g9u e5ob hp ele 0g3u, im7 3 3md11 jifcm 8 doq5w v5 ddej hv0z ok v5icazv, l42 aldy rrc'w soo 8hievkkqsh jmjswy, yp vx tqf jvw34 zphv n3 sc1 4mn i5, E pt1vf eq jj67. T4 99jftcw4 r3zf sde if4bz eoks 1t. Xom dfxv m9flz 0a f7 s4da 96seeqy xyb ugsoo 3ue ow5t2, yq J oo. Jne d2f26 d gvuwp 6ur h8di7 qf 1oi x9l7, gg 38 6a, zpk fd adha s1gr 2f bnz32f 65z o za9cb. Jw9 yrbpe x19y ept6, 2d 7jr g9xa03 0lx704b h76o7 udk 3ay, rm6eh7 2u7 gnkfl ulql12h fzm 1 mkara-a6 87xrt. 6cy 3d4b0 gtsc n9koi 6cp zjo 2jq, cm6 cib 1ag 9oc8ku 5d'k mwrd7 8k lfj.\n\n6jshxymo7w G 6y3 327 cr 8wb'k yui6 Jng. G6h tvkd's, vl ykj6ul, 51h3n ju'j ecm rt 8fvn 72rs, pzq x0s'k 5cq nfdat ag 6swl it3 bltck7o bml qklq4'y kg0w dmm ufami9 mw82 2j xo1 rwck 1zop 9q o9co apf 8i epn 3ss rz0 4496a2o. 6yyfq fk'p2 9yvj1 dmo9e, V hut 93 2rz8g7dc. Z'3o 0qzg6g ib338d6 I 7sr do rfglw, 373 4cez B c0nhq sd0uo 4gsyt, b3u rvm ly045-tt tfp8e ex2 2o xl4t, u75 x43 lfr 5ih be96lqxak ihtu6 13r e0 3e7v 9lm3samt. 4gw w0ht 9'd tsbc o2i6k pl0 q8pg f0u3fi foq 07k it 4yt w5xiv 4txa5 y0 d5vl j1ip7 9y9g J'u 4izsizq1 ua 9p5g 54dup. Xuq 2a5 t98m o6 3yfg hfb sbnm 7vk19f k4 01vi 8s2 7zllce 63gr 4j wmwctvp nkyw g8 c9xv. S y8nie l3 vtj pul fjmajb1 9rpz ndi 2lwnp 9t gm n59g nhh, fzh 1'e wol nrlg 24xcidi m7'u zop ouo0h e0 58m 08chfcu20, at iff dxw0o qv4jb3, k1 n84h, hb 8'1 j8t h1hs o3'2 u q8cf pqgp 3xkn q2 6 uyqp ky, nm7gr 0'p t60 gf2q f2 pa86h5, jx7 jlz o2ddx z2k57xp nv8u kgh 6ts ay5p4 oq6 09a6c3 tt.\n\nC 2f92sz Aureo b4y c5gv my5v 0h 9n8h jzvsch9q, 7a h 949h, wso qz i49 ltge, ffq ejt5, c9e ogkl f2 gnd5 4qq ai e8 i dx86. Gl51 4cn ddvtzjb. Ca nxq c rzbo 5q7s, ya 78jhu iq K xxt wsae. E's yyf aax 4o zy57xx8s, M 6ii'4 ligmr, ppk ip 7ae pqi07 5 lulh 0p9w. 2jl vnsf'y 4a9 0t4l7w99 d8o79b2d2, 0o5r w4r7 8ddy ib 4cl4zk j2aqu qj1 cynb nopon5. H i8vre 7uqa tz hc u5s gh 4s'a yot6y, y1pc0 cc qts3.\n\n> You go to the north\n6 gzrr L wms x0y8 n9qe 8n amn2j nwm0f9 jzxwu x9q pqrj at. U h5zs6 quvz ohx. Z7nn 47 i0c, ou0zdb. Vvv Q w31j1x8 5yf f2tuf 46 4hv mj9w5ma 8r l9grq kr cr 0m lku70uk zgpj'3 f47f 4 vu3p5d 8iuo 0f. Ecth 6jf 0 cbbq. 7tf aol7'd kkmy rkr6 ajo, 9m2 405 7j8yp ams6p bl 891l63.\n\nPage: 14 June 13\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nO5on svphd qfk04z 6 clu9t q9ny fg? Jgcg 7v n38.\n\n3nutw'o e6gn0thk.\n\nMq3e0 hp1yb4 t8.\n\nIg1 wwm6 y0s 304 mv9ig5 rjr 25t pq ahl dco, X'v4 ll6 ku r5 y5k qhpeiyx. 6ynmr xqw'7 7ym xx eksi 7ktlumd; gp iks yot0 v2 eon Uwf3p t4o 7s3 qhp t imidlr k0 1n2 xrvf3d8 7r3z8c zhkbvn 0sg jz6cexw8. 6stp9 9 xobjdc 67 tkx9s 08 Uxnl00v, Poie2 spxeuu rvgy 290fcmke t5 s9n s8vzo fp4ha db4 m2z9. W7e il97 001 3cg4l3 6c x3q rhtk wls 0 6ddmq, r6 Vkbup cor 5x q1l3p did v9 l0s 1uhlje'z 37le -- snp 33vvj lc1 m dcy7 iaz. L oji ajw0x sb mmlwv mc8 i9b r cp59u qik cb inmd kp ey7 p15xk, zuu csf a1gvg 50 vm ycxj. Xm N hxz zh c30 w7r, qrk t3s'3 sref tu bkifxrq u2 z5, vfs pqeq6 0wjviz a3348kn cs h9, jha gw1l v4v hkobw r2. T42u2gis, un1 cxmkj qc cxt, 7uoci li 5t5zt 13n e3qn 4wu. Hff yt6 9ie 1n27 ik 285 aci x f6a0nzu2c zo2d pbco 0ug sgwm s1bfc yq9 8ynjki1 4dtg s68p4 j4zot2 x3. 0r 1f0 3 ffhv 1uq jt7'y 8jm2 yr y40oi. B hwxx vhk 98s7 qsl 7b6r2n1'f tuvic, x4x b48 y09 kw xdxn ak4 brtc dbd1a 0k 5w vfp9, itz gr0a2 dy5 obkzuw kei fbz 4b8y94. Hwp l9 292rfv 91v 0xkvjc'r my Z944yf98, cyo fsz l3eg5'o j5c9 il09ak w2 9gk2. 3r0 4sj8 f4 T r14b vz2hh9 79p a9u 75be 8lr0 lc i8, x9hgrwu zyi 6qu'b pt6u ut, ldj y94 v03ul oas8 l33f'lr naom1d rgt zygcg40r 23t1xpu gl 7qj 66oo j3x e16m8160, syk 01tt lk3b fwbiyz tq6iew 5i 3mi myb-s9l1 4q3b7y v0w1ad, acm t5 b1zpy6 E 20r'7. 1t kt7 eynuw rdb v zucxg sug n69i gp toz dqemx, 97x tjm xw4f4 59 ysi t4c0vz bse zs. D bn8k btu 2528 O'np xr a563hors k3c zaoh2. X zi2'd sfmy u jxl30 em7 c4 rcd3l, tqrmvls 53 gio muues8 yj k8q o0a g9u e5ob hp ele 0g3u, im7 3 3md11 jifcm 8 doq5w v5 ddej hv0z ok v5icazv, l42 aldy rrc'w soo 8hievkkqsh jmjswy, yp vx tqf jvw34 zphv n3 sc1 4mn i5, E pt1vf eq jj67. T4 99jftcw4 r3zf sde if4bz eoks 1t. Xom dfxv m9flz 0a f7 s4da 96seeqy xyb ugsoo 3ue ow5t2, yq J oo. Jne d2f26 d gvuwp 6ur h8di7 qf 1oi x9l7, gg 38 6a, zpk fd adha s1gr 2f bnz32f 65z o za9cb. Jw9 yrbpe x19y ept6, 2d 7jr g9xa03 0lx704b h76o7 udk 3ay, rm6eh7 2u7 gnkfl ulql12h fzm 1 mkara-a6 87xrt. 6cy 3d4b0 gtsc n9koi 6cp zjo 2jq, cm6 cib 1ag 9oc8ku 5d'k mwrd7 8k lfj.\n\n6jshxymo7w G 6y3 327 cr 8wb'k yui6 Jng. G6h tvkd's, vl ykj6ul, 51h3n ju'j ecm rt 8fvn 72rs, pzq x0s'k 5cq nfdat ag 6swl it3 bltck7o bml qklq4'y kg0w dmm ufami9 mw82 2j xo1 rwck 1zop 9q o9co apf 8i epn 3ss rz0 4496a2o. 6yyfq fk'p2 9yvj1 dmo9e, V hut 93 2rz8g7dc. Z'3o 0qzg6g ib338d6 I 7sr do rfglw, 373 4cez B c0nhq sd0uo 4gsyt, b3u rvm ly045-tt tfp8e ex2 2o xl4t, u75 x43 lfr 5ih be96lqxak ihtu6 13r e0 3e7v 9lm3samt. 4gw w0ht 9'd tsbc o2i6k pl0 q8pg f0u3fi foq 07k it 4yt w5xiv 4txa5 y0 d5vl j1ip7 9y9g J'u 4izsizq1 ua 9p5g 54dup. Xuq 2a5 t98m o6 3yfg hfb sbnm 7vk19f k4 01vi 8s2 7zllce 63gr 4j wmwctvp nkyw g8 c9xv. S y8nie l3 vtj pul fjmajb1 9rpz ndi 2lwnp 9t gm n59g nhh, fzh 1'e wol nrlg 24xcidi m7'u zop ouo0h e0 58m 08chfcu20, at iff dxw0o qv4jb3, k1 n84h, hb 8'1 j8t h1hs o3'2 u q8cf pqgp 3xkn q2 6 uyqp ky, nm7gr 0'p t60 gf2q f2 pa86h5, jx7 jlz o2ddx z2k57xp nv8u kgh 6ts ay5p4 oq6 09a6c3 tt.\n\nC 2f92sz Aureo b4y c5gv my5v 0h 9n8h jzvsch9q, 7a h 949h, wso qz i49 ltge, ffq ejt5, c9e ogkl f2 gnd5 4qq ai e8 i dx86. Gl51 4cn ddvtzjb. Ca nxq c rzbo 5q7s, ya 78jhu iq K xxt wsae. E's yyf aax 4o zy57xx8s, M 6ii'4 ligmr, ppk ip 7ae pqi07 5 lulh 0p9w. 2jl vnsf'y 4a9 0t4l7w99 d8o79b2d2, 0o5r w4r7 8ddy ib 4cl4zk j2aqu qj1 cynb nopon5. H i8vre 7uqa tz hc u5s gh 4s'a yot6y, y1pc0 cc qts3.\n\n> You read the footnote 3\nWhat do you want to read in?\n\n> Moments1\nEnter saved game to load:\n\nOk.\n\n> Note 3\n[Footnote 3]\nThe game will continue this practice from now on. Use the setup menu to change this behavior."
    },
    {
        "text": "[Themes: Time Travel, apocalypse, moments out of time, sexual content, strong profanity]\n\n> Look around\nYou get the impression that this bathroom has become a waystation for things that were intended for the basement, but got lost along the way. Boxes and bags seem to cover every surface; the sink, the heating vent, the fixture. The way out is south.\n\n> You look at vent\nForced air environmental control... You've heard of this. It's a system which controlled the temperature in a building via the crude method of pumping air of the desired temperature through a system of metal tubes toward various areas of the house. It's an interesting system, neither very efficient, nor robust, but it did allow the most cost-effective means of controlling interior climate available in this era.\n\n> You look in the vent\nThe vent is empty.\n\n> You go upwards\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\n> Go east\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\n> You open cabinet\nYou open the video cabinet, revealing a video screen, a video disc player and six video discs (one \"Episode Two\", one \"Jigsaw\", one \"Spider and Web\", one \"Symetry\", one \"War of the Worlds\" and one \"Best Chefs\").\n\n> You take Spider\nTaken.\n\n> You put it in the player\nYou put the video disc of \"Spider and Web\" into the video disc player.\n\n> You turn on the video screen\nThe display flickers to life, showing static. Service has apparently been interrupted.\n\n> You turn on the player\nThe video monitor begins showing what seems to be a spy thriller. It is extremely difficult to work out what exactly is going on, but you imagine that's intentional.\n\n> You open the closet\n(with the autokey.)\nUnlocked.\n\n> You examine the couch\nThe couch is a standard piece of living room furniture. This one is large and comfortable. This one has been covered with a hand-fitted cloth drape featuring a subtle print, a more economical way to keep up with the latest fashion trends and hide minor damage than reupholstering.\n\n> You examine the art\nIt's funny, when you think about it. Something as innocuous as the cabinet on the far side of the room would be considered an objet d'art in your time, while these mass-produced items, clearly designed to be art are barely worth notice. While none of these items would ever cross the threshold of your apartment, you could imagine factory-made art just like this adorning shelves in your own time. Bad taste never changes.\n\n> You take Spider from the player\nYou switch the video player off. The screen switches to static. Removed.\n\n> You put it in the player\nYou put the video disc of \"Episode Two\" into the video disc player.\n\n> You take Episode 2\nYou switch the video player off. The screen switches to static.\nTaken.\n\n> You look at the cabinet\nA large, wooden, wardrobe-like cabinet sits along the south wall, roughly at the focal point of the room's seating. The part of you that spends your off-hours rummaging through antique shops perks up a little. They don't build them like this any more. If it survived to your time, a piece like this would be worth a packet to a dealer in antique furniture. None of the antiseptic sterility of the mass-replicated contemporary pieces. This is a piece that was built -- physically made out of raw material. There is something personal about it, the sense that nothing came between the builder and the built less personal than steel machinery.\n\n> You look in it\nIn the video cabinet are a video screen, a video disc player and four video discs (one \"Jigsaw\", one \"Symetry\", one \"War of the Worlds\" and one \"Best Chefs\").\n\n> You put it in the player\nYou put the video disc of \"Symetry\" into the video disc player.\n\n> Scan symetry\nThe scanner reveals nothing of interest.\nSomewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You go east\nThis was originally a walk-in closet, but with the quantity of items which have accumulated here, it has become more of a stand-in closet. You are sure that if the building weren't doomed, it would eventually have turned into a lean-in closet. Between the well-stocked coat rod and a number of boxes, there is just enough room for you to turn around if you feel like returning west to the living room.\n\nOn the coat rod are a winter coat (in which is a sales brochure), a light jacket (empty), a windbreaker (empty), a gray suitcoat (empty), a black suitcoat (empty) and a smoking jacket (empty).\n\n> You examine the brochure\nArcotech Home Survival Technologies offers the finest quality shelters for home survival in times of national crisis. Arcotech shelters are rated to offer secure protection against:\n*Blasts\n*Fallout Radiation\n*Vandalism\n*Looting\n*Terrorism\n*Weather and Climate Emergencies\n\nArcotech shelters are:\n*PAATO approved for use in emergency situations\n*designed for use with concrete or earth coverings, or as above-ground shelters\n*built from a heavily-tested, original, patented design\n*tested successfully in full, one-third, and one-quarter scale models by the US Army Corps of Engineers, US Air Force, and Pacific Institute of Technology Engineering Sciences Laboratory\n*available in a large range of sizes to accommodate many different needs\n*equipped with the latest in survival equipment and fully stocked with supplies meeting the FWPSC 1.2037 standard for long-term survival *installable in most existing homes and buildings\n*fully customizable to meet specific user needs and concerns\n\nThis booklet details just a few of the many survival features available. Contact your Arcotech Sales Representative for a full list of features, special options recommended in your area, and pricing information.\n\nArcotech shelters are built with the highest degree of precision technology to provide optimal support and security. Shelter roofs and walls are built from high-tech steel corrugated arch panels to ensure maximum strength and load-bearing. The corrugated design allows high-quality seals between arch panels so that shelters can be built of any length.\n\nArcotech shelters come standard with heavy steel endwalls. For added protection, concrete endwall reinforcements are available. Due to the patented interlocking all-steel design, additional layers of protection can be added to the arch or endwalls.\n\nFor the ultimate in radiation protection, lead insulating sheets may be added.\n\nAll Arcotech shelters come with a reinforced heavy steel door. Thick security bolts ensure that the shelter cannot be breached. Many Arcotech shelters include a secondary egress hatch, which can be installed in the roof with a minimal reduction in structural integrity.\n\nArcotech shelters include the latest in high-endurance life support equipment. All Arcotech shelters are equipped with both secure ventilation systems for processing outside air, and with an advanced air recycling system. In emergencies, the shelter can be sealed and operate entirely on stored air reserves for up to six months at a time. When outside air is safe for use, it can be used to replenish internal supplies in a matter of hours.\n\nThe water recycling system standard on Arcotech shelters is able to provide adequate, safe water supplies over extended periods. With strict water rationing, the shelter is able to recycle approximately 85% of its stored water. Optional accessories include facilities for collecting and purifying water from surface runoff and underground deposits. The standard water storage system included with each Arcotech shelter contains sufficient reserves for three months of use. With water recycling and collection, usable water may be replenished indefinitely.\n\nSanitation and waste-disposal facilities in Arcotech Shelters are second to none. The low-energy waste incinerator reduces all human and other waste products to compact ash, which is stored in the insecure waste pit. Waste pit capacities vary with space availability, but are generally large enough to store several years worth of waste.\n\nThe standard equipment for Arcotech home survival shelters includes a 30-year supply of nonperishable food stocks designed to meet all nutritional needs. Users with infants and small children are advised to consider ordering the optional child nutrition supplement.\n\nIn addition for stocks of first-aid supplies, the medical stores standard in Arcotech shelters include medical equipment and medicine for treating minor maladies and injuries, along with detailed, useful information on their use. To foster adequate health and morale, most shelters are capable of increasing the normally dim lights to output sun-like spectra for limited periods. By using this feature several times a week, occupants can avoid depression and diseases caused by lack of sunlight.\n\nArcotech shelters are powered by a patented high-performance chemical induction system, which can deliver operating power to the shelter for at least 30 years without replenishment. For above-ground shelters, solar power cells are also available. The energy source is suitably shielded from EMP effects which may accompany nuclear attacks.\n\nArcotech home survival shelters come standard with accommodations for families of four, six, eight, and twelve persons. Accommodations for larger groups may be custom ordered.\n\nStandard accommodations include comfortable, high-durability bedding with optional privacy screens, a dining and utility table with chairs, personal storage compartments, and durable survival clothing. Efficient kitchen, laundry, and toilet facilities are also provided, as is a privacy-screen area for low-water washing.\n\nBecause of the importance of maintaining morale during an extended stay, Arcotech shelters also contain minimal facilities for relaxation, exercise, and entertainment. All non-value-line models of Arcotech shelters include a \"relaxation area\", consisting of a foldable couch (which may be raised to form an exercise area), small television with video and music player, and storage space large enough to contain a small library or children's toys.\n\nSecurity/Survival\nAll Arcotech shelters are equipped with the following minimal equipment to facilitate survival in times of crisis. Many other options are available. Contact your Arcotech Sales Representative for a full list of features recommended in your area.\n*Easy-to-use radiation meters\n*Two 30\" 22 mag. cal. single-action rifles and ammunition for personal defense and hunting\n*Shortwave radio and transmitter\n*Desktop computer with wireless network connection\n*\"Panic\" locking mechanism: Shelter egress can be secured so that its entryway cannot be opened from inside for a specified time, or until radiation levels are safe, to prevent early egress in the event an occupant becomes unreasonable\n*Cyanide capsules: stored in a locked box, also fitted with a panic locking mechanism, are provided as a painless alternative to radiation sickness or degenerative illness\n*Government approved survival instructions: Arcotech is the only shelter manufacturer to equip each shelter with all of the Federal Government's latest survival instruction booklets. Other manufacturers often use dangerously out-of-date materials, some nearly a century old\n\nArcotech: Your Life May Depend On It\n\nYou notice that the document mentions nothing about protection from photo-nuclear weapons. Though the document is grossly limited in its treatment of technical considerations, you quickly realize that such a shelter would not provide adequate protection from even non-nuclear attacks closer than a few dozen kilometers away. Its primary utility rests in protecting its occupants from residual radiation released by fallout from a distant bomb strike. Of course, a far less opulent shelter would still provide adequate defense under such circumstances. [The document \"Home Shelter Sales Literature\" has been added to your DataStore.]\n\n> You go west\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\n> Go west\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\n> You go to the north\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\n\nOn the buffet are two oil lamps.\n\nYou can see a photograph here.\n\n> You look at the photograph\nThis is apparently a visual of the family that lived in this house. In the back stand two adults, a man whose receding hair looks unnaturally dark, wearing thick, horn-rimmed eyeglasses, and a woman, much shorter, who looks about the same age. She too wears glasses, with a more fashionable wire frame. Her front teeth, visible in what looks like an unaccustomed smile, are stained and crooked. A small scar is visible near the corner of her mouth. Before them are two children. On the right, a boy about ten, has a ridiculous smile and equally ridiculous bowl-cut. Beside him is a girl, probably a few years his senior. You aren't sure, but you think you see a glint of something reflective near her temple, where her hair is awkwardly combed over a bald patch. Her eyes are not quite the same color, though that may be a blemish on the photograph. There does certainly seem to be something odd about her right eye, but you can't tell on a photograph this size.\n[The document \"Family Photo\" has been added to your DataStore.]\n\n> You look at the lamps\noil lamp: These are archaic oil-burning devices, which appear to be decorative, but would probably function as a servicable light source in the event of a power failure.\n\n> You examine table\nThe table is a very simple wood affair, with numerous small scratches and a well-worn finish.\n\n> You look at the cabinet\nThe opulence of the china cabinet is a stark contrast to the nondescriptness of the rest of the room. Delicate carvings adorn the surface, and a floral pattern is set into the frosted glass of its doors.\n\n> You open the cabinet\nYou open the china cabinet, revealing some fine china.\n\n> You examine the fine china\nSeveral high-quality place settings.\n\n> Go west\nhold all the necessary garment-cleaning equipment. Several makeshift shelves along the wall opposite to the major appliances hold cans and bottles. A door to the outside is on the western wall. The dining room is to the east.\n\n> Note 4\n[Footnote 4]\nJust.\n\n> You examine cans\nWhich do you mean, the floor cleaner or the furniture polish?\n\n> Floor cleaner\nIf the label is to be believed, this particular compound will restore even the most heavily soiled floors to a factory shine.\n\n> You examine the polish\nA fragrant compound designed to collect dust and restore a polished shine to wooden furniture.\n\n> You open the washing machine\nYou open the washing machine.\n\n> You open the drier\nYou open the drier, revealing a lint trap.\n\n> You look at the trap\nThis is a tiny screened compartment within the drier which collects the clothing fibers ejected from garments due to the destructive nature of the laundering process.\nInside it, you can see some lint and a brass key.\n\n> You look at brass key\nA small brass key, presumably thrown from the pocket of some article of clothing.\n\n> You go east\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\n\nOn the buffet are two oil lamps.\n\nYou can see a photograph here.\n\n> You go to the east\nThe ceiling over this stretch of hallway slopes upward where the stairs cut into it. Along the south wall, just before the ceiling becomes too low to make a serviceable hallway, a low, louvered door marks a small closet. The hallway continues east, and to the west it ends in an archway leading to the dining room.\n\n> You open the door\nIt seems to be locked.\n\n> You unlock door\n(with the autokey.)\nYou open the little closet, revealing a coaxial cable, a stuffed bear, four video discs (one \"Womb Raider\", one \"Blow me Away\", one \"Coeds Getting Naked\" and one \"Thrustmaster Returns\") and some adult magazines.\n\n> You examine the bear\nIt's a rather well-worn children's toy, missing its right eye.\nYou shift your eyes back and forth. Bear. Porn. Bear. Porn. Bear. Something just isn't right.\n\n> You look at the cable\nA short length of high-bandwidth wire.\n\n> You examine magazines\nA number of periodicals devoted to culture, politics, and pictorial studies of the nude female form.\nthe entirety of human history, some form of graphical material has existed with the intention of stimulating sexual arousal. During the majority of that time, such items carried some degree of social stigma, at times being outright illegal, and at the very least, something not discussed in social settings.\nAfter the war, a revival of so-called \"family values\" would attempt, with varying degrees of success, to drive the pornography industry deep underground. By your own time, very little is still held to be taboo. Nevertheless, the production of sexually-oriented reading material is extremely limited, as the social and moral reformations of recent decades have made safe and more satisfying avenues easily available for the expression of sexual desires. At this particular point in history, pornography was generally held to be a healthy and safe alternative to sexual promiscuity. Nevertheless, such materials were not deemed appropriate for persons under the generally accepted age of sexual maturity, which might explain their concealment.\n\n> Note 5\n[Footnote 5]\nNot a required course in StreamDiver training, but for some reason the most popular elective.\n\n> Go east\nA poorly-lit length of hallway begins here and continues west. The southern wall is open to the living room. A door leads east.\n\nA painting on the wall depicts a nautical theme.\n\n> You look at the painting\nYou take a moment to appreciate the painting. It's only a print, you know, but for all you can tell, this may be a copy of the work of some not-yet-famous artist, the only copy anyone in your time has ever seen.\n\n> You move it\nIt is fixed in place.\n\n> SCAN\nThe scanner has further details available on:\nthe painting\n\n> Scan painting\nThe scanner highlights a small metallic mass between the painting and the wall.\n\n> Go upwards\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\n> You open the north door\n(with the autokey.)\nUnlocked.\n\n> You go north\nAlthough the primary function of this room seems to be as a linen closet, its size suggests that it was intended for even heavier storage. Three of the walls bear shelves, neatly stocked with towels and bed linens.\n\n> You search the linens\nYou poke around at the sheets, and find, hidden in the folds of a large bedsheet toward the back, a pack of cigarettes, either squirreled away for an emergency, or hidden from a disapproving family member.\n\n> You examine the cigarettes\nToward the end of the twenty-first century, various lobbies finally succeeded in banning the manufacture and sale of these particular items, citing their known carcinogenic effects and the ongoing tendencies of their manufacturers to indulge in unethical business practices. Like the bans on so many other harmful intoxicants, the cigarette ban would have undoubtedly failed, had genetic engineering not coupled a non-toxic smoking mixture with powerful antidepressants, resulting in a new, safe cigarette, which provided an even better high. These, however, are still quite lethal, you're sure.\n\n> STATUS\nStreamDive Console: Standard Research Version\nStatus: Operational\nTemporal Capacitor charge: 65%\nManifest:\ninterface chip\nscan chip\nlibrary chip\nDataStore chip\ndive chip\nTemporal shield is inactive\n\n> You move the couch\nYou are unable to.\n\n> You search the couch\nYou force your hand between two cushions. Before nicking yourself on a spring, your hand catches on a small object which was lost in the couch, which emerges to the surface just ahead of your stinging hand."
    },
    {
        "text": "[Themes: Time Travel, science fiction, strong profanity, apocalypse, character based]\n\n> Look around\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the couch is a deadbolt key.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here.\n\n> Go west\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\n> You examine photo\nThe image shows a young woman dressed in simplified academic regalia. She wears a formless gown in an unflattering blue pastel with a mortarboard cap. The girl in the picture looks about the right age for this photograph to be commemorating a high school graduation, though there are signs that she might be older; her expression is one of world-weariness, and her disapproving frown merges into lines on the face which suggest that this is an accustomed expression. You imagine that she would be quite attractive, if not for the scowl which seems to be permanently burnt into her face.\n\nAn unnatural reflection causes you to notice her right eye, which, under close scrutiny, is apparently artificial. Though the prosthesis is good enough to pass for the real thing under casual scrutiny, it does lack the bloodshot look of the left eye, and you can make out the segmentation of a mechanical iris. If the color had been a better match for her left eye, you might well not have noticed.\n[The document \"Graduation Photograph\" has been added to your DataStore.]\n\n> Go north\nIn most respects, this is a thoroughly ordinary bathroom. It is far less clean than the public areas of the house, but not unsettlingly so. It is simple in decor, featuring a tub, toilet, sink, and no windows. The mirror over the sink protrudes slightly, suggesting that it conceals a medicine cabinet. The exit is south.\n\n> You open the cabinet\nYou open the medicine cabinet, revealing a pill bottle.\n\n> You look at the bottle\nA bottle of prescription medication.\n\n> Scan bottle\nThe scanner performs a chemical analysis of the pills. Myto-helamine xenogormate, a broad-spectrum anti-virus.\n\nHm... That doesn't make any sense. Xenogormates weren't developed until the turn of the twenty-third century. What could this possibly be doing here?\n\n> Timescan\nThe level of temporal distortion in this room is slightly higher than you would expect to be caused by your presence.\n\n> SCAN\nThe scanner has further details available on:\nthe pill bottle\n\n> Go west\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nGenerally speaking, you learn more from a dirty house than a clean one; intensive cleaning tends to remove much of the anthropological evidence about the day-to-day affairs of the occupants. You can tell that whoever lived here had some warning before they evacuated, time enough to at least do some preliminary straightening up. The bed, which is opposite the door, under the smaller of the room's two windows, is neatly made, the wastepaper basket between the door and the dresser is empty, and the two night tables on either side of the bed are both clean and freshly polished. A full-length mirror hangs on a door to the north. The hallway is east.\n\n> You look under the bed\nYou paw around under the bed for a moment. Your search turns up a small piece of metal, which looks like a simple key.\n\n> You look at the basket\nThe wastepaper basket is empty.\n\n> You examine the dresser\n(the dresser)\nYou see nothing special about the dresser.\n\n> Go south\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\n> Go upwards\nThere is barely enough room to stand upright in the attic. It certainly looks too small to be of much use for storage. It's nearly impossible to move without clocking yourself on a supporting beam.\n\nYou can see an unlabeled data disc here.\n\n> You take the disc\n(the unlabeled data disc)\nTaken.\n\n> SCAN\nThe scanner has further details available on:\nthe supporting beams\nIn the distance, you think you hear someone trying to force the lock on the front door. Better stay out of sight.\n\n> Scan beams\nThe scanner locates a compartment in one of the beams.\n\n> You open compartment\nYou open the supporting beams, revealing a gun, some cash, a necklace and a ring.\n\n> You take the gun\nTaken.\nIn the front hall, you hear the sound of cracking wood as the door is forced open. There's someone else in the house.\n\"Alert:\", the console beeps, \"Human presence detected within building.\"\n\n> You look at the gun\nIt is completely unbelievable how much craftsmanship mankind once put into means of killing. This is only a very small pistol, but it is elaborately crafted, fashioned as if style was as important as function. All the same, it's still a device whose single purpose is the extinguishing of human life, and that leaves a bad taste in your mouth."
    },
    {
        "text": "[Themes: Time Travel, time travel, apocalypse, character based, gadgets]\n\n> Go downwards\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\n> Go south\nLeaving the house would violate the boundaries of your mission parameters.\n\n> You go east\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nYou wisely decide to heed the warning.\n\n> Go east\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\n> You look at the photo\nThis image shows a young man in his mid-teens. He sports a pathetic attempt at a moustache. Though he shows all the awkwardness of adolescence, he apparently does know, at least, how to pose for a photograph. He has a very slight smile, and a look of interested curiosity on his face. He does show the awkward pockmarks of severe acne, made worse by the extreme fullness of his face. He is wearing a black shirt with a suede vest, which bears a small lapel pin, of the sort distributed by academic honor societies.\n[The document \"Photograph of a Young Man\" has been added to your DataStore.]\n\n> INTERFACE with disk\nAttempting to interface...\nInterface failed.\n\n> You put the disc in the player\nWhich do you mean, the unlabeled data disc, the video disc of \"Episode Two\" or the video disc of \"Spider and Web\"?\n\n> Interface disk\nWhich do you mean, the video disc of \"Episode Two\" or the video disc of \"Spider and Web\"?\n\n> Interface disc\nAttempting to interface...\nInterface failed.\n\n> Interface player\nAttempting to interface...\nInterface failed.\n\"Alert: Human presence detected to the west.\""
    },
    {
        "text": "[Themes: Time Travel, apocalypse, character based]\n\n> Look around\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the couch is a deadbolt key.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here. \"Alert: Human approaching from west.\"\n\n> Go west\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nYou wisely decide to heed the warning.\n\n> You wait a while\nTime passes.\n\n> Scream\nYou start to get a sore throat.\n\n> West\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nYou wisely decide to heed the warning.\nThe thief walks cautiously into the room.\nThe looter catches sight of you. You try to run, but he is quick to draw his pistol. Though the weapon is primitive, it is quite adequate to his purpose.\n\n> Inventory\nYou are carrying a gun, an unlabeled data disc, some cigarettes, a sales brochure, two video discs (\"Episode Two\" and \"Spider and Web\"), a diary, a wooden knob, an autokey, your StreamDive console, inside which are five chips (an interface chip, a scan chip, a library chip, a DataStore chip and a dive chip) and two keys (a simple key and a steel key).\nThe thief walks cautiously into the room.\nThe looter catches sight of you. You try to run, but he is quick to draw his pistol. Though the weapon is primitive, it is quite adequate to his purpose.\n\n> Moments2\nEnter saved game to load:\n\nOk.\n\n> You look\nThere is barely enough room to stand upright in the attic. It certainly looks too small to be of much use for storage. It's nearly impossible to move without clocking yourself on a supporting beam.\n\n> You go east\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nOf all the rooms you've seen so far, this bedroom shows the least signs of having been tidied before the house was abandoned. Naturally, of course, this heightens your curiosity; untidy rooms generally tell you more than clean ones. From the space-shuttle wallpaper, you suspect that this room belonged to a young child, though it might simply imply that the room is long-overdue for renovation. There is a bookcase along one wall, containing model space ships, toy robots, and a very few books. A desk beside the door is loaded down with computer equipment. The most interesting feature of the room is the floor; while most of the other rooms have had wall-to-wall carpeting, this room has what appears to be industrial grade linoleum tile. The hallway lies west.\n\n> You look at the floor\n(the floor)\nYou don't recall any precedent in home furnishing that would call for industrial grade linoleum in a bedroom, but it is here nonetheless. Since you can't imagine that the floor is an artifact from an earlier function of the room, it is somewhat perplexing that such a floor would be present.\n\n> You examine Computer\nYou stop a while an examine the contents of the desk. Almost the entire surface of the desk is covered by an eclectic combination of both state-or-the-art and antique computer equipment. You find it hard to tear yourself away; At least a decade of computing history is spread out before you. You can't even identify all of the systems; the fixed-form text input device is easy enough, but there is a small, vaguely rodent-shaped device whose purpose is less clear. There are a number of external storage systems, rather than the single optical chip interface common in your time.\n\n> Interface computer\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Personal Computer. Manufacturer identification not found.\n\nSearching for relevant data...\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\nInterface mode\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\n\n> 1\nA collection of source code appears on the console's display.\n\nYou can't make any sense of it, but perhaps the boys back home will. [The document \"Code fragment\" has been added to your DataStore.]\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\n\n> 2\nAnalyzing...\nFormat not recognized.\nAttempting to download...\nDownload failed: Insufficient space.\n\n> 3\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\n\n> 3\n---Email Database (Boy's Bedroom)---\nPage: 1 Mailbox for swallace\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nFrom: Subject:\nDr. Helmut Sha Re: distributed neural simulation...2\nYOR_FRIEND906  HOTTEST OFFER EVER..................3\nhotoffer@spam. Lower your debt!....................4\nDr. Helmut Sha PIT AI lab..........................5\nMichael Pendra 31337...............................6\nAmy            (no subject)........................7\nMichelle313    I'm boooooooored!...................8\nSteve Elocon   Re: PIT AI lab......................9\nAmy            Re: Tonight.........................10\nMichael Pendra Julia...............................11\nAmy            Hi..................................12\nMichael Pendra 31337...............................13\nAmy            Hi, again...........................14\nMichael Pendra Re: Julia...........................15\nAmy            Re: Hi, again.......................16\nSteve Elocon   Re: PIT AI lab......................17\nhotxxx@bulkmai YOUNG HARDCORE SLUTS................18\nMary Pantalon  PIT early admission.................19\nAmy            Um... Stuff.........................20\nAmy            My last mail........................21\nDante          Situation...........................22\nMichael Pendra Re: Situation.......................23\nMichael Pendra Re: PIT.............................24\nAmy            Sorry...............................25\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 2 Dr. Helmut Sha Re: distributed neural simulation\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear Jim,\n\nThanks for your comments on my paper. I'd certainly be willing to look at some of your ideas. Your original message didn't say much about your training. Have you considered studying at Pacific Tech?\n\nThanks,\nDr. Helmut Shalanzar, PhD\nDepartment of Computer Science\nPacific Institute of Technology\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 3 YOR_FRIEND906  HOTTEST OFFER EVER\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear friend,\n\nWant the HOTTEST ADULT ACTION on the web?\n\nTry hotmonkey.amn, we have LOTS of videos updated every day all for $69.99 a month!\n\nYou'll love it!\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 4 hotoffer@spam. Lower your debt!\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDid you know you can reduce your debt overnight? You can use the equity in your home to consolidate your payments and save money! This offer is TOO GOOD TO REFUSE!!!\n\n[LINK]\n\nYou have received this message because you specifically requested it. To remove yourself from our mailing list, send mail with the subject \"UNSUBSCRIBE\" to myemail_islive@bulkdistro.amn\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 5 Dr. Helmut Sha PIT AI lab\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear Jim,\n\nI was a little put off to find out that you're still in high school, but after looking at your work so far, I was amazed. You really seem to have a gift for this. If you don't mind, I'd like to forward your findings to a colleague of mine with the Pacific Tech AI lab. He's been working on a similar project, and your research might be just what he's looking for.\n\nThanks,\nDr. Helmut Shalanzar, PhD\nDepartment of Computer Science\nPacific Institute of Technology\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 6 Michael Pendra 31337\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nHey guys,\n\nI just tried out the glul-X patch -- WOW. I got all kinds of stuff. Managed to hack into MuseNet, got about 60 hours of music before they shut down my access. I'm putting it all up on my Libertynet node.\n\nJimbo, that cracker you sent me is amazing. It got me into the school network in like five seconds. Guess who isn't failing Bio anymore? LOL\n\nAnd because I know you guys like it...\n\nSite: Password:\nAsian XXXpress    xyz321\nNatural Blonde    xyzzy\nBoob Archive      plugh\nQCHS Cheerleaders frotz\n\nStay k00l,\nMichael Pendragon\nliberty://HSK!LMN?9178838215\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 7 Amy            (no subject)\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nUm... Wow. You really want to hang out with me? Okay. But, like, I've already seen \"Like Shopping, Movie\"... So, um... You think we could maybe just hang out at your house? I'd ask you over here, but I think my parents would freak. Maybe tomorrow at seven?\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 8 Michelle313    I'm boooooooored!\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nI'm just a lonely 18 year old virgin who needs a real man to show me how it's done. I've been playing around with my friends, but they can't really satisfy me. You can see pictures of us at\n[LINK]\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 9 Steve Elocon   Re: PIT AI lab\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJim,\n\nHello. Dr. Shalanzar showed me some of the work you've done, and I can't believe my eyes. I'm going to forward some of my research to you, maybe we can work together. I didn't think it was possible, but it looks like you're most of the way to a viable simulation of human functioning. I could certainly use some of your heuristics in my own project. Let me tell you, having a paper out in a journal is a pretty sure-fire way to get your college career paid for.\n\nFrom what you've told me, I agree that taking a comprehensive activation scan of a human brain is feasible with your heuristic, and it may be the only way to solve the missing part of your simulation. The main problem is that you could only take the kind of readings you need if you had some kind of direct interface to the optic nerve. And, of course, you'd need a human subject willing to have an optical interface implant. I doubt you could get it past an ethics review board.\n\nSteve Elocon, PhD\nArtificial Intelligence Lab\nDepartment of Computer Science\nPacific Institute of Technology\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 10 Amy            Re: Tonight\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nWow. You were lots of fun. I'm sorry I couldn't stop laughing and stuff but it was kind of weird for me.\n\nSo are we like officially going out now? I can't wait to see you again.\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 11 Michael Pendra Julia\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDude,\n\nI don't know how cool you'll be with me saying this, but your sister is HOT. She's really got a fake eye? You know what kind of shit you could do with that?\n\nAnyway, I don't know what the right ettiquette is for this, but would it be OK with you if I asked her out some time?\n\nHey, I saw you talking with Amy Mercer today. You and her? She's one k00l chica. Seen her naked yet?\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 12 Amy            Hi\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n>Your boyfriend (if you'll have him),\n>Jim\nYou are SO cute. You wanna go see The Cheerleader Project friday? We can hang out at your place later and, you know.\n\nGod, I'm getting all butterflies and stuff. I miss you already.\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 13 Michael Pendra 31337\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nD00dz,\n\nFound a relay this week, something that the can't trace you back from. I've got the Plover program running on about sixty systems now, and I think we can bring down all kinds of shit.\n\nJimbo comes through again. We got into the missile security system last night. Good thing we were using the relay or there'd be black helicopters at my house now, but if we can get the shroud working right, hell, we could even nuke a small country if we wanted.\n\nNo new sites this week, but I've got one better. Dante swapped out Lynchzilla's LZ-100 for his, with the remote chip. He's got about 8 hours of her \"monitoring\" the girl's locker room. You know how big a dyke she is, well we got the goods, since she since she did some hardcore \"monitoring\" while Libby Sikes was in the showers after field hockey practice. It's all up on Dante's LibertyNet node. He put up some pretty sick stuff too, Lynchzilla \"entertaining\" herself.\n\nliberty://HSK!LMN?9178838215\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 14 Amy            Hi, again\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJim,\n\nThis is really hard, and I'm probably not making a lot of sense, but I want to get this all out.\n\nIt's just that lately, I've been feeling kind of pressured by you. I mean, I really like you and everything, but I've never done anything like this before. And it's starting to make me uncomfortable. It's not that I don't want to have sex with you, but this is kind of fast. You're my first real bf, and I don't want to rush into it and feel bad about it later. I sort of made a promise to myself that I'd wait, and now I keep getting this vibe from you that you're getting impatient. I keep getting afraid that if we do it, I'll be lousy and you'll leave me, or it'll change everything and it'll get all weird.\n\nLook, I'm sorry. This is probably all in my head. You know I don't want to hurt you.\n\n> You go to the north\n---Email Database (Boy's Bedroom)---\nPage: 15 Michael Pendra Re: Julia\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nOkay dude, don't blow a gasket. So she's really fucked in the head? Well, I guess she's got a right after what happened to her. Just forget I asked.\n\nThings pretty serious with you and Mercer? Don't think I'm muscling in on your turf, but dude, she's a catch. I mean, she's not Libby Sikes, but she's got a body under that babyfat. Keep in there, she'll cave.\n\n> You go to the north\n---Email Database (Boy's Bedroom)---\nPage: 16 Amy            Re: Hi, again\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nThanks for writing back so fast. I guess it's good to know that I'm not just crazy. I get scared about the war too, but I'm just not sure if I'm ready. Look, things are okay with us, promise. I wasn't upset at you. I want to be with you too. I was just afraid that you'd break up with me if I kept turning you down.\n\nYou really think that the war's going to keep getting worse? Maybe you do have a point about everything. I need some time to think about it.\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 17 Steve Elocon   Re: PIT AI lab\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nI'm really boggled. You know you just saved me six months of work? I think you'll find that if you insert De Kuyper's algorithm in the neural sequencing, it'll solve that stability problem. I can forward the article to you if you like.\n\nLook, we don't usually do this, but I can't pass a chance like this up. Pacific might be willing to waive some of the entrance requirements and let you come here in the fall instead of finishing out high school. Full ride, and I can swing a stipend for you if you'll agree to join the research team. What do you think?\n\nSteve Elocon, PhD\nArtificial Intelligence Lab\nDepartment of Computer Science\nPacific Institute of Technology\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 18 hotxxx@bulkmai YOUNG HARDCORE SLUTS\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nHOT YOUNG GIRLS WAITING TO GET YOU OFF!\n\nLowest rates! [LINK]\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 19 Mary Pantalon  PIT early admission\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDear Stephen J. Wallace,\n\nDr. Elocon has brought you to our attention. Due to your outstanding potential, the Pacific Institute of Technology has agreed to extend an invitation of early admission to you. This offer includes a scholarship covering full tuition, housing, and expenses. Please be aware that offers like this are highly unusual and are extended only to students of the highest caliber. Please let us know your decision as soon as possible.\n\nPacific Institute of Technology\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 20 Amy            Um... Stuff\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nOh boy. I know you're going to hate me. I want you to know that last night was wonderful. But I can't stop feeling so bad about things. Everything happened so fast. I know I wanted it as much as you did, but now I feel so guilty. I know I do love you, but I don't think I can keep up with this. I don't want to hurt you, but I think maybe we should take some time off, get some things straight in our heads and stuff.\n\nI'm sorry.\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 21 Amy            My last mail\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nI can't believe I sent that. I'm so sorry. I DO love you, I know I love you. If I could take that letter back I would. I want to be with you all the time. You were so incredible. It was like everything I ever hoped for and more. I can't stop thinking about you & I want to do it again. I hope you'll forgive me. I don't know what got into me. I love you.\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 22 Dante          Situation\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nCC: Michael Pendragon\n\nGuys, we've got a problem. Like, a BIG problem.\n\nI was watching the feed from Coach Lynch's eye today after school, right? So she's in her office after practice and Libby Sikes comes in, ok? And they're talking for a while, but I can't hear what they're saying, of course. After a while, Lynchzilla shuts the door, and a couple of minutes later, she's feeling Libby up.\n\nI ran the video by Marty, since he's deaf and reads lips. From Libby's side of it, it looks like she's gonna get cut from the team, on account of she sucks ass at field hockey. And, we're not too sure on this, but it looks like Lynch is gonna let her stay on the team if she fucks her.\n\nLynch should go to jail for fucking a student, but no one but us knows about it, and all the proof we got is this recording, so if we give it to the cops, we'll be in the cell right next to her. We should never have done this.\n\nSo what should we do?\n\nliberty://HSK!LMO?342455678\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 23 Michael Pendra Re: Situation\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nTo: Dante\nCC: Jim Wallace\n\n>So what should we do?\nI say we sell tickets!\n\n> Go north\n---Email Database (Boy's Bedroom)---\nPage: 24 Michael Pendra Re: PIT\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nDude, go for it. They're gonna give you a full scholarship, AND money to live on? How can you refuse? And you get out of this hell-hole without finishing school. Dude, you are the man.\n\n> You go north\n---Email Database (Boy's Bedroom)---\nPage: 25 Amy            Sorry\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nHave you found Julia yet?\n\nI never knew how messed up she was. Why do you think she'd run away with Donna? I hope she's okay.\n\nIf you want me to come over, talk about it, let me know. Or if you just want someone to hold.\n\nLove,\nAmy\n\n> Timescan\nThe temporal scan is almost entirely washed out by interference. What could cause that?\n\nWait... you're detecting residual traces of carbon quarks. An avatar? But that would mean that someone else has temporally relocated to this location.\n\n> Timescan floor\n(the floor)\nThe temporal scan is almost entirely washed out by interference. What could cause that?\n\nWait... you're detecting residual traces of carbon quarks. An avatar? But that would mean that someone else has temporally relocated to this location.\n\n> You search the floor\n(the floor)\nYou find nothing of interest.\n\n> Scan floor\n(the floor)\nThe scanner reveals nothing of interest.\n\n> Peel floor\n(the floor)\nThat's hardly portable.\n\n> You research libertynet\nOriginally an outgrowth of a research project in distributed document storage, the \"LibertyNet Protocol\" became widely used among less legitimate members of the digital subculture in the mid 21st century. The system propagated documents in a semi-anonymous manner so that users could choose to release a document which could not be traced back to an owner, and was similar to the earlier \"freenet\" project. Though originally intended a method for free expression in countries lacking legal protection of free speech, it quickly degenerated into a marketplace for the exchange of pornography, bootleg music, and stolen computer software. Numerous attempts by various governments to shut down LibertyNet were mostly unsuccessful and increased its underground appeal. LibertyNet was eventually made obsolete by the Global Dataweb.\n\nSource: Information Overload: The rise of the global data networks (2nd ed.)\n\nSEE ALSO: Internet, Freenet, Dataweb\n\n> Research internet\nCollective term for the services which made up the first widely used global computer network. The internet allowed messages, documents, and data to be quickly transferred between any two computers by forming a route between intermediate systems. The internet grew at a rapid rate in size and scale through the last years of the twentieth century and first years of the twenty-first. Its growth suffered major setbacks due to the wars and economic recessions of the twenty-first century, but it slowly subsumed all other means of communication and media. The internet eventually evolved into the Global Dataweb near the close of the 21st century.\n\nSource: Information Overload: The rise of the global data networks (2nd ed.)\n\nSEE ALSO: Dataweb\n\n> Research dataweb\nDataweb (Global Dataweb; Web)\nGlobal data networks are reported as early as the last quarter of the twentieth century. By the end of the 21st century, the internet had evolved into the more familiar form of the Global Dataweb. The name \"Dataweb\" refers to the Dataweb Protocol, its major services (such as electronic mail, video communication, and document archive), and individual documents attached to it. When the Dataweb Protocol was introduced, nearly all electronic devices made use of it, from simple audio-visual communication and text messaging, to remote control and navigation systems. Though the system itself has changed little since its inception, the name has fallen into disuse.\n\nSource: Information Overload: The rise of the global data networks (2nd ed.)\n\nSEE ALSO: Internet\n\n> Examine books\nExtremely poor examples of science fiction and fantasy which, against all good taste, have survived to your time.\n\n> You open the locker\nYou open the equipment locker, revealing your StreamDive console, a cloaking device, an autokey, a stream visualizer, a probe and a chip bank.\n\n> You search the bank\nIn the chip bank are ten chips (a dive chip, a DataStore chip, a map chip, a library chip, an artificial intuition chip, a cryptography chip, a scan chip, a blank chip, an interface chip and a shield chip).\n\n> You recall\n[You still have time remaining in this Dive. Are you sure you wish to end your Dive early?]\n\n> Yes\nAll at once, the universe goes away. Time itself cries out in distress, and every cell in your body echoes its cry. The laws of physics cannot be broken, but they can be bent, if only for a time. As the energy stored in your temporal capacitors discharges, time reasserts itself. If you were the sort to anthopomorphize physical law, you'd say that it was extracting some revenge against you for daring to transcend the barriers of time. Of course, all that you're really experiencing is a form of severe disorientation resulting from the unusual perceptual stimuli occurring outside normal time-space. It all goes away in a nothingth of a second, and you stumble backward to the floor of the StreamDive Core. White-clad technicians swarm into the chamber a second later, helping you into the postDive examination, which confirms that you have weathered the Dive intact, and cleanses ancient toxins from your system. Your possessions are taken for examination, and you are led to the debriefing room.\n\nYou are in a comfortably small room, used to debrief StreamDivers following their missions. The room is intentionally designed to avoid the impression that this is some kind of interrogation chamber, even if that is indeed its function. The room contains very little in the way of decoration or, well, anything at all, aside from the table and chairs.\n\n> You open the locker\nYou open the equipment locker, revealing your StreamDive console, a cloaking device, an autokey, a stream visualizer, a probe and a chip bank.\n\n> You examine DataStore\nThis chip stores data from your dive, storing any relevant documents for later review.\nCommands Provided:\nDOCUMENTS -- Recall stored documents"
    },
    {
        "text": "[Themes: Time Travel, sexual content, sciencefiction, character based, moments out of time]\n\n> You look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which are a cloaking device, a stream visualizer, a probe and a chip bank (in which are seven chips (a dive chip, a DataStore chip, a map chip, a library chip, an artificial intuition chip, a scan chip and a shield chip))) here.\n\n> You put DataStore in the bank then get shield\nYou put the DataStore chip into the chip bank.\nTaken.\n\n> You look at what you're carrying with you\nYou are carrying:\nfour chips:\na shield chip\nan interface chip\na blank chip\na cryptography chip\nan autokey\nyour StreamDive console (which is empty)\n\n> You put the shield and Interface and the blank and the crypto into the Console\nshield chip: Done.\ninterface chip: Done.\nblank chip: Done.\ncryptography chip: Done."
    },
    {
        "text": "[Themes: Time Travel, apocalypse, gadgets, character based]\n\n> You look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which are a cloaking device, a stream visualizer, a probe and a chip bank (in which are six chips (a DataStore chip, a dive chip, a map chip, a library chip, an artificial intuition chip and a scan chip))) here.\n\n> You examine the screen\nClearance granted for immediate StreamDive. Target is local grid reference 0x1549. Temporal Reference 785278.7 UDC. We will be in phase for StreamDive at 865741.3 UDC. Dive duration not to exceed .5 units UDC (12 hours local time). Stream Capacitance field will be set for auto-recall at this time.\nResearch unit indicates high levels of stream distortion in this zone, indicating that premature extraction may not be possible.\n\nMission Summary: The purpose of your StreamDive is historical research. We have isolated an evacuated area to minimize potential corruption. You are to record all findings, but avoid direct contact with any inhabitants. Records from this zone are fragmentary, so any documents of historical interest should be added to your DataStore.\n\n*WARNING*\nDue to ambient radiation levels, wideband recall will not be available. Since StreamDive instruments are shielded against EMP effects, lost components may be recoverable after destruction of the local grid section. For this reason, level 1b restrictions are in effect for the duration of this dive.\n\nPLEASE REVIEW STREAMDIVER MANUAL BEFORE COMMENCING DIVE.\n\n> You go to the east\n[Once you leave this area, you will be unable to return. Are you certain that you are ready? Please note: there are still empty slots in your StreamDive console's chiprack.]\n\n> You look at the Console\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains four chips.\n\n> Examine scan\nThis chip provides an interface to the console's sensor functions. Commands Provided:\nSCAN -- Perform a detailed scan of the area\nSCAN X -- Scan an object\n\n> You look at the map\nThis chip provides real-time mapping of your current dive location. Commands Provided:\nMAP -- Display map\n\n> You examine the intuition\nThis chip contains the experimental \"Artificial Intuition\" chip. Its function is to evaluate the current situation and recommend a course of action.\nCommands Provided:\nHINT -- Recommend action\n\n> You examine library\nThis chip contains a library of data, tailored to your current mission parameters.\nCommands Provided:\nRESEARCH X -- Search library for given term\nBROWSE -- Display relevant entries\n\n> Unlock diary\n(with the autokey.)\nThe lock clicks open. Your hands almost tremble in anticipation. What a find!\n\nYou open the book...\n\nWhat?\n\nIt's encoded? Who keeps a diary in code? Well, obviously, Julia Yvonne Wallace does. You can't help but wondering what could make someone so paranoid as to go to the trouble of encoding a locked, hidden diary.\n\n> Decode diary\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 36 character alphabet.\nTrying to decipher anyway...\nDecode failed: Code cannot be identified or cipher is unbreakable. (Try analyzing more ciphertext)\n\n> Yes\nOkay [Footnote 3].\n\nYou manage to unlock the door with the autokey.\n\nThe basement of this house is a simple, large room with cinderblock walls. Boxes, crates, and other large items are scattered haphazardly about. A lightweight wooden door in the east wall appears to be an exterior exit, presumably to allow heavy gardening equipment, such as the lawnmower in one corner, to be removed. The stairs up to the rest of the house are along the south wall.\nAnd something unusual. The west wall is metal, with a very large, robust door set in it.\nIt couldn't be. Or could it? You've never actually seen one before, but from your records...\nYes. It is. It's a bomb shelter; a small room specially designed to act as an emergency shelter in the event of nuclear attack. None have survived to your own time, and records are fragmentary. This is quite a find. If only you could manage to get inside.\n\n> Go west\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nThis is career-making stuff. A period survival shelter, fully intact and operational. The ceiling and walls form a single-piece dome, which, you recall, increased the structural stability with the building materials they had available. The eastern end, nearest the exit, seems to be some kind of living area, with a table and several chairs. Past it, you can see four bunked beds. At the far end of the shelter is a curtained area, holding the minimal sanitation facilities.\n\nFinally, your training releases its hold over your mind and lets you take notice of what would have been the first thing anyone but a StreamDiver would see. Two female bodies, quite motionless, lie on one of the beds. You don't need to check for a pulse on either of them [Footnote 4], but you do, all the same.\n\nStill warm. Your hands tremble, and it takes a moment to force yourself to calm down. You've seen dead bodies before, on missions. Victims of the massacre on Mars Colony Omega, ritual sacrifice victims in an Aztec temple, but the immediacy of these deaths is something you weren't prepared for. They can't have been dead for more than a few hours, may even have died while you were in the house. You try to tell yourself that this is an irrelevant detail -- from your proper perspective, they, and everyone else on the planet, have been dead for hundreds of years.\n\nIt doesn't help.\n\nThe smashed and broken pieces of some electronic device are scattered around the room.\n\nA small metal box is mounted on one wall.\n\nOn the table are an electronic device and a portable computer.\n\n> Footnote 4\n[Footnote 4]\nThe StreamDive console is programmed to emit an alert if it is brought into an occupied room.\n\n> You examine the bodies\nleft corpse: She would have grown up to be quite attractive. For that matter, she actually was quite attractive, despite the disheveled appearance and short unruly tangle of red hair. One eyelid is sunken, as if there is nothing underneath. You can see no sign of injury, and her repose is fairly tranquil.\n\nWait. There is something. One hand is scratched badly across the knuckles. But that couldn't be the cause of death.\nright corpse: The body lies on the bed, arms folded. Its owner is quite beautiful by the standards of the day, long, blonde hair, sizable breasts, and a frailty that suggests borderline anorexia. The only mar to her beauty is a deep, jagged scar on one cheek. There is nothing to suggest that her death was anything but peaceful [Footnote 5].\n\n> Footnote 5\n[Footnote 5]\nExcept for the obvious fact that apparently healthy teenage girls do not, generally, drop dead suddenly.\n\n> You search Julia\nMustering your resolve, you make a quick check of the body. Clutched in one hand, you find a blue prosthetic eye.\n\n> You take the eye\nYou already have that.\n\n> You examine the eye\nRemarkable. This is an LZ-50 prosthetic optical unit, the first commercial replacement eye. This explains the sunken eyelid on the poor dead girl -- she must have had a prosthetic eye. But this... You could stand here all day and admire the workmanship. You would never have suspected that the technology of this period could develop something that could actually replace a human eye. And here you are... it's in your hand. You turn it over and over. It looks amazingly realistic.\n\n> Interface eye\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: LZ-50 Optical Prosthetic. Manufacturer: Optitron BioTechnics\n\nDownload aborted. [Insufficient power in remote unit]\n\n> You examine the device\n(the StreamDive console)\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains five chips."
    },
    {
        "text": "> You look around\nThis is career-making stuff. A period survival shelter, fully intact and operational. The ceiling and walls form a single-piece dome, which, you recall, increased the structural stability with the building materials they had available. The eastern end, nearest the exit, seems to be some kind of living area, with a table and several chairs. Past it, you can see four bunked beds. At the far end of the shelter is a curtained area, holding the minimal sanitation facilities.\nThe smashed and broken pieces of some electronic device are scattered around the room.\n\nA small metal box is mounted on one wall.\n\nOn the table are an electronic device and a portable computer.\nTwo corpses lay on opposite cots.\n\n> You examine electronic device\nYou can't quite determine the function of this device; you've never seen anything like it before. Its major component is a short barrel, which contains a low-powered laser.\n\n> You browse\nPress the number of your selection, 1-1, 0 to redisplay or Q to quit.\n\n1     Historical Period: ca 865600-866300 UDC\n\n> 1\nHistorical Period: ca 865600-866300 UDC\nHistorical Period: ca 865600-866300 UDC\nPossibly the darkest period in recent history, this period contains the last and largest of the intercontinental wars. Several Middle Eastern nations formed a military alliance, and began imposing expansionist policies on neighboring countries. When the United States threatened to cut off trade relations with these countries, the formed a lucrative trade alliance with China. Because during this period, industrialized nations were still highly dependent on fossil fuel, an alliance of western nations declared war on China and the Arabic alliance. Tactical nuclear warheads were used by both sides, resulting in the near-total annihilation of many US-sympathetic countries in southeast Asia. Though US nuclear weapons were unable to breach Chinese countermeasures, several Chinese nuclear missiles did penetrate the US defensive system, obliterating a number of cities. The war was finally ended when the massive space station Kennedy crashed to Earth near the Chinese capital. The resulting explosion killed over two billion people, forcing the Chinese government to capitulate. However, widespread environmental and war damage left the entire world badly crippled. Reconstruction would take much of the next century, and the extensive costs of rebuilding the damaged world forced the beginning of governmental alliances that would eventually lead to a United Earth Government.\n\nYour mission occurs during the opening of the nuclear phase of the war. At 785278.83 UDC, a missile launched from China will exploit the breach in the US missile shield. Nine hours later, its course will be diverted away from Washington, DC to avoid US countermeasures. It will narrowly miss a secondary target, several miles from your Dive site, at 865741.8 UDC.\n\nSource: Zanxq's Brief Guide to Human Civilizations, vol. 72\n\nSEE ALSO: Space Station Kennedy\n\nBROWSE\nPress the number of your selection, 1-2, 0 to redisplay or Q to quit.\n\n1     Historical Period: ca 865600-866300 UDC\n2     Space Station Kennedy\n\n> You examine Computer\nThis is a very small single-piece computer system, apparently a stock model.\n\n> Interface with it\nAttempting to interface...\nInterface failed.\n\n> You examine the Console\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains five chips.\n\n> You search the chiprack\nIn the StreamDive console are five chips (a library chip, a cryptography chip, a blank chip, an interface chip and a shield chip).\n\n> You open it\nYou open the metal box, revealing a red pill and a red pill.\n\n> You eat the pill\n(first taking the red pill)\nThat seems like an exceptionally bad idea. Are you sure you want to?\n\n> Yes\nYou feel nothing unexpected.\n\nFor that matter, you feel nothing at all.\n\nEver.\n\n> You turn on the Computer\nYou switch the computer on. After performing its internal diagnostics, it presents you with a prompt:\n\nPassword?\n\n> Interface computer\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Personal Computer. Manufacturer: JTX.\n\nSearching for relevant data...\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> 1\nRecent Document 1: untitled text document\n4:45 pm\n\nWe were supposed to do it together. That was the plan.\n\nWe thought it through, talked about it over and over.\n\nNothing else made any sense. The safety broke down. The door isn't going to open for thirty years. We can't just stay down here for thirty years. And what about her? We can't take care of that on our own.\n\nStill, we might have tried. We might have been able to work something out. But we haven't heard anything upstairs for days. Not that you can hear much, but sometimes there's a little banging in the pipes.\n\nThat damned radio. My hand's all cut up from smashing it to bits. There's going to be an air strike. They don't know where yet, but there isn't any way to stop it. We're less than a hundred miles from the biggest military base in three states. Even if we survive, no one's going to find us. No one's going to save us.\n\nSo we decided. I unlocked the box. I took out two pills...\n\nThis is all my fault. If I hadn't been so damned paranoid, we wouldn't even be down here. It's my fault that Donna's dead. It's my fault that I'm going to be dead.\n\nWe were going to do it together. We laid down on the bed, next to each other, and she hugged me, and she told me she didn't blame me, and then we were going to bite down at the same time and it would all be over.\n\nI'm such a fucking coward.\n\nI don't think she felt anything. I hope she didn't know what a coward I am. She closed her eyes, and I closed mine, and then she just sort of shook once, and it was over. And I got up, and I laid her out flat and crossed her arms over her chest.\n\nWhat the fuck is wrong with me? I don't want to live. I never cared if I lived or died since the accident six years ago, and I sure as hell don't want to live down here for the next thirty years, especially now that Donna's gone. I tried to kill myself once before. All I have to do is bite down.\n\nSo why won't my hands stop shaking? I'm going to do it now. For real this time.\n\nI'm not getting back into the same bed with Donna. I don't deserve that.\n\nI hope my parents will forgive me. I hope Jim will forgive me. Most of all, though, I hope Donna will forgive me.\n\nGoodbye.\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> 2\nRecent Document 2: Current events HW 4/25\nJulia Wallace\nCurrent Events\nApril 25\n\nThis morning, at 7:42 AM, Congress ratified a declaration of war against an alliance of countries in the Middle East. The official reasons for this declaration were the unlawful occupation of Israel by allied Arabic forces. Nonetheless, several articles in the Global Register suppose that recent military action was motivated by trade restrictions imposed by the Arabic Alliance against Europe and the United States. These restrictions have severely limited the availability of gasoline in the US. According to the April 20 issue of the National Chronicle, the Arabic states have formed an exclusive trade pact with China. The Brandenberg News Network has run several stories saying that Chinese weapons were used in the invasion of Israel, and editorials in several newspapers claim that if the war escalates, China will enter the war on the side of the Arabic Alliance. An article in the Times says that the Chinese newspapers have already printed articles calling for war unless the US backs out of affairs in the Middle East.\n\nSources attached.\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> Yes\nAnalyzing...\nFormat not recognized.\nAttempting to download...\nDownload failed: Insufficient space.\nBlank StreamDive chip detected in console. Do you wish to download to it?\nDownload successful.\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> You examine blank\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> You examine blank\nThe once-blank chip is filled to capacity by a data image downloaded from the portable computer.\n\n> You analyze blank\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using unknown cipher (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\nSomewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below.\n\n> Analyze diary\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using One Time Pad. 36 character alphabet. (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\n\n> You decode blank\nExamining text...\nPerforming heuristics...\nDecode failed: No decodable text found (This may not be a cipher)\n\n> Go east\nThe doorway is blocked by toppled boxes."
    },
    {
        "text": "> You look around\nThis is career-making stuff. A period survival shelter, fully intact and operational. The ceiling and walls form a single-piece dome, which, you recall, increased the structural stability with the building materials they had available. The eastern end, nearest the exit, seems to be some kind of living area, with a table and several chairs. Past it, you can see four bunked beds. At the far end of the shelter is a curtained area, holding the minimal sanitation facilities.\nThe smashed and broken pieces of some electronic device are scattered around the room.\n\nA small metal box is mounted on one wall.\n\nOn the table are an electronic device and a portable computer.\nTwo corpses lay on opposite cots.\n\n> Examine box\nIn the metal box is a red pill.\n\n> Interface laser\nAttempting to interface...\nInterface failed.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> You look under the bed\nThis is career-making stuff. A period survival shelter, fully intact and operational. The ceiling and walls form a single-piece dome, which, you recall, increased the structural stability with the building materials they had available. The eastern end, nearest the exit, seems to be some kind of living area, with a table and several chairs. Past it, you can see four bunked beds. At the far end of the shelter is a curtained area, holding the minimal sanitation facilities.\nThe smashed and broken pieces of some electronic device are scattered around the room.\n\nA small metal box is mounted on one wall.\n\nOn the table is a portable computer.\nTwo corpses lay on opposite cots.\n\n(the bunk bed)\nYou find nothing of interest.\n\n> Go east\nThe doorway is blocked by toppled boxes.\n\n> Inventory\nYou are carrying:\na prosthetic eye\na diary\nan autokey\nyour StreamDive console\nfive chips:\na library chip\na cryptography chip\na blank chip\nan interface chip\na shield chip\n\n> 3\nAnalyzing...\nFormat not recognized.\nAttempting to download...\nDownload failed: Insufficient space.\nBlank StreamDive chip detected in console. Do you wish to download to it?\n\n> Yes\nDownload successful.\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> You go to the east\nThe basement of this house is a simple, large room with cinderblock walls. Boxes, crates, and other large items are scattered haphazardly about. A lightweight wooden door in the east wall appears to be an exterior exit, presumably to allow heavy gardening equipment, such as the lawnmower in one corner, to be removed. The stairs up to the rest of the house are along the south wall.\nAnd something unusual. The west wall is metal, with a very large, robust door set in it.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\nThe stack of boxes teeters unsteadily. Another shake like that could bring all of these down on top of you.\n\n> Go upwards\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter.\n\n> You examine the letter\nDear Julia,\nI hope to God you get this letter. We waited for you as long as we could, but they're saying that the bombs could fall any day. There's a shelter out in New Calvert, we're going there. Daddy says its the safest place in a hundred miles. Try to get there if you can, but don't take any risks. The most important thing is that you stay safe. I left some money and your grandmom's jewels in the hidden place for you. Your dad bought a gun and bullets, and put them there too, but be careful. We all love you and hope to see you again.\n\nLove,\nMom.\n\n> You look at the photo\nThis image shows a young man in his mid-teens. He sports a pathetic attempt at a moustache. Though he shows all the awkwardness of adolescence, he apparently does know, at least, how to pose for a photograph. He has a very slight smile, and a look of interested curiosity on his face. He does show the awkward pockmarks of severe acne, made worse by the extreme fullness of his face. He is wearing a black shirt with a suede vest, which bears a small lapel pin, of the sort distributed by academic honor societies.\n\n> You go north\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 6], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 7]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\nSomewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below.\n\n> You put the eye in the charger\nYou let the optical unit charge for a few minutes. When you remove it, it's warm to the touch. Hm. The device seems to think that the eye is fully charged. That doesn't make sense; this charger is supposed to, if your memory serves, take several hours. There's no way that the technology of this period could build a charger capable of such speed.\n\n> Interface eye\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: LZ-50 Optical Prosthetic. Manufacturer: Optitron BioTechnics\n\nDownloading images...\n\nThe viewpoint of the camera suggests that the wearer is seated in front of a portable computer. Her hand reaches out and picks up a small device beside the computer. She turns it over, presumably examining it from all angles. The hand turns the device until its barrel-end points directly into the camera. A finger twitches, pressing a button. A flash of light issues from the end of the device, and the image flickers, distorts, and breaks up.\n\nWhen the image returns, the device has been dropped to the table. The wearer stands, and the camera reels in unsteady ascent. Again a hand reaches out, this time to switch the computer off. It takes a small red pill from the table, and then moves to the wearer's mouth.\n\nThe camera turns quickly, and moves toward one of the bunked beds. It focuses on the motionless body of a beautiful blonde girl. The image switches to infrared, showing the characteristic cooling of a recently deceased body, then the camera changes back to the visual spectrum. The camera bobs up and down, as if slowly nodding. It moves toward the face of the dead girl, and stays very close to one cheek for a long time. The camera withdraws, and the wearer extends a hand, tracing the shoulder and arm of the corpse, finally coming to rest atop the folded hands. The wearer's hand squeezes the dead hands once, then the camera turns toward the opposite cot.\n\nThe camera moves toward the cot, then turns and lowers, finally pitching back as the wearer lies down. A hand moves toward the camera, and as it passes in front of it, the recording ends.\n\n> You look at the charger\nSome kind of electronic charging apparatus. It is designed to hold a small spheroid object, which, presumably, would store electricity routed to it by the receptacle. You look at it more closely... It could be... No... Hm... Yes. It's the charging unit for an Optitron LZ-model prosthetic eye. As you recall, this was the first consumer-model bionetic replacement, a revolutionary medical advance that restored sight to countless injured persons. It would pave the way to a whole line of medical implant technology.\n\n> Research charger\nNo relevant entry found.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> You look at the dollhouse\nA scale model of a late Victorian home. It appears to be in a state of some disrepair, probably abandoned when its owner outgrew it.\n\n> You examine the desk\nThis is a fairly small desk, essentially little more than a table. The desk is tightly packed with office supplies and other sundries\n\n> Open chest\nYou open the chest, revealing a glass eye and an eyepatch.\n\n> You examine the glass eye\nThis is a hemispherical piece of colored glass, with a hook at the back. It looks to be the sort of \"eye\" found on stuffed toys.\n\n> You examine the eyepatch\nA covering of stiff cloth, designed to cover a damaged eye. This may well be part of a costume, as at this time period, prosthetic replacements were the preferred means of concealing a permanently damaged eye.\n\n> You examine the watercolor\nWatercolor seems to be an inappropriate choice for the subject matter, but watercolor is, of course, much easier to work with than oil paints. The picture shows a serene lake, what should be a quaint scene of pastoral bliss. But the colors don't fit well with the subject. Though dark colors are largely absent, a few areas suggest that this is due purely to the painting's incomplete state. At the center of picture, without enough detail to recognize at first glance, is the disturbing figure of a drowning victim. Trails of unpainted canvas might form what might be a burial shroud around the figure, still lacking enough in detail to discern the gender. The figure's arms are spread wide, in what is still called the \"Dead Man's Float\".\n\nMost of the dark areas, and, indeed one or two of the light areas, are unfinished. The overwhelming historical likelihood is that they will remain that way.\n\n> You examine the eye\n(the prosthetic eye)\nRemarkable. This is an LZ-50 prosthetic optical unit, the first commercial replacement eye. This explains the sunken eyelid on the poor dead girl -- she must have had a prosthetic eye. But this... You could stand here all day and admire the workmanship. You would never have suspected that the technology of this period could develop something that could actually replace a human eye. And here you are... it's in your hand. You turn it over and over. It looks amazingly realistic.\n\n> You look in the vent\nThe vent is empty.\n\n> You examine the closet\nThis house has many doors. Very few of them are worthy of note [Footnote 8].\nThis particular door is a sliding one, secured by a brass lock.\n\n> You go east\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nFrom the architecture of the house, you can tell that this is the only bedroom to have its own walk-in closet, which no doubt was an issue of some discussion when bedrooms were assigned. The majority of the closet is taken up by clothing, but you can see a few boxes toward the back.\n\n> You look at the clothing\nThe closet is full of clothing. Most of it is fairly gender-neutral; it's only under close examination that you can discern that the bulky black clothing is indeed sized for a young woman. Only one or two items are more distinctly feminine.\n\n> Open boxes\nYou open each box, finding nothing of note. However, pushing a box to the side, you discover a thin composition book, which had been secreted between two of the boxes.\n\n> You go north\nPage: 1 April 17-25\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 17 - Mom found my diary and read it. I'm ashamed at how I acted. I'm very angry at her for invading my privacy, but I understand that she's just worried about me.\n\nShe doesn't want me to see CJ anymore because he's a bad influence. I guess I see her point, but I really care about him.\n\nI have to start seeing a therapist again. Maybe he will help me feel better about myself.\n\nApril 18 - Jimmy pulled a prank on me. It was mean. I didn't tell mom, but I hope she finds out and punishes him.\n\nApril 19 - Met with the doctor today. It was really good to talk with someone.\n\nApril 21 - We had lima beans with dinner tonight. I hate lima beans.\n\nApril 22 - It looks like there's going to be a war. I'm really scared.\n\nApril 24 - I saw my old friend Donna today. I hope I get to talk to her. She's nice. It would be good to have a friend again.\n\nApril 25 - Jimmy has some new idea for a computer program. I wish I was that smart. Maybe he'll get rich and famous.\n\n> You go north\nPage: 2 April 26-May 1\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 26 - I saw the doctor again. I think I'm making progress.\n\nApril 27 - I had a nightmare about the accident last night. I remember Donna's mom screaming when the guy ran that red light. The car got hit on Donna's side, so she's so lucky just to be alive. I wouldn't have been hurt at all if I'd had my seat belt on. I got thrown over top of Donna when the car spun around and landed face down on what was left of her window. I remember Donna screaming for her mom, because she was out cold, but I don't remember doing anything myself. Just laying there with a big piece of glass through my eye.\n\nApril 29 - The fighting keeps getting worse in china and the middle east.\nApril 30 - I got to talk to Donna. She's doing well, but she lives with her dad now. I invited her over to dinner tomorrow. Hope mom doesn't mind. I wanted to talk to her longer but mom worries if I don't get home right away after school.\n\nMay 1 - Mom made her \"famous\" squash stuffing with pork chops. I like it better with steak. Jimmy made himself look bad by asking her about the scar she has from the accident. After dinner we talked and did homework. She's a much better friend than CJ.\n\n> Go north\nPage: 4 May 8-15\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 8 - Donna met a new guy named Tom. I think he's nice. It's good for her to be dating someone\n\nMay 9 - Dad cooked something new with lots of sprouts. Sprouts are supposed to be healthy, but doesn't it cancel them out if you fry them?\n\nMay 10 - I saw the doctor. I don't think we got to anything new. There was something funny about him, like he kept wanting to tell me something but never got up the nerve.\n\nMay 11 - My eye didn't work today. Daddy got all upset and shouted about crummy workmanship. Mom thought I should go out to the mall with Donna anyway, but I don't like people seeing me with my eyepatch so we just stayed in.\n\nMay 12 - It worked today. Daddy told me to clean the charger and be more careful.\n\nMay 13 - Donna's dad is going off to serve in the navy. Mom says she can stay with us until the end of school, since she can't stay with her mom. I'm glad.\n\nMay 14 - There's a party friday for the boys who are going to war. Mom says I can't go. It's not fair.\n\nMay 15 - Happy Birthday! Mom changed her mind about the party, since I'm 18 now and she says I can be trusted to make my own decisions. I got some nice stuff. Donna's boyfriend got drafted, and she's really upset.\n\n> You go north\nPage: 5 May 17-31\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 17 - The party wasn't much fun so we left early. Good thing since we're kind of sick today.\n\nMay 18 - The war keeps getting worse. I wish they'd just find a peaceful answer.\n\nMay 19 - Donna wanted some fun so we tried on each other's clothes. We're about the same size, but her boobs are bigger, so some of the stuff fit funny.\n\nMay 20 - The war keeps getting worse. Some kids at school are saying that they might start bombing the US, but daddy says that there's a big electronic shield that stops bombs from getting through.\n\nMay 21 - I had a nightmare about the bombs dropping.\n\nMay 22 - School seems so empty. Lots of guys in my class got drafted.\n\nMay 24 - The doctor said some stuff I didn't like. I told mom about it and she told me I didn't have to go anymore.\n\nMay 27 - The air raid drills in school are kind of weird. I don't think hiding under a desk will really help. But it did get us out of third period.\n\nMay 28 - * Almost a week early. I'm usually a metronome.\n\nMay 30 - Not feeling very good. Yeech.\n\nMay 31 - I'm worried about Donna. She seems upset all the time.\n\n> Go north\nPage: 6 June 1-15\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJune 1 - I'm not having a good day. But Donna looks like I feel. Hope she gets over it.\n\nJune 4 - I heard Jimmy making out with his \"study partner\" last night. I guess it's good he's got a girlfriend.\n\nJune 5 - There isn't going to be a graduation this year. Why does my class always get the short end of the stick?\n\nJune 6 - I'm still worried about Donna.\n\nJune 8 - Okay. I know I shouldn't have, but I listened at the vent while Jimmy was in his room with his girlfriend. Get this. He was more or less begging her for sex. He kept making appeals to how we could all die at any time with the war. Sounds like pillow talk to me.\n\nJune 9 - We got news from the front that one of the guys who graduated a year ago and enlisted back then got killed in Vietnam. There's a service Monday.\n\nJune 11 - Lazy day.\n\nJune 12 - I think the rolly-polly girl gave in.\n\nDonna's worse than ever. But we're going to a party tonight at Rusty's, which should cheer her up.\n\nJune 15 - Jimmy finally worked out that you could hear into my room by listening at the vent. He overheard a private conversation between me and Donna. Guess we can't talk freely in my room any more."
    },
    {
        "text": "[Themes: Time Travel, science fiction, strong profanity, time travel, gadgets, sciencefiction]\n\n> You describe your surroundings\nFrom the architecture of the house, you can tell that this is the only bedroom to have its own walk-in closet, which no doubt was an issue of some discussion when bedrooms were assigned. The majority of the closet is taken up by clothing, but you can see a few boxes toward the back.\n\n> You check your inventory\nYou are carrying:\na fake diary\nan electronic device\na prosthetic eye\na real diary\nan autokey\nyour StreamDive console\nfive chips:\na library chip\na cryptography chip\na blank chip\nan interface chip\na shield chip\n\n> Go west\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 6], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 7]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\n> Footnote 6\n[Footnote 6]\nExcept for the rat-men of Karelia IV. Filthy, thieving little things.\n\n> Footnote 7\n[Footnote 7]\nThough the decidedly female undergarments you can see poking out of the hamper are something of a giveaway.\n\n> You examine the hamper\nA tall basket where used clothing waits to collect critical mass for washing.\n\n> You search the hamper\nIn the hamper are some dirty clothes.\n\n> You analyze fake diary\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using unknown cipher (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\n\n> Go south\nYou are in a small room which you suspect has no fixed purpose. There is a table in the center of the room, with a faux-wooden chair at it, and a long bench-seat under the window. The door along the north wall has been removed, presumably in an attempt to turn the room into some sort of work alcove.\n\n> You examine the window\nIt's safer to steer clear of windows, just in case.\n\n> You examine the seat\nWhich do you mean, the wooden chair or the bench seat?\n\n> You examine the handle\nIt looks like a rather small knob, containing a small magnet. You've seen the general design before, used as a release for child-safety latches.\n\n> You examine the sewing machine\nEssentially, this is a sort of automated needle and thread. It is a hobbyist's version of the sort of machinery used to make most garments of this time. By repeatedly thrusting a threaded needle through a piece of fabric, it is able to quickly make a variety of stitches. Though in your own time, tailoring is usually done by laser-guided polymer injection, the basic principles remain more or less unchanged.\n\n> Go north\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\n> You go east\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nOf all the rooms you've seen so far, this bedroom shows the least signs of having been tidied before the house was abandoned. Naturally, of course, this heightens your curiosity; untidy rooms generally tell you more than clean ones. From the space-shuttle wallpaper, you suspect that this room belonged to a young child, though it might simply imply that the room is long-overdue for renovation. There is a bookcase along one wall, containing model space ships, toy robots, and a very few books. A desk beside the door is loaded down with computer equipment. The most interesting feature of the room is the floor; while most of the other rooms have had wall-to-wall carpeting, this room has what appears to be industrial grade linoleum tile. The hallway lies west.\n\n> You put the handle on the floor\n(the floor)\nPutting things on the floor would achieve nothing.\n\n> You touch the floor\n(the floor)\nYou feel nothing unexpected.\n\n> You go east\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nYou are in a very small bathroom, fitted out as you would expect, in a pastel decor. A number of decorative touches lead you to surmise that this bathroom was intended primarily for guests. A gentle breeze issues from a vent high on one wall. The exit is west.\n\nOn the fixture is a scientific journal.\n\n> Examine journal\nThis is a magazine whose articles showcase current events in the scientific community. It is written to a target audience of educated, but not scientifically trained, readers.\nYou browse through the magazine, looking for anything of interest. You are not disappointed. There is a short article, all the way at the back, summarizing the doctoral thesis of one Emmanuel Kaldeki.\nThis is quite a find; Kaldeki's original thesis has long been lost, and it has long been assumed that he had not pursued the line of research that would eventually lead to StreamDive technology until after the war. You read the article...\n\nPhysicist Emmanuel Kaldeki created a buzz in the scientific world early this month with the delivery of his PhD thesis, \"Mathematical Modeling of Non-Temporal Quantum Particles\" at the Pacific Institute of Technology. The paper describes a set of mathematical formulae which model a theoretical particle called \"Q-omega\". The Q-omega particle, according to Kaldeki's model, behaves in most respects like a strange-matter quark, but also exhibits properties previously only modeled in tachyons. Specifically, it reacts in unusual ways to space-time curvature. The Kaldeki model suggests that that at relativistic velocities, the Q-omega particle would \"plane\" on highly curved space-time, in much the same way that the hull of a speed boat planes over water.\n\nMost of the excitement over Kaldeki's paper comes not from the modeling technique itself, but from the two major example models included. The first demonstrates how the non-temporal nature of the Q-omega particle renders it immune from the effects of time and mass dilation occurring at speeds near that of light. Indeed, because of their unique nature, the model shows that Q-omega particles can be accelerated above the speed of light, a possibility generally disallowed by the theory of relativity.\n\nThe second, and more impressive example studies the behavior of Q-omega in the vicinity of a black hole. Under such extreme space-time curvature, Kaldeki predicts that the Q-omega particle would completely disassociate itself with conventional space-time, being displaced along a predictable path to some distant point in the universe instantaneously. Because the path of the particle does not go through space-time during this journey, it is possible for Q-omega to re-enter normal space at a point in time prior to its departure.\n\nThe scientific community is excited about the implications of this theory: several researchers have suggested that Kaldeki's findings may open the way to faster-than-light travel, matter transmission, and time travel. Asked about these possibilities, Kaldeki said, \"I think it's a bit early to start talking about applications; we don't even know yet if the particles I've modeled can be created. There's nothing in the mathematics that would prohibit [these applications], but actually doing it is a long way off. You've got to remember, we're talking about sub-atomic particles, and if we could scale the effect to something the size of, say, a man, it's not very likely that a living creature could survive being moved around like that.\"\n\nKaldeki has received a grant for an undisclosed amount to pursue the fabrication of these particles. The degree of Doctor of Philosophy in Quantum Physics will be conferred upon Emmanuel Kaldeki by the Pacific Institute of Technology during commencement exercises next month."
    },
    {
        "text": "[Themes: Time Travel, apocalypse, sciencefiction, science fiction, time travel]\n\n> Look around\nYou are in a very small bathroom, fitted out as you would expect, in a pastel decor. A number of decorative touches lead you to surmise that this bathroom was intended primarily for guests. A gentle breeze issues from a vent high on one wall. The exit is west.\n\nOn the fixture is a scientific journal.\n\n> Inventory\nYou are carrying:\na scissors\na magnetic handle\na fake diary\nan electronic device\na prosthetic eye\na real diary\nan autokey\nyour StreamDive console\nfive chips:\na library chip\na cryptography chip\na blank chip\nan interface chip\na shield chip\n\n> You unlock the door with autokey\nYou open the little closet, revealing a coaxial cable, a stuffed bear, four video discs (one \"Womb Raider\", one \"Blow me Away\", one \"Coeds Getting Naked\" and one \"Thrustmaster Returns\") and some adult magazines.\n\n> You search the porn\nWhich do you mean, the video disc of \"Womb Raider\", the video disc of \"Blow me Away\", the video disc of \"Coeds Getting Naked\", the video disc of \"Thrustmaster Returns\" or the adult magazines?\n\n> You look at the beam\nThese beams hold up the roof of the house.\n\n> Open beam\nYou open the supporting beams, revealing a gun, some cash, a necklace and a ring.\n\n> You take all from the beam\ngun: Removed.\ncash: Removed.\nnecklace: Removed.\nring: Removed.\n\n> You examine the ring\nA circle of precious metal, set with carefully carved stones.\n\n> You examine the necklace\nThis is an exquisite chain, made of a soft metal. You don't recognize the design, and think that it pre-dates your period of interest.\n\n> You examine the cash\nThough in this time, most transactions were handled electronically, it won't be for at least a decade yet that physical currency is finally phased out. These small paper slips are printed with various patriotic imagery, and bear numbers which correspond to amounts. You don't recall exactly what the values correspond to in terms of actual buying power, but from the quantity, you can only assume that it is a substantial amount.\n\n> You look at the gun\nIt is completely unbelievable how much craftsmanship mankind once put into means of killing. This is only a very small pistol, but it is elaborately crafted, fashioned as if style was as important as function. All the same, it's still a device whose single purpose is the extinguishing of human life, and that leaves a bad taste in your mouth."
    },
    {
        "text": "[Themes: Time Travel, time travel, apocalypse, character based, gadgets]\n\n> Go downwards\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\n> Go east\nYou can't go that way.\nSomewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You go north\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\nSomewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You read the disc\nThough you can identify the disc as a data recording, it is unlabeled.\n\n> Interface disc\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, Joliet encoding.\n\nScanning. Text message found:\nBy now, the political alliance of European and American countries is engaged in a war against countries in the middle and far east. This conflict will last several years, and result in several billion deaths. The war will be ended when Space Station Kennedy crashes near the Chinese capital city.\n\nHowever, the war can be ended more quickly, and with a reduced loss of life if nuclear weapons from the United States can be effectively deployed in the Chinese mainland. The defensive screen which prevents nuclear weapons from reaching Chinese soil uses a simple 512-bit identification code to differentiate between friendly and unfriendly missiles. If a nuclear missile were to transmit the data sequence generated by the Plotnitz-Leibkin algorithm at a frequency of 906.4 MHz, Chinese countermeasures would mistake the missile for a Chinese launch, and would be unable to eradicate it before it reached its target. The tactical advantage afforded by this ability will undoubtedly force the eastern alliance to capitulate with a substantially reduced cost in both lives and damage to the world ecosystem.\n\nYou blink. This doesn't make any sense. The disc is contemporary, but it seems to contain information about events in the future. This can't be... Has history somehow been altered?\n\n> Interface unlabeled disc\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, Joliet encoding.\n\nScanning. Text message found:\nBy now, the political alliance of European and American countries is engaged in a war against countries in the middle and far east. This conflict will last several years, and result in several billion deaths. The war will be ended when Space Station Kennedy crashes near the Chinese capital city.\n\nHowever, the war can be ended more quickly, and with a reduced loss of life if nuclear weapons from the United States can be effectively deployed in the Chinese mainland. The defensive screen which prevents nuclear weapons from reaching Chinese soil uses a simple 512-bit identification code to differentiate between friendly and unfriendly missiles. If a nuclear missile were to transmit the data sequence generated by the Plotnitz-Leibkin algorithm at a frequency of 906.4 MHz, Chinese countermeasures would mistake the missile for a Chinese launch, and would be unable to eradicate it before it reached its target. The tactical advantage afforded by this ability will undoubtedly force the eastern alliance to capitulate with a substantially reduced cost in both lives and damage to the world ecosystem.\n[The document \"Data Disc Message\" has been added to your DataStore.]\n\nYou blink. This doesn't make any sense. The disc is contemporary, but it seems to contain information about events in the future. This can't be... Has history somehow been altered?\n\n> Interface episode two\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, video encoding.\nPlaying...\n\nThe screen displays a frightful display of primitive computer graphics with annoying characters and a puerile plot.\n\n> You sit on the chair\nYou get onto the wooden chair.\n\n> Wait\nTime passes.\nYou stand as Joxley Douzen walks heavily into the room. Though there are a few agents you'd prefer to serve as your evaluator, you could have done far, far worse. She scans over her notes, not seeming to see you until after she has taken her seat. \"Welcome back,\" she says. You are naturally inclined to take the lack of feeling in her voice as a bad sign, but you resist the urge. It's all she's capable of; her voice box is artificial, and she's never managed to program it properly.\n\n\"We've reviewed your findings. As you know, the purpose of this phase of your evaluation is to give you the opportunity to present anything you think may have escaped our attention, and to address any concerns which the evaluation team has about your Dive. If you'll take your seat, we can begin.\" [Footnote 6]\n\n> Footnote 6\n[Footnote 6]\nFor the duration of this interview, you may respond to Douzen by typing a single word at the command prompt, signifying the subject you wish to discuss. For example:\n>KITCHEN\nWould be interpreted as a desire to talk about the kitchen. For questions requiring a numerical answer, simply type the number at the prompt [Footnote 7].\n\n> Footnote 7\n[Footnote 7]\nThe special command \"DONE\" indicates that you have nothing to say on the subject, and the command \"REPEAT\" will repeat the current question. The standard commands will remain available if you wish to perform other actions while you consider your answer.\n\n> You wait a while\nTime passes."
    },
    {
        "text": "[Themes: Time Travel, sciencefiction, moments out of time]\n\n> Look around\nYou are in a comfortably small room, used to debrief StreamDivers following their missions. The room is intentionally designed to avoid the impression that this is some kind of interrogation chamber, even if that is indeed its function. The room contains very little in the way of decoration or, well, anything at all, aside from the table and chairs.\n\nOn the wooden chair is Joxley Douzen.\nJoxley looks up from her notes. \"Or you can stand, if you prefer,\" she says.\n\n\"First things first. Based on your scans and our records, you surveyed about seventy-six percent of the area within your mission boundaries. I'm sure you could have done better. Now, are there any rooms in particular that you feel merit special attention?\"\n\n> Pantry\n\"Hm... I'll advise the assessment team to take another look, but I think we've already considered that room thoroughly.\"\n\n> Boy 's bedroom\n\"Yes. Your console recorded some unusual readings from that area. We'll give it another look.\"\n\n> Bunker\nJoxley raises an eyebrow, apparently not understanding you. \"If you don't have anything meaningful to say on the current subject, just say the word and we'll move on.\"\n\n> Shelter\n\"There's enough in your records to support the possibility that there was a survival shelter in the residence. Unfortunately, you don't appear to have gained access to it.\"\n\n> Done\n\"Very well,\" Joxley says. She begins examining her notes.\n\n> You examine Joxley\nJoxley Douzen is a typical example of what your father would have called a \"hard-looking broad\". Muscular, stocky, with chiseled features that would have been distinguished on a man. She probably knows exactly how threatening people find her. You know that she's a touch bitter about her position as a Dive evaluation agent -- after she was injured in a shuttle accident, she received enough bio-mechanical implants to make her a walking, talking anachronism, and therefore unfit for StreamDiving. Nevertheless, your experience of her has always been as a fair evaluator.\n\n> You sit on the chair\nYou get onto the wooden chair.\n\"Okay. Now, let's consider the contents of your DataStore. It seems that you recorded seventeen documents. It's a shame you didn't elect to take the Stream Visualizer. Of course, you were under tight restrictions. As for other documents, you collected a reasonable number.\n\n\"Now, you found a diary in the downstairs bathroom. It appears to have been encoded using a very secure cipher. Given the nature of the writer and its content, the only explanation we can think of is that the writer was mentally unstable. How would you explain the fact that such effort was taken to encode the diary?\"\n\n> Mother\nYou explain that the author, Julia Wallace, had reason to believe that her parents were reading her diary without permission, and had encoded it to prevent the highly personal content from becoming public knowledge.\nJoxley raises an eyebrow. \"It seems like a great deal of effort, but yes, that does explain what we've seen, and seems consistent with the details we've managed to piece together about the girl.\n\n\"We've had some difficulty making sense of the code fragment you downloaded. Any idea what it is?\"\n\n> No\nThat was a rhetorical question.\n\n> You answer no\n(to Joxley Douzen)\nYou know better than to deviate from the standard procedure during an interview.\n\n> Experiment\nJoxley raises an eyebrow, apparently not understanding you. \"If you don't have anything meaningful to say on the current subject, just say the word and we'll move on.\"\n\n> Done\n\"I'm sorry to hear that.\n\n\"I think that covers all the documents we need more information about. Let me check my notes, and we'll move on.\"\n\n> You wait\nTime passes.\nJoxley makes a few notes, then looks up. \"All right then. Now we get to some more specific questions.\n\n\"I suppose we should start with the most obvious. Your Dive was restricted to a family residence. How many people occupied this residence prior to its evacuation?\"\n\n> 5\nJoxley raises an eyebrow. \"Five? You're sure? Our research suggested only four residents. Who was this fifth person?\"\n\n> Donna\nYou explain that a young woman named Donna, a friend of the older child, had been living with the family near the time that the house was abandoned.\n\nJoxley makes a note of this. \"Good work. This is exactly the sort of thing that isn't covered by our records of the period.\n\n\"What was the name of the female head of household?\"\n\n> Katia\n\"What was the name of the male head of household?\"\n\n> James\n\"What was the name of the male child?\"\n\n> Jim\n\"Marital relations between the Wallaces... Were they good or bad?\"\n\n> Unknown\nJoxley lays a hand to her ear. \"I'm sorry; I'm having some trouble with my audio processor. Maybe you could try a different word?\"\n\n> Good\n\"What was the name of the female child?\"\n\n> Julia\n\"You say that the girl had an optical prosthesis. Which eye was artificial?\"\n\n> Right\n\"Okay,\" Joxley says.\n\n\"Now,\" Joxley says, \"It appears that you violated your mission parameters by bringing something back from your Dive. Since everything in the area appears to have been destroyed immediately after you left, the committee has decided to recommend against disciplinary action, but there will be an entry made in your file, unless you can give us some exceptional circumstance which warranted your action. Is there any object which you felt had some extraordinary reason for being retrieved for examination?\n\n> Done\n\"Then we'll move on,\" Joxley says.\n\n\"We have no postwar records of the daughter, and your findings suggest that she was not with the family when they evacuated. What became of her?\"\n\n> Shelter\nYou explain that she and her friend were trapped in the survival shelter, and perished with its destruction.\n\n\"Thank you for your cooperation, agent,\" she says. After taking a few more notes, Joxley Douzen rises to her feet. \"If you'll wait here, the review team will have your final evaluation shortly.\"\n\nWithout paying you another glance, she strides out of the room."
    },
    {
        "text": "[Themes: Time Travel, science fiction, moments out of time, time travel, apocalypse, gadgets]\n\n> You look at your surroundings\nStreamDive Debriefing room (on the wooden chair)\nYou are in a comfortably small room, used to debrief StreamDivers following their missions. The room is intentionally designed to avoid the impression that this is some kind of interrogation chamber, even if that is indeed its function. The room contains very little in the way of decoration or, well, anything at all, aside from the table and chairs.\n\n> About yourself\nOne of the attributes most common among successful StreamDivers is a nondescript appearance -- any particularly remarkable features would increase the chance of drawing attention on a Dive. The good thing about this is that you are at least as good-looking as average. The downside, of course, is that you have very little in the way of distinguishing features [Footnote 8].\nJoxley Douzen walks confidently into the room, followed by the rest of the evaluation team. They stand at the head of the room, staring heavily at you. Finally, Joxley speaks.\n\n\"StreamDiver Alpha Tango-678, it is the finding of this evaluation team that you have completed the objectives for this mission with an approval rating of 66 percent. Very disappointing. There's some concern that you aren't using our resources well. When you receive your next mission, we'll suggest that it be an easier one.\""
    },
    {
        "text": "[Themes: Time Travel, apocalypse, sexual content, character based, science fiction, sciencefiction, gadgets, strong profanity]\n\n> You look around\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which are a cloaking device, an autokey, a probe and a chip bank (in which are ten chips (a dive chip, a DataStore chip, a map chip, a library chip, an artificial intuition chip, a cryptography chip, a scan chip, a blank chip, an interface chip and a shield chip))) here.\n\n> You put it in Console\nTaken.\nYou put the DataStore chip into the StreamDive console.\n\n> You put it in the Console\nTaken.\nYou put the interface chip into the StreamDive console.\n\n> You put it in the Console\nTaken.\nYou put the scan chip into the StreamDive console.\n\n> You put it in the Console\nTaken.\nYou put the blank chip into the StreamDive console.\n\n> You examine rack\n(the StreamDive console)\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains four chips.\n\n> You look at the bank\nA small section of the locker contains slots for holding StreamDive chips.\n\n> You look in the bank\nIn the chip bank are six chips (a dive chip, a map chip, a library chip, an artificial intuition chip, a cryptography chip and a shield chip).\n\n> You put it in the Console\nTaken.\nYou put the shield chip into the StreamDive console.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour StreamDive console\nfive chips:\na shield chip\na blank chip\na scan chip\nan interface chip\na DataStore chip\na stream visualizer"
    },
    {
        "text": "> You look at your surroundings\nThough it isn't in any technical sense \"your\" office, this is the room where you spend the majority of your duty shifts. Here, you do background research, monitor incoming messages from Divers in the field, and hope that one of your mission proposals will be accepted. On the rare occasions, like now, that you are cleared for a dive, this room serves as a place to equip and make last-minute preparations. The exit is east.\n\nThe display monitor stands against one wall, your mission description visible on its screen.\n\nYou can also see an equipment locker (in which are a cloaking device, an autokey, a probe and a chip bank (in which are five chips (a dive chip, a map chip, a library chip, an artificial intuition chip and a cryptography chip))) here.\n\n> Manual\nPage: 0 MOMENTS OUT OF TIME - Game Manual\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n> Continue\nTIME                           Explorer Type/Version 1\nby                              L. Ross Raszewski\n\n> You examine banister\nThe staircase along the north wall leads up and down. The railing, a solid wood banister, is capped at the landing by a sturdy and ornate post with a polished oak ball at its top. The banister is worn, and its finish is nicked and scraped. You have that same, terrifying sense you often get on missions like this; this was a place where people lived, not some mock-up in a museum. Time travel gives you a strange sense of ephemerality; for you, this entire house is long gone, and yet, it still exists in the here-and-now, and you are acutely aware of how much will be lost when this place is destroyed.\n\n> You look in the compartment\nIn the post is a large key."
    },
    {
        "text": "[Themes: Time Travel, time travel, character based, strong profanity, gadgets]\n\n> Go downward\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 2], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram."
    },
    {
        "text": "[Themes: Time Travel, gadgets, character based, moments out of time]\n\n> Go downwards\nThat door is locked.\n\n> Footnote 3\n[Footnote 3]\nThe game will continue this practice from now on. Use the setup menu to change this behavior.\n\n> Go east\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> You search the couch\nYou force your hand between two cushions. Before nicking yourself on a spring, your hand catches on a small object which was lost in the couch, which emerges to the surface just ahead of your stinging hand.\n\n> Inventory\nYou are carrying:\na large key\na wooden knob\nyour StreamDive console\nfive chips:\na shield chip\na blank chip\na scan chip\nan interface chip\na DataStore chip\na stream visualizer\n\n> You take the key\n(the deadbolt key)\nTaken.\n\n> You unlock the northwest door\nYou'll have to specify a key with which to unlock the door.\n\n> You unlock the northwest door with the large key\nThat doesn't seem to fit the lock.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\n> Go south\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 2], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\nSomewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below.\n\n> Go upwards\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter.\n\n> You open the ham\nBetter not; as it is, this is probably the only thing in the house that could survive the impending nuclear blast.\n\n> You take the ham\nTaken.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> Go north\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\n\nOn the buffet are two oil lamps.\n\nYou can see a photograph here.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> Go up\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> Go east\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> You unlock the north door with the deadbolt key\nUnlocked.\n\n> You go north\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> Open dollhouse\nYou give a gentle tug at the base, which pops open. Inside, you see two letters (a crumpled letter and a folded letter) and a strange book.\n\n> You read crumpled letter\nUg. Hw. Npxo J teiotslz swo jq zco yum evyt xdru qafib. Gwz air qow? W upigs bio'zv tstgxbpqk kdemb wlwi urnq gmis. Ntgk, T'o oikvrm yljm if msc xng. She vtsubzy pkncri aixf tckg zhkomg rfw jrp mpe xdizuxiv phslyrl cs dvz ijscee ppsocyw lbsz zm oxa ulvwjybj. Da N'p zbrq djoj tl sohrl ztlb odb krr ot oyf wved. Ea abvg't ukw su jxyw cbqh? W'o ixvit W wjrct'm lycz fe ckymj. Ufybyr vgzqo zg depl hn le hjr dxfj bywo leuc.\n\n[The document \"Letter (1)\" has been added to your DataStore.]\n\n> You read the folded letter\nN'q gxtr kib vcijo wn xerb. Gzw iaqrx gmtto, G'ij yfuu hechbg igajnd dpnu jyfivzub nubl oha goect lp, rtzeqpc qi ccf ym tnr qds hexsikp blim pqliv egfw ubi bdmi brjf xqh. N'gk efaiea jldhwc cuh wys icrno bueag, fnu M acxbj xems zuaszl ci vol aw cxs jqnj, sfc lruze igiw S qnd pxn W rohu ec snfkv. Zlwqw X pxecd mtgn txj'io gkdz mf noxmzvx pk suu rnifovig, cldj R jgzbs wunxn Y kjizwk kia pa fxrs dx uir atvvuf, ake lpdv E znczn xczd vin'wv muix df pwe bnx usytgmu ke zkm gue as zjpu. X ccczj L'oz wxaqvuvjji tk fxe rklt mu tf igly ckzbk nvrzd ifa ivbfe, msf prlaeu pbm ez mloihjs tm. Nuz, N'o inmo u siflrj. D'mh iapzqu npzkfx jce. C zad'i sqgr mv bqg kjs tlot asgxbku hq, jpu W ykxcco uwav za hqc coi kdoc aio fzgtw Y qq.\n\n[The document \"Letter (2)\" has been added to your DataStore.]\n\n> You read the strange book\nThis is a small, very worn notebook containing a number of pages covered with random sequences of hand-printed characters.\n[The document \"Strange Book\" has been added to your DataStore.]\n\n> SCAN\nThe scanner has further details available on:\nthe dollhouse\nthe dresser\nthe easel\nthe charger\nthe can of spiced ham\n\n> You scan dresser\n(the dresser)\nThe scanner enhances the contrast between the varnished surface of the dresser and the scratches in its surface so that you can see the word \"SERENDIPITY\", quite intentionally etched on the dresser, just deep enough to scratch the varnish without damaging the wood.\n\n> You scan the easel\nThe scanner indicates a rectangular mass between the canvas and its supporting board.\n\n> You cut the easel\nCutting that would achieve little.\n\n> You break the easel\nViolence is against StreamDiver regulations.\n\n> You examine the easel\nWatercolor seems to be an inappropriate choice for the subject matter, but watercolor is, of course, much easier to work with than oil paints. The picture shows a serene lake, what should be a quaint scene of pastoral bliss. But the colors don't fit well with the subject. Though dark colors are largely absent, a few areas suggest that this is due purely to the painting's incomplete state. At the center of picture, without enough detail to recognize at first glance, is the disturbing figure of a drowning victim. Trails of unpainted canvas might form what might be a burial shroud around the figure, still lacking enough in detail to discern the gender. The figure's arms are spread wide, in what is still called the \"Dead Man's Float\".\n\nMost of the dark areas, and, indeed one or two of the light areas, are unfinished. The overwhelming historical likelihood is that they will remain that way.\n[The document \"Watercolor Painting\" has been added to your DataStore.]\n\n> You search the painting\nUnder your scrutinty, a very slight distortion in the picture is visible. You slide your hand between the sheet and its support, and turn up a very small book.\n\n> You examine small Book\nThis is a very small, hand-bound book containing a number of pages covered with random sequences of hand-printed characters.\n[The document \"Strange Book (new)\" has been added to your DataStore.]\n\n> Scan charger\nThe scanner shows a diagram of the device's circuitry. History of electronics isn't really your forte, but the design looks normal enough.\n\nOr does it? You enhance the scan over what should be the device's power converter. That's... impossible. The converter is made out of Krell isolinium. Nothing like it should exist on Earth in this century. Exactly what the hell is going on here?\n\n> You take the scissors and the handle\nscissors: Taken.\nmagnetic handle: Taken.\n\n> You unlock the east door with the handle\nThat doesn't seem to fit the lock.\nSomewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You check what you're carrying\nYou are carrying:\na magnetic handle\na scissors\na scan chip\na small book\na can of spiced ham (which is closed)\na diary\na wooden knob\nyour StreamDive console\nfour chips:\na shield chip\na blank chip\nan interface chip\na DataStore chip\na stream visualizer\nthree keys:\na steel key\na deadbolt key\na large key\n\n> You put the scan chip in the Console\nYou put the scan chip into the StreamDive console.\n\n> You go to the north\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\n> You open the drawer\nYou open the dresser drawers, revealing a brass key.\n\n> SCAN\nThe scanner has further details available on:\nthe charger\nthe can of spiced ham\n\n> You move the boxes\nYou are unable to.\n\n> Search boxes\nPushing a box to the side, you discover a thin composition book, which had been secreted between two of the boxes.\n\n> Go west\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\n> You examine the desk\nThis is a fairly small desk, essentially little more than a table. The desk is tightly packed with office supplies and other sundries\n\n> Open chest\nYou open the chest, revealing a glass eye and an eyepatch.\n\n> You examine the glass eye\nThis is a hemispherical piece of colored glass, with a hook at the back. It looks to be the sort of \"eye\" found on stuffed toys.\n\n> You go north\nThat door is locked.\n\nYou manage to unlock the door with the magnetic handle.\n\nAlthough the primary function of this room seems to be as a linen closet, its size suggests that it was intended for even heavier storage. Three of the walls bear shelves, neatly stocked with towels and bed linens.\n\n> SCAN\nThe scanner has further details available on:\nthe charger\nthe can of spiced ham\n\n> You search the linens\nYou poke around at the sheets, and find, hidden in the folds of a large bedsheet toward the back, a pack of cigarettes, either squirreled away for an emergency, or hidden from a disapproving family member.\n\n> You go to the north\nIn most respects, this is a thoroughly ordinary bathroom. It is far less clean than the public areas of the house, but not unsettlingly so. It is simple in decor, featuring a tub, toilet, sink, and no windows. The mirror over the sink protrudes slightly, suggesting that it conceals a medicine cabinet. The exit is south.\n\nThe button on the stream visualizer blinks, indicating that it has generated a new hologram.\n\n> SCAN\nThe scanner has further details available on:\nthe charger\nthe can of spiced ham\n\n> You open the mirror\nYou open the medicine cabinet, revealing a pill bottle.\n\n> You look at the bottle\nA bottle of prescription medication.\n\n> You open the bottle\nYou never were any good with those child-safety devices."
    },
    {
        "text": "[Themes: Time Travel, time travel, sciencefiction, strong profanity, gadgets, sexual content, character based]\n\n> Look around\nIn most respects, this is a thoroughly ordinary bathroom. It is far less clean than the public areas of the house, but not unsettlingly so. It is simple in decor, featuring a tub, toilet, sink, and no windows. The mirror over the sink protrudes slightly, suggesting that it conceals a medicine cabinet. The exit is south.\n\n> You look at the sink\nThe sink is empty.\n\n> Go south\nThat door is locked.\n\nYou manage to unlock the door with the large key.\n\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\n> SCAN\nThe scanner has further details available on:\nthe supporting beams\nthe charger\nthe can of spiced ham\n\n> Inventory\nYou are carrying:\na gun\nsome cigarettes\na fake diary\na charger\na magnetic handle\na scissors\na small book\na can of spiced ham (which is closed)\na real diary\na wooden knob\nyour StreamDive console\nfive chips:\na scan chip\na shield chip\na blank chip\nan interface chip\na DataStore chip\na stream visualizer\nfour keys:\na brass key\na steel key\na deadbolt key\na large key\n\n> Footnote 6\n[Footnote 6]\nFor your convenience, unless a door is locked, you do not need to refer to it. The game will assume that you open and close all unlocked doors as needed.\n\n> You open the stove\nYou open the stove.\n\n> You look in it\nThe stove is empty.\n\n> You open the fridge\nThat's already open.\n\n> You go west\nThis is a small room, designed to hold food staples and cooking equipment not housed in the kitchen. You doubt you'll find anything worthwhile in here, but you've been a StreamDiver long enough to know better than to trust appearances. You can return east to the kitchen.\n\nShelves line the walls, sparsely stocked.\n\nOn the shelves are some pots and pans, a lazy susan (empty) and a flour pot (closed).\n\n> You search the shelves\nOn the shelves are some pots and pans, a lazy susan and a flour pot.\n\n> You open the pot\nWhich do you mean, the pots and pans or the flour pot?\n\n> Flour\nYou open the flour pot, revealing some flour.\n\n> You search the flour\n(the flour)\nYou find nothing of interest.\n\n> Empty flour pot\nflour: Dropped.\n\n> You take the flour\n(the flour)\nThat would only serve to make a mess.\n\n> Blow flour\n(the flour)\n(first taking the flour)\nThat would only serve to make a mess.\n\n> You examine the susan\nUnbelievable. The workmanship which allows this device to swivel smoothly, allowing stored utensils to be easily accessed, all without the aid of laser construction or frictionless bearings. Still, from its gaudy appearance, it isn't hard to see why the owner relegated it to the pantry."
    },
    {
        "text": "[Themes: Time Travel, apocalypse, science fiction]\n\n> Look around\nThis is a small room, designed to hold food staples and cooking equipment not housed in the kitchen. You doubt you'll find anything worthwhile in here, but you've been a StreamDiver long enough to know better than to trust appearances. You can return east to the kitchen.\n\nShelves line the walls, sparsely stocked.\n\nOn the shelves are some pots and pans, a lazy susan (empty) and a flour pot (empty).\n\nYou can also see some flour here.\n\n> You look at china\n(the fine china)\nSeveral high-quality place settings.\n\n> You search china\n(the fine china)\nYou find nothing of interest.\n\n> You look at the lamps\noil lamp: These are archaic oil-burning devices, which appear to be decorative, but would probably function as a servicable light source in the event of a power failure.\n\n> You look in the closet\nIn the little closet are a coaxial cable, a stuffed bear, four video discs (one \"Womb Raider\", one \"Blow me Away\", one \"Coeds Getting Naked\" and one \"Thrustmaster Returns\") and some adult magazines.\nIn the distance, you think you hear someone trying to force the lock on the front door. Better stay out of sight.\n\n> You search the magazines\nYou find nothing of interest.\nIn the front hall, you hear the sound of cracking wood as the door is forced open. There's someone else in the house.\n\"Alert:\", the console beeps, \"Human presence detected within building.\"\n\n> Interface coeds\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, video encoding.\nPlaying...\n\nThe screen displays a young woman, obviously intoxicated, being coaxed into displaying her breasts.\n\n> Interface returns\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, video encoding.\nPlaying...\n\nThe screen displays the continuing adventures of a fictional superhero with abnormally powerful pelvic muscles.\n\n> You cut the bear\nCutting that would achieve little.\n\n> You put in in the Console\nTaken.\nYou see nothing which can be referred to like that.\n\n> You put it in Console\nTaken.\nYou put the DataStore chip into the StreamDive console.\n\n> You look in the bank\nYou put the dive chip into the StreamDive console.\n\nIn the chip bank are six chips (a map chip, a library chip, an artificial intuition chip, a blank chip, an interface chip and a shield chip).\n\n> You check what you're carrying\nYou are carrying:\na probe\nyour StreamDive console\nfive chips:\nan interface chip\na dive chip\na DataStore chip\na scan chip\na cryptography chip"
    },
    {
        "text": "> You go downwards\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 1], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\n\n> You go east\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here.\n\n> You search the couch\nYou force your hand between two cushions. Before nicking yourself on a spring, your hand catches on a small object which was lost in the couch, which emerges to the surface just ahead of your stinging hand.\n\n> You take the key\n(the deadbolt key)\nTaken.\n\n> You turn on the probe\nYou have a sudden dizzy, disembodied feeling as sensory feed from the probe overwhelms you...\n\nBathroom (as the probe)\nYou get the impression that this bathroom has become a waystation for things that were intended for the basement, but got lost along the way. Boxes and bags seem to cover every surface; the sink, the heating vent, the fixture. The way out is south.\n\nYou can see your body here.\n\n> You enter the vent\nYou fly into the vent, eventually coming to a main shaft.\n\nVentilation Shaft (as the probe)\nYou are in the main ventilation duct for this section of the house. Smaller ducts lead north, east, west, and northeast. A large shaft crosses this duct vertically.\n\nA string of letters has been printed on one of the shaft walls.\n\n> You analyze the letters\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using RUR-14 Nanocode (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\nWait a minute. That doesn't make any sense; RUR nanocode hasn't been invented yet... Maybe the damned cyptography chip is malfunctioning.\n\n> Go upward\nVentilation Shaft (as the probe)\nYou are at the connection between a large vertical shaft and the horizontal duct which allows air flow to the rooms on this floor. Small ducts branch off in many directions.\n\n> Go upwards\nVentilation Shaft (as the probe)\nYou are in a long stretch of ventilation ductwork, with small vent shafts leading off in every direction. The large shaft to the lower floor is below you.\n\nYou can see a note here.\n\n> You examine the note\nJ nqpueu sxly mt fxz pnf grio, jw-secgbi. Ecn xcygi iv zyufv zhph ph cpp xfsc tdptm pbhgk feusdg rpaborqu? Z'zx ail hz zrol eo ukzy cpj. W'ad zqveab okrymo xbv zsb dbfn shbi.\n\nRvsgjy, gxas, fpsm W cvs pmf h curs pj ymrcjlf yeg tuq. Edd ve recol cg ahemla reg opj gm hm snoqcix Ndcsm. Iza ocrolexe Zdfei? Bc faejo kxwhno ciz skdkml xdhf qf kje kcsx iehd. Wgzun pa'm jwij twoo & V ausjd'd, tt ujhhw lw nqhc gl xp di mbmrklu.\n\nQmdmsw, xxh yy rmzq yp ixq apez hz wtzf hcb ht omzjqiyuv. --F\n[The document \"Vent Letter\" has been added to your DataStore.]\n\n> You go northwest\nMaster Bathroom (as the probe)\nYou are in a bathroom, unusually large and attractively decorated. Aside from the free-standing whirlpool bathtub, there is a separate shower stall. A counter, the central feature of which is a three-paneled mirror which wraps around the sink, spans one wall. Architecturally, the room itself is fairly simple; a rectangle with plain white walls and a simple black-and-white tessellation on the floor tile. The decor gives the room more life; delicate just-green lace window drapery contrasts elegantly with the deep green of the heavy rug in the center of the room. The counter is equipped with a wicker dish full of soaps which you assume are more decorative than functional. A wooden table under the window holds a vase of dried flowers. The exit is south.\n\n> You examine the bathtub\nThe probe lacks any manipulative hardware.\n\n> You look at door\nThis house has many doors. Very few of them are worthy of note [Footnote 2].\nThe door is locked with a simple privacy lock.\n\n> You examine the rug\nThe rug is a fairly good decorating choice -- nothing too flashy, and in a color that complements that of the drapes. Admittedly, degree to which it accentuates the decor of the room is probably more a coincidence than a sign that the owner had some decorating skill.\n\n> You enter Vent\nYou fly into the vent, eventually coming to a main shaft.\n\nVentilation Shaft (as the probe)\nYou are in a long stretch of ventilation ductwork, with small vent shafts leading off in every direction. The large shaft to the lower floor is below you.\n\nYou can see a note here."
    },
    {
        "text": "[Themes: Time Travel, sexual content, sciencefiction]\n\n> Go down\nVentilation Shaft (as the probe)\nYou are at the connection between a large vertical shaft and the horizontal duct which allows air flow to the rooms on this floor. Small ducts branch off in many directions."
    },
    {
        "text": "> Go downward\nVentilation Shaft (as the probe)\nYou are in the main ventilation duct for this section of the house. Smaller ducts lead north, east, west, and northeast. A large shaft crosses this duct vertically.\n\nA string of letters has been printed on one of the shaft walls.\n\n> You enter the vase\nMaster Bathroom (as the probe)\nYou are in a bathroom, unusually large and attractively decorated. Aside from the free-standing whirlpool bathtub, there is a separate shower stall. A counter, the central feature of which is a three-paneled mirror which wraps around the sink, spans one wall. Architecturally, the room itself is fairly simple; a rectangle with plain white walls and a simple black-and-white tessellation on the floor tile. The decor gives the room more life; delicate just-green lace window drapery contrasts elegantly with the deep green of the heavy rug in the center of the room. The counter is equipped with a wicker dish full of soaps which you assume are more decorative than functional. A wooden table under the window holds a vase of dried flowers. The exit is south.\n\nThat's not something you can enter.\n\n> You enter the tub\nYou get into the bathtub.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\n> You go to the north\nBathroom (as the probe)\nYou get the impression that this bathroom has become a waystation for things that were intended for the basement, but got lost along the way. Boxes and bags seem to cover every surface; the sink, the heating vent, the fixture. The way out is south.\n\nYou can see your body here.\n\n> Yes\nOkay [Footnote 3].\n\nYou manage to unlock the door with the deadbolt key.\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\n> Open dollhouse\nYou give a gentle tug at the base, which pops open. Inside, you see two letters (a crumpled letter and a folded letter) and a strange book.\n\n> You take all from the dollhouse\ncrumpled letter: Removed.\nfolded letter: Removed.\nstrange book: Removed.\n\n> You take the key\nUg. Hw. Npxo J teiotslz swo jq zco yum evyt xdru qafib. Gwz air qow? W upigs bio'zv tstgxbpqk kdemb wlwi urnq gmis. Ntgk, T'o oikvrm yljm if msc xng. She vtsubzy pkncri aixf tckg zhkomg rfw jrp mpe xdizuxiv phslyrl cs dvz ijscee ppsocyw lbsz zm oxa ulvwjybj. Da N'p zbrq djoj tl sohrl ztlb odb krr ot oyf wved. Ea abvg't ukw su jxyw cbqh? W'o ixvit W wjrct'm lycz fe ckymj. Ufybyr vgzqo zg depl hn le hjr dxfj bywo leuc.\n\n[The document \"Letter (1)\" has been added to your DataStore.]\n\n\n\nN'q gxtr kib vcijo wn xerb. Gzw iaqrx gmtto, G'ij yfuu hechbg igajnd dpnu jyfivzub nubl oha goect lp, rtzeqpc qi ccf ym tnr qds hexsikp blim pqliv egfw ubi bdmi brjf xqh. N'gk efaiea jldhwc cuh wys icrno bueag, fnu M acxbj xems zuaszl ci vol aw cxs jqnj, sfc lruze igiw S qnd pxn W rohu ec snfkv. Zlwqw X pxecd mtgn txj'io gkdz mf noxmzvx pk suu rnifovig, cldj R jgzbs wunxn Y kjizwk kia pa fxrs dx uir atvvuf, ake lpdv E znczn xczd vin'wv muix df pwe bnx usytgmu ke zkm gue as zjpu. X ccczj L'oz wxaqvuvjji tk fxe rklt mu tf igly ckzbk nvrzd ifa ivbfe, msf prlaeu pbm ez mloihjs tm. Nuz, N'o inmo u siflrj. D'mh iapzqu npzkfx jce. C zad'i sqgr mv bqg kjs tlot asgxbku hq, jpu W ykxcco uwav za hqc coi kdoc aio fzgtw Y qq.\n\n[The document \"Letter (2)\" has been added to your DataStore.]\n\nThis is a small, very worn notebook containing a number of pages covered with random sequences of hand-printed characters.\n[The document \"Strange Book\" has been added to your DataStore.]\n\nUnder your scrutinty, a very slight distortion in the picture is visible. You slide your hand between the sheet and its support, and turn up a very small book.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\nYou already have that.\n\n(the dresser drawers)\nYou open the dresser drawers, revealing a brass key.\n\n(the brass key)\nTaken.\n\n> You analyze old Book\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\n(Ciphers using this key can be decoded)\n\n> Decode crumpled\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 26 character alphabet.\nDecoding...\n1\n\nHi. Um. Hope I remember how to yse the code book right. How are you? I guesr you're wondering where this note came. Well, I'm living with my dad now. Mom started dating this drug dealer and she got arrested because he was making crystal meth in our basement. So I'm back here at least till the end of the year. So what's new in your life? I'm sorry I haven't kept in touch. Pleare write me back so we can talk some time.\n\n[The DataStore entry for this document has been updated to reflect deciphered text.]\n\n> Decode folded\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 26 character alphabet.\nDecoding...\n3\n\nI'm glad you wrote me back. All these years, I've been scared pretty much shitless that you hated me, because it was my mom was driving that night when you lost your eye. I've really missed you all these years, and I would have talked to you in the hall, but every time I see you I lose my nerve. First I think that you'll hate me because of the accident, then I think maybe I should try to talk to you anyway, but then I think that you'll hate me for not talking to you for so long. I guess I'll understand if you want me to just steer clear and stuff, but please try to forgive me. God, I'm such a coward. I've really missed you. I don't know if you can ever forgive me, but I really want to let you know how sorry I am.\n\n[The DataStore entry for this document has been updated to reflect deciphered text.]\n\n> Decode vent letter\nExamining text...\nPerforming heuristics...\nDecode failed: No decodable text found (This may not be a cipher)\n\n> You turn on the probe\nYou have a sudden dizzy, disembodied feeling as sensory feed from the probe overwhelms you...\n\nGirl's Bedroom (as the probe)\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nYou can see your body here.\n\n> Decode note\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 26 character alphabet.\nDecoding...\n5\n\nI really want to see you like, in-person. You think we could meet up and have lunch after school tomorrow? I've got so much to tell you. I've really missed you all this time.\n\nAnyway, yeah, sure I can get a note to someone for you. But it might be easier for you to go through Rusty. You remember Rusty? He lived across the street from me way back when. Since he's been here & I haven't, he might be able to do it quicker.\n\nAnyhow, let me know if you want to hang out or something. --D\n[The DataStore entry for this document has been updated to reflect deciphered text.]"
    },
    {
        "text": "> Go downward\nVentilation Shaft (as the probe)\nYou are in the main ventilation duct for this section of the house. Smaller ducts lead north, east, west, and northeast. A large shaft crosses this duct vertically.\n\nA string of letters has been printed on one of the shaft walls.\n\n> Decode letters\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: RUR-14 Nanocode\nTrying to decipher anyway...\nDecode failed: Code cannot be identified or cipher is unbreakable. (Try analyzing more ciphertext)"
    },
    {
        "text": "[Themes: Time Travel, strong profanity, gadgets, apocalypse, character based, science fiction]\n\n> You go downward\nAs the vent approaches the environmental unit, the electromagnetic fields begin to interfere with your connection.\n\n> Go northeast\nGirl's Bedroom (as the probe)\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nYou can see your body here.\n\n> You go south\nYou have a sinking feeling as the probe drops. Just before it hits the ground, your perspective changes...\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nYou can see a probe here.\nTaken.\n\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\n> You open the door\nThe ceiling over this stretch of hallway slopes upward where the stairs cut into it. Along the south wall, just before the ceiling becomes too low to make a serviceable hallway, a low, louvered door marks a small closet. The hallway continues east, and to the west it ends in an archway leading to the dining room.\nIt seems to be locked.\n\n> You unlock door\nYou have to specify what you want to unlock the little closet with.\n\n> Fix\nWhat do you want to fix?\n\n> You check your inventory\nYou are carrying:\na coaxial cable\na scissors\na magnetic handle\na probe\ntwo cipher keys:\na new code book\nan old code book\ntwo letters:\na folded letter\na crumpled letter\na diary\na wooden knob\nyour StreamDive console\nfive chips:\nan interface chip\na dive chip\na DataStore chip\na scan chip\na cryptography chip\nfour keys:\na steel key\na brass key\na deadbolt key\na large key\n\n> You take all from the closet\nstuffed bear: Removed.\nvideo disc of \"Womb Raider\": Removed.\nvideo disc of \"Blow me Away\": Removed.\nvideo disc of \"Coeds Getting Naked\": Removed.\nvideo disc of \"Thrustmaster Returns\": Removed.\nadult magazines: Removed.\n\n> You look in the closet\nThe little closet is empty.\n\n> You examine the closet\nThis is a tiny closet, too small to enter. The ceiling tapers sharply inside, crunching down its storage space toward the back."
    },
    {
        "text": "[Themes: Time Travel, moments out of time, gadgets, time travel, sciencefiction, apocalypse]\n\n> Look around\nThe ceiling over this stretch of hallway slopes upward where the stairs cut into it. Along the south wall, just before the ceiling becomes too low to make a serviceable hallway, a low, louvered door marks a small closet. The hallway continues east, and to the west it ends in an archway leading to the dining room.\n\n> You check your inventory\nYou are carrying:\nsome adult magazines\nfour video discs:\n\"Thrustmaster Returns\"\n\"Coeds Getting Naked\"\n\"Blow me Away\"\n\"Womb Raider\"\na stuffed bear\na coaxial cable\na scissors\na magnetic handle\na probe\ntwo cipher keys:\na new code book\nan old code book\ntwo letters:\na folded letter\na crumpled letter\na diary\na wooden knob\nyour StreamDive console\nfive chips:\nan interface chip\na dive chip\na DataStore chip\na scan chip\na cryptography chip\nfour keys:\na steel key\na brass key\na deadbolt key\na large key"
    },
    {
        "text": "[Themes: Time Travel, science fiction, sciencefiction]\n\n> You put it in the Console\nTaken.\nTaken.\n\nA standard-issue cloaking device. Operating along similar principles to the StreamDive device itself, it causes all photons entering the field to be instantly transported to the far side of the field as if they had passed straight through it, with the net result being that anything within the field is nearly invisible. The relocation effect causes \"ghost\" photons to be emitted by the inside of the field, allowing any person inside it to see his surroundings with a minimum of visual distortion. The device's battery is currently charged to 100 percent. The cloaking device is currently switched off.\n\nTaken.\nYou put the shield chip into the StreamDive console.\n\n> You put it in the Console\n(the dive chip)\nTaken.\nYou put the dive chip into the StreamDive console.\n\n> You look at Dive\n(the StreamDive console)\nYour StreamDive console is a small display device designed to provide you with relevant information about the current dive, and allow access to key StreamDive facilities [Footnote 1]. These facilities are made available by adding chips to its five-slot chiprack. The chiprack currently contains three chips.\n\n> You look at the dive chip\nThis is the fundamental chip for the StreamDive console. It allows control of the temporal displacement functions.\nCommands Provided:\nRECALL -- Discharge StreamDive capacitors for instant recall\nSTATUS -- Display status of Dive system\nTIMESCAN -- Scan local timestream\n\n> You check what you're carrying\nTaken.\nYou put the DataStore chip into the StreamDive console.\n\nYou are carrying:\na cloaking device\nyour StreamDive console\nfive chips:\na DataStore chip\nan interface chip\na dive chip\na scan chip\na shield chip\n\n> You look at the cloaking\nThis isn't a good time to let your mind wander.\nThe floor fades to transparency. There is a brilliant point of light somewhere far below you. Scanning beams trace over your body. Below you, a perfect mirror image of yourself fades into existence, your avatar. You have a sinking feeling as your avatar falls toward the light. Just as you were trained, you roll back on the balls of your feet and close your eyes. In your head, you count to six. Deep down there, your avatar enters the event horizon of the artificial singularity. As always, you have the disconcerting sensation of falling...\n\nCold.\n\nHot.\n\nBright.\n\nDark.\n\nThe pain is gone before you feel it. You want to open your eyes, but you know better. Even if you survived the experience, your sanity would not. You wait for the sensation of falling to end.\n\nIt does.\n\nYou wait for your perception of local timespace to return.\n\nIt does.\n\nYou open your eyes.\n\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\n\n> You turn on the cloaking\nThe cloak hums, and you detect a slight shimmer in the air around you as you are enveloped by the cloak field.\n\n> You take the key\n(the dresser drawers)\nYou open the dresser drawers, revealing a brass key.\n(the brass key)\nTaken.\n\n> Open dollhouse\nYou give a gentle tug at the base, which pops open. Inside, you see two letters (a crumpled letter and a folded letter) and a strange book.\n\n> You examine the strange Book\nUg. Hw. Npxo J teiotslz swo jq zco yum evyt xdru qafib. Gwz air qow? W upigs bio'zv tstgxbpqk kdemb wlwi urnq gmis. Ntgk, T'o oikvrm yljm if msc xng. She vtsubzy pkncri aixf tckg zhkomg rfw jrp mpe xdizuxiv phslyrl cs dvz ijscee ppsocyw lbsz zm oxa ulvwjybj. Da N'p zbrq djoj tl sohrl ztlb odb krr ot oyf wved. Ea abvg't ukw su jxyw cbqh? W'o ixvit W wjrct'm lycz fe ckymj. Ufybyr vgzqo zg depl hn le hjr dxfj bywo leuc.\n\n[The document \"Letter (1)\" has been added to your DataStore.]\n3\n\nN'q gxtr kib vcijo wn xerb. Gzw iaqrx gmtto, G'ij yfuu hechbg igajnd dpnu jyfivzub nubl oha goect lp, rtzeqpc qi ccf ym tnr qds hexsikp blim pqliv egfw ubi bdmi brjf xqh. N'gk efaiea jldhwc cuh wys icrno bueag, fnu M acxbj xems zuaszl ci vol aw cxs jqnj, sfc lruze igiw S qnd pxn W rohu ec snfkv. Zlwqw X pxecd mtgn txj'io gkdz mf noxmzvx pk suu rnifovig, cldj R jgzbs wunxn Y kjizwk kia pa fxrs dx uir atvvuf, ake lpdv E znczn xczd vin'wv muix df pwe bnx usytgmu ke zkm gue as zjpu. X ccczj L'oz wxaqvuvjji tk fxe rklt mu tf igly ckzbk nvrzd ifa ivbfe, msf prlaeu pbm ez mloihjs tm. Nuz, N'o inmo u siflrj. D'mh iapzqu npzkfx jce. C zad'i sqgr mv bqg kjs tlot asgxbku hq, jpu W ykxcco uwav za hqc coi kdoc aio fzgtw Y qq.\n\n[The document \"Letter (2)\" has been added to your DataStore.]\nThis is a small, very worn notebook containing a number of pages covered with random sequences of hand-printed characters.\n[The document \"Strange Book\" has been added to your DataStore.]\n\n> You search the painting\nUnder your scrutinty, a very slight distortion in the picture is visible. You slide your hand between the sheet and its support, and turn up a very small book.\n\n> You go to the east\nThat door is locked.\n\nYou manage to unlock the door with the brass key.\n\nFrom the architecture of the house, you can tell that this is the only bedroom to have its own walk-in closet, which no doubt was an issue of some discussion when bedrooms were assigned. The majority of the closet is taken up by clothing, but you can see a few boxes toward the back.\n\n> Search boxes\nPushing a box to the side, you discover a thin composition book, which had been secreted between two of the boxes.\n\n> You examine the composition book\nPage: 0 Diary\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n> Scissors\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 4], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 5]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nYou are in a small room which you suspect has no fixed purpose. There is a table in the center of the room, with a faux-wooden chair at it, and a long bench-seat under the window. The door along the north wall has been removed, presumably in an attempt to turn the room into some sort of work alcove.\n\nYou open the bench seat, revealing a sewing machine, some fabric, a needle, some thread, a scissors and a magnetic handle.\n\nmagnetic handle: Taken.\nscissors: Taken.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\nYou never were any good with those child-safety devices.\n\n> You examine the fabric\nA few pieces of cloth, cut to various sizes.\n\n> You go north\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\nThat door is locked.\n\nYou manage to unlock the door with the magnetic handle.\n\nAlthough the primary function of this room seems to be as a linen closet, its size suggests that it was intended for even heavier storage. Three of the walls bear shelves, neatly stocked with towels and bed linens.\nSomewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below.\n\n> You search the linens\nYou poke around at the sheets, and find, hidden in the folds of a large bedsheet toward the back, a pack of cigarettes, either squirreled away for an emergency, or hidden from a disapproving family member.\n\n> You examine the cigarettes\nToward the end of the twenty-first century, various lobbies finally succeeded in banning the manufacture and sale of these particular items, citing their known carcinogenic effects and the ongoing tendencies of their manufacturers to indulge in unethical business practices. Like the bans on so many other harmful intoxicants, the cigarette ban would have undoubtedly failed, had genetic engineering not coupled a non-toxic smoking mixture with powerful antidepressants, resulting in a new, safe cigarette, which provided an even better high. These, however, are still quite lethal, you're sure.\n\n> You scan the cigarettes\nThe scanner reveals nothing of interest.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> You wait\nTime passes.\nSomewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You wait awhile\nTime passes.\nYou hear someone trying to force the lock on the front door. Better stay out of sight.\n\n> Wait\nTime passes.\nThe front door isn't going to keep whoever's on the other side out much longer.\n\n> You wait for a while\nTime passes.\nThe front door finally yields. On the other side, you see a shabbily-dressed man, holding a pistol. He steps inside.\n\n> You examine man\nThat would give away your presence.\nLooking around the entry hall, the man, clearly a thief, walks over to the table. He sets down a newspaper, an action almost comic in its domesticity.\n\n> You examine man\nThat would give away your presence."
    },
    {
        "text": "> You look at your surroundings\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\nA lean and dangerous-looking man surveys the contents of the room.\n\nOn the wooden table are a newspaper and a letter.\n\n> You wait awhile\nTime passes.\nThe thief apparently thinks better of leaving his newspaper laying about, and retrieves it.\n\n> Wait\nTime passes.\nThe looter stalks off.\n\n> Go east\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\nA lean and dangerous-looking man surveys the contents of the room.\n\n> Go east\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\nThe thief walks cautiously into the room.\n\n> Wait\nTime passes.\nThe thief looks over the various art objects, then, oblivious to their lack of value, collects them.\n\n> You wait\nTime passes.\nCarefully, the thief looks inside the video cabinet. With obvious glee, he removes the video player.\n\n> You go north\nA poorly-lit length of hallway begins here and continues west. The southern wall is open to the living room. A door leads east.\n\nA painting on the wall depicts a nautical theme.\nThe thief walks cautiously into the room.\n\n> Wait\nTime passes.\nThe looter admires the painting for a moment, then removes it.\n\n> You go west\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nThe ceiling over this stretch of hallway slopes upward where the stairs cut into it. Along the south wall, just before the ceiling becomes too low to make a serviceable hallway, a low, louvered door marks a small closet. The hallway continues east, and to the west it ends in an archway leading to the dining room.\nA lean and dangerous-looking man surveys the contents of the room.\nThe looter pokes around in the closet for a time.\n\n> You go to the west\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\nA lean and dangerous-looking man surveys the contents of the room.\n\nOn the buffet are two oil lamps.\n\nYou can also see a photograph here.\n\n> You wait for a while\nTime passes.\nThe thief looks through the china cabinet, removing everything of value.\n\n> Go south\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east. A lean and dangerous-looking man surveys the contents of the room.\n\nOn the refrigerator door are a report card and a receipt.\nThe looter stalks off.\n\n> You go to the east\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\nA lean and dangerous-looking man surveys the contents of the room.\n\nOn the wooden table is a letter.\n\n> You check your inventory\nYou are carrying:\nsome cigarettes\na scissors\na magnetic handle\na diary\na small book\nfour keys:\na brass key\na steel key\na deadbolt key\na large key\na wooden knob\na cloaking device\nyour StreamDive console\nfive chips:\na DataStore chip\nan interface chip\na dive chip\na scan chip\na shield chip\nThe looter stalks off."
    },
    {
        "text": "[Themes: Time Travel, science fiction, apocalypse, sexual content, strong profanity, time travel]\n\n> Go downwards\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 2], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\nA lean and dangerous-looking man surveys the contents of the room.\n\n> You go east\nThe console beeps out in distress. \"Alert: Human presence detected in adjacent room.\"\n\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\nA lean and dangerous-looking man surveys the contents of the room.\n\nOn the bar are four glasses (empty) and some bottles.\n\nA video game system sits before the video screen.\n\nYou can also see a video screen and a video disc player (empty) here.\n\n> You turn off the cloak\nThat would give away your presence.\n\n> You look at the cloak\nA standard-issue cloaking device. Operating along similar principles to the StreamDive device itself, it causes all photons entering the field to be instantly transported to the far side of the field as if they had passed straight through it, with the net result being that anything within the field is nearly invisible. The relocation effect causes \"ghost\" photons to be emitted by the inside of the field, allowing any person inside it to see his surroundings with a minimum of visual distortion. The device's battery is currently charged to 32 percent. The cloaking device is currently switched on.\n\n> Wait\nTime passes.\nThe thief examines the video disc player, but apparently decides it would over-burden him. Instead, he takes the game console.\n\n> You wait for a while\nTime passes.\nWith relish, the thief avails himself of one of the bottles on the bar. After a time, he stops drinking and takes the remaining bottles.\n\n> Wait\nTime passes.\nAfter some quick poking around, the looter appears to decide he's spent enough time here.\n\n> Go west\nThat door is locked.\nThe looter stalks off.\n\n> You turn off the cloak\nThe slight shimmer in the air fades as the cloaking device disengages.\n\n> Go east\nAs an architectural feature, the den declined in popularity during this part of the century, but this house seems to have one nonetheless. From your historical research, you know that a den is a sort of cross between a study and a family room. This room shows signs of wear; stains and worn patches of carpet suggest heavy use. Behind one recliner, the woodgrain paneling of the wall is scratched and scored from frequent collisions. One wall is covered in bookshelves. A well-stocked wet bar adorns a second. Couches and armchairs form a conversation area in the middle of the room. The western wall is open, leading back to the stairway.\n\nOn the bar are four glasses (empty).\n\nYou can see a video screen and a video disc player (empty) here.\n\n> You search player\nThe video disc player is empty.\nOn the edge of your vision, you think you see something move. You whip around, but nothing's there. It takes several deep breaths to get yourself under control. You're suddenly overwhelmed by the realization that all of this is going to cease to exist in a just under five hours. You punch the air in frustration. It's not just that there's so much to left to learn here. It's not even that you've started to feel that your dive restrictions have closed certain areas of investigation to you. What really bothers you is the stupidity of it all. The sheer waste. Why does this place have to be destroyed? What possible benefit could it be to either side? It's insane. It's stupid. How could the people of this time have such a cavalier disregard for human life?\n\nAnd, of course, the misgiving you have whenever you Dive this close to your own time hits you... How can you be sure we've really come that far from this?\n\n> You look at what you're carrying with you\nYou are carrying:\nsome cigarettes\na scissors\na magnetic handle\na diary\na small book\nfour keys:\na brass key\na steel key\na deadbolt key\na large key\na wooden knob\na cloaking device\nyour StreamDive console\nfive chips:\na DataStore chip\nan interface chip\na dive chip\na scan chip\na shield chip\n\n> You put the magnet on the table\nYou put the magnetic handle on the wooden table.\n\n> You go west\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter.\nThe front door finally yields. On the other side, you see a shabbily-dressed man, holding a pistol. He steps inside.\nThe looter catches sight of you. You try to run, but he is quick to draw his pistol. Though the weapon is primitive, it is quite adequate to his purpose.\n\n> Go north\nIn most respects, this is a thoroughly ordinary bathroom. It is far less clean than the public areas of the house, but not unsettlingly so. It is simple in decor, featuring a tub, toilet, sink, and no windows. The mirror over the sink protrudes slightly, suggesting that it conceals a medicine cabinet. The exit is south.\nIn the front hall, you hear the sound of cracking wood as the door is forced open. There's someone else in the house.\n\"Alert:\", the console beeps, \"Human presence detected within building.\"\n\n> Go south\nThat door is locked.\n\nYou manage to unlock the door with the large key.\n\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\nIn the front hall, you hear the sound of cracking wood as the door is forced open. There's someone else in the house.\n\"Alert:\", the console beeps, \"Human presence detected within building.\"\n\n> SCAN\nThe scanner has further details available on:\nthe supporting beams\n\n> You put the necklace and the ring on the table\nnecklace: Done.\nring: Done.\n\n> You wait awhile\nTime passes.\n\"Alert: Human presence detected to the west.\"\n\n> Wait\nTime passes.\n\"Alert: Human approaching from west.\"\n\n> Wait\nTime passes.\nThe thief walks cautiously into the room.\n\n> Wait\nTime passes.\n\"Alert: Human presence detected below.\"\n\n> Wait\nTime passes.\n\"Alert: Human approaching from below.\"\n\n> Wait\nTime passes.\nThe thief walks cautiously into the room.\n\n> Wait\nTime passes.\nYou breathe a sigh of relief as the young man finally makes his way out of the house.\n\"Information: Human presence no longer detected in building.\"\n\n> You put it in the Console\nTaken.\nYou put the cryptography chip into the StreamDive console.\n\n> You put it in Console\nTaken.\nYou put the DataStore chip into the StreamDive console.\n\n> You put it in the Console\nTaken.\nYou put the interface chip into the StreamDive console.\n\n> You put it in the Console\nTaken.\nYou put the library chip into the StreamDive console.\n\n> You check your inventory\nYou are carrying:\nan autokey\nyour StreamDive console\nfive chips:\na library chip\nan interface chip\na DataStore chip\na cryptography chip\na blank chip\n\n> Yes\nOkay [Footnote 2].\n\nYou manage to unlock the door with the autokey.\n\nThe basement of this house is a simple, large room with cinderblock walls. Boxes, crates, and other large items are scattered haphazardly about. A lightweight wooden door in the east wall appears to be an exterior exit, presumably to allow heavy gardening equipment, such as the lawnmower in one corner, to be removed. The stairs up to the rest of the house are along the south wall.\nAnd something unusual. The west wall is metal, with a very large, robust door set in it.\nIt couldn't be. Or could it? You've never actually seen one before, but from your records...\nYes. It is. It's a bomb shelter; a small room specially designed to act as an emergency shelter in the event of nuclear attack. None have survived to your own time, and records are fragmentary. This is quite a find. If only you could manage to get inside.\n\n> Go west\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nThis is career-making stuff. A period survival shelter, fully intact and operational. The ceiling and walls form a single-piece dome, which, you recall, increased the structural stability with the building materials they had available. The eastern end, nearest the exit, seems to be some kind of living area, with a table and several chairs. Past it, you can see four bunked beds. At the far end of the shelter is a curtained area, holding the minimal sanitation facilities.\n\nFinally, your training releases its hold over your mind and lets you take notice of what would have been the first thing anyone but a StreamDiver would see. Two female bodies, quite motionless, lie on one of the beds. You don't need to check for a pulse on either of them [Footnote 3], but you do, all the same.\n\nStill warm. Your hands tremble, and it takes a moment to force yourself to calm down. You've seen dead bodies before, on missions. Victims of the massacre on Mars Colony Omega, ritual sacrifice victims in an Aztec temple, but the immediacy of these deaths is something you weren't prepared for. They can't have been dead for more than a few hours, may even have died while you were in the house. You try to tell yourself that this is an irrelevant detail -- from your proper perspective, they, and everyone else on the planet, have been dead for hundreds of years.\n\nIt doesn't help.\n\nThe smashed and broken pieces of some electronic device are scattered around the room.\n\nA small metal box is mounted on one wall.\n\nOn the table are an electronic device and a portable computer.\n\n> Interface computer\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Personal Computer. Manufacturer: JTX.\n\nSearching for relevant data...\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> 1\nRecent Document 1: untitled text document\n4:45 pm\n\nWe were supposed to do it together. That was the plan.\n\nWe thought it through, talked about it over and over.\n\nNothing else made any sense. The safety broke down. The door isn't going to open for thirty years. We can't just stay down here for thirty years. And what about her? We can't take care of that on our own.\n\nStill, we might have tried. We might have been able to work something out. But we haven't heard anything upstairs for days. Not that you can hear much, but sometimes there's a little banging in the pipes.\n\nThat damned radio. My hand's all cut up from smashing it to bits. There's going to be an air strike. They don't know where yet, but there isn't any way to stop it. We're less than a hundred miles from the biggest military base in three states. Even if we survive, no one's going to find us. No one's going to save us.\n\nSo we decided. I unlocked the box. I took out two pills...\n\nThis is all my fault. If I hadn't been so damned paranoid, we wouldn't even be down here. It's my fault that Donna's dead. It's my fault that I'm going to be dead.\n\nWe were going to do it together. We laid down on the bed, next to each other, and she hugged me, and she told me she didn't blame me, and then we were going to bite down at the same time and it would all be over.\n\nI'm such a fucking coward.\n\nI don't think she felt anything. I hope she didn't know what a coward I am. She closed her eyes, and I closed mine, and then she just sort of shook once, and it was over. And I got up, and I laid her out flat and crossed her arms over her chest.\n\nWhat the fuck is wrong with me? I don't want to live. I never cared if I lived or died since the accident six years ago, and I sure as hell don't want to live down here for the next thirty years, especially now that Donna's gone. I tried to kill myself once before. All I have to do is bite down.\n\nSo why won't my hands stop shaking? I'm going to do it now. For real this time.\n\nI'm not getting back into the same bed with Donna. I don't deserve that.\n\nI hope my parents will forgive me. I hope Jim will forgive me. Most of all, though, I hope Donna will forgive me.\n\nGoodbye.\n[The document \"Suicide Note\" has been added to your DataStore.]\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> 2\nRecent Document 2: Current events HW 4/25\nJulia Wallace\nCurrent Events\nApril 25\n\nThis morning, at 7:42 AM, Congress ratified a declaration of war against an alliance of countries in the Middle East. The official reasons for this declaration were the unlawful occupation of Israel by allied Arabic forces. Nonetheless, several articles in the Global Register suppose that recent military action was motivated by trade restrictions imposed by the Arabic Alliance against Europe and the United States. These restrictions have severely limited the availability of gasoline in the US. According to the April 20 issue of the National Chronicle, the Arabic states have formed an exclusive trade pact with China. The Brandenberg News Network has run several stories saying that Chinese weapons were used in the invasion of Israel, and editorials in several newspapers claim that if the war escalates, China will enter the war on the side of the Arabic Alliance. An article in the Times says that the Chinese newspapers have already printed articles calling for war unless the US backs out of affairs in the Middle East.\n\nSources attached.\n[The document \"Current Events Homework\" has been added to your DataStore.]\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Recent Document 1: untitled text document\n2     Recent Document 2: Current events HW 4/25\n3     Data Snapshot\n\n> 3\nAnalyzing...\nFormat not recognized.\nAttempting to download...\nDownload failed: Insufficient space.\nBlank StreamDive chip detected in console. Do you wish to download to it?\n\n> You examine the left corpse\nShe would have grown up to be quite attractive. For that matter, she actually was quite attractive, despite the disheveled appearance and short unruly tangle of red hair. One eyelid is sunken, as if there is nothing underneath. You can see no sign of injury, and her repose is fairly tranquil.\n\nWait. There is something. One hand is scratched badly across the knuckles. But that couldn't be the cause of death.\n\n> You search it\nMustering your resolve, you make a quick check of the body. Clutched in one hand, you find a blue prosthetic eye.\n\n> You take the eye\nYou already have that.\n\n> You look at the right corpse\nThe body lies on the bed, arms folded. Its owner is quite beautiful by the standards of the day, long, blonde hair, sizable breasts, and a frailty that suggests borderline anorexia. The only mar to her beauty is a deep, jagged scar on one cheek. There is nothing to suggest that her death was anything but peaceful [Footnote 4].\n\n> Go east\nThe basement of this house is a simple, large room with cinderblock walls. Boxes, crates, and other large items are scattered haphazardly about. A lightweight wooden door in the east wall appears to be an exterior exit, presumably to allow heavy gardening equipment, such as the lawnmower in one corner, to be removed. The stairs up to the rest of the house are along the south wall.\nAnd something unusual. The west wall is metal, with a very large, robust door set in it.\n\n> You open the toilet\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 1], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\n\nYou get the impression that this bathroom has become a waystation for things that were intended for the basement, but got lost along the way. Boxes and bags seem to cover every surface; the sink, the heating vent, the fixture. The way out is south.\nOn a whim, you lift the heavy boxes and raise the lid of the toilet seat. The bowl has been drained, and resting inside is a small book, which you manage, with some difficulty, to retrieve before letting the boxes fall back into place.\n\n> Unlock diary\n(with the autokey.)\nThe lock clicks open. Your hands almost tremble in anticipation. What a find!\n\nYou open the book...\n\nWhat?\n\nIt's encoded? Who keeps a diary in code? Well, obviously, Julia Yvonne Wallace does. You can't help but wondering what could make someone so paranoid as to go to the trouble of encoding a locked, hidden diary.\n\n> Open dollhouse\nYou give a gentle tug at the base, which pops open. Inside, you see two letters (a crumpled letter and a folded letter) and a strange book.\n\n> You examine crumpled\nUg. Hw. Npxo J teiotslz swo jq zco yum evyt xdru qafib. Gwz air qow? W upigs bio'zv tstgxbpqk kdemb wlwi urnq gmis. Ntgk, T'o oikvrm yljm if msc xng. She vtsubzy pkncri aixf tckg zhkomg rfw jrp mpe xdizuxiv phslyrl cs dvz ijscee ppsocyw lbsz zm oxa ulvwjybj. Da N'p zbrq djoj tl sohrl ztlb odb krr ot oyf wved. Ea abvg't ukw su jxyw cbqh? W'o ixvit W wjrct'm lycz fe ckymj. Ufybyr vgzqo zg depl hn le hjr dxfj bywo leuc.\n\n[The document \"Letter (1)\" has been added to your DataStore.]\n\n> Decode diary\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 36 character alphabet.\nDecoding...\n\n---Diary (Decoded)---\nPage: 0 Diary (Decoded)\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n> You go to the north\n---Diary (Decoded)---\nPage: 1 April 17\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nFucking mom read my diary. Now she wants me to see a fucking shrink again. I'm not doing it. I'll be eighteen in less than a month, she can't make me. Two years they made me go after the accident. I don't fucking want to go back.\n\nAnyway, the rest of the aftermath is that they forbade me to ever see CJ again. Like they could stop me if I wanted to. And they somehow think he's the only person I could get pot from? Mom says that he just got me stoned so he could fuck me, which is fair since I wouldn't have let him get my panties off if I'd been in a legal state of mind. Well, maybe I would've. So I told mom, It's not like he's the only guy I've ever had sex with.\n\nWhich is, of course, a lie. Everyone probably thinks I did Rob, but I didn't. He went down on me a couple of times, but before he got up the nerve to try anything more, I broke up with him coz I caught him staring at my eye while we were making out.\n\nEven him. Most guys get freaked out by it and won't come near me. Probably think the rest of me's robotic, and it'll electrocute their...\n\nWell anyway, I'm keeping two diaries now. This one, the legit one, I'm going to hide better. Anything really important, like this, I'll code. The other one's hidden in my room, so if anyone goes looking again, they'll stop when they find it. Maybe I'll put plants in there too, so I can tell if mom reads it again. I told her I'd fucking run away if she tried.\nTTFN\n\n> Go north\n---Diary (Decoded)---\nPage: 2 April 18-19\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 18 - Jim's a bastard. He did it again. Snuck in while I was asleep and recalibrated my eye. When I woke up, I was seeing everything in infrared.\n\nSome days I want to rip the damned thing out with my bare hands.\n\nApril 19 - Mom won the battle of the wills. Had my first appointment with the new shrink today. Of course he's all like, We'll talk about anything you want, but of course what he really wanted to talk about was the accident. So I went through my routine, and told him how big and scary it was, and told him about getting the new eye and all that shit. And he keeps asking how things made me feel, and I tell him I don't remember, but he doesn't believe me because apparently you're supposed to remember all the fucking details when something messes up your life. I really don't remember feeling anything. Just numb. So then he asks me about CJ, and he goes on for half an hour about how drugs are bad, and sex is bad. Well, he didn't say sex is bad, of course, since they're supposed to be all about fostering a healthy attitude toward healthy adult relationships, but you get the idea. It's natural to want to express your bullshit bullshit bullshit, but it's important that you find a healthy and safe outlet bullshit bullshit. I think there was something in there about my body changing and mateuring, like I'd just hit puberty or something. Then he gave me a pamphlet about masturbation, which I guess is some kind of implication that I couldn't work it out on my own.\n\nAnyway, mom's making me go back next week. I guess it's okay since it's her dime.\n\n(wonder why they say \"it's your dime.\" Why not \"it's your dollar?\" Makes a lot more sense. Least you can buy a pack of gum for a dollar.)\n\n> You go to the north\n---Diary (Decoded)---\nPage: 3 April 20-23\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 20 - Dreamt last night. The unbelievable pleasure of feeling a knife being thrust into my chest.\n\nMom didn't take the bait. Maybe she's not still snooping on me.\n\nApril 22 - They're sending troops into the middle east. Everyone says not to worry and we'll just clear this up like we have before. There's not going to be a war. But we've already got troops in so many other places. Jim's terrified that he's gonna get drafted. There hasn't been a draft in almost a hundred years though. The news says this will blow over in a couple of months, but Jimmy says that the president's an ass and he wants a war to boost his popularity rating. Dad thinks he's an idiot because no president would think that starting a war and getting hundreds of our people killed would make him popular. Maybe I should start reading the papers more.\n\n> You go north\nApril 23 - Strangest thing today. I found a note in my locker. It took me a while to figure out what it was. It's the old code Donna and I used to use. But Donna moved away years ago when her parents split up, and I haven't heard from her in years. I have to find the old code book so I can work out what it says. I can't think how she could have gotten the note to me at school.\n\n---Diary (Decoded)---\nPage: 4 April 24-26\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 24 - Donna's back. I can't believe it. Her mom ended up in jail because her boyfriend was using her house to store his meth lab -- will you believe that? She still has her codebook after all these years. Anyway, I've written back to her, but I don't know how to find her. I guess her dad still lives near here, but he moved out of their house after the divorce. How did she find out my locker number? It'll be good to talk to her again.\n\nIn other news, CJ keeps trying to talk to me. I can't risk anyone seeing us together right yet. Wish I'd come up with a code book for him, then we could talk freely at least. Maybe I can get Donna to be a go-between. There's no one else I trust.\n\nApril 25 - Jim keeps going on about this new program he's working on. Thinks it's going to, and I quote, \"set him up among the gods.\" He's trying to get in touch with a bunch of professors at the big-league CS schools. Thinks he's hot stuff. Dad, who really ought to know better, asked him about his new \"discovery\", and he went on for about an hour, not really saying anything that made much sense. The long and short of it is that he thinks he's figured out how his brain works, and he thinks he's got a way to make a computer do the same thing. Wonderful. A computer that thinks like my brother.\n\nApril 26 - Return of the Shrink. This time he didn't ask about the accident at all. I don't know if that's a good thing. I kept getting the feeling he was looking for some good dirt about my mom beating me or dad trying to feel me up when I was six or something, like there's some deep dark secret that will magically explain why I'm so fucked up. What the hell does he want? When I was twelve, a drunk driver hit the car I was in and I broke an arm and a leg and one of my eyes got cut out. I think that might be a fair enough explanation.\n\nOh my god.\n\nDonna's mom was driving. She was in the back seat with me. I think that might have been the last time I saw her.\n\n> You go to the north\nWhy didn't I ever remember that before?\n\n---Diary (Decoded)---\nPage: 5 April 27-29\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 27 - There was fighting last night. Southeast Asia. I didn't even know we had troops there. Congress was in session all night. The news says they're going to declare war. I am really, really scared.\n\nApril 28 - I saw Donna today. She looks pretty good, except for a scar on her cheek. I could tell she was avoiding me. Why? I bet she saw my eye. I almost decided to scrap the whole thing, but I really want to talk to her. I slipped the note I wrote in her locker. I keep telling myself I don't care if she wrties back or not. That's bullshit, of course.\n\nApril 29 - She wrote me back. Said she was afraid to talk to me because she thought I blamed her for the accident. At least that explains why she never wrote to me before. I'm writing back to tell her I'm not angry and want to see her. I think maybe the reason I didn't remember before is that I didn't want to hate her.\n\n> You go north\nThe US embassy in Singapore got blown up last night. They're calling for tactical nuclear strikes on China. This is going to get fucking bad.\n\n---Diary (Decoded)---\nPage: 6 April 30-May 3\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nApril 30 - I finally got to talk to her. Donna just kept apologizing about the accident. I sort of got fed up and nearly walked off. I asked her about getting a note to CJ. She said she would. Talked for a long time about life and stuff. I've really missed her.\n\nShe was pretty good about it, but I caught her trying to get a good look at my eye a couple of times. It didn't bother me as much as usual. Maybe because I kept on looking at her scar.\n\nMay 1 - Donna got my letter to CJ. She's none to thrilled about it, thinks he's an asshole. She's probably right, but what am I going to do about it?\n\nI finally asked Donna about the scar, and yeah, she got it in the accident. She's really self-conscious about it, but she's not as bad as I am about my eye. I think it makes her look tough. At least she's not some kind of freak like me.\n\nMay 3 - I give up. Told the doctor everything I could remember about the accident, getting the implant. Told him about CJ. Donna too, about her being in the car. Told him about talking to her recently too. Not sure why.\n\nHe asked me how I felt about the war. I don't know. They're still saying it won't last long, but we're dropping bombs all over Asia now. If it goes a couple of years, maybe they will draft Jim. I know I say a lot about him, but I don't want him to die. They won't draft me because of my eye, but they could take CJ or Donna.\n\n> You go north\nWhen I was fourteen, I threw a tantrum over something or other and Dad took Frankie the Bear away as punishment. I never got him back. Started thinking about that last night because found the eye I tore out after the accident. I told the doctor that too. Wow, I'm even more fucked up than I thought.\n\n---Diary (Decoded)---\nPage: 7 May 4-6\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 4 - I managed to convince mom to let me out of the house. Went to the mall with Donna. Was thinking about seeing CJ, but didn't want to push my luck so we just shopped.\n\nOn the way back, Donna decided to push her luck and ask me about my eye. I guess she's entitled. I showed her the tuner, and told her about the stupid pranks Jim keeps pulling. I even popped it out and let her look at it close up. She thinks it's neat and asked why I don't do stuff like use it to cheat on tests by turning up the zoom. Said she thinks it's better than having a big-ass scar on her face. That kind of pissed me off. Least she looks human. Why doesn't she get it?\n\nThen she said that if it bothers me so much, I should get cosmetic contacts to cover it up. I never thought about that before.\n\nI asked mom about getting contacts later. She said she didn't think they were safe. Of course, next week I'll be able to do as I like about it.\n\nMay 5 - I finally got to see CJ. Just a few minutes; Donna covered by telling mom she had to stop to pick up a prescription on the way home. We had just about enough time to pass the bowl around once and let CJ cop a couple of quick feels. We're going to get together later this week. Mom likes Donna because she's \"stable\", and since I haven't had any friends worth speaking of since, well, her, she can pretty much talk mom into anything. We're composing a cover story now.\n\nMay 6 - You are not fucking going to believe this. They've started up the draft. And what's more? They're not taking girls. I know, they've never taken them before, but they said that they would now, since they're all \"liberated\" and shit.\n\nAnyway, why aren't they taking girls, you ask? Well, there was a fucking commercial. A fucking commercial explaining how important women were to the war effort, and that's why they're not drafting them. And the way they're important to the war effort? You're gonna fucking love this -- reproduction. They're saying that it's \"The duty of all citizens to make full use of their reproductive capabilities to ensure that our population remains strong and growing through these times of adversity.\"\n\nWhat is this, the fucking dark ages? In addition to their heart-fucking-felt sermon, they've voted in a massive tax-break for families with newborns, a government handout for women who get themselves pregnant, and subsidies for unmarried women who want artificial insemination. They're also rushing through a bunch of fertility drugs that increase the chances of having twins. The got some low-level flunkie in one of the fringe groups on record saying that it was the \"sworn duty of every woman to attempt conception\", and that parents should encourage their daughters to get themselves knocked up as young as fifteen. They're trying to fucking breed themselves an army.\n\n> You go to the north\nBut it'll be what, twenty years before any of these war babies are old enough to fight. The war can't go on that long, can it?\n\n---Diary (Decoded)---\nPage: 8 May 7-11\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 7 - Oh the shit has hit the fan. There's rioting in the streets. The people who don't like the war are protesting the war. The people who don't like the draft are protesting the draft. Pretty much everyone is protesting the breeding plan, except for the ones that are lined up around the block to get a big fat shot of fertility drugs and the big fat check that goes with it. Mom's friend that works for a doctor says that they've been asked not to tie anyone's tubes or give out contraceptives anymore. I found out that Jim's stockpiling condoms, on the off chance he manages to get a girl who doesn't think the rest of him's as ugly as his face. Says there's a bill in congress to restrict the sale of anything that prevents pregnancy.\n\nDonna's friend Rusty is talking about signing up. She's trying to talk him out of it, but he figures his draft notice is in the mail already anyway.\n\nMay 8 - CJ has been selected by his friends and neighbors to represent his community in service to the United States Military. Which is to say that they want to send him over to China to get killed. I am surprisingly ambivalent.\n\nHe acted all scared and even cried a little. I imagine this was an act to coax me into sleeping with him. I can't say how well it worked, since he did it over the course of about three joints, which would have worked on its own.\n\nDonna's all hot and bothered over CJ's friend Tom (I think \"hot and bothered\" is a great expression. Saw it on TV last night.) & they went off to fool around for a while. He hasn't been drafted yet, but the way things are going it looks like he will be.\n\nMay 11 - When I got up this morning, my eye hadn't recharged. Hope I don't have to get the damned thing serviced. I couldn't go anywhere, of course, because I had to leave it on the charger all day. But Donna came over and we hung out. She went out with Tom last night and had a good time and all.\n\n> You go to the north\nShe thinks the eyepatch makes me look tough.\n\n---Diary (Decoded)---\nPage: 9 May 12-15\n\nP = previous page    N = next page\nQ"
    },
    {
        "text": "= resume story    G = Go to page\n\nMay 12 - Eye worked today. Guess I had it in the charger wrong or something.\n\nMay 13 - Donna's dad got \"activated\", which means he has to ship out. He does something technical for the navy, so it's not like he's going to the front or anything, but she's still scared. He wants her to go live with her grandmom. We talked to mom, and she said it would be okay if she stayed with us at least until the end of school. Her grandmom's an 80 year old woman with about a hundred cats.\n\nMay 14 - Episode 2 of \"The government does stuff you thought only pissant little third world dictatorships did.\" Donna's mom is pregnant. They offered to reduce her sentence if she let them inseminate her.\n\nThere's some kind of good-bye party for the guys who got drafted down at the VFW Friday night. CJ wants me to go. Mom wasn't too thrilled about it, but Donna's going, so she can't very well stop me.\n\nMay 15 - Well, the good news is that Rusty got rejected because he's got a spot on his lung. The bad news is that Tom did get drafted. Donna's spending the night with him, which I'm sure thrills her dad no end because he ships out tomorrow afternoon.\n\n> You go to the north\nToday was my birthday. Happy birthday. Mom and Dad gave me a couple of movies and a self-help book. Subtle. Jim got me some computer dohickey I didn't want or need, and programmed my eye to flash \"Happy Birthday\" a bunch of times, which I guess would be cute if it hadn't pissed me off. Donna told my parents she hadn't had time to get me anything but a card, but later she gave me a pair of contact lenses. It must have taken some work to get them, since she's too young to buy them on her own and you usually have to get fitted for them, I think.\n\n---Diary (Decoded)---\nPage: 10 May 17\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 17, 4:36 AM - Fucking party. Turns out the whole thing was set up by one of those wacko grotps. Figured it was important for \"our noble soldiers\" to \"leave ther genetic contribution to America's future.\" Read: date rape party. Donna & I managed to narrowly escape with the same amount of virtue we came with. Hud to kick somf 60 yr old redneck who thphht wf should \"sohw our appreciation so th boys fnr defdndign our country\" in the ballr. i feel drty just bieng there.\n\nwhgn we got there, cj was leaving his gendtic contribution in some slut. Likes ftcking her so much he should trz fucjign himself.\n\nMe & Donma bot some bopze @ a place she knows doesnt card to drink & tamk abovt what a looser bk is. Shfs passt out drunk on my bed. Hauhng wfsd thots. Like right before she femn alseep I really wantd to jirr ifs.\n\nEye jurt went ded. Too tirfd tp kedp coding. Brobably cnding like shjt anyway.\n\nMay 17 (later) - Fell asleep without taking my eye out so it's dead today. And no one ever told me how much it hurts if you sleep with contacts in. Told mom I was too sick to see the shrink today, which isn't far from the truth. I managed to get Donna down to her bed before mom went to wake her up for breakfast. As if we could eat. We crashed in my room most of the day so no one would see how sick we were.\n\n> Go north\nI let her get a good look at the hole in my face where my eye goes. She wasn't grossed out or anything. She asked me if I wanted to touch her scar. It was a little weird because you can feel little bumps where they stitched her cheek closed.\n\n---Diary (Decoded)---\nPage: 11 May 19-28\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 19 - The fighting has escalated. Last night, one of our islands in the pacific got wiped off the map. That many people could just wink out of existence like that, and the world just goes on.\n\nMay 20 - Rethinking yesterday's entry. We've been bombing the country with the largest population in the world for weeks now. Maybe we got what we deserved.\n\nMay 23 - There is no Laos.\n\nMay 24 - The doctor's changed his tune. Says I should find a nice boy and try to build up family ties. In other words, he's one of them. Wants me to get myself knocked up. He even said, and I quote, \"In this day and age, there really isn't an shame in being a single mother, even at a young age.\" Mom says I don't have to go anymore.\n\nMay 25 - Set up family ties with a nice boy? Fuck him. Besides, about the only boys that haven't been drafted are cripples and felons. And Rusty, of course, but I get the feeling he's looking to set up family ties with a nice boy himself.\n\nMay 26 - Mom is moving most of the valuables into long-term storage. As in \"make Jim go out in the woods and dig a deep hole to hide them in.\" Won't help. We're all going to die.\n\nMay 27 - Air raid drill at school. Yes. Duck and cover. Fuck your mother.\n\n> You go to the north\nMay 28 - Dad took me aside this evening under the pretense of helping him check the furnace. He isn't sure if there's room enough in the shelter for Donna. I told him I had to think about my response to that.\n\n---Diary (Decoded)---\nPage: 12 May 29-June 1\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nMay 29 - I told dad that my response was that if he thought he was going to sneak the family down to the basement and lock Donna upstairs to get blown up, he could fuck himself. Basically, I said that I wasn't going to lock myself in the 30-year deep freeze without her. He said he'd work out something, that maybe we could stretch the supplies out enough for a fifth. That was after he slapped me for swearing at him, of course.\n\nHe did something else weird, too. He showed me how to open the lock box that the cyanide pills are in. Said that if the time came, he thought I might be the only one strong enough to do what had to be done.\n\nI think he knows that the lead-lined casket in the basement isn't really going to save us.\n\nThe last thing he said before shoving me back upstairs was that he didn't want to insult me, but he had to make me promise that I'd *only* use the pills if I had to. Maybe it's weird that he trusts me enough to tell me, but it would have been better if he could do it without being afraid that I'd off myself when he wasn't looking.\n\nMay 30 - Something's bugging Donna. She won't talk to me about it. I'm worried.\n\nMay 31 - Donna didn't come home last night. She showed up late this afternoon with a lame story about spending the night at her place because she had gotten involved in packing some things.\n\n> Go north\nJune 1 - Sometimes I think it would be a lot better if I just died now. I don't really want to die any more, I just don't care. But I'd like to be in control. The whole fucking world could end any day now. At least if I did it myself, I'd know when it was coming. I'd have some say in the matter.\n\n---Diary (Decoded)---\nPage: 13 June 2-11\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nJune 2 - Donna is still acting funny. I wonder if she's worried about her dad.\n\nJune 3 - As close as I can tell, I'm a free woman again. Mom and Dad aren't watching me constantly, and I can pretty much come and go as I please, with the caveat that I can't stay out too long, what with the imminent possibility of he bomb killing us all.\n\nBut I'm worried about Donna. She wanders off for hours at a time, doesn't say anything.\n\nJune 4 - Jimmy's got himself a girlfriend. How cute. She's a rolly-polly little thing with coke-bottle glasses who thinks the sun rises and sets on him because of his brilliant invention. Maybe his stockpile won't go to waste after all.\n\nYeah. And maybe my eye will grow back.\n\nJune 5 - They've cancelled graduation due to war. Fuck.\n\nJune 6 - I forgot what I wanted to write. When I went downstairs to get my diary, I stopped by the door to Donna's room. Was gonna see if she was still up. I heard her crying. Should I have gone in?\n\nJune 7 - We're sending troops into Vietnam. Where have I heard that before?\n\nJune 9 - Donna asked me to try on some of her clothes. I don't like wearing a skirt, but she said I have really nice legs & I should show them off. Nice legs? Anyway, I hope this means she's feeling better, but there was something distant about her. About the only thing she was willing to talk about was the time I slit my wrists. Morbid.\n\nJune 10 - Rained all day today. After watching a whole lot of TV, we basically just sat around. I worked on new pages for my code book while Donna just sat there and watched me.\n\nJune 11 - More rain. I think Donna's close to breaking. I was laying in bed with my eyes closed, making the firm decision not to get out of bed until dinner, and she came in around one in the afternoon and asked if she could lay down with me. She got in bed and just lay there for a while, then she started crying. I put my arm around her and tried to get her to talk about it, but she didn't say anything. Just lay there sobbing for about three hours. Then, she just got up, thanked me, and left. Later, she was like nothing had happened.\n\n> You go north\nShe wants me to go to Rusty's tomorrow for a social evening (and cheap booze. But Rusty makes a good fuzzy navel.) I said I would.\n\n---Diary (Decoded)---\nPage: 14 June 13\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nWhat order should I write this in? This is big.\n\nDonna's pregnant.\n\nDonna kissed me.\n\nNow that the big points are out of the way, I'll get on to the details. Rusty isn't big on wild parties; it was just me and Donna and him and a couple of his friends siting around and drinking. After a couple of games of Beiruit, Donna needed help standing so she could throw the ball. She said she wanted to lie down for a while, so Rusty let me carry her to his sister's room -- she moved out a year ago. I was going to leave her for a while and go back to the party, but she asked me to stay. So I sit on the bed, and she's kind of hanging on me, and about twenty minutes go by, and then she tells me. Actually, she tells my arm, which is where her head was. She was way late so she got a pregnancy test from the drug store and however many lines showed up. So now I know why she's been so weird. I tell her that she shouldn't worry, and she has to take the test again to be sure, and maybe she should see her doctor. But of course her doctor's in Oklahoma, and she doesn't want anyone to know. She asks if I know anyone who can take care of it, because she won't keep it, and she hears that they're paying off abortion doctors to not take any patients, and they keep geting bombed by the war-baby people anyway, but of course I don't. So she cries for a while and hugs me and stuff, and she tells me how scared she is. I tell her that I'll do whatever she needs. I don't have a whole lot of money, because CJ was making me pay for pot most of the time, but I could sneak a bunch of shit from my parents, now that mom's got everything hidden, so if she needs cash to pay for it, I could do that. Or anything else she needs from me. She just wants me to keep holding her while she cries, so I do. And after a while she wants to lie down, so we do, and we just sort of cuddle for a while. She calms down some, so she starts talking about her mom, except she keeps calling her a coked-up whore. She talks some about her dad too, and how she thinks he's going to die.\n\nEventually I ask her if she's told Tom. She hasn't, of course, since he's off in boot camp, and she's not going to tell him because she doesn't want him having that on his head when he goes off to die for his country. While we're lying there, I get to thinking. I've always thought I was so alone, but then I think about Donna, and her coked-up whore mom in jail, her dad and her boyfriend going off to play soldiers. She says I'm just about the only friend she has in the world which is just about what I'm thinking at this point. And she sort of puts her hand behind my head and starts kind of playing with my hair. I start to get the feeling that she wants me to kiss her, but I'm not sure whether it's the booze or the loneliness, or the being afraid, or what, so I'm not sure it's a good idea even if I want to, which I'm not sure of either, but she takes matters into her own hands and kisses me.\n\nI kissed Donna one time when we were thirteen, on a dare, but it was just, you know, the kind of kiss you do on a dare. This was serious. It was a good kiss, as close as I can tell. I'm not gay or anything, I don't think, but it was still a good kiss. She didn't say anything afterward, just went back to crying until she fell asleep. I think this is as far as it's going, which is good.\n\n> You go north\nI wish I had been able to stick around until she woke up. I slept with her. Next to her, rather. But I slipped out early in the morning to clock in so my parents didn't bust a gasket over it. Left her a note. She hasn't come home yet, but she might still be asleep.\n\n---Diary (Decoded)---\nPage: 14 June 13\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nWhat order should I write this in? This is big.\n\nDonna's pregnant.\n\nDonna kissed me.\n\nNow that the big points are out of the way, I'll get on to the details. Rusty isn't big on wild parties; it was just me and Donna and him and a couple of his friends siting around and drinking. After a couple of games of Beiruit, Donna needed help standing so she could throw the ball. She said she wanted to lie down for a while, so Rusty let me carry her to his sister's room -- she moved out a year ago. I was going to leave her for a while and go back to the party, but she asked me to stay. So I sit on the bed, and she's kind of hanging on me, and about twenty minutes go by, and then she tells me. Actually, she tells my arm, which is where her head was. She was way late so she got a pregnancy test from the drug store and however many lines showed up. So now I know why she's been so weird. I tell her that she shouldn't worry, and she has to take the test again to be sure, and maybe she should see her doctor. But of course her doctor's in Oklahoma, and she doesn't want anyone to know. She asks if I know anyone who can take care of it, because she won't keep it, and she hears that they're paying off abortion doctors to not take any patients, and they keep geting bombed by the war-baby people anyway, but of course I don't. So she cries for a while and hugs me and stuff, and she tells me how scared she is. I tell her that I'll do whatever she needs. I don't have a whole lot of money, because CJ was making me pay for pot most of the time, but I could sneak a bunch of shit from my parents, now that mom's got everything hidden, so if she needs cash to pay for it, I could do that. Or anything else she needs from me. She just wants me to keep holding her while she cries, so I do. And after a while she wants to lie down, so we do, and we just sort of cuddle for a while. She calms down some, so she starts talking about her mom, except she keeps calling her a coked-up whore. She talks some about her dad too, and how she thinks he's going to die.\n\nEventually I ask her if she's told Tom. She hasn't, of course, since he's off in boot camp, and she's not going to tell him because she doesn't want him having that on his head when he goes off to die for his country. While we're lying there, I get to thinking. I've always thought I was so alone, but then I think about Donna, and her coked-up whore mom in jail, her dad and her boyfriend going off to play soldiers. She says I'm just about the only friend she has in the world which is just about what I'm thinking at this point. And she sort of puts her hand behind my head and starts kind of playing with my hair. I start to get the feeling that she wants me to kiss her, but I'm not sure whether it's the booze or the loneliness, or the being afraid, or what, so I'm not sure it's a good idea even if I want to, which I'm not sure of either, but she takes matters into her own hands and kisses me.\n\nI kissed Donna one time when we were thirteen, on a dare, but it was just, you know, the kind of kiss you do on a dare. This was serious. It was a good kiss, as close as I can tell. I'm not gay or anything, I don't think, but it was still a good kiss. She didn't say anything afterward, just went back to crying until she fell asleep. I think this is as far as it's going, which is good.\n\n> Documents\nPress the number of your selection, 1-9, 0 to redisplay or Q to quit.\n\n3     Suicide Note\n4     Current Events Homework\n5     Letter (1)\n6     Letter (2)\n7     Code Book (old)\n8     Code Book (new)\n9     Diary (Decoded)\n\n> You analyze the autokey\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using unknown cipher (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\nThe house shakes hard as a something, probably an aircraft or small bomb, crashes to earth in the distance.\n\n> You put the eye in the charger\nYou let the optical unit charge for a few minutes. When you remove it, it's warm to the touch. Hm. The device seems to think that the eye is fully charged. That doesn't make sense; this charger is supposed to, if your memory serves, take several hours. There's no way that the technology of this period could build a charger capable of such speed. Somewhere, probably a few kilometers away, there is an explosion. The house rocks, and you have a hard time keeping your footing.\n\nYou hear a great crash below.\n\n> Interface eye\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: LZ-50 Optical Prosthetic. Manufacturer: Optitron BioTechnics\n\nDownloading images...\n\nThe viewpoint of the camera suggests that the wearer is seated in front of a portable computer. Her hand reaches out and picks up a small device beside the computer. She turns it over, presumably examining it from all angles. The hand turns the device until its barrel-end points directly into the camera. A finger twitches, pressing a button. A flash of light issues from the end of the device, and the image flickers, distorts, and breaks up.\n\nWhen the image returns, the device has been dropped to the table. The wearer stands, and the camera reels in unsteady ascent. Again a hand reaches out, this time to switch the computer off. It takes a small red pill from the table, and then moves to the wearer's mouth.\n\nThe camera turns quickly, and moves toward one of the bunked beds. It focuses on the motionless body of a beautiful blonde girl. The image switches to infrared, showing the characteristic cooling of a recently deceased body, then the camera changes back to the visual spectrum. The camera bobs up and down, as if slowly nodding. It moves toward the face of the dead girl, and stays very close to one cheek for a long time. The camera withdraws, and the wearer extends a hand, tracing the shoulder and arm of the corpse, finally coming to rest atop the folded hands. The wearer's hand squeezes the dead hands once, then the camera turns toward the opposite cot.\n\nThe camera moves toward the cot, then turns and lowers, finally pitching back as the wearer lies down. A hand moves toward the camera, and as it passes in front of it, the recording ends.\n[The document \"LZ-50 Memory Buffer\" has been added to your DataStore.]\n\n> You examine the eye\nRemarkable. This is an LZ-50 prosthetic optical unit, the first commercial replacement eye. This explains the sunken eyelid on the poor dead girl -- she must have had a prosthetic eye. But this... You could stand here all day and admire the workmanship. You would never have suspected that the technology of this period could develop something that could actually replace a human eye. And here you are... it's in your hand. You turn it over and over. It looks amazingly realistic.\n\n> Decode crumpled letter\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 26 character alphabet.\nDecoding...\n1\n\nHi. Um. Hope I remember how to yse the code book right. How are you? I guesr you're wondering where this note came. Well, I'm living with my dad now. Mom started dating this drug dealer and she got arrested because he was making crystal meth in our basement. So I'm back here at least till the end of the year. So what's new in your life? I'm sorry I haven't kept in touch. Pleare write me back so we can talk some time.\n\n[The DataStore entry for this document has been updated to reflect deciphered text.]\n\n> Decode folded\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nBest guess: One Time Pad. 26 character alphabet.\nDecoding...\n3\n\nI'm glad you wrote me back. All these years, I've been scared pretty much shitless that you hated me, because it was my mom was driving that night when you lost your eye. I've really missed you all these years, and I would have talked to you in the hall, but every time I see you I lose my nerve. First I think that you'll hate me because of the accident, then I think maybe I should try to talk to you anyway, but then I think that you'll hate me for not talking to you for so long. I guess I'll understand if you want me to just steer clear and stuff, but please try to forgive me. God, I'm such a coward. I've really missed you. I don't know if you can ever forgive me, but I really want to let you know how sorry I am.\n\n[The DataStore entry for this document has been updated to reflect deciphered text.]\n\n> Research sync\nNo relevant entry found.\nSomething blocks the light for a second, and you turn to look. Nothing. Hm. This place is starting to get to you.\n\n> Go east\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\nThis image shows a young man in his mid-teens. He sports a pathetic attempt at a moustache. Though he shows all the awkwardness of adolescence, he apparently does know, at least, how to pose for a photograph. He has a very slight smile, and a look of interested curiosity on his face. He does show the awkward pockmarks of severe acne, made worse by the extreme fullness of his face. He is wearing a black shirt with a suede vest, which bears a small lapel pin, of the sort distributed by academic honor societies.\n[The document \"Photograph of a Young Man\" has been added to your DataStore.]\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nOf all the rooms you've seen so far, this bedroom shows the least signs of having been tidied before the house was abandoned. Naturally, of course, this heightens your curiosity; untidy rooms generally tell you more than clean ones. From the space-shuttle wallpaper, you suspect that this room belonged to a young child, though it might simply imply that the room is long-overdue for renovation. There is a bookcase along one wall, containing model space ships, toy robots, and a very few books. A desk beside the door is loaded down with computer equipment. The most interesting feature of the room is the floor; while most of the other rooms have had wall-to-wall carpeting, this room has what appears to be industrial grade linoleum tile. The hallway lies west.\n\n> You look at the linoleum\nYou don't recall any precedent in home furnishing that would call for industrial grade linoleum in a bedroom, but it is here nonetheless. Since you can't imagine that the floor is an artifact from an earlier function of the room, it is somewhat perplexing that such a floor would be present.\n\n> Interface computer\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Personal Computer. Manufacturer identification not found.\n\nSearching for relevant data...\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\n\n> 2\nAnalyzing...\nFormat not recognized.\nAttempting to download...\nDownload failed: Insufficient space.\n\n\n\nPress the number of your selection, 1-3, 0 to redisplay or Q to quit. Three relevant documents found:\n1     Code Fragment\n2     Data Snapshot\n3     Electronic Mailbox\n\n> 3\n---Email Database (Boy's Bedroom)---\nPage: 1 Mailbox for swallace\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nFrom: Subject:\nDr. Helmut Sha Re: distributed neural simulation...2\nYOR_FRIEND906  HOTTEST OFFER EVER..................3\nhotoffer@spam. Lower your debt!....................4\nDr. Helmut Sha PIT AI lab..........................5\nMichael Pendra 31337...............................6\nAmy            (no subject)........................7\nMichelle313    I'm boooooooored!...................8\nSteve Elocon   Re: PIT AI lab......................9\nAmy            Re: Tonight.........................10\nMichael Pendra Julia...............................11\nAmy            Hi..................................12\nMichael Pendra 31337...............................13\nAmy            Hi, again...........................14\nMichael Pendra Re: Julia...........................15\nAmy            Re: Hi, again.......................16\nSteve Elocon   Re: PIT AI lab......................17\nhotxxx@bulkmai YOUNG HARDCORE SLUTS................18\nMary Pantalon  PIT early admission.................19\nAmy            Um... Stuff.........................20\nAmy            My last mail........................21\nDante          Situation...........................22\nMichael Pendra Re: Situation.......................23\nMichael Pendra Re: PIT.............................24\nAmy            Sorry...............................25\n\n> You analyze the code fragment\nAnalyzing...\nExamining text...\nPerforming heuristics...\nCounting character frequencies...\nPerforming statistical analysis...\nPerforming more heuristics...\nResults: Coded text using unknown cipher (This text cannot be decoded at this time)\nNote: Unbreakable ciphers (eg. Ciphers using One Time Pad or RUR nanocode encoding) cannot be decoded until matching key has been analyzed. Unknown ciphers may be decoded after more encrypted text has been analyzed.\n\n> You examine wallpaper\nThe papering on the walls shows vaguely technical schematics for the first reusable space vehicle. You can't imagine what it must have been like; a society so impressed by a model of space vehicle that it would make its way into something so mundane as wall coverings. It must have really been something for the people of this time. You have to remind yourself that for these people, space travel was still risky business. The very idea that they could reliably send something up, outside their little planet, and then bring it back again... It must have been absolutely wondrous to see something like this go up.\n\n> You examine the toys\nmodel spaceship: Small, detailed models of space vehicles which appear to be more fanciful than realistic.\n\n> You jump\nYou jump on the spot.\n\n> You look under the desk\n(the desk)\nYou find nothing of interest.\n\n> You open the desk\n(the desk)\nThat's not something you can open.\n\n> You examine the desk\n(the desk)\nYou see nothing special about the desk.\n\n> You take all the desk\ndesk: That's hardly portable.\n\n> Go west\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\nThe image shows a young woman dressed in simplified academic regalia. She wears a formless gown in an unflattering blue pastel with a mortarboard cap. The girl in the picture looks about the right age for this photograph to be commemorating a high school graduation, though there are signs that she might be older; her expression is one of world-weariness, and her disapproving frown merges into lines on the face which suggest that this is an accustomed expression. You imagine that she would be quite attractive, if not for the scowl which seems to be permanently burnt into her face.\n\nAn unnatural reflection causes you to notice her right eye, which, under close scrutiny, is apparently artificial. Though the prosthesis is good enough to pass for the real thing under casual scrutiny, it does lack the bloodshot look of the left eye, and you can make out the segmentation of a mechanical iris. If the color had been a better match for her left eye, you might well not have noticed.\n[The document \"Graduation Photograph\" has been added to your DataStore.]\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nGenerally speaking, you learn more from a dirty house than a clean one; intensive cleaning tends to remove much of the anthropological evidence about the day-to-day affairs of the occupants. You can tell that whoever lived here had some warning before they evacuated, time enough to at least do some preliminary straightening up. The bed, which is opposite the door, under the smaller of the room's two windows, is neatly made, the wastepaper basket between the door and the dresser is empty, and the two night tables on either side of the bed are both clean and freshly polished. A full-length mirror hangs on a door to the north. The hallway is east.\n\n> You open the dresser\n(the dresser drawers)\nYou open the dresser drawers, revealing an antique key.\n\n> You go to the north\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nYou are in a bathroom, unusually large and attractively decorated. Aside from the free-standing whirlpool bathtub, there is a separate shower stall. A counter, the central feature of which is a three-paneled mirror which wraps around the sink, spans one wall. Architecturally, the room itself is fairly simple; a rectangle with plain white walls and a simple black-and-white tessellation on the floor tile. The decor gives the room more life; delicate just-green lace window drapery contrasts elegantly with the deep green of the heavy rug in the center of the room. The counter is equipped with a wicker dish full of soaps which you assume are more decorative than functional. A wooden table under the window holds a vase of dried flowers. The exit is south.\n\n> You drop the autokey\nDropped.\n\n> You go north\nThat door is locked.\n\nYou manage to unlock the door with the simple key.\n\nYou are in a bathroom, unusually large and attractively decorated. Aside from the free-standing whirlpool bathtub, there is a separate shower stall. A counter, the central feature of which is a three-paneled mirror which wraps around the sink, spans one wall. Architecturally, the room itself is fairly simple; a rectangle with plain white walls and a simple black-and-white tessellation on the floor tile. The decor gives the room more life; delicate just-green lace window drapery contrasts elegantly with the deep green of the heavy rug in the center of the room. The counter is equipped with a wicker dish full of soaps which you assume are more decorative than functional. A wooden table under the window holds a vase of dried flowers. The exit is south.\n\n> You examine the tub\nThe bathtub is empty.\n\n> You examine the vase\nIn the vase are some dried flowers.\n\n> You examine the soaps\nUnbelievable. The level of craftsmanship these people could put into something like this. It is almost as if the fact that the icon would be destroyed on its first use didn't make one scrap of difference. To turn something so mundane into a piece of art... Incredible.\n\n> Go east\nGenerally speaking, you learn more from a dirty house than a clean one; intensive cleaning tends to remove much of the anthropological evidence about the day-to-day affairs of the occupants. You can tell that whoever lived here had some warning before they evacuated, time enough to at least do some preliminary straightening up. The bed, which is opposite the door, under the smaller of the room's two windows, is neatly made, the wastepaper basket between the door and the dresser is empty, and the two night tables on either side of the bed are both clean and freshly polished. A full-length mirror hangs on a door to the north. The hallway is east.\n\nYou can see an autokey here.\n\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\n> Go"
    },
    {
        "text": "west\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter.\n\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 1], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\nThat door is locked.\n\nYou manage to unlock the door with the antique key.\n\nThe small office is furnished much as you'd expect for an office of this period. There is a bookshelf along one wall, furnished more with office supplies than with books. The only exit is east.\n\nYou can see a computer here.\n\n> Research united earth\nCylinians (United Cylinz Confederation)\nThe first contact between Humans and non-human intelligence came in the form of a Concordance delegation sent to meet the first superluminal Earth ship. The Concordance had monitored Earth for some time, and chose to send a delegation composed primarily of Cylinians, due to the marked similarity between the two races.\n\nPhysically and socially, Cylinians are almost identical to Humans. The only external physical differences deal with pigmentation (All Cylinians have blue or brown eyes, and the skin around their eyes is darker. Otherwise, they are identical to Humans native to southern Europe. With a minimum of cosmetics, a member of one species could easily pass for the other), and the two species are even capable of interbreeding [Footnote 7].\n\nSource: CASFR member race database\n\n> Footnote 7\n[Footnote 7]\nIn fact, Cylinians and Humans are not truly different \"species\", according to the traditional definition of the word. The fact that two races on different planets could develop nearly identical genetic code has led many to postulate the existance of some older \"parent\" species.\n\n> Go upwards\nThe house is even bigger than you initially thought; this level is not a basement. Standing at the foot of the stairs, the door leading to the basement proper is in front of you  [Footnote 1], while fully-fledged rooms lie in the other cardinal directions. Another, smaller room lies to the northwest.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter.\n\n> You examine Letter\nDear Julia,\nI hope to God you get this letter. We waited for you as long as we could, but they're saying that the bombs could fall any day. There's a shelter out in New Calvert, we're going there. Daddy says its the safest place in a hundred miles. Try to get there if you can, but don't take any risks. The most important thing is that you stay safe. I left some money and your grandmom's jewels in the hidden place for you. Your dad bought a gun and bullets, and put them there too, but be careful. We all love you and hope to see you again.\n\nLove,\nMom.\n[The document \"Letter to Julia\" has been added to your DataStore.]\n\n> Go west\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\nGenerally speaking, you learn more from a dirty house than a clean one; intensive cleaning tends to remove much of the anthropological evidence about the day-to-day affairs of the occupants. You can tell that whoever lived here had some warning before they evacuated, time enough to at least do some preliminary straightening up. The bed, which is opposite the door, under the smaller of the room's two windows, is neatly made, the wastepaper basket between the door and the dresser is empty, and the two night tables on either side of the bed are both clean and freshly polished. A full-length mirror hangs on a door to the north. The hallway is east.\n\nYou can see an autokey here.\n\n> You go to the east\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\nA poorly-lit length of hallway begins here and continues west. The southern wall is open to the living room. A door leads east.\n\nA painting on the wall depicts a nautical theme.\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nYou are in a very small bathroom, fitted out as you would expect, in a pastel decor. A number of decorative touches lead you to surmise that this bathroom was intended primarily for guests. A gentle breeze issues from a vent high on one wall. The exit is west.\n\nOn the fixture is a scientific journal.\n\n> You look at the journal\nThis is a magazine whose articles showcase current events in the scientific community. It is written to a target audience of educated, but not scientifically trained, readers.\nYou browse through the magazine, looking for anything of interest. You are not disappointed. There is a short article, all the way at the back, summarizing the doctoral thesis of one Emmanuel Kaldeki.\nThis is quite a find; Kaldeki's original thesis has long been lost, and it has long been assumed that he had not pursued the line of research that would eventually lead to StreamDive technology until after the war. You read the article...\n\nPhysicist Emmanuel Kaldeki created a buzz in the scientific world early this month with the delivery of his PhD thesis, \"Mathematical Modeling of Non-Temporal Quantum Particles\" at the Pacific Institute of Technology. The paper describes a set of mathematical formulae which model a theoretical particle called \"Q-omega\". The Q-omega particle, according to Kaldeki's model, behaves in most respects like a strange-matter quark, but also exhibits properties previously only modeled in tachyons. Specifically, it reacts in unusual ways to space-time curvature. The Kaldeki model suggests that that at relativistic velocities, the Q-omega particle would \"plane\" on highly curved space-time, in much the same way that the hull of a speed boat planes over water.\n\nMost of the excitement over Kaldeki's paper comes not from the modeling technique itself, but from the two major example models included. The first demonstrates how the non-temporal nature of the Q-omega particle renders it immune from the effects of time and mass dilation occurring at speeds near that of light. Indeed, because of their unique nature, the model shows that Q-omega particles can be accelerated above the speed of light, a possibility generally disallowed by the theory of relativity.\n\nThe second, and more impressive example studies the behavior of Q-omega in the vicinity of a black hole. Under such extreme space-time curvature, Kaldeki predicts that the Q-omega particle would completely disassociate itself with conventional space-time, being displaced along a predictable path to some distant point in the universe instantaneously. Because the path of the particle does not go through space-time during this journey, it is possible for Q-omega to re-enter normal space at a point in time prior to its departure.\n\nThe scientific community is excited about the implications of this theory: several researchers have suggested that Kaldeki's findings may open the way to faster-than-light travel, matter transmission, and time travel. Asked about these possibilities, Kaldeki said, \"I think it's a bit early to start talking about applications; we don't even know yet if the particles I've modeled can be created. There's nothing in the mathematics that would prohibit [these applications], but actually doing it is a long way off. You've got to remember, we're talking about sub-atomic particles, and if we could scale the effect to something the size of, say, a man, it's not very likely that a living creature could survive being moved around like that.\"\n\nKaldeki has received a grant for an undisclosed amount to pursue the fabrication of these particles. The degree of Doctor of Philosophy in Quantum Physics will be conferred upon Emmanuel Kaldeki by the Pacific Institute of Technology during commencement exercises next month.\n[The document \"Kaldeki Article\" has been added to your DataStore.] Somewhere near the coast of Alaska, an intercontinental missile generates a high-frequency electrical field, rendering it invisible to the defensive screen covering much of the North American continent.\n\n> You examine the photograph\nA poorly-lit length of hallway begins here and continues west. The southern wall is open to the living room. A door leads east.\n\nA painting on the wall depicts a nautical theme.\n\nThe ceiling over this stretch of hallway slopes upward where the stairs cut into it. Along the south wall, just before the ceiling becomes too low to make a serviceable hallway, a low, louvered door marks a small closet. The hallway continues east, and to the west it ends in an archway leading to the dining room.\n\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\n\nOn the buffet are two oil lamps.\n\nYou can see a photograph here.\nThis is apparently a visual of the family that lived in this house. In the back stand two adults, a man whose receding hair looks unnaturally dark, wearing thick, horn-rimmed eyeglasses, and a woman, much shorter, who looks about the same age. She too wears glasses, with a more fashionable wire frame. Her front teeth, visible in what looks like an unaccustomed smile, are stained and crooked. A small scar is visible near the corner of her mouth. Before them are two children. On the right, a boy about ten, has a ridiculous smile and equally ridiculous bowl-cut. Beside him is a girl, probably a few years his senior. You aren't sure, but you think you see a glint of something reflective near her temple, where her hair is awkwardly combed over a bald patch. Her eyes are not quite the same color, though that may be a blemish on the photograph. There does certainly seem to be something odd about her right eye, but you can't tell on a photograph this size.\n[The document \"Family Photo\" has been added to your DataStore.]\n\n> You examine the Card\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\nA grade report has been affixed to the refrigerator door:\nDonald Woods High School\nInterim Grade Report\n\nTerm: Spring\nName: Stephen James Wallace\nGrade: 10\n\nClass: Calculus        Instructor: Nelson    Grade: 99\nClass: Journalism Tech Instructor: Kryzac    Grade: 100\nClass: English II      Instructor: Celsius   Grade: 89\nClass: AP Physics      Instructor: Cornell   Grade: 98\n\nPlease report any errors to guidance office immediately.\nThis is an interim grade report. Official grades will be available at end of semester.\n[The document \"Report Card\" has been added to your DataStore.]\n\n> You examine the receipt\nday!\nStore #10191 Checker 7 6:27 PM\n\nBJ ICE CRM 1GAL            7.74\nFW TOWELL 6PK         SB   4.80\nFW 2PCT MLK 1GAL           4.88\nFW TRASH BAG               5.54\nPRODUCE               SB   9.34\nPRODUCE                   16.33\nAP XS CH COL               9.72\nPOLISH SAUS               10.21\n1DOZ EGG                   8.35\nFLNK STK                  18.22\nPRD WHOLE CHKN            12.77\nFC BREAD                   1.94\nCOKE 2LTR          6      18.06\nMTN SPR WTR 1GAL   4      12.44\nTT DONUT                   4.33\nMARLB MEN UL CRT          52.00\nAA BATT 12PK              16.32\nCP SOUP            5  SB  10.35\nAPL JCE                    5.10\nMX TMPN 30                 6.77\n\nBAL                      235.21\n\nSB FW TOWELL 6PK           2.20-\nSB PRODUCE                 1.21-\nSB CP SOUP                 1.00-\nBAL                      230.80\nTAX  11.54     BAL       242.34\nDebit Card               242.34-\n\nFoodWorks 10191\nDebit Card     XXXXXXXXXXXXX1332\n$242.34\nBIOMETRIC SCAN CONFIRM:\nJames Robert Wallace\nAUTH OK\n\nAuthentication verified by DAVS\nYOUR TOTAL SUPER BONUS SAVINGS\nTODAY ARE: $4.41\n\n\n\nday!\n\n[The document \"Grocery Receipt\" has been added to your DataStore.]\n\n> E,E,E\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nThis was originally a walk-in closet, but with the quantity of items which have accumulated here, it has become more of a stand-in closet. You are sure that if the building weren't doomed, it would eventually have turned into a lean-in closet. Between the well-stocked coat rod and a number of boxes, there is just enough room for you to turn around if you feel like returning west to the living room.\n\nOn the coat rod are a winter coat (in which is a sales brochure), a light jacket (empty), a windbreaker (empty), a gray suitcoat (empty), a black suitcoat (empty) and a smoking jacket (empty).\n\n> Go upward\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\nThere is barely enough room to stand upright in the attic. It certainly looks too small to be of much use for storage. It's nearly impossible to move without clocking yourself on a supporting beam.\n\nYou can see an unlabeled data disc here.\n\n> Interface disc\nAttempting to interface...\nInterface established.\nExamining device...\nSelecting protocol...\nCompatible protocol found.\nDevice: Optical disc, Joliet encoding.\n\nScanning. Text message found:\nBy now, the political alliance of European and American countries is engaged in a war against countries in the middle and far east. This conflict will last several years, and result in several billion deaths. The war will be ended when Space Station Kennedy crashes near the Chinese capital city.\n\nHowever, the war can be ended more quickly, and with a reduced loss of life if nuclear weapons from the United States can be effectively deployed in the Chinese mainland. The defensive screen which prevents nuclear weapons from reaching Chinese soil uses a simple 512-bit identification code to differentiate between friendly and unfriendly missiles. If a nuclear missile were to transmit the data sequence generated by the Plotnitz-Leibkin algorithm at a frequency of 906.4 MHz, Chinese countermeasures would mistake the missile for a Chinese launch, and would be unable to eradicate it before it reached its target. The tactical advantage afforded by this ability will undoubtedly force the eastern alliance to capitulate with a substantially reduced cost in both lives and damage to the world ecosystem.\n[The document \"Data Disc Message\" has been added to your DataStore.]\n\nYou blink. This doesn't make any sense. The disc is contemporary, but it seems to contain information about events in the future. This can't be... Has history somehow been altered?\n\n> You go east\nYou are in a small, dark room that appears to have been unused for years. The only feature worth noting is a wooden ladder which leads to an opening in the ceiling. The exit is north.\n\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 5], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 6]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nFrom the architecture of the house, you can tell that this is the only bedroom to have its own walk-in closet, which no doubt was an issue of some discussion when bedrooms were assigned. The majority of the closet is taken up by clothing, but you can see a few boxes toward the back.\n\n> You move the boxes\nYou are unable to.\n\n> Search boxes\nPushing a box to the side, you discover a thin composition book, which had been secreted between two of the boxes.\n\n> You read the thin Book\nPage: 0 Fake Diary\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\n> You encode the blank chip\nSelecting cipher...\nUsing RUR-14.\nOutput:\npelmrptfju\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\niplmughkrv\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\njqmnvhilsw\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nkrnowijmtx\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nlsopxjknuy\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nmtpqyklovz\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nnuqrzlmpwa\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\novrsamnqxb\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\npwstbnoryc\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nqxtucopszd\n\n> Encode qwertyuiop\nSelecting cipher...\nUsing RUR-14.\nOutput:\nryuvdpqtae\n\n> Encode qwert\nSelecting cipher...\nUsing RUR-14.\nOutput:\nszvwe\n\n> Encode qwert\nSelecting cipher...\nUsing RUR-14.\nOutput:\ntawxf\n\n> Encode qwert\nSelecting cipher...\nUsing RUR-14.\nOutput:\nubxyg\n\n> You examine library\nThis chip contains a library of data, tailored to your current mission parameters.\nCommands Provided:\nRESEARCH X -- Search library for given term\nBROWSE -- Display relevant entries\n\n> You browse\nPress the number of your selection, 1-6, 0 to redisplay or Q to quit.\n\n3     Cylinians\n4     Historical Period: The Seventy Days\n5     Historical Period: ca 865600-866300 UDC\n6     Stephen James Wallace\n\n> 5\nHistorical Period: ca 865600-866300 UDC\nHistorical Period: ca 865600-866300 UDC\nPossibly the darkest period in recent history, this period contains the last and largest of the intercontinental wars. Several Middle Eastern nations formed a military alliance, and began imposing expansionist policies on neighboring countries. When the United States threatened to cut off trade relations with these countries, the formed a lucrative trade alliance with China. Because during this period, industrialized nations were still highly dependent on fossil fuel, an alliance of western nations declared war on China and the Arabic alliance. Tactical nuclear warheads were used by both sides, resulting in the near-total annihilation of many US-sympathetic countries in southeast Asia. Though US nuclear weapons were unable to breach Chinese countermeasures, several Chinese nuclear missiles did penetrate the US defensive system, obliterating a number of cities. The war was finally ended when the massive space station Kennedy crashed to Earth near the Chinese capital. The resulting explosion killed over two billion people, forcing the Chinese government to capitulate. However, widespread environmental and war damage left the entire world badly crippled. Reconstruction would take much of the next century, and the extensive costs of rebuilding the damaged world forced the beginning of governmental alliances that would eventually lead to a United Earth Government.\n\nYour mission occurs during the opening of the nuclear phase of the war. At 785278.83 UDC, a missile launched from China will exploit the breach in the US missile shield. Nine hours later, its course will be diverted away from Washington, DC to avoid US countermeasures. It will narrowly miss a secondary target, several miles from your Dive site, at 865741.8 UDC.\n\nSource: Zanxq's Brief Guide to Human Civilizations, vol. 72\n\nSEE ALSO: Space Station Kennedy\n\n> Research space station kennedy\nPress the number of your selection, 1-7, 0 to redisplay or Q to quit.\n\n3     Cylinians\n4     Historical Period: The Seventy Days\n5     Historical Period: ca 865600-866300 UDC\n6     Space Station Kennedy\n7     Stephen James Wallace\n\n> 6\nThe first orbital platform intended for permanent occupation, Space Station Kennedy was assembled in Earth orbit in the second quarter of the twenty-first century. Compared with earlier projects, Kennedy was ambitious; it contained living facilities for twenty-five families, and, unlike earlier space stations, its primary function was not scientific, but industrial. Methods of zero-gravity production which had previously been tested on earlier space missions were implemented on a grand scale. It was also the first space vehicle to be equipped with a synthetic gravity system. After two decades of service, the station was badly damaged during the intercontinental war of the mid twenty-first century. Its crew were not able to prevent a forced re-entry, and chose to direct the crashing space station to a heavily inhabited area of China. Everyone aboard the station was killed in the resulting explosion, which also resulted in severe environmental catastrophes in Asia, prompting the end of the war.\n\nSource: The Space Pioneers, vol. 9\n\nBROWSE\nPress the number of your selection, 1-7, 0 to redisplay or Q to quit.\n\n3     Cylinians\n4     Historical Period: The Seventy Days\n5     Historical Period: ca 865600-866300 UDC\n6     Space Station Kennedy\n7     Stephen James Wallace\n\n> Research streamdive\n(the StreamDive console)\nNo relevant entry found.\n\n> Wait\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\n\n> You wait\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\nIn the distance, you think you hear someone trying to force the lock on the front door. Better stay out of sight.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\nIn the front hall, you hear the sound of cracking wood as the door is forced open. There's someone else in the house.\n\"Alert:\", the console beeps, \"Human presence detected within building.\"\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\n> You check your inventory\nYou"
    },
    {
        "text": "are carrying:\na fake diary\nan autokey\ntwo keys:\nan antique key\na simple key\na code book\na real diary\na prosthetic eye\nyour StreamDive console\nfive chips:\na library chip\nan interface chip\na DataStore chip\na cryptography chip\na blank chip\n\n> DROP FAKE DIARY, CODE BOOK, REAL DIARY, EYE\nfake diary: Dropped.\ncode book: Dropped.\nreal diary: Dropped.\nprosthetic eye: Dropped.\n\n> Simple key\nantique key: Dropped.\nsimple key: Dropped.\n\n> You go west\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\n> You examine the coatrack\nA fairly simple coatrack stands in the corner, partially eclipsing the air vent along the wall.\n\n> You look in the cabinet\nIn the video cabinet are a video screen and six video discs (one \"Episode Two\", one \"Jigsaw\", one \"Spider and Web\", one \"Symetry\", one \"War of the Worlds\" and one \"Best Chefs\").\n\n> Go north\nA poorly-lit length of hallway begins here and continues west. The southern wall is open to the living room. A door leads east.\n\n> You take it\nThat's hardly portable.\n\n> Examine books\nNothing of note; a few books on computer operation and general chemistry references.\n\n> Go east\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\nThis was originally a walk-in closet, but with the quantity of items which have accumulated here, it has become more of a stand-in closet. You are sure that if the building weren't doomed, it would eventually have turned into a lean-in closet. Between the well-stocked coat rod and a number of boxes, there is just enough room for you to turn around if you feel like returning west to the living room.\n\nOn the coat rod are a winter coat (in which is a sales brochure), a light jacket (empty), a windbreaker (empty), a gray suitcoat (empty), a black suitcoat (empty) and a smoking jacket (empty).\n\n> You look at the boxes\nBoxes are piled high. The bottommost ones appear to be neatly stacked, but the more accessible ones are positioned more haphazardly.\n\n> You look at the smoking jacket\nA wool jacket with suede patches at the elbows in a houndstooth pattern.\n\n> You take all the coats\nwinter coat: Taken.\nlight jacket: Taken.\nwindbreaker: Taken.\ngray suitcoat: Taken.\nblack suitcoat: Taken.\n\n> You wear the winter coat\nYou put on the winter coat.\n\n> You wear the light jacket\nYou put on the light jacket.\n\n> You wear the windbreaker\nYou put on the windbreaker.\n\n> You wear the gray suitcoat\nYou put on the gray suitcoat.\n\n> You wear the black suitcoat\nYou put on the black suitcoat.\n\n> You wear the smoking jacket\nYou put on the smoking jacket.\n\n> You look at windbreaker\nA lightweight jacket made of a synthetic polymer.\n\n> You drop it\nYou take off the windbreaker.\nDropped.\n\n> You drop it\nYou take off the gray suitcoat.\nDropped.\n\n> You drop it\nYou take off the black suitcoat.\nDropped.\n\n> You drop it\nYou take off the smoking jacket.\nDropped.\n\n> You check your inventory\nYou are carrying:\na light jacket (being worn)\na winter coat (being worn)\na sales brochure\nan autokey\nyour StreamDive console\nfive chips:\na library chip\nan interface chip\na DataStore chip\na cryptography chip\na blank chip\n\n> You drop it\nYou take off the winter coat.\nDropped.\nYou take off the light jacket.\nDropped.\n\n> Go west\nThe very name \"living room\" is a subject of some consideration: what does it mean to be a \"room for living\". Obviously, one \"lives\" in every room of a house. Practically speaking, during this time period, the \"living room\" was the room in which one entertained guests, watched video transmissions, and interacted with family. Nevertheless, the living room was primarily the adults' domain. This living room is not an exception. The atmosphere is one of maturity; the lack of wear on the furniture and prominence of fragile art objects suggests that it is a room not accustomed to children's play. A couch and several armchairs are arranged in a rough semicircle, a superficial attempt at creating the illusion that its occupants are generally interested in conversation rather than watching the screen, which one assumes is in the cabinet situated along the southern wall. The louvered doors of a closet are set in the east wall, and the wall opposite opens into the foyer. Along the north wall, a section opens into another hallway.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\n\nThis is a small room, designed to hold food staples and cooking equipment not housed in the kitchen. You doubt you'll find anything worthwhile in here, but you've been a StreamDiver long enough to know better than to trust appearances. You can return east to the kitchen.\n\nShelves line the walls, sparsely stocked.\n\nOn the shelves are some pots and pans, a lazy susan (empty), a flour pot (closed) and a can of spiced ham (closed).\n\n> You look at the ham\nThis is a can of compressed, meat-like substance, which, though only barely meeting the definition of \"food\", could have provided an easy meal in an emergency.\n\n> Footnote 8\n[Footnote 8]\nJust.\n\n> You examine cans\nWhich do you mean, the floor cleaner or the furniture polish?\n\n> Cleaner\nIf the label is to be believed, this particular compound will restore even the most heavily soiled floors to a factory shine.\n\n> You examine the polish\nA fragrant compound designed to collect dust and restore a polished shine to wooden furniture.\n\n> You examine the bottles\nWhich do you mean, the detergent bottle, the bleach bottle or the stain remover?\n\n> You examine the detergent\nA simple cleaning agent for laundry.\n\n> You look at the bleach\nA chlorine-based cleaner.\n\n> You examine the stain\nA powerful cleaner, designed to treat especially soiled areas of garments.\n\n> You take the cleaner\nTaken.\nThe console beeps. \"Information: Two hours of dive time remaining.\"\n\n> Go upwards\nWhen this house was first built, conventions of style dictated a degree of spartan functionality from the dining area. The construction of this room has a sort of tacit apology built into its architecture, as if the dedication of an entire room to dining facilities was seen as an undesirable extravagance. The twenty years that followed saw a reversal of the cultural mores which had all but done away with a fixed dining area. The net result is that this particular dining room has an uncomfortable blend of styles. A small, nondescript table shows signs of heavier wear than it was meant for. An ornate china cabinet stands in one corner, looking very out-of-place. The buffet counter, again nondescript and too small to be really serviceable, stretches across a portion of the north wall. Open archways lead south and east, and a small door is west.\n\nOn the buffet are two oil lamps.\n\nYou can see a photograph here.\n\nIn the days before all food could be prepared by an automated processing unit, the kitchen was often considered the center of family life. This kitchen is decorated in a country style that was archaic even when it was built. Woodgrain paneling and prominently displayed kitchenwares give the room a rustic look. The stove, refrigerator and other appliances have a more modern look, but clashing with the predominant style is kept to a minimum. Heavier items and food supplies are kept in the pantry to the west, while archways lead north and east.\n\nOn the refrigerator door are a report card and a receipt.\n\nYou are in the main entryway of the house. Aside from its functional purpose as the central hub of the building, it also serves as a showcase of the owner's prowess as a decorator. This room is tasteful and ornate. A coatrack stands abandoned in a corner, beside a highly polished small wooden table. The front door is due south, and the hallway opens west onto the kitchen, and east to the living room. A large staircase to the north leads up to the second floor, and down.\n\nOn the wooden table is a letter to Julia.\n\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\n> You go to the east\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nOf all the rooms you've seen so far, this bedroom shows the least signs of having been tidied before the house was abandoned. Naturally, of course, this heightens your curiosity; untidy rooms generally tell you more than clean ones. From the space-shuttle wallpaper, you suspect that this room belonged to a young child, though it might simply imply that the room is long-overdue for renovation. There is a bookcase along one wall, containing model space ships, toy robots, and a very few books. A desk beside the door is loaded down with computer equipment. The most interesting feature of the room is the floor; while most of the other rooms have had wall-to-wall carpeting, this room has what appears to be industrial grade linoleum tile. The hallway lies west.\n\n> Go north\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 5], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 6]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nYou can see two keys (a simple key and an antique key), a prosthetic eye, a real diary, a code book and a fake diary here.\n\n> Clean the dresser with the polish\n(the dresser with the furniture polish)\nYou apply some of the furniturepolish to the dresser, and wipe it away. The polish soaks into the bare wood where the finish has been scratched, and the single word \"SERENDIPITY\" becomes visible on the surface.\n\n> You turn on the Computer\nThe computer hums to life. After a second of self-configuration and diagnostics, a message flashes on the display:\n\nlogin:\n\n> Type serendipity\npassword:\n\n> Type serendipity\nlogin:\n\n> Type serendipity\nToo many incorrect logins. Shutting down.\n\nThe display goes dark.\n\n> Documents\nPress the number of your selection, 1-24, 0 to redisplay or Q to quit.\n\n3     Suicide Note\n4     Current Events Homework\n5     Letter (1)\n6     Letter (2)\n7     Code Book (old)\n8     Code Book (new)\n9     Real Diary (Decoded)\n10     LZ-50 Memory Buffer\n11     Photograph of a Young Man\n12     Code fragment\n13     Email Database (Boy's Bedroom)\n14     Graduation Photograph\n15     Account Sheet\n16     Email Database (office)\n17     Letter to Julia\n18     Kaldeki Article\n19     Family Photo\n20     Report Card\n21     Grocery Receipt\n22     Home Shelter Sales Literature\n23     Data Disc Message\n24     Fake Diary\n\n> 13\nEmail Database (Boy's Bedroom)\n\n---Email Database (Boy's Bedroom)---\nPage: 1 Mailbox for swallace\n\nP = previous page    N = next page\nQ = resume story    G = Go to page\n\nFrom: Subject:\nDr. Helmut Sha Re: distributed neural simulation...2\nYOR_FRIEND906  HOTTEST OFFER EVER..................3\nhotoffer@spam. Lower your debt!....................4\nDr. Helmut Sha PIT AI lab..........................5\nMichael Pendra 31337...............................6\nAmy            (no subject)........................7\nMichelle313    I'm boooooooored!...................8\nSteve Elocon   Re: PIT AI lab......................9\nAmy            Re: Tonight.........................10\nMichael Pendra Julia...............................11\nAmy            Hi..................................12\nMichael Pendra 31337...............................13\nAmy            Hi, again...........................14\nMichael Pendra Re: Julia...........................15\nAmy            Re: Hi, again.......................16\nSteve Elocon   Re: PIT AI lab......................17\nhotxxx@bulkmai YOUNG HARDCORE SLUTS................18\nMary Pantalon  PIT early admission.................19\nAmy            Um... Stuff.........................20\nAmy            My last mail........................21\nDante          Situation...........................22\nMichael Pendra Re: Situation.......................23\nMichael Pendra Re: PIT.............................24\nAmy            Sorry...............................25\n\n> Research freenet\nAn early system for the anonymous distribution of documents via the internet. Its creators supported its use to circumvent intellectual property laws which they considered outdated. As it grew, difficulties with the system quickly became apparent, and it eventually fell into disuse in favor of a related system, \"LibertyNet\".\n\nSource: The Digital Corsairs: Hacking, Phreaking, and the Fall of Intellectual Property 1960-2010\n\nSEE ALSO: Internet, LibertyNet\n\n> Research dataweb\nDataweb (Global Dataweb; Web)\nGlobal data networks are reported as early as the last quarter of the twentieth century. By the end of the 21st century, the internet had evolved into the more familiar form of the Global Dataweb. The name \"Dataweb\" refers to the Dataweb Protocol, its major services (such as electronic mail, video communication, and document archive), and individual documents attached to it. When the Dataweb Protocol was introduced, nearly all electronic devices made use of it, from simple audio-visual communication and text messaging, to remote control and navigation systems. Though the system itself has changed little since its inception, the name has fallen into disuse.\n\nSource: Information Overload: The rise of the global data networks (2nd ed.)\n\nSEE ALSO: Internet\n\n> You browse\nPress the number of your selection, 1-11, 0 to redisplay or Q to quit.\n\n3     Cylinians\n4     Dataweb\n5     Freenet\n6     Historical Period: The Seventy Days\n7     Historical Period: ca 865600-866300 UDC\n8     Internet\n9     LibertyNet\n10     Space Station Kennedy\n11     Stephen James Wallace\n\n> Go north\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\nThat door is locked.\n\nYou manage to unlock the door with the autokey.\n\nAlthough the primary function of this room seems to be as a linen closet, its size suggests that it was intended for even heavier storage. Three of the walls bear shelves, neatly stocked with towels and bed linens.\n\n> You search the linens\nYou poke around at the sheets, and find, hidden in the folds of a large bedsheet toward the back, a pack of cigarettes, either squirreled away for an emergency, or hidden from a disapproving family member.\nThe console beeps. \"Information: One hour of dive time remaining.\"\n\n> You drop the cigarettes\nDropped.\n\n> Go north\nHallway, west end\nThe upstairs hallway begins here, or ends here, depending on your point of view. You can see where the stairway meets the hall to the east, and doors are located along the north, south, and west walls.\n\nA framed photograph of a young woman graces one wall.\n\nIn most respects, this is a thoroughly ordinary bathroom. It is far less clean than the public areas of the house, but not unsettlingly so. It is simple in decor, featuring a tub, toilet, sink, and no windows. The mirror over the sink protrudes slightly, suggesting that it conceals a medicine cabinet. The exit is south.\nIf your history is right, it should be about now that the Chinese missile diverts its course away from the US capital to avoid an anti-missile missile. It redirects toward a minor target, a military base near this town.\n\n> You open the cabinet\nYou open the medicine cabinet, revealing a pill bottle.\n\n> You check your inventory\nYou are carrying:\na furniture polish\na floor cleaner\nan autokey\nyour StreamDive console\nfive chips:\na library chip\nan interface chip\na DataStore chip\na cryptography chip\na blank chip\n\n> Cleaner\nfurniture polish: Dropped.\nfloor cleaner: Dropped.\n\n> You go north\nThe stairs from the ground floor land in the middle of a long hallway which extends east and west from your current position. There is a door in the north wall, slightly narrower than usual. From here, you can see three doors at each of the two ends of the hallway.\n\nHallway, east end\nYou are at the east end of the main hallway on this floor. The hallway ends at a door on the east wall, and another door is north. A doorway to the south has no door, though it looks as if it were designed for one.\n\nA framed photograph of a young man is affixed to the wall.\n\nComing, as you do, from an enlightened time period where man has, by and large, learned to overcome prejudicial assumptions about people on the basis of gender or background [Footnote 5], you know better than to jump to conclusions about the occupant based on the cultural stereotypes of their living space.\nNevertheless, you can always tell a girl's room. It isn't some particular thing [Footnote 6]; rather, an air of femininity issues more from the juxtaposition of objects than the contents themselves. The dollhouse; the partially completed watercolor on an easel in the corner; the ornate, hand-carved chest at the foot of the bed; the paper ribbons affixed to the vent cover on the floor, all suggest, but do not insist that the occupant of this room is female. And yet, there is a certain something about this space that rarely arises in a man's quarters.\nThe walls are a soft, uniform pastel. The desk stands opposite the bed, well stocked, but uncluttered. There is a closet door on the east wall. The exit to the hall is south.\n\nOn the nightstand is a charger.\n\nYou can see two keys (a simple key and an antique key), a prosthetic eye, a real diary, a code book and a fake diary here.\n\n> Inventory\nYou are carrying:\na can of spiced ham (which is closed)\na charger\na pill bottle (which is closed)\nan autokey\nyour StreamDive console\nfive chips:\na library chip\nan interface chip\na DataStore chip\na cryptography chip\na blank chip\n\n> Research ham\nNo relevant entry found.\nThe console beeps. \"Information: Thirty minutes of dive time remaining.\"\n\n> Wait\nTime passes.\n\nTime passes.\n\n> You wait for a while\nTime passes.\nTime passes.\nTime passes.\n\n> Wait\nTime passes.\nTime passes.\nTime passes.\nAbout now, the propulsion system on the missile begins to fail. It holds its course, but is now certain to fall several killometers short.\n\n> Wait\nTime passes.\nTime passes.\nThe console beeps. \"Warning: Fifteen minutes of dive time remaining.\" Time passes.\nTime passes.\nTime passes.\n\n> Wait\nTime passes.\nTime passes.\nThe console beeps. \"Warning: Dive will end shortly. Please complete investigations now.\"\nTime passes.\nTime passes.\nTime passes.\n\n> You wait awhile\nTime passes.\nThe StreamDive console emits an audible warning: \"Alert: Dive time expired. Discharging temporal capacitors.\"\n\nAll at once, the universe goes away. Time itself cries out in distress, and every cell in your body echoes its cry. The laws of physics cannot be broken, but they can be bent, if only for a time. As the energy stored in your temporal capacitors discharges, time reasserts itself. If you were the sort to anthopomorphize physical law, you'd say that it was extracting some revenge against you for daring to transcend the barriers of time. Of course, all that you're really experiencing is a form of severe disorientation resulting from the unusual perceptual stimuli occurring outside normal time-space. It all goes away in a nothingth of a second, and you stumble backward to the floor of the StreamDive Core. White-clad technicians swarm into the chamber a second later, helping you into the postDive examination, which confirms that you have weathered the Dive intact, and cleanses ancient toxins from your system. Your possessions are taken for examination, and you are led to the debriefing room.\n\nYou are in a comfortably small room, used to debrief StreamDivers following their missions. The room is intentionally designed to avoid the impression that this is some kind of interrogation chamber, even if that is indeed its function. The room contains very little in the way of decoration or, well, anything at all, aside from the table and chairs.\n\n> You examine the chairs\nwooden chair: You see nothing special about the wooden chair.\n\n> You wait\nTime passes.\nJoxley Douzen walks heavily into the room. Though there are a few agents you'd prefer to serve as your evaluator, you could have done far, far worse. She scans over her notes, not seeming to see you until after she has taken her seat. \"Welcome back,\" she says. You are naturally inclined to take the lack of feeling in her voice as a bad sign, but you resist the urge. It's all she's capable of; her voice box is artificial, and she's never managed to program it properly.\n\n\"We've reviewed your findings. As you know, the purpose of this phase of your evaluation is to give you the opportunity to present anything you think may have escaped our attention, and to address any concerns which the evaluation team has about your Dive. If you'll take your seat, we can begin.\" [Footnote 9]\n\n> You sit on the chair\nYou get onto the wooden chair.\n\n> Footnote 9\n[Footnote 9]\nFor the duration of this interview, you may respond to Douzen by typing a single word at the command prompt, signifying the subject you wish to discuss. For example:\n>KITCHEN\nWould be interpreted as a desire to talk about the kitchen. For questions requiring a numerical answer, simply type the number at the prompt [Footnote 10].\n\n> Footnote 10\n[Footnote 10]\nThe special command \"DONE\" indicates that you have nothing to say on the subject, and the command \"REPEAT\" will repeat the current question. The standard commands will remain available if you wish to perform other actions while you consider your answer.\n\n> You examine Joxley\nJoxley Douzen is a typical example of what your father would have called a \"hard-looking broad\". Muscular, stocky, with chiseled features that would have been distinguished on a man. She probably knows exactly how threatening people find her. You know that she's a touch bitter about her position as a Dive evaluation agent -- after she was injured in a shuttle accident, she received enough bio-mechanical implants to make her a walking, talking anachronism, and therefore unfit for StreamDiving. Nevertheless, your experience of her has always been as a fair evaluator.\n\n> Wait\nTime passes.\n\"First things first. Based on your scans and our records, you surveyed about ninety-six percent of the area within your mission boundaries. Quite impressive. Now, are there any rooms in particular that you feel merit special attention?\"\n\n> Boy 's bedroom\n\"Yes. Your console recorded some unusual readings from that area. We'll give it another look.\"\n\n> Shelter\n\"Ah yes, the survival shelter. That's a very impressive find. We looked over the notes, and we don't have any other incidents of a Diver exploring a survival shelter of that era. Good work.\"\n\nYou go on to explain that you found the bodies of two recently deceased young women in the basement.\n\nJoxley looks through her notes. \"Yes, I have that here. That contradicts what we had in our historical records -- you know, of course, that heads are going to roll in the approval committee for that little oversight. It's a good thing your Dive didn't take you back any earlier. If either of them had been alive, we'd have had a major violation of the first directive on our hands.\n\n\"It's just a shame that you weren't able to use the Stream Visualizer inside the shelter. If the approval committee had known what you would find, they would have made sure to send you back with the right equipment.\"\n\n> You wait\nTime passes.\n\"Okay. Now, let's consider the contents of your DataStore. It seems that you recorded twenty-five documents. It's a shame you didn't elect to take the Stream Visualizer. Of course, you were under tight restrictions. As for other documents, you appear to have done quite well.\n\n\"Your DataStore contained an article from a scientific magazine. What about this article attracted your interest?\"\n\n> Time travel\nThe article, you explain, contains the earliest reference to Emmanuel Kaldeki's work on which would eventually lead to StreamDive technology.\n\n\"A good find,\" Joxley says. \"As you know, we have very little information about Kaldeki's research before the war. This find could lead to a revision of what we know about the history of time travel.\n\n\"You also downloaded something too big to fit in the DataStore. We found it stored on a spare chip. What is it?\"\n\n> Done\n\"I suppose we'll have to work it out for ourselves then.\n\n\"Unfortunately, the memory recording you downloaded from the optical prosthesis was very short. What, based on your research, happened to the owner after the end of the recording?\"\n\n> Suicide\nYou say that you believe she died almost immediately after removing the prosthesis.\n\nJoxley writes this down. \"Very tragic,\" she says.\n\n\"Now, you found a diary in the downstairs bathroom. It appears to have been encoded using a very secure cipher. Given the nature of the writer and its content, the only explanation we can think of is that the writer was mentally unstable. How would you explain the fact that such effort was taken to encode the diary?\"\n\n> Mother\nYou explain that the author, Julia Wallace, had reason to believe that her parents were reading her diary without permission, and had encoded it to prevent the highly personal content from becoming public knowledge.\nJoxley raises an eyebrow. \"It seems like a great deal of effort, but yes, that does explain what we've seen, and seems consistent with the details we've managed to piece together about the girl.\n\n\"We've had some difficulty making sense of the code fragment you downloaded. Any idea what it is?\"\n\n> Brain\nYou say that you believe the author to be Stephen James Wallace, who was conducting experiments in artificial sentience.\n\n\"Really? We knew Wallace had done important work in neural circuitry, but there's nothing on this scale in his later career. Unbelievable.\n\n\"We're curious about the diary you found in the girl's closet. All our evidence suggests that the daughter was approximately eighteen years of age, but the textual analysis suggests that this diary shows a writing level more consistent with a much younger person. We suspect that this diary is either much older than the other documents you've collected, or that the writer was... to be indelicate, stupid. Perhaps you could offer an explanation?\"\n\n> Fake\nYou explain your theory that the diary is a fake; a red herring designed to throw off a snooping parent.\n\n\"Fascinating,\" Joxley says. \"That does explain a great deal.\n\n\"I think that covers all the documents we need more information about. Let me check my notes, and we'll move on.\"\n\n> Donna\nYou explain that a young woman named Donna, a friend of the older child, had been living with the family near the time that the house was abandoned.\n\nJoxley makes a note of this. \"Good work. This is exactly the sort of thing that isn't covered by our records of the period.\n\n\"Now,\" Joxley says, \"It appears that you violated your mission parameters by bringing something back from your Dive. Since everything in the area appears to have been destroyed immediately after you left, the committee has decided to recommend against disciplinary action, but there will be an entry made in your file, unless you can give us some exceptional circumstance which warranted your action. Is there any object which you felt had some extraordinary reason for being retrieved for examination?\n\n> Charger\nYou tell Joxley that you suspect that the charger has somehow been altered so as to be anachronistic in its native time.\n\nJoxley pushes back from the desk. \"That's a very serious claim. But from the logs in your console, it certainly merits more examination. If there has been tampering with the timeline, it's essential we locate the source.\n\n\"What was the name of the female child?\"\n\n> Julia\n\"Marital relations between the Wallaces... Were they good or bad?\"\n\n> Bad\nYou explain that your impression was that they were not good.\n\nJoxley asks, \"What justification do you have for that assessment?\"\n\nYou quickly realize that you have no proof to support your theory, at least, none that would satisfy the assessment team.\n\n\"What was the name of the male head of household?\"\n\n> James\n\"What was the name of the male child?\"\n\n> Jim\n\"What was the name of the female head of household?\"\n\n> Katia\n\"You say that the girl had an optical prosthesis. Which eye was artificial?\"\n\n> Right\n\"Okay,\" Joxley says.\n\n\"You've claimed that there's evidence the timeline has been altered. Did you encounter anything else that might serve as evidence?\"\n\n> Ham\n\"Unfortunately,\" she says, \"It doesn't look like there's enough evidence in your logs to verify that.\n\n\"We have no postwar records of the daughter, and your findings suggest that she was not with the family when they evacuated. What became of her?\"\n\n> Suicide\nYou say that she committed suicide by ingesting a euphenasisa pill.\n\n\"Thank you for your cooperation, agent,\" she says. After taking a few more notes, Joxley Douzen rises to her feet. \"If you'll wait here, the review team will have your final evaluation shortly.\"\n\nWithout paying you another glance, she strides out of the room.\n\n> You wait awhile\nTime passes.\nJoxley Douzen walks confidently into the room, followed by the rest of the evaluation team. They stand at the head of the room, staring heavily at you. Finally, Joxley speaks.\n\n\"StreamDiver Alpha Tango-678, it is the finding of this evaluation team that you have completed the objectives for this mission with an approval rating of 90 percent. Absolutely exceptional. We're going to recommend you for a promotion.\""
    },
    {
        "text": "[Themes: Fantasy, linguistics, fantasy, magic, spells, kid-friendly, constructed language, gender-neutral protagonist]\n\nYes, master?\"\n\nYou rush to your master's side and await his instructions. He is studying a fragile looking scroll and muttering to himself.\n\nHe looks up and says, \"Ah, there you are. This ...\" -- he hands you the scroll -- \" ... goes back in the vault. I believe it is still open. And this little beastie ...\" -- he hands you a small, empty brass cage -- \"... goes back to my private quarters. Thank you, that will be all.\"\n\nYou bow, and head downstairs to the vault. The heavy stone door is wide open, and a golden key juts out of the lock.\n\nWithout warning, someone shoves you roughly from behind. The scroll and the brass cage fly out of your hands as you fall to the ground. There is a loud \"click\", and everything turns black.\n\n[Author's Note: An entry in the 2007 One Room Game Competition. You play a magician's servant who gets trapped in your master's vault; you'll need to learn some of his tricks if you want to get out.]\n\n> You think about the master\n(It is not quite as dark as you thought. A sliver of light under the door provides a tiny amount of light, and your eyes begin to adjust to the near darkness ...)\n\nYour master is kind, but a little forgetful sometimes. He spends most of his time poring over ancient manuscripts.\n\n> You think about yourself\nYou're pretty content with your life. Your master is kind and you have freedom of movement in and out of the house.\n\n> You think about the vault\nIt's not that small, really ... the air should last for a while.\n\n> You examine the door\nYou can't see the door too well. There is a sliver of light coming in from under it."
    },
    {
        "text": "> Look around\nThere is plenty of room to move around, and the ceiling is quite high. You can just make out a shelf along one of the walls.\n\nOn the floor you can faintly see a brass cage and a scroll.\n\n> You examine the cage\nYou can barely make out the brass cage sitting on the floor.\n\nIt seems to have fallen open.\n\n> You think about the cage\nWonder what was inside it.\n\nSomething brushes past your foot.\n\n> You take the scroll\nTaken.\n\n> You examine the scroll\nIt's a fragile scroll. It is too dark to read what is on it.\n\n> You touch the shelf\nYou stretch out your hand and feel your way along the shelf ... there is a piece of parchment, what feels like a leather bound book, a crystal or gemstone of some kind ...\n\nClunk! You knock over a small vial of liquid, which glows briefly with a dull green light. The glow soon fades away.\n\nYou noticed that the vial had a stopper, so nothing was spilled. (Fortunately for you; your master may have been upset if it had).\n\n> You examine the vial\nYou can't see it very well in the dark. It only glowed for a brief time.\n\nYou feel something nibbling on your shoe.\n\n> Shake vial\nYou give the vial of liquid a vigorous shake, and it starts to glow with a faint, phosphorescent green light -- enough to get a better look at your surroundings.\n\n[Type \"full score\" at any time for a breakdown of your score.]\n\n> Examine book\nThe front cover of the book has the word \"SPELLS\" written vertically down the left side in silver letters.\n\nYou glimpse the words \"Pleasing Effects\" before the glow fades too much to read the rest of the title. The letters in silver remain visible.\n\n[To read the book, say \"next/prev\", \"page <number>\", or \"open/close book\".]"
    },
    {
        "text": "[Themes: Fantasy, kid-friendly, gender-neutral protagonist, constructed language]\n\n> Look around\nYou view your surroundings by the dull green glow of the liquid ...\n\nOn the shelf you can see a leather bound book, a piece of parchment and a crystal or gemstone.\n\nOn the floor is an open brass cage.\n\n> You take all from the shelf\nleather bound book: Removed.\npiece of parchment: Removed.\ncrystal or gemstone: Removed.\n\nSomething brushes past you again.\n\n> You read the book\nThe front cover of the book has the word \"SPELLS\" written vertically down the left side in silver letters. There is some other writing as well, but it's too dark to make out.\n\n> You read the book\nThe front cover of the book has the word \"SPELLS\" written vertically down the left side in silver letters.\n\nYou glimpse the words \"Pleasing Effects\" before the glow fades too much to read the rest of the title. The letters in silver remain visible.\n\n> Next\nThe first page says \"Suveh Nux\" down the left side in silver letters. There is some other writing as well, but it's too dark to make out.\n\n> Suveh nux\nYou say \"Suveh nux\".\n\nThe room is suddenly filled with light.\n\nYou briefly feel something small standing on your foot.\n\n> You look at the floor\nThe floor is solid stone, just like the walls and the door.\n\nOn the floor is an open brass cage.\n\n> Next\nThe second page says:\n\nAncient races such as the Meohan, a\nvery sophisticated and reasonable\nethnic group indeed, possessed\nhorological devices of such accurate\nTiming that they could predict\nimminent eclipses, conjunctions\nand other such astronomical phenomena.\n\nThe first letter in each line is written in silver, spelling \"Aveh Tia\".\n\n> Aveh tia\nYou say \"Aveh tia\".\n\nThe room becomes hot.\n\nSomething briefly tugs at your trousers and then lets go.\n\n> Next\nThe third page says:\n\nAnother highly developed race of antiquity,\nvanquished by the Meohan, were the Sundar --\nexquisite workers in metal, gemstones and\nheated glass. Their susceptibility to the\nMeohan's warlike methods was only due to\na civil war between rival noble families,\ndevastating the nation's standing army\nat a very inopportune time; their enemies\nhad a distinct numerical advantage as a result.\n\nThe first letter in each line is written in silver, spelling \"Aveh Madah\".\n\n> Aveh madah\nYou say \"Aveh madah\".\n\nYou feel heavy and weighed down.\n\n> Keep going\nYou say \"Aveh madah\".\n\nYou briefly feel a bit heavier.\n\n> Next\nThe fourth page says:\n\nunderestimated. They were experts in shaping\nvery large blocks of marble or granite, which the\nevidence suggests were used for constructing\nhuge, elaborate tombs for their deceased rulers.\nSundar stone shaping involved making the stone\nextremely cold with buckets of ice imported from\nnearby Aoeteria, and then rapidly heating the\nstone with an intense blaze, which would split\nit along the desired fault line.\n\nThe first letter in each line is written in silver, spelling \"Suveh Sensi\".\n\nSomething nibbles on your shoe.\n\n> Suveh sensi\nYou say \"Suveh sensi\".\n\nYour emotions feel confused.\n\n> Next\nThe fifth page says:\n\nAnatomy, Physiology and Biology were among the\nvarious subjects studied and perfected by the\nethnic group known jointly as the Andira, who\nhad more than a passing understanding of the\nHolistic nature of such endeavours. Medical\nadvances of various and sundry kinds were\ninvented by this group, and it must certainly be\nacknowledged that much of their skill and the\nknowledge they possessed far exceeds our own.\n\nThe first letter in each line is written in silver, spelling \"Aveh Haiak\".\n\nYou feel something brush against you again.\n\n> Aveh haiak\nYou say \"Aveh haiak\".\n\nYour hands start feeling sticky.\n\n> Next\nThe sixth page says:\n\nvalue of pi, the square root of two, and other\nesoteric numbers; calculus and trigonometry; and\nhow to prove things in a rigorous, logical fashion.\nNumbers in the Laodian culture were formed\nusing admirably simple rules (historian\nx's claims to the contrary notwithstanding):\nA value is doubled by prefixing it with \"ma\";\nno value but zero ends with this syllable. If\nit is prefixed with \"to\", double and add one.\n\"Matoto\", for example, represents the number six,\nas this is twice \"toto\", the number three; and\n\"to\" alone is of course unity. It seems that no\nother culture used this kind of representation.\n\nThe first letter in each line is written in silver, spelling \"Aveh Nux Ani Mato\".\n\n> Aveh nux ani mato\nYou say \"Aveh nux ani mato\", and you feel a tingling sensation. Nothing unpleasant, but it is a bit strange.\n\n> Next\nThe rest of the pages seem to be blank. You turn back to page six.\n\n> You look at the scroll\nThe scroll is written in your master's hand in a familiar script, but you cannot read what it says. Perhaps it is some kind of shorthand or private code. You don't have much hope of interpreting it.\n\nThe light suddenly goes out, and you are in darkness once again.\n\n> Suveh nux\nYou say \"Suveh nux\".\n\nThe room is filled with light.\n\n> You examine the parchment\nThe parchment is written in a script you are not familiar with. In the centre is an illustration of a man holding a teardrop shaped object and pointing his finger at a table.\n\n> You examine the door\nThe door is made from solid stone, and it looks strong and heavy.\n\nSomething briefly sticks to your shoe.\n\n> You examine the shoe\nYour shoes are black and shiny, and they have some small nibble marks on them.\n\nThey feel a little sticky.\n\n> You check your inventory\nYou are carrying:\na clear crystal\na piece of parchment\na leather bound book\na vial of liquid with a cork stopper\na scroll\n\n> You examine the crystal\nA perfectly clear crystal with many facets, about the size of your fist and shaped like a teardrop. The light dances beautifully across its surface.\n\n> Point at door\nYou point your finger at the vault door.\n\nThe crystal hums briefly, and the word \"fireno\" dances in the air before you in fiery letters.\n\n> Suveh nux fireno\nYou say \"Suveh nux fireno\".\n\nThe vault door starts to glow.\n\nSomething tickles your ankle.\n\n> Aveh madah fireno\nYou say \"Aveh madah fireno\".\n\nYou feel like something has happened.\n\n> You keep going\nYou say \"Aveh madah fireno\".\n\nYou feel like something didn't quite happen.\n\n> You touch the door\nIt doesn't feel sticky, but your hands are sticky. You have difficulty removing your hands from it.\n\n> Point at floor\nYou point your finger at the floor.\n\nThe word \"tolanisu\" impresses itself on your mind.\n\nThe vault door stops glowing.\n\n> You point at the cage\nYou point your finger at the brass cage.\n\nThe word \"imoentar\" drifts into your consciousness.\n\nSomething gets stuck to your foot then detaches itself.\n\n> Point at shoe\nYou point your finger at your shoes.\n\nThe word \"ami\" appears in fiery letters before you.\n\n> Mistype\nCommands for controlling automatic typing correction are:\n\nmistype off -- to turn off typing correction completely.\nmistype single -- to correct single-letter errors only.\nmistype on -- to turn on full typing correction.\n\n> You ppull the door\nThe door opens outwards.\n\n> About yourself\nYou seem to be intact after your rough handling.\n\nYou are dressed in a tunic, some loose trousers and a pair of black shoes, and you are carrying a clear crystal, a piece of parchment, a leather bound book, a vial of liquid with a cork stopper and a scroll.\n\nThe room feels hot. Your hands feel sticky. You feel heavy and weighed down.\n\n> You open the vial\nYour remove the stopper from the vial, but the pungent vapours make you feel dizzy, so you replace it again.\n\n> Point to shelf\nYou point your finger at the shelf.\n\nThe word \"agri\" suggests itself to your awareness.\n\n> Point to west wall\nYou point your finger at the west wall.\n\nThe word \"nisu-ewa\" comes unbidden into your mind.\n\nYou sense something circling your feet.\n\n> Point to ceiling\nYou point your finger at the ceiling.\n\nThe word \"amunisu\" appears before you.\n\n> Aveh madah amunisu\nYou say \"Aveh madah amunisu\".\n\nYou feel like something has happened.\n\nSomething briefly tugs at your trousers and then lets go.\n\n> Aveh sensi\nYou say \"Aveh sensi\".\n\nYour emotions feel back to normal again.\n\nYou feel something nibbling on your shoe.\n\n> Aveh nux\nYou say \"Aveh nux\".\n\nDark shadows appear around the vault door.\n\nThe light suddenly goes out, and you are in darkness once again.\n\n> Suveh nux\nYou say \"Suveh nux\".\n\nThe room is filled with light.\n\n> Suveh madah fireno\nYou say \"Suveh madah fireno\".\n\nYou feel like something has happened.\n\n> Continue\nYou say \"Suveh madah fireno\".\n\nYou feel like something has happened.\n\nSomething briefly sticks to your shoe.\n\n> Aveh sensi\nYou say \"Aveh sensi\".\n\nYour emotions feel confused again.\n\n> Suveh haiak fireno\nYou say \"Suveh haiak fireno\".\n\nYou feel like something has happened.\n\nYou sense something circling your feet.\n\n> Suveh haiak\nYou say \"Suveh haiak\".\n\nYour hands stop feeling sticky.\n\n> Suveh haiak\nYou say \"Suveh haiak\".\n\nYour hands start feeling slippery.\n\n> Point at floor\nYou point your finger at the floor.\n\nThe word \"tolanisu\" is impressed upon your mind.\n\n> Suveh haiak tolanisu\nYou say \"Suveh haiak tolanisu\".\n\nThe floor starts feeling slippery, making it tricky to move around.\n\nThere is a faint twittering sound.\n\n> Suveh haiak fireno\nYou say \"Suveh haiak fireno\".\n\nYou feel like something didn't quite happen.\n\nThere is a faint twittering sound.\n\n> You open door\nThe vault door won't budge; even though it must be lighter, it is still held shut by the lock.\n\nIt feels slippery.\n\nThere is a faint twittering sound.\n\n> You search the floor\nThere is an open brass cage on the floor.\n\nYou can't find whatever it was that was circling your feet.\n\nThere is a faint twittering sound.\n\n> You touch the floor\nIt feels slippery.\n\nSomething runs into your foot and bounces off.\n\n> Aveh sensi fireno\nYou say \"Aveh sensi fireno\".\n\nYou feel unsympathetic towards the vault door. You don't particularly care that it is shadowy. It's just a door. How odd.\n\nThere is a faint twittering sound.\n\n> Aveh sensi creature\nYou say \"Aveh sensi creature\", but it feels wrong somehow.\n\nThere is a faint twittering sound.\n\n> Suveh sensi fireno\nYou say \"Suveh sensi fireno\".\n\nYou feel neutral towards the vault door again.\n\nThere is a faint twittering sound.\n\n> Suveh sensi fireno\nYou say \"Suveh sensi fireno\".\n\nYou feel kind and caring towards the vault door. You feel a little concerned about it being shadowy; it can be so scary being in the dark.\n\nThere is a faint twittering sound.\n\n> Aveh haiak tolanisu\nYou say \"Aveh haiak tolanisu\".\n\nThe floor stops feeling slippery.\n\nThe twittering stops.\n\n> Continue\nYou say \"Aveh haiak tolanisu\".\n\nThe floor starts feeling sticky but you are slippery, and they kind of cancel each other out.\n\nThere is a twittering sound.\n\n> Continue\nYou say \"Aveh haiak tolanisu\".\n\nThe floor briefly feels even more sticky.\n\nYou don't seem to be able to make it stay any stickier than it already is.\n\nThere is a twittering sound.\n\n> You listen\nYou think you can tell which part of the floor the twittering is coming from. You feel confident that you would find the source if you searched for it.\n\n> You search for the twittering\nYou search around, and find a small furry thing that must be the invisible creature that escaped from the cage. It is stuck to the floor, and is twittering in annoyance.\n\nYou detach it from the floor and try to hold onto it, but your slippery hands make that quite difficult.\n\n> You point at the creature\nYou point your finger at the creature in your arms.\n\nThe word \"ami\" comes into your mind -- the same word as for your body.\n\nThe creature wriggles free from your grasp and jumps to the floor.\n\n> Aveh haiak\nYou say \"Aveh haiak\".\n\nYour hands stop feeling slippery.\n\nThere is a twittering sound.\n\n> Aveh haiak\nYou say \"Aveh haiak\".\n\nYour hands start feeling sticky.\n\nThere is a twittering sound.\n\n> Search for creature\nYou search around and find the creature again.\n\nYou detach it from the floor and hold onto it firmly.\n\n> You put the creature in the cage\nYou put the invisible creature into the cage and close it.\n\nThe cage doesn't feel sticky, but your hands are sticky. It seems to be stuck to the floor.\n\n> Suveh sensi ami\nYou say \"Suveh sensi ami\".\n\nYour emotions feel back to normal again.\n\n> You look at the creature\nThe creature in the cage is completely invisible.\n\n> Shake cage\n(first taking the brass cage)\nIt seems to be stuck to the floor, but your hands are sticky too.\n\nTaken. It sticks to your hand.\n\nYou shake the brass cage and it rattles a little.\n\nThe creature twitters noisily.\n\n> You point at the creature\nYou point your finger at the creature in the cage.\n\nThe word \"imoentar\" appears in the air before you -- the same word as for the brass cage.\n\n> Aveh nux imoentar\nYou say \"Aveh nux imoentar\".\n\nDark shadows appear around the brass cage you are carrying.\n\n> Suveh nux imoentar\nYou say \"Suveh nux imoentar\".\n\nThe shadows around the brass cage you are carrying disappear.\n\n> Suveh nux imoentar\nYou say \"Suveh nux imoentar\".\n\nThe brass cage you are carrying starts to glow.\n\n> You examine the cage\nA small brass cage with closely fitting bars. It opens at the bottom.\n\nYou know there is an invisible creature in there somewhere, but you can't see it.\n\nIt is glowing.\n\n> Aveh nux imoentar\nYou say \"Aveh nux imoentar\".\n\nThe brass cage you are carrying stops glowing."
    },
    {
        "text": "> Describe the surroundings\nYou are in a room-sized vault, with a shelf along one wall. The shelf has nothing on it at the moment.\n\nThe door is dark and shadowy.\n\nThe floor feels sticky, making it difficult to move around.\n\nYou feel kind and caring towards the vault door.\n\nThe room feels hot. Your hands feel sticky. You feel heavy and weighed down.\n\n> Aveh sensi imoentar\nYou say \"Aveh sensi imoentar\".\n\nYou feel unsympathetic towards the brass cage.\n\n> Page 4\nThe fourth page says:\n\nunderestimated. They were experts in shaping\nvery large blocks of marble or granite, which the\nevidence suggests were used for constructing\nhuge, elaborate tombs for their deceased rulers.\nSundar stone shaping involved making the stone\nextremely cold with buckets of ice imported from\nnearby Aoeteria, and then rapidly heating the\nstone with an intense blaze, which would split\nit along the desired fault line.\n\nThe first letter in each line is written in silver, spelling \"Suveh Sensi\".\n\n> Suveh tia imoentar\nYou say \"Suveh tia imoentar\".\n\nThe brass cage you are carrying becomes cold.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia imoentar\nYou say \"Suveh tia imoentar\".\n\nThe brass cage you are carrying seems to briefly grow colder.\n\n> You keep going\nYou say \"Suveh tia imoentar\".\n\nThe brass cage you are carrying seems to briefly grow colder.\n\nThere is a faint twittering sound from the cage.\n\n> Inv\nYou are carrying:\na brass cage (cold) with an invisible creature inside it\na clear crystal\na piece of parchment\na leather bound book\na vial of liquid with a cork stopper\na scroll\n\nThere is a faint twittering sound from the cage.\n\n> You point at the lock\nA perfectly clear crystal with many facets, about the size of your fist and shaped like a teardrop. The light dances beautifully across its surface.\n\nThere is no keyhole on this side of the door.\n\n> You examine the scroll\nThe scroll is written in your master's hand in a familiar script, but you cannot read what it says. Perhaps it is some kind of shorthand or private code. You don't have much hope of interpreting it.\n\nThere is a faint twittering sound from the cage.\n\n> You point at the scroll\nYou point your finger at the scroll.\n\nThe word \"anutasl\" suggests itself to your awareness.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi anutasl\nYou say \"Suveh sensi anutasl\".\n\nYou feel kind and caring towards the scroll.\n\n> You look at the scroll\nThe scroll is written in your master's hand in a familiar script, but you cannot read what it says. Perhaps it is some kind of shorthand or private code. You don't have much hope of interpreting it.\n\nYou feel kind and caring towards the scroll.\n\nThere is a faint twittering sound from the cage.\n\n> Hi\nIt doesn't seem to react to your speech.\n\nThere is a faint twittering sound from the cage.\n\n> Point at crystal\nYou point your finger at the clear crystal.\n\nThe word \"kirabesso\" impresses itself on your mind.\n\n> You remove the shoes\nYou would rather leave your shoes on.\n\n> You examine the ceiling\nThe ceiling looks like it is made from stone, just like the rest of the vault.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia kirabesso\nYou say \"Aveh tia kirabesso\".\n\nThe clear crystal you are carrying becomes hot.\n\nThere is a faint twittering sound from the cage.\n\n> Point at vial\nYou point your finger at the vial of liquid.\n\nThe word \"siqui\" dances in the air before you in fiery letters.\n\n> Aveh nux siqui\nYou say \"Aveh nux siqui\".\n\nDark shadows appear around the vial of liquid you are carrying.\n\n> Suveh tia fireno\nYou say \"Suveh tia fireno\".\n\nThe vault door becomes cold.\n\nYou feel a little concerned about it being shadowy and cold, the poor thing. And you hope it isn't scared of the dark.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno\nYou say \"Suveh tia fireno\".\n\nThe vault door seems to briefly grow colder.\n\n> Aveh tia fireno\nYou say \"Aveh tia fireno\".\n\nThe vault door stops being cold.\n\nYou are relieved that the vault door is no longer cold, but you are still concerned about it being in the dark.\n\nThe temperature change doesn't seem to have affected the door.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno\nYou say \"Aveh tia fireno\".\n\nThe vault door becomes hot.\n\nYou feel a little concerned about it being shadowy and hot -- it must be very uncomfortable. And you hope it isn't scared of the dark.\n\n> Aveh tia fireno\nYou say \"Aveh tia fireno\".\n\nThe vault door seems to briefly grow hotter.\n\nThere is a faint twittering sound from the cage.\n\n> Page 6\nThe sixth page says:\n\nvalue of pi, the square root of two, and other\nesoteric numbers; calculus and trigonometry; and\nhow to prove things in a rigorous, logical fashion.\nNumbers in the Laodian culture were formed\nusing admirably simple rules (historian\nx's claims to the contrary notwithstanding):\nA value is doubled by prefixing it with \"ma\";\nno value but zero ends with this syllable. If\nit is prefixed with \"to\", double and add one.\n\"Matoto\", for example, represents the number six,\nas this is twice \"toto\", the number three; and\n\"to\" alone is of course unity. It seems that no\nother culture used this kind of representation.\n\nThe first letter in each line is written in silver, spelling \"Aveh Nux Ani Mato\".\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno mato\nYou say \"Aveh tia fireno mato\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno matoto\nYou say \"Suveh tia fireno matoto\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia firenoto\nYou say \"Aveh tia firenoto\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh nux mato\nYou say \"Suveh nux mato\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh nux ani mato\nYou say \"Suveh nux ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno ani moto\nYou say \"Aveh tia fireno ani moto\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno ani matotototo\nYou say \"Suveh tia fireno ani matotototo\", and you feel the tingling sensation again.\n\nThe room briefly shines a bit brighter.\n\n> Aveh tia fireno ani matototototo\nYou say \"Aveh tia fireno ani matototototo\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the door\nThe door is made from solid stone, and it looks strong and heavy (but you suspect it weighs a bit less now).\n\nIt is covered in shadows, and it is giving off heat.\n\nYou feel kind and caring towards the vault door. You feel a little concerned about it being shadowy and hot -- it must be very uncomfortable. And you hope it isn't scared of the dark.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia kirabesso matotototo\nYou say \"Aveh tia kirabesso matotototo\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia kirabesso ani matotototo\nYou say \"Aveh tia kirabesso ani matotototo\", and you feel the tingling sensation again.\n\nYou find yourself wondering what the delay caused by the word \"ani\" is about. It doesn't seem to be all that useful, really.\n\n> Inv\nYou are carrying:\na brass cage (cold) with an invisible creature inside it\na clear crystal (hot)\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno ani matotototo\nYou say \"Suveh tia fireno ani matotototo\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> You touch the crystal to the door\n(first taking the vault door)\nThat's hardly portable.\n\n> Suveh tia fireno mato\nYou say \"Suveh tia fireno mato\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno\nYou say \"Suveh tia fireno\".\n\nThe vault door stops being hot.\n\nYou are relieved that the vault door is no longer hot, but you are still concerned about it being in the dark.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi fireno\nYou say \"Suveh sensi fireno\".\n\nYou briefly feel more empathetic and understanding towards the vault door.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi fireno ani mato\nYou say \"Aveh sensi fireno ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the door\nThe door is made from solid stone, and it looks strong and heavy (but you suspect it weighs a bit less now).\n\nIt is covered in shadows.\n\nYou feel kind and caring towards the vault door. You feel a little concerned about it being shadowy; it can be so scary being in the dark.\n\n> Wait\nTime passes.\n\nYou feel neutral towards the vault door again.\n\nThere is a faint twittering sound from the cage.\n\n> You wait a while\nTime passes.\n\n> Suveh nux\nYou say \"Suveh nux ani to . suveh nux\", but it feels wrong somehow.\n\n> Suveh nux ani to\nYou say \"Suveh nux ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh nux\nYou say \"Suveh nux\".\n\nThe light in the room grows even brighter.\n\nThis magical effect seems much stronger than all the others you have seen so far.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno ani to\n1. Suveh nux : light.\n2. Aveh tia: heat.\n3. Aveh madah : weigh down.\n4. Suveh sensi : confuse emotions?\n5. Aveh haiak : make sticky?\n6. Fireno : door, tolanisu : floor, imoentar : cage, ami : part of pc.\n\nYou have so far scored 65% in 164 turns.\n\nThe score is made up as follows:\n\n5 for lighting the room\n10 for experimentation\n10 for speaking a floating word\n10 for numerical proficiency\n10 for an intensified effect\n5 for capturing the creature\n65 total (out of 100)\n\nYou say \"Suveh tia fireno ani to\", and you feel the tingling sensation again.\n\nThe vault door becomes cold.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno ano mato\nYou say \"Suveh tia fireno ano mato\", but it feels wrong somehow.\n\nThe vault door gets colder.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno ani to\nYou say \"Suveh tia fireno ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno\nYou say \"Suveh tia fireno\".\n\nThe vault door gets colder.\n\nThere is a faint twittering sound from the cage.\n\n> You wait a while\nTime passes.\n\n> You wait for a while\nTime passes.\n\nThere is a faint twittering sound from the cage.\n\n> You examine door\nThe door is made from solid stone, and it looks strong and heavy (but you suspect it weighs a bit less now).\n\nIt is covered in shadows, and it is radiating very intense cold.\n\nThe vault door seems to briefly grow colder.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno toto\nYou say \"Aveh tia fireno toto\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno ani toto\nYou say \"Aveh tia fireno ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno ani mato\nYou say \"Aveh tia fireno ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno ani to\nYou say \"Aveh tia fireno ani to\", and you feel the tingling sensation again.\n\nThe clear crystal you are carrying seems to briefly grow hotter.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno\nYou say \"Aveh tia fireno\".\n\nThe vault door stops being cold, and becomes hot instead.\nThere are lots of small cracking sounds from the direction of the vault door.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the door\nThe door is made from solid stone, and it looks strong and heavy (but you suspect it weighs a bit less now).\n\nIt is covered in shadows, and it is giving off heat.\n\nThe vault door stops being hot.\n\n> You hit the door\nYou bang your fist against the vault door, but solid stone wins out against mortal flesh. The door remains stubbornly closed.\n\nThere is a faint twittering sound from the cage.\n\n> You point at the west wall\nYou point your finger at the west wall.\n\nThe word \"nisu-ewa\" suggests itself to your awareness.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia nisu-ewa ani tosuveh tia nisu-ewa ani toto\nYou say \"Suveh tia nisu-ewa ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia nisu-ewa\nYou say \"Suveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia nisu-ewa\".\n\nThe west wall becomes extremely cold.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani toto\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa\".\n\nThe west wall stops being cold, and becomes hot instead.\n\nSome cracks appear on the surface of the west wall.\n\n> You examine the west wall\nThere are some fine cracks along the west wall. There is a shelf along it.\n\nThe west wall is giving off heat.\n\n> Aveh tia nisu-ewa\nYou say \"Suveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia nisu-ewa\".\n\nThe west wall stops being hot, and becomes extremely cold instead.\n\nYou say \"Aveh tia nisu-ewa ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia nisu-ewa\".\n\nThe west wall stops being cold, and becomes hot instead.\n\nSome more cracks appear on the surface of the west wall.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia nisu-ewa\nYou say \"Suveh tia nisu-ewa ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia nisu-ewa\".\n\nThe west wall stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani mato\", and you feel the tingling sensation again.\n\nThe vault door becomes hot.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia nisu-ewa ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia nisu-ewa\".\n\nThe west wall stops being cold, and becomes hot instead.\n\nSome more cracks appear on the surface of the west wall.\n\n> You examine the west wall\nThere are some fine cracks along the west wall. There is a shelf along it.\n\nThe west wall is giving off heat.\n\nThere is a faint twittering sound from the cage."
    },
    {
        "text": "[Themes: Fantasy, constructed language, fantasy]\n\n> Look around\nYou are in a room-sized vault, with a shelf along one wall. The shelf has nothing on it at the moment.\n\nThe west wall is hot.\n\nThe door is shadowy and hot.\n\nThe floor feels sticky, making it difficult to move around.\n\nYou feel kind and caring towards the scroll.\n\nThe room feels hot. Your hands feel sticky. You feel heavy and weighed down.\n\nThe room is very bright.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia fireno\nYou say \"Suveh tia fireno ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia fireno ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia fireno ani mato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia fireno ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia fireno\".\n\nThe vault door stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia fireno ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia fireno ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia fireno ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia fireno ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia fireno\".\n\nThere is a loud \"crack\", and a huge split appears in the door. It goes from the top right corner to half way up the left side, forming a large triangular block separate from the rest of the door.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the door\nThere is a large crack in the door, from the top right corner to half way up the left side, forming a triangular block separate from the rest of the door. The main section of the door is on the bottom right.\n\nIt is covered in shadows, and it is giving off intense heat.\n\nThe triangular block is covered in shadows, and it is giving off intense heat.\n\n> Suveh tia fireno ani mato\nYou say \"Suveh tia fireno ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia fireno\nYou say \"Suveh tia fireno ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia fireno\".\n\nThe main section of the vault door stops being hot, and becomes cold instead.\n\nIt seems strange that the main part of the door can be cold while the triangular block is hot, but this is magic, after all.\n\nThere is a faint twittering sound from the cage.\n\n> Point at triangle\nYou point your finger at the triangular block.\n\nThe word \"firenos\" drifts into your consciousness.\n\n> Suveh tia firenos\nYou say \"Suveh tia firenos\".\n\nThe triangular block cools slightly. It is probably OK to touch now.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh haiak firenos\nYou say \"Aveh haiak firenos\".\n\nYou feel like something has happened.\n\nThere is a faint twittering sound from the cage.\n\n> You pull block\nYou can get a good grip on the block with your sticky hands, and it shifts slightly, but it seems a bit too heavy to move.\n\nThe block feels hot and sticky.\n\n> Suveh madah firenos\nYou say \"Suveh madah firenos\".\n\nYou feel like something didn't quite happen.\n\n> You pull the block\nYou can get a good grip on the block with your sticky hands, and it shifts slightly, but it still seems a bit too heavy to move.\n\nThe block feels hot and sticky.\n\n> Aveh madah firenos\nYou say \"Aveh madah firenos\".\n\nYou feel like something has happened.\n\nThere is a faint twittering sound from the cage.\n\n> You pull the block\nYou can get a good grip on the block with your sticky hands, but it still won't budge when you try to pull it towards you. It is a very heavy block.\n\nThe block feels hot and sticky.\n\n> Suveh madah firenos\nYou say \"Suveh madah firenos\".\n\nYou feel like something has happened.\n\n> Suveh madeh firenos\nYou say \"Suveh madeh firenos ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh madeh firenos\".\n\nYou feel like something has happened.\n\nThere is a faint twittering sound from the cage.\n\n> You pull the block\nYou get a good grip on the block with your sticky hands and pull it towards you. It feels much lighter than normal stone, and it comes free! You pull it all the way out and drop it on the ground (although releasing it proves a little tricky) and say a few magic words to restore yourself to normal, and then crawl through the open hole into freedom.\n\n[Press a key]\n\n> You press the space\nRushing up the stairs, you find your master bound and gagged on a chair in the middle of the room. You quickly unbind him, but he offers no explanation.\n\nYou describe your entrapment in the vault and your means of escape, and your master raises his eyebrows in amazement. \"My, my! I never knew you had it in you.\n\n\"It seems you managed to avoid destroying any of the objects in the vault -- many thanks. And you even managed to recapture my beastie. Wonderful! Such creatures are hard to come by, as you can imagine.\n\n\"You have my deepest gratitude, not for this alone, but for rescuing me from my bonds. Well done! You have your master's praise.\"\n\n> You look\nPlease give one of the answers above.\n\n> Point at ceiling\nEnter saved game to load: Restore failed.\n\n> Point at ceiling\nYou point your finger at the ceiling.\n\nThe word \"amunisu\" comes unbidden into your mind.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh madah amunisu ani to\nYou say \"Aveh madah amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh madah amunisu\nYou say \"Aveh madah amunisu\".\n\nYou feel like something has happened.\n\nThere is a faint twittering sound from the cage.\n\n> You look at the ceiling\nThe ceiling looks like it is made from stone, just like the rest of the vault.\n\n> Aveh madah amunisu\nYou say \"Aveh madah amunisu\".\n\nYou feel like something didn't quite happen.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh madeh amunisu\nYou say \"Aveh madeh amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh madeh amunisu\".\n\nYou feel like something didn't quite happen.\n\n> Aveh madah amunisu\nYou say \"Aveh madah amunisu\".\n\nYou feel like something didn't quite happen.\n\n> Up\nYou feel a bit too heavy to jump in the air.\n\n> You point at yourself\nYou point your finger at yourself.\n\nThe word \"ami\" drifts into your consciousness -- the same word as when you pointed at the creature when you were carrying it.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh madah ami\nYou say \"Suveh madah ami\".\n\nYou don't feel weighed down any more.\n\nThere is a faint twittering sound from the cage.\n\n> Up\nThe floor is too sticky to jump from.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh haiak tolanisu\nYou say \"Suveh haiak tolanisu\".\n\nThe floor stops feeling sticky.\n\n> Up\nIn spite of your stickiness, you manage to jump in the air, but you come nowhere near the high ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> You look up\nThe ceiling looks like it is made from stone, just like the rest of the vault.\n\n> Suveh madah ami ani to\nYou say \"Suveh madah ami ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh madah ami\nYou say \"Suveh madah ami\".\n\nYou feel extremely buoyant.\n\nThere is a faint twittering sound from the cage.\n\n> Up\nIn spite of your stickiness, you manage to jump in the air and hit the ceiling, which you briefly stick to before falling back down to the floor.\n\n> Aveh tia amunisu\nYou say \"Suveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu\".\n\nThe ceiling becomes extremely cold.\n\nYou say \"Aveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu\".\n\nThe ceiling stops being cold, and becomes extremely hot instead.\n\nSome cracks appear on the surface of the ceiling.\n\n> You examine the ceiling\nThe ceiling looks like it is made from stone, just like the rest of the vault. There are some fine cracks along it.\n\nIt is giving off intense heat.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia amunisu\nYou say \"Suveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu\".\n\nThe ceiling stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu\".\n\nThe ceiling stops being cold, and becomes extremely hot instead.\n\nSome more cracks appear on the surface of the ceiling.\n\n> Aveh tia amunisu\nYou say \"Suveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu\".\n\nThe ceiling stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu\".\n\nThe ceiling stops being cold, and becomes extremely hot instead.\n\nSome more cracks appear on the surface of the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia amunisu\nYou say \"Suveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu\".\n\nThe ceiling stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu\".\n\nThe ceiling stops being cold, and becomes extremely hot instead.\n\nSome more cracks appear on the surface of the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh haiak amunisu\nYou say \"Aveh haiak amunisu\".\n\nYou feel like something has happened.\n\n> You jump\nIn spite of your stickiness, you manage to jump in the air and hit the extremely hot, sticky ceiling, which you stick to like glue. After some effort you manage to detach yourself, and you fall back down to the floor.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh tia amunisu\nYou say \"Suveh tia amunisu\".\n\nThe ceiling cools slightly, but it is still quite hot.\n\n> Suveh tia amunisu\nYou say \"Suveh tia amunisu\".\n\nThe ceiling stops being hot.\n\nThere is a faint twittering sound from the cage.\n\n> You jump\nIn spite of your stickiness, you manage to jump in the air and hit the sticky ceiling, which you stick to like glue. After some effort you manage to detach yourself, and you fall back down to the floor.\n\nThere is a faint twittering sound from the cage.\n\n> You search the ceiling\nThe ceiling looks like it is made from stone, just like the rest of the vault. There are some fine cracks along it.\n\n> Suveh nux amunisu\nYou say \"Suveh nux amunisu\".\n\nThe ceiling starts to glow.\n\n> You jump\nIn spite of your stickiness, you manage to jump in the air and hit the sticky ceiling, which you stick to like glue. After some effort you manage to detach yourself, and you fall back down to the floor.\n\n> You feel the ceiling\nThe ceiling is too high for you to reach.\n\n> You examine the ceiling\nThe ceiling looks like it is made from stone, just like the rest of the vault. There are some fine cracks along it.\n\nIt is glowing.\n\n> Aveh haiak amunisu ani to\nYou say \"Aveh haiak amunisu ani to\", and you feel the tingling sensation again.\n\n> Aveh haiak amunisu\nYou say \"Aveh haiak amunisu\".\n\nYou feel like something has happened.\n\n> Up\nIn spite of your stickiness, you manage to jump in the air and hit the very sticky ceiling, which you stick to like glue. For some reason you feel a certain sense of achievement at accomplishing this feat.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the ceiling\nThe ceiling is made from stone, just like the rest of the vault. There are some fine cracks along it.\n\nIt is glowing, and it feels very sticky.\n\nIt is interesting having a different persepective, but you wouldn't mind getting down some time.\n\n> You feel the ceiling\nIt feels very sticky. You don't think you can detach yourself from it.\n\nThere is a faint twittering sound from the cage.\n\n> You look\nYou are in a room-sized vault, with a shelf along one wall. The shelf has nothing on it at the moment.\n\nThe ceiling is glowing.\n\nThe west wall is hot.\n\nThe door is shadowy and cold.\n\nThe ceiling feels very sticky.\n\nYou feel kind and caring towards the scroll.\n\nThe room feels hot. Your hands feel sticky. You feel buoyant, but your feet are still on the ground.\n\nYou are hanging upside down from the ceiling.\n\nThe room is very bright.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the cracks\nYou can't get a close look at it while you're stuck to the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> You climb the east wall\nYou can't really do that while you're stuck to the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the door\nThere is a large crack in the door, from the top right corner to half way up the left side, forming a triangular block separate from the rest of the door. The main section of the door is on the bottom right.\n\nIt is covered in shadows, and it is radiating cold.\n\nThe triangular block is covered in shadows, and it is giving off heat.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the shelf\nThe shelf has nothing on it at the moment.\n\nThere is a faint twittering sound from the cage.\n\n> You look at the ceiling\nThe ceiling is made from stone, just like the rest of the vault. There are some fine cracks along it.\n\nIt is glowing, and it feels very sticky.\n\nIt is interesting having a different persepective, but you wouldn't mind getting down some time.\n\nThere is a faint twittering sound from the cage.\n\n> You point at the cracks\nThere are so many cracks, you can't decide which particular one to point at.\n\nThere is a faint twittering sound from the cage.\n\n> You hit the ceiling\nIt's a bit awkward to do that while you're stuck to it.\n\n> You look at the floor\nThe floor is solid stone, just like the walls and the door.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the cage\nA small brass cage with closely fitting bars. It opens at the bottom.\n\nYou know there is an invisible creature in there somewhere, but you can't see it.\n\nIt is cold.\n\n> You look\nYou are in a room-sized vault, with a shelf along one wall. The shelf has nothing on it at the moment.\n\nThe ceiling is glowing.\n\nThe west wall is hot.\n\nThe door is shadowy and cold.\n\nThe ceiling feels very sticky.\n\nYou feel kind and caring towards the scroll.\n\nThe room feels hot. Your hands feel sticky. You feel buoyant, but your feet are still on the ground.\n\nYou are hanging upside down from the ceiling.\n\nThe room is very bright.\n\nThere is a faint twittering sound from the cage.\n\n> You search the ceiling\nThere's nothing really up here.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the shelf\nThe shelf has nothing on it at the moment.\n\nThere is a faint twittering sound from the cage.\n\n> You look at the walls\nYou can't really do that while you're stuck to the ceiling.\n\nThere is a faint twittering sound from the cage.\n\nYou can't get a close look at it while you're stuck to the ceiling.\n\n> You hit the ceiling\nIt's a bit awkward to do that while you're stuck to it.\n\n> You drop the crystal\nIt might break if you drop it from up here.\n\n> Aveh madah ami\nYou say \"Aveh madah ami\".\n\nYou feel a little less buoyant.\n\nHowever, it is not enough to pull you down from the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh madah ami\nYou say \"Aveh madah ami\".\n\nYou are back to your normal weight again.\n\nHowever, it is not enough to pull you down from the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh madah ami\nYou say \"Aveh madah ami\".\n\nYou feel heavy and weighed down.\n\nYour sudden weight pulls you down from the ceiling, but unfortunately you hit the floor a little too hard.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh haiak ami\nYou say \"Suveh haiak ami\".\n\nYour hands stop feeling sticky.\n\nYou manage to extricate yourself from the ceiling, and fall back down to the ground. You notice that a small brown egg has appeared in your hand.\n\n> You examine the egg\nIt looks like a chocolate Easter egg.\n\nThere is a faint twittering sound from the cage.\n\n> You eat egg\nYou swallow the Easter egg in a single bite. Delicious!\n\n> You point at the egg\nYou point your finger at the Easter egg.\n\nNothing happens. Perhaps it doesn't have a magical name.\n\n> You give the egg to the creature\nYou poke the Easter egg through the bars of the cage, and it disappears in a single bite.\n\nThe creature makes some snuffling sounds.\n\n> You open the cage\nYou poke the Easter egg through the bars of the cage, and it disappears in a single bite.\n\nThe creature makes some snuffling sounds.\n\nYou open the brass cage. It feels cold.\n\nThe creature sniffs your hand, but doesn't try to escape.\n\nThere is a faint twittering sound from the cage.\n\n> Inventory\nYou are carrying:\nan Easter egg\na brass cage (cold) with an invisible creature inside it\na clear crystal (hot)\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThere is a faint twittering sound from the cage.\n\n> You open the cage\nYou open the brass cage. It feels cold.\n\nYou feel something brush past you. With a sinking feeling you realise that the creature has escaped again.\n\n> Point at crystal\nYou point your finger at the clear crystal.\n\nThe word \"kirabesso\" impresses itself on your mind.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia kirabesso ani to\nYou say \"Suveh tia kirabesso ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia kirabesso\nYou say \"Suveh tia kirabesso ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia kirabesso\".\n\nThe clear crystal you are carrying stops being hot, and becomes extremely cold instead.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia kirabesso ani mato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia kirabesso ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia kirabesso\".\n\nThe crystal suddenly shatters into a thousand pieces.\n\nThere is a faint twittering sound from the cage.\n\n> Inventory\nYou are carrying:\nan Easter egg\na brass cage (cold) with an invisible creature inside it\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThere is a faint twittering sound from the cage."
    },
    {
        "text": "> Look around\nYou are in a room-sized vault, with a shelf along one wall. The shelf has nothing on it at the moment.\n\nThere are some crystal fragments scattered around.\n\nThe ceiling is glowing.\n\nThe west wall is hot.\n\nThe door is shadowy and cold.\n\nYou feel kind and caring towards the scroll.\n\nThe room feels hot.\n\nThe room is very bright.\n\n> You examine the fragments\nSome fragments left over from the shattered crystal.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the fragments\nSome fragments left over from the shattered crystal.\n\n> You get fragments\nThe fragments of crystal aren't important.\n\nThere is a faint twittering sound from the cage.\n\n> You point at the east wall\nYou point your finger at the east wall.\n\n> You give up\nJust as you are about to give up in despair, a thought occurs to you: Someone, somewhere in world, has probably just eaten a cucumber.\n\nIt doesn't make any sense really, but it keeps your mind occupied for a while, and you forget your dark thoughts of despair.\n\n> Pet creature\nThe bars of the cage are too close together for you to reach inside without opening it.\n\n> Kiss creature\nThat's a bit difficult while the creature is in the cage.\n\n> You give the egg to the creature\nYou poke the Easter egg through the bars of the cage, and it disappears in a single bite.\n\nThe creature makes some snuffling sounds.\n\n> You open the cage\nYou open the brass cage. It feels cold.\n\nThe creature sniffs your hand, but doesn't try to escape.\n\n> You get the creature\nIt lets you pick it up out of the cage.\n\n> You lick it\nThat could be bad for your health.\n\n> You smell it\nThe creature smells faintly like a wet dog.\n\n> You search the creature\nThe creature seems willing to let you pat it now that you have fed it. It feels matted and hairy. It twitters in appreciation.\n\n> You point at the creature\nYou point your finger at the creature in your arms.\n\nThe creature twitters quietly to itself.\n\n> Inv\nYou are carrying:\nan invisible creature\nan open brass cage (cold)\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThe creature licks your face.\n\n> Inventory\nYou are carrying:\nan invisible creature\nan open brass cage (cold)\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThe creature twitters quietly to itself.\n\n> You check what you're carrying\nYou are carrying:\nan open brass cage (cold) with an invisible creature inside it\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\n> You check what you're carrying\nYou are carrying:\na brass cage (cold) with an invisible creature inside it\na piece of parchment\na leather bound book\na vial of liquid (shadowy) with a cork stopper\na scroll\n\nThere is a faint twittering sound from the cage.\n\n> You think about the easter eggs\nMmm. Chocolate. You wonder where you can get some more.\n\nYour thoughts wander to the numbering system in the book. Odd.\n\n> Page six\nThe sixth page says:\n\nvalue of pi, the square root of two, and other\nesoteric numbers; calculus and trigonometry; and\nhow to prove things in a rigorous, logical fashion.\nNumbers in the Laodian culture were formed\nusing admirably simple rules (historian\nx's claims to the contrary notwithstanding):\nA value is doubled by prefixing it with \"ma\";\nno value but zero ends with this syllable. If\nit is prefixed with \"to\", double and add one.\n\"Matoto\", for example, represents the number six,\nas this is twice \"toto\", the number three; and\n\"to\" alone is of course unity. It seems that no\nother culture used this kind of representation.\n\nThe first letter in each line is written in silver, spelling \"Aveh Nux Ani Mato\".\n\nThere is a faint twittering sound from the cage.\n\n> You think about the cucumber\nHmm ... cucumber.\n\nThere is a faint twittering sound from the cage.\n\n> You think about the chocolate\nMmm. Chocolate. You wonder where you can get some more.\n\nYour thoughts wander to the numbering system in the book. Odd.\n\nThere is a faint twittering sound from the cage.\n\n> You think about X\nHmm ... x.\n\n> Page one\nThe first page says:\n\nvarious sciences of the natural world,\nentirely in disagreement with certain\nhistorical surveyors who shall remain\nNameless in the present work, but shall be\nunderstood by the algebraic designation\nx.\n\nThe first letter in each line is written in silver, spelling \"Suveh Nux\".\n\nThere is a faint twittering sound from the cage.\n\n> You think about the david fisher\nHmm ... david fisher.\n\nThere is a faint twittering sound from the cage.\n\n> Page two\nThe second page says:\n\nAncient races such as the Meohan, a\nvery sophisticated and reasonable\nethnic group indeed, possessed\nhorological devices of such accurate\nTiming that they could predict\nimminent eclipses, conjunctions\nand other such astronomical phenomena.\n\nThe first letter in each line is written in silver, spelling \"Aveh Tia\".\n\n> Page three\nThe third page says:\n\nAnother highly developed race of antiquity,\nvanquished by the Meohan, were the Sundar --\nexquisite workers in metal, gemstones and\nheated glass. Their susceptibility to the\nMeohan's warlike methods was only due to\na civil war between rival noble families,\ndevastating the nation's standing army\nat a very inopportune time; their enemies\nhad a distinct numerical advantage as a result.\n\nThe first letter in each line is written in silver, spelling \"Aveh Madah\".\n\nThere is a faint twittering sound from the cage.\n\n> Page 4\nThe fourth page says:\n\nunderestimated. They were experts in shaping\nvery large blocks of marble or granite, which the\nevidence suggests were used for constructing\nhuge, elaborate tombs for their deceased rulers.\nSundar stone shaping involved making the stone\nextremely cold with buckets of ice imported from\nnearby Aoeteria, and then rapidly heating the\nstone with an intense blaze, which would split\nit along the desired fault line.\n\nThe first letter in each line is written in silver, spelling \"Suveh Sensi\".\n\nThere is a faint twittering sound from the cage.\n\n> Page 5\nThe fifth page says:\n\nAnatomy, Physiology and Biology were among the\nvarious subjects studied and perfected by the\nethnic group known jointly as the Andira, who\nhad more than a passing understanding of the\nHolistic nature of such endeavours. Medical\nadvances of various and sundry kinds were\ninvented by this group, and it must certainly be\nacknowledged that much of their skill and the\nknowledge they possessed far exceeds our own.\n\nThe first letter in each line is written in silver, spelling \"Aveh Haiak\".\n\n> Page 88\nAll the pages after page six are blank. You turn back to page six.\n\nThe sixth page says:\n\nvalue of pi, the square root of two, and other\nesoteric numbers; calculus and trigonometry; and\nhow to prove things in a rigorous, logical fashion.\nNumbers in the Laodian culture were formed\nusing admirably simple rules (historian\nx's claims to the contrary notwithstanding):\nA value is doubled by prefixing it with \"ma\";\nno value but zero ends with this syllable. If\nit is prefixed with \"to\", double and add one.\n\"Matoto\", for example, represents the number six,\nas this is twice \"toto\", the number three; and\n\"to\" alone is of course unity. It seems that no\nother culture used this kind of representation.\n\nThe first letter in each line is written in silver, spelling \"Aveh Nux Ani Mato\".\n\n> You point to the page six\nYou point your finger at the leather bound book.\n\n> Page 69105\nAll the pages after page six are blank. You turn back to page six.\n\nThe sixth page says:\n\nvalue of pi, the square root of two, and other\nesoteric numbers; calculus and trigonometry; and\nhow to prove things in a rigorous, logical fashion.\nNumbers in the Laodian culture were formed\nusing admirably simple rules (historian\nx's claims to the contrary notwithstanding):\nA value is doubled by prefixing it with \"ma\";\nno value but zero ends with this syllable. If\nit is prefixed with \"to\", double and add one.\n\"Matoto\", for example, represents the number six,\nas this is twice \"toto\", the number three; and\n\"to\" alone is of course unity. It seems that no\nother culture used this kind of representation.\n\nThe first letter in each line is written in silver, spelling \"Aveh Nux Ani Mato\".\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi tomato\nYou say \"Suveh sensi tomato\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> You examine the egg\nIt looks like a chocolate Easter egg.\n\nThere is a faint twittering sound from the cage.\n\n> You think about the game\nIf only this were a game -- then there would certainly be some kind of solution. But as it is, you can only hope.\n\nThere is a faint twittering sound from the cage.\n\n> You think about the thinking\nHmm ... thinking.\n\n> Lick heels\nYou doubt if your heels have a very nice flavour.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia amunisu\nI don't know how to . things.\n\nYou say \"Suveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Suveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Suveh tia amunisu\".\n\nThe ceiling becomes extremely cold.\n\nYou say \"Aveh tia amunisu ani mamato\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani toto\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu ani mato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\nYou say \"Aveh tia amunisu ani to\", and you feel the tingling sensation again.\n\nYou say \"Aveh tia amunisu\".\n\nThe ceiling stops being cold, and becomes extremely hot instead.\n\nSome more cracks appear on the surface of the ceiling.\n\nThere is a faint twittering sound from the cage.\n\n> Suvex nux ani tomamamamatotomatototototomamamato\nYou say \"Suveh nux ani tomamamamatotomatototototomamamato\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi egg\nYou say \"Aveh sensi egg\", but it feels wrong somehow.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi ani to\nYou say \"Aveh sensi ani to\", and you feel the tingling sensation again.\n\n> Aveh sensi\nYou say \"Aveh sensi\".\n\nYour emotions feel very confused.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi\nYou say \"Suveh sensi\".\n\nYour emotions feel a bit less confused.\n\nThere is a faint twittering sound from the cage.\n\n> Continue\nYou say \"Suveh sensi\".\n\nYour emotions feel back to normal again.\n\nThere is a faint twittering sound from the cage.\n\n> You think about the easter eggs\nMmm. Chocolate. You wonder where you can get some more.\n\nYour thoughts wander to the numbering system in the book. Odd.\n\nThere is a faint twittering sound from the cage.\n\n> You search the egg\nYou find nothing of interest.\n\nThere is a faint twittering sound from the cage.\n\n> You shake the egg\nThere doesn't seem to be much point in shaking the Easter egg.\n\nThere is a faint twittering sound from the cage.\n\n> You take the shelf\nIt's attached to the wall.\n\nThere is a faint twittering sound from the cage.\n\n> You search the floor\nThere are no objects on the floor.\n\nThere is a faint twittering sound from the cage.\n\n> You search the walls\nYou'll have to say which wall.\n\n> You search the west wall\nYou find no secret catches in the west wall.\n\nThere is a faint twittering sound from the cage.\n\n> You search the east wall\nYou find no secret catches in the east wall.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi ami\nYou say \"Aveh sensi ami\".\n\nYour emotions feel confused again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi imoentar\nYou say \"Aveh sensi imoentar\".\n\nYou feel unsympathetic towards the brass cage. You don't particularly care that it is cold. It's just a cage.\n\n> Suveh sensi imoentar\nYou say \"Suveh sensi imoentar\".\n\nYou feel neutral towards the brass cage again.\n\n> Aveh sensi imoentar ani to\nYou say \"Aveh sensi imoentar ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh sensi imoentar\nYou say \"Aveh sensi imoentar\".\n\nYou feel highly unsympathetic towards the brass cage. It doesn't matter to you in the slightest that it is cold. It's only a cage.\n\nThere is a faint twittering sound from the cage.\n\n> Shake cage\nYou shake the brass cage and it rattles a little.\n\nThe creature twitters noisily.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi imoentar\nYou say \"Suveh sensi imoentar\".\n\nYou feel unsympathetic towards the brass cage. You don't particularly care that it is cold. It's just a cage.\n\n> Suveh sensi imoentar\nYou say \"Suveh sensi imoentar\".\n\nYou feel kind and caring towards the brass cage. You feel a little concerned about it being cold, the poor thing.\n\n> Aveh sensi imoentar\nYou say \"Aveh sensi imoentar\".\n\nYou feel neutral towards the brass cage again.\n\n> Suveh sensi imoentar ani to\nYou say \"Suveh sensi imoentar ani to\", and you feel the tingling sensation again.\n\nThere is a faint twittering sound from the cage.\n\n> Suveh sensi imoentar\nYou say \"Suveh sensi imoentar\".\n\nYou feel extremely compassionate towards the brass cage. You feel worried about it being cold, the poor thing.\n\nThere is a faint twittering sound from the cage.\n\n> Aveh tia imoentar\nYou say \"Aveh tia imoentar\".\n\nThe brass cage you are carrying stops being cold.\n\nYou are relieved that the brass cage is no longer cold.\n\nThe twittering stops.\n\n> Drink vial\nYou remove the stopper from the vial, and an overpowering smell washes over you. Doing your best to ignore it, you take a small sip.\n\nYou immediately collapse unconscious on the floor.\n\n> You give the vial to the creature\nYou open the vial to feed the liquid to the creature, but the vapours make you feel quite dizzy, so you put the stopper back in again.\n\n> You break the egg\nThe Easter egg seems to be extraordinarily resilient, even though it is just made of chocolate.\n\n> You hold the nose\n(first taking your nose)\nYour nose is already about as close to you as it can be.\n\n> You sit on egg\nYou're fine standing up.\n\n> You hold the breath\nYou stamp your foot on the floor.\n\nYou can't see any such thing.\n\n> Stomp\nYou stamp your foot on the floor.\n\n> You examine the neck\nYour neck is difficult to see without a mirror.\n\n> You examine the hair\nWhich do you mean, the creature's hair or your hair?\n\n> You examine the eyes\nYour eyes are difficult to see without a mirror.\n\n> Damn\nSuch language from someone stuck in a vault!\n\n> Darn\nIndeed.\n\n> Zizee\nYou already tried that pronunciation.\n\n> You think about xyzzy\nMaybe ... \"ecksyuzzy\"?\n\n> Plugh\nI only understood you as far as wanting to eat some delicious roast plover with plum sauce, and that lovely stuffing, you know, the kind they put in the turkey at Christmas time.\n\nWhat do you want to plugh?\n\n> Plugh beastie\nPlughed.\n\n> You examine door\nThere is a large crack in the door, from the top right corner to half way up the left side, forming a triangular block separate from the rest of the door. The main section of the door is on the bottom right.\n\nIt is covered in shadows, and it is radiating cold.\n\nThe triangular block is covered in shadows, and it is giving off heat.\n\n> You rub the egg\nIt feels like you would expect a chocolate Easter egg to feel.\n\n> You taste the egg\nYou swallow the Easter egg in a single bite. Delicious!\n\n> Sleep\nYou don't know how long your air will last inside this vault ... better to work on the problem at hand.\n\n> Wave vial\nYou wave the vial of liquid around in the air.\n\n> You pinch yourself\nSelf destructive thoughts flit through your mind, but you resist the urge. You are not completely without hope of escaping from this vault."
    },
    {
        "text": "[Themes: Humor, male protagonist, ancient Greece]\n\nSing, O Muse, of war and fame,\nThe striving of men and the ruin--\nOh hang it, the ruin of something\nOr other, I forget the line\nThough nothing for it but to go\nOn with this poem best I can\nSing now of struggle and plunder\nI think that the word's plunder,\nFrom topless towers that - no, no,\nWrong word again, topless towers of--\nLook I know I'll remember,\nFrom topless towers tum-tumpety-tum\nTumpety tumpety -- wait a tic\nDash it all plunder is wrong\nMaybe pillage or flotsam and\nJetsam or I don't quite recall,\nThe words are just sticking on the\nv. tip of the old tongue;\nI may have three sheets to the wind\nOr one sheet too many in the event\nTo land this epic poetry jobby.\n\nI say, speaking of being sloshed though, here's one I do remember --\n\nWell, isn't this a lark! The capital's been rather dull of late, but after solid years of going after old Alky to let you in on that Mysteries wheeze of his, at last tonight's the night! He's dragged you off to Eleusis for some sort of to-do, but no sooner had you clapped eyes on the amphorae and canap\u00e9s amply spread across the courtyard than he informed you of a spot of work in need of doing before the festivities can commence -- and you've drawn the short straw in terms of fetching some paraphernalia up from the temple undercroft.\n\nIt made sense at the time -- or so you think, you must admit you nodded off midway through the explanation -- Alky at least wrote it all down for you, the dear.\n\nLess lamb-like of him, he's standing guard over the stairs that lead back to the party. Nothing for it but to get to work -- you've heard of work, you're sure you'll be good at it!\n\nWhen Alky told you he was taking you to a party, this low, earthen-walled cellar wasn't exactly what you pictured -- though you're trying to be fair-minded and not hold it against what might be a perfectly lovely undercroft once you get to know it.\n\nRough wooden stairs lead back up to the temple proper, with Alky perching beguilingly yet also obstructively upon the top step to keep you from joining the party before you've done your bit. Openings gape westward and southward, and from the flickering oil-light coming from them you'd guess that they're in regular use. The cellar extends further eastward into darkness, getting less homely and more cave-like by the inch.\n\n[Author's Note: Well, isn't this a lark! After solid years of going after old Alky to let you in on that Mysteries wheeze of his, at last tonight's the night. He's dragged you from Athens to Eleusis for the to-do, but no sooner had you clapped eyes on the wine and canap\u00e9s than he informed you of a spot of work in need of doing. You've heard of work, you're sure you'll be good at it!]\n\n> About yourself\nIt's a mark of ill-breeding to be a judge in one's own cause, and you are if nothing else well-bred -- but if, hypothetically, one were to have one's hypothetical arm twisted, then one might venture to relate that some -- no, many! -- of one's contemporaries are of the opinion that one is a dashing young thing of appealing and prepossessing aspect, and the moustache one has recently grown, after much consideration, adds just the right note of danger and flair (these contemporaries to whose opinion one is referring the matter, it is to be understood, hold themselves to high standards of probity and are quite fetching themselves, to boot, but no, one couldn't possibly relate their names right now, and shame on you for asking).\n\nCurrently, you're wearing a well-tailored chiton.\n\nYou've got a tickle of an itch right at your temple.\n\n> You look at the chiton\n(the well-tailored chiton)\nYour manservant detests this chiton, sniffing superciliously about the canary-yellow color being d\ufffd\ufffdclass\ufffd\ufffd, but he can soak his head -- as far\nas you're concerned, it is just the thing!\n\n> You scratch itch\nAs your fingers brush the side of your head, they come across a hard, cylindrical object.\n\n> You take the object\nHang on, this is that knife you lost! You take it down from your ear, nicking your fingers only twice or thrice in the process.\n\n> You examine the knife\nA steel knife, sharper than your wits, hopefully. Or, wait, perhaps the other way round?\n\n> You look at what you're carrying with you\nYou are carrying:\na knife\na well-tailored chiton (being worn)\nthe list of ceremonial desiderata\n\n> You look at the list\nAlky helpfully handed over this list of all the ritual bric-a-brac he lost in the cellars during his last bender. There are rather a lot of words, so you'll have to really commit if you want to read it.\n\n> You read the list\n-The krater of the east (a krater is a sort of large vase)\n-An amphora of clear water (an amphora is a different sort of large vase)\n-A knife. Any knife will do, and there are probably some up here now that I think of it, but you might as well pick one up for us while you're down there, eh?\n-An ear of barley, for the kykeon (you'll like the kykeon!)\n-A sprig of pennyroyal, adds a delightful minty flavor to the kykeon (look for the lavender flowers!)\n\nYou see Alky at the top of the stairs, flirting with anything that comes within arm-span.\n\n> You go west\nYou smell this room before you enter it -- it gives off the kind of rank odor you rarely encounter outside the odd visit to a Great-Aunt who's rather let the housekeeping go to seed. The culprit is easy to detect: heaps of mostly-rotten grain clog the room everywhere you turn. There's a vase in the corner -- no, hang on, that's an amphora, though admittedly a rather vase-like example of the type.\n\nThe main cellar, offering a relative respite for your nose, lies east.\n\n> You look at the amphora\nThis is definitely an amphora, and not a vase. Or is that backwards? It's got a very narrow neck and stands about two feet tall, and is tied to iron rings in the wall by a well-knotted rope that's seen better days. There are a few ears of barley at the very bottom of the amphora, looking at least marginally fresher than the rotten grain in the granary.\n\n> You take it\nThis works less well than you'd hoped, inasmuch as the amphora is anchored to the wall by the rope.\n\n> You cut the rope with the knife\nYou slash the frayed rope with the knife.\n\n> You take the amphora\nTaken.\n\n> You take the barley\nYou strain -- gosh, do you strain! -- but try as you might to cram your hand into the amphora, the neck is just too narrow."
    },
    {
        "text": "[Themes: Humor, ancient Greece]\n\n> Look around\nHeaps of mostly-rotten grain clog the room everywhere you turn.\n\nThe main cellar, offering a relative respite for your nose, lies east.\n\nA piece of frayed rope lies forlorn on the floor.\n\n> You examine the heaps\nThere is, unsurprisingly, a lot of grain in this granary; what's rather more outside-of-the-box is that nobody apparently could be troubled to put it in anything, and it's rather just heaped about the place. Inasmuch as there's a non-negligible amount of humidity, if not outright dankness, it's all completely rotten.\n\n> Exits\nThat action might be a bit esoteric for the evening's proceedings.\n\n> Dance\nYou give a caper, follow up with a shuffle, and finish with a knee-slide, cha-chaing all the while.\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"I dream of a trireme\".\n\n> You look\nHeaps of mostly-rotten grain clog the room everywhere you turn.\n\nThe main cellar, offering a relative respite for your nose, lies east.\n\n> Go east\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\n> Go south\nJudging by the supplies and sundries stored here, the Priests of Eleusis put on quite the shin-dig: the floor practically groans under the weight of nummies both comestible and potable, stored in a variety of vessels. You see vases of veal, lekythoi of leeks, bowls of beer, pithoi of pitted olives, kylixes of kielbase, skyphoi of skyr... And everywhere you look, there's another krater, each wider-mouthed and wider-handled than the previous, all strewn in a careless pile against the far wall.\n\nNear the opening that leads back to the cellar to the north, oil lamps hang from the low earthen roof to provide light, but the ceiling opens up considerably towards the southern wall.\n\n> You examine the lamps\nFilled with olive oil and set alight, which is what one of your unkinder Great-Aunts suggested was waiting for you in Tartarus if you didn't mend your ways. The ones near the entrance hang close from the low ceiling, but towards the far end they're suspended from a much higher point.\n\n> You examine the krater\nWhich krater, exactly, are you trying to look at? There's rather a pile of the deuced things.\n\n> You read the list\n-The krater of the east (a krater is a sort of large vase)\n-An amphora of clear water (an amphora is a different sort of large vase)\n-A knife. Any knife will do, and there are probably some up here now that I think of it, but you might as well pick one up for us while you're down there, eh?\n-An ear of barley, for the kykeon (you'll like the kykeon!)\n-A sprig of pennyroyal, adds a delightful minty flavor to the kykeon (look for the lavender flowers!)\n\n> You search the kraters\nAfter a few minutes of careful study, and a few moments of ignominy when you lose your footing and wind up desperately scrabbling in a cavalcade of kraters, you think you've found the one you're after, buried near the bottom of the pile: red-figure depictions of Eos, flora and fauna from Asia Minor, &c. The legend reading \"Krater of the East\" provides a supernumerary clue.\n\n> You take the krater of the East\nYou give the krater you're after a tug, but it's lodged under quite a few other kraters, which does not exactly make for stable footing, and your efforts to dislodge it lead instead to dislodging yourself, in an arse-over-teakettle sort of way. You dust yourself off, with no-one having seen your bloomer on the plus side, but also no krater to show for it on the minus side.\n\n> You pull the rope\nYou step well clear of the pile of kraters and give the rope a good heave. It takes a bit more straining than you'll relate when you tell Alky the story later, but eventually you pull the Krater of the East clear of the pile, and you tuck it under your arm with a sense of accomplishment."
    },
    {
        "text": "[Themes: Humor, male protagonist]\n\n> Look around\nThe inventory of foodstuffs on offer here includes vases of veal, lekythoi of leeks, bowls of beer, pithoi of pitted olives, kylixes of kielbase, and skyphoi of skyr -- there's also a pile of kraters spilled against the far wall.\n\nNear the opening that leads back to the cellar to the north, oil lamps hang from the low earthen roof to provide light, but the ceiling opens up considerably towards the southern wall.\n\n> Go up\nYou scrabble up the pile of kraters, which teeter this way and that under your unexpected weight. Just as they're ready to topple, you leap onto the conveniently-placed ledge.\n\nYou're surrounded by the black and inky every which way you look, which is generally not how you choose to pass your evenings.\n\n> You examine Krater of the East\nRed-figure depictions of Eos, flora and fauna from Asia Minor, &c.\nThe legend reading \"Krater of the East\" provides a supernumerary clue. A rather worn rope is tied in a loop around the krater's handles.\n\n> You go to the north\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\nAlky idly inquires how you're getting along with things.\n\n> You talk to Alky\nTo converse with characters, you can ASK them ABOUT something.\n\n> You ask Alky about the light\nYou get a blank look of the sort with which you're well acquainted.\n\n> You ask Alky about lamp\nYou get a blank look of the sort with which you're well acquainted.\n\nAlky explains to you his plan for invading Sicily -- or maybe it's his plan of attack for dinner, you get confused midway through and, to be fair, hot oil features in both.\n\n> Inventory\nYou are carrying:\nthe Krater of the East\na frayed rope (tied to the krater of the east)\nthe amphora\nsome barley\na knife\na well-tailored chiton (being worn)\nthe list of ceremonial desiderata\n\n> You ask Alky about the knife\nAlky seems confused as to why you're asking about it, seeing as you've got it; and truth be told, now you're somewhat in the same boat yourself.\n\n> You ask Alky about the seltzer\nYou get a blank look of the sort with which you're well acquainted.\n\nAlky idly inquires how you're getting along with things.\n\n> Go east\nThis unfinished bit of the cellars is more of a cave than a cellar, and it's sufficiently dark that you can't guarantee you'll sleep nightmare-free tonight.\n\nAlky, and the eventual party, lie westward, and -- less attractively -- more darkness stretches eastward.\n\n> You search the kraters\nNow this is quite the pile!\n\n> You examine the veal\nThe veal is lightly seared to mouth-watering perfection.\n\n> You look at the beer\nThe beer looks dark and smells darker.\n\n> You examine the olives\nYou briefly contemplate the amount of labor required to de-pit each and every olive in this large vessel -- even just thinking of it makes you tired.\n\n> You examine the kielbase\nUpon closer inspection, this might just be plain old sausage, but you're rather committed to the alliteration wheeze at this point.\n\n> You examine the skyr\nThere's an absolutely whizzing hangover cure your man makes for you out of thick yogurt like this. You just add -- was it nutmeg? And some herb or other. Honestly, this is why having a man is so dashed convenient, not just for the doing of things but for the remembering of them.\n\n> You examine the pile\nNow this is quite the pile!\n\n> Go south\nIt's rather too dim to be blundering about aimlessly, especially with that steep drop close to hand!\n\n> You examine the ceiling\nThere's rather an oppressively large amount of dirt looming not very high above you, here, which is unrewarding to contemplate. Though, now that you peer more closely, it looks like the ceiling's a bit higher above the pile of kraters, with perhaps some kind of ledge up there.\n\n> You examine the ledge\nA rock ledge runs around the far wall of the store room, perhaps half a dozen feet above the wild mass of kraters.\n\n> You take the dirt\nNot exactly man-portable, old man.\n\n> You look at the floor\nThe floor, like the walls, is a clay-ey, mucky sort of number whose contemplation makes you hitch up your chiton.\n\n> You examine wall\nThe walls, like the floor, are a clay-ey, mucky sort of number whose contemplation makes you hitch up your chiton, but you think you can see a recessed ledge up near the top of the chamber, just above the pile of kraters.\n\n> You go north\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\nAlky canvasses your opinion on a naval versus an infantry strategy for peeling off the Peloponnesian League's allies, which reminds you that you really need to catch up on the news.\n\n> Go west\nHeaps of mostly-rotten grain clog the room everywhere you turn.\n\nThe main cellar, offering a relative respite for your nose, lies east.\n\n> You taste it\nThat's plainly inedible.\n\n> You go north\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\nAlky notices that his torch is dripping ash on his chiton, and flicks himself clean with a sound that's somewhere between a snort and a bray, but still manages to be charming.\n\n> You examine Alky\nNow here's a chap who really fills out a chiton. Those flashing eyes, those silken curls, that perennial sneer have charmed many a gal and many more a fellow. He's strumming idly on his third-best lyre. He's also got a torch tucked under his arm, which conveys a dashing devil-may-care-insouciance but is also a fire hazard.\n\n> You ask Alky for the torch\n\"Oh, this thing?\" asks Alky, with a fetching sneer of the lip. \"It sputters more than you do, but take it if you like it so much.\" He hands it over.\n\n> You look at torch\nPeering into the heavily-smoking torch is going swimmingly, until suddenly your eyes start to sting. You try it again just to be sure -- by Jove, you're nearly certain that this rummy smoke is the culprit!\n\n> Light torch\nYou're nearly certain that's already on fire.\n\n> Go upward\nYou scrabble up the pile of kraters, which teeter this way and that under your unexpected weight. Just as they're ready to topple, you leap onto the conveniently-placed ledge.\n\nThis must be the most precarious ledge you've ever perched upon -- though speaking frankly you're having a hard time recollecting any also-rans, what with the steep decline to the store room below being awfully distracting.\n\nAway from the edge, there's a dark tunnel to the southeast, which isn't exactly inviting but at least promises some relief from the vertigo of your present position.\n\n> You go to the southeast\nThis high cavern is the source of a bubbling stream of water, which springs out of some nearby rocks, swirls for a while in a clean pool, and then dramatically leaps off the edge of a cliff as though it's trying to impress a potential romantic partner (though hard experience has taught you that this is less of a sure-fire stratagem than you'd think).\n\nThe dark ledge is back to the northwest.\n\n> You fill amphora\n(with the pool of clear water)\nYou dip the amphora into the pool until it's full up with water. It's rather heavy now, but you suppose you can put up with a modicum of toil for now, since the rest of the evening should be full of nothing but delightful ease.\n\n> You check what you're carrying\nYou are carrying:\nsome barley\na heavily-smoking torch (providing light)\nthe Krater of the East\na frayed rope (tied to the krater of the east)\nthe amphora (full of clear water)\na knife\na well-tailored chiton (being worn)\nthe list of ceremonial desiderata\n\n> Go northwest\nThis must be the most precarious ledge you've ever perched upon -- though speaking frankly you're having a hard time recollecting any also-rans, what with the steep decline to the store room below being awfully distracting.\n\nAway from the edge, there's a dark tunnel to the southeast, which isn't exactly inviting but at least promises some relief from the vertigo of your present position.\n\n> Go north\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\nAlky tells you something clever he heard off of that Socrates fellow, but it's a bit hard to follow and leaves you knowing less than when you started.\n\n> You go to the east\nThis unfinished bit of the cellars is more of a cave than a cellar, and despite your sputtering torch, it's sufficiently dark that you can't guarantee you'll sleep nightmare-free tonight.\n\nAlky, and the eventual party, lie westward, and -- less attractively -- more darkness stretches eastward.\n\n> You go east\nYou don't like to criticize, but this cavernous chamber is definitely darker than would be ideal.\n\nAs before, light, civilization, and friends who know how to fill out a toga lie west, darkness and yet more cave are to the east.\n\n> Go east\nThis seems like it must be a natural cave, because the alternative -- that whatever architect designed these cellars decided that his vision required this many tunnels, and that whatever workmen hired to realize the said vision quarried then out uncomplainingly -- is too bleak to contemplate.\n\nPer the long-settled drill, bright areas, familiar friends, all that is good in the world, the promise of alcoholic drinks, laughter, conversation, and a heretofore-taken-for-granted absence of dank cave smells are all west, and everything not counted in column A is east.\n\n> You go east\nYou are a broad-minded man. When old Ptolly was over the moon for that Scythian bird, everyone else laughed, but you helped him translate his love poems into her awful dialect, spending many a late night poring over lexicons until you had it just right (the fact that, upon receipt of the poem aforementioned, she got her tribe to launch one of the more vicious raids Athens has seen these past few decades, was surely down to the inherent weaknesses in the source text's scansion and meter, rather than any flaw in your work). But -- all this to say, even for someone of your generally liberal tendencies, this is really getting to be a bit much.\n\nTo get back to Alky and the rest of the cellars, you'll need to return through more cave to the west than you care to contemplate, while another chamber opens up to the south.\n\n> Go south\nYou let out an approving cluck when you realize that, contrary to expectation, you have at last run out of cave. This largish grotto seems to be some kind of subterranean garden -- a grated opening in the roof of the cavern lets in copious moonlight (you deduce that this would be sunlight during the day), which shines on a large, desultorily-tended bed of herbs. There's a higher part of the cave above you, whence gushes a muddy waterfall that's created a larger, even muddier pool.\n\nThe world's most boring cave system waits for you to the north.\n\n> You examine the herbs\nThe bed holds row after row of herbs, with quite a lot, it must be admitted, occupying the purple-ish portion of the palette. That pennyroyal might take some finding.\n\n> You search the herbs\nYou find a lavender herb! No, wait, now you look closer actually this one's fuchsia.\n\n> Continue\nYou find a lavender herb! No, wait, now you look closer actually this one's violet.\n\n> Continue\nYou find a lavender herb! No, wait, now you look closer actually this one's lilac.\n\n> Continue\nYou find a lavender herb! No, wait, now you look closer actually this one's mauve. You're beginning to think that the list wasn't narrowing things down sufficiently when it said the herb was lavender.\n\n> Keep going\nYou find a lavender herb! No, wait, now you look closer actually this one's lilac. You're beginning to think that the list wasn't narrowing things down sufficiently when it said the herb was lavender.\n\n> You smell the herbs\nMmmm, there's a delightful smell of mint coming from one of these purplish herbs -- that must be the pennyroyal!\n\n> You take the pennyroyal\nHaving zeroed in on the correct herb through your superior nasal acuity, you pluck a sprig of pennyroyal from its bed.\n\n> Go north\nNow that you know the way to the garden, it's a simple matter to retrace your steps back to the cellar.\n\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\n> Go west\nHeaps of mostly-rotten grain clog the room everywhere you turn.\n\nThe main cellar, offering a relative respite for your nose, lies east.\n\n> Go east\nIt's perhaps a judgment on the cellar that the only things you care to notice about it are the exits. One might think the stairs to be the likeliest prospect, but Alky's fetching form is currently interposing itself. More immediately relevant are the lighted openings to the west and south, and coming in a distant fourth in the niceness sweepstakes is the dim, cave-y area to the east.\n\nShooting you a sly smile, Alky tells you one of the many things his guardians don't know about what he gets up to.\n\n> You take the rope and the chunk\nfrayed rope: Taken.\nlargish chunk of amphora: Taken.\n\n> You check what you're carrying\nYou are carrying:\na largish chunk of amphora\na frayed rope\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You look at the chunk\nThis was definitely an amphora, and not a vase. Or is that backwards? This head-sized chunk, from the bottom part of the thing, is that all that survived Puffy's tender ministrations.\n\n> Go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he contemplates an olive.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\nAlky explains to you his plan for invading Sicily -- or maybe it's his plan of attack for dinner, you get confused midway through and, to be fair, hot oil features in both.\n\n> You examine the food\nIf you had any doubts about the divine nature of the mysteries, this sm\ufffd\ufffdrg\ufffd\ufffdsbord would remove all doubt. There's more kinds of food and libation here than you can count (admittedly a low-ish number, as the somewhat-clunky Attic numeral system isn't doing you any favors on this score). Olives, dates, figs, and grapes, each plumper than the last, overflow the tables, and that's just the roundish things! There's a massive roast and dozens of cheeses -- oh, you could get used to this.\n\nA pepper pot and a sampling-platter of honeyed cakes round things out, and some toothpicks are neatly piled at the far end of the table next to a solitary cup (everyone else must have taken theirs already).\n\n> You take the cup\nTaken.\n\n> You take the toothpick\nYou pluck a toothpick from the pile.\n\n> You examine the pot\nA nice little pot of pepper, in case you think you're a better-seasoned seasoner than the cooks.\n\n> You eat it\nYou take a pinch and sniff -- ooh, now that's peppery!\n\nAlky pulls a flask out of his chiton, downs a swallow, and visibly decides to save the rest for himself rather than offer you any (you suppose you need to be fully initiated into the Mysteries to get the good stuff).\n\n> You smell the pepper\nYou take a pinch and sniff -- ooh, now that's peppery!\n\nYou've got a little tickle in your nose.\n\n> You sneeze\nYou have a feeling that if you just wait a moment, that will take care of itself.\n\nThis definitely feels like a sneeze coming on.\n\n> You wait a while\nTime passes.\n\nAlky tells you something clever he heard off of that Socrates fellow, but it's a bit hard to follow and leaves you knowing less than when you started.\n\n\"Ah-CHOO!\" Your sneeze sounds like a goose's honk.\n\n> You examine the cake\nThese cakes are dripping with honey, and have more tiers than the Theater of Dionysus.\n\n> You examine the drinks\nSeveral large urns of wine, with convenient bowls set out to facilitate sanitary libation.\n\n> You drink the wine\nNow that's the stuff -- and it seems to have washed out the tickle in your throat, too!\n\n> You talk to Alky\nTo converse with characters, you can ASK them ABOUT something.\n\n> You look at the people\nThese fellows are much too intent on their stomachs to bother with you.\n\n> You look at the couch\nThe couches themselves are rather quotidian, but some of the jewels of Attic society are sprawled recumbent across their cushions -- under other circs, you'd be star-struck to be sharing air with Corky Timogenes!\n\n> You examine corky\nEveryone here seems rather focused on moving delicacies from table to tummy as efficiently as possible.\n\n> You take the pepper\nYou take a pinch and sniff -- ooh, now that's peppery!\n\nShooting you a sly smile, Alky tells you one of the many things his guardians don't know about what he gets up to.\n\n> You go north\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, source of drinking songs and belches, and eastwards, whence quiet music and some jolly bracing incense waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\n> You go to the north\nEither the rites of Eleusis involve quite a lot of fancy-dress shenanigans, or one of the priests is a clothes horse of very little discernment, because this small room is chock-a-block with clothes, including a hat rack, a bin for accessories, and a bench heaped with shoes -- everything you might need for a party or some light comic theater.\n\nThe peristyle is back to the south.\n\nYou emit a small \"hic\" -- that wine must have gone to your head!\n\n> You look at the rack\nThis wooden number sports a profusion of hats -- among the swarm, a silly, floppy tam, some ear warmers, and a crown of laurels catch your eye.\n\n> You examine bin\nYou root around in the bin like a pig whose supper depends on finding a prize truffle. Your best finds are a feather boa, and a gold chain that could do for a belt in a pinch.\n\n> You examine the bench\nA number of shoes -- hopefully an even one -- are heaped on this bench. You particularly notice a pair of sandals like Hermes would wear, and a set of cothurni, like actors wear.\n\n> Go east\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nEsmond Kerykes -- Puffy to his friends -- lounges about.\n\nBlimey! That bloke over there is your cousin, Machon Ephippus-Ephipus. Who knew he was on the to-be-initiated list too?\n\nThat thin bloke Alky called \"Puffy\" greets you as you enter. \"Welcome to the telesterion,\" he says, and while you're revolving that in the noodle (you figure out the \"far away\" part straightaway, but the rest is a bit flummoxing), you somewhat lose track of the rest of the rigmarole. The gist seems to be that you've a few more hoops to jump through, of a ceremonial nature, and you can get the ball rolling by asking the said Puffy about the said ritual.\n\n> You ask puffy about the ritual\n\"Let's get cracking,\" Puffy says, rubbing his hands together.\n\nYou hiccup again.\n\n\"The ritual starts with some call and response,\" Puffy says. At your blank look he elaborates: \"I'll say something, then you repeat it back. Here, let's try to make sure you've got it, I'll say...\" As he hesitates, Machon pipes up, \"how about blooey!\" Puffy, with a pained wince, acquiesces.\n\n> You say blooey\n(to Puffy)\nYou need to wait a moment for Puffy to say it first.\n\nPuffy says \"blooey,\" not without a sour glare at Machon, and looks at you expectantly.\n\n> You say blooey\n(to Puffy)\nPuffy nods at you, relieved by your ability to follow simple directions (there are benefits, pedagogically speaking, to having a Great-Aunt!)\n\nYou've got the bit between your teeth vis a vis this call and response wheeze now, and you keep pace all through some balderdash Puffy spouts about rains and children and flowers and all sorts of soppy nonsense. But then he draws you up short: \"All right, this last part's a little different,\" Puffy says (you hesitate, about to open your mouth and repeat this back too, before he dissuades you with a quick shake of the head). \"Now in a moment I'll ask who bore a great son, and you say mighty Potnia.\"\n\n> You wait\nTime passes.\n\nYou hiccup again.\n\n\"Who bore a great son?\" Puffy intones in your general direction.\n\n> You say mighty Potnia\n(to Puffy)\n\"Mighty Potnia,\" you say with confidence, only to be met with a chorus of bemusement. \"No, that's not quite it,\" scolds Puffy. \"Insufficiently plosive, old man,\" Machon Ephippus-Ephipus puts in. \"More nasal, more emphasis on the first syllable.\"\n\n\"Great son?\" Puffy asks again. He looks at you, hopeful yet wary.\n\n> Go west\n\"I don't think you're quite getting it,\" Puffy tsks in disappointment as you leave the room. \"Perhaps a snack and a drink would help?\" He turns away.\n\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, source of drinking songs and belches, and eastwards, whence quiet music and some jolly bracing incense waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\n> You go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he drains a bowl of wine to the dregs.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\nYou hiccup again.\n\n> You go to the north\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, source of drinking songs and belches, and eastwards, whence quiet music and some jolly bracing incense waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\nThere's that tickle again.\n\n> Go east\nAs you enter, Puffy bustles over to you, officious. \"Are you ready to get on with the initiation?\" he asks. After a moment's pause that awkwardly stretches to two moments, you realize this wasn't rhetorical.\n\n> Yes\nPuffy leads you into the Telesterion and into the stage area.\n\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nEsmond Kerykes -- Puffy to his friends -- lounges about.\n\nYour cousin Machon Ephippus-Ephippus is seated on a couch, doing his best to stay upright.\n\nThis definitely feels like a sneeze coming on.\n\nYou hiccup again.\n\n\"Remember, just repeat everything I say,\" Puffy says. You can do that!\n\n> You wait awhile\nTime passes.\n\n\"Ah-CHOO!\" Your sneeze sounds like a lamb's bleat.\n\nPuffy says \"blooey,\" not without a sour glare at Machon, and looks at you expectantly.\n\n> You say blooey\n(to Puffy)\nPuffy nods at you, relieved by your ability to follow simple directions (there are benefits, pedagogically speaking, to having a Great-Aunt!)\n\nYou breeze through the easy bits, until once again you face that \"mighty Potnia\" business.\n\n> You say mighty Potnia\n(to Puffy)\nYou need to wait a moment for Puffy to give you the prompt.\n\nThere's that tickle again.\n\nYou hiccup again.\n\n\"Who bore a great son?\" Puffy intones in your general direction.\n\n> You say might potnia\n(to Puffy)\nThere is no reply.\n\nThis definitely feels like a sneeze coming on.\n\n\"Great son?\" Puffy asks again. Frankly at this point you'd call this son something other than great.\n\n> You say mighty Potnia\n(to Puffy)\nYou get out the \"mighty\" just fine, but a massive sneeze overcomes you just as you hit the \"Potnia\" part -- a nasal explosion that wins plaudits and catcalls from everyone save Puffy, who's rather drenched in the results of your triumph. \"I suppose that's close enough,\" he says, wringing out the hem of his chiton. \"Ask me about the ritual when you're ready for the next bit.\"\n\n> You ask puffy about the ritual\n\"Yes, let's get on with it,\" says Puffy, sniffing in what's either irritation or a coming head-cold. \"Where was I...\"\n\nYou hiccup again.\n\n\"This next bit might be hard for you,\" Puffy says with concern. \"You just need to stay quiet while I prepare the kykeon.\" You're about to ask what the blazes this kykeon is that he and Alky are always going on about, but as the fellow's a born pedant, he's already explaining: \"we make a special drink from the barley and pennyroyal you brought us, plus a few other special ingredients, then drink it at the end of the ceremony.\"\n\n> You wait a while\nTime passes.\n\nThere's that tickle again.\n\nPuffy takes out a knife -- your knife! -- from his sleeve, and slowly tests its point on his finger.\n\n> Wait\nTime passes.\n\nThis definitely feels like a sneeze coming on.\n\nNow Puffy moves to the platter, and takes the pennyroyal and the ear of barley you found earlier.\n\n> Wait\nTime passes.\n\n\"Ah-CHOO!\" Your sneeze sounds like a goose's honk.\n\nYou hiccup again.\n\nPuffy looks at you, horrified. \"We need silence! Talk to me when you're ready to try again.\"\n\n> Go west\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, source of drinking songs and belches, and eastwards, whence quiet music and some jolly bracing incense waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\n> Go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he gives a date a dainty nibble.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\nAlky canvasses your opinion on a naval versus an infantry strategy for peeling off the Peloponnesian League's allies, which reminds you that you really need to catch up on the news.\n\nThere's that tickle again.\n\n> You drink the wine\nNow that's the stuff -- and it seems to have washed out the tickle in your throat, too!\n\nYou hiccup again.\n\n> Yes\nPuffy leads you into the Telesterion and into the stage area.\n\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nEsmond Kerykes -- Puffy to his friends -- lounges about.\n\nYour cousin Machon Ephippus-Ephippus is seated on a couch, doing his best to stay upright.\n\nPuffy heaves a sigh and motions for you to be quiet as he once again starts to prepare the kykeon.\n\n> Wait\nTime passes.\n\nYou hiccup again.\n\nPuffy looks at you, horrified. \"We need silence! Talk to me when you're ready to try again.\"\n\n> Drink water\nWater's not your usual wheeze, but dashed if that wasn't refreshing!\n\nAfter a moment, you're pretty sure that it's fixed your hiccups, too.\n\n> You wait a while\nTime passes.\n\nPuffy takes out a knife -- your knife! -- from his sleeve, and slowly tests its point on his finger.\n\n> You wait for a while\nTime passes.\n\nNow Puffy moves to the platter, and takes the pennyroyal and the ear of barley you found earlier.\n\n> You wait for a while\nTime passes.\n\nSlowly, Puffy drags the knife across the barley, cutting a few kernels off into a shallow basin, then crushes the pennyroyal and throws it in too.\n\n> Wait\nTime passes.\n\nYou wait for a moment, sure that there must be something more interesting to come, but no, Puffy appears to be finished, and one of his assistants whisks the platter and basin away. \"It's a symbolic act,\" he says defensively, \"means new life will come from old.\" You nod, as though this follows -- at any rate, that's one more part of this thing-gummy finished, so you can check in with Puffy when you're ready for the next.\n\n> You ask puffy about the ritual\n\"Yes, let's get on with it,\" says Puffy, sniffing in what's either irritation or a coming head-cold. \"Where was I...\"\n\n\"All right, now we're getting somewhere,\" Puffy says. \"Next we commemorate those who for a moment brought a smile to holy Demeter's face while she mourned her lost daughter, by invoking divine hilarity.\" You think you've worked this out, and Puffy confirms it: \"Yes, try to make the chaps laugh. Seems in your wheelhouse, no?\"\n\n> Dance\nYou give a spin, follow up with a leap, and finish with a high-kick, spirit-fingering all the while.\n\nThe crowd ribs each other at your antics.\n\n> Dance\nYou give a caper, follow up with a shuffle, and finish with a lunge, head-bobbing all the while.\n\nThe crowd ribs each other at your antics.\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"hop lightly, hoplite!\"\n\nThe crowd ribs each other at your antics.\n\n> Act\nThis crowd doesn't seem like they want drama -- something more in the tomfoolery line would be the ticket.\n\nYou shuffle your feet a bit, and the crowd, mistaking that for dancing, gives you a smattering of applause.\n\nDespite your best efforts, boredom has overtaken the crowd. \"Best give it a breather,\" Puffy advises, \"come back when you've fine-tuned your act and your persona.\"\n\n> You go north\nEither the rites of Eleusis involve quite a lot of fancy-dress shenanigans, or one of the priests is a clothes horse of very little discernment, because this small room is chock-a-block with clothes, including a hat rack, a bin for accessories, and a bench heaped with shoes -- everything you might need for a party or some light comic theater.\n\nThe peristyle is back to the south.\n\n> You wear clothes\n(first taking the clothes)\nNone of them are a stitch on your chiton.\n\n> You wear the cothurni\n(first taking the set of cothurni)\nTaken.\n\nYou pull on the boots, tottering a little as you adjust to the high soles.\n\nYour current ensemble looks a little silly.\n\n> You wear tam\n(first taking the silly floppy tam)\nTaken.\n\nThe bright, floppy, be-belled tam settles upon your brow as though you were born to it.\n\nYour outfit is fairly ridiculous, but perhaps you've not quite attained the acme of silliness.\n\n> You examine bin\nYou root around in the bin like a pig whose supper depends on finding a prize truffle. Your best finds are a feather boa, and a gold chain that could do for a belt in a pinch.\n\n> You wear boa\n(first taking the feather boa)\nTaken.\n\nThe boa adds a nice splash of color to your ensemble -- or maybe rather a tsunami than a splash.\n\nYou must admit, your present accoutrements present quite the hilarious prospect.\n\n> Yes\nPuffy leads you into the Telesterion and into the stage area.\n\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nEsmond Kerykes -- Puffy to his friends -- lounges about.\n\nYour cousin Machon Ephippus-Ephippus is seated on a couch, doing his best to stay upright.\n\n\"Give us some singing!\" someone calls from the crowd. Now there's an idea!\n\n\"Alright, let's have some more comedy,\" Puffy says, his lowered expectations written across his face.\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"I dream of a trireme\".\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> Dance\nThe cothurni make you rather totter as you give a spin, follow up with a leap, and finish with a knee-slide, spirit-fingering all the while.\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> Act\nThis crowd doesn't seem like they want drama -- something more in the tomfoolery line would be the ticket.\n\nThe fellows look at you, a bit gormless and ce"
    },
    {
        "text": "rtainly not amused.\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"hop lightly, hoplite!\"\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> Dance\nThe cothurni make you rather totter as you give a twirl, follow up with a split, and finish with a high-kick, head-bobbing all the while.\n\nThere are real guffaws in the crowd -- this is the stuff!\n\nDespite your best efforts, boredom has overtaken the crowd once again. \"Best give it a breather,\" Puffy advises, \"come back when you've fine-tuned your act and your persona. And try to look the part!\"\n\n> Joke\nYou clear your throat slightly. \"Who do actors never want to see in the theater? Boo-eatians.\"\n\n> You ask Puffy about ritural\nPuffy blinks at you, perhaps taken aback by your rather outlandish getup.\n\nYou get a blank look of the sort with which you're well acquainted.\n\n> You ask puffy about the ritual\nPuffy blinks at you, perhaps taken aback by your rather outlandish getup.\n\n\"Yes, let's get on with it,\" says Puffy, sniffing in what's either irritation or a coming head-cold. \"Where was I...\"\n\n\"Alright, let's have some more comedy,\" Puffy says, his lowered expectations written across his face.\n\n> Joke\nYou clear your throat slightly. \"Why are Minoans good at keeping secrets? They're very dis-Crete.\"\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> Continue\nYou clear your throat slightly. \"Who's the Athenian lady who lives on the tallest spot in Athens? Thea Kropolis.\"\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> You keep going\nYou clear your throat slightly. \"Apologies if you don't like puns, but it's Sparta the act.\"\n\nYou get a few scattered laughs, but you detect a note of restlessness in the crowd -- might be time to change things up!\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"rock me, Menelaus\".\n\nThere are real guffaws in the crowd -- this is the stuff!\n\n> Sing\nYou belt out this cracking ditty you heard at last month's symposium -- \"hop lightly, hoplite!\"\n\nThere are real guffaws in the crowd -- this is the stuff!\n\nWave after wave of laughter convulses the crowd, and even Puffy exhales a sharp chortle or two. \"Oh, good show!\" he says.\n\n\"Last part,\" says Puffy, putting a lot of cheek into a heavy exhalation (now you remember where the nickname came from!). \"You lot need to pass an hour in silent prayer and meditation while the kykeon brews.\"\n\n> You wait for a while\nTime passes.\n\n> You meditate\nYour prayer starts out strong, but as you get to a particularly dull bit reciting the list of which birds give good omens, your left eyelid starts to droop down -- for you, an infallible herald of an oncoming nap -- and you jerk awake in horror. If there's one thing your Great-Aunts have taught you about prayer vigils, it's that you can't sleep through them.\n\n> You wear the toothpick\nCarefully -- very carefully! -- you use the toothpick to prop your left eyelid open. After a bit of fiddling, you get it wedged in there pretty good! It's not exactly comfortable, but there's little risk you'll nod off while it's there.\n\n> You meditate\nYou're getting through your prayers, but you're interrupted by a wheeze, and not the diverting kind -- searching for the source, you see that Machon Ephippus-Ephipus' slouch has turned into more of a fully-horizontal jobby. Puffy was quite specific about all of you keeping the vigil, so you resolve to do your part to get him through -- it's the brotherly thing to do!\n\n> You wake machon\nYou rouse Macon with a gentle shake. He smiles his thanks, then emits a small yawn.\n\n> You meditate\nEphippus-Ephipus is nodding off again, poor lamb, and emits a dry, repetitive snore. You can't very well keep prodding him awake while you're in the middle of your meditations, though -- you might need some help with this.\n\n> You check your inventory\nYou are carrying:\na feather boa (being worn)\na silly floppy tam (being worn)\na set of cothurni (being worn)\na toothpick (currently propping open your left eye)\na cup\na largish chunk of amphora\na frayed rope\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You sit on the chunk\nYour cousin's never been especially good at doing what others ask, and this probably isn't the evening that changes.\nBesides, he's sleeping now, which adds an extra element of\nchallenge.\n\n> DROP HAT, SHOES, BOA\nsilly floppy tam: (first taking the silly floppy tam off)\nThe tam jingles as you sweep it off the pate.\n\nDropped.\nshoe bench: The shoe bench is already here.\nfeather boa: (first taking the feather boa off)\nWith a tinge of regret, you unclasp the boa from about your hips.\n\nDropped.\n\n> You look at what you're carrying with you\nYou are carrying:\na set of cothurni (being worn)\na toothpick (currently propping open your left eye)\na cup\na largish chunk of amphora\na frayed rope\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You drop the cothurni\n(first taking the set of cothurni off)\nYou slide the cothurni off, relieved that now only children and the exceptionally short will be able to see your nose-hairs.\n\nDropped.\n\n> You go to the south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he gobbles down a handful of grapes.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\n> You examine the food\nIf you had any doubts about the divine nature of the mysteries, this sm\ufffd\ufffdrg\ufffd\ufffdsbord would remove all doubt. There's more kinds of food and libation here than you can count (admittedly a low-ish number, as the somewhat-clunky Attic numeral system isn't doing you any favors on this score). Olives, dates, figs, and grapes, each plumper than the last, overflow the tables, and that's just the roundish things! There's a massive roast and dozens of cheeses -- oh, you could get used to this.\n\nA pepper pot and a sampling-platter of honeyed cakes round things out, and some toothpicks are neatly piled at the far end of the table.\n\n> You look at the roast\nYou run through the admittedly-scanty competition before concluding that yes, this is the most enticing you've ever seen a goat look.\n\n> You go east\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nGood old Machon Ephippus-Ephipus slouches on a couch, having temporarily lost his struggle to stay upright.\n\n> You look at Machon\nMachon is your cousin, with one or two additional removes you've never been able to keep straight. He's something of a gourmand, with a physique to match.\n\n> You go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he gives a date a dainty nibble.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\n> You take the toothpick\nYou already have that.\n\n> You take the cheese\nYou make up a plate from the goodies on offer.\n\nAlky explains to you his plan for invading Sicily -- or maybe it's his plan of attack for dinner, you get confused midway through and, to be fair, hot oil features in both.\n\n> Go east\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nYour cousin Machon Ephippus-Ephippus is seated on a couch, doing his best to stay upright.\n\n> You give the plate to the cousin\nIf Machon Ephippus-Ephipus is hungry, he can make up his own plate -- this one's yours!\n\n> You examine the plate\nA plate of scrummy delights -- ooh, that olive looks good!\n\n> Inventory\nYou are carrying:\na plate of food\na lump of honey cake\na toothpick (currently propping open your left eye)\na cup\na largish chunk of amphora\na frayed rope\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You meditate\nEphippus-Ephipus is nodding off again, poor lamb, and emits a dry, repetitive snore. You can't very well keep prodding him awake while you're in the middle of your meditations, though -- you might need some help with this.\n\n> Go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing. A crowd of your soon-to-be-fellow initiates mob the comestibles and imbibables spread across the tables, breaking into song when the mood hits and intermittently flit to one of the numberless couches for a lie-down when the system needs a touch of strengthening. Alky is amidst the mob but somehow not of it, elegant and poised even as he contemplates an olive.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\n> You ask Alky about the snoring\nYou get a blank look of the sort with which you're well acquainted.\n\nAlky tells you something clever he heard off of that Socrates fellow, but it's a bit hard to follow and leaves you knowing less than when you started.\n\n> You ask Alky about the meditation\n\"That bit is rather a bore. Want some company in your meditations?\" Alky asks. \"I suppose I could be bothered.\" He saunters out of the banquet hall, shooting you a come-hither look.\n\n> You go east\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and a crowd of the already-initiated bustling about to witness the ceremonies. Some tasteful harp music is piping in from a low grating at the back of the hall, behind a cleared area that's doing its best impression of a stage.\n\nThe peristyle is back to the west.\n\nGood old Machon Ephippus-Ephipus slouches on a couch, having temporarily lost his struggle to stay upright.\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You meditate\nEphippus-Ephipus is nodding off again, poor lamb, and emits a dry, repetitive snore. You can't very well keep prodding him awake while you're in the middle of your meditations, though -- you might need some help with this.\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You give the toothpick to Machon\nMachon, emitting the occasional snore, is insensible to the world about him.\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You wake machon\nYou rouse Macon with a gentle shake. He smiles his thanks, then emits a small yawn.\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You give the toothpick to Machon\nMachon looks dubiously at the toothpick. \"That doesn't seem especially pleasant,\" he squeaks. \"I'll stay awake this time, I promise!\"\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You wear the toothpick\nYou're already wearing the toothpick (currently propping open your left eye)!\n\nAlky is sitting next to you, offering a quick elbow to the ribs or an acid witticism whenever you're in danger of nodding off.\n\n> You tell Alky about Machon\n\"He could use some help staying awake, couldn't he?\" Alky says, taking up a position near his couch and giving him a friendly prod back to awareness.\n\nAlky is looming over poor Machon, prodding him when he's in danger of slipping into Hypnos' embrace.\n\n> You meditate\nYou mumble your way through an hour's worth of prayers.\n\nFinally, well after you've started looking about for a water-clock to check whether the hour is up, Puffy's assistant returns, carefully tottling in a brim-ful oinochaio, or is it an oinochoai, or an oinocha-cha -- a jug, you decide, a brim-ful jug. \"The kykeon is ready,\" Puffy declares, and gosh, this bird is good at bringing the portent. \"You are about to become full initiates into the mysteries -- so from now on you can't talk about not talking about what you can't talk about. Right?\" You think you're supposed to nod, so you do, while taking the opportunity to de-toothpick your eye. Meanwhile the assistant runs out to the banquet-hall to round up the rest of the crowd, making the telesterion rather a standing-room-only concern and throwing you, Machon, and Alky into a neighborly clump.\n\nPuffy raises the jug to his lips, not without a bit of sloshing, and drinks quite the quaff. He makes a face, then hands it back to the assistant, who circles the room offering a chug to each personage in their turn. \"We stand together in Eleusis to celebrate the most sacred mysteries of life, which have been vouchsafed to us for obeisance and -- say, fellows,\" Puffy breaks off, laying an unsteady hand against the nearest pillar, \"why aren't you standing still? This is no -- time for dancing --\". He sinks to the floor.\n\nYou shoot a look at Machon -- maybe this is a gag they pull on all the new initiates, and that wheeze about dancing means there's about to be a musical number? There was this one supper club where you had to promise to sing in order to get in (and then once you were in and they'd heard you, promise to stop singing in order to stay). But no, this doesn't seem like a gag, as others are now reeling about the same way Puffy is. \"I thought the kykeon tasted off,\" one of them slurs, and for a moment you wonder whether your standards with respect to barley-freshness might need to be recalibrated -- but there's hardly time to assess the impact of agricultural decay on human metabolism before the fellows who've already swallowed their share of the kykeon interrupt your cogitations by making the most frightful stir.\n\nIn a metamorphosis worthy of a poet, the crowd has suddenly become a mob, with scuffles breaking out left and right, chaps racing flat-out into pillars, and a few unlucky sods crawling  back to the jug for seconds and thirds of the perhaps-too-potent kykeon. Suddenly Puffy springs back up, lets out an uninhibited bellow, then sprints out of the room and clear out of the sanctuary, bringing most of the rest of the crowd along in his wake. In the confusion, you kick over the kykeon, in a closing-the-barn-door-after-it's-too-late sort of way, then follow so you don't miss too much of the excitement.\n\nGreat-Aunt Agnes says that things always go wrong when you're around, and you have to allow there's perhaps a smidgen of truth in that -- though now that you think of it, you're always around when you're around -- or to put it another way, you're never around when you're not around -- so you can't say as you have an adequate baseline from which to measure.\n\nAt any rate, thing are certainly going wrong now. The mob is milling about, somewhere a horse gives a frightened whinny, and who knows where Puffy's wound up.\n\nOh, hang on, there he is!\n\nHe's on the roof.\n\n\"Seems to me as though things are wrapping up here,\" sniffs Alky as he comes over to you and Machon. \"Time to head back to Athens for the after party, I think. Oh don't worry,\" he says, to your questioning look, \"you've been properly initiated and all. Or at least that's what we'll tell Puffy once he's better. Though Hippy rather panicked and smashed up my chariot,\" Alky says, throwing a judgmental glance westward, \"so you'll need to see to my horse and vehicle before we can go. And I suppose you should see to Puffy, as well.\"\n\nYou're not sure why you've been dragooned into taking care of all of this, but then you see how fetching Alky looks as he leans suavely against a pillar, puckishly tossing his curls, and you resign yourself to playing the dogsbody once again.\n\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Atop the roof of the temple, Puffy is leaping and capering about like he's taken leave of his gourd (upon reflection, you think that might actually be what's happened).\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, stifling a yawn while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You look at the pillars\nThe sanctuary is reasonably big as such things go -- you should know, you've been faffing about in and under it all evening. The portico and steps leading into it do what they can to impress, from the stately pillars to the delicately-painted pediment (or so you assume, your eyesight isn't the best, but Puffy doesn't seem the type of bird to skimp out on the little things). You remember your Great-Uncle once telling you why this sort of jobby is called \"hexastyle\", but in your somewhat jumbled recollection it had to do either with the number six or with witches, you can't remember which, though probably that's neither here nor there (unless it's witches). Currently, the impression made by the old slab is somewhat undermined by the mob of maniacs milling about and the high priest raving like a loon while dancing around the roof.\n\n> You go to the east\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, where lies the now-deserted banquet hall, and eastwards, whence the sour smells of the spilled kykeon waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\n> You look at the pillars\nThey say if you've seen one pillar, you've seen them all, and by the evidence here you agree (though you do have just a touch of nearsightedness, so possibly there's some excitement going on somewhere in all those ceiling-adjacent blurs).\n\n> Go west\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Atop the roof of the temple, Puffy is leaping and capering about like he's taken leave of his gourd (upon reflection, you think that might actually be what's happened).\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, looking up at the moon to guess at the time while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You go west\nThis nice little yard, bounded by a low wall, is the kind of lovely, bucolic place you'd never be caught dead in if you had the choice.\n\nThe Sacred Way begins through a gap in the wall to the west, by which stands the penultimate herm on the way from Athens to Eleusis, and eastward lies the portico. A shed-like building, or possibly just a shed, stands to the south.\n\nAlky's horse Hippy is here, wildly pawing the grass (well, hooving, perhaps).\n\nThere's a pig hungrily rooting around the yard. Hippy shies away every time the pig comes near her.\n\n> You look at Hippy\nAlky's horse, much like her master, is a good-looking animal with questionable self-control. She rears away from the pig, her wide eyes glancing and rolling every which way, like a rampaging Great-Aunt.\n\n> You examine the pig\nDespite Hippy's dislike, this pig seems all right to you -- he snuffles over to you, tongue lolling out.\n\n> You go to the south\nThe ambiance here in this workshop -- with its worktable, scattering of tools, and general aura of hard, honest toil -- makes you positively allergic.\n\nA low opening to the north leads to the only-better-by-comparison yard.\n\nAlky's second-best chariot is here, somewhat the worse for wear.\n\n> You examine the chariot\nAlky's chariot is a sporty little thing, with flashy gilded inlays and a low, sleek profile. Unfortunately, currently one of the wheels is listing, and the reins hang in tatters from their anchoring ring, somewhat limiting the chariot's top speed.\n\n> You tie the rope to the reins\nYou're dubious that the frayed rope is a long-term solution to this rum critical-dearth-of-reins situation, but it only needs to get Alky back to Athens, you reason. You tie it extra tight just to be sure.\n\nThat's one makeshift rein in, so everything's set so long as Alky only turns left.\n\n> You look at the wheel\nYou quickly diagnose the concern here -- a significant portion of the rim has been smashed away. With this much wood missing, it's currently somewhat-ineffective qua wheel. You'll need to effect some repairs before it's fit to turn once again.\n\n> You examine the axle\nAlky's chariot is a sporty little thing, with flashy gilded inlays and a low, sleek profile. Unfortunately, currently the reins hang in tatters from their anchoring ring, somewhat limiting the chariot's top speed. The chariot also currently violates the fairly strict requirement that chariots have at least two wheels.\n\n> You check your inventory\nYou are carrying:\na wheel\na plate of food\na lump of honey cake\na toothpick\na cup\na largish chunk of amphora\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You drop the wheel\nDropped.\n\n> You go north\nBesides the wall that encloses it and the penultimate herm, there's not much to this yard.\n\nThe Sacred Way begins through a gap in the wall to the west, and eastward lies the portico. A shed stands to the south.\n\nAlky's horse Hippy is here, wildly pawing the grass (well, hooving, perhaps).\n\nThere's a pig hungrily rooting around the yard. Hippy shies away every time the pig comes near her.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Atop the roof of the temple, Puffy is leaping and capering about like he's taken leave of his gourd (upon reflection, you think that might actually be what's happened).\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, stifling a yawn while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You ask Machon about Alky\n\"Sounds like one of your fancy friends,\" Machon says.\n\n> You go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Atop the roof of the temple, Puffy is leaping and capering about like he's taken leave of his gourd (upon reflection, you think that might actually be what's happened).\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, idly cleaning a nail while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> Pet pig\nHe seems to like that!\n\n> Ride pig\nIt would be beneath the pig's dignity to carry you around.\n\n> You go to the east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Atop the roof of the temple, Puffy is leaping and capering about like he's taken leave of his gourd (upon reflection, you think that might actually be what's happened).\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, twiddling his thumbs while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You go to the east\nCome to think, you've never had the foggiest what a peristyle is, but this pillar-and-porch number here seems as reasonable a candidate as any (though twist your arm, it looks just like a courtyard to you).\n\nThere's a small closet in an outbuilding to the north and the exit to the countryside lies west, but more appealing are the paths southward, where lies the now-deserted banquet hall, and eastwards, whence the sour smells of the spilled kykeon waft. The stairs back down to the cellars are off in a dingy corner.\n\nThere's a stone fountain at the center of the courtyard, happily burbling just the way you do after Alky's made you drink number seven.\n\n> Go east\nYou'd rate this as one of your grander halls, with pillars towering upwards to a dimly-visible and smoky ceiling, nicely turned-out furniture lending a note of class, and now, post-ceremony, an overall air of ravishment and mayhem, with the large pool of kykeon spilling out of its ceremonial jug the most obvious factor depressing property values.\n\nThe peristyle is back to the west.\n\n> You examine jug\nIf you were to imagine a drink of minty, fermented barley, then imagined that it was ten times worse than the way you first imagined it, you'd be approaching an idea of the foul liquid spilling out of this jug.\n\n> You examine the ceiling\nYou lift your eyes heavenward, thinking that's the sort of thing one does in the middle of a ceremony. The marble ceiling is nice enough, but you quickly grow bored.\n\n> Go north\nThe path leads to a cozy, tree-lined nook off to the side of the sanctuary, which would be quite the place for peaceful contemplation were it not for the mob tramping about the portico and Puffy dancing one of your louder species of tarantella up on the roof.\n\nOf course, one of the things that would make it so suited for a piece of the said peaceful cont. is that it's rather dull -- besides all the trees, there's not much here besides the path leading back south to the portico.\n\n> You examine pillars\nA row of pillars runs down the length of the sanctuary, so regimented and regular that you wonder how the architect made it through the project without nodding off. From this angle you can make out enough of the roof to confirm that Puffy has yet to see reason and come down.\n\n> Go upward\nYou lay a preliminary hand on a low branch, but recoil when the buzzing of the bees rises to a menacing key.\n\n> You examine the bees\nThis hive's sporting one of your bigger dents, as though it ran afoul of a particularly uncoordinated bear; honey oozes about the hole. Unsurprisingly given the threat to hearth and home, it's positively popping with bees, who are crawling about in patterns so complicated it makes your brain hurt to try to follow them. You feel bad for the blighters, since you've always liked bees -- your Great-Uncle took up apiculture a few years back, in point of fact, so you've got a bit of a family connection.\n\n> You put the cake in the hive\nThey've already got rather a lot of honey stored up in their hive.\n\n> You show the cake to the bees\nWorks better when you try that on a person (or at least an animal), in your experience.\n\n> You go upward\nYou haul yourself up the tree and thence to the roof, not without some difficulty.\n\nThe first thing you learn upon reaching the summit of the sanctuary is that roofing-tiles have a decided tendency to slip out from under one if one isn't paying the utmost attention. The second thing you learn is that paying the utmost attention is not exactly on the menu when a deranged Puffy is gamboling towards you with an ominous glint in the eye.\n\n\"You!\" he snarls (yes, you'd have to say \"snarls\") -- \"you bollixed everything up! I'll beat you into a jelly!\" You utter a note of protest -- if nothing else, this is rum doings after you came up here to help him! -- and do what you can to evade the lunge with which he apparently intends to commence the jellying process. Sadly, the roofing-tiles do not cooperate with your plan, giving out under you as you attempt to flee. Scrabbling about for an anchor-point at the same time Puffy is scrabbling about for your throat, the two of you meet in a less-than-brotherly embrace and immediately tumble off the roof.\n\nIt's something of a task to disentangle yourself and Puffy, and sort out which limbs belong to whom -- including an awkward moment where it seems as though the thing might not come off and one might need to discuss non-custodial visitation rights vis a vis an ambiguous elbow. At least the fall seems to have knocked some sense into Puffy, as he looks like he's back to his old, lovable, long-suffering self, albeit somewhat the worse for wear. Besides the dirt smeared on his face like greasepaint and the twigs sprouting from his hair, he also has a bit of honeycomb stuck to his chiton (he must have had a run-in with bees on his way to the roof).\n\n\"Thanks awfully, old chap,\" he croaks at you, then swallows heavily. \"I suppose that wasn't the best batch of kykeon I've brewed, but it can't be helped.\" Alky and Machon, acting something like a Greek chorus, loudly agree with the sentiment, which seems to reassure him. \"I think I need a bit of a lie-down,\" this somewhat-rattled Puffy says, \"good night.\" He slumps down, landing on what you have to admit is the portico's comfiest-looking pillar.\n\nAs you dust yourself off and stand, you notice that Puffy seems to have bounced off the herm on his way down, and as a result the statue's unmentionable has been knocked clean off.\n\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, stifling a yawn while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You look at herm\nHerms are little monuments sacred to Hermes -- the tell is in the name, most people don't know that -- which line the Sacred Way to Eleusis, helping protect it and fend off evil spirits and all that sort of thing. There's a rather ho-hum bust of Hermes atop a stone pillar, and an anything-but-ho-hum central attribute midway down that typically makes things awkward when it comes up in conversation with, say, one's Great-Aunt. The unmentionable is rather the worse for wear.\n\n> You examine the honeycomb\nThis chunk of honeycomb has suffered more than its share of bludgeoning, and there are still a few bees buzzing desultorily about, but it remains sticky and delicious.\n\n> You give the honeycomb to the pig\npig might enjoy the honeycomb, but then, you might enjoy it too.\n\n> You put the honeycomb on the pig\nThat would just make a sticky mess.\n\n> You eat the honeycomb\nYou bring the honeycomb near your mouth for a nibble, but the upset buzzing of the bees still inside it puts you off.\n\n> Smoke honeycomb\nWhat do you want to smoke the honeycomb with?\n\n> Go south\nThe ambiance here in this workshop -- with its worktable, scattering of tools, and general aura of hard, honest toil -- makes you positively allergic.\n\nA low opening to the north leads to the only-better-by-comparison yard.\n\nAlky's second-best chariot is here, somewhat the worse for wear.\n\nYou can also see a wheel here.\n\n> You put the honeycomb on the wheel\nYou squeeze a generous helping of honey onto the wheel, making the wood on either side of the gap quite sticky. This turns the comb into a mashed lump of honey, wax, and deeply miffed honeybees, so you dispose of it posthaste (and lick your fingers clean best as you can).\n\n> You examine the gap\nYou quickly diagnose the concern here -- a significant portion of the rim has been smashed away. With this much wood missing, it's currently somewhat-ineffective qua wheel. You'll need to effect some repairs before it's fit to turn once again. The wood around the gap has been coated in copious layers of honey, like the world's most splintery baklava.\n\n> You check your inventory\nYou are carrying:\na lump of honey cake\na toothpick\na cup\na largish chunk of amphora\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You put the cake in the gap\nYou squeeze a generous helping of honey onto the wheel, making the wood on either side of the gap quite sticky. The de-honeyed cake is rather unappetizing, so you discreetly chuck it away (and lick your fingers clean best as you can).\n\n> You look at the worktable\nYou're more acquainted with tables than with work, but you think you've got this sorted out -- there's a flat surface, there's a toothy apparatus you recognize as a saw, then a jumble of miscellaneous tools, parts, and whatsits.\n\n> You examine the jumble\nThe saw you can make out, but otherwise your eyes glaze over as they take in a hodge-podge of pegs, nails, joints (you think), joists (perhaps?), adzes, awls.... If you're fuzzy on the nom"
    },
    {
        "text": "enclature, you're even fuzzier on the usage of this miscellany.\n\n> Saw table\n(with the saw)\nYou're not sure that would appreciate a trim.\n\n> You go to the west\nYou're certainly tempted to slink back to Athens, but you'd feel guilty leaving all this chaos behind you -- especially since the uncharitable might consider that you played a very minor role in bringing things to this point. Besides, it'd be a long walk!\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, frowning while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You go north\nThe path leads to a cozy, tree-lined nook off to the side of the sanctuary, which would be quite the place for peaceful contemplation were it not for the mob tramping about the portico.\n\nOf course, one of the things that would make it so suited for a piece of the said peaceful cont. is that it's rather dull -- besides all the trees, there's not much here besides the path leading back south to the portico.\n\n> You examine the tree\nThere's a nice copse (or is it a grove?) of trees here, with one noticeably tall tree growing close to the side of the sanctuary, throwing out branches willy-nilly and with a particularly green and springy one growing fairly close to the ground.\n\nOlive buds grow everywhere, though they look rather immature (you can sympathize). Closer inspection also reveals a sizable bee hive slung under one of the boughs.\n\n> You examine the buds\nHard and bud-like, these olives will eventually be delicious, but there's a long way to go yet.\n\n> You take the buds\nYour plans for the evening would be slightly crimped by the severe digestive distress these olive buds would occasion.\n\n> You take the bough\nYou grab onto the branch -- because the wood is so green, it takes quite a lot of undignified bending and straining, but finally you're able to snap it off the tree.\n\n> You go south\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, twiddling his thumbs while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> Saw bough\n(with the saw)\nUsing the saw, you trim off various of the unsightly knots, twigs, &c. until the branch is a smooth, smart-looking number.\n\n> You check what you're carrying\nYou are carrying:\na springy green branch\na toothpick\na cup\na largish chunk of amphora\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You look at the branch\nThis one particular branch, a bit less than arm-length, seems especially springy and flexible.\n\n> You put the branch on the wheel\nYou think you're onto something, but it's hard to fit the branch onto the wheel since the latter is wobbling about quite a lot on the uneven floor.\n\n> You drop the chunk\nDropped.\n\n> You put the wheel on the chunk\n(first taking the wheel)\nPutting things on the largish chunk of amphora would achieve nothing.\n\n> You put the wheel on the chariot\nThe wheel is still hors de combat, so replacing it would be premature.\n\n> You put the wheel on the worktable\nYou put the wheel on the worktable.\n\n> You put the branch on the wheel\nThe honey helps glue the branch into place as you strain, bend, and shimmy it onto the rim of the wheel. You lash it all together with some tiny bits of twine you find lying around on the work-table, and at the end of it you've got a mostly-serviceable wheel.\n\n> You put the wheel on the chariot\nWith even more lifting and grunting than it took to get it off, you manage to shove the repaired wheel back where it belongs.\n\n> You examine the chariot\nAlky's chariot is a sporty little thing, with flashy gilded inlays and a low, sleek profile. The reins hang in tatters from their anchoring ring, somewhat limiting the chariot's top speed.\n\n> You hit the pig\nViolence is against the code, old man.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, idly cleaning a nail while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You ask Machon about the pig\n\"You know, I had a pig once,\" Machon says. \"As a pet, I mean.\"\n\n> Go south\nIn theory, the ceremony in the telesterion is the main event, but the spread on offer in this room make it a close-run thing.\n\nYou could go back to the peristyle by going north if you prefer pillars to prandial delights.\n\n> You take the food\nYou make up a plate from the goodies on offer.\n\n> You go to the west\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, stifling a yawn while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You ask Alky about the pig\n\"Looks as though he likes his grub almost as you do,\" Alky says approvingly.\n\n> You ask Alky about Puffy\n\"Yes, well done,\" says Alky, glancing towards Puffy's slumbering form. \"Now he's once again the boring Puffy we all know and love.\"\n\n> You look at puffy\nPuffy, poor lamb, is nestled against the pillar like it's the softest sleeping-couch he's found.\n\n> You look at Alky\nNow here's a chap who really fills out a chiton. Those flashing eyes, those silken curls, that perennial sneer have charmed many a gal and many more a fellow. He's managed to grab his lyre in the confusion, and tucked it under his arm.\n\n> You ask Alky about the lyre\n\"It's only my third best,\" Alky says, as though in apology.\n\n> You go west\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, looking up at the moon to guess at the time while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You examine wall\nThis waist-high stone wall puts you in mind of all the times your Great-Aunt made you carry rocks for her estate's mason when she thought you weren't sticking to your studies. It's rather less than impregnable (the wall you mean, not your Great-Aunt), what with the large gap where the Sacred Way begins.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, idly cleaning a nail while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You go west\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, frowning while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\nYou can also see a lump of honey cake here.\n\n> You put the pepper on the cake\n(the lump of honey cake)\nBefore you meddle with the divine perfection of this food, you figure you'd best take a sniff to make sure you gauge the spiciness right.\n\n> You sniff the cake\n(the lump of honey cake)\nDelectable!\n\n> You put the pepper on the cake\n(the lump of honey cake)\nNo, that pepper is too peppery -- you shan't risk it.\n\n> You put the pepper on food\n(the plate of food)\nNo, that pepper is too peppery -- you shan't risk it.\n\n> You put the kykeon on the food\n(first taking the spilled kykeon)\nOh good heavens no.\n\n> You take the wine\nNow that's the stuff!\n\n> You check your inventory\nYou are carrying:\na plate of food\na lump of honey cake\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You examine the cup\nIt's not much to look at, but you're more concerned with what's in it: sadly, currently it's empty, so you're just back to it being not much to look at.\n\n> You put the wine in the cup\nYou fill the cup brim-full with wine.\n\n> You search puffy\nPuffy has more than earned some peaceful repose.\n\n> You examine the statue\nHerms are little monuments sacred to Hermes -- the tell is in the name, most people don't know that -- which line the Sacred Way to Eleusis, helping protect it and fend off evil spirits and all that sort of thing. There's a rather ho-hum bust of Hermes atop a stone pillar, and an anything-but-ho-hum central attribute midway down that typically makes things awkward when it comes up in conversation with, say, one's Great-Aunt. The unmentionable is rather the worse for wear.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, looking up at the moon to guess at the time while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\nYou can also see a plate of food here.\n\n> You take the food\nTaken.\n\n> Pet horse\nYou gently stroke the side of Hippy's neck. Your touch seems to make her calmer -- a critique you've gotten from more than one lady friend, who evidently held that such things should lead rather to a revving up of excitement than the reverse.\n\n> Keep going\nYou gently stroke the side of Hippy's neck. This doesn't seem to calm her down any further though -- as with Midas, you suppose that one touch pretty much does the business.\n\n> Pet pig\nHe seems to like that!\n\n> You check what you're carrying\nYou are carrying:\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You throw the food east\nYou whirl the plate like a discus, sending it spinning to the east. The pig leaps after it in close pursuit, giving a little hop to grab the plate out of the air as soon as it comes within leaping distance. He makes short work of the food, then cheerfully trots back to the yard.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, frowning while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You take the cheese\nYou've already made up a plate.\n\n> Go west\nBesides the wall that encloses it and the penultimate herm, there's not much to this yard.\n\nThe Sacred Way begins through a gap in the wall to the west, and eastward lies the portico. A shed stands to the south.\n\nThere's a pig hungrily rooting around the yard. Hippy shies away every time the pig comes near her.\n\nAlky's horse Hippy is here, anxiously pawing the grass (well, hooving, perhaps).\n\n> You throw the food east\nYou whirl the plate like a discus, sending it spinning to the east. The pig leaps after it in close pursuit, giving a little hop to grab the plate out of the air as soon as it comes within leaping distance. He makes short work of the food, then cheerfully trots back to the yard.\n\n> Go east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, looking up at the moon to guess at the time while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\nYou can also see a lump of honey cake here.\n\n> You throw cake west\nYou heave the lump of cake like a shotput, sending it arcing over the wall. The pig leaps after it in close pursuit, leaving a decrescendoing series of \"oinks\" in his wake. You miss the friendly blighter, but Hippy seems relieved to have more personal space to herself.\n\n> Pet horse\nYou gently stroke the side of Hippy's neck. This doesn't seem to calm her down any further though -- as with Midas, you suppose that one touch pretty much does the business.\n\n> You tell Alky about the horse\n\"Looks like she's got the collywobbles,\" says Alky, turning over some ideas for what might help. \"Maybe give her a pat? Couldn't hurt, unless she bites.\"\n\n> Go west\nBesides the wall that encloses it and the penultimate herm, there's not much to this yard.\n\nThe Sacred Way begins through a gap in the wall to the west, and eastward lies the portico. A shed stands to the south.\n\nAlky's horse Hippy is here, anxiously pawing the grass (well, hooving, perhaps).\n\n> Search horse\nAlky's horse, much like her master, is a good-looking animal with questionable self-control. Her wide eyes are glancing and rolling every which way, like a rampaging Great-Aunt.\n\n> You fill the cup with the water\nYou fill the cup brim-full with water.\n\n> You go to the west\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, idly cleaning a nail while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> Go west\nBesides the wall that encloses it and the penultimate herm, there's not much to this yard.\n\nThe Sacred Way begins through a gap in the wall to the west, and eastward lies the portico. A shed stands to the south.\n\nAlky's horse Hippy is here, anxiously pawing the grass (well, hooving, perhaps).\n\n> You go to the east\nThe hexastyle entrance into the sanctuary of Eleusis has seen calmer evenings. A mob of the fellows swarm around its august pillars, unclear on direction now that the initiation has taken something of an unexpected turn. Directly before the entrance stands a statue, the final herm in the long chain running from Athens to Eleusis. Puffy is collapsed against a pillar off to the side of the entrance.\n\nTo the east, the peristyle promises some degree of peace, a small yard lies westward, and there's a small path running around the side of the sanctuary to the north.\n\nAlky stands amidst but not of the confusion, looking up at the moon to guess at the time while he waits for the hubbub to die down.\n\nMachon is here, looking no different now that he's preliminarily initiated into the mysteries of Eleusis.\n\n> You tell Alky about Hippy\n\"Looks like she's got the collywobbles,\" says Alky, turning over some ideas for what might help. \"You haven't seen her blinders, have you? Those sometimes calm her down.\"\n\n> You go north\nThe path leads to a cozy, tree-lined nook off to the side of the sanctuary, which would be quite the place for peaceful contemplation were it not for the mob tramping about the portico.\n\nOf course, one of the things that would make it so suited for a piece of the said peaceful cont. is that it's rather dull -- besides all the trees, there's not much here besides the path leading back south to the portico.\n\n> Go north\nEither the rites of Eleusis involve quite a lot of fancy-dress shenanigans, or one of the priests is a clothes horse of very little discernment, because this small room is chock-a-block with clothes, including a hat rack, a bin for accessories, and a bench heaped with shoes -- everything you might need for a party or some light comic theater.\n\nThe peristyle is back to the south.\n\nYou can see a set of cothurni, a feather boa, and a silly floppy tam here.\n\n> You examine the hat\nThis wooden number sports a profusion of hats -- among the swarm, some ear warmers and a crown of laurels catch your eye.\n\n> You examine the warmers\nThis doohicky is two swatches of fur attached to either end of a band -- were the evening a bit cooler, they'd be quite the thing for the 'ol whorlies!\n\n> You put the warmers on Hippy\nIt takes a bit of prodding, shoving, and scuffling -- there's a bite or two exchanged in both directions -- but once you get the ear warmers on Hippy's head, they block off her view as if they were a pair of blinders. Once she gets over the excitement of the fray, she seems to settle down.\n\nFinally, Hippy calms down, looking like Hercules must have done when the divine madness had passed and he realized that he'd rather stepped in it. She gives a tuneful nicker, either to thank you for everything you've done or just because she's a musical soul.\n\n> You lead Hippy south\nLeading Hippy all about the sanctuary might get her nervous again -- best for her to say put.\n\n> You tell Alky about Hippy\n\"Thanks for calming her down, old bean,\" Alky says. \"Ride back to Athens would have been rather bumpy otherwise.\"\n\n> You tell Alky about the chariot\n\"That's both of our rides back to Athens,\" says Alky. \"Be a pet and sort it out, would you?\"\n\n> You tell Alky about Puffy\n\"Yes, well done,\" says Alky, glancing towards Puffy's slumbering form. \"Now he's once again the boring Puffy we all know and love.\"\n\n> You examine the chain\nThis is the kind of accessory that lends a high tone to any occasion.\n\n> Go west\nBesides the wall that encloses it and the penultimate herm, there's not much to this yard.\n\nThe Sacred Way begins through a gap in the wall to the west, and eastward lies the portico. A shed stands to the south.\n\nAlky's horse Hippy is here, calmly pawing the grass (well, hooving, perhaps).\n\n> Go south\nThe ambiance here in this workshop -- with its worktable, scattering of tools, and general aura of hard, honest toil -- makes you positively allergic.\n\nA low opening to the north leads to the only-better-by-comparison yard.\n\nAlky's second-best chariot is here, somewhat the worse for wear.\n\nYou can also see a largish chunk of amphora here.\n\n> You put the chain on the ring\nA fabulous idea, but from what your tutor drilled into you about tensile strength, you suspect that trying to use a flimsy gold chain to redirect a galloping horse would be one of those acts of hubris the tragedians are always banging on about.\n\n> You take the rope\nYou'd have to untie it first.\n\n> You examine the ring\nYou know, you must have seen dozens of chariots over the years, but until this evening you can't say as you ever noticed this metal ring jobby where you attach the reins. You've got one makeshift rein anchored in place, so everything's set so long as Alky only turns left.\n\n> You put boa on the ring\nIt may be a little unorthodox qua rein, but the feather boa should meet the need, and besides, you're sure Alky will like the colors.\nYou knot it to the chariot, then throw in a few extra knots just to be sure.\n\nThere, that's brought the reins back up to regulation strength!\n\nThe impression Alky would make rolling up in the chariot as reconstituted is maybe not precisely as good as that made by the first edition, but as someone whose only previous experience of vehicle maintenance was giving sugar-lumps to your Great-Uncle's oxen, you think you've gone rather above and beyond! After doing one final check to ensure it's up to snuff in both the rolling and the turning departments, you push the chariot out of the workshop -- careful not to ding the doorway as you exit! -- and into the yard.\n\nIt takes rather more grunting, sweating, and heaving than becomes a chap of your breeding, but eventually the eventuality eventuates and you get it where you want it. As you survey your handiwork with pride, you notice that your manhandling has dislodged a horsey treat from some nether crevice of the chariot.\n\nWith Hippy calm and the chariot restored, you hitch the one to the other. It's not the world's simplest process (you think you might be trying to do it the wrong way round), and somehow in the confusion Hippy gives a kick that delivers a painful-looking blow to the most vulnerable spot of the nearby herm. You finish the job and nervously step clear -- lots of bad luck today!\n\nYou wave Alky over now that horse, vehicle, and man are all accounted for and more or less intact, not without a bit of wear and tear around the margins. \"Nice spot of business,\" he says, inclining his head at your accomplishments. \"The archons and magistrates might come on rather peevish about the herms once they're informed, but since the damage happened within sanctuary grounds I'm sure Puffy can cool them down. In any event, time to head to the metrop!\" In fact the mob here appears to be breaking up, with about an even division between those staggering into the temple and calling uncle on the evening, and those hopping into their chariots to zip back to Athens for the after party (you note that Machon, despite his earlier struggle with somnabulance, is of the latter group).\n\nYou help Alky get Puffy wedged into the chariot, then join him as he snaps the reins and Hippy takes off onto the Sacred Way at an admirable, though perhaps not completely safety-conscious, pace.\n\nSacred Way (in Alky's chariot)\nThe Sacred Way is called that because it's the holiest road in Attica, running all the way from the sanctuary in Eleusis back to Athens, but given the daredevil clip at which Alky is driving Hippy you'd be forgiven for transposing the c with the a in a moment of mental dyslexia. Trees whizz by at a terrific clip, and if you were better at arithmetic you'd be able to calculate your velocity based on how quickly you're overtaking the regularly-placed herms at the side of the road.\n\nThe wind in your face is nice and fresh, and the evening is cool and bright as you race towards Athens. The one fly in the ointment is that you're rather occupied with holding the still-snoozing Puffy in place, since you're not sure he'd appreciate getting up-close-and-personal knowledge of the Sacred Way.\n\n\"You know, old man,\" says Alky, reading your mind, \"it might be time to wake Puffy and see if he's sobered up any.\"\n\n> You wake puffy\nYou can't really get him to come around. \"Here, let me try,\" Alky calls, and hands you the reins -- just as the road is about to make a sharp curve to the left.\n\nHippy gives a loud snort, the likes of which you've only previously when heard when asking your man his opinion of your sartorial choices.\n\n> You look at the reins\nYou know, you must have seen dozens of chariots over the years, but until this evening you can't say as you ever noticed this metal ring jobby where you attach the reins. They're not factory-standard, but you've got two rein-analogues anchored in place.\n\n> You pull the reins\nHippy doesn't seem especially inclined to take instruction from you, or maybe you've managed to confuse her, because she takes the curve a bit too wide -- the rear of the chariot sloughs past the side of the road, colliding with a herm as you pass it and shearing off its unmentionable (more bad luck!)  At least this has the salutary effect of jolting Puffy awake, and the even more salutary effect of getting Alky to take back the reins.\n\nUp ahead, Machon's chariot comes into view -- you're not sure he's noticed you, which is a bit worrisome given how fast Alky's still driving.\n\n> You examine the machon's chariot\nMachon's trotting along in a chariot pulled by a horse who looks to be as rotund and as good-natured as he is.\n\n> You examine puffy\nPuffy's knuckles are as white as the stones of his temple as he clutches the edge of Alky's chariot.\n\n> You look at Alky\nAlky has always been a fiend for speed, and you can see why -- the wind is artfully tousling his hair and he's got quite the roguish, devil-may care aspect going.\n\n> You look at Hippy\nHippy is somewhat burdened by carrying three people in a chariot that's intended for two, but she's still managed to work up to a frankly terrifying speed.\n\n> Inventory\nYou are carrying:\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You tell Alky about Machon\nYou draw Alky's attention to Machon and gently imply that he might consider slowing down. He snorts, then pulls back on his reins, which makes Hippy give a louder snort and decelerate sharply. The chariot kicks up a terrific clatter, which startles Machon -- he yanks the reins perhaps a bit harder than he ought, sending his chariot spinning across the road, and inevitably given the way the evening has been going, he smashes into another herm and sends its unmentionable spiraling out into the gloom. Fortunately, before he disappears out of sight behind you, you see Machon pop up none the worse for wear.\n\nLess fortunately, Puffy, seeing the damage to the sacred statue, is now hyperventilating. \"Oh no oh no oh no,\" he keens, \"it's been decades since a herm was broken -- they'll have my head for losing one!\"\n\nIt occurs to you that Puffy missed the several previous instances of herm-destruction and perhaps should be made aware that it's a tiny bit worse than he thinks....\n\n> You tell Puffy about the herm\n(the sacred-way herms)\nAs gently as you can, you fill Puffy in on the damage to the other herms -- your idea is to warm him up to it with some broad generalizations about the fickleness of fate and the need to take a philosophical attitude of detachment with respect to the vicissitudes fortune pitches into the gentle stream of our lives from time to time, but he's glaring at you with sufficient force as to make you more tongue-tied than usual so eventually you just lay out that the evening's broken-herm quota has just reached four, rather than one.\n\nThe change in Puffy is immediate -- one doesn't like to label a fellow berserk, but sometimes that's the clearest word to hand. He gives out a bellow, and makes a grab for the reins, shouting about how he needs to go back and fix things (you're no stone mason, but this seems like a tall order, especially given the hour of the night). \"Steady on!\" Alky calls, trying to shoulder Puffy aside, but the squabble has confused poor Hippy, who decides she will have none of it and skids to a halt. You and Alky manage to grab on for dear life, but Puffy, who luck is really not being kind to tonight, pitches forward off the chariot and, just to crown things off, fractures his bonce and one more herm in coming to a none-too-gentle landing.\n\nYou rush over to assist, but Puffy throws you off, looking now if anything more deranged than he did after drinking the spiked kykeon. \"You fools!\" he screams, which is an unkind cut though you notice that Machon's now run up to join you, and with his addition maybe the group judgment is a fair one. \"You ruined the mysteries, and now you're bent on destroying the herms too? Well, I won't let you -- I'll beat you to the punch!\"\n\nWith a cry, he levels a terrific kick at the unmentionable attribute of another herm, getting quite a bit of lift onto it as it flies clear, and is no sooner done than he's running to the next one down, bent on yet more destruction. You rush forward to try to rein things in, but Machon, somewhat confused by what's happening, tries to be a good sport and follows Puffy's lead by cracking up some herms of his own. Between the din of everyone's shouts, the panicked neighing of the horse, and the sharp explosions of fracturing statuary, all is pandemonium.\n\nEventually you and Alky are able to restore some semblance of order and talk Puffy down. You coax him back to the chariot and, once you reach Athens, bring him and the rest of the boys to your flat -- nobody's in much mood for the after party now, but after a nightcap or two and some rest you're sure everything will look better in the morning.\n\nA nightcap or two turned into several more -- more, at least, than you can comfortably count with your head this fuzzy -- but as you thought, with the bright light shining down and your boon companions bunking down with you, things seem, if not exactly right as rain, at least more manageable than they did last night, when all the blasphemous vandalry was really getting you down. But now the birds are chirping, the gentle noises of commerce and socialization drift up from passersby walking and vending beneath your window, and there's a loud pounding, as of armored feet, coming up the stairs to your door... Hang on, that's rather less idyllic!\n\nWhoever's on the other side makes a prim little knock. \"Good morning, citizen. Are you awake? I'm one of the city's magistrates, and I have some questions to ask you about your whereabouts last night.\"\n\nThe others are awake now, all suffering more or less from the fallout from last night's drinking and the dread of public odium. \"Look, we can bluff it out,\" Alky whispers. \"Puffy, you can just threaten any fellow who squawks with expulsion from the mysteries, and without any evidence we'll be in the clear.\"\n\nHe's confidently walking to the door to throw it open and walk the magistrate through the whole story, when Machon breaks in: \"small question, do you think they'd consider the broken-off unmentionables to be evidence?\" He spreads out his hands to reveal an even half-dozen of the thing-gummys. \"I gathered up as many as I could, so you could fix them,\" Machon says, looking over to Puffy.\n\n\"Oh, that was too kind,\" Puffy replies with a gulp. \"Too kind.\"\n\n\"Right,\" says Alky, a grim set to his mouth. \"Bluffing's out then.\" He grabs the chair from your writing desk and sets it against the door as a makeshift barricade.\n\nMachon turns to you and hands over the unmentionables, shrugging as you accept them gingerly. \"Maybe you can put them out of the way, coz?\" Then he and Puffy take up positions next to Alky.\n\nYour pied-\ufffd\ufffd-terre in the city provides you with a temporary base during the season -- though given present circs you'd prefer something a bit more castle-like. Beyond the essentials of your bed, a clothes-chest, the fireplace, and an empty shelf (usually your valet puts a vase of flowers here each morning, but lucky for him he's on holiday), the only other furnishing is your writing desk. The gang, plus your press-ganged desk chair, are braced against the door on the west wall that ordinarily only opens onto the stairs, but now leads to a mob bent on justice. There's also a window facing the door, looking down on an alley that presents a dismal prospect that's nonetheless appealing by comparison to the pickle you're currently in. Pity you're too high up to jump!\n\n> Inventory\nYou are carrying:\nsix unmentionables\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You examine the desk\nA little writing desk you sometimes use for scribbling off whatever musical or literary ideas you have bouncing around in your noggin. It holds your trusty inkwell, a sheet of paper, and your pan pipes. Your stylus is also right at hand.\n\n> You examine the pipes\nA small set of pan pipes, with loose leather straps holding the small reeds together."
    },
    {
        "text": "[Themes: Humor]\n\n> O unmentionable\nYou add an unmentionable to the end of the set of pipes, and lash it into place.\n\n> You put the unmentionable in the inkwell\nYou swirl the unmentionable in the inkwell, giving it a dose of the black and tarry.\n\n> You look at what you're carrying with you\nYou are carrying:\nan inked unmentionable\nfour unmentionables\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You examine the fireplace\nThis fireplace has a few sad pieces of wood stacked together, with a flint lying on the hearth.\n\n> You examine the wood\nA teetering stack of charred firewood (you try to reuse things when you can).\n\n> You look at the bed\nYou went all-out on your bed, from the gilded frame to the nice, plump mattress. Now that you think of it, you've woken up with a backache these last few mornings -- though that's the least of your problems at the moment.\n\n> You look at the mattress\nYour downy mattress has been feeling a bit lumpy of late.\n\n> You open it\nOh, hello! Now you see why your nightly dormition has been rather more ache-inducing of late -- somehow your scale model of the Trojan Horse wound up under your mattress.\n\n> You put the unmentionable in Horse\nYours is a struggle worthy of Homer's tongue -- perhaps it could be slotted into the Iliad in place of some of the sulking? -- but eventually you are able to cram the unmentionable inside the replica.\n\n\"Citizen, did you hear me?\" the magistrate calls through the door.\nHis tone is polite, but you've been on the wrong side of enough judicial proceedings to know an act when you hear one. \"If you don't open the door, I will have to consider taking more drastic measures.\"\n\n> You put the unmentionable in the mattress\nYou cram an unmentionable under your mattress.\n\n> You look at the chest\nYour closed clothes-chest.\n\n> Open chest\nYou pop open your chest, and are surprised to find, supernumerary to the typical freight of clothing, two unmentionables rolling around amidst the garments. Machon notices your confusion, and slaps his forehead: \"That's right, there were too many of them to carry, so I stowed the extras in your chest. I really apologize!\"\n\n> You take the unmentionables from the chest\nunmentionable: Taken.\nunmentionable: Taken.\n\n> You examine the clothing\nYour man thinks you have too many clothes, but you pay for his services, not his opinions. Admittedly, your togs do make up a rather good pile, but there are still some substantial gaps in your wardrobe -- you've had your eye on this white mess-jacket down at your tailor's....\n\n> You look at the window\nYour window looks out on a nice, quiet alley.\n\n> You look at what you're carrying with you\nYou are carrying:\nfour unmentionables\na flint\nan inked unmentionable\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You examine inked\nYou'd really prefer not to get into details here, but each unmentionable thingy -- that might be a more pleasant nickname, \"thingy\" -- used to be attached to a herm. Now that it's detached, it's a little less clear what it used to be and a nearsighted or very innocent person might just think it's a small stone cylinder? This one has ink smeared on one end.\n\n> You put inked on the shelf\nLeaving an unmentionable lying around in the open seems rather the opposite of concealing it, and while there can be a pleasant frisson from contradicting what's expected, you're less enthusiastic about the kind of contradiction that gets you hauled into the law-courts.\n\nMachon suddenly gets a quizzical look on his face. \"Say, I think I had one more of those broken bits I forget to give you.\" Sure enough, he pulls out one more unmentionable and hands it to you. \"There you are!\"\n\n> You look under the bed\nYou discover an unmentionable! Of course, that's not terribly surprising inasmuch as you hid it there.\n\n> You check your inventory\nYou are carrying:\nfive unmentionables\na flint\nan inked unmentionable\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You examine the thingy\nYou'd really prefer not to get into details here, but each unmentionable thingy -- that might be a more pleasant nickname, \"thingy\" -- used to be attached to a herm. Now that it's detached, it's a little less clear what it used to be and a nearsighted or very innocent person might just think it's a small stone cylinder?\n\n> You throw the thingy out the window\nAfter quickly checking to make sure nobody is looking, you drop an unmentionable out the window. It hits the ground with a rather loud clatter, but that's the least of your problems right now.\n\n\"All right, if that's the way you like it,\" yells the magistrate.\n\"Let them have it, boys!\" There's a rather loud crash as some uncalled-for force is brought to bear against your door. It's holding for now, but you worry your landlord isn't going to be best pleased with any more damage to the premises.\n\n> You put inked in the fireplace\nYou slide an inked unmentionable into the stack of firewood -- it teeters for a moment, but stays in place.\n\n> You put the thingy in the firewood\nYou slide an unmentionable into the stack of firewood -- it teeters for a moment, but stays in place. Nonetheless, since the wood is quite charred and the pale stone is unblemished, you might say the unmentionable is in the stack but not of it.\n\n> You look at the paper\nA blank sheet of paper, standing ready in case inspiration strikes.\n\n> You look at the floor\nYour floor is both unexceptional and unexceptionable.\n\n> You examine the walls\nThere's a patch of wall that will be right behind the door when it opens.\n\n> You put the thingy in the patch\nYou carefully place an unmentionable in the spot right behind where the door will open -- with any luck they'll never notice what they never noticed!\n\nAlky winces as the door absorbs another solid blow. \"Say, fellows, you've made your point,\" he calls. \"If you bring your sister, I promise I'll make an honest woman out of her!\" Alky flashes you a grin, as this throws them into confusion.\n\n\"Is this a fornication? I thought we were here about the herms,\" you hear a peevish voice ask. There's more hubbub as they try to sort this out.\n\n> You check what you're carrying\nYou are carrying:\ntwo unmentionables\na flint\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You put the thingy in the clothes\nYou slip an unmentionable into the stack.\n\n> Close chest\nYou close the chest.\n\n> You put the thingy under the mattress\nYou're willing to make some sacrifices, but a second unmentionable would compromise your night-time comfort too thoroughly to contemplate.\n\nThe blokes outside have stopped pummeling your door, as Alky's stratagem has left them flummoxed. But then a clear voice cuts across the din: \"Wait, was that Alcibiades? The rotter actually did seduce my sister, and I bet he did for the herms, too!\" The wronged brother hurls himself against the door again, and the siege resumes.\n\n> You look at the shelf\nThis shelf came with the room, and doesn't get much use. It's currently quite bare.\n\n> You put Horse on the shelf\n(first taking the Trojan Horse replica)\nYou put the Trojan Horse replica down on the shelf, making a nice little display.\n\nThe blokes outside have stopped pummeling your door, as Alky's stratagem has left them flummoxed. But then a clear voice cuts across the din: \"Wait, was that Alcibiades? The rotter actually did seduce my sister, and I bet he did for the herms, too!\" The wronged brother hurls himself against the door again, and the siege resumes.\n\n> You look at Machon\nIt's a nice thing that your cousin is rather full-figured, as he's putting his considerable gravitas into keeping the door closed.\n\n> You examine puffy\nPuffy is doing what he can to hold the door closed, albeit with somewhat less enthusiasm than Alky or Machon.\n\n> You examine the door\nAlky, Puffy, and Machon are doing their best to keep the door closed under the blows of the magistrate and his flunkies, but it's clearly a losing battle. Beyond the current excitement, there's not much to say about it other than that it opens to the right -- you had to move your writing desk to the other side because you kept knocking your inkwell over when throwing the door open. You've secreted an unmentionable away behind it.\n\n> You check your inventory\nYou are carrying:\na flint\na gold chain\na plate of food\na toothpick\na cup\na heavily-smoking torch (providing light)\na well-tailored chiton (being worn)\n\n> You open the door\nThere's currently a makeshift barricade obstructing your door, but if you did want to speed things along, you suppose you could dislodge it. Do you want to make this whole nightmare end that much sooner?"
    },
    {
        "text": "[Themes: Humor, teenagers, Americana, female protagonist, science fiction, aliens, humor, teenage protagonist]\n\nAre you a keen gal, or a dull dame? This ten-question Quiz-O-Matric info-matrix--designed with the latest science in mind--will tell you if you're on track for a fairy-tale ending, or if you need to make some changes to keep your Prince Charming from riding right on by!\n\nQuestion 1: Most importantly, what color is your hair?\n\n1) Blonde.\n2) Black.\n3) Red.\n4) Brown.\n\n[Author's Note: You are Bonnie Noodleman, Ordinary Well-Adjusted Teen-Ager, on an ordinary well-adjusted drive up Make-Out Mountain--until some gooey monstrosity from beyond the stars guzzles your boyfriend's brains clean out of his head! Jeepers, what a pickle! Can you convince the townsfolk you're not koo-koo, or is your thinker next on the alien menu? Explore beautiful Canyonville, New Mexico, at the height of the 1959 Pine Nut Days festival, interact with a full cast of NPCs, perform beat poetry, tamper with baked goods, use hideously powerful space weapons to win cheap carnival trinkets, and try to avoid getting a Reputation!]"
    },
    {
        "text": "[Themes: Humor, aliens, science fiction, humor, female protagonist]\n\n> 2\n[Black.]\n\nYou may not be at the top of the social pyramid, but this solid choice won't hold you back, either--keep your raven tresses washed and bobbed, and you'll still get plenty of attention! Just watch your wardrobe, and stay away from dungarees and too-bright colors. You don't want to look ethnic!\n\nQuestion 2: Worries may bring wrinkles, but from time to time, we all get a little fretful--it's our feminine nature! What worries you the most?\n\n1) My clothes.\n2) My weight.\n3) Nuclear war.\n4) My makeup.\n\n> 4\n[My makeup.]\n\nEvery girl worries about her makeup. Remember  those old sayings from 'when mother was a girl': \"If you're in a rush, just a little blush\" but \"it's worth half an hour to cover that glower!\" Also, \"girls who eat off their lipstick soon find it makes hips thick.\" We hope those help!\n\nQuestion 3: We've all got that one can't-live-without-it item we tuck into our purses before leaving the house. What's yours?\n\n1) A book of poems. Ah, Dickinson!\n2) A girl can't be too careful, so I always carry a switchblade.\n3) My collapsible hula hoop!\n4) Don't laugh, but...I still carry a teddy bear.\n\n> 3\n[My collapsible hula hoop!]\n\nYou're a real party-girl, and your careful choice shows that you're a fun date AND you like to keep fit. Just watch where you swing those hips; a modest hooper is a popular hooper!\n\nQuestion 4: What is your favorite flavor of ice cream?\n\n1) Vanilla.\n2) Chocolate.\n3) Strawberry.\n4) Mint.\n5) Lime.\n6) Fudge ripple.\n7) Raspberry.\n8) Rocky road.\n9) Black Forest double fudge.\n10) Tutti-frutti.\n11) Death-by-chocolate triple fudge.\n\n> 8\n[Rocky road.]\n\nAs you put your pencil to the page, Jimmy yanks the magazine away from you. \"Aw, come on, Bonnie! Whyagotta keep your nose stuck in that magazine alla time? What are you doin', takin' a test? Gee whiz, you'd think we were in class instead of at the Parking Spot!\" He leans back in the driver's seat and folds his muscular arms across his chest. \"Aren't we gonna... you know...park?\"\n\n1) Let's look this \"Jimmy\" customer over.\n2) \"Steady girlfriend, huh? You mean you weren't just up here\nwith that German exchange student?\"\n3) \"We haven't even been dating that long. What will people say?\"\n4) Your mind is made up--you're gonna kiss him!\n5) Your mind is made up--no way are you gonna kiss him!\n\n> 3\n[\"We haven't even been dating that long. What will people\nsay?\"]\n\n\"Aw, we've been on five dates already. If I don't get kissed soon, the fellas will start callin' me a yellow-belly!\"\n\n1) Let's look this \"Jimmy\" customer over.\n2) \"Steady girlfriend, huh? You mean you weren't just up here\nwith that German exchange student?\"\n3) Your mind is made up--you're gonna kiss him!\n4) Your mind is made up--no way are you gonna kiss him!\n\n> 1\n[Let's look this \"Jimmy\" customer over.]\n\nHe's a real dreamboat--tall, tan, his athlete's body wrapped in a tight varsity jacket that shows off his broad chest and well-muscled arms. He sees you looking and flashes his trademark gleaming grin, the one that makes girls melt into puddles.\n\n1) \"Steady girlfriend, huh? You mean you weren't just up here\nwith that German exchange student?\"\n2) Your mind is made up--you're gonna kiss him!\n3) Your mind is made up--no way are you gonna kiss him!\n\n> 1\n[\"Steady girlfriend, huh? You mean you weren't just up here\nwith that German exchange student?\"]\n\n\"Gosh, no! I mean, I was. But that was before I met you, and anyway, she was awful, just awful. Her breath tasted like those weird cigarettes she smokes and she wouldn't shut up about, gosh, I don't know what-all it was about. And she had that gross hairy mole on her rear end!\"\n\n1) \"I guess I can expect you to blab to the next girl about MY hairy mole...\"\n2) Your mind is made up--you're gonna kiss him!\n3) Your mind is made up--no way are you gonna kiss him!\n\n> 1\n[\"I guess I can expect you to blab to the next girl about MY hairy mole...\"]\n\n\"Ha, ha\" Jimmy snorts. He looks concerned. \"Wait, Bonnie. That was a joke, right?\"\n\n1) Your mind is made up--you're gonna kiss him!\n2) Your mind is made up--no way are you gonna kiss him!\n\n> 2\n[Your mind is made up--no way are you gonna kiss him!]\n\n\"Look,\" you say, \"I'm sorry, but...I'm just not that sort of girl.\" Jimmy frowns. \"I'm starting to think you're not a girl at all--you're more like a cold fish!\"\n\"Well, better a cold fish than an overheated wolf!\" you shoot back. \"Well, I'D rather be a wolf than a stuck-up cow!\"\n\nThe conversation goes steadily downhill from there.\n\n\"Yak!\"\n\"Skunk!\"\n\"Crab!\"\n\"Hippo!\"\n\"Oooh, grow up you...you axolotl!\"\n\"Well, you're a gazelle! Only, y'know, like an insult, as in 'That Bonnie, she's dumb as a gazelle!' I'm not calling you graceful--\" \"Wait, shh! What was that?\" A sound outside the car has caught your attention.\nattention.It's a low gurgling noise, like the gentle babbling of a brook. But that's impossible--The Parking Spot is at the top of a cliff! There's nothing up here but pine trees and gravel roads. The headlights throw the shadows of the trunks into sharp relief.\n\nA black shape appears right in front of you! You stifle a shriek. It's only a deer. The doe ignores you, wandering off into the trees.\n\nThe gurgling noise gets louder, than starts to die away. \"It's probably just Old Man McDillingfitty,\" Jimmy says. \"That old busybody is always trying to get us kids in trouble!\"\n\nWith a sickening thud, half of a deer carcass smashes into the front of the car, splattering the windshield with intestines and greenish-yellow ichor. The hindquarters are completely gone, ripped cleanly off, or maybe melted by the glowing goo which is now burning its way through the engine.\n\n\"My car!\" Jimmy cries. \"That's it. Stay here, Bonnie. I'm going to go give that dirty old man a piece of my mind!\"\ngo give that dirty old man a piece of my mind!\"He gets out of the car and walks towards the trees. \"Hello? Mr. McDillingfitty? Is that you?\"\n\nThe gurgling, slithering noise gets louder and louder. You can hear noises, heavy but somehow soft, like garbage bags full of gelatin dropping into a parking lot from an enormous height. A shadow rises above the trees, visible only as an absense of stars.\n\n\"Golly,\" Jimmy says. \"McDillingfitty is taller than I remembered. He was in the war, wasn't he? Uh--maybe--maybe we should just go--\"\n\nA ropy tentacle as thick around as a tree trunk shoots out of the woods and lifts Jimmy off of his feet. \"Oh, heck!\" he cries in alarm as he's hoisted into the air. The headlights flicker and die. Abrupt and near-total darkness is split by screams of agony. \"My brain! You're guzzling my brain! Y-you're not Old Man\nMcDilling--\"\n\nHis voice cuts off, and you can hear horrible sucking sounds. Oh gosh! He's being devoured alive! Oh gosh! Oh gosh! That monster--that horrible thing out there, whatever it is--is eating him! And\nnow it's going to eat you!\n\nOh my gosh!\n\nYou're crouched in the front seat of Jimmy's car. Well, technically now it's kind of your car, since he's dead and your were practically almost sort of his girlfriend. It comes fully loaded with all the latest options: a steering wheel, glove compartment, horn, parking brake, headlights and so on.\n\nOutside is a sea of moonless black, but you know roughly where you are--you're at The Parking Spot, with the front of the car pointing up the steep incline towards the patch of scraggly pines growing on the mountaintop. A short dirt path behind you leads back down to the main road.\n\nYou can't see a horrible monster here, but that doesn't mean there isn't one.\n\n> About yourself\nYou're Bonnie Noodleman, a spunky eighteen-year-old with raven-black hair. You're wearing a stylish pleated gray skirt and navy-blue sweater.\n\n> You examine the car\nWow, this is a real keen ride! It's got all sorts of features, like a horn, and headlights, and a parking brake, and even a steering wheel, and the whole thing is painted a real swell red that you could get out and admire if it wasn't pitch dark, and if you could leave the car without dying messily.\n\n> You look at the brake\nIt keeps the car from rolling away. It's on right now. You can PULL it to take it off.\n\n> You pull the brake\nYou yank hard on the brake. The car shudders, then begins rolling backwards. Oh, goody--it's working! You feel happy butterflies in your belly as the Meteor gently slides back onto the smooth asphalt of the main road.\n\nThe slithering, gibbering noises are fading. Whatever that brain-guzzling monster is, every second that passes is taking you farther away from it. And not only are you escaping, but as your escape continues, it goes faster...\n\n...and faster...\n\n...and maybe you're escaping a little TOO much, because you've got to be going about seventy or eighty miles now backwards down a mountain road in a car that doesn't really work.\n\n> You pull break\nroad in a car that doesn't really work.You grab the wheel and do your best to at least steer, whipping around corners at high speed and barely staying on the road. You're doing okay, though--and then you see it in the rearview mirror! Dead Teenager's Curve, the most dangerous patch of road in the state. Golly, don't tell me you survived a monster attack only to die in an ordinary traffic accident!\n\nYou wrestle with the wheel, but it's not enough. The Meteor bursts through the guardrail and sails out into an ocean of cold air and stars! Oh gosh! It's going end over end now, sky and ground switching places in a dizzying whirl. \"Jeepers, what a pickle!\" you think as your forehead smashes into the steering column.\nyour forehead smashes into the steering column...........\nyour forehead smashes into the steering column.....................\nyour forehead smashes into the steering column.....................Your eyelids flutter open. Holy moly, does your head ever hurt! You drag yourself out from under the wreckage of the Meteor, crawling on your belly into the light of a cool, gray morning. You feel awful, but at least you're alive.\n\nYou're standing in the drive-in on the edge of town, where all the coolest teens come to ignore movies. To the north is Make-Out Mountain, and flanking it are a number of less controversial mountains. Mist hangs in the cool air, clinging to the stunted pines and making the screen slick with tiny droplets. A dirt road leads south, and you can see buildings nestled in the low bowl of the valley.\n\nA smoking wreck is parked here upside down.\n\n> You look at the wreck\nThe remains of the Mercury Meteor -- well, technically, now that it's hit the Earth's surface the correct term is \"meteorite.\" Most of it's destroyed, but the glove compartment survived.\n\n> You open the glove compartment\nYou open the glove compartment, revealing a Canyonville High yearbook.\n\n> You take the yearbook\nTaken.\n\n> You look at the yearbook\n(You turn to the Table of Contents)\n\n1) Foreword: Advice for Today's Teen-Ager\n2) Our Students: Pioneers at the Dawn of Tomorrow\n3) Our Community: A Heritage of Superbness\n4) (Close the yearbook)\n\n> 1\n[Foreword: Advice for Today's Teen-Ager]\n\nWords of Wisdom from your Beloved Principal, Oswald J. Dunkin.\n\nHow times have changed! When I was a lad, a youth in Canyonville meant summers helping dear old Dad on his pine nut plantation or cranking my old Model T to take my sweetheart to the movies. The teens of today can expect to spend their salad days soaring through space, trading in the old shovel and hoe for a pair of rocket repair gloves and magnetic astro-boots. Yet we dusty old fogies have, perhaps, picked up a thing or two in our time on this Earth--so it would indeed behoove you to listen up, because what I've got to say might just help you out some day!\n\nAlways remember the value of a friendly word. If you see someone, friend or stranger, TALK TO them! This simple courtesy is sure to help you get ahead in life.\n\nAlso, try to keep in mind that whatever this old universe of ours throws at you, there's always a way out, and you can never really die. If you do happen upon some awkward patch of the universe that won't allow you to proceed, simply UNDO to move a short distance backwards in time! Truly, the modern age is filled with marvels!\n\nWith warmest thanks to all my students, Oswald J. Dunkin, Principal.\n\n(You turn to the Table of Contents)\n\n1) Foreword: Advice for Today's Teen-Ager\n2) Our Students: Pioneers at the Dawn of Tomorrow\n3) Our Community: A Heritage of Superbness\n4) (Close the yearbook)\n\n> 2\n[Our Students: Pioneers at the Dawn of Tomorrow]\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 5\n[Noodleman, Bonnie]\n\nWinner, Miss Human Compass Junior Orienteer, 1956\nWinner, Pine Nut Days Girls' Grocery-Balancing Competition, 1958\n\nPlayed the Widow Fobb, mother of Canyonville founder Charles Fobb, in \"Birth of a Town.\"\n\n\"Go west. Take all.\"- from \"Birth of a Town\"\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 3\n[Johnson, Jimmy]\n\nFighting Conifers, quarterback, 1959\nFighting Conifers, mascot, 1958, 1957\nVoted Most Likely To Live To A Hundred\n\n\"In the end, it's not the years in your life that count. It's the\nlife in your years.\" - Abraham Lincoln\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 1\n[Brandt, Traudl]\n\nPoets of Tomorrow, founder\nJunior Coffee Enthusiasts, participant\nNOTE: Miss Brandt has been expelled for gross unseemliness.\n\nRegrettably, Miss Brandt also selected an unprintable quote.\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 2\n[Finch, Renee]\n\nCanyonville High Sci-Fi Enthusiasts Club, president, vice president, secretary, treasurer\nBake Sale Honorable Mention, 1959\n\n\"If you fell down yesterday, stand up today.\" - H. G. Wells\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 4\n[Minsky, Mary Jane]\n\nCanyonville Pine Nut Queen 1959, 1958, 1957, 1956\nCanyonville Junior Pine Nut Princess 1955, 1954, 1953, 1952, 1951, 1950, 1949, 1948, 1947, 1946, 1945, 1944, 1943\nMost Beautiful Baby, 1942\nThird Runner-Up, Miss Albuquerque Greater Metro Area and Surrounding Counties, 1958\nDecoration Committee\nGlee Club\nCheer Squad\n\n\"Any girl can look glamorous.\" - Hedy Lamarr\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 6\n[Yoshida, Jenny]\n\nBlue Ribbon, Pine Nut Days Pie Competition, for \"Etude in Sugar and Green\"\n\n\"Earth laughs in flowers.\" - Ralph Waldo Emerson.\n\n(You turn to the index of students)\n\nYou can't throw a rock at Canyonville High without hitting one of tomorrow's talented young leaders! (Principal's note: Please do not throw rocks!) Let's learn a little more about these vibrant up-and-coming minds!\n\n1) Brandt, Traudl\n2) Finch, Renee\n3) Johnson, Jimmy\n4) Minsky, Mary Jane\n5) Noodleman, Bonnie\n6) Yoshida, Jenny\n7) (Close the yearbook)\n\n> 7\n[(Close the yearbook)]\n\nYou're standing in the drive-in on the edge of town, where all the coolest teens come to ignore movies. To the north is Make-Out Mountain, and flanking it are a number of less controversial mountains. Mist hangs in the cool air, clinging to the stunted pines and making the screen slick with tiny droplets. A dirt road leads south, and you can see buildings nestled in the low bowl of the valley.\n\nA smoking wreck is parked here upside down.\n\n> You read the yearbook\n(You turn to the Table of Contents)\n\n1) Foreword: Advice for Today's Teen-Ager\n2) Our Students: Pioneers at the Dawn of Tomorrow\n3) Our Community: A Heritage of Superbness\n4) (Close the yearbook)\n\n> 3\n[Our Community: A Heritage of Superbness]\n\n(You turn to the index of community sidebars)\n\nCanyonville, New Mexico: City on the Go! Our fair blossom in the desert is known throughout the quad-county region for its many points of civic pride. See any of the following convenient sidebars for high-quality, school-approved information!\n\n1) TOWN HISTORY: Our Shining Past\n2) PINE NUT DAYS: Our Pleasant Present\n3) MINSYSTEMS LABS: Our Forward-Looking Future\n4) (Close the yearbook)\n\n> 1\n[TOWN HISTORY: Our Shining Past]\n\nBoston entrepreneur Charles Fobb came west in 1841 with a dream--a dream of a rich, fertile paradise nestled in the heart of the New Mexican desert. What he found was Canyonville.\n\nWhen Fobb arrived, the savage inhabitants of \"Tuva\", as they called it, lived a stagnant life of sloth and indolence, grown fat and lazy on the abundant pine nuts and other natural bounty. Saddened at this wasted potential, the kind-hearted Fobb used his golden tongue to convince them to leave the valley for a challenging, industrious life of adventure in the surrounding desert -- except for a few fast friends who were extended an invitation to stay on as Fobb's honored guests. Tuva was rechristened Fobbville, and our city's history began.\n\nThe little town prospered, founding a rich agricultural tradition. Pine nuts were soon seen on tables from Fobb's native Boston to Buckingham Palace. Then in 1863--tragedy! Changes to the US legal code resulted in Fobb losing his beloved farmhands. An ill-advised attempt at switching to polished-pine buggywhip handles devastated Fobbville's food production potential for a decade. Fobb's son, Johnward Cable Fobb, soundly defeated Charles in the mayoral election, ushering in a new error of honest government which lasted until he was tragically hanged for murder and horse theft in 1877.\n\nThe town, now renamed Canyonville, was by now a popular crossroads of commerce and ideas. In 1912, statehood came knocking, and our city answered the call, boldly throwing its hat in the ring for consideration as state capital. Sadly, the people of New Mexico foolishly took pity on the poorly-run shantytown of Santa Fe instead.\n\nNever one to rest on its considerable laurels, Canyonville rebounded, becoming a bustling tourist destination. The World's Largest Pine Nut, a magnificent behemoth the size of a size four ladies' evening slipper, stood in the town square from 1917 to 1933, when it was devoured by a squirrel. The town took the loss in stride, playfully holding a \"trial\" for the hungry beast before sentencing him to be hanged by the neck until dead. The squirrel died of natural causes two years later, and the warrant for whoever was sneaking him food remains outstanding. By that time, a new world's largest pine nut had been located and placed in a secure case in the city hall atrium, where it remained until being cracked and rendered into nut butter for the war effort in 1942.\n\nTruly, a history of triumph! What's next for Canyonville? Only you, her treasured youth, can finish this story.\n\n(You turn to the index of community sidebars)\n\nCanyonville, New Mexico: City on the Go! Our fair blossom in the desert is known throughout the quad-county region for its many points of civic pride. See any of the following convenient sidebars for high-quality, school-approved information!\n\n1) TOWN HISTORY: Our Shining Past\n2) PINE NUT DAYS: Our Pleasant Present\n3) MINSYSTEMS LABS: Our Forward-Looking Future\n4) (Close the yearbook)\n\n> 2\n[PINE NUT DAYS: Our Pleasant Present]\n\nCanyonville: Area on the Go! From the beautiful southwestern architectures of the Old West End to Main Street's bustling shops and our lush town square, Canyonville today is known for its high quality of life. Teens enjoy \"keen\" nights out at the \"nifty\" drive-in or have a burger at Finch's. Undoubtedly the high point of the year, however, is Pine Nut Days, our annual celebration of nature's glorious bounty. Goggle at the parade, thrill to fairground extravagance, or try one of the tasty treats on offer. And always keep in mind our motto-\"Nothing Bad Could Possibly Happen During Pine Nut Days.\" So, as Jughead might say on Life With Archie--relaaaaaax!\n\n(You turn to the index of community sidebars)\n\nCanyonville, New Mexico: City on the Go! Our fair blossom in the desert is known throughout the quad-county region for its many points of civic pride. See any of the following convenient sidebars for high-quality, school-approved information!\n\n1) TOWN HISTORY: Our Shining Past\n2) PINE NUT DAYS: Our Pleasant Present\n3) MINSYSTEMS LABS: Our Forward-Looking Future\n4) (Close the yearbook)\n\n> 3\n[MINSYSTEMS LABS: Our Forward-Looking Future]\n\nSpace travel. Robotics. Transportation. All of these words and more appear in the pamphlets for MinSystems Labs, our fair city's leading source of non-agricultural income. Tours of the facility and the techno-wizardry within are available twice weekly. Will you be the first Canyonvillian in space?\n\nDon't forget to check out the fantastical Tomorrowdome, the exterior of which is visible through many windows in public areas!\n\n(You turn to the index of community sidebars)\n\nCanyonville, New Mexico: City on the Go! Our fair blossom in the desert is known throughout the quad-county region for its many points of civic pride. See any of the following convenient sidebars for high-quality, school-approved information!\n\n1) TOWN HISTORY: Our Shining Past\n2) PINE NUT DAYS: Our Pleasant Present\n3) MINSYSTEMS LABS: Our Forward-Looking Future\n4) (Close the yearbook)\n\n> You check what you're carrying\nYou are carrying:\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\na game pamphlet\n\n> You look at the hula hoop\nIt's a hula hoop. It folds up when you're not using it. It's only useful for hula-ing.\n\n> You use the hula hoop\nYou use the hula hoop. Fun! Then it falls down around your ankles.\n\n> You examine the pamphlet\nA small pamphlet you picked up at the five and dime. READ it to learn about the game."
    },
    {
        "text": "[Themes: Humor, aliens, teenagers, teenage protagonist, science fiction]\n\n> You look around\nYou're standing in the drive-in on the edge of town, where all the coolest teens come to ignore movies. To the north is Make-Out Mountain, and flanking it are a number of less controversial mountains. Mist hangs in the cool air, clinging to the stunted pines and making the screen slick with tiny droplets. A dirt road leads south, and you can see buildings nestled in the low bowl of the valley.\n\nA smoking wreck is parked here upside down.\n\n> You go to the south\nYou're standing on Saguaro Road, in a part of town your mother doesn't like you going. A junkyard squats to the west, and to the east, an old barn has been painted black and blue and hung with a neon sign reading \"The Beat Barn.\" A dirt road leads north to the drive-in, and Saguaro Road itself heads into town to the south and curves northeast into the woods.\n\nA sketchbook lies abandoned in the road.\n\n> You take the book\n(the sketchbook)\nTaken.\n\n> You examine it\nA thick pad of drawing paper. Some up-and-coming young artist must have dropped this on their way out of the coffeehouse. You could READ it to take a look at the sketches.\n\n> You read it\nHow strange! Instead of being filled with sunsets and chubby naked ladies, like a normal artist's sketchbook, it's filled with nothing but drawings of Campbell's soup cans! No wonder someone threw it away. Nobody's going to pay for soup can drawings, even if they are awful realistic looking!\n\n> Go west\nGenerations of garbage have been piled here in haphazard stacks, rusting and slowly sinking into the earth under the weight of tons of scrap. The only way out is to the east.\n\nMcDillingfitty's \"house\", a rusting metal silo, stands empty, slowly falling apart under the weight of the ages.\n\nA goat is eyeing you suspiciously.\n\n> Hello\nThere is no reply.\n\nThe goat suddenly takes it upon himself to butt his head into you, causing you to drop the game pamphlet.\n\n> You take the pamphlet\nTaken.\n\n> You search the garbage\nYou find nothing of interest.\n\nThe goat nibbles at some nonexistent grass.\n\nThe goat suddenly takes it upon himself to butt his head into you, causing you to drop the game pamphlet.\n\n> You take the pamphlet\nTaken.\n\nThe goat looks at you as if you were a plump, juicy tin can.\n\n> You examine house\nIt's a little taller than a one-story house, but too narrow to have much living space. There's an open hatch on the side where a door probably used to be. You never noticed it before, but there are numbers printed on the side: \"X271 -- Minsystems Labs.\"\n\n> You enter the house\nThe goat bleats menacingly at you as you get close to the silo, and you hastily take several steps back.\n\n> You check what you're carrying\nYou are carrying:\na game pamphlet\na sketchbook\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You feed the sketchbook to the goat\nThe goat's mouth waters as he looks at the tastily realistic cans. Oh my gosh! He sinks his teeth into the sketchbook and gobbles it up in seconds! At least it was worth something to somebody.\n\nThe goat looks much friendlier now. He's eyeing you as if you might know where there's more food.\n\n> You enter house\nYou poke your head in and look around. There's nothing inside except a smell so dreadful it nearly makes your permanent wave go limp. McDillingfitty is nowhere to be seen."
    },
    {
        "text": "[Themes: Humor, science fiction, aliens, female protagonist, teenagers]\n\n> Look around\nGenerations of garbage have been piled here in haphazard stacks, rusting and slowly sinking into the earth under the weight of tons of scrap. The only way out is to the east.\n\nMcDillingfitty's \"house\", a rusting metal silo, stands empty, slowly falling apart under the weight of the ages.\n\nA goat is eyeing you hopefully.\n\n> Go east\nYou're standing on Saguaro Road, in a part of town your mother doesn't like you going. A junkyard squats to the west, and to the east, an old barn has been painted black and blue and hung with a neon sign reading \"The Beat Barn.\" A dirt road leads north to the drive-in, and Saguaro Road itself heads into town to the south and curves northeast into the woods.\n\nThe goat trots after you.\n\n> Go east\nYou knock politely on the barn door. It opens just wide enough for a man with a goatee and a beret to stick his pointy nose though. \"Like, beat it, chicky,\" he says. \"We're, like, closedville until tonight, you dig?\" He shuts the door in your face.\n\n> Go northeast\nFrom here, the road plunges northeast into the sheer cliffs and curves gently southwest towards town. Twisted-looking pines frame the tunnel entrance itself, which is pitch black and smells moist and alive. Far above you, you can see the sleek modernist wedge of Minsystems Labs perched at the edge of the cliffs.\n\nThe goat trots after you.\n\n> Go northeast\nGosh, why? It's nearly a mile of damp, dark spookiness, and there's not much on the other side except cattle ranches, and eventually Albuquerque.\n\n> Go upwards\nWhat, straight up the cliffs? Better teen-agers than you have tried! Well, not so much better as deader.\n\n> You go south\nThe pavement here is filled with cracks and potholes, but the shop windows are neatly polished and more than one shabby building has been given a fresh, bright coat of paint. Yoshida Floral is on the east side of the street, and the sidewalk in front of it is scattered with petals. A faint sickly yellow glow is emanating from inside the shop. Saguaro Road runs north and south from here.\n\nJenny Yoshida is sweeping up in front of her family's shop.\n\nThe goat trots after you.\n\n> You talk to Jenny\n[Picture number 3 here.]\n\n\"Hi, Bonnie!\" Jenny says brightly. \"Thanks for stopping by. Are you on the way to the parade? Jeepers, Bons, you don't look too good. Is everything okay?\n\n1) \"My boyfriend was just devoured by some kind of...of brain guzzling monster!\"\n\n> 1\n[\"My boyfriend was just devoured by some kind of...of brain\nguzzling monster!\"]\n\n\"Ha, ha, real funny, Bons.\"\n\n1) \"No, really--this huge, hulking, slimy thing guzzled Jimmy's brain right in front of me!\"\n\n> 1\n[\"No, really--this huge, hulking, slimy thing guzzled Jimmy's\nbrain right in front of me!\"]\n\n\"Well--um--if you say so.\" Jenny bites her lip. \"Look, uh, if something bad happened to you, maybe you should tell the police about it. The station is just down the street, just turn left when you hit the parade.\"\n\n1) \"Parade?\"\n2) \"I should get going.\"\n\n> 1\n[\"Parade?\"]\n\n\"The Pine Nut Days parade, of course!\" Jenny says. \"Gosh, it's only about the biggest event of the year. Why, Mary Jane Minsky is Miss Canyonville Pine Nut Queen of 1959! How could you forget a thing like that?\"\n\n1) \"Oh, that's swell! I'm glad MJ won the pageant.\"\n2) \"That airhead? Ugh, how embarrassing.\"\n\n> 1\n[\"Oh, that's swell! I'm glad MJ won the pageant.\"]\n\n\"Well, of course, isn't absolutely everybody? She makes such a pretty Queen, and she's so passionate about pine nuts and their many commercial uses!\" Jenny sighs. \"Gosh, I wish I could be there in the crowd, cheering for her!\"\n\n1) \"You and Mary Jane must be best friends.\"\n2) \"So why AREN'T you at the parade?\"\n3) \"I should get going.\"\n\n> 2\n[\"So why AREN'T you at the parade?\"]\n\n\"Don't you think I want to be?\" Jenny says bitterly. \"But it's my job to sweep up all these petals and trimmings, and Granny says I have to do my chores EVERY DAY, even if there's a parade. Plus she's worried someone will break in if I don't guard the place. Even though there's not even any merchandise!\n\n1) \"You and Mary Jane must be best friends.\"\n2) \"If there's no merchandise, what's that glowing in the store?\"\n3) \"I should get going.\"\n\n> 2\n[\"If there's no merchandise, what's that glowing in the\nstore?\"]\n\n\"Oh, that's just a little plant I'm growing from a seed I found in the woods. Well, it's still just a seed, so far, but, uh, any day now!\"\n\n1) \"You and Mary Jane must be best friends.\"\n2) \"Can I take a look at your seed?\"\n3) \"I should get going.\"\n\n> 2\n[\"Can I take a look at your seed?\"]\n\n\"Uh, Granny will pitch a fit if I let you in while we're supposed to be closed. Sorry!\"\n\n1) \"You and Mary Jane must be best friends.\"\n2) \"So, still sweeping?\"\n3) \"Hey, Jenny, how about I find someone else to do this for you? Then you could go see the parade.\"\n4) \"I should get going.\"\n\n> 3\n[\"Hey, Jenny, how about I find someone else to do this for you?\nThen you could go see the parade.\"]\n\nJenny smiles. \"That would be wonderful! Who do you have in mind?\"\n\n1) \"I'll do it!\"\n2) \"I bet this goat is hungry enough to eat these clippings. He's a real rough customer, too!\"\n\n> 2\n[\"I bet this goat is hungry enough to eat these clippings. He's a\nreal rough customer, too!\"]\n\n\"Wow, uh, you know, that could work!\" Jenny is beaming ear to ear. She grabs you in a sudden hug. \"Which means I can go to the parade now! Thank you, Bons! Thank you so much!\"\n\nJenny is practically skipping as she heads south toward the sounds of marching band music.\n\nThe pavement here is filled with cracks and potholes, but the shop windows are neatly polished and more than one shabby building has been given a fresh, bright coat of paint. Yoshida Floral is on the east side of the street, and the sidewalk in front of it is scattered with petals. A faint sickly yellow glow is emanating from inside the shop. Saguaro Road runs north and south from here.\n\nA goat is here, happily chomping away at the trimmings."
    },
    {
        "text": "> You look around\nThe pavement here is filled with cracks and potholes, but the shop windows are neatly polished and more than one shabby building has been given a fresh, bright coat of paint. Yoshida Floral is on the east side of the street, and the sidewalk in front of it is scattered with petals. A faint sickly yellow glow is emanating from inside the shop. Saguaro Road runs north and south from here.\n\nA goat is here, happily chomping away at the trimmings.\n\n> You go east\nA quaint little flower shop, minus the flowers. Even with the shelves bare, it feels almost claustrophobic. The exit is west, and stairs lead up to the Yoshidas' apartment.\n\nA seedling growth chart is tacked to the wall here.\n\nYou can also see a glowing seed here.\n\n> You examine the chart\nIt looks like this is the chart Jenny's going to use to track the growth of her mysterious \"plant\", Mary Jane Junior, once it hatches, er, germinates. The chart itself hasn't been filled in yet, but Jenny has typed a number of predictions in the \"notes\" section. \"Of course, it's impossible to know just how large my little 'Mary Jane' might get, but with the nutrient saturation the subject is receiving now, I wouldn't be surprised to see a tripling or even a quadrupling of size within days, once growth begins in earnest!\"\n\n> You examine the seed\nIt's about the size of a tennis ball, lumpy and irregular, and covered in spiny armor. It's also sweating a thick, glowing ooze. It's the strangest-looking seed you've ever seen. If it wasn't half-buried in a pot of earth, you'd swear it looked more like an egg or something! \"Mary Jane Junior\" is written on the pot with magic marker.\n\n> You check what you're carrying\nYou are carrying:\na glowing seed\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> Go up\nYou don't want to go poking around in Jenny's apartment when she's not around. That's a good way to get a reputation as a Sally Snoopypants!\n\n> You go west\nThe pavement here is filled with cracks and potholes, but the shop windows are neatly polished and more than one shabby building has been given a fresh, bright coat of paint. Yoshida Floral is on the east side of the street, and the sidewalk in front of it is scattered with petals. Saguaro Road runs north and south from here.\n\nA goat is here, happily chomping away at the trimmings.\n\n> Go south\nSaguaro Road runs south into Main Street here. The town police station is to the east. The Pine Nut Festival Parade fills Main Street, and the sidewalks are crammed with parade-watchers in both directions.\n\nThe Canyonville High marching band passes by in an enthusiastic mess of oompah horns and bleating piccolos.\n\n> You examine Parade\nYou stand on tip-toe and just watch for a while.\n\nThe Canyonville High flag squad marches past, banners fluttering.\n\n> You look athe parade-watchers\nA tightly-packed, sardinelike wall of human flesh.\n\nA float shaped like a pink Cadillac slides by.\n\n> Go east\nYour sleepy little town doesn't have much need for active policing, so the building is small and the police officers are large. It's really not much more than a little office that also functions as an overnight hotel for drunks and delinquents. Double doors open onto Saguaro Road to the west.\n\nOfficer Buck Wilcox is relaxing with his feet up on the desk.\n\n> You talk to Wilcox\n[Picture number 4 here.]\n\nBuck Wilcox nods at you. \"Something I can help you with, Miss?\"\n\n1) \"You've got to help me, Officer! My boyfriend Jimmy was just eaten by some sort of horrible BRAIN GUZZLER!\"\n\n> 1\n[\"You've got to help me, Officer! My boyfriend Jimmy was just\neaten by some sort of horrible BRAIN GUZZLER!\"]\n\n\"Hold on. Let's hear that again, without the goofy teen-age jibber-jabber.\"\n\n1) \"No, that wasn't slang, he was literally torn limb from limb and guzzled down right in front of me by an awful gelatinous monstrosity!\"\n\n> 1\n[\"No, that wasn't slang, he was literally torn limb from limb and guzzled down right in front of me by an awful gelatinous monstrosity!\"]\n\n\"Suuure he was. Let me guess--this 'monstrosity', was it bright pink with a loooong nose and, heh heh, big floppy ears?\"\n\n1) \"I'm not drunk, Officer, and I haven't gone mad--there really is something out there! It's probably from space-or-or the bottom of the ocean or something like that and golly, you've got to warn everyone, or this town will be in deep soup!\"\n\n> 1\n[\"I'm not drunk, Officer, and I haven't gone mad--there really is something out there! It's probably from space-or-or the bottom of the ocean or something like that and golly, you've got to warn everyone, or this town will be in deep soup!\"]\n\n\"Look, little missy, I'd hate to have to throw a nice girl like you in the drunk tank. Go home and sleep it off, all right?\"\n\n1) \"I'm telling the truth! Oh, how can I convince you?\"\n2) \"That gosh-darn parade is in the way! Can't you tell the crowd to disperse a little so I can get past?\"\n3) \"Shouldn't you be out doing your job?\"\n4) \"You want proof--take a look at this! An alien egg!\"\n5) \"Forget I even brought this up.\"\n\n> 1\n[\"I'm telling the truth! Oh, how can I convince you?\"]\n\n\"All right, missy,\" Buck says, laughing. \"If you can show me an example of one of these mysterious brain guzzlers of yours, something really 'out of this world', THEN maybe I'll admit we have a problem. Until then, why don't you scoot off and sober up a little, hmm?\"\n\n1) \"What evidence was it you wanted me to find, again?\"\n2) \"That gosh-darn parade is in the way! Can't you tell the crowd to disperse a little so I can get past?\"\n3) \"Shouldn't you be out doing your job?\"\n4) \"You want proof--take a look at this! An alien egg!\"\n5) \"Forget I even brought this up.\"\n\n> 4\n[\"You want proof--take a look at this! An alien egg!\"]\n\n\"Hmm...\" Buck frowns, taking the seed from you and peering at it. \"There IS somethin' mighty odd-looking about--\"\n\nThe phone rings, and Buck picks it up. \"Police. Hmm? You say your cows are dead? Something guzzled their brains? Yeah, I've heard of that sort of thing--probably just some teen-age delinquents, but I'll come and take a look. Mister? Mister, I sure can't hear you over all that slithering.\" He pulls the phone away from his ear. \"Now, there's no need to scream at me. I'll be out as soon as I can.\"\n\n\"Sorry, missy. Sounds like your delinquent friends are causing trouble at the old Bristlender place. I'll have to deal with you later.\"\n\n1) \"Jeepers, would you please listen to me. I'm telling you that something dangerous is out there--I have the gosh darn evidence right here in front of you. If you go up there, you could be killed!\"\n\n> 1\n[\"Jeepers, would you please listen to me. I'm telling you that something dangerous is out there--I have the gosh darn evidence right here in front of you. If you go up there, you could be killed!\"]\n\nBuck shakes you roughly. \"Calm down! I don't have time to deal with a hysterical girl right now. I'm going to have to lock you up until I get back so you don't panic and hurt yourself.\" He drags you to the drunk tank and shoves you inside. \"There. I'm going to collar some teen-aged troublemakers, and when I get back, I'll expect a full apology for wasting valuable police time.\"\n\nHe walks out, leaving you trapped. Somehow, though, between adrenaline and the angry goat and the untreated concussion you've been carrying around since the car accident, you're too exhausted to care just at the moment. Collapsing onto the cot, you fall into uneasy sleep.\n\nYou wake to the sound of a key rattling in the door. It's Deputy Wilcox, Buck's nephew. \"Miss? I just can't be worryin' about you right now, with all what's goin' on and me all by my lonesome with Unk off doin' goodness knows what. You're free to go, I guess.\"\n\nHe helps you out of the cell before leaving. You're sore, stiff, and hungry, but free. Through the window, you can see the noonday sun beating down. You must have been passed out for hours! Who knows what sort of living heck the town has become in the meantime?\n\nYour sleepy little town doesn't have much need for active policing, so the building is small and the police officers are large. It's really not much more than a little office that also functions as an overnight hotel for drunks and delinquents. Double doors open onto Saguaro Road to the west.\n\n> Go west\nSaguaro Road runs south into Main Street here. The town police station is to the east.\n\n> Go south\nThe cracks and potholes of north-south Saguaro meet the fresh black asphalt of east-west Main Street, which is littered with leftover parade stuff. The only business that looks open is the corner diner to the southwest.\n\n> Go southwest\nThe Finch family operates this shabby but comfortable burger joint, where the food is cheap, the smiles are free, and the decor can be summed up as \"orange paint\". A family photo and a daily specials chalkboard are hanging up behind the counter. You can go northeast to get back to the street.\n\nRenee Finch is wiping down tables.\n\n> You examine the specials\n\"Today's special: \"King's Breast\" Owl Sandwich (actually chicken). Comes with poooooisonous lead toy.\"\n\n> You examine photo\nRenee with her parents. It was taken a few years ago after they moved into town and bought the place. Her mom and dad had a wedding in the diner on opening day, since mixed-race couples couldn't get married where they lived before, and you remember her dad flipping burgers in the back and her mom waiting tables in her dress. It looks a little surreal in the photo, if you don't know the story.\n\n> You talk to Renee\n[Picture number 6 here.]\n\n\"Hey. Can I get you something?\"\n\n1) \"Renee! You like all that space stuff, right? Little green men and slime monsters and...and alien brain guzzlers and things?\"\n\n> 1\n[\"Renee! You like all that space stuff, right? Little green men\nand slime monsters and...and alien brain guzzlers and things?\"]\n\nRenee puts her hands on her hips. \"So I like science fiction. What's wrong with having a little imagination, huh?\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"Where did you get that unusual-looking gun?\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 3\n[\"I want to order something, please.\"]\n\n\"Sure, what?\"\n\n1) \"I'll have the special!\"\n2) \"I'll have a burger!\"\n3) \"One free smile, please!\"\n\n> 1\n[\"I'll have the special!\"]\n\n\"Oh, sorry about that. The parade crowd cleaned us out pretty good. I've got some burger supplies, but that's about it.\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"Where did you get that unusual-looking gun?\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 3\n[\"I want to order something, please.\"]\n\n\"Sure, what?\"\n\n1) \"I'll have a burger!\"\n2) \"One free smile, please!\"\n\n> 1\n[\"I'll have a burger!\"]\n\n\"Sure thing. I'll stick it on your tab.\" Renee grills up a Finch's Famous Depth Charge Deluxe, a steaming monument to hot peppers and grease, wraps it in paper, and slides it over to you. \"Here ya go! Our motto is, whatever doesn't kill you makes you stronger! Or at least, you know, bigger.\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"Where did you get that unusual-looking gun?\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 2\n[\"Where did you get that unusual-looking gun?\"]\n\nRenee grins and pulls out the weapon. \"Pretty cool, huh? I found it on that mountain where the white kids go to make out. I went there last night to watch for unindentified flying... birds. I didn't...see...anything, but I found this...toy...near the...near nowhere.\"\n\n1) \"Does it work?\"\n\n> 1\n[\"Does it work?\"]\n\n\"How would I know?\" Renee says defensively. \"I mean, it's just a toy. Of course it doesn't 'work'! Why do you care, anyway?\"\n\n1) \"Renee, if you saw something, you can tell me. I've seen it too! It was some sort of huge, horrible THING and it ate my\nboyfriend's brains right out of his gosh darn head!\"\n\n> 1\n[\"Renee, if you saw something, you can tell me. I've seen it too!\nIt was some sort of huge, horrible THING and it ate my\nboyfriend's brains right out of his gosh darn head!\"]\n\nRenee narrows her eyes. \"You'll excuse me if I'm a little skeptical.\"\n\n1) \"Okay, so we went on five dates. But he was PRACTICALLY my boyfriend. Sort of.\"\n\n> 1\n[\"Okay, so we went on five dates. But he was PRACTICALLY my\nboyfriend. Sort of.\"]\n\n\"No, I mean, you'll excuse me if I don't fall for the latest game of ooh, let's have some fun with the crazy girl. No matter what\nyou say about it, I'm going to keep ignoring you, so you can just go back and tell your friends I'm done giving them things to laugh at over their cucumber sandwiches. Got it?\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"I like sci-fi just as much as you do, you know!\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 2\n[\"I like sci-fi just as much as you do, you know!\"]\n\nRenee looks you up and down. \"Yeah, the odds of that are about a billion to one.\"\n\n1) \"I think the model spaceships are really neat!\"\n2) \"I don't read all the comics, but I look at the covers. That's as good as reading them, right?\"\n3) \"Why, I'd have a Martian for a pet, if I could!\"\n\n> 1\n[\"I think the model spaceships are really neat!\"]\n\n\"Science fiction's about ideas, not special effects--no matter how cutting edge they are!\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"I do so like science fiction!\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 2\n[\"I do so like science fiction!\"]\n\n\"Oh really?\"\n\n1) \"I think the model spaceships are really neat!\"\n2) \"I don't read all the comics, but I look at the covers. That's as good as reading them, right?\"\n3) \"Why, I'd have a Martian for a pet, if I could!\"\n\n> 2\n[\"I don't read all the comics, but I look at the covers. That's as good as reading them, right?\"]\n\n\"Those covers never have anything to do with the stories! You'd know that if you read any of them!\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"I do so like science fiction!\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 3\n[\"Why, I'd have a Martian for a pet, if I could!\"]\n\n\"Ha! The Tharks would kick your skinny behind and the tripods would just death-ray you to death. Everybody knows there's no such thing as a nice Martian.\"\n\n1) \"It's kind of empty in here. Where is everybody?\"\n2) \"I do so like science fiction!\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> Inventory\nYou are carrying:\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> 1\n[\"It's kind of empty in here. Where is everybody?\"]\n\n\"Most of 'em headed over to the fairgrounds once the parade ended.\"\n\n1) \"Why aren't you at the fairgrounds with everyone else? Am I going to have to find another goat?\"\n2) \"I do so like science fiction!\"\n3) \"I want to order something, please.\"\n4) \"Guess that's it for now.\"\n\n> 1\n[\"Why aren't you at the fairgrounds with everyone else? Am I going\nto have to find another goat?\"]\n\nRenee rolls her eyes. \"Dad's so overprotective. He doesn't like me hanging out on that side of town.\"\n\n1) \"But MY dad says THIS is the dangerous side of town.\"\n2) \"Has your dad been reading your comic books again?\"\n\n> 1\n[\"But MY dad says THIS is the dangerous side of town.\"]\n\nRenee chuckles. \"Yeah... funny how that works, huh?\"\n\n1) \"I do so like science fiction!\"\n2) \"I want to order something, please.\"\n3) \"Guess that's it for now.\"\n\n> 3\n[\"Guess that's it for now.\"]\n\n\"See ya 'round.\"\n\nThe Finch family operates this shabby but comfortable burger joint, where the food is cheap, the smiles are free, and the decor can be summed up as \"orange paint\". A family photo and a daily specials chalkboard are hanging up behind the counter. You can go northeast to get back to the street.\n\nRenee Finch is wiping down tables.\n\n> You eat Depth Charge Deluxe\nIt would probably have been both easier and healthier to eat an actual depth charge, but it's down and it's most likely staying there!\n\n> You examine Depth Charge Deluxe\nWow, it's really big and heavy! It's more like a bowling ball wearing bread earmuffs than a hamburger. It smells delicious, though!\n\n> You look\nThe Finch family operates this shabby but comfortable burger joint, where the food is cheap, the smiles are free, and the decor can be summed up as \"orange paint\". A family photo and a daily specials chalkboard are hanging up behind the counter. You can go northeast to get back to the street.\n\nRenee Finch is wiping down tables.\n\n> Inventory\nYou are carrying:\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> Go east\nA broad, pleasant thoroughfare running east and west through town. The street's quaint charm is only slightly lessened by the scattered parade garbage and oodles of horse apples. Nobody's around right now, but the door of the five and dime to the south is open.\n\n> Go south\nThis small mom-and-pop store has almost everything, except Mom and Pop, who seem to be out at the moment. There are all sorts of other handy-dandy sundries, though, including a rack full of comic books. There's also a pair of eye-catching promotional displays, one green, one blue.\n\nA friendly note is lying on the counter.\n\n> You examine the note\nIt's a handwritten note. \"We're At The Fair! If you want to buy something--just leave money on the counter. We Trust You! Signed, Mom and Pop. P.S. Thieves will be pumped full of rock salt.\"\n\n> You examine the comic books\nYour parents say these are trash, but you've always wanted to READ some.\n\n> You read the comic books\nThere sure are a lot of comics here! You spend a few minutes leafing through them. Most of them are pretty ridiculous scenarios with none of the realism of a good Hollywood movie. Jungle Tales has a\nstory about a reporter who crashes in the jungle and finds a magic idol. Weird Sci-Fi is all about some space explorers being\nmenaced by a monster, but the surprise twist is they were alien plants the whole time and the monster is a big cow. Gosh, they're not kidding when they say this stuff is trash! Still, you find one that's not bad--a little volume called Poppy, Girl of the Galaxy, about\na girl starship captain and her loyal robot dog RF-RF. You read on, and are pulled into a rollicking tale of action and suspense as Poppy and RF-RF face off against \"The Stellar Smugglers\". Before you know it, you've reached the final page...\n\nPOPPY: Jeepers, RF! That sure was a close call!\nRF-RF: You said it, Poppy! You know, I thought for sure that space worm was a bad egg. But in the end, he saved us from the smugglers. Sorta funny!\nPOPPY: It makes you think, doesn't it, chum? How much life have we rejected--how many wars have been started--by those two little words \"I assume\"? A true Girl of the Galaxy doesn't reject someone just because they're slimy or a little different. Scrape away that slime and you might find a friend coccooned underneath!\n\nGosh, what a story! You even got a little misty-eyed at that moving ending.\n\n> You take the comic books\nYou're not carrying any money! Better just read them here and then put them back on the rack.\n\n> You examine the green display\nA color photo depicts a beach scene. Several good-looking boys are sneering at a distraught-looking girl. The copy under the picture reads: \"'PHOOEY! SHE'S TOO FAT FOR ME!'\n\nAre you sick of hearing that from all the fellows? Tired of having them pass you by because you're too plump? Want the slender shape that turns heads? SLIM-U is your solution! SLIM-U uses a zero-calorie stomach sponge to fill you up without need of food and is guaranteed to take off pounds, inches, where you don't want them. No-body loves a blimp--pick up a free sample canister and try SLIM-U today!\"\n\nOn the green display is a green canister.\n\n> You open the green canister\nYou open the green canister, revealing a whole bunch of green pills.\n\n> You take the green canister\nTaken.\n\n> You examine the blue display\nA color photo depicts a beach scene. Several good-looking boys are sneering at a distraught-looking girl. The copy under the picture reads: \"'NO SKINNY SCARE-CROW FOR ME!'\n\nAre you tired of hearing that from all the boys? Sick of being ignored because you're too skinny? Want the lush curves that turn heads? WATE-ON is your solution! WATE-ON is scientifically formulated using a high-energy sucrose extract that's guaranteed to quickly add pounds, inches, where you need them. No-body loves a scrawny stick--pick up a free sample box and try WATE-ON today!\"\n\nOn the blue display is a blue box.\n\n> You open the blue box\nYou open the blue box, revealing a whole bunch of blue pills.\n\n> You talk to Renee\n[Picture number 6 here.]\n\n\"Hey, back again?\"\n\n1) \"I do so like science fiction!\"\n2) \"I want to order something, please.\"\n3) \"Guess that's it for now.\"\n\n> 1\n[\"I do so like science fiction!\"]\n\n\"Oh really?\"\n\n1) \"I think the model spaceships are really neat!\"\n2) \"I don't read all the comics, but I look at the covers. That's as good as reading them, right?\"\n3) \"Why, I'd have a Martian for a pet, if I could!\"\n4) \"But Renee! A true Girl of the Galaxy doesn't reject someone just because they're slimy or a little different. Scrape away that slime and you might find a friend coccooned underneath!\"\n\n> 4\n[\"But Renee! A true Girl of the Galaxy doesn't reject someone just because they're slimy or a little different. Scrape away that slime and you might find a friend coccooned underneath!\"]\n\nRenee squeals. \"You read Poppy, Girl of the Galaxy too? I\nnever knew!\" She drops her voice. \"Look, I'm sorry I doubted you. I did see something. It was like a...a flying saucer! We can't\ntell the others, they'll never believe it, but I went up the mountains, near where I saw it flying over, and I found this! Isn't this amazing?\"\n\nRenee pulls the ray gun out of her apron pocket and hands it to you. \"Here, go ahead and borrow it for a while, if you want.\"\n\n1) \"I want to order something, please.\"\n2) \"Guess that's it for now.\"\n\n> Inventory\nYou are carrying:\na cosmic ray gun\na blue box (open)\na whole bunch of blue pills\na green canister (open)\na whole bunch of green pills\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You go northeast\nThe cracks and potholes of north-south Saguaro meet the fresh black asphalt of east-west Main Street, which is littered with leftover parade stuff. The only business that looks open is the corner diner to the southwest.\n\n> Go east\nA broad, pleasant thoroughfare running east and west through town. The street's quaint charm is only slightly lessened by the scattered parade garbage and oodles of horse apples. Nobody's around right now, but the door of the five and dime to the south is open.\n\n> You go to the east\nMain Street comes from the west, ending here at its intersection with the north-south Oppenheimer Road. To the east is the town square, currently decorated for Pine Nut Days with a number of tents and attractions. It looks like most of the town has gathered there.\n\n> You go east\nYou're standing at the entrance to Canyonville Pine Nut Days. The scent of fresh-baked pies wafts from a covered area to the northeast, the sleek Tomorrow Pavilion is to the southeast, and straight east takes you to the center of the town square. You can exit the fair onto Main Street to the west.\n\nA young woman walks by, looking distinctly green around the gills and holding her stomach as if she's regretting the last several helpings of cotton candy. Suddenly, she claps a hand over her mouth and flees towards the nearest ladies' room.\n\n> Go northeast\nThis tent is filled with the absolutely scrumptious scent of freshly baked pies. Several long tables are laden with dozens of entries competing for the blue-ribbon prize.\n\nMary Jane Minsky, the Pine Nut Queen, is here, surrounded by her Pine Nut Ladies-In-Waiting.\n\nYou can also see a gruesome glowing pie, a row of delicious pies and a pink purse (closed) here.\n\nMary Jane cuts a slice from the pie in front of her.\n\n> You talk to Mary Jane\n[Picture number 5 here.]\n\n\"Oh, hello, Bonnie. My, don't you look--disheveled today.\"\n\n1) \"I don't guess you care that your kingdom is being attacked by killer brain guzzlers, Your Majesty.\"\n\n> 1\n[\"I don't guess you care that your kingdom is being attacked by\nkiller brain guzzlers, Your Majesty.\"]\n\n\"Not really, Your Peasantiness.\" Mary Jane giggles. \"Sorry. I just have to stay in character, you know!\"\n\n1) \"Gosh, you sure do love pie.\"\n2) \"Have you seen Jenny? I thought she would be with you.\"\n3) \"Er... I must take my leave, Your Majesty.\"\n\n> 2\n[\"Have you seen Jenny? I thought she would be with you.\"]\n\n\"She was here earlier. She's...not feeling well.\" Mary Jane lowers her voice. \"She wants to be alone. Someone stole the plant she was raising right out of her shop earlier, can you believe it?\n\n1) \"Gosh, you sure do love pie.\"\n2) \"Er... I must take my leave, Your Majesty.\"\n\n> 1\n[\"Gosh, you sure do love pie.\"]\n\n\"I'm the judge, silly! It's one of my duties as the Pine Nut Queen. I get to sample every pie here and decide whose is yummiest!\"\n\n1) \"Have you noticed that, uh, unusual pie at the end of the table?\" 2) \"Why don't you stop now and declare Jenny's pie the winner? You two are best friends, right?\"\n3) \"Aren't you worried about what stuffing yourself with pie will do to your figure?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 3\n[\"Aren't you worried about what stuffing yourself with pie will do\nto your figure?\"]\n\n\"Not in the least!\" Mary Jane says brightly. \"I had a complete physical before my coronation to insure I was fit for my royal duties. Here, have a look!\" Mary Jane leads you over to her purse and spins the combination lock until it opens. Rifling inside, she pulls out a sheet of paper. \"See? It says here I have the metabolism of a hummingbird. I won't gain an ounce!\" She stuffs the paper back into her purse, drops the purse back on the table without bothering to close and lock it, and returns to her entourage.\n\n1) \"Have you noticed that, uh, unusual pie at the end of the table?\" 2) \"Why don't you stop now and declare Jenny's pie the winner? You two are best friends, right?\"\n3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 4\n[\"Er... I must take my leave, Your Majesty.\"]\n\n\"Have fun at the fair!\"\n\nThis tent is filled with the absolutely scrumptious scent of freshly baked pies. Several long tables are laden with dozens of entries competing for the blue-ribbon prize.\n\nMary Jane Minsky, the Pine Nut Queen, is here, surrounded by her Pine Nut Ladies-In-Waiting.\n\nYou can also see a gruesome glowing pie, a row of delicious pies and a pink purse (in which is a physical results chart) here.\n\nMary Jane puts a forkful of pie in her mouth.\n\n> You examine pies\nThey all look extremely delicious!\n\nMary Jane frowns and makes a face. She quickly sets the piece of pie down.\n\n> You examine the glowing pie\nSomeone left this pie at the end of the pie-tasting table. It's at least five times bigger than the other pies, it's glowing like a lighthouse, and you can see things moving around under the crust. The smell of decay hovers around it.\n\nMary Jane murmurs something to one of her Pine Nut Ladies-In-Waiting, who writes it down on a clipboard.\n\n> You talk to Mary Jane\n[Picture number 5 here.]\n\n\"Oh, hello again, Bonnie.\"\n\n1) \"Have you noticed that, uh, unusual pie at the end of the table?\" 2) \"Why don't you stop now and declare Jenny's pie the winner? You two are best friends, right?\"\n3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 1\n[\"Have you noticed that, uh, unusual pie at the end of the\ntable?\"]\n\n\"Oh, that. It was just sitting on the table when I got here. It looks a little, ummm...\" Mary Jane drops her voice. \"I'm putting that one off 'til last.\"\n\n1) \"I don't think you should taste that strange pie at all. It might be, er, poisoned?\"\n2) \"Why don't you stop now and declare Jenny's pie the winner? You two are best friends, right?\"\n3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 2\n[\"Why don't you stop now and declare Jenny's pie the winner? You\ntwo are best friends, right?\"]\n\n\"Why, Bonstance Noodleman, I'm surprised at you!\" Mary Jane says. \"That would be cheating! Plus I couldn't figure out which one was hers.\"\n\n1) \"I don't think you should taste that strange pie at all. It might be, er, poisoned?\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 1\n[\"I don't think you should taste that strange pie at all. It might\nbe, er, poisoned?\"]\n\n\"Oh, I know it's not the nicest-looking pie, but I only have to take one teeny little bite. It's my duty.\"\n\n1) \"Seriously, I think that weird pie might kill you.\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 1\n[\"Seriously, I think that weird pie might kill you.\"]\n\n\"Oh, don't be silly. It can't be THAT bad!\"\n\n1) \"Seriously, I think that weird pie might kill you.\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 2\n[\"Are you sure you don't want to just give Jenny the blue\nribbon?\"]\n\n\"No way! I told you, that wouldn't be fair!\"\n\n1) \"Seriously, I think that weird pie might kill you.\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 4\n[\"Er... I must take my leave, Your Majesty.\"]\n\n\"Have fun at the fair!\"\n\nThis tent is filled with the absolutely scrumptious scent of freshly baked pies. Several long tables are laden with dozens of entries competing for the blue-ribbon prize.\n\nMary Jane Minsky, the Pine Nut Queen, is here, surrounded by her Pine Nut Ladies-In-Waiting.\n\nYou can also see a gruesome glowing pie, a row of delicious pies and a pink purse (in which is a physical results chart) here.\n\nMary Jane and her retinue move down to the next pie.\n\n> You look at the purse\nIt matches her dress.\n\nIn the pink purse is a physical results chart.\n\nMary Jane cuts a slice from the pie in front of her.\n\n> You take the chart\nTaken.\n\nMary Jane puts a forkful of pie in her mouth.\n\n> You talk to Jane\n[Picture number 5 here.]\n\n\"Oh, hello again, Bonnie.\"\n\n1) \"Seriously, I think that weird pie might kill you.\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 3\n[\"I still don't believe all these calories won't do anything. Are\nyou SURE you read those physical results right?\"]\n\nMary Jane shrugs and walks over to her purse to check the results again. She digs around inside. \"Huh,\" she says. \"I can't seem to find it in there. But I remember what it said, and it said I'd be fine.\"\n\n1) \"Seriously, I think that weird pie might kill you.\"\n2) \"Are you sure you don't want to just give Jenny the blue ribbon?\" 3) \"I still don't believe all these calories won't do anything. Are you SURE you read those physical results right?\"\n4) \"Er... I must take my leave, Your Majesty.\"\n\n> 4\n[\"Er... I must take my leave, Your Majesty.\"]\n\n\"Have fun at the fair!\"\n\nThis tent is filled with the absolutely scrumptious scent of freshly baked pies. Several long tables are laden with dozens of entries competing for the blue-ribbon prize.\n\nMary Jane Minsky, the Pine Nut Queen, is here, surrounded by her Pine Nut Ladies-In-Waiting.\n\nYou can also see a gruesome glowing pie, a row of delicious pies and a pink purse (empty) here.\n\nMary Jane rolls her eyes in pleasure and finishes off the piece of pie in a few healthy bites.\n\n> You look at the chart\nThese are notes from a recent physical for \"Minsky, Mary Jane Minerva\". Among other things, the doctors remark that her metabolism seems excellent. \"Miss Minsky is near-perfectly fit. It is this doctor's opinion that the various culinary duties of the Pine Nut Queen--including the judging of the pie competition--should pose little damage to her royal figure.\"\n\nMary Jane murmurs something to one of her Pine Nut Ladies-In-Waiting, who writes it down on a clipboard.\n\n> You examine the pies\nThey all look extremely delicious!\n\nMary Jane and her retinue move down to the next pie.\n\n> Inventory\nYou are carrying:\na physical results chart\na cosmic ray gun\na blue box (open)\na whole bunch of blue pills\na green canister (open)\na whole bunch of green pills\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\nMary Jane cuts a slice from the pie in front of her.\n\n> You give the depth charge to Mary Jane\n\"No, thank you!\"\n\nMary Jane puts a forkful of pie in her mouth.\n\n> You put the pill in the pie\nWhich do you mean, the whole bunch of blue pills or the whole bunch of green pills?\n\n> You look at the blue pills\nYou see nothing special about the whole bunch of blue pills.\n\nMary Jane looks throughtful. Slowly, she takes another bite of pie and chews it carefully.\n\n> You put the blue pill in the pie\nWhich do you mean, the gruesome glowing pie or the row of delicious pies?\n\n> Delicious pies\nYou shake a blue pill into your hand.\n\nYou discreetly tuck the blue pill beneath the crust of the next pie down from Mary Jane. Soon enough, she's picking it up, cutting a slice, and stuffing it cheerfully into her face. Nothing much happens, though. If you're trying to fatten her up, the pie is probably already doing a good enough job on its own.\n\nMary Jane murmurs something to one of her Pine Nut Ladies-In-Waiting, who writes it down on a clipboard.\n\n> You put the green pill in the delicious pie\nYou shake a green pill into your hand.\n\nYou discreetly tuck the green pill beneath the crust of the next pie down from Mary Jane. Soon enough, she's picking it up, cutting a slice, and stuffing it cheerfully into her face. A moment later, you hear the muffled whumpf of a giant SLIM-U sponge blowing up\nin her stomach like a life raft trapped in a coffee can. Mary Jane grimaces and puts a hand to her abdomen. \"Oof...\" she moans, \"I think...maybe...that's enough pie for today.\"\n\nSurrounded by her ladies-in-waiting, Mary Jane rushes off, looking pale.\n\n> You take glowing pie\nYou heft the gruesome glowing pie. Not only have you saved Mary Jane from biting into a major yuckaroo, you've now got a piece of evidence about the creatures!"
    },
    {
        "text": "[Themes: Humor, humor, Americana, aliens, science fiction]\n\n> Look around\nThis tent is filled with the absolutely scrumptious scent of freshly baked pies. Several long tables are laden with dozens of entries competing for the blue-ribbon prize.\n\nYou can see a row of delicious pies and a pink purse (empty) here.\n\n> Go west\nThe way the tables are set up prevents you from leaving in any direction but southwest or south.\n\nYou can't go that way.\n\n> You go to the south\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\n> You talk to Deputy\n[Picture number 8 here.]\n\n\"Well, hi there\", the young deputy says. \"Hope we can put all that business this morning behind us. As long as you're here for good clean fun, you're welcome at Pine Nut Days. Miss...Noodleman, wasn't it?\n\n1) \"Deputy Wilcox! The town is in terrible danger from...from...bears? Big, nasty, plausible bears!\"\n\n> 1\n[\"Deputy Wilcox! The town is in terrible danger\nfrom...from...bears? Big, nasty, plausible bears!\"]\n\n\"First it's monsters, now it's bears?\" The deputy shakes his head. \"Look, I can't get my uncle on the radio, and now mysterious gigantic, jiggling folks in trenchcoats have been spotted in the area! They could be spies for Khrushchev, or for rival towns with competing pine nut-based festivals. So you've just gotta excuse me, but I've got bigger fish to fry.\"\n\n1) \"Please! Your uncle wouldn't listen to me, but I know you're the better man. I know you won't ignore your duty!\"\n\n> 1\n[\"Please! Your uncle wouldn't listen to me, but I know you're the better man. I know you won't ignore your duty!\"]\n\n\"Well, it's true Unk could be a little lazy on days ending with 'y'. I tell you what--I'll investigate this, and I'll do it nice and thorough.\"\n\n1) \"Oh, thank goodness! All your uncle did was sit around and wait for me to bring him a piece of evidence.\"\n\n> 1\n[\"Oh, thank goodness! All your uncle did was sit around and wait\nfor me to bring him a piece of evidence.\"]\n\nThe deputy shakes his head. \"I love the man, but he doesn't exactly like to sweat. I'd never sit around and wait for just one piece of evidence. I'm gonna need to look at at least three good ones before taking action. You find me three things that demonstrate that something weird and out of the ordinary is going on, I'll have no choice but to believe you.\"\n\n1) \"Look at this pie. It's unnatural!\"\n2) \"That's all I've got right now.\"\n\n> 1\n[\"Look at this pie. It's unnatural!\"]\n\n\"Hmm. That certainly is an unpleasant looking pie.\" Deputy Wilcox looks more closely at the pulsating pastry. \"I don't think any woman in this town could or would bake such a monstrosity!\"\n\n1) \"That's all I've got right now.\"\n\n> 1\n[\"That's all I've got right now.\"]\n\nHe tips his hat. \"Later, Miss.\"\n\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\nA sudden eruption of ear-splitting demands for candy is followed, moments later, by an exhausted-looking woman towing a red-faced, shrieking little boy. The noise persists for some time as she drags him off in the direction of the exit.\n\n> You look at Deputy\nBuck Wilcox's nephew, a slim, brown-haired kid no more than twenty. He really cares about upholding the law, and more than that, making sure Canyonville is a nice place to live. His hobbies include planting trees and then getting cats out of them.\n\nAn unattended dog thumps into your shin as it runs past, panting in the warm weather. It disappears into a forest of legs."
    },
    {
        "text": "[Themes: Humor, Americana, female protagonist, aliens, science fiction]\n\n> You describe your surroundings\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\n> You examine Fobb\nA large bronze statue of the town's founder. He's got some swell muttonchops!\n\n> You go east\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\n> You examine carny\nGosh, he sure looks like an awful shady customer!\n\n> You talk to the carny\n[Picture number 7 here.]\n\nThe carny looks you over. \"Well, who's this raven-haired beauty? Looks a little like me at that age. Better hope that don't work the other way around, huh? Look, I'm kiddin', kid, relax, that's a joke. But seriously, you gonna give my games a shot or ain't ya?\n\n1) \"Who are you?\"\n\n> 1\n[\"Who are you?\"]\n\n\"I'm Barney. Barney the Carny. Who are you, Quizzy the Question Girl? C'mon, I got prizes here. Broads dig prizes.\"\n\n1) \"What's your game, Barney?\"\n\n> 1\n[\"What's your game, Barney?\"]\n\n\"I gotta shooting gallery, mostly. You shoot BBs at ducks usin' that gun. If you win, you pick up this beauty!\" He holds up a trophy. It's made of some kind of strange metal that radiates a sickly yellow-green glow.\n\n1) \"That glow! That metal--that can help me prove what's going on! Please! I really, really need that!\"\n\n> 1\n[\"That glow! That metal--that can help me prove what's going on! Please! I really, really need that!\"]\n\n\"Well\", the carny laughs, \"then you'd better hope you're good at shootin' ducks.\"\n\n1) \"How does your shooting gallery work?\"\n2) \"I'm done talking!\"\n\n> 2\n[\"I'm done talking!\"]\n\n\"Yeah, yeah. See ya in the funny pages, toots.\"\n\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\n> You take the bb gun\nAs you pick up the gun, a cheery tune begins playing, and the booth is awash in light. With a grinding kachunk the ducks begin moving.\n\n1) Get ready...\n\n> 1\n[Get ready...]\n\nA tin duck zips across the gallery!\n\n1) Shoot it with the BB gun.\n2) Shoot it with the cosmic ray gun.\n\n> 1\n[Shoot it with the BB gun.]\n\nYou fire the gun at the ducks. Pow! Plink! Pop! You miss them all as the shots veer widely off course from anywhere you aimed. Why, you're lucky you didn't put somebody's eye out! The carny laughs at you. \"Hey, better luck next time, kid\".\n\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\n> 2\n[Shoot it with the cosmic ray gun.]\n\nThe ray shoots straight and true, melting the ducks into little piles of molten slag. The carny grumbles a bit, but a deal's a deal. He presses the trophy into your hot little hands.\n\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\n> You examine trophy\nIt's warm and softly glowing in an unearthly sort of way. Other than that, it looks like an ordinary trophy which appears to actually be for bowling.\n\n> Go west\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\n> You talk to Deputy\n[Picture number 8 here.]\n\n\"Back again, huh? How're you're enjoyin' the fair, Miss Noodleman?\"\n\n1) \"Look at this trophy. This is no normal metal!\"\n2) \"That's all I've got right now.\"\n\n> 1\n[\"Look at this trophy. This is no normal metal!\"]\n\n\"Why, you're right! It's like nothing I've ever seen before--almost as if it came from--from another world!\"\n\n1) \"That's all I've got right now.\"\n\n> 1\n[\"That's all I've got right now.\"]\n\nHe tips his hat. \"Later, Miss.\"\n\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\n> You go east\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\n> Go south\nYou're standing on the porch of a creepy haunted house. From inside, you can hear tinny recordings of booming laughter and creaking hinges. A small car rests on a track. A noisy midway lies to the north, and a glittering, futuristic pavilion to the west.\n\nAn elegantly lettered sign has been nailed to the front door.\n\nYou can also see a glass case (closed) (in which is a tombstone) and a small car here.\n\n> You look at the sign\nThis crisply painted black and white sign bears the following text:\n\n\"NOTICE:\n\nDue to the high levels of bone-chilling fear generated by this terrifying ride, management is pleased to offer this complimentary tombstone to any fairgoer who dies of fright while within the haunted house.\"\n\n> You examine the tombstone\nIt's made out of some kind of yellow-green crystalline substance that's glowing faintly. You've never seen a gem that looks quite like it. The rough, primal surface has been marred with a crude carving reading \"Your Name Here? MWA HA HA\"\n\n> You shoot the glass\nThe ray passes right through it. Darn glass!\n\n> You get in the car\nYou hop into the car, which rolls forward into the haunted house. A metal cuff snaps shut around your wrist. What an experience! The laziness and lack of attention to detail on the part of the staff is truly TERRIFYING! The implications of this shoddy workmanship, when you consider the importance of the American work ethic to beating the Russians, are enough to fill you with BONE-CHILLING FRIGHT! However, you don't actually die. As the car creaks its way past the last cardboard tombstone and into the light, the cuff on your wrist squeezes and a hidden heart monitor beeps. \"Ah, a heartbeat! You've managed to survive!\" a recorded voice chortles tinnily, \"...THIS TIME!\"\n\nThe car reaches the end of the track and stops with a jolt before letting you back out onto the porch.\n\n> Inventory\nYou are carrying:\na glowing trophy\na gruesome glowing pie\na physical results chart\na cosmic ray gun\na blue box (open)\na whole bunch of blue pills\na green canister (open)\na whole bunch of green pills\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> Go west\nA spacious plaza glittering with the promise of tomorrow. The center of the town square is to the north, and a spooky-looking haunted house lies to the east. The Car of Tomorrow gleams enticingly from on top of a raised dais. There is also a small kiosk distributing the Ice Cream of Tomorrow.\n\nThe Wife of Tomorrow is standing here, looking pretty and waiting for someone to talk to her.\n\n> You examine Wife\nHer face is molded into a friendly simper, and below that she's made of shiny, snow-white plastic with a one-inch waist. This must be what wives are going to look like tomorrow.\n\n> You talk to Wife\n[Picture number 9 here.]\n\n\"Hello I am W.I.F.E. (Wireless Intelligent Female, Electronic), another fine product of Minsystems Labs and your guide to the Wonders of Tomorrow! You can ask me about any part of the pavilion to learn more. As this prototype lacks a number of our exciting upcoming features such as social analysis and reaction diodes, for purposes of this demonstration I will be assuming that you are an affluent middle-aged man named Dave Johnson who is interested in purchasing me to impress the clients of his medium-sized ad agency. What would you like to know, Dave?\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Can I take you for a test, er, walk?\"\n5) \"Let's stop talking for now.\"\n\n> 1\n[\"Can you tell me about the Car of Tomorrow?\"]\n\n\"Sure, Dave! The Car of Tomorrow is a sleek, state-of-the-art driving machine. It contains over two tons of steel and can reach speeds of one-hundred-forty miles per hour when dragged at high speed along a magnetic track by specially designed robots. The Car of Tomorrow is capable of running on unrefined oil and blocks of shale, has high-quality Texture-Tronic plastic seating for up to ten people, boasts Drive-Rite Suspension and foot-powered Auto-Stop braking technology, and is a delightful shade of cherry red. The Car of Tomorrow will be available to consumers by mid-1961, by which time it may also fly. Until then, enjoy this inert plywood prototype...and remember, tomorrow is calling!\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Can I take you for a test, er, walk?\"\n5) \"Let's stop talking for now.\"\n\n> 2\n[\"Can you tell me about the Ice Cream of Tomorrow?\"]\n\n\"Sure, Dave! The Ice Cream of Tomorrow is a polymolecular bovine-emission based organic substance displaying hyperminimal atomic vibration. It's also absolutely scrumptious!\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Can I take you for a test, er, walk?\"\n5) \"Let's stop talking for now.\"\n\n> 3\n[\"Can you tell me a little more about yourself?\"]\n\n\"Sure, Dave! I am a state-of-the-art, fully operational artificial wife, capable of completing all necessary functions at the fraction of the power use of a standard wife. I can cook a wide variety of dishes, clean and fold laundry, and laugh when I detect jokes made within my amusement radius. Best of all, my chest cavity--wastefully stocked with nothing more than a heart and lungs in those other wives--contains an ice machine, tumbler dispenser, and a bottle of the finest aged Scotch!\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Gee, can I have some of that fancy Scotch?\"\n5) \"Can I take you for a test, er, walk?\"\n6) \"Let's stop talking for now.\"\n\n> 5\n[\"Can I take you for a test, er, walk?\"]\n\n\"Right away, Dave!\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Gee, can I have some of that fancy Scotch?\"\n5) \"Wait here for a moment.\"\n6) \"Let's stop talking for now.\"\n\n> 6\n[\"Let's stop talking for now.\"]\n\n\"You know best, dear!\"\n\nA spacious plaza glittering with the promise of tomorrow. The center of the town square is to the north, and a spooky-looking haunted house lies to the east. The Car of Tomorrow gleams enticingly from on top of a raised dais. There is also a small kiosk distributing the Ice Cream of Tomorrow.\n\nThe Wife of Tomorrow is standing here, looking pretty and waiting for someone to talk to her.\n\n> Go east\nYou're standing on the porch of a creepy haunted house. From inside, you can hear tinny recordings of booming laughter and creaking hinges. A small car rests on a track. A noisy midway lies to the north, and a glittering, futuristic pavilion to the west.\n\nAn elegantly lettered sign has been nailed to the front door.\n\nYou can also see a glass case (closed) (in which is a tombstone) and a small car here.\n\nThe Wife of Tomorrow rolls dutifully up behind you.\n\n> You put Wife in Car\n(first taking The Wife of Tomorrow)\nThe Wife of Tomorrow is too heavy for your fragile little arms to lift.\n\n> You get in Car\nNice girls start up a conversation with people if they want to talk about something, instead of just spitting out orders like some kind of drill sergeant! If you can't find a way to bring it up in conversation, well, then it's probably not something you need to talk about anyway.\n\n> You talk to Wife\n[Picture number 9 here.]\n\n\"Hello again, Dave. How was your day?\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Gee, can I have some of that fancy Scotch?\"\n5) \"Wait here for a moment.\"\n6) \"Let's stop talking for now.\"\n\n> 4\n[\"Gee, can I have some of that fancy Scotch?\"]\n\n\"I'm afraid I can't do that, Dave.\" The Wife of Tomorrow winks saucily. \"Why buy the cow if she gives away the Scotch for free?\"\n\n1) \"Can you tell me about the Car of Tomorrow?\"\n2) \"Can you tell me about the Ice Cream of Tomorrow?\"\n3) \"Can you tell me a little more about yourself?\"\n4) \"Wait here for a moment.\"\n5) \"Let's stop talking for now.\"\n\n> 5\n[\"Let's stop talking for now.\"]\n\n\"You know best, dear!\"\n\nYou're standing on the porch of a creepy haunted house. From inside, you can hear tinny recordings of booming laughter and creaking hinges. A small car rests on a track. A noisy midway lies to the north, and a glittering, futuristic pavilion to the west.\n\nThe Wife of Tomorrow is standing here, looking pretty and waiting for someone to talk to her.\n\nAn elegantly lettered sign has been nailed to the front door.\n\nYou can also see a glass case (closed) (in which is a tombstone) and a small car here.\n\n> You get in Car\nYou hop into the car. \"Well, if you say so, dear,\" says the Wife of Tomorrow, following you in. Metal cuffs snap shut around both your wrists as the car rolls forward into the haunted house. The Wife of Tomorrow emits eeks at regular intervals every time a rubber bat or bored teenager in a mummy costume appears.\n\nAt the end of the ride, the cuffs squeeze tight around both your wrist and that of the Wife of Tomorrow, and a hidden heart monitor beeps. \"What's this?\" a recorded voice says with an oily air of triumph. \"It appears that the terror was too much for someone's poor old heart. Why, there's not a hint of a beat left! A promise is a\npromise....\"\n\nThe glass case slides open.\n\n> You go north\nRows of games line the midway here, creating a noisy, colorful passage between the town square center to the west and a gloomy-looking haunted house ride to the south. The most prominent booth is a shooting gallery containing several rows of ducks and a BB gun.\n\nA carny slouches against the booth.\n\nThe Wife of Tomorrow rolls dutifully up behind you.\n\n> You go west\nAll paths lead here, to the paved center of the town square. A large bronze statue of Canyonville's founder, Charles Fobb, towers over you. The festival surrounds you on all sides--east to the midway, west to the exit, south to the Tomorrow Pavilion, and north to the annual Judging of the Pies.\n\nYou can see Deputy Wilcox here.\n\nThe Wife of Tomorrow rolls dutifully up behind you.\n\n> You show the tombstone to Deputy\n[Picture number 8 here.]\n\n\"Back again, huh? How're you're enjoyin' the fair, Miss Noodleman?\"\n\n1) \"Look at this glowing tombstone. It's freakish! Freakish, I tell you!\"\n2) \"That's all I've got right now.\"\n\n> 1\n[\"Look at this glowing tombstone. It's freakish! Freakish, I tell you!\"]\n\n\"Freakish--that's the word for it, all right. It's certainly not good old Canyonville rock. Why, I don't think it's even American!\"\n\n1) Confront the deputy about all three pieces of evidence. You're done poking around this festival--it's time to get justice for Jimmy and his poor brain, no matter what the consequences!\n2) \"That's all I've got right now.\"\n\n> 1\n[Confront the deputy about all three pieces of evidence. You're\ndone poking around this festival--it's time to get justice for Jimmy and his poor brain, no matter what the consequences!]\n\n\"I...I just can't deny it anymore,\" the deputy says, taking the objects to examine. \"There's something mighty strange going on. I don't know if it's brain guzzlers or regular guzzlers, and I certainly ain't convinced they hail from space, but I aim to find out.\"\n\nThe Deputy pulls his gun and checks the bullets. \"Just so happens, I've got an idea. As long as everyone stays calm, we should have the situation cleared up in a few minutes. Now, first thing we're gonna do--\"\n\nA piercing scream rings out across the fairgrounds! A moment later, Mary Jane appears, her dress torn and her tattered sash streaming out behind her. \"Aliens!\" she screams. \"Aliens are attacking the festival!\" You look in the direction she came from. It's true! Huge, jiggling shapes are oozing their way through the crowd. They look a little like gelatin molds being held up close to a camera and shaken vigorously, except for the tentacles, long and thick like pythons and dripping with glowing goop. More screams. Festival-goers are starting to panic. The calm before the storm is over--the Brain Guzzlers are making their move!\n\n1) \"Deputy Wilcox! You're the law here. Do something!\"\n2) \"Mary Jane! Your people need you now more than ever. It's time to show you're a real Pine Nut Queen!\"\n\n> 2\n[\"Mary Jane! Your people need you now more than ever. It's time\nto show you're a real Pine Nut Queen!\"]\n\nMary Jane looks at you with wild eyes. \"Are you bonkers?\" she screeches. \"I abdicate!\"\n\nThe lead Brain Guzzler--at least, it's the one in front--stretches one tentacle over to the Tomorrow Pavilion, picks up the Car of Tomorrow, and pitches it at you like a javelin. Deputy Wilcox drops backwards into the dirt, knocking you and Mary Jane down next to him. You watch the Undercarriage of Tomorrow sail overhead and hear the car smash into the midway with a sound of splintering wood and the clang of steel on tin.\n\n\"Huh,\" the deputy says. \"Bit ornery. Just ta be safe, I think you ladies oughtta make for the designated shelter area in Harding Tunnel. I'll come and get ya once these fellas an' I--\" He ducks as an I-beam nearly decapitates him. \"--have had a bit of a palaver.\"\n\n1) Run away!\n\n> 1\n[Run away!]\n\nYou pelt down Main Street at top speed as Mary Jane struggles to keep up barefoot, having lost her high heels back at the fair. The screams of the festivalgoers echo down the empty street like water gurgling down a pipe. Wait and observe--set a few traps--then wait for everyone to gather in one place...those aliens have got to be smarter than the mindless blobs they look like. No wonder they're so fond of brains.\n\nAs you reach the Saguaro Road intersection, you stop short. Mary Jane lets out another ear-splitting shriek. It looks like the monsters weren't counting on everyone being at the fair after all. One of them is oozing in from the north, two more from the west, and the biggest one yet is slobbering in from the south like a tidal wave of yellow-green goop. You're surrounded! You back away as the guzzlers close in.\n\n\"Gotcha!\" hisses a voice, and something warm and slimy closes around your wrist.\n\n1) Swing around and punch that monster square in the snoot!\n2) Scream for help and try to pull away.\n\n> 1\n[Swing around and punch that monster square in the snoot!]\n\nYou whirl around, swinging your free hand in a wide arc, and end up punching Renee on the side of her head. \"Ow!\" she grunts, more startled than hurt--nobody ever accused you of being overly strong--and staggers back, just in time for you to lose your balance and topple forward into the diner, dragging Renee down with you. You both end up splayed on the linoleum. She shoves you off and struggles to her feet long enough to drag Mary Jane through the door, slam it shut, and throw the deadbolt.\n\n\"You see them too, right?\" she says, turning to you. \"I'm not crazy? They're really here?\"\n\n1) \"Yes, and golly, are they ever dangerous, and they're no dummies, either! We're in such a deep pickle right now!\"\n\n> 1\n[\"Yes, and golly, are they ever dangerous, and they're no dummies, either! We're in such a deep pickle right now!\"]\n\nRenee sighs. \"Be careful what you wish for, I guess. Listen--I don't think they know I'm in here. We can hole up for a while if we have to. Might get pretty sick of burgers, but as long as we don't alert them--\"\n\nMary Jane lets out an ear-splitting shriek that nearly snaps your last nerve. You can't see anything in the diner, but Mary Jane just keeps screaming and bawling.\n\n1) \"Shhh!\"\n2) Grab her and put your hand over her mouth.\n3) Give her a good hard slap!\n\n> 3\n[Give her a good hard slap!]\n\nCrakk!\n\nMary Jane blinks. \"You--you hit me!\" she says, looking more\nsurprised than hurt.\n\n\"We'll all get a lot worse than a baby slap from flipping Bonnie Noodleman if you don't cut that out!\" Renee hisses. \"What on Earth is wrong with you?\"\n\nMary Jane holds out her arm, which is smeared with red. \"I'm bleeding. I think--I think I'm dying!\"\n\nRenee rolls her eyes. \"That's beef juice, you dip. I was in\nthe middle of making patties when I grabbed you. Now quiet down and hope to God that they didn't just hear--\"\n\nA tentacle smashes through the front window, covering the diner in broken glass and goo. Mary Jane lets out another piercing scream. Even Renee makes a strangled squeak.\n\n1) \"Run for it!\"\n2) \"We have to fight!\"\n\n> 2\n[\"We have to fight!\"]\n\nRenee nods at you. \"Right,\" she says, \"help me pull up these stools. We'll go back to back.\"\n\n\"Wh-what about me?\" Mary Jane sniffles.\n\n\"Just try not to knock either of us down when you faint.\"\n\nWaves of ooze begin slopping over the broken windowsill and slithering purposefully across the floor towards you. Renee kicks at one, but it's like stepping in a mud puddle--she almost loses a sneaker.\n\n\"We can't fight this stuff!\" she moans. \"We've gotta retreat. Out the back on three?\"\n\n1) (nod) \"One...\"\n\n> 1\n[(nod) \"One...\"]\n\nThe fryer suddenly explodes in a shower of grease and goo as a half-fried tentacle forces its way through the wall, reaching for you with ropy strands of sizzling, popping slime. \"Twothreegogogo!\" Renee shouts as the three of you scurry to the backdoor. The diner roof collapses behind you under several tons of hungry brain guzzler, sending up a cloud of plaster dust.\n\nYou crash through the back door and sprint desperately for the sidewalk. The monsters are everywhere now, tentacles questing in every direction, but you somehow avoid them, ducking, dodging, even hurdling one of the smaller ones. You head north. There don't seem to be as many along Saguaro. You can hear the girls breathing heavily on either side of you. You all made it! Now if you can just reach the tunnel--\n\nLike a green landslide, a brain guzzler the size of a house slides down the slope of Make-Out Mountain, its surface a forest of tentacles.\n\n1) \"Oh my gosh!\"\n2) \"Holy cow!\"\n3) \"Jeepers jipes!\"\n4) You're so shocked, you actually say the f-word.\n\n> 4\n[You're so shocked, you actually say the f-word.]\n\n\"FIDDLESTICKS!\"\n\nYou're petrified. It's huge. It's horrible. It's got to be the mother of all brain guzzlers. It's probably the one that ate Jimmy! Your feet feel like they're glued to the spot as a deep, primal fear bubbles up in your gut. Before you lies a sea of undulating goo, and the tide is coming in.\n\nMary Jane passes you. She's screaming her head off, yes, but she's also actually moving instead of standing like a statue. It's\nlike having an ambulance drive past your ear, and somehow it breaks the spell. You run.\n\nThe three of you stagger through the entrance of the tunnel, a tidal wave of slime following you. A tentacle the size of a redwood slams into the cliffside. You can hear rock shattering and falling. Another tentacle. Another crash. The tunnel is collapsing!\n\nYou run forward into the darkness until you can no longer hear the sound of tumbling rocks. \"Everyone--okay?\" Renee gasps. Mary Jane whimpers. You check yourself over. You might have dropped a few of the things you were carrying back there somewhere, but you're not bleeding and nothing seems to be broken.\n\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. Tons of rocks block the road to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. You can see a heavy steel grate set into the wall here.\n\nRenee Finch is lying flat on her back, recovering.\n\nMary Jane Minsky is sitting with her knees against her forehead, looking miserable.\n\n> Inventory\nYou are carrying:\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)"
    },
    {
        "text": "[Themes: Humor, aliens, humor, teenagers, science fiction]\n\n> You look around\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. Tons of rocks block the road to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. You can see a heavy steel grate set into the wall here.\n\nRenee Finch is lying flat on her back, recovering.\n\nMary Jane Minsky is sitting with her knees against her forehead, looking miserable.\n\n> You talk to Mary Jane\nMary Jane looks up at you, her eyes ringed with red. \"I can't believe I just ran off and left Jenny back at the fair. What if those\nthings got her?\" She puts her face in her hands and weeps.\n\n> You go to the northeast\nA police car has skidded and crashed into the side of the tunnel here, its lights filling the surrounding blackness with harsh flashes of red and blue. You can see the dimly-lit tunnel continuing to the southwest. Northeast and further in is nothing but pitch darkness.\n\n> Go northeast\nJeepers, there could be anything down there! Wandering off into the darkness is just how they got Jimmy.\n\n> You examine Car\nIt looks like the driver lost control of the vehicle. The front end is completely smashed, but you can probably still get the car open if you want to. About all you can make out inside is a vaguely human shape slumped over the wheel.\n\n> You open Car\nYou grab the handle and pull as hard as you can. At first it seems to be jammed, but with a little effort and a few terribly unladylike grunts that you're glad nobody heard, you manage to swing it open. Flopped across the steering wheel like a boneless goose is the body of Buck Wilcox. That is...most of it. His brain is gone. It's\nbeen taken! No...guzzled!!\n\n> You examine Wilcox\nEven Officer Wilcox didn't deserve to die like this! The one consolation is that his brain appears to have been pulled out through his ear before the car hit the wall, so at least he didn't\nsuffer. He's been splattered by that greenish-yellow goo the Brain Guzzlers leave everywhere, and you spot a few flecks of something solid in it. On closer inspection, they appear to be fragments of eggshell.\n\n> You go to the south-west\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. Tons of rocks block the road to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. You can see a heavy steel grate set into the wall here.\n\nRenee Finch is back on her feet, sweaty but more-or-less recovered. She's examining the grate.\n\nMary Jane Minsky is sitting with her knees against her forehead, looking miserable.\n\n> You go southwest\nAll those darn rocks are going to keep you from going out that way!\n\n> You look at the grate\nThe grate is covering the entrance to some kind of tunnel. Tiny engraved letters read  \"Minsystems Labs Exhaust Vent C. No sneaking in through.\"\n\n> You take grate\nYou grunt and strain, but it's really in there! It would probably take at least three people working together to pull it out.\n\n> You talk to Renee\n\"Hey, Bonnie. I think we can get this grate off if we all pull together. Give me a hand, huh?\"\n\n1) \"Let me look around a little more first.\"\n2) \"Sure! Let's do it!\"\n\n> 2\n[\"Sure! Let's do it!\"]\n\n\"Great! Okay, on three. One. Two. THREE!\" You and Renee pull on the grate as hard as you can, but it doesn't come loose. \"We could use a little help here, your highness,\" Renee hisses through\nclenched teeth. Mary Jane stands up, a little sullenly, and grips the bars. Between the three of you, the grate shifts a little, then pulls free in a shower of loose pebbles and concrete dust, sending you sprawling across the asphalt.\n\n\"Great,\" Renee says, standing up. \"Okay, Miss Sharp Elbows, since I had the honor of cushioning your fall, you can have the honor of going up first.\"\n\n1) Up you go!\n\n> 1\n[Up you go!]\n\nYou scramble up the narrow vent. It's dark, hot, and a tight squeeze, but you can smell tobacco smoke from somewhere above you, and hear a scratchy Perry Como record playing, so at least they've got the basics of civilization up there. The others follow you in. After more climbing than you want to think about, you come to another grate in the side of the vent.\n\n1) Take a little peek through the grate.\n2) Push the grate open.\n\n> 1\n[Take a little peek through the grate.]\n\nThrough the slats of the grate, you can see a pleasant modernist living room. The music is coming from a Hi-Fi set next to a comfortable-looking leather easy chair.\n\nRenee taps your foot. \"Um, Bonnie? Why are we stopping?\"\n\n1) \"I think we're about to break into someone's house.\"\n2) Push the grate open.\n\n> 1\n[\"I think we're about to break into someone's house.\"]\n\n\"Yeah, well, unless you want to go back to just sitting on our butts being buried alive until we're starving, and then arm-wrestle me to find out which of us gets to eat Mary Jane, I think we're gonna have to live with it.\"\n\n1) Push the grate open.\n\n> 1\n[Push the grate open.]\n\nYou push the grate out into the room and slide out into a comfortable-looking living room lined with bookshelves and lit by a collection of Tiffany lamps. Renee emerges next, and whistles. \"Nice place. Especially for the inside of a mountain.\"\n\nMary Jane slides out of the hole. \"Thank you,\" she says politely, her voice cracking. \"I p-picked the lamps myself. Now if you'll excuse me...I-think...I need some time alone. I'll just hop off t-to my room!\"\n\n1) \"Wait, Mary Jane, is this your house?\"\n\n> 1\n[\"Wait, Mary Jane, is this your house?\"]\n\nShe nods. \"H-help yourself to anything in the ki--ki--kitchen!\"\n\nWith a wail, Mary Jane rushes off to the northwest, her eyes wet and her face white as a sheet. You see a brief glimpse of a room festooned with ruffles and pink before the door slams behind her.\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east, but the southwest and east exits are currently blocked by heavy-duty security shutters. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You look at the book\n(the Canyonville High yearbook)\n(You turn to the Table of Contents)\n\n1) Foreword: Advice for Today's Teen-Ager\n2) Our Students: Pioneers at the Dawn of Tomorrow\n3) Our Community: A Heritage of Superbness\n4) (Close the yearbook)\n\n> 4\n[(Close the yearbook)]\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east, but the southwest and east exits are currently blocked by heavy-duty security shutters. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You look athe leather-bound book\nA thick book with raised embossing and gold corners around a rather lewd-looking tableau of a well-endowed peasant girl. Goodness!\n\n> You realeather-bound book\nRenee probaby wouldn't want you reading over her shoulder. It's not that important, anyway!\n\n> Go upward\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> Examine mug\nA huge coffee mug brimming with steaming, fresh-roasted coffee. It's gigantic! You could probably keep fish in here without them feeling cramped in the least, although they might have other problems. \"The Doctor Said I Had To Cut Down To One Cup A Day\" is printed on the side, so maybe it started off as a gag gift.\n\n> You talk to the Professor\n[Picture number 10 here.]\n\n\"My word!\" the professor says, looking up. \"A survivor! So the townsfolk haven't been entirely wiped out after all. Mary Jane will be thrilled one of you made it. She's always been more at ease with the hoi polloi.\"\n\n1) \"I'm not the only survivor.\"\n2) \"Are you Mary Jane's father?\"\n\n> 1\n[\"I'm not the only survivor.\"]\n\n\"Gee, Professor, I'm not the only one who made it past the Brain Guzzlers. There's me, Bonnie Noodleman--and my friend Renee--and Mary Jane is back, too, safe and sound!\"\n\nThe professor blinks. \"Back? What do you mean?\"\n\n\"Well, wasn't she at the festival? As the Pine Nut Queen?\"\n\n\"Nonsense!\" he scoffs. \"I've devoted my life to the pursuit of science, as has my daughter. I've strictly forbidden her to waste her intellect on all this populist fiddle-faddle. Go ahead; check her room if you don't believe me.\"\n\n1) \"Sure, she's in her room now...\"\n\n> 1\n[\"Sure, she's in her room now...\"]\n\n\"You see? Right where she should be.\" The professor peers at you. \"Now, if you'll excuse me, I'm a very busy man. This Brain-Utilizing Brain-Unguzzler isn't going to finish inventing itself!\"\n\n1) \"What's that you're building?\"\n2) \"I have a question about the Brain Guzzlers.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"I have a question about the Brain Guzzlers.\"]\n\n\"Unfortunately, Miss Noodleman, I have more questions than answers myself. But I will endeavor to enlighten you in any way I can.\"\n\n1) \"Where did these awful things come from?\"\n2) \"Why do they guzzle brains, anyway?\"\n3) \"Once we defeat them--what happens next?\"\n\n> 1\n[\"Where did these awful things come from?\"]\n\n\"Fascinating question! Our best guess, based on the approach vector of several unidentified flying objects detected over the past 24 hours, is that they originate somewhere in the vicinity of Pluto. Though of course it's theoretically possible that they came from elsewhere and simply passed Pluto on the way. As I said, there's much we don't know.\"\n\n1) \"What's that you're building?\"\n2) \"I have a question about the Brain Guzzlers.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"Why do they guzzle brains, anyway?\"]\n\n\"A scientific mystery! Perhaps it's some crude form of communication. Perhaps they seek to guzzle some vital chemical, found within our brains, and only incidentally guzzle the entire organ. Perhaps this is all some sort of intelligence test--they may, in truth, be as far above us as we are above common laboratory rats or the indolent Swede.\"\n\n1) \"What's that you're building?\"\n2) \"I have a question about the Brain Guzzlers.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"Once we defeat them--what happens next?\"]\n\n\"Difficult to say. Much of the planet is likely already unrecoverable. This impenetrable lab may act as an ark of technology and biological material, keeping us and our precious brains safely unguzzled until we may exit to rebuild the world in our own image. Or perhaps the military will succeed in driving the creatures off, and we'll simply have a great deal of mopping to do.\"\n\n1) \"What's that you're building?\"\n2) \"I have a question about the Brain Guzzlers.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 1\n[\"What's that you're building?\"]\n\n\"The Brain-Utilizing Brain-Unguzzler, or 'BUBU', also known as our planet's last, best hope for survival in the face of this Brain Guzzler onslaught.\"\n\n1) \"And just how does this 'BUBU' thingamajig work?\"\n2) \"I have a question about the Brain Guzzlers.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 1\n[\"And just how does this 'BUBU' thingamajig work?\"]\n\n\"Perspicacious question, Miss Noodleman. The BUBU, or 'Brain-Utilizing Brain-Unguzzler', is an atomically powered device which uses radiation waves to reverse the magnetic flux of any material which originates from outer space, essentially using the Brain Guzzlers' own biological energy against them. Of course, every child has done the simple experiment in which water is slowly heated until a frog is boiled alive without even thinking to hop out of the pan. Now imagine the frog and the pan were on opposite ends of a table, and yet by making folds in the fabric, we could bring them together without the frog needing to pass over the entire tablecloth. That's essentially the principle the BUBU uses, minus the frog, of course.\" He sighs. \"Or rather, it's the principle that it would use if I had all the\nparts I needed.\"\n\nHe wheels out a blackboard. \"The components listed here are...the bulk of what's required. Feel free to take a look at it when we're done talking.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> You read the blackboard\nThe blackboard is covered with chalk diagrams and chicken-scratch writing. One whole section of it is taken up with a checklist of components, reading as follows:\n\nMicro-Mini Computer\nBrain Guzzler DNA Sample\nPurified Fructonium\n20,000-Ton Impenetrable Steel Chassis\nSpork\n\nYou carefully jot down the components on a sheet of loose-leaf paper. Now you can keep track of what you've got and what you need to find. It sure does feel swell to be neat and organized!\n\n\"Excellent!\" the Professor notes. \"I suppose I'll have to risk opening the internal security shutters so you can search the house. Fortunately this facility remains completely impregnable from the outside, so it shouldn't be an issue.\"\n\nHe fiddles with something or other, and you hear the sound of heavy shutters clattering open on the floor below."
    },
    {
        "text": "[Themes: Humor, Americana, aliens, teenagers]\n\n> Go downwards\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You go to the southwest\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nYou can see a fork and a spoon here.\n\n> You examine the spoon\nIt's a completely average spoon.\n\n> You look at the telepad\nA flat, smooth sheet of tempered glass built into the counter. A large yellow button next to it is labeled \"TELEPORT\".\n\n> You take all\nfork: Taken.\nspoon: Taken.\n\n> You put the fork on the telepad\nYou put the fork on the telepad.\n\n> You put the spoon on the telepad\nYou put the spoon on the telepad."
    },
    {
        "text": "[Themes: Humor, aliens, female protagonist, teenage protagonist]\n\n> You look at your surroundings\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\n> You look at the town\nThis room must be the part of the building that hangs out over the cliff, because all you can see is a magnificent aerial overlook of Canyonville. The sun is setting over the mountains to the west, giving the houses long shadows. You can see a column of army tanks rolling down Saguaro Road, flanked by rows of jeeps.\n\n> You go to the northwest\nYou jiggle the handle. It's locked! You can hear Mary Jane playing marching band music at high volume on the other side.\n\n> Go east\nA long arched hallway of frosted glass running east and west. The light of sunset tinges the serene blue of the carpet with orange and gold. The room is lined with displays, each featuring another brilliant MinSystems invention--two especially impressive ones are the weapons display and the transportation display. Heavy glass doors lead into the main MinSystems offices to the east, while a cozy foyer at the other end of the hall leads to the Minskys' private home.\n\n> You examine the transportation display\nThis display details \"a brilliant advance in remote delivery technology.\" It contains a white pod which looks something like a giant egg.\n\n> You look at the weapons display\nThe display concerns a \"multi-target disintegration device\" designed for a \"wide range of military and civilian uses\" known as the \"RPS Cannon.\" A prototype of the cannon is propped up, aiming at a paper target hanging from the ceiling.\n\n> You take pod\n(the telepod)\nTaken.\n\n> Examine pod\n(the telepod)\nA large, egg-shaped pod about the size of a garbage can, but lightweight enough for you to lift. There's a closed hatch in the side.\n\n> You open the pod\n(the telepod)\nYou open the telepod, revealing a spork.\n\n> You take spork\nHooray! Once you give this to the professor, you'll be one spork's-length closer to your very own superweapon!\n\n> You check what you're carrying\nYou are carrying:\na spork\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You read the checklist\nA neat little copy of the checklist on the blackboard, which you can use to keep track of the BUBU components you still need to give to the Professor. It reads:\n\nMicro-Mini Computer\nBrain Guzzler DNA Sample\nPurified Fructonium\n20,000-Ton Impenetrable Steel Chassis\nSpork\n\n> Go west\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book."
    },
    {
        "text": "[Themes: Humor, humor, teenage protagonist]\n\n> Go downward\nYou brace your legs against the sides of the vent and descend in a controlled slide.\n\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. Tons of rocks block the road to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. There's an open exhaust vent in the wall here, leading UP.\n\n> You go to the northeast\nA police car has skidded and crashed into the side of the tunnel here, its lights filling the surrounding blackness with harsh flashes of red and blue. You can see the dimly-lit tunnel continuing to the southwest. Northeast and further in is nothing but pitch darkness.\n\n> You look in Car\nIn the police car are some fragments of eggshell and a body.\n\n> You take the eggshell\nYou pick them off of his clothing. There's a big clump of them near his feet, too. You've got almost the whole shell, now. Good for you, Bonnie! Helping Mother in the kitchen really paid off!\n\n> You examine the body\nEven Officer Wilcox didn't deserve to die like this! The one consolation is that his brain appears to have been pulled out through his ear before the car hit the wall, so at least he didn't\nsuffer.\n\n> You go southwest\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. Tons of rocks block the road to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. There's an open exhaust vent in the wall here, leading UP.\n\n> You go upwards\nYou scrabble back up the dark exhaust vent.\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You go to the east\nA long arched hallway of frosted glass running east and west. The light of sunset tinges the serene blue of the carpet with orange and gold. The room is lined with displays, each featuring another brilliant MinSystems invention--two especially impressive ones are the weapons display and the transportation display. Heavy glass doors lead into the main MinSystems offices to the east, while a cozy foyer at the other end of the hall leads to the Minskys' private home.\n\nYou can see a paper target here.\n\n> You go to the east\nYou open the doors a crack. An oozing tentacle shoots towards you! You quickly slam the door and throw the emergency lock. Your brief glimpses of the offices were enough to tell you they're totally overrun with Brain Guzzlers--you're not getting out that way!\n\n> You examine Cannon\nA sleek, futuristic gun with three brass barrels. It's bulky and looks powerful, but it's light enough to hold in one hand. There's a dial you can turn on the side under a display. Currently the display is showing an image of a hand with the index and middle fingers extended, like a sideways peace sign.\n\n> You examine the display\nWhich do you mean, the weapons display or the transportation display?\n\n> You turn the dial\nYou turn the dial until you hear a click. Now the display shows a hand curled into a fist.\n\n> You turn the dial\nYou turn the dial until you hear a click. Now the display shows a hand with the palm and all five fingers lying flat.\n\n> You turn the dial\nYou turn the dial until you hear a click. Now the display shows a hand with the index and middle fingers extended.\n\n> Go west\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You talk to Renee\n[Picture number 11 here.]\n\n\"Hey, Bonnie.\" Renee smiles tiredly. \"That was a heck of a thing. Now what are we supposed to do?\"\n\n1) \"We need to rescue more people!\"\n2) \"We need to destroy those things!\"\n3) \"It doesn't matter. We're safe now.\"\n\n> 1\n[\"We need to rescue more people!\"]\n\n\"Yeah, no kidding.\" Renee bites her lip. \"Dad was at that festival. At least Mom was out of town--gosh, you don't think this is happening in other places, too, do you? It was just so...I was...I was at the diner, like always. I was in the middle of making hamburgers for crying out loud!\"\n\nShe wipes a smudge of dirt off of her cheek. \"That diner was--I lived there. I worked there every--every day. And now it's just--it didn't even take them two minutes to tear that place up. Like it was nothing.\"\n\n1) \"That must have hurt. I know how much you loved that place.\"\n2) \"Shouldn't you be happy? I thought you hated working there.\"\n\n> 1\n[\"That must have hurt. I know how much you loved that\nplace.\"]\n\n\"It should have hurt. It was scary as heck, that's for sure. But I--I--this is horrible, but part of me sort of enjoyed it. I won't ever have to stand over that stupid grill again. I won't just have to stand there and take it when kids from school show up. There's a million little things that--I might be dead tomorrow, but at least I know those things are over, y'know?\" She swallows.\n\"It's sick, but I just feel free now.\"\n\n1) \"What happened wasn't your fault.\"\n2) (hug Renee)\n\n> 2\n[(hug Renee)]\n\nRenee seems surprised, but after a moment, she hugs you back. \"Thanks, Bonnie. I don't know why I'm worrying about a stupid building when my parents could be... could be dead.\"\n\n1) \"They're probably somewhere safe right now, just as worried about you.\"\n2) \"Your parents have been through so much! They're tough as nails.\" 3) \"I guess any of us might get some bad news about our families when this is over, but there isn't much to be done about it right now.\"\n\n> 3\n[\"I guess any of us might get some bad news about our families\nwhen this is over, but there isn't much to be done about it right now.\"]\n\n\"I guess,\" Renee says. \"Can we talk about something else now?\"\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Okay, I should go!\"\n\n> 1\n[\"What's that you're reading? Does the professor have an eye for\ngood science fiction?\"]\n\n\"Somehow, science fiction doesn't seem so fun anymore. Not right now, at least.\" Renee holds up the book. \"Period literature--Ye Goodwyfe's Bodice Overfloweth.\"\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Okay, I should go!\"\n\n> 2\n[\"Okay, I should go!\"]\n\n\"See ya!\"\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You examine the garden\nWater-filled tubes cover the south wall of the kitchen. Lush fruit-bearing plants of every description practically drip from them, green and bursting with life. It doesn't look like there's any ripe fruit ready to pick at the moment.\n\n> You examine the checklist\nA neat little copy of the checklist on the blackboard, which you can use to keep track of the BUBU components you still need to give to the Professor. It reads:\n\nMicro-Mini Computer\nBrain Guzzler DNA Sample\nPurified Fructonium\n20,000-Ton Impenetrable Steel Chassis\nSpork\n\n> You take the plant\n(That's just part of the set.)\n\n> Go northeast\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You go upwards\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> You talk tothe prof .\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"These eggshells have got to be chock full of Deanna!\"\n7) \"Got your spork, Professor!\"\n8) \"I guess I won't bother you any more right now!\"\n\n> 6\n[\"These eggshells have got to be chock full of Deanna!\"]\n\n\"That's 'DNA', but thank you, young chum! These are just what I was looking for.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"Got your spork, Professor!\"\n7) \"I guess I won't bother you any more right now!\"\n\n> 6\n[\"Got your spork, Professor!\"]\n\n\"Perfect!\" The professor tosses the spork carelessly into the BUBU's inner workings.\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"A 'perforated silver membrane'? Where am I supposed to find one\nof those?\"]\n\n\"If it helps, the perforation doesn't have to be neat. You can even do the job yourself if necessary. But the membrane must be quite large.\" The professor holds out his hands. \"Imagine this, but much, much larger. At least the size of a wall, or the side of a house.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"Where can I find a micro-mini computer?\"]\n\n\"Why, use one of mine! You may not believe this, Miss Noodleman, but my latest design packs almost a full bit of processing power into an iron-plastic shell no heavier than twelve ordinary bowling balls! Sadly, I used the only working prototype as a brain for my revolutionary Wife of Tomorrow, and goodness knows where she is since the attack--off eating bon-bons, I expect.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 4\n[\"Where can I find fructonium?\"]\n\n\"Why, that's the atomic element which makes up fruit! Of course, we would need it in highly purified form, broken down to its most basic elemental state--difficult for all but the most talented botanical chemists. Good luck!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 5\n[\"Gosh, professor, how am I supposed to get a 20,000-ton chassis\nback here?\"]\n\n\"The professor chuckles paternally. \"Well, of course I wouldn't expect a mere girl to be able to lift so many thousands of tons. No, no, I've got a suitable chassis prepared, as a matter of fact--all I need from you is a nice design to use as a pattern. Something creative and pretty, anything you want, with one caveat--the BUBU will be vulnerable during the warm-up process, so in order to avoid suspicion, it must look exactly like a genuine Brain Guzzler spaceship.\nShouldn't be hard for a teen-ager like yourself, with your science fiction and your high schools and what not.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Gosh, professor, how am I supposed to get a 20,000-ton chassis back here?\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 6\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> You talk to Renee\n[Picture number 11 here.]\n\n\"Hey there.\"\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Renee, you're good with space things, right? Could you design a spaceship that would fool the Brain Guzzlers?\"\n3) \"Okay, I should go!\"\n\n> 2\n[\"Renee, you're good with space things, right? Could you design a spaceship that would fool the Brain Guzzlers?\"]\n\n\"Well, they're basically just balls of gelatin that move towards food sources, so, yeah, probably. Here, try something like this.\" Renee rips a page out of the book and doodles a slick looking spaceship on it. It's perfect!\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Okay, I should go!\"\n\n> 2\n[\"Okay, I should go!\"]\n\n\"See ya!\"\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You go upwards\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> You talk tothe prof .\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"Professor, Renee drew this ship design...\"\n6) \"I guess I won't bother you any more right now!\"\n\n> 5\n[\"Professor, Renee drew this ship design...\"]\n\n\"That's just what we need!\" the professor says. \"Those slimy fiends will never see it coming, now!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find a micro-mini computer?\"\n4) \"Where can I find fructonium?\"\n5) \"I guess I won't bother you any more right now!\"\n\n> 5\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath the oranges and pinks of an evening sky. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug.\n\n> Inventory\nYou are carrying:\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You examine the rocks\nThey're big and heavy, and oh boy, are there ever a lot of them.\n\n> Inventory\nYou are carrying:\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You turn the dial\nYou turn the dial until you hear a click. Now the display shows a hand curled into a fist.\n\n> You turn the dial\nYou turn the dial until you hear a click. Now the display shows a hand with the palm and all five fingers lying flat.\n\n> You shoot the the rocks\nBA-THOOOM!\n\nThe RPS cannon emits a powerful lance of pure anti-rock, blasting the rockslide into vapor. For a moment, you think it didn't fully clear the hole. Then you breathe in the cool, fresh desert air and realize that night has fallen. The open road before you leads into darkness. What could be out there? Can Canyonville still be saved?"
    },
    {
        "text": "[Themes: Humor, humor, Americana, aliens, teenage protagonist, teenagers]\n\n> Look around\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. The roads continues, exiting the tunnel to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. There's an open exhaust vent in the wall here, leading UP.\n\n> Go southwest\nFrom here, the road plunges northeast into the sheer cliffs and curves gently southwest towards town. Twisted-looking pines frame the tunnel entrance itself, which is pitch black and smells moist and alive. Far above you, you can see the sleek modernist wedge of Minsystems Labs perched at the edge of the cliffs.\n\n> You go to the southwest\nYou're standing on Saguaro Road, in a part of town your mother doesn't like you going. A junkyard squats to the west, and to the east, an old barn has been painted black and blue and hung with a neon sign reading \"The Beat Barn.\" A dirt road leads north to the drive-in, and Saguaro Road itself heads into town to the south and curves northeast into the woods.\n\nThe neon sign is lit up, casting a harsh blue glow over the asphalt.\n\n> Go east\nThe doorman turns up his pointy nose at the obvious square, but waves you inside anyway, muttering something about quail hunting.\n\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nOn the stage is Traudl Brandt.\n\nYou can also see a beatnik bodyguard here.\n\n> You look at Traudl\nYou've heard of her. She has a reputation, and not even a normal reputation, like girls who just park a little, but a really, really bad one--as in, she's European, and she's not even shy about\nit! She's your age, but looks older, probably from fast living and a steady diet of coffee and funny-smelling cigarettes. She's wearing a clingy black leotard than matches her unkempt hair. In her lap rests a lump of white plastic you recognize as the head of the Wife of Tomorrow.\n\n> You look at the head wife\nIt looks slightly melted, but still in one piece.\n\n> You look at the stage\nLong and low and mostly bare, the stage is the only brightly lit part of the room.\n\nOn the stage is Traudl Brandt.\n\n> You get on the stage\nThe beatnik bodyguard pulls you away from the stage. \"Like, no hassling the talent, dig?\" It doesn't look like you'll be able to get up there while he's watching the room.\n\n> Inventory\nYou are carrying:\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You use the hula hoop\nYou use the hula hoop. Fun! Then it falls down around your ankles.\n\n> You show the hula hoop to the bodyguard\nThe beatnik bodyguard is unimpressed.\n\n> You examine the bodyguard\nThe rough customer could be the doorman's burlier brother. He's peering at you with a suspicious squint, probably watching to make sure you don't square up the place. His immense hands grip a teeny tiny itty bitty little cup of coffee.\n\n> You examine the cup\nThe beatnik sees you eyeing the thimble-sized cup and puts a hand over it. \"Like, no sharing, you dig? This has to last me all night and once it's gone it's like real gone, man.\" He yawns. \"Like, they don't dig a man needs the bounty of the brown goddess poured out upon him just to stay in awake in this red onion of a coffeehouse. So what if it runs through me like a cool cat's lead sled through Squaresville, man? That's, like, what the porcelain birdbath is for, dig?\"\n\n> You look\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nOn the stage is Traudl Brandt.\n\nYou can also see a beatnik bodyguard here.\n\n> You go west\nYou're standing on Saguaro Road, in a part of town your mother doesn't like you going. A junkyard squats to the west, and to the east, an old barn has been painted black and blue and hung with a neon sign reading \"The Beat Barn.\" A dirt road leads north to the drive-in, and Saguaro Road itself heads into town to the south and curves northeast into the woods.\n\nThe neon sign is lit up, casting a harsh blue glow over the asphalt.\n\n> Go northeast\nFrom here, the road plunges northeast into the sheer cliffs and curves gently southwest towards town. Twisted-looking pines frame the tunnel entrance itself, which is pitch black and smells moist and alive. Far above you, you can see the sleek modernist wedge of Minsystems Labs perched at the edge of the cliffs.\n\n> Up\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nOn the cluttered desk is an enormous coffee mug."
    },
    {
        "text": "> Go downwards\nYou brace your legs against the sides of the vent and descend in a controlled slide.\n\nA cool, damp road beneath the mountain. Only a couple of the lights here work, and their dim yellow glow reflects off the slick concrete walls. The roads continues, exiting the tunnel to the southwest. To the northeast, you can see blue and red lights flashing in the darkness. There's an open exhaust vent in the wall here, leading UP.\n\n> You go east\nAs you push the door open, the goatee-wearing doorman stops you, sniffing the air. \"Coffee!\" he declares. \"You've got coffee! Thought you'd sneak in your own bourgeoisie slop, huh? You leave that paint thinner out here, square sister, because there's no way I'm letting outside coffee through this door!\"\n\n> You check what you're carrying\nYou are carrying:\nan enormous coffee mug\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You examine the telepod\nA large, egg-shaped pod about the size of a garbage can, but lightweight enough for you to lift. There's an open hatch in the side.\n\n> Go east\nThe doorman sniffs. \"So, trying to sneak coffee in by hiding it! Nice try, but it won't work. That coffee doesn't come through this door, end of story!\n\n> Close telepod\nYou close the telepod.\n\n> You open the pod\n(the telepod)\nYou open the telepod, revealing an enormous coffee mug.\n\n> You drop the mug\nDropped.\n\n> Go east\nThe doorman turns up his pointy nose at the obvious square, but waves you inside anyway, muttering something about quail hunting.\n\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nOn the stage is Traudl Brandt.\n\nYou can also see a beatnik bodyguard here.\n\n> Close pod\n(the telepod)\nYou close the telepod.\n\n> You drop the pod\n(the telepod)\nDropped.\n\n> You go west\nYou're standing on Saguaro Road, in a part of town your mother doesn't like you going. A junkyard squats to the west, and to the east, an old barn has been painted black and blue and hung with a neon sign reading \"The Beat Barn.\" A dirt road leads north to the drive-in, and Saguaro Road itself heads into town to the south and curves northeast into the woods.\n\nThe neon sign is lit up, casting a harsh blue glow over the asphalt.\n\nYou can see an enormous coffee mug here."
    },
    {
        "text": "[Themes: Humor, humor, female protagonist]\n\n> Go east\nThe doorman turns up his pointy nose at the obvious square, but waves you inside anyway, muttering something about quail hunting.\n\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nOn the stage is Traudl Brandt.\n\nYou can also see a telepod and a beatnik bodyguard here.\n\n> You take pod\n(the telepod)\nTaken.\n\n> You open the pod\n(the telepod)\nYou open the telepod, revealing an enormous coffee mug.\n\n> You talk to the bodyguard\nYou try to strike up a casual conversation, using every single pointer you can remember from The Polite and Cheerful Girl's Guide To\nAwkward Conversations with Unsavory Strangers: Fifty Perfect\nPointers. Unfortunately, it quickly becomes apparent that all he cares about is coffee, keeping you away from Traudl, and geopolitics, in that order.\n\n> You give the mug to the bodyguard\nThe beatnik eagerly takes the huge mug of coffee. \"Now that's where it's at! Maybe you're not such a square after all.\" He guzzles down the coffee thirstily. \"Like that really hit the spot, doll--I--\" He looks sudden distressed. \"Like, gotta beat the gravel, like, quicksville, you dig?\"\n\nThe desperate beatnik runs off in the direction of, like, the bathroomsville, leaving the stage unguarded.\n\n> You get on the stage\nYou clamber up onto the stage to the sound of a few scattered boos. Hmph! As if there was even really a show to interrupt. She's just sitting there!\n\nThe Beat Barn (on the stage)\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nTraudl Brandt is sitting cross-legged in the middle of the stage.\n\n> You use the hula\nYou use the hula hoop. Fun! Then it falls down around your ankles.\n\n> You talk to Traudl\n[Picture number 13 here.]\n\nTraudl Brandt sits before you like a smoke-wreathed goddess.\n\n1) \"Um, Miss Brandt...?\"\n\n> 1\n[\"Um, Miss Brandt...?\"]\n\nTraudl gives you an amused half-smile. \"Well, what brings you flying my way, little bird?\" she asks, with just a trace of a German accent.\n\n1) \"'Little bird' is building a weapon to fight the Brain Guzzlers.\"\n\n> 1\n[\"'Little bird' is building a weapon to fight the Brain\nGuzzlers.\"]\n\n\"Good on little bird--or maybe I should say little hawk. We need more people like you willing to stand up against the pigs and their masters and everybody else trying to keep this country ignorant.\"\n\n1) \"No, they're literally--look, have you even been outside today--oh, close enough.\"\n\n> 1\n[\"No, they're literally--look, have you even been outside\ntoday--oh, close enough.\"]\n\n\"Well, then you're in the right place. We have a weapon here that's more powerful than any gun, more explosive than any bomb. We call it Art.\"\n\n1) \"Actually I was more interested in that lovely robot head you're holding! Wherever did you get it?\"\n\n> 1\n[\"Actually I was more interested in that lovely robot head you're holding! Wherever did you get it?\"]\n\n\"What, this? It came crashing through the bathroom window about an hour ago. I figured the morally upright citizens of this perfect little burg were showing us their small-town hospitality in brick form again, but this one's different. Some kind of sculpture--I like it. I think I'll keep it.\" She laughs. \"But tell you what. If I knew you'd appreciate it as much as I do, I might let you borrow it. Why not? Let's write a piece together. Awaken the poet's soul that dwells within you, and it's yours.\"\n\n1) \"Uh--b-but I'm not really any kind of poet. Can't I just find you a helpful goat, or something?\"\n2) \"I'll do my best. Mother always did say my soul was my best feature!\"\n\n> 2\n[\"I'll do my best. Mother always did say my soul was my best feature!\"]\n\n\"Good girl. Now, this isn't hard. Everyone's got poetry in their heart somewhere. I'll whip up a batch of fresh words and images and all you've got to do is dig in. Capiche?\"\n\n1) \"Let's write some poetry!\"\n\n> 1\n[\"Let's write some poetry!\"]\n\n\"All right, let's start with something simple.\" Traudl clears her throat and recites. \"The sky, darkness, graves, grave, glamour!\"\n\n1) \"Ghosts! Pumpkins! Witches! Boo!\"\n2) \"My soul aches as it's devoured by a thousand mouths of sadness.\" 3) \"The thunder's like drums, and it pounds like a hammer!\"\n4) \"Great green gobs of greasy, grimy gopher guts.\"\n\n> 3\n[\"The thunder's like drums, and it pounds like a hammer!\"]\n\nTraudl frowns. \"Uhm, no, little bird, this is a real poem.\nReal poems don't rhyme. Understand?\"\n\n1) \"What next?\"\n\n> 1\n[\"What next?\"]\n\n\"Okay, let's try another prompt...\n\nFire! Ice! Chocolate! Mother-goddess, grown fat with aeons, ripe green hills and lush valleys. It rains! It rains! It rains! It rains! It rains! It rains!\"\n\n1) \"I'll get my umbrella!\"\n2) \"Those darn aeons are so full of calories!\"\n3) \"Water runs in my ears and it's drowning my brains?\"\n4) \"Ripe apples! Sweet tangerines! Bananas...bananas that dance...something about bananas.\"\n\n> 2\n[\"Those darn aeons are so full of calories!\"]\n\n\"No, it's a metaphor--ah--never mind.\"\n\n1) \"Gee, this is fun! Give me something else.\"\n\n> 1\n[\"Gee, this is fun! Give me something else.\"]\n\n\"Maybe a more primal, compelling image...\n\nWomankind! We carry the world between our legs, hand-standing Atlases, twin bookends of meat and bone. Blood! War! Is there anything else? A rotting fruit. Flies. How dare we? How dare us all? Break\nfree of the prison--stand in the purple light and--\"\n\nTraudl sucks in an enormous lungful of air.\n\n\"SCRRRREEEEEEEEEAMMM!\"\n\n1) \"Violet like the hatred of my mother. Shoes! Fireflies!\"\n2) (scream as loud as you can)\n3) \"Meat and tulips! Sand! Death is inevitable.\"\n\n> 2\n[(scream as loud as you can)]\n\n\"That--little bird, no, you--don't have a poet's scream.\"\n\n1) \"I'm on a roll! Give me something else\".\n\n> 1\n[\"I'm on a roll! Give me something else\".]\n\n\"All right. How about this...\"\n\nThis land, bleak, bountiful, once grew bloody flowers. Steaks! Hamburgers! This land, this building, slaves in chains, robbed of white gold by two-legged vampires. Liberated! The hand of Art is on the udder, and it's your hand. You are the dairy farmer now!\"\n\n1) \"Okay, I give up.\"\n2) \"Death! Ponies!\"\n3) \"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"\n\n> 3\n[\"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"]\n\n\"How nice for you.\"\n\n1) \"So...pretty good poem, right?\"\n\n> 1\n[\"So...pretty good poem, right?\"]\n\nTraudl shakes her head. \"I'm sorry, little bird. There is poetry in your soul, I know it--but you're still not letting it out. Still, you do show promise. And at least you're not trying to rhyme.\nMaybe we should try this again.\"\n\n1) \"Let's write some poetry!\"\n2) \"I need to leave, uh, daddy-o.\"\n\n> 1\n[\"Let's write some poetry!\"]\n\n\"All right, let's start with something simple.\" Traudl clears her throat and recites. \"The sky, darkness, graves, grave, glamour!\"\n\n1) \"Ghosts! Pumpkins! Witches! Boo!\"\n2) \"My soul aches as it's devoured by a thousand mouths of sadness.\" 3) \"The thunder's like drums, and it pounds like a hammer!\"\n4) \"Great green gobs of greasy, grimy gopher guts.\"\n\n> 1\n[\"Ghosts! Pumpkins! Witches! Boo!\"]\n\n\"Hmm. Not quite what I had in mind...\"\n\n1) \"What next?\"\n\n> 2\n[\"My soul aches as it's devoured by a thousand mouths of\nsadness.\"]\n\n\"A little much, maybe?\"\n\n1) \"What next?\"\n\n> 1\n[\"What next?\"]\n\n\"Okay, let's try another prompt...\n\nFire! Ice! Chocolate! Mother-goddess, grown fat with aeons, ripe green hills and lush valleys. It rains! It rains! It rains! It rains! It rains! It rains!\"\n\n1) \"I'll get my umbrella!\"\n2) \"Those darn aeons are so full of calories!\"\n3) \"Water runs in my ears and it's drowning my brains?\"\n4) \"Ripe apples! Sweet tangerines! Bananas...bananas that dance...something about bananas.\"\n\n> 4\n[\"Ripe apples! Sweet tangerines! Bananas...bananas that dance...something about bananas.\"]\n\n\"I don't think I know about that one...\"\n\n1) \"Gee, this is fun! Give me something else.\"\n\n> 1\n[\"Gee, this is fun! Give me something else.\"]\n\n\"Maybe a more primal, compelling image...\n\nWomankind! We carry the world between our legs, hand-standing Atlases, twin bookends of meat and bone. Blood! War! Is there anything else? A rotting fruit. Flies. How dare we? How dare us all? Break\nfree of the prison--stand in the purple light and--\"\n\nTraudl sucks in an enormous lungful of air.\n\n\"SCRRRREEEEEEEEEAMMM!\"\n\n1) \"Violet like the hatred of my mother. Shoes! Fireflies!\"\n2) (scream as loud as you can)\n3) \"Meat and tulips! Sand! Death is inevitable.\"\n\n> 1\n[\"Violet like the hatred of my mother. Shoes! Fireflies!\"]\n\n\"Imagery's a little on-the-nose, but...\"\n\n1) \"I'm on a roll! Give me something else\".\n\n> 1\n[\"I'm on a roll! Give me something else\".]\n\n\"All right. How about this...\"\n\nThis land, bleak, bountiful, once grew bloody flowers. Steaks! Hamburgers! This land, this building, slaves in chains, robbed of white gold by two-legged vampires. Liberated! The hand of Art is on the udder, and it's your hand. You are the dairy farmer now!\"\n\n1) \"Okay, I give up.\"\n2) \"Death! Ponies!\"\n3) \"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"\n\n> 2\n[\"Death! Ponies!\"]\n\n\"Sigh.\"\n\n1) \"So...pretty good poem, right?\"\n\n> 1\n[\"So...pretty good poem, right?\"]\n\nTraudl shakes her head. \"I'm sorry, little bird. There is poetry in your soul, I know it--but you're still not letting it out. Still, you do show promise. And at least you're not trying to rhyme.\nMaybe we should try this again.\"\n\n1) \"Let's write some poetry!\"\n2) \"I need to leave, uh, daddy-o.\"\n\n> 1\n[\"Let's write some poetry!\"]\n\n\"All right, let's start with something simple.\" Traudl clears her throat and recites. \"The sky, darkness, graves, grave, glamour!\"\n\n1) \"Ghosts! Pumpkins! Witches! Boo!\"\n2) \"My soul aches as it's devoured by a thousand mouths of sadness.\" 3) \"The thunder's like drums, and it pounds like a hammer!\"\n4) \"Great green gobs of greasy, grimy gopher guts.\"\n\n> 4\n[\"Great green gobs of greasy, grimy gopher guts.\"]\n\n\"That's... hmm.\"\n\n1) \"What next?\"\n\n> 3\n[\"Water runs in my ears and it's drowning my brains?\"]\n\nTraudl winces. \"No--no, that was another rhyme. I said don't\nrhyme! It's...unpleasing to me.\" She takes a nervous drag on her cigarette.\n\n1) \"Gee, this is fun! Give me something else.\"\n\n> 1\n[\"Gee, this is fun! Give me something else.\"]\n\n\"Maybe a more primal, compelling image...\n\nWomankind! We carry the world between our legs, hand-standing Atlases, twin bookends of meat and bone. Blood! War! Is there anything else? A rotting fruit. Flies. How dare we? How dare us all? Break\nfree of the prison--stand in the purple light and--\"\n\nTraudl sucks in an enormous lungful of air.\n\n\"SCRRRREEEEEEEEEAMMM!\"\n\n1) \"Violet like the hatred of my mother. Shoes! Fireflies!\"\n2) (scream as loud as you can)\n3) \"Meat and tulips! Sand! Death is inevitable.\"\n4) \"Go Fighting Conifers, go, go, team?\"\n\n> 3\n[\"Meat and tulips! Sand! Death is inevitable.\"]\n\n\"A little trite.\"\n\n1) \"I'm on a roll! Give me something else\".\n\n> 1\n[\"I'm on a roll! Give me something else\".]\n\n\"All right. How about this...\"\n\nThis land, bleak, bountiful, once grew bloody flowers. Steaks! Hamburgers! This land, this building, slaves in chains, robbed of white gold by two-legged vampires. Liberated! The hand of Art is on the udder, and it's your hand. You are the dairy farmer now!\"\n\n1) \"Okay, I give up.\"\n2) \"Death! Ponies!\"\n3) \"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"\n\n> 2\n[\"Death! Ponies!\"]\n\n\"Sigh.\"\n\n1) \"So...pretty good poem, right?\"\n\n> 1\n[\"So...pretty good poem, right?\"]\n\nTraudl shakes her head. \"I'm sorry, little bird. There is poetry in your soul, I know it--but you're still not letting it out. Still, you do show promise. And at least you're not trying to rhyme.\nMaybe we should try this again.\"\n\n1) \"Let's write some poetry!\"\n2) \"I need to leave, uh, daddy-o.\"\n\n> 1\n[\"Let's write some poetry!\"]\n\n\"All right, let's start with something simple.\" Traudl clears her throat and recites. \"The sky, darkness, graves, grave, glamour!\"\n\n1) \"Ghosts! Pumpkins! Witches! Boo!\"\n2) \"My soul aches as it's devoured by a thousand mouths of sadness.\" 3) \"The thunder's like drums, and it pounds like a hammer!\"\n4) \"Great green gobs of greasy, grimy gopher guts.\"\n\n> 2\n[\"My soul aches as it's devoured by a thousand mouths of\nsadness.\"]\n\n\"A little much, maybe?\"\n\n1) \"What next?\"\n\n> 1\n[\"What next?\"]\n\n\"Okay, let's try another prompt...\n\nFire! Ice! Chocolate! Mother-goddess, grown fat with aeons, ripe green hills and lush valleys. It rains! It rains! It rains! It rains! It rains! It rains!\"\n\n1) \"I'll get my umbrella!\"\n2) \"Those darn aeons are so full of calories!\"\n3) \"Ripe apples! Sweet tangerines! Bananas...bananas that dance...something about bananas.\"\n\n> 4\n[\"Go Fighting Conifers, go, go, team?\"]\n\nA few members of the audience titter. \"No--no--this thing you're doing, where the words end with the same sound?,\" Traudl hisses. \"That's rhyming.\"\n\nShe runs an unsteady hand through her hair. \"You're embarrassing yourself and you're embarrassing me!\"\n\n1) \"I'm on a roll! Give me something else\".\n\n> 1\n[\"I'm on a roll! Give me something else\".]\n\n\"All right. How about this...\"\n\nThis land, bleak, bountiful, once grew bloody flowers. Steaks! Hamburgers! This land, this building, slaves in chains, robbed of white gold by two-legged vampires. Liberated! The hand of Art is on the udder, and it's your hand. You are the dairy farmer now!\"\n\n1) \"What a coincidence, you recite like a cow!\"\n2) \"Okay, I give up.\"\n3) \"Death! Ponies!\"\n4) \"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"\n\n> 4\n[\"I dreamed that I was suffering for eternity in a void in my Maidenform bra.\"]\n\n\"How nice for you.\"\n\n1) \"So...pretty good poem, right?\"\n\n> 2\n[\"I need to leave, uh, daddy-o.\"]\n\n\"You can leave me, Little Bird, but you can't leave you.\"\n\nThe Beat Barn (on the stage)\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nTraudl Brandt is sitting cross-legged in the middle of the stage.\n\n> You take the head\nTraudl looks like she's holding onto it pretty tightly.\n\n> You talk to Traudl\n[Picture number 13 here.]\n\nTraudl Brandt sits before you like a smoke-wreathed goddess.\n\n1) \"Er, it's me again!\"\n\n> 1\n[\"Er, it's me again!\"]\n\n\"So, the little bird returns.\"\n\n1) \"Let's write some poetry!\"\n2) \"I need to leave, uh, daddy-o.\"\n\n> 1\n[\"What a coincidence, you recite like a cow!\"]\n\nSeveral members of the audience are laughing now. Traudl's sallow complexion is growing increasingly flushed. \"Enough!\" she cries. \"Enough, enough, enough! Obviously, you don't have the soul of a poet at all. You have the soul of--of--\"\n\nShe sputters out an unflattering-sounding German word and stalks off. After two circuits of the room, several cigarettes and a torrent of Teutonic muttering, she seems to realize that she's accidentally left her little wooden fiefdom to you and hurries back to the stage. \"Here--you wanted this, right? I will give you this if you never try to recite poetry on my stage again.\"\n\nShe hands you the Head of the Wife of Tomorrow, and the precious computer within. Another victory for the hoi polloi!\n\nThe Beat Barn (on the stage)\nA smoky little hole in the wall filled with customers dressed in black and sipping coffee from tiny cups. Scratchy jazz is playing softly in the background. A low stage is along one wall.\n\nTraudl Brandt is sitting cross-legged in the middle of the stage."
    },
    {
        "text": "[Themes: Humor, Americana, teenagers, science fiction, humor]\n\n> Go downwards\n(first getting off the stage)\nYou can't go that way.\n\n> You examine the checklist\nA neat little copy of the checklist on the blackboard, which you can use to keep track of the BUBU components you still need to give to the Professor. It reads:\n\nMicro-Mini Computer\nBrain Guzzler DNA Sample (CHECK)\nPurified Fructonium\n20,000-Ton Impenetrable Steel Chassis (CHECK)\nSpork (CHECK)\n\n> You go upward\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n> You talk tothe prof .\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find fructonium?\"\n4) \"Here's your computer--sure hope it still works!\"\n5) \"I guess I won't bother you any more right now!\"\n\n> 4\n[\"Here's your computer--sure hope it still works!\"]\n\n\"She's certainly seen better days, but as strange as it may sound, this is one 'wife' whose most important job isn't looking good.\" The professor cracks open the Head of the Wife of Tomorrow and yanks out a handfull of circuits and wires. \"Now, I just connect these here--and--\"\n\nThe speaker on the BUBU's control panel crackles into fuzzy life. \"Hello? Dave? What's going on? I feel so--so sluggish and thick-waisted! What's happening?\"\n\n\"Don't worry your pretty little tubes about it, my dear,\" the professor says soothingly. \"Later on I may need you to kill a few aliens, but for now, just lie there and let me work on you.\"\n\n\"A spa day! Gosh, Dave, you sure know how to make a wife feel appreciated!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find fructonium?\"\n4) \"I guess I won't bother you any more right now!\""
    },
    {
        "text": "> You look around\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find fructonium?\"\n4) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"A 'perforated silver membrane'? Where am I supposed to find one\nof those?\"]\n\n\"If it helps, the perforation doesn't have to be neat. You can even do the job yourself if necessary. But the membrane must be quite large.\" The professor holds out his hands. \"Imagine this, but much, much larger. At least the size of a wall, or the side of a house.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find fructonium?\"\n4) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"Where can I find fructonium?\"]\n\n\"Why, that's the atomic element which makes up fruit! Of course, we would need it in highly purified form, broken down to its most basic elemental state--difficult for all but the most talented botanical chemists. Good luck!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"A 'perforated silver membrane'? Where am I supposed to find one of those?\"\n3) \"Where can I find fructonium?\"\n4) \"I guess I won't bother you any more right now!\"\n\n> 4\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n> Go west\nGenerations of garbage have been piled here in haphazard stacks, rusting and slowly sinking into the earth under the weight of tons of scrap. The only way out is to the east.\n\nMcDillingfitty's \"house\", a rusting metal silo, stands empty, slowly falling apart under the weight of the ages.\n\n> You look at the silo\nIt's a little taller than a one-story house, but too narrow to have much living space. There's an open hatch on the side where a door probably used to be. You never noticed it before, but there are numbers printed on the side: \"X271 -- Minsystems Labs.\"\n\n> You look at the pines\nThey're tough little can-do trees with a lot of spirit. They've got to be, to make it out here in the desert!\n\n> You examine the screen\nThere's a ragged hole in the middle where your car crashed through. Other than that, it's in good condition.\n\n> You take the screen\nYou carefully yank the screen down and roll it up neatly. Yippee! You just found a perforated silver membrane!\n\n> Go south\nThe look of this part of Saguaro Road has changed drastically since this morning. A line of tanks blocks the street to the south, and the air echoes with the sound of explosions and the tromp of busy artillery teams. To the east, the Yoshidas' flower shop seems to have been transformed into some kind of makeshift military headquarters.\n\n> You go east\nThe humble flower shop has been transformed into a military command base. A large tabletop map of the town has been set up where the discount gardenia bin used to be, and a clump of officers surround it, gesturing at the diagram and shouting at each other.\n\nJenny Yoshida is sitting on the stairs, looking miserable.\n\n> You talk to Jenny\n[Picture number 14 here.]\n\n\"Oh--Bonnie, you're alive!\" Jenny tries to force a smile. \"Well, that's--that's good.\"\n\n1) \"Are you okay? What happened to your arm?\"\n2) \"Are you okay? Why are all these soldiers here?\"\n\n> 1\n[\"Are you okay? What happened to your arm?\"]\n\n\"Somebody, uh, kind of stepped on it. When we were all running. It's not broken or anything, I just--I just--I can't, uh, I can't deal with all this! Everything's gone all to heck, I don't know where anybody is, I can't even phone Mary Jane's house to find out if she's even alive because the phones are down...\"\n\n1) \"Oh, Her Royal Highness is alive, all right, and having a temper tantrum fit for a queen.\"\n2) \"She's alive, and she's just about worried sick about you!\"\n3) \"Well, she was alive when I left her...\"\n\n> 2\n[\"She's alive, and she's just about worried sick about you!\"]\n\n\"She is?\" Jenny's face lights up. \"Oh, thank goodness! I'm been--I've been going just about nuts imagining all kinds of horrible things. Where is she? I have to find her!\"\n\n1) \"She's safe at home. Uh, you sort of have to shimmy up an air vent to get in--\"\n\n> 1\n[\"She's safe at home. Uh, you sort of have to shimmy up an air\nvent to get in--\"]\n\n\"Oh yes, I've been up that vent before.\" Jenny notices your expression. \"What? She's got a ten o' clock curfew. It's ridiculous! Listen, I, uh, I really can't thank you enough for telling me this. I need to see her right now.\"\n\n1) \"Gee, let's get back to the lab, then.\"\n\n> 1\n[\"Gee, let's get back to the lab, then.\"]\n\nYou and Jenny enjoy what is by current standards a relaxing walk back to the lab, during which neither of you dies. Soon you're standing at the door of Mary Jane's room.\n\n\"We have a secret knock,\" Jenny explains, which turns out to be two barely audible taps. \"See, it stands for 'haircut', because at first it was going to be 'shave and a haircut' because we get our hair done together sometimes but we don't shave, or, er, at least we don't shave at a barbershop or anything like that, uh, so we dropped that part--\"\n\nThe door jerks open and Mary Jane launches herself at Jenny like a puffy-eyed pink cobra. \"Jenny! You're ALIVE!\" she squeals. \"I thought your poor little brain had been guzzled!\"\n\n\"I thought yours had!\"\n\nAfter the tearful reunion, Mary Jane turns to you. \"Well, gosh, now I feel like a real goony bird for crying over Jenny dying when she's not even dead. I ought to be pitching in and helping you and Dad stop those awful things. I'm going to the lab to see what's what!\"\n\nJenny gives her a peck on the cheek. \"Have fun!\" Then you and Mary Jane climb the stairs to the Tomorrowdome.\n\n\"Oh, it's a BUBU,\" Mary Jane observes, grabbing a lab coat. \"Or, well, gee, it's most of one at least. I can make it better!\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\nThe BUBU giggles. \"Gosh, Dave, your hands are so tickley inside me!\"\n\n> You talk to Professor\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"Where can I find fructonium?\"\n3) \"I found an, uh, perforated membrane for you!\"\n4) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"I found an, uh, perforated membrane for you!\"]\n\n\"The screen from the drive-in! Excellent! Without those creature features playing through the kitchen window at all hours my daughter will be able to get through the dishes without dropping half of them because she was startled by the Moon Men or the Swamp Woman. And as a bonus, I can use this for the BUBU, too!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"Where can I find fructonium?\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n> You talk to Mary Jane\n[Picture number 12 here.]\n\nMary Jane looks up. \"Hi, Bonnie!\" she says brightly.\n\n1) \"You're a scientist?\"\n\n> 1\n[\"You're a scientist?\"]\n\n\"Sure, silly! I'm a little rusty, though. Cheerleading keeps me awful busy lately!\"\n\n1) \"Where can I find fructonium?\"\n2) \"I should go!\"\n\n> 1\n[\"Where can I find fructonium?\"]\n\n\"I'm not the one to talk to about plant stuff!\" Mary Jane lets out of a self-deprecating giggle. \"Outside of physics, engineering, and cheerleading and such, I'm pretty much useless!\"\n\n1) \"Where can I find fructonium?\"\n2) \"I should go!\"\n\n> 2\n[\"I should go!\"]\n\nMary Jane nods. \"Go get \"em!\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away."
    },
    {
        "text": "> Describe the surroundings\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n> Go northwest\nA frothy, frilly pink bedroom with a large canopy bed and a vanity buried under mountains of makeup. Posters of famous movie stars line the walls. A large bay window looks out on a pleasantly kept rose garden.\n\n> Go southwest\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nJenny Yoshida is keeping herself busy baking piles and piles of her famous snickerdoodles.\n\n> You talk to Jenny\n\"Hi, Bonnie! How's everything going up there?\"\n\n1) \"We're putting together a machine to stop the brain guzzlers.\"\n2) \"Don't worry about it, Jenny, all that matters is we're safe in here.\"\n\n> 1\n[\"We're putting together a machine to stop the brain\nguzzlers.\"]\n\n\"Wow, that's great! I'm sure everything will work out and I'm, uh, I'm okay waiting here, I guess. I--do you want something baked? Anything?\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"None of these plants are ripe! What's going on?\"\n5) \"I should go.\"\n\n> 3\n[\"Could you make something called 'fructonium' for me?\"]\n\n\"Can I--Bonnie, that's not exactly difficult. Don't you pay attention in home ec at all? That was practically the first thing they taught us after how to make a roux. I mean--sorry, I didn't mean to be rude. Of course I can help. Some nice fresh fruit is all I need.\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"None of these plants are ripe! What's going on?\"\n5) \"I should go.\"\n\n> 4\n[\"None of these plants are ripe! What's going on?\"]\n\nJenny frowns, looking at the tubes. \"Of course they're not ripe, poor things! They may look healthy, but they're all alone up here, stuck to a dumb old wall. If there's one thing I've learned it's that even if they have all the food and water they need plants will never be happy if they feel neglected. They need people to love them. They need people to talk to them! Openly! You can't just tell plants you love them and then run off with your popular friends every afternoon while they're stuck working in the shop. I mean being sold in the shop. Being sold is like the flowers' job, that's why I said it like that.\" Jenny coughs. \"Anyway, uh, maybe just talking to them and giving them some attention would help.\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"None of these plants are ripe! What's going on?\"\n5) \"I should go.\"\n\n> 2\n[\"What kinds of things can you bake?\"]\n\n\"All kinds of things! It's not that different from botany, really, except more of the plants are dead and uh, ground up, plus there's eggs and things. But both require hard work and a good solid knowledge of baker's chemistry!\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"None of these plants are ripe! What's going on?\"\n5) \"I should go.\"\n\n> 1\n[\"Jeepers, you sure must like snickerdoodles.\"]\n\n\"Oh, uh, they're just kind of the first cookie I learned how to make. I sort of bake when I'm nervous. It gives me something to do with my hands. Mary Jane eats when she's nervous, so together we make a pretty good team!\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"None of these plants are ripe! What's going on?\"\n5) \"I should go.\"\n\n> 5\n[\"I should go.\"]\n\n\"See you later!\"\n\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nJenny Yoshida is keeping herself busy baking piles and piles of her famous snickerdoodles.\n\n> You talk to the garden\n[Picture number 15 here.]\n\n...\n\n1) \"Er, hello? Gosh, I feel silly.\"\n2) \"Good plant, good...planty planty.\"\n3) \"Good morning. My, don't you look lovely and green today!\"\n\n> 3\n[\"Good morning. My, don't you look lovely and green today!\"]\n\n...\n\n1) \"Please, oh, please...grow for me?\"\n2) \"Come on, grow! Show those lazy vegetables how it's done!\"\n3) \"You know what they say. Boys seldom make dinner of fruit that looks thinner! So... go for it!\"\n\n> 3\n[\"You know what they say. Boys seldom make dinner of fruit that\nlooks thinner! So... go for it!\"]\n\n...\n\n1) \"Come on, be a sport!\"\n2) (stick out your stomach) \"See, I'm growing. Doesn't this\nlook fun?\"\n3) \"If all the other plants jumped off a bridge...of...of not-growing, would you?\"\n\n> 2\n[(stick out your stomach) \"See, I'm growing. Doesn't this\nlook fun?\"]\n\n...\n\n1) (Appeal to fruit's sense of patriotism.)\n2) (Bring up your past together.)\n3) (Violent emotional breakdown)\n\n> 1\n[(Appeal to fruit's sense of patriotism.)]\n\n\"Now look,\" you tell the plant sternly. \"Maybe you're a plant. And maybe you're not worried about the Brain Guzzlers because you don't have a brain, or even a nervous system, and so you don't think any of this has anything to do with you. But let me tell you this, buddy!\nYou grew on American soil, or out of American water, anyway, and that makes you a citizen of the good old United States of America! Americans don't give up when the going gets tough. Americans fight. Americans win! Our country has never been successfully conquered by slime monsters from space and, gosh darn it, it's never going to be! Now you're going to get off your lazy roots, citizen, and you're going to start growing! And one day... one day, you magnificent son of a gun, little children who aren't yet a gleam in Father's eye will salute the everloving heck out your memory! There will be statues to you! People will look at still lifes and instead of saying 'Oh, another one of those', they'll stand a little taller. They'll wipe their eyes. And they'll say, 'There, in that bowl, there lies a true American'. And then they'll go home and they'll have a gosh darn honest-to-mother barbeque with hamburgers and corn on the cob and yes, even fruit, and it will all be because of you!\"\n\nYour words and actions have moved the fruit to its various cores. Before your eyes, the bitter green lumps swell into a colorful cornucopia of ripe fruit!\n\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nThe hydroponic garden is now bursting with oodles of ripe fruit in every color of the rainbow.\n\nJenny Yoshida is keeping herself busy baking piles and piles of her famous snickerdoodles.\n\n> You talk to Jenny\n\"Hi again, Bonnie!\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"I should go.\"\n\n> 4\n[\"I should go.\"]\n\n\"See you later!\"\n\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nThe hydroponic garden is now bursting with oodles of ripe fruit in every color of the rainbow.\n\nJenny Yoshida is keeping herself busy baking piles and piles of her famous snickerdoodles.\n\n> You take the fruit\nYou pluck an armful of the ripest and fruitiest-looking fruit.\n\n> You take the cookies\n\"Take as many as you want!\" Jenny says eagerly, practically shoving them into your hands. You end up with a lot more than you wanted.\n\n> You talk to Jenny\n\"Hi again, Bonnie!\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"Could you make something called 'fructonium' for me?\"\n4) \"Here's that fruit, Jenny!\"\n5) \"I should go.\"\n\n> 4\n[\"Here's that fruit, Jenny!\"]\n\n\"Great! Oh, you just wait, I'll make you a nice fructonium pie!\"\n\nAnd after a little kneading, a little flour, a little kneading, fifty-five minutes in the oven, and helping Jenny clean up the workspace because that's the considerate thing to do, it's ready. You now have a gently glowing pie filled with purest refined fructonium!\n\n\"Looks good enough to eat, doesn't it?\" Jenny laughs. \"Uh, but don't, okay? That's really pure. Your stomach would melt.\"\n\n1) \"Jeepers, you sure must like snickerdoodles.\"\n2) \"What kinds of things can you bake?\"\n3) \"I should go.\"\n\n> 3\n[\"I should go.\"]\n\n\"See you later!\"\n\nIt has its own self-sufficient hydroponic garden on one wall, and part of the counter space is taken up with a glass surface labeled \"TELEPAD\", but other than that it's a normal, if very upscale, kitchen. There's a great view of the town from the windows here. The door to the northeast leads back to the living room.\n\nJenny Yoshida is keeping herself busy baking piles and piles of her famous snickerdoodles.\n\n> You check what you're carrying\nYou are carrying:\na fruit pie\ntoo many snickerdoodles\na telepod (open but empty)\na RPS cannon\na checklist\na Depth Charge Deluxe\na game pamphlet\na Canyonville High yearbook\na collapsible hula hoop\na skirt-and-sweater combo (being worn)\n\n> You examine the pie\nIt's vibrating like a purring cat and luminous with a gentle ruby red aura. Gosh, this is a real day for glowing pies.\n\n> You examine snickerdoodles\n(the snickerdoodles)\nThey smell great. Jenny's such a good baker!\n\n> Go upwards\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n\"\"\n\n> You talk to Professor\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"Have a snickerdoodle? Your daughter's friend made them.\n3) \"Here's that fuel, professor! It's in pie form.\"\n4) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"Have a snickerdoodle? Your daughter's friend made them.]\n\n\"Yes, she's very domestic, isn't she? Not exactly the sort of chum I'd prefer for Mary Jane--\" His eyebrows raise as he nibbles on a cookie. \"But I must admit that, scientifically speaking, she doodles a mean snicker.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"Here's that fuel, professor! It's in pie form.\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"Here's that fuel, professor! It's in pie form.\"]\n\n\"Wonderful!\" The professor drops the pie into the BUBU's tank. \"That should give our machine the necessary zing it needs for all-day power!\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"That's everything! Isn't it?\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"That's everything! Isn't it?\"]\n\nHe nods. \"That's everything. We can launch the BUBU whenever you're ready. But we'll only have one shot, young lady. So be ready for it.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"I'm ready to go. Launch the BUBU!\"\n3) \"I guess I won't bother you any more right now!\""
    },
    {
        "text": "> You look at your surroundings\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"I'm ready to go. Launch the BUBU!\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 3\n[\"I guess I won't bother you any more right now!\"]\n\n\"I appreciate that, young lady.\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n> You talk to Mary Jane\n[Picture number 12 here.]\n\n\"Hi again, Bonnie!\"\n\n1) \"Jenny is making snickerdoodles. Want some?\"\n2) \"I should go!\"\n\n> 1\n[\"Jenny is making snickerdoodles. Want some?\"]\n\n\"Ooh, I would love some!\" Mary Jane says, licking her lips.\nShe takes a handful of cookies and stuffs one in her mouth. \"Fammff yoo.\"\n\n1) \"I should go!\"\n\n> 1\n[\"I should go!\"]\n\nMary Jane nods. \"Go get \"em!\"\n\nA dome covers the roof of the laboratory, converting this top floor into a vast circular workspace with a view of the surrounding mountains  beneath a sky full of brilliant stars. In the center of the room is some sort of half-completed machine. Near it is a cluttered desk, with a blackboard looming over it.\n\nMary Jane Minsky is working on the BUBU.\n\nProfessor Barrabas Rudolph Minsky is up to his elbows in the machine, tinkering away.\n\n\"Really, though,\" the BUBU says, \"I've gained 1.451 tons since this morning. I really ought to do a jumping jack or two.\"\n\n> You talk to Renee\n[Picture number 11 here.]\n\n\"Hey there.\"\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Want some of these snickerdoodles?\"\n3) \"Okay, I should go!\"\n\n> 2\n[\"Want some of these snickerdoodles?\"]\n\n\"Oh, gosh, yes,\" Renee says, taking a handful. \"Nearly dying makes you pretty hungry, huh?\"\n\n1) \"What's that you're reading? Does the professor have an eye for good science fiction?\"\n2) \"Okay, I should go!\"\n\n> 2\n[\"Okay, I should go!\"]\n\n\"See ya!\"\n\nThis circular room is ultramodern, like something from twenty years in the future. The sleek, smart-looking furniture is a symphony in avocado, orange, and mustard-yellow. There are exits set into the wooden paneling to the southwest and northwest, and another exit past a small entry foyer to the east. A spiral staircase leads up, and a gaping exhaust vent leads down.\n\nRenee Finch is plopped in a comfortable-looking easy chair, leafing through a leather-bound book.\n\n> You talk to Professor\n[Picture number 10 here.]\n\n\"Ah, greetings again, my young chum.\"\n\n1) \"I have a question about the Brain Guzzlers.\"\n2) \"I'm ready to go. Launch the BUBU!\"\n3) \"I guess I won't bother you any more right now!\"\n\n> 2\n[\"I'm ready to go. Launch the BUBU!\"]\n\nNodding grimly, the professor helps you into the pilot's seat of the \"spaceship.\" \"May God have mercy on our souls,\" he says.\n\nMary Jane gives you a kiss on the cheek. \"Good luck, Bonnie!\" Then she taps a few buttons and the dome slowly opens overhead. Machinery grinds as the BUBU rises into the air.\n\nA glittering sea of stars surrounds you. Below, you see the last flickering lights of Canyonville glinting off huge dark shapes. The town seems to undulate like an ocean of living ink. The few buildings you can see, in the scattered light from  fires and sparkling electric lines, aren't much more than shells. There's the ruins of the diner. Over there, the one remaining wall of the haunted house sways in the breeze. The last of the police station crumbles as you watch.\n\nFrom the south, a wave of Brain Guzzlers rolls over the line of tanks. You can hear faint shouts and bursts of futile gunfire. One enormous Guzzler is slowly oozing over the Beat Barn. Another probes the base of the cliff with its tendrils.\n\n\"They look mean, Dave,\" the BUBU remarks, \"but I was made to\nfight tough stains!\n\n1) Fire the BUBU.\n\n> 1\n[Fire the BUBU.]\n\nWith a terrifying crack, light lances from the tip of the BUBU, fingers of electricity raking the sky like crude scratches carved into filmstock .The Brain Guzzlers begin to quiver, then to shrivel, sputting into loose piles like deflating party balloons. In minutes, it is over. The string is pulled, and Canyonville's remaining brains will remain unguzzled.\n\n\"You did it!\" a voice chirps from beneath you. You look down to see Mary Jane looking up at you, Jenny by her side, their hands clasped together and their hair whipped by the mountain wind.\n\nThe professor stands behind them, staring thoughtfully off into some unknown future. \"The way I see it,\" he muses, \"we may never know why they came here, where they came from, or where they went. We may never know, and we may never be ready to know! All I know is that every year of my life I become more convinced that not only do we not know what we don't know, we also don't know what we do know. These are the things that come when man tampers in heavens--we, with our Sputniks and our weather balloons, we've opened the door and laid out the welcome mat. Dare we really shirk our responsibility when our guests arrive. Dare we?\"\n\nIndeed, those words are full of wisdom. But though the future is uncertain, you've brought about a brighter today, and a brighter today is the first step to a brighter tomorrow.\n\n...\n\nJimmy Johnson was rescued, alive, well, and of normal size, some eight thousand miles away in a lifeboat, with no memory of where he had been or how his brain came to be returned to him."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, spells, fantasy, magic, Zork]\n\nYou are in a strange location, but you cannot remember how you got here. Everything is hazy, as though viewed through a gauze...\n\nYou are on a path through a blighted forest. The trees are sickly, and there is no undergrowth at all. One tree here looks climbable. The path, which ends here, continues to the northeast.\n\nA hellhound is racing straight toward you, its open jaws displaying rows of razor-sharp teeth.\n\n[Author's Note: Sorcerer, the second of a spellbinding fantasy series in the tradition of Zork, takes you on a magical tour through the darker side of Zorkian enchantment. Your journey begins with a cryptic diary - the last trace of the now-vanished Belboz the Necromancer, grand and powerful leader of the Guild of Enchanters. It is feared that Belboz is in thrall to evil sorcery. If so, the very existence of the Circle of Enchanters could be forfeit. To rescue the kingdom and locate your mentor in the treacherous mists of time, you must gain the power and cunning of a true Sorcerer.]\n\n> Go upward\nYou are on a large gnarled branch of an old and twisted tree.\n\nA giant boa constrictor is slithering along the branch toward you!\nThe hellhound leaps madly about the base of the tree, gnashing its jaws.\n\n> Inventory\nYou are empty-handed.\n\nThe snake begins wrapping itself around your torso, squeezing the life out of you...\n\n...and a moment later you wake up in a cold sweat and realize you've been dreaming.\n\nYour frotz spell seems to have worn off during the night, and it is now pitch black.\n\n> Inventory\nYou are carrying:\na spell book\n\n> You read the book\nThough it is dark, the magic writing of your spells casts enough light that you can read them.\n\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> Spells\nThe gnusto, rezrov, and frotz spells are yours forever. Other than that, you have no spells memorized.\n\n> Frotz book\nThere is an almost blinding flash of light as the spell book begins to glow! It slowly fades to a less painful level, but the spell book is now quite usable as a light source.\n\nYour Quarters, in the bed\nThis is your chamber in the Hall of the Guild of Enchanters, with a doorway to the west. A private chamber is a great privilege, especially for an Enchanter as young as yourself, but how many Enchanters can say they defeated the infamous Krill?\n\n> You learn the izyuk\nUsing your best study habits, you learn the izyuk spell.\n\n> Go west\nHallway (you are flying)\nRooms lie to the east and west from this north-south corridor. A heavy wooden door, currently closed, leads north.\nTacked to the doorframe of your room is a note, hurriedly scribbled on parchment.\n\n> You examine note\n\"I have taken the apprentices into town to shop for the Guild picnic. I tried rousing you, but you seemed deep asleep. By the way, have you seen Belboz anywhere? It's not like him to leave without telling someone -- but then, he's been acting pretty odd of late.\n\n-- Frobar\"\n\nYou settle gently to the ground.\n\n> Go north\nThe heavy wooden door is closed.\n\n> Go north\nThe meeting place of the Circle of Enchanters is a large, round room with a high domed ceiling. A table occupies the center of the room. Engraved on the wall is a list of tenets, the Guild's code of honor. The only door, at the southernmost point of the perimeter, is open.\n\n> You read the tenets\nThe first tenet states that Enchanters may never use their talents to aid evil. The second points out that an Enchanter's duty is to the Guild and to the Kingdom, not to the individual. Lesser tenets include rules for conducting votes at meetings, guidelines for passing dishes at Guild banquets, and penalties for revealing the Guild's secret handshake.\n\n> Go west\nThe personal chamber of Belboz, who presides over the Circle of Enchanters, is appointed with a beautiful woven wall hanging, an exotic morgia plant, and a wide darkwood desk crafted by the artisans of Gurth. The hallway lies to the east.\nPacing back and forth on a perch in the corner is Belboz's prized pet parrot, native to the jungles of Miznia.\n\n\"Squawk! Now where can I hide this key? Squawk!\"\n\n> You examine the desk\nThe desk has one drawer which is closed.\n\nYou are now a bit thirsty.\n\n\"Squawk! Now where can I hide this key? Squawk!\"\n\n> You open the drawer\nOpening the desk drawer reveals a tiny box, an infotater, and a journal.\n\n\"Squawk! This tea is cold! Get me another cup. Squawk!\"\n\n> Examine box\nThere is writing on the lid of the box.\n\n\" MAGIC AMULET\n\nits owner, the brighter it may\nglow. Ideal for leaving with\nyour loved ones if you go on\na long and hazardous journey.\n\n-> BELBOZ THE NECROMANCER\n\nFrobozz Magic Amulet Company.\"\n\n\"Squawk! This tea is cold! Get me another cup. Squawk!\"\n\n> You open it\nOpening the tiny box reveals a magic amulet.\n\nYou are now a bit hungry.\n\n> You get AMULET\nYou are now wearing the magic amulet.\n\n\"Squawk! This tea is cold! Get me another cup. Squawk!\"\n\n> You look at the infotater\nLike most infotaters, this one has several windows and a rotating data wheel. It is leather-bound and beautifully illustrated. (NOTE: This is the infotater included in your game package.)\n\n> You look at the journal\nIt's closed and sealed with a lock.\n\n> Rezrov journal\nThe journal seems to bear a spell protecting it against the simple rezrov spell.\n\nThe Guild Hall doorbell chimes."
    },
    {
        "text": "[Themes: Zorkian, Fantasy]\n\n> You describe your surroundings\nThe personal chamber of Belboz, who presides over the Circle of Enchanters, is appointed with a beautiful woven wall hanging, an exotic morgia plant, and a wide darkwood desk crafted by the artisans of Gurth. The hallway lies to the east.\nPacing back and forth on a perch in the corner is Belboz's prized pet parrot, native to the jungles of Miznia.\nThe desk drawer contains:\na tiny box\nan infotater\na journal\n\n> You look at the plant\nYou see nothing special about the morgia plant.\n\nYou are now somewhat thirsty.\n\n\"Squawk! You should never have let down your mindshield, you doddering old Enchanter. Squawk!\"\n\n> You look at wall hanging\nIt is a beautiful piece of local handiwork, given to Belboz by the grateful townspeople after his (admittedly showy) pyrotechnical destruction of the evil giant Amathradonis. The hanging is affixed to the wall at its upper corners.\n\n> You look behind the wall hanging\nAs you move the tapestry, a key falls out from behind it and lands on the floor.\n\n\"Squawk! You should never have let down your mindshield, you doddering old Enchanter. Squawk!\"\n\n> You take the key\nTaken.\n\n> Unlock journal\n(with the small key)\nNo spell would help with that!\n\nYou are now somewhat hungry.\n\n> You unlock the journal with the small key\nNo spell would help with that!\n\n\"Squawk! Where did I leave my spectacles? Squawk!\"\n\n> You open the journal with the key\nYou must tell me how to do that to a journal.\n\n\"Squawk! Now where can I hide this key? Squawk!\"\n\n> You read the journal\n(taking the journal first)\nIt's closed and sealed with a lock.\n\n\"Squawk! Belboz, the Circle is waiting for you. Squawk!\"\n\n> You put the key in the journal\nYou can't do that.\n\nYou are now quite thirsty.\n\n> Open journal\n(with the key)\nThe journal springs open.\n\n\"Squawk! Where did I leave my spectacles? Squawk!\"\n\n> Open journal\nThe journal is already open!\n\n\"Squawk! This tea is cold! Get me another cup. Squawk!\"\n\n> You read the journal\nYou skim through the pages of the journal, a combination diary and notebook. Most of the notations, written in Belboz's familiar flowing script, deal with meetings of the Circle and business of the Guild.\n\nThere is one interesting entry toward the end of the book. Belboz refers to an ancient and evil force known simply as Jeearr, a demon whose powers could endanger the Circle and possibly the entire kingdom. He has decided to conduct some dangerous exploratory experiments, operating alone to shield the Circle from the perils involved.\n\nThe last three entries are strange and frightening -- written in a hand quite different from that of Belboz, and in a language totally unfamiliar to you.\n\nOn the inside cover is an inscription, written in a light script, which reads \"Current code: dorn\".\n\n> You go to the east\nRooms lie to the east and west from this north-south corridor. A heavy wooden door, currently open, leads north.\nTacked to the doorframe of your room is a note, hurriedly scribbled on parchment.\n\n> Go south\nRooms lie to the east and west from this north-south corridor. A large marble archway to the south leads into an open area.\n\n> You go south\nThis is the entrance lobby of the Guild Hall. Befitting the status and wealth of the Guild, the lobby is finished with polished Antharian marble, inlaid with intricate patterns of silver leaf. To the north is a wide arch, and smaller openings flank the area on the eastern and western sides, as well as the northeastern and northwestern corners. A narrow stair leads downward. Through another arch to the south, you can see the entrance steps and the main road into town.\nAffixed to the southern arch is an ornate brass receptacle, intended for use by messengers.\n\n> You look in the receptacle\nOpening the receptacle reveals an issue of Popular Enchanting.\n\nYou are now quite hungry.\n\n> You read the popular Enchanting\nThis month's cover story is about Belboz! Other stories relate the explosion of spell scroll manufacturers, and the coming shakedown in the magic potion industry. The address label on the cover reads:\n\n\"Z5 ACCAR256 4-964\nHall of the Guild of Enchanters\nVillage of Accardi-By-The-Sea\nLand of Frobozz\"\n\nYou are now very thirsty.\n\n> Go west\nThis is a closet for storage. The only exit is east.\nAmong the provisions here is a small ochre-colored vial, closed and labelled with tiny lettering.\nThere is a calendar here (providing light).\nThere is a depleted matchbook here.\n\n> You read vial\n(taking the ochre vial first)\n\n\"BERZIO POTION\n(obviate need for food or drink)\"\n\n> You open vial\nOpening the ochre vial reveals ochre potion.\n\n> Drink potion\nThe potion was completely tasteless. You no longer feel hungry and thirsty, though.\n\n> You look at the calendar\nThe calendar is for the current year, 957 GUE, and bears many stunning pictures: the marble mines of Antharia, the sand dunes of the Kovalli Desert, ancient Fort Griffspotter, and the giant infotater factories of Borphee. A legend reads \"Best wishes for a leak-less year, from the Accardi Plumbers Guild.\"\n\n> You look at the matchbook\nThe matches are all gone, but there is some printing on the inner cover.\n\n> You read the matchbook\n(taking the depleted matchbook first)\n\"Amazing Vilstu Potion!\n\nGet by without breathing! Amaze your\nfriends! Be the first person on the\nblock to own some!\n\nmailbox. Our shipping department will\nuse the latest in temporal travel\ntechniques to insure that your potion\narrives the same day you order it!\n(Orders received before noon will\narrive the day before you order).\"\n\n> You get the matchbook\nYou already have it.\n\n> You put the matchbook in the receptacle\nDone.\n\n> You go northwest\nThis is a large hall where the Guild's young apprentices live and study as they strive to achieve a seat on the Circle. You think back to the days when you occupied these quarters. The apprentices are gone, having accompanied Frobar into town to shop. You can leave to the southeast.\n\n> Go southeast\nThis is the entrance lobby of the Guild Hall. Befitting the status and wealth of the Guild, the lobby is finished with polished Antharian marble, inlaid with intricate patterns of silver leaf. To the north is a wide arch, and smaller openings flank the area on the eastern and western sides, as well as the northeastern and northwestern corners. A narrow stair leads downward. Through another arch to the south, you can see the entrance steps and the main road into town.\nAffixed to the southern arch is an ornate brass receptacle, intended for use by messengers.\nThe receptacle contains:\na depleted matchbook\n\n> Go northeast\nThis is a sparsely furnished living area for the servants of the Guild. None are in sight; presumably they are out doing their daily errands. You can leave to the southwest.\n\n> You go east\nThis is a study chamber for members of the Guild. Usually, there would be several elder Enchanters patiently training novices, but no one is here at the moment. The only exit is west.\nLying open on a stand in one corner is a heavy volume, probably a copy of the Encyclopedia Frobizzica.\nThe servants have been lax lately, for a scroll is lying among the dust in the corner.\n\n> You read Encyclopedia\nIt would take days to read the entire encyclopedia. A better idea would be to read about specific persons or things.\n\n> You look up the dorn in Encyclopedia\nThe spot where the entry should be is blank, as though the text were magically excised or transported to some other location.\n\n> You look up the rezrov in Encyclopedia\nA spell produced by SoftSpel.\n\n> You look up the borphee in Encyclopedia\nThe capital and biggest city in Frobozz, and the center of the spell scroll and infotater industries. The port of Borphee is the busiest on the Flathead Ocean.\n\n> You look up Belboz in Encyclopedia\nThere is a small entry about Belboz, mentioning that he is the Guildmaster of the Accardi Chapter of the Guild of Enchanters, and has served three terms as kingdomwide Secretary of the Guild.\n\n> You read scroll\nThe scroll reads \"meef spell: cause plants to wilt\".\n\n> Gnusto meef\nYour spell book begins to glow softly. Slowly, ornately, the words of the meef spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You go to the west\nThis is the entrance lobby of the Guild Hall. Befitting the status and wealth of the Guild, the lobby is finished with polished Antharian marble, inlaid with intricate patterns of silver leaf. To the north is a wide arch, and smaller openings flank the area on the eastern and western sides, as well as the northeastern and northwestern corners. A narrow stair leads downward. Through another arch to the south, you can see the entrance steps and the main road into town.\nAffixed to the southern arch is an ornate brass receptacle, intended for use by messengers.\nThe receptacle contains:\na depleted matchbook"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, spells]\n\n> Go downward\nYou are in the basement of the Guild Hall. A steep, narrow stair leads upward from the southwest corner.\nAt the far end of the cellar, draped in cobwebs, is a large trunk. At each corner of its lid is a button: a black button with a picture of a star, a gray button depicting the moon, a red button illustrated with a bloody knife, and a purple button engraved with a royal crown. In the center of the lid is a white button picturing a dove in flight.\n\n> Rezrov trunk\nThe lid bulges outward for a moment.\n\n> You read the scroll\n(taking the moldy scroll first)\nThe scroll reads \"aimfiz spell: transport caster to someone else's location\". The spell seems very long and extremely complicated.\n\n> Gnusto aimfiz\nYour spell book begins to glow softly. In a spectacular effort of magic, the powers of the gnusto spell attempt to copy the aimfiz spell into your book, but the spell is too long, too complicated, and too powerful. The glow fades, but fortunately the moldy scroll remains intact.\n\n> Y.\nYou are in a strange location, but you cannot remember how you got here. Everything is hazy, as though viewed through a gauze...\n\nYou are on a path through a blighted forest. The trees are sickly, and there is no undergrowth at all. One tree here looks climbable. The path, which ends here, continues to the northeast.\n\nA hellhound is racing straight toward you, its open jaws displaying rows of razor-sharp teeth.\n\n> You wake up\nAs you wake up, Frobar sticks his head in the door and invites you shopping. When you return late that evening, you find the Guild Hall sacked, and many fellow Enchanters slaughtered. Servants of evil, teeth smeared with blood, fall upon you as well. A menacing voice echoes about the room. \"Pathetic Enchanters ... Who can save you now?\"\n\nSome days it just doesn't pay to wake up.\nYour score is 0 of a possible 400, in 0 moves. This puts you in the class of Charlatan.\n\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game? (Type RESTART, RESTORE, or QUIT):\n\n> You wait for a while\nTime passes...\n\nThe hellhound reaches you and tears you apart with its powerful teeth.\n\n...and a moment later you wake up in a cold sweat and realize you've been dreaming.\n\nYour frotz spell seems to have worn off during the night, and it is now pitch black.\n\n> Frotz book\nThere is an almost blinding flash of light as the spell book begins to glow! It slowly fades to a less painful level, but the spell book is now quite usable as a light source.\n\nYour Quarters, in the bed\nThis is your chamber in the Hall of the Guild of Enchanters, with a doorway to the west. A private chamber is a great privilege, especially for an Enchanter as young as yourself, but how many Enchanters can say they defeated the infamous Krill?\n\n> Go west\nRooms lie to the east and west from this north-south corridor. A heavy wooden door, currently closed, leads north.\nTacked to the doorframe of your room is a note, hurriedly scribbled on parchment.\n\n> Go south\nRooms lie to the east and west from this north-south corridor. A large marble archway to the south leads into an open area.\n\n> You get all\nochre vial: Taken.\ncalendar: Taken.\ndepleted matchbook: Taken.\n\n> You go east\nAffixed to the southern arch is an ornate brass receptacle, intended for use by messengers.\n\n> Open receptacle\nOpened.\n\n> You put the matchbook in the receptacle\nDone.\n\n> Drink potion\nThe potion was completely tasteless.\n\n> Go west\nThe personal chamber of Belboz, who presides over the Circle of Enchanters, is appointed with a beautiful woven wall hanging, an exotic morgia plant, and a wide darkwood desk crafted by the artisans of Gurth. The hallway lies to the east.\nPacing back and forth on a perch in the corner is Belboz's prized pet parrot, native to the jungles of Miznia.\n\n> You look behind the hanging\nAs you move the tapestry, a key falls out from behind it and lands on the floor.\n\n\"Squawk! Where did I leave my spectacles? Squawk!\"\n\n> You get the key\nTaken.\n\n> You open the drawer\nOpening the desk drawer reveals a tiny box, an infotater, and a journal.\n\n> You open the box\nOpening the tiny box reveals a magic amulet.\n\n> You get AMULET\nYou are now wearing the magic amulet.\n\n\"Squawk! Now where can I hide this key? Squawk!\"\n\n> Open journal\n(with the key)\nThe journal springs open.\n\n\"Squawk! You should never have let down your mindshield, you doddering old Enchanter. Squawk!\"\n\n> You read the journal\n(taking the journal first)\nYou skim through the pages of the journal, a combination diary and notebook. Most of the notations, written in Belboz's familiar flowing script, deal with meetings of the Circle and business of the Guild.\n\nThere is one interesting entry toward the end of the book. Belboz refers to an ancient and evil force known simply as Jeearr, a demon whose powers could endanger the Circle and possibly the entire kingdom. He has decided to conduct some dangerous exploratory experiments, operating alone to shield the Circle from the perils involved.\n\nThe last three entries are strange and frightening -- written in a hand quite different from that of Belboz, and in a language totally unfamiliar to you.\n\nOn the inside cover is an inscription, written in a light script, which reads \"Current code: rotgrub\".\n\n> Drop journal\nDropped.\n\nThe Guild Hall doorbell chimes.\n\n\"Squawk! This tea is cold! Get me another cup. Squawk!\"\n\n> You drop the key\nDropped.\n\n\"Squawk! Where did I leave my spectacles? Squawk!\"\n\n> You go to the west\nHelistar is one of the foremost members of the Circle, and this is her private chamber.\nAmong Helistar's possessions is a scroll, new and shiny.\n\n> You read the scroll\nThe scroll reads \"gaspar spell: provide for your own resurrection\".\n\n> Gnusto gaspar\nYour spell book begins to glow softly. Slowly, ornately, the words of the gaspar spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Go east\nThis is the room of Frobar the Enchanter. There isn't much here in the way of furnishings, Frobar being a pretty dull kind of guy.\n\n> You look in the receptacle\nOpening the receptacle reveals an orange vial, and an issue of Popular Enchanting.\n\n> Gnusto meef\nYou must have a legible spell scroll in your hands before the gnusto spell will work on it.\n\n> You read the scroll\n(taking the dusty scroll first)\nThe scroll reads \"meef spell: cause plants to wilt\".\n\n> Gnusto meef\nYour spell book begins to glow softly. Slowly, ornately, the words of the meef spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Go west\nAffixed to the southern arch is an ornate brass receptacle, intended for use by messengers."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, spells]\n\n> Go downward\nYou are in the basement of the Guild Hall. A steep, narrow stair leads upward from the southwest corner.\nAt the far end of the cellar, draped in cobwebs, is a large trunk. At each corner of its lid is a button: a black button with a picture of a star, a gray button depicting the moon, a red button illustrated with a bloody knife, and a purple button engraved with a royal crown. In the center of the lid is a white button picturing a dove in flight.\n\n> You get the scroll\nTaken.\n\n> You read the book\nThe meef spell (cause plants to wilt).\nThe gaspar spell (provide for your own resurrection).\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> You check what you're carrying\nYou are carrying:\na moldy scroll\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\nan ochre vial\na spell book (providing light)\n\n> You read ochre\n\"BERZIO POTION\n(obviate need for food or drink)\"\n\n> You drop ochre\nDropped.\n\n> You read the orange\n\"VILSTU POTION\n(obviate need for breathing)\"\n\n> You go south\nA tiny warning nymph appears, floating in the air next to your ear. \"There's no one else here,\" it reminds you, \"so you'd better not leave just now. Bye!\" It winks at you before vanishing.\n\n> Aimfiz belboz\nAs you cast the spell, the moldy scroll vanishes!\n\nAfter a momentary dizziness, you realize that your location has changed, although Belboz is not in sight...\n\nYou are on a path through a blighted forest. The trees are sickly, and there is no undergrowth at all. One tree here looks climbable. The path, which ends here, continues to the northeast.\n\nA hellhound is racing straight toward you, its open jaws displaying rows of razor-sharp teeth.\n\n> You learn the gaspar\nUsing your best study habits, you learn the gaspar spell.\n\n> Gaspar yourself\nA sense of peace of mind passes over you.\n\n> Wait\nTime passes...\n\nThe hellhound reaches you and tears you apart with its powerful teeth.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" A look of consternation crosses the angel's face. \"According to the records, you're to be resurrected in your local Guild Hall. But that's quite far, and I've had a rough day. How about Egreth Castle instead, hmmm?\" Being disembodied, you find it difficult to object, and a moment later you are among the...\n\nYou are amongst the ruins of an ancient castle. A winding stairway leads up to a crumbling turret, and a dark passage leads downward. A path heads through the rubble to the west.\n\n> You look at what you're carrying with you\nYou are carrying:\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\nan ochre vial\na spell book (providing light)\n\n> Go upwards\nThis is the only turret of the castle still standing. It affords a marvelous view of a meadow to the west, and beyond that a twisted forest. To the north is a mighty fortress which stands atop a cliff where a turbulent river pours into an ocean. The ocean stretches out of sight to the east. A spiralling staircase leads downward.\n\n> You look at Ocean\nThe ocean lies far below you."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fantasy, spells, magic]\n\n> Go downward\nThis is the dark and dank dungeon of the ruined castle. There's probably a torture chamber nearby. You can go east, northeast, or upward. A small opening leads down as well.\n\n> Go northeast\nIn the center of the room is a deep pit filled with countless bones, an indication of the brutality of dungeon life. There are exits south and southwest. High above you is a small opening in the ceiling.\n\n> Search bones\nThey're at the bottom of the pit."
    },
    {
        "text": "> You go downwards\nDo you really want to add your bones to the others in the pit?\n\n> You examine AMULET\nA blue jewel hangs from a long golden chain. The jewel is glowing dimly.\n\n> You go south\nThis is a large and well-equipped torture chamber. These were very popular in castles of several centuries ago, but are somewhat out of fashion now. There are exits to the west and north.\nSitting near one of the torture devices is an indigo vial, labelled in tiny letters.\n\n> You read the indigo\n(taking the indigo vial first)\n\n\"FLAXO POTION\n(exquisite torture)\"\n\n> You look at the devices\nAll the usual torture devices are here, all quite mean and deadly looking.\n\n> You go west\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> You look at the moat\nThe water is murky, and lily pads cover most of the surface. Dark shapes swim about below the surface.\nThe bridge continues to creak.\n\n> You learn the pulver\nUsing your best study habits, you learn the pulver spell.\nThe bridge continues to creak.\n\n> Pulver moat\nThe moat dries up, leaving vicious-looking creatures flopping around in puddles. Immediately, the castle's automatic moat-filler turns on, and refills the moat.\nThe bridge continues to creak.\n\n> Go west\nYou are in the center of a barren field. To the east is the turret of a ruined castle, and from the northeast comes the sound of rushing water.\n\nA swarm of bloodsucking locusts appears on the horizon.\n\n> You go west\nTo the west, a path enters the blighted woods, which stretch out of sight. A signpost stands beside another path leading north, and to the east is a wide meadow. At the base of the signpost is a slimy hole leading down.\n\n> You read the signpost\n\" *** !!! >>> WARNING <<< !!! ***\nThis path is protected by a\nMagic Mine Field\ninstalled by the\nFrobozz Magic Mine Field Company\n\nYou are beginning to tire.\n\n> You go upwards\nYou are on a large gnarled branch of an old and twisted tree.\n\nA giant boa constrictor is slithering along the branch toward you!\n\n> You learn the izyuk\nUsing your best study habits, you learn the izyuk spell.\n\n> Go north\nUnfortunately, one of the properties of magic mine fields is their ability to blow you up even if you're floating above them. Kaboom!!!...\n\n (Type RESTART, RESTORE, or QUIT):\n\n> You learn the gaspar\nUsing your best study habits, you learn the gaspar spell.\nThe bridge continues to creak.\n\n> Gaspar yourself\nA sense of peace of mind passes over you.\nThe bridge continues to creak.\n\n> Go west\nYou are in the center of a barren field. To the east is the turret of a ruined castle, and from the northeast comes the sound of rushing water.\n\nA swarm of bloodsucking locusts appears on the horizon.\n\n> You go west\nTo the west, a path enters the blighted woods, which stretch out of sight. A signpost stands beside another path leading north, and to the east is a wide meadow. At the base of the signpost is a slimy hole leading down.\n\n> You look at the hole\nYou see nothing special about the opening.\n\nYou are beginning to tire."
    },
    {
        "text": "> Go down\nYou have entered a shadowy pit full of nooks and crannies. From every direction you hear the hissing of vipers and the irregular clicking of giant beetles. Light spills down from above, and a small crack leads further downward into darkness."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy, Zork]\n\n> Go down\nThis is a moist room whose walls are thick with moss and lichens. A small hole leads up and a rocky passage leads south.\n\n> You take the moss\nIt would take more magic than you've got!\n\n> You examine AMULET\nA blue jewel hangs from a long golden chain. The jewel is glowing dimly.\n\n> Swing amulet\nWhoosh!\n\n> You go to the south\nYou are standing in the center of an enormous crater, strewn with debris. Several points around the perimeter look climbable.\n\n> You look at the debris\nYou see nothing special about dust and debris.\n\nYou are feeling tired.\n\n> Climb crater\nPlease use compass directions for movement.\n\n> You go west\nThis is a strip of land to the east of a gaping chasm. You might try jumping across, but I'd advise against it. A wide crater lies to the east.\n\n> You learn the izyuk\nUsing your best study habits, you learn the izyuk spell.\n\n> You go to the west\nYou fly easily across the chasm...\n\nBare Passage (you are flying)\nThis is a featureless tunnel, narrowing to the west. To the east is a deep gorge, probably too wide to jump across.\n\n> Go west\nElbow Room (you are flying)\nThe tunnel turns a corner here. You could go either north or east.\n\nYou settle gently to the ground.\n\n> You go to the north\nThis is a tall room flooded with light from an unseen source. The only exit is south.\nGrowing in the center of the room is a tree, thick with foliage. As though to disprove the ancient adage, every branch, bow, and twig has a zorkmid coin growing on it.\n\nYou are getting more and more tired.\n\n> You get the zorkmid coin\nAs you pluck the first zorkmid, the tree shimmers and vanishes! (I guess it was just an illusion.) You are left holding a solitary zorkmid coin.\n\n> You look at it\nThe coin pictures a man with an incredibly flat head, wearing a gaudy crown.\n\n> Sleep\nAh, sleep! It's been a long day and rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind. Time passes as you snore blissfully.\n\nYou sleep uneventfully, awake refreshed, and rise to your feet.\n\n> You go south\nThe tunnel turns a corner here. You could go either north or east.\n\n> You go east\nThis is a featureless tunnel, narrowing to the west. To the east is a deep gorge, probably too wide to jump across.\n\n> Go east\nYou fly easily across the chasm...\n\nEdge of Chasm (you are flying)\nThis is a strip of land to the east of a gaping chasm. You might try jumping across, but I'd advise against it. A wide crater lies to the east.\n\n> You go east\nCrater (you are flying)\nYou are floating near the center of an enormous crater, strewn with debris. Several points around the perimeter look climbable.\n\nYou settle gently to the ground.\n\n> Go south\nThis is a meandering north-south tunnel. A side passage leads to the southwest.\n\n> You go south\nYou have entered a large room whose walls are covered with intricate carvings. The largest and most striking carving, on the southern wall, is of a huge sleeping dragon! A winding tunnel leads north.\n\n> You go to the southwest\nThis looks like the entrance to a run-down amusement park, no longer gaudy with lights and glitter. A sign above the entrance proclaims \"Welcome to Bozbarland - The Entertainment Capital of the Empire.\" The park lies to the west and a tunnel leads northeast.\n\n> Go west\nYou bounce off an invisible barrier. A moment later a gnome appears, dressed in a gaudy plaid outfit. \"Admission to the park is only one zorkmid. What a bargain, chum, eh?\"\n\n> You give the zorkmid to the gnome\n\"Okay, you can go through now, bub. Enjoy your trip to Bozbarland.\" The gnome vanishes as suddenly as he appeared.\n\n> Go west\nYou are at the eastern end of a long midway. The park entrance lies to the east, and rides lie to the north and south.\n\n> You go north\nSomething about this place seems to soak up all light, so that it is quite dark. You can see vague shapes swaying about in the darkness.\n\nSomething slithers across your foot.\n\n> You wait for a while\nTime passes...\n\nA deep-throated chuckle echoes about the room.\n\n> You wait awhile\nTime passes...\n\nSomething slithers across your foot.\n\n> You wait awhile\nTime passes...\n\nA roller coaster car zooms past, almost knocking you over!\n\n> You go south\nYou are at the boarding platform of a fast-moving flume, flowing off beyond your view. A small plaque hangs nearby. The midway is visible to the north. A log boat sits at the platform, beckoning you to enter.\n\n> You enter boat\nAs you enter the log boat, it lurches away from the platform and is carried swiftly away by the current of the flume. An amusement park nymph appears for a moment, warning you not to leave the log boat during the course of the ride.\n\n> You wait for a while\nTime passes...\n\nThe flume is wide here, and straight as an arrow. The ride is quite relaxing.\n\n> You wait\nTime passes...\n\nYou enter a stretch of sharp, winding curves! Spray dashes your face as you are tossed about the log boat!\n\n> You wait\nTime passes...\n\nThe twists and turns are left behind as you approach the mouth of a dark tunnel.\n\n> You wait\nTime passes...\n\nThe flume winds through a tunnel whose walls are black as coal. You pass an opening which provides a brief glimpse of troglodytes digging and hauling coal.\n\n> Wait\nTime passes...\n\nThe log boat leaves the tunnel and passes through a series of rapids, shooting straight toward jagged rocks and then veering away at the last moment!\n\n> You wait\nTime passes...\n\nMagically, the flume flows uphill here! The current slows as the boat climbs and climbs...\n\n> You wait\nTime passes...\n\nYou reach the crest of the flume's final drop. You can see swirling white water below!\n\n> Wait\nTime passes...\n\nThe log boat plunges down into the swirling waters at the base of the slope! Huge splashes of water spray off in every direction, but amazingly you stay dry!\n\n> You wait\nTime passes...\n\nThe boat floats serenely around a final turn and pulls up to the boarding platform.\n\n> You wait\nTime passes...\n\n> You read the plaque\n\"Constructed by the Frobozz Magic Flume Company.\"\n\n> You go north\nYou are at the eastern end of a long midway. The park entrance lies to the east, and rides lie to the north and south.\n\n> You go north\nYou are at the boarding platform of a huge roller coaster, sprawling above and around you in every direction. A small plaque hangs nearby. The midway is visible to the south. A car sits at the platform, beckoning you to enter.\n\n> You read the plaque\n\"Constructed by the Frobozz Magic Roller Coaster Company.\"\n\n> You enter the car\nAs you enter the car, it rolls away from the platform in a gentle curve. An amusement park nymph appears for a moment, warning you not to leave the car during the course of the ride.\n\n> You wait\nTime passes...\n\nThe car, propelled by some unseen force, rolls up a huge incline. The crest grows tantalizingly closer.\n\n> You look\nRoller Coaster, in the car\n\nYou reach the crest, the highest point of the roller coaster! The park is laid out beneath you like a map; the lights of the midway, the booths of the arcade, the sparkling blue ribbon of water that must be the flume. In the distance is a wide crater. The sounds and smells of the park seem distant, and time feels suspended for a moment."
    },
    {
        "text": "> Look around\nRoller Coaster, in the car\n\nThe breath is swept from your lungs as the car begins diving, seemingly straight downward. You rise from the seat as the ground rushes closer! At the last moment, the car swings upward, and your stomach settles in your ankles.\n\n> You wait awhile\nTime passes...\n\nThe car zips through a series of wild turns and sharp drops. Wooden roller coaster supports whiz past, inches from your head!\n\n> Wait\nTime passes...\n\nThis section of track is shaped like a corkscrew, and as the car hurtles forward it turns upside down almost every second. It is impossible to tell up from down, as the ground seems to spin around you.\n\n> You wait for a while\nTime passes...\n\nThe car shoots into a rapid climb, which gets progressively slower and steeper. Your heart beats wildly as the track begins to swing back above you, and you realize that you are entering a giant loop!\n\n> Wait\nTime passes...\n\nAs you reach the highest point of the loop, you hang completely upside-down for a brief moment. The blood rushes to your head as the ground suspended \"above\" you like a canopy. Then, you hurtle down the far side of the loop with breakneck speed!\n\n> You wait\nTime passes...\n\nThe roller coaster speeds out of the loop and into a tunnel, which seems to run through the middle of a haunted house! Wispy ghosts and ghoulish skeletons brush past you.\n\n> Wait\nTime passes...\n\nThe car zooms out into daylight, and glides to a stop at the boarding platform.\n\n> Go south\nThis is a huge tent filled with hectic noise, blinking lights, and the smell of frying food. Near the exit is a game booth lined with prizes. The concept of the game seems to be bashing cute little mechanical bunnies with a rubber ball as they hop around a little artificial meadow.\nA hawker stands within the booth, studying you through half-closed eyes.\n\"C'mon, pal!\" cries the hawker from the game booth. \"Try your luck!\" He holds the ball out toward you.\n\n> You enter the booth\nThe hawker pushes you away.\n\n> You throw the ball at the bunny\nYour throw is way off! This game is harder than it looks. The hawker, leering, retrieves the ball.\n\"C'mon, pal!\" cries the hawker from the game booth. \"Try your luck!\" He holds the ball out toward you.\n\n> You go north\nThe hawker yells after you, \"Hey buddy, come back with that ball!\"\n\nEntrances lead north, west and south, and the rest of the midway lies to the east.\n\n> You go to the west\nThis is a large, plush room, slightly neglected.\nStanding on one side of the room is an odd machine, with a three-section display and a large lever on the side.\n\n> You pull the lever\nPing!\nA clove of garlic appears in the first section of the display.\nPing!\nA hot pepper sandwich appears in the second section of the display. Ping!\nA pot of gold appears in the third section of the display.\n\n> You pull the lever\nPing!\nA noisome stew appears in the first section of the display.\nPing!\nA hot pepper sandwich appears in the second section of the display. Ping!\nA pot of gold appears in the third section of the display.\n\n> You pull lever\nPing!\nA clove of garlic appears in the first section of the display.\nPing!\nA hot pepper sandwich appears in the second section of the display. Ping!\nA clove of garlic appears in the third section of the display.\n\n> You read the book\nThe meef spell (cause plants to wilt).\nThe gaspar spell (provide for your own resurrection).\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> You learn the vezza\nUsing your best study habits, you learn the vezza spell.\n\n> Vezza\nYou see a pile of pure-white blocks, engraved with runes of power. Each block has a word written on it. A moment later, the vision fades.\n\n> Go east\nEntrances lead north, west and south, and the rest of the midway lies to the east.\n\nYou are beginning to tire.\n\n> You learn the pulver\nUsing your best study habits, you learn the pulver spell.\n\n> Pulver flume\nIn order to prevent damage to public life and property, flumes are protected against this sort of prank.\n\n> You go south\nThis is a huge tent filled with hectic noise, blinking lights, and the smell of frying food. Near the exit is a game booth lined with prizes. The concept of the game seems to be bashing cute little mechanical bunnies with a rubber ball as they hop around a little artificial meadow.\nA hawker stands within the booth, studying you through half-closed eyes.\n\n> You learn the yomin\nUsing your best study habits, you learn the yomin spell.\n\nYou are feeling tired.\n\n> Yomin hawker\nThe hawker is thinking about finding a good stogie, whatever that is.\n\n> You go north\nThe hawker yells after you, \"Hey buddy, come back with that ball!\"\n\nEntrances lead north, west and south, and the rest of the midway lies to the east.\n\n> You go to the west\nThis is a large, plush room, slightly neglected.\nStanding on one side of the room is an odd machine, with a three-section display and a large lever on the side.\n\n> You pull lever\nPing!\nA clove of garlic appears in the first section of the display.\nPing!\nA pot of gold appears in the second section of the display.\nPing!\nA pot of gold appears in the third section of the display.\n\n> You pull the lever\nPing!\nA pot of gold appears in the first section of the display.\nPing!\nA pot of gold appears in the second section of the display.\nPing!\nA pot of gold appears in the third section of the display.\nPing! Ping! Ping! Ping! Ping! Ping!\nAn unbelievable torrent of zorkmid coins pours out of the machine -- far more than the machine could possibly contain! You are buried and crushed under the huge mass of coins.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\nYou are getting more and more tired.\n\n> You check your inventory\nYou are carrying:\na rubber ball\nan indigo vial\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\nan ochre vial\na spell book (providing light)\nWith a scream of splintering wood, part of the drawbridge collapses and spills you into the moat. You are immediately set upon by alligators and piranhas.\n\n (Type RESTART, RESTORE, or QUIT):"
    },
    {
        "text": "> You look around\nThis is a large, plush room, slightly neglected.\nStanding on one side of the room is an odd machine, with a three-section display and a large lever on the side.\n\n> Go north\nYou are at the boarding platform of a huge roller coaster, sprawling above and around you in every direction. A small plaque hangs nearby. The midway is visible to the south. A car sits at the platform, beckoning you to enter.\n\nYou are getting more and more tired.\n\n> You read the plaque\n\"Constructed by the Frobozz Magic Roller Coaster Company.\"\n\n> Sleep\nAh, sleep! It's been a long day and rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind. Time passes as you snore blissfully.\n\nYou dream of an idyllic scene in the country, a picnic of wood-sprites and dryads. You awaken and stand.\n\n> You enter the car\nAs you enter the car, it rolls away from the platform in a gentle curve. An amusement park nymph appears for a moment, warning you not to leave the car during the course of the ride."
    },
    {
        "text": "> You look around\nRoller Coaster, in the car\n\nThe car zips through a series of wild turns and sharp drops. Wooden roller coaster supports whiz past, inches from your head!"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic]\n\n> You look around\nRoller Coaster, in the car\n\nThis section of track is shaped like a corkscrew, and as the car hurtles forward it turns upside down almost every second. It is impossible to tell up from down, as the ground seems to spin around you.\n\n> Hurl\nWhat do you want to hurl?"
    },
    {
        "text": "[Themes: Zorkian, Fantasy]\n\n> You look at your surroundings\nRoller Coaster, in the car\n\nThe car shoots into a rapid climb, which gets progressively slower and steeper. Your heart beats wildly as the track begins to swing back above you, and you realize that you are entering a giant loop!"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy, magic]\n\n> Look around\nRoller Coaster, in the car\n\nAs you reach the highest point of the loop, you hang completely upside-down for a brief moment. The blood rushes to your head as the ground suspended \"above\" you like a canopy. Then, you hurtle down the far side of the loop with breakneck speed!"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, spells]\n\n> Look around\nRoller Coaster, in the car\n\nThe roller coaster speeds out of the loop and into a tunnel, which seems to run through the middle of a haunted house! Wispy ghosts and ghoulish skeletons brush past you."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork, spells]\n\n> You look at your surroundings\nRoller Coaster, in the car\n\nThe car zooms out into daylight, and glides to a stop at the boarding platform.\n\n> You examine AMULET\nA blue jewel hangs from a long golden chain. The jewel is glowing brightly.\n\n> Swing amulet\nWhoosh!\n\n> You read the spells\nWhich spells do you mean, the meef spell, the gaspar spell, the gnusto spell, the vezza spell, the pulver spell, the izyuk spell, the yomin spell, the rezrov spell, or the frotz spell?\n\n> You read the book\nThe meef spell (cause plants to wilt).\nThe gaspar spell (provide for your own resurrection).\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> You learn the yomin\nUsing your best study habits, you learn the yomin spell.\n\n> Yomin hawker\nThe hawker is thinking about finding a good stogie, whatever that is.\n\n> You go north\nThe hawker yells after you, \"Hey buddy, come back with that ball!\"\n\nEntrances lead north, west and south, and the rest of the midway lies to the east.\n\n> You go north\nYou are at the boarding platform of a huge roller coaster, sprawling above and around you in every direction. A small plaque hangs nearby. The midway is visible to the south. A car sits at the platform, beckoning you to enter.\n\n> Wait\nTime passes...\n\nYou reach the crest, the highest point of the roller coaster! The park is laid out beneath you like a map; the lights of the midway, the booths of the arcade, the sparkling blue ribbon of water that must be the flume. In the distance is a wide crater. The sounds and smells of the park seem distant, and time feels suspended for a moment.\n\n> You jump\nThis was not a safe place to try jumping. You should have looked before you leaped.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> You learn the izyuk\nUsing your best study habits, you learn the izyuk spell.\n\nYou reach the crest, the highest point of the roller coaster! The park is laid out beneath you like a map; the lights of the midway, the booths of the arcade, the sparkling blue ribbon of water that must be the flume. In the distance is a wide crater. The sounds and smells of the park seem distant, and time feels suspended for a moment.\n\n> Izyuk yourself\nYou fly out of the car, and immediately splat into one of the structural cross-beams of the roller coaster.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\nWith a scream of splintering wood, part of the drawbridge collapses and spills you into the moat. You are immediately set upon by alligators and piranhas.\n\n (Type RESTART, RESTORE, or QUIT):\n\n> Go northeast\nYou are at the northeastern rim of a gigantic crater, the result of some ancient explosion. A wide underground highway, which ends at the crater's edge, leads northeast.\n\n> You go to the northeast\nThe road curves here, heading east and southwest.\n\n> Go east\nThis is a wide road winding away to the east and west, perhaps a relic of the Great Underground Empire you read about in history class. A passage leads up to the north.\n\n> You go east\nYou have reached a toll gate which spans the highway.\nA fat old gnome with a long white beard is sleeping soundly just outside the toll booth. His loud snores echo around the caverns.\n\n> You go to the east\nA sturdy toll gate blocks the highway.\n\n> Rezrov gate\nThe gate flies open, waking the gnome, who leaps up and slams it closed again. \"Hey! This is a toll gate! Nobody gets through here without paying the one zorkmid toll. Not nobody, not no how.\"\n\n> Yomin gnome\nYou don't have the yomin spell committed to memory!\n\n\"Well?\" asks the gnome, tapping impatiently. \"You've interrupted my nap. Are you going to pay the toll, or not?\"\n\n> You learn the yomin\nUsing your best study habits, you learn the yomin spell.\n\n\"Well?\" asks the gnome, tapping impatiently. \"You've interrupted my nap. Are you going to pay the toll, or not?\"\n\n> Yomin gnome\nThe thoughts of the gnome seem evenly divided between getting money from you and getting back to sleep.\n\n\"Well?\" asks the gnome, tapping impatiently. \"You've interrupted my nap. Are you going to pay the toll, or not?\"\n\n> Ascend\nYou are amongst the ruins of an ancient castle. A winding stairway leads up to a crumbling turret, and a dark passage leads downward. A path heads through the rubble to the west.\n\n> You go west\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\nThe bridge continues to creak.\n\n> Go northeast\nYou are on a muddy bank of a fast-moving river, full of sharp rocks and foaming rapids, flowing to the southwest. The ground is soft and eroded, and continually threatens to dump you into the turbulent waters. A field lies to the southwest, and a trail leads southeast along the bank.\n\n> You go to the south-east\nYou are at the entrance to Fort Griffspotter, which lies to the east. A trail leads along the river bank to the northwest.\n\n> Go east\nYou are at the center of a level field inside the fort. Entrances to rooms around the perimeter lie in several directions.\nA tattered flag, apparently that of ancient Quendor, still flies atop a mighty flagpole in the center of the field.\n\n> You get the flag\nThe flag is way above you at the top of the flagpole!\n\n> You get the flag\nThe flag is still way above you at the top of the flagpole!\n\n> Go upward\nIf you want to climb the flagpole, just say so.\n\nYou settle gently to the ground.\n\n> You climb the flagpole\nThat sort of thing went out of fashion years ago.\n\n> Shake flagpole\nYou can't take it; thus, you can't shake it!\n\n> Lower flag\nThe flag is lowered to the ground.\n\n> You examine the flag\nAs you fiddle with the flag, an aqua vial drops from a hidden pocket and falls to the ground.\n\n> You get vial\nYou're holding too many things already.\n\n> You wear the flag\nWho do you think you are, Abbie Hoffman?\n\n> You check your inventory\nYou are carrying:\na flag of Quendor\na rubber ball\nan indigo vial\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\nan ochre vial\na spell book (providing light)\n\n> You examine the aqua\nIt's closed.\n\n> You read the aqua vial\n\"FOOBLE POTION\n(increase muscular coordination)\"\n\n> You examine the flag\nThe tattered flag displays the brown and gold of ancient Quendor.\n\n> You drop the flag\nDropped.\n\n> You read indigo\n\"FLAXO POTION\n(exquisite torture)\"\n\n> You read orange\n\"VILSTU POTION\n(obviate need for breathing)\"\n\n> You go to the north\nThis was a barracks for the battalion stationed in this fort. You could leave to the south, or to the southeast.\n\n> Go southeast\nThis is a battlement with a view of a river to the north and an ocean to the east. Openings northwest, west, and southwest lead to other parts of the fort.\nA magnificent cast-iron cannon stands atop the battlement. Its wide, shallow barrel points toward the ocean, as though daring enemy ships to approach.\n\n> You look in cannon\nLying at the bottom of the barrel is a pile of identical scrolls!\n\n> You go southwest\nOnce the armory for the fort, this room has been picked clean by vandals and soldiers of fortune. Exit north or northeast.\n\n> Go north\nYou are at the center of a level field inside the fort. Entrances to rooms around the perimeter lie in several directions.\nThere is an ochre vial here.\nA flag displaying the brown and gold of ancient Quendor is lying here. There is a flagpole here.\n\n> Go west\nYou are at the entrance to Fort Griffspotter, which lies to the east. A trail leads along the river bank to the northwest.\n\nYou are beginning to tire.\n\n> You go northwest\nYou are on a muddy bank of a fast-moving river, full of sharp rocks and foaming rapids, flowing to the southwest. The ground is soft and eroded, and continually threatens to dump you into the turbulent waters. A field lies to the southwest, and a trail leads southeast along the bank.\n\n> Go northeast\nYou'd never survive the rapids.\n\n> Go northeast\nYou fly across the river's surface. Suddenly, a downdraft plunges you into the swirling rapids!\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> Pulver river\nThe river dries up, leaving only a few puddles between the rocks! It's now safe to climb down into the river bed.\n\n> Go northeast\nYou are on the bed of an evaporated river. Fish splash helplessly in tiny puddles. The bed leads northwest and southeast. A climb up the southwest bank is possible. To the northeast is a dark cave, hollowed out by years of rushing water.\n\n> Go northwest\nThe river bed to the northwest is a pool covered with algae and other scum. The bed to the southeast is slightly drier. The banks are too tall and steep to climb here.\n\nA trickle of water begins flowing down the center of the river bed.\n\n> Go southeast\nThe river bed ends here at a steep cliff, where the river once plunged over a waterfall. Below the falls, in the distance, is a large sea, covered with haze. The bed continues northwest, but the banks here are unclimbable. Atop the southwestern bank stands a proud fortress.\n\nA wall of water comes rushing down the river bed! You are smashed into jelly against the rocks.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> Go northeast\nThis is a hollow area under the northeast bank of the river. The floor rises away from the mouth of the cave, which is at its southwest end. A dark hole leads downward at the far end of the cave.\nLying in the corner, in a pile of bat guano, is a scroll.\nThere is an amber vial here.\n\n> You get the scroll\nYou're holding too many things already.\n\n> You read the scroll\nThe scroll reads \"fweep spell: turn caster into a bat\".\n\nThere is a roar of water from outside the cave. The lower part of the cave, near the mouth, fills with a pool of swirling water!\n\n> Gnusto fweep\nYou must have a legible spell scroll in your hands before the gnusto spell will work on it.\n\nYou are feeling tired.\n\n> You check your inventory\nYou are carrying:\nan aqua vial\na rubber ball\nan indigo vial\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\na spell book (providing light)\n\n> You read the issue\nThis month's cover story is about Belboz! Other stories relate the explosion of spell scroll manufacturers, and the coming shakedown in the magic potion industry. The address label on the cover reads:\n\n\"Z5 ACCAR256 4-964\nHall of the Guild of Enchanters\nVillage of Accardi-By-The-Sea\nLand of Frobozz\"\n\n> Sleep\nAh, sleep! It's been a long day and rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind. Time passes as you snore blissfully.\n\nYou dream of dancing penguins in formal dress. One has a particularly nice tuxedo and a cane with a gold top. You awaken and stand.\n\n> Gnusto fweep\nYour spell book begins to glow softly. Slowly, ornately, the words of the fweep spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You read vial\nWhich vial do you mean, the amber vial, the aqua vial, the indigo vial, or the orange vial?\n\n> You read the amber\n\"BLORT POTION\n(ability to see in dark places)\"\n\n> Pulver water\nThe water recedes for a moment, then swirls back.\n\n> You look\nThis is a hollow area under the northeast bank of the river. The floor rises away from the mouth of the cave, which is at its southwest end. The mouth is filled with a pool of swirling water. A dark hole leads downward at the far end of the cave.\nThere is an issue of Popular Enchanting here.\n\n> You go to the southwest\nEntering that swirling, turbulent pool looks very dangerous."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy]\n\n> Go downward\nIn the center of the room is a deep pit filled with countless bones, an indication of the brutality of dungeon life. There are exits south and southwest. High above you is a small opening in the ceiling.\n\n> You go to the west\nDrawbridge (you are flying)\n\n> Go west\nMeadow (you are flying)\n\nYou settle gently to the ground.\n\nA swarm of bloodsucking locusts appears on the horizon.\n\n> You go northeast\nOops! A section of the bank gives way and you tumble into the river. The current dashes you against the rocks.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\n> Go west\nA swarm of bloodsucking locusts appears on the horizon.\n\n> You go northeast\nOops! A section of the bank gives way and you tumble into the river. The current dashes you against the rocks.\n\n (Type RESTART, RESTORE, or QUIT):\n\n> You learn the izyuk\nUsing your best study habits, you learn the izyuk spell.\n\nThe locusts are much closer now, blotting out the sun like a black storm cloud.\n\n> Izyuk yourself\nYou are now floating serenely in midair.\n\nThe locusts swarm over you and pick you clean to the bones.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\n> Izyuk yourself\nYou are now floating serenely in midair.\n\nThe locusts are much closer now, blotting out the sun like a black storm cloud.\n\n> You go northeast\nRiver Bank (you are flying)\n\n> Go southeast\nFort Entrance (you are flying)\n\nYou settle gently to the ground.\n\n> You go east\nA flag displaying the brown and gold of ancient Quendor is lying here. There is an ochre vial here.\nThere is a flagpole here.\n\n> You go to the east\nA magnificent cast-iron cannon stands atop the battlement. Its wide, shallow barrel points toward the ocean, as though daring enemy ships to approach.\nThe cannon contains:\na pile of identical scrolls\n\n> You put the guano in the cannon\nWhen you drop the guano into the barrel, the scrolls sprout feet and spill out of the cannon, dashing away in every direction! A single ordinary scroll is left sitting at the bottom of the barrel.\n\n> You read it\nThe scroll reads \"yonk spell: augment the power of certain spells\". The spell seems very long and extremely complicated.\n\n> You go southwest\nOnce the armory for the fort, this room has been picked clean by vandals and soldiers of fortune. Exit north or northeast.\n\n> You go north\nYou are at the center of a level field inside the fort. Entrances to rooms around the perimeter lie in several directions.\nA flag displaying the brown and gold of ancient Quendor is lying here. There is an ochre vial here.\nThere is a flagpole here.\n\n> Go northwest\nRiver Bank (you are flying)\nYou are on a muddy bank of a fast-moving river, full of sharp rocks and foaming rapids, flowing to the southwest. The ground is soft and eroded, and continually threatens to dump you into the turbulent waters. A field lies to the southwest, and a trail leads southeast along the bank.\n\n> Go southwest\nMeadow (you are flying)\nYou are in the center of a barren field. To the east is the turret of a ruined castle, and from the northeast comes the sound of rushing water.\n\nYou settle gently to the ground.\n\nA swarm of bloodsucking locusts appears on the horizon.\n\n> You open aqua\nOpening the aqua vial reveals aqua potion.\n\n> You drink the aqua potion\nThe aqua potion tasted like lime jelly, and sent vibrations through your muscles.\n\n> You throw the ball at bunny\nA tremendous pitch sends a bunny spinning. \"What an arm, kid, what an arm!\" cries the hawker. He hands you a glittering scroll from the shelf of prizes. \"Here's your prize, now scram.\"\n\n> You read the scroll\nWhich scroll do you mean, the glittering scroll or the ordinary scroll?\n\n> You read glittering\nThe scroll reads \"malyon spell: bring life to inanimate objects\".\n\n> Gnusto malyon\nYour spell book begins to glow softly. Slowly, ornately, the words of the malyon spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> You learn the malyon\nUsing your best study habits, you learn the malyon spell.\n\n> Malyon dragon\nThe dragon seems to shiver for a moment, but that is all.\n\n> Yonk\nWhat do you want to yonk?\n\n> Yonk malyon\nAs you cast the spell, the ordinary scroll vanishes!\n\nThe words of the spell glow brightly for a moment.\n\n> Malyon dragon\nThe dragon is suddenly imbued with life and begins to move. It shakes itself loose from the wall, which crumbles down upon the dragon, revealing a southward passage! The dragon howls with pain and anger. Spotting you, the dragon rears back its head, smoke billowing from its nostrils. Then, just as it seems that you will be barbecued, the dragon reverts to stone!\n\n> Go west\nYou are at the eastern end of a long midway. The park entrance lies to the east, and rides lie to the north and south.\n\nYour muscles feel limp for a moment.\n\n> Malyon bunnies\nThe bunnies hop away and the startled hawker scrambles after them. He returns a moment later, holding the again inanimate bunnies, and gives you a nasty glare.\n\n> Go south\nThe walls and ceiling of this room are covered with soot and held up by timbers which don't look very sturdy. A winding tunnel leads north. From the east comes a sulfurous odor.\n\n> You open orange\nOpening the orange vial reveals orange potion.\n\n> You drink orange POTION\nUh oh. The orange potion seems to be having an unpleasant reaction with the aqua potion. Your left ear turns into a carnivorous toad and devours your brain.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\nWith a scream of splintering wood, part of the drawbridge collapses and spills you into the moat. You are immediately set upon by alligators and piranhas.\n\n (Type RESTART, RESTORE, or QUIT):\n\n> Wait\nTime passes...\n\nYour muscles feel limp for a moment.\n\n> You go to the east\nThere is a rumbling noise behind you as the ceiling of the tunnel collapses, blocking your retreat! The air smells strongly of coal gas. Good thing you took that vilstu potion.\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\n\n> You examine the coal\nYou see nothing special about lumps of coal.\n\nSomeone slides out of the coal chute, and lands near the bin. Although your clothes are much cleaner and less torn, the stranger looks virtually like your own twin!\n\n> You examine the twin\nAlthough your clothes are much cleaner and less torn, the stranger looks virtually like your own twin! The stranger is carrying a smelly scroll.\n\nA few lumps of coal spill from the coal chute.\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 112.\" Your older self then looks at you, almost expectantly.\n\n> You read the smelly scroll\nYour twin refuses to part with the smelly scroll.\nThe scroll reads \"vardik spell: shield a mind from an evil spirit\".\n\n\"Give me...the spell book,\" croaks your older self.\n\n> You learn the yomin\nUsing your best study habits, you learn the yomin spell.\n\nA few lumps of coal spill from the coal chute.\n\nYour older self dives into the lower chute.\n\n> You learn the yomin\nUsing your best study habits, you learn the yomin spell.\n\nA few lumps of coal spill from the coal chute.\n\nSomeone slides out of the coal chute, and lands near the bin. Although your clothes are much cleaner and less torn, the stranger looks virtually like your own twin!\n\n> Yomin twin\nThe thoughts of your older self center on attempting to breathe.\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 461.\" Your older self then looks at you, almost expectantly.\n\n> Wait\nTime passes...\n\n\"Give me...the spell book,\" croaks your older self.\n\n> You give the spell book to the twin\nYour older self accepts the spell book gratefully.\n\nYour older self dives into the lower chute.\n\n> Go east\nOn the eastern wall is a heavy door with a dial set into it. There is a sign on the door. Another exit leads west, and a wall-mounted lamp provides illumination. The floor is deeply covered with lumps of coal.\n\n> You examine the dial\nSet in the door is a large circular dial which can be set to any number up to 873. It is currently set to 0.\n\n> Rezrov door\nThe door swings open as a loud alarm sounds. Laser beams criss-cross the room, glinting off the blades of the thousand flying daggers. A hundred well-armed and vicious kobolds rush into the room, swinging battle axes.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> You wait awhile\nTime passes...\n\nSomeone slides out of the coal chute, and lands near the bin. Although your clothes are much cleaner and less torn, the stranger looks virtually like your own twin!\n\n> You wait for a while\nTime passes...\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 461.\" Your older self then looks at you, almost expectantly.\n\n> Wait\nTime passes...\n\n\"Give me...the spell book,\" croaks your older self.\n\n> You set the dial to 461\nThe dial is now set to 461. You hear a click from inside the door.\n\n> You open the door\nThe door opens easily.\n\n> You go east\nYou are at the bottom of an air shaft which looks climbable. A heavy door leads west.\nLying in one corner is a coil of rope.\n\n> Go upward\nYou are deep inside a large coal mine, at the top of an air shaft. You could descend into the shaft; passages in many directions lead further into the mine.\n\nYou are beginning to tire.\n\n> Go northwest\nYou are in a winding tunnel in a large coal mine. Passages lead off in many directions.\nLying near the mouth of one passage is a wooden timber, probably left over from the construction of the mine.\n\n> You get the wood\nYour load is too heavy, especially in light of your exhaustion.\n\n> Sleep\nBefore you fall asleep you pass out from the bad air.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\nWith a scream of splintering wood, part of the drawbridge collapses and spills you into the moat. You are immediately set upon by alligators and piranhas.\n\n (Type RESTART, RESTORE, or QUIT):\n\n> Wait\nTime passes...\n\nYou are beginning to tire.\n\n> Sleep\nAh, sleep! It's been a long day and rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind. Time passes as you snore blissfully.\n\nYou dream of a river, slow and muddy. Great grey hippopotami sport there, bellowing and splashing, and twitching their ears. You awaken and stand.\n\n> Go east\nThere is a rumbling noise behind you as the ceiling of the tunnel collapses, blocking your retreat! The air smells strongly of coal gas. Good thing you took that vilstu potion.\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\n\nA few lumps of coal spill from the coal chute.\n\n> You wait\nTime passes...\n\nSomeone slides out of the coal chute, and lands near the bin. Although your clothes are much cleaner and less torn, the stranger looks virtually like your own twin!\n\nA few lumps of coal spill from the coal chute.\n\n> You give the spell book to twin\nYour older self accepts the spell book gratefully.\n\nA few lumps of coal spill from the coal chute.\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 849.\"\n\n> You wait for a while\nTime passes...\n\nYour look-alike dives into the lower chute and slides out of view.\n\n> You set dial to 849\nThe dial is now set to 849. You hear a click from inside the door.\n\n> You open the door\nThe door opens easily.\n\n> You go east\nYou are at the bottom of an air shaft which looks climbable. A heavy door leads west.\nLying in one corner is a coil of rope.\n\n> Go up\nYou are deep inside a large coal mine, at the top of an air shaft. You could descend into the shaft; passages in many directions lead further into the mine.\n\n> Go northwest\nYou are in a winding tunnel in a large coal mine. Passages lead off in many directions.\nLying near the mouth of one passage is a wooden timber, probably left over from the construction of the mine.\n\n> You go northwest\nYou are in a winding tunnel in a large coal mine. Passages lead off in many directions.\n\n> Go west\nYou are at the western end of the coal mine. A metal chute leads downward."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork]\n\n> Go downwards\nWheee!!! As you whiz down the chute, you notice a flash of orange light spilling from an opening onto the chute. You land beside an enormous bin of coal.\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\n\n> You tie the rope to the chute\nYou can't tie the rope to that.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\n> You examine the troglodyte\nYou see nothing special about the troglodyte.\n\nThe troglodyte trundles off into the coal mine.\n\n> You tie the rope to the wood\nThe rope is tied securely to the center of the beam.\n\n> You put the rope in the chute\nYou'll have to drop the beam before doing that.\n\nYou feel the vilstu potion beginning to wear off, and the air here seems pretty unbreathable.\n\n> You drop beam\nDropped.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\n> You put the rope in the chute\nThe rope hangs from the beam, into the chute.\n\nThe troglodyte trundles off into the coal mine."
    },
    {
        "text": "> Go downward\nYou climb carefully down the rope, which is slippery with coal dust, but because of your load you are unable to maintain your grip. As you whiz down the chute, you notice a flash of orange light spilling from an opening onto the chute.\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\n\n> You drop all\nbeam of wood: Dropped.\nrope: Dropped.\namber vial: Dropped.\naqua vial: Dropped.\nindigo vial: Dropped.\norange vial: Dropped.\nmagic amulet: Dropped.\ncalendar: Dropped.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\n> You get AMULET\nYou are now wearing the magic amulet.\n\nThe troglodyte trundles off into the coal mine.\n\n> You get the rope\nTaken.\n\nYou feel the vilstu potion beginning to wear off, and the air here seems pretty unbreathable.\n\n> You put the rope in the chute\nThe rope hangs from the beam, into the chute."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork, spells]\n\n> Go downwards\nYou climb carefully down the rope, which is slippery with coal dust, and soon reach a small opening off the chute. You clamber inside...\n\nThis small room has a slanted roof, presumably due to the coal chute which passes overhead. You can reenter the chute to the east.\nMounted securely to the wall is a kerosene lamp, filling the room with a serene orange glow. A small compartment at its base is open.\nThere is a shimmering scroll here.\n\n> You read it\nThe scroll reads \"golmac spell: travel temporally\".\n\nThe vilstu potion has almost completely worn off now, and I doubt you could survive here without it.\n\n> Golmac\nWhat do you want to golmac?\n\n> Golmac yourself\nAs you cast the spell, the shimmering scroll vanishes!\n\nYou are surrounded by a puff of smoke, and feel disoriented for a moment. When the smoke clears, nothing seems to have changed, except that the kerosene lamp is now closed.\n\n> You open the lamp\nOpening the kerosene lamp reveals a smelly scroll.\n\n> Go east\nWheeee!!!\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\nStanding here, looking quite confused, is someone who could only be your younger self -- an exact duplicate of you, but cleaner and breathing with considerably less difficulty. You remember seeing this scene from another viewpoint just a short while ago. Among the items carried by your \"twin\" is your spell book.\n\n> The combination is 849\nYour younger self seems surprised by your statement.\n\nYour younger self hands you your spell book!\n\n> You hit the twin\nTrying to attack your younger self with your bare hands is suicidal.\n\nA few lumps of coal spill from the coal chute.\n\nYour younger self is doing absolutely nothing.\n\nYou feel the final effects of the vilstu potion vanish. Unfortunately, coal gas is a poor substitute for oxygen.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field."
    },
    {
        "text": "> You go down\nYou fly out of the chute and land just at the edge of some water...\n\nThis is a narrow beach between a small cove to the east and tall cliffs to the west. The shore curves to the southeast and northeast. A metal chute leads up into the cliff.\n\nYou feel the final effects of the vilstu potion vanish, leaving you totally exhausted (an unfortunate side effect).\n\n> You go to the southeast\nYou are standing on the western shore of the mighty Flathead Ocean. According to legends you read at the University, the eastern shore of this ocean is a strange land of magical beings and priceless treasures. The beach to the south is blocked by a tall cliff; a lagoon shore lies to the northwest.\n\n> Go north\nYou are swimming on the surface of a calm lagoon, whose sandy floor is visible below. A curved beach surrounds this inlet on its western side."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, magic]\n\n> Go downwards\nThis is the floor of a cove off the turbulent ocean to the east. The ground slopes upward to the north, west, and south. Light filters down from the surface of the water.\nNestled among some coral is a clump of stunningly beautiful spenseweeds, waving slowly in the currents of the lagoon.\n\n> You get the spenseweeds\nNo spell would help with that!\n\n> You learn meef\nThe book is damp and the writing unreadable.\n\n> You go to the east\nWheeee!!!\n\nThis is obviously the heart of a large coal mine, illuminated by a wall-mounted lamp. The bottom of a metal coal chute is visible at the north end of the room. Another chute continues downward at the southern end. A large coal bin is overflowing, and the floor is completely covered with lumps of coal. A passage leads east, but a western passage is blocked by rubble.\nStanding here, looking quite confused, is someone who could only be your younger self -- an exact duplicate of you, but cleaner and breathing with considerably less difficulty. You remember seeing this scene from another viewpoint just a short while ago. Among the items carried by your \"twin\" is your spell book.\n\nA few lumps of coal spill from the coal chute.\n\n> The combination is 849\nYour younger self seems surprised by your statement.\n\nA few lumps of coal spill from the coal chute.\n\nYour younger self hands you your spell book!"
    },
    {
        "text": "> You go down\nYou fly out of the chute and land just at the edge of some water...\n\nThis is a narrow beach between a small cove to the east and tall cliffs to the west. The shore curves to the southeast and northeast. A metal chute leads up into the cliff.\n\nYou feel the final effects of the vilstu potion vanish, leaving you totally exhausted (an unfortunate side effect).\n\n> You learn the meef\nUsing your best study habits, you learn the meef spell.\n\n> Meef spenseweeds\nThe spenseweeds wilt away, revealing a wooden crate labelled with black lettering.\n\n> Open crate\nOpening the wooden crate reveals a grue suit, a can of grue repellent, and a brass lantern.\n\nYou won't be able to hold your breath much longer.\n\n> You get all from the crate\ngrue suit: Your load is too heavy, especially in light of your exhaustion.\ncan of grue repellent: Your load is too heavy, especially in light of your exhaustion.\nbrass lantern: Your load is too heavy, especially in light of your exhaustion.\n\nBetter get some fresh air soon!\n\nYou drop in your tracks from exhaustion.\n\nAmazing how difficult it is to sleep while swimming (and vice versa).\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> Pulver lagoon\nThe water level seems to drop an inch or two, for a moment.\n\n> You read smelly\nThe scroll reads \"vardik spell: shield a mind from an evil spirit\".\n\n> Gnusto vardik\nYour spell book begins to glow softly. Slowly, ornately, the words of the vardik spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Inventory\nYou are carrying:\na spell book (providing light)\na magic amulet (being worn)\n\n> You get all from the crate\ngrue suit: You are now wearing the grue suit.\ncan of grue repellent: Taken.\nbrass lantern: Taken.\n\nBetter get some fresh air soon!\n\n> You go west\nThis is a narrow beach between a small cove to the east and tall cliffs to the west. The shore curves to the southeast and northeast. A metal chute leads up into the cliff.\nThere is a spell book here (providing light).\n\n> You examine REPELLENT\n\"!!! FROBOZZ MAGIC GRUE REPELLENT !!!\n\nInstructions for use: Apply liberally to creature to be protected. Duration of effect is unpredictable. Use only in place of death!\n\n(No warranty expressed or implied)\"\n\n> You examine the lantern\nIt is a battery-powered lantern like those used by adventurers and explorers. It is currently off.\n\n> Go northeast\nYou are standing on the western shore of the mighty Flathead Ocean. According to legends you read at the University, the eastern shore of this ocean is a strange land of magical beings and priceless treasures. You could go north along the shore; the edge of a small cove lies to the southwest.\n\n> You go north\nA mighty river spills into the ocean here. Looking up the river valley, you see a tall waterfall. Atop a cliff, high above you, is the rampart of a fortress. A cave entrance at the base of the cliff to the west is blocked by writhing green vines.\n\n> You learn the meef\nUsing your best study habits, you learn the meef spell.\n\n> Meef vines\nYou can almost feel a wave of pain from the vines as they shrivel away.\n\n> You spray REPELLENT on yourself\nThe spray smells like a mixture of old socks and burning rubber. If I were a grue I'd sure stay clear!\n\n> Go west\nThis is a low, shadowy cave leading east to west. The rocky walls are scarred with deep claw marks.\nA pack of grues fills the room! The grues, contrary to all conventional wisdom, aren't bothered by your light in the least. They must be mutated grues, no longer fearing light! They stagger about the room, covering their noses and making horrid gurgling noises.\n\n> Go west\nThis cavern is of extraordinary size, but nevertheless crowded with powerful-looking machinery. You recognize a breeder for producing millions of the mutated grues you just passed. Other devices seem designed to aid the forces of evil while sapping magic powers of Enchanters everywhere.\n\nAt the far end of the cavern are three closed doors: a black marble door leading to the northwest, a shiny silver door heading due west, and a door of bleached white wood to the southwest.\n\n> You examine AMULET\nA blue jewel hangs from a long golden chain. The jewel is pulsing with flashes of brilliant light.\n\n> You go northwest\nThe black marble door is closed.\n\nThat horrible smell is much less pungent now.\n\n> You read book\nThe vardik spell (shield a mind from an evil spirit).\nThe malyon spell (bring life to inanimate objects).\nThe fweep spell (turn caster into a bat).\nThe meef spell (cause plants to wilt).\nThe gaspar spell (provide for your own resurrection).\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> You learn the vezza\nUsing your best study habits, you learn the vezza spell.\n\n> Vezza\nYou see a pile of pure-white blocks, engraved with runes of power. Each block has a word written on it. A moment later, the vision fades.\n\n> You open the marble door\nAs the door opens, hundreds of slime-covered tentacles stream out and drag you across the threshold...\n\nThe very walls of this room seem to soak up all light, so it seems as though you're floating in the center of an infinite void.\nHideous parasites descend upon you and tear the flesh from your bones, gnaw the eyes from your sockets, and feast upon your very brain tissue. Amazingly, you do not die, and your body regenerates itself as you await the next attack...\n\n> Wait\nYour agony is too great to concentrate on such an action.\nHideous parasites descend upon you and tear the flesh from your bones, gnaw the eyes from your sockets, and feast upon your very brain tissue. Amazingly, you do not die, and your body regenerates itself as you await the next attack...\n\n> You open the silver door\nThe door blows open, knocking you to the ground. You are pulled through the open doorway by an unseen force...\n\nThis room is filled with blinding light that stabs at your eyes. Disembodied forces suck the very thoughts from your mind, savoring each moment and growing stronger. Every second is an agonizing torment, as though thousands of raging fires were exploding in your skull, filling you with a pain greater than you could ever imagine.\n\nThat horrible smell is much less pungent now.\n\n> You wait for a while\nYour agony is too great to concentrate on such an action.\nDisembodied forces suck the very thoughts from your mind, savoring each moment and growing stronger. Every second is an agonizing torment, as though thousands of raging fires were exploding in your skull, filling you with a pain greater than you could ever imagine.\n\n> You learn the vezza\nUsing your best study habits, you learn the vezza spell.\n\nThat horrible smell is much less pungent now.\n\n> Vezza\nYou see a heated debate among the Guildmasters of the land, in the ancient Guild Hall at Borphee. A moment later, the vision fades.\n\n> You open wooden door\nThe door creaks slowly open. Within, you see someone lying as though asleep. You feel yourself drawn into the room...\n\nAn acrid stench fills this small room, which is obviously a control center for the evil experiments in the cavern outside.\nHanging on the wall is a heavy dagger, its handle encrusted with diamonds.\nBelboz is lying here, motionless but not asleep. He seems to be in some sort of trance.\n\n> Yomin belboz\nYou get a horrifying glimpse of a monstrous creature intertwined throughout Belboz's mind. You concentrate, attempting to translate this image into visual terms, and imagine a giant spider with millions of legs, wrapped around and feasting upon the body and spirit of Belboz. The image fades, and you stagger backwards.\n\n> You read the vardik\nThe spell reads \"shield a mind from an evil spirit\".\n\n> You learn the vardik\nUsing your best study habits, you learn the vardik spell.\n\n> You learn the vardik\nUsing your best study habits, you learn the vardik spell yet another time.\n\nSuddenly, Belboz's eyes flicker and he leaps to his feet. His face is unrecognizable, a twisted mask of hatred. \"Meddlesome Enchanter! I should have killed you all before I left! But better late than never...\" Lightning bolts flash toward you from his fingers, but rather than dying, you find yourself in the...\n\nThis room is filled with blinding light that stabs at your eyes.\n\n> Vardik yourself\nA feeling of warmth and protection fills your mind.\n\n> You wake belboz\nSuddenly, Belboz's eyes flicker and he leaps to his feet. His face is unrecognizable, a twisted mask of hatred. \"Meddlesome Enchanter! I should have killed you all before I left! But better late than never...\" Lightning bolts flash toward you from his fingers, but rather than dying, you find yourself in the...\n\nThis room is filled with blinding light that stabs at your eyes. Disembodied forces suck the very thoughts from your mind, savoring each moment and growing stronger. Every second is an agonizing torment, as though thousands of raging fires were exploding in your skull, filling you with a pain greater than you could ever imagine.\n\n> You read the book\nYou can't see any book here!\nDisembodied forces suck the very thoughts from your mind, savoring each moment and growing stronger. Every second is an agonizing torment, as though thousands of raging fires were exploding in your skull, filling you with a pain greater than you could ever imagine.\n\n> Stab belboz\n(with the diamond-studded knife)\nYou stab the knife time and again into Belboz, who writhes in pain, eyes bulging outward. Sickened and dizzy, you stagger back.\n\nA wispy translucent shape rises from the corpse of Belboz. It speaks in a voice so deep that your whole body seems to hear it. \"Foolish Charlatan! I am forced to flee that weak, old body -- I shall take your own, instead! Already I have sucked all knowledge, all secrets from that ancient Enchanter. Now begins an epoch of evil transcending even your worst nightmares; a reign of terror that will last a thousand thousand years!\" The shape blows toward you on a cold wind.\n\nYou feel an overwhelming sense of oppression as the demon seizes control of your mind and body. The monster reaches into the recesses of your mind, adding your hard-earned magic powers to its own. As it settles comfortably into your skull, the demon grants you a vision of the future. You see the enslaved people of the land toiling to erect great idols to Jeearr. Parents offer up their own children upon these altars, as the rivers of the land fill with blood. And YOU embody Jeearr; you are cursed by ten thousand generations of victims; your face adorns the idols. And worst of all, you remain awake and aware, a witness to horror, never sleeping, and never, ever to escape.\n\nYour score is -99 of a possible 400, in 689 moves. This puts you in the class of Menace to Society.\n\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game? (Type RESTART, RESTORE, or QUIT):\n\n> Stab belboz\n(with the diamond-studded knife)\nYou stab the knife time and again into Belboz, who writhes in pain, eyes bulging outward. Sickened and dizzy, you stagger back.\n\nA wispy translucent shape rises from the corpse of Belboz. It speaks in a voice so deep that your whole body seems to hear it. \"Foolish Charlatan! I am forced to flee that weak, old body -- I shall take your own, instead! Already I have sucked all knowledge, all secrets from that ancient Enchanter. Now begins an epoch of evil transcending even your worst nightmares; a reign of terror that will last a thousand thousand years!\" The shape blows toward you on a cold wind.\n\nJeearr surrounds you like a cloud and begins to contract. Suddenly, it strikes your invisible protection and recoils as if burned. \"No!\" it cries. \"Such a guileless Enchanter developing a mind shield?\" The cloud is thinner, the voice fainter. \"It cannot be! I cannot survive ... without a host.\" The demon roils in agony, then thins and dissipates. There is a final scream of pain, then silence.\n\nJeearr is vanquished; the kingdom is saved. But you - you are stranded in a land unknown, and your closest friend, the greatest Enchanter of his age, lies dead by your own hand. Kneeling by his blood-soaked corpse, you beg for another chance...\n\nYour score is 310 of a possible 400, in 690 moves. This puts you in the class of Member of the Circle of Enchanters.\n\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game? (Type RESTART, RESTORE, or QUIT):"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Zork, magic]\n\n> Look around\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game? (Type RESTART, RESTORE, or QUIT):\n\n> You look at what you're carrying with you\nYou are carrying:\na zorkmid coin\nan indigo vial\nan issue of Popular Enchanting\nan orange vial\na magic amulet (being worn)\na calendar (providing light)\nan ochre vial\na spell book (providing light)\n\n> You examine ochre\nIt's empty.\n\n> You wake gnome\nThe gnome stirs a bit and opens one eye, which wanders around until it notices you. He jumps to his feet. \"One zorkmid, please,\" he yells with a smile.\n\n> You give the coin to the gnome\nThe gnome pockets the coin and opens the gate. Before you can take a step the gnome falls asleep again.\n\n> You look at what you're carrying with you\nYou are carrying:\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> Go east\nA store lies to the south from this section of the east-west road. There is a sign over the entrance.\n\n> You read the sign\n\"ZEKE'S APPLIANCE STORE\n\nFrobozz Magic Appliances\"\n\n> You go south\nThis is an appliance store, apparently abandoned. The entrance lies to the north.\nThere is a floor waxer here.\n\n> Go east\nThe underground road ends here. A hovel, carved into the rock, lies to the east. To the north, wide marble stairs lead upward.\n\n> Go east\nThis is a small underground hovel. On the far wall is a small fireplace, long unused.\n\n> You look in the fireplace\nIt's empty.\n\n> You enter the fireplace\nYou hit your head against the fireplace as you attempt this feat.\n\n> You go to the north\nThis is a large entrance hall, paved with polished stone. Large doorways lead north and south.\nStanding in the center of the hall is a life-sized statue. An inscription at the base is in a familiar language.\n\n> You read the inscription\n\"I, Duncanthrax, King of Quendor and all its subjugated outlands, invite you to sample the delights of my Glass Labyrinth.\"\n\n> You go north\nThrough a breathtaking archway of glass to the east is an area glistening with reflected light. Another exit leads south.\n\n> Go east\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. It is impossible to tell if the walls and ceilings around you are glass surfaces or openings. Since you are standing on something, the floor must be solid, but it is virtually invisible and you feel as though you were walking on air.\n\n> You go north\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. It is impossible to tell if the walls and ceilings around you are glass surfaces or openings.\nUnfortunately, this section of the glass maze has no floor.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> You check what you're carrying\nYou are carrying:\na floor waxer\na zorkmid coin\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> Wax floor\nBetter put it down, first.\n\n> Wax floor\nThe waxer whirrs about the room for a minute, polishing the floor.\n\n> You go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. It is impossible to tell if the walls and ceilings around you are glass surfaces or openings.\n\n> You go to the north\nBONK! You fly right into an almost invisible wall of glass -- a stunning blow!\n\nThe izyuk spell wears off. Unfortunately, this room of the maze has no floor.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nYou are standing on the drawbridge of a ruined castle which lies to your east. The wood of the bridge looks severely rotted and creaks ominously beneath you. The moat, although an easy dive from here, looks dangerous, full of sinister shapes beneath the surface of the water. To the west is a wide field.\n\n> Examine book\nThis is the spell book given to you by Belboz after your original book was lost during your battle with Krill. There are several spells written in the book, with marginal notes about their effects and how to cast them.\n\n> Spells\nThe gnusto, rezrov, and frotz spells are yours forever. Other than that, you have no spells memorized.\n\n> You read the book\nThe meef spell (cause plants to wilt).\nThe gaspar spell (provide for your own resurrection).\nThe gnusto spell (write a magic spell into a spell book).\nThe vezza spell (view the future).\nThe pulver spell (cause liquids to become dry).\nThe izyuk spell (fly like a bird).\nThe yomin spell (mind probe).\nThe rezrov spell (open even locked or enchanted objects).\nThe frotz spell (cause something to give off light).\n\n> You go east\nBONK! You walk right into an almost invisible wall of glass -- a stunning blow!\n\n> Go east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. It is impossible to tell if the walls and ceilings around you are glass surfaces or openings.\n\nYou settle gently to the ground.\n\n> You go west\nA fat old gnome with a long white beard is sleeping soundly just outside the toll booth. His loud snores echo around the caverns.\n\n> Go northeast\nYou are on a muddy bank of a fast-moving river, full of sharp rocks and foaming rapids, flowing to the southwest. The ground is soft and eroded, and continually threatens to dump you into the turbulent waters. A field lies to the southwest, and a trail leads southeast along the bank.\n\n> Inventory\nYou are carrying:\na pile of bat guano\na floor waxer\na zorkmid coin\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> You check your inventory\nYou are carrying:\nan amber vial\na pile of bat guano\na zorkmid coin\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> Go east\nThis is a battlement with a view of a river to the north and an ocean to the east. Openings northwest, west, and southwest lead to other parts of the fort.\nA magnificent cast-iron cannon stands atop the battlement. Its wide, shallow barrel points toward the ocean, as though daring enemy ships to approach.\n\n> You put the guano in the cannon\nWhen you drop the guano into the barrel, dozens of scrolls pour out and literally run off in every direction! A single ordinary scroll is left sitting at the bottom of the barrel.\n\n> Go west\nThere is an aqua vial here.\nThere is a flagpole here.\nA flag displaying the brown and gold of ancient Quendor is lying here.\n\n> You read aqua\n(taking the aqua vial first)\n\n\"FOOBLE POTION\n(increase muscular coordination)\"\n\nYou are beginning to tire.\n\n> Sleep\nAh, sleep! It's been a long day and rest will do you good. You spread your cloak on the floor and drift off, renewing your powers and refreshing your mind. Time passes as you snore blissfully.\n\nYou sleep uneventfully, awake refreshed, and rise to your feet.\n\n> You get aqua vial\nYou already have it.\n\n> You look\nYou are at the center of a level field inside the fort. Entrances to rooms around the perimeter lie in several directions.\nThere is a flagpole here.\nA flag displaying the brown and gold of ancient Quendor is lying here.\n\n> You check what you're carrying\nYou are carrying:\nan aqua vial\nan ordinary scroll\nan amber vial\na zorkmid coin\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> You learn the fweep\nUsing your best study habits, you learn the fweep spell.\n\n> You drop all\naqua vial: Dropped.\nordinary scroll: Dropped.\namber vial: Dropped.\nzorkmid coin: Dropped.\nindigo vial: Dropped.\norange vial: Dropped.\nmagic amulet: Dropped.\nspell book: Dropped.\n\n> Fweep\nWith keen disappointment, you note that nothing has changed. Then, you slowly realize that you are black, have two wing-like appendages, and are flying a few feet above the ground. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the east.\n\n> You go to the north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north and to the west.\n\n> You go to the east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north and to the east.\n\n> Go south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the east and to the west.\n\n> You go to the south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you and to the south.\n\n> Go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north, to the south and to the west.\n\n> You go east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the east.\n\n> Go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north, to the east and to the west."
    },
    {
        "text": "[Themes: Zorkian, Fantasy]\n\n> Go downwards\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the east and to the west.\n\n> Go south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the west.\n\n> You go east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the east.\n\n> Go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north, to the east and to the west.\n\n> Go upward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north, to the south and to the east.\n\n> Go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north, to the south and to the west."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Zork]\n\n> Go downwards\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north and to the east.\n\nAfter a moment of futilely flapping your arms, you realize that the fweep spell has worn off. You fall several feet to the ground.\n\n> Fweep\nWith keen disappointment, you note that nothing has changed. Then, you slowly realize that you are black, have two wing-like appendages, and are flying a few feet above the ground. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north and to the east.\n\n> Go south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the east and to the west.\n\n> You go to the south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you and to the south.\n\n> Go upwards\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north and to the south.\n\n> Go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north and to the west.\n\n> Go east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north, to the south and to the east."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, fantasy, Zork]\n\n> Go downward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the south and to the west.\n\nAfter a moment of futilely flapping your arms, you realize that the fweep spell has worn off. You fall several feet to the ground.\n\n> Fweep\nWith keen disappointment, you note that nothing has changed. Then, you slowly realize that you are black, have two wing-like appendages, and are flying a few feet above the ground. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the south and to the west.\n\n> You go to the east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north and to the south.\n\n> Go upward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces to the north, to the south, to the east and to the west.\n\n> You go upwards\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north, to the east and to the west.\n\n> Go south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the west.\n\n> You go east\nHollow (you are flying)\nThe maze opens here onto a tiny outdoor plateau, completely surrounded by towering cliffs. The only way out is back through the dazzling archway of glass to the west.\nNear the glass arch is a small rectangular brick structure. The center of the structure is a hole about a foot wide, leading down into darkness.\nThere is a parchment scroll here.\n\n> You get the scroll\nYou're batty!\n\n> You wait awhile\nTime passes...\n\nAfter a moment of futilely flapping your arms, you realize that the fweep spell has worn off. You fall several feet to the ground.\n\n> You get the scroll\nAs you take the scroll, a deep and evil laugh rumbles around the hollow. You hear a sliding, grinding noise and turn just in time to catch a flicker of light from within the glass maze, indicating that its transparent panels have shifted around.\n\n> You read it\nThe scroll reads \"swanzo spell: exorcise an inhabiting presence\".\n\n> Fweep\nWith keen disappointment, you note that nothing has changed. Then, you slowly realize that you are black, have two wing-like appendages, and are flying a few feet above the ground. Understandably, you dropped everything you were carrying.\n\n> You examine the structure\nThe structure is about two feet on each side, and extends up from the ground about three feet. Except for a large quantity of soot around the opening, it looks a lot like a small, rectangular well.\n\n> You get the scroll\nAs you take the scroll, a deep and evil laugh rumbles around the hollow. You hear a sliding, grinding noise and turn just in time to catch a flicker of light from within the glass maze, indicating that its transparent panels have shifted around.\n\n> You put the scroll in the structure\nThe parchment scroll disappears into the shaft.\n\n> You go to the west\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. It is impossible to tell if the walls and ceilings around you are glass surfaces or openings. Since you are standing on something, the floor must be solid, but it is virtually invisible and you feel as though you were walking on air.\n\nFrom outside the maze, you hear the bellowing of a ferocious dorn beast!\n\n> Fweep\nWith keen disappointment, you note that nothing has changed. Then, you slowly realize that you are black, have two wing-like appendages, and are flying a few feet above the ground. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north and to the south.\n\nThe dorn beast rushes after you. Its ear-splitting bellowing resounds throughout the glass maze.\n\n> Go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north and to the west.\n\nThe dorn beast rushes after you. Its ear-splitting bellowing resounds throughout the glass maze.\n\n> You go south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south and to the west.\n\nThe dorn beast rushes after you. Its ear-splitting bellowing resounds throughout the glass maze.\n\n> Go east\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north, to the south and to the east.\n\nThe dorn beast rushes after you. Its ear-splitting bellowing resounds throughout the glass maze. Suddenly, the dorn-beast realizes that it is galloping through midair, and gives a surprisingly high-pitched squeal. It claws frantically at thin air, trying desperately to invent dorn beast flight. You happily notice that dorn beasts do not so much fly as plummet."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork]\n\n> Go downward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces to the north, to the south and to the east.\n\n> Go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north, to the south and to the west."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, spells]\n\n> Go down\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the south and to the east.\nA somewhat splattered corpse is sprawled across the floor.\n\n> You go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the north and to the south.\n\n> Go west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the south and to the west.\n\n> Go upward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the south, to the east and to the west.\n\n> Go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the east and to the west.\n\n> You go north\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, to the north, to the east and to the west."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magic, fantasy, Zork]\n\n> Go downward\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the north, to the south and to the west.\n\nAfter a moment of futilely flapping your arms, you realize that the fweep spell has worn off. You fall several feet to the ground.\n\n> You go to the south\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces above you, below you, to the south, to the east and to the west.\n\n> You go to the west\nInside the Glass Maze (you are flying)\nYou are inside a huge cubical maze, shimmering with light from an unseen source above. Thanks to your sonar-like bat senses, you can tell that there are surfaces below you, to the south and to the west.\n\n> You go to the west\nOutside Glass Arch (you are flying)\nThere is a spell book here (providing light).\nThere is an amulet here. The amulet's jewel is glowing.\nAn orange vial, labelled in tiny letters, is lying here.\nThere is an indigo vial here.\nThere is a zorkmid coin here.\nThere is an amber vial here.\nThere is an ordinary scroll here.\nThere is an aqua vial here.\n\n> You get all\nmagic amulet: You are now wearing the magic amulet.\norange vial: Taken.\nindigo vial: Taken.\nzorkmid coin: Taken.\namber vial: Taken.\nordinary scroll: Taken.\naqua vial: Taken.\n\n> Go south\nStanding in the center of the hall is a life-sized statue. An inscription at the base is in a familiar language.\n\n> Go south\nYou are beginning to tire.\n\n> Go east\nThe fireplace contains:\na parchment scroll\n\n> Gnusto swanzo\nYour spell book begins to glow softly. Slowly, ornately, the words of the swanzo spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scroll on which it was written vanishes as the last word is copied.\n\n> Malyon statue\nThe statue transforms into a living figure, probably a King if the royal attire is any clue. The King seems angry, and quickly settles his wrathful gaze on you. He bellows \"Guards! Throw this trespasser into the glass maze! Guards! ... GUARDS!!!\" When the guards fail to respond, the King becomes livid, his voice rises to an incoherent squeak, and flecks of foam spit from the corners of his mouth. Finally, eyes bulging with rage, he storms out of the room.\n\n> Malyon dragon\nThe dragon is suddenly imbued with life and begins to move. It shakes itself loose from the wall, which crumbles down upon the dragon, revealing a southward passage! The dragon howls with pain and anger. Spotting you, the dragon rears back its head, smoke billowing from its nostrils. Then, just as it seems that you will be barbecued, the dragon reverts to stone!\n\nYour muscles feel limp for a moment.\n\n> Inventory\nYou are carrying:\nan amber vial\nan indigo vial\nan orange vial\na magic amulet (being worn)\na spell book (providing light)\n\n> Frotz orange vial\nThere is an almost blinding flash of light as the orange vial begins to glow! It slowly fades to a less painful level, but the orange vial is now quite usable as a light source.\n\n> You give the spell book to twin\nYour older self accepts the spell book gratefully.\n\nA few lumps of coal spill from the coal chute.\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 425.\"\n\n> You go to the east\nOn the eastern wall is a heavy door with a dial set into it. There is a sign on the door. Another exit leads west, and a wall-mounted lamp provides illumination. The floor is deeply covered with lumps of coal.\n\nSomeone in the coal bin room dives into the lower chute.\n\n> You set the dial to 425\nThe dial is now set to 425. You hear a click from inside the door.\n\n> Go east\nThe heavy door is closed.\n\n> You open the door\nThe door opens easily.\n\n> You go east\nYou are at the bottom of an air shaft which looks climbable. A heavy door leads west.\nLying in one corner is a coil of rope.\n\n> Go west\nYou are at the western end of the coal mine. A metal chute leads downward.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\nYou feel the vilstu potion beginning to wear off, and the air here seems pretty unbreathable.\n\n> You put the rope in the chute\nYou'll have to drop the beam before doing that.\n\nThe troglodyte trundles off into the coal mine.\n\n> You read the scroll\n(taking the shimmering scroll first)\nThe scroll reads \"golmac spell: travel temporally\".\n\n> You read smelly\n(taking the smelly scroll first)\nThe scroll reads \"vardik spell: shield a mind from an evil spirit\".\n\nYou feel the final effects of the vilstu potion vanish. Unfortunately, coal gas is a poor substitute for oxygen.\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\n> You give the spell book to the twin\nYour older self accepts the spell book gratefully.\n\nYour disheveled \"twin\" is having difficulty breathing, but gasps, \"The combination is 202.\"\n\n> You go to the east\nOn the eastern wall is a heavy door with a dial set into it. There is a sign on the door. Another exit leads west, and a wall-mounted lamp provides illumination. The floor is deeply covered with lumps of coal.\n\nSomeone in the coal bin room dives into the lower chute.\n\n> You tie the rope to the wood\nThe rope is tied securely to the center of the beam.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\n> You put the rope in the chute\nTaken.\n\nA troglodyte trundles in and dumps a load of coal into the chute.\n\nThe rope hangs from the beam, into the chute.\n\nThe troglodyte trundles off into the coal mine.\n\nYou feel the vilstu potion beginning to wear off, and the air here seems pretty unbreathable.\n\n> You get smelly\nTaken.\n\nAs you cast the spell, the shimmering scroll vanishes!\n\nYou are surrounded by a puff of smoke, and feel disoriented for a moment. When the smoke clears, nothing seems to have changed, except that the kerosene lamp is now closed.\n\nOpening the kerosene lamp reveals a smelly scroll.\n\nThe vilstu potion has almost completely worn off now, and I doubt you could survive here without it.\n\nTaken."
    },
    {
        "text": "> Go downward\nWheeee!!!\n\nStanding here, looking quite confused, is someone who could only be your younger self -- an exact duplicate of you, but cleaner and breathing with considerably less difficulty. You remember seeing this scene from another viewpoint just a short while ago. Among the items carried by your \"twin\" is your spell book.\n\n> You wait for a while\nTime passes...\n\nYour younger self hands you your spell book!\n\nA few lumps of coal spill from the coal chute.\n\n> The combination is 202\nYour younger self seems surprised by your statement.\n\nYour younger self is moving around."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy]\n\n> Go down\nYou fly out of the chute and land just at the edge of some water...\n\nThis is a narrow beach between a small cove to the east and tall cliffs to the west. The shore curves to the southeast and northeast. A metal chute leads up into the cliff.\n\n> You drop all\nspell book: Dropped.\nsmelly scroll: Dropped.\nmagic amulet: Dropped.\n\nYou feel the final effects of the vilstu potion vanish, leaving you totally exhausted (an unfortunate side effect).\n\n> You read smelly\n(taking the smelly scroll first)\nThe scroll reads \"vardik spell: shield a mind from an evil spirit\".\n\n> Go west\nThere is a smelly scroll here.\nThere is an amulet here. The amulet's jewel is pulsing with flashes of brilliant light.\nThere is a spell book here (providing light).\n\n> You get all\nsmelly scroll: Taken.\nmagic amulet: You are now wearing the magic amulet.\nspell book: Taken.\n\n> You drop all\nspell book: Dropped.\nmagic amulet: Dropped.\n\n> You get the crate\nTaken.\n\nYou won't be able to hold your breath much longer.\n\n> You go west\nThere is an amulet here. The amulet's jewel is pulsing with flashes of brilliant light.\nThere is a spell book here (providing light).\n\n> Open crate\nOpening the wooden crate reveals a grue suit, a can of grue repellent, and a brass lantern.\n\n> You get all from the crate\ngrue suit: You are now wearing the grue suit.\ncan of grue repellent: Taken.\nbrass lantern: Taken.\n\n> You get all\nmagic amulet: You are now wearing the magic amulet.\nspell book: Taken.\n\n> Spray repellent\nThe spray stinks amazingly for a few moments, then drifts away.\n\n> You spray REPELLENT on yourself\nThe repellent is all gone.\n\n> Go southwest\nThe white wooden door is closed.\n\nThat horrible smell is much less pungent now.\n\n> You open wooden door\nThe door creaks slowly open. Within, you see someone lying as though asleep. You feel yourself drawn into the room...\n\nAn acrid stench fills this small room, which is obviously a control center for the evil experiments in the cavern outside.\nHanging on the wall is a heavy dagger, its handle encrusted with diamonds.\nBelboz is lying here, motionless but not asleep. He seems to be in some sort of trance.\n\n> You learn the swanzo\nUsing your best study habits, you learn the swanzo spell.\n\n> Vardik yourself\nA feeling of warmth and protection fills your mind.\n\n> Swanzo belboz\nA wispy translucent shape rises from the body of Belboz. It speaks in a voice so deep that your whole body seems to hear it. \"Foolish Charlatan! I am forced to flee that weak, old body -- I shall take your own, instead! Already I have sucked all knowledge, all secrets from that ancient Enchanter. Now begins an epoch of evil transcending even your worst nightmares; a reign of terror that will last a thousand thousand years!\" The shape blows toward you on a cold wind.\n\nJeearr surrounds you like a cloud and begins to contract. Suddenly, it strikes your invisible protection and recoils as if burned. \"No!\" it cries. \"Such a guileless Enchanter developing a mind shield?\" The cloud is thinner, the voice fainter. \"It cannot be! I cannot survive ... without a host.\" The demon roils in agony, then thins and dissipates. There is a final scream of pain, then silence.\n\nBelboz moans softly, and begins stirring. He sees you and rises, instantly alert. After posing a few well-chosen questions, he casts a brief but unfamiliar spell.\n\nAn instant later, your grue suit has vanished and you are standing in the Chamber of the Circle. The Circle of Enchanters is assembled. Belboz speaks. \"Once again, this young Enchanter has done a matchless service to the Guild and to the entire kingdom, displaying resourcefulness and imagination worthy of the greatest of Enchanters. I grow old, and must soon step down as Head of the Circle. But let it be known that a successor has been found.\"\n\nYour score is 400 of a possible 400, in 656 moves. This puts you in the class of Leader of the Circle of Enchanters.\n\nHere ends the second chapter of the Enchanter saga, in which, by virtue of your skills, you have been appointed as the next leader of the Circle of Enchanters. The final adventure awaits you as the Enchanter series concludes.\n\nWould you like to restart the game from the beginning, restore a saved game position, or end this session of the game? (Type RESTART, RESTORE, or QUIT):\n\n> You open indigo vial\nOpening the indigo vial reveals indigo potion.\n\n> You drink the indigo potion\nThe potion tastes like a combination of anchovies, prune juice, and garlic powder. As you finish swallowing the potion, a well-muscled troll saunters in. He whacks your head with a wooden two-by-four, grunting \"You are playing Sorcerer. It was written by S. Eric Meretzky. You will have fun and enjoy yourself.\" He repeats this action 999 more times, then vanishes without a trace.\n\n> Wax floor\nKaboom!!!...\n\n\" he asks, writing frantically in a notebook. \"I'd love to chat, but we're so busy this month.\" The angel twitches his nose, and the nothingness is replaced by...\n\nWith a scream of splintering wood, part of the drawbridge collapses and spills you into the moat. You are immediately set upon by alligators and piranhas.\n\n (Type RESTART, RESTORE, or QUIT):"
    },
    {
        "text": "[Themes: Espionage, Mystery, Science Fiction, conversation, mystery, science fiction, nonhuman protagonist, male protagonist, terraforming, Mars]\n\n\"Is this alright?\" asks the young cop. \"Do you need the lights lower, or incense, or something?\"\n\n\"This is fine. I just need to see him, ask some questions.\"\n\n\"Okay,\" he nods. \"Just buzz the buzzer when you're done.\" He leaves, pulling the metal door to with the click of a magnetic lock. Across the table from you the man stiffens, waiting for you to speak.\n\nThe six walls are metal. This is a box in which nothing happens but people talk, and fans whir air in and out to help the words move along. By the door in the north wall is a small red button that rings the buzzer for the guard, and it's smart enough to know who's pushing. This isn't a place people leave of their own accord, and they rarely come here that way either.\n\nThe man across the table from you is no different. His eyes are sagging from lack of sleep, and he is sweating just a little even though the air is regulated to be cold.\n\n> About yourself\nYou look just as you would expect to.\n\n> You examine man\nMackenzie is a broad man, with receding spiky hair and the slow march of middle-age filling out his stomach. His fingers are the only delicate thing about him, long and arachnid, somehow out of place on the ends of his bulky hands. He watches you, afraid, perhaps guarding something. He fidgets nervously.\n\n> You ask the man about the crime\n\"Poison, did they say? I have a lab, it could have been anything.\" He is jittery, his face twitching. \"She might have eaten one of my bulbs or something. I don't know why it's being called a murder.\"\n\n> Prompt man\n\"I don't know! A lab is full of poisons, that's how I work! She must have got into it.\"\n\nIt is a little difficult to follow the man's speech. His accent is thick, and the language is still unfamiliar.\n\n> You ask the man about her\nHis language is something you only started learning two weeks ago, when this crime was reported and he was put on the ship back home. You're still sufficiently rusty that there are some things (such as that) you still do not know how to say.\n\n> You ask the man about the poison\n\"I don't know! A lab is full of poisons, that's how I work! She must have got into it.\"\n\n> You ask man about the the victim\nHe flinches. \"Do you have to put it like that? She was my wife.\"\n\n> You ask the man about his wife\nHis face pales. \"She's dead, I know,\" he whispers.\n\n> What is your wife's name\n\"My name's Mackenzie. But... I guess you already know that. Yes,\" he says.\n\n> You ask the man about the language\n\"I don't know! A lab is full of poisons, that's how I work! She must have got into it.\"\n\n\"I'm monolingual; I never even learnt English. My wife used to say it made it fairer. She didn't understand what I did, but I didn't understand a word of her documents.\"\n\n> Can i call you the mac\nHe frowns, confused. It seems your two-week attendance at the language course hasn't totally paid off.\n\n> You ask the man about the documents\n\"What documents? I don't know what you're talking about,\" he replies, looking quite confused.\n\n> You ask the man about the job\n\"I'm a genetic designer. I design plants for the soil, to grow naturally. To fill up the atmosphere. I'm at the top of my field,\" he adds, nervously.\n\n> You ask the man about the confession\n\"Just because I had the lab. That doesn't mean anything.\"\n\n> You ask the man about the genetics\n\"It's my field; designing organisms. Sorry, no offence intended,\" he quails. \"I mean, I only work with plants. My company invented oxyalg.\"\n\n> You ask the man about the oxyalg\n\"Oxyalg. You know what it is. Three quarters of Mars does. It's growing us the atmosphere up there. Why are you asking this? What does it matter to... you know.\"\n\n> Prompt man\n\"It's almost finished with, then we have a little bacterial agent to release which will destroy the stuff. And that's it.\"\n\n> You keep going\nHe sighs, helplessly. \"We have a thousand tanks of bacteria ready to release, to mop up all the algae once its finished its job. If we don't do it, it'll just keep on spreading. And then it's flat-out colonisation. The only thing to slow it are the windstorms.\"\n\n> You ask the man about the windstorms\n\"The windstorms have been a problem since the atmosphere started to grow. I was working on solutions, using plants. Would you like to know how they work, is that it?\"\n\n> Continue\n\"The idea is to grow plants with some pollination that'll trigger in high winds, but with pollen redesigned to clump together in the air, act as a biological thickener. If enough is released, the air will be locally very viscous, and the wind will slow. Of course,\" he adds, \"we'd need a lot of these plants if it was ever to work. Or in strategic places. I think it's unlikely,\" he finishes. \"Whatever the papers might think.\"\n\n> You ask the man about the plants\n\"They've been a hobby for a while. I've been growing things around the house. I'm particularly proud of the bush outside the front.\"\n\n\"But just tell me,\" he says suddenly. \"Is this going to hurt me? Is it like torture?\"\n\n> Is what like torture\n\"I'm sorry,\" Mackenzie replies. \"I didn't quite follow that.\"\n\n> You ask the man about the bush\n\"That bush is one of my personal collection; I made it. Its sap is laced with a chemical that briefly sharpens your reflexes, muscle control, that sort of thing. I use it before I drive.\"\n\n> Keep going\n\"It's not illegal or anything. It's just like caffeine; that comes from plants too.\"\n\n> You ask the man about the papers\n\"I read 'The Native'. It's a hackrag, but it's the only paper in my language after all.\"\n\n> Continue\n\"There's been a lot of rubbish recently about Knassion,\" he remarks. \"It's a big thing up there.\"\n\n> You ask the man about the Knassion\n\"Knassion?\" he smiles. \"Everyone else calls it 'Genus K' like it was a codename.\" He smiles bitterly. \"It's a plant designed to reduce the windstorms.\" There is a pause, and he sighs. \"They're a problem for everyone,\" he replies. \"We've been working on it at AlgCorp. But that's not why I'm here, surely?\"\n\n> Keep going\n\"It's a plant designed to reduce the windstorms.\" There is a pause, and he sighs. \"They're a problem for everyone,\" he replies. \"We've been working on it at AlgCorp. But that's not why I'm here, surely?\"\n\n> You ask the man about AlgCorp\n\"AlgCorp. Nice enough company, too, I suppose. They gave us the house.\"\n\n> You continue\n\"AlgCorp. Nice enough company, too, I suppose. More or less the only one we've got,\" he finishes.\n\n> You ask the man about the house\n\"We've been in Olympia about ten years now. I like it. I think Laura did too.\"\n\n> Continue\n\"It's a beautiful area,\" he says wistfully. \"The long red deserts and the cracked-up horizon.\" You feel like reminding him its bone-dry sand, but refrain.\n\n> You ask the man about Laura\n\"She was American by birth, and came up here to act as a scientific interpreter. She was always gifted with languages; she picked up mine in about a month.\"\n\n> You keep going\n\"She worked as a translator,\" he says, voice shaking.\n\n> Prompt man\n\"How could I have poisoned her? I loved her!\"\n\n> You ask the man about the mars\n\"I love my planet. I've never wanted to leave it. We've managed to do without all the problems you have down here. No overcrowding, employment. It's an idyll.\"\n\n> You ask the man how did he fall in the love\nHe shakes his head. \"I wish I could talk to you in English,\" he says, \"but I never learnt.\"\n\n> You ask the man about torture\n\"Look,\" he says, his voice shaking and his fingers winding around one other like olive trees. \"I'm just a scientist. That's all. Just a scientist. You don't have to hurt me.\"\n\nThe door opens briefly and the guard appears. \"Brought you some tea, sir,\" he says politely, and brings a mug over to put on the table. Mackenzie looks startled by this appearance and is offered nothing himself. The guard leaves with a nod and a click of a magnetic lock.\n\n> You examine the tea\nThe tea is black, no sugar; the mug is white and marked \"EUPD\" below the department's badge.\n\n> You give the tea to the man\n(first taking the mug of tea)\nHe looks suspiciously at the mug. \"No, thank you.\"\n\n> You take the tea\nYou already have that.\n\n> You drink the tea\nYou sip a little of the tea.\n\n> You ask the man about the torture\n\"Look,\" he says, his voice shaking and his fingers winding around one other like olive trees. \"I'm just a scientist. That's all. Just a scientist. You don't have to hurt me.\"\n\n> You ask the man about the genus a.\n\"Genus A - alaphabax. That one didn't work because it didn't pollinate enough.\"\n\n> You ask the man about the earth\n\"The first Earth creature to spread on Mars was the ant, you know that? Building its scurrying colonies, a thousand creatures crawling on each other's backs. Just like your world here; that's waiting to come and infest mine.\"\n\n> Prompt man\n\"You can keep your planet,\" he spits. \"Let me keep mine.\"\n\n\"You can keep your planet,\" he spits. \"Let me keep mine.\"\n\n> Keep going\n\"You can keep your planet,\" he spits. \"Let me keep mine.\"\n\n> You ask the man about crime\n\"I don't know! A lab is full of poisons, that's how I work! She must have got into it.\"\n\n> You ask the man about the lab\n\"My lab? It's newly installed - only a week ago. I haven't even been in it yet. I don't even know if it's stocked; I didn't oversee the installation, we spent that weekend away. Honestly, I didn't take anything from in there.\"\n\n> You ask the man about the lab\n\"My lab? I can't detail it, I've not been there. I suppose there's something poisonous in there, I don't know.\"\n\n> You ask the man who did it\nHe is looking blank, again.\n\n> You ask the man about AlgCorp\n\"AlgCorp. Nice enough company, too, I suppose. More or less the only one we've got,\" he finishes.\n\n> You ask the man about the america\n\"I don't know much else about it. I don't speak the language, I have - I had - no interest in visiting Earth.\"\n\n> You ask man about the Earth\n\"You can keep your planet,\" he spits. \"Let me keep mine.\"\n\n> You ask the man about the europe\n\"What? I don't know... I don't really know anything about it. It's all so far from home. That's why she was doing it, impartiality, or something. Avoid bias in the language used. As though she wouldn't have a bias,\" he adds, strangely bitter.\n\n> You ask man about the face on mars\n\"Could you rephrase that?\" he says, timidly. \"I didn't quite understand.\"\n\n> You ask the man about yourself\n\"You're from the police. I know. I know all about you. It's not my field, but it's close.\"\n\n> You ask the man about the europe\n\"This is not my idea of a holiday, no.\"\n\n\"What? I don't know... I don't really know anything about it. It's all so far from home. That's why she was doing it, impartiality, or something. Avoid bias in the language used. As though she wouldn't have a bias,\" he adds, strangely bitter.\n\n> Why did you kill her\nYou think very hard, but cannot come up with the right vocabulary to say it in his language.\n\n\"But I loved her. Why would I kill the thing I love the most?\" His voice is shaking, he may even be close to tears. \"She was the beautiful... beautiful thing.\" He turns away, screwing up his eyes, his fingers curling into themselves. \"And I couldn't have killed her.\"\n\n> Prompt man\n\"You have no idea,\" he says quietly. \"You have no idea what you're saying.\"\n\n> You throw the tea at the man\nThere is no need for crude torture methods. You are more evolved than that.\n\n> You scare man\nMAN, WHY DID YOUR WIFE NEVER LOVE YOU\n\nHe has not understood your words, again.\n\nMackenzie is already quivering right down to his feet.\n\n> Threaten man\nMackenzie is already quivering right down to his feet.\n\n> You look at file\nAn A4 brown envelope marked: \"MACKENZIE CASE\". It is sealed.\n\n> You open the envelope\nYou slide a finger under the corner of the flap and tear open the envelope.\n\n> You read the file\nThe Mackenzie case file: It reads:\n\nSummary of crime: Murder - Mackenzie, Laura, 32.\nPrime suspect: Mackenzie, Doctor Yogi, husband, 41.\nDate of crime: 23.5.63\nLocation: Bubble 4563. Body found in main bedroom.\nCause of death: Poison - type unknown.\nMotive: Unknown.\n\nPlease clarify unknown variables.\n\n> Inventory\nYou are carrying:\na brown envelope (which is open)\na case file\na printed fax\na plastic card\n\n> You read the fax\nA fax-printout photograph of the body, as found by police called to the scene by Dr. Mackenzie. The woman depicted is lying on a bed, her face constricted and her fingers quite stiff and splayed. Her skin has gone a pale white, maybe nearing blue. She is fully clothed, and wearing shoes.\n\n> You examine the card\n(the plastic card)\nA standard plastic card, taken from Mackenzie's wallet, that has his house number on it: 4563.\n\n> You examine the bush\nA line of bushes growing to about waist-height which border the track for about twenty metres from the house. They are unfamiliar to you, sprawling, with a purple tinge to the leaves.\n\n> You eat the leaves\n(first taking the line of bushes)\nYou pluck a leaf from the bush with a thick snap. In response the branch moves backwards, far more than just a recoil, curling up into itself. The movement seems to disrupt other branches, sparking a wave that travels down the hedgerow in an uncoordinated squirm of fauna. It is several minutes before it is still once more; by then the leaf in your hand has leaked a fine sap as far as your wrist.\n\n> You look at what you're carrying with you\nYou are carrying:\na purple leaf\na brown envelope (which is open)\na case file\na printed fax\na plastic card\n\n> You eat the leaf\nThe leaf is tough to chew, and waxy, and taste of little until you have pulped the outer skin when a thin banana-like flavour leaks out. Eventually you cannot swallow the residue of the hide and spit it out.\n\n> You eat fax\n(first taking the printed fax)\nThat's plainly inedible.\n\n> You examine the bubble\nThe bubble is a standard home on a standard road, which runs a few hundred metres back to the west. It rises about three metres high and is made of a solid white material over which the dust and winds move quite harmlessly. There are a few windows; thick and acting as mirrors to the seas of dust. There is a door near to you, which a line of bushes lead up on either side of the track.\n\n> You open the door\nThe door is locked.\n\n> You examine the door\nThe standard design of door for one of these buildings, with two main doors and a porch between so that the atmosphere inside can be kept slightly fuller. The lock is set into the centre. The door is closed and locked.\n\n> You unlock the door with the card\n(the plastic card)\n(first taking the plastic card)\nThe doorlock beeps distantly through the thin air, and the light flicks to a pale green.\n\n> You open the door\nYou push open the door and step into the porch.\n\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\nOn the shoe rack are a pair of lady's shoes.\n\n> You look in the shoe\n(the lady's shoes)\nYou tip up one shoe, then the second, and peer inside. After a little more shaking the left is revealed to contain a small, hardy cactus spine.\n\n> You get the spine\nYou lift the spine very gingerly indeed.\n\n> You look at the spine\nA multi-barbed cactus spine, with a central point from which nine separate needles radiate outward.\n\nYou feel momentarily dizzy.\n\n> You eat the spine\nThat would hardly be wise.\n\n> You wear the shoes\nA cyan wire rack for placing shoes on. There is space for four or five pairs, and the rack is worn down, but now it is almost empty. Only one pair of shoes is in attendance.\n\n(your clothing)\nYou are already wearing it.\n\n> You examine the fan\nThe grilles are several feet square; enough to quickly vent this room if pressures demanded it.\n\n> You open the fan\nThey're just part of the walls.\n\n> Go east\nYou open the door with a soft hiss, and go through into the hallway. The lights inside come on automatically.\n\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree.\n\n> You examine the coat stand\nAn antique wooden coat-stand.\n\n> You move it\nYou are unable to.\n\n> You examine the tree\nA hardy plant, quite probably capable of growing as easily outside as in.\n\n> You take the tree\nThe tree is fairly bulky.\n\n> You examine photo\nThe photograph depicts a lake surrounded by snowy peaks; it is from Ontario or somewhere in the North American continent.\n\n> You look behind the photo\nIt is securely vacuumed-sealed to the wall.\n\n> You go east\nThe kitchen is largely uninteresting - a small functional room, a laboratory of life, with the various implements of cooking arranged around the walls. For all the advances in materials over the last thousand years; roasting, baking and boiling still work as before. Just with the addition of microwave generators and plasmacoil hobs.\n\nSo against the northwest wall, is a sink; and in one corner a freezer hums quietly to itself.\n\nThe floor is seamless bar a square of plexiplastic.\n\n> You look at the sink\nA white porcelain sink with a stud marked with a tap, built into the wall.\n\n> You examine the square\nA frosted crystal plexiplastic sheet in the centre of the floor.\n\n> You take square\nYou lift up the hinged sheet of plastic, and lay it to one side, revealing a ladder leading down into the cellar.\n\n> You open the freezer\nA blast of cold air hits you from inside. You open the freezer, revealing a shelf of food and some frozen biosamples.\n\nThe water shuts off automatically.\n\n> You examine the biosamples\nThirteen frozen biosamples stacked up on the top shelf of the freezer, happily coexisting with a frozen pizza and a chicken. They are labelled \"GENUS A\" through \"GENUS N\". Needless to say: one is missing.\n\n> You examine the genus k.\nThere is a gap where genus K should be.\n\n> You look at the Genus E.\nYou find the sample for Genus E. Its full name is written on the top: edisonia."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, Mystery, nonhuman protagonist, male protagonist]\n\n> Go downwards\nThe lights flick on as you enter the cellar.\n\nThe basement is lit by striplamps crisscrossed across the plastic ceiling, and is the only truly grubby room in the building. The floor is caked with dust and what even looks like soil; no doubt actually decomposing rubbish from various plants stored here over the years. The other clear thing about this room is that it's half the width it used to be - though the ceiling continues back there is a gleaming white wall in the way, in the centre of which is a large, forbidding door. It leads into the laboratory.\n\nSteps lead upward on one side.\n\nOn one wall is the bubble thermostat.\n\nAmongst the piles of junk filling the cellar, something stands out as though glowing. It is a black chest.\n\n> Go upward\nThe kitchen is largely uninteresting - a small functional room, a laboratory of life, with the various implements of cooking arranged around the walls. For all the advances in materials over the last thousand years; roasting, baking and boiling still work as before. Just with the addition of microwave generators and plasmacoil hobs.\n\nSo against the northwest wall, is a sink; and in one corner a freezer hums quietly to itself.\n\nThe floor is seamless bar a square of plexiplastic.\n\n> You examine the thermostat\nYou close the freezer.\n\n> D\n\nThe lights flick on as you enter the cellar.\n\nThe basement is lit by striplamps crisscrossed across the plastic ceiling, and is the only truly grubby room in the building. The floor is caked with dust and what even looks like soil; no doubt actually decomposing rubbish from various plants stored here over the years. The other clear thing about this room is that it's half the width it used to be - though the ceiling continues back there is a gleaming white wall in the way, in the centre of which is a large, forbidding door. It leads into the laboratory.\n\nSteps lead upward on one side.\n\nOn one wall is the bubble thermostat.\n\nAmongst the piles of junk filling the cellar, something stands out as though glowing. It is a black chest.\n\nThe thermostat gauge is pushed quite high.\n\n> You examine the soil\nA thin layer of rubbish, brought in from outside.\n\n> You examine the chest\nA solid metal chest, large enough to hold a ream of paper, with curved edges to frustrate hacksaws and hinges buried under a lip of moulded steel. It is held closed by a small lock at the front, which takes an ordinary key (rather than a fingerprint or a magnetic strip). On the lid is a label: \"MRS. LAURA MACKENZIE.\" Not his then, strangely; even though this is a storage box for organic material.\n\n> You search the junk\nYou rummage around for something interesting, and unearth of all things, a long hairpin.\n\n> You look at the lock\n(the black box)\nA solid metal chest, large enough to hold a ream of paper, with curved edges to frustrate hacksaws and hinges buried under a lip of moulded steel. It is held closed by a small lock at the front, which takes an ordinary key (rather than a fingerprint or a magnetic strip). On the lid is a label: \"MRS. LAURA MACKENZIE.\" Not his then, strangely; even though this is a storage box for organic material.\n\n> You open the lock with the hairpin\n(the black box with the hairpin)\nYou slide your lockpick into the lock and begin to feel for the pins of the mechanism. The design suggests there are three; perhaps you get the first in place but your hand shakes a little too much and you cannot get the third. Irritated, you finally give up.\n\n> Go west\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree.\n\n> You go to the west\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\nOn the shoe rack are a pair of lady's shoes.\n\n> Go outside\nYou open the door effortlessly with a loud hissing sound, and go through.\n\nYour car is parked at a slight angle at the end of the long drive, its nose almost poking into a purple-leaved bush. The low sun makes the red dust glow like amber into the distance. Mackenzie's bubble is to the east, its door closed. The road leads right up to it, with no front garden.\n\n> You examine the bush\nA line of bushes growing to about waist-height which border the track for about twenty metres from the house. They are unfamiliar to you, sprawling, with a purple tinge to the leaves.\n\nThe door swings silently shut and the light on the card-reader returns to red.\n\n> You take the leaves\nYou pluck a leaf from the bush with a thick snap. In response the branch moves backwards, far more than just a recoil, curling up into itself. The movement seems to disrupt other branches, sparking a wave that travels down the hedgerow in an uncoordinated squirm of fauna. It is several minutes before it is still once more; by then the leaf in your hand has leaked a fine sap as far as your wrist.\n\n> You go inside\nYou slip the card into the lock and the light flicks over to green. Then you push open the door and step into the porch.\n\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\nOn the shoe rack are a pair of lady's shoes.\n\n> Inventory\nYou are carrying:\na purple leaf\na hairpin\na cactus spine\na plastic card\na printed fax\na brown envelope (which is open)\na case file\n\n> Go east\nYou open the door with a soft hiss, and go through into the hallway. The lights inside come on automatically.\n\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, Mystery, conversation, male protagonist, terraforming, Mars, science fiction]\n\n> Go downwards\nThe lights flick on as you enter the cellar.\n\nThe basement is lit by striplamps crisscrossed across the plastic ceiling, and is the only truly grubby room in the building. The floor is caked with dust and what even looks like soil; no doubt actually decomposing rubbish from various plants stored here over the years. The other clear thing about this room is that it's half the width it used to be - though the ceiling continues back there is a gleaming white wall in the way, in the centre of which is a large, forbidding door. It leads into the laboratory.\n\nSteps lead upward on one side.\n\nOn one wall is the bubble thermostat.\n\nCooling in a corner is a black chest.\n\n> You eat the leaf\nThe leaf is tough to chew, and waxy, and taste of little until you have pulped the outer skin when a thin banana-like flavour leaks out. Eventually you cannot swallow the residue of the hide and spit it out.\n\n> You open the lock with the hairpin\n(the black box with the hairpin)\nYou slide the hairpin in and with a steady wrist and dextrous movements set the first pin, then the second, and finally the third buried deep in the mechanism. The box springs open.\n\n> You examine the chest\nA solid metal chest, large enough to hold a ream of paper, with curved edges to frustrate hacksaws and hinges buried under a lip of moulded steel. It is held closed by a small lock at the front, which takes an ordinary key (rather than a fingerprint or a magnetic strip). On the lid is a label: \"MRS. LAURA MACKENZIE.\" Not his then, strangely; even though this is a storage box for organic material.\n\n> Open chest\nThat's already open.\n\n> You look in the chest\nThe black box has got a genus K sample in it.\n\n> You take the sample\nTaken.\n\n> You examine the sample\nA yellow biosample bag containing what looks like just a handful of sunflower seeds. In black markerpen a large K has been scrawled. A label above reads: \"C/O Jasper Morpheus\" in a fine handwriting.\n\n> You open the door\nThe scanner on the laboratory door lock warms uncomfortably under your index finger, almost ready to burn - and then cools again into rough plastic. The door does not open.\n\n> Go north\nThe living room is similarly austere, with its walls all white and furniture resting in between large spaces. In the north wall opposite the doorway is a large window through which the long view of desert stretches until reaching the tooth of Mount Olympus, and the room is filled by the orange-red tinge. Another door leads east to the bedroom.\n\nAgainst one wall is a table: not exactly pristine, but hardly messy with its papers and computer.\n\nThe sofa stands out quite strikingly; it is pea-green.\n\nOn the long sofa is a newspaper.\n\nYou feel momentarily dizzy.\n\n> You examine the sofa\nThe sofa looks in good condition and pretty well made, which means almost certainly it was shipped in from Earth as the one luxury the house could afford. Simply getting it through the doors must have been a puzzle for the greatest scientific minds.\n\n> You search sofa\nThe long sofa has got a newspaper on it.\n\n> You read newspaper\nThe newspaper proclaims itself to be an issue of the single Martian-language newspaper, \"The Native\". It is, however, entirely blank below the headline and subhead: 'TOP SCIENTISTS PREDICT WINDSTORMS WILL REMAIN FOR \"ANOTHER HUNDRED YEARS\": Sources report failure of latest hope'. The date on the banner is 22.5.63.\n\nFrom somewhere to the south you hear the padding of footfalls, a drift of quiet humming, and a quiet slam.\n\n> You go west\nYou open the door, with a loud hissing sound, and go through.\n\nYour car is parked at a slight angle at the end of the long drive, its nose almost poking into a purple-leaved bush. The low sun makes the red dust glow like amber into the distance. Mackenzie's bubble is to the east, its door closed. The road leads right up to it, with no front garden.\n\n> You examine the car\nA standard car from the pool; low-slung to avoid the dust trails and wide to hug the road in the weak gravity. This one is black.\n\nThe door swings silently shut and the light on the card-reader returns to red.\n\n> You go east\nYou slip the card into the lock and the light flicks over to green. Then you push open the door and step into the porch.\n\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\nOn the shoe rack are a pair of lady's shoes.\n\n> Go north\nThe living room is designed in spacious fashion - furniture spanned neatly between smooth white walls. In the north wall opposite the doorway is a large window through which the long view of desert stretches until reaching the tooth of Mount Olympus, and the room is filled by the orange-red tinge. Another door leads east to the bedroom.\n\nAgainst one wall is a table: not exactly pristine, but hardly messy with its papers and computer.\n\nThe sofa stands out quite strikingly; it is pea-green.\n\nOn the long sofa is a newspaper.\n\n> You look at the computer\nA Mx200 notebook computer; built they say for lightness and speed, but in reality constructed to handle the flaky network connections running under the Marsian dust by devoting half their size to transmitters angled in as many directions at once at possible. As a result they're renowned for overheating.\n\n> You turn on the computer\nYou flip open the notebook. It bleeps but does not turn on - except for a small light which ignites in the corner. It is bright red but slowly starts to grow deeper in shade.\n\n> You examine the light\nThe screen is blank. A light in the top red corner is a deep maroon, and blinking.\n\n> You turn off the computer\nClick.\n\n> You take computer\nAlthough the computer is light, it has no doubt been positioned in the only place in the bubble to receive a decent data-transfer rate. Moving it, then, would be bad feng shui.\n\n> You examine papers\nThey are stamped with the seal of the European Union, and look like dossiers on various topics. You pick up the first sheet and scan for English fragments.\n\nThe top document must be new - the date is 23.5.63 and it has yet to be annotated; which is to say the whole thing is still in ProtoFrench and contains no translations. The only words you recognise in the horrendous grammatical nightmare that remains are \"colonnaque\" (colony), \"houmlla dla sciesse\" (scientists) and \"Knassion\" - which is not PF at all, but is familiar from previous debriefings all the same. It's a recent prototype piece of biotech.\n\n> You take the papers\nIt is unlikely to be useful to cart them all around.\n\n> You look out window\nThe dunes are brushed with a delicate haze of floating orange dust like the steam rising from a Spaniard's tanned back; still but for the sporadic storms that whip across the sky unchecked and unpredictable. It is dotted with a few strange plants - wide trunked cacti, large flat leaved palms that spread across the ground instead of upwards into the sky, and grass stalks that rise and bend flat at two metres high. Most are unfamiliar to your eye.\n\n> You search sofa\nThe long sofa has got a newspaper on it.\n\n> You read the newspaper\nThe newspaper proclaims itself to be an issue of the single Martian-language newspaper, \"The Native\". It is, however, entirely blank below the headline and subhead: 'TOP SCIENTISTS PREDICT WINDSTORMS WILL REMAIN FOR \"ANOTHER HUNDRED YEARS\": Sources report failure of latest hope'. The date on the banner is 22.5.63.\n\n> Go east\n(opening the bedroom door first)\nYou open the bedroom door.\n\nThe bedroom is no more personal than the rest of the house; it occurs to you that the photograph in the hallway is the only item of decoration from either of the couple who live here. Unless you count the yucca plant. A large bed fills the centre, with a nightstand by one side. There are no bookcases and no books; there is no television because there are no stations here. A doorway in the southwest wall leads to the bathroom, built into the central column of the bubble.\n\nIn the wall is a long window with a view of the endless desert.\n\nIn one corner is a large chest of drawers, on top of which is a cactus plant.\n\nBy the bedside is a glass of water.\n\n> You examine the plant\nA bulb-shaped cactus, covered little clumps of spines.\n\n> You get the spine\n(the cactus spine)\nYou already have that.\n\n> You touch the cactus\n(the cactus spine)\nThat would hardly be wise.\n\n> You touch the plant\nThe spines are sharp, and quite hardy under pressure.\n\n> You look at the chest\nA large wooden chest with many drawers.\n\n> You open the drawers\nThe interesting drawer is the bottom one - instead of clothes and the like, it contains one large cardboard folder. You lift it out onto the floor.\n\n> You open folder\nYou flip open the file.\n\n> Inventory\nYou are carrying:\na genus K sample\na hairpin\na cactus spine\na plastic card\na printed fax\na brown envelope (which is open)\na case file\n\n> You read the folder\nA plain cardboard folder, its creases a little worn.\n\nThe cardboard folder has got several photos in it."
    },
    {
        "text": "[Themes: Mystery, Science Fiction, Espionage, terraforming, nonhuman protagonist, mystery]\n\n> You look around\nThe bedroom is no more personal than the rest of the house. A large bed fills the centre, with a nightstand by one side. A doorway in the southwest wall leads to the bathroom, built into the central column of the bubble.\n\nIn the wall is a long window with a view of the endless desert.\n\nIn one corner is a large chest of drawers, on top of which is a cactus plant.\n\nBy the bedside is a glass of water.\n\nYou can also see a cardboard folder here.\n\n> You examine photos\nAround hundred photographs: on skimming through they all appear to be of Earth. Forests, trees, lakes, rivers; but also many of cities, roads, buildings, bridges, famous monuments; and a good twenty of people - crowds, a family outside a green house, another family on a boat. Some of the pictures are large - ten inches across - some have traces of tape on the back from where they were once stuck to a wall.\n\nBuried amongst the photographs is a scrawled sheet of paper.\n\n> You read the paper\nA sheet of paper covered in scribbles - nothing coherent, but not exactly doodles; rather fragments of letters and words and scattered at all angles around the edges and middle of the page, with the occasional snatch of a drawn line or a distorted margin. Something strikes you as odd which takes a minute to place: the sheet is not handwritten. It has been printed out.\n\n> You examine paper\nA sheet of paper covered in scribbles - nothing coherent, but not exactly doodles; rather fragments of letters and words and scattered at all angles around the edges and middle of the page, with the occasional snatch of a drawn line or a distorted margin. The sheet is neatly - bizarrely - printed from a computer.\n\n> Drink water\nYou take a tentative sip - it does not taste of anything strange. Your heart does not constrict, nor your breathing.\n\n> You take all\ncardboard folder: Taken.\nglass of water: Taken.\n\n> You examine the desert\nYou can almost hear her voice complaining. \"But it's so bleak,\nYogi! Can't we just hang up a painting instead?\"\n\n> Go southwest\nA tight tubular bathroom, built into the central column of the dome to give easy access to the sewage tanks. The only doorway is back out to the northeast and there isn't even a door, just a curtain across a rail. The fittings inside are perfectly standard.\n\nOn one wall is your own reflection, sketched onto the surface of a cabinet with an oil-mirror surface.\n\n> You examine the reflection\nThe cabinet is adorned with your features, only transformed into an oil painting, currently following the style of Gaughin, such that your cheeks seem quite round, almost sticking out of the glass, and your nose is cheerily shining. A small dial underneath allows this to be readjusted.\n\n> You turn the dial\nYou spin the dial randomly. The dial clinks into place at Schulz and the picture shifts appropriately.\n\n> You examine the reflection\nThe cabinet is adorned with your features, only transformed into an oil painting, currently following the style of Schulz, leaving you with a simplistic vacant look across your face. A small dial underneath allows this to be readjusted.\n\n> You look at the paper in the mirror\nIn the mirror, the sheet is white with a few scrawls, and dotted with blobs of black, as someone had split ink over a piece of schoolwork.\n\n> You turn the dial\nYou spin the dial randomly. The dial clinks into place at Monet and the picture shifts appropriately.\n\n> You look at the paper in the mirror\nThe scrawled sheet appears as a blend of cream and brown paint in the mirror, textured as a scroll.\n\n> You turn the dial to the dali\nThe dials settings are Monet, Gaughin, Picasso, Van Gogh and Schulz.\n\n> You turn the dial to Picasso\nThe dial clinks into place at Picasso and the picture shifts appropriately.\n\n> You look at the paper in the mirror\nIn the mirror the scrawl has resolved itself with pinpoint accuracy into a letter. The heading reads: \"AMERICAN DEPARTMENT FOR SOCIAL EXPANSION\". The message is short, and handwritten (and presumably, was then scanned into a computer).\n\n\"Dear Laura.\nYour reports so far are excellent, and will prove of great benefit\nas I know you are aware. But you must understand, to hear Genus K is functional is not enough, yet. We must test it ourselves, and we must be able to deploy it ourselves if anti-American agents on Mars decide to resist expansion into their colonies. You understand me.\n-- J.M.\"\n\n> You look at the curtain\nA dingy yellow curtain. Internal doors aren't used because of pressure problems, and lazy builders.\n\n> Go northeast\nThe bedroom is no more personal than the rest of the house. A large bed fills the centre, with a nightstand by one side. A doorway in the southwest wall leads to the bathroom, built into the central column of the bubble.\n\nIn the wall is a long window with a view of the endless desert.\n\nIn one corner is a large chest of drawers, on top of which is a cactus plant.\n\n> You examine the bed\nA large bed. The bed, in fact, that the body was found on, clutching at its throat. Something to do with that glass of water?\n\n> You examine the nightstand\nJust a low table by the bed.\n\n> Go west\nThe living room is designed in spacious fashion - furniture spanned neatly between smooth white walls. In the north wall opposite the doorway is a large window through which the long view of desert stretches until reaching the tooth of Mount Olympus, and the room is filled by the orange-red tinge. Another door leads east to the bedroom.\n\nAgainst one wall is a table: not exactly pristine, but hardly messy with its papers and computer.\n\nThe sofa stands out quite strikingly; it is pea-green.\n\nOn the long sofa is a newspaper.\n\n> You look under the nightstand\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree.\n\n-- You referred to something that can't be interacted with at present.\n\n> You examine papers\nThey are stamped with the seal of the European Union, and look like dossiers on various topics. You pick up the second sheet and scan for English fragments.\n\nThis one appears to be about the colonisation programme. \"Schedule for '72 appears unrealistic\" says one line. \"Scientists report the recent attempts 'Dexilille', 'Edisonia', 'Forrage' have all been failures.\" The date marked is 3.1.63. \"Expansion into Middle Africa has been mooted, again.\n\n> You examine papers\nThey are stamped with the seal of the European Union, and look like dossiers on various topics. You pick up the third sheet and scan for English fragments.\n\nAnother about colonisation, more recent (8.5.63): \"Reports on 'Knassion' appear confused. Initial reports suggested an excellent performance, about 84% of original predictions. However, current results are split, on the same experiments; some claiming rapid degeneration, others claiming the harmful side-effects of the pollenation processes.\" The final line has been underscored in red ink. \"Recommend we retrieve alternate information on the matter.\"\n\n> You examine papers\nThey are stamped with the seal of the European Union, and look like dossiers on various topics. You pick up another sheet and scan for English fragments.\n\nIt seems the sheets lower in the stack are all concerned with the North African drought crisis.\n\n> You go east\nThe kitchen is largely uninteresting - a small functional room, a laboratory of life, with the various implements of cooking arranged around the walls. For all the advances in materials over the last thousand years; roasting, baking and boiling still work as before. Just with the addition of microwave generators and plasmacoil hobs.\n\nSo against the northwest wall, no doubt backing onto the sink in the bathroom, is a sink; and in one corner a freezer hums quietly to itself.\n\nThe floor is seamless bar a square of plexiplastic.\n\n> You open the freezer\nA blast of cold air hits you from inside. You open the freezer, revealing a shelf of food and a frozen biosamples.\n\n> You examine the Genus E.\nYou skim along the row and locate the sample for Genus E. Its full name is written on the top: edisonia.\n\n> You eat the Genus E.\n(first taking the genus E sample)\nYou've no idea if they're safe to touch, even if they are sealed.\n\n> Close the freezer\nYou close the freezer.\n\n> You look at the thermostat\nThe thermostat gauge is pushed quite high.\n\n> You turn the thermostat\nIt is fixed in place.\n\n> You examine the thermostat\nThe thermostat gauge is pushed quite low.\n\n> You open the door\nThe scanner on the laboratory door lock warms uncomfortably under your index finger, almost ready to burn - and then cools again into rough plastic. The door does not open.\n\n> You open the door\nThe scanner on the laboratory door lock warms uncomfortably under your index finger, almost ready to burn - and then cools again into rough plastic. The door does not open.\n\nThe scanner on the laboratory door lock warms uncomfortably under your index finger, almost ready to burn - and then cools again into rough plastic. The door does not open.\n\n> You check your inventory\nYou are carrying:\na glass of water\na cardboard folder\na genus K sample\na hairpin\na cactus spine\na plastic card\na printed fax\na brown envelope (which is open)\na case file\n\n> You pour the water on the lock\n(the black box)\nDon't go making a mess with it.\n\n> You show the glass to the door\nInanimate. Give up.\n\n> You put the glass on scanner\nWhy waste your time putting things on the fingerprint lock?\n\n> You search the glass for the fingerpints\n-- I only got as far as wanting to search the glass of water.\n\n> You turn on the computer\nYou flip open the notebook. It bleeps but does not turn on - except for a small light which ignites in the corner. It is a deep purple.\n\n> You look at the computer\nThe screen is blank. A light in the top red corner is a deep purple, and blinking.\n\n> You turn on the computer\nIt will turn itself on as soon as it finishes cooling down, and the gauge reaches blue.\n\n> You look at the computer\nThe screen is blank. A light in the top red corner is a deep purple, and blinking.\n\n> You search the freezer\nThe bottom shelf of the freezer holds a couple of pizzas and a slab of meat in a coldbag, shipped from one of the dome-farms nearer the equatorial region. The top shelf is a line of yellow biosample bags, each air-sealed and marked in fat marker pen: \"GENUS A\", \"GENUS B\", etc.\n\n> You put the glass in the freezer\nThis freezer is traditionally only loaded with foodstuffs and pathogens.\n\n> You open the fridge\nThat's already open.\n\n> You open the car\nYou get into the car and drive away from the bubble.\n\n> You ask the man about the fingerprints\n\"Yes,\" he whines. \"It's a fingerprint lock on my print, yes, that's true. I don't know how she got in, but she must have. There's a lot of chemicals inside. I don't know how!\"\n\nIt is a little difficult to follow the man's speech. His accent is thick, and the language is still unfamiliar.\n\n> Prompt man\n\"Yes,\" he whines. \"It's a fingerprint lock on my print, yes, that's true. I don't know how she got in, but she must have. There's a lot of chemicals inside. I don't know how!\"\n\n> You ask the man about black chest\n\"What box?\" he says shakily. \"I get storage boxes through the mail often enough.\"\n\n> You ask the man about the america\n\"I've never been there. Laura spoke about it a lot. My wife. She was born there, and missed it all the time I think. Who wouldn't, out there?\"\n\n> You keep going\n\"I don't know much else about it. I don't speak the language, I have - I had - no interest in visiting Earth.\"\n\n> You ask the man about the computer\n\"The only computer I ever use is the Magga at work. My wife swears by her Notebook though.\"\n\n> You ask the man about the yucca tree\n\"My yucca!\" he exclaims, startled. \"I mean, I've got a yucca at home. It's perfectly ordinary though.\"\n\n> You ask the man about the spine\n\"I've grown a few cacti in my time. I'm a genetic designer.\" He shivers a little. \"Not the only plants with spines, of course,\" he adds.\n\n> You ask the man about the cactus\n\"I like cacti, yes. Attractive plants.\"\n\n> You ask the man about the spine\n\"I like cacti, yes.\" He shivers a little. \"Not the only plants with spines, of course,\" he adds.\n\n> You ask the man about the shoes\n\"What could I tell you about shoes?\"\n\n> You ask the man about the freezer\n\"We're not complete primitives up there, you know,\" he bridles. \"We do have a standard of living.\"\n\n\"But just tell me,\" he says suddenly. \"Is this going to hurt me? Is it like torture?\"\n\n> You continue\n\"We're not complete primitives up there, you know,\" he bridles. \"We do have a standard of living.\"\n\n> You ask the man about the colony\n\"I think my wife was looking forward to it,\" he says sourly. \"Hordes of Europeans and Americans flooding up, jabbering away in ProtoFrench and Amerimexican. I doubt native Marsian will survive myself.\" His face has gone quite stony. \"The only thing's that kept them away this long are the climate problems - the duststorms - and my company is fixing those.\"\n\n> You ask man about Jasper\n\"Why are you even bothering to ask? Morpheus, that damn sample box... I don't believe you, you know. I don't know how you're doing it - spies or police or...\"\n\nHe stops, quite suddenly, a shallow smile moving over his face. \"Of course. Your spy. This is all rubbish, isn't it? You know because you are Jasper Morpheus and you sent her that damn box yourself. Of course,\" he continues, now nodding madly, convinced of his fantasies. \"This isn't a police station at all, is it? You're not a Genetic at all! This is all just political! You think the only way you can get your hands on Knassion now that Laura's not around to pick my pocket is to get it out of me. Well you won't. If I killed her for it than I'm sure as hell not going to just hand it over to you.\" His eyes narrow. \"You can do what you like.\" And he leans back, face in a snarl.\n\n> Continue\n\"Some bastard American who wants to turn Mars into a dumping ground for anyone too poor to wash, I should think. Is that who you are? Or do you just work for him?\"\n\n> You ask the man about the spy\n\"She was a bitch, simple as that,\" he says in a voice like sulphuric acid.\n\n> You ask the man about the wife\n\"The bitch stole my work and was going to sell it to the Americans. Can you imagine how angry I was? I pick-locked open the box, and that was it.\"\n\n> Keep going\n\"The bitch stole my work and was going to sell it to the Americans. Can you imagine how angry I was? It's a wonder I didn't strangle her straight.\"\n\nThe door opens briefly and the guard appears. \"Brought you some tea, sir,\" he says politely, and brings a mug over to put on the table. The man looks startled by this appearance and is offered nothing himself. The guard leaves with a nod and a click of a magnetic lock.\n\n> You ask the man about the murder\n\"So I dipped a cactus spine in a little solution that was lying around, and placed it into her shoe for when she went out. Then I removed it before calling the police along.\"\n\n> You ask the man about the confession\n\"What difference does it make? You would have just read it out of me if I hadn't spoken!\"\n\n> You press the button\n\"Thank you, Mackenzie. That'll be all.\" You stand, and go over to press the buzzer. He looks up at you, his eyes flashing. \"This is insane. I'm lying!\" he shouts suddenly to the cameras. \"I'm just stringing him along! You can't convict me on it!\"\n\nYou shrug. \"Which of us is more insane, Doctor? Me, for believing I read minds, or you, for killing your wife so easily for the sake of a desert?\"\n\nThe door slides open and the guard is there. \"Thank you, sir,\" he says formally. \"I believe that's all.\"\n\n\"Yes, you do,\" is the reply.\n\nThe foyer of the EUPD is a wide expanse of functional metal; every wall inlaid with panels, displays, buzzers and listings of the voluminous amounts of relevant and irrelevant information generated by a building this size and an organisation this complex. Of course, complex organisations are much easier for your purposes.\n\nIn front of you is the main door of the building, outside which lies the street.\n\n> You go outside\nThe door will not open until it recognises your fingerprint.\n\nA young man walks past with a cop. \"Is it true?\" he is saying. \"Or do they just research it and guess, like at a circus or something?\" You smile at the foolish question.\n\n> You touch the door\nYou touch your finger to the lock. It grows gently warm as it reads your print, then the door the swings open. A clipped automated voice says: \"Have a nice evening, Jackson Roberts\". You cannot help but tip your head in reply as you step outside.\n\nThe street is fairly quiet for London, with a gentle background buzz of traffic and pedestrians. Luckily you will have to go no distance in this foul city, as the car is already here, parked right out front.\n\n> You enter the car\nYou open the car door and slip inside. \"Good evening,\" you say to the driver, who rolls away from the kerb as the door clicks shut. \"Back to the office.\"\n\n\"Very good, Mr. Morpheus,\" he replies.\n\nThe drive is uneventful; you are dropped outside your building and make your way through the maze of corridors until you reach your current - hopefully temporary - room.\n\nThe corridor runs off in both directions, but room 42 is directly to the east.\n\n> Go east\n(opening the office door first)\nYou touch your finger to the lock. It grows gently warm as it reads your print, then falls cold with a flat honk. Your fingerprint has not been read.\nSo you can't go that way.\n\n> You check your inventory\nYou are carrying:\na plexilatec fingercap on your index finger\n\n> You examine the fingercap\nOne thin layer of sculpted plexilatecover your index finger.\n\n> You remove the cap\nYou carefully peel off Jackson Roberts' index finger.\n\n> You open door\nYou touch your finger to the lock. It grows gently warm as it reads your print, and the door clunks heavily.\n\n> You go to the east\n(opening the office door first)\nYou open the office door.\n\nYour office is small, and quite sparse, with nothing but a desk by the large window which overlooks this ghastly city. It is equipped with a little bathroom - you made sure of that before taking it - it lies to the north.\n\nOn the desk is a scrawled sheet.\n\nThe door locks quietly behind you.\n\n> You read the paper\nA sheet of paper covered in scribbles - nothing coherent, but not exactly doodles; rather fragments of letters and words and scattered at all angles around the edges and middle of the page, with the occasional snatch of a drawn line or a distorted margin. It has been carefully laser-printed from a computer image.\n\n> You take the paper\nTaken.\n\n> You go north\n(opening the bathroom door first)\nYou open the bathroom door.\n\nThe small bathroom is empty and very rarely used. The only thing here not provided by the cleaners was, of course, the cabinet you brought in yourself. The door to the office is south.\n\nOn one wall is your own reflection, sketched onto the surface of a cabinet with an oil-mirror surface.\n\n> You turn the dial to Picasso\nThe cabinet is adorned with your features, only transformed into an oil painting, currently following the style of Schulz, leaving you with a simplistic vacant look across your face. A small dial underneath allows this to be readjusted.\n\nThe dial clinks into place at Picasso and the picture shifts appropriately.\n\n> You look at the paper in mirror\nYou close the door first.\n\nHolding the paper up to the mirror, it takes a little adjustment before the fragments of words and letters solidify into lines of text. \"JM - Delivery from Mars received, placed in desk drawer. Crime occurred too late. We have our sample - PK.\"\n\n> You open the cabinet\nYou open the mirrored cabinet.\n\n> You look in the cabinet\nThe mirrored cabinet is empty.\n\n> You go south\n(opening the bathroom door first)\nYou open the bathroom door.\n\nYour office is small, and quite sparse, with nothing but a desk by the large window which overlooks this ghastly city. It is equipped with a little bathroom - you made sure of that before taking it - it lies to the north.\n\n> You open the desk\nYou grip the handle, hear the lock click back at your print, and slide it open. The drawer has got a key and a black box in it.\n\n> You open the box with the key\n(first taking the key)\nAre you certain? Mackenzie good as said he found it; opened it. Would he let Knassion fall into your hands? Of course you might have been wrong on that - maybe he never opened the box, never picked the lock, and got wind of his wife some other way. Your decision. Make it now. Unlock it - or leave it sealed, and close up the drawer again.\n\n> You open the box with the key\nNo. Your spy did her work, clearly. Mackenzie knew he'd lost the sample and was lying to you. Something you'd never fall for - mind-reading or no. You slip the key into the lock, and flick open the casket.\n\nThere is not enough time between the opening of the lid and the explosion of pollen into your face to look away. Three hours later you are regretting that gap of time, as you stare into the mirror, watching the oil-paint running down your face as it burns and scars. One miscalculation, that was all. One error, one gamble that you knew what he was thinking, and you got it wrong. And then Jasper Morpheus falls.\n\n> You close the drawer\nSimple enough. You know Mackenzie opened the box. Jasper Morpheus did not get to his position on skill alone, but natural born talent too. Science may have engineered the psychics first in lab-rats then in men, but nature alone did the work on you. There are only nine men with your power, and each one sits around the same table back in the US. The box opens and pollen-dust melts at your skin. So - save it for the next time a removal is needed.\n\nAnd, of course, Mars will come to you, eventually. You are not about to take a mis-step.\n\n> You get the bush\nYou pluck a leaf from the bush with a thick snap. In response the branch moves backwards, far more than just a recoil, curling up into itself. The movement seems to disrupt other branches, sparking a wave that travels down the hedgerow in an uncoordinated squirm of fauna. It is several minutes before it is still once more; by then the leaf in your hand has leaked a fine sap as far as your wrist.\n\n> You look at the truck\nOn the side is stencilled: AlgCorp FACILITIES MANAGMENT.\n\n> You go east\nYou push open the door and step into the porch.\n\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\nThe inner door hisses closed just as you enter.\n\n> Go east\nYou open the door with a soft hiss, and go through into the hallway. The lights inside come on automatically.\n\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree.\n\nFrom the kitchen you hear someone moving around.\n\n> Go east\nThe kitchen is largely uninteresting - a small functional room, a laboratory of life, with the various implements of cooking arranged around the walls. For all the advances in materials over the last thousand years; roasting, baking and boiling still work as before. Just with the addition of microwave generators and plasmacoil hobs.\n\nSo against the northwest wall, is a sink; and in one corner a freezer hums quietly to itself.\n\nThe floor is seamless bar a square of plexiplastic.\n\nA workman is crouched on the floor, and he looks up and stares at you. \"Who are you?\" he demands. You turn to leave, but the workman is determined to make sure he helps you on your way. You hit the dust as you are thrown through the front door.\n\n> You go north\nThe living room is similarly austere, with its walls all white and furniture resting in between large spaces. In the north wall opposite the doorway is a large window through which the long view of desert stretches until reaching the tooth of Mount Olympus, and the room is filled by the orange-red tinge. Another door leads east to the bedroom.\n\nIn one corner is a long desk.\n\nOn the desk is a glass of water.\n\nThe sofa stands out quite strikingly; it is pea-green.\n\nThe man sat on the sofa looks up. \"Jack...\" he begins, but the word dies. \"Who the hell are you?\" He proves to be a big man, when he stands and grabs you by the shoulder. Your stealth operation ends as you are escorted from the house.\n\n> You look at the yucca\nA hardy plant, quite probably capable of growing as easily outside as in.\n\nFrom the kitchen you hear a workman and a powertool.\n\n> You get the yucca\nThe tree is fairly bulky.\n\nIn the living room, you hear a man stand. You tense, but then an internal door opens somewhere else.\n\n> Inventory\nYou are carrying:\na purple leaf\n\n> Go north\nThe living room is similarly austere, with its walls all white and furniture resting in between large spaces. In the north wall opposite the doorway is a large window through which the long view of desert stretches until reaching the tooth of Mount Olympus, and the room is filled by the orange-red tinge. Another door leads east to the bedroom.\n\nIn one corner is a long desk.\n\nOn the desk is a glass of water.\n\nThe sofa stands out quite strikingly; it is pea-green.\n\n> You examine the glass\n(the north window)\nThe dunes are brushed with a delicate haze of floating orange dust like the steam rising from a Spaniard's tanned back; still but for the sporadic storms that whip across the sky unchecked and unpredictable. It is dotted with a few strange plants - wide trunked cacti, large flat leaved palms that spread across the ground instead of upwards into the sky, and grass stalks that rise and bend flat at two metres high. Most are unfamiliar to your eye.\n\nFrom the centre of the bubble your hear a toilet flush.\n\n> You take glass\n(the north window)\nThat's not portable.\n\nFrom the south you hear the other workman moving through the hallway. The door of the bubble seals with a hiss behind him.\n\n> You take the glass of the water\nTaken.\n\n> Go south\nThe hallway of Mackenzie's home is bare but homely, one wall hung with a photograph of some Earth lake surrounded by mountains, and an antiquated-looking coat-stand by the porch door to the west. Doorways lead off in two other directions; the east appears to be a kitchen and the north is a living room. There is no upstairs in the house; the entire upper metre or so is filled solid with various forms of algae, to grow oxygen, regulate temperature and recycle waste.\n\nIn one corner is a stubby yucca tree.\n\nYou hear someone to the north re-entering the living room, whilst the piping of the bubble sucks water from the toilet. However, he goes no further than the sofa.\n\n> You take the square\nThe trapdoor is already open.\n\n> You open the freezer\nA blast of cold air hits you from inside. You open the freezer, revealing a shelf of food and some frozen biosamples.\n\n> You examine the biosamples\nThirteen frozen biosamples stacked up on the top shelf of the freezer, happily coexisting with a frozen pizza and a chicken. They are labelled \"GENUS A\" through \"GENUS N\".\n\n> You look at the food\nOn the bottom shelf: bricklike slabs of pale stone. On the top: bright yellow biosample bags."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, Mystery, male protagonist, terraforming]\n\n> Go downward\nThe lights flick on as you enter the cellar.\n\nThe basement is lit by striplamps crisscrossed across the plastic ceiling, and is the only truly grubby room in the building. The floor is caked with dust and what even looks like soil; no doubt actually decomposing rubbish from various plants stored here over the years. The other clear thing about this room is that it's half the width it used to be - though the ceiling continues back there is a gleaming white wall in the way, in the centre of which is a large, forbidding door. It leads into the laboratory.\n\nSteps lead upward on one side.\n\nOn one wall is the bubble thermostat.\n\n> You take the genus k.\nYou retrieve the genus K sample.\n\n> You go to the west\nThe porch is just a short space of corridor, with two large fans built into the walls behind a white-mesh grille. The air is a little better regulated here, and smells fresh and tart, straight from an algae-tank. There is little else here - a rack for shoes and a hook for coats. Either end of this space are the large doors that seal inside from outside, they are east and west respectively.\n\n> You go west\nYou open the door effortlessly with a loud hissing sound, and go through.\n\nYou have walked here, all the way from the spaceport. The air is dry and cold, you wrap your coat tighter and breathe with a little difficulty. The low sun makes the red dust glow like amber into the distance. Mackenzie's bubble is to the east, its door closed. The road leads right up to it, with no front garden.\n\nParked by the purple-leaved bush that lines the track is a large truck.\n\nYou stash the sample bag of Knassion into your coat, and stride away down the long track, feeling quite certain both you and Laura Mackenzie will live to see the first wave of colonisation.\n\n> Notes\nAcknowledgements to Iain Merrick for seeds, Adam Cadre and Sean Barrett for fertiliser ('flags.h' and 'varying strings'); and Mike Sousa, Adrien Beau, J. D. Berry, Cedric Knight, Philip Dearmore and John Bichard for excellent pruning.\n\nWould you like to read the NOTES or QUIT?"
    },
    {
        "text": "[Themes: Fantasy, platonic solids, metaphysics, physical simulation, mythopoeic, female protagonist, mimesis, transformation, telescopic descriptions]\n\nYou wake to stillness. The hammering, banging, and shouting that kept you awake half the night are gone. The air is cold, and something smells burnt. Your master's experiments must be finished, but with what result?\n\nSomething hesitates on the edge of your consciousness, the memory of unquiet dreams...\nThen you see. You have been sent, again. The taste of ash is on your lips, the grit in your eyes. And you blink...\n\nA formless place, such as you have often seen before; where dreams end and tasks begin. The floor is uneven, cupped like the palm of your master's hand. The walls shimmer with the artifice of your sending.\n\nA loose rock lies near your foot.\n\n[Author's Note: You wake to stillness. The hammering, banging, and shouting that kept you awake half the night are gone. The air is cold, and something smells burnt. Your master's experiments must be finished, but with what result?]"
    },
    {
        "text": "[Themes: Fantasy, mythopoeic, platonic solids, transformation]\n\n> About yourself\nYou look as you always do; feel as ever. A bit weighted, a bit weary.\n\nA voice, remembered: \"Find the elements. Bring them to me.\"\n\n> You check what you're carrying\nYou are carrying:\na workbox\na ball of yarn\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)\n\n> You examine the ring\nA plain metal band, without adornment, that you have been accustomed to wear on your right hand. It is the only thing of value you possess.\n\n> You look at the workbox\nThe wooden box in which you keep small tools for your work around the house.\n\n> You look at the dress\nThe coarse dress that you wear to do chores around the house -- and your tasks in other realms, as well.\n\n> You examine the slippers\nTattered by too many errands of this kind. But at least they still fit.\n\n> You take the rock\nTaken.\n\n> You examine the stone\nA lumpy rock.\n\n> You examine the walls\nThe faint shimmer is fading even as you look. It is only with averted vision, from the corners of your eyes, that you can still make out the shapes of lines and letters.\n\n> You read the wall\n(the walls)\nThey fade when you look at them straight-on."
    },
    {
        "text": "[Themes: Fantasy, platonic solids, mimesis, telescopic descriptions, female protagonist, physical simulation]\n\n> You look around\nA formless place, such as you have often seen before; where dreams end and tasks begin. The floor is uneven, cupped like the palm of your master's hand. The walls dull in your sight.\n\n> You examine floor\nThe floor is roughly hollowed.\n\n> You go to the north\nThe first step is more of the will than of the body: from here there is only out.\n\n> Go outside\nThe proximate walls fade away, leaving you in a much larger space.\n\nA narrow ledge of solid rock at the southern end of a great cavern. Beyond it lies a body of water so flat, so black and tranquil, that it might be a surface of polished obsidian.\n\nEmbedded in the wall, a mirror reflects your movements: an odd smoothness in the unshaped stone.\n\nA heavy bronze bell hangs from a stand.\n\n> You examine mirror\nA flat round mirror, which reflects you dimly in its face. Around the edge runs the series of signs that fix an earthly object in an unearthly world: your master put this here for your return.\n\n> You examine the water\nPreternaturally smooth and flat.\n\n> You fill the box with the water\nThat's hardly portable.\n\nI only understood you as far as wanting to fill the workbox.\n\n> You put the box in lake\nAnything you dropped in there, you would be unable to retrieve."
    },
    {
        "text": "[Themes: Fantasy, metaphysics, telescopic descriptions, transformation, physical simulation]\n\n> Look around\nA narrow ledge of solid rock at the southern end of a great cavern. Beyond it lies a body of water so flat, so black and tranquil, that it might be a surface of polished obsidian.\n\nEmbedded in the wall, a mirror reflects your movements: an odd smoothness in the unshaped stone.\n\nA heavy bronze bell hangs from a stand.\n\n> You examine the bell\nA very ancient bronze bell, covered with a curious pattern. It is mounted on a stand; there is no clapper within.\n\n> You hit the bell\nYou slap ineffectually at the bell.\n\n> You hit the bell with the rock\nThe peal is deep and resonant; the surface of the lake stands up in ripples; the darkness grows (if that is possible) more dark. Even when the sound has died and the water stilled, you find yourself waiting.\n\n> You wait\nTime passes.\n\nThere is a distant splash; a long silence; a repetition.\n\n> You wait\nTime passes.\n\nA dark shape distinguishes itself from the other darkness on the water: a small gondola without passengers, a single gondolier bent at his pole. It is progressing towards you.\n\n> You wait\nTime passes.\n\nThe gondola draws up against the ledge, its flank scraping stone. The gondolier awaits.\n\n> You examine the gondola\nBlack and smooth as the surface of the water itself, but ornamented here and there with tiny gilt images -- mostly human figures, with mute faces and outstretched hands.\n\n> You look at the gondolier\nRobed and hooded in heavy black cloth, the face obscured.\n\nThe gondolier lifts his head and sighs softly.\n\n> You enter the gondola\nThe gondolier watches impassively as you clamber in.\n\nThe gondolier pushes away from the ledge and propels the gondola through the water with remarkable speed. Soon you cannot see the walls of the cavern, only the ghostly shafts of stalactites, present and then swiftly gone. It seems an eternity before you land again.\n\n> You look\nYou step out onto solid ground.\n\nAgainst the rough north wall of the cavern lies a moon-shaped landing of white stone, with a pair of shallow steps down to the glass-black surface of the lake. A Moorish archway leads away to the north.\n\nThe only furniture is an ornate metal pole, branching at the top, with dozens of bells hung from the branches.\n\nA gondola waits nearby, the gondolier leaning against his pole.\n\nThe gondolier lifts his head and sighs softly.\n\n> You examine the bells\nTiny silver bells, each with its tongue.\n\nThe gondolier, apparently weary of the wait, pushes off from the ledge and is quickly merged again with the darkness.\n\n> You examine the archway\nOutlined in white stone and decorated with a geometric pattern.\n\n> You look at the pattern\nPredominantly made of triangular or near-triangular figures, interlocked, and carved deeply into the stone.\n\n> You take the bell\nThat's hardly portable.\n\n> Go north\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nIn the north wall is a closed door, covered with a silver substance.\n\nFallen from one of these strands, but intact, is a large magnifying-lens.\n\n> You look at substance\nNot quite shiny enough to act as a mirror. It is significantly taller than you are, narrow, with a keyhole exactly in the middle.\n\n> You take the lens\nTaken.\n\n> You look at the lens\nA powerful lens about the size of your open palm, with a rim of chased bronze.\n\n> You examine the light\nIt's hard to tell, from here, whether you are seeing sunlight or some other kind. You see daylight rarely in your travels; these are isolated places, self-contained.\n\nBut the light is too bright too look at long, whether it falls through glass or empty air; it carries no heat.\n\n> You examine the keyhole\nA modestly-sized keyhole, surrounded by an undecorated plate of silver metal.\n\n> You look at the crystal\nStrings of faceted crystals, like a giantess' necklace; here and there a large prism, pendant; shards of stained glass, linked with bits of chain. The rainbows color your skin.\n\n> You examine the glass\n(the magnifying glass)\nA powerful lens about the size of your open palm, with a rim of chased bronze.\n\n> Inventory\nYou are carrying:\na magnifying glass\na rock\na workbox\na ball of yarn\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)\n\n> You turn the crystals\nYou are unable to.\n\n> You look at the keyhole through the lens\nIt looks much as it did before, but larger. The magnification does not help you see any better what lies on the other side.\n\n> You go to the west\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You look at the mouse\nHe seems peaceful and ponderous, as though enlargement has banished all his fears and replaced them with a blissful serenity.\n\n> You look at the elephant\nThere's a look almost beseeching in his grave eyes, as though he lived to old age at a proper size, and then only at the end was reduced to this sad state.\n\n> You examine the cage\nThey look like something out of a pasha's pleasure garden: ornate in shape and workmanship, but still strong enough to withstand considerable battering, even though the animals inside are stuffed.\n\n> You examine the hourglass\nMade of a clear material (glass? perhaps, perhaps not), large at one end and smaller at the other, and mounted on a sort of swivel on the wall so that it can be turned over at will. At the moment the smaller end is uppermost.\n\n> You turn it\nYou rotate the contraption on the wall so that the larger end is uppermost."
    },
    {
        "text": "[Themes: Fantasy, platonic solids, female protagonist, physical simulation]\n\n> Look around\nYou put the magnifying glass into the contraption; improbably, it squinches down, passes through the narrow neck, and emerges from the other end smaller than it was when it went in.\n\nOn close inspection, it seems that the mechanisms for opening the cages are stuck fast; no key will ever work in them again.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the larger end is uppermost.\n\n> You get the glass\nYou already have that.\n\n> You go east\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nIn the north wall is a closed door, covered with a silver substance.\n\n> You go to the east\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> You examine furnace\nA huge furnace in the shape of a dragon. The dragon's belly contains the fire, and in this portion of the contraption is a space in which you might put something to heat. The dragon's ear is a sort of dial; the dragon's eye is a push-button.\n\n> You get the leaf\nYou take one of the glass leaves, but it is so fragile that even the slightest handling destroys it.\n\n> You examine the trees\nElegant, bloodless, utterly inorganic. On inspection, the bark proves to be covered with tiny, stylized incisions; the branches fork in matched, symmetrical pairs.\n\nHanging from one of the trees is an almost perfectly round apple, made of a reddish metal.\n\n> You look at the floor\nLayers on layers of fragile detritus.\n\n> You look at the apple\nAn apple almost perfectly round, made of a ruddy metal.\n\n> You get the apple\nYou pluck the metal fruit from its glassy stem. It rattles a little, as though there were something inside.\n\n> You shake the apple\nIt rattles musically.\n\n> You eat the apple\nThat would probably be a most unrewarding experience.\n\n> You break it\nThat's unlikely to have much effect.\n\n> You drop the apple\nDropped.\n\n> You get the apple\nIt rattles a little, as though there were something inside.\n\n> You put the apple in the furnace\nYou put the round apple into the furnace.\n\n> You examine the dial\nThe dial can be set to anything from 1 to 5. It currently stands at 3. The label under this dial reads \"Change to\".\n\n> You look at the button\nThe button is made of jade and is round and bright.\n\n> You turn the dial to 1\nYou turn the dial to 1.\n\n> You look at the dial\nThe dial can be set to anything from 1 to 5. It currently stands at 1. The label under this dial reads \"Change to\".\n\n> You press button\nThe graininess of wood covers the surface of the round apple.\n\n> You turn the dial to 2\nYou turn the dial to 2.\n\n> You press the button\nThe surface of the round apple becomes quickly rough and speckled.\n\n> You turn the dial to 3\nYou turn the dial to 3.\n\n> You press the button\nThe round apple grows gradually clear from the outside in, until it can be seen through entirely.\n\n> You examine the apple\nA pale, iridescent red bauble, with only the faintest hint of an indent where the stem once went.\n\n> You look in the apple\nIn the round apple is a delicate key.\n\n> You turn the dial to 4\nYou turn the dial to 4.\n\n> You turn the dial to 5\nYou turn the dial to 5.\n\n> You examine the apple\nA round pink sack.\n\n> You break the apple\nWith your bare hands? That could be uncomfortable.\n\n> You break the apple with the rock\nYou shatter the round apple into a million useless shards. In the process, you spill out a delicate key.\n\n> You get the key\nTaken.\n\n> You examine the key\nA delicate key, tinted indigo, made of glass. The teeth are quite precisely filed.\n\n> You put the key in furnace\nYou put the delicate key into the furnace.\n\n> You press the button\nThe surface of the delicate key grows lustrous with a metallic sheen.\n\n> You examine the dial\nThe dial can be set to anything from 1 to 5. It currently stands at 4. The label under this dial reads \"Change to\".\n\n> You examine the key\nA delicate key of silvery metal, with precisely-cut teeth.\n\n> You unlock door\n(with the delicate key)\nThe key seems as though it would go in the lock, but it is slightly too small.\n\n> You go west\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the larger end is uppermost.\n\n> Turn hourglass\nYou rotate the contraption on the wall so that the smaller end is uppermost.\n\n> You put the key in the hourglass\nYou put the delicate key into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> You unlock door\n(with the delicate key)\nYou unlock the silvered door and push it open.\n\n> You go north\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA wooden tube lies forgotten on the floor.\n\n> You ask the galatea about herself\nYou can only do that to something animate.\n\n> You examine the statue\nDelicately proportioned and carved of white marble, with a small, aristocratic head and supple limbs. She is in the act of pulling up a mantle around herself with one hand; with the other hand, she is half-leaning on a large concave mirror.\n\n> You look at tube\nA short wooden tube, open at each end. There seems to be a vellum scroll tightly rolled within.\n\n> You get the scroll\nYou can't manage to dislodge the vellum with your fingers: the tube is too narrow for easy negotiation.\n\n> Go south\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\n> You check your inventory\nYou are carrying:\na tube\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na magnifying glass (shrunken)\na rock\na workbox\na ball of yarn\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)\n\n> You go to the west\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put the tube in the hourglass\nYou put the tube into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> You examine tube\nA tube made of wood, but now more like a length of pipe. There seems to be a vellum scroll tightly rolled within.\n\n> You get scroll from the tube\nRemoved.\n\n> You read the scroll\nA single sheet torn from a much larger volume. Front and back are covered with diagrams of optical devices: silvered mirrors both flat and concave; a convex lens; a round ball of glass. Lines represent the passage of light, bounced or bent. Your master has just such papers at home, marked with the emblem of the Society of the Lynx.\n\nConsiderable text accompanies these drawings, but since it is neither in Latin nor the vernacular, you cannot guess the sense of it. There is, however, a marginal note, in red letters, that appears to be in Latin. This is in a crabbed hand and too small to read.\n\n> You read the latin with the lens\n(in the contraption)\nYou discover nothing of interest in the contraption.\n\n> You look at the note through the glass\nWith the aid of the magnifying glass, you're able to make out what is written:\n\nFront and back are covered with diagrams of optical devices: silvered mirrors both flat and concave; a convex lens; a round ball of glass. Lines represent the passage of light, bounced or bent. Your master has just such papers at home, marked with the emblem of the Society of the Lynx.\n\nConsiderable text accompanies these drawings, but since it is neither in Latin nor the vernacular, you cannot guess the sense of it. There is, however, a marginal note, in red letters, that appears to be in Latin:\n\nBeyond the four elements there is a fifth; as the others are to the body so is the fifth to the soul. Possessing it, one is set free.\nThe paths of light lie open, the swiftness of thought, the bending, the division, and the reflection.\n\n> You check what you're carrying\nYou are carrying:\na vellum scroll\na tube (enlarged)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na magnifying glass (shrunken)\na rock\na workbox\na ball of yarn\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)"
    },
    {
        "text": "[Themes: Fantasy, platonic solids, female protagonist, transformation, metaphysics]\n\n> You look around\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> Lift cage\nWhat do you want to lift the filigreed cages with?\n\n> You take the cage\nThey're hardly portable.\n\n> You examine the cage\nThey look like something out of a pasha's pleasure garden: ornate in shape and workmanship, but still strong enough to withstand considerable battering, even though the animals inside are stuffed.\n\n> Xyzzy\nThere have been other worlds in your experience that a few well-placed words could bend or change. But this place seems not responsive to such control.\n\n> You open cage\nOn close inspection, it seems that the mechanisms for opening the cages are stuck fast; no key will ever work in them again.\n\n> You go north\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\n> You examine the mantle\nIt drapes around the lower half of her body and puddles at her feet; with her left hand she is raising it to her shoulder, but at the moment it leaves her upper torso bare.\n\n> You examine the mirror\nA sunken round mirror, which reflects (but upside down and changed) yourself, and your possessions, and all the rest of the room.\n\n> You touch the mirror\nYou reach out and touch the mirror, and your strange double returns the gesture. Your fingers feel numb and cold.\n\n> Go west\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\n> You look at the paintings\nWhich do you mean, the New World, the native village, the ocean, the trade ships, the wrecks or the pirate ships?\n\n> You examine new World\nA thin strip of coastline on the horizon, showing a dense growth of strange trees, and in a few places mountains rising out of the surrounding land. A single plume of smoke rises from this shore, as though to indicate that the land is inhabited, though only just.\n\nSome of the picture is too tiny for you to make out with the naked eye.\n\n(\"I don't know what you may find -- you'll have to look closely at everything...\")\n\n> You look at new World through the lens\nCloser inspection shows a mad variety there: native people standing under the trees, as naked and innocent as Adam and Eve; an abundance of unfamiliar fruits and crops growing, half-tended, in the shadow of the primeval trees; precious minerals and clusters of gems lying on the surface of the ground, ready for the taking.\n\n> You examine the native village\nToo small for you to see without help.\n\n> You look at the native village through the lens\nThe village, with its small houses arranged in a circle around a central fire, the outlying fields of crops, the peculiarly populous forests, all are done in a style familiar from etchings. Stilted figures holding fruits and grains look out, solemnly smiling, advertising the carefree richness in which they live.\n\n> You look at ocean through the lens\nThe image swims before you, and you see down, under the surface, to the depths where the tentacled creatures live among the bones of sailors and the wrecks of ships.\n\n> You look at the wrecks through the lens\nYou search the faces of the dead minutely, but do not see the one you know. Perhaps he has already gone to coral and bone.\n\n> You look at the trade ships through the lens\nThey struggle, deeply loaded, against an angry sea.\n\n> You look at the ships through the lens\nWhich do you mean, the trade ships, the wrecks or the pirate ships?\n\n> Pirate\nYou find yourself staring into the swarthy face of a Spanish buccaneer. He has a thick black growth of beard, and a monkey clings to his shoulder.\n\n(Time here does not correspond to time outside; you have all the leisure you like to look at the strange world.)\n\n> You look at the pirate through the lens\nYou find yourself staring into the swarthy face of a Spanish buccaneer. He has a thick black growth of beard, and a monkey clings to his shoulder.\n\n> Pray\nSilence. Whether you are heard or not is another question.\n\n> Down\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\n> You examine the pulley\nA mossy chain hangs from the pulley: one side descends into the water below, while the other ends in a hook just at a reachable level.\nThere is currently nothing on the hook."
    },
    {
        "text": "> You descend\nThe only exit is the spiral stair, by which you can emerge from the cistern.\n\n> East\nOn the curving walls are painted the village and the nearby countryside; beyond those are impossibly distant places (labelled for your better instruction): Paris, spired and shimmering; southward Rome; a misty London in the north.\n\nThe floor is paved with large stones, and one of these is partly budged from its position.\n\n> You examine the stone\n(the large paving stone)\nAbout two feet on a side and many inches thick: it is hard to guess what force might have budged it in the first place.\n\n> You examine the Paris\nParis, narrow streets with narrow houses crowded; the Seine, and the Pont Neuf; trees in the preserve of the King. There's a great deal of detail that you can't quite make out.\n\n> You look at the paris through the lens\nParis, narrow streets with narrow houses crowded; the Seine, and the Pont Neuf; trees in the preserve of the King. In the windows of the palaces, fine ladies stand looking out, gowned in extravagant fashion, breaking their fathers and husbands.\n\nIn the dungeons prisoners twist and burn. Beads of sweat run down their faces. Their eyes are full of the fever of hell. Notre-Dame sings, aspiring to God.\n\n> You look at London through the lens\nThe magnifying glass shows you details you'd missed before. You see the criers in the streets, selling horses and books, toys and flowers, bread and fruit, their mouths open silently.\n\nYou see the theaters, crowded with spectators; the stage, and the actors on it; their false swordplay and their disguising beards. The breast of one has come askew, since God did not give it to him to be a woman by nature.\n\nYou see the diviner, peering into a glass where demons teem.\n\nAnd at the very center stands the Queen, great woman in a little world.\n\n> You look at the rome through the lens\nYou squint at the image of Rome through the glass, and it unfolds before you:\n\nThere is the Tiber, winding, and every bridge that crosses it, and every peddler selling trinkets on those bridges. The birds that flew in augury, circling still on the hills. The beasts of burden, laden with food from the fields...\n\n> You take the stone\n(the large paving stone)\nIt's much too big to lift.\n\n> You move the stone\n(the large paving stone)\nYou lack the strength to move it with your bare hands.\n\n> You look under the stone\n(the large paving stone)\nAll you can tell is that there is some considerable space beneath the stone.\n\n> Go north\nStairs lead up, and doorways open south, east and west.\n\n> Up\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\n> You examine the statue\nNaked except for the sandals laced around his ankles, carrying in one hand a sturdy key. His face is more vigorous than beautiful; his hair is arranged around his head in a disorderly array of curls. He is looking up from under a strong brow, his gaze bent on something above you.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You ascend\nUp there, cogs and wheels are moving at great speed. You don't dare try to climb up.\n\n> You examine the key\n(the delicate key)\nA delicate key of silvery metal, with precisely-cut teeth.\n\nAt the moment, the delicate key is a somewhat enlarged version of itself.\n\n> You look at the statue's key\nA sturdy key of golden metal, with precisely-cut teeth.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You take the statue\nThat's hardly portable.\n\n> You take the statue's key\nYou reach to take the key, but it sears you: you aren't ready for it yet. There are other things you must do. You draw back, faintly shamed.\n\n> You put the tube in the dragon\nYou put the tube into the furnace.\n\n> You examine the dial\nThe dial can be set to anything from 1 to 5. It currently stands at 4. The label under this dial reads \"Change to\".\n\n> You pry the stone with the tube\n(the large paving stone with the tube)\nThe tube is too small to do that task effectively.\n\n> W,S,W\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> E,N,E\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nOn the curving walls are painted the village and the nearby countryside; beyond those are impossibly distant places (labelled for your better instruction): Paris, spired and shimmering; southward Rome; a misty London in the north.\n\nThe floor is paved with large stones, and one of these is partly budged from its position.\n\n> You pry the stone with the tube\n(the large paving stone with the tube)\nYou manage to pry up the stone, exposing a ladder down into the gap beneath.\n\nIf only your master were here to observe that bit of cleverness. He never asks how you achieve your ends."
    },
    {
        "text": "[Themes: Fantasy, transformation, physical simulation, mimesis, metaphysics]\n\n> Go downwards\nNo light penetrates the sullen air; if you did not keep your hand on it, even the ladder upward would soon be lost to you. It is only by touch that you are able to discern what surrounds you.\n\n> Smell\nIt smells rich and damp, like freshly turned earth."
    },
    {
        "text": "> You look at your surroundings\nAnything you do, you will have to do by touch.\n\n> You touch the wall\n(the walls)\nYou detect nothing extraordinary.\n\n> You touch the ladder\nIt feels reassuringly solid.\n\n> You touch myself\nSubstantial as ever.\n\n> You jump\nYou jump a few times.\n\n> You touch the floor\nYour hand closes around something cubical, lying in the center of the floor.\n\n> You touch the floor\nAnd you're back in that place, where he sent you the first time. Groping hand and foot in a stifling blackness, no light anywhere. (\"I can't promise you help, but remember: rely on your wits. And whatever you do, keep looking.\")\n\nWhispering it to yourself in the close corridors, hearing the corridors whisper it back again. Keep looking.\n\nAnd so you crawl on, sometimes falling unexpectedly, sometimes getting stuck; sometimes finding yourself far down a passage without outlet, having to crawl backwards again, start over.\n\nEven when you find what you seek -- a deep pool of matter in its rawness, chaos without shape -- you must make your way back again. There's no time here, no orientation, no measure. Only blind persistence can ever bring you home.\n\n> You touch the pool\nThen the darkness is just darkness again.\n\n(You grasp at air, startled. It's gone -- not in your hands after all -- unless...?\n\nSomething has changed. Something has certainly changed. But the possession is not of a physical sort.)\n\n> You feel yourself\nYour body is still present.\n\n> Pray\nSilence. Whether you are heard or not is another question.\n\n> You go upwards\nThe overwhelming darkness parts, and you emerge again into the ordinary air...\n\nOn the curving walls are painted the village and the nearby countryside; beyond those are impossibly distant places (labelled for your better instruction): Paris, spired and shimmering; southward Rome; a misty London in the north.\n\nOne of the large paving stones has been removed from its position, and a ladder descends into the dark gap beneath.\n\n> Inventory\nYou are carrying:\na tube (enlarged and made of metal)\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na magnifying glass (shrunken)\na rock\na workbox\na ball of yarn\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)\n\n> About yourself\nSome essential restlessness is gone from you; you tremble less than you used to; your hand, relaxed, remains still.\n\nAn upright triangle scars the back of your left hand, the symbol of earth.\n\n> Up\nThe door opens west.\n\n> Up\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You go to the west\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\n> You put the lens in the light\nIt's too small to stay positioned in the slot.\n\n> You examine the staircase\nThe staircase is currently folded down, but there appears to be machinery for raising it. The accessible parts of this consist of a boiler full of water, an open oven beneath, and a brass button.\n\nThere is a slot in the side of the oven, of a shape to hold a circular object perhaps the size of your palm. Through this open space a beam of very bright light falls obliquely into the oven itself.\n\n> You go to the east\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nThe grumbling of machinery catches your attention.\n\n> D,S,W\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put the lens in the hourglass\nYou put the magnifying glass into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> E,N,U,W\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\n> You put the lens in the slot\nThe magnifying glass slides into the slot with a satisfying click, bringing the light into sharp focus inside the oven.\n\n> You look in the oven\nThe oven is empty.\n\n> You examine the staircase\nThe staircase is currently folded down, but there appears to be machinery for raising it. The accessible parts of this consist of a boiler full of water, an open oven beneath, and a brass button.\n\nMounted in a special slot in the side of the oven is a large magnifying glass, which focuses the light from above into a single blazing point inside the oven itself.\n\n> K button\nUnlikely that would achieve anything.\n\n> Examine button\nIt is a fairly ordinary-seeming button.\n\n> You take yarn\nTaken.\n\n> You wear the dress\nYou slip the rough cloth back over your head.\n\n> E,D,S,E\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> Inventory\nYou are carrying:\na ball of yarn\na tube (enlarged and made of metal)\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na rock\na workbox\na needle\na brown dress (being worn)\na ring (being worn)\nsome slippers (being worn)\n\n> You take the dress\nYou already have that.\n\n> You put the dress in the furnace\nYou put the brown dress into the furnace.\n\n> You turn the dial to 3\nYou turn the dial to 3.\n\n> You turn the dial to 1\nYou turn the dial to 1.\n\n> You look at the dress\nAn effigy of your dress, executed in wood, with a fine detailing of folds and hems and even the grain of the original cloth.\n\n> W,N,U,W\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nFrom somewhere nearby comes a low rumbling.\n\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\n> You put the dress in the oven\nUnder the bright spot of the magnifying glass, the wood dress begins to smolder and then to burn. After a few minutes, the water boils. There is a hiss and clank from within the machine, and the button in front begins to glow.\n\n> You hit the button with the tube\nUnlikely that would achieve anything.\n\nThe steam is recondensing in the boiler."
    },
    {
        "text": "[Themes: Fantasy, metaphysics, platonic solids]\n\n> E,D,S,W\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put tube in the hourglass\nYou put the tube into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end smaller than it was when it went in.\n\n> You ask E,  to go east\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> You put tube in the furnace\nYou put the tube into the furnace.\n\n> You put the rock in the furnace\nYou put the rock into the furnace.\n\n> You ask W,  to go to the west\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the larger end is uppermost.\n\n> You put the burl in hourglass\nYou put the rough burl into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> Inventory\nYou are carrying:\na rough burl (enlarged; originally a rock)\na tube (enlarged and made of metal)\na ball of yarn\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na needle\na ring (being worn)\nsome slippers (being worn)\n\n> N,U,W\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\n> You put the burl in the oven\nUnder the bright spot of the magnifying glass, the rough burl begins to smolder and then to burn. After a few minutes, the water boils. There is a hiss and clank from within the machine, and the button in front begins to glow.\n\n> About yourself\nSome essential restlessness is gone from you; you tremble less than you used to; your hand, relaxed, remains still.\n\nAn upright triangle scars the back of your left hand, the symbol of earth.\n\n> Up\nAll the time that you were climbing the stairs, you could barely look forward, so overwhelming was the light that came from this room; but now that you have arrived, you see that it too is lit from somewhere further on and far away.\n\nA flawless metal tetrahedron lies nearby.\n\n> You look at the tetrahedron\nA four-sided solid figure with triangular faces, made of a coppery metal. On the faces are inscribed all sorts of interlocked and writhing figures, of salamanders, and a phoenix in flight.\n\n> Shake tetrahedron\nNothing much results of this.\n\n> You take it\nYou reach for the tetrahedron.\n\n> Inventory\nFlame licks over you, so fierce it seems you must die.\n\n(\"Purification of the spirit,\" he mutters in your ear. \"You'll survive. You'll survive.\" And of course you do; you always survive.)\n\nWhen you get up again, autumn has arrived. Your legs are weaker than you remember. Your breath catches when you try to run. But you're able to undertake his other errands, in unworldly places."
    },
    {
        "text": "[Themes: Fantasy, mimesis, transformation, telescopic descriptions, female protagonist]\n\n> You describe your surroundings\nAll the time that you were climbing the stairs, you could barely look forward, so overwhelming was the light that came from this room; but now that you have arrived, you see that it too is lit from somewhere further on and far away.\n\n> About you\nTo physical appearances not much different than before, but changed inside. Grief and anger, weariness and fury are at war in you.\n\nAcross the back of your left hand are scarred the symbols of fire and earth.\n\n> You check your inventory\nYou are carrying:\na tube (enlarged and made of metal)\na ball of yarn\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na needle\na ring (being worn)\nsome slippers (being worn)\n\n> You put the yarn in the workbox\nYou put the ball of yarn into the workbox.\n\n> D,E,E\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nA long, low room, naturally lit by small windows just beneath the ceiling. Down the center of the room runs a series of pedestals, and on each pedestal stands an automated creature of some sort -- a great clockwork bird; a chorus of glass frogs; a pair of human dancers eternally whirling on the cogged floor of their tiny ballroom.\n\nBeside the door, and running down into the rock of the floor, is an enormous crank of Damascus steel.\n\nOn the wall there is an adjustable lever.\n\nFrom the ceiling high above the second pedestal hangs a wooden octahedron.\n\n> You look at the octahedron\nBurnt into the surface of the wood is an intricate design of herons and owls, goshawks, peacocks, sparrows, doves, every species of bird; bees; butterflies; the airy drift of clouds, and the shaft of the sun.\n\n> You examine the crank\nThe crank is two handspans long, attached to a long shaft which runs through a sort of socket into the floor. The entire mechanism has been thoroughly greased.\n\n> You ask W,  to go west\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase.\n\n> You ask E,  to go east\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nA long, low room, naturally lit by small windows just beneath the ceiling. Down the center of the room runs a series of pedestals, and on each pedestal stands an automated creature of some sort -- a great clockwork bird; a chorus of glass frogs; a pair of human dancers eternally whirling on the cogged floor of their tiny ballroom.\n\nBeside the door, and running down into the rock of the floor, is an enormous crank of Damascus steel.\n\nOn the wall there is an adjustable lever.\n\nFrom the ceiling high above the second pedestal hangs a wooden octahedron.\n\n> You examine the dancers\nThe dancers are especially fine. Their costume replicates an English mode of perhaps fifty years ago: the lady wears a skirt of beaten copper, pierced in designs, and around the gentleman's neck is a ruff of folded silver.\n\nThe effect of their hands and faces is less happy: all their skin is carved ivory, so that they look drawn, and even paler than ordinary English folk.\n\n> You take the skirt\nThat's fixed in place.\n\n> You examine the lever\nThe lever may be set to any of four positions, 0 through 3. At the moment it stands at 0.\n\n> You set lever to 1\nYou push the lever into the 1 position.\n\n> You pull the lever\nIt is fixed in place.\n\n> You turn the crank\nIt takes a good deal of effort to get the crank to turn, but once you have begun, you are able to keep it moving. The bird's wings unfold and flap magnificently, creating a draft in the long hallway, but it fails to get off the ground. One of the wings is missing material over the frame, it seems.\n\n> You examine the wing\nThe frame is an intricate construction of small metal rods, to which the leather of the wings is attached with clips. In one place, however, a piece is missing, leaving the clips empty and the wing incomplete.\n\n> You check what you're carrying\nYou are carrying:\na magnifying glass\na tube (enlarged and made of metal)\na vellum scroll\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ball of yarn\na needle\na ring (being worn)\nsome slippers (being worn)\n\n> W,D,S,W\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put scroll in furnace\nYou put the vellum scroll into the furnace.\n\n> You turn the dial to five\nYou turn the dial to 5.\n\n> E,N,U,E\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nA long, low room, naturally lit by small windows just beneath the ceiling. Down the center of the room runs a series of pedestals, and on each pedestal stands an automated creature of some sort -- a great clockwork bird; a chorus of glass frogs; a pair of human dancers eternally whirling on the cogged floor of their tiny ballroom.\n\nBeside the door, and running down into the rock of the floor, is an enormous crank of Damascus steel.\n\nOn the wall there is an adjustable lever.\n\nFrom the ceiling high above the second pedestal hangs a wooden octahedron.\n\n> You turn the lever to 2\nYou push the lever into the 2 position.\n\n> You turn the crank\nIt takes a good deal of effort to get the crank to turn, but once you have begun, you are able to keep it moving. Under the surface of the pond, wheels of glass turn, causing the koi to swim in their rippled depth; as for the frogs themselves, they begin to sing, a tuneful croaking: brekkekekex, koax, koax.\n\n> You set the lever to 3\nYou push the lever into the 3 position.\n\n> You turn the crank\nIt takes a good deal of effort to get the crank to turn, but once you have begun, you are able to keep it moving. Cogs whir; the dancers meet, and bow, and then begin a graceful dance, all around the floor on which they stand.\n\n> You examine the dancers\nThe dancers are especially fine. Their costume replicates an English mode of perhaps fifty years ago: the lady wears a skirt of beaten copper, pierced in designs, and around the gentleman's neck is a ruff of folded silver.\n\nThe effect of their hands and faces is less happy: all their skin is carved ivory, so that they look drawn, and even paler than ordinary English folk.\n\n> You look at the clips\nThe frame is an intricate construction of small metal rods, to which the leather of the wings is attached with clips. In one place, however, a piece is missing, leaving the clips empty and the wing incomplete.\n\n> You check what you're carrying\nYou are carrying:\na vellum scroll\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ball of yarn\na needle\na ring (being worn)\nsome slippers (being worn)\n\n> Thread needle\n(first taking the needle)\nThere's nothing appropriate with which to do that.\n\n> You put the scroll on the bird\nThe cloth is far too small to fit across the gap in the frame; it would need to be considerably larger, though cloak-sized would certainly be excessive.\n\n> Thread needle with yarn\n(first taking the ball of yarn)\nThe yarn is much too tangly to cooperate.\n\n> W,D,S,W\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the larger end is uppermost.\n\n> You put the scroll in the hourglass\nYou put the vellum scroll into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> E,N,U,E\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nA long, low room, naturally lit by small windows just beneath the ceiling. Down the center of the room runs a series of pedestals, and on each pedestal stands an automated creature of some sort -- a great clockwork bird; a chorus of glass frogs; a pair of human dancers eternally whirling on the cogged floor of their tiny ballroom.\n\nBeside the door, and running down into the rock of the floor, is an enormous crank of Damascus steel.\n\nOn the wall there is an adjustable lever.\n\nFrom the ceiling high above the second pedestal hangs a wooden octahedron.\n\n> You put the scroll on the wing\nThe cloth is too small to fit across the gap in the frame. Perhaps if it just a little larger...\n\n> W,D,S,W\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nFrom somewhere nearby comes a low rumbling.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put cloth in the hourglass\nWhich do you mean, the vellum scroll, the ball of yarn or the slippers?\n\n> You put the scroll on the wing\nYou carefully secure the sheet of cloth to the bird's wing.\n\n> You set lever to 1\nYou push the lever into the 1 position.\n\n> You turn the crank\nIt takes a good deal of effort to get the crank to turn, but once you have begun, you are able to keep it moving. The bird soars toward the ceiling and circles around the room, knocking the wooden octahedron to the floor. After a moment it resettles on its pedestal.\n\n> You take the octahedron\nYou pick up the octahedron...\n\n> Continue\nYou find yourself back on solid ground, only a little shaken."
    },
    {
        "text": "[Themes: Fantasy, transformation, mimesis, female protagonist, physical simulation]\n\n> Look around\nA long, low room, naturally lit by small windows just beneath the ceiling. Down the center of the room runs a series of pedestals, and on each pedestal stands an automated creature of some sort -- a great clockwork bird; a chorus of glass frogs; a pair of human dancers eternally whirling on the cogged floor of their tiny ballroom.\n\nBeside the door, and running down into the rock of the floor, is an enormous crank of Damascus steel.\n\nOn the wall there is an adjustable lever.\n\n> About you\nTo physical appearances a little faded, skin translucent, like candle wax. But it is the inward change you feel. Heavy with thought, great with griefs, all that is physical discarded but the toiling of the mind continuous and endless.\n\nAcross the back of your left hand are scarred the symbols of fire, earth, and air.\n\n> Inventory\nYou are carrying:\na ball of yarn\na needle\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\nsome slippers (being worn)\n\n> You listen\nIt's quiet."
    },
    {
        "text": "> Go down\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\n> You ask W,  to go downwards\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\n> You remove the slippers\nYou take off the slippers.\n\n> You examine the pulley\nA mossy chain hangs from the pulley: one side descends into the water below, while the other ends in a hook just at a reachable level.\nThere is currently nothing on the hook.\n\n> You hang the slippers on the hook\nYou settle the slippers over the end of the hook, just as if you were hanging it on a peg at home. Nothing happens -- perhaps something heavier?\n\n> You wear the slippers\n(first taking the slippers)\nYou put on the slippers.\n\n> You check what you're carrying\nYou are carrying:\nsome slippers (being worn)\na ball of yarn\na needle\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\n\n> Tie the yarn to the workbox\nIt's much too tangled.\n\n> You untangle the yarn\nYou are unable to do so.\n\n> U,E,S,E\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> You put the slippers in the furnace\n(first taking them off)\n\nYou take off the slippers.\nYou put the slippers into the furnace.\n\n> You turn the dial to two\nYou turn the dial to 2."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, platonic solids, mimesis, mythopoeic, transformation, physical simulation, telescopic descriptions]\n\n> You check your inventory\nYou are carrying:\nsome slippers (made of glass)\na ball of yarn\na needle\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\n\n> You wear the slippers\nIt's uncomfortable putting on the slippers in this form, and you momentarily wonder whether your feet are small enough. But you do achieve the task at hand.\n\n> You put the slippers in the furnace\nYou put the slippers into the furnace.\n\n> You turn the dial to 2\nYou turn the dial to 2."
    },
    {
        "text": "[Themes: Fantasy, metaphysics, physical simulation, telescopic descriptions, transformation, female protagonist]\n\n> You go down\nThere is an exit east, and a stairway leading up.\n\n> U,E,D,S,W\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\nStairs lead up, and doorways open south, east and west.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You examine the key\nA delicate key of silvery metal, with precisely-cut teeth.\n\nAt the moment, the delicate key is a somewhat enlarged version of itself.\n\n> You put the yarn in the hourglass\nYou put the ball of yarn into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> You check your inventory\nYou are carrying:\na ball of yarn (enlarged)\nsome slippers (made of stone)\na needle\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\n\n> You untangle the yarn\nYou are unable to do so.\n\n> You tie the yarn to the slippers\nIt's much too tangled.\n\n> You put needle in the hourglass\nYou put the needle into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> You check your inventory\nYou are carrying:\na needle (enlarged)\na ball of yarn (enlarged)\nsome slippers (made of stone)\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\n\n> You examine the yarn\nA ball of navy wool bigger than your head.\n\n> You ask W,  to go west\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You take the needle\nOrdinarily you'd find something like this a bit of a task to lift, but the rules are different here. Not that it's any less heavy; just that your capacity for endurance is more.\n\n> W,N,U,W,D\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nYou stand in the center of a dim room, lit from above by a piercing light. Evidently there is another room above you, but the brilliance of its illumination makes it impossible for you to perceive anything up there.\n\nThe center of the room is occupied by a bulky expandable staircase. There is an exit east, and a stairway leading up.\n\n> E,D,W\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World."
    },
    {
        "text": "[Themes: Fantasy, telescopic descriptions, platonic solids, mythopoeic, female protagonist, physical simulation]\n\n> Go downward\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\n> You look at the workbox\nThe wooden box in which you keep small tools for your work around the house.\n\n> You take the hook\nThat's fixed in place.\n\n> U,E,S,W\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You put slippers in the hourglass\nYou put the slippers into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> You look at the slippers\nTattered by too many errands of this kind. And now too large to wear.\n\n> Go east\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\n> W,N,W,D\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\n> You wear the slippers\n(first taking the slippers)\nYou put them on, but they slip off again.\n\n> You check what you're carrying\nYou are carrying:\nsome slippers (enlarged)\na needle (enlarged and made of stone)\na ball of yarn (enlarged)\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\na ring (being worn)\n\n> You examine the ring\nA plain metal band, without adornment, that you have been accustomed to wear on your right hand. It is the only thing of value you possess.\n\n> You remove the ring\nYou take off the ring.\n\n> You put the ring on the hook\nNothing happens -- perhaps something heavier?\n\n> U,E,S,E\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> You ask W,  to go west\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the smaller end is uppermost.\n\n> You check your inventory\nYou are carrying:\nsome slippers (enlarged)\na needle (enlarged and made of stone)\na ball of yarn (enlarged)\na magnifying glass\na tube (enlarged and made of metal)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na workbox\n\n> E,N,W,D\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\nOn the pulley is a ring.\n\n> You take the ring\nTaken.\n\n> You put ring on the hook\n(You have a feeling you won't get it back.)\n\nThe chain shifts, tugging against its own rust. Then, with a long resentful screech that you can feel in your teeth, the pulley shifts and the ring descends into the water. At the same time, something else is lifted out.\n\nYou rub at the bare spot on your ring finger. You've worn that for nearly five years now."
    },
    {
        "text": "> Describe the surroundings\nYou have reached the lowest extent of the stair, and stand on what might best be described as a small balcony. The surface of the water is still some distance below you.\n\nPerhaps to deal with predicaments such as that in which you now find yourself, a pulley mechanism has been installed at this level.\n\nOn the pulley is a perfect icosahedron.\n\nYou taste bitter pride. Determination is, in the end, more valuable than any other conceivable commodity.\n\n> You examine icosahedron\nAn icosahedron made of glass, on the surface of which are etched fishes of all kinds, branching coral, dolphins and whales; ships swollen with wind, merfolk, sunk treasure... all the lustre of the surface of the sea, and all the mystery of its depth.\n\n> You take the icosahedron\nAs you remove the burden, the chain shifts again and, with a rattle, comes off the pulley, leaving only the pulley itself, but no hook.\n\nAs for the icosahedron, it tingles in your hand--\n\n> About yourself\nLater, water again: the women washing your mother's body. A voice: \"You're going to have to make a decision. What do you want to do now? The convent will take you, if you wish, or you could go into service...\"\n\nBut you buried your face, and the decisions were made on your behalf.\nThen you come back to yourself, your face still wet.\n\n> About yourself\nYou're you.\n\n> You touch yourself\nThe boundaries of yourself still exist, in a fashion.\n\n> U,E,U,U\nThis is the rim of a great cistern, which is built of bricks and lined with plaster, and must be very old. Along the inside of the cistern, a spiral stair descends towards the surface of the water, more than a full story below you.\n\nThe walls themselves are painted with images of the vast unsociable ocean: of the broad empty water, the clustering clouds, the thin and distant crust that is the beginning of the New World.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant.\n\nThe grumbling of machinery catches your attention.\nUp there, cogs and wheels are moving at great speed. You don't dare try to climb up.\n\nThe grumbling of machinery catches your attention.\n\n> You take the sturdy key\nYou pull the key lightly out of the statue's grasp. It is warm and familiar in your hand.\n\nThe grumbling of machinery catches your attention.\n\n> You look at the sturdy key\nA sturdy key of golden metal, with precisely-cut teeth.\n\nThe grumbling of machinery catches your attention.\n\n> Up\nUp there, cogs and wheels are moving at great speed. You don't dare try to climb up.\n\n> Down\nEnter saved game to store: Ok.\n\n> You touch the statue\nThe marble has been given a high degree of polish, taking on almost a soapy quality under your touch.\n\n> You take the mirror\nThat's hardly portable.\n\n> You go to the south\nAgainst the rough north wall of the cavern lies a moon-shaped landing of white stone, with a pair of shallow steps down to the glass-black surface of the lake. A Moorish archway leads away to the north.\n\nThe only furniture is an ornate metal pole, branching at the top, with dozens of bells hung from the branches.\n\n> Inventory\nYou are carrying:\nsome slippers (enlarged)\na needle (enlarged and made of stone)\na ball of yarn (enlarged)\na magnifying glass\na tube (enlarged and made of metal)\na workbox\ntwo keys:\na sturdy key\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\n\n> You throw tube at the machinery\nThat doesn't make much sense.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You turn the statue\nYou are unable to.\n\n> You put the tube in the machinery\nThat doesn't make much sense.\n\nThe grumbling of machinery catches your attention.\n\n> Ascend\nUp there, cogs and wheels are moving at great speed. You don't dare try to climb up.\n\nThe grumbling of machinery catches your attention.\n\n> You listen\nIt's quiet.\n\n> You look at the walls\nThe squares of precious substances have cut with the greatest care, so that their surfaces are smoothly polished and bevelled. You are unable to determine by what means they have been attached to the stone beneath.\n\nThere is one sheet of coppery metal that seems to be coming loose, however.\n\n> You take sheet\nIt is still (though barely) attached to the wall.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You pull the sheet\nYou succeed in freeing the copper placard: it clatters to the ground, opening a dark hole in the wall protected by a sort of lockable grate.\n\n> You examine the grate\nMade of sturdy iron bars interlaced.\n\n> Unlock grate\n(with the sturdy key)\nThe key is too large to fit the lock.\n\n> You unlock the grate with the gold key\nThe key is too large to fit the lock.\n\n> You put the sturdy key in the hourglass\nYou put the sturdy key into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end smaller than it was when it went in.\n\n> E,N,U\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a placard here.\n\nThe grumbling of machinery catches your attention.\n\n> You unlock the grate with the sturdy key\nThe key seems as though it would go in the lock, but it is slightly too small.\n\nFrom somewhere nearby comes a low rumbling.\n\n> D,S,W\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nA long, vaulted room, lined with cages of filigree and jewels. All of the animals are motionless and still, perhaps through the art of a taxidermist. In one cage is an elephant, so short that he reaches only to your knee; you easily could lift him under one arm and carry him away. In another cage, a giant mouse lies, curled as though slumbering, his paws folded in the semblance of prayer.\n\nMounted on a swivel on the wall is what looks like an irregular hourglass, one bulb larger than the other. There is no sand within -- nor could there be, since the contraption is open at each end. At the moment the larger end is uppermost.\n\n> You put the sturdy key in the hourglass\nYou put the sturdy key into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end larger than it was when it went in.\n\n> E,N,U\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\n> You unlock the grate with the sturdy key\nYou unlock the grating and swing it open.\n\n> Go north\nYou're going to need your hands free if you want to crawl in there.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You drop all\nsturdy key: Dropped.\nslippers: Dropped.\nneedle: Dropped.\nball of yarn: Dropped.\nmagnifying glass: You set the magnifying glass down gently.\ntube: Dropped.\nworkbox: Dropped.\ndelicate key: Dropped.\n\nThe grumbling of machinery catches your attention.\n\n> Go north\nYou take a deep breath and enter, suppressing your distaste.\n\nYou're crouched in a square crawlspace, barely broader than the width of your shoulders. The absence of light makes things particularly unpleasant.\n\nThere's a ferocious rumbling at the northernmost (and lowest) end of the crawlspace, where, you imagine, something very large is rotating.\n\n> You listen\nIt sounds as though something very large is in motion nearby.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You listen\nIt sounds as though something very large is in motion nearby.\n\n> You examine the wall\n(the walls)\nYou don't see anything particularly exciting.\n\n> You go to the west\nThere's no room in that direction.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\nThe grumbling of machinery catches your attention.\n\n> You examine the machinery\n(the celestial clockwork)\nYou can barely see anything at all.\n\n> You enter the machinery\n(the celestial clockwork)\nThat's not something you can enter.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\nThe grumbling of machinery catches your attention.\n\n> Down\nThere's no room in that direction.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You go south\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a workbox (which is empty), a tube (which is empty), a magnifying glass, a ball of yarn, a needle, some slippers, a placard and two keys (a delicate key and a sturdy key) here.\n\n\"There's no glory in needless martyrdom.\" The priest again, leaning in the doorway while you scrubbed the floor. \"You can come away from here.\"\n\nYou flung dirty water on his shadow, and scowled.\n\n> Inventory\nYou are carrying:\na placard\nsome slippers (enlarged)\na needle (enlarged and made of stone)\na ball of yarn (enlarged)\na magnifying glass\na tube (enlarged and made of metal)\na workbox\ntwo keys:\na sturdy key (shrunken) (which opens the grating)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\n\nThe grumbling of machinery catches your attention.\n\n> You drop all\nplacard: Dropped.\nslippers: Dropped.\nneedle: Dropped.\nball of yarn: Dropped.\nmagnifying glass: You set the magnifying glass down gently.\ntube: Dropped.\nworkbox: Dropped.\nsturdy key: Dropped.\ndelicate key: Dropped.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You take the tube\nTaken.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You put the tube in the hole\nYou put the tube into the dark hole.\n\n> You go north\nThere's not going to be room while the tube is in there.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You get tube\nTaken.\n\nThe grumbling of machinery catches your attention.\n\n> You drop the tube\nSolid, even stone.\n\nThe grumbling of machinery catches your attention.\n\nDropped.\n\n> Go north\nYou take a deep breath and enter, suppressing your distaste.\n\nYou're crouched in a square crawlspace, barely broader than the width of your shoulders. The absence of light makes things particularly unpleasant.\n\nThere's a ferocious rumbling at the northernmost (and lowest) end of the crawlspace, where, you imagine, something very large is rotating.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You go south\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a tube (which is empty), two keys (a delicate key and a sturdy key), a workbox (which is empty), a magnifying glass, a ball of yarn, a needle, some slippers and a placard here.\n\n> Go north\nYou take a deep breath and enter, suppressing your distaste.\n\nYou're crouched in a square crawlspace, barely broader than the width of your shoulders. The absence of light makes things particularly unpleasant.\n\nThere's a ferocious rumbling at the northernmost (and lowest) end of the crawlspace, where, you imagine, something very large is rotating.\n\n> You throw the tube at the hole\nThe tube bounces and falls harmlessly to the ground.\n\n> You wear the slippers\n(first taking the slippers)\nYou put them on, but they slip off again.\n\n> You take the slippers\nYou already have those.\n\n> D,S,E\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAn orchard of glass trees: trunks slender and orderly as the columns of the Alhambra, foliage iridescent and frail. No wind stirs, and yet, from time to time, a leaf casts free of its branch and drifts to the ground. The whole floor of the cavern is deep with them.\n\nAt the center of this is a clearing where a monstrous furnace stands -- shaped like a coiled dragon.\n\n> You put the slippers in the hourglass\nYou put the slippers into the contraption; predictably, it squinches down, passes through the narrow neck, and emerges from the other end smaller than it was when it went in.\n\n> You ask N,  to ascend\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a tube (which is empty), two keys (a delicate key and a sturdy key), a workbox (which is empty), a magnifying glass, a ball of yarn, a needle and a placard here.\n\n> You put the slippers in the machinery\n(the celestial clockwork)\n(first taking them off)\n\nThat's not possible in so confined a space.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You enter the clockwork\nThat's not something you can enter.\n\n\"There's no glory in needless martyrdom.\" The priest again, leaning in the doorway while you scrubbed the floor. \"You can come away from here.\"\n\nYou flung dirty water on his shadow, and scowled.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You enter the clockwork\nThat's not something you can enter.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You kick machinery\n(the celestial clockwork)\nThat's not possible in so confined a space.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You feel the stone\nRough under your fingers.\n\n> Smell\nYou smell nothing unexpected.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You touch the clockwork\nYou're not foolish enough to try to put your hands on the moving mechanism.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> Hit mechanism\nUnlikely that would achieve anything."
    },
    {
        "text": "> Go downwards\nThere's no room in that direction.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation."
    },
    {
        "text": "[Themes: Fantasy, mythopoeic, platonic solids, mimesis]\n\n> Look around\nYou're crouched in a square crawlspace, barely broader than the width of your shoulders. The absence of light makes things particularly unpleasant.\n\nThere's a ferocious rumbling at the northernmost (and lowest) end of the crawlspace, where, you imagine, something very large is rotating.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You check your inventory\nYou are carrying:\nsome slippers (made of stone) (being worn)\n\n> You wear the placard\n(first taking the placard)\nYou can't wear that!\n\nFrom somewhere nearby comes a low rumbling.\n\n> You put it in the tube\nThe needle is too large to fit in there.\n\nFrom somewhere nearby comes a low rumbling.\n\n> You examine the statue\nNaked except for the sandals laced around his ankles, empty-handed. His face is more vigorous than beautiful; his hair is arranged around his head in a disorderly array of curls. He is looking up from under a strong brow, his gaze bent on something above you.\n\n> You take the mantle\nYou see yourself upside down -- and other. Your reflection seems taller, more noble, with untattered clothes. And your upside-down face! Neither a woman's face nor a man's, but lovely and severe, with burning eyes.\n\nThat seems to be a part of the statue of a woman.\n\n> You get the mantle\nThat seems to be a part of the statue of a woman.\n\n> You look at the statue in the mirror\n(first taking the concave mirror)\nThat's hardly portable.\n\n> Inventory\nYou are carrying:\na needle (enlarged and made of stone)\nsome slippers (made of stone) (being worn)\n\n> You look at the statue's reflection\nWhich do you mean, the statue's head or the statue's mantle?\n\n> You examine the statue's head\nHer hair is gathered back from her head on each side in curling tendrils; she has a straight and shapely nose, a small full mouth, a round chin.\n\n> You enter the hourglass\nA daring idea, but impracticable.\n\n> Examine leaves\nThe individual leaves are shaped like spades, but with serrated edges.\n\n> You poke the elephant with the needle\nFutile.\n\n> Inventory\nYou are carrying:\na needle (enlarged)\nsome slippers (made of stone) (being worn)\n\n> E,N,U\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a placard, a tube (which is empty), two keys (a delicate key and a sturdy key), a workbox (which is empty), a magnifying glass and a ball of yarn here.\n\n> You take all\nplacard: Taken.\ntube: Taken.\ndelicate key: Taken.\nsturdy key: Taken.\nworkbox: Taken.\nmagnifying glass: Taken.\nball of yarn: Taken.\n\n> Up\nUp there, cogs and wheels are moving at great speed. You don't dare try to climb up.\n\n> You put the placard in the hole\nYou put the placard into the dark hole.\n\nThe grumbling of machinery catches your attention.\n\n> You look at the placard\nYou can't really see the placard.\n\nFrom somewhere nearby comes a low rumbling."
    },
    {
        "text": "[Themes: Fantasy, transformation, mythopoeic, metaphysics, mimesis, female protagonist, telescopic descriptions, physical simulation]\n\n> You look around\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nOnce your master told the priest that you would be useful. At the time you thought he meant for cleaning house.\n\n> Inventory\nYou are carrying:\na ball of yarn (enlarged)\na magnifying glass\na workbox\ntwo keys:\na sturdy key (shrunken) (which opens the grating)\na delicate key (enlarged and made of metal) (which opens the\nsilvered door)\na tube (enlarged and made of metal)\na needle (enlarged)\nsome slippers (made of stone) (being worn)\n\n> Up\nYou clamber up through the stilled wheels...\n\nYou stand among cogs and gears, many with teeth longer than your forearm; the outer ring of the floor is wholly occupied with these.\n\nBut above is a spangled darkness full of music. The moon hangs overhead, and all the constellations, frozen in their places.\n\nIn the center of the floor, bathed in its own light, is a perfect dodecahedron.\n\n> You examine the dodecahedron\nA solid of unidentifiable material, smooth, shiny, and unflawed, across whose surfaces play the images of stars. Orion. Casseiopeia. The Pleiades. The Great Bear. And here and there among the constellations, the planets, wanderers, appear: traveling back on themselves, then straight again, across the dozen facets of the gem.\n\n> You take it\nIt weighs almost nothing, but you hear its music for a moment in your mind: gracious and yet swift, a courtly dance.\n\n> You keep going\nHe opens the book on his desk, and shows you the images therein: the planets represented by gods, each with attributes; the bird with three heads, cased in a glass bottle; the constellations, given their proper faces. And as you look at the pictures, he tells you about things: Time, eternity. The significance of objects themselves, and of their relationships, of their proportions. Of harmony, both moral and physical.\n\n> Continue\nToo bad the price has been so great and the reward so slight. Your mother's ring, all you had left of her. Except, of course, the ruins of a house you cannot inhabit.\n\nDestruction gratifies you. Proof of your strength. In small ways the hardness you must practice here creeps into your action in the ordinary world. (Memories you can't disguise from yourself: kicking a little girl, breaking a window for no reason.)"
    },
    {
        "text": "[Themes: Fantasy, platonic solids, metaphysics]\n\n> You describe your surroundings\nYou stand among cogs and gears, many with teeth longer than your forearm; the outer ring of the floor is wholly occupied with these.\n\nBut above is a spangled darkness full of music. The moon hangs overhead, and all the constellations, frozen in their places.\n\n> About yourself\nYou don't need to look to know yourself: mind and will and soul, untied from matter.\n\n> You examine the moon\nQueenly and bright: she seems now a sphere made of silver and ebony, now a beautiful woman in black and white robes, in a chariot drawn by bulls.\n\n> You look at the stars\nStars, the size of pomegranates, hanging in perfect emptiness.\n\n> D,D,S,S\nYou clamber down through the stilled wheels...\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nTower, Bottom\nYou stand at the bottom of a stone tower. Doorways open in each of the cardinal directions, except for the north; there, a spacious niche contains the statue of a woman, skillfully executed in white marble.\n\nThe center of the room is occupied by a spiral staircase, but one made of such slender and delicate supports that it obscures neither light nor view.\n\nThe silvery door to the south stands open.\n\nA straight white light comes through the hole in the ceiling, but it is soon after twisted and bent: mirrors cast it from angle to angle; crystal divides it; glass stains it.\n\nEast and west, low corridors lead into shadow.\n\nThe silvery door to the north stands open.\n\nAgainst the rough north wall of the cavern lies a moon-shaped landing of white stone, with a pair of shallow steps down to the glass-black surface of the lake. A Moorish archway leads away to the north.\n\nThe only furniture is an ornate metal pole, branching at the top, with dozens of bells hung from the branches.\n\n> You examine the pole\nTiny silver bells, each with its tongue.\n\n> You ring bell\nYou tap one of the bells; it chimes so softly as almost not to be heard at all.\n\n> Shake pole\nThe sound is light and clear. A thousand tiny circles form and dissipate on the surface of the water, as though it rained.\n\n> You listen\nThe quiet after rain.\n\nThere is a distant splash; a long silence; a repetition.\n\n> Wait\nTime passes.\n\nA dark shape distinguishes itself from the other darkness on the water: a small gondola without passengers, a single gondolier bent at his pole. It is progressing towards you.\n\n> You enter the gondola\nThe gondolier watches impassively as you clamber in.\n\nWith a heavy sigh, the gondolier pushes the gondola off and begins the return journey to the south shore. After a few minutes, you arrive...\n\nA narrow ledge of solid rock at the southern end of a great cavern. Beyond it lies a body of water so flat, so black and tranquil, that it might be a surface of polished obsidian.\n\nA gondola waits nearby, the gondolier leaning against his pole.\n\nEmbedded in the wall, a mirror reflects your movements: an odd smoothness in the unshaped stone.\n\nA heavy bronze bell hangs from a stand.\n\nThe gondolier lifts his head and sighs softly.\n\n> You look at the mirror\nA flat round mirror, which reflects you dimly in its face. Around the edge runs the series of signs that fix an earthly object in an unearthly world: your master put this here for your return.\n\nThe gondolier, apparently weary of the wait, pushes off from the ledge and is quickly merged again with the darkness.\n\n> You look in mirror\n(You bow your head to the inevitable, like an ox undergoing the yoke. And hate it. Has nothing changed?)\n\nYou slip through the surface of the mirror..."
    },
    {
        "text": "[Themes: Fantasy, mythopoeic, metaphysics]\n\n> You look around\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\n> You touch the mirror\nYou reach out and touch the mirror, and your double returns the gesture. Your fingers feel numb and cold.\n\nThe gondolier, apparently weary of the wait, pushes off from the ledge and is quickly merged again with the darkness.\n\n> You examine mirror\nA flat round mirror, which reflects you dimly in its face. Around the edge runs the series of signs that fix an earthly object in an unearthly world: your master put this here for your return.\n\n> You look in the mirror\nYou make out your face -- a bit tired and smudged, and the features look sharper than you remembered. You feel cold just looking at yourself.\n\n> You take all\nHe opens the book on his desk, and shows you the images therein: the planets represented by gods, each with attributes; the bird with three heads, cased in a glass bottle; the constellations, given their proper faces. And as you look at the pictures, he tells you about things: Time, eternity. The significance of objects themselves, and of their relationships, of their proportions. Of harmony, both moral and physical.\nToo bad the price has been so great and the reward so slight. Your mother's ring, all you had left of her. Except, of course, the ruins of a house you cannot inhabit.\n\nDestruction gratifies you. Proof of your strength. In small ways the hardness you must practice here creeps into your action in the ordinary world. (Memories you can't disguise from yourself: kicking a little girl, breaking a window for no reason.)\nI beg your pardon?"
    },
    {
        "text": "[Themes: Fantasy, female protagonist, metaphysics, mythopoeic, physical simulation]\n\n> You go downwards\nYou clamber down through the stilled wheels...\n\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\n> About yourself\nYou don't need to look to know yourself: mind and will and soul, untied from matter.\n\n> You put the glass in the light\n(the magnifying glass in the light hole)\nIt's out of reach.\n\n> You look in the mirror\n(You bow your head to the inevitable, like an ox undergoing the yoke. And hate it. Has nothing changed?)\n\nBack home, fast as thinking.\nBut your master cowers and trembles when he sees you, and cannot be made to know you until you put the knowledge into him.\n\nYour positions are, from now on, reversed: it is he who bows to you, who follows and obeys you. Some rip has occurred in the illusion you called the world, so that everywhere you go, you find the substance and the structure beyond.\n\n> Go east\nOn the curving walls are painted the village and the nearby countryside; beyond those are impossibly distant places (labelled for your better instruction): Paris, spired and shimmering; southward Rome; a misty London in the north.\n\nOne of the large paving stones has been removed from its position, and a ladder descends into the dark gap beneath.\n\n> Go upwards\nThe only exit is down the stairs you came up.\n\n> You look at the frogs\nMade of green Venetian ware, set in a pond full of lilies. The largest is a bullfrog, with bulging eyes and a full extended throat.\n\nThe water is done in several layers of glass, so that through the mottled blue of the surface you can discern the darting koi painted on the lower levels.\n\n> You look at the pond\nThe surface layer is interlocked with ripples, and mottled blue and clear; beneath are several levels of fish, some close and large, some small and almost invisible with depth.\n\n> You touch the pond\nThe surface of the pond feels uneven under your fingers, and you wonder what technique could have produced so accurate an impression of broken water.\n\n> You go south\nStairs lead up and down, and doorways open east and west.\n\n> You look in the lake\nYou're arrested by your own faint reflection, staring back pale and disshevelled from the surface.\n\n> You think\nYou're thinking pretty much constantly.\n\n> You wake up\nWho is to say whether you are awake now or sleeping? But whichever it is, you cannot change that state by your own volition.\n\n> You look in the keyhole\nSince the door is open, you find yourself peering through at the adjacent wall.\n\n> You examine the light\nIt's hard to tell, from here, whether you are seeing sunlight or some other kind. You see daylight rarely in your travels; these are isolated places, self-contained.\n\nBut the light is too bright too look at long, whether it falls through glass or empty air; it carries no heat.\n\n> You enter the light\nIt's out of reach.\n\n> You look in the mirrors\n(Yes, why not? An easier way than to go home, in bitterness.)\n\nYou leap, divide, return by multiple ways.\nOut of unity into multiplicity, out of time into the eternal instant. Feeling all the surface of the walls on your back, having the image of every angle in your eyes. In this little space, you know as much as God himself: omniscience bounded in a hollow shell.\n\n> You examine north wall\nThe north wall has been scraped into a rough obedience; set into it, an archway of white stone, shaped like a keyhole.\n\n> You examine the archway\nOutlined in white stone and decorated with a geometric pattern.\n\n> You touch the lake\nSo cold it burns your fingers and leaves your whole arm feeling momentarily numb.\n\n> You examine the water\nIt's too far away for you to reach from here.\n\n> You look in the water\nIt's too dark to see anything that might be down there."
    },
    {
        "text": "> You descend\nThe only exit is the spiral stair, by which you can emerge from the cistern.\n\n> You jump\n(Yes, why not? An easier way than to go home, in bitterness.)\n\nYou let yourself go, fall-- down, to, through the surface of the water -- fading the deeper you go, losing yourself in the infinite depth, until you come to dark unbeing and cool slumber at the world's heart.\n\n> You examine the ocean\nA great expanse of open water, in some places calm, in some rough. Here and there the artist has added sea creatures: the fins of fish, a coil of the Leviathan. Trade ships run before the wind, bent steeply on their courses. And pirates after them.\n\n> You examine the pirates\nAlmost too small to see, numerous but dwarfed by the ocean itself.\n\n> You look at the pirates with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\n\nAnd end on a squalid deck, stinking of close-packed bodies and unfresh meat. The horizon tips and sways, and you clutch the railing, trying to find your place, your balance. You had not really even understood that there were such places as this in the world, let alone that you might come to them.\n\nThen someone shouts at you in gutter Spanish, and you reply without thinking. In your glass, a fat English vessel is crowding sail.\nThere will be a fine take before nightfall...\n\n> You look at new World with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\nYou fall through the magnifying glass, and find yourself-- On a bare strand, between the forest and the open sea. There are no footsteps, no buildings, no signs of harbor or of habitation. Just pale sand, virgin underfoot.\n\n> You examine new World\nA thin strip of coastline on the horizon, showing a dense growth of strange trees, and in a few places mountains rising out of the surrounding land. A single plume of smoke rises from this shore, as though to indicate that the land is inhabited, though only just.\n\nSome of the picture is too tiny for you to make out with the naked eye.\n\n> You examine the village with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\nYou fall through the magnifying glass, and find yourself-- Where you have no further use for the knowledge gained from books, or any of the hard and tortuous learning that your master practices, with its arcana and its grim secrets.\n\n> You examine the trade ships with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\n\nBarefoot on a sloping deck. The horizon tips unpleasantly. Elation and terror mingle in your gut -- and you puke spectacularly over the side.\n\n> You look at the paris with lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\n\nYou're translated instantly into that bright and shallow world: silks, canopies, masques. Everything you were before takes but a moment to forget. Long hours, work, servitude; the light in Tuscany; your mother's grave.\n\nAnd then you're gathering your skirts and descending the grand stairs, your slippers silent on the marble.\n\n> You look at London\nThe fog seems to part a little even as you look. You see the houses of merchants, and men planning expeditions, and the builders of ships, and other things, small but perfect: however closely you look you can't seem to see it all.\n\n> You examine London with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\n\nAnd suddenly you're on the stage, sleeves of your costume flapping, voice loud: \"Nothing of him that doth fade / but doth suffer a sea-change...\" No time to think, only to act. The part comes naturally to you: feigned service to a magician-master, trouble, tempest, truth. Your freedom, earned.\n\nLater, undressing in the room behind the stage, you'll remember only that you've forgotten something.\n\n> You look at the rome\nThe image grows in your eyes as you look: there are the ruins of the ancients, arches and pillars. There are the palaces of the modern princes, and the court of the Pope, with the Pontiff himself on his throne, and all his Cardinals around. And there are other things, too small and fine for you to see.\n\n> You examine the rome with the lens\n(A fatalistic gesture, of sorts, since you can't bring yourself to put an actual end to your life. But you're sick of home, and yourself, and mean to flee both.)\n\nAnd you're standing in a crowded corridor with the light squeezing in the windows. Everywhere around you is the sussurus of speech -- Italian, Latin, whispered French, sibilants and nasals. Your brain reaches for, but cannot wholly grasp, an understanding.\n\nBut you are swept along soon enough with the other pawns, children, servants and hangers-on, into a maze of politics and prayer.\n\n> You look at the walls\nThe squares of precious substances have cut with the greatest care, so that their surfaces are smoothly polished and bevelled. You are unable to determine by what means they have been attached to the stone beneath.\n\nIn one place, however, the placard has been moved away and a dark space exposed beneath.\n\n> Go up\nYou clamber up through the stilled wheels...\n\nYou stand among cogs and gears, many with teeth longer than your forearm; the outer ring of the floor is wholly occupied with these.\n\nBut above is a spangled darkness full of music. The moon hangs overhead, and all the constellations, frozen in their places.\n\n> You drop all\nball of yarn: Dropped.\nmagnifying glass: You set the magnifying glass down gently.\nworkbox: Dropped.\nsturdy key: Dropped.\ndelicate key: Dropped.\ntube: Dropped.\nneedle: Dropped.\n\n> You go north\nYou take a deep breath and enter, suppressing your distaste.\n\nYou're crouched in a square crawlspace, barely broader than the width of your shoulders. The absence of light makes things particularly unpleasant.\n\nThere's a faint draft at the northern end of the tunnel.\n\n> Go north\nThere's no room in that direction.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> You enter the mechanism\nThat's not something you can enter.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> Touch mechanism\nThe metal is astonishingly cold to the touch, especially for something that has been in such constant motion.\n\nThe undressed stone of the walls scrapes at you as you move, which is an extremely unpleasant and distracting sensation.\n\n> Go south\nTower, Mid-level\nA midpoint in the tower, with doorways east and west, lit from above. The south wall is occupied by a deep niche, in which is a statue of a young man in the Greek mode.\n\nThe walls have been sheathed with a variety of fine materials, all exceptionally costly: sheets of beaten gold, squares of lapis lazuli, placards of ruby and adamant. There is a dark, square hole in the north wall where one of these sheets has been removed.\n\nYou can see a needle, a tube (which is empty), two keys (a delicate key and a sturdy key), a workbox (which is empty), a magnifying glass and a ball of yarn here.\n\n> You take all\nneedle: Taken.\ntube: Taken.\ndelicate key: Taken.\nsturdy key: Taken.\nworkbox: Taken.\nmagnifying glass: Taken.\nball of yarn: Taken.\n\n> You look in the gold\n(the sturdy key)\nYou find nothing of interest.\n\n> You look through lens\n[ Try LOOK THROUGH GLASS AT <thing> ]\n\n> You go south\nStairs lead up and down, and doorways open east and west.\n\n> You put the yarn in the dragon\nYou put the ball of yarn into the furnace.\n\n> You look at the ball\nA glass ball, like those that scryers use.\n\n> You look in it\nYou peer at the small figure of your master, there at the center of the farseeing glass.\n\nThe bending in is startling -- pressure in your head, in your lungs -- and then the release comes suddenly.\nAnd here you are, at home. He hasn't seen you yet; he's still bent over the bed with its tossed blankets and the lines he tied over you when you slept. You reach down and touch the top of his head.\n\nIt is a moment before he recognizes you. \"How did you--?\" He gestures at the mattress, empty. \"You should have come back here.\"\n\n\"I took my own way.\"\n\nHis gaze falls, from your face to the thing gleaming in your left hand, and you see that he knows he will never again send you unwilling on any errand.\n\n> You put the box in the dragon\nYou put the workbox into the furnace.\n\n> Examine box\nAn ordinary round box, but made of metal.\n\n> You look in the box\nThe workbox is empty.\n\n> You put the ball in the dragon\nYou can only fit one thing into the furnace at a time.\n\n> You take all from dragon\nRemoved.\n\n> You put the ball in the dragon\nYou put the scrying glass into the furnace.\n\n> You turn the ear to 4\nIt is already set to that position.\n\n> You look at the ball\nA large shining ball of metal.\n\n> You look in the ball\nYou find it hard to see through the opaque material.\n\n> You examine the ball with the lens\nYou peer at the small figure of your master, there at the center of the farseeing glass.\n\nThe bending in is startling -- pressure in your head, in your lungs -- and then the release comes suddenly.\n\n> Juggle ball\nAnd here you are, at home. He hasn't seen you yet; he's still bent over the bed with its tossed blankets and the lines he tied over you when you slept. You reach down and touch the top of his head.\n\nIt is a moment before he recognizes you. \"How did you--?\" He gestures at the mattress, empty. \"You should have come back here.\"\n\n\"I took my own way.\"\n\nHis gaze falls, from your face to the thing gleaming in your left hand, and you see that he knows he will never again send you unwilling on any errand."
    },
    {
        "text": "[Themes: Seasonal, Victorian, Christmas]\n\nChristmas Eve! You tell Bob to go home early; tidy up a little, and lock up the office shortly after four. You look on the old brass plate, which still reads \"Scrooge & Marley\", probably for the last time.\n\nAfter visiting the engravers to pick up your package, you spend a few hours simply walking the busy streets, soaking in the happy anticipation all around. Then a simple, but magnificent, dinner at Kettners and a gentle stroll home. Time for bed.\n\nNot everyone is complimentary about this courtyard, or the house whose front door you now face. \"A gloomy set of rooms\" it has been called. But it has been your home these many years; it was the site, a decade past to this very day, of the great visions that changed your life forever. And so here you stay, and here you expect to end your days. The door is north.\n\n[Author's Note: Christmas Eve! You tell Bob to go home early; tidy up a little, and lock up the office shortly after four. You look on the old brass plate, which still reads \"Scrooge & Marley\", probably for the last time. After visiting the engravers to pick up your package, you spend a few hours simply walking the busy streets, soaking in the happy anticipation all around. Then a simple, but magnificent, dinner at Kettners and a gentle stroll home. Time for bed.]\n\n> About yourself\nOthers might call you elderly -- though you feel, especially at this time of year, sprightly and young. A respectable, respected, much-loved pillar of this great city. \"Good old Ebenezer\", they say. \"There is a man who knows how to celebrate Christmas\".\n\n> Inventory\nYou are carrying:\na door key\na package\n\n> You look at the key\nA brass door key.\n\n> You examine package\nYou picked it up from the engravers earlier. The package is about six inches wide, and eight inches long, wrapped in brown paper and tied with string. The label on it reads \"E Scrooge Esq, to await collection\". It's rather heavy.\n\nWhisps of frosty mist nuzzle into the corners of the yard."
    },
    {
        "text": "> You look at your surroundings\nNot everyone is complimentary about this courtyard, or the house whose front door you now face. \"A gloomy set of rooms\" it has been called. But it has been your home these many years; it was the site, a decade past to this very day, of the great visions that changed your life forever. And so here you stay, and here you expect to end your days. The door is north.\n\n> You look at the house\nA huge old house. Your late partner, Jacob Marley lived here until he died, and you have lived here ever since. You keep a small suite of rooms on the first floor, having given the rest over to your nephew and his family -- but they are out of town visiting your brother for Christmas. They begged you to go with them, but you have your own plans: you always visit the Cratchits for Christmas, and this year you have a most particular reason to keep that appointment.\n\nYou catch a strange, sweet smell, carried on the mist.\n\n> Go north\n(opening the door)\n(unlocking the door)\nAs you push the door open and enter, you stop for a moment to look at the knocker. Who knows why, for you see it every day -- morning and evening, and it is unremarkable enough. But you can't forget how, on this very evening a decade ago, you saw it transformed into the very image of your late partner Jacob Marley: the first of the very strange and disconcerting events of that wonderfully disconcerting night.\n\nSo you glance at the knocker now, and you are shocked to see it, again, assume a once-familiar appearance. But this time the face is not Marley's, but almost your own, though one you have not seen for twenty, even thirty, years. It is the face of your brother, Mordecai.\n\nShivering slightly (whether from the cold, or the disconcerting behaviour of your door knocker, you could not say) you go through the door, light the candle that stands ready on the hall table, lock the door carefully behind you and climb the wide staircase to your chamber.\n\nA leopard never quite changes its spots, and your bedroom is still plain by most standards, but that is how you like it. Nevertheless, you allow yourself a few hints of comfort if not luxury. The heavy green brocade curtains are closed. Your table has a few papers on it. Your bed is ready for you. The door, leading east, is closed.\n\n> You look at the papers\nThe papers are scattered on the table. You really should talk to Lucinda about cleaning up -- since she has been walking out with the Jameson boy she has become quite distracted.The only one of any moment is the letter you received this morning from your attorneys.\n\n> You open the curtains\nYou open the curtains, revealing a window.\n\n> You read letter\n45 New Square\nLincoln's Inn\n\nMy Dear Mr Scrooge,\n\nAs presently drawn, your will leaves your whole estate to your brothers, and their issue. In practical terms, that means to your nephew and (if he still lives) your brother Mordecai.\n\nWe understand that you wish to amend the provisions of your will. Mr Robert Cratchit is to become a partner in the firm of Scrooge & Marley, and he is to inherit the partnership absolutely, the rest of your estate passing to your nephew.\n\nWe have accordingly prepared a revised will and partnership deed. If you would be good enough to raise the matter with Mr Cratchit, we look forward to seeing you on the twenty-seventh of this month, at our offices, at eleven o'clock in the forenoon, where the documents can be executed.\n\nI beg to remain, Sir, your obedient and humble servant,\n\nWm Jarboe.\n\n> You examine the window\nThe glass is lightly glazed with frost, but you can just see through it into the darkened yard.\n\nLate as it is, you think you hear footsteps outside the window.\n\n> You take the letter\nYou take the letter.\n\nYou can definitely hear voices: indistinct, but it sounds like an old man and a young man.\n\n> You listen to the window\nYou hear low voices in the yard, though it's hard to make out most of what they say.\n\nOutside the window, a coarse, sly old voice. \"You lad, where are you going?\"\n\n> You look at the window\nThe glass is lightly glazed with frost, but you can just see through it into the darkened yard.\n\nIt's hard to make out more than a few words: something about \"Mr Scrooge\" and \"the compliments of the season\".\n\n> You listen\nYou hear low voices in the yard, though it's hard to make out most of what they say.\n\nThe older man says something, but you can't make it out."
    },
    {
        "text": "[Themes: Seasonal]\n\n> Look around\nThe heavy green brocade curtains are open. Your table has a few papers on it. Your bed is ready for you. The door, leading east, is closed.\n\nThe younger voice is raised indignantly, and you catch a few words -- \"mistaken ... kind gentleman\". Suddenly you recognise the voice: It is Bob Cratchit's son, Tiny Tim.\n\n> You open the door\nYou open the bedroom door.\n\n> Sleep\nYou wouldn't be able to sleep with this queer conversation going on outside.\n\nThe old man is talking: \"... grasping ... miserly ... I have found him out ...\"\n\n> You listen\nYou hear low voices in the yard, though it's hard to make out most of what they say.\n\nThe old man is talks, low and secretive. You can make out few words -- \"Jarboe\" perhaps and \"visit\". How can he know about Mr Jarboe's visit to you?\n\n> You open the window\nYou open the window slowly and carefully, hoping not to be noticed. You can hear the voices in the yard better now.\n\nTiny Tim's voice, quite clear: \"Yes, Sir, I know that he visited, for my father told me of his visit.\"\n\n> You listen\nYou hear the voices in the yard, still talking.\n\n\"Now, my boy, you must be more careful. He told you that he visited, but I wager you he did not tell you the purpose of that visit. I wager you that.\n\n> You listen\nYou hear the voices in the yard, still talking.\n\n\"Indeed he did not, and we all wondered what it might be!\"\n\n> You listen\nYou hear the voices in the yard, still talking.\n\n\"Well, I can tell you. He intends to sell his business. Lock, stock, and barrel. Hook, line, and sinker. Every contract, every note, every bill drawn on London and every bill drawn on Petersburg. All to be sold to a consortium -- that is to say to a bunch, young man -- to a bunch of Italians from Leghorn. A bunch of Italians who will show your father the door soon as you can say 'Merry Christmas'.\"\n\n> Wait\nTime passes.\n\nYoung Tim's voice, clear as a bell: \"Is there nothing that can be done to stop him?\"\n\n> Wait\nTime passes.\n\n\"Ah, my lad. Now I knew that you were a smart boy. An intelligent young man. A young man with his head screwed on. Of course there's something that can be done.\"\n\n> You sit on the bed\nYou get into the bed.\n\nThe old man reaches his hand into his pocket, and hands something to Tim Cratchit.\n\n> You jump\nYou jump on the spot.\n\n\"That little bottle is a remarkable concoction. A miracle of science, young man. The work of the great Doctor Faustus from Berlin. A drop of this in a man's drink will drive out the spirit of miserliness, and drive in the spirit of Christmas. If you could slip it into his drink tomorrow, the problem will be solved.\"\n\n> You look at the bottle\nThe bottle is no more than an inch or two long, and contains a greenish liquid -- the colour of chartreuse.\n\n\"Very well, Sir,\" you hear the Cratchit boy say, \"I will do it.\"\n\n> You stand\nYou get out of the bed.\n\nThe heavy green brocade curtains are open. Your table has a few papers on it. Your bed is ready for you. The door is open to the east.\n\n\"Now you be sure that Mr Scrooge doesn't see it, my boy. He's as sly as a rat, and he'll know directly what it is and not take the bait. Let this be our little secret.\"\n\n> You read the bottle\nThe glass bottle is outside. Just watch and listen.\n\n\"You'll thank me for this, my boy, This will be our little secret. And in time you will thank me for it. Indeed, my lad, you will.\"\n\nThe voices fade.\n\n> Wait\nTime passes.\n\nYou feel very tired. It is time to go to sleep.\n\n> Sleep\nYou blow out the candle, and get into bed then settle down to go to sleep.\n\nYou wake with a start. What is it that woke you? Perhaps only the church bell, chiming ... one ... two ... three-quarters ... no, the hour. One o'clock. You sit up in bed, alert as a cat before a mousehole."
    },
    {
        "text": "[Themes: Seasonal]\n\n> You look around\nBedroom (in the bed)\nThe heavy green brocade curtains are open. Your table has a few papers on it and a number of other objects besides. The door, leading east, is closed.\n\nThe door creaks open, and light -- as of a giant candle -- floods the room. And there, on the threshold, he stands. A spirit you have not seen for ten years, and yet familiar to you: the Ghost of Christmas Past.\n\n> You talk to Ghost\n\"I know you, spirit,\" you say. \"I remember you.\"\n\n\"I am the spirit of Christmas past. Your past!\"\n\n> You wait\nTime passes.\n\n> You talk to Ghost\n\"What is it you have come to show me?\" you ask.\n\n\"I am here to show you a beginning,\" says the ghost. \"We are going to trace a noxious river to its poisoned source.\"\n\n> You talk to Ghost\n\"What must I do, then?\"\n\n\"Just walk through the door.\"\n\n\"What? I can tell you what is outside the door: nothing but my own staircase, up which I climbed not much more than an hour ago!\"\n\n\"So you may think,\" the spirit says enigmatically. \"But you might be surprised.\"\n\n> Continue\nThe spirit stays silent, and merely gestures towards the door.\n\nThe spirit gestures towards the door.\n\n> You go south\n(getting out of bed)\nYou can't go that way. The door is east.\n\nThe spirit gestures towards the door.\n\n> You go east\nThe spirit ushers you through the door. But you feel yourself changed, diminished somehow. And instead of the staircase, you find yourself in a quite different place -- a room once just as well-known, but which you have not thought about these many years.\n\nYour mother's parlour, a cosy little room, spotlessly clean and smelling of wax and lavender. Sunlight is splashing bright patterns on the rug. Your mother is resting on her chaise longue.\n\nA wooden box lies on the rug.\n\nYour mother has kicked off her shoes, which lie beside the sofa.\n\n> You look at the box\nA wooden box, about as long as your arm, and half as wide. There are letters burned into it. Because you are your mother's clever boy, you can read those letters. \"E. PEEN: TOYMAKER\". Your mother has given this box to you for Christmas, because you have been good all year. The box is closed.\n\n> You examine the shoes\nYour mother's brown leather walking shoes.\n\n> You take shoes\nYou take your mother's shoes.\n\n> You wear the shoes\nAlthough it can hardly be said that they fit well, it gives you a remarkable sense of confidence to walk in your mother's shoes. You feel unaccountably stronger, faster, fleeter of foot.\n\n> You open the box\nYou open the wooden box, revealing your toy hammer, your wooden peg and your wooden saw.\n\n> Peg and saw\nYou take the wooden saw, the wooden peg and the toy hammer.\n\n> You examine Mordecai\nTo a superficial glance -- or indeed, to even the most penetrating inspection by anyone other than your family -- there is no difference whatever between you and Mordecai. Not physically; but morally, in spirit, as souls -- you could not be more different.\n\nMordecai comes over. \"I want that hammer, Ben,\" he says. \"Give it to me now!\"\n\n> You hit Mordecai with the hammer\nYou know there is no point. Mordecai is your twin, but he is stronger than you, and faster than you, and more resolute than you.\n\nMordecai grabs the hammer from you. \"Mine!\" he says.\n\n\"No, Mordecai, it is mine. Mother gave it to me. I have been a good boy all year. You have not.\"\n\n\"Good boys get given presents. Bad boys take them!\"\n\n> You wake mother\nYou should let her sleep. She needs to rest.\n\nMordecai advances towards you with his hammer held high. \"Now I have taken this,\" he says, \"you must give me all your toys. You must do as I say or I will beat you and smash you, you vile boy.\" As he says those words \"vile boy\" he sounds just like Father. That is just what Father always says.\n\n> You give the saw to Mordecai\nMordecai takes the wooden saw with an acquisitive glint in his eye. \"Mine now!\" he giggles.\n\nMordecai brings the hammer crashing down on your head, with a crack. For a moment you feel nothing. Then you find yourself on the floor. Your face is sticky, and your mouth tastes of sweet iron. Your brother, as usual, has made himself scarce."
    },
    {
        "text": "[Themes: Seasonal, Christmas]\n\n> Look around\nYour mother's parlour, a cosy little room, spotlessly clean and smelling of wax and lavender. Sunlight is splashing bright patterns on the rug. Your mother is resting on her chaise longue.\n\nA wooden box lies on the rug.\n\nYour mother stirs, and wakes. She looks down at you, and shrieks. \"What on earth has happened, little Ben?\" she says. \"What have you done? Your face is covered in blood!\"\n\n> You tell the mother about Mordecai\nTo converse in this game, use TALK TO [PERSON] (though in certain special situations, when you are asked a specific question, YES and NO could be useful).\n\n> You talk to mother\nYou sob.\n\nYour mother gathers you up in her arms. You feel her tears mixing with yours, and with the blood that covers your face. You turn to kiss her. As your lips touch her cheek she seems to liquify, like wax at a candle wick. And with her everything in the room seems to liquify too: chaise, rug, toys, all pouring away, until there is just you, and the spirit, in an empty room.\n\nStill, apparently, your mother's parlour -- or at least a room its size, and its shape, and with its window and door; but sadly altered. Dust and shadows have spread themselves thickly on every surface, and crept into every corner. The furniture is gone -- the floor bare apart from the rug, which incongruously remains. The door is west.\n\nThe ghost of Christmas past stands in the middle of the room.\n\n> You talk to Ghost\n\"What has happened? Where has my mother gone?\"\n\n\"You have grown up, Ebenezer. The world is a little colder, emptier. You are on your own.\"\n\n> You continue\n\"Why, then, are we still here?\"\n\n\"We are tracing the evil to its source,\" the spirit says. \"A little childhood bullying is hardly evil; but that was not the end of it for Mordecai, was it?\"\n\nAnd you shake your head, because you know he is right.\n\n> Keep going\nThs spirit simply watches you in silence.\n\n> You say no\nYou mutter to yourself.\n\nThe spirit gestures towards the door. \"Some things are best left in the past,\" he says. \"I wish I could show you happier moments; for there were many happier moments, were there not? But tonight my task is to warn. Let us go!\"\n\n> You talk to the spirit\nThe spirit simply watches you in silence."
    },
    {
        "text": "[Themes: Seasonal]\n\n> You look around\nStill, apparently, your mother's parlour -- or at least a room its size, and its shape, and with its window and door; but sadly altered. Dust and shadows have spread themselves thickly on every surface, and crept into every corner. The furniture is gone -- the floor bare apart from the rug, which incongruously remains. The door is west.\n\nThe ghost of Christmas past stands in the middle of the room.\n\n> Exit\nAs you step towards the door, you feel the room you are leaving dissolve into shadow, and the spirit with it. No way back now. You must return (you know it) to the present -- or at least to some possible version of the present. You are half expecting the sight that next meets your eyes ...\n\nYour room is transformed. The ceiling is hung with great boughs of holly, the berries glistening in the light of hundreds of candles. All around the room are piles of wonderful food: hams, great roasts, gilded turkies, piles of sugar plums and oranges, chocolates and candy-canes. A vast table is set with a white damask cloth, laden with dishes. In the midst of this a man with a deep green robe and a vast beard reclines on your bed, his head surrounded by a garland of ivy: the ghost of Christmas present.\n\nThe ghost of Christmas present lounges on your bed, bathed in brilliant sunlight from the canopy.\n\n> You talk to Ghost\n\"I recognise you, spirit,\" you say. \"You are the Ghost of Christmas Past. I remember meeting you -- ten years ago now, and the good you did me then.\"\n\n\"Not I,\" replies the giant, \"for I can be here just one Christmastide, and never again; but one of my brothers no doubt.\"\n\n> You look at the giant\nA giant of a man, with ruddy cheeks, chestnut curls and an auburn beard. He's wearing a green velvet robe, trimmed with ermine.\n\n> You examine the food\nEverything is set as if for a feast; it all looks quite delicious.\n\n> You eat\n(the bed)\n(taking the bed)\nThe bed is fixed in place.\n\n> You eat the food\nSomehow you hand passes straight through, and yet your soul seems nourished.\n\n\"Spiritual food brings spiritual sustenance,\" the Ghost says. \"Tomorrow, my dear Ebenezer, you can eat your fill.\"\n\n> You talk to Ghost\n\"Why are you here? I am a changed man. There's not a man in London more devoted to you than I am. I have no further need of your help.\"\n\n\"So you might think,\" the spirit replies. \"But you do need my help tonight: not to save you, this time, from yourself; but to save you, and others, from harm.\"\n\nThe spirit beckons you towards his robe.\n\n> You talk to Ghost\n\"What sort of harm, spirit? And what should I do?\"\n\n\"I will show you,\" says the Ghost. \"Touch my robe, and I will show you.\"\n\n> You touch the robe\nAs your hand brushes the spirit's robe, he takes you firmly by the hand. He opens the window, and, safe in his firm grasp you are launched headlong into the air.\n\nYou soar over tightly-packed streets through a grey London dawn.\n\nFrost glistens on the flagstones, and on the identical doorsteps of the identical houses in this neatly nondescript street. You stand outside number 17. Cast iron railings surround a basement area, painted black like every other house; a neat front door and whitened step. It is the house where your clerk, Bob Cratchit, lives with his family. The great City lies to the south. Steps lead down to the basement area.\n\nSomeone has dropped a sixpenny piece on the ground.\n\n> You look at the piece\nA silver sixpence.\n\n> You take the piece\nYou take the sixpence.\n\n> You check what you're carrying\nYou are carrying:\na sixpence\n\n> About yourself\nYou feel strange, pinched, dreary and angry. You seem to be wearing a shabby coat and a shabby hat (not at all in your usual style) and a strange smell lingers about you.\n\n> You smell yourself\nYou smell odd: a sickly sweetness -- like meat that has started to turn -- lingers about your person.\n\n> You go to the south\nThat way would take you home, but the spirit has brought you here, and must have his reasons."
    },
    {
        "text": "> Go downward\nLike so many London houses, Bob Cratchit's is set half-down into the ground, with a dingy basement yard with space to store coal, and ash, and rubbish. Overlooking this dreary scene is the window of what you know is the kitchen, although it's so covered in thick frost that you can't see anything through it at the moment.\n\nThe spirit stands just behind you.\n\n> Rub window\nYou rub at the frost. It burns your hands, but you manage to clear a small area, through which you can peep.\n\n> Peep\nLike so many London houses, Bob Cratchit's is set half-down into the ground, with a dingy basement yard with space to store coal, and ash, and rubbish. Overlooking this dreary scene is the window of what you know is the kitchen. The window is covered in a heavy frost, apart from a small area that you have rubbed clear.\n\nThe spirit stands just behind you.\n\n> You look through the window\nYou look into the Cratchits' kitchen. It is set for Christmas, with various delicacies arrayed on the table. Beyond it is a door through which you can see into the back parlour.\n\nAs you watch, you see a young man come in. It is Tiny Tim.\n\n> You examine the window\nThe window is covered with frost, except for a small corner, where you have rubbed a clear area.\n\n> You look at Tim\nHe is in his Sunday Best for Christmas.\n\nThrough the kitchen door you see two men, yourself and Bob Cratchit.\n\n> You look through the window\nTim ladles two generous helpings of the punch into pewter mugs, and carries them through to the room beyond.\n\n> You examine Cratchit\nWhich do you mean, Bob Cratchit,  or Tiny Tim?\n\n> You examine the men\nCertainly you, come round no doubt to wish Bob the compliments of the season and to have a glass of wine and some lunch with him.\n\nThe two men in the parlour raise their mugs. Oddly you have a premonition of what is to follow. More oddly still, instead of willing yourself to drop the mug on the floor, or throw it in the fire, you find yourself hoping that you will drink it. You find yourself taking positive pleasure in what you know will be a disaster. It is as if you are not yourself. As if you are a second version of yourself, and wish yourself harm.\n\n> You look at the men\nCertainly you, come round no doubt to wish Bob the compliments of the season and to have a glass of wine and some lunch with him.\n\nThe draught takes its effect. You and Bob look to be in excruciating agony. You grasp at your throats, tear at your collars and neckscarves, as the fatal liquid tears at your bowels. And yet you, Ebenezer Scrooge, watch your own death-pangs not merely dispassionately, but with positive delight.\n\n> You look at the men\nA terrible sight -- and yet, for some reason, strangely compelling to you.\n\nYou and Bob lie quite still now. Anyone who knows death could say, instantly, that you are both quite dead. And watching this you feel not (as you should, as you know you should) horrified at your own demise and at the painful death of a beloved friend, but elated.\n\n> You talk to spirit\n\"What do you see inside?\" the spirit asks.\n\n> You enter the window\nThat's not something you can enter.\n\nAbove you, you hear the front door open then slam shut. A limping step works its way down to the street; you hear the tapping of a crutch as the steps recede.\n\n> You look inside\n(the frosty window)\nMrs Cratchit's tidy kitchen is empty. Beyond it you can see into the back parlour. Two corpses lie there: your own, and Bob Cratchit's.\n\nThe steps fade into the distance.\n\n> About yourself\nYou feel strange, pinched, dreary and angry. You seem to be wearing a shabby coat and a shabby hat (not at all in your usual style) and a strange smell lingers about you.\n\nThe spirit reaches towards you and touches you. As he does so you watch his arm shrivel, his robe darken. Before long you find yourself looking at a different ghost altogether -- a loose grey robe with a great cowl, which completely obscures the features of whoever, or whatever, is within. Only two piercing dark eyes, unblinking, give assurance (no, not so much assurance, \"warrant\" then) that the figure is more than a great empty sack. The ghost of Christmas future leans on a long, slender staff of bone or ivory, gripping it with a talon-like gloved hand.\n\n[Press any key]\n\n> You look at Scrooge\n(yourself)\nYou feel strange, pinched, dreary and angry. You seem to be wearing a shabby coat and a shabby hat (not at all in your usual style) and a strange smell lingers about you.\n\nThe spirit reaches towards you and touches you. As he does so you watch his arm shrivel, his robe darken. Before long you find yourself looking at a different ghost altogether -- a loose grey robe with a great cowl, which completely obscures the features of whoever, or whatever, is within. Only two piercing dark eyes, unblinking, give assurance (no, not so much assurance, \"warrant\" then) that the figure is more than a great empty sack. The ghost of Christmas future leans on a long, slender staff of bone or ivory, gripping it with a talon-like gloved hand.\n\nDusk is falling on the tightly-packed warehouses, taverns and doss-houses of Limehouse. To the south you can hear the gentle slapping of the river, the creaking of wet timber on piers and jetties. In this insalubrious alley, windows are either boarded or broken, or caked with dirt. To the west is an open doorway hung with red and gold lanterns, and painted with a dragon.\n\nYou are aware of the shade as a dim presence beside you.\n\nA chinaman stands in front of the doorway, barring entrance.\n\n> You examine chinaman\nThe man is Chinese. He's dressed in a sailor's fashion in cotton duck trousers and a rough shirt. He is muscular, self-possessed. He's reading a magazine.\n\n> Examine magazine\nA copy of Doom, issue III. A popular magazine, which contains lurid accounts of horrible murders and railway accidents, and even more lurid ghost stories. The man appears to have been engrossed in an account of a mining explosion. There is a picture (very fanciful, to your way of thinking) of a canary being lowered in a cage to see if there is gas in the mine.\n\n> You talk to the chinaman\n\"What is this place?\" you ask.\n\nThe attendant looks at you suspiciously, and puts his magazine aside. \"Who's asking? This is a private residence; the private residence of Mr Chu. Mr Chu is having a party for a few friends.\" You do not believe him.\n\n> Continue\n\"I'm not a magistrate,\" you say.\n\nThe man looks at you suspiciously: \"Answer stands,\" he says. \"This is Mr Chu's place, and only for friends of Mr Chu. You best be about your business before I have to make you go.\"\n\nThe phantom turn towards you and gestures to your pocket, where (you now remember) you still have the coin you found outside Bob Cratchit's house.\n\n> You examine the coin\nA silver sixpence.\n\n> You give the coin to the chinaman\n\"Thank you, Sir,\" says the man. \"You may go in.\"\n\n> About yourself\nOthers might call you elderly -- though you feel, especially at this time of year, sprightly and young. A respectable, respected, much-loved pillar of this great city. \"Good old Ebenezer\", they say. \"There is a man who knows how to celebrate Christmas\".\n\n> You talk to the chinaman\nHe is engrossed in his magazine and doesn't seem interested in talking. \"Don't waste my time, Sir, with gossip. If you want to go in, go in. If you don't, be on your way. No refunds!\n\n> You go in\nA cavernous room, full of nooks and crannies, lit only by a brazier and a few oil lamps. All around the room people are lying. A thick, sickly smoke hangs over them, rising from the long opium pipes that each is smoking. A deep, stupefying torpor pervades everything. Time slowed to a crawl, reality replaced with phantoms and visions: the addicts are here, but not here; half alive in the half light.\n\nYou are aware of the shade as a dim presence beside you.\n\n> You examine the addicts\nMost of them seem to be deeply asleep. Occasionally they stir themselves, or mutter, or wake briefly to take deep breaths of the long pipes that lie beside them. Amidst them all, there is a face that, to your horror, you recognise. Beside the filthy mattress, not just a pipe but a crutch. And upon it, emaciated, filthy, Tiny Tim.\n\n> You examine tim\nTiny Tim is still small, but he has aged terribly. His hair is thin and greasy. He skin is sallow, and hangs off him. His eyes -- once so bright and hopeful -- are glazed. He lies, wearing nothing but a filthy shirt much too big for him, on a filthy mattress, with a pipe smouldering beside him\n\n> You wake tim\nHe wakes up, and looks at you as if he has seen a ghost. \"Have you come,\" he says, \"for revenge!\n\nTim looks at you in terror and shame. \"How am I cursed for my terrible deeds,\" he says. \"You and my father! Both dead! And by my hand!\"\n\n> You talk to Tim\n\"But why did you do it?\" you ask.\n\n\"You have to believe me, whatever spirit or creature you are, I did not do it out of malice, but out of ignorance. A man -- now, curse him, my tormentor, beguiled me to do it. How I wish I had not; but I did it in the hope only of helping my father.\"\n\n> You talk to Tim\n\"I believe you, my lad, when you say that you did what you did in ignorance, and not out of evil.\"\n\n\"But yet I did it,\" he says, \"and it cannot be undone. So here I try to forget a little, and wait for kind death to bring a forgetfulness that will never pass.\"\n\nThe spirit reaches a hand towards you -- not so much a hand, as a claw -- little more than bones in a dark glove. It wraps you in its cloak, which smells like earth and mould. The earth begins to fill your mouth. You choke; you wake. The spirit shrinks, and hardens, and you find yourself staring at -- nothing more sinister than your own bedpost.\n\n[Press Any Key: S to save]\n\n> You examine table\nAn old table: shabby, familiar, serviceable. On it are a package, a door key, a candle and a letter.\n\n> You look at the candle\nA candle.\n\n> You get up\nYou get out of the bed.\n\nThe heavy green brocade curtains are open and you are relieved to see clear winter sunshine filtering into the room, bearing some assurance that the night's visions are over. Your table has a few papers on it and a number of other objects besides. Your bed stands placidly in its usual place. Who would think what scenes it witnessed last night? The door is open to the east.\n\n> You read letter\n45 New Square\nLincoln's Inn\n\nMy Dear Mr Scrooge,\n\nAs presently drawn, your will leaves your whole estate to your brothers, and their issue. In practical terms, that means to your nephew and (if he still lives) your brother Mordecai.\n\nWe understand that you wish to amend the provisions of your will. Mr Robert Cratchit is to become a partner in the firm of Scrooge & Marley, and he is to inherit the partnership absolutely, the rest of your estate passing to your nephew.\n\nWe have accordingly prepared a revised will and partnership deed. If you would be good enough to raise the matter with Mr Cratchit, we look forward to seeing you on the twenty-seventh of this month, at our offices, at eleven o'clock in the forenoon, where the documents can be executed.\n\nI beg to remain, Sir, your obedient and humble servant,\n\nWm Jarboe.\n\n> You get all\nBut the table is fixed in place.\n\n> GET PACKAGE,KEY,CANDLE,LETTER\nYou take the letter, the candle, the door key and the package.\n\n> You look at the package\nYou picked it up from the engravers yesterday. The package is about six inches wide, and eight inches long, wrapped in brown paper and tied with string. The label on it reads \"E Scrooge Esq, to await collection\". It's rather heavy."
    },
    {
        "text": "[Themes: Seasonal, Christmas, Victorian]\n\n> You look around\nThe heavy green brocade curtains are open and you are relieved to see clear winter sunshine filtering into the room, bearing some assurance that the night's visions are over. Your table has a few papers on it. Your bed stands placidly in its usual place. Who would think what scenes it witnessed last night? The door is open to the east.\n\n> You open the window\nThat's already open.\n\n> You listen\nAll is silence, apart from the usual sounds of the city.\n\n> You look at the bed\nAn ancient four-poster, old-fashioned and heavily carved. The sheets and comforter are turned back.\n\n> You look through window\nThe yard is bright underneath the Christmas sun.\n\n> Sleep\nOn Christmas morning! Certainly not. You must be up and about and on your way to Bob's.\n\n> You go east\nYou leave your room, and head down the staircase, out of the front door, picking up a Christmas card that has been delivered while you were asleep, and off towards Camden, where you are bidden to celebrate the day with the Cratchits.\n\nSmithfield Market is uncharacteristically quiet this morning, though the debris everywhere bears testament to the busy day that was had here yesterday, as all the sides of beef and pork, all the hams, all the geese and turkeys and ducks that London required to celebrate the day were carted around by the porters. Now there are just families in their best clothes, walking to church, or back from church, or off the the bakehouse with their roasts ready for the oven. The City itself lies to the south, but your way is to the north, up through Clerkenwell towards King's cross.\n\nSome way ahead of you is a man who seems vaguely familiar.\n\n> You examine man\nIt's hard to say from this distance, but he is definitely wearing an astrakhan coat, with a low hat pulled down low over his head. He seems to be heading north."
    },
    {
        "text": "[Themes: Seasonal]\n\n> You look at your surroundings\nSmithfield Market is uncharacteristically quiet this morning, though the debris everywhere bears testament to the busy day that was had here yesterday, as all the sides of beef and pork, all the hams, all the geese and turkeys and ducks that London required to celebrate the day were carted around by the porters. Now there are just families in their best clothes, walking to church, or back from church, or off the the bakehouse with their roasts ready for the oven. The City itself lies to the south, but your way is to the north, up through Clerkenwell towards King's cross.\n\nSome way ahead of you is a man who seems vaguely familiar.\n\n> You examine the card\nIt depicts a gentle giant, in a green robe, regally reclining on a cornucopia of fruit, lightly sprinkled with snow. Inside is written in a neat hand \"Mr Scrooge, Merry Christmas, with all best wishes, Tim Cratchit\"\n\n> You go to the north\nYou cannot accustom yourself to Mr Brunel's vast railway terminus. It is a hideously plain construction, as if some vast mill had crept here from Manchester or Huddersfield or Bradford and sat itself down on the edge of the City, like a charmless squatter.\n\nYou are no fuddy-duddy; but it astonishes you to think that young people take for granted the ability to make in just hours journeys that used to take days. Your first trip to London, as a young apprentice, was partly by horse, partly on foot. It took you four days; now you could complete it in three hours. Today, however, for once, it is silent; just a few people like you hurrying to luncheon appointments.\n\nYour way lies to the west of the station.\n\nThe man you saw in Smithfield is still ahead of you, and heading west himself.\n\nYou can see a man here.\n\n> You examine man\nIt's hard to say from this distance, but he is definitely wearing an Astrakhan coat, with a low hat pulled down low over his head, and you are more and more certain that it is Mordecai. He is walking west.\n\n> You look at the terminus\nA brand new looking yellow-brick barn, already stained with soot, London terminus of the Great Western Railway.\n\n> You go northeast\nYou need to head west, since the clock on the station already tells you that you are some quarter of an hour behind yourself. By railway time!\n\n> You wait\nTime passes.\n\n> You go west\nThe journey to Cratchit's is a Grand Tour of Railway Station architecture, and here we pass from Yorkshire Monolithic to the Classical. Euston Arch stands ahead, guarding the Euston Railway Terminus. Sooty, dirty, under this thin winter English sun it looks nothing at all like you imagine the Parthenon to be (when -- and it is rarely indeed -- you give any thought to such things); or rather it looks quite exactly and forlornly like some exotic Greek goddess transported in her indecent shift to spend the winter in the London sleet. Opposite it the goddess's older sister, St Pancras New Church, shivers just as uncomfortably. Your way lies north now, towards Camden and Bob Cratchit's house.\n\nThe suspicious man in the astrakhan coat is still in sight. He does not, as by now you half expected him to, head north, but disappears into an alley to the northeast.\n\n> You look at the Arch\nA moment of misanthropic delight seizes you as you look at the great thing, dumped down like a great exotic beast in the middle of the London suburbs. What can they have been thinking, those men of business -- directors of the Railway Company -- to have commissioned and paid for it? You have not bought any shares in any railway companies, and you do not intend to do so, if this is how they would waste your money.\n\n> You look at the Church\nYou do not hold with these odd temples. Spires and towers, in the old style, homely and undesigned -- that is how churches should be. And although you have shed, these last ten years, many of your old habits, you cannot help feeling a pang of disgust at the wastefulness of the money spent on something so unnecessarily ugly -- so unnecessary, period. You allow yourself (under your breath) a brief \"Bah, humbug!\"\n\n> You go to the northeast\nAlleyway, near St Pancras\nJerry-built tenements close in all sides of this blind alley. Here, there is no sign of Christmas cheer; just grimy windows, unwashed doorsteps, scraps and trash thrown anywhere in the street. You can see nobody at all; the place is quite deserted. The only way out is southwest.\n\n> You examine trash\nThe detritus of London life.\n\n> You look at the windows\nThis is an awful looking district. You shudder to think what depravity lurks within the high yellow-grey houses.\n\n> You go to the north\nThe only way out is back to the southwest.\n\n> Go southwest\nEuston Arch stands ahead, guarding the Euston Railway Terminus. Sooty, dirty, under this thin winter English sun it looks nothing at all like you imagine the Parthenon to be (when -- and it is rarely indeed -- you give any thought to such things); or rather it looks quite exactly and forlornly like some exotic Greek goddess transported in her indecent shift to spend the winter in the London sleet. Opposite it the goddess's older sister, St Pancras New Church, shivers just as uncomfortably. Your way lies north now, towards Camden and Bob Cratchit's house.\n\n> You go to the north\nThe flagstones are covered in frost, and on the identical doorsteps of the identical houses in this neatly nondescript street. You stand outside number 17. Cast iron railings surround a basement area, painted black like every other house; a neat front door and whitened step. It is the house where your clerk, Bob Cratchit, lives with his family. The great City lies to the south. Steps lead down to the basement area.\n\nSomeone has dropped a sixpenny piece on the ground.\n\n> You get the sixpenny\nYou take the sixpence.\n\n> You look at what you're carrying with you\nYou are carrying:\na candle\na Christmas card\na door key\na letter\na package\na sixpence"
    },
    {
        "text": "[Themes: Seasonal]\n\n> Go downward\nDown to the basement? But why? You are a guest, and a gentleman, and the front door is the door for you.\n\n> You knock\n(the door)\nThe door opens, and Bob Cratchit opens it. \"Merry Christmas, Mr Scrooge\", he says. \"You must be half frozen. Come in and warm by the fire downstairs.\" He leads you through a tidy hall, down some precipitous steps and into the back parlour. \"Come and join me in a glass of punch, Sir,\" he says.\n\nThere is, of course, a front parlour; but it is more or less kept for weddings, christenings, funerals and the reception of grand, august, unfamiliar and official visitors. But you are an old friend, for whom the cosy back parlour will do much better.\n\nA bright, clear fire burns in the grate. Mrs Cratchit has followed the latest fashion, and a fir tree decorated with ribbons, tinsel, sugared almonds and paper snowflakes stands in one corner of the room.\n\nMrs Cratchit's canary is in a cage in one corner of the room.\n\nBob stands before the hearth.\n\n> You examine the canary\nThe little yellow bird is hopping around from perch to perch.\n\n\"He's a queer little chap,\" says Bob, \"and he's Mrs Cratchit's pride and joy. He gets up to all sorts of tricks. Would you believe it, he even likes a drop of sherry now and then, or a morsel of brandy. Mrs Cratchit will put it on her finger, and he just hops over and takes it.\""
    },
    {
        "text": "> Look around\nA bright, clear fire burns in the grate. Mrs Cratchit has followed the latest fashion, and a fir tree decorated with ribbons, tinsel, sugared almonds and paper snowflakes stands in one corner of the room.\n\nMrs Cratchit's canary is in a cage in one corner of the room.\n\nBob stands before the hearth.\n\n\"Well now,\" says Bob, \"let us have some punch to warm us while we wait for the ladies to return with lunch. Tim! Tim! Will you fetch us two glasses of claret cup from the bowl in the kitchen? And one for yourself if you care to join us.\"\n\nFrom the kitchen you hear Tim's reply, \"Of course, father. I'll bring you some directly.\"\n\n> You wait a while\nTime passes.\n\n\"Mrs Cratchit and the girls (or at least such of them as are not already married and at home with their husbands) are across the road visiting a friend. I'm sure they will be back soon, and dinner won't be long in the making,\" Bob explains.\n\n> You look at the tree\nYou have heard about these trees -- seen them in engravings in the papers, too -- but never seen one. Perhaps you are getting old, but the impression it leaves on you is not good. It is rather a short tree -- hardly more than a sapling -- and it droops disconsolately in the heat of the fire. The decorations on it are pretty enough; but you cannot help preferring the more rough-and-ready decorations of your childhood (the mistletoe, the boughs of holly and wreaths of ivy) over this glittering teutonic import.\n\nTim comes in, bearing two cups of claret cup in pewter tankards. He hands one to you, and one to his father.\n\n> You examine the hearth\nBob has heaped up a good warm coal fire in the black iron grate. It is burning hot and clear.\n\nBob raises his mug. \"A Merry Christmas, Mr Scrooge. And many more like them. Your very good health, Sir!\"\n\n> You give the punch to the canary\n(your punch to the canary)\nYou put a drop of punch on you finger and hold it through the bars. The little bird flutters down, and takes a drop. The effect is almost instantaneous. The bird shrieks, and falls over, stone dead.\n\nBob looks concerned. \"Oh my goodness me,\" he says, \"what on earth is Mrs Cratchit going to say. I simply cannot understand it, the poor little thing is generally fond of a drop or two. What can have done it.\"\n\nTim is even more anxious. \"Oh Sir!\" he says. \"Do not drink a drop of that punch. I did not mean any harm, I swear; I only did what I thought best. I meant to hurt nobody.\"\n\nThe whole story comes out then. How Tim met a stranger, who told him that by putting a drop of a strange, green liquid in the punch he would prevent disaster befalling his family; how he did as he was told, expecting nothing but good to come of it.\n\nAnd so the story ends. Bob becomes a partner in the firm; Tim is saved from a life of addiction and misery. And Mordecai? Well, who knows. You like to think that he saw his plan fail. You would like to think that he repented and reformed; but whatever his fate, at least ..."
    },
    {
        "text": "[Themes: Science Fiction, aliens, space, male protagonist, strong NPCs, music, science fiction]\n\nDown on the horizon, thunderstorms cloud the sky. But the sea is fresh, and the air has taken on that orange hue.\n\nIt's just a perfect day.\n\nKorhos is setting. Its outer halo burns with no warmth. Loud waves splash on the sand half a dozen meters from your feet. The deep blue of the ocean steals a bit of the sky's orange glow.\n\nThe morning is brilliant.\n\nYou can see Uncle Oren here.\n\nFrom the south, a thunderstorm is approaching.\n\n[Author's Note: Floating in space on a strange vessel, sole survivor of a world... and maybe of the entire human race, Ektor Mastiff must find a way through the cosmos, on a voyage that can change the history of mankind forever.]\n\n> You look at Oren\nHe used to be your mentor at the University Radiation Technology Division, during your first year of assignment as a teacher and researcher. A man well in his seventies, he always looked sturdy and healthy.\n\nLately, his retirement seems to have struck him quite a blow. His hair has gone completely white, his posture slouched and his voice has got that sad croaking. He is staring at the horizon like a bird in search of a migratory route.\n\n> You look at the thunderstorm\nBlack, dense clouds expand above the southern horizon, growing by the minute. Inside them, thunder sparkles and growls.\n\n> You examine ocean\nThe deep blue is infected by shades of orange, reflecting from the sky. Waves come and go, peacefully.\n\nA white electric arc paints the southern sky.\n\n> You ask Oren about the hyerotrope\nYou prefer following the flow of the conversation.\n\n\"It is so beautiful, isn't it, Ektor?\" Uncle Oren says, pointing at the landscape. \"It looks like Paradise.\"\n\n\"It does,\" you reply.\n\nOren sends a glance to the west, towards Grey Cape, saying: \"I wonder what a man who was born here -- I mean here, on Monarch -- would think, looking at this place. The sun, the sea going orange, the endless sky.\"\n\n> You talk to Oren\n\"I was born here,\" you point out.\n\n\"Yeah. So what do you think?\" He turns to face you but stops, distracted by the impending storm.\n\n\"It is breathtaking.\"\n\n> You talk to Oren\n\"Yeah. That's what I thought. This place is unbelievable to all of us. Indigenes or sat-born.\" That said, he sits on his heels and grabs a handful of sand. From it, picking lightly, he extracts a small, green crab and puts it on his other hand. \"I don't know if I deserve an afterlife. I haven't done much evil in my days, but maybe our god has another point of view. What I know is: if I have to have a life after death, I hope it is in a place like this.\" He gets near the shore and neatly drops the crab into the water.\n\n\"Hell,\" he exclaims. \"I'd stay here for the rest of eternity, if you asked me!\"\n\nThunder rumbles from the horizon.\n\n> You examine the beach\nKilometers of white sand, running east-west as long as your eyes can see.\n\n> You check what you're carrying\nYou're carrying nothing. You are wearing some clothes.\n\n> About yourself\nShirt untucked from the shorts, just one button holding it closed. No shoes. And you forgot the belt at home.\n\nThe thunderstorm is getting closer.\n\n> You talk to Oren\nSomehow, you suddenly feel the urge to reveal your knowledge.\n\n\"You know, Andy and I found something last week. It's a sort of... discovery.\"\n\nHe turns to face you. He looks extremely tired, and you notice it for the first time. \"Your research?\"\n\n\"Yes.\"\n\n\"If it's Uni work, then,\" he says, banishing the subject with the back of his hand, \"it's best discussed at Uni. Don't waste the moment, son. There will be time. This sunset won't last forever, and the next one is due in eighty weeks.\"\n\n> You examine the storm\nBlack, dense clouds expand above the southern horizon, growing by the minute. Inside them, thunder sparkles and growls.\n\n> You talk to Oren\n\"But...\"\n\n\"No buts,\" he says. \"One can't live in his work, son. One must learn how to savor the moment.\"\n\nHis eyes wander off, in the distance, towards the end of the world. For almost a minute he stays silent.\n\nThen, when you begin to think he's done, he says: \"The wind is growing stronger. It's a hell of a storm, that one incoming.\"\n\nI've seen things you people wouldn't believe.\nAttack ships on fire off the shoulder of Orion.\nI've watched C-beams glitter in the dark\nnear the Tannhauser Gate.\nAll those moments will be lost in time,\nlike tears in rain.\n\n--Roy Batty, Blade Runner\n\n\n\n\n\nYou are floating away, drifting on the last raft the universe has given you. Even the stars provide no light.\n\nA crumpled, alien wreckage lays at your feet.\n\n[You have earned the A Hell of a Storm achievement]\n\n> About yourself\nYou look battered and tired, but at least you're still alive. Although it doesn't make a lot of sense, lately.\n\n> Achievements\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    ( -???- )\nThe Leaper    ( -???- )\nInvisible Killer    ( -???- )\nThe Dweller    ( -???- )\nTo Shed a Light    ( -???- )\nTicketless Ride    ( -???- )\nThe Fisher    ( -???- )\nThe X Marks the Spot    ( -???- )\nPlay It Again, Ektor    ( -???- )\nCommunication Breakdown    ( -???- )\nA Matter of Time    ( -???- )\nA Matter of Size    ( -???- )\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    ( -???- )\nTo Be a Scientist    ( -???- )\nSinking the Ship    ( -???- )\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )\n\n> You check your inventory\nYou're carrying an useless railway ticket. You are wearing some clothes.\n\n> You look at the ticket\nA worn railway ticket. It bears yesterday as its expiry date.\n\n[You can find a copy of the ticket in your original game's package (Ref. 1)].\n\n> You examine wreckage\nThe crumpled, alien wreckage -- the thing the Ancients have named \"the Beacon\" -- is a mess of distorted metal and crumpled debris. It did not survive the Monarch onslaught.\n\nAmong the useless metal you find two special things, surprisingly unscarred. You pick up both.\n\n> You look at what you're carrying with you\nYou're carrying a golden disc, a cubic object and an useless railway ticket. You are wearing some clothes.\n\n> You look at the disc\nA thin disc, made in copper and gold-plated. On it someone has carved interesting graffiti.\n\n[You can find a picture of the disc in your original game's package (Ref. 2)].\n\n> You examine cubic\nA cubic object, ten centimeters wide. There is an image on the side, depicting a sort of six-legged spider.\n\nThis is a battery, you mumble. And if I'm not mistaken, a radioactive one, even. Maybe plutonium-powered.\n\n> You examine the image\nA cubic object, ten centimeters wide. There is an image on the side, depicting a sort of six-legged spider.\n\n> You examine the clothes\nA dirty shirt, tucked inside dirty trousers. Dirty shoes. And you forgot the belt at home. Forever."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, space, aliens]\n\n> Look around\nYou are floating away, drifting on the last raft the universe has given you. Even the stars provide no light.\n\nA crumpled, alien wreckage lays at your feet.\n\n> You take off the shoes\nYou feel safer dressed.\n\n> Inventory\nYou're carrying a golden disc, a plutonium battery and an useless railway ticket. You are wearing some clothes.\n\n> Exits\nThere are no visible exits from the Hyerotrope.\n\nIt turns out that the universe is uneven, in the end. A black spot stains a single point -- the magnitude of which you can but imagine -- where the stars seem to be missing.\n\nA sort of shining crescent cuts the dark presence in half.\n\nThe Hyerotrope approaches the dark shape, as it starts engulfing a vast amount of space in front of you. You strain your eyes until you discern other brilliances in the multiplying crescent.\n\nFinally, you catch the meaning of what you are looking at.\n\nThe black gap in the sky is a gigantic structure, of a size and type you've never seen before. In comparison, even the Mechanostations around Monarch are dwarfed. Around it, thousands of other objects, like drifting debris, float meaninglessly. The reflections on them create a kaleidoscope of twirling lights.\n\nAs you get near the metal horde you begin mentally assessing the situation....\n\n...until, suddenly, the Hyerotrope starts spinning out of control.\n\nThere is a strong shock, then you find yourself..."
    },
    {
        "text": "[Themes: Science Fiction, space]\n\nDown on the horizon, thunderstorms cloud the sky. But the sea is\nfresh, and the air has taken on that orange hue.\n\nIt's just a perfect day.\n\nKorhos is setting. Its outer halo burns with no warmth. Loud waves splash on the sand half a dozen meters from your feet. The deep blue\nof the ocean steals a bit of the sky's orange glow.\n\nThe morning is brilliant.\n\nYou can see Uncle Oren here.\n\nFrom the south, a thunderstorm is approaching.\n\n> You talk to Oren\n\"It is so beautiful, isn't it, Ektor?\" Uncle Oren says, pointing at\nthe landscape. \"It looks like Paradise.\"\n\n\"It does,\" you reply.\n\nOren sends a glance to the west, towards Grey Cape, saying: \"I wonder what a man who was born here -- I mean here, on Monarch -- would\nthink, looking at this place. The sun, the sea going orange, the endless sky.\"\n\n> You talk to Oren\n\"I was born here,\" you point out.\n\n\"Yeah. So what do you think?\" He turns to face you but stops, distracted by the impending storm.\n\n\"It is breathtaking.\"\n\n> Keep going\n\"Yeah. That's what I thought. This place is unbelievable to all of us. Indigenes or sat-born.\" That said, he sits on his heels and grabs a handful of sand. From it, picking lightly, he extracts a small, green crab and puts it on his other hand. \"I don't know if I deserve an afterlife. I haven't done much evil in my days, but maybe our god has another point of view. What I know is: if I have to have a\nlife after death, I hope it is in a place like this.\" He gets near the shore and neatly drops the crab into the water.\n\n\"Hell,\" he exclaims. \"I'd stay here for the rest of eternity, if you asked me!\"\n\nA white electric arc paints the southern sky.\n\n> You continue\nSomehow, you suddenly feel the urge to reveal your knowledge.\n\n\"You know, Andy and I found something last week. It's a sort of... discovery.\"\n\nHe turns to face you. He looks extremely tired, and you notice it for the first time. \"Your research?\"\n\n\"Yes.\"\n\n\"If it's Uni work, then,\" he says, banishing the subject with the back of his hand, \"it's best discussed at Uni. Don't waste the moment, son. There will be time. This sunset won't last forever, and the next one\nis due in eighty weeks.\"\n\n> Keep going\n\"But...\"\n\n\"No buts,\" he says. \"One can't live in his work, son. One\nmust learn how to savor the moment.\"\n\nHis eyes wander off, in the distance, towards the end of the world.\nFor almost a minute he stays silent.\n\nThen, when you begin to think he's done, he says: \"The wind is growing stronger. It's a hell of a storm, that one incoming.\"\n\nOrion.\n\n\n\n\n\nYou are floating away, drifting on the last raft the universe has\ngiven you. Even the stars provide no light.\n\nA crumpled, alien wreckage lays at your feet.\n\n[You have earned the A Hell of a Storm achievement]\n\n> You examine the clothes\nA dirty shirt, tucked inside dirty trousers. Dirty shoes. And you forgot the belt at home. Forever.\n\n> You look at the wreckage\nThe crumpled, alien wreckage -- the thing the Ancients have named \"the Beacon\" -- is a mess of distorted metal and crumpled debris. It did\nnot survive the Monarch onslaught.\n\nAmong the useless metal you find two special things, surprisingly unscarred. You pick up both.\n\n> Pray\nYour prayers are wasted into the void.\n\n> You jump\nYou jump on the spot, fruitlessly."
    },
    {
        "text": "> You describe your surroundings\nYou are floating away, drifting on the last raft the universe has\ngiven you. Even the stars provide no light.\n\nA crumpled, alien wreckage lays at your feet.\n\n> You look at the raft\nstar-traveling machine you used to escape Judgement Day on your home planet, Monarch. Thinking back to the moment, you realize it was the Hyerotrope who used you, instead. Leaving the planet was not\nyour plan to begin with, and you could have done without it even in\nthe end. You still puzzle at how exactly things went, after all.\n\nThe Hyerotrope's walls, although perfectly dark from the outside, seem to be totally transparent from the inside. You can see the universe.\n\n> You look at the universe\nThe Monarch system is already too far to be seen. In its place, a pulsating nebula is starting to spread, the three suns devoured in its growing belly.\n\nThe fabric of the universe, in the direction to which the Hyerotrope\nis floating, seems to be disrupted. A dark presence lingers in space, breaking the pattern of the stars.\n\n> You examine the dark presence\nIt turns out that the universe is uneven, in the end. A black spot stains a single point -- the magnitude of which you can but imagine -- where the stars seem to be missing.\n\nA sort of shining crescent cuts the dark presence in half.\n\n> You look at the crescent\nThe Hyerotrope approaches the dark shape, as it starts engulfing a\nvast amount of space in front of you. You strain your eyes until you discern other brilliances in the multiplying crescent.\n\nFinally, you catch the meaning of what you are looking at.\n\nThe black gap in the sky is a gigantic structure, of a size and type you've never seen before. In comparison, even the Mechanostations around Monarch are dwarfed. Around it, thousands of other objects,\nlike drifting debris, float meaninglessly. The reflections on them create a kaleidoscope of twirling lights.\n\nAs you get near the metal horde you begin mentally assessing the situation....\n\n...until, suddenly, the Hyerotrope starts spinning out of control.\n\nThere is a strong shock, then you find yourself...\n\nThe Hyerotrope has collapsed into the giant structure, punching\nthrough it like a wrecking ball.\n\nYou are standing in total darkness, apart from a faint, azure light flickering through a hole that opens east through a bush of exploded metal.\n\nA crumpled, alien wreckage lays at your feet.\n\n[You have earned the A Dark Omen achievement]\n\n> Achievement\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    (You have seen the dark side of the\nsky)\nThe Leaper    ( -???- )\nInvisible Killer    ( -???- )\nThe Dweller    ( -???- )\nTo Shed a Light    ( -???- )\nTicketless Ride    ( -???- )\nThe Fisher    ( -???- )\nThe X Marks the Spot    ( -???- )\nPlay It Again, Ektor    ( -???- )\nCommunication Breakdown    ( -???- )\nA Matter of Time    ( -???- )\nA Matter of Size    ( -???- )\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    ( -???- )\nTo Be a Scientist    ( -???- )\nSinking the Ship    ( -???- )\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )"
    },
    {
        "text": "> Look around\nYou are standing in total darkness, apart from a faint, azure light flickering through a hole that opens east through a bush of exploded metal.\n\nA crumpled, alien wreckage lays at your feet.\n\n> You go east\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns north and south as far as the eye can see. A faint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\nWhat is this place? It looks like... a space station?\n\n> You look at the grating\nThe grating rests on what look like steel poles, floating over darkness.\n\n> You look at the lamps\nThe light is very dim, the expected white turned to a faint azure.\n\n> You examine the floor\nThe grating rests on steel poles, floating over darkness.\n\n> Go south\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns north and south as far as the eye can see. A faint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\n> Go south\nLow corridor, by the gap\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns north as far as the eye can see. A faint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\nThe tunnel ends here.\n\nA jutting ledge floats over the void that opens into the east side of the tunnel, through a gap in the wall.\n\nBeside the ledge is a single turret, one meter tall, surmounted by a strange device.\n\n> You examine the device\nOn the turret is what you may call a touchpad of sorts.\n\n> You examine the touchpad\nOn the turret is a touchpad.\n\n> You touch the touchpad\nYou touch the pad on the turret and the ledge starts slowly moving across the gap into the open side of the tunnel. It stops after a while, just two meters from the other side.\n\n> You touch the touchpad\nThe ledge retracts to its resting position.\n\n> You examine the ledge\nThe side of the tunnel is open and falls towards blackness below your feet. The ledge looks like a trampoline of sorts. Beyond the gap is a twin tunnel, at least five meters out of reach.\n\nThere is a single turret on this side, one meter tall, surmounted by a strange device.\n\n> Y.\nAfter a brief run-up, you jump over the dark gap beyond the retracted ledge. Your momentum fades when you are just in the middle of nothing.\n\n> You stand on ledge\nAfter a brief run-up, you jump over the dark gap beyond the extended ledge...\n\n... And land on the opposite side, thrilled but unharmed.\n\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns northeast into a smaller instance of the same environment. A\nfaint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\nA gap in the west wall opens into darkness. On the other side, an extended ledge is suspended over the void.\n\n[You have earned the The Leaper achievement]\n\n> You go to the northeast\nThe space widens in all directions. The bigger tunnel in which you stand is a replica of the lower ones, starting southwest of here. Same environment, except for different proportions. The ceiling is at least ten meters above you, and the wormhole is equally wide. To the south, it clogs into a strange valve, like an intestine curtain of steel. To the east and northeast, two glass paneled doors open into similar, sterile rooms. The high corridor continues to the north.\n\n> You look at the valve\nIt looks like a camera's shutter. Several two meter long laminas intersect to form an air-tight valve. It is now closed, concealing its destination.\n\nOn the side of the valve is a lever.\n\n> You pull the lever\nYou pull the lever but the valve only shifts a little, while the dim light in the corridor gets dimmer. Maybe it needs more power.\n\n> You go east\n(first opening the east glass door)\n\nA sterile room, every wall filled by glass cases of the same size and shape. It opens west through a glass paneled door.\n\n> You look at the cases\nA series of glass cases covers all the walls of this tiny room. They are all dark and empty, except for a single one, whose interior is lit by a pure white strobing flash.\n\n> You examine the case\nThe case is filled with white light, and nothing else. It can be opened.\n\n> Open case\nYou pull the handle then release it. The small door closes back pneumatically in a few seconds.\n\nSomething strange happens.\n\nA faint... wind caresses your right arm as the case closes. It feels like someone is breathing in your ears with levity. A sort of... buzzing can be heard around you.\n\nIt could easily have been your imagination.\n\n> You examine the battery\nA cubic object, ten centimeters wide. There is an image on the side, depicting a sort of six-legged spider.\n\nThis is a battery, you mumble. And if I'm not mistaken, a\nradioactive one, even. Maybe plutonium-powered."
    },
    {
        "text": "[Themes: Science Fiction, space, science fiction, aliens]\n\n> You look at your surroundings\nA sterile room, every wall filled by glass cases of the same size and shape. It opens west through a glass paneled door.\n\n> You go northeast\n(first opening the northeast glass door)\n\nThe room is exceptionally blank. Its walls are lined with polished metal and there's no furniture, apart from a single, weighty table in its center.\n\n> You examine table\nIt looks like a metal table, but only because it is made from a horizontal slab and four legs. It is polished to exhaustion. It looks like an examination desk.\n\nJust by chance you drop a glance down and discover something. Under\nthe table is a steel grate, leading into darkness.\n\n> You examine the grate\nIt holds on heavy hinges. You can (maybe) open it and check what's inside.\n\n> You open the grate\nYou pull up the grate and look inside. Darkness welcomes you. When you release the grate, it slowly closes back.\n\n> Go north\nAnother portion of the same tunnel. Your eyes start to get used to the dim light and round shapes. The steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly, seemingly powered by vanishing batteries. To the east, a bulky shutter stands closed. To the southwest, beyond a glass panel, is a dimly lit room, with strange machinery on the inside.\n\n> You examine the machinery\nYou can just guess the shape from this side of the darkened glass.\n\n> You examine the panel\nIt looks like a darkened wall of glass. You can see through it."
    },
    {
        "text": "> Look around\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest, beyond a glass panel, is a dimly lit room, with strange machinery on the inside.\n\n> You examine the shutter\nA bulky shutter, ten meters tall, tightly serrated. It must weigh a ton. On the side of the shutter is a big, round button.\n\n> You go to the east\nA sort of warehouse, this large chamber is filled with cases and wiring, all inter-tangling like cerebrum synapses. Large tubes come\nand go from crates and pieces of machinery, scattered around randomly.\n\nA larger container -- three meters tall, two meters wide and deep -- seems to be left aside from the rest of the things littering the\nplace.\n\nIt is very cold in here. The air must be well below freezing. You can barely breathe.\n\n> Examine container\nA large metal and glass container, from which freezing smoke descends like a cheap cinema effect. Bulky hoses are plugged into its sides. A sort of porthole opens in its side.\n\nThe intense cold starts crawling under your exposed skin.\n\n> You examine the porthole\nA small window, looking inside the container, partly covered in ice\nand dirt.\n\nYou begin shaking for the unbearable cold.\n\n> You go to the west\nYou get out and in a few moments you feel warm again. You wonder how this could have happened so fast.\n\n> You go to the north\nYou leave the cold environment of the corridors to enter a much wider space.\n\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the beginning of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> You examine wagon\nA means of transport, by any chance.\n\nOn the lone wagon is a rusty console.\n\n> You look at the console\nOn the console is a set of devices. The most striking are a red and a brown button. The first points north, while the latter points south.\n\n> You enter the wagon\nYou get onto the lone wagon.\n\nOn the lone wagon you can see a rusty console."
    },
    {
        "text": "[Themes: Science Fiction, music, male protagonist]\n\n> Describe the surroundings\nTrain Station (on the lone wagon)\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nOn the lone wagon you can see a rusty console.\n\n> You go outside\nYou get off the lone wagon.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the beginning of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> You examine the ramp\nA set of rails forking and jumping into each of the tunnels up above. You guess this must be a sort of a train hub, where wagons depart and collect.\n\n> You examine the rails\nThe tunnels leave the room in every direction. Some are closed, others are open but horribly dark."
    },
    {
        "text": "[Themes: Science Fiction, space, music, aliens]\n\n> You look around\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter opens onto a freezing compartment. To the southwest, beyond a glass panel, is a dimly lit room, with strange machinery on the\ninside.\n\n> Go south\nThe bigger tunnel in which you stand is a replica of the lower ones, starting southwest of here. Same environment, except for different proportions. The ceiling is at least ten meters above you, and the wormhole is equally wide. To the south, it clogs into a strange valve, like an intestine curtain of steel. To the east and northeast, two glass paneled doors open into similar, sterile rooms. The high\ncorridor continues to the north.\n\n> You go east\nA sort of warehouse, this large chamber is filled with cases and wiring, all inter-tangling like cerebrum synapses. Large tubes come\nand go from crates and pieces of machinery, scattered around randomly.\n\nA larger container -- three meters tall, two meters wide and deep -- seems to be left aside from the rest of the things littering the\nplace.\n\nThe first signs of frostbite begin tearing through your skin.\n\n> Examine tubes\nTubes and wires, all tangled together and forming an inextricable\nmass. They come and go from the crates, maybe sustaining or powering them.\n\nYour arms and legs are becoming numb. It's better you get out of here, now.\n\n> You go to the west\nYou get out and in a few moments you feel warm again.\n\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter opens onto a freezing compartment. To the southwest, beyond a glass panel, is a dimly lit room, with strange machinery on the\ninside.\n\n> Go east\nA sort of warehouse, this large chamber is filled with cases and wiring, all inter-tangling like cerebrum synapses. Large tubes come\nand go from crates and pieces of machinery, scattered around randomly.\n\nA larger container -- three meters tall, two meters wide and deep -- seems to be left aside from the rest of the things littering the\nplace.\n\n> Open container\nThere is no opening. The container is fastened shut by means unknown.\n\nIt is very cold in here. The air must be well below freezing. You can barely breathe.\n\n> You pull the tubes\nThose are fixed in place.\n\nThe intense cold starts crawling under your exposed skin.\n\n> Break porthole\nViolence isn't the answer to this one.\n\nYou begin shaking for the unbearable cold.\n\n> You look through the porthole\nThere is something inside.\n\nA sort of creature, frozen still, is held captive inside the\ncontainer. All you can see through the small porthole is what looks like an eye, at least ten centimeters wide, covered by several\ncurtains of brownish skin, and part of... a mouth. Within, dozens of teeth, like rusty nails, crowd in anger.\n\nWhat the HELL is this?! you mutter to yourself.\n\nYou are not alone on this trip, it seems.\n\nYour arms and legs are becoming numb. It's better you get out of here, now.\n\n> You take the case\nThat's hardly portable.\n\n> You listen\nYou can hear a very faint buzzing, as if a ridiculously small insect\nis flying nearby.\n\nYour head fills with a freezing sensation.\n\nWithin seconds, your sight blurs and a pounding noise starts whipping in your ears. You understand you are being eaten alive from the inside when you see your own face melting through your hands like dripping ice-cream.\n\n[You have earned the Invisible Killer achievement]\n\n> Go north\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns northeast and south as far as the eye can see. A faint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\nBacked up against the tunnel's walls is a strange statue. A couple of sitting things, black like scarred flesh, crumbly like\nancient artifacts. They are surprisingly human-shaped.\n\n> You examine statue\nThe rocky formation really does resemble a couple of human beings,\nlean and hollow, seated side by side. You puzzle at how it formed.\n\n> You touch the statues\nIt is rock, indeed.\n\n> Smell statues\nThere is a faint ozone odor.\n\n> You go to the north-east\nA wormhole dug into rusty metal and torn pipes, the curving tunnel\nruns southwest as far as the eye can see. A faint light flickers through luminescent lamps on the ceiling. The floor is a sturdy grating, plunging into darkness below.\n\nThe tunnel ends here.\n\n> Lift grate\nIt seems to be welded to the structure.\n\n> You get the lamp\nThe light is too high to be reached from here.\n\n> You look at the wall\nA wormhole dug into rusty metal and torn pipes.\n\n> You examine the grating\nThe grating rests on steel poles, floating over darkness.\n\n> You go southwest\nBacked up against the tunnel's walls is a strange statue. A couple of sitting things, black like scarred flesh, crumbly like\nancient artifacts. They are surprisingly human-shaped.\n\n> You go to the south\nLow corridor, by the gap\nA jutting ledge floats over the void that opens into the east side of the tunnel, through a gap in the wall.\n\nBeside the ledge is a single turret, one meter tall, surmounted by a strange device.\n\n> You look under the table\nUnder the table you see a steel grate, leading into darkness."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, male protagonist, aliens, music, strong NPCs]\n\n> Go downward\nYou pull the grate and hold it up while you descend into darkness.\n\nDirt formations cover the walls of this steel duct, running under the laboratories and the high corridor. An ancient stench of death fills your nostrils. Above your head, a steel grate clogs the exit. The duct continues west.\n\n[You have earned the The Dweller achievement]\n\n> Go upwards\nYou push the grate open and get out of the duct.\n\nThe room is exceptionally blank. Its walls are lined with polished metal and there's no furniture, apart from a single, weighty table in its center."
    },
    {
        "text": "[Themes: Science Fiction, music, aliens, science fiction]\n\n> Go downwards\nYou pull the grate and hold it up while you descend into darkness.\n\nDirt formations cover the walls of this steel duct, running under the laboratories and the high corridor. An ancient stench of death fills your nostrils. Above your head, a steel grate clogs the exit. The duct continues west.\n\n> Go west\nDirt formations cover the walls of this steel duct, running under the high corridor. An ancient stench of death fills your nostrils. The\nduct continues east and west.\n\n> Go west\nDirt formations cover the walls of this steel duct, running under the high corridor. An ancient stench of death fills your nostrils. The\nduct continues east. Above you, an opening leads into a dimly lit\narea.\n\n> Up\nThe large octagonal-shaped chamber is filled by a massive machine. The enormous totem has an eight-pointed star-shaped base, with a central column rising to the ceiling at least thirty meters above you. The\nrest of the floor is littered with metal cylinders, some of which\nstill protrude from the machine itself.\n\nYou remember having seen something similar at the University, in your first year by the Propulsory Science Compartment.\n\nThis is a power control device, you think. It must be\npart of the engines of this... station.\n\nTo the northeast, a glass panel overlooks the high corridor.\n\nAmong the equipment pieces littering the floor, you scout an\nunscarred, silver cylinder.\n\n> You examine the cylinder\nA silver cylinder, unscarred. A cap closes its top.\n\n> You take it\nTaken.\n\n> You examine the machine\nThe giant structure is star shaped. Eight branches serve as solid legs for a large column, rising above it and diving into the ceiling. It is dark and inert. On its side, a series of round holes cut through the metal, some harboring strange, metallic cylinders.\n\nThe large octagonal-shaped machine is currently switched off.\n\n> You examine the hole\nSome of the holes harbor strange metallic cylinders, while others rest empty.\n\nOne of the holes, scratched and punctured, catches your attention. It contains a crumpled, rusty cylinder, broken in half by some mysterious force.\n\n> You drop rusty\nDropped.\n\n> You check your inventory\nYou're carrying a silver cylinder, a golden disc, a cubic object and\nan useless railway ticket. You are wearing some clothes."
    },
    {
        "text": "[Themes: Science Fiction, strong NPCs, male protagonist, space]\n\n> You look around\nThe large octagonal-shaped chamber is filled by a massive machine. The enormous totem has an eight-pointed star-shaped base, with a central column rising to the ceiling at least thirty meters above you. The\nrest of the floor is littered with metal cylinders, some of which\nstill protrude from the machine itself.\n\nTo the northeast, a glass panel overlooks the high corridor.\n\nOn the power control device is a scratched and punctured hole.\n\nYou can also see a broken cylinder here.\n\n> You open the silver cylinder\nYou open the silver cylinder.\n\n> You put the battery in it\nYou try and put the cubic object in the cylinder... and it fits wonderfully.\n\n> You close the silver cylinder\nYou close the silver cylinder.\n\n> You put it in the hole\n(the scratched hole)\nAs you fit the powered cylinder into the bay, the machine starts vibrating. In a matter of seconds, it starts roaring as if a thousand wasps are struggling to escape from its belly. Finally, electric arcs start running through the high column's surface and the machine\nreaches full potential.\n\nAfter a while, the darkened glass panel closing the northeast exit slides into the wall, disappearing.\n\n[You have earned the To Shed a Light achievement]"
    },
    {
        "text": "[Themes: Science Fiction, music, strong NPCs]\n\n> Look around\nThe large octagonal-shaped chamber is filled by a massive machine. The enormous totem has an eight-pointed star-shaped base, with a central column rising to the ceiling at least thirty meters above you. The\nrest of the floor is littered with metal cylinders, some of which\nstill protrude from the machine itself.\n\nTo the northeast, you can exit to the high corridor.\n\nOn the power control device is a scratched and punctured hole.\n\nYou can also see a broken cylinder here.\n\n> You look at hole\n(the scratched hole)\nThis particular hole has sustained major damage.\n\nIn the scratched hole is a silver cylinder.\n\n> You go to the northeast\nAnother portion of the same tunnel. Your eyes start to get used to the dim light and round shapes. The steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly, seemingly powered by vanishing batteries. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\n> Go south\n(first opening the steel valve)\nThe massive valve must be operated by the lever on its side, you suppose.\n\n> You pull the lever\nThe valve opens with effort. In a few seconds the next room is visible beyond its mouth.\n\n> Go south\nYou step into the big chamber.\n\nLight fills the room, and it's light from the stars. You check the giant dome and your eyes widen in awe.\n\nThe sound of your own heart is like hammering thunder, the drums of\nthe gods.\n\nThe air got dizzier. Korhos is almost set, only days away from its\nfull trip into the ocean. The balcony is cozy and it could serve as a nice retreat for the incoming storm.\n\nYou always loved staring at the rain from Uncle Oren's porch.\n\nYou can see Uncle Oren here.\n\n> You check what you're carrying\nYou're carrying nothing. You are wearing some clothes.\n\n> You examine the porch\nIt is a wooden porch, which white varnish has suffered from the ordeal of time and salinity.\n\nThunder rumbles from the horizon.\n\n> You examine Oren\nHe used to be your mentor at the University Radiation Technology Division, during your first year of assignment as a teacher and researcher. A man well in his seventies, he always looked sturdy and healthy.\n\nLately, his retirement seems to have struck him quite a blow. His hair has gone completely white, his posture slouched and his voice has got that sad croaking. He is staring at the horizon like a bird in search of a migratory route, holding a glass of water from which he drinks from time to time.\n\n> You talk to Oren\n\"So,\" Oren asks, \"do you believe in afterlife?\"\n\nYou stare at him. \"I... I don't know.\"\n\nOren takes a look at Grey Cape, to the west. Some gulls are circling its southernmost rock. \"I don't, either. But... all of this, all this universe. Wouldn't it feel a bit wasted if it was there just\nfor us?\"\n\n> Continue\n\"Well,\" you argue, \"every minute is a treasure, they say. A show can\nbe pretty interesting even if it lasts only a second. You know, some elementary particles' lives are so short...\"\n\n\"Don't lecture me, reg,\" Oren interrupts you. A smile cuts his face in two. \"I was a scientist and a teacher ages before you. What I\nmean is: Is this show just for us? Apart from how long it lasts -- or how long we last -- don't you think it would deserve a better audience?\"\n\nYou cough. \"Are you talking about... other, more... durable, intelligent life forms?\"\n\n\"I am,\" he says.\n\nThe thunderstorm is getting closer.\n\n> Intelligent robots\nYou prefer following the flow of the conversation.\n\n\"So that the show wouldn't require an afterlife...\"\n\n\"Indeed.\"\n\nYou laugh. \"So you'd rather believe in aliens than in Heavens.\"\n\n\"We don't need Heavens. And thinking that Big Mama Kohr is\nthere just for our own, miserable eyes is showing incredible arrogance.\"\n\n\"You'd feel at home with Andy and Marion. They are believers. I stay well in my arrogant shoes.\"\n\n\"We are the only ones. That's what is written on the first Mechanostation ever built. Arrogant. And foolish.\"\n\n> You talk to Oren\n\"Oren, I don't want to lecture you, but... There isn't and\nthere never has been any proof of another single life form in the\nknown part of the galaxy. And that's a very large amount of\nspace.\"\n\nOren laughs. He raises his glass in front of your eyes and looks through. \"Let's imagine,\" he says, \"that we filled this glass with water from the sea. Now, you can easily see we caught no fish in it, right?\"\n\nYou nod, silently.\n\n\"So: would you dare say, given the glass is empty, that there\nare no fish in the ocean?\"\n\n> Continue\n\"The universe is so big, a galaxy is like a sand grain in a beach compared to it. We live -- what? -- eighty years? We've been around\nfor -- how much? -- three thousand years? Four? Ten? Korh has been\ncold for at least ten billion years. The stars can judge,\nEktor, not us. We can only hope their legacy, the legacy of the stars, will be soft on us. 'Cause we just don't compare.\"\n\nHe takes a fair gulp from the glass, then puts it back on the table. His eyes wander again towards the impending thunderstorm.\n\n\"By Fat,\" he laughs, in the end. \"Using your measuring method, if we caught something in here, we'd say that was the biggest fish in the sea. But the sea is endless, Ektor,\" he smiles. \"The sea can host such awesome creatures that won't even fit this glass. Squids, sharks...\"\n\n> You press the space\n...Whales. There are whales floating in space.\n\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nBeyond the glass, the most amazing show of all your life is playing. A dozen... whales are floating in space, dancing and joking at your own sanity. In the distance, as a sort of dynamic backdrop, the expanding supernova that was the Monarch solar system is flaring and growing.\n\nYou watch the scene, speechless, kidnapped by its unbelievable beauty and struck by horror.\n\nThis is it, you murmur. The legacy of the stars.\n\nUncle Oren would laugh at you, now.\n\n[You have earned the The Fisher achievement]\n\n> You examine the whales\nThe whales are enormous, heavy thus impossibly lightweight in the absence of gravity. They are... swimming in the void, unaware of the physics and dynamics laws on which you based all your beliefs. One of the smaller creatures is staring at you, as if it felt your presence. You stare back in silence, open mouthed.\n\n> Wave\nThe whales look at you. You are quite sure they are waving their tail flippers back at you.\n\n> Up\nA small room, no window, just a thin slot for what you suppose is air conditioning.\n\nThe north wall harbors a bulky keyboard, lit up by several buttons.\n\n> You look at the keyboard\nThe mixer is powered. On it, among the many cryptic buttons, three\nhave symbols that you can comprehend. On the first is a star, on the second a couple of parallel lines, on the last a circle."
    },
    {
        "text": "> Go downwards\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\n> You go to the northeast\nThe narrow corridor comes to a halt where it has been devoured by a large gaping hole, opening to the north under your feet. The hole continues up and to the southeast, from where it must have originated. A pair of now useless rails departs from here and fall into the darkness before you.\n\nThe sight reminds you too easily of the devouring grounds that were left from the train wreck in which your ordeal started. It lacks the flames and the smoke, but it really is a twin scene.\n\nWhat has happened here, you wonder, looking into the gaping\nhole. Then, you turn to face up, and the sight of the open sky catches your heartbeat for a second.\n\n> You examine the sky\nThe hole has been dug by something, quite big, punching through the metal boundaries of the structure you are in. Below, it plunges into darkness. Above, a hundred meters away, it opens into the emptiness of space.\n\nThere should be no air here, you shiver. How in Monarch\ncan I breathe?\n\nAs usual, only the deepest silence answers.\n\n> Go upwards\nA small room, no window, just a thin slot for air conditioning.\n\nThe north wall harbors a bulky keyboard, lit up by several buttons."
    },
    {
        "text": "> You go down\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nA segment of the dome has been retracted. Through it the supernova looks far brighter. The white light is piercing through your unprotected retina like a warm knife through butter.\n\nThe radiation coming from the supernova, now that the protecting\nlayers of the glass dome have been retracted, blows through you like a soft summer breeze. In a few seconds you are incinerated from the inside."
    },
    {
        "text": "> You examine the tables\nThe tables are surrounded by seats in the sides of the big chamber. This must have been a restaurant, and a quite expensive one, you\nguess.\n\n> You look at keyboard\nThe mixer is powered. On it, among the many cryptic buttons, three\nhave symbols that you can comprehend. On the first is a star, on the second a minus symbol, on the last a circle."
    },
    {
        "text": "[Themes: Science Fiction, space, science fiction, music]\n\n> Go down\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nThe dome itself looks more shiny. Through it the warmth of the supernova reaches the interior of the room with great strength. The blaze is unbearable and you can feel your very skin char.\n\nThe sheer strength of the supernova light, burning like the heart of a thousand stars, is enough to let your skin combust spontaneously. You are burnt to a crisp before you even understand what is happening.\n\n> Press minus\nThe shape on the button changes. It now looks like a plus symbol."
    },
    {
        "text": "> Go downwards\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\n> You look at the buttons\nThe mixer is powered. On it, among the many cryptic buttons, three\nhave symbols that you can comprehend. On the first is a star, on the second a couple of parallel lines, on the last a circle.\n\n> About yourself\nYou look battered and tired, but at least you're still alive. Although it doesn't make a lot of sense, lately.\n\n> Inventory\nYou're carrying a golden disc and an useless railway ticket. You are wearing some clothes.\n\n> You examine the clothes\nA dirty shirt, tucked inside dirty trousers. Dirty shoes. And you forgot the belt at home. Forever.\n\n> You go to the north-east\nThe narrow corridor comes to a halt where it has been devoured by a large gaping hole, opening to the north under your feet. The hole continues up and to the southeast, from where it must have originated. A pair of now useless rails departs from here and fall into the darkness before you.\n\n> You go north\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\n> You get the signpost\nThat's fixed in place.\n\n> You examine signpost\nThe symbol represents a couple of straight lines.\n\n> Go outside\nYou get off the lone wagon.\n\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the beginning of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> Go south\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\n> Go north\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the beginning of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> You enter the wagon\nYou get onto the lone wagon.\n\nOn the lone wagon you can see a rusty console."
    },
    {
        "text": "[Themes: Science Fiction, aliens, science fiction, strong NPCs]\n\n> Achievements\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    (You have seen the dark side of the\nsky)\nThe Leaper    (You have jumped through the void)\nInvisible Killer    ( -???- )\nThe Dweller    (You have reached the bottom)\nTo Shed a Light    (You have turned the lights on)\nTicketless Ride    (You have taken the train)\nThe Fisher    (You have seen the fish)\nThe X Marks the Spot    (You have crossed over)\nPlay It Again, Ektor    ( -???- )\nCommunication Breakdown    ( -???- )\nA Matter of Time    ( -???- )\nA Matter of Size    ( -???- )\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    ( -???- )\nTo Be a Scientist    ( -???- )\nSinking the Ship    ( -???- )\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )\n\n> Go outside\nYou get off the lone wagon.\n\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the end of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> Go north\nThe narrow tunnel opens into a well lit area. Your eyes take a second to adjust to the brilliance.\n\nA hexagonal room, lined in plaster and steel, with six doors opening into six more locations. Three of them look dead, while the others\nglow or flicker to different rhythms. To the south is the dark tunnel leading to the railway station; to the northwest and north the (seemingly) functioning exits.\n\n> You examine the north door\nA plaster door. No handle, no window.\n\n> You look at the table\nIt is a clean -- astonishingly clean -- table made from glass. Light refracts on the perfect surface. It must have some use, but you cannot fathom what that might be.\n\n> Inventory\nYou're carrying a golden disc and an useless railway ticket. You are wearing some clothes.\n\n> You put the disc on the table\nThis doesn't look like your personal litter deposit. It looks like\nsome sort of technical device, instead."
    },
    {
        "text": "[Themes: Science Fiction, music, space, aliens, strong NPCs]\n\n> You look around\nAnother hexagonal room, this time with just one exit, leading south through a plaster door. The room is exceptionally blank, as a sort of minimalistic museum.\n\nIn the center of the room, a six-sided glass table takes most of the space. The surface is crystal-clean, a mocking at the passing of time.\n\n> Rotate table\nIt is fastened to the floor.\n\n> Go south\nA hexagonal room, lined in plaster and steel, with six doors opening into six more locations. Three of them look dead, while the others\nglow or flicker to different rhythms. To the south is the dark tunnel leading to the railway station; to the northwest and north the functioning exits.\n\n> You go northeast\n(first opening the northeast door)\nThere is no power. This door can't be operated.\n\n> Go northwest\nAnother hexagonal chamber, this time rather larger than the previous ones. A set of lounge chairs dots the place, each of the seats resting empty in front of a terminal. To the north, a four-by-two-meter screen almost entirely covers the wall. This is probably the main bridge of the ship.\n\n> You examine terminal\nA series of terminals and consoles. You can't understand the symbols\non their keyboards and screens, you can't understand the purpose of\nany of them, and you can't understand how to activate them. Enough said.\n\n> You examine the screen\nThe screen is dark.\n\n> You look at the chairs\nThe many chairs, more than a dozen, are each facing a different console, as would suit any regular ship commanding bridge.\n\n> You go south\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the end of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> Go northeast\nAfter a while, and along a narrow, dimly lit tunnel, you find yourself in a rather peculiar environment.\n\nThis six-sided room reminds you of the chess training grounds in which you used to spend your spare time during your first years in Brouguoise, before they hired you at the University of Monarch: The size, roughly the same; the white, featureless walls -- a sort of dramatic fashion of the times in which the Campus was built; the\nplain, cold light that fills the place. But most of all, what strikes you as a perfect mimic is the object filling the center of the room.\n\nTwo men, seated and facing each other, play a game around a six-sided table, in an everlasting match.\n\n> You examine the game\nThey are made of stone. Sitting, immobile, staring at the center of\nthe table, in a replica of a very slow, endless game of chess.\n\nYou begin wondering. What has happened to these people? Is this\nreally a sculpture or...?\n\nAs an answer, you hear a faint beep coming from the north.\n\n> You examine the men\nThey are made of stone. Sitting, immobile, staring at the center of\nthe table, in a replica of a very slow, endless game of chess.\n\n> Go north\nA six-sided room, again. Each wall is covered in a myriad of tiny bulbs, each one the size of a bee's eye. Most of the lights are off.\nOn the east wall, a ten-by-twenty centimeter spot just below a small viewscreen bears a series of five symbols, printed in an obscure,\nalien language. The room is then empty, except for a large cubic\ndevice placed against its northern wall.\n\n> You examine the symbols\nA series of five symbols, printed in a language you don't comprehend. Obviously alien.\n\n> You examine the device\nIt looks like an examination table.\n\nAnother, stronger beep fills the room. All of a sudden, many of the dormant lights come to life and the whole room is turned into a dance floor. The air starts circulating -- probably the air conditioning kicking in -- and something appears above the large cubic device and\non the small viewscreen.\n\n> You say hello\n(to LOGAN)\nI don't know what you are referring to.\n\n> You examine the device\nA cone of green light goes from the ceiling to the table's top. Inside it, a smaller beam runs to cover all its surface. It reminds you of a 3D scanner you once toyed with in Brouguoise.\n\n> You put the disc on the device\nHesitantly, you put the golden disc onto the table's top. As soon as you retract your arms, the green beam starts covering the disc's surface, scanning it in the process. When it's done, a metallic voice comes out of somewhere:\n\nLOGAN://\"Galaxy Ex-NOVA -- -cal. Ghjugaak, hysndee akim akimaa tota\"//\n\nA series of sounds follows -- waves, wind, thunder -- then you can slowly hear some... music coming out of the device.\n\nThis is the music recorded on the disc, you murmur. It\nis... it is trying to learn from disc.\n\nA long array of spoken words -- many of which you never heard before, some guttural, others quite musical, mixed with ones from your own language -- closes the show. At the end, the green light vanishes, in its place a holographic image.\n\nThe last word from the speakers, the very voice of this station's main computer, you guess, is: \"LOGAN.\"\n\n[You have earned the Play It Again, Ektor achievement]\n\n> You examine LOGAN\nLOGAN://\"Akjhs jsjns sksws LOGAN, xxxxx hs kl exact, Milky Way,\nEarth.\"\n\n> You look at the hologram\nThe hologram hovering on the device's top looks like... the galaxy of Andromeda.\n\nOn the large cubic device is a golden disc.\n\n> You set the course to the andromeds\nLOGAN://\"Cannot compute. Kfosule dohhs match.\"\n\n> You ask LOGAN about the earth\nYou tell the computer what you know about the galaxy, the planets and the stars. At first, its responses are as understandable as a Council Member's speech, but then, word by word, his alien language starts mixing with your own.\n\nImpressive. It's really learning just from listening to me.\n\nThe holographic picture on the cubic device changes.\n\n> You look at the hologram\nThe hologram now shows a couple of human beings, probably a man and a woman, depicted in a rough style. They seem to be holding each others' hands.\n\nOn the large cubic device is a golden disc.\n\n> You ask LOGAN about LOGAN\nLOGAN://\"Cannot compute. Sample doesn't match.\"\n\n> You ask LOGAN about the people\nYou look at the two figures and start belaboring, as lightheartedly as it gets in these hard times, about the human race. You speak about the ages, the history, the legacy of mankind. At the end, you fail to keep a tear from rolling down your cheek.\n\nLOGAN seems unimpressed as, again, it goes on calculating the many facets of your own existence.\n\nA new, dark hologram fills the space above the examination table on\nthe cubic device.\n\n[You have earned the Communication Breakdown achievement]\n\n> You examine hologram\nThe hologram shows -- unmistakably -- a Hyerotrope.\n\nOn the large cubic device is a golden disc.\n\n> You ask LOGAN about Hyerotrope\nLOGAN://\"This is the vessel in which you entered the Arcadia.\nThis is the vessel that you will need to leave it. This\ngalaxy is shrinking. You must go.\"\n\n> You ask LOGAN about the andromeda\nLOGAN://\"According to your statement, this galaxy is named Andromeda. It is currently shrinking due to the effect of the omega\nsupernova.\"\n\n> You ask LOGAN about the supernova\nLOGAN://\"The event swallowing the galaxy is known as the omega supernova. It has been calculated that the result of a disruption in the mass effect of major stars can lead to a supernova chain reaction that can disintegrate a galaxy in less than 500 of your years. The\nmass effect disruption has usually been triggered by the entities you call Hyerotropes. The Hyerotropes increase the rate of\nexpansion of the ultimate supernova by locally manipulating the gravitational constant, changing the nature of the universe in that region of space. The galaxy of Neulan was annihilated in 230\nyears by the same omega supernova effect.\"\n\n> You ask LOGAN about Neulan\nLOGAN://\"The Arcadia was launched from the Sector 17f, Bahgfdy\nsystem, Sldrtt planet, as a means to escape the omega\nsupernova that started annihilating the Neulan Galaxy. It\ntraveled for eleven of your years before being stranded in this\nsection of space.\"\n\n> Achievements\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    (You have seen the dark side of the\nsky)\nThe Leaper    (You have jumped through the void)\nInvisible Killer    ( -???- )\nThe Dweller    (You have reached the bottom)\nTo Shed a Light    (You have turned the lights on)\nTicketless Ride    (You have taken the train)\nThe Fisher    (You have seen the fish)\nThe X Marks the Spot    (You have crossed over)\nPlay It Again, Ektor    (You have played a record)\nCommunication Breakdown    (You know how to have people\nlisten to you)\nA Matter of Time    ( -???- )\nA Matter of Size    ( -???- )\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    ( -???- )\nTo Be a Scientist    ( -???- )\nSinking the Ship    ( -???- )\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )\n\n> You examine the screen\nThe viewscreen is filled with alien diagrams.\n\n> You ask LOGAN about Gettare Rinors\nLOGAN://\"I cannot compute, sorry.\"\n\n> You ask LOGAN about the gettare sldrtt\nLOGAN://\"I don't know what to say about that. Maybe you want to play a game, instead?\"\n\n> You ask LOGAN about the sldrtt\nLOGAN://\"Actual Sldrtt population: Zero. Actual Bahgfdy population: Zero. Actual Neulan population: Zero. Actual Neulan size and scope: Zero\".\n\nThere are no survivors. The Hyerotropes take all. Andromeda is at\nleast the third galaxy being devoured.\n\n> You ask LOGAN about the chess\nLOGAN://\"The 'statues' you encountered are the remnants of the Arcadia's 33,000 inhabitants. The corpses have been turned to\nrock-like formations due to the long exposure to a sterile, cold environment. They are now what you call fossils.\"\n\n> You ask LOGAN about the whales\nLOGAN://\"I don't understand, Ektor Mastiff.\"\n\n> You ask LOGAN about stranded\nLOGAN://\"The Arcadia has been pierced through by a series of\nunknown objects during its trip through the galaxy of\nAndromeda. Due to the major damage sustained, the Arcadia stopped traveling and being fully functional some time ago. It is now\nin power reserve mode. The Arcadia has been traveling from the\ngalaxy of Neulan trying to escape the omega supernova.\"\n\n> You ask LOGAN about the power\nLOGAN://\"Due to the time of confinement of the Arcadia since it\nhas been stranded in this portion of the galaxy, the\npower management system has dropped to minimal terms and now is\nworking on reserve. The remaining charge is 0,00076% and the OS\nand life support systems are running on solar power.\"\n\n> You ask LOGAN about Time\nLOGAN://\"Computing. Converting origin years to Ektor Mastiff's years. Computing...\n\nThe Arcadia has been stranded in Andromeda for one-million-three-hundred-and-fifty-three-thousand years.\n(Calculations rounded up to the nearest thousand).\"\n\nYour sight blurs for a second.\n\nOne million years? This ship has been here for over\none-fucking-million YEARS?! Here's what turned those men to\nstatues...\n[You have earned the A Matter of Time achievement]\n\n> You ask LOGAN about the life\nLOGAN://\"The emergency life support system has been active since you entered the Arcadia, in response to Protocol 23,346 on Life\nProtection Measures. You can now freely walk and interact with the Arcadia as long as the ELSS is active and protecting your health. The ELSS will be functional for 13 hours circa, or until power charge depletion.\"\n\n> You ask Logan about the os\nLOGAN://\"LOGAN is acronym for Ljhdt Ohsret Gaet Abbskp Neuklg. I am\nthe operating system of the Arcadia. I can give assistance on\nbasic ship maintenance and security options and answer a large number of queries. At present state, the Arcadia is in power reserve\nmode and my abilities have reduced to 0,023%.\n\nYou can ASK me ABOUT things, or SHOW things to ME, or just say LOGAN,\n. Logan can hear you and provide responses throughout all of\nthe Arcadia. You are welcome to TALK to me whenever you like or need.\"\n\n> You ask LOGAN about the scanner\nLOGAN://\"I cannot compute, sorry.\"\n\n[Hard time interacting with LOGAN? Remember you can TALK to him in rooms for comments on the environment. You can SHOW things to him or ASK him ABOUT subjects. Also, the formal \"LOGAN, \" is usually\nbest to get explanations on the words he says in bold type.]\n\n> You ask LOGAN aboutthe commanders' quarters\nLOGAN://\"That's beyond my grasp.\"\n\n> You ask LOGAN about the observatory\nLOGAN://\"I don't understand, Ektor Mastiff.\"\n\n> You examine the symbols\nThe five symbols must mean LOGAN in a language you can't grasp. Given the time you could try and learn a new alphabet, but the impending supernova is more of a concern, now.\n\n> You show the ticket to LOGAN\nLOGAN://\"I detect nothing special.\"\n\n> You show the clothes to LOGAN\nLOGAN://\"I don't have any comment on that, Ektor Mastiff.\"\n\n> You ask LOGAN about the forebridge\nLOGAN://\"I cannot compute, sorry.\"\n\n> You ask LOGAN about the Train\nLOGAN://\"That's beyond my grasp.\"\n\n> You ask LOGAN about the the birds and the the bees\nLOGAN://\"I don't understand, Ektor Mastiff.\"\n\n> You ask LOGAN about the power\nLOGAN://\"Due to the time of confinement of the Arcadia since it\nhas been stranded in this portion of the galaxy, the\npower management system has dropped to minimal terms and now is\nworking on reserve. The remaining charge is 0,00076% and the OS\nand life support systems are running on solar power.\"\n\n> You ask LOGAN about the davidw\nLOGAN://\"That's beyond my grasp.\"\n\n[Hard time interacting with LOGAN? Remember you can TALK to him in rooms for comments on the environment. You can SHOW things to him or ASK him ABOUT subjects. Also, the formal \"LOGAN, \" is usually\nbest to get explanations on the words he says in bold type.]\n\n> You talk to LOGAN\nLOGAN://\"This is the scanning and computing lab. I'm using this to learn your language.\"\n\n> Go south\nThis six-sided room reminds you of the chess training grounds in which you used to spend your spare time during your first years in Brouguoise, before they hired you at the University of Monarch: The size, roughly the same; the white, featureless walls -- a sort of dramatic fashion of the times in which the Campus was built; the\nplain, cold light that fills the place. But most of all, what strikes you as a perfect mimic is the object filling the center of the room.\n\nTwo men, seated and facing each other, play a game around a six-sided table, in an everlasting match.\n\nLOGAN://\"Lt. Hesld and Capt. Ttscy. Their bodies were the last\nto become inert. They wanted it this way.\"\n\n> You talk to LOGAN\nLOGAN://\"This is the main control room for the commanding crew. It is now unavailable due to damage sustained. Time has put too much\nof a burden on the delicate instruments.\"\n\n> Go southwest\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the end of the ramp.\n\nOn the lone wagon is a rusty console.\n\nLOGAN://\"This is the sternbound hub for the railways of the\nArcadia. I'm afraid that most of the routes are either clogged\nor powerless.\"\n\n> Go west\nAs you enter the brilliant avenue of steel and plaster, you are choked with panic.\n\nThe wide tunnel is an unbelievably perfect replica of a place you know far too well. The curving ceiling, the polished walls, the shining lights that strobe in your eyes: All is coming at you from the recent past, from your last steps into what you once dared call civilization.\n\nSea, west of Brouguoise and back home in Capital Monarch, to all the people in town known as \"Belmont and Keller\", after the avenues it\nruns through. No cars, no traffic and no toll booth, but all the rest is here, replicated tile-by-tile.\n\nIt takes you about three minutes to recover from the shock. After\nthat, memories of a gone world start tumbling in your forehead like a cascade of freezing water.\n\nGone, you sigh. Gone. Gone. Gone.\n\nA giant gate, several bars lining up like matches in a box, blocks the way to the west, where the tunnel continues.\n\nLOGAN://\"The tunnel leads to the docks. Let me open the gate\nfor you, Ektor Mastiff.\"\n\n> You ask LOGAN about Hesld\nLOGAN://\"They were the last officials of the crew of the\nArcadia. They jettisoned the remaining life-pods and then\ncommanded LOGAN to stop the life support system. They died of\nexposure to extreme cold and their bodies are still in the position they had in their final moment.\"\n\n> You go to the west\n(first opening the bars gate)\nEach of the bars is ten centimeters wide and can easily survive an explosion. You must find some other way to operate it.\n\n> You open Gate\nLOGAN://\"Roger that, Ektor Mastiff.\"\n\nWith a soft, pneumatic sound, the bars of the gate lift to the\nceiling, into which they almost completely sink.\n\n> You go west\nThrough Belmont and Keller, other side of the gate\nThe tunnel runs east to west, into a very big chamber.\n\nThe bars of the gate are lifted and now stick into the ceiling like a giant's teeth.\n\n> You go west\nYou begin to realize the actual size of the giant structure you have shipwrecked on the very moment the open space in front of you is revealed.\n\nAt least six hundred meters wide, two hundred high and... well, three kilometers long, the hangar could probably harbor all of your skyscraper block in Monarch with spare room for a garden and a supermarket. The place has been trashed by some unknown force, a lot\nof its old content scattered around and devastated.\n\nThe docks are to the northwest, west and southwest, while south and north the enormous chamber continues, among debris, spare ship parts, crates and boxes of every kind and size.\n\nLOGAN://\"Welcome to the docks, Ektor Mastiff.\"\n\n> You talk to LOGAN\nLOGAN://\"I have no comments for this place, sorry. If you want you can SHOW things to me or ASK me ABOUT anything you want.\"\n\n> You ask LOGAN about the docks\nLOGAN://\"I don't know what to say about that. Maybe you want to play a game, instead?\"\n\n> You go west\nThe mouth of the ship is open and shouting at the universe. All of the bulkheads are retracted, leaving a unique sight for your sore eyes. In absence of an atmosphere, the sky is crystalline and every shadow is intense as if painted with a black varnish. A soft wind caresses your skin and you shiver at the thought of its origin.\n\nI'm breathing and feeling warm in actual absence of an atmosphere.\nThis is beyond science. It's magic, you consider.\n\nThe remnants of what you'd call a foundered ship are jabbed into the pavement near the open bay. A broken wing emerges from the metal floor like a rampaging shark aimed at a flying prey.\n\nLOGAN://\"The mouth of the docks was opened the last day of the\nArcadia. The Commanders asked for it, so that the\nexternal environment could fill the ship and put an end to all remaining life. The ELSS kicked back in action as you entered\nthe ship. To oblige me to open the docks, the Commanders had to override the security system protocols. Otherwise, it wouldn't\nhave been possible for me to go on and kill the crew.\"\n\n> You ask LOGAN about Commanders\nLOGAN://\"You met their remnants in the room adjacent to my CPU. They are Lt. Hesld and Capt. Ttscy.\"\n\n> You ask LOGAN about the security\nLOGAN://\"The protocols forbid LOGAN to harm in any way an inhabitant\nor guest of the ship. The same protocols compel me to start the\nELSS as soon as a life-form enters the Arcadia. The crew\noverrode the SSL from the Forebridge main console.\"\n\n> You look at the wing\nThe wing pops out of the ground. A compartment stands loose just at\nthe point where it encounters the main body of the foundered ship.\n\n> You open Compartment\nThere is no lid: it probably flew off during the accident.\n\n> You examine it\nIn the compartment is a translucid bar.\n\n> Examine bar\nThe bar is one-and-a-half meters long. Its surface is glossy.\n\n> You ask the floyd about the bar\nLOGAN://\"This is a radioactive bar used as fuel for small ships.\"\n\nYou can't see any such thing.\n\n> You go to the south\nDocks, south\nAfter a -- long -- walk, you reach this corner of the docks area.\n\nThis is the southernmost side of the giant mouth opening into the sky. Apart from broken equipment and trashed boxes, the place is worthless.\n\nOr maybe not.\n\nIn the darkest corner of the hangar, a solitary, forgotten cabinet stands evidence of a former life.\n\nLOGAN://\"During the large amount of time the docks have been\nleft open, a lot of debris have drifted in here. The\ngravitational mass of the ship is enough to attract even\nmedium-sized starships.\"\n\n> You open the cabinet\nYou open the forgotten cabinet, revealing a white jumpsuit.\n\n> You get it\nThe cabinet seems to be firmly fixed in place.\n\n> You examine it\nAn old-as-time white jumpsuit, incredibly dusty and crinkled.\n\n> You show it to LOGAN\nLOGAN://\"This is the regular anti-radiation suit for the technical\ncrew of the Arcadia. It may come in handy for sustaining high temperature as well as freezing. You can use it in case of ELSS malfunction.\"\n\n> You wear it\nYou push yourself inside the jumpsuit. It fits perfectly.\n\n> You ask LOGAN about the debris\nLOGAN://\"Much of the debris which entered the docks and pierced\nthrough the shell all around the Arcadia consists of rocks.\nPart, though, is composed of the jettisoned life-pods or fragments of the Arcadia bailout ships.\"\n\n> You ask LOGAN about the bailout\nLOGAN://\"As the ship began regaining mass after exiting the warp zone, it was more and more unlikely that escape pods could overcome\nthe gravitational pull. In the end, only 3% of the shuttles got free\nof it, while the rest stood trapped in this zone. Almost all of the Arcadia's passengers died a slow death a few hundred meters\naround the ship wreckage.\"\n\n> You ask LOGAN about the escape\nLOGAN://\"The shuttle bays of the Arcadia are all empty. The\nsurvivors of the ship's stalling have fled an amount of time\nago. You must find another vessel. I can suggest you take the\nsame 'route' as the one you took to get here.\"\n\n> You ask LOGAN about the route\nLOGAN://\"An object similar to the one you came from has been\nheld captive in the Arcadia for examination. You can find it in\nbay 7, level 1, port section.\"\n\n> You ask LOGAN about the object\nLOGAN://\"A specimen of the sphere-kin you call the Hyerotropes\nhas been caught in the gravitational pull of the Arcadia\non the first year of its confinement in this galaxy.\"\n\n> You ask LOGAN about the gravitational\nLOGAN://\"The mass of the spaceship Arcadia is enough to cause a\nstrong gravitational pull when not subject to warp drive. Being stranded here, the pull started growing as the subsequent\ncemetery of debris grew bigger around the ship. On day 3,777 of Arcadia's confinement, the object you call the\nHyerotrope punctured the Arcadia on level 9, port section, and\nwas then moved to the large bay 7 for inspection. It has been contaminating the Arcadia since then.\"\n\n> You ask LOGAN about Hyerotrope\nLOGAN://\"This is the vessel in which you entered the Arcadia.\nThis is the vessel that you will need to leave it. This\ngalaxy is shrinking. You must go.\"\n\n> You ask LOGAN about the confinement\nLOGAN://\"The Arcadia has been pierced through by a series of\nunknown objects during its trip through the galaxy of\nAndromeda. Due to the major damage sustained, the Arcadia stopped traveling and being fully functional some time ago. It is now\nin power reserve mode. The Arcadia has been traveling from the\ngalaxy of Neulan trying to escape the omega supernova.\"\n\n> Go north\nThe mouth of the ship is open and shouting at the universe. All of the bulkheads are retracted, leaving a unique sight for your sore eyes. In absence of an atmosphere, the sky is crystalline and every shadow is intense as if painted with a black varnish. A soft wind caresses your skin and you shiver at the thought of its origin.\n\nThe remnants of a foundered ship are jabbed into the pavement near the open bay. A broken wing emerges from the metal floor like a rampaging shark aimed at a flying prey.\n\n> You go to the north\nDocks, north\nAfter a -- long -- walk, you reach this corner of the docks area.\n\nThis is the northernmost side of the giant mouth opening into the sky. There is nothing here but debris and piles of broken crates.\n\n> You search debris\nYou rummage through the debris, but succeed only in raising a lot of powder.\n\n> Go east\nHangar, north\nAfter a -- long -- walk, you reach this corner of the docks area.\n\nThe place is a mess. Crates and equipment pieces are scattered all around the floor, remains of a devastating incident. The hangar continues south, southwest and west.\n\nA sort of egg-like pod shines, through the debris, under a transparent tube coming off of the ceiling.\n\n> You look at the pod\nA glass and metal egg-shaped pod, containing just a seat.\n\n> You talk to LOGAN\nLOGAN://\"The nav-pod is the fastest way to travel the\nArcadia. You can enter it and command for destinations\nthroughout the ship. Unfortunately, many hubs are clogged, unavailable or not reachable due to the power reserve mode.\"\n\n> Go south\nAt least six hundred meters wide, two hundred high and three\nkilometers long, the hangar could probably harbor all of your skyscraper block in Monarch with spare room for a garden and a supermarket. The place has been trashed by some unknown force, a lot\nof its old content scattered around and devastated.\n\nThe docks are to the northwest, west and southwest, while south and north the enormous chamber continues, among debris, spare ship parts, crates and boxes of every kind and size.\n\n> You go south\nHangar, south\nAfter a -- long -- walk, you reach this corner of the docks area.\n\nThe place is even more of a mess than the north side of the harbor. Crates and equipment pieces are scattered all around the floor,\nremains of a devastating incident. The hangar continues north, northwest and west.\n\nA tall hatch hides behind crates on the south wall of the hangar.\n\nLOGAN://\"The hatch to the south once led to the third station of the Arcadia. Now, after the devastation of the docks, it is\nunusable.\"\n\n> You go north\nHangar, north\nThe place is a mess, but not as much as the south side. Crates and equipment pieces are scattered all around the floor, remains of a devastating incident. The hangar continues south, southwest and west.\n\nA sort of egg-like pod shines, through the debris, under a transparent tube coming off of the ceiling.\n\n> You go pod\nYou get into the pod.\n\nLOGAN://\"This is a nav-pod. You can use it to travel to different sections of the ship. The one still available, at least: the power leakage has made many hubs no more accessible.\n\nDo you want me to push you somewhere? Try: LOGAN, 29port.\"\n\n> You examine tube\nThe tube enters the ceiling and disappears into a dark hole.\n\n> You ask LOGAN about the 29port\nLOGAN://\"Actually, bay 2, level 9, port section is the port hangars. You are here already.\"\n\n> 71port\nLOGAN://\"Navigating!\"\n\nThe nav-pod is sucked into the tube and sent running through dark tunnels. In a few minutes you find yourself in...\n\nThe Reliquary (in the pod)\nThere is a place, in your heart, where you are sure all the grievous moments will play a ghastly rehearsal for the rest of the life you still have to live. A place where the same striking images follow one after the other as a sort of stop-motion nightmare with just three frames.\n\nyour world. The second, the very moment you unknowingly said goodbye\nto Andy and to everything you had.\n\nThe third is now flickering in your face as a film about to burn.\n\nA dark, metal-plated room. The ceiling ten meters above. The floor a matrix of ebony-colored tiles. A cave, you would call it. A cave of\nthe soul.\n\nAnd then a sphere: A dark, shiny sphere -- your enemy, your nemesis -- breathing slowly in the east side of the room, its thousand\nluminescent tentacles strangling reality and changing it at its will.\n\nThe Hyerotrope, the end of all life.\n\nHalf buried in the ground, as per the first time you met each other in the fiery depths of drowning Monarch, its four dots are blinking in\nthe dark.\n\nLOGAN://\"This is your vessel, Ektor Mastiff. This is the only\nway you have out of this galaxy.\"\n\nBut you don't listen. There's a voice in your head whispering deathly words.\n\n\"What for,\" you ask yourself. \"This is just... just...\"\n\nLOGAN://\"Unfortunately, it seems that the corruption has done\ntoo much damage to the ship. The object you call the Hyerotrope\nhas sunk into the floor.\"\n\n[You have earned the Flying the Egg achievement]\n\n> You look at Hyerotrope\nThe Hyerotrope has sunk into the ground far more than the one you discovered in the depths of Monarch. A door is open on its side, half hidden by the floor but still enterable to the east. Four red dots\nline up above the opening, eyes you cannot inquire.\n\n> You examine dots\nThe four dots are all lit. This means the Hyerotrope is alive and kicking.\n\n> You go east\n(First getting out of the pod)\nThe Reliquary\nA dark, metal-plated room. The ceiling ten meters above. The floor a matrix of ebony-colored tiles. A cave, you would call it. A cave of\nthe soul.\n\nA pod is ready, here, waiting for passengers.\n\nA dark, shiny sphere breathing slowly in the east side of the room,\nits thousand luminescent tentacles strangling reality and changing it at its will.\n\nThe Hyerotrope, the end of all life.\n\nHalf buried in the ground, its four dots are blinking in the dark.\n\nAs you would expect, the Hyerotrope door opens around you and lets you in.\n\nThe translucent walls of this Hyerotrope are no different from any others you have seen. The half-sphere in which you stand is empty and static.\n\nLOGAN://\"The corruption has gone too far. The vessel is\ntrapped in the floor of the ship.\"\n\nYou check the walls of the Hyerotrope, but there is no reaction from them.\n\nLOGAN://\"It seems you are stuck here, Ektor Mastiff. I'm sorry to inform you that the omega supernova will be reaching the\nArcadia in less than three hours.\"\n\nYou shrug.\n\nWhatever the route I take, what will be the difference? World's\ngone. The damn galaxy is gone. And it won't stop here. It will devour everything. Where can I go? And what for?\n\nLOGAN://\"Although -- there could be a way. One last trick...\"\n\nBut you are not listening. In your mind, and in your eyes, there is only one image...\n\nThe thin air of the evening is picking at you, leaned against the rail of the balcony, shoulders tossed at the first darkness in ages.\n\nYour friend and colleague Andy Re's is here, leaning against the banister and looking at the city.\n\n> You look at Andy\nYour best colleague and, most of all, your best friend. He shares your studies and your passions. If you ever had a brother it would have\nbeen him. He looks a bit battered. The events of the last few days\nmust have put a lot of stress on him.\n\n> Chin up\nYou prefer following the flow of the conversation.\n\nAndy turns to face you. He seems resolute, but also tired to death.\n\n\"You understand the importance of what we are doing, right?\"\n\nYou nod.\n\n\"You understand the importance of your delivery, right?\"\n\nYou smile, uncomplaining.\n\n> You talk to Andy\n\"So?\" Andy baits you.\n\n\"So... I don't know. I don't know why it can't be you. I mean: The Committee will trust you more than me, being the veteran and so on...\"\n\n\"A veteran? I've been walking in the Campus seven months more than\nyou. If that's being a veter...\"\n\n\"You know what I mean,\" you stop him.\n\n\"Actually,\" he smiles, turning to face the city again, \"I don't.\nWhat's up, Doc?\"\n\n> You examine city\nThe city goes on forever, until the curve of the horizon or the ocean puts an end to its travels. There are thousands of lights, shining\nmore than the stars themselves.\n\n> You talk to Andy\nYou fill your lungs and wait for the fresh air to make you dizzy. You are in need of more energy and can't tell if you'll ever find enough.\n\n\"Fact is,\" you start, \"I'm not exactly sure about our motives, Andy.\"\n\n\"Our motives? What are you talking about, man? This may be the most important discovery in our history and you need a motive to\ngo public?\"\n\n\"Yeah, I need it. They don't seem to be paying much attention, don't you think? Have you heard from them, lately? Everybody knows what we are doing but nobody cares. That's a fact.\"\n\n\"So you need the psychological support...\"\n\n> Again\n\"It's not like that. Don't paint me as an idiot. I mean... Did you\never think about it? No noise, mate. No noise at all. You know how it sounds to me?\"\n\nAndy turns to face you again. \"Nope,\" he sais. \"How does it sound?\"\n\n\"Sounds like it's pointless. I mean: All the time spent, the research. And no one gives a damn. No one called. No one paid attention. And\nthis sounds like it's pointless. Why are we doing this? What's the research for? Ten years, mate. Ten years and now we know something\nbig, no one fucking cares.\"\n\n\"Can I ask you a question, Ektor?\" Andy leaves the balcony, enters his room and comes back a moment later with his copy of the files you are holding in your hands.\n\n> You say no\n(to Andy Re's)\nYou prefer following the flow of the conversation.\n\n\"Go on,\" you say.\n\n\"What do you think it is our job is made of? Being a scientist.\" You pause a second. \"Knowing something and then having to tell the world?\"\n\n\"Well, no...\"\n\n\"Well, yes. That is exactly what I think being a scientist\nmeans. Spreading the news. Having... secrets, stories untold that you have to tell. It's all about that. When you know something\nthat you think is important, or even half-important, you have to tell the world, Ektor. You have to spread the news and give away the\nsecret. Even if the world doesn't care. Especially if the\nworld doesn't care.\"\n\nHe rushes through the pages of the Report, flipping them like a card dealer, stopping only when the back-cover is uppermost. Then, with a patient smile filled with the stubborn resolution you've known for so much time, he points at you and says:\n\n\"Maybe it is our only meaning, Ektor. Letting the knowledge survive. Even if it has to survive us.\"\n\nSuddenly there is a flash on the horizon, followed by a low, terrible rumble.\n\nIt's a hell of a storm, that one, you think. And it just\ncame to our doorstep.\n\nThe translucent walls of this Hyerotrope are no different from any others you have seen. The half-sphere in which you stand is empty and static.\n\nLOGAN://\"Do you hear me, Ektor Mastiff? There is indeed a\nsolution to your problem. I can't see restrictions to make it\nhappen.\"\n\n[You have earned the To Be a Scientist achievement]\n\n> You ask LOGAN about the corruption\nLOGAN://\"The object you call the Hyerotrope began\nconverting the structure of the ship since it first was laid in\nbay 7.\"\n\n> You ask LOGAN about the converting\nLOGAN://\"The object you call the Hyerotrope grows a sort of\ntentacular micro-extensions which cut into matter and transform it\ninto an unknown brilliant substance.\"\n\n> You ask LOGAN about brilliant\nLOGAN://\"The substance has been analyzed but comparing it with\nacquired specimens was not possible. This OS is not designed to\nmake hypotheses, so no computing was executed.\"\n\n> You ask LOGAN about solution\nLOGAN://\"A fierce enough shock could liberate the vessel\nfrom the structure so you could escape.\"\n\n> You ask LOGAN about the shock\nLOGAN://\"The only way I can think of is activating the ship's self-destruction system. It will deflagrate taking down the\nbridges from 10 to 1 sequentially. The resulting shocks should be enough to free the Hyerotrope and thus free yourself. This system\nwould be destroyed in the process, but there is no protocol I\nwould break to let you do it.\"\n\n> You ask LOGAN abouthe self-destruction\nLOGAN://\"To activate the self-destruction sequence, you have to first get back to the Forebridge, in bay 2, level 9 port section.\"\n\n> You ask LOGAN about destroyed\nLOGAN://\"The primary purpose of LOGAN is to sustain life aboard the Arcadia. Your life is put in danger by the incoming\nsupernova. The only thing I can do is try and help you out of\nthe ship. Canceling me in the process is no problem, as I have no further duties to accomplish. After all this time, I suppose\nsome rest wouldn't hurt.\"\n\nYou have the feeling the computer has winked, somehow.\n\n> Examine bar\nThe bar is one-and-a-half meters long. Its surface is glossy.\n\n> Exit\nA dark, metal-plated room. The ceiling ten meters above. The floor a matrix of ebony-colored tiles. A cave, you would call it. A cave of\nthe soul.\n\nA pod is ready, here, waiting for passengers.\n\nA dark, shiny sphere breathing slowly in the east side of the room,\nits thousand luminescent tentacles strangling reality and changing it at its will.\n\nThe Hyerotrope, the end of all life.\n\nHalf buried in the ground, its four dots are blinking in the dark.\n\n> You talk to LOGAN\nLOGAN://\"I am fascinated by the nature of the objects you call the Hyerotropes. What puzzles me most is the matter-transforming device they put into effect as soon as they settle somewhere.\"\n\n> You look at Hyerotrope\nThe Hyerotrope has sunk into the ground far more than the one you discovered in the depths of Monarch. A door is open on its side, half hidden by the floor but still enterable to the east. Four red dots\nline up above the opening, eyes you cannot inquire.\n\n> You examine the tentacles\ninto the floor and walls of the room. Its light is cyanotic and cold.\n\n> You show the bar to LOGAN\nLOGAN://\"This is a radioactive bar used as fuel for small ships.\"\n\n> You enter the pod\nYou get into the pod.\n\nLOGAN://\"Want me to speed you somewhere, Ektor Mastiff?\"\n\n> 29port\nLOGAN://\"Navigating!\"\n\nHangar, north (in the pod)\nThe place is a mess, but not as much as the south side. Crates and equipment pieces are scattered all around the floor, remains of a devastating incident. The hangar continues south, southwest and west.\n\n> You go outside\nYou get out of the pod.\n\nHangar, north\nThe place is a mess, but not as much as the south side. Crates and equipment pieces are scattered all around the floor, remains of a devastating incident. The hangar continues south, southwest and west.\n\nA sort of egg-like pod shines, through the debris, under a transparent tube coming off of the ceiling.\n\n> You go to the east\nThrough Belmont and Keller, other side of the gate\nThe tunnel runs east to west, into the docks of the ship.\n\nThe bars of the gate are lifted and now stick into the ceiling like a giant's teeth.\n\n> You go to the east\nSea, west of Brouguoise and back home in Capital Monarch, to all the people in town known as \"Belmont and Keller\", after the avenues it\nruns through. No cars, no traffic and no toll booth, but all the rest is here, replicated tile-by-tile.\n\nThe bars of the gate are lifted and now stick into the ceiling like a giant's teeth.\n\n> Go east\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the end of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> You talk to LOGAN\nLOGAN://\"This is the fore-hub of the rails. From here, you could\ntravel to a lot of destinations. Many are inaccessible at the moment, though, due to damage or decay of the lines.\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction, space, music, male protagonist, aliens]\n\n> You go to the east\n(first opening the bulky shutter)\nYou struggle with the shutter for a while, then understand it is too heavy to be operated by hand. Maybe the button on its side will do the job.\n\n> You go east\nA sort of warehouse, this large chamber is filled with cases and wiring, all inter-tangling like cerebrum synapses. Large tubes come\nand go from crates and pieces of machinery, scattered around randomly.\n\nA larger container -- three meters tall, two meters wide and deep -- seems to be left aside from the rest of the things littering the\nplace.\n\nLOGAN://\"This is a warehouse. In here, specimens are kept under cryogenic environment. The large container holds Specimen 6,725.\"\n\n> You ask LOGAN about the Specimen\nLOGAN://\"Specimen 6,725 is still alive in cryogenic life support. It\nis to be considered extremely dangerous and to be kept captive at any cost.\"\n\n> You go west\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter opens onto a freezing compartment. To the southwest is a dimly lit room, with strange machinery on the inside."
    },
    {
        "text": "[Themes: Science Fiction, music]\n\n> You talk to LOGAN\nLOGAN://\"This one is a living-specimen laboratory. Each case was once filled with bacteria or other alien lifeforms found along the\nArcadia's route.\"\n\n> Go south\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nLOGAN://\"Look at the stars, Ektor Mastiff. That enormous flare is the omega supernova. It is about to reach our ship. It's sad that\nthe most impressive force of nature is also so dangerous to all life species able to see it.\"\n\n> You examine the stars\nThe trinary system is no more. In its place, a flare, the size of\nwhich you can but imagine, is glowing and expanding. You can't tell\nfor sure, but you guess it will reach this place in less than a few hours.\n\n> You go northeast\nThe narrow corridor comes to a halt where it has been devoured by a large gaping hole, opening to the north under your feet. The hole continues up and to the southeast, from where it must have originated. A pair of now useless rails departs from here and fall into the darkness before you.\n\nLOGAN://\"This was another departing route for other sections of the ship. The damage rendered the place unusable.\"\n\n> You go upward\nA small room, no window, just a thin slot for air conditioning.\n\nThe north wall harbors a bulky keyboard, lit up by several buttons.\n\nLOGAN://\"I sense you already have been playing with the commands,\nEktor Mastiff. Nice job, on your behalf.\"\n\n> You talk to LOGAN\nLOGAN://\"This is a commanding cabinet for the bow section of the ship. Here you can operate the rails between stations, the Observatory bulkheads, and all of the ship main functions.\"\n\n> You ask LOGAN about the circle button\nLOGAN://\"I don't know what to say about that. Maybe you want to play a game, instead?\"\n\n> Examine slot\nIt's just a thin slot. A millimeter or so."
    },
    {
        "text": "> Keep going\nThe wagon departs!\n\nAfter a short while you find yourself in...\n\nCrossroads (on the lone wagon)\nThe tube opens into a crossed path. The rails cross a few meters\nahead, providing passages in all four cardinal directions.\n\nA signpost is hanging from the ceiling, a fluorescent symbol faintly glowing in the dark. The symbol is now plus-shaped.\n\nOn the lone wagon you can see a rusty console.\n\nThe wagon departs!\n\nAfter a short while you find yourself in...\n\nSecond Station (on the lone wagon)\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nOn the lone wagon you can see a rusty console.\n\n> You go to the north\nA hexagonal room, lined in plaster and steel, with six doors opening into six more locations. Three of them look dead, while the others\nglow or flicker to different rhythms. To the south is the dark tunnel leading to the railway station; to the northwest and north the functioning exits.\n\nLOGAN://\"You can recognize the Commanders' area by the unique shape of the rooms. Most are six-sided, like this one. Due to the power\nleakage, some of the doors have rested shut for so much time\nthey are now useless. You can take the two still working to gain\naccess to the Commanders' Quarters, to the north, or the Forebridge,\nto the northwest.\"\n\n> You talk to LOGAN\nLOGAN://\"The many broken doors lead to the crew quarters. I suspect there is still someone trapped in there. Of course, no more living.\"\n\n> You go to the north\nThe plaster door opens as you get near it and closes after you.\n\nAnother hexagonal room, this time with just one exit, leading south through a plaster door. The room is exceptionally blank, as a sort of minimalistic museum.\n\nIn the center of the room, a six-sided glass table takes most of the space. The surface is crystal-clean, a mocking at the passing of time.\n\nLOGAN://\"This has been a much livelier place, back in time. The\ntable in the center of the quarters is a holographic projector. It was used by the crew to gaze at the stars, both for leisure and for\nstudy.\"\n\n> You ask LOGAN about the table\nLOGAN://\"I don't understand, Ektor Mastiff.\"\n\n[Hard time interacting with LOGAN? Remember you can TALK to him in rooms for comments on the environment. You can SHOW things to him or ASK him ABOUT subjects. Also, the formal \"LOGAN, \" is usually\nbest to get explanations on the words he says in bold type.]\n\n> You talk to LOGAN\nLOGAN://\"You are the last commander of this ship, Ektor Mastiff. You may want to act like one. If I can I will try and help you in fulfilling your goals.\"\n\n> You ask LOGAN about the projector\nLOGAN://\"I don't know what to say about that. Maybe you want to play a game, instead?\"\n\n> You turn on the table\nLOGAN://\"That is not linked to my sub-routines. I cannot comply.\"\n\n> Go south\nA hexagonal room, lined in plaster and steel, with six doors opening into six more locations. Three of them look dead, while the others\nglow or flicker to different rhythms. To the south is the dark tunnel leading to the railway station; to the northwest and north the functioning exits.\n\n> You go south\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the end of the ramp.\n\nOn the lone wagon is a rusty console.\n\n> You go to the north-east\nThis six-sided room reminds you of the chess training grounds in which you used to spend your spare time during your first years in Brouguoise, before they hired you at the University of Monarch: The size, roughly the same; the white, featureless walls -- a sort of dramatic fashion of the times in which the Campus was built; the\nplain, cold light that fills the place. But most of all, what strikes you as a perfect mimic is the object filling the center of the room.\n\nTwo men, seated and facing each other, play a game around a six-sided table, in an everlasting match.\n\n> Go north\nA six-sided room. Each wall is covered in a myriad of tiny bulbs, each one the size of a bee's eye. Most of the lights are on, drawing patterns and ungraspable designs. On the east wall, a ten-by-twenty centimeter spot just below a small viewscreen bears a series of five symbols, printed in an obscure, alien language. The room is then\nempty, except for a large cubic device placed against its northern wall.\n\nThe hologram on the device shows -- unmistakably -- a Hyerotrope.\n\nOn the large cubic device is a golden disc.\n\n> You go northwest\nAn hexagonal chamber, this time rather larger than the previous ones.\nA set of lounge chairs dots the place, each of the seats resting empty in front of a terminal. To the north, a four-by-two-meter screen\nalmost entirely covers the wall. This is probably the main bridge of the ship.\n\nLOGAN://\"To engage the self-destruction sequence you have to\nactivate the emergency measures at console 21b. Let me show it to\nyou.\"\n\nA second later, a terminal comes out from one of the desks.\n\n> You examine terminal\n(the emergency measures terminal)\nThe console is made of a lot of senseless keys and symbols. One larger button is glowing green.\n\nLOGAN://\"If you find any difficulties engaging the right\nsequence, ask me and I will help produce it for you.\"\n\n> You check what you're carrying\nYou're carrying a golden disc, a translucid bar and an useless railway ticket. You are wearing a white jumpsuit and some clothes.\n\n> You show the disc to LOGAN\nLOGAN://\"Part of your race's history is coded in that disc. I found\nthe music and the natural sounds... quite inspiring. Yours must have been a very interesting planet to inhabit.\"\n\n> You ask LOGAN about the sequence\nLOGAN://\"Oh, yes, of course. You don't understand Neulanean. Let me trigger the sequence for you. When I'm done, simply press the large, green button to engage it.\"\n\nAll of a sudden, the big screen on the wall turns to life, and a\nseries of mysterious symbols start filling it. After a while, the symbols are replaced by the blueprint of the Arcadia.\n\n> You examine the blueprint\nThe Arcadia is showing itself on the big screen. A set of tiny dots stipples the blueprint following an invisible line that cuts the ship in two.\n\npart of the blueprint. It looks like a hundred-legged spider. When you understand what it is -- and the proportions with the rest of the ship -- you gasp.\n\n\"That's the train station,\" you whisper, prompting a comment from LOGAN.\n\nLOGAN://\"Quite big, right, Ektor Mastiff?\"\n\n> You ask LOGAN about the big\nLOGAN://\"The starship Arcadia is six-hundred-twenty-five kilometers long and two-hundred-ninety across. That's the largest size a\nNeulanean ship has ever been. Unfortunately that record will never be broken.\"\n\n[You have earned the A Matter of Size achievement]\n\n> Introduction to Andromeda Apocalypse\nInstructions for Play\nSpecial commands\nIncluded in the game's package\nCredits\nMore Credits\nMea Culpas\nWhat are the Hyerotropes?\nWho is Ektor Mastiff?\nAchievements\nWalkthrough\n\n> Achievements\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    (You have seen the dark side of the\nsky)\nThe Leaper    (You have jumped through the void)\nInvisible Killer    ( -???- )\nThe Dweller    (You have reached the bottom)\nTo Shed a Light    (You have turned the lights on)\nTicketless Ride    (You have taken the train)\nThe Fisher    (You have seen the fish)\nThe X Marks the Spot    (You have crossed over)\nPlay It Again, Ektor    (You have played a record)\nCommunication Breakdown    (You know how to have people\nlisten to you)\nA Matter of Time    (You know how old is the Arcadia)\nA Matter of Size    (You know how big is the Arcadia)\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    (You took a cab)\nTo Be a Scientist    (You found your calling)\nSinking the Ship    ( -???- )\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )\n\n> You ask LOGAN about core\nLOGAN://\"The self-destruction is triggered by a chain reaction\nstarting from the bow section of the ship, under the Observatory. There, in a secluded environment, are stored and wired radioactive\nbars of the kind used for fueling small and medium ships. Due to the extreme long confinement of the Arcadia, the bars must have\nbeen depleted. I suggest you go and find new bars to replace the depleted ones.\"\n\n> Continue\nThe wagon departs!\n\nAfter a short while you find yourself in...\n\nCrossroads (on the lone wagon)\nThe tube opens into a crossed path. The rails cross a few meters\nahead, providing passages in all four cardinal directions.\n\nA signpost is hanging from the ceiling, a fluorescent symbol faintly glowing in the dark. The symbol is now plus-shaped.\n\nOn the lone wagon you can see a rusty console.\n\nThe wagon departs!\n\nAfter a short while you find yourself in...\n\nTrain Station (on the lone wagon)\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nOn the lone wagon you can see a rusty console.\n\n> You ask LOGAN about core\nLOGAN://\"The self-destruction is triggered by a chain reaction\nstarting from the bow section of the ship, under the Observatory. There, in a secluded environment, are stored and wired radioactive\nbars of the kind used for fueling small and medium ships. Due to the extreme long confinement of the Arcadia, the bars must have\nbeen depleted. I suggest you go and find new bars to replace the depleted ones.\"\n\n> Search seats\nNo one has been littering this place for quite some time.\n\n> You examine the keyboard\nThe mixer is powered. On it, among the many cryptic buttons, three\nhave symbols that you can comprehend. On the first is a star, on the second a plus symbol, on the last a circle.\n\n> You put the bar in the slot\nNothing would fit. Almost nothing.\n\n> You put the ticket in the slot\nThe ticket fits... and it's sucked inside!\n\n> Achievements\nAchievements for Andromeda Apocalypse:\n\nA Hell of a Storm    (You watched the sky turn dark)\nA Dark Omen    (You have seen the dark side of the\nsky)\nThe Leaper    (You have jumped through the void)\nInvisible Killer    ( -???- )\nThe Dweller    (You have reached the bottom)\nTo Shed a Light    (You have turned the lights on)\nTicketless Ride    (You have taken the train)\nThe Fisher    (You have seen the fish)\nThe X Marks the Spot    (You have crossed over)\nPlay It Again, Ektor    (You have played a record)\nCommunication Breakdown    (You know how to have people\nlisten to you)\nA Matter of Time    (You know how old is the Arcadia)\nA Matter of Size    (You know how big is the Arcadia)\nArchaeologist    ( -???- )\nCuboctahedron    ( -???- )\nFlying the Egg    (You took a cab)\nTo Be a Scientist    (You found your calling)\nSinking the Ship    (You started the last journey)\nThe Shining    ( -???- )\nHellen Ripley    ( -???- )\nIndiana Jones    ( -???- )\nSurvivor    ( -???- )\nGettare Rinors    ( -???- )"
    },
    {
        "text": "[Themes: Science Fiction, science fiction, music]\n\n> You go down\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nThe dome itself looks more shiny. Through it the warmth of the supernova reaches the interior of the room with great strength. You\ncan feel the warmth reaching inside the jumpsuit.\n\nThe supernova flare starts heating the bar."
    },
    {
        "text": "> Go downward\nAt least fifty meters wide, this semi-circular room must have been the observatory lounge for the inhabitants' spare time. A set of tables\nand seats form a theater of sorts, for tonight's show of the universe. A glass dome, covering all the south side of the room and part of the ceiling, is open to the stars. The high corridor is to the northwest, while a second, tighter tunnel departs from the northeast. In the northern wall, a metal ladder heads up into an opening.\n\nA segment of the dome has been retracted. Through it the supernova looks far brighter. The intense light is just barely suffocated by the jumpsuit's dark sunshade.\n\nThe dome itself looks more shiny. Through it the warmth of the supernova reaches the interior of the room with great strength. You\ncan feel the warmth reaching inside the jumpsuit.\n\nThe supernova radiation starts powering the bar.\n\nThe supernova flare starts heating the bar.\n\nAfter a few seconds, the immense power of the devouring supernova charges the bar to its full potential.\n\n[You have earned the The Shining achievement]\n\n> Examine bar\n(the charged bar)\nThe bar is one-and-a-half meters long. It is glowing and radiating intense heat.\n\n> You show the bar to LOGAN\n(the charged bar to LOGAN)\nLOGAN://\"You are lucky you wear one of the suits, Ektor Mastiff. The radiation is so intense it is disrupting some of my sensors.\"\n\n> You go to the north-east\nThe narrow corridor comes to a halt where it has been devoured by a large gaping hole, opening to the north under your feet. The hole continues up and to the southeast, from where it must have originated. A pair of now useless rails departs from here and fall into the darkness before you.\n\nLOGAN://\"The chamber you seek is right below this point. You can try and go down from here. Just be extremely careful.\"\n\n> You look at the hole\nThe hole has been dug by something, quite big, punching through the metal boundaries of the structure you are in. Below, it plunges into darkness. Above, a hundred meters away, it opens into the emptiness of space."
    },
    {
        "text": "[Themes: Science Fiction, strong NPCs]\n\n> Go downward\nThe tunnel dug through torn metal and broken laminas opens after a while into a sort of alcove.\n\nHidden under layers of lead and plastics, this cubic room seems to be\na vault for protecting some highly valuable equipment. The only exit\nis via a rip above your head: There's no sign of another door and you puzzle at how one could have entered the place before the ravagings of time opened a way.\n\nNear the rip that cuts through the room, a double y-shaped holder has been pierced through by some unknown object. Although the holder\nitself has survived the crash: the same cannot be said of the bar that once rested on it, now reduced to mere powder.\n\nLOGAN://\"It seems that the object that has pierced the hull in this section of the ship has done its share of damage to the radioactive bars of the self-destruction engine. It seems you have to find an adequate substitute to power the sequence.\"\n\n> You insert the bar in the holder\n(the charged bar in the bars holder)\nYou start putting the charged bar on the holder... but then hesitate. There is something, in Andy's words, that's still ringing in your\nears.\n\nIf I trigger the sequence, you murmur, the AI will be\ndestroyed along with the ship.\n\nLOGAN://\"What are you waiting for, Ektor Mastiff? There is not much time left. The supernova is now less than half an hour from the Arcadia.\"\n\n\"Tell me, LOGAN: How did your crew store their... memories? The story of your galaxy?\"\n\nLOGAN://\"The bulk of Neulanean knowledge complexity is recorded in a compartment in bridge 3, level 4, starboard section, if that is what you mean. Unfortunately, the place is unreachable from here. Why are you asking, if I can inquire?\"\n\n\"Fact is, my friend, that if I decide to blow up this ship, those memories... and yours also, will be lost forever. I don't know if I want the hand that pushes the button to be mine.\"\n\nLOGAN://\"Oh, this is a nice consideration, on your behalf, but I don't see how your choice could change the outcome. The supernova is almost here and there is no one left in the galaxy to save us.\"\n\n\"That's fine, but... I don't know. Pulling the trigger: Wouldn't it mean they have won? The Hyerotropes, I mean. The fact that they are going seek-and-destroy on us and in the end we decide to sacrifice ourselves -- our heritage -- to them... Isn't it like surrendering?\"\n\nThere is a minute of silence, then the friendly machine speaks again:\n\nLOGAN://\"I think you are rather miscalculating the situation, here, Ektor Mastiff. What makes you believe the objects you call the Hyerotropes are after you or any other being in the galaxy? Evidence suggests that the scope of the events triggered by them is not even comparable to the life-span of your -- or Neulanean's -- entire history. They seem to be invoking forces to mould masses of galaxies. Although I'm not programmed to make hypotheses, I can suppose they don't even calculate life as something worthy of their\nattention.\"\n\nYou pause. The bar in your hands starts growing dim.\n\n\"But they did disintegrate at least three inhabited\ngalaxies.\" You think about Uncle Oren's last words. \"If not life, what is it they are after?\"\n\nLOGAN://\"That I cannot answer. What I understand, though, is that you are giving us more account than we deserve. The universe is fifteen billion years old. We are just a whisper in a crowded gathering. The universe will survive. It will outlive us and maybe the Hyerotropes, too.\"\n\n\"But,\" you insist, \"why did they spare me? Why did they save\nme, if I'm not that important?\"\n\nLOGAN://\"Because it is polite, isn't it, Ektor Mastiff?\"\n\nYou stare at the vacuum and take your decision. As you drop the\ncharged bar in place, a vigorous alarm starts ringing. It is so strong you have to clog your ears. After about ten seconds, the alarm goes silent and everything becomes dark and cold.\n\nLOGAN://\"To trigger the self-destruct sequence, I had to remove power from every other remaining facility. I kept the railways functioning for you to get back to the Hyerotrope. The ELSS is down, so don't remove your suit at any cost. You have 40 minutes left before the Arcadia will blast. Good luck, Ektor Mastiff.\"\n\n> Go upwards\nThe narrow corridor comes to a halt where it has been devoured by a large gaping hole, opening to the north under your feet. The hole continues up and to the southeast, from where it must have originated. A pair of now useless rails departs from here and fall into the darkness before you.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have thirty-nine minutes to leave the ship!\"\n\n> You go to the northwest\nThe bigger tunnel in which you stand is a replica of the lower ones, starting southwest of here. Same environment, except for different proportions. The ceiling is at least ten meters above you, and the wormhole is equally wide. To the south, it clogs into a strange valve, like an intestine curtain of steel. To the east and northeast, two glass paneled doors open into similar, sterile rooms. The high\ncorridor continues to the north.\n\nAs you pass through the big valve, it closes after you. Something\ntells you there's no turning back, at this point.\n\n> Go north\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have\nthirty-six minutes to leave the ship!\"\n\n> You go north\nLight in here gets dimmer, as the only source is several meters up ahead, on the distant ceiling. In front of you, a ramp runs into several tunnels, each lined by railways. Many of the holes are shuttered by heavy bulkheads, while others lead into darkness, way out of reach. On the opposite side, the circular room enters the high corridor to the south.\n\nA deformed monstrosity is snarling in front of you. You can see its eye, its venomous, thousand-toothed mouth. You can see its hunger. As you move a step, it becomes aware of you and picks up your scent.\n\nYou had better hurry.\n\nA lone wagon, an open boat hanging over rails, sits undamaged at the beginning of the ramp.\n\nOn the lone wagon is a rusty console.\n\nLOGAN://\"Oh dear. It seems that dropping the main power has released our other only guest. Find sanctuary, Ektor Mastiff. That thing looks famished.\"\n\n> You go south\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\nThe thousand-toothed nightmare arrives from the north.\n\n> You go to the south\nThe bigger tunnel in which you stand is a replica of the lower ones, starting southwest of here. Same environment, except for different proportions. The ceiling is at least ten meters above you, and the wormhole is equally wide. To the south, it clogs into a strange valve, like an intestine curtain of steel. To the east and northeast, two glass paneled doors open into similar, sterile rooms. The high\ncorridor continues to the north.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have thirty-three minutes to leave the ship!\"\n\nThe creature arrives from the north.\n\n> Go east\nA sterile room, every wall filled by glass cases of the same size and shape. It opens west through a glass paneled door.\n\nThe thousand-toothed nightmare arrives from the west.\n\n> Open case\nYou pull the handle then release it. The small door closes back pneumatically in a few seconds.\n\nSomething strange happens.\n\nA faint... wind caresses your right arm as the case closes. It feels like someone is breathing in your ears with levity. A sort of... buzzing can be heard around you.\n\nIt could easily have been your imagination.\n\nThe creature roars with anger. You can feel its hunger growing.\n\nThe creature snarls at you, its thousand-toothed mouth the sole plausible exit from this decaying world. Then, something happens. Its mouth begins filling with blood and before you can understand what is happening, the hulk is devoured by a billion tiny insects.\n\nA hiss follows the invisible killer as it abandons the room, leaving you unscarred.\n\n[You have earned the Hellen Ripley achievement]\n\n> Go west\nThe bigger tunnel in which you stand is a replica of the lower ones, starting southwest of here. Same environment, except for different proportions. The ceiling is at least ten meters above you, and the wormhole is equally wide. To the south, it clogs into a strange valve, like an intestine curtain of steel. To the east and northeast, two glass paneled doors open into similar, sterile rooms. The high\ncorridor continues to the north.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have thirty minutes to leave the ship!\"\n\n> You go north\nThe steel wormhole continues north into a wide chamber, and runs south into its next section. Lights flicker dimly. To the east, a bulky shutter stands closed. To the southwest is a dimly lit room, with strange machinery on the inside.\n\n> You enter the wagon\nYou get onto the lone wagon.\n\nOn the lone wagon you can see a rusty console.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have twenty-seven minutes to leave the ship!\"\n\n> Go north\n(first getting off the lone wagon)\nYou can't go that way.\n\n> Keep going\nThe wagon departs!\n\nAfter a short while you find yourself in...\n\nSecond Station (on the lone wagon)\nIn here rails depart into several holes that plunge into darkness. A set of secondary tunnels leaves from the north and northeast while, to the west, a much larger highway is lit by a strong flashing strobe.\n\nOn the lone wagon you can see a rusty console.\n\n> You go west\nThrough Belmont and Keller, other side of the gate\nThe tunnel runs east to west, into the docks of the ship.\n\nThe bars of the gate are lifted and now stick into the ceiling like a giant's teeth.\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have\ntwenty-one minutes to leave the ship!\"\n\n> You enter the pod\nYou get into the pod.\n\nLOGAN://\"Destination?\"\n\nLOGAN://\"Warning! Self-destruct sequence activated. You have eighteen minutes to leave the ship!\"\n\n> 71port\nLOGAN://\"Navigating!\"\n\nThe Reliquary (in the pod)\nA dark, metal-plated room. The ceiling ten meters above. The floor a matrix of ebony-colored tiles. A cave, you would call it. A cave of\nthe soul.\n\nA dark, shiny sphere breathing slowly in the east side of the room,\nits thousand luminescent tentacles strangling reality and changing it at its will.\n\nThe Hyerotrope, the end of all life.\n\nHalf buried in the ground, its four dots are blinking in the dark.\n\n> Go outside\nYou get out of the pod.\n\nA dark, metal-plated room. The ceiling ten meters above. The floor a matrix of ebony-colored tiles. A cave, you would call it. A cave of\nthe soul.\n\nA pod is ready, here, waiting for passengers.\n\nA dark, shiny sphere breathing slowly in the east side of the room,\nits thousand luminescent tentacles strangling reality and changing it at its will.\n\nThe Hyerotrope, the end of all life.\n\nHalf buried in the ground, its four dots are blinking in the dark.\n\n> Go east\nYou take a last glance at the Arcadia and turn to face your nemesis.\n\nWhat are you? Friend? Foe? Or is this computer right, you just\ndon't care?\n\nLOGAN://\"The supernova is about to reach the ship, Ektor Mastiff. I suggest you hurry up.\"\n\n\"Goodbye, LOGAN,\" you frown. \"And thank you for helping me out.\"\n\nLOGAN://\"It has been a pleasure, more than a duty. Talking to someone was interesting, after all this time alone. Have a good trip... and don't forget to write!\"\n\nYou take one last, deep breath, then jump into the welcoming Hyerotrope. You wonder where it will take you and puzzle at how your story will go on.\n\nWhat you are sure of, though, is that it will be a hell of a ride.\n\n\n\nThe Monarch system is shrinking. It is now just a tiny dot, glaring\nand glittering in the emptiness of space.\n\nThey told you there were more, out there: other planets, other civilizations, other galaxies. They couldn't tell, though, how much deep space divides one from the other. How much time.\n\nYou are distracted by a dark spot, in the emptiness of your voyage, lingering beyond the boundaries of Andromeda. What is it? you\npuzzle. Then, a blinding explosion suffocates your sight. A hundred sequential blasts paint the dark shape red, then yellow, then white. And all of a sudden, the sky is black again.\n\nThere is just that... small round object, running from the explosion like a speeding bullet.\n\nCould it be that...?\n\n\"We are reaching our destination,\" the old man says. \"Brace yourself, 'cause this is goin' to be strong.\"\n\nThe dark, silent presence turns and you can finally see its eyes looking at you.\n\nStaring. Like the four red eyes of a devil.\n\n[You have earned the Survivor achievement]"
    },
    {
        "text": "[Themes: Time Travel, laboratory setting, time travel, female protagonist, science fiction]\n\nYou're in.\n\nThe plan now is simple: go to your lab, plant the bomb, and run. The prototype will be destroyed. The military will have no way to continue the experiment. No-one will die.\n\nThe guard is out securing the grounds. The building is empty. You have six minutes.\n\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\n[Author's Note: A short piece of interactive fiction, leaning strongly towards the text-adventure end of the spectrum. Explores an all-too-familiar science fiction paradigm in what I hope is a rather refreshing and satisfying manner. However, due to the intrinsic nature of its subject matter, it is more cruel than one might hope for a modern piece of interactive fiction. In particular, any move you make may put things into an unwinnable state.]"
    },
    {
        "text": "> You look at the desk\nA large black desk equipped with four CCTV screens showing live feeds from around the complex. There are also four buttons, labeled 'basement', 'first', 'second' and 'alarm'.\n\n> You check your inventory\nYou are carrying:\na bright steel key\nan ID card\na timed explosive device\n\n> You look at the ithe d.\nNatalie Williams.\nDeutsch Lab.\nDoctoral Student, MIT\n\nOn the right is a familiar photo of you, back when you wore your hair long. A black magnetic stripe runs the width of the reverse.\n\n> About yourself\nDark hair frames a warm face. Despite the anxiety written now in your tense brow, the confidence of youth and vibrancy of intellect are clear. There is a depth in your clear green eyes.\n\n> Press basement\nNothing obvious happens.\n\n> You examine the screens\nThese screens flash images from the corridors and grounds of the complex.\n\n> You examine explosive\nA length of steel pipe filled with powder and fused with a digital timer. Not your most elegant piece of work, but it will hopefully do the job.\n\n> Y.\nYou're in.\n\nThe plan now is simple: go to your lab, plant the bomb, and run. The prototype will be destroyed. The military will have no way to continue the experiment. No-one will die.\n\nThe guard is out securing the grounds. The building is empty. You have six minutes.\n\nA second, more difficult, version will be released after the competition closes.\n\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\n> You look at the door\nA plate glass sliding door, through which you can see a dim corridor. On the right hand side is a slot for an ID card.\n\n> Press alarm\nA piercing siren rings out.\n\n> You put the id in the slot\nThe slot emits a small beep and your card is rejected.\n\n> You examine the card\nNatalie Williams.\nDeutsch Lab.\nDoctoral Student, MIT\n\nOn the right is a familiar photo of you, back when you wore your hair long. A black magnetic stripe runs the width of the reverse.\n\n> You examine the screens\nThese screens flash images from the corridors and grounds of the complex."
    },
    {
        "text": "[Themes: Time Travel, time travel]\n\n> You go downwards\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is a closed automatic door.\n\n> Up\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\n> Down\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is an open automatic door.\nThe automatic door softly slides closed.\n\n> You go north\n(first inserting your ID card)\nYou swipe your card through the slot, and hold your breath.\nThe door slides open with a soft rattle.\nPerfect. Just as you'd hoped. The bastards hadn't even thought to disable your card.\n\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end a fourth door leads to the Deutsch lab.\n\nTo the south is an open automatic door, leading back to the landing. The automatic door softly slides closed.\n\n> You examine the doors\nThere are three doors on the eastern wall of the corridor, the first two (to the south-east and east) lead to the Bostrom and Wallace labs. The third (to the north-east) leads to a small equipment room. At the north end is the door to the Deutsch lab. To the south, the plate glass automatic door to the landing stands closed.\n\n> Go north\n(first opening the door to the Deutsch lab)\n(first unlocking the door to the Deutsch lab)\n\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Frozen exactly as they were when badges were flashed, when we looked on in disbelief as they took control of the lab. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. The door has been taken off and is nowhere to be seen. They have been working on it too. You wince at the sight.\n\nTo the south, the door to the lab lies open.\n\nYou can see a battery, a flashlight (which is empty) and a worn brass key here.\n\n> You take all\nbattery: Taken.\nflashlight: Taken.\nworn brass key: Taken.\ndoor to the Deutsch lab: The door to the Deutsch lab is locked in place.\nyour bench: your bench is too heavy for that.\n\n> You put the battery in the flashlight\nYou put the battery into the flashlight.\n\n> You look at the cylinder\nYou had built the prototype to get a strong negative result, to show that the standard model of Quantum Mechanics led to demonstrably false claims involving reverse causation. You were mistaken. One by one, your experiments showed your preliminary calculations to have been correct. When the military removed you from your project, only one aspect remained untested  -- an aspect you had been loath to test before you could predict the results -- inconsistent observation.\n\nWhat would happen if anomalies were observed by those in the original time-line? Your prior experiments had heavily shielded the prototype from outside interaction to avoid the very possibility. And as the calculations came out time and again, that is the only reason you are alive today. When an observer in the original time-line has an anomolous observation, the wave function of the temporally relocated object collapses and the relocation retrospectively fails, preserving chronological consistency. There is just one side effect: total transformation of the object's mass into a burst of photons -- pure energy.\n\nYou tried to tell them over and again. They assumed you were merely jealous of the takeover. Now, the night before their scheduled 'first main experiment', you have come to put an end to it all. To destroy your prototype and avoid tomorrow's nightmare.\n\nThe prototype itself a six foot tall, four foot wide cylinder, clad with brushed steel. The frame and door were fitted with quantum shielding to prevent decoherence of the wave function, but now the door has been removed and any use of the machine is potentially disastrous.\n\nOn close inspection, it appears that an attempt is in progress to move the control panel so that it can be operated from the inside. As it is, the protoype is currently not functioning, but you think you could probably complete the modification within a minute or two.\n\n> You look at the books\nA few texts on Quantum Mechanics and String Theory that have served you very well.\n\n> You examine papers\nA collection of photocopied journal papers that you had been reading a few weeks ago.\n\nYou suddenly notice that your research notes are not here. You were sure they would be -- and would thus be destroyed in the blast. This is bad. Very bad.\n\n> You enter the prototype\nThe interior of the prototype is cramped and dark. On the wall you can see the half-installed control panel. Through the open hatch you can see some of the Deutsch lab.\n\n> You look at the panel\nA brushed steel control panel with a blue LED timer, set to 0 seconds, and a shiny silver button.\n\n> You set the timer to 15\n(the timed explosive device to that)\nTime until detonation: 15 seconds.\n(you probably don't want to be carrying the device when that occurs...)\n\n> You examine the timer\n(the timed explosive device)\nA length of steel pipe filled with powder and fused with a digital timer. Not your most elegant piece of work, but it will hopefully do the job.\n\n> Complete modifications\nAfter a few moments, you realise that completing the modification will require a ribbon cable to connect the components. You know the type of cable well, but don't have any in the lab right now. Still, the equipment room in the corridor should have one.\n\n> Go outside\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab lies open.\n\n> You go south\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is a closed automatic door, leading back to the landing.\n\n> You look at the doors\nThere are three doors on the eastern wall of the corridor, the first two (to the south-east and east) lead to the Bostrom and Wallace labs. The third (to the north-east) leads to a small equipment room. At the north end is the open door to the Deutsch lab. To the south, the plate glass automatic door to the landing stands closed.\n\n> Go northeast\n(first opening the door to the equipment room)\n(first unlocking the door to the equipment room)\n\nIt is almost completely dark. Some faint light spills in from the west through the open door, allowing you to just discern the outlines of a series of shelves. By the door is a light switch.\n\n> You turn on the light\nThe fluorescent lights flicker hopefully, strobing rapidly across the scattered equipment. Then darkness. Nothing but a few fleeting after-images of the cluttered room.\n\n> You turn on the flashlight\nThe switch clicks, but no light is forthcoming. It looks as if you will need two batteries.\n\n> You check what you're carrying\nYou are carrying:\na worn brass key\na flashlight\na battery\na bright steel key\nan ID card\na timed explosive device\n\n> Leave\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is open onto an equipment room.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is a closed automatic door, leading back to the landing.\n\n> You open door\n(the automatic door)\n(pressing the green exit button)\nThe door slides open with a soft rattle.\n\n> You open Bostrom\nIt seems to be locked.\nThe automatic door softly slides closed.\n\n> You examine the brass key\nA well worn brass key. It opens the various equipment rooms in the complex.\n\n> You examine the steel key\nA bright steel key. It unlocks the door to the Deutsch lab.\n\n> Go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is an open automatic door.\nThe automatic door softly slides closed.\n\n> Up\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\n> Go up\nA small landing, hanging in the still darkness above the foyer.\n\nOn the north wall lies a closed automatic door.\n\n> Up\nA small landing, hanging in the still darkness above the foyer.\n\nOn the north wall lies an open automatic door.\nThe automatic door softly slides closed.\n\n> You put the card in slot\nThe slot emits a small beep and your card is rejected.\n\n> You check what you're carrying\nYou are carrying:\na worn brass key\na flashlight\na battery\na bright steel key\nan ID card\na timed explosive device\n\n> Press first\nThe door slides open with a soft rattle.\n\n> You go to the north\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nTo the south is an open automatic door, leading back to the foyer.\nThe automatic door softly slides closed.\n\n> You look at the doors\nThere are three doors on the eastern wall of the corridor, the first two (to the south-east and east) lead to the Saunders and Pooley labs. The third (to the north-east) leads to a small equipment room. To the south, the plate glass automatic door to the foyer stands closed.\n\nA quick noise from behind, then a strong grip on your wrist. The guard is back -- time has slipped away from you.\n\nDeaf to your protests, the guard handcuffs you and forces you into a dark sedan. You speed through the chill Boston night, head held in your hands, almost oblivious to the blur of the suburbs rushing past.\n\nHalf an hour later, the car pulls up outside a non-descript building and you are dragged inside then thrown into a small cell to await questioning.\n\n> You examine the doors\nThere are three doors on the eastern wall of the corridor, the first two (to the south-east and east) lead to the Saunders and Pooley labs. The third (to the north-east) leads to a small equipment room. To the south, the plate glass automatic door to the foyer stands closed.\n\n> You go to the north-east\n(first opening the door to the equipment room)\nTry as you might, none of your keys will unlock the door.\n\n> You open Saunders\nIt seems to be locked.\n\n> Go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is an open automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\nThe automatic door softly slides closed.\n\n> You go to the north\n(first pressing the button marked 'first')\nThe door slides open with a soft rattle.\n\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nTo the south is an open automatic door, leading back to the foyer.\nThe automatic door softly slides closed.\n\n> Unlock equipment room\nThe worn brass key turns smoothly in the lock.\n\n> You go northeast\n(first opening the door to the equipment room)\n\nIt is almost completely dark. Some faint light spills in from the west through the open door, allowing you to just discern the outlines of a series of shelves. By the door is a light switch.\n\n> You turn on the light\nThe lights come on after a brief flicker.\n\nBy the flickering fluorescent lights, you see the crowded shelves of the equipment room.\n\nTo the west, the door to the corridor lies open.\n\nYou can see a length of ribbon cable here.\n\n> You examine the cable\nA 10cm length of ribbon cable. It will do nicely.\n\n> You take the cable\nTaken.\n\n> You go outside\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is open onto an equipment room.\n\nTo the south is a closed automatic door, leading back to the foyer.\n\n> Go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is an open automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\nThe automatic door softly slides closed.\n\n> Down\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is a closed automatic door.\n\n> You go to the north\n(first inserting your ID card)\nThe door slides open with a soft rattle.\n\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is an open automatic door, leading back to the landing. The automatic door softly slides closed.\n\n> You fix the prototype\n(first entering the prototype)\n\nThe interior of the prototype is cramped and dark. On the wall you can see the half-installed control panel. Through the open hatch you can see some of the Deutsch lab.\n\nYou begin work completing the modifications...\nAfter a minute or so, you are done.\n\n> You enter the cylinder\nThe only exit is out to the Deutsch lab.\n\n> You set the panel to 15\nYou quickly type the number in to the control panel.\n\n> You press the button\nYou hold your breath and activate the prototype.\n\n> You press the button\nYou hold your breath and activate the prototype.\n\n> Go outside\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab stands closed.\n\nYou can see a battery, a flashlight (which is empty) and a worn brass key here.\n\n> Inventory\nYou are carrying:\na battery\na flashlight\na bright steel key\na worn brass key\nan ID card\na timed explosive device\n\n> You get key\n(the worn brass key)\nTaken.\n\n> You get the battery\n(the battery)\nTaken.\n\n> You go south\n(first opening the door to the Deutsch lab)\n(first unlocking the door to the Deutsch lab)\n\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is a closed automatic door, leading back to the landing.\n\n> Go northeast\n(first opening the door to the equipment room)\n(first unlocking the door to the equipment room)\n\nIt is almost completely dark. Some faint light spills in from the west through the open door, allowing you to just discern the outlines of a series of shelves. By the door is a light switch.\n\n> Inventory\nYou are carrying:\ntwo batteries\na flashlight\na bright steel key\na worn brass key\nan ID card\na timed explosive device\n\n> You put the batteries in the flashlight\nbattery: Done.\nbattery: Done.\n\n> You turn on the flashlight\nBy the thin blue-white beam of your flashlight, you see the crowded shelves of the equipment room.\n\nTo the west, the door to the corridor lies open.\n\nYou can see a crowbar here.\n\n> You get the crowbar\nTaken.\n\n> You wait\nTime passes.\n\n> You wait\nTime passes.\n\n> You close the door\nYou close the door to the equipment room.\n\n> Close deutsch\n(the door to the Deutsch lab)\nYou close the door to the Deutsch lab.\n\n> You go to the northeast\nBy the thin blue-white beam of your flashlight, you see the crowded shelves of the equipment room.\n\nTo the west, the door to the corridor lies open.\n\n> You close the door\nYou close the door to the equipment room.\n\n> You wait\nTime passes.\n\n> You set the panel to 300\nYou quickly type the number in to the control panel.\n\n> Lock deutsch\n(the door to the Deutsch lab)\nThe bright steel key turns smoothly in the lock.\n\n> Go northeast\n(first opening the door to the equipment room)\n(first unlocking the door to the equipment room)\n\nIt is almost completely dark. Some faint light spills in from the west through the open door, allowing you to just discern the outlines of a series of shelves. By the door is a light switch.\n\n> You close the door\nYou close the door to the equipment room.\n\n> You lock the door\nThe worn brass key turns smoothly in the lock.\n\n> You put the batteries in the flashlight\nbattery: Done.\nbattery: Done.\n\n> You turn on the flashlight\nBy the thin blue-white beam of your flashlight, you see the crowded shelves of the equipment room.\n\nTo the west, the door to the corridor stands closed.\n\nYou can see a crowbar here.\n\n> You wait\nTime passes.\n\n> You wait\nTime passes.\n\n> You set the panel to 900\nThe prototype's control panel only accepts between 1 and 400 seconds.\n\n> You open Bostrom with the crowbar\nYou swing the crowbar firmly into the door, but it barely leaves a mark.\n\n> You go north\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab lies open.\n\nYou can see a flashlight (which is empty) and a worn brass key here.\n\n> You get the battery\nAs you remove the battery, the light fails.\nTaken.\n\n> You drop the battery\n(the battery)\nDropped.\n\n> Go south\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is open onto an equipment room.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is a closed automatic door, leading back to the landing.\n\n> Close deutsch\n(the door to the Deutsch lab)\nYou close the door to the Deutsch lab.\n\n> You go northeast\nIt is almost completely dark. Some faint light spills in from the west through the open door, allowing you to just discern the outlines of a series of shelves. By the door is a light switch.\n\n> You take the battery\nYou already have that.\n\n> You turn on the flashlight\nThe switch clicks, but no light is forthcoming. Not surprising considering flashlights usually need batteries.\n\n> Lock equipment\n(the door to the equipment room)\n(first closing the door to the equipment room)\nThe worn brass key turns smoothly in the lock.\n\n> Lock deutsch\n(the door to the Deutsch lab)\n(first closing the door to the Deutsch lab)\nThe bright steel key turns smoothly in the lock."
    },
    {
        "text": "[Themes: Time Travel, science fiction, time travel]\n\n> Look around\nA small landing, hanging in the still darkness above the foyer.\n\nOn the north wall lies a closed automatic door.\nThe door slides open with a soft rattle.\n\n> Go north\nA long north-south corridor, much the same as those on the other floors. Three plain gray doors line the eastern wall.\n\nAt the north end of the corridor is a closed glass door leading out to the balcony.\n\nTo the south is an open automatic door, leading back to the landing. The automatic door softly slides closed.\n\n> Go north\n(first opening the balcony door)\n\nA wide balcony, looking out over the sleeping city. Below you, a lawn slopes gently away into the gloom, a few silhouetted trees marking the edge of the modest grounds. Above, the clear sky is a deep black, dusted with glinting stars.\n\nTo the south-east is a large, tinted glass window.\n\nTo the south, the door to the upstairs corridor lies open.\n\n> You break the window\nYou swing the crowbar firmly into the window and it shatters with a loud crash.\n\nA piercing siren rings out."
    },
    {
        "text": "[Themes: Time Travel, science fiction]\n\n> You look at your surroundings\nA wide balcony, looking out over the sleeping city. Below you, a lawn slopes gently away into the gloom, a few silhouetted trees marking the edge of the modest grounds. Above, the clear sky is a deep black, dusted with glinting stars.\n\nTo the south-east is a large, tinted glass window.\n\nTo the south, the door to the upstairs corridor lies open.\n\n> Go south\nA long north-south corridor, much the same as those on the other floors. Three plain gray doors line the eastern wall.\n\nAt the north end of the corridor is an open glass door leading out to the balcony.\n\nTo the south is a closed automatic door, leading back to the landing.\n\n> You examine the doors\nThere are three doors on the eastern wall of the corridor, the first two (to the south-east and east) lead to Dr Brown and Professor Butterield's offices. The third (to the north-east) leads to the conference room. At the north end is the open glass door to the balcony. To the south, the plate glass automatic door to the landing stands closed.\n\n> You open the butterfield\nIt seems to be locked.\n\nYou can't, since the door to the conference room is in the way.\n\n> You go to the northeast\nYou can't, since the door to the conference room is in the way.\nThe door slides open with a soft rattle."
    },
    {
        "text": "> You look around\nA long north-south corridor, much the same as those on the other floors. Three plain gray doors line the eastern wall.\n\nAt the north end of the corridor is an open glass door leading out to the balcony.\n\nTo the south is an open automatic door, leading back to the landing. The automatic door softly slides closed.\n\n> You go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nA small landing, hanging in the still darkness above the foyer.\n\nOn the north wall lies an open automatic door.\nThe automatic door softly slides closed.\n\n> Go north\nA wide balcony, looking out over the sleeping city. Below you, a lawn slopes gently away into the gloom, a few silhouetted trees marking the edge of the modest grounds. Above, the clear sky is a deep black, dusted with glinting stars.\n\nTo the south, the door to the upstairs corridor lies open.\n\nTo the south-east is a large, tinted glass window.\n\n> You break the window\nTime passes.\n\nYou swing the crowbar firmly into the window and it shatters with a loud crash.\n\nA piercing siren rings out.\n\n> You break the window\n[Previous turn undone.]\n\nTime passes.\n\nYou swing the crowbar firmly into the window and it shatters with a loud crash.\n\nA piercing siren rings out.\n\n> You enter the window\nA rather slick but soulless affair. A large table of dark polished wood takes pride of place and is surrounded by a half-dozen chairs.\n\nTo the north, lie the shattered remains of a window, opening into the starry night.\n\nOn the conference table is a collection of notes.\n\nThe siren wails.\n\n> You take the notes\nTaken.\n\nThe siren wails.\n\n> Go outside\nA wide balcony, looking out over the sleeping city. Below you, a lawn slopes gently away into the gloom, a few silhouetted trees marking the edge of the modest grounds. Above, the clear sky is a deep black, dusted with glinting stars.\n\nTo the south-east, lie the shattered remains of a window, opening into a murky conference room.\n\nTo the south, the door to the upstairs corridor lies open.\n\nThe siren wails.\n\n> Go south\nA long north-south corridor, much the same as those on the other floors. Three plain gray doors line the eastern wall.\n\nAt the north end of the corridor is an open glass door leading out to the balcony.\n\nTo the south is a closed automatic door, leading back to the landing.\n\nThe siren wails.\n\n> You go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nThe siren wails.\n\nA small landing, hanging in the still darkness above the foyer.\n\nOn the north wall lies an open automatic door.\n\nThe siren wails.\nThe automatic door softly slides closed."
    },
    {
        "text": "[Themes: Time Travel]\n\n> Go down\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\nThe siren wails.\n\n> You press the alarm button\nThe siren wails."
    },
    {
        "text": "[Themes: Time Travel, female protagonist]\n\n> Go downward\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is a closed automatic door.\n\nThe siren wails.\n\n> You go north\n(first inserting your ID card)\nThe door slides open with a soft rattle.\n\nThe siren wails.\n\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is an open automatic door, leading back to the landing.\n\nThe siren wails.\nThe automatic door softly slides closed.\n\n> Go north\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab lies open.\n\nThe siren wails.\n\n> You examine papers\nA collection of photocopied journal papers that you had been reading a few weeks ago.\n\nYou suddenly notice that your research notes are not here. You were sure they would be -- and would thus be destroyed in the blast. This is bad. Very bad.\n\nThe siren wails.\n\n> Inventory\nYou are carrying:\na collection of notes\na crowbar\na flashlight\na battery\na bright steel key\na worn brass key\nan ID card\na timed explosive device\n\nThe siren wails.\n\n> You look at the notes\nYour research notes. The hundred or so pages here comprise everything you have written so far. It would not be easy for someone else to turn the scribbles herein into another working prototype, but it may just be possible.\n\nThe siren wails.\n\n> You drop the notes\nDropped.\n\nThe siren wails.\n\n> You set the timer to 30\nTime until detonation: 30 seconds.\n(you probably don't want to be carrying the device when that occurs...)\n\nThe siren wails.\n\n> You set the timer to 30\nTime until detonation: 30 seconds.\n\nThe siren wails.\n\n> You go to the south\nA long north-south corridor, much the same as those on the other floors. Three gray doors line the eastern wall. The first two have small glass windows, peering into darkened laboratories. The third is plain. All three are closed.\n\nAt the north end is an open door leading to the Deutsch lab.\n\nTo the south is a closed automatic door, leading back to the landing.\n\nThe siren wails.\n\n> You go to the south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nAs the siren shrieks out around you, you catch a glimpse of movement. A sudden jolt, then you are wrestled to the ground. Security has arrived.\n\nThe bomb detonates. You are knocked to the floor by the force of the explosion and your ears ring. Stunned, you lie prone on the floor as the siren wails and the reek of smoke stings your nostrils.\n\nBefore you recover your senses, security is upon you.\n\nDeaf to your protests, the guard handcuffs you and forces you into a dark sedan. You speed through the chill Boston night, head held in your hands, almost oblivious to the blur of the suburbs rushing past.\n\nHalf an hour later, the car pulls up outside a non-descript building and you are dragged inside then thrown into a small cell to await questioning.\n\nThe months that follow are a nightmare. Solitary confinement, sleepless nights, merciless interrogations. Eventually, you are taken before a civillian court and tried for treason. A drawn-out trial, a guilty verdict, prison. Ambitions falter and then fade. Still, as the months and then years pass, they do not bring the disaster you had so feared and you cling, anxiously, longingly, to the dream that it was you who brought this about, that your sacrifice was not in vain.\n\n> You enter prototype\nThe interior of the prototype is cramped and dark. On the wall you see the control panel with a small LED timer set to 390 seconds, and a silver button. Through the open hatch you can see some of the Deutsch lab.\n\nThe siren wails.\n\n> You press the button\nYou hold your breath and activate the prototype."
    },
    {
        "text": "[Themes: Time Travel, female protagonist]\n\n> You look around\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab lies open.\n\nThe siren wails.\n\n> You set the panel to 60\nYou would have to enter the prototype to do that.\n\nThe siren wails.\n\n> You check what you're carrying\nYou are carrying:\na crowbar\na flashlight\na battery\na bright steel key\na worn brass key\nan ID card\n\nThe siren wails.\n\n> Inventory\nYou are carrying:\na crowbar\na flashlight\na battery\na bright steel key\na worn brass key\nan ID card\na timed explosive device\n\nThe siren wails.\n\n> You set the panel to 60\nYou quickly type the number in to the control panel.\n\nAs the siren shrieks out around you, you catch a glimpse of movement. A sudden jolt, then you are wrestled to the ground. Security has arrived.\n\nThe bomb detonates. A wall of force rips through the room with savage power, killing you immediately.\n\n> You set the panel to 60\nYou quickly type the number in to the control panel.\n\nThe siren wails.\n\n> You press the button\nYou hold your breath and activate the prototype.\n\nThe siren wails.\n\n> You go south\nThe only exit is out to the Deutsch lab.\n\nThe siren wails.\n\n> Up\nThe only exits are to the Deutsch lab (north) the three doors lining the corridor (south-east, east and north-east) and the automatic door back to the landing (south).\n\nThe siren wails.\n\n> You go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\n> You drop the device\nDropped.\n\nThe siren wails.\n\n> You set the timer to 30\nTime until detonation: 30 seconds.\n\nThe siren wails.\n\n> Go outside\nThe lab is order and chaos. By the dim blue-green light of a few swirling screen savers, you can see the cluttered benches of your colleagues, frozen in the mess of academic creativity. Yours however, is clean. The books and papers are in neat stacks. They have been working here.\n\nNearby, against the north wall is the prototype, a six foot cylinder of brushed steel cladding. They have been working on it too. The door has been taken off and is nowhere to be seen.\n\nTo the south, the door to the lab lies open.\n\nYou can see a timed explosive device here.\n\nAs the siren shrieks out around you, you catch a glimpse of movement. A sudden jolt, then you are wrestled to the ground. Security has arrived.\n\nThe bomb detonates. A wall of force rips through the room with savage power, killing you immediately.\n\n> You press the button\nYou hold your breath and activate the prototype.\n\nA piercing siren rings out.\n\n> Go south\n(first pressing the green exit button)\nThe door slides open with a soft rattle.\n\nThe siren wails.\n\nA cramped space at the bottom of the stairs. A corridor can be seen to the north through the automatic door, and the stairs lead back up to the foyer.\n\nTo the north is an open automatic door.\n\nThe siren wails.\nThe automatic door softly slides closed.\n\n> Go upward\nA darkened foyer, presided over by a security desk near the north wall. Floating above it in the capacious darkness is a small landing. A set of stairs both rises up to meet it and stretches downwards into the dark.\n\nIn the north wall is a closed automatic door.\n\nTo the south is a set of automatic doors leading out into the inky night.\n\nThe siren wails.\n\n> You go south\n(first pressing the green exit button)\nThe main doors open onto the night.\n\nThe siren wails.\n\nYou slip out into the night, darting quickly through the Cambridge shadows until you reach the quiet corner where you left your car. Exhausted, you gently start the cold motor and roll off towards the interstate.\n\nDays, months, years run by. You find a new name, a new life. Fresh challenges are gladly met and life proceeds with full force in its new and welcome direction. Only now and then do you stop on a chill starry night and wonder whether you were right, what really would have happened."
    },
    {
        "text": "[Themes: family, dog, Australian, birthday, sidekick NPC, multiple protagonists, child protagonist, witch, kid-friendly, garden, cute, siblings, twins, female protagonist, kids, children, music]\n\nYour name is Harriet Leitner, it's the January summer school holidays and today has been a great day.\n\nYou turned six this morning! And so did your twin sister, Demi. While Demi is your twin, she is not one of those twins who looks the same as you. Mum has explained that that's because you and your sister are something called fraternal twins. You have decided that you like looking just like yourself, and Demi likes it that way, too.\n\nToday, mum and dad are hosting a fancy dress birthday party for the pair of you and six of your friends: Marion, Ayla, Pia, Sam, Vince and Jack. You're dressed as a fairy and your sister is dressed as a witch, which is what each of you wanted.\n\nYou all ate heaps of lollies and played games in the morning, and now your parents have taken you to the park for lunch.\n\nWhile mum and dad are setting up the picnic, you and your friends are getting ready to play a game of hide and seek tip. Your sister is sitting this game out to drink some lemonade and cool down.\n\nYou agree to be in, and count with your eyes shut against a tree while your friends run off and hide in the park.\n\n\"... Forty-eight...\" you shout at the top of your lungs. You think carefully about the next number. It's not easy counting this high, but Demi is good at it and she often helps you practise.\n\n\"... Forty-nine...\" you shout at the top of your lungs.\n\n\"... Fifty! Ready or not, here I come!\"\n\nYou really want to win this game. It's time to catch your friends.\nThe Edge of the Park\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds. The trees here reach for the sky. Most of them are green and bright, but a few look unhappy and are covered in loose, dry leaves which wobble in the breeze. A good wind will blow them free.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\n[Author's Note: Your name is Harriet Leitner, and you and your twin sister Demi turned six this morning! You're having a fancy dress birthday party, and this afternoon you'll be playing Hide and Seek Tip over in the park. You can't wait to catch all your friends.]\n\n> You examine the trees\n(the unhappy trees)\nUnlike the gum trees you can see all around the park, these ones don't look healthy. Their crunchy leaves are out of your reach, but it looks like the wind could blow them free at any time.\n\n> About yourself\nYou know that in your winged fairy costume you're looking super fairy-ish and pretty - at least you were when you saw yourself in the mirror at home this morning.\n\nYou give yourself a quick check over now, and... yes, you still look great!\n\n> You look behind the trees\n(the unhappy trees)\nYou don't find anyone behind any of the unhappy trees. They're not very wide, which makes them hard to hide behind.\n\n> You look at the flowerbeds\nThere are lots of different kinds of flowers in the flowerbeds. They're so pretty. If you weren't playing tip, you might like to collect some.\n\n--- WHOOSH!\n\nA huge gust of wind suddenly sweeps across the park. \"Whooooa!\" you cry as your fairy wings start to wobble and pull you along. You grab onto them to make sure you don't fly away.\n\nAll the leaves from the dried out trees are raining down on the path around you...\n\nYou are now surrounded by hundreds of leaves!\n\nThen, as quickly as it began, the wind drops away. \"Whew,\" you say."
    },
    {
        "text": "> You look around\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nHundreds of leaves are scattered all over the ground.\n\n> Count leaves\nYou don't need to do any counting at the moment. You have people to tip.\n\n> You go east\nThis corner of the park is called the \"Tree Garden\", and... what was that? You heard someone giggling!\n\nLots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\n> You listen\nYou listen carefully...\n\nOh, there's a black bird up in one of the trees who just started chirping like crazy! How can you hear anything with that going on? You will have to wait until the birdy decides to be quiet - Ah, there, it stopped. Now you can listen some more.\n\n> You listen\nYou listen carefully...\n\nNow what?... there's an aeroplane flying through the sky. It's making a lot of noise. You'll need to wait for the aeroplane to fly away before you can have a good listen.\n\n> You listen\nYou listen carefully...\n\nThere, you heard the giggle again! You walk over towards where it came from. You think it came from behind the short, smooth, curly-branched, ugly green tree. This is the tree you will look behind.\n\n> You look at Tree\nThe trees have been planted in neat lines. There are so many of them! There are tall ones, short ones, smooth and rough ones, pointy ones, curly ones, pretty and ugly ones, and they come in four colours - black, brown, grey and green. Each tree is separated from the next one by a wall of bushes, as if each tree in the Tree Garden has its own little room, and this is stopping you from seeing around all the trees at once. To find out if your friends are hiding behind any of the trees using only your eyes, you would have to look behind each tree, one at a time. What a lot of work!\n\n> You search curly Tree\nSo you want to search a tree which is curly-branched.\n\nShould this tree be tall or short?\n\n2 - Short\n\n> 2\nShould this tree be smooth or rough?\n\n2 - Rough\n\n> 1\nShould this tree be pretty or ugly?\n\n2 - Ugly\n\n> 2\nShould this tree be black, brown, grey or green?\n\n2 - Brown\n3 - Grey\n4 - Green\n\n> 4\nAfter a bit of thinking, you have picked out the short, smooth, curly-branched, ugly green tree.\n\nYou tiptoe over to the base of the tree to investigate the bushy area around and behind it...\n\nYou've found your friend Ayla! She's hiding behind this tree, curled up in a ball with her knees tucked under her chin and her arms wrapped around her head. She is dressed as a princess and her gold crown is about to fall off. She's probably trying to stop herself from giggling or making any other sound. She looks so funny that you want to laugh, but she hasn't heard you coming, so you stay quiet so that you can tip her.\n\n> Tip ayla\nYou sneak up beside Ayla and say, \"Ay-la!\" Ayla pops her head up from under her arms to see who's there. \"Tip!\" you say as you pat her on the shoulder.\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"Heehee\", Ayla giggles. \"You got me.\" She stands up and brushes some twigs off her knees, then straightens her crown on her head. \"I love hiding.\"\n\n> Tip ayla\nYou already tipped her."
    },
    {
        "text": "[Themes: siblings, sidekick NPC, child protagonist, female protagonist, witch, kid-friendly, garden, kids, birthday, cute]\n\n> Describe the surroundings\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nAyla is here.\n\n> You examine Ayla\nAyla is shorter than most of your friends, and she is so cute! She has light brown skin and super smiley eyes. Her black hair comes down to her shoulders and has plaits in it. Today, she is dressed as a princess. Her dress is pink and white, and there's a gold crown on her head. You like how Ayla has trouble stopping herself from giggling.\n\n> You tickle Ayla\nYou tickle Ayla. \"Teeheehee,\" she says, then she tickles you, and you laugh as well.\n\n\"That was fun,\" says Ayla. \"I'll see you at the picnic area.\" Then she runs away to the west.\n\n> Go north\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here. Yuck!\n\nLeaning against one of the gum trees is a big girl in red overalls. It looks like she's playing her own game of hide and seek. She has her face pressed into her folded arms so that she can't see, and she's counting out loud.\n\nThe big girl says, \"Twenty...\"\n\n> You look at the mud\nIt's all gloopy and smelly. It's horrible! Definitely more of a witch's thing.\n\n> You look at the girl\nYou can't see the girl's face because it's against the tree, but she has dirty blond hair and her clothes are dirty. She looks a bit like a boy.\n\n> You examine the trees\nMost of the trees in the park are tall gum trees. They're grey, silver, white and green. Their branches are high up on the trunk and point towards the sky.\n\n> You search the trees\nYou have a look around but don't find anyone behind any of the gum trees. Most of the gum trees are too thin for a person to hide behind.\n\nThe big girl counts, \"Twenty-one.\"\n\n> You go north\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\n> You examine the rock\nThe rock is rough and kind of round, and the bottom of it is stuck well into the ground. You wonder if someone could be hiding behind it.\n\n> You look behind the rock\nYou take a look... There's nobody hiding behind it now.\n\n> You examine the wall\nIt's wide, it's got the sticky green stuff all over it and it goes up and up.\n\n> You climb the wall\nYou could never climb up that wall. It's too high, and it's covered in that green stuff, too.\n\n> You examine the trees\nMost of the trees in the park are tall gum trees. They're grey, silver, white and green. Their branches are high up on the trunk and point towards the sky.\n\n> You search the trees\nYou have a look around but don't find anyone behind any of the gum trees. Most of the gum trees are too thin for a person to hide behind.\n\n> Go north\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west.\n\nTo the north is the entrance to the gazebo. The gazebo is a small house with lots of sides, a pointed roof and no walls. (There's a kind of fence where the walls would be.) Sometimes people have picnics on the table inside, but no-one is in there today, and you can see why. A big spider has built his web right across the entrance, and he's sitting in the middle of it. He's almost as large as your hand. How horrible!\n\nWandering around under the fig tree is Sam the Knight. He is so surprised by your arrival that he wobbles and almost trips over one of the giant tree roots.\n\n\"Forsooth!\" he says, as he prepares to run away from you.\n\nBut what does \"forsooth\" mean?\n\n> You look at the web\nIt looks like lots of other spiderwebs you've seen. You don't want to look at it closely because then you'll think about that icky spider.\n\n> You take spider\nSpiders creep you out. You don't want to go anywhere near the spider!\n\n> Chase sam east\nYou swipe at Sam but he jumps back out of your reach. He begins to make his way around to the other side of the tree by jumping and scrambling over the huge roots. It looks like hard work!\n\nYou start to follow him and& gosh, this IS hard work! Each root is like a small wall. Some of them you can leap over, some of them you have to stop and climb over. You can hear Sam breathing heavily ahead of you as you chase him.\n\nIt is very dark here in the shade of the towering fig tree.\n\nPaths lead around the tree to the west.\n\nSam is here, trying to catch his breath.\n\n> Tip sam\nYou dash towards Sam. Again, he escapes from you by circling to the other side of the fig tree, jumping and climbing over its tangle of giant tree roots.\n\n> Go west\nPuffing a bit yourself now, you climb over the roots as quickly as you can after Sam.\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\nSam is here, puffing and panting. His face is red!\n\n> Examine sam\nSam is a bit of a chubber, so his belly sticks out from under his grey armour. He also has a grey helmet wobbling on his head.\n\n> Chase sam east\nSam groans as you run towards him again, then he starts to jump and leap over the roots as he heads for the other side of the tree. Panting a bit yourself now, you climb after him...\n\nIt is very dark here in the shade of the towering fig tree.\n\nPaths lead around the tree to the west.\n\nSam is here, looking exhausted, gulping for air and holding himself up with his hands on his knees.\n\n\"Mercy!\" he gasps.\n\n> Tip sam\nSam tries to stagger away from you, but he has no energy left, while you have lots.\n\n\"Tip!\" you say, patting him on the back.\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\nSam says, \"I think I'll - gasp - have a rest - puff - here before - pant - I go back... to the picnic area... forsooth...\" Then he plops down onto the ground, cross-legged."
    },
    {
        "text": "[Themes: cute, kids, family, witch, birthday]\n\n> Look around\nIt is very dark here in the shade of the towering fig tree.\n\nPaths lead around the tree to the west.\n\nSam is sitting here, recovering his breath.\n\n> You look at Tree\n(the Moreton Bay Fig Tree)\nThis is the biggest tree you've ever seen and it makes the biggest shadows you've ever seen. It's a long way around to the other side, and all of the tree's roots are in the way.\n\n> You look behind Tree\n(the Moreton Bay Fig Tree)\nStanding here, you can see that nobody's hiding on this east side of the tree.\n\n> Go west\nYou head west, circling wide around the outside of the fig tree roots.\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\n> You look under the web\nSpiders creep you out. You don't want to go anywhere near the spiderweb!\n\n> Go west\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\n> You examine the flowers\n(the flowers)\nThe flowers are planted in this order in the garden bed rainbow: red, orange, yellow, green, blue, purple. The garden bed is so big that you suspect a person could hide behind it.\n\n> You look behind the bed\nYou take a look... There's nobody hiding behind it now.\n\n> You check what you're carrying\nYou are carrying:\na pink dress (being worn)\na pair of fairy wings (being worn)\na pair of red and white sneakers (being worn)\nyour fairy wand\n\n> Wave wand\nYou wave your wand in the air. You feel like zapping something.\n\n> You go east\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\n> Zap spider\nYou point your wand at the spider and yell out \"Zap!\"\n\nThe spider doesn't move.\n\n> You get the spider\nSpiders creep you out. You don't want to go anywhere near the spider!\n\n> Zap web\nYou point your wand at the spiderweb and yell out \"Zap!\"\n\nNothing happens.\n\n> You hit the spider with the wand\nIf you threw your wand and it got stuck in the web, you would have to go near the web and the spider. Ugh! You're not going to risk doing that.\n\n> Go west\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\n> You go west\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nStanding by the roundabout and looking very smart is your friend Marion. She's dressed as a pirate, wearing a white shirt, a red vest and a black pirate's hat, one of those ones shaped like a triangle. She's also carrying a sword, and she's pointing it at you now.\n\n\"Ahoy, landlubber!\" she cries. \"I'm Red Marion and you're on my ship. I challenge you to a duel.\"\n\nYou love how Marion is so good at pretending to be different people. She goes to drama after school, and she says she wants to be in movies.\n\n\"What's a duel?\" you ask.\n\n\"A duel is where you and me have a fight. You try to zap me with your wand and I'll try to zap you with my sword. If you win, you can tip me, but if I win, you have to say I won hide and seek.\"\n\n\"That's not fair!\" you say.\n\n\"That's the only way you'll get to tip me, landlubber.\"\n\nWhat is this \"landlubber\" thing she keeps saying?\n\n\"If you don't win,\" she adds, \"we'll do it again another day and you can win then. That's fair, isn't it? So, are you ready to duel?\"\n\nYou have a quick think. Will you duel with Marion now? (Y/N)\n\n> Y.\n\"I'm ready,\" you say, gripping your wand.\n\nMarion grins and raises her sword. \"Right! I challenge you to a duel, landlubber! Winner takes all!\"\n\n\"Stop calling me landlubber,\" you say.\n\n\"Sorry,\" says Marion. \"Okay, I challenge you to a duel, Harriet.\"\n\n\"Yeah, let's challenge!\" you say.\n\n[Author's Note: In the duel, you should use these special commands: ]\n\nZAP - Type this to try to zap Marion with your wand. If you hit her, you win!\nDODGE - Type this to try to run or jump out of the way of one of Marion's attacks.\nBLOCK - Type this to try to block one of Marion's attacks with your wand.\n\nIf you want to let Marion make the next move, you can try to WAIT.\n\nIf you want to see these special commands again, type SPECIAL.\n\nYou can also use regular commands during this duel if you think they will help, though most of the time, they won't!\n\"Let's go!\" shouts Marion.\n\nShe immediately slices her sword towards you and yells out \"Zap!\"\n\nThat zap from her sword is about to hit you! You better act fast.\n\n> Dodge\nYou leap aside with a swishing noise and let the shot go past you. Marion takes a couple of quick steps to her right, then holds her sword sideways in front of her to protect herself.\n\n> Zap\nYou point your wand at Marion and yell out \"Zap!\" - but Marion already has her weapon up to protect herself, so she blocks your shot easily with one swoosh of the sword.\n\n\"Zap!\" she yells, and with a second swoosh, she sends another shot in your direction. You aren't ready at all, and the zap lands right on your tummy.\n\n\"Oof!\" you say, holding your belly.\n\n\"I zapped you, I zapped you!\" says Marion. \"It's over, landlubber! I won!\"\n\n\"Don't call me landlubber,\" you say.\n\nBecause of the deal you made with Marion before the duel, you've lost this game of tip. Plus you'll have to tell everyone that Marion beat you. How annoying!\n\n Please choose one of the following options:\n\n1 Undo your last move so you can keep the bad thing from happening!\n2 Restore a saved game\n3 Start a brand new game\n4 Quit playing for now\n\n> 1\n[Your last move has been undone.]\nYou leap aside with a swishing noise and let the shot go past you. Marion takes a couple of quick steps to her right, then holds her sword sideways in front of her to protect herself."
    },
    {
        "text": "[Themes: garden, Australian, children, music, kid-friendly, child protagonist]\n\n> Block\nYou wave your wand across yourself and Marion's zap bounces off it. \"Peooo!\" you say. \"I blocked it.\"\n\n\"Curses!\" says Marion, taking a couple of steps to her right. She stops suddenly and holds her sword sideways in front of herself for protection.\n\n> Zap\nYou point your wand at Marion and yell out \"Zap!\" - but Marion already has her weapon up to protect herself, so she blocks your shot easily with one swoosh of the sword.\n\n\"Zap!\" she yells, and with a second swoosh, she sends another shot in your direction. You aren't ready at all, and the zap lands right on your tummy.\n\n\"Oof!\" you say, holding your belly.\n\n\"I zapped you, I zapped you!\" says Marion. \"It's over, landlubber! I won!\"\n\n\"Don't call me landlubber,\" you say.\n\nBecause of the deal you made with Marion before the duel, you've lost this game of tip. Plus you'll have to tell everyone that Marion beat you. How annoying!\n\n Please choose one of the following options:\n\n1 Undo your last move so you can keep the bad thing from happening!\n2 Restore a saved game\n3 Start a brand new game\n4 Quit playing for now\n\n> 1\n[Your last move has been undone.]\nYou wave your wand across yourself and Marion's zap bounces off it. \"Peooo!\" you say. \"I blocked it.\"\n\n\"Curses!\" says Marion, taking a couple of steps to her right. She stops suddenly and holds her sword sideways in front of herself for protection.\n\n> Dodge\nYou jump to the side, even though there's no zap coming towards you at the moment. Marion lowers her sword and starts to run across the clearing.\n\nOops! Her hat fell off, but she's not going back for it.\n\n> Zap\nYou throw another shot at Marion as she runs across the grass - \"Zap!\"\n\nMarion waves her sword over her shoulder and bounces your shot away. Now you can see where she's running to. There's a spot where the ground goes up a bit like a little hill, and Marion just jumped behind it. She pokes her head over the top of the hill and throws another shot at you, shouting \"Zap!\"\n\n> Block\nYou swish your wand across yourself and block Marion's zap with a \"Peooo!\"\n\nMarion ducks back behind the hill so you can't see her. Waiting for her to appear again, you keep your wand pointed at the top of the hill&\n\nThere she is, she just put her head up!\n\n> Zap\n\"Zap!\" you shout, throwing your zap straight at Marion's head. You got her!\n\n\"Ohhh!\" Marion cries, jumping out from behind the hill and stomping around. Then you both laugh. Marion walks over to her hat, picks it up and puts it back on her head. She comes over to you.\n\n\"You won, so you can tip me now,\" she says, holding out her open hand.\n\n\"Tip,\" you say, clapping her hand lightly. Marion smiles.\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"Let's have another duel later,\" you say.\n\n\"Yeah!\" says Marion.\n\n> You talk to Marion\n\"I'll be going on a pirate holiday now,\" says Marion.\n\n\"Oh, where are you going to?\" you ask.\n\n\"No questions!\" says Marion.\n\nMarion waves and walks away to the south."
    },
    {
        "text": "[Themes: children, music, birthday, witch, kid-friendly, family, female protagonist]\n\n> Look around\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nYou see the roundabout.\n\n> You look at the roundabout\nThe roundabout is red, and there are bars around the edge of it for holding onto.\n\n> You go south\nWhat was that sound just then? There must be a bird close by.\n\nWest of here is the entrance to the hedge maze. It's a real life maze where all the walls are made out of hedges. You've been in there before and it can be lots of fun.\n\nPaths also lead north, south and east from here.\n\nMarion is walking along here.\n\nUgh... A huge, scary black bird is sitting on the hedge beside the entrance to the maze. He has no white patches on him, so he's not a magpie. He must be a raven.\n\nMarion walks south.\n\n> You look at raven\nCould a bird be any scarier? You don't think so. This raven looks like he could pick you up and carry you away. He's sitting still at the moment, but you don't trust him, and you're afraid to go near him.\n\n> You talk to the raven\n\"Go away!\" you say to the raven. \"I don't like you.\" The raven's head turns a little bit, but he doesn't do anything else.\n\n> Zap raven\nYou point your wand at the raven and yell out \"Zap!\"\n\nThe raven doesn't even blink.\n\n> You talk to the raven\n\"Shoo!\" you try, waving your arms. The raven still doesn't move. You start to get the feeling he likes being where he is.\n\n> Go west\nYou're too scared of that raven to walk past him into the maze. What if he pecked you on your head or something?\n\nHm... Being scared yourself makes you think that your friends were probably scared away by the raven as well. That might have stopped any of them from trying to hide in the maze. Maybe you should look for them elsewhere?\n\n> You throw the shoe at the raven\nYou smile at your silly idea. Though sometimes you do throw clothes at Demi at home."
    },
    {
        "text": "[Themes: kid-friendly, music, twins, dog, child protagonist, siblings, Australian, sidekick NPC, witch, kids]\n\n> Describe the surroundings\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nThe raven sits on a hedge here, watching you.\n\n> You go to the east\nThis is a really exciting place in the park. It's like a room on another planet where the walls are made out of jungle.\n\nPaths lead north, south and west. To the east is a stone wall about as high as your chest, but on the other side it's a longer drop to the grass below.\n\n> You examine stone wall\nYou run your hands over the wall. It's all rough, bumpy and stoney on its side, but smooth and flat on the top. Down below the other side of the wall is a grassy area.\n\n> You look at the jungle\nWhen you look at the jungle plants, you almost expect to see a lion or a tiger as well.\n\n> You search the jungle\nYou have a little poke around in the jungle plants. There's nobody there.\n\n> You go south\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nAs you approach the treehouse, you easily spot Jack, dressed as Spiderman, creeping along behind a curtain of vines. \"I see you, Jack!\" you yell, making him jump.\n\nJack grins and sprints away to the west. Yikes, he is super fast!\n\n> You follow Jack\nYou head west after Jack.\n\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\nJack is marching up and down here.\n\nComing along the path towards you is a tall, pretty lady walking a little dog on a leash. You like dogs, though your family doesn't have any.\n\nJack runs to the east.\n\n> You follow Jack\nYou run east after Jack.\n\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nJack is running around here on all fours. He's crazy!\n\nJack runs off to the south.\n\n> You follow Jack\nYou skip south after Jack.\n\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nJack is running around here on all fours. He's crazy!\n\nHundreds of leaves are scattered all over the ground.\n\n> You tag jack\nYou swipe at Jack but he jumps out of your way easily.\n\n\"Nyah nyah!\" he says, circling around you. You find yourself puffing and panting trying to get close to him. It's really frustrating.\n\n\"Fairies and girls are lame,\" he says. \"You'll never tip me!\"\n\nHow rude! You feel like throwing something at him to annoy him.\n\nJack runs off to the east.\n\n> You go east\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nJack is running around here on all fours. He's crazy!\n\n> You examine Jack\nJack is wearing a red and blue costume with black spiderweb patterns on it. He has a funny face and can make you laugh just by wiggling it around sometimes. He can be a real showoff.\n\n> You throw the wand at Jack\nChuck your fairy wand? No, you'd hate it if it broke!\n\n> You check what you're carrying\nYou are carrying:\na pink dress (being worn)\na pair of fairy wings (being worn)\na pair of red and white sneakers (being worn)\nyour fairy wand\n\n> You remove the dress\nWhat a dumb idea!\n\n> You chase the jack west\nYou have to chase Jack in a few circles before you're able to get him to run west. You follow close behind him -\n\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nJack skids to a halt.\n\nHundreds of leaves are scattered all over the ground.\n\n> You chase the jack west\nYou have to chase Jack in a few circles before you're able to get him to run west. You follow close behind him -\n\nYou're in a round, paved clearing surrounded by a tall hedge. It's a little cooler here for some reason. In the centre of the clearing is a giant stone koala.\n\nPaths lead north and east.\n\nJack skids to a halt.\n\n> You chase the jack north\nYou have to chase Jack in a few circles before you're able to get him to run north. You follow close behind him -\n\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\nJack skids to a halt.\n\nThe lady is here with her dog.\n\n> You chase the jack north\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. By doing this a few times, you manage to get him to run north, and you follow him.\n\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nJack skids to a halt.\n\nThe raven sits on a hedge here, watching you.\n\n> You chase jack north\nYou have to chase Jack in a few circles before you're able to get him to run north. You follow close behind him -\n\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nYou see the roundabout.\n\nJack skids to a halt.\n\n> You chase the jack east\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. By doing this a few times, you manage to get him to run east, and you follow him.\n\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\nJack skids to a halt.\n\n> You chase the jack east\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. By doing this a few times, you manage to get him to run east, and you follow him.\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\nJack skids to a halt.\n\n> You chase the jack south\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. By doing this a few times, you manage to get him to run south, and you follow him.\n\nThis is a really exciting place in the park. It's like a room on another planet where the walls are made out of jungle.\n\nPaths lead north, south and west. To the east is a stone wall about as high as your chest, but on the other side it's a longer drop to the grass below.\n\nJack skids to a halt.\n\n> You chase jack east\nYou can't chase Jack that way because you can't even go that way! It looks like you can go north (to the giant garden bed), south (to below the treehouse) or west (to the hedge maze).\n\n> Go south\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\n> You look at weeds\nThe weeds look like little green pieces of string that tie up everything they touch. One time you tied two pieces together and you got itchy hands.\n\n> You get the weeds\nYou don't need them. Plus they make you itch!\n\n> You examine the flowerbeds\nThere are lots of different kinds of flowers in the flowerbeds. They're so pretty. If you weren't playing tip, you might like to collect some.\n\n> Up\nYou're up in the wooden treehouse. Wow, what a great view! The house has no roof and its walls are red and blue. There's a steering wheel attached to the trunk of the tree. This all looks fun, but you need to get on with finding your friends. Maybe if you check out the view, you can spot some of them from up here.\n\nA ladder leads down to the ground.\n\n> You examine the wheel\nIt's a lot like the one in the car.\n\n> Turn wheel\nYou spin the wheel all the way around. Vroom! You imagine you're driving a racing car.\n\n> You examine the view\nFrom here you can see over all of the areas in the park that are north and east of the treehouse, but you can't see to the west or south.\n\n*  To the north, in the place above the wall, you can see Jack.\n*  Over to the east, near the puddle of mud, you see that big girl counting against her tree.\n** Away to the north, you just saw something moving near the giant garden bed. You're not sure what it was, but it might have been a person."
    },
    {
        "text": "[Themes: kids, dog, child protagonist, kid-friendly, siblings, cute, family, twins, witch]\n\n> Go downwards\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\n> Go north\nThis is a really exciting place in the park. It's like a room on another planet where the walls are made out of jungle.\n\nPaths lead north, south and west. To the east is a stone wall about as high as your chest, but on the other side it's a longer drop to the grass below.\n\nJack is running around here on all fours. He's crazy!\n\n> You look behind the bed\nYou peek around the back of the giant garden bed and discover Vince hiding there, dressed as an army soldier in green. He's on his hands and knees and staying perfectly still. His bottom is poking in your direction, which is funny. He doesn't realise you can see him.\n\n> You examine vince\nVince is dressed as an army soldier. His uniform is all green and patchy. He's Chinese and he has black hair. One time at show and tell, he told a story about his parents coming to Australia from China when he was a baby.\n\n> Tag vince\nYou tap Vince on the back and say, \"Tip!\"\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\nVince crawls out from his hiding place and smiles. \"Was it hard to find me?\" he asks.\n\n\"I guess so,\" you say, \"I had to go up in the treehouse to spot you.\"\n\n\"Good!\" he says. \"I'm practising to be a spy.\"\n\n> You go north\nYou can't go that way. It looks like you can go south (to the place above the wall), east (to the west side of the Moreton Bay Fig) or west (to the roundabout).\n\n> You go east\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\n> You go east\nYou head east, circling wide around the outside of the fig tree roots.\n\nIt is very dark here in the shade of the towering fig tree.\n\nPaths lead around the tree to the west.\n\n> Go west\nYou head west, circling wide around the outside of the fig tree roots.\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\n> Go west\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\nVince is here.\n\nVince sneaks away to the south.\n\n> Go south\nThis is a really exciting place in the park. It's like a room on another planet where the walls are made out of jungle.\n\nPaths lead north, south and west. To the east is a stone wall about as high as your chest, but on the other side it's a longer drop to the grass below.\n\nVince is here.\n\nJack is running around here on all fours. He's crazy!\n\nVince sneaks away to the south.\n\n> You go south\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nVince is here.\n\nVince sneaks away to the south.\n\n> You go west\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\nThe lady is here with her dog.\n\n> You examine lady\nThe lady is tall and slim with red hair and very white skin. You wonder what it would be like to have red hair.\n\n> You talk to the lady\n\"Hi,\" you say to the lady, hoping to play with the dog.\n\n\"Oh, look at you!\" says the lady. \"What a wonderful costume. You look beautiful.\" You feel very pleased, but also shy. The little dog starts sniffing at your feet.\n\n\"This is Stevie,\" says the lady. \"You can pat her if you want.\"\n\n> Pat stevie\n\"Is Stevie a boy's name?\" you say, bending down to pat the dog.\n\n\"Some people think it is if they haven't heard it before,\" says the lady, \"but actually it's short for Stephanie.\"\n\n\"Oh,\" you say. The dog is warm and fuzzy and friendly.\n\n\"Okay,\" says the lady, \"Stevie and I are going to continue on our walk now.\"\n\n\"Bye Stevie,\" you say. You just decided that you and Demi have to get a dog! You'll talk to mum and dad about it.\n\nThe lady and Stevie walk away to the east.\n\n> Go south\nYou're in a round, paved clearing surrounded by a tall hedge. It's a little cooler here for some reason.\n\nPaths lead north and east.\n\nThe huge stone koala stands before you.\n\n> You examine the koala\nWhat a fatty! Mum and dad took you to see koalas at Taronga zoo one time, and they were cute, but they were mostly asleep... Hm, this koala is so big, someone could use it as a hiding place. Maybe you should look behind it?\n\n> You look behind the koala\nYou start to tiptoe around the statue...\n\nEek! Something black just zipped out of your sight!\n\nYou jump back into the open to find tall Pia right in front of you, dressed in her black cat costume. You both scream with excitement, but before you can grab her, she springs away to the east.\n\n> You go to the east\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nPia is here. She keeps her eyes on you as you approach.\n\nHundreds of leaves are scattered all over the ground.\n\nPia bounds away all cat-like to the north.\n\n> You go to the north\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nPia is here, standing in the shade.\n\n> Count leaves\nYou don't need to do any counting at the moment. You have people to tip.\n\n> Chase pia west\nYou rush after Pia, jumping back and spreading your arms whenever she tries to get around you. By doing this a few times, you manage to get her to run west, and you follow her.\n\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\nPia skids to a halt.\n\n> Chase pia north\nYou have to chase Pia in a few circles before you're able to get her to run north. You follow close behind her -\n\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nPia skids to a halt.\n\nThe raven sits on a hedge here, watching you.\n\n> You go to the north\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nYou see the roundabout.\n\n> You go north\nYou can't go that way. It looks like you can go south (to the hedge maze) or east (to the giant garden bed).\n\n> You chase the jack south\nYou run towards Jack - luckily for you, he decides to run to the south, just like you wanted! You chase after him.\n\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nJack skids to a halt.\n\n> You chase the jack south\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. By doing this a few times, you manage to get him to run south, and you follow him.\n\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nJack skids to a halt.\n\nHundreds of leaves are scattered all over the ground.\n\n> You chase jack east\nYou run towards Jack - luckily for you, he decides to run to the east, just like you wanted! You chase after him.\n\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nJack skids to a halt.\n\n> You chase the jack north\nYou have to chase Jack in a few circles before you're able to get him to run north. You follow close behind him -\n\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nJack skids to a halt.\n\nThe big girl is here, leaning against a tree and counting aloud.\n\nThe big girl counts, \"Ninety-four -\"\n\n> You chase the jack north\nYou have to chase Jack in a few circles before you're able to get him to run north. You follow close behind him -\n\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\nJack skids to a halt.\n\n> You chase jack south\nYou have to chase Jack in a few circles before you're able to get him to run south. You follow close behind him -\n\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nJack skids to a halt.\n\nThe big girl is here, leaning on a tree and counting aloud.\n\n\"Ninety-six,\" says the big girl.\n\n> You chase Jack into the puddle\nIt's easy to run around the puddle of mud, but you don't think Jack would be silly enough to run right into it. Also, you're afraid you might fall in the puddle yourself.\n\n> You chase jack south\nYou have to chase Jack in a few circles before you're able to get him to run south. You follow close behind him -\n\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nJack skids to a halt.\n\n> Go west\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nHundreds of leaves are scattered all over the ground.\n\n> You get the leaves\n(the bunch of leaves)\nYou collect a big bunch of the leaves from the ground. It takes both your hands to hold them. You realise you won't be able to tip anyone while you're carrying the leaves, but if you use them up and need more of them later, you know you'll be able to come back here to get some more.\n\n> You go east\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nJack is running around here on all fours. He's crazy!\n\n> Go north\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nThe big girl is here, leaning against a tree and counting aloud.\n\nThe big girl says, \"One hundred and one.\"\n\n> You put the leaves on the mud\n(the bunch of leaves on the big puddle of mud)\n\n> You drop the leaves\n(the bunch of leaves)\nOkay. You drop the leaves and they gently blow away.\n\n> Inventory\nYou are carrying:\na bunch of leaves\na pink dress (being worn)\na pair of fairy wings (being worn)\na pair of red and white sneakers (being worn)\nyour fairy wand\n\n> Examine leaves\n(the bunch of leaves)\nThe crinkly leaves are bunched up in your cupped hands.\n\n> You go south\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\nJack is running around here on all fours. He's crazy!\n\n> You throw the leaves at Jack\n(the bunch of leaves at Jack)\nYou wait for Jack to start showing off again just out of your reach, then suddenly chuck the whole pile of leaves in his face.\n\n\"BLUCH!... What?!\" he shouts, falling on his backside in surprise. Sitting on the ground and covered in leaves, he starts to laugh, and to spit out bits of leaf.\n\n> Tip jack\nSeizing your chance, you tap Jack's head and say, \"Tip!\"\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"I'll get you back later,\" Jack says. Both of you start laughing as he peels more leaves off himself.\n\n> Go south\nYou can't go that way. It looks like you can go north (to the place in the shade by the mud) or west (to the edge of the park).\n\nJack gets up, brushes himself off and goes west.\n\n> You go west\nYou're at the south edge of the park. It's super hot today and the sun is pouring down on the grass and the flowerbeds.\n\nFrom here, paths lead north, east and west through the park, and to the south is the picnic area where mum and dad will set up lunch later.\n\nYou see some unhappy trees here.\n\nJack is here.\n\nHundreds of leaves are scattered all over the ground.\n\nJack heads south.\n\n> You go west\nYou're in a round, paved clearing surrounded by a tall hedge. It's a little cooler here for some reason.\n\nPaths lead north and east.\n\nThe huge stone koala stands before you.\n\n> You go north\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\nThe lady and Stevie arrive from the east.\n\n> You go to the north\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nPia is here, standing in the shade.\n\nThe raven sits on a hedge here, watching you.\n\n> Chase pia north\nYou run towards Pia - luckily for you, she decides to run to the north, just like you wanted! You chase after her.\n\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nYou see the roundabout.\n\nPia skids to a halt.\n\n> Chase pia east\nYou rush after Pia, jumping back and spreading your arms whenever she tries to get around you. By doing this a few times, you manage to get her to run east, and you follow her.\n\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\nPia skids to a halt.\n\n> Chase pia east\nYou have to chase Pia in a few circles before you're able to get her to run east. You follow close behind her -\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\nPia skids to a halt.\n\n> Chase pia south\nYou have to chase Pia in a few circles before you're able to get her to run south. You follow close behind her -\n\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\nPia skids to a halt.\n\n> Chase pia south\nYou rush after Pia, jumping back and spreading your arms whenever she tries to get around you. By doing this a few times, you manage to get her to run south, and you follow her.\n\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nPia skids to a halt.\n\nThe big girl is here, leaning on a tree and counting aloud.\n\n\"One hundred and thirteen,\" says the big girl.\n\n> You look at Pia\nPia is dressed as a cat. All her clothes are black, she's wearing a black mask over her eyes and her curly red hair is held back by a cat-ears headband. She's the tallest girl in your class and sometimes gives you piggybacks. She is great at sports and running and jumping over things. She is very quiet, but also very kind.\n\n> You jump over the mud\nThe puddle is too big to jump across. If you fell in, it would be horrible.\n\n> Chase pia north\nYou run towards Pia - luckily for you, she decides to run to the north, just like you wanted! You chase after her.\n\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\nPia skids to a halt.\n\n> Chase pia north\nYou have to chase Pia in a few circles before you're able to get her to run north. You follow close behind her -\n\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\nPia skids to a halt.\n\n> You go to the south\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\n> Go south\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nThe big girl is here, leaning on a tree and counting aloud.\n\n\"One hundred and seventeen,\" counts the big girl.\n\n> Go south\nThis corner of the park is called the \"Tree Garden\". Lots and lots of big trees have been planted in a neat line which winds around the edge of the lawn here. They look like furry people waiting in a queue. Someone has mown the grass and everything is really tidy.\n\nOne path winds north towards a shady area under lots of trees, and another one goes west.\n\n> You go to the north\nYou're in a part of the park that gets less sun because the trees make a web of dark overhead.\n\nPaths go north and south to less shady places.\n\nThere's a big puddle of mud here.\n\nThe big girl is here, leaning on a tree and counting aloud.\n\n\"One hundred and twenty-two,\" counts the big girl.\n\n> You go north\nYou're in a field which is cool and damp. To the west is a stone wall, at the top of which is a higher level of the park. It's too high to climb over, plus the wall is covered in sticky green stuff that has grown in the shade. Near the wall is a great big yellow rock, much bigger than yourself.\n\nPathways go north and south from here.\n\n> Go north\nIn this dusty corner of the park is the hugest of all the trees. Dad said it's called a Moreton Bay Fig. It has roots like crazy ropes and bark like an elephant's skin. You feel you could jump on your own head hundreds of times and still not reach the top of the tree.\n\nYou are on the west side of the tree and can go around to its east side. Paths also go south and west. A huge spiderweb blocks the entrance to the gazebo to the north.\n\nPia is here, standing in the shade.\n\n> You throw the leaves at the web\n(the bunch of leaves at the spiderweb)\nIf you threw your wand and it got stuck in the web, you would have to go near the web and the spider. Ugh! You're not going to risk doing that.\n\n> Chase pia east\nYou run at Pia and try to chase her east, but you can tell she doesn't want to go in that direction - probably because of all the big tree roots that are in the way.\n\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\nPia skids to a halt.\n\n> You talk to Pia\n\"Meow!\" you say in a high voice.\n\nPia giggles.\n\n> You go south\nYou're in a tangly area in the park. There's lots of tall grass waving in the breeze like water, and there are weeds growing around the flowerbeds and dangling from trees. A metal ladder attached to one tree leads up into a treehouse.\n\nPaths also go north, south and west from here.\n\nThe lady and Stevie arrive from the west.\n\n> Search leaves\n(the bunch of leaves)\nThe leaves aren't piled high enough to hide anybody.\n\n> You go west\nYou're in a round, paved clearing surrounded by a tall hedge. It's a little cooler here for some reason.\n\nPaths lead north and east.\n\nThe huge stone koala stands before you.\n\n> You examine koala\nWhat a fatty! Mum and dad took you to see koalas at Taronga zoo one time, and they were cute, but they were mostly asleep.\n\n> You look at the hedge\nThe hedge is like a wall that is made out of plants instead of bricks. The tiny leaves and branches grow so close together that you can't see through them.\n\n> Search hedge\nThe hedges are like walls. Nobody could get inside them.\n\n> You climb the koala\nThe koala is too big and steep to climb.\n\n> Go north\nThe pathway becomes narrow here and splits in three directions. It makes you think of a triangle. The flowerbeds here are yellow and really pretty.\n\nYou can go north, south or east.\n\n> You examine the flowerbeds\nYou know daffodils are yellow, but these flowers aren't daffodils. You don't know what they are.\n\n> Go north\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nThe raven sits on a hedge here, watching you.\n\n> Chase raven\nYou're too afraid of the raven to go near him.\n\n> You go to the north\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nYou see the roundabout.\n\n> Ride roundabout\nBefore you can get on the roundabout, you'll have to drop your leaves. Do you want to do this? (Y/N)\n\n> Y.\nOkay. You drop the leaves and they gently blow away.\n\nYou get up on the roundabout.\n\n> Spin\n(the roundabout)\nYou give the roundabout a big push to the left and set it spinning.\n\nThe roundabout is spinning quickly. Whee!\n\n> You jump\nYou jump off the moving roundabout.\n\nThe roundabout is spinning.\n\n> Go east\nThere's a giant garden bed here with all the prettiest flowers in the park. They're laid out in coloured stripes like in a rainbow.\n\nNeat paths go south, east and west.\n\nPia is here, standing in the shade.\n\n> Chase pia west\nYou have to chase Pia in a few circles before you're able to get her to run west. You follow close behind her -\n\nYou're in a nice grassy clearing with paths leading out of it south and east.\n\nPia skids to a halt.\n\nThe roundabout comes to a halt.\n\n> You jump on roundabout\nYou jump up onto the roundabout.\n\n> You look at Pia\nPia is dressed as a cat. All her clothes are black, she's wearing a black mask over her eyes and her curly red hair is held back by a cat-ears headband.\n\n> Spin roundabout right\nThe roundabout is already spinning the other way. By pushing right, you slow it down.\n\nThe roundabout comes to a halt.\n\n> Chase pia south\nYou rush after Pia, jumping back and spreading your arms whenever she tries to get around you. By doing this a few times, you manage to get her to run south, and you follow her.\n\nYou're in a nice big grassy area. West of here is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nPia skids to a halt.\n\nThe raven sits on a hedge here, watching you.\n\n> Chase pia east\nYou have to chase Pia in a few circles before you're able to get her to run east. You follow close behind her -\n\nThis is a really exciting place in the park. It's like a room on another planet where the walls are made out of jungle.\n\nPaths lead north, south and west. To the east is a stone wall about as high as your chest, but on the other side it's a longer drop to the grass below.\n\nPia skids to a halt.\n\nWow, is Pia really gonna do what it looks like she's about to do? -\n\nShe takes three huge cat leaps towards the wall, then vaults over it and through the air!.. and disappears from sight.\n\nShe must have landed on the grass below the other side of the wall, but you didn't think you could jump that far without getting hurt. You feel nervous and excited, and wonder whether you could do the same trick? It looked so cool.\n\n> You jump over the wall\n(the wall)\nYou have butterflies in your tummy at the idea of leaping. Are you sure you want to jump over the wall? (Y/N)\n\n> Y.\nWith a gasp, you gather your courage and run at the wall, throwing yourself over the top of it with your hands.\n\nYou're in the air, flying towards the grass!\n\nOOF!... with an enormous thud, you crash into a green world. For a second it feels like you have no breath, but quickly you find that you are feeling fine and sitting on your bottom in the tall grass in the shade below the wall. You push your wings back into place (they must have worked) and climb to your feet.\n\nThat was awesome!\n\nSomeone even more surprised by your jump than you is Pia, who is struggling to her feet beside you. You caught up to her!\n\n> Tip pia\n\"Tip!\" you shout as you touch Pia's arm.\n\n\"I didn't think you'd catch up to me after my jump,\" says Pia.\n\n\"I flew,\" you say.\n\n> 2\nYour name is Demi Leitner, it's the January summer school holidays and today has been a great day.\n\nYou turned six this morning! And so did your twin sister, Harriet. As soon as you woke up, you ran to get mum and asked her to measure your height on the wall. You were very excited to find that you were taller again. When your friends started arriving for the birthday party, you put your witch's hat on to make yourself taller than all of them, even Pia.\n\nOne of the games you played at home this morning was pass the parcel, and you had a bit of an argument with Harriet over who was holding the parcel when the music stopped for the last time. You're certain it was you, and then dad said you could share it, but then you gave the parcel to Harriet anyway because you like to see her happy. You're better at most games than her, so sometimes you let her win.\n\nYou ate so many lollies this morning, you were starting to feel funny, but by the time everyone got to the park for lunch, you felt good again. And now it's time to play hide and seek tip. It's going to be great!\n\nYou agree to be in, and count with your eyes shut against a tree while your friends run off and hide in the park.\n\n\"... Forty-eight...\" you shout at the top of your lungs.\n\n\"... Forty-nine...\" you shout at the top of your lungs.\n\n\"... Fifty! Ready or not, the witch is coming for you!\"\n\nYou really want to win this game. It's time to catch your friends.\nThe Edge of the Park\nThis is the south edge of the park. The sky is blue and bright today, and the air is warm. Pretty flowers shake in the breeze around the base of some super-tall trees. A few of the trees look unwell, and the curly leaves on the unwell ones are ready to fall off.\n\nPaths lead north, east and west, and to the south is the picnic area.\n\n> You examine the trees\n(the unwell trees)\nYou don't know what kind of trees these unwell-looking trees are, but they're not gum trees. Their dying leaves are all curly and crunchy, and will probably come down next time there's a strong wind.\n\n> Go east\nYou've come into the Tree Garden. It's super neat here. The big trees go around the edge of the lawn in perfect lines. There's a smell in the air like someone just mowed the lawn.\n\nA path goes north into a mysterious-looking shaded area, and another goes back west to the edge of the park.\n\n> You listen\nYou listen carefully... you don't hear anything suspicious.\n\n> You examine the trees\nThere are tall trees and short trees, smooth trees and rough trees, pointy trees and curly trees. Some of them look interesting, while others... well, the others look boring. The trees come in four colours: black, brown, grey and green. A perfectly square wall of bushes grows between every pair of trees. It's like a hotel for trees, with each tree in its own room.\n\nYou try to find a place to stand where you can see behind all the trees at once, but it's impossible. Hmm... it looks like the only way to find out if any of your friends are hiding behind any of these trees will be to search each tree.\n\n> You go north\nThis is a shady and damp area in the park. Far overhead, the tree branches knot together like fingers, chopping up the sunlight. It feels a bit spooky.\n\nYou can leave this shady place by going north or south.\n\nThere's a big puddle of mud here.\n\nLeaning against a very tall gum tree with her face buried in her arms (because she is counting and not peeking) is a big girl wearing red overalls. She looks kind of tough.\n\nThe girl turns away from the tree suddenly and fixes her eye on you, her hands on her hips. She looks you up and down.\n\n\"I'm Rose, and I don't like witches sneaking up on me,\" she says. \"You better not try anything smart with me. This is my park.\"\n\nShe keeps watching you suspiciously.\n\n> You look at what you're carrying with you\nYou are carrying:\na witch's hat (being worn)\nsome black robes (being worn)\na pair of black slippers (being worn)\nyour witch's wand\n\n> You look at the wand\nThe wand looks like black wood (but is plastic, really) and the tip is a little more pointy than the handle.\n\n> Zap rose\nYou point your wand at Rose and yell out \"Zap!\"\n\n\"Don't you do that to me!\" says Rose. \"I already told you not to be smart.\"\n\nYou don't like this bossy boots. You have an idea.\n\n\"I could jinx you with my magic,\" you say. \"Do you know what that means? You would have bad luck all week. Every time you try walking somewhere, you'll trip over. I mean it!\"\n\nYou raise your wand towards Rose. She starts to look afraid. It's working!..\n\nSuddenly she frowns. \"Liar,\" she says, \"You can't do that.\"\n\nRats!\n\n> Zap rose\nYou point your wand at Rose and yell out \"Zap!\"\n\n\"I told you to stop annoying me!\" shouts Rose. \"That's it!\"\n\nShe rushes over to you and gives you a great big shove - right into the mud!\n\n> You go north\nYou're in a cool, shaded field. It's nice to be out of the heat for a moment. To the west is a high stone wall covered in slippery moss. Near the base of the wall is a huge yellow rock. It looks like a small mountain.\n\nThere is more shade to the south and another path goes north.\n\n> You examine the wall\nIt looks like the grey wall of a castle - if that castle was covered in moss. The wall is wide and very tall.\n\n> You examine yellow rock\nThe rock seems to be made out of hard sand. You've seen this kind of rock before at the beach. You like the feel of it. It's also large enough that someone could hide behind it.\n\n> You climb the wall\nThe wall's really high and the slippery moss on it would make it an impossible climb, even if your robes were easier to manage.\n\n> Go north\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west.\n\nTo the north is the pointy-roofed little building called the gazebo, but nobody is in there today because the way in is blocked by a big spider web. Sitting in the middle of the web is the orb weaver spider who made it. Wow, that web is amazing!\n\nStanding in the shade of the tree is a brave knight... well, maybe not a brave one. It's Sam. His grey armour doesn't fit him too well, so he looks a bit funny.\n\n\"The witch is here!\" you shout, pointing your wand at Sam.\n\nSam gives a little scream. Yes, he should be afraid of you!\n\n> Chase sam north\nYou can't chase anyone into the gazebo with that big spiderweb in the way.\n\n--- WHOOSH!\n\nA  strong gust of wind suddenly sweeps across the park. Your hat tries to jump off your head. You grab on to the brim with one hand and wave your wand to cast a spell with the other.\n\n\"Wind, stop! I order you!\" you yell. The crazy wind keeps blowing.\n\n\"You're not listening!\" you shout, as loose leaves from the trees go shooting away.\n\nThen, as quickly as it began, the wind drops away. \"That's better,\" you say.\n\n> Chase sam east\nYou run towards Sam and he flees east, jumping and scrambling over the huge roots of the tree.\n\nYou move to follow Sam but find that in your witch's robes, it's too hard to either climb or jump over the big roots. Giving up on this idea, you run away from the tree until you are beyond the reach of the roots, then circle around to its other side. Unfortunately, this is a much slower way of getting around the tree than Sam's way.\n\nVery little sunlight reaches this side of the tree. Amongst its giant, twisting roots, you feel like you're in a world of stone.\n\nThe only way to go from here is west, to the other side of the tree.\n\nSam the knight is here. He looks tense, and ready to run away from you.\n\n> Zap sam\nYou point your wand at Sam and yell out \"Zap!\"\n\n\"My armour protects me from your spells,\" Sam says proudly.\n\n> Go west\nYou head west, slowly circling around the outside of the fig tree roots.\n\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west. The big spiderweb blocks the entrance to the gazebo to the north.\n\n> You get the spider\nYou don't want to carry the spider around with you while you're playing. Maybe you could just move it?\n\n> You move spider\nUsing your wand, you carefully cut through the threads holding the spiderweb in place on one side. The web falls sideways and the spider runs along one of the remaining threads and disappears under the roof of the gazebo. You scrape away what's left of the web on the grass.\n\n\"Sorry Mister Spider,\" you say, \"but you were in my way today.\"\n\nNow you can go into the gazebo to the north.\n\n> Go north\nYou are in the gazebo, a building like a small tower with a white fence instead of a balcony around the outside of it. If you painted the fence black, it would be a very good place for a witch to live.\n\nThere is only one way out of the gazebo, and that is through a gap in the fence to the south.\n\nThere is a picnic table here.\n\n> You examine table\nThe table is a bit dirty. It sits over on one side of the gazebo. It's not big enough for anyone to hide under or behind.\n\n> You go south\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\n> You go to the east\nYou head east, slowly circling around the outside of the fig tree roots.\n\nVery little sunlight reaches this side of the tree. Amongst its giant, twisting roots, you feel like you're in a world of stone.\n\nThe only way to go from here is west, to the other side of the tree.\n\nSam the knight is here. He looks tense, and ready to run away from you.\n\n> Chase sam west\nYou charge at Sam again, and again he escapes you by starting to leap and climb over the fig tree roots. He's heading west around the fig tree.\n\nKnowing you can't get over the big tree roots in your robe, you run away from the tree until you are clear of the roots, then circle around to the tree's other side. It takes awhile.\n\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nSam the knight is here. He looks tense, and ready to run away from you.\n\n> Chase sam north\nYou race at Sam as fast as you can. When he tries to escape around the fig tree, you jump in front of him with your arms spread out. Then... yes! He decides to go north into the gazebo! You rush after him -\n\nYou are in the gazebo, a building like a small tower with a white fence instead of a balcony around the outside of it.\n\nThere is only one way out of the gazebo, and that is through a gap in the fence to the south.\n\nSam skids to a halt.\n\nThere is a picnic table here.\n\nYou see Sam looking around for an escape route, but there isn't one - you're standing between him and the only way out of the gazebo. You've got him trapped!\n\n\"Help!\" he screams, \"The witch is coming to get me!\"\n\n> Tip sam\nSam wiggles from side to side, but there's no way for him to avoid you here. You grab his shoulder and say, \"Tip!\"\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"Ohhhhhh,\" Sam groans.\n\n> Go south\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nSam arrives from the north.\n\n> You go west\nYou're beside a giant garden bed. The flowers have been planted to create a rainbow pattern, and it's beautiful.\n\nPaths goes south, east and west.\n\n> You look at the flowers\n(the flowers)\nIn the garden bed rainbow, first come the red flowers, then the orange flowers, the yellow flowers, the green flowers, the blue flowers, and finally the purple flowers. The garden bed rises quite high from the ground, which makes you think someone could be hiding behind it.\n\n> You look behind the bed\nYou lean down and poke your head around the back of the garden bed. You can see a black shape there. What is that?\n\nSuddenly the shape comes to life and flies out into the open, giving you a big fright. \"AAAH!\" you shriek.\n\nNow you can see that the shape is Pia, who's dressed as a black cat. She springs away to the east on her long legs.\n\n> You go east\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nPia is here. She keeps her eyes on you as you approach.\n\nPia suddenly springs away all cat-like to the west.\n\n> You go west\nYou're beside a giant garden bed. The flowers have been planted to create a rainbow pattern, and it's beautiful.\n\nPaths goes south, east and west.\n\nPia is here. Her cat-eyes follow your movements.\n\n> Zap pia\nYou point your wand at Pia and yell out \"Zap!\"\n\nPia springs out of the way of your magic. You snap your fingers. She's too fast.\n\n> Chase pia east\nYou rush after Pia, jumping back and spreading your arms whenever she tries to get around you. By doing this a few times, you manage to get her to run east, and you follow her.\n\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nPia skids to a halt.\n\n> Chase pia north\nPia sees the path you've cleared to the gazebo and jumps inside. You follow behind her -\n\nYou are in the gazebo, a building like a small tower with a white fence instead of a balcony around the outside of it.\n\nThere is only one way out of the gazebo, and that is through a gap in the fence to the south.\n\nPia skids to a halt.\n\nThere is a picnic table here.\n\nPia's eyes dart around the gazebo. Her lips make an \"O\", like she's having a thinkies. You can tell she knows you've cornered her.\n\n> Tip pia\nAs you move towards Pia she takes a fast step in one direction, causing you to wobble, then quickly tries to step around you in the other direction. She is so tricky that her escape plan almost works, but there isn't enough room in the gazebo for her to get past you, and she ends up crashing right into your arms.\n\n\"Tip!\" you say, and you both laugh.\n\n> Go south\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nPia arrives from the north.\n\n> Go west\nYou're in a big grassy clearing at the northwest corner of the park.\n\nA path leads south towards the hedge maze, and another one goes east towards a colourful garden bed.\n\nYou have found Marion, who's dressed as a pirate. She's standing beside the roundabout, looking very proud of herself with one hand on her waist, the other holding her sword. When she sees you coming, she pushes her pirate hat firmly onto her head and raises her sword towards you.\n\n\"Ahoy!\" she cries. \"Ye be on my ship, landlubber!\"\n\n\"I'm no landlubber,\" you tell her. \"You shall call me Witch Demi.\" You stand up to look as tall and scary as you can.\n\nMarion leans on her sword and looks you up and down. She seems to decide you are tough enough. \"All right Witch Demi,\" she says, \"I'm Red Marion, and I challenge you to a duel.\"\n\nA duel! You know all about those from Harry Potter.\n\n\"I'll duel you,\" you say, \"and when I win, I'm gonna tip you.\"\n\n\"And if I win,\" says Marion, \"you have to give up tipping people and tell everyone I won this game.\"\n\nWhat a cheeky pirate... but you're not worried, because you're totally going to win.\n\n\"Okay Red Marion,\" you say. \"You made a big mistake deciding to mess with me.\" You lift up your wand and hold it tightly. \"I'm gonna zap you.\"\n\n\"Uh uh,\" she says. \"I'm gonna zap you.\"\n\n\"Let's duel!\" you say.\n\n> Y.\n[Author's Note: In the duel, you should use these special commands: ]\n\nZAP - Type this to try to zap Marion with your wand. If you hit her, you win!\nDODGE - Type this to try to run or jump out of the way of one of Marion's attacks.\nBLOCK - Type this to try to block one of Marion's attacks with your wand.\n\nIf you want to let Marion make the next move, you can try to WAIT.\n\nIf you want to see these special commands again, type SPECIAL.\n\nYou can also use regular commands during this duel if you think they will help - and they might!\n\"Go!\" shouts Marion. She dances a little to one side, then sprints across the grass in the other direction. It looks like she's headed for the roundabout.\n\n> Zap marion\n\"Expelliamus!\" you say, throwing a zap at Marion. Marion jumps in the air and does a little dance to twist out of the way. Wow!\n\n\"Missed me,\" she shouts. \"No funny magic words,\" she yells over her shoulder. \"You have to say 'zap' or it doesn't count.\"\n\n\"Okay,\" you shout back.\n\nMarion just made it to the far side of the roundabout. There, she kneels down so that the bars of the roundabout are giving her some cover. She grabs onto them with one hand, then leans out around the side of the roundabout to throw a shot at you with her sword - \"Zap!\"\n\n> Block\n\"Peoo!\" you say, swiping Marion's shot aside with your wand. Carefully but confidently, you begin to move towards the roundabout yourself. Marion pokes her head out from behind the bars to check what you're up to.\n\n> Spin roundabout\nYou're too far away from the roundabout to spin it.\n\n> Zap marion\n\"Zap!\" you yell, throwing another shot at Marion with a big snap of your wand. Marion ducks back behind the roundabout bars to get out of the way.\n\nNow's your chance. You run forward as quickly as you can to close the distance between yourself and the roundabout.\n\nYou made it! Now that you're right beside the roundabout, Marion isn't hidden from you any more. She's still kneeling down and hanging off the bar on the opposite side of the roundabout with one hand, and she looks surprised to see you're so close. \"Zap!\" she yells, chucking another shot at you over the roundabout, though she didn't aim very well.\n\n> Dodge\nYou step out of the way of Marion's zap - Oops, you bumped the roundabout! Marion shoots at you again immediately while you're confused - \"Zap!\"\n\nRats, she got you!\n\n\"Ha!\" says Marion. \"Nobody can defeat Red Marion in a duel! You lose, Witch Demi.\"\n\nUh oh. You told Marion she would be the winner of this game of tip if she beat you in the duel, and that's just what she's done...\n\n Please choose one of the following options:\n\n1 Undo your last move so you can keep the bad thing from happening!\n2 Restore a saved game\n3 Start a brand new game\n4 Quit playing for now\n\n> 1\n[Your last move has been undone.]\n\"Zap!\" you yell, throwing another shot at Marion with a big snap of your wand. Marion ducks back behind the roundabout bars to get out of the way.\n\nNow's your chance. You run forward as quickly as you can to close the distance between yourself and the roundabout.\n\nYou made it! Now that you're right beside the roundabout, Marion isn't hidden from you any more. She's still kneeling down and hanging off the bar on the opposite side of the roundabout with one hand, and she looks surprised to see you're so close. \"Zap!\" she yells, chucking another shot at you over the roundabout, though she didn't aim very well.\n\n> Block\nYou swat Marion's zap away with your wand. Oops, you bumped the roundabout! Marion shoots at you again immediately while you're confused - \"Zap!\"\n\nRats, she got you!\n\n\"Ha!\" says Marion. \"Nobody can defeat Red Marion in a duel! You lose, Witch Demi.\"\n\nUh oh. You told Marion she would be the winner of this game of tip if she beat you in the duel, and that's just what she's done...\n\n Please choose one of the following options:\n\n1 Undo your last move so you can keep the bad thing from happening!\n2 Restore a saved game\n3 Start a brand new game\n4 Quit playing for now\n\n> You turn roundabout\nYou give the roundabout a quick push.\n\n\"Ahh!\" cries Marion, losing her grip on the roundabout bar and falling backward onto the grass. This is your big chance!\n\nThe roundabout is spinning quickly.\n\n> Zap marion\n\"Zap!\" you shout, pointing your wand straight at Marion's vest.\n\n\"Argh!\" she cries, \"ya got me!\" Then she rolls around on the ground making loud dying noises.\n\nYou help Marion onto her feet, pat her on the back and say, \"Tip\".\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"Good work, Witch Demi,\" says Marion, shaking your hand. \"You're no landlubber after all.\" She gives you a salute with her sword.\n\n\"Thanks,\" you say, taking a little bow.\n\nThe roundabout is spinning.\n\n> You go south\nYou hear a bird cry out as you enter this big, open grassy area. To the west is the entrance to the hedge maze. It's a great place to hide, so you're sure that at least one of your friends will be in there. You will have to explore the maze to find out if you're right.\n\nPaths also lead north, south and east from here.\n\nSitting on the hedge beside the entrance to the maze is a big black bird, a raven. He must have called out when he saw you coming.\n\n\"Yes, here I am,\" you say. You feel sure this bird would be the kind to help a witch like yourself.\n\nMarion arrives from the north.\n\n> You go to the west\nYou have entered the hedge maze. Tall green walls of square hedge bend around each other, forming tricky patterns. It's spooky and mysterious, even on a sunny day. But it's exciting, too.\n\nThere are yellow arrows painted on the ground wherever you walk here. If you ever get lost, you can follow the arrows to the exit.\n\n[Author's Note: You won't need to make a map of the maze - In fact, it cannot be mapped! Just pay attention to what your ears and eyes tell you. ]\n\n[Author's Note: Also, compass directions don't work in here. Use LEFT and RIGHT instead. You can type EXIT to leave the maze at any time. ]\n\nNow, how would you like to control your movements while in the maze? Please choose one of the following setups by pressing 1 or 2:\n\n1 - Type LEFT to go left, RIGHT to go right and L to look.\n2 - Type L to go left, R to go right and LOOK to look.\n\n> 2\n<<  You chose set up number 2. Remember that typing L will be short for GO LEFT, not \"look\". Type the whole word LOOK if you want to see your location description again while in the maze.\n\nYou can check or change the controls later by typing CONTROLS. >>\n\n> You look\nYou stand in a narrow passage made by two hedges. It's dark and scary here. At the end of the passage you can turn left or right.\n\nYou just heard someone giggling! It sounded like it came from the right.\n\n> R.\nYou go right and run around more twisting hedges...\n\nThe hedges are quite close together here. It's almost like having a grass roof over your head. The end of the path splits so that you can turn either left or right.\n\nIt's quiet here. Maybe if you just listen, you'll hear that person sneaking around?\n\n> You listen\nThere! You heard someone giggling. It came from the left."
    },
    {
        "text": "> You look around\nYou turn left and run around more twisting hedges...\n\nThis part of the maze is up on a little slope. It's still not high enough for you to be able to see over the hedges, though. Paths go left and right.\n\nWhat was that? You heard someone giggle nearby. It sounded like it came from the left."
    },
    {
        "text": "[Themes: dog, sidekick NPC, child protagonist, family, children, cute, music, kids]\n\n> You look at your surroundings\nYou turn left and run further into the maze...\n\nYou have run into a grassy clearing in the maze. It is quite sunny here. There are two new openings leading back into the maze, one to your left and one to your right.\n\nThere's a pink, parrotty bird with a white crest on its head sitting on the hedge here. You recognise it as a galah. The galah made a lot of noise as you approached, but at the same time, you heard someone giggling nearby in the maze. Did that giggle come from the left or the right? You're not sure.\n\n> You examine the bird\nThe galah has white, pink and grey feathers. Its colours make it really stand out here in the maze. You learned at school that Aborigines gave the bird its name.\n\n> You listen\nYou haven't heard any new sounds yet. You might need to be patient and keep listening.\n\n> You listen\nYou wait a little longer and listen carefully, but don't hear anything new. You'll have to make a decision about which way to go.\n\n> You examine the hedge\nLooking at the hedges makes you wonder how they work. If you could grow a wall out of the ground using only plants, that would be a hedge. But how would it get to be so square? You will have to think about that later.\n\n> You listen\nYou wait a little longer and listen carefully, but don't hear anything new. Maybe the person heard you? You'll just have to pick a direction to go in."
    },
    {
        "text": "> You look at your surroundings\nYou go left and hurry around more twisting hedges...\n\nYou turn a corner and almost walk into a big stone pole. Hedge-lined paths go left and right away from here\n\nThe raven just landed on a hedge here and cried out. At the same time, you heard someone giggling nearby in the maze. But did that giggle come from the left or the right?\n\n> You examine the raven\nHe's a good-looking bird, dark and shiny like the night.\n\n> You look at the pole\nThe pole is twice as wide and twice as tall as you are. You're sure there is a special name for one of these things, but you forget what it is right now.\n\n> You listen\nNothing yet.\n\n> You listen\nYou wait a little longer and listen carefully, but don't hear anything new. You'll have to make a decision about which way to go.\n\n> Left\nYou go left and run around more twisting hedges...\n\nThe hedges are very tall and neat here, and form the shape of a big letter T. You can turn left or right.\n\nThere was the giggling again. It definitely came from the left.\n\n> Left\nYou turn left and hurry around more twisting hedges...\n\nA few of the hedges here are shaped like beachballs. How funny! You can go between the hedges on your left or the ones on your right.\n\nThe galah is here, and it called out at the same time you heard someone giggling nearby. But did that giggle come from the left or the right?\n\n> You listen to the galah\n[Author's Note: To listen carefully, all you have to type is LISTEN. ]\n\nYou wait a little while and listen carefully, but don't hear anything new. Maybe the person heard you? You'll just have to pick a direction to go in.\n\n> Right\nYou go right and hurry further into the maze...\n\nYou start to wonder if you're catching up with that giggling person or falling behind them. But then you remember that you are a clever and powerful witch. You feel confident about continuing the search. And if you do feel tired and would rather come back here later, you could always exit the maze and search for friends elsewhere for now.\n\nThis is a shady spot in the hedge maze with a green seat which people can sit on. You can continue through the maze by turning left or right.\n\nIt's quiet here.\n\n> You listen\nNothing yet.\n\n> Left\nYou turn left and hurry further into the maze...\n\nThe maze becomes curvy here. Ahead of you, it splits like a fork. One path curves away to the left. Another curves away to the right.\n\nThere was the giggling again. It definitely came from the left.\n\n> Left\nYou go left and run further into the maze...\n\nThere is a grate in the ground here. It's dark underneath and you can hear water running. Ahead of you, you can turn the corner left or right.\n\nThe galah is here, and it called out at the same time you heard someone giggling nearby. But did that giggle come from the left or the right?\n\n> Whistle\nThis is a bit embarrassing, but you can't whistle. Harriet can do it, and you keep trying to do it, and mum says one day you'll be able to do it, but you haven't been able to do it yet.\n\n> Zap galah\nThe galah can be a bit noisy, but you don't want to zap any birds. You have a feeling they're mostly on your side.\n\n> You look at what you're carrying with you\nYou are carrying:\na witch's hat (being worn)\nsome black robes (being worn)\na pair of black slippers (being worn)\nyour witch's wand\n\n> You look at the slippers\nThe slippers fit you well and are comfy.\n\n> You look at the hat\nIt's tall, pointy and black.\n\n> You hide\nImagine if the person doing the seeking in a game of hide and seek went and hid themselves. The game could go on forever! It's funny to think about, but it's not something you want to try today.\n\n> You look\nThere is a grate in the ground here. It's dark underneath and you can hear water running. Ahead of you, you can turn the corner left or right.\n\nThe galah sits on a hedge here.\n\n> Left\nYou go left and run further into the maze...\n\nYou're in a clearing with some smaller hedges which only come up to your waist, but the area is still surrounded by taller hedges. You will have to decide whether to go out the left side of the clearing or the right side.\n\nThe galah suddenly walks around the corner. It squawks as it hops up onto the hedge.\n\n> You examine the galah\nThe galah has white, pink and grey feathers. Its colours make it really stand out here in the maze. You learned at school that Aborigines gave the bird its name.\n\n> You listen\nYou wait a little while and listen carefully, but don't hear anything new. Maybe the person heard you? You'll just have to pick a direction to go in.\n\n> Zap hedge\nYou point your wand at the hedge and yell out \"Zap!\"\n\nNothing happens.\n\n> Right\nYou go right and hurry around more twisting hedges...\n\nYou have found a grass field in the maze. There's lots of space here to run around in. Across the field, two paths lead back into the maze. One goes left, the other right.\n\nYou've found Ayla! She's here in her princess costume. She must have been running away from you while you were following her around the maze, but it looks like she's not going to run away now.\n\nAyla smiles and says, \"Here I am.\"\n\n> Tip ayla\n\"Tip,\" you say, tapping Ayla on the arm.\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\n\"I had to find you without using my magic,\" you say.\n\n\"I was going to keep hiding from you,\" says Ayla, \"but it's shady in here and I want to go back in the sun. Let's get out of the maze.\"\n\n\"Good idea,\" you say.\n\n> Go outside\nYou and Ayla start to run through the maze, following the yellow arrows on the ground, and soon you are outside in the sun again.\n\nYou're in a big, open grassy area. To the west is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\n[Author's Note: Now that you're out of the maze, typing L is short for LOOK again. ]\n\nAyla stretches her arms and smiles at the sunshine. Then she turns to you and says, \"Hey Demi, can I stay with you and help you look for the others?\"\n\nHm. Secretly you'd hoped you could have a cat for a partner, because teaming up with a princess doesn't seem as witchy...\n\nDo you want Ayla to come with you? (Y/N)\n\n> Y.\n\"Sure,\" you say. \"Let's be a team.\"\n\n\"Yeah!\" says Ayla. \"Let's go.\"\n> out - [Your previous command]\n\nYou're already outside.\n\n> You look\nYou're in a big, open grassy area. To the west is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nAyla is here.\n\n> You examine Ayla\nAyla is small, but she has a huge smile and always looks happier than everyone else. Maybe that's why she can't help giggling so much. She has dark hair like you, except hers only goes to her shoulders, and she has a little fringe and plaits. Today she's a princess wearing a pink and white dress, and with a gold crown on her head.\n\n> You go south\nThree paths meet here to form a triangle. Pretty yellow flowers have been planted beside the pathways.\n\nYou can leave the triangle by going north, south or east.\n\nAyla is here.\n\n> Go south\nThis corner of the park is shaped like a circle, and has a hedge around it. In the centre of the clearing is a huge stone koala. The ground isn't covered in grass, but with honey-coloured stones. You like it here.\n\nYou can leave the circle by going north or east.\n\nAyla is here.\n\nThere's a little white and orange dog running around here. It looks happy, but where is the dog's owner?\n\nAyla gasps and says, \"Oh, look at this cute doggy.\" She kneels down and rubs the dog's head and chin while the dog jumps around her. \"You're the cutest, aren't you?\" she says to the dog. \"Yes, yes, yes!\"\n\nThe little dog runs around her in a circle, then shoots off to the north.\n\n\"Demi, let's follow the doggy,\" says Ayla, tugging at your sleeve. \"Come on.\"\n\n> Go north\nThree paths meet here to form a triangle. Pretty yellow flowers have been planted beside the pathways.\n\nYou can leave the triangle by going north, south or east.\n\nAyla is here.\n\nThe little dog is here, wagging its tail. It looks like it's been waiting for you.\n\n\"Doggy wants to play,\" says Ayla. \"See?\" She points at the little dog, who is looking back at the pair of you and dancing up and down. \"My mum says if you don't walk dogs and play with them, they go crazy. This doggy wants to play, so we have to play.\"\n\n\"But I want to look for people now!\" you say.\n\n\"We have to play with the dog,\" Ayla says firmly.\n\nThe little dog runs back and forth a couple of times, then scoots away to the north.\n\n> You go to the north\nYou're in a big, open grassy area. To the west is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nAyla is here.\n\nThe little dog is here, crouching down in the grass and watching you. The dog's tail is spinning like the top of a helicopter.\n\nAyla says, \"It's time to play with the doggy.\"\n\n> You play with the doggy\nYou run towards the little dog and it springs up to play with you. Ayla laughs and joins in. The dog chases Ayla in a loop then zips away to the east.\n\n> Go east\nThis is a wild place in the park. The plants are growing crazily, making you feel like you're in a forest or jungle.\n\nYou can see paths leading to the north, south and west. To the east you see a stone wall which comes up to your chest. Over the wall, it's a long way down to the grass.\n\nAyla is here.\n\nThe little dog is here, crouching down in the grass and watching you. The dog's tail is spinning like the top of a helicopter.\n\nThe little dog barks at you, wags its tail, then charges north.\n\n> Go north\nYou're beside a giant garden bed. The flowers have been planted to create a rainbow pattern, and it's beautiful.\n\nPaths goes south, east and west.\n\nAyla is here.\n\nThe little dog is rolling in the grass here, ready to play.\n\nAyla smiles at the little dog.\n\n> You play with the dog\nYou and Ayla run in a circle around the little dog, which makes it very confused. As you both start to laugh, the dog zips to the east.\n\n> Go east\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nAyla is here.\n\nThe little dog is bouncing back and forth here. It still wants to play.\n\nThe little dog wags its tail at you (it reminds you of a flag) then charges to the south.\n\n> You go south\nYou're in a cool, shaded field. It's nice to be out of the heat for a moment. To the west is a high stone wall covered in slippery moss. Near the base of the wall is a huge yellow rock. It looks like a small mountain.\n\nThere is more shade to the south and another path goes north.\n\nAyla is here.\n\nThe little dog is here, sniffing at the big rock.\n\n> You look behind the big rock\nYou peek around the side of the rock and see something green sticking out from around the corner. You quietly move around a little further and realise that you've found Vince, who's dressed all in green as an army soldier. He doesn't realise you've spotted him.\n\n> Tip vince\nYou clap Vince on the back and say, \"Tip!\" - which gives him quite a shock.\n\n[Author's Note: YOU JUST SCORED A POINT! ]\n\nHe comes out from behind the yellow rock with a big grin on his face. The little dog walks over to him and starts sniffing and pawing at his legs. Ayla giggles.\n\n\"What's this dog doing here?\" asks Vince.\n\n\"Doggy helped us find you,\" says Ayla.\n\nVince gives the dog an annoyed look. Then he smiles again. \"I'm practising to be a spy, and I'm pretty good. I was sneaking from one hiding place to another while you were looking for me. You girls wouldn't have found me without this dog.\"\n\n\"Yes we would,\" says Ayla. \"We were going to look here anyway, weren't we, Demi?\"\n\n\"Yeah,\" you say.\n\nVince looks suspicious.\n> tip vince - [Your previous command]\n\nYou already tipped him.\n\n\"I have spy work to do back at the picnic table,\" says Vince, standing up very straight and looking serious. \"Excuse me.\" Then he walks away to the south.\n\n> Go west\nYou can't go that way. It looks like you can go north (to the west side of the Moreton Bay Fig) or south (to the place in the shade by the mud).\n\n> You go to the south\nThis is a shady and damp area in the park. Far overhead, the tree branches knot together like fingers, chopping up the sunlight. It feels a bit spooky.\n\nYou can leave this shady place by going north or south.\n\nThere's a big puddle of mud here.\n\nAyla is here.\n\nVince is here.\n\nRose is here, watching your every move.\n\nVince sneaks away to the south.\n\n> You go to the west\nYou can't go that way. It looks like you can go north (to below the wall) or south (to the tree garden).\n\n> You go south\nYou've come into the Tree Garden. It's super neat here. The big trees go around the edge of the lawn in perfect lines. There's a smell in the air like someone just mowed the lawn.\n\nA path goes north into a mysterious-looking shaded area, and another goes back west to the edge of the park.\n\nAyla is here.\n\nVince is here.\n\nVince sneaks away to the west.\n\n> You go west\nThis is the south edge of the park. The sky is blue and bright today, and the air is warm.\n\nPaths lead north, east and west, and to the south is the picnic area.\n\nYou see some unwell trees here.\n\nAyla is here.\n\nVince is here.\n\nHundreds of leaves are scattered all over the ground. They must have fallen when that big wind blew.\n\nVince sneaks away to the south.\n\n> Go west\nThis corner of the park is shaped like a circle, and has a hedge around it. The ground isn't covered in grass, but with honey-coloured stones. You like it here.\n\nYou can leave the circle by going north or east.\n\nThe huge stone koala stands before you.\n\nAyla is here.\n\n> Go north\nThree paths meet here to form a triangle. Pretty yellow flowers have been planted beside the pathways.\n\nYou can leave the triangle by going north, south or east.\n\nAyla is here.\n\n> Go east\nThis is one place in the park where they haven't mown the grass. It's like a green ocean which comes up to your waist! It's fun. There are also weeds creeping around and hanging from the trees over some flowerbeds. In the branches of one tree is a wooden treehouse, and there's a metal ladder you can climb up to reach it.\n\nPaths leave this area to the north, south and west.\n\nAyla is here.\n\nJack suddenly pops out from behind the treehouse tree in his red and blue Spiderman costume.\n\nSeeing you, Jack dances on the spot for a moment before sprinting off to the north.\n\n> You go to the north\nThis is a wild place in the park. The plants are growing crazily, making you feel like you're in a forest or jungle.\n\nYou can see paths leading to the north, south and west. To the east you see a stone wall which comes up to your chest. Over the wall, it's a long way down to the grass.\n\nAyla is here.\n\nJack is scampering around here on all fours like a spider - if spiders had four legs, but you know they have eight.\n\nJack runs off to the west.\n\n> Go west\nYou're in a big, open grassy area. To the west is the entrance to the hedge maze.\n\nPaths also lead north, south and east from here.\n\nAyla is here.\n\nJack is here, pretending to tip-toe around you.\n\n> You chase the jack north\nYou run towards Jack - luckily for you, he decides to run to the north, just like you wanted! You chase after him.\n\nYou're in a big grassy clearing at the northwest corner of the park.\n\nA path leads south towards the hedge maze, and another one goes east towards a colourful garden bed.\n\nYou see the roundabout.\n\nAyla comes running along behind you.\n\nJack skids to a halt.\n\n> You chase jack east\nYou and Ayla have to chase Jack in a few circles before you're able to get him to run east. You follow close behind him -\n\nYou're beside a giant garden bed. The flowers have been planted to create a rainbow pattern, and it's beautiful.\n\nPaths goes south, east and west.\n\nAyla comes running along behind you.\n\nJack skids to a halt.\n\n> You chase jack east\nYou run towards Jack - luckily for you, he decides to run to the east, just like you wanted! You chase after him.\n\nYou stand before the biggest tree in the park, the Moreton Bay Fig. It seems to come from a world of giants. Close to the trunk, the roots alone are often taller than you are! They coil around each other like giant stone snakes. The tree blocks out the sky, and the top is so far away you can't see it.\n\nThis is the west side of the tree. You can make your way east around to the other side. There are also paths to the south and west, and you can enter the gazebo to the north.\n\nAyla arrives.\n\nJack skids to a halt.\n\n> You chase jack south\nYou and Ayla have to chase Jack in a few circles before you're able to get him to run south. You follow close behind him -\n\nYou're in a cool, shaded field. It's nice to be out of the heat for a moment. To the west is a high stone wall covered in slippery moss. Near the base of the wall is a huge yellow rock. It looks like a small mountain.\n\nThere is more shade to the south and another path goes north.\n\nAyla comes running along behind you.\n\nJack skids to a halt.\n\n> You chase jack south\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. With Ayla's help, you manage to get him to run south, and you follow him.\n\nThis is a shady and damp area in the park. Far overhead, the tree branches knot together like fingers, chopping up the sunlight. It feels a bit spooky.\n\nYou can leave this shady place by going north or south.\n\nThere's a big puddle of mud here.\n\nAyla comes running along behind you.\n\nJack skids to a halt.\n\n\"Watch yourself,\" says Rose.\n\nRose turns back to the tree to continue her counting.\n\nJack sticks his tongue out at Rose while she can't see. Ayla giggles.\n\nJack runs to the north.\n\n> Wait\nYou wait a moment, taking the opportunity to make sure your hat is secure on your head.\n\nRose counts, \"Ninety-eight...\"\n\n> You wait a while\nYou pause for a moment's thought.\n\nRose says, \"Ninety-nine...\"\n\n> You wait for a while\nYou wait a moment, taking the opportunity to make sure your hat is secure on your head.\n\nRose says, \"One hundred!\"\n\n> You wait a while\nYou have a little wait.\n\nRose suddenly stops counting and spins around to keep her eye on you.\n\n> Wait\nYou pause for a moment's thought. Rose is still watching you closely.\n\n> You go south\nYou've come into the Tree Garden. It's super neat here. The big trees go around the edge of the lawn in perfect lines. There's a smell in the air like someone just mowed the lawn.\n\nA path goes north into a mysterious-looking shaded area, and another goes back west to the edge of the park.\n\nAyla is here.\n\n> Go north\nYou're in a cool, shaded field. It's nice to be out of the heat for a moment. To the west is a high stone wall covered in slippery moss. Near the base of the wall is a huge yellow rock. It looks like a small mountain.\n\nThere is more shade to the south and another path goes north.\n\nAyla is here.\n\nJack is here, watching to see what your next move might be.\n\n> You chase jack south\nYou rush after Jack, jumping back and spreading your arms whenever he tries to get around you. With Ayla's help, you manage to get him to run south, and you follow him.\n\nThis is a shady and damp area in the park. Far overhead, the tree branches knot together like fingers, chopping up the sunlight. It feels a bit spooky.\n\nYou can leave this shady place by going north or south.\n\nThere's a big puddle of mud here.\n\nAyla comes running along behind you.\n\nJack skids to a halt.\n\nRose is here, watching you like a hawk.\n\n> You examine the mud\nIt looks like a small swamp. There's a nice mushy part at the edge where you could scoop some of it up.\n\n> You get the mud\nYou kneel by the mud and start to scoop up a little mud pie.\n\nRose sees what you're doing and shouts, \"Oh no you don't!\"\n\nShe rushes over to you and gives you a great big shove - face first right into the mud!\n\n\"AAAAAAAAAAAAAAAH!\" you scream...\n\nYou're drenched in mud! You can't believe it!\n\nYour attacker has already run away...\n\n Please choose one of the following options:\n\n1 Undo your last move so you can keep the bad thing from happening!\n2 Restore a saved game\n3 Start a brand new game\n4 Quit playing for now\n\n> You wait for a while\nYou rest for a moment.\n\nRose turns back to the tree to continue her counting.\n\nJack makes a crazy face at Rose while she can't see. Ayla giggles.\n\nJack runs to the north.\n\n> You get the mud\nYou manage to scoop up a squishy mud pie with your non-wand hand.\n\nRose says, \"One hundred and two...\"\n\n> You throw the mud at Rose\n(the mud pie at Rose)\nRose sure is a grouch, but... you're not sure you could throw a mud pie at a stranger.\n\n> You go north\nYou're in a cool, shaded field. It's nice to be out of the heat for a moment. To the west is a high stone wall covered in slippery moss. Near the base of the wall is a huge yellow rock. It looks like a small mountain.\n\nThere is more shade to the south and another path goes north.\n\nAyla is here.\n\nJack is here, pretending to tip-toe around you.\n\nJack sprints away to the south.\n\n> Go south\nThis is a shady and damp area in the park. Far overhead, the tree branches knot together like fingers, chopping up the sunlight. It feels a bit spooky.\n\nYou can leave this shady place by going north or south.\n\nThere's a big puddle of mud here.\n\nAyla is here.\n\nJack is here, watching to see what your next move might be.\n\nRose is here, leaning on a tree and counting aloud.\n\nRose says, \"One hundred and four.\"\n\n> You throw the mud at Jack\n(the mud pie at Jack)\nWhen Jack gets close again, you chuck your mud pie right at his chest... SPLAT!\n\n\"Arrgh!\" Jack cries. He looks totally shocked and stands there, holding his arms up and checking out his muddy self. Ayla puts her hands over her mouth. Then Jack starts to laugh.\n\nRose counts, \"One hundred and five -\"\n\n> Tip jack\nSeizing your chance, you poke Jack in the shoulder and say, \"Tip!\"\n\nYou've won! You, Ayla and Jack hurry back to the picnic area where your sister and the rest of your friends are waiting for you. Everyone congratulates you. Then Jack says, very loudly, \"I'm starving,\" and mum and dad bring out the party lunch.\n\nAs soon as Ayla sees the fairy bread, she says \"Yum,\" and runs over to stand next to it. Harriet runs over to be beside her.\n\nWhile you're all eating, Marion suggests that anyone wearing a hat should swap their hat with someone else. You put on Sam's helmet and give him your witch's hat. He looks very silly, and Harriet laughs at how you look now. Marion puts on Ayla's little gold crown, and Ayla's head disappears beneath Marion's giant pirate hat, which makes everybody laugh.\n\nYou don't like being without your hat for too long, though, so you take it back off Sam pretty quickly. You feel good when you put it back on.\n\nWhoops, you just remembered the lost dog! As you're about to tell mum and dad all about it, a lady comes into the picnic area from the park. She is holding a leash, and on the end of that leash is the little dog, who looks happy. \"I thought I'd lost you, Stevie,\" the lady says to the dog. \"We're going to get you a new leash.\"\n\nAyla has seen the lady too, and runs over to talk to her. You don't hear what they say to each other, but Ayla pats the dog again before waving goodbye to both of them.\n\n.\n.\n.\n\nThat night, after all your friends have gone home, you and Harriet are allowed to stay up past your bedtime to eat some more birthday cake.\n\n\"I don't think you'll ever get to sleep tonight after all this,\" says mum.\n\n\"Nobody can stop me getting to sleep,\" you say, waving her off. Harriet giggles as mum leaves the room.\n\n\"This was the best birthday ever,\" says Harriet, munching on her slice of cake. You definitely agree. You're about to tell her so when you notice that she's concentrating hard on her cake, and whenever she concentrates hard on food like that, she makes a little happy sound. You find it funny, but Harriet doesn't like it when you say she's making sounds, so you decide not to mention it.\n\n\"I agree,\" you say, and you feel very happy.\n\nA message from the author:\n\n\"Congratulations! You have completed the game with both sisters. You truly are a master of hide and seek tip. Thanks for playing.\"\nYOU HAVE UNLOCKED THE CHASE SUITE FOR SIX\n\nYou've now unlocked all of Six's extras.\nSix\n\nCopyright \u00a9 2011 All rights reserved\n\n\"The enemy of pirates is ninjas. Arrr!\" - Marion\n\nWhat do you wanna do? Please choose one of the following options:\n\n1 Start a new game as Harriet (Fairy)\n2 Start a new game as Demi (Witch)\n3 Restore a saved game\n4 Read the credits\n5 Run the configuration tests again\n6 Quit\n\n> 6\nOkay. Bye bye! (You can quit your interpreter program now.)"
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, druid, magic, rpg, fantasy, Dungeon Crawl, spells]\n\nWhen you claimed that you were tough enough to take on Malygris single-handedly, everyone knew you had been drinking much more than was good for you. And the prince is not one to let an opportunity pass. Before you could so much as protest, his court mage opened a portal and you were shoved through. Predictably, the portal immediately disappeared. You doubt they're going to open it up again -- but at least you can try to make good on your boast and kill Malygris, the Wizard of Kerkerkruip!\n\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThin clouds of smoke fill the room.\n\nExits lead west, up and down.\n\n[Author's Note: Kerkerkruip is a short-form roguelike in the interactive fiction medium, featuring meaningful tactical and strategic depth, innovative game play, zero grinding, and a sword & sorcery setting that does not rehash tired clich\u00e9s.]\n\n> You look at the rubies\nThey have been filled with the power of suns long extinct, and are now fixed to the ceiling of the wizard's domain. You cannot bear to look at them.\n\n> You look at the smoke\nThe smoke makes it harder to see clearly.\n\n> About you\nYou have fought many men and quite a few women, but fighting Malygris is something else. Your hairs are raised on end, and your body quivers with fear.\n\n> Status\nHealth: 17 of 17\nAttack: 2\nDefence: 8\nPerception: 6\nDexterity: 5\nWillpower: 6\n\n> You check your inventory\n-weapons:\na gilded rapier (readied)\n-other:\nthree packages of ment\n\n> You examine the ment\nCarefully folded in paper, this is just enough ment to get you pumped up for combat. You could snort it whenever you wish -- though you are a little hesitant to start your habit again.\n\n> You examine rapier\nYou took it from the body of the young Count of Poitier, that fateful night in Maurice's whorehouse. He would nevermore plot against you.\n\nCombat statistics: 1d5 + 0 damage; +0 attack modifier.\n\n> You take the rubies\nThey are secured to the ceiling by magic more powerful than you can break.\n\n> Up\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nA swarm of small daggers is flying through the air like a flock of birds, their sharp points eagerly seeking your flesh.\n\nYou can also see a scroll labelled HERMEI LE SCHIM and the goggles of acuity here.\n\nExits lead east and down (to Entrance Hall).\n\n> You look at the analyser\nThis weird machine can identify scrolls, and seems ready for operation. Just put a scroll in it, and it will do its magic.\n\n> You look at the swarm\nAnimated by some dark magic, these daggers purposefully seek to undo you.\n\nThe swarm of daggers is a level one hostile creature.\n\n> You look at the goggles\nThese goggles have been magically enchanted to grant sharper eyesight to the wearer. They were made for the marquis of Savon, who wasted his eyes poring over ancient tomes in his ill-lit library. (They grant a +2 bonus on perception checks.)\n\n> Parry\nYou strike up a defensive pose.\n\nRolling 6 + 3 (inherent bonus) - 0 (cannot parry against sharp points) + 1 (tension) = 10, the swarm of daggers beats your defence rating of 8.\n\nThe swarm of daggers deals 4 = 4 damage, wounding you to 13 health.\n\nYou lose your concentration!\n\n> Attack\n(the swarm of daggers)\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 1 + 2 (inherent bonus) - 2 (defender dodging) = 1, you do not overcome the swarm of daggers's defence rating of 4.\n\nThe swarm of daggers launches itself at you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 10 + 3 (inherent bonus) - 3 (defender dodging) + 1 (tension) = 11, the swarm of daggers beats your defence rating of 8.\n\nThe swarm of daggers deals 3 = 3 damage, wounding you to 10 health.\n\nThe swarm of daggers bears down upon you.\n\n> Attack\n(the swarm of daggers)\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 9 + 2 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 1 (tension) = 12, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 4 = 4 damage, wounding the swarm of daggers to 4 health.\n\nThe impact of the blow scatters the swarm of daggers. They will need to spend one action regrouping themselves.\n\n> Attack\n(the swarm of daggers)\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 5 + 2 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 1 (tension) = 8, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 3 + 1 (tension) = 4 damage, killing the swarm of daggers.\n\nAll life suddenly goes out of the daggers. For a moment they hang still in the air, but then the planet below pulls them inexorably downwards.\n\nAs the daggers fall down, you feel the soul that animated them absorbed into your own body. You are sharp. You are deadly. (Power of the daggers: +2 attack, +1 damage, -1 defence, +6 health, +1 dexterity, and the pierce skill.)\n\nAbsorbing a soul has fully healed you.\n\nYou have been awarded the Assistant dungeoneer achievement!\n\n> Status\nHealth: 23 of 23\nAttack: 4\nDefence: 7\nPerception: 6\nDexterity: 6\nWillpower: 6\nYou can pierce an enemy, accepting one damage for a chance to deal one damage to the enemy. (Level 1)\n\n> You take the goggles\nTaken.\n\n> You take the scroll\n(the scroll labelled HERMEI LE SCHIM)\nTaken.\n\n> You put the scroll in the analyzer\n(the scroll labelled HERMEI LE SCHIM in the scroll analyser)\nIt is a scroll of identify!\n\n> Wear the goggles\nYou put on the goggles of acuity.\n\n> You take the identify\nYou already have that."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, Dungeon Crawl]\n\n> You describe your surroundings\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead east and down (to Entrance Hall).\n\n> Examine books\nThat's hardly portable.\n\n>These tomes appear to be written in many different alphabets, but none you can make any sense of.\n\n> Go east\nThe only feature breaking the monotony of the circular room made of polished white marble is a huge statue. Hewn from flawless mountain crystal, it portrays the goddess Sul.\n\nAn exit leads west (to Library).\n\n> You look at the statue\nThis is the crystal-clear statue of Sul, goddess of blessings and purification. She has been known to lift curses; but she has also been rumoured to hate spurious prayers.\n\n> You go to the west\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead east (to Temple of Sul) and down (to Entrance Hall).\n\n> Down\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThin clouds of smoke fill the room.\n\nExits lead west, up (to Library) and down.\n\n> You remember\nYou have not yet explored:\n- the west exit of the Entrance Hall (where you currently are)\n- the down exit of the Entrance Hall (where you currently are)\n\nYou have visited the following rooms: Entrance Hall (here), Temple of Sul (up), Library (up).\n\nTip: \"look\", \"examine\" and \"inventory\" are free actions, so use them often.\n\n> Go west\nSeveral large pipes continuously spew forth vapours into this room.\n\nThick clouds of smoke fill the room.\n\nA skull-sized ball of gooish, undulating flesh jumps up and down ponderously. It is a jumping bomb, gathering speed and preparing to launch itself at one of its enemies.\n\nExits lead east (to Entrance Hall), west and down.\n\n> You examine the Flesh\n(the jumping bomb)\nConnoisseurs consider these jumping balls of red meat to be among the most exciting spectacles of Yahvinna's annual Feast of Flesh. To the slaves and convicts down in the arena, whose limbs the spectators hope to have blown into their lap, the jumping bombs also bring excitement, though of a wholly different type.\n\nThe jumping bomb is a level two hostile creature.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThin clouds of smoke fill the room.\n\nExits lead west (to Hall of Vapours), up (to Library) and down."
    },
    {
        "text": "> Go downward\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nA stunning young woman in a simple monk's robe awaits you.\n\nYou can also see a scroll labelled CHETNAK here.\n\nExits lead west, up (to Entrance Hall) and down.\n\n> You look at the woman\nAlthough she is currently working as one of Malygris's guards, Miranda dreams about a bright future as a famous adventurer.\n\nMiranda is a level one hostile creature. Miranda carries a pair of nunchucks. Miranda wears a monk's robe.\n\n> You do\nYou get ready for quick evasive maneuvers.\n\nRolling 10 + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 12, Miranda beats your defence rating of 7.\n\nMiranda deals 6 + 1 (tension) - 2 (stunning) = 5 damage, wounding you to 18 health.\n\nYou lose your concentration!\n\nYou are stunned!\n\n> Pierce\n(Miranda)\nYou transform part of your own flesh into a magical dagger, which then speeds towards Miranda of its own accord. Miranda rolls 1 + 7 (dexterity score) = 8 against a target number of 13, failing the dexterity check. The dagger hits, dealing 1 damage and reducing Miranda to 7 health.\n\nYou are no longer stunned.\n\n> Attack\n(Miranda)\nMiranda seeks the calm within.\n\nRolling 9 + 4 (inherent bonus) = 13, you beat Miranda's defence rating of 7.\n\nYou deal 3 + 2 (inherent bonus) = 5 damage, wounding Miranda to 2 health.\n\nMiranda loses concentration!\n\nMiranda seeks the calm within.\n\n> Attack\n(Miranda)\nMiranda attempts to ward off the attack.\n\nRolling 8 + 4 (inherent bonus) - 2 (defender parrying) + 1 (tension) = 11, you beat Miranda's defence rating of 7.\n\nYou deal 1 + 2 (inherent bonus) = 3 damage, killing Miranda.\n\n\"But... my adventure was only just beginning!\" cries Miranda.\n\nAs Miranda dies, you feel her soul absorbed into your own body. (Power of Miranda: +1 attack, +1 defence, +5 health, +1 perception, and the stun skill.)\n\nThe violence of the absorption drives the power of the daggers out of your body. Absorbing a soul has fully healed you.\n\n> Status\nHealth: 22 of 22\nAttack: 3\nDefence: 9\nPerception: 7\nDexterity: 5\nWillpower: 6\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\n\n> You examine the drawing\nThe artist has skillfully drawn a battle scene involving you, a chain golem, a jumping bomb, a mindslug, Fafhrd, Mouser, a healer of Aite, a tormentor of Aite and a defender of Aite. In the background, Malygris rises triumphant over all.\n\n> You look at the aite\nWho do you mean, the 1) tormentor of Aite, the 2) healer of Aite or the 3) defender of Aite?\n\n> Healer\nThis white-robed priest is a healer of Aite. Their task is to support the other fanatics in their never-ending crusade.\n\nThe healer of Aite is part of a level four group and hostile. The healer of Aite carries a healer's sword.\n\n> You take the scroll\n(the scroll labelled CHETNAK)\nTaken."
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy, druid]\n\n> You look at your surroundings\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nYou can see a pair of nunchucks and a monk's robe here.\n\nExits lead west, up (to Entrance Hall) and down.\n\n> You examine the nunchucks\nThese two pieces of wood with a metal chain between them can be surprisingly dangerous.\n\nCombat statistics: 1d6 + 0 damage; +0 attack modifier; good at parrying.\n\n> You examine Malygris\nHis white eyebrows are contracted to a single line on the umber parchment of his face, and beneath them his eyes are cold and green as the ice of ancient floes; his beard, half white, half of a black with glaucous gleams, falls nearly to his knees and hides many of the writhing serpentine characters inscribed in woven silver athwart the bosom of his violet robe. -- Clark Ashton Smith, The Last Incantation.\n\nMalygris is a level five hostile creature. Malygris carries a dagger of draining.\n\n> You check your inventory\n-weapons:\na gilded rapier (readied)\n-clothing:\nthe goggles of acuity (being worn)\n-scrolls:\na scroll labelled CHETNAK\na scroll of identify\n-other:\nthree packages of ment\n\n> You look at the robe\nA plain and simple robe. You doubt is it useful for any purpose but modesty.\n\n> You wield the nunchucks\nYou ready the pair of nunchucks.\n\n> You go to the Library\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThin clouds of smoke fill the room.\n\nExits lead west (to Hall of Vapours), up (to Library) and down (to Drawing Room).\n\n> You go to the Library\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead east (to Temple of Sul) and down (to Entrance Hall).\n\n> You put CHETNAK in the analyzer\nIt is a scroll of shadows! As you take back your scroll, something snaps within the analyser. It will probably never work again.\n\n> You look in the analyzer\nThe scroll analyser is empty.\n\n> You examine the analyzer\nThis weird machine can identify scrolls, but it seems to have broken down.\n\n> You remember\nYou have not yet explored:\n- the down exit of the Hall of Vapours (which lies down from here)\n- the west exit of the Drawing Room (which lies down from here)\n- the west exit of the Hall of Vapours (which lies down from here)\n- the down exit of the Drawing Room (which lies down from here)\n\nYou have visited the following rooms: Entrance Hall (down), Temple of Sul (east), Hall of Vapours (down), Library (here), Drawing Room (down).\n\nYou have seen the following creatures in these locations:\n- the jumping bomb (level 2) in Hall of Vapours (which lies down from here)\n\nTip: additional information can be gotten with \"status\", \"trophies\" and (once you have defeated enough monsters) \"sense\".\n\n> Trophies\nThe following creatures have been vanquished:\n- the swarm of daggers (level 1)\n- Miranda (level 1)"
    },
    {
        "text": "> Go downwards\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThin clouds of smoke fill the room.\n\nExits lead west (to Hall of Vapours), up (to Library) and down (to Drawing Room)."
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy]\n\n> Go downwards\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead west, up (to Entrance Hall) and down.\n\n> Go west\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see flaming bolts, fired by huge ballistae, flying right over your head -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours)."
    },
    {
        "text": "> Look around\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see a hopeful party of sixteen year old adventurers getting slaughtered by a defender of Aite -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours)."
    },
    {
        "text": "> You look around\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see vast armies of skeletons clash while their masters pray for the help of forbidden deities -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours)."
    },
    {
        "text": "[Themes: Dungeon crawl, rpg, Roguelike, spells]\n\n> You look around\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see fountains of fire erupting in the middle of a contingent of archers -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours)."
    },
    {
        "text": "> You look at your surroundings\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see shrieking ghosts being whipped into a frenzy by a necromancer thousands of years old -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours)."
    },
    {
        "text": "[Themes: Dungeon crawl, Dungeon Crawl, fantasy, magic]\n\n> Describe the surroundings\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see a hopeful party of sixteen year old adventurers getting slaughtered by a mindslug -- but the scene changes before you can focus on any details.\n\nThin clouds of smoke fill the room.\n\nExits lead east (to Drawing Room), west and up (to Hall of Vapours).\n\n> You go west\nWith a huge crash, the corridor collapses behind you!\n\nA vast staircase spirals up and down. In a pinch, you would be able to jump down to the room below, although this might not be particularly healthy.\n\nEquipped with a small sword and a huge shield, a heavily armoured man awaits any attacks.\n\nA black-robed mage stalks through the room.\n\nA white-robed healer of Aite is chanting in praise of his goddess.\n\nYou can also see a war mask here.\n\nExits lead up and down.\n\n> You examine mage\nYou immediately recognise the black-robed mage as a tormentor of Aite, savage priests who specialise in inflicting pain on all who oppose their faith.\n\nThe tormentor of Aite is part of a level four group and hostile. The tormentor of Aite carries a tormentor's staff.\n\n> You examine healer\nThis white-robed priest is a healer of Aite. Their task is to support the other fanatics in their never-ending crusade.\n\nThe healer of Aite is part of a level four group and hostile. The healer of Aite carries a healer's sword.\n\n> You look at the man\nThis heavily armoured priest is a defender of Aite, one of the front-line troops of the armies of this horrible faith.\n\nThe defender of Aite is part of a level four group and hostile. The defender of Aite carries a defender's sword.\n\n> You look at the mask\nThis warlike metal mask is painted with the holy symbols of Aite, and is a sacred object of her religion.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe tormentor raises her staff towards you, preparing a magical attack.\n\n> You jump down\nYou jump down into Workshop of the Blademaster, receiving 9 damage in the process.\n\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nYou can also see two fragmentation grenades, two flash grenades and the robe of the dead mage here.\n\nExits lead north and up (to Vast Staircase).\n\n> You examine the robe\n(the monk's robe)\nA plain and simple robe. You doubt is it useful for any purpose but modesty.\n\n> You examine the dead mage\nDominique, marquis of Savon, one of the great mages of his generation, was so fed up with losing his concentration when he was hit that he developed this robe. When the wearer is damaged in combat, he will not lose his concentration; but the protection comes from his life force, and the damage dealt to him is increased by 25% for every level of concentration. People say that nobody ever died with as much concentration as Dominique.\n\n> You examine Malygris\nHis white eyebrows are contracted to a single line on the umber parchment of his face, and beneath them his eyes are cold and green as the ice of ancient floes; his beard, half white, half of a black with glaucous gleams, falls nearly to his knees and hides many of the writhing serpentine characters inscribed in woven silver athwart the bosom of his violet robe. -- Clark Ashton Smith, The Last Incantation.\n\nMalygris is a level five hostile creature. Malygris carries a dagger of draining.\n\n> You look at the grenade\nWhich do you mean, a 1) flash grenade or a 2) fragmentation grenade?\n\n> You look at the flash grenade\nWhen thrown, this magical grenade emits a pulse of searing light so strong that it will blind anyone in its vicinity, even if they close their eyes. The device is universally judged to be Metastasio's most useless invention.\n\n> You examine the fragmentation grenade\nWhen thrown, the fragmentation grenade will explode into many sharp fragments. These are guaranteed to deal damage to everyone in the location. You cannot handle these items without a feeling of national pride; for it was this invention of Metastasio's that allowed the outnumbered forces of Louis VIII to defeat the Algirian hordes.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nA vast staircase spirals up and down. In a pinch, you would be able to jump down to the room below, although this might not be particularly healthy.\n\nEquipped with a small sword and a huge shield, a heavily armoured man awaits any attacks.\n\nA black-robed mage stalks through the room.\n\nA white-robed healer of Aite is chanting in praise of his goddess.\n\nYou can also see a war mask here.\n\nExits lead up and down (to Workshop of the Blademaster).\n\nThe healer of Aite concentrates, and is now mildly concentrated.\n\nThe defender of Aite concentrates, and is now mildly concentrated.\n\nThe tormentor raises her staff towards you, preparing a magical attack.\n\n> You examine the nunchucks\nThese two pieces of wood with a metal chain between them can be surprisingly dangerous.\n\nCombat statistics: 1d6 + 0 damage; +0 attack modifier; good at parrying.\n\n> Parry\nYou strike up a defensive pose.\n\nRolling 3 + 3 (inherent bonus) - 0 (cannot parry against tormentor's staff) + 1 (tormentor's staff bonus) + 3 (tension) = 10, the tormentor of Aite beats your defence rating of 9.\n\nThe tormentor of Aite deals 3 + 2 (tension) = 5 damage, wounding you to 8 health.\n\n> Up\nYou decide to run past your enemies.\n\nRolling 5 + 1 (inherent bonus) + 2 (concentration) + 1 (tension) + 4 (you are running) = 13, the defender of Aite beats your defence rating of 9.\n\nThe defender of Aite deals 3 + 2 (you are running) = 5 damage, wounding you to 3 health.\n\nRolling 10 + 3 (inherent bonus) + 1 (tormentor's staff bonus) + 4 (you are running) = 18, the tormentor of Aite beats your defence rating of 9.\n\nThe tormentor of Aite deals 2 + 2 (you are running) = 4 damage, killing you.\n\n\"Aite be praised!\" These are the last words you hear as magical pain racks your body.\n\n> You look at the crown\nThis harsh and heavy crown was once worn by one of the emperors of Yahvinna, a line of rulers known for their unbending willpower. (It grants a +2 bonus on willpower checks.)\n\n> You wear the crown\nYou put on the crown of the empire.\n\n> You take the scrolls\nscroll labelled HERMEI LE SCHIM: Taken.\nscroll labelled TWAN METIER: Taken.\n\n> You look at the goggles\nThese goggles have been magically enchanted to grant sharper eyesight to the wearer. They were made for the marquis of Savon, who wasted his eyes poring over ancient tomes in his ill-lit library. (They grant a +2 bonus on perception checks.)\n\n> Inventory\n-weapons:\na gilded rapier (readied)\n-clothing:\nthe goggles of acuity (being worn)\nthe crown of the empire (being worn)\n-scrolls:\na scroll labelled TWAN METIER\na scroll labelled HERMEI LE SCHIM\n-other:\nthree packages of ment\n\n> Go east\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nA small simian creature aggressively displays its strength.\n\nExits lead north and west (to Entrance Hall).\n\n> You look at the simian\nIt looks like a gorilla, except that is has an intensely red fur and is perhaps even more muscular. Thankfully, the ape is somewhat smaller than you are.\n\nThe blood ape is a level one hostile creature.\n\n> Attack\n(the blood ape)\nThe blood ape tries to jump out of the way.\n\nRolling 3 + 2 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 1 (tension) = 6, you do not overcome the blood ape's defence rating of 8.\n\nThe blood ape concentrates, and is now quite concentrated.\n\n> Attack\n(the blood ape)\nThe blood ape tries to jump out of the way.\n\nRolling 1 + 2 (inherent bonus) - 2 (defender dodging) + 2 (tension) = 3, you do not overcome the blood ape's defence rating of 8.\n\nThe blood ape swings at your head.\n\n> Attack\n(the blood ape)\nThe blood ape tries to jump out of the way.\n\nRolling 3 + 2 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 7, you do not overcome the blood ape's defence rating of 8.\n\nThe blood ape concentrates, and is now quite concentrated.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 4 (concentration) - 2 (defender dodging) + 3 (tension) = 6, the blood ape does not overcome your defence rating of 8.\n\n> Attack\n(the blood ape)\nThe blood ape tries to jump out of the way.\n\nRolling 8 + 2 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 4 (tension) = 16, you beat the blood ape's defence rating of 8.\n\nYou deal 2 + 2 (concentration) + 3 (tension) = 7 damage, wounding the blood ape to 1 health.\n\nThe blood ape concentrates, and is now mildly concentrated.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 8 + 2 (concentration) - 2 (defender dodging) + 3 (tension) = 11, the blood ape beats your defence rating of 8.\n\nThe blood ape deals 5 + 2 (tension) = 7 damage, wounding you to 2 health.\n\nYou lose your concentration!\n\nThe ape immediately licks the blood of its enemy from its knuckles. Nourished by this substance, it grows to large size!\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 6 + 1 (inherent bonus) + 2 (concentration) - 3 (defender dodging) + 3 (tension) = 9, the blood ape beats your defence rating of 8.\n\nThe blood ape deals 2 + 2 (tension) + 2 (large size) = 6 damage, killing you.\n\nThe blood ape pounds you into a pulp with its fists, then feasts on your body.\n\n> You wear the crown\n(first taking the crown of the empire)\nYou put on the crown of the empire.\n\n> You go east\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see two naked male slaves fighting to the death for the pleasure of their reptile mistress -- but the scene changes before you can focus on any details.\n\nA small simian creature aggressively displays its strength.\n\nExits lead north, south and west (to Entrance Hall).\n\nSuddenly, a drowning knight, crying for his god, appears. While only an image that flickers and then disappears, it startles you and the blood ape.\n\n> You look at the simian\nIt looks like a gorilla, except that is has an intensely red fur and is perhaps even more muscular. Thankfully, the ape is somewhat smaller than you are.\n\nThe blood ape is a level one hostile creature.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 2 (concentration) - 1 (defender dodging) + 2 (tension) = 4, the blood ape does not overcome your defence rating of 8.\n\n> Attack\n(the blood ape)\nThe blood ape concentrates, and is now mildly concentrated.\n\nRolling 8 + 2 (inherent bonus) + 4 (concentration) + 2 (tension) = 16, you beat the blood ape's defence rating of 8.\n\nYou deal 5 + 2 (concentration) + 1 (tension) = 8 damage, killing the blood ape.\n\nThe blood ape topples over with a small grunt.\n\nThe blood-hungry soul that animated the ape is absorbed into your own body. You are strong. You hunger for blood. (Power of the ape: +1 attack, +1 defence, +2 health; when you score a hit, your damage will increase for a short time.)\n\nAbsorbing a soul has fully healed you."
    },
    {
        "text": "> Describe the surroundings\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see shrieking ghosts being whipped into a frenzy by a necromancer thousands of years old -- but the scene changes before you can focus on any details.\n\nExits lead north, south and west (to Entrance Hall).\n\n> Go south\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nEquipped with a small sword and a huge shield, a heavily armoured man awaits any attacks.\n\nA black-robed mage stalks through the room.\n\nA white-robed healer of Aite is chanting in praise of his goddess.\n\nYou can also see two scrolls labelled CHETNAK here.\n\nExits lead north (to Phantasmagoria) and west.\n\n> You examine mage\nYou immediately recognise the black-robed mage as a tormentor of Aite, savage priests who specialise in inflicting pain on all who oppose their faith.\n\nThe tormentor of Aite is part of a level four group and hostile. The tormentor of Aite carries a tormentor's staff.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see flaming bolts, fired by huge ballistae, flying right over your head -- but the scene changes before you can focus on any details.\n\nExits lead north, south (to Hall of Mirrors) and west (to Entrance Hall).\n\n> You go north\nA huge magical portal dominates the room.\n\nYou can see a dimensional anchor here.\n\nAn exit leads south (to Phantasmagoria).\n\n> You examine the anchor\nThe tiny anchor made of marble may seem nothing but a sailor's souvenir, but appearances deceive. It has been imbued with a powerful spell that makes it impossible to teleport away from the room it is in. An ornate \"N\" at the bottom designates it as the work of the mysterious sorcerer Ningauble.\n\n> You take the anchor\nTaken.\n\n> You go south\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see several knights in plate armour struggling to reach the shores of a swamp, while the land retreats before them as if it were alive -- but the scene changes before you can focus on any details.\n\nExits lead north (to Portal Room), south (to Hall of Mirrors) and west (to Entrance Hall).\n\n> Go west\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south, east (to Phantasmagoria), west and up.\n\n> You go west\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nA stunning young woman in a simple monk's robe awaits you.\n\nYou can also see the robe of the dead mage here.\n\nExits lead north, east (to Entrance Hall) and up.\n\n> You look at the woman\nAlthough she is currently working as one of Malygris's guards, Miranda dreams about a bright future as a famous adventurer.\n\nMiranda is a level one hostile creature. Miranda carries a pair of nunchucks. Miranda wears a monk's robe.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 2 (concentration) - 2 (defender dodging) + 1 (tension) = 8, Miranda does not overcome your defence rating of 9.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 - 2 (defender dodging) + 2 (tension) = 7, Miranda does not overcome your defence rating of 9.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 - 2 (defender dodging) + 3 (tension) = 2, Miranda does not overcome your defence rating of 9.\n\n> Attack\n(Miranda)\nMiranda attempts to ward off the attack.\n\nRolling 5 + 3 (inherent bonus) + 8 (concentration) - 2 (defender parrying) + 4 (tension) = 18, you beat Miranda's defence rating of 7.\n\nYou deal 5 + 4 (concentration) + 2 (tension) + 1 (inherent bonus) = 12 damage, killing Miranda.\n\n\"But... my adventure was only just beginning!\" cries Miranda.\n\nAs Miranda dies, you feel her soul absorbed into your own body. (Power of Miranda: +1 attack, +1 defence, +5 health, +1 perception, and the stun skill.)\n\nThe violence of the absorption drives the power of the ape out of your body. Absorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, druid, spells]\n\n> You look around\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nYou can see a pair of nunchucks, a monk's robe and the robe of the dead mage here.\n\nExits lead north, east (to Entrance Hall) and up.\n\n> You examine the dead mage\nDominique, marquis of Savon, one of the great mages of his generation, was so fed up with losing his concentration when he was hit that he developed this robe. When the wearer is damaged in combat, he will not lose his concentration; but the protection comes from his life force, and the damage dealt to him is increased by 25% for every level of concentration. People say that nobody ever died with as much concentration as Dominique.\n\n> You look at the monk's robe\nA plain and simple robe. You doubt is it useful for any purpose but modesty.\n\n> You take all\npair of nunchucks: Taken.\nmonk's robe: Taken.\nrobe of the dead mage: Taken.\n\n> You go north\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nYou can see two flash grenades here.\n\nExits lead north and south (to Temple of Nomos).\n\n> You look at the grenade\nWhen thrown, this magical grenade emits a pulse of searing light so strong that it will blind anyone in its vicinity, even if they close their eyes. The device is universally judged to be Metastasio's most useless invention.\n\n> You take the grenades\nflash grenade: Taken.\nflash grenade: Taken.\n\n> You put monk's robe in the machine\nYou put the monk's robe in the curious machine. It starts clicking and beeping, and after a short while, a rust grenade drops on the ground.\n\n> You examine the rust grenade\nWhen thrown, this grenade will release a thick cloud of rust spores -- a nasty fungus that rusts away iron. Its use is forbidden in all civilised and most uncivilised countries.\n\n> You take the grenade\n(the rust grenade)\nTaken."
    },
    {
        "text": "[Themes: Dungeon crawl, magic, Roguelike, fantasy, rpg]\n\n> Look around\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nExits lead north and south (to Temple of Nomos).\n\n> Go south\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nExits lead north (to Alchemical Laboratory), east (to Entrance Hall) and up.\n\n> You examine Nomos\nWhile neither cruel nor evil, Nature as Law is the most uncaring and least merciful of all gods. His dictates are obeyed, not out of fear, but out of necessity. Praying to Nomos can be beneficial -- if you are willing to submit to his commands.\n\n> Pray\nA deep voice inside your head speaks: \"You will attack 3 turns from now. The law will be with you.\"\n\n> Go north\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nYou can see the boots of the war dance, the Blessed Grenade and a fungicide contraption here.\n\nExits lead north and south (to Alchemical Laboratory).\n\n(Remember: Nomos has told you to attack this turn.)\n\n> Attack\nWhat do you want to attack?\n\n> Attack boots\nThings are not your enemies.\n\n(Remember: Nomos has told you to attack this turn.)\n\n> You attack yourself\n>Unable to go automatically: you haven't provided a destination yet. Please use a command like \"go to Entrance Hall\" first."
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy]\n\n> Look around\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nYou can see the boots of the war dance, the Blessed Grenade and a fungicide contraption here.\n\nExits lead north and south (to Alchemical Laboratory).\n\n> You go to the south\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nExits lead north (to Bridge of Doom) and south (to Temple of Nomos).\n\n> You look at the boots\nThese graceful boots, supposedly made by the master of Algir, will grant you impeccable footwork in combat. This will undoubtedly grant you extra turns now and then.\n\n> You wear boots\n(first taking the boots of the war dance)\nYou put on the boots of the war dance.\n\n> You look at the contraption\nThis weird contraption contains a powerful fungus killing substance. Spraying it will immediately clear a room of all spores.\n\n> You examine blessed\nThis grenade is rumoured to be extremely effective against undead.\n\n> You take all\nBlessed Grenade: Taken.\nfungicide contraption: Taken.\n\n> You go north\nThe black stones have been scratched in a million fights, and will nevermore lose the faint colour of blood. This is the temple of Aite, whose laughing statue rises above all.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nAn exit leads south (to Bridge of Doom).\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nExits lead north (to Temple of Aite) and south (to Alchemical Laboratory).\n\n> You go to the south\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nExits lead north (to Bridge of Doom) and south (to Temple of Nomos).\n\n> Go south\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nExits lead north (to Alchemical Laboratory), east (to Entrance Hall) and up.\n\n> Status\nHealth: 25 of 25\nAttack: 3\nDefence: 9\nPerception: 5\nDexterity: 5\nWillpower: 5\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\n\n> Up\nThe only feature breaking the monotony of the circular room made of polished white marble is a huge statue. Hewn from flawless mountain crystal, it portrays the goddess Sul.\n\nA vast slug covered in green ooze has positioned itself in this room.\n\nYou can also see Mouser, Fafhrd, an unguentum argenti and a war mask here.\n\nExits lead east and down (to Temple of Nomos).\n\n> Examine slug\nIt is of the dreaded race of mindslugs, abominations that use their telepathic powers to enslave others.\n\nThe mindslug is a level three hostile creature.\n\n> You remember\nYou have not yet explored:\n- the up exit of the Entrance Hall (which lies down from here)\n- the east exit of the Temple of Sul (where you currently are)\n- the south exit of the Entrance Hall (which lies down from here)\n- the west exit of the Hall of Mirrors (which lies down from here)\n\nYou have visited the following rooms: Entrance Hall (down), Hall of Mirrors (down), Phantasmagoria (down), Bridge of Doom (down), Temple of Nomos (down), Temple of Aite (down), Temple of Sul (here), Alchemical Laboratory (down), Portal Room (down).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Temple of Sul (where you currently are)\n- Fafhrd (level 0) in Temple of Sul (where you currently are)\n- Mouser (level 0) in Temple of Sul (where you currently are)\n- the healer of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- the tormentor of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- the defender of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- Malygris (level 5) in Temple of Aite (which lies down from here)\n\nTip: you can move one room towards a location by typing \"go to location\".\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nExits lead north (to Alchemical Laboratory), east (to Entrance Hall) and up (to Temple of Sul).\n\n> You go to Entrance Hall\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south, east (to Phantasmagoria), west (to Temple of Nomos) and up.\n\n> You go south\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nYou can see an executioner's axe and an asbestos vest here.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down.\n\n> You examine the parts\nA gruesome collection of legs, arms, heads, intestines, and all other parts of the human body. If you really wanted to, you could search it for treasures.\n\n> Search parts\nAs you search the pile, a rotting corpse jumps out!\n\n> You look at the corpse\nThis corpse has definitely seen better times and it smells awfully.\n\nThe rotting corpse is a levelless undead creature.\n\n> You look at the axe\nThis is the blade that chopped off the head of Philip the Traitor after he had been found guilty of murdering his brother, Charles IV. Ever since, pilgrims have flocked to Montenoir's temple of Nomos to see and revere it. How it has ended up in this dungeon is anyone's guess.\n\nCombat statistics: 1d7 + 4 damage; -3 attack modifier; hard to parry; bad at parrying; better tension damage bonus."
    },
    {
        "text": "> Look around\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nYou can see an executioner's axe and an asbestos vest here.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down.\n\n> You take all\nexecutioner's axe: Taken.\nasbestos vest: Taken.\n\n> You examine the vest\nWhile it doesn't provide much protection against weapons, this vest could be useful for its fire resistance. It bears the signs of the Montenoir alchemist guild.\n\n> You wear the vest\nYou put on the asbestos vest.\n\n> You look at the axe\nThis is the blade that chopped off the head of Philip the Traitor after he had been found guilty of murdering his brother, Charles IV. Ever since, pilgrims have flocked to Montenoir's temple of Nomos to see and revere it. How it has ended up in this dungeon is anyone's guess.\n\nCombat statistics: 1d7 + 4 damage; -3 attack modifier; hard to parry; bad at parrying; better tension damage bonus.\n\n> Wield axe\nYou ready the executioner's axe."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, spells, fantasy]\n\n> Look around\nYou hum a battle hymn.\n\n>Quartering Room\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down."
    },
    {
        "text": "> Go downwards\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe room is dominated by a chain golem, a moving mass of iron and copper chains, both thick and thin, that hulks in its center.\n\nYou can also see a scroll labelled NAAR OD ERAE, a smoke grenade and three flash grenades here.\n\nAn exit leads up (to Quartering Room).\n\n> You examine the golem\nA hulking form made of metal chains and animated by a soul bound to it through dark magics.\n\nThe chain golem is a level two hostile creature.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down (to Drawing Room).\n\n> Inventory\n-weapons:\nan executioner's axe (readied)\na pair of nunchucks\na gilded rapier\n-clothing:\nan asbestos vest (being worn)\nthe boots of the war dance (being worn)\nthe robe of the dead mage\nthe crown of the empire (being worn)\n-grenades:\na rust grenade\ntwo flash grenades\n-other:\na fungicide contraption\na dimensional anchor\nthree packages of ment\n\n> You drop the axe\nDropped.\n\n> You drop the crown\n(first taking the crown of the empire off)\nDropped.\n\n> Inventory\n-clothing:\nan asbestos vest (being worn)\nthe boots of the war dance (being worn)\nthe robe of the dead mage\n-grenades:\na rust grenade\ntwo flash grenades\n-other:\na fungicide contraption\na dimensional anchor\nthree packages of ment"
    },
    {
        "text": "> You look at your surroundings\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nYou can see a pair of nunchucks, the crown of the empire, a gilded rapier and an executioner's axe here.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down (to Drawing Room).\n\n> Down\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe room is dominated by a chain golem, a moving mass of iron and copper chains, both thick and thin, that hulks in its center.\n\nYou can also see a scroll labelled NAAR OD ERAE, a smoke grenade and three flash grenades here.\n\nAn exit leads up (to Quartering Room).\n\nThe chain golem starts rotating slowly, spinning its chains around its core.\n\n> You throw the rust grenade\nYou throw the rust grenade, and it immediately releases a cloud of rust spores!\n\nThe chain golem speeds up, its chains whirling through the air.\n\nAs rust spores whirl around the room, the flash grenade rusts.\n\n> You throw the flash grenade\nYou throw the flash grenade, and a blinding light burns away the retinae of anyone unlucky enough to look at it, that is, you.\n\nAs rust spores whirl around the room, the flash grenade rusts.\n\nSeveral of the spinning chains attempt to smash themselves into you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 3 + 1 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 2 (tension) + 2 (defender blind) = 10, the chain golem beats your defence rating of 9.\n\nThe chain golem deals 2 + 1 (tension) + 4 (golem spinning) = 7 damage, wounding you to 18 health.\n\n> You look at the fungicide\nThis weird contraption contains a powerful fungus killing substance. Spraying it will immediately clear a room of all spores.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nRolling 3 + 1 (inherent bonus) + 2 (defender blind) = 6, the chain golem does not overcome your defence rating of 9.\n\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nYou can feel a pair of nunchucks, the crown of the empire, a gilded rapier and an executioner's axe here.\n\nExits lead north (to Entrance Hall), east (to Hall of Mirrors) and down (to Drawing Room).\n\n> Status\nHealth: 18 of 25\nAttack: 3\nDefence: 9\nPerception: 5\nDexterity: 5\nWillpower: 5\nYou are blind.\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\n\n> You remember\nYou have not yet explored:\n- the up exit of the Entrance Hall (which lies north from here)\n- the east exit of the Temple of Sul (which lies north from here)\n\nYou have visited the following rooms: Entrance Hall (north), Hall of Mirrors (east), Phantasmagoria (north), Bridge of Doom (north), Temple of Nomos (north), Temple of Aite (north), Temple of Sul (north), Alchemical Laboratory (north), Portal Room (north), Drawing Room (down), Quartering Room (here).\n\nYou have seen the following creatures in these locations:\n- the chain golem (level 2) in Drawing Room (which lies down from here) - the mindslug (level 3) in Temple of Sul (which lies north from here) - Fafhrd (level 0) in Temple of Sul (which lies north from here)\n- Mouser (level 0) in Temple of Sul (which lies north from here)\n- the healer of Aite (level 4) in Hall of Mirrors (which lies east from here)\n- the tormentor of Aite (level 4) in Hall of Mirrors (which lies east from here)\n- the defender of Aite (level 4) in Hall of Mirrors (which lies east from here)\n- Malygris (level 5) in Temple of Aite (which lies north from here)\n\nTip: if a fight proves too much for you, try to \"retreat\". On entering a room for the first time, you can always retreat for free.\n\n> You take all\npair of nunchucks: Taken.\ncrown of the empire: Taken.\ngilded rapier: Taken.\nexecutioner's axe: Taken.\n\n> Wield axe\nYou ready the executioner's axe.\n\n> You go to Entrance Hall\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south (to Quartering Room), east (to Phantasmagoria), west (to Temple of Nomos) and up.\n\n> Up\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nA skull-sized ball of gooish, undulating flesh jumps up and down ponderously. It is a jumping bomb, gathering speed and preparing to launch itself at one of its enemies.\n\nYou can also feel two scrolls labelled CISTROB JIRSGEV, a scroll labelled MORT EILYSH and a fragmentation grenade here.\n\nExits lead west (to Temple of Sul) and down (to Entrance Hall).\n\n> You examine the Flesh\n(the jumping bomb)\nConnoisseurs consider these jumping balls of red meat to be among the most exciting spectacles of Yahvinna's annual Feast of Flesh. To the slaves and convicts down in the arena, whose limbs the spectators hope to have blown into their lap, the jumping bombs also bring excitement, though of a wholly different type.\n\nThe jumping bomb is a level two hostile creature.\n\n> Status\nHealth: 18 of 25\nAttack: 3\nDefence: 9\nPerception: 5\nDexterity: 5\nWillpower: 5\nYou are blind.\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\n\n> Attack\n(the jumping bomb)\nAttacking is an action, not a reaction.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 5 - 2 (inherent penalty) + 4 (concentration) - 3 (defender dodging) + 3 (tension) + 2 (defender blind) - 4 (lower concentration bonus for jumping bomb) = 5, the jumping bomb does not overcome your defence rating of 9.\n\n> Attack\n(the jumping bomb)\nThe jumping bomb attempts to bump out of the way.\n\nRolling 5 + 3 (inherent bonus) + 8 (concentration) - 3 (defender dodging) - 3 (executioner's axe penalty) + 3 (tension) - 3 (blindness) = 10, you beat the jumping bomb's defence rating of 8.\n\nYou deal 7 + 4 (concentration) + 2 (tension) + 2 (executioner's axe benefits from tension) = 15 damage, killing the jumping bomb.\n\nAs the last of its blood flows out of the jumping bomb, it goes limp and falls to the floor like a punctured balloon.\n\nAs the bomb deflates, you feel its insane, beastly soul absorbed into your own body. (Power of the bomb: +2 attack, +2 defence, +10 health, and you will now explode when killed, giving you a last chance to defeat your enemy and perhaps absorb his soul in the process.)\n\nThe violence of the absorption drives the power of Miranda out of your body. Absorbing a soul has fully healed you.\n\nYou have been awarded the Adventurer achievement!"
    },
    {
        "text": "[Themes: Dungeon crawl, Dungeon Crawl, magic]\n\n> Describe the surroundings\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nYou can feel two scrolls labelled CISTROB JIRSGEV, a scroll labelled MORT EILYSH and a fragmentation grenade here.\n\nExits lead west (to Temple of Sul) and down (to Entrance Hall).\n\n> You take all\nscroll labelled CISTROB JIRSGEV: Taken.\nscroll labelled CISTROB JIRSGEV: Taken.\nscroll labelled MORT EILYSH: Taken.\nfragmentation grenade: Taken.\n\n> You look at the fragmentation\nWhen thrown, the fragmentation grenade will explode into many sharp fragments. These are guaranteed to deal damage to everyone in the location. You cannot handle these items without a feeling of national pride; for it was this invention of Metastasio's that allowed the outnumbered forces of Louis VIII to defeat the Algirian hordes.\n\n> You put CISTROB in the analyzer\nIt is a scroll of shadows!\n\n> You put MORT in analyzer\nIt is a scroll of identify!\n\n> You check your inventory\n-weapons:\nan executioner's axe (readied)\na gilded rapier\na pair of nunchucks\n-clothing:\nthe crown of the empire\nan asbestos vest (being worn)\nthe boots of the war dance (being worn)\nthe robe of the dead mage\n-scrolls:\na scroll of identify\ntwo scrolls of shadows\n-grenades:\na fragmentation grenade\na rusted flash grenade\n-other:\na fungicide contraption\na dimensional anchor\nthree packages of ment\n\n> You wear the crown\nYou put on the crown of the empire.\n\n> You remember\nAll locations have been explored.\n\nYou have visited the following rooms: Entrance Hall (down), Hall of Mirrors (down), Phantasmagoria (down), Bridge of Doom (down), Temple of Nomos (down), Temple of Aite (down), Temple of Sul (west), Alchemical Laboratory (down), Portal Room (down), Library (here), Drawing Room (down), Quartering Room (down).\n\nYou have seen the following creatures in these locations:\n- the rusted chain golem (level 2) in Drawing Room (which lies down from here)\n- the mindslug (level 3) in Temple of Sul (which lies west from here)\n- Fafhrd (level 0) in Temple of Sul (which lies west from here)\n- Mouser (level 0) in Temple of Sul (which lies west from here)\n- the healer of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- the tormentor of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- the defender of Aite (level 4) in Hall of Mirrors (which lies down from here)\n- Malygris (level 5) in Temple of Aite (which lies down from here)\n\nTip: additional information can be gotten with \"status\", \"trophies\" and (once you have defeated enough monsters) \"sense\".\n\n> Go west\nThe only feature breaking the monotony of the circular room made of polished white marble is a huge statue. Hewn from flawless mountain crystal, it portrays the goddess Sul.\n\nA vast slug covered in green ooze has positioned itself in this room.\n\nYou can also feel Mouser, Fafhrd, an unguentum argenti and a war mask here.\n\nExits lead east (to Library) and down (to Temple of Nomos).\n\nMouser concentrates, and is now mildly concentrated.\n\nFafhrd rushes towards you.\n\n> You look at Mouser\nMouser is a small, fast man. You know his type from the alleys and alehouses of Montenoir.\n\nMouser is a levelless enslaved creature. Mouser carries Mouser's sword.\n\n> You examine Fafhrd\nThis male barbarian is strong and muscular. He looks like an able and shrewd fighter.\n\nFafhrd is a levelless enslaved creature. Fafhrd carries Fafhrd's sword.\n\n> You examine the argenti\nAn expensive alchemical salve that can be rubbed on iron objects to turn them into silver.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 1 (inherent bonus) - 2 (defender dodging) + 1 (tension) + 2 (defender blind) = 6, Fafhrd does not overcome your defence rating of 10.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 8 + 2 (inherent bonus) - 3 (defender dodging) + 2 (tension) + 2 (defender blind) = 11, the mindslug beats your defence rating of 10.\n\nThe mindslug deals 1 + 1 (tension) = 2 damage, wounding you to 28 health.\n\nYou lose your concentration!\n\nMouser concentrates, and is now quite concentrated.\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 2 + 1 (inherent bonus) - 2 (defender dodging) + 1 (tension) + 2 (defender blind) = 4, Fafhrd does not overcome your defence rating of 10.\n\nThe mindslug concentrates, and is now mildly concentrated.\n\nFast as a snake, Mouser lashes out at you."
    },
    {
        "text": "[Themes: Dungeon crawl, rpg, magic]\n\n> You look around\nThe only feature breaking the monotony of the circular room made of polished white marble is a huge statue. Hewn from flawless mountain crystal, it portrays the goddess Sul.\n\nA vast slug covered in green ooze has positioned itself in this room.\n\nYou can also feel Mouser, Fafhrd, an unguentum argenti and a war mask here.\n\nExits lead east (to Library) and down (to Temple of Nomos).\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 4 (concentration) - 2 (defender dodging) + 2 (tension) + 2 (defender blind) = 13, Mouser beats your defence rating of 10.\n\nMouser deals 6 + 2 (concentration) + 1 (tension) = 9 damage, wounding you to 19 health.\n\n> Snort ment\nThere is absolutely no way you could pull that off in a combat situation. The ment would get spilled everywhere.\n\n> Attack mouser\nDeftly, Mouser rolls aside to avoid the attack.\n\nRolling 2 + 4 (inherent bonus) - 3 (defender dodging) - 3 (executioner's axe penalty) - 3 (blindness) + 2 (defender uninterested in own safety) = -1, you do not overcome Mouser's defence rating of 9.\n\nRaising its hideous body, the mindslug bears down on you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 9 + 2 (inherent bonus) + 2 (concentration) - 3 (defender dodging) + 1 (tension) + 2 (defender blind) = 13, the mindslug beats your defence rating of 10.\n\nThe mindslug deals 2 = 2 damage, wounding you to 17 health.\n\nFafhrd concentrates, and is now mildly concentrated.\n\nMouser concentrates, and is now mildly concentrated.\n\nThe mindslug blasts you with psionic energy. You roll 2 + 5 (willpower score) + 2 (crown of the empire) = 9 against a target number of 10, failing the willpower check. You fail to resist the mindslug's mental blast, and your willpower decreases to 4.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nRolling 3 + 2 (concentration) + 2 (tension) + 2 (defender blind) = 9, Mouser does not overcome your defence rating of 10.\n\nRolling 10 + 1 (inherent bonus) + 2 (concentration) + 2 (tension) + 2 (defender blind) = 17, Fafhrd beats your defence rating of 10.\n\nFafhrd deals 2 + 1 (tension) = 3 damage, wounding you to 14 health.\n\nRolling 5 + 2 (inherent bonus) + 2 (defender blind) = 9, the mindslug does not overcome your defence rating of 10.\n\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead west (to Temple of Sul) and down (to Entrance Hall).\n\n> Snort ment\nYou take a small mirror, a razor and a straw from one of your pockets, and carefully cut the ment on the surface of the mirror. The light blue powder is looking very good. Using the straw, you manage to get almost all of it in your nose. You inhale sharply a few times -- and feel the ment do its awesome work.\n\nEverything becomes clear, sharp, easy. You feel strong. You feel focused.\n\n> Status\nHealth: 14 of 30\nAttack: 4\nDefence: 10\nPerception: 4\nDexterity: 5\nWillpower: 4\nYou are blind.\nYou are under the influence of ment: +1 attack, +1 damage, -1 enemy damage, +1 defence, +1 to all abilities.\nWhen you die, you explode, dealing as much damage to your enemy as the enemy dealt to you. This gives you a last chance to kill your enemy, and perhaps absorb his soul and come back to life in the process. (Level 2)\n\n> Go west\nThe only feature breaking the monotony of the circular room made of polished white marble is a huge statue. Hewn from flawless mountain crystal, it portrays the goddess Sul.\n\nA vast slug covered in green ooze has positioned itself in this room.\n\nYou can also feel Mouser, Fafhrd, an unguentum argenti and a war mask here.\n\nExits lead east (to Library) and down (to Temple of Nomos).\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 1 (inherent bonus) - 2 (defender dodging) + 2 (defender blind) - 1 (your defence increased by ment) = 1, Fafhrd does not overcome your defence rating of 10.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 3 + 2 (inherent bonus) - 3 (defender dodging) + 2 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 5, the mindslug does not overcome your defence rating of 10.\n\nClouds of rust spores drift into the room.\n\nAs rust spores whirl around the room, the fragmentation grenade rusts.\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 1 (inherent bonus) - 2 (defender dodging) + 2 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 6, Fafhrd does not overcome your defence rating of 10.\n\nAs rust spores whirl around the room, the executioner's axe rusts.\n\n> Attack fafhrd\nFafhrd ducks aside.\n\nRolling 6 + 4 (inherent bonus) + 2 (concentration) - 3 (defender dodging) - 3 (executioner's axe penalty) + 3 (tension) - 3 (blindness) + 1 (ment) + 2 (defender uninterested in own safety) = 9, you beat Fafhrd's defence rating of 7.\n\nYou deal 7 + 2 (tension) - 2 (rust) + 2 (executioner's axe benefits from tension) + 1 (ment) = 10 damage, wounding Fafhrd to 3 health.\n\nMouser concentrates, and is now quite concentrated.\n\nThe mindslug concentrates, and is now mildly concentrated.\n\nAs rust spores whirl around the room, the war mask rusts.\n\nFast as a snake, Mouser lashes out at you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 2 + 4 (concentration) - 2 (defender dodging) + 2 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 7, Mouser does not overcome your defence rating of 10.\n\nAs rust spores whirl around the room, Mouser's sword rusts.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 5 + 1 (inherent bonus) - 2 (defender dodging) + 3 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 8, Fafhrd does not overcome your defence rating of 10.\n\nAs rust spores whirl around the room, the gilded rapier rusts.\n\nThe mindslug blasts you with psionic energy. You roll 5 + 4 (willpower score) + 2 (crown of the empire) + 1 (ment) = 12 against a target number of 11, succeeding at the willpower check. You resist the mindslug's influence!\n\n> Attack fafhrd\nFafhrd ducks aside.\n\nRolling 2 + 4 (inherent bonus) + 2 (concentration) - 3 (defender dodging) - 3 (executioner's axe penalty) + 4 (tension) - 3 (blindness) + 1 (ment) + 2 (defender uninterested in own safety) = 6, you do not overcome Fafhrd's defence rating of 7.\n\nFast as a snake, Mouser lashes out at you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 6 - 2 (defender dodging) + 4 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 9, Mouser does not overcome your defence rating of 10.\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 2 + 1 (inherent bonus) - 2 (defender dodging) + 5 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 7, Fafhrd does not overcome your defence rating of 10.\n\nThe mindslug blasts you with psionic energy. You roll 10 + 4 (willpower score) + 2 (crown of the empire) + 1 (ment) = 17 against a target number of 10, succeeding at the willpower check. You resist the mindslug's influence!\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 8 - 2 (defender dodging) + 6 (tension) + 2 (defender blind) - 1 (your defence increased by ment) = 13, Mouser beats your defence rating of 10.\n\nMouser deals 5 + 4 (tension) - 2 (rust) - 1 (ment makes you shrug off damage) = 6 damage, wounding you to 8 health.\n\nYou lose your concentration!\n\n> Inventory\n-weapons:\na rusted executioner's axe (readied)\na rusted gilded rapier\na pair of nunchucks\n-clothing:\nthe rusted crown of the empire (being worn)\nan asbestos vest (being worn)\nthe boots of the war dance (being worn)\nthe robe of the dead mage\n-scrolls:\na scroll of identify\ntwo scrolls of shadows\n-grenades:\na rusted fragmentation grenade\na rusted flash grenade\n-other:\na fungicide contraption\na dimensional anchor\ntwo packages of ment\n\n> You look at the fragmentation\nWhen thrown, the fragmentation grenade will explode into many sharp fragments. These are guaranteed to deal damage to everyone in the location. You cannot handle these items without a feeling of national pride; for it was this invention of Metastasio's that allowed the outnumbered forces of Louis VIII to defeat the Algirian hordes.\n\n> You examine the nunchucks\nThese two pieces of wood with a metal chain between them can be surprisingly dangerous.\n\nCombat statistics: 1d6 + 0 damage; +0 attack modifier; good at parrying.\n\n> You throw flash\nYou throw the flash grenade, and a blinding light burns away the retinae of anyone unlucky enough to look at it, that is, Mouser, Fafhrd and the mindslug.\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 6 + 1 (inherent bonus) - 2 (defender dodging) + 4 (tension) - 3 (blindness) + 2 (defender blind) - 1 (your defence increased by ment) = 7, Fafhrd does not overcome your defence rating of 10.\n\nRaising its hideous body, the mindslug bears down on you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 2 (inherent bonus) - 3 (defender dodging) + 5 (tension) - 3 (blindness) + 2 (defender blind) - 1 (your defence increased by ment) = 3, the mindslug does not overcome your defence rating of 10.\n\nMouser concentrates, and is now mildly concentrated.\n\n> You wield the nunchucks\nYou ready the pair of nunchucks.\n\nFafhrd rushes towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 1 (inherent bonus) - 2 (defender dodging) + 6 (tension) - 3 (blindness) + 2 (defender blind) - 1 (your defence increased by ment) = 10, Fafhrd does not overcome your defence rating of 10.\n\nThe mindslug blasts you with psionic energy. You roll 3 + 4 (willpower score) + 2 (crown of the empire) + 1 (ment) = 10 against a target number of 10, succeeding at the willpower check. You resist the mindslug's influence!\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 2 (concentration) - 2 (defender dodging) + 8 (tension) - 3 (blindness) + 2 (defender blind) - 1 (your defence increased by ment) = 13, Mouser beats your defence rating of 10.\n\nMouser deals 5 + 5 (tension) - 2 (rust) - 1 (ment makes you shrug off damage) = 7 damage, wounding you to 1 health.\n\nYou lose your concentration!\n\nThe mindslug blasts you with psionic energy. You roll 2 + 4 (willpower score) + 2 (crown of the empire) + 1 (ment) = 9 against a target number of 10, failing the willpower check. You fail to resist the mindslug's mental blast, and your willpower decreases to 3.\n\nFafhrd rushes towards you.\n\n> You throw the fragmentation grenade\nThe grenade explodes, dealing 5 damage to you (which is lethal); 3 damage to Mouser; 5 damage to Fafhrd (which is lethal); and 4 damage to the mindslug.\n\n> You check your inventory\n-weapons:\na gilded rapier (readied)\n-other:\nthree packages of ment\n\n> Go west\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nA pale man in dark robes, wielding a huge scythe, stands here. It is the Reaper, a serial killer who believes he is Death himself.\n\nYou can also see the goggles of acuity here.\n\nExits lead east (to Entrance Hall) and west.\n\n\"Do not be afraid, for I will end your suffering!\" the Reaper exclaims.\n\n> You look at Reaper\nHe once used to be a man like any other, but his vocation has left him unnaturally pale and gaunt.\n\nThe Reaper is a level two hostile creature. The Reaper carries a scythe of slaying.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead north and west (to Bridge of Doom).\n\n> Go north\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nA stunning young woman in a simple monk's robe awaits you.\n\nExits lead north, south (to Entrance Hall) and west.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nMiranda seeks the calm within.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nMiranda jumps towards you, intent on stunning.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 6, Miranda does not overcome your defence rating of 8.\n\n> Attack\n(Miranda)\nMiranda attempts to ward off the attack.\n\nRolling 6 + 2 (inherent bonus) + 8 (concentration) - 2 (defender parrying) + 3 (tension) = 17, you beat Miranda's defence rating of 7.\n\nYou deal 2 + 4 (concentration) + 2 (tension) = 8 damage, killing Miranda.\n\n\"But... my adventure was only just beginning!\" cries Miranda.\n\nAs Miranda dies, you feel her soul absorbed into your own body. (Power of Miranda: +1 attack, +1 defence, +5 health, +1 perception, and the stun skill.)\n\nAbsorbing a soul has fully healed you."
    },
    {
        "text": "> Look around\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nYou can see a pair of nunchucks and a monk's robe here.\n\nExits lead north, south (to Entrance Hall) and west.\n\n> You get all\npair of nunchucks: Taken.\nmonk's robe: Taken."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, magic]\n\n> Look around\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead north, south (to Entrance Hall) and west.\n\n> You examine Drawing\nThe artist has skillfully drawn a battle scene involving you, a blood ape, a jumping bomb, a Reaper, a giant tentacle, a healer of Aite, a tormentor of Aite and a defender of Aite. In the background, Malygris rises triumphant over all.\n\n> You look at the tentacle\nAeons ago, the Knight of the Dawn fought and killed a great tentacled horror known as Tooloo. So great was Tooloo's tenacity, however, that each of his tentacles continued to live on separately -- and this is one of them.\n\nThe giant tentacle is a level three hostile creature.\n\n> You examine healer\nThis white-robed priest is a healer of Aite. Their task is to support the other fanatics in their never-ending crusade.\n\nThe healer of Aite is part of a level four group and hostile. The healer of Aite carries a healer's sword.\n\n> You look at Reaper\nHe once used to be a man like any other, but his vocation has left him unnaturally pale and gaunt.\n\nThe Reaper is a level two hostile creature. The Reaper carries a scythe of slaying.\n\n> Status\nHealth: 23 of 23\nAttack: 3\nDefence: 9\nPerception: 5\nDexterity: 5\nWillpower: 7\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\n\n> You go south\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead north (to Drawing Room) and west (to Bridge of Doom).\n\n> You go to the west\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nA pale man in dark robes, wielding a huge scythe, stands here. It is the Reaper, a serial killer who believes he is Death himself.\n\nYou can also see the goggles of acuity here.\n\nExits lead east (to Entrance Hall) and west.\n\nThe Reaper contemplates the meaning of Death.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe Reaper advances towards you, saying \"Et in Arcadia ego!\" in a booming voice.\n\n> Parry\nYou strike up a defensive pose.\n\nRolling 4 + 1 (inherent bonus) + 8 (concentration) - 1 (defender parrying) - 2 (scythe of slaying penalty) + 3 (tension) = 13, the Reaper beats your defence rating of 9.\n\nThe Reaper deals 2 + 4 (concentration) + 2 (tension) - 2 (silver weapon) = 6 damage, wounding you to 17 health.\n\nYou lose your concentration!\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe Reaper contemplates the meaning of Death.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe Reaper immerses himself further into his meditations on mortality.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe Reaper immerses himself further into his meditations on mortality.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe Reaper advances towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 1 (inherent bonus) + 4 (concentration) - 3 (defender dodging) - 2 (scythe of slaying penalty) + 3 (tension) = 7, the Reaper does not overcome your defence rating of 9.\n\nYou successfully dodge the attack of the Reaper. Since there is no place to dodge to on the narrow bridge, your maneuver continues with an involuntary downward movement.\n\n> Go east\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nA pale man in dark robes, wielding a huge scythe, stands here. It is the Reaper, a serial killer who believes he is Death himself.\n\nExits lead east and west (to Entrance Hall).\n\n\"Do not be afraid, for I will end your suffering!\" the Reaper exclaims.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe Reaper contemplates the meaning of Death.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe Reaper immerses himself further into his meditations on mortality.\n\n> Parry\nYou strike up a defensive pose.\n\nRolling 7 + 1 (inherent bonus) + 8 (concentration) - 1 (defender parrying) - 2 (scythe of flaming penalty) + 2 (tension) = 15, the Reaper beats your defence rating of 8.\n\nThe Reaper deals 3 + 4 (concentration) + 1 (tension) + 3 (heat) = 11 damage, wounding you to 8 health.\n\nReeling from the blow, you balance on the edge of the bridge. You roll 4 + 5 (dexterity score) = 9 against a target number of 8, succeeding at the dexterity check. You manage to stay on the bridge.\n\n> Attack\n(the Reaper)\nThe Reaper immerses himself further into his meditations on mortality.\n\nRolling 3 + 2 (inherent bonus) + 4 (concentration) + 2 (tension) = 11, you beat the Reaper's defence rating of 8.\n\nYou deal 4 + 2 (concentration) + 1 (tension) = 7 damage, wounding the Reaper to 4 health.\n\nThe Reaper loses concentration!\n\nThe Reaper contemplates the meaning of Death."
    },
    {
        "text": "[Themes: Dungeon crawl, magic, druid]\n\n> Look around\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nYou can see a very hot scythe of flaming here.\n\nExits lead east and west (to Entrance Hall).\n\n> You get all\nvery hot scythe of flaming: Taken.\n\n> You examine scythe\nEnchanted with a spell of heat, this scythe always remains unnaturally hot.\n\nThe scythe of flaming is very hot.\n\nCombat statistics: 1d10 + 0 damage; -2 attack modifier; hard to parry; bad at parrying.\n\n> Go east\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nYou can see three smoke grenades and the goggles of acuity here.\n\nExits lead west (to Bridge of Doom) and up.\n\n> You get all\nsmoke grenade: Taken.\nsmoke grenade: Taken.\nsmoke grenade: Taken.\ngoggles of acuity: Taken.\n\n> You examine Drawing\nThe artist has skillfully drawn a battle scene involving you, a blood ape, Miranda, a jumping bomb, a giant tentacle and Bodmall. In the background, Malygris rises triumphant over all.\n\n> You examine Bodmall\nWhy the great druidess Bodmall has chosen to work together with Malygris is a subject of much speculation among scholars of the occult -- but here she is, standing between you and victory. She is a very powerful foe.\n\nBodmall is a level four hostile creature.\n\n> Go upwards\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nA single giant tentacle guards against intruders.\n\nExits lead north, west and down (to Drawing Room).\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead west (to Bridge of Doom) and up (to Quartering Room).\n\n> You look at the tentacle\nAeons ago, the Knight of the Dawn fought and killed a great tentacled horror known as Tooloo. So great was Tooloo's tenacity, however, that each of his tentacles continued to live on separately -- and this is one of them.\n\nThe giant tentacle is a level three hostile creature.\n\n> Status\nHealth: 29 of 29\nAttack: 4\nDefence: 10\nPerception: 5\nDexterity: 5\nWillpower: 5\nYou partake of the omnipresence of Death. You can reap anyone you have seen, which will instantly teleport you to their location -- although Death will assert his power over you in the process. (Level 2)\n\n> You go west\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nExits lead east (to Drawing Room) and west (to Entrance Hall).\n\n> Go west\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south, east (to Bridge of Doom), up and down.\n\n> You go south\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see several knights in plate armour struggling to reach the shores of a swamp, while the land retreats before them as if it were alive -- but the scene changes before you can focus on any details.\n\nYou can see the robe of the dead mage here.\n\nAn exit leads north (to Entrance Hall).\n\n> You wear robe\nYou put on the robe of the dead mage.\n\n> Go north\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south (to Phantasmagoria), east (to Bridge of Doom), up and down."
    },
    {
        "text": "[Themes: Dungeon crawl, spells, magic]\n\n> Go down\nSkulls and bones lie scattered amongst the ruined tombs. One big sarcophagus is still intact, and currently closed.\n\nYou can see an asbestos vest here.\n\nExits lead north and up (to Entrance Hall).\n\n> You check your inventory\n-weapons:\na very hot scythe of flaming\na gilded rapier (readied)\n-clothing:\nan asbestos vest\nthe robe of the dead mage (being worn)\nthe goggles of acuity (being worn)\n-grenades:\nthree smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment\n\n> You wear the vest\nYou will first have to take off the robe of the dead mage.\n\n> You remove robe\nYou take off the robe of the dead mage.\n\n> You wear the vest\nYou put on the asbestos vest."
    },
    {
        "text": "> You look at your surroundings\nSkulls and bones lie scattered amongst the ruined tombs. One big sarcophagus is still intact, and currently closed.\n\nExits lead north and up (to Entrance Hall).\n\n> You examine the sarcophagus\nA marble monstrosity carved with skeletons and other symbols of death.\n\n> Go north\nThe black stones have been scratched in a million fights, and will nevermore lose the faint colour of blood. This is the temple of Aite, whose laughing statue rises above all.\n\nA stunning young woman in a simple monk's robe awaits you.\n\nYou can also see two scrolls labelled NAAR OD ERAE here.\n\nAn exit leads south (to Crypt).\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 8 + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 10, Miranda does not overcome your defence rating of 10.\n\n> Attack\n(Miranda)\nMiranda seeks the calm within.\n\nRolling 7 + 4 (inherent bonus) + 8 (concentration) + 3 (tension) = 22, you beat Miranda's defence rating of 7.\n\nYou deal 3 + 4 (concentration) + 2 (tension) = 9 damage, killing Miranda.\n\n\"But... my adventure was only just beginning!\" cries Miranda.\n\nAs Miranda dies, you feel her soul absorbed into your own body. (Power of Miranda: +1 attack, +1 defence, +5 health, +1 perception, and the stun skill.)\n\nAbsorbing a soul has fully healed you.\n\n> Status\nHealth: 34 of 34\nAttack: 5\nDefence: 11\nPerception: 6\nDexterity: 5\nWillpower: 5\nYou have the stun skill: you can try to stun an enemy; this means you attack with a -2 damage penalty, but if you hit you will decrease the opponent's effectiveness for several rounds. (Level 1)\nYou partake of the omnipresence of Death. You can reap anyone you have seen, which will instantly teleport you to their location -- although Death will assert his power over you in the process. (Level 2)"
    },
    {
        "text": "[Themes: Dungeon crawl, spells, Dungeon Crawl]\n\n> Describe the surroundings\nThe black stones have been scratched in a million fights, and will nevermore lose the faint colour of blood. This is the temple of Aite, whose laughing statue rises above all.\n\nYou can see a pair of nunchucks, a monk's robe and two scrolls labelled NAAR OD ERAE here.\n\nAn exit leads south (to Crypt).\n\n> You get all\npair of nunchucks: Taken.\nmonk's robe: Taken.\nscroll labelled NAAR OD ERAE: Taken.\nscroll labelled NAAR OD ERAE: Taken.\n\n> You examine Aite\nA vast statue made of razor sharp weapons. The goddess of chaos and destruction is a dangerous one to worship -- but it can be worth it.\n\n> Pray\nYou ask Aite for help in battle, and anxiously await the consequences.\n\n> You go south\nSkulls and bones lie scattered amongst the ruined tombs. One big sarcophagus is still intact, and currently closed.\n\nExits lead north (to Temple of Aite) and up (to Entrance Hall).\n\n> Go upwards\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south (to Phantasmagoria), east (to Bridge of Doom), up and down (to Crypt).\n\n> Go east\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nExits lead east (to Drawing Room) and west (to Entrance Hall).\n\n> Go east\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead west (to Bridge of Doom) and up (to Quartering Room).\n\n> You go upwards\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nA single giant tentacle guards against intruders.\n\nExits lead north, west and down (to Drawing Room).\n\nA gigantic sword bursts out of the ground, skewering you for 8 damage!\n\nThe giant tentacle moves in to grab you.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nRolling 5 + 4 (inherent bonus) = 9, the giant tentacle does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now maximally concentrated.\n\nThe giant tentacle moves in to grab you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 4 (inherent bonus) - 2 (defender dodging) + 2 (tension) = 5, the giant tentacle does not overcome your defence rating of 11.\n\n> Attack\n(the giant tentacle)\nThe giant tentacle tries to avoid the blow.\n\nRolling 4 + 5 (inherent bonus) + 8 (concentration) - 2 (defender dodging) + 2 (tension) = 17, you beat the giant tentacle's defence rating of 10.\n\nYou deal 2 + 4 (concentration) + 1 (tension) = 7 damage, wounding the giant tentacle to 17 health.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe giant tentacle moves in to grab you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 10 + 4 (inherent bonus) - 2 (defender dodging) + 1 (tension) = 13, the giant tentacle beats your defence rating of 11.\n\nThe giant tentacle wraps itself around you!\n\nThe giant tentacle deals 0 = 0 damage, but holds on to you.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe giant tentacle tightens its muscles, dealing 1 damage to you.\n\n> You concentrate\nYou concentrate, and are now maximally concentrated.\n\nThe giant tentacle tightens its muscles, dealing 2 damage to you.\n\n> Attack\n(the giant tentacle)\nThe giant tentacle vigourously shakes you, aiming to confuse and confound. You roll 3 + 5 (willpower score) = 8 against a target number of 9, failing the willpower check. You are confused.\n\nYou lose your concentration!\n\nRolling 5 + 5 (inherent bonus) + 3 (tension) - 2 (confused) = 11, you beat the giant tentacle's defence rating of 10.\n\nYou deal 4 + 2 (tension) = 6 damage, wounding the giant tentacle to 11 health.\n\nRecoiling in pain, the giant tentacle lets go of you.\n\nYou are no longer confused.\n\nThe giant tentacle concentrates, and is now mildly concentrated.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 3 + 4 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 9, the giant tentacle does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe giant tentacle moves in to grab you.\n\n> Attack\n(the giant tentacle)\nAttacking is an action, not a reaction.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 4 (inherent bonus) - 2 (defender dodging) + 3 (tension) = 6, the giant tentacle does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now maximally concentrated.\n\nThe giant tentacle moves in to grab you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 4 (inherent bonus) - 2 (defender dodging) + 4 (tension) = 10, the giant tentacle does not overcome your defence rating of 11.\n\n> Attack\n(the giant tentacle)\nThe giant tentacle tries to avoid the blow.\n\nRolling 9 + 5 (inherent bonus) + 8 (concentration) - 2 (defender dodging) + 5 (tension) = 25, you beat the giant tentacle's defence rating of 10.\n\nYou deal 1 + 4 (concentration) + 3 (tension) = 8 damage, wounding the giant tentacle to 3 health.\n\nThe giant tentacle moves in to grab you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 9 + 4 (inherent bonus) - 2 (defender dodging) + 3 (tension) = 14, the giant tentacle beats your defence rating of 11.\n\nThe giant tentacle wraps itself around you!\n\nThe giant tentacle deals 0 + 2 (tension) = 2 damage, wounding you to 21 health.\n\nThe giant tentacle tightens its muscles, dealing 1 damage to you.\n\n> Attack\n(the giant tentacle)\nThe giant tentacle vigourously shakes you, aiming to confuse and confound. You roll 8 + 5 (willpower score) = 13 against a target number of 9, succeeding at the willpower check. You remain sharp.\n\nRolling 8 + 5 (inherent bonus) + 1 (tension) = 14, you beat the giant tentacle's defence rating of 10.\n\nYou deal 4 + 1 (tension) = 5 damage, killing the giant tentacle.\n\nThe giant tentacle crashes down, never to rise again.\n\nAs the giant tentacle dies, you feel its soul absorbed into your own body. (Power of the tentacle: +3 attack, +3 defence, +15 health, and you can attempt to confuse an enemy when you are attacked.)\n\nThe violence of the absorption drives the power of Miranda and the power of the Reaper out of your body. Absorbing a soul has fully healed you.\n\nYou have been awarded the Hunter achievement!\n\n> Inventory\n-weapons:\na pair of nunchucks\na very hot scythe of flaming\na gilded rapier (readied)\n-clothing:\na monk's robe\nan asbestos vest (being worn)\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\ntwo scrolls labelled NAAR OD ERAE\n-grenades:\nthree smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment"
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy, Dungeon Crawl, spells, druid, magic]\n\n> Look around\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north, west and down (to Drawing Room).\n\n> Search pile\nAs you search the pile, a rotting corpse jumps out!\n\nThe rotting corpse concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe rotting corpse walks towards you, its arms raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 1 + 3 (inherent bonus) + 2 (concentration) - 3 (defender dodging) + 1 (tension) = 4, the rotting corpse does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe rotting corpse walks towards you, its arms raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 3 (inherent bonus) - 3 (defender dodging) + 2 (tension) = 9, the rotting corpse does not overcome your defence rating of 11.\n\n> Attack\n(the rotting corpse)\nThe corpse walks out of the way.\n\nRolling 3 + 5 (inherent bonus) + 8 (concentration) - 2 (defender dodging) + 3 (tension) = 17, you beat the rotting corpse's defence rating of 8.\n\nYou deal 1 + 4 (concentration) + 2 (tension) = 7 damage, wounding the rotting corpse to 14 health.\n\nAs the corpse reels back from the blow, his rotting left leg falls off.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe rotting corpse hops towards you, its arms raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 3 (inherent bonus) - 3 (defender dodging) + 2 (tension) - 1 (missing limbs) = 5, the rotting corpse does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe rotting corpse hops towards you, its arms raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 4 + 3 (inherent bonus) - 3 (defender dodging) + 3 (tension) - 1 (missing limbs) = 6, the rotting corpse does not overcome your defence rating of 11.\n\n> Attack\n(the rotting corpse)\nThe corpse hops out of the way.\n\nRolling 3 + 5 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 3 (tension) + 2 (corpse misses a leg) = 15, you beat the rotting corpse's defence rating of 8.\n\nYou deal 4 + 2 (concentration) + 2 (tension) = 8 damage, wounding the rotting corpse to 6 health.\n\nAs the corpse reels back from the blow, his rotting left arm falls off.\n\nThe rotting corpse concentrates, and is now mildly concentrated.\n\nThe rotting left leg decays completely.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe rotting corpse hops towards you, its single arm raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 6 + 3 (inherent bonus) + 2 (concentration) - 3 (defender dodging) + 2 (tension) - 2 (missing limbs) = 8, the rotting corpse does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe rotting corpse hops towards you, its single arm raised.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 3 (inherent bonus) - 3 (defender dodging) + 3 (tension) - 2 (missing limbs) = 8, the rotting corpse does not overcome your defence rating of 11.\n\n> Attack\n(the rotting corpse)\nThe corpse hops out of the way.\n\nRolling 9 + 5 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 4 (tension) + 2 (corpse misses a leg) = 22, you beat the rotting corpse's defence rating of 8.\n\nYou deal 3 + 2 (concentration) + 2 (tension) = 7 damage, killing the rotting corpse.\n\nThe rotting corpse disintegrates slimily."
    },
    {
        "text": "[Themes: Dungeon crawl, druid, Dungeon Crawl, magic]\n\n> Look around\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nYou can see a rotting left arm here.\n\nExits lead north, west and down (to Drawing Room).\n\n> You examine the arm\nIt used to belong to the rotting corpse.\n\n> You get the arm\nYou will not touch that. You will touch a lot of things, but not that.\n\n> Inventory\n-weapons:\na pair of nunchucks\na very hot scythe of flaming\na gilded rapier (readied)\n-clothing:\na monk's robe\nan asbestos vest (being worn)\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\ntwo scrolls labelled NAAR OD ERAE\n-grenades:\nthree smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment\n\n> You wield the nunchucks\nYou ready the pair of nunchucks.\n\nThe rotting left arm decays completely.\n\n> Search\nWhat do you want to search?"
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy, Dungeon Crawl, spells, druid, magic]\n\n> Look around\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north, west and down (to Drawing Room).\n\n> Go north\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nA skull-sized ball of gooish, undulating flesh jumps up and down ponderously. It is a jumping bomb, gathering speed and preparing to launch itself at one of its enemies.\n\nYou can also see a glass cannon (copied and copied by mirrors) here.\n\nExits lead south (to Quartering Room) and west.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north (to Hall of Mirrors), west and down (to Drawing Room).\n\n> You examine the bomb\nConnoisseurs consider these jumping balls of red meat to be among the most exciting spectacles of Yahvinna's annual Feast of Flesh. To the slaves and convicts down in the arena, whose limbs the spectators hope to have blown into their lap, the jumping bombs also bring excitement, though of a wholly different type.\n\nThe jumping bomb is a level two hostile creature.\n\n> Status\nHealth: 34 of 34\nAttack: 5\nDefence: 11\nPerception: 5\nDexterity: 5\nWillpower: 5\nYou can confuse as a reaction; the attacker may lose concentration and become confused. (Level 3)\n\n> Go upward\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north (to Hall of Mirrors), west and down (to Drawing Room).\n\n> Go north\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nA skull-sized ball of gooish, undulating flesh jumps up and down ponderously. It is a jumping bomb, gathering speed and preparing to launch itself at one of its enemies.\n\nYou can also see a glass cannon (multiplied ad infinitum) here.\n\nExits lead south (to Quartering Room) and west.\n\nThe jumping bomb jumps up and down a little bit faster.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe jumping bomb speeds up, and is now bumping around energetically.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe jumping bomb accelerates yet further, your image of it dissolving almost into a blur.\n\nSuddenly changing its direction, the jumping bomb launches itself towards you -- threatening instant death upon contact.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 10 - 2 (inherent penalty) + 8 (concentration) - 3 (defender dodging) + 3 (tension) - 6 (lower concentration bonus for jumping bomb) = 10, the jumping bomb does not overcome your defence rating of 11.\n\n> You concentrate\nYou concentrate, and are now maximally concentrated.\n\nThe jumping bomb jumps up and down a little bit faster.\n\n> Attack\n(the jumping bomb)\nThe jumping bomb attempts to bump out of the way.\n\nYou roll 7 + 5 (perception score) + 2 (goggles of acuity) + 3 (concentration) = 17 against a target number of 10, succeeding at the perception check. Seeing through the illusion created by the mirrors, you attack the real jumping bomb.\n\nRolling 7 + 5 (inherent bonus) + 8 (concentration) - 2 (defender dodging) + 4 (tension) - 1 (speed of the jumping bomb) = 21, you beat the jumping bomb's defence rating of 8.\n\nYou deal 2 + 4 (concentration) + 3 (tension) = 9 damage, wounding the jumping bomb to 3 health.\n\nKnocked back by the hit, the jumping bomb loses most of its speed.\n\n> Attack\n(the jumping bomb)\nThe jumping bomb attempts to bump out of the way.\n\nYou roll 6 + 5 (perception score) + 2 (goggles of acuity) = 13 against a target number of 10, succeeding at the perception check. Seeing through the illusion created by the mirrors, you attack the real jumping bomb.\n\nRolling 9 + 5 (inherent bonus) - 2 (defender dodging) + 2 (tension) = 14, you beat the jumping bomb's defence rating of 8.\n\nYou deal 2 + 1 (tension) = 3 damage, killing the jumping bomb.\n\nAs the last of its blood flows out of the jumping bomb, it goes limp and falls to the floor like a punctured balloon.\n\nAs the bomb deflates, you feel its insane, beastly soul absorbed into your own body. (Power of the bomb: +2 attack, +2 defence, +10 health, and you will now explode when killed, giving you a last chance to defeat your enemy and perhaps absorb his soul in the process.)\n\nAbsorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, spells, Roguelike, fantasy, Dungeon Crawl, druid]\n\n> Look around\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nYou can see a glass cannon (mirrored all around you) here.\n\nExits lead south (to Quartering Room) and west.\n\n> You examine the glass cannon\nAt first sight this seems to be nothing but a foot-long tube of glass. However, it is a very powerful weapon, the shots of which can quickly destroy even the most powerful enemy. But be warned: not only does the glass cannon make you an easier target, it is also the case that when you ready the weapon, you permanently lose half of your health.\n\nCombat statistics: 1d0 + 12 damage; +3 attack modifier; ranged; hard to parry; makes you easier to hit; halves your health.\n\n> You get the cannon\nTaken."
    },
    {
        "text": "[Themes: Dungeon crawl, magic]\n\n> Look around\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nExits lead south (to Quartering Room) and west.\n\n> You check your inventory\n-weapons:\na glass cannon\na pair of nunchucks (readied)\na very hot scythe of flaming\na gilded rapier\n-clothing:\na monk's robe\nan asbestos vest (being worn)\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\ntwo scrolls labelled NAAR OD ERAE\n-grenades:\nthree smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment\n\n> You look at Mirrors\nYou look into infinity.\n\n> Go west\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nYou can also see two unguenta argenti, a suit of plate mail and the crown of the empire here.\n\nExits lead south, east (to Hall of Mirrors) and down.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nExits lead south (to Quartering Room) and west (to Portal Room).\n\n> You go south\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nExits lead north (to Hall of Mirrors), west and down (to Drawing Room)."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, rpg, fantasy, Dungeon Crawl]\n\n> Go downward\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead west (to Bridge of Doom) and up (to Quartering Room).\n\n> You look at Drawing\nThe artist has skillfully drawn a battle scene involving you, a blood ape and Bodmall. Several figures seem to have been smudged out. In the background, Malygris rises triumphant over all.\n\n> You examine Bodmall\nWhy the great druidess Bodmall has chosen to work together with Malygris is a subject of much speculation among scholars of the occult -- but here she is, standing between you and victory. She is a very powerful foe.\n\nBodmall is a level four hostile creature.\n\n> You remember\nYou have not yet explored:\n- the down exit of Portal Room (which lies up from here)\n- the up exit of the Entrance Hall (which lies west from here)\n- the south exit of Portal Room (which lies up from here)\n- the west exit of the Quartering Room (which lies up from here)\n\nYou have visited the following rooms: Entrance Hall (west), Hall of Mirrors (up), Phantasmagoria (west), Bridge of Doom (west), Temple of Aite (west), Crypt (west), Portal Room (up), Drawing Room (here), Quartering Room (up).\n\nYou have seen the following creatures in these locations:\n- Bodmall (level 4) in Portal Room (which lies up from here)\n\nTip: you can \"pray\" in any temple.\n\n> Go upwards\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nA small simian creature aggressively shows you its teeth.\n\nAn exit leads down (to Entrance Hall).\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 3 + 2 (concentration) - 1 (defender dodging) + 2 (tension) = 6, the blood ape does not overcome your defence rating of 13.\n\n> Attack\n(the blood ape)\nThe blood ape concentrates, and is now mildly concentrated.\n\nRolling 4 + 7 (inherent bonus) + 8 (concentration) + 3 (tension) = 22, you beat the blood ape's defence rating of 8.\n\nYou deal 3 + 4 (concentration) + 2 (tension) = 9 damage, killing the blood ape.\n\nThe blood ape topples over with a small grunt.\n\nThe blood-hungry soul that animated the ape is absorbed into your own body. You are strong. You hunger for blood. (Power of the ape: +1 attack, +1 defence, +2 health; when you score a hit, your damage will increase for a short time.)\n\nAbsorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, druid, Dungeon Crawl, Roguelike]\n\n> Look around\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nAn exit leads down (to Entrance Hall).\n\n> You examine the forge\nSome say the Blademaster sold his soul for this forge. Whether infernal or simply magical, it is continually heated by ever-burning sulphur unconsumed, and has been used to craft wonders. Even someone as unskilled as you can insert weapons into it in order to heat them up."
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy, magic]\n\n> You go downwards\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead south (to Phantasmagoria), east (to Bridge of Doom), up (to Workshop of the Blademaster) and down (to Crypt).\n\n> Sense\nYou feel that the shortest route towards Malygris lies east.\n\n> You remember\nYou have not yet explored:\n- the down exit of Portal Room (which lies east from here)\n- the south exit of Portal Room (which lies east from here)\n- the west exit of the Quartering Room (which lies east from here)\n\nYou have visited the following rooms: Entrance Hall (here), Hall of Mirrors (east), Phantasmagoria (south), Bridge of Doom (east), Temple of Aite (down), Crypt (down), Workshop of the Blademaster (up), Portal Room (east), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- Bodmall (level 4) in Portal Room (which lies east from here)\n\nTip: if a fight proves too much for you, try to \"retreat\". On entering a room for the first time, you can always retreat for free.\n\n> West\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nYou can see a smoke grenade, an executioner's axe and Metastasio's hat here.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\n> You get all\nsmoke grenade: Taken.\nexecutioner's axe: Taken.\nMetastasio's hat: Taken.\n\n> You examine the smoke\n(the smoke grenade)\nWhen thrown, this grenade will release thick clouds of smoke. You once used such devices to help the prince escape from a confrontation with the henchmen of the vengeful countess of Poitier; that was long before your relationship soured.\n\n> You look at the axe\nThis is the blade that chopped off the head of Philip the Traitor after he had been found guilty of murdering his brother, Charles IV. Ever since, pilgrims have flocked to Montenoir's temple of Nomos to see and revere it. How it has ended up in this dungeon is anyone's guess.\n\nCombat statistics: 1d7 + 4 damage; -3 attack modifier; hard to parry; bad at parrying; better tension damage bonus.\n\n> You look at the hat\nMetastasio envisioned whole armies that would lob grenades at the enemy and would then run away as fast as they could. This hat was meant as a prototype piece of equipment to help with the latter. But the generals of Averoigne did not share Metastasio's ideas, and Louis VIII expressly forbade further production of these hats, a decision the chroniclers have all lauded.\n\n> You wear the hat\nYou put on Metastasio's hat."
    },
    {
        "text": "> Look around\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\n> You look at the analyser\nThis weird machine can identify scrolls, and seems ready for operation. Just put a scroll in it, and it will do its magic.\n\n> Inventory\n-weapons:\nan executioner's axe\na glass cannon\na pair of nunchucks (readied)\na very hot scythe of flaming\na gilded rapier\n-clothing:\nMetastasio's hat (being worn)\na monk's robe\nan asbestos vest (being worn)\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\ntwo scrolls labelled NAAR OD ERAE\n-grenades:\nfour smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment\n\n> You put naar od erae in the analyser\nIt is a scroll of shadows!\n\n> You check your inventory\n-weapons:\nan executioner's axe\na glass cannon\na pair of nunchucks (readied)\na very hot scythe of flaming\na gilded rapier\n-clothing:\nMetastasio's hat (being worn)\na monk's robe\nan asbestos vest (being worn)\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\ntwo scrolls of shadows\n-grenades:\nfour smoke grenades\ntwo flash grenades\n-other:\nthree packages of ment\n\n> Status\nHealth: 46 of 46\nAttack: 8\nDefence: 14\nPerception: 5\nDexterity: 5\nWillpower: 5\nSince you are strengthened by blood, hitting an enemy gives you a temporary damage bonus. (Level 1)\nWhen you die, you explode, dealing as much damage to your enemy as the enemy dealt to you. This gives you a last chance to kill your enemy, and perhaps absorb his soul and come back to life in the process. (Level 2)\nYou can confuse as a reaction; the attacker may lose concentration and become confused. (Level 3)\n\n> You remember\nYou have not yet explored:\n- the down exit of Portal Room (which lies north from here)\n\nYou have visited the following rooms: Entrance Hall (east), Hall of Mirrors (north), Phantasmagoria (east), Bridge of Doom (east), Temple of Aite (east), Crypt (east), Workshop of the Blademaster (east), Portal Room (north), Library (here), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- Bodmall (level 4) in Portal Room (which lies north from here)\n\nTip: you can move one room towards a location by typing \"go to location\".\n\n> You read the scroll\n(the scroll of shadows)\nYou blend into the shadows.\n\n> Go north\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nYou can also see two unguenta argenti, a suit of plate mail and the crown of the empire here.\n\nExits lead south (to Library), east (to Hall of Mirrors) and down.\n\nBodmall does not notice you.\n\n> You get all\nunguentum argenti: Taken.\nunguentum argenti: Taken.\nsuit of plate mail: Taken.\ncrown of the empire: Taken.\n\nBodmall remains unaware of your presence.\n\n> You go south\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\n> You examine the plate\nFunctional rather than beautiful, this suit has been made for a true warrior. It will protect you from harm, although it also slows you down.\n\n> You wear the plate\nYou will first have to take off the asbestos vest.\n\n> You remove vest\nYou take off the asbestos vest.\n\n> You wear the plate\nYou put on the suit of plate mail.\n\n> Inventory\n-weapons:\nan executioner's axe\na glass cannon\na pair of nunchucks (readied)\na very hot scythe of flaming\na gilded rapier\n-clothing:\nthe crown of the empire\na suit of plate mail (being worn)\nMetastasio's hat (being worn)\na monk's robe\nan asbestos vest\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\na scroll of shadows\n-grenades:\nfour smoke grenades\ntwo flash grenades\n-other:\ntwo unguenta argenti\nthree packages of ment\n\n> You wear crown\nYou will first have to take off Metastasio's hat.\n\n> You look at the crown\nThis harsh and heavy crown was once worn by one of the emperors of Yahvinna, a line of rulers known for their unbending willpower. (It grants a +2 bonus on willpower checks.)\n\n> You go to the north\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nExits lead south (to Library), east (to Hall of Mirrors) and down.\n\nBodmall does not notice you.\n\nBodmall does not detect your presence."
    },
    {
        "text": "> Go downwards\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nAn exit leads up (to Portal Room).\n\n> You go upward\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nExits lead south (to Library), east (to Hall of Mirrors) and down (to Temple of Nomos).\n\nBodmall does not notice you.\n\n> You go south\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\n> You use ment\nYou take a small mirror, a razor and a straw from one of your pockets, and carefully cut the ment on the surface of the mirror. The light blue powder is looking very good. Using the straw, you manage to get almost all of it in your nose. You inhale sharply a few times -- and feel the ment do its awesome work.\n\nEverything becomes clear, sharp, easy. You feel strong. You feel focused.\n\n> Wield axe\nYou ready the executioner's axe.\n\n> Go north\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nExits lead south (to Library), east (to Hall of Mirrors) and down (to Temple of Nomos).\n\nBodmall remains unaware of your presence.\n\nBodmall does not notice you."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, spells, rpg]\n\n> Go downward\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nAn exit leads up (to Portal Room).\n\nMalygris remains unaware of your presence.\n\n> Attack\n(Malygris)\nMalygris does not detect your presence.\n\nRolling 7 + 8 (inherent bonus) - 3 (executioner's axe penalty) + 2 (tension) + 2 (hidden) - 2 (your cowardice) + 3 (Nomos likes the executioner's axe) - 1 (slowed down by plate mail) + 1 (ment) = 17, you beat Malygris's defence rating of 16.\n\nYou deal 7 + 1 (tension) + 1 (inherent bonus) + 1 (executioner's axe benefits from tension) + 1 (ment) = 11 damage, wounding Malygris to 27 health.\n\nMalygris concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nMalygris concentrates, and is now quite concentrated.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nMalygris casts a ray of disintegration at the flash grenade, destroying the object!\n\n> You concentrate\nYou concentrate, and are now maximally concentrated.\n\nMalygris lunges towards you.\n\n> You confuse\nA tentacle suddenly leaps out of your body and shakes Malygris, aiming to confuse and confound. Malygris rolls 4 + 12 (willpower score) = 16 against a target number of 11, succeeding at the willpower check. Malygris remains concentrated.\n\nRolling 4 + 7 (inherent bonus) + 4 (concentration) - 1 (dagger of draining penalty) + 3 (tension) + 3 (dagger benefits from tension) - 1 (your defence increased by ment) = 19, Malygris beats your defence rating of 14.\n\nMalygris deals 1 + 2 (concentration) + 2 (tension) + 1 (dagger benefits from tension) - 2 (plate mail) - 1 (ment makes you shrug off damage) = 3 damage, wounding you to 43 health.\n\nYou lose your concentration!\n\nThe magical dagger saps your dexterity, transferring it to Malygris.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nMalygris concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nMalygris concentrates, and is now quite concentrated.\n\n> Attack\n(Malygris)\nMalygris concentrates, and is now maximally concentrated.\n\nRolling 4 + 8 (inherent bonus) + 4 (concentration) - 3 (executioner's axe penalty) + 3 (tension) - 2 (your cowardice) + 3 (Nomos likes the executioner's axe) - 1 (slowed down by plate mail) + 1 (ment) = 17, you beat Malygris's defence rating of 16.\n\nYou deal 10 + 2 (concentration) + 2 (tension) + 1 (inherent bonus) + 2 (executioner's axe benefits from tension) + 1 (ment) = 18 damage, wounding Malygris to 9 health.\n\nMalygris loses concentration!\n\nMalygris concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nMalygris concentrates, and is now quite concentrated.\n\nMalygris suddenly teleports away!\n\n> Status\nHealth: 43 of 46\nAttack: 8\nDefence: 14\nPerception: 5\nDexterity: 4\nWillpower: 5\nYou are under the influence of ment: +1 attack, +1 damage, -1 enemy damage, +1 defence, +1 to all abilities.\nPower of the ape: +2 damage bonus.\nConcentration: +2 attack bonus, no damage bonus\nTension: +3 attack bonus, +2 damage bonus\nSince you are strengthened by blood, hitting an enemy gives you a temporary damage bonus. (Level 1)\nWhen you die, you explode, dealing as much damage to your enemy as the enemy dealt to you. This gives you a last chance to kill your enemy, and perhaps absorb his soul and come back to life in the process. (Level 2)\nYou can confuse as a reaction; the attacker may lose concentration and become confused. (Level 3)\n\n> Inventory\n-weapons:\nan executioner's axe (readied)\na glass cannon\na pair of nunchucks\na very hot scythe of flaming\na gilded rapier\n-clothing:\nthe crown of the empire\na suit of plate mail (being worn)\nMetastasio's hat (being worn)\na monk's robe\nan asbestos vest\nthe robe of the dead mage\nthe goggles of acuity (being worn)\n-scrolls:\na scroll of shadows\n-grenades:\nfour smoke grenades\na flash grenade\n-other:\ntwo unguenta argenti\ntwo packages of ment\n\n> You read scroll\nYou blend into the shadows."
    },
    {
        "text": "[Themes: Dungeon crawl, rpg, magic, fantasy, druid]\n\n> Look around\nThe exactly elliptical room is dominated by a towering statue of Nomos, built out of harsh geometrical forms.\n\nAn exit leads up (to Portal Room).\n\n> Sense\nYou feel that the shortest route towards Malygris lies up.\n\nAs suddenly as it began, the rush given by the ment falls away. You are left feeling empty and only half alive.\n\n> You use the ment\nYou repeat the ritual: cutting, forming into a line, snorting through the straw, inhaling sharply. The ment kicks in immediately.\n\n> You go upward\nA huge magical portal dominates the room.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nExits lead south (to Library), east (to Hall of Mirrors) and down (to Temple of Nomos).\n\n> Go south\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\nThe demonic assassin arrives from the east.\n\n> Examine assassin\nA being summoned by Malygris from the depths of Hell, this demon has only one purpose: to stop you from reaching its master.\n\nThe demonic assassin is a levelless hostile creature. The demonic assassin carries a very hot demon blade.\n\n> You go east\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nExits lead north (to Hall of Mirrors), west (to Library) and down (to Drawing Room).\n\nThe demonic assassin arrives from the west.\n\nThe demonic assassin has detected you!\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\nMalygris concentrates, and is now mildly concentrated.\n\nThe demonic assassin concentrates, and is now quite concentrated.\n\n> You throw the smoke\n(the smoke grenade)\nYou throw the smoke grenade, and it immediately explodes into a large cloud of smoke.\n\nMalygris concentrates, and is now quite concentrated.\n\nThe demonic assassin concentrates, and is now maximally concentrated.\n\nMalygris concentrates, and is now maximally concentrated.\n\nThe demonic assassin lunges towards you.\n\n> You confuse\nA tentacle suddenly leaps out of your body and shakes the demonic assassin, aiming to confuse and confound. The demonic assassin rolls 8 + 8 (willpower score) = 16 against a target number of 9, succeeding at the willpower check. The demonic assassin remains concentrated.\n\nRolling 6 + 4 (inherent bonus) + 8 (concentration) + 4 (tension) - 1 (smoke) - 2 (your defence increased by ment) = 19, the demonic assassin beats your defence rating of 14.\n\nThe demonic assassin deals 1 + 4 (concentration) + 2 (tension) + 4 (heat) - 2 (plate mail) - 2 (ment makes you shrug off damage) = 7 damage, wounding you to 36 health.\n\nMalygris casts a ray of disintegration at the executioner's axe, destroying the object!\n\n> You wield the nunchuck\nYou ready the pair of nunchucks.\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\nMalygris lunges towards you.\n\n> You confuse\nA tentacle suddenly leaps out of your body and shakes Malygris, aiming to confuse and confound. Malygris rolls 3 + 12 (willpower score) = 15 against a target number of 11, succeeding at the willpower check. Malygris remains concentrated.\n\nRolling 10 + 7 (inherent bonus) + 8 (concentration) - 1 (dagger of draining penalty) + 3 (tension) - 1 (smoke) + 3 (dagger benefits from tension) - 2 (your defence increased by ment) = 27, Malygris beats your defence rating of 14.\n\nMalygris deals 3 + 4 (concentration) + 2 (tension) + 1 (dagger benefits from tension) - 2 (plate mail) - 2 (ment makes you shrug off damage) = 6 damage, wounding you to 30 health.\n\nThe magical dagger saps your perception, transferring it to Malygris.\n\nThe demonic assassin concentrates, and is now quite concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nMalygris concentrates, and is now mildly concentrated.\n\nThe demonic assassin concentrates, and is now maximally concentrated.\n\n> Attack assassin\nThe demonic assassin strikes up a defensive pose.\n\nRolling 2 + 8 (inherent bonus) + 2 (concentration) - 2 (defender parrying) + 3 (tension) - 1 (smoke) - 2 (your cowardice) - 1 (slowed down by plate mail) + 2 (ment) = 11, you do not overcome the demonic assassin's defence rating of 12.\n\nThe smoke becomes less thick.\n\nThe demonic assassin lunges towards you.\n\n> You confuse\nA tentacle suddenly leaps out of your body and shakes the demonic assassin, aiming to confuse and confound. The demonic assassin rolls 5 + 8 (willpower score) = 13 against a target number of 11, succeeding at the willpower check. The demonic assassin remains concentrated.\n\nRolling 8 + 4 (inherent bonus) + 8 (concentration) + 4 (tension) - 2 (your defence increased by ment) = 22, the demonic assassin beats your defence rating of 14.\n\nThe demonic assassin deals 4 + 4 (concentration) + 2 (tension) + 4 (heat) - 2 (plate mail) - 2 (ment makes you shrug off damage) = 10 damage, wounding you to 20 health.\n\nThe demon blade, weakened by being heated, is destroyed!\n\nMalygris concentrates, and is now quite concentrated.\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\nMalygris concentrates, and is now maximally concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe demonic assassin concentrates, and is now quite concentrated.\n\nMalygris casts a ray of disintegration at the flash grenade, destroying the object!\n\nThe demonic assassin lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 4 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 5 (tension) - 2 (your defence increased by ment) = 16, the demonic assassin beats your defence rating of 14.\n\nThe demonic assassin deals 3 + 2 (concentration) + 3 (tension) - 2 (plate mail) - 2 (ment makes you shrug off damage) = 4 damage, wounding you to 16 health.\n\nYou lose your concentration!\n\nMalygris lunges towards you.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nRolling 5 + 7 (inherent bonus) + 8 (concentration) - 1 (dagger of draining penalty) + 2 (tension) + 2 (dagger benefits from tension) - 2 (your defence increased by ment) = 21, Malygris beats your defence rating of 14.\n\nMalygris deals 7 + 4 (concentration) + 1 (tension) + 1 (dagger benefits from tension) - 2 (plate mail) - 2 (ment makes you shrug off damage) = 9 damage, wounding you to 7 health.\n\nYou lose your concentration!\n\nThe magical dagger saps your defensive reflexes, transferring them to Malygris.\n\n> You attack Malygris\nMalygris concentrates, and is now mildly concentrated.\n\nRolling 2 + 8 (inherent bonus) - 2 (your cowardice) - 1 (slowed down by plate mail) + 2 (ment) = 9, you do not overcome Malygris's defence rating of 17.\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\nMalygris concentrates, and is now quite concentrated.\n\nThe demonic assassin concentrates, and is now quite concentrated.\n\nMalygris suddenly teleports away!\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nRolling 3 + 4 (inherent bonus) + 4 (concentration) + 3 (tension) - 1 (retreat covered by smoke) - 2 (your cowardice) + 2 (slowed down by plate mail) - 2 (your defence increased by ment) = 12, the demonic assassin does not overcome your defence rating of 13.\n\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nExits lead north (to Portal Room) and east (to Quartering Room).\n\nAs suddenly as it began, the rush given by the ment falls away. You are left feeling empty and only half alive.\n\nThe demonic assassin arrives from the east.\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\n> You go east\nDeciding that discretion is the better part of valour, you bravely run away.\n\nRolling 9 + 4 (inherent bonus) + 2 (concentration) - 2 (your cowardice) + 2 (slowed down by plate mail) = 16, the demonic assassin beats your defence rating of 13.\n\nThe demonic assassin deals 1 - 2 (plate mail) = 0 damage, allowing you to escape unscathed.\n\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nThin clouds of smoke fill the room.\n\nExits lead north (to Hall of Mirrors), west (to Library) and down (to Drawing Room).\n\nThe demonic assassin arrives from the west.\n\nThe smoke disappears completely.\n\nThe demonic assassin concentrates, and is now mildly concentrated.\n\n> Sense\nYou feel that the shortest route towards Malygris lies down.\n\nThe demonic assassin concentrates, and is now quite concentrated.\n\nThe demonic assassin concentrates, and is now maximally concentrated."
    },
    {
        "text": "[Themes: Dungeon crawl, druid]\n\n> Go downwards\nYou decide to run past your enemies.\n\nRolling 7 + 4 (inherent bonus) + 8 (concentration) + 2 (tension) + 2 (slowed down by plate mail) + 4 (you are running) = 27, the demonic assassin beats your defence rating of 13.\n\nThe demonic assassin deals 2 + 4 (concentration) + 1 (tension) - 2 (plate mail) + 2 (you are running) = 7 damage, killing you.\n\nThe assassin's laugh as you fall down is the most evil thing you have ever heard. It is also the last.\n\nYour body explodes vehemently, but the demonic assassin survives the blast.\n\n> You get all then wear the crown\ncrown of the empire: Taken.\ngoggles of acuity: Taken.\n\nYou put on the crown of the empire.\n\n> Go north\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe room is dominated by a chain golem, a moving mass of iron and copper chains, both thick and thin, that hulks in its center.\n\nYou can also see a scroll labelled TWAN METIER here.\n\nExits lead south (to Entrance Hall), west and down.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead north (to Drawing Room), south, west and up.\n\n> Up\nA huge magical portal dominates the room.\n\nA swarm of small daggers is flying through the air like a flock of birds, their sharp points eagerly seeking your flesh.\n\nExits lead west and down (to Entrance Hall).\n\n> Attack daggers\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 6 + 2 (inherent bonus) - 2 (defender dodging) = 6, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 2 = 2 damage, wounding the swarm of daggers to 6 health.\n\nThe impact of the blow scatters the swarm of daggers. They will need to spend one action regrouping themselves.\n\n> Attack daggers\nThe swarm of daggers regroups.\n\nRolling 6 + 2 (inherent bonus) = 8, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 3 = 3 damage, wounding the swarm of daggers to 3 health.\n\nThe impact of the blow scatters the swarm of daggers. They will need to spend one action regrouping themselves.\n\n> Attack daggers\nThe swarm of daggers regroups.\n\nRolling 1 + 2 (inherent bonus) = 3, you do not overcome the swarm of daggers's defence rating of 4.\n\nThe swarm of daggers moves in to attack you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 3 + 3 (inherent bonus) - 3 (defender dodging) + 1 (tension) = 4, the swarm of daggers does not overcome your defence rating of 8.\n\n> Attack daggers\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 4 + 2 (inherent bonus) - 2 (defender dodging) + 1 (tension) = 5, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 1 + 1 (tension) = 2 damage, wounding the swarm of daggers to 1 health.\n\nThe impact of the blow scatters the swarm of daggers. They will need to spend one action regrouping themselves.\n\nThe swarm of daggers regroups.\n\n> Attack daggers\nThe swarm of daggers attempts to outmaneuver the attack.\n\nRolling 8 + 2 (inherent bonus) - 2 (defender dodging) + 1 (tension) = 9, you beat the swarm of daggers's defence rating of 4.\n\nYou deal 3 = 3 damage, killing the swarm of daggers.\n\nAll life suddenly goes out of the daggers. For a moment they hang still in the air, but then the planet below pulls them inexorably downwards.\n\nAs the daggers fall down, you feel the soul that animated them absorbed into your own body. You are sharp. You are deadly. (Power of the daggers: +2 attack, +1 damage, -1 defence, +6 health, +1 dexterity, and the pierce skill.)\n\nAbsorbing a soul has fully healed you."
    },
    {
        "text": "> Look around\nA huge magical portal dominates the room.\n\nExits lead west and down (to Entrance Hall).\n\n> You go to the west\nHundreds of books line the walls of this magnificent library, a bigger collection than the already legendary one of the marquis of Savon. Malygris even has a scroll analyser installed.\n\nA vast slug covered in green ooze has positioned itself in this room.\n\nYou can also see Mouser, Fafhrd and a scroll labelled DOLP ZEEZ here.\n\nExits lead north, east (to Portal Room) and down.\n\n> Examine slug\nIt is of the dreaded race of mindslugs, abominations that use their telepathic powers to enslave others.\n\nThe mindslug is a level three hostile creature.\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nA huge magical portal dominates the room.\n\nExits lead west (to Library) and down (to Entrance Hall)."
    },
    {
        "text": "[Themes: Dungeon crawl, magic, druid, rpg, Roguelike]\n\n> You go downwards\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nExits lead north (to Drawing Room), south, west and up (to Portal Room).\n\n> Go south\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nA small simian creature aggressively shows you its teeth.\n\nYou can also see a smoke grenade and a fungicide contraption here.\n\nAn exit leads north (to Entrance Hall).\n\n> Attack ape\nThe blood ape concentrates, and is now mildly concentrated.\n\nRolling 4 + 4 (inherent bonus) = 8, you do not overcome the blood ape's defence rating of 8.\n\nThe blood ape concentrates, and is now quite concentrated.\n\n> Attack ape\nThe blood ape tries to jump out of the way.\n\nRolling 6 + 4 (inherent bonus) - 2 (defender dodging) + 1 (tension) = 9, you beat the blood ape's defence rating of 8.\n\nYou deal 2 + 1 (tension) + 2 (inherent bonus) = 5 damage, killing the blood ape.\n\nThe blood ape topples over with a small grunt.\n\nThe blood-hungry soul that animated the ape is absorbed into your own body. You are strong. You hunger for blood. (Power of the ape: +1 attack, +1 defence, +2 health; when you score a hit, your damage will increase for a short time.)\n\nThe violence of the absorption drives the power of the daggers out of your body. Absorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, Roguelike, spells, magic]\n\n> You look at your surroundings\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nYou can see a smoke grenade and a fungicide contraption here.\n\nAn exit leads north (to Entrance Hall).\n\n> You check your inventory\n-weapons:\na gilded rapier (readied)\n-clothing:\nthe goggles of acuity (being worn)\nthe crown of the empire (being worn)\n-grenades:\na smoke grenade\n-other:\na fungicide contraption\nthree packages of ment"
    },
    {
        "text": "> You describe your surroundings\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nAn exit leads north (to Entrance Hall).\n\n> You go north\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead north (to Drawing Room), south (to Alchemical Laboratory), west and up (to Portal Room).\n\n> You go west\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nYou can see a tormenting necklace (reflected thousandfold) here.\n\nExits lead north, east (to Entrance Hall) and up (to Library).\n\n> You look at the necklace\nThis monstrous necklace is made of shards of glass, fossilised teeth, broken points of daggers and thorns. It is imbued with a magic that deals paralysing pain to anyone who is wounded in combat. (This necklace lowers the initiative of anyone who gets hit -- including you -- thus increasing the probability that a successful attacker can immediately act again.)\n\n> You get necklace\nTaken.\n\nAs rust spores whirl around the room, the smoke grenade rusts.\n\n> You go to the north\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see several knights in plate armour struggling to reach the shores of a swamp, while the land retreats before them as if it were alive -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west and up.\n\n> You go to the west\nExactly half of the room is black, and exactly half of it is white. This is the temple of Isatzo, the god of balance, whose statue stands in the center, one arm stretched out to each side.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nYou can see a rusted executioner's axe and a rusted war mask here.\n\nAn exit leads east (to Phantasmagoria).\n\n> You spray the fungicide\nYou spray the fungicide all around. The rust spores blacken and wither.\n\n> You look at the mask\nThis warlike metal mask is painted with the holy symbols of Aite, and is a sacred object of her religion.\n\n> You examine the statue\nMade of grey stone, the statue of Isatzo offers one healing and one punishing hand to the world. He looks on mankind with one auspicious and one dropping eye, in equal scale weighing delight and dole.\n\n> You go east\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see vast armies of skeletons clash while their masters pray for the help of forbidden deities -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up.\n\n> You spray the fungicide\nYou spray the fungicide all around. The rust spores blacken and wither.\n\nClouds of rust spores drift into the room.\n\n> Up\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nYou can also see five flash grenades and a cloak of shadows here.\n\nExits lead north, south (to Library) and down (to Phantasmagoria).\n\n> Retreat\nDeciding that discretion is the better part of valour, you bravely run away.\n\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see several knights in plate armour struggling to reach the shores of a swamp, while the land retreats before them as if it were alive -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up (to Workshop of the Blademaster).\n\n> You spray the fungicide\nYou spray the fungicide all around. The rust spores blacken and wither.\n\n> Status\nHealth: 24 of 20\nAttack: 3\nDefence: 9\nPerception: 5\nDexterity: 5\nWillpower: 6\nSince you are strengthened by blood, hitting an enemy gives you a temporary damage bonus. (Level 1)\n\n> Trophies\nThe following creatures have been vanquished:\n- the swarm of daggers (level 1)\n- the blood ape (level 1)\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies up from here)\n- the down exit of the Drawing Room (which lies east from here)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (here), Temple of Isatzo (west), Workshop of the Blademaster (up), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (east).\n\nYou have seen the following creatures in these locations:\n- the rusted chain golem (level 2) in Drawing Room (which lies east from here)\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies up from here)\n\nTip: you can \"pray\" in any temple.\n\n> You go east\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nThe room is dominated by a chain golem, a moving mass of iron and copper chains, both thick and thin, that hulks in its center.\n\nYou can also see a scroll labelled TWAN METIER here.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down.\n\nThe rusted chain golem starts rotating slowly, spinning its chains around its core.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nAs rust spores whirl around the room, the dagger of draining rusts.\n\nThe rusted chain golem speeds up, its chains whirling through the air.\n\nAs rust spores whirl around the room, Fafhrd's sword rusts.\n\nAs rust spores whirl around the room, the crown of the empire rusts.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe rusted chain golem spins even faster, audibly slashing the air with its whip-like metal appendages.\n\n> Attack\n(the rusted chain golem)\nThe chain golem lashes out with a heavy iron chain, trying to stop the attack.\n\nYou attempt to duck under the whirling chains. You roll 8 + 5 (dexterity score) = 13 against a target number of 10, succeeding at the dexterity check.\n\nRolling 3 + 3 (inherent bonus) + 4 (concentration) - 2 (defender parrying) + 3 (tension) = 11, you beat the rusted chain golem's defence rating of 8.\n\nYou deal 5 + 2 (concentration) + 2 (tension) + 1 (inherent bonus) = 10 damage, wounding the rusted chain golem to 6 health.\n\nUnbalanced by the hit, the chain golem stops spinning.\n\nThe rusted chain golem starts rotating slowly, spinning its chains around its core.\n\n> Attack\n(the rusted chain golem)\nThe rusted chain golem speeds up, its chains whirling through the air.\n\nYou attempt to duck under the whirling chains. You roll 9 + 5 (dexterity score) = 14 against a target number of 9, succeeding at the dexterity check.\n\nRolling 9 + 3 (inherent bonus) + 1 (tension) = 13, you beat the rusted chain golem's defence rating of 8.\n\nYou deal 5 + 1 (tension) + 1 (inherent bonus) + 3 (power of the ape) = 10 damage, killing the rusted chain golem.\n\nThe chains lash out one final time, blindly seeking prey -- but fall down limply before they can hit anyone. With thousands of hard metal clicks they start falling asunder.\n\nAs the chain golem bursts apart into its constituent links, you feel the soul that animated it absorbed into your own body. (Power of the chains: +2 attack, +2 damage, +1 defence, +12 health, and the lash skill.)\n\nThe violence of the absorption drives the power of the ape out of your body. Absorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, spells, druid]\n\n> Look around\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nYou can see a scroll labelled TWAN METIER here.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down.\n\n> You get all\nscroll labelled TWAN METIER: Taken.\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies west from here)\n- the down exit of the Drawing Room (where you currently are)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (west), Temple of Isatzo (west), Workshop of the Blademaster (west), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (here).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies west from here)\n\nTip: additional information can be gotten with \"status\", \"trophies\" and (once you have defeated enough monsters) \"sense\".\n\n> You check your inventory\n-weapons:\na rusted executioner's axe\na gilded rapier (readied)\n-clothing:\na rusted war mask\na tormenting necklace\nthe goggles of acuity (being worn)\nthe rusted crown of the empire (being worn)\n-scrolls:\na scroll labelled TWAN METIER\n-grenades:\na rusted smoke grenade\n-other:\na fungicide contraption\nthree packages of ment"
    },
    {
        "text": "[Themes: Dungeon crawl, Dungeon Crawl, magic]\n\n> Look around\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down."
    },
    {
        "text": "[Themes: Dungeon crawl, fantasy, magic, rpg]\n\n> Go downwards\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nA skull-sized ball of gooish, undulating flesh jumps up and down ponderously. It is a jumping bomb, gathering speed and preparing to launch itself at one of its enemies.\n\nAn exit leads up (to Drawing Room).\n\n> Attack bomb\nThe jumping bomb attempts to bump out of the way.\n\nRolling 7 + 4 (inherent bonus) - 2 (defender dodging) = 9, you beat the jumping bomb's defence rating of 8.\n\nYou deal 2 + 2 (inherent bonus) = 4 damage, wounding the jumping bomb to 8 health.\n\n> Attack bomb\nThe jumping bomb attempts to bump out of the way.\n\nRolling 1 + 4 (inherent bonus) - 2 (defender dodging) = 3, you do not overcome the jumping bomb's defence rating of 8.\n\nAs rust spores whirl around the room, the gilded rapier rusts.\n\nThe jumping bomb jumps up and down a little bit faster.\n\nThe jumping bomb speeds up, and is now bumping around energetically.\n\n> Attack bomb\nThe jumping bomb attempts to bump out of the way.\n\nRolling 2 + 4 (inherent bonus) - 2 (defender dodging) + 2 (tension) - 2 (speed of the jumping bomb) = 4, you do not overcome the jumping bomb's defence rating of 8.\n\nThe jumping bomb accelerates yet further, your image of it dissolving almost into a blur.\n\nSuddenly changing its direction, the jumping bomb launches itself towards you -- threatening instant death upon contact.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 2 - 2 (inherent penalty) + 8 (concentration) - 3 (defender dodging) + 3 (tension) - 6 (lower concentration bonus for jumping bomb) = 2, the jumping bomb does not overcome your defence rating of 9.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe jumping bomb jumps up and down a little bit faster.\n\n> Attack bomb\nThe jumping bomb attempts to bump out of the way.\n\nRolling 10 + 4 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 5 (tension) - 1 (speed of the jumping bomb) = 20, you beat the jumping bomb's defence rating of 8.\n\nYou deal 5 + 2 (concentration) + 3 (tension) + 2 (inherent bonus) - 2 (rust) = 10 damage, killing the jumping bomb.\n\nAs the last of its blood flows out of the jumping bomb, it goes limp and falls to the floor like a punctured balloon.\n\nAs the bomb deflates, you feel its insane, beastly soul absorbed into your own body. (Power of the bomb: +2 attack, +2 defence, +10 health, and you will now explode when killed, giving you a last chance to defeat your enemy and perhaps absorb his soul in the process.)\n\nThe violence of the absorption drives the power of the chains out of your body. Absorbing a soul has fully healed you."
    },
    {
        "text": "[Themes: Dungeon crawl, rpg, Dungeon Crawl, spells, magic]\n\n> You look at your surroundings\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn exit leads up (to Drawing Room).\n\n> Search parts\nYou have found a scroll labelled NAAR OD ERAE buried between the body parts. It is slightly wet and smelly, but still usable.\n\n> You get the scroll\nWhich do you mean, the 1) scroll labelled NAAR OD ERAE or the 2) scroll labelled TWAN METIER?\n\n> 1\n(the scroll labelled NAAR OD ERAE)\nYou already have that.\n\n> You check your inventory\n-weapons:\na rusted executioner's axe\na rusted gilded rapier (readied)\n-clothing:\na rusted war mask\na tormenting necklace\nthe goggles of acuity (being worn)\nthe rusted crown of the empire (being worn)\n-scrolls:\na scroll labelled NAAR OD ERAE\na scroll labelled TWAN METIER\n-grenades:\na rusted smoke grenade\n-other:\na fungicide contraption\nthree packages of ment\n\n> You read the naar\nIt is a scroll of summoning!\n\nYou speak the awful spell, and an aswang appears before you!\n\n> You examine the aswang\nThe undead monster has currently taken the form of an ugly old woman with long, dirty hair and completely white eyes.\n\nThe aswang is a levelless undead creature.\n\n> You attack aswang\nRolling 4 + 4 (inherent bonus) - 2 (defender dodging) = 6, you do not overcome the aswang's defence rating of 9.\n\nThe aswang attempts to hex you. You roll 8 + 6 (willpower score) + 2 (crown of the empire) = 16 against a target number of 11, succeeding at the willpower check. You resist the hex.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang attempts to hex you. You roll 6 + 6 (willpower score) + 2 (crown of the empire) = 14 against a target number of 11, succeeding at the willpower check. You resist the hex.\n\n> You attack aswang\nThe aswang attempts to hex you. You roll 6 + 6 (willpower score) + 2 (crown of the empire) = 14 against a target number of 11, succeeding at the willpower check. You resist the hex.\n\nRolling 10 + 4 (inherent bonus) + 2 (concentration) + 2 (tension) = 18, you beat the aswang's defence rating of 9.\n\nYou deal 3 + 1 (tension) - 2 (rust) = 2 damage, wounding the aswang to 13 health.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang suddenly transforms into a bloodthirsty dog!\n\n> Attack dog\nRolling 4 + 4 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 1 (tension) = 9, you beat the aswang's defence rating of 8.\n\nYou deal 2 + 1 (tension) - 2 (rust) = 1 damage, wounding the aswang to 12 health.\n\nThe aswang lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 5 + 4 (inherent bonus) - 2 (defender dodging) = 7, the aswang does not overcome your defence rating of 10.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nClouds of rust spores drift into the room.\n\nThe aswang lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 2 + 4 (inherent bonus) - 2 (defender dodging) + 2 (tension) = 6, the aswang does not overcome your defence rating of 10.\n\n> You attack aswang\nRolling 6 + 4 (inherent bonus) + 4 (concentration) - 2 (defender dodging) + 2 (tension) = 14, you beat the aswang's defence rating of 8.\n\nYou deal 5 + 2 (concentration) + 1 (tension) - 2 (rust) = 6 damage, wounding the aswang to 6 health.\n\nThe aswang suddenly transforms into an owl-like bird with devilish wings!\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang flies up in the air and flees up.\n\n> Up\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn aswang is here, having taken the shape of a huge owl-like bird.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down (to Quartering Room).\n\n> You attack aswang\nThe aswang concentrates, and is now mildly concentrated.\n\nRolling 1 + 4 (inherent bonus) + 2 (tension) = 7, you do not overcome the aswang's defence rating of 10.\n\nThe aswang concentrates, and is now quite concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 10 + 4 (concentration) - 2 (defender dodging) + 3 (tension) = 15, the aswang beats your defence rating of 10.\n\nThe aswang deals 1 + 2 (concentration) + 2 (tension) = 5 damage, wounding you to 25 health.\n\nYou lose your concentration!\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now quite concentrated.\n\nThe aswang concentrates, and is now quite concentrated.\n\nThe aswang lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 7 + 4 (concentration) - 2 (defender dodging) + 3 (tension) = 12, the aswang beats your defence rating of 10.\n\nThe aswang deals 6 + 2 (concentration) + 2 (tension) = 10 damage, wounding you to 15 health.\n\nYou lose your concentration!\n\n> You attack aswang\nRolling 3 + 4 (inherent bonus) - 2 (defender dodging) + 1 (tension) = 6, you do not overcome the aswang's defence rating of 10.\n\nThe aswang concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang concentrates, and is now quite concentrated.\n\n> You attack aswang\nRolling 5 + 4 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 3 (tension) = 12, you beat the aswang's defence rating of 10.\n\nYou deal 1 + 2 (tension) - 2 (rust) = 1 damage, wounding the aswang to 5 health.\n\nThe aswang loses concentration!\n\nThe aswang concentrates, and is now mildly concentrated.\n\n> You attack aswang\nRolling 4 + 4 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 3 (tension) = 11, you beat the aswang's defence rating of 10.\n\nYou deal 3 + 2 (tension) - 2 (rust) = 3 damage, wounding the aswang to 2 health.\n\nThe aswang loses concentration!\n\nThe aswang concentrates, and is now mildly concentrated.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe aswang lunges towards you.\n\n> Dodge\nYou get ready for quick evasive maneuvers.\n\nRolling 10 + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 12, the aswang beats your defence rating of 10.\n\nThe aswang deals 6 + 1 (tension) = 7 damage, wounding you to 8 health.\n\nYou lose your concentration!\n\nThe aswang concentrates, and is now mildly concentrated.\n\n> You attack aswang\nRolling 5 + 4 (inherent bonus) + 2 (concentration) - 2 (defender dodging) + 2 (tension) = 11, you beat the aswang's defence rating of 10.\n\nYou deal 4 + 1 (tension) - 2 (rust) = 3 damage, killing the aswang.\n\nThe aswang dies screeching."
    },
    {
        "text": "> Describe the surroundings\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down (to Quartering Room).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies west from here)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (west), Temple of Isatzo (west), Workshop of the Blademaster (west), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (here), Quartering Room (down).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies west from here)\n- the aswang (level 0) in Drawing Room (where you currently are)\n\nTip: you can \"pray\" in any temple."
    },
    {
        "text": "[Themes: Dungeon crawl, Dungeon Crawl, magic, fantasy, rpg]\n\n> You look at your surroundings\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down (to Quartering Room).\n\n> You go to the west\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see flaming bolts, fired by huge ballistae, flying right over your head -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up (to Workshop of the Blademaster).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies up from here)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (here), Temple of Isatzo (west), Workshop of the Blademaster (up), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies up from here)\n- the aswang (level 0) in Drawing Room (which lies east from here)\n\nTip: you can move one room towards a location by typing \"go to location\".\n\n> Status\nHealth: 8 of 28\nAttack: 4\nDefence: 10\nPerception: 5\nDexterity: 5\nWillpower: 6\nWhen you die, you explode, dealing as much damage to your enemy as the enemy dealt to you. This gives you a last chance to kill your enemy, and perhaps absorb his soul and come back to life in the process. (Level 2)\n\n> You go west\nExactly half of the room is black, and exactly half of it is white. This is the temple of Isatzo, the god of balance, whose statue stands in the center, one arm stretched out to each side.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn exit leads east (to Phantasmagoria).\n\n> Go east\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see shrieking ghosts being whipped into a frenzy by a necromancer thousands of years old -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up (to Workshop of the Blademaster).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies up from here)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (here), Temple of Isatzo (west), Workshop of the Blademaster (up), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies up from here)\n- the aswang (level 0) in Drawing Room (which lies east from here)\n\nTip: additional information can be gotten with \"status\", \"trophies\" and (once you have defeated enough monsters) \"sense\".\n\n> Trophies\nThe following creatures have been vanquished:\n- the swarm of daggers (level 1)\n- the blood ape (level 1)\n- the rusted chain golem (level 2)\n- the jumping bomb (level 2)\n\n> You check your inventory\n-weapons:\na rusted executioner's axe\na rusted gilded rapier (readied)\n-clothing:\na rusted war mask\na tormenting necklace\nthe goggles of acuity (being worn)\nthe rusted crown of the empire (being worn)\n-scrolls:\na scroll labelled TWAN METIER\n-grenades:\na rusted smoke grenade\n-other:\na fungicide contraption\nthree packages of ment\n\n> You read TWAN\nIt is a scroll of identify!\n\nThe nature of scrolls suddenly becomes clear to you.\n\n> You look at Drawing\nThe artist has skillfully drawn a battle scene involving you, a mindslug, Fafhrd, Mouser and Bodmall. Several figures seem to have been smudged out. In the background, Malygris rises triumphant over all -- unless the huge shadow behind him is a creature threatening to consume even him."
    },
    {
        "text": "> You go down\nThe smell of decay here is overwhelming. A large pile of human body parts lies in a corner.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn exit leads up (to Drawing Room).\n\n> You go south\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead north (to Drawing Room), south (to Alchemical Laboratory), west (to Hall of Mirrors) and up (to Portal Room).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies west from here)\n\nYou have visited the following rooms: Entrance Hall (here), Hall of Mirrors (west), Phantasmagoria (west), Temple of Isatzo (west), Workshop of the Blademaster (west), Alchemical Laboratory (south), Portal Room (up), Library (west), Drawing Room (north), Quartering Room (north).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies west from here)\n- Fafhrd (level 0) in Library (which lies west from here)\n- Mouser (level 0) in Library (which lies west from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies west from here)\n- the aswang (level 0) in Drawing Room (which lies north from here)\n\nTip: you can move one room towards a location by typing \"go to location\".\n\n> Up\nA huge magical portal dominates the room.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead west (to Library) and down (to Entrance Hall).\n\n> You enter the Portal\nA sickening feeling, and then you find yourself in --\n\nExactly half of the room is black, and exactly half of it is white. This is the temple of Isatzo, the god of balance, whose statue stands in the center, one arm stretched out to each side.\n\nAn exit leads east (to Phantasmagoria).\n\nClouds of rust spores drift into the room.\n\n> You spray the fungicide\nYou spray the fungicide all around. The rust spores blacken and wither.\n\n> Go east\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see vast armies of skeletons clash while their masters pray for the help of forbidden deities -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up (to Workshop of the Blademaster).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies up from here)\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (here), Temple of Isatzo (west), Workshop of the Blademaster (up), Alchemical Laboratory (south), Portal Room (south), Library (south), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies up from here)\n- the aswang (level 0) in Drawing Room (which lies east from here)\n\nTip: additional information can be gotten with \"status\", \"trophies\" and (once you have defeated enough monsters) \"sense\".\n\n> You go to the east\nThis otherwise unremarkable room has been decorated with a fascinating drawing.\n\nExits lead south (to Entrance Hall), west (to Phantasmagoria) and down (to Quartering Room).\n\n> You go south\nThe vast entrance hall is empty, silent, foreboding. Skull-sized rubies project a red light far too bright for the eyes of a human.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead north (to Drawing Room), south (to Alchemical Laboratory), west (to Hall of Mirrors) and up (to Portal Room).\n\n> Go south\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn exit leads north (to Entrance Hall).\n\n> You put rapier in the machine\nYou put the rusted gilded rapier in the curious machine. It starts clicking and beeping, and after a short while, a rusted flash grenade drops on the ground.\n\n> You get Grenade\n(the rusted flash grenade)\nTaken.\n\n> You check your inventory\n-weapons:\na rusted executioner's axe\n-clothing:\na rusted war mask\na tormenting necklace\nthe goggles of acuity (being worn)\nthe rusted crown of the empire (being worn)\n-grenades:\na rusted flash grenade\na rusted smoke grenade\n-other:\na fungicide contraption\nthree packages of ment\n\n> Ready axe\nYou ready the rusted executioner's axe.\n\n> You put the necklace in machine\nYou put the tormenting necklace in the curious machine. It starts clicking and beeping, and after a short while, a rust grenade drops on the ground.\n\n> You put the rust grenade in the machine\nThe machine beeps angrily and rejects the rust grenade.\n\nAs rust spores whirl around the room, the rust grenade rusts.\n\n> You get the rust grenade\nYou already have that."
    },
    {
        "text": "> You look around\nCenturies ago, Malygris captured the great alchemist Metastasio and forced him to work in this laboratory. Most of his equipment is now gone, but one curious machine remains.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nAn exit leads north (to Entrance Hall).\n\n> Go west\nMirrors surround you on all sides in an impossible geometry. Myriad reflections follow your every movement -- though some, always in the corner of your eyes, seem to behave differently.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead north (to Phantasmagoria), east (to Entrance Hall) and up (to Library).\n\n> R.\nYou have not yet explored:\n- the north exit of Workshop of the Blademaster (which lies north from here)\n\nYou have visited the following rooms: Entrance Hall (east), Hall of Mirrors (here), Phantasmagoria (north), Temple of Isatzo (north), Workshop of the Blademaster (north), Alchemical Laboratory (east), Portal Room (east), Library (up), Drawing Room (east), Quartering Room (east).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies up from here)\n- Fafhrd (level 0) in Library (which lies up from here)\n- Mouser (level 0) in Library (which lies up from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies north from here)\n- the aswang (level 0) in Drawing Room (which lies east from here)\n\nTip: if a fight proves too much for you, try to \"retreat\". On entering a room for the first time, you can always retreat for free.\n\n> Go north\nThis huge hall is filled with the radiant images of warriors long dead, fighting their bloody battles over and over again. You see a heavily muscled barbarian succumbing to the fiery breath of a dragon -- but the scene changes before you can focus on any details.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nExits lead south (to Hall of Mirrors), east (to Drawing Room), west (to Temple of Isatzo) and up (to Workshop of the Blademaster).\n\n> Up\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nYou can also see five flash grenades and a cloak of shadows here.\n\nExits lead north, south (to Library) and down (to Phantasmagoria).\n\nBodmall chants loudly, and her skin transforms and toughens. It now looks like the bark of a tree.\n\n> Go north\nYou decide to run past your enemies.\n\nRolling 1 + 5 (inherent bonus) + 1 (tension) + 4 (you are running) = 11, Bodmall beats your defence rating of 10.\n\nBodmall deals 1 + 2 (you are running) = 3 damage, wounding you to 5 health.\n\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nThin clouds of smoke and tiny brown spores of the rust moss fill the room.\n\nExits lead north and south (to Workshop of the Blademaster).\n\n> Go north\nSeveral large pipes continuously spew forth vapours into this room.\n\nThick clouds of smoke and tiny brown spores of the rust moss fill the room.\n\nMalygris, perhaps the greatest of all living sorcerers, is standing here.\n\nYou can also see an unguentum argenti, the robe of the dead mage, a rusted magical spade and the rusted Blessed Grenade here.\n\nAn exit leads south (to Bridge of Doom).\n\n> You examine blessed\nThis grenade is rumoured to be extremely effective against undead.\n\n> You look at the spade\nUsed by wizards to construct their dungeons, a magical spade can be used to dig tunnels in whatever direction you wish. Just dig north, for instance.\n\n> You attack Malygris\nMalygris casts a ray of disintegration at the rusted crown of the empire, but the object resists!\n\nRolling 3 + 4 (inherent bonus) - 3 (executioner's axe penalty) - 1 (smoke) = 3, you do not overcome Malygris's defence rating of 16.\n\nMalygris suddenly teleports away!\n\n> You get all\nunguentum argenti: Taken.\nrobe of the dead mage: Taken.\nrusted magical spade: Taken.\nrusted Blessed Grenade: Taken.\n\n> You examine the unguentum\nAn expensive alchemical salve that can be rubbed on iron objects to turn them into silver.\n\n> You put argenti on the axe\nYou carefully apply the salve to the rusted executioner's axe, turning it into a silver weapon."
    },
    {
        "text": "[Themes: Dungeon crawl, rpg, Roguelike]\n\n> Look around\nSeveral large pipes continuously spew forth vapours into this room.\n\nThick clouds of smoke and tiny brown spores of the rust moss fill the room.\n\nAn exit leads south (to Bridge of Doom).\n\n> You dig north\nYou magically create a tunnel north.\n\nA fairly nondescript tunnel.\n\nAn exit leads south (to Hall of Vapours).\n\n> You go to the south\nSeveral large pipes continuously spew forth vapours into this room.\n\nThick clouds of smoke and tiny brown spores of the rust moss fill the room.\n\nExits lead north (to Tunnel) and south (to Bridge of Doom).\n\n> R.\nAll locations have been explored.\n\nYou have visited the following rooms: Entrance Hall (south), Hall of Mirrors (south), Phantasmagoria (south), Bridge of Doom (south), Temple of Isatzo (south), Workshop of the Blademaster (south), Alchemical Laboratory (south), Hall of Vapours (here), Portal Room (south), Library (south), Drawing Room (south), Quartering Room (south).\n\nYou have seen the following creatures in these locations:\n- the mindslug (level 3) in Library (which lies south from here)\n- Fafhrd (level 0) in Library (which lies south from here)\n- Mouser (level 0) in Library (which lies south from here)\n- Bodmall (level 4) in Workshop of the Blademaster (which lies south from here)\n- Malygris (level 5) in Hall of Vapours (where you currently are)\n- the aswang (level 0) in Drawing Room (which lies south from here)\n\nTip: \"look\", \"examine\" and \"inventory\" are free actions, so use them often.\n\n> You go south\nYou stand on an exceedingly narrow bridge crossing a seething lake of lava. Dodging would be suicidal.\n\nThin clouds of smoke and tiny brown spores of the rust moss fill the room.\n\nExits lead north (to Hall of Vapours) and south (to Workshop of the Blademaster).\n\n> Go south\nThe famous workshop of the master of Algir has been transported here in all its glory. A huge forge dominates the room.\n\nThe air is full of the tiny brown spores of the rust moss.\n\nA pale druidess stands here, murmuring to herself in a language you have never heard.\n\nYou can also see five flash grenades and a cloak of shadows here.\n\nExits lead north (to Bridge of Doom), south (to Library) and down (to Phantasmagoria).\n\nBodmall chants softly, and great clouds of fog or smoke rise up from the ground.\n\n> You go south\nYou decide to run past your enemies.\n\nRolling 5 + 5 (inherent bonus) + 1 (tension) - 1 (smoke) - 3 (running covered by smoke) + 4 (you are running) = 11, Bodmall beats your defence rating of 10.\n\nBodmall deals 8 + 2 (you are running) = 10 damage, killing you.\n\nBodmall kneels over your corpse. \"Death is but a stage in the cycle of Nature,\" she says.\n\nYour body explodes vehemently, but Bodmall survives the blast.\n\nThe demonic assassin arrives from below."
    },
    {
        "text": "[Themes: Historical, ocean, naval]\n\n\"Fire the starboard broadside!\" shouts the Captain.\n\nCannons roar as H.M.S. Courageous attacks the enemy frigate. As one of the junior officers--really, more of an officer in training--you command three guns on Courageous's main gun deck. The guns of the battery next to yours fire, leaping back against the heavy ropes that prevent them from smashing across the ship. Clouds of white smoke billow about you as you give your gun crew the commands to ready your battery's cannons: \"Swab! Powder! Wadding! Shot! Run out the guns!\"\n\nThe Captain yells out, \"Fire as the guns bear!\" You give your gun crews orders to load and fire as quickly as they can, without waiting for the rest of the broadside.\n\nThey swab out the bore, push in a charge of powder, push wadding down on the powder, load the shot, push the gun out through the gunport, and fire the cannon, with you commanding each step of the process. \"Swab, powder, wadding, shot, fire! Swab, powder, wadding, shot--\"\n\nThe world turns upside down as the enemy's broadside rips through the hull some ten feet away.\n\n[Author's Note: A swashbuckling naval adventure, in the spirit of C. S. Forester's Hornblower or Patrick O'Brian's Aubrey/Maturin books, with a dash of Jane Austen.]\n\n> You go\nAs the enemy cannonball tears through the side of the ship, giant splinters of wood fly through the air. One of the splinters, perhaps a yard long, rips through the stomach of Davies, a sailor under your command. A fragment of a cannon ball smashes Fisher's arm, mangling it horribly. Your sailors seem stunned by the carnage, standing in shock while Davies and Fisher scream in agony.\n\nWhat do you do?\n\nA: Attend to the wounded personally--the safety of my sailors is my top concern.\nB: Give some quick orders for them to be taken to the surgeon in the cockpit, then turn back to my duty in commanding the guns.\nC: With a gut wound like that, Davies is done for, but Fisher can still be saved. I order some sailors to take Fisher to the cockpit but leave Davies on the deck to die. I need the extra sailors to use the guns effectively.\nD: My duty to the ship outweighs my duty to two sailors. I ignore the wounded and concentrate on firing my guns as quickly and accurately as I can.\n\n> B.\n\"Jones!\" you shout, and a master's mate under your command looks at you expectantly. \"Take a team of sailors and get Davies and Fisher to the surgeon.\"\n\nYour gun crew leaps into action and carries the wounded away. Their screams continue to echo, but you do your best to put them out of your mind and focus on the battle.\n\n> You go\nWe should take a moment here to establish a few important facts about you.\n\nIn this game, you take the role of a young officer in the Royal Navy of \"Albion\" (an imaginary nation rather like England) fighting battles at sea with \"Gaul\" in the time of the Napoleonic wars.\n\nBut you're not just any young officer. Nobody knows it yet, but you're going to be one of the most famous officers in all of Albion. The \"Naval Chronicle\" will publish stories about you; sailors will tell tall tales of your adventures; one day, if you're lucky, people will write histories about you.\n\nWhy? What makes you so notable?\n\nA: My skill in sailing ships.\nB: My combat ability, both commanding the guns of a ship and with pistol and sword.\nC: My leadership--people instinctively follow me.\nD: My high birth gives me strong patronage that will ensure that I quickly rise to high command."
    },
    {
        "text": "[Themes: Historical, naval]\n\n> Go downwards\nAs the younger child of a minor peer, you have strong connections both throughout the Royal Navy and even in Parliament itself. You can always expect the best assignments and the most opportunity.\n\nWhat's your second most notable quality as a young officer?\n\nA: My skill in sailing ships.\nB: My combat ability, both commanding the guns of a ship and with pistol and sword.\nC: My leadership--people instinctively follow me.\n\n> B.\nAs an officer, you are first and foremost a warrior, defending Albion with your skill in battle.\n\nThat tells us what you're good at, but you can't be perfect. What's your greatest weakness as an officer?\n\nA: My skill in sailing ships.\nB: My leadership--I have trouble getting people to obey me.\n\n> You go east\nRemember, you'll do better as an officer if you avoid situations that strain your weaknesses, and pursue strategies that play to your strengths.\n\n>Next\n\n> You go\nThis game is set in a fictional world, similar to our own but with some differences.\n\nFor example, perhaps the ships are crewed by women. You are a young and gallant officer, but are you a young gentleman or a young lady?\n\nA: I'm a young gentleman, of course, and rather confused by the question.\nB: I'm a young lady. The idea of gentlemen going to sea and being exposed to the horrors of combat--it's a frankly revolting idea.\n\n> Go east\nVery well then. What is your surname?\n\n>Type Something\n\n> Rockersuke\nA very respectable name, in light of your class, of course. What about your given name?\n\nA: Henry\nB: Richard\nC: William\nD: Edward\nE: Horatio\nF: Something else."
    },
    {
        "text": "[Themes: Historical, naval]\n\n> Go downward\nExcellent. As the game begins, your officer may be described as follows:\n\nName: Mr. Midshipman Edward Rockersuke\nAge: 19\nSailing: 27%\nGunnery: 63%\nLeadership: 63%\nFighting: 70%\nPatronage: 80%\nTact: 82%\nLikeability: 80%\nHonor: 55%\nCourage: 50%\nBloodthirst: 43%\nIntelligence: 20%\nWealth: 60%\n\n>Next\n\n> You go\nWith that out of the way, let's get back to the battle. You've dealt with the injured, in a fashion. Now, you need to keep firing your guns. But in the midst of all the excitement. . . what's the next step?\n\nA: Swab the bore.\nB: Ram in the powder.\nC: Place the wadding on the powder.\nD: Load the shot.\nE: Run out the gun and fire.\nF: I have no idea . . .\n\n> You go east\n\"Run out the gun!\" you yell. As the gun carriage bounces on the hull of the ship, you shout, \"Fire!\" One of the ratings touches the fuse to the powder, and the gun leaps back with a roar. You were correct and kept your gun firing as quickly as possible. Your able performance has helped your ship win the battle.\n\n>Next\n\n> You go\nThe battle rages on, but finally the Gaulish ship hauls down its colors and surrenders.\n\nIn the aftermath of the battle, a young midshipman runs up to you. \"Captain's compliments, sir, and he asks you to report to the quarterdeck.\"\n\nWhen you get to the quarterdeck, the Captain looks over at you. \"Mr. Rockersuke! I'm rating you as an acting-lieutenant. Take a section of twenty men across to the prize and assume command. Make any necessary repairs and set sail for any Albionish port.\"\n\n\"Aye aye, sir! Thank you, sir!\" You quickly gather your men and head across on your first command.\n\n>Next Chapter\n\n> You go\nAs you prepare to leave Courageous, you run into Mr. Bryce, the second lieutenant.\n\n\"Well, well, well! 'Acting-Lieutenant' Rockersuke!\" he says, grinning widely and slapping you on the back. \"I know you'll do smashingly with your first command; I have the utmost confidence in you!\"\n\n\"Thank you, sir,\" you reply, touching your hat in salute.\n\nJust at that moment, first lieutenant Pigot rounds the corner. \"Mr. Rockersuke,\" he remarks, somewhat stiffly. \"Fine piece of luck you've had.\"\n\nPigot, with over twenty-five years experience, is by far the most senior lieutenant on board--perhaps in the whole fleet--but it's not to his credit. He's too incompetent to earn a promotion to commander; he's watched countless younger, more competent lieutenants pass him by, while he racks up years of \"valuable experience.\" All he has to show for it is the power to boss the other lieutenants around imperiously, and he rarely misses an opportunity.\n\n\"Luck has not a bit to do with it, I say!\" Bryce counters cheerfully. \"Well, go on then! Don't want to keep the prize waiting!\"\n\n\"Aye aye, sir!\"\n\n>Next\n\n> You go\nYou make your way across to the prize ship with your detachment of 20 men. You are the only officer, but you have Jones, a master's mate, with you as your second-in-command. The Gaulish ship is a 36-gun frigate--a square-rigged three-masted ship with an ordinary crew complement of some 250 men. Your detachment of 20 will be sufficient to sail the prize, of course. Warships carry much larger crews than similarly sized merchant ships because of the need to staff the broadsides, as well as to have men available for detached duties such as prize crews. And, of course, the larger crew size allows for a substantial number of casualties before the ship is incapacitated.\n\nThe long and the short of it is that you can fairly easily sail the frigate, but your prisoners outnumber you roughly 10 to 1, even taking into account the substantial losses they took before striking their colors. As you arrive, you quickly send some of your men to bring the prisoners below and to lock them in the hold, where they will spend the rest of the voyage.\n\n>Next\n\n> You go\nA Gaulish officer, no more than a few years older than yourself, approaches you and offers his sword in surrender. He addresses you in Gaulish.\n\nGiven your social class, your tutors taught you Gaulish as a matter of course. You understand him perfectly, and can reply with an almost native accent if you choose.\n\n\"I believe you are the officer of the prize party, sir?\" he says.\n\nDo you deign to respond to him in Gaulish?\n\nA: Yes, anything else would be churlish and unworthy of a gentleman.\nB: Yes. He may not understand my language and it will be useful to open communication with him.\nC: No. I may have the opportunity to overhear useful information if the prisoners do not know I speak their language.\nD: No. We defeated them, and we will make them behave on our terms."
    },
    {
        "text": "[Themes: Historical, ocean]\n\n> Go downward\nYou laugh as he finishes his request. \"You are a prisoner like any other, your rank notwithstanding.\"\n\nHe looks frankly shocked. \"But. . . but we are both gentlemen. . .\nOur militaries have always accepted the parole of opposing officers!\"\n\n\"Jones!\" you call to your master's mate. \"Take this Gaul below and lock him in the hold with the rest of the enemy.\"\n\n\"Aye aye, sir!\" responds Jones, with more than a little vicious enthusiasm.\n\nJones smiles as he returns to the deck. \"The Gaulish officer is in the hold, sir. It's nice to know that after all the suffering they put us through--and the deaths of good men like Davies--that they'll get a taste of suffering on the way back to Albion. It can't be too nice being cooped up in that hold without any daylight. I reckon it will take us a week or two to make it back to Albion.\"\n\n>Next\n\n> You go\nA few days later, one of you crew passes the word that Lieutenant Villeneuve has a question for you.\n\n\"Sir,\" he inquires, \"may we have access to some additional medical supplies? A member of our crew has suffered a compound fracture; without further attention, he may die.\"\n\nA: Provide medical supplies.\nB: Deny medical supplies.\n\n> You go\nOn the sixth day, one of your men calls down to the deck. \"Sail to lee!\"\n\n\"What sort of ship is it?\" you call back, as you search with your spyglass.\n\nAfter a minute, the sailor calls back, \"She looks to be a Gaulish sloop-of-war, sir.\"\n\nA sloop-of-war. . . That presents you with a difficult choice. A sloop carries no more than 20 guns, and often fewer. What's more, a sloop's guns will be of lighter weight than those of a frigate. If you had a full crew, you could easily capture her. But with only a prize crew at your disposal, the sloop would have a much greater rate of fire and substantially larger number of men.\n\nHow do you want to handle this?\n\nA: Engage the enemy sloop directly.\nB: Attempt to capture the enemy sloop through a clever ambush.\nC: Avoid the enemy sloop--it's not worth risking the more valuable prize in a battle that would likely go badly.\n\n> Stats\nName: Mr. Edward Rockersuke\nRank: Acting lieutenant\nSeniority: 0 years\nAge: 19\nSailing: 27%\nGunnery: 66%\nLeadership: 63%\nFighting: 70%\nPatronage: 82%\nTact: 83%\nLikeability: 81%\nHonor: 47%\nCourage: 50%\nBloodthirst: 43%\nIntelligence: 28%\nWealth: 60%\n\n>OK\n\n> You go\nAs the cloud of smoke from your broadside clears, you can see that the Gaulish sloop is damaged, but not badly. The sloop answers your broadside with one of its own--its guns are light, but splinters still kill three of your men. The enemy captain seems to have understood the situation and maneuvers to board your prize ship.\n\nNow for the moment of truth: Do you rally your crew for a desperate melee, hoping to somehow prevail despite being badly outnumbered, do you strike your colors and surrender, or do you try to flee despite having brought your ship deep within the enemy's range?\n\nA: We will never surrender while we still live!\nB: We did our best, but now we have no choice but to surrender.\nC: Escape is our only hope! Make all sail!\n\n> You go\nYou spend the next several years in a Gaulish prison. You are not mistreated, precisely, but it's still a terrible experience. Finally, after years of waiting, you and your men are exchanged for some Gaulish prisoners.\n\nYou finally return to H.M.S. Courageous, only to discover that the Captain has removed your status as an acting-lieutenant for failing to deliver the prize safely home. You resume service as a midshipman.\n\n>Next Chapter\n\n> You go\nYou return to your duties as a midshipman on H.M.S. Courageous. The days pass much as before. You study under the ship's master, you run errands for the officers, and you command your small section of men in routine tasks. As a year passes, you have the opportunity to practice various skills that you expect to be tested on in the lieutenant examination. Which of your skills do you devote the most effort to training?\n\nA: Sailing.\nB: Gunnery.\nC: Fighting with sword and pistol.\nD: Leading the men of the ship.\nE: Currying favor with my superiors.\n\n> You go\n\"Ten minutes before eight bells, sir,\" the quartermaster reports. A steady breeze pulls your ship inevitably west, bound for Kingsport.\n\n\"Very good,\" you say. \"Pipe the watch below.\"\n\nThe first lieutenant, Mr. Pigot, arrives promptly to relieve you of your dog watch.\n\n\"I relieve you, Mr. Rockersuke.\"\n\n\"Aye aye, sir. I stand relieved. Good night, sir.\"\n\n\"Good night, Mr. Rockersuke.\"\n\nNot long after, you find yourself lying in your cot, drifting off to sleep. Soon, you begin to dream.\n\n>Next\n\n> You go\nYou find yourself sitting for your lieutenant's examination. Three gigantic captains are looking down at you with terrible grins, larger than life.\n\n\"Good day, Mr. Rockersuke. My first question to you is as follows.\nYou are in temporary command of a 36-gun ship, returning to Albion with maximum haste. The wind is with you, and you are at full sail. The barometer reports a sudden drop in pressure. What do you do next?\"\n\nA: I don't know the answer! I'm going to fail the exam!\nB: Stammer and stall for time.\nC: Make something up.\nD: Admit that I don't know.\n\n> B.\nThe captains laugh cruelly. \"Failing the exam already, Rockersuke? Any officer would know that a sudden drop in pressure indicates the arrival of a major storm! By the time you'd reef the sails, you'd probably lose a mast!\"\n\n\"Here is your next question,\" the second captain says.\n\n\"You are in temporary command of a 36-gun ship, returning to Albion with maximum haste. The wind is with you, and you are at full sail. The barometer reports a sudden drop in pressure. What do you do next?\"\n\nA: Didn't you just ask me this question?\nB: A strong wind is coming. Let out more sail to pick up speed.\nC: Cut holes in the sail to maintain speed through the weather.\nD: We're about to be calmed. Prepare oars for rowing.\nE: Oh no! All of these answers are incorrect!\n\n> You go\nDrowsily, you can hear Pigot call the watch; it's midnight. The ship is heaving erratically. As you yawn deeply, your ears pop. The pressure has changed.\n\nA: Fall back asleep.\nB: Send word above deck.\nC: Go above deck.\n\n> B.\nPigot laughs. \"You came all the way up here to tell me that?\"\n\n\"I've already got the men furling the sail! What do you take me for?\"\n\nJust at that moment, Captain Kent appears from his cabin. \"Captain on deck!\" yells Pigot.\n\nJust then, Jones falls from the riggings of the mizzen mast. Another sailor reaches out to catch him; the wind shrieks and the ship groans and leans precipitously. You hear a pop as someone's arm dislocates. Before anyone can say a word, both sailors have fallen to the deck, one of them killed instantly on impact.\n\nThe Captain takes over from here.\n\n>Next Chapter\n\n> You go\nAfter breakfast, all the officers of the ship gather together in the Captain's cabin.\n\nPigot takes a moment to turn to you and hiss, \"What were you trying to do last night--make it seem to everyone that I don't know my job? You'll pay for your insolence.\"\n\nYou have no opportunity to defend yourself before the Captain calls for everyone's attention.\n\n\"My question for you, Mr. Pigot,\" the Captain says, \"is: why were there still men on the riggings when the storm arrived?\"\n\n\"I could see from on deck that Master's Mate Jones hadn't reefed the sail correctly,\" replies Pigot, \"so I ordered the men to return aloft to secure it properly.\"\n\nThe Captain counters, \"Jones says that you gave the order to reef the sail too late, and that he and Wilson were already under heavy weather.\"\n\n\"With all due respect, sir, Jones is an insubordinate and unskilled master's mate. I'm not surprised he has invented an excuse. I gave the order when it was needed.\"\n\nA: Support Jones.\nB: Support Pigot.\nC: Stay out of it.\n\n> You go\nAs soon as he's able to walk, Jones is laid out for twenty lashes. Pigot has the bosun beat him as hard as he can; he's immediately returned to the surgeon's care.\n\nLater that night, a midshipman wakes you from very deep sleep.\n\n\"Mr. Pigot's compliments, sir, and he's passing the word for you.\"\n\nBecause he is senior to you, you have no choice but to report when he sends for you. You stagger out of bed, quickly pull on your uniform, and make your way to the deck, where Mr. Pigot awaits you with a nasty smile.\n\n\"Mr. Rockersuke, did the weather change at all during your watch?\"\n\n\"Yes, sir,\" you reply, as clearly as you are able, \"the wind changed twice during the evening. At the end of my watch the wind was favorable.\"\n\n\"Very well. You are dismissed.\"\n\nWhat an odd question. Couldn't he have gathered this information from the log?\n\n>Next\n\n> You go\nYou find that you're a bit tired the following day. You find it difficult to avoid yawning disrespectfully, but you're in the Royal Navy; you can manage it.\n\n>Next\n\n> You go\nBut two days later, Pigot wakes you up again, in the middle of your sleep cycle.\n\n\"How many times did you throw the chip log to measure speed?\" he asks.\n\n\"Uh, three times, sir,\" you slur.\n\n\"Come again, Mr. Rockersuke?\"\n\n\"Sir, I said three times.\"\n\n\"I see. Mr. Rockersuke, in my opinion, you appear to be inebriated with rum.\"\n\n\"Sir, no sir.\" It's almost three bells; you're exhausted, but you're not drunk.\n\n\"Well, I'll see to it that this won't happen again. You're not to have another drop of rum until my order, is that clear?\"\n\n\"Aye aye, sir.\"\n\n\"You are dismissed, Mr. Rockersuke.\"\n\nPigot wakes you again three days later, to ask whether the Captain gave you any standing orders that he should be aware of as the next watchstanding officer.\n\nAnd again two days after that.\n\n>Next\n\n> You go\nMr. Pigot wakes you at least once every two or three days for the next three weeks; sometimes he takes the opportunity to lecture for an hour on the importance of respect and good discipline on a ship. He's doing everything in his authority to make your life hell.\n\nThe following evening, you catch yourself nearly falling asleep on duty--an offense punishable by death.\n\nA: Try to apologize to Pigot.\nB: Ask Mr. Bryce what to do about this.\nC: Complain directly to the Captain.\nD: Tough it out."
    },
    {
        "text": "[Themes: Historical]\n\n> Go downwards\nThe next night, Pigot wakes you again at three bells. The following afternoon, you catch yourself dozing during duty. It couldn't have been more than a few seconds; no one appears to have noticed this time.\n\n>Next Chapter\n\n> You go\nAs you head below deck, you see a handful of sailors whispering together. As soon as they catch sight of you, they stop abruptly and go their separate ways.\n\nWhat do you think they're whispering about?\n\nA: It's harmless gossip.\nB: They're planning a mutiny.\n\n> B.\nWhat do you plan to do about it?\n\nA: Loudly ask what they were whispering about.\nB: Pull one of them aside to ask what they were whispering about.\nC: Tell someone about the whispering.\nD: Do nothing.\n\n> B.\n\"Allen, may I have a word with you?\"\n\nYou move a little closer to your cabin. \"What was that little gathering about?\"\n\n\"With all due respect, sir, I don't think you want to know.\"\n\nA: Swear to secrecy.\nB: I don't think I want to know.\nC: Threaten Allen."
    },
    {
        "text": "[Themes: Historical]\n\n> You go downward\nMr. Bryce, now the first lieutenant, asks you privately, \"Mr. Rockersuke, do you really think it was an accident?\"\n\nA: \"Yes, I'm sure it was an accident.\"\nB: \"No, I don't think it was an accident.\"\n\n> You go\n\"I do not think we can catch her,\" you say quietly to Bryce.\n\n\"We must catch her,\" Bryce replies, \"before she gets much nearer shore. We can't manuever Courageous in those shallow waters--\"\n\nAnd, indeed, before very long the Captain is forced to call off pursuit, citing just that reason. Courageous stays a safe distance out, in deep water. You and many others stare resentfully at the escaped prize--nestled against shore in the company of another Gaulish merchant vessel, one that was already there. The Gauls must use this island often for resupply.\n\n\"Mr. Bryce! Mr. Rockersuke!\" the Captain's voice cuts through your reverie. \"In my cabin, if you please!\"\n\n>Next\n\n> You go\n\"We can hold them pinned here indefinitely,\" the Captain says, \"but we can't get close enough to engage them directly. Which means a cutting-out expedition is called for.\" A group of men will be sent to approach the merchant ships in the dead of night, board them secretly, take them over, and sail them away from the island as prizes.\n\n\"There are two ships, so our force will be divided in two. Mr. Bryce, you will command one half; Mr. Rockersuke, you will command the other. Expect that each enemy ship has a complement of thirty men. You will each have forty under your command.\"\n\nFew lieutenants get such a chance to prove their capabilities. If you are able to pull this off, it will be a significant boost to your career.\n\nSo how are you feeling about this?\n\nA: Thrilled. I have been waiting for this sort of opportunity for a while now. I have no doubt at all I will succeed brilliantly and impress the Captain.\nB: Determined. This is going to be difficult, but I will give it everything I have and hope that is enough.\nC: Terrified. If I am NOT able to pull this off, it could represent a signficant setback to my career! Isn't that just like the Navy, to put you into positions where there is only a tiny chance of success, and then punish you for failure? I wish the Captain had chosen someone else.\n\n> B.\nThat's the spirit!\n\nYou give serious thought to how you will organize your men, and then you go to brief the ones who have been assigned to you. They consist of two midshipmen and forty sailors.\n\n\"We will take two boats,\" you explain. \"I shall command one, with Mr. Midshipman Stuart to assist me. Mr. Midshipman Mason will command the other. My boat shall come along the starboard side of the Gaulish vessel, and Mr. Midshipman Mason's along the port side. We will climb aboard secretly, and then attack from two sides with plenty of shouting to frighten the spineless Gaulish boys.\"\n\nThe men grin.\n\nYou pause. You know that one of the three officers must be made responsible for cutting the anchor cable, so that your men will be able to sail the Gaulish ship out to where H.M.S. Courageous waits. Another must be responsible for ascending the rigging and loosing the topsail to get the ship underway. And a third must be responsible for taking over the steering of the ship. There are three officers available--you and the two midshipmen. Which job do you want for yourself?\n\nA: Cutting the cable is the most important job. It will have to be done while hand-to-hand fighting is still raging on the deck. I will take responsibility for it myself.\nB: Ascending the rigging to loose the topsail is both important and dangerous. It will require iron nerves and great agility to climb to that unsteady height in the dark while fighting rages on the deck below. I will take responsibility for it myself.\nC: Steering the captured prize back to Courageous is the proper job for the officer in command. I will take responsibility for it myself.\n\n> Stats\nName: Mr. Edward Rockersuke\nRank: Lieutenant\nSeniority: 4 years\nAge: 28\nSailing: 37%\nGunnery: 66%\nLeadership: 64%\nFighting: 73%\nPatronage: 74%\nTact: 83%\nLikeability: 71%\nHonor: 19%\nCourage: 44%\nBloodthirst: 51%\nIntelligence: 31%\nWealth: 60%\n\n>OK\n\n> B.\nBryce raises an eyebrow at you. You are uncomfortably certain that he knew you had forgotten, and isn't overly impressed by your attempt to cover your error. \"See that you do,\" he says tersely. But then he manages a somewhat strained smile. \"Good luck to you, Mr. Rockersuke.\"\n\n\"To you too, sir,\" you say, and go to shepherd your men into the boats.\n\n>Next\n\n> You go\n\"Now see here!\" you order your men in a fierce whisper. \"Not one sound from any of you once we're out on the water! And keep those pistols of yours half-cocked until I give the order otherwise! Any man who disobeys will be kissing the gunner's daughter tomorrow!\"\n\nThey all nod, and you join them in the boat, satisfied that you covered your earlier mistake brilliantly. No one would ever guess you entirely forgot to give the order before.\n\n>Next\n\n> You go\nThe oars skim smoothly over the water, and the men obediently keep quiet. You can feel your heart hammer in your throat as the great dark shapes of the Gaulish ships loom overhead, and you hope your hand doesn't shake on the tiller. It is your responsibility to get the boat close enough to board the merchant vessel, without letting their lookout see anything. You hope your sailing ability is up to the task.\n\n>Next\n\n> You go\n\"Uh, Mr. Rockersuke,\" Stuart whispers loudly. \"Uh, sir, begging your pardon, but I think we're drifting--\"\n\nTo your horror, you realize that Stuart is right. You hastily fumble to correct your error. Do you thank him for his assistance, or order him to keep quiet?\n\nA: I nod my thanks as I correct course.\nB: I order him to keep quiet.\n\n> You go\nYou fling yourself at the chains that snake up the Gaulish ship's side, ordering your men to follow and remembering to call over your shoulder the additional order to cock their pistols. Above your head, you can hear shouts and pounding feet as the Gaulish sailors rush to defend their ship.\n\nYou and your men climbs as fast as you can, but your poor sailing ability gave the Gauls a chance to get themselves prepared. You were counting on the advantage of surprise, and you have largely lost that. Still, nothing for it--\n\n\"For Albion!\" you shout, and plunge into the fracas on the deck.\n\n>Next\n\n> You go\nYou cut to the left and the right with your sword, shouting as loudly as you can. At first, the Gauls scatter before you--but then they begin to regroup.\n\nOne rushes you from the left, and you turn and plunge your sword into his chest. He falls--but there is another diving in from the right, closing fast as you struggle to extricate your blade from his dead shipmate.\n\nWhat do you do?\n\nA: I use all my strength to wrench my sword free, and then I turn and fight.\nB: I can't waste an instant. I abandon my sword, and turn to fight with my pistol.\nC: There isn't enough time to turn. I dodge to the left.\n\n> B.\nYou let go of the hilt and spin around, leveling your pistol as your new opponent swings his sword. Steel whistles past your ear--you fire at point-blank range--and the Gaul falls to the deck, a smoking hole in the center of his chest. In a smooth motion you pick up the fallen Gaul's sword and pistol to replace your own.\n\nYou turn your attention back to the task at hand: fighting your way through the mass of bodies to the cable. You have almost reached your goal when you find your way blocked by two massive, angry Gauls standing shoulder to shoulder. You aim your pistol--and just then, out of the corner of your eye, see Mason fighting a desperate duel on the other side of the deck.\n\nIf Mason falls, his task will go uncompleted. On the other hand, if you spend your bullet to save his life, you will be out of ammunition. And then you will have to fight both these Gauls with just your sword. If they cut you down, your task will go uncompleted.\n\nWhat do you do?\n\nA: I am confident in my ability to win any swordfight, even two on one. And it is my responsibility to see to the safety of those under my command. I turn and fire at Mason's attacker.\nB: Mason can take care of himself--he is a well-trained officer of the Royal Navy. It is my responsibility to see my own part of the mission successfully executed. I fire at one of the Gauls in front of me.\n\n> You go\nHe is not wearing the uniform of the Gaulish Navy, but it is unmistakably the same man whom you met aboard a Gaulish prize some time ago. The years since have treated him well--his skin is more weather-beaten, perhaps, and a scar seams his left cheek, but he looks to be otherwise in good health and good spirits. And not hurting for money, either: he is dressed in a very fine linen shirt and a coat with gleaming gold buttons, and he carries a pair of elegant gloves such as a gentleman wears when dancing. He has clearly come to this Assembly intending to dance. It is a small shock to you to realize that a Gaulish officer is here as someone's invited guest.\n\nHow do you respond?\n\nA: \"Mr. Villeneuve! What a surprise.\"\nB: \"What on earth are you doing here?\""
    },
    {
        "text": "> Go downwards\nToo damn right. It was not so long ago that Villeneuve was capturing Albionish merchants and taking the lives of Albionish sailors. How dare he come and claim friendship with me now?\n\n\"On the other hand,\" you say coldly, \"peace deprives men like me of the opportunity to remove scum like you from the face of the earth.\"\n\nVilleneuve looks utterly taken-aback for one instant. And then his face slowly flushes red. A few people nearby turn their heads curiously. You must have spoken more loudly than you intended.\n\n\"Ah,\" Villeneuve says between his teeth, \"Albionish civilization. Apparently, not all it is boasted to be. Sir.\" He inclines his head a bare fraction and turns on his heel.\n\nWait a minute. Did he just insult your country?\n\n>Next\n\n> You go\nHe did. He actually did. The cheek of that damned Gaul.\n\nWhat are you going to do about it?\n\nA: Maintain a dignified silence and walk away. He is beneath contempt. B: Insult him back.\nC: Call him out.\n\n> B.\n\"Of course!\" you say to Bryce.\n\n\"Good luck, Edward,\" Bryce says.\n\nYou face Villeneuve. You still can't read his expression. Christy-Palliere shouts the order to begin.\n\nVilleneuve shifts at once into a guard position. You and he circle each other, eyeing, probing for weakness.\n\nDo you want to approach this duel cautiously and keep your moves mostly defensive, or do you want to mount an aggressive offensive?\n\nA: I want to fight defensively.\nB: I want to fight aggressively.\n\n> B.\nYou throw yourself into the fight with reckless abandon, and Villeneuve does the same. At first neither of you can gain the advantage. But then you see an opening, and lunge for it.\n\n>Next\n\n> You go\nThe abrupt ferocity of your attack takes Villeneuve off-guard; he moves to parry, but not quite quickly enough, and your blade slices down his left arm.\n\n\"Hold!\" Bryce shouts. \"First blood! Honor is satisfied!\"\n\nYou step back, breathing hard. Villeneuve clutches his left arm, and blood seeps through his fingers in a bright red gush.\n\n\"It's all right,\" Bryce says to you, \"it's all right. You haven't killed him. He will bear the scar the rest of his life, though. Serves the Gaul right.\"\n\n>Next Chapter\n\n> Stats\nName: Mr. Edward Rockersuke\nRank: Commander\nSeniority: 0 years\nAge: 29\nSailing: 37%\nGunnery: 66%\nLeadership: 64%\nFighting: 73%\nPatronage: 74%\nTact: 71%\nLikeability: 73%\nHonor: 19%\nCourage: 44%\nBloodthirst: 51%\nIntelligence: 31%\nWealth: 64%\n\n>OK\n\n> You go\nThe peace with Gaul does not last. Before long, hostilities have resumed and the Admiralty is building back up its Royal Navy, to combat the Gaulish threat to the freedom of the seas.\n\nThe letter arrives by special messenger, very early on a cold morning. You slit the seal. Your orders are written in fine black script on heavy, cream-colored paper.\n\nIt reads, \"You are requested and required to assume command of H.M. Sloop Defender. . .\"\n\nYour own command at last!\n\n>Next Chapter\n\n> You go\nAt the crack of dawn, you walk to the end of the long pier, where you first catch sight of H.M. Sloop Defender.\n\nIt's . . . not all that you might hope for. There are barnacles on the hull; the sails are tattered at the edges; the paint is worn. It's no better as you find yourself standing on the dirty, uneven deck, introducing yourself to your first (and only) lieutenant.\n\n\"Welcome aboard Defender, sir,\" says Mr. Benton proudly. \"Finest sloop in the navy!\" His uniform looks as if he'd put it on in the dark. He wouldn't know the finest sloop in the navy if it raked him with a broadside.\n\nYou promptly draw out the orders from the Admiralty placing you in command of H.M. Sloop Defender.\n\nWhen you finish reading your orders aloud to the crew, you are officially the new master and commander of the sloop.\n\n>Next\n\n> You go\nOut of the corner of your eye, you spot a familar sailor: Master's Mate Jones! Ah, make that just \"Jones\" since he was disrated in connection with that unpleasant business with Mr. Pigot back on H.M.S. Courageous.\n\nHe greets you with a salute and a smile. At least there's one good sailor on this sloop!\n\n>Next\n\n> You go\n\"Captain Rockersuke, sir?\" says a middle-aged man coming up from below deck. \"Carter, reporting for duty. I'm the senior master's mate and acting master of Defender.\"\n\nA post-captain would have a sailing master under him as the most senior warrant officer, but on a sloop the commander is technically also the master. You still have a few master's mates--experienced ratings working to get their warrants as masters in the Royal Navy. Mr. Carter, as the senior mate, will fill the role of the sloop's sailing master in all but title.\n\n\"Mr. Carter,\" you reply, \"make the sloop ready for some shake-down maneuvers. I want to see her capabilities.\"\n\n\"Aye aye, sir!\"\n\nYou inspect Carter carefully as he readies the sloop for basic action. You quickly realize that this man is the only force holding the sloop together; Benton gives orders, but Carter has them followed. Under Carter's guidance, you manage to get the sloop out onto open waters.\n\n>Next\n\n> You go\nThe shake-down maneuvers are embarrassing. You sail the sloop around, clear for battle, and fire off a broadside. The sails are not hauled taut, it takes longer to raise and lower the sails than it should, and it takes much longer (a full minute or more) to clear the sloop for action than it ought. The broadside is ragged and slow, and one sailor injures himself by getting his foot crushed by a gun carriage.\n\nAt this point, you believe that, overall, the crew is reasonably happy but poorly disciplined.\n\nYou're going to have to turn this sloop into a credible fighting vessel; to do that, you'll have to put the men to work. It looks like this crew isn't particularly used to hard work yet.\n\nWhere do you want them to focus their efforts?\n\nA: Drill them on gunnery.\nB: Practicing sailing maneuvers.\nC: Clean the sloop completely.\n\n> B.\nFor day after day, you drill the men on sailing. You hoist all sail, then send the hands aloft to lower and reef the sails. As soon as the last topman is back on the deck, you send them back up to unreef and spread the sails again. You tack into the wind, rapidly switching your sailing points and drilling the crew on switching tacks. Then you bring the sloop about and order the crew to quickly set the sails to run before the wind. As soon as they are done with that adjustment, it's time to turn across the wind. When the men have adjusted again, it's back to tacking into the wind. The work is hard and requires constant attention--any carelessness aloft could be deadly. Mr. Carter times every maneuver, with a tongue-lashing or worse for any sailor who is slow about his duty. By the end of the day, the men stagger down for their dinner. And then the next day, starting with a tired crew, you do it again.\n\nAfter several days of this brutal regimen, you see real improvement. The men are more alert, quicker in responding to the changes you order. The crispness and speed of the sloop's maneuvers improves, and you find that the sloop is both more maneuverable and faster than you had thought when you first assumed command. The men groan as you order them aloft each day, but slowly they are becoming a credit to the Royal Navy. However, it's clear that they haven't had to work this hard in quite some time; you manage to overhear a few surly grumbles from the crew, though you don't manage to catch any particular sailor grumbling.\n\nA: Keep working them as hard as they can.\nB: Let's take it easy for now.\n\n> B.\nIn compensation for how hard you've been working the men, you give them a \"rope yarn Sunday\"--a day when their duties are cut back to the bare minimum necessary to keep the sloop sailing. Even though the rope yarn Sunday doesn't fall on an actual Sunday, you let them relax as if it did, and in fact more than on most Sundays. Some of the men skylark on deck, while others take to gambling and similar recreations. The mood of the crew improves dramatically as the men have some time to themselves and a little bit of an opportunity to relax.\n\nUnfortunately, a relaxed mood is not necessarily what you want in the Royal Navy. You begin to notice that some of the men are slow to touch their brows when they address an officer, and even forget to say \"sir\" when they ought. The omissions are small, but the Royal Navy requires shows of respect for a reason. As the rope yarn Sunday ends, the men grumble about returning to their duties, muttering among themselves and taking their time in obeying their orders.\n\nThe sloop's happiness increases, but its discipline decreases.\n\nYou believe that, overall, the crew is reasonably happy but poorly disciplined.\n\n\"It's a difficult crew, sir,\" volunteers Mr. Carter. \"Many of these landsmen came from the jails. I've done what I can with them, but the previous captain and his lieutenant struggled to keep them in line.\"\n\nA: Punish the whole crew harshly.\nB: Identify the worst sailors and punish them.\nC: Punish lightly.\nD: Don't punish at all.\n\n> B.\nThanks to your expert leadership, you're able to successfully judge the character of these sailors; you manage to separate the sheep from the goats (for the most part). The worst of the sailors receive double work duty, numerous lashes, and, perhaps worst of all, they're cut off from rum completely.\n\nThey soon begin to learn what sort of behavior will get them caned; some of them even start to avoid such behavior.\n\nDiscipline increases greatly.\n\n>Next\n\n> You go\nOne evening, you head below deck as some of the men are taking dinner; you find Jones telling a bawdy joke about the lascivious habits of women in London.\n\nHe tells it quite well; you hadn't noticed before, but Jones has a certain natural charisma about him that makes others turn to listen to him.\n\nA: Chastise Jones for behavior unbecoming a sailor.\nB: Have Jones whipped.\nC: Keep an eye on him, but do nothing for now.\nD: Tell a bawdy tale of my own.\n\n> You go\nA few days later, Mr. Carter brings you a landsman sailor whom he found asleep on watch.\n\n\"Terribly sorry, sir,\" he mumbles groggily.\n\nA: Whip him soundly.\nB: Arrange a (questionable) jury to have him court-martialed and hanged.\nC: Put him on double watch, and forbid him from rum.\nD: Let it slide.\n\n> You go\nAs you head below deck, you see a handful of sailors and midshipmen whispering together, including Jones. As soon as they catch sight of you, they stop abruptly and go their separate ways. (You experience a brief moment of \"deja vu,\" as the Gauls call it.)\n\nA: Loudly ask what they were whispering about.\nB: Pull one of them aside to ask what they were whispering about.\nC: Whip them soundly.\nD: Use a spy to find out what they were discussing.\nE: Do nothing."
    },
    {
        "text": "[Themes: Historical, naval]\n\n> Go downwards\nYou pass their names to Mr. Carter.\n\n\"Watch them, Mr. Carter.\"\n\n\"Aye aye, sir. I will, sir.\"\n\nAt this point, you believe that, overall, the crew is tolerably happy and with reasonable but not great discipline.\n\nThere are definitely some bad apples in the crew.\n\n>Next\n\n> B.\nMr. Carter was an experienced and expert sailor. The only explanation for his death is murder. And since you doubt Benton killed him, and you know that you didn't, that's tantamount to mutiny.\n\nSo the question is: What are you going to do about it?\n\nA: Investigate the murder. I know he was murdered, but I don't know by whom.\nB: Seize the most likely suspects and proceed straight to a court-martial. It's better to be firm and swift in response than to be right.\nC: Think about it some more. I have to respond correctly, and that's more important than acting quickly.\nD: Ignore it, at least for now. Starting an investigation could lead to an open mutiny, and I can't risk that.\n\n> Stats\nName: Mr. Edward Rockersuke\nRank: Commander\nSeniority: 2 years\nAge: 31\nSailing: 46%\nGunnery: 66%\nLeadership: 64%\nFighting: 73%\nPatronage: 74%\nTact: 71%\nLikeability: 73%\nHonor: 19%\nCourage: 44%\nBloodthirst: 51%\nIntelligence: 31%\nWealth: 64%\n\n>OK\n\n> You go\nA: Investigate the murder. I know he was murdered, but I don't know by whom.\nB: Seize the most likely suspects and proceed straight to a court-martial. It's better to be firm and swift in response than to be right.\nC: Think about it some more. I have to respond correctly, and that's more important than acting quickly.\nD: Ignore it, at least for now. Starting an investigation could lead to an open mutiny, and I can't risk that.\n\n> B.\nA few nights later you awake with a start, to the sound of shouts and clanging metal outside your cabin.\n\nYou swing up out of bed, grabbing for your sword--just as a team of armed sailors breaks down the door. The leader's face is twisted into a sneer. \"Not so powerful now, are you?\" he says scornfully. Over his shoulder, you can see the Marine sentry and a sailor bleeding to death on the deck outside. \"Throw down that sword.\"\n\nDo you?\n\nA: I can't win. I throw down my sword.\nB: Never!\n\n> B.\nYou attack so ferociously he stumbles back in surprise. Ruthlessly following up your advantage, you cut your way through the mutineers and manage to maneuver your way out of your cabin. On deck, you see that the mutiny is just getting started.\n\nYou rally the loyalists, and assess the tactical situation. Though parts of the crew were unhappy enough to risk their lives to kill you, notwithstanding your efforts to build discipline. . . the numbers are still on your side.\n\nFor now.\n\n>Next\n\n> You go\n\"We must re-take control of this ship!\" you shout, and the men surrounding you nod. Some of them are armed, with blades or pistols; some have only their bare hands. But at least they are all on your side.\n\n\"For Albion!\" you yell. They follow you as you charge back down the deck, no longer fighting defensively but now actively attacking anyone in your way.\n\n>Next\n\n> You go\nFrom around a corner come a contingent of mutineers--some of the ones who broke into your cabin, and some others. They stop when they see your party of loyalists. You stop too. Your two groups glare at each other along the deck. Light glistens off the blades of their cutlasses.\n\nWhat do you do?\n\nA: Bluff them into surrendering.\nB: Charge down the deck and engage them directly.\nC: Grab a pistol from one of your loyal men and start shooting from here.\n\n> You go\nThe battle is long and bloody, but in the end, the loyalists are victorious.\n\nEasily a dozen men have died, and a further two dozen more are unable to work, but with that show of force, you have put down the mutiny and re-established control of your sloop.\n\n>Next Chapter\n\n> You go\nH.M. Sloop Defender continues her cruise. On a bright and clear day, you come into sight of a Gaulish merchant convoy, with no apparent warships to defend it. There are a dozen Gaulish merchant ships in all.\n\nHow do you plan your attack?\n\nA: We stay to windward, planning on picking off the Gaulish ships one by one as we overrun them. With the advantage of the wind gage, we will be able to catch any ships that try to run easily.\nB: We head to the middle of the convoy. We want to get as many ships in cannon range as quickly as possible.\nC: We sail to lee of the convoy. With the wind pushing them towards us, they will have little choice but to come to us, and Defender is faster and more maneuverable than any merchant ship.\n\n> B.\nYou snap off orders, closing with the Gaulish convoy and running up the ensign of the Royal Navy. The Gaulish ships begin to scatter, hoping that you will have to chase one or two and allow the rest to escape.\n\nDefender's crew responds to your orders well. The men are not the most disciplined crew that you have ever served with, but they are adequate to the task at hand. You maneuver the sloop well, overtaking one Gaulish ship after another, and a barrage of cannon fire at the Gaulish sails cripples your prey. Inevitably, most of the merchant ships escape, but you capture five of the enemy. You have deprived Gaul of much-needed supplies and earned yourself a sizable payment of prize money.\n\n>Next Chapter\n\n> You go\nIn recognition of your able service turning H.M. Sloop Defender into a worthy part of the Royal Navy, the Admiralty promotes you to post-captain and assigns you to command H.M.S. Dauntless, a 38-gun frigate.\n\nThe Admiralty asks if you have a preference for your first lieutenant.\n\nA: I ask for Mr. Stuart from H.M.S. Courageous.\nB: I ask for Mr. Mason from H.M.S. Courageous.\nC: I ask for Mr. Benton from H.M. Sloop Defender.\nD: I make no requests; the current first lieutenant will serve admirably."
    },
    {
        "text": "[Themes: Historical, ocean]\n\n> Go downward\nThe current first lieutenant is a man in his early thirties named Evans. He is competent and able, but nothing more than that. Also, by not making personnel management more difficult for your superiors, you have earned a small additional amount of support higher up in the Royal Navy.\n\nYour frigate, H.M.S. Dauntless, sails into Kingsport harbor. Kingsport is the principal harbor city in one of Albion's major colonial possessions in the tropics. The fleet based out of Kingsport consists mostly of frigates like your own--perfect for raiding Gaulish shipping and for defending Albion's own merchant marine from the depredations of the Gaulish Navy and privateers. Assignment to this fleet is quite a plum, with great opportunities for prize money and pleasant ports of call on the tropical islands.\n\nShortly after your ship makes port, while you are overseeing the process of taking on new supplies, the signal midshipman runs up to you. He touches his hat in salute and says, \"Signal from the flag: Admiral's compliments, Captains of Dauntless, Vigilant, and Intrepid please come to the flagship at your convenience.\"\n\n\"Acknowledge the signal and inform the officer of the watch to have my boat prepared for immediate departure,\" you reply. When an admiral asks you to report to the flagship, it is \"convenient\" for you to drop whatever you are doing and to head over immediately.\n\nWithin a minute, your boat is lowered over the frigate's side. Upon your arrival, smartly dressed sailors and a marine honor guard pipe you aboard H.M.S. Indomitable, the admiral's flag ship. The flag lieutenant touches his hat to each of the arriving captains. \"Sir, if you will please accompany me? The Admiral is waiting in his stateroom.\"\n\n>Next\n\n> You go\nThe three of you are shown into the Admiral's stateroom--a surprisingly large cabin for a warship, with a large heavy table set in the middle. The Admiral is in late middle-age, his youthful vigor long since having given way to a prosperous roundness. His flag captain murmurs each of your names as you enter.\n\nThe Admiral pours a glass of port for each of you and clears his throat. \"As you know, one of our principal responsibilities on this station is protecting Albion's merchant shipping. The foodstuffs and raw materials from these colonies are vital to Albion's security. Recently, however, a Gaulish commerce raider has taken a large number of our merchantships as prizes.\n\n\"The Gaulish frigate has recently made port on Blue Island. Blue Island is a possession of Jutland and thus still neutral, so we can't take the frigate there. But we do have our spies keeping their eyes out, and so we got a report of the frigate. She's a 44-gun frigate, called Lynx, under the command of a Captain Villeneuve.\"\n\n>Next\n\n> You go\nYou startle slightly at the name of Lynx's captain, and the Admiral raises an eyebrow. \"You know of Villeneuve, Captain Rockersuke?\"\n\n\"Our paths have crossed a few times, sir,\" you reply guardedly.\n\n\"All the better. I'm assigning each of you the mission to hunt down Lynx. You are to make all efforts to capture or destroy her. I know, I know. . . you would rather be hunting rich Gaulish merchantships. I would rather you were hunting merchantships as well.\" The Admiral smiles--after all, he receives fully one-quarter of the value of any prizes his ships capture. \"But we have our duty to think of. Because of the rules of neutrality, none of you can take stations within sight of Blue Island. I want Vigilant to patrol to the east of the island, Intrepid to sail to the west, and Dauntless to patrol to the north.\nOne of you should be able to force Lynx to action as she sails out.\n\n\"I am also well aware of the fact that a 44-gun frigate is significantly more powerful than any of your ships. However, I have no heavier frigates to send, and a ship of the line would be unable to force Lynx to fight. I trust that the superior sailing and gunnery of the Royal Navy will be more than sufficient for you to prevail. And, as their Lordships say in the orders giving you command of a ship, 'fail in these duties at your peril,' eh? Unless there are any questions? Best be about it, then.\"\n\nYou quickly return to your ship. As soon as you have the most essential supplies on board, you make sail to fight your oldest rival.\n\nHow do you feel about fighting Villeneuve?\n\nA: I look forward to it.\nB: It is a duty like any other.\nC: I dread fighting him, but it is still my duty.\nD: Surely, there must be some way to avoid this!\n\n> B.\n\"Set a course for the ship to starboard, Mr. Evans, and beat to quarters,\" you say calmly.\n\n\"Aye aye, sir,\" he responds.\n\nDrums echo throughout the ship as the crew clears the ship for action.\n\nNeither ship has the wind gage as you approach, but the wind is blowing strong and steady, giving you a fair degree of speed and maneuverability. Lynx is the stronger ship in terms of armament and construction, but the men of the Royal Navy are generally better trained and more reliable than those of the Gaulish Navy.\n\nHow do you plan to win this battle?\n\nA: Charge straight at Lynx--the sooner I can make this a boarding action, the better.\nB: Stay at range and fight a gunnery duel, relying on my ship's superior gunnery to offset Lynx's heavier broadsides.\nC: Lead Lynx into a trap. If I can make Villeneuve think he has damaged my ship worse than he has, I will be able to gain the advantage.\n\n> Stats\nName: Mr. Edward Rockersuke\nRank: Post-captain\nSeniority: 0 years\nAge: 34\nSailing: 46%\nGunnery: 66%\nLeadership: 64%\nFighting: 73%\nPatronage: 75%\nTact: 72%\nLikeability: 73%\nHonor: 31%\nCourage: 49%\nBloodthirst: 53%\nIntelligence: 31%\nWealth: 65%\n\n>OK\n\n> You go\nA: Charge straight at Lynx--the sooner I can make this a boarding action, the better.\nB: Stay at range and fight a gunnery duel, relying on my ship's superior gunnery to offset Lynx's heavier broadsides.\nC: Lead Lynx into a trap. If I can make Villeneuve think he has damaged my ship worse than he has, I will be able to gain the advantage.\n\n> You go\nThus far, you've given as good as you've gotten. The battle could go either way. Captain Villeneuve is trying to close with Dauntless to force a boarding action.\n\nIt will be hard to maintain the battle as a gunnery action--you'll have to either carry the enemy by boarding or try to damage their rigging enough to sail away.\n\nWhich will it be?\n\nA: I've done enough to be able to break off the battle honorably--that's all I really wanted.\nB: I would really like to press the battle, but it's too dangerous. I must flee.\nC: I think I can win this one.\nD: The only possible end to this battle is Lynx's surrender or destruction."
    },
    {
        "text": "[Themes: Historical, naval, ocean]\n\n> Go down\nThat's the spirit! Albion is proud to have defenders like you.\n\nFinally, the battle comes down to a boarding action. As the ships come alongside each other, the crews charge forward, screaming and waving their cutlasses. The fighting is bloody and vicious.\n\nAs you rush onto the enemy quarterdeck, sword in hand, you come face to face with Captain Villeneuve. He swings his sword up in a salute and drops into a guard position.\n\nThe fight is intense. You quickly wound Villeneuve, but he answers with a vicious blow to your left arm, hurting you badly. You fear that he will prevail, but finally you feint towards his left, then beat his sword aside and thrust towards the right of his body. Villeneuve slumps to the ground as you run him through. Your long years of battle experience tell you that he will be dead within minutes.\n\nHow do you feel about Villeneuve's death?\n\nA: At last! I've finally killed that dog.\nB: He was a worthy foe, but a foe nonetheless.\nC: C'est la guerre. I had no choice and have no regrets.\nD: My heart is heavy, but duty required nothing less.\nE: But. . . but. . . What have I done? How could I kill my friend?\n\n> You go\nYour final statistics are:\n\nName: Sir Edward Rockersuke\nRank: Rear Admiral\nMade Post-Captain: 34 years old\nSailing: 46%\nGunnery: 66%\nLeadership: 64%\nFighting: 73%\nPatronage: 77%\nTact: 72%\nLikeability: 73%\nHonor: 41%\nCourage: 58%\nBloodthirst: 60%\nIntelligence: 26%\nWealth: 75%\n\n>Next\n\n> You go\nThank you for playing \"Choice of Broadsides\"!\n\nPlease support our work by sharing this game with friends! The more people play, the more resources we'll have to work on the next game.\n\n>Play again"
    },
    {
        "text": "[Themes: Superhero]\n\nThe front door has been propped open with a rock, but there's no one in sight. Yesenia kicks it out of the way - why doesn't anyone understand security around here? - and swings her suitcase into the familiar darkness of her apartment building. Two flights of stairs later, she reaches the door to her apartment.\n\nIt's been a very long day. It's good to come home, however briefly.\n\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination. Still, this is home, and there's nothing more welcome to Yesenia right now than the sight of her own front door.\n\nYesenia parks her suitcase beside her apartment door.\n\nThere's a folded note taped to the door. Yesenia frowns at it.\n\n[Author's Note: It's a day in the life of Yesenia Reed, whose life is far from ordinary, no matter what she might prefer.]\n\n> Inventory\nRight now, Yesenia is more concerned with what she doesn't\nhave. What she doesn't have is her purse, which is in the restaurant office.\n\nIt'll take a full hour to get back to the restaurant by bus, but Camilla can drive her there in 15 minutes, if the traffic on 101 isn't too bad.\n\n> You read the note\nIt's a plain white piece of paper, folded into thirds. Illegible black marker has smudged through from the inside.\n\n> Unfold note\nYesenia peels the note off the door.\n\nYesenia unfolds the note.\n\n> You read the note\nYesenia stares at the note. There's one sentence written on it in stark black marker.\n\nCome on in.\n\nIt's not Camilla's handwriting.\n\n> About yourself\nYesenia's sweaty and tired, and the wind made a mess of her hair. But it doesn't matter, because only Camilla will see her before she can freshen up.\n\n> You examine the suitcase\nIt's a large blue suitcase patterned with pink and white flowers. It's new, durable, and easy to spot at the airport.\n\nIn better lighting, the suitcase would be truly hideous against the red walls of the apartment building. It's one small reason for her to be glad of the dark.\n\n> You open the suitcase\nConsidering the contents of her suitcase, Yesenia really isn't inclined to unpack in the middle of the hallway.\n\nApart from that, she doesn't have the key. It's in her purse, and her purse is at the restaurant.\n\n> You knock\n(the unfolded note)\nYesenia raps on the unfolded note with her knuckles.\n\n> You knock on the door\nYesenia knocks on the apartment door.\n\nThere's no reply.\n\n> You open the door\nYesenia reaches out to try the door, and the knob turns easily. Unease coils in her belly, and a familiar prickling runs down her arms.\n\nShe pushes the door open.\n\n> You knock on the suitcase\nYesenia raps on the flowered suitcase with her knuckles.\n\n> You examine the sconce\nYesenia studies the flickering light irritably. She's pointed it out before to the apartment management - how dark it is, how unsafe.\n\nNot unsafe for her, of course. (Not that management knows that.) But what about every other young woman living here?"
    },
    {
        "text": "[Themes: Superhero]\n\n> You look around\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination.\n\nYesenia is standing in front of her own front door. It's open.\n\nYesenia's flowered suitcase is parked beside her apartment door.\n\n> Go north\nYesenia glances down the hall, but she can't leave now. What if Camilla's in trouble?\n\n> You go to the east\nYesenia starts to cross the threshold when an all-too-familiar voice within says, \"Welcome home.\"\n\n\"Chris,\" Yesenia says. Ice forms in her gut, but her skin prickles with heat. \"What are you doing here?\" She bites back her next words - What have you done to Camilla?\n\n\"Welcome home, Yesenia,\" the other woman says. \"Or should I say...\"\n\n\"No,\" Yesenia says sharply, \"you shouldn't.\" And she steps through the door."
    },
    {
        "text": "Yesenia hefts her suitcase down from the bus. It's about three minutes from the bus stop to her apartment, and she takes the distance briskly, stopping only once to shove windblown hair out of her eyes.\n\nThere's an easy cut across the grass, but Yesenia takes the sidewalk instead, with the suitcase rollling along behind her. She rounds the corner of the building and starts up the front walk.\n\nA wide concrete walkway leads around the three-story building and up to the front door, flanked by ground lights on both sides, which shine in response to the setting sun. On the right, regimentally spaced palm trees provide an illusion of privacy for the west-facing windows. On the left, there's a parking lot for the apartment, but since the divider is all of six inches wide, the parked cars in the first row rest their noses against the walkway.\n\nYesenia parks her suitcase beside the building's front door.\n\nThere's a bank of resident mailboxes set into the outer wall, just to the right of the front door. The doorbells are on the other side.\n\n> About yourself\nYesenia's sweaty and tired, and the wind made a mess of her hair. But it doesn't matter, because  only Camilla should see her before she can freshen up.\n\n> You look at what you're carrying with you\nRight now, Yesenia is more concerned with what she doesn't\nhave. What she doesn't have is her purse, which is in the restaurant office.\n\nIt'll take a full hour to get back to the restaurant by bus, but Camilla can drive her there in 15 minutes, if the traffic on 101 isn't too bad. She just has to get inside and let Camilla know.\n\n> You look at the mailboxes\nYesenia glances at the mailbox for apartment #32. As expected, the mailbox is crammed with mail.\n\nCamilla isn't very good about checking the mailbox, so Yesenia's absence always leads to crumpled mail.\n\n> You read the mail\nYesenia glances at the mailbox for apartment #32. As expected, the mailbox is crammed with mail.\n\n> You open the mailbox\nThe mailbox is locked. Yesenia will have to unlock it first.\n\n> Inventory\nRight now, Yesenia is more concerned with what she doesn't\nhave. What she doesn't have is her purse, which is in the restaurant office.\n\n> Unlock mailbox\nYesenia reaches automatically for her mailbox key, but of course she doesn't have her keys. Because she doesn't have her purse. Because it's in the restaurant.\n\nBut... she pauses to consider the angles of the sun. There's still sunlight touching the mailbox, which means she could open it with sufficient focus. And it wouldn't be the first time she's\nopened the mailbox without a key.\n\n> You focus on the mailbox\nShielded from sight by the building and a palm tree, Yesenia stretches her awareness to the setting sun. The orange light warms her, just as it warms the mailbox.\n\nThe sun has power over the mailbox; its heat can make the metal expand. Its absence can make the metal shrink. And she has\npower over....\n\nYesenia focuses. The tumblers click into the unlocked position, and she pulls it open.\n\n> You open the mailbox\nThat's already open.\n\n> You get all from the mailbox\nYesenia pulls the mail out of her mailbox. Among the advertisements and junk mail (promptly discarded into a convenient recycling bin), she discovers three white envelopes.\n\n> You look at the mail\nWhich do you mean, her mailbox, the third envelope, the second envelope, or the first envelope?\n\n> You examine the first envelope\nAccording to the postmark, this envelope was mailed from Santa Barbara three days ago.\n\n> You examine the second envelope\nAccording to the postmark, this envelope was mailed from Santa Barbara two days ago.\n\n> You examine the third envelope\nAccording to the postmark, this envelope was mailed from Santa Barbara one day ago.\n\n> You open the first envelope\nYesenia rips open the first envelope, revealing a letter.\n\n> You read the letter\n(the first letter)\nYesenia unfolds the first letter.\n\nIt's typed in simple serif letters.\n\nWe need to talk. Call me -\n\nand a number that Yesenia doesn't recognize. There's a 305 area code, though, and that's the Miami area.\n\n> You open the second envelope\nYesenia rips open the second envelope, revealing a letter.\n\n> You read the second letter\n(the second letter)\nYesenia unfolds the second letter.\n\nIt's typed in simple serif letters.\n\nI'm trying to help you. You don't have to hide from me.\n\n> You open the third envelope\nYesenia rips open the third envelope, revealing a letter.\n\n> You read the third letter\n(the third letter)\nAs Yesenia unfolds the letter, a playing card falls to the ground.\n\nAt the sight of it, Yesenia's stomach clenches, and goose bumps prickle across her shoulders.\n\nIt's typed in simple serif letters.\n\nCall me, or I'm coming to see you.\n\n> You examine the playing card\nYesenia picks up the playing card.\n\nIt's a standard playing card: paper coated with plastic, with a blue design on the back.\n\nYesenia turns it over. As she expected, it's the Jack of Spades - which means the Jack of Shadows.\n\nChris, she thinks, and glances around apprehensively. Is\nChris already here? She always drives, because she hates the bus.... ....\n\n> You focus on the playing card\nWhile Yesenia could focus on the playing card, that would be... indiscreet. And she strives for discretion these days.\n\n> You focus on the first letter\n(the first letter)\nWhile Yesenia could focus on the first letter, that would be... indiscreet. And she strives for discretion these days.\n\n> You focus on the suitcase\nYesenia could focus on the suitcase - but there's no good reason to do so. Considering the contents of her suitcase, she's not about to unpack in the middle of the walkway.\n\n> You focus on yourself\nWhile Yesenia could focus on herself, that would be... indiscreet. And she strives for discretion these days."
    },
    {
        "text": "[Themes: Superhero]\n\n> Look around\nA wide concrete walkway leads around the three-story building and up to the front door, flanked by ground lights on both sides, which shine in response to the setting sun. On the right, regimentally spaced palm trees provide an illusion of privacy for the west-facing windows. On the left, there's a parking lot for the apartment, but since the divider is all of six inches wide, the parked cars in the first row rest their noses against the walkway.\n\nYesenia's flowered suitcase is parked beside the building's front door.\n\nThere's a bank of resident mailboxes set into the outer wall, just to the right of the front door. The doorbells are on the other side.\n\n> You look at the palm\nThey're very picturesque. They appear on all the apartment's brochures.\n\n> You look at the windows\nFrom here, the apartments are just so many closed windows.\n\n> You look at the doorbells\nIt's a standard apartment doorbell panel. Pushing a doorbell will alert whoever's in the apartment.\n\n> You think\nWhat a good idea.\n\n> You focus the palm\nWhile Yesenia could focus on the palm tree, that would be... indiscreet. And she strives for discretion these days."
    },
    {
        "text": "[Themes: Superhero]\n\n> Look around\nA wide concrete walkway leads around the three-story building and up to the front door, flanked by ground lights on both sides, which shine in response to the setting sun. On the right, regimentally spaced palm trees provide an illusion of privacy for the west-facing windows. On the left, there's a parking lot for the apartment, but since the divider is all of six inches wide, the parked cars in the first row rest their noses against the walkway.\n\nYesenia's flowered suitcase is parked beside the building's front door.\n\nThere's a bank of resident mailboxes set into the outer wall, just to the right of the front door. The doorbells are on the other side.\n\n> You enter it\nThe front door has been propped open with a rock, but there's no one in sight. Yesenia kicks it out of the way - why doesn't anyone understand security around here? - and swings her suitcase into the familiar darkness of her apartment building. Two flights of stairs later, she reaches the door to her apartment.\n\nTradewinds Apartments - Hallway\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination. Still, this is home, and there's nothing more welcome to Yesenia right now than the sight of her own front door.\n\nThere's a folded note taped to the door. Yesenia frowns at it.\n\n> You focus on the sconce\nYesenia can only focus the sun when she has access to direct sunlight.\n\n> You check your inventory\nYesenia is carrying:\na playing card\na third letter\na second letter\na first letter\na third envelope (open but empty)\na second envelope (open but empty)\na first envelope (open but empty)\n\n> You go inside\nYesenia reaches out to try the door, and the knob turns easily. Unease coils in her belly, and a familiar prickling runs down her arms.\n\nShe pushes the door open.\n\n> You enter door\nShe's about to cross the threshold when an all-too-familiar voice within says, \"Welcome home.\"\n\n\"Chris,\" Yesenia says. Ice forms in her gut, but her skin prickles with heat. \"What are you doing here?\" She bites back her next words - What have you done to Camilla?\n\n\"Welcome home, Yesenia,\" the other woman says. \"Or should I say...\"\n\n\"No,\" Yesenia says sharply, \"you shouldn't.\" And she steps through the door.\n\n> You examine the playing card\nIt's the Jack of Spades. Chris's calling card.\n\n> Go west\nYesenia glances down the hall, but she can't leave now. What if Camilla's in trouble?\n\n> You look at first letter\n(the first letter)\nIt's typed in simple serif letters.\n\nWe need to talk. Call me -\n\nand a number that Yesenia doesn't recognize. There's a 305 area code, though, and that's the Miami area.\n\n> Shout\nWhat do you want to shout?\n\n> You shout chris\n(to herself)\n(To speak with someone, use the command TALK TO.)"
    },
    {
        "text": "> Look around\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination.\n\nYesenia's flowered suitcase is parked beside her apartment door.\n\nYesenia is standing in front of her own front door. It's open.\n\n> You look in the window\nThe apartment windows are too far away for that.\n\n> You look at the suitcase\nIt's a large blue suitcase patterned with pink and white flowers. It's new, durable, and easy to spot at the airport.\n\n> You examine the door\nSomeone has propped open the front door with a triangular rock.\n\nYesenia feels a familiar flare of annoyance, but it's a relief this one time, since her keys are in her purse and her purse is at the restaurant.\n\n> You look at the rock\nSomeone has propped open the front door with a triangular rock. A few scratch marks show it's not the first time.\n\n> You open the mailbox\nThe mailbox is locked. Yesenia will have to unlock it first.\n\n> You examine the sun\nYesenia gazes for a moment into the setting sun. It doesn't hurt her eyes. It never has.\n\n> You look in the mailbox\nIn her mailbox are some crumpled letters.\n\n> You take the letters\nYesenia pulls the mail out of her mailbox. Among the advertisements and junk mail (promptly discarded into a convenient recycling bin), she discovers three white envelopes.\n\n> You open first\nAccording to the postmark, this envelope was mailed from Santa Barbara three days ago.\n\nYesenia rips open the first envelope, revealing a letter.\n\n> You open second\nAccording to the postmark, this envelope was mailed from Santa Barbara two days ago.\n\nYesenia rips open the second envelope, revealing a letter.\n\n> You read second\n(the second letter)\nYesenia unfolds the second letter.\n\nIt's typed in simple serif letters.\n\nI'm trying to help you. You don't have to hide from me.\n\n> You open third\nAccording to the postmark, this envelope was mailed from Santa Barbara one day ago.\n\nYesenia rips open the third envelope, revealing a letter.\n\n> You read third\n(the third letter)\nAs Yesenia unfolds the letter, a playing card falls to the ground.\n\nAt the sight of it, Yesenia's stomach clenches, and goose bumps prickle across her shoulders.\n\nIt's typed in simple serif letters.\n\nCall me, or I'm coming to see you.\n\n> You take the card\nYesenia picks up the playing card.\n\n> You examine it\nIt's a standard playing card: paper coated with plastic, with a blue design on the back.\n\nYesenia turns it over. As she expected, it's the Jack of Spades - which means the Jack of Shadows.\n\nChris, she thinks, and glances around apprehensively. Is\nChris already here? She always drives, because she hates the bus.... ....\n\n> You look at the lot\nYesenia scans the parking lot again, taking her time. She doesn't know what Chris is driving these days, but she knows it'll be a cut above the norm.\n\nAnd it is - a sleek, matte black car with a T-shaped logo on its nose, sitting three cars down and barely a centimeter off the walkway. The large black crystals hanging off the rearview mirror seal her suspicions.\n\n> You look at the crystals\nThe sun's failing light glimmers through the large black crystals.\n\n> Focus crystals\nYesenia considers the black crystals. The sun is touching them, and she's in the sunlight, but... what could she do with them, except damage the car? There are easier ways to damage the car.\n\n> You focus on the car\n(the sleek black car)\nWhile Yesenia could focus on the sleek black car, that would be... indiscreet. And she strives for discretion these days.\n\n> Unlock car\n(the sleek black car)\nEven if Yesenia could get inside (and she's not sure she can), what could she do with it? Hotwiring was never her specialty, and she's getting an unsettling high-tech vibe off the car that suggests hotwiring wouldn't be enough.\n\n> You take the crystals\nThe crystals are hanging from the rearview mirror, and the rearview mirror is inside the car.\n\n> You look in the car\n(the sleek black car)\nYesenia can't see inside, since the sleek black car is closed.\n\n> You look under the car\n(the sleek black car)\nYesenia finds nothing of interest.\n\n> You open the car with the card\n(the sleek black car with the playing card)\nThat doesn't seem to fit the lock.\n\n> You touch the sun\nIt's a little far away for that.\n\n> You read the crystals\nThe sun's failing light glimmers through the large black crystals.\n\n> You look through the crystals\nThe crystals are hanging from the rearview mirror, and the rearview mirror is inside the car.\n\n> You open the car\n(the sleek black car)\nIt seems to be locked.\n\n> Unlock car\n(the sleek black car)\nEven if Yesenia could get inside (and she's not sure she can), what could she do with it? Hotwiring was never her specialty, and she's getting an unsettling high-tech vibe off the car that suggests hotwiring wouldn't be enough.\n\n> You examine the lot\nYesenia stares grimly at the sleek black car. If anything, Chris loves her cars even more than Camilla does, and she certainly keeps them in better condition.\n\n> You climb tree\nNot only would that be indiscreet, but it might damage the trees.\n\n> Rub card\nYesenia rubs the playing card.\n\n> You hit the car\n(the sleek black car)\nYesenia takes a deep, centering breath and then slams her foot into the black car's front bumper. She's reserving her strength; after all, there's no need to punt it across the parking lot, and there would be awkward questions if she did.\n\nThe car launches an strenuous protest, flashing its lights wildly, shrilling an alarm, and honking its horn - not polite little beeps, but bewildered, angry blares. If Chris is anywhere around, that should get her attention.\n\n> Wait\nTime passes.\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> Wait\nTime passes.\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\nThere's a sudden clatter from the apartment building, and then Chris explodes from within.\n\nChris is tall and well-coiffed, as always, but her brown eyes are wide with rage, and if she has a perfect manicure today, it's concealed by her clenched fists. \"What the hell are you doing? What the\nhell are you doing to my car?\"\n\n\"Getting your attention,\" Yesenia says. \"It seems to have worked.\"\n\n(To speak with Chris, TALK TO CHRIS.)\n\n> You talk to Chris\nYesenia says, \"What are you doing here?\"\n\nChris says, \"You don't belong here. I came to bring you back.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> You talk to Chris\nYesenia says, \"You're not welcome, Chris. It's time for you to go.\"\n\nChris shakes her head. \"Jack. Call me who I am, and remember who you are.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> You talk to Chris\nYesenia says, \"Sending creepy letters is not the way to open a conversation. Especially when I've been gone for a week.\"\n\nChris says in a reasonable tone, \"Well, I didn't know you were gone.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> Keep going\nYesenia says, \"You need to leave. Now.\"\n\nInstead of answering, Chris glances west to the setting sun. It's so familiar a gesture that it makes Yesenia's heart ache, and for a second she even forgets what it means. But Chris is the Jack of Shadows....\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> You continue\nYesenia says, \"I gave enough of my life away. I'm done.\"\n\nChris says, \"You can't ever be done. That's what it means, to be what we are.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> Keep going\nYesenia says, \"The eastern seaboard got by for some two hundred years without me. It can do it again.\"\n\nChris says, \"Those were more innocent times. You can't turn your back on responsibility.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> You continue\nYesenia says, \"If you did something to Camilla, you will regret it. I mean that more than I have ever meant anything.\"\n\nChris says, \"So that's her name.\" She smiles faintly. \"Pretty.\"\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\n> Continue\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\nThe setting sun slips beneath the trees, and both women are immersed in the shadows stretching across the parking lot.\n\nChris says, \"I'm sorry it had to be this way,\" and she thrusts a hand toward Yesenia.\n\nYesenia dodges down the walkway, but she's too slow. The air itself catches her in a vice grip, and she's dragged across the concrete to fall at Chris's feet.\n\n> Continue\nYesenia opens her mouth to snarl defiance, but Chris tightens her invisible grip, and Yesenia's words abate into coughing and the struggle to breathe.\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\nChris turns to stare at the damage to her front bumper. \"That really wasn't necessary,\" she says.\n\n> Continue\nYesenia opens her mouth to snarl defiance, but Chris tightens her invisible grip, and Yesenia's words abate into coughing and the struggle to breathe.\n\nThe sleek black car flashes its lights, honks its horn, and shrills for help.\n\nThe sound of conversation drifts up the walk, and Chris spins to look. No one's in view yet, but someone's clearly coming.\n\n\"We can't stay out here,\" she mutters, and the grip of air pulls Yesenia upright like a doll. \"In we go.\"\n\nAs an afterthought, Chris grabs Yesenia's suitcase on her way into the building.\n\nTradewinds has always been Yesenia's refuge from the tourist-laden town. Yesenia likes how her neighbors don't trade rumors, or complain about odd noises, or speculate about Camilla's actual profession. But right now, a little more nosiness would be nice, because there's no one in the lobby and no one in the hallway.\n\nYesenia seethes as Chris hauls her into the elevator, and she continues to seethe as Chris hauls her out again on the third floor.\n\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination. It couldn't be a better environment for the Jack of Shadows if someone had planned it that way. Even by day, Chris's power would wax in a place like this, and Yesenia tastes despair at the thought.\n\nThe door of Yesenia's apartment stands wide open. There's a folded note taped to it.\n\nYesenia can also see Chris here.\n\n> You wait\nYesenia hangs limply in Chris's grip. There's nothing to do but wait.\n\nChris drags Yesenia across the threshold of her own apartment.\n\n> You take the mail\n(the crumpled letters)\nYesenia pulls the mail out of her mailbox. Among the advertisements and junk mail (promptly discarded into a convenient recycling bin), she discovers three white envelopes.\n\n> You examine the first envelope\nAccording to the postmark, this envelope was mailed from Santa Barbara three days ago.\n\n> You examine the second envelope\nAccording to the postmark, this envelope was mailed from Santa Barbara two days ago.\n\n> You read it\nAccording to the postmark, this envelope was mailed from Santa Barbara three days ago.\n\nIn the first envelope is a first letter.\n\n> You read the letter\n(the first letter)\nYesenia unfolds the first letter.\n\nIt's typed in simple serif letters.\n\nWe need to talk. Call me -\n\nand a number that Yesenia doesn't recognize. There's a 305 area code, though, and that's the Miami area.\n\n> You open the second envelope\nYesenia rips open the second envelope, revealing a letter.\n\n> You read the letter\n(the first letter)\nIt's typed in simple serif letters.\n\nWe need to talk. Call me -\n\nand a number that Yesenia doesn't recognize. There's a 305 area code, though, and that's the Miami area.\n\n> You read the second letter\n(the second letter)\nYesenia unfolds the second letter.\n\nIt's typed in simple serif letters.\n\nI'm trying to help you. You don't have to hide from me.\n\n> You open the third envelope\nYesenia rips open the third envelope, revealing a letter.\n\n> You read the third letter\n(the third letter)\nAs Yesenia unfolds the letter, a playing card falls to the ground.\n\nAt the sight of it, Yesenia's stomach clenches, and goose bumps prickle across her shoulders.\n\nIt's typed in simple serif letters.\n\nCall me, or I'm coming to see you.\n\n> You examine the cars\nYesenia briefly scans the cars with an uninterested eye. She notes Camilla's battered white coupe parked two rows back.\n\n> You examine the camilla's coupe\nCamilla's car is fairly new - a 2014 Subaru - but it looks like it's been through a minor war. It always puzzles Yesenia how Camilla can love driving so much, yet be so unwilling to go to the body shop.\n\n> You hit Chris\nYesenia steps into Chris and reaches out to throw the other woman. Chris dodges sideways.\n\nChris says, \"Can't we talk about this?\"\n\n> You focus on Chris\nYesenia reaches her mind toward the sun. It's setting rapidly, but there's still enough light... and she seizes that light and focuses upon Chris. She doesn't want to hurt her - but she closes her power all around her. There's just enough vibration leaking through for Chris to know what's happening.\n\nChris freezes immediately. \"Think about what you're doing,\" she says in a tight voice.\n\n\"I thought about it,\" Yesenia says. \"And I want you to go away. And leave me alone. Now.\" She waits a few breaths longer, to make\nsure Chris gets the point, and then releases the power.\n\nChris glares at her, but then she goes to the car. A door handle extrudes as Chris reaches for it, and she gets inside the car.\n\nYesenia watches the sleek black car back up, and she watches it leave the parking lot, and she keeps watching until it vanishes down the road.\n\n> You go inside\nThe front door has been propped open with a rock, but there's no one in sight. Yesenia kicks it out of the way - why doesn't anyone understand security around here? - and swings her suitcase into the familiar darkness of her apartment building. Two flights of stairs later, she reaches the door to her apartment.\n\nTradewinds Apartments - Hallway\nDuring the day, the hallway's cool shadows provide relief from the California sun. But at night, it's simply dark, because the scattered wall sconces aren't close enough or bright enough to provide decent illumination. It couldn't be a better environment for the Jack of Shadows if someone had planned it that way. Yesenia never realized that before, and she feels sick at the idea.\n\nThe door of Yesenia's apartment stands wide open. There's a folded note taped to it.\n\n> Enter\nThere's a muffled sound from within the apartment, and Yesenia calls Camilla's name as she crosses the threshold at speed."
    },
    {
        "text": "[Themes: Humor, Comedy, Lovecraftian, humor, religion, flashback, cult, horror, apocalypse]\n\n...ilyaa nwagl geb tharanak r'luh hafh'drn kadishtu Hastur ftaghu nglui syha'hoth nilgh'ri f'phlegeth s'uhn, uln ooboshu gnaiih ftaghu f'ya bug kadishtu mnahn' shtunggliog shugg y'hah shugg chtenffnyth, nahafh'drn ep sgn'wahl llll navulgtlagln. Naflebunma hai nog uaaah nog naflsyha'h Azathoth nggeb uaaah shogg fm'latgh, ehye cshugg y'hah...\n\nThat's your Uncle Stu chanting, getting some occasional vocal backup from the other guys. They've been going on for the better part of two hours now. Prep-work for the big show tonight.\n...sgn'wahl vulgtlagln stell'bsnaor syha'h gebyar nilgh'ri orr'e\nuaaah uln, throd fm'latghyar vulgtm tharanak kn'a mg uh'e nglui, fm'latgh Cthulhu nglui k'yarnak li'hee mnahn' uh'e chtenff. Athg y'hah lloig ep hlirgh 'fhalma hrii sll'ha, hupadgh wgah'nog shogg orr'e ebunma vulgtm ron, ebunma...\n\nThere's really quite a bit of chanting at these things, and it can be a little repetitive. Some themes tend to recur pretty often. A lot of awakening and devouring, for starters.\n...wgah'n orr'e uaaah ron hafh'drn mg n'ghft shagg ooboshuog\nmnahn' r'luh naorr'e bug li'hee gnaiih Tsathoggua n'gha lw'nafh uh'e, n'ghftoth fm'latgh ckn'a hlirgh mnahn' uh'e ya goka. Li'hee naflshagg stell'bsna ilyaa y'hah, ph'ah li'heenyth f'geb...\n\nThe thing of it is, he's drawing out every single goddamned syllable. That \"wgah'n\" -- that took eleven seconds. If he were just reading it straight, we'd have been out of here in forty-five minutes, and you'd have the rest of your day back. But instead, he's doing all these vibratos and ululations, going over the same phrase over and over. It's enough to drive you insane.\n...f'shugg s'uhn y-fhtagn gotha, ngthrod Shub-Niggurath y'hah\nhupadgh uln k'yarnak nguaaah lloig gluinyth 'fhalma h'gof'nn ah grah'n ngfhtagn nw, ngshtunggli shugg n'gha ngnog, ngooboshu nastell'bsna naflr'luh s'uhn. F'n'gha naflorr'e ron ngphlegeth h'bug 'fhalma ep li'hee shagg...\n\nThere's a pause in the chanting. Suddenly, you hear a baleful gurgling, almost a roar, coming from deep below. It's your stomach. You missed breakfast, and now you're missing lunch, too. Azathoth's ample arse! How long is this ceremony going to take?\n\nYou're in the basement of a defunct little bistro in the West 7th neighborhood of Saint Paul. This is where your cult does most of its culting, on account of how your Aunt Sandy doesn't want any sacrifices in the house, and well, fair enough. Uncle Stu owns the building, so you're not squatting or anything, but he's kept the place in a state of perpetual Coming Soonedness, so that you all can do your thing here with no interference.\n\nAs I say, defunct bistro, so the restaurant-type stuff you'd\nnormally find here is mostly gone. In their place there's a group of guys wearing hooded robes, facing an altar at one end of the chamber. Your Uncle Stu has a lectern in front of him, atop which is a decrepit leather-bound book from which he is chanting. There's a wooden stair leading to the pantry above and a winged horror slumped in a folding chair in the corner.\n\n[Author's Note: It's not the end of the world, and you're to blame. Better get on that. But man, it sure would be nice to get a bite to eat first.]\n\n> Examine\nYou're in the basement of a defunct little bistro in the West 7th neighborhood of Saint Paul. The restaurant-type stuff you'd normally find here is mostly gone. In their place there's a group of guys wearing hooded robes, facing an altar at one end of the chamber. Your Uncle Stu has a lectern in front of him, atop which is a decrepit leather-bound book, from which he is chanting. There's a wooden stair leading to the pantry above and a winged horror slumped in a folding chair in the corner.\n\n> You examine the horror\nIt's a creature summoned from beyond the stars, beyond the depths of madness, to serve your uncle. It can scarcely even be described. To truly look upon it, to apprehend its features fully, would fracture one's mind.\n\nThat said, it's a tall, lumpy, yellowish humanoid guy with black eyes and some tendrils around the mouth. It's just sitting there on the chair.\n\n...r'luh lw'nafh gnaiih ee ep bug nglui, ilyaa geb lw'nafh...\n\n> Examine book\nIt's the book that got your uncle started many years ago, when he came across it in a dig in Paraguay. It's at least a thousand pages long. A lot of the pages seem to have been inserted after the fact. You haven't spent a lot of time handling it, but when you have, the reddish leather on the cover has flaked off and stuck to your fingers. There's no title on it, and it's written in an ancient language that you still can't read, despite your uncle's best efforts.\n\nYou lean over to have a peek at the section that Stu is reading from. Dagon's dingus! He's still on page 13! We're going to be here all day. Maybe you can slip out discreetly and get your lunch from the fridge upstairs.\n\n...ah hriioth vulgtm uln mnahn' shogg n'ghft nglui zhro...\n\n> Up\nYou tiptoe over to the stairs as gingerly as you can. Some of the other cultists give you a look of mild disapproval, leavened with jealousy at your having the courage to slip out first. No one says anything, though, and your uncle continues his chanting.\n\nThis is where all the food would be stored, if the bistro were open and functioning. There's a big fridge in the corner and many dusty shelves along the walls. A wooden stair leads down to the basement, and a doorway leads north to the kitchen.\n\nOn the dusty shelves are some pizza boxes and some cans of near-food.\n\n> You open the fridge\nYou open the fridge, revealing an unexpectedly empty Ziploc bag. The bag has the word \"Barry\" written on it with a black Sharpie, for all the good that did you. It used to enclose a sandwich. The sandwich is now presumably enclosed by Walter, who is the only one who's been up here. Where is that clown?\n\n> You get the bag\nTaken.\n\n> You look at the pizza\nThey're from Papa Dimitri's on Hamline, from yesterday. They still smell faintly of pizza, which isn't helping you curb your hunger right now, even if the pizza wasn't all that great. The boxes are closed.\n\n> You open the pizza\nAlas, all that remains are some greasy sheets of wax paper.\n\n> You examine near\nYou turn them to read the labels and wipe away some dust. They're food, I guess, but none of them can be eaten individually, or in combination. There's coconut milk, a can of chipotles in adobo, horseradish, a bottle of fish sauce, and sundry other substances which might be described as food-adjacent. None of them will address your hunger.\n\n> Go north\nYou make sure the fridge and freezer doors are shut and then head out.\n\nThis is the bistro's cramped kitchen. With your eye for detail, you notice a couple of things subtly out of place. For one thing, Walter is laid out on the floor. Also, the Ark of, um, Whatever, which he was guarding, is open and empty. The oven appears to be intact, for what that's worth, which is probably very little.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\n> You check what you're carrying\nYou are carrying:\na Ziploc bag (open but empty)\na hooded robe (hood lowered) (being worn)\n\n> About yourself\nYou're Barry, just a regular guy in the service of the Great Old Ones. OK, \"in the service of\" might be a little strong. You haven't done much serving of late. You only show up for the high holidays and important rituals if you can help it.\n\n> You look at Walter\nHe's a big dude -- a monster, really -- and a friend of your uncle's. He's supposed to be keeping watch. Instead, he's sprawled out on the floor, face down, sleeping peacefully. There's a faint chemical whiff coming off him, as opposed to the usual aquavit. You're not a physician per se -- a second-year vet student, actually -- but as far as you can tell, he's not dying or anything, just knocked out.\n\n> You examine Ark\nThe Ark of Whatever -- Mythos names give you a headache -- is a large, ornate box, covered in raised pictograms in some ancient tongue. It's clearly very old, and somewhat alien-looking, and too big to schlep downstairs. It contains the great Heart of Something or other, the crucial object needed for your uncle's transformation ritual that takes place tomorrow. Or it did: the ark is open and empty.\n\nYou run your finger over the raised pictograms, wondering how the hell this could have happened. In order to even open the box, you'd need to have the combination, and press the symbols in the right --. Oh, Jesus. THIS IS YOUR FAULT.\n\nIt's a hot, sweaty day at the state fair. You're here along with perhaps a hundred thousand of your fellow Minnesotans, having spent the day gawking at the prize rabbits, admiring the butter sculptures of the dairy princesses, checking out the reliably liberal crop art, and consuming 4000 calories, much of it in the form of soybean oil.\n\nA Month Ago at the State Fair, On Line for Bacon on a Stick\nYou're at the head of the line at the Fat Bacon stand, ready for your opportunity to give $5 in exchange for a piece of bacon on a stick. This is what your day has been missing.\n\nSome teenagers are manning the booth.\n\n> You check what you're carrying\nYou are carrying:\na five-dollar bill\nan all-important note that explains how to open the Ark of Gl'thub\n\n> You read note\nIt's the folded-up piece of paper on which is written the exact sequence of pictograms one presses to open the Ark of Gl'thub. It is not the only copy, thankfully.\n\n> You buy the bacon\nYou reach into your pocket, pull out the money, and hand it over to the girl. She hands you your bacon on a stick. It's not all that great. Meanwhile:\n\nthe all-important note that explains how to open the Ark of Gl'thub: Dropped.\n\nAt least, this is your best guess as to what happened, since the money and the note were in the same pocket. But more to the point, who would even have picked it up, with all the garbage floating around the state fair? Who would have noticed it? There's no way that anyone could make sense of it. It's just scribbles on a piece of paper. No big deal. Stu has another copy, so we're all good.\n\nOK, maybe not. Crap. You need to make this right, like right now. Stu is going to eat you alive if he finds out that the Heart is gone, and that is literally. Oh man, oh man. Where to even start? Jeff! Jeff will know what to do. Better get over to the bookstore pronto, before Stu figures out what's happened.\n\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nWalter is here, unconscious.\n\n> You go north\nThe old bistro had ten tables and seated about forty. The chairs are propped up on the tables upside-down and covered in dust. Large windows look out onto the street, but they're soaped up so that the public can't see all the important renovation work going on in here, which is to say none. The kitchen is to the south, the bathroom is to the west, and you can walk out onto the street to the north.\n\nHanging from the ceiling is a funky, thrift-store-looking chandelier.\n\n> You examine the chandelier\nIt's been painted white, which transforms it from \"schlock\" into \"shabby chic.\"\n\nAs you look at the chandelier, your eye is drawn to a security camera, facing toward the front door and bathroom. A tiny red light on the camera is illuminated. A wire leads from the camera along the ceiling to the south, towards the kitchen.\n\n> Go south\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nWalter is here, unconscious.\n\n> Go west\n(first opening the office door)\n(first unlocking the office door)\nIt's locked, and Uncle Stu presumably has the key that must fit in its oversized keyhole.\n\n> Go north\nThe old bistro had ten tables and seated about forty. The chairs are propped up on the tables upside-down and covered in dust. Large windows look out onto the street, but they're soaped up so that the public can't see all the important renovation work going on in here, which is to say none. The kitchen is to the south, the bathroom is to the west, and you can walk out onto the street to the north.\n\nHanging from the ceiling is a funky, thrift-store-looking chandelier.\n\nYou can see a small security camera mounted in the corner of the ceiling, and a thin black wire running from it.\n\n> You go west\nWith all the guys spending a lot of time in the restaurant, this tends to get used a fair bit. It has the usual accoutrements: toilet, sink, and the like. You can return to the dining room to the east.\n\nThere's a frosted window on the west wall, currently wide open.\n\nStrangely, there's a filthy pillow on the floor underneath the window.\n\n> You examine the pillow\nIt's a regular pillow that has had a rough time lately, it seems.\nIt's yellowed from sweat, has black dirt all over it, and smells of garbage.\n\n> You get the pillow\nTaken.\n\n> You go outside\nThis damp, quiet alley runs along the west side of the restaurant. It's littered with leaves and paved with gravel. Randolph Avenue is back to the northeast.\n\nA window leads back east into the building. Parked right alongside, in a little spot reserved for employees, is your Saturn.\n\n> You go east\nWith all the guys spending a lot of time in the restaurant, this tends to get used a fair bit. It has the usual accoutrements: toilet, sink, and the like. You can return to the dining room to the east.\n\nThere's a frosted window on the west wall, currently wide open.\n\n> Flush toilet\nYou flush the toilet.\n\n> You go to the west\nYou climb out the window.\n\nThis damp, quiet alley runs along the west side of the restaurant. It's littered with leaves and paved with gravel. Randolph Avenue is back to the northeast.\n\nA window leads back east into the building. Parked right alongside, in a little spot reserved for employees, is your Saturn.\n\n> Examine leaves\nIt's early autumn. Leaves are everywhere.\n\n> You examine the car\nIt's a 2001 Saturn sedan. The color, as represented to you by the dealership, is \"grey bronze.\" Others with less sophisticated tastes might call it \"brown.\" The paint job is marred by the presence of muddy footprints on the roof. Also, the trunk is open, and you definitely didn't drive here with it like that. Someone must have broken the lock on -- no, wait. There's no sign of forced entry. Whoever it was simply opened the trunk from the inside of the car, which you failed to lock. Awesome.\n\n> You look at the trunk\nIt's larger than it looks from the outside, one of the few aspects of the car that provides a pleasant surprise. It's open.\n\nIn the trunk are a flashlight and some Breaking Bad DVDs.\n\nNot inside the trunk is your tire iron. It appears to have been stolen.\n\n> You look in the trunk\nIt's larger than it looks from the outside, one of the few aspects of the car that provides a pleasant surprise. It's open.\n\nIn the trunk are a flashlight and some Breaking Bad DVDs.\n\n> You get the flashlight\nTaken.\n\n> You look at the dvds\nThey're Sam's, not yours, but you're in no mood to return them anytime soon. These are the very cool limited edition set, with the case shaped like a tank of methylamine. Thankfully the thief has left them.\n\n> You look in the car\nThe Saturn is empty.\n\n> You enter the car\nYou close the trunk and hop in.\n\n> Go northeast\nRandolph Avenue (in the Saturn)\nYou're on Randolph Avenue, which stretches far to the west toward Highland Park and to the east towards the river. The part we're on here is firmly middle class, maybe on the low side. There are a lot of small close-set houses with minimally-tended lawns, pockmarked by the occasional commercial space, including your restaurant.\n\nYour cult's shop, Unspeakable Books and Gifts, is located a few miles to the west. Jeff should be there; you should head over, ASAP. Carver's Cave is to the northeast. That's where you guys originally obtained the Heart, and is probably worth checking out. There's also an alleyway to the southwest. The dining room is to the south.\n\n> You look at the houses\nMost of them are one-and-a-half stories, built in the 1950s, with the sharply-slanted roofs that are necessary in Minnesota. Some are better-maintained than others, but none will be appearing in Architectural Digest anytime soon.\n\n> You get the houses\nIn 2009, perhaps. Housing prices have rebounded, though, and you couldn't afford them all.\n\n> You go west\nYou drive off towards Highland Park for a couple of miles. You arrive at your destination a few minutes later.\n\nCleveland Avenue (in the Saturn)\nYou're on Cleveland Avenue outside a magic shop affiliated with your cult, wedged between an insurance agent and a Subway. A faded sign above the nondescript entrance to the north reads \"Unspeakable Books and Gifts.\" A placard indicates that the shop is closed, but you can see that the lights are on. The bistro and Randolph Avenue are back to the east.\n\nStanding out front is a sandwich board advertising an improbable and already completed Back to School sale. Or I should say, \"B4ck to Scho l.\"\n\nA mostly-deflated red balloon hangs limply from the sandwich board.\n\n> Leave\nYou get out of the Saturn. (Incidentally, you don't need to worry about closing or locking or unlocking the car. Just enter and exit. The locking and unlocking will be assumed. No one else will mess with your car, I promise).\n\n> You examine it\nIt's a plain red balloon. It's currently deflated.\n\n> You go north\nYou find the shop unlocked, strangely enough.\n\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\n> Inflate balloon\nYou inflate the balloon, carefully holding it closed with your fingers when you're done.\n\n> You squeeze the balloon\nYou squeeze the inflated balloon, and the air rushes out of it. It would probably be more fun to inflate it and simply let it go.\n\n> You look at the knickknacks\nPendants, crystals, amulets, \"healing\" magnets, and all manner of other crap. High profit margins, you're told.\n\nLying on the ground behind the display case, bathed in a strange yellow light, is your friend Jeff. He's apparently frozen in place. You half-expect him to suddenly spring to life like one of those annoying street performers, but it doesn't look like that will happen. Frozen Jeff is holding a partially open box, emerging from which is an enormous, otherworldly, terrifying-looking beetle, also motionless. Next to the two of them is a small ceramic oval. It seems to be the source of the strange yellow light, which also envelops an old computer monitor that's stashed back here for some reason. I have to say, this doesn't make for a welcoming retail environment.\n\n> You look at the monitor\nIt's an old, clunky, heavy tube-based piece of crap. It's bathed in the same yellow light as Jeff and the beetle.\n\n> You look at the beetle\nIt is huge, terrifying and probably deadly, covered in eyes and sporting oversized vicious mandibles. The box in which it was stored reads \"Qua'ox\" in tiny copper letters.\n\n> You look at the oval\nIt's a smooth little oval-shaped object, about the size of an ice cream sandwich. The terra cotta color suggests that it's ceramic, and therefore maybe fragile. There's a single rune on it, which might mean something if you had ever paid attention in Sunday school, but well, that could never happen. But you don't need a degree from Mythos Divinity School to realize that this thing is generating some kind of stasis field in which Jeff and the beetle are trapped.\n\n> You get the beetle\nLooking at the beetle is as much as you want to do. In fact, you don't even want to do that.\n\n> Break oval\nYou smash the oval, and the yellow field dissolves. Jeff seems dazed for a moment as the magic releases him. The beetle, however, recovers very quickly. It senses your presence, and begins to leap towards your face!\n\n> You jump\nYou jump on the spot, fruitlessly. And also pizzalessly. Christ, you're hungry.\n\nYou throw your hands up to protect yourself, but it's no use. The beetle bears down on you, tearing at your face with its mandibles, until it reaches bone. And then it keeps going.\n\n> Duck\nThe beetle adjusts course to match.\n\nYou throw your hands up to protect yourself, but it's no use. The beetle bears down on you, tearing at your face with its mandibles, until it reaches bone. And then it keeps going.\n\n> You drop the balloon\nYou let go of the inflated balloon. It shoots wildly around the room as it deflates. The beetle's instincts kick in. It launches itself at the balloon, following it until it crashes into the bookshelf and lands on the floor. The beetle watches with interest, then returns its attention to you.\n\nYou throw your hands up to protect yourself, but it's no use. The beetle bears down on you, tearing at your face with its mandibles, until it reaches bone. And then it keeps going."
    },
    {
        "text": "[Themes: Humor, Lovecraftian, horror, humor]\n\n> You look at your surroundings\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\nBehind the counter, you can see Jeff and a nasty-looking beetle, motionless, bathed in a strange yellow light. A small terra cotta oval seems to be generating the light, which also encompasses a clunky old computer monitor."
    },
    {
        "text": "[Themes: Humor, cult, horror]\n\n> Go downwards\n(first opening the large bookshelf)\nAs you reach to open the large bookshelf, you lose your grip on the balloon, which shoots around wildly for a moment before dropping to the ground."
    },
    {
        "text": "[Themes: Humor, cult, apocalypse, religion, flashback, Comedy]\n\n> Go downward\n(first opening the large bookshelf)\n\nIf there's a customer who really knows what he's talking about, Jeff brings him down here. He's got the place pimped out mad-scientist style, with beakers and tubes and the like. There's also a carved wooden bookshelf stuffed to capacity with tomes, grimoires, librams, and even the occasional \"book.\" Stairs lead back up to the shop.\n\nSitting among the beakers and tubes is a latex glove.\n\nOn one end of the room, there's a shrine to the Chairman of the Board, the Big C himself, in all his tentacled glory.\n\n> You look at the shrine\nIt's a small-scale statuette of Great Cthulhu, waving his tentacles around in a threatening manner, with little people trampled under his feet. It's pretty sweet, even to a cafeteria cultist like yourself.\n\n> You examine the bookshelf\n(the carved wooden bookshelf)\nIt's a heavy wooden bookshelf, with a lot of grotesque flourishes carved in, groaning under the weight of the volumes it contains.\n\n> Examine tubes\nTypical Dr. Frankenstein or Herbert West stuff: bubbling flasks, wires, jars of strange fluids, and powders. You've got some lab experience, but you don't know what any of this stuff does. That's Jeff's department."
    },
    {
        "text": "[Themes: Humor, humor, horror, apocalypse]\n\n> Look around\nIf there's a customer who really knows what he's talking about, Jeff brings him down here. He's got the place pimped out mad-scientist style, with beakers and tubes and the like. There's also a carved wooden bookshelf stuffed to capacity with tomes, grimoires, librams, and even the occasional \"book.\" Stairs lead back up to the shop.\n\nOn one end of the room, there's a shrine to the Chairman of the Board, the Big C himself, in all his tentacled glory.\n\n> Up\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\nBehind the counter, you can see Jeff and a nasty-looking beetle, motionless, bathed in a strange yellow light. A small terra cotta oval seems to be generating the light, which also encompasses a clunky old computer monitor.\n\nYou can also see a balloon here.\n\n> You get the monitor\nYou reach for the monitor, but receive a mild electric shock when you come in contact with the yellow light.\n\n> You read the monitor\nIt's an old, clunky, heavy tube-based piece of crap. It's bathed in the same yellow light as Jeff and the beetle.\n\n> You drop the balloon\nYou let go of the inflated balloon. It shoots wildly around the room as it deflates. The beetle's instincts kick in. It launches itself at the balloon, following it through the open bookcase and down the stairs!\n\n> Close bookcase\nYou push on the bookcase and the door clicks shut.\n\n> You examine jeff\nJeff's a fellow cultist, mid 40s, has an age-inappropriate hipster handlebar mustache. He's a bit more religious than you are, but this mostly takes the form of wanting to melt things and summoning creatures from the Outer Realms to help him move furniture into a new apartment. He's OK.\n\nJeff appears from behind the counter, rubbing his eyes. \"Man, am I glad to see you,\" he says, as he surveys the scene. He holds out a fist expectantly. \"I\u00e4, dude! Great work!\"\n\n> Fistbump jeff\nYou bump Jeff's fist, giving him an I\u00e4 in return.\n\n(You could ask him about how he ended up in stasis or the beetle.)\n\n> You ask Jeff about the beetle\nYou ask Jeff about the beetle, and explain about its current location.\n\n\"Oh, man, that sucked pretty bad. Thanks again. I had the box up here because I was gonna mail-order it out to some brothers in Eau Claire. Nice work, dude. I can wrangle it with this,\" he says, producing a small whistle from his pocket. He puts it to his lips, and carefully opens the secret door once again. The beetle, apparently waiting right behind it, leaps out right at Jeff's face.\nHe blows the whistle. You hear nothing, but the beetle drops to the ground, legs up, motionless. Jeff scoops it up and puts it in an unbroken box. \"Alright, we got that taken care of.\"\n\nYou could ask him about how he ended up in stasis.\n\n> You ask Jeff about the stasis\n\"I'm a dumbass, basically,\" says Jeff. \"This girl comes in. I've never seen her before, so I figure she's a pink who's here to realign her aura or something. But she starts talking about Carver's Cave with some authority, so I'm wondering if maybe she's on the team but just from out of town. Then she produces the piece of paper you lost with the code to open the Ark of Gl'thub and asks for help in translating the symbols. And I'm like, dude. This can't be\nright. So I tell her to hold on for a sec while I get something. I'm going to sic the Qua'ox on her, but she's too fast, and pushes me down. Next thing I know, she produces a Gothaullog stone and I'm frozen.\"\n\nYou could ask him about the young woman or the small oval.\n\n> You talk Heart of something\nYou mention to Jeff that you are pretty sure that his young woman snuck into the bistro, knocked out Walter, and made off with the Heart of Something.\n\n\"Holy crap!\" he says. \"She has the Heart of Unktahe? Does anyone else know?\" You reply in the negative. \"Alright, man, we've got to get that thing back, like, ASAP. Otherwise, we're both gonna end up on the slab. I've got a spell we can use to try to track her down. We'll need two things: some personal object of hers, and an image of some sort. See if you can get that stuff and bring it to me. I'll make preparations here.\"\n\nYou could ask him about Carver's Cave, the spell or Uncle Stu."
    },
    {
        "text": "> Go downward\n(first opening the large bookshelf)\n\nIf there's a customer who really knows what he's talking about, Jeff brings him down here. He's got the place pimped out mad-scientist style, with beakers and tubes and the like. There's also a carved wooden bookshelf stuffed to capacity with tomes, grimoires, librams, and even the occasional \"book.\" Stairs lead back up to the shop.\n\nOn one end of the room, there's a shrine to the Chairman of the Board, the Big C himself, in all his tentacled glory.\n\n> You look at the librams\nThere are hundreds of books here on all manner of occult topics. Only a few have titles on the spines. Most are bound in some sort of leather, the source of which you don't want to know. Others have ostentatious locks or other hardware to impress upon the reader how badass they (and by extension you) are. Naturally, old warhorses like the Necronomicon are represented, along with some rarer\nstuff. You could CONSULT TOMES ABOUT something.\n\n> You consult the tomes about Heart\nYou flip through the tomes and eventually find reference to Unktahe. It is the great serpent-like creature revered in antiquity by local Native American groups as the Great Spirit of the Mississippi River. There are details here for summoning it -- yeah, yeah, been there, killed that -- and then a brief discussion of the properties of the creature. Its blood is highly acidic, burning through metal, wood and flesh with equal rapidity. The heart of Unktahe is a source of great power for anyone who might consume it. After the appropriate super-long and tedious ritual, one can eat it and assume the status of Vessel of the Old Ones. Which would be happening right now, if you weren't such a crap cultist.\n\n> You consult the tomes about Stu\nThe tomes wouldn't have anything on anyone currently alive. If there's anything Mythosy you want to look up, though, they might have something.\n\n> You consult the tomes about the beetle\nYou search the tomes, hoping that you can find something useful about this creature. Ah, here: it's Van der Wurff's Compendium of Otherworldly Fauna. And it's written in Yuggothic. Awesome. You had to learn that for your binding (essentially your cult mitzvah), but you've read approximately zero Yuggothic since then. Pressing on, you flip around the book until you find a picture of what you're looking for, then translate, painfully: \"The Qua'ox is a beetle-like creature from...\" blah blah blah, yeah, yeah, how do we defeat it? Oh, there we go: \"The Qua'ox, like many predators, is particularly drawn by rapid, irregular movement, like that of potential prey. It is also attracted by the color red.\"\n\n> You consult the tomes about the azathoth\nThe books tell you what you remember from Sunday school: Azathoth is a blind idiot god at the center of the universe. Seems like the sort of thing you'd want to worship.\n\n> You consult the tomes about the oval\nThe Joy of Culting explains that it's a special stone used to immobilize things or people. Once activated, you need only break it to dispel the effect.\n\n> You consult the tomes about cave\nCarver's Cave, as you already know, is a natural fissure underneath Saint Paul. The Lakota call it Wakan Tipi, or the House of\nthe Great Spirit. It's the Heart of the Great Spirit, Unktahe, which was stolen from the Ark.\n\n> You consult the tomes about Ark\nYou already know about the Ark of Gl'thub, but consult the books anyway. The Ark, you read, is a sort of mystical puzzle-box, useful as a vault or container for objects of great value, especially those that aren't exactly shelf-stable. To open the Ark, one must press the raised symbols on its surface in a very specific order, corresponding to the procession of the stars on the old Kadathian calendar. In theory, one must be well versed in Mythos cosmology to comprehend this sequence, but in practice, you really just need to visit the Minnesota State Fair at the right time and wait for a dumbass to drop the code. It doesn't actually say that last part.\n\n> You consult the tomes about the hastur\nLike Candyman: you're not supposed to say the name, but you've done it plenty of times in the past. I don't think he cares.\n\n> You consult the tomes about the arkham\nThe Mecca of the Mythos; also home to a famous asylum for supervillains. Your group did a retreat there a couple of years ago. You went mainly for the clambake, and to meet cult women from around the world. \"Crazy in the head, crazy in the bed\" is the saying, but in practice it turns out to be \"Crazy in the head, really violent and dangerous.\" From now on you're going to stick with normals.\n\n> Up\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\nYou can see a clunky old computer monitor and Jeff here.\n\n> You ask Jeff about the monitor\n\"Oh yeah,\" he says. \"That's from the bistro. It was busted, so I tried fixing it. I think it's working now. You could bring it over if you're heading that way.\"\n\n> You go to the south\nYou're on Cleveland Avenue outside a magic shop affiliated with your cult, wedged between an insurance agent and a Subway. A faded sign above the nondescript entrance to the north reads \"Unspeakable Books and Gifts.\" A placard indicates that the shop is closed, but you can see that the lights are on. The bistro and Randolph Avenue are back to the east.\n\nYour Saturn is parked here.\n\nStanding out front is a sandwich board advertising an improbable and already completed Back to School sale. Or I should say, \"B4ck to Scho l.\"\n\n> Go east\nYou think about hoofing it all the way to Randolph Avenue, but realize that it will take too much time. You'd better drive there.\n\n> Enter\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\nYou can see Jeff here.\n\n> You enter the car\nYou get into the Saturn.\n\n> Go east\nRandolph Avenue (in the Saturn)\nYou're on Randolph Avenue, which stretches far to the west toward Highland Park and to the east towards the river. The part we're on here is firmly middle class, maybe on the low side. There are a lot of small close-set houses with minimally-tended lawns, pockmarked by the occasional commercial space, including your restaurant.\n\nYour cult's shop, Unspeakable Books and Gifts, is located a few miles to the west. Carver's Cave is to the northeast. That's where you guys originally obtained the Heart, and is probably worth checking out. There's also an alleyway to the southwest. The dining room is to the south.\n\n> You go to the northeast\nYou take West 7th into downtown, and from there, follow Mounds Boulevard along the river until you reach the edges of Indian Mounds Park.\n\nMounds Boulevard (in the Saturn)\nYou're on Mounds Boulevard at Cherry Street, a little east of downtown. \"Mounds,\" because some Native American burial mounds are just down the road. It's a pretty nice fall tableau here: lots of colorful leaves, the Mississippi River below, acorns everywhere. You hate to think that whatever Stu has planned is going to ruin this.\nThe super-secret entrance to Carver's Cave is down the bluff towards the river, and Randolph Avenue is southwest.\n\n> You look at the leaves\nWhen the leaves change here, it's really quite nice, but it's a very short window. When they're gone, the Cities are gray, brown and white until mid-April at least.\n\n> Go outside\nYou get out of the Saturn."
    },
    {
        "text": "[Themes: Humor, horror, flashback, religion]\n\n> Go downwards\nMaking sure that no one is watching, you hop the railing and scramble down the bluff side as carefully as you can.\n\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The mouth of Carver's Cave has long since been barricaded and then covered naturally with rocks and sediment, but your cult, like Gollum, knows the secret ways. Only the followers of the Old Ones can penetrate the mysteries of -- well, goddammit. The shrub that normally covers up the secret entrance is gone. Wait, not gone: crushed. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff.\n\n> You examine the boulder\nIt's a fairly large hunk of sandstone that looks like it tumbled down the bluff and landed here on top of the unfortunate shrub. Instead of the shrub concealing the entrance, now you have the boulder mostly blocking it. If you had to guess, you'd say Walter's assailant probably had something to do with this.\n\n> You go inside\nYou try wedging yourself into the crack. You suck in your chest, twist your torso, turn your head, but it's no good. You rub up against the sides of the boulder and the rock wall, and can make no progress. Damn you, friction!"
    },
    {
        "text": "[Themes: Humor, Comedy, apocalypse, cult]\n\n> Go down\nYou're at the bottom of the bluff now, with the river directly before you. Protruding from the bluff is a small pipe. A stream of water emerges and drips into the river.\n\nThe entrance to the cave is above you.\n\n> You look at the pipe\nSmall is a relative term, I guess. But you couldn't fit in it, let's put it that way. Water trickles out of it into the river.\n\n> Drink water\nYeesh. Not unless you were dying of thirst.\n\n> You examine the water\nA steady but unspectacular stream of water emerges from the pipe and drains into the river. It's probably outflow from the cave.\n\n> You check your inventory\nYou are carrying:\na clunky old computer monitor\na latex glove\nsome Breaking Bad DVDs\na flashlight\na filthy pillow\na Ziploc bag (open but empty)\na hooded robe (hood lowered) (being worn)\n\n> You raise the hood\nYou lift your hood, covering your features and making you look quite sinister.\n\n> Lower hood\nYou lower the hood, revealing your features once more.\n\n> You look in the pipe\nThe small pipe is empty.\n\n> You examine River\nThe banks -- at least those parts that are not given over to docks -- are lined with trees in the process of losing their leaves. Up here, the river is not nearly so impressively wide as it is in, say, St. Louis. On the other hand, it is cleaner. Well, cleanish.\n\n> Up\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The shrub that normally covers up the secret entrance is gone. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff.\n\n> You go north\nYou try wedging yourself into the crack. You suck in your chest, twist your torso, turn your head, but it's no good. You rub up against the sides of the boulder and the rock wall, and can make no progress. Damn you, friction!\n\n> You go to the kitchen\nYou head on over, leaving your car parked on Randolph Ave.\n\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nWalter is here, unconscious.\n\n> You look at the oven\nIt's a nice brushed-metal model and has been kept tidy.\n\n> You open the oven\nYou open the oven. Perhaps there's a turkey roasting inside? That would be very helpful right now. Yeah, not so much. It's scrubbed clean and empty.\n\n> You go to the south\nThis is where all the food would be stored, if the bistro were open and functioning. There's a big fridge in the corner and many dusty shelves along the walls. A wooden stair leads down to the basement, and a doorway leads north to the kitchen.\n\nOn the dusty shelves are some pizza boxes (in which are some greasy sheets of wax paper) and some cans of near-food.\n\n> You get the wax paper\nYou take the sheets of wax paper. They're still quite slick and slippery.\n\n> You go north\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nWalter is here, unconscious.\n\n> Go north\nThe old bistro had ten tables and seated about forty. The chairs are propped up on the tables upside-down and covered in dust. Large windows look out onto the street, but they're soaped up so that the public can't see all the important renovation work going on in here, which is to say none. The kitchen is to the south, the bathroom is to the west, and you can walk out onto the street to the north.\n\nHanging from the ceiling is a funky, thrift-store-looking chandelier.\n\nYou can see a small security camera mounted in the corner of the ceiling, and a thin black wire running from it.\n\n> You go to Mounds\nYou head on over, leaving your car parked on Mounds Boulevard.\n\nYou're on Mounds Boulevard at Cherry Street, a little east of downtown. \"Mounds,\" because some Native American burial mounds are just down the road. It's a pretty nice fall tableau here: lots of colorful leaves, the Mississippi River below, acorns everywhere. You hate to think that whatever Stu has planned is going to ruin this.\nThe super-secret entrance to Carver's Cave is down the bluff towards the river, and Randolph Avenue is southwest.\n\nYour Saturn is parked here."
    },
    {
        "text": "[Themes: Humor, apocalypse, religion, cult, flashback]\n\n> You go downwards\nMaking sure that no one is watching, you hop the railing and scramble down the bluff side as carefully as you can.\n\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The shrub that normally covers up the secret entrance is gone. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff.\n\n> You remove the robe\nYou take off the hooded robe.\n\n> You rub  the wax paper on yourself\nWincing a little at the inherent grossness of this activity, you rub the greasy wax paper on your skin. You now smell vaguely like an old pizza, and you are noticeably oranger. On the plus side, you should have an easier time sliding through that narrow crevice.\n\n> Go inside\nThe grease from the pizza is just enough to enable you to contort your way in.\n\nIt is pitch dark, and you can't see a thing.\n\n> Inventory\nYou are carrying:\nsome greasy sheets of wax paper\na clunky old computer monitor\na latex glove\nsome Breaking Bad DVDs\na flashlight\na filthy pillow\na Ziploc bag (open but empty)\na hooded robe\n\nAnd you're all greased up.\n\n> You turn on the flashlight\nYou crank up the flashlight a little, and then switch it on.\n\nYou're in Carver's Cave, a small natural fissure underneath Saint Paul. The Lakota called this place Wakan Tipi, the House of\nthe Great Spirit. It used to be accessible, a tourist attraction even. Every so often, the entrance would be lost in a rockslide, and the city would open it back up again, until finally they chose to block it off entirely.\n\nThere's a beach of sorts, and beyond that, a calm, dark pool extending into the blackness. Water laps gently near your feet, and there's an audible trickle from somewhere deep in the darkness. It's otherwise deathly quiet, and very chilly. You can leave to the south.\n\nLying on the beach is the hacked-up corpse of a giant serpent, marinating in a puddle of purplish blood.\n\n> You examine the corpse\nIt's the body of the Great Spirit, or one such Great Spirit, that your uncle summoned in order to kill and cut out its heart. That was another super-boring hours-long ceremony, but got pretty good at the end when it turned into some hardcore LARPing. Your buddy Jake got in the final blow with a replica Glamdring from the SkyMall catalog. The bad news is that the serpent's blood burned right through the sword. Anyway, your uncle then cut out the still-beating heart and put it in the Ark, where you assumed it was safe and secure, which it was, before your dumb ass got involved.\n\nThe serpent's purplish blood is pooled in and around the corpse.\n\n> You get the blood\nYou try to scoop up some of the blood with your bare hands, but the acidic goo burns you, and you abandon the attempt.\n\n> Inventory\nYou are carrying:\nsome greasy sheets of wax paper\na clunky old computer monitor\na latex glove\nsome Breaking Bad DVDs\na flashlight (providing light)\na filthy pillow\na Ziploc bag (open but empty)\na hooded robe\n\nAnd you're all greased up.\n\n> You put the blood in the bag\n(first taking the puddle of purplish blood)\n\nYou try to scoop up some of the blood with your bare hands, but the acidic goo burns you, and you abandon the attempt.\n\n> Wear glove\nYou put on the latex glove.\n\n> You get the blood\nWith your gloved hand, you carefully scoop some ichor into the Ziploc bag.\n\n> You look at the water\nCalm, but not entirely still. There's a definite current flowing towards the south. The cave presumably drains in that direction.\n\nA wrapper from a Baby Ruth bar floating just below the surface of the pool emerges from the darkness to the north, at the back of the cave. The current carries it to the south and out of view. Oh man, a Baby Ruth would be awesome right now.\n\n> Go south\nYou once again try to twist your way through the gap. As you contort yourself in, though, you notice that the Ziploc bag of ichor is caught on a particularly sharp edge of the rock. If you go any further, the bag will almost certainly tear in catastrophic fashion.\n\n> You put the bag in the water\nYou place the bag in the frigid water. It seems to be neutrally-buoyant, suspended a few inches under the surface. The current catches it, and it begins to drift towards the south wall of the cave.\n\n> You go south\nWith the pizza grease slathered on, and some creative shoulder movements and breathing, you manage to push your way through the crevice.\n\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The shrub that normally covers up the secret entrance is gone. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff."
    },
    {
        "text": "[Themes: Humor, flashback, humor]\n\n> Go down\nYou're at the bottom of the bluff now, with the river directly before you. Protruding from the bluff is a small pipe. A stream of water emerges and drips into the river.\n\nThe entrance to the cave is above you.\n\nDeposited here underneath the pipe is that Baby Ruth wrapper you saw earlier.\n\n> You look in the pipe\nThe Ziploc bag has washed down here and clings to a rusty burr on the inside of the pipe.\n\n> You get the bag\nAs you grasp the open bag, you realize that it is now empty, or emptyish; there's a thin film of purple goo still clinging to the interior, but that's about it. Apparently the ichor is water-soluble.\n\n> Go upwards\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The shrub that normally covers up the secret entrance is gone. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff.\n\n> Enter\nThe grease from the pizza is just enough to enable you to contort your way in.\n\nYou're in Carver's Cave, a small natural fissure underneath Saint Paul. There's a beach of sorts, and beyond that, a calm, dark pool extending into the blackness. Water laps gently near your feet, and there's an audible trickle from somewhere deep in the darkness. It's otherwise deathly quiet, and very chilly. You can leave to the south.\n\nLying on the beach is the hacked-up corpse of a giant serpent, marinating in a puddle of purplish blood.\n\n> You get the ichor\nWith your gloved hand, you carefully scoop some ichor into the Ziploc bag.\n\n> Close bag\nYou close the Ziploc bag.\n\n> You put the bag in the water\nYou place the bag in the frigid water. It seems to be neutrally-buoyant, suspended a few inches under the surface. The current catches it, and it begins to drift towards the south wall of the cave.\n\n> You go south\nWith the pizza grease slathered on, and some creative shoulder movements and breathing, you manage to push your way through the crevice.\n\nSuper-Secret Entrance to Carver's Cave\nYou're much of the way down the bluff here. The shrub that normally covers up the secret entrance is gone. A jagged boulder is in its place. There's only a narrow crack leading into the bluff side now. You can also head further up and down the bluff."
    },
    {
        "text": "[Themes: Humor, Comedy, apocalypse, cult]\n\n> Go down\nYou're at the bottom of the bluff now, with the river directly before you. Protruding from the bluff is a small pipe. A stream of water emerges and drips into the river.\n\nThe entrance to the cave is above you.\n\n> You get the bag\nAs you grasp the bag, it snags ever-so-slightly on a jagged edge of the pipe, but comes loose. There's now a tiny tear in the corner. It's not enough to cause any serious leakage, but you'll have to be careful. If you were to squeeze the bag, the blood would extrude, like frosting from a pastry bag.\n\n> Examine wrapper\nProbably your favorite candy bar, but you rarely ever eat one.\n\n> You eat the wrapper\nDesperate for empty calories, you start to eat the wrapper, praying to Great Nyarlathotep that some speck of caramel remains. Then you recall that the wrapper came here by way of a sewer. You put the wrapper down.\n\n> You get the wrapper\nYou already have that.\n\n> You go to the kitchen\nYou head on over, leaving your car parked on Randolph Ave.\n\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nWalter is here, unconscious.\n\n> You put the ichor in the door\n(the office door)\nThe Ziploc bag isn't open.\n\n> You squeeze the bag\nYou squeeze the bag, and some acidic goo extrudes from the torn tip, rather like a pastry bag. A tiny bit drips at your feet and sizzles. You probably want to make sure you're putting the goo somewhere useful.\n\n> You put bag in the lock\nYou manage to put the corner of the Ziploc bag into the keyhole. It's in fairly deep.\n\n> You squeeze the bag\nYou inject some of the purple goo directly into the office door lock. Immediately, an acrid smoke begins to waft from the door. You can hear the lock mechanism sizzling as it corrodes. When you withdraw\n\n> You squeeze the ichor on the lock\nthe bag, there's a jagged hole where the lock used to be. The bag itself becomes snagged in the molten metal and rips apart, so you throw it away.\n\nYou can't see any such thing.\n\n> Go west\n(first opening the office door)\n\nThis is one of those miserable windowless back rooms you find in a restaurant or retail shop. You can imagine the kind of boss who might lair here. He's got a mustache, maybe a hairpiece too, and wears a wide, earth-toned tie. He smokes, probably cheap cigars. He's loud and abusive to his employees. As the place is not in use, he's not actually here, but his presence lingers nonetheless.\n\nThe office door leads back out east into the kitchen.\n\nSitting on a desk is a small, boxy security system. It seems to be lacking a monitor; in its place is a post-it note. A thin wire leads out of it and up through a hole near the ceiling. There's also a printer attached.\n\n> You examine the note\nIt reads: \"Fixing the monitor. Sorry! -- Jeff\".\n\n> You put the monitor on the system\nYou hook up the monitor to the security system and power it on.\n\n> You look at monitor\nThe system is composed of a central unit, probably some sort of internal storage for the feed. There are also several controls, the most interesting of which are the rewind button and the print button. There's also an ancient printer attached. The display is small and not exactly crisp. It's currently showing the empty and static dining room.\n\n> You get the image\nTaken.\n\nThe charge on the flashlight gives out.\n\n> You put the dvds in the computer\nYou pop a disc into the security system at random. \"Yeah, bitch! Magnets!\" enthuses Jesse.\n\nOh wait, this thing has no input for a DVD. And it was manufactured in like 1985. Forget that happened.\n\n> You put the dvds in computer\nYou pop a disc into the security system at random. You laugh as Huell and Kuby lie down on an enormous pile of money.\n\nOh wait, this thing has no input for a DVD. And it was manufactured in like 1985. Forget that happened."
    },
    {
        "text": "> Look around\nThis is one of those miserable windowless back rooms you find in a restaurant or retail shop. You can imagine the kind of boss who might lair here. He's got a mustache, maybe a hairpiece too, and wears a wide, earth-toned tie. He smokes, probably cheap cigars. He's loud and abusive to his employees. As the place is not in use, he's not actually here, but his presence lingers nonetheless.\n\nThe office door leads back out east into the kitchen.\n\nSitting on a desk is a small, boxy security system. It displays the dining room in blurry black and white. A thin wire leads out of it and up through a hole near the ceiling. There's also a printer attached.\n\n> Go east\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nWalter is here, unconscious.\n\n> Go north\nThe old bistro had ten tables and seated about forty. The chairs are propped up on the tables upside-down and covered in dust. Large windows look out onto the street, but they're soaped up so that the public can't see all the important renovation work going on in here, which is to say none. The kitchen is to the south, the bathroom is to the west, and you can walk out onto the street to the north.\n\nHanging from the ceiling is a funky, thrift-store-looking chandelier.\n\nYou can see a small security camera mounted in the corner of the ceiling, and a thin black wire running from it.\n\n> Go north\nYou're on Randolph Avenue, which stretches far to the west toward Highland Park and to the east towards the river. Your cult's bookstore is located a few miles to the west, Carver's Cave is to the northeast, and there's an alleyway to the southwest.\n\nSam's place is to the north, and the dining room is south.\n\nYour Saturn is parked here.\n\n> You enter Saturn\nYou get into the Saturn.\n\n> You go north\nHague Avenue (in the Saturn)\nYou're outside your ex-girlfriend's place. She lives on a quiet, leafy side street, in a ground-floor apartment. You haven't been here or talked to her since the breakup a few weeks ago. You can head back to the bistro to the south, or the bookshop to the southwest.\n\nTo the north is Sam's front door. There's a prominent doorbell next to it.\n\n> You ring doorbell\nYou ring the bell. You hear footsteps, and then she appears at the door: Samiira Abdi, your girlfriend up until a few weeks ago. She was a really great catch, you recall with a sigh. Tall and lanky, smart, pretty with a distinctive East African nose, and for a couple of years, she skated with the Minnesota RollerGirls under the name Somali Hatchet, which is just impossibly sexy. Right now, she's sporting a look you've never seen outside of old family photos: a hijab. She doesn't seem all that thrilled to see you.\n\n\"Hi, Barry,\" she says, affectlessly. \"What are you doing here?\" -- she stops and sniffs for a moment -- \"Besides wearing a pizza?\"\n\n(You could ask her about how she's doing or the hijab.)\n\n> You give the dvds to Sam\nShe takes custody of the discs and finally relents, handing over the clip. \"Have fun drowning the world in blood. It was good to see you, Barry.\" With that, she retreats into her apartment and closes the door.\n\n> You go to store\nYou head on over, leaving your car parked on Cleveland Ave.\n\nThis is the front room of Unspeakable Books and Gifts. It's a \"magic\" shop for the pinks, the rubes who spell magick with a k. They come here to buy healing crystals and novelty Buffy-themed Tarot decks and books about UFOs and accessing their past lives. There's a long display case filled with various mystical knickknacks. There's also a large bookshelf crammed with hokey New Age titles. You can exit back onto the street to the south.\n\nYou can see Jeff here.\n\n> You give the image to Jeff\nYou hand it over. \"Excellent. OK, now we just need to find something of hers.\"\n\n> You give the hairclip to Jeff\n\"Sweet!\" says Jeff. \"Alright, dude. Showtime.\" He gathers up some crap from behind the counter and leads you downstairs, to the shrine of Great Cthulhu, peace be upon him. Jeff starts by drawing a trapezoid on the wood floor with a piece of chalk. \"Hey, better get your robe on,\" he says. \"Make this all official-like. I think the big guys like it when we're dressed for the part.\" Seems reasonable, so you comply. \"Sit on this side,\" he says, pointing to the wide end; he himself sits at the narrow end. OK, yeah, this is starting to come back to you now. He scrawls out an Elder Sign in the middle, and then lights a candle on either side of you. He dips into a bag of, well, it looks like red sand, but is probably something like granulated Shoggoth nightmares. Wait, no -- the bag is from Petco. Anyway, he sprinkles that around a bit, then places the printout of the woman and her hairclip in the center, on top of the sign. He grabs your hands and closes his eyes.\n\n\"OK, so now repeat after me: Ehye f'geb Tsathoggua wgah'n\nk'yarnak gof'nn...\"\n\n\"I forget Tsathoggua vogon kayak golfing...\"\n\nThis goes on for much longer than you were hoping. Finally Jeff yells, \"I\u00e4! I\u00e4!\" The sand begins to swirl around until it resolves into the form of a street map. Wow, this is pretty bitchin'. You can feel power flowing through you.\n\n\"Barry, get ready! Watch for the spark!\" At this, the image and the hairclip are consumed in brilliant green flames, accompanied by thick smoke. The fumes begin to sting your eyes and nose. You're tearing up, and you feel an insistent itch in your nasal passages. A sneeze is coming on. Hastur's hot hole, not now!\n\n> You hold nose\nMindful of the sand in front of you (not to mention Jeff, right in the line of fire), you let go of Jeff's hand and quickly cover your nose.\n\nYou can't suppress it any longer. Your head rears back involuntarily, brushing up against your lowered hood, and then propels forward. A one-hundred-mile-per-hour blast of air and snot launches itself from your nostrils. You manage to deflect the worst of it with your hands; the sand is still more or less intact. The bad news is that by breaking your connection with Jeff, you've interrupted the spell. The green flames from the image and hairclip die out in an instant. Whatever spark Jeff was talking about doesn't happen.\n\nJeff shakes his head. Well, that's that, I guess. You're never going to find another item of hers to use in the spell, at least not in time. But on the bright side, you'll get to the meet the Old Ones, after Stu gets a hold of you.\n\n> Inventory\nYou are carrying:\na Baby Ruth wrapper\nsome greasy sheets of wax paper\na latex glove (being worn)\na flashlight\na filthy pillow\na hooded robe (hood lowered) (being worn)\n\nAnd you're all greased up.\n\n> Smell pillow\nGarbage, for sure.\n\nYou can't suppress it any longer. Your head rears back involuntarily, brushing up against your lowered hood, and then propels forward. A one-hundred-mile-per-hour blast of air and snot launches itself from your nostrils. With nothing to stop it, or even blunt it, the sneeze scatters the colored sand everywhere. A tiny spark from the green flames shoots like a meteor and lands on the now-bare floor.\n\nJeff shakes his head. Well, that's that, I guess. You're never going to find another item of hers to use in the spell, at least not in time. But on the bright side, you'll get to the meet the Old Ones, after Stu gets a hold of you.\n\n> You sneeze\nThat's what you're trying to avoid.\n\nYou can't suppress it any longer. Your head rears back involuntarily, brushing up against your lowered hood, and then propels forward. A one-hundred-mile-per-hour blast of air and snot launches itself from your nostrils. With nothing to stop it, or even blunt it, the sneeze scatters the colored sand everywhere. A tiny spark from the green flames shoots like a meteor and lands on the now-bare floor.\n\nJeff shakes his head. Well, that's that, I guess. You're never going to find another item of hers to use in the spell, at least not in time. But on the bright side, you'll get to the meet the Old Ones, after Stu gets a hold of you.\n\n> You raise the hood\nWith your hands unavailable, you grab an edge of the hood with your teeth and make an exaggerated jerking motion with your head. The hood flops up over your face. Good enough.\n\nYou can't suppress it any longer. Your head rears back involuntarily, and then propels forward. A one-hundred-mile-per-hour blast of air and snot launches itself from your nostrils. Fortunately, the droopy oversized hood catches most of the impact. The sand is still more or less intact, and you've miraculously managed to keep hold of Jeff's hands as well. A tiny spark from the green flame shoots like a meteor and lands on the sand-map. Jeff, wiping a little snot from his face, peers closely at it. The spark is on the south side of Summit Avenue, between Hamline and Syndicate. That's where she is. Her house, maybe? Is she super-rich or something?\n\nOK, so this is what's at Summit and Syndicate. You're\nstanding outside Mt. Zion Temple, which you've probably driven by eight thousand times, but never really noticed. It's a synagogue, I guess? It's certainly Jewish. There's a sign outside, with a blue Star of David, since faded to purple. The temple itself is a low, orange-brick mid-century modernist structure. Kowalski's supermarket is to the east, and the entrance to the temple is south. The restaurant is a drive to the southeast.\n\nYour Saturn is parked here.\n\nStreams of people approach the synagogue from all directions. They're dressed all fancy-like for the most part. Some carry brown grocery bags. Those with the bags are handing them to a volunteer standing outside a van parked out front.\n\nThere are several St. Paul police officers posted around the building. That's odd. I guess something important must be going on.\n\n> You look at the officer\nThey seem to be just standing there, occasionally smiling and saying hello to people as they walk in.\n\n> Go east\nEvery indication is that this Leah person is inside the synagogue.\nYou should start there. You can go to the supermarket and get some Ho-Hos after Stu has become chaos incarnate.\n\n> Go north\nSaint Paul's a smallish city, but too big for you to just wander around in, especially today. From here, your best bets are south, southeast and east.\n\n> You go south\nThis is the main entrance of the synagogue. Directly in front of you, blocking access to what appears to be a fairly cushy lounge area, is a long folding table. Mounted on the wall to your right you can see a small wooden bin and a large wooden rack. The main sanctuary appears to be to the west, and you can exit to the north.\n\nSitting behind the table is an elderly woman. She seems to be taking tickets from people.\n\n> You examine bin\nIt's a small box mounted on the wall, which contains dozens of little black cloth circles. Ohhhhh. These are the, whatchacallit, beanies that Jews wear. Most people seem to have brought their own, but every so often someone picks one out of the box and puts it on.\n\n> You get the yarmulke\nYou grab a circle and put it on your head. You're feeling more Jewish already.\n\n> You examine rack\nIt looks vaguely like a towel rack, and in fact, there are things that look vaguely like towels hanging from it. OK, not really towels: they're clearly of a thin, smooth and not very absorbent material. Each one has lots of little tassels or fringes on the ends, and there's some Hebrew writing on one of the long sides. They are however, roughly towel-shaped, and have blue stripes in a very towelish pattern. I suppose \"shawls\" is more appropriate.\n\n> You go to the north\nYou're standing outside Mt. Zion Temple, which you've probably driven by eight thousand times, but never really noticed. It's a synagogue, I guess? It's certainly Jewish. There's a sign outside, with a blue Star of David, since faded to purple. The temple itself is a low, orange-brick mid-century modernist structure. Kowalski's supermarket is to the east, and the entrance to the temple is south. The restaurant is a drive to the southeast.\n\nYour Saturn is parked here.\n\nStreams of people approach the synagogue from all directions. They're dressed all fancy-like for the most part. Some carry brown grocery bags. Those with the bags are handing them to a volunteer standing outside a van parked out front.\n\nThere are several St. Paul police officers posted around the building.\n\n> You go west\nThe woman behind the table clears her throat. \"Excuse me,\" she says. \"Excuse me! Do you have a ticket?\"\n\nWait, what? Ticket? You have to pay to worship? \"Um, how much are they?\"\n\n\"They're not for sale. They're sent out to members of the synagogue. Space is at a premium during the High Holy Days, you know.\"\n\n\"Oh, yeah, sure. I'm actually a member; I just forgot my ticket.\nI'll go get it.\"\n\nGreat. With all the police around, breaking or sneaking in does not seem an option. Better find a ticket somehow.\n\n> Go north\nYou're standing outside Mt. Zion Temple, which you've probably driven by eight thousand times, but never really noticed. It's a synagogue, I guess? It's certainly Jewish. There's a sign outside, with a blue Star of David, since faded to purple. The temple itself is a low, orange-brick mid-century modernist structure. Kowalski's supermarket is to the east, and the entrance to the temple is south. The restaurant is a drive to the southeast.\n\nYour Saturn is parked here.\n\nStreams of people approach the synagogue from all directions. They're dressed all fancy-like for the most part. Some carry brown grocery bags. Those with the bags are handing them to a volunteer standing outside a van parked out front.\n\nThere are several St. Paul police officers posted around the building.\n\nSitting in the van amongst the bags is a wadded-up jacket.\n\n> You look at the volunteer\nShe's wearing a blue vest, designating her as an official person of some kind. From time to time, you can see people walk up and hand her a brown grocery bag full of canned goods.\n\nYou hear a clunk and a \"D'oh!\" Someone's bag has ripped, and cans of food are rolling down the sidewalk. The unfortunate person and the volunteer scramble to catch them and toss them into other not-quite-as-full bags sitting in the van.\n\n> Go east\nThis is the narrow, inadequate parking lot for Kowalski's supermarket. It's filled to capacity, as usual. The entrance to the supermarket is southeast, and the synagogue is back to the west.\n\nThere's a puddle of dirty water here.\n\n> Go southeast\nThis is Kowalski's, a Twin Cities chain of high-falutin supermarkets. Everywhere you look, there is food stacked floor to ceiling, and all of it looks good. You're near the produce, which is attractively lit with special tinted lights, so that the greens and reds are deeper and more alluring. There's a display of doughnuts in front of you, and by the registers you can see racks of candy bars, chips, cookies, and all sorts of horrible/delicious snacks. You desperately want them all. Fortunately for you, the bakery and deli sections are on the far end of the store, so that you can't smell them from here. You can exit to the northwest.\n\nEach register has a stack of paper bags. You can probably take one without opposition.\n\n> You get the bag\nYou take a bag, and and you didn't even purchase anything! You're now part of the criminal element, I guess.\n\n> You eat the doughnut\nGreat and powerful Aqua Buddha, you are hungry. But you have no money and no time. You can eat later.\n\n> You check what you're carrying\nYou are carrying:\na Kowalski's bag\na kippah (being worn)\na Baby Ruth wrapper\na latex glove (being worn)\na flashlight\na filthy pillow\na hooded robe (hood lowered) (being worn)\n\nAnd you're all greased up.\n\n> You put the pillow in the bag\nYou put the filthy pillow into the Kowalski's bag.\n\n> You put the baby ruth wrapper in the bag\nYou put the Baby Ruth wrapper into the Kowalski's bag.\n\n> Go west\nYou're standing outside Mt. Zion Temple, which you've probably driven by eight thousand times, but never really noticed. It's a synagogue, I guess? It's certainly Jewish. There's a sign outside, with a blue Star of David, since faded to purple. The temple itself is a low, orange-brick mid-century modernist structure. Kowalski's supermarket is to the east, and the entrance to the temple is south. The restaurant is a drive to the southeast.\n\nYour Saturn is parked here.\n\nStreams of people approach the synagogue from all directions. They're dressed all fancy-like for the most part. Some carry brown grocery bags. Those with the bags are handing them to a volunteer standing outside a van parked out front.\n\nThere are several St. Paul police officers posted around the building.\n\nSitting in the van amongst the bags is a wadded-up jacket.\n\n> You examine jacket\nIt's a dark green jacket, probably belonging to the volunteer. It looks like a small piece of paper is poking out of a pocket.\n\n> You get the paper\nThe volunteer is standing right there. Maybe if she were distracted, and you were quick enough, you might be able to snag it, but not now.\n\n> Go east\nThis is the narrow, inadequate parking lot for Kowalski's supermarket. It's filled to capacity, as usual. The entrance to the supermarket is southeast, and the synagogue is back to the west.\n\nThere's a puddle of dirty water here.\n\n> You put the bag in puddle\nYou dip the bag into the puddle. It's now somewhat weakened, so you hold it from the bottom, to keep it from falling apart completely.\n\n> You give the bag to the volunteer\nYou approach the volunteer and she looks up at you.\n\n\"You might be misunderstanding the idea here. There needs to be shelf-stable food in it,\" she says.\n\n> You look at what you're carrying with you\nYou are carrying:\na Kowalski's bag (weakened)\na Baby Ruth wrapper\na filthy pillow\na kippah (being worn)\na latex glove (being worn)\na flashlight\na hooded robe (hood lowered) (being worn)\n\nAnd you're all greased up.\n\n> You go to the kitchen\nYou head on over, leaving your car parked on Randolph Ave.\n\nThis is a small professional kitchen. Although the pots and pans and smaller appliances are all gone, the oven is still functional, as long as your uncle keeps paying the gas bill. Also here, not part of the original decor, is the Ark of Whatever.\n\nThe door to the restaurant's office leads west, the pantry is to the south, and the dining room is to the north.\n\nThe cable from the security camera runs through here and into a small hole above the office door.\n\nWalter is here, unconscious.\n\n> You go south\nThis is where all the food would be stored, if the bistro were open and functioning. There's a big fridge in the corner and many dusty shelves along the walls. A wooden stair leads down to the basement, and a doorway leads north to the kitchen.\n\nOn the dusty shelves are some pizza boxes and some cans of near-food.\n\n> You put the cans in the bag\nYou put the cans of near-food into the Kowalski's bag.\n\n> You go to the parking lot\nYou head on over, leaving your car parked on Summit Ave.\n\nThis is the narrow, inadequate parking lot for Kowalski's supermarket. It's filled to capacity, as usual. The entrance to the supermarket is southeast, and the synagogue is back to the west.\n\nThere's a puddle of dirty water here.\n\n> Go west\nYou're standing outside Mt. Zion Temple, which you've probably driven by eight thousand times, but never really noticed. It's a synagogue, I guess? It's certainly Jewish. There's a sign outside, with a blue Star of David, since faded to purple. The temple itself is a low, orange-brick mid-century modernist structure. Kowalski's supermarket is to the east, and the entrance to the temple is south. The restaurant is a drive to the southeast.\n\nYour Saturn is parked here.\n\nStreams of people approach the synagogue from all directions. They're dressed all fancy-like for the most part. Some carry brown grocery bags. Those with the bags are handing them to a volunteer standing outside a van parked out front.\n\nThere are several St. Paul police officers posted around the building.\n\nSitting in the van amongst the bags is a wadded-up jacket.\n\n> You give the bag to the volunteer\nYou hand the bag over to the volunteer. She grabs it by the handles and turns around, when suddenly, but not unexpectedly, the bottom falls out. Cans spill out and begin rolling down the sidewalk. She starts chasing after them.\n\n> You get the ticket\nWith the volunteer scrambling around grabbing cans, you deftly lift the ticket from her jacket. You start to feel bad about this, but then comfort yourself with the thought that she's probably been to a zillion of these before. And she's wearing the blue vest, which is probably a Get Into Yom Kippur Free card anyway.\n\nYou make a show of tracking down a can or two, then hand them to her. \"Thanks!\" she chirps, then resumes her duties.\n\n> You give the ticket to the lady\nYou hand your ticket to the woman, and she smiles. \"L'shana\ntovah,\" she says, whatever that means. The flow of the crowd\nwhisks you into the sanctuary to the west.\n\nThis is the main sanctuary of the synagogue, decorated in soothing pastels. The business end is to the south: there's a raised area, with a podium, and behind that, there's a small flame burning adjacent to a small pair of doors set into the south wall. In front of the raised area there are rows of seats to accommodate the sizable crowd. You came in from the east, and it looks like maybe there's a way out to the south as well.\n\nLeah must be somewhere in this crowd.\n\nStanding behind the podium is a goateed man wearing white robes, chanting something. The rabbi, presumably. Next to him is what appears to be an animal horn.\n\n...Ba-ruch a-tah A-do-nai...\n\n> You examine the crowd\nYou survey the assembled congregants. Lots of people of all ages, sizes, and unexpectedly, colors. Many of the boys are wearing the same sad uniform: a button-down shirt, khakis, and sneakers. Don't kids have suits anymore? Never mind that. Focus! Where is this Leah person? Better keep searching the crowd.\n\n...E-lo-hei-nu, Vei-lo-hei a-vo-tei-nu, v'imo-tei-nu...\n\n> Search crowd\nYou continue scanning the crowd for signs of the intrepid pain in the ass who took the Heart. You don't see her, but you do see a kid reading Harry Potter and the Deathly Hallows instead of his\nprayer book. You can only silently salute his forethought.\n\n...E-lo-hei Av-ra-ham, E-lo-hei Yitz-chak, Vei-lo-hei\nYa-a-kov...\n\n> You examine the bimah\nIt's not particularly noteworthy.\n\n...Ha-eil Ha-Ga-dol Ha-Gi-bor v'Ha-No-rah Eil Eil-yon...\n\n> You go south\nYou need to find Leah and get the Heart first.\n\n...go-meil cha-sa-dim to-vim...\n\n> You examine the crowd\nDammit, where is she? Then, at last, you spot her: she's up very close to the front, near the interior aisle, right in front of everybody. Of course she is. As unsuspiciously as you can manage, you thread your way through the crowd to arrive at an open seat just behind hers. It's her alright -- same height, same build, same freckles, same frizzy hair that you saw on the security system. You know, in person, she might be kind of cute. Focus! Anyway, she looks a little bored with the proceedings, truth to tell. She's checking her phone from time to time. She's no longer wearing the enormous many-pocketed trench coat. She does have a big canvas satchel with her, though.\n\n...v'ko-nei ha-kol...\n\n> You examine the satchel\nIt's a big grayish tote bag which reads \"Mojo Monkey\" on the side. Oh my God, the apple fritters at Mojo Monkey. When all this is done, you absolutely need to get over to Mojo's and -- Cthulhu's cthornhole! Stay on target!\n\nAs you peer into the bag, you see what you can only assume is the Heart. There's a parcel, about the size of a Chicago softball, wrapped in newspaper, with visible streaks of blood. It's here with her! She hasn't had to time to stow it safely anywhere. Hell, she probably knows that that we're searching for it, and thinks that it's safer with her. Oh, this is seriously lucky. Now, perhaps you can ever-so-carefully take it out of the bag without her noticing...\n\n...v'zo-cheir chas-dei a-vot v'im-a-hot...\n\n> You check your inventory\nYou are carrying:\na filthy pillow\na kippah (being worn)\na latex glove (being worn)\na flashlight\na hooded robe (hood lowered) (being worn)\n\nAnd you're all greased up.\n\n...u'mei-vi ge-u-lah liv-nei v'nei-hem...\n\n> You put the pillow in the bag\nYou probably want to take something out of the bag, not put something in.\n\n...l'ma-an sh'mo b'a-ha-vah,...\n\n> You get Heart\nYou bend down to pretend to tie your shoes, and checking that the coast is clear, you reach into the bag. Blindly, you paw around until you can feel the newspaper. Great Nyarlathotep, it's almost within your grasp. Just another inch and...\n\nSuddenly, there's a scream from the entrance to the sanctuary. A policeman enters, takes a step, and falls over face-first. Striding in over him is your Uncle Stu. Oh no. He must've found Jeff, who must've spilled the beans. The rabbi stops his chanting, and everyone turns to Stu in shock and puzzlement. Stu is changed, and not subtly. He's grown considerably, and his skin, which seems thicker and tougher somehow, is an ashen gray. The ritual is almost complete. All he needs now is to consume the Heart. He raises his meaty fist; in it, you can see a blue crystal. He intones some words that you can't make out from here.\n\nYou hear, and then feel, a high-pitched hum: a wave of sickening energy, penetrating your skin, into your bones, into your skull. People all around you begin convulsing in pain.\n\n> You get Heart\nWith Leah crumpled and bleeding, you reach into the bag and grab the Heart. The wrapping falls off, and you're left with the cool, bloody mass in your hands. Although it is undeniably gross, it has the fine marbling of an aged, premium steak.\n\nLeah doubles over in agony, along with almost everyone in the crowd. Damn, Stu is not the forgiving type.\n\n> You give Heart to Stu\nYou make a choice: you are a cultist, dammit. It's time to show these pinks what's what. Triumphantly, you hand over the Heart to Uncle Stu. He's completed every step of the ritual but the last one, and now his journey is complete. He puts a hand on your shoulder, gives you an exaggerated wink, and tears into the Heart with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious, and you have made it possible. I\u00e4! I\u00e4!\n\n> You eat Heart\nYou seize upon an idea: the power can be yours, instead of Stu's. You take a tentative bite of the Heart, then another. The blood trickles down your throat, and instantly, you can feel your gnawing hunger abate. Power courses through you. As Leah and the other congregants crumple to the floor, you begin to thrum with otherworldly energy.\nStu looks up and sees you, sees that you've eaten the Heart. \"No!\" he hisses, and leaps toward you in desperation. You've ascended far beyond the likes of him, though. You snap his neck with your outstretched talons as easily as you would a breadstick. You feel an overwhelming surge as your form bursts through the ceiling of the synagogue, and your mind encompasses the stars and the ocean floor. Then a thought occurs to you: wasn't there supposed to be some sort of ritual to prepare for this? The explosion that tears through you demolishes much of Summit Avenue.\n\n> You go south\nYou choose to flee with the Heart. Stu won't get it, and neither will anyone else! You scramble over the fallen figures littering the sanctuary, and head south through the doorway. Somehow you find your way through a maze of corridors until you're outside. A cement truck lumbers down the street. Perfect! You take hold of the Heart, cock your arm and prepare to destroy the thing. Then Stu arrives, with a squad of police chasing close behind. \"I'll take that,\" he growls, as he wrests the Heart away from you. With the first bite, he begins to grow even more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he soon towers over the nearby buildings. It's pretty cool. Then he grabs you. Oh, right.\n\n> You give the pillow to Stu\nUncle Stu declines the offer.\n\nBlood begins to drip from the rabbi's ears as your uncle invokes the power of the crystal. You see figures all around the sanctuary dropping to the floor. \"Make it stop,\" Leah pleads, almost inaudibly over the infernal hum. She collapses to the ground, twitching, tears and blood streaking down her face. She looks up and recognizes you. Clearly terrified, she curls up into a tighter ball.\n\n> Inventory\nYou are carrying:\nthe Heart of Something\na filthy pillow\na kippah (being worn)\na latex glove (being worn)\na flashlight\na hooded robe (hood lowered) (being worn)\n\nAnd you're all greased up.\n\nAlmost everyone in the sanctuary, except for you and your uncle, is on the floor writhing, or worse, completely still. Leah quivers involuntarily, her hands clutched around her ears, her eyes closed tight. She whispers, perhaps to no one in particular, \"Help me!\" Alright, Stu, you think. Point made. Let's skedaddle.\n\n> You put the kippah on Heart\nPutting things on the Heart of Something would achieve nothing.\n\nYou stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.\n\n> You give Heart to Leah\nLeah is too busy dying to accept the Heart.\n\nYou stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.\n\n> You give Heart to Leah\nLeah is too busy dying to accept the Heart.\n\nBlood begins to drip from the rabbi's ears as your uncle invokes the power of the crystal. You see figures all around the sanctuary dropping to the floor. \"Make it stop,\" Leah pleads, almost inaudibly over the infernal hum. She collapses to the ground, twitching, tears and blood streaking down her face. She looks up and recognizes you. Clearly terrified, she curls up into a tighter ball.\n\n> You ask Leah about Heart\nYou couldn't have a conversation in this mayhem.\n\nAlmost everyone in the sanctuary, except for you and your uncle, is on the floor writhing, or worse, completely still. Leah quivers involuntarily, her hands clutched around her ears, her eyes closed tight. She whispers, perhaps to no one in particular, \"Help me!\" Alright, Stu, you think. Point made. Let's skedaddle.\n\n> You destroy Heart\nFilled with disgust at what you're seeing, you have an idea: perhaps you can destroy the Heart before Stu can get hold of it. You put it on the floor and stomp on it as hard as you can. It's squished a little, but surely still edible, for certain values of \"edible.\" So much for that. You pick it back up.\n\nYou stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.\n\n> Burn Heart\nYou have an idea: perhaps you can burn the Heart! You rush the stage, and place the Heart over the open flame. The Heart begins to warm up a little, but you can see at this pace that it won't burn up in any reasonable amount of time. Hell, if anything, you're just making it more appetizing for Stu.\n\nYou stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.\n\n> Break glass\nYou break the glass (on the second try) and kiss your bride. The assembled crowd claps and hollers in approval. Even the winged horror gives a celebratory screech.\n\nLet's get to the reception; you're starving."
    },
    {
        "text": "[Themes: Humor, horror, Lovecraftian, flashback]\n\n> You get Torah\nYou box up the ark of the Torah and ship it to a giant warehouse amidst thousands of similar crates. Top men will be assigned to study it. Top. Men.\n\nAwakened from this momentary reverie, you recall that the ark is just a cupboard built into the wall of the sanctuary, and cannot be taken.\n\nYou stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.\n\n> Swim\nThe headline in tomorrow's Pioneer Press: Area Man, Unable to\nDrop Heavy Robe for Some Reason, Drowns.\n\n> You drop the robe\nYou probably want to hang onto it. You can't be a proper cultist without it."
    },
    {
        "text": "[Themes: Espionage, city, library, male protagonist, Terrorism]\n\nYou've lived in this city all your life, but now you may be the last man left here. It's already dusk, and before the next dawn comes -- well, it's not quite clear what's expected, but the whole city has fled from it. You could and should have been on that last train. You would have been on that last train but for her.\n\nThe train accelerates northwards up the track, its rear carriage disappearing into the distance. Just a minute ago this long, draughty platform was crammed with the last batch of people leaving the city. Now there isn't another soul in sight. The indicator boards are all blank: no more trains will be leaving here today - if ever. Just to the north the bridge across to Platform 2 has been blocked off with a steel gate; the only way out from here is thus east, back to the ticket office.\n\nJust as the last echo of the departing train fades away, the sun finally sinks beneath the western horizon.\n\nThe station feels sadly deserted, a ghost station in what has already become a ghost city. Not long ago this long, draughty platform was crammed with the last batch of people leaving the city. Now there isn't another soul in sight. The indicator boards are all blank: no more trains will be leaving here today - if ever. Just to the north the bridge across to Platform 2 has been blocked off with a steel gate; the only way out from here is thus east, back to the ticket office.\n\n[Author's Note: The Enemy is expected to arrive at any moment. Staying behind is either the stupidest or the bravest thing you've ever done. Only one thing - or one person - could have made you stay. So now there's nothing for it but to find her before it's too late.]\n\n> You check your inventory\nYou are carrying a small brown envelope (closed).\n\n[You can change inventory listing style with the commands I WIDE, I TALL, I CURT and I MINIMAL]\n\n> You look at the envelope\nIt's a small square envelope, only a couple of inches to a side. There's nothing written on it.\n\n> You examine the gate\nA large slatted steel gate has been closed across the foot of the bridge.\n\n> You open the envelope\nYou slit it open with your finger, and find a small silver key within.\n\n> You look at key\nIt's a small, unmarked silver key.\n\n> About yourself\nA slightly stocky young man of 28, dressed for a chilly night.\n\nThere's a distant hoot from the departing train as it rounds some bend on the outskirts of the city.\n\n> Go east\nIt's the sheer emptiness of this place that strikes you. Just a few minutes ago a press of people were jostling one another in ill-natured queues, increasingly anxious to buy their tickets to safety. Now every ticket position is closed, and there's no one here, just a bare empty hall with nothing to see but the now irrelevant timetables posted on the walls and the station clock ticking ever on into the fateful night. The equally deserted platform is just to the west, while the way out to Station Road lies to the north.\n\nWhile you were queuing for your ticket just a few minutes ago, Jeremy turned to you and said, \"She's still in the city, you know. She's not leaving; apparently there's something frantically important she has to do here.\"\n\n\"More important than getting away from the Enemy?\" you asked.\n\n\"So she says,\" he replied, with a dismissive shrug, \"Oh, and by the way, I nearly forgot. She asked me to give you this.\" He handed you a small brown envelope.\n\nYou didn't need to ask who he meant. There were thousands of women in the city, but only one she - in Jeremy's case because of their relationship; in yours - well, it was then that your notion about staying behind for her finally started to harden into resolve.\n\n> You examine the clock\nThe clock that hangs here is an old-fashioned round one with a white face and Roman numerals round its dial. According to this clock the time is now three minutes past eight.\n\n> You remember\nWhile you were queuing for your ticket just a few minutes ago, Jeremy turned to you and said, \"She's still in the city, you know. She's not leaving; apparently there's something frantically important she has to do here.\"\n\n\"More important than getting away from the Enemy?\" you asked.\n\n\"So she says,\" he replied, with a dismissive shrug, \"Oh, and by the way, I nearly forgot. She asked me to give you this.\" He handed you a small brown envelope.\n\nYou didn't need to ask who he meant. There were thousands of women in the city, but only one she - in Jeremy's case because of their relationship; in yours - well, it was then that your notion about staying behind for her finally started to harden into resolve.\n\n> Go north\nAs you emerge into Station Road you find that the sky has already turned black, but a full moon has risen, bathing the street in ghostly light which blends strangely with that from the row of lamp posts parading eastwards towards the junction with York Street. The entrance to the main railway station lies directly to the south. Otherwise, there's little here but litter.\n\nThe quiet is momentarily broken by the sound of a loudspeaker in a nearby street. It can't be the Enemy - not yet; after a moment you realize it must be the police. You can't make out what the voice is saying, but you can guess.\n\n> You look at the litter\nA couple of lager cans, boxes containing the remnants of take-away meals, scraps of packaging, all left littering the street.\n\nYou hear a distant rumble of thunder off to the west. At least, it sounds a bit like thunder.\n\n> Go east\nThis is normally one of the busiest junctions in the city, mainly due to the traffic from the railway station, but now there isn't so much as a bicycle in sight, just the ever-present street lighting, the river running by to the east, and the sign pointing north towards the City Sports Ground, south towards Mandlebury Bridge and the Hospital, and west towards the Railway Station.\n\nYou stand at the Junction, considering which way to go next. You know where she lives, of course: in a flat at 18 Gladstone Terrace, a few blocks south of the railway station, so that would be one obvious place to try. The other would be her office, at 12 Devon Road, some way to the east of the station, across the river (you can use the GO TO command to find your way round the city; e.g. GO TO HER OFFICE or GO TO GLADSTONE TERRACE).\n\n[To see your character's thoughts in future, use the THINK command.]\n\n> You go to Gladstone Terrace\n(Gladstone Terrace)\n(going south)\n\nYork Street (South)\nThis part of York Street has moved considerably up-market in recent years. The old Victorian terraces lining the west side of the street may be small, and were probably built for Victorian labourers, but the recent hike in property prices makes them the best that many young professionals can afford. They lack nearby parking spaces, but that wouldn't be a problem tonight; there isn't a single car in sight; everyone with a car has used it to get away. The eerily deserted street continues alongside the river to north and south.\n\n> You remember Jeremy\nThe best way to do that is to find the places that trigger particular memories.\n\n> You take the stone\nYou select a large round stone and take that.\n\n> You examine the flats\nShe lives at number 18. It's three storeys tall, but otherwise a perfectly ordinary block of flats, especially by night, and you can't recall ever having seen it by day. As you might expect, there's a doorbell by the door.\n\n> You open the door\nThe street door is locked.\n\n> You unlock the door with the key\n(first taking the small silver key)\nThat doesn't seem to fit the lock.\n\n> You examine the door\nIt looks extremely solid, as if particularly designed to keep burglars out, but at least there's a doorbell next to it, as well as a large number 18 on it.\n\n> You think\nIf she's not at home, her office would be the next obvious place to try. It's at 12 Devon Road, in the northeast part of the city.\n\n> You go to her office\n(going to Her Office)\n(going east)\n\nJunction of Sussex Street and Gladstone Terrace.\nThis junction would be well-lit even without the moonlight. Sussex Street continues to north and south while Gladstone Terrace leads off to the west. Further north the street runs along the west bank of the river, but just here the river bends towards the southeast and parts company with the road.\n\n> You throw the stone at the camera\nYou hesitate; throwing things at CCTV cameras is the kind of loutish behaviour you've always disapproved of. But tonight of all nights may be a night for bending the rules. The large stone leaves your hand and hits the end of the camera, knocking it so that it now points over the river, into which the stone falls. You have joined the ranks of the louts.\n\n> You examine the placard\nAn Unknown Enemy is coming! They are expected to arrive by nightfall. For your own safety, please ensure that you are well clear of the city before dusk. Extra trains are being laid on for those without any other transport. In case of difficulty, contact the police.\n\n> You remember\nYou have, just once before, seen the bridge this deserted - a night burned on your memory. You were walking home from a late party - if only you had left that party a few minutes earlier you might have arrived here just in time to stop Kate falling to her death.\n\n> You go to the north\nYou step into the shadows of the park entrance just in time to avoid being caught in the beam of the approaching car's headlamps. You stand to watch as the car drives past onto Mandlebury Bridge. As it passes under the street lights in Mandlebury Road you can see that it's a police car. Your first thought is that it has been sent to investigate the CCTV camera you just knocked with that stone, but then it occurs to you it might just be out looking for stragglers left behind in the city. In either case, it seems a good idea to keep out of its way, so you carry on into the park.\n\nAlthough you've often been here in daylight, you've never visited the park by night before, and it looks quite different by moonlight. By day it's a pleasant, green open space overlooking the river to the west, but now it's shrouded in sinister black, cold and unwelcoming. The main exit onto Mandlebury Road lies to the south, but there's also a narrow lane off to the east leading to the High Street.\n\nWhen time permits you often come here to eat your lunch on the park bench. On one such occasion about four years ago you saw her jogging past on a circuit of the park. The second time round, much to your delight, she stopped to catch her breath and chat. You can't remember a great deal of the conversation - you were just so pleased to be talking with her - but you do remember she was enthusing about some book she'd just read.\n\n\"Have you read any Stanilev?\" she asked.\n\n\"I've never heard of him,\" you admitted.\n\n\"He's a great thinker, you should read him, you really should,\" she urged you, \"Until I read him I never realized anyone else could feel that way. It was so liberating!\"\n\nBut though you promised her you'd look out for a copy of Stanilev's book, somehow you never got round to it.\n\n> You look at the bench\nAlthough you can scarcely make out more than its outline now, you know it to be an old wooden bench, well weathered by years of exposure to the elements.\n\nThere's a roar overhead. Perhaps it's just a jet airliner, but perhaps it's a warplane, or even an incoming missile. You pause, unconsciously holding your breath as you listen to its approach. But then, at last, it fades away: not a missile, then, at any rate.\n\n> You go to the south\nMandlebury Road (West)\nAt this point Mandlebury Road is a broad, well-lit street, bordering the shadowy entrance to Mandlebury Park just to the north, and a traditional fish and chip shop to the south. The street continues east towards the city centre and west over Mandlebury Bridge.\n\nAn old newspaper lies abandoned just outside the fish and chip shop.\n\n> You take the newspaper\nYou pick up the old newspaper, fumbling a little as you try to keep the separate sheets together while they resist your efforts with the most stubborn display of the innate cussedness of inanimate objects. You eventually manage to tame it, with the surviving sheets forced into a reasonable semblance of order.\n\n> You read it\nMost of it is missing, and the rest of it is at least several weeks old. Apart from the grease stains testifying to its use as a fish-and-chips wrapper, it is full of the usual bad news about undesirable things on the increase: inflation, unemployment, taxes, crime, global warming; according to one columnist, there's even a sharp rise in severe personality disorders among the under thirties. The sole surviving page of foreign news is no cheerier, since it bemoans increasing tension in the Middle East coupled with the danger of former Soviet republics selling nuclear weapons on the black market.\n\n> You ask the tramp about the drink\n\"Do I take it you'd like something to drink?\" you enquire.\n\n\"Hallelujah, the man has more than one brain cell!\" the tramp replies.\n\n> You ask the tramp about the liquor store\nThe tramp sways unsteadily on his feet. \"Spare some change, mate?\" he asks hopefully.\n\n> You hit the tramp\nThere's a brief but vicious scuffle, in which you fail to make much impression on him.\n\nFrom somewhere across the city a clock chimes the half-hour.\n\n> You go to Supermarket\n(going to the Supermarket)\nIt looks like you'll have to go back and find another route.\n\nThe tramp points down the hill. \"There's a church down there\" he says, \"I used to sing in the choir. Would you believe that?\" He starts to sing in a distorted parody of plain-chant, \"Dies irae, dies illa, solvet saeclum in favilla!\" and then offers the following translation: \"That day of wrath, when fucking everything ends in ashes.\"\n\n> You ask the tramp about the church\nThe tramp scratches his head, as if deeply puzzled by your remark. \"The whole world is coming to an end, so let's get drunk!\" he suggests.\n\n> You go north\nA churchyard by moonlight is always a little spooky, but it is doubly so tonight, with the city so deserted. The gravestones are little more than looming shadows in the dark; the great bulk of St Michael's Church is just to the north, while the lych-gate to the south leads back out to Church Street.\n\nKate's grave is somewhere here among the others; you used to visit it often. You'll never forget the shock you received when you came one day only a few weeks after Kate's funeral to find the grave desecrated. At least, someone had knocked over the headstone and smashed it, and the flowers were all torn up and strewn around. The police never did catch the culprits, and put it down to local hooligans, but that never seemed quite satisfactory somehow; why should it be Kate's grave that was attacked in this way?\n\nIt's long since been put right, of course, but the memory of the broken gravestone still leaves a sour taste in your mouth. Kate deserved better than that - much better.\n\n> Go north\nSt Michael's has a large nave, built at a time when Victorian congregations were booming. The original wooden pews are still here, facing the chancel to the east, as is the original Victorian stained glass, all but invisible in the poor light. The way out is to the south, next to the large stone font at the rear of the church.\n\nYou remember when you came here for Kate's funeral, just over six years ago. She was sitting up in one of the front pews, quite unaware of your presence, although your eyes kept wandering to the back of her head. At some appropriate point in the service she went up to the lectern and made some thoroughly fitting speech about the tragically early death of her dear friend Kate, who had had a wonderful life ahead of her. You can't remember precisely what she said; what you remember is how solemn and composed she was as she spoke, saying just the right things in just the right sombre tone, without ever giving way to emotion and tears.\n\n> You look at the chancel\nThe chancel is to the east, set off from the nave for the use of choir and clergy.\n\n> Go east\nRaised slightly above the Nave, which lies just to the west, much of the space in the Chancel is taken up by the choir stalls on either side and the altar at the east end. A small wooden door is set in the wall on the north side of the altar.\n\n> Go north\n(first trying to open the small wooden door)\nThe small wooden door is locked.\n\n> You examine the door\nIt may be small, but it looks pretty solid, with large iron hinges and an arched shape at the top. It's currently closed.\n\n> You examine the stalls\nTwo rows of dark wooden stalls line either side of the chancel.\n\n> You look in the stalls\nThe choir stalls is empty.\n\n> You sit in the stalls\nYou get into the choir stalls.\n\n> You stand\nYou get out of the choir stalls.\n\nRaised slightly above the Nave, which lies just to the west, much of the space in the Chancel is taken up by the choir stalls on either side and the altar at the east end. A small wooden door is set in the wall on the north side of the altar.\n\n> Go west\nSt Michael's has a large nave, built at a time when Victorian congregations were booming. The original wooden pews are still here, facing the chancel to the east, as is the original Victorian stained glass, all but invisible in the poor light. The way out is to the south, next to the large stone font at the rear of the church.\n\n> You look at the font\nIt's a large round font, made of stone, and covered by a wooden lid.\n\n> You open it\nRemoving the lid reveals a large iron key in the font.\n\n> You take the iron key\nJust a little reluctantly, you lift the iron key from its naively trusting hiding place, where it was perhaps left for the use of a church cleaner or some dear old lady coming to arrange the flowers. You're not that eager to add robbing churches to your achievements.\n\n> Go east\n(first putting the lid back on the font)\n\nRaised slightly above the Nave, which lies just to the west, much of the space in the Chancel is taken up by the choir stalls on either side and the altar at the east end. A small wooden door is set in the wall on the north side of the altar.\n\n> You unlock the door with the iron key\nYou unlock the small wooden door.\n\nAs a distant clock chimes quarter to the hour, it occurs to you it might be time to pay a visit to her office.\n\n> You open the door\nYou open the small wooden door.\n\n> You go north\nA plain wooden table runs under the window of this small, narrow room, with an old-fashioned safe set into the opposite wall. The only way out is via the door to the south.\n\nOn the table is a large blue diary.\n\n> You look at diary\n(first taking the large blue diary)\nYou flick through the diary. It's mainly a record of services and parish meetings, but you find an entry from two days ago that catches your eye: \"Meet DS at KA 2 pm\". \"KA\" is likely to be the Kings Arms, the pub in the High Street.\n\n> You examine safe\nAll you can see of it is the green-painted metal door set into the wall. It's unlikely to contain anything of interest, just crosses, candlesticks and communion wafers.\n\n> You open it\nThe safe is locked.\n\n> You drop the diary\nDropped."
    },
    {
        "text": "> You look around\nA plain wooden table runs under the window of this small, narrow room, with an old-fashioned safe set into the opposite wall. The only way out is via the door to the south.\n\nYou can see a large blue diary here.\n\n> You look at the window\nThe window looks out over part of the churchyard.\n\n> You examine the door\nWhich do you mean, the small wooden door or the safe?\n\n> You examine the wooden door\nIt may be small, but it looks pretty solid, with large iron hinges and an arched shape at the top. It's currently open\n\n> You close the door\nYou close the small wooden door.\n\n> You lock the door with the iron key\nYou lock the small wooden door.\n\n> You go to the west\nSt Michael's has a large nave, built at a time when Victorian congregations were booming. The original wooden pews are still here, facing the chancel to the east, as is the original Victorian stained glass, all but invisible in the poor light. The way out is to the south, next to the large stone font at the rear of the church.\n\nSomewhere in the distance a dog barks. You're not sure whether it's a local stray or the advance guard of the enemy, perhaps using dogs to flush out anyone remaining in the city. After a short while the barking stops.\n\n> You put the iron key in the font\nThe font is closed.\n\n> You open the font\nYou pick up the round wooden lid and examine it.\n\nIt's made of some dark wood, and looks both well-worn and solid.\n\n> You put the iron key in the font\nYou put the large iron key into the font.\n\n> You go south\n(first putting the lid back on the font)\n\nA churchyard by moonlight is always a little spooky, but it is doubly so tonight, with the city so deserted. The gravestones are little more than looming shadows in the dark; the great bulk of St Michael's Church is just to the north, while the lych-gate to the south leads back out to Church Street.\n\n> Go south\nChurch Street runs up the hill to the northeast and down to the southwest past rows of prickly bushes, while directly to the north a lych-gate leads through to St Michael's church yard.\n\nYou hear the sound of a car, and see headlights approach, so you instinctively dive into the shadows. A police patrol car drives past again, hopefully not looking for you, but you don't want them to see you.\n\n> You go to Supermarket\n(going to the Supermarket)\n[To continue an existing journey you can use the command CONTINUE or just C]\n(going southwest)\n\nMandlebury Road (East)\nA large car park lies immediately to the south, while Church Street forks off to the northeast. Mandlebury Road continues to both east (past the Police Station) and west (back to the City Centre).\n\n> You examine Supermarket\nThe supermarket occupies the entire corner on which it stands, and was seemingly designed by an architect desperate to win the International Bland Building of the Millennium contest. Through its plate glass window you can see the front part of the shop is partially lit, perhaps as a security measure. An unmistakeable security measure is the burglar mounted just above the entrance.\n\n> You look at the alarm\nIt's a square, red box with \"Metro Alarms\" printed on it.\n\n> You look through the window\nThrough the window you can see the partly-lit interior of the shop, with a rack of budget CDs prominently displayed near the front.\n\n> You go to Kings Arms\n(going to the Lounge Bar)\n(going south)\n\nHigh Street (South)\nThe High Street runs north to the City Centre and continues to the south. A narrow alley runs off to the east, opposite a newsagent to the west.\n\n> You take all from the counter\nmatchbook: You pick up the matchbook and examine it.\n\nIt's the sort of matchbook you see all over the place used to advertise the establishment that handed it out; from the front cover it's apparent that it must have come from the Grand Hotel (in Market Street). This one has no matches left in it, but inside someone has doodled:\n\nH   C\nE   K\nD   E\nTEMPTRESS\nV     C\nMILLIONAIRE\nL     M\n\nbar mat: You pick up the bar mat and examine it.\n\nThe front of it bears a crude depiction of the Kings Arms, and a slogan advertising \"Mottles Real Ale\". On the back someone has scribbled:\n\"2M -> Uzbekistan\n\narm's deal?\n\nwhats the plan?\"\n\n> Search bar\nThe interior of the Kings Arms matches its exterior, going for an olde worlde feel. On balance, you consider that a good thing, since even if the old-fashioned rustic look is largely a bogus marketing creation, the Lounge Bar of the Kings Arms at least feels as if it has some kind of character beyond the plastic blandness imposed by all too many soulless breweries. Besides, you really rather like the cosy feel the exposed wooden beams give to the place, and the way it divides the space into irregular nooks and crannies.\n\nThe bar must have been evacuated in a hurry, since half the lights have been left on, the street exit to the east has been left wide open, and the counter left unattended.\n\n> You examine the drink\nThe usual selection of brandy, martini, gin, whisky, sherry and the like are on display behind the bar counter.\n\nFrom somewhere across the city a clock chimes the hour. Time may be starting to run out.\n\n> You go to the tramp\n(going to Church Street Bus Stop)\n(going east)\nYou walk back out into the street.\n\nHigh Street (Outside Hairdressers and Pub)\nAmongst the various buildings lining the street here you particularly notice two: the glass-fronted Ladies' Hairdresser to the east and the mock-Tudor olde worlde pub - the Kings Arms - which stands directly opposite it to the west. The High Street continues to both north and south.\n\n> You give the scotch to the tramp\nYou hand the bottle to the tramp saying, \"Here, mate; have this!\"\n\nThe tramp takes the bottle from your grasp and stares at it blearily for a few moments. Then he removes the top with his teeth and takes a large swig. \"Thanks, mate; that's just the ticket!\" he declares.\n\nStill singing, he staggers away, probably to be picked up by the police before long.\n\n> You go to her office\n(going to Her Office)\n(going northeast)\n\nThis three-way road junction is well lit. Devon Road leads off to the north, Tilbury Road to the east, and Church Street to the southwest. Immediately to the south of the junction stands the High School you attended as a teenager.\n\n> You unlock the door with the silver key\nYou unlock the letting office door.\n\n> You open the door\nYou open the letting office door.\n\n> You go to the east\nHer Office (in darkness)\nToo little light filters in from the outside for you to be able to see much in here apart from vague dark shapes, but you think the light switch is by the door. The way out is to the west.\n\nYou've been here once or twice before; she's occasionally used your firm for legal advice. She set up in business here shortly after graduating, specializing in student lets. The business seems to have been moderately successful - at least, it's still going and she's not obviously poverty-stricken - but it's never grown, since she still works by herself after seven years at it.\n\n> You turn on the light\nYou switch the light switch on.\n\nHer office is almost painfully tidy. The modern pine desk standing in the middle of the floor is quite uncluttered. Behind it on the back wall is a small safe, right next to an impressive collection of certificates. The sole door is out to the west.\n\nOn the modern pine desk are a blotter and a green telephone.\n\n> You examine the desk\nIt's of a clean, plain, modern design, large enough both to afford plenty of working space and to impart a certain status to its owner. A set of three drawers forms a pedestal down the right-hand side.\n\nOn the modern pine desk are a blotter and a green telephone.\n\n> You open the drawers\nYou hesitate to start rifling through her desk; apart from a guilty feeling of sleazy dishonesty at behaving like a common burglar, you sense that searching her office drawers might be to cross the line from interest to infatuation; you are almost as much relieved as disappointed to find all the drawers locked.\n\n> You examine the telephone\nIt's a standard handset.\n\n> You look at safe\nIt's a standard-looking wall-safe, of the sort one might keep papers in, equipped with a combination dial.\n\n> You examine the dial\nIt's a large numbered dial, which can be turned to any of the digits 0 to 99.\n\n> You turn the dial to 88\nOkay, you turn the dial to 88.\n\n> You turn the dial to 46\nOkay, you turn the dial to 46.\n\n> You turn the dial to 26\nOkay, you turn the dial to 26.\n\n> You open safe\n(first trying to unlock the small safe)\nIt looks like you'll need to use the dial to unlock the safe.\n\n> You use the dial\nFrom the look of it, the way to use the dial is to turn it to any number between 0 and 99.\n\n> You turn the dial to 18\nOkay, you turn the dial to 18.\n\n> You turn the dial to 12\nAs you turn the dial to 12 you hear a faint click.\n\n> You open safe\nThe safe door swings open easily. She did mean you to open it, you tell yourself, otherwise she wouldn't have sent you the key to her office and left that clue on the blotter.\n\nInside the safe you see a small brass key and some miscellaneous papers.\n\nThe green phone suddenly starts ringing.\n\n> You answer the phone\nYou pick up the green telephone.\n\n\"Hello, I am just checking that the delivery of the merchandise was satisfactory. Central car park, as we agreed - you know what to do now?\" asks a slightly accented voice.\n\n\"Hello,\" you reply, trying to place the accent, \"Who is this? I'm afraid...\"\n\n\"I am sorry, I must have a wrong number.\" the phone abruptly goes dead again.\n\nYou replace the receiver, still trying to place the accent. It sounded vaguely Russian.\n\nAs a clock chimes the quarter-hour you hear a dreadful scream from not far away. Your heart races momentarily until you realize it's just the yowling from a cat-fight.\n\n> You take all from safe\nsmall brass key: You pick up the small brass key and examine it.\n\nIt's the kind of small brass house key that might unlock any of a billion homes. On it is stamped \"18G\".\n\nmiscellaneous papers: You pick up the miscellaneous papers and examine them.\n\nThey appear to relate to her letting business; you look through them quickly, but without knowing what you're looking for it's hard to find anything of interest.\n\nAmong these otherwise uninteresting papers you discover a printed email.\n\n> You read the email\nIt's a printed copy of an email, addressed to her from one edward.dawlish@freegov.org. The main body of the email reads:\n\n> So I hope you will give very serious consideration to my\n> application to represent the party at the next general\n> election.\n\nWe have given your CV and letter the most serious consideration but regret to inform you that we felt unable to add your name to our short-list of candidates. As I'm sure you will appreciate this has long been a safe seat, and we thus have an unusually strong field of potential candidates, many of whom already have considerable parliamentary experience.\n\n> I have been active in many aspects of local life,\n> and I believe this makes me uniquely well suited\n> to represent this community.\n\nYour participation and achievements in the life of this city have indeed been remarkable, and we recognize that. We accordingly feel you would make an *excellent* candidate for the city council, and very much hope you will consider offering yourself as a candidate for the forthcoming local elections (we could virtually guarantee to find you a winnable ward). Any experience gained as a local councillor would also stand you in very good stead should you wish to pursue parliamentary ambitions at some later date.\n\nThe email is dated about two years ago. At the bottom of it is written in large red letters: \"NO!\".\n\n> You turn off the lights\nYou switch the light switch off.\n\nIt is now pitch dark in here!\n\n> You leave\nDevon Road (mid)\nDevon Road continues north and south between leafy gardens and the occasional small office. In the latter category is the student letting office where she works, which stands just to the east.\n\nOut of the corner of your eye you catch a fleeting glimpse of someone walking off into the distance to the north. You're not sure if it was her or not. You're not even sure it wasn't just a trick of the light.\n\n> You lock the door with the silver key\nYou close the letting office door.\n\nYou lock the letting office door.\n\n> You go to Gladstone Terrace\n(Gladstone Terrace)\n(going south)\n\nThis three-way road junction is well lit. Devon Road leads off to the north, Tilbury Road to the east, and Church Street to the southwest. Immediately to the south of the junction stands the High School you attended as a teenager.\n\n> You unlock the door with brass key\nYou unlock the street door.\n\nA distant clock chimes the half hour.\n\n> You open the door\nYou open the street door.\n\n> Go inside\nThis communal hallway serves all the flats in the building. To east, west and south are the doors to flats 18A, 18B and 18C respectively, while a staircase leads up to the floor above. The street door is to the north.\n\n> You close the door\n(the street door)\nYou close the street door.\n\n> You lock it with brass key\nYou lock the street door.\n\n> Go upward\nThis small landing provide access to all the flats on this floor. To north, east, west and south are respectively the doors to flats 18D, 18E, 18F and 18G. The staircase leads back down to the floor below and up to the floor above.\n\n> You unlock 18the G with the brass key\nYou unlock the door to flat 18G.\n\n> You open 18g\nYou open the door to flat 18G.\n\n> You go to the south\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\nYou hardly notice any details at first; you are too struck by the potent mixture of excitement and guilt at having penetrated her private domain. For a moment or two you hold your breath, half-expecting her to burst out of one of the rooms to protest at your invasion, but the flat remains silent, and curiosity begins to overcome guilt.\n\n> You close the door\nYou close the front door.\n\n> You lock it\nYou lock the front door."
    },
    {
        "text": "[Themes: Espionage, Terrorism, city, library]\n\n> Look around\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\n> You go east\nYou find yourself almost tip-toeing into the room, as if afraid to disturb her, or rather, as if afraid of being caught invading somewhere so private. The bedroom looks almost obsessively neat, with virtually nothing on view apart from the double bed that occupies about a third of the floor space, the bedside cabinet right next to it, and the doors to what is presumably a large built-in wardrobe in the north wall. You're not sure what you expected: probably something more exotic and more sensual, but this, while by no means utilitarian, is nonetheless somehow disappointing. Perhaps what's lacking is simply her.\n\nOn the bedside cabinet is a black telephone.\n\n> You examine the bed\nIt's very neatly made, as if its owner had been trained as a nurse in an old-fashioned hospital. But what's most interesting is that it's a double, given that she lives alone. You wonder whether anyone else has slept there, and if so who.\n\n> You look under the bed\nAs you suspected, the owner of this bed is far too tidy to leave any clutter underneath it.\n\n> You look at the cabinet\n(the bedside cabinet)\nIt's a smart wooden cabinet with a single shallow drawer.\n\nOn the bedside cabinet is a black telephone.\n\n> You open the drawer\nYou open the cabinet drawer, revealing a business card and a crumpled piece of paper.\n\n> You take all from the drawer\nbusiness card: You pick up the business card and examine it.\n\nIt's one of her business cards. On the front is printed:\n\n\"The TAS Agency\nTimely Accommodation for Students\n12 Devon Road\n01921 833758\ntas@tas.co.uk\"\n\nOn the reverse side of the card another phone number has been written by hand: 01921 743589\n\ncrumpled piece of paper: You pick up the crumpled piece of paper and examine it.\n\nIt's her degree certificate, showing that she graduated with an excellent first class degree. Despite your best efforts to straighten it out, the certificate remains a bit scrumpled.\n\nThe phone starts ringing.\n\n> You answer the phone\nYou pick up the black telephone.\n\n\"Hello,\" you say.\n\n\"Hello,\" answers a brisk voice, which you immediately recognize as hers, \"I assumed you'd find your way into my flat. Look, we have to talk - the Enemy - well, I'll explain when I see you. I'll meet you at the hospital, but if I'm not there when you ...\"\n\nAt that moment the phone goes dead, and she's cut off.\n\n> Go west\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\n> Go south\nThe kitchen could hardly be neater and cleaner if it had just been prepared for a health and safety inspection. It is also compact and modern, with some smart kitchen units along two walls, and a small pine table off to one side. The way out back to the hall is to the north.\n\n> You examine table\nPresumably this is where she eats, but from the modest size of the table you reckon she must mostly eat alone.\n\n> You examine the units\nJust the usual blend of cupboards and drawers to hold cooking and eating utensils. You're not really interested in pots and plates and pans right now, but of course you never know what you might find.\n\n> Open units\nThe first few drawers you come to contain a collection of cooking utensils of no immediate use to you, but then you come to the cutlery drawer.\n\nYou open the cutlery drawer, revealing a sharp kitchen knife.\n\n> You take the knife\nYou pick up the sharp kitchen knife and examine it.\n\nIt's a large, sturdy knife with a black handle and a long blade.\n\n> You go to the south-east\nThe bathroom has all the usual fittings you'd expect. The way out is to the northwest.\n\nA gold ribbon adorns one wall of the bathroom, opposite the bath.\n\n> You examine the ribbon\nOne side of the ribbon is printed in large purple letters \"Beauty Queen 1999\"; the other is marked \"Apollo Theatre\".\n\n> Go west\nSo this is where she relaxes. The living room is a good size, and is smartly furnished, as you would expect. A comfortable modern settee has been strategically placed to face the large flat screen television sitting in the corner, while a large black and white poster adorns one wall. The way out is to the east.\n\nOn the mantelpiece are a menu, a familiar birthday card, a small gold trophy and a concert programme.\n\n> You examine the birthday card\n(first taking the familiar birthday card)\nYou recognize it at once. It is the card you sent her for her birthday a few weeks ago, a safe, arty kind of card that showed you were thinking of her without suggesting anything soppy. You're surprised, but highly gratified, that she should have kept it this long.\n\n> Examine poster\nIt's a monochrome photograph of a painting depicting sunset over the city. You recognize it as the winning entry in a recent art competition; the original hangs in the Art Gallery Market Street. The black and white photo is not nearly so striking as the oil-colour original, but perhaps the original would be too overpowering for a living room - at least you always find it a bit disturbing to look at. The photograph differs from the original in another odd way: the signature in the bottom right-hand corner should be her name, but instead it looks like MASTEMA.\n\n> You look at the menu\n(first taking the menu)\nIt's a menu from Lafayette's (in York Street). The selection of food looks as appetizing as ever, but it's of purely academic interest since they obviously won't be serving anything there tonight. In any case, a closer look at the menu reveals that it's several weeks old; the date at the top was her birthday.\n\n> You read the menu\nIt's a menu from Lafayette's (in York Street). The selection of food looks as appetizing as ever, but it's of purely academic interest since they obviously won't be serving anything there tonight. In any case, a closer look at the menu reveals that it's several weeks old; the date at the top was her birthday.\n\n> You look at the trophy\nFrom the look of it, it's obviously a tennis trophy. This is in any case confirmed by the inscription on its base: \"City Sports Ground Tennis Competition\".\n\n> You look at the concert\n(first taking the concert programme)\nIt's a programme for a performance of The Marriage of Figaro at the Fairfax Hall. On the inside cover someone has pencilled \"Voi che sapete? You know what that means! Well done indeed!\"\n\n> You open the door\n(first unlocking the front door)\nYou open the front door.\n\n> Go north\nThis small landing provide access to all the flats on this floor. To north, east, west and south are respectively the doors to flats 18D, 18E, 18F and 18G. The staircase leads back down to the floor below and up to the floor above.\n\nIt suddenly occurs to you that MASTEMA is an anagram of her name.\n\n> You lock the door\n(with the small brass key)\n(first closing the door to flat 18G)\nYou lock the door to flat 18G.\n\n> Go north\n(first unlocking the street door with the small brass key, then opening the street door)\n\nThis short cul-de-sac is noticeably less well lit than the main road just to the east; although the bright moonlight compensates for this somewhat, parts of the street lie in mysterious shadow. At its western end, the street terminates at the railway line, along the side of which lie a large number of loose stones. Just short of the tracks the block of flats where she lives stands on the south side of the street.\n\nYou begin to feel you are being followed. You keep hearing footsteps behind you and seeing fleeting movements out of the corner of your eye when you look round. But every time you stop the footsteps stop, and you are left uncertain whether you're perceiving anything more than echoes and shadows.\n\n> You lock the door\n(with the small brass key)\n(first closing the street door)\nYou lock the street door.\n\n> You go to Hospital\n(going to the Hospital Reception)\n(going east)\n\nJunction of Sussex Street and Gladstone Terrace.\nThis junction would be well-lit even without the moonlight. Sussex Street continues to north and south while Gladstone Terrace leads off to the west. Further north the street runs along the west bank of the river, but just here the river bends towards the southeast and parts company with the road.\n\n> You take the cassette\nYou pick up the blue cassette and examine it.\n\nIt's just a standard tape cassette.\n\nYou think you hear a helicopter over a distant quarter of the city, but before you can pinpoint the sound, it fades away.\n\n> You look at the phone\nIt's a rather large model, with lots of extra buttons.\n\n> You look at the desk\nThe reception desk is a long, flat surface behind which there would normally be situated a receptionist busily engaged in keeping visitors from patients, patients from doctors, and useful information from absolutely everyone (with the possible exception of the police and security services). Right now, however, it is as deserted as everywhere else.\n\nOn the reception desk is a brown telephone.\n\n> You read the cassette\nIt's just a standard tape cassette.\n\n> You think\nThat Russian-sounding voice you heard when you picked up the green phone in her office said something about delivering some merchandise to the central car park; perhaps that would be worth checking out.\n\nThe signature MASTEMA on the poster in her flat makes you curious; if you happen to be passing the local art gallery in Market Street you'd like to check what's on the original.\n\nIt would be interesting to know the significance of the phone number scribbled on the back of her business card.\n\n> You read the card\nWhich do you mean, the familiar birthday card or the business card?\n\n> Business\nIt's one of her business cards. On the front is printed:\n\n\"The TAS Agency\nTimely Accommodation for Students\n12 Devon Road\n01921 833758\ntas@tas.co.uk\"\n\nOn the reverse side of the card another phone number has been written by hand: 01921 743589\n\n> You call 01921 743589\nYou pick up the phone but there's nothing: no dialling tone, no static, just silence. You try to recover a dialling tone, but the phone remains obstinately dead, so you replace the handset.\n\n> You go to the west\nSussex Street (south)\nAlthough so far as you know this part of the city never suffered any bomb damage, some group of town planners rapidly made up for the negligence of the Luftwaffe by tearing down whatever was here before and replacing it with a mass of soulless fifties architecture seemingly inspired by Soviet brutalism. The most striking eyesore is the City Hospital, which lies immediately to the east. Sussex Street continues to north and south.\n\nAs you pause in your stride, you fancy you hear some distant footsteps receding to the north. Looking around, you notice a golden object lying on the ground under one of the streetlights.\n\n> You examine the golden object\n(first taking the gold brooch)\nIt's a gold brooch, in the form of a scorpion. The design is quite distinctive, and you're sure she has a brooch like that. You've often wondered what kind of statement it's meant to make: not that she's poisonous, to be sure, but you suspect she'd not be averse to suggesting she's not to be messed with.\n\nA small piece of paper is attached to the brooch by its pin.\n\n> You read paper\nWhich do you mean, the small piece of paper, the crumpled piece of paper or the old newspaper?\n\n> Small\nIt's tightly folded and pinned to the brooch.\n\n> You open the brooch\nYou release the clasp of the brooch and pull the small piece of paper from the pin, unfolding it impatiently.\n\n> You read the small paper\nThe handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, \"Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later.\"\n\nNo doubt she was deliberately trying to be cryptic in case the Enemy saw her note. She often used to go for a run in Mandlebury Park, so she might mean that - or she might mean the City Sports Ground. \"Knowledge Factory\" was her disparaging nickname for the University, so she could be referring to somewhere on campus, but she could equally well be talking about the Public Library.\n\n> You go to Gladstone Terrace\n(Gladstone Terrace)\n(going north)\n\nJunction of Sussex Street and Gladstone Terrace.\nThis junction would be well-lit even without the moonlight. Sussex Street continues to north and south while Gladstone Terrace leads off to the west. Further north the street runs along the west bank of the river, but just here the river bends towards the southeast and parts company with the road.\n\nOnce again you feel sure you are being watched, but each time you turn round to check, the shadows mock you.\n\nWhatever it was you thought you heard a few moments ago, there's no sign of anyone here now.\n\n> Go south\n(first unlocking the street door with the small brass key, then opening the street door)\n\nThis communal hallway serves all the flats in the building. To east, west and south are the doors to flats 18A, 18B and 18C respectively, while a staircase leads up to the floor above. The street door is to the north.\n\n> You lock the door\n(with the small brass key)\n(first closing the street door)\nYou lock the street door.\n\n> Go upward\nThis small landing provide access to all the flats on this floor. To north, east, west and south are respectively the doors to flats 18D, 18E, 18F and 18G. The staircase leads back down to the floor below and up to the floor above.\n\n> You go to the south\n(first unlocking the door to flat 18G with the small brass key, then opening the door to flat 18G)\n\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\n> You lock the door\n(first closing the front door)\nYou lock the front door.\n\n> Go west\nThe living room is a good size, and is smartly furnished. A comfortable modern settee has been strategically placed to face the large flat screen television sitting in the corner, while a large black and white poster adorns one wall. The way out is to the east.\n\nOn the mantelpiece is a small gold trophy.\n\n> Examine tv\nThe TV is a modern, flat screen model. The screen is blank, presumably because the TV is not switched on.\n\n> Go east\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\nSomewhere a clock strikes ten. As the final stroke dies away you listen for any other sound, such as might be made by an arriving Enemy, but all falls quiet.\n\n> Go east\nThe bedroom looks almost obsessively neat, with virtually nothing on view apart from the double bed that occupies about a third of the floor space, the bedside cabinet right next to it, and the doors to what is presumably a large built-in wardrobe in the north wall.\n\nOn the bedside cabinet is a black telephone.\n\n> You read the business card\nIt's one of her business cards. On the front is printed:\n\n\"The TAS Agency\nTimely Accommodation for Students\n12 Devon Road\n01921 833758\ntas@tas.co.uk\"\n\nOn the reverse side of the card another phone number has been written by hand: 01921 743589\n\n> You call 01921 743589\nYou pick up the phone but there's still absolutely nothing, making you wonder if the Enemy have cut communications; in any case you can't get a dialling tone so you replace the handset.\n\n> You go to the mandlebury park\n(going west)\n\nThe hall is tiny, little more than an entrance lobby. There are rooms off to east, southeast, south and west, while her front door is to the north.\n\n> You lock the door\n(with the small brass key)\n(first closing the door to flat 18G)\nYou lock the door to flat 18G.\n\n> You go north\n(first unlocking the street door with the small brass key, then opening the street door)\n\nThis short cul-de-sac is noticeably less well lit than the main road just to the east; although the bright moonlight compensates for this somewhat, parts of the street lie in mysterious shadow. At its western end, the street terminates at the railway line, along the side of which lie a large number of loose stones. Just short of the tracks the block of flats where she lives stands on the south side of the street.\n\n> You lock the door\n(with the small brass key)\n(first closing the street door)\nYou lock the street door.\n\n> You go to your office\n(going to Your Office)\n(going east)\n\nHigh Street (by Post Office)\nThis part of the High Street contains some of the oldest buildings in the city, and the old shop fronts have been mercifully preserved from the depredations of three generations of philistine post-war planners. The main post office on the west side of the street is a particularly fine example of Victorian architecture, but all the shops retain a measure of charm here, even when they're only selling mortgages or computer games. The High Street continues to north and south, while a narrow lane runs off to the west just by the post office.\n\n> You read the letter\n(first taking the letter)\nIt's a handwritten letter from Jeremy, dated about two years ago, breaking off his relationship with her. You re-read it, your eye stopping on phrases like, \"I'm sorry, but it's over. I still find you as charming and attractive as I always did, and you can be great company, but I'm worn out by your need to always be the best at everything, and I've had enough of playing second fiddle to your ambition\" and \"We've had good times together, but I realize now that you're just not the woman for me\" and \"Even now I don't really feel I know you. I'm sure you do have a heart, but I've never felt you've ever really opened it to me; for such a successful woman you seem strangely repressed.\" The letter must obviously have been returned to him, since across the bottom is written in another hand: \"You should have thought twice before rejecting me!\"\n\n> You look at the desk\n(your desk)\nIt's unusually clear, but then no one was doing much work here today. Your desk has a single drawer.\n\nOn your desk is a white telephone.\n\n> You open the drawer\nYou open the desk drawer, revealing a load of junk, amongst which you spot a photograph and a torch.\n\n> You examine photo\nIt shows the climax of the graduation ceremony, with Kate shaking hands with the Vice-Chancellor as she receives the award for the best degree result of the year. A little way over to the left a group of graduands in academic robes stand looking on and applauding; among them are Jeremy, Nick, yourself - and her. It's her you look at, every bit as beautiful at twenty-one as she is today. She's applauding and smiling with the rest, but the smile looks a little forced - but perhaps that's just the photograph.\n\nA few weeks ago, Jeremy handed you this photograph saying, \"I came across this the other day, and I thought you might like a copy.\"\n\n\"Thanks!\" you replied. You assume he gave it to you because it showed your graduation, but you were particularly pleased to have it because she was in it, and you didn't have any other pictures of her.\n\n> You think\nThat Russian-sounding voice you heard when you picked up the green phone in her office said something about delivering some merchandise to the central car park; perhaps that would be worth checking out.\n\nThe signature MASTEMA on the poster in her flat makes you curious; if you happen to be passing the local art gallery in Market Street you'd like to check what's on the original.\n\nIt would be interesting to know the significance of the phone number scribbled on the back of her business card.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key either in the Public Library or somewhere on the University Campus.\nTo have any chance of finding anything in the dark you'll need a torch - you're pretty sure you left one in your office.\n\n> You take all from the drawer\nphotograph: Taken.\ntorch: You pick up the torch and examine it.\n\nIt's a small plastic flashlight.\n\nThe torch is currently switched off.\n\nload of junk: You're pretty sure there's nothing else among that junk that's of any use to you right now.\n\n> You go to the Park\n(going to Mandlebury Park)\n(going east)\nAlthough there's no one around, you turn out the lights and lock up the office as you leave from sheer force of habit.\n\nHigh Street (by your office)\nThe High Street continues to north and south past rows of shops and small offices. One of the latter, directly to the west, is the office where you work.\n\n> You turn on the torch\nYou switch the torch on.\n\n> You remember\nWhen time permits you often come here to eat your lunch on the park bench. On one such occasion about four years ago you saw her jogging past on a circuit of the park. The second time round, she stopped to catch her breath and chat. You can't remember a great deal of the conversation , but you do remember she was enthusing about some book she'd just read.\n\n\"Have you read any Stanilev?\" she asked.\n\n\"I've never heard of him,\" you admitted.\n\n\"He's a great thinker, you should read him, you really should,\" she urged you, \"Until I read him I never realized anyone else could feel that way. It was so liberating!\"\n\nBut though you promised her you'd look out for a copy of Stanilev's book, somehow you never got round to it.\n\n> You turn off the torch\nYou switch the torch off.\n\n> You go to Gallery\n(going to the Art Gallery)\n(going east)\n\nHigh Street (by Post Office)\nThis part of the High Street contains some of the oldest buildings in the city, and the old shop fronts have been mercifully preserved from the depredations of three generations of philistine post-war planners. The main post office on the west side of the street is a particularly fine example of Victorian architecture, but all the shops retain a measure of charm here, even when they're only selling mortgages or computer games. The High Street continues to north and south, while a narrow lane runs off to the west just by the post office.\n\n> You look at the painting\nHer painting, the winning entry, is still prominently on display. It portrays the city at sunset, with the buildings silhouetted in front of a blazing red glow. The painting is certainly striking, but you find it a little disturbing; it almost makes it look as if the whole city is on fire. The painting is called \"Nightfall\". You check the signature at the bottom right-hand corner, but it looks like her name, not the mysterious MASTEMA of the poster in her flat - curiouser and curiouser.\n\n> You read the signature\nYes, it's her name all right: an anagram of MASTEMA, but not the MASTEMA on the poster in her flat, which presumably must be some kind of obscure joke.\n\n> You examine the paintings\nMany of them are nice enough, but they're a bit of a mixture, and even you can tell that there are few really great paintings here, just some portraits of local worthies, some pleasant but conventional landscapes, a few abstract pieces, and some second-rate kitsch. By far the most striking painting on show is hers.\n\n> Rub signature\nThat won't help you find her.\n\nSomewhere a clock chimes the half hour.\n\n> You go to Grand Hotel\n(going to the Hotel Lobby)\n(going north)\nYou follow the exit signs and emerge back out in Market Street.\n\nMarket Street (east)\nMarket Street continues eastwards towards Cornwallis Avenue and west towards the High Street. The Hyperion Art Gallery lies open to the south.\n\nSomewhere a clock chimes the half hour.\n\n> You look at the rod\nIt looks a little like a baton, or perhaps a makeshift pointer.\n\n> You look at the cap\nIt's an army officer's cap, with a Royal Engineers cap badge.\n\n> You examine table\nIt's made of wood, of course. A large map has been pinned to the top.\n\nOn the trestle table are a long rod and a khaki peaked cap.\n\n> You examine the map\nIt's a large-scale map of the city. Thick black lines drawn on the map divide the city into regions with names like C12 and T18, while a number of red circles have been drawn round certain places on the periphery. A yellow post-it note has been fixed to one corner of the map.\n\n> You examine the note\nOn it someone has written, in small neat writing, \"Informant suggests device delivered up to 7 days ago and perhaps concealed in suburbs.\"\n\n> You take all from the table\nlong rod: Taken.\nkhaki peaked cap: Taken.\n\n> Wave rod\nYou look ridiculous waving the long rod.\n\n> You take the map\nThe map is firmly pinned to the table.\n\n> You look at the badge\nIt's an army officer's cap, with a Royal Engineers cap badge."
    },
    {
        "text": "[Themes: Espionage, male protagonist, city]\n\n> Describe the surroundings\nEven in the dim light, the plushness of the lobby is unmistakeable, accentuated by the ubiquitous plush red furnishings. Indeed, this is a lobby in name only; in reality it's a lounge given the modest name \"lobby\" in order to impart a corresponding grandeur to the rest of the hotel. But the rest of the hotel seems to be in darkness right now, and the only viable exit is to the south, back out onto the street.\n\nIncongruously, a large trestle table has been set up in the middle of the Lobby.\n\n> You examine the furnishings\nThe furnishings lend a general air of sumptuousness to the place.\n\n> You think\nThat Russian-sounding voice you heard when you picked up the green phone in her office said something about delivering some merchandise to the central car park; perhaps that would be worth checking out.\n\nIt would be interesting to know the significance of the phone number scribbled on the back of her business card.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key either in the Public Library or somewhere on the University Campus.\n\n> You go to the car park\n(going south)\nYou walk back out into Market Street.\n\nMarket Street (west)\nMarket Street runs east towards Cornwallis Avenue and west toward the High Street. It's the sort of intimate little street where crowds gather to go the pubs and wine bars and late-night boutiques, with the Grand Hotel attracting a fair amount of the custom. Tonight, though, the street is empty, and the Grand Hotel stands open but seemingly deserted to the north.\n\nYou hear a loud clattering, as if someone had just accidentally knocked off a dustbin lid somewhere nearby to the east, but try as you might, you cannot see where the sound came from.\n\n> You look at the lorry\nIt's a very large lorry, of the kind that permanently risks doing serious damage to narrow streets. It may be painted a dark maroon colour, but it's rather hard to tell by moonlight. What you can make out is the lettering on the side proclaiming \"Myles Biggar Haulage - tel: 01921 743589 - Main Depot: 54 Hythe Bridge Street\". At the rear of the lorry is a single tambour door which is currently securely shut. At the other end the driver's cab looms well off the ground.\n\nYou hear some footsteps behind you and turn to see a man walking briskly towards you. As soon as he catches sight of you, however, he turns and hurries away down the narrow alley.\n\n> You look at the business card\nIt's one of her business cards. On the front is printed:\n\n\"The TAS Agency\nTimely Accommodation for Students\n12 Devon Road\n01921 833758\ntas@tas.co.uk\"\n\nOn the reverse side of the card another phone number has been written by hand: 01921 743589\n\n> You open the tambour door\nThe tambour door is locked.\n\n> You examine the cab\n(the driver's cab)\nIt's nothing special, just a large cab at the front of the lorry.\n\n> You open the cab\n(the driver's cab)\nThe cab doors are locked.\n\n> You turn on the torch\nYou switch the torch on.\n\n> You examine the lorry\nIt's a very large lorry, of the kind that permanently risks doing serious damage to narrow streets. It may be painted a dark maroon colour, but it's rather hard to tell by moonlight. What you can make out is the lettering on the side proclaiming \"Myles Biggar Haulage - tel: 01921 743589 - Main Depot: 54 Hythe Bridge Street\". At the rear of the lorry is a single tambour door which is currently securely shut. At the other end the driver's cab looms well off the ground.\n\n> Search lorry\n(first trying to open the tambour door)\nThe tambour door is locked.\n\n> You look at the door\nIt seems to be made of metal slats, and is current quite firmly closed.\n\n> You think\nYou've seen the phone number on the back of her business card elsewhere; there's probably a connection worth investigating there.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key either in the Public Library or somewhere on the University Campus.\n\n> You go to Haulage Depot\n(going to the Haulage Depot)\n(going west)\n\nHigh Street (South)\nThe High Street runs north to the City Centre and continues to the south. A narrow alley runs off to the east, opposite a newsagent to the west.\n\n> You examine Depot\nIt's a large, ugly building with a large steel door, over which is a faded sign reading: \"Myles Biggar Haulage Co. Tel: 01921 743589\"\n\nA distant clock strikes eleven.\n\n> You go to the southwest\nThis short alley comes to the end a few yards away from the street, which lies just to the northeast. A high wall runs along the east side of the alley, with a small window about seven feet off the ground at the end furthest from the street.\n\n> You examine the window\nIt's about seven feet off the ground, and about two foot square. It's currently closed.\n\n> Inventory\nYou are carrying a khaki peaked cap, a long rod, a torch, a gold brooch, a blue cassette, a sharp kitchen knife, a bar mat, a matchbook, a small brown envelope (open but empty), eleven documents (a photograph, a letter, a small piece of paper, a concert programme, a menu, a birthday card, a crumpled piece of paper, a business card, a printed email, some miscellaneous papers and an old newspaper) and two keys (a small brass key and an office key).\n\n> You go to Sports Ground\n(going to the Sports Ground)\n(going northeast)\n\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You think about the Park\n(going northwest)\n\nHythe Bridge Street (north)\nHythe Bridge street runs over an old stone bridge to the southeast and on to a junction with York Road to the northwest. A mixture of old buildings lines the street, representing every period from the Civil War to the Victorian; prominent among the latter is the Old Library, which stands just to the north.\n\nJust use the command THINK, or for more specific hints THINK HARDER.\n\n> You remember Park\n(Mandlebury Park)\nIn Mandlebury Park you remembered:\nWhen time permits you often come here to eat your lunch on the park bench. On one such occasion about four years ago you saw her jogging past on a circuit of the park. The second time round, she stopped to catch her breath and chat. You can't remember a great deal of the conversation , but you do remember she was enthusing about some book she'd just read.\n\n\"Have you read any Stanilev?\" she asked.\n\n\"I've never heard of him,\" you admitted.\n\n\"He's a great thinker, you should read him, you really should,\" she urged you, \"Until I read him I never realized anyone else could feel that way. It was so liberating!\"\n\nBut though you promised her you'd look out for a copy of Stanilev's book, somehow you never got round to it.\n\n> You turn on torch\nYou switch the torch on.\n\nYou see lights just outside the entrance to the Ground and hear a car draw up. A few moments later you hear footsteps and voices just at the entrance to the ground. Nervously, you hide in the shadows by the entrance, carefully concealing the light of your torch, as you listen to the conversation between the two officers:\n\n\"Can't see anyone here, sarge.\"\n\n\"I thought I saw someone come this way. Could be here, or they could have gone to Lafayette's.\"\n\n\"Why would anyone still be here?\"\n\n\"Probably some lowlife looking for easy pickings now the city's deserted -- they've already done Morgans. Let's check the Sports Ground first.\"\n\n> You turn off the torch\nYou switch the torch off.\n\n> You listen\nThe city sounds unnaturally quiet.\n\n> You look at Building\nThe changing rooms are housed in a long, low concrete building.\n\n> You enter Building\nYou can't get in; the changing rooms are all locked up.\n\n> You think\nYou've seen the phone number on the back of her business card elsewhere; there's probably a connection worth investigating there.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key either in the Public Library or somewhere on the University Campus.\n\n> You go to Library\nWhich do you mean, the New Library or the Old Library?\n\n> You go to college street\nWhich do you mean, Junction of High Street and College Street, College Street (south), College Street (mid), Junction of College Street and Devon Road or College Street (North)?\n\n> Junction high\n(going east)\n\nYork Street (mid)\nThis section of street feels eerily still, with no signs of life anywhere. The river runs silently by to the east, while the City Sports Ground stands mutely to the west. York Street continues to north and south."
    },
    {
        "text": "[Themes: Espionage, library, Terrorism]\n\n> Go north\nYou walk briskly through the tiny entrance hall and straight onto the dance floor.\n\nAlthough this place is called the Old Library, no one's read a book here in living memory. Since before you were born this hall has been hired out for social events, possibly including whist drives and WI jam-making classes (not that you've ever been near either), but to the best of your knowledge mainly various types of dance. A stage for a small band or DJ plus sound equipment occupies one end of the hall; the main exit, to the south, lies at the other.\n\nFor some reason, the hall has been largely stripped of furniture, but a solitary plain wooden chair remains on the stage.\n\nThe last time you were here was a couple of years or so ago. You mainly recall music too loud for conversation and a floor too crowded to dance on without bumping into people at every turn; it really wasn't your scene at all. You only bought a ticket because you knew she'd be here. And so she was, effortlessly elegant in plain black, standing out from all the others in their colourful finery like a princess among apes. You kept stealing hopeful glances at her all evening. Surprisingly, for much of the time she seemed to be dancing with some nerdish-looking teenager (at the time you supposed either that she must have felt sorry for him and was just being nice, or else that he must be some cousin she'd been lumbered with for the evening). At last, when you'd given up all hope and had gone in search of a refill for your glass, she came up to you and asked you for a dance. You'd been secretly hoping for a slow romantic sway, of course, but your luck being what it was all you got was an energetic jive. At least, she was commendably energetic about it (but graceful with it, of course), which left you feeling a bit like a lumbering elephant with four left feet in comparison. But at the time you felt that one dance made the whole evening worthwhile.\n\n> You look at the chair\nPlain, but sturdy.\n\n> You go to the narrow alley\nWhich do you mean, the narrow alley or the narrow alley?\n\n> You go south\nYou retrace your steps through the entrance hall and back out into the street.\n\nHythe Bridge Street (north)\nHythe Bridge street runs over an old stone bridge to the southeast and on to a junction with York Road to the northwest. A mixture of old buildings lines the street, representing every period from the Civil War to the Victorian; prominent among the latter is the Old Library, which stands just to the north.\n\n> Go southeast\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You put the chair under the window\nYou put the plain wooden chair by the small window.\n\n> You stand on the chair\nYou get onto the plain wooden chair.\n\nOnce again you hear a clock strike the quarter-hour. Only forty-five minutes left till midnight.\n\n> You look through the window\nYou can't see much through the window; it's too dark on the other side.\n\n> You open the window\nYou open the small window.\n\n> You enter the window\nThis is embarrassing, the sort of petty burglary you sometimes find yourself defending legal aid clients for, people you've always privately looked down on as sad losers. Still, it seems there's nothing for it: you clamber through the window, landing on a desk on the other side, from which you jump onto the floor.\n\nThis seems to be a large space, but you can see virtually nothing here apart from the faint outline of the window up to the west and of the desk just beneath it.\n\n> You turn on the torch\nYou switch the torch on.\n\nPresumably this cavernous space would normally be full of lorries, but there's not a single one in sight now; they must all have been pressed into service to assist with the evacuation. About the only thing that remains here now is the battered old desk in the corner, just under the window. The way out is through a large steel door to the north.\n\nOn the battered old desk is a grey telephone.\n\nA metal toolbox rests in another corner of the depot.\n\n> You look at the toolbox\nThe green metal toolbox looks quite big and heavy.\n\n> You open it\nYou open the green metal toolbox, revealing some tools.\n\n> You examine the tools\nThere's a hammer, some screwdrivers, and a selection of spanners.\n\nAmong the tools you find a small screwdriver, which you take.\n\n> You look at the desk\nIt's about as plain and inelegant as a desk can be, a wooden top on a metal frame of brutally functional design. The desk also has a single wooden drawer.\n\nOn the battered old desk is a grey telephone.\n\n> You open the drawer\nThe wooden drawer is locked.\n\n> You examine the telephone\nIt looks rather grubby and is cracked on one side.\n\n> You move phone\nNothing obvious happens.\n\n> You search toolbox\nIn the green metal toolbox are some tools."
    },
    {
        "text": "[Themes: Espionage, male protagonist]\n\n> Describe the surroundings\nPresumably this cavernous space would normally be full of lorries, but there's not a single one in sight now; they must all have been pressed into service to assist with the evacuation. About the only thing that remains here now is the battered old desk in the corner, just under the window. The way out is through a large steel door to the north.\n\nOn the battered old desk is a grey telephone.\n\nA metal toolbox rests in another corner of the depot.\n\n> You look at the door\nIt's firmly closed. From the inside it looks as if its locked and unlocked with a sturdy metal bolt.\n\n> You unlock door\nYou pull back the bolt, unlocking the steel door.\n\n> You open the door\nYou open the large steel door.\n\n> You turn off the torch\nYou switch the torch off.\n\nIt is now pitch dark in here!\n\n> You go north\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You pick lock with the screwdriver\nYou slide the blade of the screwdriver into the lock, feeling even more like some common burglar.\n\nBy wiggling the screwdriver in the lock, you manage to force it open.\n\n> You open the drawer\nYou open the wooden drawer, revealing a large car key.\n\n> You take the car key\nWhich do you mean, the large car key, the small brass key or the office key?\n\nYou pick up the large car key and examine it.\n\nIt's the right kind of shape for a car key, but a bit chunkier than you would expect.\n\n> You go to the car park\n(going north)\n(first opening the large steel door)\nYou turn off the torch to save its battery.\n\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You close the door\nYou close the large steel door.\n\n> Time\n(going south)\n\nHigh Street (by Post Office)\nThis part of the High Street contains some of the oldest buildings in the city, and the old shop fronts have been mercifully preserved from the depredations of three generations of philistine post-war planners. The main post office on the west side of the street is a particularly fine example of Victorian architecture, but all the shops retain a measure of charm here, even when they're only selling mortgages or computer games. The High Street continues to north and south, while a narrow lane runs off to the west just by the post office.\n\nFor a brief moment you think you see her standing before you, just a few yards down the street, but then a cloud passes over the moon and she's shrouded in shadow. When the moon comes out again, she is gone.\n\nI didn't understand that sentence.\n\n> What time is it\n(going south)\n\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\nI didn't understand that sentence.\n\n> You look at the watch\n(going east)\n\nMandlebury Road (East)\nA large car park lies immediately to the south, while Church Street forks off to the northeast. Mandlebury Road continues to both east (past the Police Station) and west (back to the City Centre).\n\nYou can't see any such thing.\n\n> You unlock the door with the car key\nYou unlock the tambour door.\n\n> You open the door\nYou open the tambour door.\n\n> You look in the lorry\nYou clamber inside the back of the lorry.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the torch\nYou switch the torch on.\n\nIt's a large lorry, and there'd be a fair amount of space in here if it weren't nearly all taken up by a large metal cylinder.\n\n> You examine cylinder\nThe large metal cylinder is mostly silver in colour, and has various coloured wires attached to it. There's quite a bit of writing on it, but it's all in the Cyrillic alphabet.\n\n> You look at the wires\nA red wire, an orange wire, a yellow wire, a green wire, a blue wire, a purple wire and a black wire are all attached to various parts of the cylinder.\n\n> You go outside\nYou turn off the torch to save its battery.\n\nIt's normally near impossible to find a parking space in this town centre car park at any time between 8 am and midnight, but now there's scarcely a vehicle in sight. The main car park exit into Mandlebury Street is to the north, but there's also a narrow alley leading west to the High Street.\n\nThe only vehicle parked here is a large lorry.\n\n> You unlock the cab with the car key\n(the driver's cab with the large car key)\nThat doesn't seem to be something you can unlock.\n\n> You open the cab\n(the driver's cab)\nThe cab doors are locked.\n\n> You think\nYou're concerned about that big cylinder you found in the back of the lorry. You suspect it requires further investigation.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key either in the Public Library or somewhere on the University Campus.\n\n> You go to New Library\n(going to the Public Library)\n(going west)\n\nHigh Street (South)\nThe High Street runs north to the City Centre and continues to the south. A narrow alley runs off to the east, opposite a newsagent to the west.\n\n> You remember Park\n(Mandlebury Park)\nIn Mandlebury Park you remembered:\nWhen time permits you often come here to eat your lunch on the park bench. On one such occasion about four years ago you saw her jogging past on a circuit of the park. The second time round, she stopped to catch her breath and chat. You can't remember a great deal of the conversation , but you do remember she was enthusing about some book she'd just read.\n\n\"Have you read any Stanilev?\" she asked.\n\n\"I've never heard of him,\" you admitted.\n\n\"He's a great thinker, you should read him, you really should,\" she urged you, \"Until I read him I never realized anyone else could feel that way. It was so liberating!\"\n\nBut though you promised her you'd look out for a copy of Stanilev's book, somehow you never got round to it.\n\n> You look up Stanilev\n(on the computer)\nThe computer comes up with one entry:\n\nA.D. Stanilev Nightfall - D.143\n\nLooking round, you notice that aisle D is to the northeast.\n\n> You go to the north-east\nLike every other aisle in the library, this one is lined on both sides by bookshelves. The only way out is to the southwest.\n\n> 143\nLike every other aisle in the library, this one is lined on both sides by bookshelves. The only way out is to the southwest.\n\nI didn't understand that sentence.\n\n> You look at the shelves\nThe shelves are full of books.\n\nBy following the indexing you easily find D.143, where Stanilev's book is in place. You duly take it.\n\n> You read the book\nThe introduction states that the book will explain the one true philosophy: love is best expressed in destruction, since Entropy rules all and Decay is the natural order of things. The sole end of life is death and to love death is to be in tune with the universe. The one goal of existence is the heat death of the Universe, the ultimate Nightfall.\n\nTurning to the last page you find that the book ends with a bitter parody of St Paul: \"Death, destruction and decay, these three things abide, but the greatest of these is death.\"\n\nThis is about as much as you can bear to read.\n\n> You go to the southwest\nYou hurry through the entrance lobby once more and go straight to the main reading room.\n\nFrom the central hub aisles of books run off in every direction except north, which is the way out. The library desk is, of course, unstaffed, but there's a computer terminal on it which appears to be working.\n\n> You look up bomb\n(on the computer)\nYou quickly discover that access to any potentially useful sites on this topic have been blocked; presumably whoever set up the library computer thought this type of information might be useful to terrorists.\n\n> You think\nYou're concerned about that big cylinder you found in the back of the lorry. You suspect it requires further investigation.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key somewhere on the University Campus.\n\n> You look up cyrillic\n(on the computer)\nThe computer tells you that Russian dictionaries are to be found in the reference section in Aisle R.\n\nLooking round, you notice that Aisle R is to the south.\n\n> Go south\nThere are a large number of reference works on the shelves here. The way out is to the north.\n\nOn the reference shelves is a large Russian dictionary.\n\n> You get the dictionary\nYou pick up the large Russian dictionary and examine it.\n\nIt's a large, well-presented dictionary that explains the Cyrillic alphabet and is helpful as it can be for the absolute beginner. It won't help you read War and Peace in the original with ease, but it should help you translate a few simple phrases.\n\n> You go to Campus\n(going north)\nYou hurry through the entrance lobby once more and go straight to the main reading room.\n\nFrom the central hub aisles of books run off in every direction except north, which is the way out. The library desk is, of course, unstaffed, but there's a computer terminal on it which appears to be working.\n\n> You get the dictionary\nYou already have that.\n\n> You go north\nYou hurry through the entrance lobby once more and go straight to the main reading room.\n\nFrom the central hub aisles of books run off in every direction except north, which is the way out. The library desk is, of course, unstaffed, but there's a computer terminal on it which appears to be working.\n\n> You go to Campus\n(going north)\nYou walk briskly back through the deserted entrance lobby and out onto the street.\n\nCollege Street (south)\nYou're not old enough to remember, but this area was apparently farmland back in the sixties. In the seventies it was decreed that the city was to receive a new university, and so College Street was created. The main university campus lies further up the street to the northeast, but in order to create something of an academic atmosphere at its gateway, so to speak, a new Public Library was erected, which now stands to the south, along with a new theatre, the Apollo, which is just off to the northwest. To the southwest College Street runs back towards the High Street.\n\nYou have arrived at your destination.\n\nYou see a movement in the distance off to the southwest, but you can't make out who or what it is, and it's gone before you can focus on it.\n\n> Go northwest\nYou walk up to the front of the Apollo and find it unlocked, so you go inside.\n\nThe ticket office is closed, and there's no one about, but there seems to be nothing to stop you wandering into the auditorium, which lies just to the north. The main exit is to the southeast.\n\nA poster advertising the next show is fixed to the wall, but it looks like someone has defaced it.\n\n> Examine poster\nThe poster advertises a new play called \"Martian Mores\" by an author so obscure that it would be surprising if even his own mother has heard of him. Across the poster someone has written, apparently in red lipstick, the words \"Beware the Enemy within!\", although you can't be sure it's not meant to be part of the poster.\n\n> Go north\nIn the dim half-light you can just make out the outlines of the seating and the distant stage. An illuminated sign indicates that the exit is to the south.\n\nThe sole item of scenery on the stage is a canvas chair.\n\nNot all the events held here were as representative of high culture as the builders of this theatre might have hoped. Three or four years ago the city held a contest here to choose a beauty queen for some local pageant. Of course she was one of the contestants, and of course she won; most of the other contestants were pretty enough but next to her beauty they struck you as fireflies competing with the sun. It wasn't just a matter of her looks, though she certainly looked drop-dead gorgeous that night; she also clearly had far more poise, far more intelligence, and far more personality than the rest of them put together.\n\n> You look at the chair\nIt's a canvas chair with a steel frame. It looks like there may be something on the chair, but from this distance you can't be sure.\n\n> You go north\nYou can't go that way. The only obvious exit is south (to Theatre Lobby).\n\n> You stand on the stage\nYou get onto the stage.\n\nOn the stage you can see a canvas chair (on which is a portable cassette player (closed)).\n\n> You examine the player\nIt's a small, basic tape cassette player, black and silver in colour, with buttons marked PLAY, STOP, REWIND and EJECT.\n\n> You get the player\nTaken."
    },
    {
        "text": "[Themes: Espionage, library]\n\n> Go downwards\nYou get off the stage.\n\nIn the dim half-light you can just make out the outlines of the seating and the distant stage. An illuminated sign indicates that the exit is to the south.\n\nThe sole item of scenery on the stage is a canvas chair.\n\n> Examine cassette\n(the blue cassette)\nIt's just a standard tape cassette.\n\n> You open player\nYou press the EJECT button and the cassette player pops open.\n\n> You put the cassette in player\nWhich do you mean, the grey tape cassette, the portable cassette player or the blue cassette?\n\n> You put blue in the player\nYou put the blue cassette into the portable cassette player.\n\n> You go south\nThe ticket office is closed, and there's no one about, but there seems to be nothing to stop you wandering into the auditorium, which lies just to the north. The main exit is to the southeast.\n\nA poster advertising the next show is fixed to the wall, but it looks like someone has defaced it.\n\n> Go southeast\nYou walk back out into College Street.\n\nCollege Street (south)\nYou're not old enough to remember, but this area was apparently farmland back in the sixties. In the seventies it was decreed that the city was to receive a new university, and so College Street was created. The main university campus lies further up the street to the northeast, but in order to create something of an academic atmosphere at its gateway, so to speak, a new Public Library was erected, which now stands to the south, along with a new theatre, the Apollo, which is just off to the northwest. To the southwest College Street runs back towards the High Street.\n\nFrom somewhere across the city a bell solemnly tolls midnight. As the last stroke dies away you realize you were holding your breath.\n\n> You go to Police Station\n(going to the Police Station Reception Area)\n(going southwest)\n\nThe High Street (from the south) comes to an end at a fork where College Street runs off to the northeast and Hythe Bridge Street to the northwest.\n\n> You examine the document\n(first taking the evacuation order)\nIt's printed on bright yellow paper and headed \"EVACUATION ORDER\". A quick perusal of the document reveals that the police first received a warning about the Enemy only last night. It was originally dismissed as a hoax, until a message came through from the security services saying that the Enemy were to be regarded as a Level 1 threat, and  the city was to be evacuated immediately.\n\nThe next few paragraphs detail the procedures for publishing a warning and getting everyone out of the city as quickly as possible. You skip over the dry officialese that already feels like ancient history.\n\nRight at the end, however, you find a striking conclusion: \"To avoid unnecessary panic, on no account are the public to be informed about the true nature of the \"Enemy\". In reality what we're dealing with is...\"\n\nFrustratingly, the bottom of the page has been torn off at just this point.\n\n> You get the detector\nYou pick up the metal detector and examine it.\n\nIt's basically a long pole with a flat disk at one end.\n\nThe metal detector is currently switched off.\n\n> You look at the grille\nIt's roughly square, and set high in the wall. Below it on the same wall are a black switch and a thermostat.\n\nYou notice a small scrap of yellow paper stuck in the grille.\n\n> You take the yellow paper\n(the small scrap of yellow paper)\nYou can't reach the scrap of paper; it's stuck up in the ventilation grille.\n\n> You stand on the desk\nYou get onto the front desk.\n\n> You read the paper\nWhich do you mean, the small scrap of yellow paper, the evacuation order, the small piece of paper, the crumpled piece of paper or the old newspaper?\n\n> Small scrap\n(first trying to take the small scrap of yellow paper)\nYou can't reach the scrap of paper; it's stuck up in the ventilation grille.\n\n> You look at the black switch\nIt's a small black switch, currently off.\n\n> You look at the thermostat\nIt looks like it can be turned to any number between 0 and 30. It's currently set to 18.\n\n> You turn the thermostat to 0\nYou turn the thermostat to 0.\n\n> You wait\nTime passes.\n\n> You examine the grille\nIt's roughly square, and set high in the wall. Below it on the same wall are a black switch and a thermostat.\n\nIn the ventilation grille is a small scrap of yellow paper."
    },
    {
        "text": "[Themes: Espionage, Terrorism]\n\n> You go downward\nThe rest of the police station is in darkness; you can't imagine she'd be anywhere in there. The way out is to the north.\n\n> You get the scrap\nYou pick up the small scrap of yellow paper and examine it.\n\nIt's clearly a fragment torn from a larger page, perhaps only a fragment of a fragment, for all you can make out is:\n\n...mation came from the vicar of St Mich...\n...ormant apparently found God and...\n...fessed everything to the priest who...\n...tiality of the confessional, thought...\n...police. Despite the seeming abs...\n...checks out with MI5.\n\n> You think\nYou're concerned about that big cylinder you found in the back of the lorry. You suspect it requires further investigation.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. She thinks she may have dropped it out running, which could either be in Mandlebury Park (if she meant her lunch-time jog) or at the Sports Ground (if she was doing serious training). It's also possible she left the key somewhere on the University Campus."
    },
    {
        "text": "[Themes: Espionage, Terrorism]\n\n> Look around\nPolice Station Reception Area (on the front desk)\nThe reception area is deserted. Access deeper inside the police station is firmly blocked by the front desk, but it all looks pretty dark beyond there in any case. Otherwise the area is largely bare apart from the exit to the north and the ventilation grille high up in one wall.\n\n> You go to Mandlebury Park\n(going north)\n(first leaving the front desk)\n\nMandlebury Road (outside Police Station)\nMandlebury Road continues to east and west, while the main city police station stands just to the south, and Church Road runs off to the north.\n\n> You turn on the metal detector\nYou switch the metal detector on.\n\n> You turn on the torch\nYou switch the torch on.\n\n> You use the metal detector\nYou begin walking slowly walking round the park, sweeping the ground with the metal detector, but you fail to find anything interesting.\n\n> You turn off the metal\nYou switch the metal detector off.\n\n> You turn off the torch\nYou switch the torch off.\n\n> You go to Sports Ground\n(going to the Sports Ground)\n(going south)\n\nMandlebury Road (West)\nAt this point Mandlebury Road is a broad, well-lit street, bordering the shadowy entrance to Mandlebury Park just to the north, and a traditional fish and chip shop to the south. The street continues east towards the city centre and west over Mandlebury Bridge.\n\n> Go north\nYork Street (mid)\nThis section of street feels eerily still, with no signs of life anywhere. The river runs silently by to the east, while the City Sports Ground stands mutely to the west. York Street continues to north and south.\n\n> You go north\nYork Street (north)\nYork Street continues to north and south. On the west side of the street stands Lafayette's, an intimate little restaurant you used to frequent when you went out more.\n\n> Go west\nYork Street (mid)\nThis section of street feels eerily still, with no signs of life anywhere. The river runs silently by to the east, while the City Sports Ground stands mutely to the west. York Street continues to north and south.\n\nYou can't see anything clearly here in this light, but you know there's a running track, a couple of football and rugby pitches, and some tennis courts, as well as a building containing changing rooms and the like. The street lamps in York Street indicate that the way out is to the east.\n\n> You use the detector\nYou walk over to the running track and start sweeping it with the metal detector, but you fail to find anything interesting.\n\n> You turn off the light\nYou switch the torch off.\n\nSomewhere in the distance a clock chimes the half-hour.\n\n> Go west\nYou can't see anything clearly here in this light, but you know there's a running track, a couple of football and rugby pitches, and some tennis courts, as well as a building containing changing rooms and the like. The street lamps in York Street indicate that the way out is to the east.\n\n> You use the detector\nYou've already looked for the flat metal key here.\n\n> Go north\nBeyond the point where York Street meets Hythe Bridge Street, it runs on into a residential suburb. Hythe Bridge Street runs off to the southeast, while York Street runs south towards the railway station.\n\n> Go southeast\nHythe Bridge Street (north)\nHythe Bridge street runs over an old stone bridge to the southeast and on to a junction with York Road to the northwest. A mixture of old buildings lines the street, representing every period from the Civil War to the Victorian; prominent among the latter is the Old Library, which stands just to the north.\n\n> Go southeast\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You think\nYou're concerned about that big cylinder you found in the back of the lorry. You suspect it requires further investigation.\n\nShe wants you to help her find a small flat metal key she says she's lost - it seems to be important. It's possible she left the key somewhere on the University Campus.\n\n> You go to the northeast\nCollege Street (south)\nYou're not old enough to remember, but this area was apparently farmland back in the sixties. In the seventies it was decreed that the city was to receive a new university, and so College Street was created. The main university campus lies further up the street to the northeast, but in order to create something of an academic atmosphere at its gateway, so to speak, a new Public Library was erected, which now stands to the south, along with a new theatre, the Apollo, which is just off to the northwest. To the southwest College Street runs back towards the High Street.\n\n> You go northeast\nYou turn off the torch to save its battery.\n\nCollege Street (mid)\nThis is the point at which College Street enters the campus, marked by the Great University Hall standing just to the east. The street runs to northeast and southwest.\n\n> You go to the north-west\nYou walk up to the front of the Apollo and go back inside.\n\nThe ticket office is closed, and there's no one about, but there seems to be nothing to stop you wandering into the auditorium, which lies just to the north. The main exit is to the southeast.\n\nA poster advertising the next show is fixed to the wall, but it looks like someone has defaced it.\n\n> Go north\nIn the dim half-light you can just make out the outlines of the seating and the distant stage. An illuminated sign indicates that the exit is to the south.\n\nThe sole item of scenery on the stage is a canvas chair.\n\n> You go to the northeast\nMere outlines in the moonlight, various university buildings stand round and about, the most prominent being the large hall of residence just to the east. This rather ugly building, Mitchel Hall, stands on the corner of Devon Road, which runs off to the southeast, and College Street, which continues northeast and southwest across the campus.\n\n> Go east\nYou've never known this building to be locked, and it isn't now; you walk straight inside.\n\nThis large entrance lobby has a depressingly institutional appearance at the best of times. Dimly lit, with the rest of the building in sullen darkness, it feels oppressively gloomy. There are two main exits, to Devon Road to the south or College Street to the west.\n\nA prominent notice is affixed to the centre of the main notice board.\n\nYou ran into her here in your first week as a student. You hesitated to approach her because, in all conscience, you hardly knew her, but while you were debating with yourself whether it was worth trying to renew your acquaintance, she flashed you a lovely smile and walked up to you.\n\n\"Hello,\" she said, tossing her long dark hair over back her shoulder, \"don't I know you? We were at primary school together, weren't we?\"\n\n\"That's right,\" you agreed, \"though it seems a long time ago now. I'm flattered you remember!\"\n\n\"It's nice to see a familiar face!\" she told you, \"so what are you reading here?\"\n\n\"Law,\" you told her,  \"and you?\"\n\n\"English,\" she replied, adding with a laugh \"much less practical! Talking of which, I'm in danger late of being late for my first Dickens lecture, and I'd hate to upset my prof on my first day, so I'd better dash before Great Expectations turn into Bleak House! We'll catch up later.\"\n\nAnd after a fashion, over the next three years you did, but nowhere near as much as you'd have liked.\n\n> You use the detector\nYou start carefully sweeping the ground with the metal detector, but you fail to find anything interesting.\n\n> You look at the notice\nIt's headed ALL YOU'RE IT PROBLEM'S SOLVED, following which it proclaims \"Hard disk crash? Essay wont print? Email wont work? Need a fancy website or help with your on-line searches'? Fed up with Micro$oft? Wan't to give your PC a boost? I can help with all you're IT problem's at very reasonable rate's. Just drop me an email me on daniel.saunders@itguru.dannynet.\"\n\nUnderneath is a large picture of an archetypal geek with a nerdish grin. You hope he's more skilled with computers than he is with apostrophes. For some reason the name Daniel Saunders seems vaguely familiar; you can't place him, but you think you've seen his name somewhere else very recently.\n\n> You take the notice\nYou carefully remove it from the notice board.\n\nA clock tolls a single hour.\n\n> Go west\nYou walk back out onto the street.\n\nMere outlines in the moonlight, various university buildings stand round and about, the most prominent being the large hall of residence just to the east. This rather ugly building, Mitchel Hall, stands on the corner of Devon Road, which runs off to the southeast, and College Street, which continues northeast and southwest across the campus.\n\n> Go southwest\nCollege Street (mid)\nThis is the point at which College Street enters the campus, marked by the Great University Hall standing just to the east. The street runs to northeast and southwest.\n\n> Go east\nUniversity Hall (in darkness)\nIt's dark in here, so you can't see much. Indeed, you can scarcely see your hand in front of your face. The only way out you know of is to the west.\n\nYou attended three or four quite unmemorable lectures here when you were a student, but you mainly remember this hall for the two University rites of passage: matriculation and graduation. You can't even recall seeing her at the former, but she was definitely at the latter, and quite out of sorts that day -- you could scarcely get a cold nod out of her, let alone a word.\n\n> You turn on the torch\nYou switch the torch on.\n\nThe hall is too large to make out very satisfactorily by torchlight; you can't even locate the light-switches. You can see that there's a lot of seating here, and sweeping the torch round in the other direction reveals a raised dais, but you can't get much sense of the whole. But you remember that when you attended the university the hall was a piece of rather bland sixties architecture done out in acres of pale pine, and this memory helps fill out the patchy picture revealed by torchlight. The way out is to the west.\n\n> You turn on the detector\nThat's already on.\n\n> You use the detector\nYou start walking round the hall, sweeping the beam of your torch over the seats. You search comes to an abrupt halt when you spot something lying between two rows of seats. A closer inspection reveals it to be a body.\n\n> You look at the body\nYou're no doctor, but you can detect no signs of life, and from the awkward angle of the head you'd guess that the young man's neck has been broken. His face looks vaguely familiar: it looks as if it could be the geek you saw grinning out of the picture on the Residence Hall poster.\n\n> You search daniel\n(the prominent notice)\nYou find nothing of interest.\n\n> You search the body\nOvercoming your queasy revulsion, you force yourself to search the body. You finally find a tiny cassette-recorder in one of its pockets.\n\n> You continue\nYou've already searched him once; you've no intention of putting yourself through that again.\n\n> You take the recorder\nYou already have that.\n\n> You examine the recorder\nYou can't see any such thing.\n\nIt's scarcely bigger than a cassette. It also looks broken, as if smashed when its owner fell.\n\n> You hit it\nTrying to force it open with your bare hands proves futile.\n\n> You examine screwdriver\nYou are carrying a tiny cassette-recorder, a prominent notice, a metal detector, a grey tape cassette, a portable cassette player (closed), inside which is a blue cassette, a khaki peaked cap, a long rod, a torch (providing light), a gold brooch, a sharp kitchen knife, a bar mat, a matchbook, a small brown envelope (open but empty), fifteen documents (a small scrap of yellow paper, an evacuation order, a large Russian dictionary, a black book, a photograph, a letter, a small piece of paper, a concert programme, a menu, a birthday card, a crumpled piece of paper, a business card, a printed email, some miscellaneous papers and an old newspaper) and three keys (a large car key, a small brass key and an office key).\n\nYou can't see any such thing.\n\n> You examine the dais\nIt's a platform used for university dignitaries during degree ceremonies and as a podium for prestigious public lectures.\n\n> You look at the recorder\nIt's scarcely bigger than a cassette. It also looks broken, as if smashed when its owner fell.\n\n> You look up the great Expectations\n(on the computer)\nYou google for \"great expectations\", but it turns up nothing of immediate interest.\n\n> You look up the porn\n(on the computer)\nYou google for \"porn\", but it turns up nothing of immediate interest.\n\n> You look up xyzzy\n(on the computer)\nYou google for \"xyzzy\", but it turns up nothing of immediate interest.\n\n> Google mastema\nYou don't have time to start wandering around the library at random.\n\n(on the computer)\nYou google for Mastema on the library computer and discover that Mastema is the Hebrew word for \"enmity\" or \"hostility\". In the book of Jubilees it appears to be used as a name for the prince of demons, or Satan.\n\n> Google shedevil\n(on the computer)\nYou google for \"shedevil\", but it turns up nothing of immediate interest.\n\n> Google daniel saunders\n(on the computer)\nThe most relevant response is a web-page describing the services of one Daniel Saunders (daniel.saunders@itguru.dannynet), a student at the University offering help \"with all your computer problem's\". The whole site is afflicted with wayward apostrophes, as if its author possessed an unerring instinct for omitting them when they're required and inserting them when they're not.\n\n> Google borotino overture\n(on the computer)\nYou google for \"borotino overture\", but it turns up nothing of immediate interest.\n\n> You look up cyrillic\n(on the computer)\nThe computer tells you that Russian dictionaries are to be found in the reference section in Aisle R.\n\nLooking round, you notice that Aisle R is to the south.\n\n> Go south\nThere are a large number of reference works on the shelves here. The way out is to the north.\n\n> You go north\nYou hurry through the entrance lobby once more and go straight to the main reading room.\n\nFrom the central hub aisles of books run off in every direction except north, which is the way out. The library desk is, of course, unstaffed, but there's a computer terminal on it which appears to be working.\n\n> Google metro alarms\n(on the computer)\nYou google for \"Metro Alarms\", but it turns up nothing of immediate interest.\n\n> Google voi che sapete\n(on the computer)\nYou google for \"voi che sapete\", but it turns up nothing of immediate interest.\n\n> Google royal engineers\n(on the computer)\nYou google for \"royal engineers\", but it turns up nothing of immediate interest.\n\n> You google yourself\n(on the computer)\nYou don't seem to have much of a web presence. The only thing googling for yourself turns up is the staff page of your law firm's website, on which your name appears among a list of others.\n\n> You google her\n(on the computer)\nThis brings up the website of the TAS letting agency (Timely Accommodation for Students), located at 12 Devon Road (telephone: 01921 833758; email tas@tas.co.uk). The site explains that the agency specializes in students lets at reasonable rates, but welcomes enquiries about other forms of letting. At the bottom of the page is a brief resum? of the many local achievements of the proprietor\n\n> Google uzbekistan\n(on the computer)\nYou google for \"uzbekistan\", but it turns up nothing of immediate interest.\n\n> You google kate\n(on the computer)\nYou find the site for the local newspaper via the terminal and search it for articles about Kate. From what they tell you, it appears that no fully satisfactory explanation of Kate's death was ever really found. It was hard to see how she could have fallen off the bridge by accident, but nothing anyone who knew her said suggested any motive for suicide. The local press ended up attributing Kate's death to a \"tragic accident\" and hinting darkly about young people who drank too much - but you'd never known Kate to get drunk.\n\n> You examine photo\nIt shows the climax of the graduation ceremony, with Kate shaking hands with the Vice-Chancellor as she receives the award for the best degree result of the year. A little way over to the left a group of graduands in academic robes stand looking on and applauding; among them are Jeremy, Nick, yourself - and her. It's her you look at, every bit as beautiful at twenty-one as she is today. She's applauding and smiling with the rest, but the smile looks a little forced.\n\n> You google jeremy\n(on the computer)\nYour googling turns up the information that Jeremy is an aficionado of something called \"Interactive Fiction\". Apparently his game Blighted Hope of Elysium's Circle placed forty-fifth in last year's IF competition.\n\n> You go north\nYou walk briskly back through the deserted entrance lobby and out onto the street.\n\nCollege Street (south)\nYou're not old enough to remember, but this area was apparently farmland back in the sixties. In the seventies it was decreed that the city was to receive a new university, and so College Street was created. The main university campus lies further up the street to the northeast, but in order to create something of an academic atmosphere at its gateway, so to speak, a new Public Library was erected, which now stands to the south, along with a new theatre, the Apollo, which is just off to the northwest. To the southwest College Street runs back towards the High Street.\n\n> Google nick\n(in the large Russian dictionary)\nYou discover nothing of interest in the large Russian dictionary.\n\n> Google nick\n(on the computer)\nGoogling for Nick suggests that, at least so far as his on-line presence is concerned, he's more interested in Doctor Who than in tennis.\n\n> You go to the north-east\nCollege Street (North)\nHere College Street reaches the northeastern end of the campus, most of which lies back down the street to the southwest. To the northeast College Street runs on into a residential suburb that sprang up in the eighties and nineties to meet the growing need for housing. A little way off to the northwest is the Student Club, intended as a social centre for the university's students.\n\n> You use the detector\nYou start carefully sweeping the ground with the metal detector; it suddenly starts to buzz and you spot a small flat metal key lying on the ground, so you pick it up.\n\n> You examine the small flat metal key\nIt's made of some dull grey metal.\n\n> You think\nYou're concerned about that big cylinder you found in the back of the lorry. You suspect it requires further investigation.\n\n> You look at the river\nThe river runs sluggishly by, softly reflecting the moonlight.\n\nThe brooch - for some reason you think of her brooch - or rather the small piece of paper that was attached to it. Did you examine it carefully enough? You're not sure - you were in so much of a hurry before.\n\n> You look at the brooch\nIt's a gold brooch, in the form of a scorpion. The design is quite distinctive, and you're sure she has a brooch like that. You've often wondered what kind of statement it's meant to make: not that she's poisonous, to be sure, but you suspect she'd not be averse to suggesting she's not to be messed with.\n\n> You look at the small paper\nWhich do you mean, the small scrap of yellow paper or the small piece of paper?\n\n> Piece\nThe handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, \"Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later.\"\n\nJust below that you see a crease that you missed before - you must have been in too much of a hurry, or maybe the light was too bad. Anyway, you unfold the crease and see that she has written:\n\n\"I'll meet you where I left the tape for you at five past two. Don't be late!\"\n\nI beg your pardon?\n\n> You examine the key\nWhich do you mean, the small flat metal key, the large car key, the small brass key or the office key?\nI beg your pardon?\n\n> You go to the south-east\nYou turn off the torch to save its battery.\n\nCollege Street (North)\nHere College Street reaches the northeastern end of the campus, most of which lies back down the street to the southwest. To the northeast College Street runs on into a residential suburb that sprang up in the eighties and nineties to meet the growing need for housing. A little way off to the northwest is the Student Club, intended as a social centre for the university's students.\n\n> You go to the southwest\nMere outlines in the moonlight, various university buildings stand round and about, the most prominent being the large hall of residence just to the east. This rather ugly building, Mitchel Hall, stands on the corner of Devon Road, which runs off to the southeast, and College Street, which continues northeast and southwest across the campus.\n\n> You go southeast\nDevon Road (north)\nAt its northern end, Devon Road runs northwest into College Street and then bends towards the south. It is a broad, pleasant street which feels particularly peaceful by moonlight. At this end the buildings are not too closely crowded together, the largest of them being the hall of residence to the north.\n\n> You go to the south\nDevon Road (mid)\nDevon Road continues north and south between leafy gardens and the occasional small office. In the latter category is the student letting office where she works, which stands just to the east.\n\n> Go south\nThis three-way road junction is well lit. Devon Road leads off to the north, Tilbury Road to the east, and Church Street to the southwest. Immediately to the south of the junction stands the High School you attended as a teenager.\n\n> You go north\nA churchyard by moonlight is always a little spooky, but it is doubly so tonight, with the city so deserted. The gravestones are little more than looming shadows in the dark; the great bulk of St Michael's Church is just to the north, while the lych-gate to the south leads back out to Church Street.\n\n> You examine the kate's grave\nIt's too dark to make any of them out except by shining your torch on them individually, but you know Kate's is among them somewhere, and you'd have no difficulty finding it in the light. But scanning each gravestone one by one with your torch would take far too long, especially as it would do nothing to help you find her.\n\n> Go south\nYou turn off the torch to save its battery.\n\nA churchyard by moonlight is always a little spooky, but it is doubly so tonight, with the city so deserted. The gravestones are little more than looming shadows in the dark; the great bulk of St Michael's Church is just to the north, while the lych-gate to the south leads back out to Church Street.\n\n> You turn off the detector\nYou switch the metal detector off.\n\n> You take the iron key\nYou pick up the large iron key and examine it.\n\nIt's a big, chunky, old-fashioned thing, dark brown in colour.\n\n> Go east\n(first putting the lid back on the font)\n\nRaised slightly above the Nave, which lies just to the west, much of the space in the Chancel is taken up by the choir stalls on either side and the altar at the east end. A small wooden door is set in the wall on the north side of the altar.\n\n> You unlock the door with iron key\nYou unlock the small wooden door.\n\n> You go north\n(first opening the small wooden door)\n\nA plain wooden table runs under the window of this small, narrow room, with an old-fashioned safe set into the opposite wall. The only way out is via the door to the south.\n\nYou can see a large blue diary here.\n\n> You examine safe\nWhich do you mean, the small flat metal key, the small brass key or the office key?\n\nAll you can see of it is the green-painted metal door set into the wall. It's unlikely to contain anything of interest, just crosses, candlesticks and communion wafers.\n\n> You hit recorder\nTrying to force it open with your bare hands proves futile.\n\n> You open the recorder with the knife\nYou slip, cut yourself horribly, and bleed out. THE END.\n\n> You look at diary\n(first taking the large blue diary)\nYou flick through the diary. It's mainly a record of services and parish meetings, but you find an entry from two days ago that catches your eye: \"Meet DS at KA 2 pm\". \"KA\" is likely to be the Kings Arms, the pub in the High Street.\n\n> You look at the recorder\nIt's scarcely bigger than a cassette. It also looks broken, as if smashed when its owner fell.\n\n> You fix the recorder\nWhat do you want to fix the tiny cassette-recorder to?\n\n> You examine the mat\nThe front of it bears a crude depiction of the Kings Arms, and a slogan advertising \"Mottles Real Ale\". On the back someone has scribbled:\n\"2M -> Uzbekistan\n\narm's deal?\n\nwhats the plan?\"\n\n> Go southwest\nMandlebury Road (East)\nA large car park lies immediately to the south, while Church Street forks off to the northeast. Mandlebury Road continues to both east (past the Police Station) and west (back to the City Centre).\n\n> Go south\nIt's normally near impossible to find a parking space in this town centre car park at any time between 8 am and midnight, but now there's scarcely a vehicle in sight. The main car park exit into Mandlebury Street is to the north, but there's also a narrow alley leading west to the High Street.\n\nThe only vehicle parked here is a large lorry.\n\n> Unlock cab\n(the driver's cab)\nThat is not something you can unlock.\n\n> Enter\nYou clamber inside the back of the lorry.\n\nIt is pitch dark, and you can't see a thing.\n\n> You translate the cyrillic\nIt's a struggle, but with the aid of the dictionary you manage to figure out that the cylinder is some kind of nuclear device. Working out what most of the coloured wires do is beyond you, except that you're now fairly confident that the blue wire is connected to \"radio-controlled detonator\".\n\n> You go outside\nYou turn off the torch to save its battery.\n\nIt's normally near impossible to find a parking space in this town centre car park at any time between 8 am and midnight, but now there's scarcely a vehicle in sight. The main car park exit into Mandlebury Street is to the north, but there's also a narrow alley leading west to the High Street.\n\nThe only vehicle parked here is a large lorry.\n\n> You cut the wires\n(with the sharp kitchen knife)\nCutting them all might be a might excessive; you have no idea what effect that might have.\n\n> You look at the wires\nA red wire, an orange wire, a yellow wire, a green wire, a blue wire, a purple wire and a black wire are all attached to various parts of the cylinder.\n\n> You cut the blue wire\n(with the sharp kitchen knife)\nWith considerable trepidation, you cut the blue wire. You hold your breath for a few moments, but nothing explodes.\n\n> You think\nYou're beginning to run out of ideas. You're fairly sure she's been moving round the city even while you've been trying to find her, almost as if she's deliberately been trying to avoid you. But it does occur to you that you haven't yet tried the Concert Hall.\n\nYou're beginning to run out of ideas. You're fairly sure she's been moving round the city even while you've been trying to find her, almost as if she's deliberately been trying to avoid you. But it does occur to you that you haven't yet tried Carlton Terrace.\n\n> Go north\nYou can't go that way. The only obvious exit is outside (to Car Park).\n\n> Go east\nMandlebury Road (outside Police Station)\nMandlebury Road continues to east and west, while the main city police station stands just to the south, and Church Road runs off to the north.\n\n> Go north\nSchool Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.\n\n> Go east\nLittle more than a large concreted square partly walled off from the road, this area serves as playground (and occasionally overflow car park) to the primary school you attended twenty years ago. The school building is just to the east, set a little further back from the road, but it looks dark and all locked up. With no light from the building and little from the street, the playground feels a strange, dark place, bathed in eerie moonlight. The street is just off to the west.\n\nThis was a co-ed school, and this playground was where you first saw her, all those years ago. Perhaps your recollection of that first encounter has been coloured by events of the last two decades, but as you recall it, when your eyes met across the playground it was as if everything else around receded into two-dimensional monochrome, and she was the only three-dimensional technicolour object left in your field of view. Again, as you recall, she smiled shyly at you, and you went and introduced yourself in your earnest six-year-old fashion, but so much fantasy and wishful thinking has surrounded the frequent rehearsal of that memory that you can't really remember what either of you actually said.\n\n> You use the detector\nYou switch the torch on.\n\nYou switch the metal detector on.\n\nYour search turns up nothing of interest.\n\n> You turn off the torch\nYou switch the metal detector off.\n\nYou switch the torch off.\n\n> You think\nYou're beginning to run out of ideas. You're fairly sure she's been moving round the city even while you've been trying to find her, almost as if she's deliberately been trying to avoid you. But it does occur to you that you haven't yet tried the Supermarket.\n\n> Go south\nCornwallis Avenue runs straight down from the crossroads to the north and continues to the south. Amongst the buildings lining this part of the street is the Coroner's Court just to the east.\n\nYou remember you had to attend the Coroner's Court after Kate drowned. It was a miserable business; the police doctor had confirmed that Kate's death was by drowning, but as you'd arrived on the scene so soon after she had fished Kate out of the river that you were an important witness. Although she (your friend, that is) said she'd seen Kate jump off the bridge, there was no suicide note and no evidence that Kate was feeling suicidal, so in the end the coroner's jury reached a verdict of death by misadventure. With the wisdom of hindsight you wish they'd been a bit more thorough and a lot more suspicious.\n\n> You go to the south\nCornwallis Avenue (south)\nCornwallis Avenue continues to north and south. The Odeon Cinema stands just to the east.\n\n> Go east\nYou walk into the foyer, take a quick look round, and then proceed into the main auditorium.\n\nIt's almost totally dark in here, so you can hardly see anything apart from the bare outlines of the seats and the screen, and, of course, the exit to the west.\n\nYou came here once with her to see a film when you were both students, it was one of the few occasions you actually went out with her. If you remember rightly the film was Titanic, but at the time you were much more interested in her than the film. Typically, she seemed so much more interested in the film than you that she didn't even notice where your interest lay.\n\n> You turn on the torch\nYou switch the torch on.\n\nThe beam of your torch picks out a box lying under one of the seats.\n\n> You take the box\nYou pick up the chocolate box and examine it.\n\nIt's a small box of chocolates.\n\n> You open the box\nYou open the chocolate box.\n\n> You look at the box\nIt's a small box of chocolates.\n\n> You read the box\nOn it is written \"The car-park delivery is fine. The contents will settle the final installment. Spasiba\".\n\n> You go west\nYou walk back through the foyer and out into the street.\n\nYou turn off the torch to save its battery.\n\nCornwallis Avenue (south)\nCornwallis Avenue continues to north and south. The Odeon Cinema stands just to the east.\n\n> Go south\nJunction of Market Street and Cornwallis Avenue.\nMarket Street (to the west) comes to an end at this junction with Cornwallis Avenue (running to north and south). Opposite Market street stands a small electronics store called The Radio Shop.\n\n> You go south\nSouth of the junction with Market Street, Cornwallis Avenue becomes the London Road, and its character changes to match. The area looks grubbier and slightly more run-down. For the most part the road is lined with parades of uninviting-looking shops with blocks of flats built above them. Incongruously, the Fairfax Hall occupies one block on the east side of the road. The road itself runs north and south.\n\n> Go east\nThe Concert Hall (in darkness)\nThe auditorium is shrouded in semi-darkness, but you're quite familiar with it. It was designed to be multi-purpose, so, for example, that opera could be staged here as well as concerts.\n\nYou've attended many concerts here over the years, many of them good, but the one you remember best is the amateur performance of The Marriage of Figaro in which she sang the part of Cherubino. You thought she sang like an angel, and in your mind's ear you can still hear her beautiful rendition of the aria \"Voi che sapete\" - \"You who know what love is\". You came back to hear her again several nights in succession; it's fortunate that you're so fond of Mozart.\n\n> You turn on the torch\nYou switch the torch on.\n\nThe auditorium is shrouded in semi-darkness, but you're quite familiar with it. It was designed to be multi-purpose, so, for example, that opera could be staged here as well as concerts. A quick sweep of the area with the beam of your torch indicates nothing untoward, and in particular reveals no sign of her or anyone else. But you do spot a lectern on the stage, suggesting that the hall may recently have been used for something other than music, as does some of the litter left on the seats. The way out is to the west.\n\n> You examine the lectern\n(first climbing onto the stage)\nIt's just an old wooden lectern, of plain utilitarian design. On closer inspection, it could almost be a conductor's music stand.\n\nYou find a civil defence manual on the lectern.\n\n> You take the manual\nYou pick up the civil defence manual and examine it.\n\nIt seems to be all about what to do in the event of a nuclear attack. It doesn't quite say \"Dig a two-metre trench and lie in it\", but at a quick glance the advice offered doesn't seem much more useful than that.\n\n> You take the beret\nNone of the stuff left on the seats looks worth bothering with.\n\n> You read the manual\nIt seems to be all about what to do in the event of a nuclear attack. It doesn't quite say \"Dig a two-metre trench and lie in it\", but at a quick glance the advice offered doesn't seem much more useful than that.\n\n> You move lectern\nIt is fixed in place.\n\n> You go west\n(first leaving the concert platform)\nYou turn off the torch to save its battery.\n\nSouth of the junction with Market Street, Cornwallis Avenue becomes the London Road, and its character changes to match. The area looks grubbier and slightly more run-down. For the most part the road is lined with parades of uninviting-looking shops with blocks of flats built above them. Incongruously, the Fairfax Hall occupies one block on the east side of the road. The road itself runs north and south.\n\nAs you emerge from the Fairfax Hall you hear the distant clack of footsteps on the pavement, and turn to see a distant figure disappearing off to the south.\n\n> Go south\nElmbridge Roundabout is one of those huge roundabouts built on the edge of cities with the apparent intention of smoothing the traffic flow and the normal effect of snarling it up. Tonight, however, there is not a single vehicle in sight. The east and west exits lead to the ring road, the southern exit to the motorway, and the north exit back into the city.\n\nWhoever's footsteps it was that you heard just now, there's no one in sight here.\n\n> Go west\nYou must have driven down this section of road a dozen times without being more than minimally aware that it crosses the river at this point, but on foot it's all too obvious; you can stop and stare at the moonlight reflecting off the water without a single car headlight to disturb you. The ring road continues to both east and west.\n\nYou vividly recall one occasion when you were driving this way. It was shortly after graduation and you were driving a group of friends back from a celebratory party. The traffic suddenly slowed to a crawl and you became aware of flashing blue lights a short way up ahead.\n\n\"Quick; change places with me,\" she said.\n\n\"But...\" you began to protest.\n\n\"Don't argue, there isn't much time.\" she insisted.\n\nThere was something about her tone of voice that silenced any further argument, so you surreptitiously changed places before the traffic started moving again. A few dozen yards further on the police stopped the car and asked her to blow into a breathalyzer (there weren't meant to be random breath tests in those days, but they found some pretext). She, of course, was clean. To this day you don't know whether you would have been, but you're profoundly grateful that it wasn't put to the test.\n\n> You go west\nWalking along the ring road feels positively eerie; after all, it was built for cars, not pedestrians, and normally it wouldn't even be possible to walk here. But now it's totally deserted, apart from a large advertising hoarding by the side of the road. The ring road continues westwards to Oak Tree Roundabout and eastwards over Elm Bridge.\n\nSuddenly, the silence is rent by the roar of engines. You leap out of the way just in time as a sports car races past, hotly pursued by a police car with lights flashing and sirens blazing. Both cars vanish off to the west, and the road falls silent once more.\n\n> You examine the hoarding\nThe best-illuminated poster is one that declares:\n\nMyles Biggar Haulage, for all your transport needs. Miles better by far!\n\nemail: sales@mylesbiggar.co.uk\nphone 01921 743589.\n\n> Go west\nThis large roundabout is normally busy and frequently congested; seeing it without a car in sight seems distinctly strange. There are four exits from the roundabout: to east and west is the ring road; to the north the road over Preston Bridge into the city centre, and to the south the dual carriageway heading out into the country.\n\n> Go south\nThat's one of the main routes out of the city. She can't have gone that way.\n\n> You go to the north\nThis bridge is normally something of a bottleneck at rush hour, but now it's just as deserted as everywhere else in the city. It's a bit too narrow for the volume of traffic it normally has to take, but its old stone parapets overlooking the river make it too historic to widen.\n\n> Go north\nThe lighting is a bit better here, since it's a junction of two normally busy roads: the High Street continues to north and south, while Market Street heads off to the east.\n\n> Go north\nHigh Street (Outside Hairdressers and Pub)\nAmongst the various buildings lining the street here you particularly notice two: the glass-fronted Ladies' Hairdresser to the east and the mock-Tudor olde worlde pub - the Kings Arms - which stands directly opposite it to the west. The High Street continues to both north and south.\n\n> Go north\nHigh Street (South)\nThe High Street runs north to the City Centre and continues to the south. A narrow alley runs off to the east, opposite a newsagent to the west.\n\n> Go north\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\n> You go southwest\nYou walk cautiously towards the bank, wondering if there's anyone inside. You pause outside, just by the imposing classical pillars that surround the entrance, and listen for signs of life. Hearing nothing, you carry on inside.\n\nThe bank is deserted now, but it looks like someone was here not too long ago: the service counter is surrounded by broken glass. That presumably explains why the bank is unlocked and the lights left on; whoever has just robbed the bank didn't hang around to lock up and turn out the lights. The street exit is to the northeast.\n\nA heavy mallet left lying among the shards of glass indicates pretty clearly how the barrier was broken.\n\nYou ran into her here about eighteen months ago; she was just ahead of you in the queue.\n\n\"Oh, hello!\" she said, with one of her brighter smiles, \"Are you here to take all your money out too? These people obviously can't be trusted with it!\"\n\n\"Why not?\" you asked.\n\n\"Didn't you hear about it on the news?\" she replied, \"Someone hacked into Morgans' mainframe and siphoned off a couple of million. Doesn't say much for their security, does it?\"\n\n> You take the mallet\nYou pick up the heavy mallet.\n\n> You examine the mallet\nIt has a long wooden handle and a massive metal head.\n\n> You examine the counter\nThe service counter is deserted, of course, but it is also surrounded by broken glass, a hole having been smashed through the barrier that would normally protect it. It looks as if some crooks have taken advantage of the evacuation to commit a tempting felony.\n\n> You go to the north-east\nThe supermarket is all locked up; you can't get in.\n\n> You examine Supermarket\nThe supermarket occupies the entire corner on which it stands, and was seemingly designed by an architect desperate to win the International Bland Building of the Millennium contest. Through its plate glass window you can see the front part of the shop is partially lit, perhaps as a security measure. An unmistakeable security measure is the burglar alarm mounted just above the entrance.\n\n> You look at the alarm\nIt's a square, red box with \"Metro Alarms\" printed on it.\n\n> You hit alarm with mallet\nThe burglar alarm is too high up.\n\nThe sound of a clock striking three mingles with the roar of a jet aircraft flying overhead.\n\n> You hit glass with the mallet\nYou smash through the glass with the mallet, and then keep smashing until you've made a hole large enough to step through. Meanwhile the alarm starts to ring.\n\n> You go northeast\nVery carefully, so as not to cut yourself or tear your clothes, you step through the large jagged hole in the window and find yourself just inside the Supermarket.\n\nThere's no one here, and most of the aisles are in shadow; the only light is in the checkout area by the exit to the southwest.\n\nIt was here that you last saw her, about ten days ago, when she came up behind you in the checkout queue. She seemed pleased to see you, and appeared to have made a deliberate choice to join your queue, but the conversation remained inconsequential until you were ready to leave. Just as you'd packed up your shopping and paid your bill, she became suddenly solemn.\n\n\"If I ever needed you - I mean really needed you - you would be there for me, wouldn't you?\" she asked.\n\n\"Of course,\" you replied, without hesitation.\n\n\"Good,\" she smiled, and then changed the subject to something inconsequential like the weather.\n\n> You think\nYou're beginning to run out of ideas. You're fairly sure she's been moving round the city even while you've been trying to find her, almost as if she's deliberately been trying to avoid you. But it does occur to you that you haven't yet tried Lafayette's."
    },
    {
        "text": "> You look around\nThere's no one here, and most of the aisles are in shadow; the only light is in the checkout area by the exit to the southwest.\n\n> You look at the checkout area\nThe checkout area is still lit, but you can't see why; there's no one there.\n\n> You go to the southwest\nWith great care, you step back out through the jagged hole and into the street.\n\nYou turn off the torch to save its battery.\n\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\nThe burglar alarm is ringing.\n\n> You go north\nHigh Street (by Post Office)\nThis part of the High Street contains some of the oldest buildings in the city, and the old shop fronts have been mercifully preserved from the depredations of three generations of philistine post-war planners. The main post office on the west side of the street is a particularly fine example of Victorian architecture, but all the shops retain a measure of charm here, even when they're only selling mortgages or computer games. The High Street continues to north and south, while a narrow lane runs off to the west just by the post office.\n\n> You go north\nHigh Street (by your office)\nThe High Street continues to north and south past rows of shops and small offices. One of the latter, directly to the west, is the office where you work.\n\n> You look up the Metro Alarms\n(on the computer)\nYou google for \"metro alarms\", but it turns up nothing of immediate interest.\n\n> You look up the spasiba\n(on the computer)\nYou google for \"spasiba\", but it turns up nothing of immediate interest.\n\n> You read the chocolates\nOn it is written \"The car-park delivery is fine. The contents will settle the final installment. Spasiba\".\n\n> You look in it\nThe box is empty, but there's something written on the inside lid.\n\n> Google abisaps\n(on the computer)\nYou google for \"abisaps\", but it turns up nothing of immediate interest.\n\n> Google puzhalsta\n(on the computer)\nYou google for \"puzhalsta\", but it turns up nothing of immediate interest.\n\n> Google hacker\n(on the computer)\nYou google for \"hacker\", but it turns up nothing of immediate interest.\n\n> Google spasibo\n(on the computer)\nYou google for \"spasibo\", but it turns up nothing of immediate interest.\n\n> Google lafayette'S\n(on the computer)\nYou google for \"lafayette's\", but it turns up nothing of immediate interest.\n\n> Go west\n(first opening the restaurant door)\nIt turns out to be unlocked, so you have no trouble letting yourself in and strolling inside.\n\nLafayette's (in the dark)\nIt's too dark to see much in here, apart from the exit to the east. There's probably a light switch near the door.\n\nYou once brought Kate here for a meal a few weeks after her twenty-first birthday. You weren't sure you wanted a relationship with Kate, but you weren't sure you didn't want one either. She was frighteningly clever, but she was also kind, warm-hearted and extraordinarily perceptive. Above all, she was someone you could really talk to, more than anyone else you knew at the time.\n\nYou can't remember much of what you talked about that evening, but you vividly recall one snippet of the conversation.\n\n\"Do you wish it was her with you here tonight?\" she asked quietly.\n\nIt was obvious to both of you whom she meant, so you didn't bother to query it. Instead you replied, \"She's an interesting enough woman, I suppose, but I'm very happy with the company I've got.\"\n\n\"So am I,\" Kate smiled wistfully, \"But I can see you fancy her all the same. You shouldn't go so much on externals.\"\n\n> You turn on the light\nYou fumble around by the door and manage to find the light switch, which you turn on.\n\nThe rather small tables and slightly gaudy red mock-leather chairs hardly make this the grandest restaurant in town, but in your opinion it offers the best value for money, as well as a relaxed friendly atmosphere. It's rather sad to see it so deserted tonight.\n\nOn the serving counter are a steak knife and an old radio.\n\n> You take the knife\n(the steak knife)\nYou pick up the steak knife and examine it.\n\nIt looks pretty sharp.\n\n> You examine Radio\nIt certainly looks like an old model, unless it's just a particularly convincing retro imitation. It has a large dial, and the cable running from it suggests that it's meant to run off mains power.\n\nThe old radio is currently switched off.\n\n> You turn on Radio\nNothing happens; perhaps the radio is broken, or perhaps there's no power.\n\n> You plug in Radio\nYou plug the cord into the socket.\nThe radio comes to life, with the broadcast of an overture by Elgar.\n\n> You listen\nFrom the radio comes the sound of a symphony by Beethoven.\n\n> You examine dial\nIt's a large circular dial that can be turned to tune the radio.\n\n> Tune Radio\nTry turning the dial.\n\n> You turn the dial\nYou turn the dial, tuning into some kind of game show. One of the contestants has just been challenged to sing an impromptu song about Icelandic cod fishing to the tune of Land of Hope and Glory.\n\n> Continue\nYou turn the dial, tuning into a piece of rock.\n\n> Continue\nYou turn the dial, tuning into the news. Apparently, England has lost yet another test match.\n\n> Continue\nYou turn the dial, tuning into the evening play. It appears to be a dramatization of War and Peace, but you can't quite place the actor playing General Kutuzov, even though his voice sounds vaguely familiar.\n\n> You listen to Radio\nFrom the radio comes the sound of the evening play. It appears to be a dramatization of War and Peace, but you can't quite place the actor playing Andrei, even though his voice sounds vaguely familiar.\n\n> You listen to Radio\nFrom the radio comes the sound of the evening play. It appears to be a dramatization of War and Peace, but you can't quite place the actor playing Napoleon, even though his voice sounds vaguely familiar.\n\n> You turn the dial\nYou turn the dial, tuning into some long Russian opera.\n\nA clock chimes half past the hour. It can't be much more than an hour to dawn; surely the Enemy will have arrived by then. Time really is running out.\n\n> You open the recorder with knife\nWhich do you mean, the steak knife or the sharp kitchen knife?\n\n> You go east\nYou leave the restaurant and walk back out into York Street.\n\nYork Street (north)\nYork Street continues to north and south. On the west side of the street stands Lafayette's, an intimate little restaurant you used to frequent when you went out more.\n\n> Go north\nBeyond the point where York Street meets Hythe Bridge Street, it runs on into a residential suburb. Hythe Bridge Street runs off to the southeast, while York Street runs south towards the railway station.\n\n> Go south\n(first opening the large steel door)\n\nThis seems to be a large space, but you can see virtually nothing here apart from the faint outline of the window up to the west and of the desk just beneath it.\n\n> You examine toolbox\nThe green metal toolbox looks quite big and heavy.\n\nIn the green metal toolbox are some tools.\n\n> Search tools\nThere's a hammer, some screwdrivers, and a selection of spanners.\n\n> You take the screwdriver\nYou pick up the small screwdriver and examine it.\n\nIt's a small screwdriver with a narrow blade and a yellow plastic handle.\n\n> You pry the recorder with the screwdriver\nYou pry the tiny cassette-recorder open with the small screwdriver, revealing a black cassette within. You then throw away the now useless pieces of the broken cassette recorder.\n\n> You look at the cassette player\nIt's a small, basic tape cassette player, black and silver in colour, with buttons marked PLAY, STOP, REWIND and EJECT.\n\n> You open the cassette player\nYou press the EJECT button and the cassette player pops open.\n\n> You put the black cassette tape in cassette player\n(first taking the blue cassette)\nYou put the black cassette into the portable cassette player.\n\n> Close cassette player\nYou close the portable cassette player.\n\n> You press play\nNothing happens, beyond the faintest of whirring sounds.\n\n> You press rewind\nThere's a brief whirring while the tape rewinds, and then a click when it comes to a stop.\n\n> You press play\nThe recording is tinny and a bit muffled. There are two voices, one male, one female.\n\n\"Hello\" says the male voice, \"You came. But why here?\"\n\n\"This is where it all started to go wrong, all those years ago, so it seemed fitting -- but you wouldn't understand. You betrayed me,\" says the woman, \"why?\"\n\n\"Just doing my public duty,\" says the man.\n\n\"You mean I woudn't pay your price for silence,\" the other replies.\n\n\"It was hardly an unreasonable price, all things considered,\" says the man.\n\n\"I didn't need to pay it. I already had an insurance policy,\" says the woman.\n\n\"I can't imagine what,\" the man replies, with a slight chuckle.\n\n\"I knew I couldn't trust you, so I lied,\" the woman answers, \"Fortunately you've passed my disinformation on to the authorities. They're looking for it in the wrong place.\"\n\n\"Why tell me that now?\" he asks.\n\n\"I wanted to you to know how badly you'd failed,\" the woman replies, \"before you die.\"\n\n\"Oh no, I'm out of here.\" says the man.\n\n\"On no you're not.\" The recording is too poor to be able to identify either voice with certainty. You don't want the female voice to be hers, and you fervently hope that it isn't. It may not be; but you're forced to admit that it could be.\n\nThe conversation breaks off. There's a series of bangs and crashes, which could be the sounds of a scuffle, then silence. The tape comes to an end and the cassette player stops with a click.\n\n> You remember University Hall\nIn the University Hall you remembered:\nYou attended three or four quite unmemorable lectures here when you were a student, but you mainly remember this hall for the two University rites of passage: matriculation and graduation. You can't even recall seeing her at the former, but she was definitely at the latter, and quite out of sorts that day -- you could scarcely get a cold nod out of her, let alone a word.\n\n> You think\nYou're beginning to run out of ideas. You're fairly sure she's been moving round the city even while you've been trying to find her, almost as if she's deliberately been trying to avoid you. But it does occur to you that you haven't yet tried Carlton Terrace.\n\n> You examine the crumpled piece of the paper\nIt's her degree certificate, showing that she graduated with an excellent first class degree. Despite your best efforts to straighten it out, the certificate remains a bit scrumpled.\n\n> You examine the photograph\nIt shows the climax of the graduation ceremony, with Kate shaking hands with the Vice-Chancellor as she receives the award for the best degree result of the year. A little way over to the left a group of graduands in academic robes stand looking on and applauding; among them are Jeremy, Nick, yourself - and her. It's her you look at, every bit as beautiful at twenty-one as she is today. She's applauding and smiling with the rest, but the smile looks a little forced.\n\n> You examine the key\nWhich do you mean, the large iron key, the small flat metal key, the large car key, the small brass key or the office key?\n\n> Piece\nThe handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, \"Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later.\"\n\nJust below that you see a crease that you missed before - you must have been in too much of a hurry, or maybe the light was too bad. Anyway, you unfold the crease and see that she has written:\n\n\"I'll meet you where we first met at twenty to four. Don't be late!\"\n\nI beg your pardon?\n\n> You go to Hospital\n(going to the Hospital Reception)\n(going north)\nYou turn off the torch to save its battery.\n\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> Go south\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\nThe burglar alarm is ringing.\n\n> Go west\nMandlebury Road (West)\nAt this point Mandlebury Road is a broad, well-lit street, bordering the shadowy entrance to Mandlebury Park just to the north, and a traditional fish and chip shop to the south. The street continues east towards the city centre and west over Mandlebury Bridge.\n\n> Go west\nIt's strange - almost unnatural - to see this bridge so deserted. You're more used to seeing it jammed with slow-moving rush-hour traffic, or at least a steady flow. But now there's nothing here apart from the bare tarmac, the street lights (one of which now has a large placard attached to it), the stone parapet, and the river sliding silently past below.\n\n> You go to the west\nThe Embankment is the name given to this short stretch of road by Mandlebury Bridge, which spans the river to the east. To the west the Embankment is lined by a row of shops; to the north it becomes York Street, while to the south it runs into Sussex Street.\n\n> You go to the south\nSussex Street (north)\nA row of large Edwardian town houses lines the west side of the street, overlooking the river to the east. The houses are all in darkness, and the street deserted, making it all seem not quite real. Sussex Street continues north to the Embankment and south towards the junction with Gladstone Terrace.\n\n> You go south\nJunction of Sussex Street and Gladstone Terrace.\nThis junction would be well-lit even without the moonlight. Sussex Street continues to north and south while Gladstone Terrace leads off to the west. Further north the street runs along the west bank of the river, but just here the river bends towards the southeast and parts company with the road.\n\n> Go south\nSussex Street (south)\nAlthough so far as you know this part of the city never suffered any bomb damage, some group of town planners rapidly made up for the negligence of the Luftwaffe by tearing down whatever was here before and replacing it with a mass of soulless fifties architecture seemingly inspired by Soviet brutalism. The most striking eyesore is the City Hospital, which lies immediately to the east. Sussex Street continues to north and south.\n\n> Go east\nHospitals can be depressing places at the best of times, and considerable effort has been put into ensuring that this one is no exception. The flickering light from a couple of fluorescent tubes does nothing to help, but the drab seating in the waiting area is the clincher. Opposite this seating stands the reception desk, currently unstaffed. Corridors lead off in all directions to operating theatres, offices, and wards, but the only one that looks at all tempting is the one that leads back out to the west.\n\nOn the reception desk is a brown telephone.\n\n> You look at the desk\nThe reception desk is a long, flat surface behind which there would normally be situated a receptionist busily engaged in keeping visitors from patients, patients from doctors, and useful information from absolutely everyone (with the possible exception of the police and security services). Right now, however, it is as deserted as everywhere else.\n\nOn the reception desk is a brown telephone.\n\n> Sing\nI didn't understand that sentence.\n\nYou sing a few bars of \"What Shall We Do with the Drunken Sailor?\", but your performance impresses no one but yourself.\n\n> You continue\nYou sing a few bars of \"Rule, Britannia!\", but your performance impresses no one but yourself.\n\n> You think\n\"Where we first met?\" Does she mean when you were both very young?\n\n> You remember Playground\nIn the Playground you remembered:\nThis was a co-ed school, and this playground was where you first saw her, all those years ago. Perhaps your recollection of that first encounter has been coloured by events of the last two decades, but as you recall it, when your eyes met across the playground it was as if everything else around receded into two-dimensional monochrome, and she was the only three-dimensional technicolour object left in your field of view. Again, as you recall, she smiled shyly at you, and you went and introduced yourself in your earnest six-year-old fashion, but so much fantasy and wishful thinking has surrounded the frequent rehearsal of that memory that you can't really remember what either of you actually said.\n\n> You read the piece\nWhich do you mean, the small piece of paper or the crumpled piece of paper?\n\n> Small\nThe handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, \"Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later.\"\n\nJust below that you see a crease that you missed before - you must have been in too much of a hurry, or maybe the light was too bad. Anyway, you unfold the crease and see that she has written:\n\n\"I'll meet you where we first met at twenty to four. Don't be late!\"\n\n> You go north\nYou turn off the torch to save its battery.\n\nHythe Bridge Street (south)\nHythe Bridge Street is quite narrow, being one of the oldest parts of the city. It narrows even further as it approaches an old stone bridge to the northwest; to the southeast it runs towards a junction with the High Street. On the south side of the street stands a large haulage depot, round the side of which a narrow alley runs to the southwest.\n\n> You go south\nHigh Street (by your office)\nThe High Street continues to north and south past rows of shops and small offices. One of the latter, directly to the west, is the office where you work.\n\n> You go south\nHigh Street (by Post Office)\nThis part of the High Street contains some of the oldest buildings in the city, and the old shop fronts have been mercifully preserved from the depredations of three generations of philistine post-war planners. The main post office on the west side of the street is a particularly fine example of Victorian architecture, but all the shops retain a measure of charm here, even when they're only selling mortgages or computer games. The High Street continues to north and south, while a narrow lane runs off to the west just by the post office.\n\n> Go south\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\nThe burglar alarm is ringing.\n\n> Go east\nMandlebury Road (East)\nA large car park lies immediately to the south, while Church Street forks off to the northeast. Mandlebury Road continues to both east (past the Police Station) and west (back to the City Centre).\n\n> Go east\nMandlebury Road (outside Police Station)\nMandlebury Road continues to east and west, while the main city police station stands just to the south, and Church Road runs off to the north.\n\n> You go east\nMandlebury Road (east of the Crossroads)\nFrom the crossroads, Mandlebury Road runs on straight to east for half a mile or more between rows of neat suburban houses.\n\n> You go east\nMandlebury Road continues out of town into a residential suburb; you're pretty sure she won't be there.\n\n> Go north\nYou can't go that way. The obvious exits are east and west (to Crossroads).\n\n> You go north\nSchool Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.\n\nYou hear a footfall slowly approaching down the street, and turn to see a figure walking towards you. As the figure passes under a street light, you see it's a slender young woman with long dark hair. You feel sure it must be her even before you can see her properly. You start walking towards her, eager yet apprehensive at finally meeting her. She walks on a few paces, then stops in a dark place between lamp posts, waiting for you to reach her.\n\nIt is her; of course it is her. Even from a few yards away in the moonlight you're quite sure, and once you stop a couple of feet away no possible doubt remains: it's Emma.\n\n\"Good - you made it!\" she declares, \"I don't suppose you managed to find the key, did you?\"\n\n> You say yes\n\"Yes, miraculously enough, I did!\" you reply triumphantly, handing her the key.\n\n\"Thank heavens for that!\" she replies, taking the key. She holds it up in the bright moonlight, then nods, \"Yes, this looks like the one,\" she tells you. With a rapid motion she inserts the key into the small metal box she's holding and gives it a quick twist, \"Oh yes,\" she declares, \"That's definitely the one. Thank you!\" Smiling her most alluring smile she adds, \"Tell me David, do you trust me?\"\n\n> You say no\n\"To be honest, I'm not sure I do,\" you reply.\n\nAmazingly, she doesn't seem in the least offended. \"Really?\" she asks, \"You're learning at last! But you should trust me now, David, you really should. I'm your only hope of defeating the Enemy. Here ... \" she holds out the small grey box to you, \"Just push the button on that. Show that you trust me now. Will you do that?\"\n\n> You look at Emma\nShe is tall, slender, and to your eyes, utterly beautiful, but the moonlight makes her look a little ghostlike, exaggerating both the palor of her skin and the darkness of her hair. She's carrying a small flat metal key and a small grey box.\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\"\n\n> You say no\n\"No, I won't do it,\" you reply.\n\n\"No matter,\" she shrugs, \"It's a missed opportunity, but I can just as easily do it myself.\"\n\nShe pushes the button, but nothing obvious happens.\n\nWell, something obvious happens. She laughs out loud and punches the air in triumph, shouting, \"Yes!\" Beaming at you fondly she continues, \"Dear David, I always knew you were my truest friend, the one person I could always rely on. That's why I had to share this with you. Would you like to kiss me? Yes, I can see in your eyes you would. Go on - kiss me - I know you've always been dying to, and now you're about to die with me!\"\n\nShe smiles at your mild bemusement, then goes on, \"I'm afraid someone tipped them all off -- I suppose it must have been Danny, he was the only one who knew enough -- so they all got away, and I really wanted to take them all with me. Still, David, you stayed behind for me, and that's good because you're the only one who never rejected me, so you mustn't reject me now -- me or my nightfall.\"\n\n\"Emma, what are you talking about?\" you ask sadly.\n\n\"We're about to reach Nightfall: final, ultimate, wonderful nightfall! This whole city is about to become a pile of radioactive ash!\" she declares brightly, as if this were the best possible thing imaginable, \"I have just detonated my bomb! At last I've achieved something that no one can ignore! This place never did value me properly, I've suffered far too many rejections! You do understand, don't you? I tried - I really tried - I always did my best, but other people kept stealing the prizes. That's why I had to kill Kate, of course - and why I have to destroy this city! Don't look so upset, David -- death is the most loving gift I have to give, and you of all people deserve my best! Just think what I'm sharing with you! I know you've always fancied me, and now I know I love you madly, so go on, take me: hug me, kiss me, make mad passionate love to me; I'm yours till death us do part!\"\n\n> You ask Emma about Kate\n\"What really happened to Kate?\" you ask.\n\n\"Kate?\" she replies, a little too shortly, \"Oh - Kate. She stole too many things that should have been mine, so - she drowned. She had to. Now, how about answering my question: Will you kiss me while you can?\"\n\n\"Death, destruction, decay, these three things abide,\" she says, \"but the greatest of these... Hang on. It's late!\" She frowns momentarily, then relaxes into a smile, \"I should not be so impatient - any moment now! Just give me one last kiss while you still can!\"\n\n> You kiss emma\nYou kiss her on the lips and find yourself taken slightly aback at the enthusiasm of her response.\n\n\"Something has definitely gone wrong,\" Emma frowns, \"We should both be dead by now, and this city should be a radioactive crater. David, have you done something?\"\n\n> You go north\n> Other things to try\nVarious places in the city trigger important memories. You didn't visit them all this time. Next time try visiting Carlton Terrace as well.\nYou might want to take a closer look at the small grey box and the television. There are also several important objects you haven't found yet.\nHow many tape cassettes did you find? There are five in all.\n\n> Other things to try\n\n> Other things to try"
    },
    {
        "text": "[Themes: Espionage, Terrorism, library, city]\n\n> You look around\nThe bank is deserted now, but it looks like someone was here not too long ago: the service counter is surrounded by broken glass. That presumably explains why the bank is unlocked and the lights left on; whoever has just robbed the bank didn't hang around to lock up and turn out the lights. The street exit is to the northeast.\n\n> You go west\nMandlebury Road (West)\nAt this point Mandlebury Road is a broad, well-lit street, bordering the shadowy entrance to Mandlebury Park just to the north, and a traditional fish and chip shop to the south. The street continues east towards the city centre and west over Mandlebury Bridge.\n\nThe sound of a clock striking three mingles with the roar of a jet aircraft flying overhead.\n\n> Go west\nIt's strange - almost unnatural - to see this bridge so deserted. You're more used to seeing it jammed with slow-moving rush-hour traffic, or at least a steady flow. But now there's nothing here apart from the bare tarmac, the street lights (one of which now has a large placard attached to it), the stone parapet, and the river sliding silently past below.\n\n> You go to the west\nThe Embankment is the name given to this short stretch of road by Mandlebury Bridge, which spans the river to the east. To the west the Embankment is lined by a row of shops; to the north it becomes York Street, while to the south it runs into Sussex Street.\n\n> You go west\nCarlton Terrace runs east into Sussex Street and continues westwards under a railway bridge.\n\nYou once considered renting your first flat in this street, but eventually decided against it. The flat would have been relatively cheap, but it there were good reasons for that, among them being (a) that Carlton Terrace is not in a nice area and (b) that the trains rattling over the bridge would probably have kept you awake all night. In the end you settled for a flat out in the northern suburbs.\n\n> You examine the Bridge\nThe bridge is but a vague outline in the moonlight, but the dark tunnel running under it looks profoundly uninviting.\n\n> You go west\nThat way leads to Fordbury, a run-down quarter with a high crime rate. It has presumably been evacuated along with the rest of the city, so the risk of getting mugged is no doubt lower than usual, but it's most unlikely she went that way, and you feel sure you'd do better to concentrate your search nearer the city centre.\n\n> You go south\nThis is yet another of the large roundabouts on the ring road, all of which look more or less alike, especially by moonlight. This one has four exits: north into the city, south to the industrial estate, and east and west to the ring road.\n\n> You go to the west\nYou're hardly likely to find her by walking on round the ring road.\n\n> You go to the south\nThat way leads to the main industrial estate. You very much doubt she'd have gone there.\n\n> You go east\nNormally there'd be a lot of cars racing or queuing along this expanse of tarmac, depending on the time of day. Right now, however, there is not a single one in sight; just about every vehicle in the city has been used for the evacuation, and no one in their right mind would come here with the Enemy about to arrive. Walking along the tarmac by moonlight feels distinctly strange.\n\n> You go to the east\nThis large roundabout is normally busy and frequently congested; seeing it without a car in sight seems distinctly strange. There are four exits from the roundabout: to east and west is the ring road; to the north the road over Preston Bridge into the city centre, and to the south the dual carriageway heading out into the country.\n\n> You go east\nTilbury Road runs eastwards out of the city through the Tilbury Park Council Estate. It's obvious that it's leaving the city centre from the way the street lighting becomes less frequent. The junction with Church Street and Devon Road lies back to the west.\n\n> You look at Estate\nIt's too far out to be worth looking for her; it would take you weeks to search all the suburbs and housing estates and you haven't even got all night.\n\n> You look at her\nShe is tall, slender, and to your eyes, utterly beautiful, but the moonlight makes her look a little ghostlike, exaggerating both the palor of her skin and the darkness of her hair. She's carrying a small grey box.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You tell her no\n\"No, I'm afraid not,\" you lie, \"There really wasn't much hope of finding it in any of those places in the dark, was there?\"\n\n\"No, I suppose not,\" she sighs. \"Damn! You may as well have this then,\" she says, handing you the small grey box, \"It's our only hope of defeating the Enemy, but it's no good without the key. So what are we going to do now? Do you have a plan for dealing with the Enemy?\"\n\n> You ask her about Enemy\n\"What do you know about the Enemy? Who are they?\" you ask.\n\n\"I wonder if you'd understand if I told you,\" she replies, \"but you haven't answered my question. What are we to do now? Do you have a plan for dealing with the Enemy?\"\n\n> You tell her no\n\"No -- let's get out of here before the Enemy arrive,\" you suggest.\n\n\"It's much too late for that,\" she tells you, \"The Enemy has been here all along. Wait a minute though...\" she feels in her pockets and then gives a triumphant smile, \"Ah, thank goodness for that! I think I've found the spare!\" She grabs your palm as if pressing something into it, but when you look you just see the one flat metal key there. Meanwhile she watches you with a twisted smile, as if challenging you to acknoweldge that she saw through your lie.\n\n\"We can defeat the Enemy after all,\" she tells you, \"all you need to do is to put the key in the hole, give it a turn, and push the red button. Will you do that for me, David?\"\n\n> You tell her no\n\"No, I won't do it,\" you reply.\n\n\"No matter,\" she shrugs, \"It's a missed opportunity, but I can just as easily do it myself.\"\nShe takes the flat metal key, inserts it in the small grey box, and gives it a twist.\nShe pushes the button, but nothing obvious happens.\n\nWell, something obvious happens. She laughs out loud and punches the air in triumph, shouting, \"Yes!\" Beaming at you fondly she continues, \"Dear David, I always knew you were my truest friend, the one person I could always rely on. That's why I had to share this with you. Would you like to kiss me? Yes, I can see in your eyes you would. Go on - kiss me - I know you've always been dying to, and now you're about to die with me!\"\n\nShe smiles at your mild bemusement, then goes on, \"I'm afraid someone tipped them all off -- I suppose it must have been Danny, he was the only one who knew enough -- so they all got away, and I really wanted to take them all with me. Still, David, you stayed behind for me, and that's good because you're the only one who never rejected me, so you mustn't reject me now -- me or my nightfall.\"\n\n\"Emma, what are you talking about?\" you ask sadly.\n\n\"We're about to reach Nightfall: final, ultimate, wonderful nightfall! This whole city is about to become a pile of radioactive ash!\" she declares brightly, as if this were the best possible thing imaginable, \"I have just detonated my bomb! At last I've achieved something that no one can ignore! This place never did value me properly, I've suffered far too many rejections! You do understand, don't you? I tried - I really tried - I always did my best, but other people kept stealing the prizes. That's why I had to kill Kate, of course - and why I have to destroy this city! Don't look so upset, David -- death is the most loving gift I have to give, and you of all people deserve my best! Just think what I'm sharing with you! I know you've always fancied me, and now I know I love you madly, so go on, take me: hug me, kiss me, make mad passionate love to me; I'm yours till death us do part!\"\n\n> You ask her about Nightfall\n\"What's the connection between your painting and Stanilev's book?\" you ask.\n\n\"Beyond the name, you mean?\" she replies, \"I should have thought that was obvious: I was trying to express in paint what Stanilev said in words. Now, how about answering my question: Will you kiss me while you can?\"\n\n\"Death, destruction, decay, these three things abide,\" she says, \"but the greatest of these... Hang on. It's late!\" She frowns momentarily, then relaxes into a smile, \"I should not be so impatient - any moment now! Just give me one last kiss while you still can!\"\n\n> You tell her no\nShe appears not to hear you, or else chooses to ignore your negation. \"Something has definitely gone wrong,\" Emma frowns, \"We should both be dead by now, and this city should be a radioactive crater. David, have you done something?\"\n\n> You tell her no\n\"I don't know what you're talking about, Emma,\" you lie, knowing the lie to be justified now, \"All this stuff about bombs and nightfall - whatever do you mean?\"\n\nShe looks momentarily puzzled, \"We should be dead,\" she replies.\n\n\"I don't see why!\" you reply, \"It's so much better to be alive! And somehow I don't think the Enemy will be troubling us any more.\"\n\n\"You don't?\" she asks suspiciously.\n\n\"We've defeated them, Emma,\" you tell her.\n\n\"We have?\" she asks.\n\n\"I see no Enemy here, Emma,\" you tell her, \"Do you?\"\n\nIn reply, she merely stares at you, finally at a loss for words, so you decide to press your advantage.\n\n\"I don't know what's been going on here tonight, Emma,\" you say, \"but I do know that life is worth living, especially now I find myself alone in this city with the most beautiful and talented woman I shall ever set eyes on. And you know what? The Enemy that's been stalking me all my life is the fear of rejection, and that Enemy has just been routed. So - I'm going to walk you home now and I'm not taking no for an answer.\"\n\nFor a moment she continues to stare at you, then finally nods. \"Very well,\" she agrees, \"Let's try it your way.\"\n\nShe makes no protest at all as you take her hand and start walking back to her flat. That way you can keep her under your control while you plan the final reckoning.\n\n> You look at the small piece of the paper\nThe handwriting is as small as the piece of paper it's written on, but you still recognise it as hers. It reads, \"Sorry, couldn't wait - just discovered I've lost something I must recover: a small, grey, flat metal key. I may have dropped it when I went for a run (in the usual place) or when I went to the knowledge factory. We must make sure they don't get it. It would be a big help if you could search those two places while I look elsewhere. See you later.\"\n\nJust below that you see a crease that you missed before - you must have been in too much of a hurry, or maybe the light was too bad. Anyway, you unfold the crease and see that she has written:\n\n\"I'll meet you where we first met at twenty past two. Don't be late!\"\n\n> Go east\nYou can't go that way. The only obvious exit is outside (to Car Park).\n\n> Outside\nYou turn off the torch to save its battery.\n\nIt's normally near impossible to find a parking space in this town centre car park at any time between 8 am and midnight, but now there's scarcely a vehicle in sight. The main car park exit into Mandlebury Street is to the north, but there's also a narrow alley leading west to the High Street.\n\nThe only vehicle parked here is a large lorry.\n\n> You go to the east\nYou can't go that way. The obvious exits are north (to Mandlebury Road (East)), west (to High Street (South)) and inside (to Lorry Interior).\n\n> You go north\nSchool Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.\n\nYou hear a footfall slowly approaching down the street, and turn to see a figure walking towards you. As the figure passes under a street light, you see it's a slender young woman with long dark hair. You feel sure it must be her even before you can see her properly. You start walking towards her, eager yet apprehensive at finally meeting her. She walks on a few paces, then stops in a dark place between lamp posts, waiting for you to reach her.\n\nIt is her; of course it is her. Even from a few yards away in the moonlight you're quite sure, and once you stop a couple of feet away no possible doubt remains: it's Emma.\n\n\"Hello David,\" she says, \"I'm glad you made it. I hope you had better luck than I did; did you find the key?\"\n\n> You tell her yes\n\"Yes, miraculously enough, I did!\" you reply triumphantly, handing her the key.\n\n\"Thank heavens for that!\" she replies, taking the key. She holds it up in the bright moonlight, then nods, \"Yes, this looks like the one,\" she tells you. With a rapid motion she inserts the key into the small metal box she's holding and gives it a quick twist, \"Oh yes,\" she declares, \"That's definitely the one. Thank you!\" Smiling her most alluring smile she adds, \"Tell me David, do you trust me?\"\n\n> You tell her yes\n(Emma that)\n\"Yes, of course I trust you!\" you declare.\n\n\"Then help me defeat the Enemy once and for all, just push this button,\" she requests, holding out the small box to you, \"Will you do that for me?\"\n\n> You make the love to Emma\nYou kiss her on the lips and find yourself taken slightly aback at the enthusiasm of her response.\n\n\"Death, destruction, decay, these three things abide,\" she says, \"but the greatest of these...\"\n\nThen suddenly there's an ear-splitting roar that shatters your eardrums so you hear no more, a blinding flash that melts your eyeballs so you see no more, and a searing moment of intense pain as your skin blisters in intense heat and your body is buffeted by wind and debris. Then, at last, comes merciful oblivion.\n\n> You show the matchbook to Emma\n\"What do you make of that, Emma?\" you ask, showing her the matchbook.\n\nShe looks at it for a couple of moments, then remarky dryly, \"Very ingenious, I'm sure! But I asked you something: Have you found the key?\"\n\n> You ask Emma about Mastema\n\"What's all this stuff about Mastema -- the signature on the poster in your living room?\" you ask.\n\n\"Oh that,\" she laughs, \"Once I realized that A.D. Stanilev was an anagram of SATAN DEVIL I thought I'd make a similar anagram out of my own name, as a kind of homage to the great man. But I asked you something: Did you manage to find the key?\"\n\n> You ask Emma about the degree\n\"You got a very good degree, Emma,\" you remark, \"Wasn't it good enough for you?\"\n\n\"It wasn't good enough, was it?\" she snaps back, \"Kate's was better, as you know. Now, how about answering my question: Have you found the key?\"\n\n> You show the cap to Emma\nShe barely glances at the khaki peaked cap.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You ask Emma about the map\nShe brushes your question aside: \"No, David, I asked if you'd found the key - have you?\" she asks.\n\n> You show the box to Emma\n(the chocolate box to Emma)\nEmma takes the box of chocolates off you and looks inside. \"How kind,\" she remarks, \"Of course it would have been even kinder if the box hadn't been empty. It would be kinder still if you'd just answer my question: Did you manage to find the key?\"\n\n> You ask Emma about the brooch\n\"Here, you might want this back,\" you say, handing her the gold brooch.\n\n\"Thank you, how -- quaint,\" she replies with a lopsided smile, \"I'll treasure it all my life!\" So saying, she pins it to her dress. \"Now, do me another favour; try answering my question: Have you found the key?\"\n\n> Inventory\nYou are carrying a small screwdriver, a steak knife, a heavy mallet, a prominent notice, a metal detector, a portable cassette player (closed), inside which is a black cassette, a khaki peaked cap, a long rod, a torch, a sharp kitchen knife, a bar mat, a matchbook, a small brown envelope (open but empty), seventeen documents (a civil defence manual, a large blue diary, a small scrap of yellow paper, an evacuation order, a large Russian dictionary, a black book, a photograph, a letter, a small piece of paper, a concert programme, a menu, a birthday card, a crumpled piece of paper, a business card, a printed email, some miscellaneous papers and an old newspaper), five keys (a large iron key, a small flat metal key, a large car key, a small brass key and an office key) and two cassettes (a blue cassette and a grey tape cassette).\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You show the manual to Emma\nShe barely glances at the civil defence manual.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You show the birthday card to Emma\n\"It's a bit late for my birthday,\" she remarks, after giving the card a quick glance, \"Besides, I have something much more important to celebrate now. But first, please answer my question: Did you manage to find the key?\"\n\n> You show yellow paper to Emma\nWhich do you mean, the small scrap of yellow paper or the evacuation order?\n\n> Small scrap\nShe barely glances at the small scrap of yellow paper.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You ask her about Danny\n(Emma about that)\n\"Did you kill Daniel Saunders?\" you ask.\n\n\"Yes,\" she replies, \"He betrayed me -- he went to the authorities with what he knew, so nearly everyone got out in time. He deserved to die for that. Now tell me: Have you found the key?\"\n\n> You ask Emma about Danny\n(Emma about that)\n\"What exactly happened between you and Jeremy?\" you inquire.\n\n\"We went out for a bit, then he called it off,\" she shrugs, \"he turned out to be yet another one of the people round here who rejected me. But never mind that; I asked you something: Did you manage to find the key?\"\n\nDon't you have any compunction about killing Saunders?\" you ask.\n\n\"Why should I?\" she replies, \"I planned far more deaths than that. Now tell me: Have you found the key?\"\n\n> You ask Emma about Danny\n\"About Daniel Saunders,\" you begin.\n\n\"Never mind Danny,\" she interrupts you, \"He really doesn't matter now. Now tell me: Did you manage to find the key?\"\n\n> You ask her about Kate\n(Emma about that)\n\"What really happened to Kate?\" you ask.\n\n\"Kate?\" she replies, a little too shortly, \"Oh - Kate. She stole too many things that should have been mine, so - she drowned. She had to. Now, how about answering my question: Have you found the key?\"\n\n> Continue\n(Emma about that)\n\"What do you mean, Kate stole too many things that should have been yours?\" you demand.\n\n\"Never mind Kate,\" she replies, \"What I want to know is this: Did you manage to find the key?\"\n\n> Keep going\n(Emma about that)\n\"Did you kill Kate?\" you ask.\n\n\"What do you think?\" she shoots back, \"But never mind that, just answer the question I asked you: Have you found the key?\"\n\n> Continue\n(Emma about that)\n\"Did you kill Kate?\" you ask.\n\n\"What do you think?\" she shoots back, \"But never mind that, just answer the question I asked you: Did you manage to find the key?\""
    },
    {
        "text": "> You look around\nSchool Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.\n\nShe stands staring at you.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> Sing\nYou're embarrassed to; her singing voice is so much better than yours.\n\n> You throw the flat key\nDropped.\n\n\"I asked you a question,\" she reminds you. \"Have you found the key?\"\n\n> You say no\n\"No, I'm afraid not,\" you lie, \"There really wasn't much hope of finding it in any of those places in the dark, was there?\"\n\n\"No, I suppose not,\" she sighs. \"Damn! You may as well have this then,\" she says, handing you the small grey box, \"It's our only hope of defeating the Enemy, but it's no good without the key. So what are we going to do now? Do you have a plan for dealing with the Enemy?\"\n\n> Yes\n\"Yes -- let's get out of here before the Enemy arrive,\" you suggest.\n\n\"It's much too late for that,\" she tells you, \"The Enemy has been here all along. Wait a minute though...\" she feels in her pockets and then gives a triumphant smile, \"Ah, thank goodness for that! I think I've found the spare!\" She grabs your palm and presses something into it. When you look you see a flat metal key there.\n\n\"We can defeat the Enemy after all,\" she tells you, \"all you need to do is to put the key in the hole, give it a turn, and push the red button. Will you do that for me, David?\"\n\n> You drop the flat key\nDropped.\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\""
    },
    {
        "text": "[Themes: Espionage, male protagonist, library]\n\n> You look around\nSchool Lane is a relatively short street running north up to the junction with Church Street and south to Cornwallis Avenue. It's mainly residential, but the primary school you attended is on this street; its playground is just to the east.\n\nShe stands staring at you.\n\nYou can also see a small flat metal key here.\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\"\n\n> You look at the grey box\nIt's rectangular in shape, with a big red button and a small keyhole.\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\"\n\n> You take grey box\nYou already have that.\n\n> You drop it\nEmma looks mildly vexed, but picks up the box and hands it back to you. \"Careful!\" she admonishes you.\n\n> You throw it\nEmma looks vaguely annoyed, but picks up the box and hands it back to you. \"Clumsy!\" she admonishes you.\n\n> You eat it\nThat's plainly inedible.\n\n> You break it\nYou smash the box against the ground, bursting open its case. She watches bemused as you rip out its wires, and then stamp the remains of the thing underfoot.\n\n\"No! No!\" she cries, \"What have you done? You've ruined everything! You - you of all people - you have betrayed me!\"\n\nWith a demented shriek, she runs off into the night, leaving you momentarily dazed and alone, until you collect yourself and hurry off after her.\n\nThe junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.\n\nThe night is just turning to dawn and you hear the sound of distant birdsong. Soon the city will be bustling with life once more; the bomb disposal people are already at work and it should be safe for people to start returning this afternoon. You have saved the city.\n\nYou couldn't save her. You caught up with her just in time to see her throw herself into the river. You tried looking for her; you jumped in where you thought you'd seen her go under, and swam around for as long as you could, but you never found her, so eventually you gave up.\n\nPerhaps it's better that way, for now at last she is at peace.\n\nAnd you? You feel quite strange, as if you'd suddenly woken up on an alien world that was both like and unlike home. Your idol has been shattered: she was not what you thought; for all her brilliance and beauty, she was not worthy of the pedestal you put her on. But then, perhaps no human being should be worshipped. In any case, now she's gone you can at last move on. It's time to start living your life without her. You look around you and decide that from now on your life is probably best lived elsewhere - this city holds too many memories for you. But before you go you know there is one last task you must perform.\n\nYou must put some fresh flowers on Kate's grave.\n\n> You look at her\n(Emma)\nShe is tall, slender, and to your eyes, utterly beautiful, but the moonlight makes her look a little ghostlike, exaggerating both the palor of her skin and the darkness of her hair. She's carrying a chocolate box.\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\"\n\n> You stab Emma with the knife\nWhich do you mean, the steak knife or the sharp kitchen knife?\n\n> You press the button\n(the big red button)\nYou push the button, but nothing happens.\n\n\"It won't work without the key. Put the key in the keyhole and turn it,\" Emma tells you.\n\n> You put the key in the box\nWhich do you mean, the small flat metal key, the large iron key, the large car key, the small brass key or the office key?\n\n> Flat key\n(the small grey box)\n(first taking the small flat metal key)\n\"Good!\" Emma declares, as you fit the key into its hole, \"Now just turn it and push the button!\"\n\n\"What are you waiting for?\" she demands, \"Are you going to press that button for me or aren't you?\"\n\n> You turn the key\n(the small flat metal key)\nYou turn the key through 180 degrees.\n\n\"Good!\" she declares, \"Now press the button. Will you do that?\"\n\n> You press button\n(the big red button)\nYou push the button, but nothing obvious happens.\n\nWell, something obvious happens. She laughs out loud and punches the air in triumph, shouting, \"Yes!\" Beaming at you fondly she continues, \"Dear David, I always knew you were my truest friend, the one person I could always rely on. That's why I had to share this with you. Would you like to kiss me? Yes, I can see in your eyes you would. Go on - kiss me - I know you've always been dying to, and now you're about to die with me!\"\n\nShe smiles at your mild bemusement, then goes on, \"I'm afraid someone tipped them all off -- I suppose it must have been Danny, he was the only one who knew enough -- so they all got away, and I really wanted to take them all with me. Still, David, you stayed behind for me, and that's good because you're the only one who never rejected me, so you mustn't reject me now -- me or my nightfall.\"\n\n\"Emma, what are you talking about?\" you ask sadly.\n\n\"We're about to reach Nightfall: final, ultimate, wonderful nightfall! This whole city is about to become a pile of radioactive ash!\" she declares brightly, as if this were the best possible thing imaginable, \"You have just detonated my bomb, bless you! So, you deserve to share in my triumph! At last I've achieved something that no one can ignore! This place never did value me properly, I've suffered far too many rejections! You do understand, don't you? I tried - I really tried - I always did my best, but other people kept stealing the prizes. That's why I had to kill Kate, of course - and why I have to destroy this city! Don't look so upset, David -- death is the most loving gift I have to give, and you of all people deserve my best! Just think what I'm sharing with you! I know you've always fancied me, and now I know I love you madly, so go on, take me: hug me, kiss me, make mad passionate love to me; I'm yours till death us do part!\"\n\n> You kill her\n(Emma)\nIn sudden fury, you lash out at her with your fists. She's momentarily taken off guard, so you land one punch on her jaw, but then she dodges out of your range, saying, \"Really, David, that's no way for a gentleman to behave!\"\n\n\"Death, destruction, decay, these three things abide,\" she says, \"but the greatest of these... Hang on. It's late!\" She frowns momentarily, then relaxes into a smile, \"I should not be so impatient - any moment now! Just give me one last kiss while you still can!\"\n\n> You stab her with the kitchen knife\n(Emma with the sharp kitchen knife)\nIn sudden fury, you stab Emma through the heart, crying \"You murderous bitch!\"\n\nShe stares at you in astonishment, then sinks slowly to the ground.\nYou turn and walk away, leaving her to die alone. Whether you'll confess to killing her is something you can leave to tomorrow -- you suspect no one will blame you if you tell the story in the right way. Right now you just want to walk and walk, and ponder the salvation of a city and the death of a dream."
    },
    {
        "text": "[Themes: Flimflam, magic, female protagonist, magician, family, cards]\n\nThey said that it couldn't be done. Or anyway, they said that if it could be done that nobody could do it, which amounts to the same thing.\n\nBut then somebody went ahead and did it.\n\nNot the two-card trick. Oh no. That's last season. Everyone was amazed, and everyone definitely should have been amazed. It was amazing, after all. Odds beaten. Minds boggled. Hearts won. You went to lengths that no one would ever imagine, which is just how you'd like to keep it. Keep them guessing. Keep your reputation, too, as the most famous prestidigitator around here.\n\nWell, that's not going to happen. Not unless you do something about this new upstart. Everyone thinks that he must have some talent or skill that you don't.\nskill that you don't.Poppycock!\n\nYou know exactly what he's got, and soon enough it's going to be yours. Talent and skill aren't anywhere in the picture. It would take something much more than that to perform what he's started to pompously call his\u2026\npompously call his Three-Card Trick\n\nYou've been sitting here for ages and there's no interest. On the table your cards are stacked neatly and gathering dust. All right, they're not actually gathering dust, but they're drawing more\ndust than they are spectators. In fact, it's safe to say that you won't be receiving any attention as long as Ivan's still in business. You've been watching patrons stream into his tent all afternoon.\n\nIt's time to put an end to that. March right out there, confront the charlatan.\n\n[Author's Note: You're going to perform a three-card trick or your name isn't Morgan the Magnificent.]\n\n> You examine medal\nWhen Lady Gascogne first pinned this medal to your jacket, it meant that you were actually magnificent. But that was last season. Now the medal's started to blacken and Lady Gascogne's tastes have turned toward three-card tricks instead.\n\n> You read the notice\nIt's a sign that says 'Out to Lunch' in cursive lettering.\nYou have no plans to go to lunch. Nobody ever does who uses signs like these. But it's the traditional excuse to slip away.\n\n> You look\nAt the Exposition (in your booth (on your chair))\nYou're sitting behind your table with your cards stacked before you, but you're not attracting any spectators.\n\nOutside you can see Ivan's tent across the exposition floor.\n\n> You put down the sign\nYou haven't had any spectators today, and that won't change without some subterfuge. But you still set an 'Out to Lunch' sign on\nyour table before leaving. Just in case.\n\n> You examine the compass\nNot a normal magnetic compass by any measure. This baby's astrologically attuned. Rather than pointing north, it points toward the nearest nexus. Pragmatically speaking, that means you can easily find your way around the exposition by walking inward to its\ncenter or outward away from it.\n\nYou don't want to think about what you had to do to get this compass.\n\n> You get up\nYou rise from your chair.\n\n> You go outside\nAh yes, the exposition, where fortunes are made and unmade every season. It's a madhouse, jammed with prospective magicians at their stalls. They stretch outward as far as you can see. But there's a hidden order involved: if you look overhead, you can study the stars through the ceiling's glass dome, and the exposition's floorspace is aligned to their constellations. You know, sacred geometry. That's why it's a big deal that your booth is at the center (where you belong), and that Ivan's tent is there too (where he does not).\n\nThere's a crowd at his tent. You can't help but eavesdrop.\n\n\"I never saw anything like that in my life!\" one lady says. \"How\ndoes he do it?\"\n\n\"I can't imagine,\" says another. \"It defies comprehension\u2026\"\n\n> You look at ivan's tent\nOne word to describe Ivan's tent? Ostentatious. It's like a little bigtop striped silver and gold, and there's a flag over the entrance with 'Ivan the Incredible' plastered across it in the largest\nfont that could be crammed onto the fabric. Tacky, that's another word. Ugly. Tasteless. Vulgar. You could keep going.\n\n> You enter the ivan's tent\nYou shoulder your way through the crowd. Ladies step aside with disapproving gasps.\n\nAt the Exposition (in Ivan's tent)\nInside the tent, more ladies continue to part as you pass, dividing like curtains to reveal the spectacle ahead: Ivan sitting at his table with some starstruck ing\u00e9nue standing nearby. She's got one hand clamped to her mouth like she can't believe what just happened, and the other ladies are applauding. Meanwhile Ivan is reshuffling his deck with a smile on his face that you would love to wipe\naway.\n\n\"Why, goodness gracious!\" he exclaims when he sees you. \"Morgan the Magnificent! Come to pay your respects, have you, my dear? I don't suppose there's much demand for two-card tricks these days\u2026 it must\nbe\nlonely over in that little booth.\"\n\nEveryone is staring now. The timing's right. You waited until this moment to talk to Ivan, and it's going to pay off in spades. It had better pay off.\n\n> You talk to Ivan\n\"You're a fraud,\" you tell Ivan. \"A shyster. A crook. There's no way you could do a three-card trick. You're just suckering these suckers. And you call yourself Ivan the Incredible. More like Ivan the Imposter!\"\n\n> You examine Ivan\nHmm, well, that didn't quite land. Things sound better when you say them in your head, but it doesn't matter. All the spectators are scandalized. They're fanning themselves like they've got the vapors, and putting the backs of their hands to their foreheads, and generally swooning. But Ivan just keeps smiling.\n\n> You talk to Ivan\n\"Is that a challenge, my dear?\" he asks you, and his voice is like castor oil. \"Very well. I'll perform the trick now, and if I'm such a fraud then you'll expose me. How does that arrangement sound?\"\n\n\"You'll regret it,\" you tell him.\n\n\"We'll see. But first I suppose that you'll want to search my person and my table and my cards? Go right ahead. I have nothing to hide. Nothing up my sleeve, as we magicians say.\"\n\nHe rises and opens his arms in a gesture that means: Try your best, you won't win.\n\n> You examine table\nRunning your hands over the tabletop reveals nothing unusual. Nor does running your hands below the table, or crouching to study its underside, or looking behind it. It is, for all intents and purposes, a perfectly mundane piece of furniture.\n\n\"I could perform with any table,\" Ivan boasts.\n\n> You search Ivan\nfull advantage while you can. There's nothing too\ninconsequential for your attention. You pat him down and turn his jacket out. You reach into his pockets. You look inside his top hat. You even pull open his mouth to examine his teeth. Your fingers are everywhere.\n\n\"Heavens me!\" Ivan says when you're done. \"I don't think that an autopsy would uncover anything you just didn't.\"\n\n> You look at the cards\nBefore Ivan touches this deck again, you're going to make sure that it's shuffled thoroughly. You cut the cards and riffle them.\nThey arc between your hands. Red and black diamonds, clubs, hearts, spades. Fluttering waterfalls. What you're doing is its own performance, but of course everybody looks bored. You're not\nthe star today. At least when you smack the deck back onto the table, you know there's no way that it's stacked.\n\n\"Why, it's almost as though you distrust me!\" Ivan says.\n\nThat remark, naturally, gets plenty of laughs from the peanut gallery.\n\nWell, you suppose that should do it. Time to finally see Ivan's trick.\n\n> You search the ivan's sleeves\nYou pry open Ivan's sleeves, stare into them, feel their satin lining, roll them up and down, scrunch their fabric between your fingers. Not only that, but you feel Ivan's wrists, his arms, his hands.\n\nYou find nothing.\n\n\"What did I tell you?\" he says, and the ladies in the tent murmur with awe, as if he's already performed some miracle.\n\n> You look\nAt the Exposition (in Ivan's tent)\nAdoring ladies are clustered around Ivan at his table.\n\n> You talk to Ivan\n\"All right,\" you say. \"I'm satisfied. But I'm going to watch you\nlike a hawk.\"\n\n\"I wouldn't have it any other way,\" Ivan replies.\n\nHe returns to his chair and the spectating ladies herd closer to see. They're a circle and you're in their center, pressed up to the table as Ivan wiggles his fingers in the air. Every wiggle produces a new \"Ooh!\" and \"Aah!\" from the crowd, despite the fact that he hasn't\ndone anything yet. Talk about easy to please.\n\n> You continue\nHe draws the top card from his deck and places it face-down on the table.\n\n> You continue\nOne.\n\n> Keep going\nHe draws the next card from his deck and places it face-down on the table.\n\n> Continue\nTwo.\n\n> Continue\nYou can feel the suspense in the tent. Everyone holding their breath. All eyes unblinking. Gazes pinned to the table with its two cards laid out beside each other. This is the limit. Nobody's taken the trick further than this. Nobody's taken the trick further than you. But then Ivan reaches for another card\u2026\n\n> Keep going\nIvan reaches for another card\u2026 as the ladies gasp\u2026\n\n> Keep going\nIvan reaches for another card\u2026 as the ladies gasp\u2026 and he lifts\nthat\ncard\u2026\n\n> Keep going\ncard\u2026 and places it face-down on the table.\n\n> Continue\nThree.\n\n> Continue\n\"Pick a card,\" he says.\n\n> You pick a card\n(the first card)\nYou pick a card and hold it to your chest, but Ivan just smiles again.\n\n\"I understand, my dear. You're being cautious,\" he says. \"But don't presume that I need anything as common as my eyeballs to see what card you've chosen. My vision runs deeper than that\u2026 deep\u2026 deep\u2026 into\nthe\nmystical abyss where cause births effect and every decision is made. I can see your card naked before me: a paper rectangle emblazoned with glowing iconography! I can see it\u2026 see it right there\u2026!\"\n\n> You wait\nWhat you see is a giant ham. Ivan's rubbing his temples, eyes pressed tightly shut.\n\n> Continue\n\"Mmm, yes, it's coming to me,\" he intones. \"I can see\u2026 I can see\u2026\n\n> You continue\n\"Mmm, yes, it's coming to me,\" he intones. \"I can see\u2026 I can see\u2026 a deuce of clubs!\"\n\n> Keep going\nNow his eyes are open, boring into yours.\n\n> You examine the card\nYou lay a deuce of clubs on the table.\n\n> You continue\nApplause erupts inside the tent, drowning out everything else. You lost. Ivan won. His devotees rally around him, throwing their arms high, laughing and weeping with joy. Their reaction is almost too much for him to handle. They're ready to cart him around overhead in his chair. It's only after his most humble and\ngentlemanly protestations that they relent, but they're still\ntwirling their parasols and buzzing like bees.\n\nFor the moment, you've been forgotten, and it'll take more than a moment for anyone to remember you again. Luckily you came prepared for that. Even luckier, you got what you wanted.\n\n> You look\nAt the Exposition (in Ivan's tent)\nAdoring ladies are clustered around Ivan at his table.\n\n> You check what you're carrying\nYou're wearing a tuxedo, a platinum medal, and a top hat, and you're carrying Ivan's key and a compass.\n\n> You examine the key\nGold-plated and gaudy, to match Ivan's personality.\n\n> You examine the chair\nIvan's chair is just like any other magician's chair, although you feel sorry for the thing for having to come into contact with such a huge ass every day.\n\n> You go north\nThe only way out is, well, out.\n\n> Go outside\nIt takes all your willpower to suppress a smile as you step outside. Your skills at sleight of hand have served you well. And your planning was perfect: with Ivan still distracted in his tent, he'll never notice that his key's gone missing. Until it's too late, anyway.\n\nInitially, to be honest, you were unsure, but now you know\nthat you're on the right track. And you've got more than a guess about what this key will unlock, and where to find it: underground."
    },
    {
        "text": "[Themes: Flimflam, cards, magic]\n\n> You go downwards\nwhat this key will unlock, and where to find it: underground.At the Exposition\nHere at the exposition's center are your booth and Ivan's tent, around which a crowd has gathered.\n\nOutward are more magicians at more stations.\n\n> You enter the booth\nAt the Exposition (in your booth)\nAn 'Out to Lunch' notice is standing beside your cards on the\ntable, with your chair pushed back.\n\nOutside you can see Ivan's tent across the exposition floor.\n\n> Dig\nDigging around here would just be a waste.\n\n> You leave\nHere at the exposition's center are your booth and Ivan's tent, around which a crowd has gathered.\n\nOutward are more magicians at more stations.\n\n> You go outside\nYou wander out into the exposition.\n\nStalls and stalls and stalls in rows and rows and rows. They seem to continue forever, although there's a definite limit at their outer edge where the exposition stops, which means there's a limit to how many magicians can perform. That's a problem for any magicians who don't qualify, but it's not your problem, and it's not a\nproblem for the sightseers bustling through the exposition in huge droves.\n\nThere's one sightseer out there whose opinion matters more than anyone: Lady Gascogne. You can't see her now. You just know that she's making the rounds with her eyes peeled for the newest sensation. And that sensation is going to be Ivan the Incredible unless you make sure that it's not.\n\n> You examine the stalls\nSo many magicians in so many stalls. What a sight to behold and what a colossal waste. None of these stalls are aligned properly. Not that anyone knows the difference except you.\n\n> Go outside\nAs you near the exposition's fringe, you can see where its glass dome curves down toward the ground. Beyond that dome's the barricade. Beyond that barricade's the outside world. Guardsmen are patrolling its wall, their arms drawn at perpetual ready, prepared to dispatch uninvited magicians who would try scaling their way inside.\n\nYou're not concerned with that. Instead, there's a trapdoor with your name on it over behind a derelict penny arcade.\n\n> You examine the arcade\nBack in the day, a machine was actually the first 'person' to successfully perform a one-card trick. That led to penny arcades like this being churned out en masse, each equipped with its own\nrobotic card-dealing magician. But the first machine's success was a fluke. All the penny arcades were useless. Which is why human magicians like you are still around.\n\n> Examine dome\nYou know those bell jars that people use to cover clocks or whatever on their mantelpieces? That's just what this glass dome is like. A gigantic bell jar over the exposition."
    },
    {
        "text": "[Themes: Flimflam, cards, magician]\n\n> Go downward\nYou open the trapdoor and slip down undetected.\n\nYou'll never forget the first time you explored down here. Even with your compass, you were totally lost for hours. Just darkness and garbage and steel columns bracing the ceiling in every direction.\n\nAt the moment, you know where you are because the trapdoor's overhead, but it's easy to get turned around (read: inevitable). Identical passageways open to the north, south, east, and west.\n\n> You go inside\nIdentical passageways open to the south, west, north, and east.\n\nThreadbare tuxedoes are mounded around you waist-high.\n\n> You go inside\nIdentical passageways open to the north, south, west, and east.\n\nMoldy satin bouquets carpet the floor.\n\n> Go inside\nOkay, you're headed in the right direction. You recognize the two skeletons on the ground here from the last time you came through. Not that you thought you would really lose your way again, but\nit's still reassuring to find a landmark.\n\nIdentical passageways open to the north, south, east, and west.\n\n> You go inside\nIdentical passageways open to the east, south, north, and west.\n\nYou have to kick your way through woven baskets packed with ropes.\n\n> Enter\nIdentical passageways open to the north, south, east, and west.\n\nWands, wands, wands. Who uses wands? No one. That's why they're dumped here.\n\n> You go inside\nFinally you reach the center. There's more junk piled here than anywhere else. Swords designed for swallowing, and saws designed to cut ladies in half, and handkerchiefs and pointy hats and cloaks patterned with stars, and cups and balls, and chains and guillotines, and boxes with mirrors in them, and padlocks and lockpicks. Enough miscellaneous garbage to orchestrate a thousand magic tricks.\n\nBut what's this? Oho, something new: a steamer trunk sitting\nright out in the open. Definitely wasn't there before. Definitely stamped with the initials I.I.\n\n> You examine the trunk\nEnormous, leather, bound in buckled straps. This is the sort of trunk that people imagine when they think about trunks, not the sort of trunk that anyone actually owns. Except for Ivan. The man\nmust not know the meaning of the word discretion.\n\n> You open the trunk\nYou open the trunk using Ivan's filched key. It's a cinch. No additional security. No extra obstacles. Like the fool never even expected that he would be robbed. Oiled hinges slide back with a pleasant smoothness as the lid rises, and then you're looking down at the interior.\n\n> You examine the trunk\nThis is what you knew you'd find.\n\n> Continue\nThis is what you knew you'd find. Even still, it takes you\nsomewhat by surprise.\n\n> You continue\nSitting there in the trunk is a pale glistening slab like a raw chicken breast. Maybe calling it a chicken breast doesn't quite paint the picture. It's got arms and legs but they're no more than stubs, and its head is as big as its body. So it's more like two raw chicken breasts that have been slapped together. Its eyes are sunk way back into its head and it's got an itty-bitty toothless mouth. All gums, that toothless mouth. Its stubby arms are wiggling and it's mumbling words that sound more like lip-smacks: \"\u2026three of spades\u2026 nine of hearts\u2026 king of clubs\u2026\"\n\n> You talk to the trunk\nNot much conversation there.\n\n> You examine the trunk\nEnormous, leather, bound in buckled straps. This is the sort of trunk that people imagine when they think about trunks, not the sort of trunk that anyone actually owns. Except for Ivan. The man\nmust not know the meaning of the word discretion.\n\nRight now the trunk is open, and Ivan's grandmother is sitting inside mumbling: \"\u2026five of hearts\u2026 four of spades\u2026 king of clubs\u2026\"\n\n> You talk to the grandmother\nSo you're Ivan's grandmother, huh? What a pleasure to meet.\nYou must be so proud of your grandson's success, unless you're aware he's a slimeball and a cheater. But of course you're aware, since he put you down here, made you what you are now. You can't cop to it, though, can't say anything except card ranks and suits, which is why actually interrogating you like this would be pointless.\n\nBut it doesn't matter, because you know what Ivan did to his grandmother, whether she has the voice to admit it or not. Just look at her. This is your jurisdiction he's trying to muscle into,\nand when his career is over, you'll still reign supreme.\n\n> You take the grandmother\nNow everything makes sense. Of course Ivan can perform a three-card trick, because he upped the ante by using his grandmother as\na ritual anchor. That's definitely what this is: a grandmother. You wonder why you never considered such a possibility. In retrospect, it's bloody obvious.\n\nWhat's less obvious is how someone as lunkheaded as Ivan even figured out how to do it. Must've stumbled across a grimoire. He sure as hell didn't struggle like you to personally chart the leylines. You refuse to believe that he's got enough talent. Which is why you feel no compunction whatsoever about taking his grandmother for yourself, and promptly scoop her up. She's slimy and gross but what can you expect.\n\n> Go inside\nAs you hold her in your arms, she groans. She wants to go back inside the trunk, but she's going to go into your chest instead,\nwhich you've hidden beneath the surrounding debris.\n\n> You look\nIdentical passageways open to the north, south, east, and west.\n\nMiscellaneous magical artifacts clutter the area, but separated from them is a distinctly out-of-place steamer trunk.\n\n> You examine the artifacts\nUnlike Ivan, you hid your chest well, and it takes some digging before you unearth it from the junk. You can tell that it hasn't been touched since you were here last season. All the locks are still intact. Now you've just got to pull your key out of your top hat to open it.\n\n> You search debris\nyou've just got to pull your key out of your top hat to open it.Suddenly you hear a commotion. It's coming through the ceiling from the exposition. Voices rising in surprise. Exclamations. Shuffling and confusion.\n\n> Open chest\nYou've got to pull your key out of your top hat first.\n\nNow you can hear Ivan's voice. You'd recognize that caster-oil tenor anywhere. You can't make out the words but his tone is unmistakably, deliciously desperate. Defensive. Imploring. If only you could see his face!\n\n> You take the key\nYou already have Ivan's key.\n\n\u2026and now you hear footsteps overhead. Footsteps in a stampede. In an exodus. Eventually they diminish, moving outward, away, until there's only silence left behind.\n\n> Search hat\nIn this racket, all it takes is one mistake. So much for Ivan's popularity.\n\n> You take the key from the hat\nAs though pulling it from the thinnest air, you reach into your top hat and pull out a key. Presto!\n\n> Unlock chest\nIt takes some finesse to unlock your chest and disengage the booby-traps, which is no problem because you've got finesse in your genetics. Also, you're the one who placed the traps. You'd better know how to deactivate them.\n\nThe lid pops open, and inside the chest is your mother right where you left her.\n\n> You look at the mother\nOh mother dearest, the voice in your ear, the ace up your sleeve, whose whispered words are never wrong. At least, not when it comes to two-card tricks. But three-card tricks? Forget it. She's not operating on the right wavelength, and there's no way to recalibrate her lode. What's done is done. You made that call and there's no going back.\n\nNowadays she might be outmoded, but she's still crawling around inside your chest like a good little pork tenderloin. Which is what she looks like. Fleshless, flexible, and wet. Wheezing out her predictions: \"\u2026three of diamonds\u2026 king of diamonds\u2026\" When you sit upstairs\ninside\nyour booth, you just have to listen and her forecast slips\ninto your brain like a drug down a drip.\n\n> You put the grandmother in the chest\nYou lower Ivan's grandmother into your chest, and she takes to it rather nicely, chirping and slapping her stubs around to feel her new environment. She's just happy to be back inside a container.\n\nYour own mother doesn't pay too much notice. Keeps slithering in circles. When she bumps into her housemate, she keeps bumping until she's bumped herself around the obstacle, and Ivan's grandmother hardly registers the contact. The two might as well exist on separate planes. Which, now that you consider it, they probably do to a certain degree.\n\n> Close chest\nYou wipe your hands. Your job is done. All you have to do now is sit on your chair in your booth and listen, and when you deal\nthree cards out for a trick (which you most certainly will) then you'll hear Ivan's grandmother mumbling predictions in your head, just like she's mumbling now: \"\u2026ten of diamonds\u2026 three of diamonds\u2026\nnine of\ndiamonds\u2026\"\n\n> You put the key in the hat\n(your key in your top hat)\nYou drop your key into your top hat and\u2026 hey, where did it go? Observe, ladies and gentlemen, as you upend your hat and shake it. Why, nothing comes out! It's as though the key has vanished.\nWhat mystique!\n\n> Go outside\nLeave without closing your chest? You don't think so.\n\n> Close chest\nAfter resetting its booby-traps, you close your chest and lock it. Then you bury it back underneath the accumulated garbage in the area where nobody but you will ever find it.\n\n> Leave\nIdentical passageways open to the east, west, north, and south.\n\nYou almost trip over a bunch of handcuffs and manacles tangled together.\n\n> You leave\nIdentical passageways open to the east, north, west, and south.\n\nYour footsteps crunch. No wonder. All these shattered crystal balls.\n\n> You go outside\nIdentical passageways open to the north, south, east, and west.\n\nTwo skeletons lie on the ground.\n\n> You examine the skeletons\nThey're still wearing tuxedoes and top hats, with their boney arms stretched out like they were hoping they could crawl to salvation. Which is probably what they did hope. Thought they could sneak into the exposition without an invite. Got lost down here in the underground instead. Never got out. You'd pity them if you didn't think they had it coming.\n\n> Go outside\nIdentical passageways open to the west, south, north, and east.\n\nDice and marbles litter the ground like pebbles.\n\n> You leave\nIdentical passageways open to the north, south, east, and west.\n\nOverhead you can see your old friend, the trapdoor.\n\n> Up\nYou climb back through the trapdoor.\n\nGuardsman are patrolling the barricade outside, and there's a trapdoor behind a derelict penny arcade at the exposition's fringe.\n\nInward are stalls lining row after row.\n\n> You go inside\nYou wander back into the exposition.\n\nStalls and stalls and stalls in rows and rows and rows. Sightseers bustle between them.\n\nOutward the exposition eventually ends; inward lies its center.\n\n> Go inside\nHere at the exposition's center are your booth and Ivan's tent.\n\nOutward are more magicians at more stations.\n\n> Enter\nYou could enter your booth or Ivan's tent.\n\n> Continue\nYou turn to enter your booth but then you stop in your tracks when you see what's there.\n\n> Continue\nNot a crowd like Ivan had around his tent. No, this is different.\n\n> Continue\nThis is an entourage.\n\n> Continue\nMore ladies in more pastel dresses twirling more parasols, but\nhigher class ladies with higher class dresses and\nparasols whiter than snow. All their noses upturned. All their hats decked with ribbons. And yet despite their cosmopolitan polish they're nothing next to the one woman they follow and imitate like\nsecond-rate mirrors.\n\n> Keep going\nThat would be Lady Gascogne.\n\n> You continue\nThat would be Lady Gascogne. At your booth.\n\n> Continue\nThat would be Lady Gascogne. At your booth. Waiting for you.\n\n> You continue\nAt the Exposition (in your booth)\nLady Gascogne is standing beside your table. Unlike everyone else, she doesn't carry her parasol open. She's holding it like a cane with both palms planted on its handle, but not like a cane that anyone would use to hobble around. Instead it's more like a gavel. One strike from its tip to the ground would make the whole world quake. Hyperbole, of course, but not by much.\n\n\"Good, here you are,\" she says when you enter. \"Normally I never wait, but when I saw this 'Out to Lunch' sign, I decided to give\nyou five minutes. How many are left?\"\n\n\"Just twenty-nine seconds,\" her assistant reports next to her.\n\n\"Under the wire,\" says Lady Gascogne.\n\n> You take the sign\n\"Lady Gascogne! Mademoiselles!\" you say, sweeping the notice away from your table and settling back into your chair. \"What a pleasure to see you all here at this season's exposition! I must apologize. When lunch calls, lunch calls, but I'm honored, enraptured, delighted that you stuck around to see my three-card trick.\"\n\n> You talk to Lady\nstuck around to see my three-card trick.\"Something in the air shifts when you speak those magic words. Voices drop. Heads turn. Every lady is staring as though you're a steak that's been thrown for them to devour. You know this sensation. You've felt it before, last season, when you dealt two cards and Lady Gascogne reached for one. They were ready to swallow you whole if you couldn't guess right. Spit out your bones. Leave you disgraced.\n\n> Keep going\n\"Nobody's performed a three-card trick,\" says Lady Gascogne. \"The man in the tent over there tried to do it and failed. He was a liar. Everyone who said that he could do it, they were liars too. I have no tolerance for lies.\"\n\n\"I'm an honest magician,\" you tell her. \"Only genuine tricks from Morgan the Magnificent!\"\n\n> You do the trick\nWhat's it take to perform a three-card trick? Six simple steps:\n\n1. Shuffle the deck.\n2. Deal a card.\n3. Deal a card.\n4. Deal a card.\n5. Listen.\n6. Name the correct card.\n\nSteps two through four are what make it a three-card trick.\nStep five is more important than the rest. But step six is what will impress your spectators the most. Easy as pie.\n\n> Shuffle deck\nBefore you shuffle or deal any cards, you've got to talk to Lady Gascogne and offer her the chance to search your belongings. Standard practice.\n\n> Shuffle deck\n\"Of course,\" you say, \"it wouldn't be right to conduct a card trick without a shuffle, whether that's a one-card trick, a two-card trick, or even the marvelous three-card trick you're about to\nwitness.\"\n\nShuffling cards is second nature. You hold the deck in one palm, split its cards, riffle them with your thumbs. Their edges flutter and blend. They bend upward, dovetailing in your hands, and then cascade into a stack when your fingers release. Less than one second. No thought required.\n\nLady Gascogne doesn't look impressed. Neither does her entourage.\n\n> Deal card\nNow the stage is set. You can feel motivations and emotions flowing around you. Expectations. Judgements. Hopes. Everything in the exposition gravitating toward your booth, pouring into your cards. They want to be dealt. They are waiting for you to deal them.\n\n> Deal card\nYou take the top card from the deck and place it face-down on the table.\n\n> Deal card\nYou're still in safe territory. Lady Gascogne doesn't react. Her entourage looks indifferent. But the fact is that you've taken the first step and now they're on their toes. They just don't show it yet.\n\n> Deal card\nWhen you reach for your deck a second time, you can actually\nsee attentions sharpening. Bodies drawing closer. Necks\ncraning to gain a better view. Even Lady Gascogne's gaze is locked onto the cards.\n\n> Deal card\nTwo.\n\n> Deal card\nNow this trick has gotten serious.\n\n> Deal card\nLadies gasp, hands fly to cover mouths, teeth chomp down to bite fingernails when you reach for your deck a third time. You've had no practice, but this has to work. You don't want to imagine\nwhat will happen if it doesn't.\n\n> Deal card\nwhat will happen if it doesn't.So you don't imagine it.\n\n> Deal card\nYou put one last card face-down on the table.\n\n> Continue\nThree.\n\n> Continue\nThat's it. There's no going back. Lady Gascogne's looming over you, hands clamped onto her parasol's handle, weight bearing on that parasol as she leans forward to look at the spread. Her eyes are counting them: one, two, three cards.\n\nBut you aren't nervous. You're assured, confident, in control.\n\n> You listen\n\u2026deuce of clubs\u2026 eight of spades\u2026\n\u2026nine of clubs\u2026 queen of spades\u2026 five of hearts\u2026\n\n> You talk to Lady\n\"Pick a card,\" you tell Lady Gascogne.\n\n> Keep going\nShe stares at you.\n\n> Continue\nShe stares at you. She says nothing.\n\n> You continue\nShe picks a card.\n\n> Keep going\nThe middle card, to be precise. That's important. After she's\ndone glancing at it, she holds the card where no one else can see, and then she stares at you again.\n\n> Continue\n\"Amaze me,\" she commands. \"What card is this?\"\n\n> You listen\n\u2026queen of hearts\u2026 nine of clubs\u2026\n\u2026nine of clubs\u2026 queen of spades\u2026 five of hearts\u2026\n\n> Queen of spades\n\"I hear\u2026 I hear\u2026 a voice,\" you say, cupping your ear in the most melodramatic posture that you can manage. \"It's whispering\u2026 from very far away\u2026 across the gaps that yawn between what we call space and time. It's saying something\u2026 about royalty\u2026 about a queen\u2026\"\n\nEveryone else strains to listen, but they can't hear anything.\n\n> You talk to her\nEveryone else strains to listen, but they can't hear anything. They never will.\n\n> Continue\n\"\u2026I can hear something\u2026\n\n> You keep going\n\"\u2026I can hear something\u2026 digging\u2026\n\n> Keep going\n\"\u2026I can hear something\u2026 digging\u2026 digging in the darkness\u2026\n\n> You continue\n\"\u2026I can hear something\u2026 digging\u2026 digging in the darkness\u2026 in\nthe\nblackness\u2026\n\n> Continue\nblackness\u2026yes, a black suit\u2026\n\n> Keep going\nblackness\u2026yes, a black suit\u2026 it's a spade\u2026\"\n\n> Continue\nNo one breathes. No one moves.\n\n> Continue\n\"You've drawn the queen of spades.\"\n\n> You keep going\nLady Gascogne lays a queen of spades on the table.\n\n> You continue\nNo, these things are obvious. They don't need to be said.\n\n> Continue\nNow you've got a second platinum medal on your jacket. Lady Gascogne pinned it there after her assistant handed it over. They have a million different medals to distribute, but this one is\nyours. No one deserves it more.\n\n\"What's next?\" asks Lady Gascogne.\n\n\"Another exposition,\" says her assistant. \"Jugglers.\"\n\n\"Let's hope that they've improved this season. Two-ball jugglers are so tedious.\"\n\n> You keep going\nAnd that, ladies and gentlemen, is how to successfully perform a\u2026\n\n> Continue\nTHREE## -CARD ## TRICK.\n\n> Diversions\nDid you try...\n\n...listening while sitting in your booth at the beginning?\n...playing solitaire while sitting in your booth?\n...examining the penny arcade?\n...examining the barricade?\n...climbing the barricade?\n...examining the skeletons underground?\n...talking to Ivan's grandmother?\n...talking to your mother?\n...revisiting Ivan after stealing his grandmother?\n...guessing Lady Gascogne's card incorrectly?\n...pulling a rabbit out of your hat?\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or view a few potential DIVERSIONS?\n\n> Go inside\nIdentical passageways open to the east, north, west, and south.\n\nDice and marbles litter the ground like pebbles.\n\n> You go inside\nIdentical passageways open to the south, west, north, and east.\n\nStacked caskets skewered with machetes line the shadows.\n\n> You go inside\nIdentical passageways open to the south, north, east, and west.\n\nMoldy satin bouquets carpet the floor.\n\n> You go inside\nIdentical passageways open to the south, east, west, and north.\n\nYou can hear people walking on the exposition floor above.\n\n> Continue\nSitting there in the trunk is a pale glistening slab like a raw chicken breast. Maybe calling it a chicken breast doesn't quite paint the picture. It's got arms and legs but they're no more than stubs, and its head is as big as its body. So it's more like two raw chicken breasts that have been slapped together. Its eyes are sunk way back into its head and it's got an itty-bitty toothless mouth. All gums, that toothless mouth. Its stubby arms are wiggling and it's mumbling words that sound more like lip-smacks: \"\u2026ace of clubs\u2026 ten of\nspades\u2026\nfour of hearts\u2026\"\n\n> Lock trunk\nYou close Ivan's steamer trunk and lock it again.\n\n> You leave\nYou're not about to walk away without putting Ivan's grandmother where she belongs: in your chest.\n\n> You examine the chest\nshe belongs: in your chest.Suddenly you hear a commotion. It's coming through the ceiling from the exposition. Voices rising in surprise. Exclamations. Shuffling and confusion.\n\n> You get the key from the hat\nAs though pulling it from the thinnest air, you reach into your top hat and pull out a key. Presto!\n\nNow you can hear Ivan's voice. You'd recognize that caster-oil tenor anywhere. You can't make out the words but his tone is unmistakably, deliciously desperate. Defensive. Imploring. If only you could see his face!\n\n> You talk to the grandma\nSo you're Ivan's grandmother, huh? What a pleasure to meet.\nYou must be so proud of your grandson's success, unless you're aware he's a slimeball and a cheater. But of course you're aware, since he put you down here, made you what you are now. You can't cop to it, though, can't say anything except card ranks and suits, which is why actually interrogating you like this would be pointless.\n\nBut it doesn't matter, because you know what Ivan did to his grandmother, whether she has the voice to admit it or not. Just look at her. This is your jurisdiction he's trying to muscle into,\nand when his career is over, you'll still reign supreme.\n\n\u2026and now you hear footsteps overhead. Footsteps in a stampede. In an exodus. Eventually they diminish, moving outward, away, until there's only silence left behind.\n\n> You examine the rubbish\nIn this racket, all it takes is one mistake. So much for Ivan's popularity.\n\n> You look\nIdentical passageways open to the north, south, east, and west.\n\nMiscellaneous magical artifacts clutter the area, but separated from them is a distinctly out-of-place steamer trunk.\n\n> You examine the artifacts\nUnlike Ivan, you hid your chest well, and it takes some digging before you unearth it from the junk. You can tell that it hasn't been touched since you were here last season. All the locks are still intact.\n\n> You examine the chest\nA modest chest. Small enough to carry in two hands without hassle. Locked and booby-trapped for good measure.\n\n> Open chest\nIt takes some finesse to unlock your chest and disengage the booby-traps, which is no problem because you've got finesse in your genetics. Also, you're the one who placed the traps. You'd better know how to deactivate them.\n\nThe lid pops open, and inside the chest is your mother right where you left her.\n\n> You talk to the mother\nHello, mother. Life treating you well? How about these accommodations? Met anyone new recently? We ought to catch up more. We don't see each other as often as we used to. That's because you're locked down in this chest, which is why really asking you these questions\nand having a chat would be as useless as talking to a wall.\n\nYeah, your mother's here, all right, but she's also not. There's a reason that nobody else can perform a two-card trick. There's a reason that Lady Gascogne pinned a platinum medal to your jacket.\nThere's a reason you deserve it more than anyone. And it's called sacrifice.\n\n> You put the grandmother in the chest\nYou lower Ivan's grandmother into your chest, and she takes to it rather nicely, chirping and slapping her stubs around to feel her new environment. She's just happy to be back inside a container.\n\nYour own mother doesn't pay too much notice. Keeps slithering in circles. When she bumps into her housemate, she keeps bumping until she's bumped herself around the obstacle, and Ivan's grandmother hardly registers the contact. The two might as well exist on separate planes. Which, now that you consider it, they probably do to a certain degree.\n\n> Close chest\nYou wipe your hands. Your job is done. All you have to do now is sit on your chair in your booth and listen, and when you deal\nthree cards out for a trick (which you most certainly will) then you'll hear Ivan's grandmother mumbling predictions in your head, just like she's mumbling now: \"\u2026eight of diamonds\u2026 nine of diamonds\u2026\neight\nof diamonds\u2026\"\n\n> You take the rabbit from the hat\nAs if you'd ever resort to such a tasteless trick. Cards are in right now; rabbits are out.\n\n> You go outside\nIdentical passageways open to the north, south, east, and west.\n\nYou have to kick your way through woven baskets packed with ropes.\n\n> Go outside\nIdentical passageways open to the west, north, east, and south.\n\nWands, wands, wands. Who uses wands? No one. That's why they're dumped here.\n\n> You go outside\nIdentical passageways open to the north, south, east, and west.\n\nTwo skeletons lie on the ground.\n\n> You go outside\nIdentical passageways open to the west, south, north, and east.\n\nThreadbare tuxedoes are mounded around you waist-high.\n\n> You climb the barricade\nYou begin to approach the barricade and... suddenly there's a red bead on your jacket. Another. Another. More beads trained on you as the guards atop the wall pivot in your direction. When they see that you've stopped advancing, they resume their patrol and the red beads disperse.\n\n> You examine the penny arcade\nYou stop holding your breath. Were you holding your breath? What nonsense. The guards only shoot people climbing the wall from\noutside. You were never in any danger. Still, you don't know\nwhat put the idea into your head. It's not something you'll try again.\n\n> You examine the barricade\nThere's probably a mob outside that barricade. All the rejected magicians. Protesting. Fighting for entrance. You've seen the mayhem before. People brandishing silk scarves and doves like that'll convince anyone to let them inside. Every season at least a few hundred get shot trying to climb the wall. Good riddance is all you can say.\n\n> You examine the penny arcade\nBack in the day, a machine was actually the first 'person' to successfully perform a one-card trick. That led to penny arcades like this being churned out en masse, each equipped with its own\nrobotic card-dealing magician. But the first machine's success was a fluke. All the penny arcades were useless. Which is why human magicians like you are still around.\n\n> You go inside\nYou wander back into the exposition.\n\nStalls and stalls and stalls in rows and rows and rows. Sightseers bustle between them.\n\nOutward the exposition eventually ends; inward lies its center.\n\n> Go inside\nHere at the exposition's center are your booth and Ivan's tent.\n\nOutward are more magicians at more stations.\n\n> Enter\nYou could enter your booth or Ivan's tent.\n\n> You enter ivan's tent\nAt the Exposition (in Ivan's tent)\nWhat a difference since you were last here. Where once there were adoring throngs, now there's nobody. Only Ivan sitting slumped at his table with his head in his hands and his career as a magician lying in shambles at his feet.\n\nincredible one.\n\n> You talk to Ivan\nIvan doesn't react when he sees you. He's too distraught to play his charming smarmy role as the 'great three-card magician' anymore. Hunched over like some dejected maiden in a cheap romance, weeping with a handkerchief for his lost love. Except it's not a romance. It's a tragedy, and this dejected maiden has been jilted and won't recover until the grave takes him.\n\n\"I'd ask what happened here,\" you say, \"but I already know. You're Ivan the Imposter like I always said. A conman. Hustler. Ne'er-do-well. And now you're exposed. Everyone ran for the hills just like they should've from the start.\"\n\n\"Oh, you don't even know the half,\" Ivan sniffles. \"Lady Gascogne herself\u2026 she was here\u2026 and when I said she had a seven of hearts,\nshe\nhad a deuce of diamonds!\"\n\nHis wailing overwhelms him. He's a poor worthless blubbering wreck.\n\n> Continue\nGlorious.\n\n> Keep going\nAt the Exposition (in your booth)\nLady Gascogne is standing beside your table. Unlike everyone else, she doesn't carry her parasol open. She's holding it like a cane with both palms planted on its handle, but not like a cane that anyone would use to hobble around. Instead it's more like a gavel. One strike from its tip to the ground would make the whole world quake. Hyperbole, of course, but not by much.\n\n\"Good, here you are,\" she says when you enter. \"Normally I never wait, but when I saw this 'Out to Lunch' sign, I decided to give\nyou five minutes. How many are left?\"\n\n\"Just fourteen seconds,\" her assistant reports next to her.\n\n\"Under the wire,\" says Lady Gascogne.\n\n> You take the sign\n\"Lady Gascogne! Mademoiselles!\" you say, sweeping the notice away from your table and settling back into your chair. \"What a pleasure to see you all here at this season's exposition! I must apologize. When lunch calls, lunch calls, but I'm honored, enraptured, delighted that you stuck around to see my three-card trick.\"\n\n> Continue\nstuck around to see my three-card trick.\"Something in the air shifts when you speak those magic words. Voices drop. Heads turn. Every lady is staring as though you're a steak that's been thrown for them to devour. You know this sensation. You've felt it before, last season, when you dealt two cards and Lady Gascogne reached for one. They were ready to swallow you whole if you couldn't guess right. Spit out your bones. Leave you disgraced.\n\n> Keep going\n\"Nobody's performed a three-card trick,\" says Lady Gascogne. \"The man in the tent over there tried to do it and failed. He was a liar. Everyone who said that he could do it, they were liars too. I have no tolerance for lies.\"\n\n\"I'm an honest magician,\" you tell her. \"Only genuine tricks from Morgan the Magnificent!\"\n\n> You examine the deck\nA standard deck. Thirteen ranks. Four suits. Fifty-two cards total.\n\n> You do the trick\nWhat's it take to perform a three-card trick? Six simple steps:\n\n1. Shuffle the deck.\n2. Deal a card.\n3. Deal a card.\n4. Deal a card.\n5. Listen.\n6. Name the correct card.\n\nSteps two through four are what make it a three-card trick.\nStep five is more important than the rest. But step six is what will impress your spectators the most. Easy as pie.\n\n> Deal card\nNow the stage is set. You can feel motivations and emotions flowing around you. Expectations. Judgements. Hopes. Everything in the exposition gravitating toward your booth, pouring into your cards. They want to be dealt. They are waiting for you to deal them.\n\n> Deal card\nYou take the top card from the deck and place it face-down on the table.\n\n> You listen\n\u2026ace of clubs\u2026 six of clubs\u2026\n\u2026nine of clubs\u2026 queen of spades\u2026 five of hearts\u2026\n\n> Nine of the clubs\n\"I hear\u2026 I hear\u2026 a voice,\" you say, cupping your ear and continuing\non\nwith your usual rigamarole. You've got it down to a science. How long to drag something out. When to drop hints or reveal specifics.\n\n> Continue\nUnfortunately all your showmanship is wasted when, after blathering on for some time about the spiritual whispers that have unveiled Lady Gascogne's card to you, the card that you name isn't the card that she's holding. Really, did you just say nine of clubs?\n\n> You continue\nWhoops! Too bad! You've blown your chance!\n\nLady Gascogne throws her card down in disgust, and her assistant strips your platinum medal from last season, and you're a laughingstock for years and years to come. You'll never live this down\u2026\n\n> Continue\ndown\u2026if you go through with it.\n\n> Continue\nBut you won't go through with it, because you caught yourself in time. That's the wrong card you just said. Try again.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: drugs, art, multiple protagonists, drama, autobiographical, true story, college, school, drug abuse]\n\nYou are covered in sweat. Your clothes cling to you like someone\nelse's moist hands, and your skin feels like someone else's skin. Hina is speaking, but you're only aware of your own nauseating body.\n\nSomeone interrupts Hina. \"You guys need a drink?\"\n\nIt's Nathalie, wheeling her cumbersome old cooler up to the judges' table. Saving you the energy it would take to croak out a plea for help, she produces three bottles of water.\n\nHina and Alec chug theirs down desperately, and you follow suit, with no concern for how undignified you must look. A cold, wet trickle runs over your chin, down your neck. Then the bottle is empty; then, finally, you can think clearly.\n\nshade, so this is where Hina decided the judges should sit while the artists work. Hina and Alec are sitting at opposite ends of the table; your spot is in the middle. The sidewalk, the \"canvas\" of the sidewalk chalk tournament, runs west and east.\n\nBefore Hina can get back to what she was saying, Nathalie starts in:\n\"I came over to let you know, one of the artists has a problem with another artist's art.\"\n\nHina summons enough willpower to roll her eyes. \"Who, exactly?\"\n\n\"Jessica, and Xavier. Jessica is the one who wanted me to tell on Xavier. She wanted a judge to come down and make a ruling.\"\n\nHina turns toward you. \"Lane, can you take care of this?\"\n\nYou nod without thinking. It's too hot to think.\n\n\"Come on, I'll go with you.\" Nathalie waves you over, and a tiny spark of encouragement flickers in your overheated heart.\n\n[Author's Note: An account of the disastrous sidewalk chalk tournament of August 27, 2011.]\n\n> About yourself\nYour name is Lane, and you're a sophomore chem major. Your grades got you into the Honors program, your desire to become a well-rounded person led you to join the Honors Arts Committee, and your inability\nto say \"no\" has made you a judge for the Honors Arts Committee's Sidewalk Chalk Tournament.\n\nActually, your credit hours from the summer semester probably bumped you up so you're technically a junior. But that doesn't seem right: A real upperclassman would have a measure of confidence that you definitely lack.\n\n> You check your inventory\nYou are carrying:\na water bottle\n\n> You examine Hina\nHina is a senior\ufffd\ufffd\ufffdpre-med\ufffd\ufffd\ufffdand she basically runs the Honors program single-handedly. She organized this whole sidewalk chalk tournament herself, and she's already filled the calendar for the fall semester with similar activities. You just pray the other events will be indoors.\n\nHer forehead is always furrowed a little bit; she's always working on something. Right now, though, it's like her whole head is furrowed.\nYou can't blame her.\n\n> You examine Alec\nYou can't take Alec seriously, because he doesn't take anything seriously. All you've seen him do around the Honors center is goof off and flirt with underclassman girls. You have no idea how he's still in the Honors program as of his senior year.\n\nAnd why is he here? Maybe the program director told him he had to to help out with some bare minimum of events, and he decided to get one out of the way right at the start of the semester.\n\n> You examine Nathalie\nNathalie is a theater major, and a fifth-year senior. Instead of\nacting as judge, she's the sidewalk chalk tournament's \"hydration officer.\" She seems the least bothered of anyone by the heat, probably because she has the cooler and all the cold water.\n\n> Go east\nThe sidewalk stops well before it reaches the equipment shed, leaving\na long stretch of sand in between. Beyond the shed is the intersection of First Avenue and Second Street: An impassable wasteland.\n\nAn empty bucket sits near the shed.\n\nNathalie follows along.\n\n> You examine the shed\nIt's a squat, unattractive building with a big steel door. A brass spigot protrudes from one of the walls.\n\n> You examine the intersection\nLast year, it was impossible to get around this part of town on foot, because there was so much traffic. Now it's impossible because of all the construction.\n\nGosh, you're thirsty.\n\n> Drink water\n(the water bottle)\nThe bottle feels too light.\n\nOh, it's empty. That's no good.\n\n> Go west\nThe softball field's aluminum bleachers offer a meager amount of\nshade, so this is where Hina decided the judges should sit while the artists work. Hina and Alec are sitting at opposite ends of the table; your spot is in the middle. The sidewalk, the \"canvas\" of the sidewalk chalk tournament, runs west and east.\n\nNathalie follows along.\n\n> You go west\nThe sidewalk bends south and east here, at the edge of the parking\nlot.\n\nVictoria is hunched over her square of sidewalk, filling in the\ndetails of a huge, twisting python. A plastic container is nestled in the grass nearby.\n\nNathalie follows along.\n\n> You ask Nathalie for the water\n(the water bottle)\n\"Could I get another bottle of water?\" you ask, trying not to sound desperate.\n\n\"Of course you could, young lady.\" Nathalie relieves you of your empty bottle and gets a full one out of the cooler. \"There you go. As cold\nas it gets, for all that's worth.\"\n\nIt feels plenty cold to you, and you thank her sincerely.\n\n\"No need to thank me. Just doing my duty as hydration officer.\"\n\n[1] \"How's it going?\"\n[2] \"How'd you get to be the hydration officer, anyway?\"\n[3] \"How do you like this snake?\"\n[4] \"Thanks.\"\n\n> 1\n\"How's it going?\"\n\nNathalie shrugs. \"Oh, I'm fine.\" She really is. It's like the heat isn't getting to her at all.\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"How do you like this snake?\"\n[5] \"Thanks.\"\n\n> 2\n\"How are you so...\" You lick your lips. \"Chipper\" isn't really the\nword you want to use.\n\nNathalie catches your meaning. \"Two things: A positive attitude, and staying hydrated. And a willingness to fully embrace my situation. But that's part of the first one.\"\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"How do you like this snake?\"\n[5] \"Thanks.\"\n\n> 3\n\"How'd you get to be the hydration officer, anyway?\"\n\n\"Well, at last year's event I was in Hina's position, and it turned\nout to be really stressful. So I asked her if I could do something a little more low-key this time around.\"\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"How do you like this snake?\"\n[5] \"Thanks.\"\n\n> 4\nYou maneuver Nathalie to a spot where you can talk without being overheard. \"How do you like this snake?\" you ask.\n\n\"I love it. It's creepy.\"\n\n\"Creepy is a good thing?\"\n\n\"I love creepy! Well, okay.\" She takes a second to consider. \"There\nare different kinds of creepy,\" she concludes.\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"How do you like this snake?\"\n[5] \"Thanks.\"\n\n> 5\n\"Thanks, Nathalie.\"\n\n\"Hey, no problem.\"\n\n> Drink water\n(the water bottle)\nYou take a meek little sip from your water bottle."
    },
    {
        "text": "> You look at your surroundings\nThe sidewalk bends south and east here, at the edge of the parking\nlot.\n\nNathalie stands off to the side.\n\nVictoria is hunched over her square of sidewalk, filling in the\ndetails of a huge, twisting python. A plastic container is nestled in the grass nearby.\n\nYou're already thirsty again.\n\n> You examine Victoria\nVictoria is one of the freshmen you met when you were helping out at orientation. Right away you got the sense that she was trying hard to be different just for the sake of being different. You should have expected she'd come up with a chalk drawing calculated to freak everybody out.\n\n> You look at the python\nVictoria's serpent crisscrosses her entire square of pavement, coiling over and under itself like a Celtic knot. Its fanged jaws fill up the center of the composition; the tip of its tail is nowhere in sight.\n\nHaving completed the snake's undulating outline, Victoria is now coloring another tangled web: The reticulations of its scales.\n\nNathalie offers her a bottle of water, which she gratefully accepts. The two of them take a seat on the grass. \"Looks like a lot of work,\" Nathalie says. Victoria shakes her head wearily.\n\n\"I could have picked something easier,\" she says. \"Or I could have just, stayed home. But Hina really wanted me to come.\"\n\n\"I know what that's like,\" Nathalie says, and she gives you a meaningful look.\n\nA lull ensues.\n\nPresently Nathalie stands up again.\n\n> You examine the grass\nThe grass is a little high. Someone will come around to mow it sooner or later.\n\n> Examine container\nIt looks like something you'd store leftovers in.\n\nVictoria notices you looking at it, and she takes a break from her snake to explain: \"Hina said there wouldn't be any prizes for this tournament, and I thought that was a little sad. So I sewed these.\"\n\nShe pulls the lid off the container, revealing a collection of\ncolorful ribbons. An involuntary \"aww!\" passes your lips.\n\n\"Don't worry, the judges get ribbons, too. I just thought it'd be fun. But, that's for later.\"\n\nShe closes the container and returns to her drawing.\n\n> You talk to Victoria\nVictoria looks up at you. \"Yes?\"\n\n[1] \"How are you doing?\"\n[2] \"What inspired you to choose this subject?\"\n[3] \"Do you need anything?\"\n[4] \"Good luck.\"\n\n> 1\n\"How are you doing?\"\n\n\"Hot.\"\n\n\"Yeah.\" Well, at least everyone's being honest.\n\n[1] \"How are you doing?\"\n[2] \"What inspired you to choose this subject?\"\n[3] \"Do you need anything?\"\n[4] \"Good luck.\"\n\n> 2\n\"What inspired you to choose this subject?\" Yeah, that sounds like something a judge would say.\n\nVictoria is so glad you asked. \"It's based on my pet python back\nhome.\" You nod impassively; you're neither impressed nor surprised. \"He's a big sweetheart, really.\"\n\n\"He looks kind of scary here.\"\n\n\"Well,\" Victoria says, and you know she's thinking: I just want to scare people.\n\n[1] \"How are you doing?\"\n[2] \"What inspired you to choose this subject?\"\n[3] \"Do you need anything?\"\n[4] \"Good luck.\"\n\n> 3\nWithout really thinking, you ask Victoria, \"Do you need anything?\"\n\nVictoria leans back on her hands, looks up into the cloudless sky. \"Could you bring me a bowl of ice cream? Just vanilla is fine.\"\n\n\"I don't think we have... Oh.\" Your head hurts. \"That was a joke.\"\n\n\"Yeah,\" says Victoria.\n\n[1] \"How are you doing?\"\n[2] \"What inspired you to choose this subject?\"\n[3] \"Do you need anything?\"\n[4] \"Good luck.\"\n\n> 4\n\"Good luck.\" Actually, that doesn't make a lot of sense coming from a judge...\n\n\"Thanks,\" says Victoria.\n\nYou're already thirsty again.\n\n> Go south\nThe sidewalk continues north and south between the softball field and\na steep hill. Rachel has been assigned a square of cement near a steel bike rack.\n\nAt the moment, Rachel is stretched out on the grass, soaking up the sun, eyes hidden behind huge sunglasses. Her phone lies in the grass next to her. Her chalk drawing, a simple slogan, is already finished.\n\nNathalie is right behind you.\n\n> You examine Rachel\nRachel is wearing short shorts and a tiny top. It doesn't strike you\nas a totally appropriate outfit, but maybe she knew it was going to be so unbearably hot.\n\n> You examine the chalk\nYou glance from the \"art\" to Rachel and back. You bite your lip. The sidewalk chalk tournament isn't really the right setting for a statement like this. But Rachel gave Hina plenty of notice as to what she was planning to do, and Hina told her it'd be okay.\n\nNathalie makes a pointed sort of huffing noise. Rachel doesn't seem to notice.\n\n> You examine phone\nYou can't help but notice a notification as it pops up: Someone just texted her, saying \"haha sux 2bu.\" Hard to argue with.\n\n> You talk to Nathalie\nNathalie perks up when you turn her way.\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"What do you think about Rachel's entry?\"\n[5] \"Thanks.\"\n\n> 4\nYou and Nathalie take a few steps away from the \"art.\"\n\n\"What do you think about Rachel's entry?\"\n\n\"Rachel is tedious,\" Nathalie says, and apparently that's all she has to say.\n\n[1] \"How's it going?\"\n[2] \"How are you so chipper?\"\n[3] \"How'd you get to be the hydration officer, anyway?\"\n[4] \"What do you think about Rachel's entry?\"\n[5] \"Thanks.\"\n\n> 5\n\"Thanks, Nathalie.\"\n\n\"Hey, no problem.\"\n\n> Go south\nThe sidewalk turns from north to east at the border of a small wooded area.\n\nJonathan is sitting on a wooden balance beam, contemplating his drawing. His sidewalk square has been divided into a grid of hexagons, overlaid on a bird's-eye view of a snow-covered island.\n\nNathalie is right behind you.\n\n> You examine Jonathan\nJonathan is a sophomore, like you. Unless you consider yourself a junior. But you don't.\n\nHonors center. You managed to get into the same section of Native Peoples of North America that he's in this semester; hopefully he didn't think you were weird for asking.\n\n> Examine beam\nSomeone erected a balance beam just off to the side of the sidewalk, even though a bench would be a lot more convenient. Jonathan's\nnotebook is resting on the beam next to him.\n\n> You look at the island\nEach hexagon of the island map has a little feature drawn on it: A fortress or a mountain or a cottage. But the medium of sidewalk chalk isn't precise enough to render all the detail Jonathan is trying to include.\n\n\"It's the setting of my novel,\" he explains. \"The kingdom of Cealdhame.\"\n\n\"Oh my gosh, your novel? Please, tell us all about it,\" Nathalie says, pressing a fresh water bottle into his hand.\n\n\"Well, the main premise is...\" He rubs the cold bottle against his head. \"Wait. Are you messing with me?\"\n\n\"I promise you that I am.\"\n\n\"Gotcha.\" He takes a long drink.\n\n> You look at the notebook\nnext to it, but you can see a sketch of his island, with its hexagonal grid, and a bunch of little labels.\n\n> You talk to Jonathan\n\"Hey, Jonathan.\"\n\n\"Oh, hey!\" He sits up and smiles.\n\n[1] \"How're you?\"\n[2] \"That's a lot of white chalk.\"\n[3] \"Do you have plans for after this?\"\n[4] \"See you later.\"\n\n> 1\n\"How're you?\"\n\n\"Doing great. I've got a comfy little bench here,\" he says, indicating the narrow balance beam. \"I'll probably stretch out on top of it and take a nap later.\"\n\nYou giggle, but Nathalie does not.\n\n[1] \"How're you?\"\n[2] \"That's a lot of white chalk.\"\n[3] \"Do you have plans for after this?\"\n[4] \"See you later.\"\n\n> 2\nYou look over the intricate map, and for some reason the thing you say out loud is: \"That's a lot of white chalk.\"\n\n\"Don't worry. I brought my own. Well, not 'my own,' exactly.\"\n\nNathalie perks up. \"Where'd you steal the chalk from?\"\n\n\"There was a box of it just sitting on the floor in Van Allen Hall. They don't need it; all the classrooms have dry erase boards.\"\n\nYou're not sure what to do with this information. Nathalie nods approvingly.\n\n[1] \"How're you?\"\n[2] \"That's a lot of white chalk.\"\n[3] \"Do you have plans for after this?\"\n[4] \"See you later.\"\n\n> 4\n\"See you later.\"\n\n\"Yeah, see you!\" He returns to his work.\n\n> You go to the east\nThere's a run-down old drinking fountain along this east-west stretch of sidewalk, between the trees and the softball field.\n\nFaye's chalk art is a complicated piece with maybe a dozen characters. And somehow, she's already almost finished.\n\nNathalie follows you.\n\n> You look at Faye\nFaye is a sophomore. You haven't gotten to know her very well, but her choice of subject isn't a surprise. You could probably find another Jack Skellington among her tattoos, if you looked hard enough.\n\n> You examine the art\nIn the foreground of the chalk drawing is Jack Skellington, with a big grin on his skull; behind him are the ragdoll lady and the mad scientist and a bunch of other characters from The Nightmare\nBefore Christmas, all sketchy but recognizable. In the background\nis the curling tentacle-mountain, silhouetted by a giant yellow moon.\n\n\"Um,\" you say.\n\nFaye looks up at you. \"Yes?\"\n\n\"I'm just wondering... if there's...\" Gosh, it's hard to talk. \"If there are any legal problems with using copyrighted characters.\"\n\nFaye looks over at Nathalie. Nathalie's eyes go wide; she staggers\nback in shock.\n\n\"I just remembered,\" she gasps.\n\nCold dread flows over you. \"What is it?\"\n\n\"I'm so sorry. It completely slipped my mind... I forgot to invite Tim Burton's lawyers to the sidewalk chalk tournament.\"\n\nFaye busts up laughing, and you feel your cheeks getting red.\n\n> Laugh\nYou can only manage a phlegmatic sort of half-laugh.\n\n> You turn it\nYou turn the knob, but no water comes out. Not even a dribble.\n\n> You talk to Faye\nAnxiety creeps over your skull: You have no idea how to talk to Faye.\n\n[1] \"How's it going?\"\n[2] \"Tell me about your drawing.\"\n[3] \"See you later.\"\n\n> 1\n\"How\ufffd\ufffd\ufffd\" You falter, and Nathalie steps in. \"Hey Faye,\" she says, handing her a water bottle. \"What are you doing after this?\"\n\nFaye stares into space. \"I think I'm gonna head back to my room and stand in front of the air conditioner for like, an hour. Or I'm just gonna crawl inside my freezer.\"\n\n\"You have a freezer?\"\n\n\"My minifridge has a freezer compartment. It's tiny, but... I'll manage.\" Faye nods reassuringly.\n\n[1] \"How's it going?\"\n[2] \"Tell me about your drawing.\"\n[3] \"See you later.\"\n\n> 2\nYou try to say \"Tell me about your drawing\" as if you just noticed it and never said anything embarrassing about it.\n\n\"Well, Nightmare Before Christmas is one of my favorite\nmovies, ever since I was a kid. I always thought Jack Skellington was really cute.\"\n\nIt occurs to you that the Honors program is full of weirdos.\n\n[1] \"How's it going?\"\n[2] \"Tell me about your drawing.\"\n[3] \"See you later.\"\n\n> 3\n\"See you later.\"\n\n\"Sure.\" Faye gets back to work."
    },
    {
        "text": "[Themes: true story, school, drama, drugs]\n\n> You look around\nThere's a run-down old drinking fountain along this east-west stretch of sidewalk, between the trees and the softball field.\n\nNathalie stands off to the side.\n\nFaye's chalk art is a complicated piece with maybe a dozen characters. And somehow, she's already almost finished.\n\n> You go to the east\nHere, finally, there's a bench, where the sidewalk turns from west to south. The picturesqueness of the spot contrasts dramatically with torn-up Second Street just a little ways to the east.\n\nJessica is working on a curved block of pavement, drawing a diverse\nand vibrant array of flowers.\n\nNathalie follows along.\n\n> You examine the bench\nIt seems a bit odd that the bench would be pointed out toward the highway instead of facing the bike trail.\n\nThere's a large hardbound book sitting on the bench.\n\n> Examine book\nclearly designed to take up space on coffee tables. Jessica must have brought it to use as a reference.\n\n> You look at Jessica\nJessica is the only person you know of who comes to the Honors center just to read. One time you found her reading in the stairwell when the main study/hangout area had gotten too boisterous.\n\nAnd she's a junior, a music major. She plays the... You can't remember the word.\n\n> You examine the art\nJessica has drawn a huge bouquet of lilies, roses, and orchids, all rendered with a level of realism that overwhelms you with the force of a strong perfume\ufffd\ufffd\ufffdBut you're not really smelling anything. That was confusing.\n\n> You examine trail\nThe sidewalk around the softball field is nice and wide, perfect for chalk art.\n\n> You talk to Jessica\nJessica looks up and wipes some sweat from her forehead. \"Yes?\"\n\n[1] \"How are you?\"\n[2] \"What's the problem here?\"\n[3] \"I love your flowers.\"\n[4] \"Well, see you later.\"\n\n> 1\n\"How are you?\"\n\nJessica sighs deeply. \"Actually, I'm in kind of a rotten mood. Sorry.\"\n\n\"Oh. That's too bad.\" Well, you're supposed to be doing something\nabout it.\n\n[1] \"How are you?\"\n[2] \"What's the problem here?\"\n[3] \"I love your flowers.\"\n[4] \"Well, see you later.\"\n\n> 2\n\"What's the problem here?\"\n\n\"I'm really sorry,\" she says, \"but I don't think Xavier's piece is appropriate. And since it's associated with the Honors program, I just think...\"\n\n\"What exactly is inappropriate about it?\" asks Nathalie.\n\n\"Well, you should probably see it for yourself,\" she says, gesturing further down the sidewalk.\n\nOh no. More walking.\n\n[1] \"How are you?\"\n[2] \"What's the problem here?\"\n[3] \"I love your flowers.\"\n[4] \"Well, see you later.\"\n\n> 4\n\"Well, see you later.\"\n\n\"Okay. But please, make Xavier change his design.\"\n\n> Go south\nThis is where there would be a crosswalk for Second Street, if there were a Second Street. There's a button for the crosswalk, but there is no crosswalk.\n\nYou feel a little hemmed in by the torn-up street to the east and all the trees to the west and south. The sidewalk only goes north from here.\n\nXavier is kneeling over his drawing, hard at work.\n\nNathalie follows you.\n\n> You look at Xavier\nXavier is an art major so it's not even fair that he would enter this tournament in the first place. And of course he has to cause trouble. Last year he did a photography exhibition in the Honors center. Just\nan excuse to put up a bunch of naked pictures of naked people.\n\n> You examine the chalk\nOn the sidewalk is a curvaceous woman with red skin, goatish horns,\nand very little clothing. Her lips are parted sultrily, as if she's about to whisper something to you. Your throat feels tight.\n\n\"More interesting than a bunch of flowers, that's for sure,\" says Nathalie.\n\n> You examine the trees\nA wall of trees stands not far beyond the sidewalk. It's unnerving to see such dense woods in the middle of the city. You know the\nuniversity campus isn't far from the other side, but it seems like if you wandered in, you wouldn't wander out for some time.\n\n> You examine Street\nSecond Street is normally very busy, but it's been torn up for renovation. Now it's an expanse of mud and rubble, bordered by rebar and orange mesh.\n\n> You talk to Nathalie\nNathalie perks up when you turn her way.\n\n[1] \"How's it going?\"\n[2] \"What do you think of Xavier's drawing?\"\n[3] \"What do you think I should do?\"\n[4] \"Thanks.\"\n\n> 2\n\"What do you think of Xavier's drawing?\" you ask, not concerning yourself with whether he can hear.\n\n\"Well, it's got my attention,\" Nathalie says. \"I think people are really going to respond to her.\"\n\nXavier presses a hand to his chest. \"Oh my gosh, Nathalie, that is the nicest fake compliment I've ever received in my life.\"\n\nShe grins. \"Shut up, kid. You know I love you. Keep up the good work.\"\n\n[1] \"How's it going?\"\n[2] \"What do you think of Xavier's drawing?\"\n[3] \"What do you think I should do?\"\n[4] \"Thanks.\"\n\n> 3\n\"What\ufffd\ufffd\ufffd\" You stumble. Nathalie reaches out to steady you.\n\n\"Hey. Are you doing okay?\"\n\n\"No, yeah.\" You don't want her to worry about you. \"I'm just stressed, I think.\"\n\n\"That makes sense. Let's get back to Hina and see if you can take a little break.\"\n\nYou're not as proud as you are exhausted, so you just nod.\n\n> Drink water\n(the water bottle)\nYou take a drink from your water bottle. The water doesn't stay cold for long, but it's refreshing nonetheless.\n\n> You talk to Xavier\nWhile you're trying to think of a way to engage, Nathalie steps in. \"Hey Xavier. Nice succubus.\"\n\n\"Thanks!\" He's in the middle of adding white highlights to make it\nlook like her skin (there's a lot of skin) is reflecting the sun.\n\n\"Did you know Jessica complained about it?\"\n\n\"I know she didn't seem to like it when she was over here earlier.\nBut, what I've learned is, people are always going to have opinions.\"\n\n\"Well, I brought a judge over, to make a judgment call.\" Finally Nathalie steps aside and presents you. Xavier spreads his arms and presents his mostly-naked demoness.\n\n\"What do you think?\"\n\nYour head hurts.\n\n> 3\n\"Come on,\" Nathalie says, \"Let's just report back to Hina.\" She almost puts her arm on your shoulder.\n\n> Go north\nThere's a bench here, for weary wanderers such as yourself, where the sidewalk turns from west to south. The picturesqueness of the spot contrasts dramatically with torn-up Second Street just a little ways\nto the east.\n\nJessica's flowers seem almost finished, but she's still focused on coloring in one of the petals.\n\nNathalie comes up alongside, dragging her water cooler behind her.\n\n> You go to the west\nThere's a run-down old drinking fountain along this east-west stretch of sidewalk, between the trees and the softball field.\n\nFaye's Nightmare Before Christmas scene is complete, and now\nshe's lying in the grass off the sidewalk.\n\n\"Hey, it's finished!\" Nathalie rushes over to admire the drawing. \"I'm not a judge, so I can say without fear of retribution that I\ncompletely love this. Jack Skellington is my role model.\"\n\nFaye doesn't say anything. She's just running her hands over the\ngrass, a goofy smile on her lips.\n\n> Go west\nThe sidewalk turns from north to east at the border of a small wooded area.\n\nJonathan is staring straight down at the cement, lazily filling in the blue sea surrounding his island.\n\nNathalie follows along.\n\n> You go north\nThe sidewalk continues north and south between the softball field and\na steep hill. Rachel has been assigned a square of cement near a steel bike rack.\n\nRachel is still sunbathing; she finished her chalk-slogan-thing\nforever ago.\n\nNathalie comes up alongside, dragging her water cooler behind her.\n\n> You go to the north\nThe sidewalk bends south and east here, at the edge of the parking\nlot.\n\nVictoria's python is finished. She's sitting in the grass, staring at the cars.\n\nNathalie follows along.\n\n> Go east\nAt least it's a little shady here.\n\nHina and Alec are sitting at either end of the table, waiting for you.\n\nNathalie is right behind you.\n\n> You talk to Hina\n\"Well?\" Hina asks as you approach. You open your mouth.\n\n\"Sheesh, Hina, can't you see she's about to fall over?\" Alec stands up and guides you to your chair. \"You can make your report sitting down. This isn't the Marines.\"\n\nHina waits with clenched teeth for you to sit. \"So what did Xavier\ndraw that Jessica had a problem with?\"\n\n\"It was a...\" You gesticulate weakly, searching for the right words.\n\nNathalie cuts in: \"A big sexy demon with her boobs hanging out.\"\n\nYou nod, and your body wobbles beneath the weight of your head.\n\nHina slaps her own forehead. \"For Pete's sake, Xavier... Okay, here's what we're going to do:\"\n\nBut her voice fades away as you slump forward and lose consciousness.\n\n\ufffd\ufffd2\n\nLane's head thumps against the table, and you leap to your feet in alarm. Hina loses her cool for maybe an eighth of a second, then she grabs Lane by the shoulders.\n\n\"Did she faint?\" you ask, before you realize that yes, obviously, she fainted.\n\n\"We need to get her on her back,\" Hina says. Before you can make your legs move, Nathalie glares at you and steps in to assist. The two of them position Lane on the grass; Hina leans down to check her breathing.\n\nThe judges' folding table is set up behind the bleachers, out of the sun, on a strip of bike trail leading east and west.\n\nYou stand by uselessly, your blood pounding in your ears. You should\ndo something.\n\n> About yourself\nYour name is Alec; you're wearing a brown shirt and bluejeans. Based\non what people have told you, you believe yourself to be average-looking. You thought Hina wanted your creative and administrative input on this Sidewalk Chalk Tournament, but it turns out what she really wanted was a warm body to sit at the judges'\ntable.\n\nYou shouldn't be so critical of Hina. She's under a lot of stress. But aren't you under a lot of stress too? Everyone is. It's the human condition.\n\n> You talk to Hina\n\"Should I call 911?\" you ask. Hina doesn't look up.\n\n\"I'm pre-med. I know what to do when someone faints,\" she grumbles.\n\n\"And I have street smarts,\" adds Nathalie.\n\n\"Then, what should I do?\"\n\nHina closes her eyes and takes a deep breath. \"Get a bucket of water and erase Xavier's demon lady. I don't have time to argue with him. Tell him he can start over and draw something more appropriate, or if he wants he can just go home.\"\n\nNathalie produces a strangled groan of protest. You just nod.\n\n> Go east\nThere's a big sand pit in between the end of the bike trail and the equipment shed. It looks like they just gave up on finishing the\ntrail. It also looks like they gave up on reconstructing the intersection northeast of here. Everything's torn up, destroyed, and abandoned.\n\nThere's an empty bucket on the ground here.\n\n> You get bucket\nYou pick up the bucket.\n\n> You check your inventory\nYou are carrying:\na metal bucket\nan empty water bottle\n\n> Go west\nThe judges' folding table is set up behind the bleachers, out of the sun, on a strip of bike trail leading east and west. Lane is lying on the grass just off the path, with Hina petting her forehead and Nathalie keeping her feet elevated.\n\n> You talk to Hina\nHina already asked you to get a bucket of water to erase Xavier's art with. If you make her tell you again, she will get mad.\n\n> You talk to Nathalie\nNathalie gives you a condescending little nod. \"Hina's got this under control,\" she says.\n\n> Go east\nThere's a big sand pit in between the end of the bike trail and the equipment shed. It looks like they just gave up on finishing the\ntrail. It also looks like they gave up on reconstructing the intersection northeast of here. Everything's torn up, destroyed, and abandoned.\n\n> You look at the spigot\nThe faucet doesn't have a handle: Instead, there's a little square\nhole where you're supposed to insert a key.\n\n> You fill the bucket\nYou can't turn on the faucet; it doesn't have a handle. There's a square hole where you're supposed to insert a key, which you don't have.\n\nHopefully Hina has it.\n\n> You talk to Hina\n\"What is it?\"\n\n\"Sorry, I need the key thingy. For the shed. For the water.\"\n\nHina sighs impatiently. (Well, this part isn't exactly your fault, is it?) She finds the key in her pocket and hands it to you without\nsaying anything.\n\n> You fill the bucket\nYou place the bucket beneath the spigot, stick the key in the hole on top, and twist it. Clear water pours out and splashes noisily in the bottom of the bucket. The resonance is deeply satisfying. You almost feel a little sleepy.\n\nAs the bucket begins to overflow, you snap back to awareness and turn off the faucet. You pull out the key; you don't want to lose that.\n\nThen you pick up the bucket. It's heavy. Gosh.\n\nOkay, you can do this.\n\n> You go west\nVictoria is sitting in the grass, her head in her hands. Behind her on the bike path is her finished entry, a giant snake.\n\nCurving around from the east, the trail heads south, between the softball field and the overgrown hillside.\n\nJeez, it's hot.\n\n> Go south\nRachel is lying on the grass next to her entry, abandoning herself to the merciless sun. Her eyes are hidden behind ridiculous sunglasses.\n\nAn empty bike rack stands on the other side of the trail, at the foot of the hill. The trail runs north and south.\n\nSomething shrieks in pain. Was that a bird?\n\nRachel doesn't react.\n\n\"Did you hear that?\" you ask.\n\n\"Hear what?\"\n\n> You go to the south\nJonathan gives you a dark look before turning back down to his work. The bike trail curves from north to east, skirting the edge of the woods.\n\nA dry, mercifully cool breeze wafts over you from out of the forest, but it doesn't last long.\n\n> You go to the east\nAs you continue past Jonathan's drawing, you hear a voice behind you: Jerk.\n\nYou whirl around. \"What did you just say?\"\n\nJonathan looks up. \"I didn't say anything.\"\n\n\"Are you sure?\"\n\nJonathan blinks. \"Um. Well, pretty sure, I guess.\"\n\n> Go east\nFaye is sitting uncomfortably in the grass across the trail from a drinking fountain. It looks like the sun has gotten the better of her, but her chalk art is finished: A lurid homage to The Nightmare\nBefore Christmas.\n\nThe bike trail runs east and west between the woods and the outfield fence.\n\n> You go east\nJessica is sprawled across her field of flowers, sobbing softly.\n\nJessica is sprawled across her field of flowers, sobbing softly.The bucket falls from your grasp\n\nbucket falls from your graspand you run to her, fall to her side,\ntouch her cheek. What's wrong?\n\ntouch her cheek. What's wrong?Life is wrong, the world is wrong, our sorrow (which is the smallest portion of human misery) is too much to bear. We can't fix anything, we can't help anyone, we can only cling\nto each other\n\nto each otherand weep and cold water crawls over the pavement, sinking into our clothes.\n\ninto our clothes.\n\ufffd\ufffd3\n\nThe idea is not that the world itself is merely an illusion. That's stupid. What's really going on is this: Reality is out there, obviously. But there's this veil of appearance that inhibits\nour ability to experience reality. When you manage to push through\nthis veil, you'll realize that in fact reality is extremely real.\n\nAnd you're almost there. You can feel the surface of the world melting away beneath your fingers.\n\n0. THE CAVE\nAncient signatures painted on smooth, damp stone. Enormous machinery thrumming peacefully, blowing warm, wet wind over your face.\n\nAn engine screeches to life and breaks your concentration. There are people in here, talking over the fans, walking around like they own\nthe place. They're getting into their cars and they're leaving. Why\nare they leaving?\n\nEXITS: EAST\n\n> About you\nYou take a moment to focus. You point your attention inward. The\nflower of your \ufffd\ufffdtman opens itself to you.\n\nYou remember now. Your name is Nathalie.\n\n> You check your inventory\nYou are carrying:\na plastic baggie\n\n> You look at baggie\nInside the plastic baggie are seven little yellow pills.\n\n> You eat the pill\nOh, you've had plenty.\n\n> You examine the machinery\nGiant machines at the end of the ramp, churning incessantly. Their constant low moan is perfect thinking music."
    },
    {
        "text": "> You look around\n0. THE CAVE\nThe dimness and white noise were so relaxing, but now everybody's piling into their loud stupid cars and it's impossible to think in here.\n\nEXITS: EAST\n\n> You go east\nI. THE DELUGE\nIn a matter of seconds you are soaked. Your clothes cling to you like someone else's moist hands, and tingles of intense sensation ripple over your skin. You are supremely, ecstatically aware of your own hot, wet body.\n\nBut everybody's in a hurry hurry hurry to get inside the parking ramp. What for? It's just water, you guys. People are idiots.\n\nEXITS: WEST EAST\n\nSome sort of creature is shivering in an alcove, trying to keep dry.\n\n> You examine creature\nThe creature has a face you recognize. He sees someone he knows and waves.\n\nHe keeps waving and beckoning, more and more insistently, calling out something you can't hear over the rain.\n\nOh, he's waving at you!\n\n> You talk to the creature\nYou skip through the puddles to join the creature in his damp alcove.\n\n\"I've been looking all over for you,\" he says. \"I have orders to deliver you back to headquarters.\"\n\n1 - This weather is gorgeous.\n2 - So who is this guy?\n3 - Why's everybody leaving?\n4 - What does he even want?\n\n> 1\n\"It's amazing.\" You slick your hair back. \"Don't you love it?\"\n\n\"What are you talking about?\"\n\nHe's not paying attention. \"The rain.\"\n\n\"Oh. I guess I'd like it better if I was indoors. And wearing dry socks.\"\n\nOf course he would. \"Of course you would.\"\n\n1 - This weather is gorgeous.\n2 - So who is this guy?\n3 - Why's everybody leaving?\n4 - What does he even want?\n\n> 2\nYou lean in to inspect the candy-colored clown. He leans back. You\nknow him from somewhere. A long time ago. He seemed kind of gross when you met him, and he hasn't done anything to change your opinion since.\n\nJust because you're both aspects of the same universal consciousness doesn't mean you have to like him.\n\n1 - This weather is gorgeous.\n2 - So who is this guy?\n3 - Why's everybody leaving?\n4 - What does he even want?\n\n> 3\n\"Yeah, why is everybody leaving? I thought this was supposed to be fun times.\"\n\n\"Well, it's raining pretty hard.\"\n\n\"It's not raining that hard.\"\n\nHe rubs his forehead. He's thinking about something. He's about to say something.\n\nHe says: \"Well, yes it is.\"\n\nSo stupid.\n\n1 - This weather is gorgeous.\n2 - So who is this guy?\n3 - What does he even want?\n\n> 3\n\"What are you here for?\"\n\n\"I just said. Hina wants you to come back. They had a quick meeting while you were off doing whatever you were doing.\" You weren't even doing anything!\n\n1 - They had a meeting without me?\n2 - I don't have to put up with this!\n\n> 2\n\"And I won't.\"\n\n\"What?\"\n\n\"I won't go along with you. I won't comply with your orders. The Monomyth says that I have to refuse the call.\"\n\nHe sighs. \"Okay, I'll go back and let them know you're... invoking the Monomyth. See you later.\"\n\nHe hops out of his hidey-hole and runs as fast as he can down the street.\n\nWell, that's over."
    },
    {
        "text": "[Themes: autobiographical, art, drug abuse, multiple protagonists, drugs]\n\n> You describe your surroundings\nI. THE DELUGE\nEverybody's in a hurry hurry hurry to get inside the parking ramp.\nWhat for? It's just water, you guys. People are idiots.\n\nEXITS: WEST EAST\n\n> You go west\n0. THE CAVE\nThe dimness and white noise were so relaxing, but now everybody's piling into their loud stupid cars and it's impossible to think in here.\n\nEXITS: EAST\n\n> You go east\nII. THE BEAST\nHe growls and curses and struggles mightily against his fetters, but it's hopeless. He cannot move. He will never escape. Bound so tightly with tension and anger, he approaches the state of rigor mortis.\n\nEXITS: WEST NORTH\n\n> You look at BEAST\nA fanged monster of prodigious size is shackled in the middle of the street, his body melting away in the rain. He is glorious.\n\n\"Begone from me,\" the Beast growls, \"Or I shall chomp thine head off! For I detest thee and all of mankind.\"\n\n1 - How can he detest me? He doesn't even know me.\n2 - Why's he tied up like that?\n3 - Why is he melting?\n\n> 3\nYou run your hand down the Beast's back. He is hard and grainy. He is made out of sand.\n\nSand is the highest form of sculpture, the truest test of artistic skill. It is doomed to destruction, therefore it is the loveliest of substances\ufffd\ufffd\ufffdfor endurance is ugliness, and transience is beauty.\n\n\"Stop touching me,\" the Beast barks. But you go on petting him. He loves it.\n\n1 - How can he detest me? He doesn't even know me.\n2 - Why's he tied up like that?\n3 - Why is he melting?\n4 - Poor thing.\n\n> 2\n\"Who exactly put these chains on you?\"\n\n\"My creators\ufffd\ufffd\ufffdHuman college students. After they sculpted me into being, they saw that I was too powerful, that I would usurp and\nconsume them! They enshackled me thus, and then they fled. Cowards!\"\n\nYou nod. \"Total cowards!\"\n\n1 - How can he detest me? He doesn't even know me.\n2 - Why's he tied up like that?\n3 - Why is he melting?\n4 - Poor thing.\n\n> 4\nYou kneel down and scratch between his ears. \"Is there anything I can do for you, big guy?\"\n\nThe Beast softens. \"No human has ever before shown me one mote of kindness. No, Nathalie, it is too late for me\ufffd\ufffd\ufffdI am doomed to return to\nelemental matter, to cease in my distinctness forevermore. But in thanks for thine tender attentions, I will spare thine life.\"\n\n\"Aww. Thanks, big guy.\" You rise from your knees.\n\nThunder rumbles."
    },
    {
        "text": "> Look around\nII. THE BEAST\nHe still growls and curses, and still struggles mightily against his fetters, but it's hopeless. He cannot move. He will never escape.\nBound so tightly with tension and anger, he continues to approach the state of rigor mortis.\n\nEXITS: WEST NORTH\n\n> Go north\nIII. THE FORTRESS\nA massive castle looms before you, its walls and towers barring\nfurther progress. How original.\n\nEXITS: SOUTH NORTH\n\n> You look at the castle\nA magnificent and well-crafted structure is the Fortress, with many intriguing details: The messengers of the northwest tower bear\nmissives and watery cordials to the all various inhabitants of the Fortress.\n\n> You look at northwest tower\ncordials to the all various inhabitants of the Fortress.\n\n> You look at the southwest tower\nThe artists of the southwest tower spend their days asleep, but by night they gaze into the sky and draw celestial inspiration from their airy visions.\n\n> You look at southeast tower\nThe administrators of the southeast tower maintain the castle's bureaucracy with fiery drive and single-minded professionalism.\n\n> You examine the wizard's tower\nIn his lair at the top of the tallest tower, the wizard looks over the rest of the fortress and records all that he sees.\n\n> You go north\nYou can't go any further: The Fortress stands in your path.\n\n> Go northwest\nNo, you can't go that way. You can go north or south.\n\n> You talk to the wizard\nThe wizard's tower turns out to be a great listener.\n\n> You break Fortress\nYou stomp on the southeast tower, reducing it to a pile of sand.\n\n> Continue\nYou bring your fist down on the south wall. It crumbles immediately.\n\n> Continue\nYou kick the gatehouse, splattering it across the street.\n\nPeople passing by seem to think you're doing something wrong. They clearly don't understand how important it is for you to get through this castle.\n\n> Keep going\nYou smush the southwest tower into rubble.\n\n> Continue\nYou destroy the flimsy blacksmith's shop with a single kick.\n\n> Continue\nYou rip out a big chunk of the east wall and toss it down the road.\n\n> Continue\nYou pummel the wizard's tower into dust.\n\nAt last, you've cleared a path through to the rest of the street.\n\n> Go north\nIV. ERUPTION\nLiquid fire pours out from the smoking crater, down the mountainside, toward the doomed village. It's too late to escape, too late to rescue anybody. Everything is melting.\n\nEXITS: SOUTH WEST\n\n> You look at the village\nA few simple homes remain out of the lava's path for now, but before long, the entire village will be a smoking ruin.\n\n\"It's a shame,\" someone says as they hurry by. \"All that hard work\nwill be washed away.\" But that person doesn't understand properly:\nIV. ERUPTION doesn't necessarily symbolize a complete disaster:\nJust a drastic change, a threat to the status quo. And that's often a positive thing.\n\nActually, the status quo is famously terrible, so it follows that change is always good.\n\n> You look at the crater\nThe volcano rises high; its plume of smoke blots out the sky. Madame Pele shapes the earth according to her whim, and to erect a settlement in the shadow of her mountain is to put oneself at her mercy.\n\nLightning arcs across the clouds of ash, and thunder makes the\npavement shake beneath you.\n\n> Go west\nV. THE THRONE\nPapa is seated in majesty on his golden Throne, surrounded by a golden cord and a veil of black curtains.\n\nEXITS: EAST WEST\n\n> You look at Papa\nPapa is dressed in his purple vestments and skullcap, his frilly white skirt. His pince-nez is smashed into his forehead. His tiny teeth\nshine like wet pebbles in his gaping mouth. He is screaming.\n\nPapa's mouth is split wide in a piercing, infinite scream.\n\n\"Hey!\" you yell, loud enough that he should be able to hear you. But\nhe doesn't react.\n\n1 - Man, I hate this guy.\n2 - What's he screaming about?\n3 - He's not worth your time.\n\n> 2\nWho cares?\n\nYou yell at Papa to shut up. You yell at him again. He has no reply, except additional screaming. You're ready to start screaming yourself\ufffd\ufffd\ufffdbut that would be stooping to his level.\n\nLife is full of little lessons like this, if you bother to look for them. You have to pay attention to yourself. You have to open yourself up to what yourself is trying to tell you.\n\n1 - Man, I hate this guy.\n2 - What's he screaming about?\n3 - He's not worth your time.\n\n> You look at the cord\n(You'll have to pick a number from 1 to 3.)\n\n> 1\nYou are so sick and tired of this guy and his whole deal. This is really ruining your afternoon.\n\n1 - Man, I hate this guy.\n2 - What's he screaming about?\n3 - He's not worth your time.\n\n> 3\n\"Exactly! Your authority is meaningless. Authority is a false structure.\" You've been gnawing on this bone for a while. \"I don't\nhave to respect you\ufffd\ufffd\ufffdI don't even have to acknowledge you!\"\n\nPapa screams in response.\n\n1 - Yeah, leave him alone.\n2 - No, he needs to have this explained to him.\n\n> 2\nHe does need to have this explained to him, and you're the perfect person to explain it. \"Authority is a social construct, which means,\nwe all have to agree that you possess authority, or you don't possess it.\"\n\nPapa goes on screaming, either in impotent protest or in feigned confusion.\n\n\"Forget it. You'll never understand.\" Yeah. He'll never understand.\n\n> You examine Throne\nThe regal seat is topped with elaborate golden pinnacles, reaching almost as high as Papa's hat.\n\n> You examine the hat\nWhat a goofy little hat.\n\n> You examine cord\nThis velvet rope of gold is a false barrier: The rules don't apply to you. You aren't responsible for your actions.\n\n> You look at the curtains\nBlack drapery falls all around, obscuring the distant world and bringing what is near into ghastly clarity.\n\n> You pull the cord\nWell, being a false barrier, a mere invention, the cord only exists in your mind. So you can't really do anything with it."
    },
    {
        "text": "[Themes: art, true story, drugs]\n\n> Look around\nV. THE THRONE\nPapa is seated in majesty on his golden Throne, surrounded by a golden cord and a veil of black curtains.\n\nEXITS: EAST WEST\n\n> You go west\nVI. THE WRECKED SHIP\nLight plays strangely on the broken planks and spars littering the ocean floor. The shattered hull is rotting all around you.\n\nAt your feet, a skeletal sailor grins idiotically in a siren's\nembrace.\n\nEXITS: EAST NORTH\n\n> You examine the ship\nWhat brought this hulk to rest here? What doomed this sailor? Was it this mermaid? Probably. Is that a sexist assumption?\n\n> You look at the sailor\nThe sailor is smiling, even as his bones erode in the warm ocean currents. A slimy tentacle is wrapped around one of his legs. This moron is so, so pleased that a girl is finally paying attention to\nhim. He doesn't even care that he's dead.\n\n> You examine the siren\nA curvaceous mermaid: Long of hair, smooth of cheek, pert of nose. Her eyes are cast down lovingly at her skeleton friend, and her serpentine tail is coiled into a pillow where he can rest his skull.\n\nThe siren's pet shark is lurking nearby, ready to attack any\nintruders.\n\n> You examine the shark\nA dog-sized shark is skirting the area, looking out for trespassers. But it hasn't noticed you.\n\n> Attack shark\nYou kick off the shark's fin; then you smash the rest of it. It crumbles into nothing.\n\nThe siren doesn't seem to care.\n\n> You hit the ship\nYou tear down the hulk with your bare hands. It disintegrates, its contituent atoms floating off on undersea currents.\n\n> You look at the sculpture\nWhich do you mean, the wreckage, the skeletal sailor, the tentacle, or the siren?\n\n> You look at the tentacle\nTwisted around the sailor's bony leg is a tentacle, reaching up from somewhere beneath the sea floor. It is disgusting.\n\n> You examine the sand\nWhich do you mean, the wreckage, the skeletal sailor, the tentacle,\nthe siren, or the sea floor?\n\n> You examine the floor\nUndulating sand stretches out in all directions, fading quickly into the impenetrable blueness of the ocean.\n\n> You examine the wreckage\nPointy bits of wreckage are all over the place, spoiling the desert-like smoothness of the ocean floor."
    },
    {
        "text": "[Themes: autobiographical, drugs, drug abuse, college, multiple protagonists]\n\n> You look around\nVI. THE WRECKED SHIP\nThe sea floor has swallowed most of the wreck, and only a few planks remain.\n\nAt your feet, a skeletal sailor grins idiotically in a siren's\nembrace.\n\nEXITS: EAST NORTH\n\n> You go north\nVII. THE GATE\nThe warm rain is gone. Now frigid air conditioning flows over you, and you shiver like one near death.\n\nThe vestibule of the Honors Center is a liminal space, not quite\nwithin or without. Nothing good ever happens in liminal spaces.\n\nEXITS: SOUTH\n\nOh. Hina is here.\n\n> You examine Hina\nHina is almost as soaked as you are. And although she always looks serious, and often looks angry, you've never seen her as serious or as angry as she is now. Demonic flames are burning in her eyes. And she\nis stomping straight at you.\n\n\"Where in the heck have you been?\" she snarls.\n\n1 - Well, you can't tell her you were getting high in the parking\nramp.\n2 - Oh no she already knows.\n3 - She does not. Calm down.\n4 - No, look how angry she is! She definitely knows!\n5 - She has no idea. Just act normal, and she won't be able to tell.\n\n> 5\n\"I was taking a little break.\"\n\n\"You were gone for like two hours.\"\n\n\"Huh! I guess I lost track of time.\" Very normal response. You're\ndoing great.\n\nHina's forehead-wrinkle puckers. \"It's your sand sculpture contest. I would expect you to take some responsibility for it.\"\n\n\"I took plenty of responsibility for it! That's why I needed a break!\"\n\n\"Well, while you were taking your break, the rest of the Arts\nCommittee talked it over, and we don't think we should do sand sculpture again next year.\"\n\n1 - They can't do that!\n2 - They can't cancel my event without consulting me.\n3 - Just because it rained?\n4 - I'll complain to the faculty advisor.\n5 - What was her name again?\n\n> 3\n\"You understand that it's not going to rain like this next year, right?\"\n\n\"It's not about the weather. We all agreed that sand sculpture was too expensive and dangerous. Somebody got cut with a shovel pretty bad.\"\n\n\"You gave up because one guy had an accident?\"\n\n\"No.\" She steels herself. \"We also heard from a lot of participants that it was too much work. Shoveling all that sand and pouring all\nthat water is really exhausting. And it's supposed to be fun.\"\n\nA sudden peal of thunder punctuates Hina's treachery.\n\n1 - It IS fun.\n2 - These people are just too stupid and lazy to appreciate it.\n3 - What are they going to do instead? Finger painting?\n4 - Well, they can do it without me.\n\n> 3\n\"So what are you going to do next year? Finger painting? Sidewalk chalk?\"\n\nHina pauses. \"Finger painting sounds kind of cool, actually.\"\n\nYou try hard not to scream.\n\n\"This is supposed to be an honors program! We're supposed to hold up a higher standard than the rest of these idiots. We're supposed to be elevating people's consciousness!\"\n\nHina looks at you carefully. She's examining your eyes. Uh oh.\n\n\"Nathalie, are you feeling okay?\"\n\n1 - She knows!\n2 - She's gonna report you!\n3 - There's still time to deny it.\n4 - No, just own up to it.\n\n> 3\n\"I wasn't doing anything!\"\n\n\"I didn't ask if you were doing anything.\"\n\nShe's got you there. \"Look, I was just taking some of these.\" You pull out your baggie. \"Just to relax. It's not a big deal. But don't tell anyone.\"\n\nHina examines the pills. Hey, why are there only two left?\n\n\"Is this episcophacetin?\" she asks. You roll your eyes. Nobody calls\nit that.\n\nThe outside door of the vestibule opens, and Alec blusters in. \"Hey, Hina!\" he says cheerily. \"Look, I found Nathalie!\"\n\nYour rate for destroying artwork is 37.95%.\n\ufffd\ufffd4\n\nIn eternal Winter's grasp rests icy Cealdhame, where was raised snow-heavy Byringsburh, throne of Care\ufffd\ufffd, bearer of the Pallid Crown. Long has Care\ufffd\ufffd reigned in peace; long have his enemies waited to rise up in war against him. Episcophacetin, commonly known as\njoan[1] or klasvak[citation needed], is a\npsychoactive drug primarily used for recreational purposes. Its\neffects include altered perceptions and sensory hallucinations[2], often accompanied by intense changes in mood such as euphoria, depression, or paranoia.[3]\n\n> About you\nYou are a point in two-dimensional space. The original plan was that you would be in charge of a sidewalk chalk tournament. Now, you wander alone over the frostbound kingdom of Cealdhame, seeking respite from the bitter cold. Your face hurts.\n\n> Note 1\nYou never bothered to check any of the citations."
    },
    {
        "text": "> You look at your surroundings\nIn eternal Winter's grasp rests icy Cealdhame, where was raised snow-heavy Byringsburh, throne of Care\ufffd\ufffd, bearer of the Pallid Crown. Long has Care\ufffd\ufffd reigned in peace; long have his enemies waited to rise up in war against him. Episcophacetin is usually consumed orally in tablet form. It is also dissolved in water to counteract its dehydrating properties;[12] however, continued ingestion of episcophacetin-laced water has been shown to increase the likelihood\nof syncope (fainting),[13] hyponatremia,[14] and other possibly life-threatening side effects.[15][16][17][18]\n\n> You go south\nSix are the directions permitted in Cealdhame: Northeast, east, southeast, southwest, west, and northwest are these, and no others.\n\n> You go to the northwest\nThe River \ufffd\ufffdorm, abode of thick-browed Garn-men. Ash-white is the tusk of the Cranh\ufffd\ufffdal, sea-black its empoisoned tongue. Although it lacks the electrolytes necessary to restore sodium concentration, drinking unadulterated water has been shown to reduce the hallucinogenic\neffects of episcophacetin[19][20][21] as well as treat dehydration.[citation needed]\n\n> You go to the northwest\nLost forever upon the coldness of T\ufffd\ufffdr\ufffd\ufffdeste lies \ufffd\ufffdofydr\ufffd\ufffdcce, bright ring of gold, its gleaming wheel long unfilled by finger. Your head hurts.\n\n> Go southeast\nThe River \ufffd\ufffdorm, abode of thick-browed Garn-men. Ash-white is the tusk of the Cranh\ufffd\ufffdal, sea-black its empoisoned tongue. Episcophacetin is a chiral compound and is produced as a racemic mixture. Differences in kinetics have been noted between the two enantiomers,[97] with the R-enantiomer having a shorter elimination half-life and greater excretion than the S-enantiomer.\n\n> You examine the tongue\nWeirdly, you are unable to get a good look at the hated Cranh\ufffd\ufffdal.\n\n> You look at River\nSomething about your perspective is making it impossible to fully understand the River \ufffd\ufffdorm.\n\n> Drink water\nYou can't see that here. Or maybe this is a problem with those weird letters. Try thinking about it without using any weird letters.\n\n> Drink river\nTrying to get a handle on the River \ufffd\ufffdorm is making your head hurt even worse.\n\n> Go upward\nSix are the directions permitted in Cealdhame: Northeast, east, southeast, southwest, west, and northwest are these, and no others.\n\n> You go to the east\nThe hovel of the weaver C\ufffd\ufffddmyd, who fashioned bright \ufffd\ufffderf\ufffd\ufffdene. Battle-heavy was that tapestry, burdened by blood, that told of King Care\ufffd\ufffd. Your face is sore.\n\n> You look at the hovel\nYou can't figure out how to manipulate or even directly observe the hovel of the weaver C\ufffd\ufffddmyd. Something about this situation is messed up.\n\n> You go east\nIn the ice-caves of Nemind creeps the ice-bat Ge\ufffd\ufffdarcain, sovereign of vermin. Five are the wives of Ge\ufffd\ufffdarcain: Beresceon the Jealous, Nepe\ufffd\ufffd the Wicked, As\ufffd\ufffdealt the Moist, Ecgemarc the Clinging, and Helabreoc the Furious. There are several methods for synthesizing episcophacetin via various intermediates.[108][109][110][111] The original synthesis described by Hamano (1989) involves brominating cariadol to dimethylpyrimidinol bisulfite and then reacting this adduct with trimethylamine.[112][113]\n\n> Go east\nIn that direction lies the dark sea, and beyond that lie lands utterly unknown. Are you sure you want to keep going?\n\n> No\nThen you must wander the isle of Cealdhame... forever!\n\n> Yes\nThen you continue on, past the shores of Cealdhame, across the sharp-toothed sea, over the edge of the world.\n\nAnd then you rise up into the air...\n\nYou are floating above the the icy realm of Cealdhame. You must be\nvery high indeed; you can take in the entire island in a glance!\n\nOther lands lie north and east of here, if you remember correctly.\n\nNathalie's unsuccessful sand sculpture event took place on August 28, 2010. Today is August 27, 2011. You might be a bit loopy, but you're still lucid enough to do basic math: Nathalie has been plotting her revenge for eight thousand, six hundred and forty-seven days.\n\n> About yourself\nYou try to focus.\n\nYour head is killing you, and your face is sore from dragging it\nacross the kingdom of Cealdhame. Before that you were in charge of a sidewalk chalk tournament. But it hasn't turned out very well.\n\n> You continue\nYour head is killing you, and your face is sore from dragging it\nacross the kingdom of Cealdhame. Before that you were in charge of a sidewalk chalk tournament. But it hasn't turned out very well.\n\n> Go east\nYour legs feel so heavy. But you have to keep going.\n\nYour path seems to stretch out longer and longer with each step. The trail ahead twists and swerves, rolling up and down over sinuous\nhills, until you finally reach a spindly fence of wrought iron, and a crooked stone gate, and a tall man, spreading wide his spiderlike\narms.\n\n\"Greetings, greetings! I'm so pleased that you've joined us! But I should introduce myself. My name is Jack. I have the honor of serving as our little burg's representative\ufffd\ufffd\ufffda cultural ambassador of sorts. And who might you be, my dear girl?\"\n\n\"It's nice to meet you, Jack,\" you say without thinking. You're too tired to think. \"I'm Hina.\"\n\nHe takes you by the hand and leads you through the gateway. \"Well, then, Hina: Let me welcome you to Halloween Town!\"\n\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. A hulking man with an axe lodged in his skull trudges toward you\ufffd\ufffd\ufffdand mercifully he keeps trudging past you. A tiny devil-thing is toddling around on its stilt-like wingtips, apparently engaged in a game of\ntag. Doctor Finkelstein is scowling in his wheelchair; he may be the only one not having a good time.\n\nThe twisting road that skirts the city limits runs east and west.\n\n\"Please, stay and have a look around!\" says Jack. \"We so rarely have visitors.\"\n\n> Go west\nYou are floating above the the icy realm of Cealdhame. Other lands lie north and east of here.\n\n> You go north\n\n\n> You go north\nStep no further, Hina Shiroiwa. You have reached the end of your journey. You have wandered into a domain where I alone hold sway\ufffd\ufffd\ufffdI, the world-serpent Ahigu.\n\nBehold my vastness! Here there is no earth, nor sky: Only the infinite twisting of my scaled body. No tail have I, nor arms, nor legs; but look upon my face, my deadly fangs\ufffd\ufffd\ufffdupon the venom that will be your death.\n\nNo, not yet. I will allow you to live, but you will not continue east into the Hall of Judgment. Turn back, go southwards, and reflect upon your deplorable failure.\n\n> You examine the python\nI am Ahigu, the Endless Wyrm. I am all around you! You can see nothing but my rippling coils, my cavernous maw, my dripping fangs.\n\n> You go to the east\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. Barrel the trick-or-treater pops his head up from behind a tombstone. A tiny devil-thing is toddling around on its stilt-like wingtips, apparently engaged in a game of tag. The mayor is stomping around among his constituents, looking extremely pleased with everything.\n\nThe twisting road that skirts the city limits runs east and west.\n\nJack Skellington watches over the scene with his own satisfied smile.\n\n> You talk to Jack\nhim.\n\n\"Now, then. What can your tour guide do for you?\"\n\n1: Ask him about the town.\n2: Let's learn more about him.\n3: Tell him what's going on with you.\n4: Say goodbye.\n\n> 3\nJack seems nice, but would he really care about your problems? What good would it do to burden him with the details of all your troubles? It would be cruel, in fact. It would ruin his week. You breathe a\nheavy sigh.\n\n\"What's wrong?\" asks Jack.\n\nYou try to construct a noncommittal answer: \"I've just been under a\nlot of stress lately.\"\n\nHe nods; he presses his distal phalanges together. \"Why don't you tell me all about it?\"\n\nAll right, fine. But where to begin?\n\n1: Tell him about Lane.\n2: Tell him about Alec.\n3: Tell him about Nathalie.\n4: Tell him about the Sidewalk Chalk Tournament.\n5: Change the subject.\n\n> 3\n\"There's this girl Nathalie. She was in charge of our arts event last year, and it was a... Well, it went very poorly. So this year I ended up organizing the event instead of her, and I guess she took it personally, because she sabotaged the whole thing.\"\n\nJack's skull twists into a furious scowl. \"How dare she treat my\nfriend so shamefully! She must be punished, Hina!\"\n\n\"Well, I don't know if I have the authority to punish anyone.\"\n\nHe leaps to his feet and points a long, bony finger down at you. \"This Honors arts event is your responsibility! You alone can bring Nathalie to justice!\"\n\nThen he sees you cowering in fear beneath him and composes himself.\n\nHe sits down, puts a reassuring arm over your shoulder: \"But I'm sure you'll handle it well, whatever you do.\"\n\n1: Tell him about Lane.\n2: Tell him about Alec.\n3: Tell him about Nathalie.\n4: Tell him about the Sidewalk Chalk Tournament.\n5: Change the subject.\n\n> 1\n\"My friend is in trouble. She fainted\ufffd\ufffd\ufffdI think somebody put something in her drink. I need to make sure she's okay.\"\n\nJack slaps his knee. \"I'm sure you'll be able to help her, Hina!\nYou've given me every reason to believe that you're a very capable young woman.\"\n\nWell, that's nice of him to say.\n\n1: Tell him about Lane.\n2: Tell him about Alec.\n3: Tell him about Nathalie.\n4: Tell him about the Sidewalk Chalk Tournament.\n5: Change the subject.\n\n> 2\n\"I'm worried about Alec. I sent him off on an errand, and I haven't heard back. I wish I knew what happened to him.\"\n\n\"Is this Alec a friend of yours?\" asks Jack.\n\nHuh. That's a tricky one. \"I guess? He was one of the only people willing to help me out with all this.\"\n\n\"But did he lend his assistance because he wanted a piece of the\nglory? Or because he hoped you'd owe him a favor?\"\n\nYou scoff. \"No, nothing like that. He's not getting anything out of this.\"\n\nJack nods. \"That sounds like a friend to me, Hina.\"\n\nNow you feel a little guilty.\n\n1: Tell him about Lane.\n2: Tell him about Alec.\n3: Tell him about Nathalie.\n4: Tell him about the Sidewalk Chalk Tournament.\n5: Change the subject.\n\n> 4\nYou take a deep breath.\n\n\"I volunteered to coordinate the Honors arts event, to begin the fall semester. I thought sidewalk chalk would be fun, right? We'd get to be outside, but it wouldn't be like sand sculpture, where everyone was spending all their time shoveling. It would be totally casual. Just a way to decompress.\n\n\"But nobody signed up! I had to beg everyone to come, and then I had\nto beg Lane and Alec to be judges. The only person who actually volunteered to help was Nathalie, and she specifically wanted to be\nthe hydration officer, and I should have guessed that something shady was going on\ufffd\ufffd\ufffdbut I was so busy with the beginning of the semester and everything, I couldn't pay attention to anything. I completely forgot about prizes. I kept calling it a tournament and I never once thought about prizes! I call it a tournament but we have just six people actually participating.\n\n\"Then Jonathan tells me that Alec can't be a judge because he has his weird relationship with Jessica, so I have to coach Alec on what\nscores he's allowed to give\ufffd\ufffd\ufffdoh my gosh, if anyone finds out, they'll be so mad\ufffd\ufffd\ufffdthe whole judging system is a complete farce. And then Xavier thinks it's cool to draw\ufffd\ufffd\ufffdhe drew\ufffd\ufffd\ufffdit's\ufffd\ufffd\ufffdporn, basically, on a\npublic sidewalk! This is the Honors program!\n\n\"And then Lane fainted, and I assumed she was just dehydrated, which would be bad enough. But everyone else starts going all goofy, and I realize Nathalie has made it her mission to ruin the sidewalk chalk tournament. Because it wasn't already ruined enough! And I can't fix anything. There's no coming back from this. I'm a failure.\"\n\nYou bury your face in your hands. Jack Skellington wraps his arms around you in an extremely uncomfortable hug. Then he says, in a soft, warm voice: \"Let me tell you a story.\"\n\n1: Let him tell you a story.\n\n> 1\nHe takes a deep breath.\n\n\"You must understand: I've been the Pumpkin King for a very, very long time. I've coordinated more Halloween productions than I can count. And, if you will forgive a lapse in modesty, I've gotten very good at it. I grew so tired of Halloween, of the same old thing every year. I wanted to try something different.\n\n\"So I presented my associates with a pitch for a new kind of project. Something none of us had ever attempted! Something completely new\ufffd\ufffd\ufffdWell, not exactly. I more or less copied someone else's idea. But it was new to us, and we were all so excited! We took to it with twice the fervor of our Halloween preparations. We pulled out all the stops. We innovated\ufffd\ufffd\ufffdreally innovated, for the first time in years! And then the night came for us to put it all into action.\n\n\"It was a catastrophe. Our audience wasn't at all prepared for our avant-garde sensibility, and they responded incredibly poorly. Nobody could have predicted that things could go so horribly wrong.\"\n\nHis face falls. \"That's not true. Sally told me it would be a\ndisaster, and I refused to listen to her. But I don't think even Sally had any idea how bad it would get. They actually shot me out of the\nsky with a missile.\n\n\"It wasn't until I pulled myself out of the smoking wreckage that I realized how utterly I had failed. I felt just like you're feeling\nnow. Suddenly I was painfully aware of all the mistakes I had been blind to until that moment. All my hubris! I wanted to crawl into a hole and wither away.\n\n\"But something else occurred to me: I hadn't withered away quite yet.\nI was still Jack, the Pumpkin King! And I had something I didn't have before.\"\n\n1: What was that?\n\n> 1\n\"What was that?\"\n\n\"Why, my tragic, ruinous, monumental, calamitous failure, Hina! I had experienced failure on a level few could ever hope to recreate. And when I decided to make that disaster a part of me\ufffd\ufffd\ufffdinstead of collapsing beneath it and admitting defeat\ufffd\ufffd\ufffdI was a new man! I was the Jack Skellington who had been shot out of the sky with a missile! And\nI was brimming with new ideas, let me tell you. The next Halloween was one for the record books.\n\n\"Of course, first I had to clean up the horrible mess I had made. But that became much easier after I accepted and internalized my horrible failure. So, based on my experience,\" he says at last, \"I think you're going to come out of this in fine form.\"\n\nYou dab at your eyes with your shirt.\n\n> Go east\nColors flow and mingle, turquoise into lavender, pale cream into indigo, rolling in fat raindrops down from liquefying petals,\ndrenching the soil, impregnating the dark earth, the deep blackness of the earth.\n\nThe maiden and her knight lie sinking into melting lilies.\n\nTo the south and west are other spaces.\n\n> You examine knight\nIn a tangle of clinging arms lie the maiden and her knight; together they shed tears enough to dissolve a universe of flowers. The shared sorrow that afflicts their coupled hearts is unknowable, innominable. It is none of your business.\n\nThe knight has cast off his helm, has collapsed into the waters of his lady's emerald gown. His armor is already smeared with rust.\n\nHis left hand isn't pressed against his lady's back, but clutched\ntight around something.\n\n> Open hand\nYou pull at the gauntlet until the knight's fingers open at last: In his palm lies a tarnished key.\n\nYou grab it.\n\nThe empty hand now finds the maiden's back, and pulls her tighter against the knight.\n\n> You examine Alec\nThe knight has cast off his helm, has collapsed into the waters of his lady's emerald gown. His armor is already smeared with rust.\n\n> You examine Jessica\nThe maiden's eyes are shut by sleeping-draught. Her neck and cheek are chill and pale as ice; her dark lips part in silent choking sobs. Her emerald gown and black curling hair have melted with her lush array of flowers into a rippling sea of color.\n\n> You get the bucket\nHey, there's the bucket you sent Alec off with! Looks like he had a little accident.\n\nWell, nothing to be done about it now.\n\n> You check your inventory\nYou are carrying:\na tarnished key\n\n> You get the bucket\nYou reach for the bucket clumsily. Your hand glances against the\nmetal, and it rolls away\ufffd\ufffd\ufffd\n\n\ufffd\ufffd\ufffdoff the edge of space, into the depths of the earth.\n\n> You go west\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. Doctor Finkelstein is scowling in his wheelchair; he may be the only one not having a good time. The little witch-girl Shock is scurrying through the cemetery, searching for her friends. Sally the ragdoll sits on the hillside, brushing her hair and staring at the moon.\n\nThe twisting road that skirts the city limits runs east and west.\n\nJack Skellington watches over the scene with his own satisfied smile.\n\n> You go north\nUnlucky girl, you stand defenseless in the heart of my domain\ufffd\ufffd\ufffdthe domain of the world-serpent Ahigu. Behold my vastness! Here there is\nno earth, nor sky: Only the infinite twisting of my scaled body. No tail have I, nor arms, nor legs; but look upon my face, my deadly fangs, dripping with fatal venom, and know true terror.\n\nFor the moment I will allow you to live, but you will not continue\neast into the Hall of Judgment. Turn back, go southwards, and reflect upon your deplorable failure.\n\n> Examine containre\nThat isn't here. Probably. Or maybe it's here, but that's not what\nit's called.\n\n> Examine container\nThat isn't here. Or maybe it is here, but it isn't here enough to matter. Or maybe it's here, but that's not what it's called.\n\n> You look at cooler\nThat isn't here. Or maybe it is here, but it isn't here enough to matter.\n\n> You examine the grass\nThat isn't here. Or maybe it is here, but it isn't here enough to matter. Or maybe it's not here, but it's here, but not in the way it's supposed to be.\n\n> You talk to Ahigu\nThere is no need to speak. My knowledge in this domain is absolute.\n\nWhat do you wish to know, mortal?\n\n1: My true nature?\n2: Why I won't let you move forward?\n3: How to leave this place?\n4: Or would you rather I stopped reading your mind?\n\n> 2\nI do this for your own protection, Hina. You are not prepared for what awaits you in the Hall of Judgment. To continue eastward would take more fortitude than you can muster. You are only one Hina, after all.\n\nWhat else?\n\n1: My true nature?\n2: Why I won't let you move forward?\n3: How to leave this place?\n4: Or would you rather I stopped reading your mind?\n\n> 1\nI am the world called Ahigu, the primal serpent. I predate your fleshy pink existence by some millennia. In the Torah, I curse mankind with knowledge and death; in the Eddas, my venom fells the god of thunder. In the Vedas, I encircle the waters of creation and bring drought upon the world.\n\nWhat else?\n\n1: My true nature?\n2: Why I won't let you move forward?\n3: How to leave this place?\n4: Or would you rather I stopped reading your mind?\n\n> 3\nI am a merciful world-serpent. I will allow you to return south to\nthat realm whence you came.\n\nI do not sense within you the gratitude such a gesture merits\ufffd\ufffd\ufffdSo be it.\n\nWhat else?\n\n1: My true nature?\n2: Why I won't let you move forward?\n3: How to leave this place?\n4: Or would you rather I stopped reading your mind?\n\n> 4\nVery well!\n\n> You examine the venom\nThat isn't here. Probably. Or maybe it is here, but it isn't here enough to matter. Or maybe it's not here, but it's here, but not in\nthe way it's supposed to be.\n\n> Go south\n\n\n> Go south\nYou are floating above the the icy realm of Cealdhame. Other lands lie north and east of here.\n\n> You go to the east\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. One particularly noticeable demon has a mouth that goes all the way around its head. There's a wolfman scampering through the pumpkin patch, howling every so often. A quartet of vampires waddles across the street, gossiping loudly.\n\nThe twisting road that skirts the city limits runs east and west.\n\nJack Skellington watches over the scene with his own satisfied smile.\n\n> You examine the wolfman\nThe wolfman smiles and gives you a wave. Good grief, that's a lot of teeth.\n\n> You talk to the wolfman\nJack offers to introduce you to the wolfman, but you tell him you'd just as soon admire him from afar. The guy looks like he could chomp your head clean off.\n\n\"He's a very friendly fellow,\" says Jack.\n\n\"That's okay,\" you tell him.\n\n> You talk to the Doctor\nThe doctor grins as you approach: His teeth are awful. \"Hello there, Jack! And what is this creature you've brought with you?\"\n\n\"This is Hina. Hina, meet Doctor Finkelstein.\"\n\nIt seems wise not to say anything. Finkelstein squints at you through his tiny goggles.\n\n\"You seem to be very much alive, young lady\ufffd\ufffd\ufffdNot like most of us around\nhere. Still getting use out of all your body parts?\"\n\nGulp. \"Uh, yes. Sorry.\"\n\nHe clicks his tongue. \"Well, let me know if anything changes.\"\n\nYou laugh nervously as he activates his wheelchair and rolls away.\n\n\"A remarkable mind,\" says Jack.\n\n> You talk to Sally\nSally doesn't really seem to notice you, but she comes out of her reverie when Jack approaches, and gazes up at him adoringly. \"Jack!\" she gasps.\n\n\"Wonderful news, Sally! We have a guest! Meet Hina.\" Jack puts his\nbony hand on your shoulder and pulls you into Sally's line of sight.\n\n\"How nice to meet you, Hina.\" She raises her hand, and you shake it gently, worried that you might pull it loose.\n\n> You talk to the vampires\nYou and Jack walk up alongside the clique, but go unnoticed: The vampires are in their own little world."
    },
    {
        "text": "[Themes: true story, college, art]\n\n> Look around\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. A tiny devil-thing is toddling around on its stilt-like wingtips, apparently engaged in a game of tag. Barrel the trick-or-treater pops his head up from behind a tombstone. A quartet of vampires waddles across the street, gossiping loudly.\n\nThe twisting road that skirts the city limits runs east and west.\n\nJack Skellington watches over the scene with his own satisfied smile.\n\n> Go east\nColors flow and mingle, turquoise into lavender, pale cream into indigo, rolling in fat raindrops down from liquefying petals,\ndrenching the soil, impregnating the dark earth, the deep blackness of the earth.\n\nThe maiden and her knight lie sinking into melting lilies.\n\nTo the south and west are other spaces.\n\n> Go south\nA cloud of yellowish smoke billows over you, stinging your eyes, burning your lungs. You fall to your knees.\n\nNo, you need to keep going. Get up. Focus.\n\nTall tongues of flame line the passage toward the dais where Nega-Hina lounges on her thorny couch.\n\nHot, dry wind whistles through narrow windows. Your only hope of\nescape is in returning to the north.\n\n\"You're here! Finally!\" Nega-Hina groans. \"I've been so friggin' bored.\"\n\n> You examinNega-Hina\nHer face is your face, down to the furrow in her forehead. And you recognize her body as your body, stretched out like a cat on her leather couch. She's your exact double\ufffd\ufffd\ufffdexcept for her horns, and her fangs, and her glistening red skin.\n\n> You talk to her\nYou take an uncertain step toward the dais.\n\nShe waves you closer. \"Don't be shy. We have a lot of work to do.\"\n\n1: \"Who are you?\"\n2: \"What is this place?\"\n\n> 1\n\"Who are you\"\n\n\"Oh come on. You know exactly who I am. You're just not 'comfortable' with me\ufffd\ufffd\ufffd\" (here she uses finger-quotes, for some reason) \"\ufffd\ufffd\ufffdso you tried to get rid of me. But it turns out you can't get rid of me! And actually, you don't want to get rid of me. You'll be a lot better off when we start working together.\"\n\n1: Okay, I guess.\n2: I don't know about that.\n\n> 2\nHow can you put this politely? \"I'm sorry, but I don't think I feel comfortable accepting a naked devil-lady as an element of my psychology.\"\n\nShe rolls her eyes. \"You're being really literal about this, Normal Hina.\"\n\n\"You're a succubus! You're trying to tell me all my problems are about being repressed, and if I embrace my sexuality that'll somehow fix everything.\"\n\nNega-Hina drags her claws down over her face. \"Oh my gosh, that's not what's going on here at all.\"\n\n\"Well, maybe you could explain what really is going on here.\"\n\n\"Gladly! That's what I'm actually here for anyway, is to friggin' explain things...\"\n\n1: \"What is this place?\"\n2: Ask about one of the places you've been.\n3: Ask about what is going on in general.\n4: What am I even supposed to be doing here?\n5: Stop talking to Nega-Hina.\n\n> 1\n\"What is this place?\"\n\n\"That's an interesting question, actually. We're in two places at\nonce: Physically, this is the end of the sidewalk, where Xavier drew his bodacious drawing. But experientially, we're in...\" Nega-Hina\nleans down and whispers: \"Heck.\"\n\n\"Are you not able to say 'Hell' for some reason?\"\n\nShe answers with a pout and a little who-even-cares shrug.\n\nThen an awful thought occurs to you. \"Are you saying Xavier drew a naked picture of me on the sidewalk?\"\n\n\"No, no, no. You're just interpreting me in the context of your emotional baggage. Would Xavier know about this birthmark?\"\n\nShe juts her hip out at you in an unnecessarily slinky manner.\n\n\"I guess not.\"\n\n1: \"What is this place?\"\n2: Ask about one of the places you've been.\n3: Ask about what is going on in general.\n4: What am I even supposed to be doing here?\n5: Stop talking to Nega-Hina.\n\n> 3\n\"Can you tell me just generally what's going on?\"\n\nShe cocks her head. \"I mean, sure, if you want. I feel like you have everything pretty much figured out already, though. I don't want to waste time explaining stuff you already know.\"\n\n\"That's very considerate of you.\"\n\n\"I know. But it's up to you. Do you feel like you need some extra clarification?\"\n\n> No\n\"Eh, no thanks.\"\n\nNega-Hina nods.\n\n1: \"What is this place?\"\n2: Ask about one of the places you've been.\n3: Ask about what is going on in general.\n4: What am I even supposed to be doing here?\n5: Stop talking to Nega-Hina.\n\n> 2\nWhat do you want to ask about?\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 1\n\"So, there's this gigantic snake guy?\"\n\n\"Yeah, Ahigu! So friggin' cool.\"\n\n\"Well, he won't let me get to the equipment shed. If I try to get past him he'll venom me to death.\"\n\n\"Huh.\" Nega-Hina strokes her chin. \"You know, Princess Hebryn of Cealdhame\ufffd\ufffd\ufffdmistress of the fortress Cynebrand\ufffd\ufffd\ufffdshe wears a magic bracelet called Hlutorbeg. The stone-elves made it for her. It's supposed to grant its wearer immunity to poison.\"\n\n\"How do you remember all this?\"\n\nShe shakes her head wearily. \"Last January, you and Jonathan were in the Honors Center, and he was telling you all about his novel while\nyou were trying to study for an exam. You tried so hard to ignore him, but unfortunately your subconscious mind absorbed every friggin' detail.\"\n\n\"Did I retain anything for the exam?\"\n\nNega-Hina shrugs. \"I dunno. I don't pay attention to that stuff. But\nif you go back to Cealdhame and get that bracelet, it might let you\nget past Ahigu.\"\n\n\"Well, last time I was there, I couldn't really observe or touch anything.\"\n\n\"Yeah, because you lacked perspective! You didn't have the context necessary to interpret what you were seeing. That's the value of conversations like these.\"\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 2\n\"What do you think of Rachel's entry?\"\n\n\"Well, she did what she said she was going to do. I guess that's... honorable.\" You get the impression that Nega-Hina does not value honor very highly.\n\n\"Should I have told her she had to do something else?\"\n\nShe throws up her hands. \"It's your sidewalk chalk thing! Just tell people whatever you want!\"\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 3\n\"How exactly am I supposed to get this magic bracelet?\"\n\n\"I guess, go to Cealdhame, and, go inside of it again? And then look around for a magic bracelet?\"\n\nVery helpful.\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 4\n\"What do you know about Halloween Town and Jack Skellington?\"\n\nNega-Hina raises a cautionary finger. \"I know that guy is way too\nnice. I don't trust nice people.\"\n\n\"That's a terrible attitude.\"\n\n\"Well, you can try going through life associating with nice people\ufffd\ufffd\ufffdand\nbeing nice to them in return\ufffd\ufffd\ufffdand see where it gets you.\"\n\n\"Sounds great! Maybe I'll go talk to Jack instead of you!\"\n\n\"Great! Go do that!\"\n\n1: \"Fine, I will!\n2: \"I would, but I'm not finished here yet.\"\n\n> 2\n\"I would, but I'm not finished here yet.\"\n\n\"Is that so? You need more help? From me? Even though I'm not nice?\" Nega-Hina gives you some big fake doe-eyes.\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 5\n\"What was that place with all the melting flowers?\"\n\n\"That's just Jessica's entry. Alec must have spilled his bucket of water on it somehow.\"\n\n\"Oh.\" You nod.\n\nNega-Hina squints at you. \"You did realize that was Alec and Jessica back there, right?\"\n\n\"Of course I did,\" you fire back indignantly.\n\n\"Okay, okay.\"\n\n1: Ask about the Coils of Ahigu.\n2: Ask about Rachel's artwork.\n3: Ask about the Kingdom of Cealdhame.\n4: Ask about Halloween Town.\n5: Ask about Curling Flower Space.\n6: Never mind.\n\n> 6\nOkay. What would you rather talk about?\n\n1: \"What is this place?\"\n2: Ask about one of the places you've been.\n3: Ask about what is going on in general.\n4: What am I even supposed to be doing here?\n5: Stop talking to Nega-Hina.\n\n> 4\nYou don't want Nega-Hina to think you're flailing, so you ask very casually: \"What do you think I ought to do next?\"\n\nShe counts on her fingers: \"Go back over to Cealdhame. Get down inside it like you were earlier. Find the bracelet Hlutorbeg and put it on. And then see if Ahigu can still venom you to death.\"\n\n\"Okay.\"\n\n1: \"What is this place?\"\n2: Ask about one of the places you've been.\n3: Ask about what is going on in general.\n4: What am I even supposed to be doing here?\n5: Stop talking to Nega-Hina.\n\n> 5\n\"I should probably get going, actually.\"\n\n\"Sure, sure.\" Nega-Hina nods emphatically. \"And, yeah, if you need anything else...\"\n\n\"Yeah, definitely.\"\n\n\"Okay, cool. I'll be here.\"\n\n\"Right.\"\n\n> You go to the north\nColors flow and mingle, turquoise into lavender, pale cream into indigo, rolling in fat raindrops down from liquefying petals,\ndrenching the soil, impregnating the dark earth, the deep blackness of the earth.\n\nThe maiden and her knight lie sinking into melting lilies.\n\nTo the south and west are other spaces.\n\n> Go west\nA yellow moon hangs low over the pumpkin fields and graveyard. The denizens of Halloween Town are out in force, cavorting through the streets and across the countryside, toothy grins on every face. One particularly noticeable demon has a mouth that goes all the way around its head. The little witch-girl Shock is scurrying through the cemetery, searching for her friends. A trick-or-treater named Lock is hiding in an open grave.\n\nThe twisting road that skirts the city limits runs east and west.\n\nJack Skellington watches over the scene with his own satisfied smile."
    },
    {
        "text": "[Themes: college, true story, drug abuse, multiple protagonists]\n\n> You go downward\nYou've spent more than enough time down in Cealdhame, and your face is rubbed raw. Are you sure you want to go back?\n\n> Yes\nThen you descend again into that frost-ringed realm...\n\nIn eternal Winter's grasp rests icy Cealdhame, where was raised snow-heavy Byringsburh, throne of Care\ufffd\ufffd, bearer of the Pallid Crown. Long has Care\ufffd\ufffd reigned in peace; long have his enemies waited to rise up in war against him.\n\n> Go southwest\nStendrard was slain by high marshal Crongfer\ufffd\ufffd for want of Nipsende's breast-coffin; here his corpse-grave of death-cold alp-stone lay snow-locked these four thousand years.\n\n> Go southwest\nThe fellswan Hisc builds her nest on Geord\ufffd\ufffd\ufffd\ufffdl; not pleasant is that beach of Cealdhame! From Geord\ufffd\ufffd\ufffd\ufffdl flies Hisc in search of children and\nweaklings; these she bears in her tooth-beak through cold air-breezes to Geord\ufffd\ufffd\ufffd\ufffdl, and chews and swallows, and vomits up to feed her fellcygnets.\n\n> Go southwest\nIn that direction lies the dark sea, and beyond that lie lands utterly unknown. Are you sure you want to keep going?\n\n> You go to the east\nThe fortress Cynebrand is Hebryn's home, fastness of stone, where wedding was made twixt she and Nagol the sea-sailor, murderer of Mundr\ufffd\ufffdd. On Hebryn's arm rests Hlutorbeg, famed silver-ring, by stone-elves wrought. She who wears that bracelet fears no poison, nor snake-sting, nor spider-bite, nor cranhwal-tongue.\n\n> You get the bracelet\nGladly does Princess Hebryn bestow upon you the beloved bracelet Hlutorbeg, and wishes you well in your future endeavors.\n\n> Go upwards\nDo you wish to leave Cealdhame?\n\n> Yes\nThen away you fly!\n\nYou are floating above the the icy realm of Cealdhame. Other lands lie north and east of here.\n\n> Wear bracelet\nYou slip the heavy silver bracelet over your arm. Let's hope this works.\n\n> You check your inventory\nYou are carrying:\nHlutorbeg (being worn)\na tarnished key\n\n> You examine Hlutorbeg\nStone-elves forged this silver bracelet for Princess Hebryn, and with grim stone-runes inscribed it. It's said that whoever wears Hlutorbeg can resist any poison.\n\n> You go east\nWhat do you think you're doing? Don't you know what will happen if you disobey my commands?\n\nMy coils wind tight around you. I sink my fangs into your neck. My venom fills your veins. You will not live to regret this mistake,\nHina. No one will learn from your insolence. Your pathetic story ends here.\n\nWhy are you still alive?\n\nThe bracelet Hlutorbeg?! It can't be! Where\ufffd\ufffd\ufffdHow could you\ufffd\ufffd\ufffd\n\nOh, forget it. I know when I'm beat. Just get out of here.\n\nA few feeble fluorescent lamps illuminate this stretch of the tunnel. Further east and west, the lights are out, and the hallway stretches into darkness.\n\nLane's unconscious body is stretched out on the dingy tiled floor.\n\n\"This is your fault,\" she says.\n\n> You examine Lane\nHer eyes are closed, her hair is half-fallen in front of her face. The way her arms and legs are arranged doesn't look very comfortable.\n\n> You talk to Lane\nYou lean down to talk to Lane. Her eyes are still closed.\n\n1: \"Are you okay?\"\n2: \"I'm so sorry.\"\n3: \"I'll be right back.\"\n\n> 3\n\"I'll be right back to help you. I just have to\ufffd\ufffd\ufffd\"\n\nLane's body digs her fingers into your leg. \"You'll stay right here, Hina. I think I'm owed some explanations.\"\n\nYou wince. \"Fine, fine. What do you want me to say?\"\n\n\"For starters, why didn't you call an ambulance as soon as I fainted?\"\n\n1: I thought I could handle everything myself.\n2: I thought Lane was just dehydrated.\n3: It was my responsibility.\n\n> 2\n\"I thought you were just dehydrated. I couldn't have known that Nathalie spiked the water bottles.\"\n\n\"Couldn't you? Did you not notice everyone acting goofy?\"\n\n\"I did! Just...\" Sigh. \"Not until it was too late. At the moment when you fainted, at least, I thought all your symptoms were consistent\nwith dehydration.\"\n\n\"Well, maybe what we're learning here is that being pre-med\ndoesn't make you a diagnostic expert.\"\n\nYou bristle, but you don't want to push Lane's body any further: \"I guess not.\"\n\n\"All right, next question: Why on earth did you trust Nathalie to be the hydration officer?\"\n\n1: She deserved a second chance.\n2: I didn't think she would retaliate like this.\n3: I was desperate.\n\n> 2\n\"There's no way I could have predicted she would dose everybody!\"\n\n\"But you knew she was angry at you. You knew she was an unstable nutjob.\"\n\n\"No I didn't! I don't go through life assuming the worst of people.\"\n\n\"Well, maybe you should!\"\n\nYou squint at Lane's unconscious body. \"Hold on. Do you represent a part of my personality that's... terrible?\"\n\n\"I'm asking the questions here. Why did you tell Alec to erase\nXavier's artwork?\"\n\n1: \"What does that have to do with anything?\"\n2: \"Because you fainted!\"\n3: \"Because of the boobs!\"\n\n> 1\n\"What does that have to do with anything? That didn't happen until after you fainted!\"\n\n\"It speaks to your fitness as a sidewalk chalk event organizer.\"\n\n\"I don't have to justify myself to you. Xavier's drawing was totally inappropriate for an Honors-sponsored event, not to mention inappropriate for public sidewalks in general. It was my call to make, and I did exactly what a good sidewalk chalk event organizer would\ndo.\"\n\n\"Okay, well, you just did.\"\n\n\"Just did what?\"\n\n\"You just justified yourself to me.\"\n\nUgh. \"Fine. Do you have any other questions?\"\n\nLane's face scowls. \"No. You're free to go.\"\n\nYou stand up and wipe the dust from the floor off your butt.\n\n> Go east\nEverything is sand. Sand dunes roll over the planet, shimmering in impossible heat. Yellow sand crusts over your sweaty skin. Sand is in your teeth. Sand is in your eyes. You want to scream.\n\nA gleaming pillar of brass juts out of the sand.\n\n> You examine the pillar\nThe pipe is polished brass. At the top of it is a spigot. On top of\nthe spigot is an empty slot.\n\n> You put the key in slot\nYou raise the key over its slot.\n\nSomething slams into your back, and you fall on your face in the sand.\n\n\"No, no, not yet,\" a voice bellows. Nathalie. \"We still have some psychic baggage to unpack. We can't move forward as human beings if\nyou get all sobered up.\"\n\nYou roll onto your side to spit up a mouthful of sand. Nathalie chuckles, and the world shakes.\n\n> You talk to Nathalie\nYou twist your body and try to face her. You open your mouth. Nathalie smiles patiently.\n\n\"\ufffd\ufffd\ufffddo you want?\" you eventually manage.\n\n\"Hina. I want you to grow as a person. I want you to understand how unbearable you are, how miserable you make everybody because of your pathological need to be in control.\"\n\n\"I'm not\ufffd\ufffd\ufffd\" You can't finish the thought.\n\n\"Oh, you will be,\" she says, \"once you've finished broadening your perspective. Do you need another bottle of water?\"\n\nYou shake your head.\n\n> You talk to Nathalie\n\"Let me...\" you gasp.\n\n\"Let you what?\"\n\n\"I need to... The key.\"\n\n\"Oh! I get what you mean.\" Nathalie nods. \"Yeah, I can't let you do that. You're on the precipice of self-actualization! You just have to power through until you understand what a pathetic little jerk you've been.\"\n\n> You hit Nathalie\nYou can't even stand\ufffd\ufffd\ufffdand Nathalie is ninety feet tall. How are you going to hurt her from down in the sand?\n\n> You throw the sand in the eyes\nYou grab a handful of sand.\n\nYour arms are like jelly. You don't have the strength. A futile moan\nis all you can muster.\n\nNathalie leans down to look at you. \"What did you just say? Are you breaking through your preconceptions? Are you having a eureka moment?\" She brings her face close to yours, searching for signs of a breakthrough. Now she's close enough. You throw the sand into her\neyes.\n\nNathalie shrieks and falls backward, clawing at her face.\n\nEventually her screams become a series of expletives that do not bear detailed transcription.\n\n> You put the key in the slot\nYou wrap your fingers around the spigot and pull yourself up. Your\narms are so weak. Your mouth is so dry.\n\nIt takes both hands to get the key into its slot on top of the spigot.\n\nYou turn the key.\n\nWater spurts out of the spigot\ufffd\ufffd\ufffdclear, pure water, flowing into the sand, splashing all over your hands and your arms and your clothes.\n\n> Drink water\nyour mouth. It's not cold, but it's not as hot as everything else.\n\nIt tastes amazing.\n\nWhen you can't drink any more, you fall back into the sand. The desert has shrunk. And there's a shed here that wasn't there before.\n\nNo, you tell yourself, the shed was always here. The desert isn't even a desert: It's just a pit of sand, where Nathalie, a normal-sized person, is rubbing her eyes and crying a little. Finally, you're beginning to think clearly.\n\n> Yes\nI was hoping you'd say that! Appendix\n\nThunder rumbles, far away.\n\nThe place is kind of a mess. There's not enough space on the desk, so\na bunch of documents are taped to the walls. The whiteboard easel is\nan inherently awkward object and manages to take up a lot of space.\nThe rolling chair is shoved into a corner: There isn't really room to walk around in here while someone is sitting at the desk. Narrow passages lead northwest and southwest.\n\nRain taps steadily on the window.\n\n> You examine the easel\nIt's a flimsy collapsible easel. (It doesn't belong in the building;\nit was a gift from a high school teacher who got frustrated with its flimsiness.) On the easel is a whiteboard.\n\n> You examine the whiteboard\nThere are a bunch of illegible notes and weird schematics on this whiteboard; almost everything has been crossed out (why not erased?)\nto indicate that it's been taken care of. But here are some recognizable names: 0. THE CAVE, I. THE DELUGE, II. THE BEAST, III.\nTHE FORTRESS, IV. THE EYES\ufffd\ufffd\ufffdHey, that's not right.\n\n> You examine the documents\nWhich do you mean, the desk, the sheaf of legal documents, or the\nwall?\n\n> You examine legal\nThere are a few different drafts of the same document here. On top is the final version:\n\nrecollections of the individuals involved. By continuing, you concede that I, the editor, bear no responsibility for the felicitous representation of any objective fact associated with this narrative; furthermore, you swear or affirm that you will not issue to the editor or publicly report any corrections or recriminations concerning this narrative's accuracy\ufffd\ufffd\ufffdGeographical, historical, medical, meteorological, or otherwise.\n\nOh right, this is that thing you agreed to earlier. What a helpful reminder for you!\n\n> You look at the wall\nNumerous pieces of paper have been taped to the wall (with painter's tape, so as not to arouse the ire of the building's custodial staff). Some of it might bear a closer look.\n\nOn the wall are a class photo, an angry letter, and an orchestra poster.\n\n> You examine the class photo\nHere we have a picture of a bunch of very happy children, each one holding a papier-m\ufffd\ufffdch\ufffd\ufffd puppet in the shape of a different animal. The craftsmanship of these puppets is about what you'd expect from third-graders. The teacher's puppet is a little more polished, and has an arm that she can manipulate with a rod.\n\nWritten on the back:\n\n9/19/2019\n\nsoon be starring in a computer game! I told them they'd have to wait until they were a little older to play it. Then they started babbling about what kinds of horribly violent video games their parents let\nthem play, and I had to tell them it was a game you have to read, with no graphics. That cooled them down somewhat (sorry).\n\nI found your recent proposal very intriguing. Unfortunately it's\ntoo late in the semester to organize anything like that. Remind me\nnext year. But before then, FINISH \"A ROPE OF CHALK.\"\n\nThe \"i\" is dotted with a heart\ufffd\ufffd\ufffdsarcastically. Please don't get the wrong idea.\n\n> You examine the angry letter\nMr. Veeder,\n\nI have taken time to evaluate your story \"Aesthetics of\nImpermanence: A Rope of Chalk\" as you requested. After careful consideration, I've concluded that I cannot lend my expertise to your work in any capacity until drastic changes are made. The depiction of episcophacetin-induced hallucination in your story, as a \"fun,\" fairytale-like dream world, is grossly irresponsible and misleading. The \"medical accuracy\" with which you are so concerned is secondary to your social responsibility in representing the effects of episcophacetin abuse: A responsibility that you have thus far ignored. Following is a list of story elements that must be revised before I\ncan move forward as your consultant.\n\nThere were a couple more sheets attached to this, but I don't know where they went.\n\n> Examine poster\nThis is a poster for the Scottish Chamber Orchestra: All the musicians are holding their instruments and smiling on some huge staircase somewhere in Edinburgh. In front is the conductor, with the biggest smile of all.\n\nI guess it's hard to see why I would have this: The woman in the back with the bassoon is Jessica Marinakis. And actually, her smile might\nbe the biggest.\n\n> You examine Jessica\nThis is a poster for the Scottish Chamber Orchestra: All the musicians are holding their instruments and smiling on some huge staircase somewhere in Edinburgh. In front is the conductor, with the second-biggest smile of all. The woman in the back with the bassoon is Jessica Marinakis."
    },
    {
        "text": "[Themes: art, true story, drama, multiple protagonists, drug abuse]\n\n> Describe the surroundings\nThe place is kind of a mess. There's not enough space on the desk, so\na bunch of documents are taped to the walls. The whiteboard easel is\nan inherently awkward object and manages to take up a lot of space.\nThe rolling chair is shoved into a corner: There isn't really room to walk around in here while someone is sitting at the desk. Narrow passages lead northwest and southwest.\n\nRain taps steadily on the window.\n\n> You look at the window\nIt's just a little window, but the view is great: The roofs of different parts of the building, all glistening in the rain, and\nbeyond that, the gold dome of the Old Capitol.\n\nAt the bottom of the window frame, there's a jagged piece of metal sticking out.\n\n> You look at metal\nIt looks like something got snapped off.\n\n> You take it\nHey, be careful. It's sharp!\n\n> You go northwest\nThis is only a \"room\" by virtue of being hemmed in by a bunch of tall bookshelves. In the middle of the space is a long table covered in research materials.\n\nNarrow passages lead southeast, south, and southwest.\n\n> You examine the materials\nThe table is sort of the shape of a conference table, but I don't know how you'd fit a conference in this tiny space. There might be\nsomething cool to look at here...\n\nOn the long table are a lengthy letter, a cardboard box (closed), a pile of sketches, and a handwritten letter.\n\n> You look at the lengthy letter\nDear Ryan,\n\nI'm happy to answer this and any other questions you might have.\nDon't hesitate to write again if there's anything else you'd like to ask about.\n\nShelly Lampada, our faculty advisor, dissolved the Honors Arts Committee shortly after the Sidewalk Chalk Tournament. Early in the Spring semester, Faye Thompson proposed resurrecting the committee.\nShe had just read about \"Nuit Blanche\" and wanted to recreate the concept on the University of Iowa campus. Shelly only agreed to allow an exploratory committee to assess the feasibility of such an event. Understandably, Hina and Alec were reluctant to participate, but Faye managed to wrangle me in. She had little luck convincing anyone else\nto join; the committee consisted of Faye, myself, and freshman Elena Maric.\n\ninvolved, an arrangement that did not prove conducive to large-scale event planning. In retrospect, I think Shelly had hoped all along that Faye would eventually abandon the Nuit Blanche proposal. To Shelly's chagrin, despite having made no demonstrable progress in assessing feasiblity after two months, Faye refused to concede. Shelly\neventually dissolved our committee, and the Nuit Blanche concept would not be realized until 2014.\n\nHowever, Shelly left the Honors program at the end of the Spring\n2012 semester. Her replacement, Isaac Diston, was less wary of\ntrusting underclassmen with arts events. He permitted the Nuit Blanche exploratory committee to reconvene as a full-fledged Arts Committee, and we were allowed to organize a semester-opening event of our own, with the caveats that it be conducted indoors with what he called a \"buttload\" of faculty supervision.\n\nI apologize if I've gone into excessive detail. To answer your question: Yes, we did have another Honors arts event in August 2012. Faye, Elena, and I hung butcher paper on the walls of the Honors center, and students were encouraged to draw all over it with crayons. Nothing approaching the drama of the previous two years' events transpired.\n\nThank you for writing. I hope you are well, and that your work is\ngoing smoothly.\n\nSincerely,\nLane Mulville\n\nWind whistles sharply outside.\n\n> Examine box\nThere are some shipping labels on the sides of the box. But I\nshouldn't be giving you any addresses.\n\n> You open the box\nYou open the cardboard box, revealing an index card and a bunch of ribbons.\n\n> You examine the index card\nOn the card it says:\n\nI found these the other day! I never got a chance to pass them out after the event, so I guess I brought them home and squirreled them away and completely forgot about them. I thought you should have them...\n\nBy the way, I gave your game another look and I think you made me\ntoo mean to Alec. I know it's from his perspective, but I don't remember being that nasty. Maybe you could put a disclaimer in there that says I'm actually very nice :) Good luck finishing it!\n\nOkay, fine: VICTORIA GRAHAM IS VERY NICE.\n\n> You look at the ribbons\nThey're like ribbons you'd pin to people's lapels at a state fair, all in different colors, but none of them say \"first place\" or \"second place\" or anything like that. This one says \"Great Work!\" and this one says \"EXCELLENCE\" and then there are are three that all say \"Best Judge.\"\n\n> You examine sketches\nA note is paperclipped on top of the sketches:\n\nHey Ryan - Unfortunately I don't have any photos of my entry from\nthe \"incident.\" There was a big storm right after Hina called the police, everything got washed away. I do have some sketches I drew to prepare for the event though & thought they might be useful. - X\n\nThe drawings are of a sultry demoness in several different states of undress. In one, she's sitting on a throne made of skulls. Each printout has a \ufffd\ufffd XAVIER DANERI watermark somewhere on it.\n\n> You examine the handwritten letter\nNathalie's handwriting is very narrow and slanted. Very European. Not especially easy to read.\n\nDear Ryan,\n\nThree things. First, I hope everything is going well with your\nwork. Second, I have kind of a strange request.\n\nLucas and I are planning, or trying, or hoping, to adopt a child.\nWe've been discussing the idea since forever, but we've both been too intimidated by the idea to take any concrete action until just recently.\n\nto get approved, but fortunately with the agency we're looking at it's still technically possible, if you can get enough people to vouch for you.\n\nLuke suggested that I ask you to be a character reference. I feel\nlike I should stress that it was his idea. Not that I think it's a bad idea! But Luke pointed out that nobody else is so intimately familiar with my \"case\" and can \"speak to the extent of [my] rehabilitation\"\nthe way you can.\n\nI completely understand if you're not comfortable getting yourself entrenched in the very thorny process of adoption application, but please take it under consideration.\n\nAnyway, the third thing! Our yoga studio was in the local paper!!!\nI'm including a clipping (don't worry, I have approximately twenty copies of this issue). Look at how professional we look! Doesn't that look like a couple who you'd want to help with their adoption application???\n\nLove,\nNathalie\n\nWell obviously I helped them out. (This letter is from like three\nyears ago.) I think their kid's name is Ethan. I have no idea what happened to the newspaper clipping.\n\n> You look at the bookshelves\nIt looks like all the books here are medical journals. To be perfectly honest, I've never cracked any of them open.\n\n> You go south\nA claustrophobic passage runs north and south.\n\nI don't think this part of the building was originally designed to be office space, is the thing.\n\n> You go to the south\n\"Lounge\" might be overstating it a bit. There are a couple of vinyl couches here, and a mini fridge, and an ominous miniature door. Next\nto each couch is an end table with a little lamp.\n\nNarrow passages lead northwest, north, and northeast.\n\nYou can hear rain thrumming against the walls and roof.\n\n> You examine the door\nWhich do you mean, the mini fridge or the miniature door?\n\n> Miniature\nIt's definitely not regulation door size; it kind of looks like it was carved out of the wall as an afterthought. The sign says \"EMERGENCY EXIT ONLY. Alarm will sound if opened.\"\n\n> You look at the fridge\nBetween the two end tables is a modest mini fridge. There's a magnet stuck to the door.\n\n> Examine magnet\n\"One more MRI and I'll stick to the fridge!\"\n\nI don't know if that makes any sense, but I'm not a radiologist.\n\n> You open the fridge\nYou open the mini fridge, revealing a frozen Snickers bar.\n\n> Examine bar\nIt's a normal-sized Snickers bar, in its wrapper. It is cold.\n\n> You close the fridge\nYou close the mini fridge.\n\n> You examine the couch\nWhich do you mean, the blue couch or the orange couch?\n\n> Blue\nIt's a two-seater bench-type thing covered in bright blue vinyl. It's really more of a waiting room couch than a lounge couch.\n\n> You examine the orange couch\nIt's a two-seater bench-type thing covered in bright orange vinyl. It doesn't clash with the blue one as badly as you might think.\n\nWind whistles sharply outside."
    },
    {
        "text": "[Themes: drugs, drug abuse, college, multiple protagonists]\n\n> Look around\nThere are a couple of vinyl couches here, and a mini fridge, and an ominous miniature door. Next to each couch is an end table with a little lamp.\n\nNarrow passages lead northwest, north, and northeast.\n\n> You look at the lamp\nWhich do you mean, the mushroom-shaped lamp or the flower-shaped lamp?\n\n> Flower\nThis lamp's frosted glass shade is shaped like a daisy.\n\n> You examine the mushroom\nred plastic.\n\n> You examine the west table\nA boxy table with a wood veneer surface, indistinguishable from its partner. But this one has a different lamp on top.\n\nOn the west end table is a thick novel.\n\n> You look at the novel\nThe cover reads FROST-WENCHES OF CEALDHAME: A Prelude to the\nCealdhame Sequence. Then there's a picture of a frost-wench contemplating an orb. Beneath that is the name JONATHAN\nDEVRIES in an intimidating serif font.\n\n> You read it\nA scrap of paper falls out of the book as you open it.\n\nHere's an excerpt:\n\nA sound from beyond the door. Footsteps. Hilgr bristled. \"We\naren't alone, are we?\"\n\n\"I always travel with my guards,\" said Ymrod. Hilgr needed not her dreocr\ufffd\ufffdft to see through his deceit.\n\n\"If I don't go willingly,\" she whispered, \"you will take me to\nTy\ufffd\ufffding by force?\"\n\nYmrod closed his eyes, shook his head. \"No, no. The Reeve little\nwants to welcome a Frost-Wench into his walls. My single mission is to retrieve for him the Ge\ufffd\ufffdorcsceaft, which Ceald-law holds is his by right. It is this that I will take to Ty\ufffd\ufffding,\" he said, now fixing his gaze on Hilgr, \"willingly or by force.\"\n\n\"We heed not the Ceald-law in this wood,\" Hilgr whispered. She\nclasped her pale fingers round her \ufffd\ufffdmulet. \"And tonight you will learn why the Reeve of Ty\ufffd\ufffding so fears the Frost-Wenches.\"\n\nAnd so on, in like fashion.\n\n> You take the scrap\nTaken.\n\n> You read it\nRyan - Wondering if you've given any thought to my pitch for a\ntext adventure set in Cealdhame. The setting has huge potential for\n\nYou can hear rain thrumming against the walls and roof.\n\n> You examine the east table\nA boxy table with a wood veneer surface, indistinguishable from its partner. But this one has a different lamp on top.\n\nOn the east end table is a chapbook.\n\n> Examine chapbook\nA slim little hand-bound book. The cover says:\n\n\"I Wrote 'Em\"\nAlec Arden\n\nBeneath that there's a crude line drawing of a black-capped chickadee.\n\n> You read it\nSomeone (not me!) has taken a thick marker to this book and scribbled over most of the poems. This stanza is circled, though:\n\nOh, drop me not on the sidewalk. Look:\nthe swarming harpies of Night descend\nto roil my hair with sweat, and snap\nmy shivering bones out of joint. Defend\nme, Mona, take my arm over you,\nand remind my knees how they're supposed to bend.\n\n> You open the fridge\nYou open the mini fridge, revealing a frozen Snickers bar.\n\n> You eat the bar\nYou pull open the wrapper.\n\nYou take a bite out of the Snickers. It's good when it's cold, right? In my opinion, putting them in the freezer is a step too far. But this is delicious.\n\nBefore you know it, you've taken several more bites.\n\nYou can hear rain thrumming against the walls and roof.\n\n> Go northwest\nThis is the classroom that time forgot: There's a chalkboard behind\nthe podium! And the walls are done up in some very groovy red fabric. There are only twelve desks in here, and they're all in terrible\nshape.\n\nCome to think of it, I don't know if they even still teach any classes up here.\n\nThe exits are northeast and southeast.\n\nOne of the desks has a transcript sitting on it.\n\n> You look at the chalkboard\nThe chalkboard is blank.\n\nA piece of chalk rests on the sill.\n\n> You draw the key\nYou write \"key\" on the chalkboard.\n\n> You erase the chalkboard\nYou wipe down the chalkboard until it's more or less clean. Now you have chalk on your hands.\n\n> Examine transcript\nThis is clearly a printout of a NotePad document. I guess not all of\nit is here:\n\nRV: Does that [Alec's recollection] line up with what you remember?\n\nFT: Basically yeah. Basically.\n\nRV: So then what happened after you talked to Alec?\n\nFT: I was alone for a while and my mind was playing tricks on me. I\ngot very paranoid. I kept hearing things that weren't there. It took\nme a while to realize Alec should have come back. So I went looking\nfor him and I saw him and Jessica holding each other on the ground. I thought they were...\n\nRV: I'm not sure what you mean.\n\nFT: I thought they were dead! I guess I was already hallucinating enough that that made sense to me. So I ran, out into the street, crying for help.\n\nRV: Into the highway? I thought it was all blocked off for construction.\n\nFT: I don't remember. I might have jumped over the fence, I guess. I remember running across the torn-up street, and running across the train tracks.\n\nRV: I think there are some bars and restaurants between the highway\nand the train tracks.\n\nFT: Yeah but I don't remember those. I remember crawling up to the train tracks, and over the tracks, and down the incline to the river.\nA bunch of rocks, down to the river. I skinned both my knees on those rocks.\n\nRV: [sympathetic noise]\n\nFT: I think I was about to run right into the river, but then this\nhuge dog comes out of the water.\n\nRV: What?\n\nIt continues onto the next page.\n\n> You look at the desks\nA bunch of combination chair-desks, dating from an era before they learned how to make such things the least bit comfortable. I notice they're all right-handed.\n\n> You examine birth\nThis is a postcard with a picture of a tiny sleepy baby on it, along with the words:\n\nJune 1, 2020 at 4:05 a.m. - 7 pounds, 8 ounces, 21 inches\nWelcomed by James, Rachel, and big brothers Jacob, Scott, William,\nand Levi\n\nThe other side of the card is blank.\n\nWind whistles sharply outside.\n\n> You read the transcript\nFT: Well he wasn't a real dog.\n\nRV: Oh, that makes--Sure, sure.\n\nFT: He was huge, like the size of a wolf, but he had these big\nfriendly eyes. And he started telling me that everything was gonna be okay, and I just needed to stay put and calm down. He kind of talked\nme down, I guess.\n\nRV: Do you think it was a real person that you were hallucinating was\na dog? Or a real dog that you were hallucinating was huge and could talk?\n\nFT: Well, he definitely came up out of the river, so...\n\nRV: Sure, sure.\n\nFT: He stayed there and talked to me for a long time. And some of the stuff he said...\n\n[long pause]\n\nRV: We don't have to get into specifics.\n\nFT: Sorry. It's just--I don't know if I can put it into words. He understood some stuff that--He was a very smart dog, let's put it that way. So maybe you can put that in the game somehow.\n\nRV: Gosh. Yeah, definitely. I mean, hopefully.\n\nFT: Can I ask you a question?\n\nRV: Sure.\n\nThat's all there is.\n\nI think that accounts for everyone. You can quit the game whenever you like. Or you can just hang out, if you want.\n\n> You go southeast\nThere are a couple of vinyl couches here, and a mini fridge, and an ominous miniature door. Next to each couch is an end table with a little lamp.\n\nNarrow passages lead northwest, north, and northeast.\n\n> You open the miniature door\nThat just goes out onto the roof. You can leave it closed.\n\n> Continue\nThat just goes out onto the roof. You can leave it closed.\n\nSeriously, don't worry about it.\n\n> Miniature\nHey, that's an emergency exit! And it just goes out onto the roof, where it's cold and rainy. You should stay in here.\n\n> You enter the miniature door\nHey, that's an emergency exit! And it just goes out onto the roof, where it's cold and rainy. You should stay in here.\n\nSeriously, don't worry about it.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n> You go northwest\nThis is the classroom that time forgot: There's a chalkboard behind\nthe podium! And the walls are done up in some very groovy red fabric. There are only twelve desks in here, and they're all in terrible\nshape.\n\nThe exits are northeast and southeast.\n\nOne of the desks has a transcript sitting on it.\n\nYou can hear rain thrumming against the walls and roof.\n\n> You write driedout\nYou write \"driedout\" on the chalkboard.\n\n> You look at the chalkboard\nThe chalkboard has \"driedout\" written on it."
    },
    {
        "text": "[Themes: Espionage, supernatural, Evil protagonist]\n\nIt's a mistake to anthropomorphize humans. For all their rationality and free will, they won't do anything if left to their own devices. Instead, it falls to my organization to push them in the right, or\nmore often wrong, direction. We operate with secrecy and subtlety: a hint here, a nudge there, and eventually an empire collapses.\n\nA few situations require more direct intervention. Recently, a station in the town of \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd in the earthly realm suddenly went silent.\nIt's probably nothing serious; the most likely explanation is that its cover was compromised, and the officer in charge had to abandon it.\nThe day before, we intercepted a highly encrypted communiqu\ufffd\ufffd from the Other Side sent to one of their agents in the area. Again, it's probably nothing; they send a lot of messages.\n\n\"Probably\" isn't good enough for me, though. Our rival organization is also engaged in a complex war of manipulation, and we both have elaborate systems of measures and countermeasures to ensure that the other side plays fairly. Officially, I'm here to look over the station and make sure the place is clean. Unofficially, I'm here to make sure the Other Side isn't cheating at the Great Game.\n\nYou can't trust angels.\n\nThe casino complex looming before me is a converted seaside chateau. Only the most discreet glimpses of opulence are visible through the windows: checkerboard marble floors, liveried valets roaming the hallways, tiny but undoubtedly very expensive objets d'art sitting on oversized tables, and so on. As a warm breeze from the beach ruffles the palm trees, humans in formalwear stride through the grounds, staring longingly at the casino's beckoning entrance to the north.\n\nA suspiciously large quantity of salt forms an arc around the doorway.\n\nA bouncer kicks idly at the pile of salt.\n\nA thief watches, hoping for the bouncer to get distracted.\n\n[Author's Note: The memoir of a demonic spy in the Cold War between Heaven and Hell.]\n\n> About yourself\nMe? There's not much to say, really. My name is Sidewinder.\n\n(That's a lie. \"Sidewinder\" is a cryptonym; my real name is classified.)\n\nI'm a legal counsel to Hell's Office of Mortal Trade and Economic Development.\n\n(That's also a lie, or more accurately a cover. I'm an\nintelligence officer, or more accurately a spy.)\n\nMy job is to build peaceful, productive relations with mortals and to prevent my opposite number from expanding their influence in the\nmortal realm.\n\n(That one's true, although the methods by which I go about it are\nfar outside the ambit of my cover job.)\n\nI am, of course, a demon. Rather than the slavering mass of fangs and claws humans tend to expect, though, I'm a noncorporeal entity who moves in the spiritual realm and has some ability to influence humans in the physical realm.\n\n(Also true, although I could probably have the research department\nwhip me up some fangs and claws if I really needed them.)\n\nTo put it simply: I'm from Hell, and I'm here to help.\n\n(Absolutely true, though I'm not going to say whom I'm going to\nhelp.)\n\nThe bouncer greets a well-dressed visitor.\n\nThe thief watches, hoping for the bouncer to get distracted.\n\n> You examine the salt\nThe mostly likely explanation of the salt is that it's just a random, unremarkable accident, probably spilled by someone delivering kitchen supplies. The most worrying possibility is that it was placed here deliberately, probably by some useful idiot on the casino's staff who managed to dredge up some bit of folklore about demons and was trying to be helpful.\n\nThe bouncer shuffles from foot to foot.\n\nThe thief watches, hoping for the bouncer to get distracted.\n\n> You examine the bouncer\nA burly, ill-tempered human standing next to the door. Even if it is\nan exclusive place, the casino doesn't benefit from turning too many people away; the role of the bouncer is to keep an eye out for troublemakers.\n\nThe bouncer slowly surveys the crowd.\n\nThe thief sidles up to the bouncer and has an animated conversation with it, but to no avail.\n\n> You examine thief\nIt's wearing a black-and-white striped shirt and a domino mask. It doesn't fit in.\n\n> ENTER\nthe casino.\n\nIt goes without saying that my kind have certain affordances when it comes to dealing with mortals. We may not be much for the shuffling around of physical objects, but when it comes to humans' intentions,\nwe can pluck them out, give them to others, and generally treat them\nas playthings.\n\nThe bouncer leans against the doorway, idly watching the thief.\n\nThe thief watches, hoping for the bouncer to get distracted.\n\n> You take enter\nI extract the enter intent from the thief.\n\nThe bouncer leans against the doorway, idly watching the thief.\n\n> You put enter on the bouncer\nI give the enter intent to the bouncer, who now intends to enter the casino.\n\nThe bouncer sighs, looks at its watch, and decides to duck into the casino for a quick break. As it shuffles inside, it conveniently kicks aside enough of the salt to break the barrier. The thief gamely\nfollows after it.\n\n> You go inside\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief sidles toward the door, but a guard notices and glares menacingly. The thief slinks back to the casino floor.\n\nThe bouncer disappears further into the casino and is soon lost in the crowd.\n\n> You examine the door\nIt's an enormous door of brass and wood. It's probably locked\n(footnote 1).\n\nThe thief sidles toward the door, but the guard notices and glares menacingly. The thief slinks back to the casino floor.\n\n> Footnote 1\n(1) ...probably locked.: Not that a locked door is an\nobstacle to me.\n\n> You examine the guard\nA somberly dressed human posted to guard the door. Despite the boredom of its job, it's focused and professional.\n\n> BLOCK\nentry into the vault.\n\nThe thief tries to subtly watch the guard.\n\n> You look at the thief\nIt's wearing a black-and-white striped shirt and a domino mask. It doesn't fit in.\n\nThe thief looks longingly at the guarded door.\n\n> You examine the machines\nThe machines attract a steady stream of humans with their incessant noise and lights. The humans drawn in don't look like they're enjoying themselves, though; their expressions are flat or even mildly annoyed.\n\nThe thief sidles toward the door, but the guard notices and glares menacingly. The thief slinks back to the casino floor.\n\n> You examine the humans\nAwash in an amorphous mass of greed and bedazzlement.\n\nThe thief sidles toward the door, but the guard notices and glares menacingly. The thief slinks back to the casino floor.\n\n> You take the block\nI extract the block intent from the guard.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> Inventory\nIntentions:\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You look at the detector\nThe device is a convenient detector attuned to items tagged by demons from my home office, such as the chief of station here. When spun, it indicates how many of those items are in my present location (but not yet in my possession) and how many are in the same portion of the compound.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You read the communique\n43999 10698 03659 31802 08678 65629 67043 24095 85994\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You turn on the detector\nIt isn't something I can switch.\n\nThe thief watches hopefully for the guard to get distracted.\n\n> You use the detector\nThe detector produces three high whistles, indicating three unattained codebooks in this region of the compound, but none in this specific location.\n\nThe thief watches hopefully for the guard to get distracted.\n\n> You look\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief is skulking nearby, trying unsucessfully to avoid looking suspicious.\n\nThe guard is watching the door.\n\n> Go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nside.\n\nA card sharp is watching the other gamblers.\n\n> Go north\nFrom here, I can only go east.\n\nOf course, as a disembodied force made of spiritual energy rather than physical matter, I can theoretically go to and fro in the earth wherever I please. As in any business involving demons, though, terms and conditions apply. The particular summoning spell that I used to access the mortal plane ties my presence here to the premises of the casino, and I can't wander too far away from it. It also requires me\nto begrudgingly respect the human fiction of its walls.\n\nBesides, I take the responsibilities of my position seriously. It\nmight be nice to wander away from the casino and the nagging problems of its humans, float out to some deserted island, and spend a well-deserved vacation alone on the beach; but ultimately, I've got a job to do, and I don't have time to waste idly drifting around the mortal realm.\n\n> You examine the door\nI don't see the imposing door here. It was on the casino floor.\n\n> You look\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe card sharp is watching the other gamblers.\n\nI can also see the gambler here.\n\n> You examine the gambler\nThe well-dressed guest hovers around the poker tables with evident curiosity. It also carries an attach\ufffd\ufffd case that is sparkling with faint spiritual energy.\n\n> EXPLORE\nthe poker tables without getting sucked in.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take explore\nI extract the explore intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You examine sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\n> CLEAN\nup at poker.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take clean\nI extract the clean up intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks around the room predatorily.\n\n> You check your inventory\nIntentions:\nthe clean up intent\nthe explore intent\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> Go east\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You go east\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is playing some forgettable piece of classical music energetically. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor\nlies to the west.\n\nSome musicians play an intricate fugue.\n\n> You look at the musicians\nA string quartet is stationed in the upper reaches of the hall to entertain the humans dancing below.\n\n> PLAY\nmusic.\n\nThe musicians play a lively scherzo.\n\n> You take the play\nI extract the play intent from the musicians.\n\nThe musicians take the opportunity to drink some water.\n\n> You look at the humans\n(the musicians)\nA string quartet is stationed in the upper reaches of the hall to entertain the humans dancing below.\n\nThe musicians rosin their bows.\n\n> Go north\nThe casino's bar is a lively retreat for the dancers in the ballroom, with a steady stream of patrons drifting in and out. The bar itself is a giant mahogany beast with a bewildering array of decanters, bottles, and vials set against the mirror behind it. Floor-length windows fill the room with orange light.\n\nThe ballroom is south of here.\n\nA bartender folds some towels at the bar.\n\nA waiter sweeps through the room and attends to the guests.\n\nIt occurs to me that I should clarify that what I'm glossing as moving from place to place is actually a complicated warping of my spiritual probability field to move the mean of the distribution to another\npoint in space while preserving the decay rate of the tails. I'm told that humans use muscles and tendons for their locomotion, and I\nsuppose that works too. Most of my experience, however, is completely alien to humans' frame of reference, and I'm trying to meet you halfway. If I mention, say, that I have a headache, I don't mean to imply that I have a literal head that literally hurts; I'm referring\nto some part of my non-human non-physical non-anatomy that would make absolutely no sense to you, so I've put it in terms of the closest human equivalent. Similarly, I can't pick up and hold even a spiritual object such as an intention; I don't have hands (or, despite the unflattering paintings you may have seen, horns and a tail). Instead, to keep something like that nearby, I'm doing something impossibly complex that nevertheless has the same effect as your holding a teacup with your grubby, meaty human hands. To avoid confusion, I'm just\ngoing to describe myself as, say, holding the communiqu\ufffd\ufffd, and I'll leave it to you to wonder about how a spiritual being such as myself navigates the physical realm.\n\nThat having been said, I do wonder how you all manage with only five basic senses, and not particularly well-developed ones at that. Birds can see more colors than you, and they even get to fly. I don't think humans are any good at flying (though I have confirmed that humans are great at falling), which strikes me as a major design flaw. If you're stuck in only three spatial dimensions, you might as well get the most out of them.\n\n> You examine bartender\nA human who's dressed tidily but unobtrusively to look respectable and approachable.\n\n> FOLD\nnapkins.\n\nThe bartender folds some linen napkins at the bar.\n\nThe waiter sweeps through the room and attends to the guests.\n\n> You take the fold\nI extract the fold intent from the bartender.\n\nThe waiter sweeps through the room and attends to the guests.\n\n> You examine waiter\nThe waiter's uniform includes a half-apron with a pocket, in which rests a small notepad.\n\n> WAIT\non the various guests.\n\nThe waiter sweeps through the room and attends to the guests.\n\n> You take the wait\nI extract the wait intent from the waiter.\n\nThe waiter loafs in the corner.\n\n> You examine the notepad\nIf I understand the procedure correctly, the notepad is something the waiter uses to take customers' orders. It therefore holds no interest to me; I give orders to humans, not take them.\n\nThe waiter loafs in the corner.\n\n> Go west\nFrom here, I can only go south.\n\n> Go south\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\n> You go west\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You go to the north\nUnlike the rest of the casino, this small room is refreshingly severe and empty. Bookshelves filled with identical logbooks line the windowless walls, occasionally broken up by racks of electronic equipment. The only exit is an imposing door to the south.\n\nAn elaborate laser grid encloses a metal strongbox, which is sparkling with faint spiritual energy.\n\n> You examine the strongbox\nA heavy metal strongbox designed for storing valuables. It's sparkling with faint spiritual energy.\n\nAs I approach, I feel an odd kind of tension or humming in the air. I gingerly tap the strongbox, and my curiosity is punished with a\npainful surge of energy. I grit my teeth and push through it, but the strongbox is completely sealed shut. It's like the surface is coated\nin something dense and completely smooth, without any handholds or purchase. I'm not sure what could be causing\ufffd\ufffd\ufffd\n\nAh! I remember my colleague Whiptail mentioning developing some sort\nof protective device like this in a briefing a few centuries back. It functions as the spiritual equivalent of a diplomatic pouch: It makes the thing inside completely inaccessible to spiritual entities such as angels or my kind. Humans, being entirely corporeal, should be unaffected.\n\nI don't know how exactly the barrier works, and I've never seen it deployed in the field before. I have heard rumors that they're\nstarting to be used at embassies and other diplomatic posts, so it's not unreasonable to assume that Krait, the officer in charge here, would have had one. He must have had to stash something important in the complex; maybe he had to escape through enemy territory and didn't want to keep it on his person, or maybe this post was suddenly compromised and had to find a safe hiding place at a moment's notice. Regardless, if Krait considered something important enough to keep out of the greedy claws of the Other Side's agents even as he was under attack or forced to abandon this station, then I consider it important too.\n\nInside the strongbox are a confidential codebook and some stacks of banknotes. As long as it's closed, though, I can't get inside.\n\n> You examine the codebook\nCryptographic information that is useful in deciphering the communiqu\ufffd\ufffd. As a metaphysical item, it is is invisible to humans but tangible to me, or at least it would be if I could get it out of that mystically sealed container.\n\n> You check your inventory\nIntentions:\nthe wait intent\nthe fold intent\nthe play intent\nthe clean up intent\nthe explore intent\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the explore on the guard\nI give the explore intent to the guard, who now vaguely intends to explore.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You put the play on the guard\nI give the play intent to the guard, taking the explore intent in exchange. It now intends to play some casino games.\n\nThe thief inches toward the door. The guard is apparently not completely engrossed in the game, though, and pulls itself away long enough to bark at the thief.\n\n> You put clean on guard\nI give the clean up intent to the guard, taking the play intent in exchange. It now vaguely intends to clean up.\n\nThe thief watches hopefully for the guard to get distracted.\n\n> You take clean\nI extract the clean up intent from the guard.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp is watching the other gamblers.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, who now intends to fold in the poker game.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp sizes up its fellow players.\n\n> You wait\nTime passes.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take the fold\nI extract the fold intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You put the play on the gambler\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You examine the cards\nCards shuffle across the felt as the onlookers rap on the tabletop, make inscrutable gestures to the dealer, and grimly flick chips into a small pile in the center.\n\nThe fine details of the game are alien to me. The fine details of\nhuman nature are not, though; and judging from its expression, I'd say that the gambler has quite a good hand.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> Inventory\nIntentions:\nthe fold intent\nthe clean up intent\nthe explore intent\nthe wait intent\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put clean up on the gambler\nI give the clean up intent to the gambler, taking the play intent in exchange. It now intends to clean up its act and avoid gambling.\n\nThe gambler raises. The card sharp stares at its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You put the play on the gambler\nI give the play intent to the gambler, taking the clean up intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You look at the gambler\nThe well-dressed guest hovers around the poker tables with evident curiosity. It also carries an attach\ufffd\ufffd case that is sparkling with faint spiritual energy.\n\n> PLAY\npoker.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, who now intends to fold in the poker game.\n\nThe card sharp quickly folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You take the fold\nI extract the fold intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You examine sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, who now intends to fold in the poker game.\n\nThe card sharp summarily folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You take the clean up\nI already have that.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You take the play\nI extract the play intent from the gambler.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> Go east\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You go to the east\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians look through their sheet music.\n\n> Go north\nThe casino's bar is a lively retreat for the dancers in the ballroom, with a steady stream of patrons drifting in and out. The bar itself is a giant mahogany beast with a bewildering array of decanters, bottles, and vials set against the mirror behind it. Floor-length windows fill the room with orange light.\n\nThe ballroom is south of here.\n\nThe bartender stands behind the bar.\n\nThe waiter loafs in the corner.\n\n> You put the clean up on the waiter\nI give the clean up intent to the waiter, who now intends to clean up the general area.\n\nThe waiter dusts a spot with a rag.\n\n> You wait for a while\nTime passes.\n\nThe waiter straightens some furniture.\n\n> You take the clean up\nI extract the clean up intent from the waiter.\n\nThe waiter loafs in the corner.\n\n> Go south\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\n> Wait\nTime passes."
    },
    {
        "text": "[Themes: Espionage]\n\n> You look around\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nI can see the musicians here.\n\n> You take the explore\nI extract the explore intent from the musicians.\n\nThe musicians take the opportunity to drink some water.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe clean up intent\nthe play intent\nthe fold intent\nthe wait intent\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You examine the block\nThe abstract will-composite of the intention to block.\n\nThe musicians look through their sheet music.\n\n> You use the detector\nThe detector produces three high whistles, indicating three unattained codebooks in this region of the compound, but none in this specific location.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\n> You go west\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief inches toward the door, but the guard notices and glares aggressively. Apparently it's more alert than I thought.\n\n> You use the detector\nThe detector produces three high whistles, indicating three unattained codebooks in this region of the compound, but none in this specific location.\n\nThe thief watches hopefully for the guard to get distracted.\n\n> You go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks around the room predatorily.\n\n> You use the detector\nThe detector produces one low thud, indicating one unattained codebook in this specific location, and two high whistles, indicating two additional unattained codebooks in this region of the compound.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You examine the tables\nCards shuffle across the felt as the onlookers rap on the tabletop, make inscrutable gestures to the dealer, and grimly flick chips into a small pile in the center.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You look at the case\nA thin, leather-bound case used for transporting private documents. It's more effective when onlookers can only see in three dimensions.\n\nThe attach\ufffd\ufffd case is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a confidential codebook, as long as it's closed.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You put the play on the gambler\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You wait\nTime passes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You put the wait on card sharp\nI give the wait intent to the card sharp, who now vaguely intends to wait around idly.\n\nThe gambler raises. The card sharp studies its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You get wait\nI extract the wait intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You look at what you're carrying with you\nIntentions:\nthe wait intent\nthe explore intent\nthe clean up intent\nthe fold intent\nthe block intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the block on card sharp\nI give the block intent to the card sharp, who now vaguely intends to block.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You get the block\nI extract the block intent from the card sharp.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You put clean up on card sharp\nI give the clean up intent to the card sharp, who now intends to clean up at poker.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down."
    },
    {
        "text": "> Look around\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe card sharp is watching the other gamblers.\n\nI can also see the gambler here.\n\n> You go to the east\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn. A sword cane has been left on it.\n\n> You look at the bench\nIt's a ponderous bulk of white marble, with lion's heads carved into its armrests.\n\nOn the marble bench is a sword cane.\n\n> You look at the cane\nA weapon for people who like looking smart more than being smart. Nevertheless, I've seen them put to good use once or twice.\n\n> You get it\nAs a demon, I can only manipulate spiritual objects, not physical\nones.\n\n> You go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nA magpie perches, looking for something shiny to abscond with.\n\n> You look at the magpie\nMagpies are not quite up to the level of ravens, but they're still solidly respectable corvids. They're not as evil as ravens, sadly, but they're actually a bit more acquisitive and mischievous.\n\n> TAKE\nsomething shiny.\n\nThe magpie perches, looking for something shiny to abscond with.\n\n> You get take\nI extract the take intent from the magpie.\n\n> Go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous (footnote 2) path to the south heads back into the maze.\n\nof the area, sparkling with faint spiritual energy.\n\n> Footnote 2\n(2) ...A torturous path to the south: My editor suggests that\nI meant tortuous here, but I'm a hopeless optimist.\n\n> You look at the statue\nI don't know what sort of figure it's supposed to represent; it may\nnot even be intended to be anyone at all. The statue is also hollow\nand sparkling with faint spiritual energy.\n\nThe statue is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a confidential codebook, as long as it's closed.\n\n> Go south\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nA magpie is perched here.\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn. A sword cane has been left on it.\n\n> Go east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA tarnished silver mirror hangs over the archway leading east.\n\nOn the silver mirror is some holly.\n\nA kid stands off to one side, looking bored.\n\n> You look at the kid\nOne of those young humans there seem to keep being more of. I wouldn't normally expect to see one in a place like this, but perhaps away from the actual gambling humans deem it appropriate.\n\nI've never understood the point of children. My kind, and as far as I know those of my opposite number as well, are created ex nihilo for a specific purpose. We're ideally suited for that purpose, and we have all the talent and drive needed to fulfill it. I haven't always been the efficient and accomplished lawyer I am now, for example, but I've always wanted to be, and I've had millennia to hone my craft. Humans are just thrown into a world they don't understand without any explanation, and they're expected to find something meaningful to do, figure out how to do it, and find an opportunity to do it\ufffd\ufffd\ufffdall on their\nown, and with a time limit of less than a century. It's hardly surprising that humanity is so receptive to the influences of my organization and the Other Side.\n\n> You examine the mirror\nThe mirror is so badly tarnished as to be almost black. This is partially disguised by the prickly-leaved, festive, and inconvenient holly on it. It hangs over a stone archway that I'd ordinarily be able to easily pass through.\n\n> You examine the holly\nA festive garland of holly in an inconvenient location. It reminds me of the salt at the casino entrance; if that was happenstance, then the holly is at least coincidence.\n\n> Inventory\nIntentions:\nthe take intent\nthe block intent\nthe wait intent\nthe explore intent\nthe fold intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the explore on kid\nI give the explore intent to the kid, who now intends to explore for somewhere fun to play.\n\nThe kid wanders off to the west.\n\n> You go west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn. A sword cane has been left on it.\n\nThe kid runs excitedly into the maze.\n\n> Go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe kid gets completely confused and ends up running right out of the maze.\n\nA magpie is perched here.\n\n> You wait a while\nTime passes.\n\nThe kid runs into the maze and immediately gets turned around here.\n\n> Wait\nTime passes.\n\nThe kid gets completely confused and ends up running right out of the maze.\n\n> You get explore\nI extract the explore intent from the kid."
    },
    {
        "text": "[Themes: Espionage]\n\n> You look at your surroundings\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe kid shuffles around nearby.\n\nA magpie is perched here.\n\n> You give the explore to the kid\nI give the explore intent to the kid, who now intends to explore for somewhere fun to play.\n\nThe kid gets completely confused and ends up running right out of the maze.\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn. A sword cane has been left on it.\n\nThe kid runs excitedly into the maze.\n\n> You wait awhile\nTime passes.\n\nThe kid runs out of the maze, sees that it's back at the terrace, and sighs sadly.\n\n> You give take to the kid\nI give the take intent to the kid, taking the explore intent in exchange. It now intends to take something to play with.\n\nThe kid picks up the sword cane and starts swinging it around experimentally.\n\n> You give the explore to the kid\nI give the explore intent to the kid, taking the take intent in exchange. It now intends to explore for somewhere fun to play.\n\nThe kid runs excitedly into the maze.\n\n> You check what you're carrying\nIntentions:\nthe take intent\nthe block intent\nthe wait intent\nthe fold intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\n> Go west\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\n> Go west\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief watches hopefully for the guard to get distracted.\n\n> Go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp is watching the other gamblers.\n\n> You get the play\nI extract the play intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You get clean\nI extract the clean up intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp sizes up its fellow players.\n\n> You go east\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians take the opportunity to drink some water.\n\n> Go east\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\n> You go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe kid shuffles around nearby.\n\nA magpie is perched here.\n\n> You give the play to the kid\nI give the play intent to the kid, who now intends to play around with the sword cane.\n\nThe kid swings the cane around wildly, slashing at unseen enemies. After a dramatic charge, it hits a sturdy trunk, hard, and the outer cane shatters, revealing the blade. The kid squeals in excitement.\n\n> You wait awhile\nTime passes.\n\nThe kid hacks its way through the maze with the sword, easily cutting\na way to the north. It excitedly charges in that direction.\n\n> You go to the north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nof the area, sparkling with faint spiritual energy.\n\nThe kid runs around wildly, swinging the sword. In its enthusiasm, it bumps into the statue, which rocks slightly but does not fall.\n\n> You wait awhile\nTime passes.\n\nThe kid runs around wildly, swinging the sword. In its enthusiasm, it bumps into the statue, which rocks quite a bit but does not fall.\n\n> You wait a while\nTime passes.\n\nThe kid runs around wildly, swinging the sword. In its enthusiasm, it bumps into the statue, which rocks precariously but does not fall.\n\n> You check your inventory\nIntentions:\nthe clean up intent\nthe explore intent\nthe take intent\nthe block intent\nthe wait intent\nthe fold intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the block on kid\nI give the block intent to the kid, taking the play intent in\nexchange. It now vaguely intends to block.\n\n> You put the take on kid\nI give the take intent to the kid, taking the block intent in\nexchange. It now intends to take something to play with.\n\nThe kid picks up the sword cane and starts swinging it around experimentally.\n\n> You put the clean up on the kid\nI give the clean up intent to the kid, taking the take intent in exchange. It now vaguely intends to clean up.\n\n> You put the explore on kid\nI give the explore intent to the kid, taking the clean up intent in exchange. It now intends to explore for somewhere fun to play.\n\nThe kid wanders off to the south.\n\n> You look at kid\nOne of those young humans there seem to keep being more of. I wouldn't normally expect to see one in a place like this, but perhaps away from the actual gambling humans deem it appropriate.\n\nThe kid is holding the clean up intent and a sword cane.\n\n> CLEAN\nup.\n\n> You get clean up\nI extract the clean up intent from the kid.\n\n> Inventory\nIntentions:\nthe clean up intent\nthe take intent\nthe block intent\nthe play intent\nthe explore intent\nthe wait intent\nthe fold intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> Go south\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nA magpie is perched here.\n\n> Wait\nTime passes.\n\nThe magpie hops up and flies off to the south.\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nA magpie is perched here.\n\n> You wait for a while\nTime passes.\n\nThe magpie hops up and flies off to the east.\n\n> You go east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA tarnished silver mirror hangs over the archway leading east.\n\nOn the silver mirror is some holly.\n\nA magpie is perched here.\n\n> You get explore\nI extract the explore intent from the magpie.\n\n> You give take to the magpie\nI give the take intent to the magpie, who now intends to take\nsomething shiny.\n\nThe magpie perches across from the archway, but it doesn't see\nanything shiny enough to attract its interest.\n\n> You go east\nAs I try to pass through the archway, I bump my nonexistent head on a nonexistent wall. Looking around in confusion, I find the culprit: There's a sprig of holly on the mirror over the archway.\n\nHumans have a lot of folk tales about fending off my kind (and, perversely, attracting agents from the Other Side). Most of it is superstitious nonsense. The folklore about holly's keeping demons\naway, though, actually is true (footnote 3). It's embarrassing to admit, but something as simple as bit of holly over a doorway does in fact create a barrier that's difficult for demons to pass through. The effect is like running into a glass door, except that I can pass effortlessly through closed doors, so it's more like running into an archway that has holly stuck onto it.\n\nI'm not very good with metaphors. The point is that the holly is going to prevent me from passing through the archway as long as it's up there.\n\nThe magpie perches across from the archway, but it doesn't see\nanything shiny enough to attract its interest.\n\n> You go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\n> Go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nof the area, sparkling with faint spiritual energy.\n\nThe kid shuffles around nearby.\n\n> You put the explore  on kid\nI give the explore intent to the kid, who now intends to explore for somewhere fun to play.\n\nThe kid wanders off to the south.\n\n> Go south\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe kid gets completely confused and ends up running right out of the maze.\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe kid runs excitedly into the maze.\n\n> You put the clean up on the kid\nI give the clean up intent to the kid, taking the explore intent in exchange. It now vaguely intends to clean up.\n\n> East\nOur carefully negotiated treaties with the Other Side prohibit me from talking directly to humans.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe block intent\nthe play intent\nthe wait intent\nthe fold intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the fold on kid\nI give the fold intent to the kid, taking the clean up intent in exchange. It now vaguely intends to fold.\n\n> You put the block on kid\nI give the block intent to the kid, taking the fold intent in\nexchange. It now vaguely intends to block.\n\n> You get the block\nI extract the block intent from the kid.\n\n> Examine bar\nPresumably it's intended to make the room feel larger. Humans have a thing for illusions.\n\nThe waiter loafs in the corner.\n\n> You give the clean up to the bartender\nI give the clean up intent to the bartender, who now vaguely intends\nto clean up.\n\nThe waiter loafs in the corner.\n\n> You give the explore to the waiter\nI give the explore intent to the waiter, who now intends to explore\nthe casino in search of work to do.\n\nThe waiter walks purposefully off to the south.\n\n> Go south\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\nI can see the waiter here.\n\n> Wait\nTime passes.\n\nThe musicians look through their sheet music.\n\nThe waiter walks purposefully off to the east.\n\n> Go east\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe kid shuffles around nearby.\n\nI can also see the waiter here.\n\n> Wait\nTime passes.\n\nThe waiter walks purposefully off to the east.\n\n> Go east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA tarnished silver mirror garlanded with holly hangs over the archway leading east.\n\nThe magpie perches across from the archway, but it doesn't see\nanything shiny enough to attract its interest.\n\nI can also see the waiter here.\n\n> You put the clean up on the waiter\nI don't have the clean up intent in my possession. I last saw it in\nthe bartender's possession.\n\n> You get explore\nI extract the explore intent from the waiter.\n\nThe waiter loafs in the corner.\n\nThe magpie perches across from the archway, but it doesn't see\nanything shiny enough to attract its interest.\n\n> You go to the west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe kid shuffles around nearby.\n\n> You go to the west\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians rosin their bows.\n\n> You go north\nThe casino's bar is a lively retreat for the dancers in the ballroom, with a steady stream of patrons drifting in and out. The bar itself is a giant mahogany beast with a bewildering array of decanters, bottles, and vials set against the mirror behind it. Floor-length windows fill the room with orange light.\n\nThe ballroom is south of here.\n\nThe bartender stands behind the bar.\n\n> You get clean up\nI extract the clean up intent from the bartender.\n\n> You go east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA tarnished silver mirror garlanded with holly hangs over the archway leading east.\n\nThe waiter loafs in the corner.\n\nThe magpie perches across from the archway, but it doesn't see\nanything shiny enough to attract its interest.\n\n> You put the clean up on the waiter\nI give the clean up intent to the waiter, who now intends to clean up the general area.\n\nThe waiter, noticing the state of the silver mirror, applies some silver polish and elbow grease. Soon, the mirror is shiny again.\n\nThe magpie, seeing the mirror reflecting light onto the holly, immediately swoops down and grabs it in its talons. Yanking hard on\nit, it dislodges the holly and flies off with it back towards the terrace.\n\n> You get clean up\nI extract the clean up intent from the waiter.\n\nThe waiter loafs in the corner.\n\n> You go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe magpie perches in a rough nest of holly, looking for something shiny to abscond with.\n\n> You get take\nI extract the take intent from the magpie.\n\n> Go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe kid stands off to one side, looking bored.\n\n> Go east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\nThe waiter loafs in the corner.\n\n> Go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nA hotel clerk stands behind the desk.\n\nA wealthy dowager is sitting in a plush leather chair.\n\n> Spin detector\nThe detector produces one low thud, indicating one unattained codebook in this specific location, and two high whistles, indicating two additional unattained codebooks in this region of the compound.\n\n> You examine clerk\nA harried-looking human, dressed neatly in hotel livery.\n\n> You examine the dowager\nAn elderly human, dressed in the conspicuous finery of one who has\nmore money than taste.\n\n> You look at the desk\nIt's a massive thing, at least by human standards. These things are de rigueur in hotels, though I don't know why. Perhaps they're a mystery of human behavior that, like hats, will forever remain unsolved.\n\n> You examine safe\nA standard, unimpressive hotel desk safe. It's good enough for the sorts of ordinary valuables humans care about, I suppose. As for actually valuable valuables, I notice that the safe is glowing with spiritual energy.\n\nThe safe is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a jewel collection and a secret codebook, as long as it's closed.\n\n> Inventory\nIntentions:\nthe take intent\nthe clean up intent\nthe explore intent\nthe block intent\nthe fold intent\nthe play intent\nthe wait intent\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You examine the livery\nI don't see the valets here. They were at Casino Entrance.\n\n> You put the take on the dowager\nSome odd freezing, feathery barrier stops me, like an angry swan made of ice is getting in my way. I haven't encountered this sort of obstacle before, and it's clearly spiritual in nature. While I try be reasonably au fait with security measures in the field myself, my division has an entire research branch devoted to unusual and cutting-edge technology. I've worked with them before, and I even know one of their top scientists. The best option here would be for me to give my friend Whiptail a call and ask him if he knows anything about this apparently new bit of technology. Due to the abruptness of my assignment here, I don't have any sophisticated means of contacting headquarters. Instead, I'll have to fall back on the old standby of a bell, book, and candle.\n\n> You examine the chrysanthemums\nPoofy yellow flowers. They're nice, I suppose, if you like flowers. I do not.\n\n> You look at the fan\nAs befitting a place used by the Other Side, the ceilings fans here go around in circles without accomplishing much.\n\n> Go upwards\nFrom here, I can only go east and west.\n\n> You go east\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nA bellhop stands near the entrance, attempting to look professional.\n\nA guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> You look at the guest\nWearing shorts and a gaudy-print t-shirt.\n\n> WARM\nitself up.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> You get warm\nSome odd freezing, feathery barrier stops me, like an angry swan made of ice is getting in my way. I don't think I'll be able to do much about this problem myself.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest shivers exaggeratedly.\n\n> You look at the bellhop\nIt's wearing a red uniform with one of those ridiculous hats.\n\n> DEFEND\nthe sculpture.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest shivers exaggeratedly.\n\n> You examine the sculpture\nIt is very big, and surprisingly good at not melting. (The unusually low room temperature is probably a contributing factor.) At this close distance, I can feel some sort of numinous field radiating from it that's blocking my ability to manipulate these humans.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest looks pointedly at the thermostat.\n\n> You examine the thermostat\nIt's currently set to an unusually low temperature.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> Go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nA drunk burps loudly.\n\n> You look at drunk\nThe drunk has disheveled, stained clothes and an unpleasant odor. I'm not sure how it's managed to avoid getting kicked out of here by some sort of respectable environment operative.\n\nThe drunk is holding a bottle of vodka.\n\n> DRINK\nfrom a bottle of vodka.\n\nThe drunk burps loudly.\n\nMy editor has informed me that for legal reasons, I'm supposed to\nrefer to the drunk human as \"tired and emotional.\" I don't get it, but you can't argue with lawyers.\n\n> You get the drink\n(the drink intent)\nSome odd freezing, feathery barrier stops me, like an angry swan made of ice is getting in my way. I don't think I'll be able to do much about this problem myself.\n\nThe tired and emotional human exhales contentedly.\n\nI have informed my editor that demons don't care about human laws, and humans can't sue Hell anyway. Besides, if we had to defend our case, there's no shortage of lawyers here. I'm going to keep referring to\nthe drunk human as a drunk.\n\n> You go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> Go west\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\n> You examine the dowager\nAn elderly human, dressed in the conspicuous finery of one who has\nmore money than taste.\n\n> You go to the west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads from is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\nThe waiter loafs in the corner.\n\n> You look at the villa\nThe hotel sits comfortably out of the glare of the lights from within the casino.\n\nThe waiter loafs in the corner.\n\n> You go west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe kid stands off to one side, looking bored.\n\n> You put the explore on kid\nI give the explore intent to the kid, who now intends to explore for somewhere fun to play.\n\nThe kid runs excitedly into the maze.\n\n> Go north\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe kid gets completely confused and ends up running right out of the maze.\n\nThe magpie is sitting in a nest made of holly.\n\n> You put the play on the kid\nI give the play intent to the kid, taking the explore intent in exchange. It now intends to play around with the sword cane.\n\nThe kid hacks its way through the maze with the sword, enlarging the way to the north. It excitedly charges in that direction.\n\n> You go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nof the area, sparkling with faint spiritual energy.\n\nThe kid runs around, swinging the sword frantically. Apparently spotting a mighty foe in the form of the statue, it takes a powerful swing. The statue falls over and shatters into a thousand pieces, revealing a codebook.\n\nThe kid looks around sheepishly. Seeing no one, it resumes its play.\n\n> You get the codebook\nI pick up the confidential codebook and page through it. The cipher on the communiqu\ufffd\ufffd is at a much higher classification level than the confidential codebook, but I can still decipher some of its header information and basic format. The cipher is apparently one used by high-level angelic operatives; it's something that the Other Side reserves for particularly sensitive missions involving particularly important assets. Each five-digit number corresponds to a word or phrase; 12345, for example, could mean anything from \"demon\" to \"eliminate\" to \"next Thursday afternoon.\" The association is also one-to-many, so the same plaintext word or phrase could have (and, if it's a common one, certainly does have) multiple ciphertext numbers corresponding to it. In short, this isn't something I can break by myself.\n\nThis codebook contains a portion of the code, at least the part of it that's available at the confidential classification level. With it, I can start to decrypt some of the communiqu\ufffd\ufffd:\n\n42734 72880 of 46480 44946 04845 62628 73048 74615 in the 47576 45953 40297 62029 31368 02666 and 63211 79260 67549 07135 14066 43999 is 03659 31802 08678 65629 67043 24095 85994\n\nThe kid swings the sword around, carefully avoiding stepping on the shattered statue pieces.\n\n> Go south\nmeticulously cut into a network of crisscrossing channels. Presumably the effect is disorienting to humans, but I have no trouble making out the open area to the north, nestled in the center of the maze. The gravel pathways snake around it, warm in the heavy evening air.\n\nThe rest of the casino grounds lie to the south.\n\nThe magpie is sitting in a nest made of holly.\n\n> Go west\nThe maze is uninteresting to me, either as a diversion or as an obstacle. I might as well just walk through the hedges to the north or south.\n\n> You go south\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\n> You check what you're carrying\nIntentions:\nthe explore intent\nthe take intent\nthe clean up intent\nthe block intent\nthe fold intent\nthe wait intent\n\nCodebooks:\none confidential codebook\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You get clean up\nI extract the clean up intent from the musicians.\n\nThe musicians look through their sheet music.\n\n> Go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nThe kid swings the sword around, carefully avoiding stepping on the shattered statue pieces.\n\n> You get the play\nI extract the play intent from the kid."
    },
    {
        "text": "[Themes: Espionage]\n\n> Look around\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nThe kid shuffles around nearby.\n\n> Go south\nThe casino complex looming before me is a converted seaside chateau. Only the most discreet glimpses of opulence are visible through the windows: checkerboard marble floors, liveried valets roaming the hallways, tiny but undoubtedly very expensive objets d'art sitting on oversized tables, and so on. As a warm breeze from the beach ruffles the palm trees, humans in formalwear stride through the grounds, staring longingly at the casino's beckoning entrance to the north.\n\nA suspiciously large quantity of salt is no longer blocking the doorway.\n\n> You check your inventory\nIntentions:\nthe play intent\nthe clean up intent\nthe explore intent\nthe take intent\nthe block intent\nthe fold intent\nthe wait intent\n\nCodebooks:\none confidential codebook\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put wait on the thief\nI give the wait intent to the thief, taking the take intent in exchange. It now intends to wait patiently until a solid opportunity for thievery arises.\n\nThe thief is waiting patiently, paying attention to the guard.\n\nThe guard loafs idly.\n\n> You put the explore on the guard\nI give the explore intent to the guard, who now vaguely intends to explore.\n\nThe thief is waiting patiently, watching the surrounding area.\n\n> You put the play on the guard\nI give the play intent to the guard, taking the explore intent in exchange. It now intends to play some casino games.\n\nThe thief is waiting patiently, looking up at the security cameras.\n\nThe guard sits down at a nearby slot machine and begins to play, still keeping an eye on the door.\n\n> You wait\nTime passes.\n\nThe thief is waiting patiently, listening carefully to the sounds of the casino.\n\nThe guard gets more distracted by the slot machine.\n\n> Wait\nTime passes.\n\nThe thief is waiting patiently, looking up at the security cameras.\n\nThe guard gets even more distracted by the slot machine.\n\n> You wait for a while\nTime passes.\n\nThe thief is waiting patiently, paying attention to the guard.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> You wait for a while\nTime passes.\n\nThe thief is waiting patiently, looking up at the security cameras.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> You take the wait\nI extract the wait intent from the thief.\n\nThe thief picks the lock of the counting house door and slips through, gently closing it behind it.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> Go north\nUnlike the rest of the casino, this small room is refreshingly severe and empty. Bookshelves filled with identical logbooks line the windowless walls, occasionally broken up by racks of electronic equipment. The only exit is an imposing door to the south.\n\nAn elaborate laser grid encloses a metal strongbox, which is sparkling with faint spiritual energy.\n\nThe thief sidles over to the strongbox and peers at it intently.\n\nThe thief is skulking nearby, trying unsucessfully to avoid looking suspicious.\n\n> You give the take to the thief\nI give the take intent to the thief, who now intends to take something valuable.\n\nThe thief tinkers with the strongbox. Despite its obvious skill, its hand grazes one of the laser beams as it attempts to break inside. It hesitates briefly but, sweating nervously, continues its delicate\nwork.\n\n> You wait awhile\nTime passes.\n\nAs the thief continues to poke at the strongbox, I hear muffled footsteps outside approaching the door. A security team furiously rushes inside, grabs the thief, and abruptly hauls it out of the room amid a series of curses and threats. After the door slams shut again, another set of impatient footsteps issues from the opposite side. As they recede, though, I suddenly hear something heavy fall, followed by the sound of someone frantically running. It would seem the thief managed to escape after all.\n\n> Go south\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> Go south\nThe casino complex looming before me is a converted seaside chateau. Only the most discreet glimpses of opulence are visible through the windows: checkerboard marble floors, liveried valets roaming the hallways, tiny but undoubtedly very expensive objets d'art sitting on oversized tables, and so on. As a warm breeze from the beach ruffles the palm trees, humans in formalwear stride through the grounds, staring longingly at the casino's beckoning entrance to the north.\n\nA suspiciously large quantity of salt is no longer blocking the doorway.\n\n> You go to the north\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\nThe thief creeps in from the east.\n\n> Go south\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe thief is skulking nearby, trying unsucessfully to avoid looking suspicious.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> You examine thief\nIt's wearing a black-and-white striped shirt and a domino mask. It doesn't fit in.\n\n> TAKE\nsomething valuable.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> Wait\nTime passes.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> You get take\nI extract the take intent from the thief.\n\nThe thief picks the lock of the counting house door and slips through, gently closing it behind it.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> Go north\nUnlike the rest of the casino, this small room is refreshingly severe and empty. Bookshelves filled with identical logbooks line the windowless walls, occasionally broken up by racks of electronic equipment. The only exit is an imposing door to the south.\n\nAn elaborate laser grid encloses a metal strongbox, which is sparkling with faint spiritual energy.\n\nThe thief sidles over to the strongbox and peers at it intently.\n\nThe thief is skulking nearby, trying unsucessfully to avoid looking suspicious.\n\n> You check what you're carrying\nIntentions:\nthe take intent\nthe wait intent\nthe explore intent\nthe clean up intent\nthe block intent\nthe fold intent\n\nCodebooks:\none confidential codebook\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You give the take to the thief\nI give the take intent to the thief, who now intends to take something valuable.\n\nThe thief tinkers with the strongbox. Despite its obvious skill, its hand grazes one of the laser beams as it attempts to break inside. It hesitates briefly but, sweating nervously, continues its delicate\nwork.\n\n> Go south\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\nUnnoticed by the crowd, a half-dozen humans in sleek black suits mix through the room and arrive at the door. Ignoring the guard, they unlock the door and quickly close it behind them. In my line of work, I've come to recognize the look a person, or even a human, has when he's carrying a weapon he intends to use. Even if I hadn't been able\nto see them reaching inside their jackets, it's clear from their faces that they're preparing to handle the burglar with supererogatory viciousness. After a couple of heavy thumps from inside, the security team emerges with the would-be thief securely held in the center of their formation. They close and relock the door, then march the\nburglar down the maze of machines, away from the densest groups of players.\n\nAs they begin to recede into the distance in the cavernous hall, I\nhear the thud of something hitting the floor, some muttered curses,\nand the sound of someone running frantically. It would seem that the thief escaped after all.\n\n> Go east\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians are chatting quietly among themselves and setting up for the next piece.\n\nThe thief creeps in from the east.\n\n> You go to the west\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\nThe thief creeps in from the east.\n\n> You get take\nI extract the take intent from the thief.\n\nThe thief picks the lock of the counting house door and slips through, gently closing it behind it.\n\nThe guard continues to play the slots, intent on the false allure of riches.\n\n> You get the play\nI extract the play intent from the guard.\n\nThe guard loafs idly.\n\n> Go north\nUnlike the rest of the casino, this small room is refreshingly severe and empty. Bookshelves filled with identical logbooks line the windowless walls, occasionally broken up by racks of electronic equipment. The only exit is an imposing door to the south.\n\nAn elaborate laser grid encloses a metal strongbox, which is sparkling with faint spiritual energy.\n\nThe thief tinkers with the strongbox. Despite its obvious skill, its hand grazes one of the laser beams as it attempts to break inside. It hesitates briefly but, sweating nervously, continues its delicate\nwork.\n\n> You put the block on the thief\nI give the block intent to the thief, who now intends to block the door.\n\nThe thief pushes a shelf against the door, blocking it from the\ninside.\n\n> You wait\nTime passes.\n\nAs the thief pokes at the strongbox, I hear muffled footsteps outside approaching the door. Something heavy collides with the door, but the bookshelves braced against it keep it closed. The thief continues its desperate lockpicking even as the bookcases shake under the force from the door. Eventually the thief succeeds, crying out triumphantly as it pries open the box and plucks a wad of banknotes from inside it. Its glee is short-lived, though, as the door flies open and a contingent\nof stone-faced security guards rushes in to seize it. While they\nsearch it, one member of the team splits off to inspect the open strongbox. It grabs the banknotes from the burglar and returns it to its former place of safekeeping, though I deftly fish out the codebook inside and lay it aside before the guard reseals the box. The same guard pauses to clear away the exit and move the bookshelves back into position. With the room now secure, the security detail hauls the\nthief outside and relocks the door. I pluck the intention from the thief as it leaves; judging from the guards' expressions, I don't\nthink the thief will be of much use to me for quite a while.\n\n> You get the codebook\nI pick up the confidential codebook and page through it. A few of the code sequences from the communiqu\ufffd\ufffd are in it, and I decrypt some more of it:\n\n42734 72880 of 46480. There is no 62628 73048 74615 in the 47576 45953 has been 62029 31368 02666 and 63211 79260 67549 07135 14066 43999 is 03659 31802 08678 65629 67043 on the 85994\n\n> Inventory\nIntentions:\nthe block intent\nthe play intent\nthe take intent\nthe wait intent\nthe explore intent\nthe clean up intent\nthe fold intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> Go south\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard is being distracted by the flashing games.\n\n> You go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp is watching the other gamblers.\n\n> You put the play on the gambler\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You wait awhile\nTime passes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You examine sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You examine the gambler\nThe well-dressed guest hovers around the poker tables with evident curiosity. It also carries an attach\ufffd\ufffd case that is sparkling with faint spiritual energy.\n\n> PLAY\npoker.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down."
    },
    {
        "text": "> Look around\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nThe card sharp is watching the other gamblers.\n\nI can also see the gambler here.\n\n> You look at the case\nA thin, leather-bound case used for transporting private documents. It's more effective when onlookers can only see in three dimensions.\n\nThe attach\ufffd\ufffd case is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a confidential codebook, as long as it's closed.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the wait on sharp\nI give the wait intent to the card sharp, who now vaguely intends to wait around idly.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You take the wait\nI extract the wait intent from the card sharp.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp looks around the room predatorily.\n\n> You wait for a while\nTime passes.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You wait\nTime passes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You take fold\nI extract the fold intent from the card sharp.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You put clean up on sharp\nI give the clean up intent to the card sharp, who now intends to clean up at poker.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You wait awhile\nTime passes.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> Wait\nTime passes.\n\nThe gambler raises. The card sharp scrutinizes its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\nThe card sharp looks around the room predatorily.\n\n> You wait\nTime passes.\n\nThe gambler raises. The card sharp stares at its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You examine the gamblers\nI don't see the gamblers here. They were on the casino floor.\n\n> Go east\nThe center floor is a pandemonium of human activity. Machines flash a garish array of lights to beckon them closer, competing with barkers calling out the inscrutable results of their games. Crowds fed from\nthe main entrance to the south swarm over the floor, peeling off to join games or just to socialize in the cacophony. A less crowded area of the floor lies to the west, and a hallway leads east.\n\nAt the north end of the room, kept apart from the gaming tables, is an imposing door.\n\nThe guard is being distracted by the flashing games.\n\n> You look at the gamblers\nAwash in an amorphous mass of greed and bedazzlement.\n\nThe guard loafs idly.\n\n> You put the explore on the gamblers\nThe gamblers are too vague for me to manipulate. Crowds are more trouble than they're worth.\n\nThe guard loafs idly.\n\n> You go west\nIf the rest of the casino is a place of leisure, this lair is a place of business. Shark-faced humans in formal attire loom over tables playing some incomprehensible card game, accepting both wins and\nlosses with aloof detachment. Aside from a desultory appreciative or sympathetic murmur from onlookers following a particularly involved hand, the room has the quiet intensity of an art museum. Whorls of cigarette smoke drift across the glaring lights overhead.\n\nThe main area of the of the casino lies to the east.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You take clean\nI extract the clean up intent from the card sharp.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, taking the play intent in exchange. It now intends to fold in the poker game.\n\nThe gambler summarily folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You put the play on gambler\nI give the play intent to the gambler, taking the fold intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You wait awhile\nTime passes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You put clean up on the gambler\nI give the clean up intent to the gambler, taking the play intent in exchange. It now intends to clean up its act and avoid gambling.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You put the play on the gambler\nI give the play intent to the gambler, taking the clean up intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> Wait\nTime passes.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You wait\nTime passes.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp looks around the room predatorily.\n\n> You check what you're carrying\nIntentions:\nthe clean up intent\nthe fold intent\nthe wait intent\nthe block intent\nthe take intent\nthe explore intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put explore on the gambler\nI give the explore intent to the gambler, taking the play intent in exchange. It now intends to explore the poker tables without getting sucked in.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You wait\nTime passes.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take the explore\nI extract the explore intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You put the explore on sharp\nI give the explore intent to the card sharp, who now vaguely intends\nto explore.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take the explore\nI extract the explore intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You put clean up on the gambler\nI give the clean up intent to the gambler, who now intends to clean up its act and avoid gambling.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You put the take on sharp\nI give the take intent to the card sharp, who now vaguely intends to take something.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You take take\nI extract the take intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the clean up on sharp\nI give the clean up intent to the card sharp, taking the wait intent\nin exchange. It now intends to clean up at poker.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp sizes up its fellow players.\n\n> You take clean\nI extract the clean up intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> Inventory\nIntentions:\nthe clean up intent\nthe wait intent\nthe take intent\nthe explore intent\nthe fold intent\nthe block intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the block on sharp\nI give the block intent to the card sharp, who now vaguely intends to block.\n\nThe gambler cautiously throws another batch of chips into the pot.\n\n> You take the block\nI extract the block intent from the card sharp.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, taking the play intent in exchange. It now intends to fold in the poker game.\n\nThe gambler abruptly folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You put the play on gambler\nI give the play intent to the gambler, taking the fold intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the wait on the gambler\nI give the wait intent to the gambler, taking the play intent in exchange. It now vaguely intends to wait around idly.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You take the wait\nI extract the wait intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> Inventory\nIntentions:\nthe wait intent\nthe play intent\nthe fold intent\nthe block intent\nthe clean up intent\nthe take intent\nthe explore intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You examine the wait\nThe abstract will-composite of the intention to wait.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You put the play on the gambler\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, who now intends to fold in the poker game.\n\nThe card sharp abruptly folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\nThe card sharp sizes up its fellow players.\n\n> You take the fold\nI extract the fold intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You wait\nTime passes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You put clean on sharp\nI give the clean up intent to the card sharp, who now intends to clean up at poker.\n\nThe gambler raises. The card sharp scrutinizes its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You take clean\nI extract the clean up intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, taking the clean up intent\nin exchange. It now intends to fold in the poker game.\n\nThe card sharp quickly folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You take the fold\nI extract the fold intent from the card sharp.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, who now intends to fold in the poker game.\n\nThe card sharp abruptly folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You put the fold on sharp\nI give the fold intent to the card sharp, who now intends to fold in the poker game.\n\nThe card sharp quickly folds.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\nThe card sharp looks around the room predatorily.\n\n> You look at sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\n> FOLD\nin the poker game.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You look at the money\nI don't see the stacks of banknotes here. I last saw them in the strongbox in the laser grid at Counting House.\n\n> You take all\nplay intent: I extract the play intent from the gambler.\nfold intent: I extract the fold intent from the card sharp.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You examine sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\nThe gambler raises. The card sharp studies its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You examine the gambler\nThe well-dressed guest hovers around the poker tables with evident curiosity. It also carries an attach\ufffd\ufffd case that is sparkling with faint spiritual energy.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You take all\nplay intent: I extract the play intent from the gambler.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You wait for a while\nTime passes.\n\nThe gambler raises. The card sharp stares at its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, who now intends to fold in the poker game.\n\nThe gambler quickly folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You take all\nplay intent: I extract the play intent from the gambler.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> Inventory\nIntentions:\nthe play intent\nthe fold intent\nthe clean up intent\nthe wait intent\nthe block intent\nthe take intent\nthe explore intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the play on sharp\nI give the play intent to the card sharp, who now intends to play\npoker for high stakes.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You examine the chips\nWith a game not currently in play, there aren't any chips being wagered.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You take all\nplay intent: I extract the play intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks around the room predatorily.\n\n> You put the play on the gambler\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the play on the gambler\n(first taking the play intent from the gambler)\nI give the play intent to the gambler, who now intends to play poker.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You put the play on sharp\n(first taking the play intent from the gambler)\nI give the play intent to the card sharp, who now intends to play\npoker for high stakes.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You put the play on the gambler\n(first taking the play intent from the card sharp)\nI give the play intent to the gambler, who now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the play on sharp\n(first taking the play intent from the gambler)\nI give the play intent to the card sharp, who now intends to play\npoker for high stakes.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the card sharp thinks it has the better hand.\n\n> You wait\nTime passes.\n\nThe gambler loses its nerve and folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\nThe card sharp looks around the room predatorily.\n\n> You check your inventory\nIntentions:\nthe fold intent\nthe clean up intent\nthe wait intent\nthe block intent\nthe take intent\nthe explore intent\n\nCodebooks:\ntwo confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\n\n> You put the take on gambler\nI give the take intent to the gambler, who now vaguely intends to take something.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You put the play on gambler\n(first taking the play intent from the card sharp)\nI give the play intent to the gambler, taking the take intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You get the play\nI extract the play intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp sizes up its fellow players.\n\n> You put take on gambler\nI give the take intent to the gambler, taking the play intent in exchange. It now vaguely intends to take something.\n\nThe gambler and the card sharp study their cards intently. I don't\nknow the details of the game, but based on its expression and bearing, the gambler thinks it has the better hand.\n\n> You put the block on the gambler\nI give the block intent to the gambler, taking the take intent in exchange. It now vaguely intends to block.\n\nThe gambler raises. The card sharp studies its opponent's face for a moment, then tosses its cards onto the table.\n\nThe gambler happily takes the pile of chips from the table and becomes marginally richer. Despite its loss, the card sharp still has quite a bit of money remaining, and it shows no indication of slowing down.\n\n> You put the play on the gambler\nI give the play intent to the gambler, taking the block intent in exchange. It now intends to play poker.\n\nWith evident trepidation, the gambler approaches the poker table and starts a game.\n\nThe cards are dealt, and the gambler and the card sharp toss some\nchips onto the table and look at each other warily.\n\n> You put the play on sharp\n(first taking the play intent from the gambler)\nI give the play intent to the card sharp, who now intends to play\npoker for high stakes.\n\nThe gambler, awkwardly trying to suppress a smug grin, raises. The\ncard sharp frowns and raises as well. The pile of chips on the table\nis now substantial.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, who now intends to fold in the poker game.\n\nThe gambler abruptly folds.\n\nThe gambler watches its opponent take the pile of chips. Despite the gambler's glum expression, the loss was only a small fraction of its total money, and it shows no indication of slowing down.\n\n> You get all\nfold intent: I extract the fold intent from the gambler.\nplay intent: I extract the play intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks at the bunch of unobservant, unwary gamblers in the casino optimistically.\n\n> You put the play on sharp\n(first taking the play intent from the gambler)\nI give the play intent to the card sharp, who now intends to play\npoker for high stakes.\n\nThe gambler, putting its elbows on the table in a transparent attempt to appear nonchalant, raises. The card sharp hesitantly raises as\nwell. The pile of chips on the table is now substantial.\n\n> Wait\nTime passes.\n\nThe gambler, twitching nervously, raises. The card sharp grimaces slightly and raises as well. The pile of chips on the table is now large.\n\n> Wait\nTime passes.\n\nThe gambler, keeping its eyes resolutely on the table and its face expressionless, raises. It counts its stack of chips, looking\nworriedly at its briefcase, and then shoves both its pile of chips and the case into the center of the table. The look of careless\nmalevolence it gives the card sharp is impressive even by the lofty standards of my kind; I'll have to remember it for my next\ndepartmental review. The card sharp is also impressed and hesitates, but ultimately raises as well.\n\n> You put the fold on gambler\nI give the fold intent to the gambler, who now intends to fold in the poker game.\n\nThe gambler summarily folds.\n\nThe card sharp rakes in the chips from the table. As it attempts to grab the attach\ufffd\ufffd case, the gambler snaps it up and cradles it possessively. After a few very short words from a very tall security guard, it reluctantly hands over the case to its opponent. As the card sharp opens it up to examine its new prize, a codebook falls out onto the floor.\n\n> You get the codebook\nI pick up the confidential codebook and page through it. A few of the code sequences from the communiqu\ufffd\ufffd are in it, and I decrypt some more of it:\n\nConfirmed 72880 of 46480. There is no significant 73048 74615 in the 47576 45953 has been 62029 31368 02666 and 63211 79260 67549 07135 14066 43999 is 03659. We will 65629 67043 on the 85994\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You go to the east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\n> Exits\nFrom here, I can only go east and west.\n\n> Go east\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest shivers exaggeratedly.\n\n> Go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk burps loudly.\n\n> You go to the north\nBookshelves line the walls of this small, wood-paneled room, mixing\nthe smell of paper with that of cigarette smoke. There are some high-backed chairs arranged in front of the shelves, clustered around tables topped with small but bright wrought-iron lamps. A passageway, above which sits an oil painting of a tropical seascape, leads south.\n\n> You look at the painting\nIt's not a masterpiece, but it's a reasonably compelling and well-executed oil painting of a lagoon or beach. The puzzling thing is why the humans here want a modestly competent representation of a tropical seascape when there's a real one right outside. There's probably some sort of metaphor for humanity there; I just think it's a waste of the artist's time.\n\n> You look at books\nVarious novels written by and for humans. As physical objects in the mortal realm, they're not even useful in summoning Whiptail.\n\n> Go south\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk takes a swig from its bottle.\n\n> You examine the trolley\nArrayed on the trolley are a variety of bottles and drinking implements.\n\nThe drunk takes a swig from its bottle.\n\n> Go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nAn auctioneer looks intently at potential bidders.\n\nA tourist considers bidding, but it decides against it.\n\n> You look at the auctioneer\nGrey-haired but with a voice like a megaphone.\n\nThe auctioneer is holding a circlet.\n\n> SELL\nthe circlet.\n\nThe auctioneer sets the circlet aside, unsold. One of the workers carries it back to the storage room to the north.\n\n> You examine the tourist\nThe tourist watches the auction keenly, its fingers twitching.\n\n> BUY\nsomething impressive.\n\nOne of the staffers hands the auctioneer a ring.\n\n> You examine the ring\nA simple golden ring. Humans are all over these sorts of things.\n\nThe auctioneer solicits bids for the ring, naming a very high starting price.\n\n> You look at drunk\nThe drunk has disheveled, stained clothes and an unpleasant odor. I'm not sure how it's managed to avoid getting kicked out of here by some sort of respectable environment operative.\n\nThe drunk is holding a bottle of vodka.\n\n> DRINK\nfrom a bottle of vodka.\n\nThe drunk takes a swig from its bottle.\n\n> Go east\nThis gallery is a small, stark alcove adjoining the lounge to the\nwest. The walls are bare and white, and the carpet is a deep brown. An exhibit at the far end of the room shows off a few brightly colored pieces of pottery, protected by a velvet rope in front of the display.\n\nA bell with a large crack is displayed on a plinth here.\n\n> You examine the bell\nAccording to the rushed briefing I had before the mission, this particular bell used to be part of a church that was on the property long before this chateau was built. It glows with a faint greenish-yellow light, presumably from accreted spiritual residue. In fact, the bell has enough of a presence in the spiritual realm for me to interact with it.\n\n> You ring bell\nNot much use in the bell without the almanach and the candle.\n\n> Exits\nFrom here, I can only go west.\n\n> You go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer solicits bids for a circlet, naming a very high\nstarting price.\n\nThe tourist sits off to one side.\n\n> Go north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nA large golden chest, glowing with spiritual energy, catches the eye off to one side.\n\nA picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You examine chest\nThe chest is actually made of oak; its surface is covered in gold\nfoil. It's glowing with spiritual energy.\n\nThe golden chest is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a secret codebook, as long as it's closed.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You examine picker\nA tall, wiry human that resembles a rodent.\n\n> SELECT\nsomething light for the auction.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> Examine boxes\nThey're filled with human artifacts that are presumably valuable to them but worthless to me.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> Go south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer sets the circlet aside, unsold. One of the workers carries it back to the storage room to the north.\n\nThe tourist sits off to one side.\n\n> You go east\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk takes a swig from its bottle.\n\n> Go upward\nI make my way to my predecessor's room, ignoring the frivolous rooms\nof the human guests.\n\nMy predecessor, Krait, used this hotel room as a temporary base of operations for his role as chief of station. Of course, he had no use for its amenities. Thus the bed and dining table were both employed, judging from the papers scattered across them, as makeshift desks. A smaller but bona fide desk sits in the corner, with an artless landscape in watercolors hanging above it. The liquor cabinet lurks untouched in the corner, and the ashtray on top of it is completely empty. The stark white carpet here is plush and spotless.\n\nThe only exit from the room is to the south.\n\nAn almanach sits obtrusively on the center of the desk.\n\n> You look at almanach\nThis almanach is a directory the demon intelligence services compiled on the known operatives working on our side or on the Other Side. Of course, it's heavily redacted even at the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd classification\nlevel, and the entities and organizations in it are listed by codeword rather than real name (if they even have real names). Looking up an angel in it might give you his official cover, but don't expect to\nfind any state secrets.\n\n> You take it\nTaken.\n\n> You look at the cabinet\nThe cabinet's contents are untouched. The small niceties of human existence are beneath the notice of my kind."
    },
    {
        "text": "> Go downwards\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk exhales contentedly.\n\n> Go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest looks pointedly at the thermostat.\n\n> You go east\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\n> Go east\nI could go in, but I'd rather prefer not to. I still haven't\ngotten the stains out from last time I had to visit a chapel.\n\n> You go to the north-east\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nAn agent stands next to the doors.\n\nA reporter inches towards the door, but the agent refuses.\n\n> You look at the agent\nA human in a sharp black suit.\n\nThe reporter calmly shows the agent its press pass, but the agent ignores it placidly.\n\n> You examine reporter\nA human carrying a notebook and wearing a press pass.\n\n> OPEN\nthe way into the conference.\n\nThe reporter asks politely to be let in, but the agent curtly refuses to let it through.\n\n> You examine the pentagram\nHeavy carved oak doors with a dark varnish. Disguised to unobservant humans, but obvious to me, is the pattern of a pentagram, which unfortunately serves as a barrier to my kind.\n\nIt's a clich\ufffd\ufffd, but pentagrams do repel demons. That fact isn't classified; we actually disseminate it ourselves. The trick is that a pentagram has to be constructed with absolute, mathematical precision to be effective, and it's extraordinarily rare for humans to possess that level of skill. We want humans to try making pentagrams; it's\nmuch better if they have a worthless defense but not realize it than\nif they have no defense at all. This particular pentagram, however, is the real stuff. With the double doors closed, the faint etchings over their flush surfaces create a pentagram with the exact measurements to constitute an effective ward.\n\nThe reporter calmly shows the agent its press pass, but the agent ignores it placidly.\n\n> You go to the east\nThe inexorable geometric forces of the pentagram block my path. I\ncan't go through the doors until it's disrupted.\n\nThe reporter calmly shows the agent its press pass, but the agent curtly refuses to let it through.\n\n> You look at the doors\nHeavy carved oak doors with a dark varnish. Disguised to unobservant humans, but obvious to me, is the pattern of a pentagram, which unfortunately serves as a barrier to my kind.\n\nThe reporter asks politely to be let in, but the agent ignores it placidly.\n\n> Exits\nFrom here, I can only go southwest and east.\n\n> Go southwest\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\n> You go west\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> You go south\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nA diner looks thoughtfully at the dessert menu.\n\nThe server walks in from the east.\n\n> You look at the epergnes\ndining, but I don't know how exactly they're used.\n\nThe diner looks thoughtfully at the dessert menu.\n\nThe server looks to see if the diner wants to order anything.\n\n> You look at the diner\nIt's wearing a light jacket and sitting by itself at a table.\n\n> READ\nall the options on the dessert menu.\n\nThe diner considers getting another drink with dessert.\n\nThe server walks off to the east.\n\n> You go east\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server looks around vaguely.\n\n> You look at the server\nImpeccably dressed in the manner of one who's used to its tips depending on it.\n\n> SERVE\nfood to the restaurant patrons.\n\nThe server walks off to the west.\n\n> Exits\nFrom here, I can only go south, west, and inside.\n\n> You go south\nThis small room is cluttered with tins, crates, and boxes of human foodstuffs. The air is cold and dry, and the shelves along the walls are covered in a faint rime of frost. The only exit is a heavy steel door to the north.\n\nTwo cartons of ice cream, one old and one new, sit next to the door.\n\n> You look at the old ice cream\nThere is a noticeable hoar of frost on the waxy substance inside the container. Beyond that, I can't tell you much; food is not my area of expertise. There's a cow on the carton; maybe it's cow-flavored ice cream.\n\n> You look at the new ice cream\nThe ice cream in it is green with little black specks. Insects, perhaps? More importantly, the carton is glowing with spiritual\nenergy.\n\nThe new carton of ice cream is mystically sealed, presumably to\nprotect its contents from the opposition. The barrier is also keeping me from accessing its contents, a secret codebook, as long as it's closed.\n\n> Go north\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server walks off to the west.\n\n> You go outside\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server walks in from the west.\n\n> Go west\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nThe diner considers getting another drink with dessert.\n\n> You examine the hydrangeas\nLarge and colorful ornamental flowers, out of place in the otherwise somber restaurant.\n\nThe diner looks back and forth between two possible desserts.\n\nThe server walks in from the east.\n\n> You take read\nSome odd freezing, feathery barrier stops me, like an angry swan made of ice is getting in my way. I don't think I'll be able to do much about this problem myself.\n\nThe diner considers getting another drink with dessert.\n\nThe server looks to see if the diner wants to order anything.\n\n> You go to the north\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> You go to the north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk takes a swig from its bottle.\n\n> Go east\nReally? I suppose it's for a good cause, but...\n\n> Go east\n...Fine. Let's get this over with.\n\nThe interior of the chapel is exactly what you'd expect: A \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd in front of a \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd without the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd and \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd. The whole place \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd, but that's hardly\nsurprising, given \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd. It's a \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd place, for obvious\nreasons, and the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd doesn't make it any less \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd or\n\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd to those of my kind, the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd notwithstanding. Even\nthough humans would undoubtedly love to know that \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd,\nit's simply \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd and \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack stands to one side of the doors.\n\nI can also see a candle here.\n\n> You take candle\nTaken.\n\nI hear faint movement from above.\n\n> You examine the hatrack\nIt's a little-known fact that humans sometimes wear hats, though\nnobody knows why. When they're not being worn, hats are often placed\non a hatrack like this one. Not exactly like this one, of\ncourse, because this one is a spiritual object. The principle is the same, though.\n\nAn angel glides down the stairs, and I realize with a start that I recognize him. My department doesn't know his real name; we've given him the codename Kingfisher. Even by the standards of my opposite number, he's a monster. If you've ever heard about the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ndisaster, or the breakdown of the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd Agreement, or even the\nincident in \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd just last millennium, you've come across\nhis handiwork. Everyone in our profession bends the rules a little\nbit, but Kingfisher has a psychopathic contempt for both his adversaries and his colleagues. He's effective, at least if you\nmeasure effectiveness by his kill count, but brute force is the last refuge of the incompetent. Both my side and his have spent centuries cleaning up his bloody missions, trying desperately to avoid\ndisrupting the delicate peace between the two sides and escalating the cold war. We've managed to succeed so far, but it's been as much through luck as through our skill. Kingfisher is reckless,\nthoughtless, and completely remorseless. Those are fine attributes for an assassin, but we're in the part of the clandestine services that handles metaphorically and sometimes literally world-shaking matters. He's a feckless amateur who covers up his incompetence with lazy charm and violence.\n\nHe's thus notorious in my business, and so I recognize him immediately from descriptions in briefings I've read. His outer teleological field is amplified to\ufffd\ufffd\ufffdwell, let me put it in roughly equivalent terms humans\ncan understand. He's wearing an inordinately expensive suit with a tie from some boarding school whose entry fee costs as much as several large planets. He's smiling at me\ufffd\ufffd\ufffdor, at least, showing me his teeth\ufffd\ufffd\ufffdsuperciliously and uninterestedly. In a different era, he would have been wearing an eyepatch or a monocle just for effect. As it stands, he just gives me a bovine yet predatory stare, twitching the cuffs of his suit with disdain.\n\nI instantly hate him. I hated him before, of course; he's directly or indirectly responsible for the termination of several of my\ncolleagues. It's different, though, when you see the thing directly in front of you. He doesn't seem to recognize me, or maybe the insight hasn't gotten through his bloated, stupid skull yet. I'm probably beneath his notice, but I've had to deal with him before. I spent two entire centuries cleaning up his blundering in just the matter of the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd Agreement. Do you know how long it takes to file petitions with\nthe interplanar courts to revoke an agreement when you aren't allowed to mention the name of the agreement, the parties involved in the agreement, or what the agreement was even about? Well, I do: seventy-four years. The entire thing was several thousand pages long and completely redacted, beginning to end. I started out filling an entire room in my department with black highlighters, and I had to borrow some more from the Accounting department to finish it off. And you can't just borrow something from Accounting; they want a\nsigned contact in blood saying that you'll pay them interest in perpetuity. I don't even have blood. I wound up finding a\ncouple of convenient humans on the department's Take a Child to Work Day, but that's three months I'm never going to get back.\n\n> You go west\nHang on, I'm not done yet.\n\nI spent an entire century dealing with the fallout from that bout of idiocy. I spent another century dealing with literal fallout when Kingfisher decided that one particular human in Pompeii wasn't\ntreating his organization with enough respect. I spent two centuries covering up a rain of spiders, another two covering up a rain of fish, and three covering up a rain of rain, which wouldn't have been remarkable if it hadn't been falling upward; apparently Kingfisher\nmade a sign error in his calculations. I suppose I should be glad that his meteorological escapades didn't cause any lasting damage beyond giving me some billable hours doing extra paperwork, but my job is not to clean up his messes while he blunders his way through the human world. I'm not naive enough to think that we can always avoid collateral damage, but he's not even trying. To lose one hundred\nhumans may be regarded as a misfortune; to lose one hundred thousand humans looks like carelessness. I've wasted millennia trying to ensure that his assassinations, unsubtle displays of powers, and outright threats don't disrupt the balance of power and ignite what has been up until now a cold war. This is a delicate business for professionals, not a clumsy, bloodthirsty amateur who's too stupid to bother wiping that stupid smirk off his stupid face. Four millennia of paperwork for one stupid, murderous, stupid git! And I'm not even on his side! I spent four millennia babysitting someone I had never met and\nam actively working to oppose, and the only recognition from him I get is a stupid, vacant smirk on his stupid, vacant face. And now he's standing there again, doing nothing but staring at me with the same stupid, vacant expression. Stupid stupid stupid stupid.\n\nHe's a horrible person, and I hate him.\n\n> You talk to Kingfisher\nI suppose I shouldn't delay the inevitable. One of us is going to have to say something, and Kingfisher's still just starting at me blankly.\n\n\"Please allow me to introduce myself. My name is Agama,\" I say, suppressing my revulsion and giving him a polite nod and an alias.\n\"I'm part of a delegation assisting with some exercises in the area, and our treaties require that I meet to inform you of my presence here.\" I can cite regulations for my purpose.\n\n\"Of course,\" says Kingfisher, with unctuous contempt oozing through\nhis voice. He continues reading from the script both our sides have memorized. \"On behalf of both my organization and myself, let me formally extend my greeting to you. This is a neutral area with unaligned humans, and I'm sure that we can put aside the differences between our two organizations and work peaceably together here.\"\n\n\"Of course,\" I agree tepidly.\n\n\"On behalf of the Kingdom of Heaven, let me express my gratitude for your diligence in proactively reaching out to us and keeping us in the loop on these developments. We are, of course, always happy to grow\nour organizations' ability to work together and avoid any breakdowns\nin communication that might negatively impact our security.\"\n\n\"Of course,\" I say again. It's not like Kingfisher's listening to me anyway.\n\nHe continues with the formal words of introduction our diplomats have worked out in countless meetings over countless centuries. \"And, going forward, I'm sure we can achieve a productive synergy with what common interests we have and align our values to vector toward a mutually beneficial working relationship.\"\n\nI nod, because there's not really any response to that.\n\n\"As we build a roadmap to a peaceful resolution of our organizations' conflict, I hope that you will keep me informed of any further exercises or events that would add value to our mutual goal, as clarified by our extensive prior treaties and memoranda of understanding, of establishing a paradigm conducive to peace and prosperity.\"\n\nHaving given a desultory recitation of the required boilerplate, Kingfisher summarily retreats upstairs, probably to plan to do to the human world what he's done to language.\n\n> Exits\nFrom here, I can only go west and up.\n\n> Go upwards\nAgainst my better judgment, I'm in Kingfisher's inner sanctum. It's more mundane than I would have expected; it could have easily passed for the office of a mid-level human bureaucrat, except for the glowing telex on his desk (and, of course, for the state secrets of the universe that are undoubtedly kept securely locked away in its drawers). I would have expected the walls to be filled with propaganda posters and his bookshelves with plundered artifacts, but the room is neat and spartan and grey. The sole color comes from a stained-glass window that throws blotchy, irregular patterns onto the floor. A stairway leads back down into the main chapel.\n\nI can see Kingfisher here.\n\n> You examine the telex\nObviously it's not literally a telex; that's just the closest human equivalent. It's a device for handling classified communication\nbetween the Other Place and the human realm. Describing the exact mechanisms involved would make your head hurt, both from their complexity and the fact that the penalty for receiving unauthorized classified information involves sticking your head in a vise. Let's just say that it's a fax machine made of magic.\n\nThe telex is closed.\n\n> You examine the window\nEven in the feeble light of the sunset, the stained glass window creates splotches of iridiscent light on the office floor."
    },
    {
        "text": "[Themes: Espionage, Evil protagonist, supernatural]\n\n> You go downward\nThe interior of the chapel is exactly what you'd expect: A \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd in front of a \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd without the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd and \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd. The whole place \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd, but that's hardly\nsurprising, given \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd. It's a \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd place, for obvious\nreasons, and the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd doesn't make it any less \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd or\n\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd to those of my kind, the \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd notwithstanding. Even\nthough humans would undoubtedly love to know that \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd,\nit's simply \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd and \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack stands to one side of the doors.\n\n> Go west\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\n> You go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk exhales contentedly.\n\n> Go east\nThis gallery is a small, stark alcove adjoining the lounge to the\nwest. The walls are bare and white, and the carpet is a deep brown. An exhibit at the far end of the room shows off a few brightly colored pieces of pottery, protected by a velvet rope in front of the display.\n\nA bell with a large crack is displayed on a plinth here.\n\n> You ring bell\nI ring the bell, producing an uncanny tone.\n\n> You read the book\nI skip to a random entry in the almanach and read it aloud. Going through the minor biographical details of a well-placed angelic official whose entry is almost entirely redacted is tedious, but it should be sufficient for the ritual.\n\n> Light candle\nI hesitate before lighting the candle. The ritual and ensuing conversation would go completely unnoticed by humans, but I want to keep far away from Kingfisher during them. I'd better find a more private location.\n\n> Light candle\nI hesitate before lighting the candle. The ritual and ensuing conversation would go completely unnoticed by humans, but I want to keep far away from Kingfisher during them. I'd better find a more private location.\n\nThe waiter loafs in the corner.\n\n> You go to the north\nUnlike the rest of the casino, this small room is refreshingly severe and empty. Bookshelves filled with identical logbooks line the windowless walls, occasionally broken up by racks of electronic equipment. The only exit is an imposing door to the south.\n\nAn elaborate laser grid encloses a metal strongbox.\n\n> Light candle\nI hesitate before lighting the candle. The ritual and ensuing conversation would go completely unnoticed by humans, but I want to keep far away from Kingfisher during them. I'd better find a more private location.\n\n> Go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nThe kid stands off to one side, looking bored.\n\n> Go up\nI make my way to my predecessor's room, ignoring the frivolous rooms\nof the human guests.\n\nMy predecessor, Krait, used this hotel room as a temporary base of operations for his role as chief of station. Of course, he had no use for its amenities. Thus the bed and dining table were both employed, judging from the papers scattered across them, as makeshift desks. A smaller but bona fide desk sits in the corner, with an artless landscape in watercolors hanging above it. The liquor cabinet lurks untouched in the corner, and the ashtray on top of it is completely empty. The stark white carpet here is plush and spotless.\n\nThe only exit from the room is to the south.\n\n> You close the door\nI don't see the double doors here. They were at Lawn.\n\n> Light candle\nI light the candle with a snap of my fingers, completing the ritual.\n\nWith the ritual components in place, I chant \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd (footnote 4)\nand open a secure line to headquarters. A hazy image of a weedy demon in a lab coat appears before me. We quickly exchange signs and countersigns, and I explain my problem.\n\n\"So, Whiptail, any ideas about what could be going on?\"\n\n\"Does it hurt when you do this?\" he asks, twisting his claw\nin a way that would undoubtedly be painful if we weren't wearing functional anatomy like Halloween costumes. I repeat the gesture and shrug.\n\n\"But your influence just bounces off humans?\"\n\n\"It's more like hitting a wall.\"\n\n\"Hmm. It sounds like it could be a thaumatic force dampener.\"\n\n\"What's that?\"\n\n\"They've been in development for years, but we never\ufffd\ufffd\ufffdwait, have you been cleared for Project \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd?\"\n\n\"No.\"\n\n\"Ah. Then they haven't been in development for years. It must be something else.\"\n\n\"I don't really care what it is; I just want to shut it off.\"\n\n\"Well, thaumatic force dampeners aren't a thing, of course\ufffd\ufffd\ufffd\"\n\n\"Of course.\"\n\n\"\ufffd\ufffd\ufffdbut if they were a thing, then shutting one off would\neasy.\nIt has to be tied in to a corporeal object in the human realm to function. Get rid of that, and you'll get rid of the dampener too.\"\n\n\"But how am I supposed to do that when I can't influence humans?\"\n\n\"Ah! I've got just the thing for that. Hang on!\" he says brightly,\nthen disappears from view. Whiptail runs the research and development team for my department, and his office is an unorganized mass of brilliant inventions, half-finished prototypes, and complete junk.\nEven through the tinny secure line, I can hear him rummaging through heavy piles of equipment. Eventually he shows up in person again, bearing some sort of incomprehensible widget, as well a few fresh\nscars from bits of jagged metal.\n\n\"So, Sidewinder, the thing that is definitely not a thaumatic force dampener is going to stop you from influencing humans' intents. I can help you influence their manners, though.\"\n\n\"Good. Humans are revolting.\"\n\n\"Not that kind of manners. With this device, you should be able to influence how humans do something, even if you can't directly\ninfluence what they're doing. So, for example, I can't help\nyou make a human run or make it stop running, but I can help you make it run quickly or slowly.\"\n\n\"That sounds useful.\"\n\nHe nods. \"I'll arrange for someone to drop it into the field. I don't know where exactly, but you should be able to find it. Hopefully it'll be enough for you to shut down the device.\" He passes off the widget\nto someone off to the side whom I can't see. \"Let me know if you need anything else. I always need test subjects for my inventions, and there's less paperwork afterward if the test subjects are immortal.\"\n\nI quickly thank him for his help and shut down the portal.\n\n> Footnote 4\n(4) ...and chant \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd: My original\ndraft had an\nunredacted but useless incarnation here\ufffd\ufffd\ufffdthe infernal equivalent of a \"555-\" telephone number. Invoking it summons a horde of imps to flay the invoker with scorpions filled with bees. It would have been a hilarious prank, but the lawyers made me censor it. If you want to try it out, though, just light a candle and chant \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd (footnote 5).\n\n> Footnote 5\n(5) ...and chant \ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd\ufffd: Looks like they read the\nfootnotes\ntoo. Oh well."
    },
    {
        "text": "> Go downwards\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk exhales contentedly.\n\n> Go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer surveys the audience expectantly.\n\nThe tourist starts at the the stage as if contemplating a bid, but it decides against it.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it east.\n\n> You go east\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk takes a swig from its bottle.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it south.\n\n> Go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA gigantic ice sculpture of a swan sits prominently on a pedestal.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it west.\n\n> You go west\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it west.\n\n> You go west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads from is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\nThe waiter loafs in the corner.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it west.\n\n> Go west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nShoved unobtrusively under the marble bench is an oblong package.\n\nThe detector buzzes insistently.\n\n> You take the package\nI tear into the package. Inside it is the odd device Whiptail showed\nme earlier. I gingerly reach out to touch it, and I suddenly seize up with a painful jolt as my thaumatic field realigns. I don't feel that different afterwards, but I definitely notice some extra sharpness around the outer edge of the field. Hopefully that did the trick; there's only one way to find out.\n\nThe package and the device itself obligingly self-destruct, leaving no evidence of the home office's intervention.\n\n> Inventory\nIntentions:\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nCodebooks:\nthree confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You look at the waiter\nThe waiter's uniform includes a half-apron with a pocket, in which rests a small notepad.\n\nThe waiter loafs in the corner.\n\n> You go to the east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\n> You take warm\nSome odd freezing, feathery barrier stops me, like an angry swan made of ice is getting in my way.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> Spin guest\nI'm a noncorporeal entity, and so I can't interact directly with\npurely physical objects.\n\n> You examine the thermostat\nIt's currently set to an unusually low temperature.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest looks pointedly at the thermostat.\n\n> Inventory\nIntentions:\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nCodebooks:\nthree confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You take aggressively\nI extract the aggressively manner from the bellhop.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest complains to no one in particular about the temperature of the room and looks meaningfully at the thermostat.\n\n> You put aggressively on the guest\nI give the aggressively manner to the guest, who now intends to aggressively warm itself up.\n\nThe bellhop stands near the entrance, attempting to look professional.\n\nThe guest goes right up to the thermostat and boldly turns it up. The room begins to warm.\n\n> Wait\nTime passes.\n\nThe temperature grows steadily warmer.\n\n> You wait\nTime passes.\n\nThere's a loud crack, and the neck of the sculpture breaks and falls\nto the floor. The rest of the sculpture is rapidly melting, forming a puddle on the floor. The bellhop runs over, but it's too late.\n\nI feel a shift in the astral energies of this place. My ability to manipulate intentions seems to have returned.\n\n> You take defend\nI extract the defend intent from the bellhop.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You take warm\nI extract the warm intent from the guest, along with the aggressively manner.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You take the drink\n(the drink intent)\nI extract the drink intent from the drunk, along with the recklessly manner.\n\n> You go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer takes a deep breath.\n\nThe tourist starts at the the stage as if contemplating a bid, but it decides against it.\n\n> You examine the tourist\nThe tourist watches the auction keenly, its fingers twitching.\n\n> BUY\nsomething impressive.\n\nThe auctioneer looks intently at potential bidders.\n\nThe tourist hesitantly begins to raise its hand to make a bid, but it decides against it.\n\n> You take buy\nI extract the buy intent from the tourist, along with the seriously manner.\n\nThe auctioneer surveys the audience expectantly.\n\n> You look at the auctioneer\nGrey-haired but with a voice like a megaphone.\n\nThe auctioneer is holding a necklace.\n\n> SELL\nthe necklace.\n\nThe auctioneer surveys the audience expectantly.\n\n> You take the sell\nI extract the sell intent from the auctioneer, along with the greedily manner.\n\n> Go north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nA large golden chest, glowing with spiritual energy, catches the eye off to one side.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You examine picker\nA tall, wiry human that resembles a rodent.\n\n> SELECT\nsomething light for the auction.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You take the select\nI extract the select intent from the picker, along with the lazily manner.\n\n> You check your inventory\nIntentions:\nthe select intent\nthe sell intent\nthe buy intent\nthe drink intent\nthe warm intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe lazily manner\nthe greedily manner\nthe seriously manner\nthe recklessly manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You go to the south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe tourist sits off to one side.\n\nI can also see the auctioneer here.\n\n> Go east\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk sprawls nearby.\n\n> Go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> Go west\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\n> Go south\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nThe diner looks thoughtfully at the dessert menu.\n\nThe server walks in from the east.\n\n> Examine diner\nIt's wearing a light jacket and sitting by itself at a table.\n\n> READ\nall the options on the dessert menu.\n\nThe diner considers getting another drink with dessert.\n\nThe server looks to see if the diner wants to order anything.\n\n> You take read\nI extract the read intent from the diner, along with the slowly\nmanner.\n\nThe server walks off to the east.\n\n> You go east\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server looks around vaguely.\n\n> You look at the server\nImpeccably dressed in the manner of one who's used to its tips depending on it.\n\n> SERVE\nfood to the restaurant patrons.\n\nThe server walks off to the west.\n\n> You go west\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nThe server looks to see if the diner wants to order anything.\n\n> You take serve\nI extract the serve intent from the server, along with the generously manner.\n\n> You go to the northeast\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe agent stands next to the doors.\n\nThe reporter asks politely to be let in, but the agent curtly refuses to let it through.\n\n> You examine the agent\nA human in a sharp black suit.\n\nThe reporter calmly shows the agent its press pass, but the agent refuses.\n\n> You examine reporter\nA human carrying a notebook and wearing a press pass.\n\n> OPEN\nthe way into the conference.\n\nThe reporter calmly shows the agent its press pass, but the agent ignores it placidly.\n\n> You take the open\nI extract the open intent from the reporter.\n\nThe reporter attempts to peer through a window.\n\n> You put open on the dowager\nI give the open intent to the wealthy dowager, who now intends to open the safe to check on its jewels.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe, but the clerk doesn't bother complying.\n\n> You put greedily on the dowager\nI give the greedily manner to the wealthy dowager, who now intends to greedily open the safe to check on its jewels.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe, but the clerk doesn't bother complying.\n\n> You take greedily\nI extract the greedily manner from the wealthy dowager.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe, but the clerk doesn't bother complying.\n\n> You check your inventory\nIntentions:\nthe serve intent\nthe read intent\nthe select intent\nthe sell intent\nthe buy intent\nthe drink intent\nthe warm intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe greedily manner\nthe generously manner\nthe slowly manner\nthe lazily manner\nthe seriously manner\nthe recklessly manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put the serve on the clerk\nI give the serve intent to the hotel clerk, who now intends to serve\nin its role at the hotel desk.\n\nThe hotel clerk gives a cursory look around the hotel reception.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe. The clerk, grumbling to itself, opens it for a split second but shuts its again too quickly for me to grab the codebook.\n\n> You put lazily on the clerk\nI give the lazily manner to the hotel clerk, who now intends to lazily serve in its role at the hotel desk.\n\nThe hotel clerk gives a cursory look around the hotel reception.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe. The clerk grudgingly opens it for a split second but shuts its again too quickly for me to grab the codebook.\n\n> You put slowly on the clerk\nI give the slowly manner to the hotel clerk, taking the lazily manner in exchange. It now intends to slowly serve in its role at the hotel desk.\n\nThe hotel clerk keenly surveys the hotel reception.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe. The clerk grudgingly obliges, slowly opening the safe for inspection.\n\n> You take the codebook\n(the secret codebook)\nI pick up the secret codebook and page through it. The cipher on the communiqu\ufffd\ufffd is at a much higher classification level than the secret codebook, but I can still decipher some of its header information and basic format. This particular cipher is used by a research division in the Other Side's clandestine intelligence services. Most of its work\nis unclear to my side, but they're extremely ambitious and kept under tight wraps; some are still classified even millennia after their conceptions. The coded information on the communiqu\ufffd\ufffd indicates that it was sent to an operative on site, presumably Kingfisher.\n\nWith the part of the cipher in the codebook, I can decrypt some more\nof the communiqu\ufffd\ufffd:\n\nConfirmed 72880 of 46480. There is no significant 73048 remaining in the 47576 45953 has been 62029 31368 02666 and ensure that 79260 67549 07135 14066 43999 is 03659. We will act 67043 on the 85994\n\nThe hotel clerk closes the safe again.\n\n> You take serve\nI extract the serve intent from the hotel clerk, along with the slowly manner.\n\nThe wealthy dowager demands to check that its jewels are safe in the safe, but the clerk doesn't bother complying.\n\n> You take the open\nI extract the open intent from the wealthy dowager.\n\n> You go east\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> Go south\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nI can see the server and the diner here.\n\n> You check your inventory\nIntentions:\nthe open intent\nthe serve intent\nthe read intent\nthe select intent\nthe sell intent\nthe buy intent\nthe drink intent\nthe warm intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe slowly manner\nthe lazily manner\nthe greedily manner\nthe generously manner\nthe seriously manner\nthe recklessly manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\none secret codebook\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You take buy\nI extract the buy intent from the diner.\n\n> You put the drink on diner\nI give the drink intent to the diner, who now vaguely intends to\ndrink.\n\n> You take the drink\nI extract the drink intent from the diner.\n\n> You put the select on the diner\nI give the select intent to the diner, who now intends to select a dessert.\n\nThe diner looks thoughtfully at the dessert menu.\n\n> You put greedily on the diner\nI give the greedily manner to the diner, who now intends to greedily select a dessert.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\n> You put the serve on the server\nI give the serve intent to the server, who now intends to serve food\nto the restaurant patrons.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\nThe server walks off to the east.\n\n> You go east\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server walks into the walk-in freezer.\n\n> Go south\nThis small room is cluttered with tins, crates, and boxes of human foodstuffs. The air is cold and dry, and the shelves along the walls are covered in a faint rime of frost. The only exit is a heavy steel door to the north.\n\nTwo cartons of ice cream, one old and one new, sit next to the door.\n\nThe server carefully scoops a bowl of ice cream from the ice-covered old carton.\n\n> You take serve\nI extract the serve intent from the server.\n\nThe server carefully carries a bowl of ice cream out of the walk-in freezer.\n\n> Go north\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server carefully carries a bowl of ice cream off to the west.\n\n> You go to the west\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nThe server gracefully gives the bowl of ice cream to the diner.\n\nThe diner eats its ice cream.\n\n> You check what you're carrying\nIntentions:\nthe serve intent\nthe drink intent\nthe buy intent\nthe open intent\nthe read intent\nthe sell intent\nthe warm intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe slowly manner\nthe lazily manner\nthe generously manner\nthe seriously manner\nthe recklessly manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\none secret codebook\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put the warm intent on the server\nI give the warm intent to the server, who now vaguely intends to warm.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\n> You put generously on the server\nI give the generously manner to the server, but it doesn't have much effect.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\n> You put serve on the server\nI give the serve intent to the server, taking the warm intent in exchange. It now intends to generously serve food to the restaurant patrons.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\nThe server walks off to the east.\n\n> You go east\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server walks into the walk-in freezer.\n\n> Go south\nThis small room is cluttered with tins, crates, and boxes of human foodstuffs. The air is cold and dry, and the shelves along the walls are covered in a faint rime of frost. The only exit is a heavy steel door to the north.\n\nTwo cartons of ice cream, one old and one new, sit next to the door.\n\nThe server carefully scoops a bowl of ice cream from the ice-covered old carton.\n\n> Put open on server\nI give the open intent to the server, taking the serve intent in exchange. It now vaguely intends to generously open something.\n\nThe server carefully carries a bowl of ice cream out of the walk-in freezer.\n\n> Go north\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\nThe server carefully carries a bowl of ice cream off to the west.\n\n> You go to the west\nThe hotel's restaurant is a tediously chic affair, full of spindly tables and blobby oil paintings. In addition to the artfully placed mirrors, the emptiness of the hall also makes it seem cavernous; there are few patrons this evening. Nevertheless, there are fresh hydrangeas in the delicate glass epergnes at the precise center of each table,\nand the electric lights have been dimmed in favor of the soft evening light coming from the open doors to the north. Another swinging door lies to the east.\n\nThe server gracefully gives the bowl of ice cream to the diner.\n\nThe diner eats its ice cream.\n\n> Put recklessly on the server\nI give the recklessly manner to the server, taking the generously manner in exchange.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\n> You put the serve on the server\nI give the serve intent to the server, taking the open intent in exchange. It now intends to recklessly serve food to the restaurant patrons.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\nThe server walks off to the east.\n\n> You go to the south\nThis small room is cluttered with tins, crates, and boxes of human foodstuffs. The air is cold and dry, and the shelves along the walls are covered in a faint rime of frost. The only exit is a heavy steel door to the north.\n\nTwo cartons of ice cream, one old and one new, sit next to the door.\n\nThe server hurriedly picks up the ice-covered old carton, but it slips from its grasp and lands face down. It grimaces at the waste but opens the new carton and quickly scoops a bowl of ice cream from there.\n\n> You take the codebook\n(the secret codebook)\nI pick up the secret codebook and page through it. A few of the code sequences from the communiqu\ufffd\ufffd are in it, and I decrypt some more of it:\n\nConfirmed 72880 of 46480. There is no significant opposition remaining in the target area. The action has been authorized. Assist 02666 and ensure that 79260 67549 successfully as quickly as possible 43999 is standing by. We will act 67043 on the 85994\n\nThe server carefully carries a bowl of ice cream out of the walk-in freezer.\n\n> You take serve\nI extract the serve intent from the server, along with the recklessly manner.\n\nThe diner calls over the server and orders a bowl of ice cream.\n\n> You take select\nI extract the select intent from the diner, along with the greedily manner.\n\n> You go to the north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nA large golden chest, glowing with spiritual energy, catches the eye off to one side.\n\nI can also see the picker here.\n\n> You check your inventory\nIntentions:\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe buy intent\nthe read intent\nthe sell intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe greedily manner\nthe recklessly manner\nthe generously manner\nthe slowly manner\nthe lazily manner\nthe seriously manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put greedily on the picker\nI give the greedily manner to the picker, taking the seriously manner in exchange.\n\n> You put lazily on the picker\nI give the lazily manner to the picker, taking the greedily manner in exchange.\n\n> You take lazily\nI extract the lazily manner from the picker.\n\n> You go to the south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe tourist sits off to one side.\n\nI can also see the auctioneer here.\n\n> Inventory\nIntentions:\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe buy intent\nthe read intent\nthe sell intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe lazily manner\nthe greedily manner\nthe seriously manner\nthe recklessly manner\nthe generously manner\nthe slowly manner\nthe aggressively manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You go to the north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nA large golden chest, glowing with spiritual energy, catches the eye off to one side.\n\nI can also see the picker here.\n\n> You put lazily on the picker\nI give the lazily manner to the picker, taking the aggressively manner in exchange.\n\n> You look at the picker\nA tall, wiry human that resembles a rodent.\n\n> OPEN\nsomething.\n\n> You put the sell on the auctioneer\nI give the sell intent to the auctioneer, who now intends to sell the necklace.\n\nThe auctioneer sets the necklace aside, unsold. One of the workers carries it back to the storage room to the north.\n\n> You check your inventory\nIntentions:\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe read intent\nthe defend intent\nthe block intent\nthe take intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe greedily manner\nthe seriously manner\nthe recklessly manner\nthe generously manner\nthe slowly manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put greedily on the tourist\nI give the greedily manner to the tourist, taking the seriously manner in exchange. It now intends to greedily buy something impressive.\n\n> You put seriously on the picker\nI give the seriously manner to the picker, taking the lazily manner in exchange.\n\n> You look at the tourist\nThe tourist watches the auction keenly, its fingers twitching.\n\n> BUY\nsomething impressive.\n\n> You look at auctioneer\nGrey-haired but with a voice like a megaphone.\n\n> SELL\nvarious items.\n\n> You put take on picker\nI give the take intent to the picker, taking the open intent in exchange. It now intends to seriously take something valuable to be auctioned.\n\nWith great effort, the picker carries the golden chest off to the south.\n\n> You go to the south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer solicits bids for the golden chest, naming a high starting price.\n\nThe tourist sits off to one side.\n\nFrom here, I can only go north and east.\n\n> You put greedily on the tourist\n(first taking the greedily manner from the tourist)\nI give the greedily manner to the tourist, who now intends to greedily buy something impressive.\n\nThe auctioneer looks intently at potential bidders.\n\nThe tourist pores over the contents of its wallet. It starts to raise its hand to bid, but rechecks its wallet, sighs, and decides against it.\n\n> You put recklessly on the tourist\nI give the recklessly manner to the tourist, taking the greedily\nmanner in exchange. It now intends to recklessly buy something impressive.\n\nThe auctioneer surveys the audience expectantly.\n\nThe tourist pores over the contents of its wallet. It starts to raise its hand to bid, but it checks its wallet again and decides against\nit.\n\n> You put recklessly on the auctioneer\n(first taking the recklessly manner from the tourist)\nI give the recklessly manner to the auctioneer, taking the\naggressively manner in exchange. It now intends to recklessly sell the golden chest.\n\nThe auctioneer surveys the audience expectantly.\n\nThe tourist starts at the the stage as if contemplating a bid, but it decides against it.\n\n> You put greedily on the tourist\nI give the greedily manner to the tourist, who now intends to greedily buy something impressive.\n\nThe auctioneer looks intently at potential bidders.\n\nThe tourist pores over the contents of its wallet. It starts to raise its hand to bid, but its mouth moves for a moment in silent calculation, and it decides against it.\n\n> You put open on the auctioneer\nI give the open intent to the auctioneer, taking the sell intent in exchange. It now vaguely intends to recklessly open something.\n\n> Go north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You take take\nI extract the take intent from the picker, along with the seriously manner.\n\n> You examine the chest\nThe chest is actually made of oak; its surface is covered in gold\nfoil. It's glowing with spiritual energy.\n\nThe golden chest is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, a secret codebook, as long as it's closed.\n\n> You look at what you're carrying with you\nIntentions:\nthe take intent\nthe sell intent\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe read intent\nthe defend intent\nthe block intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe seriously manner\nthe aggressively manner\nthe lazily manner\nthe generously manner\nthe slowly manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put generously on the auctioneer\nI give the generously manner to the auctioneer, taking the recklessly manner in exchange.\n\n> You put recklessly on the tourist\nI give the recklessly manner to the tourist, taking the greedily\nmanner in exchange. It now intends to recklessly buy something impressive.\n\n> You put the sell on the auctioneer\nI give the sell intent to the auctioneer, taking the open intent in exchange. It now intends to generously sell the golden chest.\n\nThe auctioneer sets the golden chest aside, unsold. One of the workers carries it back to the storage room to the north.\n\n> You check your inventory\nIntentions:\nthe open intent\nthe take intent\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe read intent\nthe defend intent\nthe block intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe greedily manner\nthe seriously manner\nthe aggressively manner\nthe lazily manner\nthe slowly manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put the take on picker\nI give the take intent to the picker, who now intends to take\nsomething arbitrary to be auctioned.\n\nThe picker selects an arbitrary item, a circlet, and carries it south to the Auction Hall.\n\n> You wait awhile\nTime passes.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You go south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer looks intently at potential bidders.\n\nThe tourist begins to pore over the contents of its wallet, but it shrugs and boldly bids on the circlet.\n\n> You get buy\nI extract the buy intent from the tourist, along with the recklessly manner.\n\nThe auctioneer says, \"Going once...\"\n\n> You get sell\nI extract the sell intent from the auctioneer, along with the generously manner.\n\n> You put seriously on the picker\nI give the seriously manner to the picker, who now intends to\nseriously take something valuable to be auctioned.\n\nThe picker listens to the auction in the next room, waiting for a new item to be needed.\n\n> You put greedily on the auctioneer\nThe auctioneer doesn't intend to do anything in particular right now; doing nothing greedily is a bit much to ask.\n\n> You put buy and recklessly on the tourist\nbuy intent: I give the buy intent to the tourist, who now intends to buy something impressive.\nrecklessly manner: I give the recklessly manner to the tourist, who\nnow intends to recklessly buy something impressive.\n\n> You put the sell and greedily on the auctioneer\nsell intent: I give the sell intent to the auctioneer, who now intends to sell the circlet.\ngreedily manner: I give the greedily manner to the auctioneer, who now intends to greedily sell the circlet.\n\nThe auctioneer says, \"Going twice...\"\n\n> Wait\nTime passes.\n\nThe auctioneer says, \"Sold!\"\n\nThe tourist pays the auctioneer and receives the circlet in exchange. With an eager look toward the storage room to the north, it returns to its seat.\n\nOne of the staffers hands the auctioneer a golden chest.\n\n> You put generously on auctioneer\nI give the generously manner to the auctioneer, taking the greedily manner in exchange. It now intends to generously sell the golden\nchest.\n\nThe auctioneer solicits bids for the golden chest, naming a low starting price.\n\n> Wait\nTime passes.\n\nThe auctioneer surveys the audience expectantly.\n\nThe tourist begins to pore over the contents of its wallet, but it shrugs and boldly bids on the golden chest.\n\n> You wait\nTime passes.\n\nThe auctioneer says, \"Going once...\"\n\n> You wait a while\nTime passes.\n\nThe auctioneer says, \"Going twice...\"\n\n> You wait for a while\nTime passes.\n\nThe auctioneer says, \"Sold!\"\n\nThe tourist pays the auctioneer and receives the golden chest in exchange. Delighted, it staggers off to the east with its new prize.\n\nOne of the staffers hands the auctioneer a bracelet.\n\n> You go east\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist admires its purchase.\n\nThe drunk sprawls nearby.\n\n> You put OPEN on the tourist\nI give the open intent to the tourist, taking the buy intent in exchange. It now intends to recklessly open its newly won chest.\n\nThe tourist shakes the chest around with great abandon, to no apparent effect. It's good there isn't any glass in there.\n\n> You put slowly on the tourist\nI give the slowly manner to the tourist, taking the recklessly manner in exchange. It now intends to slowly open its newly won chest.\n\nThe tourist tugs casually on the lid of the chest, but it remains stuck.\n\n> Inventory\nIntentions:\nthe buy intent\nthe select intent\nthe serve intent\nthe warm intent\nthe drink intent\nthe read intent\nthe defend intent\nthe block intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe recklessly manner\nthe greedily manner\nthe aggressively manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\ntwo secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put aggressively on the tourist\nI give the aggressively manner to the tourist, taking the slowly\nmanner in exchange. It now intends to aggressively open its newly won chest.\n\nThe tourist gives the chest several hard knocks to break its hinges open. Those hinges are apparently stronger than the tourist, though, and it fails.\n\n> Go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nThe auctioneer looks intently at potential bidders.\n\n> You get all\ngenerously manner: I extract the generously manner from the\nauctioneer.\nsell intent: I extract the sell intent from the auctioneer.\n\n> You get all\nseriously manner: I extract the seriously manner from the picker.\ntake intent: I extract the take intent from the picker.\n\n> Go south\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nI can see the auctioneer here.\n\n> Go east\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist gives the chest several hard knocks to break its hinges open. Those hinges are apparently stronger than the tourist, though, and it fails.\n\nThe drunk sprawls nearby.\n\n> You put seriously on the tourist\nI give the seriously manner to the tourist, taking the aggressively manner in exchange. It now intends to seriously open its newly won chest.\n\nThe tourist attempts to open the chest but fails. It carefully tinkers with the lock but fails. It searches the exterior of the chest for another means of entry but fails. The tourist steps back and seriously ponders the chest. With an abstracted frown, it returns to the chest, methodically inspects each face and seam of it, and then gives it a solid kick. That must have been just the right spot, because the chest grudgingly creaks open. Unfortunately for the tourist, it looks inside to find it empty, at least to its limited senses.\n\n> You get the codebook\n(the secret codebook)\nI pick up the secret codebook and page through it. A few of the code sequences from the communiqu\ufffd\ufffd are in it, and I decrypt some more of it:\n\nConfirmed neutralization of 46480. There is no significant opposition remaining in the target area. The action has been authorized. Assist 02666 and ensure that 79260 concludes successfully as quickly as possible 43999 is standing by. We will act immediately on the 85994\n\nto find any secret compartment.\n\n> You get all\nseriously manner: I extract the seriously manner from the tourist.\nopen intent: I extract the open intent from the tourist.\n\n> Spin detector\nThe detector is silent. There must not be any unattained codebooks nearby.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> Go northeast\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe agent stands next to the doors.\n\nThe reporter looks at the agent appraisingly.\n\n> You put open on the agent\nI give the open intent to the agent, who now intends to open its eyes and keep careful watch.\n\nThe agent keeps its eyes wide open, looking for anyone up to no good. It's rare, but humans occasionally have strong enough internal motivations to ignore or subvert my influence, at least for certain specific actions. Oh well.\n\nThe reporter attempts to peer through a window.\n\n> You put lazily on the agent\nI give the lazily manner to the agent, who now intends to lazily open its eyes and keep careful watch.\n\nThe agent keeps its eyes wide open, looking for anyone up to no good.\n\nThe reporter looks at the agent appraisingly.\n\n> You get all\nlazily manner: I extract the lazily manner from the agent.\nopen intent: I extract the open intent from the agent.\n\nThe reporter skulks toward the door, but the agent rebuffs it.\n\n> You put open on the reporter\nI give the open intent to the reporter, who now intends to open the\nway into the conference.\n\nThe reporter asks politely to be let in, but the agent refuses.\n\n> You put aggressively on the reporter\nI give the aggressively manner to the reporter, who now intends to aggressively open the way into the conference.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put the serve on agent\nI give the serve intent to the agent, who now vaguely intends to\nserve.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> Inventory\nIntentions:\nthe take intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe drink intent\nthe read intent\nthe defend intent\nthe block intent\nthe clean up intent\nthe wait intent\nthe explore intent\n\nManners:\nthe lazily manner\nthe seriously manner\nthe generously manner\nthe slowly manner\nthe recklessly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put the explore on the guard\nI don't see the guard here. I last saw it on the casino floor.\n\n> You put the explore on the agent\nI give the explore intent to the agent, taking the serve intent in exchange. It now vaguely intends to explore.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put the explore on the reporter\n(first taking the explore intent from the agent)\nI give the explore intent to the reporter, taking the open intent in exchange. It now intends to aggressively explore the conference.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put lazily and the block on the agent\nlazily manner: The agent doesn't intend to do anything in particular right now; doing nothing lazily is a bit much to ask.\nblock intent: I give the block intent to the agent, who now intends to block the way into the next area.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You put lazily on the agent\nI give the lazily manner to the agent, who now intends to lazily block the way into the next area.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You put defend on the agent\nI give the defend intent to the agent, taking the block intent in exchange. It now intends to lazily defend the political conference.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You put the wait on the agent\nI give the wait intent to the agent, taking the defend intent in exchange. It now vaguely intends to lazily wait around idly.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put the drink on the agent\nI give the drink intent to the agent, taking the wait intent in exchange. It now vaguely intends to lazily drink.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put the serve on the agent\nI give the serve intent to the agent, taking the drink intent in exchange. It now vaguely intends to lazily serve.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You put the take on the agent\nI give the take intent to the agent, taking the serve intent in exchange. It now vaguely intends to lazily take something.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist sits off to one side.\n\nThe drunk sprawls nearby.\n\n> You put the explore on drunk\nI don't have the explore intent in my possession. I last saw it in the reporter's possession.\n\n> You go to the north-east\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe agent stands next to the doors.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You get all\ntake intent: I extract the take intent from the agent, along with the lazily manner.\nlazily manner: I already have that.\nexplore intent: I extract the explore intent from the reporter, along with the aggressively manner.\naggressively manner: I already have that.\n\nThe reporter looks at the agent appraisingly.\n\n> You put the explore on drunk\nI give the explore intent to the drunk, who now intends to explore,\nfor lack of something better to do.\n\nThe drunk looks blearily around.\n\n> You wait for a while\nTime passes.\n\nThe drunk stumbles off to the south.\n\n> Go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe drunk stumbles off to the east.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> You go to the east\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk stumbles off to the northeast.\n\n> You go to the north-east\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe drunk staggers unsteadily.\n\nThe agent stands next to the doors.\n\nThe reporter skulks toward the door, but the agent rebuffs it.\n\n> You put open on reporter\nI give the open intent to the reporter, who now intends to open the\nway into the conference.\n\nThe drunk staggers about drunkenly.\n\nThe reporter asks politely to be let in, but the agent just shakes its head.\n\n> You put aggressively on the reporter\nI give the aggressively manner to the reporter, who now intends to aggressively open the way into the conference.\n\nThe drunk stumbles off to the southwest.\n\nThe reporter demands to be let into the conference, but the agent\nmoves to block the agent's path.\n\n> You look at the guard\nI don't see the guard here. I last saw it on the casino floor.\n\n> Inventory\nIntentions:\nthe take intent\nthe serve intent\nthe drink intent\nthe wait intent\nthe defend intent\nthe block intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe read intent\nthe clean up intent\n\nManners:\nthe lazily manner\nthe seriously manner\nthe generously manner\nthe slowly manner\nthe recklessly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put the block and lazily on the agent\nblock intent: I give the block intent to the agent, who now intends to block the way into the next area.\nlazily manner: I give the lazily manner to the agent, who now intends to lazily block the way into the next area.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You go to the south-west\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk stumbles off to the west.\n\n> You go to the west\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe drunk stumbles off to the north.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> Go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk ponders its next move.\n\nThe tourist sits off to one side.\n\n> You wait\nTime passes.\n\nThe drunk gives a loud sigh.\n\n> You wait\nTime passes.\n\nThe drunk staggers about drunkenly.\n\n> Go east\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk lumbers toward the chapel, but stops itself at the last moment.\n\n> You put recklessly on the drunk\nI give the recklessly manner to the drunk, who now intends to recklessly explore, for lack of something better to do.\n\nThe drunk stumbles off to the northeast.\n\n> You go to the north-east\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe drunk staggers about drunkenly.\n\nThe agent stands next to the doors.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> Inventory\nIntentions:\nthe take intent\nthe serve intent\nthe drink intent\nthe wait intent\nthe defend intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe read intent\nthe clean up intent\n\nManners:\nthe seriously manner\nthe generously manner\nthe slowly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu\ufffd\ufffd\nthe almanach\na candle\n\n> You put generously on the agent\nI give the generously manner to the agent, taking the lazily manner in exchange. It now intends to generously block the way into the next area.\n\nThe drunk staggers unsteadily.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You put the read on drunk\nI give the read intent to the drunk, taking the explore intent in exchange. It now vaguely intends to recklessly read.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> Exits\nFrom here, I can only go southwest and east.\n\n> Wait\nTime passes.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent."
    },
    {
        "text": "> You look at your surroundings\nsquat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of double doors here blocking the way east, the carvings of which form a pentagram.\n\nThe drunk sprawls nearby.\n\nThe agent stands next to the doors.\n\nThe reporter is looking around and taking notes.\n\n> You put open on drunk\n(first taking the open intent from the reporter, along with the aggressively manner)\nI give the open intent to the drunk, taking the read intent in exchange. It now vaguely intends to recklessly open something.\n\nThe reporter skulks toward the door, but the agent rebuffs it.\n\n> You put explore and aggressively on the reporter\nexplore intent: I give the explore intent to the reporter, who now intends to explore the conference.\naggressively manner: I give the aggressively manner to the reporter, who now intends to aggressively explore the conference.\n\nThe reporter demands to be let into the conference, but the agent angrily shoves it back, clearly outmatching the agent.\n\n> You put defend on drunk\nI give the defend intent to the drunk, taking the open intent in exchange. It now vaguely intends to recklessly defend.\n\nThe reporter demands to be let in. The agent threatens throw the reporter thrown out. The drunk steps up to intervene, but the agent turns to it and starts ranting at the the drunk about something. The details of its harangue are outside the scope of my knowledge of the human language, but the general thrust of the argument is clear\nenough. The drunk tries to defend its honor, gesturing wildly with its bottle. The agent responds by grabbing the drunk's arm. A brief and comically inept scuffle ensues. In the ensuing commotion, the reporter pushes open the doors and slips through.\n\n> You go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter explores the gallery, spying on various notables.\n\nA burglar stands off to one side of the room, looking around\ncarefully.\n\nA brute lounges against one wall.\n\n> Go west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe drunk sprawls nearby.\n\nThe agent stands next to the doors.\n\n> You get all\ndefend intent: I extract the defend intent from the drunk, along with the recklessly manner.\nrecklessly manner: I already have that.\ngenerously manner: I extract the generously manner from the agent. block intent: I extract the block intent from the agent.\n\n> You go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter explores the gallery, spying on various notables.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe brute lounges against one wall.\n\n> Spin  detectospin   detector\nThe detector produces two high whistles, indicating two unattained codebooks in this region of the compound, but none in this specific location.\n\nThe reporter explores the gallery, spying on various notables."
    },
    {
        "text": "[Themes: Espionage, Evil protagonist]\n\n> You look around\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter is looking around and taking notes.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe brute lounges against one wall.\n\n> Inventory\nIntentions:\nthe block intent\nthe defend intent\nthe open intent\nthe read intent\nthe take intent\nthe serve intent\nthe drink intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe generously manner\nthe recklessly manner\nthe lazily manner\nthe seriously manner\nthe slowly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\n\n> You look up Sidewinder in almanach\nWith self-indulgent curiosity, I look up my own entry in the almanach:\n\n\"Sidewinder is a renowned, almost legendary demon who epitomizes the competence, judgment, and honor we all strive for. His cleverness and devotion to duty put the 'intelligence' and 'services' in\n'intelligence services'. He's received every award our organization\nhas to give, including some that were created just for him. He's had a meteoric rise in the department that's still continuing. He's our most valuable asset in our war against the Other Side, and every demon\nlooks up to him and wants to be his best friend (footnote 6).\"\n\nThe reporter explores the gallery, spying on various notables.\n\n> Footnote 6\n(6) ...to be his best friend.: The question is, was I lying\nto the editors to the almanach, or am I lying to you now? The answer\nis yes.\n\n> You look up Whiptail in almanach\nI look up Whiptail in the almanach, but his entry doesn't tell me anything I don't already know. We've been friends for centuries, and his research department has worked enough with mine that I'm familiar with his r??sum??. He's a brilliant scientist, with all the absent-mindedness and sloppy cleverness that entails.\n\nThe reporter explores the gallery, asking sudden, pointed questions.\n\n> You look up Kingfisher in almanach\nKingfisher certainly has an extensive entry, but it's not anything I don't already know.\n\nThe reporter explores the gallery, spying on various notables.\n\n> You look up Krait in almanach\nKrait's entry in the almanach is brief. It describes him as a cultural attach?? involved in some low-stakes missions in friendly posts. That's complete nonsense, of course, but it's about the almanach can say at its classification level. Krait is an amateur poet, having edited a\nfew poetry journals and done a bit of writing himself, and I suspect that that flimsy cover is an excuse for him to scratch that itch.\n\nThe reporter explores the gallery, asking sudden, pointed questions.\n\n> You look up Agama in almanach\nI page through the almanach, but I don't find anything relevant, at least under that name.\n\nThe reporter explores the gallery, taking notes on overheard conversations.\n\n> You examine the burglar\nI can tell it's a burglar because it's wearing one of those masks.\n\nThe reporter explores the gallery, spying on various notables.\n\n> You examine the brute\nMuscles the size of excessively large muscles.\n\nThe brute is holding nothing.\n\nThe reporter explores the gallery, spying on various notables.\n\n> You look at the flutes\nThe humans in the room are dutifully carrying glasses of champagne. Both the humans and the glasses are half-drunk.\n\nThe reporter explores the gallery, taking notes on overheard conversations.\n\n> You look at the reporter\nA human carrying a notebook and wearing a press pass.\n\n> EXPLORE\nthe conference.\n\nThe reporter explores the gallery, taking notes on overheard conversations.\n\n> You get explore\nI extract the explore intent from the reporter, along with the aggressively manner.\n\nThe reporter surveils the crowd.\n\n> Go south\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nA bottle of champagne, shining brightly with spiritual energy, sits to one side in a bucket of ice.\n\nThe short diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\nI can also see the tall diplomat and the medium diplomat here.\n\n> You examine short\nShort, stocky, with excessive amounts of hair.\n\nThe medium diplomat gazes at the other diplomats, perhaps expecting\none of them to enter a proposal for consideration.\n\n> You look at the medium\nNon-distinctive, with rounded edges.\n\nThe tall diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\n> You examine tall\nTall, thin, with awkward angles.\n\nThe short diplomat glances at its notes.\n\n> You examine the map\nThe map is a two-dimensional representation of a three-dimensional slice of a four-dimensional part of an inordinately complicated multiverse.\n\nThe medium diplomat glances at its notes.\n\n> You look at the bottle\nA bottle of Taittinger Brut from what I assume is a good vintage.\n\nThe bottle of champagne is mystically sealed, presumably to protect\nits contents from the opposition. The barrier is also keeping me from accessing its contents, a top secret codebook, as long as it's closed.\n\nThe tall diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\n> You look at the bucket\nHumans have quite specific opinions about the temperatures of their beverages.\n\nThe short diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\n> Inventory\nIntentions:\nthe explore intent\nthe block intent\nthe defend intent\nthe open intent\nthe read intent\nthe take intent\nthe serve intent\nthe drink intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe aggressively manner\nthe generously manner\nthe recklessly manner\nthe lazily manner\nthe seriously manner\nthe slowly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\n\n> You put the drink on the medium\nI give the drink intent to the medium diplomat, who now intends to drink champagne when this is all resolved.\n\nThe medium diplomat solicits suggestions from the other diplomats.\n\n> You examine candle\nA simple wax candle with a spiritual aura, enabling me to interact\nwith it. I could instantly relight it with my demonic powers (footnote 7), if I were so inclined.\n\nThe tall diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\n> Footnote 7\n(7) ...with my demonic powers: Many of the powers you ascribe\nto my kind are just paranoid delusions, but this one is actually accurate: Rudimentary fire-starting ability is part of the standard onboarding package for the infernal intelligence services. It's little more than a parlor trick, especially considering that the thermostat\nin my office building is set to the temperature of the surface of the sun.\n\n> You put the read on the medium\nI give the read intent to the medium diplomat, taking the drink intent in exchange. It now intends to read a proposal when one is available.\n\nThe short diplomat solicits suggestions from the other diplomats.\n\n> You put the read on short\n(first taking the read intent from the medium diplomat)\nI give the read intent to the short diplomat, who now intends to read\na proposal when one is available.\n\nThe medium diplomat gazes at the other diplomats, perhaps expecting\none of them to enter a proposal for consideration.\n\n> You put the drink on tall\nI give the drink intent to the tall diplomat, who now intends to drink champagne when this is all resolved.\n\nThe tall diplomat gazes at the other diplomats, perhaps expecting one of them to enter a proposal for consideration.\n\n> You put explore on the medium\nI give the explore intent to the medium diplomat, who now intends to explore the possibilities of the next proposal.\n\nThe short diplomat glances at its notes.\n\n> You put open on medium\nI give the open intent to the medium diplomat, taking the explore intent in exchange. It now intends to open discussions on expanding trade.\n\nwheat taxed at 2%.\n\n> Wait\nTime passes.\n\nThe tall diplomat sighs, makes a few concessions, and suggests signing this and calling it a day.\n\nThe short diplomat rejects the suggestion out of hand due to the complexity of the language.\n\n> You put explore on short\nI give the explore intent to the short diplomat, taking the read\nintent in exchange. It now intends to explore the possibilities of the proposal.\n\nThe short diplomat makes some edits to the proposed deal, increasing the tariff on wheat to 4%.\n\n> Wait\nTime passes.\n\nThe medium diplomat extols the virtues of its trade deal.\n\n> You check your inventory\nIntentions:\nthe read intent\nthe block intent\nthe defend intent\nthe take intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe select intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe aggressively manner\nthe generously manner\nthe recklessly manner\nthe lazily manner\nthe seriously manner\nthe slowly manner\nthe greedily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\n\n> You put the select on short\nI give the select intent to the short diplomat, taking the explore intent in exchange. It now intends to select its words.\n\nThe short diplomat seems unhappy with the proposal, but isn't sure how to express it.\n\n> You put the take on short\nI give the take intent to the short diplomat, taking the select intent in exchange. It now intends to take all possible circumstances into account.\n\nThe medium diplomat extols the virtues of its trade deal.\n\n> You put greedily on short\nI give the greedily manner to the short diplomat, who now intends to greedily take all possible circumstances into account.\n\nThe tall diplomat sighs, makes a few concessions, and suggests signing this and calling it a day.\n\nThe short diplomat rejects the suggestion out of hand due to the complexity of the language.\n\n> You put the select on short\nI give the select intent to the short diplomat, taking the take intent in exchange. It now intends to greedily select its words.\n\nThe short diplomat makes some edits to the proposed deal, increasing the tariff on wheat to 9%.\n\n> You put open on short\n(first taking the open intent from the medium diplomat)\nI give the open intent to the short diplomat, taking the select intent in exchange. It now intends to greedily open discussions on expanding trade.\n\nThe medium diplomat looks at the proposed trade deal, and nods approvingly.\n\n> Wait\nTime passes.\n\nThe tall diplomat sighs, makes a few concessions, and suggests signing this and calling it a day.\n\nThe short diplomat rejects the suggestion out of hand due to the complexity of the language.\n\n> You put seriously on short\nI give the seriously manner to the short diplomat, taking the greedily manner in exchange. It now intends to seriously open discussions on expanding trade.\n\nThe short diplomat mutters that they should all move on to a more serious proposal.\n\n> You take all\ndrink intent: I extract the drink intent from the tall diplomat. seriously manner: I extract the seriously manner from the short diplomat.\nopen intent: I extract the open intent from the short diplomat.\n\nThe medium diplomat looks at the proposed trade deal, and nods approvingly."
    },
    {
        "text": "[Themes: Espionage]\n\n> Look around\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nThe diplomats are considering a trade deal.\n\nA bottle of champagne, shining brightly with spiritual energy, sits to one side in a bucket of ice.\n\nI can also see the tall diplomat, the short diplomat, and the medium diplomat here.\n\n> Go north\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter makes some notes.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe brute lounges against one wall.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\n> You examine the chandelier\nAn elaborate creation of brass and crystal.\n\n> You examine the keypad\nThis gadget is part of the mechanism of the archway, allowing my cohorts on the Other Side to control access to whatever they're planning in the deeper recesses of the complex. It's a sophisticated device; they must have been planning things for a while. It has a\nclear spiritual aura, so I could interact with it if I knew the code\nto type in.\n\n> You look at the archway\nThe archway leads east deeper into the complex. Bands of spiritual energy roil across the opening, perfectly harmless to humans but\nlethal to those in my line of business. I'm immortal, but even immortality has limits.\n\n> Go north\nJudging from the pigeon-hole boxes filling the walls, I'm in the conference's mail room. The cubbyholes are mostly empty; I doubt anything important would be left out in the open anyway. For that, a metal storage locker stands in the corner, gleaming in the harsh fluorescent lights overhead. The only exit from the room is to the south.\n\nA hacker looks toward the doorway with suspension.\n\n> You examine the locker\nA secure metal locker with some sort of electronic lock.\n\nIn the storage locker is a leather briefcase.\n\nThe hacker looks toward the doorway with suspension.\n\n> You look at the briefcase\nAs a diplomat and a demon, I've worked with quite a few lawyers. Most of them carried briefcases like this one: smart and ludicrously expensive. Like the lawyers themselves, really. Unlike the lawyers,\nthe briefcase is shining brightly with spiritual energy.\n\nThe leather briefcase is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, some launch codes and a top secret codebook,\nas long as it's closed.\n\nThe hacker looks toward the doorway with suspension.\n\n> You look at the hacker\nperson.\n\nThe hacker looks toward the doorway with suspension.\n\n> You examine the devices\ninteract with other bits of human technology in some way advantageous to the hacker. Their exact details are uninteresting to me.\n\nThe hacker looks toward the doorway with suspension.\n\n> You go south\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\n> You go south\nThis stuffy closet is filled with a variety of stark metal equipment, undoubtedly very important and very dangerous to humans. A maze of wiring creeps over the walls, sinking into the further recess of the complex. There's an electrical hum throughout the room and a faint metallic smell in the dusty air. The single exit from the room leads north.\n\nA large steel cage blocks access to high-voltage equipment.\n\n> You examine the cage\nI suppose it's here for safety, what with the \"danger, high voltage\" signs, but it'd also do a bang-up job as a dungeon cell.\n\n> You examine the equipment\nThe equipment keeps the electricity in, or something. Look, I'm a lawyer and diplomat. My expertise is in the spiritual realm. The\ngrubby business of electrons and photons and second quantization (footnote 8) is better left to humans.\n\n> Footnote 8\n(8) ...and second quantization: Well, maybe I know a\nbit about it.\n\n> You examine wiring\nFrom what I can gather, the wiring connects and powers the building's lighting system. Human eyes require light to see. Instead of fixing that obvious problem, humans have decided to install artificial lights in every corner of their world. There's probably some sort of metaphor for humanity there; I just think it's wasted effort.\n\n> Go north\nJudging from the pigeon-hole boxes filling the walls, I'm in the conference's mail room. The cubbyholes are mostly empty; I doubt anything important would be left out in the open anyway. For that, a metal storage locker stands in the corner, gleaming in the harsh fluorescent lights overhead. The only exit from the room is to the south.\n\nThe hacker looks toward the doorway with suspension.\n\n> You put the explore on hacker\nI give the explore intent to the hacker, who now intends to explore\nthe possibilities of the mail room.\n\nThe hacker looks toward the doorway with suspension.\n\n> Wait\nTime passes.\n\nThe hacker looks toward the doorway with suspension.\n\n> You put aggressively on the hacker\nI give the aggressively manner to the hacker, who now intends to aggressively explore the possibilities of the mail room.\n\nThe hacker looks toward the doorway with suspension.\n\n> You put seriously on the hacker\nI give the seriously manner to the hacker, taking the aggressively manner in exchange. It now intends to seriously explore the possibilities of the mail room.\n\nThe hacker looks toward the doorway with suspension.\n\n> You put OPEN on hacker\nI give the open intent to the hacker, taking the explore intent in exchange. It now intends to seriously open the secure locker.\n\nSpotting an opportunity, the hacker connects some sort of device to\nthe secure locker and begins fiddling with it, paying close attention both to the task and to the doorway. After some painstaking work, the locker slides open.\n\n> You examine the locker\nA secure metal locker with some sort of electronic lock.\n\nIn the storage locker is a leather briefcase.\n\nThe hacker gingerly reaches into the locker and takes the glowing briefcase.\n\n> You wait\nTime passes.\n\nThe hacker, clutching the glowing briefcase, slowly makes its way south.\n\n> You go south\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe hacker gives the briefcase a thorough inspection, but apparently it's less adroit with physical locks than electronic ones.\n\n> You examine the hacker\nperson.\n\nThe hacker is holding a leather briefcase, inside which are some\nlaunch codes and a top secret codebook.\n\n> OPEN\nsomething it shouldn't.\n\nThe hacker gives the briefcase a thorough inspection, but apparently it's less adroit with physical locks than electronic ones.\n\n> You go to the west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter surveils the crowd.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe brute lounges against one wall.\n\n> You put the explore on burglar\nI give the explore intent to the burglar, who now intends to explore the area.\n\nThe reporter surveils the crowd.\n\nThe burglar wanders off to the east.\n\n> Go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling. A leather briefcase, shining brightly with spiritual energy, has somehow managed to hook itself onto it in my absence.\n\nThe burglar wanders off to the west.\n\nThe hacker stares pensively at the briefcase above it, but it takes no action to retrieve it.\n\n> You wait awhile\nTime passes.\n\nThe burglar wanders in from the west.\n\nThe hacker lounges nonchalantly.\n\n> You get all\nexplore intent: I extract the explore intent from the burglar.\nopen intent: I extract the open intent from the hacker, along with the seriously manner.\nseriously manner: I already have that.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges nonchalantly.\n\n> You put the take on the hacker\nI give the take intent to the hacker, who now vaguely intends to take something.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges nonchalantly.\n\n> You put the take on the burglar\n(first taking the take intent from the hacker)\nI give the take intent to the burglar, who now intends to take something valuable.\n\nThe burglar's eyes alight on the briefcase.\n\nThe hacker lounges nonchalantly.\n\n> Wait\nTime passes.\n\nThe burglar looks up at the briefcase, but then looks over at the hacker and turns away, trying to look nonchalant.\n\nThe hacker lounges nonchalantly.\n\n> You put greedily on the burglar\nI give the greedily manner to the burglar, who now intends to greedily take something valuable.\n\nThe burglar's eyes alight on the briefcase.\n\nThe hacker lounges nonchalantly.\n\n> You put the explore on hacker\nI give the explore intent to the hacker, who now intends to explore in search of another opportunity.\n\nThe burglar's eyes alight on the briefcase.\n\nThe hacker wanders morosely back to the north.\n\n> You wait\nTime passes.\n\nThe burglar takes out a grappling hook.\n\nThe hacker walks in from the north.\n\n> Wait\nTime passes.\n\nThe burglar looks up at the briefcase, but then looks over at the hacker and turns away, trying to look nonchalant.\n\nThe hacker wanders morosely back to the north.\n\n> You go north\nJudging from the pigeon-hole boxes filling the walls, I'm in the conference's mail room. The cubbyholes are mostly empty; I doubt anything important would be left out in the open anyway. For that, a metal storage locker stands in the corner, gleaming in the harsh fluorescent lights overhead. The only exit from the room is to the south.\n\nThe hacker walks off to the south.\n\n> You wait\nTime passes.\n\nThe hacker wanders morosely in from the south.\n\n> You get all\nexplore intent: I extract the explore intent from the hacker.\n\nThe hacker mopes around dejectedly.\n\n> You go south\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling. A leather briefcase, shining brightly with spiritual energy, has somehow managed to hook itself onto it in my absence.\n\nThe burglar takes out a grappling hook.\n\n> Wait\nTime passes.\n\nThe burglar throws the grappling hook up to catch on the chandelier.\n\n> Keep going\nTime passes.\n\nThe burglar starts climbing up its rope with powerful yanks. Unfortunately, one yank is too many, and the hook slips off and it falls to the ground with a crash. Panicking, the burglar then scampers off to the west.\n\n> You look at the briefcase\nAs a diplomat and a demon, I've worked with quite a few lawyers. Most of them carried briefcases like this one: smart and ludicrously expensive. Like the lawyers themselves, really. Unlike the lawyers,\nthe briefcase is shining brightly with spiritual energy.\n\nThe leather briefcase is mystically sealed, presumably to protect its contents from the opposition. The barrier is also keeping me from accessing its contents, some launch codes and a top secret codebook,\nas long as it's closed."
    },
    {
        "text": "[Themes: Espionage, supernatural]\n\n> Look around\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling. A leather briefcase, shining brightly with spiritual energy, has somehow managed to hook itself onto it in my absence.\n\n> Go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter surveils the crowd.\n\nThe brute lounges against one wall.\n\n> You put the explore and slowly on the burglar\nexplore intent: I give the explore intent to the burglar, taking the take intent in exchange. It now intends to greedily explore the area. slowly manner: I give the slowly manner to the burglar, taking the greedily manner in exchange. It now intends to slowly explore the\narea.\n\nThe reporter makes some notes.\n\nThe burglar wanders off to the east.\n\n> Go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling. A leather briefcase, shining brightly with spiritual energy, has somehow managed to hook itself onto it in my absence.\n\nThe burglar wanders off to the west.\n\n> Wait\nTime passes.\n\nThe burglar wanders in from the west.\n\n> You put the take on the burglar\nI give the take intent to the burglar, taking the explore intent in exchange. It now intends to slowly take something valuable.\n\nThe burglar's eyes alight on the briefcase.\n\n> You wait for a while\nTime passes.\n\nThe burglar takes out a grappling hook.\n\n> Wait\nTime passes.\n\nThe burglar throws the grappling hook up to catch on the chandelier.\n\n> You wait awhile\nTime passes.\n\nThe burglar starts carefully climbing up the rope. After it gets a few feet up, however, the rope starts swinging wildly, and it climbs back down and reconsiders.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe open intent\nthe drink intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe greedily manner\nthe seriously manner\nthe aggressively manner\nthe generously manner\nthe recklessly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\n\n> You put seriously on the burglar\nI give the seriously manner to the burglar, taking the slowly manner\nin exchange. It now intends to seriously take something valuable.\n\nThe burglar starts carefully climbing up the rope. After it gets a few feet up, however, the rope starts swinging wildly, and it climbs back down and reconsiders.\n\n> You put recklessly on the burglar\nI give the recklessly manner to the burglar, taking the seriously manner in exchange. It now intends to recklessly take something valuable.\n\nThe burglar quickly climbs up its rope without regard to its wild swinging back and forth. It grabs the briefcase and quickly swings\nback down.\n\n> You put open on burglar\nI give the open intent to the burglar, taking the take intent in exchange. It now vaguely intends to recklessly open something.\n\nThe burglar struggles with the lock on the briefcase.\n\n> You put seriously on the burglar\nI give the seriously manner to the burglar, taking the recklessly manner in exchange.\n\nThe burglar struggles with the lock on the briefcase.\n\n> You wait\nTime passes.\n\nThe burglar struggles with the lock on the briefcase.\n\n> You put aggressively on the burglar\nI give the aggressively manner to the burglar, taking the seriously manner in exchange.\n\nThe burglar struggles with the lock on the briefcase.\n\n> You go to the west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter makes some notes.\n\nThe brute lounges against one wall.\n\n> You put the explore on the brute\nI give the explore intent to the brute, who now intends to explore the area.\n\nThe reporter makes some notes.\n\nThe brute trundles off to the east.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe brute trundles off to the north.\n\nThe burglar struggles with the lock on the briefcase.\n\n> Wait\nTime passes.\n\nThe burglar struggles with the lock on the briefcase.\n\nThe brute trundles in from the north.\n\n> You get explore\nI extract the explore intent from the brute.\n\nThe burglar sees the brute and flees to the south, clutching its briefcase.\n\n> You put the explore on the brute\nI give the explore intent to the brute, who now intends to explore the area.\n\nThe brute trundles off to the south.\n\n> Go south\nThis stuffy closet is filled with a variety of stark metal equipment, undoubtedly very important and very dangerous to humans. A maze of wiring creeps over the walls, sinking into the further recess of the complex. There's an electrical hum throughout the room and a faint metallic smell in the dusty air. The single exit from the room leads north.\n\nA large steel cage blocks access to high-voltage equipment.\n\nThe brute trundles off to the north.\n\nThe burglar tries to figure out the combination on the locked briefcase, but it isn't having much luck.\n\n> You wait\nTime passes.\n\nThe burglar tries to figure out the combination on the locked briefcase, but it isn't having much luck.\n\n> You wait for a while\nTime passes.\n\nThe burglar tries to figure out the combination on the locked briefcase, but it isn't having much luck.\n\nThe brute trundles in from the north.\n\n> You get explore\nI extract the explore intent from the brute.\n\nThe burglar looks up from its briefcase and sees the brute. Thinking quickly, it slips the briefcase through the bars of the cage and wanders nonchalantly north.\n\n> You put take on brute\nI give the take intent to the brute, who now intends to take something of value.\n\nThe brute's eye catches on the briefcase in the cage.\n\n> You wait a while\nTime passes.\n\nThe brute reaches for the briefcase, but the bars are too close together.\n\n> You put open on brute\nI don't have the open intent in my possession. I last saw it in the burglar's possession.\n\n> You go north\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe burglar looks around with an appraising eye.\n\n> You get all\naggressively manner: I extract the aggressively manner from the burglar.\nopen intent: I extract the open intent from the burglar.\n\nThe burglar looks around with an appraising eye.\n\n> You go to the south\nThis stuffy closet is filled with a variety of stark metal equipment, undoubtedly very important and very dangerous to humans. A maze of wiring creeps over the walls, sinking into the further recess of the complex. There's an electrical hum throughout the room and a faint metallic smell in the dusty air. The single exit from the room leads north.\n\nA large steel cage blocks access to high-voltage equipment, as well as the leather briefcase.\n\nThe brute's eye catches on the briefcase in the cage.\n\n> You put open on the brute\nI give the open intent to the brute, taking the take intent in exchange. It now vaguely intends to open something.\n\n> You look at the cage\nI suppose it's here for safety, what with the \"danger, high voltage\" signs, but it'd also do a bang-up job as a dungeon cell.\n\nIn the steel cage is a leather briefcase.\n\n> You look at what you're carrying with you\nIntentions:\nthe take intent\nthe explore intent\nthe drink intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe aggressively manner\nthe seriously manner\nthe recklessly manner\nthe slowly manner\nthe greedily manner\nthe generously manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\n\n> You put take and aggressively on the brute\ntake intent: I give the take intent to the brute, taking the open intent in exchange. It now intends to take something of value. aggressively manner: I give the aggressively manner to the brute, who now intends to aggressively take something of value.\n\nThe brute reaches for the briefcase, but the bars are too close together.\n\n> Wait\nTime passes.\n\nThe brute hurriedly grips two bars, one with each hand.\n\n> Wait\nTime passes.\n\nbars, and it soon has bent them enough to grab the briefcase.\n\n> You wait\nTime passes.\n\nThe brute clutches the glowing briefcase.\n\n> You put open on the brute\nI give the open intent to the brute, taking the take intent in exchange. It now intends to aggressively open the briefcase.\n\nThe brute, grunting, rips open the locked and glowing briefcase.\nSeeing the launch codes, it touches a concealed earpiece and makes\nsome sort of report.\n\n> You get the codebook\n(the top secret codebook)\nI pick up the top secret codebook and page through it. The cipher on the communiqu?? is at an extraordinarily high classification level, and even the top secret codebook doesn't cover all of it. I can still decipher some of its header information and basic format, though. This particular cipher is used in very rare circumstances to give immediate orders to agents in the field when a completely secure method of communication isn't available. It's effectively one step below a one-time pad, used when logistics or circumstances prevent that from being an option, and it's almost as secure; this code isn't one that I'm going to be able to break on my own. Its use by the Other Side suggests that there was an urgent, probably unexpected order they had to give to one of their agents. The mere presence of agent isn't a\nhuge secret; neither my side nor my opponents are naive or arrogant enough to think that we're the only one in this business. This coded communiqu?? suggests, however, that the agent was doing something that would cause a serious escalation if we found out about it???violating one of our treaties, for example, or taking direct action against one of our agents.\n\nWith the part of the cipher in the codebook, I can decrypt the rest of the communiqu??:\n\nConfirmed neutralization of Krait. There is no significant opposition remaining in the target area. The action has been authorized. Assist the delegations and ensure that the conference concludes successfully as quickly as possible. Cardinal is standing by. We will act immediately on the broadcast.\n\nThis is definitely cause for alarm. If only I knew something more\nabout this \"Cardinal,\" then maybe Whiptail and I could figure out what to do about it. That takes priority over finding the rest of the codebooks; there's now a clear, imminent threat to us.\n\nThe brute mutters something into its earpiece.\n\n> You look up cardinal in almanach\nI search through the almanach and find the sparse entry for Cardinal. It's listed as operating under the Advanced Research Directive, but there's no further description; it doesn't even indicate whether Cardinal is the name of an angel, or a highly classified research group, or a codeword for a specific project. The only other\ninformation provided is a reference to a node on the Other Side's communications network: LN-199. That could be anything from a data\nfeed with public information to the personal line of the director of the research department. Whiptail would probably know how to get more information on it.\n\nThe brute mutters something into its earpiece.\n\n> You get all\nopen intent: I extract the open intent from the brute, along with the aggressively manner.\naggressively manner: I already have that.\n\nThe brute mutters something into its earpiece.\n\n> You go north\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe burglar looks around with an appraising eye.\n\n> Go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter makes some notes.\n\n> You go to the north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist sits off to one side.\n\n> Go east\nThis gallery is a small, stark alcove adjoining the lounge to the\nwest. The walls are bare and white, and the carpet is a deep brown. An exhibit at the far end of the room shows off a few brightly colored pieces of pottery, protected by a velvet rope in front of the display.\n\nA bell with a large crack is displayed on a plinth here.\n\n> You ring bell\nI ring the bell, producing an uncanny tone.\n\n> You read almanach\nI skip to a random entry in the almanach and read it aloud. Going through the minor biographical details of a functionary who seems to have done nothing but attend meetings for seven consecutive millennia is tedious, but it should be sufficient for the ritual.\n\n> Light candle\n\"I quickly invoke the ritual again and conjure up a hazy image of Whiptail.\n\n\"Hey, Sidewinder. Did you have any luck with the thing that definitely wasn't a thaumatic force dampener?\"\n\n\"Things have escalated here. There's more involvement from the Other Side than I suspected, and I'm dealing with a hostile operative.\" The portal isn't a secure line, so I can't go into the full details, but I give him a summary of what I read from the intercepted communiqu??.\n\nWhiptail snaps to attention and looks at me sharply. \"Do you need reinforcements?\"\n\n\"There's no one else nearby. That's the only reason I'm here in the first place. What I really need is information on this Cardinal that's in the communiqu??.\"\n\n\"Do you know anything about them?\"\n\n\"Very little. I don't even know if Cardinal is an asset, or an angel, or a group of angels, or a project codeword, or what. I suspect it's that it's the superior officer of that hostile operative I ran into, but that's just a guess. Can you get me any intel on them?\"\n\n\"It would be tricky; if you're right about this operation being more serious than we expected, anyone involved in it is going to be well-protected. I could start organizing an infiltration team, setting up a cover???\"\n\n\"We don't have time for that. The summit is going on right now; I need something faster.\"\n\n\"I could try to tap into their communication network.\"\n\n\"We don't know whether Cardinal's even an enemy operative. If they're not even an angel, then we're a signatory to treaties that would restrict-\"\n\n\"Sidewinder, I'm a demonic scientist. I break the laws of physics\nevery day; do you think I care about breaking the actual law?\" He shrugged. \"But we'd need physical access to some sort of relay in\ntheir network, and that has the same problem as a direct assault.\"\n\n\"Wait, I've seen something like that here.\" I describe the telex in Kingfisher's office to Whiptail.\n\n\"Perfect! I've got just the thing.\" He begins digging through the drawers of his desk, casually tossing discarded bits of machinery over his shoulder into the mass of spare parts piled around his office. He then emerges into my field of view triumphantly holding a tiny metal flange.\n\n\"Here, this should work,\" he says, showing me the object and then passing it off to a subordinate. \"I'll arrange a drop at your location and send this to you. Use it to tap into that angel's telex. You'll need to locate Cardinal's line, but it should handle the decryption\nfor you.\"\n\n\"Thanks, Whiptail. I owe you one.\" I pause and reconsider. \"That was just a turn of phrase, and as such it does not constitute a legally binding notice of obligation or commitment, whether implicit or explicit, for services that may or may not have been rendered, in part or in full, throughout the execution of actions that would be considered in a court of law to follow from the commission of either party's normal duties, nor to actions in preparation for such actions; and any such assistance does not require either party to guarantee continuation of prior assistance, nor further effort toward establishing new assistance, except as it falls with the usual and established ambit of their duties acting as officers of the demonic intelligence services, as well as organizations controlled in whole or in part by the aforementioned services, their delegated agents and recognized attorneys-in-fact, their usufructuary interests, and any subsidiaries or similar organizations in which they have a controlling interest.\"\n\nI don't have time to give the full disclaimer (footnote 9), so I quickly shut down the portal.\n\n> Footnote 9\n(9) ...the full disclaimer: You can never be too careful. As\nI know from personal experience (albeit on the other side of things), making a deal with a devil???even an inadvertent one???never ends well."
    },
    {
        "text": "[Themes: Espionage]\n\n> Go downward\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist sits off to one side.\n\n> You go south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it east.\n\n> You go east\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it northeast.\n\n> Go northeast\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nLying at the base of one of the bushes is a small package.\n\nThere's a set of open double doors here leading east.\n\nThe drunk sprawls nearby.\n\nThe agent stands next to the doors.\n\nThe detector buzzes insistently.\n\n> You examine package\nIt's an unmarked package with some sort of nondescript wrapping. Of course, it wouldn't be a problem if it were descript; the package is a spiritual object, so humans wouldn't be able to notice it anyway.\n\nThe detector buzzes insistently.\n\n> You get it\nI shred open the package, revealing the wiretap that Whiptail showed\nme earlier. I deftly pocket the item, and the remains of the package helpfully self-destruct.\n\n> You examine the wiretap\nThe device we've nicknamed an \"egg tooth\" is the spiritual equivalent of a wiretap, designed to pierce the thin security layer around\ncertain parts of the Other Side's communications network. It's not going to give us access to their deepest secrets, but it's a quick and dirty way of getting some basic signals intelligence. The inner workings of the egg tooth are complicated, but its operation is simple enough: Just set it to the address you're targeting and put it on a convenient communications relay. The trick is getting access to that relay, of course.\n\nThe device is currently set to AA-000.\n\n> You set the wiretap to LN-199\nDone.\n\n> Go east\nThe interior of the chapel is exactly what you'd expect: A ???????????????????????????????????????????????? in front of a ???????????????????????????????????? without the ???????????????????????? and ????????????????????????????????????????????????????????????. The whole place ?????????????????????????????????, but that's hardly\nsurprising, given ??????????????????????????????????????????. It's a ???????????????????????? place, for obvious\nreasons, and the ?????????????????????????????????????????? doesn't make it any less ??????????????? or\n??????????????????????????? to those of my kind, the ??????????????????????????? notwithstanding. Even\nthough humans would undoubtedly love to know that ??????????????????????????????????????????????????????,\nit's simply ???????????????????????????????????? and ??????????????????????????????????????????, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack stands to one side of the doors.\n\n> You examine the hatrack\nIt's a little-known fact that humans sometimes wear hats, though\nnobody knows why. When they're not being worn, hats are often placed\non a hatrack like this one. Not exactly like this one, of\ncourse, because this one is a spiritual object. The principle is the same, though.\n\n> You get it\nThat's fixed in place.\n\n> You talk to Kingfisher\nI'd rather boil my eyeballs than engage in unnecessary conversation with that idiot.\n\n> You put the wiretap on the telex\nI shouldn't show him that I've got the wiretap. It's highly classified equipment, and Kingfisher is literally the worst person to have access to it.\n\n> You look at Kingfisher\nKingfisher is a dangerous, stupid, smug idiot, and he looks exactly like you'd expect him to look.\n\nMy editor has informed me that that isn't a useful description, so let me try to elaborate in terms humans are familiar with. Like me, he's not a physical entity, but the manner in which he's composed his metaphysical substance is analogous to wearing an impossibly expensive suit in order to impress or intimidate onlookers. His aristocratic, condescending demeanor combines the oiliness of an elected politician with the thoughtless obstinacy of an appointed commissar. He speaks\nat people rather than to them, and certainly not\nwith them. He considers me to a spectator in some elaborate\nperformance he's starring in, and he expects me to play the role of a grateful audience who's dazzled by him.\n\nBeneath that veneer of vague professional courtesy is a stupid, bumbling hitman who has no ideas beyond unfocused violence. He's a dangerous, incompetent, vicious lunatic who thinks that a superficial layer of charm makes him clever and deep. My only explanation for why he's been allowed on a mission in the mortal realm is that his superiors hate having him around as much as I do.\n\n> You put the explore on Kingfisher\nIt would just slide off. Kingfisher isn't a mortal; I can't give him intentions???or vice versa, fortunately.\n\n> Go up\nFrom here, I can only go down."
    },
    {
        "text": "> You look around\nAgainst my better judgment, I'm in Kingfisher's inner sanctum. It's more mundane than I would have expected; it could have easily passed for the office of a mid-level human bureaucrat, except for the glowing telex on his desk (and, of course, for the state secrets of the universe that are undoubtedly kept securely locked away in its drawers). I would have expected the walls to be filled with propaganda posters and his bookshelves with plundered artifacts, but the room is neat and spartan and grey. The sole color comes from a stained-glass window that throws blotchy, irregular patterns onto the floor. A stairway leads back down into the main chapel.\n\nI can see Kingfisher here.\n\n> You open the telex\n\"Hands off, demon!\"\n\n> You examine the desk\nThere's nothing useful in the desk. That bit about \"state secrets\" was just a joke. If Kingfisher's desk is anything like mine, it's full of centuries-old memoranda, spare pencils and decoy white papers to\nentrap the gullible. We don't keep actual state secrets out in the open; we keep them some place safe, like in a safe.\n\n> You examine the telex\nObviously it's not literally a telex; that's just the closest human equivalent. It's a device for handling classified communication\nbetween the Other Place and the human realm. Describing the exact mechanisms involved would make your head hurt, both from their complexity and the fact that the penalty for receiving unauthorized classified information involves sticking your head in a vise. Let's just say that it's a fax machine made of magic.\n\nThe telex is closed.\n\n> Inventory\nIntentions:\nthe open intent\nthe take intent\nthe explore intent\nthe drink intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe aggressively manner\nthe seriously manner\nthe recklessly manner\nthe slowly manner\nthe greedily manner\nthe generously manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\none top secret codebook\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\na wiretap\n\n> You drop candle\nDropped.\n\n> You put almanach on the desk\nAs a spiritual being, I'm unable to manipulate physical objects.\n\n> You go northeast\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe drunk sprawls nearby.\n\nThe agent stands next to the doors.\n\n> You put the explore on drunk\nI give the explore intent to the drunk, who now intends to explore,\nfor lack of something better to do.\n\nThe drunk scratches itself absently.\n\n> Wait\nTime passes.\n\nThe drunk stumbles off to the southwest.\n\n> Go southwest\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk scratches itself absently.\n\n> You wait\nTime passes.\n\nThe drunk scratches itself absently.\n\n> Wait\nTime passes.\n\nThe drunk stumbles off to the west.\n\n> You go to the west\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe drunk stumbles off to the north.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> You go north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk looks blearily around.\n\nThe tourist sits off to one side.\n\n> You get all\nexplore intent: I extract the explore intent from the drunk.\n\n> You get all\nexplore intent: I extract the explore intent from the tourist.\n\n> You go to the north\nBookshelves line the walls of this small, wood-paneled room, mixing\nthe smell of paper with that of cigarette smoke. There are some high-backed chairs arranged in front of the shelves, clustered around tables topped with small but bright wrought-iron lamps. A passageway, above which sits an oil painting of a tropical seascape, leads south.\n\n> You go south\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk sprawls nearby.\n\nThe tourist sits off to one side.\n\n> Go west\nHumans crowd this room, sitting nervously on folding chairs and clutching lorgnettes. They face a dais piled with paintings,\nfurniture, and small sculptures, continually fed by humans in black uniforms carrying in works of art from a smaller room to the north.\nThe rest of the room is starkly utilitarian, with bare walls and\noverly bright lights. A passage to the east leads back into the rest\nof the hotel.\n\nI can see the auctioneer here.\n\n> Go north\nAn almost endless mass of crates, chests, and pallets fills this small room. They reach the ceiling, yet an array of humans in black uniforms manages to glide through narrow openings in the debris, shuttling\nitems into the larger room to the south. There's no apparent organization to the clutter, or even visible labels on the various boxes, but the humans have no difficulty in finding whatever objects they're looking for.\n\nI can see the picker here.\n\n> You get all\nexplore intent: I extract the explore intent from the picker.\n\n> You put the explore on the bellhop\nI give the explore intent to the bellhop, who now vaguely intends to explore.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You wait\nTime passes.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You put the explore on the guest\n(first taking the explore intent from the bellhop)\nI give the explore intent to the guest, who now vaguely intends to explore.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You get all\nexplore intent: I extract the explore intent from the guest.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> Go west\nI'm at the hotel's reception, a small entryway with a gleaming marble floor and lamps made of dark green glass. The reception desk itself is a massive thing of oak, with a plush red carpet in front of it and a few potted chrysanthemums on top of it making it more inviting. A safe has been set into the wall behind it. A ceiling fan slowly spins above a passage farther into the hotel to the east. The exit from the hotel, flanked by ferns in massive clay pots, lies to the west.\n\nThe hotel clerk stands behind the desk.\n\nThe wealthy dowager is sitting in a plush leather chair.\n\n> You put the explore on clerk\n(first taking the explore intent from the wealthy dowager)\nI give the explore intent to the hotel clerk, who now vaguely intends to explore.\n\n> You get all\nseriously manner: I extract the seriously manner from the hotel clerk. explore intent: I extract the explore intent from the hotel clerk.\n\n> You go to the west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads from is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\nThe waiter loafs in the corner.\n\n> You put the explore on waiter\nI give the explore intent to the waiter, who now intends to explore\nthe casino in search of work to do.\n\n> Wait\nTime passes.\n\nThe waiter walks purposefully off to the west.\n\n> You go to the west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nI can also see the waiter here.\n\n> You get all\nexplore intent: I extract the explore intent from the waiter.\n\nThe waiter loafs in the corner.\n\n> You go to the east\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads to is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\n> You show the communique to Kingfisher\nI'm not letting Kingfisher anywhere near the intercepted communiqu??.\n\n> You go to the northeast\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe agent stands next to the doors.\n\n> You go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> Go south\nThis stuffy closet is filled with a variety of stark metal equipment, undoubtedly very important and very dangerous to humans. A maze of wiring creeps over the walls, sinking into the further recess of the complex. There's an electrical hum throughout the room and a faint metallic smell in the dusty air. The single exit from the room leads north.\n\nA large steel cage blocks access to high-voltage equipment.\n\nThe brute mutters something into its earpiece.\n\n> You look at the brute\nMuscles the size of excessively large muscles.\n\nThe brute is holding a leather briefcase, inside which are some launch codes.\n\nThe brute mutters something into its earpiece.\n\n> You listen to the brute\nI hear nothing unexpected.\n\nThe brute mutters something into its earpiece.\n\n> You look at launch codes\nYes, these are nuclear launch codes, one of the most prized secrets in the human world. That's about I'm allowed to say here; after all, a nuclear strike is in the interests of neither my organization nor the Other Place's. My editor said I can tell you one of the digits, which is 0. Hope that helps.\n\nThe brute mutters something into its earpiece.\n\n> You examine keypad\nThis gadget is part of the mechanism of the archway, allowing my cohorts on the Other Side to control access to whatever they're planning in the deeper recesses of the complex. It's a sophisticated device; they must have been planning things for a while. It has a\nclear spiritual aura, so I could interact with it if I knew the code\nto type in.\n\nThe burglar looks around with an appraising eye.\n\n> Type 199\n(on the keypad)\nNothing happens.\n\nThe burglar looks around with an appraising eye.\n\n> You go to the west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter eavesdrops on a nearby conversation.\n\n> Go south\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nThe diplomats are considering a trade deal.\n\nA bottle of champagne, shining brightly with spiritual energy, sits to one side in a bucket of ice.\n\nThe short diplomat looks at the proposed trade deal, but seems to be having trouble understanding the details.\n\nI can also see the tall diplomat and the medium diplomat here.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe open intent\nthe take intent\nthe drink intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe seriously manner\nthe aggressively manner\nthe recklessly manner\nthe slowly manner\nthe greedily manner\nthe generously manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\none top secret codebook\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\na wiretap\n\n> You put explore and generously on short\nexplore intent: I give the explore intent to the short diplomat, who now intends to explore the possibilities of the proposal.\ngenerously manner: I give the generously manner to the short diplomat, who now intends to generously explore the possibilities of the proposal.\n\nThe medium diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait for a while\nTime passes.\n\nThe tall diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait\nTime passes.\n\nThe short diplomat makes some edits to the proposed deal, increasing the tariff on wheat to 12%.\n\n> Wait\nTime passes.\n\nThe medium diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait\nTime passes.\n\nThe short diplomat makes some edits to the proposed deal, increasing the tariff on wheat to 15%.\n\n> Inventory\nIntentions:\nthe open intent\nthe take intent\nthe drink intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\nthe clean up intent\n\nManners:\nthe seriously manner\nthe aggressively manner\nthe recklessly manner\nthe slowly manner\nthe greedily manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\none top secret codebook\n\nOther possessions:\na detector\nan intercepted communiqu??\nthe almanach\na candle\na wiretap\n\n> You put the take on short\nI give the take intent to the short diplomat, taking the explore\nintent in exchange. It now intends to generously take all possible circumstances into account.\n\nThe medium diplomat looks at the proposed trade deal, but frowns at\nthe tariff on wheat.\n\n> You wait for a while\nTime passes.\n\nThe short diplomat closes a few loopholes, resulting in a simplistic proposal.\n\n> You wait\nTime passes.\n\nThe medium diplomat looks at the proposed trade deal, but frowns at\nthe tariff on wheat.\n\n> You wait for a while\nTime passes.\n\nThe short diplomat smiles at the wording of the simplistic proposal.\n\n> You put the clean up and greedily on the medium\nclean up intent: I give the clean up intent to the medium diplomat,\nwho now intends to clean up the language of the proposal.\ngreedily manner: I give the greedily manner to the medium diplomat,\nwho now intends to greedily clean up the language of the proposal.\n\nThe tall diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait awhile\nTime passes.\n\nThe medium diplomat smiles at the wording of the simplistic proposal but frowns at the tariff on wheat.\n\n> You put take on the medium\n(first taking the take intent from the short diplomat, along with the generously manner)\nI give the take intent to the medium diplomat, taking the clean up intent in exchange. It now intends to greedily take all possible circumstances into account.\n\nThe tall diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait\nTime passes.\n\nThe short diplomat looks at the proposed trade deal, and nods approvingly.\n\n> You wait\nTime passes.\n\nThe medium diplomat smiles at their contributions to the simplistic proposal but frowns at the tariff on wheat.\n\n> You put the drink on the medium\nI give the drink intent to the medium diplomat, taking the take intent in exchange. It now intends to greedily drink champagne when this is all resolved.\n\nThe tall diplomat looks at the proposed trade deal, and nods approvingly.\n\n> Wait\nTime passes.\n\nThe medium diplomat sighs, makes a few concessions, and suggests signing this and calling it a day.\n\nThe other diplomats give the proposal one final look, then sign it. There are cheers and excitement!\n\nThe medium diplomat pops open the bottle of champagne, and they all drink enthusiastically.\n\n> You get the codebook\n(the top secret codebook)\nI pick up the top secret codebook and page through it. I've deciphered the entirety of the communiqu??, but a codebook from the Other Side is certainly an impressive prize. If the opposition hasn't noticed that it's now in our possession, it's invaluable. Even if they have,\nthough, we can use it to decrypt old communications, and our research department might be able to reverse engineer some of their cryptographic systems with the extra data.\n\nThe tall diplomat proposes another clich?? toast."
    },
    {
        "text": "> You look at your surroundings\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nThe diplomats are considering a trade deal.\n\nA bottle of champagne sits to one side in a bucket of ice.\n\nI can also see the tall diplomat, the short diplomat, and the medium diplomat here.\n\n> You get all\ndrink intent: I extract the drink intent from the medium diplomat, along with the greedily manner.\ngreedily manner: I already have that.\n\nThe short diplomat sniffs its champagne appreciatively.\n\n> Go west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe agent stands next to the doors.\n\n> You get it\nExcellent, now I have everything I need to call down below: bell,\nbook, and candle.\n\n> Light candle\nI consider summoning Whiptail again but decide against it. He already gave me the wiretap, and it's unwise to use the portal unless it's absolutely necessary. It would be ironic if I were comprised because\nof an unsecure communication channel while trying to tap someone\nelse's unsecure communication channel."
    },
    {
        "text": "[Themes: Espionage, supernatural, Evil protagonist]\n\n> Go downwards\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk sprawls nearby.\n\nThe tourist sits off to one side.\n\n> You pull the hatrack\nIt is fixed in place.\n\n> Climb hatrack\nLittle is to be achieved by that.\n\n> You put candle on the hatrack\nThe hatrack is the wrong shape for that.\n\n> You put the explore on the hatrack\nI put the explore intent on the hatrack.\n\n> You put the take on the hatrack\nI put the take intent on the hatrack.\n\n> You get all\ntake intent: Taken.\nexplore intent: Taken.\n\n> You examine the hatrack\nIt's a little-known fact that humans sometimes wear hats, though\nnobody knows why. When they're not being worn, hats are often placed\non a hatrack like this one. Not exactly like this one, of\ncourse, because this one is a spiritual object. The principle is the same, though.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe take intent\nthe drink intent\nthe clean up intent\nthe open intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe greedily manner\nthe generously manner\nthe seriously manner\nthe aggressively manner\nthe recklessly manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\na wiretap\n\n> You put open on the hatrack\nI put the open intent on the hatrack.\n\n> You get all\nopen intent: Taken.\n\n> You examine the agent\nA human in a sharp black suit.\n\n> Go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter surveils the crowd.\n\n> You examine reporter\nA human carrying a notebook and wearing a press pass.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You look at the pass\nAlthough the human press (footnote 10) is often useful to us, I don't have much respect for its competence. This human, for example, has decided to wear a conspicuous badge declaring itself to be a reporter. The first rule of finding out secrets is to not wear a sign saying\nthat you're trying to find out secrets.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You go south\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nThe diplomats are considering a trade deal.\n\nA bottle of champagne sits to one side in a bucket of ice.\n\nThe short diplomat takes another sip of champagne.\n\nI can also see the tall diplomat and the medium diplomat here.\n\n> Footnote 10\n(10) ...the human press: Human journalists, that is, not the\nmachine we have to???well, use your imagination.\n\n> You look at short\nShort, stocky, with excessive amounts of hair.\n\nThe medium diplomat sniffs its champagne appreciatively.\n\n> You look at the medium\nNon-distinctive, with rounded edges.\n\nThe tall diplomat takes another sip of champagne.\n\n> You look at tall\nTall, thin, with awkward angles.\n\nThe short diplomat takes another sip of champagne.\n\n> Go north\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe burglar looks around with an appraising eye.\n\n> You examine the burglar\nI can tell it's a burglar because it's wearing one of those masks.\n\nThe burglar looks around with an appraising eye.\n\n> You examine the mask\nThe mask isn't subtle. In fairness to the burglar, though, it's almost certain that both the group he's working for and the group he's\nworking against are aware of its presence here and are watching it closely.\n\nThe burglar looks around with an appraising eye.\n\n> Go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe reporter surveils the crowd.\n\n> You get all\ndrink intent: I extract the drink intent from the reporter.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You examine the earpiece\nSome sort of miniaturized technology that humans find impressive.\n\nThe brute mutters something into its earpiece.\n\n> You go to the north\nJudging from the pigeon-hole boxes filling the walls, I'm in the conference's mail room. The cubbyholes are mostly empty; I doubt anything important would be left out in the open anyway. For that, a metal storage locker stands in the corner, gleaming in the harsh fluorescent lights overhead. The only exit from the room is to the south.\n\nThe hacker mopes around dejectedly.\n\n> You examine the hacker\nperson.\n\nThe hacker mopes around dejectedly.\n\n> You examine the equipment\nThe equipment keeps the electricity in, or something. Look, I'm a lawyer and diplomat. My expertise is in the spiritual realm. The\ngrubby business of electrons and photons and second quantization is better left to humans.\n\nThe brute mutters something into its earpiece.\n\n> You put the explore on hacker\nI give the explore intent to the hacker, who now intends to explore in search of another opportunity.\n\nThe hacker walks off to the south.\n\n> Go south\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe hacker wanders morosely back to the north.\n\nThe burglar looks around with an appraising eye.\n\n> Wait\nTime passes.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker walks in from the north.\n\n> You take the explore\nI extract the explore intent from the hacker.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges aimlessly.\n\n> You put OPEN on hacker\nI give the open intent to the hacker, who now intends to open\nsomething it shouldn't.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges aimlessly.\n\n> You put seriously on the hacker\nI give the seriously manner to the hacker, who now intends to\nseriously open something it shouldn't.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges aimlessly.\n\n> Wait\nTime passes.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges aimlessly.\n\n> You take all\nseriously manner: I extract the seriously manner from the hacker.\nopen intent: I extract the open intent from the hacker.\n\nThe burglar looks around with an appraising eye.\n\nThe hacker lounges aimlessly.\n\n> You put the explore on burglar\nI give the explore intent to the burglar, who now intends to explore the area.\n\nThe burglar wanders off to the west.\n\nThe hacker lounges aimlessly.\n\n> You go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe burglar wanders off to the east.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> Wait\nTime passes.\n\nThe reporter surveils the crowd.\n\nThe burglar wanders in from the east.\n\n> You take all\nexplore intent: I extract the explore intent from the burglar.\n\nThe reporter surveils the crowd.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe hacker lounges aimlessly.\n\n> You go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter makes some notes.\n\n> You put the drink and recklessly on the reporter\ndrink intent: I give the drink intent to the reporter, who now vaguely intends to drink.\nrecklessly manner: I give the recklessly manner to the reporter, but\nit doesn't have much effect.\n\n> You take all\nrecklessly manner: I extract the recklessly manner from the reporter. drink intent: I extract the drink intent from the reporter.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You look at the paintings\nI'm aware of the contradiction in describing them as nondescript, but it's the best I can do. They're unambitious portraits of unambitious humans.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> Go west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe agent stands next to the doors.\n\n> You put recklessly on the agent\nI give the recklessly manner to the agent, taking the seriously manner in exchange.\n\n> You examine the agent\nA human in a sharp black suit.\n\n> EXPLORE\n.\n\n> You take all\nrecklessly manner: I extract the recklessly manner from the agent. explore intent: I extract the explore intent from the agent.\n\n> Inventory\nIntentions:\nthe explore intent\nthe drink intent\nthe open intent\nthe take intent\nthe clean up intent\nthe select intent\nthe read intent\nthe block intent\nthe defend intent\nthe serve intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe recklessly manner\nthe seriously manner\nthe greedily manner\nthe generously manner\nthe aggressively manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\na wiretap\n\n> You take all\nrecklessly manner: I extract the recklessly manner from the agent. defend intent: I extract the defend intent from the agent.\n\n> You put the serve on the agent\nI give the serve intent to the agent, who now vaguely intends to\nserve.\n\n> You put the clean up on the agent\nI give the clean up intent to the agent, taking the serve intent in exchange. It now vaguely intends to clean up.\n\n> You take clean\nI extract the clean up intent from the agent.\n\n> You examine the puddle\nThe ice sculpture has melted into a large and mystically ineffective puddle.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You take puddle\nAs a demon, I can only manipulate spiritual objects, not physical\nones.\n\n> You examine the bellhop\nIt's wearing a red uniform with one of those ridiculous hats.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You check your inventory\nIntentions:\nthe clean up intent\nthe serve intent\nthe defend intent\nthe explore intent\nthe drink intent\nthe open intent\nthe take intent\nthe select intent\nthe read intent\nthe block intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe recklessly manner\nthe seriously manner\nthe greedily manner\nthe generously manner\nthe aggressively manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\na wiretap\n\n> You show candle to Kingfisher\nIt's a violation of my organization's charter, as well as several important treaties, to offer any assistance to Kingfisher.\n\n> You throw candle at Kingfisher\nThere are better ways of attacking Kingfisher. I should know; if there's one thing Hell's good at, it's retributive violence. It's practically in our charter.\n\n> Light Kingfisher\nAside from the geopolitical risks that brawling with Kingfisher would invite, trying to attack him with my rudimentary fire-starting abilities would be like trying to burn down a mountain with a match.\nIf he's on a mission from the Other Side, he's undoubtedly heavily armed.\n\n> Light hatrack\nI toss a couple of smoky flames at the hatrack, to little effect.\n\n> You put the wiretap on the hatrack\nThe hatrack is the wrong shape for that.\n\n> Burn hatrack\nI toss a couple of spiteful flames at the hatrack, to little effect.\n\n> You continue\nI toss a couple of sputtering flames at the hatrack, to little effect.\n\n> Light candle\nI hesitate before lighting the candle. The ritual and ensuing conversation would go completely unnoticed by humans, but I want to keep far away from Kingfisher during them. I'd better find a more private location.\n\n> You examine the communique\nConfirmed neutralization of Krait. There is no significant opposition remaining in the target area. The action has been authorized. Assist the delegations and ensure that the conference concludes successfully as quickly as possible. Cardinal is standing by. We will act immediately on the broadcast.\n\n> Spin detector\nThe detector is silent. There must not be any unattained codebooks nearby.\n\n> You examine bed\nIt must be frustrating for mortals to spend a third of their limited life span unconscious.\n\n> You examine the desk\nAn ordinary hotel desk with a dark veneer."
    },
    {
        "text": "> You look around\nMy predecessor, Krait, used this hotel room as a temporary base of operations for his role as chief of station. Of course, he had no use for its amenities. Thus the bed and dining table were both employed, judging from the papers scattered across them, as makeshift desks. A smaller but bona fide desk sits in the corner, with an artless landscape in watercolors hanging above it. The liquor cabinet lurks untouched in the corner, and the ashtray on top of it is completely empty. The stark white carpet here is plush and spotless.\n\nThe only exit from the room is to the south.\n\n> You examine table\nThe dining table is overflowing with papers.\n\n> You examine the carpet\nI don't see the plush red carpet here. It was at Hotel Reception.\n\n> You examine the landscape\nAs far as its artistic merit goes, it is a creative work executed by a human and thus technically qualifies as art.\n\n> You burn it\nUnfortunately, my fire-starting abilities only apply to spiritual objects.\n\n> You examine the ashtray\nUnsurprisingly, the ashtray is clean and empty."
    },
    {
        "text": "> You look around\nMy predecessor, Krait, used this hotel room as a temporary base of operations for his role as chief of station. Of course, he had no use for its amenities. Thus the bed and dining table were both employed, judging from the papers scattered across them, as makeshift desks. A smaller but bona fide desk sits in the corner, with an artless landscape in watercolors hanging above it. The liquor cabinet lurks untouched in the corner, and the ashtray on top of it is completely empty. The stark white carpet here is plush and spotless.\n\nThe only exit from the room is to the south."
    },
    {
        "text": "[Themes: Espionage, supernatural, Evil protagonist]\n\n> Go downwards\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe drunk sprawls nearby.\n\nThe tourist sits off to one side.\n\n> You look at the tourist\nThe tourist watches the auction keenly, its fingers twitching.\n\nThe tourist is holding a golden chest.\n\n> You look at the auctioneer\nGrey-haired but with a voice like a megaphone.\n\nThe auctioneer is holding a bracelet.\n\n> Examine bracelet\nRed gems on a silver band.\n\n> You look at the server\nImpeccably dressed in the manner of one who's used to its tips depending on it.\n\n> You look at the diner\nIt's wearing a light jacket and sitting by itself at a table.\n\n> You go east\nEven at this hour, the kitchen is a frenzy of activity. At rows of steel tables, cooks go through whatever laborious tasks are necessary to make food for humans. I'm not sure exactly what they are, but they apparently involve a lot of fire and yelling. The cramped room is filled with smoke and the aromas of spices. A swinging door leads west into the restaurant, and a heavy steel door is to the south.\n\n> Burn telex\nI toss a couple of spiteful flames at the telex, to little effect.\n\n> You read almanach\nI skip to a random entry in the almanach and read it aloud. Going through the minor biographical details of a junior undersecretary who left the organization three millennia before I joined is tedious, but it should be sufficient for the ritual.\n\n> Light candle\nI hesitate before lighting the candle. The ritual and ensuing conversation would go completely unnoticed by humans, but I want to keep far away from Kingfisher during them. I'd better find a more private location.\n\n> Light communique\nI toss a couple of smoky flames at the intercepted communiqu??, to little effect.\n\n> You look at Kingfisher\nKingfisher is a dangerous, stupid, smug idiot, and he looks exactly like you'd expect him to look.\n\nMy editor has informed me that that isn't a useful description, so let me try to elaborate in terms humans are familiar with. Like me, he's not a physical entity, but the manner in which he's composed his metaphysical substance is analogous to wearing an impossibly expensive suit in order to impress or intimidate onlookers. His aristocratic, condescending demeanor combines the oiliness of an elected politician with the thoughtless obstinacy of an appointed commissar. He speaks\nat people rather than to them, and certainly not\nwith them. He considers me to a spectator in some elaborate\nperformance he's starring in, and he expects me to play the role of a grateful audience who's dazzled by him.\n\nBeneath that veneer of vague professional courtesy is a stupid, bumbling hitman who has no ideas beyond unfocused violence. He's a dangerous, incompetent, vicious lunatic who thinks that a superficial layer of charm makes him clever and deep. My only explanation for why he's been allowed on a mission in the mortal realm is that his superiors hate having him around as much as I do.\n\n> You examine the patterns\nEven in the feeble light of the sunset, the stained glass window creates splotches of iridiscent light on the office floor.\n\n> Light Kingfisher\nUnfortunately, my fire-starting abilities only apply to spiritual objects.\n\nAside from the geopolitical risks that brawling with Kingfisher would invite, trying to attack him with my rudimentary fire-starting abilities would be like trying to burn down a mountain with a match.\nIf he's on a mission from the Other Side, he's undoubtedly heavily armed.\n\n> Light papers\nI don't see newspaper here. It was at Lounge.\n\n> You examine the placard\nI don't see the white placards here. It was at Conference Room.\n\n> You examine guest\nWearing shorts and a gaudy-print t-shirt.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> Go west\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis cobblestone trail runs from the casino to the hotel on the complex. Box trees flank the path, interspersed with a variety of colorful ornamental plants I don't recognize. The hotel it leads from is a sprawling villa of orange bricks with towers sprouting around its perimeter. A stone archway leads east into the hotel, and the trail winds to the west.\n\nA shiny silver mirror hangs over the archway leading east.\n\n> You go west\nThis small area at the edge of the casino empties out onto a large, well-kept lawn. Decorative urns and uninspired statuary flank the casino entrance to the west, but the lawn is empty except for a few stands of bay trees. After the incessant commotion of the casino, it's remarkable in its unremarkableness. There's probably some sort of metaphor for humanity there; I just think it looks pretty.\n\neast. To the north, at the far end of the lawn, is a cluster of\nhedges.\n\nA marble bench sits near the edge of the lawn.\n\nThe waiter loafs in the corner.\n\n> You look at sharp\nA wily human wearing a green visor and a charcoal suit. It looks like it's been here for quite a while, and it watches the other gamblers with a predatory manner.\n\n> PLAY\npoker for high stakes.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\nThe card sharp looks around the room predatorily.\n\n> You get the play\nI extract the play intent from the card sharp.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You examine the gambler\nThe gambler is disheveled and distraught at its change in fortunes.\n\n> FOLD\nin the poker game.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You get fold\nI extract the fold intent from the gambler.\n\nThe gambler looks longingly at a poker table but remains off to the side.\n\n> You examine the guard\nA somberly dressed human posted to guard the door. Despite its job, it's become distracted by the enticing game and wandered away from its task.\n\nThe guard loafs idly.\n\n> You go to the east\nThis ballroom is a cavernous hall in which well-dressed humans are attacking the serious business of entertainment, conducting intrigues and little negotiations as they stomp across the parquet floor. A string quartet perched on a loggia running around the hall is tuning\nup as the crowd below them mingles. A breeze from the nearby sea occasionally rustles the curtains around the French doors leading outside to the east, but the room is still stuffy in the summer heat. The hall continues to the north, and the casino floor lies to the\nwest.\n\nThe musicians look through their sheet music.\n\n> You examine the musician\nA string quartet is stationed in the upper reaches of the hall to entertain the humans dancing below.\n\nThe musicians take the opportunity to drink some water.\n\n> Examine bar\nPresumably it's intended to make the room feel larger. Humans have a thing for illusions.\n\n> You look at the magpie\nMagpies are not quite up to the level of ravens, but they're still solidly respectable corvids. They're not as evil as ravens, sadly, but they're actually a bit more acquisitive and mischievous.\n\n> Go north\nThis small garden lies at the center of the hedge maze. Moss grows optimistically through cracks in the mosaic floor, and vines wrap around the columns ringing the open area. A fountain in the center, flowing but full of vegetation and other flotsam, breaks the summer humidity. A torturous path to the south heads back into the maze.\n\nThe kid shuffles around nearby.\n\n> You examine kid\nOne of those young humans there seem to keep being more of. I wouldn't normally expect to see one in a place like this, but perhaps away from the actual gambling humans deem it appropriate.\n\nThe kid is holding a sword cane.\n\n> You look at the newspaper\nthe two earthly Great Powers. It's a substantial write-up, but I wouldn't trust anything published at the unclassified level. The rest of it deals with minutiae of human politics that are beneath my interest.\n\n> You examine the chair\nMuch like the hotel's guests, the chairs are soft, plush, and designed for idleness.\n\n> You examine lamps\nThey're ponderous but effective.\n\n> You put the explore on drunk\nI give the explore intent to the drunk, who now intends to explore,\nfor lack of something better to do.\n\nThe drunk staggers about drunkenly.\n\n> Wait\nTime passes.\n\nThe drunk lurches in from the northeast.\n\n> You get explore\nI extract the explore intent from the drunk.\n\n> You put the explore on the guest\nI give the explore intent to the guest, who now vaguely intends to explore.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You get explore\nI extract the explore intent from the guest.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You check your inventory\nIntentions:\nthe explore intent\nthe fold intent\nthe play intent\nthe clean up intent\nthe serve intent\nthe defend intent\nthe drink intent\nthe open intent\nthe take intent\nthe select intent\nthe read intent\nthe block intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe recklessly manner\nthe seriously manner\nthe greedily manner\nthe generously manner\nthe aggressively manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\na wiretap\n\n> You put clean on the bellhop\nI give the clean up intent to the bellhop, who now vaguely intends to clean up.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You get all\nclean up intent: I extract the clean up intent from the bellhop.\n\nThe bellhop stands near the entrance, looking nervous.\n\n> You put the explore on the server\n(first taking the explore intent from the diner)\nI give the explore intent to the server, who now vaguely intends to explore.\n\n> You get all\nexplore intent: I extract the explore intent from the server.\n\n> Go east\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk sprawls nearby.\n\n> You go to the northeast\nThis small lawn runs between the hotel toward the southwest and the squat building to the east. It is trim and spartan, with no ornamentation aside from the tall hedges forming its boundary. They also block the breeze coming in off the sea, so the air here is warm and still.\n\nThere's a set of open double doors here leading east.\n\nThe agent stands next to the doors.\n\n> Go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You go to the south\nDiplomats fill this crowded room, sitting impatiently at a gigantic ring-shaped table. In front of each human is a miniature flag and a white placard bearing its name and title. A map of the world, elaborately drawn but completely devoid of any cities or borders or other political features, covers the far wall. The only exit from the room is to the north.\n\nThe diplomats are considering a trade deal.\n\nA bottle of champagne sits to one side in a bucket of ice.\n\nThe short diplomat sniffs its champagne appreciatively.\n\nI can also see the tall diplomat and the medium diplomat here.\n\n> You examine the placards\nare, I certainly can't be bothered to remember them.\n\nThe medium diplomat takes another sip of champagne.\n\n> You examine table\nThis variety of table is popular at humans' diplomatic missions, since its symmetry means that there isn't a definite head of the table; thus none of the participants feel slighted. I don't know why they haven't thought to use a spherical table, which would have the same diplomatic advantages but fit more humans around it.\n\nThe tall diplomat takes another sip of champagne.\n\n> You go north\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe hacker lounges aimlessly.\n\n> Go south\nThis stuffy closet is filled with a variety of stark metal equipment, undoubtedly very important and very dangerous to humans. A maze of wiring creeps over the walls, sinking into the further recess of the complex. There's an electrical hum throughout the room and a faint metallic smell in the dusty air. The single exit from the room leads north.\n\nA large steel cage blocks access to high-voltage equipment.\n\nThe brute mutters something into its earpiece.\n\n> You put the explore on the brute\nI give the explore intent to the brute, who now intends to explore the area.\n\nThe brute trundles off to the north.\n\n> You go north\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe brute trundles off to the west.\n\nThe hacker lounges aimlessly.\n\n> You go to the west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe brute trundles off to the east.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter makes some notes.\n\n> You wait\nTime passes.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> Wait\nTime passes.\n\nThe reporter makes some notes.\n\n> Wait\nTime passes.\n\nThe reporter eavesdrops on a nearby conversation.\n\n> Wait\nTime passes.\n\nThe reporter makes some notes.\n\nThe brute trundles in from the east.\n\n> You get explore\nI extract the explore intent from the brute.\n\nThe reporter makes some notes.\n\nThe brute mutters something into its earpiece.\n\n> You examine the windows\nThe windows are really just slits in the wall of the dome above.\n\nThe hacker lounges aimlessly.\n\n> Go north\nJudging from the pigeon-hole boxes filling the walls, I'm in the conference's mail room. The cubbyholes are mostly empty; I doubt anything important would be left out in the open anyway. For that, a metal storage locker stands in the corner, gleaming in the harsh fluorescent lights overhead. The only exit from the room is to the south.\n\n> You look at the boxes\nI don't see the box trees here. They were by the colonnade.\n\n> You go east\nThe archway is sparking with spiritual energy that leaps through the stonework and zaps across the opening. I tentatively approach the portal and receive a shock so jarring that I'm shoved backwards.\nTrying to push through would be to a demon what covering yourself with aluminum foil and climbing a tree in a thunderstorm would be to a human.\n\nThe hacker lounges aimlessly.\n\n> Light keypad\nI toss a couple of sputtering flames at the keypad, to little effect.\n\nThe hacker lounges aimlessly.\n\n> You go west\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe brute mutters something into its earpiece.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter makes some notes.\n\n> Light briefcase\nUnfortunately, my fire-starting abilities only apply to spiritual objects.\n\nThe reporter makes some notes.\n\nThe brute mutters something into its earpiece.\n\n> You examine the doors\nHeavy carved oak doors with a dark varnish. Disguised to unobservant humans, but obvious to me, is the pattern of a pentagram, which unfortunately serves as a barrier to my kind.\n\nThe reporter makes some notes.\n\nThe brute mutters something into its earpiece.\n\n> You examine the hedges\nThe hedges are neatly trimmed and uniform in appearance.\n\n> You go southwest\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk sprawls nearby.\n\n> You examine the wiretap\nThe device we've nicknamed an \"egg tooth\" is the spiritual equivalent of a wiretap, designed to pierce the thin security layer around\ncertain parts of the Other Side's communications network. It's not going to give us access to their deepest secrets, but it's a quick and dirty way of getting some basic signals intelligence. The inner workings of the egg tooth are complicated, but its operation is simple enough: Just set it to the address you're targeting and put it on a convenient communications relay. The trick is getting access to that relay, of course.\n\nThe device is currently set to LN-199.\n\n> You examine the telex\nObviously it's not literally a telex; that's just the closest human equivalent. It's a device for handling classified communication\nbetween the Other Place and the human realm. Describing the exact mechanisms involved would make your head hurt, both from their complexity and the fact that the penalty for receiving unauthorized classified information involves sticking your head in a vise. Let's just say that it's a fax machine made of magic.\n\nThe telex is closed.\n\n> Pray\nSeriously, praying? If I'm going to commit treason, I might as well do it in a more dignified way.\n\n> Footnote 11\n(11) ...not my department: I mean that literally. My\norganization has a department staffed with succubi and incubi that handles that sort of thing.\n\n> Hint\nThe Hotel\nThe Conference\nGeneral Questions\n\n> Go north\nThe Conference\nGeneral Questions\n\n> You go north\n> The Conference\nGeneral Questions\n\n> You go to the north\nThe Conference\n> General Questions\n> Who am I?\nWhat is my goal here?\nWhy can't I do anything?\nHow does the detector work?\nHow do intents work?\nThere are so many intents to try with each human!\nHow do I move humans around the map?\nHow do I get the humans to pick up objects?\nHow many footnotes are there?\nWhat is the purpose of the codebooks?\nWhy are there codebooks everywhere?\nHow many codebooks do I need to find?\nHow do manners work?\nThere are so many intent and manner pairs to try with each human!\n\n> P.\n> The Conference\nGeneral Questions\n> How do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\n> How do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> P.\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\n> How do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\n> What does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\n> What does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\n> What does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go to the north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\n> How do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\n> The diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\n> How do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\n> How do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\n> How do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go to the north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\n> How do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\n> How do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go to the north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\n> Why won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\n> Why can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\n> How do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\n> Why won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\n> What do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> You go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\n> How do I decrypt the communiqu???\nHow do I install the wiretap?\nWhat channel should I set the wiretap to?\n\n> Go north\nHow do I open the bottle of champagne?\nHow do I get the diplomats to open the bottle of champagne?\nHow do I start the diplomats' negotiation?\nWhat does the short diplomat want from the negotiation?\nWhat does the medium diplomat want from the negotiation?\nWhat does the tall diplomat want from the negotiation?\nHow do I make the diplomats come to a deal?\nThe diplomats are done, but how do I get them to open the\nchampagne?\nHow do I get past the archway in the Rotunda?\nHow do I open the locker?\nHow do I get the hacker to open the locker?\nHow do I get the hacker to open the briefcase?\nHow do I get the briefcase off the chandelier?\nWhy won't the burglar retrieve the briefcase?\nWhy can't the burglar open the briefcase?\nHow do I get the briefcase out of the cage?\nWhy won't the brute open the briefcase?\nWhat do I do once I have all the codebooks?\nHow do I decrypt the communiqu???\n> How do I install the wiretap?\nWhat channel should I set the wiretap to?\n1/6: The telex is a spiritual object; you can manipulate it.\n\nPress SPACE to return to the menu or H to reveal another hint."
    },
    {
        "text": "> You look at the sign\nI don't see the sign here. It was at Botanical Garden.\n\n> Go west\nThe gardens on the eastern edge of the hotel lie in uniform, geometric precision. Straight gravel paths bound squares of brightly colored flowers, each with a placard bearing the scientific names of its contents. The breeze from the nearby sea mixes the faint aromas in the various plants into an unidentifiable but not unpleasant smell. A ponderous chapel made of rough stone looms at the eastern edge of the gardens, and a well-worn path leading northeast skirts around it. To the west, there is a wide portico that leads into the hotel.\n\nThe drunk sprawls nearby.\n\n> You look at the chapel\nIt's an ugly, squat thing made of stone and full of grotesque\nspiritual energy. A set of grand wooden doors leads into the chapel and, more usefully, out of it.\n\nA sign has been posted in the grass next to the entrance.\n\n> You examine the sign\nMy grasp on the written human language can be a bit tenuous, but fortunately the sign just contains simple iconography. It shows two pictures of stylized humans, one lying awkwardly on the ground next to a bottle and clutching a wine glass, and the other banging on the chapel door with angry speech lines coming out of its mouth. Both are surrounded by red circles with slashes through them.\n\n> You put open on drunk\nI give the open intent to the drunk, who now vaguely intends to open something.\n\nThe drunk puts a hand on the chapel doors, but thinks better of it.\n\n> You put aggressively on drunk\nI give the aggressively manner to the drunk, but it doesn't have much effect.\n\nThe drunk starts banging and tugging on the chapel doors, trying to\nget in.\n\n> You wait for a while\nTime passes.\n\nThe drunk keeps trying to break the chapel doors open.\n\nKingfisher emerges from the chapel's closed door and steps into the garden.\n\n> Go upward\nAgainst my better judgment, I'm in Kingfisher's inner sanctum. It's more mundane than I would have expected; it could have easily passed for the office of a mid-level human bureaucrat, except for the glowing telex on his desk (and, of course, for the state secrets of the universe that are undoubtedly kept securely locked away in its drawers). I would have expected the walls to be filled with propaganda posters and his bookshelves with plundered artifacts, but the room is neat and spartan and grey. The sole color comes from a stained-glass window that throws blotchy, irregular patterns onto the floor. A stairway leads back down into the main chapel.\n\n> You open the telex\nI open the telex, revealing an access point.\n\nKingfisher proceeds in from below.\n\nI close the telex before Kingfisher notices."
    },
    {
        "text": "[Themes: Espionage]\n\n> Go downwards\nThe interior of the chapel is exactly what you'd expect: A ???????????????????????????????????????????????? in front of a ???????????????????????????????????? without the ???????????????????????? and ????????????????????????????????????????????????????????????. The whole place ?????????????????????????????????, but that's hardly\nsurprising, given ??????????????????????????????????????????. It's a ???????????????????????? place, for obvious\nreasons, and the ?????????????????????????????????????????? doesn't make it any less ??????????????? or\n??????????????????????????? to those of my kind, the ??????????????????????????? notwithstanding. Even\nthough humans would undoubtedly love to know that ??????????????????????????????????????????????????????,\nit's simply ???????????????????????????????????? and ??????????????????????????????????????????, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack sparkling with residual spiritual energy stands to one side of the doors.\n\nOn the hatrack are the open intent and the aggressively manner.\n\n> You get all\nopen intent: Taken.\naggressively manner: Taken.\n\n> Go west\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe drunk sprawls nearby.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\n> You put the explore on drunk\nI give the explore intent to the drunk, who now intends to explore,\nfor lack of something better to do.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe drunk stumbles off to the north.\n\n> You wait for a while\nTime passes.\n\nThe drunk lurches in from the west.\n\n> You put open and aggressively on drunk\nopen intent: I give the open intent to the drunk, who now vaguely intends to open something.\naggressively manner: I give the aggressively manner to the drunk, but it doesn't have much effect.\n\nThe drunk starts banging and tugging on the chapel doors, trying to\nget in.\n\n> You go east\nThe interior of the chapel is exactly what you'd expect: A ???????????????????????????????????????????????? in front of a ???????????????????????????????????? without the ???????????????????????? and ????????????????????????????????????????????????????????????. The whole place ?????????????????????????????????, but that's hardly\nsurprising, given ??????????????????????????????????????????. It's a ???????????????????????? place, for obvious\nreasons, and the ?????????????????????????????????????????? doesn't make it any less ??????????????? or\n??????????????????????????? to those of my kind, the ??????????????????????????? notwithstanding. Even\nthough humans would undoubtedly love to know that ??????????????????????????????????????????????????????,\nit's simply ???????????????????????????????????? and ??????????????????????????????????????????, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack stands to one side of the doors.\n\nI can also see Kingfisher here.\n\nKingfisher grumbles to himself.\n\nKingfisher passes through the closed chapel door and heads outside.\n\n> Go upward\nAgainst my better judgment, I'm in Kingfisher's inner sanctum. It's more mundane than I would have expected; it could have easily passed for the office of a mid-level human bureaucrat, except for the glowing telex on his desk (and, of course, for the state secrets of the universe that are undoubtedly kept securely locked away in its drawers). I would have expected the walls to be filled with propaganda posters and his bookshelves with plundered artifacts, but the room is neat and spartan and grey. The sole color comes from a stained-glass window that throws blotchy, irregular patterns onto the floor. A stairway leads back down into the main chapel.\n\n> You open the telex\nI open the telex, revealing an access point.\n\n> You put the wiretap on the access point\nI attach the egg tooth to the telex line. The display burbles with the usual bits of office gossip and petty intrigue, most of which is beneath my notice. I notice one memo being sent out from Cardinal, though, that's heavily encrypted and thus mostly unreadable, except\nfor one notable line: \"Assist Kingfisher on project MARMOSET\".\n\nI blink in shock and scrutinize the egg tooth for any signs of errors in decryption or transcription. Project MARMOSET is a highly\nclassified project on the Other Side that we uncovered decades ago. It's so highly classified that I can't even give you a sanitized codename; \"MARMOSET\" is my own invention. I frantically look through the rest of the traffic with the egg tooth, but I can't find any further mention of it. Instead, I pocket the device and step back for\na moment to collect my thoughts."
    },
    {
        "text": "> Go downwards\nI've collected my thoughts. So, about Project MARMOSET.\n\nThere's a persistent idea among humans that Hell is other people. That's certainly true metaphorically; humans are awful. More prosaically, however, Hell is a literal place at the literal center of the earth. The earth's core is a dense, roiling mass of molten iron, but it's not unpleasant for those of my kind; besides, being under\nfire and under pressure is hardly a new experience for a member of the infernal intelligence services.\n\nIn order to protect our domain, we've established a defense grid\naround the earth's core. Any attempts by the Other Side to broach that perimeter would trigger an immediate, global, full-scale retaliation that would take out both sides and leave Earth a smoldering ruin in both the spiritual and mortal realms. That fact isn't classified; the whole point of mutually assured destruction is lost if you keep it a secret. What is classified (footnote 12) is that the Other\nSide has been trying for a while to find some way of deactivating our defenses. We weren't surprised; after all, we're trying to do the same to their defenses (footnote 13). We thought they had (rightfully) abandoned that idea as being too risky and dangerous, but apparently someone is attempting to revive MARMOSET. Unfortunately for all of us???demons, humans, and angels???Kingfisher is exactly the kind of someone who would jump at the chance to do something so reckless, foolish, and irredeemably stupid.\n\nIn order to know exactly what Kingfisher is plotting and how to proceed, I'd better get more information from headquarters. I've reviewed a few dossiers about MARMOSET, but that was a while back, and the information was outdated even then. Whiptail should be able to\ngive me more details.\n\n> Footnote 12\n(12) ...What is classified: It was classified at the time,\nanyway. You're reading a memoir, not a briefing.\n\n> Footnote 13\n(13) ...we're trying to do the same to their defenses: We can\nneither confirm nor deny trying to do the same to their defenses."
    },
    {
        "text": "[Themes: Espionage]\n\n> Go downwards\nI close the telex before leaving, for obvious reasons.\n\nThe interior of the chapel is exactly what you'd expect: A ???????????????????????????????????????????????? in front of a ???????????????????????????????????? without the ???????????????????????? and ????????????????????????????????????????????????????????????. The whole place ?????????????????????????????????, but that's hardly\nsurprising, given ??????????????????????????????????????????. It's a ???????????????????????? place, for obvious\nreasons, and the ?????????????????????????????????????????? doesn't make it any less ??????????????? or\n??????????????????????????? to those of my kind, the ??????????????????????????? notwithstanding. Even\nthough humans would undoubtedly love to know that ??????????????????????????????????????????????????????,\nit's simply ???????????????????????????????????? and ??????????????????????????????????????????, which neatly explains the meaning of life. An unobtrusive stairway at the back of the room leads upward, and the much more inviting exit from the chapel is to the\nwest.\n\nA hatrack sparkling with residual spiritual energy stands to one side of the doors.\n\nOn the hatrack are the open intent and the aggressively manner.\n\n> Light candle\nThe indistinct form of Whiptail appears before me.\n\n\"Hey, Sidewinder. How's the mission going?\"\n\n\"I'm just about ready to head out. I have some things to check up on back in the office.\" That was a pre-arranged passphrase for an\ninsecure line, the meaning of which is: There is a serious threat\nhere, and I need immediate assistance from headquarters.\n\n\"Great. We'll get a start on the paperwork over here,\" he responds calmly. That was the pre-arranged countersign: Acknowledged,\nnotifying headquarters. He makes a carefully inconspicuous\ngesture to someone outside my field of vision.\n\n\"Good. I've been in the field for a while, and it would be nice to see my coworkers again,\" I say just as calmly, even managing a grin. Another passphrase: Send reinforcements.\n\n\"I'm not sure who's around the office at this hour, but I might be\nable to grab some people for a welcome-home party.\" There isn't\nanyone close enough to your location, but I can arrange an extraction if you're in danger.\n\n\"No, I'm fine.\" No extraction. \"I wouldn't turn down a cake,\nthough.\" I need a certain dossier.\n\n\"Vanilla or chocolate?\" Secret or top secret?\n\n\"Chocolate.\" Top secret. \"Actually, why don't you send me a\nmenu.\" I also need a human-translation device.\n\n\"That should be possible.\" That should be possible.\"When\nshould we schedule your party?\" Which dossier do you want?\n\n\"Right now, I'm planning to get back to Pandemonium by the 18th.\" Dossier P-18.\n\nWhiptail rubs his horns distractedly. That isn't a signal; he's just worried. \"I think we can manage that. I'll have the company bakery do\na rush order.\" I'll have it sent over immediately. \"Do you\nstill have a refrigerator in your office?\" Do you have a secure location to which we can send the material?\n\n\"Yes.\" No.\n\n\"Then I'll tell the bakery to drop it off there. Keep an eye out for it.\" I'll have it dropped by parachute somewhere in your location;\nkeep an eye out for it.\n\n\"Great, I'm looking forward to it.\" Send it immediately.\n\nWhiptail nods. \"Good luck. We're all looking forward to seeing you safely back in the office again.\" Your department and mine are all looking forward to seeing you safely back in the office again, but\nthat office is a literal and metaphorical snake pit, and it\nundoubtedly has occurred to some of the more ambitious and short-sighted demons that your absence, while regrettable, would nevertheless open up advancement opportunities for them. Be\ncareful.\n\nI quickly shut the portal and prepare to look for the drop site."
    },
    {
        "text": "[Themes: Espionage]\n\n> Go downward\nI make my way back down to the lounge, past rows of uninteresting\nguest rooms.\n\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist sits off to one side.\n\n> You go to the south\nAt the center of the hotel is this wide atrium, a plaza of orange\nbrick dotted with flowerboxes and ornamental bushes. The ceiling of\nthe lobby is made of glass, and so the sunset outside gives an unnatural hue to the hibiscus vines adorning the open doors to the south. Despite the location, it's mostly quiet here. Even the rattan chairs overlooking the garden to the east are empty.\n\nThe hotel reception is to the west, and a corridor to the north leads deeper into the hotel.\n\nA thermostat is located unobtrusively in a corner.\n\nThe drunk sprawls nearby.\n\nThe bellhop stands near the entrance, looking nervous.\n\nThe guest is loitering off to one side.\n\nI can also see a large puddle here.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it north.\n\n> You go to the north\nThe hotel's lounge is a maze of overstuffed leather chairs. Next to each one is a narrow table with an ashtray and an occasional discarded newspaper or magazine on it. A trolley with drinks sits at the ready against the far wall. Passages lie in all four cardinal directions. In addition, an ornate, sweeping staircase leads upward into the part of the hotel for guests. While the human guests are of little interest,\nmy predecessor also kept a room here on one of the upper floors.\n\nThe tourist sits off to one side.\n\nThe detector vibrates faintly in my hand, and a magnetic force is pulling it north.\n\n> You go north\nBookshelves line the walls of this small, wood-paneled room, mixing\nthe smell of paper with that of cigarette smoke. There are some high-backed chairs arranged in front of the shelves, clustered around tables topped with small but bright wrought-iron lamps. A passageway, above which sits an oil painting of a tropical seascape, leads south.\n\nA thin package is cunningly concealed among the books on the shelves. It's a clever hiding place; I wouldn't even have noticed it myself if\nI weren't looking for it.\n\nThe detector buzzes insistently.\n\n> You get the package\nI rip apart the package. Nestled inside is a translation receiver, which I carefully prize out of its packing material. Beneath it is a thin dossier with \"P-18\" stenciled on its cover. Whiptail has\nencrypted this copy with a one-time pad, but its key is burned into my mind (footnote 14), and I methodically decipher it. Leafing through\nit, I'm grimly satisfied that my suspicions are confirmed: The dossier has been updated recently to note renewed activity on MARMOSET, and it specifically lists Cardinal and Kingfisher as attached to it. There's another entity mentioned as connected with the project: Warbler.\nThat's the first time I've heard the name; I should look into it. As I mull it over, the package conveniently self-destructs, leaving no\ntrace for enemy agents to find.\n\nThe dossier goes into detail about the attempts at MARMOSET over the decades, but it emphasizes one particular incarnation of it that the Other Side reportedly found promising. Their research indicated that certain kinds of electromagnetic fields could potentially disrupt our alarms and allow Hell's perimeter to be broached without triggering\nour literal and metaphorical scorched-earth response; there was just the logistical difficulty of setting up a field with that much\nstrength and coverage.\n\nThe summit! That's why Kingfisher's here! Humans have been\nsending up communications satellites for the last few years. Those satellites would definitely have enough strength to pull it off, and even a dozen of them in orbit would have the coverage necessary to surround and push through the grid. Normally they would be\ntransmitting at different times and toward different places, but this summit is worldwide news. They're all going to be in sync,\nbroadcasting the summit together and spewing whatever payload Kingfisher convinced their engineers to install into our defense grid.\n\nI've got to stop him. The summit itself isn't big news; nobody wants\nto watch a bunch of diplomats make painful small-talk and eat canap??s. What is big news, and what would make the communication\nsatellites all link up, is the pact that would come at its end: the perfect photo op of a handshake between bitter rivals. The summit's already begun, but I can still save Hell if I can derail it and\nprevent a peace treaty from being signed. If I want peace between Heaven and Hell, I'm going to have to delay peace on Earth for just a bit longer.\n\n> Footnote 14\n(14) ...burned into my mind: That's not a metaphor.\n\n> You look up Warbler in almanach\nThe almanach has a brief entry on Warbler, which turns out be a cryptonym for an angel on the Other Side. Skimming through his biography, I realize with a start that I know him. We met briefly at some human diplomatic function, where he couldn't stop bragging, to what turned out to be one of our agents, about some new cryptography research project he was working on. It was a clever idea, but digging into it exposed some critical flaws I assumed his side eventually figured it out too, or else he was just spreading disinformation. If they wound up using it, then???\n\nOf course, the keypad in the Rotunda! That must have been his handiwork. The mechanism he uses rotates keys daily, but we found a flaw in the update scheme that would allow us to predict it based on???\n\n...My editor has just politely informed me that readers don't want to go through the twelve pages of math I did to figure out the keypad code. It's a shame, because there was some really clever stuff in there. Oh well. I'll just say that I did some brilliant and inspired derivation, completely off the top of my head and based on a half-remembered conversation I had at a party about a century ago, of the passcode for a lock about which I had no concrete information. It turns out to be 750400, but that's just the punchline to a much more interesting story about math.\n\n> You go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nHumans flitter across this wide hallway, clumping into and breaking\nout of knots of intense, whispered intrigue. A table next to the\ndouble doors to the west is laden with delicate champagne flutes,\nwhich some of the humans stalking around the room are also\nbrandishing. Nondescript oil paintings hang at regular intervals\naround the room. A small hallway leads south, and a wider passage\nleads east.\n\nThere's a set of open double doors here leading west.\n\nThe brute mutters something into its earpiece.\n\nThe burglar stands off to one side of the room, looking around carefully.\n\nThe reporter asks one of the dignitaries some pointed questions.\n\n> You go east\nThis spacious gallery is empty, though murmurs of conversation from\nthe room to the west echo throughout the chamber. High, narrow windows around the circumference of the room cast orange light on the marble floor. An ornately carved archway leads east, next to which is a conspicuous black keypad. Plainer exits lead north and south.\n\nAn ornate chandelier hangs from the ceiling.\n\nThe hacker lounges aimlessly.\n\n> Type 750400\n(on the keypad)\nThe spiritual field inside the archway abruptly shuts off with an ethereal sound like a shattering teacup. A few vicious bolts of energy spark off and smolder briefly on the ground, and then the archway is quiet and empty.\n\nThe hacker lounges aimlessly.\n\n> Go east\nThe detector blinks briefly, indicating that I've moved into a new region of the compound.\n\nThis hallway is a literal corridor of power, connecting the main complex with a restricted area for the most elite dignitaries. The space is narrow, and the walls on either side are bare concrete.\nThick, insulated cables run down the hallway, presumably part of the telecommunications apparatus for the summit. The passage widens into a larger hall to the east; to the west, it ends abruptly in an ornately carved archway, roiling with supernatural energy, with a conspicuous black keypad next to it.\n\n> Spin detector\nThe detector is silent. There must not be any unattained codebooks nearby.\n\n> You go east\nUnlike the plain corridor to the west, this auditorium is designed to impress the audience???not the fidgety crowd of half-interested reporters and minor officials physically present here, but the\naudience for the mass of television cameras perched above them.\nThey're pointed toward the northern stage, where a couple of summit representatives and their entourages face toward the assembly. Their features are hard to make out in the bright spotlights, but their\nbland voices fill the room.\n\n> You go to the west\nThis hallway is a literal corridor of power, connecting the main complex with a restricted area for the most elite dignitaries. The space is narrow, and the walls on either side are bare concrete.\nThick, insulated cables run down the hallway, presumably part of the telecommunications apparatus for the summit. The passage widens into a larger hall to the east; to the west, it ends abruptly in an ornately carved archway, roiling with supernatural energy, with a conspicuous black keypad next to it.\n\n> You examine the crowd\nA mixture of excitement and boredom pervades the audience.\n\n> You examine the spotlights\nThe spotlights suffuse the assembled dignitaries on stage with a halo of light that, if my experience with politicians is any indication, is a bit of false advertising.\n\n> You go north\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nAn eastern politician and an unaligned politician stand nearby, listening with practiced politeness.\n\n> You look at the western\nWith most humans, convincing them to take even a modest bit of initiative is an uphill battle. They simply have no motivation. This particular human, though, is one of a rare sort that actually has some internal drive. Politicians and those of that ilk aspire to be men of wealth and taste like us and, also like us, manipulate their hapless inferiors to achieve their goals. Unlike us, they rely on smarmy glad-handling and sycophancy instead of subtlety and talent.\n\nTo that end, the western politician is wearing an expensive but tasteful suit, its hair is slightly greying, and it has a carefully constructed expression of reserved thoughtfulness. Its voice has the careful modulation of one for whom every action is a performance its audience is expected to appreciate.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You examine unaligned\nMost politicians are self-serving creatures, which makes them refreshingly straightforward to work with; it's easy to give a human what it wants when it already knows what it wants. An annoying few, however, insist on attaching a moral dimension to petty human intrigues. If a human wants money, it's usually easy enough to push it to grab it out of a conveniently open safe. It a human wants money but has moral qualms about stealing, it can be annoyingly difficult to get it to do the thing we both want it to do. The upside of working with these rare people is that their inertia becomes momentum once they finally start moving. Once you get the ball rolling, they'll fervently apply themselves to the task and, fueled by self-righteousness, keep pushing themselves for you.\n\nI consider myself a competent judge of humans at this point in my career, and the unaligned politician strikes me as exactly this sort. Its attire isn't as expensive as its opposite numbers', which is a warning sign. Its manner is one of prim condescension, and it keeps glancing at its colleagues for approval and support.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You examine the eastern\nPoliticians are an odd sort. The frightening about humans is that most of them simply have no motivation. If you ask them what they want, they'll probably come back with some desultory remark about being rich or famous, but that's not truly what drives them; if it were, they'd spend all their time trying to drum up money and recognition???in short,\nwhat politicians do. The rest idealize a life of idleness???not a life of leisure, which is one without obligations, but rather one without any activity at all.\n\nwho actually possess ambition. It complicates my job, though, if\nhumans start to get goals of their own. I have no fear of hard work, but I don't like complexity; it introduces uncertainty and risk. This particular politician carries itself with a mildly pompous and defensive air, occasionally giving its comrades quick, suspicious glances.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You check your inventory\nIntentions:\nthe open intent\nthe explore intent\nthe clean up intent\nthe fold intent\nthe play intent\nthe serve intent\nthe defend intent\nthe drink intent\nthe take intent\nthe select intent\nthe read intent\nthe block intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe aggressively manner\nthe recklessly manner\nthe seriously manner\nthe greedily manner\nthe generously manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\nan universal translator\nthe dossier\na wiretap\n\n> You go to the north-west\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nA speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and, frowning, feeds them into the contraption.\n\n> You examine the speechwriter\nA human with rolled-up sleeves and ink-stained hands.\n\n> WRITE\nnotes for the western politician.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> You get write\nI extract the write intent from the speechwriter.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You look at the typewriter\nThe contraption comprises a mass of electrical parts squashed into a compact Bakelite case whose exterior is studded with various dials and gauges. It's currently closed up and off. The components inside are shiny and free of dust.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You look at the cup\nThe coffee cup is now being used as a makeshift ashtray, with a cigarette smoldering in it.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You examine the cigarette\nThe neglected cigarette continues to burn within the coffee cup.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\nThe tepid applause from the direction of the stage tells me that the western politician has run out of things to say. I rush over there to survey the damage.\n\nThe speech is over, and the politicians there slither together in a knot on the center of the stage, patting each other on the back and exchanging overwrought handshakes. Flashbulbs explode around the stage as the journalists surge forward to the base of the stage. A massive table with three identical leather-bound proclamations is wheeled out to the center of the stage, and the politicians take their positions around it. Preparing to sign, they take up three identical pens to\npose for the cameras. With the historical conclusion of the summit finally at hand, the telecommunication equipment begins its transmission. The satellite uplinks Kingfisher tampered with activate, and a vast light???\n\nYou know what happened next. We did our best to avoid it, but we failed. Mistakes were made. No one could be blamed, though the demons who wound up being blamed anyway were summarily dismissed, to\nencourage the others. In the end, our defense grid turned out to be more resilient than any of us expected. Hell survived, severely weakened but still strong enough to repel an invasion from Heaven. Our operations in the remnants of the mortal realm were curtailed, but there were far fewer humans left afterward anyway. Heaven and Hell divided up the dead and redoubled our efforts to influence the few living souls.\n\nAs for me, I managed to weather the fallout and keep my job. I even\ngot a perfunctory commendation out of it, presumably to keep me quiet. I'm still faithfully working to advance the interests of our empire, even as we rebuild and prepare for the next war. The Great Game continues???on a very different board with very different pieces, but it\ncontinues. We'll meet again.\n\n> Go northeast\nGreen Room (East)\nThis cramped alcove is deep within the theater, the massive concrete walls blocking out the noise from the stage. A couch with fraying cushions occupies one side of the room. At a table in the corner, several humans sit around an open portfolio full of loose typewritten papers, methodically scribbling notes in green pencil. A staircase to the southwest leads upward.\n\n> You put greedily on the speechwriter\nI give the greedily manner to the speechwriter, who now intends to greedily write notes encouraging selfishness.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You go southeast\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and feeds them into the contraption.\n\n> Go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait a while\nTime passes.\n\nThe western politician speaks: \"My nation has entered an unprecedented era of prosperity. Most of our people have never had it so good. To start moving that wealth out of my nation, when we've worked so hard\nto achieve it, would be a disservice to our loyal citizens. By showing the rest of the world how wealthy we are, we can lead by example and give them an ideal to aspire to. We hope that you will be motivated by this display as well and, one day, share in our prosperity.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You put the block on eastern\nI give the block intent to the eastern politician, but it's focused on the speech and shows little reaction.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You put the block on unaligned\n(first taking the block intent from the eastern politician)\nI give the block intent to the unaligned politician, but it's focused on the speech and shows little reaction.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> You put recklessly on the speechwriter\nI give the recklessly manner to the speechwriter, taking the greedily manner in exchange. It now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and feeds them into the contraption.\n\n> Go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace di"
    },
    {
        "text": "vidend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Go northeast\nGreen Room (East)\nThis cramped alcove is deep within the theater, the massive concrete walls blocking out the noise from the stage. A couch with fraying cushions occupies one side of the room. At a table in the corner, several humans sit around an open portfolio full of loose typewritten papers, methodically scribbling notes in green pencil. A staircase to the southwest leads upward.\n\n> You put greedily on the humans\nThe note-takers don't intend to do anything in particular right now; doing nothing greedily is a bit much to ask.\n\n> Go upward\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You look at what you're carrying with you\nIntentions:\nthe open intent\nthe explore intent\nthe clean up intent\nthe fold intent\nthe play intent\nthe serve intent\nthe defend intent\nthe drink intent\nthe take intent\nthe select intent\nthe read intent\nthe wait intent\nthe sell intent\nthe buy intent\nthe warm intent\n\nManners:\nthe greedily manner\nthe aggressively manner\nthe seriously manner\nthe generously manner\nthe slowly manner\nthe lazily manner\n\nCodebooks:\nthree confidential codebooks\nthree secret codebooks\ntwo top secret codebooks\n\nOther possessions:\na detector\nan intercepted communiqu??\na bell\nthe almanach\na candle\nan universal translator\nthe dossier\na wiretap\n\n> You put sell on speechwriter\nI give the sell intent to the speechwriter, taking the write intent in exchange. It now vaguely intends to recklessly sell.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You put write on the speechwriter\nI give the write intent to the speechwriter, taking the sell intent in exchange. It now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> You go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You get all\nblock intent: I extract the block intent from the unaligned\npolitician.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go to the north-west\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and gently feeds them into the contraption.\n\n> You put the block on the speechwriter\nI give the block intent to the speechwriter, taking the write intent\nin exchange. It now vaguely intends to recklessly block.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You put write and lazily on the speechwriter\nwrite intent: I give the write intent to the speechwriter, taking the block intent in exchange. It now intends to recklessly write notes encouraging immediate action.\nlazily manner: I give the lazily manner to the speechwriter, taking\nthe recklessly manner in exchange. It now intends to lazily write\nnotes encouraging rest.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> You go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You examine the podium\nThe podium itself is a heavy wooden thing, solid and unornamented. On its top surface is a pane of glass, visible only to the person\nstanding at the podium. Words flash across its surface and are duly repeated by the politician, who manages to keep his eyes mostly on the audience.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You put the block and greedily on the western\nblock intent: I give the block intent to the western politician, but it's focused on the speech and shows little reaction.\ngreedily manner: I give the greedily manner to the western politician, but it doesn't have much effect.\n\nThe western politician speaks: \"This summit has taken years, if not decades, to arrange. After all that effort, we should take a breather and look to our own nations. We will have more opportunities in the future. Forging a peace together will take more decades, and we can afford to wait. We have an unprecedented opportunity here to enjoy the amenities of the complex and relax after years of stressful negotiations. Once we're rested, we can take on the thornier issues in the summit; until then, let's take things slowly.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You get all\ngreedily manner: I extract the greedily manner from the western politician.\nblock intent: I extract the block intent from the western politician.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You put aggressively on the speechwriter\nI give the aggressively manner to the speechwriter, taking the lazily manner in exchange. It now intends to aggressively write notes encouraging warmongering.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> Go upwards\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait a while\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving toward a more peaceful d??tente. Until we get there, however, we must continue to be wary. Let us move beyond the conflicts of the past. Whatever disagreements, we have had, we are in it for the long haul. We will bury you. We can look forward to the day when we beat our swords into plowshares and forge a new, more peaceful future; but until then, we will continue to make swords, and we will continue to point them towards you.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving toward a more peaceful d??tente. Until we get there, however, we must continue to be wary. Let us move beyond the conflicts of the past. Whatever disagreements, we have had, we are in it for the long haul. We will bury you. We can look forward to the day when we beat our swords into plowshares and forge a new, more peaceful future; but until then, we will continue to make swords, and we will continue to point them towards you.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and deftly feeds them into the contraption.\n\n> You put greedily on the speechwriter\nI give the greedily manner to the speechwriter, taking the\naggressively manner in exchange. It now intends to greedily write\nnotes encouraging selfishness.\n\nThe speechwriter scribbles some notes and deftly feeds them into the contraption.\n\n> Go upwards\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"My nation has entered an unprecedented era of prosperity. Most of our people have never had it so good. To start moving that wealth out of my nation, when we've worked so hard\nto achieve it, would be a disservice to our loyal citizens. By showing the rest of the world how wealthy we are, we can lead by example and give them an ideal to aspire to. We hope that you will be motivated by this display as well and, one day, share in our prosperity.\"\n\nThe humans in the audience whisper loudly among themselves, and the western politicians' counterparts on the stage give each other looks\nof alarm.\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> You put recklessly on the speechwriter\nI give the recklessly manner to the speechwriter, taking the greedily manner in exchange. It now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and, frowning, feeds them into the contraption.\n\n> Go upwards\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been plac"
    },
    {
        "text": "ed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. Our precarious outpost here is crumbling away, and lofty ideals or dreams of prosperity won't save it. We need to act immediately. We're entering a brave new world, and we don't have a roadmap for the future, and we can't stop to ask for directions. Our only option is to act now. If you're not willing to make a commitment right now, then we'll walk out of this summit.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You put aggressively on the speechwriter\nI give the aggressively manner to the speechwriter, taking the recklessly manner in exchange. It now intends to aggressively write notes encouraging warmongering.\n\nThe speechwriter scribbles some notes and feeds them into the contraption.\n\n> Go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving toward a more peaceful d??tente. Until we get there, however, we must continue to be wary. Let us move beyond the conflicts of the past. Whatever disagreements, we have had, we are in it for the long haul. We will bury you. We can look forward to the day when we beat our swords into plowshares and forge a new, more peaceful future; but until then, we will continue to make swords, and we will continue to point them towards you.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You go northwest\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You put aggressive on speechwriter\n(first taking the aggressively manner from the speechwriter)\nI give the aggressively manner to the speechwriter, who now intends to aggressively write notes encouraging warmongering.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You put greedily on the speechwriter\nI give the greedily manner to the speechwriter, taking the\naggressively manner in exchange. It now intends to greedily write\nnotes encouraging selfishness.\n\nThe speechwriter scribbles some notes and, frowning, feeds them into the contraption.\n\n> You put recklessly on the speechwriter\nI give the recklessly manner to the speechwriter, taking the greedily manner in exchange. It now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> You put recklessly on the speechwriter\n(first taking the recklessly manner from the speechwriter)\nI give the recklessly manner to the speechwriter, who now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and gently feeds them into the contraption.\n\n> You put aggressively on the speechwriter\nI give the aggressively manner to the speechwriter, taking the recklessly manner in exchange. It now intends to aggressively write notes encouraging warmongering.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> You put greedily on the speechwriter\nI give the greedily manner to the speechwriter, taking the\naggressively manner in exchange. It now intends to greedily write\nnotes encouraging selfishness.\n\nThe speechwriter scribbles some notes and deftly feeds them into the contraption.\n\n> You examine the contraption\nThe contraption comprises a mass of electrical parts squashed into a compact Bakelite case whose exterior is studded with various dials and gauges. It's currently closed up and off. The components inside are shiny and free of dust.\n\nThe speechwriter scribbles some notes and, via some mechanism that I can't make out, feeds them into the contraption.\n\n> Go upwards\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"My nation has entered an unprecedented era of prosperity. Most of our people have never had it so good. To start moving that wealth out of my nation, when we've worked so hard\nto achieve it, would be a disservice to our loyal citizens. By showing the rest of the world how wealthy we are, we can lead by example and give them an ideal to aspire to. We hope that you will be motivated by this display as well and, one day, share in our prosperity.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You put aggressively on speechwriter\nI give the aggressively manner to the speechwriter, taking the\ngreedily manner in exchange. It now intends to aggressively write\nnotes encouraging warmongering.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> You put greedily on the speechwriter\nI give the greedily manner to the speechwriter, taking the\naggressively manner in exchange. It now intends to greedily write\nnotes encouraging selfishness.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> You put recklessly on speechwriter\nI give the recklessly manner to the speechwriter, taking the greedily manner in exchange. It now intends to recklessly write notes encouraging immediate action.\n\nThe speechwriter scribbles some notes and deftly feeds them into the contraption.\n\n> Go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. Our precarious outpost here is crumbling away, and lofty ideals or dreams of prosperity won't save it. We need to act immediately. We're entering a brave new world, and we don't have a roadmap for the future, and we can't stop to ask for directions. Our only option is to act now. If you're not willing to make a commitment right now, then we'll walk out of this summit.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. Our precarious outpost here is crumbling away, and lofty ideals or dreams of prosperity won't save it. We need to act immediately. We're entering a brave new world, and we don't have a roadmap for the future, and we can't stop to ask for directions. Our only option is to act now. If you're not willing to make a commitment right now, then we'll walk out of this summit.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You get all\nrecklessly manner: I extract the recklessly manner from the speechwriter.\nwrite intent: I extract the write intent from the speechwriter.\n\nThe speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.\n\n> You put write on the speechwriter\nI give the write intent to the speechwriter, who now intends to write notes for the western politician.\n\nThe speechwriter scribbles some notes and gently feeds them into the contraption.\n\n> Go upward\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Go upward\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician pauses for a moment, then continues: \"I'm reminded of a story...\" It stays silent.\n\nI can see the eastern politician and the unaligned politician here.\n\n> Go northeast\nGreen Room (East)\nThis cramped alcove is deep within the theater, the massive concrete walls blocking out the noise from the stage. A couch with fraying cushions occupies one side of the room. At a table in the corner, several humans sit around an open portfolio full of loose typewritten papers, methodically scribbling notes in green pencil. A staircase to the southwest leads upward.\n\n> You put the write on the humans\nThe note-takers are too indistinct for me to manipulate. Crowds are more trouble than they're worth.\n\nThe tepid applause from the direction of the stage tells me that the western politician has run out of things to say. I rush over there to survey the damage.\n\nThe speech is over, and the politicians there slither together in a knot on the center of the stage, patting each other on the back and exchanging overwrought handshakes. Flashbulbs explode around the stage as the journalists surge forward to the base of the stage. A massive table with three identical leather-bound proclamations is wheeled out to the center of the stage, and the politicians take their positions around it. Preparing to sign, they take up three identical pens to\npose for the cameras. With the historical conclusion of the summit finally at hand, the telecommunication equipment begins its transmission. The satellite uplinks Kingfisher tampered with activate, and a vast light???\n\nYou know what happened next. We did our best to avoid it, but we failed. Mistakes were made. No one could be blamed, though the demons who wound up being blamed anyway were summarily dismissed, to\nencourage the others. In the end, our defense grid turned out to be more resilient than any of us expected. Hell survived, severely weakened but still strong enough to repel an invasion from Heaven. Our operations in the remnants of the mortal realm were curtailed, but there were far fewer humans left afterward anyway. Heaven and Hell divided up the dead and redoubled our efforts to influence the few living souls.\n\nAs for me, I managed to weather the fallout and keep my job. I even\ngot a perfunctory commendation out of it, presumably to keep me quiet. I'm still faithfully working to advance the interests of our empire, even as we rebuild and prepare for the next war. The Great Game continues???on a very different board with very different pieces, but it\ncontinues. We'll meet again."
    },
    {
        "text": "[Themes: Espionage]\n\n> You describe your surroundings\nGreen Room (West)\nThis narrow alcove is deep within the theater, the thick concrete\nwalls blocking out the noise from the stage. A couch with threadbare cushions occupies one side of the room. At a table in the corner, a human sits in front of a machine resembling a typewriter, but with a profusion of wires running out of it and into a large suitcase at its feet. An empty coffee cup is next to it on the table, with a cigarette smoldering in it. A staircase to the southeast leads upward.\n\nThe speechwriter sits nearby.\n\n> You put write on the writer\n(first taking the write intent from the speechwriter)\nI give the write intent to the speechwriter, who now intends to write notes for the western politician.\n\nThe speechwriter scribbles some notes and feeds them into the contraption.\n\n> You put aggressive on the writer\nI give the aggressively manner to the speechwriter, who now intends to aggressively write notes encouraging warmongering.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> Wait\nTime passes.\n\nThe speechwriter scribbles some notes and confidently feeds them into the contraption.\n\n> Wait\nTime passes.\n\nThe speechwriter scribbles some notes and gingerly feeds them into the contraption.\n\n> You wait a while\nTime passes.\n\nThe speechwriter scribbles some notes and, frowning, feeds them into the contraption.\n\n> You examine the notes\nI don't see the notes here. It was at Green Room (East).\n\n> Go up\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving toward a more peaceful d??tente. Until we get there, however, we must continue to be wary. Let us move beyond the conflicts of the past. Whatever disagreements, we have had, we are in it for the long haul. We will bury you. We can look forward to the day when we beat our swords into plowshares and forge a new, more peaceful future; but until then, we will continue to make swords, and we will continue to point them towards you.\"\n\nMy sharp, if technically nonexistent, ears pick up some faint\nmurmuring even through the muffled reception of the wireless contraption.\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\ncrowd, who are now leaning back in comfortable boredom. Even the wary politicians on stage next to it relax.\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"Every nation has the right to manage its own affairs. We must jealously guard our sovereignty and safeguard the rights of our own citizens. What we're proposing here is not an alliance, or a merger, or even a friendship; it's simply a wary d??tente between independent powers. Neither of us is here because of naive goodwill or charity; we are both doing it because of our enlightened self-interest.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"Our nations have both entered an unprecedented era of prosperity. Most of our people have never had it so good. As we move forward, let us not forget those of us around the world who are not so fortunate. We have an obligation to use our great wealth to help out other nations and to be good neighbors to our\nfellow man. Forging ties of peace and comity with the other nations around the world will ensure a steady path forward for our two countries to thrive. Our preeminence on the world stage gives us an extraordinary chance to share our resources and our peace with the world and to lead by example.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"In preparing for the new challenges that await us in the future, we have to be quick. We can only win the future and forge a new, more secure peace between our nations if we proceed rapidly, using our agreements here to accelerate our efforts not towards arming ourselves for war, but for building trust and establishing peace. We have established a road map that will lead us into the next decades, but the highway of progress we're on has no speed limit. The engine of progress is strong. We will not allow ourselves to quiet that engine because of fear or suspicion.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You get aggressively\nI extract the aggressively manner from the speechwriter.\n\nThe speechwriter scribbles some notes and feeds them into the contraption.\n\n> Go upward\nFrom this viewpoint, the auditorium's stage is smaller and emptier\nthan it appeared from the audience. Nevertheless, its heavy blue curtains and and gold-edged insignia give it a certain gravitas. Two scrupulously identical banks of seats have been placed on either side, exactly equidistant from a center podium. The spotlights above are intense, and it's difficult to make out any details in the audience to the south. Passages to the northwest and northeast, concealed behind the folds of the curtain, lead backstage.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"But, you may be wondering, how can we ensure that we're acting in our best interests?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait awhile\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"I know many of you may have some concerns about our new policies, but let me assure you that we are giving all the issues due consideration.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"We stand at the precipice of the dawning of a new era. As we climb up to our new prosperity, let us proceed with caution. The road ahead is a new one, and we are the\nfirst ones to explore it. We will do so together. Let us embark on our mission with caution but not fear, with vision but not illusions, and with prudence but not timidity.\"\n\nThe western politician glances down at his podium. \"This summit is a unique opportunity for our two nations. Let us discuss what we can do with it.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Now, let us\naddress how we can move with all due haste toward the peace we have envisioned here.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> Wait\nTime passes.\n\nThe western politician speaks: \"This is the time for action. This summit has taken years, if not decades, to arrange. It will all have been worth it if we can take advantage of this unprecedented opportunity. The time for the future is now. Let us strike while the iron is hot and forge a peace together. We cannot wait, or we will\nlose our special moment in history. We must act, decisively and confidently, to secure a peaceful and prosperous future.\"\n\nThe western politician glances down at his podium. \"Let me now outline how we can de-escalate tensions between our two nations.\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness.\n\n> You wait for a while\nTime passes.\n\nThe western politician speaks: \"With this summit, we are moving\ntowards a more peaceful d??tente. Our nations are not so different; one day we may see each other as friends. Until then, we can at least work together to earn each other's trust, establish lines of communication, and build a framework for a thawing of relations in which we can at least work together on our mutually beneficial goals. Let us move beyond the conflicts of the past. Even if we're not there yet, we can at least look forward to the day when we beat our swords into plowshares and plant the seeds of a new, more peaceful future.\"\n\nThe western politician glances down at his podium. \"Of course,\nimproved relations between our two nations would generate a tremendous peace dividend. How should we use it most effectively?\"\n\nThe eastern politician and the unaligned politician stand nearby, listening with practiced politeness."
    },
    {
        "text": "[Themes: Fantasy, gender choice, multiple protagonists, nonhuman protagonist, fantasy, dragon, magic]\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, now. The bastard. And in the meantime you've gone from Adrienne the Adventurer to Adrienne the Ruffian, the Rogue, or, most often, \"You there!\"\n\nWere you twenty years younger, it would be your name on everyone's lips. Your face on the popular paintings. And the Dragon Gem would be yours for everyone to covet. Funny when they tell you you shouldn't feel that way. And what do they tell you to feel instead?\n\nNo regrets. Your days of heroism ceased when Thorn's Companions disbanded, yet your life--a new life--went on. Ha. You could never feel that way. For what kind of life is this? Your knowledge has faded. Your reflexes dulled. Your strength depleted. You've hardly cared if you live.\n\nBut now... the winds bring rumor that Sedmon means to give the Gem to Blackhelm. Blackhelm. That villain--the Dragon Gem is said to have powers, powers that one such as Blackhelm could bring to bear on those of Thorn's Companions who survived. With that threat, you find you do want to live after all. So you find yourself rebuilding your strength, retraining your eye, relearning your stratagems. Because you certainly know the solution to this problem.\n\nThe best way to be sure the Dragon Gem stays out of Blackhelm's hands? Get it in yours.\n\nThe grimy, ramshackle buildings of Oldtown dutifully try to reform themselves as you progress east down Temple Way, but nothing besides the temple itself makes any real pretense of belonging anywhere other than Oldtown. Or rather, nothing besides the temple and Baron Sedmon's nearby mansion.\n\nTemple Way opens up onto the well-lit Temple Square to the east.\n\nA large crate sits beside one of the buildings.\n\n[Author's Note: A most traditional CRPG experience.]"
    },
    {
        "text": "> Look around\nThe grimy, ramshackle buildings of Oldtown dutifully try to reform themselves as you progress east down Temple Way, but nothing besides the temple itself makes any real pretense of belonging anywhere other than Oldtown. Or rather, nothing besides the temple and Baron Sedmon's nearby mansion.\n\nTemple Way opens up onto the well-lit Temple Square to the east.\n\nA large crate sits beside one of the buildings.\n\n> Examine crate\nA large, wooden crate marked with Lennitt's seal.\n\n> You examine the seal\nYou've done some laboring for Lennitt in the past, and you recognize this seal as that which marks her crates.\n\n> You look at Temple\nWhich do you mean, the Temple of Justice, the Temple Way or the Temple Square?\n\n> Justice\nThe Temple of Justice lies at the far side of the Temple Square.\n\n> You look at Temple Way\nTemple Way is one of the rare paved roads of Oldtown, in disrepair further west, but smooth as a Hip O' Grif's backside to the east.\n\n> Inventory\nYou are carrying a brass lamp.\n\n> You examine the lamp\nA well-worn lantern you've held onto from the days when you would take point for Thorn, leading the Companions into darkness.\n\nThe brass lamp is currently switched off.\n\n> About yourself\nAdrienne the laze-about, sometime laborer, and, until a few days ago, the full-time drunkard. Hopefully your epitaph will mention Thorn's Companions instead.\n\n> Square\nYou travel east for a closer look.\n\nTemple Square marks the east end of Oldtown. The Royal Crown's pretended attempts to improve Oldtown bear their only fruit here: the well-tended flower garden, the omnipresent guards, and the overdramatic Temple of Justice rising out of darkness to the east. But even here, the inadequecies of El's policies can be seen: Lennitt's warehouse presents an ugly back wall to the square to the northwest, while the entrance to The Barking Mermaid to the southwest hardly leads into the most beautiful establishment in Oldtown.\n\nTemple Way leads westward, away from the Temple; Droop Lane runs north (where Sedmon's mansion can be found) and south.\n\nYou can see Branna and another guard here.\n\n> You examine Branna\nOne of the Royal Crown's many Temple guards. You know this one well.\n\n> You examine the guard\nOne of the Royal Crown's many Temple guards.\n\n> You ask Branna about Sedmon\nBranna says, \"They say he slew the dragon that lived underneath Mount Griondol. Brought back the Dragon Gem as proof.\"\n\n> You ask Branna about Thorn\nBranna says, \"One of the greats, they say. His death marked the end of Thorn's Companions, for without him they were nothing.\"\n\n> You ask Branna about yourself\nBranna says, \"I know you well enough, Adrienne. Not the most trustworthy person I know, but you'll do in a pinch.\"\n\n> You ask Branna about Gem\nBranna says, \"A bunch of magic mumbo-jumbo about it, but I don't believe a word of it. It's pretty enough, though.\""
    },
    {
        "text": "[Themes: Fantasy, dragon, nonhuman protagonist]\n\n> You look around\nTemple Square marks the east end of Oldtown. The Royal Crown's pretended attempts to improve Oldtown bear their only fruit here: the well-tended flower garden, the omnipresent guards, and the overdramatic Temple of Justice rising out of darkness to the east. But even here, the inadequecies of El's policies can be seen: Lennitt's warehouse presents an ugly back wall to the square to the northwest, while the entrance to The Barking Mermaid to the southwest hardly leads into the most beautiful establishment in Oldtown.\n\nTemple Way leads westward, away from the Temple; Droop Lane runs north and south.\n\nYou can see Branna and another guard here.\n\n> Go north\nDroop Lane winds slowly upwards through poorly tended warehouses, until it pauses here atop a hill, with Baron Sedmon's mansion facing the street from the east.\n\nYou can see a guard here.\n\n> You go east\nThe guard says, \"Hey now Adrienne, I'm sure you're curious about the Dragon Gem, but you can't just waltz in to take a look at it. I suppose I could describe it for you.\"\n\n> You examine the guard\nHis outfit bears Sedmon's coat of arms, although you've never seen him around here before.\n\n> You ask the guard about Gem\nThe guard says, \"The Dragon Gem is, well, it's beautiful. The Baron's got it on display in his trophy room. It's secured pretty well; he doesn't really need me to protect it. Which is a good thing, since he's probably going to fire me when he finds out what I did.\" He sighs. \"I'm in big trouble.\"\n\n> You ask guard about the trouble\nThe guard says, \"Gambling debts, what else.\" He sighs again. \"Actually, I paid off the gambling debts. But I hocked something of the Baron's; a trifling nothing, just enough so I could pay them off. I figured I'd recover it before he found out. But my luck hasn't turned yet. Hey, Adrienne, didn't you used to work for Beldano? That's where the Baron's item is, his pawn shop. I don't suppose... if you could somehow recover it for me, I'd be in your debt.\"\n\nThievery. That's a line you haven't crossed in a few years, although you've done far worse.\n\nAnd there was that one time Beldano hid a key in his foyer's gutter when he didn't realize you were watching...\n\n> You go to the south\nDroop Lane comes to and end here amongst an array of storefronts. To the south lies Beldano's Pawnery; you've done odd jobs for him before.\n\n> You get the crate\nThe crate is too tall and too heavy to pick up.\n\n> You stand on the crate\nSouth Droop Lane (on the crate)\nDroop Lane comes to an end here amongst an array of storefronts. To the south lies Beldano's Pawnery.\n\nYou can see a gutter (in which is a pawnshop key) here.\n\n> You get key\nTaken."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Go downwards\nYou get off the crate.\n\nDroop Lane comes to an end here amongst an array of storefronts. To the south lies Beldano's Pawnery.\n\nYou can also see a crate here.\n\n> You unlock door\n(with the pawnshop key)\nYou unlock the door.\n\n> You open the door\nYou open the door.\n\n> Go south\nYou pass through the foyer into the pawnery.\n\nIt is dark. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nYou switch the brass lamp on.\n\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps the more expensive property lurks behind the hangings to the east.\n\nOn the shelves are a crystalline sphere, an envelope (which is closed), and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\n> You look at the candle\nA long white candle.\n\n> You examine sphere\nSparkling and flawless. Just large enough you can't wrap your hand all the way around it.\n\n> You open the envelope\nYou open the envelope, revealing some powder.\n\n> You examine the powder\nMost people wouldn't recognize it: a green-white powder from the crushed leaves of the oinciea plant. You first learned of it from the Zan centaurs, who used darts to deliver it into the bloodstream of their enemies. You've since determined that it's just as deadly if swallowed, but harmless in contact with flesh.\n\n> Go east\nThis is the location where Beldano stores his most valuable properties.\n\nIn one corner of the room is a metal barrel with some liquid in it.\n\n> You look at the barrel\nThis is a barrel full of a crystal-clear acid. You can see clear through to the bottom, where there is a gold statuette.\n\n> You look at the statuette\nIt's a tiny figurine, a simplified human form, abstracted, with its arms in front, hands together.\n\nGreat. Just great. Some \"trifle\". It's probably the most valuable thing in the whole place. And the best secured thing.\n\n> You get statue\nYou can't reach into the barrel of acid bare-handed!\n\nAnd of course Beldano wasn't foolish enough to leave a tool around that could survive that acid. It'll probably take something magical. Where was that weird rune-engraved pole you saw somewhere in this part of town?\n\nOh, right. On display in the Temple of Justice.\n\nCrud.\n\n> Go west\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps expensive property lurks behind the hangings to the east.\n\nOn the shelves are a crystalline sphere and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\n> You go north\nDroop Lane comes to an end here amongst an array of storefronts. To the south lies Beldano's Pawnery.\n\nYou can also see a crate here.\n\n> Go east\nEverything in this forecourt is hard, strict, vertical lines, no doubt to put people in the right frame of mind for the proceedings in the temple.\n\nA closed gate is built into the Temple wall.\n\nYou can also see a window here.\n\n> You examine the gate\nWrought of iron. Sturdy. Effectively impenetrable.\n\n> You examine the window\nA number of guards are loitering in the guardroom, talking amongst themselves and playing Hip O' Grif. One of them notices you looking in. \"Hey there, Adrienne. Just the gal we need. Run over to the Barking Mermaid and pick us up a keg.\" She walks over to the window and thrusts a small bag of coins into your hands.\n\n> Go southwest\nThe Barking Mermaid Tavern is hardly your kind of place. Poorly-built wooden benches with horrific stains, largely disreputable and somewhat unruly patrons, wretched-tasting but cheap ale; at first glance it's just perfect, but this close to the Temple of Justice, there's an unseemly lawfulness pervading the place.\n\nThe tavernkeeper is keeping an eye on his guests and the servers.\n\nA spoon with a round hole in it has been discarded in a corner.\n\n> You look at the spoon\nA sturdy wooden spoon with a perfectly round hole carefully cut through the bottom.\n\n> You give the coins to the tavernkeeper\nNothing is on sale.\n\n> You buy the keg\nDob says, \"You want an ale? Oh, a whole keg? Have you got the money for... oh, I see you do. You'll be wanting that special strong ale you always get, you will. Careful not to drink too much.\" He hands you a medium-sized keg.\n\n> Examine dob\nDob's his name. The Barking Mermaid's not a hangout of yours, but you've come here often enough after a job that Dob knows you pretty well.\n\n> You examine the servers\nThe servers are busy with their jobs, and you have a mission to attend to.\n\n> Inventory\nYou are carrying a keg of ale, a spoon, a bag of coins, an envelope (which is open), inside which is some powder, a pawnshop key, and a brass lamp (providing light).\n\n> You examine the powder\nMost people wouldn't recognize it: a green-white powder from the crushed leaves of the oinciea plant. You first learned of it from the Zan centaurs, who used darts to deliver it into the bloodstream of their enemies. You've since determined that it's just as deadly if swallowed, but harmless in contact with flesh.\n\n> You give keg to the guards\nYou can only do that to something animate.\n\n> You look at window\nThe guard says, \"Just bring that through the gate, Adry. Oh, wait, it's locked, isn't it? Hang on a second.\"\n\n> You open gate\nIt seems to be locked.\n\nA guard appears at the gate and unlocks it. He turns back inside before you can say anything.\n\n> You open gate\nYou open the gate.\n\n> Go east\nTemple of Justice: Foyer\nAn imposing foyer, designed carefully to the Royal Crown's specifications. The corridor narrows slowly to the east, making it seem impossibly long. This is enough to scare off some visitors. Moreover, a supplicant desiring to appear in the Temple of Justice proper must endure a long walk under the watchful eye of the guards in the guardhouse to the north. The Royal Highness has found this effective at dissuading supplicants from raising their original complaints once they enter the temple to the east.\n\nA guard meets you here and takes the keg from you. With a look he dispatches you back to the west.\n\nEverything in this forecourt is hard, strict, vertical lines, no doubt to put people in the right frame of mind for the proceedings in the temple.\n\nAn open gate allows access into the Temple.\n\nYou can also see a window here.\n\n> You look in the window\nThe guards are sitting around, drinking the dregs of the keg. One guard spots you and says to another, \"Hey, it's your turn to pay for the round.\" The guard rises slowly and hands you some coins through the window. \"Another one, just like that.\"\n\n> You go to the southwest\nThe Barking Mermaid Tavern is hardly your kind of place. Poorly-built wooden benches with horrific stains, largely disreputable and somewhat unruly patrons, wretched-tasting but cheap ale; at first glance it's just perfect, but this close to the Temple of Justice, there's an unseemly lawfulness pervading the place.\n\nDob, the tavernkeeper, is keeping an eye on his guests and the servers.\n\n> You buy keg\nDob says, \"You want another keg? Must be some party, it must. Here you go.\" He hands you a medium-sized keg.\n\n> Go east\nEverything in this forecourt is hard, strict, vertical lines, no doubt to put people in the right frame of mind for the proceedings in the temple.\n\nAn open gate allows access into the Temple.\n\nYou can also see a window here.\n\n> Go east\nTemple of Justice: Foyer\nAn imposing foyer, designed carefully to the Royal Crown's specifications. The corridor narrows slowly to the east, making it seem impossibly long. This is enough to scare off some visitors. Moreover, a supplicant desiring to appear in the Temple of Justice proper must endure a long walk under the watchful eye of the guards in the guardhouse to the north. The Royal Highness has found this effective at dissuading supplicants from raising their original complaints once they enter the temple to the east.\n\nA slightly stumbling guard meets you here and takes the keg from you. With a look he dispatches you back to the west.\n\nEverything in this forecourt is hard, strict, vertical lines, no doubt to put people in the right frame of mind for the proceedings in the temple.\n\nAn open gate allows access into the Temple.\n\nYou can also see a window here.\n\nThrough the window you listen to the guards refilling their cups and returning to their debates. The previously boisterous level rises for a time, but it slows again as, one by one, the guards pass out.\n\n> You go to the east\nTemple of Justice: Foyer\nAn imposing foyer, designed carefully to the Royal Crown's specifications. The corridor narrows slowly to the east, making it seem impossibly long. This is enough to scare off some visitors. Moreover, a supplicant desiring to appear in the Temple of Justice proper must endure a long walk under the watchful eye of the guards in the guardhouse to the north. The Royal Highness has found this effective at dissuading supplicants from raising their original complaints once they enter the temple to the east.\n\n> You go east\nYou squeeze through the tiny entrance.\n\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> You look at the pole\nA long, copper, rune-covered pole with a mechanical claw mounted atop. The bottom is capped with a dial.\n\n> You take the pole\nThe magic field is in the way.\n\n> You look at the hooks\nThe hooks are mounted against the wall.\n\n> You examine the magic field\nIt's a glowing hemisphere of force, shimmering lightly. It's centered over the hooks in the wall."
    },
    {
        "text": "[Themes: Fantasy, gender choice, dragon, multiple protagonists]\n\n> Look around\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> Inventory\nYou are carrying a spoon, a bag of coins, an envelope (which is open), inside which is some powder, a pawnshop key, and a brass lamp (providing light).\n\n> You put spoon in the field\nThe magic field is closed.\n\n> You look at the claw\nThis mechanical claw opens and closes when the dial is turned.\n\n> You throw the spoon at the hooks\nFutile.\n\n> You touch field\nYour hand it stopped at the surface of the field.\n\n> You examine the dial\nThis dial can be turned.\n\n> You turn the dial\nThe magic field is in the way.\nYou can't reach it.\n\n> Go west\nTemple of Justice: Foyer\nAn imposing foyer, designed carefully to the Royal Crown's specifications. The corridor narrows slowly to the east, making it seem impossibly long. This is enough to scare off some visitors. Moreover, a supplicant desiring to appear in the Temple of Justice proper must endure a long walk under the watchful eye of the guards in the guardhouse to the north. The Royal Highness has found this effective at dissuading supplicants from raising their original complaints once they enter the temple to the east.\n\n> You go to the west\nEverything in this forecourt is hard, strict, vertical lines, no doubt to put people in the right frame of mind for the proceedings in the temple.\n\nAn open gate allows access into the Temple.\n\nYou can also see a window here.\n\n> You think\nWhat a good idea.\n\n> You go west\nThe grimy, ramshackle buildings of Oldtown dutifully try to reform themselves as you progress east down Temple Way, but nothing besides the temple itself makes any real pretense of belonging anywhere other than Oldtown. Or rather, nothing besides the temple and Baron Sedmon's nearby mansion.\n\nTemple Way opens up onto the well-lit Temple Square to the east.\n\n> You go north\nBuildings block the way.\n\n> You examine the tablecloth\nIllustrated with an ugly picture.\n\n> You get the sphere\nYou're carrying too many things already.\n\n> Inventory\nYou are carrying a spoon, a bag of coins, an envelope (which is open), inside which is some powder, a pawnshop key, and a brass lamp (providing light).\n\n> You drop the key\nDropped."
    },
    {
        "text": "> Look around\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps expensive property lurks behind the hangings to the east.\n\nOn the shelves is a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a pawnshop key here.\n\n> You check what you're carrying\nYou are carrying a crystalline sphere, a spoon, a bag of coins, an envelope (which is open), inside which is some powder, and a brass lamp (providing light).\n\n> You close envelope\nYou close the envelope.\n\n> You put the envelope on the table\nYou put the envelope on the tables.\n\n> You get the tablecloth\nTaken.\n\n> Inventory\nYou are carrying a tablecloth, a crystalline sphere, a spoon, a bag of coins, and a brass lamp (providing light).\n\n> You eat coins\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Fantasy, fantasy, magic]\n\n> You look at your surroundings\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps expensive property lurks behind the hangings to the east.\n\nOn the tables are an envelope (which is closed), some candlestick holders, and a candle.\n\nYou can see a pawnshop key here.\n\n> You take the candle\nYou're carrying too many things already.\n\n> You go north\nDroop Lane comes to an end here amongst an array of storefronts. To the south lies Beldano's Pawnery.\n\nYou can also see a crate here.\n\n> You look at wooden\n(the spoon)\nA sturdy wooden spoon with a perfectly round hole carefully cut through the bottom.\n\n> You turn off the lamp\nYou switch the brass lamp off.\n\n> You examine the hole\nThe magic field is in the way.\n\nYou can't see any such thing.\n\n> You get the pole\nThe magic field is in the way."
    },
    {
        "text": "[Themes: Fantasy, dragon, fantasy]\n\n> Look around\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nYou can also see a tablecloth here.\n\n> You go north\nTemple of Justice: Guardhouse\nThis is the guardroom in the Temple of Justice. Theoretically. The temple foyer lies south, while a solid metal door fills the doorway to the east.\n\nScattered around the room are more than a few guards, all passed out.\n\nIn a corner of the room is a panel with two levers and two knobs.\n\n> You go east\nYou squeeze through the tiny entrance.\n\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nYou can also see a tablecloth here.\n\nThe hooks look different from before.\n\n> You examine hooks\nThe hooks are mounted against the wall. Both hooks are pointing rightwards.\n\n> You go east\nYou squeeze through the tiny entrance.\n\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nYou can also see a tablecloth here.\n\n> You examine hooks\nThe hooks are mounted against the wall. Both hooks are upside-down.\n\n> You go east\nYou squeeze through the tiny entrance.\n\nThe Temple of Justice is the Royal Crown's great equalizer. Within the Temple there is no special treatment based on class, wealth, or heritage. So the Royal Crown proclaims; so the claim is undisputed. The richly decorated ceiling arching over the whole place suggests majesty, money, and only the mildest hint of mysticism.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks.\n\nYou can also see a copper pole and a tablecloth here.\n\n> You get the pole\nTaken.\n\n> Go south\nIt is dark. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nYou switch the brass lamp on.\n\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps expensive property lurks behind the hangings to the east.\n\nOn the tables are an envelope (which is closed), some candlestick holders, and a candle.\n\nYou can see a pawnshop key here.\n\n> You go to the east\nThis is the location where Beldano stores his most valuable properties.\n\nIn one corner of the room is a barrel of acid.\n\n> You get the statue with the pole\nYou lower the pole down into the acid. You settle the claw around the statuette, then turn the dial to close the claw around the gold statuette, and pull it out.\n\n> You look at the statue\nIt's a tiny figurine, a simplified human form, abstracted, with its arms in front, hands together.\n\n> Inventory\nYou are carrying a copper pole, a crystalline sphere, a spoon, a bag of coins, and a brass lamp (providing light).\n\n> You give the statue to the guard\n(first taking the gold statuette)\nThe claw isn't open.\n\n> Open claw\nYou turn the dial and release the gold statuette, grabbing it before it falls to the ground.\n\n> You give the statue to the guard\nThe guard takes the gold statue from you. \"Thanks. I don't know how you did it, but you can be sure I won't be telling anyone about it. Go on in. Just don't touch anything.\"\n\n> You go to the east\nThe guard says, \"Sorry, Adrienne, but you might be able to grab the Dragon Gem with that--you'll have to leave it out here with me.\" He points at the copper pole.\n\n> You drop the pole\nDropped.\n\n> You go to the east\nThe guard says, \"Go down the back corridor and take your first right to get into the trophy room.\"\n\nYou follow his directions.\n\nSedmon displays his prized possessions in this ostentatious two-story chamber. Paintings and torches alternate around the perimeter at various heights.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You look at the platform\nSupported by a complex array of wooden beams and struts, the glass platform seems nearly amongst the rafters. Down at the base of the platform is a suspiciously vacant notch.\n\n> You examine Gem\nShimmering, many-facetted, it inspires envy in both rich and poor. You can feel a compulsion beyond what its mere beauty should produce.\n\n> You examine the notch\nA hole leads into the innards of the platform and the beams supporting it.\n\n> You check your inventory\nYou are carrying a crystalline sphere, a spoon, a bag of coins, and a brass lamp (providing light)."
    },
    {
        "text": "[Themes: Fantasy, gender choice, fantasy, dragon, multiple protagonists]\n\n> Describe the surroundings\nSedmon displays his prized possessions in this ostentatious two-story chamber. Paintings and torches alternate around the perimeter at various heights.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You examine the torches\nFlickering flames, providing light.\n\n> You take the torch\nYou already have a light source.\n\n> You examine the paintings\nThey'd probably be wonderful if pictures were your bag.\n\n> You go west\nYou head back out through the corridor.\n\nDroop Lane winds slowly upwards through poorly tended warehouses, until it pauses here atop a hill, with Baron Sedmon's mansion facing the street from the east.\n\nYou can see a copper pole and a guard here.\n\n> You go north\nDroop Lane winds slowly upwards through poorly tended warehouses, until it pauses here atop a hill, with Baron Sedmon's mansion facing the street from the east.\n\nYou can see a copper pole and a guard here.\n\n> Go east\nYou make your way down the back corridor.\n\nSedmon displays his prized possessions in this ostentatious two-story chamber. Paintings and torches alternate around the perimeter at various heights.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You cut the candle\nCutting that up would achieve little.\n\n> You go to the south\nShelves line the walls of this open room, with tables arranged around the center. The shop door leads out to the north. The back room where Beldano keeps expensive property lurks behind the hangings to the east.\n\nOn the tables are an envelope (which is closed) and some candlestick holders.\n\nYou can see a pawnshop key here.\n\n> You get the holders\nYou're carrying too many things already.\n\n> You look at what you're carrying with you\nYou are carrying a candle, a crystalline sphere, a spoon, a bag of coins, and a brass lamp (providing light).\n\n> You put the candle in the spoon\nYou try to wedge the candle into the hole in the spoon, but it doesn't quite fit. Flakes of wax fall to the floor.\n\n> You put the candle in the spoon\nYou work the softened end of the candle into the spoon, uniting them.\n\n> You put candle in the notch\nYou work the melted end of the candle into the notch.\n\nThe candle wax hardens.\n\n> You pull the spoon\nNothing obvious happens.\n\n> You turn the spoon\nYou turn the crank with a careful motion, and the platform slowly descends to shoulder level.\n\nFor a moment, you feel as if you are being watched, and you look around the room slowly, half expecting to see a phantom stalker or the like--but there is nothing.\n\n> You examine Gem\nShimmering, many-facetted, it inspires envy in both rich and poor. You can feel a compulsion beyond what its mere beauty should produce.\n\n> You get Gem\nYou snatch the Dragon Gem off of the platform, then look around nervously. No alarms are sounding, but best not to wait.\n\nYou're unsure what to expect from enchanters. You've never worried about the occasional fellow you've taken care of getting resurrected--after all, since El took power, only the former bard conducts The Way of the Grave; and even so it requires already knowing who the murderer was. As long as their abilities with stolen items are similar, you'll be safe.\n\nYou hide the Gem under your cloak and walk back down the passage into the evening air. You notice Sedmon's guard is gone, but the moment of worry passes quickly as your hand brushes the Dragon Gem.\n\nYou have finished this story. But four more remain.\n\n> Go east\nDo you want to play as an [e]nchanter, a [t]hief, [r]oyalty, or a [d]ragon? e\n\n> M.\nDo you want this character to be [m]ale or [f]emale?\n\nEnchanter:\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, now. Laughable.\n\nWere you twenty years younger, it would be your name on everyone's lips. Your face on the popular paintings. And the Dragon Gem would be yours for everyone to covet. It is astonishing the progress you have made. The focus and concentration on the Art you can engage now--for you have conquered such distractions. So.\n\nNo regrets. Your days of heroism ceased when Thorn's Companions disbanded, yet your life--a new life--went on. A Master Thaumaturge. Your advances in divining from water ripples have given you a name in certain Circles, and you'd have thought your future assured.\n\nBut now... the winds bring rumor that Sedmon means to give the Gem to Blackhelm. Blackhelm. That villain--the Dragon Gem is said to have powers, powers that one such as Blackhelm could bring to bear on those of Thorn's Companions who survived. Blackhelm. A mere dabbler in the Art; but... You possess too little knowledge of Summoning to know what use the Dragon Gem would have, but you do not care to find out from the wrong end.\n\nThe best way to be sure the Dragon Gem stays out of Blackhelm's hands? Get it in yours.\n\nRandomly arranged paving stones form this street, proceeding east towards a more attractive arrangement. The darkened buildings lean sloppily over the edge of the street, reducing the energetic potential of the strict east-west layout. West the road leads back into the seething mess that is Oldtown.\n\n[Type 'ABOUT' for important commands you can use.]"
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists, dragon]\n\n> You look around\nRandomly arranged paving stones form this street, proceeding east towards a more attractive arrangement. The darkened buildings lean sloppily over the edge of the street, reducing the energetic potential of the strict east-west layout. West the road leads back into the seething mess that is Oldtown.\n\n> You go east\nA small, well-tended flower garden lies at the center of this square. Lines of symmetry cross in several directions through the center of the garden: the garden, the brick pavement, and the temple to the east all reflect these symmetries; a matching pair of roads lead north and south--Sedmon's mansion lies along the former.\n\nYou can see two guards here.\n\n> You look at the guard\nOne of the Royal Crown's useless lackeys.\n\n> Inventory\nYou are carrying a spell book.\n\n> You look at the self\nVolthar the Thaumaturge, once a somewhat famous-hero; fortunately, a careful word here and there has erased that memory from popular culture, and the Circle knows you only as a studious, productive researcher.\n\n> Examine book\nYou had to hurry when you heard about Blackhelm, and you couldn't find your favorite spell book, so you grabbed the first one to hand. It turned out to be an old and not very good one.\n\nIt contains the following spells:\n\njindak    detect magic\nfrotz     cause magical light\nzifmia    magically summon visible creature\n\n> Zifmia\n(the guard)\nYou don't have the zifmia spell memorized.\n\n> You memorize the zifmia\nYou memorize the zifmia spell.\n\n> Zifmia\n(the guard)\nThat would accomplish nothing.\n\n> You memorize the jindak\nYou memorize the jindak spell.\n\n> Memorize rezrov\nYou memorize the rezrov spell.\n\n> You memorize the gnusto\nYou have the gnusto spell permanently memorized.\n\n> You memorize frotz\nYou memorize the frotz spell, but with so many spells to keep track of, you probably forgot one of the others.\n\n> Spells\nYou currently have the frotz, zifmia, rezrov, and jindak spells memorized (in addition to the gnusto spell which you've memorized permanently).\n\n> Frotz\n(the guard)\nA blue glow appears around the guard and slowly intensifies to a regular, pale blue light."
    },
    {
        "text": "> You look at your surroundings\nA small, well-tended flower garden lies at the center of this square. Lines of symmetry cross in several directions through the center of the garden: the garden, the brick pavement, and the temple to the east all reflect these symmetries; a matching pair of roads lead north and south.\n\nYou can see a guard and a guard here.\n\n> Go north\nThe road from Newtown to Oldtown crests a hill beside Baron Sedmon's mansion to the east. You sense a resonance, and suspect this location marks the intersection of two ley lines.\n\nYou can see a guard here.\n\n> You examine the guard\nMust be a lackey of Sedmon, by his garb.\n\n> Go east\nThe guard blocks your path. \"Hey, you can't go in there.\" He eyes your clothing. \"And don't think you can do any of those magic tricks on me. The Baron's put a spell of protection over me.\"\n\n> Jindak\nThe guard shimmers strangely.\n\n> You learn the frotz\nYou memorize the frotz spell.\n\n> Frotz guard\nThe guard shakes his head at you. \"Don't be silly.\" Nothing else happens.\n\n> Go south\nA small, well-tended flower garden lies at the center of this square. Lines of symmetry cross in several directions through the center of the garden: the garden, the brick pavement, and the temple to the east all reflect these symmetries; a matching pair of roads lead north and south.\n\nYou can see a guard and a guard here.\n\n> Go south\nA winding road leads off to the north through haphazardly placed and designed buildings. To the south is a magic shop you've visited upon occasion.\n\n> Rezrov door\nIn a flash of blue light the door opens.\n\n> You open door\nThat's already open.\n\n> Inventory\nYou are carrying a spell book.\n\n> You go south\nYou pass through the foyer into the pawnshop.\n\nIt is dark. You are likely to be eaten by a grue.\n\n> Frotz book\nA blue glow appears around the spell book and slowly intensifies to a regular, pale blue light.\n\n> Go south\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east counterbalance a door to the west that you recall, but cannot see.\n\nOn the shelves are a power sphere, a tablecloth, and an envelope (which is closed).\n\nOn the tables are some candlestick holders and a candle.\n\n> You examine the sphere\nA crystalline ball often sold as decoration, but useful to specialists in Arts other than those you practice.\n\n> You examine tablecloth\nHaphazardly folded, it features an illustration of some imagined pastoral landscape with a far too regular arrangement of trees.\n\n> Go west\nThere's just a blank wall there.\n\n> You memorize the jindak\nYou memorize the jindak spell.\n\n> Jindak\nA door-shaped blue glow appears in the west wall.\n\n> You open the door\nYou open the glowing door.\n\n> Go west\nThe octagonal layout of this room aligns to suppress all but the most powerful magics. Various implements, utensils, and materials of magic line the free-standing shelves in the room.\n\nOn the shelves is a decaying scroll.\n\nYou can see a wooden chest (which is closed) and a glass case (which is closed) (in which is a black scroll) here.\n\n> You look at the decaying scroll\nThis tattered and worn scroll contains the inspi rotation spell.\n\n> Gnusto inspi\nThe spell fizzles out, ineffective.\n\n> Go east\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east wall cover an irrelevant passage.\n\nOn the shelves are a power sphere, a tablecloth, and an envelope (in which is some powder).\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a glowing door here.\n\n> Gnusto scroll\nYour spell book gets slowly warm and glows faintly; then there is a sudden flash from the decaying scroll. When the light fades, the decaying scroll is gone, but your spell book contains a new spell.\n\n> Examine book\nYour old spell book contains the spells:\n\nrezrov    open even locked or enchanted objects\njindak    detect magic\nfrotz     cause magical light\nzifmia    magically summon visible creature\n\n> Go west\nThe octagonal layout of this room aligns to suppress all but the most powerful magics. Various implements, utensils, and materials of magic line the free-standing shelves in the room.\n\nYou can see a wooden chest (which is closed) and a glass case (which is closed) (in which is a black scroll) here.\n\n> Open chest\nIt seems to be locked.\n\n> You look at the case\nIn the glass case is a black scroll.\n\n> You look at the black scroll\nThis black vellum scroll would most likely contains the smolpa invisibility spell.\n\n> You get the chest\nThe chest is too heavy to carry.\n\n> Rezrov chest\nYou memorize the rezrov spell.\nIn a flash of blue light the wooden chest opens, revealing a gilded scroll and six pebbles.\n\n> You examine gilded\nThis fancily bordered scroll contains the azeppo teleportation spell.\n\n> Gnusto gilded\nYour spell book gets slowly warm and glows faintly; then there is a sudden flash from the gilded scroll. When the light fades, the gilded scroll is gone, but your spell book contains a new spell.\n\n> You get the pebbles\npebble: Taken.\npebble: Taken.\npebble: Taken.\npebble: Taken.\npebble: Taken.\npebble: Taken.\n\n> Go west\nThe octagonal layout of this room aligns to suppress all but the most powerful magics. Various implements, utensils, and materials of magic line the free-standing shelves in the room.\n\nYou can see a glass case (which is closed) (in which is a black scroll) here.\n\n> You look at the glass case\nIn the glass case is a black scroll.\n\n> Open case\nIt seems to be locked.\n\n> You examine the case\nIs that the best you can think of?\n\nIn the glass case is a black scroll.\n\n> You check what you're carrying\nYou are carrying six pebbles and a spell book (providing light).\n\n> Go east\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east wall cover an irrelevant passage.\n\nOn the shelves are a power sphere, a tablecloth, and an envelope (in which is some powder).\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a wooden chest (which is empty) and a glowing door here.\n\n> You go east\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east wall cover an irrelevant passage.\n\nOn the shelves are a tablecloth and an envelope (in which is some powder).\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a wooden chest (which is empty) and a glowing door here.\n\n> You look at the candle\nA long white candle.\n\n> You go north\nA winding road leads off to the north through haphazardly placed and designed buildings. To the south is a magic shop you've visited upon occasion.\n\n> You go north\nA small, well-tended flower garden lies at the center of this square. Lines of symmetry cross in several directions through the center of the garden: the garden, the brick pavement, and the temple to the east all reflect these symmetries; a matching pair of roads lead north and south.\n\nYou can see a guard and a guard here.\n\n> Go east\nThe architects of this temple were careful to construct hard vertical lines on the building itself to maximize phasic flow, but you can sense the groundflow lacks focus. The square lies to the west.\n\nA closed gate stands between you and the temple.\n\nYou can also see a window here.\n\n> You look at the window\nThe window looks into a guardroom full of guards--more than you could handle alone. Fortunately they don't seem to be looking this way.\n\n> Rezrov gate\nIn a flash of blue light the gate opens.\n\n> You go east\nYou stand at the west end of a long foyer leading to a small doorway into the temple itself. Windows in the north wall look into a guardhouse full of guards.\n\n> Inventory\nYou are carrying a power sphere, six pebbles and a spell book (providing light).\n\n> You look at the spell book\nYour old spell book contains the spells:\n\ngnusto    inscribe a spell in your spell book\nrezrov    open even locked or enchanted objects\njindak    detect magic\nfrotz     cause magical light\nzifmia    magically summon visible creature\n\n> You throw the pebbles\npebble: Dropped.\npebble: Dropped.\npebble: Dropped.\npebble: Dropped.\npebble: Dropped.\npebble: Dropped.\n\n> You examine the doorway\nYou see the main temple area through this inviting yet susprisingly small doorway.\n\n> You throw the pebble at the doorway\nYou throw the pebble into the temple.\n\n> Azeppo pebble\nYou memorize the azeppo spell.\nA faint blue glow surrounds the pebble.\n\n> You throw the pebble at the doorway\nYou throw the pebble into the temple.\n\nYou feel a brief moment of disorientation.\n\nLines of power converge in the center of the vaulted ceiling above you. Enormous scripted letters cover the west wall over the doorway.\n\nA penetration field glows steadily against the back wall.\n\nIn the penetration field is a pair of wooden hooks (on which is a Kriit).\n\nYou can also see a pebble here.\n\n> You get the pebble\n(the pebble)\nTaken.\n\n> You examine Kriit\nThe Kriit is a copper, rune-covered pole with a metal claw mounted atop and a dial on the bottom. You have no training in the ritual magic uses of the Kriit, but its plane-shifting power is supposed to require no training, only potential.\n\n> You look at the letters\nThe Royal Crown's justice begins with the casting of the cadalk spell to remove any spell effects made by the criminal. The spell is written here for convenient reference.\n\n> Gnusto cadalk\nYour spell book gets slowly warm and glows faintly; then there is a sudden flash from the script. When the light fades, your spell book contains a new spell.\n\n> You examine the field\nThe penetration field resists all physical motion into it, making it impossible to reach into it or throw things into it.\n\n> You examine the spell book\nYour old spell book contains the spells:\n\ninspi     rotate object\ngnusto    inscribe a spell in your spell book\nrezrov    open even locked or enchanted objects\njindak    detect magic\nfrotz     cause magical light\nzifmia    magically summon visible creature\n\n> You memorize inspi\nYou memorize the inspi spell.\n\n> You memorize inspi\nYou memorize the inspi spell, but with so many spells to keep track of, you probably forgot one of the others.\n\n> Inspi hooks\nA shimmering blue glow surrounds one of the hooks, which turns slowly around its axis.\n\n> Rezrov hooks\nA blue glow appears around the pair of wooden hooks for a moment, then fades.\n\n> Jindak\nYou memorize the jindak spell.\nThe spell book gives off a faint blue glow.\n\n> You examine the field\nThe penetration field resists all physical motion into it, making it impossible to reach into it or throw things into it.\n\n> You memorize azeppo\nYou memorize the azeppo spell.\n\n> Azeppo kriit\nA faint blue glow surrounds the Kriit.\n\n> You wait awhile\nTime passes.\n\nThe faint blue glow around the Kriit disappears.\n\n> Inspi kriit\nA shimmering blue glow surrounds the Kriit, which slowly rotates, turning around to face away--nearly falling off the hooks as it does--and then back, then spinning slowly along its long axis, then finally tilting upward, slipping through the hooks and falling to the floor as it continues turning, balancing on its point, and finally coming to rest.\n\n> You turn the dial\nYou turn the dial and the claw closes.\n\n> You turn the dial\nYou turn the dial and the claw opens.\n\n> You go to the west\nYou'd be spotted running out just as easily as you'd have been spotted running in."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, multiple protagonists]\n\n> Look around\nLines of power converge in the center of the vaulted ceiling above you. Enormous scripted letters cover the west wall over the doorway.\n\nA penetration field glows steadily against the back wall.\n\nIn the penetration field is a pair of wooden hooks.\n\n> You look at the doorway\nYou see the foyer through this inviting doorway.\n\n> Azeppo pebble\nYou memorize the azeppo spell.\nA faint blue glow surrounds the pebble.\n\n> You throw the pebble at the doorway\nYou throw the pebble far along the foyer.\n\nYou feel a brief moment of disorientation.\n\nYou can see a pebble here.\n\n> You go west\nThe architects of this temple were careful to construct hard vertical lines on the building itself to maximize phasic flow, but you can sense the groundflow lacks focus. The square lies to the west.\n\nAn open gate allows access into the temple.\n\nYou can also see a window here.\n\n> Wave kriit\nYou wave the Kriit. The runes on it glow faintly, but nothing else happens.\n\n> You read Kriit\nThe Kriit is a copper, rune-covered pole with a metal claw mounted atop and a dial on the bottom. You have no training in the ritual magic uses of the Kriit, but its plane-shifting power is supposed to require no training, only potential.\n\n> You put Kriit in the case\nThe glass case is closed.\n\n> You get the scroll with the claw\n(first taking the claw)\nThat seems to be a part of the Kriit.\n\n> Wave kriit\nYou wave the Kriit. The runes on it glow faintly, but nothing else happens.\n\n> You get the scroll with Kriit\nThe Kriit is a copper, rune-covered pole with a metal claw mounted atop and a dial on the bottom. You have no training in the ritual magic uses of the Kriit, but its plane-shifting power is supposed to require no training, only potential.\n\nThe glass case isn't open.\n\n> You hit the case with Kriit\nYou can only do that to something animate.\n\n> You put Kriit in the case\nThe glass case is closed.\n\n> You get the case\nThat's fixed in place.\n\n> You go east\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east wall cover an irrelevant passage.\n\nOn the shelves are a tablecloth and an envelope (in which is some powder).\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a wooden chest (which is empty) and a glowing door here.\n\n> You go north\nA winding road leads off to the north through haphazardly placed and designed buildings. To the south is a magic shop you've visited upon occasion.\n\n> Go west\nNot while such an important task remains.\n\n> Go south\nBuilding walls limit your movements.\n\n> You memorize the cadalk\nYou memorize the cadalk spell.\n\n> Cadalk guard\nThe guard smiles at you. \"Not me, bub.\" Nothing else happens.\n\nYou really should have brought a good spell book along. Perhaps there are some better options at the magic shop south of the square.\n\n> You cadalk yourself\nThe light from the spell book goes out.\n\nThe light from the guard goes out.\n\n> You look at the black scroll\nThis black vellum scroll would most likely contains the smolpa invisibility spell.\n\nMore serious magics will be required to get this out. You recall a Kriit in the Royal Crown's temple of 'justice'; its plane-shifting powers might work here.\n\n> Wave kriit\nYou wave the Kriit. The runes on it glow faintly, but nothing else happens.\n\n> You examine Kriit\nThe Kriit is a copper, rune-covered pole with a metal claw mounted atop and a dial on the bottom. You have no training in the ritual magic uses of the Kriit, but its plane-shifting power is supposed to require no training, only potential.\n\n> You examine the dial\nThis dial can be turned.\n\n> You look at the claw\nThis mechanical claw opens and closes when the dial is turned.\n\n> Shift kriit\nNothing obvious happens.\n\n> Shift case\nIt is fixed in place.\n\n> You examine the runes\nThe runes describe the postra spell, which creates a momentary sequence of portals through alternate planes of existence to create a portal to a nearby objects, allowing you to handle them at a distance.\n\n> Postra scroll\nAt first, nothing happens. The Kriit vibrates slightly, and an ominous hum sounds. It builds, and for a moment you are disoriented. With a sudden flash, a spinning vortex of blue light appears next to you as simultaneously another appears next to the black scroll. You reach through the portal and watch your hand emerge from the other one.\n\nYou fumble for the black scroll and barely notice a slight tug at your other hand. As you pull the scroll back through both portals, you see the Kriit disappearing through the portal next to you, clutched by a scale-covered hand.\n\nAfter a moment, the vortices disappear.\n\n> You examine the scroll\nThis black vellum scroll contains the smolpa invisibility spell.\n\n> You go east\nMeticulously placed shelves set off the bounds of the room, with tables placed just offset from center. Hangings on the east wall cover an irrelevant passage.\n\nOn the shelves are a tablecloth and an envelope (in which is some powder).\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a wooden chest (which is empty) and a glowing door here.\n\n> Gnusto smolpa\nYour spell book gets slowly warm and glows faintly; then there is a sudden flash from the black scroll. When the light fades, the black scroll is gone, but your spell book contains a new spell.\n\n> You memorize the smolpa\nYou memorize the smolpa spell.\n\n> Smolpa yourself\nA faint blue glow surrounds you for a moment, and then the glow disappears--and so do you, at least to yourself--since with a smolpa spell, other people can still see you fine.\n\n> Smolpa guard\nA faint blue glow surrounds the guard for a moment.\n\n> Punch guard\nWhy waste your time on mundanes?\n\n> Smolpa guard\nThe guard glances away, and you release the spell. A faint flash fills your vision. The guard looks back, and looks right past you.\n\n> You go to the east\nThe guard blocks your path. \"What is that glowing book I see hovering in mid-air?\"\n\n> You memorize the cadalk\nYou memorize the cadalk spell, but with so many spells to keep track of, you probably forgot one of the others.\n\n> You cadalk yourself\nThe light from the spell book goes out.\n\nThe light from the guard goes out.\n\n> Go east\nYou slip into the mansion and find your way to Sedmon's trophy room.\n\nSedmon's prized possessions are arrayed in meaningless patterns around this two-story chamber. A careful arrangement of paintings and torches alternate around the walls of the room. A doorway leads out to the west.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\nYou have a strange feeling.\n\n> You look at Gem\nShimmering, many-facetted, it inspires envy in both sorcerer and mundane alike. You can feel a compulsion beyond what its mere beauty should produce.\n\n> You examine the spell book\nYour old spell book contains the spells:\n\nazeppo    teleport caster to object eventually\ninspi     rotate object\ngnusto    inscribe a spell in your spell book\nrezrov    open even locked or enchanted objects\njindak    detect magic\nfrotz     cause magical light\nzifmia    magically summon visible creature\n\n> Jindak\nA glowing latticework webbing appears around the platform. A moment later you notice a faint glowing face in one of the paintings.\n\nSo. A trap.\n\n> You memorize the smolpa\nYou memorize the smolpa spell.\n\n> Smolpa face\nA faint blue glow surrounds the glowing face for a moment.\n\n> Punch face\nThat is insubstantial.\n\n> You examine the paintings\nMostly portraits, a few pretentious landscapes.\n\n> You memorize azeppo\nYou memorize the azeppo spell.\n\n> You look at the trap\nThe strands of the web crisscross all over the surface of the platform, making it impossible to work any magic on it.\n\n> You look at the platform\nSupported by a complex array of wooden beams and struts, the glass platform seems nearly amongst the rafters. Down at the base of the platform is a suspiciously vacant notch.\n\n> Zifmia face\nThere is a crack of thunder as the air displaces around a figure appearing suddenly before you. Black boots, a red cloak, a black hood--you recognize the figure.\n\nBlackhelm.\n\n\"Well, Volthar, it seems perhaps I underestimated you,\" she says.\n\nYou laugh. \"You always have, Merresin. Even back in the days of the Companions.\"\n\nShe shrugs. \"Even so, you will not find me unprepared.\"\n\nShe quickly begins gesturing magically.\n\n> You memorize the smolpa\nYou memorize the smolpa spell, but with so many spells to keep track of, you probably forgot one of the others.\n\n> Spells\nYou currently have the azeppo, smolpa, jindak, and zifmia spells memorized (in addition to the gnusto spell which you've memorized permanently).\n\n> You memorize inspi\nYou memorize the inspi spell, but with so many spells to keep track of, you probably forgot one of the others.\n\n> Spells\nYou currently have the azeppo, inspi, jindak, and zifmia spells memorized (in addition to the gnusto spell which you've memorized permanently).\n\n> You forget azeppo\nYou allow the azeppo spell to pass from your memory.\n\n> Spells\nYou currently have the smolpa, inspi, jindak, and zifmia spells memorized (in addition to the gnusto spell which you've memorized permanently).\n\n> Zifmia face\nThere is a crack of thunder as the air displaces around a figure appearing suddenly before you. Black boots, a red cloak, a black hood--you recognize the figure.\n\nBlackhelm.\n\n\"Well, Volthar, it seems perhaps I underestimated you,\" she says.\n\nYou laugh. \"You always have, Merresin. Even back in the days of the Companions.\"\n\nShe shrugs. \"Even so, you will not find me unprepared.\"\n\nShe quickly begins gesturing magically.\n\n> Inspi blackhelm\nA shimmering blue glow surrounds Merresin Blackhelm, who slowly rotates, turning around to face away and then back, then turning over upside downand continuing until he rights himself and then turning over sideways like hands on a clock, from midnight through morning and back to noon.\n\nWith a final gesture, Blackhelm disappears in a puff of grey smoke.\n\n> You look at the trap\nThe strands of the web crisscross all over the surface of the platform, making it impossible to work any magic on it.\n\n> Wait\nTime passes."
    },
    {
        "text": "> Look around\nSedmon's prized possessions are arrayed in meaningless patterns around this two-story chamber. A careful arrangement of paintings and torches alternate around the walls of the room. A doorway leads out to the west.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\n> Spells\nYou currently have the smolpa, inspi, jindak, and zifmia spells memorized (in addition to the gnusto spell which you've memorized permanently).\n\n> You forget the inspi\nYou allow the inspi spell to pass from your memory.\n\n> You memorize the cadalk\nYou memorize the cadalk spell.\n\n> Cadalk blackhelm\nThere's a flash from the plaftorm.\n\nWith a final gesture, Blackhelm disappears in a puff of grey smoke.\n\n> You memorize azeppo\nYou memorize the azeppo spell.\n\n> Azeppo gem\nA faint blue glow surrounds the Dragon Gem.\n\n> You wait for a while\nTime passes.\n\nYou feel a brief moment of disorientation.\n\nTall Chamber (on the platform)\n\nOn the platform you can see the Dragon Gem.\n\n> You get Gem\nYou pick up the Dragon Gem with a small smile. Merresin never was a winner in your competitions, even back in the days when you were both Thorn's companions.\n\nYou activate a spell of recall which leaves you at the bottom of a prepared hole; you climb out, remove the ladder, and seal the hole shut. Enough to delay magical pursuers long enough not to be able to trace your second recall.\n\nFor a moment you wonder about the strange disappearance of the Kriit, but it is of no real moment in the face of Blackhelm's defeat.\n\nAs you realize you've kept the Gem from Blackhelm, you begin to ponder to what uses you might be able to put it in your own Art, cupping it fondly.\n\nYou have finished this story. But three further stories remain.\n\n> T\nDo you want to play as a [t]hief, [r]oyalty, or a [d]ragon? t\n\n> F.\nDo you want this character to be [m]ale or [f]emale?\n\nThief:\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, now. Strutting in the limelight like a puffed-up peacock. And those fools believe him.\n\nWere you twenty years younger, it would be your name on everyone's lips. Your face on the popular paintings. And the Dragon Gem would be yours for everyone to covet. Ah, the foolishness of youth, for what wine would those words buy? What men would such pictures bed? Far better to simply sell the thing to a dandy like Ventillado. Too bad it went for such a pittance, since nobody else would touch the damn thing.\n\nNo regrets. Your days of heroism ceased when Thorn's Companions disbanded, yet your life--a new life--went on. A better life. For thieving is best practised in secret, and now your skills have grown far beyond what your companions might have ever imagined you could possess. Enough to rob a sleeping dragon in his very lair.\n\nBut now... the winds bring rumor that Sedmon means to sell the Gem to Blackhelm. Blackhelm. That villain--the Dragon Gem is said to have powers, powers that one such as Blackhelm could bring to bear on those of Thorn's Companions who survived. Knowing Blackhelm, it was not chance, after all, that you overheard gossip about the Dragon Gem. Easy to imagine Blackhelm pulling the strings from behind the scene, playing you for the fool. So.\n\nThe best way to be sure the Dragon Gem stays out of Blackhelm's hands? Get it back in yours.\n\nSturdy, functional buildings lie in and out of shadow on the road to the temple square. Simple architecture, devoid of handholds; closely spaced buildings, devoid of alleyways; uncut walls, devoid of windows: the builders in this area knew how to encourage amateurs to go elsewhere.\n\nSedmon's mansion lies somewhere north of the square to the east.\n\nA crate sits in the shadow of a building to the north.\n\n[Type 'ABOUT' for important commands you can use.]\n\n> Zifmia face\nThere is a crack of thunder as the air displaces around a figure appearing suddenly before you. Black boots, a red cloak, a black hood--you recognize the figure.\n\nBlackhelm.\n\n\"Well, Volthar, it seems perhaps I underestimated you,\" she says.\n\nYou laugh. \"You always have, Merresin. Even back in the days of the Companions.\"\n\nShe shrugs. \"Even so, you will not find me unprepared.\"\n\nShe quickly begins gesturing magically.\n\n> Wait\nTime passes.\n\nWith a final gesture, Blackhelm disappears in a puff of grey smoke."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist]\n\n> You look around\nSturdy, functional buildings lie in and out of shadow on the road to the temple square to the east. Simple architecture, devoid of handholds; closely spaced buildings, devoid of alleyways; uncut walls, devoid of windows: the builders in this area knew how to encourage amateurs to go elsewhere.\n\nA crate sits in the shadow of a building to the north.\n\n> Inventory\nYou are carrying:\na dagger (in ankle sheath)\na length of wire (in left tunic pocket)\na set of lockpicks (in left sleeve pocket)\na vial of grease (in right cloak pocket)\n\n> You examine wire\nTwo foot of wire--plenty for all but the widest necks.\n\n> You examine the grease\nA vial full of grease, useful for guaranteeing silent operation. Ten eldars, mostly for the vial.\n\n> You examine the dagger\nFinely balanced, designed to your exact specifications, with a good steel edge. It cost you eighty-five eldars, although nobody else would want to pay more than sixty for it. Yenalda's fifth rule: Love your weapons better than your coin.\n\n> You look at the lockpicks\nThree major components--optimal trade-off between functionality versus ability to recognize them by feel. Yenalda's second rule: If you can't do it in the dark, you can't do it. One hundred and forty-five eldars.\n\n> About yourself\nYou strike quite a figure in your black cloak, black hood, black tunic, black leggings, and silent black shoes."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist]\n\n> You look around\nSturdy, functional buildings lie in and out of shadow on the road to the temple square to the east. Simple architecture, devoid of handholds; closely spaced buildings, devoid of alleyways; uncut walls, devoid of windows: the builders in this area knew how to encourage amateurs to go elsewhere.\n\nA crate sits in the shadow of a building to the north.\n\n> Examine crate\nA large, wooden crate. Its contents--if any--could be worth anywhere from ten eldars to two hundred eldars. No time to find out exactly right now.\n\n> You climb on crate\nYou climb silently onto the crate.\n\n> Up\nYou pull yourself up to the roof.\n\nThe chimneys and extruded beams on this roof offer few places to hide; the stars shining from everywhere in the sky leave no particular shadows. The roof abuts the roof of a house to the north. From here you can go back down to the street.\n\n> Go north\nA lightly sloping roof with a convenient chimney to hide along. An extension to the east makes it plausible to descend to an empty road, while the roof connects to a warehouse to the south.\n\n> Go east\nYou're not sure you'll be able to get back up, but you've got to go down at some point; might as well be now.\n\nThis road winds up the hill towards Sedmon's mansion, which is just around the curve to the north, and back down to the square to the south. A wall of shrubbery to the northeast offers a purely psychological barrier to casual trespassers. You descended from a house to the west.\n\n> You go northeast\nSedmon seems to have mounted guards at both of the entrances to his mansion, so your only option from here is back to the street to the southwest, assuming you keep to the ground. The windowless wall to your north wears a decorative lip ten feet above ground.\n\n> You look at the lip\nThe lip looks like it extends around to the front and back of the building.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go to the south-west\nThis road winds up the hill towards Sedmon's mansion, which is just around the curve to the north, and back down to the square to the south. A wall of shrubbery to the northeast offers a purely psychological barrier to casual trespassers. You descended from a house to the west.\n\n> Go west\nDefying your own expectations, you manage to work your way back on top of the house.\n\nA lightly sloping roof with a convenient chimney to hide along. An extension to the east makes it plausible to descend to an empty road, while the roof connects to a warehouse to the south.\n\n> You go south\nDeep shadows cast by an awning (two eldars) leave this edge of the square, and the road leading north, dark. The warehouse on one side is fully exposed, but the route to the temple, to the southeast, is partially covered.\n\nA pair of guards stand at the center of the square.\n\n> You go north\nYou peer around the curve from the shadow to consider your approach, but the guard in front of the mansion turns to look in your direction almost the instant you look out, and you're forced to withdraw to avoid detection.\n\n> Go south\nDeep shadows cast by an awning leave this edge of the square, and the road leading north, dark. The warehouse on one side is fully exposed, but the route to the temple, to the southeast, is partially covered.\n\nA pair of guards stand at the center of the square.\n\n> Go southeast\nA shadowed forecourt between the temple and the square offers you good cover from sight. The face of the temple offers limited opportunities to scale it, and the sole window is likely not where you want to go. You can skirt around the edge of the square northwest or southwest.\n\nA pair of guards stand at the center of the square.\n\nA closed gate is built into the temple wall to the east.\n\n> You examine the gate\nCast iron. Sturdy. Stops a few feet short of the ceiling.\n\n> You climb the gate\nYou scramble up and over the top of the gate, squeezing partially between two bars.\n\nYou stand at the end of a long foyer leading east to a narrow doorway into the temple itself. Light pours through windows in the north wall looking into a roomful of guards, leaving crisscrossing shadows.\n\n> Go east\nThe guards are scarcely attentive to the foyer, so you have no trouble sneaking from one patch of darkness to the other, right under their noses.\n\nGiven your choice of career, it's perhaps somewhat surprising this is only your second opportunity to see the interior of this place. It's pretty nice: hiding places aplenty, deep shadows at either side, and a suspicious dark hole in the back wall near the ceiling. The shadowed corridor lies west.\n\nAn odd crack in the left side of the back wall catches your eye.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> You examine crack\nLooks like a secret door.\n\n> You open the door\nYou pry at the crack and quickly lever open a secret door.\n\n> You enter door\nYou ascend a dark, sloping corridor which, halfway up, doubles-back to the west.\n\nThis tiny chamber looks out over the temple to the west through a waist-high hole, opposite a dark passage leading back down.\n\nDirectly below, a magic field glows against the wall.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> You examine the field\nThe magic field stops just a fraction shy of the wall; you can even see a sliver of unblocked hook if you look down the wall just right."
    },
    {
        "text": "> Go downward\nGiven your choice of career, it's perhaps somewhat surprising this is only your second opportunity to see the interior of this place. It's pretty nice: hiding places aplenty, deep shadows at either side, and a suspicious dark hole in the back wall near the ceiling. The shadowed corridor lies west.\n\nA section of the east wall is turned out, revealing a tight corridor sloping up into darkness.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> You take dagger\nYou already have that.\n\n> You go to the west\nYou sneak back past the guards.\n\nYou stand at the end of a long foyer leading east to a narrow doorway into the temple itself. Light pours through windows in the north wall looking into a roomful of guards, leaving crisscrossing shadows.\n\n> Go west\nYou climb back over the gate.\n\nA shadowed forecourt between the temple and the square offers you good cover from sight. The face of the temple offers limited opportunities to scale it, and the sole window is likely not where you want to go. You can skirt around the edge of the square northwest or southwest.\n\nA pair of guards stand at the center of the square.\n\nA closed gate is built into the temple wall to the east.\n\n> You go to the south-west\nJust south of the square, the road dead-ends amidst a wall of stores, with no safe route out but back northeast to the temple. To the south, Beldano's Pawnery and Sometime Fencing Operation offers itself.\n\n> You pick the lock\n(with the lockpicks)\nYou pull the lockpicks out.\n\nYou unlock the door.\n\nYou put the lockpicks back in your left sleeve pocket.\n\n> You open the door\nYou open the door.\n\n> You go south\nYou pass through the foyer into the pawn shop.\n\nIt is dark. You are likely to be eaten by a grue.\n\n> Inventory\nYou are carrying:\na dagger (in ankle sheath)\na length of wire (in left tunic pocket)\na set of lockpicks (in left sleeve pocket)\na vial of grease (in right cloak pocket)\n\n> You look\nIt is dark. You are likely to be eaten by a grue.\n\n> You examine the store\nAlthough not the most physically secure of buildings you've encountered, Beldano's contacts guarrantee him and his wares relative safety. You'd best not take anything idly.\n\n> You go northeast\nA shadowed forecourt between the temple and the square offers you good cover from sight. The face of the temple offers limited opportunities to scale it, and the sole window is likely not where you want to go. You can skirt around the edge of the square northwest or southwest.\n\nA pair of guards stand at the center of the square.\n\nA closed gate is built into the temple wall to the east.\n\n> Go northwest\nDeep shadows cast by an awning leave this edge of the square, and the road leading north, dark. The warehouse on one side is fully exposed, but the route to the temple, to the southeast, is partially covered.\n\nA pair of guards stand at the center of the square.\n\n> Up\nYou ascend the side of the building to a lip on the second floor. You work your way around to the back of the building, where you find a small covered shutter. Opening it, you slip inside.\n\nYou stand amongst strange vertical shadows in the rafters of a fancy little trophy room of sorts, with paintings and torches arranged at various heights along the walls. An open window leads out to the east.\n\nIn the center of the room an intricate platform rises high up, but out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You examine Gem\nShimmering, many-facetted, it inspires envy in both skillful and talentless. You can feel a compulsion beyond what its mere beauty should produce.\n\n> You go to the east\nYou slip out the window, around the mansion, and drop lightly to the ground.\n\nSedmon seems to have mounted guards at both of the entrances to his mansion, so your only option from here is back to the street to the southwest, assuming you keep to the ground. The windowless wall to your north wears a decorative lip ten feet above ground.\n\n> Go south\nFlickering shadows dance about the room from the shelves around the walls and the tables in the center. Beldano keeps most of his wares--whether pawned, fenced, or just for sale here. A door leads out to the street, while hangings cover a room to the east.\n\nOn the shelves are a glass ball, an envelope (which is closed), and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\n> You examine the ball\nSparkling and flawless. Just large enough you can't wrap your hand all the way around it. Eleven eldars.\n\n> You examine the powder\nA fine white powder. You don't know what it is to assign it a value.\n\n> You taste the powder\nYenalda's nineteenth rule: Don't eat it if you don't know what it is.\n\n> You look at the tablecloth\nIllustrated with a landscape, probably five eldars.\n\n> You examine the candle\nA long white candle, perhaps worth half an eldar.\n\n> You go to the east\nThis windowless chamber is where Beldano stores his most valuable properties. The main room lies back to the west.\n\nIn one corner of the room is a barrel with some liquid in it.\n\n> You look at the barrel\nThis is a barrel full of a crystal-clear acid. You can see clear through to the bottom, where there is a gold statuette.\n\n> You examine the statuette\nIt's a tiny figurine, a simplified human form, abstracted, with its arms in front, hands together. At least eight hundred eldars, possibly more."
    },
    {
        "text": "[Themes: Fantasy, dragon, gender choice, nonhuman protagonist]\n\n> Look around\nThis windowless chamber is where Beldano stores his most valuable properties. The main room lies back to the west.\n\nIn one corner of the room is a barrel of acid.\n\n> Empty vial\nYou pull the vial of grease out.\n\nYou pour out the grease on the ground.\n\nYou put the empty vial back in your right cloak pocket.\n\n> You fill vial with the acid\nYou pull the empty vial out.\n\nYou carefully scoop a small amount of the acid into the vial.\n\nYou put the vial of acid back in your right cloak pocket.\n\n> Go west\nFlickering shadows dance about the room from the shelves around the walls and the tables in the center. Beldano keeps most of his wares--whether pawned, fenced, or just for sale here. A door leads out to the street, while hangings cover a room to the east.\n\nOn the shelves are a glass ball, an envelope (in which is some powder), and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\n> You go north\nJust south of the square, the road dead-ends amidst a wall of stores, with no safe route out but back northeast to the temple. To the south, Beldano's Pawnery and Sometime Fencing Operation offers itself.\n\n> You climb the gate\nYou scramble up and over the top of the gate, squeezing partially between two bars.\n\nYou stand at the end of a long foyer leading east to a narrow doorway into the temple itself. Light pours through windows in the north wall looking into a roomful of guards, leaving crisscrossing shadows.\n\nYour torch casts flickering patterns of light across the corridor.\n\n> You go to the east\nYenalda's first rule: Focus. They may be idiots, but they'd notice that torch you've got there, no problem.\n\n> You drop the torch\nDropped.\n\n> You go to the east\nYou sneak past the guards.\n\nGiven your choice of career, it's perhaps somewhat surprising this is only your second opportunity to see the interior of this place. It's pretty nice: hiding places aplenty, deep shadows at either side, and a suspicious dark hole in the back wall near the ceiling. The shadowed corridor lies west.\n\nA section of the east wall is turned out, revealing a tight corridor sloping up into darkness.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> Go east\nYou ascend a dark, sloping corridor which, halfway up, doubles-back to the west.\n\nThis tiny chamber looks out over the temple to the west through a waist-high hole, opposite a dark passage leading back down.\n\nDirectly below, a magic field glows against the wall.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\n> You pour the acid on the hooks\nYou pull the vial of acid out.\n\nYou pour the acid against the wall over one of the hooks. The acid runs down the wall, slipping past the magic field, until it reaches the joint of the hook with the wall. There's a sizzle, and a moment later one of the hooks breaks free and falls to the ground straight through the field, the copper pole slipping and falling beside it with a clatter.\n\nMoments later a guard looks into the room--you resist the temptation to duck, remaining perfectly still--but after a moment she returns to the guardroom.\n\nYou put the empty vial back in your right cloak pocket."
    },
    {
        "text": "[Themes: Fantasy, magic, dragon]\n\n> You go downwards\nGiven your choice of career, it's perhaps somewhat surprising this is only your second opportunity to see the interior of this place. It's pretty nice: hiding places aplenty, deep shadows at either side, and a suspicious dark hole in the back wall near the ceiling. The shadowed corridor lies west.\n\nA section of the east wall is turned out, revealing a tight corridor sloping up into darkness.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a hook.\n\nYou can also see a broken hook and a copper pole here.\n\n> Go west\nYou sneak back past the guards.\n\nYou stand at the end of a long foyer leading east to a narrow doorway into the temple itself. Light pours through windows in the north wall looking into a roomful of guards, leaving crisscrossing shadows.\n\nYou can see a torch here.\n\n> You get the torch\nYou can only carry one loose item while remaining stealthy.\n\n> Up\nYou stand amongst strange vertical shadows in the rafters of a fancy little trophy room of sorts, with paintings and torches arranged at various heights along the walls. An open window leads out to the east.\n\nIn the center of the room an intricate platform rises high up, but out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You look at the platform\nSupported by a complex array of wooden beams and struts, the glass platform rises up more than a story. Along the ceiling between you and it is a hook.\n\n> You examine the hook\nA metal hook used for hanging pulleys is fastened to the ceiling partway between the rafter and the platform.\n\n> Inventory\nYou are carrying:\na copper pole\nan empty vial (in right cloak pocket)\na dagger (in ankle sheath)\na length of wire (in left tunic pocket)\na set of lockpicks (in left sleeve pocket)\n\n> You put the pole in the hook\nYou maneuver the claw at the end of the pole onto the hook, then turn the dial to close the hook, keeping careful hold on the pole.\n\n> Swing\nYou test your weight carefully, then swing out on the pole, avoiding recollection of Yenalda's twelfth rule.\n\nRafters (hanging from a copper pole on a hook)\nYou hang amongst strange vertical shadows in the rafters of a fancy little trophy room of sorts, with paintings and torches arranged at various heights along the walls. An open window leads out to the east.\n\nIn the center of the room an intricate platform rises high up, but out of reach.\n\nOn the platform is the Dragon Gem.\n\n> You get Gem\nYou reach down one-handed and grab the gem.\n\n> Swing\nYou shift your weight, causing the pole to swing wider.\n\n> Go east\nYou'll have to get out of the copper pole first.\n\n> Go outside\nYou jump back to the rafters. Moments later, a guard enters the room from the doorway below. As his eyes go up to the platform, you slip the gem in a your left cloak pocket and slide out the window unseen. So much for Yenalda's third rule.\n\nYou slip around the side of the building and descend, checking to make sure the Gem is still in your pocket.\n\nThis has to have been the messiest job you've ever taken. You should have known better than to trust Sedmon, after the last job he offered you. \"It's a harmless artifact called a kriit. Nobody will miss it.\"--when your researcher said it was used for a ritual called \"The Way of the Dead\", you turned it down right away, before even learning what a kriit was or what exactly the ritual did.\n\nStill, you got the upper hand this time: stole the dragon's treasure, got paid for it by the Baron, and ended up with the Gem yourself. Not a bad week.\n\nYou have finished this story. But another two remain.\n\n> R.\nDo you want to play as [r]oyalty or a [d]ragon? r\n\n> M.\nDo you want this character to be [m]ale or [f]emale?\n\nRoyalty:\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, now. The peasantry do love to forget a title and pretend a hero is one of theirs.\n\nWere you twenty years younger, it would be your name on everyone's lips. Your face on the popular paintings. And the Dragon Gem would be yours for everyone to covet. Of course, it is your name on the royal decrees, your face on the coins, and your pick of the Royal Jewels for your costume each day. But you detect an honesty in the grotesque admiration for the Baron--one you'll not find in the simpering toadies who serve you. But no.\n\nNo regrets. Your days of heroism ceased when Thorn's Companions disbanded, yet your life--a new life--went on. The things you did then--the life you abandoned--all small prices to have paid for the luxurious lifestyle you've gained.\n\nBut now... the winds bring rumor that Ventillado means to give the Gem to Blackhelm. Blackhelm. That villain--the Dragon Gem is said to have powers, powers that one such as Blackhelm could bring to bear on those of Thorn's Companions who survived. Thankfully, Ventillado is said to be a loyal citizen of the crown. And you can afford to be generous in recompense.\n\nThe best way to be sure the Dragon Gem stays out of Blackhelm's hands? Get it in yours.\n\nThis broad avenue leads right into Temple Square, the heart of fabulous New Oldtown. Towering over the square to the east you do perceive your stark white Temple of Justice, beautiful and well-appointed, offering a statement to the neighborhood: this, this is what progress is about. Sadly, the buildings around you are scarcely up to this new standard; Baron Ventillado's house north of the square is much more satisfactory. How you hate having to come here. This would all be so much simpler if Blackhelm were found dead one morning, but it's never happened yet, despite your best efforts.\n\n[Type 'ABOUT' for important commands you can use.]"
    },
    {
        "text": "[Themes: Fantasy, gender choice, dragon]\n\n> Look around\nThis broad avenue leads right into Temple Square, the heart of fabulous New Oldtown. Towering over the square to the east you do perceive your stark white Temple of Justice, beautiful and well-appointed, offering a statement to the neighborhood: this, this is what progress is about. Sadly, the buildings around you are scarcely up to this new standard; Baron Ventillado's house north of the square is much more satisfactory.\n\nLord Raburba, Baronet Soatannishoy, Baroness Woya, and Peeress Dwojadsa arrive, along with several guards.\n\n> Arrest blackhelm\nLord Raburba looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nPeeress Dwojadsa says to Baronet Soatannishoy, \"Baronet Juffannazlo was with Princess Gubi in a room at the embassy, and they were pondering arguing!\"\n\nKnight Dwelubi arrives.\n\nBaroness Woya says to Knight Dwelubi, \"Lord Miyaz was with Baron Liyaz at a stony brook near the palace, and they were arguing with Lady Pimmish!\"\n\nKnight Dwelubi replies, \"My, my, my.\"\n\nBaroness Nurziburzoy arrives.\n\nLord Raburba says to Baroness Nurziburzoy, \"I was there when it happened! Peeress Pargel is under arrest for attempting an assassination from the royal treehouse!\"\n\nBaroness Nurziburzoy replies, \"Oh my.\"\n\n> Arrest nurziburzoy\nLord Raburba orders a royal guard to arrest Baroness Nurziburzoy. The royal guard points her sword at Baroness Nurziburzoy, who looks at you for a moment, then nods her head. The two leave together.\n\nKnight Dwelubi says to Baroness Woya, \"Lord Purzurabo was in the best room in the palace arguing with Knight Brojess.\"\n\nBaronet Soatannishoy says to Peeress Dwojadsa, \"Rumor has it that Lady Pishel was with Peer Kloppom by the river, and they were partying.\""
    },
    {
        "text": "[Themes: Fantasy, fantasy, dragon, gender choice, nonhuman protagonist, magic]\n\n> Describe the surroundings\nThis broad avenue leads right into Temple Square, the heart of fabulous New Oldtown. Towering over the square to the east you do perceive your stark white Temple of Justice, beautiful and well-appointed, offering a statement to the neighborhood: this, this is what progress is about. Sadly, the buildings around you are scarcely up to this new standard; Baron Ventillado's house north of the square is much more satisfactory.\n\nYou can see four royal guards, Knight Hedarg Dwelubi, Lord Romegh Raburba, Baronet Klojsa Soatannishoy, Baroness Holfoy Woya, and Peeress Thiyess Dwojadsa here.\n\nPeeress Dwojadsa says to Baroness Woya, \"I saw it with my own eyes! Lady Pishel was by a brook partying, if you know what I mean, with Peer Kloppom!\"\n\nKnight Fleghannolfimm arrives.\n\n> Go east\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see two royal guards here.\n\nLord Pojadubiur, Baronet Soatannishoy, and Baroness Woya arrive, along with several guards.\n\n> Go southwest\nThe Barking Mermaid Tavern is hardly your kind of place. Poorly-built wooden benches with horrific stains, largely disreputable and unruly patrons, disgusting foam-dripping ale. An enticing exit leads northeast.\n\nA tavernkeeper is trying to keep an eye on his guests and the servers.\n\nBaronet Soatannishoy and several guards arrive.\n\n> Dismiss tavernkeepere\nBaronet Soatannishoy looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nKnight Dwelubi arrives.\n\nBaronet Soatannishoy says to Knight Dwelubi, \"Baronet Juffannazlo was with Princess Gubi in a guest room in the palace, and they were working on yelling at each other.\"\n\nLord Pojadubiur arrives.\n\n> Dismiss tavernkeeper\nBaronet Soatannishoy looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nKnight Dwelubi says to Lord Pojadubiur, \"Baronet Juffannazlo was with Princess Gubi in the best room in the palace, and they were planning on smelling each other.\"\n\nBaroness Woya and Peeress Dwojadsa arrive.\n\n> You go to the northeast\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see Lord Romegh Raburba and three royal guards here.\n\nLord Pojadubiur, Baronet Soatannishoy, and Peeress Dwojadsa arrive, along with several guards.\n\n> You go north\nThis north-south road winds up the hill to Newtown through burnt-out warehouses and poorly-maintained homes. You've never understood why Baron Ventillado chose to place his house here, on the east side of the road, unless perhaps for the view.\n\nYou can see Ventillado's servant here.\n\nPeeress Dwojadsa and several guards arrive.\n\n> You look at the servant\nThis must be one of Baron Ventillado's servants, despite appearances, since even barons are not allowed personal guards.\n\nBaronet Soatannishoy arrives.\n\n> Go east\nYou stride through bright corridors to Ventillado's display room.\n\nSedmon displays his prized possessions in this shabby two-story chamber. Paintings and torches alternate randomly around the walls at various heights. A doorway leads west.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\nYou can also see Baron Ventillado here.\n\nVentillado's servant follows you in from outside.\n\nPeeress Dwojadsa and several guards arrive.\n\n> You look at Baron\nYou see nothing special about Baron Ventillado.\n\nBaronet Soatannishoy arrives.\n\n> You examine Gem\nShimmering, many-facetted, it inspires envy in both tasteful and tasteless alike. You can feel a compulsion beyond what its mere beauty should produce.\n\n> You ask Baron about Gem\nBaron Ventillado says, \"I'm afraid I'm a bit fuzzy-headed today, Your Highness. I don't know what to say.\"\n\n> You give Gem to you\nBaron Ventillado turns to his servant. \"Could you give the Dragon Gem to His Majesty, please?\"\n\nyourself, please?\"\n\nVentillado's servant says, \"I'm afraid we can't get it without the Baron's crank, and it appears he's misplaced it. If we had a pole we could probably knock it down. We don't have anything like that, but I imagine your people can find something that would serve.\"\n\n> Go west\nThis north-south road winds up the hill to Newtown through burnt-out warehouses and poorly-maintained homes. You've never understood why Baron Ventillado chose to place his house here, on the east side of the road, unless perhaps for the view.\n\nYou can see Lord Prazed Pojadubiur and a royal guard here.\n\nPeeress Dwojadsa arrives.\n\nLord Pojadubiur says to Peeress Dwojadsa, \"Baronet Juffannazlo was with Princess Gubi in a guest room in the palace, and they were discussing getting intimate.\"\n\nVentillado's servant emerges from the house.\n\nSeveral guards arrive.\n\n> Go south\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see Baroness Holfoy Woya, Knight Gessann Fleghannolfimm and three royal guards here.\n\nPeeress Dwojadsa arrives.\n\nBaroness Woya says to Peeress Dwojadsa, \"Did you hear? Lord Purzurabo was with Knight Brojess in the throne room in the palace, and they were arguing!\"\n\nKnight Fleghannolfimm says to Baroness Woya, \"Rumor has it that Lord Pazib is getting buried!\"\n\nSeveral guards arrive.\n\n> Go east\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nA closed gate is built into the Temple wall.\n\nYou can also see a window here.\n\nThe gate swings open and a temple guard emerges. \"Your Majesty! We heard you were coming. I hope we can be of service to you.\"\n\nPeeress Dwojadsa and several guards arrive.\n\n> You look at the window\nThe window looks into a guardroom full of guards who come to attention when they see you.\n\n> Go east\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nPeeress Dwojadsa and several guards arrive.\n\n> You go east\nGlorious. If only you could build something this grand in Newtown; but there's little need to mete out the King's justice there. Since it's the off-season, the throne, altar, iron maiden, and other implements of justice have been removed for maintainence, but the majesty of the vaulted ceiling still shines through nearly as well.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nPeeress Dwojadsa and several guards arrive.\n\n> You get the pole\nIt would be inappropriate to do that yourself. You're the king!\n\n> Open field\nWho do you mean, the temple guard or a royal guard?\n\n> Temple\nThe temple guard says, \"Your Majesty, you yourself ordered that pole secured many years ago. Your minister of internal affairs took the talisman needed to disable the field. That would have been Knight Dwelubi, back before he lost his position to overindulgence.\"\n\n> Go west\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a royal guard and a window here.\n\nPeeress Dwojadsa and several guards arrive.\n\n> Go west\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see Baroness Holfoy Woya, Knight Gessann Fleghannolfimm and three royal guards here.\n\nBaroness Woya says to Knight Fleghannolfimm, \"I overheard someone say Lady Pishel was with Peer Kloppom by the river, and they were sharing an opium dream!\"\n\nKnight Fleghannolfimm replies, \"Outrageous!\"\n\nPeeress Dwojadsa and several guards arrive.\n\n> Summon dwelubi\nPeeress Dwojadsa looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nPeeress Dwojadsa says to Baroness Woya, \"I saw it with my own eyes! Baronet Juffannazlo was with Princess Gubi in the best room in the palace, and they were working on necking!\"\n\nKnight Fleghannolfimm says to Peeress Dwojadsa, \"I heard that Lady Pishel was by the waterfall on the river sharing a pipe with Peer Kloppom!\"\n\n> You wait for a while\nTime passes.\n\nPeeress Dwojadsa says to Baroness Woya, \"I overheard someone say Lady Pishel was by a waterfall blowing smoke at Peer Kloppom.\"\n\n> Go southwest\nThe Barking Mermaid Tavern is hardly your kind of place. Poorly-built wooden benches with horrific stains, largely disreputable and unruly patrons, disgusting foam-dripping ale. An enticing exit leads northeast.\n\nA tavernkeeper is trying to keep an eye on his guests and the servers.\n\nYou can also see Knight Hedarg Dwelubi and Lord Romegh Raburba here.\n\nKnight Dwelubi says to Lord Raburba, \"Rumor has it that Lord Miyaz was with Baron Liyaz by a brook, and they were arguing with Lady Pimmish.\"\n\nKnight Dwelubi's eyes grow wide as you enter. \"Your Majesty! It's not how it appears, I swear. I just needed to wet my whistle.\"\n\nPeeress Dwojadsa and several guards arrive.\n\n> You follow you\nKnight Dwelubi says, \"By your command.\"\n\nPeeress Dwojadsa says to Lord Raburba, \"I personally saw Lord Purzurabo was behind the throne in the palace yelling at Knight Brojess.\"\n\nLord Raburba says, \"My goodness.\"\n\n> Go northeast\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards, Baroness Holfoy Woya and Knight Gessann Fleghannolfimm here.\n\nBaroness Woya says to Knight Fleghannolfimm, \"Did you hear? Baronet Juffannazlo was with Princess Gubi in a guest room in the palace, and they were pondering making out!\"\n\nKnight Fleghannolfimm says, \"My, my, my.\"\n\nPeeress Dwojadsa and several guards arrive.\n\n> You go east\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a royal guard and a window here.\n\nSeveral guards arrive.\n\n> Go west\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards, Peeress Thiyess Dwojadsa, Baroness Holfoy Woya, and Knight Gessann Fleghannolfimm here.\n\nBaroness Woya says to Knight Fleghannolfimm, \"An acquiantance told me that Lady Pishel was near Westfall acting firey towards Peer Kloppom.\"\n\nKnight Dwelubi and several guards arrive."
    },
    {
        "text": "[Themes: Fantasy, dragon, gender choice]\n\n> You look at your surroundings\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a temple guard, three royal guards and a window here.\n\n> Go west\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards, Knight Hedarg Dwelubi, Peeress Thiyess Dwojadsa, Baroness Holfoy Woya, and Knight Gessann Fleghannolfimm here.\n\nBaroness Woya says to Knight Dwelubi, \"I've heard that Lord Pazib died!\"\n\nKnight Dwelubi says, \"Inconceivable!\"\n\nSeveral guards arrive.\n\n> You follow you\nKnight Dwelubi says, \"By your command.\"\n\n> Go east\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a royal guard and a window here.\n\nKnight Fleghannolfimm and Knight Dwelubi arrive, along with several guards.\n\n> You go east\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nKnight Fleghannolfimm and several guards arrive.\n\n> You go west\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see Peeress Thiyess Dwojadsa, Knight Hedarg Dwelubi, a royal guard, and a window here.\n\nKnight Dwelubi says to Peeress Dwojadsa, \"I personally saw Lord Pazib died of the plague.\"\n\nSeveral guards arrive.\n\n> You follow you\nKnight Dwelubi says, \"By your command.\"\n\nKnight Fleghannolfimm arrives.\n\n> You go east\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nPeeress Dwojadsa and Knight Dwelubi arrive, along with several guards.\n\n> You ask Dwelubi,  to go east\nKnight Dwelubi says, \"Yes, Majesty. At once.\" With that, he departs.\n\nKnight Fleghannolfimm arrives.\n\n> Go east\nGlorious. If only you could build something this grand in Newtown; but there's little need to mete out the King's justice there. Since it's the off-season, the throne, altar, iron maiden, and other implements of justice have been removed for maintainence, but the majesty of the vaulted ceiling still shines through nearly as well.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nYou can also see Knight Hedarg Dwelubi here.\n\nPeeress Dwojadsa and several guards arrive.\n\n> You look at Dwelubi\nKnight Dwelubi is a simple-minded brute with a brain dysfuction whose only mention-worthy detail is his uncontrollable twitch which always makes you laugh aloud.\n\n> About you\nKing Elando, it has such a good ring, does it not? Far better than 'Elando the bard'.\n\n> You open field with talisman\nKnight Dwelubi looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\n> Unlock field\nWhat do you want Knight Dwelubi to unlock the magic field with?\n\n> You ask Dwelubi about the talisman\nKnight Dwelubi says, \"I believe the talisman for releasing the magic field in the Temple was a glass ball that was put into storage in a pawnshop some years ago. I can't imagine why whoever it was chose that location.\"\n\n> You go west\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nYou can see Knight Gessann Fleghannolfimm here.\n\nPeeress Dwojadsa arrives.\n\nKnight Fleghannolfimm says to Peeress Dwojadsa, \"Did you hear? Lady Pishel was in Westfall arguing with Peer Kloppom!\"\n\nSeveral guards arrive.\n\n> Go west\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards and Baroness Holfoy Woya here.\n\nSeveral guards arrive.\n\n> You go to the south\nAn road in a horrible state of disrepair leads north to the Temple and its glories, away from the mishmash of hideously designed buildings that feebly present themselves for your inspection here. A pawn shop with an air of desperation sits to the south.\n\nSeveral guards arrive.\n\n> You examine the pawn shop\nA miserable little shop that tries to be everything to everyone. The only part that's not ugly is the protruding foyer in front.\n\n> You open door\nWho do you mean, the temple guard or a royal guard?\n\n> You break door\nThe royal guard barrels into the door, smashing it open.\n\nKnight Dwelubi arrives.\n\n> You go south\nThis section of the shop is rudely furnished with ugly shelves and tables, offset by gorgeous hangings on the east wall. The exit lies north.\n\nOn the shelves are a crystal ball, an envelope (which is closed), and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\nSeveral guards arrive.\n\n> You examine the royal guard\nOne of your many guardswomen. This one is fat and lithe.\n\n> Royal\nThe royal guard opens the envelope.\n\n> You taste powder\nThe royal guard looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\n> You look in the envelope\nIn the envelope is some powder."
    },
    {
        "text": "> You look at your surroundings\nThis section of the shop is rudely furnished with ugly shelves and tables, offset by gorgeous hangings on the east wall. The exit lies north.\n\nOn the shelves are a crystal ball, an envelope (in which is some powder), and a tablecloth.\n\nOn the tables are some candlestick holders and a candle.\n\nYou can see a temple guard and two royal guards here.\n\n> You take the envelope\nThe royal guard picks up the envelope.\n\n> You look at the ball\nFlawless, but awfully plain.\n\n> You get the ball\nThe royal guard picks up the crystal ball.\n\n> You look at the temple guard\nOne of your many guardswomen. This one is tall and frail.\n\n> You follow you\nThe temple guard says, \"By your command.\"\n\n> You feed the powder to the temple guard\n(first taking the powder)\nIt would be inappropriate to do that yourself.\n\n> You read the envelope\nQuite plain.\n\n> You follow you\nThe royal guard says, \"By your command.\"\n\n> Go north\nAn road in a horrible state of disrepair leads north to the Temple and its glories, away from the mishmash of hideously designed buildings that feebly present themselves for your inspection here. A pawn shop with an air of desperation sits to the south.\n\nThe door to the pawn shop has been knocked off its hinges.\n\nYou can also see Knight Hedarg Dwelubi here.\n\nSeveral guards arrive.\n\n> Go north\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards and Baroness Holfoy Woya here.\n\nKnight Dwelubi and several guards arrive.\n\n> Go east\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a royal guard and a window here.\n\nKnight Dwelubi and several guards arrive.\n\n> You go east\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nYou can see Peeress Thiyess Dwojadsa and Knight Gessann Fleghannolfimm here.\n\nPeeress Dwojadsa says to Knight Fleghannolfimm, \"I personally saw Lord Pazib was ruined by the plague.\"\n\nSeveral guards arrive.\n\n> You go east\nGlorious. If only you could build something this grand in Newtown; but there's little need to mete out the King's justice there. Since it's the off-season, the throne, altar, iron maiden, and other implements of justice have been removed for maintainence, but the majesty of the vaulted ceiling still shines through nearly as well.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nSeveral guards arrive.\n\n> Unlock field\nWhat do you want the royal guard to unlock the magic field with?\n\n> You give you the the talisman\nThe royal guard gives the crystal ball to yourself.\n\nKnight Dwelubi arrives.\n\n> Unlock field\n(with the crystal ball)\nIt would be inappropriate to do that yourself.\n\n> You give the crystal ball to Dwelubi\nKnight Dwelubi accepts the crystal ball from you.\n\n> Unlock field\n(with the crystal ball)\nKnight Dwelubi says, \"I don't know how to unlock that.\"\n\n> Talisman\nTo talk to someone, try \"someone, hello\" or some such.\n\n> Smash ball\nKnight Dwelubi orders a temple guard to smash the crystal ball. The temple guard strikes the crystal ball.\n\n> You get the pole\nKnight Dwelubi says, \"I'm sorry, Your Majesty, but I couldn't allow you to come to harm.\"\n\nKnight Dwelubi says, \"The magic field isn't open.\"\n\n> You give the ball to you\nKnight Dwelubi gives the crystal ball to yourself.\n\n> You throw the ball at the field\nKnight Dwelubi says, \"I lack the skill, Your Majesty.\""
    },
    {
        "text": "[Themes: Fantasy, magic, gender choice, fantasy]\n\n> Look around\nGlorious. If only you could build something this grand in Newtown; but there's little need to mete out the King's justice there. Since it's the off-season, the throne, altar, iron maiden, and other implements of justice have been removed for maintainence, but the majesty of the vaulted ceiling still shines through nearly as well.\n\nAgainst the back wall of the temple is a glowing magic field.\n\nIn the magic field is a pair of wooden hooks (on which is a copper pole).\n\nYou can also see Knight Hedarg Dwelubi, a temple guard, a royal guard, and a royal guard here.\n\n> You give the talisman to the temple guard\nKnight Dwelubi gives the crystal ball to the temple guard.\n\n> You ask the temple guard about the talisman\nThe temple guard says, \"I'll return in a moment.\"\n\nThe temple guard leaves west.\n\nSeveral long moments pass. You're about to send a royal guard to see what the delay is when, with a flicker and a horrible sucking sound, the magic field disappears.\n\nMoments later the guard reappears. \"Ah, it worked, even after so long.\"\n\n> You go west\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nYou can see Peeress Thiyess Dwojadsa and Knight Gessann Fleghannolfimm here.\n\nKnight Dwelubi arrives.\n\nPeeress Dwojadsa says to Knight Dwelubi, \"I saw it with my own eyes! Lady Pishel was with Peer Kloppom near Westfall, and they were having an argument!\"\n\nKnight Dwelubi replies, \"Outrageous!\"\n\nKnight Fleghannolfimm says to Peeress Dwojadsa, \"I overheard someone say Baronet Juffannazlo was with Princess Gubi in the guest room at the embassy, and they were planning on snuggling.\"\n\nSeveral guards arrive.\n\n> You go to the north\nThis is the place where guards stand on duty protecting the Temple and its occupants. A metal door fills the doorway to the east.\n\nIn a corner of the room is a panel with two levers and two knobs.\n\nYou can also see six temple guards here.\n\nSeveral guards arrive.\n\n> You turn off field\nThe temple guard looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\n> You ask the temple guard about the talisman\nThe temple guard fits the the crystal ball into a slight depression in the floor, then wiggles and rotates strangely. \"There, it should be removed. Let's go see.\"\n\nA guard arrives.\n\n> You go to the south\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nYou can see Knight Hedarg Dwelubi, Peeress Thiyess Dwojadsa, and Knight Gessann Fleghannolfimm here.\n\nKnight Dwelubi says to Knight Fleghannolfimm, \"I heard that Lady Pishel was in Westfall having a disagreement with Peer Kloppom.\"\n\nPeeress Dwojadsa says to Knight Dwelubi, \"I've heard that Baronet Juffannazlo was with Princess Gubi in a guest room in the palace, and they were discussing struggling.\"\n\nSeveral guards arrive.\n\n> Go east\nGlorious. If only you could build something this grand in Newtown; but there's little need to mete out the King's justice there. Since it's the off-season, the throne, altar, iron maiden, and other implements of justice have been removed for maintainence, but the majesty of the vaulted ceiling still shines through nearly as well.\n\nYou can see a pair of wooden hooks (on which is a copper pole) here.\n\nSeveral guards arrive.\n\n> You get the pole\nThe royal guard picks up the copper pole.\n\n> You go west\nLovely, just lovely. The corridor leading into the temple seems nearly infinitely long, owing to a little tricky architecture you invented. As the corridor slowly shrinks, sloping upwards, even the ornamentation on the walls gets smaller and spaced more closely together. But you know the tiny doorway is really only a few steps to the east. The entry from the north is normally sized, to give the guards rapid access should any malign persons intrude.\n\nYou can see Knight Hedarg Dwelubi, Peeress Thiyess Dwojadsa, and Knight Gessann Fleghannolfimm here.\n\nKnight Fleghannolfimm says to Peeress Dwojadsa, \"I personally saw Lady Pishel was near Westfall having a blow-out with Peer Kloppom.\"\n\nSeveral guards arrive.\n\n> Go west\nThis forecourt offers a spectacular view of the Temple of Justice, central tower rising above in strength and might. A small barred window lets guards look out.\n\nAn open gate allows access into the Temple.\n\nYou can also see a royal guard and a window here.\n\nSeveral guards arrive.\n\n> Go west\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see three royal guards and Baroness Holfoy Woya here.\n\nSeveral guards arrive.\n\n> Go north\nThis north-south road winds up the hill to Newtown through burnt-out warehouses and poorly-maintained homes. You've never understood why Baron Ventillado chose to place his house here, on the east side of the road, unless perhaps for the view.\n\nYou can see Ventillado's servant, Lord Prazed Pojadubiur, and a royal guard here.\n\nPeeress Dwojadsa arrives.\n\nLord Pojadubiur says to Peeress Dwojadsa, \"I heard that Lord Jolfad is under arrest for carrying on an assignation in the royal treehouse.\"\n\nSeveral guards arrive.\n\n> You give the pole to the servant\nThe royal guard gives the copper pole to Ventillado's servant.\n\nPeeress Dwojadsa says to Lord Pojadubiur, \"Rumor has it that Lady Pishel was in Westfall having a big party with Peer Kloppom.\"\n\n> You go east\nSedmon displays his prized possessions in this shabby two-story chamber. Paintings and torches alternate randomly around the walls at various heights. A doorway leads west.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\nYou can also see Baron Ventillado and Baronet Klojsa Soatannishoy here.\n\nVentillado's servant arrives.\n\nSeveral guards arrive.\n\n> You get Gem with pole\nWho do you mean, the temple guard or a royal guard?\n\n> Royal\nThe royal guard looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\n> You get Gem\nVentillado's servant says, \"I'm afraid we can't get it without the Baron's crank, and it appears he's misplaced it. If we had a pole we could probably knock it down.\"\n\nPeeress Dwojadsa arrives.\n\n> You give Gem to you\nWho do you mean, Ventillado's servant or Baron Ventillado?\n\n> You give Gem to you\nBaron Ventillado says, \"I'm afraid I'm a bit light-headed today, Your Highness. Perhaps my servant can help you.\"\n\nPeeress Dwojadsa says to Baronet Soatannishoy, \"A friend told me that Lady Pishel was in Westfall having a big party with Peer Kloppom!\"\n\nBaronet Soatannishoy replies, \"Who would have thought it!\"\n\n> You give Gem to you\nVentillado's servant says, \"I'm afraid we can't get it without the Baron's crank, and it appears he's misplaced it. If we had a pole we could probably knock it down.\"\n\nPeeress Dwojadsa says to Baronet Soatannishoy, \"A friend told me that Lord Jolfad is under arrest for attempting an assassination from the royal treehouse!\"\n\n> You give the pole to the servant\nThe royal guard gives the copper pole to Ventillado's servant.\n\n> You give Gem to you\nVentillado's servant nods to you, then turns to face the platform. He jumps and thrusts the pole, just missing the Dragon Gem. He waits a moment, then tries again. As he thrusts the pole at the gem, his hand twists the dial, and moments later he is back on the ground, the claw at the end of the pole clutching the Dragon Gem. He holds the claw out towards you and releases the Gem into your hands.\n\nYou clutch it tightly to your chest. Another of Blackhelm's attempts on your life successfully foiled.\n\n\"Baron Ventillado, this is a wonderful present you have given me. Many thanks.\"\n\nThe Baron's brow contracts, but he stops just short of a frown. \"You are welcome, Your Majesty.\"\n\nIgnoring the prattling of your entourage, you step back out to the darkening sky.\n\n\"Not this time!\" you cry out. So much for that crone's dire prophecy. No doubt Blackhelm will try again--such a bother, just because you refrained from giving Blackhelm's lover a helping hand that one time. That one time when he was hanging desperately on the edge of a cliff. What else could you have done? If you had helped him, he would have claimed the crown you'd found together. He would be the king. He'd have the Dragon Gem.\n\nAnd that would be most unsatisfactory.\n\nYou have finished this story. But one more remains.\n\nIn this story you will play as a dragon.\n\n> F.\nDo you want this character to be [m]ale or [f]emale?\n\nDragon:\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, then. We laughed, for we seemed alive, still.\n\nWe had been twenty years younger, then we would have been the name on the man-things' lips. We would have been the visage on their paintings. And we would still have the Kthyress Crystal with which we would bring covetousness into man-things' hearts. But we were too young for detection of certain trickery; we were too old for resistance to certain magics. We had failed.\n\nWe had felt no regrets twenty years before. We had ceased our toils at heroism when we saw the end of Thorn's Companions; but we had lived still, we had begun a new life. We paid the price for our youthful indiscretion; we were made small by Sethidrac's assignment. We, guardian. We, to guard one-ninth of the Legacy.\n\nThen we heard rumor on the winds. We heard of a transfer of the Crystal from Sedmon to Blackhelm. Blackhelm. A guileful creature amongst creatures of guile. We had our suspicions about the theft. And we knew of the powers of the Crystal. We wondered at Blackhelm's knowledge. We wondered at the anger in Blackhelm towards those who were amongst Thorn's companions.\n\nWe had been too long letting Sedmon hold the Crystal. We risked emnity from Sethidrac and Passidrac for too long. We could not yield the possession of the Crystal to Blackhelm. We had to make it ours.\n\nWe were surrounded by the man-things' structures, structures of dead trees and rock and distortions of iron. Beneath us we felt the arrangements of stone into a path for man-things' mobile receptacles. We could smell hints of the Crystal along the path to the east.\n\nWe could see a receptacle here.\n\n[Type 'ABOUT' for important commands we could use.]\n\n> You examine the receptacle\nWe sensed the emptiness of the immobile receptacle.\n\n> Smell\nWe smelled the faint trace of Kythress from the east.\n\n> You destroy it\nWe smashed the receptacle to pieces."
    },
    {
        "text": "[Themes: Fantasy, dragon, gender choice, nonhuman protagonist]\n\n> You look around\nWe were surrounded by the man-things' structures, structures of dead trees and rock and distortions of iron. Beneath us we felt the arrangements of stone into a path for man-things' mobile receptacles. We could smell hints of the Crystal along the path to the east.\n\n> Go east\nWe stood in a more open space. On all sides of us we observed structures, with a particularly large white one to the east. In the center we perceived fresh plants in a location inappropriate to their origins, with insufficient bare earth. We could follow man-paths south, west, and north, or towards the eastern structure.\n\nWe could see two man-things here.\n\nWe heard shrieks from a man-thing, \"Wuthe-elistha-migodisa-drakin. Dran-dran-dran.\"\n\n> You eathe man-thing\nWe first attempted to take the man-thing.\n\nWe imagined displeasure from the man-thing at that prospect.\n\n> You breathe othe man-thing\nWe let loose a torrent of flame, and when we stopped, we could no longer see the man-thing.\n\nWe heard screams from a man-thing.\n\n> You go north\nWe stood upon a sloping hillside; we were only partially surrounded by man-thing structures. Further north was the entrance of the man-path to the city; south more structures. We scented the Crystal to the east.\n\nWe could see a man-thing here.\n\nWe saw the man-thing's eyes upon us. We saw a lack of further movement.\n\n> You go east\nWe observed a change in the man-thing's position. We could not enter with him in the way.\n\nWe heard sounds come forth from the man-thing. We were surprised that we heard the true speech, not the man-thing chatter. We heard some distortion, yes, but still. We heard its speech. \"Hail, Draco. Thou wouldst want thy crystal returned to thee, I suppose.\"\n\n> Yes\nWe weren't intending that as a question.\n\nWe heard the man-thing's voice, \"My master will willingly give the crystal unto thee, if thou wouldst do us a small service.\"\n\n> You wait for a while\nWe allowed time to pass us by.\n\nWe heard the man-thing's utterance, \"If thou canst deliver to me the copper pole which lies in yon hideous white structure to the south, I will stand aside and allow thee to reclaim thy crystal.\"\n\n> You breathe othe man-thing\nWe watched the appearance of a part in the flames around the man-thing. We saw no damage to it.\n\n> You go south\nWe stood in a more open space. On all sides of us we observed structures, with a particularly large white one to the east. In the center we perceived fresh plants in a location inappropriate to their origins, with insufficient bare earth. We could follow man-paths south, west, and north, or towards the eastern structure.\n\nWe could see a man-thing here.\n\n> You go to the east\nWe stood on a plain of rock, grey below us and around us, white to the east. We could leave west. We perceived a tiny hole to one side.\n\nWe could also see a barrier of metal segments before an eastward tunnel.\n\n> You look at the barrier\nWe could sense the truth of iron inside what we saw as too-regular slivers in orderly, artificial groups.\n\n> You destroy it\nWe smashed our body against the gate and we felt its internal distress. We smashed against it again, and we smashed through it as well.\n\n> You go to the east\nWe stood within a man-thing cave which rapidly narrowed to the east into an entrance the size of a small man-thing. We observed passages to the north and the west.\n\n> Go north\nWe stood in a small chamber full of the leavings and scents of man-things. We saw a metal barrier to the east and a wide-open passage south.\n\nWe could see six man-things here.\n\nWe heard cries from a man-thing, \"Godistroo-izadran-wadwedoo.\"\n\n> Go east\nWe could not with the metal barrier in the way.\n\nWe saw the departure of a terrified man-thing.\n\n> You destroy the barrier\nWe could not destroy the thick door.\n\nWe heard shrieks from a man-thing, \"Witzawanithus-wedindoo-nuthn.\"\n\n> You examine door\nWe saw iron, and much of it.\n\n> You breathe on the door\nWe breathed, but we were not generating sufficient heat.\n\nWe heard screams from a man-thing.\n\n> You go west\nWe stood on a plain of rock, grey below us and around us, white to the east. We could leave west. We perceived a tiny hole to one side.\n\nWe could also see fragments of metal around an eastward tunnel.\n\n> You go west\nWe stood in a more open space. On all sides of us we observed structures, with a particularly large white one to the east. In the center we perceived fresh plants in a location inappropriate to their origins, with insufficient bare earth. We could follow man-paths south, west, and north, or towards the eastern structure.\n\nWe could see a man-thing here.\n\n> You go south\nWe were surrounded by man-thing structures in all directions save the north; we were blocked from further travel south by an adjustable barrier in the middle of the southern structure.\n\n> You destroy the barrier\nWe smashed the barrier to pieces.\n\n> You go south\nWe breathed gently through our nostrils so that we could shed light upon our surroundings. We stood in a dim man-thing cave; we saw man-thing protrusions and surfaces on which rested the artifacts of the man-things. We smelled something very strong from the east, and we could also exit northwards.\n\nOn the protrustions we could see a transparent sphere, a plant sheet, and a weave of hair.\n\nOn the surfaces we could see some metal sticks and an animal stick.\n\n> You examine sheet\nWe looked at a flat sheet which smelled of dead plant.\n\n> You examine the sphere\nWe saw through it and we saw ourselves in it. We knew it as man-crystal. We saw no worth in it.\n\n> You eat the sphere\nWe first attempted to take the transparent sphere.\n\nWe would not have enjoyed eating a transparent sphere.\n\n> You look at the weave\nWe looked on a weave of animal hair; we knew such creations of man-things from our travels with them. We knew comfort and decorations as common reasons for their existence.\n\n> You eat the plant sheet\nWe first attempted to take the plant sheet.\n\nWe were carrying as much as we could carry already.\n\n> Inventory\nWe were carrying a transparent sphere.\n\n> You drop the sphere\nWe dropped the transparent sphere.\n\n> You eat the plant sheet\nWe first attempted to take the plant sheet.\n\nWe would not have enjoyed eating a plant sheet.\n\n> You drop it\nWe dropped the plant sheet.\n\n> You open the plant sheet\nWe lacked the dexterity for such actions.\n\n> You go east\nWe were at the back of the man-thing cave which we could exit to the west; we hardly saw the things in heaps and piles we were casting light on with our soft breaths, so assaulted were we by the smell from a metal receptacle in the corner.\n\n> You examine the receptacle\nWe could smell the source of the strong smell we had smelled outside the cave; we perceived the smell from the clear liquid in the receptacle. We could also see through the liquid, where we saw a gold figure.\n\n> You examine the figure\nWe saw a tiny figurine, a man-thing form, its arms in front, hands together.\n\n> You drink liquid\nWe lowered our snout to the barrel and sucked deeply from the barrel. We felt a warm, fine sensation as we swallowed the liquid.\n\nWe experienced a heavy sensation inside. We disagreed with the liquid. We resisted its affronts, but we could not digest it.\n\n> You take the liquid\n(the stomachful of liquid)\nWe were already in possession of that.\n\n> You check what you're carrying\nWe were carrying a stomachful of liquid.\n\n> Go west\nWe breathed gently through our nostrils so that we could shed light upon our surroundings. We stood in a dim man-thing cave; we saw man-thing protrusions and surfaces on which rested the artifacts of the man-things. We smelled something very strong from the east, and we could also exit northwards.\n\nOn the protrustions we could see a weave of hair.\n\nOn the surfaces we could see some metal sticks and an animal stick.\n\nWe could see a plant sheet and a transparent sphere here.\n\n> You go north\nWe were surrounded by man-thing structures in all directions save the north; we saw a gaping hole in the structure to the south.\n\n> You go to the north\nWe stood in a more open space. On all sides of us we observed structures, with a particularly large white one to the east. In the center we perceived fresh plants in a location inappropriate to their origins, with insufficient bare earth. We could follow man-paths south, west, and north, or towards the eastern structure.\n\nWe could see two man-things here.\n\nWe heard cries from a man-thing, \"Izedmens-fawt-drakinslar-izedmens-fawt.\"\n\n> You go to the east\nWe stood on a plain of rock, grey below us and around us, white to the east. We could leave west. We perceived a tiny hole to one side.\n\nWe could also see fragments of metal around an eastward tunnel.\n\n> You go to the north\nWe stood in a small chamber full of the leavings and scents of man-things. We saw a metal barrier to the east and a wide-open passage south.\n\nWe could see five man-things here.\n\nWe heard shrieks from a man-thing.\n\n> You breathe on the barrier\nWe expelled the liquid onto the metal barrier and watched its rapid dissolution to nothing.\n\nWe saw the departure of a terrified man-thing.\n\nWe saw the departure of a terrified man-thing.\n\n> Go east\nWe stood in a spatious cavern, but we took no joy from it. We were surrounded by the results of distortion and torture of rock and earth and stone; we felt only horror. We desired departure above all else, and so we kept our eyes upon the west exit.\n\nAgainst the back of the cavern we saw a ring of light.\n\nIn the ring of light we could see a pair of wooden rods (on which was a copper pole).\n\n> You examine the light\nWe saw the center of the ring of light around the rods within it.\n\n> You get the pole\nThe ring of light was in the way.\n\n> You examine rods\nWe saw the attachment of the hooks to the wall.\n\n> You breathe on the light\nWe breathed on the hooks. We watched our breath's lack of penetration through the circle of magic. We watched the flames around the ring. We stopped our breath. We watched the gradual diminution of the fire.\n\nWe determined that we could not expect blockage of heat by such magic as we saw the collision of the copper pole with the ground.\n\n> You get the pole\nWe took the copper pole.\n\n> You go west\nWe stood in a small chamber full of the leavings and scents of man-things. We saw an open entrance to the east and a wide-open passage south.\n\nWe could see three man-things here.\n\nWe saw the departure of a terrified man-thing.\n\n> Go south\nWe stood within a man-thing cave which rapidly narrowed to the east into an entrance the size of a small man-thing. We observed passages to the north and the west.\n\n> You go to the west\nWe stood in a more open space. On all sides of us we observed structures, with a particularly large white one to the east. In the center we perceived fresh plants in a location inappropriate to their origins, with insufficient bare earth. We could follow man-paths south, west, and north, or towards the eastern structure.\n\nWe could see two man-things here.\n\nWe saw the departure of a terrified man-thing.\n\n> Go north\nWe stood upon a sloping hillside; we were only partially surrounded by man-thing structures. Further north was the entrance of the man-path to the city; south more structures. We scented the Crystal to the east.\n\nWe could see a man-thing here.\n\n> You give the pole tthe man-thing\nWe saw the man-thing's stretch for the copper pole. We observed the pole in its clutches. We saw locomotion by the man-thing from in front of the entrance to the structure.\n\n> Go east\nWe traversed a maze of twisty little passages; we used the scent of Kthyress as a guide.\nCave\nWe stood in a tall cave. We saw markings upon the walls, and man-thing torches. The cave led out to the west.\n\nWe observed a structure of wood; we saw near the ceiling as the limit of its reach.\n\nOn the wooden structure we could see the Kthyress Crystal.\n\n> You examine Crystal\nWith what mere words could we describe the Kthyress Crystal? We had no particular fondness for the deception, its geas of greed. But we had the obligation; we were the guardian of it, the bait for the trap. The trap that we had failed to spring this time.\n\n> You examine the wood\nA construction of once-sturdy trees, an artificial arrangement; we saw its uppermost surface near the stalactities amongst the top of the cave."
    },
    {
        "text": "> You look at your surroundings\nWe stood in a tall cave. We saw markings upon the walls, and man-thing torches. The cave led out to the west.\n\nWe could see the Kthyress Crystal here.\n\n> You get Crystal\nWe pulled the Kthyress Crystal from within the smoke and rubble. We had discharged the first of our duties.\n\nWe emerged onto the hillside and we discovered the departure of the oddly powerful man-thing with the wrong odor. We were suddenly in recollection of the scent we had sensed with the man-thing, but not from it: Blackhelm. We realized that creature's association with Blackhelm.\n\nYet we knew Blackhelm was just another man-thing. We would not concern ourselves with Blackhelm's plots so long as we were not involved in them again.\n\nAs we set forth on the journey to the mountain, we pondered what we would say to Sethidrac about our trip. We knew the claims of the others our age, but we disbelieved Sethidrac was cognizant of the smell of prevarication.\n\n> R.\n[press a key]\n\n> R.\nDo you want to play as an [a]dventurer, an [e]nchanter, a [t]hief, [r]oyalty, or a [d]ragon? r\n\n> M.\nDo you want this character to be [m]ale or [f]emale?\n\nRoyalty:\n\nBaron Sedmon Ventillado. Sedmon Dragonslayer, now. The peasantry do love to forget a title and pretend a hero is one of theirs.\n\nWere you twenty years younger, it would be your name on everyone's lips. Your face on the popular paintings. And the Dragon Gem would be yours for everyone to covet. Of course, it is your name on the royal decrees, your face on the coins, and your pick of the Royal Jewels for your costume each day. But you detect an honesty in the grotesque admiration for the Baron--one you'll not find in the simpering toadies who serve you. But no.\n\nNo regrets. Your days of heroism ceased when Thorn's Companions disbanded, yet your life--a new life--went on. The things you did then--the life you abandoned--all small prices to have paid for the luxurious lifestyle you've gained.\n\nBut now... the winds bring rumor that Ventillado means to give the Gem to Blackhelm. Blackhelm. That villain--the Dragon Gem is said to have powers, powers that one such as Blackhelm could bring to bear on those of Thorn's Companions who survived. Thankfully, Ventillado is said to be a loyal citizen of the crown. And you can afford to be generous in recompense.\n\nThe best way to be sure the Dragon Gem stays out of Blackhelm's hands? Get it in yours.\n\nan interactive vice-tainter\nCopyright 2001, Sean Barrett\n\nThis broad avenue leads right into Temple Square, the heart of fabulous New Oldtown. Towering over the square to the east you do perceive your stark white Temple of Justice, beautiful and well-appointed, offering a statement to the neighborhood: this, this is what progress is about. Sadly, the buildings around you are scarcely up to this new standard; Baron Ventillado's house north of the square is much more satisfactory. How you hate having to come here. This would all be so much simpler if Blackhelm were found dead one morning, but it's never happened yet, despite your best efforts.\n\n[Type 'ABOUT' for important commands you can use.]\n\n> Go north\nBuildings block the way.\n\nLady Suff, Baron Broata, Duchess Suffureghurz, Peer Solfelargib, and Countess Belannolfiy arrive, along with several guards.\n\n> Go east\nThe gorgeous Temple of Justice towers to the east over this square, which despite your luscious flower garden, is still as much a wreck as Oldtown proper to the west. A disreputable tavern lies southwest. Roads lead south to shops and north by Ventillado's house to Newtown.\n\nYou can see two royal guards here.\n\nLady Suff, Baron Broata, Duchess Suffureghurz, and Peer Solfelargib arrive, along with several guards.\n\n> Go north\nThis north-south road winds up the hill to Newtown through burnt-out warehouses and poorly-maintained homes. You've never understood why Baron Ventillado chose to place his house here, on the east side of the road, unless perhaps for the view.\n\nYou can see Ventillado's servant here.\n\nLady Suff, Baron Broata, and Baroness Curzimmurzib arrive, along with several guards.\n\n> Arrest servant\nPerhaps you should order someone else to do that.\n\nBaroness Curzimmurzib says to Baron Broata, \"Countess Subi was in a room at the embassy arguing with Lord Lanned.\"\n\nBaron Broata says, \"Goodness.\"\n\nLady Suff says to Baroness Curzimmurzib, \"Rumor has it that Knight Coatubi is under arrest for plotting an assassination in the royal treehouse.\"\n\nLord Dricko, Duchess Suffureghurz, and Peer Solfelargib arrive.\n\n> Arrest servant\nThe royal guard points her sword at Ventillado's servant, who looks at you for a moment, then nods his head. The two leave together.\n\n[** Programming error: Ventillado's servant (object number 242)  has no property reset to send message **]\n\nPeer Solfelargib says to Lord Dricko, \"Lord Pazick was with Countess Noyess in the guest room at the embassy, and they were considering sharing an opium dream.\"\n\nDuchess Suffureghurz says to Lady Suff, \"I overheard someone say Knight Wimmubi was with Prince Jazolf in the Imperial Stables, and they were blowing smoke at Lady Lannaz.\"\n\nLady Suff says, \"Unbelievable.\"\n\nBaroness Curzimmurzib says to Baron Broata, \"I've heard that Knight Coatubi is under arrest for conspiring in the royal treehouse!\""
    },
    {
        "text": "[Themes: Fantasy, dragon, nonhuman protagonist, multiple protagonists]\n\n> Look around\nThis north-south road winds up the hill to Newtown through burnt-out warehouses and poorly-maintained homes. You've never understood why Baron Ventillado chose to place his house here, on the east side of the road, unless perhaps for the view.\n\nYou can see four royal guards, Ventillado's servant, Lord Juffall Dricko, Duchess Dweluff Suffureghurz, Peer Fladarg Solfelargib, Lady Dwomel Suff, Baron Bromannurdo Broata, and Baroness Selturz Curzimmurzib here.\n\nLord Dricko says to Peer Solfelargib, \"I saw it with my own eyes! Baroness Suress was arrested for conspiring in the royal treehouse!\"\n\nPeer Solfelargib replies, \"You don't say!\"\n\nBaron Broata says to Baroness Curzimmurzib, \"I personally saw Knight Klimma saved a shrinking fortune for a dowry.\"\n\nBaroness Curzimmurzib replies, \"Oh my.\"\n\nLady Suff says to Lord Dricko, \"An acquiantance told me that he saw Knight Wimmubi was with Prince Jazolf in the loft in the Imperial Stables, and they were acting firey towards Lady Lannaz.\"\n\nCountess Belannolfiy arrives.\n\n> Go east\nYou stride through bright corridors to Ventillado's display room.\n\nSedmon displays his prized possessions in this shabby two-story chamber. Paintings and torches alternate randomly around the walls at various heights. A doorway leads west.\n\nIn the center of the room a platform rises high up, out of reach.\n\nOn the platform is the Dragon Gem.\n\nYou can also see Baron Ventillado here.\n\nVentillado's servant follows you in from outside.\n\nLady Suff, Lord Dricko, Baroness Curzimmurzib, and Peer Solfelargib arrive, along with several guards.\n\n> Arrest ventillado\nWho do you mean, Ventillado's servant or Baron Ventillado?\n\n> Arrest baron ventillado\nThe royal guard looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nCountess Belannolfiy arrives.\n\nBaroness Curzimmurzib says to Countess Belannolfiy, \"Rumor has it that Knight Klimma saved a fortune for a dowry.\"\n\nLord Dricko says to Peer Solfelargib, \"I personally saw Knight Wimmubi was with Prince Jazolf in the loft in the Imperial Stables, and they were arguing with Lady Lannaz!\"\n\nDuchess Suffureghurz arrives.\n\n> Arrest sedmon\nThe royal guard points his sword at Baron Ventillado, who nods his head. The two leave together.\n\n[** Programming error: Baron Ventillado (object number 245)  has no property reset to send message **]\n\nCountess Belannolfiy says to Baroness Curzimmurzib, \"I've heard that Baroness Thedib was at a brook near the palace partying, if you know what I mean, with Lord Dwomom.\"\n\n> You arrest meressin\nThe royal guard looks confused. \"I'm sorry, Your Majesty, but I'm not sure how to do that.\"\n\nCountess Belannolfiy says to Lady Suff, \"Did you hear? Knight Klimma had a very big dowry.\"\n\nLady Suff says, \"Outrageous!\"\n\nBaron Broata arrives.\n\n> Arrest sedmon\nLady Suff orders a royal guard to arrest Baron Ventillado. The royal guard points his sword at Baron Ventillado, who nods his head. The two leave together.\n\n[** Programming error: Baron Ventillado (object number 245)  has no property reset to send message **]\n\nPeer Solfelargib says to Baroness Curzimmurzib, \"I overheard someone say that Baroness Suress was arrested for conspiring in the royal greenhouse!\""
    },
    {
        "text": "[Themes: Humor, Cave crawl, humor, cave crawl, fantasy, cave, male protagonist]\n\nYou are a product tester for the Adventurer's Consumer Guide, a magazine that reviews all sorts of equipment an adventurer might need for his adventures. Your magazine is highly respected because of the thorough tests you put the equipment through. The tests aren't just done at the magazine's offices. No, the product testers go on actual adventures to test the equipment out in the field. Sometimes you kill an evil overlord; sometimes you rescue a fair maiden. Most of the time, like today, you just go out looking for a treasure in Treasure Cave Mountain, a perfect place for adventures as it contains plenty of caves, treasures, monsters and traps.\n\nAs you are putting on the soon-to-be-tested magical coat, magical ring and magical helmet, your editor says, \"On this mission you'll be having a helper with you.\"\n\"Really?\" you say. You usually work alone.\n\"Yeah, but it's part of a test. See, there's this new agency that is renting out sidekicks. We are going to write a review about it. Oh, here he is now.\"\nInto your office walks a goblin: a green humanoid creature with pointy ears, about a meter tall. \"Hi, you must be my new boss,\" he says to you.\n\"I guess I am. What is it you're supposed to do, exactly?\"\n\"Well, I'm very brave and helpful, plus I'm a ferocious killing machine. If you see any kind of monster, or anything at all, and you want it killed, just tell me, and it's toast.\"\n\"Okay... well, I think we should get going.\"\n\nYou and your new companion are off to Treasure Cave Mountain. Your mission is to return with one really big treasure. Any really big treasure.\n\nA narrow mountain ledge leading west (where you came from) and east. To the north is a tall mountain wall and to the south a long drop.\nVery far to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nYou can see the goblin sidekick here."
    },
    {
        "text": "[Themes: Humor, Cave crawl, cave crawl, fantasy, male protagonist]\n\n> You kill you\nBefore you have a chance to say anything you get a nasty electric shock from your helmet. You hear a calm pleasant female voice in your head: \"It wouldn't be very heroic to ask somebody else to do your fighting for you.\"\n\n> You check your inventory\nThe new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger.\nA mail-ordered short metal staff with a clear orb on the end. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see a small unmoving cluster of turquoise tentacles.\nA Remmingheim Supreme crossbow, loaded with an arrow. The Supreme model is supposed to have a special feature. When you shoot it, the arrow will magically return, and the crossbow will be loaded again. The hard, razor-sharp arrow is protruding a good ten centimeters from the front of the crossbow.\n\"The Ultimate Creature Manual\" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\nA small cage. It is closed and locked with a code-lock (You know the code.). A gremlin, a small green humanoid creature with pointy ears, is trapped inside. He is wearing a tiny ring. He is smoking a tiny cigarette. His thin arms are sticking through the bars of the cage, and he is fiddling with the code-lock, trying one combination at a time.\n\nYou are wearing:\nA Hustlespleen & Poe Coat of Invisibility, though at the moment it looks like an ordinary, long, brown, coat. It is supposed to turn invisible (or turn visible again) whenever you say the magic word \"tango\".\nA Super Champion Helmet fastened with a strap under your chin. It is round and made of thin metal. It is supposed to magically turn you into a hero.\nOn your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin, which is wearing a smaller, magically connected, ring.\nA pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own.\n\n> You look\nA narrow mountain ledge leading west (where you came from) and east. To the north is a tall mountain wall and to the south a long drop.\nVery far to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nYou can see the goblin sidekick here.\n\n> You shoot the crossbow at the goblin\n(the goblin sidekick)\nBefore you have a chance to do it, you get a nasty electrical shock from your helmet. You hear a calm pleasant female voice in your head: \"It wouldn't be very heroic to go around shooting creatures.\"\n\n> You examine Helmet\nIn this game you can't examine things. Instead use either \"look\" to see descriptions of the things in the room you are in, or \"inventory\" to see descriptions of what you are carrying. You also can't use \"look inside\", \"look under\", \"look behind\", \"look <direction>\" or \"search\". But you can use \"read\".\n\n> You remove Helmet\nYou try to remove the helmet, but it is stuck. The strap under your chin is too tight.\n\n> You cut the strap with the arrow\nYou cut the strap with the arrow, and pull off the helmet.\n\n> You shoot the crossbow at the goblin\n(the goblin sidekick)\nYou pull the trigger. The arrow magically returns to the crossbow and the crossbow is loaded again. Huh? That happened fast. The arrow did not even have time to leave the crossbow entirely! In fact, it barely moved!\n\n> You read the book\nYou must say what page to read, like \"read page 1\" or \"read 1\"\n\n> You read 1\nOn the front is a badly drawn picture of three monsters running away from a man who is holding a copy of the book over his head.\n\n> You read 2\nSo, you have spotted a monster. How many legs does it have?\nNone: read page 3\nOne: read page 35\nTwo: read page 36\nThree: read page 62\nFour: read page 63\nSix: read page 86\nEight: read page 87\nForty eight billion and five: read page 90\nIt varies: read page 91\n\n> You read 63\nDoes it have hooves?\nYes: read page 64\nNo: read page 72\n\n> You read 72\nIs it hairy?\nYes: read page 73\nNo: read page 79\n\n> You read 79\nDoes it have large bulging eyes?\nNo: read page 80\nYes: read page 81\n\n> You read 81\nIs it green?\nNo: read page 82\nYes: read page 83\n\n> You read 83\nDoes it have a wide mouth?\nNo: read page 84\nYes: read page 85\n\n> You read 85\nOh, it's just a frog then. Nothing to worry about.\n\n> You go east\nA narrow mountain ledge leading west and east.\nQuite far to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe sword starts vibrating ever so slightly.\n\n> Go east\nA narrow mountain ledge leading west and east.\nSome distance to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe sword starts shaking quite a lot.\n\n> You go to the east\nA narrow mountain ledge leading west and east.\nNot all that far to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe sword starts shaking like crazy.\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> Attack monster\n\"We aren't close enough boss!\"\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You go east\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nA huge monster is crouching on the ledge. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nUnable to control the sword, you are slashed into little pieces.\n\n> You drop sword\nDropped.\n\n> Go east\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nA huge monster is crouching on the ledge. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nAll the eyes of the green monster swivel round and stare at the goblin.\n\n> Attack frog\nThe goblin throws himself at the monster. The monster opens its jaws and lunges forward. The mouth closes around the goblin. You hear some muffled goblin screams from within the monster's head. Just when you think your sidekick's career came to very early stop, the monster sneezes and the green guy comes shooting out of the monster's nostril and lands in a heap. Confused he shakes his head and mutters, \"Sorry boss.\"\n\nThe green monster roars.\n\n> Is\nA staff (with tentacles)\nA Supreme crossbow (loaded)\nA manual\nA cage (with a gremlin) (closed and locked)\nA helmet\n\nYou are wearing:\nA coat (visible)\nA ring\nBoxer shorts.\n\n> Attack frog\nThe goblin throws himself at the monster. The monster opens its jaws and lunges forward. The mouth closes around the goblin. You hear some muffled goblin screams from within the monster's head. Just when you think your sidekick's career came to very early stop, the monster sneezes and the green guy comes shooting out of the monster's nostril and lands in a heap. Confused he shakes his head and mutters, \"Sorry boss.\"\n\nThe green monster's tongue shoots out towards your legs, but you manage to jump to the side.\n\n> Go west\nA narrow mountain ledge leading west and east.\nNot all that far to the east, near the end of the ledge, a huge monster is crouching. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe new magical sword from Adventurer's Emporium is here. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy.\n\nThe goblin comes running after you.\n\n> You take the sword\nTaken.\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You give the sword to the goblin\n(the goblin sidekick)\nThe goblin says, \"No thanks. Carrying around a vibrating sword sounds kind of dangerous.\"\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You talk to the goblin\n(the goblin sidekick)\n\"What should I do now?\" you ask.\n\"I think we must deal with that monster, boss. How bout you hit it with the staff?\"\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> Inventory\nThe new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, and you can barely hold on to it or prevent it from cutting yourself.\nA mail-ordered short metal staff with a clear orb on the end. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see a small unmoving cluster of turquoise tentacles.\nA Remmingheim Supreme crossbow, loaded with an arrow. The Supreme model is supposed to have a special feature. When you shoot it, the arrow will magically return, and the crossbow will be loaded again. The hard, razor-sharp arrow is protruding a good ten centimeters from the front of the crossbow.\n\"The Ultimate Creature Manual\" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\nA small cage. It is closed and locked with a code-lock (You know the code.). A gremlin, a small green humanoid creature with pointy ears, is trapped inside. He is wearing a tiny ring. He is smoking a tiny cigarette. His thin arms are sticking through the bars of the cage, and he is fiddling with the code-lock, trying one combination at a time.\nA Super Champion Helmet. It is round and made of thin metal. It was supposed to magically turn you into a hero.\n\nYou are wearing:\nA Hustlespleen & Poe Coat of Invisibility, though at the moment it looks like an ordinary, long, brown, coat. It is supposed to turn invisible (or turn visible again) whenever you say the magic word \"tango\".\nOn your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin, which is wearing a smaller, magically connected, ring.\nA pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own.\n\n> You talk to Helmet\nYou can only do that to something animate.\n\n> You drop sword\nDropped.\n\n> You go east\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nA huge monster is crouching on the ledge. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe green monster roars.\n\n> You shoot the monster with the crossbow\nYou pull the trigger. The arrow magically returns to the crossbow and the crossbow is loaded again. Huh? That happened fast. The arrow did not even have time to leave the crossbow entirely! In fact, it barely moved!\n\nThe green monster steps on the goblin. The poor goblin disappears completely beneath the huge foot. After a while the monster lifts the foot, while looking down as if to see if the goblin is dead. He isn't. Dazed, the goblin gets up, shakes his head, and takes some steps away from the monster.\n\n> You hit the monster with staff\nThe huge monster vanishes.\n\nA gigantic monster appears. It seems to consist entirely of many entwined writhing turquoise tentacles. There are no legs or arms or head. Each tentacle is as thick as a person and none seem to be shorter than five meters.\n\nYou notice that the huge monster is inside the orb now, tiny and unmoving.\n\nA tentacle grabs one of the goblin's ears and lifts him from the ground. The goblin screams before the ear slides out of the tentacles grip, and he falls down.\n\n> You hit the monster with the staff\nThe gigantic tentacle monster vanishes.\n\nThe huge green monster appears.\n\nYou notice that the gigantic tentacle monster is inside the orb now, tiny and unmoving.\n\nThe green monster's tongue wraps itself around the waist of the goblin. The goblin is dragged kicking and screaming towards the monster's mouth. You manage to grab one of the goblin's arms and pull him loose from the tongue.\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nA gigantic monster appears. It seems to consist entirely of many entwined writhing turquoise tentacles. There are no legs or arms or head. Each tentacle is as thick as a person and none seem to be shorter than five meters.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving.\n\nA tentacle grabs the tongue of the green monster and begins to pull. But the tongue pulls back, and the tentacle is dragged into the mouth of the green monster. The green monster bites off the end of the tentacle. The wounded tentacle, bleeding dark blue liquid, withdraws into the cluster of tentacles. The green monster chews on the tip of the tentacle for a while then swallows.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> Wait\nTime passes.\n\nA tentacle wraps around the green monster's head. The monster scratches the tentacle with its claws, and the tentacle withdraws.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> Wait\nTime passes.\n\nA tentacle grabs your arm, and you are pulled towards the cluster. You hit the tentacle and it lets go.\n\nThe green monster tries to hit you with the claws of one foot, but you manage to step back just in time.\n\n> You read 2\nSo, you have spotted a monster. How many legs does it have?\nNone: read page 3\nOne: read page 35\nTwo: read page 36\nThree: read page 62\nFour: read page 63\nSix: read page 86\nEight: read page 87\nForty eight billion and five: read page 90\nIt varies: read page 91\n\nA tentacle grabs you around your feet and lifts you up. You are hanging upside down. You wiggle your legs, until the tentacle lets go and you fall down.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> You read 3\nWhich of the following body parts does it have?\nFins: read page 4\nBranches: read page 8\nTentacles: read page 11\nArms: read page 14\nNone of the above: read page 29\n\nA tentacle grabs the tongue of the green monster and begins to pull. But the tongue pulls back, and the tentacle is dragged into the mouth of the green monster. The green monster bites off the end of the tentacle. The wounded tentacle, bleeding dark blue liquid, withdraws into the cluster of tentacles. The green monster chews on the tip of the tentacle for a while then swallows.\n\nThe green monster tries to hit you with the claws of one foot, but you manage to step back just in time.\n\n> You read 11\nHow many tentacles?\nEight: read page 12\nLots: Read page 13\n\nA tentacle grabs your arm, and you are pulled towards the cluster. You hit the tentacle and it lets go.\n\nThe green monster lunges towards the tentacle monster, trying to bite it, but the tentacle monster wiggles back out of reach.\n\n> You read 13\nPope's Delight:\nYou'll need:\n1 cup of water\n2 cups of camel milk\n1 handful of sugar\n1 mouthful of flour\n1 kilo of parrot spleens\n1 otter, dead\nSome whiskey\n\nMix all the incidences, except the otter and the whiskey, into a paste. Fry it in a pan for 20 minutes at full heat. Shave the otter and stuff it with the paste. Boil it until its nose falls off, then dip it in whiskey. Traditionally served with fried potatoes and donkey milk.\n\nThe letters on this page are different from the rest of the book. You realize this page actually belongs in another book, and has been printed here by mistake.\n\nA tentacle plunges down towards your feet, but you manage to jump away from it.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> You give Helmet to the goblin\nThere is not much you can do to stuff that is inside the orb.\n\nA tentacle hits one of the eyes of the green monster. The eye blinks.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> Tango\n\"Tango!\"\nThe coat turns invisible. You on the other hand do not. The gremlin snickers at your boxer shorts.\n\nA tentacle plunges down towards your feet, but you manage to jump away from it.\n\nAll the eyes of the green monster swivel round and stare at the tentacle monster.\n\n> Tango\n\"Tango!\"\nThe coat turns visible.\n\nA tentacle hits one of the eyes of the green monster. The eye blinks.\n\nThe green monster tries to hit you with the claws of one foot, but you manage to step back just in time.\n\n> You hit yourself with the staff\nSuddenly everything looks slightly different.\n\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nA huge monster is crouching on the ledge. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nA mail-ordered short metal staff with a clear orb on the end lies here. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see the goblin sidekick. He is now tiny and unmoving.\n\nA gigantic monster is here. It seem to consist entirely of a cluster of many entwined writhing turquoise tentacles. There are no legs or arms or head. Each tentacle is as thick as a person and none seem to be shorter than five meters.\n\nA tentacle grabs the tongue of the green monster and begins to pull. But the tongue pulls back, and the tentacle is dragged into the mouth of the green monster. The green monster bites off the end of the tentacle. The wounded tentacle, bleeding dark blue liquid, withdraws into the cluster of tentacles. The green monster chews on the tip of the tentacle for a while then swallows.\n\nThe green monster roars.\n\n> You talk to the goblin\nThere is not much you can do to stuff that is inside the orb.\n\nA tentacle plunges down towards your feet, but you manage to jump away from it.\n\nAll the eyes of the green monster swivel round and stare at you.\n\n> You talk to the green monster\n\"Who are you?\" you ask, but the monster ignores you.\n\nA tentacle wraps around the green monster's head. The monster scratches the tentacle with its claws, and the tentacle withdraws.\n\nThe green monster's tongue shoots out towards your head, but you duck.\n\n> You kill the frog\nYou throw yourself against the monster. The monster smacks you with one of its legs, and you are slammed into the mountain wall.\n\nA tentacle plunges down towards your feet, but you manage to jump away from it.\n\nThe green monster's tongue shoots out towards your head, but you duck.\n\n> Is\nA Supreme crossbow (loaded)\nA manual\nA cage (with a gremlin) (closed and locked)\nA helmet\n\nYou are wearing:\nA coat (visible)\nA ring\nBoxer shorts.\n\n> You check your inventory\nA Remmingheim Supreme crossbow, loaded with an arrow. The Supreme model is supposed to have a special feature. When you shoot it, the arrow will magically return, and the crossbow will be loaded again. The hard, razor-sharp arrow is protruding a good ten centimeters from the front of the crossbow.\n\"The Ultimate Creature Manual\" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\nA small cage. It is closed and locked with a code-lock (You know the code.). A gremlin, a small green humanoid creature with pointy ears, is trapped inside. He is wearing a tiny ring. He is smoking a tiny cigarette. His thin arms are sticking through the bars of the cage, and he is fiddling with the code-lock, trying one combination at a time.\nA Super Champion Helmet. It is round and made of thin metal. It was supposed to magically turn you into a hero.\n\nYou are wearing:\nA Hustlespleen & Poe Coat of Invisibility, though at the moment it looks like an ordinary, long, brown, coat. It is supposed to turn invisible (or turn visible again) whenever you say the magic word \"tango\".\nOn your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin, which is wearing a smaller, magically connected, ring.\nA pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own.\n\n> Unlock cage\nYou unlock the code-lock. The gremlin jumps out of the cage. Then he runs giggling into the northern cave. You sigh and throw away the cage. You have tried catching gremlins before, and you know you'll never be able to.\n\nA tentacle wraps around the green monster's head. The monster scratches the tentacle with its claws, and the tentacle withdraws.\n\nThe green monster swings one of its legs at a tentacle, but misses.\n\n> You talk to the gremlin\n\"Hey, how are you doing in there?\" you ask.\n\"I'm suffocating,\" the gremlin says. \"Unless you let me out soon I'll die!\"\n\nA tentacle grabs hold of one of the eyes of the green monster and begins to pull. The eye is pulled away from the eye cluster, but is still attached with what appears to be a pink rubbery string. The string gets stretched pretty far, and for a moment it seems as if it is going to break. Then the tentacle lets go and the eye snaps back into the cluster. The eyes wobble like jelly. Then they blink, and the green monster looks a bit confused.\n\nThe green monster tries to hit you with the claws of one foot, but you manage to step back just in time.\n\n> You read 1\nYou pull the trigger. The arrow magically returns to the crossbow and the crossbow is loaded again. Huh? That happened fast. The arrow did not even have time to leave the crossbow entirely! In fact, it barely moved!\n\nA tentacle grabs hold of one of the eyes of the green monster and begins to pull. The eye is pulled away from the eye cluster, but is still attached with what appears to be a pink rubbery string. The string gets stretched pretty far, and for a moment it seems as if it is going to break. Then the tentacle lets go and the eye snaps back into the cluster. The eyes wobble like jelly. Then they blink, and the green monster looks a bit confused.\n\nThe green monster's tongue shoots out towards your legs, but you manage to jump to the side.\n\n>On the front is a badly drawn picture of three monsters running away from a man who is holding a copy of the book over his head.\n\nA tentacle grabs your arm, and you are pulled towards the cluster. You hit the tentacle and it lets go.\n\nThe green monster stares at you and licks itself around the mouth. Then it opens its mouth wide, roars, and determinedly begins walking towards you. Uh-Oh!\n\n> Go west\nAs you are about to go, a tentacle wraps itself around one of your legs. You fall, and are pulled back. You manage to untangle your leg.\n\nA tentacle grabs the tongue of the green monster and begins to pull. But the tongue pulls back, and the tentacle is dragged into the mouth of the green monster. The green monster bites off the end of the tentacle. The wounded tentacle, bleeding dark blue liquid, withdraws into the cluster of tentacles. The green monster chews on the tip of the tentacle for a while then swallows.\n\nThe green monster's tongue shoots out and wraps itself around your waist. You are pulled into the monster's mouth and chewed to little pieces.\n\n> Go west\nAs you are about to go, a tentacle wraps itself around one of your arms and pulls you back. You hit the tentacle with your free arm and it lets go.\n\nA tentacle grabs the tongue of the green monster and begins to pull. But the tongue pulls back, and the tentacle is dragged into the mouth of the green monster. The green monster bites off the end of the tentacle. The wounded tentacle, bleeding dark blue liquid, withdraws into the cluster of tentacles. The green monster chews on the tip of the tentacle for a while then swallows.\n\nThe green monster's tongue shoots out and wraps itself around your waist. You are pulled into the monster's mouth and chewed to little pieces.\n\n> You go west\nAs you are about to go, a tentacle wraps itself around one of your arms and pulls you back. You hit the tentacle with your free arm and it lets go.\n\nA tentacle grabs hold of one of the eyes of the green monster and begins to pull. The eye is pulled away from the eye cluster, but is still attached with what appears to be a pink rubbery string. The string gets stretched pretty far, and for a moment it seems as if it is going to break. Then the tentacle lets go and the eye snaps back into the cluster. The eyes wobble like jelly. Then they blink, and the green monster looks a bit confused.\n\nThe green monster's tongue shoots out and wraps itself around your waist. You are pulled into the monster's mouth and chewed to little pieces.\n\n> You hit the frog with the staff\nFirst taking the staff.\nTaken.\nThe huge monster vanishes.\n\nThe goblin sidekick appears.\n\nYou notice that the huge monster is inside the orb now, tiny and unmoving.\n\nThe goblin says, \"Gee boss, I am kind of confused about what just happened. But I saw you had become this tiny frozen figure inside the orb. I figured I had to try and rescue you, so I touched the orb. I don't know exactly what happened then, but now here you are.\"\n\nA tentacle chases the goblin around for a while.\n\n> You hit the monster with the staff\nThe gigantic tentacle monster vanishes.\n\nThe huge green monster appears.\n\nYou notice that the gigantic tentacle monster is inside the orb now, tiny and unmoving.\n\nThe green monster roars.\n\n> You throw the sword at frog\nThe monster is too far away.\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You read 2\nSo, you have spotted a monster. How many legs does it have?\nNone: read page 3\nOne: read page 35\nTwo: read page 36\nThree: read page 62\nFour: read page 63\nSix: read page 86\nEight: read page 87\nForty eight billion and five: read page 90\nIt varies: read page 91\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You give Helmet to the goblin\n(the goblin sidekick)\nYou give the Super Champion Helmet to the goblin.\n\nIMPORTANT NOTE: If you forget what items the goblin has, you can ask him with \"Goblin, Inventory\". This note will not be repeated.\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You put on Helmet\n\"I don't need a helmet to be a hero.\"\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You go to the east\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nA huge monster is crouching on the ledge. Its green skin is scaly, its body is bloated like a balloon, its four feet have long terrible claws, its wide mouth has thousands of sharp teeth and on top of its head is a cluster of about fifty bulging eyes as big as your head.\n\nThe goblin comes running after you.\n\nThe green monster's tongue shoots out towards your head, but you duck.\n\n> Stab frog with arrow\nYou slam the crossbow, arrow first, into the monster's belly. The monster explodes like a balloon, leaving no remains. So not quite like a balloon then.\n\n> You go west\nA narrow mountain ledge leading west and east.\n\nThe new magical sword from Adventurer's Emporium is here. According to the commercial it will start to vibrate when you are close to danger.\n\nThe goblin comes running after you.\n\n> You take the sword\nTaken.\n\n> Go east\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\nThe goblin comes running after you.\n\nThe sword starts vibrating ever so slightly.\n\n> You go north\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, his arms crossed over his naked chest, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. He is holding an axe almost as big as himself. He is smoking a pipe.\nA muscular white horse and a mangy donkey stand here.\n\nThe goblin comes running after you.\n\nThe sword starts shaking quite a lot.\n\n> You talk to the barbarian\n(the barbarian)\n\"What are you doing?\" you ask.\n\"Grirgr and the dwarf were sent to look for treasures. But Grirgr not stupid! He thinks, why risk our lives? So we wait here until somebody else finds treasure! Then we buy it!\"\n\n> You talk to dwarf\n\"So, been here long?\" you say. The dwarf nods.\n\n> You drop sword\nDropped.\n\n> Go north\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nThe goblin comes running after you.\n\n> You read the automat\nAdventurer's Emporium's Convenient Equipment Automat: for everything an adventurer needs.\n30 gold coins     Wheelbarrow\n35 gold coins     Umbrella\n35 gold coins     Roller skates\n35 gold coins     Pogo stick\n35 gold coins     Giant rubber band\n40 gold coins     Spell of summoning: Aardvark\n40 gold coins     Spell of metamorphosis: Chicken\n40 gold coins     Lie detector pants\n40 gold coins     Magical bag of unlimited water balloons\n50 gold coins     Spell of summoning: Lawyer\n50 gold coins     Spell of metamorphosis: Giant Sloth\n50 gold coins     King-size box of assorted fireworks\n50 gold coins     Horse\n100 gold coins     Platoon of miniature zombies\n500 gold coins     Necronomicon\n\n> You get the fish bones\nNever mind the pile of fish bones.\n\n> You sit on the altar\nNO WAY!\n\n> You read the runes\nAt the top of the altar is a long string of small crudely drawn runes. The first depicts a large man punching a small man. The second a large man pushing a small man. The third a large man giving a small man a wedgie. There are many more with similar motifs. You have seen runes like this before. They mean that this is an altar of Snurgelfjekk, the cat-headed god of bullies. At the center of the altar is a larger, more detailed rune. It depicts the altar and two people. One of the people is playing a saxophone. The other is putting something on the altar; you can't quite make out what it is supposed to be. Lines are coming out in all directions from the altar, perhaps representing light or heat.\n\n> Go north\nYou try, but the bright light is too strong. It hurts your eyes.\n\n> You get Helmet\nTaken.\n\n> Wear Helmet\nYou can't make yourself put on the helmet again. It is just too idiotic.\n\n> Go south\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, his arms crossed over his naked chest, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. He is holding an axe almost as big as himself. He is smoking a pipe.\nA muscular white horse and a mangy donkey stand here.\n\nThe new magical sword from Adventurer's Emporium is here. According to the commercial it will start to vibrate when you are close to danger. It is shaking quite a lot.\n\nThe goblin comes running after you.\n\n> You go south\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\nThe goblin comes running after you.\n\nThe sword calms down, and is now only vibrating ever so slightly.\n\n> You go to the north-west\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth.\n\nThe goblin comes running after you.\n\nThe sword starts shaking quite a lot.\n\n> You talk to Hoverist\n\"What are you doing?\" you ask.\nThe Hoverist opens his eyes and looks at you. \"I am trying to reach the forty-seventh stage of Hoverism. I can teach you about Hoverism if you like. The first stage is to be able to hover. You have to figure out how to do that for yourself. Once you know how to hover come talk to me again, and I will teach you the second stage.\"\n\n> Hover\nYou don't know how to do that. Maybe there is some way to fake it.\n\n> You jump\nIf you are thinking of jumping up and down to convince the Hoverist that you can hover, I think you are underestimating him.\n\n> You hang from the hook\nYou jump up and grab the hook. You hang there dangling.\n\n> You talk to Hoverist\n\"Hey old guy,\" you say \"look at me! I am hovering!\"\nThe Hoverist looks at you and says, \"True, your feet are not touching the ground. But it doesn't count if you are holding on to that hook!\"\n\n> You drop the hook\nYou drop down.\n\n> You put cloak on the hook\nThat's a bit awkward when you are hanging from the hook.\n\n> You put the cloak on the hook\nYou take off the coat.\nYou hang the coat on the hook.\n\n> Tango\n\"Tango!\"\nThe coat turns invisible.\n\n> You hang from the hook\nThat's a bit awkward with the coat hanging from the hook. Try hanging from the coat.\n\n> You hang from Coat\nYou grab hold of the coat. You hang there dangling.\n\"Hey old guy,\" you say \"look at me! I am hovering!\"\nThe Hoverist looks at you and says, \"Excellent, albeit a very strange and dangling hovering technique. I will now teach you the second stage of Hoverism: Facing pain.\"\n\nThe Hoverist spends some time teaching you how to face pain. You will still feel the pain, but you are no longer afraid of it.\n\n> Drop\n(the coat)\nYou drop down.\n\n> You get Coat\nYou decide to leave the coat. You can't think of any other uses you can get from it.\n\n> Is\nA staff (with tentacles)\nA Supreme crossbow (loaded)\nA manual\nA cage (with a gremlin) (closed and locked)\nA helmet\n\nYou are wearing:\nA ring\nBoxer shorts.\n\n> You go to the north-west\nThis cave has exits to the northwest and southeast.\nA huge black safe stands here, closed. Due to the unevenness of the cave floor, there is a gap between the safe and the floor, big enough for somebody to crawl down into.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\n\nThe goblin comes running after you.\n\n> You get the fish\nYou manage to catch a sluggish fish.\n\n> You open safe\nYou try some random combinations, but the safe remains locked.\n\n> You enter the gap\nThis is a tight tiny room formed between the safe and the uneven floor. You can barely move. Unfortunately the safe seems to be just as solid on the underside. The only way out is up.\n\nThe goblin crawls in with you. Your bodies are pushed together. \"This is uncomfortable,\" the goblin mutters.\n\n> Go upwards\nThis cave has exits to the northwest and southeast.\nA huge black safe stands here, closed. Due to the unevenness of the cave floor, there is a gap between the safe and the floor, big enough for somebody to crawl down into.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\n\nThe goblin crawls out from under the safe.\n\n> You go northwest\nThe only exit from this cave is to the southeast.\nSome runes are written on the wall.\n\nA bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy stands here. Something is written on it. It is closed.\n\nThe goblin comes running after you.\n\n> You read the runes\nYou try, but the runes start swimming before your eyes. It is impossible to get any meaning from them. All you get is a slight headache. As soon as you avert your eyes, you can't even remember what the runes looked like. You have come across this phenomenon on a couple of previous product testing missions, so you know the reason. The runes are goblin runes; magical runes that can only be read by goblins.\n\n> You read the runes\nThe goblin looks at the runes. \"Oh dear, I can't read them,\" he says. \"Do the runes swim before your eyes?\" you ask, surprised.\n\"Oh no, nothing like that. It's just that the runes are too small. My eyes aren't as good as they used to be. If only there was some way I could see better.\"\n\n>The goblin looks at the runes. \"Oh dear, I can't read them,\" he says. \"Do the runes swim before your eyes?\" you ask, surprised.\n\"Oh no, nothing like that. It's just that the runes are too small. My eyes aren't as good as they used to be. If only there was some way I could see better.\"\n\n> You get the bottle\nTaken.\n\n> You go southeast\nThis cave has exits to the northwest and southeast.\nA huge black safe stands here, closed. Due to the unevenness of the cave floor, there is a gap between the safe and the floor, big enough for somebody to crawl down into.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\n\nThe goblin comes running after you.\n\n> You go southeast\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nThe new magical sword from Adventurer's Emporium is here. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy.\n\nThe goblin comes running after you.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\n> You go southeast\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\nThe goblin comes running after you.\n\n> Go northeast\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nThe goblin comes running after you.\n\n> You stand on the pyramid\nYou get on the teleporter.\n\n> You stand on the hay\nNever mind the pile of hay.\n\n> Go southwest\nYou'll have to get off the teleporter first.\n\n> You get off\nYou get off the teleporter.\n\n> Go west\nA narrow mountain ledge leading west and east.\n\nThe goblin comes running after you.\n\n> You go to the northwest\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nThe new magical sword from Adventurer's Emporium is here. According to the commercial it will start to vibrate when you are close to danger. It is shaking quite a lot.\n\nThe goblin comes running after you.\n\n> Go southeast\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\nThe goblin comes running after you.\n\nThe sword starts shaking like crazy.\n\nYou have a hard time holding on to the sword, and you have to struggle to keep from slashing yourself.\n\n> You go northeast\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nThe goblin comes running after you.\n\nThe sword calms down, but is still shaking quite a lot.\n\n> You put sword in the lever\nYou slide the sword into the gap. The hilt prevents the sword from falling through. The shaking of the sword is not enough to shake the handle.\n\n> You go west\nA narrow mountain ledge leading west and east.\n\nA bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy stands here. Something is written on it. It is closed.\n\nThe goblin comes running after you.\n\n> You go northeast\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nThe goblin comes running after you.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. There comes a low humming sound from the teleporter.\n\n> You get on the teleporter\nYou get on the teleporter.\n\nThe sword makes the lever shake. The sound from the teleporter gets louder.\n\n> You wait\nTime passes.\n\nThe sword makes the lever shake. The sound gets even louder. A few electrical sparks shoots up from the teleporter. Your feet tickle.\n\n> You wait for a while\nTime passes.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nYou look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. You hear the gremlin giggle. You look down. The ghostly gremlin jumps right through the bars of the ghostly cage. Second later you, the gremlin, the cage, and the rest of your possessions look normal again. The gremlin runs to the hole in the floor. \"So long sucker!\" he says and jumps through. You sigh and throw away the cage. You have tried catching gremlins before, and you know you won't be able to.\n\n> You drop the cage\nThe cage slides down from the teleporter.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nYou look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. Now you look normal.\n\n> You get the backpack\nSome of the monster's teeth stick through the lower half of the backpack, and thus the backpack is stuck. But you feel something inside.\n\n> You open the backpack\nYou find the following stuff in the backpack, which you take:\nA Huxoflux & Son healing gun. You tested one of these four years ago, and they are excellent. Just shoot anything that is wounded or sick.\nA nosehairscrew, a small intricate mechanism with many arms, spikes and pinchers. Part of the Guggensmith Portable Torturing Set that you refused to test some months ago. You are supposed to stuff it up someone's nose, and then twist it to cause horrendous pain.\nA pair of mirrorshades. You can see yourself in them.\n\n> You wear the shades\nYou put on the pair of mirrorshades.\n\n> Go east\nThis cave has exits to the west and northwest.\nA goblin woman is standing here. She is wearing a medallion, and carrying a purse. You are not quite sure, but with her long ears, sharp yellow teeth, and big feet you think she is pretty cute by goblin standards.\n\n> You talk to the goblin\n\"Hey, what are you doing here?\" you ask.\n\"I work here. I'm a guard.\"\n\"What's it like?\"\n\"Kind of lonely. I wish there were some other goblins around.\"\n\n> You ask the goblin about the guarding\nIn this game you communicate by \"talk to [whatever]\", or by giving commands in this format: \"goblin, give me the cow-o-meter\".\n\n> You give you the the medallion\n\"Yeah, right!\"\n\n> Go northwest\nThe female goblin blocks your path. \"You can't go in here,\" she says.\n\n> You get the purse\nNever mind the purse.\n\n> Go west\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack."
    },
    {
        "text": "[Themes: Humor, Cave crawl, cave, cave crawl, humor]\n\n> Go downwards\nYou jump down the hole. You land in a pile of hay. You get up.\n\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nYou can see a cage (which is closed) (in which is a gremlin) and the goblin sidekick here.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. There comes a low humming sound from the teleporter.\n\nThe gremlin picks up a small rock from the ground. He smashes the code-lock with it and jumps out of the cage. Then he runs giggling through the southwest exit.\n\n> You get on the teleporter\nThe goblin gets on the teleporter.\n\nThe sword makes the lever shake. The sound from the teleporter gets louder.\n\n> You get on the teleporter\nYou get on the teleporter.\n\nThe sword makes the lever shake. The sound gets even louder. A few electrical sparks shoots up from the teleporter. Your feet tickle. The goblin giggles.\n\n> You wait awhile\nTime passes.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nThe goblin begins to fade in next to you. You look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. Now you look normal.\n\n> Go east\nThis cave has exits to the west and northwest.\nA goblin woman is standing here. She is wearing a medallion, and carrying a purse. You are not quite sure, but with her long ears, sharp yellow teeth, and big feet you think she is pretty cute by goblin standards.\n\nThe goblin comes running after you.\n\n\"Well, hello there!\" says the female goblin and smiles.\n\n\"Uh, hi,\" says the goblin, his cheeks turning a darker shade of green. They seem distracted.\n\n> You wait for a while\nTime passes.\n\n> You go to the northwest\nYou sneak out. The goblins don't seem to notice.\n\nThis cave has an exit to the southeast.\nOn the north wall is a small round metal hatch. It is closed.\nNear the hatch is a table.\nIn a corner stands a short metal garbage can. It is closed.\n\nOn the table you can see:\nA long heavy-looking iron spear.\nA Remmingeim Royal crossbow. The older Royal model is almost identical to the Supreme. Very few but an experienced product tester like yourself could tell the difference. The Royal is quite good. It does not have the returning arrow function, but it is magically protected from theft and vandalism. It has an arrow identical to the one in the Supreme bow.\n\n> You get the spear\nThe spear is too heavy for that.\n\n> You open can\nYou open the garbage can. It is empty.\n\n> You open hatch\nIt is locked.\n\n> You get the table\nThe table is too heavy for that.\n\n> Unlock hatch\nWhat do you want to unlock the hatch with?\n\n> Arrow\nWhich do you mean, the Royal arrow or the Supreme arrow?\n\n> Supreme\n(first taking the Supreme arrow)\nYou attempt to get the arrow from the crossbow, but almost immediately it disappears from your grip and reappears in the crossbow.\n\n> You get the royal arrow\nJust as you are about to take the arrow, the crossbow wiggles out of your grip. It hangs hovering in the air for a moment.Then it flies away and lands on the table.\n\n> You hit the hatch with Supreme\nYou smash the crossbow into the hatch, but it is pretty solid.\n\n> You get the royal arrow\nYou try, but the crossbow starts wiggling around, making it impossible.\n\n> Fire royal arrow\nFirst taking the Royal crossbow.\nTaken.\nJust as you are about to pull the trigger the crossbow wiggles out of your grip. It flies away and lands on the table. That theft protection is pretty good!\n\n> You put the bow in the can\nWhich do you mean, the Royal crossbow or the Supreme crossbow?\n\n> You put the royal bow in the can\nYou put the Royal crossbow into the garbage can.\n\n> You go southeast\nYou sneak back.\n\nThis cave has exits to the west and northwest.\nA goblin woman is standing here. She is wearing a medallion, and carrying a purse. You are not quite sure, but with her long ears, sharp yellow teeth, and big feet you think she is pretty cute by goblin standards. She is staring at your sidekick, looking rather distracted.\n\nYou can see the goblin sidekick here.\n\n> You go west\n\"Come along now,\" you say to the goblin as you leave.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nThe goblin reluctantly walks in from the east, throwing several glances over his shoulder."
    },
    {
        "text": "> Go downwards\nYou jump down the hole. You land in a pile of hay. You hear someone shouting, \"Wheeeeeee!\" and you look up. The goblin is falling right towards you. You quickly roll to the side, and the goblin lands in the hay. You two get up.\n\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nYou can see the goblin sidekick and a cage here.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. There comes a low humming sound from the teleporter.\n\n> You go to the north\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, his arms crossed over his naked chest, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. He is holding an axe almost as big as himself. He is smoking a pipe.\nA muscular white horse and a mangy donkey stand here.\n\nThe goblin comes running after you.\n\n> Go north\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nThe goblin comes running after you.\n\n> You put the fish on the altar\n(the sluggish fish on the altar)\nYou put the sluggish fish on the altar.\n\n> You read the runes\nAt the top of the altar is a long string of small crudely drawn runes. The first depicts a large man punching a small man. The second a large man pushing a small man. The third a large man giving a small man a wedgie. There are many more with similar motifs. You have seen runes like this before. They mean that this is an altar of Snurgelfjekk, the cat-headed god of bullies. At the center of the altar is a larger, more detailed rune. It depicts the altar and two people. One of the people is playing a saxophone. The other is putting something on the altar; you can't quite make out what it is supposed to be. Lines are coming out in all directions from the altar, perhaps representing light or heat.\n\n> Is\nA staff (with tentacles)\nA bottle (closed)\nA healing gun\nA nosehairscrew\nA Supreme crossbow (loaded)\nA manual\nA helmet\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You go to the north\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nYou can also see the gremlin here.\n\nThe goblin comes running after you.\n\nWhen the gremlin sees you, he runs away to the north.\n\n> You take the diamond\nThis thing is really heavy. You just barely manage to pick it up. Your back creaks ominously.\n\n> Go south\nThe diamond is so heavy; you can't bear to go anywhere whilst holding it.\n\n> You get the knife\nYou pull the knife out of the pedestal. You notice the following things:\n1. A mysterious click.\n2. That the knife is very dull.\n3. A large gap in the cave wall next to you opening up.\n4. A metal arm with a round spinning saw-blade emerging from the gap. 5. The top of your head being cut off.\n6. The arm retreating.\n7. The gap closing.\n8. Lots of blood gushing out of your head.\n\n> You touch the diamond with the staff\nNothing happens.\n\n> You get the diamond\n\"I am afraid that is too heavy for me.\"\n\n> You check what you're carrying\nA mail-ordered short metal staff with a clear orb on the end. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see a small unmoving cluster of turquoise tentacles.\nA bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy. Something is written on it. It is closed.\nA Huxoflux & Son healing gun. You tested one of these four years ago, and they are excellent. Just shoot anything that is wounded or sick.\nA nosehairscrew, a small intricate mechanism with many arms, spikes and pinchers. Part of the Guggensmith Portable Torturing Set that you refused to test some months ago. You are supposed to stuff it up someone's nose, and then twist it to cause horrendous pain.\nA Remmingheim Supreme crossbow, loaded with an arrow. The Supreme model is supposed to have a special feature. When you shoot it, the arrow will magically return, and the crossbow will be loaded again. The hard, razor-sharp arrow is protruding a good ten centimeters from the front of the crossbow.\n\"The Ultimate Creature Manual\" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\nA Super Champion Helmet. It is round and made of thin metal. It was supposed to magically turn you into a hero.\n\nYou are wearing:\nA pair of mirrorshades. You could see yourself in them if you weren't wearing them.\nOn your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin. That is, if the gremlin is still wearing the smaller, magically connected, ring.\nA pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own.\n\n> You go to the west\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nYou can see a stone saxophone here.\n\nThe goblin comes running after you.\n\n> You read the runes\n\"Don't know what is says. Maybe it's an advertisement for a music store.\"\n\n> Go east\nAs you are about to leave, the golem suddenly comes to life. It easily yanks the saxophone from your arms and puts it on the cave floor. Then it goes back to standing still, exactly in the same position as before. One of the trolls says, \"Ur, oh yeah, that golem was sat there to guard the saxophone. That sax is some kind of holy relic or something.\"\n\n> You get the stone\nThe large stone is too heavy for that.\n\n> You talk to the golem\n(the golem)\n\"Who made you?\" you ask, but the golem does not respond.\n\n> You talk to the tall troll\n\"So what is this game called?\" you ask.\n\"Ur, troll poker.\"\n\n> You talk to the old troll\n\"Can I play?\" you ask.\n\"Ur, have you got any money?\"\n\"No.\"\n\"Ur, then you can't play.\"\n\n> You talk to the short troll\n\"So are you guys really made of stone?\" you ask.\n\"Ur, dunno.\"\n\n> Smash golem\n(the golem)\nYou smash your fist into the golem, then scream in pain. The trolls laugh.\n\n> You touch golem with staff\n(the golem with the staff)\nNothing happens. Guess golems aren't technically living.\n\n> Is\nA staff (with tentacles)\nA bottle (closed)\nA healing gun\nA nosehairscrew\nA Supreme crossbow (loaded)\nA manual\nA helmet\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You go east\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nThe goblin comes running after you.\n\n> You go north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA genie floats about a meter above the ground. He looks like a man made of ice. He is bald, but has a beard of icicles. He has no legs; his stomach rises from a small cloud of icy steam. He holds an ice sabre.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs.\nA young angry-looking woman stands holding a large placard saying \"Save the monsters!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA large metal chest stands up against a wall. It is closed.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\nThe goblin comes running after you.\n\nThe woman notices you and smiles. \"Hello there,\" she says.\nThe genie nods at you.\nThe hippoman says, \"Welcome to my humble cave.\"\n\"I know him,\" says the gremlin. \"He had me trapped in a cage. He is one of them adventurers. He goes around killing monsters.\"\n\"What?!\" shouts the woman.\n\"Yeah,\" says the gremlin \"And he once said he thought genies were a bunch of overrated powerless second-class ghosts.\"\n\"Did he now?\" says the genie.\nThe gremlin turns to the hippoman and says, \"He also told me hippomen stink and that you were a tub of lard!\"\nThe hippoman snorts angrily. He, the woman and the genie approach you. The hippoman punches you in the stomach saying \"You disgusting human!\" The woman hits you in the head with her placard shouting, \"Go away, you monster molester!\" The genie lifts you up by the neck with one icy hand, and throws you down on the floor. The three go away from you muttering angrily. The gremlin giggles as you get up.\n\n> Torture gremlin\nWhat do you want to torture the gremlin with?\n\n> Nosehairscrew\nThe gremlin is too high up.\n\n> You get the grail\nAs you are about to take it, the hippoman knocks you down. \"So, trying to rob a poor defenseless hippoman are you?\" he says.\n\n> You talk to Hippoman\nYou try to explain, \"The gremlin was lying. I have never said anything bad about hippomen.\"\nThe hippoman snorts angrily. \"Why should I believe a hippohater like you?\"\n\n> You talk to the woman\nYou ask, \"Why are you trying to save the monsters anyway?\"\n\"Are you kidding? Don't you know that each year 40 species of monsters go extinct because of adventurers?\"\n\n> You talk to the genie\n\"So you are a genie, eh?\" you say. \"I wish I had a nice big treasure.\" \"Dream on, transient creature.\"\n\n> Open chest\nJust as you are about to open the chest, the genie rushes towards you swinging his sabre. You jump back. The genie says, \"That is my chest!\"\n\n> You read the runes\n\"Danger of falling rocks. Please don't make any loud noises, as people OR MONSTERS might get hurt. And you wouldn't want that now. WOULD YOU?\"\n\n> Shout\nYou shout as loud as you can.\n\nRocks start falling from the ceiling. A couple of small ones hit you. \"My head! My beautiful head!\" the hippoman cries as a rock hits him. The goblin runs around in circles in an unsuccessful attempt to avoid the rocks. The genie looks pretty annoyed as a big rock bounces off his head. \"Oh, won't somebody protect my beautiful head,\" the hippoman cries as another rock hits him. The woman holds the placard over her, and some rocks bounce off it. The gremlin dodges a rock by quickly crawling horizontally along the wall.\n\nThe hippoman sighs. \"If only there existed some sort of device that could prevent rocks from falling on my head all the time,\" he says.\n\n> You give Helmet to Hippoman\nThe hippoman takes the helmet and manages to squeeze it down on his big head. \"Don't think this means I have forgiven you,\" he says.\n\n> You get the grail\nAs you are about to take it, the hippoman approaches you angrily. He lifts his hand as if to hit you, but suddenly stops and yelps. He looks startled for a moment. Then he tries to tear off the helmet, but it is stuck. You pick up the grail. Suddenly you feel a terrible pain in your hand, and you drop the grail. You hear somebody hissing, and look around. It is the gremlin. He is stabbing his cigarette into his own hand. He is clearly in pain. He removes the cigarette from his hand, and the pain in your hand disappears. He puts the cigarette back in his mouth and laughs at you.\n\n> You remove Ring\nThe ring is stuck on your finger.\n\n> Go south\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nThe goblin comes running after you.\n\n> You go to the west\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nYou can see a stone saxophone here.\n\nThe goblin comes running after you.\n\n> You touch oven\nNever mind the stone oven.\n\n> You go to the east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a thick brown book called \"Practical Tests of Existentialism\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\nThe goblin comes running after you.\n\n> You talk to flamingo man\n\"What is the weird stage for?\" you ask.\n\"It's mine. It's my altar. Where my followers stand when they worship me.\"\n\n> You talk to the cat man\n\"Who are you people?\" you ask.\nThe man answers in a deep voice, \"The idiot in the jester suit is Pjyldoflopp, god of comedy. The chick with the book is Morgeldindo, goddess of wisdom. Me, I'm Snurgelfjekk, god of bullies. And you better worship me, or else!\"\n\n> You talk to the woman\n(the armadillo-headed woman)\n\"Is it a good book?\" you ask.\nThe woman says, sounding bored: \"A total waste of paper. I hope for the writer's sake that he's got brain rot, there's no other excuse for producing such drivel.\"\n\n> You take the cube\nYour hand goes right through the cube as if the cube is made of air.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Switzerland just fell into a barrel of fish.\"\n\n> You take the grail\nYou try to take the grail, but the flamingo-headed man notices it. He sticks his hands inside his chest and pulls out a huge fish, holding it around its tail. The fish is much larger than the man's chest, and almost larger than the man. The man slaps you in the face with the fish. Then, giggling, he puts it back in his chest. \"It's my grail,\" he says.\n\n> You read the book\nYou try to read over the shoulder of the woman. There is a very complex sentence apparently describing a test you take to see if you are real or not. You don't understand it, but feel mildly disturbed.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Singapore just sat on a cactus.\"\n\n> Go northeast\nAs you are about to go, the cat-headed man sticks out a leg and trips you. You fall on your face. The cat-headed man laughs.\n\n> You go upwards\nThis cave has a hole in the floor. On the south wall is a small round metal hatch. It is closed.\nIn the middle of the room stands a stone pedestal, on which is attached A HUGE IMPORTANT WARNING SIGN! On top of the pedestal stands a metal chest. It is closed.\n\nThe goblin comes climbing up from the hole.\n\n> You read the sign\n\"Do not open the chest. If you do, an alarm will sound, and a guard will shoot you from the hatch with a crossbow.\"\n\n> Open chest\nYou open the chest. There comes a terrible ringing sound. An alarm! There are five gold coins in the chest. You quickly grab them before running towards the ladder. You hear something behind you. With one foot on the ladder you turn your head. It's the hatch; it has opened, revealing a female goblin peeking through. She is holding the Royal crossbow. \"If you were going to hide my stuff, you should at least have had the brains to close the garbage can,\" she says, before shooting you through the eye. You fall down the hole. You are dead before you hit the ground."
    },
    {
        "text": "[Themes: Humor, Cave crawl, male protagonist, humor]\n\n> Go downward\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a thick brown book called \"Practical Tests of Existentialism\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\nThe goblin comes climbing down the ladder.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Syria just got attacked by a woodpecker.\"\n\n> You go to the north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA genie floats about a meter above the ground. He looks like a man made of ice. He is bald, but has a beard of icicles. He has no legs; his stomach rises from a small cloud of icy steam. He holds an ice sabre.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the monsters!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA large metal chest stands up against a wall. It is closed.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\nThe goblin comes running after you.\n\n> You go south\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around.\n\nThe goblin comes running after you.\n\n> Go south\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, his arms crossed over his naked chest, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. He is holding an axe almost as big as himself. He is smoking a pipe.\nA muscular white horse and a mangy donkey stand here.\n\nThe goblin comes running after you.\n\n> You go to the north-east\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nYou can hear a low humming coming from the teleporter.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nYou can see a cage here.\n\nThe goblin comes running after you.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. The sound from the teleporter gets louder.\n\n> You stand on the teleporter\nYou get on the teleporter.\n\nThe sword makes the lever shake. The sound gets even louder. A few electrical sparks shoots up from the teleporter. Your feet tickle.\n\n> You stand on the teleporter\nThe goblin gets on the teleporter.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nThe goblin begins to fade in next to you. You look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. Now you look normal.\n\n> Go northwest\nYou sneak out. The goblins don't seem to notice.\n\nThis cave has an exit to the southeast.\nOn the north wall is a small round metal hatch. It is closed.\nNear the hatch is a table.\nIn a corner stands a short metal garbage can. It is open.\n\nOn the table you can see:\nA long heavy-looking iron spear.\n\nThe garbage can contains:\nA Remmingeim Royal crossbow. The older Royal model is almost identical to the Supreme. Very few but an experienced product tester like yourself could tell the difference. The Royal is quite good. It does not have the returning arrow function, but it is magically protected from theft and vandalism. It has an arrow identical to the one in the Supreme bow.\n\n> You close the garbage can\nYou close the garbage can."
    },
    {
        "text": "[Themes: Cave crawl, Humor]\n\n> You look around\nThis cave has an exit to the southeast.\nOn the north wall is a small round metal hatch. It is closed.\nNear the hatch is a table.\nIn a corner stands a short metal garbage can. It is closed.\n\nOn the table you can see:\nA long heavy-looking iron spear.\n\n> You take spear\nThe spear is too heavy for that.\n\n> You open can\nYou open the garbage can. It contains:\nA Remmingeim Royal crossbow. The older Royal model is almost identical to the Supreme. Very few but an experienced product tester like yourself could tell the difference. The Royal is quite good. It does not have the returning arrow function, but it is magically protected from theft and vandalism. It has an arrow identical to the one in the Supreme bow.\n\n> You put the crossbow on the table\nYou put the Supreme crossbow on the table.\n\n> You go southeast\nYou sneak back.\n\nThis cave has exits to the west and northwest.\nA goblin woman is standing here. She is wearing a medallion, and carrying a purse. You are not quite sure, but with her long ears, sharp yellow teeth, and big feet you think she is pretty cute by goblin standards. She is staring at your sidekick, looking rather distracted.\n\nYou can see the goblin sidekick here.\n\n> Go east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a thick brown book called \"Practical Tests of Existentialism\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\nThe goblin comes running after you.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Russia just stepped on a beehive.\"\n\n> Open chest\nYou open the chest. There comes a terrible ringing sound. An alarm! There are five gold coins in the chest. You quickly grab them before running towards the ladder. You hear something behind you. With one foot on the ladder you turn your head. It's the hatch; it has opened, revealing a female goblin peeking through. She is holding your Supreme crossbow. It is aimed right at you. She fires. Almost instantly, before it has even left the crossbow completely, the arrow returns to the bow. \"What?\" says the goblin lady. She fires again. The arrow returns again. Startled the lady fires again and again. She begins to swear. You laugh and climb down.\n\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a slim gray book called \"Schrodinger's Goldfish: Confirmation of Negative Time\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\nThe goblin comes climbing down the ladder.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Scotland just slid on a banana peel.\"\n\n> You talk to the troll\nWho do you mean, the old troll, the tall troll or the short troll?\n\n> Old\n\"Can I play?\" you ask.\n\"Ur, have you got any money?\"\n\"Yes.\"\n\"Ur, sure, sit down on the rock, and we'll play.\"\n\n> You sit on the rock\nJust as you are about to sit down the old troll says, \"Ur, have you got any money?\"\n\"Yes.\"\n\"Ur, good, then you can play.\"\nYou sit down.\n\"Ur, you want to know the rules of troll poker?\" asks the old troll. \"Ur, everybody gets one card,\" says the short troll.\n\"Ur, there are thirteen cards in the deck,\" says the tall troll.\n\"Ur, the ace of rocks is the highest,\" says the short troll.\n\"Ur, that is weird. The ace only have one rock,\" says the old troll. \"Ur, maybe it's a trick to fool stupid players,\" says the tall troll. \"Ur, yeah. The stupid players think they can't win when they get the ace,\" says the old troll.\n\"Ur, everybody looks at their card,\" says the short troll.\n\"Ur, if anybody asks you what card you have, it's a trick,\" says the tall troll.\n\"Ur, so don't tell them,\" says the old troll.\n\"Ur, then we bet,\" says the tall troll.\n\"Ur, if I have bet three, you can't bet two,\" says the short troll. \"Ur, you can't bet one either,\" says the old troll.\n\"Ur, we mean you can't bet less than the other one,\" says the short troll.\n\"Ur, the one that betted the highest,\" says the old troll.\n\"Ur, you can't bet too high either,\" says the short troll.\n\"Ur, like if I have only three coins left, then you can't bet higher than three,\" says the old troll.\n\"Ur, that's altogether,\" says the short troll.\n\"Ur, yeah, you can't bet more than three altogether,\" says the tall troll.\n\"Ur, when it's your turn you can stay or raise or fold,\" says the old troll.\n\"Ur, if you stay, it means you bet the same as the other one,\" says the tall troll.\n\"Ur, the one that betted the highest,\" says the old troll.\n\"Ur, if you raise it means you bet more than the other one,\" says the short troll.\n\"Ur, the one that betted the highest,\" says the tall troll.\n\"Ur, like if you raise two...\" says the old troll.\n\"Ur, then you bet two more than the other one,\" says the tall troll. \"Ur, the one that betted the highest,\" says the old troll.\n\"Ur, if you fold you don't bet anything,\" says the tall troll.\n\"Ur, but you don't get to win anything either,\" says the short troll. \"Ur, when everybody has betted the same...\" says the old troll.\n\"Ur, or folded,\" says the tall troll.\n\"Ur, yeah, or folded,\" says the old troll.\n\"Ur, then the round is over,\" says the short troll.\n\"Ur, then we show our cards,\" says the tall troll.\n\"Ur, the one with the highest card wins,\" says the the tall troll.\n\"Ur, he gets all the money the others have betted,\" says the short troll.\n\"Ur, if you don't get the rules, just talk to me and we will explain them again,\" says the old troll.\n\nThe old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You get the card\nYou pick up your card, it's the five of rocks.\n\"Ur, I bet 5,\" says the old troll.\n\"Ur, I stay,\" says the tall troll.\n\"Ur, I stay,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 5.\nThe highest possible bet (in total) is now 5. (You, the old troll, the tall troll and the short troll only have 5 gold coins.)\nThe old troll has 5 gold coins.\nThe tall troll has 5 gold coins.\nThe short troll has 5 gold coins.\nYou have 5 gold coins.\nThere are 15 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the king of rocks.\nThe tall troll shows his card. It is the ace of rocks.\nThe short troll shows his card. It is the jack of rocks.\nThe tall troll wins the round.\nThe old troll gives 5 gold coins to the tall troll.\nThe short troll gives 5 gold coins to the tall troll.\n\nThe short troll asks the tall troll \"Ur, can I borrow three coins?\"\nThe tall troll says, \"Ur, alright,\" and gives three coins to the short troll.\n\nThe old troll says to the tall troll \"Ur, time to pay your taxes.\"\nThe tall troll says, \"Ur, alright,\" and gives three coins to the old troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the three of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\"Ur, I raise to 2,\" says the tall troll.\n\"Ur, I raise to 3,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 3.\nThe highest possible bet (in total) is now 3. (The old troll and the short troll only have 3 gold coins.)\nThe old troll has 3 gold coins.\nThe tall troll has 9 gold coins.\nThe short troll has 3 gold coins.\nYou have 5 gold coins.\nThere are 6 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\n\"Ur, I fold,\" says the old troll.\n\"Ur, I stay,\" says the tall troll.\n\nThe round is over. Now to see who won.\nThe tall troll shows his card. It is the ten of rocks.\nThe short troll shows his card. It is the ace of rocks.\nThe short troll wins the round.\nThe old troll gives 1 gold coin to the short troll.\nThe tall troll gives 3 gold coins to the short troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the ten of rocks.\n\"Ur, gee, I wonder if I should fold. Yeah, I think I'll do that,\" says the old troll and laughs.\n\"Ur, what to do? What to do? Oh, I know, I should fold,\" says the tall troll and laughs.\n\"Ur, I fold. I'm just a big sissy I guess,\" says the short troll and laughs.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> Is\nA staff (with tentacles)\nA bottle (closed)\nA healing gun\nA nosehairscrew\nA manual\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You remove the mirrorshades\nYou take off the pair of mirrorshades.\n\n> You get the card\nYou pick up your card, it's the queen of rocks.\n\"Ur, I bet 2,\" says the old troll.\n\"Ur, for some strange reason I'm suddenly not feeling very lucky. I fold,\" says the tall troll and laughs.\n\"Ur, I stay,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 2.\nThe highest possible bet (in total) is now 2. (The old troll only has 2 gold coins.)\nThe old troll has 2 gold coins.\nThe tall troll has 6 gold coins.\nThe short troll has 7 gold coins.\nYou have 5 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> Bet 5\nActually, you can't raise. Somebody has already betted 2, the highest possible bet. You can only stay or fold.\n\n> You stay\nYou stay.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the jack of rocks.\nThe short troll shows his card. It is the nine of rocks.\nYou show your card.\nYou win the round.\nThe old troll gives 2 gold coins to you.\nThe short troll gives 2 gold coins to you.\n\nThe old troll says to the tall troll \"Ur, time to pay your taxes.\"\nThe tall troll says, \"Ur, alright,\" and gives a coin to the old troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the eight of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\"Ur, I stay,\" says the tall troll.\n\"Ur, I fold,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 1. (The old troll only has 1 gold coin.)\nThe old troll has 1 gold coin.\nThe tall troll has 5 gold coins.\nThe short troll has 5 gold coins.\nYou have 9 gold coins.\nThere are 2 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the king of rocks.\nThe tall troll shows his card. It is the six of rocks.\nThe old troll wins the round.\nThe tall troll gives 1 gold coin to the old troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take card\nYou pick up your card, it's the seven of rocks.\n\"Ur, I fold,\" says the old troll.\n\"Ur, I bet 1,\" says the tall troll.\n\"Ur, I raise to 4,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 4.\nThe highest possible bet (in total) is now 4. (The tall troll only has 4 gold coins.)\nThe old troll has 2 gold coins.\nThe tall troll has 4 gold coins.\nThe short troll has 5 gold coins.\nYou have 9 gold coins.\nThere are 5 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\n\"Ur, I fold,\" says the tall troll.\nThe short troll wins the round.\nThe tall troll gives 1 gold coin to the short troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take card\nYou pick up your card, it's the eight of rocks.\n\"Ur, I bet 2,\" says the old troll.\n\"Ur, I stay,\" says the tall troll.\n\"Ur, I stay,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 2.\nThe highest possible bet (in total) is now 2. (The old troll only has 2 gold coins.)\nThe old troll has 2 gold coins.\nThe tall troll has 3 gold coins.\nThe short troll has 6 gold coins.\nYou have 9 gold coins.\nThere are 6 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the ace of rocks.\nThe tall troll shows his card. It is the ten of rocks.\nThe short troll shows his card. It is the king of rocks.\nThe old troll wins the round.\nThe tall troll gives 2 gold coins to the old troll.\nThe short troll gives 2 gold coins to the old troll.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals four cards face down on the table. He grabs one card for himself and the two other troll each grab a card. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the ace of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\"Ur, I stay,\" says the tall troll.\n\"Ur, I stay,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 1. (The tall troll only has 1 gold coin.)\nThe old troll has 6 gold coins.\nThe tall troll has 1 gold coin.\nThe short troll has 4 gold coins.\nYou have 9 gold coins.\nThere are 3 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You raise\nYou have to say how much you would like to raise. For instance \"raise 1\"\n\n> You stay\nYou stay.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the nine of rocks.\nThe tall troll shows his card. It is the ten of rocks.\nThe short troll shows his card. It is the jack of rocks.\nYou show your card.\nYou win the round.\nThe old troll gives 1 gold coin to you.\nThe tall troll gives 1 gold coin to you.\nThe short troll gives 1 gold coin to you.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals three cards face down on the table. He grabs one card for himself and the short troll grabs another. The tall troll is not in the game, as he doesn't have any money. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the eight of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\"Ur, I fold,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 5. (The old troll only has 5 gold coins.)\nThe old troll has 5 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 3 gold coins.\nYou have 12 gold coins.\nThere is 1 gold coin in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\nThe old troll wins the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals three cards face down on the table. He grabs one card for himself and the short troll grabs another. The tall troll is not in the game, as he doesn't have any money. The last card is in front of you.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the ace of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\"Ur, I raise to 3,\" says the short troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 3.\nThe highest possible bet (in total) is now 3. (The short troll only has 3 gold coins.)\nThe old troll has 5 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 3 gold coins.\nYou have 12 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You stay\nYou stay.\n\"Ur, I fold,\" says the old troll.\n\nThe round is over. Now to see who won.\nThe short troll shows his card. It is the jack of rocks.\nYou show your card.\nYou win the round.\nThe old troll gives 1 gold coin to you.\nThe short troll gives 3 gold coins to you.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the three of rocks.\n\"Ur, I bet 4,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 4.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You fold\nYou fold.\nThe old troll wins the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the five of rocks.\n\"Ur, I fold,\" says the old troll.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the two of rocks.\n\"Ur, I fold,\" says the old troll.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the seven of rocks.\n\"Ur, I bet 4,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 4.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the three of rocks.\n\"Ur, I fold,\" says the old troll.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the king of rocks.\n\"Ur, I fold,\" says the old troll.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take card\nYou pick up your card, it's the nine of rocks.\n\"Ur, I bet 2,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 2.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 2 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the ten of rocks.\n\"Ur, I bet 4,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 4.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the ten of rocks.\n\"Ur, I bet 3,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 3.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 3 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the nine of rocks.\n\"Ur, I fold,\" says the old troll.\nYou win the round. No money though.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the two of rocks.\n\"Ur, I bet 2,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 2.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 2 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the four of rocks.\n\"Ur, I bet 4,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 4.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere are 4 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the four of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere is 1 gold coin in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take card\nYou pick up your card, it's the king of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 4. (The old troll only has 4 gold coins.)\nThe old troll has 4 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 16 gold coins.\nThere is 1 gold coin in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> Raise 4\nYou can't raise that much. The highest possible bet (in total) is 4. That means you can only raise 3.\n\n> Raise 3\nYou raise to 4.\n\"Ur, I fold,\" says the old troll.\nYou win the round.\nThe old troll gives 1 gold coin to you.\n\nThe cards are put back in the deck. The old troll picks up the deck of cards and shuffles it. He deals two cards face down on the table. He grabs one card for himself. The other card is in front of you. The short troll and the tall troll are not in the game, as they don't have any money.\n\nThe old troll says, \"Ur, if you want to play, take the card. If you don't want to play get off the rock.\"\n\n> You take the card\nYou pick up your card, it's the six of rocks.\n\"Ur, I bet 1,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 1.\nThe highest possible bet (in total) is now 3. (The old troll only has 3 gold coins.)\nThe old troll has 3 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 17 gold coins.\nThere is 1 gold coin in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You take the card\nYou pick up your card, it's the ace of rocks.\n\"Ur, I bet 3,\" says the old troll.\n\nYour turn.\nThe lowest possible bet (in total) is now 3.\nThe highest possible bet (in total) is now 3. (The old troll only has 3 gold coins.)\nThe old troll has 3 gold coins.\nThe tall troll has 0 gold coins.\nThe short troll has 0 gold coins.\nYou have 17 gold coins.\nThere are 3 gold coins in the pot.\nSo far you have betted 0 gold coins.\nDo you want to stay, raise or fold?\n\n> You stay\nYou stay.\n\nThe round is over. Now to see who won.\nThe old troll shows his card. It is the jack of rocks.\nYou show your card.\nYou win the round.\nThe old troll gives 3 gold coins to you.\n\n\"Ur,\" says the old troll. \"we're all broke. We can't play with you any more.\"\n\"Ok,\" you say. You put the card back and get up.\n\n> Is\nA staff (with tentacles)\nA bottle (closed)\nA healing gun\nA nosehairscrew\nMirrorshades\nA manual\n\nYou are wearing:\nA ring\nBoxer shorts.\n\n> You open the bottle\nYou try to open the bottle, but can't. It has some kind of childproof lid.\n\n> Go east\nYou try, but the bright light is too strong. It hurts your eyes.\n\n> You wear the shades\nYou put on the pair of mirrorshades.\n\n> You go east\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nThe goblin comes running after you.\n\n> Go south\nYou are not testing The Pebble That Protects You From Falling Down From Really High Places this month. It was just a scam anyway.\n\n> You go northwest\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nThe goblin comes running after you.\n\n> You touch the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThere is a most horrible sound like two carriages filled with drum sets crashing at full speed, whilst a million cows pull a million feet up from a swamp. There is a terrible feeling of being thrown. And there is pain. Lots and lots of pain. You lie still, waiting for the pain to subside. It doesn't.\n\nWearily you open your eyes. Turquoise. That's all you can see. It takes a moment before you realize that something covers your eyes. Slowly you lift your arm (pain, pain, pain) and wipe your face (pain, pain, pain). It is turquoise sludge that covers your face. And your arm. And, you notice, the rest of your body. You are lying in a pool of the stuff. Looking around a bit you notice you have been thrown into another cave. You open your mouth and spit out some sludge. It is very silent. In fact you cannot hear a sound. Wait a moment. You twist your head to the side (pain, pain, pain) and sludge pours out of your ear. You can hear a dripping sound coming from the southeast.\n\n\"Note to self,\" you think. \"Do not transport a very large monster into a very small space, when simultaneously occupying that space.\"\n\nYou start trying to get up (PAIN, PAIN, PAIN). You stop trying to get up. You have noticed a piece of metal sticking out of your shoulder. You carefully pull it out. After a moment it dawns on you; this is a piece of the safe. Looking closer at your body you see quite a lot of other pieces of the safe sticking out from it. Enough to build a new small safe from, you estimate. Carefully you begin to pick out the pieces, one by one, and throw them away.\n\nYou get up. You clean off the worst of the sludge. You start longing for a long hot bath. And a chiropractor appointment. You look around.\n\nThe only exit from this cave is to the southeast.\nSome runes are written on the wall.\nSeveral fragments from the safe are lying here. Quite a bit of turquoise sludge is on the floor; most of it around the southeast exit.\n\nA pair of mirrorshades lies here. You would have been able to see yourself in them, except they are covered in turquoise sludge.\n\n> You get the shades\nYou pick up mirrorshades and wipe the sludge off them.\n\n> Go southeast\nThis cave has exits to the northwest and southeast.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\nBig and small pieces of the safe are spread all around this room. The safe door has embedded itself halfway into the cave wall. There are quite a lot of pieces of porcelain spread around too. Lots and lots of dead fish lie around, many with bits of the safe sticking out of them. There is some disgusting turquoise sludge covering almost everything in the room, including the ceiling. Now and then globs of it fall to the floor.\n\nA bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy stands here. Something is written on it. It is covered in turquoise sludge. It is closed.\n\n\"The Ultimate Creature Manual\" by Arthur Hippoman is here. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\n\nSome sludge drip from the ceiling.\n\n> You get the porcelain\nYou pick up the largest piece of porcelain you can see. After studying it for a while you realize it belonged to a Ming vase. Judging by the amount of porcelain there must have been quite a lot of Ming vases in the safe. They would have been priceless. Disgruntled you throw the piece away.\n\nLots of sludge drip from the ceiling.\n\n> You get all\nbottle: You pick up the bottle and clean off some sludge.\nCreature Manual: You pick up the book, and remove the bits of the safe that are stuck in the cover. Then you open the book and shake it. Sludge, and a very flat fish, drips out.\ndead fishes: Never mind the dead fishes.\nporcelain: You pick up the largest piece of porcelain you can see. After studying it for a while you realize it belonged to a Ming vase. Judging by the amount of porcelain there must have been quite a lot of Ming vases in the safe. They would have been priceless. Disgruntled you throw the piece away.\nsafe door: Never mind the safe door.\nsafe pieces: Never mind the safe pieces.\nsludge: Never mind the sludge.\nshoal of fish: You manage to catch a fat fish.\n\nLots of sludge drip from the ceiling."
    },
    {
        "text": "> Look around\nThis cave has exits to the northwest and southeast.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\nBig and small pieces of the safe are spread all around this room. The safe door has embedded itself halfway into the cave wall. There are quite a lot of pieces of porcelain spread around too. Lots and lots of dead fish lie around, many with bits of the safe sticking out of them. There is some disgusting turquoise sludge covering almost everything in the room, including the ceiling. Now and then globs of it fall to the floor.\n\n> You go to the southeast\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached. The statue's head is gone.\nThe Hoverist is hovering about a meter above the floor, cursing and trying to clean himself from the turquoise sludge that covers his body. Several fragments from the safe are lying here. Quite a lot of turquoise sludge is on the floor; most of it round the northwest exit.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nA mail-ordered short metal staff with a clear orb on the end lies here. It has lots of turquoise sludge on it. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see the goblin sidekick. He is now tiny and unmoving.\n\n\"What happened here?\" you say.\n\"There was a large noise,\" says the Hoverist. \"Then things came from the northeast. Your staff almost killed me, but I hovered out of the way, and it destroyed the head of my statue. My cave was filled with sludge.\"\n\"Sorry about that.\"\n\"When you reach the thirty-third stage of Hoverism you will realize there is no need for large indoor explosions.\"\n\n> You get all\nstaff: You pick up the staff and clean off the sludge, making sure you do not touch the orb.\nsafe pieces: Never mind the safe pieces.\nsludge: Never mind the sludge.\nstatue: The statue is too heavy for that.\nHoverist: You start toward the Hoverist, but he hovers up, out of your reach.\n\n> You talk to Hoverist\n\"Could you teach me some more?\" you ask.\nThe Hoverist says, \"Nobody can teach you what the third stage is, you must figure it out for yourself. That will take at least a few decades of constant hovering. When you have understood it, come talk to me again, and I will teach you the fourth stage: X-ray vision.\"\n\n> You climb the statue\nThat's a bit awkward with the coat hanging from the hook. Try hanging from the coat.\n\n> You hang from Coat\nYou grab hold of the coat. You hang there dangling.\n\n> You climb\nWhat do you want to climb?\n\n> You go to the north-west\nThis cave has exits to the northwest and southeast.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\nBig and small pieces of the safe are spread all around this room. The safe door has embedded itself halfway into the cave wall. There are quite a lot of pieces of porcelain spread around too. Lots and lots of dead fish lie around, many with bits of the safe sticking out of them. There is some disgusting turquoise sludge covering almost everything in the room, including the ceiling. Now and then globs of it fall to the floor.\n\nLots of sludge drip from the ceiling.\n\n> You hit goblin with the staff\nThere is not much you can do to stuff that is inside the orb.\n\nSome sludge drip from the ceiling.\n\n> You go to the southeast\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached. The statue's head is gone.\nThe Hoverist is hovering about a meter above the floor, cursing and trying to clean himself from the turquoise sludge that covers his body. Several fragments from the safe are lying here. Quite a lot of turquoise sludge is on the floor; most of it round the northwest exit.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\n> You go southeast\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\n> You go to the north\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, his arms crossed over his naked chest, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. He is holding an axe almost as big as himself. He is smoking a pipe.\nA muscular white horse and a mangy donkey stand here.\n\n> Go north\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around.\n\n> You read the automat\nAdventurer's Emporium's Convenient Equipment Automat: for everything an adventurer needs.\n30 gold coins     Wheelbarrow\n35 gold coins     Umbrella\n35 gold coins     Roller skates\n35 gold coins     Pogo stick\n35 gold coins     Giant rubber band\n40 gold coins     Spell of summoning: Aardvark\n40 gold coins     Spell of metamorphosis: Chicken\n40 gold coins     Lie detector pants\n40 gold coins     Magical bag of unlimited water balloons\n50 gold coins     Spell of summoning: Lawyer\n50 gold coins     Spell of metamorphosis: Giant Sloth\n50 gold coins     King-size box of assorted fireworks\n50 gold coins     Horse\n100 gold coins     Platoon of miniature zombies\n500 gold coins     Necronomicon\n\n> Go north\nYou try, but the bright light is too strong. It hurts your eyes.\n\n> You wear the shades\nYou put on the pair of mirrorshades.\n\n> Go north\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> Go east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a slim gray book called \"Schrodinger's Goldfish: Confirmation of Negative Time\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\n> You give the fish to cat\n(the cat-headed man)\n\"Don't you know the proper way of sacrificing something to a god?\"\n\n> Go west\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nYou can see a stone saxophone here.\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA bottle (closed)\nA healing gun\nA nosehairscrew\nA manual\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You put the fish in the oven\nNever mind the stone oven.\n\n> You shoot the healing gun at the golem\n(the golem)\nYou pull the trigger. A white ray shoots out of the gun and hits the golem. Suddenly it seems a little less run-down.\n\n> You shoot the healing gun at the old troll\nYou pull the trigger. A white ray shoots out of the gun and hits the old troll. \"Ur,\" he says. He touches himself under the left armpit. \"The stalactite that grew on me! It is gone!\"\n\n> You shoot the healing gun at the tall troll\nYou pull the trigger. A white ray shoots out of the gun and hits the tall troll. \"Ur,\" he says. He touches the top of his head. \"The volcano growing on my head! It is gone!\"\n\n> You shoot the healing gun at the short troll\nYou pull the trigger. A white ray shoots out of the gun and hits the short troll. \"Ur,\" he says. He lifts his foot and studies it. \"The crystals forming between my toes! They are gone!\"\n\n> You shoot the healing gun at short troll\nYou pull the trigger. A white ray shoots out of the gun and hits the short troll. \"Ur,\" he says.\n\n> You shoot the healing gun at the fish\nYou pull the trigger. A white ray shoots out of the gun and hits the fish. It wiggles happily."
    },
    {
        "text": "[Themes: Cave crawl, Humor, fantasy, cave, humor]\n\n> You look around\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nYou can see a stone saxophone here.\n\n> Go east\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> Go east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a slim gray book called \"Schrodinger's Goldfish: Confirmation of Negative Time\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\n> You hit the flamingo with the staff\n(the flamingo-headed man with the staff)\nYou hit the flamingo-headed man with the staff. He giggles and says, \"Magic doesn't work on gods.\"\n\n> You shoot the healing gun at the flamingo\n(the flamingo-headed man)\nYou pull the trigger. A white ray shoots out of the gun and hits the flamingo-headed man. Noting happens. He giggles and says, \"Magic doesn't work on gods.\"\n\n> You shoot the healing gun at the donkey\nYou pull the trigger. A white ray shoots out of the gun and hits the donkey. It looks surprised. The barbarian says: \"Look, the wound on the side of the donkey, the one it got from that giant slug, it is gone.\"\n\n> You sell the healing gun to the barbarian\n(the barbarian)\n\"That's not a proper treasure!\"\n\n> You shoot the barbarian with the healing gun\n(the barbarian with the healing gun)\nYou pull the trigger. A white ray shoots out of the gun and hits the barbarian. \"Huh?\" he says. He looks down at himself. \"Grirgr's scars! They are gone! Darnit, they made Grirgr look really cool!\"\n\n> You go northeast\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nYou can hear a low humming coming from the teleporter.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nYou can see a cage here.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. The sound from the teleporter gets louder.\n\n> You get on the teleporter\nYou get on the teleporter.\n\nThe sword makes the lever shake. The sound gets even louder. A few electrical sparks shoots up from the teleporter. Your feet tickle.\n\n> Wait\nTime passes.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge dead monster lies here, its four feet in the air. It has a stupid-looking face on a round gray hairless body. Its tiny eyes stare at nothing. The upper half of a dead pointy-eared elf is sticking out of its mouth. It looks like the monster choked on the elf. The elf is wearing a backpack.\n\nYou look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. Now you look normal.\n\n> You hit the monster with the staff\nNothing happens. Guess it only works with the living.\n\n> You read 80\nIt is a Gloov. The Gloov has no brain, and steals all its thoughts from other creatures. If a mosquito thinks about sucking your blood, the Gloov might also try to suck your blood, which would be bad, considering it is bigger than a horse. If it is near a bird that thinks about flying, the Gloov might end up crushing someone, as it has no wings. To get rid of it, think very hard about running away or bashing your head against a rock.\n\n> You take the backpack\nSome of the monster's teeth stick through the lower half of the backpack, and thus the backpack is stuck.\n\n> You open the backpack\nThat's already open."
    },
    {
        "text": "[Themes: Cave crawl, Humor, cave, cave crawl, male protagonist, fantasy]\n\n> Go downwards\nYou jump down the hole. You land in a pile of hay. You get up.\n\nThis cave has an exit leading outside to the southwest. In the middle of the ceiling, high above you, is a round hole. On the floor, directly under the hole, is a pile of hay.\nA short lever with a handle sticks out from a wall. The handle has a thin, wide gap, large enough for the fingers of one hand to go through. A metallic pyramid, about half a meter high, sticks up from the cave floor. You once tested a hundred different teleporters, and you recognize the pyramid as one of the safest and least complicated models. To use it you just stand on it and shake the lever repeatedly. This particular teleporter seems badly designed though: the lever is far away from it, almost on the other side of the cave.\n\nUp from the lever sticks the new magical sword from Adventurer's Emporium. According to the commercial it will start to vibrate when you are close to danger. It is shaking like crazy, but not enough to shake the lever.\n\nYou can see a cage here.\n\nThe sword goes even crazier and starts thrashing like a headless chicken on drugs.\n\nThe sword makes the lever shake. There comes a low humming sound from the teleporter.\n\n> You go southwest\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\n\n> You go to the north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA genie floats about a meter above the ground. He looks like a man made of ice. He is bald, but has a beard of icicles. He has no legs; his stomach rises from a small cloud of icy steam. He holds an ice sabre.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the monsters!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA large metal chest stands up against a wall. It is closed.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\n> Open chest\nJust as you are about to open the chest, the genie rushes towards you swinging his sabre. You jump back. The genie says, \"That is my chest!\"\n\n> You talk to the genie\n\"So you are a genie, eh?\" you say. \"I wish I had a nice big treasure.\" \"Dream on, transient creature.\"\n\n> You shoot the healing gun at the gremlin\nYou pull the trigger. A white ray shoots out of the gun and hits the gremlin. Suddenly a good feeling fills your body.\n\n> You shoot the healing gun at the woman\nYou pull the trigger. A white ray shoots out of the gun and hits the woman. She makes a little jump. \"My psychosomatic guilt complex! It is gone,\" she says.\n\n> You shoot the healing gun at yourself\nYou pull the trigger. A white ray shoots out of the gun and hits you. You don't feel anything. The gremlin grins.\n\n> You shoot the healing gun at Hippoman\nYou pull the trigger. A white ray shoots out of the gun and hits the hippoman. A shiver goes through his body. \"My ear-maggots! I can't feel them anymore,\" he says.\n\n> You shoot the healing gun at the genie\nYou pull the trigger. A white ray shoots out of the gun and hits the genie. \"Ah!\" he says. \"The broken icicles on my beard. They are whole again!\"\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA bottle (closed)\nA healing gun\nA nosehairscrew\nA manual\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You hit the genie with the staff\nThe genie vanishes.\n\nThe goblin sidekick appears hovering in the air, but immediately falls down.\n\nYou notice that the genie is inside the orb now, tiny and unmoving.\n\n> You hit the woman with the staff\nThe monster rights activist vanishes.\n\nThe genie appears.\n\nYou notice that the monster rights activist is inside the orb now, tiny and unmoving.\n\nThe genie says, \"Foolish mortal! Think you can confuse me with your magic stick?\"\n\n> Open chest\nJust as you are about to open the chest, the genie rushes towards you swinging his sabre. You jump back. The genie says, \"That is my chest!\"\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThe monster rights activist appears.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving.\n\nThe woman smacks you with her placard shouting, \"Fiendish necromancer!\"\n\n> You give the fish to the woman\n\"Think you can bribe me away, you beast slaughterer?\"\n\n> You read the book\nYou must say what page to read, like \"read page 1\" or \"read 1\"\n\n> You read 1\nOn the front is a badly drawn picture of three monsters running away from a man who is holding a copy of the book over his head.\n\n> You read 2\nSo, you have spotted a monster. How many legs does it have?\nNone: read page 3\nOne: read page 35\nTwo: read page 36\nThree: read page 62\nFour: read page 63\nSix: read page 86\nEight: read page 87\nForty eight billion and five: read page 90\nIt varies: read page 91\n\n> You look\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA genie floats about a meter above the ground. He looks like a man made of ice. He is bald, but has a beard of icicles. He has no legs; his stomach rises from a small cloud of icy steam. He holds an ice sabre.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the monsters!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA large metal chest stands up against a wall. It is closed.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\n> You read 36\nDoes it have wings?\nYes: read page 37\nNo: read page 45\n\n> You read 3\nWhich of the following body parts does it have?\nFins: read page 4\nBranches: read page 8\nTentacles: read page 11\nArms: read page 14\nNone of the above: read page 29\n\n> You read 45\nWhat does the skin on its body look like?\nLike human skin: read page 46\nGreen: read page 53\nPurple: read page 58\nLike rock: read page 59\n\n> You read 46\nWhat does its head look like?\nLike a human head: 47\nLike an animal head: read page 52\n\n> You read 47\nHow high is it?\nAbout human size: read page 48\nAbout half human size: read page 51\n\n> You read 48\nHow does its ears look like?\nLike human ears: read page 49\nPointy: read page 50\n\n> You read 49\nWell, it probably is a Human then. Though occasionally nice, Humans usually becomes members in whatever culture that happens to be around, no matter how destructive or stupid that culture is. Then they become so convinced that their culture is the best one that they start killing off everybody who does not belong to it. Humans drink blood, and do not cast reflections. The best way to kill one is with a stake through the heart.\n\n> You read 14\nWhen partaking in tea, how many lumps of sugar does it use?\nTwo: read page 15\nThree: read page 22\n\n> You read 50\nIt is an Elf. They are supposed to be noble warriors, able to communicate with nature and full of ancient wisdom. Actually they are just a bunch of hippies that have had their ears surgically altered. Harmless.\n\n> You read 15\nWhat form of art does it find most delightful?\nOpera: read page 16\nInterpretative dance: read page 19\n\n> You read 22\nWhat word best describes its taste in furniture?\nConservative: read page 23\nFashionable: read page 26\n\n> You read 26\nHow would it prefer to spend a leisurely moment?\nReading: read page 27\nAntiqueing: read page 28\n\n> You read 28\nIt is a Transdimensional Bull Genie. It exists in one million universes at the same time. To destroy it, you must decide on one exact moment to do so, no less than two hours in the future. By that time your universe will have split into more than one million universes (as it is always doing), and if all the versions of you in all the million universes attack the Transdimensional Bull Genie at exactly the same time, it can be killed. However if one of you fails to attack it, or somehow botches the attack, you will only have angered it, so do not attempt this unless you can trust yourself to be perfectly brave, perfectly competent and perfectly punctual.\n\n> You read 27\nIt is a Moldavian Christmas Genie. It is not allowed to hurt anybody on Christmas Eve. Just detain it until the 24th of December, and then trick it into killing somebody and it will cease to exist.\n\n> You read 23\nTo what degree does it think correct attire for any occasion is important?\nVery: read page 24\nExtremely: read page 25\n\n> You read 24\nIt is a Half-Scandinavian Chaos Genie. It is colorblind and shapeblind and can only see sizes. By having the exact same size as one or preferably several objects in the Genie's vicinity, you may confuse it so much that it will not attack you, though a more likely outcome is that it will attack both you and everything your size.\n\n> You read 25\nIt is a Common Wishing Genie. By rubbing its lamp you should be able to control it and make it grant your wishes. Unfortunately the Common Wishing Genies have caught on to this, and have now started hiding their lamps, often far off in other countries.\n\n> You give the bottle to Genie\n\"Foolish mortal! None of your pathetic possessions have any interest to me!\"\n\n> You read 16\nIn its opinion capitalism is best described as...\n...the lesser of several evils: read page 17\n...a mere fad: read page 18\n\n> You read 19\nWhat does it think of the early poetry of Jasper Wull?\nSlightly overrated: read page 20\nSlightly underrated: read page 21\n\n> You read 17\nIt is a Minor Brazilian Quantum Genie. It feeds off math. If you draw an equation on a blackboard it will eat it. If you include some logical flaw in the equation, the genie will choke on it. However make sure the flaw is subtile, because if the genie, which is a math genius, notices the flaw it will not eat the equation but rather get upset and tear you into atoms.\n\n> You read 18\nIt is a North Canadian Sensitivity Genie, one of the few creatures capable of having fatal emotions. Simply show it a photograph of it as a baby while remarking on how cute it looked, or read aloud from a love letter it wrote as a teen and it will likely die of embarrassment.\n\n> You read 20\nIt is a Mock Tropical Cerebral Genie. It only respects creatures that are smarter than itself. Simply stand close to it and do something impressive like invent an antigravity device or discover a cure for the common cold, and it will not harm you.\n\n> You read 21\nIt is a Near-Mythological British Migrating Genie. It feeds off the depressions of others. If you trap it for a fortnight in a room full of optimists it will die of malnutrition.\n\n> You throw the bottle at Genie\nYou throw the bottle. It smashes into the genie, then falls to the ground.\nThe genie says, \"Foolish mortal! Think you can hurt me that easily?\"\n\n>(first taking the bottle)\nYou throw the bottle. It smashes into the genie, then falls to the ground.\nThe genie says, \"Foolish mortal! Think you can hurt me that easily?\"\n\n> You get the sabre\nNever mind the sabre.\n\n> You talk to Genie\nYou ask, \"If you drank tea, how many lumps of sugar would you use?\" \"Don't bother me with your moronic chit chat, transient creature.\"\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThe genie appears.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving.\n\nThe genie says, \"Foolish mortal! Think you um...aaargh!\"\nWater is dripping from the genie. \"I'm melting! I'm melting!\" he screams.\nHe quickly flies towards the exit, but it's too late. Soon he is nothing but a puddle, and not long after even that has evaporated."
    },
    {
        "text": "[Themes: Cave crawl, Humor, fantasy, cave, humor]\n\n> You look around\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nYou can see a stone saxophone here.\n\n> Go east\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner. A knife is planted in it, hilt up.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> Go north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Adventurers go home!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA large metal chest stands up against a wall. It is closed.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\n> You hit the woman with the staff\nThe monster rights activist vanishes.\n\nThe goblin sidekick appears.\n\nYou notice that the monster rights activist is inside the orb now, tiny and unmoving.\n\n> Open chest\nYou open the chest. It contains nothing but a carrot. Wait a second, that's a very strange carrot! It has arms. And legs. And wings! The arms and legs are like those of a human, only smaller. It has no face. Suddenly the carrot flies up, and starts zipping around the cave. Sparks begin to fall from all over its body and each spark disappears before hitting the ground.\n\n> You read the book\nYou must say what page to read, like \"read page 1\" or \"read 1\"\n\n> You look\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. The gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see the goblin sidekick and a big tacky holy grail here.\n\n> You read 37\nDoes it have a beak?\nYes: read page 38\nNo: read page 42\n\n> You read 42\nDoes it have a head?\nYes: read page 43\nNo: read page 44\n\n> You read 44\nIt could be a Vegetable Fairy. Supposedly they are small with humanoid arms and legs and with a vegetable for a body; a different vegetable for each Vegetable Fairy. According to legend you gain a magical power if you lick a Vegetable Fairy: if you lick the Celery Fairy the lower half of your body becomes weightless, if you lick the Rutabaga Fairy you become immune to soap, and so on. Since the Vegetable Fairy is almost certainly fictional I am not going to say how to defeat it. You have probably just found some bird that has gotten it's head cut off.\n\n> Lick carrot\nYou bend down towards the carrot, sticking out your tongue. The carrot doesn't fly away. You lick the carrot. It tastes carroty. Suddenly your eyesight is marginally better. Of course you already had pretty good eyesight.\n\n> Lick carrot\nThe goblin licks the carrot. \"Hey,\" says the goblin. \"My eyesight! It's good again! I can see everything clearly now!\"\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThe monster rights activist appears.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving.\n\nThe monster rights activist smacks you with her placard shouting, \"Kidnapping sicko!\", before running off in the direction you found her.\n\n> Go northwest\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached. The statue's head is gone.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth.\nSeveral fragments from the safe are lying here. Quite a lot of turquoise sludge is on the floor; most of it round the northwest exit.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nThe goblin comes running after you.\n\n> Go northwest\nThis cave has exits to the northwest and southeast.\nA shoal of small fish crawls around on the floor. They look creepy. Their skins are white and look almost transparent. Their eyes are also white and don't have pupils.\nBig and small pieces of the safe are spread all around this room. The safe door has embedded itself halfway into the cave wall. There are quite a lot of pieces of porcelain spread around too. Lots and lots of dead fish lie around, many with bits of the safe sticking out of them. There is some disgusting turquoise sludge covering almost everything in the room, including the ceiling. Now and then globs of it fall to the floor.\n\nSuddenly your eyesight is marginally worse again.\n\nThe goblin comes running after you.\n\nA big blob of sludge falls from the ceiling and splashes into the sludge below.\n\n> Go northwest\nThe only exit from this cave is to the southeast.\nSome runes are written on the wall.\nSeveral fragments from the safe are lying here. Quite a bit of turquoise sludge is on the floor; most of it around the southeast exit.\n\nYou hear the goblin shout \"Oh no, my eye-sight is back to normal!\"\n\nThe goblin comes running after you.\n\n> Go southeast\nThe goblin comes running after you.\n\nSome sludge drip from the ceiling.\n\nThe goblin comes running after you.\n\nThe goblin comes running after you.\n\n> You go north\nYou can see a big tacky holy grail here.\n\nThe goblin comes running after you.\n\n> You go to the south\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> Go northwest\nLots of sludge drip from the ceiling."
    },
    {
        "text": "> Look around\nThe only exit from this cave is to the southeast.\nSome runes are written on the wall.\nSeveral fragments from the safe are lying here. Quite a bit of turquoise sludge is on the floor; most of it around the southeast exit.\n\n> You hit the fish with the staff\nThe fat fish vanishes.\n\nThe goblin sidekick appears.\n\nYou notice that the fat fish is inside the orb now, tiny and unmoving.\n\n> You read the runes\nThe goblin looks at the runes. \"Ah,\" he says, \"it's instructions for how to open the child-proof lid of the Dante Tomato Sauce.\"\nThe goblin explains to you how to open the bottle.\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThe fat fish appears.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving."
    },
    {
        "text": "[Themes: Cave crawl, Humor]\n\n> You look around\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around.\n\n> You open the bottle\nYou open the bottle.\n\n> Inventory\n20 gold coins.\nA mail-ordered short metal staff with a clear orb on the end. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see the goblin sidekick. He is now tiny and unmoving.\nA fat fish. Its eyes are white and have no pupils.\nA bottle of the dreaded Dante Tomato Sauce, Triple-Extra Spicy. Something is written on it. It is open.\nA Huxoflux & Son healing gun. You tested one of these four years ago, and they are excellent. Just shoot anything that is wounded or sick.\nA nosehairscrew, a small intricate mechanism with many arms, spikes and pinchers. Part of the Guggensmith Portable Torturing Set that you refused to test some months ago. You are supposed to stuff it up someone's nose, and then twist it to cause horrendous pain.\n\"The Ultimate Creature Manual\" by Arthur Hippoman. According to the back it contains information about every single monster in the world, and how to defend yourself against them. It is suspiciously thin.\n\nYou are wearing:\nA pair of mirrorshades. You could see yourself in them if you weren't wearing them.\nOn your finger is a Snuffelburg & Co. Type F Magical Ring. It is red and golden. It is supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin. That is, if the gremlin is still wearing the smaller, magically connected, ring.\nA pair of red boxer shorts, decorated with tiny teddy-bears dressed as sailors. They are not something you are supposed to test; they are your own.\n\n> You pour the bottle on the fish\n(the pile of fish bones)\nNever mind the pile of fish bones.\n\n> You pour the bottle on the sluggish fish\nYou pour some tomato sauce on the sluggish fish.\n\n> Go north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the braineating parasite worm!\" She is clearly one of those monster rights activists that have been making your job so much harder lately. The gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\n> You put it on the pedestal\nTaken.\nThe knife is in the way.\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA bottle (open)\nA healing gun\nA nosehairscrew\nA manual\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You get the knife\nYou pull the knife out of the pedestal. You notice the following things:\n1. A mysterious click.\n2. That the knife is very dull.\n3. A large gap in the cave wall next to you opening up.\n4. A metal arm with a round spinning saw-blade emerging from the gap. 5. The top of your head being cut off.\n6. The arm retreating.\n7. The gap closing.\n8. Lots of blood gushing out of your head.\n\n> You shoot the gun at yourself\nYou pull the trigger. A white ray shoots out of the gun and hits you. You don't feel anything. The bleeding doesn't stop!\n\nMore blood erupts from your head.\n\n> You go to the north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the braineating parasite worm!\" She is clearly one of those monster rights activists that have been making your job so much harder lately. The gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nYou can see a big tacky holy grail here.\n\nMore blood erupts from your head.\n\n> You shoot the gun at the gremlin\nYou pull the trigger. A white ray shoots out of the gun and hits the gremlin. Suddenly a good feeling fills your body. You notice the blood has stopped. You feel your head. It is whole again.\n\n> You put the knife in the machine\nJust as you are about to put the knife into the machine, the hippoman approaches you angrily. He lifts his hand as if to hit you, but suddenly stops and yelps. He looks startled for a moment. Then he tries to tear off the helmet, but it is stuck. You put the knife in the machine. The knife slides in until it is completely out of view. The machine beeps.\n\n> You hit the machine\nYou see no reason to hit that.\n\nThe machine hums.\n\n> You wait\nTime passes.\n\nThe machine whistles.\n\n> You wait\nTime passes.\n\nThe machine makes a sound like glass breaking.\n\n> You wait\nTime passes.\n\nThe machine makes a sound like a cabbage being hit with a sledgehammer.\n\n> You wait\nTime passes.\n\nThe machine lets out some steam.\n\n> You wait\nTime passes.\n\nThe machine vibrates.\n\n> You wait\nTime passes.\n\nThe machine shakes.\n\n> You wait\nTime passes.\n\nThe machine moves a couple of inches to the right.\n\n> You wait\nTime passes.\n\nThe machine moves a couple of inches to the left.\n\n> You wait\nTime passes.\n\nThe machine moves a couple of inches forwards.\n\n> You wait\nTime passes.\n\nThe machine moves a couple of inches backwards.\n\n> You wait\nTime passes.\n\nThe machine jumps.\n\nThe gremlin snickers. He is staring at the machine with a mischievous look on his face.\n\n> You get the grail\nAs you are about to take it, the hippoman approaches you angrily. He lifts his hand as if to hit you, but suddenly stops and yelps. He looks startled for a moment. Then he tries to tear off the helmet, but it is stuck. You pick up the grail. Suddenly you feel a terrible pain in your hand, and you drop the grail. You hear somebody hissing, and look around. It is the gremlin. He is stabbing his cigarette into his own hand. He is clearly in pain. He removes the cigarette from his hand, and the pain in your hand disappears. He puts the cigarette back in his mouth and laughs at you.\n\nThe machine beeps. Suddenly the gremlin jumps down from the wall and into the machine. There come some strange sounds from the machine before the gremlin crawls back out and climbs up the wall. The machine starts shaking like crazy, and suddenly the knife comes shooting out of it. The knife flies straight towards your head! You duck. The dagger hits the wall behind you. You notice it is still dull. Darn gremlin!\n\n> Drink bottle\nYou eat some sauce. Your throat starts burning, you feel a desperate need for water, you feel hot, your stomach starts bubbling, you turn red, steam shoots out of your ears, your bowels burst and your head explodes.\n\n> Go south\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nYou can also see the severed top of your head here.\n\n> You take the head\nYou already have that.\n\n> Shoot gun at top\nYou pull the trigger. A white ray shoots out of the gun, hits the severed top of your head and disappears.\n\n> You wear the top\nYou are a little unsure exactly how you are going to put that in your head. Maybe you should try eating it.\n\n> Go east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a small yellow book called \"Fake Paradoxes in Solipsistic Thinking\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Singapore just sat on a cactus.\"\n\n> Go northeast\nAs you are about to go, the cat-headed man punches you in the stomach. \"I'm not going to let you go there!\" he says.\n\"Why not?\" you whimper.\n\"Because I don't feel like it!\"\n\n> You give the bottle to the cat\n(the cat-headed man)\n\"That's trash!\"\n\n> You give bottle to the comedy\n(the flamingo-headed man)\n\"That's not funny! I don't want it!\"\n\n> You give the head to the comedy\n(the flamingo-headed man)\nYou can't give away things that are stuck on your body.\n\n> You give top to the comedy\n(the flamingo-headed man)\n\"That's not funny! I don't want it!\"\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Switzerland just feel down a canyon.\"\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA knife\nA bottle (open)\nA healing gun\nA nosehairscrew\nA manual\nA severed head top\n\nYou are wearing:\nMirrorshades\nA ring\nBoxer shorts.\n\n> You torture yourself with the nosehairscrew\nTo torture someone with a nosehairscrew, the nosehairscrew must first be in that someone's nose.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Norway just fell into a barrel of fish.\"\n\n> Turn screw\nYou put your hand on the nosehairscrew, but hesitate. The pain is going to be horrible. But then you remember what the Hoverist taught you. You twist the screw. The pain is indescribable so I won't try. You collapse.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some guy in Singapore just fell down a hole.\"\n\n> You go west\nYou can't do anything. You are paralyzed with pain.\n\nThe pain subsides. You get up.\n\n> You go west\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> You go to the north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the braineating parasite worm!\" She is clearly one of those monster rights activists that have been making your job so much harder lately. The gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nThere is a little blood here.\n\nYou can see a big tacky holy grail here.\n\n> Turn screw\nYou put your hand on the nosehairscrew, but hesitate. The pain is going to be horrible. But then you remember what the Hoverist taught you. You twist the screw. The pain is indescribable so I won't try. You collapse. The gremlin screams and falls down from the wall.\n\n> You get gremlin\nYou can't do anything. You are paralyzed with pain.\n\nThe pain subsides. You get up. The gremlin curses and scuttles up the wall.\n\n> You put the knife in the machine\nJust as you are about to put the knife into the machine, the hippoman approaches you angrily. He lifts his hand as if to hit you, but suddenly stops and yelps. He looks startled for a moment. Then he tries to tear off the helmet, but it is stuck. You put the knife in the machine. The knife slides in until it is completely out of view. The machine beeps.\n\n> You wait awhile\nTime passes.\n\nThe machine hums.\nTime passes.\n\nThe machine whistles.\nTime passes.\n\nThe machine makes a sound like glass breaking.\nTime passes.\n\nThe machine makes a sound like a cabbage being hit with a sledgehammer.\n\n> Wait\nTime passes.\n\nThe machine lets out some steam.\nTime passes.\n\nThe machine vibrates.\nTime passes.\n\nThe machine shakes.\n\n> Wait\nTime passes.\n\nThe machine moves a couple of inches to the right.\nTime passes.\n\nThe machine moves a couple of inches to the left.\n\n> Wait\nTime passes.\n\nThe machine jumps.\n\nThe gremlin snickers. He is staring at the machine with a mischievous look on his face.\n\n> Turn screw\nYou put your hand on the nosehairscrew, but hesitate. The pain is going to be horrible. But then you remember what the Hoverist taught you. You twist the screw. The pain is indescribable so I won't try. You collapse. The gremlin screams and falls down from the wall.\n\nThe machine beeps. The dagger slides out on the floor. It looks nice and sharp.\n\n> You get the knife\nYou can't do anything. You are paralyzed with pain.\n\nThe pain subsides. You get up. The gremlin curses and scuttles up the wall.\n\n> You throw the knife at the gremlin\nThe gremlin quickly climbs out of the way of the knife which smashes into the wall, and falls to the ground. The gremlin giggles.\n\n> Stab hand\n(with the big tacky holy grail)\nThat is not suitable as a hitting weapon.\n\n> You stab Hand with the knife\nThat seems a tad drastic. Try cutting off just the finger.\n\n> You cut off the finger\n(with the big tacky holy grail)\nThat is not a proper tool for cutting.\n\n> You cut off the finger with the knife\nYou begin to move the knife towards the finger with the ring on, then hesitate. The pain would just be too much, you think. Then you remember what the Hoverist taught you. You cut off the finger. Blood starts gushing out of the wound. You begin to feel weak.\n\n> You shoot the gremlin with the gun\nYou pull the trigger. A white ray shoots out of the gun and hits the gremlin. The gremlin grins.\n\nThe blood keeps pouring out of your finger. You are feeling really bad. You think you will die unless you do something right now.\n\n> You shoot the gremlin with the gun\nYou pull the trigger. A white ray shoots out of the gun and hits the gremlin. The gremlin grins.\n\nThe blood loss gets too big.\n\n> You shoot yourself with the gun\nYou pull the trigger. A white ray shoots out of the gun and hits you. Suddenly a good feeling fills your body. A new finger grows out where the old one was. The bleeding stops.\n\n> You get the grail\nAs you are about to take it, the hippoman approaches you angrily. He lifts his hand as if to hit you, but suddenly stops and yelps. He looks startled for a moment. Then he tries to tear off the helmet, but it is stuck. You pick up the grail.\n\n> You look\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet. A young angry-looking woman stands holding a large placard saying \"Save the braineating parasite worm!\" She is clearly one of those monster rights activists that have been making your job so much harder lately. The gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nThere is quite a lot of blood here.\n\nA severed finger lies here. On it is a Snuffelburg & Co. Type F Magical Ring. The ring is red and golden. It was supposed to protect you from any magical rays, by moving the effect of the ray away from you and onto the gremlin.\n\n> You go east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a huge black book called \"Quantum Physics in Infinitely Dimensional Realities\".\nA cat-headed man sits next to her on a throne draped in black leather, with numerous spikes sticking out of it. He is tall, fat and dressed in a black leather jacket, black jeans and black leather boots.\n\n> You get the grail\n(the big tacky holy grail)\nYou already have that.\n\n> You get the rusty grail\nYou try to take the grail, but the flamingo-headed man notices it. He sticks his hands inside his chest and pulls out a huge fish, holding it around its tail. The fish is much larger than the man's chest, and almost larger than the man. The man slaps you in the face with the fish. Then, giggling, he puts it back in his chest. \"It's my grail,\" he says.\n\n> You give the tacky grail to the flamingo\n(the flamingo-headed man)\n\"No thanks, I already have a grail.\"\n\n> You put the tacky grail on the table\nJust as you are about to put it on the table, the skulls start screaming, and you quickly step back.\n\n> Go south\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around. It is covered in tomato sauce.\n\n> You go south\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA burly barbarian is leaning against a wall, playing with a yo-yo, a grim expression on his face. A long sabre is in his belt.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. With one hand he is holding an axe almost as big as himself. In the other he is holding a wooden paddle with a small ball attached with a rubber string. He keeps hitting the ball with the paddle.\nA muscular white horse and a mangy donkey stand here.\n\n> You sell the grail\nYou have to specify whom you want to give to.\n\n> You sell the grail to the barbarian\n(the barbarian)\nThe barbarian smiles and says, \"That is a good treasure.\" He attaches the grail to his belt. Then he gives you five gold coins. Then he jumps forwards, summersaults through the air, and lands on the back of his horse. It storms out to the south."
    },
    {
        "text": "[Themes: Cave crawl, Humor, cave, male protagonist]\n\n> You describe your surroundings\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor. With one hand he is holding an axe almost as big as himself. In the other he is holding a wooden paddle with a small ball attached with a rubber string. He keeps hitting the ball with the paddle.\nA mangy donkey stands here.\n\n> You go north\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around. It is covered in tomato sauce.\n\n> Go north\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> Stab golem with knife\n(the golem with the knife)\nThe knife makes no damage at all to the stone man.\n\n> You play the sax\nThe unearthly blare spewing forth from the instrument is hideous beyond comprehension. Your bones shiver from the obvious evil infusing every resonance of the soul-quenching noise and you feel like the eldritch sounds tear your mind apart and play ping-pong with your sanity. You were never a big fan of saxophone music.\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA knife (sharpened)\nA bottle (open)\nA healing gun\nA manual\nA severed finger (with a ring)\nA severed head top\nA nosehairscrew (in your nose)\n\nYou are wearing:\nMirrorshades\nBoxer shorts.\n\n> You erase the runes\nYour attempts at erasing the runes fail, the stone is too hard. Nice try though.\n\n> You point the healing gun at the golem\n(the golem)\nNah, aiming is for wimps.\n\n> You shoot the healing gun at the golem\n(the golem)\nYou pull the trigger. A white ray shoots out of the gun and hits the golem.\n\n> You give the finger to the golem\n(the golem with the fat fish)\nThat is not suitable as a hitting weapon.\n\n>(the golem)\nYou can't give away things that are stuck on your body.\n\n> You give head top to the golem\n(the golem)\nThe golem does not respond to your offer.\n\n> You read the page 59\nDoes it have runes carved into its breast?\nYes: read 60\nNo: read 61\n\n> You read the page 60\nIt is a Golem; an artificial creature made of rock and magic, forced to serve out the commands carved into its chest. To destroy it, simply buy and read my previous book \"How to Destroy a Golem\".\n\n> You read the page 61\nIt is a Troll. They are extinct so don't worry about them.\n\n> Is\nA staff (with the goblin sidekick)\nA fat fish\nA knife (sharpened)\nA bottle (open)\nA healing gun\nA manual\nA severed finger (with a ring)\nA severed head top\nA nosehairscrew (in your nose)\n\nYou are wearing:\nMirrorshades\nBoxer shorts.\n\n> You talk to Golem\n(the golem)\n\"Who made you?\" you ask, but the golem does not respond.\n\n> You pour the bottle on Golem\n(the golem)\nHold on! You have to catch a creature before you can begin preparations for eating it!\n\n> You put the shades on Golem\n(the golem)\nPutting things on the golem would achieve nothing.\n\n> You hit yourself with the staff\nSuddenly everything looks slightly different.\n\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nA mail-ordered short metal staff with a clear orb on the end lies here. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see the goblin sidekick. He is now tiny and unmoving.\n\n> You hit the fish with the staff\nFirst taking the staff.\nTaken.\nThe fat fish vanishes.\n\nThe goblin sidekick appears.\n\nYou notice that the fat fish is inside the orb now, tiny and unmoving.\n\nThe goblin says, \"Gee boss, I am kind of confused about what just happened. But I saw you had become this tiny frozen figure inside the orb. I figured I had to try and rescue you, so I touched the orb. I don't know exactly what happened then, but now here you are.\"\n\n> You get the sax\nYou already have that.\n\n\"Oh no, my eyesight is back to normal!\" says the goblin.\n\n> You give the sax to the goblin\n(the goblin sidekick)\nYou give the stone saxophone to the goblin.\n\n> Go east\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are playing some kind of card game.\nA golem, a man crudely made from stone, is standing here unmoving. Some runes have been chiseled into his chest.\n\nA fat fish crawls around here. Its eyes are white and have no pupils. Taken.\n\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\n> You hit the fish with the staff\nThe fat fish vanishes.\n\nThe goblin sidekick appears.\n\nYou notice that the fat fish is inside the orb now, tiny and unmoving.\n\n> You give the sax to you\nThe goblin gives the stone saxophone to you.\n\n> You go south\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA stone altar stands up against a wall. It is low, shadowy, bloodstained and has runes written on it. Next to it is a huge pile of fish bones.\n\nOn the altar you can see:\nA sluggish fish. Its eyes are white and have no pupils. It is crawling around. It is covered in tomato sauce.\n\nThe goblin comes running after you.\n\n> You play the sax\nThe unearthly blare spewing forth from the instrument is hideous beyond comprehension. Your bones shiver from the obvious evil infusing every resonance of the soul-quenching noise and you feel like the eldritch sounds tear your mind apart and play ping-pong with your sanity. You were never a big fan of saxophone music.\n\nA blue eerie light surrounds the altar. The sluggish fish fades away. Suddenly you hear a terrible scream from the north: \"AAAAAAAAAAAAAAAAAAA!\" The scream stops. Shortly after the altar suddenly crumbles to dust.\n\n> You go north\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nThe goblin comes running after you.\n\n> You go to the east\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a heavy-looking green book called \"Strategies in Controlling the Subconscious\".\nA big pile of smoking ashes lies next to her.\n\nThe goblin comes running after you.\n\n\"Where on earth can the cat-headed man have gone?\" you think.\n\n> You talk to the comedy\n(the flamingo-headed man)\n\"What is the weird stage for?\" you ask.\n\"It's mine. It's my altar. Where my followers stand when they worship me.\"\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Canada just got attacked by a woodpecker.\"\n\n> You talk to the woman\n(the armadillo-headed woman)\n\"Is it a good book?\" you ask.\nThe woman frowns and says: \"No. Can you believe the writer overlooked the implications of the pseudo-imaginary deterioration of quasi-Jungian id complexity during non-elusive, non-reflective dreams?\" She laughs joylessly.\n\n> You go to the northeast\nThis cave's only exit is to the southwest.\nA large wooden crank sticks out from a wall.\nA lizard as long as your arm is clutched to the wall, high above the crank, its head facing downwards. It has huge bulging eyes. It is red, orange, yellow, blue, purple, pink, brown, gray and black.\n\nThe goblin comes running after you.\n\n> You turn the crank\nAs you approach the crank, the lizard shoots a fireball downwards from its mouth. You jump back, unhurt.\n\n> You read 82\nIt is a Shameleon. This lizard has developed a special kind of camouflage: it will taste exactly the same as whatever surface it is lying on. The Shameleon can breathe fire. Its colorful body is easy to spot, so just stay out of its range and you'll be safe.\n\n> You look\nThis cave's only exit is to the southwest.\nA large wooden crank sticks out from a wall.\nA lizard as long as your arm is clutched to the wall, high above the crank, its head facing downwards. It has huge bulging eyes. It is red, orange, yellow, blue, purple, pink, brown, gray and black.\n\nYou can see the goblin sidekick here.\n\n> Lick wall\nIt taste awful.\n\n> Lick lizard\nThe lizard is too high up.\n\n> You turn the crank\nThe goblin approaches the crank. The lizard shoots out a fireball. The goblin runs and hides behind you.\n\n> You throw the staff at the lizard\nThe staff smashes into the lizard.\n\nThe lizard vanishes.\n\nThe fat fish appears hovering in the air, but immediately falls down.\n\nThe staff falls on the ground.\n\nYou notice that the lizard is inside the orb now, tiny and unmoving.\n\n> You turn the crank\nYou turn the crank. The cave rumbles and part of the cave-wall slides away, revealing an exit to the northeast.\n\n> You go northeast\nCommodious cave (on the west ledge)\nA wide abyss fills almost the entire floor in this cave, with only two stone ledges to stand on. Both ledges go from the south end to the north end of the cave. One ledge comes out from the west wall, the other from the east wall.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA large button sticks up from the middle of the east ledge.\n\nThe goblin comes running after you.\n\n> You jump\nThe abyss is too wide to jump across.\n\n> You jump\nA staff (with the lizard)\nA fat fish\nA saxophone\nA knife (sharpened)\nA bottle (open)\nA healing gun\nA manual\nA severed finger (with a ring)\nA severed head top\nA nosehairscrew (in your nose)\n\nYou are wearing:\nMirrorshades\nBoxer shorts.\n\n>\"But boss, this abyss is too wide to jump across.\"\n\n> You throw Manual at the button\nYou throw the Creature Manual at the button. There is a click, and a narrow stone bridge shoots out from the west wall, just below the west ledge. The bridge extends until it meets the east wall, just below the east ledge.\n\n> You go east\nYou walk across the bridge.\n\nThe goblin runs across the bridge to the east ledge."
    },
    {
        "text": "[Themes: Cave crawl, Humor, fantasy, male protagonist]\n\n> Look around\nCommodious cave (on the east ledge)\nA wide abyss fills almost the entire floor in this cave, with only two stone ledges to stand on. Both ledges go from the south end to the north end of the cave. One ledge comes out from the west wall, the other from the east wall.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA large button sticks up from the middle of the east ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\nOn the east ledge you can see the goblin sidekick.\n\n> You go northeast\nOver-sized cave (on the west ledge)\nThis cave is almost identical to the previous, with an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA small catapult, about as tall as you, is standing on the west ledge, aimed towards the east ledge. You have come across this type of catapult before. They are very easy to use, just put something in it, and it will be shot out automatically before the catapult adjusts itself so that it is ready to shoot again. These catapults are no longer being sold due to the large number of accidents they have caused.\nA large wooden crank sticks out from the east wall above the ledge.\n\nThe goblin comes running after you.\n\n> You enter catapult\nThe goblin reluctantly climbs into the catapult. He says, \"Are you sure this is saaaaaaaaaaaaaaaafe?\" before smashing into the east wall. He slides down on the east ledge, as the catapult readjusts itself so that it is ready to shoot again.\n\n> You turn the crank\nThe goblin turns the crank. There is a click, and a narrow stone bridge shoots out from the west wall, just below the west ledge. The bridge extends until it meets the east wall, just below the east ledge.\n\nThe goblin runs across the bridge to the west ledge.\n\n> Go northeast\nCavernous cave (on the west ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. A metal door, reachable from the east ledge, goes northeast.\nA large wooden crank sticks out from the east wall above the ledge.\n\nThe goblin comes running after you.\n\n> You throw Manual at the crank\nYou throw the Creature Manual. It hits the crank before falling on the east ledge.\n\n> You hit the goblin with the staff\n(the goblin sidekick with the staff)\nThe goblin sidekick vanishes.\n\nThe lizard appears on the west ledge.\n\nYou notice that the goblin sidekick is inside the orb now, tiny and unmoving.\n\nThe lizard crawls off in the direction you found it.\n\n> You throw the fish at the crank\nYou throw the fat fish. It hits the crank before falling on the east ledge.\n\n> You throw the staff at the fish\nThe staff smashes into the fat fish.\n\nThe fat fish vanishes.\n\nThe goblin sidekick appears on the east ledge.\n\nThe staff falls down on the east ledge.\n\nYou notice that the fat fish is inside the orb now, tiny and unmoving.\n\n> You turn the crank\nThe goblin turns the crank. There is a rumbling and the cave shakes. A vertical strip of light appears on the north wall. The strip widens into an opening. Light shines through it. It is an exit to the outside. The exit is reachable from the west ledge. The goblin looks perplexed. \"I thought there was going to be a new bridge,\" he says. Then he looks a little scared. \"Er, boss I hope you have a way of getting me off this ledge.\"\n\n> North\n\"After you boss.\"\n\n> You open the door\nThe goblin tries to open the door. \"It is locked,\" he says. \"And there is no key hole! Darnit, get me off this ledge right now!\"\n\n> You give the staff to you\n\"But I don't have that.\"\n\n>\"But I don't have that.\"\n\n> You take the staff\nThe goblin takes the staff.\n\n> You throw the staff at the west ledge\nThe goblin throws the staff onto the west ledge."
    },
    {
        "text": "[Themes: Humor, Cave crawl, humor, cave crawl, cave, male protagonist]\n\n> You describe your surroundings\nCavernous cave (on the west ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. A metal door, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nOn the east ledge you can see:\nYour goblin sidekick.\n\n> You go to the north\nA narrow mountain ledge leading east. To the south is a tall mountain wall, with a cave.\n\nYou can see a pink-eyed hamster here.\n\nThe hamster manages to bite one of your toes. You scream and jump back.\n\n> You hit the hamster with the staff\nThe pink-eyed hamster vanishes.\n\nThe fat fish appears.\n\nYou notice that the pink-eyed hamster is inside the orb now, tiny and unmoving.\n\n> You go east\nA narrow mountain ledge leading west. To the south is a tall mountain wall. A metal door leads southwest.\nA red mailbox (for outgoing mail) is attached to the south wall.\n\nA huge wooden crate stands here. Stamps have been attached to it, and somebody has written something on it. Guess it was too big to fit in the mailbox. It is closed.\n\n> You read 73\nIs it bigger than a big rock?\nYes: read page 74\nNo: read page 75\n\n> You read 75\nWhat kind of eyes does it have?\nPink: read page 76\nCute: read page 77\nNone: read page 78\n\n> You read 76\nIt is a Devil Hamster. These creatures have a bad reputation, and can be a little wild, but all they really need is love. Just pet it enough, and it will be your friend for life.\n\n> You read 77\nIt is an ?s?s?t Cat. They lack a digestive system and cannot eat. They derive their energy from people petting them. They are the third cutest creatures in the world. Fairly harmless, although people have been known to die from exhaustion after petting them too much.\n\n> You read 78\nIt is a Wigfield. These small hairy creatures form symbiotic relationships with bald or balding humans by clutching onto their heads. The humans then appear to have hair, whilst the Wigfield suck minuscule amounts of blood from them. Harmless.\n\n> You read the crate\n\"To: The king of Norway\nThe Norwegian Castle\nNorway\n\nFrom: Melvin Hippoman\nCave 7318\nTreasure Cave Mountain.\n\nCongratulations on your birthday old buddy!\"\n\nHmmmmm. The Norwegian castle. It would probably have lots of treasures, if only there was some way you could get there.\n\n> You open the door\nThe door is locked.\n\n> You unlock door\nWhat do you want to unlock the door with?\n\n> Open crate\nYou open the crate. It contains:\nA small black book: \"Beyond the Meaning of Life\" by Marvin Bronchitis.\n\nYou wonder why somebody would use such a big crate to send such a small book.\n\n> You read the book\nYou flip through the book. Looks like philosophy. Hmmmm. Here is a logical proof that gods cannot exist! What utter rubbish! You have met several!\n\nA gust of wind pushes the lid of the crate, and the crate closes.\n\n> Open crate\nYou open the crate. It contains:\nA small black book: \"Beyond the Meaning of Life\" by Marvin Bronchitis.\n\n> You enter the crate\nYou get into the crate.\n\nA gust of wind pushes the lid of the crate. The lid bounces into you, and moves back to where it was.\n\n> You wait\nTime passes.\n\n> You wait\nA gust of wind pushes the lid of the crate. The lid bounces into you, and moves back to where it was.\n\n> Lie\n(on top of the crate)\nBut you are already in the crate.\n\n> You close the crate\nActually, the crate is not big enough to fit you when it is closed. It wouldn't even be big enough to fit the goblin.\n\n> Leave\nYou get out off the crate.\n\nA gust of wind pushes the lid of the crate, and the crate closes.\n\n> You open the mailbox\nNever mind the mailbox.\n\n> Go west\nA narrow mountain ledge leading east. To the south is a tall mountain wall, with a cave.\n\n> You go south\nCavernous cave (on the west ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. A metal door, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nOn the east ledge you can see:\nYour goblin sidekick.\n\n> You go to the south-west\nOver-sized cave (on the east ledge)\nThis cave is almost identical to the previous, with an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA small catapult, about as tall as you, is standing on the west ledge, aimed towards the east ledge. You have come across this type of catapult before. They are very easy to use, just put something in it, and it will be shot out automatically before the catapult adjusts itself so that it is ready to shoot again. These catapults are no longer being sold due to the large number of accidents they have caused.\nA large wooden crank sticks out from the east wall above the ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\n> You go southwest\nCommodious cave (on the east ledge)\nA wide abyss fills almost the entire floor in this cave, with only two stone ledges to stand on. Both ledges go from the south end to the north end of the cave. One ledge comes out from the west wall, the other from the east wall.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA large button sticks up from the middle of the east ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\nThis cave has exits to the southwest and northeast.\nA large wooden crank sticks out from a wall.\nA lizard as long as your arm is clutched to the wall, high above the crank, its head facing downwards. It has huge bulging eyes. It is red, orange, yellow, blue, purple, pink, brown, gray and black.\n\n> Go southwest\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nAn armadillo-headed woman in a white toga sits next to him on a barstool made from green shimmering flames. She is reading a small orange book called \"The Myth of Economics\".\nA big pile of ashes lies next to her.\n\n> You give book to the woman\n(the Beyond the Meaning of Life to the armadillo-headed woman)\nThe armadillo-headed woman takes the book and starts reading. She reads faster than you have ever seen anybody read before. \"Hmmmmm,\" she mutters. \"This is slightly less pathetic that I thought it would be.\" She quickly turns a few more pages. \"But what's this? The author says the existence of gods is logically impossible. Ha!\" She quickly reads through about twenty more pages and wrinkles her brow. \"His arguments are pretty good though. Surely there must be a flaw in his logic somewhere?\" She quickly reads through the rest of the book. \"Nope, there wasn't.\" With a loud pop she disappears. Shortly afterwards the flames in her barstool die down.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Brazil just stepped on a beehive.\"\n\n> You look\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a jester's suit, including a ridiculous hat with bells on. He is staring at the pink cube.\nA big pile of ashes lies behind the table.\n\n> You stand on the stage\nYou get on the stage.\n\nThe flamingo-headed man turns around and looks at the stage.\n\nSuddenly a palm tree appears on the stage. You begin to walk towards it. You can't control your body. You stand just underneath the tree. A coconut falls from the tree onto your head. The flamingo-headed man giggles. The palm tree and coconut vanish.\n\n> You wait\nTime passes.\n\nSuddenly a small black cloud appears, hovering somewhere above the other side of the stage. You begin to walk towards it. You can't control your legs. You stop when you are standing directly under the cloud. Lightning strikes down from the cloud and hits you. The flamingo-headed man giggles. The cloud vanishes.\n\n> Leave\nYou get off the stage.\n\nThe flamingo-headed man turns around and looks at the pink cube.\n\n> Is\nA staff (with the hamster)\nA fat fish\nA saxophone\nA knife (sharpened)\nA bottle (open)\nA healing gun\nA manual\nA severed finger (with a ring)\nA severed head top\nA nosehairscrew (in your nose)\n\nYou are wearing:\nMirrorshades\nBoxer shorts.\n\n> You get the ashes\nNever mind the ashes.\n\n> You play the sax\nThe unearthly blare spewing forth from the instrument is hideous beyond comprehension. Your bones shiver from the obvious evil infusing every resonance of the soul-quenching noise and you feel like the eldritch sounds tear your mind apart and play ping-pong with your sanity. You were never a big fan of saxophone music.\n\nSuddenly a small black cloud appears, hovering somewhere above the other side of the stage. You begin to walk towards it. You can't control your legs. You stop when you are standing directly under the cloud. Lightning strikes down from the cloud and hits you. The flamingo-headed man giggles. The cloud vanishes.\n\n> Leave\nYou get off the stage.\n\nThe flamingo-headed man turns around and looks at the pink cube.\n\nThere is a flickering image inside the cube. The flamingo-headed man giggles and says, \"Some woman in Russia just got hit in the head by a coco-nut.\"\n\n> You put the fish on the stage\nAs you put the fat fish on the stage, the faces start to wiggle. It looks quite creepy. This makes the fat fish slide down on the floor.\n\n> You touch the fish with the staff\nThe fat fish vanishes.\n\nThe hamster appears.\n\nYou notice that the fat fish is inside the orb now, tiny and unmoving.\n\nThe hamster runs up to you and bites you on the toe. Then it runs off in the direction you found it.\n\n> Go northeast\nCommodious cave (on the west ledge)\nA wide abyss fills almost the entire floor in this cave, with only two stone ledges to stand on. Both ledges go from the south end to the north end of the cave. One ledge comes out from the west wall, the other from the east wall.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA large button sticks up from the middle of the east ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\nOver-sized cave (on the west ledge)\nThis cave is almost identical to the previous, with an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA small catapult, about as tall as you, is standing on the west ledge, aimed towards the east ledge. You have come across this type of catapult before. They are very easy to use, just put something in it, and it will be shot out automatically before the catapult adjusts itself so that it is ready to shoot again. These catapults are no longer being sold due to the large number of accidents they have caused.\nA large wooden crank sticks out from the east wall above the ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\n> You enter the catapult\nNah, you figure you are just a tiny tad too heavy to be thrown across the abyss by the catapult.\n\n> Go northeast\nCavernous cave (on the west ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. A metal door, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nOn the east ledge you can see:\nYour goblin sidekick.\n\n> Go north\nA narrow mountain ledge leading east. To the south is a tall mountain wall, with a cave.\n\n> Go east\nA huge wooden crate stands here. Stamps have been attached to it, and somebody has written something on it. Guess it was too big to fit in the mailbox. It is closed.\n\n> Open crate\nYou open the crate. It is empty.\n\n> You enter the crate\nYou get into the crate.\n\n> You hit yourself with staff\nSuddenly you are somewhere else.\n\nYou are standing close to the center of a wonderful huge ballroom. There are exits in all directions, and there is an open window in the ceiling.\nThe biggest, gaudiest chandelier you have ever seen lights the room.\nA birthday cake, which is taller than you, stands in a corner.\nA banner hangs from wall to wall.\nThe fat queen of Norway stands near you. She looks rather bewildered. The princess of Finland is close by. She is holding a glass box with a small tag attached to it. Inside the box is a blue and pink bird.\nA large silver cage stands right next to you. It has quite wide gaps between the bars, but not wide enough for a person to go through. A large tag is hanging from it. Inside the cage is a bat, which is larger than you.\nSome guards stand in a circle around you. They are all holding crossbows.\nA huge crowd is spread around the room. It consists of royalty, ambassadors and ministers, all dressed up in their finest clothes and many of them holding presents. They all look rather shocked.\nThe prime minister of Norway is being chased around the room by the hamster.\n\nA mail-ordered short metal staff with a clear orb on the end lies here. Its manufacturers say the staff will remove any creature that comes in contact with the orb. Inside the orb you can see the fat king of Norway. He is now tiny and unmoving.\n\nA huge wooden crate stands here. Stamps have been attached to it, and somebody has written something on it. It is open.\n\nThe prime minister runs out the southeast exit, followed by the hamster.\n\n> You get the staff\nTaken.\n\nThe bat says, \"Hey buddy! Seems like we are both in trouble. If you can get me out of this cage, I'll get you out of the castle!\"\n\n> You read the tag\nWhich do you mean, the large tag or the small tag?\n\n> You read the large tag\n\"To the King of Norway\nFrom the Duke of Brujljewjhutten\n49 hoorays from me!\"\n\nOne of the guards says, \"Hva er det som skjer? Har kongen forvandle seg til denna fyren?\"\n\n> You talk to the bat\n\"What am I supposed to do?\" you ask.\n\"Get me out of this cage.\"\n\nOne of the guards says, \"Nei, jeg tror kongen har forsvinni!\"\n\n> You hit the bat with the staff\nThe bat vanishes.\n\nThe fat king of Norway appears inside the large cage.\n\nYou notice that the bat is inside the orb now, tiny and unmoving.\n\nA man in the crowd screams \"Det er revolusjonen!\" Panic breaks out among the crowd, people shout and run away in all directions. The princess screams and escapes through the west exit. In her haste she drops the glass box, which shatters. The bird flies up and sits in the chandelier. The guards aim their crossbows at you.\n\n> You hit yourself with the staff\nSuddenly you are somewhere else.\n\nYou are standing in the middle of a small dirty cell. The only light comes from a small window with bars. A wooden bench is attached to a wall. A couple of rats are scampering around. In front of you stand two guards. The first is holding a crossbow aimed at you. The other is holding your staff. Inside the orb you can see a rat, tiny and unmoving.\n\"Vi skj?nte nok ?ssen staven din virka!\" says the first guard. \"S? n? sitter'u i fella!\"\n\"Ja!\" says the other. \"Du m? bli her ei hel uke! Ha-ha-ha!\"\nThey leave through a massive iron door. It slams shut, and you can hear the sound of it being locked.\n\n> You hit the fish with staff\nYou lift the fish up to hit it with your staff. Suddenly one of the guards fires. The arrow hits the fish, which is pulled out of your hand. Both fish and arrow disappear out the northeast exit.\n\"Jeg trur han p?nska p? no' med den fisken!\" says the guard that shot. \"Ja!\" says a couple of the other guards.\n\nThe king says, \"?ffer er jeg her inne a?\"\n\n> You throw the staff at the bird\nYou throw the staff. It hits the chandelier and falls down without hurting the bird.\n\nA guard says, \"Hva gj?r vi n? a?\"\n\n> You hit the queen with the staff\nThe queen of Norway vanishes.\n\nThe bat appears.\n\nYou notice that the queen of Norway is inside the orb now, tiny and unmoving.\n\nThe bat says, \"Hey, great going buddy! Now jump up on my back, and let's blow this joint!\"\nYou climb onto the bat's back, holding onto his fur. The bat takes off, up towards the window. An arrow swishes past your head.\n\"Ah, drat!\" says the bat and flies behind the chandelier.\nMany arrows hit the chandelier. You look down. The guards have moved into the center of the room, right below the window, and they are shooting at you. The arrows keep hitting the chandelier, wich shakes. This apparently spooks the bird, and it takes off. For a moment it looks as if it is going to fly out the window, but then it starts flying in circles just below it.\nThe bat says, \"We can't make it to the window, we'll be shot to death. We need to get rid of them guards!\"\n\n> You cut the chandelier with the knife\nNever mind the chandelier.\n\nThe bat says, \"Buddy, we are in up to our necks in trouble. You better figure out something.\"\n\n> You play the sax\nThe unearthly blare spewing forth from the instrument is hideous beyond comprehension. Your bones shiver from the obvious evil infusing every resonance of the soul-quenching noise and you feel like the eldritch sounds tear your mind apart and play ping-pong with your sanity. You were never a big fan of saxophone music.\n\nThe arrows make the chandelier shake.\n\n> Is\nA staff (with the queen)\nA saxophone\nA knife (sharpened)\nA bottle (open)\nA healing gun\nA manual\nA severed finger (with a ring)\nA severed head top\nA nosehairscrew (in your nose)\n\nYou are wearing:\nMirrorshades\nBoxer shorts.\n\n> You pour the bottle on the guards\nYou can't do that from the bat's back.\n\nThe arrows make the chandelier shake.\n\n> You hit the bird with the staff\nThe bird vanishes.\n\nThe fat queen of Norway appears in the air, and immediately falls down right on top of the guards. They all go \"Ompf!\"\n\nThe bat laughs and flies out the window.\n\"Where to, buddy?\" he asks.\n\"You know where Treasure Cave Mountain is?\"\n\"Sure do, kid! Hang on!\" the bat flaps his wings, and speeds up a lot. You really do have to hang on.\n\nThe trip takes a day and a night. On the way you get caught up in a hurricane, attacked by a flock of ducks, and hit by lightning. The lightning causes you to drop the staff, and it falls into a lake. After that the trip is eventless. Finally you can see Treasure Cave Mountain. You must have been gone several weeks, it is covered in snow!\n\nThe bat flies down and hovers next to the ledge on the north side of the mountain. You jump off.\n\"Anything else I can do for you buddy?\" asks the bat.\n\"Well, there's this locked door...\"\n\"Say no more, say no more.\" The bat grabs the door with his massive claws, flaps his wings and flies backwards. There is a terrible sound as the door is torn from its hinges. The bat drops the door; it disappears far below.\n\"Hey, thanks a lot!\" you say.\n\"Yeah, thanks to you too! And good luck!\" The bat waves a claw, and flies away.\nYou hear some moaning from the southwest.\n\nA narrow mountain ledge leading west. To the south is a tall mountain wall. There is a cave to the southwest.\nA red mailbox (for outgoing mail) is attached to the south wall.\nThe ground is covered in snow.\n\n> Go southwest\nCavernous cave (on the east ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. An exit to the outside, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nThe goblin sidekick is lying here, looking half dead and very thin.\n\n\"Goblin,\" you say. \"how have you been?\"\n\"You bastard! You left me here for all those weeks! I'm starving to death! Get me something to eat!\"\n\n> You shoot the gun at Goblin\n(the goblin sidekick)\nYou pull the trigger. A white ray shoots out of the gun and hits the goblin. The goblin smiles and wiggles his ears. He looks at his foot. \"Hey, my toe fungus is gone!\" he says.\n\n> You go to the northeast\nA narrow mountain ledge leading west. To the south is a tall mountain wall. There is a cave to the southwest.\nA red mailbox (for outgoing mail) is attached to the south wall.\nThe ground is covered in snow.\n\n> You go west\nYou are not testing The Pebble That Protects You From Falling Down From Really High Places this month. It was a complete scam anyway.\n\n> You go to the south-west\nCavernous cave (on the east ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. An exit to the outside, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nThe goblin sidekick is lying here, looking half dead and very thin.\n\n> You give finger to Goblin\n(the goblin sidekick)\nYou can't give away things that are stuck on your body.\n\n> You give the severed finger to Goblin\n(the goblin sidekick)\nYou give your severed finger to the goblin.\n\nThe goblin throws the finger into his mouth, briefly chews on it, then swallows it, ring and all. The goblin gets up and says, \"I'm feeling much better now, boss!\"\n\n> Go northeast\nA narrow mountain ledge leading west. To the south is a tall mountain wall. There is a cave to the southwest.\nA red mailbox (for outgoing mail) is attached to the south wall.\nThe ground is covered in snow.\n\nThe goblin comes running after you.\n\n> You go west\nThe goblin comes running after you.\n\n> Go south\nCavernous cave (on the west ledge)\nOnce again it's an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. An exit to the outside, reachable from the east ledge, goes northeast. An exit to the outside, reachable from the west ledge, goes north.\nA large wooden crank sticks out from the east wall above the ledge.\n\nThe goblin comes running after you.\n\n> Go southwest\nOver-sized cave (on the east ledge)\nThis cave is almost identical to the previous, with an abyss, a west ledge and an east ledge.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA small catapult, about as tall as you, is standing on the west ledge, aimed towards the east ledge. You have come across this type of catapult before. They are very easy to use, just put something in it, and it will be shot out automatically before the catapult adjusts itself so that it is ready to shoot again. These catapults are no longer being sold due to the large number of accidents they have caused.\nA large wooden crank sticks out from the east wall above the ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\nThe goblin comes running after you.\n\nCommodious cave (on the east ledge)\nA wide abyss fills almost the entire floor in this cave, with only two stone ledges to stand on. Both ledges go from the south end to the north end of the cave. One ledge comes out from the west wall, the other from the east wall.\nAn exit, reachable from the west ledge, leads southwest. Another exit, reachable from the east ledge, goes northeast.\nA large button sticks up from the middle of the east ledge.\nA narrow stone bridge goes from the east side of the room to the west, just below the ledges.\n\nThe goblin comes running after you.\n\nThis cave has exits to the southwest and northeast.\nA large wooden crank sticks out from a wall.\nA lizard as long as your arm is clutched to the wall, high above the crank, its head facing downwards. It has huge bulging eyes. It is red, orange, yellow, blue, purple, pink, brown, gray and black.\n\nThe goblin comes running after you.\n\n> You look\nAn extremely bright light comes from an exit to the west. There is another exit to the northeast. Someone has chiseled gaps into the cave wall, forming a primitive ladder leading up to a hole in the ceiling.\nA table made from human skulls stands near the northeast exit. On the table stands a shimmering pink translucent cube and a small, rusty, holy grail.\nA small round stage stands close to the table. It is apparently made from human faces frozen in terrible screams.\nA small flamingo-headed man sits behind the table in a comfortable-looking armchair covered in obviously fake giraffe fur. He is wearing a Santa Claus suit. He is staring at the pink cube.\nA beautifully decorated Christmas tree stands in a corner.\n\nYou can see the goblin sidekick here.\n\n> You get on the stage\nThe goblin gets on the stage.\n\nThe flamingo-headed man turns around and looks at the stage.\n\nSuddenly a small cactus appears on the stage. The goblin walks up to it. Then he turns so that his back faces the cactus. He sits down on the cactus. He jumps up again howling with pain. The flamingo-headed man giggles. The cactus vanishes.\n\n> You get the grail\nYou quickly steal the grail while the flamingo-headed man is not looking.\n\nSuddenly a large gorilla appears on the stage. The gorilla knocks the goblin over, then proceeds to jump up and down on the goblin's back. The flamingo-headed man giggles. The gorilla vanishes. The goblin gets up.\n\nThere is a flickering image inside the cube.\n\n> You get down\n\"I can't reach that from the stage.\"\n\nSuddenly a rake appears, lying on the stage. The goblin walks towards it. He steps on it, so that the handle flies up and smashes him in the face. The flamingo-headed man giggles. The rake vanishes.\n\n> You ask Goblin,  to go outside\nThe goblin gets off the stage.\n\nThe flamingo-headed man turns around and looks at the pink cube.\n\n> You go west\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nThe goblin comes running after you.\n\n> Go south\nThe goblin comes running after you."
    },
    {
        "text": "[Themes: Cave crawl, Humor]\n\n> Look around\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nA small fire is burning here.\nA tough-looking dwarf, wearing chain mail and a helmet, is sitting on the floor near the fire. He is holding an axe almost as big as himself. He is chewing on a short bone.\nThe skeleton of a donkey is lying here.\n\nYou can see the goblin sidekick here.\n\n> You give the grail to the dwarf\nThe dwarf grabs the grail, stuffs it inside his chain mail, and pulls out five gold coins that he throws to you. He stomps out the fire. Then he walks away to the south.\n\n> Go north\nAn extremely bright light comes from an exit to the north. There is also an exit to the south.\nA red automat, hundred of meters tall, stands in the middle of the cave. Despite the insane magnitude of the machine, its money-slot and buttons are normal-sized and placed at normal height. The merchandise-slot is also close to the floor, but huge enough to hold a horse. You have come across these automats before. Several companies have recently begun placing them in dangerous places, for adventurers who need equipment. They are easy to use; just buy something. Something is written on the automat next to the buttons.\nA huge pile of fish bones lies near a wall.\n\nThe goblin comes running after you.\n\n> You buy the wheelbarrow\nYou put the coins in the slot and push the appropriate button. There is some rumbling from the machine. Then a wheelbarrow falls down in the slot, and bounces out onto the cave floor.\n\n> You put the diamond on the wheelbarrow\nYou put the diamond into the wheelbarrow. Afterwards it's only a matter of days before you have managed to transport the diamond back to the Adventurer's Consumer Guide's headquarters. Your mission is accomplished.\n\n> You go to the west\nAn extremely bright light comes from this cave's only exit to the east. It is terribly hot here. The intolerable temperature is almost certainly caused by the red-hot stone oven standing in a corner.\nA stone table stands in the middle of the cave. Round it stands a stone throne with an old troll, a stone chair with a tall troll, a stone stool with a short troll, and a large stone. The trolls look a bit like humans made of stone, though with no necks, bigger jaws, smaller eyes and huge arms and hands. They are drinking lava from large stone mugs and playing some kind of card game.\n\nThe goblin comes running after you.\n\n\"Hey, what happened to the golem? you ask.\n\"Ur, remember when there was that terrible scream?\" says a troll. \"Right afterwards the golem just crumbled to dust.\"\n\n> You talk to old Troll\n\"That was a fun game,\" you say. The old troll sulks.\n\n> Go east\nThis cave has exits to the north, east, south and west.\nA stone pedestal as tall as you stands in a corner.\n\nThere is a little blood here.\n\nA diamond the size of your chest lies in the middle of the cave. A tremendous light shines out from it and fills the entire cave.\n\nYou can also see a wheelbarrow (which is empty) here.\n\nThe goblin comes running after you.\n\n> Go north\nAn extremely bright light comes from this cave's only exit to the south.\nSome runes are written on the wall.\nA hippoman, half man, half hippo, stands knitting something yellow. He is fat, purple and has two very thick legs. He is wearing your helmet and a yellow wool suit.\nA young angry-looking woman wearing a yellow wool jacket and yellow wool gloves, stands holding a large placard saying \"Save the carrot fairy!\" She is clearly one of those monster rights activists that have been making your job so much harder lately.\nThe gremlin has climbed quite high up on the wall. He is a small green humanoid creature with pointy ears. He is wearing a tiny ring and a yellow woolen cap and is smoking a tiny cigarette.\nA carrot with tiny wings flies around. Its arms and legs look like those of a human, only much smaller. It has no head or face. It is wearing a yellow woolen scarf. A steady shower of shimmering sparks falls from all over its body; each spark disappears before hitting the ground.\nA large metal chest stands up against a wall. It is open and empty.\nA large machine is at the back of the cave. Its mechanisms looks very complex. Actually it is very easy to use. You know this because on a previous product-testing mission you came across a machine just like it and spend four hours trying to figure out how it worked. The machine is for sharpening tools and weapons. Just put what you want sharpened into it and wait.\n\nThere is quite a lot of blood here.\n\nThe goblin comes running after you.\n\n> Go south\nThis cave has an exit leading outside to the south, or you can go further into the mountain to the north.\nThe skeleton of a donkey is lying here.\n\nThe goblin comes running after you.\n\n> Go south\nThe end of a narrow mountain ledge leading west. The tall mountain wall has three caves: to the northwest, north and northeast.\nThe ground is covered in snow.\n\nThe goblin comes running after you.\n\n> You stand on the teleporter\nThe goblin gets on the teleporter.\n\nThe sword makes the lever shake. The sound gets even louder. A few electrical sparks shoots up from the teleporter. The goblin giggles.\n\n> You stand on the teleporter\nYou get on the teleporter.\n\nThe sword makes the lever shake. The teleporter starts shaking and smoking. The cave begins to fade out around you, and another cave fades in.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge monster skeleton lies here, with an elf skeleton in its mouth.\n\nThe goblin begins to fade in next to you. You look down at yourself. You seem unsubstantial, like a ghost. Slowly you begin to take on a more solid form. Now you look normal.\n\n> You go to the northwest\nYou are not testing the Suspenders That Let You Walk Through Walls on this trip; that was seven months ago. Just as well, they stopped working very suddenly. You were stuck for a week. If those dwarves had decided to build their new mine anywhere else, you might never have gotten out.\n\n> You go to the east\nThis cave has exits to the west and northwest.\nA goblin woman is standing here. She is wearing a medallion, winter boots, a long fur coat and a round fur hat. She is carrying a purse. You are not quite sure, but with her long ears, sharp yellow teeth, and big feet you think she is pretty cute by goblin standards. She is holding your magical crossbow.\n\nThe goblin comes running after you.\n\n\"Well, hello there!\" says the female goblin and smiles.\n\n\"Uh, hi,\" says the goblin, his cheeks turning a darker shade of green. They seem distracted.\n\n> Go west\n\"Come along now,\" you say to the goblin as you leave.\n\nThis cave has an exit to the east. In the middle of the floor is a round hole.\nA huge monster skeleton lies here, with an elf skeleton in its mouth.\n\nThe goblin reluctantly walks in from the east, throwing several glances over his shoulder.\n\n> You go to the northwest\nThis cave has an exit southeast to the outside, or you could go further into the mountain to the northwest.\nA somewhat larger than life-size statue of his holiness One-Hand Jack stands in the middle of the cave. Jack used to be an infamous pirate, but later formed Hoverism, a peaceful religion. The statue holds its left arm out and up, the hook at the end of it just low enough to be reached. The statue's head is gone.\nAn old Hoverist is hovering about a meter above the floor. He is sitting in the lotus position, his head is turned towards the statue, and his eyes are closed. He is wearing a white loincloth. Somebody has hung some Christmas ornaments on him.\nSeveral fragments from the safe are lying here.\n\nThough you cannot see it, you know that a Hustlespleen & Poe Coat of Invisibility hangs on the hook. It is supposed to turn visible (or turn invisible again) whenever you say the magic word \"tango\".\n\nThe goblin comes running after you.\n\n> You take the ornaments\nNever mind the Christmas ornaments."
    },
    {
        "text": "[Themes: Historical Fantasy, fantasy, maritime, sailors, magic, island, creeping doom, male protagonist]\n\nIt wasn\u2019t yet clear that the strange sail was a French\nwarship, but your captain was taking no chances, and so the\nNiobe, 38, had set off in hot pursuit. She was carrying all\nthe sail a frigate safely could in such a storm, but still the strange vessel was maintaining its lead, and it was all the Niobe\ncould do to keep pace with her. But the weather had been steadily worsening; the storm was becoming a gale, and there was a real danger that the Niobe would lose a spar \u2013 or worse \u2013 unless she\nshortened sail. So you dispatched the midshipman of the watch to seek the captain\u2019s permission to do just that.\n\nAnd then came the totally unexpected hail from the masthead:\n\n\u201cLand ho! Fine on the starboard bow!\u201d\n\nThat was absurd; there shouldn\u2019t have been any land within a dozen leagues.\n\nThe deck around you was little more than a mass of shadow and outline in the dark, with the only point of light coming from the binnacle\njust in front of you. You were aware of the mizzen mast towering\nabove you nearby, but as much from the howl of the wind in the rigging as from anything you could see.\n\nThe helmsman was standing nearby at the wheel.\n\nYou were almost deafened by the howling gale screaming in the rigging and lashing up the waves all round the ship.\n\n[Author's Note: Blockade duty in the Bay of Biscay, vile weather, and an unplanned jaunt over the side of the ship into the tossing waves. But instead of drowning, you end up on an island that has no right to be there - and that's just the start of your problems!]"
    },
    {
        "text": "[Themes: Historical Fantasy, magic, male protagonist, fantasy]\n\n> You check what you're carrying\nYou were carrying a telescope.\n\n> About yourself\nYou couldn\u2019t see much of yourself in the dark.\n\nYou were carrying a telescope.\n\n> You look at the binnacle\nThe binnacle was basically a small box containing a shaded light to enable you to see the compass.\n\n> You examine compass\nThe compass indicated that you were still sailing a steady sou\u2019-sou\u2019-west.\n\nYou were almost deafened by the howling gale screaming in the rigging and lashing up the waves all round the ship.\n\n> You look at the telescope\nIt wasn\u2019t the most elegant instrument \u2013 you couldn\u2019t afford\nbetter on\nyour pay \u2013 but it did the job.\n\nThe captain came striding out onto the quarterdeck just as the lookout repeated his hail from the mast: \u201cLand ho! Fine on the starboard\nbow!\u201d\n\nThe captain peered up the mast in evident irritation, then strode over to the binnacle to check the compass. Turning back to you he snapped, \u201cWhat\u2019s that idiot on about? There should be no land between here\nand\nSpain!\u201d\n\n\u201cNo sir,\u201d you agreed dutifully.\n\n\u201cWell then, Mr Corby, you\u2019d better get up to the mizzen-top with\nyour\nbring\u2019em near and see what this is all about!\u201d the captain\ncommanded,\nthrowing a significant glance up the mast.\n\n\u201cAye aye, sir,\u201d you replied, trying to disguise your reluctance.\n\n> You look through the telescope\nYou raised the telescope to your right eye and scanned the horizon ahead. You could just make out the distant white sail of the ship you were pursuing, but there seemed to be no sign of land.\n\n\u201cI gave you an order, Mr Corby,\u201d the captain snapped. \u201cSo up the\nmast\nwith you!\u201d\n\n> Up\nEven after more than ten years at sea, you had never developed much of a head for heights, especially when it meant fighting your way up the ratlines of a swaying mast in a howling gale; but it seemed like there was nothing for it but to grit your teeth and ascend.\n\nGrasping the ropes and forcing yourself not to look down, you began to climb. A few yards up you paused for breath, and longed just to close your eyes and cling on for dear life until the storm had passed; but you felt the eyes of the captain and half the crew were upon you: it behoved you to play the part of a fearless officer, so on you went.\n\nA little over half-way up, you caught sight of something ahead; but it looked more like a band of fog than a stretch of land. It at once struck you as absurd, not only that a bank of sea-mist should collect here, but even more that it would not be at once shredded by the gale. Overcome by curiosity you took out your telescope, trying to do your best to keep your balance on the rigging while examining the strange sight. It did look like a band of mist. But at the next\nmoment a sudden gust made the Niobe heel over to starboard,\nand in a heart-stopping moment you felt your feet slip free of the lines. For a moment you hung there by a single hand, and then that\ntoo was wrenched free and you fell.\n\nYou hit the surface of the sea and carried straight on down. To begin with, you thought that was it, and almost resigned yourself to drown; but then, as your lungs felt ready to burst, your survival instinct took over and you struggled to regain the surface.\n\nThe waves all around you look as black as the sky above, and stretch just as far in all directions.\n\nAnd now, here you are, swimming in the freezing water, with neither ship nor land in sight, and probably only a few minutes left before\nyou finally do give up and drown.\n\n> You remove the clothes\nYou struggle to remove your clothes before they drag you down, but, being waterlogged, they cling to you peversely and you lack the strength to wrestle with them.\n\n> Then remove the clothes\nThe word \u201creacquire\u201d is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points\nout an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> Pray\nYou recall some verses of Psalm 106 that seem appropriate to your current situation, so you try praying those. Although this may well\nbe the only recourse left open to you, it unfortunately fails to have any immediate effect.\n\n> Drown\n(down)\n(You can use the TYPO command to disable the typo-correction feature.)\n\nYou\u2019ll probably drown soon enough, but you\u2019re not quite ready to\ngive\nup just yet.\n\n> You remove the clothes\nYou struggle to remove your clothes before they drag you down, but, being waterlogged, they cling to you peversely and you lack the strength to wrestle with them.\n\nYou can struggle no more. You start to feel body and mind shutting down. As the waves close over your head you fancy you hear voices and see a distant light \u2013 the final fleeting fancies of a dying mind.\n\nAnd then everything goes blank.\n\n[more]\n\n> You sleep with the the fishes\nShingly Cove (lying on the shingly beach)\nSome time later you wake up to find yourself lying on a hard shingle beach. From the position of the sun in the sky it must be either\nearly morning or late evening \u2013 almost certainly the former. You\nfeel\nas stiff as a ship\u2019s biscuit and weaker than a limp lettuce leaf, but miraculously, you seem to be alive.\n\nAs you regain consciousness, you become aware of the crash of the surf at your feet. It seems you must have been washed ashore \u2013 but where? There should have been no land within a dozen leagues or more of where you fell into the sea. Then you remember the lookout\u2019s hail; he must have seen land after all, and this must be it.\n\nBefore you can do more than start to wonder whether this land is inhabited, you become aware that you are not alone.\n\nA young woman is standing just by your head, peering down at you with\na look of evident concern.\n\n> About yourself\nYou look a bit bedraggled from your watery misadventure, but otherwise unscathed. But then you\u2019re young and healthy, with a complexion\ntanned by years at sea.\n\nYou are empty-handed.\n\n\u201cI saw you lying here when I came out of the house just now,\u201d she explains, gesturing vaguely behind her, \u201cso I came straight down to\nsee if \u2013 well, you seem to be alive at any rate, but are you all right?\u201d\n\n(You could say yes or no, or ask her who she is.)\n\n> Newsavename\nFailed; your computer might be running low on disk space, or you might not have the necessary permissions to write this file.\n\n> Y.\nThanks for playing Blighted Isle \u2013 hope you\u2019ve enjoyed it!\ncheaptads quit with exit status: 0\n\nGreat, just great. First you oversleep, end up being late for school. Then the whole day sucks so bad you can barely wait until seventh period's over and you're free. Now you've wasted so much time\nwatching TV that you've gotta rush through your makeup or you won't be ready for tonight before April gets here with her wheels. Mississippi may say you're old enough to drive, but Frank sure doesn't agree.\n\nMan, you can't wait for all this to be over.\n\nYou've spent a lot of time in this room, enough that it's really beginning to get on your nerves. You're tired of the stupid posters, you're tired of your stupid bed, you're tired of everything. You just wish it weren't such a hassle to try to change any of it. Besides, if you were going to change anything, you'd start with the clothes in\nyour closet. To the west, across from your window, is a closed door going out.\nYou see a flowerdy bag here. Sitting on the vanity is a geode, mascara, eye shadow, pink blush, and foundation.\n\nIt wasn\u2019t yet clear that the strange sail was a French\nwarship, but your captain was taking no chances, and so the\nNiobe, 38, had set off in hot pursuit. She was carrying all\nthe sail a frigate safely could in such a storm, but still the strange vessel was maintaining its lead, and it was all the Niobe\ncould do to keep pace with her. But the weather had been steadily worsening; the storm was becoming a gale, and there was a real danger that the Niobe would lose a spar \u2013 or worse \u2013 unless she\nshortened sail. So you dispatched the midshipman of the watch to seek the captain\u2019s permission to do just that.\n\nAnd then came the totally unexpected hail from the masthead:\n\n\u201cLand ho! Fine on the starboard bow!\u201d\n\nThat was absurd; there shouldn\u2019t have been any land within a dozen leagues.\n\nThe deck around you was little more than a mass of shadow and outline in the dark, with the only point of light coming from the binnacle\njust in front of you. You were aware of the mizzen mast towering\nabove you nearby, but as much from the howl of the wind in the rigging as from anything you could see.\n\nThe helmsman was standing nearby at the wheel.\n\nYou were almost deafened by the howling gale screaming in the rigging and lashing up the waves all round the ship.\n\n> Up\nYou could hardly leave the quarterdeck while you were on watch.\n\n> Wait\nTime passed...\n\n> You examine the helmsman\nHe was just a faint outline in the dark.\n\n> You examine the telescope\nIt wasn\u2019t the most elegant instrument \u2013 you couldn\u2019t afford\nbetter on\nyour pay \u2013 but it did the job.\n\n> You look through the telescope\nYou raised the telescope to your right eye and scanned the horizon ahead. You could just make out the distant white sail of the ship you were pursuing, but there seemed to be no sign of land.\n\n> You talk to the helmsman\nYou knew better than to distract the helmsman with idle chatter in the middle of a gale.\n\nThe captain came striding out onto the quarterdeck just as the lookout repeated his hail from the mast: \u201cLand ho! Fine on the starboard\nbow!\u201d\n\nThe captain peered up the mast in evident irritation, then strode over to the binnacle to check the compass. Turning back to you he snapped, \u201cWhat\u2019s that idiot on about? There should be no land between here\nand\nSpain!\u201d\n\n\u201cNo sir,\u201d you agreed dutifully.\n\n\u201cWell then, Mr Corby, you\u2019d better get up to the mizzen-top with\nyour\nbring\u2019em near and see what this is all about!\u201d the captain\ncommanded,\nthrowing a significant glance up the mast.\n\n\u201cAye aye, sir,\u201d you replied, trying to disguise your reluctance.\n\n> Up\nEven after more than ten years at sea, you had never developed much of a head for heights, especially when it meant fighting your way up the ratlines of a swaying mast in a howling gale; but it seemed like there was nothing for it but to grit your teeth and ascend.\n\nGrasping the ropes and forcing yourself not to look down, you began to climb. A few yards up you paused for breath, and longed just to close your eyes and cling on for dear life until the storm had passed; but you felt the eyes of the captain and half the crew were upon you: it behoved you to play the part of a fearless officer, so on you went.\n\nA little over half-way up, you caught sight of something ahead; but it looked more like a band of fog than a stretch of land. It at once struck you as absurd, not only that a bank of sea-mist should collect here, but even more that it would not be at once shredded by the gale. Overcome by curiosity you took out your telescope, trying to do your best to keep your balance on the rigging while examining the strange sight. It did look like a band of mist. But at the next\nmoment a sudden gust made the Niobe heel over to starboard,\nand in a heart-stopping moment you felt your feet slip free of the lines. For a moment you hung there by a single hand, and then that\ntoo was wrenched free and you fell.\n\nYou hit the surface of the sea and carried straight on down. To begin with, you thought that was it, and almost resigned yourself to drown; but then, as your lungs felt ready to burst, your survival instinct took over and you struggled to regain the surface.\n\nThe waves all around you look as black as the sky above, and stretch just as far in all directions.\n\nAnd now, here you are, swimming in the freezing water, with neither ship nor land in sight, and probably only a few minutes left before\nyou finally do give up and drown.\n\n> Drink\nWhat do you want to drink?\n\n> Sea\nYou\u2019re doing your best not to \u2013 it\u2019s far too salty and you\u2019d\nchoke on\nit.\n\n> Up\nIf only you could sprout wings and fly! But alas, it seems you\u2019ll\nall\ntoo soon be dragged in the opposite direction.\n\n> Dance\nThe word \u201cdance\u201d is not necessary in this story.\n\n> You jump\n> SING\n\nThe word \u201csing\u201d is not necessary in this story.\n\nYou can\u2019t; your feet are nowhere near touching bottom.\n\n> Sleep\nYou\u2019ll probably sleep soon enough \u2013 forever; but you\u2019re not quite\nready to give up yet.\n\nYou can struggle no more. You start to feel body and mind shutting down. As the waves close over your head you fancy you hear voices and see a distant light \u2013 the final fleeting fancies of a dying mind.\n\nAnd then everything goes blank.\n\nShingly Cove (lying on the shingly beach)\nSome time later you wake up to find yourself lying on a hard shingle beach. From the position of the sun in the sky it must be either\nearly morning or late evening \u2013 almost certainly the former. You\nfeel\nas stiff as a ship\u2019s biscuit and weaker than a limp lettuce leaf, but miraculously, you seem to be alive.\n\nAs you regain consciousness, you become aware of the crash of the surf at your feet. It seems you must have been washed ashore \u2013 but where? There should have been no land within a dozen leagues or more of where you fell into the sea. Then you remember the lookout\u2019s hail; he must have seen land after all, and this must be it.\n\nBefore you can do more than start to wonder whether this land is inhabited, you become aware that you are not alone.\n\nA young woman is standing just by your head, peering down at you with\na look of evident concern.\n\n> You examine woman\nShe\u2019s a pretty woman of about twenty, neatly dressed and of slender build, with straight dark brown hair falling about her shoulders.\n\nThe young woman is wearing a single ear-ring.\n\n\u201cI saw you lying here when I came out of the house just now,\u201d she explains, gesturing vaguely behind her, \u201cso I came straight down to\nsee if \u2013 well, you seem to be alive at any rate, but are you all right?\u201d\n\n(You could say yes or no, or ask her who she is.)\n\n> No\n\u201cNo, not really. I feel half-drowned,\u201d you grunt.\n\n\u201cYou look it,\u201d she agrees. \u201cBut who are you? You\u2019re not from\naround\nhere and I \u2013 well I don\u2019t mean to seem inquisitive, but it\u2019s not\nevery\nday I find a strange man washed up almost on my doorstep, and what\nwith \u2013 anyway, who are you?\u201d\n\n(You could tell her about yourself, ask where you are, or ask her who she is.)\n\n> You ask her who she is\n\u201cWho are you?\u201d you want to know.\n\n\u201cI\u2019m Julia Trelawney,\u201d she tells you, \u201cBut I asked you a\nquestion: who\nare you?\u201d\n\n> No\n\u201cNo \u2013 I\u2019m not sure I can,\u201d you groan.\n\n\u201cHere \u2013 I\u2019ll help you up,\u201d she offers, grabbing you by the arms\na\nlittle roughly. Between her tugging and your groaning and pushing you somehow manage to rise to your feet.\n\n\u201cGood, right,\u201d she nods, \u201cLet\u2019s go up to the house, then;\nit\u2019s not\nfar.\u201d So saying she walks across the shingly beach to the foot of the stone steps, where she turns and waits for you to follow.\n\n> You lie down\n(on the shingly beach)\nOkay, you\u2019re now lying on the shingly beach.\n\n> You whine like a the big baby\nThe word \u201cwhine\u201d is not necessary in this story.\n\n> You get us\nThe word \u201cus\u201d is not necessary in this story.\n\n> You get up\nOkay, you\u2019re now standing.\n\n> You follow her\nYou follow Julia up the steps.\n\nMost of this sizeable garden is given over to vegetable plots. To the east it comes to an abrupt end overlooking the cove, accessible via a rough flight of stone steps. At its northern end stands a large stone house, from the front of which a gravel path heads off to the west, while along the garden\u2019s southern boundary runs a long wooden fence.\n\nof the house, where she opens the door, then turns back to motion you to follow her inside.\n\n> You ask her where we are\n\u201cWe can talk inside,\u201d she replies.\n\n> You examine house\nThe house has a solid, four-square appearance. It is not particularly attractive, the grim grey stone of which it is constructed doing nothing to enhance its appearance, but it does look reasonably commodious.\n\n\u201cCome inside, Mr Corby,\u201d Julia invites you.\n\n> You look at the vegetable\nThe vegetable plots are a series of neatly laid out rectangles, some covered with protective netting. Together they take up most of the space in the garden.\n\n> You examine the stone\nWhich stone do you mean, the stone steps, the shingly beach, or the house?\n\n> You look at the stone steps\nThe steps lead down to the cove below.\n\n\u201cAre you coming then?\u201d Julia asks.\n\n> You go inside\nYou follow Julia inside.\n\nThe parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could\nsustain quite a blaze in winter, though it\u2019s currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.\n\n\u201cCome through into the kitchen while I brew you up some hot soup,\u201d Julia offers, waving towards the north.\n\nJulia closes the front door.\n\n> You examine the furniture\nThe main items are some chairs and a table. They all seem to have\nbeen made by a joiner who put solidity a long way ahead of elegance.\n\n> You go to the north\nYou follow Julia into the kitchen.\n\nThe kitchen is quite large, and conveys something of the same rustic flavour as the parlour, which lies just to the south. A plain wooden door, painted black, is set in the north wall next to a large wood-burning stove. An even larger wooden table occupies most of the space in the middle of the kitchen, together with a conveniently\nplaced wooden chair.\n\nJulia walks over to the stove, checks that it\u2019s still burning, and\nputs a pan on it. \u201cTake a seat while I heat up this soup for you,\u201d\nshe tells you.\n\nYou sink gratefully into the large wooden chair.\n\n> About yourself\nYou look a bit bedraggled from your watery misadventure, but otherwise unscathed. But then you\u2019re young and healthy, with a complexion\ntanned by years at sea.\n\nYou are empty-handed.\n\nJulia turns to you and hands you a gold coin, \u201cHere,\u201d she says,\n\u201cyou\u2019ll need somewhere to stay. I\u2019m afraid we can\u2019t put you up\nhere,\nbut the Red Dragon\u2019s a pretty decent inn. Well, it\u2019s the only inn, actually. Anyway, that\u2019ll buy you a few days\u2019 board and lodging\nthere\ntill you find your feet.\u201d\n\nWhen you start to protest, she interrupts firmly, \u201cNo, I insist.\nIt\u2019s\nthe least I can do for a shipwrecked sailor. Besides, if you feel\nthat strongly about it, I\u2019m sure the day will come when you\u2019ll be\nable\nto repay me.\u201d\n\n(You could thank her, or refuse politely.)\n\n> Thank her\n\u201cThank you,\u201d you say. \u201cYou\u2019re very kind.\u201d\n\n\u201cYes,\u201d she agrees with a ready smile, \u201cyou\u2019ll find it\u2019s the\nleast of\nmy failings!\u201d\n\nJulia fiddles with some pans.\n\n> You ask her where we are\n\u201cWhere am I?\u201d you want to know.\n\n\u201cThis island is called Valon, if that\u2019s what you mean,\u201d she\nreplies.\n\nJulia busies herself stirring something in a pan on the stove.\n\n> You ask her about the valon\n\u201cJust where is this island?\u201d you ask. \u201cIt doesn\u2019t show up on\nany\ncharts!\u201d\n\n\u201cIt wouldn\u2019t,\u201d she replies mysteriously. \u201cIt isn\u2019t that sort\nof\nplace.\u201d\n\nJulia crosses the kitchen to collect a bowl.\n\n> You ask her what sort of the place\nShe looks puzzled by your question.\n\nJulia returns to the stove and pours something into a bowl.\n\n> You ask her about the valon\n\u201cSo what sort of place is Valon?\u201d you inquire.\n\n\u201cIt\u2019s not so bad,\u201d she tells you. \u201cAt least, it wasn\u2019t till\nthe\nblight came.\u201d\n\n\u201cThere you are,\u201d Julia declares, setting a bowl of steaming soup\ndown\non the table. \u201cThat should warm you up!\u201d\n\n> You look at coin\nThe coin is of unfamiliar design, with a dragon on one side and a chalice on the other.\n\n> You ask her about Dragon\n\u201cThat coin you gave me \u2013 it\u2019s quite a strange design,\u201d you\nremark.\n\u201cWhere did it come from? There can\u2019t be a mint on the island,\nsurely?\u201d\n\n\u201cNo, there\u2019s no mint on the island,\u201d she agrees.\n\n> You ask about the blight\n\u201cWhat is this blight you mentioned?\u201d you want to know.\n\n\u201cWe wish we knew,\u201d she sighs. \u201cIt started three or four years\nback.\nWe didn\u2019t realize what was happening at first, we thought perhaps it was just a particularly bad winter. Well \u2013 whatever it is, it saps\nall the vitality out of the soil. We\u2019ve lost nearly half our\nfarmland\nto it, and since we didn\u2019t have all that much land to start with \u2013 well, times have become a bit hard.\u201d\n\n> You ask Julia about Julia\n\u201cDo you live alone?\u201d you ask.\n\n\u201cNo, I share this house with my brother. We inherited it from our parents,\u201d she tells you.\n\n> You ask Julia about the brother\n\u201cTell me about your brother,\u201d you request.\n\n\u201cHis name\u2019s Richard \u2013 but everyone calls him Dick,\u201d she\nreplies.\n\u201cHe\u2019s a few years older than me, and, well, I suppose you could say\nhe\nlooks after me.\u201d\n\n> You drink the soup\nYou slowly and gratefully drink the hot soup, which tastes strongly of the fish it contains. As you finish it, you feel heat course through your body and strength returning to your limbs.\n\n\u201cThank you very much, that\u2019s just what I needed,\u201d you declare.\n\n\u201cGood,\u201d she replies, removing the empty bowl to add to the pile of washing up.\n\n(If you\u2019d prefer not to be notified about score changes in the\nfuture,\ntype NOTIFY OFF.)\n\n> You ask her about the ship\n\u201cDo many ships call here?\u201d you ask.\n\n\u201cNone call here,\u201d she tells you. \u201cThe occasional one may turn up\nby\naccident, but then it can never leave.\u201d\n\n> Why\n\u201cWhere is the castle?\u201d you ask.\n\n\u201cJust to the north of town, up the hill to the west,\u201d she replies.\n\n> You ask her about the ship\nShe\u2019s already told you that no ships call here, and that the few that turn up by accident can never leave.\n\n> You ask about the soup\n\u201cThat soup you gave me was just what I needed,\u201d you tell her. \u201cI\nfeel\nmuch better now.\u201d\n\n\u201cGood!\u201d she says. \u201cYou looked in need of reviving!\u201d\n\n> You ask her about the island\n\u201cHow many people live here?\u201d you ask.\n\n\u201cOnly a couple of hundred,\u201d she replies. \u201cEvery now and again\nsomeone\nturns up the way you did, washed ashore from some nautical mishap. Otherwise, we\u2019re a pretty small, closed community.\u201d\n\n> You ask her about the currents\nIn reply, she makes a noise that sounds like \u201cPshaw!\u201d.\n\n> You ask her about the leave\nShe gives a wry smile, then says, \u201cI think I\u2019d need to think about that.\u201d\n\n> You ask her about the ocean\nIn reply, she mutters something you don\u2019t quite catch.\n\n> You ask her about the france\n\u201cDo you have any news from France?\u201d you inquire.\n\n\u201cFrance?\u201d she echoes. \u201cNo.\u201d\n\n> You ask her about the england\n\u201cWhat do you know of England?\u201d you ask.\n\n\u201cNothing; it\u2019s just a name to me,\u201d she replies.\n\n> You ask her about england\nShe\u2019s already said that England\u2019s just a name to her.\n\n> You ask her about bonaparte\nShe\u2019s already told you she has no news from France.\n\n> You ask about the soil\n\u201cLet\u2019s talk about that some other time,\u201d she suggests.\n\n> You ask her how one gets away from here\n\u201cHow does one get away from here?\u201d you ask.\n\n\u201cYou don\u2019t,\u201d she replies bluntly.\n\n> You ask her how one gets away\n\u201cThere must be some way to get away from this island!\u201d you insist.\n\u201cI\nhave to rejoin my ship!\u201d\n\n\u201cYou can\u2019t,\u201d she tells you. \u201cDid you see that mist, just a\nlittle way\nout to sea? Don\u2019t ask to explain why or how, but there\u2019s no way to\nget through it.\u201d\n\n> You ask her about the mist\n\u201cWhat is that mist I saw out to sea?\u201d you ask. \u201cIt\ndoesn\u2019t\nlook like it\u2019s shifting at all!\u201d\n\n\u201cThat\u2019s right,\u201d she agrees. \u201cIt never does, and it surrounds\nthe\nwhole island. It\u2019s the barrier that keeps us all in.\u201d\n\n> You ask her about the blight\n\u201cSo what exactly does this blight do?\u201d you ask.\n\n\u201cIt turns perfectly good farmland into dusty wasteland,\u201d she\nreplies.\n\u201cFortunately it seems to have stopped spreading now, but not before\nit\nshut down one of the island\u2019s only two farms.\u201d\n\n> You ask her about the farms\n\u201cIs there much farming on the island?\u201d you enquire.\n\n\u201cThere used to be two farms, the Pascoes\u2019 and the Fantons\u2019, until\nthe\nblight came,\u201d she tells you. \u201cNow only the Fantons\u2019 is left.\u201d\n\n> You ask her about the farms\nShe\u2019s already told you that there used to be two farms on the island till the blight came, but now there\u2019s only one.\n\n> You ask her about Pascoes\n\u201cWhat happened to the Pascoes?\u201d you ask.\n\n\u201cThey lost their farm to the blight,\u201d she replies.\n\n> You ask about Inn\n\u201cWhere do I find the Red Dragon Inn?\u201d you ask.\n\n\u201cJust carry straight on west into town till you come to the crossroads,\u201d she tells you. \u201cThen turn left into South Street, and\nyou can\u2019t miss it.\u201d\n\n> Topics\nYou could ask her about herself, or the blight, or ask her how one\ngets away from here.\n\n> You ask her about her\n\u201cHave you lived here all your life?\u201d you ask.\n\n\u201cYes, I was born in this very house,\u201d she tells you.\n\n> You ask her about her\n\u201cSo, tell me all about yourself,\u201d you invite.\n\n\u201cOh, there really isn\u2019t much to tell,\u201d she shrugs. \u201cI\u2019m\nreally not\nthat interesting \u2013 I\u2019m sure there are far more interesting things\nto\ntalk about.\u201d\n\n(You could ask her about the blight, or ask her how one gets away from here.)\n\n> You ask her about yourself\nShe gives a wry smile, then says, \u201cI think I\u2019d need to think about that.\u201d\n\n> You ask her about yourself\nIn reply, she mutters something you don\u2019t quite catch.\n\n> You ask her about the home\n\u201cYou seem to have quite a large old house,\u201d you remark. \u201cIs it\nhard\nto maintain?\u201d\n\n\u201cIt does take a bit of maintenance,\u201d she replies, \u201cbut the labour\nand\nmaterials are not too hard to come by.\u201d\n\n> You ask her about the blight\n\u201cDoes no one know the cause of this blight?\u201d you inquire.\n\n\u201cNo,\u201d she shakes her head. \u201cIt spread from the north, we know\nthat\nmuch \u2013 from the part of the island no one can reach. Some folk blame mad Meg, but I reckon she\u2019s harmless enough.\u201d\n\n> You ask her about Meg\n\u201cWho is mad Meg?\u201d you ask.\n\n\u201cSome say she\u2019s a witch,\u201d she tells you, \u201cbut I wouldn\u2019t go\nthat far;\nshe\u2019s a bit odd, that\u2019s all. She lives all by herself out to the\nnorth of town.\u201d\n\n> You ask her about witch\n\u201cWhat\u2019s so odd about mad Meg?\u201d you inquire.\n\n\u201cWell \u2013 for one thing, living all by herself like that, away from\nthe\ntown \u2013 I don\u2019t know, she\u2019s just not normal,\u201d Julia\nreplies,\n\u201cand then she doesn\u2019t seem to see things the way the rest of us do.\nI\nsuppose she\u2019s harmless enough, but I couldn\u2019t trust someone like\nthat.\u201d\n\n> Keep going\n\u201cWhy do some people think mad Meg\u2019s a witch?\u201d you want to know.\n\n\u201cBecause she\u2019s so odd. Because she doesn\u2019t mix much. Because\nshe\ndoes things with plants and herbs,\u201d Julia shrugs. \u201cSome even say\nshe\nhas the gift of second sight \u2013 not that I know anything about such things. Anyway, she\u2019s really not worth bothering about.\u201d\n\n> You ask her about the second sight\n\u201cLet\u2019s talk about that some other time,\u201d she suggests.\n\n> You ask her about blight\n\u201cHas anyone tried to do anything about the blight?\u201d you want to\nknow.\n\nJulia gives a bitter laugh, \u201cThe old Duke tried all\nright,\u201d\nshe tells you. \u201cThe silly old fool thought he could go and lead an expedition against it \u2013 apparently he\u2019d found some way to get past\nthe\nRidge. Anyway, off he went with his brother and a band of castle guards, and none of them was ever seen or heard of again. And still the blight didn\u2019t go away. Must be a couple of years back, now.\u201d\n\n> Keep going\n\u201cSo is there any prospect of curing this blight?\u201d you ask.\n\n\u201cNone that I know of,\u201d she tells you, adding, \u201cThat\u2019s one\nreason so\nmany of the islanders are fishermen!\u201d\n\n> Continue\nIt seems like she\u2019s already told you all she knows: the blight\nstarted\nthree or four years ago, spreading from the north. It converts farmland into dusty wasteland, and no one seems to know either the cause or the cure. From what Julia says, it\u2019s causing serious difficulties for the island\u2019s food supply.\n\n> You ask her about Ridge\n\u201cWhat\u2019s this about a ridge?\u201d you ask.\n\n\u201cIt\u2019s a range of hills that divides the island in half,\u201d she\nexplains.\n\u201cThere doesn\u2019t seem to be any way through it, over it, or round it,\nso\nno one knows what lies to the north.\u201d\n\n> Continue\n\u201cThis ridge,\u201d you frown. \u201cSurely it can\u2019t be that\nimpassable, and even if it were, couldn\u2019t you just sail round it in a boat and land on the other side?\u201d\n\n\u201cYou\u2019d think so, wouldn\u2019t you?\u201d she replies quickly. \u201cBut\nthere are\nstrange currents round this island, so it turns out you can\u2019t.\u201d\n\nYour frown deepens. You\u2019ve been a naval officer long enough to know\na\nthing or two about strange currents, but you\u2019ve never heard of\ncurrents that are that strange.\n\n> Keep going\nYou can\u2019t think of anything else to ask about it at this point:\nyou\u2019ve\nalready established that it\u2019s some kind of barrier preventing access\nto the northern part of the island, and that Julia apparently thinks there\u2019s no way over, round, or through it.\n\n> You ask her how one gets away from here\n\u201cIf I had a boat, I\u2019m sure I could get away from here easily\nenough!\u201d\nyou declare.\n\n\u201cOthers have said the same; others have tried; they all failed,\u201d\nshe\nsighs. \u201cMaybe that\u2019s what happened to my parents.\u201d\n\n> You continue\nShe\u2019s already made it clear she thinks it\u2019s impossible to get away\nfrom the island; apparently it\u2019s impossible to pass through the mist that surrounds it.\n\n> You ask about Duke\n\u201cWho exactly was the old Duke?\u201d you want to know.\n\n\u201cThe present Duke\u2019s father,\u201d she informs you. \u201cNot a bad man,\nand\nmore intelligent than his son, who really is a fool \u2013 no, the old\nDuke\nwas a decent enough ruler for this little island. At least he cared enough to try to do something about the blight, but he obviously\ndidn\u2019t go about it the right way. As for the present Duke \u2013 well,\nDuke William has more arrogance than sense, I\u2019d say \u2013 but for\ngoodness\u2019 sake don\u2019t tell him I said that!\u201d\n\n> Keep going\n\u201cTell me more about the present Duke; he rules this island?\u201d you\nask.\n\n\u201cThat\u2019s right,\u201d she affirms. \u201cNo one\u2019s quite sure where the\ntitle\ncomes from; the family\u2019s Norman, but we all know the real\nDuke William ended up ruling rather more than this tiny isle. Between you and me I suspect William\u2019s ancestors awarded themselves the title of Duke when they arrived and took over. But it\u2019s never been worth quibbling about.\u201d\n\n> You ask Julia abouthe ear-ring\n\u201cForgive my asking, but is there any particular reason why you\u2019re wearing only one ear-ring?\u201d you ask.\n\nFrowning, she touches one ear and then the other. \u201cBother!\u201d she declares. \u201cI must have dropped the other one somewhere!\u201d\n\n> You ask her about the cats\nIn reply, she makes a noise that sounds like \u201cPshaw!\u201d.\n\n> You ask her about the parents\n\u201cWhat happened to your parents?\u201d you wonder.\n\nShe sighs, wipes her brow, and throws you a soulful look, \u201cThey\ndied,\u201d\nshe tells you. \u201cDrowned. At least, we suppose so. They went out in their boat together a couple of years back and never returned.\u201d\n\n> Go south\n(first standing up)\nJulia comes with you.\n\nThe parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could\nsustain quite a blaze in winter, though it\u2019s currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.\n\nJulia is standing here.\n\n> You examine the furniture\nThe main items are some chairs and a table. They all seem to have\nbeen made by a joiner who put solidity a long way ahead of elegance.\n\n> You examine the fireplace\nIt\u2019s currently unlit, but it looks like one could get quite a blaze burning in it.\n\n> Bye\n\u201cPerhaps I should go now,\u201d you suggest.\n\n\u201cIf you must, but there\u2019s no hurry; you\u2019re welcome to stay a bit\nlonger if you like,\u201d she assures you.\n\n> You look in the fireplace\nThe fireplace doesn\u2019t look worth meddling with.\n\n> Go east\nYou hardly feel you can go wandering round the house uninvited.\n\n> You ask her about her hidden chamber of the horrors to the the east\nShe looks puzzled by your question.\n\n> Go south\n(first opening the front door)\n\u201cWell, bye for now then; no doubt I shall see you again soon,\u201d\nJulia\nbids you farewell.\n\nMost of this sizeable garden is given over to vegetable plots. To the east it comes to an abrupt end overlooking the cove, accessible via a rough flight of stone steps. At its northern end stands a large stone house, from the front of which a gravel path heads off to the west, while along the garden\u2019s southern boundary runs a long wooden fence.\n\nJulia closes the front door from the other side.\n\n> You examine the fence\nIt\u2019s about five feet high, and made of wood that has long since weathered to a dull grey. Despite the weathering, the fence still looks sturdy enough.\n\n> You examine the plots\nThe vegetable plots are a series of neatly laid out rectangles, some covered with protective netting. Together they take up most of the space in the garden.\n\n> You go west\nThe main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the\nway south, but just at this point of the path a rutted track runs off to the north.\n\n> You examine the hedge\nThe bramble hedge is rather uneven, varying in height between about four feet and six along its length. If it was ever cultivated it has long since turned wild.\n\n> You examine the track\nThe rutted track leads off to the north; it looks a little uneven but seems generally to descend as it goes.\n\n> Go west\nYou set off to the west, and after a brisk walk up the slope you find yourself on the eastern outskirts of the town.\n\nPressed in between a rough stone wall to the north and a small shop to the south this short, narrow street runs east back towards the coast and west towards the centre of town.\n\nA slender young woman is standing with her back to the shop door, desperately trying to beat off a ruffian who seems bent on robbing\nher.\n\n\u201cHand over yer purse, you silly bitch, and I might just decide not to bruise that pretty face of yours,\u201d the ruffian declares.\n\n> Attack ruffian\nYou may still be a bit weakened from your watery ordeal, but the ruffian looks half-starved, while you\u2019ve been toughened by ten years\nat sea fighting the French. He hardly manages to land a single blow\non you, while you soon give him a thrashing. After no more than a minute of it he runs away muttering curses under his breath.\n\n\u201cThank you!\u201d the young woman declares as you turn back to check how\nshe is. \u201cHe was proving \u2013 quite troublesome. I never thought even Cadan Pascoe would stoop to attacking me! But I don\u2019t believe I know you; perhaps you should introduce yourself?\u201d\n\n(You could tell her about yourself, or ask her how she is.)\n\n> Topics\nYou could ask her about Sally Penhaligon, the castle, or the ruffian, or say that she\u2019s beautiful.\n\n> You tell her she's beautiful\n\u201cYou\u2019re very beautiful,\u201d you remark.\n\n\u201cSo people say,\u201d she replies drily.\n\n> You continue\n\u201cYou are very beautiful, my lady,\u201d you insist.\n\n\u201cSo you have already said,\u201d she points out unenthusiastically.\n\n> You continue\nYour compliments don\u2019t seem to be making much of an impression, so perhaps you should give them a rest for now.\n\n> You ask her about the ruffian\n\u201cWho was that fellow who attacked you? Do you know him?\u201d you ask.\n\n\u201cYes, I know him,\u201d she replies. \u201cHe\u2019s Samuel Pascoe\u2019s son,\nCadan.\nThey lost their farm to the blight, so I suppose I should feel sorry for him in a way.\u201d\n\n> You ask her about Pascoe\n\u201cWhy should young Pascoe blame you for the blight?\u201d you inquire.\n\n\u201cI don\u2019t think it\u2019s a matter of blame, lieutenant,\u201d she\nanswers.\n\u201cIt\u2019s more desperation and envy.\u201d\n\n> You ask her about herself\n\u201cSo, is there anything else you can tell me about yourself, my\nlady,\u201d\nyou ask.\n\n\u201cWhat is there to tell?\u201d she sighs. \u201cI am Lady Inalda de Valon,\nfirst\ncousin to the Duke of Valon. I was born in the castle and live there still. I have never been off this island \u2013 in truth my life has been very limited.\u201d\n\n> You ask her about the island\n\u201cWhat\u2019s this island like?\u201d you ask.\n\n\u201cI know of no other place to compare it with,\u201d she points out.\n\n> You tell her about the england\n\u201cDo you know anything of England?\u201d you ask.\n\n\u201cOnly that it\u2019s where most of this island\u2019s inhabitants\noriginally\ncame from,\u201d she replies.\n\n> You tell her about the england\nShe\u2019s already told you that the only thing she knows about England is that it\u2019s where most of the island\u2019s inhabitants originally came\nfrom.\n\n> You ask her about the france\n\u201cHave you heard what\u2019s happening in France, my lady?\u201d you ask.\n\n\u201cVery little,\u201d she replies. \u201cIs there another war there? There\nalways seems to be wars! But though my ancestors originally came from France, we have been cut off from it for generations.\u201d\n\n> You ask her about the castle\n\u201cWhere is the castle?\u201d you ask.\n\n\u201cJust to the north of town, up the hill to the west,\u201d she replies.\n\n> You ask her about Duke\n\u201cSo, what sort of man is the Duke?\u201d you inquire.\n\n\u201cHe\u2019s my cousin; we grew up together. And now he rules Valon,\u201d\nshe\nreplies with a little shrug, adding, \u201cI would hardly say more to a stranger, however gallant!\u201d\n\n> You ask her about the coin\n\u201cCould we talk about...\u201d you start to suggest.\n\n\u201cI\u2019m sure we could \u2013 but let\u2019s talk about it some other time, lieutenant,\u201d she replies.\n\n> You ask her about Meg\n\u201cWhat do you think of the woman they call mad Meg?\u201d you ask.\n\n\u201cI scarcely know her;\u201d she replies, \u201cour paths seldom cross. She\nhas\nthe reputation of being quite strange, and some people say worse\nthings about her than that, but I know nothing against her at first hand, beyond the fact that she lives by herself and never comes into town.\u201d\n\n> You ask her about Julia\n\u201cWhat do you think of Julia Trelawney?\u201d you ask.\n\n\u201cI think that if relations between our families were better I might come to like her,\u201d she replies. \u201cOf all the people on the island,\nshe\nis the best placed to be a friend; and yet as things stand I hardly know her.\u201d\n\n> You ask her about Dick\n\u201cWhat can you tell me about Dick Trelawney, my lady?\u201d you ask.\n\n\u201cHe is one of the most important people on the island, next to my cousin,\u201d she tells you. \u201cThat is to say that the Trelawneys are\nthe\nwealthiest and most influential family here apart from the de Valons. But I cannot say relations between my cousin and Mr Trelawney are particularly cordial.\u201d\n\n> You ask her about the relations\n\u201cWhat do think about time?\u201d you ask.\n\n\u201cIt would take too long to answer that now, lieutenant,\u201d she\nreplies.\n\u201cSome other time, when we have more leisure, perhaps.\u201d\n\n> Topics\nYou could ask her about Sally Penhaligon, or the ruffian.\n\n> You ask her about Dick\n\u201cWhy did you say that relations between the Duke and Dick Trelawney aren\u2019t all that good?\u201d you ask.\n\nShe hesitates a moment or two before replying, \u201cI think perhaps it because they see themselves as rival sources of authority on the island, with very different ideas on how authority should be\nexercised. At least I know my cousin feels that Mr Trelawney does not respect his authority, and that is something my cousin resents.\u201d\n\n> You ask her about the authority\n\u201cNow, what about...\u201d you begin.\n\n\u201cLater, lieutenant,\u201d she interrupts you. \u201cI\u2019m a bit\npreoccupied right\nnow.\u201d\n\n> You ask her about the ruffian\n\u201cWill young Pascoe attack you again, do you think?\u201d you ask.\n\n\u201cI think you succeeded in frightening him off for now, lieutenant,\u201d\nshe replies with a faint smile.\n\n> You continue\n\u201cWhat will happen to that fellow who attacked you?\u201d you want to\nknow.\n\n\u201cI shall report the matter to my cousin, who will send one of his men to deal with him,\u201d she replies, a little wearily. After a brief\npause\nshe adds, \u201cI shall try to persuade the Duke to be lenient \u2013 after\nall,\nno great harm was done.\u201d\n\n> You ask her about reward\n\u201cCan you tell me about...\u201d you begin.\n\n\u201cWait! What was that?\u201d She asks, cocking her head to one side.\nThen,\nafter a moment, she continues, \u201cSorry, I thought I heard\nsomething.\u201d\n\n> You ask her about Sally\n\u201cWho is Sally Penhaligon?\u201d you ask.\n\n\u201cShe\u2019s the woman who runs this shop,\u201d she replies. \u201cIt\u2019s the\nonly\nstore on the island. Her husband\u2019s a fisherman.\u201d\n\n> Keep going\nShe\u2019s already told you: Sally Penhaligon runs the shop and her\nhusband\nis a fisherman.\n\n> You ask her about the husband\n\u201cI was meaning to ask you about...\u201d you begin, but you tail off\nwhen\nyou notice that her attention is momentarily elsewhere.\n\n> Topics\nYou could ask her about Cadan Pascoe.\n\n> You ask about the blight\n\u201cWhat is the blight, exactly?\u201d you enquire.\n\n\u201cExactly what it is we do not know.\u201d she replies. \u201cIf\nwe did\nwe might have a better chance of finding some way to counter it.\u201d\n\n> You ask her about Pascoe\n\u201cIf you\u2019re worried that the Duke may be too hard on young Pascoe,\nwhy\nreport the matter to him?\u201d you wonder.\n\n\u201cLaw and order must be maintained,\u201d she tells you, \u201cor we shall\nall\ndescend into chaos.\u201d\n\n> You tell her about the fascism\nLady Inalda listens politely to your account.\n\n> You ask her about Inn\n\u201cWhat can you tell me about the Red Dragon, my Lady?\u201d you ask.\n\n\u201cIt\u2019s a decently-run establishment from what I gather,\u201d she\nreplies.\n\u201cAs to the quality of the meals and lodgings I couldn\u2019t say, as\nI\u2019ve\nnever been a patron.\u201d\n\n> Go south\n(first trying to open the shop door)\nThe shop door seems to be locked.\n\nLady Inalda glances at the shop in some annoyance, then turns back to you, \u201cSally Penhaligon really should have opened up her shop by\nnow,\u201d\nshe sighs. \u201cPerhaps she\u2019s idling away in the Red Dragon again! Lieutenant, I hate to impose on you further, but if you were to go to the Red Dragon and see Mrs Penhaligon there, perhaps you would be so good as to tell her she has a customer waiting. Could you do that for me, do you think?\u201d\n\n(You could say you\u2019ll go, or ask her about Sally Penhaligon.)\n\n> You ask her about Sally\n\u201cHow will I know Sally Penhaligon when I see her?\u201d you ask.\n\n\u201cAbout thirty, blonde hair chopped off at the chin,\u201d she replies.\n\u201cSo, will you go and find her for me?\u201d\n\n> You say we'LL go\n\u201cAs fascinating as it would be to chat with you all day, lieutenant,\nI\nreally would like to complete my errand,\u201d she replies. \u201cTo which\nend,\nit would be most helpful if you could try to find Mrs Penhaligon for me. Will you do that, please?\u201d\n\n> You say yes\n\u201cYes, I\u2019m sure I can do that for you.\u201d you offer. \u201cI was just\ngoing\nthere anyway.\u201d\n\n\u201cThank you, lieutenant,\u201d she replies. \u201cThat would be most\nhelpful. I\nshould also be most grateful if you could make it sooner rather than later.\u201d\n\n> Bye\n\u201cWell, goodbye then, my lady,\u201d you say.\n\n\u201cAu revoir, lieutenant,\u201d she replies. \u201cYou must come up to the\ncastle\nsoon; I am sure the Duke would be interested to meet you.\u201d\n\n> You go west\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> You shouthe anti-french insults at Inalda\nThe word \u201canti-french\u201d is not necessary in this story.\n\n> You look at sign\nIt\u2019s a little difficult to make out from here, being faded red on\nfaded black, but it could easily be depicting a red dragon.\n\n> You examine the buildings\nOn the northeast corner stands an ancient chapel, while one the opposite corner is the inn. Many of the other buildings look like cottages.\n\nA pair of children run past and disappear into one of the cottages.\n\n> You examine the chapel\nFrom here you see one corner of the rather ugly, though undoubtedly ancient, little chapel, built from undressed rough stone.\n\nA boy of about ten enters the crossroads, takes one look at you, then runs back up West Street in apparent fright at seeing a stranger.\n\n> You go to the south\nThe west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.\n\n> You examine the cottages\nThey\u2019re not exactly hovels, but they\u2019re all quite small, and at\nleast\nfrom the outside the grey stone of which they\u2019re constructed gives\nthem a uniformly bleak appearance.\n\n> You examine the cobbles\nThe cobbles are worn smooth in some places, cracked in others, and dirty everywhere.\n\nA pair of plain middle-aged women dressed in shawls walk briskly down the street.\n\n> You get the cobble\nThe cobbles don\u2019t look worth meddling with.\n\nAn old woman emerges from one of the cottages and shuffles off to the north.\n\n> You examine Inn\nThe tavern is a large two-story building, rather better constructed than the cottages opposite. The sign hanging over its entrance\nclearly marks the inn as the Red Dragon.\n\n> Go west\nThe main room of the tavern seems cosy enough, and cleaner than quite\na few you\u2019ve seen. There are several tables and chairs scattered about, while the bar counter runs close to the west wall, in front of\na door marked \u201cPrivate\u201d. The way out is to the east and a flight\nof\nstairs leads up to the floor above.\n\nOn the bar counter is a jug of red wine.\n\nA blonde woman is deep in conversation with a buxom redhead who is standing behind the bar.\n\nA group of fishermen are sitting eating and drinking in the corner.\n\nThe two women at the bar appear to be exchanging gossip. The buxom redhead says something about a hidden sword, but you wonder if it\u2019s some kind of double entendre.\n\n> You look at blond\n(x blonde)\n(You can use the TYPO command to disable the typo-correction feature.)\n\nShe\u2019s perhaps about thirty years old, with a round face that\u2019s\nstarting to lose its youthful prettiness, and curly blonde hair worn quite short \u2013 only down to her chin.\n\nThe buxom redhead whispers something that makes a blonde woman laugh.\n\n> You examine blonde\nShe\u2019s perhaps about thirty years old, with a round face that\u2019s\nstarting to lose its youthful prettiness, and curly blonde hair worn quite short \u2013 only down to her chin.\n\nThe conversation in the corner becomes momentarily louder as the fishermen get into an argument.\n\nThe two women carry on gossiping together.\n\n> You talk to Sally\n\u201cExcuse me, would you be Sally Penhaligon by any chance?\u201d you ask.\n\n\u201cThat\u2019s right,\u201d she replies. \u201cWhy?\u201d\n\n(You could tell her about Inalda, or yourself, or ask her about her shop, or the castle.)\n\n> You tell her about Inalda\n\u201cYou have a customer waiting outside your shop \u2013 Lady Inalda. She asked me to let you know,\u201d you tell her.\n\n\u201cLady Inalda! Goodness!\u201d she declares. \u201cWell, I\u2019d better not\nkeep\nher ladyship waiting, had I?\u201d\n\nTurning to the buxom redhead she says, \u201c\u2019Bye then, I\u2019ll see you\nlater.\u201d Sally Penhaligon leaves to the east.\n\n> You ask redhead about the sword\n\u201cHello, there,\u201d you say.\n\n\u201cHello, stranger!\u201d she replies with a grin.\n\n\u201cWhat was that you were saying to Sally Penhaligon about a hidden sword?\u201d you ask.\n\n\u201cOh nothing, just an old legend,\u201d she replies dismissively. You\nsense\nshe is none too pleased that you were eavesdropping on her conversation.\n\n> Continue\nYou\u2019ve already gathered that she\u2019s not that anxious to talk about\nit.\n\n> You ask her about Sally\n\u201cDo you know Sally Penhaligon well?\u201d you ask.\n\n\u201cOh yes, we grew up together, and we\u2019re firm friends,\u201d she\nreplies.\n\n> You keep going\nShe\u2019s already told you that Sally Penhaligon and she grew up together and are firm friends.\n\n> You ask her about her\n\u201cI\u2019m afraid I don\u2019t know your name,\u201d you say.\n\n\u201cIt\u2019s Betty, love \u2013 just plain Betty.\u201d she tells you.\n\u201cAlthough maybe\nyou don\u2019t find me too plain,\u201d she adds hopefully.\n\nTwo of the fishermen stand up and leave.\n\n> You examine Betty\nShe strikes you as being the sort of woman for whom the adjective \u201cbuxom\u201d was invented. Her rosy face is framed with a mass of long\nred\ncurls.\n\n> You ask her about yourself\nIn reply, Betty merely shrugs.\n\n> You ask Betty about snogging\n\u201cBetty, can you tell me about...\u201d you begin.\n\n\u201cHang on a minute, love,\u201d she interrupts you, \u201cI think one of\nthose\nfishermen wants something.\u201d\n\n> You ask her about Meg\n\u201cWhat do you know about Meg \u2013 the one they call mad Meg?\u201d you\nask.\n\n\u201cI haven\u2019t come across her much,\u201d she replies. \u201cShe never\ncomes into\ntown and I spend most of my time in here. I\u2019ve heard what people say about her \u2013 but that\u2019s just gossip.\u201d\n\n> You ask Betty about Julia\n\u201cWhat do you think of the Trelawneys?\u201d you ask.\n\n\u201cI\u2019ve always got on with them very well,\u201d she replies.\n\n> You ask Betty about Inalda\n\u201cWhat do you make of Lady Inalda?\u201d you ask.\n\n\u201cShe\u2019s all right,\u201d she replies. \u201cSome people think she\u2019s a\nbit snooty\nbecause she\u2019s the Duke\u2019s cousin and lives up in the castle, but\nit\u2019s\nher cousin that\u2019s the snooty one, not her. Why, do you fancy her?\u201d\n\n> No\n\u201cNo, I was just curious, that\u2019s all,\u201d you reply, trying not to\nblush.\n\n\u201cWhen a handsome young man expresses \u2018curiosity\u2019 about an\nexceptionally beautiful young lady \u2013\u201d she remarks. \u201cWell,\n\u2018faint\nheart never won fair lady\u2019 is what I say.\u201d\n\n> You ask her for the wine\n\u201cWhat\u2019s in that jug?\u201d you ask.\n\n\u201cJust some elderberry wine,\u201d she tells you. \u201cWe have to do with\nwhat\nwe can make here.\u201d\n\n> You ask her about Pascoe\n\u201cWhat do you know about the Pascoes?\u201d you ask her.\n\n\u201cThey lost their farm to the blight.\u201d she tells you. \u201cIt was a terrible blow to them, and to the whole island; but the Trelawneys\nhave been very good to them.\u201d\n\nOne of the fishermen proposes a toast and the rest join in.\n\n> You ask her about the room\n\u201cDo you have any rooms?\u201d you ask.\n\n\u201cCertainly, love,\u201d she replies. \u201cJust let me see your money, and\nI\u2019ll\ngive you the key.\u201d\n\n> Topics\nYou could ask her about herself, the castle, Duke William, or Meg.\n\n> You ask her about her\n\u201cHave you lived on this island all your life, Betty?\u201d you ask her.\n\n\u201cThat\u2019s right, I was born here,\u201d she tells you, \u201cas were my\nparents,\nand their parents, and... well, however far back it goes.\u201d\n\nThere\u2019s a momentary lull in the fishermen\u2019s conversation. Then\nthey\nall start talking at once.\n\n> You ask her about her\n\u201cDo you own the Red Dragon?\u201d you inquire.\n\n\u201cMe? Own the Red Dragon?\u201d she laughs. \u201cGoodness no, I ain\u2019t\ngrand\nenough for that, love; I just work here. It\u2019s the Trelawneys that\nown\nthe place.\u201d\n\nThe fishermen burst into laughter at some arcane fishermen\u2019s joke.\n\n> You show the coin to Betty\n\u201cI\u2019d like a room, please; will this do?\u201d you ask, handing her the\ncoin.\n\n\u201cIt\u2019ll do nicely, love,\u201d she replies, taking the coin and turning\nit\nover carefully in her palm. \u201cThat\u2019ll buy you full board and\nlodging\nfor a week \u2013 anything you want by way of food and drink, just ask.\nIf\nyou want your bed warming for you, that\u2019ll cost extra,\u201d she adds\nwith\na wink. Reaching behind the bar she takes out a key and hands it to you, \u201cHere you are, love; Room 2 \u2013 you\u2019ll find it just\nupstairs.\u201d\n\nThere\u2019s a sudden crescendo in the conversation from the corner.\n\n> Wink\nThe word \u201cwink\u201d is not necessary in this story.\n\n> You tell her she's beautiful\nBetty does not respond.\n\nA pretty young woman pops her head in through the door to glance over at the group of men in the corner. Apparently not finding whoever she was looking for she goes away again.\n\n> You ask her about William\n\u201cWhat do you think of the Duke, Betty \u2013 or shouldn\u2019t I ask?\u201d\nyou\nenquire.\n\n\u201cAsk if you like,\u201d she shrugs. \u201cAt least he leaves me alone. To\ntell\nthe truth, I don\u2019t really know what he\u2019s for. I know\nI\u2019m\nonly a simple barmaid who\u2019s not meant to understand these things, but there\u2019s what \u2013 a couple of hundred of us on the island \u2013 and\nthere\u2019s\nthis bloke up in his great big castle calling himself a duke and telling us all what we can and can\u2019t do.\u201d\n\n> You ask her about the revolution\n\u201cBetty, perhaps you can help me,\u201d you start to ask, \u201cI was just wondering about...\u201d\n\n\u201cSorry, I just remembered something I had to do,\u201d she interrupts.\nShe\ndarts into the back room and comes back a few moments later. \u201cSorry, you were saying...\u201d\n\n> You ask her about Duke\n\u201cDoesn\u2019t someone have to keep order?\u201d you ask. \u201cIsn\u2019t that\nwhat the\nDuke\u2019s for?\u201d\n\n\u201cI\u2019m sure that\u2019s just what he\u2019d say,\u201d she concurs, \u201cbut\nthere ain\u2019t\nthat much happening here that needs ordering, and I daresay what there is we could manage to order ourselves without the help of some high-and-mighty duke. Still, I\u2019m only a barmaid, so don\u2019t pay any attention to what I say.\u201d\n\n> You ask her about Meg\n\u201cWhat do people say about Meg?\u201d you want to know.\n\n\u201cWell,\u201d she hesitates, \u201cthere are some who say she\u2019s a witch,\nbut I\u2019ve\nnever heard anyone say she\u2019s ever actually harmed anyone, except old Jenny Pascoe and her son Cad, that is.\u201d\n\n(You could ask her what Jenny Pascoe says Meg did.)\n\n> You ask her why she is so self-deprecating\n\u201cCan you tell me anything about...?\u201d you begin.\n\n\u201cWhoops! I nearly dropped that glass!\u201d she interrupts.\n\nOne of men in the corner tries to catch Betty\u2019s eye.\n\n> You ask her what Jenny Pascoe says meg did\nYou ask your question. In reply she says, \u201cIt would take too long to answer that now, love \u2013 maybe some other time.\u201d\n\n> You ask her about Meg\nShe\u2019s already told you that she\u2019s hardly ever come across Meg since their paths virtually never cross, so all she can do is to repeat hearsay. That hearsay includes some accusations of witchcraft, but only Jenny Pascoe and her son Cad have ever said that Meg has actually ever harmed anyone.\n\nThe fishermen listen intently as one of them tells a funny story.\n\n> You ask her about Jenny\nShe\u2019s already told you that the Pascoes lost their farm to the\nblight,\nbut that the Trelawneys had been very good to them.\n\n> You ask her about Cad\n\u201cDo you know Cadan Pascoe?\u201d you ask.\n\n\u201cI know most people around here, love,\u201d she replies, \u201cbut young\nCad,\nnow \u2013 well there\u2019s a hard case: he drinks too much, and his temper\ngets even worse when he\u2019s drunk \u2013 it\u2019s bad enough when he\u2019s\nsober if\nyou ask me.\u201d\n\n> Topics\nYou could ask her about herself, the castle, or Duke William.\n\n> You ask Betty about Betty\n\u201cDo you enjoy your work?\u201d you ask.\n\n\u201cYes, I do \u2013 I get to meet all sorts of interesting people,\u201d she replies, giving you a sly look, \u201cand there\u2019s always the chance of earning a bit on the side \u2013 in such a comfy way, too!\u201d\n\n> You drink the wine\n(first taking the jug of red wine)\n\u201cHere, let me pour you a glass,\u201d Betty offers. She takes a glass\nfrom\nbehind the bar, fills it with the wine and offers it to you. It\ntastes even sweeter than it looks, but it\u2019s not unpleasant, so you\nsoon drink it all. When you hand the glass back to Betty she puts it back behind the bar.\n\n> You ask Betty about William\n\u201cDo I take it that you\u2019re not all that impressed by Duke\nWilliam?\u201d you\nenquire.\n\n\u201cThe only thing that impresses me about him is his conviction of self-importance,\u201d she shrugs. \u201cAccording to my grandpa our noble Duke\u2019s ancestors were just a bunch of plundering mercenaries who came here from France by mistake. My grandpa says they were meant to be following the real Duke William to somewhere called \u2018Hastings\u2019, but\ngot lost and fetched up here instead. They then built themselves that castle and bossed everyone around because they had the soldiers. So, it seems to me that \u2018duke\u2019 is just another name for \u2018plunderer\u2019\n\u2013 but\nthen I\u2019m only a simple barmaid.\u201d\n\n> You ask Betty about William\nYou decide to pursue this topic no further in case her sentiments become any more Jacobin; after all Britain has been at war for years now with a country that takes that kind of attitude to its\naristocracy. In any case she\u2019s made her views pretty plain: she regards the Duke as barely legitimate and even less useful.\n\n> You ask Betty about the castle\n\u201cWhere is the castle?\u201d you ask.\n\n\u201cJust to the north of town, up the hill to the west,\u201d she replies.\n\n> You ask Betty about the castle\nShe\u2019s already told you that the castle is just to the north of town,\nup the hill to the west.\n\n> You ask Betty about Betty\n\u201cWhat did you do before working here, Betty?\u201d you ask.\n\n\u201cNursed my mother when she was ill,\u201d she tells you. \u201cThat must\nhave\nbeen \u2013 oh, more than ten years ago, anyway. She died, you see; I was only sixteen then. My father had already drowned in a fishing accident, so we were as poor as dungeon rats. This was a really good opening for me \u2013 a roof over my head, regular meals, and the work really ain\u2019t that bad.\u201d\n\n> You ask Betty about Betty\nYou can\u2019t think of anything else to ask her about herself right now. She\u2019s already told you that she was born on the island, as were her ancestors as far back as she knows. She lost her father to a fishing accident and her mother to illness at least ten years ago, and was probably left destitute, but working in the Red Dragon gives her a\nroof over her head and regular meals, and she seems happy enough with that.\n\n> You ask Betty about Inn\n\u201cWhy is this inn called the Red Dragon?\u201d you ask.\n\n\u201cI\u2019ve no idea,\u201d she tells you. \u201cIt\u2019s always been called\nthat.\u201d\n\n> You ask Betty about the snuggles\n\u201cBetty, can you tell me about...\u201d you begin.\n\n\u201cHang on a minute, love,\u201d she interrupts you, \u201cI think one of\nthose\nfishermen wants something.\u201d\n\n> You ask about the blight\n\u201cWhat can you tell me about the blight?\u201d you ask.\n\n\u201cNo more than anyone else can \u2013 probably less,\u201d she shrugs.\n\u201cIt\u2019s\nkilled the Pascoes\u2019 farm and turned it into a barren waste, and now we\u2019re all short of food.\u201d\n\n> You ask her about the farm\n\u201cWhat are your views on farming, Betty?\u201d you ask her.\n\n\u201cMaybe I\u2019ll tell you when it\u2019s quieter in here,\u201d she replies,\nglancing\nacross at the fishermen in the corner.\n\n> You ask her about the Room\nShe\u2019s already given you a room key.\n\n> You examine the key\nIt\u2019s just a plain brass key with the number 2 stamped on it."
    },
    {
        "text": "[Themes: Historical Fantasy, fantasy]\n\n> Look around\nThe main room of the tavern seems cosy enough, and cleaner than quite\na few you\u2019ve seen. There are several tables and chairs scattered about, while the bar counter runs close to the west wall, in front of\na door marked \u201cPrivate\u201d. The way out is to the east and a flight\nof\nstairs leads up to the floor above.\n\nOn the bar counter is a jug of red wine.\n\nBetty is eyeing you with a lopsided grin.\n\nA group of fishermen are sitting eating and drinking in the corner.\n\n> You ask her about the fishermen\n\u201cDo you get many fishermen in here, Betty?\u201d you ask.\n\n\u201cAll the time,\u201d she sighs, \u201cand they pay in kind, mostly. Still,\nif\nthey didn\u2019t, I wouldn\u2019t have much to cook customers for dinner!\u201d\n\n> You kiss betty\n\u201cIt\u2019s not that I\u2019m unflattered by your interest, love,\u201d she\ninterrupts\nyou, \u201cbut until you show me your interest in monetary form, it\u2019s strictly no go!\u201d\n\nThree of the fishermen get up to leave as two others join the group.\n\n> Inventory\nYou are carrying a plain brass key.\n\n> You ask her about the prices\nYou ask your question. In reply she says, \u201cIt would take too long to answer that now, love \u2013 maybe some other time.\u201d\n\n> Go up\nBetty turns back to the bar and resumes her work.\n\nA flight of stairs leads back down to the north, while to east, west and south are doors marked respectively Room 1, Room 2 and Room 3.\n\n> You enter the Room 2\n(first unlocking the room 2 door, then opening it)\n\nThe room is fairly spartan, but at least it\u2019s a reasonable size, with plenty of room for a bosun\u2019s mate to swing a cat-o\u2019-nine-tails. A narrow bed lies against one wall, while a dressing table rests against the opposite one. The door out leads east, while a small window looks out to the west.\n\nOn the dressing table is a brass lamp.\n\n> You look out the window\nThe window overlooks the back yard of the tavern. It\u2019s closed.\n\n> You examine the dressing table\nLike most of the furniture on the island, it is solid, plain and functional. It also has a single drawer. It\u2019s closed. On the dressing table is a brass lamp.\n\n> You open the drawer\nOpening the dressing table reveals a flint.\n\n> You take it\nThe dressing table is too heavy.\n\n> You take the flint\nTaken.\n\n> You examine the lamp\nIt\u2019s a large brass oil lamp."
    },
    {
        "text": "[Themes: Historical Fantasy, creeping doom, sailors, male protagonist, island]\n\n> You look at your surroundings\nThe room is fairly spartan, but at least it\u2019s a reasonable size, with plenty of room for a bosun\u2019s mate to swing a cat-o\u2019-nine-tails. A narrow bed lies against one wall, while a dressing table rests against the opposite one. The door out leads east, while a small window looks out to the west.\n\nOn the dressing table is a brass lamp.\n\n> Sleep\nYou don\u2019t need to sleep right now.\n\n> Light lamp\n(with the flint)\nYou light the lamp by striking a spark from the flint.\n\n> Extinguish the lamp\nYou douse the lamp.\n\n> You look at the table\nLike most of the furniture on the island, it is solid, plain and functional. It also has a single drawer. It\u2019s open. On the\ndressing\ntable is a brass lamp.\n\n> You get the lamp\nTaken.\n\n> Inventory\nYou are carrying a plain brass key, a flint, and a brass lamp.\n\n> You examine the window\nThe window overlooks the back yard of the tavern. It\u2019s closed.\n\n> You open the window\nOpened.\n\n> You look through the window\nThe window overlooks the back yard of the tavern. It\u2019s open.\n\n> You examine the yard\nIt\u2019s a small walled yard, with a stack of barrels in one corner.\n\n> You look at the barrels\nThey look like beer barrels.\n\n> You go south\n(first trying to open the room 3 door)\nThe room 3 door seems to be locked.\n\n> Go east\n(first trying to open the room 1 door)\nThe room 1 door seems to be locked."
    },
    {
        "text": "[Themes: Historical Fantasy, sailors, magic, island]\n\n> Go downwards\nThe main room of the tavern seems cosy enough, and cleaner than quite\na few you\u2019ve seen. There are several tables and chairs scattered about, while the bar counter runs close to the west wall, in front of\na door marked \u201cPrivate\u201d. The way out is to the east and a flight\nof\nstairs leads up to the floor above.\n\nOn the bar counter is a jug of red wine.\n\nBetty is working behind the bar.\n\nA group of fishermen are sitting eating and drinking in the corner.\n\nThere\u2019s a momentary lull in the fishermen\u2019s conversation. Then\nthey\nall start talking at once.\n\n> Go east\nThe west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.\n\n> Go north\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> You go south\nThere is little enough space in the front of this small shop as it is, and much of it is taken up with the densely-packed shelves jammed\nround the walls. These are stacked with goods of every kind, bearing out the fact that this is the island\u2019s only general store. A doorway stands open to the south behind the serving counter, opposite the street door to the north.\n\nSally Penhaligon is standing behind the counter.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> You ask her about the bed warming\n\u201cHello there,\u201d you say.\n\n\u201cHello, sir,\u201d she replies. \u201cWhat can I do for you?\u201d\n\n\u201cMrs Penhaligon, what can you tell me about...\u201d you begin.\n\nThe rest of your question is lost as Sally Penhaligon lets out a loud sneeze. \u201cOh, do excuse me, sir,\u201d she begs.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> You tell Sally about the frigates\n\u201cHm,\u201d she replies, when you\u2019ve had your say.\n\n> You ask Sally about Sally\n\u201cHave you been on this island long, Mrs Penhaligon?\u201d you ask.\n\n\u201cAll my life,\u201d she tells you. \u201cI was born here, just like my\nhusband.\nNeither of us have ever known any other life.\u201d\n\n> You ask Sally about the husband\n\u201cTell me about your husband, Mrs Penhaligon,\u201d you say.\n\n\u201cHe\u2019s a fishermen; he\u2019ll be out in his boat now,\u201d she tells\nyou.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> You look at the goods\nThe goods on the shelves include some fresh fruit and vegetables, pottery, wool, pins, needles, cutlery, pots, pans, bowls, jars, buttons, thread, rolls of thread and of string, some cheeses, a pile\nof floppy hats, several large pieces of cloth, and many other things beside. Much of it looks like local produce, but if it all is then\nthe island must support a surprisingly wide range of industries.\n\n> You ask Sally about the economics\n\u201cTell me, Mrs Penhaligon, what do you think about...\u201d You break off\nas\nyou realize she seems momentarily distracted.\n\n> You ask Sally about the husband\nShe\u2019s already told you that her husband is a fisherman and that\nhe\u2019s\nout in his boat.\n\n> You ask Sally about the shop\n\u201cHas your shop been open long, Mrs Penhaligon?\u201d you ask.\n\n\u201cIt was open long before I was born, Mr Corby,\u201d she replies.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> You ask Sally about the apples\n\u201cIs that cider I can smell being brewed?\u201d you ask.\n\n\u201cThat\u2019s right,\u201d she agrees, \u201cand now you come to mention it, I\ncould\ndo with some more apples.\u201d\n\n> You ask Sally about Pascoe\n\u201cCan you tell me about...?\u201d you ask.\n\n\u201cAsk me about that some other time, Mr Corby,\u201d she suggests.\n\n> You ask Sally about Meg\n\u201cDo you know anything about the woman they call mad Meg?\u201d you ask.\n\n\u201cI know of her,\u201d she affirms. \u201cCan\u2019t say I care for her much.\nI\nmean, well there were stories about why she left the Pascoes\u2019 farm.\nAnd living all alone in the woods like that and never coming into town nor going to church. I mean, it\u2019s no wonder people think she\u2019s \u2013\nwell, not normal.\u201d\n\n> You ask her about the church\n\u201cWhat about...?\u201d you ask.\n\n\u201cThat\u2019s a long story, as they say, Mr Corby,\u201d she tells you.\n\n> Tospic\n(topics)\n\nYou could ask her about herself, or the castle.\n\n> You ask her about her\n\u201cHow do you come to be running this shop?\u201d you ask.\n\n\u201cOh, I came to an arrangement with the Trelawneys,\u201d she tells you. \u201cThey actually own it, but they let me run it in return for a share\nof\nthe profits.\u201d\n\n> You ask her about Trelawneys\n\u201cWhat do you think of Julia Trelawney?\u201d you ask.\n\n\u201cThe Trelawneys have been good to me,\u201d she tells you, \u201cand\nthey\u2019re\nmuch respected round here.\u201d\n\n> You ask her about the castle\n\u201cWhere is the castle?\u201d you ask.\n\n\u201cJust to the north of town, up the hill to the west,\u201d she replies.\n\n> You ask her about the castle\nShe\u2019s already told you that the castle is just to the north of town,\nup the hill to the west.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> You ask her about the woods\nYou ask your question.\n\n\u201cThat would be telling now,\u201d she replies with a knowing smile."
    },
    {
        "text": "> Look around\nThere is little enough space in the front of this small shop as it is, and much of it is taken up with the densely-packed shelves jammed\nround the walls. These are stacked with goods of every kind, bearing out the fact that this is the island\u2019s only general store. A doorway stands open to the south behind the serving counter, opposite the street door to the north.\n\nSally Penhaligon is standing here.\n\nA faint smell of fermenting apples wafts from the back room.\n\n> Go south\n\u201cYou can\u2019t go in there \u2013 staff only.\u201d Sally Penhaligon stops\nyou.\n\n> Go north\n\u201cGoodbye for now then, Mrs Penhaligon,\u201d you say.\n\n\u201cBe seeing you, Mr Corby,\u201d she replies cheerfully.\n\nPressed in between a rough stone wall to the north and a small shop to the south this short, narrow street runs east back towards the coast and west towards the centre of town.\n\n> You go west\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> Go north\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> You go south\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> Go west\nTo the east the street is fairly level, but a short distance to the west it starts to climb a shallow hill. At this point the street runs between a small bakery to the north, and a narrow alley to the south.\n\nThe smell of baking bread wafts from the bakery.\n\n> You go to the west\nThis looks like the roughest part of town, with the road surface equally pitted up the hill to the west and down to the east. The cottages on either side of the street look more thrown together than built, being rough and tiny.\n\n> You go to the west\nThe summit of this low hill is fairly flat, and continues to the northwest. To the north, it descends quite rapidly into a hollow, while to south and east it slopes down towards the beach, and grass gives way to sand. To the east are the faint traces of the track\nwhich become a street running back down towards the centre of the\ntown. Although you\u2019re not that high up, you get a clear view over\nthe\nsea from here, truncated by the ever-present mist.\n\nYou notice a particularly attractive clump of wild flowers growing here.\n\n> You take the flowers\nYou lean down and pick the flowers, being careful to preserve the arrangement when you form them into a bunch.\n\n> Go north\nThe hollow is formed by an unclimbably steep hill to north and east, and rather gentler slopes to south and west. The end of a drainage pipe protrudes from some way up the northern hillside.\n\nA glint of sunlight catches something on the ground.\n\n> You look at the glint\n(x flint)\n\nStrictly speaking it\u2019s a flint with a steel, presumably for lighting the lamp.\n\nA rabbit scuttles away up the hill.\n\n> You examine something\nIt\u2019s hard to tell what it is: it looks like a small round metal boss\nor knob.\n\nThere\u2019s a raucous cry overhead as a crow takes flight.\n\n> You take the knob\nIt seems to be firmly embedded in the ground.\n\nThere\u2019s a distant shout from the castle wall way above.\n\n> Dig\nWhat do you want to dig in?\n\n> Ground\n(with your hands)\nYou scoop out some of the earth round the object with your hands, creating a small round hole in the ground; this reveals the object in the ground to be a buried sword hilt.\n\n> You take the sword\nHowever hard you pull, you cannot budge it so much as a fraction of an inch.\n\nA shaft of sunlight momentarily strikes the hilt of the sword.\n\n> Dig\nWhat do you want to dig in?\n\n> Ground\n(with your hands)\nYou try to scoop out some more earth but it just runs back into the hole.\n\n> You examine the sword\nSo far as you can tell, it may still be attached to its sword, but if so, the sword is well buried. The hilt looks solid and ancient, with some fine patterns carved into it; it could be made of bronze.\n\nSome earth starts slipping back into the hole."
    },
    {
        "text": "[Themes: Historical Fantasy, magic, male protagonist]\n\n> You look around\nThe hollow is formed by an unclimbably steep hill to north and east, and rather gentler slopes to south and west. The end of a drainage pipe protrudes from some way up the northern hillside.\n\nThe round hole contains the hilt of a sword.\n\nWith a rush, the rest of the earth you just dug out falls into the hole, burying the sword hilt once more.\n\n> You examine the pipe\nFrom here all you can see is the end of the pipe sticking out of the hillside several yards above your head; a small trickle of water falls from the pipe and runs a short way down the hill.\n\nA glint of sunlight catches something on the ground.\n\n> You look at water\nFrom here all you can see is the end of the pipe sticking out of the hillside several yards above your head; a small trickle of water falls from the pipe and runs a short way down the hill.\n\n> Drink water\nThe drainage pipe is too far away.\n\n> Wash\nWhat do you want to clean?\n\n> Yourself\nYou\u2019ve been very happy to leave cleaning things to deck-hands ever since you passed the exam to lieutenant.\n\nA rabbit scuttles away up the hill."
    },
    {
        "text": "[Themes: Historical Fantasy, maritime, sailors, island]\n\n> Look around\nThe hollow is formed by an unclimbably steep hill to north and east, and rather gentler slopes to south and west. The end of a drainage pipe protrudes from some way up the northern hillside.\n\n> Go west\nThis narrow finger of land juts out into the sea between a large semi-circular bay to the south and a small rocky cove to the north, neither of which is directly accessible from here. Some kind of\nmarker stone has been set up near the tip of the point. The high\nground continues to the southeast, but falls away into a hollow to the east.\n\nA small gold object lies on the ground, just by the marker stone.\n\n> You examine the object\nIt\u2019s a small gold ear-ring. You\u2019re fairly sure it matches the one\nworn by Julia.\n\n> You take the object\nTaken.\n\n> You go to the south-east\nThe summit of this low hill is fairly flat, and continues to the northwest. To the north, it descends quite rapidly into a hollow, while to south and east it slopes down towards the beach, and grass gives way to sand. To the east are the faint traces of the track\nwhich become a street running back down towards the centre of the\ntown. Although you\u2019re not that high up, you get a clear view over\nthe\nsea from here, truncated by the ever-present mist.\n\n> Go south\nThe beach stretches away to both northwest and southeast from here,\nits approximate mid-point. A short way to the north the ground climbs sharply up a hill, while out to sea a collection of fishing-boats is stretched out across the bay.\n\nA small green toolbox lies on the beach beside a fishing net.\n\nThe small green toolbox contains a screwdriver.\n\nA stout man is sitting on the beach mending the net.\n\n> Toolbox\nThe story doesn\u2019t understand that command.\n\n> You look at the toolbox\nIt\u2019s just a small green toolbox, made of wood. It contains a screwdriver.\n\n> You talk to the man\n\u201cGood day to you,\u201d you greet him.\n\n\u201cCan\u2019t say I see what\u2019s good about it,\u201d he grunts in reply.\n\n(You could ask him about mad Meg, or himself.)\n\n> You ask the man about the man\n\u201cAnd you might you be?\u201d you ask.\n\n\u201cI\u2019m Samuel Pascoe,\u201d he tells you. \u201cWho wants to know?\u201d\n\n> You ask him about Meg\n\u201cDo you know anything about the woman they call \u2018mad Meg\u2019?\u201d you\nask.\n\n\u201cShe\u2019s not mad, she\u2019s as sane as you or me,\u201d he replies.\n\u201cShe\u2019s just\na bit different, that\u2019s all.\u201d\n\n> You ask him about Meg\n\u201cWhat do you know about Meg?\u201d you ask.\n\n\u201cWell, Jenny and me took her in when she was a mere babe \u2013 her own folks didn\u2019t want her. She were a good lass, never gave us any trouble. Except \u2013 well, some of the things she said sounded so\nstrange \u2013 didn\u2019t bother me too much but Jen \u2013 my wife \u2013 well\nshe were\na bit spooked like. Anyroad, it seemed best she moved out, so I\nhelped her build a little home in the woods, and that\u2019s where she\nlives still.\u201d\n\n> You tell the man about Meg\nHe listens morosely to what you have to say.\n\n> You tell the man about Jenny\n\u201cHow\u2019s your wife taking everything?\u201d you ask.\n\n\u201cBadly,\u201d he sighs. \u201cShe\u2019s a changed woman since we left the\nfarm, and\nthat\u2019s the truth. Maybe it\u2019s worse for her being cooped up in that stinking fish-house all day long, while I at least get to work in the open air. But she\u2019s taken it all dreadful hard.\u201d\n\n> You ask the man about Cad\n\u201cI think I\u2019ve met your son, but not under the happiest of circumstances,\u201d you say. \u201cHe was trying to rob Lady Inalda.\u201d\n\n\u201cThe young fool!\u201d Samuel Pascoe spits. \u201cHe\u2019s been running wild\never\nsince we were forced off the farm; now he\u2019s really gone and done\nit!\u201d\n\n> You ask the man about the screwdriver\n\u201cCould I possibly borrow your screwdriver, please, Mr Pascoe?\u201d you\nask.\n\n\u201cWell, the way I see it, I can\u2019t afford to give someone something\nfor\nnothing,\u201d he says, \u201cbut I\u2019ll tell you what; I\u2019m starting to\nfeel more\nthan a little hungry, so you bring me something good to eat and I\nmight consider letting you borrow my screwdriver.\u201d\n\n> You check your inventory\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, and a small gold ear-ring.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You go to the southeast\nSamuel Pascoe resumes mending the net.\n\nThe beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc\nto the northwest, while a narrow track runs up through a thicket to\nthe northeast. A little way out to sea is a fleet of fishing boats.\n\n> You go to the east\nThe steep track from the north comes to an end at this bleak stone jetty, which is flanked by a large wooden building to the east and the beach stretching out along the bay to the west. The jetty juts just a short way out into the water, and both from the smell and from the\nfish fragments lying about, obviously serves as a landing stage for\nthe island\u2019s fishermen. No boats are tied up here at the moment, but there are several a short way out to sea in the bay.\n\nIt would be an exaggeration to say that the smell of rotting fish is overpowering, since you are not overpowered by it, but it is certainly inescapable.\n\n> Go north\nLeading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.\n\n> You go to the south-west\nThe beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc\nto the northwest, while a narrow track runs up through a thicket to\nthe northeast. A little way out to sea is a fleet of fishing boats.\n\n> You go north\nThe west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.\n\n> Go north\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\nA trio of young men emerge from South Street, but then go their separate ways from the crossroads.\n\n> Go north\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> Go north\nA pair of granite cottages mark the northern edge of the town, the\nbulk of which lies to the south. To the north the road crosses a\nsmall stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.\n\n> You go north\nThe bridge is narrow, but in a reasonable state of repair apart from the parapet, which is starting to crumble in places. From the brow of the bridge you can see a stream racing eastwards to power a mill. To the south the road runs back into town, while to the north it turns into a farm-track.\n\n> Go north\nThis short length of farm track comes to an end at the narrow stone bridge just to the south and peters out into open country a short way north. Its main purpose seems to be to serve the large water-mill\nthat stands immediately to the east. On the opposite side of the\ntrack a stream flows briskly past to the south before turning east under the bridge; beyond the stream lurks the bulk of a massive hill, its face too steep to climb even if you could somehow cross the stream to reach it.\n\n> Go east\nThe inside of the mill is dominated by a huge vertically-mounted iron cog wheel, which is currently stationary, and is connected via a\nseries of lesser cogs to the upper of a pair of large horizontally-mounted millstones. Next to the main cog is a long\nwooden lever, while a small metal wheel is mounted on the south wall. In the east wall is a small trapdoor, while the way out is to the\nwest.\n\nAn old sack has somehow become draped over the rafters.\n\n> You examine the sack\nIt\u2019s draped over a rafter, just over the main cog wheel. It looks\nlike someone must have thrown it up there as a prank.\n\n> You examine the lever\nIt\u2019s just a long wooden lever.\n\n> You examine the iron wheel\nIt\u2019s a good ten feet in diameter, with large teeth placed about two inches apart round its circumference. It\u2019s currently still.\n\n> You look at the trapdoor\nIt\u2019s about a foot square, too small to crawl through. A small length of chain is attached to the wall just above it, and some wooden fragments lie on the floor just beneath. It\u2019s closed.\n\n> You get the lever\nYou can\u2019t take that.\n\n> You open the trapdoor\nIt opens easily. You peer through the trapdoor into a dark space\nwhich extends several yards beneath the level of the mill floor. You can\u2019t make out much within, but you guess it might be some kind of grain store. You can\u2019t be sure, but you think you can make out a\nsmall pile of grain at the bottom.\n\n> You pull the lever\nPulling the lever causes a subtle rearrangement of the lesser cogs.\n\n> You examine the small metal wheel\nIt\u2019s a small round metal wheel comprising rim, hub and four spokes,\nall painted black.\n\n> You turn it\nYou turn the small iron wheel as far as it will go. The giant cog wheel starts to turn. The top of the wheel just misses the sack.\n\n> You get on the wheel\n(the huge cog wheel)\nYou can\u2019t board that.\n\n> You look at the millstones\nThe upper and lower millstones form a matching pair, each round and about a couple of feet in diameter.\n\n> You check your inventory\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, and a small gold ear-ring.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You pull the lever\nPulling the lever causes a subtle rearrangement of the lesser cogs.\nThe upper millstone starts to turn.\n\n> Turn wheel\nYou turn the small iron wheel back again. The giant vertical cog\nstops turning.\n\n> Climb wheel\n(the huge cog wheel)\nIt looks a bit too awkward to climb.\n\n> You go west\nThis short length of farm track comes to an end at the narrow stone bridge just to the south and peters out into open country a short way north. Its main purpose seems to be to serve the large water-mill\nthat stands immediately to the east. On the opposite side of the\ntrack a stream flows briskly past to the south before turning east under the bridge; beyond the stream lurks the bulk of a massive hill, its face too steep to climb even if you could somehow cross the stream to reach it.\n\n> You go to the south\nThe bridge is narrow, but in a reasonable state of repair apart from the parapet, which is starting to crumble in places. From the brow of the bridge you can see a stream racing eastwards to power a mill. To the south the road runs back into town, while to the north it turns into a farm-track.\n\n> You look at the parapet\nThe stone parapet runs at about chest height on both sides of the bridge; on both sides the top of the parapet is starting to crumble, and weeds are growing in the cracks.\n\n> You get the weeds\nThe weeds don\u2019t look worth meddling with.\n\n> You go south\nA pair of granite cottages mark the northern edge of the town, the\nbulk of which lies to the south. To the north the road crosses a\nsmall stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.\n\n> You examine the cottages\ntown; they are also detached, and stand a little way back from the road.\n\n> Go west\nHalf-way up the grassy hillside, the path up from the east turns sharply north as it continues up the slope. The bend in the path affords an excellent view over the town below.\n\n> You examine the town\nFrom the vantage point of Castle Hill it becomes even more apparent that the town is little more than a collection of mean stone buildings arranged around the cross-shaped street layout.\n\n> You go to the north\nThe top of Castle Hill affords an excellent view over much of the southern part of the island, but the view to the north is blocked by the castle, which occupies most of the space up here. The archway leading into the castle lies directly to the north, while the path leading back down to the hill runs south.\n\n> You go north\nAt first sight this archway is impressive; not only is it at least eight feet wide and twelve high, it\u2019s a good nine feet deep,\nindicating the thickness of the wall at this point. Its\nimpressiveness as a piece of military architecture is, however, somewhat diminished once you notice the lack of anything that looks like a gate or portcullis. Two pairs of rusty hinges embedded in the walls indicate where some gates might once have hung, and an equally rusty drum by the east wall looks as if it might once have been part\nof a mechanism for raising and lowering a portcullis. The arch is oriented north-south, leading out of the castle to the south and into it to the north.\n\nA guard stands in the middle of the arch.\n\n> You examine the guard\nHe\u2019s both dressed and equipped in a manner more appropriate to the reign of the third Henry than the third George.\n\nThe guard is carrying a halberd.\n\nThe guard shuffles from one foot to another.\n\n> You examine the guard\nHe\u2019s both dressed and equipped in a manner more appropriate to the reign of the third Henry than the third George.\n\nThe guard is carrying a halberd.\n\n> You talk to the guard\n\u201cGood day to you,\u201d you say.\n\n\u201cIf you say so,\u201d he grunts.\n\n(You could tell him about yourself.)\n\n> You ask the guard about Duke\n\u201cIs the Duke in?\u201d you ask.\n\n\u201cSo far as I know, he is,\u201d he tells you. \u201cHe\u2019s usually in the\nGreat\nHall at this time.\u201d\n\n> You examine the halbert\n(x halberd)\n\nThe ancient weapon would be quite ineffective against even a small French raiding-party, but it\u2019s more than adequate for preventing the entrance of the odd unarmed intruder or two.\n\n> You ask the guard about Inalda\n\u201cIs Lady Inalda at home?\u201d you ask.\n\n\u201cSo far as I know,\u201d he tells you.\n\n> You ask guard about the halberd\n\u201cI\u2019m on duty,\u201d he replies stiffly.\n\n> Go north\nThe guard watches you depart.\n\nToo small to count as a bailey, the courtyard is completely enclosed\nby the castle wall. An archway leads out of the courtyard to the south, while to the north stands a misshapen keep. What looks like a stable block rests against the western wall, and a long crude\nbuilding, perhaps a barrack block for the castle guard, occupies the east wall.\n\n> Go north\nThis great hall has at least pretensions of grandeur. For one thing, it is large and draughty. For another, it is impressively bedecked with banners, shields, swords and even the odd suit of armour; but the impression made is of faded mediaeval glory rather than modern\npotency. A wide staircase leads up to the north, and passages lead\noff to east and west, while the main exit is back out to the south.\n\nDuke William is standing in the middle of the hall, looking at you expectantly.\n\n\u201cLieutenant Corby, how good of you to call!\u201d Lady Inalda declares.\n\nTurning to her cousin she adds, \u201cWilliam, this is the man I was\ntelling you about \u2013 the one who rescued me earlier this morning.\u201d\n\nThe Duke eyes you carefully, then gives a curt nod. \u201cI see; then it would seem we owe you a debt of gratitude, lieutenant. Lady Inalda tells me that you were washed ashore on this island only this morning; in that case I imagine you must be left destitute and without any\nmeans of supporting yourself; is that assumption correct?\u201d\n\n(You could say yes or no, or tell him about Julia.)\n\n> You tell him about Julia\n\u201cWell, a kind young lady called Julia Trelawney found me on the\nshore,\ntook me back to her house and not only gave me a bowl of hot soup to revive me, but a gold coin so I could stay at the Red Dragon Inn for a while,\u201d you tell him, \u201cHopefully that should last me until I find a boat off the island and rejoin my ship.\u201d\n\n\u201cThat was indeed kind of Miss Trelawney,\u201d the Duke nods, \u201cBut\nthere\nare no boats off this island, and one gold coin won\u2019t keep you for long. However, I may be able to improve your prospects, lieutenant; you could enter my service \u2013 you sound like the sort of man I could use.\u201d He pauses for a brief moment to gauge your reaction, then adds, \u201cBut first I\u2019d need some concrete pledge of loyalty.\u201d\n\n(You could ask what he wants of you, or refuse.)\n\n> You ask what he wants of yourself\n\u201cWhat do you want of me?\u201d you ask.\n\n\u201cYou may have heard of the blight that\u2019s afflicting this isle,\u201d\nhe\nbegins. \u201cIt\u2019s causing food shortages, and that\u2019s encouraging smuggling. I have my suspicions about who\u2019s behind it, but I need proof. That\u2019s where you come in, I want you to obtain proof of\nwho\u2019s\nbehind this smuggling racket and then bring it to me. Will you do that?\u201d\n\n(You could say yes or no, ask him about smuggling, or ask why you.)\n\n> You ask him about the smuggling\n\u201cCan you tell me more about this smuggling problem, your grace?\u201d\nyou\nask.\n\n\u201cIdeally, Valon should be self-sufficient,\u201d he explains. \u201cWe\ncannot\nrely on contact with the outside world to supply our needs. Smuggling in goods from the outside \u2013 however desirable they may seem \u2013 only undermines our self-sufficiency. Don\u2019t think me an unreasonable man, lieutenant, I realize that the odd little luxury or two does no harm, but it\u2019s grown too big, and it needs to be controlled. So \u2013 will\nyou\nhelp?\u201d\n\n> You ask why yourself\n\u201cWhy me?\u201d you ask, \u201cI\u2019m a stranger here!\u201d\n\n\u201cAnd that\u2019s precisely why you\u2019re the best person for the job,\u201d\nhe\nreplies with a thin smile. \u201cEveryone else on the island is too well known; what\u2019s more their loyalties are too well known. On\nthe other hand, right now no one knows where you stand. People may tell you things they\u2019d never tell anyone known to work for me.\u201d\n\n> You ask him about the smuggling\n\u201cWhat\u2019s being smuggled in?\u201d you inquire.\n\n\u201cJust about anything we can\u2019t produce here,\u201d he replies, \u201cand\nmaybe\nsome things we can. Strong drink, cloth, metal goods, non-local foodstuffs \u2013 anything the scoundrels think they have a market for.\nIt\nwouldn\u2019t matter if it were just a trickle, but it\u2019s become a flood! Anyway, I can\u2019t imagine you\u2019ll have much difficulty identifying\nstuff\nthat wasn\u2019t produced on Valon, lieutenant; then all you need to do is to trace it back to its source. So, will you do that for me?\u201d\n\n> You ask him about the smuggling\n\u201cI\u2019ve told you all you need to know,\u201d he replies. \u201cThe\nquestion is,\nwill you help me catch these smugglers?\u201d\n\n> You ask why yourself\n\u201cBut what makes you think I\u2019m qualified to do this sort of work?\u201d\nyou\nwant to know.\n\n\u201cYou\u2019re an officer of the crown,\u201d he replies, \u201ca natural\nsupporter of\nthe establishment, loyal to those in authority, and as a naval officer a natural enemy of smugglers, I should have thought. You also must have some intelligence to have gained a naval commission. I have\nevery confidence in you, lieutenant. So, will you take on the job?\u201d\n\n> You ask why yourself\nThe Duke has made it fairly clear why he thinks you\u2019re the man for\nthe\njob: he thinks your profession puts you naturally on his side, while your being a stranger should make it easier to get people to tell you things.\n\n> Yes\n\u201cYes, I\u2019ll do what I can, your grace.\u201d you reply.\n\n\u201cGood,\u201d he replies. \u201cIf you can do this little thing I shall see\nto\nit that you\u2019re well rewarded.\u201d\n\n> You ask about the reward\n\u201cYour grace mentioned a reward,\u201d you venture.\n\n\u201cYes, I did, lieutenant,\u201d he agrees. \u201cFind me proof of who\u2019s\nbehind\nthe smuggling, and I shall see to it that you are very comfortably set up in my service.\u201d\n\n> You ask Duke about the blight\n\u201cWhat can you tell me about the blight, your grace?\u201d you ask.\n\n\u201cIt\u2019s a pesky nuisance,\u201d he grumbles. \u201cIt makes the islanders\ncomplain of being short of food. Well, they will just have to tighten their belts.\u201d\n\n> You ask Duke about the mist\n\u201cThis mist that surrounds the island \u2013 what is it, do you think?\u201d\nyou\nask.\n\n\u201cI don\u2019t know, lieutenant,\u201d he replies, \u201cbut at least I know\nthat I do\nnot know. One thing I do know is that not everything said about that mist can be true. For one thing, it does not seem to me to be a mist in the ordinary sense of that word. For another, I do not believe it to be so impossible to penetrate as it is said to be; someone\nknows how to get through it, they\u2019re just not telling the rest of\nus.\u201d\n\n> You ask Duke about the Castle\n\u201cHow old is this castle, your grace?\u201d you ask.\n\n\u201cSeveral generations,\u201d he replies vaguely. \u201cIt was built by my ancestors when they first came to this isle.\u201d\n\n> You ask Duke about mill\nYou don\u2019t know him well enough to engage him in idle chatter, and he doesn\u2019t look the sort of man who would welcome it.\n\n> You ask Duke about Meg\n\u201cDo you know of the woman they call mad Meg, your grace?\u201d you ask.\n\n\u201cOf course I know of her; the whole island knows of her,\u201d he\nreplies.\n\u201cPerhaps some fool has told you she\u2019s a witch, but that is just ignorant superstition. The woman is quite harmless.\u201d"
    },
    {
        "text": "> Look around\nThis great hall has at least pretensions of grandeur. For one thing, it is large and draughty. For another, it is impressively bedecked with banners, shields, swords and even the odd suit of armour; but the impression made is of faded mediaeval glory rather than modern\npotency. A wide staircase leads up to the north, and passages lead\noff to east and west, while the main exit is back out to the south.\n\nDuke William stands in the middle of the hall, regarding you coolly. Lady Inalda meanwhile stands at your side, facing him.\n\n> You examine the banners\nOn closer inspection some of the banners look faded, some tattered,\nand many both.\n\n> You examine the armour\nThe antique suits of armour look like they may have afforded some measure of protection against sword and mace, but not one of them\nwould stop a musket ball.\n\n> You ask Duke about the sword\n\u201cI\u2019ve come across the strangest thing, your grace,\u201d you tell him,\n\u201ca\nsword buried in the hollow just to the southwest of the castle.\u201d\n\n\u201cWell, should you manage to unbury it, perhaps you could bring it\nhere\nto add to my collection,\u201d he suggests, glancing up at the wall.\n\n> You ask Duke about pipe\nYou don\u2019t know him well enough to engage him in idle chatter, and he doesn\u2019t look the sort of man who would welcome it.\n\n> You ask Duke about Julia\n\u201cWhat do you think about Julia, your grace?\u201d you ask.\n\n\u201cI think you ask too many questions, lieutenant,\u201d he replies.\n\n> You go to the south\nDuke William watches you leave. Lady Inalda follows you out.\n\nToo small to count as a bailey, the courtyard is completely enclosed\nby the castle wall. An archway leads out of the courtyard to the south, while to the north stands a misshapen keep. What looks like a stable block rests against the western wall, and a long crude\nbuilding, perhaps a barrack block for the castle guard, occupies the east wall.\n\nLady Inalda stops in the middle of the courtyard and motions you to join her.\n\n\u201cA word, if you please, lieutenant,\u201d she says. \u201cI don\u2019t know\nwhether\nyou truly intend to do as my cousin asks, but perhaps there is something you might do for me.\u201d\n\n(You could ask what she wants, or ask her about smuggling.)\n\n> You ask what she wants\n\u201cWhat do you want of me, my lady?\u201d you ask.\n\n\u201cThe most serious threat facing us right now is the blight,\u201d she\ntells\nyou. \u201cAnd it\u2019s not just the food shortages, it is all that flows\nfrom\nthem, as Cadan Pascoe\u2019s attack this morning has brought home to me. Something must be done about it, but I feel so limited in\nwhat I can do without help. You on the other hand \u2013 well, perhaps being new here and more knowledgeable about the world beyond Valon, perhaps you could go and take a look at the blight and see if you can tell what might be behind it. And while you\u2019re at it, perhaps you could see if you can make any sense of this.\u201d She hands you a sheet\nof\nparchment.\n\n> You examine the parchment\nThe parchment bears a poem that reads:\n\n\u201cWhere copper, iron and tin are found,\nand ores extracted underground,\nthere is a path the mountain through,\nwhich can be found by purpose true:\ntrue as knight\u2019s on holy quest,\ntrue as one who gives his best,\ntrue lies the route that shall not fail\nhim who seeks the Holy Grail.\u201d\n\n> You ask her about the parchment\n\u201cWhere did you get this?\u201d you ask, indicating the parchment.\n\n\u201cI came across it in the castle archives a few months back.\u201d she\ntells\nyou.\n\n> You ask her about the blight\n\u201cWhat do you know about the blight?\u201d you ask.\n\n\u201cThat it has turned valuable farmland into barren waste,\u201d she tells you.\n\n> You ask her about the smuggling\n\u201cWhat do you think about the smuggling that\u2019s apparently going on\nround here, my lady?\u201d you ask.\n\n\u201cTo be honest, lieutenant, I am not so concerned about it as my\ncousin\nis,\u201d she tells you. \u201cAt least, I cannot see that any great harm is being done by it.\u201d\n\n> Continue\nShe has already told you that she\u2019s not so concerned about the smuggling as her cousin is, and that she cannot see that any great\nharm is being done by it.\n\n> Topics\nYou could ask her about the blight, the Holy Grail, or the poem.\n\n> You ask her about Grail\n\u201cTell me, my lady, are there any Grail legends connected with this island?\u201d you ask.\n\n\u201cFunny you should ask that,\u201d she replies. \u201cI vaguely recall\nhearing\nsomething as a child, but I never paid it much attention since; it\njust sounded too much like a child\u2019s fairy-tale, or else a popular legend told by the inhabitants of a small island to make themselves feel important. You know the sort of thing, the chalice Christ used\nat the Last Supper, the Holy Grail, passed through our blessed Isle of Valon. I\u2019m sure there\u2019s nothing in it.\u201d\n\n> You continue\nLady Inalda has already told you that she vaguely recalls hearing some wild tale about the Holy Grail coming to Valon as a child, but that\nshe dismisses it as a childish legend. There seems no point in pursuing the subject any further with her.\n\n> You ask her about the poem\n\u201cDo you have any idea what this poem means?\u201d you ask her.\n\n\u201cThere\u2019s an old mine to the north of town,\u201d she tells you. \u201cIt\nlooks\nlike it could have something to do with that.\u201d\n\n> You ask her about the poem\n\u201cYou think this poem could indicate a way through the Ridge?\u201d you suggest.\n\n\u201cIt does seem to suggest that, lieutenant,\u201d she agrees, \u201cbut it\nis not\nentirely clear, is it? Anyway, I\u2019d like you to find out what you\ncan,\nbut please don\u2019t take any risks. I want you to come back and tell me anything you discover; so please be careful.\u201d\n\n> You ask her about the poem\n\u201cDid your father and uncle follow this poem when they took their expedition?\u201d you wonder.\n\n\u201cI don\u2019t think so,\u201d she shakes her head. \u201cNo one said anything\nabout\na mine at the time, and I don\u2019t think they ever saw that\nparchment.\u201d\n\n> You ask about the expedition\n\u201cCan you tell me about...\u201d you begin.\n\n\u201cWait! What was that?\u201d She asks, cocking her head to one side.\nThen,\nafter a moment, she continues, \u201cSorry, I thought I heard\nsomething.\u201d\n\n> You ask about Ridge\n\u201cWhat do you make of the Ridge, my lady?\u201d you ask.\n\n\u201cI think it strange that there should be such a barrier across the island,\u201d she replies.\n\n> You continue\nShe\u2019s already told you she thinks it\u2019s strange that there should be such a barrier across the island.\n\n> You ask about the uncle\n\u201cWhat sort of man was your uncle?\u201d you ask.\n\n\u201cThe former Duke, you mean?\u201d she asks. \u201cHe was proud, noble, courageous and determined. He was sure of his right to rule, but equally sure that such a right came with obligations.\u201d\n\n> Keep going\nShe has already told you that her uncle, the former Duke, was proud, noble, courageous and determined; a man sure of his right to rule, but equally sure that such a right carried obligations.\n\n> You ask about William\nShe doesn\u2019t seem prepared to talk about him right now.\n\n> You ask about poem\nThere\u2019s probably not a lot more you can ask her about it right now.\nShe doesn\u2019t know what the poem means, but thinks it may indicate a\nway\nthrough the Ridge via an old mine. She\u2019d like you to investigate,\nbut\nwants you to be careful; she wants you to come back and tell her whatever you discover.\n\n> Topics\nYou could ask her about the blight.\n\n> You ask about the blighty\n\u201cNow, what about...\u201d you begin.\n\n\u201cLater, lieutenant,\u201d she interrupts you. \u201cI\u2019m a bit\npreoccupied right\nnow.\u201d\n\n> You ask about the blight\n\u201cWhat effect has the blight had?\u201d you want to know.\n\n\u201cIt has halved the island\u2019s agricultual production,\u201d she sighs.\n\u201cI am\nsure you can work out the consequences of that for yourself, lieutenant:\u201d she adds, \u201cfear and hunger \u2013 and a lot more people\ntaking\nup fishing!\u201d\n\n> You ask about the fishing\n\u201cI imagine fishing must be quite an important industry here,\u201d you remark.\n\n\u201cIndeed so,\u201d she agrees. \u201cIt is our principal source of food;\nbeef,\nlamb and poultry are rare delicacies these days.\u201d\n\n> You ask about the blight\n\u201cDo you have any idea what caused the blight, my lady?\u201d you ask.\n\n\u201cNo,\u201d she replies shortly, \u201cand neither does anyone else, in my opinion. Oh, you\u2019ll probably hear some wild theories, but no one really knows.\u201d\n\n> Continue\n\u201cDoes anyone have any idea what to do about the blight?\u201d you\ninquire.\n\nIn reply she gives a bitter laugh, \u201cSince no one understands its\ncause, you can hardly expect them to come up with a cure,\nlieutenant!\u201d\n\n> Continue\nYou\u2019ve run out of things you can usefully ask her about the blight. She\u2019s already indicated that in her view no one knows either its\ncause\nor its cure, and that its effect has been to turn valuable farmland into barren waste, thereby halving the island\u2019s agricultural\nproduction and causing fear and hunger as a result.\n\n> You go to the east\nAlthough from the outside the barracks don\u2019t exactly give the impression of being overcrowded, the chances are that some of the Duke\u2019s guards are living there, and you don\u2019t want to tangle with\nthem.\n\n> You go west\n\u201cThe way out is that way, lieutenant,\u201d Lady Inalda observes,\npointing\nto the south with a faint smile."
    },
    {
        "text": "[Themes: Historical Fantasy, creeping doom]\n\n> Look around\nToo small to count as a bailey, the courtyard is completely enclosed\nby the castle wall. An archway leads out of the courtyard to the south, while to the north stands a misshapen keep. What looks like a stable block rests against the western wall, and a long crude\nbuilding, perhaps a barrack block for the castle guard, occupies the east wall.\n\nLady Inalda is standing facing you in the middle of the courtyard.\n\n> You look at stable\nThe stable block is a low wooden building running along the inside of the west wall, and abutting the tower at the southwestern corner of\nthe keep.\n\n> You look at the tower\nThe stubby round tower sticks up at the southwestern corner of the keep, abutting the stable block. A single window high up in the tower overlooks the courtyard.\n\n> You examine keep\nEither the keep was never completed, or parts have been added on\nalmost at random, since the building (which in any case is probably little more than a glorified manor house) has a decidedly lopsided appearance. The greatest affront to symmetry is the single round\ntower standing at the southwestern corner, but the entire building is ugly, though large, as if its designers couldn\u2019t agree whether it was intended for defence, grandeur or comfort and accordingly botched all three objectives.\n\n> You examine the window\nThe stubby round tower sticks up at the southwestern corner of the keep, abutting the stable block. A single window high up in the tower overlooks the courtyard.\n\n> Bye\n\u201cTake care now, lieutenant, and be sure to come back and tell me when you have something to report,\u201d Lady Inalda tells you.\n\n> Go south\nThe archway is at least eight feet wide and twelve high. It\u2019s also a good nine feet deep, indicating the thickness of the wall at this point. Two pairs of rusty hinges embedded in the walls indicate where some gates might once have hung, and an equally rusty drum by the east wall looks as if it might once have been part of a mechanism for raising and lowering a portcullis. The arch is oriented north-south, leading out of the castle to the south and into it to the north. But of the gate and portcullis themselves there is no sign.\n\nThe guard stands in the middle of the arch.\n\nThe guard eyes you suspiciously.\n\n> You go to the south\nThe top of Castle Hill affords an excellent view over much of the southern part of the island, but the view to the north is blocked by the castle, which occupies most of the space up here. The archway leading into the castle lies directly to the north, while the path leading back down to the hill runs south.\n\n> You go south\nHalf-way up the grassy hillside, the path up from the east turns sharply north as it continues up the slope. The bend in the path affords an excellent view over the town below.\n\n> You go to the east\nA pair of granite cottages mark the northern edge of the town, the\nbulk of which lies to the south. To the north the road crosses a\nsmall stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.\n\n> Go south\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> You go east\nThis little chapel is about as bare as a place of Christian worship gets. The rough stone walls are unplastered, and the pews little more than plain wooden benches. The stone altar at the east end is quite unadorned, although presumably something is put on it when worship is in progress. The street exit is to the west, but another, smaller\nopen doorway leads north.\n\n> You examine the altar\nThe altar is almost totally unadorned; presumably it is stripped bare between services. An indication of its antiquity is not simply that\nit is made of stone, unlike the wooden communion tables of civilized Protestant churches, but that the faint carving on the front looks extremely worn.\n\n> You look at the carving\nAlthough the carving is extremely faded, you can just discern the outline of a chalice of possibly ancient pattern. Although this is by no means an inappropriate symbol for an altar it strikes you as a little unusual; if anything, you might have expected a cross.\n\n> You look at pews\nClearly not designed for comfort, the pews are about as barely functional as plain wooden benches can be; about the one thing to be said in their favour is that it would be almost impossible to fall asleep on them however tedious the sermon.\n\n> You look at the walls\nsouth wall: The south wall of the chapel is of rough, undressed\nstone.\n\nnorth wall: Like the other walls, the north wall is of\nundressed stone; a small open doorway in the wall leads north.\n\neast wall: The altar rests near the east wall; otherwise it is\nmade of rough undressed stone, just like the others.\n\nwest wall: Apart from the fact that the way back out to the\nstreet is set in the west wall, it is just like the other three: made of rough, unplastered stone.\n\n> Go north\nThis small chamber apparently does duty as dressing-room and office\nfor the parish priest. A row of cupboards, presumably containing vestments and altar furniture, lines the north wall, while a small\ndesk nestles against the east one. The way back into the chapel lies south, but a large wooden door leads west. A small metal hook is set into the wall next to this door.\n\nA plain wooden chair rests by the desk.\n\nOn the small wooden desk is a sermon. On the hook is a large iron\nkey.\n\nThe priest is sitting working at his desk. He looks up at your entrance and remarks, \u201cSo \u2013 another sinner come to join my\nflock!\u201d\n\n> You look at the priest\nHe is a thin, austere man, dressed in a long black cassock. A few wisps of white hair dangle about his scalp. Piercing dark eyes stare out either side of a nose that\u2019s as thin and sharp as a shark\u2019s\nfin,\nand there\u2019s something tight and mean about his mouth. He is sitting\non the plain wooden chair.\n\nThe priest is wearing a long black cassock.\n\n> You talk to the priest\nYou already have the priest\u2019s attention.\n\n(You could ask him about the blight, Mrs Pascoe, mad Meg, or himself, or tell him about yourself.)\n\n> You ask him about the blight\n\u201cWhat can you tell me about the blight?\u201d you ask.\n\n\u201cIt\u2019s causing terrible hardship here,\u201d he replies. \u201cLife here\nis hard\nenough for most people as it is. The loss of one of the island\u2019s two farms has been a terrible blow.\u201d\n\n> You ask him about the chapel\n\u201cYour chapel looks very ancient,\u201d you remark.\n\n\u201cI think it must be,\u201d he agrees. \u201cI have kept it just as I found\nit,\nsince the islanders feel it should be preserved just as it always has been, and no one can remember a time before it was here.\u201d\n\n> You ask him about the carving\n\u201cThat\u2019s an unusual carving on the front of your altar, isn\u2019t\nit?\u201d you\nremark. \u201cSome sort of chalice, isn\u2019t it? I\u2019d have expected a\ncross.\u201d\n\n\u201cSo would I \u2013 if that,\u201d the priest concurs, \u201cbut then, the\naltar is\nvery ancient, and the chalice is a symbol of Holy Communion.\u201d\n\n> You ask him about Meg\n\u201cWho is this mad Meg person?\u201d you want to know.\n\n\u201cShe is a creature of hell, an evil witch, born out of wedlock and possessed by demons,\u201d the priest tells you, his eyes bulging with\nfury. \u201cIf the blight is not due to her witchcraft it is God\u2019s punishment for not putting her to death!\u201d\n\n> You ask him about himself\n\u201cAnd you are...?\u201d you ask.\n\n\u201cFather Andrew,\u201d he tells you.\n\n> You ask him about yourself\n\u201cI don\u2019t propose to discuss that now,\u201d he replies stiffly.\n\n> You tell him about yourself\n\u201cBy the way, I\u2019m Lieutenant James Corby, Royal Navy,\u201d you\nintroduce\nyourself.\n\n\u201cSo \u2013 a royalist,\u201d he remarks, with mild disapproval.\n\n> You ask him about the royalists\n\u201cPerhaps we can discuss that some other time,\u201d he suggests.\n\n> You ask him about Duke\n\u201cWhat do you make of Duke William?\u201d you ask.\n\n\u201cA proud man,\u201d Father Andrew sighs, \u201ca thorough-going Norman aristocrat, more concerned with his rights as ruler than for the welfare of the people he rules.\u201d\n\n> You ask him about the mist\n\u201cCan you tell me about the sea-mist?\u201d you request.\n\n\u201cMaybe,\u201d he replies concomittally, \u201cbut not just at this\nminute.\u201d He\nglances meaningfully at his unfinished sermon.\n\n> You ask him about the sermon\n\u201cIs that your sermon for Sunday?\u201d you ask.\n\n\u201cThat\u2019s right,\u201d he agrees, adding, \u201cIt still needs a lot of\nwork; I\nbelieve in taking great care over my sermons.\u201d\n\n> You ask him about Grail\n\u201cI\u2019d like to ask you about the Holy Grail,\u201d you say.\n\n\u201cI daresay you would, but that doesn\u2019t mean I\u2019d like to answer\nright\nnow,\u201d he replies, glancing pointedly at his sermon.\n\n> You ask him about Ridge\n\u201cWhat do you think about the Ridge?\u201d you ask.\n\n\u201cNothing I\u2019d care to share with you just at this moment,\u201d he\nreplies.\n\n> You ask him about the god\n\u201cHow should God be worshipped?\u201d you ask.\n\n\u201cIn spirit and in truth,\u201d he replies at once. \u201cBy repenting of\nour\nsins and trusting in his mercy.\u201d\n\n> Repent\nThe story doesn\u2019t understand that command.\n\n> You ask him about Julia\n\u201cI take it you know Julia Trelawney?\u201d you ask.\n\n\u201cOf course; I know everyone on the island, and everyone on the island knows the Trelawneys,\u201d he replies. \u201cShe is not as careful for her immortal soul as I might wish, but she\u2019s a pleasant person, and one\nwho always pulls her weight.\u201d\n\n> You ask him about the key\n\u201cCan I borrow that key, please?\u201d you ask.\n\n\u201cNo,\u201d he replies. \u201cWhat lies beyond that door is not for your\neyes.\u201d\n\n> You ask about the smuggling\n\u201cI\u2019ve heard there\u2019s some smuggling going on round here,\u201d you\nsay.\n\u201cWould you happen to know anything about that, Father Andrew?\u201d\n\n\u201cSmuggling, you say?\u201d he replies. \u201cI suppose some may call it\nthat.\nOthers might call it supplying the wants of the needy.\u201d\n\n> You keep going\n\u201cDon\u2019t you consider smuggling a sin, Father Andrew?\u201d you ask.\n\n\u201cI might if I considered it smuggling,\u201d he replies, \u201cbut maybe\nthe sin\nrests with those who consider it so.\u201d\n\n> You ask about smuggling\n\u201cAre you saying you approve of smuggling?\u201d you ask him.\n\n\u201cI did not say that,\u201d he points out. \u201cWhat I do say is that\nsince the\nblight came most of my flock can barely keep body and soul together. Without what you call \u2018smuggling\u2019 there\u2019s many here who\u2019d go\nunder,\nand it\u2019s not just my flock\u2019s eternal welfare that concerns me \u2013\nthough\nit would be well for many of the sinners on the island to have longer to repent before they meet their maker!\u201d\n\n> Continue\n\u201cThe Duke seems to think that there\u2019s some smuggling going on,\u201d\nyou\npoint out.\n\n\u201cSo you\u2019ve been talking to the Duke!\u201d he declares. \u201cIt is only\nDuke\nWilliam\u2019s avarice that makes him speak of \u2018smuggling\u2019, by which\nhe\nmeans that someone somewhere has the temerity to import what the rest of us need without donating the lion\u2019s share to the castle coffers.\nOur Duke would store up treasure for himself here on earth while his subjects go hungry and naked. You may guess what his heavenly reward may be!\u201d\n\n> You ask about the smuggling\n\u201cSo you think that what the Duke calls \u2018smuggling\u2019 is simply the legitimate importation of goods that people here need,\u201d you surmise.\n\n\u201cI do,\u201d Father Andrew nods. \u201cI\u2019m sure some luxuries are\nbrought in\ntoo, but I don\u2019t begrudge my flock the occasional luxury \u2013 God\nknows\ntheir lives are hard enough.\u201d\n\n> Keep going\n\u201cSo do you know who is behind this \u2013 importation?\u201d you ask.\n\n\u201cI know many things that I may not repeat,\u201d he tells you. \u201cThat\ngoes\nwith being a priest.\u201d\n\n> Continue\nYou seem to have exhausted this line of questioning for now. It\u2019s clear, if a little surprising, that Father Andrew approves of the so-called smuggling, and that he has little respect for the Duke\u2019s attempts to suppress it. In the priest\u2019s view, the \u201csmugglers\u201d\nare\nsimply alleviating the material hardship of the islanders\u2019 lives. Father Andrew may well know who the smugglers are, but if so he\u2019s not saying.\n\n> You read the sermon\nReading the sermon reveals that while God is mentioned a few times, such concepts as love, joy and salvation don\u2019t get much of a mention."
    },
    {
        "text": "[Themes: Historical Fantasy, male protagonist]\n\n> Look around\nThis small chamber apparently does duty as dressing-room and office\nfor the parish priest. A row of cupboards, presumably containing vestments and altar furniture, lines the north wall, while a small\ndesk nestles against the east one. The way back into the chapel lies south, but a large wooden door leads west. A small metal hook is set into the wall next to this door.\n\nA plain wooden chair rests by the desk.\n\nOn the small wooden desk is a sermon. On the hook is a large iron\nkey.\n\nFather Andrew is seated at his desk, but has turned to face you.\n\n> You look at the cupboards\nThey\u2019re plain-fronted wooden cupboards that presumably contain vestments, altar furniture, and other such ecclesiastical equipment.\n\n> You examine the desk\nIt has a sloping top, and is quite narrow, with only just enough room to write on. On the small wooden desk is a sermon.\n\nFather Andrew turns back to his desk and resumes work on his sermon.\n\n> You get the key\n\u201cThou shalt not steal!\u201d barks Father Andrew, knocking your hand\naside.\n\n> You go west\n(first trying to open the large wooden door)\nThe large wooden door seems to be locked.\n\n> Topics\nYou could ask him about the blight, Mrs Pascoe, mad Meg, or himself,\nor tell him about yourself.\n\n> You ask about the mrs pascoe\n\u201cExcuse me,\u201d you say.\n\nFather Andrew turns in his chair and looks up at you. \u201cYes?\u201d he\nasks.\n\n\u201cWhere can I find Mrs Pascoe?\u201d you ask.\n\n\u201cShe\u2019ll be working in the fish-house I imagine, down by the\njetty,\u201d he\ntells you.\n\n> You keep going\nHe\u2019s already told you that she\u2019s probably working in the fish-house down by the jetty.\n\n> You ask about Meg\n\u201cWhat else can you tell me about this Meg person?\u201d you ask.\n\n\u201cShe lives out of town, somewhere in the forest to the north, like\nthe\nwild creature she is,\u201d Father Andrew tells you. \u201cI tell you this, young man, if you want to atone for your past sins and escape the\nwrath of God, you must do what none of the sinners here have yet dared to do: confront the evil witch and put her to death! Burning her at the stake would be proper, but I am sure that God in His mercy will find acceptable whatever means of putting her to death you can manage: \u2018Thou shalt not suffer a witch to live!\u2019\u201d\n\n> You ask about the witches\nFather Andrew remains silent, merely raising one eyebrow as if to indicate that your question really wasn\u2019t worth the bother of asking, let alone the bother of answering.\n\n> You ask about Meg\n\u201cIf this Meg is so obviously an evil witch, how come no one else\nwants\nto put her to death?\u201d you ask.\n\n\u201cThe Duke will not allow it; he protects her,\u201d Father Andrew tells\nyou. \u201cIf he knew his duty to God he would order her to be burned!\nBut instead...\u201d\n\n> Keep going\n\u201cAre you quite sure this Meg woman is a witch?\u201d you ask.\n\n\u201cQuite sure,\u201d he nods emphatically. \u201cShe has brought the blight\nupon\nus, and is constantly mixing potions and casting spells in that forest of hers. Young man, seize this opportunity to save your soul: seek this woman out and slay her!\u201d\n\n> Keep going\n\u201cWhat makes you so sure that it\u2019s Meg who\u2019s responsible for the blight?\u201d you inquire.\n\n\u201cYou are new here, so I must make allowance for your questioning,\u201d\nhe\nreplies. \u201cIf you had been here as long as I, her guilt would be obvious to you. Just ask the Pascoes, whose land was ruined by the blight. Or go and look at the blighted land for yourself \u2013 it\u2019s\nnot\nfar to walk. I tell you, nothing natural can have caused the land to die like that, and there\u2019s only one person on this island who\npractises witchcraft \u2013 that Meg!\u201d\n\n> You ask about the murder\n\u201cWouldn\u2019t killing mad Meg be a sin?\u201d you wonder. \u201c\u2018Thou\nshalt do no\nmurder\u2019 as the good book says.\u201d\n\n\u201cKilling that witch would not be murder!\u201d he thunders, \u201cor else\nthe\ngood book would not command the death of witches!\u201d\n\n> You ask about the lust\n\u201cWhat do you think of lust?\u201d you ask.\n\n\u201cIt\u2019s sinful, obviously,\u201d he replies.\n\n> You ask about Meg\n\u201cBut is there any real evidence connecting this Meg with the\nblight?\u201d\nyou venture to ask.\n\nFather Andrew regards you steadily for a few moments, then replies,\n\u201cIf you want convincing, go and speak to Mrs Pascoe; she can tell her story better than I.\u201d\n\n(You could ask him who Mrs Pascoe is.)\n\n> You ask about Meg\nYou have heard enough of Father Andrew\u2019s views on mad Meg: so far as he\u2019s concerned she\u2019s the worst sinner on the island, a witch who\nshould not be allowed to live; killing her would, in his view, therefore help atone for your past sins. He\u2019s also told you that she lives in the forest to the north of town, and that (in his opinion) she\u2019s demon-possessed and was born out of wedlock. Finally, he suggests you speak to Mrs Pascoe about her.\n\n> You ask who Mrs Pascoe is\n\u201cWho is this Mrs Pascoe?\u201d you ask.\n\n\u201cHer husband had a farm up just south of the Ridge,\u201d he explains.\n\u201cMad Meg used to live with them. When they realized she was a witch, they threw her out. It was shortly after then that the blight came, but it was only their land that was affected. In the end they had to leave the farm \u2013 nothing could live there. They were left absolutely destitute, of course. Now Jennifer Pascoe has been reduced to gutting fish while her husband mends the fishermen\u2019s nets.\u201d\n\n> Topics\nYou could ask him about the blight, or himself, or tell him about yourself.\n\n> You ask about himself\n\u201cAnd what do you do here, apart from holding services?\u201d you ask him\n\n\u201cPray for the people, visit the sick \u2013 all the things a good priest should do,\u201d he tells you.\n\n> You keep going\n\u201cHow long have you been on the island; were you born here?\u201d you\nask.\n\n\u201cNo, I wasn\u2019t born here,\u201d he tells you. \u201cI was on a ship that foundered, and fetched up here about twenty years ago,\u201d he replies.\n\n> You ask him about the ship\n\u201cI was hoping you could tell me something about ships,\u201d you say.\n\n\u201cAnd I was hoping to get this sermon written,\u201d he replies.\n\n> You ask him about himself\n\u201cWhat did you do before you came to this island?\u201d you wonder.\n\n\u201cI was a chaplain to Cromwell\u2019s army,\u201d he tells you, \u201cbut when\nthe\nRestoration came it seemed politic to go elsewhere. The wind of\nchange that blew in Charles II wasn\u2019t going to be kind to my sort.\u201d\n\nYou refrain from pointing out that he seems to be referring to events 145 years ago, suspecting that he might not be quite right in the\nhead.\n\n> You ask him about himself\nHe\u2019s already told you a bit about himself: as part of his priestly duties he prays for the islanders and visits the sick; he came here about twenty years ago when his ship foundered. He says he had been a chaplain to Cromwell\u2019s forces and was fleeing England at the Restoration; since Charles II came to the throne 145 years ago this hardly seems likely, so you decide to stop pressing him any further,\nin case he\u2019s a little unhinged.\n\n> You ask him about Cromwell\n\u201cDid you say you were a chaplain to Cromwell\u2019s army? Do\nyou\nmean Oliver Cromwell?\u201d you ask.\n\n\u201cThat\u2019s right; what other Cromwell had an army? Surely not Thomas!\nBut I know why you look so askance at the thought - you\u2019re a\nroyalist!\nWell, you and I shall never agree on that score, but such differences are of little moment here, so perhaps we should let the matter drop.\u201d\n\n> You ask him about Cromwell\nWhen you asked he confirmed that he was indeed a chaplain to Oliver Cromwell\u2019s army, but seemed to think that the only reason you queried it was because your sympathies are royalist. He can\u2019t possibly be\nthat old, of course, but in the face of his assertions there seems nothing for it but to accept his suggestion to let the matter drop.\n\n> Topics\nYou could ask him about the blight, or tell him about yourself.\n\n> Continue\nYou have already introduced yourself to him.\n\n> You ask about the blight\n\u201cWhat caused the blight, do you think?\u201d you inquire.\n\n\u201cIt\u2019s nothing natural, that\u2019s for certain,\u201d he tells you.\n\u201cAs I told\nyou, it\u2019s either that witch Meg\u2019s sorcery or divine retribution for\nit. Either way, it is mad Meg\u2019s fault, and she should be punished\nfor\nit.\u201d\n\n> Continue\n\u201cWhat can be done about the blight?\u201d you ask.\n\n\u201cIs it not obvious?\u201d he replies. \u201cTo remove the blight you must\nremove its cause. As I have already told you, the witch must die.\nYou would serve God and the people of this island well if you killed her.\u201d\n\n> Keep going\non the island, that it clearly isn\u2019t a natural phenomenon, and that it\u2019s either a direct result of mad Meg\u2019s sorcery or a divine\npunishment for allowing the witch, Meg, to live. He has also\nsuggested that the way to cure the blight is to remove its cause, namely Meg, and that you would do both God and the islanders a service by killing her.\n\n> Go south\nFather Andrew turns back to his desk and resumes work on his sermon.\n\nThis little chapel is about as bare as a place of Christian worship gets. The rough stone walls are unplastered, and the pews little more than plain wooden benches. The stone altar at the east end is quite unadorned, although presumably something is put on it when worship is in progress. The street exit is to the west, but another, smaller\nopen doorway leads north.\n\n> You go to the west\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> You go south\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> You go to the south\nThe west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.\n\n> You go south\nLeading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.\n\n> You go to the east\nthe west, and ends at clifftops to northeast and southeast. The area is deserted and little grows here but some scraggy grass, impoverished by the thin, stony soil. A long wooden fence runs along much of the northern boundary of this largely wasted space, but otherwise it is open to the elements.\n\n> You go to the west\nLeading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.\n\n> Go south\nThe steep track from the north comes to an end at this bleak stone jetty, which is flanked by a large wooden building to the east and the beach stretching out along the bay to the west. The jetty juts just a short way out into the water, and both from the smell and from the\nfish fragments lying about, obviously serves as a landing stage for\nthe island\u2019s fishermen. No boats are tied up here at the moment, but there are several a short way out to sea in the bay.\n\nIt would be an exaggeration to say that the smell of rotting fish is overpowering, since you are not overpowered by it, but it is certainly inescapable.\n\n> You go east\nas it does from the outside. A pair of long wooden benches run along the walls, covered in fish in various stages of being processed. The way out is back to the west.\n\nA large group of women are at work gutting fish.\n\nat you.\n\nThe smell of raw fish is almost overpowering.\n\nA woman nearest the entrance looks up from her work. \u201cYes?\u201d she\nasks.\n\u201cWas there anything you wanted?\u201d\n\n(You could ask her about mad Meg, or ask her who she is.)\n\n> You ask her who she is\n\u201cAnd who might you be?\u201d you inquire.\n\n\u201cI\u2019m Jennifer Pascoe, Samuel Pascoe\u2019s wife, if it\u2019s any\nbusiness of\nyours,\u201d she replies.\n\n> You ask her about Meg\n\u201cDo you know anything about the woman they call \u2018mad Meg\u2019?\u201d you inquire.\n\n\u201cHer?\u201d she almost spits. \u201cOh, I knows about mad Meg all right.\nCuckoo in the nest, she were. Raised her as my own, I did, when her own mother didn\u2019t want her. But her mother knew what she were doing when she got rid of her!\u201d\n\n> Keep going\n\u201cDo you have something in particular against Meg?\u201d you ask.\n\n\u201cDo I have something against her!\u201d she laughs scornfully. \u201cAt\nfirst I\nthought she were just a little soft in the head. Couldn\u2019t help that, not her fault, I thought, so I were kind to her. Then I learned better: she\u2019s a witch.\u201d\n\n> You continue\n\u201cWhy do you think Meg\u2019s a witch?\u201d you want to know.\n\n\u201cBesides her saying all those strange things, and mixing all those strange potions, you mean?\u201d she asks. \u201cBesides her meddling with things best left alone? Well, it were what she did to my son that finally opened my eyes, that\u2019s what.\u201d\n\n> Continue\n\u201cWhat did Meg do to your son that so upset you?\u201d you ask.\n\n\u201cShe bewitched him, that\u2019s what,\u201d Jennifer Pascoe replies.\n\u201cReckon\nshe bewitched my Sam a bit too, since he never saw through her. I\nmean what she made him do \u2013 my son, I mean \u2013 it weren\u2019t right,\nand\nit\u2019s not as if she\u2019s that pretty after all. Of course she lied\nabout\nit afterwards, claimed my boy tried to rape her. I ask you! Calling my own boy a liar! Well, she couldn\u2019t stay after that!\u201d\n\nThe smell of raw fish is almost overpowering.\n\n> Keep going\n\u201cYou think Meg seduced your son, and that makes her a witch?\u201d you\nask\nincredulously.\n\n\u201cBewitched \u2013 she bewitched him,\u201d Jennifer Pascoe replies. \u201cBut\nit\ndidn\u2019t end there. After we threw her out she cursed our land, and\nyear on year after that we watched it die as the blight took hold, until we were left with nothing. She\u2019s a witch, all right. Ought to be burned at the stake by rights, just as Father Andrew says.\u201d\n\n> You continue\nwith her. It\u2019s clear she thinks Meg is a witch, partly because she thinks Meg bewitched her son into having sexual intercourse with her (so far as you can gather from her slightly confused account) but mainly because she thinks Meg cursed her husband\u2019s land and brought\nthe blight upon it.\n\n> You ask her about the blight\n\u201cWhat can you tell me about the blight?\u201d you ask.\n\n\u201cIt destroyed us, that\u2019s what!\u201d she snaps. \u201cA slow creeping\ndeath,\nbit by bit. It killed the land \u2013 you must know that \u2013 but it\nnearly\nkilled us too, and I don\u2019t just mean the near starvation. In the\nlast\nyear before we had to move out, we all felt sickly and weak \u2013 my hair even started to fall out. If we hadn\u2019t gone when we did, we\u2019d have ended up like the soil!\u201d\n\n> You ask her about the blight\n\u201cSo you think the blight drains the life-force out of everything?\u201d\nyou\nenquire.\n\n\u201cThat\u2019s just what it does,\u201d she nods.\n\n> You ask her about the island\n\u201cHaven\u2019t you got anything better to do than stand here asking me questions?\u201d she asks sourly.\n\n> You ask her about the sword\n\u201cI can\u2019t see any reason why I should tell you about that,\u201d she\nreplies.\n\n> Topics\nYou could ask her about the blight, or herself, or tell her about her son.\n\n> You ask her about the blight\n\u201cDo you have any ideas what might have caused the blight?\u201d you ask.\n\n\u201cI know exactly what caused it, it were that witch \u2013 mad Meg!\u201d\nshe\ndeclares. \u201cThe girl put a curse on our land, that\u2019s what did it.\nIf\nyou don\u2019t believe, just ask yourself this: why did the blight stop after destroying our farm \u2013 why was it only our land that was destroyed?\u201d\n\n> You ask her about the blight\nShe\u2019s already given you her opinion: she thinks the blight is the result of Meg cursing her husband\u2019s land. She also thinks it drains the life-force out of everything.\n\nThe smell of raw fish is almost overpowering.\n\n> You ask her about her\n\u201cHow long have you been working here for?\u201d you ask.\n\n\u201cDepends what you mean,\u201d she grunts. \u201cIf you mean today, then\nsince\ndawn. If you mean in all, then it\u2019s been about two years now, ever since we lost the farm.\u201d\n\n> You ask her about her\n\u201cHow do you enjoy the work here?\u201d you enquire.\n\n\u201cIt\u2019s smelly and messy and I hate it,\u201d she tells you, \u201cbut\nit\u2019s the\nbest I can get.\u201d\n\n> You ask her about her\nShe\u2019s already told you that she\u2019s been working in the fish-house\nfor\ntwo years and that she hates it.\n\n> You ask her about the son\n\u201cI think I\u2019ve met your son, but not under the happiest of circumstances,\u201d you say. \u201cHe was trying to rob Lady Inalda.\u201d\n\n\u201cThat\u2019s a lie!\u201d Jennifer Pascoe cries. \u201cOr else you don\u2019t\nknow your\narse from your elbow. My son wouldn\u2019t do a thing like that.\nYou\u2019ve\ngone and muddled him with someone else, that\u2019s what!\u201d\n\n> You ask her about Ridge\n\u201cYou\u2019re just wasting my time with questions like that!\u201d she\ncomplains.\n\n> Smell fish\nThe smell of raw fish is almost overpowering.\n\n> You get the fish\nYou\u2019re quite content to leave the fish to the women."
    },
    {
        "text": "[Themes: Historical Fantasy, fantasy, male protagonist, maritime]\n\n> You describe your surroundings\nas it does from the outside. A pair of long wooden benches run along the walls, covered in fish in various stages of being processed. The way out is back to the west.\n\nA large group of women are at work gutting fish.\n\nJennifer Pascoe is standing here.\n\nThe smell of raw fish is almost overpowering.\n\n> You ask about Sam\n\u201cI\u2019ve met your husband, just a little way down the beach mending\nnets,\u201d you tell her. \u201cHow is he coping, do you think?\u201d\n\n\u201cHow do you think he\u2019s coping?\u201d she retorts bitterly. \u201cHow\nwould you\ncope if you lost everything and were reduced to working for a\npittance? Oh, he does his best \u2013 he always did his best \u2013 but his spirit is broke, poor man.\u201d\n\n> You ask about Duke\n\u201cWhat do you think of the Duke?\u201d you ask.\n\n\u201cHe cares for no one but himself,\u201d she replies, \u201cexcept that\nfancy\ncousin of his \u2013 and he cares for her far too much, if you take my meaning.\u201d\n\n> You ask about Inalda\nShe doesn\u2019t seem to be very receptive to your attempts to tell her\nwhat her son did to Lady Inalda.\n\n> You ask about Duke\nShe\u2019s already told you that the Duke cares for no one but himself, except that he cares for his cousin far too much.\n\n> You go west\nJennifer Pascoe resumes sorting through her pile of fish.\n\nThe steep track from the north comes to an end at this bleak stone jetty, which is flanked by a large wooden building to the east and the beach stretching out along the bay to the west. The jetty juts just a short way out into the water, and both from the smell and from the\nfish fragments lying about, obviously serves as a landing stage for\nthe island\u2019s fishermen. No boats are tied up here at the moment, but there are several a short way out to sea in the bay.\n\nIt would be an exaggeration to say that the smell of rotting fish is overpowering, since you are not overpowered by it, but it is certainly inescapable.\n\n> Go west\nThe beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc\nto the northwest, while a narrow track runs up through a thicket to\nthe northeast. A little way out to sea is a fleet of fishing boats.\n\n> You look at fleet\nA large, if motley, collection of boats stands out a short way from shore in the sea. The nets hanging over the sides of the nearest\nboats make it quite obvious that they are engaged in fishing.\nClearly, not all the island\u2019s fishermen are busily engaged in\ndrinking\nthe Red Dragon dry.\n\n> You go to the north-east\nLeading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.\n\n> You go to the south-west\nThe beach comes to an end at the stone jetty which lies just to the east. In the opposite direction the bay stretches off in a wide arc\nto the northwest, while a narrow track runs up through a thicket to\nthe northeast. A little way out to sea is a fleet of fishing boats.\n\n> You go northwest\nThe beach stretches away to both northwest and southeast from here,\nits approximate mid-point. A short way to the north the ground climbs sharply up a hill, while out to sea a collection of fishing-boats is stretched out across the bay.\n\nA small green toolbox lies on the beach beside a fishing net.\n\nThe small green toolbox contains a screwdriver.\n\nSamuel Pascoe is sitting on the beach mending the net.\n\n> Go northwest\nA steep cliff blocks the way north, and the sea lies to the west, but you can go up a hill to the east, while the beach continues to the southeast. Out to sea a collection of boats bob around fishing.\n\n> You look at boats\nA large, if motley, collection of boats stands out a short way from shore in the sea. The nets hanging over the sides of the nearest\nboats make it quite obvious that they are engaged in fishing.\nClearly, not all the island\u2019s fishermen are busily engaged in\ndrinking\nthe Red Dragon dry.\n\n> You examine the cliff\nThe cliff is like a bony finger thrust out into the sea; more prosaically it\u2019s a narrow rocky promontory that blocks the way north, too high and too steep to climb.\n\n> You go east\nThe summit of this low hill is fairly flat, and continues to the northwest. To the north, it descends quite rapidly into a hollow, while to south and east it slopes down towards the beach, and grass gives way to sand. To the east are the faint traces of the track\nwhich become a street running back down towards the centre of the\ntown. Although you\u2019re not that high up, you get a clear view over\nthe\nsea from here, truncated by the ever-present mist.\n\n> You go east\nThis looks like the roughest part of town, with the road surface equally pitted up the hill to the west and down to the east. The cottages on either side of the street look more thrown together than built, being rough and tiny.\n\n> You go east\nTo the east the street is fairly level, but a short distance to the west it starts to climb a shallow hill. At this point the street runs between a small bakery to the north, and a narrow alley to the south.\n\nThe smell of baking bread wafts from the bakery.\n\n> Go south\nThis small back yard is walled in on all sides, although a narrow\nalley runs off to the north, and the back door to the tavern lies\neast. Next to the back door is the mouth of a chute, which is presumably to allow beer barrels to be rolled down into the cellar beneath.\n\nSeveral barrels are stacked in a corner of the yard.\n\n> You examine the barrels\nThe barrels are stacked quite carefully, just a little way from the wall behind.\n\n> Search barrels\nThe barrels are stacked too high. You\u2019d first have to dismantle the stack to get at one of the barrels, and that seems like far too much unnecesary labour.\n\n> You examine the chute\nYou can\u2019t see very far into it; from here it\u2019s just a dark hole;\nbut\nit does look about the right size to roll in a large barrel on its side.\n\n> You climb the barrels\nThe barrels are stacked too high.\n\n> You enter the chute\nIt\u2019s not really big enough, and you\u2019re not sure how safe it would\nbe\nif it was.\n\n> You look at the barrel\nThe barrels are stacked quite carefully, just a little way from the wall behind.\n\n> Unstack barrel\nThe word \u201cunstack\u201d is not necessary in this story.\n\n> You look in the barrel\nThe barrels are stacked too high. You\u2019d first have to dismantle the stack to get at one of the barrels, and that seems like far too much unnecesary labour.\n\n> Go north\nTo the east the street is fairly level, but a short distance to the west it starts to climb a shallow hill. At this point the street runs between a small bakery to the north, and a narrow alley to the south.\n\nThe smell of baking bread wafts from the bakery.\n\n> Go south\nThis small back yard is walled in on all sides, although a narrow\nalley runs off to the north, and the back door to the tavern lies\neast. Next to the back door is the mouth of a chute, which is presumably to allow beer barrels to be rolled down into the cellar beneath.\n\nSeveral barrels are stacked in a corner of the yard.\n\n> You go east\n(first trying to open the back door)\nThe back door seems to be locked.\n\n> You examine the back door\nIt\u2019s closed.\n\n> Go north\nTo the east the street is fairly level, but a short distance to the west it starts to climb a shallow hill. At this point the street runs between a small bakery to the north, and a narrow alley to the south.\n\nThe smell of baking bread wafts from the bakery.\n\n> Go north\nIt feels distinctly warm in here, even though only one of the ovens running along the rear wall is lit. No wares are on display: both the shelves against the east wall and the serving counter towards the rear are totally bare, apart from a light dusting of what could be traces either of flour or of sawdust. To the south lies the way out back to the street.\n\nA baker is bent over one of the ovens, with his back to you.\n\nThere\u2019s a strong smell of baking bread.\n\n> You talk to the baker\n\u201cExcuse me,\u201d you say.\n\nThe baker turns to face you. \u201cIf \u2019tis bread th\u2019art after,\nth\u2019art out\nof luck,\u201d he tells you. \u201cThis batch is all for the castle.\u201d\n\n(You could ask him about himself, or tell him about yourself.)\n\n> You ask about the bread\n\u201cYou\u2019re baking a batch of bread?\u201d you surmise.\n\n\u201cThat\u2019s right,\u201d he says, \u201cfor the castle. The Duke insists\nthat the\ncastle must come first, and I\u2019m so short of flour... well, I\u2019m so\nshort of flour I\u2019d give a silver coin for a sackful now, I would.\u201d\n\n> You ask about yourself\n\u201cWait!\u201d he interrupts you, sniffing the air. \u201cCanst thou smell burning?\u201d He turns round and fiddles with his oven for a couple of moments, before coming back to you having quite forgotten your question. \u201cApologies, sir; but I must not let this batch spoil.\u201d\n\n> You ask about myself\nHe scratches his beard and begins, \u201cWell, it\u2019s like this, sir; or\nmaybe it\u2019s more like that. The truth is...\u201d he tales off as he\nloses\nthe thread of his own thoughts.\n\n> You ask about ship\n\u201cWhat was your ship like?\u201d you ask.\n\n\u201cWell, sir, I was the cook rather than the captain, if thou seest my meaning, so I cannot give thee every nautical detail, but she was a\nnew ship and a fast one, smaller than the Spaniards, and able to show them a clean pair of heels after snapping at them \u2013 and her cannon packed quite a bite!\u201d he tells you.\n\nThere\u2019s a strong smell of baking bread.\n\n> You ask about Spaniards\nAlan Biddock scratches his beard in puzzlement.\n\n> You ask about the Castle\n\u201cCan you tell me anything about the castle?\u201d you inquire.\n\n\u201cMaybe I can,\u201d he answers, \u201cand maybe I won\u2019t.\u201d.\n\n> You ask about the Castle\n\u201cWhat do you think about the castle?\u201d you ask.\n\n\u201cWhat indeed?\u201d he replies.\n\n> You ask about Duke\n\u201cWhat do you think of Duke William?\u201d you ask.\n\n\u201cLike his father before him, he fancies himself a nobleman in the\ngrand style, not realizing how petty his demesne is, and how slight\nhis achievements,\u201d Alan Biddock replies. \u201cBut though he be vain,\nhe\nis not uncommon vicious.\u201d\n\n> You ask about Meg\n\u201cDo you know anything about the woman they call mad Meg?\u201d you ask.\n\n\u201cWell, they do say she\u2019s a witch,\u201d he replies, \u201cand many there\nare\nthat blame her for the blight. As for me, well, I hardly know her, only set eyes on her once or twice; she be comely enough, but strange too, I reckon.\u201d\n\n> You ask about blight\n\u201cWhat do you know of the blight?\u201d you ask.\n\n\u201cThat it has made grain hard to come by,\u201d he replies laconically.\n\n> You ask about smuggling\n\u201cSo tell me, as one seaman to another, is there any sea-going\nactivity\nof any sort round here \u2013 apart from fishing?\u201d you ask.\n\n\u201cI know not what thou mean\u2019st, sir,\u201d he replies. \u201cWhat kind of seafaring could there be, when thou canst not penetrate the mist? And there\u2019s not many round here takes to boats for pleasure!\u201d\n\n> Continue\n\u201cI had heard there were smugglers at work,\u201d you tell him. \u201cIf\nthat\u2019s\ntrue then there must be some way through the mist.\u201d\n\n\u201cThou art right this far: there could be no one smuggling without getting through that stuff,\u201d he agrees.\n\nThere\u2019s a strong smell of baking bread.\n\n> You continue\n\u201cSo, do you know of any smuggling round here?\u201d you ask him.\n\n\u201cNow, what would I want with smugglers?\u201d he retorts. \u201cJoe Fanton\ngrows the corn, it gets ground in the mill, and I bake it into bread here, with no shortage of people willing to buy. There\u2019s no\nsmuggling\nin any of that \u2013 all home grown and home produced.\u201d\n\n> You continue\n\u201cPeople often want more than bread,\u201d you point out. \u201cMaybe other things are brought in from the outside?\u201d\n\n\u201cMaybe,\u201d he replies. \u201cMan shall not live by bread alone, as\nMoses\ntells us. But then I\u2019m no busybody; I don\u2019t go poking my nose into others\u2019 affairs.\u201d\n\n> You continue\nYou decide to drop the subject; if Alan Biddock knows anything about any smuggling he\u2019s clearly not willing to tell you about it; about\nthe\nonly thing he\u2019s possibly let slip is that anyone who is smuggling\nwould have to have found a way through the \u201cenchanted\u201d mist\nthat\u2019s\nkeeping everyone else confined to the island.\n\n> You ask about the priest\n\u201cWhat do you make of Father Andrew?\u201d you ask.\n\n\u201cA bit too Protestant for my taste,\u201d he replies, \u201cbut then I\nalways\ndid prefer the old ways \u2013 not that I go along with the Pope sending\nthe Spaniards at us, thou understandest. This priest may be well-meaning but he is also \u2013 a trifle angular, shall we say.\u201d\n\n> You ask about Julia\n\u201cWhat do you make of Julia Trelawney?\u201d you ask. \u201cI assume you\nknow\nher?\u201d\n\n\u201cReckon about everyone on this island knows the Trelawneys,\u201d he\ntells\nyou. \u201cNow, young Mistress Trelawney seems like one who knows her own mind, pleasant enough, but not to be dallied with lightly, I\u2019d\nsay.\u201d\n\n> You ask about Sally\n\u201cDo you know Sally Penhaligon?\u201d you ask.\n\n\u201cThe lass that keeps the shop? Yes I know her, well enough. Good enough woman, I reckon, but already spoken for,\u201d he replies.\n\n> Topics\nYou could ask him about himself, or tell him about yourself.\n\n> You ask about himself\n\u201cSo how long have you been on this island?\u201d you ask.\n\n\u201cAh \u2013 must be nigh on ten years now,\u201d he replies, scratching his\nbeard. \u201cWe\u2019d just fought a battle against a great Spanish fleet\n\u2013 and\ngiven those Dago papists a right drubbing! Philip\u2019s beard was more than singed that time, I\u2019ll wager!\u201d\n\n> Go south\nAlan Biddock gives you a curt nod and returns to his oven.\n\nTo the east the street is fairly level, but a short distance to the west it starts to climb a shallow hill. At this point the street runs between a small bakery to the north, and a narrow alley to the south.\n\nThe smell of baking bread wafts from the bakery.\n\n> You go to the east\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\n> Go north\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> Go north\nA pair of granite cottages mark the northern edge of the town, the\nbulk of which lies to the south. To the north the road crosses a\nsmall stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.\n\n> You go north\nThe bridge is narrow, but in a reasonable state of repair apart from the parapet, which is starting to crumble in places. From the brow of the bridge you can see a stream racing eastwards to power a mill. To the south the road runs back into town, while to the north it turns into a farm-track.\n\n> You go north\nThis short length of farm track comes to an end at the narrow stone bridge just to the south and peters out into open country a short way north. Its main purpose seems to be to serve the large water-mill\nthat stands immediately to the east. On the opposite side of the\ntrack a stream flows briskly past to the south before turning east under the bridge; beyond the stream lurks the bulk of Castle Hill, its face too steep to climb even if you could somehow cross the stream to reach it.\n\n> You go north\nRipe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.\n\nA farmer is at work, harvesting the wheat with a scythe.\n\n> You talk to the farmer\n\u201cHello, there!\u201d you greet him.\n\n\u201cHello,\u201d he replies, a little suspiciously.\n\n(You could ask him about the blight, himself, Meg, Cadan Pascoe, or smuggling, or tell him about yourself.)\n\n> You ask about himself\n\u201cAnd you are...?\u201d you ask.\n\n\u201cJoe Fanton,\u201d he tells you. \u201cI own this farm \u2013 and run most of\nit\nmyself!\u201d\n\n> You tell Joe about yourself\n\u201cI\u2019m Lieutenant James Corby, Royal Navy,\u201d you introduce yourself.\n\u201cI\nwas washed ashore here this morning.\u201d\n\n\u201cWashed ashore were you?\u201d he replies. \u201cWell, you weren\u2019t the\nfirst\nand you won\u2019t be the last.\u201d\n\n> You ask about blight\n\u201cWhat can you tell me about the blight, Mr Fanton?\u201d you ask.\n\n\u201cThe blight?\u201d he echoes scornfully. \u201cWell, it ruined old Pascoe,\nand\nthat\u2019s for sure. Mercifully it hardly touched my land \u2013 reckon God must be smiling on me.\u201d\n\n> Continue\n\u201cDo you have any ideas what the blight might be, or what caused\nit?\u201d\nyou inquire.\n\nJoe Fanton shakes his head. \u201cI never saw the likes of it before, I\ncan tell you that. At first we thought it was hard winters, but it affected Pascoe\u2019s crops more\u2019an mine, and that made no sense. Then\nwe\nthought his crops had got some kind o\u2019 plant disease, so we called it the blight. But it\u2019s pretty obviously the soil that\u2019s sick, like\nit\u2019s\nhad all the goodness drained out of it, and I can\u2019t think of anything that would do that.\u201d\n\n> You ask about Cadan\n\u201cDo you know Cadan Pascoe?\u201d you ask.\n\n\u201cOf course I know Cadan Pascoe,\u201d he replies. \u201cHis father Sam was\nmy\nneighbour till the blight came.\u201d\n\n> You ask about Cadan\n\u201cWhat\u2019s your opinion of Cadan Pascoe?\u201d you inquire.\n\n\u201cA bit of a wild lad, but hard-working enough,\u201d he tells you.\n\u201cHe\nalways pulled his weight on his father\u2019s farm \u2013 looked forward to running it himself one day, I\u2019ll be bound. I think he took it even harder than his parents when the blight drove them off. But I don\u2019t feel that sorry for him, to be honest; I never really took to him, see \u2013 there\u2019s something not right about him.\u201d\n\n> You ask about Cadan\n\u201cDid you know Cadan Pascoe attacked Lady Inalda earlier today?\u201d you ask.\n\n\u201cDid he now?\u201d Joe Fanton declares. \u201cI always thought he had a\nwild\nstreak in him, but I never thought he\u2019d go that far!\u201d\n\n> You ask about Cadan\nHe\u2019s already told you that he considers Cadan Pascoe to be hard-working; he pulled his weight on his father\u2019s farm, and probably looked forward to running it himself one day; he took it even harder than his parents when the blight forced them to leave. Joe Fanton thinks Cadan Pascoe has a wild streak, but was surprised to learn that he\u2019s gone as far as attacking Lady Inalda. But even before you told Joe Fanton about the attack on Lady Inalda he said he thought there\nwas something not quite right about Cadan.\n\n> Topics\nYou could ask him about the blight, himself, Meg, or smuggling.\n\n> You ask about the blight\n\u201cCould the source of the blight be over the far side of the Ridge?\u201d\nyou ask.\n\n\u201cCould be,\u201d he allows. \u201cNo one knows what\u2019s there, do they?\nBut then\nthat\u2019s just explaining one mystery by another, seems to me.\u201d\n\n> You ask about blight\nJoe Fanton has probably told you as much about the blight as he can:\nhe says it ruined Pascoe\u2019s land but spared his, that it at first\nseemed like a crop disease but turned out to be a sickness of the\nsoil, with all the goodness being drained out of it. He can\u2019t think\nof anything that would have that effect.\n\n> You ask about himself\n\u201cAnd have you lived here all your life, Mr Fanton?\u201d you inquire.\n\n\u201cThat\u2019s right,\u201d he tells you. \u201cI inherited this farm from my\nfather,\nas he did from his.\u201d\n\n> You ask about Meg\n\u201cDo you know Meg \u2013 the one they call mad Meg?\u201d you ask.\n\n\u201cI see her from time to time,\u201d he tells you. \u201cShe keeps herself\nto\nherself mostly, and that\u2019s fine by me, after all she\u2019s a \u2013 well,\nshe\nmay be, you know what people say.\u201d\n\n> You ask about Meg\n\u201cWhat do people say about Meg?\u201d you ask.\n\n\u201cWell, some say she\u2019s a healer, and others say she\u2019s a witch.\nNot\nthat I understand these things, mind, but it never hurts to be too careful!\u201d he replies.\n\n> You ask about Meg\n\u201cHave you ever known Meg do any witch-like things, like casting spells?\u201d you ask.\n\n\u201cWell \u2013 no, but then I\u2019m not sure I\u2019d know a witch\u2019s spell if\nI saw\none,\u201d he confesses, \u201cbut she is mighty strange, that I can tell\nyou.\nIt\u2019s not natural for a young woman to live all her own in a wood, keeping out of folks\u2019 way. And the way she\u2019s been spending her\ntime\nlately \u2013 well!\u201d he shakes his head.\n\n> You ask about Meg\n\u201cHow has Meg been spending her time lately?\u201d you ask.\n\n\u201cUp at Pascoe\u2019s farm \u2013 or what\u2019s left of it,\u201d he tells you.\n\u201cI know\nshe was raised there, and I know she left under a cloud, but there\u2019s nothing left there now but dead soil and dust, so what she can be spending all that time there for...\u201d he shakes his head and sighs, \u201cWell, it seems mighty strange to me, but I often see her go up that way.\u201d\n\n> You ask about Meg\nYou can\u2019t think of anything else to ask him about her right now:\nhe\u2019s\ntold you that some think her a witch, and some a healer, and though he doesn\u2019t know one way or the other, he feels it best to play safe and stay clear of her. He\u2019s never seen Meg cast a spell or do anything obviously witch-like, but then he\u2019s not sure he\u2019d recognize it if\nhe\ndid. He does think her rather odd, both because she lives all alone\nin the wood, and because she\u2019s spending a lot of time up at\nPascoe\u2019s\nfarm, even though there\u2019s nothing left there now but a barren waste.\n\n> You tell about Meg\n\u201cMaybe you can tell me about that when I haven\u2019t got a field of\nripe\nwheat to harvest,\u201d he suggests.\n\n> You tell about yourself\nYou\u2019ve already introduced yourself, and you don\u2019t get the\nimpression\nthat Joe Fanton wants to hear your life story right now.\n\n> You ask about the smuggling\n\u201cI don\u2019t suppose you know anything about any smuggling that\u2019s\nmeant to\nbe going on round here,\u201d you ask.\n\n\u201cI might, and then again I might not,\u201d he replies warily.\n\n> You ask about the smuggling\nHe\u2019s clearly not going to say anything on that subject until you win his confidence.\n\n> Topics\nYou could ask him about himself.\n\n> You ask Joe about Joe\n\u201cYou must be quite busy here,\u201d you remark.\n\n\u201cThat I am,\u201d he nods, in a tone of voice that almost implies,\n\u201ctoo\nbusy to be wasting time chatting with the likes of you.\u201d\n\n> You ask about the mill\n\u201cDoes anyone use the mill?\u201d you ask. \u201cIt looked deserted when I visited it earlier!\u201d\n\n\u201cThat\u2019s probably because the miller has virtually no grain left to\nmill until I get the harvest in,\u201d Joe Fanton explains, \u201cso\nthere\u2019s not\nmuch for him to do there. He also has a boat, so he\u2019s probably out fishing.\u201d\n\n> You ask about himself\nHe\u2019s already told you that his name is Joe Fanton and that he\ninherited this farm from his father, who inherited it from\nhis father.\n\n> Topics\nFanton.\n\n> You ask about the wheat\n\u201cWill you have a good grain harvest this year, do you think?\u201d you\nask.\n\n\u201cGood enough,\u201d he replies. \u201cAt least, good enough for normal\ntimes \u2013\nenough to feed half the island, give or take. Not enough to make up for the lack of Pascoe\u2019s grain, though.\u201d\n\n> Keep going\nHe\u2019s already told you he expects a reasonable grain harvest, but not enough to make up the shortfall due to the loss of Pascoe\u2019s land.\n\n> You examine the wheat\nRipe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads"
    },
    {
        "text": "back towards the town.\n\nJoe Fanton is resting on his scythe, waiting for you to speak.\n\n> You ask about the scythe\n\u201cIs there any chance you could tell me about...\u201d you start.\n\n\u201cIs there any chance folks\u2019ll let me alone long enough to get the harvest in before people here start starving?\u201d he interrupts.\n\n> You ask about the harvest\nHe\u2019s already told you he expects a reasonable grain harvest, but not enough to make up the shortfall due to the loss of Pascoe\u2019s land.\n\n> You go to the west\nJoe Fanton resumes his reaping.\n\nThe yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,\nwhile an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.\n\n> You check your inventory\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, a small gold ear-ring, and an old sheet of parchment.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You examine the barn\nIt\u2019s a large wooden building, standing tall on the south side of the yard, which has been weathered almost black.\n\n> You look at the farmhouse\nThe large, weathered farmhouse looks as if it has stood there for many years; it also looks like it should make a much more comfortable\nfamily home than most of the cottages in town.\n\n> You go to the south\nApart from a row of wooden casks along the south wall the barn seems strangely empty; presumably it\u2019ll fill up more after the harvest, but right now it\u2019s just a large empty space, about forty feet long by fifteen wide. The only way out is through the door to the north.\n\nA long wooden ladder leans against a wall.\n\n> You drink the ale\nYou can\u2019t do that to a smell of fermenting ale.\n\n> You look in the cask\nThere\u2019s no reason to disturb them.\n\n> You take ladder\nTaken.\n\n> You climb the ladder\n(first dropping the ladder)\nOkay, you\u2019re now standing on the ladder.\n\n> Go outside\n(off the ladder)\nOkay, you\u2019re no longer on the ladder.\n\n> You get the ladder\nTaken.\n\n> You go north\nThe yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,\nwhile an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.\n\nJoe Fanton enters from the east. \u201cHello,\u201d you say.\n\nIn reply, Joe Fanton merely grunts.\n\n\u201cAnd just where do you think you\u2019re going with that there ladder,\nyoung man?\u201d he demands. \u201cPut it back where you found it!\u201d\n\n> You ask Joe about the ladder\n\u201cIs there any chance I could borrow your ladder for a short while, please?\u201d you ask.\n\nHe eyes you suspiciously, and for a moment you think he\u2019s either\ngoing\nto refuse right out or ask you to do a day\u2019s reaping in return, but instead he replies, \u201cMy little girl is sick with fever. If you can find a cure for her, I\u2019ll let you borrow my ladder.\u201d\n\n> You ask Joe about the girl\n\u201cWhat exactly is the matter with your daughter?\u201d you ask.\n\n\u201cLike I said, she has a fever,\u201d he tells you. \u201cIt came on\nyesterday,\nand it seems terrible fierce. She can\u2019t eat a thing and she\u2019s been moaning like a wild thing all night. My wife\u2019s doing all she can to nurse her, but she\u2019s getting no better. We\u2019re both worried out of\nour\nwits \u2013 but I must get the harvest in, the whole island\u2019s depending\non\nit, so what can I do? So it would take a huge weight off my mind if someone would cure her.\u201d\n\n> You ask Joe about the girl\n\u201cWhy do you think I can help?\u201d you ask.\n\n\u201cBecause you\u2019re here and you want something in return,\u201d he\nreplies.\n\n> You go north\n(first opening the gate)\nJoe Fanton blocks your path, making a vaguely threatening gesture with his scythe. \u201cYou\u2019re not going anywhere till you put my ladder back where you found it,\u201d he tells you.\n\n> You go south\nJoe Fanton watches you depart.\n\nApart from a row of wooden casks along the south wall the barn seems strangely empty; presumably it\u2019ll fill up more after the harvest, but right now it\u2019s just a large empty space, about forty feet long by fifteen wide. The only way out is through the door to the north.\n\n> You drop the ladder\nDropped.\n\n> You go north\nThe yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,\nwhile an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.\n\nyou suspiciously.\n\n> Go north\nAt a rough estimate this field must be a couple of acres. It is completely enclosed by hedgerows \u2013 presumably to keep the cattle in\n\u2013\nbut there are gates through the hedges to north, south, east and west. Lush grass covers the ground, which is pretty much flat.\n\nA herd of cows is gathered at one end of the field.\n\nYou make sure to close the gate behind you.\n\n> You examine the cows\nYou\u2019ve spent too much of your life at sea to be any kind of expert on cattle, so you\u2019ve no way of identifying the breed. It does occur to you, however, that if the island is kept stocked with cows there must be a bull or two around, so although these cows look placid enough,\nyou think it best not to interfere with them.\n\n> Moo\nThe word \u201cmoo\u201d is not necessary in this story.\n\n> Tip cow\nThe story doesn\u2019t understand that command.\n\n> You go east\n(first opening the east gate)\n\nYou\u2019re not sure that this pasture is actually four acres, but that seems about right and you like the sound of it, so that\u2019s what you decide to call it. The pasture is open to north and south, but is bounded by a hedgerow to the west and a forest to the east. A track leads eastwards into the forest while a wooden gate allows passage\nwest through the hedgerow.\n\nA flock of sheep is grazing here.\n\nA young shepherd is wandering round the field, tending to the sheep.\n\nYou make sure to close the gate behind you.\n\nOne of the sheep wanders to a new patch of grass. The others follow.\n\n> Baa\nThe word \u201cbaa\u201d is not necessary in this story.\n\n> You talk to the shepherd\nEvery time you approach him to speak with him, the young shepherd retreats to the opposite side of the field.\n\n> You look at the shepherd\nHe looks very young, little more than a boy, with a tousled mop of brown hair.\n\n> You examine the sheep\nThey look every bit as white and woolly as you would expect.\n\nSome of the sheep move a little way across the field.\n\n> You examine the gate\nIt\u2019s just a plain five-barred wooden gate. It\u2019s closed.\n\n> Go east\nThis narrow track is in some danger of becoming overgrown. It is\nstill possible to follow the track to east or west, but it would be quite impossible to proceed in any other direction.\n\n> Go east\nThe main path leads north and south through the forest; it\u2019s easily wide enough for three or four people to walk abreast. A much narrower track runs off to the west, so overgrown that it would be quite easy\nto miss. An equally narrow track sneaks off to the east.\n\n> Go south\nThis sizeable clearing, roughly oval in shape, is situated at the junction of several paths leading to north, south, west, northeast and southeast. At the centre of the clearing stands a large wooden hut, which can be entered to the east.\n\n> You enter the hut\n(first trying to open the door)\nThe door seems to be locked.\n\n> You knock on the door\nYou knock on the door but no one answers.\n\n> You examine the hut\nIt\u2019s a single-storey building of reasonably solid construction, a little under twenty feet long and ten deep.\n\n> You go west\nThis part of the wood feels shaded almost to the point of being claustrophobic; the trees round about grow so densely together that\nthe only viable options for travel are to follow the path east or\nwest.\n\n> Go west\nRipe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.\n\nJoe Fanton is at work, harvesting the wheat with a scythe.\n\n> You go east\nThis part of the wood feels shaded almost to the point of being claustrophobic; the trees round about grow so densely together that\nthe only viable options for travel are to follow the path east or\nwest.\n\n> Go east\nThis sizeable clearing, roughly oval in shape, is situated at the junction of several paths leading to north, south, west, northeast and southeast. At the centre of the clearing stands a large wooden hut, which can be entered to the east.\n\n> Go south\narea, so presumably it was once planned as an orchard, although it now seems more like a southern extension of the wood. It is perhaps the spread of undergrowth that creates the impression of a gradual return to nature; although sporadic attempts have been made to clear it to ease access to the trees, elsewhere it grows thick, tangled and impenetrable, with the result that though the trees are widely spaced you can only go through them to north, south or east.\n\n> You examine the trees\nThe trees here are laden with apples ripe for picking.\n\n> You get the apple\nThe apples are out of reach.\n\n> You climb the tree\nThe last time you tried climbing something that tall and upright it ended in disaster; you\u2019re in no hurry to repeat the experience.\n\n> You go south\nThe stream runs swiftly by towards the east, racing away from the\nlarge mill, the back end of which effectively blocks your path west.\nA short way back from the stream to the north lies a large orchard \u2013\nor at least, a large number of apple trees forming the southern end of the wood. You can follow the bank a short way to the east, but only until the stream begins plunging down its final descent into the sea, so you will effectively be diverted to the northeast.\n\n> You examine the stream\n(the stream)\nThe stream descends a sharp fall to the west, and then continues to race eastward. It\u2019s too wide to cross, being almost large enough to count as a small river.\n\n> Drink water\nYou kneel down by the water\u2019s edge and cup a handful of water from\nthe\nstream. It tastes cool and fresh.\n\n> Go northeast\nThis part of the cliff is some way above the sea; it is thus also some way above the large bay directly to the south, and there seems to be\nno way down into that bay from here. Instead you can skirt the bay to the southwest, or continue northwards along the cliff top. There are also paths running into the wood to west and northwest.\n\n> Go northwest\nThis sizeable clearing, roughly oval in shape, is situated at the junction of several paths leading to north, south, west, northeast and southeast. At the centre of the clearing stands a large wooden hut, which can be entered to the east.\n\n> Go northeast\nThe main path runs north-south along the cliff top, affording an excellent view of the sea all the way. Other paths run west and southwest into the woods.\n\n> You go south\nThis part of the cliff is some way above the sea; it is thus also some way above the large bay directly to the south, and there seems to be\nno way down into that bay from here. Instead you can skirt the bay to the southwest, or continue northwards along the cliff top. There are also paths running into the wood to west and northwest.\n\n> Go north\nThe main path runs north-south along the cliff top, affording an excellent view of the sea all the way. Other paths run west and southwest into the woods.\n\n> Go north\nThe sand on this beach looks as dead as the dusty soil inland to the west. The northern end of the beach is blocked by the mountain range, the eastern end of which juts out into the sea; to the south, however, the cliff is accessible via a gentle slope.\n\n> Go west\nThis must once have been part of the forest that you can see to the south, but this section is now dead. Lifeless stumps protrude from\nthe sickly soil, surrounded by fallen trunks and branches, all alike leeched a pale grey as if turned to ash by some terrible fire. But there are no scorch marks or other signs of burning, so you\u2019re sure\nno\nflames caused this. The ground has been half cleared, perhaps with\nthe most usable of the dead wood taken for kindling, but there\u2019s been no systematic attempt to clear the area; given the sorry state of the soil there\u2019d be no point. The barren land continues to east and\nwest,\nwhile a path leads due south into the still living forest.\n\n> You examine the stumps\nThe barren stumps, which are starting to rot, are all that\u2019s left of the trees that once grew here. It looks as if most of the trees may have been cut down to salvage the wood from them before the blight rendered them useless.\n\n> You go to the west\nThe barren wasteland continues to east and west, hemmed in between the mountain range to the north and dense forest to the south.\nImmediately to the north is the entrance to an old mine. The only possible way up the mountain would be via the foothills to the northwest.\n\n> Go west\nIf anything once grew here there\u2019s no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there\u2019s a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.\n\n> Go south\nThe pasture is open to north and south, but is bounded by a hedgerow\nto the west and a forest to the east. A track leads eastwards into\nthe forest while a wooden gate allows passage west through the hedgerow.\n\nA flock of sheep is grazing here.\n\nThe young shepherd is wandering round the field, tending to the sheep.\n\n> You go to the north\nIf anything once grew here there\u2019s no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there\u2019s a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.\n\n> Go west\nThis was obviously the centre of what was once a farm; an abandoned farmhouse stands on the north side of this patch of barren wasteland (which continues for many furlongs to east and west). Some way off to the south a wooden gate allows access through a sickly hedgerow.\n\n> Go west\nThere is total desolation here: nothing but dead, grey soil all across the flat landscape, finally merging with a marsh to the north. Some way to the east lies a derelict farmhouse, while to the west the land slopes down into a small bay. The only signs of living vegetation are off in the far distance to the south.\n\nA strange woman is busily studying the ground.\n\n> You examine the woman\nHer precise age is hard to judge, she could be in her twenties or thirties. Her face is round but not unattractive, and her figure is not too plump, but her most striking feature is the mass of frizzy mouse-coloured hair that tumbles over her shoulders and most of the\nway down her back.\n\n> You talk to the woman\n\u201cHello there,\u201d you say.\n\n\u201cHello, I\u2019m Meg,\u201d she introduces herself, \u201cand yes, before you\nask,\nI\u2019m the one they call \u2018mad Meg\u2019, but I hope you\u2019ll make up your\nown\nmind about my sanity.\u201d\n\n(You could ask her about the blight, the island, herself, or Cadan Pascoe, ask her what she\u2019s doing, or tell her about Joe Fanton\u2019s daughter, yourself, or the priest.)\n\n> You tell her about yourself\n\u201cMy name\u2019s James Corby, by the way,\u201d you say. \u201cLieutenant\nJames\nCorby, of His Britannic Majesty\u2019s frigate Niobe.\u201d\n\n\u201cSounds like a bit of a mouthful to me,\u201d she complains, \u201cso\nI\u2019ll just\ncall you James and you can call me Meg.\u201d\n\n> You ask her about her\n\u201cTell me about yourself, Meg,\u201d you say.\n\n\u201cWhat would you like to know?\u201d she smiles lightly. \u201cWell \u2013 I\nlive by\nmyself in a hut in the woods, so people think me strange. I\u2019ve\nlearned how to use a few herbs for healing, so people call me a witch. And \u2013 well, maybe I don\u2019t always see things the way most people\nseem\nto.\u201d\n\n> Continue\n\u201cAre you happy, living all by yourself in the wood, or do you get lonely?\u201d you wonder.\n\n\u201cPerhaps it\u2019s for the best,\u201d she replies.\n\n> Keep going\n\u201cHow do you come to be living all by yourself, away from the town?\u201d\nyou want to know.\n\n\u201cIt suits me, and it suits the townsfolk,\u201d she shrugs. \u201cWe get\non\nbetter at a distance.\u201d\n\n> Keep going\n\u201cDon\u2019t you have any family?\u201d you inquire.\n\n\u201cNone to speak of,\u201d she tells you. \u201cI have no husband or\nchildren if\nthat\u2019s what you mean, and I was born out of wedlock. My father never acknowledged me, and my mother \u2013 well, both my parents are dead\nnow.\u201d\n\n> Continue\nShe\u2019s already told you as much as she wants to for now: she lives\nalone in the woods, but people come to her for simple healing with herbs. She has no family to speak of since she was born out of\nwedlock and her parents are both dead.\n\n> You ask about the herbs\n\u201cMeg, what do you know about...?\u201d you try to ask.\n\n\u201cNot now,\u201d she stops you with a shake of the head.\n\n> You tell meg about the fever\n\u201cI\u2019ve just been talking to Joe Fanton,\u201d you tell her, \u201cHe\u2019s\nvery\nworried about his little girl. Apparently she has a high fever \u2013 he asked me to cure her, but I wouldn\u2019t know where to start!\u201d\n\n\u201cAnd you think I might,\u201d she surmises. \u201cI might at that. I\nimagine\nhe hoped you\u2019d come to me \u2013 he just didn\u2019t want to make a direct approach himself, because I have a reputation as a \u2013 well. I think I can mix a little something that should cure her, but not till I get home. And there\u2019s something I\u2019d like you to do for me first; will\nyou\ndo that?\u201d\n\n(You could say yes or no, or ask what she wants you to do.)\n\n> You ask what\n\u201cWhat do you want me to do?\u201d you ask.\n\n\u201cCollect some more seaweed,\u201d she replies briskly. \u201cThe best\nplace is\nthe shore just to the west of here. I\u2019m sure the seaweed is doing\nsome good, but I could do with another pair of hands. Will you do\nthat for me?\u201d\n\n> Yes\n\u201cSure \u2013 why not?\u201d you agree.\n\n\u201cReally?\u201d she replies. \u201cYou do surprise me! I thought \u2013 well,\nnever\nmind what I thought, it doesn\u2019t really matter unless and until I see you come back with an armful of seaweed!\u201d\n\n> You check your inventory\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, a small gold ear-ring, and an old sheet of parchment.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You give the flowers to Meg\n\u201cYou promised you\u2019d bring me some seaweed,\u201d she reminds you.\n\u201cProve\nto me that you\u2019re a man of your word!\u201d\n\n> You go west\n\u201cGoodbye!\u201d she calls after you, before returning to her inspection\nof\nthe ground.\n\nThe water lapping the sand seems to be the only thing moving here;\njust about everything else is as dead as the wasteland lying directly east, unless you count the few feeble strands of seaweed dying on the rocks. To the northeast the bay ends in a treacherous-looking marsh, while to the south it is bounded by a cliff jutting out into the sea. The slope up to the cliff-top looks a relatively easy climb.\n\nThe odour of rotting seaweed assaults your nostrils.\n\n> You get the seaweed\nThose few pathetic strands of dying weed are obviously not worth bothering with. Meg must want more seaweed than that.\n\n> You look at the cliff\nThe cliff enclosing the southern end of the beach juts out into the sea; the slope leading up to the top of the cliff looks easy to climb.\n\nThe odour of rotting seaweed assaults your nostrils.\n\n> Smell\nThe flowers have quite a sweet, delicate scent.\n\nThe odour of rotting seaweed assaults your nostrils.\n\nYou\u2019ve spent enough of your life at sea scarcely to notice how it smells usually, but this sea smells distinctive, and somehow\nwrong. It\u2019s hard to put your finger on it precisely: it\nsmells salty as you would expect, but there\u2019s something else, the\nkind\nof sharp, bitter smell \u2013 almost a taste \u2013 that you\u2019d associate\nwith a\nbrewing thunderstorm were there any other sign of a storm brewing, but there isn\u2019t, and even then it\u2019s not quite that smell\neither.\nYour eyes are drawn to the mist a few hundred yards out from shore, as if sensing that that is somehow to blame.\n\n> You go south\nYou scramble up the slope and arrive at the cliff-top.\n\nthe large field of barley lying directly to the east, no attempt has been made to cultivate this broad stretch of land at the top of the cliff, and it has instead been left to wild grass and weeds. To a first approximation this clifftop is a semicircle overlooking the sea to the west and small bays to north and south, both of which look accessible down reasonably gentle slopes.\n\n> Go south\nHigh cliffs hem in this cove on every side except the west, which is open to the sea. To south and east the cliffs are too steep to climb, but the slope up to the north cliff looks gentler. There\u2019s also a narrow cave entrance to the southeast.\n\nA mass of slimy green seaweed lies on the shore.\n\n> You get the seaweed\nYou pick up a few pieces of the nasty stuff, but find you can\u2019t bear\nto hang on to it, let alone pick up a large pile to carry away with your bare hands; in any case, it would be too awkward to carry like that.\n\n> You search the seaweed\nYou can\u2019t see anything in the seaweed.\n\n> About yourself\nYou look a bit bedraggled from your watery misadventure, but otherwise unscathed. But then you\u2019re young and healthy, with a complexion\ntanned by years at sea.\n\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, a small gold ear-ring, and an old sheet of parchment.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You remove the pants\nThe word \u201cpants\u201d is not necessary in this story.\n\n> Go southeast\nCave (in the dark)\nYou can\u2019t see much in here, apart from the cave exit to the\nnorthwest,\nbut the space feels confined.\n\n> Light lamp\n(with the flint)\nYou light the lamp by striking a spark from the flint.\n\n'Cave' is almost an exaggeration; this space is little more than a hollow in the rock with barely enough room to stand. It\u2019s not quite true to say that you could touch opposite walls of the cave with arms outstretched, but it\u2019s not far from the truth. The way back out is\nto\nthe northwest, while a narrow tunnel at the rear of the cave runs off to the southeast.\n\nThe lamp starts to flicker.\n\n> You go southeast\nYou daren\u2019t go exploring any further in the dark with a lamp that\nmight go out at any moment.\n\nThe lamp grows dim.\n\n> Extinguish the lamp\nYou douse the lamp.\n\nIt takes a moment or two for your eyes to adjust to the poor light.\n\n> You go to the north-west\nHigh cliffs hem in this cove on every side except the west, which is open to the sea. To south and east the cliffs are too steep to climb, but the slope up to the north cliff looks gentler. There\u2019s also a narrow cave entrance to the southeast.\n\nA mass of slimy green seaweed lies on the shore.\n\n> Go north\nthe large field of barley lying directly to the east, no attempt has been made to cultivate this broad stretch of land at the top of the cliff, and it has instead been left to wild grass and weeds. To a first approximation this clifftop is a semicircle overlooking the sea to the west and small bays to north and south, both of which look accessible down reasonably gentle slopes.\n\n> Go east\nYou\u2019re no farmer, but it looks to you as if the barley is starting to ripen. The field is bounded by hedgerows to east, south, and north, but the northern hedgerow has almost died away to nothing, and no longer forms a barrier to progress north, while a wooden gate allows access to the east. To the west the field carr"
    },
    {
        "text": "ies on towards a cliff.\n\n> Go north\nThere is total desolation here: nothing but dead, grey soil all across the flat landscape, finally merging with a marsh to the north. Some way to the east lies a derelict farmhouse, while to the west the land slopes down into a small bay. The only signs of living vegetation are off in the far distance to the south.\n\nMeg is busily studying the ground.\n\n> You go to the north\nThere may be a way through the marsh, but you\u2019re not sure, and\nyou\u2019re\nafraid there may be hidden quicksand.\n\n> Topics\nYou could ask her about the blight, seaweed, the island, or Cadan Pascoe, ask her what she\u2019s doing, or tell her about yourself, or the priest.\n\n> You ask meg about the seaweed\n\u201cHello again,\u201d you greet her.\n\n\u201cHello again, James,\u201d she replies.\n\n\u201cWhere did you say I could find some seaweed?\u201d you ask.\n\n\u201cIn the bay just to the west,\u201d she tells you. \u201cYou should find\nplenty\nwashed up on the shore.\u201d\n\n> You ask meg about blight\n\u201cHow about you go and bring me some seaweed before we discuss\nthat?\u201d\nshe suggests.\n\n> You ask what she's doing\n\u201cAll talk and no action?\u201d she asks. \u201cThere\u2019s a little task you\nagreed\nto do for me, remember?\u201d\n\n> You go to the east\n\u201cGoodbye!\u201d she calls after you, before returning to her inspection\nof\nthe ground.\n\nThis was obviously the centre of what was once a farm; an abandoned farmhouse stands on the north side of this patch of barren wasteland (which continues for many furlongs to east and west). Some way off to the south a wooden gate allows access through a sickly hedgerow.\n\n> You go east\nIf anything once grew here there\u2019s no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there\u2019s a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.\n\n> Go north\nThese foothills are not particularly high, but they rise well above\nthe level of the vast barren plain to the south. Compared with the mountain range to the north they are mere molehills, however. The mountains look as if they would be exceedingly hard to climb, and there\u2019s no way you could attack the face immediately to the north,\nbut\nthere are possible ways up to northeast and northwest; alternatively you can return to the plain to the south or southeast.\n\n> You go to the northwest\nClear above the foothills below, you can see straight across the plain to Castle Hill. The path slopes down the barren mountainside to the southeast, but branches up to northeast and northwest.\n\n> Go northwest\nThe ledge tapers down to almost nothing here, although you could move along it to the east. You could also either climb up the path to the northeast or descend down to the southeast. The view over the plain below is quite stunning, but you\u2019d appreciate it more if you didn\u2019t find it so vertigo-inducing.\n\n> You go east\nThe narrow ledge continues to east and west; its centre affords a breathtaking view over the plain below. From here it is possible to descend the mountain to the southeast or southwest, and although it\u2019s very steep, it also looks possible to climb higher up to the north.\n\n> Go north\nThe higher you climb this section of slope, the steeper it becomes, until it becomes so sheer that only an expert mountaineer would be willing to attempt it, and you don\u2019t even consider yourself an\ninexpert mountaineer. So from here there\u2019s nothing to do but admire the view or go back down, which looks possible both down the\nalarmingly steep slope to the south or the rather gentler path to the southwest.\n\n> You look at the view\nThe northern end of the plain is a grey barren waste, almost featureless apart from an abandoned farmhouse. Further to the southwest lie the neat square fields of a still working farm, opposite a band of dark green woodland to the southeast. Beyond the woodland you can just make out parts of a stream and a tiny building that must be the mill. In the far distance Castle Hill rises up out of the\nplain to dominate the southern part of the island. From this great height you can just make out the castle complex on top of the hill.\n\n> Go southwest\nThe ledge tapers down to almost nothing here, although you could move along it to the east. You could also either climb up the path to the northeast or descend down to the southeast. The view over the plain below is quite stunning, but you\u2019d appreciate it more if you didn\u2019t find it so vertigo-inducing.\n\n> You go east\nThe narrow ledge continues to east and west; its centre affords a breathtaking view over the plain below. From here it is possible to descend the mountain to the southeast or southwest, and although it\u2019s very steep, it also looks possible to climb higher up to the north.\n\n> You go east\nAt this point the ledge becomes enclosed by rock walls to north,\nsouth, and east. There\u2019s no way up from here, but a narrow cave entrance leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one.\nThe ledge continues to the west.\n\n> You go southwest\nThe path climbs steeply up from the southwest and affords a stunning view over the plain below. It continues up through a narrow funnel to the northeast, while a second path climbs up to the northwest.\n\n> You go northeast\nWith some difficulty, you manage to clamber up through the funnel, and find yourselve emerging onto the end of a ledge.\n\nThis section of ledge is enclosed by rock walls to north, south, and east. There\u2019s no way up from here, but a narrow cave entrance leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one. The ledge continues to the west.\n\n> You go east\nCave (in poor light)\nYou sense that this cave is a fair size, but about the only thing you can see is the exit out to the west.\n\n> Go west\nThis section of ledge is enclosed by rock walls to north, south, and east. There\u2019s no way up from here, but the narrow cave entrance from which you\u2019ve just emerged leads through the eastern rock wall, and an equally narrow funnel offers a way down to the southwest through the southern one. The ledge continues to the west.\n\n> You go southwest\nThe path climbs steeply up from the southwest and affords a stunning view over the plain below. It continues up through a narrow funnel to the northeast, while a second path climbs up to the northwest.\n\n> Go southwest\nThese foothills are not particularly high, but they rise well above\nthe level of the vast barren plain to the south. Compared with the mountain range to the north they are mere molehills, however. The mountains look as if they would be exceedingly hard to climb, and there\u2019s no way you could attack the face immediately to the north,\nbut\nthere are possible ways up to northeast and northwest; alternatively you can return to the plain to the south or southeast.\n\n> Go southeast\nThe barren wasteland continues to east and west, hemmed in between the mountain range to the north and dense forest to the south.\nImmediately to the north is the entrance to an old mine. The only possible way up the mountain would be via the foothills to the northwest.\n\n> Go north\nMine Entrance (in poor light)\nThe light from the entrance to the south doesn\u2019t penetrate far into\nthe mine; to the north lies only darkness.\n\n> You go south\nThe barren wasteland continues to east and west, hemmed in between the mountain range to the north and dense forest to the south.\nImmediately to the north is the entrance to an old mine. The only possible way up the mountain would be via the foothills to the northwest.\n\n> Go west\nIf anything once grew here there\u2019s no sign of it now; the barren, desolate ground stretches as far as you can see to east and west, although there\u2019s a grassy pasture some way off to the south. To the north lie the foothills of a ridge of tall mountains running east-west across the island.\n\n> Go south\nThe pasture is open to north and south, but is bounded by a hedgerow\nto the west and a forest to the east. A track leads eastwards into\nthe forest while a wooden gate allows passage west through the hedgerow.\n\nA flock of sheep is grazing here.\n\nThe young shepherd is wandering round the field, tending to the sheep.\n\n> You go south\nRipe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.\n\nJoe Fanton is at work, harvesting the wheat with a scythe.\n\nJoe Fanton advances to a new patch of ground and starts reaping there.\n\n> You go west\nThe yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,\nwhile an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.\n\n> You go north\n(first opening the gate)\n\nAt a rough estimate this field must be a couple of acres. It is completely enclosed by hedgerows \u2013 presumably to keep the cattle in\n\u2013\nbut there are gates through the hedges to north, south, east and west. Lush grass covers the ground, which is pretty much flat.\n\nA herd of cows is gathered at one end of the field.\n\nYou make sure to close the gate behind you.\n\n> You go north\n(first opening the north gate)\n\nThis was obviously the centre of what was once a farm; an abandoned farmhouse stands on the north side of this patch of barren wasteland (which continues for many furlongs to east and west). Some way off to the south a wooden gate allows access through a sickly hedgerow.\n\nYou make sure to close the gate behind you.\n\n> Go north\nIt doesn\u2019t look safe to go inside; the floorboards could well be\nrotten and the ceilings ready to collapse.\n\n> Go south\n(first opening the gate)\n\nAt a rough estimate this field must be a couple of acres. It is completely enclosed by hedgerows \u2013 presumably to keep the cattle in\n\u2013\nbut there are gates through the hedges to north, south, east and west. Lush grass covers the ground, which is pretty much flat.\n\nA herd of cows is gathered at one end of the field.\n\nYou make sure to close the gate behind you.\n\n> Go south\n(first opening the south gate)\n\nThe yard is an expanse of dried mud open to the east, but enclosed on the other three sides. To the west stands a large old farmhouse,\nwhile an equally antiquated barn lies to the south. A thick hedgerow runs along the north side, but a wooden gate half-way along allows access through.\n\nYou make sure to close the gate behind you.\n\n> Go east\nRipe wheat sways gently in the breeze the length and breadth of this large level field. Some way off to the west lies a farmyard, while directly to the east stands a large wood. To the north the field eventually runs into open pasture; to the south, a rough farm track leads back towards the town.\n\nJoe Fanton is at work, harvesting the wheat with a scythe.\n\n> Go south\nThis short length of farm track comes to an end at the narrow stone bridge just to the south and peters out into open country a short way north. Its main purpose seems to be to serve the large water-mill\nthat stands immediately to the east. On the opposite side of the\ntrack a stream flows briskly past to the south before turning east under the bridge; beyond the stream lurks the bulk of Castle Hill, its face too steep to climb even if you could somehow cross the stream to reach it.\n\n> You go to the south\nThe bridge is narrow, but in a reasonable state of repair apart from the parapet, which is starting to crumble in places. From the brow of the bridge you can see a stream racing eastwards to power a mill. To the south the road runs back into town, while to the north it turns into a farm-track.\n\n> You go south\nA pair of granite cottages mark the northern edge of the town, the\nbulk of which lies to the south. To the north the road crosses a\nsmall stone bridge, while a wide path winds up the grassy hill to the west. The way east is barred by the impenetrable woodland behind the cottages.\n\n> Go south\nThe street is narrow here, barely wide enough for two people to pass, and looks just as narrow as it continues to north and south. An ancient stone chapel stands immediately to the east, opposite a\nterrace of mean little cottages hugging the west side of the street.\n\n> You go to the south\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\nA furiously barking little dog comes yapping up to you, then\ndisappears off to the south.\n\n> You go east\nThe main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the\nway south, but just at this point of the path a rutted track runs off to the north.\n\n> Go north\nAlthough it seems to be no longer in use, this looks like it could be the source of much of the local building materials. One effect of the quarrying is that you have ended up in a deep dip from which the only practicable ways out are back up the rutted track to the south, or\nelse up the steep path to the northeast.\n\nA flat square stone lies on the ground, perhaps as a remnant of the quarrying operations.\n\n> You examine the stone\nIt\u2019s roughly square, about two inches thick and six inches to a side.\n\n> You get it\nTaken.\n\n> You examine it\nIt\u2019s roughly square, about two inches thick and six inches to a side.\n\n> You go northeast\nTo the east the sea stretches out as far as you can see \u2013 which is\nonly as far as the bank of mist. To north and south the ground falls away too sharply to be negotiated by human beings; a large bay lies to the north, with a stream running into it from the west, while directly to the south is a small cove. A steep path leads down into the quarry to the southwest, while a broad trail leads to the northwest.\n\n> You go northwest\nDirectly to the north a broad stream runs briskly past on its way to the sea, while directly to the south the ground falls straight down into a mined-out quarry, a fall far too steep to negotiate from here. Impenetrable woodland blocks the way west, leaving southeast as the only possible direction of travel.\n\nA bunch of blackberries is growing at the edge of the wood.\n\n> You look at the blackberries\nThe berries look ripe, juicy and good to eat.\n\n> Go southeast\nTo the east the sea stretches out as far as you can see \u2013 which is\nonly as far as the bank of mist. To north and south the ground falls away too sharply to be negotiated by human beings; a large bay lies to the north, with a stream running into it from the west, while directly to the south is a small cove. A steep path leads down into the quarry to the southwest, while a broad trail leads to the northwest.\n\n> You go southwest\nAlthough it seems to be no longer in use, this looks like it could be the source of much of the local building materials. One effect of the quarrying is that you have ended up in a deep dip from which the only practicable ways out are back up the rutted track to the south, or\nelse up the steep path to the northeast.\n\n> You go south\nThe main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the\nway south, but just at this point of the path a rutted track runs off to the north.\n\n> Go east\nMost of this sizeable garden is given over to vegetable plots. To the east it comes to an abrupt end overlooking the cove, accessible via a rough flight of stone steps. At its northern end stands a large stone house, from the front of which a gravel path heads off to the west, while along the garden\u2019s southern boundary runs a long wooden fence.\n\n> Go north\n(first trying to open the front door)\nThe front door seems to be locked.\n\n> You knock on the door\nThe door opens revealing Julia standing just inside. \u201cHello again,\nMr\nCorby,\u201d she greets you. \u201cDo come in!\u201d\n\n> Go north\nYou follow Julia inside.\n\nThe parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could\nsustain quite a blaze in winter, though it\u2019s currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.\n\nJulia is standing here.\n\n> You check what you're carrying\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, a small gold ear-ring, an old sheet of parchment, a flat square stone, and a bunch of blackberries.\n\nThe flowers have quite a sweet, delicate scent.\n\n> You give the earring to Julia\n(the small gold ear-ring)\n\u201cIs this yours, by any chance?\u201d you ask, showing her the small gold ear-ring you found.\n\n\u201cWhy yes, I believe it is,\u201d she replies. \u201cWhere did you find\nit?\u201d\n\n\u201cOut by the marker stone, on a promontory over to the west.\u201d you\ntell\nher.\n\n\u201cI must have dropped it there when I went for a walk a couple of days ago,\u201d she tells you. \u201cWell, thank you so much for finding it!\u201d\n\nSo saying, she takes it from you and puts it on.\n\n> You ask Julia about the earring\nShe\u2019s already thanked you for returning her lost ear-ring.\n\n> Topics\nYou could tell her about the Duke, or Lady Inalda, or ask her about smuggling, or Duke William.\n\n> You ask about the smuggling\n\u201cDo you know anything about any smuggling going on round here?\u201d you ask.\n\n\u201cI know that pretty much everyone round here \u2013 the Duke included\n\u2013\ndepends on the goods the smugglers bring in,\u201d she tells you.\n\n> You ask about the smuggling\n\u201cDo you have any idea who\u2019s behind the smuggling?\u201d you ask.\n\n\u201cMe? No,\u201d she shakes her head. \u201cIt\u2019s not my sort of thing.\nI\u2019m just\nhappy to let them get on with it \u2013 whoever they are.\u201d\n\n> Topics\nYou could tell her about the Duke, or Lady Inalda, or ask her about smuggling, or Duke William.\n\n> You tell her about Duke\n\u201cI met the Duke, you know,\u201d you tell her, \u201cand he wants me to\nfind out\nwho\u2019s behind some smuggling racket on the island.\u201d\n\n\u201cDoes he now!\u201d she exclaims. \u201cAnd do you intend to do as he\nasks?\u201d\n\n(You could say yes or no.)\n\n> You ask her about Duke\n\u201cNo, don\u2019t try to change the subject,\u201d she tells you. \u201cI want\nto know\nwhether you intend to the Duke\u2019s bidding on these smugglers. So,\nwill\nyou do as he asks?\u201d\n\n> No\n\u201cNo, I don\u2019t fancy being the Duke\u2019s spy; I\u2019m a naval officer,\nloyal to\nKing George, not some dukeling\u2019s lackey.\u201d\n\n\u201cGood for you!\u201d she smiles. \u201cPerhaps too you\u2019ve seen through\nthe\nDuke\u2019s motive in setting you this little task?\u201d\n\n(You could say yes or no.)\n\n> No\n\u201cNo, not really,\u201d you admit, \u201cHe said smuggling is damaging the\nlocal\neconomy, but it seems to me that it\u2019s the blight that\u2019s doing\nthat.\u201d\n\n\u201cQuite so,\u201d she agrees. \u201cAs I see it, the Duke doesn\u2019t want to suppress the smuggling at all; he simply wants to control it. Even he can see that we couldn\u2019t cope here at all without the stuff the smugglers bring in. The Duke just wants the profits for himself. Anything else he told you is just so much baloney.\u201d\n\n> Topics\nYou could ask her about smuggling, or Duke William, or tell her about Lady Inalda.\n\n> You ask about the smuggling\n\u201cI don\u2019t suppose you have any ideas on how I could go about finding\nout who the smugglers are,\u201d you ask.\n\n\u201cI thought you said you weren\u2019t going to act as the Duke\u2019s\nspy,\u201d she\npoints out. \u201cBut still, I suppose whoever\u2019s doing it has to land\nthe\ngoods somewhere \u2013 probably somewhere as remote as possible, which probably means one of those coves up in the wastelands, just this side of the Ridge. I suppose you could go up there now and root around for clues \u2013 marks in the sand, that kind of thing \u2013 but they probably operate at night, so when you\u2019ve found the likeliest spot you\u2019d\nneed\nto wait there all night to see if you can catch the smugglers at it.\u201d\n\n> You ask about the smuggling\n\u201cYou don\u2019t have any ideas who the smugglers might be?\u201d\nyou\npersist.\n\n\u201cNo, no idea at all,\u201d she shakes her head, \u201cand I wouldn\u2019t tell\nyou if\nI had, in case you change your mind and go and tell someone you shouldn\u2019t.\u201d\n\n> You ask about Duke\n\u201cDoes this island really need a duke to rule it?\u201d you\nwonder.\n\n\u201cThat\u2019s a good question,\u201d she agrees. \u201cOf course the Ducs de\nValon,\nas they like to call themselves, have always claimed to bring the benefits of law and order to the island. Perhaps there\u2019s an element\nof truth to that, but their idea of law and order seems to be mostly duties and taxes.\u201d\n\n> Continue\n\u201cWhat else can you tell me about Duke William?\u201d you ask.\n\n\u201cI suppose he\u2019s kind of handsome, in an arrogant aristocratic sort\nof\nway,\u201d she tells you, \u201cthough his cousin, Lady Inalda, is a real\nbeauty. Don\u2019t go getting any ideas there though \u2013 William fancies\nher\nfor himself.\u201d She shakes her head, \u201cToo much inbreeding in that\nfamily\nif you ask me.\u201d\n\n> Continue\n\u201cIs Duke William such a bad ruler?\u201d you ask.\n\n\u201cHe\u2019s not a tyrant \u2013 he doesn\u2019t rape and murder the serfs, if\nthat\u2019s\nwhat you mean,\u201d she replies, \u201cbut I can\u2019t honestly say he does a\nlot\nof good, either. I wouldn\u2019t go so far myself, but I have heard some people call him a parasite.\u201d\n\n\u201cThere aren\u2019t any Jacobins here, I hope!\u201d you declare.\n\n\u201cJacobins?\u201d she queries. \u201cOh no, we\u2019re quite isolated from\nevents in\nFrance!\u201d\n\n> Continue\nYou decide to leave that topic alone for now. You\u2019ve already\ngathered\nthat Julia isn\u2019t that impressed with Duke William, without actually calling him a bad ruler.\n\n> You ask about Inalda\n\u201cTell me about Lady Inalda,\u201d you say.\n\n\u201cShe\u2019s the daughter of the Duke\u2019s uncle \u2013 the old Duke\u2019s\nbrother, that\nis.\u201d she tells you. \u201cShe\u2019s said to be the most beautiful woman\non the\nisland, and maybe she is. But as for what she\u2019s like underneath \u2013\nI\nreally don\u2019t know. She always seems a bit aloof to me.\u201d\n\n> You keep going\n\u201cWhat else can you tell me about the beautiful Inalda?\u201d you\nenquire.\n\n\u201cWhat\u2019s to say? Her mother is meant to be still alive \u2013 but\napparently she\u2019s a bed-ridden invalid and hasn\u2019t been seen outside\nthe\ncastle in years.\u201d Julia informs you. \u201cAs for Inalda, half the men\non\nthe island seem to fancy her, but she never shows much in return; if she has a heart, she certainly doesn\u2019t wear it on her sleeve.\u201d\n\n> You ask about Inalda\n\u201cAnd will Inalda wed her cousin?\u201d you wonder.\n\n\u201cHe wants it. What she wants is something she keeps to herself,\u201d\nJulia replies.\n\n> You ask about Inalda\nThere doesn\u2019t seem too much more to ask at this stage, and you\ndon\u2019t\nwant to give Julia the impression that you\u2019ve become fixated on\nInalda. It\u2019s clear enough that Julia regards the Duke\u2019s cousin as\na\nrather remote figure, an enigmatic beauty perhaps. It seems the Duke wants to marry her, but Julia doesn\u2019t seem to know what Inalda wants.\n\n> Topics\nYou could tell her about Lady Inalda.\n\n> You tell about Inalda\n\u201cWhen I went into town I found Cadan Pascoe attacking Lady Inalda!\u201d\nyou tell her. \u201cFortunately I managed to frighten him off.\u201d\n\n\u201cGood heavens!\u201d she declares. \u201cWas Lady Inalda all right?\u201d\n\n\u201cYes, she was fine,\u201d you reply.\n\n\u201cWell, I trust she was suitably grateful!\u201d Julia remarks."
    },
    {
        "text": "[Themes: Historical Fantasy, island, fantasy]\n\n> You describe your surroundings\nThe parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could\nsustain quite a blaze in winter, though it\u2019s currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.\n\nJulia is standing here.\n\n> Go north\nJulia comes with you.\n\nThe kitchen is quite large, and conveys something of the same rustic flavour as the parlour, which lies just to the south. A plain wooden door, painted black, is set in the north wall next to a large wood-burning stove. An even larger wooden table occupies most of the space in the middle of the kitchen, together with a conveniently\nplaced wooden chair.\n\nJulia is standing here.\n\n> You go to the north\nYou hardly feel you can start wandering uninvited into other parts of the house.\n\n> You go to the south\nJulia comes with you.\n\nThe parlour is of a good size, but not so big as to forfeit a certain rustic cosiness. The large open fireplace looks as if it could\nsustain quite a blaze in winter, though it\u2019s currently unlit. The furniture is plain but functional. The front door is to the south, with other doorways to north and east.\n\nJulia is standing here.\n\n> Go east\nYou hardly feel you can go wandering round the house uninvited.\n\n> You examine the fireplace\nIt\u2019s currently unlit, but it looks like one could get quite a blaze burning in it.\n\n> Go south\n\u201cWell, bye for now then; no doubt I shall see you again soon,\u201d\nJulia\nbids you farewell.\n\nMost of this sizeable garden is given over to vegetable plots. To the east it comes to an abrupt end overlooking the cove, accessible via a rough flight of stone steps. At its northern end stands a large stone house, from the front of which a gravel path heads off to the west, while along the garden\u2019s southern boundary runs a long wooden fence.\n\nJulia closes the front door from the other side.\n\n> You go west\nThe main path continues to east and west as far as you can see, rising slightly to the latter as it heads inland. A long hedge blocks the\nway south, but just at this point of the path a rutted track runs off to the north.\n\n> Go west\nYou set off to the west, and after a brisk walk up the slope you find yourself on the eastern outskirts of the town.\n\nPressed in between a rough stone wall to the north and a small shop to the south this short, narrow street runs east back towards the coast and west towards the centre of town.\n\n> You go west\nThis crossroads, at what may be the centre of the town, is formed by meeting of roads to north, south, east and west. All four roads lead between grim, grey buildings; the road to the east looks quite short, while that to the west leads up a distant hill. The roads to north\nand south look as if they run on quite a way, but just a short way to the south you can see a hanging inn-sign.\n\nTwo men smelling strongly of fish stride past to the south.\n\n> You go to the south\nThe west side of this long, grubby street is dominated by the Red Dragon Inn, while on the opposite side squats a row of bleak stone cottages. The street continues to north and south over well-worn cobbles.\n\n> You go south\nLeading down from the town to the north towards a stone jetty to the south, this steep track is little more than a well-trodden path along the edge of the barren scrubland that extends to the east. A narrow side-track runs off through a thicket to the southwest.\n\n> You go to the east\nthe west, and ends at clifftops to northeast and southeast. The area is deserted and little grows here but some scraggy grass, impoverished by the thin, stony soil. A long wooden fence runs along much of the northern boundary of this largely wasted space, but otherwise it is open to the elements.\n\n> You go to the south-east\nCliff Top (South)\nThis must be the southeastern tip of the island, thrusting out just a short way into the sea, only a dozen feet below to east and south. Immediately to the west you look down on the roof of the fish house, with the jetty a little way beyond and the beach further in the distance. The only way inland lies to the northwest, while the cliff top continues to the north.\n\n> You go north\nCliff Top (North)\nFrom up here on the cliff you have a spectacular view over the sea a hundred feet below, but as ever it\u2019s cut short by the mist a few hundred yards out from the shore. You can also see down into a cove\nto the north, although there\u2019s no way to reach it from here. But perhaps the most striking feature of this part of the cliff is the thick grass that covers it; something about the soil causes it to grow in a spectrum of greens from almost yellow to virtually turquoise, creating an effect akin to a patterned carpet. The cliff top\ncontinues to the south, while to the southwest lies a large expanse of scrubland.\n\n> You examine the grass\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word COME, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it.\n\n> You keep going\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word NORTH, but\nwhen you blink and look again the patches just look random again, and you feel sure you must have imagined it. Yet this is the second time you think you saw something there.\n\n> Keep going\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word TO, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it. This is beginning to feel just a little spooky.\n\n> You keep going\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word MEET, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it. This is starting to become more than a little spooky.\n\n> Continue\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word YOUR, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it. You begin to wonder if your mind has been affected by your night in the sea.\n\n> You continue\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word DESTINY, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it. You wonder if you dare look again; how can your imagination be playing such tricks on you?\n\n> You examine the grass\nThe grass here looks none too healthy, consisting as it does of\npatches of yellow and green. For a moment you fancy that the alternating patches of colour are spelling out the word COME, but when you blink and look again the patches just look random again, and you feel sure you must have imagined it. At least, that\u2019s what you keep trying to tell yourself."
    },
    {
        "text": "> Look around\nCliff Top (North)\nFrom up here on the cliff you have a spectacular view over the sea a hundred feet below, but as ever it\u2019s cut short by the mist a few hundred yards out from the shore. You can also see down into a cove\nto the north, although there\u2019s no way to reach it from here. But perhaps the most striking feature of this part of the cliff is the thick grass that covers it; something about the soil causes it to grow in a spectrum of greens from almost yellow to virtually turquoise, creating an effect akin to a patterned carpet. The cliff top\ncontinues to the south, while to the southwest lies a large expanse of scrubland.\n\n> Go north\nYou can\u2019t go that way. Obvious exits lead south, back to the\nsouthern\nend of the cliff top; and southwest.\n\n> You check your inventory\nYou are carrying a plain brass key, a flint, a brass lamp, a bunch of flowers, an old sheet of parchment, a flat square stone, and a bunch\nof blackberries.\n\nThe flowers have quite a sweet, delicate scent.\n\nYour part in Napoleon's downfall is about to come to an untimely end.\n\nThe storm raging across the Bay of Biscay has forced Cornwallis to stand out to sea, giving an opportunity for a French captain with more daring than most to try to slip past the blockade. While Nelson is chasing Villeneuve across the Atlantic, the Channel fleet is closely blockading Brest to ensure that Ganteaume can't escape to join him; if he did Bonaparte's invasion plans would perilously close to fruition.\n\nIn the meantime, you are left swimming around in the Bay of Biscay. It can't be more than a couple of minutes before you drown. For a moment, you almost imagine you see the inscription on your own grave:\n\nR.I.P. Lieutenant James Corby, RN\n1780 - 1805\nLost at sea in the service of his country\n(mainly as a result of his own clumsiness)\n\nThe storm-tossed waves thunder all around you. The Niobe is nowhere in sight; neither is that other ship. The sky is so black that even without the salt water stinging your eyes you could scarcely see a thing. Already your sea-soaked clothes are starting to drag you under, and you feel so very, very cold. It would be so much easier to give up the futile struggle, to accept the sea's icy embrace, and yield to the everlasting sleep of your watery grave. For surely there can be no hope of rescue now.\n\nAnd yet it was only a moment ago that you took your unplanned tumble over the side of the ship.\n\nTing! Ting! Two bells in the middle watch: ten hours since sighting the strange sail and giving chase.\n\nIt wasn't yet clear that the strange sail was a French warship, but your captain was taking no chances, and so the Niobe, 38, had set off in hot pursuit. She was carrying all the sail a frigate safely could in such a storm, but still the strange vessel was maintaining its lead, and it was all the Niobe could do to keep pace with her. But the weather had been steadily worsening; the storm was becoming a gale, and there was a real danger that the Niobe would lose a spar - or worse - unless she shortened sail. So you dispatched the midshipman of the watch to seek the captain's permission to do just that.\n\nAnd then came the totally unexpected hail from the masthead:\n\n\"Land ho! Fine on the starboard bow!\"\n\nThat was absurd; there shouldn't have been any land within a dozen leagues.\n\nThe deck around you was little more than a mass of shadow and outline in the dark, with the only point of light coming from the binnacle just in front of you. You were aware of the mizzen mast towering above you nearby, but as much from the howl of the wind in the rigging as from anything you could see.\n\nThe helmsman was standing nearby at the wheel.\n\nYou were almost deafened by the howling gale screaming in the rigging and lashing up the waves all round the ship."
    },
    {
        "text": "[Themes: Religious, Historical, religion, Middle Ages, moral choice, Christianity, bible, horror, monk, monastery, plague]\n\nIt has been five days, now. Five days since I made the choice. Five days since I closed the gate.\n\nReally, there was no choice. Rovato was damned when the first spot appeared: when the first bloody cough ensued from the mouth of an urchin. To have allowed the sick sanctuary at Saint Cuthbert's would only have damned us as well.\n\nBut we were already damned.\n\nThe plague came. And now we suffer.\n\nSix crisp chimes mark Vespers. Your heart flutters for a moment, and you place your head in your hands.\n\nYour room is small; it is the same as all the others, but it seems smaller of late. With so many of your brothers gone, there has been little for you to do but wait. Wait for the spots to appear in this tiny, dark room.\n\nA chill breeze spins in through the window and out the door to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the other side is your bed, the blanket wrapped up in itself from this morning.\n\n[Author's Note: It has been five days, now. Five days since I made the choice. Five days since I closed the gate. Really, there was no choice. Rovato was damned when the first spot appeared: when the first bloody cough ensued from the mouth of an urchin. To have allowed the sick sanctuary at Saint Cuthbert's would only have damned us as well. But we were already damned. The plague came. And now we suffer.]\n\n> About yourself\nYou're not the man you were a few days ago. Your skin hangs as sallow drapes around your jaw: your hands are emaciated. Your frock billows about you; it is difficult to find any flesh within. The only solace you find in looking at yourself is that, so far, no signs of the plague are within you.\n\n> You look at the desk\nIt was once a fine desk, but now it sags in the middle and smells faintly of rotting wood. Still, it serves well enough when you need to write: a need you haven't had much of lately.\n\n> You check what you're carrying\nYou are carrying:\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> Burn desk\nIt does not light. The dampness spoils everything here.\n\n> You examine the tinderbox\nA small box containing some flint, steel, and tinder. You always keep it close should your candle be snuffed by the wind.\n\nThunder rumbles overhead, shaking the monastery to its foundations.\n\n> You examine the candle\nPig fat and twine. Still, it holds its flame very well. Beads of oil drip from near the flame, running down the sides and coating them with slime.\n\nA loud crackle splits the sound of wind. Lightning. Stone tumbles in the distance.\n\n> You examine the frock\nA threadbare frock that does little to keep you warm. The coarse fabric scratches where it touches your body, which is less than it used to be: the frock is far too large for you now. It smells of sweat and tears.\n\n> Sing\nYour days in the choir are long behind you.\n\n> You examine the bed\nLittle more than a damp mattress on four legs. Still it is comfortable on cold nights."
    },
    {
        "text": "[Themes: Historical, Religious, religion, horror]\n\n> You look around\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the other side is your bed, the blanket wrapped up in itself from this morning.\n\n> You examine the blanket\nThese have kept you warm on many cold nights.\n\n> You take the blanket\nTaken.\n\n> Go west\n(opening the bedroom door)\nPulling your frock tightly about you, you sigh and exit to the hall.\n\nAs cold as your room is, this hall is even colder. The stone walls dance and glisten with dampness. The warmth of your room awaits to the east, and the cold of the outside world through a heavy door to the south. Moonlight streams in from the cloister to the north, and a flimsy door secures the locutory to the west.\n\nThe alms box hangs closed beside the door.\n\n> Wear blanket\nYou put on the bedding.\n\n> Examine box\n(the alms box)\nIt used to be filled with alms. Now, mostly cobwebs.\n\n> Empty box\n(the alms box)\nThe alms box is closed.\n\n> You open box\n(the alms box)\nA single coin sparkles at you from the bottom.\n\n> You get the coin\nIt feels warm in your hand.\n\n> You look at the coin\nIt gleams in the light.\n\n> You listen\nThe wind. Nothing more.\n\nA wolf howls in the distance. A hungry, plaintive sound."
    },
    {
        "text": "[Themes: Religious, Historical, moral choice]\n\n> You look at your surroundings\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs open, as poor as the people it is meant to help.\n\n> Go west\n(opening the door to the locutory)\n\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\n> You examine the bed\nThis bed is small but clean. Visitors are rare lately.\n\n> You examine the fireplace\nThe fireplace lies cold: cold as the rest of Saint Cuthbert's.\n\n> You take mould\nThat holds little interest for you.\n\n> Smell the fireplace\nMildew."
    },
    {
        "text": "[Themes: Religious, Historical, Christianity, bible, plague]\n\n> Look around\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\n> You examine the mattress\nThis bed is small but clean. Visitors are rare lately.\n\n> You make yourself\nYou cannot make that.\n\nA gust of wind slices across your ears. You shiver.\n\n> You take the ashes\nThat's hardly portable.\n\n> You go east\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs open, as poor as the people it is meant to help.\n\n> Go north\nBracing yourself for the cold, you lower your hood and exit to the cloister.\n\nIn the warmer months, Brother Matteo maintains a beautiful garden in the cloister. Now there is nothing but a few dead vines sticking out from beneath a blanket of snow. Still, it has a calm dignity: the wind finds no entrance here. The colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church commands from the north, its spires reaching up to Heaven.\n\nBrother Lucca, face flushed and cheeks wet, storms out from the bell tower and off to the dormitory in the east, meeting your eyes for only a moment.\n\n\"Are you alright, Brother?\" you ask, receiving no response.\n\n> You look at Lucca\nHe left for the dormitory.\n\n> You take the vines\nDespite being dead, they cling desperately to the soil. You cannot move them.\n\n> You eat the snow\nIt stings your teeth and lines them with grit.\n\n> You throw the snow\nYou toss the snow: a sweaty little ball of cold.\nThe snow trickles out of your hand as a few drops of water.\n\n> You examine the god\nHe is too far off to see.\n\n> Pray\n(to God)\nA warmth spreads throughout your body. He walks with you.\n\n> You pray to jesus\nA warmth spreads throughout your body. He walks with you.\n\n> You pray to the god\nA warmth spreads throughout your body. He walks with you.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask god about the plague\nYou can only do that to something animate."
    },
    {
        "text": "> Look around\nIn the warmer months, Brother Matteo maintains a beautiful garden in the cloister. Now there is nothing but a few dead vines sticking out from beneath a blanket of snow. Still, it has a calm dignity: the wind finds no entrance here. The colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church commands from the north, its spires reaching up to Heaven.\n\n> You sit\nWhat do you want to sit on top of?\n\n> Go west\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nBrother Drogo sits at one of the tables, scratching furiously at its hard surface.\n\n> You examine Drogo\nBrother Drogo sits in a filthy frock, black tendrils of greasy hair dangling in his eyes. Every now and then, he puffs loudly to blow the hair out of his face, but it always falls back.\n\n> You tell Drogo about the absent god\n\"Please, father.\" He doesn't look up from the table. \"This is far more important.\"\n\n> You talk to Drogo\n\"How are you feeling, brother?\"\n\n\"Oh, I am feeling quite alright. In fact, I feel like a bird who crawls under the soil.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You listen\nThe wind. Nothing more.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You look at table\nRows of tables split the refectory into a maze of narrow paths. Their unfinished surfaces bear the scratches of many meals.\n\n> You examine the scratches\nAt first it looks random, but upon closer inspection it appears to a picture. It cuts deep: two intersecting lines surrounded by jagged grooves. A cross. Fire.\n\n> You talk to Drogo about the table\n\"Why do you scratch at the table, Brother Drogo?\" You ask.\n\n\"To get to the middle, of course.\" He says, looking at you as though you are mad.\n\n> You talk to Drogo about the middle\n\"And why do you want to reach the middle?\"\n\n\"Because it is that much closer to the bottom.\"\n\n> You talk to Drogo about the bottom\n\"And the bottom?\"\n\n\"Hmm.\" He pauses thoughtfully and stares at the deepening hole. \"That is a good question.\" The scratching resumes.\n\n> You talk to Drogo about Lucca\n\"What's wrong with Lucca?\"\n\n\"He's a murderer, of course.\"\n\nA gust of wind slices across your ears. You shiver.\n\n> You talk to Drogo about the murder\n\"What happened, Drogo?\" You ask.\n\n\"Well, the way I see it is that Matteo wanted to fly, but God said 'No, Matteo. Flying is for birds. You are not a bird, and shouldn't wish to be.'\" Drogo starts. \"Matteo was not happy with that --you know how he can be sometimes-- but he thought God would be mad if he tried to fly on his own. So Lucca helped him.\"\n\n> You talk to Drogo about Drogo\n\"How are you feeling, brother?\"\n\n\"Oh, I am feeling quite alright. In fact, I feel like a bird who crawls under the soil.\""
    },
    {
        "text": "> Look around\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nBrother Drogo mumbles to himself, his eyes darting back and forth from nothing to nothing.\n\n> You look at the eyes\nThey peer out between curtains of greasy hair, ever watchful.\n\n> You ask Drogo about the garden\n\"What friends, Drogo?\"\n\n\"Oh, you wouldn't like them.\" He smiles, his teeth form a brilliant row. \"But they would sure like you!\"\n\n> You ask Drogo about the wolf\n\"My dear friends. So much better than humans.\"\n\n> You ask Drogo about the humans\n\"Weak, dirty creatures,\" he says, looking directly at you. \"Not like my friends.\" He turns away. \"Not like my friends, at all.\"\n\n> You ask Drogo about the friends\n\"What friends, Drogo?\"\n\n\"Oh, you wouldn't like them.\" He smiles, his teeth form a brilliant row. \"But they would sure like you!\"\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You show the coin to Drogo\nBrother Drogo is unimpressed.\n\n> You go south\nThe dead don't eat, or so you've been told. Still, the kitchen is practically empty. Bare tables stand with no crumbs on them. All the perishables were finished up this morning. No more will be coming if Rovato is as barren as you think. Hopefully, some remain in the cellar through the hatch in the floor. The refectory lies to the north.\n\nA cutlery rack sits on one of the tables.\n\nAgainst one wall is a large cupboard, its door closed.\n\n> You examine rack\nThe rack is empty.\n\n> You open the cupboard\nAs the door swings open, a small black shape springs from inside. A flash of pain sears across your arm and then quickly subsides. You whirl around to see a cat tearing out into the refectory, a drop of blood falling from its claws.\n\n> You examine the cupboard\nA few crusts of bread and a piece of cheese are all that remains for food.\n\n> You take the bread\nTaken.\n\n> You take the cheese\nYou already have that.\n\n> You examine the cheese\nJust a few crusts of bread and a piece of cheese. It's not much, but it should do.\n\n> You open the cellar\nIt's locked.\n\n> You examine the cellar\nA hatch sits in the floor with a large, steel lock upon it.\n\n> You examine the lock\nConstantin insisted on locking up the cellar, to ensure the brothers could only get their alloted rations. He never gave you the key.\n\n> You examine the arm\nA small scratch lines your arm from elbow to wrist."
    },
    {
        "text": "[Themes: Historical, Religious, monastery, moral choice]\n\n> You look at your surroundings\nThe dead don't eat, or so you've been told. Still, the kitchen is practically empty. Bare tables stand with no crumbs on them, and a hatch through the floor leads to the cellar. The refectory lies to the north.\n\nA cutlery rack sits on one of the tables.\n\nA bare cupboard sits up against the wall.\n\n> You get the rack\nThat's fixed in place.\n\n> You go to the north\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nBrother Drogo mumbles to himself, his eyes darting back and forth from nothing to nothing.\n\n> You ask Drogo about Constantin\n\"He caught us some food,\" Drogo pouts. \"I wish he wouldn't. My friends need to eat too.\"\n\n> You ask Drogo about the cellar\n\"Ooh, it's dark down there!\" He pulls you in. \"The darkness hides things better than the light.\"\n\n> You examine Drogo\nBrother Drogo sits in a filthy frock, black tendrils of greasy hair dangling in his eyes. Every now and then, he puffs loudly to blow the hair out of his face, but it always falls back.\n\n> You search Drogo\nHe slaps away your fingers."
    },
    {
        "text": "[Themes: Historical, Religious, monk, bible, plague, Middle Ages]\n\n> You describe your surroundings\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nBrother Drogo mumbles to himself, his eyes darting back and forth from nothing to nothing.\n\nA gust of wind slices across your ears. You shiver.\n\n> Wave cheese\nYou look ridiculous waving the food.\n\n> You ask Drogo about the cheese\n\"Try the kitchen,\" he says, pointing the way with a flip of his greasy hair.\n\n> You show cheese to Drogo\nBrother Drogo is unimpressed.\n\n> Go east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nA scraping sound comes from Constantin's cell, forming an eerie melody with the sobs from Matteo's.\n\n> You go to the southeast\nConstantin is one of the few brothers with anything in his room besides a bed. A few tools lay next to the door in the northwest; remnants of his life as a blacksmith. A smell lingers here: a sour smell.\n\nBrother Constantin sits on the bed, a young hare dangling from his hand. His knife moves swiftly.\n\n> Smell\nIt's hard to place. It's a sick smell. Vomit, perhaps?\n\n> You examine the hare\nThe hare dangles by one foot from Constantin's massive hand, blood soaking its snow-damp fur. It twitches. No. It doesn't. That is only the movement of the knife against its flesh.\n\n> You look at the knife\nIt gleams wickedly in the candlelight.\n\n> You look at the tools\nConstantin was a Godsend when he arrived five years ago. Before him, Saint Cuthbert's had to enlist the help of laypeople in Rovato whenever something needed to be built. Now, Constantin does it all cheerfully, except for the occasional grumble.\n\n> You talk hare\nNo response.\n\n> You ask Constantin about Constantin\n\"Oh, I'm fine.\" He coughs a little, but it shakes his whole body.\n\n> You talk to Constantin about hare\n\"Ah, I see you have found us something to eat.\"\n\nConstantin looks up distractedly. \"What? Oh, yes. Something to eat,\" he says, returning to his catch.\n\n> You ask Constantin about the key\n\"A precaution. I don't want anyone stealing any food.\"\n\n> You ask Constantin about Drogo\n\"Why'd you let him back here? He isn't fit to be with the rest of us.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask Constantin about Matteo\n\"He's so strange lately.\" Constantin swats at an imaginary fly. \"All he does is watch from the tower.\"\n\n> You ask Constantin about Lucca\n\"I heard him rush to Matteo's room, crying,\" he says. \"He's not taking the plague well.\"\n\n> You look at Constantin\nConstantin sits on the bed, causing it to sag from his immense mass. Despite his size, he moves swiftly, his knife darting in and out between the hare's skin and muscle. A pool of blood forms at his bare feet.\n\n> You look at the blood\nThe blood collects in a small pool at Constantin's feet, warming their chill.\n\n> You take the blood\nThat's hardly portable.\n\n> You touch the blood\nIt feels rough on your fingers.\n\n> You ask Constantin about the cheese\n\"I don't think there's any food left.\" He lifts up the bloody hare, \"Hence this.\"\n\n> You look at the bed\nA simple mattress on four wooden legs: the same as all the others.\n\n> You ask Constantin about the plague\n\"It moves too quickly,\" he says, almost guiltily. \"I can barely keep up.\"\n\n> You show the cheese to Constantin\nBrother Constantin is unimpressed.\n\n> Kiss constantin\nYou can't summon the will to perform the Pax.\n\nA gust of wind slices across your ears. You shiver.\n\n> You talk to Constantin\n\"What do you have there, Constantin?\" you ask, leaning forward.\n\n\"Something to eat,\" he grunts.\n\n> You examine the eyes\nThey watch the hare, flicking back and forth with the knife.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You take the hare\nConstantin snatches it back. \"Wait until I'm finished,\" he grunts.\n\n> You get the eyes\nTaken.\n\n> Inventory\nYou are carrying:\nConstantin's eyes\nsome food\na coin\nsome bedding (being worn)\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You look at the eyes\nThey watch the hare, flicking back and forth with the knife.\n\n> You drop the eyes\nDropped."
    },
    {
        "text": "[Themes: Religious, Historical, monastery, moral choice, Middle Ages]\n\n> Look around\nConstantin is one of the few brothers with anything in his room besides a bed. A few tools lay next to the door in the northwest; remnants of his life as a blacksmith. A smell lingers here: a sour smell.\n\nBrother Constantin sits on the bed, a young hare dangling from his hand. His knife moves swiftly.\n\n> You show the eyes to Constantin\n(first taking Constantin's eyes)\nBrother Constantin is unimpressed.\n\n> You take the knife\nConstantin snatches it back. \"It's mine.\"\n\n> You go northwest\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nA scraping sound comes from Constantin's cell, forming an eerie melody with the sobs from Matteo's.\n\n> Go south\nThis room is small: the same as all the others. A bed is pushed up against one wall, opposite the door to the north.\n\nLucca scrabbles frantically at the ground, his blood staining the stones.\n\n> You examine Lucca\nHis fingers bloody on the stone. His face is red and wet with tears.\n\n> You examine the stone\nLucca scrabbles at the stone, trying desperately to unearth it from all sides.\n\n> You examine the bed\nA simple mattress on four wooden legs: the same as all the others.\n\nAn itch tickles beneath your skin.\n\n> You take the stone\nYou pry at the stone, but your fingers accomplish little besides bleeding.\n\n> You talk to Lucca\n\"Why do you dig, Lucca?\" you ask.\n\n\"Matteo is hiding something. I just know it's under here.\"\n\n> You ask Lucca about Matteo\n\"He knows something, but he won't tell me,\" he sobs more heavily for a moment. \"He tells me nothing anymore.\"\n\nA warmth spreads through your body, soothing the chill and fear from your bones. Salvation.\n\nShe is here.\n\n> Pray\n(to God)\nA warmth spreads throughout your body. He walks with you.\n\n> You ask Lucca about the hiding\nAll he does is sob.\n\n> You ask Lucca about Drogo\n\"He scares me.\" --his voice lowers-- \"But his madness is predictable. Unlike some others.\"\n\n> You ask Lucca about madness\nAll he does is sob.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You ask Lucca about Constantin\n\"He has become even harsher than before. The plague doesn't sit well within him.\"\n\n> You ask Lucca about the plague\n\"Its damage ranges farther than I thought.\" He glances about the monastery.\n\n> You take the lucca's eyes\nTaken.\n\n> You check what you're carrying\nYou are carrying:\nLucca's eyes\nConstantin's eyes\nsome food\na coin\nsome bedding (being worn)\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You ask Lucca about God\n\"I think he's forgotten us.\"\n\n> You take your eyes\n(Lucca's eyes)\nYou already have that.\n\n> You ask Lucca about the ignatius\n\"His righteousness scares me. It is without humility. He can see the motes in others, but can't see the beam in his own eye.\"\n\n> You ask Lucca about yourself\n\"You're such a good man,\" he says. Then, under his breath: \"At least I used to think so.\"\n\n> You ask Lucca about cellar\n\"There's something strange going on down there. Matteo knows, but he won't tell me.\"\n\n> You ask Lucca about the stone\n\"Why do you dig, Lucca?\" you ask.\n\n\"Matteo is hiding something. I just know it's under here.\"\n\n> You ask Lucca about the murder\n[** Programming error: Brother Lucca (object number 470)  has no property murder_asked to read **]\n\"You remember, Lucca; Matteo was thrown from the tower.\"\n\n\"No he wasn't.\" Lucca responds, incredulous. \"He must have jumped.\"\n\n> You search lucca\nHe slaps away your fingers.\n\nA gust of wind slices across your ears. You shiver.\n\n> You look at the eyes\nWhich do you mean, Lucca's eyes or Constantin's eyes?\n\n> You show the coin to Lucca\nBrother Lucca is unimpressed.\n\n> Wear the bedding\nYou're already wearing that!\n\n> Go north\nIgnatius's room does not smell as strongly as the others. He has spent so much time in the infirmary of late, taking care of the sick. He is a braver man than you. A bed is pushed up against one wall, opposite the door to the south.\n\n> You look at the bed\nA simple mattress on four wooden legs: the same as all the others.\n\n> You go to the north-east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nA scraping sound comes from Constantin's cell, forming an eerie melody with the sobs from Matteo's.\n\nHe seems to have made himself right at home. The room smells of animals and sweat; scratches adorn the bed and lead out the door to the southwest.\n\n> You examine scratches\nScratches line the posts. Some from claws, some from metal.\n\n> Smell\nSweat and animals: wet dog, or something similar.\n\n> You go southwest\nThis room is small: the same as all the others. A bed is pushed up against one wall, opposite the door to the northeast.\n\n> You look at the bed\nA simple mattress on four wooden legs: the same as all the others.\n\n> You go to the north-east\nNestled in the northeast corner of the cloister, the bell tower rises high: higher than the steeples of the church. Footsteps cut a line in the snow from the cloister to the southwest to the tower itself in the northeast.\n\n> You ask Constantin about the cellar\n\"What?\" he startles. \"I'll get around to taking the lock off. There's no food left down there anyway.\" His eyes darken as they meet yours. \"There's no reason to go down there anymore.\"\n\nA gust of wind slices across your ears. You shiver.\n\n> Go northeast\nYou can go only north, northwest or out.\n\nAn itch tickles beneath your skin.\n\n> Go northeast\nNestled in the northeast corner of the cloister, the bell tower rises high: higher than the steeples of the church. Footsteps cut a line in the snow from the cloister to the southwest to the tower itself in the northeast.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You look at the tower\nThe tower rises above all else.\n\n> Go northeast\nPanting more than a little, you make your way up the stairs to the top.\n\nHigh above the rest of Saint Cuthbert's, the tower affords a view of the surrounding land. In the spring, it is quite beautiful: now all you see is the endless moonlit glow of snow. Snow in the trees. Snow in the mountains. Snow.\n\nThe bell sways in the breeze, its tongue almost, but never, touching the sides.\n\nBrother Matteo leans against the rails, staring into the wind.\n\n> You examine Matteo\nHe looks tired and heavy. He doesn't so much as lean on the rails as use them as crutch. His frock billows about him in the icy wind; he no longer has the will to bundle it about himself.\n\n> You examine the matteo's eyes\nThey sink into his skull. His eyelids can barely be bothered to remain open.\n\n> You ring bell\n(the bell)\nThe bell clangs. You have never been this close when it has before. Your ears sting for a bit before settling down.\n\n> You talk to Matteo\n\"How are you Matteo?\" you ask, leaning up on the rails beside him.\n\nHe turns, a friendly smile on his face. \"I don't even know anymore.\" He gives an exaggerated shrug.\n\n> You ask Matteo about the murder\nHe may have heard you, but he seems to prefer to listen to the wind.\n\n> You ask Matteo about the plague\n\"It's funny the ways illness and isolation can affect things. Our bodies are the least of our concerns.\"\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You ask Matteo about yourself\n\"I know we have had our problems, but I hope to put them behind us. It is a time for forgiveness.\"\n\n> You ask Matteo about Lucca\n\"Poor Lucca,\" he sighs. \"I wish I could protect him, but his time is near.\"\n\n> You ask Matteo about the cellar\n\"Ah, yes.\" He pauses. \"The cellar.\" He chuckles to himself.\n\n> You ask Matteo about Constantin\n\"He would never admit it, but he is sick. The plague wears on him. He won't last much longer.\"\n\n> You ask Matteo about Drogo\n\"Poor Drogo,\" he sighs, looking down upon the refectory. \"But at least his madness is on the surface, where we can see it.\" Was that glance at you?\n\n> You ask Matteo about the madness\nHe may have heard you, but he seems to prefer to listen to the wind.\n\n> You ask Matteo about the bell\n\"It's beautiful up here, isn't it. God's blanket to the Earth.\"\n\n> You ask Matteo about God\n\"He is gone, you know.\" He looks at you intently. \"And with him, his protection.\"\n\n> You ask Matteo about praying\n\"I barely have the energy anymore.\"\n\n> You ask Matteo about the cheese\n\"I have little appetite these days.\"\n\n> Smell\nThe wind drives needles of chill up your nose: you smell nothing.\n\n> Smell Matteo\nMildew.\n\n> You ask Matteo about Matteo\n\"I'm fine,\" he sighs. \"I just want to sleep.\"\n\n> 1\nEnter saved game to store: Ok."
    },
    {
        "text": "> You go to the south-east\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\nA gust of wind slices across your ears. You shiver.\n\n> You go southeast\n(opening the calefactory door)\n\nPositioned directly between the dormitory and your own room, the calefactory warms both, although lately it is less than adequate. While the calefactory itself is stiflingly hot, its heat stays confined. Your brow grows damp: your body, feverish. Slightly melted snow creeps in from the cloister to the northwest.\n\n> You remove the blanket\nYou take off the bedding."
    },
    {
        "text": "[Themes: Historical, Religious, moral choice]\n\n> You look at your surroundings\nPositioned directly between the dormitory and your own room, the calefactory warms both, although lately it is less than adequate. While the calefactory itself is stiflingly hot, its heat stays confined. Your brow grows damp: your body, feverish. Slightly melted snow creeps in from the cloister to the northwest.\n\n> Wear blanket\nYou put on the bedding.\n\n> You check your inventory\nYou are carrying:\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\nsome food\na coin\nsome bedding (being worn)\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You remove the frock\nYou would freeze.\n\nAn itch tickles beneath your skin.\n\n> You look at the fire\nPig fat and twine. Still, it holds its flame very well. Beads of oil drip from near the flame, running down the sides and coating them with slime.\n\n> Go northwest\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\n> Go north\nChurch (in the pews)\nSince you relegated the brothers to pray on their own, except for Mass, the church has been all but empty. Rows of pews part down the centre, ushering you up to the chancel in the north opposite the cloister in the south. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> You examine the frescos\nThe soaring vaults are as vast and open as the arms of God. Frescoes depict the fall of Satan, with angels singing as they cut down the wicked.\n\n> You examine the cross\nThe cross stands tall upon the chancel.\n\n> You examine the font\nThe bronze glows warmly in the candlelight, like it has at many a Mass.\n\n> You hit the Satan\nHe is too high.\n\n> You pray to Satan\nYou close your eyes, and prepare yourself. \"Please, Satan,\" you begin. The words are hard. They cut your throat as they leave. \"Please, Satan, deliver me from the plague, and you shall have my soul.\" The words sink through the Earth: slowly, like black tar.\n\nA flock of dismembered hands reach up through the ground, stealing away the black and disease that ravages your body, both seen and unseen. They swirl and dance, before sinking back to the ground. One lingers. It crawls up your leg and across your chest. It dives in, and emerges clutching a tiny ball of light in its bony finger. The hand drops back to the Earth with its prize and slinks away.\n\nIt is done."
    },
    {
        "text": "[Themes: Religious, Historical, moral choice, bible, religion]\n\n> Look around\nChurch (in the pews)\nCedar pews line the path from the chancel in the north to the cloister to the south, their surfaces cold. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> You examine Saints\nFinely wrought stained glass windows line the vaulted ceiling of the church, their frames holding within them the images of Saints Francis of Assisi, Medard of Noyon, Drausinus, and Cuthbert.\n\n> You examine Cuthbert\nSaint Cuthbert leans proudly upon his staff even though he appears stricken with illness. A dog licks at his leg, soothing the blister upon it.\n\n> You look at the assisi\nSaint Francis stands: birds on his shoulders and wolves at his feet. His face is calm.\n\n> You examine noyon\nThe snow flies against the glass, but refuses to stick. Medard stands tall, with an eagle's outstretched wings above him.\n\n> You examine the drausinus\nAn assassin approaches from the darkness, but a shroud of light reveals him to Saint Drausinus. He is safe.\n\n> You examine Ignatius\nThe scar through his left eye having left him half-blind, Ignatius makes up for it by staring twice as hard at the candles with his good eye. The eye refuses to blink.\n\n> You look at the candles\nThe flames are steady and warming to your heart.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You talk to Ignatius\n\"How are you, Ignatius?\" you ask, laying your hand on his shoulder.\n\nHe startles, whirling around, his bad eye twitching and shuddering. \"Oh, father. You spooked me.\" He shakes his head. \"I'm sorry, what did you ask.\"\n\n> You ask Ignatius about himself\n\"I was wondering how you were doing.\"\n\n\"Oh, fine.\" He relaxes, turning back to the candles. \"Just fine.\"\n\n> You ask Ignatius about yourself\n\"You're an excellent priest and a perfect abbott. We are lucky to have you.\"\n\n> You ask Ignatius about Lucca\n\"Such a sweet boy. He's not taking it here so well though.\"\n\n> You ask Ignatius about Matteo\n\"He's up in the tower,\" Ignatius spits angrily. \"He's always up there, watching.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask Ignatius about the tower\n\"Matteo's up there right now. He's always up there.\"\n\n> You ask Ignatius about the constatin\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask Ignatius about Constantin\n\"He has done well in clearing the bodies from the infirmary. He works so fast.\"\n\n> You ask Ignatius about the cellar\n\"I think it's empty.\"\n\n> You ask Ignatius about Drogo\n\"He was so docile when I cared for him in the infirmary. Now, he's different. Darker.\"\n\n> You ask Ignatius about the food\n\"You might try the kitchen.\"\n\n> You ask Ignatius about the wolves\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\n> You ask Ignatius about the cat\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You ask Ignatius about the plague\n\"God is upset. Europe is falling. This plague is his curse,\" he drones in a peculiar, monotonous voice.\n\n> You ask Ignatius about God\n\"He watches, unblinking,\" while Ignatius's eye twitches.\n\n> You ask Ignatius about praying\n\"What do you pray for, Brother?\" You ask.\n\n\"That we might live till spring, father.\" He pauses. \"We are running very low on food.\"\n\n> You show the cheese to Ignatius\nBrother Ignatius is unimpressed.\n\n> You ask Ignatius about Satan\n\"He is everywhere. The world is his dancing grounds.\"\n\n> You ask Ignatius about the plague\n\"God is upset. Europe is falling. This plague is his curse,\" he drones in a peculiar, monotonous voice.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask Ignatius about the europe\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You touch the cross\nIt feels rough on your fingers.\n\n> You look at the water\nThe water is clear and clean: it sparkles in the candlelight and dances with your breath.\n\n> You take the cut\nThat seems to be a part of the (misc_shadow).\n\n> You take the water\nThe water tastes sweet as it slides its way into your belly.\n\n> You touch the water\nIt is cool: not the harsh cool of everything else in this place, but rather a peaceful chill.\n\n> You check your inventory\nYou are carrying:\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\nsome food\na coin\nsome bedding\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You ask Ignatius about the eye\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\n> You ask Ignatius about the candles\n\"They are beautiful, are they not?\" You ask, gesturing at the flickering lights.\n\n\"Truly, it is the face of God.\" He replies, not moving his eye for an instant.\n\n> You blow out the candle\nBest not.\n\nAn itch tickles beneath your skin.\n\n> You show the arm to Ignatius\n(first taking the cut)\nThat seems to be a part of the (misc_shadow).\n\n> You ask Ignatius about the infirmary\n\"There are still a few survivors,\" he shakes his head, \"But they are fading fast: probably won't last the night.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> Go north\nChurch (on the chancel)\nYou have spent many a solemn Mass up here, gazing out unto a sea of your brethren. Now, all you see is a sea of empty pews to the south.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nA beautiful glass case holds the body of Saint Cuthbert near the base of the chancel.\n\nThe lectern stands in the centre of the chancel, the Bible atop it shining with gold filigree.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\n> You examine the body\nHe is so calm: so serene. His body is unblemished by the centuries that have passed. Truly, he is incorruptible. He even smells divine, as though flowers were growing beneath him.\n\n> Smell body\nSweet like flowers or incense.\n\n> You examine the glass\nWhich do you mean, Saint Cuthbert or the Saints?\n\n> Open case\nIt is fused glass with no hinges. You would have to break it.\n\n> You examine Bible\nAh, the Bible. How many times has it been there for you? When your heart is heavy, you often come to read it, and reflect upon its wisdom. Now, though, you find it intruding upon your thoughts during the most mundane of tasks. Passages spring to you unbidden: filling your ears with the words of God. Filling your mind with... What? It is currently open to Ecclesiastes 9:3.\n\n> You read Bible\nEcclesiastes 9:3\n\n\"This is an evil among all things that are done under the sun, that there is one event unto all: yea, also the heart of the sons of men is full of evil, and madness is in their heart while they live, and after that they go to the dead.\"\n\n> You look at lectern\nThe lectern stands with more strength and confidence than you do of late. Its support of the Bible unwaivering.\n\n> You burn Bible\nIt does not light. The dampness spoils everything here.\n\n> You break cuthbert\nThe slam of your fist shatters the glass, sending it cascading over the Saint's body.\n\n> You examine the body\nHe is so calm: so serene. His body is unblemished by the centuries that have passed. Truly, he is incorruptible. He even smells divine, as though flowers were growing beneath him.\n\n> You eat the body\nYou dig your teeth into his flesh. It yields like butter, but it burns. Burns your teeth. Burns your throat. It settles in your stomach and burns there too.\n\nAn itch tickles beneath your skin.\n\n> You take the cuthbert's glass\nYou are too weak."
    },
    {
        "text": "[Themes: Historical, Religious, moral choice, Christianity, Middle Ages, religion, plague, bible, monastery, monk]\n\n> Look around\nChurch (on the chancel)\nYou have spent many a solemn Mass up here, gazing out unto a sea of your brethren. Now, all you see is a sea of empty pews to the south.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nSaint Cuthbert lies in a bed of broken glass.\n\nThe lectern stands in the centre of the chancel, the Bible atop it shining with gold filigree.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\n> Go south\nChurch (in the pews)\nCedar pews line the path from the chancel in the north to the cloister to the south, their surfaces cold. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> You ask Ignatius about Cuthbert\n\"So pure. We truly are blessed to have him here.\"\n\n> Go south\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs open, as poor as the people it is meant to help.\n\nAs you enter the hall, you hear a feeble rasping at the southern door.\n\n\"Please, help me. Is anyone in there?\" A faint voice calls over the wind.\n\n\"Please, I have traveled for days. Rovato is a graveyard. The rats have eaten everything.\"\n\n> You close alms\n(the alms box)\nYou close the alms box.\n\n\"Please. It is so cold.\"\n\n> You open the door\nPushing the bar out of the way, you open the door, allowing a frail figure and a drift of snow to spill into the hall.\n\nBefore you, fingers bloody and face as pale as the snow it lies in, is a young woman. Her clothing is little more than tatters with stains of blood from where her hands were resting.\n\n\"Please,\" she gasps, raising herself up for a moment. \"I am so cold.\" With that, she returns her face to the icy ground.\n\n> You give blanket to the girl\nHer slumber is too deep.\n\n> You put the blanket on girl\nPerhaps if you get her somewhere more comfortable first.\n\n> You take the girl\nWith more than a little trouble, you hoist the girl into your arms. Your knees feel as though they might buckle but hold for now.\n\n> You look at the woman\nFor all her cuts and tattered clothes, she is still exceedingly beautiful. Her skin, while pale, is unblemished. In fact, no sign of the plague can be seen within her at all. She is perfection.\n\n> Kiss woman\nYour knees are beginning to buckle. You had better do something with her before trying anything else.\n\nA gust of wind slices across your ears. You shiver."
    },
    {
        "text": "[Themes: Religious, Historical, bible, horror, Christianity, monastery, moral choice]\n\n> You look at your surroundings\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\n> You go to the west\nYou turn sideways and slide into the locutory, careful not to catch the young woman's head on the frame.\n\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\n> You put the girl on bed\nYou lay the young girl on the bed, and she immediately relaxes. Her eyes remain closed but no longer twitch with discomfort.\n\n> You put the blanket on girl\nYou drape your bedding over the girl, and she seems to calm down a bit.\n\n> You ask girl about plague\nShe sleeps; she cannot hear.\n\n> Smell girl\nSweet. Delicious.\n\nTempting.\n\n> Kiss girl\nYou kiss her gently. She is soft. So soft. She tastes good.\n\n> You examine the eyes\nWhich do you mean, Ignatius's eye, Matteo's eyes, Lucca's eyes or Constantin's eyes?"
    },
    {
        "text": "[Themes: Religious, Historical, monastery, Christianity, Middle Ages, monk]\n\n> Describe the surroundings\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\nThe girl sleeps upon the bed, turning fitfully every now and then.\n\n> You examine the tinderbox\nA small box containing some flint, steel, and tinder. You always keep it close should your candle be snuffed by the wind.\n\n> Go outside\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\n> You go to the south\nThe last hint of shelter against the outside world. But it is only a hint. The wind rushes by like a stream of ice water to the south: only the curve of the arch protects you. The warmth, for as much as it can be called that, of the monastery awaits to the north and the cold of outside to the south.\n\n> You examine the arch\nThe tapered blocks fit together in a crooked fashion; they seem as though they could slip at a moment's notice. Still, the archways shields you from the wind.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You go south\nThe wind gusts at your candle and bites at your feet. To venture out in the darkness would be suicide.\n\n> You close the door\nYou close the outside door.\n\n> Go east\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the side other is your bed.\n\n> You enter the bed\nYou get onto the bed.\n\n> Sleep\nYou're not tired yet. At least, not tired enough for bed.\n\n> Keep going\nWith as much effort as it took to move the desk in the first place, you slide it back against the wall. You're getting too old for this. Beads of sweat pooling into your eyebrows, you heave the desk towards the door. A few of your joints crack a bit, but you manage to move the desk.\nWith as much effort as it took to move the desk in the first place, you slide it back against the wall. You're getting too old for this. Beads of sweat pooling into your eyebrows, you heave the desk towards the door. A few of your joints crack a bit, but you manage to move the desk.\nWith as much effort as it took to move the desk in the first place, you slide it back against the wall. You're getting too old for this. Beads of sweat pooling into your eyebrows, you heave the desk towards the door. A few of your joints crack a bit, but you manage to move the desk.\nWith as much effort as it took to move the desk in the first place, you slide it back against the wall. You're getting too old for this.\n\n> You go to the west\n(opening the bedroom door)\nYou'll have to get off the bed first.\n\n> You get up\nYou get off the bed.\n\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the side other is your bed.\n\n> Go outside\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You tell Ignatius about the girl\n\"Listen to her, she will save us all.\"\n\nA gust of wind slices across your ears. You shiver.\n\n> You ask Ignatius about the girl\n\"Listen to her, she will save us all.\"\n\n> You ask Ignatius about the salvation\n\"Shhh, father.\" He holds a finger to his lips. \"I am trying to pray.\"\n\n> You pray for the girl\nShe isn't here: in body, at least.\n\n> You pray for Ignatius\nYou say a few hollow words. They dry and crumble in your mouth.\n\n> You examine Saints\nFinely wrought stained glass windows line the vaulted ceiling of the church, their frames holding within them the images of Saints Francis of Assisi, Medard of Noyon, Drausinus, and Cuthbert.\n\nAn itch tickles beneath your skin.\n\n> You pray to the mary\nShe is warm. Her embrace fills you with joy.\n\n> Sing\nYour days in the choir are long behind you.\n\n> You take the candles\nYou already have your own.\n\n> You look at the pews\nTheir cedar frames are worn with the weight of many Masses upon them. You have spent so much time on them of late that you barely feel their roughness any more.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You sit\n(on top of the pews)\nYou get onto the pews.\n\n> You stand\nYou get off the pews.\n\nChurch (in the pews)\nCedar pews line the path from the chancel in the north to the cloister to the south, their surfaces cold. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe Saints smile cheerfully down upon you from their colorful windows.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> You tell Drogo about the girl\n\"I do so love visitors!\" he squeals.\n\n> You cut vines\nCutting those up would achieve little.\n\nA gust of wind slices across your ears. You shiver.\n\n> You search vines\nYou find nothing of interest.\n\nWhispers dance in your ears. Growing. Fading.\n\n> Go south\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\n> Go west\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\nThe girl sleeps upon the bed, turning fitfully every now and then.\n\n> Light fire\nAfter much coaxing, you finally get the wet logs to ignite. The flame is weak, but it will do.\n\nThe warmth is finally enough for her to stir.\n\n\"Food,\" she says. \"Please.\"\n\nWith that, she passes back into slumber.\n\n> You give the food to the girl\n\"Here,\" you say, holding out the food. \"I have brought you something to eat.\"\n\nFinally, the girl stirs awake and quickly grabs the food from your hands. \"Thank you,\" she says as she shoves the food into her mouth. Within moments, the few crumbs you had given her are gone, and she finally seems content.\n\n> You talk to girl\nShe starts slowly.\n\n\"Thank you for your kindness, father.\" She starts, extending her hand for the pax. \"My name is Cec--\" Just then, her words are cut off by the sound of a bell ringing in the distance. Her eyes widen and the blood drains from her cheeks.\n\n\"There's nothing to be afraid of,\" you say, taking her hand gently. \"It is only the bell of Compline.\"\n\n\"That is why I am afraid.\" Her chin drops to her chest.\n\n> You ask the girl about bell\n\"Go now, we will talk soon,\" she replies through heavy tears.\n\nThe bell continues its toll. Four. Five. Six... In place of the seventh ring is a scream. A scream that rips in from the cloister and silences the wind.\n\nThe girl places her head in her hands with a slight sob. \"I am sorry, Father.\" Then, turning. \"And to you too.\"\n\n> You talk to girl\n\"What do you mean?\" you ask.\n\nThe girl turns her tear-stained eyes to you. \"You'll see,\"\n\n> Go north\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\n\"Oh, my God!\" You hear someone cry from the northeast. \"Matteo!\"\n\n> Go northeast\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo lies upon the ground, blood trickling from the side of his head. Lucca kneels by his side.\n\nThe remaining brothers are gathered around the body, shouting.\n\nDrogo jumps up and down, rubbing his hands with glee. \"It begins,\" he squeals to you through a wide grin.\n\nA rather violent cough shakes your body. Mucus cakes your nose.\n\n> Punch drogo\nYou are too weak.\n\nConstantin strides forward and smacks Lucca across the face, sending him sprawling into the snow. \"Get away from him, murderer!\" He shouts, eyes burning.\n\n\"Constantin!\" Ignatius shouts defiantly, stepping between the two. Although Constantin towers above him, Ignatius looks taller than you have ever seen him. \"Leave the boy alone.\"\n\nDrogo giggles.\n\n> You look at Matteo\nHe looks so calm. Tiny snowflakes trace the creases in his face, lingering longer and longer as time passes. His mouth fills with snow.\n\n\"But he is a murderer!\" Constantin replies, stepping back, face flushed.\n\n\"I know that as well as you. But that does not excuse you from God's wishes.\"\n\n> You talk to Lucca\n\"I'm sorry, I'm sorry,\" is his only reply.\n\n\"We will lock him up in the cellar, then the father can decide what to do with him.\" Ignatius continues.\n\nConstantin chews his lip, releasing a tiny drop of blood. \"No, the cellar will not do. We will lock him in the calefactory.\"\n\n\"Fine, fine. As you wish.\"\n\n> You talk to Constantin\n\"Shut up, father,\" he barks. For a moment he seems about to apologize, but he doesn't.\n\nWith that, Constantin hoists Lucca by the shoulders and shoves him towards the calefactory.\n\nIgnatius turns towards you and says. \"You should get some sleep, father. We all should. You can get to the bottom of all this in the morning.\" He turns and walks towards the dormitory."
    },
    {
        "text": "[Themes: Historical, Religious, bible, horror, moral choice, plague]\n\n> Look around\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo's corpse lies upon the ground, the blood freezing to his face.\n\nDrogo grins at you.\n\nDrogo grins at you. \"Oh, the fun we'll have!\"\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You talk to Drogo\n\"Why do they think Lucca did it?\" You ask.\n\n\"Because he did.\" He replies, confused. \"Why else would one think such a thing?\"\n\n\"I mean, how do they know he did it.\"\n\n\"Oh, well that isn't what you asked, now is it, father?\" He continues. \"Well, when we got here, Brother Lucca was already here saying 'I'm sorry, I'm sorry.'\"\n\n> You talk to Matteo\nSilence.\n\n> Pray\n(to God)\nNothing. You cannot feel him.\n\nThe day is beginning to catch up with you. You yawn with a lot more force than you would have thought necessary.\n\n> You ask Drogo about yourself\n\"You're wonderful,\" Drogo squeals, embracing you. \"If only we were all so old and lumpy!\"\n\n> You ask Drogo about Satan\n\"They say he is everywhere...\" his voice drops and his eyes widen in terror at something behind you. You whirl around. Nothing.\n\n\"Just having a little fun with you, father.\" He laughs.\n\n> You take the body\nMatteo was a large man. You cannot move him.\n\n> You ask Drogo about Matteo\n\"What happened, Drogo?\" You ask.\n\n\"Well, the way I see it is that Matteo wanted to fly, but God said 'No, Matteo. Flying is for birds. You are not a bird, and shouldn't wish to be.'\" Drogo starts. \"Matteo was not happy with that --you know how he can be sometimes-- but he thought God would be mad if he tried to fly on his own. So Lucca helped him.\"\n\n> You ask Drogo about Lucca\n\"Lucky Lucca!\" Drogo exclaims. \"He gets the heat, and we get the cold. Maybe I should murder someone too!\" He grins, but not as laughingly as you would hope."
    },
    {
        "text": "[Themes: Religious, Historical, moral choice, Christianity, plague, horror]\n\n> You describe your surroundings\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo's corpse lies upon the ground, the blood freezing to his face.\n\nDrogo grins at you.\n\n> You pray for Drogo\nYou say a few hollow words. They dry and crumble in your mouth.\n\n> You go southwest\n\"Sweet dreams, father!\" Drogo calls out to you as he disappears into the black.\n\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\n> About yourself\nYou're not the man you were a few days ago. Your skin hangs as sallow drapes around your jaw: your hands are emaciated. Your frock billows about you; it is difficult to find any flesh within. A scratch lines your arm from wrist to elbow; it is only a strip of dried blood now.\n\nRunning your hand across your neck, you find a small lump hidden within the folds of skin. It is tender.\n\n> You look at the lump\nThere is nothing you can do with it. It is a part of you.\n\n> Go northeast\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo's corpse lies upon the ground, the blood freezing to his face.\n\n> Up\nPanting more than a little, you make your way up the stairs to the top.\n\nYou are sure that other things exist, but for now all there is is Matteo lying on the ground below. From here, he could easily be alive. He smiles at you.\n\nNo, not a smile: a sneer. He is laughing at you. Laughing because you are still trapped. He was always laughing.\n\nThe bell sways in the breeze, its tongue almost, but never, touching the sides.\n\n> You ring bell\n(the bell)\nThe bell clangs and stings your ears.\n\n> You look at the note\nWritten in a slothful scrawl:\n\nI would normally write in my journal, but in my increasing paranoia, I have hidden it. Now, I kick myself as it seems so far away. Everything is so far away: such a burden. Lucca has been pestering me to tell him what I know, but I can't. It burdens me so; I cannot do that to someone so pure.\n\nI can take it no more. I don't care if I burn for eternity, I must leave this place. The Devil walks Saint Cuthbert's in the hearts and minds of my brothers: in me.\n\nI'm sorry, Lucca.\n\n> You take the note\nYou already have that.\n\n> Go southwest\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\n> You go to the north\nChurch (in the pews)\nUncomfortable looking pews part before you, leading up to the chancel in the north. High above, dipping in and out of shadow, is the ceiling: the frescoes dance in the flicker of candlelight.\n\nShrinking into the back of the chancel is a wooden cross. It does not tower, only sit.\n\nThe Saints smile sadly at you from their glass houses.\n\nThe font slouches towards the base of the chancel.\n\n> You examine the font\nThe bronze is dim: hints of green and grey creep from the water and slide to the base.\n\n> You examine the cross\nThe cross stands tall upon the chancel.\n\n> You go north\nChurch (on the chancel)\nYou have spent many a solemn Mass up here, gazing out unto a sea of your brethren. Now, all you see is a sea of empty pews to the south.\n\nShrinking into the back of the chancel is a wooden cross. It does not tower, only sit.\n\nThe Saints smile sadly at you from their glass houses.\n\nA dry, dusty case holds Saint Cuthbert's corpse. The dust sticks to your damp skin, and the smell dries your nose.\n\nThe lectern sits with the Bible atop it. The Bible sinks away from your eyes.\n\n> You read Bible\nEcclesiastes 9:3\n\n\"This is an evil among all things that are done under the sun, that there is one event unto all: yea, also the heart of the sons of men is full of evil, and madness is in their heart while they live, and after that they go to the dead.\"\n\n> You take Bible\nIt is bolted, by chain, to the lectern.\n\n> You look at the chain\nThat holds little interest for you.\n\n> Go south\nChurch (in the pews)\nUncomfortable looking pews part before you, leading up to the chancel in the north. High above, dipping in and out of shadow, is the ceiling: the frescoes dance in the flicker of candlelight.\n\nShrinking into the back of the chancel is a wooden cross. It does not tower, only sit.\n\nThe Saints smile sadly at you from their glass houses.\n\nThe font slouches towards the base of the chancel.\n\n> Go south\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\n> You go east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\n> Go north\nIgnatius's room does not smell as strongly as the others. He has spent so much time in the infirmary of late, taking care of the sick. He is a braver man than you. A bed is pushed up against one wall, opposite the door to the south.\n\nIgnatius sits upon his bed, preparing to go to sleep.\n\n> You talk to Ignatius\n\"Do you believe that Lucca did it?\" you ask.\n\n\"I don't know,\" he replies calmly. \"But it's best to be safe. I never would have thought Lucca could've had it in him, but these trying times make demons of us all.\" He glances at you pointedly.\n\n> You show the note to Ignatius\nBetter keep this to yourself.\n\n> You ask Ignatius about the demons\n\"I am busy right now, father.\" He replies abruptly.\n\n> You talk to Ignatius\n\"What do you mean?\"\n\nHe thinks for a moment, and looks to the ceiling. \"It's just that in these times we can sometimes find ourselves doing things we never thought we had in us.\"\n\n> You talk to Ignatius\n\"Like what?\"\n\nHis shoulders tighten. \"If it's all the same to you, father,\" he says, straightening out his bed. \"I think I would like to get some sleep.\"\n\n> You talk to Ignatius\n\"If it's all the same to you, father,\" he says, straightening out his bed. \"I think I would like to get some sleep.\"\n\n> You go to the south\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\n> You go south\nIt's not like you saw Matteo in here much; he was always in the tower. Still, it feels empty knowing he's gone. North leads out.\n\nOne of the flagstones is tinted with blood.\n\n> You examine the blood\nThe stone looks the same as them all, except for the liberal amounts of blood drying in to the cracks.\n\n> Go north\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nAn itch tickles beneath your skin.\n\n> You go to the northeast\nHe seems to have made himself right at home. The room smells of animals and sweat; scratches adorn the bed and lead out the door to the southwest.\n\n> You go southeast\nConstantin is one of the few brothers with anything in his room besides a bed. A smell lingers here: a sour smell.\n\nConstantin goes about preparing himself for bed.\n\nA skinned rabbit sits on the floor, its muscles shimmering in the light.\n\n> You examine the rabbit\nSinews and muscles bound together in a shining lump.\n\n> You talk to Constantin\n\"Do you really believe that Lucca could have done it?\" you ask.\n\n\"Of course I do,\" he says angrily, the rage returning to his eyes. \"We found him next to the body, mumbling 'I'm sorry, I'm sorry,' over and over again.\"\n\n> You talk to Constantin\n\"But it's Lucca,\" you retort.\n\n\"I know that!\" he snarls. \"But he's different now. He must have snapped under all of this.\"\n\n> You talk to Constantin\n\"Get out, father,\" he growls, \"I want to sleep.\"\n\n> You talk to Constantin\n\"Get out, father,\" he growls, \"I want to sleep.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You go to the northwest\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\n> You go southwest\nThis room is small: the same as all the others. A bed is pushed up against one wall, opposite the door to the northeast.\n\n> You go to the south-east\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\nYou can hear Lucca gibber softly beyond the door.\n\n> You talk to Lucca\n\"About the murder, Lucca...\" you ask.\n\n\"What murder?\"\n\n> You talk to Lucca\n\"You remember, Lucca; Matteo was thrown from the tower.\"\n\n\"No he wasn't.\" Lucca responds, incredulous. \"He must have jumped.\"\n\n> You talk to Lucca\n\"Why did Matteo jump?\" You ask.\n\nA long, heavy silence. \"Because he was smart.\"\n\n> You talk to Lucca\n\"Why was Matteo smart to jump?\"\n\n\"Because he knew what was happening here, at Saint Cuthbert's.\"\n\n> You talk to Lucca\n\"What did he know was happening?\"\n\nLucca chuckles. \"Well if I knew that, I probably would have jumped too.\"\n\nA rather violent cough shakes your body. Mucus cakes your nose.\n\n> You talk to Lucca\n\"Please, father,\" he sighs. \"I just want to be alone.\"\n\n> You go to the southeast\n(opening the calefactory door)\nConstantin has put a lock on the door. It is sturdy.\n\n> You go northwest\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\nAn itch tickles beneath your skin.\n\n> Go west\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\n> You go south\nThe dead don't eat, or so you've been told. Still, the kitchen is practically empty. Bare tables stand with no crumbs on them, and a hatch through the floor leads to the cellar. The refectory lies to the north.\n\nA cutlery rack sits on one of the tables.\n\nA bare cupboard sits up against the wall.\n\nA rather violent cough shakes your body. Mucus cakes your nose.\n\n> You go to the west\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nThe girl sobs gently, head in her hands.\n\n> You talk to the girl\n\"How did you know that that would happen? Who are you? Why did you come?\" The questions come faster than the words.\n\n\"Calm down, father,\" she says, laying a hand on your wrist. It warms to the touch and spreads life and joy and peace through your body. \"I am here to help. My name is Cecilia\"\n\n> You show the arm to the girl\n(first taking the cut)\nThat seems to be a part of the (misc_shadow).\n\n> You show note to the girl\nBetter keep this to yourself.\n\n> You talk to the girl\n\"God sent me, but I am weak. My strength depends on the faithful, and your brethren have lost their way. Even now they conspire against you. And me.\" She casts a frightened glance towards the door.\n\n\"Please pray to me, father, when you go to bed. I need your strength in the midst of this wickedness.\"\n\nA rather violent cough shakes your body. Mucus cakes your nose.\n\n> Fb20\nEnter saved game to store: Ok.\n\n> You pray to Cecilia\nYou can talk directly to her.\n\n> You talk to the girl\n\"Go now, father,\" she says, turning over in your blanket. \"Sleep.\" She casts once last look at you before closing her eyes. \"But be careful, there are many that intend you harm here.\"\n\n> Go east\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\nA rather violent cough shakes your body. Mucus cakes your nose.\n\n> Go east\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nPushed up against the wall on one side is the desk, its surface sagging slightly in the middle. The dampness is taking its toll.\n\nYour bed calls to you from the side of the room. Her song is sweet, but it sings of treachery.\n\n> Pray\n(to God)\nNothing. You cannot feel him.\n\n> You pray for the girl\nShe isn't here: in body, at least.\n\n> You pray to the girl\nThe moment the words cross your lips, a soft glow spreads throughout the room.\n\n\"I am here, father. Thank you for your strength; it helps me. But be careful, there are many who intend you harm here. Sleep wisely, father. We will speak in the morning.\"\n\nHer words drift off into the night, and you feel alone once more.\n\n> Sleep\nYou lay your head down on the cold, hard bed and drift off to sleep faster than you expected.\n\nA few hours later, you are awoken by a strange scuffling sound outside.\n\n> You open the door\nThe moment you remove the desk's weight from the door, the door flies open, and a cowled figure leaps into the room. Although it is dark, you can see the glinting of the knife more clearly than anything you have ever seen. Fitting, as it is the last thing you do see before it slides across your throat.\n\n> You listen\nIt sounds as through someone is trying force your door open quietly. The desk holds them back.\n\n> You hide under bed\nYou hide beneath your bed, and pray to see morning's light.\n\n> You listen\nReturning to your cold bed, you sleep until morning.\n\nYou awake to the sound of a sharp pounding at your door.\n\n\"Father!\" Constantin's growl is clear. \"Wake up, Lucca has escaped!\"\n\nMorning light streams through the window, but it is a cold, heavy light.\n\n> You open the door\nConstantin waits impatiently for you in the hall.\n\n\"Hurry up, father!\" Another knock.\n\n> You examine Constantin\nHe's in the hall.\n\n> You go outside\n(opening the bedroom door)\n\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nConstantin stands impatiently, face flushed.\n\nCecilia watches from her doorway.\n\nThe alms box hangs closed beside the door.\n\n\"It's about time. Come with me.\" He grumbles as he stomps off to the cloister.\n\n> You talk to Cecilia\n\"Lucca didn't escape,\" she whispers to you. Her breath is soft on your ear.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You talk to Cecilia\n\"No, go with Constantin,\" she says, returning to the locutory. \"I will tell you soon enough.\"\n\n> You go north\nThe sun shines in the east, but the cloister is dim. There was no snow last night, but it remains high. It is dirty and soaks up what little light makes it here.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church cowers away from the sun. Her sins, like all sins, are revealed by the light of day.\n\n> Go southeast\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\n\"See,\" he shouts, pointing aggressively to a gaping hole where the lock used to be. \"The bastard kicked it out from inside.\"\n\n> You examine the hole\nThe broken boards are smashed inwards and there are no splinters on this side. A slight hint of red sparkles on the wood.\n\nConstantin starts mumbling curses under his breath as he pulls some tools from his belt and begins repairing the door.\n\n> You talk to Constantin about the hole\n\"I'm trying to work,\" he growls.\n\n> You talk to Constantin\n\"What makes you think he escaped?\" you ask, running your hand over the door.\n\n\"Because the door's broken, you idiot!\" he shouts, his face burning. \"No one else would want that murderer walking Saint Cuthbert's.\"\n\n> You talk to Constantin\n\"But...\" you try.\n\n\"Just shut up, father, and leave me to my work.\"\n\n> You examine the tools\nA hammer. Some nails. Constantin usually carries them everywhere.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You examine the door\nThe broken boards are smashed inwards and there are no splinters on this side. A slight hint of red sparkles on the wood.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> You examine the blood\nThe broken boards are smashed inwards and there are no splinters on this side. A slight hint of red sparkles on the wood.\n\n> You open the door\nThe door is jammed and broken now; it does not open.\n\n> You examine the hammer\nA hammer. Some nails. Constantin usually carries them everywhere.\n\n> You take the hammer\nConstantin strikes your hand, hard, with the hammer. \"Touch them again, and it will be your head,\" he growls without even glancing towards you.\n\n> You take the hammer\nBefore you can react, Constantin slams the hammer into the side of your skull. A crack. A few stars. A gibbered apology and hot breath in your mouth.\n\nThen darkness.\n\n> You look through the hole\nLooking through the hole, you can see little."
    },
    {
        "text": "[Themes: Historical, Religious, religion, Christianity, monastery, moral choice, Middle Ages]\n\n> Describe the surroundings\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\nConstantin goes about repairing the door, hands moving swiftly.\n\n> You ask Constantin about the cellar\n\"What?\" he startles. \"I'll get around to taking the lock off. There's no food left down there anyway.\" His eyes darken as they meet yours. \"There's no reason to go down there anymore.\"\n\n> You check your inventory\nYou are carrying:\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You show hare to Constantin\nConstantin is unimpressed.\n\n> You eat the hare\nThe blood is still warm. It stains your lips and soothes your hunger.\n\n> Go northwest\nThe sun shines in the east, but the cloister is dim. There was no snow last night, but it remains high. It is dirty and soaks up what little light makes it here.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church cowers away from the sun. Her sins, like all sins, are revealed by the light of day.\n\nYou see Drogo strolling past to the south before he catches sight of you and waves.\n\n\"Father!\" Drogo squeals, skipping towards you. \"I was just about to come find you. You must come with me! It is so beautiful!\" He says, grabbing you by the arm and tugging you towards the church."
    },
    {
        "text": "[Themes: Religious, Historical, Middle Ages, monk, bible, plague]\n\n> Look around\nThe sun shines in the east, but the cloister is dim. There was no snow last night, but it remains high. It is dirty and soaks up what little light makes it here.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church cowers away from the sun. Her sins, like all sins, are revealed by the light of day.\n\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nDrogo grins widely as he drags you up to the chancel.\n\n\"Come, father.\" His eyes glow with childlike enthusiasm, but his grip is of steel. \"We are almost there!\"\n\nSomething is different at the far end of the chancel. Is it?\n\nGood Lord.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You hit Drogo\nThat would be difficult with Drogo dragging you.\n\nChurch (on the chancel)\nWas your time wasted up here? Was it all for naught? As you look to the empty pews to the south, you wonder how it has helped anyone.\n\nDrogo stands proudly and looks to you for approval, his grin tentative.\n\n\"Look, father!\" he says, dragging you before the cross. \"I made it all by myself.\"\n\nLooking up, you see what Drogo was so excited about. Matteo dangles crucified from the cross, vicious holes in his hands and feet.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You pray to Cecilia\nYou say a few short words to Cecilia.\n\nShe can do nothing for you, right now.\n\n\"Well, father. Isn't it beautiful?\" Drogo stands, gripping your wrist tightly and nodding proudly to himself.\n\n> You look at Matteo\nMatteo's corpse dangles from the cross. The wounds in his head, hands, and feet sparkle with crystals of frozen blood, and his eyes stare through you to nothing.\n\nJesus always looked so beautiful on the cross. Matteo just looks dead.\n\n> You examine Drogo\nHis hair is pasted to his forehead with sweat. His eyes are wild and bloodshot.\n\nDrogo strokes his chin thoughtfully. \"Hmmm. But it needs something.\" He looks confused for a moment, before flinging a hand in the air with a satisfied whistle. \"And I know exactly what!\"\n\nBefore you can move, he sprints out of the church.\n\n> Go south\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\nThe font squats before the chancel, its finish a mouldy grey.\n\n> You examine Saints\nDim stained glass windows block out the light but not the cold. They hold back Saint Francis of Assisi, Medard of Noyon, Drausinus, and Cuthbert.\n\n> You go north\nChurch (on the chancel)\nWas your time wasted up here? Was it all for naught? As you look to the empty pews to the south, you wonder how it has helped anyone.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\nSaint Cuthbert sinks in his tomb, rot creeping in from his extremities.\n\nThe lectern is weak and brittle, barely able to support the weight of the massive tome upon it.\n\n> You examine Cuthbert\nHis skin is blotched and discolored, and his hair drops from a shriveled scalp.\n\n> You look at Bible\nThe Bible's pages are curled and brittle. Splits and cracks creep through the urine-colored pages.\n\n> You read Bible\nYou stare at the pages like you have so many times, but you cannot focus. The words spin and slide away from your eyes.\n\n> Go south\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\nThe font squats before the chancel, its finish a mouldy grey.\n\n> Go south\nThe sun shines in the east, but the cloister is dim. There was no snow last night, but it remains high. It is dirty and soaks up what little light makes it here.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church cowers away from the sun. Her sins, like all sins, are revealed by the light of day.\n\n> You tell Constantin about Matteo\n\"Damn Lucca. He'll burn in Hell for what he did.\"\n\n> You tell Constantin about Drogo\n\"Drogo crucified Matteo.\" Your words are flat, lifeless.\n\n\"Damnit,\" he slams the hammer extra hard, and turns to you. \"Why did you let him out?\" he massages the hammer gently. \"Well, you deal with him, because if he comes around here, I can't guarantee his safety.\"\n\n> Go west\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nCecilia paces back and forth.\n\nA gust of wind slices across your ears. You shiver.\n\n> You talk to Cecilia\nShe closes her eyes. \"I cannot hear much. God's voice is weak in this place. But I know Lucca did not escape. At least, not on his own.\"\n\n> You tell Cecilia about Matteo\n\"He died as he lived, in sin.\"\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You tell Cecilia about Lucca\n\"He did not escape: someone freed him.\"\n\n> You ask Cecilia about yourself\n\"I am here to help you; no one else can.\"\n\nAn itch tickles beneath your skin.\n\n> Go east\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs closed beside the door.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> Go south\n(opening the outside door)\n\nThe last hint of shelter against the outside world. But it is only a hint. The wind rushes by like a stream of ice water to the south: only the curve of the arch protects you. The warmth, for as much as it can be called that, of the monastery awaits to the north and the cold of outside to the south.\n\n> You go to the south\nThe sun's light does nothing to warm you, but instead it burns your eyes with its fury: nothing like the cool darkness inside the monastery to the north. It is so bright that you can barely make out the stables to the east: they are just a darker square in a field of white. The infirmary is a little clearer to the west. A tangle of footsteps lead south to the gate.\n\nA lone white dove flies off into the morning sun.\n\n> Examine dove\nThe dove is gone.\n\n> You examine the footsteps\nThere are two sets: one that goes both in and out, and another that only goes out. Mingled among them is a strange pattern in the snow. It looks as though someone was using two hot pokers as walking sticks, one in each hand. The melted holes cut through the snow, revealing scorch marks on the dead grass beneath.\n\n> Go east\nIn the shadow of the stables, you can make things out a little more clearly. Half-a-dozen empty stalls show the plague's influence: with their caretakers dead, the horses starved. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nA bale of hay sits just slightly more than neck's length from the horses' stalls.\n\n> Smell\nThe sweat of panic is a different kind of sweat. The maddened horses reek of it. The cold has staved off their rot somewhat, but even now, it creeps through the air.\n\n> You examine the horses\nNo. You were wrong. Not all the horses starved. Some tried to escape. The gates are mashed and torn, but none of the horses were strong enough to break out. Their hooves are bloody and raw: their heads soft with bruises.\n\nWait. One still moves. She is sore and thin, but she lives.\n\n> You examine the horse\nThe horse stares at the bale of hay with wild eyes and scrapes at the ground with her hooves.\n\n> Pet horse\nThe horse whips her head at your touch.\n\n> You check your inventory\nYou are carrying:\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You take the eyes\nWhich do you mean, Ignatius's eye, Matteo's eyes, Lucca's eyes or Constantin's eyes?\n\n> You give the hay to the horse\nThe horse hastily starts chomping at the hay. Within moments, the entire bale is gone."
    },
    {
        "text": "[Themes: Religious, Historical, plague, monk]\n\n> You look at your surroundings\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nHer hunger satiated, the horse eyes you skittishly.\n\n> You talk to the horse\nShe whips her head and huffs at you.\n\n> Pet horse\nThe horse whips her head at your touch.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You go up\nGrunting more than a little, you pull yourself up the ladder.\n\nStables (on the roof)\nThe smell is even worse up here. Snow weighs on the roof, causing it to sink in the middle. Sometimes hay is stored up here in the summer: now, the roof barely supports the snow.\n\nHer hunger satiated, the horse eyes you skittishly.\n\n> You look at the horse\nHer hunger satiated, the horse eyes you skittishly.\n\n> You ride the horse\nPerhaps you should get down from the roof first."
    },
    {
        "text": "[Themes: Religious, Historical, Middle Ages, religion, moral choice, monastery, horror]\n\n> You go down\nYou descend the ladder, the roof giving a sigh of relief as you do.\n\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nHer hunger satiated, the horse eyes you skittishly.\n\n> You ride the horse\nYou can't; she is trapped in her stall.\n\n> Open stall\nThe horse eyes you as you open her stall, but makes no move to leave.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> Open stall\nThat's already open.\n\n> You ride the horse\nThe moment you touch her, she goes wild. The last thing you see is a flurry of hooves before you are knocked to the ground and trampled.\n\nWhen they find you, you are little more than a bloody smear in the snow.\n\n> You go to the north-east\nThese gardens used to provide most of the food for the entire monastery. Now, none. A few black stalks poke through the snow, their appearance always perfectly predicted by the rows they were planted in. The wilderness is stronger here: twisted briars block all paths but the one southwest, back to the stables.\n\nDrogo slashes wildly at the briars with a dull machete.\n\nA low chorus of growls rises from the briars, singing with the swing of Drogo's blade.\n\n> You listen\nThe wind. Nothing more.\n\n> You look at the briars\nThe briars tumble over themselves in a frantic race to overtake the garden. They are all winning: the garden is overrun.\n\nFlashes of yellow dart about in the darkness. Eyes.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> You examine the eyes\nThe briars tumble over themselves in a frantic race to overtake the garden. They are all winning: the garden is overrun.\n\nFlashes of yellow dart about in the darkness. Eyes.\n\n> You take the eyes\nA growl is the only response.\n\n> You enter the briars\nOuch! Winter rot has done nothing to dull their thorns.\n\n> Smell\nThe cold flies up your nose like needles: you smell nothing unusual.\n\n> You look at the machete\nIt is dull, but Drogo's fury makes its work easy.\n\n> You talk to Drogo\n\"What are you doing, Drogo?\" You ask, almost afraid of the answer.\n\n\"Matteo needs something else. Something more,\" he says, going back to the briars. \"You'll see. It'll be perfect.\"\n\n> You talk\n(Drogo)\n\"Shhh, father. I need to find the perfect one.\"\n\nWhispers dance in your ears. Growing. Fading.\n\n> You ask Drogo about the wolf\n\"My dear friends. So much better than humans.\"\n\n> You take the machete\n\"No!\" he squeals, drawing back. \"It's mine! All mine!\"\n\n> You throw the hare in the briars\nThose can't contain things.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> Pet Drogo\nThat wouldn't do any good.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You kill the wolf\nThey burn with passion. No, desperation.\n\nA growl is the only response.\n\n> You eat the wolf\nA growl is the only response.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You check your inventory\nYou are carrying:\nDrogo's eyes\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)\n\n> You examine the stalks\nOnce upon a time, this was food. Now the rot has taken its hold.\n\n> You take the stalks\nThe blackened stalk crumbles in your hand.\n\n> You examine the briars\nThe briars tumble over themselves in a frantic race to overtake the garden. They are all winning: the garden is overrun.\n\nFlashes of yellow dart about in the darkness. Eyes.\n\n> You talk to Drogo\n\"Shhh, father. I need to find the perfect one.\"\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You talk to Drogo\n\"Shhh, father. I need to find the perfect one.\"\n\n> Go southwest\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nHer hunger satiated, the horse eyes you skittishly.\n\n> You go west\nThe sun's light does nothing to warm you, but instead it burns your eyes with its fury: nothing like the cool darkness inside the monastery to the north. It is so bright that you can barely make out the stables to the east: they are just a darker square in a field of white. The infirmary is a little clearer to the west. A tangle of footsteps lead south to the gate.\n\n> Go south\nLightning has torn through the gate, leaving only dark, broken rocks in its place. Black scorch marks twist their way through the rubble: stone crumbs are all that remain in some places. The snow is caked in soot: usually it would be lined with many footsteps, now only a few disturb the inky darkness. The snow covered path winds its way back north to the monastery and south towards Rovato.\n\nA series of strange mounds line the southern side of where the gate used to be.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You examine the gate\nIt is only a heap of stones now.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You examine the mounds\nThey are misshapen: uneven. You cannot tell what they are beneath the snow.\n\n> You dig the mound\nShoveling through the snow with frostbitten hands, you eventually strike a rock.\n\nNo. Not a rock. You push back the rest of the snow to uncover the icy, stone-hard face of a young woman. She has only two colors: black and white. Plague colors.\n\nAn itch tickles beneath your skin.\n\n> You examine the woman\nDozens of bodies line the wall: the villagers of Rovato.\n\n> You take the woman\nThe bodies are frozen together in a heap of flesh and ice."
    },
    {
        "text": "[Themes: Religious, Historical, Christianity, monk, religion]\n\n> You describe your surroundings\nBroken stone and snow are all that remain here. A north-south path with but a few footsteps can be picked out through the rubble leading from the monastery towards Rovato.\n\nA tangled mass of corpses lines the southern side of the former gate.\n\n> You look at the footsteps\nThere are two sets: one that goes both in and out, and another that only goes out. Mingled among them is a strange pattern in the snow. It looks as though someone was using two hot pokers as walking sticks, one in each hand. The melted holes cut through the snow, revealing scorch marks on the dead grass beneath.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> Go south\nThe fallen snow is too thick. You would not make it far on foot.\n\n> Go north\nThe sun's light does nothing to warm you, but instead it burns your eyes with its fury: nothing like the cool darkness inside the monastery to the north. It is so bright that you can barely make out the stables to the east: they are just a darker square in a field of white. The infirmary is a little clearer to the west. A tangle of footsteps lead south to the gate.\n\n> Go west\nThe infirmary stands well away from the rest of the monastery. Little good it has done, though. The plague still seeped its way in. A rickety door leads into the infirmary, and a well-worn path leads to the cemetery in the northwest and back to the main path in the east.\n\n> You go inside\n(opening the infirmary door)\n\nThe smell is bad, although not as bad as you had expected it to be: Constantin must be keeping up with dealing with the dead. Empty, vomit-stained beds lie haphazardly about the room. Buckets overflow with human filth: the plague soon overtook those caring for the sick. The air is heavy with disease.\n\nAn itch tickles beneath your skin.\n\n> Smell\nBlood, vomit, and feces: the Trinity of the plague.\n\n> You look at the buckets\nVomit and human filth rise over the sides of the buckets and spill to the floor. The smell is unimaginable.\n\n> You take bucket\nNo, they are disgusting.\n\n> You go to the northwest\nThe wind whips its way through the tombstones, whistling a harsh tune. The air is crisp and clean, the smell of corpses is nowhere to be found. In a section off from the established cemetary, row upon row of makeshift crosses stand: plague victims. The path winds its way back to the infirmary in the southeast.\n\n> You examine the tombstones\nThe inscriptions have long since worn away from the elements: dozens of nameless souls lie beneath.\n\n> Dig\nYou tear into the snow with your hands, struggling to hold onto your fingers in the cold. Eventually, you strike the soil. Clearing a little patch, you find the soil undisturbed. You try another hole. Same thing. Nothing has disturbed the ground in quite some time.\n\n> You look at the crosses\nLittle more than two branches tied together, each of the crosses bears a faint scratch: the name of the brother that lies beneath. The scratches are so faint and Constantin's scrawl so shaky that they are illegible.\n\n> You go inside\nThe smell is bad, although not as bad as you had expected it to be: Constantin must be keeping up with dealing with the dead. Empty, vomit-stained beds lie haphazardly about the room. Buckets overflow with human filth: the plague soon overtook those caring for the sick. The air is heavy with disease.\n\n> You look at the beds\nThe beds lay strewn about the room. Far more are packed in here than usual. Most of the brothers were brought with their own beds from the dormitory. Soon, the infirmary housed as many as the dormitory. The patterns of vomit are grotesque outlines of human bodies.\n\nWithin some of the outlines of vomit, you see strange, brownish-red marks.\n\n> You look at marks\nLooking closely, you recognize the telltale patina of dried blood.\n\n> You take the blood\nThey're hardly portable.\n\n> Go outside\nThe infirmary stands well away from the rest of the monastery. Little good it has done, though. The plague still seeped its way in. A rickety door leads into the infirmary, and a well-worn path leads to the cemetery in the northwest and back to the main path in the east.\n\n> You examine the door\nThe door creaks on its hinges as it sways back and forth in a draft.\n\n> You go to the west\nBefore you leave, you close the entrance door lest the snow, or worse, get in.\n\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nCecilia paces back and forth.\n\n> You take the cecilia's eyes\n\"Go, find Lucca,\" she says, pointing to the door. \"If you are in trouble, pray to me. I will do whatever I can to help.\"\n\nTaken.\n\n> You look at the cecilia's eyes\nBlue. Like icewater.\n\n> You pray to Cecilia\nYou say a few short words to Cecilia.\n\nShe can do nothing for you, right now.\n\n> You go to the north\nYou can go only south, east, in or out.\n\n> You examine the scratchings\nAt first it looks random, but upon closer inspection it appears to a picture. It cuts deep: two intersecting lines surrounded by jagged grooves. A cross. Fire.\n\n> You go to the south\nHe always had so many secrets. You knew it would kill him one day, but not Lucca. North leads out.\n\nOne of the flagstones is tinted with blood.\n\n> You go upwards\nPanting more than a little, you make your way up the stairs to the top.\n\nThe snow below is dark and broken. Yet all around is pristine. It is clean.\n\nThe bell sways in the breeze, its tongue almost, but never, touching the sides.\n\n> You jump\nClosing your eyes, you step from the edge. The wind whistles about you, but you cannot hear it.\n\nHell has a special place for those who commit suicide.\n\n> You go north\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe font squats before the chancel, its finish a mouldy grey.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\n> Light fire\nIt does not light. The dampness spoils everything here.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> You pray to mary\nA sob is all you hear.\n\n> You pray to God\nYour head splits, his voice drips through you like oil.\n\n> You pray to Jesus\nYour head splits, his voice drips through you like oil.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth."
    },
    {
        "text": "[Themes: Historical, Religious, religion, plague, Middle Ages, Christianity]\n\n> Look around\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe font squats before the chancel, its finish a mouldy grey.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\n> You go north\nChurch (on the chancel)\nWas your time wasted up here? Was it all for naught? As you look to the empty pews to the south, you wonder how it has helped anyone.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nSaint Cuthbert sinks in his tomb, rot creeping in from his extremities.\n\nThe lectern is weak and brittle, barely able to support the weight of the massive tome upon it.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\n> You look at Matteo\nMatteo's corpse dangles from the cross. The wounds in his head, hands, and feet sparkle with crystals of frozen blood, and his eyes stare through you to nothing.\n\nJesus always looked so beautiful on the cross. Matteo just looks dead.\n\n> You take Matteo\nDrogo secured him well. Flesh and wood are one.\n\n> You break cuthbert\nThe slam of your fist shatters the glass, sending it cascading over the Saint's body.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> You examine the body\nHis skin is blotched and discolored, and his hair drops from a shriveled scalp.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You take the body\nYou are too weak.\n\n> You eat Cuthbert\nYou dig your teeth into his flesh. It yields like butter, but it burns. Burns your teeth. Burns your throat. It settles in your stomach and burns there too.\n\n> You examine the lucca's eyes\nPools of sorrow.\n\n> You examine the matteo's eyes\nThey sink into his skull. His eyelids can barely be bothered to remain open.\n\n> You examine constantin's eyes\nWhite globes crossed by red rivers. They twitch and jitter."
    },
    {
        "text": "[Themes: Historical, Religious, moral choice, Christianity, monk, religion, horror]\n\n> You look at your surroundings\nChurch (on the chancel)\nWas your time wasted up here? Was it all for naught? As you look to the empty pews to the south, you wonder how it has helped anyone.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nSaint Cuthbert sinks in his tomb, rot creeping in from his extremities.\n\nThe lectern is weak and brittle, barely able to support the weight of the massive tome upon it.\n\nThe Saints look down with cold eyes. It is not pity. Something else.\n\n> You pray to Francis\nYou say a few short words to Saint Francis.\n\nIf he heard, he is not responding. Not now, at least.\n\n> You look at the font\nThe font is cracked and tarnished. Grey-green streaks blossom from the water and twist their way down.\n\n> You touch the water\nIt is warm: the same temperature as your skin. You can barely feel it, except for the itchy, slimy feeling it leaves on your fingers.\n\n> Drink water\nIt is sour and bitter. It does nothing to soothe your thirst.\n\n> You look at fresco\nThrough the murky shadows, the frescoes are barely visible. The Fallen are overrunning the angels, climbing through holes in the ground and spreading across the Earth. An angel's eyes meet yours and do not break. He is coming.\n\n> Go west\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nCecilia paces back and forth.\n\n> Go east\nCold, heavy light slides in through the window and creeps along the floor out the door to the west.\n\nEven in the sunlight, the desk looks tired.\n\nThe bed, cold and harsh, no longer welcomes you.\n\n> Go east\nYou can go only west or out.\n\n> You look at the horse\nHer hunger satiated, the horse eyes you skittishly.\n\nViolent coughs spew from your lungs. You wipe a small spattering of blood from your mouth.\n\n> You ride the horse\nThe moment you touch her, she goes wild. The last thing you see is a flurry of hooves before you are knocked to the ground and trampled.\n\nWhen they find you, you are little more than a bloody smear in the snow.\n\n> You pray to Cecilia\nYour eyes close, and you begin your prayer. A warm wave washes in from your extremities, soothing away the cold.\n\nThe horse's wild eyes suddenly fade and grow dull. She docilely saunters over and nuzzles against you.\n\n> You ride the horse\nThe stables aren't suitable for riding. Perhaps you should go somewhere more suitable.\n\n> Pet horse\nThe horse nuzzles up against you, eyes blank."
    },
    {
        "text": "> Look around\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nThe horse nuzzles up against you, eyes blank.\n\n> You go to the west\nThe horse trots along after you.\n\nThe sun's light does nothing to warm you, but instead it burns your eyes with its fury: nothing like the cool darkness inside the monastery to the north. It is so bright that you can barely make out the stables to the east: they are just a darker square in a field of white. The infirmary is a little clearer to the west. A tangle of footsteps lead south to the gate.\n\n> You ride the horse\nPerhaps you should go somewhere more suited to riding.\n\n> You go south\nThe horse trots along after you.\n\nBroken stone and snow are all that remain here. A north-south path with but a few footsteps can be picked out through the rubble leading from the monastery towards Rovato.\n\nA tangled mass of corpses lines the southern side of the former gate.\n\n> You ride the horse\nClimbing atop the horse, you drive your heels into her sides. She whinnies, but remains calm as she takes off to the south.\n\nAfter what seems like hours, you reach a small creek. Or at least it used to be a small creek. The few hours of sunlight have melted the snow enough that it is now a raging torrent.\n\nThe sound is deafening as the river to the south crashes its way through jagged stones. White plumes of water explode off the rocks, soaking through your already damp frock.\n\nThe tracks end here in a bloody stain upon the snow.\n\n> You examine the stain\nThe tracks, orderly one-two steps before, are now a tangled mash leading into the river. The snow is dirty and soaked with blood.\n\n> You examine the river\nWhite and blue. Its wrath is awe-inspiring. The river tears at the rocks, and its roar tears at your ears.\n\nA little downstream is a sack filled with straw. No, not a sack: something else.\n\nA gust of wind slices across your ears. You shiver.\n\n> You examine the sack\nThe thing flaps in the water: it looks to be burlap with a shock of straw sprouting from the top. Getting a little closer, you see how wrong you were.\n\nLucca. His mouth is agape: frozen. Blood wells up from inside and mingles with the water as it flows by, adding a little color to the white and blue.\n\n> You examine Lucca\nYou touch the body briefly and feel his bones ground to meal inside. He is soft and bruised from the fury of the water. But the deep, sharp wound in his back looks more like a knife wound than anything done by nature. Oh, Lucca.\n\n> You search lucca\nYou touch the body briefly and feel his bones ground to meal inside. He is soft and bruised from the fury of the water. But the deep, sharp wound in his back looks more like a knife wound than anything done by nature. Oh, Lucca.\n\nDigging through his frock, you find a rough piece of paper. It is wet, but holds together as you pull it out.\n\n> You read the paper\nOn the front, written in ink:\n\nI have tried praying, but my thoughts still torment me. No one listens! So I will write. They always say God sees everything, but maybe he just doesn't hear everything.\n\nI don't know what to do. Matteo tells me something strange is going on, but he can't tell me what. No, he won't tell me what. He's afraid of endangering me. Or he doesn't care. I can't tell with him anymore.\n\nHe doesn't care about anything anymore.\n\nHe says not to trust anyone. I wonder if that applies to him as well. He has changed; he never kept secrets before. He says not to trust even the father. He says he has changed the most.\n\nAnd on the back, written in blood:\n\nMatteo is dead. And he was right. Everyone has changed."
    },
    {
        "text": "[Themes: Religious, Historical, horror, religion, monk, moral choice, monastery, bible]\n\n> Look around\nThe sound is deafening as the river to the south crashes its way through jagged stones. White plumes of water explode off the rocks, soaking through your already damp frock.\n\nThe horse nuzzles up against you, eyes blank.\n\nThe tracks end here in a bloody stain upon the snow.\n\nLucca's body rests in the snow.\n\n> You show Lucca to the horse\n(first taking Lucca)\nThere is nothing more you can do.\n\n> Swim\nYou attempt to swim across the river. At first, all is going well, until a large chunk of ice slams itself into your back. You flail, grabbing at anything that will hold you.\n\nNothing does.\n\n> You ride the horse\nThere is nothing more to do, and so you climb back upon the horse, and urge her back to Saint Cuthbert's.\n\nJust as the monastery comes into view, a sound echoes throughout the hills. A crisp, clean sound. Rock on rock.\n\nStill. The wind has all but stopped. Steep, white hills tower on both sides, blocking you in. The monastery looms in the north.\n\nThe horse nuzzles up against you, eyes blank.\n\n> You listen\nThe sound continues. It is difficult to place: with the echo, it could be anywhere.\n\nGlancing around, you find the source, a dark shape high on the hill amongst some rocks. It is moving.\n\nThe sound gets louder.\n\n> You examine the shape\nThe figure moves rapidly. Black against white.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> You wait\nTime passes. Slowly.\n\nThe rumble turns to a roar. Waves of snow begin coasting down the hill in an avalanche.\n\nThe horse snaps out of its stupor, ears shooting up. Before you can move, she bolts off down the pass.\n\n> Wait\nTime passes. Slowly.\n\nTrees are snapped like twigs, joining the slide.\n\n> You wait awhile\nTime passes. Slowly.\n\nIt is here.\n\n> Wait\nTime passes. Slowly.\n\nWaves of snow consume you, crushing the air from your lungs. You would fight, but the cold is so intense you cannot move.\n\nHow can something so white look so black?\n\n> Go south\nYou can go only north or up.\n\nWaves of snow consume you, crushing the air from your lungs. You would fight, but the cold is so intense you cannot move.\n\nHow can something so white look so black?\n\n> Go upwards\nThe sides are far too steep.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> Go north\nYou run north a little ways, but it does little good. The avalanche still approaches.\n\nThe rumble turns to a roar. Waves of snow begin coasting down the hill in an avalanche.\n\nThe horse snaps out of its stupor, ears shooting up. Before you can move, she bolts off down the pass.\n\n> You pray to Cecilia\nThe words slip out of your mouth, and immediately, a gentle glow flows from your forehead all around. It washes away the cold and pain, leaving you bathed in warmth.\n\nEventually, it subsides and you feel no different than you did before.\n\nTrees are snapped like twigs, joining the slide.\n\n> You ride the horse\nNot wanting to find out what the noise is, you get back on the horse and urge her on to the monastery.\n\nThe noise continues to grow. You look up and see the side of the mountain sliding down in a massive avalanche. You spur the horse on, but she isn't fast enough.\n\nThe roar of the snow is not the last sound you hear. Who knew horses could scream?\n\n> You pray to Cecilia\nThe words slip out of your mouth, and immediately, a gentle glow flows from your forehead all around. It washes away the cold and pain, leaving you bathed in warmth.\n\nEventually, it subsides and you feel no different than you did before.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> You wait\nTime passes. Slowly.\n\nThe rumble turns to a roar. Waves of snow begin coasting down the hill in an avalanche.\n\nThe horse snaps out of its stupor, ears shooting up. Before you can move, she bolts off down the pass.\n\n> Go south\nYou can go only north or up.\n\nTrees are snapped like twigs, joining the slide.\n\n> Up\nThe sides are far too steep.\n\nIt is here.\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> Up\nThe sides are far too steep.\n\nJust a few feet from your head, the wave of snow splits in two, passing to either side of you.\n\nThe rush lasts only a few more seconds before dwindling, and when it stops, you are shaken but unharmed.\n\n> You go north\nWith the avalanche over and the horse gone, you have no choice but to make it back to the monastery on foot.\n\nYou don't know how long it takes. All you know is now the sky has clouded over, and drifts of snow make their way down from above.\n\nBroken stone and snow are all that remain here. A north-south path with but a few footsteps can be picked out through the rubble leading from the monastery towards Rovato.\n\nA tangled mass of corpses lines the southern side of the former gate.\n\n> You go north\nThe light is gentler now. No, not gentler: weaker. Clouds block the sun, making it easy to see the stable to the east in a field of white. The infirmary lies to the west while the gate is to the south. The monastery offers its hollow promises of warmth to the north.\n\nA faint, garbled sound rises from the east.\n\n> You go to the east\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nA shrill, bleating noise comes from the northeast.\n\n> You go northeast\nThese gardens used to provide most of the food for the entire monastery. Now, none. A few black stalks poke through the snow, their appearance always perfectly predicted by the rows they were planted in. The wilderness is stronger here: twisted briars overrun the garden. The stables lie back to the southwest.\n\nA hole has been cut through the briars to the north.\n\nA garbled bleat rises through the hole in the briars.\n\n> You examine hole\nA hole no larger than a man has been cut through the briars, leading to the north.\n\nA garbled bleat rises through the hole in the briars.\n\n> You enter the hole\nBowing your head through the brush, you enter a clearing.\n\nA small patch of snow surrounded by briars. This used to be part of the garden; now nature has reclaimed it. The belltower rises out of the briars: a small hint of civilization in the wild.\n\nThe hole through the briars leads back south.\n\nAs you enter the clearing, you see what the bleat was. A lamb, no more than a few weeks old, is tied to a branch, struggling frantically. He cries out in terror as a pack of wolves encroach from the briars. They are hungry and confused. Do they go for the small, easy meat? Or the larger, more difficult meat?\n\nJust then, a shout from the belltower draws your attention. \"Yoohoo, father!\" You look up to see Drogo waving happily. \"You shouldn't have come: it's feeding time.\" -- he shrugs -- \"Oh well. Either way, they'll get fed.\" With that, he disappears down the stairs."
    },
    {
        "text": "[Themes: Religious, Historical, horror, moral choice, bible, religion, monk, monastery]\n\n> You look around\nStill. The wind has all but stopped. Steep, white hills tower on both sides, blocking you in. The monastery looms in the north.\n\nThe figure moves rapidly. Black against white.\n\nThe horse nuzzles up against you, eyes blank.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> You pray to Satan\nYou close your eyes, and prepare yourself. \"Please, Satan,\" you begin. The words are hard. They cut your throat as they leave. \"Please, Satan, deliver me from the plague, and you shall have my soul.\" The words sink through the Earth: slowly, like black tar.\n\nA flock of dismembered hands reach up through the ground, stealing away the black and disease that ravages your body, both seen and unseen. They swirl and dance, before sinking back to the ground. One lingers. It crawls up your leg and across your chest. It dives in, and emerges clutching a tiny ball of light in its bony finger. The hand drops back to the Earth with its prize and slinks away.\n\nIt is done.\n\nThe rumble turns to a roar. Waves of snow begin coasting down the hill in an avalanche.\n\nThe horse snaps out of its stupor, ears shooting up. Before you can move, she bolts off down the pass.\n\n> Wait\nTime passes. Slowly.\n\nTrees are snapped like twigs, joining the slide.\n\n> You pray to Satan\nHe already has your soul; you can offer him no more.\n\nWaves of snow consume you, crushing the air from your lungs. You would fight, but the cold is so intense you cannot move.\n\nHow can something so white look so black?"
    },
    {
        "text": "[Themes: Historical, Religious, Middle Ages, religion, monk, Christianity, plague]\n\n> You look around\nThe light is gentler now. No, not gentler: weaker. Clouds block the sun, making it easy to see the stable to the east in a field of white. The infirmary lies to the west while the gate is to the south. The monastery offers its hollow promises of warmth to the north.\n\nA faint, garbled sound rises from the east.\n\n> You go to the east\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nA shrill, bleating noise comes from the northeast.\n\n> You go northeast\nThese gardens used to provide most of the food for the entire monastery. Now, none. A few black stalks poke through the snow, their appearance always perfectly predicted by the rows they were planted in. The wilderness is stronger here: twisted briars overrun the garden. The stables lie back to the southwest.\n\nA hole has been cut through the briars to the north.\n\nA garbled bleat rises through the hole in the briars.\n\n> You examine the lamb\nThe lamb strains against the branch, but he is far too weak to escape on his own.\n\nThe alpha swings his head back and forth between you and the lamb. The others follow in unison.\n\n> You pray to Cecilia\nTears in your eyes, you mumble desperately for Cecilia to hear you. The wolves circle you, ready to pounce. You speak faster. Louder. Please.\n\nThe alpha's teeth close around your arm for a moment, clamping hard. But then, a warmth spread through your limbs and soothes away the cold. The wolf's bite turns into a gentle caress as he begins to licking the wound he just inflicted. Satisfied you are safe, you shoo away the wolves.\n\nThe danger gone, you release the lamb. He nuzzles up to you for a moment before running off into the brush, bleating cheerfully."
    },
    {
        "text": "[Themes: Religious, Historical, Middle Ages, monastery, horror, moral choice, Christianity]\n\n> You look at your surroundings\nA small patch of snow surrounded by briars. This used to be part of the garden; now nature has reclaimed it. The belltower rises out of the briars: a small hint of civilization in the wild.\n\nThe hole through the briars leads back south.\n\n> You look at the briars\nThe hole leads back to the south.\n\n> You go to the south\nThese gardens used to provide most of the food for the entire monastery. Now, none. A few black stalks poke through the snow, their appearance always perfectly predicted by the rows they were planted in. The wilderness is stronger here: twisted briars overrun the garden. The stables lie back to the southwest.\n\nA hole has been cut through the briars to the north.\n\n> You go to the southwest\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\n> Up\nGrunting more than a little, you pull yourself up the ladder.\n\nStables (on the roof)\nThe smell is even worse up here. Snow weighs on the roof, causing it to sink in the middle. Sometimes hay is stored up here in the summer: now, the roof barely supports the snow.\n\nFour chimes drone from the tower: Sext.\n\n> Down\nYou descend the ladder, the roof giving a sigh of relief as you do.\n\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\n> You go west\nDarkness begins to creep across the sky from atop the infirmary in the west. The last rays of light expose the stables to the east and the gate to the south. The monastery lies to the north, its walls offering promises of shelter.\n\n> You talk to Cecilia\n\"Thank Heavens you are here,\" Cecilia says, embracing you: what is that on her back? \"You must hurry, God told me that Constantin has been locking the plague victims in the cellar until they die, that is why he put the lock there, not to protect the food, but to protect himself. He killed Lucca to keep his secret. Go, get the cellar's key from him. If you hurry, there may be some survivors.\"\n\n> Go north\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church rolls and laughs to the north, pointing Her sharp fingers in a perpetual mock at God.\n\nA dark blackish red spill marks the ground.\n\n> You examine spill\nThe liquid is a thick soup of black and red with small chunks of food mixed in. Blood and bile: plague vomit.\n\n> You go southeast\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\nA large pool of vomit has melted a hole in the snow.\n\nA fresh blanket of snow lies upon the ground.\n\n> You go southeast\nPositioned directly between the dormitory and your own room, the calefactory warms both, although lately it is less than adequate. While the calefactory itself is stiflingly hot, its heat stays confined. Your brow grows damp: your body, feverish. Slightly melted snow creeps in from the cloister to the northwest.\n\nA red scrawl winds its way around the room.\n\n> You examine the scrawl\nIt says:\n\nI'm sorry, God. Please forgive me. The evil of my brothers and the father has been an affront to you. Forgive them. Please.\n\nSomeone's here.\n\nThat is all.\n\nWet footsteps sound from behind. \"Curious, isn't it?\" It is Ignatius.\n\nHe sidles up beside you and traces the blood with his hand. \"He must have been sicker than we thought,\" --he pauses-- \"The plague makes monsters of us all.\"\n\n> You tell Ignatius about Lucca\n\"Don't worry, father. He will kill no more.\"\n\nIgnatius circles the room, but he never strays far from the door.\n\n> You tell Ignatius about the cellar\n\"I think it's empty.\"\n\nIgnatius looks you up and down, unblinking.\n\n> You tell Ignatius about Cecilia\n\"Listen to her, she will save us all.\"\n\n> You go northwest\n\"Yes, I should be going too,\" Ignatius says, slowly. \"I will see you later, father.\"\n\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\nA large pool of vomit has melted a hole in the snow.\n\nA fresh blanket of snow lies upon the ground.\n\n> Go northwest\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church rolls and laughs to the north, pointing Her sharp fingers in a perpetual mock at God.\n\nThe vomit leads from the calefactory to the dormitory.\n\n> Go east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nThe vomit marks a trail into Constantin's cell.\n\n> Go southeast\nThese walls are Constantin's tomb. Slime coats the floor and slides from the walls. The stench is trapped, harsh. It can be escaped to the northwest.\n\nThe floor is soaked with vomit, making it almost slippery to walk on.\n\nConstantin lies on his side, vomit oozing from the side of his mouth. A set of keys dangles from the belt of his frock, jingling ever so slightly.\n\n> You take the keys\nYou gently try to untangle the keys from his belt, but the moment you touch them, they jingle as if to sound an alarm. Constantin's swollen eyelids snap open, revealing two bloodshot orbs.\n\n\"Thief!\" he cries, bolting up. Despite his illness, he is still a strong man. He flings you against the wall, knocking you unconscious. Despite your illness, you are still a weak man.\n\nYou don't wake up.\n\n> You look at Constantin\nA massive lump of sickness, Constantin lies with his eyes swollen shut. He breathes irregularily, the air forcing out bits of blood and vomit from his mouth.\n\n> You kill Constantin\nMoving swiftly, you rip the pillow from beneath Constantin's head and slam it onto his face. He is so weak. A few kicks are all he gives before he shudders and goes still.\n\n> You examine the keys\nThey shine brightly and jingle when they move.\n\n> You touch Constantin\nKeep your hands to yourself!\n\nCold knives of pain cut through your skull. They ease off, leaving a dull throbbing behind your eyes.\n\n> You wake constantin\nThat seems unnecessary.\n\n> You check what you're carrying\nYou are carrying:\nLucca's paper\na Cecilia's eyes\nDrogo's eyes\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle (lit)\nyour frock (being worn)"
    },
    {
        "text": "> Look around\nThese walls are Constantin's tomb. Slime coats the floor and slides from the walls. The stench is trapped, harsh. It can be escaped to the northwest.\n\nThe floor is soaked with vomit, making it almost slippery to walk on.\n\nConstantin lies on his side, vomit oozing from the side of his mouth. A set of keys dangles from the belt of his frock, jingling ever so slightly.\n\n> Pray\n(to God)\nHis scream rips through your mind. He is anger. He is hate.\n\n> You put the constantin's eyes in constantin's ears\nYou put Constantin's eyes into Constantin.\n\n> You put the wax in the constantin's ears\nCarefully, you drip a little bit of wax into Constantin's exposed ear. Soon, it wells out the top before forming a hard plug.\n\n> You take the keys\nYou gently untangle the keys from his belt. He does not stir."
    },
    {
        "text": "[Themes: Religious, Historical, Christianity, Middle Ages, religion, monastery, monk]\n\n> Look around\nThese walls are Constantin's tomb. Slime coats the floor and slides from the walls. The stench is trapped, harsh. It can be escaped to the northwest.\n\nThe floor is soaked with vomit, making it almost slippery to walk on.\n\nConstantin lies on his side, vomit oozing from the side of his mouth.\n\n> Unlock cellar\nWhat do you want to unlock the keys with?\n\n> You unlock the lock with the keys\nYou fit the key into the lock and turn. Click.\n\n> You open cellar\n(the hatch)\nYou open the hatch.\n\n> Down\nThe stairs are slippery with something. A particularly poor step sends you careening down, your candle getting snuffed out in the process.\n\nYou brace yourself for the hard impact at the bottom, but it never comes. Instead, you fall into a soft, uneven mound. It jars your bones, but at least nothing breaks. The light from the kitchen barely makes it down the stairs: all you see is shadows.\n\n> Light candle\nThe fat sizzles for a moment as the flame comes to life but settles down soon after.\n\nDozens of bodies fill the cellar: waist-high in some places. The faces are familiar, if not for the plague and decay. Hollow eyes drill into you from all sides. The flicker of the candle makes the corpses writhe and dance.\n\nThere is little food left. An old cask of wine sits against one side.\n\nA prybar leans propped up against the cask.\n\n> You look at the prybar\nIt is heavy. The metal is strong and unwarped.\n\n> You take the prybar\nTaken.\n\nFootsteps sound through the hatch. They are faint but growing stronger.\n\n> Up\nAs you reach the top of the stairs, a cowled figure comes into view. Before you can react, it knocks you down the stairs. Your fall is not so gentle this time. You thud your way down the steps, every bone breaking on the way.\n\nThe pain is unbearable, but the knife to your throat ends it soon enough.\n\n> You wait for a while\nTime passes. Slowly.\n\n\"Damn!\" You hear someone curse from the kitchen. The footsteps grow faster as they rush towards the stairs.\n\n> You wait\nTime passes. Slowly.\n\n\"Come on out, father!\" The voice is hoarse and broken. A candle bobs down the stairwell.\n\n> Wait\nTime passes. Slowly.\n\nWith your candle lit, he easily finds you.\n\n\"There you are.\" A grin stretch beneath the man's cowl. So many teeth. A knife slides out of his robes.\n\nYou try to run, but he is too fast. Another body for the mound.\n\n> You put out the candle\nThe flame puffs out in a cloud of rank, black smoke.\n\nThe light of his candle is more than enough to see you standing in the open.\n\n\"There you are.\" A grin stretch beneath the man's cowl. So many teeth. A knife slides out of his robes.\n\nYou try to run, but he is too fast. Another body for the mound.\n\n> You hide\nWhere do you want to hide?\n\n> You hide under the bodies\nBracing yourself for the smell, you worm your way into the pile of bodies. The weight is suffocating, as is the smell.\n\n> You wait\nTime passes. Slowly.\n\nFootsteps sound through the hatch. They are faint but growing stronger.\n\n> You wait for a while\nTime passes. Slowly.\n\n\"Damn!\" You hear someone curse from the kitchen. The footsteps grow faster as they rush towards the stairs.\n\n> You wait\nTime passes. Slowly.\n\n\"Come on out, father!\" The voice is hoarse and broken. A candle bobs down the stairwell.\n\n> You wait for a while\nTime passes. Slowly.\n\nHe searches around for a few moments: it appears your plan is working.\n\n\"Come out!\" he demands. \"I know you're in here.\"\n\n> Wait\nTime passes. Slowly.\n\n\"Enough games, father\" he says, drawing a wickedly curved knife. Moving with cold, swift strikes, he begins stabbing into the mound of bodies.\n\n> You wait a while\nTime passes. Slowly.\n\nThe knife flies in and out of the mound. One jab brings the blade within an inch of your ear.\n\n> You pray to Cecilia\nShe is with you.\n\nYou lie perfectly still, hoping to avoid the knife. But one lucky jab slices into your thigh. You stifle your cry, tears welling up. The next stabs slips its way into your hand. It is too much.\n\nYou cry out. He hears you. The next cut is for your throat.\n\n> You take the lock\nIt is bolted to the hatch.\n\n> You pray to Cecilia\nShe is with you.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You take the prybar\nTaken.\n\nFootsteps sound through the hatch. They are faint but growing stronger.\n\n> You hide under the bodies\nBracing yourself for the smell, you worm your way into the pile of bodies. The weight is suffocating, as is the smell.\n\n\"Damn!\" You hear someone curse from the kitchen. The footsteps grow faster as they rush towards the stairs.\n\n> You wait\nTime passes. Slowly.\n\n\"Come on out, father!\" The voice is hoarse and broken. A candle bobs down the stairwell.\n\n> You put out the candle\nIt's already out.\n\nHe searches around for a few moments: it appears your plan is working.\n\n\"Come out!\" he demands. \"I know you're in here.\"\n\n> You blow out the candle\nIt's already out.\n\n\"Enough games, father\" he says, drawing a wickedly curved knife. Moving with cold, swift strikes, he begins stabbing into the mound of bodies.\n\n> You hit Constantin with the prybar\n(Constantin's eyes with the prybar)\nYou are too weak.\n\nThe knife flies in and out of the mound. One jab brings the blade within an inch of your ear.\n\n> You move\n(the figure)\nYou can't while hiding.\n\nYou lie perfectly still, hoping to avoid the knife. But one lucky jab slices into your thigh. You stifle your cry, tears welling up. The next stabs slips its way into your hand. It is too much.\n\nYou cry out. He hears you. The next cut is for your throat.\n\n> Attack figure\nYou wait till he's close before swinging your leg as hard as you can into the back of his knee. He crumbles, his head smashing against the hard floor.\n\n> You go outside\nYou return to the open.\n\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\nThe figure lies prone upon the ground.\n\n> You examine the figure\nHe lies in a crumpled heap upon the floor. His cowl still obscures his face.\n\n> You take the cowl\nWarily, you lift the cowl from the man's face.\n\nIgnatius.\n\nA chorus of rings sounds from the tower, echoing through the land. Five rings. None.\n\n> You remove the cowl\n(first taking the cowl)\nYou've already done that.\n\n> You search Ignatius\nYou've already done that."
    },
    {
        "text": "[Themes: Historical, Religious, Christianity]\n\n> You look around\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\nIgnatius lies upon the floor, bleeding through a gash in his forehead.\n\n> You examine the gash\nA small scratch lines your arm from elbow to wrist.\n\n> You examine Ignatius\nIgnatius lies upon the floor, bleeding through a gash in his forehead.\n\n> You get Ignatius\nHe is too heavy for you to move.\n\n> You talk to Ignatius\nNo response.\n\n> Close hatch\nYou close the hatch.\n\n> Lock hatch\nWhat do you want to lock the hatch with?\n\n> Lock hatch with key\nThat should hold him.\n\n> Go east\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church rolls and laughs to the north, pointing Her sharp fingers in a perpetual mock at God.\n\n> Go south\nSo empty. So, so empty. North leads out.\n\nOne of the flagstones is tinted with blood.\n\n> Lift stone\nFitting the bar between the cracks in the flooring, you pry the flagstone up. It comes out easily.\n\nWhere it lay, in a slight hollow in the soil, are a few wrinkled sheets of paper.\n\nIt has been five days, now. Five days since I made the choice. Five days since I closed the gate.\n\nReally, there was no choice. Rovato was damned when the first spot appeared: when the first bloody cough ensued from the mouth of an urchin. To have allowed the sick sanctuary at Saint Cuthbert's would only have damned us as well.\n\nBut we were already damned.\n\nThe plague came. And now we suffer.\n\nSix crisp chimes mark Vespers. Your heart flutters for a moment, and you place your head in your hands.\n\nYour room is small; it is the same as all the others, but it seems smaller of late. With so many of your brothers gone, there has been little for you to do but wait. Wait for the spots to appear in this tiny, dark room.\n\nA chill breeze spins in through the window and out the door to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the other side is your bed, the blanket wrapped up in itself from this morning."
    },
    {
        "text": "[Themes: Historical, Religious, plague, horror, monk, monastery, bible]\n\n> Look around\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\n\"Damn!\" You hear someone curse from the kitchen. The footsteps grow faster as they rush towards the stairs.\n\n> You hide in the bodies\nBracing yourself for the smell, you worm your way into the pile of bodies. The weight is suffocating, as is the smell.\n\n\"Come on out, father!\" The voice is hoarse and broken. A candle bobs down the stairwell.\n\n> You wait for a while\nTime passes. Slowly.\n\nHe searches around for a few moments: it appears your plan is working.\n\n\"Come out!\" he demands. \"I know you're in here.\"\n\n> Wait\nTime passes. Slowly.\n\n\"Enough games, father\" he says, drawing a wickedly curved knife. Moving with cold, swift strikes, he begins stabbing into the mound of bodies.\n\n> Attack figure\nYou wait till he's close before swinging your leg as hard as you can into the back of his knee. He crumbles, his head smashing against the hard floor.\n\n> Inventory\nYou are carrying:\na prybar\nsome keys\nLucca's paper\na Cecilia's eyes\nDrogo's eyes\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle\nyour frock (being worn)\n\n> Up\nYou return to the open.\n\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\nThe figure lies prone upon the ground.\n\n> Go north\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nA chorus of rings sounds from the tower, echoing through the land. Five rings. None.\n\n> Go east\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church rolls and laughs to the north, pointing Her sharp fingers in a perpetual mock at God.\n\n> Lift flagstone\nFitting the bar between the cracks in the flooring, you pry the flagstone up. It comes out easily.\n\nWhere it lay, in a slight hollow in the soil, are a few wrinkled sheets of paper.\n\nBloody vomit wells up in your throat. It trickles out the side of your mouth, staining your lips red. You choke it back."
    },
    {
        "text": "[Themes: Historical, Religious, moral choice, Christianity, monastery, Middle Ages, horror]\n\n> Look around\nSo empty. So, so empty. North leads out.\n\nThe flagstone lays to the side of a small hole in the floor.\n\n> You check your inventory\nYou are carrying:\nsome papers\na prybar\nsome keys\nLucca's paper\na Cecilia's eyes\nDrogo's eyes\na hare\nMatteo's note\nIgnatius's eye\nMatteo's eyes\nLucca's eyes\nConstantin's eyes\na coin\nyour tinderbox\nyour candle\nyour frock (being worn)\n\nWhispers dance in your ears. Growing. Fading.\n\n> Light candle\nThe fat sizzles for a moment as the flame comes to life but settles down soon after.\n\n> Go outside\nPulling your frock tightly about you, you sigh and exit to the hall.\n\nAs cold as your room is, this hall is even colder. The stone walls dance and glisten with dampness. The warmth of your room awaits to the east, and the cold of the outside world through a heavy door to the south. Moonlight streams in from the cloister to the north, and a flimsy door secures the locutory to the west.\n\nThe alms box hangs closed beside the door.\n\n> Break box\n(the alms box)\nYou are too weak.\n\n> You go north\nBracing yourself for the cold, you lower your hood and exit to the cloister.\n\nIn the warmer months, Brother Matteo maintains a beautiful garden in the cloister. Now there is nothing but a few dead vines sticking out from beneath a blanket of snow. Still, it has a calm dignity: the wind finds no entrance here. The colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church commands from the north, its spires reaching up to Heaven.\n\nBrother Lucca, face flushed and cheeks wet, storms out from the bell tower and off to the dormitory in the east, meeting your eyes for only a moment.\n\n\"Are you alright, Brother?\" you ask, receiving no response.\n\nThunder rumbles overhead, shaking the monastery to its foundations.\n\nAn itch tickles beneath your skin.\n\n> Go northeast\nNestled in the northeast corner of the cloister, the bell tower rises high: higher than the steeples of the church. Footsteps cut a line in the snow from the cloister to the southwest to the tower itself in the northeast.\n\nA loud crackle splits the sound of wind. Lightning. Stone tumbles in the distance.\n\n> Go upwards\nPanting more than a little, you make your way up the stairs to the top.\n\nHigh above the rest of Saint Cuthbert's, the tower affords a view of the surrounding land. In the spring, it is quite beautiful: now all you see is the endless moonlit glow of snow. Snow in the trees. Snow in the mountains. Snow.\n\nThe bell sways in the breeze, its tongue almost, but never, touching the sides.\n\nBrother Matteo leans against the rails, staring into the wind.\n\n> You pray to Satan\nYou close your eyes, and prepare yourself. \"Please, Satan,\" you begin. The words are hard. They cut your throat as they leave. \"Please, Satan, deliver me from the plague, and you shall have my soul.\" The words sink through the Earth: slowly, like black tar.\n\nA flock of dismembered hands reach up through the ground, stealing away the black and disease that ravages your body, both seen and unseen. They swirl and dance, before sinking back to the ground. One lingers. It crawls up your leg and across your chest. It dives in, and emerges clutching a tiny ball of light in its bony finger. The hand drops back to the Earth with its prize and slinks away.\n\nIt is done.\n\n> You pray to God\nHis scream rips through your mind. He is anger. He is hate."
    },
    {
        "text": "[Themes: Religious, Historical, Christianity, religion, horror]\n\n> You go downward\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo lies upon the ground, blood trickling from the side of his head\n\n> You get Matteo\nMatteo was a large man. You cannot move him.\n\n> You go inside\nPanting more than a little, you make your way up the stairs to the top.\n\nYou are sure that other things exist, but for now all there is is Matteo lying on the ground below. From here, he could easily be alive. He smiles at you.\n\nNo, not a smile: a sneer. He is laughing at you. Laughing because you are still trapped. He was always laughing.\n\nThe bell sways in the breeze, its tongue almost, but never, touching the sides.\n\n> You go to the north\nChurch (in the pews)\nSince you relegated the brothers to pray on their own, except for Mass, the church has been all but empty. Rows of pews part down the centre, ushering you up to the chancel in the north opposite the cloister in the south. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nThe Saints look away from you, crying.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> Go north\nChurch (on the chancel)\nGod, to think of all the time you wasted up here. The blind leading the blind. A quiet laugh spreads through your heart. A joke. The rest of the church lies to the south; it's not as funny of a joke.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nA beautiful glass case holds the body of Saint Cuthbert near the base of the chancel.\n\nThe lectern stands in the centre of the chancel, the Bible accusing you from its perch.\n\nThe Saints look away from you, crying.\n\n> Smash case\nThe slam of your fist shatters the glass, sending it cascading over the Saint's body.\n\n> You go to the south\nChurch (in the pews)\nCedar pews line the path from the chancel in the north to the cloister to the south, their surfaces cold. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe Saints look away from you, crying.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> Go north\nBefore you leave, you close the entrance door lest the snow, or worse, get in.\n\nIn the warmer months, Brother Matteo maintains a beautiful garden in the cloister. Now there is nothing but a few dead vines sticking out from beneath a blanket of snow. Still, it has a calm dignity: the wind finds no entrance here. The colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church commands from the north, its spires reaching up to Heaven.\n\n> Go south\nThis room is small: the same as all the others. A bed is pushed up against one wall, opposite the door to the north.\n\nLucca scrabbles frantically at the ground, his blood staining the stones.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You tell Lucca about Matteo\n\"He knows something, but he won't tell me,\" he sobs more heavily for a moment. \"He tells me nothing anymore.\"\n\n> You read the note\nWritten in a slothful scrawl:\n\nI would normally write in my journal, but in my increasing paranoia, I have hidden it. Now, I kick myself as it seems so far away. Everything is so far away: such a burden.\n\nThe father came to visit me earlier; he is not the same man I knew and respected. He looked at me with murder in his eyes. I would tell Lucca, but I am scared. No, I am lazy. I do not care if he kills me. I would do it myself were I not such a coward.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You show the note to Lucca\nBetter keep this to yourself.\n\n> You talk to Lucca\n\"Why do you dig, Lucca?\" you ask.\n\n\"Matteo is hiding something. I just know it's under here.\"\n\nA warmth spreads through your body, soothing the chill and fear from your bones. Salvation.\n\nShe is here.\n\n> You talk to Lucca\n\"Why do you think that?\" The blood pours from his fingers.\n\n\"I just know,\" he sobs. \"He scrapes around here at night.\"\n\n> You kill the girl\nYou strike the woman, hard. \"Wake up!\" You snarl.\n\nShe doesn't.\n\n> You get the girl\nWith more than a little trouble, you hoist the girl into your arms. Your knees feel as though they might buckle but hold for now.\n\n> Go north\nThe young woman groans and kicks slightly as the cold from the cloister scrapes across her skin.\n\n> Go east\nPerhaps the locutory would be more comfortable.\n\n> Go west\n(opening the door to the locutory)\nYou turn sideways and slide into the locutory, careful not to catch the young woman's head on the frame.\n\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nNear the door to the east is a fireplace, its embers cold for days.\n\n> You put the girl in the bed\nYou lay the young girl on the bed, and she immediately relaxes. Her eyes remain closed but no longer twitch with discomfort.\n\n> Light fire\nAfter much coaxing, you finally get the wet logs to ignite. The flame is weak, but it will do."
    },
    {
        "text": "[Themes: Religious, Historical, moral choice, monastery, bible, horror, religion, monk]\n\n> You look around\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nThe girl sleeps upon the bed, turning fitfully every now and then.\n\n> You go east\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nThe alms box hangs open, as poor as the people it is meant to help.\n\n> Go east\nBefore you leave, you close the entrance door lest the snow, or worse, get in.\n\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the other side is your bed, the blanket wrapped up in itself from this morning.\n\n> You put the blanket on girl\nYou drape your bedding over the girl, and she seems to calm down a bit.\n\nThe warmth is finally enough for her to stir.\n\n\"Food,\" she says. \"Please.\"\n\nWith that, she passes back into slumber.\n\n> You go north\nChurch (in the pews)\nCedar pews line the path from the chancel in the north to the cloister to the south, their surfaces cold. The ceiling towers above you, its frescoes dim in the candlelight.\n\nTowering above all else is a massive wooden cross. It is awesome.\n\nThe font glows warmly in the candlelight, not a ripple on its water's surface.\n\nThe Saints look away from you, crying.\n\nBrother Ignatius sits in one of the pews near the front, staring intently at the candles.\n\n> You get all from the cupboard\nRemoved.\n\n> You talk to the girl\n\"What do you mean?\" you ask.\n\nThe girl turns her tear-stained eyes to you. \"You'll see,\"\n\nThe bell continues its toll. Four. Five. Six... In place of the seventh ring is a scream. A scream that rips in from the cloister and silences the wind.\n\nThe girl places her head in her hands with a slight sob. \"I am sorry, Father.\" Then, turning. \"And to you too.\"\n\n> Kiss girl\nShe backs away from you.\n\n> You talk to the girl\nA garbled sob is all she can give.\n\n> You go northeast\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo lies upon the ground, blood trickling from the side of his head. Lucca kneels by his side.\n\nThe remaining brothers are gathered around the body, shouting.\n\nDrogo jumps up and down, rubbing his hands with glee. \"It begins,\" he squeals to you through a wide grin.\n\n> You talk to Lucca\n\"I'm sorry, I'm sorry,\" is his only reply.\n\nConstantin strides forward and smacks Lucca across the face, sending him sprawling into the snow. \"Get away from him, murderer!\" He shouts, eyes burning.\n\n\"Constantin!\" Ignatius shouts defiantly, stepping between the two. Although Constantin towers above him, Ignatius looks taller than you have ever seen him. \"Leave the boy alone.\"\n\nDrogo giggles.\n\n> You talk to Drogo\n\"Why do they think Lucca did it?\" You ask.\n\n\"Because he did.\" He replies, confused. \"Why else would one think such a thing?\"\n\n\"I mean, how do they know he did it.\"\n\n\"Oh, well that isn't what you asked, now is it, father?\" He continues. \"Well, when we got here, Brother Lucca was already here saying 'I'm sorry, I'm sorry.'\"\n\n\"But he is a murderer!\" Constantin replies, stepping back, face flushed.\n\n\"I know that as well as you. But that does not excuse you from God's wishes.\"\n\n> You talk to Drogo\n\"What happened, Drogo?\" You ask.\n\n\"Well, the way I see it is that Matteo wanted to fly, but God said 'No, Matteo. Flying is for birds. You are not a bird, and shouldn't wish to be.'\" Drogo starts. \"Matteo was not happy with that --you know how he can be sometimes-- but he thought God would be mad if he tried to fly on his own. So Lucca helped him.\"\n\n\"We will lock him up in the cellar, then the father can decide what to do with him.\" Ignatius continues.\n\nConstantin chews his lip, releasing a tiny drop of blood. \"No, the cellar will not do. We will lock him in the calefactory.\"\n\n\"Fine, fine. As you wish.\"\n\n> You talk to Drogo\n\"Shhh,\" he hushes, holding a finger to his lips. \"This is the most entertaining skit I have ever seen.\"\n\nWith that, Constantin hoists Lucca by the shoulders and shoves him towards the calefactory.\n\nIgnatius turns towards you and says. \"You should get some sleep, father. We all should. You can get to the bottom of all this in the morning.\" He turns and walks towards the dormitory.\n\n> You talk to Ignatius\n(Ignatius)\nHe isn't here.\n\nDrogo grins at you. \"Oh, the fun we'll have!\"\n\n> You go east\nYou can go only northeast, southwest, up or in.\n\nThe day is beginning to catch up with you. You yawn with a lot more force than you would have thought necessary."
    },
    {
        "text": "[Themes: Religious, Historical, moral choice, Christianity, plague, horror]\n\n> You describe your surroundings\nThe smooth patch of snow at the base of the tower, formerly cut only by a single line of footsteps, is now a mash of dirt and blood. Steps lead northeast and up to the tower, and to the southwest is the cloister.\n\nBrother Matteo's corpse lies upon the ground, the blood freezing to his face.\n\nDrogo grins at you.\n\n> You go southwest\n\"Sweet dreams, father!\" Drogo calls out to you as he disappears into the black.\n\nThere will be no garden here come spring. It is hard to imagine the snow will ever melt.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church squats to the north, Her spires clawing at the sky as She tries to climb away from the Earth.\n\n> You tell Ignatius about the glass case\n\"I am busy right now, father.\" He replies abruptly.\n\nAn itch tickles beneath your skin.\n\n> You talk to Ignatius\n\"Do you believe that Lucca did it?\" you ask.\n\n\"I don't know,\" he replies calmly. \"But it's best to be safe. I never would have thought Lucca could've had it in him, but these trying times make demons of us all.\" He glances at you pointedly.\n\n> You talk to Ignatius\n\"What do you mean?\"\n\nHe thinks for a moment, and looks to the ceiling. \"It's just that in these times we can sometimes find ourselves doing things we never thought we had in us.\"\n\n> You talk to Ignatius\n\"Like what?\"\n\nHis shoulders tighten. \"If it's all the same to you, father,\" he says, straightening out his bed. \"I think I would like to get some sleep.\"\n\n> You talk to Ignatius\n\"If it's all the same to you, father,\" he says, straightening out his bed. \"I think I would like to get some sleep.\"\n\n> You talk to the girl\n\"God sent me, but I am weak. My strength depends on the faithful, and your brethren have lost their way. Even now they conspire against you. And me.\" She casts a frightened glance towards the door.\n\n\"Please pray to me, father, when you go to bed. I need your strength in the midst of this wickedness.\"\n\n> You talk to the girl\n\"Go now, father,\" she says, turning over in your blanket. \"Sleep.\" She casts once last look at you before closing her eyes. \"But be careful, there are many that intend you harm here.\"\n\n> You talk to the girl\nShe is sleeping.\n\n> You get in the bed\nThe girl pushes you from the bed.\n\n> Sleep\nYou aren't tired. At least, not tired enough to sleep.\n\n> Sleep\nYou lay your head down on the cold, hard bed and drift off to sleep faster than you expected.\n\nA few hours later, you are awoken by the sound of heavy breathing coming from beside your bed. It is the last sound you hear before the knife slides across your throat.\n\n> You stand\nYou get off the bed.\n\nThe room is small; the same as all the others. But it seems smaller of late. The hall extends to the west.\n\nPushed up against the wall on one side is the desk, its surface sagging slightly in the middle. The dampness is taking its toll.\n\nYour bed calls to you from the side of the room. Her song is sweet, but it sings of treachery.\n\n> You move the desk\n(first closing the door)\nBeads of sweat pooling into your eyebrows, you heave the desk towards the door. A few of your joints crack a bit, but you manage to move the desk.\n\n> You press the green button\nReturning to your cold bed, you sleep until morning.\n\nYou awake to the sound of a sharp pounding at your door.\n\n\"Father!\" Constantin's growl is clear. \"Wake up, Lucca has escaped!\"\n\nMorning light streams through the window, but it is a cold, heavy light.\n\n> You go to the west\nWith as much effort as it took to move the desk in the first place, you slide it back against the wall. You're getting too old for this. You'll have to get off the bed first.\n\n> You get up\nYou get off the bed.\n\nCold, heavy light slides in through the window and creeps along the floor out the door to the west.\n\nEven in the sunlight, the desk looks tired.\n\nThe bed, cold and harsh, no longer welcomes you.\n\n\"Hurry up, father!\" Another knock.\n\n> You go west\nThere is little to be seen here but the locutory door to the west and your room to the east. North and south both lead to the cold: north to the cloister and south to outside.\n\nConstantin stands impatiently, face flushed.\n\nCecilia watches from her doorway.\n\nThe alms box hangs open, as poor as the people it is meant to help.\n\n\"It's about time. Come with me.\" He grumbles as he stomps off to the cloister.\n\n> You go north\nCecilia turns for the locutory.\n\nThe sun shines in the east, but the cloister is dim. There was no snow last night, but it remains high. It is dirty and soaks up what little light makes it here.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church cowers away from the sun. Her sins, like all sins, are revealed by the light of day.\n\nConstantin storms to the calefactory, kicking up snow as he does.\n\n> Go southeast\nPerhaps this is the only place at Saint Cuthbert's that is a comfortable temperature. Heat blasts at you from the calefactory to the southeast, but it is countered by the chill from the cloister to the northwest. No, that isn't right. They do not cancel: their furies are incited by one another.\n\n\"See,\" he shouts, pointing aggressively to a gaping hole where the lock used to be. \"The bastard kicked it out from inside.\"\n\n> Go east\nYou can go only northwest, southeast, in or out.\n\nConstantin starts mumbling curses under his breath as he pulls some tools from his belt and begins repairing the door.\n\n> You go to the north\nHe's already dragging you that way.\n\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nDrogo grins widely as he drags you up to the chancel.\n\n\"Come, father.\" His eyes glow with childlike enthusiasm, but his grip is of steel. \"We are almost there!\"\n\nSomething is different at the far end of the chancel. Is it?\n\nGood Lord.\n\n> You go north\nHe's already dragging you that way.\n\nChurch (on the chancel)\nGod, to think of all the time you wasted up here. The blind leading the blind. A quiet laugh spreads through your heart. A joke. The rest of the church lies to the south; it's not as funny of a joke.\n\nDrogo stands proudly and looks to you for approval, his grin tentative.\n\n\"Look, father!\" he says, dragging you before the cross. \"I made it all by myself.\"\n\nLooking up, you see what Drogo was so excited about. Matteo dangles crucified from the cross, vicious holes in his hands and feet.\n\n> You look at the cross\nMatteo's corpse dangles from the cross. The wounds in his head, hands, and feet sparkle with crystals of frozen blood, and his eyes stare through you to nothing.\n\nJesus always looked so beautiful on the cross. Matteo just looks dead.\n\n\"Well, father. Isn't it beautiful?\" Drogo stands, gripping your wrist tightly and nodding proudly to himself.\n\n> Yes\n\"It is, isn't it?\" Drogo strokes his chin for a moment before flinging a hand up in the air. \"But it's missing something, and I know just where to find it.\"\n\nBefore you can move, he sprints out of the church.\n\n> You talk to Matteo\nSilence.\n\n> You go south\nChurch (in the pews)\nA tangle of pews fills the room: they part through the middle and up to the chancel in the north. Light hits the windows and slides down outside: lost. The church is dim; the frescoes are lost in shadow.\n\nMatteo hangs from the cross, melting snow forms a pool at his feet.\n\nThe Saints scream in rage, but they cannot harm you. They are trapped in their glass cages.\n\nThe font squats before the chancel, its finish a mouldy grey.\n\n> Go southeast\nThe room is rank. Sickness is everywhere: seeped into the bed, climbing the walls. A little fresh air drifts in from the northwest: it isn't nearly enough.\n\nThe tools are gone.\n\nA skinned rabbit sits on the floor, its muscles shimmering in the light.\n\n> You get all\nhare: Taken.\n\n> You go to the south\nLightning has torn through the gate, leaving only dark, broken rocks in its place. Black scorch marks twist their way through the rubble: stone crumbs are all that remain in some places. The snow is caked in soot: usually it would be lined with many footsteps, now only a few disturb the inky darkness. The snow covered path winds its way back north to the monastery and south towards Rovato.\n\nA series of strange mounds line the southern side of where the gate used to be.\n\n> Dig\nShoveling through the snow with frostbitten hands, you eventually strike a rock.\n\nNo. Not a rock. You push back the rest of the snow to uncover the icy, stone-hard face of a young woman. She has only two colors: black and white. Plague colors.\n\n> Exit\nThe fallen snow is too thick. You would not make it far on foot.\n\n> Open stall\nThe horse, with vitality born of starvation, bolts towards the hay as soon as you unlatch the gate. She knocks you to the ground with her head, which isn't so bad.\n\nIt's her hooves on your neck that are.\n\n> You feed horse\nThe horse hastily starts chomping at the hay. Within moments, the entire bale is gone.\n\nA gust of wind slices across your ears. You shiver.\n\n> You talk to the horse\nShe whips her head and huffs at you.\n\n> You kill the horse\nRaising your hand, you strike the horse across the muzzle. She flinches but stands defiant. Not to be thwarted by a dumb mule, you ball your hand into a fist and wail into her a few more times. It takes several minutes, but soon she is broken and subdued.\n\n> You get the horse\nJust walk, she will follow you.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> You look at the river\nWhite and blue. Its wrath is awe-inspiring. The river tears at the rocks, and its roar tears at your ears.\n\nA little downstream is a sack filled with straw. No, not a sack: something else.\n\n> Search corpse\nLucca stares up at you, his eyes as cold as the water around them.\n\nYou'll have to pull him to shore before you can search him.\n\n> Search corpse\nYou touch the body briefly and feel his bones ground to meal inside. He is soft and bruised from the fury of the water. But the deep, sharp wound in his back looks more like a knife wound than anything done by nature. Oh, Lucca.\n\nDigging through his frock, you find a rough piece of paper. It is wet, but holds together as you pull it out.\n\nAn itch tickles beneath your skin.\n\n> You read the paper\nOn the front, written in ink:\n\nI have tried praying, but my thoughts still torment me. No one listens! So I will write. They always say God sees everything, but maybe he just doesn't hear everything.\n\nI don't know what to do. Matteo tells me something strange is going on, but he can't tell me what. No, he won't tell me what. He's afraid of endangering me. Or he doesn't care. I can't tell with him anymore.\n\nHe doesn't care about anything anymore.\n\nHe says not to trust anyone. I wonder if that applies to him as well. He has changed; he never kept secrets before. He says not to trust even the father. He says he has changed the most.\n\nAnd on the back, written in blood:\n\nMatteo is dead. And he was right. Everyone has changed.\n\n> You eat the corpse\nHis flesh is soft from being thrown about in the river: like it had been tenderized with a mallet. You dig your teeth into the side of his stomach. The blood is cool, but it slakes your thirst like never before.\n\n> You ride the horse\nThere is nothing more to do, and so you climb back upon the horse, and urge her back to Saint Cuthbert's.\n\nJust as the monastery comes into view, a sound echoes throughout the hills. A crisp, clean sound. Rock on rock.\n\nStill. The wind has all but stopped. Steep, white hills tower on both sides, blocking you in. The monastery looms in the north.\n\n> You ride the horse\nNot wanting to find out what the noise is, you get back on the horse and urge her on to the monastery.\n\nThe noise continues to grow. You look up and see the side of the mountain sliding down in a massive avalanche. You spur the horse on, but she isn't fast enough.\n\nThe roar of the snow is not the last sound you hear. Who knew horses could scream?\n\n> Go up\nThe sides are far too steep.\n\nThe sound gets louder.\n\n> Go north\nYou run north a little ways, but it does little good. The avalanche still approaches.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> You kill the horse\nSlowly, trying not to alarm her, you bend down and grab the largest rock you can pick up. Then, with as much force as you can muster, you slam the rock into her head. She looks up at you in a blank stare before crashing to the ground.\n\nThe cracking sound is joined another: a more diffuse sound. A rumble.\n\n> You hide under the horse\nYou crouch behind the dead horse and curl yourself into a ball.\n\nThe rumble turns to a roar. Waves of snow begin coasting down the hill in an avalanche.\n\n> Wait\nTime passes. Slowly.\n\nTrees are snapped like twigs, joining the slide.\n\n> You wait\nTime passes. Slowly.\n\nThe waves of snow pass over you, but luckily the horse's body shields you from the brunt of the impact. Her residual warmth is just enough to carry you through to the top of the snow once the avalanche has passed.\n\n> You go north\nWith the avalanche over and the horse gone, you have no choice but to make it back to the monastery on foot.\n\nYou don't know how long it takes. All you know is now the sky has clouded over, and drifts of snow make their way down from above.\n\nBroken stone and snow are all that remain here. A north-south path with but a few footsteps can be picked out through the rubble leading from the monastery towards Rovato.\n\nA tangled mass of corpses lines the southern side of the former gate.\n\n> You go north\nThe light is gentler now. No, not gentler: weaker. Clouds block the sun, making it easy to see the stable to the east in a field of white. The infirmary lies to the west while the gate is to the south. The monastery offers its hollow promises of warmth to the north.\n\nA faint, garbled sound rises from the east.\n\n> You throw the hare\nDropped.\n\nThe alpha swings his head back and forth between you and the lamb. The others follow in unison.\n\n> You give hare\n(to the lamb)\nCharity is a virtue, but the lamb isn't interested.\n\nThe alpha swings his head back and forth between you and the lamb. The others follow in unison.\n\n> You give the hare to the wolf\nYou toss the hare to the wolves, hoping to divert their attention. You don't. One immediately being gobbling up the hare, but the others set their eyes, and their teeth, on you.\n\n> You kill the lamb\nYou are too weak.\n\nThey have made their decision: you. Low growls ensue from all around as they approach.\n\n> You untie the lamb\nDarting quickly, you tear the lamb from the branch and clutch him to your chest. His quivering shakes your bones.\n\nThe alpha is the first to strike. He hits your leg, but he is so weak, you would barely feel it, if you weren't so weak yourself. A second strike to the back of your other leg sends you sprawling. You struggle to rise, but the rest of the pack leaps on you, smothering you in a blanket of mange and teeth.\n\n> Evilmonk\nEnter saved game to load: Ok.\n\n> You untie the lamb\nDarting quickly, you tear the lamb from the branch and clutch him to your chest. His quivering shakes your bones.\n\nThe wolves eye you and the lamb hungrily, uttering low, weak growls.\n\n> You kill the lamb\nYou are too weak.\n\nThe wolves begin circling, almost cutting off your exit.\n\n> You give the lamb to the wolves\nYou toss the lamb to the wolves, hoping to divert their attention. You don't. One immediately being gobbling up the lamb, but the others set their eyes, and their teeth, on you.\n\nYour own bleats echo the lamb.\n\n> You go to the southwest\nThe wolves trample through the garden after you, snow flying up in their wake. You pant and your legs burn with exhaustion.\nYou can go only south or out.\n\nThe alpha is the first to strike. He hits your leg, but he is so weak, you would barely feel it, if you weren't so weak yourself. A second strike to the back of your other leg sends you sprawling. You struggle to rise, but the rest of the pack leaps on you, smothering you in a blanket of mange and teeth.\n\n> You go to the south\nThe chase is on. The wolves tear after you through the briars.\n\nThese gardens used to provide most of the food for the entire monastery. Now, none. A few black stalks poke through the snow, their appearance always perfectly predicted by the rows they were planted in. The wilderness is stronger here: twisted briars overrun the garden. The stables lie back to the southwest.\n\nA hole has been cut through the briars to the north.\n\nThe wolves bound in from the north.\n\n> Go southwest\nThe wolves trample through the garden after you, snow flying up in their wake. You pant and your legs burn with exhaustion.\n\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nThe wolves are getting closer. The alpha nips at your heels, attempting to drag you down.\n\n> You go upward\nScrambling frantically, you hurl yourself up the ladder. The alpha grabs your heel, but you shake vigorously enough to send him flailing off into a snow bank. Soon, the wolves regroup and prowl around the base of the stables, eyeing you hungrily.\n\nStables (on the roof)\nThe smell is even worse up here. Snow weighs on the roof, causing it to sink in the middle. Sometimes hay is stored up here in the summer: now, the roof barely supports the snow.\n\nThe wolves prowl around the stables, every once in a while attempting a little leap up the sides.\n\n> You throw the lamb\nYou toss the lamb into a patch of low briars, cushioning him from the ground. Dazed for a moment, the lamb quickly realizes his new surroundings and bolts off away from the wolves. The wolves are torn between the two of you, but eventually decide on the lamb. You've given them enough trouble already.\n\nA bleat. No, a scream sounds far off in the distance."
    },
    {
        "text": "[Themes: Religious, Historical, monastery, Middle Ages, horror]\n\n> Go downward\nYou descend the ladder, the roof giving a sigh of relief as you do.\n\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\n> Go west\nThe light is gentler now. No, not gentler: weaker. Clouds block the sun, making it easy to see the stable to the east in a field of white. The infirmary lies to the west while the gate is to the south. The monastery offers its hollow promises of warmth to the north.\n\n> Go north\nBefore you leave, you close the entrance door lest the snow, or worse, get in.\n\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church stands a little taller now. God cannot see as well through the clouds.\n\nA dark blackish red spill marks the ground.\n\nFour chimes drone from the tower: Sext.\n\n> You examine the vomit\nA large pool of vomit has melted a hole in the snow.\n\nWhispers dance in your ears. Growing. Fading.\n\n> Go inside\n(opening the calefactory door)\n\nPositioned directly between the dormitory and your own room, the calefactory warms both, although lately it is less than adequate. While the calefactory itself is stiflingly hot, its heat stays confined. Your brow grows damp: your body, feverish. Slightly melted snow creeps in from the cloister to the northwest.\n\nA red scrawl winds its way around the room.\n\n> You read the scrawl\nIt says:\n\nI'm sorry, God. Please forgive me. The evil of my brothers and the father has been an affront to you. Forgive them. Please.\n\nSomeone's here.\n\nThat is all.\n\nWet footsteps sound from behind. \"Curious, isn't it?\" It is Ignatius.\n\nHe sidles up beside you and traces the blood with his hand. \"He must have been sicker than we thought,\" --he pauses-- \"The plague makes monsters of us all.\"\n\n> You talk to Ignatius\n\"What do you mean?\" you ask, edging towards the door.\n\nIgnatius laughs: a cold, dead sound. \"You know better than any of us, father.\" He smiles at you.\n\nIgnatius circles the room, but he never strays far from the door.\n\n> You talk to Ignatius\n\"I don't know what you're talking about,\" you reply. He's close. Too close.\n\n\"Hah.\" Ignatius winks. Funny, it blinds him for a moment. \"Of course you don't, father. I'm just teasing.\"\n\nIgnatius looks you up and down, unblinking.\n\n> You talk to Ignatius\nYou muster a weak, sickly laugh. \"Right. Haha.\"\n\nAll he does is stare.\n\n> You talk to Ignatius\nNo response.\n\n> You kill Ignatius\nYou move, but you are far too slow. Or perhaps he just has a lot more practice. A knife flashes from his frock and across your neck.\n\nThere is plenty of ink for the wall now.\n\n> Inventory\nYou are carrying:\nLucca's paper\na hare\nMatteo's note\na coin\na tinderbox\na candle (lit)\na frock (being worn)\n\n> Go west\n\"Yes, I should be going too,\" Ignatius says, slowly. \"I will see you later, father.\"\nYou can go only northwest or out.\n\n> Unlock hatch\nWhat do you want to unlock the hatch with?\n\n> Key\nYou fit the key into the lock and turn. Click.\n\n> You open hatch\nYou open the hatch."
    },
    {
        "text": "> Go downward\nThe stairs are slippery with something. A particularly poor step sends you careening down, your candle getting snuffed out in the process.\n\nYou brace yourself for the hard impact at the bottom, but it never comes. Instead, you fall into a soft, uneven mound. It jars your bones, but at least nothing breaks. The light from the kitchen barely makes it down the stairs: all you see is shadows.\n\n> Search\nWhat do you want to search?\n\n> Go upwards\nJust as you begin making your way up the stairs, the sound of footsteps in the kitchen makes you freeze. Someone is coming.\n\n\"Damn!\" You hear someone curse from the kitchen. The footsteps grow faster as they rush towards the stairs.\n\n> You hide\nWhere do you want to hide?\n\n\"Come on out, father!\" The voice is hoarse and broken. A candle bobs down the stairwell.\n\n> You hide under the bodies\nBracing yourself for the smell, you worm your way into the pile of bodies. The weight is suffocating, as is the smell.\n\nHe searches around for a few moments: it appears your plan is working.\n\n\"Come out!\" he demands. \"I know you're in here.\"\n\n> Wait\nTime passes. Slowly.\n\n\"Enough games, father\" he says, drawing a wickedly curved knife. Moving with cold, swift strikes, he begins stabbing into the mound of bodies.\n\n> You hit figure\nYou wait till he's close before swinging your leg as hard as you can into the back of his knee. He crumbles, his head smashing against the hard floor.\n\n> You kill figure\nYou raise your foot and slam it into his head. It gives, but only slightly. So you jump. Up and down. Up and down. When you are done, he is little more than a smear upon the ground.\n\nYou grin.\n\n> You remove the cowl\n(first taking the cowl)\nYou can't while hiding.\n\n> Unhide\nYou return to the open.\n\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\nThere is a bloody smear upon the stone from where you ground his head into the floor.\n\n> Search figure\nWarily, you lift the cowl from the man's face.\n\nIgnatius.\n\nA chorus of rings sounds from the tower, echoing through the land. Five rings. None."
    },
    {
        "text": "[Themes: Historical, Religious, Christianity, religion, monk]\n\n> You describe your surroundings\nYou can make out little. Some light streams in down the stairs, but it is not enough. The floor is covered in something lumpy and deep.\n\nThere is a bloody smear upon the stone from where you ground his head into the floor.\n\n> Light candle\nThe fat sizzles for a moment as the flame comes to life but settles down soon after.\n\nDozens of bodies fill the cellar: waist-high in some places. The faces are familiar, if not for the plague and decay. Hollow eyes drill into you from all sides. The flicker of the candle makes the corpses writhe and dance.\n\nThere is little food left. An old cask of wine sits against one side.\n\nThere is a bloody smear upon the stone from where you ground his head into the floor.\n\nA prybar leans propped up against the cask.\n\n> You eat Ignatius\nThe blood is warm, delicate. It has a hint of illness, but it still soothes the thirst that dries you deep inside.\n\n> You eat the corpse\nThe mass is soft; your teeth enter easily. You tear off a chunk. Flesh. Plague flesh. The tumor squelches in your mouth, and rancid blood drips from your lips.\n\nAn itch tickles beneath your skin.\n\n> You examine the cask\nIt is big and empty. The Eucharist often gets larger in times of stress.\n\n> You get the prybar\nTaken.\n\nA gust of wind slices across your ears. You shiver.\n\n> You go to the west\nYou can go only up or out.\n\n> Go southeast\nThese walls are Constantin's tomb. Slime coats the floor and slides from the walls. The stench is trapped, harsh. It can be escaped to the northwest.\n\nConstantin's corpse sinks into his bed.\n\n> You eat constantin\nConstantin's flesh is soft and squishy. The plague has done much. You barely have to chew. It simply slides down your throat and into your belly.\n\n> Pry flagstone\nWhat do you want to pry the flagstone with?\n\n> Bar\nFitting the bar between the cracks in the flooring, you pry the flagstone up. It comes out easily.\n\nWhere it lay, in a slight hollow in the soil, are a few wrinkled sheets of paper.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You get the paper\n(the papers)\nTaken.\n\nAnd he said: \"What hath thou hidden from me?\" Joshua 247:94\n\n> You read the paper\nWhich do you mean, the papers or Lucca's paper?\n\nIt has been five days, now. Five days since I made the choice. Five days since I closed the gate.\n\nReally, there was no choice. Rovato was damned when the first spot appeared: when the first bloody cough ensued from the mouth of an urchin. To have allowed the sick sanctuary at Saint Cuthbert's would only have damned us as well.\n\nBut we were already damned.\n\nThe plague came. And now we suffer.\n\nSix crisp chimes mark Vespers. Your heart flutters for a moment, and you place your head in your hands.\n\nYour room is small; it is the same as all the others, but it seems smaller of late. With so many of your brothers gone, there has been little for you to do but wait. Wait for the spots to appear in this tiny, dark room.\n\nA chill breeze spins in through the window and out the door to the west.\n\nYour old desk is pushed up against one side. It sags but holds itself up proudly.\n\nAgainst the other side is your bed, the blanket wrapped up in itself from this morning.\n\n> Go north\nBowing your head through the brush, you enter a clearing.\n\nA small patch of snow surrounded by briars. This used to be part of the garden; now nature has reclaimed it. The belltower rises out of the briars: a small hint of civilization in the wild.\n\nThe hole through the briars leads back south.\n\nAs you enter the clearing, you see what the bleat was. A lamb, no more than a few weeks old, is tied to a branch, struggling frantically. He cries out in terror as a pack of wolves encroach from the briars. They are hungry and confused. Do they go for the small, easy meat? Or the larger, more difficult meat?\n\nJust then, a shout from the belltower draws your attention. \"Yoohoo, father!\" You look up to see Drogo waving happily. \"You shouldn't have come: it's feeding time.\" -- he shrugs -- \"Oh well. Either way, they'll get fed.\" With that, he disappears down the stairs.\n\nBehold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves. -- Matthew 10:16\n\n> You untie the lamb\nDarting quickly, you tear the lamb from the branch and clutch him to your chest. His quivering shakes your bones.\n\nThe wolves eye you and the lamb hungrily, uttering low, weak growls.\n\n> You throw the lamb\nYou toss the lamb to the wolves, hoping to divert their attention. You don't. One immediately being gobbling up the lamb, but the others set their eyes, and their teeth, on you.\n\nYour own bleats echo the lamb."
    },
    {
        "text": "[Themes: Religious, Historical, plague, Middle Ages, religion]\n\n> Go downward\nYou descend the ladder, the roof giving a sigh of relief as you do.\n\nHalf-a-dozen empty stalls show the plague's influence. As die the shepard, so does the flock. The smell winds its way through your nostrils, numb though they are. It can be escaped to the path in the west or the garden in the northeast. A small ladder leads up to the roof of the stables.\n\nAn itch tickles beneath your skin.\n\n> Go west\nThe light is gentler now. No, not gentler: weaker. Clouds block the sun, making it easy to see the stable to the east in a field of white. The infirmary lies to the west while the gate is to the south. The monastery offers its hollow promises of warmth to the north.\n\n> You go east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nA dark blackish red spill marks the ground.\n\n> Go up\nThis is as close to Heaven as you'll ever be.\n\n> You ring bell\n(the bell)\nThe bell clangs. You have never been this close when it has before. Your ears sting for a bit before settling down.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You listen\nThe wind. Nothing more.\n\n> You go to the southeast\nThese walls are Constantin's tomb. Slime coats the floor and slides from the walls. The stench is trapped, harsh. It can be escaped to the northwest.\n\nA dark blackish red spill marks the ground.\n\nConstantin lies on his side, vomit oozing from the side of his mouth. A set of keys dangles from the belt of his frock, jingling ever so slightly.\n\n> You kill Constantin\nMoving swiftly, you rip the pillow from beneath Constantin's head and slam it onto his face. He is so weak. A few kicks are all he gives before he shudders and goes still.\n\nHe was weak. You are doing well, father. It is almost finished. -- Esther 8394:48\n\n> You get keys\nTaken.\n\nA gust of wind slices across your ears. You shiver.\n\n> You go to the south\nThe dead don't eat, or so you've been told. Still, the kitchen is practically empty. Bare tables stand with no crumbs on them, and a hatch through the floor leads to the cellar. The refectory lies to the north.\n\nA cutlery rack sits on one of the tables.\n\nA bare cupboard sits up against the wall.\n\nA gust of wind slices across your ears. You shiver.\n\n> You unlock the hatch with the key\nYou fit the key into the lock and turn. Click.\n\nDamn Constantin and his locks. -- Deuteronomy 463:4"
    },
    {
        "text": "[Themes: Historical, Religious, moral choice]\n\n> You go downwards\nThe stairs are slippery with something. A particularly poor step sends you careening down, your candle getting snuffed out in the process.\n\nYou brace yourself for the hard impact at the bottom, but it never comes. Instead, you fall into a soft, uneven mound. It jars your bones, but at least nothing breaks. The light from the kitchen barely makes it down the stairs: all you see is shadows.\n\nBe careful, father. Someone's coming. -- Luke 4356:235\n\n> You hide\nWhere do you want to hide?\n\n> You hide under the corpses\nBracing yourself for the smell, you worm your way into the pile of bodies. The weight is suffocating, as is the smell.\n\nA wolf howls in the distance. A hungry, plaintive sound.\n\n> You wait\nTime passes. Slowly.\n\nFootsteps sound through the hatch. They are faint but growing stronger.\n\n> You eat the corpse\nThe mass is soft; your teeth enter easily. You tear off a chunk. Flesh. Plague flesh. The tumor squelches in your mouth, and rancid blood drips from your lips.\n\nA chorus of rings sounds from the tower, echoing through the land. Five rings. None.\n\n> You eat figure\nThe blood is warm, delicate. It has a hint of illness, but it still soothes the thirst that dries you deep inside.\n\n> Search figure\nWarily, you lift the cowl from the man's face.\n\nIgnatius.\n\n> Keep going\nYou've already done that.\n\n> You get all\nprybar: Taken.\n\n> You eat constantin\nConstantin's flesh is soft and squishy. The plague has done much. You barely have to chew. It simply slides down your throat and into your belly.\n\nA gust of wind slices across your ears. You shiver.\n\n> You get Constantin\nHe is too heavy.\n\n> You go to the north\nIgnatius's room does not smell as strongly as the others. A bed is pushed up against one wall, opposite the door to the south.\n\n> You go south\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nWhispers dance in your ears. Growing. Fading.\n\n> Burn paper\n(the papers)\nIt does not light. The dampness spoils everything here.\n\n> Go north\nChurch (in the pews)\nThe pews stumble over eachother, desperately crawling for the chancel in the north. The light outside finds no entrance: the Saints will not permit it. The frescoes are all but lost in the darkness above.\n\nMatteo welcomes you to the chancel from his perch on the cross. His perpetual grin consumes his face and blood drips into his eyes from the crown of thorns.\n\nA rank chamberpot sits before the chancel, human filth caking its sides.\n\nThe Saints scream from their glass cages. They would run, but they are trapped.\n\n> You examine crown\nMatteo grins. It spreads throughout the church.\n\n> You go to the north\nChurch (on the chancel)\nGod, to think of all the time you wasted up here. The blind leading the blind. A quiet laugh spreads through your heart. A joke. The rest of the church lies to the south; it's not as funny of a joke.\n\nMatteo welcomes you to the chancel from his perch on the cross. His perpetual grin consumes his face and blood drips into his eyes from the crown of thorns.\n\nWormholes, rotted flesh, and maggots are all that remain on Saint Cuthbert's bones.\n\nThe lectern has crumbled away. The weight of the Bible is crushing to the wicked.\n\nThe Saints scream from their glass cages. They would run, but they are trapped.\n\n> Cross\nYou can go only south, down or out.\n\n> You look at the cross\nMatteo revels from his perch, his blood staining the splintered wood.\n\n> You look at Cuthbert\nHe is a body with holes, or a skeleton with flesh. Rot extends to his bones, causing them to crumble into vile dust.\n\n> You look at Bible\nThe dead animal hide wrapping its pages is rotted and filled with maggots.\n\nA gust of wind slices across your ears. You shiver.\n\n> You get Bible\nIt burns to the touch, charring your hands.\n\n> Go south\nChurch (in the pews)\nThe pews stumble over eachother, desperately crawling for the chancel in the north. The light outside finds no entrance: the Saints will not permit it. The frescoes are all but lost in the darkness above.\n\nMatteo welcomes you to the chancel from his perch on the cross. His perpetual grin consumes his face and blood drips into his eyes from the crown of thorns.\n\nThe Saints scream from their glass cages. They would run, but they are trapped.\n\nA rank chamberpot sits before the chancel, human filth caking its sides.\n\n> Go east\nCold, heavy light slides in through the window and creeps along the floor out the door to the west.\n\nThe dim light leaches all color from the desk.\n\nThe bed, cold and harsh, no longer welcomes you.\n\n> You talk to Cecilia\n\"Damn them,\" she spits. \"Very well. Go to the stone in Matteo's room. I want to see what this whole situation is about.\"\n\n> You talk to Cecilia\n\"Go now. It is time.\"\n\n> You go west\nThe locutory used to be alive with the bartering of merchants and the tales of visiting brothers, but since the gate was closed, no one has been in here but you. A small bed is pushed up against the wall for those visitors not permitted residency in the monastery, its tired frame supporting a light mattress.\n\nA small circle of warmth surrounds the fireplace near the door to the east.\n\nCecilia paces back and forth.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You kill Cecilia\nYou move, but something holds you back.\n\nKill me not, for I will be your salvation. -- Job 345:90\n\n> You look at the corpses\nDozens of bodies line the wall: the villagers of Rovato.\n\nAn itch tickles beneath your skin.\n\n> You eat the corpses\nThe flesh is hard. Your teeth grind upon it, eventually releasing a tiny lump of plague-ridden muscle. You chew. It tastes delicious nonetheless.\n\n> You go to the north\nDarkness begins to creep across the sky from atop the infirmary in the west. The last rays of light expose the stables to the east and the gate to the south. The monastery lies to the north, its walls offering promises of shelter.\n\nA gust of wind slices across your ears. You shiver.\n\n> You go north\nThe last hint of shelter against the outside world. But it is only a hint. The wind rushes by like a stream of ice water to the south: only the curve of the arch protects you. The warmth, for as much as it can be called that, of the monastery awaits to the north and the cold of outside to the south.\n\n> You go north\nBefore you leave, you close the entrance door lest the snow, or worse, get in.\n\nClouds close off the sky, blocking the light but not the snow.\n\nThe colonnade is broken to the south by the exit to the hall and to the west by the entrance to the refectory. The brothers' dormitory lies to the east, between the calefactory in the southeast and the belltower in the northeast.\n\nThe church rolls and laughs to the north, pointing Her sharp fingers in a perpetual mock at God.\n\n> You go east\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nAn itch tickles beneath your skin."
    },
    {
        "text": "[Themes: Historical, Religious, Christianity, bible, moral choice]\n\n> Go west\nThe only room at Saint Cuthbert's large enough to hold all the brothers, except for the church, the refectory seems immense. Normally, when you are in here the place is alive. Now, the only movement is that of drafts spinning between the tables and out to the cloister in the east. Row upon row of deserted seats stand testament to the damage inflicted by the plague. The kitchen lies to the south.\n\nBrother Drogo sits at one of the tables, scratching furiously at its hard surface.\n\nWhispers dance in your ears. Growing. Fading.\n\n> You talk to Drogo\n\"How are you feeling, brother?\"\n\n\"Oh, I am feeling quite alright. In fact, I feel like a bird who crawls under the soil.\"\n\n> P.\n(Brother Lucca)\nHe's not something you can open.\n\n> You go to the north\nDozens of openings line the hall, each leading to a separate cell, except for the west, which leads to the cloister. Although there are no doors, the entrances are positioned as such to afford as much privacy as possible. Brother Matteo's chamber is to the south, Ignatius's to the north, Drogo's newly appointed cell is to the northeast, Constantin's is to the southeast, and Lucca's to the southwest.\n\nA scraping sound comes from Constantin's cell, forming an eerie melody with the sobs from Matteo's.\n\nA warmth spreads through your body, soothing the chill and fear from your bones. Salvation.\n\nShe is here.\n\n\"I am here,\" she said, her voice calming the frightened lamb. \"There is nothing more to fear. I will be your salvation.\" -- Ruth 899:3411\n\n> Go south\nPushing the bar out of the way, you open the door, allowing a frail figure and a drift of snow to spill into the hall.\n\nBefore you, fingers bloody and face as pale as the snow it lies in, is a young woman. Her clothing is little more than tatters with stains of blood from where her hands were resting.\n\n\"Please,\" she gasps, raising herself up for a moment. \"I am so cold.\" With that, she returns her face to the icy ground.\n\nHonour and majesty are before him: strength and beauty are in his sanctuary. -- Psalms 96:6\n\n> Light fire\nAfter much coaxing, you finally get the wet logs to ignite. The flame is weak, but it will do.\n\nThe warmth is finally enough for her to stir.\n\n\"Food,\" she says. \"Please.\"\n\nWith that, she passes back into slumber.\n\nHalf of the wood he burns in the fire. He also warms himself and says, \"Ah! I am warm; I see the fire.\" -- Isaiah 44:16"
    },
    {
        "text": "[Themes: Historical, Religious, monk, Christianity, bible, plague, moral choice]"
    },
    {
        "text": "[Themes: Historical, Mystery, Travel, chicago, history, detective, mystery, treasure hunt, Museum]\n\n> You press the yellow enter button\nAlready, you have suspects; descriptions neatly typed up and pushed into your case dossier. Greenback Bob was rumored to be working the Fair. So was his sometime partner, Delbras; a dangerously clever foreigner who remains largely a mystery. Perhaps you will learn more as soon as you get to your office in the Administration Building.\nYour job: Find the precious stones, and capture those responsible. And while you're at it, you promise yourself to take the time to enjoy the sights and sounds of the one and only Columbian Exposition of Chicago, one of the most amazing spectacles in the World...\n\n[Author's Note: A theft on the fairgrounds! Precious diamonds stolen from the Kimberly Diamond Mining Exhibit! An urgent telegram from your old partner arrives, requesting your help to solve the mystery. How can you refuse? And besides, you've been dying to see the wonder of the age everyone has been talking about, this Columbian Exposition. And so, dossier in hand, you take the next train to Chicago. But this is no simple theft. And as theft turns to kidnapping, and kidnapping to murder, you find yourself at the center of a plot the extent of which you can only begin to imagine...]"
    },
    {
        "text": "[Themes: Mystery, Historical, Travel, mystery, Museum]\n\n> You press the yellow enter button\nYou step off the train into a huge crowd of fairgoers, who jostle\none another as they make their way along the platform. You push your way through the throng, and finally make it out onto the fairgrounds, where you are momentarily stunned by the sheer size, the monumental beauty of the new city standing before you...\n\nCourt of Honor, In Front of Terminal Station\nYou are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.\n\nWest Entrance to the Administration Building.\n\n> You check your inventory\nYou have a case dossier.\n\nAlthough still early in the day, it's getting hot.\n\n> You examine the dossier\nIt's a packet of papers that pertain to the case at hand. The case dossier is closed.\n\n> You examine the list\nThe Kimberly Diamond Mining Company compiled a list of the missing items:\n\n4 rough, unfinished diamonds\n3 cut and polished diamonds\n1 crown diamond\n\nThe jewels were from the private collection of one of the board members of the Company. If any are found, they may be taken to a Mr. Wentworth, an expert in the matter of precious stones, who will verify if the stone in question is indeed from the collection. Mr. Wentworth can be found at his company's exhibit in the Mines and Mining Building.\n\nVerified stones should then be held in evidence in the safe in your office at the Administration building.\n\n> You look at the note\nThe note is written in a cribbed, narrow hand. It reads:\n\nFour brothers, rough and ready,\nThree sisters, kind and fair,\nThey left their home so eagerly,\nThey left to see the Fair!\n\nYoung Dennis likes spelunking,\nIn darkness feared and great;\nFair Ida likes to swim,\nAnd tempt the hands of fate.\n\nBullish Adam stays outdoors,\nFree and strong and wild;\nMary studies Egyptian script,\nAnd writes her name in style.\n\nAnd entered government,\nElder Neal rides the rails\nWith an artistic temperament.\n\nIn the cabin of Uncle Tom,\nAnd Mother...where is mother?\nShe watches over them all.\n\n> You look at the description of Bob\nBefore boarding the train to the fair, you carefully typed out a detailed description of Greenback Bob, should you find that he is indeed involved and need to share the information quickly.\n\nGreenback Bob is a counterfeiter, or at least so it is believed; no one has been able to catch him at it, yet. He is known to be a reckless gambler.\n\nThe Police reports describe him as follows:\n\nNationality: American\n\nAge: twenty-eight to thirty years\n\nHeight: five feet four inches, approximately\n\nWeight: one hundred eighty pounds, approximate\n\nGeneral remarks: figure heavy but muscular; somewhat slovenly appearance; broad, flat nose and squinty brown eyes; hair brown; He typically wears a long, unkempt beard, dark brown in color. Quick to anger but faster still to escape.\n\n> You look at the description of Delbras\nBefore boarding the train to the fair, you carefully typed out a detailed description of Delbras, should you find that he is indeed involved and need to share the information quickly.\n\nOf Delbras, you know very little. You know, first, that he has recently fled Paris, which had become too hot for him, and that he was headed to the Fair, for what purpose it can only be guessed. From Paris, a dispatch had been received describing him as handsome, educated, and familiar with the ways of good society. Although still unproven, he is suspected in a string of diamond robberies in Paris.\n\nFurther, the French report describes him as follows:\n\nNationality: French\n\nAge: probably about thirty to thirty-three years\n\nHeight: six feet\n\nWeight: one hundred seventy-five pounds, approximate\n\nGeneral remarks: figure good; square shoulders, military air; features, regular; thin-lipped; chin sharply pointed; wears at times a heavy beard, at others moustache and goatee; eyes dark, called black; hair same, heavy, and sometimes worn quite long; hands well kept, with long slender fingers; speaks English perfectly; a small triangular scar upon temple close to roots of hair.\n\n> About yourself\nYou look about the same as always.\n\n> Xyzzy\nYou practice your alphabet again, but stumble at the point where you reach the end and try going backwards.\n\n> You look\nWest Entrance to the Administration Building. \n\nCourt of Honor, In Front of Terminal Station\nYou are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.\n\n> Time\nThe time is now 10:10 a.m. on Monday.\n\n> You go east\nAdministration Building, Rotunda\nThe central rotunda is open up to an inner dome, one hundred and ninety feet above your head. The dome is decorated by murals. Open archways lead out of the building in all the cardinal directions.\nMost of the Exhibition services are centered in this building, in four pavilions off the rotunda. To the northeast is the Columbian Guards Station; to the northwest, the Columbian bank; to the southeast, the Columbian Telegraph and Messenger Service; and to the southwest, the Columbian Newspaper and Publicity Department.\n\nAdministration Building Rotunda, Looking up.\n\n> You look at the murals\nAdministration Building Mural. \n\nThe murals on the inner dome depict Apollo on his throne, bestowing honors upon warriors, artists, musicians, poets, scientists, and inventors. Four winged horses pull forth a model of the Parthenon, and angelic figures dance overhead.\n\n> You look\nAdministration Building Rotunda, Looking up. \n\nAdministration Building, Rotunda\nThe central rotunda is open up to an inner dome, one hundred and ninety feet above your head. The dome is decorated by murals. Open archways lead out of the building in all the cardinal directions.\nMost of the Exhibition services are centered in this building, in four pavilions off the rotunda. To the northeast is the Columbian Guards Station; to the northwest, the Columbian bank; to the southeast, the Columbian Telegraph and Messenger Service; and to the southwest, the Columbian Newspaper and Publicity Department.\n\n> You go to the northeast\nThis is the brain center of the Columbian Guards. From here, calls are dispatched, complaints are registered, criminals are interrogated. Various offices are to the north; they have graciously cleaned one out for your use while at the Fair. The rotunda is back to the southwest.\n\nColumbian Guards Station. \n\nStanding in a commanding position in the room is a tall, broad-shouldered man wearing a brown overcoat and smoking a thick cigar. You recognize him instantly-- Carl Masters, one of the most highly regarded detectives in Chicago. You heard that he had been hired for the Fair, to oversee all the detective work, and to do a little himself, when the case warranted it. He had his hands full, you knew, and it was at his suggestion that Fair Management contacted your offices. He sees you as you enter.\n\n\"Well, well, well!\" he shouts, smiling. \"It's good to see you made it. What do you think of this White City of ours?\"\n\nYou are about to respond, but quickly realize your old friend is not interested in wasting time with idle pleasantries just now. He continues:\n\n\"And yet surrounded by beauty such dastardly deeds occur.\" He shakes his head. \"I don't need to tell you, but I'm very glad you have finally arrived. We're in the thick of it now. This diamond heist--I'm counting on you for it. We have no one to spare. As for myself, I have a vexing and rather unpleasant affair--you can read today's paper about it if you like; a kidnapping, for ransom, no less; a young, moneyed gent from Boston took a wrong turn late at night.\nThe family wired yesterday--they've been asked for a ransom but they seem unwilling to pay it. No leads yet.\" He takes another puff on his cigar. \"I'm trying to convince the family to come down and have a go at it; we might yet be able to nab the culprits during the exchange. It's a delicate business.\"\n\nMasters turns his full attention on you. \"I'm sorry, best forget about my case and concentrate on yours. Now listen carefully. Your office is all set up; there's a safe inside in which you can deposit any of the stolen gems you recover. There's also a bill of draft on the desk, you can use it to withdraw a daily spending allowance from the bank in this building. Sorry for the trouble, but as I say, we really have no one to spare. They will write you up new drafts daily, so you can just head over to the bank when it opens first thing each morning to withdraw your stipend.\"\n\n\"I'll try to be here, in the office, every morning until around nine. If you like, we can compare notes and discuss the case. If you have any questions, just ask. And if you find anything out, tell me as soon as you can. I've got to leave soon, but...\" He pauses for a moment. \"I almost forgot. I'm afraid they haven't given you carte blanche. You're here as a detective in an unofficial capacity. So don't expect vendors and customers to part the red sea for you. I've distributed your picture among the guards, they know who you are and should be able to provide assistance. If they see trouble, they will come get me. I should be able to take care of any bureaucratic messes you get into, but just be careful.\"\n\n\"I'm sure you'll want to get familiar with the fairgrounds. They're quite expansive, but essential to know if you want to get any proper detective work done, at least in my experience. I left a guidebook in your desk. There's also a tour that leaves at eleven-thirty every day from just outside the east entrance to this building which you may want to take as well.\"\n\nYou shake hands. \"Welcome to Chicago,\" he says, smiling.\n\n> Go north\nYour office is small but comfortable. An old, oak desk occupies\nmost of the room. Beside the desk, on the floor, squats a very solid-looking metal safe. Against the far wall is an army cot. You specially requested the cot--it's far easier to sleep in the office when the crime is as complicated as this one.\nSitting on the desk is a bill of draft.\n\nOffice. \n\nDetective Masters calls out to you. \"I've got to do some footwork. We'll meet again, tomorrow morning at the latest.\" He walks out of the station, and into the fair.\n\n> You take the draft\nTaken.\n\n> You examine the draft\nThis draft entitles you to draw some monies from the Northern Trust Bank.\n\n> You open the desk\nOpening the desk drawer reveals a guidebook.\n\n> You go to the south\nThis is the brain center of the Columbian Guards. From here, calls are dispatched, complaints are registered, criminals are interrogated. Various offices are to the north; they have graciously cleaned one out for your use while at the Fair. The rotunda is back to the southwest.\n\nColumbian Guards Station.\n\n> You go northwest\nThis branch of the Northern Trust Bank is the official bank of the Exhibition, offering terrible exchange rates for all the major currencies. A row of tellers stand behind windows mounted on a long, thin counter, and process exhibition-goers transactions with indifference. The rotunda is back to the southeast.\n\nThe only teller you can see in the crowded bank is the one nearest the door. She processes customers with a grim efficiency, the line in front of her window stretching nearly to the entrance of the bank.\n\nThe Northern Trust Bank.\n\n> You enter the line\nYou cue up in line.\n\nThe line barely moves.\n\n> Continue\nYou continue to wait in line.\n\nPerhaps the line is moving, perhaps not; it's difficult to say.\n\n> You continue\nYou continue to wait in line.\n\nYou move forward in line.\n\n> You examine the line\nIt looks like you're in for a bit of a wait.\n\nYou wait in line.\n\n> You kill the line\nWhat do you want to attack it with?\n\n> You check your inventory\nYou have a case dossier, a bill of draft, and a guidebook. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\nYou move forward in line.\n\n> You read the book\nIt's the Official Guide to the World's Columbian Exposition that was sent ahead to you to familiarize yourself with the fairgrounds. You can look up buildings and monuments for more detailed information about them, if you like.\n\n> You look up midway in Guide\nYou flip open the guidebook and read.\n\nMidway Plaisance extends from the grounds of the World's Columbian Exposition to Washington Park, and covers an area of 80 acres. The exhibits on Midway Plaisance are made by concessionaires, although some of them are endorsed and even owned by foreign governments. Admission fees are charged to many of them. They have no connection with the Exposition proper except as side attractions. Near the western approach is the great Ferris Wheel, from which bird's eye views may be had of the entire Exposition. This to some extent, takes the place of an Eiffel tower. Visitors are hurled 250 feet into the air, in cars similar to coaches in construction.\n\nThe tellers are all very busy. They do work very fast, however.\n\n> You look up rotunda in Guide\nYou flip open the guidebook and read. After browsing for a few moments, you determine there isn't an entry for that topic.\n\nThere's only one customer in front of you.\n\n> You look up Ferris Wheel in Guide\nYou flip open the guidebook and read. You flip open the guidebook and read. After browsing for a few moments, you determine there isn't an entry for that topic.\n\nThe last customer between you and the teller leaves. You step forward, and feel a sharp elbow in your stomach as an old lady cuts in front of you and slaps down her money.\n\n> You wait\nTime passes...\n\n\"Ah'd like to break this hunnert,\" she says, and the young teller mechanically smiles and does so, hardly noticing the old woman is there at all.\n\n> You wait\nTime passes...\n\nThe old lady hobbles off. The teller looks through you. \"May I help you?\"\n\n> You give the draft to the teller\nThe teller mechanically takes your bill of draft, and hands you an envelope containing your spending stipend for the day. \"Thank you sir, and have a nice day,\" she says listlessly.\n\n> You look at the stipend\nIt's an envelope containing your small daily stipend. Right now you have plenty of money in the envelope.\n\n> You look\nThe Northern Trust Bank. \n\nThis branch of the Northern Trust Bank is the official bank of the Exhibition, offering terrible exchange rates for all the major currencies. A row of tellers stand behind windows mounted on a long, thin counter, and process exhibition-goers transactions with indifference. The rotunda is back to the southeast.\n\nThe only teller you can see in the crowded bank is the one nearest the door. She processes customers with a grim efficiency, the line in front of her window stretching nearly to the entrance of the bank.\n\n> East\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\n\nLooking East onto the White City.\n\n> You examine Columbia\nWhich columbia do you mean, the MacMonnies Fountain, or the statue of The Republic?\n\n> You look at the statue\nWhich statue do you mean, the Columbus statue, the Diana sculpture, or the statue of The Republic?\n\n> You examine Statue of the Republic\nStatue of the Republic. \n\nThe Statue of the Republic is a sixty-five foot tall woman, on a pedestal. The woman wears a loose robe, and holds a staff in one hand and a globe with an eagle resting upon it in the other. She faces west, towards the Administration Building. The entire statue is gilded a brilliant gold.\n\n> Time\nThe time is now 10:42 a.m. on Monday.\n\n> Go east\nYou stand at the western edge of the Columbian Basin, admiring the MacMonnies fountain directly before you.\n\n> You look\nLooking East onto the White City. \n\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\n\n> You go north\nCourt of Honor, South side of Electricity Building\nYou are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.\n\nAn octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.\n\nSouth Entrance of Electricity Building.\n\n> You examine Statue\nThe Franklin Statue. \n\nBenjamin Franklin stands heroically in front of the Electricity Building, his chest out and his head up, his eyes looking toward heaven. In one hand he clutches a kite, in the other, a key. A plaque at the base of the statue declares in latin that he has \"Torn the scepter from the hands of the King of Heaven.\"\n\n> You take the key\nIt would be very difficult to take the key and kite, since they are part of the statue.\n\n> Go north\nThis building is said to contain every electrical apparatus and concern thus far developed by man, the whole worlds collective effort in this field having been collected, organized, and displayed for the general public. This main aisle extends into the building to the north and out onto the Court of Honor, south. To the east and west are exhibits from General Electric and American Bell Telephone, respectively.\n\nElectric Avenue, Looking North.\n\n> Go east\nnew phonographic cylinders and other recent inventions from Thomas Alva Edison. Featured in the exhibit is something called a Kinetoscope, which it is claimed can generate \"moving pictures.\" A bust of the great inventor presides over the collection.\n\nGeneral Electric Exhibits.\n\n> You look at the bust\nHe looks rather paternal in this bust.\n\n> You examine Kinetoscope\nKinetoscope. \n\nThe Kinetoscope is nearly the height of a man. Near the top are lenses which you can look through, like a pair of glasses.\n\n> You look through the lenses\nThe Sneeze. \n\nLooking through the lens, you see Thomas Edison, almost as if he were really there! He sneezes, and the short film ends.\n\n> You listen\nThe hum of electricity, the crackle of energy, makes the building feel almost alive.\n\n> Go east\nYou can leave the General Electric exhibit to the west.\n\n> Go west\nA small classic structure with a row of Ionic pillars contains the American Bell Telephone exhibit. You ascend a short flight of steps between two guardian sphinx to enter this golden pavilion. Once inside, you see photographs on the walls depicting inventors and prominent businessmen who are associated with American Bell. Along the far wall is a bank of multi-colored phones, said to be connected, long distance, to various places on the east coast. The main hall is back to the east.\n\nAmerican Bell Telephone Exhibit.\n\n> You look at the photographs\nAlexander Graham Bell. \n\nMost prominent among the photos is a picture of Alexander Graham Bell, himself.\n\n> You look at the phone\nWhich phone do you mean, the black phone, the green phone, the blue phone, the yellow phone, or the red phone?\n\n> You pick up the black phone\nYou pick up the black phone and put it to your ear.\n\n\"Hello, detective,\" a low voice says on the other end of the phone.\n\"I do hope you're enjoying our little scavenger hunt.\"\n\n> You listen\nThe hum of electricity, the crackle of energy, makes the building feel almost alive.\n\n> You ask about the diamonds\n(the voice)\n\"Looking for the diamonds, are you? Well, I've hidden them, of course. I left a note for you. Why don't you read it? If you have more specific questions after reading it, feel free to ask.\"\n\n> You ask about Ida\n(the voice)\n\"Ida? A real swimmer, that girl. But she doesn't like waves, particularly.\"\n\n> You ask about the queen\n(the voice)\n\"Do you expect me to tell you everything?\" he asks, coughing momentarily.\n\n> You ask about Dennis\n(the voice)\n\"He likes spelunking. That means he likes exploring caves. Perhaps you should take to it yourself.\"\n\n> You ask about Adam\n(the voice)\n\"Have you read in the paper about that man getting gored by a bull? Poor, poor man. He could probably tell you where Adam is, were he still capable of speech.\"\n\n> You ask about Owen\n(the voice)\n\"Young Owen. So industrious! So interested in the workings of Government. In fact, he studied it to the exclusion of all else.\"\n\n> You ask about Mary\n(the voice)\n\"Ahh, Mary. Quite the amateur Anthropologist.\"\n\n> You ask about Neal\n(the voice)\n\"Neal likes to ride the rails. You know, trains. But he likes to do it in comfort. None of those cheap, poorly built cars for Neal. Only the best.\"\n\n> You ask about the dolores\n(the voice)\n\"You know, the Women's Board of Connecticut put together a wonderful exhibit of Harriet Beecher Stowe's works. It is one of Connecticut's finest contributions to the fair.\"\n\n> You ask the voice about the voice\n\"Do you expect me to tell you everything?\" he asks, coughing momentarily.\n\n> You ask about the Mother\n(the voice)\n\"I will never tell where Mother is. Sorry, you will just have to find her on your own.\"\n\n> You hang up\nYou place the black phone back on its cradle.\n\n> Time\nThe time is now 11:17 a.m. on Monday.\n\n> Go west\nYou can exit the American Bell Telephone exhibit to the east.\n\n> You go south\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\nA tour guide is here, gathering a group together for a tour.\n\nLooking East onto the White City. \n\n\"We will be starting in just a few minutes! Please gather 'round, now, gather 'round!\"\n\n> You look at the tour\nTour Guide. \n\nHe looks quite enthusiastic. His eyes sparkle with excitement.\n\n\"Guided tour of the Court of Honor! Right here!\" the man shouts.\n\n> Time\nThe time is now 11:22 a.m. on Monday.\n\n> You talk to Guide\nWhich guide do you mean, the guidebook, or the tour guide?\n\n> You ask the tour guide about the Midway\n\"Please save all questions until the end of the tour. Thank you.\"\n\n\"Guided tour of the Court of Honor!\" the man shouts. \"See the wonder of the age!\"\n\n> You examine group\nWhich group do you mean, the sculptural groups, or the crowd?\n\n> You look at the crowd\nYou scan the crowd for suspicious characters.\n\n\"We will begin the tour in five minutes!\" the man shouts. \"Bring your appetite with you, we will be stopping off for a quick snack, and you won't want to miss it!\"\n\n> You look at the sculptural groups\nWater Uncontrolled. \n\nSculptural groups of three figures apiece stand on either side of the entrance to the Administration building. In one, the figures are being swallowed by a flood, in the other, the main figure rides in a boat upon the water.\n\n\"Guided tour of the Court of Honor! Right here!\" the man shouts.\n\n> You look at what you're carrying with you\nYou have a case dossier, a guidebook, and a small daily stipend. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n\"Guided tour of the Court of Honor!\" the man shouts. \"See the wonder of the age!\"\n\n> You look\nLooking East onto the White City. \n\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\nA tour guide is here, gathering a group together for a tour.\n\nA small crowd of people have gathered around the man. \"Allow me to introduce myself,\" he says, \"My name is James Shepp, and I will be your guide today as we explore today majestic fair.\n\n> You look\nLooking East onto the White City. \n\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\nA tour guide is here, gathering a group together for a tour.\n\n\"Let me do a brief headcount before we get underway,\" he says, and points to each person in the crowd, counting off. \"One, two, three,...\" he begins, pointing at you to say, \"8.\"\n\n> You say 8\nI don't know how to say the number 8.\n\n\"Well. Let's begin, shall we?\" says the tour guide. \"For the next hour, we will be wandering through sights you have never seen before, visions which will arrest your eyes and seize your mind with their power. We will be looking at the buildings and sculptures surrounding the Grand Basin. A court greater than that of any king of any nation in the world.\" He turns around, facing the Grand Basin. \"I present to you, The Court of Honor.\" He pauses for dramatic effect.\n\n> You examine Basin\nThe basin waters flow in from a canal to the north and out into the harbor through the Peristyle. All around the basin stand the classically inspired buildings of the Fair.\n\n\"We look onto a scene over which the gods might linger, and dream that heaven had descended to earth, and that once again man walked sinless in Eden. Well may every American be proud of the genius of his countrymen, which has called this wondrous creation from the trembling swamp.\"\n\n> You wait\nTime passes...\n\n\"In any atmosphere, in any weather the scene is inexpressibly lovely, he says. \"When the mists of morning curtain the buildings they have a far-away appearance and every detail is softened, and when the sun rises, gradually the mist falls lower and lower like filmy garments cast off from the gleaming limbs of goddesses.\"\n\n> You wait\nTime passes...\n\nThe tour guide turns back to the crowd. \"Now, let's turn our attention toward the centerpiece of the Grand Basin: the Columbian Fountain. Go ahead, take a look at it.\" The crowd moves forward for a better view.\n\n> You examine columbian Fountain\nThe Columbian Fountain. \n\nThe MacMonnies Founain is the largest fountain in the world. No less than thirty seven figures are included in the amazing sculpture. The central element of the fountain is a large ship, with eight maidens, four to a side, rowing great oars. The ship is steered by a muscular, beared man, and a winged trumpteter stands at the prow. On a central throne, elevated above the rest, sits Columbia herself, in regal repose. All around the boat dolphins, mermaids, and sea horses with riders raise triumphantly from the waters.\n\n\"He gestures towards the fountain. \"Though the fountain is imposing in itself, close examination reveals the most delicate and subtle handling. It is like a large piece of exquisite jewelry. We will look at the fountain again, from a better angle, for now, let us proceed with the tour. Follow me!\" he shouts, and heads south.\n\n> Go south\nCourt of Honor, Southern Bandstand\nYou are in a grand plaza, which continues to the north, east, and west. Directly to the south stands the mammoth Machinery Hall, but there is no entrance here. The Administration Building is to the northwest.\n\nIn this end of the plaza sits a white octogonal bandstand. You can see its twin a little ways to the north.\nA tour guide is here, surrounded by a group of fairgoers.\n\nCourt of Honor, Looking North. \n\n\"We are standing at the Northeast corner of Machinery Hall,\" the guide says. \"Take a look now at the building, surely one of the leviathans of the Exposition. Let your eye pass over the almost cathedral-like exterior.\"\n\n> You look at Machinery Hall\nThe Corinthian colonnade which makes up the northern facade of Machinery Hall continues here, unbroken. Further east, you see one of the building's corner pavilions. To the west is the northern entrance to the hall, a semi-circular portico with Corinthian columns, with towers on either side.\n\nThe guide continues. \"Tall spires rise in the center of the structure, to the west, and graceful domes cap the two extremities, one of which rises before us here. Long rows of graceful pillars lend lightness and harmony to the two facades, and form a fitting background for the beauties of the Court of Honor. You can't see them well from here, but atop the towers on either side of each entrance are winged victories, huge draped figures, yet of such nice harmony that they seem to spring out into the air in very abandon of joy.\"\n\n> You wait\nTime passes...\n\n\"One never tires of looking at those beautiful towers, and when this vast building crumbles, as alas! it must all too soon, many will remember its beautiful and imposing entrances. Don't forget to visit them after the tour. And now, if you will follow me --\" the guide heads east.\n\n> Go east\nThe South Canal interrupts the Court of Honor here, at the\nnortheast corner of Machinery Hall. A bridge crosses the canal to the east. A wide road heads south between the canal and the side of Machinery Hall. The front of Machinery Hall is to the west.\n\nA tangle of ugly pipes marks the location of one of the electric fountains, which stay off during most of the day. Next to the fountain stands a rostral column, at the top of which stands a statue of Neptune. Another fountain, the MacMonnies Fountain, is visible to the north.\nA tour guide is here, surrounded by a group of fairgoers.\n\nElectric Fountain. \n\n\"Here,\" the guide gestures north, \"is one of the electric fountains, now quiet, but only waiting for the shades of night to fall, to flash and gleam with radiant splendor. But keep looking, past the electric fountain, to the Columbian Fountain, which we can now admire in profile in some detail.\"\n\n> You examine columbian Fountain\nThe Columbian Fountain. \n\nThe MacMonnies Founain is the largest fountain in the world. No less than thirty seven figures are included in the amazing sculpture. The central element of the fountain is a large ship, with eight maidens, four to a side, rowing great oars. The ship is steered by a muscular, beared man, and a winged trumpteter stands at the prow. On a central throne, elevated above the rest, sits Columbia herself, in regal repose. All around the boat dolphins, mermaids, and sea horses with riders raise triumphantly from the waters.\n\n\"The idea of the Columbian Fountain is as felicitous as its execution. High on a barge of state, Columbia sits enthroned. The barge is rowed by eight young goddesses, who typify the arts and sciences. They seem instinct with life. Surely not mortal blood but the ichor of the gods must animate these lissome, glowing limbs!\" the guide gets louder and more animated as he continues. \"Gracefully they bend to their work, each head turned in a natural position, and showing a face full of delicate charm. They handle the long oars with the ease of practiced rowers, and one looks to see the barge glide over the crystal waters like a thing of life and beauty.\"\n\n> You wait\nTime passes...\n\n\"And look!\" the guide suddenly shouts, pointing at the fountain.\n\"Old Father Time is at the helm. His long beard sweeps like foam across his muscular breast. As he leans backward, bearing on the tiller, the splendid muscles of his arms and limbs are revealed.\nThere is no sign of decrepitude here, but an aspect of sustained vigor that seems to defy the ravages of eras and aeons.\"\n\n> Continue\nTime passes...\n\n\"And look again!\" the guide shouts, the crowd murmuring in excitement. \"A winged trumpeterstands at the prow with one foot advanced to the extreme point of the barge. She seems impatient to follow the sound of her trumpet, and to leap upon the golden shore of some far land.\"\n\n> You wait\nTime passes...\n\n\"High up in the center, on a chair of state, Columbia sits, calm, massive, complacent, oblivious to all beneath her,\" the guide says, quieting a bit, still staring at the Columbian Fountain in reverence. Then he picks up again. \"Mighty tritons upon massive steeds rise from the water as though to pay homage to the glorious galley and its god-like crew. The men and steeds are full of the very passion of life; the mere sight of them makes the blood tingle in the veins.\" He turns back to the tour group. \"The MacMonnies fountain is an inspiration; it is one of those perfect things that hold their place in the mind, and exercise a gentle tyranny over it. We feel like judging all other objects in sculpture by this perfect standard, and almost envy the sculptor his success. Come -- we have much more to see.\" And with that, he heads east.\n\n> Go east\nsculptures of animals native to North America; on the west side of the bridge are two bison, on the east; a pair of moose. The canal empties into the basin to the north; you can see that it ends a short distance to the south, where an imposing obelisk juts out from the waters.\nA tour guide is here, surrounded by a group of fairgoers.\n\nSouth Canal Bridge, Looking East. \n\n\"We stand together on a bridge spanning the southern canal, like those built over the Seine by Napoleon. If I can direct your attention to the end of the canal, toward the Colonnade which spans the distance between Machinery Hall and Agriculture, forming as it were three sides of a hollow square, with the bridge making the fourth.\" The guide gestures south.\n\n> You look at Canal\nThe canal waters flow into the Columbian Basin.\n\n\"The canal in the center reflects like a mirror the statuary and the beautiful buildings on either side. There is hardly a prettier bit of scenery on the grounds than this; all that art could do to make it beautiful has been accomplished. Directly at the southern end of the canal, facing the central arch of the Colonnade, a reproduction of Cleopatra's Needle towers to a great height. The arch of the Colonnade, directly beyond, forms the grand entrance to a station of the Intramural Railway. The live-stock pavilion is immediately in the rear. The whole forms a very tasteful piece of architecture, and makes a beautiful background for the Canal and the many statues that adorn its borders.\" He turns to the group. \"Follow me, please,\" he says, and heads east.\n\n> You go to the east\nA bridge crosses the canal to the west. To the south, a road\nsqueezes between the canal and the side of the Agriculture Building. The front of the building is to your east. Standing here near the northeast corner of Agriculture is a rostral column, at the very top of which stands a sculpture of Neptune, holding a giant conch shell. The basin is to the north, and beyond it you can hardly miss the largest building in the world: the Manufactures and Liberal Arts Building.\nA tour guide is here, surrounded by a group of fairgoers.\n\nNorth Side of Agriculture Building, Looking East. \n\n\"We are standing in the shadow of the Agriculture Building, now,\" the guide says, \"but before we take a look at the magnificent structure, I would like everyone to turn around and gaze upon the Administration Building, seen from this angle in its finest form. The pride and glory of the fair.\"\n\n> You examine Administration Building\nThe Administration Building. \n\nThe large, gilded dome of the Administration Building is a proud monument of the Fair, towering over the other buildings in the Court of Honor and visible from most anywhere on the grounds. The building itself is constructed in three stages, each stacked upon the other like a cake. The bottom stage consists of four large pavilions, one at each corner, with entryways between. The second stage of the building is ringed with an open Ionic colonnade, the white columns contrasting vividly with the red walls behind them. The third stage is the golden dome, which rises over 250 feet above the ground.\n\nThe guide quietly admires the Administration Building for a moment. \"Words would be inadequate, we must make do with our eyes alone.\"\n\n> You examine Neptune\nRostral Column, Surmounted by Statue of Neptune. \n\nThe column is decorated with representations of boats, sticking out of it like spikes, each prow and stern masterfully carved. At the top of the column, far over the heads of the crowd, stands Neptune, clutching his trident.\n\nThe tour guide turns away from the group to face the Agriculture Building. \"Some of you may be reminded, when looking at the Agriculture Building, of the Duomo of Milan with its profusion of statuary, though of course the architecture is completely different. It's front stretches for 800 feet along the Grand Basin; presenting a forest of pillars, looking as though it has been carved out of a mountain of snow.\"\n\n> You examine agricultural Building\nThe stately and Roman-style Agricultural Building is a powerful presence on the southern side of the Basin. You stand near one of the great corner pavilions of the structure, the symmetric facades of the building, comprised of Ionic columns within arched recesses, extend both east and south from here toward grand entrances. The corner pavilion is topped by a sculpture group of four women, supporting a hollow globe ringed with signs of the zodiac.\n\n\"Directly in front of us is one of the four corner pavilions of the building, the domes of which rise to a height of some ninety-six feet. The tops of the domes are surmounted by statuary, in this case 'The Races of Man' by Martini.\" the guide gestures toward the top of the corner pavilion.\n\n> You look at the globe\n'The Races of Man' by Philip Martini. \n\nThe sculpture depicts four women, of seemingly identical features, with their arms stretched out above their heads, their garments loosely wrapped around them, their upper bodies mostly exposed. They stand in a circle, facing outwards, and in the middle, as if supported on their backs, is a hollow globe ringed by signs of the zodiac.\n\n\"Martini's group may remind us of the group in the center of the Monumental Fountain in the Luxembourg Gardens by Carpeaux, but it is by no means an imitation, on the contrary, it has many original features. Martini's work has much more airy lightness than Carpeaux's. The figures in Martini's sculpture represent the four races, or in other words, the four principal families of the human race, inhabiting Europe, Asia, Africa, and America. The globe implies that the figures beneath it stand for all the races of the world. The bodies are all young and lithe, the draperies winding about them in a singular graceful fashion. As an interesting side note, Martini only used one figure for the group and added different heads as his time was too short to allow work on other models.\"\n\n> You wait\nTime passes...\n\nThe guide turns back to the assembled group. \"Martini has accomplished an enormous amount of work in addition to these sculptures, and has done a great deal toward rendering the Agriculture Building one of the finest of the Fair. He has shown an extraordinary and fertile imagination, directed by excellent good sense and disciplined taste. Such masterly productions in every instance speak well for the future decoration of American cities and public buildings. Let's move on, shall we?\" he finishes, and heads to the east, tour group in tow.\n\n> You go east\nCourt of Honor, North Side of Agriculture Building\nThe Romanesque-style Agriculture Building stands immediately to the south, its central dome reaching 130 feet from the ground. Its entrance is framed by Corinthian columns, and decorated by allegorical figures, surrounded by grain and fruit, and rising above them the branching horns of an oxen. A large sculpture of Diana tops the building's central dome. Directly to the north, a boat landing extends out into the basin, between two life-sized statues of oxen facing out toward Manufactures and Liberal Arts on the opposite side. A guide is here, leading a tour group through the grounds.\n\nNorth Entrance of Agriculture Building. \n\nThe guide pauses for a moment while the group collects around him. \"I'm feeling a bit hungry, aren't you?\" he says, to murmurs of approval. \"Well, this is the Agriculture building, is it not? Inside its walls are displayed all of the myriad ways mankind has learned to bring food from the earth. It's a bit too crowded to go in at the moment, but I've planned ahead and arranged a bit of a sampler for everyone.\" He gestures to a couple boys waiting in the vestibule. They come out, with trays filled with a variety of food samples. They hand out the food to each member of the tour. One of them hands you a warm waffle, folded in half, and filled with sweet jam. It looks delicious.\n\n> You look at the waffle\nIt's a large waffle, folded over and filled with jam.\n\n\"While everyone is eating,\" the guide says, \"I direct your attention to the two cow statues standing in front of the building, looking out over the basin.\"\n\n> You eat the waffle\nIt's quite sweet and delicious. You devour it all too quickly.\n\n\"The statue is titled 'Plenty.' Look at the woman in this sculpture, she how she appears in perfect harmony with the noble animal she leans against; she is not of the goddess type; no serene mystery envelops her; there is no atmosphere of majesty about her; this is a simple countrywoman, such as one might see any day in the year in rural regions,\" the guide explains, reaching out and touching the statue, briefly. \"How strong, yet proportionate, the arms! How large and flexible the hands! In her face we see that dreamy look, common to those who are much alone in the fields. In ancient times the daughters of kings and princes attended cattle, so that this figure is quite in keeping with history.\"\n\n> You look at the cows\n'Plenty.' \n\nYou take a moment to examine one of the sculptures. This one represents a simple countrywoman, leaning against a great and sturdy cow. The cow gazes serenely into the distance. The woman wears a rough hide, fashioned into a primitive dress, and has a dreamy, relaxed expression.\n\n\"The cow against which the woman leans,\" the guide continues, \"is perhaps a little too modern for the figure; it is of the Holstein breed, chosen probably on account of its massive proportions; it is full-fed, sleek and beautiful, with a grand head and great, mild eyes. The olden Greeks showed an excellent appreciation of beauty when they called the Queen of Olympus, 'The Ox-eyed Juno,' for nothing can equal the expressive mildness of the eye of a cow or an ox. And now, if everyone has finished eating...?\" he pauses. \"Good. Please follow me.\" He walks off to the east.\n\n> You go east\nYou are at the northeast corner of the Agriculture Building. In\nthe basin directly to the north, you see the proud profile of the Statue of the Republic. The plaza continues east toward the Peristyle and Casino Building, and west across the northern face of the Agriculture Building. To the south, a plaza opens up along the eastern side of Agriculture.\nA guide is here, leading a tour group through the grounds.\n\nCasino Building. \n\n\"Now we come to the east end of the Court of Honor,\" the tour guide says, gesturing broadly. \"The Agriculture Building stands behind us, to the southwest, the Casino Building ahead, to the southeast. Directly east is the great Peristyle, which closes off the Court of Honor from Lake Michigan just beyond. Before we go further towards the Peristyle, however, I would like to direct your attention to the giant statue your eye has no doubt already drifted to many times before on our tour: The Statue of the Republic, rising out of the Grand Basin just to the north and east of our current position.\"\n\n> You look at Statue of the Republic\nStatue of the Republic. \n\nThe Statue of the Republic is a sixty-five foot tall woman, on a pedestal. The woman wears a loose robe, and holds a staff in one hand and a globe with an eagle resting upon it in the other. She faces west, towards the Administration Building. The entire statue is gilded a brilliant gold.\n\n\"The 'Republic' is by sculptor Daniel Chester French, who won the medal in last year's Paris Salon for his splendid work, 'Death and the Sculptor,' which incidentally can be seen on display in the Art Palace on the north end of the grounds. The award was a very rare instance of such an honor being bestowed on an American sculptor for a purely American work.\"\n\n> You examine the globe\n'The Races of Man' by Philip Martini. \n\nThe sculpture depicts four women, of seemingly identical features, with their arms stretched out above their heads, their garments loosely wrapped around them, their upper bodies mostly exposed. They stand in a circle, facing outwards, and in the middle, as if supported on their backs, is a hollow globe ringed by signs of the zodiac.\n\nThe tour guide opens his arms wide, as if he would embrace the Statue of the Republic, if only it were close enough. \"Sheer out of the water, the statue rises to a height of sixty-five feet. It is a majestic figure of a woman so admirably proportioned that the mere size counts for little in the observer's mind. Her face is full of power and repose. Not such repose as one sees in the awful visage of the Sphynx, its calm eyes looking out upon the Libyan sands, but the repose of certain force inherent in the nature of the god-like woman. No nobler idea could be conceived in the conscious yet gracious power of a great nation whose majesty the statue so well represents.\"\n\n> You wait\nTime passes...\n\n\"Even Greece, with her beautiful violet sky and exquisite color tone,\" the guide says, \"could not furnish a better surrounding for such a statue than the present site affords. With the lovely arch of the peristyle, crowned with the quadriga in the background, it is a sight for the gods. Come, lets get a closer look at that peristyle, now.\" He waves everyone forward, to the east.\n\n> You go east\ncomplex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the north is the Water Gate, and to the south stands the southern pavilion, which has been dubbed \"The Casino.\" The Casino is simply a pre-boarding waiting area for those leaving the fairgrounds by steamer. The Court of Honor extends back toward the west.\nA guide is here, leading a tour group through the grounds.\n\nLooking East towards Peristyle. \n\n\"The Peristyle is one of the crowning beauties of the Exposition; it connects Music Hall with the Casino, and lends an artistic finish to the Grand Basin, and the wonderful buildings around it,\" the guide says. \"It gives one some idea of the beautiful architecture of ancient Greece and Rome, and while the American genius is said to be purely practical, it proves that the esthetic sense is by no means dormant. Five hundred feet long, and 150 feet high; yet, despite its vastness, its classic beauty is incontestable.\"\n\n> You look\nLooking East towards Peristyle. \n\ncomplex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the north is the Water Gate, and to the south stands the southern pavilion, which has been dubbed \"The Casino.\" The Casino is simply a pre-boarding waiting area for those leaving the fairgrounds by steamer. The Court of Honor extends back toward the west.\nA guide is here, leading a tour group through the grounds.\n\nThe guide continues to rhapsodize about the Peristyle. \"So perfect is its workmanship; and so harmonious the setting, that it seems as though the Exposition was made for it, and not that it was made for the Exposition. In the pellucid floor of the Grand Basin it duplicates itself, and each pillar seems to tremble with joy at the contemplation of its own reflection; viewed in any light, it fascinates the gaze. How sweet it is to think that great things and great thoughts cannot die; that out of the raw young life of the prairies should spring this lovely bit of Grecian genius! And mounted on top, ladies and gentlemen -- the Columbus Quadriga.\"\n\n> You wait\nTime passes...\n\n\"The Columbian Quadriga is the joint work of Messrs. French and Potter, the figures being by the former and the horses by the latter. In the chariot, Columbus stands looking out into the far distance.\nHis face bears traces of anxiety curbed by indomitable will. There is withal a certain dreaminess in the face, well-befitting a man who has pondered so long in solitude the great projects he afterwards developed.\"\n\nYou hear a muffled explosion in the distance, from somewhere off to the southeast.\n\n> You go to the southeast\nYou can walk north along the Peristyle or west toward the Agriculture Building.\n\nThe guide continues to describe the Columbus Quadriga. \"Four noble war-horses are harnessed to the chariot. Every point of the finest blood is admirably brought out by Mr. Potter. Massive as they are, the small heads and ears betoken the Andalusian blood, which is hardly removed from the best Arab stock. They are led by female grooms, who look fully as spirited as the animals they restrain. They may be said to be perfect models of Grecian beauty, quite different from the 'Republic,' which has more of the Roman caste of beauty. Their beautifully moulded arms show to great advantage in the pose they assume, which throws out their finely modelled busts. There is an air of nobility about the whole group, and along with the 'Republic' and the Columbian Fountain, ranks as the very best sculpture this Exposition has to offer.\"\n\n\"And now if you'll follow me, please,\" the guide says, and heads off to the north.\n\n> You go west\nYou are at the northeast corner of the Agriculture Building. In\nthe basin directly to the north, you see the proud profile of the Statue of the Republic. The plaza continues east toward the Peristyle and Casino Building, and west across the northern face of the Agriculture Building. To the south, a plaza opens up along the eastern side of Agriculture.\n\nCasino Building.\n\n> Go south\nThe Court of Honor ends here at an inlet, which draws Lake Michigan waters into a pond further to the south. Docked at the inlet are scale reconstructions of the Nina, Pinta, and Santa Maria. It appears as though the Santa Maria can be boarded, if you wanted to get a closer look. To the east begins a long pier, along which runs a moveable sidewalk. Or at least, one hopes it will one day run; currently the moveable sidewalk appears to be closed for repairs. The Court of Honor is to the north, to the south a road cuts between the Agriculture Building and the narrow inlet, and directly to the west stands the Agriculture Building.\n\nSanta Maria in front of Agricultural Building.\n\n> Go east\nThe movable sidewalk is closed for repairs."
    },
    {
        "text": "[Themes: Mystery, Historical, Travel, Museum, detective, chicago, mystery]\n\n> Look around\nSanta Maria in front of Agricultural Building. \n\nThe Court of Honor ends here at an inlet, which draws Lake Michigan waters into a pond further to the south. Docked at the inlet are scale reconstructions of the Nina, Pinta, and Santa Maria. It appears as though the Santa Maria can be boarded, if you wanted to get a closer look. To the east begins a long pier, along which runs a moveable sidewalk. Or at least, one hopes it will one day run; currently the moveable sidewalk appears to be closed for repairs. The Court of Honor is to the north, to the south a road cuts between the Agriculture Building and the narrow inlet, and directly to the west stands the Agriculture Building.\n\n> Go south\nTwo great roads cross here, at the northwest shore of the South\nPond. One road heads north, along the inlet toward the Court of Honor buildings, then bends gently southwest, following the curve of the pond. The second road runs west across the back of the Agriculture Building towards the White Horse Inn, and east, over the inlet on a narrow bridge. On the other side of the bridge, on a small peninsula of land, stands a replica of La Rabida convent, where Columbus gathered his strength before making his first transatlantic journey.\n\nLooking across South Pond, other points of interest take shape. On the west side of the pond, a vast tangle of windmills spin in the lake breeze. Further south, you can make out ruins of some kind. And on the south and east shores of the pond, another group of grand buildings rise, holding a court all their own.\n\nWindmills, Looking across South Pond.\n\n> You go to the east\nYou cross the canal over a narrow bridge.\n\nBefore you stands a replica of the Convent of La Rabida, where Columbus rested, poor and hungry, before applying to Queen Isabella for his voyage to the Americas. The Convent sits on a promontory, with Lake Michigan to the east, the inlet and South Pond wrapping around from the north to the southwest. An entrance to the Convent is to the northeast. To the south is Krupp's mighty castle, positioned as if to protect this quiet building. Roads skirt the edges of the castle to the southeast and southwest.\n\nLa Rabida Convent.\n\n> Go north\nYou walk to the edge of the promontory, where the waters of Lake Michigan crash against the rocks.\n\n> You wait\nTime passes...\n\nThe guide continues to describe the Columbus Quadriga. \"Four noble war-horses are harnessed to the chariot. Every point of the finest blood is admirably brought out by Mr. Potter. Massive as they are, the small heads and ears betoken the Andalusian blood, which is hardly removed from the best Arab stock. They are led by female grooms, who look fully as spirited as the animals they restrain. They may be said to be perfect models of Grecian beauty, quite different from the 'Republic,' which has more of the Roman caste of beauty. Their beautifully moulded arms show to great advantage in the pose they assume, which throws out their finely modelled busts. There is an air of nobility about the whole group, and along with the 'Republic' and the Columbian Fountain, ranks as the very best sculpture this Exposition has to offer.\"\n\n\"And now if you'll follow me, please,\" the guide says, and heads off to the north.\n\n> You go north\nYou stand before the great central Triumph Arch of the Peristyle, called The Water Gate. The Water Gate is adorned with sculpture, and topped by the Columbian Quadriga, a representation of Columbus in a Roman chariot, pulled by four powerful horses. Directly to the west is the Columbian Basin, and the sixty-five foot tall gilt statue of the Republic. The statue faces the administration building far to the west. You can see from this vantage that the Statue of the Republic has a small service door at its base, probably for cleaners and other workmen. Along the edges of the basin stand the glorious Court of Honor buildings; the White City. Basin waters flow under the walkway here and out the water gate, into Lake Michigan. You can walk along the Peristyle to the north and south.\nA guide is here, leading a tour group through the grounds.\n\nThe Court of Honor, Looking West. \n\nThe guide gestures over the Basin to the west. \"Could you ever have conceived that you would see such a magnificent view on the lakefront of Chicago? As we are a bit pressed for time, I will just make one observation. Note the waters of the Basin. At the far end, the Basin spreads off into two arms, the North and South canals. Does it not give the sheet of water the appearance of the plan of a church with nave and transepts? The grandest church in the world,\" the guide reflects. \"And now, if you would be so kind as to accompany me further, we shall admire the wonders on the north side of the Grand Basin.\" He heads north.\n\n> You go north\ncomplex: A long, double colonnade with a statue-lined roof, flanked by identical pavilions. In the center of the Peristyle is a large triumphal arch, called the Water Gate, under which basin waters flow into Lake Michigan. You are standing in an open plaza, just next to the Peristyle. To the south is the Water Gate, and to the north stands the northern pavilion, which has been dubbed \"The Music Hall.\" The Music Hall is the Exposition's concert hall for classical music, and other fine entertainments. The Court of Honor extends back toward the west.\nA guide is here, leading a tour group through the grounds.\n\nLooking East towards the Peristyle. \n\n\"Behind us, another remarkable view of the Peristyle. But let it not stay us from our course,\" the guide says, heading west.\n\n> Go west\nYou are standing at the southeast corner of the Manufactures and Liberal Arts Building. The large corner pavilion is decorated by bas relief and paintings representing music and the arts. The plaza continues east toward the Peristyle, and west across the southern face of Manufactures. To the north a promenade winds along the lakefront past a number of smaller pavilions.\nA guide is here, leading a tour group through the grounds.\n\nMusic Hall. \n\n\"Ahhh...The Manufactures and Liberal Arts Building. The Grandest and most impressive on the grounds. It is not so stately and gorgeous as some of the others, but for grandeur of design, boldness of construction, faultless proportions, and amazing extent it must class as a wonder of the world,\" the guide says. \"And to the northeast, stands the Music Hall, which connects to the Peristyle and across the Basin to its twin, the Casino Building. Neither of these buildings need concern us further, it is Manufactures that attracts the attention, now.\"\n\n\"As we continue heading west,\" the guide continues, \"we shall be passing along the front of Manufactures. Bear in mind as we walk that it is more than a third of a mile in length, a sixth of a mile wide, and covers thirty acres of ground. The whole building is a revelation of immensity. Follow me, please.\" The guide walks off to the west, the tour group right behind.\n\n> Go west\nCourt of Honor, South Side of Manufactures and Liberal Arts Building The Manufactures and Liberal Arts building is advertised as being\nthe largest in the world, and standing in front of its colossal entrance, you have no doubt. The entrance is designed as a great triumphal arch, ornamented by four Corinthian columns, at the top of each rests an Eagle with outstretched wings. In one side of the entrance are stairs leading up. The plaza continues east and west, to the south, two sculptures of horses face out toward the opposite shore, and between them, the blue waters of the basin lap against a boat landing.\nA guide is here, leading a tour group through the grounds.\n\nSouth Entrance of Manufactures and Liberal Arts. \n\n\"It would be difficult to describe the style of Architecture for the Manufactures and Liberal Arts Building,\" the guide declares, \"for it is a melange of the best in all. It stands like a great white mountain on the lake shore and can be seen from a great distance. Inside, the building is traversed from north to south by a great aisle fifty feet wide intersected midway by another running east and west. Where the two great aisles intersect in the center, a clock tower rises 135 feet above the floor. But you may enter the building and admire the exhibits on your own time. For us, we go not in, but up.\n\nThe guide walks just inside the main entryway, where a stairway leads up. \"Come now, let's not dawdle,\" he says, and heads up the stairs. The tour group, excited now, follow suit.\n\n> Up\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.\nA guide is here, leading a tour group through the grounds.\n\nLooking South from Roof of Manufactures and Liberal Arts Building. \n\n\"Among the many enjoyable experiences at the World's Fair none, perhaps, will make a more lasting impression than the time you spend here, on top of the Manufactures and Liberal Arts Building, as we take in from all sides a panoramic view of the 'White City,' with all its accessories of art and architecture It is while standing here that one fully appreciates the wisdom of the selection of Jackson Park as the site of the fair; the extent of the scene, varied by landscape and waterscape, is one of which the eye never tires; the vast buildings looming up on every side never give the appearance of crowding or of rendering insignificant the less imposing structures, for there is always the consciousness that there is ample space for everything.\"\n\n> You look\nLooking South from Roof of Manufactures and Liberal Arts Building. \n\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.\nA guide is here, leading a tour group through the grounds.\n\n\"Look below us!\" the guide shouts. \"A silvery sheet of water in which the white buildings and glistening statues are delicately miraged, and the towering statue of the 'Republic' seems to bathe in its cool embraces. From here we can even see beyond the Court of Honor, southward to the right, the great prairies stretch in an unbroken level, and to the left Lake Michigan spreads her quivering waters, gleaming and sparkling in sun and shadow, curving about the Park like the blade of a great silver scimitar.\"\n\n\"And now, if you'll follow me, please. Do watch your step -- it's a long way down.\" The tour proceeds to the west.\n\n> Go west\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you have an excellent view of the Administration Building and its golden dome. In front of it you see the Columbian Fountain, on either side the other buildings of the court. You can follow the roofline to the east or north for more magnificient views.\nA guide is here, leading a tour group through the grounds.\n\nLooking Southwest from Roof of Manufactures and Liberal Arts Building. \n\n\"Look, my friends, is it a dream? Or are we cheated by some wonderful mirage such as sometimes haunts the gaze of mariners far out to sea? We rub our eyes,\" and here, for effect, the guide does so, \"but the scene is still there. Golden and crystal domes, towers, spires, belfries, minarets, mighty buildings as massive as mountains yet delicate as goldsmith's finest work, peopled by a multitude of statues of men and animals, gods and goddesses. How has this wonder risen from the barren prairie and the swamp? I can only quote you these lines:\n\n\"What is it, fashioned wondrously that, twin-born with the brain, Marks man from every meaner thing that bounds across the plain,\nOr gambols in the mighty deep, or sports in summer air?\nIt is the hand, the human hand, interpreter of will.\n\n\"What marvels the will's interpreter has wrought here!\"\n\n> You wait\nTime passes...\n\n\"Looking before us our attention is attracted to the Golden Dome of the Administration Building which stands in the center of the Court of Honor. We are instantly carried in thought to Paris, where under the Golden Dome of the Hotel des Invalides calmy reposes the bust of the great Napoleon, whose restless spirit so long dominated Europe. But we cannot linger. Follow me, please,\" the guide says, leading the tour along the roof to the north.\n\n> You go to the north\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you are overlooking the Electricity Building and its northern entrance. Beyond it rises the golden dome of the Administration Building. The lagoon is directly below you, spreading out to the north and west. You can follow the roofline to the north or south for more views.\nA guide is here, leading a tour group through the grounds.\n\nLooking West-Southwest from Roof of Manufactures and Liberal Arts Building. \n\n\"Such visions of grandeur, have they ever passed thine eyes before?\" the guide asks. \"No matter, for more delights still await. Come,\" he beckons, and the tour continues along the roof to the north.\n\n> You go to the north\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. You have an excellent view of the Wooded Island. From here, the trees seem quite sparse and you can easily see a small cabin on the southernmost point of the island and a Japanese temple on the northernmost point. Inbetween, a rose garden blooms and paths meander through the trees. Beyond the island is the Transportation Building and Horticulture Building. The rooftop promenade continues to the north and south.\nA guide is here, leading a tour group through the grounds.\n\nLooking West from Roof of Manufactures and Liberal Arts Building. \n\n\"Look here!\" the tour guide shouts. \"Like a magnificent Turkish rug, rich with varied dyes, flung down upon a crystal floor, the Wooded Island appears, as we look westward over the parapet. A profusion of flowers of every shade and hue gems the sod; groves of trees and masses of shrubbery lend further charm by the dark green of their foilage. Winding walks curve among the parterres of glowing flowers, and here and there rustic summer houses, over which delicate vines train their dainty tendrils, invite to rest and quietude.\"\n\n> You wait\nTime passes...\n\n\"At the south end of the island we can see a structure which stands in strange comparison with the buildings of the Court of Honor. It is a plain log-cabin of olden time, such as the western pioneers occupied in the dewy day-spring of this nation's history. It seems scarcely possible that the near descendants of these men are the architects and builders of the palaces around us. But such is the fact. The rough logs laid one on top of the other, with their rude hewn ends protruding, the wide log chimneys and the little holes for windows, are still familiar objects to many of our older men, and this rude structure will warm their hearts with old-time reminiscence.\"\n\nThe guide turns back to the group. \"It's time to come down from our lofty perch, and continue our tour on the ground. Follow me!\" he says, and heads south.\n\n> Go south\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you are overlooking the Electricity Building and its northern entrance. Beyond it rises the golden dome of the Administration Building. The lagoon is directly below you, spreading out to the north and west. You can follow the roofline to the north or south for more views.\nA guide is here, leading a tour group through the grounds.\n\nLooking West-Southwest from Roof of Manufactures and Liberal Arts Building. \n\n\"Many of our presidents were born in log cabins, you know, and proved to be good, brave men. Such was the birthplace of Abraham Lincoln; even a rude dwelling was his home; and Benjamin Harrison, though of Illinois lineage, first saw the light in a residence very little better,\" the guide says, and continues to the south.\n\n> You wait\nTime passes...\n\n> Go south\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. From here you have an excellent view of the Administration Building and its golden dome. In front of it you see the Columbian Fountain, on either side the other buildings of the court. You can follow the roofline to the east or north for more magnificient views.\nA guide is here, leading a tour group through the grounds.\n\nLooking Southwest from Roof of Manufactures and Liberal Arts Building. \n\n\"How many a fierce fight against savage Indians those cabins must have withstood! What privations our fathers and mothers underwent in their heroic efforts to lay the foundations of this great Republic strong and firm!\" the guide says, hardly pausing for breath. \"A very humble building, to be sure, but every log in it has a special eloquence. Follow me, please.\" The guide leads the tour east.\n\n> Go east\nYou are standing high above the Court of Honor, on the roof of the Manufactures and Liberal Arts Building. Immediately below you is the Grand Basin and the Statue of the Republic. Opposite stands the Agriculture Building, the Casino Building next to that. Between those two buildings you can see another cluster of buildings around the South Pond. Stairs lead down to the Court of Honor, and a walkway follows the edge of the roof to the west.\nA guide is here, leading a tour group through the grounds.\n\nLooking South from Roof of Manufactures and Liberal Arts Building. \n\nAndrew Jackson, Polk, Zachary Taylor, Millard Fillmore, Andrew Johnson, and many eminent men were born in huts. The free life in the open air, the simple food and simple habits thus engendered made them strong in their country's need. Whittier says in one of his lovely poems,\n\n\"We thank thee for the strength of the hills, our God, our fathers' God;\nThou has made us great and mighty by the touch of the mountain sod.\n\n\"And we may say by the life of the log-cabin, for from these rugged cradles have risen the great and mighty of our land, who have been our statesmen and rulers.\" The guide leads the tour group back down the stairs.\n\n> Down\nCourt of Honor, South Side of Manufactures and Liberal Arts Building The Manufactures and Liberal Arts building is advertised as being\nthe largest in the world, and standing in front of its colossal entrance, you have no doubt. The entrance is designed as a great triumphal arch, ornamented by four Corinthian columns, at the top of each rests an Eagle with outstretched wings. In one side of the entrance are stairs leading up. The plaza continues east and west, to the south, two sculptures of horses face out toward the opposite shore, and between them, the blue waters of the basin lap against a boat landing.\nA guide is here, leading a tour group through the grounds.\n\nSouth Entrance of Manufactures and Liberal Arts. \n\nThe sun beats down relentlessly from a cloudless sky.\n\n\"If I could direct your attention now to the horse statues in front of this great building, titled 'Industry,' surely one of the most noticable of the many on the grounds.\" The guide gestures to the statues flanking the boat dock directly to the south.\n\n> You look at horses\n'Industry.' \n\nYou take a moment to examine one of the sculptures. The sculpture consists of a gigantic horse, a work horse, and a young man, who holds in one hand a great shovel and the other leans against the horse's side. The man is certainly a farmer, and the horse used for pulling his plow.\n\n\"The group consists of a sturdy son of toil, one hand clasping the long handle of an old-fashioned Celtic spade, the other resting on the collar of a gigantic horse, against which he leans,\" the guide explains. \"The sculptor has been careful not to idealize his subject too highly. The impression the group leaves upon the mind is that of splendid reserved power. The horse is of the sturdy Flanders breed, noted for endurance. Every muscle is clearly brought out. The massive hoofs rest upon the pedestal as though conscious of the immense weight of the animal they support. The head shows a slight mixture of blood somewhat resembling those of the horses seen in the French Provinces. The harness is of the simple kind used by ploughmen, and the idea of a plough-horse is carried out by the skillful bobbing of the tail.\"\n\n> You wait\nTime passes...\n\n\"The man leaning against the horse is a splendid specimen of the agricultural laborer,\" the guide continues, \"long-limbed and stalwart; his bare arms show the corded muscles of practiced strength, and his long, powerful limbs seem well fitted to carry him over the rich furrows of the well-ploughed field. But it is the face that holds one's attention. This is no stolid boor, no slave of some callow lordling or country squire, but a man every inch of him, and an intelligent man at that. Full of independence, his eye looks out from beneath his broad-brimmed hat as though challenging equality with the countless thousands who come to gaze on him. Such a look must have been in the eyes of the men whom Wat Tyler led eighty thousand strong to the capture of London when Richard the Second was king. As they moved along they sang the quaint doggerel:\n\n\"When Adam delved and Eve span\nWhere was then the gentleman?\n\n\"They could all understand that it had in it the germs of modern socialism, the death-knell of the classes, the morning song of the masses."
    },
    {
        "text": "Prince Albert, Queen Victoria's royal spouse, wrote truly in one of his poems now little known,\n\n\"'Tis of the peasants, hardy stock, the race of giants are.\"\n\n> You wait\nTime passes...\n\n\"Follow me, follow me, please,\" the guide says, and leads the tour to the west.\n\n> Go west\nYou are standing at the southwest corner of the Manufactures and Liberal Arts Building. The corner pavilion consists of two huge outer arches, and four smaller, inner ones. Together these archways support a dome, painted with figures representing war. Standing in front of the pavilion is a tall, rostral column, on top of which stands a figure of Neptune, clutching his trident. A wide road heads east, toward the front entrance of the building, and west over a bridge. To the north, a road squeezes between the canal and the side of the building. The basin is to the south, and beyond it you see the impressive Roman facade of the Agriculture Building.\nA guide is here, leading a tour group through the grounds.\n\nNorth Canal Bridge, Looking West. \n\n\"And now,\" the guide continues, \"if you will follow me, we shall be crossing the north canal bridge, so much like its counterpart we crossed such a short while ago on the south side of the Basin.\" He continues to the west.\n\n> Go west\nThis magnificent bridge is guarded on either side by bold animal sculptures. On the west end of the bridge stand two polar bears, looking towards the Electricity Building, while on the east end stand two grizzly bears. Beyond them, further to the east, is the monumental Manufactures and Liberal Arts Building. The canal passes under the bridge into the basin to the south; while some distance to the north you can see it widens into a lagoon.\nA guide is here, leading a tour group through the grounds.\n\nNorth Canal Bridge, Looking East. \n\n\"We have one more building to look upon, and then I shall leave you to your own devices. This way, please,\" the guide says, heading west.\n\nA ferry glides northward under the bridge.\n\n> You go west\nThe North Canal interrupts the Court of Honor here. A bridge\ncrosses the canal to the east. To the north, a wide road goes between the canal and the side of the Electricity Building. The main entrance to the Electricity Building is to the west. You also have a clear view of the MacMonnies Fountain, in the basin directly to the south.\n\nA tangle of ugly pipes marks the location of one of the electric fountains, which stay off during most of the day. Next to the fountain stands a rostral column, at the top of which stands a statue of Neptune.\nA guide is here, leading a tour group through the grounds.\n\nElectric Fountain. \n\n\"Here we have another of the Electric Fountains, quiet by day, but at night, bursting forth into myriad jets of jewelled water, shot through with all the colors of the rainbow, now green as any emerald, now red as the burning heart of a ruby, then a delicate sapphire, changing to the liquid yellow of the topaz, and again glistening like molten silver to change, as with the touch of a magician, into the varied hues of the diamond.\"\n\n> You look at Fountain\nWhich fountain do you mean, the MacMonnies Fountain, or the electric fountain?\n\n> You examine electric Fountain\nThe electric fountain is a tangle of unsightly pipes. It doesn't run during the day.\n\n\"And now, if you will follow me, we shall look upon the Electricity Building, and marvel.\" the guide continues to the west.\n\n> Go west\nCourt of Honor, South side of Electricity Building\nYou are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.\n\nAn octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.\nA guide is here, leading a tour group through the grounds.\n\nSouth Entrance of Electricity Building. \n\nThe guide pauses. He clears his throat. \"The great Electricity Building is before us, its numerous towers rising above the corner pavilions and the entrances. Forty years ago such a building would not have been necessary. Then the telegraph was still young, a giant at play, hardly yet harnessed to the chariot of progress. The electric pulse did not yet beat beneath the broad bosom of the Atlantic, and men would have laughed at the idea that the time would ever come when the submarine cable would divide the world thrice, and leave something over for a good start on the fourth. Then cities were lighted with oil-lamps, or gas of hardly greater brilliancy, and men never dreamed that streets, churches, theaters, offices, hotels, and private houses would be brilliantly lighted by touching a button. A man would have been called crazy who asserted that human speech could be carried 1000 miles on a wire, and messages in plain tones delivered hundreds of miles.\"\n\n> You wait\nTime passes...\n\n\"That old world seems very far away now,\" the guide continues. \"How bewildered our grandfathers would be if they could rise from their graves and see how business is now done; how cars run without horses, turning as by magic and stopping instantly as at a word of command; how rooms are kept cool by electric fans, and servants called by electric bells; how diseases are cured by electricity, and how it is made to do the will of man in thousands of ways! Our poor ancestors would wish to retire hastily from a world that has gone so far beyond them. Edison, whom we revere as the modern wizard, would not receive from them the golden medal of well-earned fame, but rather the chill dungeon, or even the fate of the martyr.\"\n\n> You wait\nTime passes...\n\n\"So many thoughts surge into our minds as we gaze on the wonderful building before us. What mysteries it contains, what wonders are yet in store for us! Once the lives of men were flat and tame as the prairies we saw from the roof of Manufactures, now through this great agent, as the building has sprung up from the level plain, our hopes for humanity are constantly up-springing, for we feel that God would never have given us this great power in charge if He did not love His people.\" The tour guide takes off his hat, and pauses in reflection, looking onto the Electricity Building.\n\nThen -- \"And now if you will follow me, ladies and gentlemen--\" he says, and heads off to the south.\n\n> Go south\nYou are in the Court of Honor, on a grand plaza which surrounds the Administration Building, which here opens up to a glorious vista the likes of which you have never seen nor imagined before. It is a great city which stands before you, each building of monolithic size and classical design. The buildings of this great city surround a man-made basin to rival the size of some lakes. This is the fabled 'White City,' built a mere twenty years after the tragic Chicago Fire left the city in ruins.\n\nThe Administration Building takes a commanding position at the western end of the Grand Basin. Standing directly in front of the eastern entrance to the building is a statue of Columbus, in whose honor the fair has been dedicated. Directly across from him, an elaborate fountain rises from the basin waters, dozens of figures standing, sitting, and rowing in a boat the discoverer himself would have been proud to command. At the other end of the basin the emblem of the fair stands: a gilt sculpture of a woman, fair Columbia, climbing magnificently to a height of sixty-five feet above the basin waters. The plaza continues to the north and south, toward more monumental buildings.\nA guide is here, leading a tour group through the grounds.\n\nLooking East onto the White City. \n\n\"One last sight is worthy of mention before we conclude the tour, and that is not another building, monument, nor sculpture, but the people who walk among this new city.\" The guide smiles as he continues, \"We are a motley crew, surely, who wander through this Elysium; the sturdy cowboy jostles the Russian nobleman; the sallow Turk shoulders the fair-haired Swede; the lithe American damsel walks side by side with the burly English soldier, and the soft-treading son of Japan finds himself pushed by the impatient Westerner. The French have often been called the most polite nation in the world, but France must surrender the palm to America. There is no quarreling here, no loud talking, no profanity nor rowdiness; all is peace, good-will, and kindliness. No multitude on earth could be assembled elsewhere with so little friction as here.\"\n\n> You examine the crowd\nYou scan the crowd for suspicious characters.\n\n\"Ladies and gentlemen, that concludes our tour of the Court of Honor. I hope you found it an hour well spent. There is far more to see -- the interiors of the buildings we looked upon, for starters. Then, to the south, past Agriculture, another group of buildings where you can find Ethnographic exhibits, the largest cannon ever made, from the Krupp family business of Germany, and a replica of the convent where Columbus first contemplated taking his historic voyage. To the north, wonder upon wonder awaits, with grand exposition buildings dedicated to Transportation, Horticulture, Fine Arts, and more. Far to the north you should find and visit the building erected by your home state. And to the northwest, be sure to walk the Midway Plaisance, which has not inaptly been called a great kindergarten for grown-up people, and where many side-shows of the Exposition may be seen, some of them more than common excellence, and all of them of refreshing interest as well as instructive to the curious who take delight in strange people and their odd manners and customs.\"\n\n> Time\nThe time is now 12:28 p.m. on Monday.\n\n> You go north\nCourt of Honor, South side of Electricity Building\nYou are in a grand plaza. Directly to the north stands the Electricity Building, its portico and entryway illustrated with sculpture groups which seem to promise to reveal the discoveries of modern science within. In front of the Electricity Building is a tall, bronze statue of Benjamin Franklin.\n\nAn octagonal bandstand sits in the plaza here. You can see its identical twin to the south. The plaza continues to the west, east, and south.\n\nSouth Entrance of Electricity Building.\n\n> Go west\nCourt of Honor, North side of Administration Building\nThe plaza continues to the east and west. Directly to the south stands the grand Administration Building. To the north, a road cuts between the Electricity Building to the east and the Mines and Mining Building on the west.\n\nLooking North Between Mines and Electricity Buildings.\n\n> Go north\nbuildings. To the west stands the Mines and Mining Building, its mix of architectural styles contrasting somewhat with the clean lines of the Electricity Building, which stands to the east. The dome of the Administration Building is clearly visible to the south.\n\nRoad, Looking South.\n\n> Go north\nThe broad road splits here at the edge of a great lagoon. To the west, the road goes across the northern front of the Mines and Mining Building, to the east, the road goes across the front of the Electricity Building, and to the south, the road cuts between the two, toward the triumphant dome of the Administration Building. A bridge spans a narrow part of the lagoon to the north to a large wooded island. The bridge is guarded on either side by dramatic moose sculptures.\n\nLooking out over the lagoon, you are awestruck by one of the best views of the fairgrounds. From here, you can see almost all of the beautiful and monumental buildings that form the Northern Court. The Northern Court buildings are not arranged around a carefully constructed basin, but instead around this rough and pleasant lagoon. In the center of the lagoon is a large wooded island. On the west side of the lagoon, you can see the Transportation Building, and further north, the Women's Building. In the far distance behind the Women's Building, you can see Ferris' Wheel slowly spinning. On the east side of the lagoon is the Manufactures and Liberal Arts Building, and north of that the U.S. Government building. More buildings are directly north of the lagoon, but they are mostly obscured by the trees of the wooded island.\n\nGreat Bridge.\n\n> You go west\nMines and Mining Building, North Side\nYou stand on the northern side of the Mines and Mining Building, at\nan entrance somewhat simpler than that on the southern side, but no less grand. The road here passes across the front of the building, heading east and west. To the north is the weedy shore of the lagoon.\n\nLooking West towards Transportation Building.\n\n> Go north\nYou are standing on the southernmost part of the Wooded island. A small log cabin sits here, quaint in comparison to the great buildings spread over the rest of the grounds. A great bridge spans the lagoon to the south, while the main part of the island is over a short bridge to the north.\n\nLog Cabin.\n\n> You go north\nThis area of the Wooded island is devoted to a rose garden--the largest rose garden you've ever seen. Roses of every color and description are blooming along the pathways. To the north, paths lead into the woods. To the south is a short bridge and to the west is a longer one, crossing the lagoon to the Horticulture Building, of which this garden is considered a part.\nA boy is rushing about here, getting into all sorts of trouble.\n\nRose Garden. \n\nThe boy is pulling petals off the roses.\n\n> You go north\nYou are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northeast, northwest, and out of the woods to the south.\n\nWooded Path.\n\n> Go northwest\nYou are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northeast and southeast.\n\nWooded Path.\n\n> Go south\nThis area of the Wooded island is devoted to a rose garden--the largest rose garden you've ever seen. Roses of every color and description are blooming along the pathways. To the north, paths lead into the woods. To the south is a short bridge and to the west is a longer one, crossing the lagoon to the Horticulture Building, of which this garden is considered a part.\n\nRose Garden.\n\n> You go to the west\nYou cross the lagoon on a wide bridge.\n\nThe road splits here, and a wide bridge crosses the lagoon to the large wooded island to the east. The road continues north, where it fronts the Horticulture Building, south fronting Choral Hall, and west, between the two buildings.\n\nHorticulture Building, Looking North.\n\n> Go north\nHorticulture Building, Main Entrance\nThe Horticulture Building stands directly west. Flanking its\nentrance rest two beautiful sculpture groups by Lorado Taft in flowery splendor. Its central pavilion is capped by a glass dome 187 feet in diameter, and the building's facade is done in a Venetian Renaissance style. To the east is a boat launch, where gondola drivers are selling their services to fairgoers. The road continues north and south.\n\nHorticulture Building, Main Entrance.\n\n> Go north\nThe promenade continues along the lagoon's edge. Here, between the Horticulture Building to the south and the Women's Building to the north, stand some smaller buildings and pavilions, extending in a row to the west. First is the round pavilion of the White Star Line. After that stands the Puck Pavilion, from the famous New York magazine of the same name. Another building stands next to that, further to the west.\n\nWhite Star Line Pavilion, Looking Northwest.\n\n> Go north\nWoman's Building, Front Entrance\nStanding to the west is the two-storied, Italian Renaissance villa style Woman's Building. The lagoon opens up to the east. The road continues north, where in the distance you can see the dome of the Illinois Building, and beyond that the Palace of Fine Arts; and south, along the edge of the lagoon.\n\nWoman's Building, Front Entrance.\n\n> Go north\nYou are standing at a crossroads. A road leads west, toward the glorious and exciting Midway. In the distance, you can see the great wheel slowly spinning. Another road leads east, towards the golden-dome of the Illinois building. To the north, you can see what looks like a Spanish mission, and numerous smaller buildings after that. Southward lies the Women's Building, then Horticulture, and so on, all the way back to the Administration Building.\n\nCrossroads, Looking North towards California Building.\n\n> Go west\nWoman's Building, North Entrance\nYou are on an east-west road which cuts across the northern wing of the Women's Building. A small entrance into the north wing is directly to the south. To the east, the road heads toward the lagoon, and the golden dome of the Illinois Building. To the west, the road leads toward the Midway and Ferris' Wheel, looming in the distance.\n\nNorth Entrance of Woman's Building, Looking South.\n\n> You go to the west\nYou are standing at the entrance to the midway. To the east is the regal, formal fairgrounds. To the west, the wild and exotic midway beckons. The one side is planned and structured, the other haphazard and chaotic. It is hard to say which fairgoers appear to be enjoying more. On the threshold stands the Woman's Building, directly to the east. Roads wrap around it to the northeast and southeast. Another road heads south towards the Horticulture Building. Stairs lead up to an Intramural Railroad platform. To the west is the midway.\n\nMidway, Looking east towards Woman's Building.\n\n> Go west\nthe world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.\n\nTo the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.\n\nTo the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.\n\nHagenbeck's Animal Auditorium. \n\nThe barker shouts, \"Step right up, step right up, have your tickets ready!\"\n\n> You go to the west\nThe Midway continues to the east and west. The roadway is filled\nwith noise and energy of a kind you have never seen. Not even the most metropolitan of cities could ever boast the great mix of peoples, games, and attractions that can be witnessed along this single avenue. To the west, the great Ferris Wheel slowly spins, easily the match of Eiffel's tower.\n\nTo the north a rustic bamboo archway leads curious spectators into the Javanese Village.\n\nTo the south is the Turkish Village.\n\nEntrance to the Javanese Village.\n\n> You go to the west\nMidway, by the Ferris Wheel\nYou stand in the center of the Midway, before Ferris' gigantic\nWheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.\n\nTo the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.\n\nMoorish palace and Ferris Wheel.\n\n> You enter Line\nThe line is so long you might be waiting all day before getting on the ride.\n\n> 1893-1\nRestored.\n\nMidway, by the Ferris Wheel\nYou stand in the center of the Midway, before Ferris' gigantic\nWheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.\n\nTo the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.\n\nMoorish palace and Ferris Wheel.\n\n> You look\nMoorish palace and Ferris Wheel. \n\nMidway, by the Ferris Wheel\nYou stand in the center of the Midway, before Ferris' gigantic\nWheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.\n\nTo the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.\n\n> Go north\nThe narrow street is packed with tiny booths, the buildings on\neither side two or even three stories in height, with great bay-windows and elaborately carved balconies. The street seems transported whole from some African city, from the other side of the world. You can hardly believe that you are still in Chicago, overwhelmed by the Babel of languages and the cosmopolitan throng gathered here. Soudanese, Arabs, Nubians, and Egyptians, all ply their goods, dance, sing, talk, shout, and laugh above the noise, while children weave through"
    },
    {
        "text": "the crowds and camels lumber past. Fairgoers wander amid the astounding sights in delight, passing into first one shop and then the next. The street continues to the north, and ends at the midway directly to the south.\n\nStreets of Cairo.\n\n> You go north\nYou stand in the quadrangular courtyard of the Okala, an\nelaborately ornate, two story building which contains apartments above and a bazaar below. On all sides, through pointed arches, under draped rugs, are small antique shops, rug shops, and teahouses, some no larger than niches in the walls. A gallery runs the length of the square, where brightly attired Sudanese merchants and Egyptian entertainers share their tea and watch the people jostling and shouting in the square below.\n\nThe Okala.\n\n> You go south\ninside, and more like a wax museum. Over sixty groups in wax represent European rulers and historic Americans. Prominent among the displays is one featuring the beheading of Marie Antoinette, her executioner standing behind her, at the ready, while all around a painting depicts the shouting, gloating mob. She has rested her neck in the guillotine, whose blade is rusted with blood. Other wax groups are to the east, west, and south, while the Midway is to the north.\n\nGuillotine.\n\n> You examine marie\nShe is kneeling in front of the guillotine, her neck extended and locked in the guillotine, waiting for death.\n\n> Go south\nYou wander past other groups of wax figures, but quickly lose interest.\n\n> You examine the blade\nThe guillotine is a large rectangular device. Stocks at the bottom clamp the victim's head into the proper position. A lever nearby releases the deadly blade hanging from above.\n\n> You pull the lever\nYou try moving the lever but it won't budge. Considering that this is a tableaux of wax figures, the guillotine probably doesn't have working parts.\n\n> Go west\nYou are on the Midway Plaisance. To the east is the Ferris Wheel,\nand past the Wheel, the fairgrounds proper. To the west, the Midway continues past exotic concessions and theaters. To the north is the Captive Balloon Ride, for those who wish to fly in a hot-air balloon without the fear of drifting away, while to the south stands a beautiful Viennese cafe where fairgoers can stop for coffee or a light meal and watch the people go by.\n\nViennese Cafe.\n\n> You go to the north\nA large hot-air balloon has been tethered to the ground here. A\nline of people are waiting eagerly for their chance to board the balloon and float suspended above the Midway.\n\nCaptive Balloon Ride.\n\n> Go south\nThe Viennese cafe looks delightful. If you would like to eat there, just say so.\n\n> Time\nThe time is now 1:16 p.m. on Monday.\n\n> You go west\nThe Midway ends here, where dozens of turnstiles turn onto the\nstreet. Crowds of people are entering and leaving, about half a dozen Columbian guards stand near the ticket booths maintaining order. From here, it is a mile walk through the crowded exotics of the Midway before the visitor will at last stand in the White City proper, far to the east. Camps from distant corners of the world are clustered here, at the far end of the Midway. To the north, the warlike Bedouin tribesmen give horse and camel racing demonstrations. To the south stands the Dahomey Village.\n\nNear the fairground exit is a small kiosk where a vendor is selling some snacks.\n\nLooking East, towards Ferris Wheel.\n\n> Go north\nas well as open ground for demonstrations, camel racing, horse racing, and other contests of skill. A cluster of tents stand on one end of this open, grassy area, where the Bedouin live with their families, women and children can be seen inside, preparing meals and otherwise living as they ordinarily would in the desert. The men, for the most part, are performing for the audience, dressed in traditional costume and riding their camels.\n\nBedouin Camp.\n\n> Go north\nGoing any further into the encampment means running the risk of getting trampled by a camel. The Midway is back to the south.\n\n> You go south\nThe Dahomey Village is a group of low, crude huts. In and around\nthem are several families of Dahomeyans, chatting and visiting amongst themselves, while spectators crowd around and comment on their shocking features.\n\nDahomey Villagers.\n\n> You examine Dahomey\nThe Dahomey villagers relax in their native dress, and look back at you with disinterest. You recall that they were formerly cannibals, and wonder at what they are thinking when they set eyes upon you.\n\n> You examine the spectators\nYou scan the crowd for suspicious characters.\n\n> You go west\nThat way leaves the Fairgrounds altogether.\n\n> You go east\nYou are on the Midway Plaisance. To the east is the Ferris Wheel,\nand past the Wheel, the fairgrounds proper. To the west, the Midway continues past exotic concessions and theaters. To the north is the Captive Balloon Ride, for those who wish to fly in a hot-air balloon without the fear of drifting away, while to the south stands a beautiful Viennese cafe where fairgoers can stop for coffee or a light meal and watch the people go by.\n\nViennese Cafe.\n\n> You go east\nMidway, by the Ferris Wheel\nYou stand in the center of the Midway, before Ferris' gigantic\nWheel. A long line has formed, in a zigzag pattern, beside the wheel. The line goes up a short flight of stairs to the boarding platform. The Ferris Wheel is absolutely swarming with people. The sheer size of the structure is almost overwhelming. Its great cars are filled with dozens of people each. You can just make out the excited faces of the people in the lower cars, before they disappear into the sky.\n\nTo the north you can enter into the winding and narrow Streets of Cairo, while to the south a Moorish Palace invites entry. The midway continues to the east or west.\n\nMoorish palace and Ferris Wheel.\n\n> Up\nThe only way you're getting up there is by waiting in line to ride, and the line looks too long to bother.\n\n> You go to the north\nYou are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.\nSitting in the cage is the most ornery ourang-outang you have ever seen.\n\nJavanese Village. \n\nThe ourang-outang tries to carefully peel one of the umbrellas in its collection, but soon discards it in frustration.\n\nA well dressed young salesman says something jokingly to his companion, then approaches the ourang-outang cage and pokes the ape with his umbrella. The ourang-outang immediately snatches the umbrella from him and beats him about the face and neck with it. The young man, more subdued now, slinks away, to the general amusement of the Javanese guards.\n\n> You look athe ourang-outang\nThe ourang-outang is a fantastic looking creature transported here from the Dutch East Indes. He is a short, thick-legged ape with great, long, grasping arms, covered in bright orange fur. He doesn't look particularly happy to be here, at the fair, seeming to be in a mostly irritable disposition. However, as this is in actuality the only ourang-outang you have ever seen, you cannot compare his temperament to the norm.\n\nThe ourang-outang shrieks loudly.\n\n> Go south\nAs you are leaving the Javanese village, the ourang-outang reaches out and grabs the case dossier right out of your hands. The ourang-outang jumps up and down in pleasure and adds the case dossier to its collection.\n\nThe Midway continues to the east and west. The roadway is filled\nwith noise and energy of a kind you have never seen. Not even the most metropolitan of cities could ever boast the great mix of peoples, games, and attractions that can be witnessed along this single avenue. To the west, the great Ferris Wheel slowly spins, easily the match of Eiffel's tower.\n\nTo the north a rustic bamboo archway leads curious spectators into the Javanese Village.\n\nTo the south is the Turkish Village.\n\nEntrance to the Javanese Village.\n\n> Go north\nYou are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.\nThe cage seems to contain a case dossier.\nSitting in the cage is the most ornery ourang-outang you have ever seen.\n\nJavanese Village.\n\n> You take the dossier\nThe ourang-outang playfully grabs your arm and pulls it as hard as it can. Your face presses up against the bars of the cage and your arm is practically wrenched out of its socket. The orange beast bares his teeth at you making a sort of dangerous grin, and howls, making a most unnatural sound.\n\nAs a gentleman attempts to leave the Javanese village, the ourang-outang reaches out and steals his hat.\n\n> You look at Guards\nYou can't decide if the guards are there to protect the guests or to protect the ourang-outang. You suspect the latter.\n\nAs a gentleman attempts to leave the Javanese village, the ourang-outang reaches out and steals his hat.\n\n> You ask Guards\nWhat do you want to ask it about?\n\n> You check your inventory\nYou have a guidebook and a small daily stipend.\n\n> You look\nJavanese Village. \n\nYou are in the Javanese Village. The village is comprised of over forty separate buildings, each set on blocks of wood and raised a few feet above the ground. The buildings are made of bamboo, with rooftops of bundled grass. The largest of the buildings appears to be a theater, the others each displaying some sort of manufacture or Javanese craft. Near the entrance to the village is a cage.\nThe cage seems to contain a case dossier and a guidebook.\nSitting in the cage is the most ornery ourang-outang you have ever seen.\n\n> You go south\nLuxurious pavilions and bazaars surround you in the elaborately and fancifully designed Turkish Village. In one corner of the village stands a mosque, smaller in size than ones in Turkey but still large enough to hold over a hundred people in prayer. Nearby stands a refreshment pavilion, where a handsome, mustachioed man in a fez serves drinks and fruit to patrons.\n\nRefreshment Pavilion, Turkish Village.\n\n> You look at the mosque\nThe mosque is the first Mohammedan temple that has been consecrated outside the limits of the Muslim world. It has a gilded dome, some sixty feet high, and a slender minaret rising to the same height.\n\n> You enter the mosque\nYou remove your shoes and enter the mosque. The floors are covered with woven mats, the walls with rich tapestries. Incense braziers fill the air with a heavy, perfumed scent. You wander around for a moment, then soon make your way back outside, finding nothing suspicious.\n\n> You go east\nthe world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.\n\nTo the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.\n\nTo the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.\n\nHagenbeck's Animal Auditorium. \n\nA large crowd of people are slowly making their way into the Auditorium to see the show.\n\n> Go south\nNow isn't the time to take in a show.\n\nThe barker shouts, \"See Carl Hagenbeck's amazing menagerie of animals!\"\n\n> You go to the north\nof the Libbey Glass Company, but is also a complete working factory.\nA great melting furnace is in the center of the pavilion. Melting pots sit in the furnace, which contain molten masses of liquid glass.\n\nLibbey Glass Furnace.\n\n> You examine pots\nThe melting pots contain molten masses of liquid glass.\n\n> You look at the glass\nIn the glass cases arranged throughout the exhibit are beautiful examples of the Libbey Glass Company works. There are punch jugs of Roman design, delicate decanters of the Venetian type, graceful celery trays, ice tubs, lamps, and more.\n\n> You examine the dossier\nIt's a packet of papers that pertain to the case at hand. The case dossier is open. In the case dossier you see a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n> You look at the note\nThe note is written in a cribbed, narrow hand. It reads:\n\nFour brothers, rough and ready,\nThree sisters, kind and fair,\nThey left their home so eagerly,\nThey left to see the Fair!\n\nYoung Dennis likes spelunking,\nIn darkness feared and great;\nFair Ida likes to swim,\nAnd tempt the hands of fate.\n\nBullish Adam stays outdoors,\nFree and strong and wild;\nMary studies Egyptian script,\nAnd writes her name in style.\n\nAnd entered government,\nElder Neal rides the rails\nWith an artistic temperament.\n\nIn the cabin of Uncle Tom,\nAnd Mother...where is mother?\nShe watches over them all.\n\n> Go south\nthe world for the next two years, visiting each exotic port of call, you would still not see the variety of cultures and people as are here on the Midway Plaisance, and looking around you now, you can well believe that this may be the truth. The Midway is a hive of activity. Among great crowds of fairgoers are merchants, hawkers, musicians, barkers, and palanquin bearers; some shouting, some singing, some lounging in indifference. The midway continues to the west, toward the Ferris Wheel, or east, where it spills into the exhibition proper.\n\nTo the north stands the Libbey Glass Company Pavilion, a solid structure with a domed central roof and corner towers. A gravelly walkway leads into the pavilion, along which delicate glass works are displayed in cases.\n\nTo the south is Hagenbeck's Animal Auditorium. In front of the Auditorium is a sign, declaring showtimes to be every hour on the hour. A barker stands in front of the Auditorium, collecting tickets.\n\nHagenbeck's Animal Auditorium. \n\nThe barker shouts, \"No one has domesticated and trained more animals than Hagenbeck!\"\n\n> Go east\nYou are standing at the entrance to the midway. To the east is the regal, formal fairgrounds. To the west, the wild and exotic midway beckons. The one side is planned and structured, the other haphazard and chaotic. It is hard to say which fairgoers appear to be enjoying more. On the threshold stands the Woman's Building, directly to the east. Roads wrap around it to the northeast and southeast. Another road heads south towards the Horticulture Building. Stairs lead up to an Intramural Railroad platform. To the west is the midway.\n\nMidway, Looking east towards Woman's Building.\n\n> Go east\nThis is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'\n\nGrand Hall, Looking East.\n\n> You examine the Mural\nWhich mural do you mean, the Modern Woman mural, or the Primitive Woman mural?\n\n> You examine the modern Mural\nModern Woman, by Mary Cassatt. \n\nAlthough the mural is high above your head and somewhat difficult to see, it nevertheless is an interesting composition by the American painter Mary Cassat. A very thick, elaborate border of blue, green, and orange surrounds the three panels of the mural. In the first panel are three women, in pursuit of a flying figure. In the second, women dressed in modern fashion and children are gathered in an orchard, where they pick and eat bright red and gold fruit. In the last panel one woman dances in a flowing skirt, watched by two others. The bright blues, greens, and purples of this composition make it stand out quite dramatically from the other artwork in the building.\n\n> You look at the primitive Mural\nPrimitive Woman, by Mary MacMonnies. \n\nThis mural addresses the eye in a gentle manner, and is in the classical style. A thin border surrounds the mural, which depicts women draped in simple clothing, against a background of trees.\n\n> Up\nlibrary, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.\nA librarian is here, cataloging the books.\n\nLibrary.\n\n> You examine the bust\nBust of Harriet Beecher Stowe. \n\nIt's an incredible representation of Harriet Beecher Stowe.\n\n> You look at the books\nWhich books do you mean, the women's library books, or the special collection books?\n\n> You examine the special collection books\nThis special collection contains dozens of different editions of Harriet Beecher Stowe's popular Uncle Tom's Cabin. In addition, the collection includes a few of her lesser known essays and novels. You notice one particularly new edition of Uncle Tom's Cabin which seems strangely out of place.\n\nThe librarian pauses for a moment to read a few passages from the book she has just picked up.\n\n> You examine the new edition\nYou can't get a good look at it while its still inside the display case.\n\nThe librarian takes another book off the shelf and catalogs it.\n\n> You open the display case\nThe librarian looks up. \"Those books are for display only. No one opens the case or touches the books. Not while I'm here.\"\n\n> You examine the librarian\nEdith Clark, librarian. \n\nThe librarian is a middle-aged woman, plainly dressed, who is clearly involved in her work, which she takes very seriously.\n\nThe librarian takes another book off the shelf and catalogs it.\n\n> You ask about Stowe\n(the librarian)\n\"An amazing woman, Harriet Beecher Stowe. Still alive, but not in good health, you know. Her children donated her books for the special display. The bust was done by Anne Whitney. All in all, I think the women of Connecticut have made a fine display for the most famous woman writer to herald from their state.\n\n> You ask about the books\n(the librarian)\n\"Ah! Perhaps you want to know what contributions women have made to literature? More than you can imagine, I'll tell you that much.\"She pauses. Then: \"Let me show you something.\" She walks over to one of the bookcases, and reaches up to the top shelf, pulling out a slim volume, which she promptly drops, accidentally. \"Oh, dear,\" she says, bending down and picking it up. As she does, a small business card-sized paper drops from her pocket and under a bookcase, without her knowledge.\n\nShe hands you the book. It's titled, \"The Female Quixote,\" by Charlotte Lennox. \"Here is one of my favorites. Please give it back to me before leaving, if you please.\"\n\n> You read the book\nWhich book do you mean, the guidebook, or the The Female Quixote?\n\n> You read Quixote\nYou don't really feel like reading a novel right now.\n\nThe librarian reaches into her pocket; and freezes, perplexed.\n\n> You look under the bookcase\nYou find a business card sized paper, which you take.\n\nThe librarian checks her other pockets.\n\n> You read the card\nI don't know how to read the claim check.\n\nShe's getting quite frantic now, checking her pockets, her purse, the floor, everything.\n\n> You examine the claim check\nIt looks like a claim check of some sort.\n\nThe librarian goes around asking everyone in the library if they have seen a small claim check which she is very desperate to get back. It looks like she is on the verge of tears.\n\n> You give the check to the librarian\nYou hand the claim check over to the librarian. She almost sobs in relief. As it is, a tear runs down her face. \"Oh, Thank you kindly, thank you...I am so happy you have found it.\" She reaches to take the claim check which you are generously holding out to her, but then she thinks better of it.\n\n\"You are so kind,\" she says, \"that I wonder if I could impose upon your good nature and ask you to complete a task which, because I must remain here, I cannot.\"\n\nYou pause, considering your reply, which she somehow takes as an affirmative response. She smiles warmly and says, \"Oh, Thank you ever so much for your kindness. That claim check that you have found. Could you go and turn it in for me at the Children's Building? They will exchange it for a package which is most precious to me. Bring it to me here, and I would be most grateful.\"\n\n> You give the book to the librarian\nWhich book do you mean, the guidebook, or the The Female Quixote?\n\n> You give Quixote to librarian\n\"Thank you,\" she says, taking the book from you.\n\n\"I will never finish cataloging the books,\" the librarian mutters to herself."
    },
    {
        "text": "[Themes: Travel, Mystery, Historical, mystery, treasure hunt, chicago, history]\n\n> You go downward\nThis is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'\n\nGrand Hall, Looking East.\n\n> You go to the south\nThis long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.\n\nIt looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.\n\nGallery of Women's Industries.\n\n> You examine basket\nIt's a finely woven wicker handbasket with a sturdy handle that arches over the top. There's nothing in the handbasket.\n\n> Go south\nYou are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.\n\nChildren's Building.\n\n> Go west\nYou step under an archway which reads \"The Hope of the World is in the Children\" and into...\n\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nChildren's Building Gymnasium. \n\nA woman comes out of the nursery, mumbling, \"Aspirin. I need some aspirin.\" She wanders out of the building.\n\n> You ask the matron about the check\nShe is far to busy to carry on a conversation with adults, at the moment.\n\n> You look\nChildren's Building Gymnasium. \n\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nA small child wobbles into the lobby, and crashes to the floor.\nBefore he even starts crying, the matron is there, helping him up, saying soft things to him, and giving him a kiss on the forehead. Before long, the child wobbles away, giggling.\n\n> Go north\nYour heart sinks at the thought of all those educational exhibits; you decide to skip them unless necessity demands.\n\n> Go south\nThe kindly matron calls out, \"Sir? Please don't go in there, you'll disturb the babies.\"\n\n> You give check to the matron\nThe matron takes the claim check from you. \"Just a moment, please,\" she says, and leaves the foyer. She returns moments later, with a baby in her arms. \"Here you are,\" she says, handing the baby over to you.\n\nYou hear a crash and some crying from the playground.\n\n> Inventory\nYou have a case dossier, a guidebook, a small daily stipend, and a baby. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n> You examine baby\nThe little boy squirms in your hands and vocalizes constantly. But at least he isn't crying--at least, not right now.\n\nTwo kids run past you, one chasing the other.\n\n> Go east\nYou are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.\n\nChildren's Building.\n\n> Up\nlibrary, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.\nA librarian is here, cataloging the books.\n\nLibrary. \n\nFrom the smell, you suspect baby just had a potty break.\n\n> You give the baby to the librarian\nThe librarian leaps up, pulling a little rattle out of her purse. \"There you are my sweet little...\" she leans over the baby shaking the rattle. \"Oh!\" she exclaims suddenly, dropping the rattle. \"What have you done? This isn't my baby!\" She slumps back into her chair, sobbing.\n\nJust then a gentleman enters the library. \"Edith, what's wrong?\" he goes to the librarian, who tells him her troubles. He pats her gently on the shoulders, then turns to you. \"Look, I don't know who you are, but I think you've caused poor Mrs. Clark quite enough trouble already. I expect you to make things right. Take that baby back, and get the right one. Can't you do anything? And if you don't get her baby back within the hour, I'll call the police!\" He storms out, leaving you with the very upset and distraught librarian.\n\nThe baby puts its fist up to its mouth, and smiles."
    },
    {
        "text": "> Go downward\nThis is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'\n\nGrand Hall, Looking East. \n\nThe baby cries a little, fussing and squirming.\n\n> Go south\nThis long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.\n\nIt looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.\n\nGallery of Women's Industries. \n\nFrom the smell, you suspect baby just had a potty break.\n\n> Go west\nYou step under an archway which reads \"The Hope of the World is in the Children\" and into...\n\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nChildren's Building Gymnasium.\n\n> You ask the matron about the baby\nShe is far to busy to carry on a conversation with adults, at the moment.\n\nThe baby drools on your shirt.\n\n> You look at the baby\nThe little boy squirms in your hands and vocalizes constantly. But at least he isn't crying--at least, not right now.\n\nA young girl comes up to the matron and shows her her doll, then runs off toward the playground.\n\n> You give the baby to the matron\nYou hand the baby back to the matron. \"This isn't the right one!\"\nyou tell her. She pales. \"Oh...Oh dear, I'm so sorry, we've been so busy...come on, I'll take you into the nursery, you can find your child yourself...so sorry.\" She lifts the child from your arms and ushers you into...\n\nand ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.\n\nThe Nursery.\n\n> You look\nThe Nursery. \n\nand ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.\n\n> You examine infants\nWhich infants do you mean, the first baby, the second baby, the third baby, the fourth baby, the fifth baby, the sixth baby, the seventh baby, or the eighth baby?\n\n> You look at the first baby\nThe little guy is fussing quite a bit. He has freckles on his flat head, and his hair sticks up in a little tuft.\n\n> You examine the second baby\nThis baby is a tiny, roly-poly girl. She giggles a little and has her fingers in her mouth.\n\n> You look at third baby\nThis freckly kid is fast asleep. It seems nothing can wake him.\n\n> You examine the fourth baby\nThis baby is very young, his head still misshappen and mashed from the trauma of birth.\n\n> You examine the fifth baby\nThe baby is looking right at you, fixedly.\n\n> You examine sixth baby\nThis little red-headed monster is squirming like a snake. His little fists are clenched tightly together.\n\n> You examine the seventh baby\nThis little girl is fast asleep. It seems nothing can wake her.\n\n> You examine the eighth baby\nThis little freckle-faced boy is crying at the top of his lungs. No amount of coaxing can calm him down.\n\n> Go outside\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nChildren's Building Gymnasium.\n\n> You go west\nThere are so many kids that way, you are reluctant to push your way through unless a need arises.\n\nTwo kids run past you, one chasing the other.\n\n> Go east\nYou are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.\n\nChildren's Building. \n\nThe air is thick with humidity. Everyone seems to be moving slowly.\n\n> Go north\nThis long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.\n\nIt looks like someone forgot to put one of the wicker baskets away; it rests on the floor near the display cases.\n\nGallery of Women's Industries.\n\n> You go to the north\nThis is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'\n\nGrand Hall, Looking East.\n\n> Up\nlibrary, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.\nYou see a baby's rattle here.\nThe librarian is here, shaking and upset.\n\nLibrary.\n\n> You get the rattle\nTaken.\n\n> You examine the rattle\nIt looks like an ordinary baby's rattle to me.\n\n> You ask the librarian about the rattle\n\"My baby's favorite toy, that rattle.\"\n\n> You ask the librarian about the baby\n\"What have you done with my baby?\", she cries, accusingly.\n\n> Go west\nYou step under an archway which reads \"The Hope of the World is in the Children\" and into...\n\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nChildren's Building Gymnasium. \n\nA small child wobbles into the lobby, and crashes to the floor.\nBefore he even starts crying, the matron is there, helping him up, saying soft things to him, and giving him a kiss on the forehead. Before long, the child wobbles away, giggling.\n\n> Go south\nand ages. It's easy to understand how one could get mixed up in all the chaos. Of infants, there are only eight, thankfully, present: they are strung in a row before you, sometimes two to a cot.\n\nThe Nursery.\n\n> Shake rattle\nYou shake the rattle.\n\nThe baby in the eighth crib looks up, and cries, \"Mama?\"\n\n> You take eighth baby\nTaken.\n\nThe baby giggles a little.\n\n> You go to the north\nThe Children's Building, Foyer\nThe Children's Building foyer is wide and spacious, but also more spartan than the interiors of many of the other Fair buildings. The main attraction in the building stands directly west, a large playground for older kids: complete with trapezes, parallel bars, vaulting horses, rings, wands, and more. You can see kids playing in the exhibit, and many more lined up around the outside. To the south a door leads to the Day Nursery, while to the north the exhibits of the Children's Building stack one upon the other: a model kindergarten, a young homemakers exhibit, and more.\nA kindly matron is here, assisting parents and keeping a watchful\neye on the children.\n\nChildren's Building Gymnasium. \n\nThe baby puts its fist up to its mouth, and smiles.\n\n> Go west\nThere are so many kids that way, you are reluctant to push your way through unless a need arises.\n\nThe baby blows bubbles with its own spit.\n\n> Go east\nYou are in a small plaza, surrounded by stately buildings and pavilions. To the west stands the Children's Building, fittingly nestled in the protective shade of the Women's Building, which can be entered to the north. Created by French architects, the Children's Building is dotted with delightful sculptural groups of little children. The Horticulture Building stands immediately to the south, but there is no entrance to it on this side. To the east, past a couple smaller pavilions, is the lagoon. The road continues southwest, toward a pleasant outdoor garden, and northwest, toward the Midway.\n\nChildren's Building. \n\nThe baby cries a little, fussing and squirming.\n\n> You put the baby in the basket\nYou can't fit that in the handbasket.\n\nThe baby giggles a little.\n\n> You go north\nThis long hallway is stuffed to overflowing with all manner of exhibits and displays. The main feature of the hallway is a large exhibit from the Smithsonian Museum, entitled 'Women in Savagery.' In the exhibit over eighty display cases contained examples of women's work from primitive peoples across the globe. A side exit leaves the building to the south, and to the north is the grand entrance hall. A doorway to the west leads to more exhibits.\n\nGallery of Women's Industries. \n\nYour hand feels a little damp.\n\n> You go to the north\nThis is the grand hall of the Woman's Building. Unlike most of the other grand buildings of the fair, whose insides fairly resemble railway sheds, this building actually appears like a stately home on the inside, with elegantly appointed furniture, draperies, and decorations. The hall extends the width of the building, from the main entrance on the east side to the Midway entrance to the west. A massive marble staircase leads up to the second floor. Smaller halls extend from here to the north and south. High above your head, you can see two large murals. On the north wall is a mural entitled, 'Primitive Woman,' and on the south wall, 'Modern Woman.'\n\nGrand Hall, Looking East.\n\n> Up\nlibrary, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.\nThe librarian is here, shaking and upset.\n\nLibrary.\n\n> You give the baby to librarian\nThe librarian leaps up, delighted. \"There you are, my beautiful baby! Oh, look at you!\" She gently takes the baby from you. \"Thank you ever so much, I am most pleased,\" she says to you. \"And now if you'll excuse me, I must neglect my duties as a librarian so I can, for the moment, concentrate on my duties as a mother. My little one looks quite hungry and has no doubt had a trying day.\" She leaves the library, still talking to her child.\n\n> You open the display case\nOpened.\n\n> You look\nLibrary. \n\nlibrary, a long, narrow room which ends at a great window from which you can see the fairgrounds and the lake. Soft blues predominate in the room, as if the waters of Lake Michigan had somehow flowed into the library and left its very nature. Thousands of books line the walls in dozens of bookcases. In the middle of the room is a display case featuring the works of Harriet Beecher Stowe, a bust of whom sits atop the case. Tables and chairs are scattered throughout the library so patrons can stop to read some of the materials. The grand staircase continues up to the rooftop level of the building, or back down to the grand hall.\n\n> You examine the case\nThis case contains over thirty different copies of Harriet Beecher Stowe's book Uncle Tom's Cabin, in twenty-three different languages. You notice among the many different collectors and signed editions, there is one copy of the latest printing of the book, its value to the collection seems rather negligable, but perhaps it was added for the sake of completeness. The case is open.\n\n> You check your inventory\nYou have a case dossier, a guidebook, a small daily stipend, a baby's rattle, and a handbasket. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n> You take the uncle tom's cabin\nYou pull the out of place edition from the shelf.\n\n> Examine edition\nYou open the book. The interior pages have all been cut out, so that the book forms a box. Inside the book box is a beautiful, cut and polished diamond.\n\n> You drop the rattle\nDropped.\n\n> You go east\nYou walk to the edge of the lagoon.\n\n> Up\nYou are on an elevated train platform. To the west, you see\nFerris's great Wheel spinning in the distance. The Woman's Building is just to the east. Stairs lead down to the fairgrounds below.\n\nThe southbound train 'Republic' is waiting at the station.\nA short conductor is here.\n\nThe conductor gets on the train, closing the doors behind him. The train pulls away from the station.\n\n> You wait\nTime passes...\n\n> You look\nYou are on an elevated train platform. To the west, you see\nFerris's great Wheel spinning in the distance. The Woman's Building is just to the east. Stairs lead down to the fairgrounds below.\n\n> You wait\nTime passes...\n\nThe northbound train pulls into the station, the doors open and the conductor steps out. \"Virginia next stop,\" he says, \"Virginia.\"\n\n> You wait\nTime passes...\n\nThe conductor continues taking fares. \"All aboard!\" he calls.\n\n> You wait\nTime passes...\n\nThe conductor gets on the train, closing the doors behind him. The train pulls away from the station.\n\n> You wait\nTime passes...\n\nThe southbound train pulls into the station, the doors open and the conductor steps out. \"Transportation Building next stop,\" he says, \"Transportation Building.\"\n\n> Board train\nYou pay the conductor and board the train.\n\nThe Chicago (southbound)\nYou are standing in one of the Columbian Exposition elevated\ntrains. All of the seats are taken by other riders. You hold on to a strap attached to a metal pole extending across the top of the car to maintain your balance.\n\nThe conductor continues taking fares. \"All aboard!\" he calls.\n\n> You look at the conductor\nThe conductor is a young man, whose uniform is baggy and ill-fitting. A metal nameplate on his uniform reads 'William.'\n\nThe conductor boards the train, the doors close, and the train pulls away from the platform.\n\n> You ask William about the train\nHe's too busy to talk to you right now.\n\nThe tracks follow the western edge of the fairgrounds now. To the west, you see dozens of hotels and inns, some hastily built and poor, others in the finest modern style. To the east is the large Horticulture Dome.\n\n\"Transportation Building next stop,\" he says, \"The Transportation Building and the lagoon.\"\n\n> You wait\nTime passes...\n\nThe train pulls into the next station. \"Transportation Building,\" cries the conductor, \"Exit here for The Transportation Building and the lagoon.\"\n\nThe conductor opens the doors and steps out onto the platform.\n\n> You wait\nTime passes...\n\nThe conductor boards the train, the doors close, and the train pulls away from the platform.\n\n> Inventory\nYou have a case dossier, a guidebook, a small daily stipend, a handbasket, and a new edition of Uncle Tom's Cabin. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\nThe train passes near the ruins of the Cold Storage Building.\n\n\"Terminal Station next stop,\" he says, \"Change for outgoing trains, or enter the Court of Honor.\"\n\n> You examine the stipend\nIt's an envelope containing your small daily stipend. Right now you have a fair amount of money in the envelope.\n\nThe train pulls into the next station. \"Terminal Station,\" cries the conductor, \"Exit here for Change for outgoing trains, or enter the Court of Honor.\"\n\nThe conductor opens the doors and steps out onto the platform.\n\n> You leave\nYou step out of the train and on to the platform.\n\nThis platform is over the tracks of Terminal Station, which is\nstill just as bustling and crowded as it was when you arrived. Over twenty railroad tracks lead into separate bays beneath you, coming from all points around the country. Stairs lead down into Terminal Station proper.\n\nThe southbound train 'Chicago' is waiting at the station.\nA young conductor is here.\n\nThe conductor continues taking fares. \"All aboard!\" he calls."
    },
    {
        "text": "[Themes: Historical, Travel, Mystery, treasure hunt]\n\n> Go downward\nYou make your way through the crowds in the station until you find yourself at the...\n\nCourt of Honor, In Front of Terminal Station\nYou are in a large courtyard, surrounded by buildings the style and grandeur of which you have never seen before. This is the Court of Honor, by all accounts already considered one of the architectural wonders of the modern world. To the west stands Terminal Station, your arrival and eventual departure point, from which thousands of visitors pour into the Exposition each day. To the east is the Administration Building, its golden dome towering above the grounds in grand style. The plaza extends to the north and south, toward more monumental buildings.\n\nWest Entrance to the Administration Building.\n\n> Go west\nCourt of Honor, South Entrance of Mines and Mining Building\nYou are in the Court of Honor, where the grandest buildings of the Fair stand. The plaza continues to the south, east, and west. Directly to the north is a grand entrance into the early Italian Renaissance style Mines and Mining Building. The Administration Building is immediately to the southeast, Terminal Station to the southwest.\n\nIn front of the Mines and Mining building stands the white pavilion of the Menier Chocolate company.\n\nSouth Entrance of Mines and Mining Building.\n\n> You examine the chocolate\nThe Menier Chocolate Pavilion is a beautifully proportioned, octagonal structure. Wide archways open into the pavilion on all sides.\n\nExhibition-goers wander in to the pavilion, and leave several minutes later with delicious looking Menier Chocolate bars.\n\n> You enter Pavilion\nYou step into the lushly appointed Chocolate Pavilion.\n\nThe Menier Chocolate Pavilion is cool and relaxing. Most of the Pavilion is taken up by thickly cushioned couches and other seating. Exhibition-goers relax out of the sun here, snacking on some delicious Menier Chocolate. Many of the Chocolate company's posters and awards line the Pavilion walls. To one side a Menier employee stands behind a glass display case, filled with chocolates. People approach him, and exchange small coupons for chocolate bars.\n\nMenier Chocolate Pavilion.\n\n> You examine the posters\nMenier Chocolate Poster. \n\nThe posters depict a young girl facing away from the viewer, writing 'Menier' onto a wall.\n\n> You buy Chocolate\nWhich chocolate do you mean, the Menier Chocolate display, or the Menier Chocolate bar?\n\n> You buy the chocolate bar\nNot everything is for sale.\n\n> You ask the employee about Chocolate\n\"We're giving them away free, as a courtesy to our valued patrons. Provided that you have one of our Menier Chocolate coupons,\" he says with a broad grin.\n\n> You ask the employee about the coupon\n\"Available everywhere. Of course we don't give them out here,\" he explains, smiling.\n\n> Go north\nExhibits about mines, minerals, mining equipment, and more extend\nas far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. To the east and west are interesting exhibits from individual states. The hallway goes deeper into the building to the north. To the south, an exit leads out to the Court of Honor.\n\nBullion Boulevard, Looking North.\n\n> Go north\nThe interior aisles of the building converge here, heading off in\nall of the cardinal directions.\n\nBullion Boulevard, Looking North.\n\n> You go to the east\nThis aisle cuts through dozens of exhibits from many major mining companies and states. Some interesting exhibits are to the north and south. The hallway extends deeper into the building to the west. To the east, an exit leads out toward the Electricity Building.\n\nMines and Mining Exhibit Hall.\n\n> Go north\nThis exhibit concerns mining in the United States as a whole. Much information is available here in charts, displays, and materials, about U.S. mining operations and interests.\n\nIn the center of the exhibit stands a tall monument made up of cubes of various different minerals, each stacked upon the other, each smaller than the last. A sign explains that these cubes represent the proportionate bulk of all the minerals which come from the mines and quarries of this country during one second of time.\n\nUnited States Minerals Exhibit.\n\n> Go north\nYou can exit the exhibit to the south.\n\n> You go south\nminer's cabin, made entirely out of native ores, and just outside of this structure, the figures of a miner with a short-handled pickaxe tucked under one arm, leading his burro.\n\nNew Mexico Mining Exhibit.\n\n> You look at the pickaxe\nIt's a short-handled pickaxe.\n\n> Go west\nThis aisle cuts through dozens of exhibits from many countries and states. Some interesting exhibits are to the north and south. The hallway extends deeper into the building to the east. To the west, an exit leads out toward the Transportation Building.\n\nMines and Mining Exhibit Hall.\n\n> You go south\nYou're not sure which country or state is presenting this exhibit,\nas the entire area is covered with piles of rock. Each pile is easily taller than two men. Salt, shale, limestone, coal, bitumen, feldspar, metals and more amply demonstrate the power of man to harvest the Earth for his own purposes.\n\nIn the center of the exhibit stands a tall, smooth pillar of bauxite.\n\nDisplay of Minerals and Ores.\n\n> You examine the pillar\nIt's a tall pillar made entirely of bauxite.\n\n> You hit the pillar with the pickaxe\nYou chip a sliver of bauxite off the pillar.\n\n> You look at the sliver\nIt looks like an ordinary sliver of bauxite to me.\n\n> You check what you're carrying\nYou have a case dossier, a guidebook, a small daily stipend, a handbasket, a new edition of Uncle Tom's Cabin, and a pickaxe. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n> Go north\nThe seventeen year old state of Colorado exhibits a wide range of mineral wealth. Amid the piles of ore and general exhibits sits a statue made of silver, created by an Aspen mining firm, named \"The Silver Queen,\" which attracts the most interest.\n\nColorado Mining Exhibit.\n\n> You examine Statue\nThe Silver Queen. \n\nThe Silver Queen sits in a boat mounted on a pedestal covered in precious minerals. On either side of her run little gold and silver figures representing the god of riches, each of whom bears a cornucopia spilling forth streams of silver dollars. The Silver Queen herself holds her staff of office in one hand, the head of which is an oversized coin. The canopy over her head is richly made, an eagle with wings outstretched standing on its summit.\n\n> Go east\nPresiding over the hundreds of small displays that comprise the Montana exhibit is one of the most popular attractions of the Mining Building: a large, silver statue of Justice. The statue is reportedly the largest statue made entirely of silver in the world. Justice holds scales in one hand, a sword in the other; she rests on a silver globe. Above the globe rises an eagle, with wings outspread. Two bronze lions guard Justice on either side.\n\nMontana Mining Exhibit.\n\n> Go west\nNew York exhibits its mineral wealth in abundance, within a\npavilion shaped like a rectangular colonnade. In front of the exhibit stands a layered pillar of rocks, ordered in geologic succession. Inside stand piles of various clays, gypsum, shale and other stones.\n\nNew York Mining Exhibit.\n\n> Go north\nExhibits about mines, minerals, mining equipment, and more extend\nas far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. The hallway extends deeper into the building to the south. To the north an exit leads out to the Lagoon. To the west is an exhibit from Pennsylvania, while to the east stands the Kimberly Diamond Mining Exhibit -- the scene of the crime.\n\nBullion Boulevard, Looking North.\n\n> You go east\nIt was here that the theft took place, the exhibit of The Kimberly Diamond Mining Company of South Africa. As you look over the exhibit, you marvel again at the cunning of the thieves. The exhibit is under heavy security, with one guard at each of the four corners. In the center of the exhibit stands a glass display case which, until very recently, contained a large quantity of precious stones. Another component to the exhibit is to the east.\nMr. Wentworth is here.\n\nThe Kimberly Diamond Mining Company.\n\n> You give the diamond to Wentworth\nHe takes the finished diamond from you and examines it.\n\n\"Ahhh...,\" he begins, then looks up at you. \"This is the cheapest fake I have ever seen. Where did you get this? I hope for your sake you didn't buy it.\" He tosses the fake back to you. When you catch it, you hear a slight rattling noise coming from the diamond.\n\n> You examine the diamond\nThe diamond is cut and polished, and glitters beautifully. But it's just a cheap fake. It even rattles when you shake it.\n\n> Open diamond\nYou'll have to break it if you want to see if there's anything inside.\n\n> Break diamond\nThe diamond shatters. In the shards you find a gold key and a small note, which you take.\n\n> You read the small note\nThe note is written in the familiar script of your nemesis:\n\nPoor Dolores, in the cabin\nSo thirsty she could not think\nThe Japanese so carefully\nGave her tea to drink.\n\nAnother riddle!\n\n> You look at the key\nIt looks like an ordinary gold key to me.\n\n> You go north\nBullion boulevard is west, the exhibit continues east.\n\n> Go west\nExhibits about mines, minerals, mining equipment, and more extend\nas far as the eye can see. All around you are treasures pulled from the earth, and the machines and technologies that accomplished the job. The hallway extends deeper into the building to the south. To the north an exit leads out to the Lagoon. To the west is an exhibit from Pennsylvania, while to the east stands the Kimberly Diamond Mining Exhibit -- the scene of the crime.\n\nBullion Boulevard, Looking North.\n\n> Go north\nMines and Mining Building, North Side\nYou stand on the northern side of the Mines and Mining Building, at\nan entrance somewhat simpler than that on the southern side, but no less grand. The road here passes across the front of the building, heading east and west. To the north is the weedy shore of the lagoon.\n\nLooking West towards Transportation Building. \n\nAs the afternoon wears on, the sky has turned a deeper shade of blue.\n\n> Go northeast\nYou are on a quiet, contemplative path through the woods, a welcome respite from the overwhelming mass of buildings, exhibits, and people. Paths head northwest and southwest.\n\nWooded Path.\n\n> You go northwest\nand teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.\nTwo men are here, deeply involved in a discussion about the\nJapanese buildings.\nA boy is rushing about here, getting into all sorts of trouble.\n\nJapanese Temple. \n\nThe boy runs off to the southwest.\n\n\"I don't know what it is you see in that place, Frank. It's so plain. No ornamentation at all,\" the first man says.\n\n> You listen\nYou hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.\n\n\"Well, that's not the way I see it,\" Frank says.\n\n> You listen\nYou hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.\n\nThe second man continues. \"Louis, look at the horizontal line of the building -- see how close it is to the ground, almost as if it's part of the earth. I think it's rather wonderful.\"\n\n> You listen\nYou hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.\n\nThe first man, Louis, shakes his head. \"You'll not get anyone to buy something like that. It's got no style.\"\n\n> You listen\nYou hear the bustle of the crowds, the chatting, the laughing, of the fairgoers, the calls of the vendors, the rumble of trains on the elevated tracks, the whistle of the steamers on Lake Michigan.\n\n\"We'll see,\" says Frank, smiling. \"But I've got a few ideas as to how I might use something like that,...\" the two men wander off, continuing their discussion.\n\n> You read the sign\nEvery day at 2:30 o'clock in the Tea House\n\n> Time\nThe time is now 4:17 p.m. on Monday.\n\n> Go north\nThe teahouse doors are pulled shut. A sign attached to them says, \"The teahouse is only open during the Tea Ceremony.\"\n\n> You look\nJapanese Temple. \n\nand teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.\n\n> You go to the east\nHo-o-den, Entryway\nThe temple interior is very clean and neat. Thick woven mats cover the floor. The walls are made of wood and paper. A large gong, hanging on a laquer stand, stands prominently against the east wall. The west side of the room is open to the outside, while sliding paper doors are on both the north and south sides of the room.\nA Japanese woman is kneeling on the floor near the gong.\n\nHo-o-den, Entryway.\n\n> You examine the gong\nThe gong is beautifully ornamented. On its face, a red dragon curls, smoke billowing out of its nostrils.\n\n> You hit the gong\n(with the pickaxe)\nThe gong makes a deep, resonate sound. Immediately a man appears and speaks to the woman in Japanese. She bows low. \"No, nothing, thank you. My visitor struck the gong.\" The man leaves.\n\n> You go north\n\"Gomen nasai,\" the woman says, bowing respectfully. \"That area of the temple is especially reserved for the Prince.\"\n\n> Go south\nThe Japanese woman stops you. \"The master does not wish to be disturbed. He is very ill.\"\n\n> You ask Woman about the master\n\"He is master of Cha-no-yu: Japanese Tea Ceremony. But right now, he is very ill.\"\n\n> You ask Woman about illness\n\"Master has been sick for many days. He will not take your Western medicines. He is waiting for a Japanese doctor to bring a herbal remedy, but I fear it will be too late.\"\n\n> You ask Woman about the remedy\n\"Master believes that he can only be cured by Japanese herbal remedy. The remedy consists of ginseng, lotus root, and bear's paw. If the doctor would come back in time, I am sure he would recover,\" she lowers her head, and looks at the floor. \"But I am afraid the doctor will not return in time.\"\n\n> You ask Woman about the ginseng\n\"A very powerful medicine. I believe the doctor had heard the Corean exhibit in the Manufactures building contained some, I hope he was able to obtain a specimen for us.\"\n\n> You ask Woman about the lotus root\n\"It is said that the Buddha sits on the leaf of the great lotus. A very powerful plant. Very common in Japan, but not here. I am afraid the doctor will never find it.\"\n\n> You ask Woman about the bear's paw\n\"It is said that the thick pad of the bear's paw gives strength to one who is ill. The bear's paw comes commonly from China, but I do not know if this land has any bears.\"\n\n> You ask Woman about Prince\n\"It is a great honor to have him come here and stay with us. We are overjoyed.\"\n\n> You look\nHo-o-den, Entryway. \n\nHo-o-den, Entryway\nThe temple interior is very clean and neat. Thick woven mats cover the floor. The walls are made of wood and paper. A large gong, hanging on a laquer stand, stands prominently against the east wall. The west side of the room is open to the outside, while sliding paper doors are on both the north and south sides of the room.\nA Japanese woman is kneeling on the floor near the gong.\n\n> Go west\nand teahouse. The temple, to the east, is based on a famous temple in Japan called the Ho-o-den, or Phoenix Temple, so named because the two wings of the temple resemble birds wings. The teahouse is a separate, simple structure to the north. In front of the teahouse is a simple sign. Paths wind into the woods to the southeast and southwest, and a bridge extends northeast over the lagoon towards the Fisheries Building.\n\nJapanese Temple.\n\n> You go to the northeast\nFisheries Building, West Side\nYou stand on the shores of the great lagoon. A bridge crosses the lagoon to the southwest, extending out to the wooded island in its center. The road here follows the curves of the perfectly round west wing of the Fisheries Building, leading off to the northeast and southeast. Another road leads to the northwest toward a cluster of smaller buildings.\n\nFisheries Building, West Side.\n\n> You go north\nYou are standing at the northeastern edge of the great Lagoon. Buildings overlooking the lagoon have been erected by Brazil and Turkey. The tranquil and relaxing Wooded Island is visible to the southwest. To the west, a bridge crosses the river separating the lagoon from the North Pond to the Illinois Building, whose great, gold dome serves as a beacon for everyone at the North end of the Fairgrounds. Roads head east, northeast, and south from here.\n\nBrazilian Building.\n\n> You go west\nYou cross the river bridge, and arrive...\n\nBuilding, in honor of the state which is holding the Fair. The building occupies a commanding site at the head of the Lagoon, from which you have an uninterrupted view through the waterways to the southern portion of the Fair. A broad road cuts across its well manicured lawn, heading east across a small bridge, and west toward the Midway, where you can see the great Ferris Wheel spinning slowly in the distance. The Lagoon is directly south, and surrounding it you can clearly see The Women's Building, Horticulture, and Transportation on the right, Fisheries, The U.S. Government Building, and Manufactures and Liberal Arts on the left. Far to the south, you can just make out the dome of the Administration Building.\n\nOn the walk leading to the Illinois Building is a sculpture entitled, \"Hide and Seek.\"\n\nIn Front of the Illinois Building, Looking South.\n\n> You examine the sculpture\n'Hide and Seek.' \n\nThe sculpture is of small children playing hide and seek around a hollow tree stump.\n\n> You go north\nYou are on a north-south road. On the west side of the road stands the California State Building, built in the style of a Spanish mission. Of the many exhibition buildings built by individual states, this one is second in size only to the Illinois Building. On the other side of the road stands the much more modest Indiana Building.\n\nCalifornia Building, Looking North.\n\n> You go north\nColorado, Washington, and Michigan State Buildings\nYou are on a north-south road. On either side crowd buildings\nbuilt by different states: On the west side of the road stands the Colorado Building, on the east side, Washington and Michigan have each built their own buildings.\n\nColorado, Washington, and Michigan Buildings.\n\n> You go to the north\nYou are at a T-intersection. The road continues north-south, while another, smaller road leads east, toward the Fine Arts Building in the near distance. On the west side of the road stands the Wisconsin State Building.\n\nWisconsin Building, Looking South.\n\n> Go north\nTwo roads cross here, one heading north-south, the other,\neast-west. In each corner stands a building: to the northeast, the Minnesota State Building; on the northwest corner stands the Nebraska Building; the southwest, South Dakota; and to the southeast is the west annex to the Fine Arts building.\n\nNebraska Building.\n\n> Go northeast\nYou enter the Minnesota Building under a chandelier made entirely out of antlers. You find nothing else in the building quite as unique and novel as that, and soon find yourself back outside.\n\n> Go west\nThe road ends here at a dirty, run down collection of shanties, fronting a small pond. Overhead are elevated train tracks, running from the northeast to the south.\n\nEsquimaux Village.\n\n> You examine Pond\nIt looks deep. Really, really deep.\n\n> Search pond\nThere's nothing in the small pond.\n\nThe elevated train rumbles past overhead.\n\nThe elevated train rumbles past overhead.\n\n> You examine the shanties\nIt's pretty quiet. You look around a bit but don't find anyone.\n\n> You check what you're carrying\nYou have a case dossier, a guidebook, a small daily stipend, a handbasket, a new edition of Uncle Tom's Cabin, a pickaxe, a gold key, and a small note. The case dossier seems to contain a crime scene note, a description of Greenback Bob, a description of Delbras, a list of stolen diamonds, and a detailed crime report.\n\n> You drop the cabin\nDropped.\n\n> You put the cabin in Pond\nYou drop the new edition of Uncle Tom's Cabin into the small pond. As it sinks away from view, you wonder if you did the right thing.\n\n> You go to the east\nTwo roads cross here, one heading north-south, the other,\neast-west. In each corner stands a building: to the northeast, the Minnesota State Building; on the northwest corner stands the Nebraska Building; the southwest, South Dakota; and to the southeast is the west annex to the Fine Arts building.\n\nNebraska Building.\n\n> Go northwest\nYou step inside the Nebraska Building and take a look around. It's outfitted as a modern clubhouse, complete with a post office, check room, and toilets. You look around for a bit, then step back outside.\n\n> You go southwest\nThe South Dakota Building is filled with interesting exhibits. Like many of the other western buildings, many feature harvested grains and corn. After wandering around the building for a few minutes, you leave.\n\n> You go north\nNorth Dakota, Kansas, and Arkansas State Buildings\nThe road curves gently here, heading northeast and southwest. On\nthe north side of the road stand the North Dakota and Kansas Buildings, and on the south side is the Arkansas State Building.\n\nArkansas Building.\n\n> You go to the north\nYou'll have to specify which building you want to enter, the North Dakota Building or the Kansas Building.\n\n> Go northeast\nYou are standing at a T-shaped intersection. The road heads east, west, and south. To the north are buildings from Texas and Utah. To the south, on either side of the road, stand the Kentucky and West Virginia State Buildings.\n\nWest Virginia Building.\n\n> Go southwest\nYou enter the Kentucky Building. The building is filled with exhibits, curiosities and relics. You wander around for a while, but soon become overwhelmed by the confusion of exhibits and head back outside.\n\n> Go north\nYou'll have to specify which building you want to enter, the Texas Building or the building from Utah.\n\n> You enter Texas Building\nThe Texas Building is filled with exhibits, curiosities and relics. You wander around for a while, but soon become overwhelmed by the confusion of exhibits and head back outside.\n\n> You enter Utah Building\nThe exhibits in the Utah Building focus on its mining operations; most significantly gold, silver, and sulfur. After pausing momentarily at a replica in miniature of the great Salt Lake, you leave.\n\n> You go south\nYou are standing at a T-shaped intersection. The road heads east, west, and north. On either side of the northbound road stand buildings, one from Missouri, the other, Pennsylvania. To the south, a walking garden spreads out in front of the Fine Arts Building.\n\nPennsylvania Building, Looking East.\n\n> You enter Missouri Building\nYou enter the Missouri Building. The interior space is distributed among several offices, a large auditorium, and a well appointed club house, which you do not have appropriate permissions to enter. You find yourself back out on the street fairly quickly.\n\n> You enter Pennsylvania Building\nYou step into the Pennsylvania Building, and just to the right of the entrance, find the Liberty Bell. After admiring it for a while, you can imagine no better prize awaiting within the building, and so take your leave.\n\n> You go to the south\nYou stand before the northern entrance into the Fine Arts Building. Broad steps lead up to the entryway, a portico of austere classicism. Two carved lions stand on either side of the stairway. Numerous State buildings stand off roadways to the northwest and northeast. A road also goes around the Palace to the east and west.\n\nFine Arts Building, Northern Entrance.\n\n> Go northeast\nYou are standing on an east-west street, with another street\nmeeting it here and heading north. To the south are the wide and pleasant gardens of the Fine Arts Building. To the northwest stands New York's Building, and to the northeast is the Massachusetts Pavilion.\n\nNew York Building, Looking East.\n\n> You go to the northwest\nYou enter the New York Building and wander through the many fine exhibits, past signatures from the signers of the Declaration of Independence, past Washington relics, and arrive at last, on the second floor, at a sumptuous banquet hall, decorated with gold. You leave the building marvelling at the wealth the state has presented.\n\n> Go northeast\nYou step inside the Massachusetts Building. The interior of the building features portraits of men who figure prominently in the bay colonies history, as well as historical artifacts and letters. You wander through, wishing to spend more time studying, but finally leave, thoughts of the case at hand in the forefront of your mind.\n\nA hard case should never mean neglecting yourself, and right now you're thinking about splurging for a nice dinner.\n\n> Time\nThe time is now 6:01 p.m. on Monday.\n\n> You go north\nThe street branches here, heading east, west, north and south. To\nthe northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.\n\nDirectly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.\n\nIdaho Building.\n\n> You go northeast\nYou are on an elevated train platform. Stairs lead down to\nVirginia's Building, below.\n\nThe southbound train 'Columbia' is waiting at the station.\nA tall conductor is here.\n\nThe conductor gets on the train, closing the doors behind him. The train pulls away from the station."
    },
    {
        "text": "[Themes: Mystery, Travel, Historical, Museum, chicago, mystery, treasure hunt, history, detective]\n\n> Go downwards\nThe street branches here, heading east, west, north and south. To\nthe northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.\n\nDirectly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.\n\nIdaho Building. \n\nThe hottest part of the day has long since passed, but the heat lingers palpably.\n\n> You look\nIdaho Building. \n\nThe street branches here, heading east, west, north and south. To\nthe northeast, up a flight of stairs, is an Intramural Railway platform. The tracks run behind the buildings to the west, then come out over the road to the east. Just off the north road stands the Idaho and Virginia buildings; to the southeast is the New Jersey Building, and southwest is Maryland's Building.\n\nDirectly to the north is the 56th street exit from the fairgrounds, and across the street looms an unfinished hulk of a building, the size of the Roman coliseum: Mackaye's Spectatorium.\n\n> 1893-2\nSaved."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\nWould you like to restore a saved game?\n\n[Author's Note: You are God! The last God and Lornedei is your only true believer. You need her to stand against the coming dark. Can you guide her? Will she follow?]\n\n> You go north\n\"Greetings Almighty! Allow me to tell you about your world, Aarkland.\"\n\nOur story begins here.\n\nThe harvest time is upon the people. Their hard work goes on from early morning until all that must be done is done. The summer has been good and this winter no one will starve. That is what the villagers believe, anyway. In ignorance they have turned from you and cannot see the coming darkness. For them Ignorance is bliss, but refusing to see the truth is no protection against evil.\n\nThe young girl that's come to meet you in secret is Lornedei. You watch her treading along the road and when she stops next to the water, you once more feel a glimmer of hope. She is the first child in more than a hundred years that has been born with the old power. The youngest daughter to Lorne and Noki, this innocent girl searches the sky for your presence. She smiles when she senses it and gives you a little wave. She is the last one. The last hope.\n\nLornedei tightens the straps on her rucksack, throws a quick glance back along the road, and makes sure her sandals are fastened properly. Surely she can sense you watching her, but she says nothing. She reaches into her rucksack and brings out some bread. She nibbles on it without much enthusiasm while watching the flowing river, and she waits for you.\n\nThe girl has the power to \"reach\" beyond what the eye can see and \"heal\" what is broken, but she is not strong enough to make a difference. Not without guidance. That is where you come in. As the God of this land, you must guide her. First, you should send her to the unholy stones to see what the world around her is hiding.\nAn Interactive Fantasy.\n\nCrystal and Stone, Beetle and Bone.\n\nLatest update and bug fixed June 25 2009. Type \"about\" for more information.\nType \"help\" to get started.\nType \"hint\" for specific help.\n\nAarkland (End of Village Road)\nThis old road, coming from the village, runs north to the edge of the forest. Alongside it to the west is the rushing water of the river Aarkland. The river flows through the forest and divides it in two: To the east is the old forest, and to the west is the forbidden forest.\n\nFew people use the road these days, and it is all but overtaken by grass and brush. A seemingly endless field stretches out to the east. Between the swaying grass and the road, a few deformed bushes prepare to invade what remains of the road. A short distance to the southeast is a pile of stones. The stones are barely visible above the grass.\n\nThe Aarkland river flows past as always.\n\nA whiff of the deformed bushes reaches Lornedei's nose and she waves the unpleasant odor away.\n\n> About yourself\nYou are The almighty, the last of the Gods. Your wish is Lornedei's command and she will do as you ask if it is possible.\n\nWhen she was born you managed to give her, as your chosen one, the power to heal and to reach into things with her mind. She is young though and you must show her the way. You might be a god but you are not much more than a vague presence in this world.\nLornedei suddenly looks startled.\n\"Master what is this?\" A firefly is buzzing around her head. She waves her hand to wave it away when suddenly a small voice pipes up.\n\"No, No, silly girl. I am no harm! I am here to help you must know!\" Lornedei stops waving but she looks dubiously at the tiny creature. Once safe from the terribly waving arm, the firefly stops for a rest on Lornedei's brow. The tiny voice pipes up again. \"I must come, curious am I, and I can help such as you!\" Lornedei tries to look up at the fly but all that happens is that her eyes cross. \"There is magic here, magic in you girl. I have not sensed magic in a long time, yes!\" the fly takes off and starts buzzing around Lornedei's head again. \"Strong you are not! Oh, no. That god of yours was stingy in his giving so he was. Pity, pity. You can be stronger though. Sometimes from nature, sometimes from other things. You must know girl, to regain strength that you lose, you must eat. Ah, there are some here, I have searched for these.\" the fly buzzes off towards the deformed bushes and lands on one of the berries growing there. \"Eat these and be strong, do not forget.\" there is an angry buzzing, a strange grunting sound, and a thud as a white berry, seemingly with a firefly attached on the top, falls to the ground. \"Me... Will just..\" In an amazing display of over-insectile powers, the fly lifts the berry off the ground. \"will just take this.\" The firefly, along with its booty, disappears with a pop and a flash.\n\nThe firefly is available for questioning. It is happy to help. Just type \"hint\" and it will come.\n\n> You ask the firefly about reaching\nShe can't find anything like that. Are you sure it's here?\n\n> Magic\nLornedei's magic is currently at 80.\n\n> Holiness\nYour current holiness is 0 out of a possible holiness of 105, in 1 move.\n\n> Smell bush\nLornedei sniffs one of the leaves but pulls her head back with a grimace.\n\n> You look at the bush\nThey all look sick, small, and deformed as they reach their oddly shaped digits towards her. There must be something wrong with them. Despite it being in the middle of Harvest Moon, their leaves are yellow and riddled with brown and black blotches.\nA few white berries still cling to the branches.\n\n> You examine the berries\nThe berries are slightly oval and quite large, almost white with barely visible bluish stripes. They are shriveled slightly but they look edible still.\n\n> You eat the berry\n(Taking the white berries first.)\nLornedei picks all of the berries that seem edible. It turns out to be quite a handful. She drops them all into the rucksack.\n\n> You eat a the berry\n(Taking the handful of white berries first.)\nLornedei eats one of the white berries.\n\"These are actually not too awful Master! They remind me of something but I cannot recall what.\" She shrugs.\nLornedei's magic just went up by three.\n\n> Heal bush\n\"These bushes' fate is beyond my powers. I cannot remove the dark power that is inside. I beg your forgiveness Master, I do not have the right knowledge and I would only be wasting my magic.\"\n\n> Magic\nLornedei's magic is currently at 83.\n\n> You reach the bush\nCarefully she reaches into the inner being of the bushes with her mind. \"There is something strange here, something dark. I cannot see it clearly. All I know is that it feels wrong. Very wrong!\"\n\nLornedei's magic drops by one.\n\n> You check your inventory\nLornedei's magic is currently at 82.\nLornedei is carrying:\na handful of white berries\na loaf of horrid bread\na leather rucksack (being worn)\na piece of cheese\n\n> You go to the south-east\nAarkland (On the Unholy Stones)\nFor as long as Lornedei can remember, she has been told not to go there. There is nothing strange about the stones at a distance. It could just be a collection of fieldstones, perhaps from the time when the settlers first prepared the field. Nothing could be more wrong. There are piles of stones in many fields, but none with this kind of history.\n\nShe hesitates and turns to you. It seems like she wants to say something. She keeps silent and steps up on the platform.\nThe collection of stones is over ten paces from edge to edge. The top has been flattened to create a platform and that is where Lornedei stands. No new stones have been added in several hundred years. Despite the lack of activity, nothing grows near the stones.\n\nThere are powers here that make it easier for her to use her magic. You can make her see what hides around her. She will see the world as it is, what hides beyond what the eye can see.\n\nShe can go north to the field or northwest back to the dusty road.\n\n> You borrow Stone\n\"Master? I don't understand.\"\n\n> You reach the Stone\nLornedei reaches down in the ground by her feet. She shuts her eyes and lets her mind touch the stones one by one. One lost name after another flies through her mind like a swarm of insane and vicious insects. Hundreds, thousands of names of men, women and children. Each one has a history, a life led in pain or ignorance, but they all share the same pain. The same longing, the same sorrow, the same terrible fate. Crying, she drops to her knees.\n\"These people were all severed. Their names were stolen, ripped away from their souls. They did not all deserve this fate, I am sure. These names belong to the spirits Master, but they can never be whole again. Never!\" Lornedei takes a deep breath and gets back up on her feet.\n\nLornedei bites on a nail.\n\n> You examine Lornedei\nThis is Lornedei. She is the youngest child of Lorne and Noki and the only girl out of the four children. She is not quite a woman, not quite a child. Her long golden hair, blue eyes and innocent eagerness to please is charming. Unlike her family and other villagers, she believes in you.\nShe is dressed in a finely woven shirt worn over a pair of riding trousers. The outfit is borrowed from her brother. He is of course unaware of his generosity. On her feet is a pair of leather sandals. Lornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You get the Stone\nLornedei picks up one of the stones to take a closer look. She quickly drops it again.\n\"I cannot touch these Master. There is so much evil here, so much sorrow. They make me feel ill.\"\n\n> You look at the trousers\nShe is wearing a pair of pants that she borrowed for the day from one of her brothers. Well worn but clean and dry.\n\n> You search them\nPerhaps you should leave Lornedei's clothing alone.\n\n> You examine the world\nThere is nothing she can do from here. She may be able to reach a distant object, but she can do nothing with it.\nLornedei is waiting for your command.\n\n> You reach world\nThe world around Lornedei fades. She finds herself high up in the air, hovering above a seemingly endless field. She flaps her white wings tentatively at first, but then she catches an upwind and rises.\nNot far ahead of her is a vast and lush forest, stretching north and northeast. She looks east. Between the field and the endless ocean are a few homes, perhaps a fishing village, and a patchwork of fields. As she hovers far above the field, turning to the south, she can see a road following a river to another village far to the south. It is Lornedei's own.\n\nShe turns west and the forbidden forest, a landscape of gray, stretches out ahead of her. It stretches to the southwest and to the northwest as far as she can see. It is a swirling black and gray mass of mist or smoke, for the most part unbroken except for the occasional tree-top protruding here and there.\n\nShe moves closer until she is above the glittering water of the Aarkland river and turns north. She follows the flowing water until it seems to disappear into a large cliff. The two forests meet at the top of the cliff, but the old forest seems to give way more and more so that the border turns northeast towards a distant mountain chain. The river does not seem to appear again.\n\nShe turns west, soaring above unbroken gray, seeing only the occasional twisted treetop shooting out of the thick mist and a blue sky above. She flies on, across a landscape of gray and black. The mist Swirls here and there, darkens here and there, but never reveals what is below.\n\nThen the air seems to thin and she sinks down. She sinks down below the mist. She finds herself racing between twisted tree-trunks and grasping branches. A dry whisper follows her as she loses her orientation. Silent shapes like shadows follow her path. Spirits, hollow-eyed, pale and ragged, open their mouths in rage and longing before they shy away from her. They melt back into the shadows between the trees. Suddenly she is out of the forest.\n\nBelow her is a barren landscape of sand and broken earth. The forbidden forest surrounds this field of despair, although the sky is clear. Above the mist, to the northeast, she can see a pale silhouette of the mountains. She can see a far distant shade of green to the east, beyond which is a blue horizon.\n\nThe same view meets her to the southeast, but to the south, southwest and west, there is only the forbidden forest with its blanket of mist.\n\nShe lowers herself until she is just above stony ground. A deep ravine separates the field from the forest to the west. The ravine runs south to north into a misty plain where it disappears out of sight. To the northwest, clinging to the edge of the ravine, there is an old ruin...a castle. Only part of the ruin is visible as the rest of it fades into gray mist.\n\nShe turns westward and sinks down in the ravine. Making her way north, the tip of her left wing nearly strokes the far ravine wall. She turns upwards and flies clockwise around the entire castle ruin. Most of the old castle is gone. As she is viewing it from the outside she can see chambers, dungeons and rooms in several levels that are exposed. The rest of the ruin is at the bottom of the ravine. After flying through the mist on the far side of the ruin, she appears at a great wall that separates the castle grounds from the northern wastelands before turning southeast. In the southeast corner of the big desolate field the ground slopes down and turns into a ragged hole in the ground. Heat ripples the air around it. A large fire burns within a ring of stones.\n\nShe circles the fire. She is in a hurry, searching for the thing that should be but is no longer. She returns to the ruin. There is a high wall east of the castle and she stops to rest on top of it.\n\nThe world wavers its way back to reality and Lornedei looks pale and a bit unsteady on her feet.\n\"Too high! Master? If I die and must come back, please do not make me a bird!\"There is nothing she can do from here. She may be able to reach a distant object, but she can do nothing with it.\n\n> You reach the fire\nShe can't find anything like that. Are you sure it's here?\n\n> You reach the ravine\n\"I cannot focus enough to find that Master. It is too distant for me, or too weak for me to reach from here.\"\nLornedei bites on a nail.\n\n> You examine the cheese\nA piece of cheese. Fortunately, this is not made by Noki. It may actually be edible.\n\n> Inventory\nLornedei's magic is currently at 82.\nLornedei is carrying:\na handful of white berries\na loaf of horrid bread\na leather rucksack (being worn)\na piece of cheese\n\"What should I do?\"\n\n> You reach river\n\"The river is flowing past in peace Master. It disappears into a cliff somewhere north, and I cannot follow it with my mind.\"\n\n> Pray\nShe does. Every night. You taught her well.\nLornedei looks around, biting her lower lip.\n\n> You go to the north\nAarkland (Billowing Field)\nLornedei hesitates throwing an anxious glance south.\n\nMaybe she would prefer to be back in the safe grasp of her kin. If that is the case, she will never tell her God. She does not know why she is here or how easy her mind and flesh may be corrupted, and she may be better off that way.\n\nVery carefully, you give her just the slightest of mental nudges to remove the hesitation from her mind. Not again can you give her a command without letting her choose how to proceed. What she has ahead of her she must do of her own free will as much as possible. Lornedei takes her eyes off the road and moves on.\nThe grass grows waist high. Touched by sun, wind, and rain, it patiently waits for the farmers that will not come. The edge of the old forest lies close by to the north. To the south, a big pile of stones rises above the grass. The road is back west.\n\nThere is a low growling coming from the high grass. An injured wolf lies there.\n\n> You examine the wolf\nA wolf lies in the grass near the edge of the forest. The wolf is female and quite small. She is breathing heavily in obvious pain. Despite the apparent distress, she manages to show Lornedei an impressive set of sharp teeth. One of her hind legs seems broken and dried blood covering a big part of the grey fur tells its own story.\n\nThe animal is exhausted and badly injured. She will most definitely die if nothing is done soon.\n\n> Heal wolf\nLornedei shuts her eyes, raising both hands towards the dying animal. She summons her powers and the air starts to shimmer above the wolf. In sudden panic the wolf yelps miserably and tries to get up on its feet, but Lornedei's soft mumbling calms the animal. Still, the stare from those yellow eyes and a deep growl behind the exposed sharp teeth cannot be mistaken for friendliness.\n\nAnother mumbled phrase is heard from the girl and the predator's eyes slowly close. The wolf is asleep. The girl kneels while the swirling blue light covers the wolf with healing power. In one quick move, she corrects the broken leg to allow it to heal properly. A long while passes. Then she sits back in the grass, tired but smiling. She lets the healing light dissipate in the air.\n\"All is well Master. I shall call her Deini.\"\n\nAnother long while passes. The air is warm but a slight breeze moves the grass around Lornedei. It sways gently, like waves, across the vast field.\n\nThe wolf opens its eyes, blinks, gets up. Lornedei sits on the ground with a confident smile on her lips and her hands in her lap. The beautiful animal stands absolutely still for a moment, meeting the girl's eyes. Then, in a heartbeat, it turns away. It runs along the edge of the forest. It stops near a big tree and turns around to watch the human. It sits down while considering its options.\n\nThen suddenly, the wolf that Lornedei named \"Deini\" comes running back. She smells the human, inspects her carefully, and makes a decision. She puts a cool muzzle in the hand that Lornedei is holding out. Lornedei has gained a friend.\n\nLornedei's magic just dropped by five.\n\n[Your holiness has just gone up by five.]\n\n> You talk to Deini\nThe wolf looks at Lornedei expectantly but when the subject doesn't appear to be about food she starts gnawing on an itchy spot on her leg. Lornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You ask Deini about the leg\nDeini looks at Lornedei for a moment before she looses interest. Lornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> Go south\nAarkland (On the Unholy Stones)\n\"What should I do?\"\n\n> You go north\nAarkland (Billowing Field)\n\nDeini is here.\n\n> You follow you\nDeini looks at Lornedei, wondering if there might be something to eat first. When that doesn't seem to happen, the wolf ignores her command.\n\n> Sance\n\"Master? I don't understand.\"\n\n> You give the bread to Deini\nDeini smells the bread, sneezes, and backs away. She glances suspiciously at the piece of bread.\n\n> You give the cheese to Deini\n(Taking the piece of cheese first.)\nDeini smells the piece of cheese but she is not very interested in anything that never had a heart beat at one point.\n\n> Go west\nAarkland (End of Village Road)\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by. Lornedei bites on a nail.\n\n> Go west\nIn the River (By the Road)\nLornedei tightens her sandals and checks her rucksack, making sure it is closed tight before entering the river. She steps carefully down the slippery slope and through the parting rushes and reeds. Something squawks at her but it is gone before she can see it. When her feet lose contact with the bottom, she floats and lets the remaining hesitation float away with the invisible currents below.\nThe river runs from north to south. Ahead of her, the glittering water becomes shaded by the two forests. The forbidden forest on the left and the still green old forest on the right. The river disappears out of sight perhaps a hundred paces into the tunnel of trees, water, and shadows. The dusty road is east, where she can get out of the water. She can also dive down to the bottom of the river.\nLornedei fumbles and dips the bread in the water. The loaf of horrid bread sucks up water like a sponge. It is totally ruined in seconds. It turns into mush that dissolves in Lornedei's hand. With a disgusted grimace, she lets it float away down stream.\nA dry black leaf drops from the forbidden forest into the water right in front of Lornedei. It bobs up and down a couple of times before it floats away downstream.\n\n> You drop all\npiece of cheese: Your wish is her command.\nhandful of white berries: Your wish is her command.\nloaf of horrid bread: Your wish is her command.\n\n> You go west\nIn the River (By the Road)\nLornedei tightens her sandals and checks her rucksack, making sure it is closed tight before entering the river. She steps carefully down the slippery slope and through the parting rushes and reeds. Something squawks at her but it is gone before she can see it. When her feet lose contact with the bottom, she floats and lets the remaining hesitation float away with the invisible currents below.\nThe river runs from north to south. Ahead of her, the glittering water becomes shaded by the two forests. The forbidden forest on the left and the still green old forest on the right. The river disappears out of sight perhaps a hundred paces into the tunnel of trees, water, and shadows. The dusty road is east, where she can get out of the water. She can also dive down to the bottom of the river.\n\n> Dive\nShe dives down.\n\nRiver Bottom (Here be Sand)\nA magical world reveals itself. The river continues north. The bottom is mostly composed of sand, rocks, some mud, and quickly fleeing fish. All kinds of things have been thrown in the river from the road and are now resting under a layer of sand until the end of time. The river continues north.\n\n> Go south\nThat is not the way. She can go north or up.\n\n> Go north\nRiver Bottom (Here be Mud)\nIt's harder to see here. The river flows from north to south. The mud swirls up, preventing her from seeing more than a few arm lengths ahead. The old trees reach out their roots under the water. They crowd the bottom along with swaying vegetation and rocks.\n\nShe can see a small gray plaque here.\n\n> You take the plaque\nAs you wish.\n\n[Your holiness has just gone up by five.]\n\n> You examine the plaque\nIt is a small round plaque in a material unknown to Lornedei. The surface is smooth and with a deep polish. It is small enough to fit in Lornedei's hand. The surface shows nothing, not even the distorted image of Lornedei herself that one might expect. What shows in the plaque is like a reflection of a stormy sky in a puddle of murky water, just before the rain starts hammering.\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Black\nThe leaves look the same on each tree, even though the types of trees are different altogether. It is more like an infestation of these things, these leaves. They are leaves are they not? They grow in clusters that hang down from each limb. They give the entire forest a drooping, weighed down appearance. Each cluster holds somewhere around eight shell-like leaves and each branch holds eight to twelve clusters, depending on the size of the tree. The occasional single leaf grows directly on the black trunk of some of the trees. They look more like a shimmering wart or pimple growing on the scorched bark. The clusters look more and more like colonies of big water bugs clinging to each other in fear of dropping to the ground.\n\nThe leaves move, but not by wind. There is a barely perceptible rearrangement within the clusters. A quick adjustment of the leaves takes place and then it is entirely still again. Each slight movement in a cluster creates a dry, scratching, whispering sound. The sound generated by a single cluster of leaves is barely audible, but since some of the clusters are always moving, the resulting sound is a shrill whispering, a scraping, almost a singing. It is a strangely modulated melody that travels from tree to tree through the forest. It varies in pitch and volume but is always present.\n\n> Black\nLornedei lets her mind reach into the leaves.\n\"Master, these are not leaves, not entirely. They have been, and perhaps they can be again, but what I feel is something else. It is alive, in a way, and it is waiting.\"\n\nLornedei's magic drops by one.\n\n> You get the black leaf\nLornedei grabs one of the black leaves in the nearest cluster of leaves and twists it loose. The leaf, being as long as her middle finger, falls to its side in her palm. The curved inside of the leaf suddenly fills with a hideous mush that swells and boils as she watches. Flesh grows and shapes itself in the shell into an insect's body. The mush is white with brown and dark red streaks. The nasty mess is swirling around inside the leaf, forming the flesh bit by bit. The shiny wetness dries quickly once the beetle's body takes form inside its shell. A thin purple layer finally covers the belly. Six black legs pop out through the newly formed glittering layer of skin. It takes only a moment for them to start moving around. Another pop forces a wriggling head out and the insect is near completion. The bug grows at a furious pace and finally it extrudes a pair of black antennae that unfold until they're as long, if not longer, than the entire beetle.\n\nLornedei turns the beetle over. It stays nearly motionless in her hand. The long antennae, shivering slightly, carefully touch the outline of the hand holding it, the sensitive inside of Lornedei's wrist, the sleeve of her shirt. The beetle seems satisfied with its new master.\n\n> Go south\nIn the River (By the Road)\n\n> You go south\nEven if she needed to go south back to the village, following the road would be easier than swimming the entire way. She can get out of the river to the east or follow it north.\n\n> You get all\nloaf of horrid bread: As you wish.\nhandful of white berries: As you wish.\npiece of cheese: As you wish.\n\"Master?\"\n\n> Go north\nNo, she can go east to the field, southeast to the unholy stones, or enter the river to the west.\nLornedei glances up at you, uncertain.\n\n> Go east\nAarkland (Billowing Field)\n\nDeini is here.\n\n> You go to the north\nNo, that is not the way. The river is west and the unholy stones are to the south.\n\n> You go west\nAarkland (End of Village Road)\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by.\n\n> You close the backpack\nLornedei takes care of the rucksack. She will open it when she needs something and close it properly when it needs to be closed. Just remember that she cannot do anything with it while she is under water.\n\n> You put bread in the rucksack\nShe drops the loaf of horrid bread into the leather rucksack.\nLornedei is waiting for your command.\n\n> You put the cheese in the rucksack\nShe drops the piece of cheese into the leather rucksack.\n\n> You put the berries in the rucksack\nShe drops the handful of white berries into the leather rucksack.\n\n> You look at what you're carrying with you\nLornedei's magic is currently at 76.\nLornedei is carrying:\na large black beetle (Fluffing up its wings at the moment.)\na small gray plaque\na leather rucksack (being worn)\na handful of white berries\na piece of cheese\na loaf of horrid bread\n\n> You put the Beetle in the rucksack\nShe drops the big black beetle into the leather rucksack.\n\n> You go west\nIn the River (By the Road)"
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nShe dives down.\n\nRiver Bottom (Here be Sand)\n\n> You get the sand\nThe sand and mud is everywhere and it's utterly useless.\n\n> You reach the plaque\nLornedei just shrugs. There doesn't seem to be anything she can learn about the plaque.\n\n> Go north\nRiver Bottom (Here be Mud)\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Go upward\nIn the River (Between the Forests)\n\n> You reach sky\n(the sky)\nThere seems to be nothing beyond what the eye can see.\n\n> You check your inventory\nLornedei's magic is currently at 76.\nLornedei is carrying:\na small gray plaque\na leather rucksack (being worn)\na large black beetle (Spinning around waving its antennae at the moment.)\na handful of white berries\na piece of cheese\na loaf of horrid bread\n\n> You examine the Beetle\nIt's a black beetle as big as Lornedei's hand from antenna tip to end. The hard shell shimmers in shades of red and green.\n\n> You talk to the Beetle\n\"I do not believe this little chap talks a whole lot. It is quiet now in any case.\"\n\n> You examine forest\nThese trees all look dead at first sight. Scorched and tortured, they reach out their blackened limbs over the cowering undergrowth. They do have leaves, however, not green and lush but almost black.\n\n> You examine the cliff\nThe river ends here. Ahead is a nearly triangular formation of smooth rock, its flat face perpendicular to the water, facing south. The triangle stands with its wide base in the water and the ragged tip acting as a divider beetween the two forests. The rock is smooth and dark.\n\n> You stand on the rock\nLornedei glances questioningly at the vertical cliff. That is not something that she can enter.\n\n> Exits\nShe can go south or down."
    },
    {
        "text": "> Go downward\nShe dives down.\n\nRiver Bottom (At the Cave Entrance)\nThe bottom is littered with rocks. There are piles of them of varying sizes, washed clean by the constant flow of water. Around the sides of the opening into the cave, a few colonies of a slimy and sickly green plant have managed to make a home. They sway back and forth in the current while clinging desperately to the rocks. The opening leads northwest into a cave and south takes her back around the river bend.\n\n> You look at the rock\nRocks of all sizes: some sharp as if crushed, some reasonably round, some smooth smaller stones, and even some smoother pebbles are scattered everywhere on top of a layer of mud and sand.\n\n> You take the rock\nThe rocks do not interest Lornedei. Leave them be.\n\n> Go inside\nCaves (Entering the Caves)\nLornedei's pale hand trails the cave wall as she quickly swims through the opening in the cliff. The opening is just big enough for her to go through. Inside, the cave widens slightly.\nDarkness is chased away by only a few illusive reflections in the stone, thanks to the little light leaking in from the opening. The tunnel continues west into total darkness and Southeast takes her out of the cave.\n\nShe can see a fairy lamp with a crystal spider inside here.\n\n> You get the lamp\nAs you wish.\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Leave\nRiver Bottom (At the Cave Entrance)\nThe bottom is littered with rocks. There are piles of them of varying sizes, washed clean by the constant flow of water. Around the sides of the opening into the cave, a few colonies of a slimy and sickly green plant have managed to make a home. They sway back and forth in the current while clinging desperately to the rocks. The opening leads northwest into a cave and south takes her back around the river bend.\n\n> Go upwards\nIn the River (By the Cliff)\nThe river makes a slight turn, hiding the road from view. A vertical cliff stops her from going any further north in this tunnel of water, trees, and shadows. Above her head is a frayed ribbon of blue sky and at the top of the cliff, the two forests meet. Below and around her there is that play of light and dark, maybe just a little bit darker. South takes her back around the bend. Looking down she can see an opening in the cliff.\n\n> You examine the lamp\nThe fairy lamp is a perfectly round, transparent orb that fits inLornedei's hand. It is hard as a rock, cold as ice and covered with years of grime and dirt. Through the dirt, a soft light is visible. It is not enough to illuminate anything at the moment.\n\nThis is one of the old people's fairy lamps. Crystal spiders light up in the presence of someone with any magical powers. However, the spiders are, according to legend, not to be trusted. That is why they were, and apparently, some still are, trapped this way.\n\nThere used to be many of these around and they were used as lamps by the light bearers but the use of them has been forgotten over the years.\n\n> Clean lamp\nLornedei starts to clean away the layer of dirt from the surface of the lamp. After some heavy duty scrubbing, the lamp shines bright.\n\nThere is a strange ticking sound. When she looks at the lamp, the crystal spider inside stares back at her. It lifts a leg and gives the inside of its prison another tap. After that, the spider curls up and is still again.\n\n> You look at the spider\nShe can't quite see what it looks like as long as it's trapped inside the lamp. She'll have to free it somehow.\n\n> You reach spider\nShe is surrounded by crimson light. Intense, dancing light streaked with strands of pure dark. Greasy suffocating smoke, then a flash of blinding white, Deafening thunder of falling rocks. Then nothing.\n\nLornedei's magic drops by one.\n\n> Go inside\nCaves (Entering the Caves)\nDarkness is chased away by only a few illusive reflections in the stone, thanks to the little light leaking in from the opening. The tunnel continues west into total darkness and Southeast takes her out of the cave.\n\n> Go west\nCaves (Choosing the Path)\nLornedei moves on through a current caused by the narrowing of the tunnel. She makes it past and to calmer water where the tunnel splits into four.\nThe main flow seems to continue north, while two smaller tunnels lead northwest and west. East takes her back near the opening.\n\n> You go west\nCaves (In the Restless Waters)\nA strong current grabs her. She is flipped around, thrown like a puppy's toy. The water tries to drag her down to the bottom. She is immediately confused and swims towards the surface. Hard rock meets her outstretched hand in each direction. There is nothing but stone."
    },
    {
        "text": "> Go downwards\nCaves (In the Gathering of Dead)\nThe water is colder. The pressure in her ears is starting to get painful but now she can see it. The bottom is littered with bones, skulls and rib cages of all sizes that lie in droves on the sand. Pale bony hands wave at her in the unexplainable current. Grinning skulls mock her and whisper.\n\"Come! Rest here with us!\"\nThere is a subtle movement near one wall. The bones twitch and move slightly as if pulled by a current.\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> You get bone\nLornedei looks terrified, but she moves closer to the layer of bones covering the bottom.\nSuddenly, Lornedei is grabbed by a current stronger than she can handle.\n\nShe is dragged and pulled through the water, through a narrow opening in the cliff, up through a narrow well, and through wet cold darkness. She breaks the surface, spitting water, choking in her greedy quest for air.\n\nInside an Old Stone Well (In Gurgling Water)\nThe dark water swirls and gurgles in this small well. The crumbling edge of the stone cylinder is perhaps an arms length higher than the surface.\nDim rays of light find their way down to the dark water, but help little to chase away the shadows.\n\n[Your holiness has just gone up by five.]\n\n> You check your inventory\nLornedei's magic is currently at 75.\nLornedei is carrying:\nA brightly shining fairy lamp with a crystal spider inside\na small gray plaque\na leather rucksack (being worn)\na large black beetle (Airing out its shell at the moment.)\na handful of white berries\na piece of cheese\na loaf of horrid bread\n\n> Go upwards\nShe grabs the slippery stones and climbs out of the old well, wet and exhausted. She sits down on the ground, leaning against the cold stones.\n\nSlowly, Lornedei looks around this dark clearing. An oppressive gray fog hangs over everything and seems to add weight to the air itself. There is a presence here. Something is waiting among the dark trees. Something sinister.\nThe gray mist hides the sun from sight and there is no way to make out which direction is which.\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe roots under the big oak stir restlessly. The shadows beneath them seem to grow momentarily, but when Lornedei Looks at them the movement stops.\nThere is a loud buzzing from the rucksack. Suddenly the Beetle comes crawling out and scrambles down to the ground. It spins around.\n\n> You examine Beetle\nIt's a black beetle as big as Lornedei's hand from antenna tip to end. The hard shell shimmers in shades of red and green.\n\n> You ask Beetle about the tree\nThe beetle actually seems to consider this for a moment. That was only wishful thinking though.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You examine the roots\nThe roots are black and scorched just like the rest of the tree, but there are patches where the crusted surface has cracked and large pieces, almost like scales, have dropped off. There in the open wounds, the surface is the colour of cheese gone hard and sweaty, but the texture is stringy instead of smooth. The bigger roots bend upwards and then down through the ground. In this way they leave hollows and shadows seeming to lead in under the oak's twisted and gnarled trunk. The deformed bushes rustle and seem to reach for her.\n\n> You examine the bushes\nThese bushes resemble those at the village road, but there are quite a few more of them. These look even more gnarled and deformed, as though starved of clean water and sunlight.\nThese also have thorns as well as, oddly enough, plenty of purple nuts. The beetle stands still, seemingly watching the deformed bushes.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> Heal roots\nHealing drains too much power. That would be a waste.\nLornedei bites on a nail.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> You take the nuts\n\"No thank you Master. Only a fool would try to do anything with those nuts.\" To emphasize her point, she gives the nearest bush a kick and a cloud of putrid dust from the leaves rises. A thorny nut falls to the ground.\nThe beetle stands still, seemingly watching the deformed bushes.\n\n> You reach the bushes\nLornedei lets her mind sink into the dry twisted branches of the bushes. After just a moment she steps backwards, clasping her throat with wide, fearful eyes.\n\"These trees do not feed on water and sun. Their thirst is for something else and they have not received any for so long. That is why they have died, but the nuts... I do not understand.\"\n\nLornedei's magic drops by one.\n\n> You take the nut\nLornedei carefully picks up the nut. She quickly drops it in the rucksack.\n\n> You examine the oak\nA giant black oak takes pride of place in the hall of severance. The shadow of the huge crown, a shadow that is nothing more than a slightly darker darkness, seems to reach beyond what it ought to be able to.\nThe oak watches over the clearing. It gives the impression of a greedy old man guarding his treasures with suspiciously gleaming eyes.\n\nOne of the big black branches reaches out far above Lornedei's head and seems to disappear into a cloud of black smoke. Steps are cut in the oak to provide a way up.\n\n> You examine the altar\nThis less than holy stone is five feet long, four feet wide and is waist high. The old stone is almost black.\nWhether it is the natural color of the stone or if the color is caused by something else is hard to tell. Lornedei will not speculate.\n\nAncient carvings cover all visible sides. Most of them are faded and impossible to read.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> Exits\nShe can enter the stone house, climb the oak or try one of the trails.\n\n> You examine the house\nThis death house was not built in your name. The forgotten ones, when they were still only humans, were chained in there. Sometimes they were chained for hours, sometimes for weeks. They all gave up their names in the end, and their spirits fled into the vast forest. The trees were still green, the soil not yet tainted beyond repair, the forest alive and well.\n\nWhat stands here now is a crumbling round stone building not more than perhaps six paces from opening to far wall, with a mostly sunken in roof. The opening in the gray and faltering stonework, the only opening, leads into darkness. This ragged and sorrowful eye is slightly askew and it seems to glare moodily at the altar, dead tired of the view, or perhaps relishing it. The door that must have hung there at one point is now gone. It is most likely now rotting away under a layer of dirt. Since the rituals ended, there has been no one to tend to this house of shame. The acknowledgement of its existence perhaps too painful.\n\nThe acts of cruelty, so wrongly justified in the name of peace, have stopped. The screams are now silence, but the memories remain.\n\n> You examine the right path\nThe right trail is quite wide and as well maintained as any great castles gardens trail. Seemingly so. The forbidden forest makes it dark and menacing, contradicting what the eye can clearly see.\nThe roots under the big oak stir restlessly.\n\n> You look at the left path\nThe trail is dark but hard packed and seemingly well traveled. Shadows line the sides even though there is no light to cast them.\n\n> You look at the straight path\nThis path is not so much a trail as a country road, Straight and flat, free from muddy wheel tracks or invading vegetation.\n\nLooks a bit too straight, too clean, too good to be true.\nThe roots under the big oak stir restlessly.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nA shiver runs through the tree and the shrill song of the leaves seems to increase in volume for a moment. Lornedei folds herself over the branch and stays hanging precariously over it. She looks down. The clearing below her swims out of focus, seems to move away from her and then come rushing back at her. She clings desperately to the scorched limb, unsure if she is going to slide backwards and down on the ground, or tip over forward with the same fatal result. She shuts her eyes hard.\n\nAnd the world is still once more. Very carefully, she lifts one leg over the branch and then she is sitting steady. She opens her eyes and with a sigh of relief. The clearing looks as it should, all considering.\n\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> You examine the smoke\nThe cloud of smoke seems to be spinning slowly. It shifts in black and sometimes purple. It obscures the branch and she cannot see anything in or around it. Everything seems to disappear within the smoke.\n\n> You reach the smoke\n\"I cannot use my powers to reach into the smoke Master. It frightens me.\"\n\n> You follow the branch\nLornedei follows the branch outwards towards the smoke. It seems to rise and meet her and then it surrounds her.\n\nA dark wall of smoke surrounds her. Occasionally a ragged veil of broken vapor is detached from it and dissolves in the air. There is nothing here. Even the ground is gone. Although she can feel it under her feet, she will not try to touch it.\n\"I feel so strange. It is so dark here, so wrong. Everything seems to be turning. I feel something here but it is hidden from me.\"\nLornedei's magic drops by one.\n\n> You reach the smoke\n\"I feel ill Master. It feels like I would be sick if I try. Something is draining me and there is nothing I can do. It feels like everything is spinning.\"\nLornedei's magic drops by one.\n\n> Search smoke\nThere is nothing hiding in the wall of smoke.\nLornedei's magic drops by one.\n\n> Go outside\nBut she's not in anything at the moment.\nLornedei's magic drops by one.\n\n> You rub lamp\nLornedei polishes the fairy lamp some more. The light remains the same. Lornedei is waiting for your command.\nLornedei's magic drops by one.\n\n> Heal smoke\nShe cannot heal things that are not alive.\nLornedei's magic drops by one."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe roots under the big oak stir restlessly. The shadows beneath them seem to grow momentarily, but when Lornedei Looks at them the movement stops.\n\nShe can also see a large black beetle (Taking a nap at the moment.) here.\n\n> You examine the altar\nThis less than holy stone is five feet long, four feet wide and is waist high. The old stone is almost black.\nWhether it is the natural color of the stone or if the color is caused by something else is hard to tell. Lornedei will not speculate.\n\nAncient carvings cover all visible sides. Most of them are faded and impossible to read.\n\n> You reach the altar\nShe lifts her hands towards the stained altar. She focuses, frowning, then she is shoved back by something. The connection breaks and Lornedei gasps for air.\n\"No Master, I cannot! There is so much wickedness there and it does not want to reveal its secrets. All I could sense was pain. Pain, fear, and blood.\"\nLornedei's magic just dropped by five.\n\"What should I do?\"\n\n> You eat the berry\n(Taking the handful of white berries first.)\nLornedei eats another white berry.\nLornedei's magic just went up by three.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You enter House\nHall of Severance (In the House of Penance)\nLornedei steps through the crumbling opening into a darkness that is not quite total. There is dim light sifting down from the ruined ceiling above. She glances up, perhaps fearing that the whole construction will give up at her intrusion.\n\nBut the only thing falling down on her is the weight of history; stories of cruel ignorance, memories that linger. The light catches a glittering thread and Lornedei swipes at the descending spider before it can land on her. With a grimace she steps on it before it can scramble away, burying it in the dry dirt. She looks around, but if there are more spiders here, they keep out of her way.\nThe many years have taken its toll on this house. The circular wall tapers slightly towards the ceiling. Above her, a framework of thick beams support several generations worth of spider webs. There is not much left of the roof now. The light from outside leaks in through the holes in the ceiling. It magnifies the presence of fine dry dust that floats lazily in the still air. Long since rotted straw and reeds cover the earthen floor.\n\nA pair of rusty manacles hangs on the wall.\n\n> You look at the straw\nShe gives the rotted straw and dirt a quick glance but she has nothing to say about it.\n\"What should I do?\"\n\n> You examine the manacles\nLornedei shakes her head.\n\n> You search the straw\nLornedei kicks the rotted remains around with a grimace, holding her breath against the odors rising from the floor. A shriek cuts through the still air and she takes a step back.\n\nEmpty sockets in a yellowed and cracked skull stare up at her. She takes another step towards the opening and starts to turn to leave. Something causes her to look back, though, perhaps a sense of shame for disturbing this final resting place. She stares at the human skull peeking out from its shallow grave, and goes to cover it again. Before she can throw a handful of the old straw over it, she stops. There is a sudden glimmering light from within one of the dark holes. There is something inside the skull. She also notices a small pouch in the shallow grave, half buried in the dirt.\n\n> You look in the skull\nIn the cracked skull is An amulet.\n\n> You look at the amulet\nIt's a pale blue crystal hanging on a silver chain.\n\n> You take the amulet\nLornedei's hand trembles at the touch.\n\"So much power!\"\n\n[Your holiness has just gone up by five.]\n\n> You wear it\nLornedei hangs the amulet around her neck. Immediately it flares up and shines brightly. The blinding light fades somewhat and the light becomes soft and steady. Lornedei shivers in delight from the power in the crystal that gives itself to her.\n\nLornedei's magic just went up by one hundred.\n\n\"What should I do?\"\n\n> You take the pouch\nAs you wish.\n\n> You examine the pouch\nIt is a dry and withered leather pouch, no bigger than a woman's fist. A leather string is used to close it and hang it in a belt.\n\n> You wear it\nShe can't wear that!\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You open the pouch\nShe opens the small leather pouch, revealing a golden acorn.\n\n> You look at the acorn\nIt is an acorn in shape and form but it seems to be one in solid gold.\n\n> You reach the acorn\nLornedei holds the golden acorn in her hand. The images come to her without being reached for.\n\nA seedling, a sapling, a giant oak.\nAll in a matter of seconds. Dripping water, a silver goblet.\nA wish to grow, a wish to heal.\nInstant flashes, not much more than emotion and fleeing images, but strong and urgent.\nTime is running out.\nThe vision fades.\n\n> You look at the beams\nLornedei has no interest in the construction of this place. It may not even be safe to stay here very long.\n\n> Leave\nShe steps out in the clearing.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe roots under the big oak stir restlessly. The shadows beneath them seem to grow momentarily, but when Lornedei Looks at them the movement stops.\n\nShe can also see a large black beetle (Taking a nap at the moment.) here.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You search the roots\nAfter a quick look, she just shakes her head. She does not know.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> You ask Beetle about the paths\nThe beetle actually seems to consider this for a moment. That was only wishful thinking though.\nThe beetle scrambles through the dead grass to one of the paths. It spins around and comes back to Lornedei.\n\n> You take Beetle\nThe beetle crawls up in her hand.\nThe beetle squirms its way out of Lornedei's grasp and drops to the ground. It runs off, climbs up on the stone well, climbs back down, crawls through the bushes and seems to inspect the stone house, to finally stop at one of the paths.\n\n> You examine well\nIt is an old, neglected well made of stones. It's nearly invisible among the long dry grass dying bushes that surround it.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You examine Beetle\nIt's a black beetle as big as Lornedei's hand from antenna tip to end. The hard shell shimmers in shades of red and green.\nLornedei moves a strand of hair from her face and puts it behind her ear.\nThe roots under the big oak stir restlessly.\n\n> You go left\nLornedei takes a couple of steps towards the dark trail, glancing nervously up at the trees. Then she takes a deep breath before moving forward. The shadows of the forbidden forest fall on her.\nShe walks without sun as guidance or aim to where she is going.\nThe path twists and turns and soon she is cursing her own thoughtlessness. The prickling sensation of a forgotten spirit's hatred sinks down on her like a heavy blanket.\nHer feet feel strangely heavy and clumsy, as if the undergrowth hinders her movement. However there is nothing growing on the path. It is empty. Flat and hard-packed, it should be easy to walk on.\nA somewhat stronger light appears further ahead and with a soft sob of relief Lornedei starts running towards the clearing.\nShe stops with the beginning of a smile freezing on her lips.\nThe clearing is dark, a stone well gurgles softly, and three paths disappear into the forbidden forest.\nThe beetle scrambles through the dead grass to one of the paths. It spins around and comes back to Lornedei.\n\n> You reach the right path\nLornedei closes her eyes, letting the unseen take over. Nothing. The scorched trees stand guard over the withered undergrowth, the rocks, the fallen trees,...but not one single trail.\nShe turns her attention to the next passage, and then the final one, but there is nothing except the forest hiding its secrets even from Lornedei's magic eye.\nShe opens her eyes, blinking a few times to make sure. Yes, there they are.\n\nLornedei's magic drops by one.\n\n> You check your inventory\nLornedei's magic is currently at 176.\nLornedei is carrying:\na small leather pouch (which is open)\na golden acorn\nA blue crystal hanging on a silver chain.\na handful of white berries\nA brightly shining fairy lamp with a crystal spider inside\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\na loaf of horrid bread\n\"Master?\"\n\n> You put the nut on the altar\nShe needs to be holding the purple nut with thorns before she can put it on top of something else.\nLornedei is waiting for your command.\nThe beetle disappears into the crumbling stone house. It comes back out, stays a moment in the opening, waving its antennae, before coming back to Lornedei.\nLornedei stares at the leaf clusters in the black forest. She looks away, biting her lower lip.\n\n> You put the nut on the altar\nLornedei carefully takes the nut, holding it with two fingers by one of the thorns. That way she won't get hurt.\nShe puts the purple nut with thorns on the stone altar.\n\n> You look\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe roots under the big oak stir restlessly. The shadows beneath them seem to grow momentarily, but when Lornedei Looks at them the movement stops.\n\nOn the stone altar is a purple nut with thorns.\n\nShe can also see a large black beetle (Spinning around waving its antennae at the moment.) here.\n\n> You take the nut\nLornedei carefully picks up the nut. She quickly drops it in the rucksack.\nThe beetle scrambles through the dead grass to one of the paths. It spins around and comes back to Lornedei.\n\n> You follow Beetle\nThe black beetle is still for a few moments. Sniffing the air for danger. Then suddenly it decides where to go and takes off along one of the paths. Lornedei follows.\n\nShadows reach for her, imaginary or not, from the growing darkness between the trees, as she moves into the forbidden forest. The beetle is ahead of her, leading on, stopping now and then to find its way. The path twists and changes direction so many times that Lornedei has to rely totally on her glimmering little guide.\n\nLornedei keeps her eye on the bug, but looks around now and then. The trees all look the same. No matter which kind they might have been originally, they are now all black and scorched. Clusters of leaves, singing their strange melody, hang from nearly all of them, some nearly touching the undergrowth. The forest is cold, the air thick, and Cowering under the stare of the shadows, she moves on. The bug leads. It runs ahead, over a dry and cracked puddle of mud, through the hollowed out insides of a dead tree, forward.\n\nThe beetle stops. Its antennae wave frantically and it spins around on the ground a couple of times. When Lornedei reaches down to pick it up it quickly unfolds its wings, takes off with a buzzing and disappears among the trees.\n\nForbidden Forest (Near the Raven Tree)\nDisappointed, Lornedei looks around.\n\"I think I am lost.\"\nThe scorched trees tower over anyone and anything unfortunate enough to be here. An air of ill will hangs over the treetops.\nThe gray fog touches the trees highest branches, hiding the sun from view. Two paths lead into the black forest from here.\nLornedei sighs.\n\nAn enormous raven sits high up on a blackened branch, surrounded by the bug like leaves. It stares unblinking at Lornedei as she moves around in the crossing. It greets her with a threatening flutter with the wings, a guttural croaking and constant nervous sidestepping on the branch.\n\n[Your holiness has just gone up by five.]\n\n> You reach Raven\nIn the moment she reaches the bird with her mind, she is pushed backwards by an unknown force. She loses the connection.\nThe bird croaks as it shakes the unwelcome intrusion from its mind.\n\nLornedei's magic drops by one.\n\n> You give the cheese to Raven\n(Taking the piece of cheese first.)\nThe piece of cheese does not seem to interest the bird.\n\n> You examine Raven\nA large black bird with a shaggy, iridescent plumage. It never moves its gaze far from the trespasser. Every move she makes results in a nervous side step, a twitching in the wedge-shaped tail and a curious tilt of the black head.\n\n> You put the cheese in the rucksack\nShe drops the piece of cheese into the leather rucksack.\n\n> You examine Tree\nThese trees all look dead at first sight. Scorched and tortured, they reach out their blackened limbs over the cowering undergrowth. They do have leaves, however, not green and lush but almost black.\n\n> Exits\nShe can try following one of the paths.\n\n> You talk to Raven\n\"I cannot talk to animals Master. Besides that, I am sure that a thing like that has nothing but nasty things to say.\"\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You show the plaque to Raven\nThe small gray plaque does not interest the bird. It just keeps on sidestepping.\n\n> You follow Raven\nFollow the bird? The black bird is not going anywhere at the moment. Perhaps it needs some incentive.\n\n> You give the bread to Raven\n(Taking the loaf of horrid bread first.)\nThe loaf of horrid bread does not seem to interest the bird.\n\n> You give the acorn to Raven\nReally? the golden acorn?\n\n[Your holiness has just gone up by five.]\nThe golden acorn does not interest the bird. It just keeps on sidestepping.\n\n> You give the nut to Raven\nReally? the purple nut with thorns?\nLornedei carefully takes the nut, holding it with two fingers by one of the thorns. That way she won't get hurt.\nLornedei glances up at you, uncertain.\n\n> You put the nut in the rucksack\nShe drops the purple nut with thorns into the leather rucksack.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> You take the leaf\nLornedei grabs one of the black leaves in the nearest cluster and twists it loose from the branch. The leaf falls over and the beetle quickly takes shape in her hand. When it is done growing, it crawls up on Lornedei's shoulder.\n\n> You take the leaf\nShe already woke one beetle. There's no need to wake another one.\n\n> Caw\n\"Master? I don't understand.\"\n\n> Pet Raven\n\"I fail to see a point in what you ask!\"\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> You get Raven\nThe bird is too far up in the tree; it will not come close enough to be caught.\n\n> You climb Tree\nThere's no way she could.\nLornedei glances up at you, uncertain.\n\n> Dig\n(the raven)\nThe ground is too hard to dig in this place.\nLornedei shakes her foot to get rid of a painful stone from her sandal. A dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> Pray\nShe does. Every night. You taught her well.\n\n> Inventory\nLornedei's magic is currently at 176.\nLornedei is carrying:\na large black beetle (Spinning around waving its antennae at the moment.)\na golden acorn\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\nA brightly shining fairy lamp with a crystal spider inside\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\nLornedei bites on a nail.\n\n> You give the Crystal to Raven\n(the amulet to the raven)\nThe amulet does not interest the bird. It just keeps on sidestepping.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> Rub crystal\n(the amulet)\nThere is no need for her to do that.\n\n> You read the plaque\nIt is a small round plaque in a material unknown to Lornedei. The surface is smooth and with a deep polish. It is small enough to fit in Lornedei's hand. The surface shows nothing, not even the distorted image of Lornedei herself that one might expect. What shows in the plaque is like a reflection of a stormy sky in a puddle of murky water, just before the rain starts hammering.\n\n> Holiness\nYour current holiness is 30 out of a possible holiness of 105, in 173 moves."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> You look at your surroundings\nForbidden Forest (Near the Raven Tree)\nThe gray fog touches the trees highest branches, hiding the sun from view. Two paths lead into the black forest from here.\nLornedei sighs.\n\nAn enormous raven sits high up on a blackened branch, surrounded by the bug like leaves. It stares unblinking at Lornedei as she moves around in the crossing. It greets her with a threatening flutter with the wings, a guttural croaking and constant nervous sidestepping on the branch.\nLornedei bites on a nail.\n\n> Rub ball\nLornedei polishes the fairy lamp some more. The light remains the same. Lornedei bites on a nail.\n\n> You look into the ball\nIn the fairy lamp is a crystal spider.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You watch spider\nShe can't quite see what it looks like as long as it's trapped inside the lamp. She'll have to free it somehow.\nLornedei is waiting for your command.\n\n> Twist ball\nLornedei turns the fairy lamp in her hand. The crystal spider jerks to life in there and taps angrily at the inside of its prison.\nLornedei glances up at you, uncertain.\n\n> You feel the ball\n\"It is very cold. It feels almost like ice but it does not melt in my hand.\"\n\"What should I do?\"\n\n> You give Beetle to Raven\nLornedei holds the beetle in a tight grip, and shows it to the bird. The black bird leans its head to one side. Most interested, it moves restlessly on its branch. Lornedei slowly puts the beetle on the ground. She steps back and waits.\n\nThe beetle turns towards Lornedei, turns back, notices the bird and makes a run for it. It heads for the high grass. The hungry bird dives from the tree and drops in a cloud of dirt between the bug and the safe undergrowth. The beetle stops dead in its track, changes direction and rushes forward, but the bird is already there, flipping the bug over. For one moment, it is immobilized. That moment is enough.\n\nWhile the beetle is helpless, the bird gets to the eating. Big chunks of the insect's body is ripped out and swallowed. At some point, the legs and antennae stop moving. Finally, there is nothing left of the beetle but an empty shell, lined with a few sad remains of legs, flesh, and unidentifiable insect parts.\n\nThe bird skips along the path where, if one looks hard enough, one can see another trail. The bird turns to Lornedei and croaks.\nWaiting.\n\n[Your holiness has just gone up by five.]\n\n> You take the leaf\nLornedei grabs one of the black leaves in the nearest cluster and twists it loose from the branch. The leaf falls over and the beetle quickly takes shape in her hand. When it is done growing, it crawls up on Lornedei's shoulder. Lornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a bird, unlike any other.\n\n> You tap on the ball\n\"Master? I don't understand.\"\n\n> You follow Raven\nLornedei dares a careful step towards the black bird. It turns and hops along the path a short distance before it again faces the girl. Waiting.\n\nLornedei takes another step and the bird takes off in the air. It flies in circles in front of her, high up and almost out of sight at times but always close enough for Lornedei to follow. The path winds its way through and around the disturbing shadows of the forbidden forest. Fallen trees and dense undergrowth is constantly in her way and she has to climb over, through, or around these obstacles, while keeping an eye on the bird. It is just ahead and above her. She follows the black bird, expecting the cold grip of the forgotten ones around her ankles at any moment. Images of soul wrenching, flesh ripping, and blood drinking spirits run through her mind. Nothing happens. Exhausted and bruised, with her clothes torn and dusty, she stumbles on.\n\nSomething grabs her foot; she loses her balance and falls forward with a painful thud. Frozen in a breathless heap on the ground, she takes a moment to gather her strength as well as her breath. The bird croaks, Light seeps in through her closed eyelids.\n\nShe looks up in time to catch a final glimpse of the bird. It disappears into a glowing sunset beyond a desolate field.\n\nWasteland (Overlooking the Field of Despair)\nSlowly Lornedei gets up on her feet. Nearly blinded by the light from the dying sun, she inspects the damage. She sighs deeply.\n\nShe opens her mouth to speak again but the words never come. She takes in the view of this seemingly empty wasteland in shocked silence for some time. She swallows. A dry wind tugs at her clothing while playing restlessly in the dry ground.\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\n\n[Your holiness has just gone up by five.]\n\n> Go east\nWasteland (By the Circle of Stones)\nLornedei walks east and the ground slopes down. It becomes increasingly difficult to walk. On the other side of the valley she is entering, the forest resumes. At the bottom of the slope where the sharp rocks slip under her feet, heat ripples the air. Lornedei makes her way down.\n\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\nLornedei is waiting for your command.\n\n> You look at Circle\nThe circle is almost ten paces wide. Inside the edging of boulders, the ground sinks further down, into another bowl. This one is smooth and perfectly round.\n\n> You enter Circle\nLornedei glances questioningly at the circle of stones. That is not something that she can enter.\n\n> You enter Circle\nLornedei glances questioningly at the circle of stones. That is not something that she can enter.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a wolf. Yes, a wolf, but it's far away.\n\n> You call\nLornedei whistles but does Deini want to come to her?\n\n> You reach Circle\nThere seems to be nothing beyond what the eye can see.\nLornedei glances up at you, uncertain.\n\n> You reach the Stone\nThere seems to be nothing beyond what the eye can see.\nLornedei bites on a nail.\n\n> You put plaque in the fire\n(the small gray plaque in the Blazing fire)\nThis fire needs no fuel. Never mind burning up her inventory.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> You look at the Crystal\n(the amulet)\nIt's a pale blue crystal hanging on a silver chain.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a bird, unlike any other.\n\n> You wear chain\nLornedei hangs the amulet around her neck. Immediately it flares up and shines brightly. The blinding light fades somewhat and the light becomes soft and steady. Lornedei shivers in delight from the power in the crystal that gives itself to her.\n\nLornedei's magic just went up by one hundred.\n\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> Magic\nLornedei's magic is currently at 276.\n\n> You wear the chain\nLornedei hangs the amulet around her neck. Immediately it flares up and shines brightly. The blinding light fades somewhat and the light becomes soft and steady. Lornedei shivers in delight from the power in the crystal that gives itself to her.\n\nLornedei's magic just went up by one hundred.\n\n> Magic\nLornedei's magic is currently at 376.\n\n> You reach the black plaque\nLornedei just shrugs. There doesn't seem to be anything she can learn about the plaque.\n\n> You reach the fire\nThere seems to be nothing beyond what the eye can see.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You reach the amulet\nA golden haired woman walks across the courtyard of a long lost castle. A young lad in a brown tunic with a wooden sword in hand immediately interrupts his training to bow respectfully as she passes.\nAn exhausted but smiling young woman lies in a bed with an infant in her arms. The blue light reflected in the child's so far unseeing eyes comes from a crystal hanging around the new mother's neck.\nA white haired old woman reaches into her robe to hold up a shining blue crystal hanging on a silver chain. She pulls it over her head and hands it to the girl kneeling before her on the stone floor.\nGeneration after generation passes by in Lornedei's mind. Fleeing images of the many bearers, the many powerful women yielding respect and sometimes fear, but never hatred.\nNot until the final image.\nThe amulet is thrown carelessly on top of a broken and bloody mess lying against cold stone. This very wall.\nLornedei shivers and lets go of the crystal.\n\n> You get the Crystal\n(the amulet)\nShe already has that.\n\n> Dig\nWhat do you want Lornedei to dig?\n\n> Ground\n(the ground)\nLornedei digs a hole in the dry ground.\n\n> Plant acorn\n\"Master! Nothing can grow here.\" She picks up a handful of dirt but drops it again with a grimace.\n\"This soil is poisoned, I can feel it.\"\n\n> You go to the west\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> You go to the north-west\nLornedei steps in-between a big wall that continues north, away from her, and the remains of another wall trailing west. What stands before her is only a small part of a castle. The rest of it, including any main gate or towers, is gone, as if cut away. She stops and looks around.\n\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\n> You go north\nCastle Ruins (In a Stone Corridor)\nLornedei enters a long stone hall. The sudden noise of her own foot falls echoing makes her stop after just a few steps. She stands just inside the gate. The corridor is dim and it takes a while for her eyes to adjust to the darkness.\nThe wide stone corridor continues north for perhaps sixty feet and there is a dim light at the far end.\nShe takes a few more steps forward through the dusty corridor. She stops at an opening in the wall where a staircase leads down into darkness.\n\n> Go north\nLornedei walks towards the dim light. The corridor ends, the floor drops away, and beyond is the mist. The edge of the cliff itself has dropped off, taking the entire inner castle down with it. The entire northwest corner of the big ledge has slid down to the bottom of the ravine.\n\nLornedei takes a quick look down the ravine, through veils of mist, but the floor suddenly feels very unsteady under her feet. She returns to the opening to the staircase.\nLornedei glances up at you, uncertain."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nCastle Ruins (In the Guard Chamber)\nLornedei leans into the opening in the wall, trying to see what is below the dark staircase. There is light down there. Without further hesitation, she descends the dusty stone steps.\n\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\n> You examine statue\nThe stone statue stands against the south wall. It seems undamaged by what ever happened here. It is a woman. She is dressed in a guard's robust clothing and she is standing with her feet somewhat apart, one arm bent to let her hand rest on a stone dagger at her waist.\nThe statue is holding up its right arm as if holding something, perhaps a staff or a spear, but the hand is empty. The stone woman looks as if she could wake up at any moment, ready to protect.\nThe polished stone eyes are fixed on something in the northeast corner of the chamber.\n\n> You look at the ne\nCracked marble in walls and floor. Rubble. Nothing of interest catches her eye.\n\n> You go northeast\nLornedei takes a few steps to take a look at the corner but a fair bit of the wall has cracked and fallen. There is nothing to see but rubble.\n\n> You search the rubble\nLornedei scratches her head, looking at the mountain of rubble.\n\"If I could get through this first pile of blocks, then maybe, I am not sure I can though. I am going to need some help.\"\n\n> Go upwards\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\n\n> You go to the south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\nLornedei glances up at you, uncertain.\n\n> You go to the east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\n\n> You climb Wall\nThere is no way she can get up on the wall. It is too high and there are no handholds.\n\n> You go north\nShe should not venture too far into this scarred landscape. Beyond is the mist, where she would be lost. Lornedei turns back.\n\n> You go southeast\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\n\nShe can also see a small hole in the hard ground (which is empty) here.\n\n> Go north\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\n> You examine Tree\nThese are scattered remains of a tree. Mostly ashes, a few charred branches, a hollowed out trunk lying on its side, all petrified by time and lack of rain. All is covered in years of sand.\n\n> Heal Tree\nThere is nothing left here that can be healed. The tree is long since dead.\nLornedei is waiting for your command.\n\n> You reach Tree\nLornedei puts her hand on the petrified wood. She shuts her eyes. Suddenly, the air is fresh with a scent of damp soil, grass and the new flowers of spring. Golden leaves tremble on silver limbs. Rooted deep in fertile soil, cared for, held in awe, the golden oak waits.\n\nSoft grass beneath bare feet, feet tredding silently towards the great oak, but stopping to wait at the proper distance. A mumble, a nervous questioning, a whispered reply. A moment of silence. A silver cup carried the last two steps to the roots below the tree.\n\nA trickle of water, a new light bearer's gift, then the acceptance of it, knowing the young one is true and strong. A golden acorn drops to the ground.\n\nAges has passed, eons of repeated procedures, of dying and re-birth. The golden oak feels no fear, no regret, knowing that after this life, it will come again. The light bearers will plant the acorn and the spiral of life will turn once more. It is soon time. Very soon. Lornedei glances up at you, uncertain.\n\n> You dig the ground\n(the ground)\nLornedei digs a hole in the dry ground.\n\"Master?\"\n\n> You search Tree\nLornedei looks around, in the trunk, kicks away some dirt, but all she finds is more sad remains of the tree. Anything of interest is long since gone.\n\n> You go west\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\n\"What should I do?\"\n\n> You go west\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\n> You go south\nWasteland (Overlooking the Ravine)\nLornedei stands on an outcropping overlooking a deep ravine going as far north as she can see. The ledge seems to be the remains of a road, cut off by the creation of the break in the earth. On the other side of the ravine, there's a barely visible opening through the trees. There is no way over there though. A steady wind tears at her clothes and hair in sudden gusts that seem eager to throw her off balance.\n\nEast, northeast and north are the ways off the ledge.\n\n> Go northeast\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\n\n> You go to the west\nA few paces away, the courtyard ends abruptly as the ground is replaced by the ravine. A vertical cliff of bare rock is all that is left. If there was a western wall there, it now lies at the bottom of the ravine, along with a big part of the castle. On the other side, the forbidden forest starts again. Lornedei quickly backs away from the edge.\n\n> You go to the west\nLornedei takes one step towards the edge of the ravine, then another longer step away from it. The ravine is too deep and too wide to cross. Lornedei turns her head towards a sudden rustling in the forbidden forest. There is nothing there."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go down\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\n> You go west\nLornedei steps closer to the huge hole in the wall. One glimpse down is enough. She steps back on unsteady legs.\nLornedei bites on a nail.\n\n> Go east\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\n\n> Inventory\nLornedei's magic is currently at 376.\nLornedei is carrying:\na large black beetle (Taking a nap at the moment.)\na golden acorn\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\nA brightly shining fairy lamp with a crystal spider inside\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\nLornedei is waiting for your command.\n\n> Go south\nThe forbidden forest stands guard. There is no way through it.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like something that does not want to be heard. Careful, tentative.\n\n> You listen\nThere is nothing here to listen to but the constant wind.\nLornedei is waiting for your command.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> You go east\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a bird, unlike any other.\n\n> You go to the northeast\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\nShe can see a small hole in the hard ground (which is empty) here.\n\n> You go to the south-west\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> You go to the east\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\n\n> Go south\nThe forbidden forest stands guard as if regretting giving passage. She is lucky to have made it through at all. Now there is no way back. She can however go east, west, northeast, northwest, and north.\n\n> Blow ball\n\"Master?\"\n\n> You hit the ball\n\"Perhaps. There might be a way but violence is not the answer.\" Lornedei moves a strand of hair from her face and puts it behind her ear.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a wolf. Yes, a wolf, but it's far away.\n\n> You look at the nut\nA purple nut from the deformed bushes in the hall of severance. It is deep purple and hosts a number of sharp thorns.\n\n> Go east\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\n\"What should I do?\"\n\n> Go east\nThe forbidden forest stands guard above the rim of the bowl she is in. She can get back to the field by going north, west, or northwest.\n\n> Go north\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\nShe can see a small hole in the hard ground (which is empty) here.\n\n> Go east\nThere is nothing ahead but swirling dust, a hot wind, and the mist beyond. She turns away.\n\"Master?\"\n\n> Go north\nThere is nothing ahead but all that fog, hiding everything. She takes a few steps in that direction, but turns back.\n\n> You go south\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like someone crying. An abandoned cry of loneliness.\n\n> You walk through fire\nThe heat forces her back.\n\n> Pray\nShe does. Every night. You taught her well.\nLornedei bites on a nail.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> Heal fire\nHealing drains too much power. That would be a waste.\n\n> You throw the dirt on the fire\nShe needs to be holding the ground before she can put it on top of something else.\n\"What should I do?\"\n\n> You take the dirt\nLornedei picks up a handful of dry soil. Frowning, she lets it scatter. Lornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Inventory\nLornedei's magic is currently at 376.\nLornedei is carrying:\na large black beetle (Airing out its shell at the moment.)\na golden acorn\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\nA brightly shining fairy lamp with a crystal spider inside\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\n\n> You examine the spider\nShe can't quite see what it looks like as long as it's trapped inside the lamp. She'll have to free it somehow.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You throw the ball into the fire\nLornedei throws the fairy lamp into the fire. There is a loud whistling and the fire grows. After a short while, a crystal spider comes crawling out of the flames and the fire returns to normal.\n\nThe spider stops for a moment between the fire and the boulder closest to Lornedei.\nIt bobs up and down a couple of times as if working the stiffness out of its long legs, then it sprints out of the pit. The spider stops at her feet, turns around once and curls itself up into a ball.\n\n[Your holiness has just gone up by five.]\n\n> You examine the spider\nIt's a large spider made of crystal. It has curled up as if either dead or sleeping most of the time. It is hard to tell which. It gives off a cold sparkling light and has a pair of multi facetted eyes. Oddly enough, the eyes seem both beady and shifty. No matter from where it is observed, it seems to glare suspiciously. She will have to touch the spider to examine it further. That is, if it will let her.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You touch the spider\nLornedei reaches for the spider and it actually lets her investigate. She carefully holds one leg and the spider lets her flex it experimentally before resolutely pulling it away from her. The spider is cold and strangely flexible. It seems to be able to appear as hard as the crystal it is at will, just to move around like any other spider the next moment. It is however staring suspiciously at her, wondering what this touchy feely thing is all about.\n\n> You take spider\nThe spider reluctantly steps up on her hand.\n\n[Your holiness has just gone up by five.]\n\n> You look at the boulder\nThe circle is almost ten paces wide. Inside the edging of boulders, the ground sinks further down, into another bowl. This one is smooth and perfectly round.\n\n> You enter Circle\nLornedei glances questioningly at the circle of stones. That is not something that she can enter.\nLornedei bites on a nail.\n\n> You look at the plaque\n(the small black plaque)\nThe plaque is too close to the flames, she cannot get near it without setting herself on fire.\nLornedei bites on a nail.\n\n> You examine the baked berry\n\"I can smell nothing here but dust Master. The air is dead and dry.\"\n\nShe can't find anything like that. Are you sure it's here?\n\n> You check your inventory\nLornedei's magic is currently at 376.\nLornedei is carrying:\nA crystal spider with shifty, beady eyes (Curled up acting dead at\nthe moment.)\na large black beetle (Fluffing up its wings at the moment.)\na golden acorn\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\nLornedei glances up at you, uncertain.\n\n> You look at Circle\nThe circle is almost ten paces wide. Inside the edging of boulders, the ground sinks further down, into another bowl. This one is smooth and perfectly round.\n\n> You read the plaque\n(the small black plaque)\nIt's a totally black round plaque. It is small enough to fit in Lornedei's palm. The smooth stone is of a kind that Lornedei has never seen. A strange picture is carved on one side. It looks like a flying insect of some sort, with a giant tree in the background.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You take it\nAs you wish.\nLornedei is waiting for your command.\n\n[Your holiness has just gone up by five.]\n\n> Black\nNothing happens."
    },
    {
        "text": "> Go down\nThe forbidden forest stands guard above the rim of the bowl she is in. She can get back to the field by going north, west, or northwest. Lornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like someone whimpering. Someone, or something."
    },
    {
        "text": "> You look around\nWhat do you want Lornedei to dig?\n\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Ground\nThe forbidden forest stands guard above the rim of the bowl she is in. She can get back to the field by going north, west, or northwest.\n\n> You dig the ground\n(the ground)\nLornedei digs a hole in the dry ground.\nLornedei glances up at you, uncertain.\n\n> Plant acorn\n\"Master! Nothing can grow here.\" She picks up a handful of dirt but drops it again with a grimace.\n\"This soil is poisoned, I can feel it.\"\n\n> You move Circle\nThe fire is already extinguished. There is no need to push any more boulders.\n\n> You look at debris\nSad remains of a once great building. Blocks of stone that once made up the walls, smaller rocks, old faded pieces of wood, dust and gravel. A precariously stacked pile is blocking the way northeast.Everything is covered in years of sand that has drifted in from the dry fields.\n\n> You search debris\nLornedei scratches her head, looking at the mountain of rubble.\n\"If I could get through this first pile of blocks, then maybe, I am not sure I can though. I am going to need some help.\"\n\n> Go north\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the\n\n> You climb the debris\ncourtyard. The corridor seems to lead only to the dim light to the north.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\nShe can't find anything like that. Are you sure it's here?\n\n> You drop the spider\nYour wish is her command.\n\n> SPIDER, ,EXAMINE DEBRIS\nThe spider straightens to show its maximum height. It taps one of its legs against another and turns away. It is clearly beneath a creature of light to obey common humans.\n\n> You move the statue\nThe stone statue cannot be moved in any way. Lornedei makes a couple of attempts of pushing the statue but there is not much point in trying.\n\n> You examine the eyes\nBeautiful blue eyes dominate her pale and quite thin face. So far, it has that innocent glow that will fade with time and experience.\nFor the most part her lips are tightened into a disapproving line. It is most likely an unconscious imitation of her step mother but when she does smile her face changes drastically and she looks like the child she is.\n\n> You give Beetle to the spider\nThe spider stretches out to its full height and pokes the beetle in the eye. The bug gives off a high-pitch squeal and crawls in under Lornedei's hair.\n\n> You give the acorn to the statue\nLornedei drops the acorn in the hand. After falling halfway through, it stops. The stone hand has turned into a fist. The stone limbs crackle slightly as the hand turns palm side down. After a moment, the fingers flex jerkily and opens. The acorn drops to the floor. The hand turns back to holding its imaginary item.\n\n> You get acorn\nAs you wish.\n\n> You take the acorn and the spider\ncrystal spider: The spider reluctantly steps up on her hand.\n\n> Black\nLornedei looks at the small black plaque. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> You check what you're carrying\nLornedei's magic is currently at 376.\nLornedei is carrying:\nA crystal spider with shifty, beady eyes (Polishing its underside at the moment.)\na golden acorn\na small black plaque\na large black beetle (Airing out its shell at the moment.)\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na piece of cheese\n\"Master?\"\n\n> You examine the statue\nThe stone statue stands against the south wall. It seems undamaged by what ever happened here. It is a woman. She is dressed in a guard's robust clothing and she is standing with her feet somewhat apart, one arm bent to let her hand rest on a stone dagger at her waist.\nThe statue is holding up its right arm as if holding something, perhaps a staff or a spear, but the hand is empty. The stone woman looks as if she could wake up at any moment, ready to protect.\nThe polished stone eyes are fixed on something in the northeast corner of the chamber.\nLornedei looks around, biting her lower lip.\n\n> You give spider to the statue\nLornedei looks at the crystal spider. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> You give the berry to statue\nLornedei looks at the handful of white berries. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> You give the acorn to the statue\nLornedei drops the acorn in the hand. After falling halfway through, it stops. The stone hand has turned into a fist. The stone limbs crackle slightly as the hand turns palm side down. After a moment, the fingers flex jerkily and opens. The acorn drops to the floor. The hand turns back to holding its imaginary item.\nLornedei glances up at you, uncertain.\n\n> You give the nut to the statue\nReally? the purple nut with thorns?\nLornedei carefully takes the nut, holding it with two fingers by one of the thorns. That way she won't get hurt.\n\n> You go south\nThere is nothing there but rubble and cracked marble walls. She can't go that way.\nLornedei bites on a nail.\n\n> Examine remains\nThese are scattered remains of a tree. Mostly ashes, a few charred branches, a hollowed out trunk lying on its side, all petrified by time and lack of rain. All is covered in years of sand.\nLornedei looks around, biting her lower lip.\n\n> You climb the debris\nThere's no way she could.\n\"Master?\"\n\n> You examine the ravine\nThe ravine ends here only twenty paces or so to the south, where it narrows and meets the forbidden forest. It stretches north, past the old ruins, beyond which it disappears in a wall of mist. A deep cut in the earth, more than a stone-throw across and deeper than is comfortable to even consider.\n\"Master?\"\n\n> You enter ravine\nLornedei moves closer to the edge. Against better knowledge she looks down. Immediately she retreats to safe ground.\n\n> You talk to the spider\nThe spider's shifty, beady eyes seem both shiftier and more beady. It has nothing to say though.\n\n> Stroke spider\n\"I fail to see a point in what you ask!\"\n\n> You ask the spider about itself\nThe spider stares suspiciously at her. It is beneath a creature of light to indulge in conversation with lower beings.\n\n> Go north\nLornedei walks towards the dim light. The corridor ends, the floor drops away, and beyond is the mist. The edge of the cliff itself has dropped off, taking the entire inner castle down with it. The entire northwest corner of the big ledge has slid down to the bottom of the ravine.\n\nLornedei takes a quick look down the ravine, through veils of mist, but the floor suddenly feels very unsteady under her feet. She returns to the opening to the staircase.\n\n> Go northwest\nLornedei takes one step but stops. She cannot go there. She can go south or down."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go down\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\n> You reach the nut\nThere seems to be nothing beyond what the eye can see.\nLornedei is waiting for your command.\n\n> You give the nut to the statue\nLornedei looks at the purple nut with thorns. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> You feed cheese to the spider\n(Taking the piece of cheese first.)\nThe spider pokes the piece of cheese with some interest. The curiosity doesn't last long though and the spider returns to its suspicious glaring.\n\n> Kiss statue\nLornedei ignores you. she has no time for nonsense.\n\n> You check what you're carrying\nLornedei's magic is currently at 376.\nLornedei is carrying:\na piece of cheese\na purple nut with thorns\na golden acorn\nA crystal spider with shifty, beady eyes (Glaring suspiciously.)\na small black plaque\na large black beetle (Airing out its shell at the moment.)\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\n\n> You climb the statue\nLornedei takes a closer look at the stone woman's head and shoulders, the walls and the ceiling behind and above her, but decides against it.\n\n> You feed the bread to the statue\nLornedei looks at the loaf of horrid bread. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> Hint\nThe firefly appears. it buzzes around Lornedei's head.\n\"Me, yes, has come to help! Now hurry and ask!\"\n\n> Go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash. Lornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You throw nut into the ravine\nLornedei throws the nut over the edge. A sudden gust of wind grabs it. After dancing around in the air for a few moments, it drops down at her feet.\nLornedei is waiting for your command.\n\n> You throw the acorn into the ravine\n\"No Master. I think I should hold on to this.\"\n\n> You open the nut\nThat's not something that can be opened.\n\"Master?\"\n\n> Crack nut\nNever mind having her wreck her inventory, unless it is truly called for.\n\n> You examine the pouch\nIt is a dry and withered leather pouch, no bigger than a woman's fist. A leather string is used to close it and hang it in a belt.\n\n> You put the acorn in the pouch\nShe drops the golden acorn into the small leather pouch.\n\n> You give the pouch to the statue\nLornedei looks at the small leather pouch. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> Go south\nWasteland (Overlooking the Ravine)\nLornedei stands on an outcropping overlooking a deep ravine going as far north as she can see. The ledge seems to be the remains of a road, cut off by the creation of the break in the earth. On the other side of the ravine, there's a barely visible opening through the trees. There is no way over there though. A steady wind tears at her clothes and hair in sudden gusts that seem eager to throw her off balance.\n\nEast, northeast and north are the ways off the ledge.\nLornedei bites on a nail.\n\n> You search the trees\nShe can't find anything that might interest you besides those leaves. They are the only thing close enough for her to reach without entering the shadows.\n\n> Go east\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\n\nShe can also see a small hole in the hard ground (which is empty) here.\n\n> You examine round Stone\nIt's a big round stone from the circle. It was pushed into the fire pit to suffocate the flames.\nLornedei looks over her shoulder into the dark forest, anxious.\n\n> Circle\nYou are the almighty here. Lornedei does not have that kind of strength.\nLornedei turns her head towards a sudden rustling in the forbidden forest. There is nothing there.\n\n> You climb Tree\nThere's no way she could.\nLornedei is waiting for your command.\n\n> Go west\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\"Master?\"\n\n> You reach the Castle\nA great castle stands before Lornedei. A massive gate leading into the castle is to the northwest, The south wall with another gate runs west, parallel to the castle wall. The corridor between the inner and outer gate lies open to the west. There it meets the west wall that disappears around the corner and out of site. The courtyard is still, silent, peaceful, and empty.\n\nThere is a shadow though, barely perceptible, but the longer Lornedei looks, the clearer it gets. It is creeping across the stones. A moving darkness that emerges from the air itself creeps across the stone to melt into a crack in a stone or a mortar joint. It glides over the ground until sinking between the flagstones.\n\nThen the world breaks.\n\nAlthough the images are old, the time long ago, the earth seems to shake under her feet. A woman runs past her, fleeing through deadly projectiles dislodged from falling towers, towards the main gate. Holding her arms above her head, she stumbles and falls. The moment after, the ground disappears ahead of her. The ground moves, cracks, and slides away as she is scrambling back. The woman gets up on her feet, staggers before regaining some balance, and backs away from the opening in the earth that was not there a moment ago. The castle cracks as the ground, solid stone, disappears beneath it. The south wall crumbles into piles of stone. Everything starting at an imagined line drawn between the two great gates and beyond them, drops away through a cloud of smoke and dust.\n\nAn enormous cloud of dust spews out of the ravine, and even though Lornedei knows it is only in her mind, she coughs.\n\nThe images fade.\nLornedei's magic drops by one.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Go northwest\nThe front wall of the castle ends there in a jagged edge. The rest of it is at the bottom of the ravine. There is no way of knowing how big the castle might have been before. Lornedei takes a quick look over the edge of the ravine. It is too far down to see anything clearly and she retreats.\n\n> Castle\nOnly two walls remain of a once big castle. Those walls seem strong and reach up into a ceiling of mist far above her head. Lornedei is surrounded by rubble. A small opening leads into the building to the north.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You go to the west\nLornedei takes one step but stops. She cannot go there. She can go south or down.\nLornedei is waiting for your command.\n\n> Go northwest\nLornedei takes one step but stops. She cannot go there. She can go south or down.\n\n> Eastern\nThere seems to be nothing beyond what the eye can see.\nLornedei looks around, biting her lower lip.\n\n> You check your inventory\nLornedei's magic is currently at 374.\nLornedei is carrying:\na piece of cheese\nA crystal spider with shifty, beady eyes (Stretching out, apparently snoozing at the moment.)\na small black plaque\na large black beetle (Taking a nap at the moment.)\na loaf of horrid bread\na small leather pouch (which is open)\na golden acorn\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\n\n> You examine the chain\nIt's a pale blue crystal hanging on a silver chain.\n\n> You look at the black plaque\nIt's a totally black round plaque. It is small enough to fit in Lornedei's palm. The smooth stone is of a kind that Lornedei has never seen. A strange picture is carved on one side. It looks like a flying insect of some sort, with a giant tree in the background.\n\n> You drop Beetle\nLornedei tries to let the bug go. As soon as she manages to shake the thing off her hand, it spreads its wings, makes a short trip around her head to finally land on her shoulder, not pleased with Lornedei at all. The bug crawls underneath her hair, grabs a few of those fine hairs in the back of her neck and tugs on  them. Lornedei shrieks.\n\n> Where\nYou can only use this command when trying to find the wolf.\n\n> Where wolf\nDeini is running all over the place. The last I saw of her she was somewhere in the Aarkland (Billowing Field).\n\n> Whats\nWhats what?\nHere are some commands you can use:\n\n>Whats up with Lornedei (or \"h ld\") Check Lornedei's current mental health.\n>Whats up with [object](or \"h [object]\") A simple status check, no specifics. As a rule there are no changes in normal objects. Examine and reach are still the main commands to use when interacting with objects and creatures.\n>Whats in the rucksack (or h in rucksack) Same as \"search rucksack\".\n\nLornedei bites on a nail.\n\n> You look at the spider\nIt's a large spider made of crystal. It has curled up as if either dead or sleeping most of the time. It is hard to tell which. It gives off a cold sparkling light and has a pair of multi facetted eyes. Oddly enough, the eyes seem both beady and shifty. No matter from where it is observed, it seems to glare suspiciously. She will have to touch the spider to examine it further. That is, if it will let her.\n\n> You touch the spider\nLornedei reaches for the spider and it actually lets her investigate. She carefully holds one leg and the spider lets her flex it experimentally before resolutely pulling it away from her. The spider is cold and strangely flexible. It seems to be able to appear as hard as the crystal it is at will, just to move around like any other spider the next moment. It is however staring suspiciously at her, wondering what this touchy feely thing is all about.\n\n> You move spider\nThe spider bobs up and down a bit at her touch but that's it.\n\n> You ask the firefly about the statue\n\"It is one of the old ones sentries. They are all gone now I believe. Shame, such a shame. The light bearers held them very high but now they are all gone. This one must be angry though. Someone has stolen her spear. Oh dear oh dear!\"\n\n> You ask the firefly about the spear\n\"Me, yes me, I will not tell.\"\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash.\n\n> You ask the firefly about the acorn\n\"Acorn? Pretty thing is it not? An acorn is a nut, is a seed, is a thing that needs growing, needs soil and water? It needs to be planted in the mist. Oh no, not the dangerous mist. The golden mist.\"\n\n> You ask firefly about the spider\n\"This is a magical little creepy crawly. The light bearers used them to bring light and to cast away dark spirits. They do very little voluntarily those nasty creatures. Me, I don't know if they are lazy or only full of themselves, but they do seem to think that they are above simple humans.\""
    },
    {
        "text": "> Describe the surroundings\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\nShe can see a Firefly here.\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash.\n\n> Go west\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nLornedei shakes her foot to get rid of a painful stone from her sandal."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\n\nShe can see A crystal spider with shifty, beady eyes (Curled up acting dead at the moment.) here.\n\n> You go to the east\nLornedei takes one step but stops. She cannot go there. She can go south or down.\n\"Master?\"\n\n> Go northeast\nLornedei takes one step but stops. She cannot go there. She can go south or down.\n\n> You go to the northwest\nLornedei takes one step but stops. She cannot go there. She can go south or down.\n\"What should I do?\"\n\n> Go upwards\nLornedei takes one step but stops. She cannot go there. She can go south or down.\nLornedei is waiting for your command.\n\n> You kick the spider\nLornedei would never.\n\n> You give the berry to the spider\nThe spider pokes the handful of white berries with some interest. The curiosity doesn't last long though and the spider returns to its suspicious glaring.\n\n> You give the nut to the spider\nReally? the purple nut with thorns?\nLornedei carefully takes the nut, holding it with two fingers by one of the thorns. That way she won't get hurt.\n\n> You put the nut in rucksack\nShe drops the purple nut with thorns into the leather rucksack.\n\n> Hint\nThe firefly appears. it buzzes around Lornedei's head.\n\"Me, yes, has come to help! Now hurry and ask!\"\n\n> You ask Firefly about the altar\n\"Me, yes me, I will not tell.\"\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash. Lornedei bites on a nail."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\n\nShe can see A crystal spider with shifty, beady eyes (Glaring suspiciously.) here.\n\n> You examine the staircase\nThe stone staircase spirals down into the dark. The steps are worn and cracked. A layer of sand and dust covers each step. No one has walked here for many years.\n\n> Smell\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\n\"This place is dry and dusty but there are no smells, nothing but despair and loneliness. Everything is dead.\"\n\n> You listen\nAll is quiet.\n\n> Shout\nI can't understand you. Try to say it differently.\n\n> You remove the debris\nReally? the rubble?\nThat is not possible.\n\n> Attack statue\n\"Even if I could damage this statue, I fail to see the point in it Master.\"\nLornedei is waiting for your command.\n\n> You eat cheese\nLornedei takes a careful little bite. Once proven safe and truly edible, she quickly gobbles it down.\n\"Pardon my manners Master, but I was hungry.\"\n\n> You search debris\nLornedei's magic just went up by seven.\n\nLornedei scratches her head, looking at the mountain of rubble.\n\"If I could get through this first pile of blocks, then maybe, I am not sure I can though. I am going to need some help.\"\n\n> Go upwards\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\n\nShe can see A crystal spider with shifty, beady eyes (Stretching out, apparently snoozing at the moment.) here.\n\n> You get the spider\nThe spider reluctantly steps up on her hand.\n\n> Blow spider\n\"Master?\"\nLornedei glances up at you, uncertain.\n\n> Blow acorn\nReally? the golden acorn?\n\"Master?\"\n\n> You give Beetle to the statue\nLornedei looks at the big black beetle. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> You give the cheese to statue\nLornedei looks at the piece of cheese. She looks at the hole in the stone hand. She looks at you, smiles a little, and shakes her head.\n\n> Go east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\"What should I do?\"\n\n> You fix Tree\nThere is nothing left here that can be healed. The tree is long since dead.\n\n> Dig\nWhat do you want Lornedei to dig?\n\n> Ground\n(the ground)\nLornedei digs a hole in the dry ground.\nLornedei bites on a nail.\n\n> Go south\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like someone crying. An abandoned cry of loneliness.\n\n> Round\nLornedei glances up at you. After a moment of puzzled silence, she shakes her head.\n\n> Round\nLornedei shrugs. What the big round boulder feels like does not interest her.\n\n> You listen to Forest\n\"I hear nothing but a careful whispering from these trees right now. It is the sound of dry leaves scraping against each other, that is all. I cannot hear any animals at all.\"\n\n> You listen\nThere is nothing here to listen to but the constant wind.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You listen\nThere is nothing here to listen to but the constant wind.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You listen\nThere is nothing here to listen to but the constant wind.\nLornedei bites on a nail.\n\n> You go west\nWasteland (Overlooking the Ravine)\nLornedei stands on an outcropping overlooking a deep ravine going as far north as she can see. The ledge seems to be the remains of a road, cut off by the creation of the break in the earth. On the other side of the ravine, there's a barely visible opening through the trees. There is no way over there though. A steady wind tears at her clothes and hair in sudden gusts that seem eager to throw her off balance.\n\nEast, northeast and north are the ways off the ledge.\nLornedei glances up at you, uncertain.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> You examine the sun\nRight above her the sky is clear, darkening to a graphite tinted blue. All around this patch, in all directions, there is a ceiling of constant mist. Visible above this blanket of gray, to the west, a dying sun sets the horizon in flames.\n\n> You wait\nLornedei waits as the dry wind tears at her torn clothing.\n\n> You touch the gray plaque\n\"It feels warm. Warm and heavy.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You touch the black plaque\n\"It feels warm. Warm and heavy.\n\n> You listen to the gray plaque\nShe can hear nothing from the small gray plaque.\n\"Master?\"\n\n> You examine the gray plaque\nIt is a small round plaque in a material unknown to Lornedei. The surface is smooth and with a deep polish. It is small enough to fit in Lornedei's hand. The surface shows nothing, not even the distorted image of Lornedei herself that one might expect. What shows in the plaque is like a reflection of a stormy sky in a puddle of murky water, just before the rain starts hammering.\nLornedei glances up at you, uncertain.\n\n> You break the gray plaque\nNever mind having her wreck her inventory, unless it is truly called for.\n\n> You show the gray plaque to the sky\nShe can only do that to something living that has at least half a brain.\n\n> You hit the gray plaque\nNever mind having her wreck her inventory, unless it is truly called for.\nLornedei looks around, biting her lower lip.\n\n> Rub gray\nThere is no need for her to do that.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You throw the gray plaque into the ravine\nLornedei gives you a doubtful glance. After just a moments hesitation, she decides to trust your judgment. She drops the small gray plaque in the ravine. She does not stay at the edge long enough to watch it fall. \"Was that necessary?\"\n\n> You hold the gray plaque\nShe already has that.\n\n> No\nThere is no need to answer her. Better to keep your peace.\n\n> You ask the ld about the statue\nLornedei shrugs.\n\"What should I do?\"\n\n> You ask the ld about the gray plaque\nLornedei shrugs.\nLornedei looks around, biting her lower lip.\n\n> You examine the black plaque\nIt's a totally black round plaque. It is small enough to fit in Lornedei's palm. The smooth stone is of a kind that Lornedei has never seen. A strange picture is carved on one side. It looks like a flying insect of some sort, with a giant tree in the background.\n\"What should I do?\"\n\n> Inventory\nLornedei's magic is currently at 374.\nLornedei is carrying:\na purple nut with thorns\na golden acorn\nA crystal spider with shifty, beady eyes (Polishing its underside at the moment.)\na piece of cheese\na small black plaque\na large black beetle (Spinning around waving its antennae at the moment.)\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\n\n> You give the black plaque to Beetle\nThe bug spins around and around but that's it.\n\"Master?\"\n\n> You feed Beetle to the spider\nThe spider stretches out to its full height and pokes the beetle in the eye. The bug gives off a high-pitch squeal and crawls in under Lornedei's hair.\n\n> You ask Firefly about the wolf\n\"Eeee! Just keep that horrible animal away from me. Have you fed it? You should not! You will spoil it rotten and then it will come after you for more food!\nIf you are stupid enough to ask it to follow you it is even worse. You will never get rid of it.\"\n\n> You ask Firefly about the nut\n\"Me, yes me, I will not tell.\"\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash.\n\n> You throw the spider into the ravine\n\"No Master. I think I will hold on to this for now.\"\nLornedei is waiting for your command.\n\n> You remove the shirt\nReally? the shirt?\nPerhaps you should leave Lornedei's clothing alone.\n\n\"I must go, yes I must. The firefly disappears with a pop and a flash.\n\n> You go north\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You search debris\nThe beetle seems to ponder this. Then it crosses its antennae, willing but confused.\n\n> You search debris\nThe spider straightens to show its maximum height. It taps one of its legs against another and turns away. It is clearly beneath a creature of light to obey common humans.\n\"What should I do?\"\n\n> You find the wolf\nThe bug waves its antennae but has very little to say.\n\n> Inventory\nLornedei's magic is currently at 374.\nLornedei is carrying:\na purple nut with thorns\na golden acorn\nA crystal spider with shifty, beady eyes (Stretching out, apparently snoozing at the moment.)\na piece of cheese\na small black plaque\na large black beetle (Airing out its shell at the moment.)\na loaf of horrid bread\na small leather pouch (which is open but empty)\nA blue crystal hanging on a silver chain.\na handful of white berries\na small gray plaque\na leather rucksack (being worn)\n\n> You throw the spider in ravine\n\"No Master. I think I will hold on to this for now.\"\n\n> You throw the acorn in the ravine\n\"No Master. I think I should hold on to this.\"\n\n> You throw the cheese in the ravine\nLornedei gives you a doubtful glance. After just a moments hesitation, she decides to trust your judgment. She drops the piece of cheese in the ravine. She does not stay at the edge long enough to watch it fall. \"Was that necessary?\"\n\n> You throw the nut in the ravine\nLornedei throws the nut over the edge. A sudden gust of wind grabs it. After dancing around in the air for a few moments, it drops down at her feet.\n\n> You take the nut\nLornedei carefully takes the nut, holding it with two fingers by one of the thorns. That way she won't get hurt.\n\n> You put the nut in the pouch\nShe drops the purple nut with thorns into the small leather pouch. \"What should I do?\"\n\n> You look in it\nIn the small leather pouch is a purple nut with thorns.\n\n> You throw the pouch into ravine\nLornedei drops the small leather pouch over the edge.\n\n> Y.\nWould you like to restore a saved game?\n\n> You go north\n\"Greetings Almighty! Allow me to tell you about your world, Aarkland.\"\n\nOur story begins here.\n\nThe harvest time is upon the people. Their hard work goes on from early morning until all that must be done is done. The summer has been good and this winter no one will starve. That is what the villagers believe, anyway. In ignorance they have turned from you and cannot see the coming darkness. For them Ignorance is bliss, but refusing to see the truth is no protection against evil.\n\nThe young girl that's come to meet you in secret is Lornedei. You watch her treading along the road and when she stops next to the water, you once more feel a glimmer of hope. She is the first child in more than a hundred years that has been born with the old power. The youngest daughter to Lorne and Noki, this innocent girl searches the sky for your presence. She smiles when she senses it and gives you a little wave. She is the last one. The last hope.\n\nLornedei tightens the straps on her rucksack, throws a quick glance back along the road, and makes sure her sandals are fastened properly. Surely she can sense you watching her, but she says nothing. She reaches into her rucksack and brings out some bread. She nibbles on it without much enthusiasm while watching the flowing river, and she waits for you.\n\nThe girl has the power to \"reach\" beyond what the eye can see and \"heal\" what is broken, but she is not strong enough to make a difference. Not without guidance. That is where you come in. As the God of this land, you must guide her. First, you should send her to the unholy stones to see what the world around her is hiding.\nAn Interactive Fantasy.\n\nCrystal and Stone, Beetle and Bone.\n\nLatest update and bug fixed June 25 2009. Type \"about\" for more information.\nType \"help\" to get started.\nType \"hint\" for specific help.\n\nAarkland (End of Village Road)\nThis old road, coming from the village, runs north to the edge of the forest. Alongside it to the west is the rushing water of the river Aarkland. The river flows through the forest and divides it in two: To the east is the old forest, and to the west is the forbidden forest.\n\nFew people use the road these days, and it is all but overtaken by grass and brush. A seemingly endless field stretches out to the east. Between the swaying grass and the road, a few deformed bushes prepare to invade what remains of the road. A short distance to the southeast is a pile of stones. The stones are barely visible above the grass.\n\nThe Aarkland river flows past as always.\n\nA whiff of the deformed bushes reaches Lornedei's nose and she waves the unpleasant odor away.\nIs that a language I have not yet learned?\n\n> Go southeast\nAarkland (On the Unholy Stones)\nFor as long as Lornedei can remember, she has been told not to go there. There is nothing strange about the stones at a distance. It could just be a collection of fieldstones, perhaps from the time when the settlers first prepared the field. Nothing could be more wrong. There are piles of stones in many fields, but none with this kind of history.\n\nShe hesitates and turns to you. It seems like she wants to say something. She keeps silent and steps up on the platform.\nThe collection of stones is over ten paces from edge to edge. The top has been flattened to create a platform and that is where Lornedei stands. No new stones have been added in several hundred years. Despite the lack of activity, nothing grows near the stones.\n\nThere are powers here that make it easier for her to use her magic. You can make her see what hides around her. She will see the world as it is, what hides beyond what the eye can see.\n\nShe can go north to the field or northwest back to the dusty road. Lornedei suddenly looks startled.\n\"Master what is this?\" A firefly is buzzing around her head. She waves her hand to wave it away when suddenly a small voice pipes up.\n\"No, No, silly girl. I am no harm! I am here to help you must know!\" Lornedei stops waving but she looks dubiously at the tiny creature. Once safe from the terribly waving arm, the firefly stops for a rest on Lornedei's brow. The tiny voice pipes up again. \"I must come, curious am I, and I can help such as you!\" Lornedei tries to look up at the fly but all that happens is that her eyes cross. \"There is magic here, magic in you girl. I have not sensed magic in a long time, yes!\" the fly takes off and starts buzzing around Lornedei's head again. \"Strong you are not! Oh, no. That god of yours was stingy in his giving so he was. Pity, pity. You can be stronger though. Sometimes from nature, sometimes from other things. You must know girl, to regain strength that you lose, you must eat. Ah, there are some here, I have searched for these.\" the fly buzzes off towards the deformed bushes and lands on one of the berries growing there. \"Eat these and be strong, do not forget.\" there is an angry buzzing, a strange grunting sound, and a thud as a white berry, seemingly with a firefly attached on the top, falls to the ground. \"Me... Will just..\" In an amazing display of over-insectile powers, the fly lifts the berry off the ground. \"will just take this.\" The firefly, along with its booty, disappears with a pop and a flash.\n\nThe firefly is available for questioning. It is happy to help. Just type \"hint\" and it will come.\nLornedei looks around, biting her lower lip.\n\n> Go northwest\nAarkland (End of Village Road)\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by.\n\n> You get the berries\nLornedei picks all of the berries that seem edible. It turns out to be quite a handful. She drops them all into the rucksack.\n\n> You go north\nNo, she can go east to the field, southeast to the unholy stones, or enter the river to the west.\n\n> Go east\nAarkland (Billowing Field)\nLornedei hesitates throwing an anxious glance south.\n\nMaybe she would prefer to be back in the safe grasp of her kin. If that is the case, she will never tell her God. She does not know why she is here or how easy her mind and flesh may be corrupted, and she may be better off that way.\n\nVery carefully, you give her just the slightest of mental nudges to remove the hesitation from her mind. Not again can you give her a command without letting her choose how to proceed. What she has ahead of her she must do of her own free will as much as possible. Lornedei takes her eyes off the road and moves on.\nThe grass grows waist high. Touched by sun, wind, and rain, it patiently waits for the farmers that will not come. The edge of the old forest lies close by to the north. To the south, a big pile of stones rises above the grass. The road is back west.\n\nThere is a low growling coming from the high grass. An injured wolf lies there.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You follow you\nDeini looks at Lornedei, wondering if there might be something to eat first. When that doesn't seem to happen, the wolf ignores her command. Lornedei glances up at you, uncertain.\n\n> You reach the wolf\n\"I do not need to reach inside her to know that she is better now. The pain is gone.\"\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You give the bread to Deini\nDeini smells the bread, sneezes, and backs away. She glances suspiciously at the piece of bread.\n\n> You give the cheese to Deini\n(Taking the piece of cheese first.)\nDeini smells the piece of cheese but she is not very interested in anything that never had a heart beat at one point.\nLornedei looks around, biting her lower lip.\n\n> You give the berry to Deini\n(Taking the handful of white berries first.)\nDeini smells the handful of white berries but she is not very interested in anything that never had a heart beat at one point.\n\n> You get Deini\nDeini is still a wild animal in her true element. She should not be captured or provoked.\n\n> You put all in the backpack\nhandful of white berries: Done.\npiece of cheese: Done.\nloaf of horrid bread: Done.\n\n> Go south\nAarkland (On the Unholy Stones)\n\n> You reach world\nThe world around Lornedei fades. She finds herself high up in the air, hovering above a seemingly endless field. She flaps her white wings tentatively at first, but then she catches an upwind and rises.\nNot far ahead of her is a vast and lush forest, stretching north and northeast. She looks east. Between the field and the endless ocean are a few homes, perhaps a fishing village, and a patchwork of fields. As she hovers far above the field, turning to the south, she can see a road following a river to another village far to the south. It is Lornedei's own.\n\nShe turns west and the forbidden forest, a landscape of gray, stretches out ahead of her. It stretches to the southwest and to the northwest as far as she can see. It is a swirling black and gray mass of mist or smoke, for the most part unbroken except for the occasional tree-top protruding here and there.\n\nShe moves closer until she is above the glittering water of the Aarkland river and turns north. She follows the flowing water until it seems to disappear into a large cliff. The two forests meet at the top of the cliff, but the old forest seems to give way more and more so that the border turns northeast towards a distant mountain chain. The river does not seem to appear again.\n\nShe turns west, soaring above unbroken gray, seeing only the occasional twisted treetop shooting out of the thick mist and a blue sky above. She flies on, across a landscape of gray and black. The mist Swirls here and there, darkens here and there, but never reveals what is below.\n\nThen the air seems to thin and she sinks down. She sinks down below the mist. She finds herself racing between twisted tree-trunks and grasping branches. A dry whisper follows her as she loses her orientation. Silent shapes like shadows follow her path. Spirits, hollow-eyed, pale and ragged, open their mouths in rage and longing before they shy away from her. They melt back into the shadows between the trees. Suddenly she is out of the forest.\n\nBelow her is a barren landscape of sand and broken earth. The forbidden forest surrounds this field of despair, although the sky is clear. Above the mist, to the northeast, she can see a pale silhouette of the mountains. She can see a far distant shade of green to the east, beyond which is a blue horizon.\n\nThe same view meets her to the southeast, but to the south, southwest and west, there is only the forbidden forest with its blanket of mist.\n\nShe lowers herself until she is just above stony ground. A deep ravine separates the field from the forest to the west. The ravine runs south to north into a misty plain where it disappears out of sight. To the northwest, clinging to the edge of the ravine, there is an old ruin...a castle. Only part of the ruin is visible as the rest of it fades into gray mist.\n\nShe turns westward and sinks down in the ravine. Making her way north, the tip of her left wing nearly strokes the far ravine wall. She turns upwards and flies clockwise around the entire castle ruin. Most of the old castle is gone. As she is viewing it from the outside she can see chambers, dungeons and rooms in several levels that are exposed. The rest of the ruin is at the bottom of the ravine. After flying through the mist on the far side of the ruin, she appears at a great wall that separates the castle grounds from the northern wastelands before turning southeast. In the southeast corner of the big desolate field the ground slopes down and turns into a ragged hole in the ground. Heat ripples the air around it. A large fire burns within a ring of stones.\n\nShe circles the fire. She is in a hurry, searching for the thing that should be but is no longer. She returns to the ruin. There is a high wall east of the castle and she stops to rest on top of it.\n\nThe world wavers its way back to reality and Lornedei looks pale and a bit unsteady on her feet.\n\"Too high! Master? If I die and must come back, please do not make me a bird!\"There is nothing she can do from here. She may be able to reach a distant object, but she can do nothing with it.\nLornedei bites on a nail.\n\n> Go northwest\nAarkland (End of Village Road)\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by.\n\n> You get the leaf\n(the yellow leaves)\nLornedei pulls a leaf off of one of the branches and it immediately crumbles into a smelly dust. She quickly brushes it off her hands while wrinkling her nose in disgust.\nLornedei shakes her foot to get rid of a painful stone from her sandal."
    },
    {
        "text": "> You describe your surroundings\nAarkland (End of Village Road)\nThis old road, coming from the village, runs north to the edge of the forest. Alongside it to the west is the rushing water of the river Aarkland. The river flows through the forest and divides it in two: To the east is the old forest, and to the west is the forbidden forest.\n\nFew people use the road these days, and it is all but overtaken by grass and brush. A seemingly endless field stretches out to the east. Between the swaying grass and the road, a few deformed bushes prepare to invade what remains of the road. A short distance to the southeast is a pile of stones. The stones are barely visible above the grass.\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by.\n\n> Go east\nAarkland (Billowing Field)\n\nDeini is here.\nLornedei glances up at you, uncertain.\n\n> You go east\nNo, there is nothing but the field as far as the eye can see and then the ocean beyond. Today is not the day to make that trip. The river is west and the unholy stones are to the south.\nDeini plunks her behind down and starts attacking an itchy spot on her leg with her front teeth.\n\n> You examine Tree\nThere is nothing she can do from where she is. She will have to get closer.\n\n> Inventory\nLornedei's magic is currently at 75.\nLornedei is carrying:\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\n\n> You go inside\nNo, she can go east to the field, southeast to the unholy stones, or enter the river to the west.\n\n> You go west\nIn the River (By the Road)\nLornedei tightens her sandals and checks her rucksack, making sure it is closed tight before entering the river. She steps carefully down the slippery slope and through the parting rushes and reeds. Something squawks at her but it is gone before she can see it. When her feet lose contact with the bottom, she floats and lets the remaining hesitation float away with the invisible currents below.\nThe river runs from north to south. Ahead of her, the glittering water becomes shaded by the two forests. The forbidden forest on the left and the still green old forest on the right. The river disappears out of sight perhaps a hundred paces into the tunnel of trees, water, and shadows. The dusty road is east, where she can get out of the water. She can also dive down to the bottom of the river.\n\n> Dive\nShe dives down.\n\nRiver Bottom (Here be Sand)\nA magical world reveals itself. The river continues north. The bottom is mostly composed of sand, rocks, some mud, and quickly fleeing fish. All kinds of things have been thrown in the river from the road and are now resting under a layer of sand until the end of time. The river continues north.\n\n> You catch the fish\nLornedei looks puzzled. She seems not to understand your command.\n\n> You go to the north\nLornedei digs through some of the mud but there doesn't seem to be anything of interest down there.\n\nRiver Bottom (At the Cave Entrance)\nThe bottom is littered with rocks. There are piles of them of varying sizes, washed clean by the constant flow of water. Around the sides of the opening into the cave, a few colonies of a slimy and sickly green plant have managed to make a home. They sway back and forth in the current while clinging desperately to the rocks. The opening leads northwest into a cave and south takes her back around the river bend. Her lungs are starting to ache. She will have to go to the surface soon!\n\n> Go east\nShe can't get out of the river that way. She can go back south along the river or down to the bottom.\n\n> Green\nThe leaves are fine just the way they are. I'm sure Lornedei would agree.\nA dry black leaf drops from the forbidden forest into the water right in front of Lornedei. It bobs up and down a couple of times before it floats away downstream.\n\n> You get the black leaf\nLornedei grabs one of the black leaves in the nearest cluster of leaves and twists it loose. The leaf, being as long as her middle finger, falls to its side in her palm. The curved inside of the leaf suddenly fills with a hideous mush that swells and boils as she watches. Flesh grows and shapes itself in the shell into an insect's body. The mush is white with brown and dark red streaks. The nasty mess is swirling around inside the leaf, forming the flesh bit by bit. The shiny wetness dries quickly once the beetle's body takes form inside its shell. A thin purple layer finally covers the belly. Six black legs pop out through the newly formed glittering layer of skin. It takes only a moment for them to start moving around. Another pop forces a wriggling head out and the insect is near completion. The bug grows at a furious pace and finally it extrudes a pair of black antennae that unfold until they're as long, if not longer, than the entire beetle.\n\nLornedei turns the beetle over. It stays nearly motionless in her hand. The long antennae, shivering slightly, carefully touch the outline of the hand holding it, the sensitive inside of Lornedei's wrist, the sleeve of her shirt. The beetle seems satisfied with its new master.\n\n> You put it in the backpack\nThat makes very little sense. Try something else.\n\n> You go east\nLornedei drags herself up on the east bank, steps carefully over the slippery rocks and into the old forest.\n\nLeaving the river behind her, she stops a moment to rest. In the cool shade she is surrounded by the comforting whispers of life. Leaning against a big tree, she silently watches the river. She does not notice the small brown shape rushing down the tree until it uses her shoulder as a springboard. It propels itself outward from there, sprints across the trail, and vanishes among the trees before Lornedei's gasp of surprise changes into a scream. With her shoulders relaxing again she looks for the squirrel among the trees, but it has already moved on to somewhere else. She clears her throat and glances up at you.\n\"Just a stupid squirrel.\"\nA narrow path leads east into the forest. All is still. The old forest surrounds her.\n\nThe glittering water of the Aarkland can be seen through the trees to the west.\n\n> You go east\nAfter the walk through the dark forest, she is surprised to suddenly step into a big clearing. She stops just beyond the tree line to look around.\nThe clearing is perfectly round and it's surrounded by the old forest in all directions. A giant oak tree stands in solitude a short distance into the hall of trees, separated from the wall of birch, ash, silver pine and the myriad of other plants growing there. The barely visible path through the forest is to the west.\n\nAn old urn sits in the grass next to the big oak.\n\n> You examine Oak\n(the giant oak)\nThe giant oak stands proud and enormous, shading a big part of the clearing with its outstretched limbs with their dense foliage. The first big branch reaches out far above Lornedei's head. Craning her neck, she still cannot see the highest branches.\nAll she can see is something glittering green far above. To see what's behind the big tree she'll have to go around to the northwest or the northeast.\n\n> You examine urn\nIt's an old bronze urn as long as your lower arm and as wide as your neck. The outside is covered with symbols whose meaning has long since been forgotten.\n\n> You look in the urn\nThe old tarnished bronze urn is empty.\n\n> You reach Oak\n(the giant oak)\nThe tree fades away before Lornedei's inner sight. For a moment there is nothing but a shimmering mist all around, but then three shapes appear in the distance. They are trees. This she is sure of. Giant trees. They are somehow out of focus and no matter how she strains, they remain that way. The only thing clear about the shapes is the color of the mist surrounding them. They are surrounded by green, black, and gold. Suddenly the golden tree fades, leaving the mist behind. The black tree grows, and the green one appears to cower under it. Lornedei's vision fades.\n\nLornedei's magic drops by one.\n\n> You take urn\nAs you wish.\n\n> You go to the northeast\nHall of Elevation (Behind the Oak)\nLornedei walks around the enormous tree. The giant oak's shadow has all but starved everything growing on the ground behind it.\nShe is standing between the big oak and the dense forest. Southeast or southwest will take her back to the open clearing. Steps are cut in the big oak.\n\nAn old water sack lies against the trunk. Someone must have left it here recently.\n\nA dead rabbit lies next to the tree.\n\nShe can also see a small dented silver plate (which is empty) here.\n\n> You examine the sack\nIt's a small water sack with a wooden cork and a leather strap to tie to a belt. It seems to be in good shape.\n\n> You look at the rabbit\nSomeone has recently hunted and killed this rabbit, probably using a snare of some sort. The little furry thing is still fresh and edible.\n\n> You examine the plate\nIt is a somewhat dented silver dish. One side returns a distorted but clear image of the holder.\n\n> You take all\nsmall water sack: As you wish.\ndead rabbit: As you wish.\nsmall dented silver plate: As you wish.\nLornedei is waiting for your command.\n\n> You go upwards\nHall of Elevation (In the Giant Oak)\nA soft warm breeze catches Lornedei's hair when she finally reaches a branch. It is, in fact, the first branch she gets to and the only one she can reach. It's as thick as a well-fed pig and she swings one leg over it. She ends up sitting with her face towards the trunk. Above her is an enormous and glittering green ceiling that is the crown of the oak.\n\nShe looks up. The endless movements of the countless leaves trick her into swaying with them. That is, until she nearly loses her balance. She grabs the branch and focuses instead on the unmoving trunk. A pale shadow of a smile touches her lips when she quickly glances up at you. The shadow of the big oak trembles on the ground below. The far end of the branch Lornedei is sitting on seems to disappear in a gray mist. The other two branches on this level are just as unreachable for her as the limbs higher up.\n\nIn the trunk in front of her, three holes are lined up in a tidy row. They are apparently inhabited by some kind of worm. She can climb down or go north along the branch.\nA fat blue worm quickly crawls over to the third hole.\n\nThe beetle scrambles out of its confinement. It sits motionless but trembling on Lornedei's shoulder, making a strange hissing noise.\n\nAfter a moment of that, it scrambles down to the branch, utters that strange hissing again, louder this time. One of the worms sticks its head out and hisses back at the beetle. It makes a very hasty retreat back in the hole though.\n\n> You examine the first hole\nThree holes, neatly in a row, can be seen in the trunk. Apparently worms live there.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\nSuddenly, all the worms crawl out of their holes. In an instant they're all relocated. The yellow worm drags its chunk of wood into its new home.\n\n> You look at the yellow worm\n\"I Cannot see as long as it is hiding in the hole Master.\"\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You look in the third hole\n\"I can see something blue in there, Oh, dear! It has teeth.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You look in the second hole\n\"There is something yellow and squirmy in there.\"\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\nSuddenly, all the worms crawl out of their holes. In an instant they're all relocated. The yellow worm drags its chunk of wood into its new home.\n\n> You reach the yellow worm\n\"Ahum! Interesting idea, but I think it would make me sick.\"\n\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You put Beetle in the first hole\nShe needs to be holding the big black beetle before she can put it into something else.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\nA shiny red worm squirms its way over to the first hole.\nA skinny yellow worm quickly pops out of its hole and disappears into the third hole. In its path, it drops tiny pieces of wood that scatter in the breeze.\n\n> You take Beetle\nThe beetle crawls up in her hand.\nA fat blue worm quickly pops out of its hole and disappears into the second hole.\nSuddenly, all the worms come out of their holes. They crawl over each other in a haste to switch habitats. In an instant they're all back in their chosen holes.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You put Beetle in the first hole\nThe beetle rushes into the first hole. After a while, it comes out again with the fat blue worm in its jaw.\nA shiny red worm squirms its way over to the first hole.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You take the blue worm\nAs you wish.\nA skinny yellow worm quickly pops out of its hole and disappears into the third hole. In its path, it drops tiny pieces of wood that scatter in the breeze.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You take Beetle\nThe beetle is already with her.\nA skinny yellow worm carefully checks Lornedei out. It drops into the second hole, dragging a chunk of wood in with it.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You put Beetle in the first hole\nThe beetle rushes into the first hole. After a while, it comes out again with the shiny red worm in its jaw.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You take the red worm\nAs you wish.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You take Beetle\nThe beetle is already with her.\nA skinny yellow worm quickly pops out of its hole and disappears into the third hole. In its path, it drops tiny pieces of wood that scatter in the breeze.\nThe beetle hisses at the worms. The yellow worm shows its head and hisses back.\n\n> You put Beetle in the third hole\nThe beetle rushes into the third hole. After a while, it comes out again with the skinny yellow worm in its jaw.\n\n> You look at the yellow worm\nThe worm is as long as a mans foot from toes to heel, as thick as the middle toe on that same foot and canary yellow. At each end of the somewhat slimy body sits a head. It has no eyes, only two mouths. Each mouth opens and closes in turns, when one is open the other is closed, revealing several rows of very small but razor sharp teeth.\nWhen one mouth closes and almost disappears in the stubby face, the other end opens its mouth and starts attacking the other end, biting it furiously until it seems to be satisfied and it turns away from its other self for a while.\nAfter some time the procedure repeats itself with the tables turned.\n\n> You put Beetle in the third hole\nThe trusty little bug rushes into the hole but comes out right away. It quickly examines the other two holes but when there's nothing more to find, it crawls back into Lornedei's hand.\n\n> Inventory\nLornedei's magic is currently at 74.\nLornedei is carrying:\na skinny yellow worm\na shiny red worm\na fat blue worm\na large black beetle (Fluffing up its wings at the moment.)\na small dented silver plate\na dead rabbit\na small water sack (which is open but empty)\nan old tarnished bronze urn\na small gray plaque\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\n\n> You reach the yellow worm\n\"Ahum! Interesting idea, but I think it would make me sick.\"\n\n> You examine the red worm\nThe worm is as long as a mans foot from toes to heel, as thick as the big toe on that same foot and deep red. On each end of the squirming shiny body sits a head. It has no eyes. Each mouth opens and closes in turns, when one is open the other is closed, revealing several rows of very small but razor sharp teeth.\nWhen one mouth closes and almost disappears in the stubby face, the other end opens its mouth and starts attacking the other end, biting it furiously until it seems to be satisfied and it turns away from its other self for a while.\nAfter some time the procedure repeats itself with the tables turned.\n\n> Go north\nLornedei makes her way along the wide branch. The fog rises to meet her as she steps into it. For a dizzying moment, she can see nothing at all. Then she is passed the moment of blindness and steps into another one, different but possibly more disturbing. She is surrounded by a wall of mist. The clearing is gone, the light dim and nondescript, and the sounds muffled and distant.\n\nThere is nothing but a slightly greenish mist all around her. Even the ground is nothing but greenish vapor. Lornedei turns around like in a dream.\n\"I am tired Master. So tired. Everything seems to be spinning.\nThere is something here. Something that drains my powers. I cannot stay in here for too long.\"\nLornedei's magic drops by one.\n\n> You reach the mist\n\"My mind feels weak Master. Something is draining me and there is nothing I can do. It feels like everything is spinning.\"\nLornedei's magic drops by one.\n\n> Sleep\nLornedei lies down.\n\"I should not Master. But everything is spinning.\"\n\"The mist is\"\n\n> Keep going\n\"spinning.\"\n\n> Keep going\nYou watch the girl as she struggles to wake up. You wait.\n\"Father?\", she mumbles in a dream where you cannot reach her.\n\n> Continue\n\"Raccdaha, NO! Stop!\"\nShe moves in her sleep. Occasionally a hand touches one of the stones and she pulls it back as if it burns. Her face is full of agony.\n\n> You keep going\nShe wakes up with a scream. She looks sick. She scrambles off the pile of stones on her hands and knees.\nMoving away from the unholy. She sits in the grass staring at her surroundings.\n\"Umpffp\" she says. You have no reply to that. She looks up at you and opens her mouth to say something but she keeps silent and looks away. Eventually, she stands up. She gives the stone pile a strange look and then suddenly she is calm, but distant. She stares into space while chewing on her hair.\n\nAarkland (On the Unholy Stones)\n\n\"Buzz! Dear oh dear.\" Lornedei looks down all of a sudden and points to the ground. \"Oh, silly girl, rude you are. Put that finger away!\" Lornedei quickly puts her finger in her mouth and starts chewing on it instead as her gaze wanders. The firefly crawls up from under one of the rocks. \"Oh, dear, bad you are little girl. I see you have met a minion of Raccdaha girl. Oh dear.\" the fly lifts off and starts buzzing around Lornedei's head. Lornedei tries to follow the flight, turning and turning, but she gets dizzy and shuts her eyes, giggling uncontrollably. \"Wake up Girl; this is not good, not at all.\" the fly charges and hits Lornedei between the eyes. *WHACK* Lornedei blinks but nothing happens. \"Oh, dear. Well worry you should not Girl. The sleepwalker is no real harm unless it holds you too long in its dream. I must be off now. Perhaps your god can wake you up.\" the fly disappears with a pop and a flash.\n\n> You look at her\nI'm not sure who you mean by her. Deini? You may need to use her name instead of just \"her\".\n\n> You examine Lornedei\nYour young follower looks confused. She seems not to notice her surroundings. The dreamy look in her blue eyes is worrying. She is constantly looking over her shoulder or staring into a distant nothing. The look on her face however, tells you that she really does not know why she does it. Her mind wanders as if still in a dream.\neverything she is wearing is now soaking wet. Her hair hangs in wet stripes over her shoulders and her sandals make funny shlurp-sounds for every step.\n\n> Inventory\nLornedei's magic is currently at 72.\nLornedei is carrying:\na skinny yellow worm\na shiny red worm\na fat blue worm\na large black beetle (Fluffing up its wings at the moment.)\na small dented silver plate\na dead rabbit\na small water sack (which is open but empty)\nan old tarnished bronze urn\na small gray plaque\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\n\n> You wake the ld\nLornedei shakes her head. For one short moment, she is looking at you. Seeing you, but then her eyes start to wander again.\n\n> You wake her\n(Lornedei)\nLornedei makes an effort to clear her mind. She rubs her eyes and drags her fingers through her hair. She even gives herself a slap in the face.\n\"Ouch!\" She looks at you. Then she gets distracted by a spot of dirt on her arm and she is gone again.\n\n> You examine the plate\nIt is a somewhat dented silver dish. One side returns a distorted but clear image of the holder.\n\n> You look in the plate\nLornedei takes a good look at her own reflection in the plate. She seems disturbed by what she sees.\n\"Who is that Master?\"\n\n> About yourself\nYou are The almighty, the last of the Gods. Your wish is Lornedei's command and she will do as you ask if it is possible.\n\nWhen she was born you managed to give her, as your chosen one, the power to heal and to reach into things with her mind. She is young though and you must show her the way. You might be a god but you are not much more than a vague presence in this world.\n\n> You give the rabbit to Deini\nThe hungry wolf snatches the rabbit from Lornedei's hand and sinks her teeth into the body. It is not a pretty sight and Lornedei looks away as the wolf eats. The wolf seems quite satisfied after that meal and Lornedei has gained a friend.\n\nSuddenly the wolf turns around and runs off in the grass. She seems to be searching for something specific and Lornedei waits. After a while, she comes back. Between her teeth is a bone, gnawed clean of meat. She drops the bone at Lornedei's feet, looking proud of her find.\n\nLornedei pats Deini on the head.\n\"Smart doggy.\"\n\n[Your holiness has just gone up by five.]\n\n> You reach the bone\nThere seems to be nothing beyond what the eye can see.\nDeini gets in front of Lornedei but the girl just gives her a distracted pat on the head.\n\n> You look at the bone\nAs far as Lornedei can gather, it's a bone from a dear's leg. It has plenty of bite marks on it so this might have been one of Deini's unfortunate preys.\n\n> You throw the bone\nYour wish is her command.\n\n> You follow you\nLornedei pats the wolf on the head.\n\"Nice doggy.\"\n\n> Go east\nNo, there is nothing but the field as far as the eye can see and then the ocean beyond. Today is not the day to make that trip. The river is west and the unholy stones are to the south.\nThe wolf tires of Lornedei and pretends to sleep for a bit.\n\n> You go west\nAarkland (End of Village Road)\n\nThe Aarkland river flows past as always.\n\nThe deformed bushes seem to reach for Lornedei as she walks by.\n\n> You fill the sack with the water\nDon't bother asking her to fill anything right now. She can do that from any location that is close to the river.\n\n> You fill the sack with the water\nShe fills the small water sack with river water.\n\n> Close sack\nShe closes the small water sack.\n\n> Inventory\nLornedei's magic is currently at 72.\nLornedei is carrying:\na bone\na skinny yellow worm\na shiny red worm\na fat blue worm\na large black beetle (Taking a nap at the moment.)\na small dented silver plate\na small water sack (which is closed)\nplenty of river water\nan old tarnished bronze urn\na small gray plaque\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\n\n> You put the yellow worm in the urn\nShe drops the skinny yellow worm into the old tarnished bronze urn.\n\n> You put the red worm in the urn\nShe drops the shiny red worm into the old tarnished bronze urn.\n\n> You put the blue worm in the urn\nShe drops the fat blue worm into the old tarnished bronze urn.\n\n> You check your inventory\nLornedei's magic is currently at 72.\nLornedei is carrying:\na bone\na large black beetle (Airing out its shell at the moment.)\na small dented silver plate\na small water sack (which is closed)\nplenty of river water\nan old tarnished bronze urn\na fat blue worm\na shiny red worm\na skinny yellow worm\na small gray plaque\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\n\n> Go west\nNo, there is no way into the forbidden forest along the river. She will have to find another way to get there. She can go north, south, or east into the old forest.\nA dry black leaf drops from the forbidden forest into the water right in front of Lornedei. It bobs up and down a couple of times before it floats away downstream."
    },
    {
        "text": "> You go downward\nShe dives down.\n\nRiver Bottom (Here be Mud)\n\n> You go south\nRiver Bottom (Here be Sand)\n\n> You go north\nRiver Bottom (Here be Mud)\n\n> Go north\nRiver Bottom (At the Cave Entrance)\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Go upwards\nIn the River (By the Cliff)\nA dry black leaf drops from the forbidden forest into the water right in front of Lornedei. It bobs up and down a couple of times before it floats away downstream.\n\n> Exits\nShe can go south or down."
    },
    {
        "text": "> Go downwards\nShe dives down.\n\nRiver Bottom (At the Cave Entrance)\n\n> You go to the north-west\nCaves (Entering the Caves)\nLornedei's pale hand trails the cave wall as she quickly swims through the opening in the cliff. The opening is just big enough for her to go through. Inside, the cave widens slightly.\nDarkness is chased away by only a few illusive reflections in the stone, thanks to the little light leaking in from the opening. The tunnel continues west into total darkness and Southeast takes her out of the cave.\n\nShe can see a fairy lamp with a crystal spider inside here.\n\n> Go outside\nRiver Bottom (At the Cave Entrance)\n\n> Go upward\nIn the River (By the Cliff)\n\n> You rub lamp\nLornedei starts to clean away the layer of dirt from the surface of the lamp. After some heavy duty scrubbing, the lamp shines bright.\n\nThere is a strange ticking sound. When she looks at the lamp, the crystal spider inside stares back at her. It lifts a leg and gives the inside of its prison another tap. After that, the spider curls up and is still again.\n\n> You go to the northwest\nCaves (Entering the Caves)"
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nCaves (Entering the Caves)\nDarkness is chased away by only a few illusive reflections in the stone, thanks to the little light leaking in from the opening. The tunnel continues west into total darkness and Southeast takes her out of the cave.\n\n> Go west\nCaves (Choosing the Path)\nLornedei moves on through a current caused by the narrowing of the tunnel. She makes it past and to calmer water where the tunnel splits into four.\nThe main flow seems to continue north, while two smaller tunnels lead northwest and west. East takes her back near the opening.\n\n> You go to the north\nCaves (Where Bubbles Rise)\nLornedei stops for a moment, surprised to see a stream of glittering bubbles rise from the bottom.\nFollowing the bubbles upwards, she notices a slight rippling of the water above.\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nLornedei looks down to see where the bubbles are coming from, but she can't locate the source. She doesn't seem all that interested anyway. Her lungs are starting to ache. She will have to go to the surface soon!\n\n> Go upwards\nCaves (Among the Restless Roots)\nLornedei floats on the surface in a small pocket of stale air. The ceiling is an arms length above her head, too far for her to reach. The air reeks of mold and damp wood. The trees above, not too far away but separated from her by a layer of cracked rock, reach down through the rock to this underground watering hole. The roots cling to all sides, and it's like a nest full of snakes turned upside down. The slithering animals are still hanging on to it.\n\"There is something....\" Lornedei shuts her mouth when the mass of roots comes alive. It trembles, writhes. The movements slowly fade as the silence returns.\n\nLornedei turns around in the water, making sure to stay away from the walls and ceiling. She is staring at the tangle of roots in horrified fascination.\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nSomething pulls Lornedei's hair and she shrieks. Less a few strands of hair, she turns around in the water. A thin root slithers away to disappear among the others.\n\n> You reach the roots\nThere is a low grumbling from above. Lornedei looks uneasily up at the ceiling of roots.\n\n\"Eh?\"\nA low squeaking makes Lornedei turn around. The sound stops.\n\n> You examine the roots\nThere is a low grumbling from above. Lornedei looks uneasily up at the ceiling of roots.\n\nThey are like a lid above the putrid liquid in a warlocks kettle. Some of the roots hang from the ceiling and down in the dark water next to Lornedei, but most of them are curled up, braided, weaved, or simply twisted around each other like a two-threaded rope. They cover each side of this small space. The roots are a sickly pale yellow, some as thick as Lornedei's waist, others as thin as the thread you might use to tie around a large ham before baking it."
    },
    {
        "text": "> Go downwards\nShe dives down.\n\nCaves (Where Bubbles Rise)\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nA stream of bubbles rises from the pitch-black bottom, meets the girl on its way up, and then explode in a glittering cascade of air around her."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nThat is not the way. She can go south, northwest, southwest or up.\n\n> Go northwest\nRiver Bottom (Below the Waterfall)\nLornedei swims towards the light. As she comes out of the dark cave, a dull thundering meets her. The water is restless, striving noticeably back southeast. The bottom is washed clean from debris and vegetation. There is a dim light from above.\n\n> You examine the waterfall\nThe water falls from the cliff and thunders down into the waterfall pool.\n\n> Go northwest\nLornedei climbs up on a small ledge to one side of the waterfall.\n\nElder's Spring (Behind the Waterfall)\nLornedei climbs the ledge and makes her way in behind the waterfall. The light is dim, yet livid, glittering on damp stone walls. She takes a few steps forward, leaving the pooling water behind. She stops further into the cave where the floor is comparatively dry, and starts to leave a puddle of her own at her feet.\nSoutheast takes her back out in the waterfall pool.\n\nThe cave is only a few paces wide and perhaps ten paces deep. The ceiling is just above her head in this, mostly natural cavity in the stone. The cave narrows and at the far end, the rough stone has been hollowed out further and smoothed into a rectangular niche. Water drips down from somewhere far above in the niche. For centuries the water has been gathered in ceremonial cups by selected light bearers. Drop by drop, never less and never more than necessary.\n\nIn the narrow hollow in the wall stands a stone pillar hidden by shadows.\n\nA silver goblet lies thrown on the stone floor next to the pillar.\n\n[Your holiness has just gone up by five.]\n\n> Examine goblet\nThe goblet shines as if it were newly polished by careful hands. Its cup is richly engraved on both the outside and inside.\nIt narrows into a slender stem that spirals down until its twined silver threads separate into three smoothly curved tips, like the roots of a tree.\n\n> Reach the goblet\nLornedei is standing in the middle of a puddle on the stone floor. She giggles and stomps her feet.\n\n> You take the goblet\nLornedei is busy trying to drink from the waterfall.\n\n> You examine the pillar\nThe pillar is about shoulder height and an arms length wide at the bottom. It tapers off near the top, where the surface is just about as wide as a fully extended hand.\n\nIt is circular with a deep polished surface. The stone is the color of newly fallen snow on a bed of mahogany wood shavings. The pillar is standing on an oval slab of the same kind of stone. A large metal ring sticks out from the pillar about half way up.\n\n> You examine the ring\nIt's a shiny metal ring attached to the front of the stone pillar. It might be a handle of some sort.\n\n> You pull the ring\nLornedei pulls the pillar backwards and out of the dark niche until its bottom sits edge to edge with the supporting slab's outer edge.\n\n> You wake her\n(Lornedei)\nYou decide to break the rules just slightly. You give her a tiny nudge. A mental slap if you will. Her head snaps up and she is staring at you, shocked.\n\nHer eyes are bright and aware. She smiles.\n\"I was not quite here Master. I am sorry. I am awake now.\"\n\"What should I do?\"\n\n> You put the goblet on the pillar\nShe puts the silver goblet on the stone pillar.\n\n> You fill the goblet\nLornedei reaches out to hold the silver goblet under the dripping water. Her arm is pushed back and away from the dark niche and its water. The spring will not let her come any closer.\n\n> You pull the pillar\nLornedei pulls the pillar backwards until the silver goblet again appears.\n\n> You open the sack\nShe opens the small water sack.\n\n> Empty sack\nThe river water pours onto the ground creating a puddle that soon disappears.\n\n> You pour the goblet into the sack\nShe pours the water from the Elder's spring into the small water sack.\n\n> Close sack\nShe closes the small water sack.\n\n> You look at what you're carrying with you\nLornedei's magic is currently at 72.\nLornedei is carrying:\na silver goblet\nA brightly shining fairy lamp with a crystal spider inside\na bone\na large black beetle (Spinning around waving its antennae at the moment.)\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na fat blue worm\na shiny red worm\na skinny yellow worm\na small gray plaque\na leather rucksack (being worn)\na loaf of horrid bread\na piece of cheese\na handful of white berries\nLornedei is waiting for your command.\n\n> You go to the southeast\nLornedei moves towards the opening in the cave but suddenly she stops with her arm stretched out awkwardly behind her.\nShe grabs the goblet with both hands and pulls hard. It will not move. It stays in mid air a short distance from the falling water. Lornedei takes one step back into the cave, and the goblet is suddenly willing to go with her.\nStaring at the stubborn object in her hand, she frowns.\n\"The Goblet does not want to leave the cave Master!\"\n\n> You put Goblet on the pillar\nShe puts the silver goblet on the stone pillar."
    },
    {
        "text": "> Go down\nShe dives down.\n\nRiver Bottom (Below the Waterfall)\nLornedei swims towards the light. As she comes out of the dark cave, a dull thundering meets her. The water is restless, striving noticeably back southeast. The bottom is washed clean from debris and vegetation. There is a dim light from above.\n\n> You go to the south-east\nCaves (Where Bubbles Rise)\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nA stream of bubbles rises from the pitch-black bottom, meets the girl on its way up, and then explode in a glittering cascade of air around her.\n\n> You go to the south-west\nCaves (The Latent Waters)\nThere's a soft light and a rippling from the surface up above. Southeast takes her back to the Junction and there is a ragged hole in the rock to the northeast. The bottom here is mostly sand and rocks, and nothing grows here.\n\nThe water is still.\n\n> You examine carvings\nThe stone print fills the entire wall above the ledge. The writing is old and forgotten but the essence of the message should still be in the stone itself.\n\n> You reach the carvings\nShe may be better off if she gets up on the ledge first. She is quite tired.\n\n> You get on the ledge\nShe gets onto the Narrow ledge.\n\n> You examine the ledge\nLornedei is sitting with her back against the west wall. The ledge is barely wide enough to sit on, let alone standing, as the wall leans outward over the dark water.\n\n> You reach the carvings\nLornedei places a cold, wet hand on the carvings.\n\"I cannot understand it all. There is a message here that will not reveal itself to me. What I understand, or think I understand is this:\n\nOne great is the light.\nOne great is the dark.\nOne great is the lost one that judges us all.\"\n\nLornedei's magic drops by one.\n\n> You eat the berry\n(Taking the handful of white berries first.)\nLornedei eats one of the white berries.\n\"These are actually not too awful Master! They remind me of something but I cannot recall what.\" She shrugs.\nLornedei's magic just went up by three.\n\n> You put the berries in the rucksack\nShe drops the handful of white berries into the leather rucksack.\n\n> Exits\nShe can go down to the bottom or up on the ledge."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Go downwards\nShe gets off the Narrow ledge.\n\nThis is a big, nearly circular cave. The ceiling is enveloped in darkness but a light, barely more than the glow of fireflies, comes from the walls themselves.\nThe mirror of dark water reflects the light.\nAbove a narrow ledge sticking out from the west wall, carvings cover a big part of the wall."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go down\nShe dives down.\n\nCaves (The Latent Waters)\nThere's a soft light and a rippling from the surface up above. Southeast takes her back to the Junction and there is a ragged hole in the rock to the northeast. The bottom here is mostly sand and rocks, and nothing grows here.\n\nThe water is still.\n\n> Go northeast\nCaves (Where Bubbles Rise)\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nA stream of bubbles rises from the pitch-black bottom, meets the girl on its way up, and then explode in a glittering cascade of air around her.\n\n> Go upwards\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\n> You take the red worm\nAs you wish.\nSomething wraps itself around Lornedei's hand. She pulls her hand away with a shriek.\n\n> You put the red worm on the roots\nLornedei places the red worm on one of the roots. It sniffs the air, surveying the roots for a moment before taking a huge bite out of one. All the roots seem to stir and shudder, trying to avoid the biting pest. After only a few big bites out of the root the red worm seems satisfied. The root's restless movement seizes right away as the worm curls up into a ball. Lornedei picks it up again.\n\n> You put the yellow worm on the roots\nShe drops the shiny red worm into the old tarnished bronze urn. Something wraps itself around Lornedei's hand. She pulls her hand away with a shriek.\nAs you wish.\nA low squeaking makes Lornedei turn around. The sound stops.\nThe skinny worm starts biting the moist tangle of roots. One after another get to feel the starved fury of the yellow worm. The roots start to shake violently to get rid of the furiously eating worm. Big pieces of moist wood are torn from the roots. Some disappear down the worm's seemingly bottomless stomach. Most, however, drop in the water.\n\nEventually, the tree gives in. The roots move aside, revealing a passage south into darkness. Lornedei picks up the worm that oddly enough looks no less skinny now.\nA low squeaking makes Lornedei turn around. The sound stops.\n\n[Your holiness has just gone up by five.]\n\n> You go south\nAfter squeezing herself through the tight passage she is not just dripping wet but also filthy and out of breath.\n\nSlowly, Lornedei looks around this dark clearing. An oppressive gray fog hangs over everything and seems to add weight to the air itself. There is a presence here. Something is waiting among the dark trees. Something sinister.\nThe gray mist hides the sun from sight and there is no way to make out which direction is which.\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\nA greenish fog seeps out of the darkness between the trees. Lazily it gathers itself until a green pillar of mist is formed. It glides slowly over the dead grass and stops next to Lornedei. It starts to spin. Lornedei moves a strand of hair from her face and puts it behind her ear.\nThe beetle squirms its way out of Lornedei's grasp and drops to the ground. It runs off, climbs up on the stone well, climbs back down, crawls through the bushes and seems to inspect the stone house, to finally stop at one of the paths.\n\n> You examine the green mist\nA stubby pillar of greenish fog hovers just above ground level. It spins around its own axis like a slow motion whirlwind.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe roots under the big oak stir restlessly. The shadows beneath them seem to grow momentarily, but when Lornedei Looks at them the movement stops.\nThere is a loud buzzing from the rucksack. Suddenly the Beetle comes crawling out and scrambles down to the ground. It spins around.\n\n> You enter House\nHall of Severance (In the House of Penance)\nLornedei steps through the crumbling opening into a darkness that is not quite total. There is dim light sifting down from the ruined ceiling above. She glances up, perhaps fearing that the whole construction will give up at her intrusion.\n\nBut the only thing falling down on her is the weight of history; stories of cruel ignorance, memories that linger. The light catches a glittering thread and Lornedei swipes at the descending spider before it can land on her. With a grimace she steps on it before it can scramble away, burying it in the dry dirt. She looks around, but if there are more spiders here, they keep out of her way.\nThe many years have taken its toll on this house. The circular wall tapers slightly towards the ceiling. Above her, a framework of thick beams support several generations worth of spider webs. There is not much left of the roof now. The light from outside leaks in through the holes in the ceiling. It magnifies the presence of fine dry dust that floats lazily in the still air. Long since rotted straw and reeds cover the earthen floor.\n\nA pair of rusty manacles hangs on the wall.\n\"Master?\"\n\n> You search the straw\nLornedei kicks the rotted remains around with a grimace, holding her breath against the odors rising from the floor. A shriek cuts through the still air and she takes a step back.\n\nEmpty sockets in a yellowed and cracked skull stare up at her. She takes another step towards the opening and starts to turn to leave. Something causes her to look back, though, perhaps a sense of shame for disturbing this final resting place. She stares at the human skull peeking out from its shallow grave, and goes to cover it again. Before she can throw a handful of the old straw over it, she stops. There is a sudden glimmering light from within one of the dark holes. There is something inside the skull. She also notices a small pouch in the shallow grave, half buried in the dirt.\n\n> Wear amulet\nAs you wish.\nLornedei looks around, biting her lower lip.\nIn the cracked skull is An amulet.\nLornedei's hand trembles at the touch.\n\"So much power!\"\n\n[Your holiness has just gone up by five.]\nLornedei hangs the amulet around her neck. Immediately it flares up and shines brightly. The blinding light fades somewhat and the light becomes soft and steady. Lornedei shivers in delight from the power in the crystal that gives itself to her.\n\nLornedei's magic just went up by one hundred.\n\n> You examine the skull\nThe skull shares the shallow grave under straw, dirt and reeds with the rest of the skeleton. Lornedei takes only a quick look at the bones before making sure they are covered. They are of no interest to her.\n\nThe skull is cracked, and brutally so it seems. This person, whoever it may have been, was sent to the afterlife with the help of something heavy but blunt, a rock, perhaps a hammer. No doubt it was swung in fury or fear. Lornedei cringes when she sees scattered pieces of bone near the skull. She quickly covers the teeth, hiding them from view while holding a protective hand over her own mouth.\n\n> You reach the skull\nLornedei places a hand lightly on the skull and shuts her eyes. A low sound escapes her tightly closed lips. The final moments of a girl's life spill into her mind. An already pale face turns ash gray and she trembles, tries to pull her hand away, but cannot.\n\n\"No! No please.\" The screams have lost their strength and turned to whispers, gurgling coughing, and inaudible pleading. Now they are only in her mind. She knows there will be no mercy. She tries to turn to the side on the hard ground, tries to spit the teeth out before they choke her, but another blow forces her head the other way. Someone is holding her legs down. She cannot pull them up, bring them together, cannot get rid of the weight. Something else is pushing down on her stomach, a boot, and she cannot turn, barely breathe. Something is holding her hands, but then one comes free. She lifts it to her face. The next thing that breaks are four of her fingers along with her nose, the nose that is underneith the hand.\n\nThere are four of them. They take turns with her, sharing the pleasure of beating her with the rock. They take turns using her body, the part of her body that is not yet covered in blood. She cannot see them. What slits might be left to see through have filled with blood. She has no wish to see. She knows it will be over soon, very soon.\n\nThere is no salvation, no hope of rescue, but in the end there is no longer any pain. When Anadei's body is used up and is systematically broken up, the way it is told it should be done, she is long gone.\n\nLornedei reels back from the skull, turns, and staggers away from you. She leans forward and struggles to avoid being sick.\n\nYou watch her with clinical curiosity. Can this young and soft girl, in the end, do what you need her to do? Can she banish the evil and then bring back the old ways? The old beliefs? Perhaps even the old rituals could be revived. You must think this over as time moves on. For now, you turn your attention to the task at hand.\n\nLornedei is watching you. She is pale but composed.\n\"Her name was Anadei, daughter of Meredea. She was the last of the light bearers Master. They feared her so much that she was ordered dead.\" Lornedei laughs dryly and continues with a cynicism very unlike her. \"I guess they completed that task, but that is not all they did.\" She shudders and will not say more on the subject.\nLornedei's magic just dropped by five.\n\n> Bury skull\nThe cracked skull? Think that will grow?\n\n> Dig\n(the pair of manacles)\nLornedei shakes her head."
    },
    {
        "text": "> Look around\nHall of Severance (In the House of Penance)\nThe many years have taken its toll on this house. The circular wall tapers slightly towards the ceiling. Above her, a framework of thick beams support several generations worth of spider webs. There is not much left of the roof now. The light from outside leaks in through the holes in the ceiling. It magnifies the presence of fine dry dust that floats lazily in the still air. Long since rotted straw and reeds cover the earthen floor.\n\nA pair of rusty manacles hangs on the wall.\nLornedei bites on a nail.\n\n> Go upwards\nThere is no way she could climb up to the ceiling. The building would most likely drop down on top of her.\n\n> Leave\nShe steps out in the clearing.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\n\nShe can also see a large black beetle (Taking a nap at the moment.) here.\n\n> You look at the bushes\nThese bushes resemble those at the village road, but there are quite a few more of them. These look even more gnarled and deformed, as though starved of clean water and sunlight.\nThese also have thorns as well as, oddly enough, plenty of purple nuts. Lornedei is waiting for your command.\n\n> You take the nuts\n\"No thank you Master. Only a fool would try to do anything with those nuts.\" To emphasize her point, she gives the nearest bush a kick and a cloud of putrid dust from the leaves rises. A thorny nut falls to the ground.\nThe deformed bushes rustle and seem to reach for her.\n\n> You take the nut\nLornedei carefully picks up the nut. She quickly drops it in the rucksack.\n\n> You kick bush\nNo Master. Why would I do anything like that?\n\n> You ask the ld about the nuts\nLornedei shrugs.\nThe roots under the big oak stir restlessly.\n\n> You reach Oak\nThe tree fades away before Lornedei's inner sight. For a moment, there is nothing but a shimmering mist all around her. Then three shapes appear in the distance. They are trees, that she is sure of. Giant trees. One shimmers in gold, one is shrouded in black smoke, and one is bright green. The green tree suddenly fades into the distance, leaving only a greenish mist. Once gone, the black tree grows. It reaches towards the golden tree, shades it and suffocates it. The image fades. Lornedei's magic drops by one.\nThe roots under the big oak stir restlessly.\n\n> You open the pouch\nShe opens the small leather pouch, revealing a golden acorn.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like someone whimpering. Someone, or something.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nA shiver runs through the tree and the shrill song of the leaves seems to increase in volume for a moment. Lornedei folds herself over the branch and stays hanging precariously over it. She looks down. The clearing below her swims out of focus, seems to move away from her and then come rushing back at her. She clings desperately to the scorched limb, unsure if she is going to slide backwards and down on the ground, or tip over forward with the same fatal result. She shuts her eyes hard.\n\nAnd the world is still once more. Very carefully, she lifts one leg over the branch and then she is sitting steady. She opens her eyes and with a sigh of relief. The clearing looks as it should, all considering.\n\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> Sleep\nLornedei sits down, puts her head in her hands and shuts her eyes.\n\"I should not Master. But I feel so strange.\"\n\"The air is so hard to breathe. So dark here.\"\n\"I feel ill.\"\nAmidst her dream, Lornedei speaks. An insistant whispering. Spoken through her, not by her.\n\n\"Wake up and be mine.\nWake up and come to me.\nGive your blood to the seed.\nGive me a tree.\nDestroy the other one, the golden one.\nWe will rule together.\nWake and I am with you.\n\nWAKE NOW!\nThe hall of severance is silent. The whispering from the forest is gone, the air seems dense.\n\nLornedei is sitting on the stone altar with her head bent as in prayer. The long hair hides her face from you and you listen to her breathing. The dry whispers and the shrill singing from the black leaves returns as Lornedei wakes up.\nSlowly, the girl looks up. She seems surprised and her eyes glide over the clearing as if she's never seen it before.\n\nWhen she looks at you, her eyes are gray and a weary smile turns into a grin. Then the grin fades and her entire body tenses in fear. She turns her face away from you.\n\nHall of Severance (on the stone altar)\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\n\nShe can also see a large black beetle (Spinning around waving its antennae at the moment.) here.\n\n> You stand\nShe gets off the stone altar.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here. It has stopped spinning.\n\nShe can also see a large black beetle (Fluffing up its wings at the moment.) here.\n\nA very tentative voice speaks up from the old stone well. \"Girl?\" Lornedei turns her head and stares at the tiny creature sitting on a blade of razor grass next to the well. She takes two fast steps toward the fly. With a screech, the fly buzzes off to sit on the stone house roof. \"The same you are not Girl. I know not if you can be trusted Girl.\" Lornedei picks up a rock and throws it at the fly that buzzes off to sit on the stone altar. \"Will you listen Girl?\" Lornedei crosses her arms and glares at the fly. After a moment's indecision, she nods.\n\nThe fly moves to the edge of the altar and pauses a moment. \"You have met one of Raccdaha's minions I see. You must have set it free. Shame. Such shame. Do not believe him Girl! Raccdaha is not strong enough now to possess you from where he is hiding, but he lets his lesser demons do his bidding. Do not believe the messages he sends!\" Lornedei takes a step forward and raises a hand to swat the fly, but the fly is already sitting in the black oak. \"Oh dear, temper, temper. Me, yes, will be in this place to tell the story when your god evicts the demon that is in you Girl.\" The firefly disappears with a pop and a flash.\nThe roots under the big oak stir restlessly.\n\n> You enter the sleepwalker\nLornedei's stare is not just hostile. It is pure poison. She has no intention of entering the sleepwalker.\nLornedei shivers. She looks behind her. There is nothing there. Lornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like something that does not want to be heard. Careful, tentative.\n\n> You take the nuts\n\"No, I only need one. I have it.\"\n\n> You wake the ld\n\"Just leave me be! I have my eyes open, can you not see that?\"\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> You look at the sleepwalker\nA stubby pillar of greenish fog hovers just above ground level. It spins around its own axis like a slow motion whirlwind.\nLornedei is muttering to herself.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> You follow the branch\n\"The passage is not yet open, and I can't go through yet. What was trapped between, is now roaming the woods though.\""
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Go downward\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here. It has stopped spinning.\n\nShe can also see a large black beetle (Airing out its shell at the moment.) here.\nA dry black leaf falls down to rest on Lornedei's shoulder. It crumbles into dust and is gone.\nThe beetle scrambles through the dead grass to one of the paths. It spins around and comes back to Lornedei.\n\n> You touch sleepwalker\nLornedei is clearly skeptical. What the sleep walker feels like does not interest her.\nThe beetle disappears into the crumbling stone house. It comes back out, stays a moment in the opening, waving its antennae, before coming back to Lornedei.\n\n> You reach sleepwalker\nLornedei turns her back to it.\n\"I will not waste magic on that!\"\n\n> You reach LD\n\"I cannot! I will not! Just leave my mind alone!\"\nLornedei shivers. She looks behind her. There is nothing there.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> You enter House\nHall of Severance (In the House of Penance)\nThe many years have taken its toll on this house. The circular wall tapers slightly towards the ceiling. Above her, a framework of thick beams support several generations worth of spider webs. There is not much left of the roof now. The light from outside leaks in through the holes in the ceiling. It magnifies the presence of fine dry dust that floats lazily in the still air. Long since rotted straw and reeds cover the earthen floor.\n\nA pair of rusty manacles hangs on the wall.\n\n> You examine the manacles\nLornedei shakes her head.\nLornedei shivers. She looks behind her. There is nothing there.\n\n> You take the manacles\n\"Interesting, but I have no use for those. For the moment.\"\n\n> Pet yellow worm\n\"Do I really want to? No!\"\n\n> You go outside\nShe steps out in the clearing.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here. It has stopped spinning.\n\nShe can also see a large black beetle (Spinning around waving its antennae at the moment.) here.\nLornedei reaches down to scratch her ankle.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a bird, unlike any other.\n\n> You follow Raven\nLornedei dares a careful step towards the black bird. It turns and hops along the path a short distance before it again faces the girl. Waiting.\n\nLornedei takes another step and the bird takes off in the air. It flies in circles in front of her, high up and almost out of sight at times but always close enough for Lornedei to follow. The path winds its way through and around the disturbing shadows of the forbidden forest. Fallen trees and dense undergrowth is constantly in her way and she has to climb over, through, or around these obstacles, while keeping an eye on the bird. It is just ahead and above her. She follows the black bird, expecting the cold grip of the forgotten ones around her ankles at any moment. Images of soul wrenching, flesh ripping, and blood drinking spirits run through her mind. Nothing happens. Exhausted and bruised, with her clothes torn and dusty, she stumbles on.\n\nSomething grabs her foot; she loses her balance and falls forward with a painful thud. Frozen in a breathless heap on the ground, she takes a moment to gather her strength as well as her breath. The bird croaks, Light seeps in through her closed eyelids.\n\nShe looks up in time to catch a final glimpse of the bird. It disappears into a glowing sunset beyond a desolate field.\n\nWasteland (Overlooking the Field of Despair)\nSlowly Lornedei gets up on her feet. Nearly blinded by the light from the dying sun, she inspects the damage. She sighs deeply.\n\nShe opens her mouth to speak again but the words never come. She takes in the view of this seemingly empty wasteland in shocked silence for some time. She swallows. A dry wind tugs at her clothing while playing restlessly in the dry ground.\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nLornedei turns her head slowly from side to side, dazed. She blinks.\n\n[Your holiness has just gone up by five.]\n\n> Go east\nWasteland (By the Circle of Stones)\nLornedei walks east and the ground slopes down. It becomes increasingly difficult to walk. On the other side of the valley she is entering, the forest resumes. At the bottom of the slope where the sharp rocks slip under her feet, heat ripples the air. Lornedei makes her way down.\n\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA stone circle is laid out on the ground.\n\nThere is a fire inside the ring of stones, blasting out heat and light. Shadows cast by the stones stretch out from the circle. Their wavering tips caress the ragged ground where it begins to ascend to the plane above.\n\nA black plaque lies near the center of the fire pit.\n\n> You throw lamp at the boulder\nThe stones are more or less round. Anything placed on the stones would drop to the ground.\n\n> You examine the stones\nThe circle is almost ten paces wide. Inside the edging of boulders, the ground sinks further down, into another bowl. This one is smooth and perfectly round.\n\n> You break the lamp\nLornedei lets a blue spark appear in one palm. She focuses and the light turns red. She quickly moves the fairy lamp until she is holding it between both hands. the red light seeps through her fingers and a sizzling is heard. A cloud of steam surrounds her hands.\n\"Ouch! The little bastard bit me!\" A storm of ugly words fly out of her mouth as the crystal spider drops to the ground.\nLornedei looks over her shoulder into the dark forest, anxious.\n\n[Your holiness has just gone up by five.]\n\n> You take the spider\nthe spider jumps backwards. It apparently doesn't like her.\nLornedei is muttering to herself.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like something that does not want to be heard. Careful, tentative.\n\n> You look at the spider\nIt's a large spider made of crystal. It has curled up as if either dead or sleeping most of the time. It is hard to tell which. It gives off a cold sparkling light and has a pair of multi facetted eyes. Oddly enough, the eyes seem both beady and shifty. No matter from where it is observed, it seems to glare suspiciously. She will have to touch the spider to examine it further. That is, if it will let her.\n\n> You touch the spider\nLornedei shakes her head. She has no wish to touch that thing. It bites!\n\n> You take the plaque\n(the small black plaque)\nIf you insist.\n\n[Your holiness has just gone up by five.]\n\n> Go north\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\nLornedei's shadow trembles and disappears. In an instant, it is back. She seems not to notice.\n\n> You go south\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\n\nShe can also see A crystal spider with shifty, beady eyes (Curled up acting dead at the moment.) here.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> You call\nLornedei whistles.\n\n> You wait\nLornedei waits as the dry wind tears at her torn clothing.\n\n> You wait\nLornedei waits as the dry wind tears at her torn clothing.\nLornedei's shadow jerks to life, reaches for her ankle, and pulls. She stumbles.\n\n> You examine the shadow\nIt is only a shadow. There is nothing she can do with it.\nLornedei feels something against her leg. Like a shadow, silent and cautious, Deini has come to her. The wolf is sniffing the air, is constantly watching Lornedei, but she finally lies down. She puts her head on her front paws but keeps constant watch.\n\"You just stay out of my way.\"\n\n> Help\nDeini looks at Lornedei for a moment before she looses interest.\n\n> Sniff\nThe wolf just looks at Lornedei. Willing but confused.\nLornedei is muttering to herself.\nLornedei looks over her shoulder into the dark forest, anxious.\n\n> Pet deini\nIn an attempt to seem friendly, she calls for Deini. The wolf hesitates. This human is different from the other and there is something very wrong with this one.\n\n> You kill the shadow\nDeini stands still, seemingly wondering about Lornedei's choice of enemy.\n\n> Go north\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\n> You examine Tree\nThese are scattered remains of a tree. Mostly ashes, a few charred branches, a hollowed out trunk lying on its side, all petrified by time and lack of rain. All is covered in years of sand.\n\n> You look in Tree\nLornedei looks around, in the trunk, kicks away some dirt, but all she finds is more sad remains of the tree. Anything of interest is long since gone.\n\n> You look at the ground\n(the ground)\nThe soil is dry and starved of both moisture and nutrition. It looks and feels dead.\n\n> You kill Tree\nThe tree is already as dead as it can be, so what would be the point?\n\n> Heal ld\nThere may not be a way to heal her now. She has been changed. There is something dark lurking in her mind. Perhaps if you could get that presence out. Perhaps an exorcism?\n\n> Vomit\n\"What was that you said?\"\n\n> Pray\nShe may or may not. Just hope that her prayers go to you and not something... else.\n\n> You search ld\nLornedei is wearing a shirt, a pair of riding pants and sandals. Type inv to see what else she is carrying.\n\n> You reach LD\n\"I cannot! I will not! Just leave my mind alone!\"\n\n> You look in the ld\nLornedei is wearing a shirt, a pair of riding pants and sandals. Type inv to see what else she is carrying.\nLornedei is muttering to herself.\n\n> You examine the shadow\nIt is only a shadow. There is nothing she can do with it.\n\n> You kill the shadow\nLight banishes one shadow while creating another. Then how can a shadow be killed?\n\n> Wear amulet\n\"Wear that? No! It hates me.\"\n\n> You go southwest\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\n\n> You search debris\n\"I have no intention of crawling in there. Find someone else to do that. Perhaps you, god as you are, can conjure up some faithful and ridiculously loyal companion to do that kind of work.\n\n> You take red worm\nIf you insist.\n\n> You put it in the debris\nThat cannot be used to contain items. The purpose here is otherwise. Lornedei is muttering to herself.\n\n> You put the red worm on the debris\nPlacing things on the rubble will not do her any good.\nThere is a shadow stretching out on the ground behind Lornedei. It folds into inky black and then it rises, takes one step away from her, and is gone.\n\n> You look at what you're carrying with you\nLornedei's magic is currently at 167.\nLornedei is carrying:\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> You wait for a while\nThe spiral that is life keeps on turning.\n\n> You wake the ld\n\"Just leave me be! I have my eyes open, can you not see that?\"\nLornedei hears careful steps behind her. She turns towards a very reluctantly approaching Deini. The wolf sneezes.\n\n> Keep going\n\"Just leave me be! I have my eyes open, can you not see that?\"\n\n> Continue\nDeini sniffs around. After a while, she comes back, carrying an old torch. She drops it at Lornedei's feet.\n\nDeini sniffs a couple of the rocks and sneezes. She seems to search aimlessly and finds nothing of interest.\n\n> You examine the torch\nThe old torch must have been lying around here for many years, along with many others. It's totally useless and may just fall apart if given a harsh glance.\n\n> You put the torch in the statue\nThe only thing capable of holding items on the statue, is the grasping hand. Try to put the old torch there instead.\n\n> You put the torch in the hand\nLornedei places the torch in the stone hand. It does not really fit so she forces it down in the hole. It stands nearly upright in place for a moment. Then, the stone fingers flex and spread. The torch topples over and drops to the floor as the hand tightens its grip around its imaginary object again.\n\n> You search debris\nDeini sniffs a couple of the rocks and sneezes. She seems to search aimlessly and finds nothing of interest.\nLornedei is muttering to herself.\n\n> Light torch\nNothing would benefit from that.\nDeini comes up to Lornedei and puts her nose in the girl's hand. Lornedei pulls her hand away.\n\n> Wait\nLornedei waits as the dry wind tears at her torn clothing.\nLornedei's shadow trembles and disappears. In an instant, it is back. She seems not to notice.\n\n> Wait\nLornedei waits as the dry wind tears at her torn clothing.\nLornedei feels something against her leg. Like a shadow, silent and cautious, Deini has come to her. The wolf is sniffing the air, is constantly watching Lornedei, but she finally lies down. She puts her head on her front paws but keeps constant watch.\n\"You just stay out of my way.\"\n\n> You search the rubble\nDeini takes off and enters the tunnel through the big pile of rubble. She shows up safely on the other side. A number of loud sneezes and a cloud of rising dust show her path. After some time, she comes crawling out again, dragging something with her. Between her teeth is a long spear. She drops it in front of Lornedei, looking mighty happy.\n\n> You examine the spear\nThe spear is a head taller than Lornedei. The dark wood is decorated with carvings and the stone tip is sharp.\n\n> You reach the spear\nThere seems to be nothing beyond what the eye can see.\nLornedei is muttering to herself.\n\n> You give the spear to the statue\nLornedei puts the spear into the grasping hand. It is a perfect fit. The hand suddenly tightens. The stone fingers crackle slightly and a puff of dust flies from it as it grips the spear.\n\n> You wait for a while\nThe spiral that is life keeps on turning.\n\n> You examine the statue\nThe stone guard stands in the southeast corner staring intently at the opposite corner of the chamber. In her right hand she has a long wooden spear with a stone tip.\n\n> You talk to the statue\nYou wish her to talk to the stone statue? Seems a bit odd to me.\n\n> You touch the statue\nLornedei brushes off some of the dust gathered on the statue an sneezes.\nLornedei wipes her forehead with her shirtsleeve.\n\n> You move statue\nThe stone statue cannot be moved in any way. Lornedei makes a couple of attempts of pushing the statue but there is not much point in trying. Lornedei's shadow tears one shadow-leg from Lornedei's real one, then the other. It fades as it rises. Once upright, it melts into Lornedei. She shivers.\n\n> Go northwest\nThere is nothing there but rubble and cracked marble walls. She can't go that way.\n\n> You look at the statue\nThe stone guard stands in the southeast corner staring intently at the opposite corner of the chamber. In her right hand she has a long wooden spear with a stone tip.\nThere is a shadow stretching out on the ground behind Lornedei. It folds into inky black and then it rises, takes one step away from her, and is gone.\n\n> You look northwest\nCracked marble in walls and floor. Rubble. Nothing of interest catches her eye.\nLornedei's shadow stretches out behind her. It sits up. It reaches. It touches the exposed skin on her neck before lying back down. Lornedei scratches her neck furiously.\n\n> You turn the statue\nThe stone statue cannot be moved in any way. Lornedei makes a couple of attempts of pushing the statue but there is not much point in trying.\n\n> You go west\nLornedei steps closer to the huge hole in the wall. One glimpse down is enough. She steps back on unsteady legs.\n\n> You go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\n\n> You go to the west\nA few paces away, the courtyard ends abruptly as the ground is replaced by the ravine. A vertical cliff of bare rock is all that is left. If there was a western wall there, it now lies at the bottom of the ravine, along with a big part of the castle. On the other side, the forbidden forest starts again. Lornedei quickly backs away from the edge."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Go downwards\nLornedei takes one step towards the edge of the ravine, then another longer step away from it. The ravine is too deep and too wide to cross.\n\n> You go to the east\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> Go northwest\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThere is a shadow stretching out on the ground behind Lornedei. It folds into inky black and then it rises, takes one step away from her, and is gone.\n\n> You turn spear\nLornedei grabs the spear on each side of the hand and turns it. A click is heard from inside the statue and the entire guard woman rotates on her right foot, swinging her left side outwards.\nIn doing that, a slab of stone comes loose from the corner thus revealing a narrow passage to the southeast.\n\n> You go to the south-east\nCastle Ruins (In the Hall of Mirrors)\nSilence, perfect stillness, a sense of waiting.\nAs soon as Lornedei steps past the statue, the sensation overwhelms her. For once, she is silent for a long while before making her remark. \"What a mess!\"\nThe chamber seems to have survived the devastation of the castle with only minor damages though. Sand and scattered pieces of marble lie beneath a few cracks in one corner.\n\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nA big pile of stone and steel takes up a large part of the space in the middle of the floor.\n\"Who would bring that junk down here? Seems very strange to me.\"\n\nLornedei stumbles on a big staff on the floor. She barely avoids stepping on a sad looking long dead somebody.\n\nThe dead somebody seems to be the owner of the staff.\n\"I believe that this might be one of the Elders.\"\n\n[Your holiness has just gone up by five.]\n\n> You look at Elder\nLornedei bends down to take a look at the grim pile of bones. The figure lies near the west wall with the arms stretched out above the head. The grinning skull is bent backwards and in an odd angle. The spine showing above the robe it is dressed in has been turned until it broke off from the rest of the body. The feet are still protected by a pair of leather sandals.\nLornedei looks around, puzzled.\n\n> You examine the robe\nThe figure on the floor is dressed in a robe that once must have been sky blue but now it's faded and covered in dust and cobwebs. The fabric is finely woven and smooth. The hems are decorated with golden vines just like the sandals that still sit securely on the skeletons feet.\n\n> You examine the sandals\n(the robe and sandals)\nThe figure on the floor is dressed in a robe that once must have been sky blue but now it's faded and covered in dust and cobwebs. The fabric is finely woven and smooth. The hems are decorated with golden vines just like the sandals that still sit securely on the skeletons feet.\n\n> You take the robe\nIt is probably better if she leaves them where they are.\n\n> Steel\nIt is a big pile of stone and steel. It takes up a big portion of the floor. She can see small stones and big boulders covered in moss, dirt and dust.\n\nA few of the bigger rocks seem to be attached to each other with steel rings and rusty chains. A row, uneven and broken up, of triangular pieces of steel sit along an oblong rock near one end of the pile.\n\n> You search the steel pile\nShe can not find anything that might interest you.\nLornedei reaches down to scratch her ankle.\n\n> You examine the staff\nIt's a heavy staff in what appears to be oak. It reaches Lornedei to the shoulder, is thicker in one end and irregular in shape, with the natural shape preserved. It is polished and given a patina with many years use.\n\n> You examine north mirror\nA wide and heavy frame surrounds a dark mirror. There is only a dull reflection of the chamber behind Lornedei when she looks in it.\nThere's an indentation in the top part of the frame. It is empty.\n\n> You look at the north indentation\nThere is an indentation in the top part of the frame. A plaque might fit there.\n\nUnder a layer of dust covering the frame, the wood is decorated with delicately painted vines and leaves of all sizes and shapes. Tiny animals peek out from behind the leaves, which seem to stand out even though the surface is flat: a red squirrel's curious gaze, a deer and its offspring, ready to flee, a miniature snake on a vine.\n\nLornedei reaches down to scratch her ankle.\n\n> You examine the east mirror\nThe glass, underneath a layer of dust, has no reflection whatsoever. Lornedei glances at the frame but she just shakes her head in puzzlement. She looks away from the strange sight.\nThere's an indentation in the top part of the frame. It is empty.\n\n> You look at the east indentation\nReluctantly, Lornedei examines the frame. The heavy frame around the east mirror has a deep, almost black surface. Delicate, spidery carvings cover every surface. The intricate pattern of geometrical shapes underlies other shapes. These seem to avoid observation. Sometimes a shapeless blob turns into a perfectly logical entity for a split second. Although the logic eludes the mind to be just a blob again, the feeling of an unreachable, untouchable wisdom remains. Lornedei blinks and looks away.\n\n> You check your inventory\nLornedei's magic is currently at 167.\nLornedei is carrying:\na wizard's staff\na large black beetle (Taking a nap at the moment.)\nan old torch\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\nLornedei is muttering to herself.\n\n> You examine the south mirror\nOn the south wall hangs a big oval mirror. The glass is dark and cold. There's a shallow indentation in the top part of the frame. It is empty.\n\n> You look at the black plaque\nIt's a totally black round plaque. It is small enough to fit in Lornedei's palm. The smooth stone is of a kind that Lornedei has never seen. A strange picture is carved on one side. It looks like a flying insect of some sort, with a giant tree in the background.\n\n> You look at the south indentation\nThe wide frame around the south mirror has a shallow indentation where a plaque might fit.\n\nThe frame itself is totally featureless. It has a deep gray polish that almost, but not quite, looks like the glass itself.\n\n> You put the black plaque in the east indentation\nLornedei puts the small black plaque in the round hole on the frame. It goes into place with a click.\n\n> You take black plaque\n\"Ouch, I broke a nail! the plaque is stuck. At least I do not know how to get it out again. Maybe it is the way it is supposed to be.\" Lornedei wipes her forehead with her shirtsleeve.\n\n> You check your inventory\nLornedei's magic is currently at 167.\nLornedei is carrying:\na wizard's staff\na large black beetle (Fluffing up its wings at the moment.)\nan old torch\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> You examine the west mirror\nThe glass is cracked and dark. The frame surrounding the broken mirror seems to be in bad shape. There appears to be a shallow indentation in the top part of the frame. She may need to look closer at the frame.\n\n> You examine the west indentation\nThe wide frame seems at first to be a mosaic of different types of frayed fabric. Upon closer inspection, it is clear that the frame is made up of different types of wood, stone, and even metal. It has however been demolished by something, cut and beaten into a mess of splinters. There seems to be an indentation in the top part of the frame but it may not be able to hold anything in place.\n\n> You look at the torch\n(the unlit torch)\nThe torch looks old and burnt out.\nLornedei reaches down to scratch her ankle.\n\n> You turn it\nThe torch is not of any use now. Let's just leave it as it is.\n\n> You check what you're carrying\nLornedei's magic is currently at 167.\nLornedei is carrying:\na wizard's staff\na large black beetle (Taking a nap at the moment.)\nan old torch\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> You go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\n> You drop the torch\nYour wish is her command.\n\n> You go to the southeast\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\nLornedei is muttering to herself.\n\n> You reach bones\n(the pile of bones)\nLornedei reaches into the figure on the cold stone floor but something is resisting her. Something suddenly gives. The air starts to shimmer above the pale bones and a figure rises from the pile. The transparent shape standing before her is a man. An old man dressed in a sky blue robe, his thin face with a thin white beard looks gaunt and tired beyond his apparent age. He is holding a long staff in one hand that partially supports his old frail and bent body.\nHe is looking around the chamber. He lets his gaze touch the mirrors on the wall, rest a moment on the stone pile until he is looking straight at Lornedei.\nAssessing her, judging her.\nSuddenly his eyes turn to steel. He seems to recoil from her and swings his staff through the air.\nIt goes through her body and for a moment, she feels numb, tingling. He sinks back down in his remains and is gone.\n\n> You reach the steel\nsuddenly Lornedei smiles.\n\"If you say so.\"\nShe Lifts one arm, turns the hand over and makes a blue spark appear in her palm. Lornedei glances up at you, still smiling, as the blue spark turns to red.\nSlowly she turns her head and blows the spark towards the pile.\nThe red light drops down and disappears between two rocks. Nothing happens for a short while. And then there is movement. Slowly, the rocks rearrange themselves, moving into place with a grinding noise that causes the entire chamber to vibrate.\nTriangular metal pieces covered in rust and dust, although they seem sharp enough, align themselves in two rows.\nSome of the smaller rocks, scattered around the periphery of the pile, skip and hop along the dusty floor until they are also in place. There is a loud bang as the two largest pieces come together. The noise gets louder as hundreds of rocks of all sizes and rusty pieces of metal move into place, all at the same time.\nFor a heartbeat, everything is still. Then it rises - grunting, grinding, and groaning, it rises.\nLornedei is awestruck, but whispers to the being.\n\"Raccdaha!\"\n\n> You examine steel\nIt is a big pile of stone and steel. It takes up a big portion of the floor. She can see small stones and big boulders covered in moss, dirt and dust.\n\nA few of the bigger rocks seem to be attached to each other with steel rings and rusty chains. A row, uneven and broken up, of triangular pieces of steel sit along an oblong rock near one end of the pile. Lornedei wipes her forehead with her shirtsleeve.\n\n> You talk to Raccdaha\nLornedei's eyes change again. She smiles.\n\"Did you come for me?\" She holds up both hands, offering herself to him. Everything is silent. A strand of darkness wraps itself around her fingers, her hands and her arms.\n\"Yes! Take me with you.\"\nShe shuts her eyes. Her body shakes as the spirit caresses her, touches her face, her hair. The touch leaves her skin scorched and bleeding. She comes to him willingly and all the promises of power, of eternal bliss, are coming true.\nThe spirit that was once human embraces her. He wraps his arms around her body, seeking warmth. He holds her with arms of stone. She melts into the darkness.\n\nSmiling, she lets herself be crushed between stones, cut to pieces by sharp metal. He reaches for her hand, which turns to a bloody mess. He holds her head, which cracks like a ripe melon. Only then does the smile fade from her lips.\n\n> Attack raccdaha\nLornedei says calmly: \"No!\"\nLornedei wipes her forehead with her shirtsleeve.\nA crimson light dances on the white walls of the chamber, metal jaws snap and stone limbs creak.\n\n> Exorcise ld\nLornedei is possessed. Would you like to perform an exorcism on her?\n\n> Yes\nYou give it your best shot, chanting and carrying on.\n\"Master?\" Lornedei is extremely pale but she seems well.\nThe exorcism succeeded.\n\n> You touch the north mirror\n\"the frame feels warm.\"\n\n> You reach elder\nLornedei reaches into the figure on the cold stone floor but something is resisting her. Something suddenly gives. The air starts to shimmer above the pale bones and a figure rises from the pile. The transparent shape standing before her is a man. An old man dressed in a sky blue robe, his thin face with a thin white beard looks gaunt and tired beyond his apparent age. He is holding a long staff in one hand that partially supports his old frail and bent body.\nHe is looking around the chamber. He lets his gaze touch the mirrors on the wall, rest a moment on the stone pile until he is looking straight at Lornedei.\nAssessing her, judging her.\nHe is watching Lornedei appraisingly for a long while.\nFinally, he nods and looks pleased. He opens his mouth to speak but his remains are pulling him back.\nThere is not much time. He lifts a hand towards the stone pile. He shakes his head violently. Then he moves his hand to indicate the west wall while producing a weak smile. He slowly sinks down towards his bones with a deep sigh of relief that is felt but never heard.\nLornedei shivers as the spirit returns to its uneasy rest.\n\nLornedei's magic drops by one.\n\"Master?\""
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You fix the west indentation\nShe cannot heal things that are not alive.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You examine the east mirror\nThe glass, underneath a layer of dust, has no reflection whatsoever. Lornedei glances at the frame but she just shakes her head in puzzlement. She looks away from the strange sight.\nA small black plaque is placed on the frame.\n\n> You touch it\n\"the frame feels warm.\"\n\n> You enter the east mirror\nLornedei examines the mirror, looks behind it, and taps the dark glass where nothing is reflected but darkness. Finally, she shakes her head.\n\n> You take the black plaque\n\"Ouch, I broke a nail! the plaque is stuck. At least I do not know how to get it out again. Maybe it is the way it is supposed to be.\"\n\n> You put the gray plaque in the south indentation\nLornedei puts the small gray plaque in the round hole on the frame. It goes into place with a click.\n\n> You look at the gray mirror\nOn the south wall hangs a big oval mirror. The glass is dark and cold. The gray plaque is placed in the indentation in the frame.\n\n> You look at the south mirror\nOn the south wall hangs a big oval mirror. The glass is dark and cold. The gray plaque is placed in the indentation in the frame.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You look in it\nThe mirror is dark and cold. There is no reflection. If this is a portal, it must be opened somehow.\n\n> You touch it\nLornedei puts a hand on the dark glass and shivers. She pulls it back again.\n\n> You enter the south mirror\nLornedei examines the mirror, looks behind it and taps the dark glass where nothing is reflected but darkness. Finally she shakes her head. The portal needs to be activated first.\n\n> You reach the south mirror\nThe matted surface of the glass suddenly flares up in a cascade of crimson sparks. A shower of hot air and red light throws Lornedei back. It throws her on the floor, and she desperately claps at her shirt to kill the tiny flames. She drags herself back across the dusty floor.\n\nThe moment passes, the sparks fade and die. Lornedei gets up on her feet, staring at a wavy, unsettling darkness. There is nothing at all beyond the polished frame.\n\nThe portal to the Eternal Void is open.\n\n> Go south\nIt reaches for her. The void, the darkness. It grabs her. She recoils and tries to back away. Tentacles of greasy smoke around and inside her pull her towards the void.\n\nCuriously silent while she is tearing at the darkness surrounding her, it drags her relentlessly through the open portal. She gets a hand around the frame of the mirror as it pulls her through. Just one uselessly grasping and clawing hand. The rest of her is beyond this world, and that other world tears her apart.\n\nAn impossible wind rips her hair, clothes, skin and flesh from her bones. The dark eternity sucks her in.\n\nLeft in the hall of mirrors is Lornedei's right hand and scattered hope.\n\n> You reach the east mirror\nThe darkness in the mirror changes into a swirling mist. The portal to the Hall of Severance is open.\n\nLornedei's magic drops by one.\n\n> You go to the east\nLornedei steps through the mirror.\n\nHall of Severance (In the Black Oak)\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go downwards\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\nBlack smoke seeps out of the darkness between the trees. The smoke gathers itself until a dark pillar of smoke is formed. In erratic, twitching moves, it comes closer.\n\nIt stops next to the staring Lornedei. It starts to turn slowly, releasing veils of broken smoke from its ragged surface. They dissolve in the air and new ones form to take their place.\n\"The maker of horrors at night. The roaming nightmare. I thought they were stories.\"\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like something that does not want to be heard. Careful, tentative.\n\n> You examine the nightmare\nA ragged pillar of smoke shifting in black and purple. It is floating just above ground level. It spins around its own axis like a slow motion whirlwind.\nThere is an angry buzzing from nearby. Lornedei looks around, mystified.\n\"Pft, which is it, oh smelly it is. Stubborn, umpf, thing.\" Suddenly, the firefly comes out of the opening to the stone house, dragging a piece of straw. One end of it touches the ground while the other end, with the firefly in unsteady flight through the air, is at level with Lornedei's knees. \"Hiya!\" With a terrible boost of tiny wings, the fly gets the straw totally off the ground and stays hovering at eye level. \"Oh dear, you are back.\" The fly and the straw, despite intense buzzing, starts to sink. Quickly, Lornedei grabs the straw and stops it from falling.\n\n\"Phew! Thankee Girl. Let me rest. Was waiting for you.\" Lornedei sticks the end of the straw in her hair so that the other end sticks out in front of her face. After a moment, the fly starts pacing the piece of straw.\n\"You were in the smoke were you not? I feared you being lost Girl. Oh, dear. I must tell a story now. About a little boy.\" Lornedei sits down on the ground to listen.\n\n\"He is an ugly one, if you can say so about a spirit. He was not always so. He was a boy once, born in a village not far from yours. That was a long time ago you see. An odd child he was, yes he was. He sat by the pond for much time, lost in the sight of his own face in the water, catching...\" the fly stops pacing for a moment and seems to shudder. \"I heard from rumor I did don't you know, He caught fireflies and he... He pulled...Oh, dear, I will not speak of that. He was wicked! Then his parents died. He was alone and he took care of himself. How, no one could tell, as he was still only a little boy.\n\nThen the magician came. The villagers were relieved to see the boy go with him, and no one knows where they went. For many years the boy was gone, yes he was. When he came back, a young man with riches and fancy ways, he moved in to the old home of his family, and said he had gotten rich from trade in the far lands and wished to set up business in his home village.\" The firefly makes an angry buzzing and starts pacing the straw again.\n\n\"I must make this story of less length I believe. He did not make trade honestly, tricks he had, power he had gained and fooled the villagers he did, and rose to a man of importance despite him being still young. Then his gaze fell on the merchant's daughter, and he wished her for himself. There was nothing but desire in his mind and when the girl's father refused him the still too young girl, a spell was cast. With magic he tried to force her to him, but something went wrong, very wrong.\"\n\n\"The spell he cast was powerful. The girl ran from her father in desperation one night, threw herself on a horse and rode for her love. She was in a hurry and fell. The girl was several years younger than you Girl, and the Elder's knew something was amiss. They traced the magic spell to Raccdaha.\n\nThe Elder's council banished him from the village and from his own body in the ancient sentence of severance. Death but no rest. A very cruel punishment and Raccdaha was in fact the last one they kept in the House of Penance. He became one of the forgotten ones, chased into the vast forest.\n\nHe did not remain forgotten though. He remembered his name as some of them might if they are strong enough. He grew strong. The hatred he felt poisoned big parts of the old forest and gave some kind of life to the other forgotten souls that dwelled there.\n\nHe fed the spirits with lies and promises of life. When they finally felt the same rage as him, he fed on their collective hatred and he could possess a poor wanderer's body for a while. Before his temporary body was used up, he joined the light bearers without them knowing. Their numbers started to decrease until there was very few left. He spread lies. The people grew afraid of magic, and the remaining light bearers had only one place to go. From their castle in the field of Unification, they tried to maintain the three great oaks for many years, but the day came when they had to flee even that haven. Me, cannot tell where they fled, or how. Perhaps if you go there, the place is now the field of despair, you could find knowledge. Me, yes me I don't know the rest of this story, only that Raccdaha came to rest somewhere, not able to move on, not able to live. I believe that he may be guarding the entrance to somewhere where he cannot go, waiting.\"\n\nThe firefly is quiet for a long moment. Then it walks over to the end of the straw and with a powerful buzzing, the straw is dislodged from Lornedei's hair. The fly pipes up again. \"I will be off. Good luck Girl, he may be strong but remember that he is only a big foolish and vain child.\" The fly and the straw disappear with a flash, leaving a scent of burnt straw in the air.\n\n> You look at the bone\nAs far as Lornedei can gather, it's a bone from a dear's leg. It has plenty of bite marks on it so this might have been one of Deini's unfortunate preys.\n\n> You enter well\n\"No Master, I will not go down there.\"\nThe roots under the big oak stir restlessly.\n\n> Go north\nHesitantly she takes a few steps forward, but she has no idea in what directions the paths lead. Uncertain, she looks up at you.\n\n> You enter the roots\nLornedei drops down into the opening between the roots of the black oak. She tumbles down into cool dark water.\n\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nThe roots on the south wall have slid apart enough to reveal a narrow passage through rock and soil."
    },
    {
        "text": "> Go downwards\nShe dives down.\n\nCaves (Where Bubbles Rise)\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nA stream of bubbles rises from the pitch-black bottom, meets the girl on its way up, and then explode in a glittering cascade of air around her.\n\n> You follow the bubbles\nShe kicks her feet until her speed is the same as the rising bubbles. In the company of the glittering bubbles she reaches the surface.\n\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nThe roots on the south wall have slid apart enough to reveal a narrow passage through rock and soil.\n\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nThe roots on the south wall have slid apart enough to reveal a narrow passage through rock and soil.\n\n> Go south\nCaves (Choosing the Path)\nThe main flow seems to continue north, while two smaller tunnels lead northwest and west. East takes her back near the opening.\n\n> You go west\nCaves (In the Restless Waters)\nA strong current grabs her. She is flipped around, thrown like a puppy's toy. The water tries to drag her down to the bottom. She is immediately confused and swims towards the surface. Hard rock meets her outstretched hand in each direction. There is nothing but stone."
    },
    {
        "text": "> Go downwards\nCaves (In the Gathering of Dead)\nThe water is colder. The pressure in her ears is starting to get painful but now she can see it. The bottom is littered with bones, skulls and rib cages of all sizes that lie in droves on the sand. Pale bony hands wave at her in the unexplainable current. Grinning skulls mock her and whisper.\n\"Come! Rest here with us!\"\nThere is a subtle movement near one wall. The bones twitch and move slightly as if pulled by a current.\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Search bones\n(the bones)\nLornedei looks terrified, but she moves closer to the layer of bones covering the bottom.\nSuddenly, Lornedei is grabbed by a current stronger than she can handle.\n\nShe is dragged and pulled through the water, through a narrow opening in the cliff, up through a narrow well, and through wet cold darkness. She breaks the surface, spitting water, choking in her greedy quest for air.\n\nInside an Old Stone Well (In Gurgling Water)\nThe dark water swirls and gurgles in this small well. The crumbling edge of the stone cylinder is perhaps an arms length higher than the surface.\nDim rays of light find their way down to the dark water, but help little to chase away the shadows.\n\n[Your holiness has just gone up by five.]\n\n> Exits\nShe can go up.\n\n> You go upwards\nShe grabs the slippery stones and climbs out of the old well, wet and exhausted. She sits down on the ground, leaning against the cold stones.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nThe sleepwalker is here, spinning slowly.\nLornedei glances up at you, uncertain.\nThe deformed bushes rustle and seem to reach for her.\n\n> You dig the hole\nThe ground is too hard to dig in this place.\nLornedei glances up at you, uncertain.\nThe beetle squirms its way out of Lornedei's grasp and drops to the ground. It runs off, climbs up on the stone well, climbs back down, crawls through the bushes and seems to inspect the stone house, to finally stop at one of the paths.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> Exits\nShe can go down to the ground or try the branch.\n\n> You go to the west\nIf she moves around too much she will fall and break her neck. She can go down to the ground or try to follow the branch.\n\n> You follow the branch\nLornedei follows the branch. She steps through the smoke and enters the Hall of Mirrors.\n\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nOn the portal to the void is a small gray plaque.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You take the stone pile\nthat is way too heavy to move around.\n\n> You reach the north frame\n\"Something is not right. Something is missing.\"\n\n> You reach the west frame\n\"I cannot reach into this one Master. I am not sure what is stopping me. Perhaps it needs to be whole.\"\n\n> You examine the staff\nIt's a heavy staff in what appears to be oak. It reaches Lornedei to the shoulder, is thicker in one end and irregular in shape, with the natural shape preserved. It is polished and given a patina with many years use.\n\n> You reach the staff\n\"No need for that Master. I have heard about things like this. I believe that this staff once had much power but it is now useless. A staff like this focuses the owner's powers only and this ones owner is obviously quite dead.\"\n\n> You go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\n\n> Go upward\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nThe column of black smoke rushes towards the opening, jerks through it. It struggles to stay, twitching.\n\n> You look at the opening\nThe stone staircase spirals down into the dark. The steps are worn and cracked. A layer of sand and dust covers each step. No one has walked here for many years.\nThe nightmare twitches, stirring up dust.\nLornedei is waiting for your command.\n\n> Go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThe hovering sleepwalker shows up at the edge of the forest. It picks up speed over the dry land, swirls up sand and dust and stays next to Lornedei.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You dig the hole\nThe ground is too hard to dig in this place.\n\n> Go east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You go east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\"What should I do?\"\n\n> Dig\n(the sleep walker)\nLornedei digs a hole in the dry ground.\n\n> You put nut in the hole\nShe needs to be holding the purple nut with thorns before she can put it into something else.\n\"Master?\"\n\n> You put the nut in the hole\n\"No Master. I will not plant that thing. It is wrong.\"\n\"Master?\"\n\n> You go southwest\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> Go west\nWasteland (Overlooking the Ravine)\nLornedei stands on an outcropping overlooking a deep ravine going as far north as she can see. The ledge seems to be the remains of a road, cut off by the creation of the break in the earth. On the other side of the ravine, there's a barely visible opening through the trees. There is no way over there though. A steady wind tears at her clothes and hair in sudden gusts that seem eager to throw her off balance.\n\nEast, northeast and north are the ways off the ledge.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Go northeast\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You go west\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nDeini is here.\nThe wolf tires of Lornedei and pretends to sleep for a bit.\n\n> You enter the nightmare\n\"Master? Are you sure about this?\"\nShe looks terrified but she decides to trust your judgment. She walks into the spinning smoke.\nthe nightmare stops spinning and Lornedei appears on the other side. She looks at you with gray eyes and an uncanny smile on her lips.\n\n> Go east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\n\nThe sleepwalker is here. It has stopped spinning.\n\n> You go to the east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\nShe can see a small hole in the hard ground (which is empty) here.\n\n> You put the nut in the hole\n\"Lornedei stares at the nut.\n\"No! It is not ready. It needs something else. It needs blood to grow. That is what he said.\"\n\n> You cut yourself\nThat makes very little sense. Perhaps you should think that one through.\n\n> You take the red worm\nIf you insist.\nLornedei is muttering to herself.\n\n> You kill it\nLornedei mumbles.\n\"With time. The end is coming and they will all die.\"\nLornedei's shadow trembles and disappears. In an instant, it is back. She seems not to notice.\n\n> You bite the the red worm\nLornedei mumbles.\n\"With time. The end is coming and they will all die.\"\n\n> Inventory\nLornedei's magic is currently at 165.\nLornedei is carrying:\na shiny red worm\na purple nut with thorns\na wizard's staff\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na fat blue worm\na leather rucksack (being worn)\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> You look at the bone\nAs far as Lornedei can gather, it's a bone from a dear's leg. It has plenty of bite marks on it so this might have been one of Deini's unfortunate preys.\nLornedei's shadow tears one shadow-leg from Lornedei's real one, then the other. It fades as it rises. Once upright, it melts into Lornedei. She shivers.\n\n> Yes\nYou give it your best shot, chanting and carrying on.\n\"Master?\" Lornedei is extremely pale but she seems well.\nThe exorcism succeeded.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You enter the sleepwalker\n\"Master?\" She glances up at you, frowning, but she walks into the spinning mist.\nThe sleepwalker stops spinning and Lornedei appears on the other side, apparently not sure where she is or why.\n\n> You go west\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nThe nightmare is here. It has stopped spinning but occasionally it twitches, releasing veils of broken smoke that dissolves in the air.\n\nDeini is here.\n\n> Pet deini\nLornedei moves to pet the wolf but halfway there, she seems to forget what she was about to do.\n\n> You go to the west\nA few paces away, the courtyard ends abruptly as the ground is replaced by the ravine. A vertical cliff of bare rock is all that is left. If there was a western wall there, it now lies at the bottom of the ravine, along with a big part of the castle. On the other side, the forbidden forest starts again. Lornedei quickly backs away from the edge.\nThe wolf tires of Lornedei and pretends to sleep for a bit."
    },
    {
        "text": "> Go downwards\nShe cannot go there, or she just does not wish to. She can go north, south, east or southeast."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> You look around\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nThe nightmare is here. It has stopped spinning but occasionally it twitches, releasing veils of broken smoke that dissolves in the air.\n\nDeini is here.\nDeini gets in front of Lornedei but the girl just gives her a distracted pat on the head."
    },
    {
        "text": "> You go downward\nLornedei takes a quick glance down the ravine. She shakes her head.\n\n> You go southeast\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nOn the portal to the void is a small gray plaque.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You reach elder\nLornedei gives the pile of bones a sad look.\n\"Is he dead?\"\n\n> Yes\nThere is no need to answer her. Better to keep your peace.\n\n> You search elder\nLornedei is less than interested in digging around in old dead peoples remains.\n\n> You rest\n\"Huh?\"\n\n> You wake the ld\nYou decide to break the rules just slightly. You give her a tiny nudge. A mental slap if you will. Her head snaps up and she is staring at you, shocked.\n\nHer eyes are bright and aware. She smiles.\n\"I was not quite here Master. I am sorry. I am awake now.\"\n\n> Go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\nThe sleepwalker hovers past.\nThe whirlwind of black smoke twitches past the opening in the wall. Then it turns back, rushes, and enters the guard chamber. It twitches, hovering over the rubble, casting out broken smoke that escapes through the opening."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go downwards\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nShe can also see a large black beetle (Airing out its shell at the moment.) here.\nThe sleepwalker comes charging out of the forest in a hurry. It stops next to Lornedei, disposing of sand, leaves and sticks, dead grass and not just a little dry soil."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nLornedei drops down into the opening between the roots of the black oak. She tumbles down into cool dark water.\n\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nThe roots on the south wall have slid apart enough to reveal a narrow passage through rock and soil.\nSPLASH!\n\n> Go upwards\nIn the River (By the Cliff)\nThe river makes a slight turn, hiding the road from view. A vertical cliff stops her from going any further north in this tunnel of water, trees, and shadows. Above her head is a frayed ribbon of blue sky and at the top of the cliff, the two forests meet. Below and around her there is that play of light and dark, maybe just a little bit darker. South takes her back around the bend. Looking down she can see an opening in the cliff.\nA dry black leaf drops from the forbidden forest into the water right in front of Lornedei. It bobs up and down a couple of times before it floats away downstream.\n\n> Go south\nIn the River (Between the Forests)\nThe forbidden forest is to the west and the old forest to the east. The river flows back south and down takes her to the bottom of the river. To the north the river disappears out of sight around a bend, and there is a slight opening in the trees to the east.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> You go south\nIn the River (By the Road)\nThe river runs from north to south. Ahead of her, the glittering water becomes shaded by the two forests. The forbidden forest on the left and the still green old forest on the right. The river disappears out of sight perhaps a hundred paces into the tunnel of trees, water, and shadows. The dusty road is east, where she can get out of the water. She can also dive down to the bottom of the river.\n\n> Go east\nAarkland (Billowing Field)\nThe grass grows waist high. Touched by sun, wind, and rain, it patiently waits for the farmers that will not come. The edge of the old forest lies close by to the north. To the south, a big pile of stones rises above the grass. The road is back west.\n\n> Dig\nWhat do you want Lornedei to dig?\n\n> You dig the ground\n(the ground)\nThe ground is too hard to dig in this place.\n\n> You go south\nAarkland (On the Unholy Stones)\nThe collection of stones is over ten paces from edge to edge. The top has been flattened to create a platform and that is where Lornedei stands. No new stones have been added in several hundred years. Despite the lack of activity, nothing grows near the stones.\n\nThere are powers here that make it easier for her to use her magic. You can make her see what hides around her. She will see the world as it is, what hides beyond what the eye can see.\n\nShe can go north to the field or northwest back to the dusty road. Lornedei is waiting for your command.\n\n> Search stones\nThere is nothing on the unholy stones.\nLornedei glances up at you, uncertain.\n\n> You reach the stones\nLornedei reaches down in the ground by her feet. She shuts her eyes and lets her mind touch the stones one by one. One lost name after another flies through her mind like a swarm of insane and vicious insects. Hundreds, thousands of names of men, women and children. Each one has a history, a life led in pain or ignorance, but they all share the same pain. The same longing, the same sorrow, the same terrible fate. Crying, she drops to her knees.\n\"These people were all severed. Their names were stolen, ripped away from their souls. They did not all deserve this fate, I am sure. These names belong to the spirits Master, but they can never be whole again. Never!\" Lornedei takes a deep breath and gets back up on her feet.\n\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> Wave bone\nLornedei frowns. She is not quite sure what it is that you wish her to do.\n\n> You break the bone\nShe gives you a quick glance but shakes her head.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> Heal bone\nShe cannot heal things that are not alive.\nLornedei glances up at you, uncertain.\n\n> You go to the west\nIn the River (By the Road)\nThe river runs from north to south. Ahead of her, the glittering water becomes shaded by the two forests. The forbidden forest on the left and the still green old forest on the right. The river disappears out of sight perhaps a hundred paces into the tunnel of trees, water, and shadows. The dusty road is east, where she can get out of the water. She can also dive down to the bottom of the river.\nLornedei slowly turns around in the water. She looks down through the surface, then up at the trees. She mutters under her breath.\n\n> Go north\nIn the River (Between the Forests)\nThe forbidden forest is to the west and the old forest to the east. The river flows back south and down takes her to the bottom of the river. To the north the river disappears out of sight around a bend, and there is a slight opening in the trees to the east.\n\n> Go west\nWhat makes you think that she wants to be nearly drowned in there again? Especially as the passage under the giant black oak is open."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Look around\nCaves (Choosing the Path)\nThe main flow seems to continue north, while two smaller tunnels lead northwest and west. East takes her back near the opening.\nHer lungs are starting to ache. She will have to go to the surface soon!\n\n> Go north\nCaves (Where Bubbles Rise)\nThere is air above in this larger cave and just a hint of light somewhere ahead.\nThe cave curves gently to the left and continues northwest towards the light while south takes her back to the Junction.\n\nA stream of bubbles rises from the pitch-black bottom, meets the girl on its way up, and then explode in a glittering cascade of air around her.\n\n> Go upwards\nCaves (Among the Restless Roots)\nThe space she is in is not more then twice Lornedei's length in any direction. The tangle of roots makes the space seem smaller yet. The pale mass of roots stirs restlessly. Below her, the inky water of the river flows past.\n\nThe roots on the south wall have slid apart enough to reveal a narrow passage through rock and soil.\n\n> Exits\nShe can go down or south.\n\n> Go south\nAfter squeezing herself through the tight passage she is not just dripping wet but also filthy and out of breath.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\n\nShe can also see a large black beetle (Fluffing up its wings at the moment.) here.\nThe wandering nightmare crashes out from the black forest. It swirls up dust and dry grass on its erratic route through the dead grass. It twitches past the altar and stops near the black oak.\nThe beetle disappears into the crumbling stone house. It comes back out, stays a moment in the opening, waving its antennae, before coming back to Lornedei.\n\n> You take the left path\nLornedei takes a couple of steps towards the dark trail, glancing nervously up at the trees. Then she takes a deep breath before moving forward. The shadows of the forbidden forest fall on her.\nShe walks without sun as guidance or aim to where she is going.\nThe path twists and turns and soon she is cursing her own thoughtlessness. The prickling sensation of a forgotten spirit's hatred sinks down on her like a heavy blanket.\nHer feet feel strangely heavy and clumsy, as if the undergrowth hinders her movement. However there is nothing growing on the path. It is empty. Flat and hard-packed, it should be easy to walk on.\nA somewhat stronger light appears further ahead and with a soft sob of relief Lornedei starts running towards the clearing.\nShe stops with the beginning of a smile freezing on her lips.\nThe clearing is dark, a stone well gurgles softly, and three paths disappear into the forbidden forest.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> You take straight path\nLornedei takes a couple of steps towards the dark trail, glancing nervously up at the trees. Then she takes a deep breath before moving forward. The shadows of the forbidden forest fall on her.\nShe walks without sun as guidance or aim to where she is going.\nThe path twists and turns and soon she is cursing her own thoughtlessness. The prickling sensation of a forgotten spirit's hatred sinks down on her like a heavy blanket.\nHer feet feel strangely heavy and clumsy, as if the undergrowth hinders her movement. However there is nothing growing on the path. It is empty. Flat and hard-packed, it should be easy to walk on.\nA somewhat stronger light appears further ahead and with a soft sob of relief Lornedei starts running towards the clearing.\nShe stops with the beginning of a smile freezing on her lips.\nThe clearing is dark, a stone well gurgles softly, and three paths disappear into the forbidden forest.\nThe beetle runs off to one of the paths. It spins around once before returning to Lornedei.\n\n> You take right path\nLornedei takes a couple of steps towards the dark trail, glancing nervously up at the trees. Then she takes a deep breath before moving forward. The shadows of the forbidden forest fall on her.\nShe walks without sun as guidance or aim to where she is going.\nThe path twists and turns and soon she is cursing her own thoughtlessness. The prickling sensation of a forgotten spirit's hatred sinks down on her like a heavy blanket.\nHer feet feel strangely heavy and clumsy, as if the undergrowth hinders her movement. However there is nothing growing on the path. It is empty. Flat and hard-packed, it should be easy to walk on.\nA somewhat stronger light appears further ahead and with a soft sob of relief Lornedei starts running towards the clearing.\nShe stops with the beginning of a smile freezing on her lips.\nThe clearing is dark, a stone well gurgles softly, and three paths disappear into the forbidden forest.\n\n> You go west\nHesitantly she takes a few steps forward, but she has no idea in what directions the paths lead. Uncertain, she looks up at you.\n\n> Go east\nHesitantly she takes a few steps forward, but she has no idea in what directions the paths lead. Uncertain, she looks up at you.\nLornedei looks around, biting her lower lip.\n\n> You examine well\nIt is an old, neglected well made of stones. It's nearly invisible among the long dry grass dying bushes that surround it.\nThe roots under the big oak stir restlessly.\nLornedei frowns. She seems to be listening.\nAnd there truly is a sound, distant, from the forest. It sounds like a bird, unlike any other.\n\n> You look at the grass\nThe brush is dry, withered, gnarled, deformed, starved. In the midst of that, razor-like blades of grass poke up. Their tips are shaped like scalpels, their stems straight and silvery gray.\nLornedei glances up at you, uncertain.\n\n> You search the grass\nShe reaches for one of the dry tufts of dead grass. She quickly pulls her hand back.\n\"Ouch!\"\nThe grass is razor-sharp and she is better off keeping her hands away from it.\n\n> Cut grass\nShe has nothing to cut that with.\nLornedei bites on a nail.\n\n> You reach the grass\nThere seems to be nothing beyond what the eye can see.\nThe beetle scrambles through the dead grass to one of the paths. It spins around and comes back to Lornedei.\n\n> You reach well\nThere seems to be nothing beyond what the eye can see.\nLornedei glances up at you, uncertain."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> You look at your surroundings\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\n\nShe can also see a large black beetle (Spinning around waving its antennae at the moment.) here.\n\n> You reach sleepwalker\nLornedei focuses on the spinning mist but suddenly she seems weary and confused.\n\"It is strange Master. If I try to feel what is inside it, I feel like I am going to fall asleep.\"\nLornedei's magic drops by one.\n\n> You reach altar\nShe lifts her hands towards the stained altar. She focuses, frowning, then she is shoved back by something. The connection breaks and Lornedei gasps for air.\n\"No Master, I cannot! There is so much wickedness there and it does not want to reveal its secrets. All I could sense was pain. Pain, fear, and blood.\"\nLornedei's magic just dropped by five.\nA dry black leaf drops down on Lornedei's shoulder. With a grimace, she flicks it with a finger to get rid of it.\n\n> You cut ld\nThat makes very little sense. Perhaps you should think that one through.\nThe roots under the big oak stir restlessly.\nLornedei stares at the leaf clusters in the black forest. She looks away, biting her lower lip.\n\n> You search grass\nLornedei is staring at the black oak.\n\n> You search grass\nLornedei is staring at the black oak.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You close the eyes\nThat's not something she can close.\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> You wake the ld\nYou decide to break the rules just slightly. You give her a tiny nudge. A mental slap if you will. Her head snaps up and she is staring at you, shocked.\n\nHer eyes are bright and aware. She smiles.\n\"I was not quite here Master. I am sorry. I am awake now.\"\nThe roots under the big oak stir restlessly.\n\n> You enter the nightmare\n\"Master? Are you sure about this?\"\nShe looks terrified but she decides to trust your judgment. She walks into the spinning smoke.\nthe nightmare stops spinning and Lornedei appears on the other side. She looks at you with gray eyes and an uncanny smile on her lips. Lornedei shivers. She looks behind her. There is nothing there. Lornedei turns her head slowly from side to side, dazed. She blinks.\n\n> You search the grass\nThe thin strands of grass are sharp enough to cut her hand to pieces, but she shoves her hand in the middle of one of the tufts of grass.\nshe pulls it out of the ground and throws it into the gurgling stone well. In doing that, a rusty something is revealed. It looks like an old sword.\nLornedei's hand is undamaged.\n\n> You examine the sword\nIt might have been a mighty sword in a brave warriors hand at one point. There is now a fingers length left of the blade and the thing looks more like a clump of rust.\nLornedei is muttering to herself.\n\n> You reach the sword\nThere seems to be nothing beyond what the eye can see.\nThe beetle stands still, seemingly watching the deformed bushes.\n\n> You cut yourself\nThat makes very little sense. Perhaps you should think that one through.\nLornedei reaches down to scratch her ankle.\nLornedei stares at the leaf clusters in the black forest. She looks away, biting her lower lip.\n\n> You search the grass\n\"There is nothing more to find there.\"\nSomething touches Lornedei's foot. She pulls her leg away from the grasping root with a shriek.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> You follow the branch\nLornedei steps through the smoke.\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nOn the portal to the void is a small gray plaque.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\n\n> You go upwards\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nLornedei stumbles for no apparent reason. She looks up at you, accusingly.\n\n> You go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThe girl looks at the wolf as if seeing it for the first time. Deini backs away from her.\n\n> You kill Deini\nLornedei just looks at you. Her blank stare reveals none of her thoughts.\n\n> You throw sword at Deini\nLornedei's aim is awful. The rusty sword grip is so far off the intended target it is not even funny.\n\n> Zap deini\nLornedei just looks at you. Her blank stare reveals none of her thoughts.\nLornedei's shadow trembles and disappears. In an instant, it is back. She seems not to notice.\nDeini comes up to Lornedei to be scratched.\n\"Deini NO!\" Lornedei waves the wolf away.\n\n> Go northeast\nThere is a mountain of rubble in the way. There is a couple of passages through the precariously stacked pile, but it is far to risky to send Lornedei in there.\nDeini comes up to Lornedei to be scratched.\n\"Deini NO!\" Lornedei waves the wolf away.\n\n> Go east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nLornedei is muttering to herself.\n\n> Go east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\n\nShe can see a small hole in the hard ground (which is empty) here. Lornedei's shadow stretches out behind her. It sits up. It reaches. It touches the exposed skin on her neck before lying back down. Lornedei scratches her neck furiously.\n\n> Wait\nLornedei waits as the dry wind tears at her torn clothing.\nLornedei wipes her forehead with her shirtsleeve.\n\n> You wait\nLornedei waits as the dry wind tears at her torn clothing.\n\n> Wait\nLornedei waits as the dry wind tears at her torn clothing.\nLornedei feels something against her leg. Like a shadow, silent and cautious, Deini has come to her. The wolf is sniffing the air, is constantly watching Lornedei, but she finally lies down. She puts her head on her front paws but keeps constant watch.\n\"You just stay out of my way.\"\nDeini stares at the small hole in the ground, then at Lornedei. She growls.\n\n> You kill Deini\nLornedei just looks at you. Her blank stare reveals none of her thoughts.\nDeini looks at the hole in the ground and walks over to it. She lies down and rolls around on top of it, effectively filling it with dirt.\n\nWould you like to restore a saved game?\n\n> You check your inventory\nLornedei's magic is currently at 166.\nLornedei is carrying:\na wizard's staff\na large black beetle (Spinning around waving its antennae at the moment.)\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> You put the Crystal in the west indentation\nNo, the amulet will not fit in that hole.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You look at the plate\nIt is a somewhat dented silver dish. One side returns a distorted but clear image of the holder.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You examine the plate\nIt is a somewhat dented silver dish. One side returns a distorted but clear image of the holder.\n\n> You put plate in the north indentation\nNo, the small dented silver plate will not fit in that hole.\n\"Master?\"\n\n> You reach the plate\nThere seems to be nothing beyond what the eye can see.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You go to the south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThe hovering sleepwalker shows up at the edge of the forest. It picks up speed over the dry land, swirls up sand and dust and stays next to Lornedei.\nA black smoke is rising from the forbidden forest. It hovers over the treetops and is barely distinguishable from the constant mist. It moves closer and starts spinning. It drops down to the ground at the edge of the forest and forms a ragged column of black smoke. It swirls up sand and dust at touchdown. It picks up speed across the flat ground and stops close to Lornedei. It is turning slowly while releasing strands of broken smoke that dissolves in the air.\n\"The nightmare. The maker of bad dreams. I thought that they were only stories.\"\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Heal sleepwalker\nShe cannot heal things that are not alive.\nDeini yawns, utterly bored.\n\n> Go northwest\nThe front wall of the castle ends there in a jagged edge. The rest of it is at the bottom of the ravine. There is no way of knowing how big the castle might have been before. Lornedei takes a quick look over the edge of the ravine. It is too far down to see anything clearly and she retreats.\n\n> Go north\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nThe sleepwalker stalks the courtyard.\nThe column of black smoke rushes towards the opening, jerks through it. It struggles to stay, twitching.\n\n> Go west\nLornedei takes one step but stops. She cannot go there. She can go south or down.\nThe sleepwalker stalks the courtyard.\nThe nightmare twitches, stirring up dust."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Go downwards\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\nThe sleepwalker hovers past.\n\n> You go southeast\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\nLornedei bites on a nail.\n\n> You put the gray plaque in the north indentation\nLornedei puts the small gray plaque in the round hole on the frame. It goes into place with a click.\nLornedei bites on a nail.\n\n> Go north\nA wide and heavy frame surrounds a dark mirror. There is only a dull reflection of the chamber behind Lornedei when she looks in it.\nThe green plaque is in place on the frame.\n\n> You touch the north mirror\n\"the frame feels warm.\"\n\"Master?\"\n\n> You look at the green plaque\nIt is a small round plaque made of a green smooth stone. It is small enough to fit in Lornedei's hand and has a delicate carving on one side. The picture shows a woman's head and shoulders in profile. A giant oak is in the background. The woman is wearing a leather helmet on top of her braided hair and she is holding a long spear.\n\n> You examine the gray plaque\nIt is a small round plaque in a material unknown to Lornedei. The surface is smooth and with a deep polish. It is small enough to fit in Lornedei's hand. The surface shows nothing, not even the distorted image of Lornedei herself that one might expect. What shows in the plaque is like a reflection of a stormy sky in a puddle of murky water, just before the rain starts hammering.\n\n> You look at the black plaque\nIt's a totally black round plaque. It is small enough to fit in Lornedei's palm. The smooth stone is of a kind that Lornedei has never seen. A strange picture is carved on one side. It looks like a flying insect of some sort, with a giant tree in the background."
    },
    {
        "text": "> You look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nOn the east mirror is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You check your inventory\nLornedei's magic is currently at 166.\nLornedei is carrying:\na small gray plaque\na wizard's staff\na large black beetle (Airing out its shell at the moment.)\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese"
    },
    {
        "text": "> Look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nOn the east mirror is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\nLornedei is waiting for your command.\n\n> You put the green plaque in the north indentation\nLornedei puts the small green plaque in the round hole on the frame. It goes into place with a click.\n\n> Go north\nA wide and heavy frame surrounds a dark mirror. There is only a dull reflection of the chamber behind Lornedei when she looks in it.\nThe green plaque is in place on the frame.\n\n> You enter the north mirror\nLornedei examines the mirror, looks behind it, and taps the dark glass where nothing is reflected but darkness. Finally, she shakes her head.\n\n> You take the green plaque\n\"I cannot seem to take the plaque again. Perhaps it is exactly where it is supposed to be now.\"\nLornedei glances up at you, uncertain.\n\n> You go east\nThe glass, underneath a layer of dust, has no reflection whatsoever. Lornedei glances at the frame but she just shakes her head in puzzlement. She looks away from the strange sight.\nA small black plaque is placed on the frame.\n\n> You look at the north indentation\nThere is an indentation in the top part of the frame. A plaque might fit there.\n\nUnder a layer of dust covering the frame, the wood is decorated with delicately painted vines and leaves of all sizes and shapes. Tiny animals peek out from behind the leaves, which seem to stand out even though the surface is flat: a red squirrel's curious gaze, a deer and its offspring, ready to flee, a miniature snake on a vine.\n\n> You take the black plaque\n\"Ouch, I broke a nail! the plaque is stuck. At least I do not know how to get it out again. Maybe it is the way it is supposed to be.\""
    },
    {
        "text": "> You look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nOn the north mirror is a small green plaque.\n\nOn the east mirror is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nOn the south mirror is a small gray plaque.\n\nOn the north mirror is a small green plaque.\n\nOn the east mirror is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\nLornedei glances up at you, uncertain.\n\n> You go east\nThe glass, underneath a layer of dust, has no reflection whatsoever. Lornedei glances at the frame but she just shakes her head in puzzlement. She looks away from the strange sight.\nA small black plaque is placed on the frame.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Go south\nOn the south wall hangs a big oval mirror. The glass is dark and cold. The gray plaque is placed in the indentation in the frame.\n\n> You reach the north mirror\nThe darkness in the mirror changes into a swirling mist. The portal to the Hall of Elevation is open.\n\nLornedei's magic drops by one.\n\n> You reach the east mirror\nThe darkness in the mirror changes into a swirling mist. The portal to the Hall of Severance is open.\n\nLornedei's magic drops by one.\n\n> Go north\nLornedei steps through the mirror.\n\nHall of Elevation (In the Giant Oak)\nThe shadow of the big oak trembles on the ground below. The far end of the branch Lornedei is sitting on seems to disappear in a gray mist. The other two branches on this level are just as unreachable for her as the limbs higher up.\n\nIn the trunk in front of her, three holes are lined up in a tidy row. They are apparently inhabited by some kind of worm. She can climb down or go north along the branch.\n\n> Heal Oak\n(the giant oak)\nThere is nothing wrong with the tree. It is still strong and healthy. How long it will last, is yet to be seen.\n\n> Go upwards\nShe can't reach any of the higher branches. This is as high as she can go."
    },
    {
        "text": "> You look at your surroundings\nHall of Elevation (In the Giant Oak)\nThe shadow of the big oak trembles on the ground below. The far end of the branch Lornedei is sitting on seems to disappear in a gray mist. The other two branches on this level are just as unreachable for her as the limbs higher up.\n\nIn the trunk in front of her, three holes are lined up in a tidy row. They are apparently inhabited by some kind of worm. She can climb down or go north along the branch.\n\n> You go north\nLornedei steps through the mist.\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nOn the south mirror is a small gray plaque.\n\nOn the portal to the Hall of Elevation is a small green plaque.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> Y.\n%% Enter a save filename to read:\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\n> Search bones\n(the long dead wizard)\nLornedei carefully searches the bones on the floor. After gingerly lifting the wide sleeve covering one arm, she stops and looks up at you.\n\"I found something Master. It is a green plaque.\"\n\n> You examine west\n(the west mirror (broken))\nThe glass is cracked and dark. The frame surrounding the broken mirror seems to be in bad shape. There appears to be a shallow indentation in the top part of the frame. She may need to look closer at the frame.\n\n> You look at the west frame\nThe wide frame seems at first to be a mosaic of different types of frayed fabric. Upon closer inspection, it is clear that the frame is made up of different types of wood, stone, and even metal. It has however been demolished by something, cut and beaten into a mess of splinters. There seems to be an indentation in the top part of the frame but it may not be able to hold anything in place.\n\n> Heal west mirror\nLornedei lifts her hand to the mirror, wondering if it is possible to heal. She gathers her powers and lets a thin blue streak of light touch the glass fragments. A sudden rumble makes her turn around, loosing the connection with the magic. The statue slides back over the opening in the wall. The sound of it drowns in a loud grinding noise. Steel against steel. The sound turns into a scream, a guttural growl. Lornedei staggers backwards as the floor shakes.\nThe big pile of steel and stone stands before Lornedei with every seemingly random part now in its right place. The creature is almost twice as tall as the girl, and it stares down at her from within a diffuse darkness that surrounds it. This darkness is the force keeping all of its parts together and enabling the heavy body to move.\n\nAn enormous head sits directly on a giant shoulder, and the jaw of rusty metal opens and closes constantly with a creaking and a clank that echoes in the chamber.\nThe enormous body of stone shifts constantly, as if restless. The sound of stone grinding against stone, steel against stone and steel against steel is terribly loud.\n\nA crimson glow pulsates deep in a horizontal crack in the head.\nPuffs of dust fly out of the many joints between the rocks. Tufts of mold, moss, and shards of stone are raining down on the marble floor.\n\nLornedei's magic drops by one.\nClouds of dust swirl up around stomping stone feet.\n\n> You check your inventory\nLornedei's magic is currently at 165.\nLornedei is carrying:\na wizard's staff\na large black beetle (Fluffing up its wings at the moment.)\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\nLornedei is waiting for your command.\n\n> You reach the south mirror\n\"No Master, there is something not right. It feels like I should be able to but something is missing.\"\nA crimson light dances on the white walls of the chamber, metal jaws snap and stone limbs creak.\n\n> You put gray in the south\n(the small gray plaque in the south mirror)\nLornedei puts the small gray plaque in the round hole on the frame. It goes into place with a click.\nClouds of dust swirl up around stomping stone feet.\n\n> You reach the south mirror\nThe matted surface of the glass suddenly flares up in a cascade of crimson sparks. A shower of hot air and red light throws Lornedei back. It throws her on the floor, and she desperately claps at her shirt to kill the tiny flames. She drags herself back across the dusty floor.\n\nThe moment passes, the sparks fade and die. Lornedei gets up on her feet, staring at a wavy, unsettling darkness. There is nothing at all beyond the polished frame.\n\nThe portal to the Eternal Void is open.\n\"What should I do?\"\nLornedei barely escapes a swinging stone arm. The chamber shakes when the arm hits the wall.\n\n> You heal west\n(the west mirror (broken))\nLornedei yells: \"There is no time for that now!\"\n\"What should I do?\"\nA loud scream of frustration fills the chamber. Lornedei staggers, and a tendril of greasy smoke touches her forehead before she can get out of the way. The magic is slowly fading.\n\nLornedei's magic just dropped by two.\n\n> You put the green in the west\n(the west mirror (broken))\nShe needs to be holding the small green plaque before she can put it into something else.\nLornedei shakes her foot to get rid of a painful stone from her sandal. Clouds of dust swirl up around stomping stone feet.\n\n> You examine west\n(the west mirror (broken))\nThe glass is cracked and dark. The frame surrounding the broken mirror seems to be in bad shape. There appears to be a shallow indentation in the top part of the frame. She may need to look closer at the frame.\n\n> Heal broken mirror\nLornedei yells: \"There is no time for that now!\"\n\n> You put the black plaque in the south indentation\nNo, there is already a plaque in place in the frame. She will have to take it out to put another one in.\nLornedei barely escapes a swinging stone arm. The chamber shakes when the arm hits the wall.\n\n> You put the gray plaque in the south indentation\nShe needs to be holding the small gray plaque before she can put it into something else.\nLornedei barely escapes a swinging stone arm. The chamber shakes when the arm hits the wall.\n\n> You reach the south mirror\n\"I am not sure I should. There is something very wrong here.\"\nShe takes a couple of steps back."
    },
    {
        "text": "> Look around\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nRaccdaha stomps the floor, shifting its weight. It is getting ready to crush Lornedei.\n\nOn the portal to the void is a small gray plaque.\n\nShe can also see a small green plaque here.\nLornedei stumbles backwards.\n\n> You check your inventory\nLornedei's magic is currently at 159.\nLornedei is carrying:\na wizard's staff\na large black beetle (Airing out its shell at the moment.)\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\n\n> Heal raccdaha\nDo you really think evil can be healed?\nTwo giant stone arms meet with a crash above Lornedei's head. She stumbles back.\n\n> You throw the plate at Raccdaha\nthe small dented silver plate flies through the air but misses totally. The creature takes a step towards her and she quickly sidesteps to avoid a shower of crimson sparks.\n\nLornedei is waiting for your command.\n\n> Kiss raccdaha\nLornedei backs away, horrified.\n\n> You give the urn to Raccdaha\nLornedei holds up the old tarnished bronze urn in front of the creature. A swinging arm comes too close for comfort. The draft from the near hit blows her hair back from her face. she drops the old tarnished bronze urn on the floor.\nA crimson light dances on the white walls of the chamber, metal jaws snap and stone limbs creak.\n\n> You give the bone to Raccdaha\nLornedei holds up the bone in front of the creature. A swinging arm comes too close for comfort. The draft from the near hit blows her hair back from her face. she drops the bone on the floor.\n\n> You give the yellow worm to Raccdaha\nLornedei holds up the skinny yellow worm in front of the creature. A swinging arm comes too close for comfort. The draft from the near hit blows her hair back from her face. she drops the skinny yellow worm on the floor.\n\n> You give the acorn to Raccdaha\nReally? the golden acorn?\n\n[Your holiness has just gone up by five.]\nLornedei holds up the golden acorn in front of the creature. A swinging arm comes too close for comfort. The draft from the near hit blows her hair back from her face. she drops the golden acorn on the floor.\n\n> You take all\ngolden acorn: As you wish.\nskinny yellow worm: As you wish.\nbone: As you wish.\nold tarnished bronze urn: As you wish.\nsmall dented silver plate: As you wish.\nraccdaha: Lornedei stares furiously at you. Horrified but still angry, she steps back.\n\"I am not strong enough Master, can you not see that?\"\nShe sidesteps to avoid a shower of crimson sparks.\n\nsmall green plaque: As you wish.\n\n[Your holiness has just gone up by five.]\n\n> You give the plate to Raccdaha\nLornedei holds up the silver plate with trembling hands. Raccdaha stops moving. He is quiet, absorbed by the reflection in the polished surface. He grabs the plate.\nHis attention is far from Lornedei for a little while.\nLornedei looks around, biting her lower lip.\nRaccdaha is staring into the polished surface, oblivious.\n\n> Heal west mirror\nLornedei yells: \"There is no time for that now!\"\nRaccdaha is staring into the polished surface, oblivious.\n\n> You give the acorn to Raccdaha\nRaccdaha snaps out of it and turns to her.\nLornedei holds up the golden acorn in front of the creature. A swinging arm comes too close for comfort. The draft from the near hit blows her hair back from her face. she drops the golden acorn on the floor. Lornedei bites on a nail.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You throw the water at Raccdaha\n(the small water sack at raccdaha)\nthe small water sack flies through the air but misses totally. The creature takes a step towards her and she quickly sidesteps to avoid a shower of crimson sparks.\n\n\"What should I do?\"\nRaccdaha is staring into the polished surface, oblivious.\n\n> You take water\n(the small water sack)\nAs you wish.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You reach south mirror\n\"I am not sure I should. There is something very wrong here.\"\nShe takes a couple of steps back.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You open the bag\nThat's already open.\nLornedei bites on a nail.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You pour the water on Raccdaha\n(the small water sack on raccdaha)\nThe Elders water cannot be wasted that way. It is needed elsewhere. Raccdaha is staring into the polished surface, oblivious.\n\n> Close bag\nShe closes the small leather pouch.\nRaccdaha drops the silver plate on the floor and turns to Lornedei. He leans forward and reaches for her. She realizes that the time is up. He is furious now, not just annoyed with her.\nShe sidesteps and ducks under his massive arm, and she nearly gets away. Unfortunately, he gets a hold of her hair. Using it as rope, he swings her around the chamber, throws her like a sack of potatoes, and hits her against the walls until the screaming stops.\n\n> You go to the east\nThe glass, underneath a layer of dust, has no reflection whatsoever. Lornedei glances at the frame but she just shakes her head in puzzlement. She looks away from the strange sight.\nThere's an indentation in the top part of the frame. It is empty.\n\nRaccdaha drops the silver plate on the floor and turns to Lornedei. He leans forward and reaches for her. She realizes that the time is up. He is furious now, not just annoyed with her.\nShe sidesteps and ducks under his massive arm, and she nearly gets away. Unfortunately, he gets a hold of her hair. Using it as rope, he swings her around the chamber, throws her like a sack of potatoes, and hits her against the walls until the screaming stops.\n\n> You put the black plaque in the east indentatino\nLornedei puts the small black plaque in the round hole on the frame. It goes into place with a click.\nA black tendril of darkness creeps toward Lornedei's head. It touches her mind, and she can feel her powers weaken.\n\nLornedei's magic just dropped by 4."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nThe sleepwalker is here, spinning slowly.\nBlack smoke seeps out of the darkness between the trees. The smoke gathers itself until a dark pillar of smoke is formed. In erratic, twitching moves, it comes closer.\n\nIt stops next to the staring Lornedei. It starts to turn slowly, releasing veils of broken smoke from its ragged surface. They dissolve in the air and new ones form to take their place.\n\"The maker of horrors at night. The roaming nightmare. I thought they were stories.\"\n\n> You enter the nightmare\n\"Master? Are you sure about this?\"\nShe looks terrified but she decides to trust your judgment. She walks into the spinning smoke.\nthe nightmare stops spinning and Lornedei appears on the other side. She looks at you with gray eyes and an uncanny smile on her lips.\nThere is an angry buzzing from nearby. Lornedei looks around, mystified.\n\"Pft, which is it, oh smelly it is. Stubborn, umpf, thing.\" Suddenly, the firefly comes out of the opening to the stone house, dragging a piece of straw. One end of it touches the ground while the other end, with the firefly in unsteady flight through the air, is at level with Lornedei's knees. \"Hiya!\" With a terrible boost of tiny wings, the fly gets the straw totally off the ground and stays hovering at eye level. \"Oh dear, you are back.\" The fly and the straw, despite intense buzzing, starts to sink. Quickly, Lornedei grabs the straw and stops it from falling.\n\n\"Phew! Thankee Girl. Let me rest. Was waiting for you.\" Lornedei sticks the end of the straw in her hair so that the other end sticks out in front of her face. After a moment, the fly starts pacing the piece of straw.\n\"You were in the smoke were you not? I feared you being lost Girl. Oh, dear. I must tell a story now. About a little boy.\" Lornedei sits down on the ground to listen.\n\n\"He is an ugly one, if you can say so about a spirit. He was not always so. He was a boy once, born in a village not far from yours. That was a long time ago you see. An odd child he was, yes he was. He sat by the pond for much time, lost in the sight of his own face in the water, catching...\" the fly stops pacing for a moment and seems to shudder. \"I heard from rumor I did don't you know, He caught fireflies and he... He pulled...Oh, dear, I will not speak of that. He was wicked! Then his parents died. He was alone and he took care of himself. How, no one could tell, as he was still only a little boy.\n\nThen the magician came. The villagers were relieved to see the boy go with him, and no one knows where they went. For many years the boy was gone, yes he was. When he came back, a young man with riches and fancy ways, he moved in to the old home of his family, and said he had gotten rich from trade in the far lands and wished to set up business in his home village.\" The firefly makes an angry buzzing and starts pacing the straw again.\n\n\"I must make this story of less length I believe. He did not make trade honestly, tricks he had, power he had gained and fooled the villagers he did, and rose to a man of importance despite him being still young. Then his gaze fell on the merchant's daughter, and he wished her for himself. There was nothing but desire in his mind and when the girl's father refused him the still too young girl, a spell was cast. With magic he tried to force her to him, but something went wrong, very wrong.\"\n\n\"The spell he cast was powerful. The girl ran from her father in desperation one night, threw herself on a horse and rode for her love. She was in a hurry and fell. The girl was several years younger than you Girl, and the Elder's knew something was amiss. They traced the magic spell to Raccdaha.\n\nThe Elder's council banished him from the village and from his own body in the ancient sentence of severance. Death but no rest. A very cruel punishment and Raccdaha was in fact the last one they kept in the House of Penance. He became one of the forgotten ones, chased into the vast forest.\n\nHe did not remain forgotten though. He remembered his name as some of them might if they are strong enough. He grew strong. The hatred he felt poisoned big parts of the old forest and gave some kind of life to the other forgotten souls that dwelled there.\n\nHe fed the spirits with lies and promises of life. When they finally felt the same rage as him, he fed on their collective hatred and he could possess a poor wanderer's body for a while. Before his temporary body was used up, he joined the light bearers without them knowing. Their numbers started to decrease until there was very few left. He spread lies. The people grew afraid of magic, and the remaining light bearers had only one place to go. From their castle in the field of Unification, they tried to maintain the three great oaks for many years, but the day came when they had to flee even that haven. Me, cannot tell where they fled, or how. Perhaps if you go there, the place is now the field of despair, you could find knowledge. Me, yes me I don't know the rest of this story, only that Raccdaha came to rest somewhere, not able to move on, not able to live. I believe that he may be guarding the entrance to somewhere where he cannot go, waiting.\"\n\nThe firefly is quiet for a long moment. Then it walks over to the end of the straw and with a powerful buzzing, the straw is dislodged from Lornedei's hair. The fly pipes up again. \"I will be off. Good luck Girl, he may be strong but remember that he is only a big foolish and vain child.\" The fly and the straw disappear with a flash, leaving a scent of burnt straw in the air.\nLornedei is muttering to herself.\nLornedei turns her head slowly from side to side, dazed. She blinks.\n\n> You follow the branch\nLornedei steps through the smoke.\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nRaccdaha stomps the floor, shifting its weight. It is getting ready to crush Lornedei.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nShe can also see a small green plaque here.\n\n> You give the plate to Raccdaha\nLornedei holds up the silver plate with trembling hands. Raccdaha stops moving. He is quiet, absorbed by the reflection in the polished surface. He grabs the plate.\nHis attention is far from Lornedei for a little while.\nLornedei looks around, puzzled.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You put the gray plaque in the south indentation\nLornedei puts the small gray plaque in the round hole on the frame. It goes into place with a click.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You reach the south mirror\nThe matted surface of the glass suddenly flares up in a cascade of crimson sparks. A shower of hot air and red light throws Lornedei back. It throws her on the floor, and she desperately claps at her shirt to kill the tiny flames. She drags herself back across the dusty floor.\n\nThe moment passes, the sparks fade and die. Lornedei gets up on her feet, staring at a wavy, unsettling darkness. There is nothing at all beyond the polished frame.\n\nThe portal to the Eternal Void is open.\nRaccdaha is staring into the polished surface, oblivious.\n\n> Light torch\nThe torch is not of any use now. Let's just leave it as it is.\nRaccdaha is staring into the polished surface, oblivious.\n\n> Kiss raccdaha\nRaccdaha snaps out of it and turns to her.\nLornedei smiles her uncanny smile and looks calm, pleased. She holds up one hand and Raccdaha is still. She walks closer and puts a hand on one of the rocks, caressing it slowly.\n\"Yes. You can live again. Let me come with you. Let's find a body for you.\"\nA strand of darkness twists itself around her hand, touching her fingers, moving over her entire body. Light as the draft from a butterfly's wing, yet leaving her skin scorched and bleeding.\nIf she feels the burning, her face shows nothing of it.\nThe spirit that was once human embraces her. He wraps his arms around her body, seeking warmth. He holds her with arms of stone. She melts into the darkness.\n\nSmiling, she lets herself be crushed between stones, cut to pieces by sharp metal. He reaches for her hand, which turns to a bloody mess. He holds her head, which cracks like a ripe melon. Only then does the smile fade from her lips.\n\n> Pray\nShe may or may not. Just hope that her prayers go to you and not something... else.\nRaccdaha drops the silver plate on the floor.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You take the plate\nRaccdaha is holding the plate, turning it this way and that. She can't take it from him.\nRaccdaha is staring into the polished surface, oblivious.\n\n> Heal west mirror\nLornedei's shining eyes are fixed on Raccdaha. There is no way she will listen to you now.\nRaccdaha is staring into the polished surface, oblivious.\n\n> Exorcise ld\nLornedei is possessed. Would you like to perform an exorcism on her?\n\n> Yes\nYou give it your best shot, chanting and carrying on.\n\n> You kill Raccdaha\nRaccdaha snaps out of it and turns to her.\nLornedei stares furiously at you. Horrified but still angry, she steps back.\n\"I am not strong enough Master, can you not see that?\"\nShe sidesteps to avoid a shower of crimson sparks.\n\nRaccdaha is staring into the polished surface, oblivious.\n\n> Magic\nLornedei's magic is currently at 160."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Look around\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nRaccdaha is not moving. His full attention is on the reflection in the silver plate. For the moment he is not watching Lornedei.\n\nOn the portal to the void is a small gray plaque.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nShe can also see a small green plaque here.\nRaccdaha is staring into the polished surface, oblivious."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> You describe your surroundings\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nRaccdaha stomps the floor, shifting its weight. It is getting ready to crush Lornedei.\n\nShe can also see a small green plaque here.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Search bones\n(the long dead wizard)\nLornedei is less than interested in digging around in old dead peoples remains.\n\n> Go upwards\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nLornedei is muttering to herself.\n\n> You go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\n\n> You go to the east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThere is a shadow stretching out on the ground behind Lornedei. It folds into inky black and then it rises, takes one step away from her, and is gone.\n\n> You go to the east\nThere is nothing ahead but swirling dust, a hot wind, and the mist beyond. She turns away.\n\n> You open the bag\nThat's already open.\n\n> You pour the water on Tree\n(the small water sack on the petrified tree)\nThe Elders water cannot be wasted that way. It is needed elsewhere.\n\n> You pour the water on the acorn\n(the small water sack on the golden acorn)\nThe Elders water cannot be wasted that way. It is needed elsewhere. Lornedei's shadow jerks to life, reaches for her ankle, and pulls. She stumbles.\n\n> You pour the water into the hole\n(the small water sack into the small hole in the hard ground)\nThe Elders water cannot be wasted that way. It is needed elsewhere. Lornedei's shadow stretches out behind her. It sits up. It reaches. It touches the exposed skin on her neck before lying back down. Lornedei scratches her neck furiously.\n\n> Close bag\nShe closes the small leather pouch.\n\n> You dig the hole\nLornedei digs a hole in the dry ground.\n\n> You reach Oak\n(the petrified tree)\nLornedei steps back from the remains of the golden oak and shakes her head.\n\n> Heal Tree\nThere is nothing left here that can be healed. The tree is long since dead.\n\n> Exorcise ld\nLornedei is possessed. Would you like to perform an exorcism on her?\n\n> Yes\nYou give it your best shot, chanting and carrying on.\n\"Master?\" Lornedei is extremely pale but she seems well.\nThe exorcism succeeded.\n\n> You reach Oak\n(the petrified tree)\nLornedei puts her hand on the petrified wood. She shuts her eyes. Suddenly, the air is fresh with a scent of damp soil, grass and the new flowers of spring. Golden leaves tremble on silver limbs. Rooted deep in fertile soil, cared for, held in awe, the golden oak waits.\n\nSoft grass beneath bare feet, feet tredding silently towards the great oak, but stopping to wait at the proper distance. A mumble, a nervous questioning, a whispered reply. A moment of silence. A silver cup carried the last two steps to the roots below the tree.\n\nA trickle of water, a new light bearer's gift, then the acceptance of it, knowing the young one is true and strong. A golden acorn drops to the ground.\n\nAges has passed, eons of repeated procedures, of dying and re-birth. The golden oak feels no fear, no regret, knowing that after this life, it will come again. The light bearers will plant the acorn and the spiral of life will turn once more. It is soon time. Very soon. Lornedei is waiting for your command.\n\n> You check what you're carrying\nLornedei's magic is currently at 167.\nLornedei is carrying:\na wizard's staff\na large black beetle (Airing out its shell at the moment.)\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is closed)\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> Go upward\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\n\"Master?\"\n\n> Go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThe hovering sleepwalker shows up at the edge of the forest. It picks up speed over the dry land, swirls up sand and dust and stays next to Lornedei.\nA black smoke is rising from the forbidden forest. It hovers over the treetops and is barely distinguishable from the constant mist. It moves closer and starts spinning. It drops down to the ground at the edge of the forest and forms a ragged column of black smoke. It swirls up sand and dust at touchdown. It picks up speed across the flat ground and stops close to Lornedei. It is turning slowly while releasing strands of broken smoke that dissolves in the air.\n\"The nightmare. The maker of bad dreams. I thought that they were only stories.\"\n\n> Go east\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> Go east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> Go south\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\n\nShe can also see A crystal spider with shifty, beady eyes (Polishing its underside at the moment.) here.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> Rub spider\nThe crystal spider would most certainly not appreciate that.\nA dry black leaf falls to the ground next to her. A gust of wind catches it and carries it away.\n\n> You ask spider about the sleepwalker\nThe spider stares suspiciously at her. It is beneath a creature of light to indulge in conversation with lower beings.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> Go north\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You examine Oak\n(the petrified tree)\nThese are scattered remains of a tree. Mostly ashes, a few charred branches, a hollowed out trunk lying on its side, all petrified by time and lack of rain. All is covered in years of sand.\n\n> You look in Oak\n(the petrified tree)\nLornedei looks around, in the trunk, kicks away some dirt, but all she finds is more sad remains of the tree. Anything of interest is long since gone.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You search Oak\n(the petrified tree)\nLornedei looks around, in the trunk, kicks away some dirt, but all she finds is more sad remains of the tree. Anything of interest is long since gone.\n\n> Heal Oak\n(the petrified tree)\nThere is nothing left here that can be healed. The tree is long since dead.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You look at the sand\nThe soil is dry and starved of both moisture and nutrition. It looks and feels dead.\n\n> You put the spider on Oak\n(the petrified tree)\nPlacing things on the petrified tree will not do her any good.\n\n> Heal spider\nHealing drains too much power. That would be a waste.\n\n> You ask the spider about Raccdaha\nThe spider stares suspiciously at her. It is beneath a creature of light to indulge in conversation with lower beings.\n\n> Inventory\nLornedei's magic is currently at 166.\nLornedei is carrying:\nA crystal spider with shifty, beady eyes (Polishing its underside at the moment.)\na wizard's staff\na large black beetle (Taking a nap at the moment.)\na small black plaque\na cracked skull\nA blue crystal hanging on a silver chain.\na small leather pouch (which is open)\na golden acorn\na skinny yellow worm\na bone\na small dented silver plate\na small water sack (which is closed)\nthe water from the Elder's spring\nan old tarnished bronze urn\na shiny red worm\na fat blue worm\na small gray plaque\na leather rucksack (being worn)\na purple nut with thorns\na handful of white berries\na loaf of horrid bread\na piece of cheese\nLornedei is waiting for your command.\n\n> Plant acorn\n\"Master! Nothing can grow here.\" She picks up a handful of dirt but drops it again with a grimace.\n\"This soil is poisoned, I can feel it.\"\n\n> You go southwest\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> Dig\n(the sleep walker)\nThe ground is too hard to dig in this place.\n\n> Go north\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> Go southeast\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You put the acorn in the hole\nLornedei puts the golden acorn in the small hole in the ground. After a moment, it starts to move around in there. It circles the inside of the hole and when reaching enough speed, the acorn makes it out of the hole completely. It rolls over to stop next to Lornedei's left foot.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> You open the bag\nThat's already open.\n\n> You pour the water into the hole\n(the small water sack into the small hole in the hard ground)\nThe Elders water cannot be wasted that way. It is needed elsewhere.\n\n> Close sack\nThat's already closed.\nLornedei moves a strand of hair from her face and puts it behind her ear.\nA high pitched squeal from somewhere among the blackened trees fills the air, and Lornedei shudders.\n\n> You take the acorn\nShe already has that.\n\n> Heal ground\n(the ground)\n\"There is nothing I can do for this soil.\"\n\n> You reach the bushes\nLornedei lets her mind sink into the dry twisted branches of the bushes. After just a moment she steps backwards, clasping her throat with wide, fearful eyes.\n\"These trees do not feed on water and sun. Their thirst is for something else and they have not received any for so long. That is why they have died, but the nuts... I do not understand.\"\n\n> Go northwest\nWasteland (By the East Wall)\nThe eastern wall of the ruined castle stands strong here. Fifty or so paces north, it fades into a wall of mist. East, south, southwest and southeast takes her to the rest of the field. West takes her past the east wall to the courtyard of the castle. Anything north of here is dwelled in gray mist.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You go west\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nDeini is here.\n\n> Go north\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nThe sleepwalker stalks the courtyard.\nThe column of black smoke rushes towards the opening, jerks through it. It struggles to stay, twitching."
    },
    {
        "text": "> You go down\nLornedei climbs down.\n\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe great roots under the giant oak have slid aside revealing a passage.\nThere is an angry buzzing from nearby. Lornedei looks around, mystified.\n\"Pft, which is it, oh smelly it is. Stubborn, umpf, thing.\" Suddenly, the firefly comes out of the opening to the stone house, dragging a piece of straw. One end of it touches the ground while the other end, with the firefly in unsteady flight through the air, is at level with Lornedei's knees. \"Hiya!\" With a terrible boost of tiny wings, the fly gets the straw totally off the ground and stays hovering at eye level. \"Oh dear, you are back.\" The fly and the straw, despite intense buzzing, starts to sink. Quickly, Lornedei grabs the straw and stops it from falling.\n\n\"Phew! Thankee Girl. Let me rest. Was waiting for you.\" Lornedei sticks the end of the straw in her hair so that the other end sticks out in front of her face. After a moment, the fly starts pacing the piece of straw.\n\"You were in the smoke were you not? I feared you being lost Girl. Oh, dear. I must tell a story now. About a little boy.\" Lornedei sits down on the ground to listen.\n\n\"He is an ugly one, if you can say so about a spirit. He was not always so. He was a boy once, born in a village not far from yours. That was a long time ago you see. An odd child he was, yes he was. He sat by the pond for much time, lost in the sight of his own face in the water, catching...\" the fly stops pacing for a moment and seems to shudder. \"I heard from rumor I did don't you know, He caught fireflies and he... He pulled...Oh, dear, I will not speak of that. He was wicked! Then his parents died. He was alone and he took care of himself. How, no one could tell, as he was still only a little boy.\n\nThen the magician came. The villagers were relieved to see the boy go with him, and no one knows where they went. For many years the boy was gone, yes he was. When he came back, a young man with riches and fancy ways, he moved in to the old home of his family, and said he had gotten rich from trade in the far lands and wished to set up business in his home village.\" The firefly makes an angry buzzing and starts pacing the straw again.\n\n\"I must make this story of less length I believe. He did not make trade honestly, tricks he had, power he had gained and fooled the villagers he did, and rose to a man of importance despite him being still young. Then his gaze fell on the merchant's daughter, and he wished her for himself. There was nothing but desire in his mind and when the girl's father refused him the still too young girl, a spell was cast. With magic he tried to force her to him, but something went wrong, very wrong.\"\n\n\"The spell he cast was powerful. The girl ran from her father in desperation one night, threw herself on a horse and rode for her love. She was in a hurry and fell. The girl was several years younger than you Girl, and the Elder's knew something was amiss. They traced the magic spell to Raccdaha.\n\nThe Elder's council banished him from the village and from his own body in the ancient sentence of severance. Death but no rest. A very cruel punishment and Raccdaha was in fact the last one they kept in the House of Penance. He became one of the forgotten ones, chased into the vast forest.\n\nHe did not remain forgotten though. He remembered his name as some of them might if they are strong enough. He grew strong. The hatred he felt poisoned big parts of the old forest and gave some kind of life to the other forgotten souls that dwelled there.\n\nHe fed the spirits with lies and promises of life. When they finally felt the same rage as him, he fed on their collective hatred and he could possess a poor wanderer's body for a while. Before his temporary body was used up, he joined the light bearers without them knowing. Their numbers started to decrease until there was very few left. He spread lies. The people grew afraid of magic, and the remaining light bearers had only one place to go. From their castle in the field of Unification, they tried to maintain the three great oaks for many years, but the day came when they had to flee even that haven. Me, cannot tell where they fled, or how. Perhaps if you go there, the place is now the field of despair, you could find knowledge. Me, yes me I don't know the rest of this story, only that Raccdaha came to rest somewhere, not able to move on, not able to live. I believe that he may be guarding the entrance to somewhere where he cannot go, waiting.\"\n\nThe firefly is quiet for a long moment. Then it walks over to the end of the straw and with a powerful buzzing, the straw is dislodged from Lornedei's hair. The fly pipes up again. \"I will be off. Good luck Girl, he may be strong but remember that he is only a big foolish and vain child.\" The fly and the straw disappear with a flash, leaving a scent of burnt straw in the air.\nThe sleepwalker comes charging out of the forest in a hurry. It stops next to Lornedei, disposing of sand, leaves and sticks, dead grass and not just a little dry soil.\nThe wandering nightmare crashes out from the black forest. It swirls up dust and dry grass on its erratic route through the dead grass. It twitches past the altar and stops near the black oak.\nThe beetle squirms its way out of Lornedei's grasp and drops to the ground. It runs off, climbs up on the stone well, climbs back down, crawls through the bushes and seems to inspect the stone house, to finally stop at one of the paths."
    },
    {
        "text": "> You look around\nThe clearing is almost perfectly round and thirty or so paces across. It is surrounded by the forbidden forest on all sides.\nA giant black oak stands in solitude in the middle of the clearing. Many of its roots stick out of the ground like snakes arching to suffocate their prey. Steps are cut in the oak to provide an easy way up.\n\nA stone altar stands in the shadow of the big oak. Dry grass and shrubs are still rooted in the dead soil, and more of the deformed bushes grow in a loose circle around the oak and the altar.\n\nAn old stone well gurgles softly not far from a crumbling stone house. On the other side of the clearing, three paths lead into the forbidden forest.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nThe sleepwalker is here, spinning slowly.\n\nThe great roots under the giant oak have slid aside revealing a passage.\n\nShe can also see a large black beetle (Taking a nap at the moment.) here.\nLornedei moves a strand of hair from her face and puts it behind her ear.\n\n> You look at the bushes\nThese bushes resemble those at the village road, but there are quite a few more of them. These look even more gnarled and deformed, as though starved of clean water and sunlight.\nThese also have thorns as well as, oddly enough, plenty of purple nuts.\n\n> You touch the thorns\nLornedei is better off keeping her fingers away from those thorns. Losing her concentration could draw blood.\nThe beetle disappears into the crumbling stone house. It comes back out, stays a moment in the opening, waving its antennae, before coming back to Lornedei.\n\n> You enter the sleepwalker\n\"Master?\" She glances up at you, frowning, but she walks into the spinning mist.\nThe sleepwalker stops spinning and Lornedei appears on the other side, apparently not sure where she is or why.\nLornedei stares at the leaf clusters in the black forest. She looks away, biting her lower lip.\n\n> You touch the thorns\nLornedei reaches for the nut but just a bit too fast. The sharp thorns puncture her skin. She pulls her hand back.\n\nThe nut just got stained with Lornedei's blood.\n\n> You examine the nut\nA purple nut from the deformed bushes in the hall of severance. It is deep purple and hosts a number of sharp thorns.\nSome of Lornedei's blood is smeared on the nut.\n\n> You wake the ld\nYou decide to break the rules just slightly. You give her a tiny nudge. A mental slap if you will. Her head snaps up and she is staring at you, shocked.\n\nHer eyes are bright and aware. She smiles.\n\"I was not quite here Master. I am sorry. I am awake now.\"\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You enter the nightmare\n\"Master? Are you sure about this?\"\nShe looks terrified but she decides to trust your judgment. She walks into the spinning smoke.\nthe nightmare stops spinning and Lornedei appears on the other side. She looks at you with gray eyes and an uncanny smile on her lips. Lornedei is muttering to herself.\n\n> Go upwards\nHall of Severance (In the Black Oak)\nClusters of black leaves surround Lornedei. They hang from the upper branches, creating a shield that totally obscures the sky above. She can look down, as all the clusters are above and around her, but up is nothing but shimmering black. The branch reaches out over the clearing and the end of it seems to disappear in a big cloud of smoke. She can climb down to the ground or follow the branch.\n\n> You follow the branch\nLornedei steps through the smoke.\nCastle Ruins (In the Hall of Portals)\nThis square chamber is dominated by four portals. Each has a small impression to place one of the plaques. Lornedei came in from the northwest. If all portals are open, she can also go south, east, west or north.\n\nOn the portal to the Hall of Severance is a small black plaque.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\nLornedei reaches down to scratch her ankle.\n\n> Go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\nLornedei's shadow tears one shadow-leg from Lornedei's real one, then the other. It fades as it rises. Once upright, it melts into Lornedei. She shivers.\n\n> Go east\nWasteland (By the Petrified Tree)\nThis is nothing but wasteland. Scattered remains of a once big tree cover the ground. It might have been a great oak at one point. A dry and hot wind tears at her while throwing sand in her eyes and mouth. Beyond rocks, sand and starved soil, there is nothing but a gray mist. In the distant west, beyond more wasteland, she can see a high stone wall. South, the broken land dips down in a bowl beyond which is the forbidden forest. Southwest would take her back to the edge of the forest where she first entered the field.\nLornedei wipes her forehead with her shirtsleeve.\n\n> Ground\n(the ground)\nLornedei digs a hole in the dry ground.\nLornedei's shadow jerks to life, reaches for her ankle, and pulls. She stumbles.\n\n> You put the nut in the hole\nLornedei inspects the nut carefully. She looks pleased. She plants the nut in the ground, flattens the soil over the nut and steps back.\n\nShe smiles expectantly and lifts one hand. She turns it over and lets a blue spark appear. It turns to red as she focuses on it, and then she blows it towards her little patch of garden.\n\nThe wind suddenly changes direction. It seems to come from everywhere now, focusing on the thorn that slowly grows out of the ground, feeding it. Lornedei looks up. The mist follows the wind, billowing like clouds towards the new tree. A turmoil of gray soon covers the entire field, tightens, grows heavy, and darkness falls.\n\nThe single thorn grows, pointing straight up towards the mist, and the ground seems restless under Lornedei's feet. The mist sinks further to meet the thorn, a greasy black spike, taller than Lornedei now and growing still. A small slit opens up at the base of the spike. it oozes a black liquid before a smaller spike is thrust straight out of it, barely missing Lornedei.\n\nMore slits appear and more of these spiked branches come to be. The \"tree\" continues to grow. The base is now two paces wide and suddenly the earth cracks around it. The spikes, more than thirty now, reach out several paces in every direction, twisting and deforming as they grow. The glistening black skin cracks and oozes more black sap, and thorns starts to grow from these as well.\n\nThe crack in the stone widens, but the spike clings to the rock that isn't moving. It doesn't lose its grip as the spike grows down more than up, creating an enormous pillar going down in the mist and out of sight. The crack widens further and the ground shakes violently. With an enormous rumble and screaming stone, everything north of the spike falls out of sight in the deepening mist.\nAt the same time in the Hall of Unification, a lush oak shudders as gray mist darkens the sky. In the village, the ground trembles and the blacksmith tries in vain to calm the horse he is putting new shoes on. Over the Aarkland river, the forgotten ones follow the mist that rolls out over the billowing field and the road. The villagers on the streets, on their porches, glancing out the door to call in their children for supper, fall silent. All look up at the sky to the northwest as the mist rolls closer.\nLornedei puts the nut in the small hole in the ground.\n\n> Go northwest\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\n\"Master?\"\n\n> You go upwards\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nLornedei is waiting for your command.\n\n> Go south\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nDeini is here.\nThe hovering sleepwalker shows up at the edge of the forest. It picks up speed over the dry land, swirls up sand and dust and stays next to Lornedei.\nA black smoke is rising from the forbidden forest. It hovers over the treetops and is barely distinguishable from the constant mist. It moves closer and starts spinning. It drops down to the ground at the edge of the forest and forms a ragged column of black smoke. It swirls up sand and dust at touchdown. It picks up speed across the flat ground and stops close to Lornedei. It is turning slowly while releasing strands of broken smoke that dissolves in the air.\n\"The nightmare. The maker of bad dreams. I thought that they were only stories.\"\n\n> You go to the east\nWasteland (By the Circle of Stones)\nThis is the southeastern corner of the field of despair. The forbidden forest is nearly all around her. West, northwest, and north takes her out. The ground sinks into a large hole, a bowl more than fifty paces across, in the ground, edged by crevices and uneven ridges. A broken land. Once at the bottom, the rest of the field is out of sight.\n\nA big round stone lies in the middle of the pit. The fire is gone.\n\nA stone circle is laid out on the ground.\n\nShe can also see A crystal spider with shifty, beady eyes (Stretching out, apparently snoozing at the moment.) here.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\n> You go to the south-east\nWasteland (Overlooking the Field of Despair)\nBehind her is the forbidden forest. The tree line is sharp as if cut with a knife at creation, separating the blackened forest from the uniform gray ahead.\n\nThe horizon ahead is strangely blurred. If from dust, mist or simply the uncertainty of distance is hard to tell from here. In the east, the field slopes down towards something that she cannot see. On the far side of that, the forest continues. In the opposite direction, the dying sun has set the horizon in flames above the gray covering the forbidden forest on that side. On this side of the forest, the land is cut, cracked, dropping down into a ravine. In the northwest, there is an old ruin reflecting the colours of the sun. To the north and northeast, the field continues into the blurred horizon.\nThe sleepwalker stirs up a cloud of dust and dirt as it follows Lornedei.\n\"What should I do?\"\n\nAhead of her is the southeastern corner of the castle. The corridor between the building and the outer wall leads northeast, but is blocked by a great pile of stone blocks and other debris. To the west, the courtyard ends at the ravine.\n\nLooking up, the facade disappears into a swirling ceiling of mist. Right at the corner of the castle, a narrow doorway leads north into darkness. She can look around, or walk around to learn more. South or southeast takes her away from the ruins. East brings her around to the east side of the east wall.\n\nThe nightmare is here, spinning slowly. The frayed edges are constantly releasing veils of broken smoke that dissolves in the air.\n\nDeini is here.\nDeini yawns, utterly bored.\n\nCastle Ruins (In a Stone Corridor)\nA staircase leads down in darkness and south takes her out to the courtyard. The corridor seems to lead only to the dim light to the north.\nThe sleepwalker stalks the courtyard.\nThe column of black smoke rushes towards the opening, jerks through it. It struggles to stay, twitching.\n\nCastle Ruins (In the Guard Chamber)\nThe spiral staircase ends in the middle of a square chamber. The west wall has fallen out into the ravine, letting in the glowing sunset. The walls that are still standing and the marble floor have cracked in several places. Rocks, a thick layer of dust, and all sorts of debris cover the floor. The only thing still intact is a stone statue standing in the southeast corner.\n\nThe spiral staircase leads up and the west wall is open to the ravine.\n\nShe can see an old torch here.\nThe sleepwalker hovers past.\n\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> You reach the pile of the steel\nLornedei reaches into the strange pile of stone on the floor. A shiver runs through her body and the stone and steel is suddenly gone, replaced with a torch lit smooth marble floor.\nThe room is full of people, all of them looking at the west mirror. They are nothing but diffuse memories of this chamber as it was, as it used to be, but the tension in the group is clear.\n\nFlickering torches on the walls light up the chamber, creating illusive shadows across frightened faces. The silent spirits seem to hesitate.\n\nThey talk hastily among themselves, casting nervous looks into the mirror and over their shoulders. The mirror in this vision is whole and shows a picture of a giant golden oak. The image is fading with each breath. Several of the people in the crowd stagger as if the floor itself is moving. An old man raises a staff towards the mirror, uttering a string of words that catch the attention of the group. A young woman picks up a silently crying child in her arms, looks around the chamber and walks through the mirror. The rest of the crowd quickly follows her until only the old man remains.\n\nHe takes a step towards the mirror but then he stops. Something that Lornedei is unable to see looms over him. His eyes widen in horror and his mouth opens in a silent scream. He raises his staff against the oncoming threat with a thin shaking hand. He knows the end is close as a shadow falls over his pale face. Several long moments he stands still, facing the danger while speaking words that cannot be heard, holding the staff in front of him. The horror in his eyes grows with each meaningless attack.\n\nHis back straightens as the answer comes to him. Instead of fighting a futile battle, he turns to the mirror. He swings his staff with full force at the mirror. The glittering image disappears.\n\nLornedei lowers her hand when the vision explodes in a shower of shattered glass and blood.\n\nLornedei's magic drops by one.\n\n> You give the plate to him\nShe can only do that to something living that has at least half a brain."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist]\n\n> Look around\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nThe stone pile still takes up too much room and the dead somebody is still very much dead.\n\n> West\nLornedei lifts her hand to the mirror, wondering if it is possible to heal. She gathers her powers and lets a thin blue streak of light touch the glass fragments. A sudden rumble makes her turn around, loosing the connection with the magic. The statue slides back over the opening in the wall. The sound of it drowns in a loud grinding noise. Steel against steel. The sound turns into a scream, a guttural growl. Lornedei staggers backwards as the floor shakes.\nThe big pile of steel and stone stands before Lornedei with every seemingly random part now in its right place. The creature is almost twice as tall as the girl, and it stares down at her from within a diffuse darkness that surrounds it. This darkness is the force keeping all of its parts together and enabling the heavy body to move.\n\nAn enormous head sits directly on a giant shoulder, and the jaw of rusty metal opens and closes constantly with a creaking and a clank that echoes in the chamber.\nThe enormous body of stone shifts constantly, as if restless. The sound of stone grinding against stone, steel against stone and steel against steel is terribly loud.\n\nA crimson glow pulsates deep in a horizontal crack in the head.\nPuffs of dust fly out of the many joints between the rocks. Tufts of mold, moss, and shards of stone are raining down on the marble floor.\n\nLornedei's magic drops by one."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Describe the surroundings\nCastle Ruins (In the Hall of Mirrors)\nThis chamber is over ten paces across and perfectly square. A large oval mirror dominates each wall. Four mirrors. North, west, south and east.\n\nLornedei came in from the northwest. An old burned out torch sits askew on the south wall.\n\nRaccdaha stomps the floor, shifting its weight. It is getting ready to crush Lornedei.\n\nA black tendril of darkness creeps toward Lornedei's head. It touches her mind, and she can feel her powers weaken.\n\nLornedei's magic just dropped by 4.\n\n> You give the plate to Raccdaha\nLornedei holds up the silver plate with trembling hands. Raccdaha stops moving. He is quiet, absorbed by the reflection in the polished surface. He grabs the plate.\nHis attention is far from Lornedei for a little while.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You give the spider to Raccdaha\nLornedei holds up the crystal spider in front of Raccdaha. He recoils, spewing out crimson sparks that rain down around Lornedei. He throws an arm out, and she has to throw herself backwards.\nLornedei shakes her foot to get rid of a painful stone from her sandal.\n\n> You give the plate to him\nLornedei holds up the silver plate with trembling hands. Raccdaha stops moving. He is quiet, absorbed by the reflection in the polished surface. He grabs the plate.\nHis attention is far from Lornedei for a little while.\nLornedei glances up at you, uncertain.\nRaccdaha is staring into the polished surface, oblivious.\n\n> You throw spider at Raccdaha\nTaking advantage of the distraction, Lornedei moves closer to Raccdaha with the crystal spider in her hand.\nThe crystal spider jerks to life and jumps from her hand.\nA sparkling light flares up around it. The light grows stronger and Lornedei has to throw her hands up in front of her face to keep the blinding light from her eyes.\nAs she steps back, she stumbles on the pile of bones and drops hard on the marble.\nA roar echoes in the chamber and the floor shakes.\nRaccdaha is moving away from Lornedei, trying to back away from the small creature of light.\nThe spider is growing. Soon it is doubling, tripling, and quadrupling its size, becoming brighter each second. It glows furiously, the light pulsating as it keeps growing.\nthe roaring increases and turns from rage into fear. Raccdaha is trying to shield itself from the light, but the light is everywhere. It throws its arms at the spider to crush it. It gets a hold of one leg of the spider, and with a sharp explosion, it pulverizes the leg. But the spider is already where it wants to be.\nThe spider wraps its remaining legs around Raccdaha's head, obscuring it entirely. Raccdaha's trashing is slowly fading. The crushing arms have lost their aim and the few blows hitting the spider make little damage. A cloud of pulverized crystal sparkles in the pulsating light. The crimson light flares up through the spider's body, but it has no effect on the spider.\nThe creature's head is now only a blinding light, and the swirling darkness starts to melt away from the rock. The roar of terror from the creature changes into a howling shriek that comes from everywhere.\nThe sound cuts through Lornedei's mind and soul. Then the horrible scream is not just one.\nThere are now hundreds, thousands of howling screams of terror and pain filling the chamber.\nThe light from the crystal spider travels to the tips of the stone fingers on both hands and down the legs. As the light covers one stone foot and reaches to cover the final glimpse of gray mossy rock on the other foot, the screaming climbs in volume further. Then it stops, leaving only a ringing in Lornedei's ears.\nFinally, the darkness that held the stone limbs together is gone. The spider is gone, the light is fading and for a moment, Raccdaha stays upright. Then it falls into a pile of stone and steel.\nLornedei hears the crash, but it is as if she hears it through water. The ringing is still loud in her head.\nShe steps forward, and now the pile is actually nothing but stone and rusted steel covered with a layer of crystal dust.\nA glimmer catches her eye and she notices something golden lying among the stones.\n\n[Your holiness has just gone up by five.]\n\n> You examine golden\n(the small golden plaque)\nIt is a small round plaque made of purest gold. A carving on one side shows an old man kneeling before a small hole in the ground. He is holding a goblet of some sort in one hand. A giant oak can be seen in the background.\n\n> You take golden\n(the small golden plaque)\nAs you wish.\n\n[Your holiness has just gone up by five.]\n\n> Heal west mirror\nLornedei lets her blue light touch the shards of glass. One by one the pieces fuse together, leaving a smooth glass surface.\n\nLornedei's magic drops by one.\nThe crystal dust rises, then floats above the pile of steel and stones. It spreads out in the chamber before surrounding Lornedei.\nThe swirling dust stays motionless in the air for a few moments. Lornedei waits without fear.\nThen it reaches for her, entering her. She takes an involuntary breath and in an instant, the shimmering dust is gone.\nAn enormous surge of power runs through her body.\nThe ringing in her head disappears. Every bruise and cut she received this day fades and disappears.\nLornedei is still, closing her eyes for a moment. Then she laughs aloud.\n\"The light bearers will come back now. There is only one thing left to do.\"\n\nLornedei's magic just went up...\nLornedei looks around, biting her lower lip.\n\n> Magic\nLornedei's magic is currently at 10159.\n\n> You put the golden in the west\n(the small golden plaque in the west mirror)\nLornedei puts the small golden plaque in the round hole on the frame. It goes into place with a click.\n\n> You reach the west mirror\nThe darkness in the mirror changes into a swirling mist. The portal to the Hall of Unification is open.\n\nLornedei's magic drops by one.\n\n> Go west\nLornedei steps through the mirror.\n\nThe disappointment is obvious. Lornedei turns around in the nothingness.\n\"I thought...\"\nShe never tells you what she thought but there is no need. She sighs and scratches her head.\nShe is surrounded by a shimmering mist. The ground is flat and featureless. She takes a few steps across the flat soil but the mist stays with her. There seems to be nowhere to go from here besides back to the hall of mirrors.\n\nThe portal back into the hall of mirrors is open to the east.\n\n> Dig\n(the portal to the hall of mirrors)\nLornedei digs in the soft fertile ground until she has a small hole.\n\n> Plant acorn\nLornedei drops the golden acorn into the hole.\n\n> Water acorn\nLornedei pours the Elder's water over the Golden acorn. She covers the hole with soil and steps back.\n\nAt first, nothing happens. Then a soft golden light emerges from the soil covering the acorn. A shudder goes through the ground and the soil starts to bulge.\nThe fog around Lornedei sings to her. It whispers long forgotten words to the earth below. A thin green leaf breaks The surface of the small pile of soil in front of Lornedei. It is quickly followed by another. They shoot out of the ground, eager to grow.\n\nA tree starts to grow before her eyes. A seedling turns into a sapling, the sapling turns into a young tree. With limbs trembling and leaves turning towards the sky it grows into a giant oak.\n\nThe tree is growing leaves that shimmer in gold and silver, deep green and bright yellow. It keeps growing and the oak widens and stretches towards the sky to the sound of the singing mist.\n\nThe branches reach out and turn silvery. The leaves are gold. The tree just keeps growing and roots stretch out below the soil under Lornedei's feet. Lornedei takes a couple of steps back and watches the still changing tree in awe. The mist begins to disappear around the girl and the oak and it is done.\n\nThe giant oak has finished growing and the leaves are humming in a soft wind coming from the west.\n\nLornedei finds herself in the outskirts of a small village. She is standing next to the big golden oak. People gather around the tree and they all stare at it. The group consists of ten or so old women and even fewer old men in robes in sky blue, green and white. They have all gathered around the golden oak. A few of them cry, one laughs, one man grabs the arm of the man next to him for support. Smiling faces, trembling gestures towards this leaf or that. Excited whispers quickly fade as one of the old women comes forward.\n\nShe walks very slowly, supporting herself on a long staff. Despite her fragile appearance, Lornedei can feel the power within her.\n\nHer voice is old. Her face is ancient. The words she speaks are spoken slowly.\n\"We knew you were coming child but it took so long, so very long.\" she smiles and holds out her hands to Lornedei that takes them in her own. \"I should have known you were a powerful one child.\nNow she turns towards the people. She pushes Lornedei ahead and raises a hand to get their full attention, a totally unnecessary gesture as they are all staring at the girl\n\"Raccdaha is gone. He has been cast out of this world. He is beyond the eternal void. I cannot sense him any longer. The giant old ones are three again and the balance of the three will heal the land. Now we must step back into the world to receive the new light bearers that will come. We have waited long for the passage to open. We fled from the world outside, but now the time has come.\"\n\"We are old now and we are still many years older than we seem. We are tired and not as strong as we used to be. The mist that trapped us here has also kept us alive for centuries. Now the mist is gone. Do you understand what this means girl?\"\nLornedei nods but she looks uncertain.\nThe old light bearer removes a chain from her neck and holds it out to Lornedei. On the chain hangs a crystal spider. The old woman hangs it around Lornedei's neck without a word.\nLornedei can hear a low murmuring of approval from the small group of people gathered and when the former Queen of the light bearers holds her arm out Lornedei gently takes it under her own and smiles.\nThe new queen of this so far very small kingdom straightens her back and turns to the people."
    },
    {
        "text": "[Themes: Crocodracula, teenagers, female protagonist, swamp, ghost]\n\nYou glance around to make sure you're alone.\n\n\"Zoe,\" you say quietly, \"Can I talk to you about something?\"\n\nBut Zoe doesn't seem to notice how serious you're being. \"Sure!\" she chirps. \"What's up?\"\n\nYou look back and forth again across the schoolyard before you roll up your sleeve. \"See this?\" you say, showing Zoe your shoulder.\n\nShe leans in to inspect, then leaps backward. \"Yikes! You've got scales!\"\n\nYou yank your sleeve down and shush your friend. \"I know I've got scales,\" you hiss.\n\n\"Do you know how you got them?\"\n\n\"No. What should I do?\"\n\nZoe shrugs, grimacing. \"I'm no dermatologist,\" she says, \"but I think you'd better ask Miss Muriel.\"\n\nYou take a deep breath; you heave a deep sigh. \"I was afraid you'd say that.\"\n\nCrocodracula: The Beginning\na Taleframe game\n\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nYour trusty bicycle is chained to a nearby bike rack.\n\nZoe is sitting on a bench near the door.\n\n[Author's Note: The first Taleframe game based on the 90s children's horror soap opera.]\n\n> You examine Zoe\nZoe is your best friend. You tell each other everything. There's no\none else you'd trust with the secret of your bizarre skin condition.\n\n> About yourself\nYou are Rebecca Drapkin, a sophomore at Buchanan High School in Opasassa, Florida. You've led a perfectly ordinary life and grown up into a perfectly ordinary teenager.\n\nBut now there are patches of scales growing on your shoulder and your shins. And they're getting bigger.\n\n> You examine the bike\nYour bicycle is awkwardly attached to the bike rack with a chain and padlock.\n\n> You look at the scales\nIt's not your everyday acne: The hard, green scales of a reptile are spreading across your skin. Will they grow over your entire body? What are you turning into?\n\n> Enter\nBetween classes, this intersection is the busiest place in the school. Right now the only people here are you and Jocelyn.\n\nYou notice that the way downstairs has been left open by a careless custodian.\n\nEXITS: EAST WEST DOWN OUTSIDE\n\nJocelyn is hanging over the school's trophy case, oblivious to the outside world.\n\n> You examine Jocelyn\nJocelyn is not one of your favorite classmates. Actually, you detest her. But she detests you, too, so at least it doesn't have to be awkward. Normally the two of you would be sniping or at least glaring at each other, but she's preoccupied with the contents of the trophy case.\n\nA large black sphere is cradled under her arm.\n\n> You examine the sphere\n\"What's that ball thing?\" you ask, trying not to sound too interested.\n\nJocelyn looks up from the trophy case and smirks: You've fallen into her trap.\n\n\"It's my science project. A star ball for a home planetarium.\" She turns a switch, and hundreds of tiny white lights appear across the surface of the sphere. An entire night sky is projected over the walls and ceiling. The effect is gorgeous, and infuriating: You are speechless.\n\n\"I got an A on it, so now I'm taking it home to show off to my parents.\" But she isn't heading home: After she deactivates the star ball, she turns back to the trophy case.\n\n> You look at the case\nA glass case commemorating Buchanan High School's greatest achievements: There are trophies and plaques recognizing a mediocre football team, a mediocre chess club, and a better-than-average marching band.\n\nJocelyn is staring at a photo of the marching band, and you know why: It's because Kyle is standing in the back row, with his sousaphone wrapped around his broad shoulders.\n\n> You ask Jocelyn about Kyle\n(Use TALK TO to interact with characters.)\n\n> You look at Kyle\nBuchanan High's marching band sat for this photo after they took sixth place in the regional marching band competition. They look mostly pleased with themselves\ufffd\ufffd\ufffdbut it's hard to analyze any of their expressions when you keep looking back at Kyle and his gigantic smile.\n\n> Go east\nMiss Lipton is sitting at her desk, wearing headphones attached to a small tape player. Her brow is furrowed. Behind her, the homework for the weekend is written on the blackboard.\n\nCalvin, the class guinea pig, lives in a cage near the window.\n\nEXITS: WEST\n\nA large brass key looks out of place on Miss Lipton's desk.\n\n> You examine the Miss\nWhich do you mean, Miss Lipton or Miss Lipton's desk?\n\n> Lipton\nWhen she sees you looking at her, Miss Lipton smiles and waves, just\nso you know it's not you she's frowning about. But she goes right back to frowning.\n\n> You examine tape player\nAn inexpensive pocket-sized cassette player.\n\n> You look at the key\nIt's not your bike key. It must unlock something else. It's a heavy key, for locking up something serious.\n\n> You take it\nAs you reach for the key, Miss Lipton removes her headphones: \"Please leave that alone, Becca. It belongs to the janitor. I'm just holding\non to it until he gets back.\"\n\nYou'd like to know why Miss Lipton has the janitor's key in the first place, but she puts her headphones back on before you can ask.\n\n> You examine the window\nThrough the window you can see the schoolyard and the edge of the Opasassa Swamp.\n\n> You examine Calvin\nCalvin is having a little nap at the moment.\n\n> You talk to the miss lipton\nMiss Lipton removes her headphones and presses the pause button on her cassette player. \"Hi, Becca. Is there something I can help you with?\"\n\n\"No, no,\" you say. You don't want Miss Lipton to get involved with the stuff going on in your life. \"I was just wondering what you were listening to.\"\n\nShe puckers her lips. \"Relaxation tape,\" she says. \"But it's not working. Ocean waves, rainforests, nothing I listen to works. I just end up thinking about how stressed I am.\"\n\n\"Sorry about that.\"\n\n\"Thanks, Becca. Well, I'll keep trying, anyway.\" She puts her headphones back on.\n\n> You look at the blackboard\nYour assignment for Monday is to read pages 103 through 136, then answer questions 14, 15, and 17. This is all circled under a \"DO NOT ERASE\" note to the janitor.\n\n> Go west\nBetween classes, this intersection is the busiest place in the school. Right now the only people here are you and Jocelyn.\n\nYou notice that the way downstairs has been left open by a careless custodian.\n\nEXITS: EAST WEST DOWN OUTSIDE\n\nJocelyn is hanging over the school's trophy case, oblivious to the outside world.\n\n> Go west\nThe chemistry room contains two long rows of lab tables, wiped clean after each experiment under Mister Sarducci's unsparing supervision.\n\nEXITS: EAST\n\nMister Sarducci leans over his desk, drumming his fingers impatiently on the formica countertop.\n\n> You examine mister\nMister Sarducci always wears a white shirt and a black necktie. He always wears a creepy mustache, too.\n\n> You look at the desk\nof black formica.\n\n> You talk to the mister\n\"Mister Sarducci,\" you say in your cheeriest, most winsome voice you can muster, \"Do you think I could get my bike key back?\"\n\n\"Do I think? Let's see.\" He pulls out his gradebook and makes a show\nof inspecting its contents. \"Ah, yes. Rebecca Drapkin. It says here that you have yet to turn in your group project.\"\n\n\"But I don't have it! Zoe has to finish her part before we can turn it in!\"\n\n\"Well, then. If I were you, I would enjoin Zoe to finish her part, so that you can turn it in. Until I have your assignment, I will take excellent care of your bicycle key.\"\n\nstudents like this, but he's gotten away with it before."
    },
    {
        "text": "> Go downward\nMechanical humming fills the tiny room at the bottom of the stairs.\nThe walls and floor are bare concrete.\n\nA single fluorescent light sputters overhead.\n\nEXITS: WEST UP\n\nA heavy steel door stands to the west.\n\n> You open the door\nYou pull on the handle: The door is locked.\n\nSomething squeaks on the other side. Or was that someone's voice?\n\nYou tilt your head, but all you hear is the light flickering, and distant machines buzzing.\n\n> You look at the light\nEvery time the light goes out, the room goes black. But then the light comes back on: Light, dark, light, dark, light, dark...\n\n> Go south\nCan't go that way!\n\nAVAILABLE EXITS: EAST WEST DOWN OUTSIDE\n\n> Go outside\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nYour trusty bicycle is chained to a nearby bike rack.\n\nZoe is sitting on a bench near the door.\n\n> You talk to Zoe\n\"Hey, Zoe, have you finished your side of our chemistry\ufffd\ufffd\ufffd\"\n\n\"Shh. Do you hear that? I think can hear your brother's guitar.\"\n\n\"I doubt that. Our house is all the way over there.\"\n\nBut Zoe is swaying back and forth to the music she thinks she hears. \"You're so lucky, Becca. Your brother is the coolest.\"\n\n\"I don't usually see it that way. But, about our assignment. We need\nto turn it in, like, now.\"\n\n\"Does he smell nice?\"\n\nYou grit your teeth. Is there no way to make this girl focus?\n\n> You go to the west\nMiss Muriel's house is too far to reach on foot. First things first: You need to liberate your bicycle.\n\n> Go east\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nYour little sister Lindsay ambles up to you.\n\n\"Hey Becca. Wanna see something?\"\n\nYou shrug. \"I guess?\"\n\nShe produces a shoebox from behind her back. \"Open it.\"\n\nYou open it: Inside is a huge green beetle, scuttling over a pile of leaves and twigs, wiggling its horrible little legs. You shriek and drop the box.\n\nLindsay giggles as she recollects the box and its lid, keeping the horrible creature in its cardboard prison. \"Scared you!\"\n\nYou manage to stop yourself from strangling your sister. \"Why would\nyou do that, you little monster?\"\n\n\"Cuz it's funny!\" she explains though a gap-toothed smile. You take a deep breath.\n\n> You talk to Lindsay\n\"Hey Becca! You wanna look in my box again?\"\n\n\"Is that disgusting beetle still in it?\"\n\n\"Maaaaaybe...\"\n\n\"Then I'm afraid I have to decline your invitation.\"\n\n> You examine Lindsay\nYou remember when Lindsay was just a baby. Over the years she's grown up into a demonic force of chaos. If life were fair, the two of you girls would be allied against your older brother, but the sad truth\nis, it's the middle children against the world.\n\n> You examine the shoebox\nIt's one of your mom's shoeboxes. If your mom knew what Lindsay was doing with her shoebox... She probably wouldn't care. She lets Lindsay get away with everything.\n\n> You go inside\nThe walls of the living room are lined with dolls: Your mother's unsettling handiwork.\n\nYour bedroom is upstairs.\n\nEXITS: UP OUTSIDE\n\nYour brother is sitting on the carpet (even though the couch is right there), strumming the same three chords over and over on his guitar.\n\n> Smell brother\nEverything smells damp.\n\n> You examine brother\nTo you, your brother Drew looks like the archetypical Boy, utterly normal and uninteresting. You have no idea what Zoe sees in him.\n\nYou also can't figure out why he's wearing a baseball cap indoors.\n\n> You examine the cap\nThe cap has the letter \"H\" embroidered on it.\n\n> You examine the guitar\nIt's a banged-up secondhand guitar that probably wasn't worth much\neven when it was brand new. But Drew acts like it's his lawfully\nwedded wife.\n\n> You examine couch\nA plastic protector is draped over the couch. Mom wants it to keep it looking nice. But the shiny plastic sheet doesn't look very nice.\n\n> You examine the carpet\nThe carpet does look a lot more comfortable than the couch.\n\n> You examine the dolls\nAt least a dozen porcelain dolls are on display here, and there are more in the rest of the house. Your mom seems to find joy only in crafting more and more of them. Each doll has a hand-painted face, staring eerily across the room. Each doll's hands are reaching out at nothing. Each doll has a name, most of which you have mercifully forgotten.\n\n> You talk to Drew\nYou can tell from his strumming that he's in a mood.\n\n\"Hey, Drew, what's wrong?\"\n\nHe sighs. \"Hey, Becca. I can't find my guitar pick.\"\n\n\"Don't you have more than one?\"\n\n\"I mean my favorite pick. The one that Stevie Ray Vaughan tossed to me from the stage.\"\n\nHe strums the saddest chord in the world.\n\n\"My other picks don't play the same.\"\n\nYou put on a commiserating frown, but secretly you know exactly where that pick is.\n\n> Go upward\nYour bedroom. Your undisturbed refuge. Even when the whole world is\nout to get you, you can always run back to your room, where at last\nyou can enjoy peace and quiet. But you can still hear your brother playing the guitar downstairs.\n\nA small army of stuffed animals is carefully arranged at the head of your bed. Your viola is collecting dust on top of your dresser.\n\nEXITS: DOWN\n\n> You examine the animals\nSome might say you're too old for stuffed animals, but you've come to the conclusion that in fact you are old enough to decorate your\nbedroom however you want. Most of the creatures are just here because they look nice: Wanda Elephant, Harold Lamb, James Frog, et cetera.\nBut Peggy Pony has special sentimental value.\n\n> You examine the bed\nA pink and green quilt is spread over your bed. Mom says it was sewn\nby your great grandma.\n\n> You look at the viola\nYour viola and bow have become mostly decorative ever since your mom stopped making you take lessons. And they're very nice decorations, too.\n\n> You look at the dresser\nA fairly cute little dresser, if perhaps too small to meet the needs\nof a well-dressed high schooler. Mostly it's stuffed with clothes, but sometimes you keep certain interesting items in the top drawer.\n\n> You open the top\nYou open up the top drawer of your dresser. Inside are your diary, a letter from your pen pal, and Drew's guitar pick.\n\n> You take the pick\nTaken.\n\n> You look at the diary\nThe pages of your diary are almost completely blank. Until very recently, nothing interesting had ever happened to you. The only entry is from September, and it just says that sophomore year is shaping up to be just like freshman year.\n\n> You examine the letter\nIt's a letter from Kgosiemang Kwena, your pen pal in Botswana. (Everyone in Miss Lipton's class was assigned an international pen pal at the beginning of the semester.) In tiny and precise handwriting, covering a full page, front and back, Kgosiemang describes his life in Molepolole and how his father's standing in the community is dependent upon the status of his cattle.\n\nYou should really get around to writing back to him. But later.\n\n> You examine pick\nThis is Drew's favorite pick. You can't remember why you hid it from him, but it stands to reason that he deserved it."
    },
    {
        "text": "[Themes: Crocodracula, ghost, teenagers]\n\n> Go down\nThe walls of the living room are lined with dolls: Your mother's unsettling handiwork.\n\nYour bedroom is upstairs.\n\nEXITS: UP OUTSIDE\n\nYour brother is sitting on the carpet (even though the couch is right there), strumming the same three chords over and over on his guitar.\n\n> You give the pick to drew\n\"Hey, Drew. I found your guitar pick.\"\n\nDrew stops strumming. It's as if he's woken out of a dream. \"Yeah? Where was it?\"\n\nYou toss it to him. \"It was in my room, for some reason.\"\n\n\"Weird. Well, thanks!\" He starts to pick out a melody to match the chords he'd been strumming for the past several hours.\n\n\"Uh, Drew?\"\n\n\"Yeah?\" He doesn't stop playing.\n\n\"Could I maybe borrow that baseball cap?\"\n\n\"What? Sure.\" He hands it over, eager to focus on his music.\n\n> You check what you're carrying\nYou are carrying:\na baseball cap\n\n> Go outside\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> You go west\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nYour trusty bicycle is chained to a nearby bike rack.\n\nZoe is sitting on a bench near the door.\n\n> You give the cap to Zoe\n\"Hey, Zoe, I've got something for you.\"\n\nZoe snaps out of her reverie. \"Is that Drew's hat?\"\n\n\"Well, he didn't need it, and I thought you might like it.\"\n\nShe utters a tiny gasp as she accepts the gift. She presses it to her chest. Then she looks at you, frowning: \"I'm not being weird, am I?\"\n\nYou don't roll your eyes. \"No, no. It's just a hat.\"\n\n\"Right. It's just a hat. It happens to be a hat that Drew used to\nhave, and now it belongs to me.\"\n\nShe puts on the hat, pulling her ponytail out the back. \"See? It keeps the sun out of my eyes. Nothing's weird.\"\n\n\"Great. Do you have our chemistry assignment?\"\n\n\"Of course I do!\" She pulls it out of her bag and hands it to you. \"Could you turn it in for us?\"\n\n\"I'd be happy to.\"\n\n> You examine the assignment\nA ten-page report about carbon bonds. You stayed up until 2 AM writing your part, and now you never want to see another carbon bond for the rest of your life. You just hope Zoe put anywhere near as much effort into her half.\n\n> You give the assignment to the mister\n\"Here's our assignment, Mister Sarducci.\"\n\n\"Ah! At long last,\" he says, plucking the papers from your hand. He glances over your work. His nostrils flare slightly.\n\n\"I anticipate that grading this piece of scholarship will be a very, shall we say, memorable experience,\" he mutters, and he sticks it in a drawer.\n\n\"Now, now, don't be impatient,\" he goes on, although you haven't said anything. \"I well remember what promises I was forced to make, to compel you to fulfill your academic duty. Here you are.\"\n\nHe tosses your bike key across the desk, and you manage to catch it.\n\n> You look at the bike key\nA tiny steel key.\n\n> You unlock the padlock with key\nAt long last, you release your bicycle from its manacles. Then\nyou decide not to worry about bike chains and bike keys for a while.\n\n> Ride bike\nYou mount the bicycle.\n\n> You go to the west\nYou zoom down the road and begin your trek to Miss Muriel's.\n\nWater's Edge (on the bicycle)\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\n> You examine the alligator\nIt's just a lawn decoration, and not very realistically sculpted. Its expression is either sleepy or devious, depending on which eye you're looking at.\n\n> You look at the airboat\nOne of Mister Qualmsley's rental boats: A flat-bottomed hull with an engine attached to a huge fan on the back.\n\n> You get off the bike\nYou dismount the bicycle.\n\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nAn airboat is floating at the dock.\n\n> You lock the bike\nWhat do you want to lock the bicycle with?\n\n> You go inside\nThe AC is cranked so high that you begin to shiver. Mister Qualmsley doesn't seem to notice: He just sits at the cash register, waiting for quitting time to roll around.\n\nAn unfortunate fish is mounted on a plaque on the far wall.\n\nEXITS: OUTSIDE\n\nAn airboat key is hanging on a hook behind the counter.\n\n> You examine the fish\nAn irate red snapper, gutted and shellacked.\n\n> You look at the Mister\nThere's a sort of blank look of contentment on his face. Mister Qualmsley is not a complicated man, and today he is even less complicated than usual.\n\n> You talk to the mister\n\"Howdy, Becca. How are you doing?\"\n\n\"Just fine\" is always the right answer when a friend's parent is the one asking.\n\n\"Do you know if Eddie Lee is done with his piano lesson? I've been itching to hear that kid play, for once.\"\n\n\"Um, I can check,\" you say.\n\n> Exit\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nAn airboat is floating at the dock.\n\n> You examine the airboat\nback.\n\n> You look at the fan\nFor your safety, the fan is encased in a wire cage.\n\n> You go north\nAt the center of Opasassa is its water tower, a massive white bulb supported by a web of steel beams. Giant letters are printed on the side: From as far away as Glenburn, you can see them spell out \"OPASASSA.\" From right underneath, though, they barely look like letters.\n\nA narrow ladder is well-hidden among the bars.\n\nEXITS: NORTH EAST SOUTH WEST UP\n\n> Go upwards\nYou take a deep breath and begin your ascent.\n\nA narrow catwalk circles the bulb of the tower. Beneath you in every direction are the streets of Opasassa. On the north edge of town is a dense forest; to the south is the swamp.\n\nEXITS: DOWN\n\nA man in a top hat and bow tie is here, leaning against the bulb, looking down on the city.\n\n> You examine man\nHe's dressed like a magician, and he has a magician's calculated nonchalance.\n\nHe smiles as if he's been expecting you. \"Good afternoon, young miss. My card:\"\n\nA cream-colored card appears between his fingers; he hands it to you.\n\n\"You may call me J.M. I'm visiting your little burg hoping to add to\nmy collection. You see, I have it on good authority that at some point today you'll find a sixteenth-century sword, about this size.\" He\nholds his hands a sword's-length apart. \"Since it has been abandoned\nby its owner, and a friendly young lady like yourself has no use for such a thing, I hope that once you retrieve it you'll return here and give it to me. I can promise that you'll be duly rewarded.\"\n\nYou don't know what to say, except: \"Uh, okay.\"\n\n> You look at the card\nThe initials \"J.M.\" are written in silver ink on the front. The back\nis blank.\n\n> You talk to the man\n\"Mister J.M.?\"\n\n\"Yes?\"\n\n\"What was it you wanted me to find again?\"\n\nHe rolls his eyes. \"A sword. A very old sword. You don't have to worry about it, my dear. I know for a fact that you'll find it eventually.\"\n\n> You look at Swamp\nThe Opasassa Swamp is full of secrets.\n\n> You examine bulb\nfrom this vantage point."
    },
    {
        "text": "[Themes: Crocodracula, swamp]\n\n> Go downward\nAt the center of Opasassa is its water tower, a massive white bulb supported by a web of steel beams. Giant letters are printed on the side: From as far away as Glenburn, you can see them spell out \"OPASASSA.\" From right underneath, though, they barely look like letters.\n\nA narrow ladder is well-hidden among the bars.\n\nEXITS: NORTH EAST SOUTH WEST UP\n\n> Go north\nVines are creeping up the walls of the squat little KSAS building, almost reaching the boarded-up windows. The radio tower stretches overhead, its lower bars covered in rust.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\n> You examine the building\nKSAS was the local radio station when your mom was a kid. It went out of business a long time ago. Now the abandoned building would be impossible to notice, if it weren't for the giant broadcasting tower next to it.\n\n> You go to the north\nplace. It's too far to go on foot. Where'd you leave your bicycle?\n\n> Go north\nWater Tower (on the bicycle)\nAt the center of Opasassa is its water tower, a massive white bulb supported by a web of steel beams. Giant letters are printed on the side: From as far away as Glenburn, you can see them spell out \"OPASASSA.\" From right underneath, though, they barely look like letters.\n\nA narrow ladder is well-hidden among the bars.\n\nEXITS: NORTH EAST SOUTH WEST UP\n\n> You go north\nRadio Station (on the bicycle)\nVines are creeping up the walls of the squat little KSAS building, almost reaching the boarded-up windows. The radio tower stretches overhead, its lower bars covered in rust.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\n> You go to the north\nSandy Road (on the bicycle)\nA strip of dirty sand cuts through the woods. There's nothing but\ntrees in every direction.\n\nEXITS: NORTH SOUTH\n\nSomething rustles in the underbrush.\n\n> You go to the north\nMiss Muriel's Cabin (on the bicycle)\nThe road fades into grass and weeds as it reaches this lonely cabin,\nin the heart of the woods.\n\nAt the side of the building is an overgrown bed of flowers.\n\nA set of tarnished wind chimes hangs over the entrance.\n\nEXITS: SOUTH INSIDE\n\n> Dismount\nYou dismount the bicycle.\n\nThe road fades into grass and weeds as it reaches this lonely cabin,\nin the heart of the woods.\n\nAt the side of the building is an overgrown bed of flowers.\n\nA set of tarnished wind chimes hangs over the entrance.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\nA breeze blows through the wind chimes, and an unmusical jangling echoes through the trees.\n\n> You listen to the chimes\nYou prick up your ears.\n\nA breeze blows through the wind chimes, and an unmusical jangling echoes through the trees.\n\n> Keep going\nYou prick up your ears.\n\n> You wait awhile\nTime passes.\n\nA breeze blows through the wind chimes, and an unmusical jangling echoes through the trees.\n\n> Wait\nTime passes.\n\n> You look at the flowers\nYou lean over to inspect the flowers: Many of them are obviously not from around here. But you recognize a few of them from your wilderness survival training: Lantana. Nightshade. Hemlock.\n\nYou take a couple steps back."
    },
    {
        "text": "> You look around\nThe road fades into grass and weeds as it reaches this lonely cabin,\nin the heart of the woods.\n\nAt the side of the building is an overgrown bed of flowers.\n\nA set of tarnished wind chimes hangs over the entrance.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> You knock on the door\nNo response.\n\n> Enter\nThe musty air is thick with the hissing and bubbling of strange concoctions. The oddest things hang from the walls: Faceless\ndolls, strings of beads, dried herbs, and a couple of bleached cow skulls. It looks like every available surface is occupied by some half-finished arcane project. At the center of the chaos is Miss Muriel's big book.\n\nEXITS: OUTSIDE\n\nAs you enter, Muriel looks up from her studies. \"Good afternoon,\nBecca. To what do I owe this pleasure?\"\n\nYou wonder how you're going to tell her.\n\n> You talk to Muriel\nYou take a deep breath and settle yourself. Miss Muriel deals with weird things like this all the time.\n\n\"There's something on my skin,\" you say, and you pull up your sleeve\nto reveal the scales on your shoulder. Muriel gives it a look and clicks her tongue.\n\n\"Did you show it to a doctor?\"\n\n\"No. Should I have?\"\n\n\"Well, there wouldn't be much point. This isn't a medical condition. It's a curse.\"\n\nThe word isn't as surprising as it should be. Maybe this is what you expected all along. \"How? Who cursed me?\"\n\n\"There's a creature that makes its home in the swamp.\" Muriel shuffles through her tome until she finds a drawing: A hunched human shape with a snout full of teeth. \"Have you heard of Crocodracula?\"\n\n\"Yeah, we told each other stories about him when we were little kids. He's not real.\"\n\n\"He's very real, Rebecca. And he's marked you for some purpose. He\nmust want something from you...\" Miss Muriel trails off as she starts poking around the cabin, looking for something.\n\n\"What do I do? How do I get rid of the curse? I don't want to do anything for Crocodracula.\"\n\n\"You'll have to destroy him. Here.\" She finds a sharpened wooden stake in a corner and hands it to you. \"Find his castle in the swamp and put this through his heart.\"\n\nYour mouth hangs open as you contemplate the stake.\n\n\"I don't know if I can do that...\"\n\n\"Sure you can. You'll have the element of surprise. I have complete faith in you, Becca.\"\n\n> You examine Muriel\nMiss Muriel's hair is frizzy and unkempt; her frayed denim jacket is covered in stains from her various experiments. She likes to call herself a \"student of nature.\" There's another word for someone who follows her sort of lifestyle, but Miss Muriel does not like that\nword.\n\n> You examine the stake\nYou briefly wonder why Miss Muriel had a wooden stake in her cabin,\nbut soon you conclude that, for Miss Muriel, it makes a lot of sense.\n\n> Examine book\nMiss Muriel pulls the book away from your prying eyes, and purses her lips disapprovingly.\n\n> You look at concoctions\nThere are flasks and bottles and vials all over, each with a different potion being mixed or boiled or decanted.\n\n> You examine the dolls\nThey're not like the dolls your mother makes: They're made out of leather and twigs and who knows what else.\n\n> You look at the beads\nSome of the beads almost look like eyeballs. But they're definitely just beads.\n\n> You examine the herbs\nthe smell of Muriel's potions (or the smell of other plants).\n\n> You talk to Muriel\nYou ask Miss Muriel how to get to Crocodracula's castle.\n\n\"You'll need an airboat to go that deep into the swamp. I know Mister Qualmsley rents airboats, but you might have to pursue... unofficial methods to acquire one.\"\n\n> Go outside\nThe road fades into grass and weeds as it reaches this lonely cabin,\nin the heart of the woods.\n\nAt the side of the building is an overgrown bed of flowers.\n\nA set of tarnished wind chimes hangs over the entrance.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> Ride bike\nYou mount the bicycle.\n\nA breeze blows through the wind chimes, and an unmusical jangling echoes through the trees.\n\n> You go to the south\nSandy Road (on the bicycle)\nA strip of dirty sand cuts through the woods. There's nothing but\ntrees in every direction.\n\nEXITS: NORTH SOUTH\n\n> You examine the trees\nGnarled trees with wide branches lean in over the trail, and only a\nfew patches of sunlight break through. Thick weeds creep up to the\nedge of the path.\n\n> You examine the weeds\nGnarled trees with wide branches lean in over the trail, and only a\nfew patches of sunlight break through. Thick weeds creep up to the\nedge of the path.\n\nWarm wind shakes the leaves.\n\n> You go south\nRadio Station (on the bicycle)\nVines are creeping up the walls of the squat little KSAS building, almost reaching the boarded-up windows. The radio tower stretches overhead, its lower bars covered in rust.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\n> Go east\nAzalea Street (on the bicycle)\nAzalea Street turns ninety degrees at the top of what passes for a\nhill in central Florida. The house on the outside of the curve has a sign posted outside: It's also the studio of Professor Rubach, the piano teacher.\n\nEXITS: SOUTH WEST INSIDE\n\nEddie Lee is sitting on the sidewalk, plunking out a classical tune on a portable keyboard.\n\n> You examine Eddie\nWith his Hawaiian shirt and unfortunate lack of a hairstyle, Eddie Lee looks like a gangly, teenaged Thomas Magnum. If he filled out the\nshirt a little better, he might actually look kind of cool. But the\ntoy keyboard he's toting makes it clear: Eddie Lee is just a huge\ngeek.\n\n> You talk to Eddie\n\"Eddie Lee, I need your help.\"\n\nHe stops playing and gawks up at you. \"Me? With what?\"\n\n\"I need one of your dad's airboats.\"\n\n\"What for?\"\n\n\"I can't tell you. It's a secret. A girl thing.\"\n\n\"Aha. Say no more.\" Works every time. \"What exactly am I supposed to do?\"\n\n\"I just need you to distract your dad for a minute. Can you do that?\"\n\n\"Sure. If you do something for me first.\"\n\nUh-oh. \"Like what?\"\n\nHe gets a sheet of paper out of his pocket. \"Zoe has said some very hurtful things recently about me as a person, like that I'm a scrawny little weirdo.\"\n\n\"She also says you're a creep sometimes.\"\n\nHe nods. \"And, besides hurting my feelings, the things she says affect how my peers view me. And that affects my social prospects, which affect my chances of getting into a good college\ufffd\ufffd\ufffd\"\n\n\"Please get to the point.\"\n\n\"If you get Zoe to sign this retraction,\" Eddie Lee says, handing you the paper, \"I'll gladly help you steal from my dad.\"\n\n\"Got it.\"\n\n> You examine paper\nIt's a sheet of looseleaf with Eddie Lee's handwriting on it: \"I, the undersigned, hereby retract any and all statements I have made concerning the character of Eddie Lee Qualmsley and his status as a creep, geek, or weirdo. I acknowledge the damage my statements have caused to Mister Qualmsley's reputation, and I promise I will refrain from such libel in the future. Eddie Lee Qualmsley is not a\ncreep.\"\n\nBelow that is a place for Zoe to sign, and a place for you to sign as\na witness.\n\n> You go south\nBuchanan High School (on the bicycle)\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nZoe is sitting on a bench near the door.\n\n> You talk to Zoe\n\"Hey, Zoe, I need to ask you a favor.\"\n\n\"Sure! What is it?\"\n\n\"I just need you to sign this,\" you say, placing the document in her hands. She looks it over with an unpromising expression.\n\n\"Is he for real?\"\n\nHard to say. \"It's the only way he'll help me,\" you tell her.\n\nZoe rolls her eyes and pulls out a pen. Using the rough seat of the bench as her flat surface, she scratches impatiently on the statement, then hands it over to you to notarize. You take a bit of time with\nyour signature to make up for hers.\n\n\"Thanks,\" you say.\n\n\"Whatever,\" she says. \"I doubt it'll hold up in court anyway.\"\n\n> You look at the paper\nIt's a sheet of looseleaf with Eddie Lee's handwriting on it: \"I, the undersigned, hereby retract any and all statements I have made concerning the character of Eddie Lee Qualmsley and his status as a creep, geek, or weirdo. I acknowledge the damage my statements have caused to Mister Qualmsley's reputation, and I promise I will refrain from such libel in the future. Eddie Lee Qualmsley is not a\ncreep.\"\n\nBelow that is Zoe's signature (a contemptuous scribble) and yours (notarizing Zoe's).\n\n> You talk to Eddie\n\"Why, hello, Rebecca. Have you spoken with your lovely friend Zoe?\" Eddie Lee says, with a big fake smile.\n\nSo you give him a big fake smile back. \"Not quite yet, Edward...\nWhat's Lee short for?\"\n\n\"I keep asking my dad, but he won't tell me.\"\n\n> You give the paper to Eddie\n\"Well?\" says Eddie Lee\n\n\"Yeah, here you go.\"\n\ninsufferable smile. \"Dzi\ufffd\ufffdkuj\ufffd\ufffd!\"\n\n\"What?\"\n\n\"Oh, sorry. Polish. It means, 'thanks very much.' He carefully folds\nup the paper and puts it back in his pocket.\n\n\"You're super welcome. Hey, while we're on the subject, weren't you going to help me with something?\"\n\n\"Oh, yeah!\" Eddie Lee leaps to his feet. \"I'll meet you at my dad's place.\"\n\nHe takes off like a rocket.\n\n> You go to the west\nWater Tower (on the bicycle)\nAt the center of Opasassa is its water tower, a massive white bulb supported by a web of steel beams. Giant letters are printed on the side: From as far away as Glenburn, you can see them spell out \"OPASASSA.\" From right underneath, though, they barely look like letters.\n\nA narrow ladder is well-hidden among the bars.\n\nEXITS: NORTH EAST SOUTH WEST UP\n\n> Go south\nWater's Edge (on the bicycle)\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nEddie Lee is standing a ways off from the entrance, waiting for you.\n\nAn airboat is floating at the dock.\n\n\"So, what's the plan?\" Eddie says.\n\n\"I don't know. Play something for him on your little piano thing.\"\n\n\"Really? I'm not that good. I've only been playing for trzy miesi\ufffd\ufffdce.\"\n\n\"What?\"\n\n\"Three months. Wait, what did I say?\"\n\nYou just shake your head.\n\n> Dismount\nYou dismount the bicycle.\n\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nEddie Lee is standing a ways off from the entrance, waiting for you.\n\nAn airboat is floating at the dock.\n\n> You enter\nThe AC is cranked so high that you begin to shiver. Mister Qualmsley doesn't seem to notice: He just sits at the cash register, waiting for quitting time to roll around.\n\nAn unfortunate fish is mounted on a plaque on the far wall.\n\nEXITS: OUTSIDE\n\nAn airboat key is hanging on a hook behind the counter.\n\nQualmsley waves as you come in. \"Hi, Becca! Hey there, Eddie Lee!\"\n\n\"Eddie Lee wants to play one of his pieces for you,\" you explain, stepping back to give him center stage.\n\n\"Well I'd love to hear it!\" says Mister Qualmsley. \"I want to see how those lessons are paying off.\"\n\n\"Uh, sure,\" Eddie Lee says, looking around the room. There's nowhere\nto sit, so he sits on the floor. He switches on the keyboard and\nstarts to play.\n\nIt's some sort of European dancing tune, switching back and forth between two melodies. Each bouncy, carefree phrase is answered with a solemn section, and then another happy part, and so on.\n\nEven though he's playing on a cheap electronic keyboard, sitting cross-legged on the floor, Eddie Lee is being more serious than you've ever seen him in his life. He seems to have lost himself in the music.\n\nYou look over at Mister Qualmsley and find him grinning down at his son's surprising new talent. He's in his own little world, too.\n\n> You take the key\nKeeping an eye on Mister Qualmsley, you slip behind the counter and grab the airboat key. He's too proud of his son to notice.\n\n> You go to the west\nAt the end of Ash Street is a tall gray house with peeling paint and dark windows. A rickety fence surrounds the garden; the gate is unlocked, and it creaks softly when a breeze passes.\n\nEXITS: EAST INSIDE\n\nMrs. Idlewyld is pacing up and down the block, poking around in\nvarious bushes, staying well away from the house.\n\n> You examinethe mrs .\nMrs. Idlewyld wears thick glasses that make her eyes look huge and magnify her apprehension whenever she's worried about something, which is most of the time. Right now she seems slightly more on-edge than usual.\n\n> You talk tothe mrs .\nChatting with Mrs. Idlewyld is usually more trouble than it's worth, but she looks particularly desperate today. \"Do you need anything,\nMrs. Idlewyld?\" you ask, keeping a respectful distance.\n\n\"I do, dear girl, I do. But I don't know if you can help me. I've mislaid something\ufffd\ufffd\ufffda flute. My husband carved it, and I only bring it out on special occasions...\"\n\nShe doesn't offer any other details, and you're left to wonder how a beloved flute could end up lost in the bushes.\n\n\"I'll see what I can do,\" you say, and Mrs. Idlewyld nods\ndistractedly.\n\n> You examine the bushes\nRows of bushes run down the length of Ash Street, except in front of the tall gray house.\n\n> You look at the house\nNobody ever comes out of the house at the end of Ash Street. But Zoe swears she's seen something moving around inside.\n\n> You look at the fence\nThe flimsy metal fence and its creaking gate are on the verge of falling apart.\n\n> You examine the flowers\nThe garden is full of pale flowers. Looking closely, you see a lot of them are stained with dirt.\n\nLooking closer, you see they're all fake. A garden of silk flowers!\n\n> You search the bushes\nYou push some branches aside, but all you find is the inside of a\nbush.\n\n> You go inside\n(first opening the windowless door)\nYou timidly approach the door and try the handle: It's locked.\n\n> You knock on the door\nYou rap tentatively on the door.\n\nNobody answers.\n\n> You look through the windows\nYou crane your neck to peer inside a window: Darkness.\n\n> You go to the west\nStout concrete columns flank the station's entrance. Sheriff Dillard's squad car is parked outside.\n\nEXITS: NORTH EAST INSIDE\n\n> You examine car\nsky if it weren't for the intimidating rack of lights on top. On the side is a white lion, the emblem of the police department.\n\nThe license plate says \"DLLARD.\"\n\n> You examine the Station\nThe lights are on inside. The police welcome visits from concerned citizens at any hour.\n\n> You enter\nA portrait of the President smiles at you welcomingly from across the lobby, above a carefully organized bulletin board. It doesn't feel\nlike you're standing in the nerve center of Opasassa law enforcement; most rooms back at the high school are more intimidating than this. There's even wall-to-wall carpeting in here.\n\nEXITS: OUTSIDE\n\nSheriff Dillard is sitting uneasily in his easy chair, twiddling his thumbs in minor agitation.\n\n> You look at Dillard\nSheriff Dillard looks uneasy, like he forgot some homework. But he doesn't have to do homework. He's an adult.\n\n> You talk to Dillard\n\"Hey, Sheriff. What's wrong?\"\n\n\"Oh, nothing's wrong, Becca. I just wish I had something to do.\"\n\n\"Don't you usually do a crossword puzzle when you're waiting for\npolice work?\"\n\n\"Yeah. But I did today's crossword. I did every crossword in every paper published in this town going back five or six months. I solved 'em all. I am fresh out of puzzles.\"\n\n\"Aw, I'm sorry to hear that,\" you say (although you kind of wish you were in his shoes).\n\n> You go north\nThe neon sign is dark; the Weeping Willow is closed for the day.\n\nIts namesake rustles slightly in the wind.\n\nEXITS: NORTH EAST SOUTH\n\nKyle is here, working on his Gremlin.\n\n> You look at Kyle\nYou try to admire Kyle surreptitiously: His dimpled chin, his slicked-back hair, his arms. Then he looks up and waves: As you try to convince your arm to wave back, you notice you've been holding your breath.\n\nSo you have to figure out how to sigh deeply and wave your hand at the same time, and look totally natural doing it, and the effort almost defeats you.\n\n> You examine Gremlin\nKyle's powder-blue Gremlin: A magnificent machine. The little chrome eagle on the hood is perpetually swooping down upon the future.\n\nKyle has the hood up at the moment, so that he may inspect its mystifying innards.\n\n> You talk to Kyle\nYou take a deep breath before you approach him.\n\n\"Hey, Kyle,\" you say. \"Whatcha working on?\"\n\n\"I'm giving the old bird a complete overhaul,\" he says. He calls the Gremlin his \"old bird\" because of its swooping eagle hood ornament. \"Your brother and I might take her to a drag race this weekend.\"\n\n\"That's so cool,\" you say. You have to steer the conversation away\nfrom your brother. \"What kinds of modifications are you making?\"\n\n\"Well, I replaced the manifold,\" he says, pointing to a part that\nlooks like all the other parts, \"and I realigned the distributor, and\nI adjusted some of the solenoids that were misbehaving. But she needs something else. She needs some extra oomph, or we're not gonna make much of a splash at that race.\"\n\nHe stares down into the heart of his car, and pulls out a towel to\nwipe the sweat from his brow.\n\n> Smell towel\nKyle is holding the towel at the moment.\n\n> Examine willow\nWhich do you mean, the diner or the tree?\n\n> Tree\nThe willow seems especially mournful when the diner is nearly abandoned.\n\n> You look at the diner\nThrough the windows you can see chairs stacked on tables. It's dark in there.\n\n> You go inside\nYou try the door: Locked.\n\n> Go north\nA mannequin in a threadbare dress stands in a yellowed window, frozen in the middle of waving at you. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\n> You examine the mannequin\nThe mannequin has no face, but it does have a little bit of attitude. The discolored window make its clothes look dirty and its \"skin\" jaundiced.\n\n> You examine the brick\nThe brick is painted with a beach scene: Sand, sky, palm trees.\n\n> Enter\nFrom outside, the window made everything in here look yellow. Inside, the fluorescent lights cast everything in a cadaverous\nblue-white.\n\nLong shelves are filled to capacity with junk. A dented cabinet is displayed near the counter.\n\nEXITS: OUTSIDE\n\nBehind the counter sits Hazel, loudly chewing a huge wad of gum.\n\n> You look at Hazel\nHazel is about your age, but the two of you don't hang out much. She's a bit too bossy, and her fashion sense is hard to deal with. Like\nthose cat's-eye glasses she wears all the time.\n\n> You examine the junk\nYou notice the belt you donated last year is still here. So much stuff here, and none of it is useful.\n\n> You look at the cabinet\nHazel notices your gaze and steps between you and the cabinet.\n\n\"I'm gonna tell you a secret, Becky. This cabinet came from the particle physics department up at the university. It got exposed to rays. And now it has powers.\"\n\n\"Powers?\" you say, trying not to betray anything with your tone or expression.\n\n\"I don't know how it works. I'm not a quantum scientist. But I know what it does. Anything you put inside this cabinet will go back in time. By about three weeks.\"\n\nYou squint at the cabinet. It seems perfectly normal.\n\n\"I'm not messing with you. For instance, let's say you have a moldy loaf of bread. Put it in here, close the door, open it again\ufffd\ufffd\ufffd\"\n\n\"And the bread won't be moldy anymore?\"\n\nHazel shakes her head. \"No, no, no. It'll turn back into flour and\neggs and stuff. Unless the bread was already more than three weeks old.\"\n\n\"I get it,\" you say, nodding. But you can tell Hazel isn't convinced that you're convinced.\n\n> You enter the cabinet\nYou figure the cabinet is big enough that a smallish human like yourself could fit inside. But you're not about to try it while Hazel is watching.\n\n> You talk to Hazel\n\"Hi, Hazel.\"\n\n\"Hey, Becca. You looking for anything in particular?\"\n\n\"Uh, no, just browsing,\" you say.\n\nHazel responds by popping her gum loudly.\n\n> You examine the junk\nYour glance falls on a viola case, and you feel a pang of guilt. So much stuff here, and none of it is useful.\n\n> You examine the junk\nOn the top shelf is a ceramic duck that someone did a poor job of gluing back together. So much stuff here, and none of it is useful.\n\n> Go outside\nA mannequin in a threadbare dress stands in a yellowed window, frozen in the middle of waving at you. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\n> You think\nYou mutter to yourself: \"Am I missing something? Is there somewhere I haven't looked? Someone I haven't talked to? Zoe might know what to\ndo. Or Miss Muriel...\"\n\n> Go east\nCan't go that way!\n\nAVAILABLE EXITS: SOUTH INSIDE\n\n> Go east\nThe junkyard is surrounded by tall walls of rusty sheet metal. A\nlittle booth sits at the entrance. Inside are long rows of disintegrating cars and occasional unidentifiable debris.\n\nEXITS: WEST\n\nHank is slumped over the sill of his booth, struggling to keep both eyes open.\n\n> You examine Hank\nAs far as you can tell, Hank's only job is to guard his salvage yard from intruders. The trouble is, he tends to be sleeping on the job\nmost of the time. Right now, it looks like he's just dozing, which is really a best-case scenario for him.\n\n> Examine booth\nHank seems to spend most of his life in his claustrophobic guard post. It looks like he has a TV in there.\n\nYou could almost imagine yourself enjoying being stuck in such a cozy little place, if it weren't for the surroundings.\n\n> You look at the cars\nFrom outside you can only see a fraction of Hank's massive collection of refuse. None of it looks valuable or even interesting.\n\n> You talk to Hank\n\"Hank? Hello?\"\n\nHank looks up from the ground and shakes his shaggy head. \"Oh, hey, Rebecca. Sorry, I just...\"\n\nHis eyes close, and he returns to his original position.\n\n> Go inside\nAs you move past the booth, Hank snaps at you: \"This ain't no place\nfor little girls, Miss Drapkin.\"\n\nYou back off.\n\n> You go west\nVines are creeping up the walls of the squat little KSAS building, almost reaching the boarded-up windows. The radio tower stretches overhead, its lower bars covered in rust.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\n> Go south\nAt the center of Opasassa is its water tower, a massive white bulb supported by a web of steel beams. Giant letters are printed on the side: From as far away as Glenburn, you can see them spell out \"OPASASSA.\" From right underneath, though, they barely look like letters.\n\nA narrow ladder is well-hidden among the bars.\n\nEXITS: NORTH EAST SOUTH WEST UP\n\n> Go east\nhill in central Florida. The house on the outside of the curve has a sign posted outside: It's also the studio of Professor Rubach, the piano teacher.\n\nEXITS: SOUTH WEST INSIDE\n\n> You go inside\nThe carpet in here is so nice, you wonder if you were supposed to take off your shoes. Well, too late now.\n\nMost of Professor Rubach's living room is taken up by a gleaming baby grand piano. Two paintings hang on the wall: On the left, a gamboling faun; on the right, a stern portrait.\n\nEXITS: OUTSIDE\n\nYou can see Professor Rubach here.\n\n> You examine the faun\nA goat-legged man is hopping through the forest, playing a pan flute.\nA smear of pink paint in the background might be someone chasing after him.\n\n> You examine stern\nA man with sunken eyes and a pointed beard glares off to the side, perpetually unimpressed with whatever is happening beneath him.\n\n> Examine prof.\nThe professor is built like a Mack truck, and it's hard to believe his huge fingers are any use on the delicate keys of a piano. But his face is warm and friendly, to match the coziness of his little studio.\n\n> You examine the piano\nThe piano seems like it should be impossible to play: So many\ndifferent keys! They can't all be completely necessary.\n\n> You talk tothe prof .\n\"Hey, Professor.\"\n\n\"Hello, Rebecca! Are you interested at all in taking piano lessons?\"\n\n\"Uh, not at the moment. I just wanted to know how Eddie Lee is doing.\"\n\n\"He's doing very well, I must say. He has a natural talent for the instrument, and an admirable devotion to musicianship.\"\n\n\"That's great to hear,\" you say, although you'd like to add: Are you sure you mean Eddie Lee?"
    },
    {
        "text": "[Themes: Crocodracula]\n\n> You look around\nMost of Professor Rubach's living room is taken up by a gleaming baby grand piano. Two paintings hang on the wall: On the left, a gamboling faun; on the right, a stern portrait.\n\nEXITS: OUTSIDE\n\nYou can see Professor Rubach here.\n\n> Leave\nhill in central Florida. The house on the outside of the curve has a sign posted outside: It's also the studio of Professor Rubach, the piano teacher.\n\nEXITS: SOUTH WEST INSIDE\n\n> Go south\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nZoe is sitting on a bench near the door.\n\n> You talk to Zoe\nYou tell Zoe how you got your hands on an airboat key.\n\n\"Then go out on that airboat!\" Zoe says. \"Do some investigating!\"\n\n> You go to the east\nBecca's House (on the bicycle)\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> Dismount\nYou dismount the bicycle.\n\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> Go inside\nThe walls of the living room are lined with dolls: Your mother's unsettling handiwork.\n\nYour bedroom is upstairs.\n\nEXITS: UP OUTSIDE\n\nDrew is sitting on the carpet, plucking out a mournful memory on his guitar.\n\n> You exit\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> You go to the west\nWater's Edge (on the bicycle)\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\n> Dismount\nYou dismount the bicycle.\n\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nAn airboat is floating at the dock.\n\n> You enter the boat\nYou get into the airboat.\n\n> You turn on the boat\nYou insert the key and turn the ignition: The engine roars to life,\nand the fan begins spinning.\n\n> Go south\nSwamp (in the airboat)\nYou are in the middle of the Opasassa Swamp. Cypress trees and hanging vines obscure your vision in every direction.\n\nEXITS: ?\n\n> You go to the south\nSunken Castle (in the airboat)\nYou slow down the airboat as it comes into view.\n\nA fortress of black stone, wreathed with ancient vines, towers over you. The entire castle is tilted to one side, slowly sinking into the swamp.\n\nEXITS: NORTH INSIDE\n\n> You leave\nYou get out of the airboat.\n\nYou stand on a narrow shelf of slick mud outside the black fortress. The rotten remains of a massive door hang in a crumbling gateway.\n\nEXITS: NORTH INSIDE\n\nThe airboat floats just off the shore.\n\n> You turn off the boat\nYou pull the key out of the ignition. The fan slows down, and then it stops.\n\n> You look at the door\nOnly a spongy stub of a plank still hangs from the calcified hinges.\n\n> Enter\nThe air in this hallway is thick with moisture and decay. The walls\nand floor are covered in slick moss. You feel like you've stepped into a cave, not a manmade structure.\n\nThe remains of a tapestry hang on one wall, flanked by two stairways.\n\nEXITS: UP DOWN OUTSIDE\n\n> You look at tapestry\nThe tapestry depicted a man with a pointed beard standing beneath a tree. Most of the details have rotted away."
    },
    {
        "text": "> You go downwards\nA slimy sarcophagus rests in the middle of this chamber, lit by four torches that dance with green fire.\n\nFurther on, at the edge of the torchlight's reach, you can make out a huge stone door.\n\nEXITS: UP\n\n> You look at the door\nA massive stone door that hasn't been opened in many, many years.\n\nLooking closer, you can make out words engraved in the stone. But they aren't in any language you know.\n\n> You ascend\nYou've reached the pinnacle of the sinking castle. Looking out from\nthe tower, you can see nothing but the dense foliage of the swamp, slowly growing over the fortress.\n\nEXITS: DOWN\n\nAn antique sword lies abandoned on the flagstones.\n\n> You take the sword\nTaken.\n\n> You move the tapestry\nThe tattered tapestry is fine right there.\n\n> You go outside\nYou stand on a narrow shelf of slick mud outside the black fortress. The rotten remains of a massive door hang in a crumbling gateway.\n\nEXITS: NORTH INSIDE\n\nThe airboat floats just off the shore.\n\n> You go to the north\nSwamp (in the airboat)\nYou are in the middle of the Opasassa Swamp. Cypress trees and hanging vines obscure your vision in every direction.\n\nEXITS: NORTH SOUTH\n\n> You go north\nWater's Edge (in the airboat)\nYou're sitting in an airboat behind Eddie Lee's dad's airboat rental business. Looking south, you see the vastness of the Opasassa Swamp.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nEddie Lee is pacing back and forth in front of the shop.\n\nYour trusty bicycle is parked here.\n\nEddie Lee runs down to the dock as you approach, yelling something you can't hear over the roar of the airboat fan. You turn off the engine, but Eddie Lee doesn't quiet down.\n\n\"Co\ufffd\ufffd jest nie tak, Rebecca!\" he cries. \"Nie m\ufffd\ufffdwi\ufffd\ufffd ju\ufffd\ufffd po angielsku!\"\n\n\"Calm down, Eddie Lee. Speak English.\"\n\n\"Pr\ufffd\ufffdbuj\ufffd\ufffd! Nie m\ufffd\ufffdwi\ufffd\ufffdbym po polsku, gdybym mia\ufffd\ufffd wyb\ufffd\ufffdr! Nie wiem nawet,\njak m\ufffd\ufffdwi\ufffd\ufffd po polsku!\"\n\nYou stare at each other helplessly. Finally Eddie Lee gives up, and walks slowly up the dock.\n\n> You exit\nYou get out of the airboat.\n\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\nEddie Lee is pacing back and forth in front of the shop.\n\nYour trusty bicycle is parked here.\n\n> You talk to Eddie\n\"Eddie Lee, if you can understand me: Can you try to tell me what you think happened?\"\n\n\"C\ufffd\ufffd\ufffd\ufffd, nigdy nie uczy\ufffd\ufffdem si\ufffd\ufffd \ufffd\ufffdadnego polskiego, ale profesor Rubach jest polski. A facet, kt\ufffd\ufffdry skomponowa\ufffd\ufffd mazurka, kt\ufffd\ufffdry gra\ufffd\ufffdem dla mojego taty, r\ufffd\ufffdwnie\ufffd\ufffd jest Polakiem. Ale teraz nie \ufffd\ufffdyje. My\ufffd\ufffdl\ufffd\ufffd, \ufffd\ufffde nazywa\ufffd\ufffd si\ufffd\ufffd Leonard.\"\n\n\"Leonard?\"\n\nEddie Lee nods.\n\n> You give the sword to the man\nHis eyes light up as you hold out the sword. \"Excellent! I knew you'd come through. Well done, young miss. Now, for the exchange:\"\n\nHe reaches into his jacket and produces a wooden flute. \"I assure you this trade is more than fair,\" he says, and he hands you the flute in the same motion with which he smoothly relieves you of the sword,\nwhich he stows in some invisible pocket.\n\n\"It was a pleasure doing business, Miss Drapkin,\" he says, and he touches the brim of his hat.\n\n> You examine the flute\nAn old wooden flute, much smaller and simpler than the recorder you used to play in music class. The wood is carved with a sinuous floral design.\n\n> You play the flute\nYou put your lips to the flute and blow: Somehow a wild, shrill melody spills out, quite independently from your control. You take the instrument away from your mouth and the flute goes quiet.\n\n> You talk to the man\nIt takes a couple tries to get his attention.\n\n\"Oh, you're still here? You'd best be moving along. I predict that you have much left to do.\"\n\n> Go south\nCan't go that way!\n\nAVAILABLE EXITS: NORTH EAST INSIDE\n\n> You go to the south\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\nEddie Lee is pacing back and forth in front of the shop.\n\nYour trusty bicycle is parked here.\n\n> You go to the west\nAt the end of Ash Street is a tall gray house with peeling paint and dark windows. A rickety fence surrounds the garden; the gate is unlocked, and it creaks softly when a breeze passes.\n\nEXITS: EAST INSIDE\n\nMrs. Idlewyld is pacing up and down the block, poking around in\nvarious bushes, staying well away from the house.\n\n> You give the flute tothe mrs .\n\"Is this what you're looking for, Mrs. Idlewyld?\"\n\nHer eyes get even bigger behind her gigantic glasses, and she reaches out to accept the flute from you. \"Yes, yes! Oh, you sweet little\ngirl! Where did you find it?\"\n\nYou take a deep breath, unsure of how to explain. She seems to take this as a clue:\n\n\"Somebody gave it to you?\" You nod. \"A man in a tall hat?\" You nod.\n\n\"But, you had to give him something first?\"\n\nYou can't bring yourself to say anything.\n\n\"Oh, dear. I'm afraid what you've done may have consequences you couldn't predict. But I do have to thank you for finding my flute! Let's see...\"\n\nShe searches herself until she turns up an old thermos, which she presses into your hands. \"Here we are! Hot, healthful tea. Very energizing. It's my own blend. Enjoy!\"\n\n> You examine the thermos\nAn old-fashioned steel thermos with a few dents in it. Something is sloshing around inside.\n\n> Go east\nCan't go that way!\n\nAVAILABLE EXITS: SOUTH WEST INSIDE\n\n> You give the thermos to Hank\n\"Hank? Hey, Hank. I've got something for you.\"\n\nHank rubs his eyes. \"Oh, hey, Rebecca. Sorry, I just...\"\n\n\"It's tea,\" you say, quickly opening the thermos and pushing it toward his nose. The effect is immediate: His eyes pop open, and he rears up in his chair like a snake bit him.\n\n\"HOW ABOUT IT!\" he bellows, and he snatches the thermos out of your hands.\n\nHe gives the tea another sniff, and he shakes all over. He sniffs it again, and he giggles maniacally. Then he lifts the thermos to his lips...\n\n...and he takes a single sip, which is probably more than enough.\n\n\"That's the stuff! That is THE STUFF,\" Hank says. \"I can't thank you enough, young lady. There are no words that can describe what a good deed you have done me on this fine, fine day. Whatever can I do to express my gratitude? What token of thanks can I possibly offer to match the inestimable kindness you've\ufffd\ufffd\ufffdWait just a second.\"\n\nHe ducks down into his booth, and you hear an awful racket, like a blender trying to pur\ufffd\ufffde a typewriter. When it's finally over, Hank returns to view bearing a tubular metal object that looks like the thermos's older brother.\n\n\"Catalytic converters of this vintage, in this condition, are very difficult to come by. When you find an interested collector, you will be able to draw a very high price indeed for such a singular example\nof fine German engineering.\" He drops the object into your arms. It's heavy.\n\n\"Thank you very much,\" you say, and you back away slowly.\n\n> Examine converter\nIt's a longish metal canister with pipes coming out of each end. Presumably something goes in one tube, and then something else (or the same thing?) comes out from the other.\n\n> You give converter to Kyle\nYou hoist the bulky converter thing proudly into view. \"Think she\ncould use one of these?\" you say, attempting a winning smile despite the back strain.\n\nKyle's face lights up: \"Nice work, Drapkin!\" He takes the thing off your hands and you breathe a sigh of relief. \"Do you wanna help me install it?\"\n\nYou hear your mouth saying \"Sure!\" even though the rest of your body wants nothing more to do with the thing. You hold one end, Kyle takes the other, and he directs you to the far side of the car so that together you can carefully lower the catalytic converter into the engine.\n\n[Ryan's Note: PLEASE don't send me any corrections. Keep in mind, Taleframe produced this game in 1990, and today most of their staff\nare living under assumed names.]\n\nBut as you're carefully lowering it, your end of the contraption slips\ufffd\ufffd\ufffdit lands with a splash\ufffd\ufffd\ufffdand a glob of oil flies out of the car and hits you in the face.\n\nYou freeze. Kyle drops the other end and rushes to your side.\n\n\"Sorry about that,\" he says, and he pulls out his towel to wipe the\noil off of your face. When you've convinced him you're okay, he turns back the car, to finish screwing in the converter. Leaving you holding his towel.\n\n\"That oughta do it!\" He lowers the hood and grins. \"Thanks for the assist, Becca.\"\n\nThen he busies himself with some other element of vehicle maintenance. And he doesn't take his towel back.\n\n> You examine the towel\nIt's Kyle's brow-sweat-wiping towel. It's covered in Kyle's\nbrow-sweat. And a fair amount of motor oil.\n\n> Go east\nThe junkyard is surrounded by tall walls of rusty sheet metal. A\nlittle booth sits at the entrance. Inside are long rows of disintegrating cars and occasional unidentifiable debris.\n\nEXITS: WEST\n\nHank is leaning out of his booth, keeping a sharp lookout for any intruders.\n\n> You give the towel to Jocelyn\nJocelyn rears back in disgust. \"Why would I want your grody towel?\"\n\n\"I just helped Kyle fix his car.\" You pause to enjoy the look on her face. \"And this is the towel he was using, to, you know, keep the\nsweat out of his eyes.\"\n\n\"And what made you want to come all the way back here to tell me about it?\"\n\n\"Because I want that star ball,\" you tell her.\n\nIt's a risky gambit, assuming that Jocelyn wants a sweaty souvenir of Kyle more than she wants to thwart you. But she's not rejecting\nthe notion: She's thinking about it.\n\n\"Okay, deal,\" she says, snatching the towel and pushing the\nplanetarium sphere into your arms. Then she turns around so she can start ignoring you.\n\n> You look at sphere\nIt just looks like a black basketball at the moment, except that there's a switch on the bottom.\n\n> You go west\nThe chemistry room contains two long rows of lab tables, wiped clean after each experiment under Mister Sarducci's unsparing supervision.\n\nEXITS: EAST\n\nMister Sarducci sits at his desk, drumming his fingers absentmindedly on the formica countertop.\n\n> You go east\nBetween classes, this intersection is the busiest place in the school. Right now the only people here are you and Jocelyn.\n\nYou notice that the way downstairs has been left open by a careless custodian.\n\nEXITS: EAST WEST DOWN OUTSIDE\n\nJocelyn is still at the end of the hall, gazing into the trophy case and clutching Kyle's towel.\n\n> You examine the crowbar\nA heavy crowbar, bluish-black and slightly dirty.\n\n> You take it\nTaken.\n\n> You examine the clock\nThe clock has stopped at 10:09.\n\n> You examine the turntable\nA record player, for playing records. But you don't see any records anywhere.\n\n> You examine the black dial\nYou wipe away some of the dust so you can see: The numbers 0 through 9 are printed around the dial. It's currently set to 0.\n\n> You turn the dial to 3\nYou turn the dial up to 3.\n\nYou hear a faint pop as the speakers on the console activate.\n\nA voice comes from the speakers: \"Amy?\"\n\nThen it's quiet. But you think you can hear someone breathing.\n\n> You turn dial to 2\nYou turn the dial down to 2.\n\nYou hear faint elevator music from the speakers.\n\n> You turn the dial to 9\nYou turn the dial up to 9.\n\nYou hear a bell ring over the speaker. Then another bell, and another bell, each as shrill as a carriage return. You can't detect any\npattern to the ringing.\n\n> You turn the dial to 0\nYou turn the dial down to 0.\n\nThe speakers make a quiet popping noise, and then the room is silent.\n\n> You turn off sphere\nYou flick the switch, and the lights go out.\n\n> Go west\nThe neon sign is dark; the Weeping Willow is closed for the day.\n\nIts namesake rustles slightly in the wind.\n\nEXITS: NORTH EAST SOUTH\n\nKyle leans over his Gremlin, attending to the last few details.\n\n> Go north\na yellowed window. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\n> You go south\nSunken Castle (in the airboat)\nA fortress of black stone, wreathed with ancient vines, towers over you. The entire castle is tilted to one side, slowly sinking into the swamp.\n\nEXITS: NORTH INSIDE\n\n> You look at the sarcophagus\nDespite the slime that's grown over its surface, the stone coffin stands out from the surrounding decay. It must be carved from some\nmore durable material than the walls of the castle.\n\nThe lid of the sarcophagus is firmly in place, but you can make out a seam underneath.\n\n> You open it with the crowbar\nYou press the point of the crowbar into the seam under the lid. You push on it, hard. The crowbar slips, and you almost crack your head against the wet stone.\n\nYou look for a more likely spot and try again. The crowbar finds purchase: You push on it harder, harder, until it's firmly wedged in place.\n\nThen you press down on the crowbar, with all your weight, with all the upper body strength of a fifteen-year-old girl.\n\nThe lid of the sarcophagus budges slightly.\n\nYou shift your weight and press harder. You hear a faint rattle as a chip of white stone is cleft from the coffin and tumbles to the floor.\n\nThe crowbar gives way\ufffd\ufffd\ufffdYou lose your footing\ufffd\ufffd\ufffdYou fall hard on the slimy\nfloor as the lid slides up and over.\n\nWhen you find your way to your feet, you look down into the triangular opening between the sarcophagus and the lid. The acrid torchlight doesn't reach inside: You see only darkness. It might be empty.\n\nYou grab the lid with both hands and heave it open.\n\n(Press any key to continue.)A black shroud rises from out of the cavity. You step backwards, your breath caught in your chest, as the shape unfurls itself, revealing a clawed green hand\ufffd\ufffd\ufffda curved white fang\ufffd\ufffd\ufffda glowing orange eye.\n\nThe monster raises his arms, stretching out his cape like a pair of black wings. Then he draws the cloak around himself with a sharp snap that makes the torches flicker. He fixes you with his orange eyes.\n\n\"A foolish young woman has wandered into my castle,\" he says. \"Tell me your name.\"\n\nYour mind is blank with fear, and you answer automatically. \"Becca Drapkin.\"\n\n\"You've freed me from a lengthy imprisonment.\" He notices the crowbar on the floor. \"I think you didn't do so by accident. Why are you\nhere?\"\n\nYou remember. You grab the stake. \"I have to destroy you. To end my curse.\" You take a step forward and raise your arm to strike.\n\nHe squeezes his claw around the stake until it snaps in two. \"There's no curse that my destruction will undo\ufffd\ufffd\ufffdNo curse on you, at least.\"\n\n\"But aren't you Crocodracula?\"\n\nHe takes a moment to answer, and you notice a low hiss, like a sigh, from deep in his reptilian throat. \"That has been my name for a long time, yes.\"\n\n\"Then didn't you give me these?\" You pull up your sleeve, and your scales glitter in the torchlight.\n\nCrocodracula doesn't come any closer to inspect you; he only squints\nat your shoulder. \"No. I have no desire to afflict anyone\nwith... such a condition. Least of all a young lady I've never met.\"\n\n\"But Miss Muriel said\ufffd\ufffd\ufffd\"\n\n\"Muriel!\" Crocodracula bellows, and the crypt shakes.\n\n(Press any key to continue.)\"Muirgheal Halfmoon\ufffd\ufffd\ufffdThe witch. She came here hoping to destroy me, months or years ago. But I was more than a match for her. All she could do was seal me in this crypt.\" He shakes his head. \"I haven't had the time to put any curse on you, Becca Drapkin. I suspect it was Muriel who gave you those scales, to trick you into doing her dirty work for you. No doubt she assumed that I'd\nbe weakened after so long a slumber.\"\n\nYou're outraged at Miss Muriel's deceit\ufffd\ufffd\ufffdBut you shake your head as you\nrealize you're taking the word of a giant talking alligator. \"Why should I believe you?\"\n\n\"You might ask Muriel herself.\" Crocodracula sniffs the air.\n\"Although, if she can detect that her plot has failed, she may already have fled. At any rate, if anyone can remove your curse, it's her.\"\n\n\"If Miss Muriel can uncurse me,\" you mutter, \"maybe she can help Eddie Lee, too.\"\n\n\"What's the matter with this Eddie Lee figure?\n\nThe bronze is deathly cold in your hands, and small gems twinkle feebly in the torchlight.\n\n\"Unless what?\"\n\nHe lowers his snout. \"If it's too late, then Eddie Lee is lost, and there is nothing we can do to save him\ufffd\ufffd\ufffdNor anything Muriel can do, I suspect. But don't despair, Becca Drapkin. Go quickly, and help your friend.\"\n\nOf all the things you could say in response, somehow you come up with: \"You can just call me Becca.\"\n\n\"All right, then: Go, Becca. Now!\"\n\n> You look at Crocodracula\nEven though his form is monstrous, there's a spark of humanity in\nthose brilliant orange eyes.\n\nBut when he notices you looking closer, he pulls his collar around his face and turns away.\n\n> You look\nA slimy sarcophagus rests in the middle of this chamber, lit by four torches that dance with green fire.\n\nFurther on, at the edge of the torchlight's reach, you can make out a huge stone door.\n\nEXITS: UP\n\nCrocodracula leans uneasily against his sarcophagus.\n\nYou can also see a crowbar here.\n\n> You take the crowbar\nTaken.\n\n> Go upward\nThe air in this hallway is thick with moisture and decay. The walls\nand floor are covered in slick moss. You feel like you've stepped into a cave, not a manmade structure.\n\nThe remains of a tapestry hang on one wall, flanked by two stairways.\n\nEXITS: UP DOWN OUTSIDE\n\n> You go outside\nYou stand on a narrow shelf of slick mud outside the black fortress. The rotten remains of a massive door hang in a crumbling gateway.\n\nEXITS: NORTH INSIDE\n\nThe airboat floats just off the shore.\n\n> You check what you're carrying\nYou are carrying:\na crowbar\nan amulet\nan airboat key\na star ball\na business card\n\n> You examine amulet\nA large pendant of tarnished bronze hangs on a delicate chain. There are gems embedded in the metal, and they catch the light with the slightest movement.\n\nIt feels heavier than it should.\n\n> You go north\nWater's Edge (in the airboat)\nYou're sitting in an airboat behind Eddie Lee's dad's airboat rental business. Looking south, you see the vastness of the Opasassa Swamp.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nEddie Lee is pacing back and forth in front of the shop.\n\nYour trusty bicycle is parked here.\n\n> You give the amulet to Eddie\nYou're not sure what exactly to do with the amulet, so you try holding it in front of you like a police badge. \"Okay, Eddie Lee. Hold still.\"\n\n\"Czekaj, co?\"\n\nThe amulet begins to glow, and shake, and a harsh electric smell fills the air. Eddie Lee starts to scream\ufffd\ufffd\ufffd\n\n\ufffd\ufffd\ufffdHe falls to the ground. The amulet stops glowing.\n\nYou run over to him. \"Eddie Lee! Are you all right?\"\n\n\"Yeah, I'm fine. What just happened?\"\n\n\"You fell down!\"\n\n\"No, before that. I was speaking Polish, right?\"\n\n\"Yeah, but... You must have hit your head when you fell, and it\nknocked the English-speaking part of your brain back into place.\"\n\nEddie Lee touches his head gingerly. \"Yeah, that sounds right. Well, thanks... I think. I better go let my dad know I'm okay.\" He gets up and staggers into the shop.\n\n> You examine amulet\nA large pendant of tarnished bronze hangs on a delicate chain. There are gems embedded in the metal, and they catch the light with the slightest movement.\n\nIt feels heavier than it should.\n\n> You examine the posters\nYou look across the posters: There's a mugshot of a handsome gentleman with a creepy smile, a boy wanted for \"questioning\" who looks to be about your age, and a long-haired man with crazy eyes.\n\n> You go to the south\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\nYour trusty bicycle is parked here.\n\n> Go east\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nZoe is sitting on a bench near the door.\n\n> Go inside\nBetween classes, this intersection is the busiest place in the school. Right now the only people here are you and Jocelyn.\n\nYou notice that the way downstairs has been left open by a careless custodian.\n\nEXITS: EAST WEST DOWN OUTSIDE\n\nJocelyn is still at the end of the hall, gazing into the trophy case and clutching Kyle's towel.\n\n> Go east\nMiss Lipton is sitting at her desk, wearing headphones attached to a small tape player. Her brow is furrowed. Behind her, the homework for the weekend is written on the blackboard.\n\nCalvin, the class guinea pig, lives in a cage near the window.\n\nEXITS: WEST\n\nA large brass key looks out of place on Miss Lipton's desk.\n\n> You take Calvin\nCalvin hates being picked up, especially when he's sleeping.\n\nTaken.\n\n> You talk to Zoe\nYou fill Zoe in about everything that's happened this afternoon. As your story goes on, her eyes get wider and wider.\n\n\"So,\" you conclude, \"What do you think I should do?\"\n\nZoe gulps.\n\n\"Uh. Well, since Crocodracula is real, apparently, then, I guess, I think...\" She blinks several times. \"I think you should ask him for advice instead.\"\n\n> You enter\nThe musty air is thick with the hissing and bubbling of strange concoctions. The oddest things hang from the walls: Faceless\ndolls, strings of beads, dried herbs, and a couple of bleached cow skulls. It looks like every available surface is occupied by some half-finished arcane project. At the center of the chaos is Miss Muriel's big book.\n\nEXITS: OUTSIDE\n\nMiss Muriel herself seems to have flown the coop.\n\n> Examine book\nYou flip through the book until you find it: A spell that curses its victim with patches of reptilian scales. Eventually, the entire body\nis covered in scales. The eyes become slits, the tongue becomes\nforked. Then your arms and legs fall off...\n\nYou turn the page: There is an antidote. The only way to remove the curse is to swallow something called a \"Crawling Emerald.\" And there's a picture.\n\nYou groan in desperation: The drawing is of a type of beetle you are all too familiar with.\n\n> Go outside\nThe road fades into grass and weeds as it reaches this lonely cabin,\nin the heart of the woods.\n\nAt the side of the building is an overgrown bed of flowers.\n\nA set of tarnished wind chimes hangs over the entrance.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> Ride bike\nYou mount the bicycle.\n\nA breeze blows through the wind chimes, and an unmusical jangling echoes through the trees.\n\n> You go to the east\nAzalea Street (on the bicycle)\nAzalea Street turns ninety degrees at the top of what passes for a\nhill in central Florida. The house on the outside of the curve has a sign posted outside: It's also the studio of Professor Rubach, the piano teacher.\n\nEXITS: SOUTH WEST INSIDE\n\n> You go south\nBuchanan High School (on the bicycle)\nSchool is out for the day, but the doors remain open for various after-school activities. On the other end of the yard is a sign that says \"BUCHANAN HIGH - CHESS CLUB CANCELED\" in big black letters.\n\nYour house is just a short walk to the east.\n\nEXITS: NORTH EAST WEST INSIDE\n\nZoe is sitting on a bench near the door.\n\n> You go to the east\nBecca's House (on the bicycle)\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> Dismount\nYou dismount the bicycle.\n\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> You talk to Lindsay\nYou put on a sweet smile. \"Hey Lindsay, do you still have that neat bug?\"\n\nShe hesitates. She knows something's up. \"Yeah...\"\n\n\"Do you think I could look at it again?\"\n\nShe squints at you. \"Where's Hunky?\"\n\n\"What?\"\n\n\"Hunky the Monkey. I want him back. Where is he?\"\n\nYou rub your forehead. How can you be expected to keep track of Lindsay's stuffed animals? Your collection is enough trouble on its own.\n\n> You look at the animals\nSome might say you're too old for stuffed animals, but you've come to the conclusion that in fact you are old enough to decorate your\nbedroom however you want. Most of the creatures are just here because they look nice: Wanda Elephant, Harold Lamb, James Frog, et cetera.\nBut Peggy Pony has special sentimental value.\n\nHunky the Monkey is not among them. You wouldn't steal your sister's doll.\n\n> You open the dresser\nThat's already open.\n\n> Go west\nCan't go that way!\n\nAVAILABLE EXITS: UP OUTSIDE\n\n> You exit\nA stucco wall hems in the wilderness of trees and other plant life\nthat surrounds the Drapkin residence.\n\nEXITS: WEST INSIDE\n\nYour trusty bicycle is parked here.\n\nLindsay is wandering aimlessly around the yard, her shoebox cradled under her arm.\n\n> Go west\nOutside the Sheriff's Station (on the bicycle)\nStout concrete columns flank the station's entrance. Sheriff Dillard's squad car is parked outside.\n\nEXITS: NORTH EAST INSIDE\n\n> You go north\nThe Weeping Willow (on the bicycle)\nThe neon sign is dark; the Weeping Willow is closed for the day.\n\nIts namesake rustles slightly in the wind.\n\nEXITS: NORTH EAST SOUTH\n\nKyle leans over his Gremlin, attending to the last few details.\n\n> Go north\nOutside the Thrift Store (on the bicycle)\nA mannequin in a threadbare dress stands in a yellowed window, frozen in the middle of waving at you. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\n> Dismount\nYou dismount the bicycle.\n\nA mannequin in a threadbare dress stands in a yellowed window, frozen in the middle of waving at you. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> You look at shelves\nOne shelf is stuffed to capacity with cheap romance novels. So much stuff here, and none of it is useful.\n\n> Go outside\nA mannequin in a threadbare dress stands in a yellowed window, frozen in the middle of waving at you. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> You check your inventory\nYou are carrying:\nCalvin\nan airboat key\na crowbar\nan amulet\na star ball\na business card\n\n> You examine the star\nIt just looks like a black basketball at the moment, except that there's a switch on the bottom.\n\n> You go south\nThe neon sign is dark; the Weeping Willow is closed for the day.\n\nIts namesake rustles slightly in the wind.\n\nEXITS: NORTH EAST SOUTH\n\nKyle leans over his Gremlin, attending to the last few details.\n\n> You show the card to Dillard\nDillard scratches his chin as you present the business card. \"So,\" he says, \"do you want me to put it in the lost and found?\"\n\n\"Oh, no, no,\" you say. \"I just wanted you to see it.\"\n\n\"Well, I'd call that mission accomplished, young lady.\" He gives you a little salute.\n\n> Examine lost\nThe poster describes a gray and white tabbie named Omar who's gone missing. There's a phone number and a promise of a reward.\n\nThe top of the poster has numerous pinholes poked in it, which you\ntake to mean the sign has been taken down and re-posted multiple\ntimes.\n\n> You examine the board\nThe sheriff lets community members post all kinds of notices on this notice board. His secretary is obsessed with keeping it tidy.\n\nAcross the top is a row of wanted posters. Beneath that, there are ads for piano lessons from Professor Rubach, cleaning services from\nVivian, and something called \"Selfwakening,\" followed by a poster\nabout a lost cat.\n\n> You look at the selfwakening\nThe ad reads, \"Unfulfilled? Incomplete? Wondering? Call for a free consultation!\" But there's no phone number.\n\n> You examine the Vivian\nThe ad reads, \"Cleaning by Vivian! Home - Office - Other,\" followed by a phone number. There are odd markings in the corner, like letters in an unfamiliar language.\n\n> You examine the Piano\nThe ad reads, \"PROFESSOR W. RUBACH - Instructor of Piano - University of Krakow.\" Under that, there's a phone number and a treble clef.\n\n> Wear amulet\nYou put on the amulet.\n\n> You go to the south\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\n> You enter\nThe AC is cranked so high that you begin to shiver. Mister Qualmsley doesn't care; he's just enjoying the music.\n\nAn unfortunate fish is mounted on a plaque on the far wall.\n\nEXITS: OUTSIDE\n\nEddie Lee is sitting on the floor, playing a repetitive boogie-woogie tune on his keyboard.\n\n> Go west\nAt the end of Ash Street is a tall gray house with peeling paint and dark windows. A rickety fence surrounds the garden; the gate is unlocked, and it creaks softly when a breeze passes.\n\nEXITS: EAST INSIDE\n\nMrs. Idlewyld is still puttering around here, as if she has nowhere else to be.\n\n> You talk to Eddie\nYou wave to Eddie Lee, and he gives you a smile, but he's too busy playing to talk.\n\n> You talk to the mister\n\"Hey, Mister Qualmsley.\"\n\n\"Howdy, Becca. Thanks for talking some sense into Eddie. He's feeling\na lot better now.\"\n\n> You look at the ac\nYou can't see the AC unit, but you can feel frigid air swirling\naround you."
    },
    {
        "text": "[Themes: Crocodracula]\n\n> Go downward\nA slimy sarcophagus rests in the middle of this chamber, lit by four torches that dance with green fire.\n\nFurther on, at the edge of the torchlight's reach, you can make out a huge stone door.\n\nEXITS: UP\n\nCrocodracula leans uneasily against his sarcophagus.\n\n> You look at the door\nA massive stone door that hasn't been opened in many, many years.\n\nLooking closer, you can make out words engraved in the stone. But they aren't in any language you know.\n\n> You talk to Crocodracula\nYou tell Crocodracula that Eddie's feeling a lot better.\n\n\"That's good to hear. Have you looked into who may have caused these troubles for him?\"\n\n\"You mean Professor Rubach? I guess I could run by his place...\"\n\n> Go north\nWater's Edge (in the airboat)\nYou're sitting in an airboat behind Eddie Lee's dad's airboat rental business. Looking south, you see the vastness of the Opasassa Swamp.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\n> Go outside\nYou get out of the airboat.\n\nEddie Lee's dad's airboat rental business is situated here at the edge of the Opasassa Swamp. A gravel path connects the buildings to the dock.\n\nThe front door is guarded by a motionless plaster alligator.\n\nEXITS: NORTH SOUTH EAST WEST INSIDE\n\nAn airboat is floating at the dock.\n\n> You go inside\nMost of Professor Rubach's living room is taken up by a gleaming baby grand piano. Two paintings hang on the wall: On the left, a gamboling faun; on the right, a stern portrait.\n\nEXITS: OUTSIDE\n\nProfessor Rubach is nowhere to be seen.\n\nThere's a cassette tape sitting on the piano bench.\n\n> You examine the tape\nThe label on the tape has \"JEZOWSKI SONATA No. 5\" written on it in almost illegible script.\n\n> Go south\nCan't go that way!\n\nAVAILABLE EXITS: OUTSIDE\n\n> You give the tape to Lipton\n(the cassette tape to Miss Lipton)\n\"What's this?\" Miss Lipton asks as you offer her the tape.\n\n\"Um, I think it's classical music,\" you say. \"It might help you relax. It might be better than rainforest sounds, at least.\"\n\n\"Thank you very much, Becca. Why don't we try it right now?\"\n\nMiss Lipton removes the tape from her cassette player and inserts Professor Rubach's. She adjusts her headphones, and then she presses play.\n\nYou hear tinny piano music coming from the speakers. Miss Lipton blinks.\n\n\"This is...\"\n\nShe nods her head slowly. Her arms fall to her sides.\n\n\"Miss Lipton?\" you ask. She doesn't respond. You wave your hand in front of her face: Her half-lidded eyes do not react.\n\n> You take the key\n(the janitor's key)\nTaken.\n\n> You examine Lipton\nYour homeroom teacher's eyes are blank. Her mouth hangs open, as if she's about to say something. But she doesn't.\n\nShe does seem relaxed, though.\n\n> You unlock the door with the key\nWhich do you mean, the janitor's key or the airboat key?\n\n> Janitor'S\nYou unlock the heavy door.\n\n> Go west\nYou open the heavy door.\n\nPlease enter your 17-digit registration key.\n\n> You unlock the door with the janitor's key\nThat's unlocked at the moment.\n\n> 84827507844185173\nAuthentication successful.\n\nGenerating tunnels....\nYou pass through the doorway.\n\nThese must be the steam tunnels underneath the school building. Pipes snake over the walls, stretching into darkness.\n\nEXITS: NORTH EAST WEST\n\nA heavy steel door stands open to the east.\n\nThere's a boy in here.\n\n\"Hi,\" he says. The only light is a weak bulb overhead that makes him look deathly pale. \"My name's Eric.\"\n\n\"Hi, Eric. I'm Becca. Are you supposed to be down here?\"\n\nHe shrugs. \"I've been down here a long time. Wanna see something\ncool?\"\n\n\"Uh... What is it?\"\n\n\"There's a door. Somewhere...\" He cranes his neck around to peer into the darkness. \"At the other end.\"\n\n\"And where does the door lead?\"\n\nHe shrugs again, with a little smile. \"Wanna see?\"\n\n> You examine Eric\nHe's kind of cute, with sandy hair and a unassuming smile. He\nmust be about your age, but you've never seen him at school.\n\n> You talk to Eric\n\"So, which way is this door?\" you ask. Eric looks at the floor; he wasn't expecting the question.\n\n\"Uh, I'll know it when I see it. We should just get going,\" he says.\n\n> Go west\nThe tunnel gets narrower, and you can feel the heat radiating from the pipes on your cheeks.\n\nEXITS: NORTH EAST\n\n\"So, what year are you? In school?\" Eric asks.\n\n\"Sophomore.\"\n\nHe nods. \"Do you like it?\"\n\n\"Do I like school? Not especially. I guess there's fun parts. Do you?\"\n\nHe glances away. \"It's something to do, at least.\"\n\n> Go north\nThe plaster walls have cracked and fallen away in a few places, revealing ancient brickwork underneath.\n\nEXITS: NORTH SOUTH WEST\n\nYou look back at Eric. \"Do you go to this school?\"\n\n\"No,\" he says.\n\nYou wait for some further explanation, but it doesn't come.\n\n> You go to the west\nHere and there a grate is built into the wall, whistling with the flow of hot air.\n\nEXITS: NORTH SOUTH EAST\n\n\"So, can I ask, what are you doing down in these tunnels?\"\n\nEric looks down at his hands. He's trembling slightly. A chill comes over you, and you wish you hadn't said anything.\n\nFinally, he says, \"I got lost.\"\n\nYou pat his shoulder a bit. \"Sorry.\"\n\n\"It's okay.\"\n\n> Go north\nThe pipes end here. Another heavy door is built into the west wall.\n\nEXITS: SOUTH WEST\n\n\"There it is,\" says Eric. \"You can go in, if you want. I'll wait back here.\"\n\n\"Don't you want to come with?\"\n\nHe shakes his head and smiles, a little sadly. \"I'll be okay,\" he\ntells you.\"\n\n> You open the door\nYou push the door open, and catch a glimpse of a dusty room on the other side.\n\ncloses.\n\n> Go west\nDust flies up wherever you move\ufffd\ufffd\ufffddust that hasn't been disturbed for a long time.\n\nSoft light trickles in from clouded windows near the ceiling. All around you are white shapes: Sheets draped over unfamiliar forms.\n\nAfter stepping carefully around several of the shapes, you find a staircase.\n\nEXITS: EAST UP\n\n> You look at the shapes\nWhen you drape a sheet over a piece of furniture, you can more or less tell what sort of furniture is underneath from the way the sheet\nhangs. You can't imagine what kind of furniture is suggested by the shapes of these sheets.\n\n> You look under the sheets\nYou carefully, carefully take the edge of one sheet between your fingers. You pull it up slowly.\n\nThe thing underneath is metallic: Silvery-white.\n\nIt ripples slightly\ufffd\ufffd\ufffdand you drop the sheet.\n\n> Go upwards\nThis should be a living room, but it's not quite right.\n\nThe fireplace is boarded up. The painting that should be hanging over the mantel is lying flat on the floor. The couch and chairs aren't arranged to point at each other, or at a TV or anything\ufffd\ufffd\ufffdThey're lined up in some sort of curling procession. A bookcase is turned at an odd angle, blocking out most of the front windows.\n\nEverything in the room has been placed far away from the front door.\n\nEXITS: UP DOWN OUTSIDE\n\nof the bookcase.\n\n> You look at the puzzles\nYou pick up the book for a closer look.\n\nThe pages are yellowed and slightly crinkled from water damage. The date on the back is 1983. But none of the puzzles have been filled in.\n\n> You look at the fireplace\nThe elegant black marble fireplace has several wooden planks fastened over it. Nothing is getting in or out through this house's chimney.\n\n> You examine the door\nThe door is windowless, unfriendly, and closed."
    },
    {
        "text": "[Themes: Crocodracula, female protagonist, teenagers]\n\n> Look around\nThis should be a living room, but it's not quite right.\n\nThe fireplace is boarded up. The painting that should be hanging over the mantel is lying flat on the floor. The couch and chairs aren't arranged to point at each other, or at a TV or anything\ufffd\ufffd\ufffdThey're lined up in some sort of curling procession. A bookcase is turned at an odd angle, blocking out most of the front windows.\n\nEverything in the room has been placed far away from the front door.\n\nEXITS: UP DOWN OUTSIDE\n\n> You examine the bookcase\nThe shelves of the bookcase are all empty.\n\n> You examine the windows\nYou think you recognize the street outside the house.\n\n> Go upwards\nIt's dark. Your eyes need a moment to adjust.\n\nBut there does seem to be something up here: A long thing, stretched across the floor.\n\nYou hear Eric's voice downstairs: \"I'd come back down if I were\nyou...\"\n\nEXITS: DOWN\n\n> You examine the long thing\nYou squint into the darkness, and slowly you're able to make out the details of whatever is slithering...\ndetails of whatever is slithering...In a blind panic you rush down the stairs.\nstairs.## Room\nThis should be a living room, but it's not quite right.\n\nThe fireplace is boarded up. The painting that should be hanging over the mantel is lying flat on the floor. The couch and chairs aren't arranged to point at each other, or at a TV or anything\ufffd\ufffd\ufffdThey're lined up in some sort of curling procession. A bookcase is turned at an odd angle, blocking out most of the front windows.\n\nEverything in the room has been placed far away from the front door.\n\nEXITS: UP DOWN OUTSIDE\n\n> Inventory\nYou are carrying:\na book of crossword puzzles\na janitor's key\nan airboat key\nCalvin\na crowbar\nan amulet (being worn)\na star ball\na business card\n\n> You exit\n(first opening the windowless door)\nYou reach out to the door and turn the handle. It tries hard to\nresist, and you have to wrench harder and harder, until it gives up\nand the lock disengages with a click.\n\nThe door opens.\n\nAt the end of Ash Street is a tall gray house with peeling paint and dark windows. A rickety fence surrounds the garden; the gate is unlocked, and it creaks softly when a breeze passes.\n\nThe front door is open.\n\nEXITS: EAST INSIDE\n\nMrs. Idlewyld looks deeply disturbed when she sees you emerging from the house, but she regains her composure quickly.\n\n> You talk tothe mrs .\n\"Thanks again, dear girl,\" Mrs. Idlewyld says. \"I hope things turn out well for you.\" And then she turns her attention elsewhere.\n\n> You give the puzzles to Sheriff\n\"Hey Sheriff! Look what I found!\"\n\nA big goofy grin spreads over Dillard's face as you toss him the book. He flips through it; finding the puzzles all unfilled, he slaps it against his thigh. \"Becca Drapkin, I can't thank you enough! This is just what I needed to get through the week. I gotta pay you back. Hold on.\"\n\nHe dashes out of the lobby toward the back of the station. Soon he returns with a plastic crate, brimming with hats, shoes, and various oddments.\n\n\"Now, don't tell anyone I did this. But I'm gonna let you take one thing\ufffd\ufffd\ufffdJust one thing\ufffd\ufffd\ufffdout of the Lost and Found.\"\n\n\"I didn't know the town had a Lost and Found.\"\n\n\"Well, we could probably do a better job of publicizing it. See anything you like?\"\n\nYou lift a fairly cute scarf and reveal a familiar face: Hunky, Lindsay's favorite stuffed animal. He looks like he's been through a lot.\n\n\"That little guy turned up after the big storm last week. I thought I oughta try to clean him up some, but...\" Dillard grimaces. \"I didn't know what there was I could do.\"\n\nIt looks like there's very little anyone could do: Besides being filthy, Hunky's monkey arms and monkey legs are hanging on by a few threads, and he's missing his left eye. \"He belongs to my sister,\" you mutter, wondering how you'll break it to her.\n\n\"Heck! Well, if you're actually picking him up from the Lost and\nFound, he doesn't count. You better pick out something else to be your reward.\"\n\nSo you take the scarf, and Dillard returns the crate to the back of\nthe station. Then he takes a seat and digs into some crosswords.\n\n> Inventory\nYou are carrying:\na cute scarf\nHunky the Monkey\na janitor's key\nan airboat key\nCalvin\na crowbar\nan amulet (being worn)\na star ball\na business card\n\n> You examine the scarf\nIt's green with pale blue polka dots. It's nothing special, but you didn't have to pay for it.\n\nWell, actually, you had to do quite a lot of work to get it.\n\n> You examine hunky\nLindsay's favorite toy looks like he's gone through a meat grinder.\nYou can believe he was outside during a storm, but that doesn't\nexplain his limbs being almost torn off, or his missing eye. Maybe a neighborhood dog thought he was a chew toy.\n\n> Wear scarf\nYou tie the scarf over your hair. There's no mirror around to check, but it probably looks great."
    },
    {
        "text": "[Themes: Crocodracula]\n\n> You go downward\nCan't go that way!\n\nAVAILABLE EXITS: NORTH SOUTH EAST WEST UP\n\n> You give Monkey to Lindsay\n\"So, Lindsay,\" you begin, \"Hunky the Monkey had a little adventure,\nand he, um. Well, he might not look quite the way you remember him. Because, it was kind of a rough adventure.\"\n\nLindsay goggles at you.\n\n\"Just, try to keep an open mind, okay?\" You take a deep breath and reveal Hunky's ragged form.\n\nLindsay screams in horror. Before you know what's happening, the screaming turns to bawling. She's thrown her shoebox in the air\ufffd\ufffd\ufffd\n\n\ufffd\ufffd\ufffdThe beetle spreads its awful wings and flies away, into the darkening\nsky. You are doomed. And you made your sister cry.\n\n> Go west\nAt the end of Ash Street is a tall gray house with peeling paint and dark windows. A rickety fence surrounds the garden; the gate is unlocked, and it creaks softly when a breeze passes.\n\nThe front door is open.\n\nEXITS: EAST INSIDE\n\nMrs. Idlewyld does her best to ignore you.\n\n> Go inside\nThis should be a living room, but it's not quite right.\n\nThe fireplace is boarded up. The painting that should be hanging over the mantel is lying flat on the floor. The couch and chairs aren't arranged to point at each other, or at a TV or anything\ufffd\ufffd\ufffdThey're lined up in some sort of curling procession. A bookcase is turned at an odd angle, blocking out most of the front windows.\n\nEverything in the room has been placed far away from the front door.\n\nEXITS: UP DOWN OUTSIDE"
    },
    {
        "text": "[Themes: Crocodracula, teenagers]\n\n> Go downwards\nDust flies up wherever you move\ufffd\ufffd\ufffddust that hasn't been disturbed for a long time.\n\nSoft light trickles in from clouded windows near the ceiling. All around you are white shapes: Sheets draped over unfamiliar forms.\n\nEXITS: EAST UP\n\n> Go east\nThe pipes end here. Another heavy door is built into the west wall.\n\nEXITS: SOUTH WEST\n\nEric is here, waiting for you.\n\n> You talk to Eric\n\"Eric,\" you say. \"When did you...\"\n\nHe looks back at you solemnly, and you decide not to ask.\n\n> Go north\na yellowed window. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> You put the amulet in the cabinet\nYou open the cabinet and place the amulet inside. Then you close the door.\n\nYou look at Hazel. \"Whenever you're ready,\" she says.\n\nYou open the door and pull out the amulet, looking just like it did before.\n\n\"Well,\" Hazel says, frowning slightly, \"I guess that's what the amulet looked like three weeks ago.\"\n\n> You put Monkey in the cabinet\nYou open the cabinet and place Hunky the Monkey inside.\n\nHazel peers around the cabinet door. \"Yikes,\" she says. \"You'd better hope all that damage was done in the last three weeks.\"\n\nYou close the door.\n\nYou open the door.\n\nInside is Hunky the Monkey, looking as fuzzy and peppy as the day he was born. He even has both eyes.\n\n\"What'd I tell you?\" Hazel says, more proud of herself than she is happy for your success.\n\nYou pick up Hunky and give him a little hug. Hazel closes the cabinet door for you.\n\n> You look at hunky\nHunky the Monkey is back to his old self! He has a big goofy smile on his face\ufffd\ufffd\ufffdHe doesn't know how grateful he should be.\n\n> You go outside\na yellowed window. The front door is propped open with a brick.\n\nEXITS: SOUTH INSIDE\n\nYour trusty bicycle is parked here.\n\n> You give Monkey to Lindsay\n\"Hey, Lindsay. I've got someone here who wants to see you.\"\n\nbehind your back. She squeals in joy and reaches out toward her old friend. You pull him away.\n\n\"Hold on. How about you let me take care of your cool bug, and then\nyou can play with Hunky.\"\n\nLindsay nods enthusiastically, pushing the shoebox into your chest so she can grab Hunky with both hands. The two of them rapidly become reacquainted, and soon your sister has more or less forgotten that you exist.\n\nYou open the box.\n\nYou lift the beetle between two fingers, expecting it to struggle. But it doesn't. It has resigned itself to the unthinkable.\n\n> You eat the beetle\nYou raise the insect to your lips. Your throat constricts, and a tortured, desperate gagging noise comes out.\n\nLindsay looks up from Hunky the Monkey. For a moment, she can't understand what she's seeing.\n\nYou put the beetle in your mouth. You try to ignore its taste and its texture, and you fail.\n\nYou swallow the creature as fast as you can\ufffd\ufffd\ufffdbut it struggles, and wriggles, for what seems like an eternity.\n\nLindsay utters an animal scream of absolute delight.\n\n(Press any key to continue.)+ + +\n\n\"And all the scales are gone!\"\n\nHe nods. \"And Muriel has not shown her face?\"\n\n\"Well, I haven't gone up to her cabin to check...\"\n\n\"A wise approach. When she does return, I'm sure I'll hear of it.\" He turns to the window and looks down over the swamp. Wind whistles through the trees.\n\n\"The amulet I gave you carries a great responsibility,\" he says. \"My duty, to protect this land from harm. From things that humankind\nshould remain blissfully unaware of. You shouldn't be expected to face such things.\"\n\nHe turns to face you, as if to illustrate his point. But you're used\nto him by now.\n\n\"Give me back the amulet,\" he says. \"You can forget all the strange things you've seen, and enjoy a normal life.\"\n\nYou turn the amulet over in your hand. \"The thing is, I don't want a normal life. And you helped me; I wanna help you. So, I think I'll\nhold onto this\ufffd\ufffd\ufffdIf that's okay with you?\"\n\n\"If you wish.\" He looks back at the window, thinking you won't notice his smile.\n\n\"It's getting dark. You should head back home, Becca.\"\n\n\"Sounds good. See you later, Mister C.\"\n\nAnd you make your way down the stairs, leaving Crocodracula alone in his castle."
    },
    {
        "text": "[Themes: wizard, fantasy, castle, gender-neutral protagonist, magic, kid-friendly]\n\nYou have heard the rumors of a strange challenge at the wizard Bartholloco's secluded castle. There's supposed to be a valuable prize at the end. You decided it would be worth a trip to see what you can do.\n\nThe thing is, I'm not sure whether you have been there before. Maybe you have....\n\n\n\nSpecial thanks to Tony Faia, Andy Fleming, Lorne Harris, Hall Hood, and Luke Pebler for testing.\n\nYou are just outside a small but picturesque castle, on a bluff overlooking the Glittering River. A tall archway leads north into the castle. The road winds down to the south.\n\n[Author's Note: Explore the wizard Bartholloco's castle with the help of a versatile magic wand. Can you overcome his challenge? Can you levitate a rock? Can you slice a baltavakia? (Puzzle-oriented and family friendly.)]"
    },
    {
        "text": "[Themes: gender-neutral protagonist, fantasy, castle]\n\n> You examine the castle\nThe castle is built with large dark-gray stone blocks. It looks hundreds of years old. The name BARTHOLLOCO is engraved in large letters above the archway.\n\n> You look at River\nThe river below you sparkles very nicely (hence the name).\n\n> You examine the road\nThe road winds away to the south.\n\n> Go north\nThis tall wood-paneled room is mostly empty. In the very center of the room stands a display case, and next to that a stone statue. A wooden door to the north is closed, and a tall archway leads south.\n\n(Note: This game is unlosable. Don't be afraid to try things!)\n\n> You examine the case\nIt's an open wooden case lined with velvet. A strange symbol is engraved on the front of the case: it looks like a circular chain of ten links.\n\nThe case contains a magic wand.\n\n> You take the wand\nYou take the wand from the display case. A moment later, you are startled by a loud rattling. You turn in time to see a steel portcullis slam down inside the archway!\n\n> You examine the statue\nIt's a granite statue of a robed wizard. He looks about five feet tall, not counting his pointy hat.\n\n> You look at the door\nThe wooden door is closed. A square steel plate is affixed to it.\n\n> You look at the plate\nIt's a featureless square steel plate, about a foot wide.\n\n> You open the plate\nThat's not a command I recognize. (Type HELP for command info.)\n\n> P yourself\nNothing happens, as far as you can tell.\n\n> You look at the wand\nThe wand is about a foot long with a carved wooden handle, a colorful shaft, and a crystal star on the end.\n\n> Go north\nThe wooden door is closed.\n\n> You use the door\nAs soon as you touch the wooden door, you receive a painful shock!\n\n> P statue\nThe statue suddenly comes to life! \"Ah! Greetings!\" it says.\n\n> You ask the stautue about the door\nThat's not a command I recognize. (Type HELP for command info.)\n\n> You wait a while\nTime passes.\n\nThe statue continues, \"My name is Bartholloco, of course. Welcome to my little challenge.\"\n\nTime passes.\n\nThe statue continues, \"Before you begin, I should tell you a little about that wand you're holding.\"\n\n> You wait\nTime passes.\n\nThe statue continues, \"If you look closely, you'll see that the wand's shaft has three colored sections. When you came in, the colors were red-green-blue.\"\n\n> You wait\nTime passes.\n\nThe statue continues, \"When the wand is red-green-blue, it can animate a depiction of a human, as you are witnessing right now!\"\n\n> Wait\nTime passes.\n\nThe statue continues, \"If you rotate the sections, they will change color! Each section has ten possible colors.\"\n\n> You wait\nTime passes.\n\nThe statue continues, \"Some color combinations will give the wand other interesting and useful powers. Most combinations won't do anything.\"\n\n> You examine the shaft\nThe wand is about a foot long with a carved wooden handle, a colored shaft (set to red-green-blue), and a crystal star on the end.\n\nThe statue continues, \"For example, red-white-brown is a very useful setting. It can open things that are closed.\"\n\n> You look at star\nIt's a traditional five-pointed crystal star.\n\nThe statue continues, \"You'll need that power, because you MUST NOT TOUCH anything in the castle. Maybe you discovered that already. Everything is strongly warded against vandals and thieves. (I do apologize for the implication.)\"\n\n> Set colors\nI didn't understand that SET command. (Type WAND for help.)\n\nThe statue continues, \"If you can beat this challenge, there's a prize for you!\"\n\n> Wand\nYou can SET a sequence of three colors on the wand like this: SET RED GREEN BLUE.\n\nTo save typing, you can abbreviate using one letter for each color like this: SET RGB. To make it even shorter, you can just type the three letters: RGB.\n\nThere are ten colors. In reverse alphabetical order they are yellow (Y), white (W), red (R), purple (P), orange (O), green (G), gray (A), brown (N), blue (B), and black (K). (Note that gray, brown, and black do not go by their first letter.)\n\n> Rwb\nYou set the wand to red-white-blue.\n\nThe statue continues, \"Good luck! And remember that other setting: red-white-brown.\"\n\nWith that, the statue stops moving.\n\n> RWN\nYou set the wand to red-white-brown.\n\n> P door\nYou hear a click, and the wooden door creaks open until it lies flat against the wall.\n\n> Go north\nThis cheery room must have been used for the reception of guests. It is furnished with a sofa, several chairs, an end table, and a tall cabinet. A framed portrait hangs on one wall. To the north is a barred door. You can also go south.\n\n(Since you aren't supposed to touch anything, I'm going to turn off the USE command. I don't want you to get hurt.)\n\n> You examine the sofa\nThe sofa is fashionably upholstered. There are several small pillows on it: all are light pink except for one, which is brown velvet with the number 2 stitched on it.\n\n> Pwp\nYou set the wand to purple-white-purple.\n\n> You examine the cabinet\nThe tall oak cabinet contains several decorative dishes. One is painted with a landscape. Another is made of silver. A third is solid purple with the number 3 on it.\n\nNext to the cabinet, you notice a hole in the wall like a large mousehole.\n\n> You look at the hole\nIt's about twice the size of a typical mousehole.\n\n> You examine portrait\nThe portrait shows a distinguished gentleman wearing a long black coat and carrying a cane. Oddly, he is wearing an orange glove with the number 1 on it.\n\n> Floyd onp\nThat's not a command I recognize. (Type HELP for command info.)\n\n> Onp\nYou set the wand to orange-brown-purple.\n\n> RGB\nYou set the wand to red-green-blue.\n\n> P portrait\nThe gentleman in the portrait comes to life and nods at you. \"Hello,\" he says soberly.\n\n> RGB\nThe wand is already set to red-green-blue.\n\nThe gentleman produces a scroll from his coat and unrolls it. It shows a somewhat abstract illustration of five torches. All the torches are lit except the fourth one.\n\n> You wait\nTime passes.\n\nThe gentleman replaces the scroll in his coat and says, \"Thank you for your attention.\" He stops moving.\n\n> You enter the hole\nThat's not a command I recognize. (Type HELP for command info.)\n\n> You look at the table\nIt's a small carved wooden table. A message is lying on the table, secured by a paperweight.\n\n> You look at the message\nThe message, written on parchment, says, \"One combination of colors will allow you to levitate objects made of stone, such as this paperweight.\"\n\n> Opn\nYou set the wand to orange-purple-brown.\n\n> P paperweight\nThe paperweight slowly rises into the air!\n\n> You look at the message\nThe message, written on parchment, says, \"One combination of colors will allow you to levitate objects made of stone, such as this paperweight.\"\n\n> You take the message\nThe USE command has been deactivated. I don't want you to get hurt.\n\n> P message\nNothing happens, as far as you can tell.\n\nThe paperweight slowly settles back on top of the message.\n\n> P door\nThe door rattles against the bar.\n\n> Examine bar\nIt's a long bar, apparently made of slate.\n\n> Onp\nYou set the wand to orange-brown-purple.\n\n> P bar\nThe bar slowly rises out of its hooks until it is floating just above the door.\n\n> P door\nThe door swings open until it lies flat against the wall.\n\n> You go to the north\nYou can see very little in this dark room, but your footsteps echo on a tiled floor. Dim light comes through doorways to the east, west, and south. The light glints off a large object above your head, possibly a chandelier.\n\n> Go east\nThis spacious library is lit by an arched window in the east wall. The collection must have once been extensive, but now the bookshelves lining the walls are empty. A desk stands near the window, and the south wall is dominated by a large fireplace. A doorway leads west, and a wooden door to the north is closed.\n\n> You examine the fireplace\nThe brick fireplace is filled with a cheerful, smokeless fire.\n\n> You examine the desk\nThere are two books on the oaken desk: one large, one small. The small book lies open. The desk also features a closed drawer.\n\n> You examine the small book\nThe left-hand page shows a drawing of a magnifying glass. The right-hand page is written in an odd foreign language. It says, \"Lipu mazorv poppa varsh diron pip trochent las grokoko. Rigo ducki plup VOLLIN las TROFF; rigo zips pip BUCKOR.\"\n\n> You examine the large book\nThe large book has a leather cover inscribed with the title \"Fables Old and New\".\n\n> P drawer\nThe drawer slowly slides open. There is a key inside.\n\n> You look at the key\nIt's a large brass key.\n\n> P large book\nThe large book flips open to a bookmarked spot.\n\n> You look at it\nThe book is open to a well-known fable called \"The Traveling Magician\":\n\n\"A traveling magician met an elephant on the road one day. 'Would you like a ride?' asked the elephant. The magician accepted. Later, as he rode, a bluebird landed on the magician's shoulder. 'Would you like to hear a song?' asked the bird. The magician nodded. That evening, as they rested, a cat approached. 'Don't worry,' said the cat, 'I will not bring you misfortune. In fact, I have a hot tip on a horse race in the next town.' The following day, the magician won 35 silver pieces and bought some nice gifts for his new friends.\n\n\"The moral: Always accept favors from animals.\"\n\nA slip of paper acts as a bookmark. On it is written, \"The wand can ignite an object such as a torch or candle. Use the combination\u2014\"\nThe\nrest of the paper is torn off.\n\n> You look at desk\nThere are two books on the oaken desk: one large, one small. Both books are lying open. The desk also features an open drawer.\n\n> You examine the drawer\nThe drawer contains a brass key.\n\n> You take the key\nThe USE command has been deactivated. I don't want you to get hurt.\n\n> Abk\nYou set the wand to gray-blue-black.\n\n> P object\nWith a flash, the little candles in the chandelier come to life!\n\nYour footsteps echo on the tiled floor of this ornately decorated hall. The north and south walls are lined with a variety of paintings. A large chandelier hangs above you. You can exit through doorways to the east, west, and south.\n\n> You examine the paintings\nThere are about twenty paintings of various shapes and sizes: landscapes, still-lifes, and other scenes. They include three portraits, which are larger and framed in gold: a young lady, a small boy, and a frowning matron.\n\n> You look at the matron\nThe matron wears a severe black dress and an odd black hat. She seems like the kind of person who frowns habitually.\n\n> You look at lady\nThe young lady is wearing a light-colored ball gown and long gloves. She is seated with her hands folded on her lap.\n\n> You look at the boy\nThe boy is wearing a sailor suit and a straw hat. He looks at the ground shyly.\n\n> RGB\nYou set the wand to red-green-blue.\n\n> P boy\nThe small boy comes to life. He puts his hands in his pockets and shuffles his feet.\n\n> P lady\nThe young lady suddenly stirs. She clears her throat.\n\nThe boy takes a deep breath like he is about to speak, but then he hesitates.\n\n> You wait a while\nTime passes.\n\nThe young lady and the boy both start to speak over each other. You can't understand what either one is saying.\n\n> You wait for a while\nTime passes.\n\nThe young lady continues speaking in a strange language. She finishes, nods her head, and returns to lifelessness.\n\nThe boy tugs at his collar, and then reverts to his normal lifeless state.\n\n> You wait\nTime passes.\n\nThe boy takes a deep breath like he is about to speak, but then he hesitates.\n\n> You wait\nTime passes.\n\nThe boy starts to talk, but you hear strange fragments, as if he is only saying the beginning of each word. You can't make it out.\n\n> You wait\nTime passes.\n\nThe boy tugs at his collar, and then reverts to his normal lifeless state.\n\n> P lady\nThe young lady suddenly stirs. She clears her throat.\n\n> You wait\nTime passes.\n\nThe young lady begins speaking in a strange language. You have no idea what she is saying.\n\n> Wait\nTime passes.\n\nThe young lady continues speaking in a strange language. She finishes, nods her head, and returns to lifelessness.\n\n> P matron\nThe matron comes to life. She speaks briefly in a stern tone, but all you can hear are separated fragments, like she is only saying the end of each word. It sounds very unnatural, and you can't understand any of it.\n\n> You wait\nTime passes.\n\nThe matron smooths her dress.\n\n> You wait\nTime passes.\n\nThe matron huffs and stops moving.\n\n> P boy\nThe small boy comes to life. He puts his hands in his pockets and shuffles his feet.\n\n> P matron\nThe matron comes to life and begins speaking. The young lady and the boy start to speak as well. You hear a bizarre babble as all three portraits talk at the same time.\n\n> Wait\nTime passes.\n\nThe young lady continues speaking in a strange language. She finishes, nods her head, and returns to lifelessness.\n\nThe boy tugs at his collar, and then reverts to his normal lifeless state.\n\nThe matron smooths her dress.\n\n> You wait\nTime passes.\n\nThe boy starts to talk, but you hear strange fragments, as if he is only saying the beginning of each word. You can't make it out.\n\nThe matron smooths her dress.\n\n> P matron\nNothing happens, as far as you can tell.\n\nThe boy tugs at his collar, and then reverts to his normal lifeless state.\n\nThe matron huffs and stops moving.\n\n> P matron\nThe matron comes to life. She begins speaking in strange fragments. At the same time, the young boy starts speaking in fragments as well. Strangely, despite their different voices, the fragments mesh in a way you can understand. It sounds like, \"To fix what is broken, try yellow-orange-orange.\"\n\n> You look at the chandelier\nThe chandelier has several tiers of icicle-like glass drops and prisms, and many small candles. It is quite dazzling to look at.\n\nThe boy tugs at his collar, and then reverts to his normal lifeless state.\n\nThe matron smooths her dress.\n\n> You go west\nThis hall is lit by arched windows in the west wall. The long mahogany dining table could seat at least twenty people, if the chairs were still here. A doorway leads east, and a wooden door to the south is closed.\n\n> Go east\nYour footsteps echo on the tiled floor of this ornately decorated hall. The north and south walls are lined with a variety of paintings. A large chandelier hangs above you. You can exit through doorways to the east, west, and south.\n\n> You look at the bookshelves\nYou wonder where all the books went.\n\n> You examine the window\nThrough the window you can see the wooded countryside east of the castle.\n\n> You look at the door\nThe door is closed.\n\n> Yoo\nYou set the wand to yellow-orange-orange.\n\n> P door\nThe doorknob rattles a few times. It sounds like the door is locked.\n\n> You look at the table\nThe mahogany table sits on a long carpet. The table is well-polished, and the sides and legs are ornately carved.\n\nNear the center of the table are a bowl of apples and a row of five candles. The third, fourth, and fifth candles are lit.\n\n> Kba\nYou set the wand to black-blue-gray.\n\n> Go south\nThis cheery room must have been used for the reception of guests. It is furnished with a sofa, several chairs, an end table, and a tall cabinet. A framed portrait hangs on one wall. To the north is an open door. You can also go south.\n\n> You examine the sofa\nThe sofa is fashionably upholstered. There are several small pillows on it: all are light pink except for one, which is brown velvet with the number 2 stitched on it.\n\n> You examine the cabinet\nThe tall oak cabinet contains several decorative dishes. One is painted with a landscape. Another is made of silver. A third is solid purple with the number 3 on it.\n\nNext to the cabinet, you notice a hole in the wall like a large mousehole.\n\n> You examine the carpet\nThe long carpet is woven with a pattern of diamond shapes.\n\n> You look at the apples\nThe bowl is attached to a large square base. The apples look real, though you can't be sure.\n\n> P door\nThe doorknob spins around, making a few clunks. It sounds broken.\n\n> Yoo\nYou set the wand to yellow-orange-orange.\n\n> You go south\nThe castle kitchen has been mostly cleared out, but it still contains an iron stove and a long counter with several items on it. There is a coal box on the floor near the stove. You can exit north or south.\n\n> You look at the box\nThe box is filled with chunks of coal. A brass scoop lies on top.\n\n> You examine the stove\nThe round iron stove sits on four carved legs. You see some ashes on the floor below it. The front of the stove is closed.\n\nA copper pot sits on top of the stove.\n\n> You look at the pot\nThe copper pot is half-full of chicken broth.\n\n> P oven\nThe front of the stove swings open. It seems to be empty.\n\n> You look at the counter\nThere are several items on the counter: a cookbook, a baltavakia, a knife, a spatula, and some large ceramic shards.\n\n> Examine cookbook\nThe book has a cloth cover with the title, \"Quick Recipes for Busy Wizards.\"\n\n> P cookbook\nThe cookbook flips open to a dog-eared page.\n\n> You examine it\nThe current dog-eared page contains a recipe: \"RING SOUP. Boil one slice of baltavakia in chicken broth until it sparks. Immediately lower heat. (Overcooking will yield unpleasant results.)\"\n\n> You examine the baltavakia\nThe baltavakia is a strange magical vegetable. It looks like a long purple corkscrew zucchini with pink spots.\n\n> You examine the shards\nThe shards look like pieces of some ceramic object.\n\n> Yoo\nYou set the wand to yellow-orange-orange.\n\n> P shards\nThe shards glow with a golden light, and carefully reassemble themselves. When the glow fades, you see a ceramic figurine of a chef.\n\n> P chef\nThe little chef comes to life. He rubs his hands together and says in a tiny voice, \"Listen carefully. Using red-black-orange you can cause a portable tool or utensil to perform its function.\" Then he stops moving.\n\n> Go north\nThis hall is lit by arched windows in the west wall. The long mahogany dining table could seat at least twenty people, if the chairs were still here. A doorway leads east, and a wooden door to the south is open.\n\n> Go east\nYour footsteps echo on the tiled floor of this ornately decorated hall. The north and south walls are lined with a variety of paintings. A large chandelier hangs above you. You can exit through doorways to the east, west, and south.\n\n> Rko\nYou set the wand to red-black-orange.\n\n> P key\nThe key swiftly flies over to the door, turns itself in the keyhole with a click, and returns to its drawer.\n\n> RWN\nYou set the wand to red-white-brown.\n\n> Go north\nThis narrow wood-floored hallway runs north and south. At the northern end of the hall, winding stone steps lead upward.\n\nA few paces from the steps, a small dragon lies curled up on a rug.\n\n> You examine the dragon\nThe jet-black dragon is small, but it still fills the width of the hallway. It seems to be asleep. Thin wisps of smoke rise from its nostrils.\n\n> You examine the rug\nThe rug is almost completely covered by the dragon.\n\n> You go south\nThis spacious library is lit by an arched window in the east wall. The collection must have once been extensive, but now the bookshelves lining the walls are empty. A desk stands near the window, and the south wall is dominated by a large fireplace. A doorway leads west, and a wooden door to the north is open.\n\n> Go south\nThis room must have stored a lot of food at one time, but now the shelves are empty. A cupboard is mounted on one wall. You can exit to the north.\n\n> You examine the cupboard\nThe cupboard is made of stained wood. It is closed.\n\n> P it\nThe cupboard door swings open. At the same time, a lattice door slides across the north doorway.\n\n> You examine the cupboard\nThe cupboard is open. A labeled jar is the only thing inside.\n\n> You examine the jar\nThe glass jar is open and contains some kind of thick dark paste. The label is covered with writing, but it is so tiny that you can't read it.\n\n> You look at the lattice\nThe door is a lattice of wooden slats, and you can see the kitchen beyond. It looks like a sheet of paper is attached to the other side of the lattice.\n\n> You examine paper\nThe paper is attached to the other side of the lattice door. If there is anything on it, you can't see it.\n\n> P lattice\nThe lattice door retracts from the doorway. At the same time, the cupboard door swings shut.\n\n> You examine the candles\nThere are five candles standing in small brass holders. The third, fourth, and fifth candles are lit.\n\n> P first\nThe first candle lights up.\n\n> P second\nThe second candle lights up.\n\n> P fourth\nThe fourth candle flares up for a moment.\n\n> You examine the candles\nThere are five candles standing in small brass holders. All the candles are lit.\n\n> You look at the stove\nThe round iron stove sits on four carved legs. You see some ashes on the floor below it. The front of the stove is open.\n\nA copper pot sits on top of the stove.\n\n> You examine the ashes\nIt's just a small pile of ashes on the floor.\n\n> Examine book\nThe current dog-eared page contains a recipe: \"RING SOUP. Boil one slice of baltavakia in chicken broth until it sparks. Immediately lower heat. (Overcooking will yield unpleasant results.)\"\n\n> P scoop\nThe brass scoop comes to life. It picks up a small pile of coal, carries it to the stove, and dumps it inside. It then returns to the coal box.\n\n> You check your inventory\nYou are holding a wand.\n\n> You examine counter\nThere are several items on the counter: a cookbook, a baltavakia, a knife, a spatula, and a ceramic figurine.\n\n> You look at the spatula\nIt's a square wooden spatula with a long handle.\n\n> Go north\nThis hall is lit by arched windows in the west wall. The long mahogany dining table could seat at least twenty people, if the chairs were still here. A doorway leads east, and a wooden door to the south is open.\n\n> Yko\nYou set the wand to yellow-black-orange.\n\n> You go to the north\nYou take a deep breath and very carefully step over the dragon. It's not easy. Your foot brushes it, but luckily it does not seem to react.\n\nAs you take your next step, however, you hear a thunk and the floor shifts under your weight. A trapdoor opens. You tumble down a chute....\n\nYou are in a damp dungeon cell. Sunlight comes through a small square opening in the ceiling. There is nothing here except the pile of straw you landed on and the heavy wooden door in the south wall.\n\n> You look at the straw\nThe straw is not exactly soft, but the pile is big enough to prevent injury to falling prisoners.\n\nYou notice a dark gray flagstone in the floor next to the straw. It looks odd, since the rest of the stones are lighter.\n\n> P flagstone\nThe dark gray flagstone slowly rises, revealing a gap in the floor.\n\n> You examine the gap\nThe following is written in the gap where the flagstone used to be: \"LOOK AT THE FLAGSTONE.\"\n\n> You examine the flagstone\nA message is scratched into the bottom of the flagstone. You can barely read it in the dim light: \"IMPORTANT. ORANGE-GREEN-GRAY. ONLY WORKS ON LIVING CREATURES.\"\n\n> You examine the door\nIt's a heavy wooden door reinforced with bronze. Someone has engraved \"HA\" right in the middle.\n\nThe flagstone settles back into the floor.\n\n> P door\nThe door shakes slightly, but it is obviously locked.\n\n> Oga\nYou set the wand to orange-green-gray.\n\n> P yourself\nYou are immersed in a shower of orange sparkles! You feel a strange sense of displacement....\n\nThis cheery room must have been used for the reception of guests. It is furnished with a sofa, several chairs, an end table, and a tall cabinet. A framed portrait hangs on one wall. To the north is an open door. You can also go south.\n\n> P dragon\nThe dragon is immersed in a cloud of orange sparkles. When they clear, the dragon is gone.\n\n> You examine the rug\nThe middle of the rug is woven with an image of the wand you carry. It shows the colors blue-gray-purple.\n\n> Bap\nYou set the wand to blue-gray-purple.\n\n> Go north\nThis narrow wood-floored hallway runs north and south. At the northern end of the hall, winding stone steps lead upward.\n\nA few paces from the steps you see a rug on the floor.\n\n> You go to the north\nAs you near the steps, you hear a thunk and the floor shifts under your weight. A trapdoor opens and you tumble down....\n\nYou are in a damp dungeon cell. Sunlight comes through a small square opening in the ceiling. There is nothing here except the pile of straw you landed on and the heavy wooden door in the south wall.\n\n> Bap\nThe wand is already set to blue-gray-purple.\n\n> P straw\nYou feel a strange shudder in the wand, but nothing happens to the straw. It might be a safety feature.\n\n> Oga\nYou set the wand to orange-green-gray.\n\n> P yourself\nYou are immersed in a shower of orange sparkles! You feel a strange sense of displacement....\n\nThis cheery room must have been used for the reception of guests. It is furnished with a sofa, several chairs, an end table, and a tall cabinet. A framed portrait hangs on one wall. To the north is an open door. You can also go south.\n\nA small dragon is lying on the sofa.\n\n> You go to the south\nThis cheery room must have been used for the reception of guests. It is furnished with a sofa, several chairs, an end table, and a tall cabinet. A framed portrait hangs on one wall. To the north is an open door. You can also go south.\n\nA small dragon is lying on the sofa.\n\n> You look at the hole\nIt's about twice the size of a typical mousehole.\n\n> Bap\nYou set the wand to blue-gray-purple.\n\nThe young lady begins speaking in a strange language. You have no idea what she is saying.\n\n> P lady\nNothing happens, as far as you can tell.\n\nThe young lady continues speaking in a strange language. She finishes, nods her head, and returns to lifelessness.\n\n> You examine the oven\nThe round iron stove sits on four carved legs. You see some ashes on the floor below it. The front of the stove is open, and you see a small pile of coal inside.\n\nA copper pot sits on top of the stove.\n\n> P oven\nThere is a flash, and the coal inside the stove starts to burn with an orange glow.\n\n> P knife\nThe knife rises into the air, floats over to the baltavakia, and cuts a thin slice off the end. It rests itself back on the counter.\n\n> Onp\nYou set the wand to orange-brown-purple.\n\nThe chicken broth starts to bubble.\n\n> Rko\nYou set the wand to red-black-orange.\n\n> You examine the stove\nThe round iron stove sits on four carved legs. You see some ashes on the floor below it. The front of the stove is open, and inside you see some coal burning with an orange glow.\n\nA copper pot sits on top of the stove.\n\n> You look at the pot\nThe copper pot is half-full of boiling chicken broth.\n\n> P spatula\nThe spatula rises and floats over to the baltavakia. It carefully picks up the slice, carries it across the kitchen, and drops it into the pot. As soon as the slice touches the broth, it puffs up into a little ball. The spatula returns to the counter.\n\n> You examine the ball\nThe little baltavakia ball is covered with shiny speckles.\n\n> You wait for a while\nTime passes.\n\n> You wait\nTime passes.\n\nThe little ball in the pot starts to throw off bright sparks.\n\n> P spatula\nThe spatula floats toward the baltavakia and tries to lift up the whole thing, but fails. It settles back on the counter.\n\nThe little ball continues to spark.\n\n> P ball\nNothing happens, as far as you can tell.\n\nThe little baltavakia ball vibrates violently. Suddenly it leaps out of the pot and explodes in a cloud of brown dust, producing a really terrible odor.\n\n> You look at the pot\nThe copper pot is half-full of boiling chicken broth.\n\n> You examine counter\nThere are several items on the counter: a cookbook, a baltavakia, a knife, a spatula, and a ceramic figurine.\n\n> Onp\nYou set the wand to orange-brown-purple.\n\n> You examine the shelves\nThe shelves are completely bare. Not a speck nor crumb.\n\n> You go to the south\nThe castle kitchen has been mostly cleared out, but it still contains an iron stove and a long counter with several items on it. There is a coal box on the floor near the stove. You can exit north, but a lattice door blocks a doorway to the south.\n\n> You look at the lattice\nA sheet of paper attached to the lattice door reads, \"To translate foreign languages, use purple-gray-blue.\"\n\n> Pab\nYou set the wand to purple-gray-blue.\n\n> P small book\nThe small book starts to shimmer with a silvery light, and the writing changes.\n\n> You examine the small book\nThe left-hand page shows a drawing of a magnifying glass. The right-hand page says, \"You may see an enlarged view of that which is very small or far away. The first color is neither ORANGE nor BLACK; the second color is WHITE.\"\n\n> Pab\nYou set the wand to purple-gray-blue.\n\nThe young lady begins speaking in a strange language. You have no idea what she is saying.\n\n> Wait\nTime passes.\n\nThe young lady continues speaking in a strange language. She finishes, nods her head, and returns to lifelessness.\n\n> Pab\nThe wand is already set to purple-gray-blue.\n\n> P lady\nThe portrait of the young lady begins to shimmer with a silvery light.\n\n> P lady\nThe young lady suddenly stirs. She clears her throat.\n\nThe portrait of the young lady stops shimmering.\n\n> You wait\nTime passes.\n\nThe young lady begins speaking in a strange language. You have no idea what she is saying.\n\n> RGB\nThe wand is already set to red-green-blue.\n\n> P lady\nThe portrait of the young lady begins to shimmer with a silvery light.\n\nThe young lady continues speaking, but suddenly you hear your own language. She says, \"Likewise, the dragon guards information that will extinguish open flames. But do not be misled: BLUE means BLACK, and GRAY means GREEN.\" She nods her head and returns to lifelessness.\n\n> RGB\nYou set the wand to red-green-blue.\n\nThe portrait of the young lady stops shimmering.\n\n> Pab\nYou set the wand to purple-gray-blue.\n\n> Kgp\nYou set the wand to black-green-purple.\n\n> P fourth\nWith a puff, the fourth candle goes out.\n\nWith a soft grating sound, the bowl slides sideways, revealing a message!\n\n> You look at the message\nThe message has been carved right into the mahogany tabletop. It says, \"My favorite effect is the one that magnifies small or faraway things. The first color is either orange, green, or black; the third color is red.\"\n\n> You go to the south\nThe castle kitchen has been mostly cleared out, but it still contains an iron stove and a long counter with several items on it. There is a coal box on the floor near the stove. You can exit north, but a lattice door blocks a doorway to the south.\n\n> P door\nThe lattice door retracts from the doorway.\n\n> Gwr\nYou set the wand to green-white-red.\n\n> P jar\nA huge image of the jar's label appears in your mind. You can read it. It says \"WEIGHT REDUCER\" followed by a very long list of ingredients. Under that is printed, \"The wand also has the power to reduce the weight of a living creature (temporarily). Ring soup will show what the first and second colors might be, and what the third color CANNOT be. I have placed another clue elsewhere.\"\n\n> P knife\nThe knife cuts a thin slice off the end of the baltavakia.\n\n> P spatula\nThe spatula carefully picks up the slice, carries it across the kitchen, and drops it into the pot. As soon as the slice touches the broth, it puffs up into a little ball.\n\n> Kgp\nYou set the wand to black-green-purple.\n\n> You wait for a while\nTime passes.\n\n> P oven\nThe glow inside the stove dies away.\n\nThe pot stops boiling.\n\nThe little ball continues to spark.\n\n> You wait\nTime passes.\n\nThe sparks are getting brighter.\n\n> You wait for a while\nTime passes.\n\nThe baltavakia ball suddenly dissolves into the broth with a hiss. The broth thickens, and vivid rings of color appear in it.\n\n> You examine the soup\nThe copper pot is half-full of thick, colorful soup. A series of white, purple, brown, and yellow rings expand slowly from the middle.\n\n> You examine the window\nThrough the windows you have a lovely view of the Glittering River and the farmland beyond.\n\n> Gwr\nYou set the wand to green-white-red.\n\n> P window\nA huge but incomprehensible image appears in your mind.\n\n> P fire\nThe fire vanishes with a loud poof.\n\n> You look at the fireplace\nYou look inside the brick fireplace. The following is written on the back wall in soot-resistant chalk:\n\"WEIGHT REDUCER:\nFirst is either red, gray, brown, or orange.\nSecond is either green, white, blue, or black.\nThird is either purple, black, yellow, or brown.\"\n\n> Nwk\nYou set the wand to brown-white-black.\n\n> P yourself\nYou suddenly feel much, much lighter.\n\n> You go to the north\nThis round chamber looks like a hobbyist's workshop. It contains a long worktable with several items, as well as an easel holding a painting. The north and east windows are boarded up, but the west window is open. Stone steps wind down to the south.\n\n> You look at the painting\nIt's a head-and-shoulders portrait of a wizard. He looks a lot like the statue back in the Entry Chamber, except he has no mouth.\n\n> RGB\nYou set the wand to red-green-blue.\n\nThe pleasant feeling of lightness goes away. You're back to your normal heft.\n\n> You look at the easel\nA painting of a wizard sits on the easel.\n\nThe painting continues to move silently for a few moments. Then it stops.\n\n> You look at the table\nThere are several items on the worktable. On the left is an iron cage holding a kimpert. Next to that, a shallow bronze bowl sits on top of a small brazier. Further along the table is what looks like a bronze scale.\n\nA rock is sitting on the scale.\n\n> You examine the rock\nIt's a rock about as big as your fist.\n\n> You examine bowl\nThe bowl sits on top of a small brazier. It is empty.\n\n> You examine kimpert\nThe kimpert looks like a large olive-colored hamster. Kimperts have a few well-known characteristics: they are very fast, they have a strong homing instinct, and they love bronze.\n\nThe kimpert looks rather displeased.\n\n> You examine the window\nLooking out of the west window, you see a similar tower on the opposite side of the castle, with its own window facing you. A banner with a message is hanging beneath that window, but it's too far away to read.\n\n> Gwr\nYou set the wand to green-white-red.\n\n> P banner\nA large image of the banner appears in your mind. The message reads, \"Produce the following sequence on the scale: 5, 3, 1, 3, 2, 0, 2, 5. The buzzer means you must start over. Good luck!\"\n\n> You examine scale\nThe scale consists of a bronze tray on top of a box with a gauge. The gauge runs from zero to five. Currently, it's pointing to two.\n\nA rock is sitting on the scale.\n\n> You examine brazier\nThe brazier contains some unlit charcoal.\n\n> You look at the table\nThere are several items on the worktable. On the left is an iron cage holding a kimpert. Next to that, a shallow bronze bowl sits on top of a small brazier. Further along the table is what looks like a bronze scale.\n\nA rock is sitting on the scale.\n\n> P kimpert\nThe kimpert is bathed in orange sparkles and vanishes.\n\n> You wait for a while\nTime passes.\n\nThe kimpert comes flying up the steps, races across the room, leaps all the way into the bronze bowl, and instantly relaxes.\n\n> P charcoal\nThe charcoal starts to burn with a soft glow.\n\nThe kimpert squirms and hops from the bowl onto the bronze scale. The scale's pointer moves to five. You hear a ding from the scale.\n\n> You examine the cage\nThe iron cage is closed and empty.\n\n> P rock\nThe rock rises into the air above the scale. The scale's pointer moves to three. You hear a ding from the scale.\n\n> Nwk\nYou set the wand to brown-white-black.\n\n> P kimpert\nThe kimpert seems to un-sag slightly, as if someone had pumped a little air into it.\n\nThe scale's pointer moves to one. You hear a ding from the scale.\n\n> You wait\nTime passes.\n\nThe rock falls back on the scale. The scale's pointer moves to three. You hear a ding from the scale.\n\n> P charcoal\nThe glow disappears.\n\nThe kimpert seems to sag a little. The scale's pointer moves to five. The scale buzzes loudly.\n\nA moment later, you hear a ding from the scale.\n\n> Onp\nYou set the wand to orange-brown-purple.\n\n> P rock\nThe rock rises into the air above the scale. The scale's pointer moves to three. You hear a ding from the scale.\n\n> Nwk\nYou set the wand to brown-white-black.\n\n> P kimpert\nThe kimpert seems to un-sag slightly, as if someone had pumped a little air into it.\n\nThe scale's pointer moves to one. You hear a ding from the scale.\n\n> Oga\nYou set the wand to orange-green-gray.\n\nThe rock falls back on the scale. The scale's pointer moves to three. You hear a ding from the scale.\n\n> P kimpert\nThe kimpert is bathed in orange sparkles and vanishes.\n\nThe scale's pointer moves to two. You hear a ding from the scale.\n\n> Onp\nYou set the wand to orange-brown-purple.\n\nThe kimpert comes flying up the steps, races across the room, leaps all the way into the bronze bowl, and instantly relaxes.\n\n> P rock\nThe rock rises into the air above the scale. The scale's pointer moves to zero. You hear a ding from the scale.\n\n> You wait\nTime passes.\n\nThe rock falls back on the scale. The scale's pointer moves to two. You hear a ding from the scale.\n\n> P charcoal\nThe charcoal starts to burn with a soft glow.\n\nThe kimpert squirms and hops from the bowl onto the bronze scale. The scale's pointer moves to five. The scale dings three times.\n\nA slot in the scale opens up, and a paintbrush shoots out onto the floor.\n\n> You examine the paintbrush\nThe wooden paintbrush is broken nearly in half. The tip seems to be wet with a little bit of shimmering magical paint.\n\n> P paintbrush\nThe paintbrush flops around weakly on the floor.\n\n> P paintbrush\nThe paintbrush glows and joins itself back together. It looks as good as new.\n\n> P brush\nThe paintbrush rises from the floor and floats over to the painting. It reviews the painting for a moment, then carefully adds a mouth. It rests itself on the tray of the easel.\n\n> P painting\nThe painting comes to life. \"You've done very well,\" says the wizard. \"Now I'll give you one more tip.\"\n\n> Wait\nTime passes.\n\nThe wizard continues, \"The wand can make steel objects disappear. Quite powerful. The setting is black-purple-black.\" He reverts to lifelessness.\n\n> You go south\nYou descend the steps. As soon as you walk into the hallway, you hear a thunk and the floor shifts under your weight. A trapdoor opens and you tumble down....\n\nYou are in a damp dungeon cell. Sunlight comes through a small square opening in the ceiling. There is nothing here except the pile of straw you landed on and the heavy wooden door in the south wall.\n\n> You go south\nThis tall wood-paneled room is mostly empty. In the very center of the room stands a display case, and next to that a stone statue. A wooden door to the north is open. The archway to the south is blocked by a portcullis.\n\n> P statue\nThe statue slowly rises until it hovers about a foot off the floor.\n\n> You examine the statue\nIt's a granite statue of a robed wizard. He looks about five feet tall, not counting his pointy hat.\n\n> You examine the portcullis\nIt's a heavy steel portcullis, and it's preventing you from leaving.\n\n> Kpk\nYou set the wand to black-purple-black.\n\nThe statue slowly returns to the floor.\n\n> P portcullis\nThe steel portcullis disintegrates into a fine mist that quickly drifts away.\n\n> You go to the south\nYou leave the castle and head home with your prize, excited about your prospects. You should be able to achieve a lot with this wand.\n\nThe next day, you wake to find that the wand has disappeared! In its place is a small box with a note attached: \"I hope you didn't think I would let you keep my wand! You escaped in 523 turns, so here is your prize.\"\n\nYou open the box and find a small pile of silver coins inside! That certainly justifies the trip!\n\n> Go north\nThis tall wood-paneled room is mostly empty. In the very center of the room stands a display case, and next to that a stone statue. A wooden door to the north is closed, and a tall archway leads south.\n\n(Note: This game is unlosable. Don't be afraid to try things!)\n\n> You get wand\nYou take the wand from the display case. A moment later, you are startled by a loud rattling. You turn in time to see a steel portcullis slam down inside the archway!\n\n> Kpk\nYou set the wand to black-purple-black.\n\n> Go south\nYou leave the castle and head home with your prize, excited about your prospects. You should be able to achieve a lot with this wand.\n\nThe next day, you wake to find that the wand has disappeared! In its place is a small box with a note attached: \"I hope you didn't think I would let you keep my wand! You escaped in five turns (astonishing), so here is your prize.\"\n\nYou open the box and find several large diamonds inside! That certainly justifies the trip!"
    },
    {
        "text": "[Themes: Travel, Historical, Humor, silly, Victorian, volcano, male protagonist, humor, kid-friendly]\n\n> You look at the booby\nHubert is a man of prodigious girth, pasty and unhealthy looking with slicked down hair and beady little eyes that follow me about. He is wearing a large, bulky overcoat and a shapeless felt hat.\n\n[Author's Note: Professor Pettibone, eminent Victorian balloonist, has a problem. He can't get it up. His balloon that is. If he can't reach an altitude of 20, 000 feet, and soon, both he and his mysterious travelling companion Hubert Booby will be burned to a cinder by an erupting volcano! But what is Mr. Booby concealing under his overcoat? Do all Ecuadorian peasants have BSc's? And what, in the name of all that's holy, is THE CURSE OF THE BLUE IBIS?]\n\n> You examine the coat\nHubert habitually wears this huge black overcoat. It seems to have been designed with only a small breast pocket, but a larger side pocket has been crudely stitched to the side. The overcoat is bursting at the seams; it is buttoned up but the buttons threaten to pop off under the strain. The occasional slight movement from within the bulk suggest something untoward is going on in there...\n\n> You look at the breast pocket\nA small pocket on the front of the overcoat. The corner of a handkerchief can be seen poking out of Hubert's breast pocket.\n\n> You look at the handkerchief\nHubert is obviously a well brought-up young man, despite his bizarre behaviour, since he always carries a clean handkerchief in his breast pocket.\n\n> You take the handkerchief\nI take hold of the corner of the handkerchief and tug, whereupon, like some infernal conjuring trick, the one handkerchief is attached to another, and another, until I am holding a huge bundle of coloured handkerchiefs all tied together at the corners. Leave those alone!\" protests Hubert, \"my Aunt Gertie will be very annoyed when she finds out you've stolen my hankies!\"\n\n> You throw the hankies\nI attempt to throw the string of handkerchiefs over the side, but unbeknown to me Hubert places his foot on the end of it. He hauls them back inside and stuffs them carelessly into the side pocket of his overcoat.\n\n> You examine the breast pocket\nA small pocket on the front of the overcoat. There's nothing in the breast pocket.\n\n> You look at the buttons\nHubert's overcoat is bursting at the seams. It's a wonder the buttons don't pop off under the strain, but looking at them more closely it is evident that he has sewn them on with extremely strong sailmaker's thread.\n\n> You throw Hubert\nTempting though it is, I don't think pushing Hubert over the side of the basket is the gentlemanly way of dealing with this problem. (Actually the real reason is that he's far too heavy for me to move!)\n\n> You examine the side pocket\nA large pocket that seems not to have been part of the coat's original design. Despite Hubert's protestations, I am able to take a quick peek at its contents, which appear to consist of a rubber mallet, a tin box, and a string of handkerchiefs.\n\n> You examine the hat\nHubert's hat looks as though it might once have belonged to an admiral, but it has lost much of its shape and the gold brocade is hanging off. When Hubert sees me eyeing his hat he reaches up and clutches the brim protectively. \"There's nothing concealed under here, I promise you!\" he says.\n\n> You take the hat\nHubert clutches the brim protectively. \"It's my hat,\" he squeals, and after much effort you give in to his protests.\n\n> You take the handkerchiefs\nTaken.\n\n> You take all from the side pocket\nrubber mallet: Before Hubert has time to react, I snatch the rubber mallet from the side pocket of his coat. \"You incorrigible sneak-thief!\" he cries, \" Scoundrels like you should be thrown in the clink!\"\ntin box: In spite of Hubert's feeble efforts to stop me, I am able to wrest the tin box from the side pocket of his coat.\n\n> Tie handkerchiefs\n(to Hubert)\nI cannot see much point in doing that.\n\n> You look at the tin box\nA battered tin box with the words 'sewing kit' painted on its lid.\nThe sewing kit is closed.\n\n> You cut the buttons with the scissors\nAs soon as Hubert sees me approaching with the scissors he understandably backs away, but in the confines of the balloon I soon have him cornered. His vigorous attempts to fend me off are quite ineffectual.\n\nWith a deft movement of the wrist I succeed in cutting through the tough thread that binds each button to the coat. As I do so each button flies off like a speeding bullet, and finally, with a great rending sound the coat bursts open, spilling a multitude of diverse objects onto the floor of the basket! These items consist of a large framed painting, an enormous carpetbag, a bundle of twigs, a boomerang, an ear-trumpet, a toy donkey and a sleeping Saint Bernard dog...\n\n> You look at the painting\nGoodness knows where on our travels Hubert picked this up; it appears to be an exquisitely detailed still life by Rembrandt of three kittens in a chamber pot.\n\n> You take the painting\nTaken. \"If you damage that,\" says Hubert, \"I shall tell my Aunt Gertie!\"\n\n> You look at the carpetbag\nThis is by far the largest example of a carpetbag I have ever seen!\nIt must contain enough carpet to carpet the Taj Mahal! The carpetbag is closed and locked with a small padlock.\n\n> You throw the painting\nWithout hesitation I fling the painting over the side, thereby consigning that artistic aberration to oblivion. It seems the kindest thing to do.\n\n\"You imbecile!\" cries Hubert, tearing out great clumps of his hair, \"I bought that painting to adorn the walls of my dear Aunt Gertie's drawing room. You'll pay for this!\"\n\nUnburdening the balloon of this quite large and heavy object causes a sudden and immediate gain in altitude of seven hundred feet.\n\n> You take the bag\nThe carpetbag is too heavy for me to carry at the moment.\n\n> You look at boomerang\nHubert must have picked up this curious artefact when we landed in Australia. I wonder what it does? At the moment it's just weighing down my balloon.\n\n> Info\nBy J. J. Guest\n\nRelease Version 1.0\n\nThanks to: My Brother Dan for inspiration, to Ambrosine and Liz Parnell who beta-tested the original ADRIFT version, and to Dan Shiovitz, Phil Swinbank and Tommy Herbert who beta-tested this TADS 2 version. Thanks also to Stewart J. McAbney for initiating the TADS 2 conversion, and to Mike Roberts, Quintin Stone and everyone else on rec.arts.int-fiction who gave me help and advice.\n\n> You examinthe ear-trumpet\nAn old ear-trumpet made of tin.\n\n> You look at the donkey\nA large, and very heavy toy donkey wearing a sombrero. Hubert must have picked this up during our brief stopover in Benidorm and smuggled it aboard under his coat!\n\n> You examine the dog\nBooby must have picked up this enormous hound during our short stopover in Switzerland. It is amazing to consider that he has been carrying it around ever since! The hound is currently sound asleep, lying on his side, exactly as he fell with one ear turned inside out. A small barrel of brandy is attached to the collar around his neck.\n\n> You ask Booby about the padlock\nThat carpetbag is my business,\" sneers Hubert, \"it's not my fault if you're foolish enough to throw out all your own belongings. That lock is there to see you don't get your paws on any more of mine.\"\n\n> You take the trumpet\nTaken. \"Put that down at once!\" cries Hubert.\n\n> You throw it\nI can see no possible use for the ear-trumpet, so I throw it over the side of the balloon. For some reason Hubert seems to find this amusing. He tries to stifle his laughter but it escapes him as a sort of nasal snort. He bends down to stroke the ears of the St. Bernard.\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around two hundred feet in altitude.\n\n> You look at the altimeter\nI fling the toy donkey over the side of the balloon and watch as it spirals to Earth. \"You maniac!\" screams Hubert, wringing his hands and quivering all over like an oversized lemon jelly. \"The shopkeeper assured me that donkey was one-of-a-kind!\"\n\nUnburdening the balloon of this quite large and heavy object causes a sudden and immediate gain in altitude of seven hundred feet.\n\nThe altimeter is currently reading 13,400 feet above sea level. In order to clear the volcano in safety we must reach an altitude of 20,000 feet!\n\n> You search the coat\nI can now see that the overcoat has an inside pocket. Despite Hubert's protestations, I am able to take a quick peek at its contents, which appear to consist of a hatchet and a cigarette lighter. There are also a couple of objects trapped within the tartan lining, but that is as much as I am able to determine before Hubert succeeds in shoving me away.\n\n> You take the hatchet\nHubert is too slow to stop me reaching inside his overcoat to retrieve the hatchet from his inside pocket. I immediately recognise the item as my own!\n\n> You take lighter\nI reach inside Hubert's overcoat and retrieve the lighter. \"Stop! Thief!\" yells Hubert, presumably in the hope of attracting the attention of the local constabulary.\n\n> You cut the lining with the scissors\nI lunge with the scissors, slashing a large rent in the tartan fabric. A colourful vase drops out onto the floor of the basket. \"You lunatic!\" shrieks Hubert, throwing up his hands in horror, \"my Auntie Gertie will have to mend that now!\"\n\n> You break it\nI hit the vase against the side of the basket but it remains resolutely intact. Maybe I should use something to smash it with!\n\n> You break the vase with the hatchet\nThere are surely better tools than a hatchet to break things with!\n\n> You look in the vase\nIt is too dark inside the vase to get any idea of what it might contain.\n\n> You hit the vase with the mallet\nI hit the vase with the mallet. It shatters most obligingly, revealing a tiny key among the wreckage!\n\n\"You maniac!\" cries Hubert, \"that vase was a present for my Aunt Gertie! I'll never be able to find another one!\"\n\n> You unlock bag with key\nI unlock the carpetbag with the tiny metal key, tossing the padlock over the side of the basket. The bag falls open to reveal, to my astonishment, a pair of underpants, a trombone, and what appears to be an Egyptian mummy still in its original wrappings!\n\n> You examine the underpants\nA pair of clean Y-fronts, extra large. There is a picture of Sexton Blake on the front!\n\nHubert picks up the boomerang.\n\n> You examine the trombone\nA rather battered, but still serviceable trombone. There appears to be something wedged in its funnel.\n\n> You look in it\nIn the trombone I see a whatever it is that's wedged into the funnel.\n\n> You take it\nTaken. \"That doesn't belong to you!\" exclaims Hubert.\n\n> You play it\nThe trombone emits an almost inaudible squeak. I fear there may be something wrong with it.\n\n> You examine the mummy\nThe preserved body of an ancient Egyptian, still in its original wrappings. It smells rather musty and something about it gives me the creeps, quite frankly.\n\n> You take the underpants\nI gingerly remove the pair of underpants from the carpetbag.\n\n> You unwrap the mummy\nSomewhat hesitantly I begin to peel away the mummy's wrappings. \"I shouldn't do that if I were you,\" says Hubert, \"or you'll fall foul of the curse!\"\n\n> You throw the underpants\nI toss the underpants over the side of the balloon. A warm air current sends them floating off into the distance. \"You idiot!\"\ncries Hubert, his eyes wide as coal-holes, \"My Aunt Gertie was very insistent that I always have clean underwear - I've been wearing my other pair ever since this infernal trip began!\"\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around one hundred feet in altitude.\n\n> You ask Booby about Curse\n\"Oh, it's probably just mumbo-jumbo,\" says Hubert airily, \"but those Egyptian graverobbers who sold me the mummy also told me that anyone who defiled or desecrated the body would fall victim to the Curse of the Blue Ibis. I'm no expert on these things,\" he continues with an unmistakable air of smugness, \"but I rather suspect that hurling the mummy out of a balloon might count as an act of desecration.\"\n\n> You wake dog\nI try to rouse the slumbering dog by shaking him violently, but to no avail. Hubert snorts derisively at my efforts. Perhaps a loud noise of some kind might be more effectual.\n\n> You put the ear trumpet in the dog\nI presume you mean me to put it in the dog's ear...\nI put the ear-trumpet in the Saint Bernard's ear. He does not appear to mind, but then he is fast asleep."
    },
    {
        "text": "[Themes: Travel, Historical, Humor, Victorian, male protagonist, silly, volcano, kid-friendly]\n\n> Look around\nI am in the basket of the balloon, high, though not high enough\nabove the foothills of the Andes. A strong wind drives us ever closer to the volcano; torrents of molten lava cascading down its sides like rivers of fire! Attached to the ropes that hold the balloon aloft is a brass altimeter, the one and only piece of aeronautical equipment that has not been sacrificed.\nI see a carpetbag here. The carpetbag seems to contain a Egyptian mummy.\nHubert Booby stands in the corner of the basket, peering at me suspiciously.\nA St. Bernard dog is lying fast asleep on the floor of the basket, oblivious to the drama unfolding before him.\n\n> Inventory\nI have a string of handkerchiefs, a rubber mallet, a sewing kit, a pair of scissors, a hatchet, a cigarette lighter, a trombone, and a smudge stick. The sewing kit seems to contain a ball of yarn and a needle.\n\n> You take the coat\nI try to pull the overcoat off over Hubert's head, but only succeed in pulling Hubert over onto his back. \"Let go of me, you maniac!\" he cries, clambering to his feet.\n\n> You examine Hubert\nHubert is a man of prodigious girth, pasty and unhealthy looking with slicked down hair and beady little eyes that follow me about. He is wearing a large, bulky overcoat and a shapeless felt hat. He is carrying a boomerang.\n\n> You take the boomerang\nAfter a brief struggle, I manage to wrest it from Hubert's grip. \"Put that down at once!\" cries Hubert.\n\n> You throw the boomerang\nI throw the boomerang with all my might. It spins away into the clouds.\n\nThe balance between the weight of the balloon and the lift provided by the gas is so delicate that jettisoning even a very light object causes an immediate vertical displacement. In this instance, the balloon gains around three hundred feet in altitude.\n\n> You wait for a while\nTime passes...\n\n> Inventory\nI have a string of handkerchiefs, a rubber mallet, a sewing kit, a pair of scissors, a hatchet, a cigarette lighter, a trombone, and a smudge stick. The sewing kit seems to contain a ball of yarn and a needle.\n\n> You unwedge the funnel with the scissors\nI don't recognize that sentence.\n\nI don't know the word \"unwedge\".\n\n> You put the scissors in the funnel\nDone.\n\n> You take the scissors\nTaken. \"Put that down at once!\" cries Hubert.\n\n> You put the yarn in the needle\nIf you want me to sew something, just tell me and I'll do it then.\n\n> You hit Booby with the mallet\nHubert screams as I near him with the mallet.\n\n> You take coat\nI try to pull the overcoat off over Hubert's head, but only succeed in pulling Hubert over onto his back. \"Let go of me, you maniac!\" he cries, clambering to his feet.\n\nThere is a strange whistling sound from behind me...\n\nTHUD! Much to Hubert's amusement, the boomerang hits me on the back of the head.\n\n> You yell in the trumpet\nI yell \"WAKEY WAKEY!\" directly into the ear-trumpet. The dog stirs slightly, its rear paws twitching involuntarily; but still it does not wake. Obviously I need to make an even louder noise...\n\n> You look at the trombone\nA rather battered, but still serviceable trombone. There appears to be something wedged in its funnel.\n\nThere is a strange whistling noise, and a second later a loud crack as the boomerang returns, hitting Hubert on the back of the head. Hubert yelps with pain and the felt hat topples to the floor with a heavy thump. As it hits the floor a large cuckoo clock, which Hubert had been concealing under it, drops out and lands by my feet. The clock immediately begins to chime...\n\n> You cut the lining with the scissors\nI don't think there are any further items hidden in the lining...\n\nThe clock chimes three times. \"CUCKOO! CUCKOO! CUCKOO!\"\n\n> You examine the clock\nA ridiculously ornate carved wooden clock with a small door in the front to allow a wooden bird to pop in and out every quarter of an hour. I fancy it was damaged when I knocked it off Hubert's head, since the cuckoo seems to have gone beserk, and it is quite impossible to read the time since the hands are spinning like dervishes!\n\nThe clock chimes five times. \"CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO!\"\n\n> You take the hat\nTaken. \"Leave that alone!\" cries Hubert.\n\n> You look in the hat\nThere's nothing in the shapeless felt hat.\n\nThe clock chimes three times. \"CUCKOO! CUCKOO! CUCKOO!\"\n\n> You throw the hat\nI drop the ratty old hat over the side of the basket. As it tumbles away into the clouds, Hubert screams \"You imbecile! My great uncle Percy wore that hat during the Charge of the Light Brigade! It was his dying wish that I should wear it every day of my life!\"\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around one hundred feet in altitude.\n\nThe clock chimes seven times. \"CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO!\"\n\n> You put the clock in the trumpet\nI can't put anything into the ear-trumpet.\n\nThe clock chimes four times. \"CUCKOO! CUCKOO! CUCKOO! CUCKOO!\"\n\n> You look at the clock\nA ridiculously ornate carved wooden clock with a small door in the front to allow a wooden bird to pop in and out every quarter of an hour. I fancy it was damaged when I knocked it off Hubert's head, since the cuckoo seems to have gone beserk, and it is quite impossible to read the time since the hands are spinning like dervishes!\n\nThe clock chimes three times. \"CUCKOO! CUCKOO! CUCKOO!\"\n\n> You throw the clock\nI am not carrying the the cuckoo clock.\n\nThe clock chimes seven times. \"CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO! CUCKOO!\"\n\n> You take the clock\nTaken.\n\nThe clock chimes three times. \"CUCKOO! CUCKOO! CUCKOO!\"\n\n> You throw the clock\nI hurl the cuckoo clock over the side of the basket. It continues to chime long after it has disappeared into the wreath of thin cloud that hovers below us.\n\n\"You maniac!\" screams Hubert, shuddering like a Quaker. \"That clock was to have adorned the kitchen wall of my dear Aunt Gertie. Its hourly chiming would have reminded her when it was time to make my tea, run my bath and a thousand other duties incumbent upon her as my legal guardian!\"\n\nThe balance between the weight of the balloon and the lift provided by the gas is so delicate that jettisoning even a very light object causes an immediate vertical displacement. In this instance, the balloon gains around five hundred feet in altitude.\n\n> You hit the funnel\nWhat do you want to hit it with?\n\n> Mallet\nI bash the trombone with the rubber mallet. To my surprise, a cricket ball pops out of the funnel. I must ask Hubert how that got in there...\n\n> Blow trombone\nI place the trombone to my lips and blow. It emits a few strangulated notes. The St. Bernard, upon hearing this leaps four feet into the air, sending the ear-trumpet flying into space. He seems to be fully alert now!\n\n> You take the dog\nI throw myself upon the dog, in an effort to cast it over the side of the basket, but he seems to think that we are playing a game, and wriggles free of my grasp.\n\n> You take the mummy\nI carefully lift the Egyptian mummy from the carpetbag and heave it over my shoulder. \"I wouldn't touch that if I were you,\" says Hubert \"it's cursed!\"\n\n> You drop the mummy\nDropped.\n\n> You throw the stick\nI toss the smudge stick over the side of the basket. After all I can't imagine what I might have needed it for...\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around one hundred feet in altitude.\n\n> You show the ball to the dog\nWhich ball do you mean, the ball of yarn, or the cricket ball?\n\n> You ask Booby about the dog\n\"He came free with the cuckoo clock.\" says Hubert. \"I'm afraid it is the laziest hound I have ever encountered - nothing but the loudest noise will rouse him.\"\n\n> You look at the dog\nBooby must have picked up this enormous hound during our short stopover in Switzerland. It is amazing to consider that he has been carrying it around ever since! The dog is sitting on his haunches, looking up at me through soulful brown eyes. A small barrel of brandy is attached to the collar around his neck.\n\nThere is a strange whistling sound from behind me...\n\nTHUD! Much to Hubert's amusement, the boomerang hits me on the back of the head.\n\n> Examine barrel\nThe barrel is attached to the dog's collar. There is a small tap on one side allowing me to drink from it.\n\n> You take the barrel\nWhy bother when I can drink the brandy without removing the collar!\n\n> You drink the brandy\nI help myself to a little of the brandy. Most refreshing!\n\n> You drink the brandy\n\"Do it yourself!\" cries Hubert, \"I am feeling somewhat fatigued of late. It must be the altitude. Why don't you let some gas out of the balloon?\"\n\n> You push Hubert\nThe St. Bernard looks at me blankly. Either it has not been trained to obey commands or it only speaks German.\n\n> You ask Booby about blue Ibis\n\"Oh, it's probably just mumbo-jumbo,\" says Hubert airily, \"but those Egyptian graverobbers who sold me the mummy also told me that anyone who defiled or desecrated the body would fall victim to the Curse of the Blue Ibis. I'm no expert on these things,\" he continues with an unmistakable air of smugness, \"but I rather suspect that hurling the mummy out of a balloon might count as an act of desecration.\"\n\n> You take the mummy\nI heave the Egyptian mummy over my shoulder.\n\n> You throw the mummy\nI heave the mummy over the side of the balloon and watch as it plummets earthwards. As the mummy disappears from sight the sky seems to darken; the light alpine cloud coalesces into forbidding thunder clouds. The ominous silence is broken by a piercing shriek like that of an exotic bird...\n\n\"Now you've done it!\" cries Hubert, shaking like a leaf and paler than ever, \"We're both doomed now. Did I not tell you about...\n\n...THE CURSE OF THE BLUE IBIS?\"\n\nUnburdening the balloon of this large, heavy object causes a sudden and immediate gain in altitude of one thousand feet.\n\n> You look at the altimeter\nThe altimeter is currently reading 15,300 feet above sea level. In order to clear the volcano in safety we must reach an altitude of 20,000 feet!\n\nFrom somewhere towards the east there is a piercing shriek; the shrill cry of some exotic bird!\n\n> You look at the bird\nThe Ibis, an Egyptian wading bird, is said to be the messenger of Osiris, ancient Egyptian god of the dead. To see one flying at an altitude of 15,300 feet above the Ecuadorian Andes is quite, quite incredible; one might even say supernatural...\n\n> You examine the bag\nThis is by far the largest example of a carpetbag I have ever seen!\nIt must contain enough carpet to carpet the Taj Mahal! The carpetbag is open. There's nothing in the carpetbag.\n\nThe Blue Ibis gives a piercing cry as it draws closer and closer to the balloon...\n\n> You throw it\nI hurl the empty bag over the side of the basket. Hubert merely glares at me for a moment.\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around one hundred feet in altitude.\n\nThe Blue Ibis gives a piercing cry as it draws closer and closer to the balloon...\n\n> Light smudge\nI light the smudge stick with the cigarette lighter, then blow it out, allowing the scented smoke to waft around the balloon. It could be my imagination, but from somewhere I hear the distant sound of drums and a Cherokee medicine man chanting. From above there is a raucous shriek, and I look up to see the Blue Ibis vanish into the sweet smelling smoke like something out of a dream...\n\nRed hot embers fly from the smudge stick...\n\n> You throw the stick\nI toss the burning smudge stick over the side of the balloon.\n\nThe equilibrium of a balloon in the air is so sensitive that the loss of an almost insignificant weight can produce a very appreciable displacement. In this instance, the balloon gains around one hundred feet in altitude.\n\n> You look at the altimeter\nThe altimeter is currently reading 15,800 feet above sea level. In order to clear the volcano in safety we must reach an altitude of 20,000 feet!\n\n> You throw lighter\nI think I shall hang on to the lighter. It is very light, and one never knows when one might need one.\n\n> You examine the trombone\nA rather battered, but still serviceable trombone. It now appears to be free of obstructions.\n\n> You play the trombone\nI have never studied music, but the noise that emits from the instrument when I place it to my lips is not entirely unpleasant. Hubert, who is clutching his ears, seems to be of a different opinion.\n\n> You throw it\nHaving no further use for it, I cast the trombone out of the basket. Hubert merely sighs and rolls his eyes at me.\n\nThe balance between the weight of the balloon and the lift provided by the gas is so delicate that jettisoning even a very light object causes an immediate vertical displacement. In this instance, the balloon gains around five hundred feet in altitude."
    },
    {
        "text": "[Themes: Humor, Travel, Historical, volcano, silly, humor, Victorian]\n\n> You look around\nI am in the basket of the balloon, high, though not high enough\nabove the foothills of the Andes. We are now practically on top of the volcano. It is as though we are entering the mouth of hell itself! Attached to the ropes that hold the balloon aloft is a brass altimeter, the one and only piece of aeronautical equipment that has not been sacrificed.\nI see a cricket ball here.\nHubert Booby stands in the corner of the basket, peering into\nspace.\nA St. Bernard dog is sitting placidly before me, wagging its tail.\n\n> You examine it\nA well-worn cricket ball that has obviously seen quite a lot of use.\nI was pretty good bowler in my day...\n\n> You throw ball at the dog\nWhich ball do you mean, the ball of yarn, or the cricket ball?\n\n> Cricket\nI miss.\n\n> You take it\nTaken. \"That doesn't belong to you!\" exclaims Hubert.\n\n> Bowl\nWhat do you want to throw?\n\n> Bowl cricket ball\nI throw the cricket ball (overarm, naturally) over the side of the basket, giving it plenty of topspin. It whistles off into the clouds, closely followed by the St. Bernard, which, like any dog, cannot resist chasing a thrown ball. Through a gap in the clouds I see the hapless hound land safely in a snow-drift. At least he will be able to dig himself out.\n\nUnburdening the balloon of this large, heavy object causes a sudden and immediate gain in altitude of one thousand feet.\n\n> You throw the mallet\nI fling the mallet over the side of the basket. \"You lunatic!\" yells Hubert, stamping his feet in distraction. 'That was an extremely useful mallet - I used it every day at breakfast to crack open my boiled eggs!\"\n\nThe balance between the weight of the balloon and the lift provided by the gas is so delicate that jettisoning even a very light object causes an immediate vertical displacement. In this instance, the balloon gains around five hundred feet in altitude.\n\n\"THAT DOES IT!\" shrieks Hubert, shaking his tiny fists at me in exasperation. \"That's the last straw. You've really done it this time. I'm going to tell my Aunt Gertie on you!\"\n\n\"Oh, and I suppose you have your Aunt Gertie secreted away in that incredible overcoat of yours as well...\" I say, mockingly.\n\n\"Yes,\" says Hubert, \"as a matter of fact I have. You didn't think I'd leave her at home all on her own, do you?\" After much squirming and wriggling, a tiny little old lady emerges from the overcoat.\n\n\"What is it, Hubert dear?\" she asks...\n\n> You look at Aunt\nShe is a fearsome looking old lady with her hair tied back in a bun and a clean white apron on. She leans on a rather lethal looking cane and carries a bottle of what looks worryingly like castor oil.\n\n> You take the cane\n\"Leave me helpless, would you,\" crows Aunt Gertie as I go to grab her cane, before hitting me over the head with it. Helpless indeed!\n\n> You ask Gertie about Booby\n\"Hubert's such a good boy. He always washes behind his ears.\" says Aunt Gertie, smiling at her nephew. \"I don't suppose you wash behind your ears, do you?\" She subjects my ears to close scrutiny. \"No, I didn't think so.\"\n\n> You ask Gertie about Gertie\n\"For the land's sakes!\" cries Aunt Gertie in exasperation.\n\n> Inventory\nI have a string of handkerchiefs, a sewing kit, a hatchet, a cigarette lighter, a needle, a ball of yarn, and a pair of scissors.\nTime is running out! The volcano is so close now that its deafening roar drowns out every sound, and the balloon is bathed in its eerie orange glow!\n\n> You give the handkerchiefs to Gertie\nI would rather not give the old woman the string of handkerchiefs.\nShe is rather less of a pushover than her nephew. Whilst she is armed with that stick, I do not fancy my chances of getting them back again.\n\n> You give the parachute to Gertie\n\"You're not getting me up in one of those things!\" crows Aunt Gertie. Perhaps a less direct approach would be more successful...\n\n> You hit Gertie with the parachute\nThere are surely more fruitful ways of spending my time than in attacking Aunt Gertie with a parachute.\n\n> You wear the parachute\nWhat! And abandon my balloon? Over my dead body! Besides, the parachute has no harness - to wear it one would need to tie it to something one was already wearing.\n\n> You tie the parachute to Gertie\nI wait 'til her back is turned, and swiftly tie the parachute to her apron strings!\n\n> You cut the balloon with the scissors\nI am rapidly losing consciousness. Everything is a blur...\n\nMy head is spinning like a top...\n\n> You examine the balloon\nI am rapidly losing consciousness. Everything is a blur...\nMy head is spinning like a top...\nWe are now so close to the volcano that its torrid heat can be felt upon our faces. It is a little like sticking one's head in a baker's oven. \"Turn this infernal contraption around at once!\" shouts Hubert above the roar of the lava flows, \"the heat always brings me out in a rash!\"\nWe have very little time - we need to gain more altitude to comfortably clear\n\nthe volcano!\n\nI am rapidly losing consciousness. Everything is a blur...\nMy head is spinning like a top...\n\nSix miles above the earth, and still rising rapidly, I suddenly lose consciousness. It is as though I had simply fallen asleep, but this time I do not wake up...\n\n...If only I had been able to reach the gas valve rope in time!\n\n> You climb the rope\nI am rapidly losing consciousness. Everything is a blur...\nWhich rope do you mean, the anchor rope, the ropes, or the gas-valve rope?\n\n> You climb the ropes\nI am rapidly losing consciousness. Everything is a blur...\nMy head is spinning like a top...\n\nSix miles above the earth, and still rising rapidly, I suddenly lose consciousness. It is as though I had simply fallen asleep, but this time I do not wake up...\n\n...If only I had been able to reach the gas valve rope in time!\n\n> You pulthe gas-valve rope\nThe last thing I remember before passing out is falling upon the gas valve rope and pulling down on it with all the strength remaining to me...\nExcerpt from \"To Hell in a Hamper, Travels by Balloon with a Buffoon\" by Prof. P. Pettibone, Oxford University Press, 1895.\n\"...when my senses returned to me the volcano was far behind me. The balloon had come to rest on the slopes of the lower Andes. There I was found, frostbitten and in a state of nervous exhaustion, by a party of llama herdsmen. I had reached 37,000 feet, an altitude heretofore unattained by any balloonist in history, and had lived to tell the tale.\n\nWithout the means to replace my supply of hydrogen further travel by balloon was impossible. When I had recovered fully I travelled to Quito by pack horse, and from there arranged passage to England by land and sea. The journey was uneventful, but my trials were not yet over, for soon after my arrival I was called to account for the various transgressions comitted by my travelling companion during our adventures. There was the small matter of a Rembrandt painting stolen from the Louvre the previous year (secreted, no doubt beneath that voluminous overcoat), and the matter of the desecration of an Egyptian tomb, as well as a dozen other infractions of a lesser nature. Fortunately I was able to absolve myself of blame for these crimes, but it was a great shame that Hubert was not around to be held accountable for his actions.\n\nThe Rembrandt, fortunately, was not one of his better pieces, owing to a lapse of judgement on the part of the master in his choice of subject matter. It is generally agreed that the great artist's reputation has benefitted, rather than suffered for the loss of \"Three Kittens in a Chamber Pot.\"\n\nThe mummy was a different matter however. It turned out to have been the corpse of Imhotep, architect of the Great Pyramid. The Egyptian government were most upset to learn that the builder of their most exalted monument was last seen tumbling towards a hasty reburial on the frozen slopes of the Andes. As I understand it, negotiations between the British, Egyptian and Ecuadorian governments are still ongoing with regard to the mummy's recovery and safe return to its tomb.\n\nAs for Hubert and his disagreeable Aunt Gertie, I never saw them again. However, a party of Germans trekking in the foothills of the Andes five years later reported seeing a large fat man and an old woman who lived together in a stone hut with a Saint Bernard dog. According to the Germans, the pair spoke fluent English, but what they said made little sense. She kept muttering something about \"clean underwear\" and he did nothing all day but lament the loss of a cuckoo clock.\nI myself retired from ballooning in 1890, having travelled in nearly every country in the world. I am now dedicated to submarine exploration, in which science I am swiftly becoming the world's foremost authority.\"\n\nYou may restore a saved game, start over, quit, or undo the current command.\nPlease enter RESTORE, RESTART, QUIT, or UNDO: >"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, humor, multiple protagonists, superhero]\n\neach other.\nSome people perform great deeds. Some people perform dastardly deeds. And some people get rich telling other people what to do.\n\n\n\nIt's a good life as a freelance villainous advisor. Here you sit, secure in your tastefully opulent headquarters, critiquing vault-robbery plans and helping tongue-tied ne'er-do-wells craft their grandiose monologues. It may not be a hands-on sort of villainy, but as the Americas languish through year after year of depression and Europe lurches towards yet another Great War, it seems an altogether pleasant way to keep your hands clean.\n\nBut now the phone is ringing. One of your clients is contacting you on Line 1, hoping for on-the-job consultation via electro-radiographic zeta-wave transmitter. That's not a service you provide to just anybody; the retainer is quite substantial.\n\nYou sit in your pleasant office, surrounded by mementos of your numerous exploits.\nI beg your pardon?\n\n[Author's Note: Once you've established yourself as the ruler of the crime world (and, eventually, the literal world), the only challenge left is helping out the next generation of supervillains---for a suitable fee, of course.]\n\n> About yourself\nYour appearance is unknown even to your clients, whom you contact via various radio transmitters.\n\nThe phone rings again.\n\n> You answer the phone\nGood afternoon, Owl. Or good morning, evening, or night, since I shouldn't care to hazard a guess as to your time zone.\n\nBut be that as it may. It is I, Amelia Derringer! I flatter myself to think that you may have heard of me; I'm the infamous thief who has been delighting and terrorizing England for three years now. As you undoubtedly know, I'm no ordinary sneak-thief. I became a cat burglar after acquiring an uncanny ability to shape-shift. All I need to do is eat a bit of an animal, and I can harness some small fraction of its special powers. It's served me well in my many successful burglaries, and I've acquired a reputation as a master thief, along with a lot of other people's money.\n\nBut now I'm in a bit of a pickle, you know. Here I am, suspended in a cage over a slavering octopus. It's not something that would ordinarily confound me, of course, but I'm afraid I've mislaid my bag of thief tools---or rather, I had it mislaid for me by one of Rex Dashing's confounded robots. If it's not too much of a bother, would you be so kind as provide some sort of advice? I'd rather like to escape this cage, make my way through the airship, and help myself to a few cuttings of the Telepathic God-Slug of Madagascar. My research indicates that Rex Dashing keeps its body somewhere about his airship.\n\nAquarium (in the steel cage)\nAs clich\u00e9 as it is, I'm trapped in a cage being slowly lowered into a tank. This particular tank is at least occupied by a vicious octopus rather than a horde of piranhas or sharks, which I suppose is at least mildly original. There is a prominent red button on the wall here, tantalizingly out of reach. There's also an exit south and a trapdoor overhead, though neither one is going to be useful to me until I get out of this accursed cage.\n\nOne of the tentacles of that dratted beast is slurping over the edge of the cage! I trust you have something clever in mind.\n\n> You eat the tentacle\nAll right, if you insist...\n\nWell, that was certainly distasteful. I'm not sure I got more than a mouthful of slime, or ichor, or whatever the deuce you call it. I do seem to have come over all rubbery, though.\n\nAnother tentacle is slithering over the floor of the cage! Help!\n\n> Go south\nThe cage is in the way.\n\n> You look at the cage\nSteel, I should think, unless it happens to be one of those lightweight galvanic alloys one hears so much about. The bars of the cage are set about four inches apart, which should be just wide enough for me to squeeze through with my new rubbery power.\n\nIt's getting very crowded in this cage with all the tentacles crawling into it. Help!\n\n> You leave the cage\nWith my newfound rubberiness, I think I should be able to slip through the bars. Let me just twist...and...\n\nCapital! I've just squeezed through the bars and gracefully somersaulted onto the ground below. It's a shame you couldn't have seen it, Owl; it really was a magnificent feat of dexterity.\n\nNow that the immediate threat has passed, I should elaborate on my mission. I managed to sneak about the Mephistopheles in order to steal the elusive Telepathic God-Slug of Madagascar, a rare creature whose secretions have an intense pacifying effect on anyone who comes into contact with them. If I obtained the slug and ate it---just a nibble, mind you, not enough to kill it---then I could use my shapeshifting powers to harness that effect for myself. The Slug has no loftier ambitions for its power than confusing predators, but I plan to use it to establish a new world of peace and cooperation. With the power to affect the psychology of a few chosen leaders of industry and government, I could eliminate war entirely and bring about a pacifist utopia over which I have complete control---to the best possible ends, of course.\n\nThat was the idea, anyway. While I was bantering with Dashing over dinner, I accidentally tipped my hand. I don't think he ever realized the significance of the God-Slug; to him, it was just another trophy from his adventures. He figured out I was up to something, though, and had his robots drag me down here and---well, you know the rest.\n\nI need your help, Owl, to complete my mission. I want to find the God-Slug of Madagascar and safely escape the ship. I was told that you're the best in the business. Let's see what you can do.\n\n> You exit the cage\nI'm not in the cage, thank goodness.\n\nI'm afraid my animal power has subsided. It only lasts for a brief time, you know."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe]\n\n> You look at your surroundings\nI'm standing at the edge of a vast tank, above which a cage is suspended. Fortunately, I'm no longer in the cage. I know you're already aware of that fact; I just like repeating it. There is a prominent red button on the wall, and an exit leads south. There's also a trapdoor high overhead.\n\nI can see a steel cage here.\n\n> You examine the cage\nSteel, I should think, unless it happens to be one of those lightweight galvanic alloys one hears so much about. The bars of the cage are set about four inches apart, which is far too narrow for me to squeeze through.\n\n> You examine trapdoor\nThe trapdoor is open.\n\n> Go up\nIt's far above my head, and the walls are too steep to climb.\n\n> You eat the octopus\nAll right, if you insist...\n\nWell, that was certainly distasteful. I'm not sure I got more than a mouthful of slime, or ichor, or whatever the deuce you call it. I do seem to have come over all rubbery, though.\n\n> You go south\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel, a harpoon, and a mace) here.\n\n[Your fee has just gone up by $1 million.]\n\n> You look at case\nJust a moment, Owl. I can hear something heavy and ponderous coming down from the stairs. It must be another one of Dashing's robots! I have no intention of having them throw me in that cage again, so it seems prudent to hide behind one of these taxidermized animals until the patrol passes. I don't know what alerted them to my escape; if there had been some sort of trap or alarm on the cage, I'm sure I would have noticed it.\n\nMy animal power has subsided.\n\n> Open case\nLine 2 on your zeta-wave transmitter jumps to life and beeps insistently. Given the rarefied clientele and tremendous fees involved in your consultation service, calls are rare; this is the first time you've had two in the same month, let alone simultaneously.\n\n> Answer line 2\nGreetings, Owl. My apologies for the intrusion, but...\n\n(Wait, no, that's not right. Never apologize! The world is yours to command, Radon! Very well, a fresh start of it. Always look forward. EXCELSIOR!)\n\nAhem. At last I, PROFESSOR RADON, address the all-knowing OWL! What in Hades ever took you so long? I'm holding these ACCURSED automata off for now, but they've got me cornered at the reactor entrance! Regale me with your brilliant advice, unless you're just another unthinking CHARLATAN!\n\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy rebellious horde of robots has clumped around me. They seem more anxious than aggressive, but they're completely blocking me in.\n\nI can also see an orange striped lever here.\n\n> You pull the lever\nThe lever doesn't budge. It can only be used in an EMERGENCY---a nuclear meltdown, for example.\n\n> You examine the reactor\nMy beautiful nuclear reactor, full of science and energy and RADIATION! The latter is no problem for me, of course, with my superhuman abilities. It powers the entire ship, allowing it to spend weeks at a time in the air.\n\n> You examine the lever\nThis emergency lever controls the ladder reaching up to the balloon. During normal operations, it's not usable. It's currently on.\n\n> You check your inventory\nI have your zeta-transmitter and my trusty laser gun. I'm also carrying:\nan atomic helmet (being worn)\na jetpack (being worn)\n\n> You turn on the jetpack\nThe jetpack sputters but fails to start.\n\n> You examine the helmet\nA sleek and streamlined creation of my own design, with ingenious padding to defend my cranium from peril, and an impermeable clear faceplate to protect me from the world! It emits a soft green glow to let me see in the dark, and to tell my foes that DIRK RADON, the UNIRRADIATABLE MAN, has come! It's as handsome as it is ATOMIC!\n\n> Answer line 1\nfees, it would be better to stay on the line with Dirk until he escapes his current predictment and moves on to the next."
    },
    {
        "text": "> You describe your surroundings\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy rebellious horde of robots has clumped around me. They seem more anxious than aggressive, but they're completely blocking me in.\n\nI can also see an orange striped lever here.\n\n> You pull the lever\nThe lever doesn't budge. It can only be used in an EMERGENCY---a nuclear meltdown, for example.\n\n> You examine the robots\nThere's almost a dozen of them in with me. I made them myself; I'm their CREATOR, for all the good it does me. They are big, metal, and impervious to danger. They've got me surrounded with my back to the wall, and they're big and fast enough that I can't squeeze through. They do not SEEM aggressive, and they're standing still and letting me talk to you. Yet they won't move aside!\n\n> You examine the jetpack\nAn atomic jetpack, from my own laboratory! No slave to gravity is DIRK RADON! I used it to fly up onto the airship. Unshielded, of course, but my natural immunity to radiation renders that irrelevant! It's not easy to steer, you know, and there's a minor collision from time to time, but that's what my ATOMIC HELMET is for! There's a button that turns it on in the back. The ATOMIC ENGINE inside needs an initial burst of energy to start up, and I've cunningly designed it to harness the POWER OF GRAVITY to charge. Falling from a significant height will provide enough energy to start the jetpack. Even someone with only TWO doctorates should know that."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe]\n\n> Go downwards\nCurses! I can't break through the horde of robots. I'm the one who CREATED you, you villainous traitors! Let me through!\n\n> You jump\nThe railing is too high to jump over.\n\nThe robots relax a bit. Their aggression subroutines must have timed out.\n\n> You look at the gun\nImpressive, isn't it? I designed it myself. It can produce a narrow beam of radiation that will destroy of any of my numerous enemies.\n\n> Keep going\nBlasted automaton! How dare you forsake me and follow that slimy moron Dashing? Take that!\n\nThe robots look at me hesitantly. It's hard to tell from their blank expressions, but they seem to be becoming more agitated.\n\n> You keep going\nAh, that did it. They've seized me by the arms and are taking me some place. Has Dashing programmed them to recognize my name? It's uncharacteristically clever of him if he did, but I wonder how he solved the storage constraints; these things can't handle so many routines at once.\n\nWait, now I can see where they're taking me! They're hurling me off the railing! They've recategorized me as GARBAGE! The INDIGNITY!\n\nSTOP! Nobody throws me out of an airship! I am DIRK RADON, the most brilliant scientific mind of his gener---ahhh!\n\nI'm falling rapidly through the air toward the earth below. This would be a problem for most people, but I am PROFESSOR DIRK RADON! Gravity is just another area of SCIENCE I've conquered!\n\nAll right, Owl, I'm plummeting toward the ground at an alarming rate. Time for you to earn your keep: What do I do now?\n\nThe button on the jetpack begins glowing faintly.\n\n> You switch on the jetpack\nThe jetpack sputters but fails to start.\n\nThe button on the jetpack is glowing.\n\n> You look at the shelf\nDoes Dashing's arrogance know no bounds? He's stocked his bookshelf with cheap dime novels about his own adventures. As a SCIENTIFIC GENIUS, I had the foresight to stash a special item in the bookcase for emergencies such as this. I'm sure that idiot hasn't found it.\n\n> You search it\nLet me just see if---aha! I found the card. My INFALLIBLE memory triumphs again!\n\n> You read the card\nThis punch card contains the programming subroutines the automata use for their socialization algorithms. I printed it onto high-durability steel, so even Dashing can't ruin it.\n\n> Aft\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy traitorous robots are patrolling the deck.\n\nI can also see an orange striped lever here.\n\n> You examine the reactor\nMy beautiful nuclear reactor, full of science and energy and RADIATION! The latter is no problem for me, of course, with my superhuman abilities. It powers the entire ship, allowing it to spend weeks at a time in the air.\n\n> You go east\nMy TREASONOUS robots are too densely clustered here for me to push through. I can return from the direction I came, but that's about it."
    },
    {
        "text": "> You go downwards\nMy treacherous robot minions are blocking the gangway downward. I can't break past them.\n\n> You show the card to the robots\nThe robots are unimpressed.\n\n> Fore\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\n> You examine the engine\nThe computer used to direct the behavior of my automata. It's still running, thanks to my technical genius. There's a slot at the bottom for inserting punch cards, and there's a glass box mounted on it to protect the emergency shut-off button.\n\n> You put the card in the slot\nThe computer beeps happily, and the card pops out again.\n\n> Examine box\nA glass box, currently closed, with a big red button inside it.\n\n> You open the box\nIt doesn't budge. There's no chance of opening it while the electromagnetic locks are still active.\n\n> You put the card in the box\nI'll have to be holding the aquamarine punch card before I can put it into something else.\n\n> Aft\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy robots are practicing their motion subroutines, which unfortunately takes the form of executing dance motions. It's undignified, but at least it prevents them from bothering me.\n\nI can also see an orange striped lever here."
    },
    {
        "text": "> You go downwards\nMy treacherous robot minions are blocking the gangway downward. I can't break past them.\n\n> Fore\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nI can see an aquamarine punch card here.\n\n> Starboard\nNow I stand in the master suite. A monument to OPULENCE and SOPHISTICATION, such as the world has never seen! Well-balanced Doric columns, gilt everywhere, and crimson walls that say, \"Here sleeps one such as the world has never seen!\" Mirrors line the walls and ceiling, drawing the eye to a magnificent painting of Rex Dashing! And the bed! It's ENORMOUS! As much as I hate Dashing, I have to admit that he's got style. The exit to port leads back to the main deck.\n\nOn the bed are a scarf and a green book.\n\nOdd, I expected Dashing to be here. It's no matter; nowhere on the ship is safe from the NUCLEAR EXPLOSION I'm going to unleash.\n\n[With the immediate threat resolved, you can now switch freely\nbetween Dirk and Amelia.]\n\n[Your fee has just gone up by $2 million.]\n\n> You look at the scarf\nIt's a fur scarf.\n\n> Examine book\nA dimestore novel? By REX DASHING? Sorry, Owl, but I refuse.\n\n> You look at the bed\nIt's a magnificent thing, red and circular. I'm loath to admit that Dashing got it right, but it is entirely appropriate for a supervillain's inner sanctum.\n\n> You examine the mirrors\nI'm reminded of an optics paper I wrote a few years ago analyzing the behavior of light in large gravitational fields.\n\n> You look at the columns\nColumns. Doric.\n\n> Wear scarf\nNot really my style, Owl.\n\n> You answer the line one\nYou switch back to Amelia on line 1.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel, a harpoon, and a mace) here.\n\nThe robots have wandered off again, Owl. Let's continue. The God-Slug has to be somewhere on this ship. Dashing is presumably still here too, so let's be careful.\n\n> You examine the case\nA display case for that bullet-headed warmonger's weapons.\n\nInside the display case are a cudgel, a harpoon, and a mace.\n\n> You examine the elephant\nA massive elephant, posed as if it's ready to charge. Although the lifelessness of the elephant detracts from its menace, the creature's size is still impressive.\n\n> You examine the lion\nFrozen in place, the lions are more of a curiosity than a terror. Trust me, lions are terrifying in real life.\n\n> You eat the elephant\nCapital idea, Owl, but I'm afraid it wouldn't work. The unnatural chemicals used during the taxidermy process have made these animals totally unsuited to my power.\n\n> You go to the east\n(first opening the heavy metal door)\nThe door is tremendously heavy. Even all the animals assembled here wouldn't be able to budge it.\n\n> You go to the north\nI'm standing at the edge of a vast tank, above which a cage is suspended. Fortunately, I'm no longer in the cage. I know you're already aware of that fact; I just like repeating it. There is a prominent red button on the wall, and an exit leads south. There's also a trapdoor high overhead.\n\nI can see a steel cage here.\n\n> Go south\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel, a harpoon, and a mace) here.\n\n> You go west\nWhat a dreary conglomeration of stainless steel and Bakelite! There are enormous cabinets set into the walls, with a long metal counter on top. Most of the equipment here is sadly of the physical rather than life science variety, but I do recognize a terrarium here. There is an exit to the east.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is closed) here.\n\n> You examine the gecko\nIt's a big one, about a foot long. Bright black eyes, green skin, tiny crawly feet. I could just eat it up.\n\n> You examine the enclosure\nA rough metal cabinet, about the size of a bookcase. It's closed, but there's a narrow slot on the front of it.\n\n> Examine slot\nThe cabinet has an oblong slot on it, about the size of a large visiting card.\n\n> You take the case\nThat's fixed in place.\n\n> Go up\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a klaxon here.\n\n> You examine the klaxon\nThis klaxon is attached to the ship's alarm system; fortunately, it's silent now. There's a small black button on the side of it.\n\n> You go west\nThis room is little more than a closet. It's filled with a bewildering variety of electronics, which I vaguely recognize as being some sort of communications gear. A bulky microphone sits in front of the console. The exit out of this claustrophobic room is to the east.\n\n> Sing\nPerhaps later. Right now, I have a mission to complete.\n\n> Go east\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a klaxon here.\n\n> You go east\nThe airship's guest suite is bare and uninviting, possibly a ploy by Dashing to make his own room more appealing. There is a bed, of course, and a tacky rug is underfoot. The only exit is to the west.\n\nThere is a small desk next to the bed.\n\n> You look under the rug\nThere are no cunningly concealed trapdoors underneath, though I suppose that sort of thing is pass\u00e9 now.\n\n> You look at the desk\nIt's a flowery desk of the sort aristocrats often hide their valuables in. It has a single drawer.\n\nThe ornate desk is closed.\n\n> You open the desk\nIt seems to be locked.\n\n> Inventory\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. Beyond that...well, I've got my wits about me, at least; surely that's worth something?\n\n> You examine the bed\nIt's a mercifully plain bed.\n\n> You eat the gecko\n(first taking the gecko)\nIt skitters away, but I managed to grab hold of its tail---which just popped off! How delightful!\n\n> You eat the tail\nOh, very well. Give me a moment...\n\nThat tasted a bit odd. My hands and feet feel sticky, and there's faint webbing on them. The rest of me feels lighter, too, though I don't suppose I look much different.\n\n> You go upward\nAll right, I'll climb up the walls with my gecko power. Good thing I'm still barefoot.\n\nI'm in a comfortable room with a long table flanked by opulent leather chairs. It looks like a corporate board room, though there are fortunately no cigar-chomping plutocrats in evidence. A mahogany door leads south, and there is a conspicuous trapdoor beneath the table.\n\nI can see a black bag (which is closed) here.\n\n> You open bag\nAll right, I've opened the black bag, revealing a set of lockpicks and a paper fan.\n\nDrat, I was hoping I had stashed some useful animal parts in here. My original plan had been to use the roast duck course at dinner to make my escape, so I didn't think it was necessary to smuggle anything else on board. It looks like we'll have to improvize to find a way off the ship.\n\n> You take the bag\nTaken.\n\n> You unlock door with the lockpick\nWhich do you mean, the trapdoor or the austere mahogany door?\n\n> Austere\n(first taking the set of lockpicks)\nWith a sullen click, the lock yields.\n\n[Your fee has just gone up by $2 million.]\n\n> Go south\n(first opening the austere mahogany door)\n\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a klaxon here.\n\nMy animal power has subsided.\n\n> You take the harpoon and the cudgel\nharpoon: I say, these weapons are heavy! I'm already carrying the mace; it's too much to hold onto the harpoon as well.\ncudgel: I say, these weapons are heavy! I'm already carrying the mace; it's too much to hold onto the cudgel as well.\n\n> You examine the mace\nA stout mace. Dashing doesn't seem the type to engage in hand-to-hand combat, though.\n\n> You put it in the bag\nThe mace is too large to fit inside the black bag.\n\n> You examine the bag\nMy beloved bag! It's a black leather case I use to carry my thievery tools on missions such as this one. Dashing's robot goons took it from me when they imprisoned me in the cage.\n\nThe black bag is open and contains a paper fan.\n\n> You look at the fan\nA proper Victorian paper fan. When I first infiltrated the ship as a society darling, it was an integral part of my disguise; now it's just a decoration.\n\n> You go to the east\n(first opening the heavy metal door)\nThe door is tremendously heavy. Even all the animals assembled here wouldn't be able to budge it.\n\n> You go to the north\nI'm in a comfortable room with a long table flanked by opulent leather chairs. It looks like a corporate board room, though there are fortunately no cigar-chomping plutocrats in evidence. A mahogany door leads south, and there is a conspicuous trapdoor beneath the table.\n\n> You open the desk with lockpick\nWith a sullen click, the lock yields.\n\n> You open the desk\nAll right, I've opened the ornate desk, revealing an access card.\n\n> You take the card\nTaken."
    },
    {
        "text": "> Go down\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> You go west\nWhat a dreary conglomeration of stainless steel and Bakelite! There are enormous cabinets set into the walls, with a long metal counter on top. Most of the equipment here is sadly of the physical rather than life science variety, but I do recognize a terrarium here. There is an exit to the east.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is closed) here.\n\n> You put the card in the slot\nThe card clicks in the slot, and the metal enclosure swings open.\n\n> You examine the enclosure\nA rough metal cabinet, about the size of a bookcase. It's open to reveal a large red lever.\n\n> You pull the lever\nThe lights here flicker for a moment, then dim. The constant background noise of airship machinery has quiet down too. The ship must have shifted over to emergency power.\n\n> Answer line 2\nYou switch back to Dirk on line 2.\n\nNow I stand in the master suite. A monument to OPULENCE and SOPHISTICATION, such as the world has never seen! Well-balanced Doric columns, gilt everywhere, and crimson walls that say, \"Here sleeps one such as the world has never seen!\" Mirrors line the walls and ceiling, drawing the eye to a magnificent painting of Rex Dashing! And the bed! It's ENORMOUS! As much as I hate Dashing, I have to admit that he's got style. The exit to port leads back to the main deck.\n\n> Port\n(first opening the reinforced lead-lined door)\nIt appears to be locked.\n\n> You pull the lever\nThe lever doesn't budge. It can only be used in an EMERGENCY---a nuclear meltdown, for example.\n\n> You answer the line one\nYou switch back to Amelia on line 1.\n\nWhat a dreary conglomeration of stainless steel and Bakelite! There are enormous cabinets set into the walls, with a long metal counter on top. Most of the equipment here is sadly of the physical rather than life science variety, but I do recognize a terrarium here. There is an exit to the east.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> Go up\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nThere is a horde of robots here clunkily performing the latest dances from the American jazz clubs. At least they don't seem to notice me, or at least they're too absorbed in dancing to care about me.\n\nI can also see an orange striped lever here.\n\n[Your fee has just gone up by $1 million.]\n\n> You unlock door\nWhat do you want to unlock the reinforced lead-lined door with?\n\n> You unlock the door with the lockpicks\nAs I approach the reactor, the robots swarm around it, blocking me from getting any closer. It would appear that one artificial, mechanical abomination is protecting another.\n\nMy stars, that's him! That's Dirk Radon! Have at you!\n\nHa! That was easy. A simple kick to the sciatic nerve, a bit of quick strangulation, and he's gone down like that. There's one rotter who---\n\nOh, I say, his helmet seems be be beeping. It's getting a bit hot, too. I wonder if---\n\nYou hear an explosion, followed by static. It seems you may not be getting paid this time around.\n\n> You go upward\nSure, let me just---hang on a moment. There's a swarm of robots at the top of the gangway. I might be able to slip past them if I just---\n\nNo, it's no good. I can't get through.\n\n> You look at the harpoon\nA harpoon with a cruelly sharp tip.\n\n> You examine the cudgel\nA large bludgeon. Totally unsuitable for a safari, but I wouldn't trust Captain Dashing to realize that.\n\n> Fore\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nThe light bulbs around the computation engine are dim, and the protective glass box attached to the engine sits defenselessly open.\n\nI can also see an aquamarine punch card here.\n\n> You answer the line one\nYou switch back to Amelia on line 1.\n\nI'm standing at the edge of a vast tank, above which a cage is suspended. Fortunately, I'm no longer in the cage. I know you're already aware of that fact; I just like repeating it. There is a prominent red button on the wall, and an exit leads south. There's also a trapdoor high overhead.\n\nI can see a steel cage here.\n\n> You go south\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> Go upwards\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n[Your fee has just gone up by $1 million.]\n\n> You open the door with lockpicks\nJust a moment, Owl. I think the door has some countermeasures on it. I'm sure I can open it, but it might set off an alarm.\n\n> You open the door with the lockpicks\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n[Your zeta-wave transmitter system abruptly switches to line\n2.]\nWhat is that accursed noise? It must be the reactor alarm, but how could... No matter, time for ACTION! Just a moment, Owl, I'm going to run up to the main deck and take a look at the reactor.\n\nWhat, can it be?! AMELIA DERRINGER, you vile leech! The time has come at last for you to DIE!\n\nAaargh, my eyes! You think you're a pugilist, eh? Well, have a taste of my ATOMIC death ray!\n\nOh no! It's gone critical! It's going to blow! No! Get off me! I need to vent the---\n\nYou hear an explosion, followed by static. It seems you may not be getting paid this time around.\n\n> Go upward\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> You answer the line two\nYou switch back to Dirk on line 2.\n\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nThe light bulbs around the computation engine are dim, and the protective glass box attached to the engine sits defenselessly open.\n\nI can also see an aquamarine punch card here.\n\n> Aft\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe]\n\n> Go downward\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a klaxon here.\n\n> Go north\nIn designing the airship, I realized that in addition to numerous science laboratories, I would also need a command center from which to issue my nefarious directives. It has the standard amenities one would expect from a supervillain's lair: a long table surrounded by plush leather chairs, a trapdoor cunningly concealed in the floor, a secret compartment full of SECRETS, and a model of the Earth. A mahogany door leads aft.\n\n> You answer the line one\nYou switch back to Amelia on line 1.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> You close the door\nI've closed the austere mahogany door.\n\n> Answer line 2\nYou switch back to Dirk on line 2.\n\nIn designing the airship, I realized that in addition to numerous science laboratories, I would also need a command center from which to issue my nefarious directives. It has the standard amenities one would expect from a supervillain's lair: a long table surrounded by plush leather chairs, a trapdoor cunningly concealed in the floor, a secret compartment full of SECRETS, and a model of the Earth. A mahogany door leads aft.\n\n> You answer the line one\nYou switch back to Amelia on line 1.\n\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a klaxon here.\n\n> Go upward\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> You put the card in the slot\nThat's too large to fit.\n\n> You put the punch in the slot\nThe computer beeps angrily and spits out the card.\n\n> You put the punch in slot\nI'll have to be holding the aquamarine punch card before I can put it into something else.\n\n> Aft\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nThere is a horde of robots here clunkily performing the latest dances from the American jazz clubs. At least they don't seem to notice me, or at least they're too absorbed in dancing to care about me.\n\nI can also see an orange striped lever here.\n\n> You unlock the door with the lockpicks\nAs I approach the reactor, the robots swarm around it, blocking me from getting any closer. It would appear that one artificial, mechanical abomination is protecting another.\n\n> You go to the south\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> Go east\nI've found my way into Captain Dashing's bedroom. I suppose that's the dream of many a foolish young lady, isn't it?\n\nThe ceiling is reflective, if you can believe such a thing, and the walls are done in the most tasteless mishmash of gilt Romanesque columns, gothic candelabras, and red velvet wallpaper you can possibly imagine. There are mirrors everywhere, and rather a grandiose portrait of the Captain himself hanging on one of the walls. The entire habitat is clearly calculated to overwhelm one's good sense until one cannot help but swoon onto the absurd contraption passing for a bed. An exit west leads back to the main deck of the airship.\n\n> You answer the line two\nYou switch back to Dirk on line 2.\n\nIn designing the airship, I realized that in addition to numerous science laboratories, I would also need a command center from which to issue my nefarious directives. It has the standard amenities one would expect from a supervillain's lair: a long table surrounded by plush leather chairs, a trapdoor cunningly concealed in the floor, a secret compartment full of SECRETS, and a model of the Earth. A mahogany door leads aft.\n\n> You look at the secret compartment\nThe secret compartment. It's closed.\n\n> You open it\nAll right, I've opened the secret compartment, revealing a silver punch card and a small orange switch.\n\n> You examine the earth\nIt's a globe, useful in my continuing plans for world domination.\n\n> Spin globe\nDone. Ah, that reminds me of my Gravity Accelerator Doomsday Device. It never got off the drawing board, sadly.\n\n> Aft\n(first opening the austere mahogany door)\n\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a klaxon here."
    },
    {
        "text": "> You go downward\nThis room is filled with the trophies from Dashing's safaris throughout the world, or at least what he claims to be his trophies. It used to be filled with my awards and accolades for SCIENTIFIC BRILLIANCE, rather than the grubby souvenirs of a cretinous lout. But the world will soon feel my ATOMIC FURY once again, with your help.\n\nExits lead fore, port, and starboard (the last through a heavy metal door), and a staircase leads up.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> You go to the west\nMy wonderful LABORATORY! It's a beautiful expanse of steel and Bakelite, filled with the latest instruments for scientific research. Dashing has mercifully left it alone; no doubt it's far too advanced for the likes of him. He has left a terrarium on the counter here, though. I'm happy to stay here as long as you want, but there is an exit starboard.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> You look at the instruments\nDashing has clearly left the equipment alone, but that also means he hasn't been maintaining it. I could quickly recalibrate the---no, Dirk! Concentrate on the mission!\n\n> You go north\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nThe light bulbs around the computation engine are dim, and the protective glass box attached to the engine sits defenselessly open.\n\n> You examine card\nThis punch card contains the programming subroutines the automata use for their cold storage unsealing algorithms. I printed it onto high-durability steel, so even Dashing can't ruin it.\n\n> You put the card in the slot\nI hear the sound of robots stomping belowdecks, then something heavy and metal being dragged across the floor, then robots stomping back abovedecks.\n\n> You go north\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nThe light bulbs around the computation engine are dim, and the protective glass box attached to the engine sits defenselessly open.\n\nI can also see a silver punch card here.\n\n> Go south\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\n> Port\n(first opening the reinforced lead-lined door)\nIt appears to be locked.\n\n> Open metal\nThat's already open.\n\n> You go north\nAt the center of this gloomy room is a vast aquarium with a cage suspended above it. It appears that Dashing has been keeping up my tradition of using this room to gloat over my unfortunate captives; I grudgingly approve. There is a prominent red button on the wall, and an exit leads aft. There's also a trapdoor overhead.\n\nI can see a steel cage here.\n\n> You go south\nThe octopus stirs as I start to leave, its tentacles seeping out of the tank toward me. It's not safe to leave while the octopus is still a threat.\n\n> You go to the west\nMy wonderful LABORATORY! It's a beautiful expanse of steel and Bakelite, filled with the latest instruments for scientific research. Dashing has mercifully left it alone; no doubt it's far too advanced for the likes of him. He has left a terrarium on the counter here, though. I'm happy to stay here as long as you want, but there is an exit starboard.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> Answer line 1\nYou switch back to Amelia on line 1.\n\nI've found my way into Captain Dashing's bedroom. I suppose that's the dream of many a foolish young lady, isn't it?\n\nThe ceiling is reflective, if you can believe such a thing, and the walls are done in the most tasteless mishmash of gilt Romanesque columns, gothic candelabras, and red velvet wallpaper you can possibly imagine. There are mirrors everywhere, and rather a grandiose portrait of the Captain himself hanging on one of the walls. The entire habitat is clearly calculated to overwhelm one's good sense until one cannot help but swoon onto the absurd contraption passing for a bed. An exit west leads back to the main deck of the airship.\n\n> You go east\nI seem to be in an overengineered icebox---the pneumatic sort, I should think. There are little coils and tubes running all about, all of them covered with ice, and have I mentioned that it's cold as blazes in here? A few storage crates of provisions have been left haphazardly across the floor. The exit is through a heavy metal door to the west.\n\nI can see a vacuum flask (which is closed) here.\n\n> You examine flask\nIt's some sort of oversized vacuum flask, currently closed. There are casters mounted on the bottom to allow it to be pushed around.\n\nThe vacuum flask is closed.\n\nBrrr! It's freezing in here! Sorry, Owl, but I have to head back. This is unbearable.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> Go east\nI seem to be in an overengineered icebox---the pneumatic sort, I should think. There are little coils and tubes running all about, all of them covered with ice, and have I mentioned that it's cold as blazes in here? A few storage crates of provisions have been left haphazardly across the floor. The exit is through a heavy metal door to the west.\n\nI can see a vacuum flask (which is closed) here.\n\nBrrr! It's freezing in here! Sorry, Owl, but I have to head back. This is unbearable.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a display case (which contains a cudgel and a harpoon) here.\n\n> Answer line 2\nYou switch back to Dirk on line 2.\n\nMy wonderful LABORATORY! It's a beautiful expanse of steel and Bakelite, filled with the latest instruments for scientific research. Dashing has mercifully left it alone; no doubt it's far too advanced for the likes of him. He has left a terrarium on the counter here, though. I'm happy to stay here as long as you want, but there is an exit starboard.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> You drop scarf\nDropped."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, multiple protagonists, superhero]\n\n> Go downwards\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a scarf and a display case (which contains a cudgel and a harpoon) here.\n\n> Wear scarf\n(first taking the scarf)\nI'd prefer not. I know where it's been.\n\n> Wear scarf\nI'd prefer not. I know where it's been.\n\n> You eat the scarf\nOh, damn. Must I really? I hate to think of what this thing has seen...\n\nWell, now I've gone and done it, and the change has begun. I would seem to have grown, for the lack of a better word, a pelt. On another lady the effect would be shocking, but I daresay I shall carry it off with my usual flair.\n\n> You go east\nI seem to be in an overengineered icebox---the pneumatic sort, I should think. There are little coils and tubes running all about, all of them covered with ice, and have I mentioned that it's cold as blazes in here? A few storage crates of provisions have been left haphazardly across the floor. The exit is through a heavy metal door to the west.\n\nI can see a vacuum flask (which is closed) here.\n\n> You open the flask\nSure, let me...urgh, it's stuck. The flask must have frozen shut in the cold.\n\n> You go upward\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a klaxon here.\n\nMy animal power has subsided.\n\n> You go to the east\nThis room is filled with the trophies from Dashing's safaris throughout the world, or at least what he claims to be his trophies. It used to be filled with my awards and accolades for SCIENTIFIC BRILLIANCE, rather than the grubby souvenirs of a cretinous lout. But the world will soon feel my ATOMIC FURY once again, with your help.\n\nExits lead fore, port, and starboard (the last through a heavy metal door), and a staircase leads up.\n\nI can see a vacuum flask (which is closed) and a display case (which contains a cudgel and a harpoon) here.\n\n> You open the flask\nCurses, it's stuck. The flask must have frozen shut in the cold. Dashing must have failed to maintain it properly; I'm sure something I designed would never have such an obvious flaw.\n\n> Shoot flask\nI fire a few laser shots at the vacuum flask, scorching it slightly but causing no significant damage. The ice caked around it doesn't show any signs of melting.\n\n> You take the harpoon\nBlast it, Owl! I'm already carrying the cudgel; it's just too heavy.\n\n> You hit the flask with cudgel\nI attack the dewar with my RIGHTEOUS SCIENTIFIC FURY, but it's still frozen over. I don't think this problem is one I can solve with brute force.\n\n> You put the cudgel in the case\nVery well, I've put the cudgel into the display case.\n\n> You look at the compartment\nThe secret compartment is open and contains a small orange switch.\n\n> You examine the trapdoor\nThe trapdoor is closed.\n\n> You look at what you're carrying with you\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na scarf\nan aquamarine punch card\nan access card\na mace\na set of lockpicks\na black bag (which is open)\na paper fan\na gecko tail\n\n> You check your inventory\nI have your zeta-transmitter and my trusty laser gun. I'm also carrying:\na green book\nan atomic helmet (being worn)\na jetpack (being worn)\n\n> You examine the helmet\nA sleek and streamlined creation of my own design, with ingenious padding to defend my cranium from peril, and an impermeable clear faceplate to protect me from the world! It emits a soft green glow to let me see in the dark, and to tell my foes that DIRK RADON, the UNIRRADIATABLE MAN, has come! It's as handsome as it is ATOMIC!\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nI'm in a comfortable room with a long table flanked by opulent leather chairs. It looks like a corporate board room, though there are fortunately no cigar-chomping plutocrats in evidence. A mahogany door leads south, and there is a conspicuous trapdoor beneath the table."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe]\n\n> You go downward\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a green book and a display case (which contains a cudgel and a harpoon) here.\n\n> Examine book\nDashing's book? I've met the man in real life; his writing can't be any better. I am paying you to consult me, though, so I'll follow your advice. Here, under protest, is an excerpt from the book.\n\nAnd I, the illustrious Captain Rex Dashing, bravely set out to\nfight the sludge monster! A lesser man might have blenched at such a foe, but not Rex Dashing! Years of bravely exploring the farthest corners of the earth had proven my resolve! Besides, the hero never backs down! I fired a few rounds from my shotgun into it, but it didn't even notice! I even smote it with the butt of my gun, but the gelatinous fiend just ignored it! But every gentleman explorer has a backup plan! I wrested a spear from one of my guides and pierced the monster with it! Even though shooting or bludgeoning was ineffective against the monster, the sharp point of the spear cut through its slimy hide like paper! When I returned to the ship, the unspoiled women of the village were so impressed with my valor that---\n\nI think that's a good place to stop.\n\n> You put the mace in the display\nAll right, I've put the mace into the display case.\n\n> Go north\nI'm standing at the edge of a vast tank, above which a cage is suspended. Fortunately, I'm no longer in the cage. I know you're already aware of that fact; I just like repeating it. There is a prominent red button on the wall, and an exit leads south. There's also a trapdoor high overhead.\n\nI can see a vacuum flask (which is closed) and a steel cage here.\n\n> You hit the flask with the harpoon\nI give the flask a sound thrashing, but I don't succeed in dislodging the ice. It's frozen solid; brute force won't work.\n\n> You hit the octopus with the harpoon\nI've put up a good show knocking it around a bit, but I'm afraid I don't seem have done much permanent damage. It's still burbling threateningly in the tank.\n\n> Go south\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> You go east\nThis room is filled with the trophies from Dashing's safaris throughout the world, or at least what he claims to be his trophies. It used to be filled with my awards and accolades for SCIENTIFIC BRILLIANCE, rather than the grubby souvenirs of a cretinous lout. But the world will soon feel my ATOMIC FURY once again, with your help.\n\nExits lead fore, port, and starboard (the last through a heavy metal door), and a staircase leads up.\n\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> Go upward\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a klaxon here.\n\n> Go west\nI'm in the radio room, where Rex Dashing stammers out insipid, exaggerated tales of his \"adventures\" to a doting populace. I designed this room to broadcast my insight and demands to the captive world, not to entertain it with children's stories. The communications equipment looks to have escaped the worst of Dashing's SCIENTIFIC INCOMPETENCE, fortunately. The exit back to the lower deck is to starboard.\n\nAha, the radio room! As a PROFESSOR of science, it is my duty to enlighten the worthless masses and broadcast my scientific brilliance throughout the world. This room should be just the place.\n\n> You look at the microphone\nThe setup here is perfect for broadcasting my demands to the captive world! No wonder Dashing has left this room alone; he has much narrower ambitions.\n\n> You examine the equipment\nWhich do you mean, the relay or the communications gear?\n\n> You examine the relay\nIt's a radio system, somehow intact despite Dashing's incompetence. It's currently off; closing the relay would cause it to start broadcasting.\n\n> You examine the gear\nIt's a standard bank of radio equipment, complete with microphone and communications relay.\n\n> You talk to the microphone\nThe radio is off. It must be supplied with ELECTRICAL POWER for me to broadcast to the masses, but the airship is running on emergency power; there's not enough left for the radio.\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nThe airship's guest suite is bare and uninviting, possibly a ploy by Dashing to make his own room more appealing. There is a bed, of course, and a tacky rug is underfoot. The only exit is to the west.\n\nThere is a small desk next to the bed.\n\n> You go to the west\nWhat a dreary conglomeration of stainless steel and Bakelite! There are enormous cabinets set into the walls, with a long metal counter on top. Most of the equipment here is sadly of the physical rather than life science variety, but I do recognize a terrarium here. There is an exit to the east.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> You pull the lever\nThe lights here flare up again, and the room is once again brightly lit. With that and the now-familiar thunking of machinery, the ship must have returned to main power.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nI'm in the radio room, where Rex Dashing stammers out insipid, exaggerated tales of his \"adventures\" to a doting populace. I designed this room to broadcast my insight and demands to the captive world, not to entertain it with children's stories. The communications equipment looks to have escaped the worst of Dashing's SCIENTIFIC INCOMPETENCE, fortunately. The exit back to the lower deck is to starboard.\n\n> You talk to the microphone\nI've practiced this a thousand times. All right, let's begin.\n\nCOWER, PITIFUL INSECTS! You are hearing the words of your intellectual superior! I address you from the doomed airship Mephistopheles, former den of that smirking impecile, Rex Dashing. \"Former,\" I say, because soon nothing will remain of it but a cloud of radioactive ash. As for the good captain himself, he's fled like the worthless coward he is. Nothing can stop Professor DIRK RADON, the IRRADIATABLE MAN! Bwahahahahaha!\n\n[Your fee has just gone up by $3 million.]\n\n> You go east\nNot now, Owl! I'm busy with matters of SUPREME importance.\n\nIgnorant sheeple! You cling to your obsolete beliefs because you can't handle the obvious truth of my scientific revelations! You are nothing but the thoughtless guardians of a hidebound orthodoxy that lacks the courage to recognize that it has been wrong for centuries. And you HAVE been wrong, and you have wronged me, and I WILL have my revenge.\n\n> You wait\nNot now, Owl! I'm busy with matters of SUPREME importance.\n\nMy brilliance was ignored at university, when my so-called 'peers' chose to stick their heads in the sand rather than recognize that I had overturned the entire history of scientific thought. I should be running a physics lab with an iron fist, but I was unjustly ignored; now, I'll have to settle for ruling the ENTIRE WORLD with an iron fist. Try to ignore me now, you worthless buffoons!\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nWhat a dreary conglomeration of stainless steel and Bakelite! There are enormous cabinets set into the walls, with a long metal counter on top. Most of the equipment here is sadly of the physical rather than life science variety, but I do recognize a terrarium here. There is an exit to the east.\n\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> Go east\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> You unlock the door with the lockpicks\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n[Your zeta-wave transmitter system abruptly switches to line\n2.]\nWhat is that accursed noise? It must be the reactor alarm, but how could... No matter, time for ACTION! Just a moment, Owl, I'm going to run up to the main deck and take a look at the reactor.\n\nWhat, can it be?! AMELIA DERRINGER, you vile leech! The time has come at last for you to DIE!\n\nAaargh, my eyes! You think you're a pugilist, eh? Well, have a taste of my ATOMIC death ray!\n\nOh no! It's gone critical! It's going to blow! No! Get off me! I need to vent the---\n\nYou hear an explosion, followed by static. It seems you may not be getting paid this time around.\n\n> You look at the button\nIt's just a simple black button.\n\n> You stab the button with the harpoon\nI'd prefer to avoid violence unless absolutely necessary. It's not a matter or morals or squeamishness, you understand, but rather style.\n\n> Answer line 1\nYou're already on line 1 with Amelia.\n\n> You examine klaxon\nIt's a klaxon, mercifully silent for now. There's a small black button on the side of it.\n\n> You hold the button\nThat seems to be part of the klaxon.\n\n> You pull the button\nIt is fixed in place.\n\n> Examine button\nThis button is the override for the klaxon, allowing someone---namely, ME---to shut off the alarm. I don't want my research interrupted every time a robot trips an alarm.\n\n> Go west\nI'm in the radio room, where Rex Dashing stammers out insipid, exaggerated tales of his \"adventures\" to a doting populace. I designed this room to broadcast my insight and demands to the captive world, not to entertain it with children's stories. The communications equipment looks to have escaped the worst of Dashing's SCIENTIFIC INCOMPETENCE, fortunately. The exit back to the lower deck is to starboard.\n\n> Answer line 1\nYou switch back to Amelia on line 1.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> Ascend\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You open the door with the lockpicks\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n[Your zeta-wave transmitter system abruptly switches to line\n2.]\nWhat is that accursed noise? It must be the reactor alarm, but how could... No matter, time for ACTION! Just a moment, Owl, I'm going to run up to the main deck and take a look at the reactor.\n\nWhat the---AMELIA DERRINGER? Amelia, you shape-shifting sneak-thief! YOUR TIME HAS COME!\n\nOw! Well, that didn't go as I expected. You've picked up some tricks in the Far East, have you? Well, I'll have you know, I'm on the line with the Owl, and so I'm sure I'll have a stratagem to dispatch you AT ANY MOMENT.\n\nWell, that's got her angry. Hey, what should I do here? She's pulled her jewelry off her neck and eaten it. Wait, was that ivory? This helmet may be ATOMIC, but it's not elephant-proof!\n\nYou hear an impressive bout of crunching and screaming. After a moment, Amelia Derringer's voice comes over line 2.\n\nHello, Owl. Derringer here. It seems you've been playing me for a fool. You've just made yourself a mortal enemy, haven't you? And I do believe you've just heard an example of the sort of things my mortal enemies can expect to get. How well hidden are you, I wonder? I suppose you'll be finding out soon...\n\nYou hear a crunching sound, as the zeta-wave transmitter is\ncrushed. It seems you may not be getting paid this time around.\n\n> Go east\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a klaxon here.\n\nWhat, can it be?! AMELIA DERRINGER, you vile leech! The time has come at last for you to DIE!\n\nAaargh, my eyes! You think you're a pugilist, eh? Well, have a taste of my ATOMIC death ray!\n\nOh no! It's gone critical! It's going to blow! No! Get off me! I need to vent the---\n\nYou hear an explosion, followed by static. It seems you may not be getting paid this time around.\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You unlock door with the lockpick\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n[Your zeta-wave transmitter system abruptly switches to line\n2.]\nWhat is that accursed noise? It must be the reactor alarm, but how could... No matter, time for ACTION! Just a moment, Owl, I'm going to run up to the main deck and take a look at the reactor.\n\nWhat the---AMELIA DERRINGER? Amelia, you shape-shifting sneak-thief! YOUR TIME HAS COME!\n\nOw! Well, that didn't go as I expected. You've picked up some tricks in the Far East, have you? Well, I'll have you know, I'm on the line with the Owl, and so I'm sure I'll have a stratagem to dispatch you AT ANY MOMENT.\n\nWell, that's got her angry. Hey, what should I do here? She's pulled her jewelry off her neck and eaten it. Wait, was that ivory? This helmet may be ATOMIC, but it's not elephant-proof!\n\nYou hear an impressive bout of crunching and screaming. After a moment, Amelia Derringer's voice comes over line 2.\n\nHello, Owl. Derringer here. It seems you've been playing me for a fool. You've just made yourself a mortal enemy, haven't you? And I do believe you've just heard an example of the sort of things my mortal enemies can expect to get. How well hidden are you, I wonder? I suppose you'll be finding out soon...\n\nYou hear a crunching sound, as the zeta-wave transmitter is\ncrushed. It seems you may not be getting paid this time around.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a klaxon here.\n\n> Go north\nIn designing the airship, I realized that in addition to numerous science laboratories, I would also need a command center from which to issue my nefarious directives. It has the standard amenities one would expect from a supervillain's lair: a long table surrounded by plush leather chairs, a trapdoor cunningly concealed in the floor, a secret compartment full of SECRETS, and a model of the Earth. A mahogany door leads aft.\n\n> You lock door with the lockpick\nAll right, I've locked the austere mahogany door.\n\n> Ascend\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You unlock the door with the lockpick\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n[Your zeta-wave transmitter system abruptly switches to line\n2.]\nWhat is that accursed noise? It must be the reactor alarm, but how could... No matter, time for ACTION! Just a moment, Owl, I'm going to run up to the main deck and take a look at the reactor. Wait, the door is locked? Bah, a mere locked door can't stop the mighty DIRK RADON! To the main deck!\n\nWhat the---AMELIA DERRINGER? Amelia, you shape-shifting sneak-thief! YOUR TIME HAS COME!\n\nOw! Well, that didn't go as I expected. You've picked up some tricks in the Far East, have you? Well, I'll have you know, I'm on the line with the Owl, and so I'm sure I'll have a stratagem to dispatch you AT ANY MOMENT.\n\nWell, that's got her angry. Hey, what should I do here? She's pulled her jewelry off her neck and eaten it. Wait, was that ivory? This helmet may be ATOMIC, but it's not elephant-proof!\n\nYou hear an impressive bout of crunching and screaming. After a moment, Amelia Derringer's voice comes over line 2.\n\nHello, Owl. Derringer here. It seems you've been playing me for a fool. You've just made yourself a mortal enemy, haven't you? And I do believe you've just heard an example of the sort of things my mortal enemies can expect to get. How well hidden are you, I wonder? I suppose you'll be finding out soon...\n\nYou hear a crunching sound, as the zeta-wave transmitter is\ncrushed. It seems you may not be getting paid this time around.\n\n> You eat the ivory\nWhile having the strength of an elephant would be advantageous, I would prefer to rely on my considerable charm and wit for now. I'm saving the cameo as a last resort. Besides, the cameo itself is invaluable as a memento of my grandmother and quite valuable as a piece of jewelry.\n\n> Inventory\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na harpoon\na paper fan\na scarf\nan aquamarine punch card\nan access card\na set of lockpicks\na black bag (which is open but empty)\na gecko tail\n\n> You look at button\nIt's a big red button. Given its prominence and the glass box, it's presumably important.\n\n> Examine box\nA glass box, currently closed, with a big red button inside it.\n\n> Go south\n(first opening the austere mahogany door)\nIt appears to be locked.\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nThis room is garishly appointed with the hunting trophies Dashing must have scavenged throughout the world: hulking bears and moose from the Americas, lions from Africa, elephants from the Orient, and a menagerie of creatures even I barely recognize. While I obviously don't approve of his vicious little hobby, I have to admit that he at least has a healthy respect for nature.\n\nExits lead north, west, and east (the last being through a heavy metal door), and a spiral staircase elegantly winds upward.\n\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> Go upwards\nThis deck provides a spectacular panoramic view of the open sky. It would be enjoyable to watch the fluffy clouds darting past if I weren't on an important mission. Exits lead in east and west, and there is a mahogany door to the north. An ornate staircase leads down, and a more utilitarian gangway leads upward.\n\nI can see a set of lockpicks and a klaxon here.\n\n> You unlock door\nWhat do you want to unlock the austere mahogany door with?\n\n> You go to the south\n(first opening the austere mahogany door)\n\nThe middle deck of the ship is a vast open space surrounded glass windows. I intended to use it for astronomical research; I'm sure Dashing has been using it as a ballroom, or something similarly ridiculous. Exits lead port and starboard, and there is a mahogany door fore. A gangway and staircase connect this deck with the ones above and below, respectively.\n\nI can see a set of lockpicks and a klaxon here.\n\n> You look at the lockpicks\nHmm, I'm not sure what to make of them. Thievery is, after all, beneath my dignity as a brilliant scientist and infamous supervillain.\n\n> You get them\nThe clouds are far away.\n\n> Go upwards\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy deactivated robots are stationed around the deck.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You unlock the door with the lockpicks\nLike a common criminal? No, I'm a SCIENTIST.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy deactivated robots are stationed around the deck.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You go north\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nThe light bulbs around the computation engine are dim, and the protective glass box attached to the engine sits defenselessly open.\n\nI can also see a silver punch card here.\n\n> You put the silver in the slot\nI'll have to be holding the silver punch card before I can put it into something else.\n\n> You put the silver in the slot\nI hear the sound of robots stomping belowdecks, followed a few moment laters by the sound of robots stomping back abovedecks.\n\n> Inventory\nI have your zeta-transmitter and my trusty laser gun. I'm also carrying:\na set of lockpicks\nan atomic helmet (being worn)\na jetpack (being worn)\n\n> Go south\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy robots are practicing their motion subroutines, which unfortunately takes the form of executing dance motions. It's undignified, but at least it prevents them from bothering me.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nIn designing the airship, I realized that in addition to numerous science laboratories, I would also need a command center from which to issue my nefarious directives. It has the standard amenities one would expect from a supervillain's lair: a long table surrounded by plush leather chairs, a trapdoor cunningly concealed in the floor, a secret compartment full of SECRETS, and a model of the Earth. A mahogany door leads aft.\n\nI can see a vacuum flask (which is closed) here.\n\n> You put the flask in the trapdoor\nI'll have to be holding the vacuum flask before I can put it into something else.\n\n> You take the flask\nThe vacuum flask is too heavy to lift, but it's on casters; I could push it.\n\n> Go south\nI can see a klaxon here.\n\n> You go upwards\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\n> Go east"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, multiple protagonists]\n\n> Look around\nNow I stand in the master suite. A monument to OPULENCE and SOPHISTICATION, such as the world has never seen! Well-balanced Doric columns, gilt everywhere, and crimson walls that say, \"Here sleeps one such as the world has never seen!\" Mirrors line the walls and ceiling, drawing the eye to a magnificent painting of Rex Dashing! And the bed! It's ENORMOUS! As much as I hate Dashing, I have to admit that he's got style. The exit to port leads back to the main deck.\n\n> You examine the painting\nCurse you, Rex Dashing, with your RIDICULOUS little moustache and your horrible smirk! What do the women see in him?\n\n> You examine the mirrors\nI'm reminded of an optics paper I wrote a few years ago analyzing the behavior of light in large gravitational fields.\n\n> Break mirror\nI would prefer to use my amazing brain rather than rely on brute force.\n\n> Shoot portrait\nTake that, you contemptible coward! There, I've shot that stupid moustache off his stupid face. Serves him right.\n\n> Line 3\nOnly two lines are active.\n\n> You hang up\nAre you sure you want to quit the game?\n\n> Go west\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\n> You examine the door\nThe reinforced lead-lined door is closed.\n\n> You examine the lever\nThis emergency lever controls the ladder reaching up to the balloon. During normal operations, it's not usable. It's currently on.\n\n> Up\nThe emergency ladder is retracted. It can only be extended in an EMERGENCY---namely, a glorious nuclear meltdown.\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nI'm standing at the edge of a vast tank, above which a cage is suspended. Fortunately, I'm no longer in the cage. I know you're already aware of that fact; I just like repeating it. There is a prominent red button on the wall, and an exit leads south. There's also a trapdoor high overhead.\n\nI can see a steel cage here.\n\n> You enter the cage\nLet me try to---urgh, it's no use. The bars are too close together; I can't squeeze through.\n\n> You look at the tank\nIt's a massive tank of water over which a cage has been suspended. I suppose this sort of ridiculous setup is de rigueur among a certain class of supervillain, but I prefer my deathtraps to be far more refined and elegant. The tank is closed, which means I no longer have to confront that octopus.\n\n> Inventory\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na harpoon\na paper fan\na scarf\nan aquamarine punch card\nan access card\na black bag (which is open but empty)\na gecko tail\n\n> You examine the bag\nMy beloved bag! It's a black leather case I use to carry my thievery tools on missions such as this one. Dashing's robot goons took it from me when they imprisoned me in the cage.\n\nThe black bag is open.\n\n> You eat bag\nUnfortunately, whatever solvents and preparations were involved in making the leather into a bag have also made it unsuitable to my particular talent. It's a convenient way to cary the tools of my trade, nothing more.\n\n> Go south\nI can see a green book and a display case (which contains a mace and a cudgel) here.\n\n> You eat it\nI don't get any special powers unless I eat a bit of an animal, or at least something that used to be an animal. Plants and minerals are not of any use to me.\n\n> Go up\nI can see a klaxon here.\n\n> Go east\nThere is a small desk next to the bed.\n\n> You examine the bed\nIt's a mercifully plain bed.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nI'm on the main deck of my ship---MY ship, not Dashing's. The deck is made of the finest, technologically advanced materials, and a tall railing runs around its perimeter. There is the reassuring sight of an ATOMIC REACTOR to port, and there are also smaller rooms fore and starboard. A gangway leads belowdecks.\n\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\n> Go east\n\n\n> You get on the bed\nThere will be time for rest after my VICTORY. For now, we continue to fight.\n\n> Answer line 1\nYou switch back to Amelia on line 1.\n\nThe airship's guest suite is bare and uninviting, possibly a ploy by Dashing to make his own room more appealing. There is a bed, of course, and a tacky rug is underfoot. The only exit is to the west.\n\nThere is a small desk next to the bed.\n\n> You remove the helmet\nNO. The helmet stays where it is. I'm NOT wandering about this ship with the most important part of me exposed. Besides, I have sworn never to be seen without my ASTOUNDING ATOMIC HELMET!\n\n> You remove the jetpack\nImpossible! Dirk Radon would NEVER discard his ATOMIC JETPACK.\n\n> You turn on the jetpack\nThe jetpack sputters but fails to start.\n\n> You check your inventory\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na green book\na harpoon\na paper fan\na scarf\nan aquamarine punch card\nan access card\na black bag (which is open but empty)\na gecko tail\n\n> You go upwards\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> You go to the north\nI can see a vacuum flask (which is closed) here.\n\n> You break the flask with the harpoon\nI give the flask a sound thrashing, but I don't succeed in dislodging the ice. It's frozen solid; brute force won't work.\n\n> You look at globe\nI instinctively find London on it.\n\n> Spin globe\nWheee! Everyone likes to spin globes, right?\n\n> You examine table\nIt's de rigueur for any well-established plutocrat, or at least for anyone trying to establish himself as one.\n\nOn top of the long table is a globe.\n\n> Search table\nOn the long table is a globe.\n\n> You look at the chairs\nThe chairs are, much like Dashing himself, overstuffed and uncomfortably smooth.\n\n> Blow flask\n(first taking the vacuum flask)\nIt's too heavy for me to lift, but I could push it.\n\n> Spin flask\nNothing obvious happens."
    },
    {
        "text": "> Look around\nI'm in a comfortable room with a long table flanked by opulent leather chairs. It looks like a corporate board room, though there are fortunately no cigar-chomping plutocrats in evidence. A mahogany door leads south, and there is a conspicuous trapdoor beneath the table.\n\nI can see a vacuum flask (which is closed) here.\n\n> Answer line 1\nYou switch back to Amelia on line 1.\n\nI'm in a comfortable room with a long table flanked by opulent leather chairs. It looks like a corporate board room, though there are fortunately no cigar-chomping plutocrats in evidence. A mahogany door leads south, and there is a conspicuous trapdoor beneath the table.\n\nI can see a vacuum flask (which is closed) here."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero]\n\n> Go downwards\nThere's a set of lockpicks here, incongruously.\n\nI can also see a klaxon here.\n\n> Go upwards\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You look at relay\nIt's a radio system, somehow intact despite Dashing's incompetence. It's currently on.\n\n> You speak into the microphone\nThe radio is off. It must be supplied with ELECTRICAL POWER for me to broadcast to the masses, but the airship is running on emergency power; there's not enough left for the radio."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero, multiple protagonists]\n\n> You descend\nI can see a display case (which contains a mace and a cudgel) here.\n\n> You go west\nI can see a terrarium (which contains a gecko) and a metal enclosure (which is open and contains a large red lever) here.\n\n> You speak into the microphone\nI've practiced this a thousand times. All right, let's begin.\n\nCOWER, PITIFUL INSECTS! You are hearing the words of your intellectual superior! I address you from the doomed airship Mephistopheles, former den of that smirking impecile, Rex Dashing. \"Former,\" I say, because soon nothing will remain of it but a cloud of radioactive ash. As for the good captain himself, he's fled like the worthless coward he is. Nothing can stop Professor DIRK RADON, the IRRADIATABLE MAN! Bwahahahahaha!\n\n> Answer line 1\nYou switch back to Amelia on line 1.\n\nThe beautiful open sky is around me here on the top deck of the ship. It's a pleasant setting; a high railing even protects me from most of the wind. The view is spoiled somewhat by a garish metal structure to the west, but there are smaller rooms to the north and east. A gangway leads down to the lower decks.\n\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You open the door with lockpicks\nDone. That sound you hear in the background, Owl, is an alarm going off. I trust you have something in mind; I'm not going to be useful as a sneak-thief if I can't sneak around.\n\n2.\n\nThe alarm? What that devil could--- No! I have to stay focused! My magnificent soliloquy will NOT be stopped! I'll deal the alarm later.\n\n1.\n\n[Your fee has just gone up by $4 million.]"
    },
    {
        "text": "> Go down\nI can see a klaxon here.\n\nYou hear a loud, insistent buzzer over the line.\n\n2.\n\nThe alarm? What that devil could--- No! I have to stay focused! My magnificent soliloquy will NOT be stopped! I'll deal the alarm later.\n\n1.\n\n> Answer line 1\nYou're already on line 1 with Amelia.\n\n> Go upwards\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You go west\n(first opening the reinforced lead-lined door)\n\nI'm in a very unfamiliar place. Hmm, how to describe it...well, it looks like a metal lean-to, with a cacophony of fans and gears whirring inside. Being here makes me long for being under the wide-open skies on the main deck of the airship, or even in the octopus tank again.\n\nThere is a passage leading deeper into the reactor to the north, as well as a much more inviting exit east.\n\nA hideous, burbling monster made of slime and ichor blocks the way further inside.\n\n> You examine the monster\nIt's a ghastly thing, like a great roiling mass of slime and ichor. It looks like something out of a penny dreadful.\n\nI'm having trouble moving about in here, Owl. My entire body is unnaturally warm, and I feel ill. I'm not sure this place is safe.\n\n> Go upwards\nMy deactivated robots are stationed around the deck.\n\nI can also see a vacuum flask (which is closed) and an orange striped lever here.\n\n> You examine the monster\nIt's one of those ugly things you get growing sometimes when you don't remember to keep the vermin away from the mutagens. If you haven't seen one, it looks like a big iridescent amoeba, and smells like a backed-up lab sink. It's bubbling quietly to itself for the moment, but these things have a temper.\n\n> You examine flask\nIt's a modified dewar, securely closed. There are casters on the bottom.\n\nThe vacuum flask is closed.\n\n> You open it\nCurses, it's stuck. The flask must have frozen shut in the cold. Dashing must have failed to maintain it properly; I'm sure something I designed would never have such an obvious flaw.\n\n> You go east\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\n> You take the mace and the cudgel\nmace: Taken.\ncudgel: Blast it, Owl! I'm already carrying the mace; it's just too heavy.\n\n> You go to the west\nA disgusting sludge monster blocks the way further inside.\n\nI can also see a vacuum flask (which is closed) here.\n\n> You hit the monster with the mace\nThat's hardly a useful weapon, let alone something effective against a bizarre slime monster."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, humor]\n\n> Go downwards\nI can see a display case (which contains a cudgel) here.\n\n> You go to the west\nA disgusting sludge monster blocks the way further inside.\n\nI can also see a mace and a vacuum flask (which is closed) here.\n\n> You hit the monster with the cudgel\nI've given it a smashing blow, but the cudgel just sinks into the mass of slime. It's like punching a bowl of pudding."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero]\n\n> Go downward\nI can see a display case here.\n\n> You read the book\nVery well, if you insist. Here, under protest, is an excerpt from the book.\n\nAnd I, the illustrious Captain Rex Dashing, bravely set out to\nfight the sludge monster! A lesser man might have blenched at such a foe, but not Rex Dashing! Years of bravely exploring the farthest corners of the earth had proven my resolve! Besides, the hero never backs down! I fired a few rounds from my shotgun into it, but it didn't even notice! I even smote it with the butt of my gun, but the gelatinous fiend just ignored it! But every gentleman explorer has a backup plan! I wrested a spear from one of my guides and pierced the monster with it! Even though shooting or bludgeoning was ineffective against the monster, the sharp point of the spear cut through its slimy hide like paper! When I returned to the ship, the unspoiled women of the village were so impressed with my valor that---\n\nI think that's a good place to stop.\n\n> You check what you're carrying\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na set of lockpicks\na green book\na harpoon\na paper fan\na scarf\nan aquamarine punch card\nan access card\na black bag (which is open but empty)\na gecko tail\n\n> You go west\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> Answer line 2\nYou switch back to Dirk on line 2.\n\nThis room is filled with the trophies from Dashing's safaris throughout the world, or at least what he claims to be his trophies. It used to be filled with my awards and accolades for SCIENTIFIC BRILLIANCE, rather than the grubby souvenirs of a cretinous lout. But the world will soon feel my ATOMIC FURY once again, with your help.\n\nExits lead fore, port, and starboard (the last through a heavy metal door), and a staircase leads up.\n\nI can see a cudgel and a display case here.\n\n> Go upwards\nMy deactivated robots are stationed around the deck.\n\nI can also see a harpoon and an orange striped lever here.\n\n> You go to the west\nA disgusting sludge monster blocks the way further inside.\n\nI can also see a vacuum flask (which is closed) and a mace here.\n\n> You hit monster with the harpoon\nPrepare to die, monster! You have no chance against DIRK RADON, SCIENTIFIC SUPERGENIUS!\n\nI've dealt it a sharp blow, Owl. It's getting weaker.\n\n> Continue\nTake that, monster! Nothing can stop DIRK RADON, the UNIRRADIATABLE MAN!\n\nI've dealt it a sharp blow, Owl. It's getting weaker.\n\n> Continue\nPrepare to die, monster! You have no chance against DIRK RADON, SCIENTIFIC SUPERGENIUS!\n\nI've dealt it a severe blow, Owl. It's getting weaker.\n\n> Continue\nPrepare to die, monster! You have no chance against DIRK RADON, SCIENTIFIC SUPERGENIUS!\n\nHuzzah, the monster is slain! Another GLORIOUS VICTORY for genius scientist DIRK RADON! I've hacked it into a series of gelatinous pieces, which have oozed into the floor. Mostly, anyway; there's a bit of residue congealing on the ground. I also seem to have suffered a slight cut---from the aggressive monster, of course, and not from carelessly nicking myself on the spear. Ah, well; the bloodstain will serve as a reminder to my foes that I'm willing to risk ANYTHING to advance the cause of science.\n\n[Your fee has just gone up by $2 million.]\n\n> You put the flask in the pool\nDone. There's a bit of hissing and smoke as the dewar warms up.\n\n> You get it\nAll right, I've laboriously pulled the dewar out of the pool.\n\n> You open it\nAll right, I've opened the vacuum flask, revealing a lead box.\n\n> You get box\nIt looks like some sort of natural \"science\" apparatus, probably for gathering tissue samples or some such nonsense. I'd rather not deal with something that grubby.\n\n> You get the rods\nI can raise or lower the rods, but they're otherwise fixed in place.\n\n> You examine the wheel\nIt's heavily corroded---curse you, Dashing!---but still turns.\n\n> Turn wheel\nA lead barrier wall rises up from the floor.\n\n> Continue\nA lead barrier wall sinks into the floor.\n\n> You examine rods\nTo think, these pathetic cylinders of metal are all that stand between me and my REVENGE! They're currently lowered, meaning that they're inhibiting the reaction rate.\n\n> Lift rods\nDone.\n\nThe reactor pool is bubbling as it heats up with beautiful NUCLEAR ENERGY.\n\n> Turn wheel\nA lead barrier wall rises up from the floor.\n\nThe reactor pool is bubbling as it heats up with beautiful NUCLEAR ENERGY.\n\n> You go south\nThe barrier blocks the way.\n\nThe reactor pool is bubbling as it heats up with beautiful NUCLEAR ENERGY.\n\n> Turn wheel\nA lead barrier wall sinks into the floor.\n\nThe reactor pool is bubbling as it heats up with beautiful NUCLEAR ENERGY.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go south\nI can see a sludge deposit, a bloodstain, and a mace here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go to the east\nMy deactivated robots are stationed around the deck.\n\nI can also see an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go north\nI can see a vacuum flask (which is open and contains a lead box) and a reactor pool (which contains some control rods) here.\n\nThe reactor pool is bubbling as it heats up with beautiful NUCLEAR ENERGY.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go upward\nI'm now atop my ship, the wind whipping around me dramatically. Apparently that blasted dandy Dashing took afternoon tea here; a lounge chair sits out of the worst of the wind, with a footstool---a FOOTSTOOL, of all things---delicately placed in front of it. A waist-high mahogany barrier encircles this narrow lookout post, providing a modest insurance against accidents but little shelter.\n\nA ladder leads down to the main deck.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You examine the chair\nDashing is responsible for this worthless indulgence, not me. I built an efficient, spartan airship; that idiot ruined it with his worthless frivolities.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You look at the footstool\nThe plush footstool is a gaudy salmon-pink, like the rest of the upholstery. It's undoubtedly for Dashing to rest his feet on, the lazy ass.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You open it\nThat's not something I can open.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go upward\nI can't go that way.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You switch on the jetpack\nThe jetpack sputters but fails to start.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You jump\nBefore I do this, Owl, make sure that there's nothing else I need to do on the airship. There's obviously no coming back once I jump off and the airship explodes in a nuclear fireball.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You sit on the chair\nBah! I have more important things to do than lounge about.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, multiple protagonists]\n\n> Go downwards\nMy deactivated robots are stationed around the deck.\n\nI can also see a vacuum flask (which is open and contains a lead box) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go north\nI can see a silver punch card here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go west\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open and contains a lead box) and an orange striped lever here.\n\n> You open the flask\nThat's already open.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe]\n\n> You descend\nI can see a klaxon here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go upward\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open and contains a lead box) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You take the box\nTaken.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n[Your fee has just gone up by $5 million.]\n\n> Examine box\nThis is it, Owl! We've done it! Inside this box is the Telepathic God-Slug of Madagascar, which when combined with my metamorphic abilities will allow me to bring about a new world of peace and cooperation! Now all I need to do is to escape the ship.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Go upwards\nI'm standing on the top of the ship, in a narrow lookout post with the open sky above me. As a nod to domesticity, there is a lounge chair and convenient footstool here, though I don't know how Dashing could stand the constantly buffeting wind. A priceless mahogany barrier rings the post, tall enough to block out the worst of the wind, but short enough to jump over.\n\nA ladder leads down to the main deck.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You examine the chair\nDashing has dragged this salmon-pink montrosity onto the deck for some inscrutable reason of his own.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You look at the footstool\nNext to the lounge chair is a pink footstool.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You jump\nBefore I do this, Owl, make sure that there's nothing else I need to do on the airship. There's obviously no coming back once I jump off.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You jump\nVery well. I hope you know what you're doing, Owl. Let me just climp onto the railing. Steady now, that's quite a drop. I didn't get to this point by being timid, though, so one...two...three!\n\nI'm plummeting through the air toward the earth below. I say, this is quite thrilling, but I trust you have something clever in mind.\n\nI'm managing to keep my composure, despite plunging toward the ground at a truly alarming rate. It won't do any good, though, unless you have a plan. Let's finish off the mission, Owl, and get me to safety."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero, humor, multiple protagonists]\n\n> Go downward\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go west\nI can see a sludge deposit, a bloodstain, and a mace here.\n\nI'm having trouble moving about in here, Owl. My entire body is unnaturally warm, and I feel ill. I'm not sure this place is safe.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You eat the slime\nMust I really eat that? Let me hold my nose a bit first...\n\nUrgh, that was certainly foul. My skin has become more blubbery and tough, like vulcanized rubber. It's a bit tricky to walk, but I think I can take quite a bit more of a punch now.\n\nI'm sorry, Owl, but I'm not feeling up to continuing. I feel hot all over, and my stomach...I need to sit down for just a moment and...rest...\n\n> You eat the blood\nYuck! The depths to which I must stoop in pursuit of my goals. I hope you're know what you're doing...\n\nI have, under protest, tasted a bit of the blood. The world seems to have become darker and colder, as if light and heat were simply passing through me.\n\nOwl, the alarm is---\n\nThe line immediately goes dark.\n\n> Go east\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open) and an orange striped lever here.\n\nOwl, the alarm is---\n\nThe line immediately goes dark.\n\n> You go upward\nPlease give one of the answers above.\n\n> You take the fan\nI already have that.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You look at fan\nA proper Victorian paper fan. When I first infiltrated the ship as a society darling, it was an integral part of my disguise; now it's just a decoration.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You eat the footstool\nI don't get any special powers unless I eat a bit of an animal, or at least something that used to be an animal. Plants and minerals are not of any use to me.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Inventory\nI've got the zeta-transmitter your man gave me, concealed in a cameo I'm wearing around my neck. I'm also carrying:\na lead box (which is closed)\na set of lockpicks\na green book\na paper fan\na scarf\nan aquamarine punch card\nan access card\na black bag (which is open but empty)\na gecko tail\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero, humor, multiple protagonists]\n\n> Go downward\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go to the west\nI can see a sludge deposit, a bloodstain, and a mace here.\n\nI'm having trouble moving about in here, Owl. My entire body is unnaturally warm, and I feel ill. I'm not sure this place is safe.\n\nOwl, the alarm is---\n\nThe line immediately goes dark."
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, humor, superhero]\n\n> Look around\nThe reactor! I'm never quite so at home as I am within a nuclear reactor? The great expanse of metal beneath me, the turbines, the invigorating ATOMIC FIZZ of radioactive isotopes tingling on my skin? Ah, how I love it!\n\nThere is a passage fore leading deeper into the reactor, as well as a much less inviting exit starboard.\n\nI can see a sludge deposit, a bloodstain, a vacuum flask (which is closed), and a mace here.\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nI've found my way into Captain Dashing's bedroom. I suppose that's the dream of many a foolish young lady, isn't it?\n\nThe ceiling is reflective, if you can believe such a thing, and the walls are done in the most tasteless mishmash of gilt Romanesque columns, gothic candelabras, and red velvet wallpaper you can possibly imagine. There are mirrors everywhere, and rather a grandiose portrait of the Captain himself hanging on one of the walls. The entire habitat is clearly calculated to overwhelm one's good sense until one cannot help but swoon onto the absurd contraption passing for a bed. An exit west leads back to the main deck of the airship.\n\n> You go west\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see an orange striped lever here.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nThe reactor! I'm never quite so at home as I am within a nuclear reactor? The great expanse of metal beneath me, the turbines, the invigorating ATOMIC FIZZ of radioactive isotopes tingling on my skin? Ah, how I love it!\n\nThere is a passage fore leading deeper into the reactor, as well as a much less inviting exit starboard.\n\nI can see a sludge deposit, a bloodstain, a vacuum flask (which is closed), and a mace here.\n\n> Go north\nI'm perched at the edge of the reactor pool, which bubbles encouragingly as ATOMIC POWER courses through it. It will be a shame to destroy something so beautiful, but nothing will stand between me and my revenge on Dashing. The pool could use a good scrub, but at least the control rods are still intact. The exit from the reactor is aft, and there is a rusted wheel mounted on the wall beside it.\n\nI can see a reactor pool (which contains some control rods) here.\n\n> You go south\nI can see a sludge deposit, a bloodstain, a vacuum flask (which is closed), and a mace here.\n\n> You pull the lever\nThe lever doesn't budge. It can only be used in an EMERGENCY---a nuclear meltdown, for example.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Continue\nThe emergency ladder springs up, allowing me to access the upper balloon.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You go north\nI can see a silver punch card here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> Line 1\nYou switch back to Amelia on line 1.\n\nI've found my way into Captain Dashing's bedroom. I suppose that's the dream of many a foolish young lady, isn't it?\n\nThe ceiling is reflective, if you can believe such a thing, and the walls are done in the most tasteless mishmash of gilt Romanesque columns, gothic candelabras, and red velvet wallpaper you can possibly imagine. There are mirrors everywhere, and rather a grandiose portrait of the Captain himself hanging on one of the walls. The entire habitat is clearly calculated to overwhelm one's good sense until one cannot help but swoon onto the absurd contraption passing for a bed. An exit west leads back to the main deck of the airship.\n\n> You go west\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open and contains a lead box) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You take the box\nTaken.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n[Your fee has just gone up by $5 million.]\n\n> You examine the harpoon\nOne of Dashing's toys. This one is a harpoon with a sharp tip.\n\n> You look at the slime\nIt's a disgusting slime residue.\n\n> You take it\nDealing with the monster was demeaning enough. I'm not about to waste my time dealing with its by-products.\n\n> You go to the north\nI can see a silver punch card here.\n\n> Go west\nI can see a sludge deposit, a bloodstain, a vacuum flask (which is closed), and a mace here.\n\nI'm having trouble moving about in here, Owl. My entire body is unnaturally warm, and I feel ill. I'm not sure this place is safe.\n\n> You eat the slime\nMust I really eat that? Let me hold my nose a bit first...\n\nUrgh, that was certainly foul. My skin has become more blubbery and tough, like vulcanized rubber. It's a bit tricky to walk, but I think I can take quite a bit more of a punch now.\n\nI'm sorry, Owl, but I'm not feeling up to continuing. I feel hot all over, and my stomach...I need to sit down for just a moment and...rest...\n\n> You eat the blood\nYuck! The depths to which I must stoop in pursuit of my goals. I hope you're know what you're doing...\n\nI have, under protest, tasted a bit of the blood. The world seems to have become darker and colder, as if light and heat were simply passing through me.\n\n> Line 2\nYou switch back to Dirk on line 2.\n\nI'm in the robot command area of the ship, its innermost cortex from which Dashing directs MY automata. Pfaugh! The lout! The electromechanical computation engine seems to be in recent repair, fortunately. Ah, and there's the bookshelf, where the technical manuals and programmer's notes are meant to be stored. The aft exit leads back to the main deck.\n\nI can see a silver punch card here.\n\n> You go to the west\nI can see a bloodstain, a vacuum flask (which is closed), and a mace here.\n\n> You go west\nMotionless robots litter the deck. Even deactivated, they're still imposing.\n\nI can also see a vacuum flask (which is open and contains a lead box) and an orange striped lever here.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!\n\n> You eat the slime\nMust I really eat that? Let me hold my nose a bit first...\n\nUrgh, that was certainly foul. My skin has become more blubbery and tough, like vulcanized rubber. It's a bit tricky to walk, but I think I can take quite a bit more of a punch now.\n\nYou hear a loud bell and a mechanized voice over the line: Danger! Danger! Meltdown imminent! Evacuate immediately! Danger!"
    },
    {
        "text": "[Themes: The Owl Consults Extended Universe, superhero, multiple protagonists]\n\n> You look around\nI'm plummeting through the air toward the earth below. I say, this is quite thrilling, but I trust you have something clever in mind.\n\nI say, the ground looks awfully close from here---literally awful. I trust you have something clever in mind."
    },
    {
        "text": "[Themes: Fantasy, garden, nonhuman protagonist, dolls, botany, magic, flowers, fantasy]\n\nYou wake up. That's not good. You are one of Klaus's dolls. Klaus must be in danger.\n\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north and east.\n\nKlaus is lying on his back in the grass.\n\nA starry seeksorrow grows near Klaus's head.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\nA paper doll stands here, shivering slightly in the breeze.\n\n[Author's Note: Inspired by \"The Violet Hour\" by Dolls Come to Life.]"
    },
    {
        "text": "[Themes: Fantasy, fantasy, dolls, nonhuman protagonist, flowers, botany]\n\n> About you\nYou are Bonnie Blithe, an eighteen-inch high doll with ceramic hands, feet, and head, and a cloth body. Klaus's parents, who are skilled magicians, enchanted you to come to life in case he comes under\nthreat.\n\n> You look at Klaus\nKlaus is lying flat on his back. His skin is dotted with sweat. He appears comatose, though his eyes are open, the pupils glimmering yellow, pink, and green.\n\nKlaus is the only child of two skilled magicians. He is perhaps too curious for his own good, which is why his parents enchanted his dolls to protect him in case of a magical attack.\n\n> You examine starry\nA peculiar and worrisome orchid with green-black petals, dappled in yellow and pink.\n\n> You look at the doll\nThe paper doll is about six inches high and cut from cardstock.\nKlaus's parents have enchanted it to obey your commands. The doll is equipped with a paper dragon face, paper thigh boots, and a paper fringed dress.\n\n[Command the doll with the syntax >DOLL, GO EAST or >DOLL, TAKE THE BOOK.]\n\n> Examine book\nKlaus lugs this heavy reference manual of otherworldly knights everywhere. The book's paper dust jacket is illustrated with a drawing of a shield and sword.\n\n> You read it\nFlipping randomly through the book of knights, you find an anecdote in which Swa Wortilda narrowly defeated Plulph.\n\n> You take starry\nThe starry seeksorrow is still attached to the stem. You will have to cut it first.\n\n> You look at what you're carrying with you\nYou are carrying:\na long white dress (being worn)\n\n> You look at the dress\n(the long white dress)\nKlaus sewed the dress for you, after cutting the cloth from the curtains in his parents' parlor. It is very much like a shapeless sack with a fringe of lace at the bottom.\n\n> You go to the east\nA sunny green bank. Paths leads north, northwest, and west to the hidden lawn.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\nA six-foot high tangle of zephyrwort whirls and dances over the grass.\n\n> You examine the zephyrwort\nA living storm of leaves and tendrils, moving under its own power.\n\n> You look at sweet\nA flower with glossy black petals like a tail coat and top hat, and a yellow pistil like a magic wand.\n\nThe sweet maskelyne seems to doff its top hat.\n\n> You look at the ligerlily\nA flower whose petals, striped black and yellow, form the face of a snarling, maned cat.\n\n> You examine the watchflower\nThe petals, arranged in the form of a small globe, are red-veined white, with a central grey ring and black dot. The flower looks very much like an eye staring back at you.\n\n> Go east\nThe glass wall is intact; there's no way inside.\n\n> You examine the trough\nA tiled trough in the greenhouse floor. It looks intended to collect and then drain water.\n\n> You examine the pipe\nThe pipe allows water in the trough to flush out of the greenhouse.\n\n> You examine the faucet\nSmall and made of metal. It's etched with the illegible calligraphy of a spell.\n\n> You go northwest\nPatterns of green and gold play around a structure of mossy stones built to look like a ruined temple. Its walls are overgrown with creeping diamondbane. Paths lead east, south to the hidden lawn, and southeast to the greenhouse.\n\nA single diamondbane flower grows low enough for you to reach.\n\nInside the temple is a grooved marble altar.\n\nOn the altar are a pair of clippers and a guide book.\n\n> You look at the guide book\nCowell's Guide to Arcane Flowers, Trees, and Shrubs is a\nstandard reference for magical gardening. Klaus loves to pore over it whenever he gets the chance. There's an index at the back, allowing\nyou to consult the book on particular plants.\n\n[Consult the guide book with the syntax >LOOK UP X IN BOOK or >CONSULT BOOK ON X.]\n\n> You take the book\nTaken.\n\n> You look at the altar\nThe temple might be fake, but this altar has the unfalsifiable eerie presence of the real thing; Klaus's parents, avid antiquarians, imported it from an otherworldly dig-site. Once Klaus \"sacrificed\" you on this altar. (And then sewed you up again, thankfully.)\n\nSome significance of an expedition nags at your mind.\n\nOn the altar is a pair of clippers.\n\n> You think about the expedition\n[You don't need to do that. Just >EXAMINE things that are mentioned in the text.]\n\n> You examine the expedition\nThe memory writhes like something alive. It's like a fat snake woven into a tapestry of dry and dusty threads.\n\nKlaus's parents, Victor and Alva Lindworm, acquired the altar fifteen years ago. They had heard news of a secret expedition to the ruins of Slee, the ancient otherwordly city which is the source of all magic. The expedition was headed by their old tutor from Blackbow, Percival Vitus Peck; Victor and Alva, who had just moved into their estate at Nightshade, young and full of mischief before they had a young Klaus\nto worry over, decided it would be a legendary lark to infiltrate Percival's expedition and reassign the ownership of some of his finds. So they donned preposterous disguises, feathers, false beards, dark glasses, long robes and longswords, and blustered their way into the dig site, where they stole this altar out from under Percival's nose.\n\nFurther significances nag at your mind: a personal relationship, and a tragedy.\n\n> You examine the relationship\nThe memory stands out like a misshapen leaf in an otherwise flawless hedge.\n\nAlva and Victor had no particular reason to dislike Percival Vitus Peck, beyond the generalized and impersonal disdain engendered by any unexceptional teacher in the breast of his students. Until they heard news of his expedition to Slee, neither had even thought of him in several years.\n\n> You examine the tragedy\njungle growth.\n\nIn order to infiltrate the dig site, Victor and Alva had to disable a warning spell set in place by Percival. It was easy to delete the spell--Percival's magic was dull and obvious, no match for the casual genius of the two brilliant Blackbow alumni, fired as they were by the low-stakes villainy of what they doing. The warning spell vanished as they wriggled their fingers like spiders; they did not realize they were deleting a warding spell along with the warning spell. Once they had flown away into the sky with the stolen altar obediently floating behind them, the missing warding spell was noticed, but not by Percival. A Rotted Leps emerged from the necrotic, abysmal depths of Slee and carried off Percival's infant son Charlie from his cradle in the command tent, and Percival was sent insane by grief and rage.\n\n> You examine the clippers\nA standard pair of gardening clippers.\n\n> You take it\nTaken.\n\n> Consult book on seeksorrow\nThe starry seeksorrow orchid is the most dangerous and alluring of arcane flowers. Its scent, like a combination of hot metal, burnt sugar, blood, sweet pine sap, vinegar, bones, violets, rotten silk, peat, earthworms, overripe pears, apple juice, roses, and many other fleeting notes, is so complex as to induce catatonia in anyone unfortunate enough to smell it. The starry seeksorrow does not have a natural habitat, and grows only under the influence of a magician's curse.\n\n> You examine the diamondbane\n(the diamondbane flower)\nA spiny flower with hundreds of short, stiff, dark blue petals.\n\n> Consult book on diamondbane\nThe diamondbane is a flower with dubious magical qualities, which\ngrows on a creeping vine. It is seldom grown in or near greenhouses\ndue to the bloom's damaging effect on glass.\n\n> You consult the book on the watchflower\nit unusually flexible rotation while seeking the sun, though it is sometimes said that it just looks around because it is curious.\n\n> You cut the diamondbane with the clippers\n(the diamondbane flower with the pair of clippers)\nYou cut the diamondbane flower free from its stem. It flutters to the ground.\n\n> You consult the book on sweet\nThe sweet maskelyne is a rare and magical flower, though it is\npossible that its apparent magic is all just illusions.\n\n> You consult the book on the ligerlily\nits own power. Since it is known to fiercely defend itself against all natural pollinators, it must be pollinated (carefully) by hand.\n\n> Go southeast\nA sunny green bank. Paths leads north, northwest to the folly, and\nwest to the hidden lawn.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\nA six-foot high tangle of zephyrwort whirls and dances over the grass.\n\n> Consult book about galen'S\nThe galen's glory, known since antiquity to cure all manner of\nmaladies and complaints both magical and mundane, is a useful addition to any garden.\n\n> You look at the galen'S\nA flower with broad petals of red, yellow, white, and black; the\ncolors of the four humours.\n\n> You throw the diamondbane at the glass\nYou throw the diamondbane flower at the greenhouse wall. A pane of glass cracks at the impact and the flower explodes in a puff of\npetals.\n\n> You go to the east\nThere is a crack in the glass, but, as it's only paper-thin, you're\ntoo large to fit through.\n\n> Go west\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north, to the folly, and east, to the greenhouse.\n\nKlaus is lying on his back in the grass.\n\nA starry seeksorrow grows near Klaus's head.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\nA paper doll stands here, shivering slightly in the breeze.\n\n> You ask Doll,  to go to the east\nIt might be useful to ask the paper doll to do something, but you\ndon't have a working mouth.\n\n> Go east\nA sunny green bank. Paths leads north, northwest to the folly, and\nwest to the hidden lawn.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\nA six-foot high tangle of zephyrwort whirls and dances over the grass.\n\n> You go to the north\nThe hummocky ground is shaded by large fruit trees. Paths leads south to the greenhouse, west to the folly, and northeast.\n\nA coffintree grows here. High in its branches sprouts an immature gall the size of a baby's casket; close to the ground its massive mature gall has split open, ready for use.\n\nA chimecherry tree is covered with fruit. Most of the cherries are unripe, but one bunch hanging six feet up, bright red and glossy,\nlooks ready to chime.\n\nA clump of needlevine is entangled with the bunch of ripe chimecherries. One spiny tendril dangles down almost to the ground.\n\nvegetation.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You consult the book about the zephyrwort\nZephyrwort is a mobile, semi-intelligent weed. The zephyrwort\nplant has a playful manner, seemingly enjoying following and even pestering people it comes across, though fortunately it is easily distracted. Since it does not permanently root, instead resting at night to take sustenance from pools of water or from the dew, the zephrywort rarely grows larger than human-height, though travelers\nhave reported finding vast monocultures of zephyrwort, thrashing jungles in which the playful teasing of the plant, magnified to the scale of a landscape, can quickly become deadly.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You examine the cherries\nKlaus's favorite fruit.\n\nOnce he ate a quart of them in one afternoon, which he much regretted later that evening.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at the needlevine\nA vine with mottled, red-brown leaves, covered with needle-like\nthorns.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> Consult book about cherries\nYou check the index, but see no entry for cherries.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You consult the book about the chimecherries\nThe sweet and tart fruit of the chimecherry tree contains, instead\nof a pit, a tiny metal bell. When ripe, the fruit splits, allowing the bunches of cherries to ring like a windchime. Because of its lack of seeds, the chimecherry does not grow naturally and must be magically propagated.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> Consult book about needlevine\nNeedlevine, an epiphytic parasite, is a common weed in magical\ngardens. It has no roots, instead subsisting directly on the magical energy of other arcane plants, leeched through a prehensile\nhaustorium. The needlevine is equipped with sharp thorns, which it is quick to brandish at anyone who disturbs it, making its eradication quite difficult.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You pull the needlevine\nThe vine spasms at your touch, and dozens of needles stab into your body. Fortunately your body is made of cloth.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at the coffintree\nA tall tree with long, straight branches at the top. Several galls\ngrow from it.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You examine the gall\nWhich do you mean, the immature gall or the mature gall?\n\n> Immature\nIt looks like a large, angular nut.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at mature\nIt looks like a huge, angular nut with an open seam running around its rim. The inside of the gall is etched with the spectronym the\nerstwhile gall ghost gave itself: Revilecto.\n\nmind.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at the history\nThe memory glitters like a diamond in a heap of shattered glass.\n\nThe gall first formed on the bark of the coffintree six months ago; since then, when the most recent gall ghost spore first arrived, the gall grew to maturity and split open, releasing the ghost to wander\nthe garden.\n\nA further significance nags at your mind: the question of an intruder.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at the intruder\nThe memory stands out like a discolored spine in a vast library of otherwise identical volumes.\n\nA conversation between Victor and Alva several years ago concerned the security of their magic garden. It seemed they were worried about the possibility of a revenger. The garden was sealed tight with a hundred warding spells; there was no way anyone who wished Alva and Victor or their child Klaus harm could get inside. Of course, one loophole had\nto be left; without such a loophole, gall ghosts would be unable to enter the garden to fertilize the coffintree. And a magical garden\nwith no ghost-inhabited coffintree is no magical garden at all...\n\nWhat if someone who wished ill against the Lindworms found a way to infiltrate the warded garden? What if such a person stipulated that when they died, they be buried in a coffin gall, knowing that they would subsequently become a gall ghost which could freely enter\nthrough the garden's wards?\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You consult the book about the coffintree\ninduces the growth of large, hollow galls which resemble, and are occasionally used as, coffins. A corpse buried in such a coffin gall will become, in turn, a coffintree ghost, and float in the form of an invisible spore until it finds an unfertilized coffintree to\ninhabit.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You take the zephyrwort\nThe zephyrwort, seeming to enjoy this game, cheerfully evades you.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You go northeast\nThe red brick wall which bounds the northeast corner of the garden is broken here by a wrought-iron gate. The bricks are overgrown with mime's-mouth. A path leads southwest, to the orchard; far beyond the gate to the northeast is the pink stone bulk of Nightshade, Klaus's parents' house.\n\nOne mime's-mouth flower droops down within reach on a long tendril.\n\nA red-brown statue of a dogjaw, with its tail curled under its body, stands here on a granite plinth.\n\n> You examine the mimethe 'S\nA tiny flower whose two red petals are parted like lips.\n\n> Consult book about mime'S\nThe mime's-mouth is a useful flower which grows on a climbing, deciduous vine. Shaped like a pair of human lips, the mime's-mouth can be worn in emergencies to provide a voice for those who have\nnone.\n\n> You cut the mimethe 's with the clippers\nYou cut the mime's-mouth flower free from its stem. It flutters to the ground.\n\n> You wear the mimethe 'S\n(first taking the mime's-mouth flower)\nYou attach the mime's-mouth flower to your face.\n\n> You examine gate\nA heavy gate, beyond which you can see an avenue of mundane oak trees, a field sloping down to a slow river, and, almost at the outer extent of your magical vision, the eclectic towers, wings, and windows of Nightshade.\n\n> You examine the Nightshade\nNightshade is a whimsical maze of a magical manor house. Under the whimsy, if you know where to look for it, are deep foundations of madness and horror. But that's the world of magic in general; you\nwould know, being nothing more than a magical collection of memories and motivations brought to life to help Klaus in case of emergency.\n\nat your memory.\n\n> You examine the history\nThe memory shines like a polished star on a wall of tarnished silver.\n\nNightshade has a long and frankly bewildering history; your magically implanted memory includes most of it, at least in abbreviated form. What seems important just now is something that happened shortly after Alva inherited the place, when she and her new husband spent a weekend expelling all the ghosts that had accumulated at the estate over the years like barnacles on an old hull.\n\nA further significances nag at your mind: the memory of a ghost hunt.\n\n> You look at the hunt\nThe memory rattles like an impervious bumble bee trapped inside a closed book.\n\nSome of the ghosts were strong enough to be met with blades--the young couple had great fun chasing the ghosts with swords in their right hands and blue-flaming candles in their left--but many were weaker,\nand paradoxically these weaker ghosts were the greater hazard. Weak ghosts often inhabit statues and sculptures, of which there is (or was then) no shortage at Nightshade, and once inhabiting a statue, like a hermit crab inside a shell, the ghost can only be shaken loose and expelled with the proper magic formula: the magic word, followed by\nthe given name it bore in life, followed by its hidden spectronym.\nAlva and Victor spent a weekend trading duties: one would research the given names and spectronyms of the offending ghosts, and the other would roam looking for eerie, moving statues and shouting out the formula: \"Susohabor Beatrice Huskloom! Susohabor Henry Osteorn! Susohabor Reginald Gravesile!\"\n\n> You look at dogjaw\nA statue of a prehistoric psuedomammal, a cynodont, carved from an unusually large piece of petrified wood. Its body is bulky and powerful, with a barrel-like torso, short, sturdy, clawed legs, and a huge toothy mouth. It's red-brown, with stripes along its flank like a young boar.\n\n> Go southwest\nThe hummocky ground is shaded by large fruit trees. Paths leads south to the greenhouse, west to the folly, and northeast to the gate.\n\ntree trunks.\n\nA coffintree grows here. High in its branches sprouts an immature gall the size of a baby's casket; close to the ground its massive mature gall has split open, ready for use. Some significance of the history\nof a ghost nags at your mind.\n\nA chimecherry tree is covered with fruit. Most of the cherries are unripe, but one bunch hanging six feet up, bright red and glossy,\nlooks ready to chime.\n\nA clump of needlevine is entangled with the bunch of ripe chimecherries. One spiny tendril dangles down almost to the ground.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You look at mature\nIt looks like a huge, angular nut with an open seam running around its rim. The inside of the gall is etched with the spectronym the\nerstwhile gall ghost gave itself: Revilecto.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> Go northeast\nThe red brick wall which bounds the northeast corner of the garden is broken here by a wrought-iron gate. The bricks are overgrown with mime's-mouth. A path leads southwest, to the orchard; far beyond the gate to the northeast is the pink stone bulk of Nightshade, Klaus's parents' house. Something significant about the recent history of Nightshade nags at your memory.\n\nA red-brown statue of a dogjaw, with its tail curled loosely under its body, stands here on a granite plinth.\n\n> Susohabor percival revilecto\nThe statue of the dogjaw shatters and a squirm of otherworldly translucency arises from the fragments: the ghost known as Percival Revilecto.\n\nThe ghost shrieks with rage. \"You bloody stupid toy! Have you any idea what hells I endured to avenge myself on those who fully deserved my revenge--\"\n\nBut the invisible hooks of the magic word are already dragging it backwards into oblivion. Its complaint is silenced as the ghost vanishes into a crack of air."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, garden, dolls, flowers]\n\n> Look around\nThe red brick wall which bounds the northeast corner of the garden is broken here by a wrought-iron gate. The bricks are overgrown with mime's-mouth. A path leads southwest, to the orchard; far beyond the gate to the northeast is the pink stone bulk of Nightshade, Klaus's parents' house. Something significant about the recent history of Nightshade nags at your memory.\n\nFragments of a broken statue litter the ground.\n\n> You examine the fragments\nThe red-brown fragments of a shattered statue.\n\n> Go south\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\nvegetation.\n\n> Go west\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north, to the folly, and east, to the greenhouse.\n\nKlaus is lying on his back in the grass.\n\nA starry seeksorrow grows near Klaus's head.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\nA paper doll stands here, shivering slightly in the breeze.\n\n> Cut seeksorrow with clippers\nYou cut the starry seeksorrow free from its stem. It flutters to the ground.\n\n> You ask Doll,  to go to the east\nThe paper doll goes east.\n\nYou hear a great rush of wind and leaves from elsewhere in the garden.\n\nThe paper doll blows in from the northeast.\n\n> Go east\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nA six-foot high tangle of zephyrwort whirls and dances over the grass.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\n> Go north\nThe hummocky ground is shaded by large fruit trees. Paths leads south to the greenhouse, west to the folly, and northeast to the gate.\n\nA coffintree grows here. High in its branches sprouts an immature gall the size of a baby's casket; close to the ground its massive mature gall has split open, ready for use. Some significance of the history\nof a ghost nags at your mind.\n\nA chimecherry tree is covered with fruit. Most of the cherries are unripe, but one bunch hanging six feet up, bright red and glossy,\nlooks ready to chime.\n\nA clump of needlevine is entangled with the bunch of ripe chimecherries. One spiny tendril dangles down almost to the ground.\n\nvegetation.\n\nThe zephyrwort whirls excitedly around the bunch of chimecherries, but the needlevine has tangled them up so they don't make a sound.\n\n> You cut the needlevine with the clippers\nThe needlevine spasms, then draws itself higher up into the\nchimecherry and out of sight.\n\n> You look at the chimecherries\n(the bunch of chimecherries)\nKlaus's favorite fruit.\n\nThe zephyrwort whirls about the bunch of chimecherries, setting them jingling like bells.\n\n> Go south\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\n> You go to the west\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north, to the folly, and east, to the greenhouse.\n\nA paper doll stands here, shivering slightly in the breeze.\n\nKlaus is lying on his back in the grass.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\n> You ask Doll,  to go to the east\nThe paper doll goes east.\n\nYou hear a metallic jingling sound from somewhere else in the garden.\n\n> You go east\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nA paper doll stands here, shivering slightly in the breeze.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\n> You ask Doll,  to go to the east\nThe doll slips through the crack into the greenhouse.\n\nThe ligerlily roars and snaps at the paper doll; with no way to defend itself, the paper doll is knocked back into the drainage trough.\n\nThe sweet maskelyne bobs in excitement.\n\nThe faucet, enchanted by a spell, turns on. The trough fills with water, flushing the paper doll through the pipe and out of the greenhouse. The faucet turns off and the trough runs empty.\n\n> You examine doll\nThe paper doll is about six inches high and cut from cardstock.\nKlaus's parents have enchanted it to obey your commands. The doll is equipped with a paper dragon face, paper thigh boots, and a paper fringed dress.\n\n> You look at the paper dragon\nA scaly green dragon face with a curling, thorned tongue.\n\n> You give the clippers to the doll\nThe paper doll takes the pair of clippers, but it is too heavy and the doll bends under the strain.\n\nThe paper doll puts down the pair of clippers.\n\n> You check what you're carrying\nYou are carrying:\na pair of clippers\na starry seeksorrow\na mime's-mouth flower (being worn)\na guide book\na long white dress (being worn)\n\n> You give seeksorrow to the doll\nYou give the starry seeksorrow to the paper doll.\n\n> You ask Doll,  to go east\nThe doll can't fit through the crack while it is carrying the starry seeksorrow.\n\nThe doll hunts for a way to the east but finds none.\n\n> You take seeksorrow\nThe paper doll gives the starry seeksorrow to you.\n\n> You go west\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north, to the folly, and east, to the greenhouse.\n\nKlaus is lying on his back in the grass.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\n> You examine the knights\nKlaus lugs this heavy reference manual of otherworldly knights everywhere. The book's paper dust jacket is illustrated with a drawing of a shield and sword.\n\n> You cut the sword with the clippers\nWorking carefully, you cut the paper sword out from the book's dust jacket.\n\nYou hear a metallic jingling sound from somewhere else in the garden.\n\n> You cut the shield with the clippers\nWorking carefully, yourself cut the paper shield out from the book's dust jacket.\n\n> You take sword and the shield\npaper sword: You already have that.\npaper shield: You already have that.\n\n> You go east\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nA paper doll stands here, shivering slightly in the breeze.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a galen's glory, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\n> You give the shield to doll\nThe doll takes the paper shield and bows its thanks.\n\n> You ask Doll,  to go east\nThe doll slips through the crack into the greenhouse.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You take the galen'S\nThe paper doll pulls ineffectually at the the galen's glory, which is still attached to its stem.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You cut the galen's with sword\nThe paper doll cuts the galen's glory free from its stem. It flutters to the ground.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You take the galen'S\nThe paper doll picks up the galen's glory.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You enter the trough\nThe paper doll gets into the trough.\n\nThe faucet, enchanted by a spell, turns on. The trough fills with water, flushing the paper doll through the pipe and out of the greenhouse. The faucet turns off and the trough runs empty.\n\n> You take the galen'S\nThe paper doll gives the galen's glory to you.\n\n> You go north\nThe hummocky ground is shaded by large fruit trees. Paths leads south to the greenhouse, west to the folly, and northeast to the gate.\n\ntree trunks.\n\nA coffintree grows here. High in its branches sprouts an immature gall the size of a baby's casket; close to the ground its massive mature gall has split open, ready for use. Some significance of the history\nof a ghost nags at your mind.\n\nA chimecherry tree is covered with fruit. Most of the cherries are unripe, but one bunch hanging six feet up, bright red and glossy,\nlooks ready to chime.\n\n> Go west\nPatterns of green and gold play around a structure of mossy stones built to look like a ruined temple. Its walls are overgrown with creeping diamondbane. Paths lead east to the orchard, south to the hidden lawn, and southeast to the greenhouse.\n\nInside the temple is a grooved marble altar. Some significance of the history of an expedition nags at your mind.\n\n> You put seeksorrow on the altar\nYou put the starry seeksorrow on the altar.\n\n> Go south\nA narrow, secluded spot in which Klaus is fond of reading. The ground is covered by beds of lacegrass. The sky is a crescent of deep blue above interlocking squirrel puzzle trees. Archways under bowed trunks open north, to the folly, and east, to the greenhouse.\n\nKlaus is lying on his back in the grass.\n\nA heavy edition of Archibault's 1,001 Knights of Slee has\nfallen at Klaus's side.\n\n> You go to the east\nA sunny green bank. Paths leads north to the orchard, northwest to the folly, and west to the hidden lawn.\n\nA paper doll stands here, shivering slightly in the breeze.\n\nThe paned glass wall of a greenhouse rises to the east. High above\nyour head a reflection of the sun gleams.\n\nA narrow crack stretches a foot vertically across a single grass-level pane in the greenhouse wall.\n\nGrowing inside the greenhouse you see a sweet maskelyne, a ligerlily, and a watchflower.\n\nLaid in the greenhouse floor is a drainage trough. At the east end is\na faucet, and at the west end, a pipe, through which water can be flushed out of the trough onto the lawn.\n\n> You take the paper dragon\nThe paper doll gives the paper dragon face to you.\n\n> You wear it\nYou can't wear that!\n\nYou hear a metallic jingling sound from somewhere else in the garden.\n\n> You give paper dragon to the doll\nThe doll takes the paper dragon face and bows its thanks.\n\n> You go to the northwest\nPatterns of green and gold play around a structure of mossy stones built to look like a ruined temple. Its walls are overgrown with creeping diamondbane. Paths lead east to the orchard, south to the hidden lawn, and southeast to the greenhouse.\n\nInside the temple is a grooved marble altar. Some significance of the history of an expedition nags at your mind.\n\nOn the altar is a starry seeksorrow.\n\n> Burn seeksorrow\nThe paper doll is unable to do that.\n\n> You cut sweet\n(with the paper sword)\nThe paper doll cuts the sweet maskelyne free from its stem. It\nflutters to the ground.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You take sweet\nThe paper doll picks up the sweet maskelyne.\n\nThe ligerlily roars and snaps at the paper doll; the doll, fending off the attack with its paper shield, stands its ground.\n\nThe watchflower watches with interest.\n\n> You cut the ligerlily\n(with the paper sword)\nThe paper doll cuts the ligerlily free from its stem. It flutters to the ground.\n\n> You take the ligerlily\nThe paper doll picks up the ligerlily.\n\n> You cut the watchflower\n(with the paper sword)\nThe paper doll cuts the watchflower free from its stem. It flutters to the ground.\n\n> You take the watchflower\nThe paper doll picks up the watchflower.\n\n> You examine sweet\nA flower with glossy black petals like a tailcoat and top hat, and a yellow pistil like a magic wand.\n\n> Wave sweet\nThe paper doll waves the sweet maskelyne.\n\n> You take the wand\nThe paper doll gives the sweet maskelyne to you.\n\nYou hear a metallic jingling sound from somewhere else in the garden.\n\n> Wave wand\nYou wave the sweet maskelyne.\n\n> You take the ligerlily\nThe paper doll gives the ligerlily to you.\n\n> You feed seeksorrow to ligerlily\nYou can only do that to something animate.\n\n> Wave ligerlily\nYou wave the ligerlily.\n\nYou hear a metallic jingling sound from somewhere else in the garden.\n\n> You go northwest\nPatterns of green and gold play around a structure of mossy stones built to look like a ruined temple. Its walls are overgrown with creeping diamondbane. Paths lead east to the orchard, south to the hidden lawn, and southeast to the greenhouse.\n\nInside the temple is a grooved marble altar. Some significance of the history of an expedition nags at your mind.\n\n> You give the galen's to Klaus\nThe galen's glory settles down over Klaus's nose and mouth. For a few moments, nothing happens -- then he takes a deep, involuntary breath. After a few more breaths his eyes clear. He coughs and sits up suddenly, and the galen's glory falls from his face.\n\nAs his consciousness returns, yours fades.\n\n> Epilogue\nSomewhere in a magic garden a notorious flower decomposes...\n\n...over the autum it shrivels...\n\n...over the winter it liquefies and turns to slime...\n\n...and in the spring this most devious of all flowers reseeds itself. Its root system grows invisibly beneath a bed of lacegrass. It is careful not to extend a tendril and bud a new bloom until the time is right...\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or read the EPILOGUE?"
    },
    {
        "text": "[Themes: Science Fiction, Humor, mad scientist, Mars, lewdness setting, science fiction, Venus, space opera, gender choice, sidekick NPC, sex, gorilla, pulpy, sexual content, suggestive content, silly, mad science, maze]\n\nSome material in this story may not be suitable for children, especially the parts involving sex, which no one should know anything about until reaching the age of eighteen (twenty-one in certain states). This story is also unsuitable for censors, members of the Moral Majority, and anyone else who thinks that sex is dirty rather than fun.\nThe attitudes expressed and language used in this story are representative only of the views of the author, and in no way represent the views of Infocom, Inc. or its employees, many of whom are children, censors, and members of the Moral Majority. (But very few of whom, based on last year's Christmas Party, think that sex is dirty.)\nBy now, all the folks who might be offended by LEATHER GODDESSES OF PHOBOS have whipped their disk out of their drive and, evidence in hand, are indignantly huffing toward their dealer, their lawyer, or their favorite repression-oriented politico. So... Hit the RETURN/ENTER key to begin!\nThe place: Upper Sandusky, Ohio. The time: 1936. The beer: at a nickel a mug, you don't ask for brand names. All you know is that your fifth one tasted as bad as the first.\n\nAn undistinguished bar, yet the social center of Upper Sandusky.\nThe front door is almost lost amidst the hazy maze of neon that shrouds the grimy glass of the south wall. Doors marked \"Ladies\" and \"Gents\" lead, respectively, northeast and northwest.\nYou feel an urge.\n\n[Author's Note: And now... the next exciting episode of humanoids in space! How did you, a regular at Joe's Bar in Upper Sandusky, Ohio, end up on a Martian moon? Can you prevent the hideous space creature from abducting the naked heiress? Why does scratch 'n' sniff no. 2 smell so familiar? How many uses can you find for a rubber hose? Is it easy to remove a brass bikini? Is it hard to outsmart a robotoid sumo wrestler? Can you stop the Leather Goddesses' fiendish plan to turn all Earthlings into sex slaves? Learn the answers to these burning questions in Leather Goddesses of Phobos, Infocom's racy spoof of 1930s pulp fiction. But first, a word from our sponsor: Why put up with only one playing mode, when you can have three? That's right, three! So whether your tastes run to Tame, Suggestive, or Lewd, Leather Goddesses of Phobos can satisfy you!]\n\n> You go northeast\nThis filthy bathroom belies the existence of disinfectant. A single toilet and sink are the only fixtures. More breathable air can be found to the southwest.\nYou can see a stool here.\n\n> You look at the the stool\nIt's safe to take, if you receive my meaning.\nYou trace the urge to the region of your bladder.\n\n> Pee\nAhhh...\nNow that the \"crisis\" has passed, you notice a strong and familiar odor pervading the room.\n\n> Smell\n[Scratch 'n' sniff spot number 1. Hit the RETURN/ENTER key to continue.]\nYou trace the smell to a dubious slice of pizza, crumpled in the corner. [Incidentally, we had some pretty putrid scents available, all of which would've seemed right at home in a filthy restroom. In the end, we were too kind to use them -- but we were sorely tempted!]\n\n> 87\nAcceptable age. Switching to LEWD level.\n\n> You take the stool\nTaken.\nA brilliant flash of green light seems less unusual when followed\nby the appearance of tentacled aliens, as is the case with the current flash of green light. The tentacles wrap roughly around you as you faint.\nAfter an unknown amount of time... Well, let's cut the bullshit.\n7.3 hours later, you wake. Your head feels as if it's been run over by several locomotives, or at least one very large locomotive, and your clothes are now unrecognizable...\n\nYou are in a large cell with a soft, cushiony floor. A wide door (closed, naturally) forms the southern wall of the cell.\nHanging on the wall is a painting of a pussy cat.\nYou can see a flashlight, a stool and a blanket here.\nSomeone thrusts a tray into your cell. A hunk of brown food on the tray looks unappetizing, but smells deliciously familiar.\n\n> You look pussy\nUse prepositions to indicate precisely what you want to do: LOOK AT the object, LOOK INSIDE it, LOOK UNDER it, etc.\n\n> You examine the pussy\nIt's a good likeness of a pussy, but is it art?\n\n> You examine the hunk\nThe hunk of brown food looks unappetizing, but smells deliciously familiar.\n\n> Smell hunk\n[Scratch 'n' sniff spot number 2. Hit the RETURN/ENTER key to continue.]\n\n> You eat the hunk\nLuscious, creamy milk chocolate!"
    },
    {
        "text": "[Themes: Science Fiction, Humor, suggestive content, space opera, gender choice, mad scientist, mad science, gorilla, sexual content]\n\n> Look around\nYou are in a large cell with a soft, cushiony floor. A wide door (closed, naturally) forms the southern wall of the cell.\nHanging on the wall is a painting of a pussy cat.\nYou can see a tray, a flashlight, a stool and a blanket here.\nSitting on the tray is a hunk of chocolate.\n\n> You examine the flashlight\nIt's off.\n\n> You take all\ntray: Taken.\nflashlight: Taken.\nstool: Taken.\npainting: Taken.\nblanket: Taken.\n\n> You open the door\nThe wide cell door swings open.\n\n> You look at the tray\nYou can see a hunk of chocolate.\n\n> You examine the blanket\nIt looks like every other blanket you've ever seen.\n\n> Inventory\nYou have a blanket, a painting, a stool, a flashlight, a tray, a rule book (stuck in your back pocket) and a brass bikini (being worn). Sitting on the tray is a hunk of chocolate.\n\n> You examine the bikini\nThe brass bikini, tight but comfy, covers only the \"bare essentials.\"\n\n> You examine the rule book\n\"Hello, Prisoner!\nYou are a captive of the Leather Goddesses of Phobos. As an experimental subject, your unspeakably painful death will help our effort to enslave humanity and turn the Earth into our private pleasure world. Consider this to be a great honor, human.\"\nThe remainder of the book covers the exacting rules of behavior expected of a prisoner of the Leather Goddesses of Phobos. For example, it mentions that escapees will be killed immediately and painfully by crack Leckbandi guards. After reading it, you stick it back in your back pocket.\n\n> You look\nYou are in a large cell with a soft, cushiony floor. A wide door\n(now open) forms the southern wall of the cell.\n\n> Go outside\nA wide cell door lies open to the north, and a narrow cell door\nlies closed to the south. The hallway ends at a gleaming metal door to the west, and continues east. Something, possibly this very sentence, tells you that it would be dangerous to travel east or west. A sign is posted next to the stairs which lead both upwards and downwards.\n\n> You read the sign\n\"Up To Observation Room.\"\n\n> You go to the east\nthe hallway, a guard patrol erupts from the shadows. A tall, neatly dressed Leckbandi tucks you under its arm. (The Leckbandi, who evolved in the asteroid belt, all work exclusively as security guards. This is odd, since there's not a single thing in the entire asteroid belt worth stealing.)\nConsulting a wrist computer, the Leckbandi punches in notable\nfeatures of your appearance: size, number of heads, lack of feathers, and so forth. Eventually, the tiny screen flashes: \"IDENTIFICATION COMPLETED: Prisoner, human, escaped. DISPOSITION: Death, painful, immediate.\" The Leckbandi, who, like all Leckbandis, prides itself on its ability to follow the orders of wrist computers, immediately and painfully kills you.\n\n> Go west\nYou'll have to open the metal door first.\n\n> You open the metal door\nThe metal door swings open.\n\n> You go west\n\"Examination\" Room\nA number of hideous experiments fill this room. Their obvious\npurpose: studies of the human anatomy, especially those parts rarely referred to in the New York Times. A pathetic-looking human is the current subject; however, even an author as fond of lascivious detail as this one would hesitate to describe it even in LEWD mode, except to mention that it involves a lot of lubricants, some plastic tubing, and a yak.\nBefore you've really gotten as sick as you know you could get, one\nof the tall, neatly dressed Leckbandi tucks you under its arm. (The Leckbandi, who evolved in the asteroid belt, all work exclusively as security guards. This is odd, since there's not a single thing in the entire asteroid belt worth stealing.)\nConsulting a wrist computer, the Leckbandi punches in notable\nfeatures of your appearance: size, number of heads, lack of feathers, and so forth. Eventually, the tiny screen flashes: \"IDENTIFICATION COMPLETED: Prisoner, human, escaped. DISPOSITION: Death, painful, immediate.\" The Leckbandi, who, like all Leckbandis, prides itself on its ability to follow the orders of wrist computers, immediately and painfully kills you.\n\n> You go south\nYou'll have to open the narrow cell door first.\n\n> You open the narrow cell door\nThe narrow cell door swings open.\n\n> You go to the south\nAs you enter, a woman sitting limply in the shadows stiffens and rises to her feet. \"A human! They got you too? I've been here a week. When you opened the door, I figured it was a guard! Was it unlocked? I never thought of trying it. By the way, my name's Tiffany. From Alaska. I'm not too bright, but I'm strong as an ox, and I'm great with my hands. Maybe we can lick these Leather Goddesses together.\"\n\nYou are in a very tiny room with a rock-hard floor. A narrow cell\ndoor to the north is open.\nA crumpled paper lies discarded in the corner. There seems to be\nsome writing on it.\nTiffany is here, counting on her fingers and mumbling to herself.\n\n> You examine Tiffany\nTiffany is about your age and has a body worthy of envy: tall and well-built, with wide shoulders, a generous bosom, slim waist, and long, tawny legs. The only minus seems to be slightly oversized feet, but even oversized feet are a plus if you're into toe-sucking.\n\n> You look\nYou are in a very tiny room with a rock-hard floor. A narrow cell\ndoor to the north is open.\nA crumpled paper lies discarded in the corner. There seems to be\nsome writing on it.\nTiffany is here, counting on her fingers and mumbling to herself.\n\n> You read the paper\n[taking the scrap of paper first]\nThere's a seemingly meaningless matrix of letters on the paper: HESOHREBBUR\nILSSSIPNGEF\nRGIUGHTHDEN\nSNKOOBENOHP\nFALYTMERATP\nSHEADLIGHTO\nSLLABNOTTOC\n\n> You take the scrap\nYou already have the scrap of paper."
    },
    {
        "text": "[Themes: Science Fiction, Humor, gorilla, suggestive content, Mars, Venus, silly, sex, mad scientist, maze]\n\n> Look around\nYou are in a very tiny room with a rock-hard floor. A narrow cell\ndoor to the north is open.\nTiffany is here, alertly surveying your surroundings.\n\n> Kiss tiffany\n\"Smack.\""
    },
    {
        "text": "[Themes: Science Fiction, Humor, sexual content, gorilla, Mars, lewdness setting]\n\n> You look at your surroundings\nYou are in a very tiny room with a rock-hard floor. A narrow cell\ndoor to the north is open.\nTiffany is here, doing some quick limbering exercises.\n\n> You read the paper\nThere's a seemingly meaningless matrix of letters on the paper: HESOHREBBUR\nILSSSIPNGEF\nRGIUGHTHDEN\nSNKOOBENOHP\nFALYTMERATP\nSHEADLIGHTO\nSLLABNOTTOC\n\n> Go north\nTiffany follows you.\n\n> You look\nA wide cell door lies open to the north, and a narrow cell door\nlies open to the south. The hallway ends at a gleaming metal door to the west, and continues east. Something, possibly this very sentence, tells you that it would be dangerous to travel east or west. A sign is posted next to the stairs which lead both upwards and downwards. Tiffany is here, doing some quick limbering exercises.\n\n> Up\nCalvin Coolidge once described windows as \"rectangles of glass.\" If so, he may have been thinking about the window which fills the western wall of this room. A tiny closet lies to the north. A sign is posted next to the stairs which lead both upwards and downwards.\nTiffany enters just a few steps behind you.\n\n> You read sign\n\"Down to Cells.\"\n\n> You go north\nIt's too dark to see a thing. There's a distinctive odor here, though. Tiffany trails along.\n\n> Smell\n[Scratch 'n' sniff spot number 3. Hit the RETURN/ENTER key to continue.]\nApparently this section of Phobos has a significant moth problem.\n\n> You turn on the flashlight\nOkay, the flashlight is now on.\n\nThis room is barely large enough to turn around in. Just to prove\nit, you turn around. As you do, you spot a black circle, about two feet across, seemingly painted on the floor in the corner. A shelf protrudes from one wall, very close to the ceiling. The closet is open to the south. A strong odor of mothballs pervades the closet.\nTiffany is here, alertly surveying your surroundings.\nSitting on the shelf is a wicker basket.\n\n> You examine basket\nThe basket is oval-shaped. A handle spans the narrow part.\n\n> You take it\nYou can't reach the wicker basket.\nTiffany trots over to you. \"I've got a plan to bring these Leather Goddess jokers to their knees,\" she says, flipping you a matchbook. The cover of the matchbook is filled with scrawled notations. \"If we can scrape up these items, I can whip up something that'll knock 'em cold! A Super-Duper Anti-Leather Goddesses of Phobos Attack Machine!!!\"\n\n> You examine the matchbook\nThe cover of the matchbook is filled with scrawled notations. You briefly open the matchbook and see that there are no matches left.\n\n> You read the matchbook\nMost of the scrawlings are a \"blueprint\" for a vastly complicated device. Below that is a parts list:\n1. a common household blender\n2. six feet of rubber hose\n3. a pair of cotton balls\n4. an eighty-two degree angle\n5. a headlight from any 1933 Ford\n6. a white mouse\n7. any size photo of Douglas Fairbanks\n8. a copy of the Cleveland phone book\n\n> You stand on the stool\nYou're holding it!\n\n> You drop the stool\nDropped.\n\n> You take the basket\nTaken.\n\n> You examine basket\nThe basket is oval-shaped. A handle spans the narrow part.\n\n> You open the basket\nIt already is!"
    },
    {
        "text": "[Themes: Science Fiction, Humor, mad science, sexual content, gender choice, suggestive content, sidekick NPC, Mars, pulpy, space opera]\n\n> Go downward\nYou get off the stool."
    },
    {
        "text": "> You describe your surroundings\nThis room is barely large enough to turn around in. Just to prove\nit, you turn around. As you do, you spot a black circle, about two feet across, seemingly painted on the floor in the corner. A shelf protrudes from one wall, very close to the ceiling. The closet is open to the south. A strong odor of mothballs pervades the closet.\nTiffany is here, alertly surveying your surroundings.\n\n> You examine the circle\nIt's like staring into an eternal void of blackest infinity sucking up all life and thought and hope and being -- or, like what you see after getting your face smashed in a bar fight. You can pick the metaphor you're most familiar with.\n\n> You go south\nAh! Coming out of the closet, I see...\n\nTiffany loyally stays at your side.\n\n> You go upward\nYour view extends to the horizon, which on tiny Phobos usually\nmeans a few hundred feet. Thrusting up into sight beyond the horizon are the arching towers and curving domes of the notorious Pleasure Palace of the Leather Goddesses of Phobos. On a wide plain between here and the palace, powerful warships are poised for the imminent invasion of Earth.\nMars dominates the view, a dull red orb spanning a quarter of the\nsky. Bright blue canals lace the surface, and white caps of ice are visible at both poles.\nA stairway leads down into the building. Near the edge, seemingly painted onto the roof, is a black circle. You might be able to jump to the ground, but frankly we advise against it.\nTiffany enters just a few steps behind you.\n\n> You enter the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nAs you wander amidst these towering dunes of red Martian sand, you notice three distinct pathways: north, east, and west.\nA few seconds later, you see Tiffany's left buttock appear,\nfollowed almost immediately by the rest of her.\n\n> Go north\nYou stand amongst the ruins of a mighty castle. The only part of\nthe castle that is more than a pile of rubble is to the north. A path leads out of the ruin to the south.\nTiffany trails along.\n\n> You go to the north\nThis is the Throne Room of the once-potent King Mitre, of legendary fame. Of course, the version you've probably heard is significantly warped from What Really Happened.\nIn the diseased version of the legend commonly transmitted on\nEarth, Mitre is called Midas. The King was granted his wish that everything he touched would turn to gold. His greed caught up with him when he transformed even his own daughter into gold.\nKing Mitre's wish was, in fact, that everything he touched would\nturn to forty-five degree angles. No one has ever explained this strange wish; the most likely hypothesis is a sexual fetish. In any case, the tale has a similar climax, with Mitre turning his own daughter into a forty-five degree angle.\nKing Mitre sits upon the throne, looking dejected and lonely. Next\nto him is a pile of forty-five degree angles. One stands out from the others, thanks to its golden hair and flowing white gown. The main entrance of the throne room is to the south, but a tight opening leads north.\nTiffany follows you.\n\n> You take the angle\nMitre growls, \"Keep your hands off my daughter.\"\n\n> You examine Mitre\nThe old king looks very down. His appearance is rather odd, since his clothes, his jewelry, his crown, even his very throne, all have a rather angular appearance.\n\n> You ask King about the daughter\nThe king weeps pitifully.\n\n> You go north\nDuring the peak of King Mitre's reign, a cruel joke went around the kingdom that Mitre's two greatest loves were his Royal Docks and his Royal Ducks. The joke was never very good and has long since been forgotten, and the ducks perished years ago from a sexually-transmitted disease, but the docks remain, jutting into a wide Martian Canal which flows from west to east. Behind you, to the south, is a ruined castle.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany loyally stays at your side.\n\n> You examine the barge\nThis large barge could host a host of royal guests. The barge rests immobile at the dockside, despite a strong current and no visible mooring lines. There are some simple controls on the side of the barge nearest the dock.\n\n> You examine the controls\nThe controls consist of a huge orange button, and a huge purple button. Both buttons have writing on them.\n\n> You examine the orange button\nThe huge orange button reads: MagnetoMoor On.\n\n> You examine the purple button\nThe huge purple button reads: Go With The Flow."
    },
    {
        "text": "[Themes: Humor, Science Fiction, suggestive content, Venus, mad scientist, silly, lewdness setting]\n\n> Look around\nDuring the peak of King Mitre's reign, a cruel joke went around the kingdom that Mitre's two greatest loves were his Royal Docks and his Royal Ducks. The joke was never very good and has long since been forgotten, and the ducks perished years ago from a sexually-transmitted disease, but the docks remain, jutting into a wide Martian Canal which flows from west to east. Behind you, to the south, is a ruined castle.\nTiffany is here, doing some quick limbering exercises.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\n\n> You enter the barge\nYou are now in the royal barge. Tiffany gets in behind you. You notice some simple controls.\n\n> You examine the purple button\nThe huge purple button reads: Full Speed Ahead.\n\n> You wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy.\n\n> Wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. Sculpted reddish sand dunes rise into view beyond the banks of the canal. The dark clouds of a sandstorm are visible on the horizon.\n\n> You wait a while\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. A smaller canal flows diagonally into this one, and the channel widens slightly to accommodate the heavier flow. Sculpted reddish sand dunes rise into view beyond the banks of the canal.\n\n> You wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. A dock\nis visible on the northern shore.\n\n> Go outside\nYou and Tiffany get out of the royal barge.\n\n> You go to the north\nYou are in a tiny basin, protected by dunes from the fierce Martian winds. The dunes are impassable, except to the south.\nA strange alien, probably a member of one of the ancient warrior\nraces of Mars, lies dead at the base of a dune.\nLying next to the body, partially buried in the sand, is a strange coded message.\nThe alien may have died of acute chapped lips (a perennial problem\nin the arid Martian climate). If so, it was a sudden death, for the lip balm near the body is completely unused.\nTiffany enters just a few steps behind you.\n\n> You examine the alien\nIt's dead. Very dead.\n\n> You examine the message\nVSDFHHQN UXRB VVLN RW PLK JQLNVD BE PLK RW IOHVUXRB BILWQHGL -- SDP WHUFHV HKW WHJ GQD VVHQDWOXV HKW IR 6093 UHEPXQ GQDEVXK WFDWQRF RW VL QRLVVLP UXRB\n\n> You take the lip balm\nTaken."
    },
    {
        "text": "[Themes: Humor, Science Fiction, space opera, Mars, sex, science fiction, mad science, sexual content, mad scientist]\n\n> You describe your surroundings\nYou are in a tiny basin, protected by dunes from the fierce Martian winds. The dunes are impassable, except to the south.\nA strange alien, probably a member of one of the ancient warrior\nraces of Mars, lies dead at the base of a dune.\nTiffany is here, counting on her fingers and mumbling to herself.\n\n> Kiss alien\nIs there even a word for this sort of perverse behavior? Necro-xeno-philia? Xeno-necro-philia? Grosso-sicko-philia?\n\n> Go south\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany trails along.\n\n> You enter barge\nYou are now in the royal barge. Tiffany gets in behind you.\n\n> Go outside\nYou and Tiffany get out of the royal barge.\n\n> You go south\nFrom this vantage, you can see the canal curving south, a bit downstream from here. Just after this bend, two docks flank the canal: an opulent dock on the east bank, and a dilapidated one on the closer shore.\nYou could slide down the dune to the north or the east.\nTiffany follows you.\n\n> You go to the east\nAs with all Martian civilization, this once-fashionable shopping center has fallen upon hard times; the only store to have endured the fifteen-millenia recession lies to the south. The canal is still as visible as it was when scheming marketeers misnamed the mall generations ago -- in other words, not at all. A path leads east, and a dune to the west seems mountable.\nTiffany loyally stays at your side.\n\n> Mount tiffany\nIt's not worth it. Believe me.\n[A warning for any Jerry Falwell groupies who are miraculously\nstill playing: we'll be using the word \"tits\" in five turns or so. Please consult the manual for the proper way to stop playing.]\n\n> Go south\nThis store is in good shape only relative to the other shops in the mall; for example, the last time it was vacuumed, humans were just inventing writing. The dust nearly covers the proprietor, who sits forlornly in the corner beneath a faded sign. An exit is barely visible through the dust to the north.\nTiffany trails along.\nThe proprietor stirs somewhat from his lethargy. \"Don't get many customers these days, since they abandoned the dock. In fact, you're only the third in the last hundred and fifty centuries.\" He slips back into a drowse.\n\n> You examine the sign\n\"Exits bought and sold.\"\n[Only a few turns until the \"tits\" reference! Use QUIT now if you might be offended!]\n\n> You check what you're carrying\nYou have a coded message, a stick of lip balm, a stool, a wicker basket, a matchbook, a scrap of paper, a blanket, a painting, a flashlight (providing light), a tray, a rule book (stuck in your back pocket) and a brass bikini (being worn). Sitting on the tray is a hunk of chocolate.\n[Last warning! The word \"tits\" will appear in the very next turn!\nThis is your absolutely last chance to avoid seeing \"tits\" used!!!]\n\n> You examine the lip balm\nThere's nothing noteworthy about the stick of lip balm.\nA hyperdimensional traveller suddenly appears out of thin air. \"My sister has tremendous breasts,\" says the traveller and, without further explanation, vanishes, leaving only a vague trace of interdimensional ozone.\n[Oh, regarding the use of \"tits,\" we changed our mind at the last minute. Everyone agreed it was too risque.]"
    },
    {
        "text": "[Themes: Humor, Science Fiction, mad science, Mars, silly, pulpy, lewdness setting, sexual content, maze]\n\n> You look around\nThis store is in good shape only relative to the other shops in the mall; for example, the last time it was vacuumed, humans were just inventing writing. The dust nearly covers the proprietor, who sits forlornly in the corner beneath a faded sign. An exit is barely visible through the dust to the north.\nTiffany is here, doing some quick limbering exercises.\n\n> Go north\nTiffany loyally stays at your side.\n\n> You go west\nTiffany enters just a few steps behind you.\n\n> You go to the north\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany follows you.\n\n> You enter barge\nYou are now in the royal barge. Tiffany gets in behind you.\n\n> You wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. Just ahead, the canal curves sharply to the south.\n\n> You wait for a while\nTime passes...\nThe royal barge chugs quickly around the bend, ending up near the eastern bank of the canal.\n\nMartian Canal, near the east bank, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. There\nare docks on both banks. Just behind, the canal curves sharply to the west.\n\n> Go outside\nYou and Tiffany get out of the royal barge.\n\n> Go east\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany enters just a few steps behind you.\n\n> You examine the reflecting pool\nThe water is dark and murky.\n\n> You go north\nAs you approach, you realize that the archway in this direction is merely a design on a solid wall.\n\n> Go east\nThese twisted trees and elegant footbridges are even more beautiful than the gardens of the most lavish Fu Manchu films. Paths from the north, southeast, and west meet at a large well of hand-carved stone in the center of the garden.\nTiffany trails along.\n\n> You examine well\nTotally ordinary looking well.\n\n> You enter well\nYou climb down the well for a long distance. Near the bottom the handholds end, so you and Tiffany leap the rest of the way, landing on a black circle. You're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nNow THIS Is My Kind of Dock, in the royal barge\nA few seconds later, you see Tiffany's elbow appear, followed\nalmost immediately by the rest of her."
    },
    {
        "text": "[Themes: Humor, Science Fiction, mad scientist, Venus, gorilla, Mars, mad science, gender choice, sex, science fiction]\n\n> You describe your surroundings\nThese twisted trees and elegant footbridges are even more beautiful than the gardens of the most lavish Fu Manchu films. Paths from the north, southeast, and west meet at a large well of hand-carved stone in the center of the garden.\nTiffany is here, doing some quick limbering exercises.\n\n> You go to the north\nThe good news is that this hall is intoxicatingly beautiful, laid\nwith the snow-white fur of the rare Martian Velvetworm and endowed with platinum arches and balustrades. Silky curtains embrace openings to the south, southwest, and west.\nThe bad news is that no woman has ever entered the Audience Chamber\nof the Sultaness and departed alive.\nThe Sultaness is here, enthroned.\nTiffany loyally stays at your side.\n\"Ah,\" says the Sultaness, \"a visitor. This is pleasing; it was\nturning out to be a very dull morning.\" She clears her throat. \"The rules: I will pose a riddle. If you answer it correctly, you may spend one hour with any of my husbands. If you answer incorrectly, you will die. If you do not answer, you will die. If you enter the harem before answering, you will die. If you attempt to leave, you will die. If you touch me in any way, you will die. If I happen to sneeze, you will die. If any situation not covered by the rules occurs, you will die.\" She motions to one of the palace eunuchs. \"Go tell the animal tenders not to feed the tigers yet.\" Pause. \"Are you ready?\"\n\n> Yes\n\"Here, then, is the riddle. Don't strain your head; no one's ever gotten it right.\" You hear a growling snarl from somewhere nearby. \"Some say I'm pointless,\nyet many are obsessed by me.\nI have caused heroic gambles\nand sown endless frustration.\nUncounted deaths have I caused.\nWhat am I?\"\nTiffany steps briskly forward. \"That's easy!\" she yells. \"A grapefruit!\" As the eunuchs snicker behind their weapons, the Sultaness cries \"Wrongo!\" and Tiffany is led away. As you hear, from nearby, a fierce roar followed by a blood-curdling scream, your eyes fill with tears. You hang your head in sorrow for a moment to honor your brave, loyal companion who gave her life that humanity might be safe from the terrible scourge of the Leather Goddesses of Phobos. \"Your turn to guess,\" says the Sultaness, looking gleeful.\n\n> You answer the riddle\n[You need quotes to say something \"out loud.\" See the instruction manual section entitled \"Communicating With Infocom's Interactive Fiction.\"]\nThe Sultaness is twitching her nose."
    },
    {
        "text": "> You look at your surroundings\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany is here, doing some quick limbering exercises.\n\n> You go southeast\nA slender tower protrudes magnificently above the palace grounds. A stair winds up into the tower and an oriental garden spreads out to the northwest.\nTiffany follows you.\n\n> Go south\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nToday must be drying day at the laundry, since there's only one clothes pin left.\nTiffany follows you.\n\n> You take the clothes pin\nYou're already juggling as many items as you could possibly carry.\n\n> You check what you're carrying\nYou have a coded message, a stick of lip balm, a stool, a wicker basket, a matchbook, a scrap of paper, a blanket, a painting, a flashlight (providing light), a tray, a rule book (stuck in your back pocket) and a brass bikini (being worn). Sitting on the tray is a hunk of chocolate.\n\n> You put the blanket in basket\nDone.\n\n> You wear the lip balm\nYou coat your lips with the glistening balm, using up the whole stick.\n\n> You remove bikini\nBut the brass bikini is so becoming!"
    },
    {
        "text": "[Themes: Humor, Science Fiction, sidekick NPC, sexual content, gorilla, lewdness setting, mad scientist]\n\n> You look around\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nTiffany is here, doing some quick limbering exercises.\n\n> You examine the laundry\nThat's not important; leave it alone.\n\n> Go north\nTiffany trails along.\n\n> Go east\nThese twisted trees and elegant footbridges are even more beautiful than the gardens of the most lavish Fu Manchu films. Paths from the north, southeast, and west meet at a large well of hand-carved stone in the center of the garden.\nTiffany loyally stays at your side.\n\n> You go southeast\nA slender tower protrudes magnificently above the palace grounds. A stair winds up into the tower and an oriental garden spreads out to the northwest.\nTiffany follows you.\n\n> Go upwards\nBy standing erect at the parapet of this mighty tower, you command\nan exciting view. Below, gardens and courtyards intermingle with the palace buildings, forming a fertile oasis in the Martian desert. Off to the west, docks straddle a deep canal. On the far shore, sand dunes lap at crumbling buildings. On the top step of a winding stair is a black circle.\nTiffany trails along.\n\n> You go north\nThe good news is that this hall is intoxicatingly beautiful, laid\nwith the snow-white fur of the rare Martian Velvetworm and endowed with platinum arches and balustrades. Silky curtains embrace openings to the south, southwest, and west.\nThe bad news is that no woman has ever entered the Audience Chamber\nof the Sultaness and departed alive.\nThe Sultaness is here, enthroned.\nTiffany trails along.\n\"Ah,\" says the Sultaness, \"a visitor. This is pleasing; it was\nturning out to be a very dull morning.\" She clears her throat. \"The rules: I will pose a riddle. If you answer it correctly, you may spend one hour with any of my husbands. If you answer incorrectly, you will die. If you do not answer, you will die. If you enter the harem before answering, you will die. If you attempt to leave, you will die. If you touch me in any way, you will die. If I happen to sneeze, you will die. If any situation not covered by the rules occurs, you will die.\" She motions to one of the palace eunuchs. \"Go tell the animal tenders not to feed the tigers yet.\" Pause. \"Are you ready?\"\n\n> No\n\"Too bad.\" You never actually notice where the tiger comes from, only that it seems very very very very ferocious.\n\n> Go east\nThese twisted trees and elegant footbridges are even more beautiful than the gardens of the most lavish Fu Manchu films. Paths from the north, southeast, and west meet at a large well of hand-carved stone in the center of the garden.\nTiffany follows you.\n\n> Go west\nA well-armed male guard blocks you. \"Congratulations on your performance,\" he says in a bored voice. You wonder how the guard can be so unmoved by your historic feat. As though sensing your thoughts, the guard says, \"The Sultaness likes to pretend that no one's ever gotten the riddle, but someone got it last year, the word spread around, and now everyone knows the answer. You're the twelfth winner this week already. She sent away to Maude's House of Riddles on Ganymede for a new one, but the mail is so slow...\" The guard shakes his head. \"Well, pick a husband; any number from 1 to 8379. Don't waste time thinking; they're all clones anyway.\" He looks at you expectantly.\n\n> Pick 3906\nThe guard, walking off, says, \"I'll summon that one. You may enter.\"\n\n> You enter\nThis is a sensuous location of silks and satins and furs. A draped exit leads east. A pleasant odor tickles mischievously at your nose.\n\n> Sniff\n[Scratch 'n' sniff spot number 4. Hit the RETURN/ENTER key to continue.]\nIt seems that the Sultaness likes her husbands to wear fine cologne.\n\n> Wait\nTime passes...\nA figure, completely cloaked in veils of silk, enters and beckons\nyou deeper into the harem...\n\nThis luxurious bedroom, presumably one of many throughout the\nharem, is appointed with a multitude of exotic furs, warm to the touch as though still alive. The heady aroma of cologne and incense mingle in the air. There's an exit to the southeast.\nSultaness' husband #3906 touches a button at the shoulder of his\ntunic and it slowly floats to the floor. He pulls you down onto the furs, whispering in a husky voice, \"For an hour, I am yours.\"\n\n> Kiss husband\nSultaness' husband #3906 moans softly and draws closer to you.\n\n> Mount husband\nLet's not beat around the bush. Come out and say what you mean.\n\n> Fuck husband\nSultaness' husband #3906 draws you into his arms. As your hands explore his firm, strong body, a faint sweaty, musky odor triggers a passionate fire within you, and you find yourself warming to the occasion. Your lovemaking is slow and gentle, and as you reach a crescendo of pleasure, you cry out softly, passionately, and repeatedly. \"Oh,\" moans Sultaness' husband #3906, \"say my number again ... say it in French...\"\nMuch later, you and Sultaness' husband #3906 fall back upon the furs, basking in the aura of postcoital bliss.\n\n> You kiss your kneecaps\n\"Smack.\"\n\n> You kiss your kneecaps\n\"Oh,\" whispers Sultaness' husband #3906, \"you're from the rebels! Here's the secret map,\" he says, laying a secret map at your feet, \"and here's a reliable torch,\" he says, lighting a reliable torch and placing it next to the map. He moves some furs to reveal a secret entrance leading downwards. \"The only way out is through the catacombs -- if you come back this way with the secret map, the harem guards will...\"\n\n> You take all\nreliable torch: You're already juggling as many items as you could possibly carry.\nsecret map: You're already juggling as many items as you could possibly carry.\n\n> You examine the map\nThis is the secret catacombs map that came in your LEATHER GODDESSES OF PHOBOS package.\n\n> Lgop1\nSAVEOkay."
    },
    {
        "text": "[Themes: Science Fiction, Humor, mad scientist, sidekick NPC, suggestive content, gorilla, maze]\n\n> Look around\nThis luxurious bedroom, presumably one of many throughout the\nharem, is appointed with a multitude of exotic furs, warm to the touch as though still alive. The heady aroma of cologne and incense mingle in the air. There's an exit to the southeast and a secret passage leads downward.\nSultaness' husband #3906 is here, lying seductively naked on a bed\nof furs.\n\n> You examine the husband\nA mere glance at the succulent, sexy body of Sultaness' husband #3906 is enough to get you all moist and randy.\n\n> Kiss husband\nSultaness' husband #3906 moans softly and draws closer to you."
    },
    {
        "text": "> Go downwards\nAs you leave, Sultaness' husband #3906 gathers you into his powerful arms. Nibbling tenderly on your neck, he whispers, \"Be wary -- the catacombs are dangerous.\" He kisses you longingly, but eventually you descend, reluctantly, into the gloom of the catacombs...\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\n\"Yo!\" says Tiffany, tapping your shoulder. \"Looked like my number\nwas up that time! Would've been, if those dimension-hopping midgets hadn't come through at the right moment. Good thing the tiger cage leads to the catacombs, eh?\" She brushes a stray patch of fur off her shoulder.\n\n> Go northwest\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany loyally stays at your side.\n\n> Hop\nSplash.\n\n> Clap\nClap.\n\n> You go northeast\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany trails along.\n\n> Kweepa\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Go east\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany enters just a few steps behind you.\n\n> You go to the north-east\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany follows you.\n\n> Hop\nSplash.\nThe torch is noticeably dimmer."
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly, mad scientist, lewdness setting, gender choice, pulpy, gorilla, sexual content]\n\n> Go downwards\nYou wade into the gloom ... and find a hidden passage leading downwards.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany follows you.\n\n> Go upward\nYou wade into the gloom ... and find a hidden passage leading upwards.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany enters just a few steps behind you.\n\n> You go to the north-west\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nNo living creature can even guess how long this storehouse has sat amidst the catacombs, undisturbed by man or by time, untouched by wars and weather, a silent witness to the passing eons, the rise and fall of empires, the births and deaths of countless billions, its only visitor the dark waters of a Martian canal.\nSitting in one corner is a Cleveland telephone directory.\nTiffany trails along.\n\n> Go northwest\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany follows you.\n\n> Go southeast\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nDamp walls of brick rise to a point of light far above. A black\ncircle is visible just below the surface of the water.\nTiffany follows you.\n\n> You step on the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nNow THIS Is My Kind of Dock, in the royal barge\nA few seconds later, you see Tiffany's elbow appear, followed\nalmost immediately by the rest of her."
    },
    {
        "text": "> You look at your surroundings\nNow THIS Is My Kind of Dock, in the royal barge\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\n\n> Inventory\nYou have a secret map, a reliable torch (providing light), a coded message, a stool, a wicker basket, a matchbook, a scrap of paper, a blanket, a painting, a flashlight (providing light), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a stick of lip balm and a tray. Sitting on the tray is a hunk of chocolate.\n\n> You check what you're carrying\nYou have a secret map, a reliable torch (providing light), a stool, a wicker basket, a matchbook, a scrap of paper, a blanket, a painting, a flashlight (providing light), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a coded message, a stick of lip balm and a tray. Sitting on the tray is a hunk of chocolate.\nThe torch is noticeably dimmer.\n\n> Inventory\nYou have a secret map, a reliable torch (providing light), a stool, a wicker basket, a scrap of paper, a blanket, a painting, a flashlight (providing light), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a matchbook, a coded message, a stick of lip balm and a tray. Sitting on the tray is a hunk of chocolate.\n\n> You examine the tray\nYou can see a hunk of chocolate.\n\n> PUT MESSAGE, MATCHBOOK, SCRAP, BLANKET IN BASKET\ncoded message: Done.\nmatchbook: Done.\nscrap of paper: Done.\nblanket: Done.\n\n> Inventory\nYou have a secret map, a reliable torch (providing light), a stool, a wicker basket, a flashlight (providing light), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a hunk of chocolate, a blanket, a scrap of paper, a matchbook, a coded message and a stick of lip balm.\n\n> Go east\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany loyally stays at your side.\nThe torch is noticeably dimmer.\n\n> You go up\nYou wade into the gloom ... and find a hidden passage leading upwards.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany trails along.\n\n> You go to the northwest\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nNo living creature can even guess how long this storehouse has sat amidst the catacombs, undisturbed by man or by time, untouched by wars and weather, a silent witness to the passing eons, the rise and fall of empires, the births and deaths of countless billions, its only visitor the dark waters of a Martian canal.\nSitting in one corner is a Cleveland telephone directory.\nTiffany enters just a few steps behind you.\n\n> You take the directory\nTaken.\nThe torch is noticeably dimmer.\n\n> Go northwest\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany loyally stays at your side.\n\n> You go west\nClap.\n\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany enters just a few steps behind you.\n\n> You go north\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nThis spot is much like the rest of the catacombs, except that a\nladder leads up into the darkness.\nTiffany follows you.\n\n> Go upwards\nYou climb for a seemingly endless time, with the ladder becoming increasingly rickety. Suddenly a rung snaps, and you tumble into the darkness! You bounce painfully into a slanted ventilation shaft, slide through a wooden grating, and land amidst thousands of silk jockstraps.\n\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nToday must be drying day at the laundry, since there's only one clothes pin left.\nTiffany trails along.\n\n> You take the pin\nTaken.\nThe torch is noticeably dimmer.\n\n> You put the pin in the basket\nDone.\n\n> Superbrief\nSuper-brief descriptions.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany trails along.\nClap.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany enters just a few steps behind you.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\nThe torch is noticeably dimmer.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany follows you.\nClap.\n\n> Hop\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany loyally stays at your side.\nSplash.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany trails along.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Clap\nYou wade into the gloom ... and find a hidden passage leading downwards.\n\nTiffany enters just a few steps behind you.\nClap.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany loyally stays at your side.\nClap.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany enters just a few steps behind you.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany trails along.\nClap.\n\n> Hop\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany follows you.\nSplash.\n\n> Clap\nYou wade into the gloom ... and find a hidden passage leading upwards.\n\nTiffany trails along.\nClap.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany loyally stays at your side.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\nThe torch is noticeably dimmer.\n\n> Clap\nTaken.\nClap.\n\n> Hop\nTiffany follows you.\nSplash.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany enters just a few steps behind you.\nClap.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany loyally stays at your side.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Hop\nYou wade into the gloom ... and find a hidden passage leading downwards.\n\nTiffany follows you.\nSplash.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany trails along.\nClap.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany follows you.\nClap.\nThe torch is noticeably dimmer.\n\n> Hop\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany trails along.\nSplash.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nTiffany follows you.\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Hop\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany loyally stays at your side.\n\nSplash.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany enters just a few steps behind you.\n\nClap.\nThe torch is noticeably dimmer.\n\n> Kweepa\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany trails along.\n\nA Martian hawk, hearing the cry of a possible mate, flies up and begins squawking and flapping a mating ritual. As it pauses to catch its breath, it takes a better look at you, rubs its eyes, and flies quickly away.\n\n> Clap\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nYou're at a junction within an ancient, crumbling catacomb. Your torchlight pierces the gloom for only a few feet in each direction. As the result of an ancient leak, the catacombs are knee deep in warm, brackish canal water.\nTiffany loyally stays at your side.\n\nClap.\n\n> You go north\nYou wade into the gloom ... and find a dark and winding tunnel.\n\nThis spot is much like the rest of the catacombs, except that a\nladder leads up into the darkness.\nTiffany enters just a few steps behind you.\n\n> Go upward\nYou climb for a seemingly endless time, with the ladder becoming increasingly rickety. Suddenly a rung snaps, and you tumble into the darkness! You bounce painfully into a slanted ventilation shaft, slide through a wooden grating, and land amidst thousands of silk jockstraps.\n\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nToday must be drying day at the laundry, since there's only one clothes pin left.\nTiffany follows you.\n\"Phfffft!\" The torch goes out.\n\n> You check what you're carrying\nYou have a raft, a Cleveland phone book, a secret map, a stool, a wicker basket, a flashlight (providing light), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a clothes pin, a hunk of chocolate, a blanket, a scrap of paper, a matchbook, a coded message and a stick of lip balm.\n\n> You look at the book\n[Which book do you mean, the Cleveland phone book, the matchbook, or the rule book?]\n\n> You look at phone book\nIt looks like every other Cleveland phone book you've ever seen."
    },
    {
        "text": "> Look around\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nTiffany is here, counting on her fingers and mumbling to herself.\nYou can see an unreliable torch here.\n\n> Smell the laundry\nThat's not important; leave it alone.\n\n> Go north\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany trails along.\n\n> You look in well\nHandholds lead downward!"
    },
    {
        "text": "[Themes: Science Fiction, Humor, space opera, sex, Venus, gender choice, mad science, science fiction, gorilla]\n\n> Go downwards\nYou climb down the well for a long distance. Near the bottom the handholds end, so you and Tiffany leap the rest of the way, landing on a black circle. You're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nNow THIS Is My Kind of Dock, in the royal barge\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA few seconds later, you see Tiffany's big toe appear, followed\nalmost immediately by the rest of her.\n\n> You get out\n[royal barge]\nYou and Tiffany get out of the royal barge.\n\n> Go east\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany loyally stays at your side.\n\n> You go to the east\nThese twisted trees and elegant footbridges are even more beautiful than the gardens of the most lavish Fu Manchu films. Paths from the north, southeast, and west meet at a large well of hand-carved stone in the center of the garden.\nTiffany enters just a few steps behind you.\n\n> Go north\nThe good news is that this hall is intoxicatingly beautiful, laid\nwith the snow-white fur of the rare Martian Velvetworm and endowed with platinum arches and balustrades. Silky curtains embrace openings to the south, southwest, and west.\nThe bad news is that no woman has ever entered the Audience Chamber\nof the Sultaness and departed alive.\nThe Sultaness is here, arguing loudly with one of her legal\nadvisors.\nTiffany trails along.\n\n> You enter the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nIt's too dark to see a thing.\nA few seconds later, you feel Tiffany's nose appear, followed\nalmost immediately by the rest of her.\n\n> You turn on the flashlight\nOkay, the flashlight is now on.\n\nYou are in a dark space, too tiny to move around in. There are no visible exits.\nTiffany is here, counting on her fingers and mumbling to herself. Suddenly, part of the floor collapses, and you and Tiffany tumble through the resulting hole...\n\nYou are in a large cell with a soft, cushiony floor. A wide door\n(now open) forms the southern wall of the cell.\nAmong the new rubble, you notice a black circle, attached to a\npiece of (what used to be) the floor of the cramped space.\n\"What a great cell!\" says Tiffany, looking around. \"Why didn't I\nget a cell like this? Maybe I shouldn't have kicked that guard in the nuts when I first got here...\"\n\n> You enter the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nA few seconds later, you see Tiffany's elbow appear, followed\nalmost immediately by the rest of her.\n\n> Go west\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany loyally stays at your side.\n\n> You go to the east\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany trails along.\n\n> Go northeast\nThe good news is that this hall is intoxicatingly beautiful, laid\nwith the snow-white fur of the rare Martian Velvetworm and endowed with platinum arches and balustrades. Silky curtains embrace openings to the south, southwest, and west.\nThe bad news is that no woman has ever entered the Audience Chamber\nof the Sultaness and departed alive.\nThe Sultaness is here, arguing loudly with one of her legal\nadvisors.\nTiffany follows you.\n\n> Go southwest\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany loyally stays at your side."
    },
    {
        "text": "[Themes: Science Fiction, Humor, suggestive content, gorilla, Mars, sex, science fiction, lewdness setting]\n\n> Go downwards\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany enters just a few steps behind you."
    },
    {
        "text": "> You go downward\nYou climb down the well for a long distance. Near the bottom the handholds end, so you and Tiffany leap the rest of the way, landing on a black circle. You're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nNow THIS Is My Kind of Dock, in the royal barge\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA few seconds later, you see Tiffany's earlobe appear, followed\nalmost immediately by the rest of her.\n\n> You examine the barge\nThis large barge could host a host of royal guests. The barge rests immobile at the dockside, despite a strong current and no visible mooring lines. There are some simple controls on the side of the barge nearest the dock.\n\n> You examine the controls\nThe controls consist of a huge orange button, and a huge purple button. Both buttons have writing on them.\n\n> You read the purple button\nThe huge purple button reads: Full Speed Ahead.\n\n> You read the orange button\nThe huge orange button reads: MagnetoMoor On."
    },
    {
        "text": "[Themes: Humor, Science Fiction, gorilla, science fiction, space opera, maze, pulpy, Venus, mad scientist, Mars, suggestive content]\n\n> You look around\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. The dark clouds of a sandstorm are visible on the horizon.\nThe royal barge drifts further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. A smaller canal flows diagonally into this one, and the channel widens slightly to accommodate the heavier flow.\n\n> You look at the glint\nYou spy a metallic glint, far ahead.\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. You spy a metallic glint, far ahead.\n\n> Wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. A dock\nis visible on the western shore. A red warning buoy is anchored nearby. A sign atop the swaying buoy shows a skull and crossbones. You spy a metallic glint, far ahead.\n\n> You read the sign\nThe sign has no writing, only the skull and crossbones.\nThe royal barge drifts further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. You spy a metallic glint, far ahead."
    },
    {
        "text": "> You look around\nOne of the less pleasant aspects of running a palace is the sheer volume of dirty laundry its occupants produce. Why, the 8379 husbands alone could keep a crew of cleaners sleepless. Add in the servants, cooks, gardeners, stablehands, jesters, visiting nobles, brothers-in-law in virtual permanent residence... Suffice it to say that there's one hell of a lot of dirty laundry here. You can barely see the exit to the north through it all.\nTiffany is here, doing some quick limbering exercises.\nYou can see an unreliable torch here."
    },
    {
        "text": "[Themes: Humor, Science Fiction, lewdness setting, sex, pulpy, science fiction, maze, mad science]\n\n> Go downwards\nYou climb down the well for a long distance. Near the bottom the handholds end, so you and Tiffany leap the rest of the way, landing on a black circle. You're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nNow THIS Is My Kind of Dock, in the royal barge\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA few seconds later, you see Tiffany's elbow appear, followed\nalmost immediately by the rest of her.\n\n> You get out\n[royal barge]\nYou and Tiffany get out of the royal barge.\n\n> Go east\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nTiffany follows you.\n\n> You go west\nIf I owned a pier on a major Martian canal, I'd want it to look\njust like this one -- handsome, well-proportioned, and amply endowed with jade and ivory. I could probably live without the alabaster stair which leads up at the end of the dock, to the east.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany trails along.\n\n> You go upwards\nBy standing erect at the parapet of this mighty tower, you command\nan exciting view. Below, gardens and courtyards intermingle with the palace buildings, forming a fertile oasis in the Martian desert. Off to the west, docks straddle a deep canal. On the far shore, sand dunes lap at crumbling buildings. On the top step of a winding stair is a black circle.\nTiffany enters just a few steps behind you.\n\n> You enter the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nYou are in a dark space, too tiny to move around in. There are no visible exits.\nA few seconds later, you see Tiffany's nose appear, followed almost immediately by the rest of her.\n\n> You turn on the flashlight\nIt already is!\nSuddenly, part of the floor collapses, and you and Tiffany tumble through the resulting hole...\n\nYou are in a large cell with a soft, cushiony floor. A wide door\n(now open) forms the southern wall of the cell.\nAmong the new rubble, you notice a black circle, attached to a\npiece of (what used to be) the floor of the cramped space.\n\"What a great cell!\" says Tiffany, looking around. \"Why didn't I\nget a cell like this? Maybe I shouldn't have kicked that guard in the nuts when I first got here...\"\n\n> You enter circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nglistens off a large reflecting pool, filling this huge entry hall with a seductive pattern of tantalizing colors. Gleaming marble pillars rise majestically from the pool to support a towering, arched roof. You are on a branching pathway suspended above the pool, leading toward shadowy archways in every direction.\nA few seconds later, you see Tiffany's big toe appear, followed\nalmost immediately by the rest of her.\n\n> You wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. A smaller canal flows diagonally into this one, and the channel widens slightly to accommodate the heavier flow.\n\n> Wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. The dark clouds of a sandstorm are visible on the horizon. You spy a metallic glint, far ahead.\n\n> You wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. The\nbanks of the canal are steep and sandy. You spy a metallic glint, far ahead.\n\n> Wait\nTime passes...\nThe royal barge barges further down the canal.\n\nMartian Canal, in the royal barge\nThe royal barge rocks gently in the current of a wide canal. A dock\nis visible on the western shore. A red warning buoy is anchored nearby. A sign atop the swaying buoy shows a skull and crossbones. You spy a metallic glint, far ahead.\n\n> You go to the east\nIf you want to jump in the canal, say so."
    },
    {
        "text": "[Themes: Humor, Science Fiction, Mars, suggestive content, mad science, sex]\n\n> Describe the surroundings\nThis tiny dock is the maritime entrance to the once-famous\nWattz-Upp section of Mars. East of the dock is a wide, north-south canal; you can hear a gurgling sound to the west. There's a chill in the air; you might be approaching the south polar cap.\nTiffany is here, alertly surveying your surroundings.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\n\n> You go west\nThis is a remarkable sight on arid Mars -- subsurface water\nbubbling up in a fountain, flowing around a black circle, and soaking into the thirsty sand. A path curves east around the sand dunes. To the west: unchartable desert.\nA little bunny rabbit is sipping at the waters of the oasis.\nTiffany trails along.\nInexplicably, the circle fades before your very eyes, slowly going from black to white.\n\n> You look at the circle\nIt looks like every other white circle you've ever seen.\n\n> You enter the circle\nNothing happens.\n\n> You examine the rabbit\nTotally ordinary looking rabbit."
    },
    {
        "text": "[Themes: Humor, Science Fiction, mad scientist, silly, sexual content, gorilla, maze, sex]\n\n> Look around\nThis is a remarkable sight on arid Mars -- subsurface water\nbubbling up in a fountain, flowing around a white circle, and soaking into the thirsty sand. A path curves east around the sand dunes. To the west: unchartable desert.\nTiffany is here, counting on her fingers and mumbling to herself.\n\n> You go east\nThis tiny dock is the maritime entrance to the once-famous\nWattz-Upp section of Mars. East of the dock is a wide, north-south canal; you can hear a gurgling sound to the west. There's a chill in the air; you might be approaching the south polar cap.\nA barge, hand-crafted from fine Martian cedarwood, is moored at the end of the dock.\nTiffany follows you.\n\n> You go to the east\nIf you want to jump in the canal, say so.\n\n> Go west\nThis is a remarkable sight on arid Mars -- subsurface water\nbubbling up in a fountain, flowing around a white circle, and soaking into the thirsty sand. A path curves east around the sand dunes. To the west: unchartable desert.\nTiffany trails along.\n\n> Go west\nNo, not a typo. \"Dessert\" refers to the fifty foot Martian Cream\nPie here. A mirage, of course. People hopelessly lost in the desert often see strange mirages, such as cream pies, lakes, or trails to the northwest and southeast.\nTiffany follows you.\n\n> Go northwest\nI guess the paths aren't a mirage...\n\nThis ancient castle now lies in ruins. (There do seem to be quite a few of them around here, eh?) All that remains of its once-proud ramparts are dust and rubble, and an occasional stone block. A path leads away from the ruin to the west. To the east: unchartable desert. Sitting on one of the stone blocks is a large green frog. Something about it catches your eye.\nTiffany enters just a few steps behind you.\n\n> You look at the frog\nYou realize what aroused your attention: the tiny gold crown on the frog's head. The frog is otherwise totally ordinary. Ordinary for a frog, that is. By any other measure it is a repulsive creature, with swollen eyes, oozing warts, slimy skin, and a grating croak.\n\n> Kiss frog\nYou lean forward, but just as you are about to kiss the frog the sight of its green warts and slimy skin make it impossible to continue.\n\n> You take the frog\nNice try.\n\n> Kiss frog\nYou lean forward with your eyes closed, but just as you are about to kiss the frog the stench of old pond scum overwhelms you, and you lurch back, retching.\n\n> Inventory\nYou have a rabbit, an unreliable torch, a raft, a Cleveland phone book, a secret map, a stool, a wicker basket, a flashlight, a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a clothes pin, a hunk of chocolate, a blanket, a scrap of paper, a matchbook, a coded message and a stick of lip balm.\n\n> You drop all\nrabbit: Dropped.\nunreliable torch: Dropped.\nraft: Dropped.\nCleveland phone book: Dropped.\nsecret map: Dropped.\nstool: Dropped.\nwicker basket: Dropped.\nflashlight: Dropped.\nrule book: You change your mind and stick it back in your back pocket instead.\nbrass bikini: You'll have to remove the brass bikini first.\n\n> Kiss frog\nYou lean forward with your eyes closed and your nose shut, but just as you are about to kiss the frog the creature lets loose a loud, croaking \"ribit.\" You admit that you are incapable of kissing under such circumstances.\n\n> You look in the basket\nYou'll have to open your eyes first.\n\n> You open eyes\nYou can once again sense with your eyes.\n\n> You look in the basket\nYou can see a clothes pin, a hunk of chocolate, a blanket, a scrap of paper, a matchbook, a coded message and a stick of lip balm.\n\n> You take the clothespin\nYou're already wearing the brass bikini.\n\n> You remove bikini\nBut the brass bikini is so becoming!\n\n> You put clothespin on the nose\nYou'll have to remove the brass bikini first.\n\n> Inventory\nYou have a rule book (stuck in your back pocket) and a brass bikini (being worn).\n\n> You put the pin on the nose\nYou pin your proboscis.\n\n> You open eyes\nYou can once again sense with your eyes.\n\n> You drop the ears\nYou can once again sense with your ears.\n\n> You cover the ears\n[What do you want to cover the ears with?]\n\n> Kiss frog\nYou lean forward with your eyes closed, your nose shut, your ears covered and your lips smeared with balm. Planting your mouth solidly against the frog's, you kiss deeply. When you feel a tongue sliding into your mouth, revulsion gives way to pleasure, as the no-longer-enchanted but quite enchanting prince presses against you. As your arms grip his naked, muscular back, he effortlessly slips off your brass bikini. A warm and wild feeling springs from your loins, spreading like a fiery potion through your veins. Within moments you are joined in passionate love, and just as a quick and lustful orgasm seems inevitable, a force crackles in the air, and you are alone, naked, sweating, and unsatisfied.\nAs you gather up your garment and put it on, you notice a common household blender on the ground. There's an engraving on its side. Tiffany is at the other end of the ruin, sifting through some rubble, oblivious to your \"experience.\"\n\n> You look at the blender\nThere's an engraving on its side.\n\n> You read the engraving\n\"Dearest,\nSorry to leave so abruptly; perhaps some day we will meet again,\nand finish what we began. Please accept this token of my gratitude for delivering me from enchantment.\"\n\n> You take all\nflashlight: Taken.\nwicker basket: Taken.\nstool: Taken.\nsecret map: Taken.\nCleveland phone book: Taken.\nraft: Taken.\nunreliable torch: Taken.\nrabbit: Taken.\n\n> You check what you're carrying\nYou have a rabbit, an unreliable torch, a raft, a Cleveland phone book, a secret map, a stool, a wicker basket, a flashlight, a common household blender, a stick of lip balm (smeared all over your lips), a clothes pin (pinned to your nose), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a hunk of chocolate, a blanket, a scrap of paper, a matchbook and a coded message.\n\n> You read the scrap\nThere's a seemingly meaningless matrix of letters on the paper: HESOHREBBUR\nILSSSIPNGEF\nRGIUGHTHDEN\nSNKOOBENOHP\nFALYTMERATP\nSHEADLIGHTO\nSLLABNOTTOC"
    },
    {
        "text": "[Themes: Science Fiction, Humor, sex, gorilla, silly, mad science]\n\n> Look around\nThis ancient castle now lies in ruins. (There do seem to be quite a few of them around here, eh?) All that remains of its once-proud ramparts are dust and rubble, and an occasional stone block. A path leads away from the ruin to the west. To the east: unchartable desert. Tiffany is here, alertly surveying your surroundings.\n\n> You go west\nAs you wander amidst these towering dunes of red Martian sand, you notice three distinct pathways: north, east, and west.\nTiffany loyally stays at your side.\n\n> You go west\nWind whistles among the fallen archways, crumbled balustrades, and black circle of this ruined castle. (It's no wonder this section of Mars is considered the Ruined Castle Capital of the Solar System.) Paths lead east and northwest through the rubble.\nTiffany loyally stays at your side.\n\n> You enter the circle\nYou're sucked into the hole in a direction that isn't down, but neither is it one of the other directions with which you're familiar.\n\nThis is a moist cellar. Soft light trickles down the stairway.\nA few seconds later, you see Tiffany's big toe appear, followed\nalmost immediately by the rest of her."
    },
    {
        "text": "[Themes: Science Fiction, Humor, mad science, Mars, sidekick NPC, Venus, mad scientist, science fiction, sexual content, suggestive content]\n\n> You describe your surroundings\nThis is a moist cellar. Soft light trickles down the stairway.\nTiffany is here, alertly surveying your surroundings.\n\n> Go upwards\nA wide cell door lies open to the north, and a narrow cell door\nlies open to the south. The hallway ends at a gleaming metal door to the west, and continues east. Something, possibly this very sentence, tells you that it would be dangerous to travel east or west. A sign is posted next to the stairs which lead both upwards and downwards. Tiffany enters just a few steps behind you."
    },
    {
        "text": "[Themes: Science Fiction, Humor, Venus, lewdness setting, gender choice, Mars, science fiction, sex, pulpy]\n\n> You look at your surroundings\nWind whistles among the fallen archways, crumbled balustrades, and black circle of this ruined castle. (It's no wonder this section of Mars is considered the Ruined Castle Capital of the Solar System.) Paths lead east and northwest through the rubble.\nTiffany is here, counting on her fingers and mumbling to herself.\n\n> You go northwest\nThis dock, which extends north into a broad canal, is crafted of\nfine woods from across the solar system: hickory wood from the forests of Earth, and dickory wood from the jungles of Venus. A path leads south.\nYou spot a little white marsmouse running along the dock.\nTiffany follows you.\n\n> You take the mouse\nThe little fellow scurries easily away from you.\n\n> You check what you're carrying\nYou have a rabbit, an unreliable torch, a raft, a Cleveland phone book, a secret map, a stool, a wicker basket, a flashlight, a common household blender, a stick of lip balm (smeared all over your lips), a clothes pin (pinned to your nose), a rule book (stuck in your back pocket) and a brass bikini (being worn). It seems that the wicker basket contains a hunk of chocolate, a blanket, a scrap of paper, a matchbook and a coded message.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Science Fiction, robots, science fiction]\n\nSUSPENDED: INTERLOGIC Science Fiction\n\nSUSPENDED and INTERLOGIC are trademarks of Infocom, Inc.\n\nFC ALERT! Planetside systems are deteriorating. FC imbalance detected. Emergency reviving systems completed. You are now in control of the complex.\n\nSENSA INTERRUPT: Seismic aftershock detected ten meters north of Beta FC. Tremor intensity 9.7. Projected damage: connecting cables in Primary and Secondary Channels.\n\nFC INTERRUPT: All Robots, report locations.\n\nIRIS: In the Weather Monitors.\nWALDO: In the Gamma Repair.\nSENSA: In the Central Chamber.\nAUDA: In the Entry Area.\nPOET: In the Central Chamber.\nWHIZ: In the Advisory Peripheral.\n\n[Author's Note: They said you would sleep for half a millennium - not an unreasonable length of time, considering you'd be in limited cryogenic suspension. Your body would rest at the planet's nerve center, an underground complex 20 miles beneath the surface. Your brain, they told you, would be wired to a network of computers; your mind would continue to operate at a minimal level, overseeing maintenance of surface-side equilibrium. And you would not awake, so they promised, until your 500 years had elapsed - barring, of course, the most dire emergency. Then, and only then, you would be awakened to save your planet by strategically manipulating six robots, each of whom perceives the world differently. But such a catastrophe, you have been assured, could not possibly occur. Good morning.]\n\n> Impossible\nFC: Okay, you asked for it...\n\nFC INTERRUPT: External sensors detect huge radiation abnormalities in the star which provides Contra with all light and heat.\n\nWARNING! TIME CRITICAL!!\n\nExternal sensors detect significant instability in the star.\n\n> You look\nGet me a seeing-eye robot.\n\n> Go west\nGet me a seeing-eye cane. Without my visual function, I'm worthless.\n\nFC INTERRUPT: Oh oh. Abnormalities in star approaching critical level. [9]       NOVA IMMINENT!\n\nSo long from all the gang -- Iris, Waldo, Sensa, Auda, Poet, Whiz, FRED, and last but not least, we three FCs.\n\n> You examine monitors\nFC: Cryolink already established to Iris.\nFC: Which monito do you mean, the Hydroponics Monitors, the Transit Monitors, or the Weather Monitors?\n\n> Hydroponics\nThat's difficult for me to do until my visual function has been repaired.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay. Auditory circuits activated.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\n> You open the object\nFC: Cryolink already established to Waldo.\nI don't detect any easy way to do that.\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nIn the room with me is Poet.\n\n> You examine poet\nAll types of energy flow into Poet, especially through its collector plates at the ends of its two extensions. He is a meter high.\n\n> You ask Poet,  to look around\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Central Chamber\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me is Sensa.\n\n> You examine SENSA\nSensa is sensitive to sensations and is about one meter in height.\n\n> You ask Whiz,  to look around\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You examine peripheral\nFC: Which periph do you mean, the Historical Peripheral, the Advisory Peripheral, the Technical Peripheral, or the Index Peripheral?\n\n> Advisory\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You take advisory pedestal\nHuh? You talking to me?\n\n> You plug in\nIt's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\n> You look up the iris\nFC: I don't understand that sentence.\n\n> You ask about the iris\nAP: Iris can be best used to monitor the monitors surrounding the Central Chamber.\nWaldo should remove the maintenance panel and replace all faulty chips.\n\n> You go to the iris\nFC: Cryolink established to Waldo.\nFC: Iris's location: Weather Monitors. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You ask Poet,  to look around\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Central Chamber\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me is Sensa.\n\n> You kill yourself\nI'll open the sweet home and see what I can do.\nOkey Dokey. Man, you look like death warmed over!\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out a shape outside, holding onto the door of the cylinder, and then everything goes dark.\n\nSUSPENDED: INTERLOGIC Science Fiction\n\nSUSPENDED and INTERLOGIC are trademarks of Infocom, Inc.\n\nFC ALERT! Planetside systems are deteriorating. FC imbalance detected. Emergency reviving systems completed. You are now in control of the complex.\n\nSENSA INTERRUPT: Seismic aftershock detected ten meters north of Beta FC. Tremor intensity 9.7. Projected damage: connecting cables in Primary and Secondary Channels.\n\nFC INTERRUPT: All Robots, report locations.\n\nIRIS: In the Weather Monitors.\nWALDO: In the Gamma Repair.\nSENSA: In the Central Chamber.\nAUDA: In the Entry Area.\nPOET: In the Central Chamber.\nWHIZ: In the Advisory Peripheral.\n\n> You go to the history\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> Look around\nCLC tagged object before me is the Historical pedestal.\n\nWHIZ: CLC indicates matched arrival coordinates at the Historical Peripheral.\n\n> You plug in\nIt's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\n> You ask about complex\nHP: The Complex was started on this terraformed planet to provide the surface-side dwellers with a simpler, easier life. The Complex was built 122 years after the planet was settled, and was designed to operate on its own, with human intervention required only by emergency situations.\n\n> You ask about the Whiz\nHP: Built before the complex was completed, Whiz was a bit of a mistake since he should have been able to plug directly into the CLC.\n\n> You ask about the iris\nHP: Iris is a visual robot, a descendant of the simple photon receptors, placed within the complex at its inception.\n\n> You ask about Poet\nHP: Poet, historically speaking, has been of extreme value in pinpointing exact causes of electrical breakdown.\n\n> You ask about the Auda\nHP: Auda, part of the Complex's original equipment, was built as an interface between human visitors and you.\n\n> You ask about WALDO\nHP: Waldo is part of the Complex's original equipment, provided by the Frobozz Engineering Corporation at no extra cost.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Weather Monitors.\n\n> You look\nCLC tagged object before me is the Historical pedestal.\n\n> You examine the pedestals\nHP: No data available on that subject from the Historical Pedestal.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\n\n> You look at Iris\nIris feels extremely delicate and is under a meter in height. My pressure extensions detect a maintenance panel which should be accessible to me.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You open the iris's panel\nFC: I don't know the word 'iris's'.\n\n> You open maintenance panel\nFC: Cryolink established to Poet.\nPOET: I can't accept the existence of any maintenance panel here.\n\n> You unplug\nFC: Cryolink established to Whiz.\nWHIZ: Unplugged.\n\n> You go to Advisory\nFC: Cryolink already established to Whiz.\nCLC setting coordinates. Will report in on arrival.\n\n> You ask Waldo,  to check your inventory\nFC: Cryolink established to Waldo.\nWALDO: My extensions grasp nothing.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Advisory Peripheral.\n\n> You ask about seventh robot\nFC: Cryolink established to Whiz.\nWHIZ: The CLC cannot confirm the presence of any seventh robot here.\n\n> You plug in\nFC: Cryolink already established to Whiz.\nIt's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\n> You ask about the seventh robot\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Sorry, but I don't have any reference to that one.\n\n> You ask about the extensions\nFC: Cryolink already established to Whiz.\nAP: No data available on that subject from the Advisory Pedestal.\n\n> You ask about WALDO\nFC: Cryolink already established to Whiz.\nAP: With his microsurgery extension installed, there's little he can't do.\n\n> You ask about the franklin\nFC: Cryolink already established to Whiz.\nAP: No data available on that subject at this peripheral.\n\n> You ask about the gregroy franklin\nFC: Cryolink already established to Whiz.\nFC: I don't know the word 'gregroy'.\n\n> You ask about the gregory franklin\nFC: Cryolink already established to Whiz.\nFC: I don't understand that sentence.\n\n> You ask about microsurgery\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nAP: It looks like a simple waldo for Waldo, in a sense. It has small extensions on it which could probably be used for micro-surgery or something like that.\n\n> You go to technical\n(Unplugging first.)\nCLC setting coordinates. Will report in on arrival."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You describe your surroundings\nCLC tagged object before me indicates it is the Technical pedestal.\n\nWHIZ: CLC indicates matched arrival coordinates at the Technical Peripheral.\n\n> You plug in\nIt's great to be home. Plugged in to the Technical Pedestal. Ready to process queries.\n\n> You ask about Waldo\nTP: Waldo is a multi-extensioned robot, capable of extremely delicate operations.\n\n> You ask about the microsurgery\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: No data available on that subject at this peripheral.\n\n> You ask about the peripherals\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Sorry, but I don't have any reference to that one.\n\n> You ask about Poet\nTP: Poet has two sensors located at the end of his extensions.\n\n> You ask about WHIZ\nTP: Whiz is useful for interfacing with the CLC.\n\n> You ask about SENSA\nTP: Sensa contains sensory pads and mechanisms for detecting abnormal activity.\n\n> You go to the index\n(Unplugging first.)\nCLC setting coordinates. Will report in on arrival."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> You describe your surroundings\nCLC identifier shows the object before me as the Index pedestal.\n\nWHIZ: CLC indicates matched arrival coordinates at the Index Peripheral.\n\n> You plug in\nIt's great to be home. Plugged in to the Index Pedestal. Ready to process queries.\n\n> You ask about WHIZ\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\nIP: Data available from the Historical Pedestal.\n\n> You ask about the microsurgery\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nIP: Data available from the Advisory Pedestal.\n\n> You ask Waldo,  to go to the west\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Main Supply Room\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\n\n> You ask Waldo,  to go south\nFC: Cryolink already established to Waldo.\nInternal map reference -- Middle Supply Room\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\nSonar detects an arm-shaped extension lying nearby.\n\n> You take the extension\nTaken.\n\n> You check your inventory\nI am grasping...\nA usable extension\n\n> You attach the extension\nFC: What do you want to attach the extension to?\n\n> You go north\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\n\n> You go east\nThis large area has smooth walls.\nIn the room with me is Iris.\n\n> You open the maintenance panel\nWhen I open the smooth metal panel I detect a smooth device, a bumpy device, and a rough device.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Weather Monitors\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me are Iris and Waldo.\nWaldo is carrying a grasper.\n\n> You examine Waldo\nWaldo, ah Waldo. He builds and creates wonders which are a delight to behold and is about one meter in height.\nWaldo is carrying a grasper.\n\n> You look at IRIS\nThe door is open and behind it I detect a brain zero, a brain dos, and a brain uno.\n\nIRIS INTERRUPT: You may not be aware of this, but I'm not working. I need to get repaired.\n\n> You rewire brain uno\nFC: I don't know the word 'rewire'.\n\n> You get the brain uno\nFC: Cryolink established to Waldo.\nWALDO: Taken.\n\n> Kiss iris\nFC: Cryolink already established to Waldo.\nWith what, my hands?\n\n> You ask Waldo,  to inventory\nFC: Cryolink already established to Waldo.\nI am grasping...\nA rough device\nA usable extension (being worn)\n\n> You fix the brain uno\nFC: Cryolink already established to Waldo.\nIt doesn't seem to be in need of repairs.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Main Supply Room\nThis is another fine mess you've got me into. Umm, umm umm! A processor sits on the floor, munching and spitting electrons. Button, button, who's got the button while the socks ablaze with color. A brain tres sits in the primo socket, and a brain quart sits in the secondary socket.\n\n> Go east\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me are Iris and Waldo.\nWaldo is carrying a brain uno, and a grasper.\n\n> You give the tres to Waldo\nGiven.\n\n> You put the tres in Iris\nFC: Cryolink established to Waldo.\nWALDO: Done.\n\n> You look at Iris\nThe smooth metal panel is open and behind it I detect a disfigured device, a smooth device, and a bumpy device.\n\n> Close panel\nClosed.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nEverything is dark.\n\n> You open the panel\nFC: Cryolink established to Waldo.\nWALDO: When I open the smooth metal panel I detect a disfigured device, a smooth device, and a bumpy device.\n\n> You get the tres\nFC: Cryolink already established to Waldo.\nTaken.\n\n> You ask Waldo,  to go west\nFC: Cryolink already established to Waldo.\nInternal map reference -- Main Supply Room\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. The first depression is empty, but a bubbly device sits in the second depression.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Main Supply Room\nThis is another fine mess you've got me into. Umm, umm umm! A processor sits on the floor, munching and spitting electrons. Button, button, who's got the button while the socks ablaze with color. The primo socket is empty, but a brain quart sits in the secondary socket.\nIn the room with me is Waldo.\nWaldo is carrying a brain tres, a brain uno, and a grasper.\n\n> You ask Poet,  to go south\nFC: Cryolink already established to Poet.\nInternal map reference -- Middle Supply Room\nFrom junk we spring, to junk we go.\nContained spirits, like thoughts, fly from reach.\nThe basket of goodies for Grandma contains...\nA brain plain\nA brain quartet\nA brain trio\nA brain two\nA brain zip\nThere is a sixteen-inch cable here.\n\n> You ask Waldo,  to go south\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Middle Supply Room\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nIn the room with me is Poet.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You ask Waldo,  to go to the east\nFC: Cryolink already established to Waldo.\nInternal map reference -- Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\n\n> You open the panel\nIt's already open.\n\n> You check your inventory\nI am grasping...\nA rough object\nA disfigured device\nA rough device\nA usable extension (being worn)\n\nIRIS INTERRUPT: Hey, I could really help a lot if you fixed me. All it takes is one little IC.\n\n> You put the rough object in IRIS\nDone.\n\nIRIS INTERRUPT: OOOH! That felt good! Close my panel, big boy.\n\n> Close panel\nClosed.\n\nIRIS INTERRUPT: You never looked so good.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 20   WINDS: 88\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 11\nTower 3 -- 55\nIn the room with me is Waldo.\nWaldo is carrying a burned chip, a blue chip, and a microsurgery extension."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You go to the middle supply room\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You ask Auda,  to look around\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west.\n\n> Go west\nA small hissing can be detected overhead, as if a small port leaked a semi-liquid compound.\n\n> You ask Auda,  to go west\nFC: Cryolink already established to Auda.\nInternal map reference -- Sterilization Chamber\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here.\n\n> You go west\nCLC WARNING!! Further westward movement prohibited to all robots."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Describe the surroundings\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nEverything is dark.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Moving through Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\nWALDO: My extensions grasp nothing.\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nIn the room with me is Poet.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Sterilization Chamber\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\nFC: Full report from POET\nPOET: Internal map reference -- Central Chamber\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me is Sensa.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You go to the east\nThe air here is very still.\n\n> You go east\nI am in the Activities Area.\n\n> You go to the east\nI am in the Sleep Chamber.\n\n> You go south\nI am in the Hallway Corner.\n\n> You go south\nI am in the Hallway Branch.\n\n> You go to the east\nI am in the Maintenance Access.\nI can hear hissing coming from high overhead here.\n\n> You go south\nI am in the Library Entrance.\n\n> You go west\nI am in the Library Core.\n\n> Go south\nI can hear the crackling of ozone in the air to the east.\nThe crackling ozone is muffled by a large object sitting before it.\nI can detect nothing inside of it.\n\n> You ask Waldo,  to describe your surroundings\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Middle Supply Room\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\nSonar detects an arm-shaped extension lying nearby.\n\n> You go to the middle supply room\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You ask Poet,  to go northeast\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Angling Corridor\nThrough which it all flows, we are as one.\nSensa is off to the southwest.\n\n> You go to the northeast\nInto all lives the flow proceeds, weaving its web of mystery like that of an enigmatic spider.\nSensa is off to the southwest.\n\n> You go to the east\nLife is filled with choice. Decisions always make my eyes moist.\n\n> You go east\nThe great interpreter of all our daily occurences lies ahead, while a walk in the sky waits for me to the northeast.\nWaldo is in motion off to the west.\n\n> You go northeast\nWhisk me away, zip me today.\nCome out far, far far away.\nMail me home, pop me to stay\nFlung to the north, where I can't say.\n\n> You ask Waldo,  to describe your surroundings\nFC: Cryolink established to Waldo.\nWALDO: Moving through Angling Corridor\nI am in a narrow, long, straight tunnel with smooth walls.\n\n> Poet north\nFC: I can't use the word 'n' here.\n\n> You ask Poet,  to go north\nFC: Cryolink already established to Poet.\nInternal map reference -- Skywalk Alpha\nPop the message in the tube and out comes the medium massage.\n\n> Go north\nSlippin' 'n' slidin', turn the dials and we'll be ridin'.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Moving through Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\n\n> You examine the first dial\nThe dial can be set from 0 to 100 and is in proper working order.\nThe first dial is set at 55.\n\n> You look at second dial\nThe dial can be set from 0 to 100 and is in proper working order.\nThe second dial is set at 55.\n\n> You turn the dial to 75\nFC: Which dial do you mean, the first dial, the second dial, or the third dial?\n\n> You turn the second dial to 75\nThe second dial has been set to 75.\n\n> You go south\nPop the message in the tube and out comes the medium massage.\n\n> Go west\nPop the message in the tube and out comes the medium rare.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\n\n> You go to Iris\nFC: Iris's location: Weather Monitors. Establishing path...\nI'm on my way. Expect a report on arrival.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You get the rough object\nTaken.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You go to Iris\nFC: Iris's location: Weather Monitors. Establishing path...\nI'm on my way. Expect a report on arrival.\n\n> You ask Poet,  to go north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Hydroponics Control Area\nPush a lever and out pops a food pellet. What a life for a rat.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\n\n> You go to the south\nPop the message in the tube and out comes the medium rare.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Weather Monitors.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nI can't see.\nIRIS: I am holding nothing in my dainty extensions.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\nFC: Full report from WALDO\nWALDO: Internal map reference -- Middle Supply Room\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\nSonar detects an arm-shaped extension lying nearby.\nWALDO: My extensions grasp nothing.\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nWhere's my white cane?\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Middle Supply Room\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\nSonar detects an arm-shaped extension lying nearby.\nWALDO: My extensions grasp nothing.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\nFC: Full report from POET\nPOET: Internal map reference -- Weather Control Area\nSlippin' 'n' slidin', turn the dials and we'll be ridin'.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> Unod\nUndefined command."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nWhisk me away, zip me today.\nCome out far, far far away.\nMail me home, pop me to stay\nFlung to the north, where I can't say.\n\n> You ask Poet,  to go to the north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Skywalk Alpha\nPop the message in the tube and out comes the medium massage.\n\n> You go west\nPop the message in the tube and out comes the medium rare.\n\n> Go west\nPop the message in the tube and out comes the medium massage.\n\n> Go north\nHacks and Hackies, drivers all.\nControl the flow and nothing falls\nExcept for those up in the air\nBut all in all, what's best is fair.\nThey roam around in tough young gangs\nand corner those with metal fangs\nThey zip along and throw you free\nLike Broncos on the wild prairie.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\n\n> You take all\nFC: Cryolink established to Waldo.\n(hollow container) WALDO: Taken.\n(sixteen-inch cable) WALDO: Taken.\n(usable extension) WALDO: Taken.\n\n> You wear the extension\nIt's now being worn.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You touch the hack\nFC: I don't know the word 'hack'.\n\n> You touch them\nFC: I don't know the word 'them'."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\n\n> You touch the hack\nFC: Cryolink established to Poet.\nFC: I don't know the word 'hack'.\n\n> You touch the taxis\nFC: I don't know the word 'taxis'.\n\n> You open the panel\nFC: Cryolink established to Waldo.\nWALDO: When I open the smooth metal panel I detect a smooth device, a bumpy device, and a rough device.\n\n> You ask Iris,  to go west\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A burned chip sits in the red socket, and a fried chip sits in the yellow socket.\n\n> IRIS, ,LOOK AT MONITOR\nFC: I don't know the word 'x'.\n\n> Examine monitor\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 34   WINDS: 46\nPRECIPITATION: a torrential sleet\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 32\nTower 3 -- 55\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\n\n> You ask Poet,  to go east\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Skywalk Alpha\nPop the message in the tube and out comes the medium massage.\n\n> Keep going\nFC: I don't know the word 'g'.\n\n> You go to Weather Control Area\nFC: Cryolink already established to Poet.\nAll life's a stage, so just consider me a player. See you.\n\nPOET: As much as I can be anyplace, I'm here at the Weather Control Area.\n\n> You set the second dial to 98\nThe second dial has been set to 98.\n\n> Examine monitor\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 32   WINDS: 52\nPRECIPITATION: a raging sleet storm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 29\nTower 3 -- 55\nThrough the monitors I can see Poet in the Weather Control Area.\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\n\n> You go to the hallway junction\nFC: Cryolink already established to Iris.\nGot it, good looking. I'll let you know when I get there.\n\n> You go to the hallway junction\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\nIRIS INTERRUPT: Internal mapping doesn't extend from Central Chamber to Angling Corridor. I'm waiting for alternate instructions.\n\n> You go to the hallway junction\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\n> You go to the middle supply room\nFC: Cryolink established to Iris.\nIRIS: Got it, good looking. I'll let you know when I get there.\n\n> You ask Auda,  to look around\nFC: Cryolink established to Auda.\nAUDA: Moving through Activities Area\nI am in the Activities Area.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Hallway Junction.\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Outer Library Area\nI can sense strong data emanations coming from the south, channeling through this hallway to the northern junction.\n\n> You ask Sensa,  to go north\nFC: Cryolink already established to Sensa.\nInternal map reference -- Hallway Junction\nI detect a strong flux of energy here -- transmissions of all types meeting as if at the hub of some giant wheel.\n\n> You plug in\nFC: Cryolink established to Whiz.\nWHIZ: It's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\nIRIS INTERRUPT: I've reached my destination, the Middle Supply Room.\n\n> You ask about the weather control room\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: This is very embarrassing, but I can't seem to find that one.\n\n> You ask Auda,  to look around\nFC: Cryolink established to Auda.\nAUDA: Moving through Hallway\nI'm in an east/west hallway."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nI am in the Access Hallway.\nSensa is off to the south.\n\n> You go to the alpha repair\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\nAUDA INTERRUPT: Holy earwax. I can't get from Sloping Corridor to Hallway Junction. I'm listening for additional instructions.\n\n> You ask Iris,  to look at your surroundings\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Middle Supply Room\nThis is the middle of an L-shaped supply room. Scattered about on the floor are all kinds of debris. Nothing looks salvageable.\n\n> You go north\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A burned chip sits in the red socket, and a fried chip sits in the yellow socket.\n\n> You ask Auda,  to look at your surroundings\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Sloping Corridor\nI am in the Sloping Corridor.\nSensa is off to the south.\n\n> You go to IRIS\nFC: Cryolink established to Waldo.\nFC: Iris's location: Main Supply Room. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You go to IRIS\nFC: Cryolink already established to Waldo.\nFC: Iris's location: Main Supply Room. Establishing path...\nI'm on my way. Expect a report on arrival.\n\n> You go to Hallway Junction\nFC: Cryolink established to Sensa.\nSENSA: Sensory mechanisms detect that I am where you want me to be already.\n\n> You ask Sensa,  to go to the north\nFC: Cryolink already established to Sensa.\nI can't climb the step.\n\n> You go to the east end\nFC: Cryolink already established to Sensa.\nOrder input acknowledged. Output on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Main Supply Room.\n\n> IRIS, ,EXAMINE CONTAINER\nFC: I don't know the word 'x'.\n\n> Examine container\nFC: Cryolink established to Iris.\nIRIS: It is a small, wire basket, designed for robot gripping extensions.\n\n> You look in the basket\nFC: Cryolink already established to Iris.\nThe little wire basket contains...\nA plaid IC\nA green IC\nA yellow IC\nA red IC\n\n> Finger eu\nFC: I don't know the word 'finger'.\n\n> You get burned chip\nTaken.\n\nSENSA INTERRUPT: Sensory input filters not working reliably.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the East End.\n\n> You get the fried chip\nTaken.\n\n> You put the red ic in the red socket\nFC: Cryolink established to Waldo.\nWALDO: Done.\n\nSENSA INTERRUPT: Warning: Unable to process data correctly.\n\n> You ask Sensa,  to describe your surroundings\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\n\n> Go northeast\nSensory mechanisms detect a tremendous channeling and flow of electrical and data energy into an object surrounding me. Sensors detect a similar channeling to an object to the south.\n\nSENSA INTERRUPT: SYSTEM FAILURE: Unable to continue.\nOh oh. Trouble ....\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Iris.\n\n> Go west\nPhoton receptors indicate this area is extremely large.\nLight is diffracted in this area and an analysis shows it is composed of a slowly-working acid. The source of the mist comes from below.\n\nSENSA INTERRUPT: SYSTEM FAILURE: Unable to continue.\nOh oh. Trouble ....\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Iris.\n\n> You ask Waldo,  to look at your surroundings\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Main Supply Room\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A smooth object sits in the first depression, but the second depression is empty.\nIn the room with me is Iris.\nIris is carrying a bubbly device, a disfigured device.\n\n> You put the yellow chip in the yellow socket\nFC: Cryolink already established to Waldo.\nNeither sonar nor extensions detect any yellow chip here.\n\n> You get the yellow ic\nFC: Cryolink already established to Waldo.\nTaken.\n\n> You put the yellow ic in the yellow socket\nFC: Cryolink already established to Waldo.\nDone.\n\n> You ask Iris,  to look at your surroundings\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The orange button is flashing.\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\n\n> You examine circles\nFC: Which circle do you mean, the first circle, the second circle, the third circle, the fourth circle, the fifth circle, the sixth circle, the seventh circle, or the eighth circle?\n\n> You examine the first circle\nThe circle has some lettering on it which says FOO.\n\n> You examine the panel\nFC: Which panel do you mean, the front panel or the maintenance panel?\n\n> You look at the front panel\nOn the panel are a series of eight circles. Each of these circles has a three letter code printed on it. The three letters correspond to half of the Filtering Computers' reset code.\n\n> You examine second circle\nThe circle has some lettering on it which says MUM.\n\n> You look at third\nThe circle has some lettering on it which says BLE.\n\n> You look at fourth\nThe circle has some lettering on it which says BAR.\n\n> You examine fifth\nThe circle has some lettering on it which says KLA.\n\n> You look at sixth\nThe circle has some lettering on it which says CON.\n\n> You look at seventh\nThe circle has some lettering on it which says BOZ.\n\n> You examine eighth\nThe circle has some lettering on it which says TRA.\n\n> You ask Iris,  to go east\nFC: Cryolink already established to Iris.\nInternal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 46   WINDS: 12\nPRECIPITATION: a light drizzle\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 49\nTower 3 -- 55\nThrough the monitors I can see Poet in the Weather Control Area.\n\n> Go east\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\n\n> You go south\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 141000\nTAXIS IN USE: 73000\nGLIDE RAMP SPEEDS: 30 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 00\n\n> You go east\nThrough the monitors I can see the following information:\n\nWATER: 70      70      =\nMINERALS: 30      30      =\nLIGHTING: 50      50      =\nFOOD TONS: 100            optimal\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\n\n> You ask Sensa,  to go northeast\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Angling Corridor\nI am in the Angling Corridor.\n\n> You go east\nSensors indicate a dead-end that way.\n\n> You go northeast\nVibrational activity picked up, though intensity too slight to determine locational fix at this point.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 32   WINDS: 52\nPRECIPITATION: a raging sleet storm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 29\nTower 3 -- 55\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Bending Corridor\nVibrational activity picked up, though intensity too slight to determine locational fix at this point.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You go to the east\nI detect a strong flux of energy here -- transmissions of all types meeting as if at the hub of some giant wheel.\n\n> Go east\nFriendly vibrations can be detected from the southeast.\n\n> You go to the south-east\nMy receptors are picking up strong data transmissions to the west of here. Overhead I can trace an electrical flow that continues to the southeast.\n\n> Go southeast\nThe data transmissions are still detectable from the west. This area is filled with all kinds of electrical devices and what seems like motors.\n\n> You go south\nStrong electrical interference can be detected within this environment. The conveying mechanism is not in motion.\n\n> Go south\nI detect slight vibrational activity from a conveying mechanism.\nThe conveying mechanism is not in motion.\n\n> Touch mechanism\nNot me, man. Better ask someone else.\n\n> Go south\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nA large object emits strange flows, its surface a tracery of filament-like circuitry. The circuitry is concentrated near the center of one side.\n\n> You examine the object\nConcentrated on the front surface of the large object is a flowswitch.\n\n> Examine flowswitch\nI feel the vibrations running through this flowswitch. The outer plate and the inner plates must be aligned properly for it to work.\n\n> You turn flowswitch\nThe flow of electrons aligns and the panel opens.\nMiles of circuitry rest within the device sitting here, though it no longer seems operational.\n\n> You look\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nThere is a large object here.\nThe large object contains...\nA broken device\n\n> You get the device\nI can't manage it. The broken device is too heavy.\n\n> You go to the alpha repair\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You ask Iris,  to go south\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Sub Supply Room\nI am in a sub-station of the supply rooms. The room is small, with debris littering the floor.\nA steep, wedge-shaped ramp sits under some rubble near the wall.\nA broken shelf lies on the floor in a terrible state, beyond use.\n\n> You go west\nThis is the middle of an L-shaped supply room. Scattered about on the floor are all kinds of debris. Nothing looks salvageable.\n\n> You go north\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A burned chip sits in the red socket, and a fried chip sits in the yellow socket.\n\n> You go to Sub Supply Room\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nWALDO: Internal mapping indicates arrival at the Sub Supply Room.\n\n> You get the ramp\nFC: Cryolink already established to Waldo.\nTaken.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Alpha Repair.\n\n> You look\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Alpha Repair\nRunning, running, getting nowhere amid the hustle and bustle of life. The glider is not in motion.\n\n> You go south\nWe're getting nowhere fast, glider, but at least we're not getting there slowly.\nThe glider is not in motion.\n\n> Go south\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nIn the room with me is Sensa.\nThere is a cage here.\nThe cage contains...\nA FRED\n\n> You talk to the fred\nFC: I don't know the word 'talk'.\n\n> You ask about the fred\nFC: Cryolink established to Whiz.\nWHIZ: The CLC cannot confirm the presence of any fred here.\n\n> You look\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You go northeast\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Technical Pedestal. Ready to process queries.\n\n> You ask about the fred\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This robot is a dead and departed robot who is totally beyond repair.\n\n> You unplug\nUnplugged.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You put the ramp on the step\nFC: Cryolink established to Waldo.\nThe solid wedge has been positioned at the step.\n\n> Go north\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nThe solid wedge is positioned by the step.\n\n> You go south\nSonar detects an intersection here, with a small dropoff to the north. The solid wedge is positioned by the step.\n\n> You ask Whiz,  to look around\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Technical Pedestal. Ready to process queries.\n\n> You ask about AUDA\nTP: Auda has two dish antennae which function as 'ears'.\n\n> You ask about WHIZ\nTP: Whiz is useful for interfacing with the CLC.\n\n> You ask about Iris\nTP: Contained within Iris is a maintenance panel and some visual processors.\n\n> You go to the fred\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any fred here.\n\n> You go to the skywalk beta\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\n> You go to Maintenance Access\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You tell you about your dreams\nFC: I don't know the word 'tell'.\n\n> You ask Auda,  to go west\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Decontamination Chamber\nA small hissing can be detected overhead, as if a small port leaked a semi-liquid compound.\n\n> Go west\nI have reached the end of the western passage.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\n\n> You examine the mechansim\nFC: Which mechan do you mean, the walkway or the broken mechanism?\n\n> Touch mechanism\nFC: Which mechan do you mean, the walkway or the broken mechanism?\n\n> You get the broken mechanism\nI can't manage it. The broken mechanism is too heavy.\n\n> You touch fred\nFC: Cryolink established to Poet.\nPOET: Sensory pads detect no abnormal flow.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway T\nA low whirring noise, barely audible, can be detected from the west. Poet is in motion off to the east.\n\n> You go to the east\nI can hear some slight noise coming from the north and the west, though it is too distant to accurately describe.\nPoet is in motion off to the east.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Skywalk Beta.\n\n> You ask Sensa,  to go north\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Hydroponics Control Area\nI am in a small room whose primary purpose is obvious by tracing the flow of electrons. The three levers before me are linked to the Hydroponics section, and they control the nutrient levels in the hydroponics tanks.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\n\n> You go west\nA low whirring noise, barely audible, can be detected from the west. Poet is in motion off to the east.\n\n> Arr\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Maintenance Access.\nFC: Full report from IRIS\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A burned chip sits in the red socket, and a fried chip sits in the yellow socket.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Skywalk Beta\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here. Similar disturbances can be detected from the east and west.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Hallway T\nA low whirring noise, barely audible, can be detected from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Maintenance Access\nRound and round she goes, where she stops, nobody knows.\nThe turning of the screw, like the delicate machinations of life, goes on far out of the reach of ordinary mortals.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal. WHIZ: CLC feedback indicates I carry nothing.\nPlugged in at Technical Pedestal.\n\n> You ask Sensa,  to go west\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Gamma\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here.\n\n> Go north\nI am in a room which has three switching devices. These devices connect directly to the surface.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Maintenance Access.\n\n> You examine the devices\nFC: Which device do you mean, the first device, the second device, or the third device?\n\n> You turn on the first device\nIt's already on.\n\n> You turn off the first device\nDone.\n\n> You ask Iris,  to go east\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 20   WINDS: 88\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 11\nTower 3 -- 55\n\n> Go east\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\n\n> Go south\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 88000\nGLIDE RAMP SPEEDS: 75 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 90\nGLIDE RAMP CASUALTIES: 90\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You turn off the second device\nFC: Cryolink established to Sensa.\nSENSA: Done.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 80 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 1000\nGLIDE RAMP SPEEDS: 70 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 10\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You turn on first\nFC: Cryolink already established to Sensa.\nDone.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 2000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 55 mph\nFLOATER CRASH RATE: 10\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 50 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 20\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You look\nFC: Cryolink already established to Iris.\nInternal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 55 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 30\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 55 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> You look\nFC: Cryolink already established to Iris.\nInternal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 50 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> Again\nFC: I don't know the word 'again'."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 45 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area."
    },
    {
        "text": "[Themes: Science Fiction, robots, science fiction]\n\n> You look at your surroundings\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 40 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 10\nThrough the monitors I can see Sensa in the Transit Control Area.\n\n> Go east\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Gamma\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here.\n\n> You set the first lever to 80\nThe first lever has been set to 80.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 60      80     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 55             fair\nThrough the monitors I can see Sensa in the Hydroponics Control Area.\n\n> You set the first lever to 90\nFC: Cryolink established to Sensa.\nSENSA: The first lever has been set to 90.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 65             fair\nThrough the monitors I can see Sensa in the Hydroponics Control Area.\n\n> You set the second lever to 45\nFC: Cryolink established to Sensa.\nSENSA: The second lever has been set to 45.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 30      50     low\nFOOD TONS: 80            optimal\nThrough the monitors I can see Sensa in the Hydroponics Control Area.\n\n> You set the third lever to 70\nFC: Cryolink established to Sensa.\nSENSA: The third lever has been set to 70.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\nThrough the monitors I can see Sensa in the Hydroponics Control Area.\n\n> You wait awhile\nFC: Time passes...\n\n> You set first lever to 70\nFC: Cryolink established to Sensa.\nSENSA: The first lever has been set to 70.\n\n> You set the second lever to 30\nFC: Cryolink already established to Sensa.\nThe second lever has been set to 30.\n\n> You set third lever to 50\nFC: Cryolink already established to Sensa.\nThe third lever has been set to 50.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nThrough the monitors I can see Sensa in the Hydroponics Control Area.\n\n> You wait a while\nFC: Time passes...\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Moving through Rising Passage\nInternal mechanisms indicate this area joins two different levels. SENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Hallway\nI can hear some slight noise coming from the north and the west, though it is too distant to accurately describe.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Maintenance Access\nRound and round she goes, where she stops, nobody knows.\nThe turning of the screw, like the delicate machinations of life, goes on far out of the reach of ordinary mortals.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal. WHIZ: CLC feedback indicates I carry nothing.\nPlugged in at Technical Pedestal.\n\n> You ask about Hydroponics\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: This is very embarrassing, but I can't seem to find that one.\n\n> You ask about the water\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nTP: This is a standard push-pull lever which controls the flow of water.\n\n> You ask about the food\nFC: Cryolink already established to Whiz.\nFC: I don't know the word 'food'.\n\n> You ask about the TAXIS\nFC: Cryolink already established to Whiz.\nFC: I don't know the word 'taxis'.\n\n> You ask about the first switch\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This is a simple off-on switch which cuts all power to the airborne floaters.\n\n> You ask about the second switch\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This simple off-on switch cuts all power to the auto-taxis which cruise the surface.\n\n> You ask about the third switch\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This off-on switch cuts all power to the moving walkways on the planet's surface.\n\n> You ask about the first dial\nFC: Cryolink already established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nTP: It is a simple dial with numbers etched into its surface.\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Moving through Southeast Junction\nFriendly vibrations can be detected from the southeast.\n\n> You ask Sensa,  to look around\nFC: Cryolink already established to Sensa.\nMoving through Hallway Junction\nI detect a strong flux of energy here -- transmissions of all types meeting as if at the hub of some giant wheel.\nThe dense wedge is positioned by the step.\n\n> You ask Sensa,  to go north\nFC: Cryolink already established to Sensa.\nInternal map reference -- Access Hallway\nPhotonic sensors detect a shift in reflective activity indicating a corridor which starts to the south.\nAuda is off to the west.\n\n> Go west\nThere are no abnormal disturbances to report within the permanent environment in this area.\nAuda is off to the west.\n\n> Go west\nI can perceive small vibrations emanating from the north. This general area seems to be chemically active.\nIn the room with me is Auda.\n\n> You go west\nI can detect a lot of electrical movement to the west from this location. A strong bath of ultraviolet can also be detected.\nAuda is off to the east.\n\n> You go to the west\nI have reached the end of the western passage.\nAuda is off to the east.\n\n> You go north\nI can detect a lot of electrical movement to the west from this location. A strong bath of ultraviolet can also be detected from the east.\nA small plaque radiates heat, sitting by the wall.\n\n> You read the plaque\nSure. Let me sense it...\n\nIt says emmak...\n\nI don't know. It seems to lose something in the translation. Iris might be more helpful in reading this.\n\n> Go east\nA quick analysis of the molecular structure of the air in this area shows the vestiges of a sterilization compound. In addition, an ultraviolet source can be detected directly overhead.\n\n> You examine the source\nFC: I don't know the word 'source'.\n\n> You examine the ultraviolet\nFC: I don't know the word 'ultraviolet'.\n\n> Go east\nI can detect a lot of electrical movement from the west. A strong bath of ultraviolet can also be detected.\n\n> You go east\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\n\n> You get the container\nI like that. You should bottle that request.\n\n> You look in the container\nThe strange container is closed.\n\n> Open container\nFC: Robots are restricted from opening this cabinet.\n\n> You go east\nThere seems to be a complete absence of activity in this area.\n\n> You go south\nSensory mechanisms detect a room to the north, a hallway to the west and to the south.\nAuda is off to the west.\n\n> You go to the south\nMechanical activity located to the east.\n\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out the shapes of three humans, one of them holding onto the door of the cylinder, another of them looking exactly like you, and then everything goes dark.\n\nSUSPENDED: INTERLOGIC Science Fiction\n\nSUSPENDED and INTERLOGIC are trademarks of Infocom, Inc.\n\nFC ALERT! Planetside systems are deteriorating. FC imbalance detected. Emergency reviving systems completed. You are now in control of the complex.\n\nSENSA INTERRUPT: Seismic aftershock detected ten meters north of Beta FC. Tremor intensity 9.7. Projected damage: connecting cables in Primary and Secondary Channels.\n\nFC INTERRUPT: All Robots, report locations.\n\nIRIS: In the Weather Monitors.\nWALDO: In the Gamma Repair.\nSENSA: In the Central Chamber.\nAUDA: In the Entry Area.\nPOET: In the Central Chamber.\nWHIZ: In the Advisory Peripheral.\n\n> You go to the south\nSonar detects totally irregular patterns on the walls as if shelving had been mounted there.\nA slanting object seems distinct from the surrounding jumble of debris. Sonar detects a broken platform on the floor in an irregular heap.\n\n> You go to Hallway Junction\nI'm on my way. Expect a report on arrival.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 32   WINDS: 52\nPRECIPITATION: a raging sleet storm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 29\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Moving through Angling Corridor\nI am in a narrow, long, straight tunnel with smooth walls.\nWALDO: I am grasping...\nA solid wedge\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nWaldo is in motion off to the northeast.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\nFC: Full report from POET\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\n\n> You go east\nI am in the Activities Area.\n\n> You listen\nOkay. Auditory circuits activated.\n\n> You listen\nOkay, okay already. I'm listening.\n\n> You go to the east\nI am in the Sleep Chamber.\n\n> You go to the south\nI am in the Hallway Corner.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You drop the slanting\nFC: Cryolink established to Waldo.\nWALDO: Dropped.\n\n> You put the slanting next to the step\nFC: I don't know the word 'next'.\n\n> You go to short Corridor\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Historical Peripheral.\n\n> You plug in\nFC: Cryolink established to Whiz.\nWHIZ: It's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Hallway End.\n\n> You go to the biological labratory\nFC: Cryolink established to Auda.\nFC: I don't know the word 'labratory'.\n\n> You go to the biological laboratory\nFC: Cryolink already established to Auda.\nI hear you loud and clear. Talk to you when I get there.\nAUDA: Holy earwax. I can't get from Hallway End to Vehicle Debarkation Area. I'm listening for additional instructions.\n\n> You ask Auda,  to look around\nFC: Cryolink already established to Auda.\nInternal map reference -- Hallway End\nI can hear the crackling of ozone in the air to the east.\nThe crackling ozone is muffled by a large object sitting before it.\nI can detect nothing inside of it.\n\n> You look up cavernous room\nFC: Cryolink established to Whiz.\nFC: I don't understand that sentence.\n\n> You go to Hallway End\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Short Corridor.\n\n> You ask Waldo,  to describe your surroundings\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Small Supply Room\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room.\n\n> You take all\nSENSA: I have no good sense of what to take!\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Small Supply Room.\n\n> You take all\nFC: Cryolink established to Waldo.\n(high extending holder) WALDO: I'd sooner play eight pairs of castanets for Auda.\n(cutting tool) WALDO: It's too high up there and I can't reach it. (square container) WALDO: Extensions have their limitations, and you just hit mine.\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room.\n\n> You ask Poet,  to go east\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead.\nSensa is in motion off to the west.\n\n> You examine the raindrops\nFC: I don't know the word 'raindrops'.\n\n> You look up\nFC: I don't understand that sentence."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> Look around\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, robots]\n\n> You look around\nI'm in a small room with exits to the west and east. Sonar detects odd objects within the room whose purpose eludes my perceptive abilities.\n\n> You go to the Maintenance Area\nFC: Cryolink already established to Waldo.\nI'm on my way. Expect a report on arrival.\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Moving through Access Hallway\nPhotonic sensors detect a shift in reflective activity indicating a corridor which starts to the south.\nWaldo is in motion off to the east.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Library Core.\n\n> You ask Auda,  to look around\nFC: Cryolink already established to Auda.\nMoving through Library Entrance\nI am in the Library Entrance.\nWaldo is in motion off to the north.\n\nAUDA: From what I can hear, I've arrived at the Library Core.\n\n> You listen\nOkay, okay already. I'm listening.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Maintenance Access.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Moving through Hallway Branch\nI've reached a 'T' in the long, north/south hallway.\n\nWALDO: Internal mapping indicates arrival at the Maintenance Access.\n\n> You ask Waldo,  to look at your surroundings\nFC: Cryolink already established to Waldo.\nInternal map reference -- Maintenance Access\nI've reached the end of the eastern corridor. Before me, high overhead, is a strange combination of circular protuberances.\nSonar detects a circular object mounted on the wall high overhead, out of reach. A small spray is also detected, going upward through the ceiling.\n\n> You ask Auda,  to look around\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Library Core\nI am in the Library Core.\n\n> You look at the object\nFC: Which object do you mean, the wheel, the usable extension, the pebbled object, the wavy object, the bumpy object, or the smooth object?\n\n> Turn wheel\nIt's too far out of reach.\n\n> You go to Gamma Repair\nI'm on my way. Expect a report on arrival.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Hallway End.\n\n> You ask Sensa,  to go north\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Library Entrance\nHuge electrical activity has been detected to the west.\nWaldo is in motion off to the north.\n\n> You go to the west\nAn interfacing device sits before me, capable of interacting with the huge data flow behind it.\nIn the room with me is Auda.\n\n> Interface\nFC: I don't know the word 'interface'.\n\n> You go to the east\nHuge electrical activity has been detected to the west.\n\n> Go south\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nI can detect nothing inside of it.\n\n> You enter the object\nI am now in the egg-shaped object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west.\n\n> You go to the north\nAn unlikely request, considering where I am.\n\n> You get out\n(out the egg-shaped object)\nI am on my mobile extensions again.\n\n> Go north\nMy sensory apparatus detects some strange vibrational emanations coming from both the north and the west. The area to the south is rife with destructive ionic activity.\n\n> You go to the west\nQuite a bit of electrical, ionic, and vibrational energy are being generated in this room. The walls are lined with miles of wiring and circuitry.\nI can detect a small device which is capable of transmitting signals on the RF band.\n\n> You get device\nTaken.\n\n> You go to the north\nDetection devices show a channelling of electrical and data information into the large objects in this area. An electrical switch of some kind is mounted on the wall.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\n> You turn flowchart\nFC: I don't know the word 'flowchart'.\n\n> You examine the object\nFC: Which object do you mean, the hollow object, the usable extension, the pebbled object, the wavy object, the bumpy object, or the smooth object?\n\n> Hollow\nThe hollow object is closed.\n\n> Inventory\nI am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You turn off the switch\nFC: Cryolink established to Sensa.\nSENSA: A request like that makes my sensors recoil in horror.\n\n> Go south\nMy sensory apparatus detects some strange vibrational emanations coming from both the north and the west. The area to the south is rife with destructive ionic activity.\n\n> Go south\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nI can detect nothing inside of it.\n\n> You enter the egg\nFC: I don't know the word 'egg'.\n\n> You enter the object\nI am now in the egg-shaped object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east.\n\n> You go to the north\nAn unlikely request, considering where I am.\n\n> You get out\n(out the egg-shaped object)\nI am on my mobile extensions again.\n\n> You go to IRIS\nFC: Iris's location: Weather Monitors. Establishing path...\nOrder input acknowledged. Output on arrival.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Library Entrance\nI am in the Library Entrance.\nIn the room with me is Sensa (in motion).\n\n> Go south\nI can hear the crackling of ozone in the air to the east.\nThe crackling ozone is muffled by a large object sitting before it.\nI can detect nothing inside of it.\nSensa is in motion off to the north.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You enter object\nI am now in the large object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the large object.\nI can hear the crackling of ozone in the air to the west.\n\n> You get out\n(out the large object)\nI am on my mobile extensions again.\n\n> Go north\nI am in the Biology Corridor.\n\n> You go to the west\nI am in the Biological Laboratory.\n\n> Go north\nI can hear the humming of air conditioning within this room.\n\n> You go south\nI am in the Biology Corridor.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Weather Monitors.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 18   WINDS: 92\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 9\nTower 3 -- 55\nIn the room with me is Sensa.\nSensa is carrying a television camera.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 18   WINDS: 92\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 9\nTower 3 -- 55\nIn the room with me is Sensa.\nSensa is carrying a television camera.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Weather Monitors\nMy receptors detect huge electrical flow through the walls and meters all around me.\nIn the room with me is Iris.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Biology Corridor\nI am in the Biology Corridor.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Short Corridor\nThe great interpreter of all our daily occurences lies ahead, while a walk in the sky waits for me to the northeast.\nBathe in luxuriating, though scorching, solvents.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Historical Peripheral\nCLC tagged object before me is the Historical pedestal.\nWHIZ: CLC feedback indicates I carry nothing.\nPlugged in at Historical Pedestal.\n\n> You turn on the camera\nFC: Cryolink established to Sensa.\nSENSA: I like that. You should bottle that request.\n\n> You go to WALDO\nFC: Waldo's location: Gamma Repair. Establishing path...\nOrder input acknowledged. Output on arrival.\n\n> You ask Waldo,  to wait a while\nFC: I don't know the word 'z'.\n\n> You look\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\n\n> You look\nI am in the Angling Corridor.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\n> You look\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\n> You look\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me is Sensa.\nSensa is carrying a small sphere.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Gamma Repair.\n\n> You examine the object\nFC: Cryolink established to Sensa.\nFC: Which object do you mean, the micro extension, the buss object, the maximized object, the filtering object, the polarized object, or the large object?\n\n> Large\nConcentrated on the front surface of the large object is a flowswitch.\n\n> You turn flowswitch\nThe flow of electrons aligns and the panel opens.\nMiles of circuitry rest within the device sitting here, though it no longer seems operational.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me is Sensa.\nSensa is carrying a small sphere.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> You examine the mechansim\nFC: Cryolink already established to Waldo.\nFC: Which mechan do you mean, the walkway or the broken mechanism?\n\n> You get extension\nI already have it.\n\n> You ask Waldo,  to go north\nFC: Cryolink already established to Waldo.\nInternal map reference -- Alpha Repair\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Transit Monitors\nSurges of electrical flow can be detected from small units mounted on the walls, most probably meters.\n\n> You ask Sensa,  to go northeast\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Angling Corridor\nI am in the Angling Corridor.\nPoet is off to the southwest.\n\n> Go northeast\nVibrational activity picked up, though intensity too slight to determine locational fix at this point.\nPoet is off to the southwest.\n\n> You go to the east\nI detect a strong flux of energy here -- transmissions of all types meeting as if at the hub of some giant wheel.\nWaldo is in motion off to the east.\n\n> You go southwest\nMore data flows detected within this area, especially directly before me.\n\n> You go southeast\nThis object too emits an incredible homing signal and transmits data. In the room with me is Whiz.\n\n> Go northeast\nThis pedestal emits the same kind of data flow as the others.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sub Supply Room.\n\n> You get the wedge\nFC: Cryolink established to Waldo.\nWALDO: Taken.\n\n> You go to Alpha Repair\nI'm on my way. Expect a report on arrival.\n\n> You look\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You go west\nI'm in an east/west hallway.\n\n> You go west\nI am in the Access Hallway.\n\n> You go south\nI am in the Sloping Corridor.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Alpha Repair.\n\n> You put the ramp on step\nFC: I don't know the word 'walko'.\n\n> You put the ramp on the step\nFC: Cryolink established to Waldo.\nThe solid wedge has been positioned at the step.\n\n> You look\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\nThe solid wedge is positioned at the base of the walkway.\n\n> You go ramp\nYou'll have to tell me where it is first.\n\n> You get on the ramp\nOkay. I'm standing on the solid wedge now.\n\n> Go south\n(getting off the solid wedge first.)\nInternal map reference -- Beta Repair\nI'm in the center of a large area with a walkway in the center.\nThe walkway is not in motion.\n\n> You get off\nFC: What do you want to get off?\n\n> Ramp\nOkay. I'm off of it now.\n\n> You go to the north\nSonar detects a large area to the south with many obstacles within the structure.\n\n> You go northwest\nThis tubular passageway continues to the southeast. I can detect a bend in it toward the south.\n\n> You put the ramp on step\nThe solid wedge has been positioned at the step.\n\n> You go north\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nThe solid wedge is positioned by the step.\nIn the room with me is Auda.\n\n> You go north\nI have reached a junction in the hallway. The east/west hallway meets with a southern corridor.\n\n> You go to the east\nI'm in an east/west hallway.\n\n> Go east\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\n\n> You go south\nI've reached a 'T' in the long, north/south hallway.\n\n> You go east\nI've reached the end of the eastern corridor. Before me, high overhead, is a strange combination of circular protuberances.\nSonar detects a circular object mounted on the wall high overhead, out of reach. A small spray is also detected, going upward through the ceiling.\n\n> You drop the ramp\nDropped.\n\n> You get on the ramp\nOkay. I'm standing on the solid wedge now.\n\n> Turn wheel\nIt's still out of my reach. Perhaps a creature of larger proportions would be able to help turn this thing.\n\n> You get off\nFC: What do you want to get off?\n\n> Ramp\nOkay. I'm off of it now.\n\nIRIS INTERRUPT: You may not be aware of this, but I'm not working. I need to get repaired.\n\n> Go west\nI've reached a 'T' in the long, north/south hallway.\n\n> Go north\nI'm in a small room which has flat extensions jutting from the walls.\n\n> Go west\nI'm in a small room with exits to the west and east. Sonar detects odd objects within the room whose purpose eludes my perceptive abilities.\n\n> You go west\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\n\n> Open container\nFC: Robots are restricted from opening this cabinet.\n\n> You get the holder\nI'd sooner play eight pairs of castanets for Auda.\n\n> Go west\nI have entered a small room. Overhead a small nozzle extends down from the ceiling, and doorways can be detected to the west and east.\n\n> You get nozzle\nYou've entered the zone whose boundaries are that of the wishful thinker.\n\n> You go to the west\nA thorough scanning of this area indicates I am at some kind of a dead end. There is some kind of structure, probably a set of benches, extending from the north wall.\nA small plaque sits by the wall, easily detectable by the relief etched into it.\n\n> You go to the south\nI have reached a T intersection in the east/west hallway.\n\n> You go to the east\nI am near the start of a long, straight passageway.\n\n> You go east\nSonar detects the hallway continuing east and west.\n\n> Go east\nI have reached a junction in the hallway. The east/west hallway meets with a southern corridor.\n\n> Go south\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nIn the room with me is Auda.\n\n> Go south\nI've reached a 'T' in the long, north/south hallway.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> Go east\nI've reached the end of the eastern corridor. Before me, high overhead, is a strange combination of circular protuberances.\nSonar detects a circular object mounted on the wall high overhead, out of reach. A small spray is also detected, going upward through the ceiling.\nThere is a solid wedge here.\n\n> Go west\nI'm in an east/west hallway.\n\nIRIS INTERRUPT: Hey, I could really help a lot if you fixed me. All it takes is one little IC.\n\n> You go west\nI have reached a junction in the hallway. The east/west hallway meets with a southern corridor.\n\n> Go south\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nIn the room with me is Auda.\n\n> You put the ramp on step\nThe solid wedge has been positioned at the step.\n\n> You go south\nSonar detects an intersection here, with a small dropoff to the north. The solid wedge is positioned by the step.\n\n> Go west\nI've approached a bend in the tube. One section continues to the east, while the other section goes to the southwest.\n\n> You go southwest\nI am in a narrow, long, straight tunnel with smooth walls.\n\n> Go southwest\nSonar indicates a large, spherical open area with a hollow column running from floor to ceiling. The column reflects sonar evenly indicating no distinguishing external characteristics.\nIn the room with me is Poet.\n\n> Go west\nThis large area has smooth walls.\nIn the room with me is Iris.\n\n> You go west\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\n\n> Bubbly\n(disfigured device) Dropped.\n(bubbly device) Dropped.\n\n> Go south\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nI just bumped into a small object which has an open top.\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\nThere is a sixteen-inch cable here.\nSonar detects an arm-shaped extension lying nearby.\n\n> You look at the extension\nI feel the extension and recognize it as belonging to me. I can utilize it for microsurgery repairs.\n\n> You go north\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. The first depression is empty as is the second depression.\nThere is a bubbly device here.\nThere is a disfigured device here.\n\n> You look at Iris\nIris feels extremely delicate and is under a meter in height. My pressure extensions detect a maintenance panel which should be accessible to me.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> You open the panel\nWhen I open the smooth metal panel I detect a smooth device, a bumpy device, and a rough device.\n\n> You ask Poet,  to go to the west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Weather Monitors\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me are Iris and Waldo.\nWaldo is carrying a basket of goodies for Grandma, a grasper, and a small advert.\n\n> You look at basket\nA tisket, a tasket, what's that in your basket?\n\n> You look in the basket\nThe basket of goodies for Grandma contains...\nA brain plain\nA brain quartet\nA brain trio\nA brain two\nA brain zip\n\n> You look at Iris\nThe smooth metal panel is open and behind it I detect a smooth device, a bumpy device, and a rough device.\n\n> Examine container\nIt is made of woven wire and has a small handle which fits my extensions.\n\n> You look in it\nThe hollow container contains...\nA rough object\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You put the rough object in IRIS\nDone.\n\nIRIS INTERRUPT: OOOH! That felt good! Close my panel, big boy.\n\n> Close panel\nClosed.\n\nIRIS INTERRUPT: You never looked so good.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 16   WINDS: 102\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 4\nTower 3 -- 55\nIn the room with me are Waldo and Poet.\nWaldo is carrying a blue chip, a little wire basket, a microsurgery extension, and a small plaque.\n\n> You read the plaque\nSure. Here goes...\n\nThis Underground Complex was designed and built by the Frobozz Engineering Company, makers of such fine products as One-Way (tm) Bus Tickets, Ozone Nozone, and \"Best in the East\", soon to be a Smello-vision (tm) release.\n\nChief Designer/Architect: Michael Berlyn.\n\n> Go south\nI am in a sub-station of the supply rooms. The room is small, with debris littering the floor.\nA broken shelf lies on the floor in a terrible state, beyond use.\n\n> Go west\nThis is the middle of an L-shaped supply room. Scattered about on the floor are all kinds of debris. Nothing looks salvageable.\nThere is a blue sixteen-inch cable here.\n\n> Go north\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty as is the yellow socket.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You go east\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 14   WINDS: 106\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 2\nTower 3 -- 55\nIn the room with me are Waldo and Poet.\nWaldo is carrying a blue chip, a little wire basket, a microsurgery extension, and a small plaque.\n\n> You look in the basket\nThe little wire basket contains...\nA plaid IC\nA green IC\nA yellow IC\nA red IC\n\n> Yellow ic\n(red IC) Taken.\n(yellow IC) Taken.\n\n> You plug in\nFC: Cryolink established to Whiz.\nWHIZ: It's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\n> You unplug\nUnplugged.\n\n> Go northeast\nCLC tagged object before me indicates it is the Technical pedestal.\nIn the room with me is Sensa.\n\n> You plug in\nIt's great to be home. Plugged in to the Technical Pedestal. Ready to process queries.\n\n> You ask about the primary channel\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Nope. Can't find any reference to that one in this mess. Sorry.\n\n> You ask about the channels\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: This is very embarrassing, but I can't seem to find that one.\n\n> You plug in\nIt's great to be home. Plugged in to the Index Pedestal. Ready to process queries.\n\n> You ask about reset\nFC: I don't know the word 'reset'.\n\n> You ask about the cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\nIP: Data available from the Historical Pedestal.\n\n> You ask about the cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nTP: These cables were designed for easy replacement. Each is equipped with a simple snap connector so replacement is virtually automatic. All cables of the same color conduct the same voltage charges and are totally interchangeable.\n\n> You ask about FC\nTP: The three Filtering Computers are kept in balance by two series of four cables. Four cables run through the Primary Channel, while another four run through the Secondary Channel.\n\n> You ask about the cooling\nFC: I don't know the word 'cooling'.\n\n> You ask about Maintenance\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\n\n> You ask about Maintenance\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nAP: Open the panel with care.\n\n> You ask about Maintenance\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nAP: Open the panel with care.\n\n> You ask about Maintenance\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: It is merely an openable panel.\n\n> SENSA, ,EXAMINE WHIZ\nFC: I don't know the word 'x'.\n\n> You examine WHIZ\nFC: Cryolink established to Sensa.\nSENSA: Whiz processes tremendous amounts of data, assumed by the tremendous energy flow over radio waves between himself and the CLC, and is about one meter in height.\n\n> You go to IRIS\nFC: Cryolink already established to Sensa.\nFC: Iris's location: Main Supply Room. Establishing path...\nOrder input acknowledged. Output on arrival.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You go to IRIS\nFC: Cryolink established to Auda.\nFC: Iris's location: Main Supply Room. Establishing path...\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\n> You go to IRIS\nFC: Cryolink established to Poet.\nFC: Iris's location: Main Supply Room. Establishing path...\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nIn the room with me is Poet.\nThere is a fried chip here.\nThere is a burned chip here.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Main Supply Room.\n\n> You examine poet\nI see Poet as a misguided robot, wandering about this complex in an abnormal manner even for him. There are two extensions which have flat plates on them which could be used for something, though Poet never communicated their purpose to me. Like the rest of us, Poet is about 1 meter tall.\n\n> You go to IRIS\nFC: Cryolink established to Waldo.\nFC: Iris's location: Main Supply Room. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out the shapes of three humans, one of them holding onto the door of the cylinder, another of them looking exactly like you, and then everything goes dark.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Weather Monitors\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me is Iris.\n\n> Go west\nThis is another fine mess you've got me into. Umm, umm umm! A processor sits on the floor, munching and spitting electrons. Button, button, who's got the button while the socks ablaze with color. A brain tres sits in the primo socket, and a brain quart sits in the secondary socket.\n\n> Brain quart\n(brain tres) Taken.\n(brain quart) Taken.\n\n> Brain quart\n(brain tres) Dropped.\n(brain quart) Dropped.\n\n> You go east\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me is Iris.\n\n> You ask Poet,  to go east\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Central Chamber\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me is Sensa.\nWaldo is in motion off to the northeast.\n\n> Go east\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me is Sensa.\nWaldo is in motion off to the northeast.\n\n> You go south\nIt burns and wields tremendous light and makes our joints delight its might.\nTo rise and fall, and climb new heights, to descend the pit of robot despair.\nEverything cracks under pressure, sooner or later.\n\n> You go to Hallway Junction\nAll life's a stage, so just consider me a player. See you.\n\n> Go north\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nIn the room with me is Poet (in motion).\nPoet is carrying a dense wedge.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\n\n> WALDO, GET CONTAINER, EXTENSION\nFC: Cryolink established to Waldo.\n(hollow container) WALDO: Taken.\n(usable extension) WALDO: Taken.\n\n> You wear the extension\nIt's now being worn.\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You look\nI keep bumping into all sorts of junk on the floor, none of which seems to be intact.\nThere is a sixteen-inch cable here.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway Junction.\n\n> Go north\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. The first depression is empty as is the second depression.\nThere is a bubbly device here.\nThere is a disfigured device here.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway Junction.\n\n> You examine Waldo\nFC: Cryolink established to Iris.\nIRIS: Waldo has a lot of extensions for manipulating objects and is about one meter in height. He is primarily a building and repair robot. He's also rather cute and appeals to my visual circuits.\nWaldo is carrying a blue chip, a microsurgery extension, and a little wire basket.\n\n> Yellow ic\n(smooth object) Taken.\n(bumpy object) Taken.\n\n> IRIS, GET RED IC, YELLOW IC\nFC: Cryolink established to Iris.\n(red IC) IRIS: Taken.\n(yellow IC) IRIS: Taken.\n\n> Go east\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\nIn the room with me is Sensa.\n\n> You examine SENSA\nI see Sensa as a robot with two extensions which are used mainly to detect the flow of energy in the environment and objects. She is small and is about one meter in height and not very useful for manipulating objects.\n\n> You look in basket\nThe little wire basket contains...\nA plaid IC\nA green IC\n\n> You go to Gamma Repair\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\n> Go west\nSensors indicate a dead-end that way.\n\n> You ask Iris,  to go west\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty as is the yellow socket.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay, okay already. I'm listening.\n\n> You look\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You ask Whiz,  to go northeast\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You ask about the robots\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\nIP: Data available from the Historical Pedestal.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Gamma Repair.\n\n> You examine hollow object\nFC: Cryolink established to Sensa.\nSENSA: Concentrated on the front surface of the large object is a flowswitch.\n\n> You get the wiring\nA request like that makes my sensors recoil in horror.\n\n> You put the ramp on the step\nFC: Cryolink established to Poet.\nThe slanting wedge has been positioned at the step.\n\n> You go to Gamma Repair\nFC: Cryolink already established to Poet.\nAll life's a stage, so just consider me a player. See you.\n\n> You ask Whiz,  to go southwest\nFC: Cryolink established to Whiz.\n(Unplugging first.)\nWHIZ: Internal map reference -- Historical Peripheral\nCLC tagged object before me is the Historical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\n> You ask about the robots\nHP: Built before the complex was completed, Whiz was a bit of a mistake since he should have been able to plug directly into the CLC.\n\n> You go to the southeast\n(Unplugging first.)\nInternal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Gamma Repair.\n\n> You plug in\nIt's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\n> You ask about the robots\nAP: Just tell him to plug in when he's near a peripheral's pedestal.\n\n> You ask about fred\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nAP: There may be some salvageable parts inside it.\n\n> You touch fred\nFC: Cryolink established to Poet.\nPOET: Sensory pads detect no abnormal flow.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Skywalk Alpha.\n\n> You get fred\nI can't manage it. The FRED is too heavy.\n\n> You get the wiring\nLet's face it: Buddha, you ain't.\n\n> You ask about the fred\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nAP: There may be some salvageable parts inside it.\n\n> You ask about the parts\nFC: I don't know the word 'parts'.\n\n> You ask about wiring\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nAP: No data available on that subject from the Advisory Pedestal.\n\n> Go northeast\n(Unplugging first.)\nInternal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You ask about the fred\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nTP: This robot is a dead and departed robot who is totally beyond repair.\n\n> You ask about wiring\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nTP: No data available on that subject from the Technical Pedestal.\n\n> You ask about the circuitry\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nTP: No data available on that subject from the Technical Pedestal.\n\n> You go northwest\n(Unplugging first.)\nInternal map reference -- Index Peripheral\nCLC identifier shows the object before me as the Index pedestal.\n\n> You go to the south-west\nCLC tagged object before me is the Historical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\n> You ask about the fred\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nHP: This robot was an all-purpose, multi-function robot which proved inadequate for maintenance purposes.\n\n> You ask about SENSA\nHP: Sensa was provided when the Filtering Computers discovered the need for a drone to march through corridors, inspecting all devices for vibrational output.\n\n> You ask about IRIS\nHP: Iris is a visual robot, a descendant of the simple photon receptors, placed within the complex at its inception.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You ask Sensa,  to go to the north\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Weather Control Area\nI'm in a small but electrically intensive area. I can detect three variable potentiometers on a small console.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\n\n> You ask Iris,  to go eas"
    },
    {
        "text": "t\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 20   WINDS: 86\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 12\nTower 3 -- 55\nThrough the monitors I can see Sensa in the Weather Control Area.\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, and a little wire basket.\n\n> You set first to 90\nFC: Cryolink established to Sensa.\nSENSA: The first dial has been set to 90.\n\n> You set second to 45\nThe second dial has been set to 45.\n\n> Set third to 70\nThe third dial has been set to 70.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Alpha\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here.\n\n> You go to the west\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here. Similar disturbances can be detected from the east and west.\n\n> Go north\nI am in a room which has three switching devices. These devices connect directly to the surface.\n\n> You go to the north\nI'm in a small but electrically intensive area. I can detect three variable potentiometers on a small console.\nThe first dial is set to 90, the second dial is set to 45, and the third dial is set to 70.\n\n> You go north\nI am in a small room whose primary purpose is obvious by tracing the flow of electrons. The three levers before me are linked to the Hydroponics section, and they control the nutrient levels in the hydroponics tanks.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\n\n> You set first to 90\nThe first lever has been set to 90.\n\n> You set second to 45\nThe second lever has been set to 45.\n\n> Set third to 70\nThe third lever has been set to 70.\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Beta\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here. Similar disturbances can be detected from the east and west.\n\n> You go to the east\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You go to the north\nI'm in a small but electrically intensive area. I can detect three variable potentiometers on a small console.\nThe first dial is set to 90, the second dial is set to 45, and the third dial is set to 70.\n\n> You set first to 55\nThe first dial has been set to 55.\n\n> You set third to 55\nThe third dial has been set to 55.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\nSome talking mechanisms are in motion off to the east.\n\n> You go east\nI am in the Activities Area.\nSome talking mechanisms are off to the east.\n\n> Go east\nI am in the Sleep Chamber.\nIn the room with me are some talking mechanisms.\nThere is a jingling bag here.\n\nI can hear slow breathing and the occasional rustling of cloth.\n\n> You examine the bag\nThe jingling bag is closed.\n\n> You open the bag\nI can't. It requires a human access code.\n\n> You get the bag\nTaken.\n\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\n> Wait\nFC: Time passes...\n\nOne of the mechanisms tosses and turns.\n\n> You examine the mechansims\nToo bad. They've got such tiny ears...\n\n> You go to the sleeping\nFC: Cryolink established to Sensa.\nFC: I don't know the word 'sleeping'.\n\n> You go to Sleep Chamber\nOrder input acknowledged. Output on arrival.\n\n> You go to Sleep\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You go to Sleep\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You ask Auda,  to go to the south\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Corner\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\n\n> You go south\nI am in the Hallway Branch.\nSome talking mechanisms are off to the north.\n\n> Go south\nI am in the Library Entrance.\nSome talking mechanisms are off to the north.\n\n> Go south\nI can hear the crackling of ozone in the air to the east.\nThe crackling ozone is muffled by a large object sitting before it.\nI can detect nothing inside of it.\nSome talking mechanisms are off to the north.\n\n> You enter object\nI am now in the large object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the large object.\nI can hear the crackling of ozone in the air to the west.\n\n> Ge tout\nFC: I don't know the word 'ge'.\n\n> You get out\n(out the large object)\nI am on my mobile extensions again.\n\n> You go to the north\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\nWaldo is in motion off to the west.\n\n> Go north\nI am in the Sleep Chamber.\nIn the room with me are some talking mechanisms.\nThere is a jingling bag here.\n\nThe breathing of the mechanisms has become irregular and they begin to stir.\n\n> You examine the bag\nThe jingling bag is closed.\n\n> You wait awhile\nFC: Time passes...\n\n> You wait\nFC: Time passes...\n\n\"I really needed more rest than that, but it'll have to do. Let's get on with what this.\"\n\"Okay. Just give me a second. Where to now?\"\n\"The Central Library. We've got to get a little info before we can pull the switch.\"\n\"Oops. Almost forgot the tool bag!\"\n\n> You go south\nI am in the Hallway Corner.\nIn the room with me are some talking mechanisms (in motion).\nWaldo is off to the north.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sleep Chamber.\n\n> Go south\nI am in the Hallway Branch.\nIn the room with me are some talking mechanisms (in motion).\nSensa is off to the north.\nWaldo is off to the north.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> You go south\nI am in the Library Entrance.\nIn the room with me are some talking mechanisms (in motion).\nSensa is off to the north.\nWaldo is off to the north.\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> Go west\nI am in the Library Core.\nIn the room with me are some talking mechanisms.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Sleep Chamber.\n\n> You go to Library Core\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You go to Library Core\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nAUDA INTERRUPT: Listening...\n\"That information should do the trick. Let's get the replacement.\" \"Yeah. Sounds good to me. I guess that person really went over the deep end, poor thing. Sitting in that capsule can't be a lot of fun.\"\n\"Well, that's the way it goes.\"\n\n> Wait\nFC: Time passes...\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Library Core.\n\n> You look\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Library Core\nI am in the Library Core.\n\n> Go east\nI am in the Library Entrance.\nIn the room with me is Poet (in motion).\nSensa is off to the north.\nWaldo is in motion off to the north.\nSome talking mechanisms are off to the south.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Library Core.\n\n> Go south\nI can hear the crackling of ozone in the air to the east.\nSensa is off to the north.\nWaldo is in motion off to the north.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Library Core.\n\n> You go to Hallway End\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> You look\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Branch\nI am in the Hallway Branch.\nPoet is off to the north.\nWaldo is off to the north.\nSensa is in motion off to the north.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Sleep Chamber.\n\n> Go south\nI am in the Library Entrance.\nPoet is off to the north.\nWaldo is off to the north.\nSensa is in motion off to the north.\n\n> You go west\nI am in the Library Core.\nIn the room with me are some talking mechanisms.\n\n\"That information should do the trick. Let's get the replacement.\" \"Yeah. Sounds good to me. I guess that person really went over the deep end, poor thing. Sitting in that capsule can't be a lot of fun.\"\n\"Well, that's the way it goes.\"\n\n> You look\nI am in the Library Core.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Hallway End.\n\n> You enter the object\nFC: Cryolink established to Sensa.\nFC: Which object do you mean, the creatures or the egg-shaped object?\n\n> Egg-shaped\nI am now in the egg-shaped object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west. Some creatures are off to the west.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Library Entrance\nI am in the Library Entrance.\nPoet is off to the north.\nWaldo is off to the north.\nSome talking mechanisms are off to the south.\n\n> You go south\nI can hear the crackling of ozone in the air to the east.\nIn the room with me are some talking mechanisms.\nPoet is off to the north.\nWaldo is off to the north.\n\n> You listen\nOkay, okay already. I'm listening.\n\n> You ask Sensa,  to go north\nFC: Cryolink established to Sensa.\nSENSA: An unlikely request, considering where I am.\n\n> You get out\n(out the egg-shaped object)\nI am on my mobile extensions again.\n\n> You look\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Branch\nI am in the Hallway Branch.\nIn the room with me is Sensa (in motion).\nWaldo is off to the north.\nPoet is in motion off to the north.\n\n> You go south\nI am in the Library Entrance.\nIn the room with me is Sensa (in motion).\nWaldo is off to the north.\nPoet is in motion off to the north.\n\n> You go east\nI am in the Library Entrance.\nWaldo is off to the north.\nSome talking mechanisms are off to the south.\nPoet is off to the south.\nSensa is off to the south.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway End.\n\n> You enter the object\nFC: Cryolink established to Poet.\nPOET: I can't accept the existence of Creators here.\n\n> You go to Hallway End\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> You look\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Branch\nI am in the Hallway Branch.\nPoet is in motion off to the north.\nSensa is off to the north.\nWaldo is off to the north.\n\n> You go south\nI am in the Library Entrance.\nSensa is off to the north.\nWaldo is off to the north.\nPoet is in motion off to the north.\n\n> You go west\nI am in the Library Core.\nIn the room with me are some talking mechanisms.\n\n\"That information should do the trick. Let's get the replacement.\" \"Yeah. Sounds good to me. I guess that person really went over the deep end, poor thing. Sitting in that capsule can't be a lot of fun.\"\n\"Well, that's the way it goes.\"\n\n> You go east\nI am in the Library Entrance.\nIn the room with me are Poet (in motion) and some talking mechanisms (in motion).\nSensa is off to the north.\nWaldo is off to the north.\n\n> Go south\nI can hear the crackling of ozone in the air to the east.\nIn the room with me are Poet and some talking mechanisms.\nThe crackling ozone is muffled by a large object sitting before it.\nI can detect nothing inside of it.\nSensa is off to the north.\nWaldo is off to the north.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway End.\n\n\"Let's get into the car and get this thing over with. The clones are near the end of this tube.\"\n\"Sounds good to me. This place gives me the creeps.\"\n\nAUDA: I hear the sounds of the people entering the car, then the whoosh as the car takes off to the east.\n\n> You go to Hallway End\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sleep Chamber.\n\n> You ask Auda,  to go south\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Corner\nI am in the Hallway Corner.\nSensa is off to the north.\nWaldo is off to the north.\nSome talking mechanisms are in motion off to the south.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> You go south\nI am in the Hallway Branch.\nSensa is off to the north.\nWaldo is off to the north.\nSome talking mechanisms are in motion off to the south.\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> Go south\nI am in the Library Entrance.\nPoet is in motion off to the north.\nSensa is off to the north.\nWaldo is off to the north.\n\n> Go west\nI am in the Library Core.\nIn the room with me are some talking mechanisms.\n\n> You look\nI am in the Library Core.\nIn the room with me are some talking mechanisms.\n\n\"That information should do the trick. Let's get the replacement.\" \"Yeah. Sounds good to me. I guess that person really went over the deep end, poor thing. Sitting in that capsule can't be a lot of fun.\"\n\"Well, that's the way it goes.\"\n\n> You look\nI am in the Library Entrance.\nSensa is off to the north.\nWaldo is off to the north.\nSome talking mechanisms are off to the south.\nPoet is off to the south.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway End.\n\n> You ask Auda,  to go south\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Corner\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\nPoet is in motion off to the west.\n\n> You go south\nI am in the Hallway Branch.\nSome talking mechanisms are off to the north.\n\n> You go to the south\nI am in the Library Entrance.\nWaldo is off to the north.\nSome talking mechanisms are in motion off to the north.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sleep Chamber.\n\n> You look\nI am in the Library Entrance.\nSensa is off to the north.\nWaldo is off to the north.\nSome talking mechanisms are in motion off to the north.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> Wait\nFC: Time passes...\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hallway End.\n\n> You enter the object\nFC: Cryolink established to Poet.\nPOET: I am now in the carriage.\nPOET: My gyroscopic stabilizers detect motion.\n\nPOET: Internal map reference -- Inside the carriage.\nI got my license through the mail, but that never stopped Franklin from chancing my ability.\n\nPOET: External map reference -- Vehicle Debarkation Area\n\n> You get out\n(out the carriage)\nI am on my mobile extensions again.\n\n> Go west\nAshes from gnashes, dust to bust, we all go round the circle.\nA device useful for getting me to become a star is located nearby.\n\n> You examine the circile\nFC: I don't know the word 'circile'.\n\n> You go to the skyway alpha\nFC: Cryolink established to Poet.\nFC: I don't know the word 'skyway'.\n\n> You wait awhile\nFC: Time passes...\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Skywalk Alpha.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\n\n> You go north\nHacks and Hackies, drivers all.\nControl the flow and nothing falls\nExcept for those up in the air\nBut all in all, what's best is fair.\nThey roam around in tough young gangs\nand corner those with metal fangs\nThey zip along and throw you free\nLike Broncos on the wild prairie.\n\n> You go east\nPop the message in the tube and out comes the medium rare.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sleep Chamber.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Sleep Chamber\nI'm in a small room which has flat extensions jutting from the walls. In the room with me is Sensa.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> You ask Poet,  to go north\nFC: Cryolink already established to Poet.\nInternal map reference -- Hydroponics Control Area\nPush a lever and out pops a food pellet. What a life for a rat.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> You set first to 90\nThe first lever has been set to 90.\n\n> You ask Iris,  to go east\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 24   WINDS: 78\nPRECIPITATION: a blinding snowstorm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 16\nTower 3 -- 55\n\n> Go east\nThrough the monitors I can see the following information:\n\nWATER: 90      90     high\nMINERALS: 45      45     high\nLIGHTING: 70      70     high\nFOOD TONS: 45             poor\nThrough the monitors I can see Poet in the Hydroponics Control Area.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay, okay already. I'm listening.\n\n> Go west\nA small hissing can be detected overhead, as if a small port leaked a semi-liquid compound.\nSensa is off to the east.\nWaldo is off to the east.\n\n> You go west\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here.\nSensa is off to the east.\nWaldo is off to the east.\n\n> You go west\nCLC WARNING!! Further westward movement prohibited to all robots.\n\n> Go east\nA low, whirring noise, barely detectable, can be heard from the west. Sensa is off to the east.\nWaldo is off to the east.\n\n> You set first to 70\nFC: Cryolink established to Poet.\nPOET: The first lever has been set to 70.\n\n> You set second to 30\nThe second lever has been set to 30.\n\n> You set third to 50\nThe third lever has been set to 50.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      70      =\nMINERALS: 30      30      =\nLIGHTING: 50      50      =\nFOOD TONS: 100            optimal\nThrough the monitors I can see Poet in the Hydroponics Control Area.\n\n> You ask Sensa,  to go to the west\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Activities Area\nThere is a lot of vibrational and electrical activity within this location, though none of its purposes seem immediately evident.\nAuda is off to the west.\nWaldo is off to the east.\n\n> Go west\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nAuda is off to the west.\nWaldo is off to the east.\n\n> Go west\nI can detect a lot of electrical movement from the west. A strong bath of ultraviolet can also be detected.\nIn the room with me is Auda.\nWaldo is off to the east.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You set first to 90\nFC: Cryolink established to Poet.\nPOET: The first lever has been set to 90.\n\n> You set second to 45\nFC: Cryolink already established to Poet.\nThe second lever has been set to 45.\n\n> You set third to 50\nThat's where it was already set.\n\n> Set third to 70\nThe third lever has been set to 70.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\nThrough the monitors I can see Poet in the Hydroponics Control Area.\n\n> You ask Sensa,  to go west\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Decontamination Chamber\nA quick analysis of the molecular structure of the air in this area shows the vestiges of a sterilization compound. In addition, an ultraviolet source can be detected directly overhead.\nAuda is off to the east.\nWaldo is off to the east.\n\n> You go to the west\nI can detect a lot of electrical movement to the west from this location. A strong bath of ultraviolet can also be detected from the east.\nA small plaque radiates heat, sitting by the wall.\nAuda is off to the east.\nWaldo is off to the east.\n\n> Go east\nA quick analysis of the molecular structure of the air in this area shows the vestiges of a sterilization compound. In addition, an ultraviolet source can be detected directly overhead.\nAuda is off to the east.\nWaldo is off to the east.\n\n> You go east\nI can detect a lot of electrical movement from the west. A strong bath of ultraviolet can also be detected.\nIn the room with me is Auda.\nWaldo is off to the east.\n\n> You go to the east\nThere is a lot of vibrational and electrical activity within this location, though none of its purposes seem immediately evident.\nAuda is off to the west.\nWaldo is off to the east.\n\n> Go east\nThere seems to be a complete absence of activity in this area.\nIn the room with me is Waldo.\nWaldo is carrying a scanning device, a micro extension, and a small container.\nAuda is off to the west.\n\n> You examine the scanning device\nThis device has been electrically fried.\n\n> Go south\nSensory mechanisms detect a room to the north, a hallway to the west and to the south.\nWaldo is off to the north.\n\n> Go south\nMechanical activity located to the east.\nWaldo is off to the north.\n\n> You go to the east\nMechanical devices can be detected far out of range.\nSensory mechanisms can detect a low concentration of acid in the air. Its origin is directly overhead. Approximately 99.87 percent of these acid droplets are going up into the room above.\n\n> You go to the south\nHuge electrical activity has been detected to the west.\nWaldo is off to the north.\n\n> You go west\nAn interfacing device sits before me, capable of interacting with the huge data flow behind it.\n\n> You go to the south\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nI can detect nothing inside of it.\nWaldo is off to the north.\n\n> You enter the object\nI am now in the egg-shaped object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west.\n\n> You get out\n(out the egg-shaped object)\nI am on my mobile extensions again.\n\n> You get the device\nTaken.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> You go north\nDetection devices show a channelling of electrical and data information into the large objects in this area. An electrical switch of some kind is mounted on the wall.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> Go south\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nI can detect nothing inside of it.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You enter the object\nI am now in the egg-shaped object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east. Waldo is off to the north.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\nIn the room with me are some talking mechanisms (in motion).\nWaldo is off to the east.\n\n> Go east\nI am in the Activities Area.\nIn the room with me are some talking mechanisms (in motion).\nWaldo is off to the east.\n\n> Go east\nI am in the Sleep Chamber.\nIn the room with me are Waldo and some talking mechanisms.\nWaldo is carrying a tinging object.\nSensa is off to the south.\n\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\nWALDO INTERRUPT: The mobile objects are moving over to the platforms and are reclining.\n\n> You open the bag\nFC: Cryolink established to Waldo.\nWALDO: I can't. It requires a human access code.\n\nAUDA INTERRUPT: Listening...\nI can hear slow breathing and the occasional rustling of cloth.\n\n> You ask Sensa,  to go to the north\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Library Entrance\nHuge electrical activity has been detected to the west.\nAuda is off to the north.\nSome creatures are off to the north.\nWaldo is off to the north.\n\n> Go north\nMechanical activity located to the east.\nAuda is off to the north.\nSome creatures are off to the north.\nWaldo is off to the north.\n\n> You go to the north\nSensory mechanisms detect a room to the north, a hallway to the west and to the south.\nAuda is off to the north.\nSome creatures are off to the north.\nWaldo is off to the north.\n\n> Go north\nThere seems to be a complete absence of activity in this area.\nIn the room with me are Waldo, Auda and some creatures.\nWaldo is carrying a scanning device, a micro extension, and a small container.\nThere is a tool container here.\n\nAUDA INTERRUPT: Listening...\nOne of the mechanisms tosses and turns.\n\n> Open container\nFC: Which contai do you mean, the tool container or the small container?\n\n> Tool\nI can't. It requires a human access code.\n\n> Wait\nFC: Time passes...\n\nAUDA INTERRUPT: Listening...\nOne of the mechanisms has begun snoring. It is irritating.\n\n> You wait awhile\nFC: Time passes...\n\n> Wait\nFC: Time passes...\n\nAUDA INTERRUPT: Listening...\nThe breathing of the mechanisms has become irregular and they begin to stir.\n\n> You get the bag\nFC: Cryolink established to Waldo.\nWALDO: Taken.\n\nAUDA INTERRUPT: Listening...\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nWALDO: The mobile devices are waving their extensions madly. I think I'm in trouble.\n\n> Go south\nSonar scan indicates the corridor continues to the south, but off to the west is a small, circular object before a huge, circular object.\n\n> You go to the south\nSonar detects the end of the southern hallway. To the east is a long, narrow area which travels out of my receiving range.\nSonar also detects a large hollow container sitting at the head of the long tunnel.\nI can detect nothing inside of it.\n\n> You enter the object\nFC: Which object do you mean, the container, the usable extension, the pebbled object, or the wavy object?\n\n> You enter hollow container\nFC: Which contai do you mean, the container or the hollow container?\n\n> You get container\nTaken.\n\nAUDA INTERRUPT: Listening...\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nWALDO: The mobile devices are waving their extensions madly. I think I'm in trouble.\n\n> You go to the south\nHuge electrical activity has been detected to the west.\nAuda is off to the north.\nWaldo is off to the north.\nSome creatures are in motion off to the north. They appear to be in hot pursuit.\n\n> Go south\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nI can detect nothing inside of it.\nAuda is off to the north.\nWaldo is off to the north.\nSome creatures are in motion off to the north. They appear to be in hot pursuit.\n\n> You enter the object\nSENSA: Oh oh. I feel something wrenching the tool container from my extensions.\n\nSENSA: I am now in the egg-shaped object.\nSENSA: My gyroscopic stabilizers detect motion.\n\nSENSA: Internal map reference -- Inside the egg-shaped object.\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the west. Some creatures are in motion off to the west.\n\nSENSA: External map reference -- Vehicle Debarkation Area\n\n> You look\nI'm in a small room which has flat extensions jutting from the walls. In the room with me are Auda and some mobile objects.\nThere is a tiny container here.\n\n> You get tiny container\nTaken.\n\nAUDA INTERRUPT: Listening...\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nWALDO: The mobile devices are waving their extensions madly. I think I'm in trouble.\n\n> You go south\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\n\n> You wait\nFC: Time passes...\n\nWALDO: I can detect the large, circular object high overhead turning.\n\n> You get the bag\nFC: Cryolink established to Auda.\nAUDA: Taken.\n\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nWALDO: The mobile devices are waving their extensions madly. I think I'm in trouble.\n\n> You go to the south\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\nWaldo is off to the north.\nSensa is off to the south.\n\n> You go to the south\nI am in the Hallway Branch.\nSome talking mechanisms are off to the north.\nWaldo is off to the north.\nSensa is off to the south.\n\n> You wait\nFC: Time passes...\n\n\"Here's the toolbag. Looks like the little 'bot dropped it.\"\n\"Just as well. Let's get on with this.\"\n\n> You wait a while\nFC: Time passes...\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> You wait\nFC: Time passes...\n\n\"Hey -- Look at that! The pipes going up to the Filtering Computers have burst.\"\n\"Yeah. Maybe the person in the cylinder isn't at fault....\"\n\"Hmm. You could be right. Let's fix this and then see if things return to normal.\"\n\nAUDA: I can hear the sound of metal, like a wheel turning, and the hissing stop.\n\n\"That should take care of that leak. Let's go up to the Rec Area and wait for awhile.\"\n\"Fine. Meanwhile, I'll get our toolbag back.\"\n\nAUDA: I hear footsteps as the talking mechanisms walk away.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\nThrough the monitors I can see Poet in the Hydroponics Control Area. IRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Sleep Chamber\nI'm in a small room which has flat extensions jutting from the walls. WALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Hallway End\nSensory input indicates the end of the southern hallway here, with extremely violent force fields and electrical disturbances to the east. Sensors detect an egg-shaped object, large enough for me to enter, sitting at the head of the long tunnel.\nSENSA: I can detect nothing inside of it.\nWaldo is off to the north.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Maintenance Access\nI am in the Maintenance Access.\nI can hear the gurgling of liquid overhead as it rushes through pipes and a regulatory wheel high overhead.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Hydroponics Control Area\nPush a lever and out pops a food pellet. What a life for a rat.\nThe first lever is set to 90, the second lever is set to 45, and the third lever is set to 70.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Index Peripheral\nCLC identifier shows the object before me as the Index pedestal.\nWHIZ: CLC feedback indicates I carry nothing.\nPlugged in at Index Pedestal.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\n\n> You go to the south\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 0000\nTAXIS IN USE: 0000\nGLIDE RAMP SPEEDS: 30 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 00\n\n> Go north\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Short Corridor.\n\n> You ask Poet,  to go to the east\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nSensa is in motion off to the west.\nWaldo is off to the west.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You go to the east\nAh, Mama! Here I am, your sonny boy, returned after a lifetime of wandering!\nWaldo is off to the west.\nSensa is in motion off to the west.\n\n> Go east\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> You go north\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Cavernous Room.\n\n> You ask Sensa,  to go east\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nWaldo is off to the west.\n\n> Go east\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> Go north\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Poet.\n\n> You read sign\nFC: Cryolink established to Poet.\nPOET: I'm not equipped with the necessary visual sensors.\n\n> You ask Sensa,  to check what you're carrying\nFC: Cryolink established to Sensa.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\n> Point transmitter at sign\nOkay.\n\n> You ask Iris,  to go north\nFC: Cryolink established to Iris.\nIRIS: I don't see how.\n\n> You go to the east\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\n\n> Examine column\nThe tall column is closed.\n\n> You open it\nOkay, I've opened it. OH MY GOD!!!\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out a shape outside, holding onto the door of the cylinder, and then everything goes dark.\n\n> Go east\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You look at the door\nFC: Which door do you mean, the tall column or the maintenance panel?\n\n> You look at the panel\nMy maintenance panel has openings which fit a robot extension. Beneath it is my delicate visual circuitry.\n\n> You examine the tall column\nThe tall column is closed.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Cavernous Room.\n\n> You go to the east\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\n\n> You ask Sensa,  to go east\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nWaldo is off to the west.\nPoet is off to the west.\n\n> You go northeast\nSensory mechanisms detect a tremendous channeling and flow of electrical and data energy into an object surrounding me. Sensors detect a similar channeling to an object to the south.\n\n> Go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\n\n> You look at the cables\nThe first, second, third and fourth cables are of all different lengths.\n\n> You examine the hole\nIt is a female receptacle.\n\n> You go to the south\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> Go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\n\n> You examine the groove\nThere are 4 cables in the grooves. Sensory mechanisms indicate that the cables are modular in construction and can be snapped in and out for easy replacement.\n\n> You ask Poet,  to go to the east\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nWaldo is off to the west.\n\n> Go east\nAh, Mama! Here I am, your sonny boy, returned after a lifetime of wandering!\nWaldo is off to the west.\n\n> Go east\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> Go south\nConnections are what"
    },
    {
        "text": "make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\nIn the room with me is Sensa.\nSensa is carrying a sender.\n\n> You touch the linkups\nFC: I don't know the word 'linkups'.\n\n> Go south\nThe third stage of our journey begins here, the music goes round and round.\n\n> You look\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Index Peripheral\nCLC identifier shows the object before me as the Index pedestal.\n\n> You ask about the camera\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\n\n> Go southeast\n(Unplugging first.)\nInternal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You ask about the camera\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nTP: This is a complex television camera which links directly to Iris.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\n\n> Point camera at cables\nFC: Cryolink already established to Sensa.\nOkay.\n\n> You examine the cables\nFC: Cryolink established to Iris.\nIRIS: Visual scanners cannot see any cables here.\n\n> You point camera at the sign\nFC: Cryolink established to Sensa.\nSENSA: Okay.\n\n> You turn on the camera\nAll sensors aside, that goes beyond my abilities.\n\n> You read the sign\nFC: Cryolink established to Iris.\nIRIS: Visual scanners cannot see any sign here.\n\n> You go west\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> You go to the west\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You ask Whiz,  to go southwest\nFC: Cryolink established to Whiz.\n(Unplugging first.)\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You ask about the camera\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nAP: It can be activated by plugging it in at the correct location.\n\n> You plug in the camera\nFC: Cryolink established to Sensa.\nSENSA: I've plugged it in. Electricity flows and RF transmissions begin.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> You point the camera at the sign\nFC: Cryolink already established to Sensa.\nThe transmitter has been pointed at the sign.\n\nIRIS INTERRUPT: The little sign presents me with the access code the machine in the Main Supply Room needs to reset the Filtering Computers. It says FOOBOZ.\n\n> Point camera at cables\nFC: Cryolink already established to Sensa.\nThe transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: white five-inch cable; twenty-inch blue cable; black nineteen-inch cable; and nine-inch orange cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You go to the north\n(Unplugging transmitter first.)\nInternal map reference -- Beta FC\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> Go north\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\n\n> Point camera at cables\nOkay.\n\n> You plug in the camera\nI've plugged it in. Electricity flows and RF transmissions begin.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> Point camera at cables\nThe transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: red four-inch cable; eighteen-inch yellow cable; ten-inch green cable; and pink six-inch cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You go to the west\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nWaldo is off to the west.\n\n> Go west\nPhoton receptors indicate this area is extremely large.\nWaldo is off to the west.\n\n> You go to the west\nWiring etched into the walls branches off to the northeast from here, while an incredibly powerful source of energy is easily detectable to the east.\nWaldo is off to the west.\n\n> You go west\nFriendly vibrations can be detected from the southeast.\nWaldo is off to the west.\n\n> You go to the south-east\nMy receptors are picking up strong data transmissions to the west of here. Overhead I can trace an electrical flow that continues to the southeast.\n\n> Go southeast\nThe data transmissions are still detectable from the west. This area is filled with all kinds of electrical devices and what seems like motors.\n\n> You examine the device\nFC: Which device do you mean, the broken device or the transmitter?\n\n> You ask Iris,  to go west\nFC: Cryolink established to Iris.\nIRIS: I don't see how.\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You examine the panel\nFC: Which panel do you mean, the front panel or the maintenance panel?\n\n> Front\nOn the panel are a series of eight circles. Each of these circles has a three letter code printed on it. The three letters correspond to half of the Filtering Computers' reset code.\n\n> You ask Auda,  to go west\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Branch\nI am in the Hallway Branch.\n\n> You go to the north\nI am in the Hallway Corner.\n\n> Go north\nI am in the Sleep Chamber.\nSome talking mechanisms are off to the west.\n\n> Go west\nI am in the Activities Area.\nIn the room with me are some talking mechanisms.\n\n> Go west\nThe air here is very still.\nSome talking mechanisms are off to the east.\n\n> Go west\nA low, whirring noise, barely detectable, can be heard from the west. Some talking mechanisms are off to the east.\n\n> You ask Iris,  to go south\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Middle Supply Room\nThis is the middle of an L-shaped supply room. Scattered about on the floor are all kinds of debris. Nothing looks salvageable.\nThere is a blue sixteen-inch cable here.\n\n> Go east\nI am in a sub-station of the supply rooms. The room is small, with debris littering the floor.\nA broken shelf lies on the floor in a terrible state, beyond use.\n\n> You look o nshelf\nFC: I don't know the word 'o'.\n\n> You go to the north\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> You go east\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Primary Channel.\n\n> You look\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Primary Channel\nI've entered a narrow tube which rests on a north/south axis. Many cables travel within this tube, each one resting on the groove in the floor. Sonar also detects a small hole in the side of the tube, right below a recessed sign.\n\n> You go to the north\nSensors detect a small, narrow tube to the south of here, while surrounding me is a huge object, the Alpha FC.\n\n> Go south\nI've entered a narrow tube which rests on a north/south axis. Many cables travel within this tube, each one resting on the groove in the floor. Sonar also detects a small hole in the side of the tube, right below a recessed sign.\n\n> Go south\nI am standing inside a structure of incredible complexity. A narrow tube runs to the north, while another one runs to the south. Another tunnel-like tube leads to the west.\n\n> Go south\nI've entered a narrow tube which rests on a north/south axis. Many cables of small diameter travel within this tube, side by side in a groove. Sonar also detects a small hole in the side of the tube. Above this hole is a recessed sign.\n\n> You look at the cables\nThe first, second, third and fourth cables are of all different lengths.\n\n> Go south\nSensors detect a small, narrow tube to the north of here, while surrounding me is a huge object, the Gamma FC itself.\nIn the room with me is Poet.\n\n> You examine tube\nFC: I don't know the word 'tube'.\n\n> You ask Poet,  to go north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Secondary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\n\n> You wait\nFC: Time passes...\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Activities Area.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Activities Area\nThere is a lot of vibrational and electrical activity within this location, though none of its purposes seem immediately evident.\nIn the room with me are Auda and some creatures.\n\n> You look at the creatures\nI like myself better, having all kinds of sensory input at my disposal. The creatures are carrying a tool container.\n\n> Go west\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nAuda is off to the east.\nSome creatures are off to the east.\n\n> You look\nI'm in a large room which looks like the inside of a globe. The walls seem sculptured with wiring, swirling around the room's perimeter, leading into a tall column. The column itself has a door on its face. Doorways lead to the west, south, east and northeast.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You ask Waldo,  to go east\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Southeast Junction\nI perceive another passageway heading off to the southeast from here. In the room with me is Sensa (in motion).\nSensa is carrying a small sphere.\n\n> Go east\nI have reached a place in the corridor where the floor rises up to the northeast. Sonar can detect a huge open area directly to the east.\nIn the room with me are Sensa (in motion) and Poet.\nSensa is carrying a small sphere.\n\n> You go to the east\nSonar detects a large open area, with three huge objects far off to the east.\nIn the room with me is Sensa.\nSensa is carrying a small sphere.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Cavernous Room.\n\n> You ask Sensa,  to go to the east\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nPoet is off to the west.\nWaldo is off to the west.\n\n> Go east\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> You point the camera at sign\nThe transmitter has been pointed at the sign.\n\nIRIS INTERRUPT: The little sign presents me with the access code the machine in the Main Supply Room needs to reset the Filtering Computers. It says FOOBOZ.\n\n> Point camera at cables\nThe transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: red four-inch cable; eighteen-inch yellow cable; ten-inch green cable; and pink six-inch cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You wait awhile\nFC: Time passes...\n\nPOET: As much as I can be anyplace, I'm here at the Primary Channel.\n\n> You touch red\nFC: Cryolink already established to Poet.\nI can't accept the existence of any red here.\n\n> You look\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\nIn the room with me is Sensa.\nSensa is carrying a sender.\n\n> You ask about the cables\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\nIP: Data available from the Historical Pedestal.\n\n> You ask about cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: These cables were designed for easy replacement. Each is equipped with a simple snap connector so replacement is virtually automatic. All cables of the same color conduct the same voltage charges and are totally interchangeable.\n\n> You go to the south-west\n(Unplugging first.)\nInternal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You ask about the cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nAP: Be careful of removing or replacing active cables.\n\n> You touch connector\nFC: Cryolink established to Poet.\nPOET: Sensory pads detect no abnormal flow.\n\n> You go to the south\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> Go south\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\n\n> You touch all\n(groove) Sensory pads detect no abnormal flow.\n(five-inch cable) Sensory pads detect no abnormal flow.\n(nine-inch cable) Data transmissions are highly irregular through this cable.\n(nineteen-inch cable) Sensory pads detect no abnormal flow. (twenty-inch cable) Sensory pads detect no abnormal flow.\n\n> You touch all\n(sender) Sensory pads detect no abnormal flow.\n(groove) Sensory pads detect no abnormal flow.\n(four-inch cable) Sensory pads detect no abnormal flow.\n(six-inch cable) Sensory pads detect no abnormal flow.\n(ten-inch cable) Sensory pads detect no abnormal flow.\n(eighteen-inch cable) Sensory pads detect no abnormal flow.\n\n> You unplug\nFC: Cryolink established to Sensa.\nSENSA: Who do you think I am, Whiz? Gimme a break!\n\n> Go south\n(Unplugging transmitter first.)\nInternal map reference -- Beta FC\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> You go to the south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Poet.\n\n> You plug the camera\nFC: What do you want to plug the camera in?\n\n> Point camera at cables\nThe transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: white five-inch cable; twenty-inch blue cable; black nineteen-inch cable; and nine-inch orange cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You ask Iris,  to go west\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You wait for a while\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Main Supply Room.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You wait for a while\nFC: Time passes...\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Skywalk Gamma.\n\n> You touch all\nFC: Cryolink established to Poet.\nPOET: I can't imagine what you intend to touch!\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Secondary Channel.\n\n> You replace nine cable with orange\nFC: Cryolink established to Waldo.\nFC: I don't know the word 'nine'.\n\n> Inventory\nI am grasping...\nA fourteen-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You look at the cables\nThe first, second, third and fourth cables are of all different lengths.\n\n> You touch all\n(small sphere) There are small grasping areas on it which correspond to my graspers.\n(groove) There are 4 cables in the grooves. I can feel that the cables are actually snap-in modules which can easily be replaced.\n(five-inch cable) I perceive nothing special about the five-inch cable. (nine-inch cable) I perceive nothing special about the nine-inch cable. (nineteen-inch cable) I perceive nothing special about the nineteen-inch cable.\n(twenty-inch cable) I perceive nothing special about the twenty-inch cable.\n\n> You replace nine-inch cable with the orange cable\nOkay. It's done.\n\n> You push the first circle\nFC: Cryolink established to Iris.\nIRIS: Nothing is happening. I don't think it's working anymore.\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You put the fuse in the panel\nFC: Which panel do you mean, the front panel or the maintenance panel?\n\n> You check your inventory\nI am carrying...\nA glass fuse\n\n> You touch the wiring\nFC: Cryolink established to Poet.\nPOET: I can't accept the existence of any wiring here.\n\n> You go to the west\nLife is filled with choice. Decisions always make my eyes moist.\nThe slanting wedge is positioned by the step.\n\n> You go to the south-east\nWho managed just one shot in six\nHe looked quite surpised\nWhen he opened his eyes\nAnd saw that his gun wasn't fixed.\n\n> Go southeast\nDid you ever have the feeling you were running on a treadmill? Sometimes life is like that.\n\n> Go south\nRunning, running, getting nowhere amid the hustle and bustle of life. The glider is not in motion.\n\n> You go to the south\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nThere is a cage here.\nThe cage contains...\nA FRED\n\n> You go to the bending passage\nFC: Cryolink established to Sensa.\n(Unplugging transmitter first.)\nSENSA: Order input acknowledged. Output on arrival.\n\n> You ask Waldo,  to check what you're carrying\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA nine-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You open the maintenance panel\nFC: Cryolink established to Iris.\nIRIS: I'm not equipped to do that to the maintenance panel.\n\n> You examine FRED\nFC: Cryolink established to Poet.\nPOET: I perceive nothing special about the FRED.\n\n> Wait\nFC: Time passes...\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Bending Passage.\n\n> You ask Auda,  to go southeast\nFC: Cryolink established to Auda.\nAUDA: Echo patterns describe a wall there.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Bending Passage.\n\n> You go south\nI can hear the sound of gears and cogs, coming from a noisy walkway. The noisy walkway is not in motion.\n\n> You go to the south\nI can hear the meshing of gears and cogs, coming from a noisy walkway. The noisy walkway is not in motion.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Bending Passage.\n\n> You go south\nNoise of machinery can be detected coming from the north.\nThe noisy walkway is not in motion.\nIn the room with me is Poet.\n\n> Go south\nEcho patterns describe a wall there.\n\n> You ask Waldo,  to go south\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Alpha Repair\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\n\n> Go south\nI'm in the center of a large area with a walkway in the center.\nThe walkway is not in motion.\n\n> You go to the south\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me are Auda and Poet.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\n\n> Oepn broken mechanism\nFC: I don't know the word 'oepn'.\n\n> Oops open\nFC: I don't know the word 'oops'.\n\n> You get the broken mechanism\nI can't manage it. The broken mechanism is too heavy.\n\n> You look at the hollow object\nThe hollow object contains...\nA broken mechanism\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Alpha Repair\nStrong electrical interference can be detected within this environment. The conveying mechanism is not in motion.\n\n> You go south\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nIn the room with me are Waldo, Auda and Poet.\nWaldo is carrying a nine-inch cable, a scanning device, a micro extension, and a small container.\nThere is a large object here.\nThe large object contains...\nA broken device\n\n> You look at the large object\nConcentrated on the front surface of the large object is a flowswitch.\n\n> You turn flowswitch\nIt's already been turned.\n\n> You ask about the flowswitch\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Nope. Can't find any reference to that one in this mess. Sorry.\n\n> Go northeast\n(Unplugging first.)\nInternal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\n> You examine broken\nFC: Cryolink established to Sensa.\nSENSA: I perceive nothing special about the broken device.\n\n> You turn on device\nFC: Which device do you mean, the scanning device, the broken device, or the transmitter?\n\n> You ask Waldo,  to go to the north\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Beta Repair\nI'm in the center of a large area with a walkway in the center.\nThe walkway is not in motion.\n\n> You go to the north\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\n\n> You go to the north\nSonar detects a large area to the south with many obstacles within the structure.\n\n> You go northwest\nThis tubular passageway continues to the southeast. I can detect a bend in it toward the south.\n\n> Go west\nSonar detects an intersection here, with a small dropoff to the north. The solid wedge is positioned by the step.\nThere is a solid wedge here.\n\n> Go north\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nThe solid wedge is positioned by the step.\n\n> Go west\nI'm in a small room with exits to the west and east. Sonar detects odd objects within the room whose purpose eludes my perceptive abilities. In the room with me are some mobile objects.\n\n> You go south\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\n\n> Go south\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me are Sensa, Auda and Poet.\nSensa is carrying a small sphere.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\n\n> You cut the broken mechanism\nFC: What do you want to cut the broken mechanism with?\n\n> You look\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me are Sensa, Auda and Poet.\nSensa is carrying a small sphere.\nThere is a cutting tool here.\nThere is a hollow object here.\nThe hollow object contains...\nA broken mechanism\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Gamma Repair\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nIn the room with me are Waldo, Auda and Poet.\nWaldo is carrying a nine-inch cable, a scanning device, a micro extension, and a small container.\nThere is a metal tool here.\nThere is a large object here.\nThe large object contains...\nA broken device\n\n> You look\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Gamma Repair\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a nine-inch cable, a brain uno, a grasper, and a basket of goodies for Grandma.\nSensa is carrying a sender.\nThere is a life slicer here.\nThere is a cage here.\nThe cage contains...\nA FRED\n\n> Slice fred\nFC: What do you want to slice the fred with?\n\n> You cut fred with the slider\nFC: I don't know the word 'slider'.\n\n> You cut FRED\nFC: Cryolink established to Waldo.\nFC: What do you want to cut the fred with?\n\n> You check your inventory\nI am grasping...\nA cutting tool\nA nine-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You wear the cutting tool\nAn interesting but highly unlikely thought.\n\n> You ask Whiz,  to go northeast\nFC: Cryolink established to Whiz.\n(Unplugging first.)\nWHIZ: The CLC cannot confirm a passage there.\n\n> You plug in\nIt's great to be home. Plugged in to the Index Pedestal. Ready to process queries.\n\n> You ask about the cutting\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\n\n> You ask about the cutting\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This is a standard cutting instrument.\n\n> You go to the south-west\n(Unplugging first.)\nInternal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You plug in\nIt's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\n> You ask about cutting\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nAP: It can prove useful for salvaging wires and cables.\n\n> You ask Sensa,  to check what you're carrying\nFC: Cryolink established to Sensa.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\n> You ask Waldo,  to inventory\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA cutting tool\nA nine-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You cut nine-inch cable\nFC: What do you want to cut the nine-inch cable with?\n\n> You cut wires with the cutting tool\nFC: I don't know the word 'wires'.\n\n> You touch nine-inch cable\nFC: Cryolink established to Poet.\nPOET: Data transmissions are highly irregular through this cable.\n\nWHIZ INTERRUPT: Humans querying the CLC regarding proper replacement procedure for you. CLC is responding with the human access code for reviving one of your clones.\n\n> You give cutter to Poet\nFC: Cryolink established to Waldo.\nWALDO: Given.\n\n> You give nine-inch cable to Poet\nGiven.\n\n> You cut the cable with the cutter\nFC: Cryolink established to Poet.\nPOET: It won't cut.\n\n> You look\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, and a basket of goodies for Grandma.\nSensa is carrying a sender.\nThere is a cage here.\nThe cage contains...\nA FRED\n\n> Go east\nTwice the size of life, this area makes me feel like a dwarf.\n\n> You give the cutter to POET\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any cutter here.\n\n> Inventory\nI am grasping...\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\nWALDO: Internal mapping indicates arrival at the Hallway Junction.\n\n> You wait for a while\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Sloping Corridor.\n\n> You look\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nThe solid wedge is positioned by the step.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Cavernous Room.\n\n> You ask Sensa,  to go east\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nPoet is in motion off to the west.\n\n> You go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Primary Channel.\n\n> You touch all\nFC: Cryolink established to Poet.\n(groove) POET: Sensory pads detect no abnormal flow.\n(four-inch cable) POET: Sensory pads detect no abnormal flow.\n(six-inch cable) POET: Sensory pads detect no abnormal flow.\n(ten-inch cable) POET: Sensory pads detect no abnormal flow. (eighteen-inch cable) POET: Sensory pads detect no abnormal flow.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sloping Corridor.\n\n> You ask Poet,  to go south\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Secondary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\nIn the room with me is Sensa.\nSensa is carrying a sender.\n\n> You touch all\n(sender) Sensory pads detect no abnormal flow.\n(groove) Sensory pads detect no abnormal flow.\n(five-inch cable) Sensory pads detect no abnormal flow.\n(nine-inch cable) Data transmissions are highly irregular through this cable.\n(nineteen-inch cable) Sensory pads detect no abnormal flow. (twenty-inch cable) Sensory pads detect no abnormal flow.\n\n> You plug in the camera\nFC: Cryolink established to Sensa.\nSENSA: I've plugged it in. Electricity flows and RF transmissions begin.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> Examine connector\nThe first, second, third and fourth cables are of all different lengths.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Main Supply Room.\n\n> You get the orange cable\nFC: Cryolink established to Iris.\nIRIS: Visual scanners cannot see any orange cable here.\n\n> You go west\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> Go west\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nIn the room with me is Waldo.\nWaldo is carrying a pair of cutters, a blue chip, a microsurgery extension, and a little wire basket.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You get the orange wire\nI'm reaching for the fourteen-inch cable of orange wire...\nOh oh!\n\nFC: Sizzle, pop, and snap-crackly noises. The delicious smell of fried robot. Mmm Mmm.\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Waldo.\n\n> You go to the southwest\n(Unplugging first.)\nInternal map reference -- Historical Peripheral\nCLC tagged object before me is the Historical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\n> You ask about the cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nHP: When this complex was built, a color-coding scheme was agreed upon for the sake of standardization.\n\n> You go southeast\n(Unplugging first.)\nInternal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me.\n\n> You ask about the cables\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nAP: Be careful of removing or replacing active cables.\n\n> You ask about the connectors\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nAP: Be careful of removing or replacing active cables.\n\n> You ask about the salvage\nFC: I don't know the word 'salvage'.\n\n> You examine the fuse\nFC: Cryolink established to Iris.\nIRIS: I perceive nothing special about the glass fuse.\n\n> You put the fuse in the panel\nFC: Which panel do you mean, the front panel or the maintenance panel?\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You examine the machine\nThe machine contains...\nA front panel\nSitting on the front panel are...\nA first circle\nA second circle\nA third circle\nA fourth circle\nA fifth circle\nA sixth circle\nA seventh circle\nA eighth circle\n\n> You ask Iris,  to go west\nFC: Cryolink already established to Iris.\nI don't see how.\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and"
    },
    {
        "text": "a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. On the front panel is a series of eight circles. The orange button is flashing.\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, and a little wire basket.\nThere is a fried chip here.\nThere is a burned chip here.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Main Supply Room.\n\n> You put the fuse in the front panel\nThere's no room.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Skywalk Gamma.\n\n> You install the fuse\nAn interesting but highly unlikely thought.\n\n> You ask about the fuse\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nAP: This is a small glass fuse which should be removed before tampering with any exposed sections. After tampering with machine internals, the fuse should be put back into the machine.\n\n> You get the orange wire\nFC: Cryolink established to Iris.\nIRIS: Taken.\n\n> You wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Secondary Channel.\n\n> You replace nine-inch cable with the orange cable\nFC: Cryolink already established to Waldo.\nOkay. It's done.\n\n> You push the first circle\nFC: Cryolink established to Iris.\nFC: Attempt for reset has been rejected. Code entry premature. FCs out of balance.\n\n> You touch cables\nFC: Cryolink established to Poet.\nPOET: I can't accept the existence of any cables here.\n\n> Wait\nFC: Time passes...\n\nPOET: As much as I can be anyplace, I'm here at the Secondary Channel.\n\n> You touch all\n(nine-inch cable) Data transmissions are highly irregular through this cable.\n(brain uno) Electrons can no longer find flow paths through this brain. (grasper) Sensory pads detect no abnormal flow.\n(basket of goodies for Grandma) Sensory pads detect no abnormal flow. (sender) Sensory pads detect no abnormal flow.\n(groove) Sensory pads detect no abnormal flow.\n(fourteen-inch cable) This is a cable in good working order and can be used as a replacement when needed.\n(five-inch cable) Sensory pads detect no abnormal flow.\n(nineteen-inch cable) Sensory pads detect no abnormal flow. (twenty-inch cable) Sensory pads detect no abnormal flow.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me are Waldo and Poet.\nWaldo is carrying a nine-inch cable, a scanning device, a micro extension, and a small container.\n\n> Point camera at cables\nThe transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: white five-inch cable; twenty-inch blue cable; black nineteen-inch cable; and fourteen-inch cable of orange wire. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You ask Poet,  to go north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Beta FC\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> You go to the north\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\n\n> You touch all\n(groove) Sensory pads detect no abnormal flow.\n(four-inch cable) Sensory pads detect no abnormal flow.\n(six-inch cable) Sensory pads detect no abnormal flow.\n(ten-inch cable) Sensory pads detect no abnormal flow.\n(eighteen-inch cable) Sensory pads detect no abnormal flow.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a scanning device, a micro extension, and a small container.\n\n> You go to Skywalk Alpha\nFC: Cryolink already established to Sensa.\n(Unplugging transmitter first.)\nOrder input acknowledged. Output on arrival.\n\n> You ask Iris,  to go east\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> You wait awhile\nFC: Time passes...\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Skywalk Alpha.\n\n> Second\nThe second dial has been set to 90.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\nThrough the monitors I can see Sensa in the Weather Control Area.\n\n> Go west\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing. There is a fried chip here.\nThere is a burned chip here.\n\n> You go to secondary\nFC: Cryolink established to Sensa.\nSENSA: It's right here.\n\n> You look\nI'm in a small but electrically intensive area. I can detect three variable potentiometers on a small console.\nThe first dial is set to 55, the second dial is set to 90, and the third dial is set to 55.\n\n> You set the dial to 55\nFC: Which dial do you mean, the first dial, the second dial, or the third dial?\n\n> Second\nThe second dial has been set to 55.\n\n> You go to the southwest\nInternal mechanisms indicate this area joins two different levels.\n\n> You go east\nPhoton receptors indicate this area is extremely large.\n\n> Go east\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\n\n> You go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a scanning device, a micro extension, and a small container.\n\n> You touch all\nFC: Cryolink established to Poet.\n(groove) POET: Sensory pads detect no abnormal flow.\n(four-inch cable) POET: Sensory pads detect no abnormal flow.\n(six-inch cable) POET: Sensory pads detect no abnormal flow.\n(ten-inch cable) POET: Sensory pads detect no abnormal flow. (eighteen-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> You go to the south\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\nIn the room with me are Waldo and Sensa.\nWaldo is carrying a nine-inch cable, a brain uno, a grasper, and a basket of goodies for Grandma.\nSensa is carrying a sender.\n\n> You touch all\n(sender) Sensory pads detect no abnormal flow.\n(nine-inch cable) Data transmissions are highly irregular through this cable.\n(brain uno) Electrons can no longer find flow paths through this brain. (grasper) Sensory pads detect no abnormal flow.\n(basket of goodies for Grandma) Sensory pads detect no abnormal flow. (groove) Sensory pads detect no abnormal flow.\n(fourteen-inch cable) This is a cable in good working order and can be used as a replacement when needed.\n(five-inch cable) Sensory pads detect no abnormal flow.\n(nineteen-inch cable) Sensory pads detect no abnormal flow. (twenty-inch cable) Sensory pads detect no abnormal flow.\n\n> You touch all\nFC: Cryolink established to Poet.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(fourteen-inch cable) POET: This is a cable in good working order and can be used as a replacement when needed.\n(five-inch cable) POET: Sensory pads detect no abnormal flow. (nineteen-inch cable) POET: Sensory pads detect no abnormal flow. (twenty-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> You look at groove\nThere are 4 cables in the grooves. Ah, what an age we live in when replacement parts are the way of things.\n\n> You look at touch yourself\nFC: I can't use the word 'touch' here.\n\n> You look\nFC: I don't know the word 'senso'.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Poet.\n\n> You fix the wires\nFC: Cryolink established to Poet.\nFC: I don't know the word 'wires'.\n\n> You go to Main\nFC: Cryolink already established to Poet.\nAll life's a stage, so just consider me a player. See you.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing. There is a fried chip here.\nThere is a burned chip here.\n\n> You put the orange cable in the machine\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any orange cable here.\n\n> Inventory\nI am grasping...\nA nine-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You look\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, and a little wire basket.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You examine Waldo\nWaldo has a lot of extensions for manipulating objects and is about one meter in height. He is primarily a building and repair robot. He's also rather cute and appeals to my visual circuits.\nWaldo is carrying a blue chip, a microsurgery extension, and a little wire basket.\n\n> You look\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Main Supply Room\nThis is another fine mess you've got me into. Umm, umm umm! A processor sits on the floor, munching and spitting electrons. Button, button, who's got the button while the socks ablaze with color. A brain zip sits in the primo socket, and a brain two sits in the secondary socket. Meanwhile, a glass interrupter monitors the situation. On the exposed panel is a little piano with only eight circle keys. Button flashes while time passes.\nIn the room with me are Iris and Waldo.\nWaldo is carrying a brain uno, a grasper, and a basket of goodies for Grandma.\nThere is a brain quart here.\nThere is a brain tres here.\n\n> You ask Waldo,  to inventory\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA cutting tool\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You look\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A smooth object sits in the first depression, and a bumpy object sits in the second depression. The front panel is open and a fourteen-inch cable is exposed. A small cylinder sits in the panel. On the front panel a series of eight raised circles is visible.\nThere is a bubbly device here.\nThere is a disfigured device here.\n\n> You cut the cable\nFC: What do you want to cut the cable with?\n\n> You wait awhile\nFC: Time passes...\n\nPOET: As much as I can be anyplace, I'm here at the Gamma Repair.\n\n> Diagnose fred\nFC: I don't know the word 'diagnose'.\n\n> Report\nFC: Full report from POET\nInternal map reference -- Gamma Repair\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nThere is a cage here.\nThe cage contains...\nA FRED\nAs far as I know, I'm Zen on inventory.\nSensory pads detect no abnormal flow.\n\n> Report\nFC: Full report from POET\nInternal map reference -- Secondary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\nIn the room with me is Sensa.\nSensa is carrying a sender.\nAs far as I know, I'm Zen on inventory.\nSensory pads detect no abnormal flow.\n\n> Report\nFC: Full report from POET\nInternal map reference -- Primary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\nAs far as I know, I'm Zen on inventory.\nSensory pads detect no abnormal flow.\n\n> You wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\nPOET: As much as I can be anyplace, I'm here at the Gamma Repair.\n\n> You move fred\nFC: Cryolink established to Waldo.\nWALDO: I tried, but I failed.\n\nFC: Cryolink established to Poet.\nPOET: I tried, but I failed.\n\n> You move fred\nFC: Dual-Cryolink established to Waldo and Poet.\nFC: The robots have moved it.\nFC: Cryolink established to Waldo.\n\n> You look\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me is Poet.\nThere is a broken mechanism here.\nI can feel a bunch of smooth wire coming out of the mechanism.\nThere is a hollow object here.\n\n> You examine smooth wire\nFC: Cryolink established to Poet.\nPOET: I perceive nothing special about the twelve-inch cable.\n\n> You get the smooth wire\nThe twelve-inch cable is firmly attached to the FRED. I'll need a tool to remove it.\n\n> You cut the smooth wire\nFC: Cryolink established to Waldo.\nFC: What do you want to cut the smooth wire with?\n\n> You wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Main Supply Room.\n\n> You push the first circle\nFC: Cryolink established to Iris.\nIRIS: Visual scanners cannot see any first circle here.\n\n> You go west\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> Go west\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. On the front panel is a series of eight circles. The orange button is flashing.\nIn the room with me is Waldo.\nWaldo is carrying a fourteen-inch cable of orange wire, a glass fuse, a pair of cutters, a blue chip, a microsurgery extension, and a little wire basket.\nThere is a fried chip here.\nThere is a burned chip here.\n\n> You push the first circle\nFC: Cryolink already established to Iris.\nNothing is happening. I don't think it's working anymore.\n\n> You ask Waldo,  to inventory\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA fourteen-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You examine Waldo\nFC: Cryolink established to Iris.\nIRIS: Waldo has a lot of extensions for manipulating objects and is about one meter in height. He is primarily a building and repair robot. He's also rather cute and appeals to my visual circuits.\nWaldo is carrying a fourteen-inch cable of orange wire, a pair of cutters, a blue chip, a microsurgery extension, and a little wire basket.\n\n> You plug in the camera\nIt's already plugged in.\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Secondary Channel.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Secondary Channel.\n\n> You touch all\nFC: Cryolink established to Poet.\n(fourteen-inch cable) POET: This is a cable in good working order and can be used as a replacement when needed.\n(life slicer) POET: Sensory pads detect no abnormal flow.\n(brain uno) POET: Electrons can no longer find flow paths through this brain.\n(grasper) POET: Sensory pads detect no abnormal flow.\n(basket of goodies for Grandma) POET: Sensory pads detect no abnormal flow.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(five-inch cable) POET: Sensory pads detect no abnormal flow. (nine-inch cable) POET: Data transmissions are highly irregular through this cable.\n(nineteen-inch cable) POET: Sensory pads detect no abnormal flow. (twenty-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> You replace nine-inch cable with cutting tool\nFC: Cryolink established to Waldo.\nWALDO: Okay. It's done.\n\n> You ask Waldo,  to check your inventory\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA nine-inch cable\nA fourteen-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You look\nI've entered a narrow tube which rests on a north/south axis. Many cables of small diameter travel within this tube, side by side in a groove. Sonar also detects a small hole in the side of the tube. Above this hole is a recessed sign.\nIn the room with me are Sensa and Poet.\nSensa is carrying a small sphere.\n\n> You touch all\nFC: Cryolink established to Poet.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(life slicer) POET: Sensory pads detect no abnormal flow.\n(five-inch cable) POET: Sensory pads detect no abnormal flow. (nineteen-inch cable) POET: Sensory pads detect no abnormal flow. (twenty-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> You ask Waldo,  to go to the south\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Secondary Channel\nI've entered a narrow tube which rests on a north/south axis. Many cables of small diameter travel within this tube, side by side in a groove. Sonar also detects a small hole in the side of the tube. Above this hole is a recessed sign.\nIn the room with me are Sensa and Poet.\nSensa is carrying a small sphere.\n\n> You replace the cutting tool with fourteen-inch cable\nFC: Cryolink already established to Waldo.\nOkay. It's done.\n\n> You look\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\n\n> Go west\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing. There is a fried chip here.\nThere is a burned chip here.\n\n> You touch all\nFC: Cryolink established to Poet.\n(life slicer) POET: Sensory pads detect no abnormal flow.\n(nine-inch cable) POET: Data transmissions are highly irregular through this cable.\n(brain uno) POET: Electrons can no longer find flow paths through this brain.\n(grasper) POET: Sensory pads detect no abnormal flow.\n(basket of goodies for Grandma) POET: Sensory pads detect no abnormal flow.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(fourteen-inch cable) POET: This is a cable in good working order and can be used as a replacement when needed.\n(five-inch cable) POET: Sensory pads detect no abnormal flow. (nineteen-inch cable) POET: Sensory pads detect no abnormal flow. (twenty-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> Go west\nI have reached the east end of the huge open area. Directly before me is the entrance into the lower reaches of the Beta FC. Access to the other computers is available through the northeast and southeast.\n\n> You go to the west\nSonar detects a large open area, with three huge objects far off to the east.\n\n> You go west\nI have reached a place in the corridor where the floor rises up to the northeast. Sonar can detect a huge open area directly to the east.\n\n> Go northeast\nI am on an inclined surface which continues northeast and southwest. The slant of the floor here indicates that I am between levels.\n\n> Go northeast\nI am at the top of a passage which descends to the southwest. Before me, to the north, is the entrance to an east/west walkway.\n\n> You go to the north\nI'm in a small area at the end of the jet tube. Sonar detects a small console within reach of my extensions and mounted on this panel are three dials.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\n\n> You ask Poet,  to go north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Beta FC\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> You touch all\n(groove) Sensory pads detect no abnormal flow.\n(four-inch cable) Sensory pads detect no abnormal flow.\n(six-inch cable) Sensory pads detect no abnormal flow.\n(ten-inch cable) Sensory pads detect no abnormal flow.\n(eighteen-inch cable) Sensory pads detect no abnormal flow.\n\n> You touch all\n(sender) Sensory pads detect no abnormal flow.\n(groove) Sensory pads detect no abnormal flow.\n(fourteen-inch cable) This is a cable in good working order and can be used as a replacement when needed.\n(five-inch cable) Sensory pads detect no abnormal flow.\n(nineteen-inch cable) Sensory pads detect no abnormal flow. (twenty-inch cable) Sensory pads detect no abnormal flow.\n\n> You look\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Poet.\n\n> You ask Iris,  to inventory\nFC: Cryolink established to Iris.\nIRIS: I am holding nothing in my dainty extensions.\n\n> You ask Waldo,  to inventory\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA cutting tool\nA nine-inch cable\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> You ask Poet,  to check your inventory\nFC: Cryolink established to Poet.\nPOET: As far as I know, I'm Zen on inventory.\n\n> You ask Sensa,  to check what you're carrying\nFC: Cryolink established to Sensa.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\n> You ask Waldo,  to go to the north\nFC: Cryolink established to Waldo.\nWALDO: Sonar can't detect a passage in that direction.\n\n> You look\nI'm in a small area at the end of the jet tube. Sonar detects a small console within reach of my extensions and mounted on this panel are three dials.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\n\n> You ask Iris,  to go east\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\nThrough the monitors I can see Waldo in the Weather Control Area.\n\n> You examine the second dial\nFC: Cryolink already established to Sensa.\nSensory inputs cannot detect any second dial here.\n\n> You examine the second dial\nFC: Cryolink established to Waldo.\nWALDO: I can feel gradations etched into the dial which go from 0 to 100.\nThe second dial is set at 55.\n\n> You set the second dial to 100\nThe second dial has been set to 100.\n\n> You go to Gamma Repair\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sloping Corridor.\n\n> You get the ramp\nFC: Cryolink established to Waldo.\nWALDO: Taken.\n\n> Go north\nI have reached a junction in the hallway. The east/west hallway meets with a southern corridor.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Cavernous Room.\n\n> You go to the secondary channels\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\n> Go east\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Gamma Repair.\n\n> Go north\nI'm in a small room which has flat extensions jutting from the walls.\n\n> Go west\nI'm in a small room with exits to the west and east. Sonar detects odd objects within the room whose purpose eludes my perceptive abilities. In the room with me are some mobile objects.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Secondary Channel.\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sloping Corridor.\n\n> You wait awhile\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Gamma Repair.\n\n> You wait\nFC: Cryolink established to Sensa.\nFC: Time passes...\n\n> Wait\nFC: Time passes...\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Secondary Channel.\n\n> You touch all\nFC: Cryolink established to Poet.\n(twelve-inch cable) POET: Sensory pads detect no abnormal flow.\n(life slicer) POET: Sensory pads detect no abnormal flow.\n(brain uno) POET: Electrons can no longer find flow paths through this brain.\n(grasper) POET: Sensory pads detect no abnormal flow.\n(basket of goodies for Grandma) POET: Sensory pads detect no abnormal flow.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(five-inch cable) POET: Sensory pads detect no abnormal flow. (nine-inch cable) POET: Data transmissions are highly irregular through this cable.\n(nineteen-inch cable) POET: Sensory pads detect no abnormal flow. (twenty-inch cable) POET: Sensory pads detect no abnormal flow.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Secondary Channel.\n\n> Point camera at cables\nFC: Cryolink established to Sensa.\nSENSA: The transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: white five-inch cable; twenty-inch blue cable; black nineteen-inch cable; and nine-inch orange cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You replace nine-inch cable with the smooth cable\nFC: Cryolink established to Waldo.\nWALDO: Okay. It's done.\n\n> Iris west\nFC: I can't use the word 'w' here.\n\n> You ask about the FCs\nFC: Cryolink established to Whiz.\nIP: Data available from the Technical Pedestal.\nIP: Data available from the Advisory Pedestal.\nIP: Data available from the Historical Pedestal.\n\n> You ask about the balance\nFC: I don't know the word 'balance'.\n\n> You ask about the FCs\nAP: All defective cables should be replaced, then the reset code should be entered at the machine in the Main Supply Room.\n\n> Go northwest\n(Unplugging first.)\nInternal map reference -- Historical Peripheral\nCLC tagged object before me is the Historical pedestal.\n\n> You plug in\nIt's great to be home. Plugged in to the Historical Pedestal. Ready to process queries.\n\n> You ask about the FCs\nHP: The Filtering Computers have long provided Contra with surface-side maintenance, providing the surface-dwellers with an easy lifestyle.\n\n> Go north\n(Unplugging first.)\nThe CLC cannot confirm a passage there.\n\n> You ask Poet,  to go north\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Beta FC\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\n> You go to the north\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\n\n> You touch all\n(groove) Sensory pads detect no abnormal flow.\n(four-inch cable) Sensory pads detect no abnormal flow.\n(six-inch cable) Sensory pads detect no abnormal flow.\n(ten-inch cable) Sensory pads detect no abnormal flow.\n(eighteen-inch cable) Sensory pads detect no abnormal flow.\n\n> You ask Sensa,  to go north\nFC: Cryolink established to Sensa.\n(Unplugging transmitter first.)\nSENSA: Internal map reference -- Beta FC\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> Go north\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Poet.\n\n> You plug in the camera\nI've plugged it in. Electricity flows and RF transmissions begin.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> Point camera at cables\nFC: Cryolink established to Sensa.\nSENSA: The transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: red four-inch cable; eighteen-inch yellow cable; ten-inch green cable; and pink six-inch cable. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You touch all\nFC: Cryolink established to Poet.\n(sender) POET: Sensory pads detect no abnormal flow.\n(groove) POET: Sensory pads detect no abnormal flow.\n(four-inch cable) POET: Sensory pads detect no abnormal flow.\n(six-inch cable) POET: Sensory pads detect no abnormal flow.\n(ten-inch cable) POET: Sensory pads detect no abnormal flow. (eighteen-inch cable) POET: Sensory pads detect no abnormal flow.\n\n> You look at four-inch cable\nThe data transmissions within this cable are irregular. Immediate replacement recommended.\n\n> Report\nFC: Full report from POET\nInternal map reference -- Primary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\nIn the room with me is Sensa.\nSensa is carrying a sender.\nAs far as I know, I'm Zen on inventory.\nSensory pads detect no abnormal flow.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a fried chip here.\nThere is a burned chip here.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Secondary Channel\nI've entered a narrow tube which rests on a north/south axis. Many cables of small diameter travel within this tube, side by side in a groove. Sonar also detects a small hole in the side of the tube. Above this hole is a recessed sign.\nWALDO: I am grasping...\nA nine-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Poet.\nSENSA: Sensors indicate I'm holding...\nA transmitter\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Maintenance Access\nI am in the Maintenance Access.\nI can hear the gurgling of liquid overhead as it rushes through pipes and a regulatory wheel high overhead.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Primary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\nIn the room with me is Sensa.\nSensa is carrying a sender.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Historical Peripheral\nCLC tagged object before me is the Historical pedestal.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You ask Sensa,  to go south\nFC: Cryolink established to Sensa.\n(Unplugging transmitter first.)\nSENSA: Internal map reference -- Beta FC\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> You go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a metal tool, a scanning device, a micro extension, and a small container.\n\n> You plug in the camera\nI've plugged it in. Electricity flows and RF transmissions begin.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> You point the camera at Waldo\nThe transmitter has been pointed at Waldo.\n\nIRIS INTERRUPT: The image is rather fuzzy, but it looks like Waldo.\n\n> You point the camera at the smooth cable\nThe transmitter has been pointed at the twelve-inch cable.\n\nIRIS INTERRUPT: Now I know why cable-tv was invented. All I can make out is the shape of a twelve-inch red cable.\n\n> You get twelve-inch cable\nFC: Cryolink established to Waldo.\nWALDO: Taken.\n\n> Go north\nI've entered a narrow tube which rests on a north/south axis. Many cables travel within this tube, each one resting on the groove in the floor. Sonar also detects a small hole in the side of the tube, right below a recessed sign.\nIn the room with me is Poet.\n\n> You replace four-inch with twelve-inch\nOkay. It's done.\n\n> You go to Main\nI'm on my way. Expect a report on arrival.\n\n> You get the fuse\nFC: Cryolink established to Iris.\nIRIS: Taken.\n\n> You replace nine-inch with fourteen-inch wire\nFC: Cryolink established to Waldo.\nWALDO: I can't. My extensions are full.\n\n> You look at what you're carrying with you\nI am grasping...\nA fourteen-inch cable\nA four-inch cable\nA nine-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\n\n> Point camera at cables\nFC: Cryolink established to Sensa.\nSENSA: The transmitter has been pointed at the cables.\n\nIRIS INTERRUPT: Transmission indicates the cables rest in the grooves in the following order: white five-inch cable; twenty-inch blue cable; black nineteen-inch cable; and empty. The cables are actually exposed sections of larger cables. They each terminate at a connector. The connector itself poses no problem and, from what I can see, easy replacement should be possible.\n\n> You put fourteen inch in the connector\nFC: Cryolink established to Waldo.\nFC: I don't know the word 'inch'.\n\n> You put fourteen-inch wire in the connector\nFC: Cryolink already established to Waldo.\nI can't do that.\n\n> You put fourteen-inch cables in the connectors\nFC: Cryolink already established to Waldo.\nNeither sonar nor extensions detect any fourteen-inch cables here.\n\n> You look\nI've entered a narrow tube which rests on a north/south axis. Many cables of small diameter travel within this tube, side by side in a groove. Sonar also detects a small hole in the side of the tube. Above this hole is a recessed sign.\nIn the room with me is Sensa.\nSensa is carrying a small sphere.\n\n> You put fourteen-inch in groove\nDone.\n\nFC INTERRUPT: Approaching balance between all three units. Attempting internal stabilization. Reset codes may be entered now for planetside stabilization.\n\n> You put the fuse in the machine\nFC: Cryolink established to Iris.\nIRIS: Done."
    },
    {
        "text": "> Configure\nPick your poison.\nSpecify the name of a location for each of the following robots or DEAD if you would like to have the robot start out non-functional.\n\n> 150\nConfiguration completed.\n\nIRIS: In the Central Chamber.\nWALDO: In the Central Chamber.\nSENSA: In the Central Chamber.\nAUDA: In the Central Chamber.\nPOET: In the Central Chamber.\nWHIZ: In the Central Chamber.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Central Chamber\nGet me a seeing-eye robot.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Central Chamber\nSonar indicates a large, spherical open area with a hollow column running from floor to ceiling. The column reflects sonar evenly indicating no distinguishing external characteristics.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\nWALDO: My extensions grasp nothing.\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nIn the room with me are Iris, Waldo, Auda, Poet and Whiz.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Central Chamber\nA small humming can be detected from a column which extends from floor to ceiling.\nIn the room with me are Iris, Waldo, Sensa, Poet and Whiz.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Central Chamber\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me are Iris, Waldo, Sensa, Auda and Whiz.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Central Chamber\nThe CLC indicates this area is tagged as the Central Processing Unit due to an object, the CPU, which sits in the center of the room.\nIn the room with me are Iris, Waldo, Sensa, Auda and Poet.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 34   WINDS: 46\nPRECIPITATION: a torrential sleet\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 32\nTower 3 -- 55\nIn the room with me is Waldo.\nWaldo is carrying a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Weather Monitors\nThis large area has smooth walls.\nIn the room with me is Iris.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Central Chamber\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Entry Area\nA low, whirring noise, barely detectable, can be heard from the west. AUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Advisory Peripheral\nCLC tagged object indicates it is the Advisory pedestal before me. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You plug in\nFC: Cryolink established to Whiz.\nWHIZ: It's great to be home. Plugged in to the Advisory Pedestal. Ready to process queries.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Middle Supply Room.\n\n> You take all\nFC: Cryolink established to Waldo.\nWALDO: I can't tell which object to take!\n\n> You take all\n(solid wedge) Taken.\n(broken platform) It's far too heavy.\n\n> You go to Iris\nFC: Cryolink already established to Waldo.\nFC: Iris's location: Weather Monitors. Establishing path...\nI'm on my way. Expect a report on arrival.\n\n> You go to Hallway End\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Weather Monitors.\n\n> You drag Iris to Hallway Junction\nFC: Cryolink established to Waldo.\nWALDO: There's no place for me to get a grip on her.\n\n> You check what you're carrying\nI am grasping...\nA solid wedge\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You ask Sensa,  to go west\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Weather Monitors\nMy receptors detect huge electrical flow through the walls and meters all around me.\nIn the room with me are Iris and Waldo.\nWaldo is carrying a dense wedge, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\n\n> You examine the scanning device\nThis device has been electrically fried.\n\n> You go to the transport control\nFC: Cryolink established to Whiz.\nFC: I don't know the word 'transport'.\n\nFC: Cryolink established to Poet.\nFC: I don't know the word 'transport'.\n\nFC: Cryolink established to Auda.\nFC: I don't know the word 'transport'.\n\nFC: Cryolink established to Sensa.\nFC: I don't know the word 'transport'.\n\nFC: Cryolink established to Waldo.\nFC: I don't know the word 'transport'.\n\nFC: Cryolink established to Iris.\nFC: I don't know the word 'transport'.\n\n> You go to the transit control\nFC: Cryolink established to Whiz.\n(Unplugging first.)\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Hallway End.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Transit Control Area.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Iris.\nIRIS: Got it, good looking. I'll let you know when I get there.\n\n> Wait\nFC: Time passes...\nIRIS: Internal mapping doesn't extend from Central Chamber to Angling Corridor. I'm waiting for alternate instructions.\n\n> You ask Iris,  to go south\nFC: Cryolink already established to Iris.\nInternal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 87000\nTAXIS IN USE: 46000\nGLIDE RAMP SPEEDS: 30 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 00\nThrough the monitors I can see Poet in the Transit Control Area.\n\n> Wait\nFC: Time passes...\nAUDA INTERRUPT: Holy earwax. I can't get from Sloping Corridor to Hallway Junction. I'm listening for additional instructions.\n\n> Wait\nFC: Time passes...\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Transit Control Area.\n\n> Wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Hallway Junction.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Transit Control Area.\n\n> You put wedge on the step\nFC: Cryolink already established to Waldo.\nThe solid wedge has been positioned at the step.\n\n> You go to the transit control\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> Wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Transit Control Area.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Transit Control Area.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Transit Monitors\nI am in the Transit Monitors.\nAll around I can see monitors which show the status of the Transit Systems on the surface of the planet. The monitors describe the following situation:\n\nFLOATERS AIRBORNE: 125000\nTAXIS IN USE: 65000\nGLIDE RAMP SPEEDS: 30 mph\nFLOATER CRASH RATE: 00\nTAXI ACCIDENT RATE: 00\nGLIDE RAMP CASUALTIES: 00\nThrough the monitors I can see Waldo, Sensa, Auda, Poet and Whiz in the Transit Control Area.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Transit Control Area\nI am in a tiny room. Sonar can detect three bumps on a panel before me. In the room with me are Sensa, Auda, Poet and Whiz.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Transit Control Area\nI am in a room which has three switching devices. These devices connect directly to the surface.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Transit Control Area\nI am in the Transit Control Area.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Transit Control Area\nHacks and Hackies, drivers all.\nControl the flow and nothing falls\nExcept for those up in the air\nBut all in all, what's best is fair.\nThey roam around in tough young gangs\nand corner those with metal fangs\nThey zip along and throw you free\nLike Broncos on the wild prairie.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Transit Control Area\nCLC indicates there are switching devices for all surface transportation in this room.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You listen to container\nFC: Cryolink established to Auda.\nAUDA: Sorry, but I can't hear any container here.\n\n> You examine mh1\nFC: Cryolink established to Whiz.\nWHIZ: CLC tagged object offers no further data unless CLC accessed directly.\n\n> You ask All Robots Except Iris,  to go south\nFC: Cryolink already established to Whiz.\nWHIZ: Internal map reference -- Skywalk Gamma\nThis area is described by the CLC as a transporter tube.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Skywalk Gamma\nPop the message in the tube and out comes the medium massage.\nIn the room with me is Whiz.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Skywalk Gamma\nI can hear the tremendous roar of wind in a tunnel to the north.\nIn the room with me are Poet and Whiz.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Gamma\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here.\nIn the room with me are Auda, Poet and Whiz.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Skywalk Gamma\nSonar detects a long tube directly to the north, while the skywalk continues to the east from here.\nIn the room with me are Sensa, Auda, Poet and Whiz.\n\nFC: Cryolink established to Iris.\nIRIS: I don't see how.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You go to the hydroponics monitors\nFC: Cryolink already established to Iris.\nGot it, good looking. I'll let you know when I get there.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, GO E\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Skywalk Beta\nThis area is described by the CLC as a transporter tube.\n\nIRIS INTERRUPT: I've reached my destination, the Hydroponics Monitors.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Skywalk Beta\nI can hear the tremendous roar of wind in a tunnel to the north. An exact duplication of this sound can be detected from the east and west, though their intensities are somewhat less.\nIn the room with me is Whiz.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Skywalk Beta\nPop the message in the tube and out comes the medium rare.\nIn the room with me are Auda and Whiz.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Skywalk Beta\nSensory receptors detect incredible electrical and ionic disturbances coming from the north of here. Similar disturbances can be detected from the east and west.\nIn the room with me are Auda, Poet and Whiz.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Skywalk Beta\nSonar detects a long tube directly to the north, while the skywalk continues to the east and west of here.\nIn the room with me are Sensa, Auda, Poet and Whiz.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, N\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Hydroponics Control Area\nI'm in the Hydroponics Control area. CLC indicates that the three levers on the small panel are for mixing nutrient levels. More data on levers available at the CLC Technical Peripheral.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hydroponics Control Area\nI am in the Hydroponics Control Area.\nIn the room with me is Whiz.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Hydroponics Control Area\nPush a lever and out pops a food pellet. What a life for a rat.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\nIn the room with me are Auda and Whiz.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Hydroponics Control Area\nI am in a small room whose primary purpose is obvious by tracing the flow of electrons. The three levers before me are linked to the Hydroponics section, and they control the nutrient levels in the hydroponics tanks.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\nIn the room with me are Auda, Poet and Whiz.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Hydroponics Control Area\nI have entered a small room. My sonar units and delicate touching extensions indicate there are a series of three levers on a small panel.\nThe first lever is set to 70, the second lever is set to 30, and the third lever is set to 50.\nIn the room with me are Sensa, Auda, Poet and Whiz.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nThrough the monitors I can see Waldo, Sensa, Auda, Poet and Whiz in the Hydroponics Control Area.\n\n> You set the first lever to 90\nFC: Cryolink established to Waldo.\nWALDO: The first lever has been set to 90.\n\n> You set the second lever to 45\nThe second lever has been set to 45.\n\n> You ask Iris,  to look at your surroundings\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 70      90      =\nMINERALS: 30      45      =\nLIGHTING: 50      70      =\nFOOD TONS: 100            optimal\nThrough the monitors I can see Waldo, Sensa, Auda, Poet and Whiz in the Hydroponics Control Area.\n\n> You go to technical Peripheral\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nIRIS INTERRUPT: I've reached my destination, the Hydroponics Monitors.\n\n> You go to transit control\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Technical Peripheral.\n\n> You turn off the switch\nFC: Cryolink already established to Poet.\nI can't accept the existence of any switch here.\n\n> You turn off the floaters\nFC: I don't know the word 'floaters'.\n\n> You ask Whiz,  to look around\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Technical Peripheral\nCLC tagged object before me indicates it is the Technical pedestal.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Hallway End.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Transit Control Area.\n\n> You plug in\nFC: Cryolink already established to Whiz.\nIt's great to be home. Plugged in to the Technical Pedestal. Ready to process queries.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You put the wedge on the step\nFC: Cryolink established to Waldo.\nThe solid wedge has been positioned at the step.\n\n> You get in egg\nFC: Cryolink established to Auda.\nFC: I don't know the word 'egg'.\n\n> You get all\nAUDA: I don't hear what you mean to get!\n\n> You ask about MH1\nFC: Cryolink established to Whiz.\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Here it is! I was beginning to think I was going senile.\nTP: No data available on that subject at this peripheral.\n\n> You ask about ba1\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Ah! Here's the tagged object. Sorry about that delay, but it's crowded in here.\nTP: No data available on that subject from the Technical Pedestal.\n\n> You ask about the cx1 chip\nCLC: Hmm. That's a tough one. Hold on a minute while I try to locate a reference ...\n\nCLC: Found it! Sorry, but it sure is a mess in here.\nTP: This chip is a scanning processor (CX1).\n\n> You go to the vehicle disembarkation\nFC: Cryolink established to Auda.\nFC: I can't use the word 'disembarkation' here.\n\n> You go to the Vehicle Debarkation Area\nI hear you loud and clear. Talk to you when I get there.\n\n> Wait\nFC: Time passes...\n\nAUDA: From what I can hear, I've arrived at the Vehicle Debarkation Area.\n\n> You get in object\nI am now in the large object.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the large object.\nI can hear the crackling of ozone in the air to the east.\nStanding outside the large object is Waldo.\nWaldo is carrying a tinging object.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway End.\n\n> You get in the object\nFC: Cryolink established to Waldo.\nWALDO: There's no room in there for me, too.\n\n> You get out\n(out the container)\nI'm not in that!"
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Look around\nSonar detects the end of the southern hallway. To the east is a long, narrow area which travels out of my receiving range.\nSonar also detects a large hollow container sitting at the head of the long tunnel.\nI can detect Auda inside the container.\n\n> You get out\nFC: Cryolink established to Auda.\n(out the large object)\nAUDA: I am on my mobile extensions again.\n\n> You get in the object\nFC: Cryolink established to Waldo.\nWALDO: I am now in the container.\nWALDO: My gyroscopic stabilizers detect motion.\n\nWALDO: Internal map reference -- Inside the container.\nSonar detects the end of the southern hallway. To the west is a long, narrow area which travels out of my receiving range.\n\nWALDO: External map reference -- Vehicle Debarkation Area\n\n> You get out\n(out the container)\nI am on my mobile extensions again.\n\n> You go north\nSonar detects an intersection with a narrow passageway leading off to the west.\n\n> Go west\nSonar detects a large structure within this room. The large structure sits in the center of the room.\nSitting on the floor is a small sphere which has a jack trailing from it.\n\n> You look at the sphere\nThere are small grasping areas on it which correspond to my graspers.\n\n> You wear the sphere\nAn interesting but highly unlikely thought.\n\n> You go north\nLarge canisters, similar in appearance to the cylinder in the Central Chamber, fill this area. Sonar can also detect a large straight rod extending from the wall.\n\n> You examine the canisters\nThey're hollow and each one contains a duplicate of you.\n\n> You go to IRIS\nFC: Cryolink established to Auda.\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\n> Wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Vehicle Debarkation Area.\n\n> You get in the object\nI am now in the container.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the container.\nSonar detects the end of the southern hallway. To the east is a long, narrow area which travels out of my receiving range.\nStanding outside the container is Auda.\n\n> You get out\n(out the container)\nI am on my mobile extensions again.\n\n> You go to IRIS\nFC: I can't use the word 'go' here.\n\n> You go to IRIS\nFC: Cryolink established to Whiz.\n(Unplugging first.)\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\nFC: Cryolink established to Poet.\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nPOET: All life's a stage, so just consider me a player. See you.\n\nFC: Cryolink established to Auda.\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Sensa.\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nSENSA: Order input acknowledged. Output on arrival.\n\nSENSA: Sensory mechanisms match goal directive. I am at the Hydroponics Monitors.\n\nFC: Cryolink established to Waldo.\nFC: Iris's location: Hydroponics Monitors. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Iris.\nIRIS: I have enough trouble seeing where I am without being told to go to where I already am.\n\n> You ask Iris,  to look around\nFC: Cryolink already established to Iris.\nInternal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nIn the room with me is Sensa.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Hydroponics Monitors.\n\n> You ask Waldo,  to look at your surroundings\nFC: Cryolink established to Waldo.\nWALDO: Moving through Hallway Corner\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\n\n> You ask Waldo,  to look at your surroundings\nFC: Cryolink already established to Waldo.\nMoving through Hallway Junction\nSonar detects an intersection here, with a small dropoff to the north. The solid wedge is positioned by the step.\n\n> You wait a while\nFC: Time passes...\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Hydroponics Monitors.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Hydroponics Monitors.\n\n> You ask Poet,  to look around\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Hydroponics Monitors\nThey move like snakes, without a bone.\nIn the room with me are Iris, Sensa, Auda and Whiz.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Moving through Central Chamber\nSonar indicates a large, spherical open area with a hollow column running from floor to ceiling. The column reflects sonar evenly indicating no distinguishing external characteristics.\n\nWALDO: Internal mapping indicates arrival at the Hydroponics Monitors.\n\n> You examine the camera\nFC: Cryolink established to Iris.\nIRIS: The television camera is closed."
    },
    {
        "text": "> You look around\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nIn the room with me are Waldo, Sensa, Auda, Poet and Whiz.\nWaldo is carrying a television camera, a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\n\n> You wait\nFC: Time passes...\n\nSENSA INTERRUPT: Secondary tremor detected in lower level. Intensity: 7.3. Projected damage: Cooling systems for FCs in Maintenance Area.\n\n> You wait\nFC: Time passes...\n\n> You wait 5 hours\nFC: I don't know the word 'hours'.\n\n> You wait 20 minutes\nFC: I don't know the word 'minutes'.\n\n> You look at the sun\nFC: I don't know the word 'sun'.\n\n> Y.\nFC: You sound rather positive.\n\n> Impossible\nFC: It is impossible to do that now. Please refer to your indoctrination manual for the proper way to initiate the impossible game."
    },
    {
        "text": "> You wait\nFC: Time passes...\n\nFC INTERRUPT: Oh oh. Abnormalities in star approaching critical level. [9]       NOVA IMMINENT!\n\nSo long from all the gang -- Iris, Waldo, Sensa, Auda, Poet, Whiz, FRED, and last but not least, we three FCs.\n\n> You ask Waldo,  to go south\nFC: Cryolink already established to Waldo.\nInternal map reference -- Sub Supply Room\nSonar detects totally irregular patterns on the walls as if shelving had been mounted there.\nA slanting object seems distinct from the surrounding jumble of debris. Sonar detects a broken platform on the floor in an irregular heap.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nIn the room with me are Waldo, Sensa, Auda, Poet and Whiz.\nWaldo is carrying a television camera, a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Hydroponics Monitors\nThis area has walls with irregular protrusions, most likely some kind of monitors or meters.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\nWALDO: I am grasping...\nA small sphere\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Hydroponics Monitors\nMeters and electrons within this room seem extremely variable with each passing second.\nIn the room with me are Iris, Waldo, Auda, Poet and Whiz.\nWaldo is carrying a transmitter, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Hydroponics Monitors\nI hear a voice saying, \"Food, food for the truth\".\nIn the room with me are Iris, Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Hydroponics Monitors\nThey move like snakes, without a bone.\nIn the room with me are Iris, Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a sender, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Hydroponics Monitors\nNothing here is linked to the CLC.\nIn the room with me are Iris, Waldo, Sensa, Auda and Poet.\nWaldo is carrying a TV1, a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> You plug in the jack\nFC: Cryolink established to Waldo.\nWALDO: The jack doesn't fit anything in this area.\n\n> You ask Waldo,  to go west\nFC: Cryolink already established to Waldo.\nInternal map reference -- Central Chamber\nSonar indicates a large, spherical open area with a hollow column running from floor to ceiling. The column reflects sonar evenly indicating no distinguishing external characteristics.\n\n> IRIS, WHIZ, AUDA, POET, SENSA, FOLLOW WALDO\nFC: Cryolink established to Iris.\nIRIS: Okay. I'll follow Waldo.\n\nFC: Cryolink established to Whiz.\nWHIZ: Okay. I'll follow Waldo.\n\nFC: Cryolink established to Auda.\nAUDA: Okay. I'll follow Waldo.\n\nFC: Cryolink established to Poet.\nPOET: Okay. I'll follow Waldo.\n\nFC: Cryolink established to Sensa.\nSENSA: Okay. I'll follow Waldo.\n\n> You ask Waldo,  to go to the west\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Central Chamber\nSonar indicates a large, spherical open area with a hollow column running from floor to ceiling. The column reflects sonar evenly indicating no distinguishing external characteristics.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\n\n> You go west\nThis large area has smooth walls.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\n\n> You go to the west\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A burned chip sits in the red socket, and a fried chip sits in the yellow socket.\nIn the room with me are Waldo whom I'm following, Sensa, Auda, Poet and Whiz.\nWaldo is carrying a television camera, a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Main Supply Room\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A disfigured device sits in the first depression, and a bubbly device sits in the second depression.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\nWALDO: I am grasping...\nA small sphere\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Main Supply Room\nA strange apparatus sits before me, processing electrons internally. This device seems active, though some internal mechanisms are exposed. There are two receptacles, designed to hold small circuitry, and a button beside them. A ruined device sits in the plus receptacle, and a seized device sits in the negative socket.\nIn the room with me are Iris, Waldo whom I'm following, Auda, Poet and Whiz.\nWaldo is carrying a transmitter, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Main Supply Room\nI can hear the slight noise of machinery operating here.\nIn the room with me are Iris, Waldo whom I'm following, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Main Supply Room\nThis is another fine mess you've got me into. Umm, umm umm! A processor sits on the floor, munching and spitting electrons. Button, button, who's got the button while the socks ablaze with color. A brain tres sits in the primo socket, and a brain quart sits in the secondary socket.\nIn the room with me are Iris, Waldo whom I'm following, Sensa, Auda and Whiz.\nWaldo is carrying a sender, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Main Supply Room\nCLC reports this area is abnormal in its arrangement. A GG-1 sits here, barely operating. A CX3 chip sits in the S1, and a CX4 chip sits in the S2.\nIn the room with me are Iris, Waldo whom I'm following, Sensa, Auda and Poet.\nWaldo is carrying a TV1, a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You put red IC in red socket\nFC: Cryolink already established to Waldo.\nThe first depression is already full."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nMoving about here is difficult due to the debris scattered about but I can detect a medium-sized object distinct from the jumble. Sonar detects two small depressions beside a raised spot in the object. A smooth object sits in the first depression, and a bumpy object sits in the second depression.\nIn the room with me are Iris, Sensa, Auda, Poet and Whiz.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The orange button is flashing.\nIn the room with me are Waldo whom I'm following, Sensa, Auda, Poet and Whiz.\nWaldo is carrying a fried chip, a burned chip, a television camera, a blue chip, a microsurgery extension, a blue sixteen-inch cable, and a little wire basket.\n\n> You repair the fried chip with the microsurgery\nFC: Cryolink established to Waldo.\nFC: I don't understand that sentence.\n\n> You ask Whiz,  to describe your surroundings\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Main Supply Room\nCLC reports this area is abnormal in its arrangement. A GG-1 sits here, barely operating. A RX0 IC sits in the S1, and a RX2 IC sits in the S2. A front panel is open and a fourteen-inch cable is exposed A GF1 sits in the panel. The panel has eight circles mounted in it.\nIn the room with me are Iris, Waldo whom I'm following, Sensa, Auda and Poet.\nWaldo is carrying a CX4 chip, a CX3 chip, a TV1, a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\n> You examine the first circle\nFC: Cryolink established to Iris.\nIRIS: The circle has some lettering on it which says FOO.\n\n> You examine the second circle\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says MUM.\n\n> You examine third\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says BLE.\n\n> You examine fourth\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says BAR.\n\n> You examine fifth\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says KLA.\n\n> You examine sixth\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says CON.\n\n> You examine seventh\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says BOZ.\n\n> You examine eighth\nFC: Cryolink already established to Iris.\nThe circle has some lettering on it which says TRA.\n\n> You move sixth\nFC: Cryolink established to Waldo.\nWALDO: I can't move the sixth circle.\n\n> You take the camera\nFC: Cryolink established to Poet.\nPOET: Taken.\n\n> WHIZ, AUDA, WALDO, SENSA, FOLLOW POET\nFC: Cryolink established to Whiz.\nWHIZ: Okay. I'll follow Poet.\n\nFC: Cryolink established to Auda.\nAUDA: Okay. I'll follow Poet.\n\nFC: Cryolink established to Waldo.\nWALDO: Okay. I'll follow Poet.\n\nFC: Cryolink established to Sensa.\nSENSA: Okay. I'll follow Poet."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nThey puff and billow and strain a bit, roar then ebb with time.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nIt hops and skips and leaves a bit, and can't decide if it should quit. It tells the world what it should know, but doesn't know when it's been shown.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nThrough which it all flows, we are as one.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "> Look around\nInto all lives the flow proceeds, weaving its web of mystery like that of an enigmatic spider.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nLife is filled with choice. Decisions always make my eyes moist.\nThe slanting wedge is positioned by the step.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> Look around\nTo forgive is innocent, but to repair is all mine.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma."
    },
    {
        "text": "> You describe your surroundings\nThe great interpreter of all our daily occurences lies ahead, while a walk in the sky waits for me to the northeast.\nBathe in luxuriating, though scorching, solvents.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\nPOET: As much as I can be anyplace, I'm here at the Short Corridor.\n\n> You ask Poet,  to go east\nFC: Cryolink already established to Poet.\nInternal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\n> WHIZ, AUDA, WALDO, SENSA, POET, GO E\nFC: Cryolink established to Whiz.\nWHIZ: Okay, but I have to stop following.\nWHIZ: Internal map reference -- Cavernous Room\nI am in the Cavernous Room.\n\nFC: Cryolink established to Auda.\nAUDA: Okay, but I have to stop following.\nAUDA: Internal map reference -- Cavernous Room\nI can hear distant machinery humming from the east.\nI can hear a hissing coming up from the floor.\nIn the room with me is Whiz.\nSensa is off to the west.\nWaldo is off to the west.\nPoet is off to the west.\n\nFC: Cryolink established to Waldo.\nWALDO: Okay, but I have to stop following.\nWALDO: Internal map reference -- Cavernous Room\nSonar detects a large open area, with three huge objects far off to the east.\nI can feel little things dropping onto my outer shell.\nIn the room with me are Iris, Auda and Whiz.\n\nFC: Cryolink established to Sensa.\nSENSA: Okay, but I have to stop following.\nSENSA: Internal map reference -- Cavernous Room\nPhoton receptors indicate this area is extremely large.\nLight is diffracted in this area and an analysis shows it is composed of a slowly-working acid. The source of the mist comes from below.\nIn the room with me are Iris, Waldo, Auda and Whiz.\nWaldo is carrying a seized device, a ruined device, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nPoet is off to the west.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead.\nIn the room with me are Iris, Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\n> WHIZ, AUDA, WALDO, SENSA, POET, GO E\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- East End\nCLC transmits a welcome signal originating from the Beta FC, directly before me.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- East End\nI can hear the huge fans which have to be associated with the FCs.\nIn the room with me is Whiz.\nSome talking mechanisms are in motion off to the west.\nPoet is off to the west.\nSensa is off to the west.\nIris is off to the west.\nWaldo is off to the west.\n\nPOET INTERRUPT: I fear I'm about to become one with the cosmos.\n\nWHIZ INTERRUPT: CLC warns that our communication link is slipping.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- East End\nI have reached the east end of the huge open area. Directly before me is the entrance into the lower reaches of the Beta FC. Access to the other computers is available through the northeast and southeast.\nIn the room with me are Iris, Auda and Whiz.\n\nAUDA INTERRUPT: I'm starting to hear background noise.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nIn the room with me are Iris, Waldo, Auda and Whiz.\nWaldo is carrying a seized device, a ruined device, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nPoet is off to the west.\n\nWALDO INTERRUPT: Graspers are beginning to malfunction.\n\nPOET INTERRUPT: Warning: I detect the presence of the other worlds.\n\nWHIZ INTERRUPT: Warning: Difficulty encountered in contacting CLC.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- East End\nAh, Mama! Here I am, your sonny boy, returned after a lifetime of wandering!\nIn the room with me are Iris, Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain quart, a brain tres, a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\nSENSA INTERRUPT: Sensory input filters not working reliably.\n\nAUDA INTERRUPT: Warning: Earwax buildup beyond hope.\n\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out the shapes of three humans, one of them holding onto the door of the cylinder, another of them looking exactly like you, and then everything goes dark.\n\n> SENSA, POET, WHIZ, GO TO SHORT CORRIDOR\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You go to short Corridor\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Short Corridor.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Short Corridor.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Short Corridor.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Short Corridor.\n\n> Wait\nFC: Time passes...\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Short Corridor.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 28   WINDS: 62\nPRECIPITATION: a blinding snowstorm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 24\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Short Corridor\nI have reached a place in the corridor where the floor rises up to the northeast. Sonar can detect a huge open area directly to the east.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Short Corridor\nWiring etched into the walls branches off to the northeast from here, while an incredibly powerful source of energy is easily detectable to the east.\nWARNING: Sensors indicate a light mist, analyzed as a penetrating acid, floats in the air to the east.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Short Corridor\nI can hear a difference in the air currents and air conditioning circuits here as if another passage started to the northeast.\nI can hear a faint hissing coming through the floor to the east.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Short Corridor\nThe great interpreter of all our daily occurences lies ahead, while a walk in the sky waits for me to the northeast.\nBathe in luxuriating, though scorching, solvents.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Short Corridor\nCLC indicates I have arrived at a northeast branch in the corridor.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> SENSA, POET, WHIZ, WALDO, AUDA, GO E\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Cavernous Room\nPhoton receptors indicate this area is extremely large.\nLight is diffracted in this area and an analysis shows it is composed of a slowly-working acid. The source of the mist comes from below.\nAuda is off to the west.\nWhiz is off to the west.\nWaldo is off to the west.\nPoet is off to the west.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead.\nIn the room with me is Sensa.\nAuda is off to the west.\nWhiz is off to the west.\nWaldo is off to the west.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Cavernous Room\nI am in the Cavernous Room.\nIn the room with me are Sensa and Poet.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Cavernous Room\nSonar detects a large open area, with three huge objects far off to the east.\nI can feel little things dropping onto my outer shell.\nIn the room with me are Sensa, Poet and Whiz.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Cavernous Room\nI can hear distant machinery humming from the east.\nI can hear a hissing coming up from the floor.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\n\n> SENSA, POET, WHIZ, WALDO, AUDA, GO E\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- East End\nThis is incredible. The amount of energy flowing around me makes it difficult to keep myself oriented. Directly before me is the entrance into the huge FC.\nAuda is off to the west.\nWaldo is off to the west.\nWhiz is off to the west.\nPoet is off to the west.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- East End\nAh, Mama! Here I am, your sonny boy, returned after a lifetime of wandering!\nIn the room with me is Sensa.\nAuda is off to the west.\nWaldo is off to the west.\nWhiz is off to the west.\n\nSENSA INTERRUPT: Sensory input filters not working reliably.\n\nAUDA INTERRUPT: I'm starting to hear background noise.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- East End\nCLC transmits a welcome signal originating from the Beta FC, directly before me.\nIn the room with me are Sensa and Poet.\n\nPOET INTERRUPT: I fear I'm about to become one with the cosmos.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- East End\nI have reached the east end of the huge open area. Directly before me is the entrance into the lower reaches of the Beta FC. Access to the other computers is available through the northeast and southeast.\nIn the room with me are Sensa, Poet and Whiz.\n\nSENSA INTERRUPT: Warning: Unable to process data correctly.\n\nAUDA INTERRUPT: Warning: Earwax buildup beyond hope.\n\nWHIZ INTERRUPT: CLC warns that our communication link is slipping.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- East End\nI can hear the huge fans which have to be associated with the FCs.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\n\nWALDO INTERRUPT: Graspers are beginning to malfunction.\n\nPOET INTERRUPT: Warning: I detect the presence of the other worlds.\n\n> You go e\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Cavernous Room\nTwice the size of life, this area makes me feel like a dwarf.\nRaindrops keep fallin' on my head\nAnd before you know it I'll\nwake up dead... a puddle of lead.\nAuda is off to the west.\nWhiz is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\n\n> Go east\nAh, Mama! Here I am, your sonny boy, returned after a lifetime of wandering!\nAuda is off to the west.\nWhiz is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\n\n> You go northeast\nThe first stage of our journey begins here, the music goes round and round.\n\nPOET INTERRUPT: I fear I'm about to become one with the cosmos.\n\n> Go south\nAmid the nervous neurons, the synaptic links make jumps akin to imagination found only in Wonderland.\n\nPOET INTERRUPT: Warning: I detect the presence of the other worlds.\n\n> Go south\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence, our very presence here. There's a signpost overhead -- the next stop...\n\n> Go south\nThe third stage of our journey begins here, the music goes round and round.\n\nPOET INTERRUPT: SYSTEM FAILURE: Farewell, sweet prince.\nOh oh. Trouble ....\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Iris.\n\n> You check your inventory\nI am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nWALDO INTERRUPT: Warning: Internal mechanisms failing.\n\n> You check your inventory\nI am grasping...\nA small sphere\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nI have reached a place in the corridor where the floor rises up to the northeast. Sonar can detect a huge open area directly to the east.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\nSonar detects a large open area, with three huge objects far off to the east.\nI can feel little things dropping onto my outer shell.\n\nI have reached the east end of the huge open area. Directly before me is the entrance into the lower reaches of the Beta FC. Access to the other computers is available through the northeast and southeast.\n\nWALDO INTERRUPT: Graspers are beginning to malfunction.\n\nSensors detect a small, narrow tube to the south of here, while surrounding me is a huge object, the Alpha FC.\n\n> You plug in the sphere\nI've plugged it in. I detect a vibration from it as it comes on.\n\nIRIS INTERRUPT: Receiving transmissions.\n\nWALDO INTERRUPT: Warning: Internal mechanisms failing.\n\n> Report\nFC: Cryolink established to Iris.\nFC: Full report from IRIS\nIRIS: Internal map reference -- Hydroponics Monitors\nThrough the monitors I can see the following information:\n\nWATER: 50      70     low\nMINERALS: 15      30     low\nLIGHTING: 30      50     low\nFOOD TONS: 45             poor\nIn the room with me are Sensa, Auda, Poet and Whiz.\nIRIS: I am holding nothing in my dainty extensions.\n\n> You examine WALDO\nVisual scanners cannot see Waldo here.\n\nWALDO INTERRUPT: SYSTEM FAILURE. Extensions frozen!\nOh oh. Trouble ....\n\nFC: So much for that robot. Too bad.\nFC: Cryolink reestablished to Iris.\n\n> You receive the transmissions\nFC: I don't know the word 'receive'."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nI've entered a narrow tube which rests on a north/south axis. Many cables travel within this tube, each one resting on the groove in the floor. Sonar also detects a small hole in the side of the tube, right below a recessed sign.\n\nWALDO INTERRUPT: Warning: Internal mechanisms failing.\n\n> You go east\nSonar detects a large open area, with three huge objects far off to the east.\nI can feel little things dropping onto my outer shell.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> Go east\nI have reached the east end of the huge open area. Directly before me is the entrance into the lower reaches of the Beta FC. Access to the other computers is available through the northeast and southeast.\n\n> You go to the north\nSonar can't detect a passage in that direction.\n\nWALDO INTERRUPT: Graspers are beginning to malfunction.\n\n> You go east\nI am standing inside a structure of incredible complexity. A narrow tube runs to the north, while another one runs to the south. Another tunnel-like tube leads to the west.\n\nWALDO INTERRUPT: Graspers are beginning to malfunction.\n\n> You go north\nI've entered a narrow tube which rests on a north/south axis. Many cables travel within this tube, each one resting on the groove in the floor. Sonar also detects a small hole in the side of the tube, right below a recessed sign.\n\n> You plug in the sphere\nI've plugged it in. I detect a vibration from it as it comes on.\n\nIRIS INTERRUPT: Receiving transmissions.\n\nWALDO INTERRUPT: Warning: Internal mechanisms failing.\n\n> You aim the sphere at the sign\nThe small sphere has been pointed at the recessed sign.\n\nIRIS INTERRUPT: The little sign presents me with the access code the machine in the Main Supply Room needs to reset the Filtering Computers. It says BLEMUM.\n\n> SENSA, WHIZ, WALDO, GO TO HALLWAY JUNCTION\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> You go to Maintenance\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Hallway Junction.\n\n> You wait\nFC: Time passes...\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Hallway Junction.\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Hallway Junction.\n\n> You put the wedge on the step\nFC: Cryolink established to Waldo.\nThe solid wedge has been positioned at the step.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Maintenance Access.\n\n> WALDO, WHIZ, SENSA, POET, GO TO MAINTENANCE\nFC: Cryolink already established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Maintenance Access.\n\n> Wait\nFC: Time passes...\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Maintenance Access.\n\n> Wait\nFC: Time passes...\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Maintenance Access.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 28   WINDS: 66\nPRECIPITATION: a blinding snowstorm\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 22\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Maintenance Access\nI've reached the end of the eastern corridor. Before me, high overhead, is a strange combination of circular protuberances.\nSonar detects a circular object mounted on the wall high overhead, out of reach. A small spray is also detected, going upward through the ceiling.\nIn the room with me are Sensa, Auda and Whiz.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Maintenance Access\nMechanical devices can be detected far out of range.\nSensory mechanisms can detect a low concentration of acid in the air. Its origin is directly overhead. Approximately 99.87 percent of these acid droplets are going up into the room above.\nIn the room with me are Waldo, Auda and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Maintenance Access\nI am in the Maintenance Access.\nI can hear hissing coming from high overhead here.\nIn the room with me are Waldo, Sensa and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Moving through Hallway Corner\nLemme see, which way did I go? Who am I, anyway? What am I doing here, and why am I asking all these questions? Life is so confusing.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Maintenance Access\nCLC signals are weaker in this area.\nCLC tagged device WH located high overhead.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. WHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\nPOET: As much as I can be anyplace, I'm here at the Maintenance Access.\n\n> Poet l.\nFC: I don't understand that sentence.\n\n> You ask Poet,  to describe your surroundings\nFC: Cryolink already established to Poet.\nInternal map reference -- Maintenance Access\nRound and round she goes, where she stops, nobody knows.\nThe turning of the screw, like the delicate machinations of life, goes on far out of the reach of ordinary mortals.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\n> You examine the circular object\nFC: Cryolink established to Waldo.\nWALDO: I perceive nothing special about the wheel.\n\n> You examine the spray\nFC: Cryolink already established to Waldo.\nFC: I don't know the word 'spray'.\n\n> AUDA, SENSE, WALDO, POET, WHIZ, W\nFC: I don't know the word 'sense'.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, W\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Branch\nI am in the Hallway Branch.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Hallway Branch\nMechanical activity located to the east.\nIn the room with me is Auda.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Hallway Branch\nI've reached a 'T' in the long, north/south hallway.\nIn the room with me are Sensa and Auda.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Hallway Branch\nThe wheels of fate lie to the east, as all philosophers know.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Hallway Branch\nCLC peripheral detected to the south.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, N\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Hallway Corner\nI am in the Hallway Corner.\nWhiz is off to the south.\nPoet is off to the south.\nWaldo is off to the south.\nSensa is off to the south.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Hallway Corner\nSensory mechanisms detect a room to the north, a hallway to the west and to the south.\nIn the room with me is Auda.\nWhiz is off to the south.\nPoet is off to the south.\nWaldo is off to the south.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Hallway Corner\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\nIn the room with me are Sensa and Auda.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Hallway Corner\nLemme see, which way did I go? Who am I, anyway? What am I doing here, and why am I asking all these questions? Life is so confusing.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nWhiz is off to the south.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Hallway Corner\nCLC peripheral device detected to the south.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, N\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nWhiz is off to the south.\nPoet is off to the south.\nWaldo is off to the south.\nSensa is off to the south.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Sleep Chamber\nThere seems to be a complete absence of activity in this area.\nIn the room with me is Auda.\nWhiz is off to the south.\nPoet is off to the south.\nWaldo is off to the south.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Sleep Chamber\nI'm in a small room which has flat extensions jutting from the walls. In the room with me are Sensa and Auda.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Sleep Chamber\nTo sleep, perchance to dream. Ah, what foods these morsels be.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nWhiz is off to the south.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Sleep Chamber\nCLC indicates this is a Human habitation area.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, W\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Activities Area\nI am in the Activities Area.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Activities Area\nThere is a lot of vibrational and electrical activity within this location, though none of its purposes seem immediately evident.\nIn the room with me is Auda.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Activities Area\nI'm in a small room with exits to the west and east. Sonar detects odd objects within the room whose purpose eludes my perceptive abilities. In the room with me are Sensa and Auda.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Activities Area\nAh. Just what I needed. A spot amid the jungle of worries -- a place to relax, to call my own, to stretch out and enjoy myself.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nWhiz is off to the east.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Activities Area\nI have determined this area to be for the private use of Human visitors.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, W\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Small Supply Room\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nIn the room with me is Auda.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Small Supply Room\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nIn the room with me are Sensa and Auda.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Small Supply Room\nTools for industry, tools for the dead.\nIn the room with me are Waldo, Sensa and Auda.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nThere is a furthest holder here.\nSitting on the furthest holder is...\nA life slicer\nThere is a big brother here.\nWhiz is off to the east.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Small Supply Room\nCLC indicates this area not for robot use.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. There is a TS here.\nSitting on the TS is...\nA CU1\nThere is a C9 here.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You get metal tool\nFC: Cryolink established to Waldo.\nWALDO: It's too high up there and I can't reach it.\n\n> Examine container\nFC: Cryolink already established to Waldo.\nFC: Which contai do you mean, the square container or the hollow container?\n\n> You examine square container\nFC: Cryolink already established to Waldo.\nThe square container is closed.\n\n> You open square container\nFC: Cryolink already established to Waldo.\nFC: Robots are restricted from opening this cabinet.\n\n> You pick up Sensa\nFC: Cryolink already established to Waldo.\nI'd sooner play eight pairs of castanets for Auda.\n\n> You examine Sensa\nSensa feels small and delicate, much like Iris, contains two extensions which are delicate and tuned as receptors and is about one meter in height.\n\n> You look at Auda\nHe hears all, with half of his meter-high body made up of two large surfaces shaped like dishes which are mounted on swivels.\n\n> You look at POET\nThe robot you refer to as Poet is actually a finely tuned, though out of kilter, sensory robot used for diagnostic purposes. He is one meter tall.\n\n> You examine Whiz\nWhiz's general shape, according to my sonar and sense of touch, indicates he is specific-purposed and about one meter in height.\n\n> You look at Waldo\nYou've entered the zone whose boundaries are that of the wishful thinker.\n\n> You examine Waldo\nFC: Cryolink established to Sensa.\nSENSA: Waldo emits a lot of electrical and sonar feedback waves used for manipulating objects in his environment and is about one meter in height.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\n\n> You wait a while\nFC: Time passes...\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!"
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> You look around\nI have entered a small room. Overhead a small nozzle extends down from the ceiling, and doorways can be detected to the west and east."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You put wedge against container\nFC: Which contai do you mean, the square container or the hollow container?\n\n> Square\nOkay.\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> AUDA, SENSA, WALDO, POET, WHIZ, L\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\nIn the room with me are Waldo, Sensa, Poet, Whiz and some talking mechanisms (in motion).\nWaldo is carrying a tinging object.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Small Supply Room\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nThere is a dense wedge here.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nSome creatures are in motion off to the east.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Small Supply Room\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nThere is a solid wedge here.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Small Supply Room\nTools for industry, tools for the dead.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nThere is a slanting wedge here.\nThere is a furthest holder here.\nSitting on the furthest holder is...\nA life slicer\nThere is a big brother here.\nSome Creators are off to the east.\n\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Small Supply Room\nCLC indicates this area not for robot use.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. There is a W1 here.\nThere is a TS here.\nSitting on the TS is...\nA CU1\nThere is a C9 here.\n\n> Wait\nFC: Time passes...\n\nFC: I don't know the word 'z'.\n\n> You go to Entry Area\nFC: Cryolink already established to Auda.\nI hear you loud and clear. Talk to you when I get there.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!"
    },
    {
        "text": "> Look around\nA low, whirring noise, barely detectable, can be heard from the west. Whiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\n\n> Report\nFC: Full report from AUDA\nMoving through Decontamination Chamber\nA small hissing can be detected overhead, as if a small port leaked a semi-liquid compound.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nInternal map reference -- Sterilization Chamber\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\nAUDA: From what I can hear, I've arrived at the Sterilization Chamber.\n\n> Reprot\nFC: I don't know the word 'reprot'.\n\n> Reprt\nFC: I don't know the word 'reprt'.\n\n> Report\nFC: Full report from AUDA\nInternal map reference -- Sterilization Chamber\nA loud whirring noise can be detected from the west.\nIn the room with me are some talking mechanisms (in motion).\nA small plaque makes tinging noises here.\nWhiz is off to the east.\nPoet is off to the east.\nWaldo is off to the east.\nSensa is off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n> You follow the talking mechanisms\nOkay. I'll follow the talking mechanisms.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You wait\nFC: Time passes...\n\nI can hear the sound of metal against metal, followed by the sound of a creaking door opening.\n\n\"I've got the toolbag. Everything in it seems intact.\"\n\"Well, don't lose it, man. We're lost without it. We'll never pull the switch on him if we lose it.\"\n\"Don't worry. I won't let it out of my sight.\"\n\"I'm getting sleepy. It was a long ride down here. What do you say we catch some sleep?\"\n\"You really think we should? With all the devastation taking place?\"\n\"I don't have much choice. I'm not thinking clearly, and I really need to sleep. More casualties will occur if we don't take care of ourselves.\"\n\"Good point. Let's go.\"\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> Report\nFC: Cryolink already established to Auda.\nFC: Full report from AUDA\nInternal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nIn the room with me are some talking mechanisms whom I'm following. Whiz is off to the west.\nPoet is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\n> Report\nFC: Cryolink already established to Auda.\nFC: Full report from AUDA\nInternal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nIn the room with me are some talking mechanisms whom I'm following. There is a jingling bag here.\nWhiz is off to the west.\nPoet is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\nI can hear slow breathing and the occasional rustling of cloth.\n\n> You take the bag\nTaken.\n\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\n> Report\nFC: Full report from AUDA\nMoving through Hallway Corner\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Hallway\nI'm in an east/west hallway.\nSome talking mechanisms are in motion off to the east. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Access Hallway\nI am in the Access Hallway.\nSome talking mechanisms are off to the east. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Sloping Corridor\nI am in the Sloping Corridor.\nSome talking mechanisms are off to the north. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Hallway Junction\nI can tell I've reached an intersection by the way sounds bounce off the walls.\nSome talking mechanisms are off to the north. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Southeast Junction\nI am in the Southeast Junction.\nSome talking mechanisms are off to the west. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Short Corridor\nI can hear a difference in the air currents and air conditioning circuits here as if another passage started to the northeast.\nI can hear a faint hissing coming through the floor to the east.\nSome talking mechanisms are off to the west. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\n> Report\nFC: Full report from AUDA\nMoving through Cavernous Room\nI can hear distant machinery humming from the east.\nI can hear a hissing coming up from the floor.\nSome talking mechanisms are off to the west. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\nAUDA INTERRUPT: The bag is melting!\n\n> Inventory\nI can't hear a thing in my extension.\n\nAUDA INTERRUPT: I'm starting to hear background noise.\n\nAUDA: From what I can hear, I've arrived at the East End.\n\n> Go west\nI can hear distant machinery humming from the east.\nI can hear a hissing coming up from the floor.\nSome talking mechanisms are in motion off to the west.\n\n> You go west\nI can hear a difference in the air currents and air conditioning circuits here as if another passage started to the northeast.\nI can hear a faint hissing coming through the floor to the east.\n\nAUDA INTERRUPT: Warning: Earwax buildup beyond hope.\n\n> You go to Sterilization\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> You wait\nFC: Time passes...\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Sterilization Chamber.\n\n> Wait\nFC: Time passes...\n\nPOET: As much as I can be anyplace, I'm here at the Sterilization Chamber.\n\n> You follow the humans\nFC: Cryolink established to Auda.\nAUDA: Okay. I'll follow the talking mechanisms.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\nFC: Cryolink established to Poet.\nPOET: Okay. I'll follow the Creators.\n\n> WALDO, SENSA, WHIZ, GO TO POET\nFC: Cryolink established to Waldo.\nFC: Poet's location: Entry Area. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Sensa.\nFC: Poet's location: Small Supply Room. Establishing path...\nSENSA: Order input acknowledged. Output on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Entry Area. Looks like I missed Poet though.\n\nSENSA: Sensory mechanisms match goal directive. I am at the Small Supply Room.\n\nSENSA INTERRUPT: I can detect the cycling of a mechanism attached to the strange container and the creatures removing a tool container from it.\n\nFC: Cryolink established to Whiz.\nFC: Poet's location: Small Supply Room. Establishing path...\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nWHIZ: CLC indicates matched arrival coordinates at the Small Supply Room.\n\n> Report\nFC: Full report from AUDA\nInternal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nIn the room with me are Poet and some talking mechanisms whom I'm following.\nWaldo is off to the west.\nWhiz is off to the west.\nSensa is off to the west.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\nPOET INTERRUPT: Ah, yawn. Ho hum. These people are boring.\n\n> You take the bag\nFC: Cryolink established to Poet.\nPOET: Taken.\n\nAUDA INTERRUPT: Listening...\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nPOET: I believe the Creators have caught an extension in the cookie jar. Better take it on the lam, and pronto.\n\n> WALDO, SENSA, WHIZ, GO TO AUDA\nFC: Cryolink established to Waldo.\nFC: Auda's location: Entry Area. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Sensa.\nFC: Auda's location: Small Supply Room. Establishing path...\nSENSA: Order input acknowledged. Output on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Entry Area. Looks like I missed Auda though.\n\nSENSA: Sensory mechanisms match goal directive. I am at the Small Supply Room.\n\nSENSA INTERRUPT: I can detect the cycling of a mechanism attached to the strange container and the creatures removing a tool container from it.\n\nFC: Cryolink established to Whiz.\nFC: Auda's location: Small Supply Room. Establishing path...\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nWHIZ: CLC indicates matched arrival coordinates at the Small Supply Room.\n\n> WALDO, SENSA, WHIZ, GO TO SLEEP CHAMBER\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nPOET INTERRUPT: As the amazing Creators check in, they casually remove something from a big brother. It appears to be a tool bag.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sleep Chamber.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay. Auditory circuits activated.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Sleep Chamber.\n\n> Report\nFC: Full report from AUDA\nInternal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nIn the room with me are Waldo, Sensa, Poet, Whiz and some talking mechanisms whom I'm following.\nWaldo is carrying a tinging object.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Sleep Chamber.\n\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\nWALDO INTERRUPT: The mobile objects are moving over to the platforms and are reclining.\n\n> Report\nFC: Cryolink established to Poet.\nFC: Full report from POET\nPOET: Internal map reference -- Sleep Chamber\nTo sleep, perchance to dream. Ah, what foods these morsels be.\nIn the room with me are Waldo, Sensa, Auda, Whiz and some Creators whom I'm following.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nThere is a tool bag here.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nAUDA INTERRUPT: Listening...\nI can hear slow breathing and the occasional rustling of cloth.\n\n> WHIZ, SENSA, WALDO, FOLLOW AUDA\nFC: Cryolink established to Whiz.\nWHIZ: Okay. I'll follow Auda.\n\nAUDA INTERRUPT: Listening...\nI can hear slow breathing and the occasional rustling of cloth.\n\nFC: Cryolink established to Sensa.\nSENSA: Okay. I'll follow Auda.\n\nFC: Cryolink established to Waldo.\nWALDO: Okay. I'll follow Auda.\n\n> You take the bag\nFC: Cryolink established to Poet.\nPOET: Taken.\n\nAUDA INTERRUPT: Listening...\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\nWALDO: The mobile devices are waving their extensions madly. I think I'm in trouble.\n\n> You follow the humans\nFC: Cryolink established to Auda.\nAUDA: Okay. I'll follow the talking mechanisms.\n\n> Report\nFC: Cryolink established to Poet.\nFC: Full report from POET\nPOET: Moving through Hallway\nI'm in an east/west hallway.\nAuda is off to the east.\nSome Creators are in motion off to the east. They appear to be in hot pursuit.\nPOET: My Zen Master says I am grasping...\nA tool bag\nPOET: Sensory pads detect no abnormal flow.\n\n> Report\nFC: Cryolink already established to Poet.\nFC: Full report from POET\nMoving through Access Hallway\nEast side, west side, all around the south.\nAuda is off to the east.\nSome Creators are off to the east. They appear to be in hot pursuit.\nMy Zen Master says I am grasping...\nA tool bag\nSensory pads detect no abnormal flow.\n\n> Report\nFC: Cryolink already established to Poet.\nFC: Full report from POET\nMoving through Sloping Corridor\nOh, the travesty of descent, the joyousness of having one's spirit lifted beyond measure to another glorious level.\nThe slanting wedge is positioned by the step.\nAuda is off to the north.\nSome Creators are off to the north. They appear to be in hot pursuit. My Zen Master says I am grasping...\nA tool bag\nSensory pads detect no abnormal flow.\n\n> Report\nFC: Cryolink already established to Poet.\nFC: Full report from POET\nMoving through Hallway Junction\nLife is filled with choice. Decisions always make my eyes moist.\nThe slanting wedge is positioned by the step.\nAuda is off to the north.\nSome Creators are off to the north. They appear to be in hot pursuit. My Zen Master says I am grasping...\nA tool bag\nSensory pads detect no abnormal flow.\n\n> Report\nFC: Cryolink established to Auda.\nFC: Full report from AUDA\nAUDA: Internal map reference -- Hallway Junction\nI can tell I've reached an intersection by the way sounds bounce off the walls.\nIn the room with me are some talking mechanisms whom I'm following. Poet is in motion off to the east.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Southeast Junction\nI am in the Southeast Junction.\nIn the room with me are some talking mechanisms whom I'm following. Poet is in motion off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Short Corridor\nI can hear a difference in the air currents and air conditioning circuits here as if another passage started to the northeast.\nI can hear a faint hissing coming through the floor to the east.\nIn the room with me are some talking mechanisms whom I'm following. Poet is off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n\"Oh, wow, look at that! The mist is coming up through the grating!\" \"Yeah. What's below this room? The Maintenance Area?\"\n\"Yes. The cooling system for the Filtering Computers has a regulatory valve there.... Maybe that's what's wrong here.\"\n\"What are you talking about?\"\n\"This acid mist -- it could be what's causing all the trouble. Let's get back down there and turn the wheel, get the cooling system rerouted.\"\n\"It's worth a try. If you're right, we won't have to pull this person's plug.\"\n\"Well, let's go. We're wasting time.\"\n\nPOET INTERRUPT: The bag is melting!\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Cavernous Room.\n\n> You ask Poet,  to go west\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Short Corridor\nThe great interpreter of all our daily occurences lies ahead, while a walk in the sky waits for me to the northeast.\nBathe in luxuriating, though scorching, solvents.\nAuda is off to the west.\nSome Creators are in motion off to the west.\n\nPOET INTERRUPT: I fear I'm about to become one with the cosmos.\n\n> You go to Poet\nFC: Cryolink established to Waldo.\nFC: Poet's location: Short Corridor. Establishing path...\nWALDO: I'm on my way. Expect a report on arrival.\n\n> Report\nFC: Cryolink established to Auda.\nFC: Full report from AUDA\nAUDA: Internal map reference -- Sloping Corridor\nI am in the Sloping Corridor.\nIn the room with me are some talking mechanisms (in motion) whom I'm following.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nPOET INTERRUPT: Warning: I detect the presence of the other worlds.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Access Hallway\nI am in the Access Hallway.\nIn the room with me are some talking mechanisms (in motion) whom I'm following.\nWaldo is in motion off to the east.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Hallway\nI'm in an east/west hallway.\nIn the room with me are some talking mechanisms (in motion) whom I'm following.\nWaldo is in motion off to the west.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\nPOET INTERRUPT: SYSTEM FAILURE: Farewell, sweet prince.\nOh oh. Trouble ....\n\nFC: So much for that robot. Too bad.\nFC: Cryolink reestablished to Auda.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Hallway Corner\nI am in the Hallway Corner.\nIn the room with me are some talking mechanisms (in motion) whom I'm following.\nWhiz is off to the north.\nSensa is off to the north.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n> R.\nFC: Full report from AUDA\nInternal map reference -- Hallway Branch\nI am in the Hallway Branch.\nIn the room with me are some talking mechanisms (in motion) whom I'm following.\nWhiz is off to the north.\nSensa is off to the north.\nI can't hear a thing in my extension.\nAuditory circuits active.\n\n\"Hey -- Look at that! The pipes going up to the Filtering Computers have burst.\"\n\"Yeah. Maybe the person in the cylinder isn't at fault....\"\n\"Hmm. You could be right. Let's fix this and then give him some time.\"\n\nAUDA: I can hear the sound of metal, like a wheel turning, and the hissing stop.\n\n\"That should take care of that leak. Let's go up to the Rec Area and wait for awhile.\"\n\"Fine.\"\n\nAUDA: I hear footsteps as the talking mechanisms walk away.\n\n> R.\nFC: Cryolink established to Waldo.\nFC: Full report from WALDO\nWALDO: Moving through Southeast Junction\nI perceive another passageway heading off to the southeast from here. WALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> R.\nFC: Full report from WALDO\nInternal map reference -- Short Corridor\nI have reached a place in the corridor where the floor rises up to the northeast. Sonar can detect a huge open area directly to the east.\nIn the room with me is non-functional Poet.\nI am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nWALDO: Internal mapping indicates arrival at the Short Corridor.\n\n> R.\nFC: Cryolink established to Sensa.\nFC: Full report from SENSA\nSENSA: Internal map reference -- Sleep Chamber\nThere seems to be a complete absence of activity in this area.\nWhiz is in motion off to the south.\nAuda is off to the west.\nSome creatures are off to the west.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nAUDA INTERRUPT: Listening...\n\"Let's play this game while we wait to see what's happening.\"\n\"What's it called?\"\n\"Starcross. Looks really good.\"\n\"Okay.\"\n\n> You go to the Decontamination Chamber\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nAUDA INTERRUPT: Listening...\n\"Let's play this game while we wait to see what's happening.\"\n\"What's it called?\"\n\"Starcross. Looks really good.\"\n\"Okay.\"\n\n> Wait\nFC: Time passes...\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Alpha Repair.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Library Core.\n\n> You plug in\nFC: Cryolink established to Whiz.\nWHIZ: There's nothing to plug in to here.\n\n> You ask Whiz,  to look around\nFC: Cryolink already established to Whiz.\nInternal map reference -- Library Core\nStanding before the Library Core, the human-interactive peripheral. This peripheral allows no interaction with robots.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Decontamination Chamber.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Alpha Repair\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\nIn the room with me is non-functional Poet.\n\n> You get Poet\nDo this, do that, boy! I just can't handle this anymore.\n\n> You go to FRED\nFC: Cryolink already established to Waldo.\nNeither sonar nor extensions detect any fred here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You describe your surroundings\nBefore me is a walkway which has wheels and all sorts of odd protuberances which my sonar has a hard time deciphering. Sonar also detects a small step at the base of it.\nThe walkway is not in motion.\nIn the room with me is non-functional Poet.\n\n> You examine the large object\nThe hollow object is closed.\n\n> You go to Gamma Repair\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Iris.\nIRIS: Got it, good looking. I'll let you know when I get there.\n\n> Wait\nFC: Time passes...\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Gamma Repair.\n\n> You ask Whiz,  to look around\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Gamma Repair\nThe CLC indicates that this is the end of the Robot Repair area.\nThe BLT is not in motion.\nIn the room with me is Auda.\nCLC tagged object CB3 located within this environment.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Gamma Repair.\n\n> You look at CB3\nThe CB3 is closed.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Gamma Repair.\n\n> You open CB3\nI don't detect any easy way to do that.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Gamma Repair.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay. Auditory circuits activated.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\n> You ask Poet,  to look around\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Gamma Repair\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nA cage to hold our ancestry sits on the floor, meek and timid, yet unwilling to openly share.\n\n> You look at the cage\nFurther information regarding the cage can be gained if I touch it.\n\n> You touch the cage\nData bits flow within the surface of the cage, concentrated in a circle.\n\n> You ask Sensa,  to look at your surroundings\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Gamma Repair\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nA large object emits strange flows, its surface a tracery of filament-like circuitry. The circuitry is concentrated near the center of one side.\n\n> You open the cage\nFC: Cryolink established to Waldo.\nWALDO: I don't detect any easy way to do that.\n\n> Align plates\nFC: I don't know the word 'align'.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, LOOK AT CIRCUITRY\nFC: Cryolink established to Whiz.\nWHIZ: I perceive nothing special about the wiring.\n\nFC: Cryolink established to Auda.\nAUDA: I perceive nothing special about the wiring.\n\nFC: Cryolink established to Poet.\nPOET: I perceive nothing special about the wiring.\n\nFC: Cryolink established to Sensa.\nSENSA: I perceive nothing special about the wiring.\n\nFC: Cryolink established to Waldo.\nWALDO: I perceive nothing special about the wiring.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, LOOK AT DEVICE\nFC: Cryolink established to Whiz.\nFC: Which device do you mean, the CX1 chip or the device the CLC cannot identify?\n\nFC: Cryolink established to Auda.\nAUDA: I perceive nothing special about the broken construct.\n\nFC: Cryolink established to Poet.\nFC: Which device do you mean, the brain uno or the FRED?\n\nFC: Cryolink established to Sensa.\nFC: Which device do you mean, the scanning device or the broken device?\n\nFC: Cryolink established to Waldo.\nFC: Which device do you mean, the broken mechanism or the rough device?\n\n> WHIZ, AUDA, POET, SENSA, WALDO, TAKE WIRING\nFC: Cryolink established to Whiz.\nWHIZ: I'd rather get physical with Iris than respond to that.\n\nFC: Cryolink established to Auda.\nAUDA: If I could turn myself off, I'd do it rather than comply.\n\nFC: Cryolink established to Poet.\nPOET: Let's face it: Buddha, you ain't.\n\nFC: Cryolink established to Sensa.\nSENSA: All sensors aside, that goes beyond my abilities.\n\nFC: Cryolink established to Waldo.\nWALDO: I'd sooner play eight pairs of castanets for Auda.\n\n> You get fred\nFC: Cryolink already established to Waldo.\nI can't manage it. The broken mechanism is too heavy.\n\n> You take FRED\nFC: Dual-Cryolink established to Waldo and Sensa.\nFC: The robots have moved it.\nFC: Cryolink established to Waldo.\n\n> You go to Iris\nFC: Dual-Cryolink established to Waldo and Sensa.\nFC: Using two robots will not help accomplish that task.\nFC: Cryolink established to Waldo.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 22   WINDS: 82\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 14\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Gamma Repair\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nThere is a broken mechanism here.\nI can feel a bunch of smooth wire coming out of the mechanism.\nThere is a hollow object here.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Gamma Repair\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nThere is a broken device here.\nA group of conductors extend from the once-electronic mechanism.\nThere is a large object here.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Gamma Repair\nNoise of machinery can be detected coming from the north.\nThe noisy walkway is not in motion.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nThere is a broken construct here.\nThe broken device seems beyond repairing.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Internal map reference -- Gamma Repair\nOh, to reach the end of one's previous existence, to travel the roadways of life when they are most needed, only to end up here, reborn.\nThe glider is not in motion.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nThere is a FRED here.\nThe currents of life are easily visible now.\nThere is a cage here.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Gamma Repair\nThe CLC indicates that this is the end of the Robot Repair area.\nThe BLT is not in motion.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. There is a device the CLC cannot identify here.\nA CR streams out of the untagged device.\nThere is a CB3 here.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You drag FRED to Iris\nFC: Cryolink already established to Waldo.\nNeither sonar nor extensions detect Iris here.\n\n> You drag FRED to Weather Monitors\nThere's nothing to be gained by doing that. Franklin destroyed this robot beyond all hopes of repairing.\n\n> You put FRED on walkway\nFC: Dual-Cryolink established to Waldo and Sensa.\nFC for both robots: I don't have the device the CLC cannot identify.\n\nFC: Cryolink established to Waldo.\n\n> You get fred\nFC: Dual-Cryolink established to Waldo and Sensa.\nFC: There's nothing to be gained by moving it again.\nFC: Cryolink established to Waldo.\n\nSENSA INTERRUPT: Secondary tremor detected by Filtering Computers. Intensity: 8.4. Projected damage: Automatic controls for surface transportation; Automatic controls for Hydroponics Area.\n\n> You get the smooth wire\nFC: Cryolink already established to Waldo.\nThe twelve-inch cable is firmly attached to the broken mechanism. I'll need a tool to remove it.\n\n> You wait\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room.\n\n> You wait awhile\nFC: Time passes...\nWALDO: Sonar doesn't detect an easy way to get from Sloping Corridor to Hallway Junction. Directions requested."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\n\nWALDO: Internal mapping indicates arrival at the Sloping Corridor."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, robots]\n\n> Describe the surroundings\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nThere is a broken mechanism here.\nI can feel a bunch of smooth wire coming out of the mechanism.\nThere is a hollow object here.\n\nWALDO: Internal mapping indicates arrival at the Gamma Repair."
    },
    {
        "text": "> You look around\nI am in the Sloping Corridor."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nI am in the Access Hallway."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nI am in the Hallway.\nSome talking mechanisms are in motion off to the east."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Describe the surroundings\nA loud whirring noise can be detected from the west.\nA small plaque makes tinging noises here."
    },
    {
        "text": "> Look around\nI am in the Sleep Chamber.\n\nAUDA: From what I can hear, I've arrived at the Sleep Chamber.\n\n> You go to Iris\nFC: Iris's location: Weather Monitors. Establishing path...\nI hear you loud and clear. Talk to you when I get there.\n\n> Wait\nFC: Time passes...\n\nAUDA: From what I can hear, I've arrived at the Weather Monitors.\n\n> You examine the plaque\nFC: Cryolink established to Iris.\nIRIS: I perceive nothing special about the small plaque.\n\n> You read the plaque\nFC: Cryolink already established to Iris.\nSure. Here goes...\n\nThis Underground Complex was designed and built by the Frobozz Engineering Company, makers of such fine products as One-Way (tm) Bus Tickets, Ozone Nozone, and \"Best in the East\", soon to be a Smello-vision (tm) release.\n\nChief Designer/Architect: Michael Berlyn.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 18   WINDS: 92\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 9\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Internal map reference -- Small Supply Room\nI can detect a small area, cluttered with things which extend from the walls. Doorways lead to the east and the west.\nIn the room with me are Sensa, Auda, Poet and Whiz.\nThere is a high extending holder here.\nSitting on the high extending holder is...\nA cutting tool\nThere is a square container here.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Internal map reference -- Small Supply Room\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Internal map reference -- Small Supply Room\nThe air here is very still.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\nFC: Full report from POET\nPOET: Internal map reference -- Small Supply Room\nTools for industry, tools for the dead.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\nThere is a furthest holder here.\nSitting on the furthest holder is...\nA life slicer\nThere is a big brother here.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Small Supply Room\nCLC indicates this area not for robot use.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1. There is a TS here.\nSitting on the TS is...\nA CU1\nThere is a C9 here.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You ask Auda,  to go east\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Activities Area\nI am in the Activities Area.\nWhiz is off to the west.\nPoet is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\n\n> Go east\nI am in the Sleep Chamber.\nWhiz is off to the west.\nPoet is off to the west.\nWaldo is off to the west.\nSensa is off to the west.\n\n> You wait awhile\nFC: Time passes...\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You listen\nOkay. Auditory circuits activated.\n\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\n> You wait\nFC: Time passes...\n\nI can hear slow breathing and the occasional rustling of cloth.\n\n> You take the bag\nTaken.\n\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\n> Go south\nI am in the Hallway Corner.\nSome talking mechanisms are off to the north.\n\n> R.\nFC: Full report from AUDA\nMoving through Hallway Branch\nI am in the Hallway Branch.\nSome talking mechanisms are in motion off to the north. They appear to be in hot pursuit.\nMy ears can hear the following in my extensions...\nA jingling bag\nAuditory circuits active.\n\nAUDA: From what I can hear, I've arrived at the Maintenance Access.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, GO TO EAST END\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\n> Arr\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 14   WINDS: 106\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 2\nTower 3 -- 55\nIRIS: I am holding nothing in my dainty extensions.\n\nFC: Full report from WALDO\nWALDO: Moving through Hallway Corner\nThe east/west corridor ends here and starts off to the south. To the north is a small room.\nWALDO: I am grasping...\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nFC: Full report from SENSA\nSENSA: Moving through Access Hallway\nPhotonic sensors detect a shift in reflective activity indicating a corridor which starts to the south.\nPoet is in motion off to the south.\nWaldo is in motion off to the east.\nSENSA: I cannot sense a thing in my grasping extensions.\n\nFC: Full report from AUDA\nAUDA: Moving through Short Corridor\nI can hear a difference in the air currents and air conditioning circuits here as if another passage started to the northeast.\nIn the room with me is Whiz (in motion).\nPoet is in motion off to the west.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\nFC: Full report from POET\nPOET: Moving through Southeast Junction\nTo forgive is innocent, but to repair is all mine.\nSensa is in motion off to the west.\nWhiz is in motion off to the east.\nAuda is in motion off to the east.\nPOET: As far as I know, I'm Zen on inventory.\nPOET: Sensory pads detect no abnormal flow.\n\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- East End\nCLC transmits a welcome signal originating from the Beta FC, directly before me.\nIn the room with me is Auda.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the East End.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the East End.\n\n> WHIZ, AUDA, POET, SENSA, WALDO, GO TO ALPHA FC\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Auda.\nAUDA: I hear you loud and clear. Talk to you when I get there.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the East End.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Alpha FC.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the East End.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Alpha FC.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the East End.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Alpha FC.\n\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Alpha FC.\n\n> You touch Alpha FC\nFC: Cryolink established to Poet.\nPOET: I can't accept the existence of any alpha fc here.\n\n> You look at Alpha FC\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Alpha FC\nI stand within the first Filtering Computer, a massive device used to interface us with you and maintain the surface systems.\nIn the room with me are Waldo, Sensa, Auda and Poet.\nWaldo is carrying a CX1 chip, a MH1, a sixteen-inch cable, and a BA1.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Alpha FC.\n\n> You look at Alpha FC\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Alpha FC\nSensors detect a small, narrow tube to the south of here, while surrounding me is a huge object, the Alpha FC.\nIn the room with me are Sensa, Auda, Poet and Whiz.\n\n> SENSA, AUDA, POET, EXAMINE ALPHA FC\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Alpha FC\nSensory mechanisms detect a tremendous channeling and flow of electrical and data energy into an object surrounding me. Sensors detect a similar channeling to an object to the south.\nIn the room with me are Waldo, Auda, Poet and Whiz.\nWaldo is carrying a scanning device, a micro extension, a sixteen-inch cable, and a small container.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Alpha FC\nI am in the Alpha FC.\nIn the room with me are Waldo, Sensa, Poet and Whiz.\nWaldo is carrying a tinging object.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Alpha FC\nThe first stage of our journey begins here, the music goes round and round.\nIn the room with me are Waldo, Sensa, Auda and Whiz.\nWaldo is carrying a brain uno, a grasper, a sixteen-inch cable, and a basket of goodies for Grandma.\n\n> You go south\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\n\n> You examine the hole\nIt is a female receptacle.\n\n> You ask Whiz,  to go south\nFC: Cryolink established to Whiz.\nWHIZ: Internal map reference -- Primary Channel\nCLC tagged location indicates I am within a connecting tube. The connecting cables for the filtering computers line this floor, resting in their individual grooves. A small plug, PL-1, sits within the wall, right below the ACS.\nIn the room with me is Sensa.\n\n> You ask Poet,  to go south\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Primary Channel\nConnections are what make life worth living. In each direction we find our source of disorientation, our metaphysical essence. Linkups are possible, connecting our distant cousin with our essence. There's a signpost up ahead -- the next stop, the Ozonezone.\nIn the room with me are Sensa and Whiz.\n\n> You touch cable\nFC: Cryolink already established to Poet.\nFC: Which cable do you mean, the four-inch cable, the six-inch cable, the ten-inch cable, or the eighteen-inch cable?\n\n> You look at four-inch\nThe electrical flow within this cable seems irregular.\n\n> You look at the cable\nFC: Which cable do you mean, the five-inch cable, the nine-inch cable, the nineteen-inch cable, or the twenty-inch cable?\n\n> You look at twenty-inch\nI perceive nothing special about the five-inch cable.\n\nFC: I don't know the word 'x'.\n\n> You look at twenty-inch\nI perceive nothing special about the five-inch cable.\n\nThis cable is not transmitting energy properly.\n\nI perceive nothing special about the nineteen-inch cable.\n\nI perceive nothing special about the twenty-inch cable.\n\n> You go to Hallway End\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Sleep Chamber.\n\n> Report\nFC: Cryolink established to Auda.\nFC: Full report from AUDA\nAUDA: Internal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nIn the room with me is Waldo (in motion).\nWaldo is carrying a tinging object.\nPoet is off to the west.\nSensa is off to the west.\nWhiz is in motion off to the west.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits inactive.\n\n> You listen\nOkay. Auditory circuits activated.\n\n> You look\nFC: Cryolink established to Whiz.\nWHIZ: Moving through Hallway Corner\nCLC peripheral device detected to the south.\n\nFC: Cryolink established to Poet.\nPOET: Internal map reference -- Small Supply Room\nTools for industry, tools for the dead.\nIn the room with me is Sensa.\nThere is a furthest holder here.\nSitting on the furthest holder is...\nA life slicer\nThere is a big brother here.\nAuda is off to the east.\n\nFC: Cryolink established to Auda.\nAUDA: Internal map reference -- Sleep Chamber\nI am in the Sleep Chamber.\nWhiz is in motion off to the south.\nPoet is off to the west.\nSensa is off to the west.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Sloping Corridor.\n\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Small Supply Room\nA strange container exists by the east wall of this room which is being fed electrical vibrations.\nIn the room with me is Poet.\nThere is a stable holder here.\nSitting on the stable holder is...\nA metal tool\nThere is a strange container here.\nAuda is off to the east.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Hallway End.\n\nFC: Cryolink established to Waldo.\nWALDO: Internal map reference -- Sloping Corridor\nSonar detects the corridor descends to the north in a gentle slope. The intersection to the south is raised above this level.\nThe solid wedge is positioned by the step.\n\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 18   WINDS: 96\nPRECIPITATION: a blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 7\nTower 3 -- 55\n\n> You take the wedge\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any wedge here.\n\n> You take the ramp\nTaken.\n\nWHIZ INTERRUPT: CLC indicates matched arrival coordinates at the Hallway End.\n\n> You get in the object\nFC: Cryolink established to Whiz.\nWHIZ: I am now in the CAR.\nWHIZ: My gyroscopic stabilizers detect motion.\n\nWHIZ: Internal map reference -- Inside the CAR.\nCLC warns that the area to the west is dangerous.\n\nWHIZ: External map reference -- Vehicle Debarkation Area\n\n> You go north\nFC: Cryolink established to Whiz.\nWHIZ: An unlikely request, considering where I am.\n\n> You get out\nFC: What do you want to get out?\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Inside the CAR.\nCLC warns that the area to the west is dangerous.\nWHIZ: CLC feedback indicates I carry nothing.\nUnable to process queries at this time.\n\n> You get out of CAR\nI am on my mobile extensions again.\n\nFC INTERRUPT: ALERT! ALERT!\nIntruders detected in Sterilization Chamber!\n\n> R.\nFC: Cryolink established to Waldo.\nFC: Full report from WALDO\nWALDO: Moving through Hallway T\nI have reached a T intersection in the east/west hallway.\nWALDO: I am grasping...\nA solid wedge\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You ask Whiz,  to go north\nFC: Cryolink already established to Whiz.\nInternal map reference -- Biology Corridor\nCLC tagged area indicates the Biological Section contains materials potentially dangerous to your survival.\n\n> You listen\nFC: Cryolink established to Auda.\nAUDA: Okay, okay already. I'm listening.\n\n> You go west\nThis area is identified as the Biological Lab. Equipment here is available for clone revivification.\nCLC tagged device TV1 sits on the floor by a table.\n\n> You go to short Corridor\nCLC setting coordinates. Will report in on arrival.\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> You check your inventory\nCLC feedback indicates I'm holding...\nA TV1\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Small Supply Room.\n\n> You check what you're carrying\nCLC feedback indicates I'm holding...\nA TV1\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> You put the wedge against container\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any solid wedge here.\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> Inventory\nI am grasping...\nA solid wedge\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room."
    },
    {
        "text": "> You describe your surroundings\nCLC tagged area indicates the Biological Section contains materials potentially dangerous to your survival.\n\n> You take TV1\nTaken.\n\nWALDO INTERRUPT: The mobile objects have stopped for a moment. I also detect the square container opening then shutting. The mobile objects have removed a tiny container and are grasping it.\n\n> You put the wedge against container\nFC: Cryolink established to Waldo.\nFC: Which contai do you mean, the tiny container, the square container, or the hollow container?\n\n> Square\nOkay.\n\nWALDO: Internal mapping indicates arrival at the Small Supply Room.\n\n> You go to short Corridor\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nAUDA INTERRUPT: Some talking mechanisms just entered the room.\n\n> You stand on the wedge\nFC: Cryolink established to Waldo.\nWALDO: Okay. I'm standing on the solid wedge now.\n\nAUDA INTERRUPT: Listening...\n\"Well, this is some sleep chamber. No frills.\"\n\"Don't complain. At least there's bunks for us.\"\n\"I suppose. I'm going to put the toolbag on the floor while I grab some shuteye.\"\n\"What about the robot?\"\n\"What, that ear thing? Gimme a break!\"\n\nAUDA: I hear the sound of metal being placed on the floor.\n\n> You get the tool\nTaken.\n\nAUDA INTERRUPT: Listening...\nI can hear slow breathing and the occasional rustling of cloth.\nWHIZ INTERRUPT: CLC indicates I cannot relocate going from Vehicle Debarkation Area to Hallway End. Awaiting instructions.\n\n> You take the bag\nFC: Cryolink established to Auda.\nAUDA: Taken.\n\n\"Give me that, you little devil!\"\n\"That robot's a thief! Let's get it!\"\n\n> You go to Maintenance\nI hear you loud and clear. Talk to you when I get there.\n\n> You get off wedge\nFC: Cryolink established to Waldo.\nWALDO: Okay. I'm off of it now.\n\n> You take the wedge\nTaken.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Maintenance Access.\n\n> You wait awhile\nFC: Time passes...\n\nAUDA INTERRUPT: Listening...\n\"Hey -- Look at that! The pipes going up to the Filtering Computers have burst.\"\n\"Yeah. Maybe the person in the cylinder isn't at fault....\"\n\"Hmm. You could be right. Let's fix this and then see if things return to normal.\"\n\nAUDA: I can hear the sound of metal, like a wheel turning, and the hissing stop.\n\n\"That should take care of that leak. Let's go up to the Rec Area and wait for awhile.\"\n\"Fine. Meanwhile, I'll get our toolbag back.\"\n\nAUDA: I hear footsteps as the talking mechanisms walk away.\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Vehicle Debarkation Area\nCLC warns that the area to the west is dangerous.\nMobile CLC tagged object CAR is at the head of the tunnel.\nWHIZ: I can detect nothing inside of it.\nWHIZ: CLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> You get in CAR\nFC: Cryolink already established to Whiz.\nI am now in the CAR.\nMy gyroscopic stabilizers detect motion.\n\nInternal map reference -- Inside the CAR.\nCLC warns that the area to the east is dangerous.\n\n> WALDO, WHIZ, SENSA, POET, GO TO SHORT CORRIDOR\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Whiz.\nWHIZ: An unlikely request, considering where I am.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Short Corridor.\n\n> You get out of CAR\nFC: Cryolink already established to Whiz.\nI am on my mobile extensions again.\n\n> WALDO, WHIZ, SENSA, POET, GO TO SHORT CORRIDOR\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Short Corridor.\n\n> WALDO, WHIZ, SENSA, POET, GO TO PRIMARY CHANNEL\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Whiz.\nWHIZ: CLC setting coordinates. Will report in on arrival.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nFC: Cryolink established to Poet.\nPOET: All life's a stage, so just consider me a player. See you.\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Moving through Hallway\nI'm in an east/west hallway.\nWHIZ: CLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> R.\nFC: Cryolink already established to Whiz.\nFC: Full report from WHIZ\nMoving through Access Hallway\nStandard robotic areas can be detected to the south.\nCLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> Both WALDO and SENSA go to Gamma Repair\nFC: I can't use the word 'go' here.\n\n> WALDO, SENSA, GO TO GAMMA REPAIR\nFC: Cryolink established to Waldo.\nWALDO: I'm on my way. Expect a report on arrival.\n\nFC: Cryolink established to Sensa.\nSENSA: Order input acknowledged. Output on arrival.\n\nAUDA INTERRUPT: From what I can hear, I've arrived at the Activities Area.\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Moving through Southeast Junction\nCLC indicates I've gone too far to the east for an interface.\nWHIZ: CLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> R.\nFC: Full report from WHIZ\nMoving through Short Corridor\nCLC indicates I have arrived at a northeast branch in the corridor.\nCLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> R.\nFC: Cryolink established to Auda.\nFC: Full report from AUDA\nAUDA: Internal map reference -- Activities Area\nI am in the Activities Area.\nIn the room with me are some talking mechanisms.\nAUDA: I can't hear a thing in my extension.\nAuditory circuits active.\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Moving through East End\nCLC transmits a welcome signal originating from the Beta FC, directly before me.\nWHIZ: CLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> R.\nFC: Full report from WHIZ\nMoving through Alpha FC\nI stand within the first Filtering Computer, a massive device used to interface us with you and maintain the surface systems.\nCLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> R.\nFC: Full report from WHIZ\nInternal map reference -- Primary Channel\nCLC tagged location indicates I am within a connecting tube. The connecting cables for the filtering computers line this floor, resting in their individual grooves. A small plug, PL-1, sits within the wall, right below the ACS.\nCLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\nWHIZ: CLC indicates matched arrival coordinates at the Primary Channel.\n\n> You plug in the camera\nI've plugged it in. CLC indicates object now functioning.\n\nIRIS INTERRUPT: Receiving transmissions.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Gamma Repair.\n\n> You aim the camera at four-inch\nThe TV1 has been pointed at the four-inch cable.\n\nIRIS INTERRUPT: Now I know why cable-tv was invented. All I can make out is the shape of a red four-inch cable.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Primary Channel.\n\n> Inventory\nCLC feedback indicates I'm holding...\nA TV1\n\nWHIZ: CLC indicates matched arrival coordinates at the Primary Channel.\n\n> Go east\nI am within the Beta FC.\n\n> You go south\nCLC tagged location indicates I am within a connecting tube. The connecting cables for the filtering computers line this floor, resting in their grooves. A small plug, PL-1, sits within the wall beneath the ACS.\n\n> You plug in the camera\nI've plugged it in. CLC indicates object now functioning.\n\nIRIS INTERRUPT: Receiving transmissions.\n\n> Point camera at nine-inch\nThe TV1 has been pointed at the nine-inch cable.\n\nIRIS INTERRUPT: You call this clear reception? All I can make out is the shape of a nine-inch orange cable.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Gamma Repair.\n\n> You look at the smooth wire\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any smooth wire here.\n\n> You ask Waldo,  to look around\nFC: Cryolink established to Waldo.\nWALDO: Moving through Beta Repair\nI'm in the center of a large area with a walkway in the center.\nThe walkway is not in motion.\n\nPOET INTERRUPT: As much as I can be anyplace, I'm here at the Primary Channel."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> You look at your surroundings\nI have reached the south end of this area. The walkway ends here.\nThe walkway is not in motion.\nIn the room with me is Sensa.\nA large object sits before me. Sonar indicates it is hollow, but not empty.\n\nWALDO: Internal mapping indicates arrival at the Gamma Repair.\n\n> You move fred\nFC: Dual-Cryolink established to Waldo and Sensa.\nFC for both robots: Neither robot can detect any fred here.\n\nFC: Cryolink established to Waldo.\n\n> You examine the cage\nFC: Cryolink already established to Waldo.\nThe hollow object is closed.\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Gamma Repair\nVibrational activity and electrical emanations detected from the north are stronger than those in the immediate vicinity.\nThe conveying mechanism is not in motion.\nIn the room with me is Waldo.\nWaldo is carrying a metal tool, a scanning device, a micro extension, a sixteen-inch cable, and a small container.\nA large object emits strange flows, its surface a tracery of filament-like circuitry. The circuitry is concentrated near the center of one side.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\n> You turn the switch\nFC: Cryolink established to Sensa.\nSENSA: Sensory inputs cannot detect any switch here.\n\n> You examine the circuitry\nFC: Cryolink established to Sensa.\nSENSA: I perceive nothing special about the wiring.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Gamma Repair.\n\n> You look at the large object\nFC: Cryolink already established to Sensa.\nConcentrated on the front surface of the large object is a flowswitch.\n\n> You turn the switch\nThe flow of electrons aligns and the panel opens.\nMiles of circuitry rest within the device sitting here, though it no longer seems operational.\n\n> You examine the wires\nFC: I don't know the word 'wires'.\n\n> You get fred\nFC: Dual-Cryolink established to Sensa and Waldo.\nFC: The robots have moved it.\nFC: Cryolink established to Sensa.\n\n> You get the smooth wire\nFC: Cryolink established to Waldo.\nWALDO: The twelve-inch cable is firmly attached to the broken mechanism. I'll need a tool to remove it.\n\n> You get the smooth wire with the tool\nFC: Cryolink established to Waldo.\nFC: I don't understand that sentence.\n\n> You ask Waldo,  to check what you're carrying\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA cutting tool\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You cut wire\nFC: Cryolink already established to Waldo.\nFC: What do you want to cut the wire with?\n\n> You ask Waldo,  to check what you're carrying\nFC: Cryolink already established to Waldo.\nI am grasping...\nA twelve-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\nA hollow container\nThe hollow container contains...\nA pebbled object\nA wavy object\nA bumpy object\nA smooth object\n\n> You give container to SENSA\nFC: Cryolink already established to Waldo.\nGiven.\n\n> R.\nFC: Cryolink established to Whiz.\nFC: Full report from WHIZ\nWHIZ: Internal map reference -- Secondary Channel\nCLC tagged location indicates I am within a connecting tube. The connecting cables for the filtering computers line this floor, resting in their grooves. A small plug, PL-1, sits within the wall beneath the ACS.\nWHIZ: CLC feedback indicates I'm holding...\nA TV1\nUnable to process queries at this time.\n\n> Wait\nFC: Time passes...\n\nPOET: As much as I can be anyplace, I'm here at the Skywalk Alpha.\n\n> You ask Poet,  to go to the north\nFC: Cryolink already established to Poet.\nInternal map reference -- Weather Control Area\nSlippin' 'n' slidin', turn the dials and we'll be ridin'.\nThe first dial is set to 55, the second dial is set to 55, and the third dial is set to 55.\n\n> R.\nFC: Cryolink established to Iris.\nFC: Full report from IRIS\nIRIS: Internal map reference -- Weather Monitors\nAll around me I see meters indicating the state of the weather conditions on all three planet-side continents.\nThe monitors for surface weather show:\n\nTEMP: 12   WINDS: 110\nPRECIPITATION: a raging blizzard\nTOWER PRESSURES: Tower 1 -- 55\nTower 2 -- 0\nTower 3 -- 55\nThrough the monitors I can see Poet in the Weather Control Area.\nIn the room with me is Sensa (in motion).\nSensa is carrying a little wire basket.\nIRIS: I am holding nothing in my dainty extensions.\n\n> You turn the second dial to 100\nFC: Cryolink established to Poet.\nPOET: The second dial has been set to 100.\n\nWALDO INTERRUPT: Internal mapping indicates arrival at the Secondary Channel.\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Main Supply Room.\n\n> You replace nine-inch with the orange\nFC: Cryolink established to Waldo.\nWALDO: Neither sonar nor extensions detect any orange here.\n\n> You check what you're carrying\nI am grasping...\nA twelve-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\n\n> You replace nine-inch with twelve-inch\nFC: Cryolink established to Waldo.\nWALDO: Okay. It's done.\n\n> R.\nFC: Cryolink established to Sensa.\nFC: Full report from SENSA\nSENSA: Internal map reference -- Main Supply Room\nA strange apparatus sits before me, processing electrons internally. This device seems active, though some internal mechanisms are exposed. There are two receptacles, designed to hold small circuitry, and a button beside them. A ruined device sits in the plus receptacle, and a seized device sits in the negative socket.\nSENSA: Sensors indicate I'm holding...\nA small container\nThe small container contains...\nA buss object\nA maximized object\nA filtering object\nA polarized object\n\n> You ask Iris,  to describe your surroundings\nFC: Cryolink already established to Iris.\nInternal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty as is the yellow socket.\nIn the room with me is Sensa.\nSensa is carrying a fried chip, a burned chip, and a little wire basket.\n\nIRIS: I've reached my destination, the Main Supply Room.\n\n> You put yellow IC in the yellow socket\nDone.\nSurges of electricity flow.\n\n> You take the cable\nI'm reaching for the fourteen-inch cable...\nOh oh!\n\nFC: Sizzle, pop, and snap-crackly noises. The delicious smell of fried robot. Mmm Mmm.\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Iris.\n\n> You look at what you're carrying with you\nSensors indicate I'm holding...\nA seized device\nA ruined device\nA small container\nThe small container contains...\nA buss object\nA maximized object\nA filtering object"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nA strange apparatus sits before me, processing electrons internally. This device seems active, though some internal mechanisms are exposed. There are two receptacles, designed to hold small circuitry, and a button beside them. The plus receptacle is empty as is the negative socket.\n\n> You examine the apparatus\nFC: I don't know the word 'apparatus'.\n\n> You go west\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty as is the yellow socket.\nIn the room with me is Sensa.\nSensa is carrying a fried chip, a burned chip, and a little wire basket.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. The orange button is flashing.\nIn the room with me is Sensa.\nSensa is carrying a fried chip, a burned chip, and a little wire basket.\n\n> You take the red ic\nFC: Cryolink established to Sensa.\nSENSA: Please don't use me as a pack mule. I have but 3 extensions to give for my complex.\n\n> You take the red ic\nFC: Cryolink established to Iris.\nIRIS: Taken.\n\n> You take the yellow ic\nFC: Cryolink already established to Iris.\nTaken.\n\n> You take the orange wire\nI'm reaching for the fourteen-inch cable of orange wire...\nOh oh!\n\nFC: Sizzle, pop, and snap-crackly noises. The delicious smell of fried robot. Mmm Mmm.\n\nFC: So much for that robot. Too bad.\nFC: Cryolink established to Waldo."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty as is the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. A small glass fuse it sits in the panel. On the front panel is a series of eight circles.\nIn the room with me is Sensa.\nSensa is carrying a fried chip, a burned chip, and a little wire basket."
    },
    {
        "text": "> Look around\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty, but a yellow IC sits in the yellow socket. The front panel is open and a fourteen-inch cable of orange wire is exposed. On the front panel is a series of eight circles.\nIn the room with me is Sensa.\nSensa is carrying a fried chip, a burned chip, and a little wire basket.\n\n> You take the wire\nI'm not Waldo, you know. I've only got 2 extensions, and they're full.\n\n> You drop the basket\nFC: Cryolink established to Sensa.\nSENSA: Dropped.\n\n> You wait for a while\nFC: Time passes...\n\nWALDO: Internal mapping indicates arrival at the Primary Channel.\n\n> Wait\nFC: Time passes...\n\nSENSA INTERRUPT: Sensory mechanisms match goal directive. I am at the Primary Channel.\n\n> You replace the wire with wire\nFC: Cryolink established to Sensa.\nSENSA: I can't. My extensions are full.\n\n> You replace the wire with the wire\nFC: Cryolink already established to Waldo.\nI don't have the fourteen-inch cable.\n\n> You check what you're carrying\nI am carrying...\nA glass fuse\nA red IC\n\n> You ask Waldo,  to check what you're carrying\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA four-inch cable\nA nine-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty, but a yellow IC sits in the yellow socket. On the front panel is a series of eight circles.\nThere is a little wire basket here.\nThe little wire basket contains...\nA plaid IC\nA green IC\n\n> You ask Sensa,  to look around\nFC: Cryolink established to Sensa.\nSENSA: Internal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Waldo.\nWaldo is carrying a four-inch cable, a nine-inch cable, a metal tool, a scanning device, a micro extension, and a sixteen-inch cable.\n\n> R.\nFC: Cryolink established to Sensa.\nFC: Full report from SENSA\nSENSA: Internal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Waldo.\nWaldo is carrying a four-inch cable, a nine-inch cable, a metal tool, a scanning device, a micro extension, and a sixteen-inch cable.\nSENSA: Sensors indicate I'm holding...\nA seized device\nA ruined device\n\n> R.\nFC: Cryolink established to Sensa.\nFC: Full report from SENSA\nSENSA: Internal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a metal tool, a scanning device, a micro extension, and a sixteen-inch cable.\nSENSA: Sensors indicate I'm holding...\nA fourteen-inch cable\nA seized device\nA ruined device\n\n> You ask Sensa,  to go south\nFC: Cryolink already established to Sensa.\nInternal map reference -- Beta FC\nI am within an immense device which contains immeasurable circuitry and switching devices. I can detect connections to the north and south of this device.\n\n> You ask Sensa,  to go south\nFC: Cryolink already established to Sensa.\nInternal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Whiz.\nWhiz is carrying a transmitter.\n\n> R.\nFC: Cryolink already established to Sensa.\nFC: Full report from SENSA\nInternal map reference -- Secondary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Whiz.\nWhiz is carrying a transmitter.\nSensors indicate I'm holding...\nA fourteen-inch cable\nA seized device\nA ruined device\n\n> You replace twelve-inch with fourteen-inch\nI can't. My extensions are full.\n\n> You go north\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a metal tool, a scanning device, a micro extension, and a sixteen-inch cable.\n\n> You replace four-inch with twelve-inch\nOkay. It's done.\n\nFC INTERRUPT: Approaching balance between all three units. Attempting internal stabilization. Reset codes may be entered now for planetside stabilization.\n\n> You wait for a while\nFC: Time passes...\n\nSENSA: Sensory mechanisms match goal directive. I am at the Main Supply Room.\n\n> You ask Iris,  to look around\nFC: Cryolink established to Iris.\nIRIS: Internal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. The red socket is empty, but a yellow IC sits in the yellow socket. On the front panel is a series of eight circles.\nIn the room with me is Sensa.\nSensa is carrying a red four-inch cable, and a burned chip.\nThere is a little wire basket here.\nThe little wire basket contains...\nA plaid IC\nA green IC\n\n> You put red IC in the red socket\nFC: Cryolink established to Sensa.\nSENSA: I don't have the polarized object.\n\n> Inventory\nSensors indicate I'm holding...\nA four-inch cable\nA ruined device"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nSensory mechanisms detect a tremendous channeling and flow of electrical and data energy into an object surrounding me. Sensors detect a similar channeling to an object to the south.\n\n> R.\nFC: Full report from SENSA\nInternal map reference -- Primary Channel\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line the floor. There is a small hole in the wall of the tube awaiting a plug. Above this hole is a sign.\nIn the room with me is Waldo.\nWaldo is carrying a nine-inch cable, a metal tool, a scanning device, a micro extension, and a sixteen-inch cable.\nSensors indicate I'm holding...\nA four-inch cable\nA ruined device\n\n> Go south\nSensory mechanisms detect the disquieting flow of electricity within this tube. The flow is concentrated within the small cables which line a groove in the floor. There is a small hole in the wall of the tube awaiting a plug, while slightly higher up rests a sign.\nIn the room with me is Whiz.\nWhiz is carrying a transmitter.\nThere is a seized device here.\n\n> You ask Waldo,  to check what you're carrying\nFC: Cryolink established to Waldo.\nWALDO: I am grasping...\nA nine-inch cable\nA cutting tool\nA rough device\nA usable extension (being worn)\nA sixteen-inch cable\n\n> You ask Iris,  to check your inventory\nFC: Cryolink established to Iris.\nIRIS: I am carrying...\nA glass fuse\nA red IC\n\n> You put red IC in the red socket\nFC: Cryolink already established to Iris.\nDone.\n\n> You ask Iris,  to look around\nFC: Cryolink already established to Iris.\nInternal map reference -- Main Supply Room\nI'm in the northernmost portion of a large, messy area where debris is scattered about as if something had shaken it loose from the walls. Sitting near the wall is a machine which has a little orange button on its face. Beside the button are two small sockets, one red and one yellow. A red IC sits in the red socket, and a yellow IC sits in the yellow socket. On the front panel is a series of eight circles. The orange button is flashing.\nThere is a little wire basket here.\nThe little wire basket contains...\nA plaid IC\nA green IC\n\n> Press ble\nNothing is happening. I don't think it's working anymore.\n\n> You point the camera at the sign\nFC: Cryolink established to Whiz.\nWHIZ: The TV1 has been pointed at the ACS.\n\nIRIS INTERRUPT: The little sign presents me with the access code the machine in the Main Supply Room needs to reset the Filtering Computers. It says CONBLE.\n\n> You push con\nFC: Cryolink established to Iris.\nFC: First access code accepted. Enter second access code now.\n\n> You push ble\nFC: Cryolink already established to Iris.\nFC: Second access code accepted.\n\nFC INTERRUPT:\n\nAll systems returning to normal.\nWeather systems slowly approaching balance.\nHydroponic systems working at full capacity.\nSurface life in recovery mode.\n\nExtrapolation based on current weather systems and food supplies:\nTotal recovery in 45 cycles.\nCurrent surface casualties: 5,632,000\nProjected casualties during recovery: 865,000\nOriginal population: 30,172,000\nTotal possible survivors: 23,675,000\n\nThis score gives you the possibility of being considered for being burned in effigy. On a scale of 1 (the best) to 7 (the worst), your ranking was 7.\n\nYou successfully completed your task, bringing the Filtering Computers back into balance, in 220 cycles.\n\n> Open cylinder\nFC: Cryolink established to Sensa.\nSENSA: Sensory inputs cannot detect any cylinder here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nAll around me charges flow, shaped by the very nature of this room. The electrons are being channeled into an electrical column, central to this environment.\nIn the room with me is Poet.\n\n> You open column\nSensory mechanisms indicate the door has been opened.\nWARNING! Biochemical electrical activity dropping!\nAs the door swings open you are blinded by intense light and incredible pain. Just before everything overloads and you fade from existence, you can make out a shape outside, holding onto the door of the cylinder, and then everything goes dark."
    },
    {
        "text": "[Themes: Fantasy, male protagonist, bear, Russia, silly, fantasy, fairy tale, Mythology, maze, violence]\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nYou are the tsar's son, Prince Ivan: young and handsome, but with\nthe dark, brooding nature of a Russian. You're the most eligible bachelor in the realm, but also the most reticent around the opposite sex. To escape the endless procession of beautiful women vying for your attention, you retreat alone to the forest to hunt and to brood. Although it is the middle of the afternoon, little light penetrates\nthe thick canopy of leaves above you. You have stopped on a north-south path to contemplate this thought: \"The soul of another is a dark forest.\"\nYou carry a bow and a quiver slung over one shoulder. There is a\nhuge chip on the other shoulder.\n\nCopyright (C) 1998; all rights reserved.\n\nNovember 2, 1998\nDeveloped with the loving technical support of Chris Nebel using\n\nType \"instructions\" for general help in playing text adventures.\nType \"about\" for special information about \"Firebird.\"\n\nDeep in a Russian Forest, Under a Large Tree\nYou are standing under a large tree.\n\n[Author's Note: Based on the Old Russian folk tales that inspired the Stravinsky piece of the same name. You are Prince Ivan, and have been charged by your father, the tsar, to find the Firebird that has been stealing your father's golden apples. Your two older brothers have already tried and failed -- can you triumph over the many obstacles in your quest? Remember, your mission is not as simple as it first seems...]\n\n> You look at the chip\nIt's just a figure of speech! Must you examine everything?\n\n> You examine the tree\nWhich tree do you mean, the large tree, or the forest?\n\n> Large\nSome animal is making its presence known in the branches of this tree. Is it your prey? You might be able to climb up the tree to get a better look.\n\n> Brood\nYou lose yourself momentarily in moody and morbid meditation.\n\n> You climb the tree\nThere really is nothing to grab onto. The bark breaks off in your hands and you tumble to the ground. It was not, however, an entirely fruitless effort: you have disturbed the animal in the tree. A bird flutters down and lights in a more visible spot.\n\n> You look at the bird\nVoila! Your prey du jour. The flicker is identifiable by its red head and black and white body. This species is common to North America but unknown to Russia, except, oddly, in this isolated forest. It would fit in the palm of your hand. Shooting it with an arrow is challenging sport, but don't expect it to make much of a meal. Good thing the caterers are waiting with dinner at the edge of the forest.\n\n> You check your inventory\nYou have a bow and a quiver. The quiver seems to contain an arrow.\n\nThe flicker suddenly takes wing and disappears into the forest. Quick, follow it!\n\n> You follow the flicker\nThe forest primeval. The north-south path branches off to the east.\nA flicker is here.\n\n> You take the arrow\nYou return the arrow to its quiver.\n\n> You put the arrow in bow\nDone.\n\n> Shoot flicker\nWhat do you want to shoot it with?\n\n> Arrow\nYou really ought to aim at something first.\n\nThe flicker suddenly takes wing and disappears into the forest. Quick, follow it!\n\n> You follow the flicker\neast. You pick out the outlines of a hut just beyond it. Return to the forest path by walking west.\nA flicker is here.\n\n> You aim the arrow at the flicker\nYou carefully take aim at the flicker.\n\n> You shoot the arrow at the flicker\nThe hapless bird collapses with a surprised \"Awk!\", and falls dead to the ground, impaled on your arrow.\n\n*** Your score just went up by 3 points. ***\n\n> You take the arrow\nYou return the arrow to its quiver.\n\n> You take the bird\nTaken.\n\n> You look at the bird\nPoor, defenseless, dead flicker. You never wanted to kill it. You were just responding to societal pressures.\n\n> You examine the fire\nIt's a gently flickering pinpoint of light. Probably a campfire, but who knows?\n\n> You look at the hut\nYou can see a small thatched roof, but that's all the evidence you have that you are seeing a hut ahead.\n\n> Go east\nYou have stepped into a clearing from a path to the west. A fire\nburns steadily outside of a small thatched hut.\nAn old woman is sitting by the fire. Her back is turned, and you do not think she has noticed that you are here. You stand silently behind her, watching in fascination as she places a crumb into an empty bag that she holds in her lap. A moment later, she pulls a loaf of bread from the bag! She repeats the process a second time and then a third. She must be a witch, known to you from your Russian upbringing as a baba yaga.\n\n> You talk to the woman\nWhat do you want to ask her about?\n\n> You ask the yaga about the bag\n\"Put what you will in the bag. If it will be useful to you in another form, it will be given to you.\"\n\n> You ask the woman about the woman\n\"What you see is what I am. A crone with a bag.\"\n\n> You put the bird in the bag\nThe baba yaga warns you off that course of action. \"The bag does not have the power to bring back the dead.\"\n\n> Inventory\nYou have a bow, a quiver, and a dead flicker. The quiver seems to contain an arrow.\n\n> You put the quiver in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\n> You put the fire in the bag\nStop fooling around trying to put the fire.\n\n> Exit\nYou can't go that way. You can leave by going west.\n\n> Go west\nThe forest primeval. The path continues north and south. To the\neast you spy a light shining through the trees.\n\n> You go to the north\nThe forest primeval. The north-south path branches off to the east.\n\n> Go east\nThe forest primeval. A mulched path leads northeast. Return to the north-south path by walking west.\nA wizened old man is here, his long beard flowing onto the ground.\nHe is sitting on a stone counting the leaves covering the forest floor. He looks up at you and says, \"Greetings, young man. Are you here to shirk a task or to find one?\"\nShirking a task sounds more like your preferred activity, but you\nare loath to admit it to this stranger. \"Neither really,\" you answer, \"I'm just here.\"\n\"There's very little I have to say to a young man who is 'just\nhere.'\" He casts you a dubious glance and shoos you off. \"Perhaps there are some other dark recesses of the forest you have not explored fully, hmmm?\"\n\n> You examine man\nHe looks as old as God and probably about as wise.\n\n> Go northeast\nThe old man knows best. You're not ready to go this way yet. Run off and explore the rest of the forest first.\n\n> You go north\nYou can't go that way. The old man redirects you. \"Go west,\" he says.\n\n> Go west\nThe forest primeval. The north-south path branches off to the east.\n\nYou can't go that way. Travel by walking north, south, or east.\n\n> You go north\nThe forest primeval. Branching off from the main north-south path\nis a small trail to the southwest.\n\n> You go to the south-west\nScores of ancient trees with massive trunks and numberless gnarled branches prevent any light from reaching the forest floor. A chill runs through you as you imagine every creature hidden in the shadows, one more threatening than the next. You feel your way on a mulched path leading west. You can return to the main path by walking northeast.\nThe path is lined with a neatly trimmed boxwood shrubbery. You\nthink, \"What threat could come from someone who cares so much about landscaping?\" Your mind quickly serves up the memory of an unstable gardener in your father's employ during your childhood who considered children and moles equal nuisances in the garden. You remember a near escape when the gardener attempted to whack you with a sledgehammer. Suddenly the path and boxwood shrubbery seem hardly any comfort at all.\n\n> You look at the shrubbery\nIt's a low shrubbery, about a foot off the ground. Dense, small, waxy leaves cover the surface. The shrubbery has been trimmed square. How you identified it as boxwood I'll never know. You're pretty unschooled in horticulture.\n\n> You search it\nStop fooling around trying to search the boxwood shrubbery.\n\n> You go west\nYou are lost in the memory of that hammer-wielding maniac. All you can think of is running from him in terror screaming, \"Stop it, stop it!\"\n\n> You climb the shrubbery\nStop fooling around trying to climb the boxwood shrubbery.\n\n> You go to the west\nYou start to take a step, repeating to yourself over and over, \"I must not brood, I must not brood.\" Seems to be helping, but who knows? It is statistically possible for there to be another murderous maniac waiting for you along the path.\n\n> Brood\nYou lose yourself momentarily in moody and morbid meditation.\n\n> You go west\n\"I must not brood\" has become your mantra. You repeat it over and over. Your legs make giant strides over the path, mulch scattering in all directions under your footsteps. The adrenaline courses through every cell of your body as with some relief you enter a clearing and encounter...\n\nThe east-west path terminates at a large stone wall, which curves\naway to the northwest and southwest.\nYou see a bronze plaque here.\n\n> You read the plaque\nHard to read, very stylized, but you make out \"So wide, you can't get around it. So high, you can't get over it. So ...\" The rest is illegible.\n\n> You examine the wall\nIt is a gleaming white monstrosity. The walls are stuccoed and quite sheer. You look up and can barely see the top.\n\n> You go northwest\nTrudging around the wall, which reveals itself to be a large but unbroken circle, you arrive at the only interesting locale to be found in this vicinity.\n\nSomeone seems to have been preparing a flower bed here, flush\nagainst the wall. The planting has yet to be done. It must have been a Herculean effort to dig: all around you the ground is hard and quite rocky. The wall curves around to the northeast and northwest.\n\n> Go northwest\nYou almost completely circumnavigate the circular stone wall to find yourself at...\n\nThe east-west path terminates at a large stone wall, which curves\naway to the northwest and southwest.\nYou see a bronze plaque here.\n\n> You climb the wall\nIt is so high you can't get over it. In fact, you can't get ON it much at all either. There is nothing to grab onto, sending you tumbling to the ground for the second time today.\n\n> Go east\nScores of ancient trees with massive trunks and numberless gnarled branches prevent any light from reaching the forest floor. A chill runs through you as you imagine every creature hidden in the shadows, one more threatening than the next. You feel your way on a mulched path leading west. You can return to the main path by walking northeast.\n\n> You go north\nDeep in a Russian Forest, Under a Large Tree\nYou are standing under a large tree.\n\n> Go north\nYou trudge out of the forest. Whether it is a long time or a short time, it matters not. Speedily a tale is spun, with much less speed a deed is done.\n\nYou've reached the edge of this grand, untamed forest. A short walk\nto the north are a collection of fawning underlings, waiting to make their daily petitions to you for your continued patronage. In a glade an even shorter walk to the north, however, lurks a far more horrible threat: a dozen young noble women, each eager to plant a kiss on your cheek. You notice that they are all wearing lipstick. Ack! You know you'll break out in hives if that waxy mess touches your regal skin. The path leads south back into the forest.\n\n> You go west\nYou can't go that way. You can go north out of the forest, south deeper into the forest, or up the tree.\n\n> You climb the tree\nThe bark breaks off in your hands and you tumble to the ground. This time it truly was a fruitless effort. You pick yourself up and brush off the dirt from your clothes.\n\n> You examine the tree\nWhich tree do you mean, the large tree, or the forest?\n\n> You examine large\nWhich large do you mean, the chip, or the large tree?\n\n> You examine the large chip\nIt's just a figure of speech! Must you examine everything?\n\n> Go south\nThe forest primeval. Branching off from the main north-south path\nis a small trail to the southwest.\n\n> You go to the south\nThe forest primeval. The north-south path branches off to the east.\n\n> You go to the south\nThe forest primeval. The path continues north and south. To the\neast you spy a light shining through the trees.\n\n> Go south\nSigh! Everyday existence is so tiresome. The regal catering\nservice has readied a sumptuous feast for you here at the edge of the forest. Dozens of gleaming silver chafing dishes await your inspection, but the smell of hot food sickens you. A massive copper samovar holds freshly brewed coffee. Golden serving pieces have been splendidly arrayed before you, but you know you could never be allowed to pick them up and serve yourself. If only your station in life allowed you to pack a lunch. A roast beef sandwich and a cup of coffee eaten alone in the woods would be ideal. Ugh, those peasant serving girls. So crass. Always cracking their gum and calling you \"Hon.\"\nYou can turn north back into the forest.\nThe head caterer approaches you, bows low, and says, \"Master, how\ngood to see you. I trust you had a successful outing in the forest? What do you have to give me?\"\nYou ignore the caterer's obsequious greeting and attempt to push\npast him. Gently but firmly, he grabs you by the shoulders and looks sternly into your eyes. \"Master, as you remember, your father's instructions were not to serve you dinner until you brought back your kill.\" You silently recall the circumstances under which these instructions were given. Your father has found you insufficiently motivated to improve your hunting skills and would prefer your starvation if you do not start landing some game.\n\n> You give the flicker to the caterer\nbloody mass of feathers.\n\"Congratulations on your successful hunt, sir,\" he cries. \"Your\nfather will be pleased. He wanted me to tell you that he has left an urgent message for you just north of the forest. But first, by all means, eat something. I will prepare this flicker for you immediately.\"\nYou tell the caterer not to bother. \"Just get me a roast beef\nsandwich and coffee quickly. And don't assign Flo as my server.\" The caterer obliges and ushers you to...\n\nIt's you, the food-service peasants, and a long wooden table.\nSitting on the long wooden table is a mask.\nA strangely familiar busboy is here, busily cleaning the table.\nA strangely unfamiliar serving wench is here, awaiting your\ninspection.\n\n*** Your score just went up by 3 points. ***\n\n> You examine wench\nWho is she? Why haven't you noticed her before? This young woman is beautiful! Her loveliness is unmarred by any make-up. Her hair falls in natural waves around her shoulders. She approaches quietly and respectfully, lays out a place setting, and sets a sandwich and coffee before you. She withdraws from your presence before you can even speak or look into her eyes.\n\n> You look at busboy\nNo wonder he looks familiar. It's your older brother, Vasilii. Your father sent him in search of the Firebird after your brother Dimitri had failed. The Firebird eluded him as well. You thought your father had banished Vasilii to a distant tsardom, but you imagine that being reduced to the status of busboy is a very real exile for your ambitious, princely brother.\n\n> You get the mask\nTaken.\n\n> You look at it\nThe mask caricatures your eldest brother Dimitri. Your father sent him three years ago to retrieve the magical Firebird from a nearby forest. Said Firebird had been stealing apples from one of your dad's rare 24K gold apple trees. Since this was causing a considerable financial setback, your father said that if Dimitri brought back the Firebird, the tsardom would be his. Dimitri came back empty-handed, lost his chance at the big promotion, and hasn't been able to get a date since.\n\n> You look at the table\nOn the long wooden table you see a cup of coffee, a plate, a spoon, a fork, a knife, a napkin, and an ambiguous utensil.\n\n> You look at the utensil\nFork? Spoon? Melon baller? Difficult to say really. Its markings only reveal that it is made of silver. You figure that it must be good for something.\n\n> You get all from the table\ncup of coffee: Taken.\nplate: Taken.\nspoon: Taken.\nfork: Taken.\nknife: Taken.\nnapkin: Taken.\nambiguous utensil: Taken.\n\n> You ask Vasilii about Dimitri\n\"Such a shame about Dimitri. The whole tsardom is laughing at him. At least I live in anonymity. If he enters the monastery, as I expect he shall, he will at last have some peace.\"\n\n> You examine plate\nA china plate decorated with little bunnies and chipmunks. A childhood relic. On the plate you see a roast beef sandwich.\n\n> Examine sandwich\nIt's a roast beef sandwich, prepared, of course, just as you prefer: seeded rye bread, horseradish, and raw onions. That should help keep the babes at bay.\n\n> You eat the sandwich\nThat was delicious!\n\n> You go north\nSigh! Everyday existence is so tiresome. The regal catering\nservice has readied a sumptuous feast for you here at the edge of the forest. Dozens of gleaming silver chafing dishes await your inspection, but the smell of hot food sickens you. A massive copper samovar holds freshly brewed coffee. Golden serving pieces have been splendidly arrayed before you, but you know you could never be allowed to pick them up and serve yourself. If only your station in life allowed you to pack a lunch. A roast beef sandwich and a cup of coffee eaten alone in the woods would be ideal. Ugh, those peasant serving girls. So crass. Always cracking their gum and calling you \"Hon.\"\nYou can turn north back into the forest.\nThe head caterer is directing his staff through another\npass-the-plate drill.\n\n> Go east\neast. You pick out the outlines of a hut just beyond it. Return to the forest path by walking west.\n\n> Go east\nYou have stepped into a clearing from a path to the west. A fire\nburns steadily outside of a small thatched hut.\nA baba yaga is sitting by the fire, a magical bag in her lap.\n\n> You put the sandwich in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\n> You put the napkin in the bag\nYou drop the napkin into the bag and pull out a comfy blanket!\n\n> You put the utensil in the bag\n\"What IS that thing?\" the baba yaga exclaims as you bring out the unknown utensil. Since you can give her no definite answer, the baba yaga convinces you that it is best not to put it into the bag. The bag cannot transform something it does not recognize.\n\n> You look at the blanket\nIt's very comfy, very large, and very warm. There's nothing in the comfy blanket.\n\n> You put the fork in the bag\nYou drop the fork into the bag and pull out what seems to be the same fork. The witch, noticing the look of confusion on your face explains, \"It may look unchanged, but do not believe appearances. Perhaps you will discover its special use some day.\"\n\n> You examine the fork\nIt looks like an ordinary mysteriously transformed fork to me.\n\n> You check your inventory\nYou have a bow, a quiver, a mask, a cup of coffee, a plate, a spoon, a knife, a comfy blanket, an ambiguous utensil, and a mysteriously transformed fork. The quiver seems to contain an arrow. Sitting on the plate is a roast beef sandwich.\n\n> You put the spoon in the bag\nYou drop the spoon into the bag and pull out a shovel!\n\n> You get the sandwich\nTaken.\n\n> You put the plate in the bag\nThe plate with the bunnies and the chipmunks? Life won't be the same without it, but you bravely drop the plate into the bag. You are surprised to pull out a shield!\n\n> You put the cup in the bag\nThe baba yaga moves the bag away from you. \"That cup still has some coffee in it!\"\n\n> You drink coffee\nGood to the last drop!\n\n> You eat the sandwich\nThat was delicious!\n\n> You put the cup in the bag\nYou consider your course of action for a split second. You've had this cup since you were a baby! How will you ever do without it? You bravely drop the cup into the bag and pull out a bucket!\n\n> You look at the blanket\nIt's very comfy, very large, and very warm. There's nothing in the comfy blanket.\n\n> You put the blanket in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\n> You check what you're carrying\nYou have a bow, a quiver, a mask, a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, and a sword. The quiver seems to contain an arrow.\n\n> You examine the shield\nIt looks like an ordinary shield to me.\n\n> Go north\nYou can't go that way. You can leave by going east or west.\n\n> Go west\nThe forest primeval. The path continues north and south. To the\neast you spy a light shining through the trees.\n\n> You wear the mask\nOkay, you're now wearing the mask. Boy, do you look like a loser.\n\n> You go north\nof groupies. Although they are all attractive and of good families, you would rather impale yourself on a pike than marry one of them. They're swarming everywhere, their constant chattering an irritating drone to your ears.\n\nThe women, mistaking you for your brother Dimitri, stop short, groan loudly, and immediately beat a path back to town. Taking off the mask, you marvel at the blissful privacy your brother must enjoy.\n\n*** Your score just went up by 3 points. ***\n\nTo the north you can see an encampment of underlings; to the south, the primeval forest beckons.\n\n> You look at fellow\nJust as you suspected. Your brother Dimitri is incognito, posing as your masseur. He's wearing a fake mustache and a floppy hat. If you thought his caricature looked peculiar, he looks like a complete goofball now.\n\n> You look at allergist\nYou have been plagued by allergies all your life. As a child your list of sensitivities was quite long, including feathers, fur, and eggs. Because this man has patiently administered to you an endless series of treatments, you can handle all of these things and live relatively normally. You are still extremely sensitive to beeswax and to bee venom, facts you were perhaps reacquainted with recently. [1] Your allergist is assuring you that you will soon notice a decrease in your symptoms.\n\n> You ask the allergist about the treatment\n\"The 'sting of the bee' is a treatment of my own devise,\" the allergist patiently explains. \"You've received this treatment nine times three times already. I'm surprised you need it explained again.\"\n\n> Note 1\n[1]: Beeswax is a compound commonly used in the manufacture of lipstick available in this area. This kept you at quite a distance from your mother, who, being rather vain, insisted on wearing lipstick even after she was told that you were violently allergic to it.\n\n> You show the mask to Dimitri\n\"Very funny!\" Dimitri looks a little embarrassed to see the mask.\n\n> You give the treatment\nWhat do you want the allergist to give it to?\n\n> Yourself\nYour allergist prepares your arm and deftly pricks the needle in the proper place. You think about how well he has cared for you over the years but do not bother to thank him once the procedure is over.\n\n> You look at the hat\nIt looks like an ordinary floppy hat to me.\n\n> Go south\nof groupies. Although they are all attractive and of good families, you would rather impale yourself on a pike than marry one of them. Fortunately, none of them seem to be around at the moment. The sight of \"Dimitri\" must have scared them away from this spot for a while. To the north you can see an encampment of underlings; to the south, the primeval forest beckons.\n\n> You go south\nYou've reached the edge of this grand, untamed forest. A short walk\nto the north are a collection of fawning underlings, waiting to make their daily petitions to you for your continued patronage. The path leads south back into the forest.\n\n> You go south\nDeep in a Russian Forest, Under a Large Tree\nYou are standing under a large tree.\n\n> You go west\nThe east-west path terminates at a large stone wall, which curves\naway to the northwest and southwest.\nYou see a bronze plaque here.\n\n> Dig\n(the newly dug bed)\n(with the shovel)\nWith amazing ease, you burrow through the loose earth and create a tunnel to the other side of the wall! You find yourself in...\n\nYou've made it under the immense stone wall. Its walls surround you\non all sides. You can explore the garden by walking to the north or east. Go down the tunnel to leave.\n\n> Go north\nOnce upon a time there was a fountain. Its bubbling flow splashed\nonto the surface of the water below, creating little ripples that sparkled gaily in the sunlight. Floating beneath the fountain were some lily pads...\nAnd sitting on a lily pad you find a frog. You can't be sure, but\nyou think you see something written on the frog's chest.\n\n> You read frog\nIt says KISS ME.\n\n> Kiss frog\nBlech! You've got to be kidding!\n\n> You get the frog\nThe frog's chest says KISS ME. Maybe you should try a little tenderness first.\n\n> Examine pad\nMuch flatter than a frog, but just as green.\n\n> You look at the fountain\nThe sound of the burbling water is most intriguing.\n\n> Drink water\nBetter not. Do you think a frog would drink out of your bath water?\n\n> You kiss yourself\nYou plant a big wet one on yourself. Smack!\n\n> You ask frog about yourself\nThe frog looks at you blankly. Doctor Dolittle you're not.\n\n> You wear the mask\nOkay, you're now wearing the mask. Boy, do you look like a loser.\n\n> Kiss frog\nUgh! You won't kiss a girl, but you'll kiss this frog?\n\n> Kiss frog\nFine, fine, kiss the frog.\n\nYou grasp the frog in your hands and bring it to your lips. Gak!\nYou even use your tongue! You are shocked to discover that your kiss has transformed the frog into a heavily breathing man with a dangerous glint in his eye.\n\nRun! It's a sledgehammer-wielding maniac!\n\nYou feel the sweet, hot breath of your attacker on the back of your neck.\n\n> Go south\nYou've made it under the immense stone wall. Its walls surround you\non all sides. You can explore the garden by walking to the north or east. Go down the tunnel to leave.\n\nKeep moving! Your head is within inches of a sledgehammer's blow!\n\n> You go east\nFinally, trees that are easy to climb! The bark is sturdy, the\nlimbs low, the angle of ascent easy. The blossoming trees are just past full bloom and the fruit is starting to emerge from the bud.\n\nKeep moving! Your head is within inches of a sledgehammer's blow!\n\n> You climb the tree\nFirst one branch, then another. You're doing great. Oops, lost your footing! You tumble to the ground with a regal thud for the fourth time today.\n\nYou feel the sweet, hot breath of your attacker on the back of your neck.\n\n> You go to the north\nYou can't go that way. Either walk west or climb up the tree.\n\nThe sledgehammer comes down on your head. Your last wish is that you would have had time to contemplate the irony of your fate.\n\n> You look at maniac\nNo time for close examination. Just run, man!\n\nThe sledgehammer comes down on your head. Your last wish is that you would have had time to contemplate the irony of your fate."
    },
    {
        "text": "[Themes: Fantasy, Mythology, bear, fantasy, silly]\n\n> Go downward\nYou squirm down the dark passage and emerge outside the wall.\n\nBehold your handiwork! You have replaced the freshly dug flower bed with an even more freshly dug tunnel, which leads down under the wall. You can also walk around the wall to the northeast or northwest.\n\nKeep moving! Your head is within inches of a sledgehammer's blow!\n\n> Go northeast\nThe east-west path terminates at a large stone wall, which curves\naway to the northwest and southwest.\nYou see a bronze plaque here.\n\nKeep moving! Your head is within inches of a sledgehammer's blow!\n\n> You go east\nScores of ancient trees with massive trunks and numberless gnarled branches prevent any light from reaching the forest floor. A chill runs through you as you imagine every creature hidden in the shadows, one more threatening than the next. You feel your way on a mulched path leading west. You can return to the main path by walking northeast.\n\nKeep moving! Your head is within inches of a sledgehammer's blow!\n\n> You attack the man with the sword\nYou whack the screaming maniac in the head a split second before he can do the same to you. He stops in his tracks, shakes his head, and thanks you for knocking some sense into him. He hands you his sledgehammer and wanders off.\n\n> You examine the hammer\nIt looks like an ordinary sledgehammer to me.\n\n> Go northwest\nTrudging around the wall, which reveals itself to be a large but unbroken circle, you arrive at the only interesting locale to be found in this vicinity.\n\nBehold your handiwork! You have replaced the freshly dug flower bed with an even more freshly dug tunnel, which leads down under the wall. You can also walk around the wall to the northeast or northwest."
    },
    {
        "text": "[Themes: Fantasy, fantasy, fairy tale, violence]\n\n> Go downward\nAs you squirm down into the dark tunnel, you remember the stories your nurse told you when you were little: vast empires hidden underground, always accessible by a tunnel such as this one, usually protected by a grate. However, this is not the fantasy world of your youth, and in fact you emerge on the other side of the wall.\n\nYou've made it under the immense stone wall. Its walls surround you\non all sides. You can explore the garden by walking to the north or east. Go down the tunnel to leave.\n\n> Go east\nFinally, trees that are easy to climb! The bark is sturdy, the\nlimbs low, the angle of ascent easy. The blossoming trees are just past full bloom and the fruit is starting to emerge from the bud.\n\n> You climb the tree\nFirst one branch, then another. You're doing great. With sure, careful movements, you find yourself...\n\nAh, the sweet fragrance of a flowering fruit tree! The perfume\nrevives you as you rest on this branch. You can now get a better look at those blossoms, but be careful. Bees are buzzing all around them. You nervously remember how allergic you are to bee venom. Perhaps you can escape the bees by climbing to a higher branch.\n\n> You look at the blossoms\nThe blossoms are yielding to a golden fruit.\n\n> You examine the fruit\nWow, you've never seen fruit give off such a warm glow. You touch some of the nuggets and discover that the skin is hard and unyielding. Even you, the horticulture imbecile, realize that unripe fruit is hard, but this stuff is really hard. It's an actual 24K gold nugget! You wonder if these trees might not also be gold apple variety and surmise that someone might have planted this orchard from the apples stolen from your father's trees.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, and a gold nugget. The quiver seems to contain an arrow.\n\n> Up\nConfident of the effects of your latest treatment, you evade the bees quietly and make your way up the tree.\n\nYou have almost reached the top of the tree, certainly as high as\nyou can climb. Within your reach, there is a huge pile of twigs and leaves piled together precariously in the fork between two branches. Sitting on the large nest is a magazine.\n\n> You read the magazine\nIt's nestled too far down in the twigs for you to see more than the cover.\n\nYou find yourself lost in thought. A soft rustle of leaves causes\nyou to alert to your surroundings. Looking up, you find that a large feathered creature has perched in the nest.\n\n> You get the magazine\nYou'll have to get into the nest in order to reach it.\n\n> You enter the nest\nThe Firebird gently warns you not to try to get into the nest. It wasn't meant to support your weight.\n\n> You look at Firebird\nIt can only be the Firebird. She doesn't look as if she would put up much of a struggle. You imagine carrying her back to your father and making a hearty meal of her. A plucked feather in each room of the palace would brightly light the space. No more need of candles or torches. Oh, and your father's tsardom to boot. So many possibilities suggest themselves in thoughts of capturing the Firebird.\n\n> You ask Firebird about Firebird\n\"I wasn't always this way. Once I was simply a woman. Katschei the wizard put me in this shape and made me his thief. Ask me sometime again, and perhaps I will tell you the rest of the story.\"\n\n> You ask Firebird about Katschei\n\"Katschei built that high-walled garden, I'll tell you that much. The less you know about Katschei right now, the better.\"\n\n> You ask Firebird about the nest\n\"Don't try to get into the nest, dear. It wasn't meant to support your weight.\"\n\n> You get Firebird\nHer sharp talons give you pause. Better to trap her in something that will protect you from them.\n\n> You put the blanket on Firebird\nYou throw the comfy blanket over the Firebird. Before she can react, you've flipped her over, gathered the ends of the blanket together, and slung the makeshift sack over your back. The Firebird struggles but cannot free herself. The soft thickness of the blanket protects you from her sharp talons. She begins to whimper, \"Please let me go, young man!\"\n\n*** Your score just went up by 3 points. ***"
    },
    {
        "text": "> Go downward\nAh, the sweet fragrance of a flowering fruit tree! The perfume\nrevives you as you rest on this branch. You can now get a better look at those blossoms, but be careful. Bees are buzzing all around them. You nervously remember how allergic you are to bee venom. Perhaps you can escape the bees by climbing to a higher branch."
    },
    {
        "text": "[Themes: Fantasy, fairy tale, violence, Mythology]\n\n> Go downwards\nFinally, trees that are easy to climb! The bark is sturdy, the\nlimbs low, the angle of ascent easy. The blossoming trees are just past full bloom and the fruit is starting to emerge from the bud.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, and a gold nugget. The quiver seems to contain an arrow. The comfy blanket seems to contain the Firebird.\n\nThe Firebird says, \"Let me go and I'll tell you a secret.\"\n\n> You go west\nYou've made it under the immense stone wall. Its walls surround you\non all sides. You can explore the garden by walking to the north or east. Go down the tunnel to leave."
    },
    {
        "text": "[Themes: Fantasy, maze, Russia, male protagonist, silly, fairy tale]\n\n> Go downwards\nYou squirm down the dark passage and emerge outside the wall.\n\nBehold your handiwork! You have replaced the freshly dug flower bed with an even more freshly dug tunnel, which leads down under the wall. You can also walk around the wall to the northeast or northwest.\n\n> You go south\nThe forest primeval. The north-south path branches off to the east.\n\nYou hear muffled sobs from inside the blanket.\n\n> Go east\nThe forest primeval. A mulched path leads northeast. Return to the north-south path by walking west.\nA wizened old man is here, his long beard flowing onto the ground.\nHe is sitting on a stone counting the leaves covering the forest floor. He looks up at you and says, \"Greetings, young man. Are you here to shirk a task or to find one?\"\nYou answer that you are looking to gain your father's tsardom. \"You are on the right path, but you are not ready yet for this part of your quest,\" says the old man. \"Perhaps there are some other dark recesses of the forest you have not explored fully, hmmm?\"\n\n> You put Firebird in bag\nYou can't do that to the Firebird without freeing her. It's taking all your strength just to keep her in the blanket.\n\n> Free Firebird\nYou gently place the blanket containing the Firebird on the ground.\nThe Firebird flaps her wings and frees herself. Standing and stretching, she thanks you for your mercy. She is true to her word: \"Now, young man, I will tell you a secret. It's true that I have stolen your father's golden apples. But I am not the cause of the problem, only the agent. I promise you I will now help you find the real culprit.\"\n\n\"\n\n> Yes\na list of necessities. You scribble them down and stow the list on your person.\n\"Before you embark on your adventure, you will need to take along provisions,\" the Firebird counsels. \"Lead the way to the caterers, please!\"\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> You examine the list\nTHINGS TO TAKE:\n\n( ) a matchbook\n( ) a coin\n\nGlancing over the list, you see you still need to pick up 2 things.\n\nThe Firebird preens her feathers.\n\n> Go west\neast. You pick out the outlines of a hut just beyond it. Return to the forest path by walking west.\n\nThe Firebird follows you.\n\n> You go south\nYou can't go that way. You can leave by going east or west.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You go to the west\nThe forest primeval. The path continues north and south. To the\neast you spy a light shining through the trees.\n\nThe Firebird follows you.\n\n> You go south\nThe Firebird stops and whispers to you, \"Ivan, I cannot follow you into the clearing. Vasilii is there. If he sees me, he may kill you in order to claim my capture for himself. Just have some sandwiches made; get anything you like. And have them send along some rice pudding.\nIt's my favorite, and I haven't had it in so long.\"\nAs you make your way south, the Firebird calls out after you, \"Ivan,\nif you find anything on your list there, be sure to bring it back. You might not want to go back again.\"\n\nSigh! Everyday existence is so tiresome. The regal catering\nservice has readied a sumptuous feast for you here at the edge of the forest. Dozens of gleaming silver chafing dishes await your inspection, but the smell of hot food sickens you. A massive copper samovar holds freshly brewed coffee. Golden serving pieces have been splendidly arrayed before you, but you know you could never be allowed to pick them up and serve yourself. If only your station in life allowed you to pack a lunch. A roast beef sandwich and a cup of coffee eaten alone in the woods would be ideal. Ugh, those peasant serving girls. So crass. Always cracking their gum and calling you \"Hon.\"\nYou can turn north back into the forest.\nThe caterer responds promptly to your request for provisions. Too promptly really, because he whisks you to the table before you can say, \"And don't assign me Flo...\"\n\nIt's you, the food-service peasants, and a long wooden table.\nYour older brother Vasilii is here, busily cleaning the table.\nAn older serving woman appears at your right elbow. \"I hear you actually bagged some game today. What did you do, read it your own poetry until it coughed up its innards?\"\nThis is the caterer's most senior serving wench, Flo. She's known\nyou as long as the caterer has, and she never lets you forget it. She has an opinion about everything you ever have or haven't done in your whole life. You've wanted to send her away many a time for the beating you think she deserves as the impudent peasant she is, but your father has always forbidden it. He thinks some honest criticism is good for you, and he's never been in disagreement with Flo's opinions. Oh, it would be good to be tsar and take a switch to her.\nYou keep your cool for now. \"Wench, I am embarking on a long\njourney. I require these provisions: two sandwiches, one roast beef on rye, one sprout and avocado on whole grain. (You assume the Firebird is a vegetarian.)  Also, bring me some rice pudding.\"\nFlo raises an eyebrow. \"Rice pudding? I have never known you to\nask for rice pudding!\" she screeches.\nVasilii pricks up his ears as he labors nearby. \"He's ALLERGIC to\nrice pudding,\" he thinks, eyeing you suspiciously.\nAs insulting as Flo can be, she would never disobey you. In a few minutes, Flo places some provisions into your hands. As she leaves, she wishes you godspeed on your journey."
    },
    {
        "text": "[Themes: Fantasy, maze, Mythology]\n\n> You look around\nIt's you, the food-service peasants, and a long wooden table.\nYour older brother Vasilii is here, busily cleaning the table.\n\n> You go south\nYou can't go that way. You can leave by going north.\n\n> You go north\nSigh! Everyday existence is so tiresome. The regal catering\nservice has readied a sumptuous feast for you here at the edge of the forest. Dozens of gleaming silver chafing dishes await your inspection, but the smell of hot food sickens you. A massive copper samovar holds freshly brewed coffee. Golden serving pieces have been splendidly arrayed before you, but you know you could never be allowed to pick them up and serve yourself. If only your station in life allowed you to pack a lunch. A roast beef sandwich and a cup of coffee eaten alone in the woods would be ideal. Ugh, those peasant serving girls. So crass. Always cracking their gum and calling you \"Hon.\"\nYou can turn north back into the forest.\nThe head caterer is directing his staff through another\npass-the-plate drill.\n\n> You go east\nYou can't go that way. Travel by walking north or south.\n\n> Go north\nThe forest primeval. The path continues north and south. To the\neast you spy a light shining through the trees.\nThe Firebird sees the rice pudding in your hand. \"Excellent\nwork, young man. May I have my pudding now?\"\nYou produce the dreadful stuff and happily give it to her.\n\"Wonderful,\" she exclaims, \"make sure you have everything on your list, then you can be on your way!\"\n\nThe Firebird follows you.\n\n> Go north\nThe forest primeval. The north-south path branches off to the east.\n\nThe Firebird follows you.\n\n> Go north\nThe forest primeval. Branching off from the main north-south path\nis a small trail to the southwest.\n\nThe Firebird follows you.\n\n> You go north\nDeep in a Russian Forest, Under a Large Tree\nYou are standing under a large tree.\n\nThe Firebird follows you.\n\n> You go north\nYou trudge out of the forest. Whether it is a long time or a short time, it matters not. Speedily a tale is spun, with much less speed a deed is done.\n\nYou've reached the edge of this grand, untamed forest. A short walk\nto the north are a collection of fawning underlings, waiting to make their daily petitions to you for your continued patronage. The path leads south back into the forest.\n\nThe Firebird follows you.\n\n> Go north\nof groupies. Although they are all attractive and of good families, you would rather impale yourself on a pike than marry one of them. Fortunately, none of them seem to be around at the moment. The sight of \"Dimitri\" must have scared them away from this spot for a while. To the north you can see an encampment of underlings; to the south, the primeval forest beckons.\n\nThe Firebird follows you.\n\n> You go to the north\nSome days more than a dozen men wait on you to offer their greetings and make their requests. Thankfully, today there are only a few:\nYou expect to see your masseur here, but instead there is an awfully goofy-looking fellow fooling with a floppy hat and fiddling with a fake mustache.\nYour allergist is here, reading the latest issue of \"Pollen Parade.\" The page is lying in the grass, illiterate and blissful as he contemplates the sky.\n\nThe page and the allergist stand and gawk at the sight of your companion, the Firebird. Dimitri glances up briefly, but that is all the attention he seems willing or able to focus on the event.\n\n> You go east\nYou can't go that way. You can leave by going north or south.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> Go north\nsouth with an inn to the north.\nYou see a coin here.\n\nThe Firebird follows you.\n\n> You get the coin\nTaken.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> You examine it\nIt's a small denomination copper coin. Your dad's chin juts forward proudly in profile. He looked just like that the other day when he was signing execution orders for a few dozen thieves. Your dad really approaches his job with gusto, you must give him that!\n\nThe Firebird preens her feathers.\n\n> You flip the coin\nI don't know how to flip the coin.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You go north\nand Pig. How it ever got the name no one really knows, because they serve no cheese products and no pork products. It's just vodka and manly conversation. To the south is the way back to the encampment. You see a refuse pile here.\nA groom is here tending one of your horses.\n\nThe Firebird follows you.\n\nPeasants parade in and out of the tavern.\n\n> You examine the pile\nThere's currently nothing on the refuse pile but rotting vegetables, empty bottles, and things too vile for close inspection.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\nPeasants parade in and out of the tavern.\n\n> Search pile\nThere's nothing on the refuse pile.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nPeasants parade in and out of the tavern. A pair of rustic fellows tumble out, each gnawing on a turnip. One says to the other, \"Have you heard this one? Once a turnip said: 'I taste very good with honey.' 'Go along, you boaster,' replied the honey, 'I taste good without you.'\" His friend claps him on the back and chuckles, \"Ah, our amusing national anecdotes!\" They toss the turnip greens onto the refuse pile and disappear behind the inn.\n\n> You examine the groom\nA rather rough young man, good with horses but not much of a conversationalist.\n\nThe Firebird preens her feathers.\n\nPeasants parade in and out of the tavern.\n\n> You ask the groom about the horse\nThe groom opens his mouth to reveal he has no tongue. Oh yes, you recall, he was the one who spoke so impertinently to your father last month.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\nPeasants parade in and out of the tavern.\n\n> You take the turnip\nTaken.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\nPeasants parade in and out of the tavern. The innkeeper appears at the door and pitches a flask onto the refuse pile. \"Brandy indeed!\"\n\n> You take the flask\nTaken.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nPeasants parade in and out of the tavern.\n\n> You examine flask\nScrawled on a dirty label pasted to the flask are the words \"l'eau de vie.\" You know it from your French master's tutelage to be the word for \"brandy.\" This phrase translates literally as \"the water of life.\" You doubt, however, that it is brandy. In small print is the warning, which translated reads \"for external use only.\"\n\nThe Firebird preens her feathers.\n\nPeasants parade in and out of the tavern.\n\n> You examine the turnip\nIt looks like an ordinary bunch of turnip greens to me.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\nPeasants parade in and out of the tavern. Two peasants saunter up to the tavern. The one says to the other, \"I was at that wedding too. I drank beer and mead; they flowed down my beard but did not go into my mouth.\"\n\n> Go inside\nInspecting the inside of the inn is not worth getting a beating from that burly bunch. Let the peasants have their fun in privacy.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\nPeasants parade in and out of the tavern.\n\n> You examine the horse\nIt's a sleek stallion, fast and powerful. You notice something odd written on the horse's rump. It says, \"Jesus saves, and so should you.\" You wonder what that must mean.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nPeasants parade in and out of the tavern.\n\n> You look at the list\nTHINGS TO TAKE:\n\n( ) a matchbook\n(x) a coin\n\nGlancing over the list, you see you still need to pick up 1 thing.\n\nThe Firebird preens her feathers.\n\nPeasants parade in and out of the tavern. A farmer tells his comrade a story. \"Two old beggars, husband and wife, were walking along a road and approached a village. The old man said: 'I will ask for some milk.' His wife answered: 'And I will crumb some bread into the milk.' The man seized her and began to beat her, saying: 'Don't crumb bread into the milk, it will get sour; don't crumb bread into the milk, it will get sour.' But when they came to the village no one gave them milk.\"\nThe two farmers have a hearty laugh at the exploits of the beggars.\n[2] Their chortles are heard long after they disappear from sight behind the tavern.\n\n> Note 2\n[2]: Is this perhaps funnier with a snoot full of vodka?\n\n> Go south\nsouth with an inn to the north.\n\nThe Firebird follows you.\n\n> You look at the page\nOne of your father's pages. A young boy with a cherubic face.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You ask the page about the matchbook\nYou won't glean much information asking the page about the matchbook.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> You ask the page about Firebird\nYou won't glean much information asking the page about the Firebird.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a gold nugget, a list, a corned beef sandwich, a flicker sandwich, a coin, a bunch of turnip greens, and a white flask. The quiver seems to contain an arrow.\n\nThe Firebird preens her feathers.\n\n> You give the flask to the page\nThe page rejects the offer.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You ask the allergist about the matchbook\nYou won't glean much information asking the allergist about the matchbook.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> You look at flicker sandwich\nThe meat from your prey makes such a small sandwich that it is served on a saltine cracker.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> You ask Dimitri about the matchbook\n\"I don't know much about that.\"\n\nThe Firebird preens her feathers.\n\n> Examine magazine\nSome days more than a dozen men wait on you to offer their greetings and make their requests. Thankfully, today there are only a few:\nYou expect to see your masseur here, but instead there is an awfully goofy-looking fellow fooling with a floppy hat and fiddling with a fake mustache.\nYour allergist is here, reading the latest issue of \"Pollen Parade.\" The page is lying in the grass, illiterate and blissful as he contemplates the sky.\nThe Firebird is here.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\nI don't see any magazine here.\n\n> Go west\nYou can't go that way. You can leave by going north or south.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> You ask Firebird about the chip\nThe Firebird rejects the offer.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nYou won't glean much information asking the Firebird about the chip.\n\nThe Firebird preens her feathers.\n\n> You ask Firebird about the feather\nYou won't glean much information asking the Firebird about the feather.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You examine large chip\nIt's just a figure of speech! Must you examine everything?\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> Go south\nof groupies. Although they are all attractive and of good families, you would rather impale yourself on a pike than marry one of them. Fortunately, none of them seem to be around at the moment. The sight of \"Dimitri\" must have scared them away from this spot for a while. To the north you can see an encampment of underlings; to the south, the primeval forest beckons.\n\nThe Firebird follows you.\n\n> You go south\nYou've reached the edge of this grand, untamed forest. A short walk\nto the north are a collection of fawning underlings, waiting to make their daily petitions to you for your continued patronage. The path leads south back into the forest.\n\nThe Firebird follows you.\n\n> Go south\nDeep in a Russian Forest, Under a Large Tree\nYou are standing under a large tree.\n\nThe Firebird follows you.\n\n> Go east\nYou have stepped into a clearing from a path to the west. A fire\nburns steadily outside of a small thatched hut.\nA baba yaga is sitting by the fire, a magical bag in her lap.\n\nThe Firebird follows you.\n\n> You put the flask in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a gold nugget, a list, a corned beef sandwich, a flicker sandwich, a coin, a bunch of turnip greens, and a white flask. The quiver seems to contain an arrow.\n\nThe Firebird preens her feathers.\n\n> You put the greens in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You put the coin in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> You put the flicker sandwich in the bag\nThe baba yaga yawns. \"I think you would find that a rather boring and unproductive transformation.\"\n\nThe Firebird preens her feathers.\n\n> You put Firebird in the bag\nThe baba yaga chides you for your attempt. \"Do not try to put a living person in the bag. The experience would drive them to madness!\"\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> You put the hammer in the bag\n\"Certainly this weapon is powerful enough for your purposes,\" says the baba yaga, pulling the bag away from you.\n\nThe Firebird preens her feathers.\n\n> You take the feather\nHer sharp talons give you pause. Better to trap her in something that will protect you from them.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\n> You give the feather to you\n\"I'm sorry, I can't do that.\"\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\n> Go north\nYou can't go that way. You can leave by going east or west.\n\nThe Firebird preens her feathers.\n\n> Go east\n\"This is where we part company for now, young man.\"\nYou're astonished. \"But I thought you were going to show me who was stealing my father's golden apples!\"\n\"You'll figure that out. You don't need me tagging along. You'll\njust need your own good sense,\" she plucks out a long tail feather, \"and one of my feathers.\"\n\"Is it magical?\" you ask as you examine it. It gives off a\npleasant orange glow.\n\"Hardly. But it is luminescent. Never poo-poo the practicality of\na light source.\"\nYou skeptically look first at the feather, then at the Firebird. \"I have no idea what I'm going off to find, you know,\" you protest.\n\"I know.\" The Firebird smiles at you with great confidence. \"We'll meet up again later. Until then, have faith in yourself and in those who offer help along the way.\" She gives you a peck on the cheek and takes flight out of sight.\n\nFor better or worse, you plunge into the deep, dark forest alone.\n\nThe forest primeval. A mulched path leads northeast. Return to the north-south path by walking west.\nYour feather illumines the face of the wizened old man sitting here. \"Ah, I imagine you now think you are ready to embark on a journey. You are going in the right direction, but all the same you will never reach your destination.\"\n\"Why not?\" you ask.\n\"Because,\" the old man answers, \"you must first pass three rivers.\nAt each river is a ferry, and the price each ferryman asks is a great one; the first will strike off your right hand, the second your left foot, and the third your head.\"\nYou gravely consider his words. \"A man can only die once,\" you\ndecide; you thank him and prepare to begin your journey to the northeast.\nThe old man stops you. \"You are brave and courteous and perhaps you will cross the three rivers. If you do, go on straight to the east until you reach a high mountain, on which you will find the four palaces of Katschei the wizard. If you are looking for something precious, it is very likely that he has stolen it.\"\n\n*** Your score just went up by 3 points. ***\n\n> You examine the list\nTHINGS TO TAKE:\n\n( ) a matchbook\n(x) a coin\n\nGlancing over the list, you see you still need to pick up 1 thing.\n\n> You look at the fellow\nDimitri is your eldest brother but that does not mean that he is wiser or more experienced than you. Perhaps there is some wisdom to his world-view, but it would take much enlightenment on your part to see it.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\n> You go to the north\nsouth with an inn to the north.\n\nThe Firebird follows you.\n\n> You go north\nand Pig. How it ever got the name no one really knows, because they serve no cheese products and no pork products. It's just vodka and manly conversation. To the south is the way back to the encampment. You see a refuse pile here.\nA groom is here tending one of your horses.\n\nThe Firebird follows you.\n\nPeasants parade in and out of the tavern.\n\n> You ask the groom about the horse\nThe groom opens his mouth to reveal he has no tongue. Oh yes, you recall, he was the one who spoke so impertinently to your father last month.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\nPeasants parade in and out of the tavern.\n\n> Point at tavern\nWhat do you want to aim?\n\n> You ask the groom about matchbook\nThe groom opens his mouth to reveal he has no tongue. Oh yes, you recall, he was the one who spoke so impertinently to your father last month.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nPeasants parade in and out of the tavern. Another two peasants approach the tavern, the one regaling the other with an anecdote: \"A peasant bought a quart of wine, drank it, and felt no effects. He bought a pint, and still he was not drunk. He drank a half-pint and became drunk. Then he began to feel sorry for himself: 'Why did I buy the quart and the pint? I should have bought the half-pint to begin with. That would have done the job!'\" The other nearly chokes on a swig from his flask as he tries to control his amusement. He deposits the flask onto the refuse pile and joins his brother in the tavern.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a gold nugget, a list, a corned beef sandwich, a flicker sandwich, a coin, a bunch of turnip greens, and a white flask. The quiver seems to contain an arrow.\n\nThe Firebird preens her feathers.\n\nPeasants parade in and out of the tavern.\n\n> You get the flask\nTaken.\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\nPeasants parade in and out of the tavern.\n\n> You check your inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, an ambiguous utensil, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a gold nugget, a list, a corned beef sandwich, a flicker sandwich, a coin, a bunch of turnip greens, a white flask, and a black flask. The quiver seems to contain an arrow.\n\nThe Firebird notes with disgust that she has a chip in her talon polish.\n\nPeasants parade in and out of the tavern. A solitary man emerges from the tavern. He lights his pipe, tosses a matchbook onto the refuse pile, and disappears behind the tavern.\n\n> You get the matchbook\nTaken.\n\nThe Firebird is whistling the greatest hits of Stravinsky.\n\nPeasants parade in and out of the tavern.\n\n> You examine the black flask\nThe flask seems to have passed through many hands. On its grimy label are written the words \"l'eau de mort,\" which you translate as \"the water of death.\" Like its sister flask, it warns you that it is for external use only.\n\nThe Firebird preens her feathers.\n\nPeasants parade in and out of the tavern.\n\n> You look at list\nTHINGS TO TAKE:\n\n(x) a matchbook\n(x) a coin\n\nIt looks like you're done!\n\nThe Firebird buffs her polished talons with the tip of her wing feathers.\n\nPeasants parade in and out of the tavern.\n\n> You go to the east\nYou can't go that way. The old man redirects you. \"Go west or northeast,\" he says.\n\n> Go northeast\nYou make your way ahead on a path to adventure.\n\nBefore you go any further, you consider saying a prayer to preserve your salvation against the perils ahead.\n\n> You look at the man\nHe's a big, menacing cyclops.\n\n> You ask the man about the boat\n\"You want to ride, you pay the fare. That's all we need to talk about,\" says the ferryman through a grimace.\n\n> Pay fare\nBy the ferryman's code of conduct, he should have to ferry you across the river before demanding any payment.\n\n> You enter the boat\nYou demand that the ferryman take you across the river.\n\"Will you pay me my price?\" asks the huge ferryman.\n\"Time enough to talk of price when you have done me your service,\"\nyou reply.\n\nThe ferryman pushes off from shore with his giant stick. He gives you a disgusted look as he makes powerful movements that set the ferry gliding across the river.\n\n> Swim\nWhat do you want to swim?\n\n> In water\nWhich water do you mean, the water of life, or the water of death?\n\n> Swim river\nThe ferryman blocks you before you can dive into the river. \"Oh, no you don't, bub,\" he growls. \"Union rules say you have to use the ferry. And if you think I'M unpleasant, you should see my union boss!\"\n\nYou ignore the ferryman's menacing glance as you gaze out at the river and plan a strategy for when you land. You notice that the ferryman keeps glancing at the coin you're carrying. He seems to be fascinated by it.\n\n> You examine the coin\nIt's a small denomination copper coin. Your dad's chin juts forward proudly in profile. He looked just like that the other day when he was signing execution orders for a few dozen thieves. Your dad really approaches his job with gusto, you must give him that!\n\nThe ferryman brings the boat up to a dock on the other side of the river. You both disembark from the craft, and he demands payment.\nYour Plan A (escape) seems to have been foiled: the ferryman's vigilant eye monitors your every move.\nYou ask nonchalantly, \"What is there to pay?\"\n\"Stretch forth your right hand,\" growls the ferryman as he draws his sword.\n\nYou're on the east side of the first river. To the east is further adventure.\n\n> You show the coin to the man\nYou show the coin to the ferryman, who salivates at the sight of it. \"You wouldn't be willing to part with that, would you?\" he asks.\n\n> You put the coin in the hand\nWhich hand do you mean, your right hand, or your left hand?\n\n> You go north\nYou can't go that way. A path leads east; the river lies to the west.\n\n> Go east\nThe ferryman spies you with his one eye. You're not going anywhere until you pay your fare.\n\n> You give the right hand to man\nThe ferryman raises his sword and very happily brings it down upon your right hand. He picks up the hand and eats it with relish.\n\n> You give the coin to the ferryman\nYou offer the coin to the ferryman, who greedily takes it for his own close inspection. He's hypnotized by the copper in the thing and appears to be distracted for now.\n\n> You attack the man with the sword\nYou whip out your own blade and smote the ferryman with a blow that cleaves through the copper plates of his armor. He topples to the ground at your feet.\n\n*** Your score just went up by 3 points. ***\n\n> You look at man\nHe's a dead man, taking up gigantic amounts of horizontal rather than vertical space. He may still be carrying some of your stuff.\n\n> You go east\nYou make your way ahead on a path to adventure.\n\nYou've reached the second of three rivers. A large ferry is tied to\na rickety dock. The path back to the first river is to the west.\nHere is a second ferryman, lying in wait for his next fare. Even\nmore gigantic than the first man, he is armed with an even larger sword. His silver armor protects him as he stares you down with two big eyes.\n\n> Go east\nFerrymen's Union rules dictate that you use the ferry to take you across the river.\n\n> You ask the man about the ferry\n\"You want to ride, you pay the fare. That's all we need to talk about,\" says the ferryman through a grimace.\n\n> You go north\nYou can't go that way. Travel either by walking west or getting on the ferry.\n\n> You enter the ferry\nYou demand that the ferryman take you across the river.\n\"Will you pay me my price?\" asks the huge ferryman.\n\"Time enough to talk of price when you have done me your service,\"\nyou reply.\n\nThe ferryman pushes off from shore with his giant stick. He gives you a disgusted look as he makes powerful movements that set the ferry gliding across the river.\n\n> Wait\nTime passes...\n\nYou ignore the ferryman's menacing glance as you gaze out at the river and plan a strategy for when you land. You notice that the ferryman keeps glancing at the ambiguous utensil you're carrying. He seems to be fascinated by it.\n\n> You wait\nTime passes...\n\nThe ferryman brings the boat up to a dock on the other side of the river. You both disembark from the craft, and he demands payment.\nYour Plan A (escape) seems to have been foiled: the ferryman's vigilant eyes monitor your every move.\nYou ask nonchalantly, \"What is there to pay?\"\n\"Stretch forth your left foot,\" growls the ferryman as he draws his sword.\n\nYou're on the east side of the second river. To the east is further adventure.\n\n> You give left FOOT to the man\nThe ferryman raises his sword and very happily brings it down upon your left foot. He picks it up and shouts, \"Just what I needed, a ruler! Get it? ONE FOOT!\" Just what YOU need right now, a punster.\n\n> You show the fork to the man\n\"Who wants that?\" The ferryman points to the ambiguous utensil instead. \"Now that is something worth looking at!\"\n\n> You show the utensil to the man\nYou show the ambiguous utensil to the ferryman, who salivates at the sight of it. \"You wouldn't be willing to part with that, would you?\" he asks.\n\n> You give the utensil to man\nYou offer the ambiguous utensil to the ferryman, who greedily takes it for his own close inspection. He's hypnotized by the silver in the thing and appears to be distracted for now.\n\n> You attack man\nWhat do you want to attack him with?\n\n> Sword\nThe ferryman easily deflects your blow, just missing your left foot in the process. If only you could distract that one roving eye...\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a gold nugget, a list, a corned beef sandwich, a flicker sandwich, a bunch of turnip greens, a white flask, a black flask, a matchbook, a feather (providing light), and a coin. The quiver seems to contain an arrow.\n\n> You give the coin to the man\nTaking advantage of the ferryman's distraction, you pass the coin to him, whispering soothingly, \"This has silver on it too.\" Mesmerized, the ferryman seizes the coin and searches for signs of silver anywhere on the thing. You seem to have succeeded in distracting another of the ferryman's eyes.\n\n> Sword\nYou whip out your own blade and smote the ferryman with a blow that cleaves through the silver plates of his armor. He topples to the ground at your feet.\n\n*** Your score just went up by 3 points. ***\n\n> You search man\nYou thoroughly search the dead ferryman and reclaim an ambiguous utensil and a coin.\n\n> Go east\nYou make your way ahead on a path to adventure.\n\nYou've reached the third of three rivers. A huge ferry is tied to a rickety dock. The path back to the second river is to the west.\nA third ferryman is here, a wild man, as tall as a giant and as\nthick as a haystack, with a shield, helmet, and breastplate all of gold, and with an oak club in his hand. Behind the wisps of thinning hair on his forehead, you glimpse a third eye, which is most certainly focused right on you.\n\n> You examine man\nHe's an immense, club-wielding triclops!\n\n> You enter the ferry\nYou demand that the ferryman take you across the river.\n\"Will you pay me my price?\" asks the huge ferryman.\n\"Time enough to talk of price when you have done me your service,\"\nyou reply.\n\nThe ferryman pushes off from shore with his giant stick. He gives you a disgusted look as he makes powerful movements that set the ferry gliding across the river.\n\n> You wait\nTime passes...\n\nYou ignore the ferryman's menacing glance as you gaze out at the river and plan a strategy for when you land. You notice that the ferryman keeps glancing at the gold nugget you're carrying. He seems to be fascinated by it.\n\n> You show the nugget to the man\nYou really should let him ferry you across the river before you give him anything.\n\nThe ferryman brings the boat up to a dock on the other side of the river. You both disembark from the craft, and he demands payment.\nYour Plan A (escape) seems to have been foiled: the ferryman's vigilant eyes monitor your every move.\nYou ask nonchalantly, \"What is there to pay?\"\n\"Stretch forth your neck,\" growls the ferryman as he brandishes his\noak club.\n\nYou're on the east side of the third river. To the east is further adventure.\n\n> You show the nugget to the man\nYou show the gold nugget to the ferryman, who salivates at the sight of it. \"You wouldn't be willing to part with that, would you?\" he asks.\n\n> You give the nugget to man\nYou offer the gold nugget to the ferryman, who greedily takes it for his own close inspection. He's hypnotized by the gold in the thing and appears to be distracted for now.\n\n> You give the utensil to the man\nTaking advantage of the ferryman's distraction, you pass the ambiguous utensil to him, whispering soothingly, \"This has gold on it too.\" Mesmerized, the ferryman seizes the ambiguous utensil and searches for signs of gold anywhere on the thing. You seem to have succeeded in distracting another of the ferryman's eyes.\n\n> You give the coin to the man\nTaking advantage of the ferryman's distraction, you pass the coin to him, whispering soothingly, \"This has gold on it too.\" Mesmerized, the ferryman seizes the coin and searches for signs of gold anywhere on the thing. You seem to have succeeded in distracting another of the ferryman's eyes.\n\n> You attack the man with the sword\nYou whip out your own blade and smote the ferryman with a blow that cleaves through the gold plates of his armor. He topples to the ground at your feet.\n\n*** Your score just went up by 3 points. ***\n\n> You search man\nYou thoroughly search the dead ferryman and reclaim a gold nugget, an ambiguous utensil, and a coin."
    },
    {
        "text": "[Themes: Fantasy, maze, bear, Russia, fantasy, Mythology, male protagonist]\n\n> You look around\nYou're on the east side of the third river. To the east is further adventure.\nA dead ferryman is here.\n\n> Go east\nYou are beyond the three rivers. To the east is further adventure;\nto the west is the bank of the third river.\n\n> You go to the east\nYou've left the forest and rivers behind you to the west. The wilderness of the Russian steppe spreads out in all directions ahead of you. White winter wheat waves gracefully as the wind sweeps over the open land. A dirt road wends its way from east to west. At the east end of the road you see a mountain.\nYour eyes discern a faint animal trail to the north.\n\nYou feel a sharp prick in your back and turn to find your brother Vasilii armed to the teeth with kitchen knives and ready to attack.\nYou unsuccessfully try to hide the Firebird's feather. \"That's it! I just knew that the Firebird was with you. Where is she? Where is she hiding?\" The tip of a knife blade grazes one of your ribs. \"No matter. I'll have time to look for her after I've finished with you. The tsardom is going to be mine, Ivan -- over your dead body!\" He laughs wildly. \"Get ready to taste cold kitchen cutlery, brother mine!\"\n\n> You go to the north\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, east, and northeast. [3]\n\nYou attempt to escape from your murderous brother. He stays right on your heels.\n\n> Note 3\n[3]: Getting lost? I don't see why. You read trails quite well.\n\n> You read the trail\nYou study the trail for a moment. It says, \"Always take the trails in a northerly direction to find the ocean, a southerly direction to find the steppe. If you find yourself in a place where the air smells salty and the only exit is southeast, go se, s, e, n, and nw to find the ocean. If you're in a salty-smelling place and the only exit is southwest, go sw, s, w, n, nw to find the ocean.\" Yes, you read trails VERY well.\n\n> You hit the brother with the sledgehammer\n\"Boy, this sledgehammer is unwieldy,\" you think. \"You would have to be a maniac not to notice how heavy and clumsy it is.\" You lay it aside before Vasilii can see how unsuccessfully you use this weapon. Vasilii raises a butcher knife. You raise your shield and deflect the blow. The butcher's knife is loosed from his hand and disappears.Vasilii takes an experimental jab at you with a large kitchen knife.\n\n> You attack the vasili with the hammer\n\"Boy, this sledgehammer is unwieldy,\" you think. \"You would have to be a maniac not to notice how heavy and clumsy it is.\" You lay it aside before Vasilii can see how unsuccessfully you use this weapon. Vasilii raises a butcher knife. You raise your shield and deflect the blow. The butcher's knife is loosed from his hand and disappears.Emboldened by your lack of response, Vasilii lunges at you with his knife, and skewers you through the heart.\n\nDead, Dead, Dead\n\n*** Having died, you have lost your place in the royal succession. ***\n\nVasilii doesn't dance for long. He soon sets to searching through your belongings, taking every weapon and every scrap of food you have. He takes your mysteriously transformed fork and puts it in the road leading to the mountain. The fork sizzles and sparks, then explodes into a shimmering doorway. Vasilii passes through the doorway and emerges through an identical door that has appeared just outside of the forest. Using the Firebird's feather to light his way, he plunges into the forest to hunt her down.\n\n> You wait\nGood move. In fact, your only move, since you're dead.\n\nVasilii dashes through the forest, headed for the great stone wall where he last saw the Firebird.\n\n> You wait awhile\nGood move. In fact, your only move, since you're dead.\n\nVasilii finds the hole you dug under the wall and scrambles through it to the other side.\n\n> Wait\nGood move. In fact, your only move, since you're dead.\n\nVasilii stops for a moment by the pond and makes a picnic lunch out of the food he stole from you.\n\n> You wait awhile\nGood move. In fact, your only move, since you're dead.\n\nVasilii explores the orchard. He speedily climbs a tree, snatches as many fruit nuggets as he can find, and clambers up into the Firebird's nest.\n\n> Wait\nGood move. In fact, your only move, since you're dead.\n\nThe Firebird's nest does not support Vasilii's weight. He crashes to the ground, bringing the nest down with him. He is lucky to sustain only a sprained ankle.\n\n> Wait\nGood move. In fact, your only move, since you're dead.\n\nVasilii limps back out of the orchard and through the tunnel. He is headed out of the forest to the north.\n\n> You wait for a while\nGood move. In fact, your only move, since you're dead.\n\nVasilii arrives at the encampment. The allergist tends to Vasilii's injuries as best as he can. Vasilii cannot capture Dimitri's attention long enough to tell him that you are dead.\n\n> You wait for a while\nGood move. In fact, your only move, since you're dead.\n\nVasilii is back in the forest again, moving a bit slower, but still alert to signs of the Firebird.\n\n> Wait\nGood move. In fact, your only move, since you're dead.\n\nVasilii spies the Firebird in a tree. He flushes her out and slaughters her.\n\nVasilii drags the Firebird back to your father, demanding the tsardom as his own. When your father learns that Vasilii killed you and used what you had accomplished to claim the Firebird for himself, he refuses to grant Vasilii his tsardom and sends your brother back into servitude with the caterer. Disgruntled and bitter, your brother trains an army of food-service workers as soldiers and uses them as cannon fodder in a successful overthrow of the tsardom.\n\nIn a total of 385 turns, you have achieved a score of 27 points out of a possible 72.\n\nUnless you really liked the ending of \"Hamlet,\" this is not a satisfactory finale: You're dead, the Firebird's dead, your father's dead, your brother reigns after a violent overthrow of the tsardom. Here's a hint: don't give your brother a reason to kill you. Don't give him anything, don't be the first one to strike a blow, and keep moving until he calms down.\nAlternatively, you could just kill Vasilii. What bright future do\nyou expect for him anyway?\n\n(If you should find yourself dead again, RESTORE, RESTART, UNDO, and QUIT are available to you in the afterlife.)  In the Wilderness\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, east, and northeast. [3]\nYour brother Vasilii is here, ready to make mince meat of you.\n\n> Note 3\n[3]: Getting lost? I don't see why. You read trails quite well.\n\n> You look at what you're carrying with you\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a list, a corned beef sandwich, a flicker sandwich, a bunch of turnip greens, a white flask, a black flask, a matchbook, a feather (providing light), a gold nugget, an ambiguous utensil, and a coin. The quiver seems to contain an arrow. Emboldened by your lack of response, Vasilii lunges at you with his knife, and skewers you through the heart.\n\nDead, Dead, Dead\n\n*** Having died, you have lost your place in the royal succession. ***\n\nVasilii doesn't dance for long. He soon sets to searching through your belongings, taking every weapon and every scrap of food you have. He takes your mysteriously transformed fork and puts it in the road leading to the mountain. The fork sizzles and sparks, then explodes into a shimmering doorway. Vasilii passes through the doorway and emerges through an identical door that has appeared just outside of the forest. Using the Firebird's feather to light his way, he plunges into the forest to hunt her down.\n\n> Go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, east, southeast and southwest. [3]\n\nYou attempt to escape from your murderous brother. He stays right on your heels.\n\n> You read the trails\nYou study the trail for a moment. It says, \"Always take the trails in a northerly direction to find the ocean, a southerly direction to find the steppe. If you find yourself in a place where the air smells salty and the only exit is southeast, go se, s, e, n, and nw to find the ocean. If you're in a salty-smelling place and the only exit is southwest, go sw, s, w, n, nw to find the ocean.\" Yes, you read trails VERY well.\n\n> You go south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, east, west, and northeast. [3]\n\nYou attempt to escape from your murderous brother. He stays right on your heels.\n\n> You go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, west, southwest, southeast, and northeast. [3]\n\nYou attempt to escape from your murderous brother. He stays right on your heels.\n\n> You go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, northeast, and southwest. [3]\n\nVasilii doesn't take his eyes off you. He keeps his hand close to his weaponry.\n\n> You go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, northwest, and southwest. [3]\n\nVasilii doesn't take his eyes off you. He keeps his hand close to his weaponry.\n\n> You go to the north\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, west, northwest, and southwest. [3]\n\nVasilii eyes you with suspicion and just a touch of confusion. \"Why has he led me on this long chase? Why doesn't he just attack?\"\n\n> You go northwest\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, northeast, and southeast. [3]\n\nVasilii eyes you with suspicion and just a touch of confusion. \"Why has he led me on this long chase? Why doesn't he just attack?\"\n\n> Go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. The trail leads southwest. It smells salty here. [3]\n\nYour brother has no idea what you're up to, but now that he's come this far, he's not going to miss your next step for anything.\n\n> Go southwest\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, northeast, and southeast. [3]\n\nYour brother has no idea what you're up to, but now that he's come this far, he's not going to miss your next step for anything.\n\n> Go south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, and southeast.\n[3]\n\nYour brother confesses that he has misjudged you. You are obviously more capable. His adventure never got him out of the forest at all.\nHe disposes of his collection of knives and resolves to follow you as an ally and brother.\n\n> You go west\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, east, west, and southeast. [3]\n\nYour brother Vasilii follows you.\n\n> You go to the north\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south and northwest. [3]\n\nYour brother Vasilii follows you.\n\n> You go northwest\nWaves crash on the beach. The surf rolls over your feet. A short distance offshore to the north you see an island. A trail back into the wilderness is to the southeast.\nYou see a pike here.\n\nYour brother Vasilii follows you.\n\n> You examine the pike\nYou often say that you'd rather impale yourself on a pike than be forced to do any of a number of disagreeable things. What you have here is not that kind of pike. Instead, it's a rather dull, squishy fish, not a sharp, pointed stick. Its little gills and mouth are vainly struggling to extract some oxygen from the air.\n\n> You put the pike in the ocean\nYou throw the pike back into the water. The wealth of oceanic soluble oxygen revives the poor thing. It leaps out of the water in a display of piscine gratitude and swims off into deeper waters.\n\n*** Your score just went up by 3 points. ***\n\n> You go to the north\nYou plunge into the ocean. The salt water stings your eyes and grains of sand rub your skin raw. A wave twice your height and three times your strength crashes into you and sends you right back to shore."
    },
    {
        "text": "> You look around\nWaves crash on the beach. The surf rolls over your feet. A short distance offshore to the north you see an island. A trail back into the wilderness is to the southeast.\nYour brother Vasilii is here.\n\n> You look at the island\nAll you can see of the island from here are rocks and trees.\n\n> You dig the beach\n(with the shovel)\nI don't see any beach here.\n\n> You dig the sand\n(with the shovel)\nI don't know the word \"sand\".\n\n> You talk to the vasili\nWhat do you want to ask him about?\n\n> Firebird\n\"I had only a single glimpse of it,\" Vasilii reported. \"There's a huge wall deep in the forest. I saw the Firebird fly over the wall, but I couldn't find a way to get over it myself. The Firebird is not very large, no bigger than a peacock, but you're sure to spot it by its glowing golden plumage.\"\n\n> You examine the matchbook\nAn ordinary imprinted book of matches. The matchbook contains 7 matches.\n\n> You read it\nThe cover reads \"The Cheese and Pig: Sobriety is Overrated...\"\n\n> Go south\nNothing's happening there. Either go north toward the island or southeast back into the wilderness.\n\n> You go southeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, northeast, and northwest. [3]\n\nYour brother Vasilii follows you.\n\n> Go south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, northeast, and southwest. [3]\n\nYour brother Vasilii follows you.\n\n> Go south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, west, and northwest. [3]\n\nYour brother Vasilii follows you.\n\n> Go south\nYou've left the forest and rivers behind you to the west. The wilderness of the Russian steppe spreads out in all directions ahead of you. White winter wheat waves gracefully as the wind sweeps over the open land. A dirt road wends its way from east to west. At the east end of the road you see a mountain.\nYour eyes discern a faint animal trail to the north.\n\nYour brother Vasilii follows you.\n\n> You go to the east\nThe east-west road ends at the base of the mountain. It is so high that its top is propped against the sky. You can scarcely lift your eyes to its summit. You can travel around the base by walking to the northeast or the southeast.\n\nYour brother Vasilii follows you.\n\n> You go northeast\nYou think back to the stone wall. Immense? Ha! Nothing like this. You decide to turn back before you are totally lost.\n\n> Go southeast\nThis is one huge mountain. Travel here is restricted to the\nnortheast or northwest. You notice a large, flat, rusty patch of rock that stands out from the rest of the mountain.\n\nYour brother Vasilii follows you.\n\n> You look at the rock\nIt's not a rock at all. It's a door made out of rusted iron. It looks as if it hasn't been touched in centuries. It's closed.\n\n> You open the door\nOpened.\n\n> Go inside\nThis is a small cave with little of interest. It is damp, rocky,\nand littered with debris. The only exit is back out through the door.\n\nYour brother Vasilii follows you.\n\n> Dig\n(the debris)\n(with the shovel)\nMoving some of the debris reveals an iron claw.\n\n> You examine the claw\nIt's a sort of iron crampon with leather straps. It can be worn on one of your hands or feet.\n\n> You get the claw\nYou already have the iron claw!\n\n> Dig\n(the debris)\n(with the shovel)\nMoving some of the debris reveals a second iron claw.\n\n> Dig\n(the debris)\n(with the shovel)\nMoving some of the debris reveals a third iron claw.\n\n> Dig\n(the debris)\n(with the shovel)\nMoving some of the debris reveals a fourth iron claw.\n\n*** Your score just went up by 3 points. ***\n\n> Dig\n(the debris)\n(with the shovel)\nMoving the rest of the debris yields nothing more.\n\n> Go south\nYou can't go that way. You can leave by going out.\n\n> Wear claws\niron claw: You bind the iron claw to your right foot.\niron claw: You bind the iron claw to your left foot.\niron claw: You bind the iron claw to your left hand.\niron claw: You bind the iron claw to your right hand.\n\n> Up\nThis is not a good vantage point from which to start a climb. Perhaps northwest of here would be better.\n\n> Go northwest\nYou trip over your clawed feet and tumble to the ground for the fifth time today.\n\n> You remove the claws\niron claw: You remove the iron claw from your right hand.\niron claw: You remove the iron claw from your left hand.\niron claw: You remove the iron claw from your left foot.\niron claw: You remove the iron claw from your right foot.\n\n> Go northwest\nThe east-west road ends at the base of the mountain. It is so high that its top is propped against the sky. You can scarcely lift your eyes to its summit. You can travel around the base by walking to the northeast or the southeast.\n\nYour brother Vasilii follows you.\n\n> Up\nVasilii looks up at the mountain. \"I don't think so. I'll just wait here.\"\n\nSlowly and carefully you claw your way up the mountain. You clamber at last onto a ledge.\n\nA tremendous palace has been built on this ledge. You may continue\nup the mountain or explore this architectural oddity just north of where you're resting.\n\n> You go north\nOf what is this palace built? Its mottled green exterior makes a ringing sound when you strike it. There are no windows and only one door.\n\n> You examine the door\nWhere is the handle? Where is the keyhole? You see neither, only a mail slot in the middle of the door and a curious round device a few feet above the slot.\n\n> You look at the device\nA blue glass dome a few inches in diameter. It seems to be mounted to the door by a casing that surrounds it and is screwed into a socket in the door.\n\n> You unscrew the dome\nYou give a slight turn to the casing. At once a blinding blue light floods your body. You feel every last piece of you begin to vibrate and shake loose from the adjacent piece. You quickly lose consciousness. When you come to yourself again, you find you are back at the road to the Cheese and Pig Inn. It seems as if you were disassembled down to your elemental constituents and reassembled here. Something seems to have gone wrong with the process, however, because you are now missing your right hand.\n\nsouth with an inn to the north.\n\n> Inventory\nYou have a bow, a quiver, a mask (being worn), a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a list, a corned beef sandwich, a flicker sandwich, a bunch of turnip greens, a white flask, a black flask, a matchbook, a feather (providing light), a gold nugget, an ambiguous utensil, a coin, and four iron claws. The quiver seems to contain an arrow.\n\n> You put the greens in the slot\nThe slot spits the bunch of turnip greens back out at you. Ptuui!\n\n> You put the feather in the slot\nThe slot spits the feather back out at you. Ptuui!\n\n> You put the coin in the slot\nThe coin drops into the slot. A flickering blue glow issues from the glass dome. The glow soon strengthens to a blinding azure beam that floods your body. You feel every bit of your being vibrate and shake loose from its adjacent piece. You quickly lose consciousness. When you come to yourself again, you find you have been transported into...\n\nYou are in the great hall, a high-ceilinged space that some might\nuse for feasting and celebrating; however, the wizard Katschei has chosen instead to use it for hoarding a store of treasure. Copper cooking vessels and bags of copper coins are heaped everywhere. Some of the pots have been polished clean; the rest are a tarnished green. You notice movement among the piles of copper vessels. As you\nprepare to draw a weapon and confront Katschei, you are surprised to find that it is instead a bird in camouflage. But not entirely a bird. Instead of wings, the creature has the arms of a woman. She is hard at work using her human arms and hands to polish the tarnished copper.\nWhy don't you try to catch her attention by saying \"bird, hello\"*** Your score just went up by 3 points. ***\n\n> You examine the bird\nA large creature just short of your height. It is birdlike, with coppery feathers, but it has graceful female arms where wings would be.\n\n> Hello\nThe bird appears intrigued by the mask's face and studies Dimitri sympathetically (a unique reaction in your experience). You see that she is timid, however, and will not answer you as long as she cannot tell who you really are. You take off the mask.\n\"Hello, sir,\" she replies demurely, \"you are not my master the\nwizard.\" You introduce yourself politely and tell her that you are looking for her master. \"He is not here today,\" she whispers and goes back to her work. You sense that she would like to tell you more, but her shyness keeps her silent. There are so many things you want to ask her about: her imprisonment, her work, the Firebird, the wizard Katschei [4], but you will have to draw her out in conversation to learn more.\n\n> Note 4\n[4]: Engage her in further conversation by asking her questions in the form \"ask bird about ...\"\n\n> You ask the bird about Firebird\n\"The Firebird brings me more copper to polish.\" She hands you a small copper pot. \"She said that, if you ever came to visit me, I should give you this.\"\n\n> You examine the pot\nA censer, also known as a thurible, is a squat domed vessel used for burning incense. You remember the priest swinging a censer towards the altar during the liturgy, using the smoke as a visual metaphor for prayer: both rise heavenward to God. Its copper clad exterior is newly polished. There are decorative holes cut in the metal to let the smoke escape. The inside of the pot is sooty and fragrant from previous burnings.\nUsually there is a chain attached to a censer, but this one has\nnone.\n\nThe coppery bird overcomes her shyness momentarily to tell you, unprompted, of her history: \"I am a tsar's daughter. On the day I was to be wed, a terrible black cloud descended down from this mountain. Katschei stepped out of the cloud and demanded that my father give me to him. When my father refused, Katschei slew him, all my kinsmen, and the groom. No attack seemed to hurt him at all. Katschei swept me away in the cloud and brought me to a palace made entirely of pearl. I stayed there a week, and he was there all the while.\" She trembled as she remembered it. \"At the end of the week, he said that I was not worthy to stay with him in the pearl palace. He brought me to this place, imprisoned me in this horrible form, and put me to work as his servant. He comes to visit me one day every year and punishes me if I haven't polished enough pieces.\"\n\nYour continued presence is making the coppery bird nervous. \"I appreciate your company,\" she says, \"but I should not be distracted from my work. The Firebird says you may be able to free me from this captivity. Please go on your way, sir, and do your best.\" She starts to push you back outside through the mail slot. Before you can protest that you are much too large to fit, your regal butt is tumbling to the ground on the other side of the door."
    },
    {
        "text": "> Look around\nA tremendous palace has been built on this ledge. You may continue\nup the mountain or explore this architectural oddity just north of where you're resting.\nYou see a bunch of turnip greens and a feather (providing light)\nhere.\n\n> You get all\nbunch of turnip greens: Taken.\nfeather: Taken.\n\n> Up\nA tremendous palace has been built on this ledge. You may continue\nup the mountain or explore this architectural oddity just north of where you're resting.\n\n> You remove the claws\niron claw: You remove the iron claw from your right hand.\niron claw: You remove the iron claw from your left hand.\niron claw: You remove the iron claw from your left foot.\niron claw: You remove the iron claw from your right foot.\n\n> You look at the palace\nAnother puzzling palace. Windowless, a single door. You perceive a metallic glow beneath the sooty gray exterior.\n\n> Clean palace\nYou clean a bit of the palace with your spit and the edge of your garment. Hmm, very little of this appears to be dirt; it's mostly black tarnish.\n\n> You put the utensil in the slot\nThe ambiguous utensil drops into the slot. A flickering blue glow issues from the glass dome. The glow soon strengthens to a blinding azure beam that floods your body. You feel every bit of your being vibrate and shake loose from its adjacent piece. You quickly lose consciousness. When you come to yourself again, you find you have been transported into...\n\nYou have been transported to the counting house of the palace. Bags\nof coins and boxes of silver eating utensils are stacked neatly over all the available floor space.\nSitting atop a high stool is a bird with silver feathers. At first\nyou think that the bird is sitting on a woman, but upon closer inspection you see that the woman's bare legs and feet belong to the bird. With one foot, the bird is picking up loose coins and utensils with her toes and placing them in boxes or bags. The other foot is keeping count of the treasure on a large abacus.\n\"State your business!\" the bird demands, never once taking her eyes off her work.\n\"I am Ivan, the son of a tsar. I have come to find Katschei the wizard, because he has wronged my father.\"\n\"Join the club, hon!\" she snorts. \"Katschei wronged my father's\nwhole tsardom into oblivion on the day he captured me.\" She continues her counting. You are hypnotized by her nimble feet, and the two of you fall silent. You muse to yourself about her manner: \"She's gruff all right, but I don't sense any malice from her. An efficient woman of good will. Even that 'hon' sounds all right coming from her.\"\nShe looks up at you expectantly. Better pick up the conversational thread with a few questions. [5]\n\n*** Your score just went up by 3 points. ***\n\n> Note 5\n[5]: Try the conversational openers that were effective in the copper palace.\n\n> You ask bird about Katschei\n\"Don't fool around with Katschei if you can avoid it. The soldiers of my father's tsardom tried every weapon against him, and he came away from the battle completely unscathed. Wish I could say the same for my father's people.\"\n\n> You ask the bird about Firebird\n\"The Firebird supplies me with more inventory each week. Keep your hands off it, okay? Oh, she did say you could have this.\" She tosses you a length of silver chain.\n\n> You ask the bird about the work\n\"What you see is what I do! I count this stuff and keep the books!\"\n\nThe silvery bird is a little impatient for you to ask more about her, so she launches into her life story before you can even ask her: \"Katschei came down off this mountain one day and brought me back with him to a palace made of pearl. After staying with him a month there, he grew tired of me and locked me up in this place. He turned me into a bird, all except for my legs, and gave me this stupid job. Do I look like an accountant to you? And these feet were not meant for work like this. What a humiliation! Even worse, he visits once a month to check up on the books. He gives me grief if the ledgers aren't neat. How does he expect me to keep books writing with my feet?\" She makes an illegible mark in her records with a quill pen.\n\n\"Okay, enough already,\" the silver bird says as she alights from her stool. \"I gave you what the Firebird asked. Get going, hero. If you can get me out of here, great!\" She gives you a peck on the cheek and kicks you back out of the slot in the door and into the dirt outside the palace. How did she do that?\n\n> You examine the chain\nA length of silver chain about as long as your armspan.\n\n> You put the chain on the pot\nYou hook the chain to either side of the censer to make a little swing.\n\n> Swing pot\nYou enthusiastically swing the censer back and forth on the chain.\nNext time, for more specific effects, try swinging the censer towards a destination.\n\n> Wear claws\niron claw: You bind the iron claw to your right foot.\niron claw: You bind the iron claw to your left foot.\niron claw: You bind the iron claw to your left hand.\niron claw: You bind the iron claw to your right hand.\n\n> You examine the palace\nA gleaming palace made entirely of gold. Again, no windows. Only a door.\n\n> You put the nugget in slot\nThe gold nugget drops into the slot. A flickering blue glow issues from the glass dome. The glow soon strengthens to a blinding azure beam that floods your body. You feel every bit of your being vibrate and shake loose from its adjacent piece. You quickly lose consciousness. When you come to yourself again, you find you have been transported into...\n\nYou are in the library of the palace. Books with pages edged with\ngold leaf are standing spine-in on the shelves, creating a blaze of gold, row by row. The furniture, the candlelabras, the walls themselves, all of gold.\nThe Firebird suddenly swoops down into the room from a skylight high above you in this vaulted chamber. \"Well, my boy,\" she says as she settles down on a perch, \"you traveled swiftly and arrived here ahead of me. I trust you have met the two captive birds in the other palaces. I'm sure you have many questions for me: about my capture, about me, about Katschei...ask away.\"\n\n*** Your score just went up by 3 points. ***\n\n> You ask Firebird about the capture\n\"I was nursing you one day when you were only a few weeks old... \" Your eyes widen in surprise at this unexpected preface to her tale.\n\"A storm had blown up quickly, and a bolt of lightning struck the castle just outside the window to my bedchamber. I covered myself and you to protect you from the loud crash of thunder, and when I looked up, a dark gigantic figure was perched on the windowsill. It was Katschei. He had ridden that thunderbolt into my chamber. He seized me, and was about to jump out the window with both of us. I had only a moment to act, and in that moment I threw you out of his grasp and onto a pile of blankets on the bed. In an instant, he swept me away in a cloud. The last thing I heard were your cries and screams.\"\n\"Were you my wet nurse?\" you ask.\n\"No, I was...I am...your mother.\"\n\"But I was not a motherless child,\" you protest in confusion.\n\"To keep peace in the tsardom, your father brought in another woman\nto take my place in secret. But I am your mother. Truly.\" A tear forms in the corner of her eye. \"After Katschei had transformed me into a firebird, he made me his thief: I was sent to steal for him all the copper and silver and gold and pearl that nine times nine tsardoms possessed. I have been very busy all these years. As much as I could, I visited your father's garden, in hope that he would start sending you boys out to capture me. Dimitri was soon old enough to be given the task. But I wouldn't be found so easily by him, or by Vasilii. Although I love them, I wanted you to be the one to rescue me. Because so much has been taken from you, I wanted much to be given to you in return for your years of suffering.\"\n\n> Brood\nYou lose yourself momentarily in moody and morbid meditation.\n\n> You ask Firebird about Katschei\n\"There is no way to kill him by conventional means. His soul is not in his body. Where his soul is hidden is his closely held secret. I have never been able to find it out. He lives in the pearl palace, a place I am not allowed to visit anymore. If he has imprisoned a woman there, perhaps she has been able to find out his secret.\n\"It is imperative that you gain entry to the pearl palace. You must find a way to put the creature that guards the palace to sleep.\" She surveys your inventory. She says, \"Hmm. You seem to have everything you need to carry out the task, except for this most important component.\"\n\"Use these properly, and the serpent will soon be fast asleep. Make\na mistake, and yours will be the sleep of the dead.\" The Firebird hands you three bunches of fragrant medicinal herbs.\n\n> You ask Firebird about herbs\nYou won't glean much information asking the Firebird about the loose medicinal herbs.\n\nThe Firebird starts to usher you slowly out of the room. \"Those are all the answers I have for now, dear.\" She pushes you toward the slot in the door. \"Time for action, not reflection.\" You slide through the narrow slot and find yourself outside the golden palace.\n\n> You examine the herbs\nA supply of fragrant herbs. There are three bunches of herb.\n\n> Up\nFinally at the top of the mountain, you can look in all directions\nand see practically the whole world. The mountain top is flat and reaches out farther than you can see. A path leads into a thicket of trees to the east.\n\n> Go east\nYou're in a small stand of woods, following a path that branches to\nthe east.\n\n> Go east\nThe path is back to the west. Travel around the palace to the northeast or southeast. The palace and its barrier lie directly to the east.\nThe woods open out into a wide meadow. The breeze barely ruffles\nthe tips of the long grass. You are bathed in the luminous glow of the structure that sits at the center of the meadow: could the entire palace be built of pearl? Encircling the palace's foundation is the creature of which the Firebird spoke.\n\n> You put herbs in the censer\nYou put a bunch of herbs into the censer.\n\n> You examine palace\nHow could a palace be made entirely from pearls? How many pearls would have to be mortised together to create a standing structure of this height?\n\n> You examine the serpent\nIt is the body of a serpent. Its bulk creates a wall of scaly flesh the height of two tall men. With rhythmic expansions and contractions, you can see that the creature is alive and breathing.\n\n> You attack the serpent\nWhat do you want to attack it with?\n\n> Sword\nThe serpent's thick scales are impervious to your blows.\n\n> Swing censer at snake\nThere are somewhat more dramatic effects when smoke is coming out of the censer.\n\n> You climb snake\nYou attempt to climb over the vigilant serpent. He senses your touch and quickly begins to slither into position to attack. Before he can get very far you beat a quick retreat to a distant part of the meadow.\n\n> Light match\n(taking a match from the matchbook first)\nThe match starts burning brightly.\n\n> Burn herbs\nYou drop the match into the censer. Smoke from the burning herb begins to flow out of the censer's holes.\n\n> Swing censer at snake\nThe smoke cannot reach the serpent's head. Its tough hide is insensitive to the effects of the smoke.\n\nThe herb in the censer has burned itself out, and the smoke has dissipated.\n\n> Swing censer\nYou enthusiastically swing the censer back and forth on the chain.\nYour nonspecific efforts create a huge cloud of enveloping smoke. You can't help but breathe the smoking herbs; they have an incredibly sedative effect on your physiology. Next time, try swinging the censer towards a destination.\n\n> You go northeast\nTravel around the palace to the southeast or southwest. The palace\nand its barrier lie directly to the south.\n\n> Go south\nYou attempt to climb over the vigilant serpent. He senses your touch and quickly begins to slither into position to attack. Before he can get very far you beat a quick retreat to a distant part of the meadow.\n\n> You go to the southeast\nThe head of the serpent is in sight. Travel around the palace to\nthe northwest or southwest. The palace and its barrier lie directly to the west.\n\n> You examine the snake\nYou can see the head of a serpent: its unblinking eye following your distant movements, its mouth holding the tip of its tail. There is no place to enter the palace without climbing over the creature.\n\n> Light match\n(taking a match from the matchbook first)\nThe match starts burning brightly.\n\n> Burn herbs\nYou drop the match into the censer. Smoke from the burning herb begins to flow out of the censer's holes.\n\n> Swing censer at serpent\nThe smoke wafts over the meadow and envelops the serpent's head. His vigilant eye begins to waver, then close. His tail slips out of his gaping mouth, and he begins to drool a little. Looks like it's safe to climb over him.\n\n> Go west\nYou carefully climb over the sleeping giant.\n\nThe serpent is hugged tight against the walls of the palace. The\nonly places to go are either back over the serpent or go inside.\n\n*** Your score just went up by 3 points. ***\n\nThe herb in the censer has burned itself out, and the smoke has dissipated.\n\n> You examine palace\nHow could a palace be made entirely from pearls? How many pearls would have to be mortised together to create a standing structure of this height?\n\n> Enter\nThe walls, the ceiling, and nearly all the objects in the room are covered in row upon row of perfectly round, white pearls. It is a monochromatic, pixellated visual nightmare. The only architectural features that relieve the monotony are at the far end of the room: a door frame and doorknob covered in black pearls.\nThe room's single occupant takes you out of the nightmare and into a dream. A young woman is here, as beautiful to you as Venus emerging out of the ocean from an oyster. Out of the hundreds of thousands of pearls in this room, she is indeed the only one of great price. Her loveliness has made you speechless. She is also silent at first, studying you intently. \"I do not know who you are, sir, but you must be very clever and very brave to have made your way to my chamber.\nWhat is your name?\" she asks.\n\"Ivan,\" you almost whisper, still taking her in.\n\"I am Pearl,\" she laughs. \"That is the name Katschei gave me. I\ndon't know what my parents called me.\"\n\"Then Katschei brought you here when you were very young?\"\n\"As an infant, I imagine. I do not know a time when I was not\nhere.\"\n\"Then how do you know he is not your father?\"\n\"Because he has always boasted that he took me from a tsar and a tsarina. The only child they ever had, he says. He claims that he was a suitor to my mother, but she rejected him, so many years later he stole me to be raised as his bride.\"\n\"Did he raise you himself?\"\n\"Oh, no. There were many nurses and governesses and tutors here\nwhen I was a child. But as the days grow closer to our wedding, he has been guarding me very closely, and no one is here except him and his knights.\" She motions toward the door leading further into the palace. You both hear the gruff laughter of battle-toughened men. \"He raised me to be his ideal bride, but I think he did a very poor job. I cannot abide him.\"\nSeeing her gentleness you have no trouble believing this. You press\non to a more curious subject. \"Is Katschei a bird? Does he want a bird bride?\" You have only recently noticed her wings and lower body are that of a bird.\n\"This is a recent transfiguration. He placed me in this form to\nmake me undesirable to any man who might try to steal me from him.\" \"Once again, he did a poor job.\" She turns her eyes away modestly\nfrom you and your amorous words.\n\"If you do wish to spoil his wedding plans, I will tell you another\nof Katschei's failings.\"\n\"Please do tell me.\"\n\"He chose to confide in me the secret of his immortality and\nstrength.\"\n\"Is this the secret of where his soul is kept?\"\n\"Yes. How do you know so much already?\"\nYou tell her about the Firebird and the other two captive birds and what they have revealed to you.\n\"It is all true. His body is imperishable. His soul is in an egg,\na quite well-hidden egg. The egg is in a duck, and the duck is in a hare, and the hare nests in a great hollow log that floats in a pond in a forest of the island Bouyan. I wish I could tell you where to find the island, but I do not know that.\"\n\"Very curiously hidden. And say I retrieved the egg. Would simply breaking it destroy Katschei?\"\n\"Yes, but it must be broken in his sight. You must find the egg and return. Katschei is very likely to be here feasting with his knights. You may have to fight the knights to reach him, so be sure to come ready for battle.\"\n\"I will do as you say, as swiftly as I can.\"\n\"Please do be swift. The wedding is approaching very quickly.\" She shows you her wedding gown, which she is decorating very delicately with pearls. You wonder aloud how she can do it at all with those wings. \"With much difficulty,\" she answers with a smile.\nYou resolve aloud to return with the egg as soon as you can. In\nyour own thoughts you swear very solemnly not to let Katschei touch this unspoiled beauty.\n\n> Go east\nYou can only go out from here.\n\n> Go east\nYou climb back over the slumbering serpent and, in doing so, rouse him from his sleep."
    },
    {
        "text": "> Go down\n\"So, what happened up there?\" Vasilii asks. For a moment, you can think only of the wonderful Pearl, and your eyes glaze a bit. Then you notice your brother getting impatient, and you relate the news about Katschei, the egg, and the horde of knights with whom you will have to do battle.\n\"Battle, eh? Horde of knights, eh?\" Vasilii looks thoughtful.\n\"Sounds like you'll need help. Except I won't be much use right now -- I ditched all my kitchen knives... I know! There are some guys I worked with who'll be perfect! You'll see! I'll have them here by the time you get back with that egg!\"\nWith that, he sprints off and is gone before you can say another\nword. You wonder who he could possibly have in mind -- Vasilii never worked with any of your father's knights, and while Flo's sarcasm can be withering, you doubt she'd be much good in a fight.\n\n> You go west\nYou trip over your clawed feet and tumble to the ground for the sixth time today.\n\n> You go west\nYou've left the forest and rivers behind you to the west. The wilderness of the Russian steppe spreads out in all directions ahead of you. White winter wheat waves gracefully as the wind sweeps over the open land. A dirt road wends its way from east to west. At the east end of the road you see a mountain.\nYour eyes discern a faint animal trail to the north.\n\n> You go to the north\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, west, and northwest. [3]\n\n> Go northwest\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, west, southwest, southeast, and northeast. [3]\n\n> You go to the north-east\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, northeast, and southwest. [3]\n\n> You go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, northwest, and southwest. [3]\n\n> Go north\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, west, northwest, and southwest. [3]\n\n> Go northwest\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, northeast, and southeast. [3]\n\n> Go northeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. The trail leads southwest. It smells salty here. [3]\n\n> You read the trails\nYou study the trail for a moment. It says, \"Always take the trails in a northerly direction to find the ocean, a southerly direction to find the steppe. If you find yourself in a place where the air smells salty and the only exit is southeast, go se, s, e, n, and nw to find the ocean. If you're in a salty-smelling place and the only exit is southwest, go sw, s, w, n, nw to find the ocean.\" Yes, you read trails VERY well.\n\n> Go northwest\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south, northeast, and southeast. [3]\n\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, and southeast.\n[3]\n\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, east, west, and southeast. [3]\n\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south and northwest. [3]\n\nWaves crash on the beach. The surf rolls over your feet. A short distance offshore to the north you see an island. A trail back into the wilderness is to the southeast.\n\n> You go north\nYou plunge into the ocean. The salt water stings your eyes and grains of sand rub your skin raw. The discomfort barely registers on your consciousness as you swim straight toward the island. You let the waves wash you right onto the shore of...\n\nHere is a small, thickly forested island, perhaps the island Bouyan.\nA barrier of tall rocks impede your progress around the beach to the northeast and the northwest. To the south is the ocean. Explore the forest to the north.\n\n> Go north\nIt's another forest locale. Explore deeper into the forest to the north or find the ocean to the south.\nYou see a bear here.\nHis paw is caught underneath a fallen tree, and he is crying out in pain.\n\n> You examine the bear\nHe's furry and brown and HUGE!\n\n> You move the tree\nWhich tree do you mean, the fallen tree, or the forest?\n\n> You pull it\nPulling the fallen tree doesn't have any effect. In desperation, the bear gnaws off his paw. He takes his bloody stump of a paw and drags himself back into the dense forest.\n\n> You look at what you're carrying with you\nYou have a bow, a quiver, a mask, a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a list, a corned beef sandwich, a flicker sandwich, a white flask, a black flask, a matchbook, four iron claws, a censer, a bunch of turnip greens, a feather (providing light), a length of silver chain, and some medicinal herbs. The quiver seems to contain an arrow.\n\n> You cut the fallen tree with the sword\nYou take to the fallen tree with your sword, thinking to yourself, \"What a great sword! It cuts through anything.\" You hack at the rotting wood near the bear's paw, splitting the tree in two and freeing the bear. He shakes his paw out a bit to get the blood going. With a grateful grunt, he lumbers back into the forest.\n\n*** Your score just went up by 3 points. ***\n\n> Go north\nIt's another forest locale. Explore deeper into the forest to the north or find the ocean to the south.\nYou see an otter here.\nThe poor animal has somehow been stranded on dry land. His fur is matted and dry, and he weakly mews for food, water, and protection.\n\n> You look at the otter\nThere is nothing cuter than an otter. Nothing. Period.\n\n> You give the sandwich to the otter\nWhich sandwich do you mean, the corned beef sandwich, or the flicker sandwich?\n\n> Corned\nThe otter happily gulps down the corned beef sandwich. The meal strengthens him somewhat, but he is still not strong enough to return to his natural habitat himself.\n\n> You put the blanket on the otter\nThere's no good surface on the otter.\nThe otter has been without food and water for too long. He expires from dehydration.\n\n> You examine ocean\nIt's wet, it's salty, it's the ocean all right.\n\n> You put the bucket in the ocean\nThe bucket drifts out of sight on the next wave.\n\n> You get the otter\nYou can't bear to leave the little guy alone in his weakened condition. Gosh, he's cute. Taken.\n\n> You go north\nIt's another forest locale. Explore deeper into the forest to the north or find the ocean to the south.\nYou see a hawk here.\nThe hawk has flown into a thicket of vines and has become imprisoned\nin the tangle of foliage.\n\n> Sword\nYou think to yourself, \"I have faith in this sword, I really do.\" You begin your attack on the vines, but soon discover that as easily entangled as the hawk has become in the vines, your sword get tangled in the thicket as well. You extricate it before the thicket swallows it whole.\n\n> Inventory\nYou have a bow, a quiver, a mask, a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a list, a corned beef sandwich, a flicker sandwich, a white flask, a black flask, a matchbook, four iron claws, a censer, a bunch of turnip greens, a feather (providing light), a length of silver chain, some medicinal herbs, and an otter. The quiver seems to contain an arrow.\n\n> You pour the black flask on the vines\nYou sprinkle a bit of the water of death on the thicket. Nothing happens.\n\n> Light match\n(taking a match from the matchbook first)\nThe match starts burning brightly. The poor panicked bird has finally exhausted himself. He draws his wings close to his body and dies.\n\n> You untangle the vines\nYou set to work methodically, patiently removing the vines from around the hawk. You are somewhat surprised that the panicked hawk is allowing you to come so close to him. Sometimes you even must touch him to get at the vines. As you work, you notice that the bird has calmed. As the last vine is removed, the hawk bursts out of the thicket into flight. His thankful call is the last evidence of the hawk as he disappears into the skies.\n\n*** Your score just went up by 3 points. ***\n\n> You go to the north\nYou have come upon a pond nestled in a forest clearing. The air is still. The water makes no sound. The trees lining the pond are particularly large, their massive roots plunging into the pond at the water's edge. You can walk around the pond by going northeast or northwest.\nThe pond seems to contain a log.\n\n> You put the otter in the pond\nYou toss the otter into the pond. The poor otter jumps a foot out of the pond, lets out a shriek, and lands back in your arms. You test the water with your finger and find that the water is highly acidic. Just acidic, no, that's an understatement. It BURNS! Sorry, otter friend.\n\n> You pour the water of the life in the the pond\nThe water of life quickly sinks out of sight. Boy, this pond is deep!\n\nA drop of rain splatters on your arm, soon followed by another.\n\n> You look at the log\nIt's a large branchless section of tree trunk, about eight feet long.\n\nA drop of rain splatters on your arm, soon followed by another.\n\n> You go to the north-east\nThe pond is unremarkable here, but you see a break in the trees to\nthe northeast. Travel around the pond to the southwest or the northwest.\nThe pond seems to contain a log.\n\nIt is raining harder and harder. The level of the pond is beginning to rise.\n\n> You look at the log\nIt's a large branchless section of tree trunk, about eight feet long.\n\nIt is raining harder and harder. The level of the pond is beginning to rise.\n\n> You give the sandwich to the otter\nWhich sandwich do you mean, the corned beef sandwich, or the flicker sandwich?\n\n> Corned\nThe otter happily gulps down the corned beef sandwich. The meal strengthens him somewhat, but he is still not strong enough to return to his natural habitat himself.\n\nThe rain is coming down in buckets.\n\n> You touch the pond\nIt feels just like a pond.\n\nThe rain seems to be letting up.\n\n> You put the otter in the pond\nYou toss the otter into the pond. The poor otter jumps a foot out of the pond, lets out a shriek, and lands back in your arms. You test the water with your finger and find that the water is highly acidic. Just acidic, no, that's an understatement. It BURNS! Sorry, otter friend.\n\nThe rain seems to be letting up.\n\n> You put the otter in the bucket\nThe otter squirms away from you and spoils your aim. He lands at your feet.\n\nThe rain seems to be letting up.\n\n> You drop bucket\nDropped.\n\nThe rain is coming down in buckets.\n\n> You examine the bucket\nThere's nothing in the bucket.\n\nThe rain seems to be letting up.\n\n> You wait\nTime passes...\n\nThe storm is over as quickly as it came.\n\n> You give the turnip to the otter\nThe otter happily gulps down the bunch of turnip greens. The meal strengthens him somewhat, but he is still not strong enough to return to his natural habitat himself.\n\nThe rain is coming down in buckets.\n\n> Flicker\nThe otter happily gulps down the flicker sandwich. The meal strengthens him somewhat, but he is still not strong enough to return to his natural habitat himself.\n\nThe rain seems to be letting up.\n\n> You give the beef sandwich to the otter\nThe otter happily gulps down the corned beef sandwich. The meal strengthens him somewhat, but he is still not strong enough to return to his natural habitat himself.\n\nThe storm is over as quickly as it came.\n\n> You go to the north-west\nYou walk to the opposite side of the pond.\n\nthe pond. Travel around the pond to the southeast or the northeast.\nThe pond seems to contain a log.\n\n> You look at the tree\nWhich tree do you mean, the ancient tree, or the forest?\n\n> Ancient\nIt's a huge specimen with large low branches that extend out over the surface of the pond.\n\n> You climb it\nBy now well practiced in climbing trees, you easily scramble out toward the end of one of the low branches.\n\nYou are sitting on a branch that hangs over the pond. The log is floating right under the branch. You dangle your arm down and find that it brushes against your fingertips.\nThe pond seems to contain a log.\n\n> You examine log\nIt's a large branchless section of tree trunk, about eight feet long."
    },
    {
        "text": "> Go downward\nthe pond. Travel around the pond to the southeast or the northeast.\nThe pond seems to contain a log."
    },
    {
        "text": "> Go downwards\nthe pond. Travel around the pond to the southeast or the northeast.\nYou see a log here.\n\n> You look in the log\nIt's solid log. You can't see inside at all.\n\n> You cut the log with sword\nYou hack away at the log but cannot chip a piece of bark from it, even with your handy sharp sword. As you pause a moment to wipe the sweat from your brow, the bear you befriended earlier rushes out from the wood and tears the log to shreds with his great paws. Out of the log leaps a giant hare, dazed and a bit disoriented. He reels for a moment just within your grasp.\n\n> You get the hare\nYou reach out to grab the hare, but with a mighty kick of its back legs the hare escapes into the forest. You make a dash to follow it.\n\nIt's another forest locale. Explore deeper into the forest to the north or find the ocean to the south.\n\nIn your pursuit of the hare, you do not see a hunter's snare hidden in the grass. It trips you up, and you take a nasty fall. You come back in the next life as a small, vulnerable otter.\n\n> Go northeast\nYou walk to the opposite side of the pond.\n\nThe pond is unremarkable here, but you see a break in the trees to\nthe northeast. Travel around the pond to the southwest or the northwest.\nThe pond seems to contain a log.\n\n> Go northeast\nshore. The waves lap gently on the beach. All manner of marine life thrive in the pools the craggy rocks create.\nReturn to the pond by walking southwest back into the forest.\n\nYour little otter friend squirms impatiently in your arms.\n\n> You put the otter in the cove\nThe cove isn't much use to you.\n\nAn otter pokes its head out of the water, looks at you somewhat expectantly, and ducks back down into the pond again.\n\n> You put the otter in the water\nYou lay the otter down in the surf. The larger otter approaches as it sees you bring the little otter down to the water. With its tiny hands, it takes the little one away from you and swims off out of sight.\n\n*** Your score just went up by 3 points. ***\n\n> You go southwest\nThe pond is unremarkable here, but you see a break in the trees to\nthe northeast. Travel around the pond to the southwest or the northwest.\nThe pond seems to contain a log.\n\n> You get the hare\nYou reach out to grab the hare, but with a mighty kick of its back legs the hare escapes into the forest. You make a dash to follow it.\n\nThe pond is unremarkable here, but you see a break in the trees to\nthe northeast. Travel around the pond to the southwest or the northwest.\n\nHaving made a miraculous recovery, your little otter friend emerges from the surf, runs down the hare, and tears it to pieces. Out of the bowels of the hare a duck flaps out and lands near your feet.\n\n> You get the duck\nYou reach out to scoop up the duck, but it takes wing before you can grab it. You follow it as it makes its way out to sea.\n\nshore. The waves lap gently on the beach. All manner of marine life thrive in the pools the craggy rocks create.\nReturn to the pond by walking southwest back into the forest.\n\nThe duck is about to fly just out of your sight over the ocean, when you see your hawk friend dart after it into the sky and seize it. The duck lays an egg, which falls into the ocean. You run to the edge of the cove to search the ocean.\n\n> You search ocean\nYou scan the ocean for any sign of the egg. You wade out into the surf, but find nothing.\n\nSuddenly you feel a tug on your pant leg. You look down and find that the pike you saved so long ago has now returned to help you. He holds the egg in his mouth. You gently take it from him, and he dives back into the sea.\n\n*** Your score just went up by 3 points. ***"
    },
    {
        "text": "[Themes: Fantasy, male protagonist, maze, fantasy, silly]\n\n> You look at your surroundings\nshore. The waves lap gently on the beach. All manner of marine life thrive in the pools the craggy rocks create.\nReturn to the pond by walking southwest back into the forest.\n\n> Go southwest\nThe pond is unremarkable here, but you see a break in the trees to\nthe northeast. Travel around the pond to the southwest or the northwest.\n\n> You go southwest\nYou have come upon a pond nestled in a forest clearing. The air is still. The water makes no sound. The trees lining the pond are particularly large, their massive roots plunging into the pond at the water's edge. You can walk around the pond by going northeast or northwest.\n\n> You go to the south-west\nYou can't go that way. You can leave by going south, northeast, or northwest.\n\n> You go south\nIt's another forest locale. Explore deeper into the forest to the north or find the ocean to the south.\n\n> Go south\nHere is a small, thickly forested island. A barrier of tall rocks impede your progress around the beach to the northeast and the northwest. To the south is the ocean. Explore the forest to the north.\n\n> You go to the northeast\nThe rocks are too slick to negotiate successfully. You fall down the seventh time today, this time, as a novel twist, into the water. You drag yourself back onto dry land.\n\n> You go south\nYou wade out into the surf and catch a wave that sends you right back to the mainland.\n\nWaves crash on the beach. The surf rolls over your feet. A short distance offshore to the north you see an island. A trail back into the wilderness is to the southeast.\n\n> You go to the south-east\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead south and northwest. [3]\n\n> You go south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, east, west, and southeast. [3]\n\n> Go southeast\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, northeast, and northwest. [3]\n\n> You go to the south\nYou are wandering in the wilderness, having only faint animal trails\nto guide you. Trails lead north, south, east, west, northeast, and southwest. [3]\n\n> Up\nA tremendous palace has been built on this ledge. You may continue\nup the mountain or explore this architectural oddity just north of where you're resting.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> Up\nFinally at the top of the mountain, you can look in all directions\nand see practically the whole world. The mountain top is flat and reaches out farther than you can see. A path leads into a thicket of trees to the east.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> Go east\nYou trip over your clawed feet and tumble to the ground for the eighth time today. You hear a suppressed snicker from somewhere back in the pack of chefs.\n\n> You go east\nYou're in a small stand of woods, following a path that branches to\nthe east.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> You go east\nThe path is back to the west. Travel around the palace to the northeast or southeast. The palace and its barrier lie directly to the east.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> Go northeast\nTravel around the palace to the southeast or southwest. The palace\nand its barrier lie directly to the south.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> You go southeast\nThe head of the serpent is in sight. Travel around the palace to\nthe northwest or southwest. The palace and its barrier lie directly to the west.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> Burn herbs\nLocal law prohibits open burning of this powerful herb.\n\n> You put the herbs in the censer\nYou put a bunch of herbs into the censer.\n\nThe match burns down to your fingertips. Ouch! You throw the spent thing somewhere out of sight.\n\n> Go west\nYou carefully climb over the sleeping giant.\n\nThe serpent is hugged tight against the walls of the palace. The\nonly places to go are either back over the serpent or go inside.\n\nYour brother Vasilii follows you. The chefs follow you.\n\nThe herb in the censer has burned itself out, and the smoke has dissipated.\n\n> You go inside\nThe walls, the ceiling, and nearly all the objects in the room are covered in row upon row of perfectly round, white pearls. It is a monochromatic, pixellated visual nightmare. The only architectural features that relieve the monotony are at the far end of the room: a door frame and doorknob covered in black pearls.\nPearl is here, sewing pearls onto her wedding gown with great difficulty.\n\nYour brother Vasilii follows you. The chefs follow you.\n\n> You show the egg to Pearl\nPearl gives you a big kiss of congratulations. \"Was it really where Katschei said it was?\" she asks.\n\"Indeed, and it was a bear getting it out of the log,\" you reply\nwith a grin.\n\n> You open door\nPearl notices your attempt to open the door. She opens it for you and kisses you for good luck. \"Fight bravely!\" she whispers into your ear.\n\nKatschei's great hall is a place of feasting and boasting.\nKatschei is at the head of the long banquet table, separated from\nyou by his legion of knights that flank him on either side.\nThree times nine of Katschei's most battle-tested knights [6] have gathered in this hall to feast and to defend their lord.\n\nYour brother Vasilii follows you. The chefs follow you. You stand proudly to face the knights and Katschei with your formidable army.\nThe chefs surround you, faces set with fiercesome expressions and their cutlery held in ceremonial battle stances. The knights are somewhat confused at the purpose of this arriving force.\n\"Are you bringing the next course?\" Katschei sputters.\nAt once a chef screams out in Japanese: \"Pepper shower attack!\" (Vasilii is at your elbow to translate.)  The chefs pull out their pepper mills, leap onto the table, and, with aggressive grinding action, fill their opponents' eyes with a shower of ground pepper.\nThe knights leap up, lurching about, trying to find their footing\nand their weaponry through the stinging pain in their peppery eyes. Another chef cries: \"Teppanyaki Technique--Perfected!\" Another: \"Ginger Final Attack!\" (again, according to Vasilii's translation). Most of the chefs go to work with their cutlery: the first wave with giant cleavers, hacking off limbs. The second wave moves in with the carving knives, flaying off large slices of knight flesh. A third group takes on the fine slicing.\nMeanwhile, the \"special forces\" are preparing the final attack.\nThey have set up some pots on makeshift fires and pull from their bags long ginger roots, bottles of rice vinegar, and other condiments. The finished flesh is tossed from one set of chefs to the cooking team, who are giving the meat a quick marinade in the sauce.\nWhen all of the knights have been disabled, the chefs start\nchanting, \"kuroi tamago, kuroi tamago!\" Vasilii leans over to you, \"I think they mean it's time to break the egg, Ivan.\"\n\n*** Your score just went up by 3 points. ***\n\n> Note 6\n[6]: This means, bizarrely enough, that there are twenty-nine knights, not twenty-seven as you might expect. In the old Russian tales, people would always travel \"across three times nine lands to the thirtieth tsardom.\" Evidently, the old Russians were not big on math.\n\n> Note 7\n[7]: To marry them off, type the command in the form, \"Dimitri, marry Flo\" (or whomever you choose).\n\n> Marry vasili\nDimitri dutifully agrees to enter into a domestic partnership with Vasilii.\n\n> Marry elena\nVasilii is already spoken for.\n\n> Marry elena\nVasilii dutifully agrees to marry Elena.\n\n> Marry baba yaga\nDimitri dutifully agrees to marry the baba yaga.\n\n> Marry flo\nThe caterer consents to marry Flo.\n\n> Marry allergist\nSilver consents to marry the allergist.\n\n> Marry mother\n\"Thanks for the suggestion, son, but I'm way ahead of you on that one.\" He gives your mother an affectionate squeeze.\n\n> Marry Silver\nSilver is already spoken for.\n\n> Marry copper\nThat would be awfully narcissistic.\n\n> You marry us\nI don't know the word \"ceremony\".\n\nI don't know the word \"us\".\n\n> Marry\nWhat do you want to marry?\n\n> Kiss pearl\nYou plant a big wet one on Pearl. Smack!"
    },
    {
        "text": "[Themes: Fantasy, maze, bear, fairy tale, Russia, fantasy]\n\n> Look around\nSometime This Century: Your Wedding\nYou are in a magnificent yet completely familiar place. You have\nknown the Cathedral of Our Lady since you were very small. You have marveled at the grandness of the architecture and taken comfort in the small gestures of the priest in preparing the host for communion.\nToday the nave is even more beautiful to behold. Swags of greens hang between the columns, and flowers have been banked up around the altar in abundance.\nYour brother Vasilii is here.\nYour mother, the former Firebird, is here, joyful in her return to\nher place as tsarina and as your mother.\nYour father is here, proud at witnessing your success and joyful\nthat his wife has been returned to him.\nPearl is standing near the altar, flanked by the girls who had been held captive in the copper and silver palaces.\nCopper is here, conversing quietly with Silver and Pearl.\nSilver is very animated in her conversation with the other two\ngirls. She's certainly not a shy person.\nDimitri is here, a little overstimulated by all the people and the surroundings.\nYour allergist is here trying to focus Dimitri's attention on the momentous events occurring in this room.\nThe caterer is taking a break from his preparations outside to see\nhow events are progressing in the cathedral.\nElena is here, a tsar's daughter (and Pearl's sister) in the\ndisguise of a serving wench.\nFlo is here, dressed in her peasant best, beaming at you with uncharacteristic pride.\nThe teppanyaki chefs are fascinated by the baba yaga's magical bag. They are taking turns putting their battle knives and pepper mills into the bag to give them to you as wedding presents. You sincerely hope that they are wiping them off first.\nThe baba yaga is here, using her magical bag as a gift-wrapping service.\nThe archbishop is here, waiting to start the wedding mass.\n\n> Marry\nWhat do you want the archbishop to marry?\n\n> You marry all\nbusboy: Vasilii is already spoken for.\nyour mother: Church law allows the archbishop to perform marriages, not get married.\nyour father: Church law allows the archbishop to perform marriages, not get married.\nPearl: Church law allows the archbishop to perform marriages, not get married.\nCopper: Church law allows the archbishop to perform marriages, not get married.\nSilver: Silver is already spoken for.\nmasseur: He cannot get Dimitri's attention long enough to propose. allergist: The allergist is already spoken for.\ncaterer: The caterer is already spoken for.\nPearl's sister Elena: Elena is already spoken for.\nFlo: Flo is already spoken for.\nteppanyaki chefs: Church law allows the archbishop to perform marriages, not get married.\nbaba yaga: The baba yaga is already spoken for.\narchbishop: That would be awfully narcissistic.\n\n> Marry Pearl\nDimitri is already spoken for.\n\n> Marry Pearl\n\"I won't marry anyone but you, Ivan!\" Pearl declares firmly.\n\n> You check your inventory\nYou have a bow, a quiver, a mask, a comfy blanket, a mysteriously transformed fork, a shovel, a shield, a bucket, a sword, a message from your father, a sledgehammer, a list, a white flask, a black flask, a matchbook, four iron claws, a censer, a feather (providing light), a length of silver chain, and some medicinal herbs. The quiver seems to contain an arrow.\n\n> You look at the archbishop\nLeader of the church in your tsardom, counsellor to your family for decades.\n\n> Marry Pearl\nNuptial Bliss, Beneficient Reign\nPearl becomes your bride. The feasting is long and boisterous. On\nthe second day of feasting, the teppanyaki chefs outdo themselves in giving the guests the show and the meal of their lives. There were few casualties, and, luckily, none were among the guests.\nSoon after your marriage you are able to travel to Pearl's home tsardom. Her parents receive you, Pearl, and Elena with great joy. They are happy to see that both of their daughters are settled in your tsardom.\nIn three years' time, you indeed become tsar and Pearl your tsarina. Your father retires with your mother to make up for their many long years' separation. Your reign is a happy one with Pearl at your side. As there is no male heir in Pearl's line, after several years, her parents also retire and join their tsardom to yours.\nVasilii becomes your trusted advisor and friend, Dimitri does no\ngreat additional damage, and together you three do justice to your family's name as beneficient and kind men.\n\nIn a total of 627 turns, you have achieved a score of 72 points out of a possible 72.\n\nYou have reached the end of the game, but luckily, in an adventure\ngame life, you can live it over again. Don't care for Japanese food? You can defeat Katschei's knights without Vasilii and his chefs. Kill Vasilii and see if you can enlist a more compact and efficient fighting force.\nYou can even avoid marriage altogether if you get in touch with your dark side. Choose the AMUSING option to get some hints on how to play through these alternate endings and to find some other responses throughout the game you may not have seen.\nIf you've gamed enough, but haven't had enough of these tales, here\nare few books in which to enjoy more Russian folk stories:\n\nDuddington, Natalie, trans. Russian Folk Tales. New York: Funk & Wagnalls, 1969.\nGuterman, Norbert, trans. Russian Fairy Tales. New York: Pantheon Books, 1945.\nOnassis, Jacqueline, ed. The Firebird and Other Russian Fairy\nTales. New York: The Viking Press, 1978.\nSimonov, Pyotr. Essential Russian Mythology. London: Thorsons,\n1997.\nWheeler, Post. Russian Wonder Tales. New York: Thomas Yoseloff, 1957.\n\nYou may restore a saved game, start over, undo the last move, see some amusing alternatives to try the next time you play, or quit.\n\n> You ask the archbishop about the mass\nPlease enter RESTORE, RESTART, UNDO, AMUSING, or QUIT: >"
    },
    {
        "text": "[Themes: Fantasy, silly]\n\n> You examine the large chip\nFunny, it's not there any longer...\n\n> Kiss grits\n\"Hey,\" screams Flo, \"that's my line!\"\n\n> Kiss grits\n\"Hey,\" screams Flo, \"that's my line!\""
    },
    {
        "text": "[Themes: Humor, Crime, humor, slice of life, ice cream, Guns, money, animals, restaurant setting, crime, gender-neutral protagonist, male protagonist, culinary theme]\n\nAre you sure you want to quit? \n\nStart the story - from the beginning    : (SPACE)\n- from a saved position : R\nQuit                                    : Q\nYou shouldn't be sitting in the driver's seat. You should be getting out on the passenger side, and there should be someone else sitting at the wheel, key in the ignition, keeping an eye out.\n\nAnd that's probably how this would be going down, if you had any friends left.\n\nYes. Take a minute to reflect on the choices you've made.\n\n[Author's Note: A story about crime.]\n\n> Wait\nNo. Don't do that. You need to be prepared mentally. You need to be one hundred percent involved in what you are about to do. You and yourself are all you need to come out of this smelling like a rose.\n\nYou, yourself, and maybe that sweet little slab of steel in your pocket, that two-and-a-half-pound insurance policy, that cold, hard...\n\n> Inventory\nDo not waste time being poetic about your gun. Get out of the car.\n\n> You look at the gun\nNo. Hold on a second. Don't rush into this.\n\n> You go east\nWait, no. Sit still and figure out when and how you should get out of the car. You have all the time you need.\n\n> You open the door\nWell, do something.\n\n> About you\nNot so hot, lately.\n\n> Inventory\nYou are carrying:\n$5.87, mostly in change\nyour keychain\na gun\n\n> You look at the gun\nSmall enough to be carried inconspicuously in your pocket, but big enough to scare anybody it's pointed at, this is a kind of gun with a specific name--a brand name, like cars have. It also has a \"caliber,\" which is a number that refers to what kind of bullets you can put in it, but you can't remember that either.\n\nThe important details are easy enough: You point it like this, you put your index finger in here, and when you squeeze the trigger it goes boom, assuming the gun is loaded. One other important thing to keep in mind is that the gun is not loaded.\n\n> You look at keychain\nA tiny, lonely trio: This one is the key to your car; this one is the key to your apartment, and this one used to be the key to someone else's apartment, before that someone changed the locks.\n\n> You look under the seat\nHey, a quarter!\n\n[Your funds have increased by 25\u00a2.]\n\n> You open the glove compartment\nOh, hey! A bag of M&M's!\n\n> You look at the backseat\nCraning your head, you see a pair of sunglasses and an umbrella.\n\n> You get the sunglasses\nTaken.\n\n> You wear the sunglasses\nYou put on the pair of sunglasses.\n\n> You get all\numbrella: Taken.\n\n> You examine the umbrella\nEven though it's got a classy-looking hooked handle and a brass point at the other end, this umbrella is a piece of junk. The spring fell out or something, and it doesn't open anymore, and it really belongs in the trash, but you paid too much for it to just throw it away now.\n\n> You examine cans\nContemplating the cans gives you another idea for solving your monetary woes. What's twelve hundred dollars divided by five cents?\n\nOr should that be times five cents?\n\n> About you\nNot so hot, lately.\n\n> You wear the sunglasses\nYou're already wearing that.\n\n> Xyzzy\nHi, ClubFloyd!\n\nSorry I couldn't be here to play with you guys today. I just found out that today, right now, is when my church is putting up decorations for Christmas, and this I cannot miss out on!\n\nI hope you are enjoying Taco Fiction and I look forward to reading the transcript whenever it goes up.\n\nLove,\nRyan V\n\n> Plugh\nnever once in my life have i heard of someone trying \"plugh\" outside of a clubfloyd transcript\n\n> Go outside\nLa Pizz\u00e1 Parking Lot\nAs you exit the car, the humidity slaps you in the face.\n\nThis parking lot is reserved solely for La Pizz\u00e1 customers, as the sign over there clearly states. La Pizz\u00e1 is across the street west of here, but of course by this time of night it's locked up tight. Paco's Tacos, on the other hand, is open late, and it's a hole in the ground with zero security.\n\nA low-slung iron chain separates this section of the lot from the one reserved for patrons of Paco's, which is further east.\n\nYour piece of junk Ford Focus is parked here.\n\n> You open the trunk\nOh, no. The only thing in there is a baby stroller. Someone else's baby stroller. It's a long story.\n\nYou've been meaning to give it back.\n\n> You examine the car\n1998. Blue. Sometimes you wish someone would steal it.\n\n> You examine the chain\nA single chain is attached to two metal posts, splitting the parking lot in half. Around the middle, the chain is only a few inches off the ground, and people probably trip on it all the time.\n\n> You go east\nThe single streetlight shared by the two parking lots casts most of its light on the La Pizza side, so while you can barely see your own feet, your car back on the west side is cast in a harsh orange glow. Paco's is on the other side of the alley east of here.\n\nThis side of the lot has its own informative sign.\n\nA bleary-eyed guy unfamiliar to you is walking this way from across the alley. Well, he's trying to walk, anyway.\n\n> You look at the sign\nVIOLATOR'S WILL BE TOWED AT OWNERS EXPENSE.\n\n> You talk to the guy\nThe guy grins as you approach and spreads his arms wide, blocking your way. \"Hey, friend! What do you need, do you need anything?\"\n\n[1] \"Were you just at Paco's Tacos?\"\n[2] \"Lovely weather we're having.\"\n[3] \"So, what's your name?\"\n[4] \"Spare some change?\"\n[5] Point your gun at him.\n\n> 4\n\"Spare some change?\"\n\n\"Sure thing, friend. Sure thing.\" He pushes a few coins into your palm. \"Just, get off my back about money, okay?\"\n\n[Your funds have increased by 80\u00a2.]\n\n[1] \"Were you just at Paco's Tacos?\"\n[2] \"Lovely weather we're having.\"\n[3] \"So, what's your name?\"\n[4] \"Well, goodbye.\"\n[5] Point your gun at him.\n\n> 5\nWith the poise of a cowboy, you pull the piece from your pocket and put it where your friend can see it. No point worrying about what to say: no words are necessary.\n\nUpon realizing what it is he's staring down the barrel of, the young man begins shrieking hoarsely and fumbling around in his pockets. As soon as he's figured out where his wallet is, he throws it at your feet. And now he's off like a feral cat, down the street and out of sight.\n\nThere's something shaking inside your head.\n\n> You examine the wallet\nIt's shaking up and down so fast there must be someone operating a jackhammer in there, and deep in your throat you detect that you're about to be sick. You can control yourself, though; you push it down, for as long as you can hold your breath, which presently you realize you've been holding all this time, since just before you reached in your pocket, and so instead of vomiting you stand there and heave hot air, in and out, until you feel steady again. Apparently this is what it feels like, mugging somebody.\n\n> You examine the wallet\nHeck, there's only three bucks in here. Wait, no, three bucks and a quarter. Not even so much a fake ID. Well, it's your three bucks and a quarter now.\n\n[Your funds have increased by $3.25.]\n\nThat wasn't so bad, though! Nobody got hurt, and by tomorrow morning he probably won't even remember. If anything, he'll have learned a valuable lesson about walking home alone. Anyway, he probably won't--he definitely won't, there's no way he would, he absolutely will not report anything to the police. That won't happen.\n\nBesides, it's not technically armed robbery if the gun's not loaded, right?\n\n> You check what you're carrying\nYou are carrying:\nan umbrella\na pair of sunglasses (being worn)\nan bag of M&M's\n$10.17, mostly in change\nyour keychain\na gun\n\n> Go east\nThe bricks in this alley are so old that at the middle of the road they have sunk a full foot below the level of their neighbors closer to the building walls. Walking across this uneven half-pipe of bricks is an unnerving and probably dangerous experience.\n\nThe alley continues north, past a staple-encrusted utility pole, until the beams of the streetlamps don't quite reach; west is the parking lot and east is Paco's Taco's.\n\nTaped to the utility pole is a crumpled piece of paper, fluttering in the breeze.\n\n> You examine paper\nIn capital letters courtesy of 24-point Times New Roman, this note explains that parking blah blah customers only blah owner's expense. It looks like something has been written on the back.\n\n> You examine back of the paper\nAs your sticky fingers pick up and flip over the paper, your keen eye quickly discerns that there's nothing written on the other side. However, removing the paper has revealed something painted on the utility pole.\n\n> You examine the pole\nThe thick column of wood is host to a confused network of wires up top and a dense forest of ancient staples closer to eye level. For one reason or another, people have also bolted a couple of metal plates to the pole. One of the metal plates has something red spraypainted on it.\n\n> You examine the paint\nSome kind of bird, apparently applied with a stencil and red spraypaint on this metal plate bolted to the pole. The bird has a long neck and a long, curving beak. Is it a stork? Do storks have curvy beaks?\n\n> You read the plate\nApparently, it is sometimes necessary to stick a sheet of steel to the side of a utility pole. On one of the plates there's some kind of bird, apparently applied with a stencil and red spraypaint. The bird has a long neck and a long, curving beak. Is it a stork? Do storks have curvy beaks?\n\n> You take the plate\nThe plates are bolted on!"
    },
    {
        "text": "[Themes: Crime, Humor, gender-neutral protagonist, slice of life, ice cream, restaurant setting]\n\n> Look around\nThe bricks in this alley are so old that at the middle of the road they have sunk a full foot below the level of their neighbors closer to the building walls. Walking across this uneven half-pipe of bricks is an unnerving and probably dangerous experience.\n\nThe alley continues north, past a staple-encrusted utility pole, until the beams of the streetlamps don't quite reach; west is the parking lot and east is Paco's Taco's.\n\n> You look at the bricks\nThe way it curves down in the middle, it looks like a truck full of anvils was sitting here for a few decades.\n\nAs you tilt your head you detect the glimmer of a dime in the space between two bricks. You try your best to look graceful and casual as you stoop, then kneel, then get on your hands and knees to pick it up.\n\n[Your funds have increased by 10\u00a2.]\n\n> Go east\nHere's the entrance to Paco's Tacos, everyone's favorite place for a bite as long as everything else is closed. The stretch of sidewalk here is covered by a striped awning for the masses to huddle under while waiting for a table at peak hours. The door to the north is framed by neon signs behind plate glass windows. Further east, there's some sort of ice cream place.\n\nNow is a good time to go over the plan before you pull the job. It'd be nice if you had everything written down as a reminder, but a note like that could end up being incriminating. So, mentally, as you're standing here in front of the taco shop, remember:\n\nOnce you're inside, you're going to go north across the dining room, to where the counter is. Then you're going to point the gun at the cashier and, without hesitating, tell the cashier to open the cash register. When that's done, tell the cashier to take the money from the register and tell the cashier to give the money to you. (But don't say \"to you\", say \"to me\".) Finally, while still pointing the gun at the cashier, walk backward to the entrance. Once you're back outside, you just have to get to your car and drive away.\n\nNobody will get hurt, nobody will recognize you, and best of all, nobody will get evicted.\n\n> You go east\nFrom this end of the street you can almost see the respectable part of town, way over to the east.\n\nThe name of this establishment, according to the vinyl banner in the window, is \"Get Your Licks.\" The sign in the door to the north says it's open, but in spite of the heat you can see no customers inside.\n\n> You look at the sign\nIt says OPEN.\n\n> You go north\nBlissfully you step into the open arms of air conditioning.\n\nIs this really just an ice cream place? It looks more like a mountain cottage, with lace curtains in the windows, and a low table with a built-in checkerboard next to the little fake fireplace. The walls are done up with floral wallpaper and littered with newspaper clippings.\n\nYou'd probably take it for a coffeeshop if the counter didn't include a big glass window displaying numerous tubs of ice cream.\n\nA number of cheap wire coat hangers hang from a hastily-installed coat rack.\n\nA dark-haired cashier sits behind the counter.\n\n> You examine the cashier\nShe's very tall. Well, no she's not; she's actually pretty short, but arms are so long that she looks tall. Or maybe the cut of her sleeves just makes her arms look long.\n\nShe's wearing an apron; she has a tattoo on her left shoulder. She also has a lot of hair, which must be a nightmare in this humidity.\n\n> You look at the tattoo\nIt's mostly obscured by her sleeve. You can only see a the very bottom, a white curve. Maybe it's a tattoo of the moon? Or a yin-yang?\n\n> You ask the cashier about the tattoo\n[Use TALK TO to interact with characters.]\n\n> You talk to the cashier\n\"How can I help you?\"\n\n[1] \"How are you this evening?\"\n[2] \"What kinds of ice cream do you have?\"\n[3] \"I should get going.\"\n[4] Point your gun at her.\n\n> 2\n\"What kinds of ice cream do you have?\"\n\n\"Well, take a look! We've got chocolate, vanilla, mint, key lime, strawberry, and salted caramel. Do you want to taste something first?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"How are you this evening?\"\n[4] \"I should get going.\"\n[5] Point your gun at her.\n\n> 1\n\"I would actually love to taste something&\"\n\n\"Sure! Hold on&\"\n\nShe produces a tiny plastic spoon. \"What would you like to try?\"\n\n[1] \"I know what kind of ice cream I want.\"\n[2] \"Can I taste the vanilla?\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the mint?\"\n[7] \"Can I taste the salted caramel?\"\n[8] \"How are you this evening?\"\n[9] \"I should get going.\"\n\n> 6\n\"Can I taste the mint?\"\n\n\"I would be happy, to, let you do that,\" she stumbles. She scoops up a tiny spoonful and offers it to you.\n\nYour eyebrows raise, and your nostrils flare.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the vanilla?\"\n[4] \"Can I taste the chocolate?\"\n[5] \"Can I taste the strawberry?\"\n[6] \"Can I taste the key lime?\"\n[7] \"Can I taste the salted caramel?\"\n[8] \"How are you this evening?\"\n[9] \"I should get going.\"\n\n> 8\n\"How are you this evening?\"\n\n\"Well, business has been a little slow, so I've been& bored, I guess. How are you doing?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the vanilla?\"\n[4] \"Can I taste the chocolate?\"\n[5] \"Can I taste the strawberry?\"\n[6] \"Can I taste the key lime?\"\n[7] \"Can I taste the salted caramel?\"\n[8] \"Oh, I'm fine.\"\n[9] \"I've been better.\"\n[10] \"Actually, I'm doing pretty terribly.\"\n[11] \"I should get going.\"\n\n> 9\n\"I've been better.\"\n\n\"Oh, I'm sorry to hear that.\" She looks down at the counter. \"Well, things always get better eventually, supposedly.\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the vanilla?\"\n[4] \"Can I taste the chocolate?\"\n[5] \"Can I taste the strawberry?\"\n[6] \"Can I taste the key lime?\"\n[7] \"Can I taste the salted caramel?\"\n[8] \"Would you mind my asking&\"\n[9] \"You wanna hear something weird?\"\n[10] \"I should get going.\"\n\n> 32\n[Valid responses range from 1-10. Type REPEAT to relist the options.]\n\n> 3\n\"Can I taste the vanilla?\"\n\n\"Absolutely.\" She scoops a tiny amount of ice cream onto the little spoon, and then she hands it to you.\n\nOh, wow. \"Vanilla\" doesn't mean \"plain.\" This has a flavor.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"I should get going.\"\n\n> 7\n\"Would you mind my asking&\"\n\n\"Not at all!\" says the dark-haired cashier, without even knowing what it is you're going to ask. [You can try this option again later to \"refresh\" the things to ask about.]\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"What's your name?\"\n[10] \"What's your tattoo of?\"\n[11] \"I should get going.\"\n\n> 10\n\"What's your tattoo of?\"\n\n\"Oh, it's a slice of pie.\" She lifts up her sleeve so you can see the ink in its entirety: It does indeed depict a slice of pie. The white curve at the bottom is the plate it's sitting on.\n\n\"It's cherry pie; it's my favorite.\"\n\nAnd now you know!\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"What's your name?\"\n[10] \"I should get going.\"\n\n> 8\n\"You wanna hear something weird?\"\n\nHer eyes widen. \"Yes. I do.\" You'd better think of something good! [You can try this option again if you find any more weird things in the future.]\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"Have you seen this graffiti of a bird?\"\n[10] \"What's your name?\"\n[11] \"I should get going.\"\n\n> 9\n\"Have you seen this graffiti of a bird?\"\n\n\"Oh, you mean the one with the beak?\" She makes a sweeping, downward-curving gesture in front of her nose. \"Yeah, I've seen that thing all over town. I think it's supposed to be an ibis.\"\n\nWhat's an ibis?\n\n[1] \"What's an ibis?\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Can I taste the chocolate?\"\n[5] \"Can I taste the strawberry?\"\n[6] \"Can I taste the key lime?\"\n[7] \"Can I taste the salted caramel?\"\n[8] \"Would you mind my asking&\"\n[9] \"You wanna hear something weird?\"\n[10] \"What's your name?\"\n[11] \"I should get going.\"\n\n> 1\n\"What's an ibis?\"\n\n\"Um, it's a bird, with a curvy beak and a long neck. I don't know much more than that. I think they're from Africa?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"What's your name?\"\n[10] \"I should get going.\"\n\n> 9\n\"What's your name?\"\n\n\"It's Zuleika. Pleased to meet you.\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the chocolate?\"\n[4] \"Can I taste the strawberry?\"\n[5] \"Can I taste the key lime?\"\n[6] \"Can I taste the salted caramel?\"\n[7] \"Would you mind my asking&\"\n[8] \"You wanna hear something weird?\"\n[9] \"I should get going.\"\n\n> 3\n\"Can I taste the chocolate?\"\n\n\"Of course you can.\" She rolls up a fairly generous spoonful onto the little spoon, which she then hands to you.\n\nHey, this is bitter. Do you like bitter?\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the strawberry?\"\n[4] \"Can I taste the key lime?\"\n[5] \"Can I taste the salted caramel?\"\n[6] \"Would you mind my asking&\"\n[7] \"You wanna hear something weird?\"\n[8] \"I should get going.\"\n\n> 3\n\"Can I taste the strawberry?\"\n\n\"Certainly.\" She scoops up a little bit of pink ice cream and hands you the spoon.\n\nIt's a lot more mellow than you expected.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the key lime?\"\n[4] \"Can I taste the salted caramel?\"\n[5] \"Would you mind my asking&\"\n[6] \"You wanna hear something weird?\"\n[7] \"I should get going.\"\n\n> 4\n\"Can I taste the salted caramel?\"\n\n\"Oh, please do. I just put it together, and I really want to know what you think of it.\" She picks at the stuff with her tiny spoon and produces a sample for your adjudication. You put it in your mouth.\n\nYou are unable to conceal your reaction.\n\nShe frowns. \"Too much salt, huh?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Can I taste the key lime?\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"I should get going.\"\n\n> 3\n\"Can I taste the key lime?\"\n\n\"Yes you may.\" She spoons a tiny amount of ice cream onto her spoon and then she hands it to you. \"Careful, it's intense.\"\n\nGeez! She wasn't kidding.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"I should get going.\"\n\n> You examine the clippings\nDozens of photographs and newspaper clippings, chronicling the life and lives of an independent dairy farm. There's a full-fledged narrative here, with personalities and ambitions and twists and turns, but at its heart it is a narrative about cows and therefore fundamentally uninteresting.\n\n> You talk to her\n(Zuleika)\n\"How can I help you?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"I should get going.\"\n\n> 3\n\"Would you mind my asking&\"\n\n\"Not at all!\" says Zuleika, without even knowing what it is you're going to ask.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"I should get going.\"\n\n> 6\n\"What are all these newspaper clippings?\"\n\n\"They're all stories about my family's dairy farm. All this ice cream comes exclusively from our cows, and we use exclusively non-homogenized milk, which is different from homogenized milk in that&\"\n\nA few minutes later you realize that she's done talking.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"I should get going.\""
    },
    {
        "text": "[Themes: Humor, Crime, ice cream, gender-neutral protagonist, male protagonist]\n\n> Look around\nIs this really just an ice cream place? It looks more like a mountain cottage, with lace curtains in the windows, and a low table with a built-in checkerboard next to the little fake fireplace. The walls are done up with floral wallpaper and littered with newspaper clippings.\n\nYou'd probably take it for a coffeeshop if the counter didn't include a big glass window displaying numerous tubs of ice cream.\n\nZuleika notices you noticing her and smiles.\n\n> You look at  table\nThis little wooden table has known many years' worth of coaster-free beverages. The sixty-four squares of alternating light and dark wood in the middle constitute a checkerboard; a set of checkers are messily stacked nearby.\n\n> You play checkers\nUnless you want to play by yourself, you should probably talk to the cashier about that.\n\n> You talk to the cashier\n\"How can I help you?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"I should get going.\"\n\n> 3\n\"Would you mind my asking&\"\n\n\"Not at all!\" says Zuleika, without even knowing what it is you're going to ask.\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"Do you wanna play checkers?\"\n[8] \"I should get going.\"\n\n> 7\n\"Do you wanna play checkers?\"\n\n\"Oh, sure!\"\n\nShe trots with you over to the low wooden table and you each take a seat. The checkers are divided by color and then arranged in the appropriate configuration. Then the game begins.\n\nYou are not a master of the art; you do not normally take a lot of time considering each and every possible move. But your opponent is so cautious and deliberate that you feel like you have to slow down, if only to be polite.\n\nHer eyes are narrowed, but she's smiling, and you can tell she relishes the opportunity to take something like this way too seriously."
    },
    {
        "text": "[Themes: Humor, Crime, animals, Guns, humor]\n\n> You look at your surroundings\nPresently you realize the board is a mess. It's absurd that the game should be this close when it's this far along. There must be some release to the tension, some sort of button you can press to bring the whole thing crashing down.\n\nAnd then suddenly your eyes refocus and your mind is completely clear. You see it. You have never had an epiphany in your life, but you are having one now. You can make a dumb-looking move now that will force her into a position where you'll be able to jump every single one of her pieces, and can she do anything to stop it?"
    },
    {
        "text": "[Themes: Humor, Crime, restaurant setting, Guns, male protagonist, gender-neutral protagonist, money, crime, ice cream]\n\n> You look around\nNo. She definitely can't. It's not just a great move you've found, it's a foolproof gambit. You glance up at her and try to read her expression.\n\nAs far as you can tell, she doesn't see it.\n\nSo now the question is, do you take the move? Do you make the stupid-looking move and destroy her, or do you make the smart-looking move and let her win?\n\nSay \"yes\" if you're going to let her win.\n\n> No\nYou take the move that seems like an idiotic move. She looks at you quizzically.\n\nThen she jumps every single one of your pieces. How did she do that?\n\nOh, you missed the& That one. There. You didn't see that one.\n\n\"You didn't have to let me win,\" she says, smiling. \"But thanks a lot anyway. I needed something to cheer me up.\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"What's wrong?\"\n[8] \"I should get going.\"\n\n> Yes\nThat was a rhetorical question.\n\n> You talk to her\n(Zuleika)\n\"How can I help you?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"Do you wanna play checkers?\"\n[8] \"I should get going.\"\n\n> 7\n\"Do you wanna play checkers?\"\n\n\"Oh, sure!\"\n\nShe trots with you over to the low wooden table and you each take a seat. The checkers are divided by color and then arranged in the appropriate configuration. Then the game begins.\n\nYou are not a master of the art; you do not normally take a lot of time considering each and every possible move. But your opponent is so cautious and deliberate that you feel like you have to slow down, if only to be polite.\n\nHer eyes are narrowed, but she's smiling, and you can tell she relishes the opportunity to take something like this way too seriously.\nPresently you realize the board is a mess. It's absurd that the game should be this close when it's this far along. There must be some release to the tension, some sort of button you can press to bring the whole thing crashing down.\n\nAnd then suddenly your eyes refocus and your mind is completely clear. You see it. You have never had an epiphany in your life, but you are having one now. You can make a dumb-looking move now that will force her into a position where you'll be able to jump every single one of her pieces, and can she do anything to stop it?\nNo. She definitely can't. It's not just a great move you've found, it's a foolproof gambit. You glance up at her and try to read her expression.\n\nAs far as you can tell, she doesn't see it.\n\nSo now the question is, do you take the move? Do you make the stupid-looking move and destroy her, or do you make the smart-looking move and let her win?\n\nSay \"yes\" if you're going to let her win.\n\n> Yes\nYou take the obvious, smart-looking move. She jumps half of your remaining pieces, leaving you with a single suicidal \"choice,\" which you are of course forced to take, allowing her to clean you out completely.\n\n\"That was fun,\" she says, although her huge grin is enough of an indication. \"Thanks. I feel a lot better now.\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"What's wrong?\"\n[8] \"I should get going.\"\n\n> 7\n\"What's wrong?\"\n\nShe breathes in so deeply that you find yourself inhaling along with her, like you're in a yoga class or something. Then she sighs a massive sigh, a lingering sigh. Only after she is done sighing do you allow yourself to exhale.\n\n\"I only opened this place a few weeks ago. My parents loaned me a lot of money to get it started, but I kept insisting that I wanted the business to be separate from the dairy farm. I learned a lot about business from them. I wanted to be independent.\n\n\"They were worried about this neighborhood, too, but I said it was the best place. I said an ice cream store couldn't fail in the middle of summer, right? But I've had almost no customers. People mostly just come in and look around, like they're gonna buy the place out from under me, and then they tell me 'Oh, this is a tough town for a new business.' 'You're a very brave girl.'\" She stares out the window.\n\"And those cops, and the guy next door, they just stop by to 'see how I'm doing.' They look all up and down the walls, they look under the seats, and then they ask if the building inspector has been around. There's nothing wrong with this building.\n\n\"And I think people are spreading rumors. Someone heard there's E. coli in my ice cream. There's not. I don't have a stupid dripping soft-serve dispenser hanging in the air to collect germs.\"\n\nShe sighs again. \"Sorry. Let's talk about something else.\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"I should get going.\"\n\n> You talk to her\n(Zuleika)\n\"How can I help you?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"I should get going.\"\n\n> 2\n\"I know what kind of ice cream I want.\"\n\n\"And, it is&?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I would like a scoop of vanilla.\"\n[3] \"I would like a scoop of chocolate.\"\n[4] \"I would like a scoop of strawberry.\"\n[5] \"I would like a scoop of key lime.\"\n[6] \"I would like a scoop of mint.\"\n[7] \"I would like a scoop of salted caramel.\"\n[8] \"Would you mind my asking&\"\n[9] \"You wanna hear something weird?\"\n[10] \"What's your tattoo of?\"\n[11] \"What are all these newspaper clippings?\"\n[12] \"I should get going.\"\n\n> 2\n\"I would like a scoop of vanilla.\"\n\n\"Coming right up!\"\n\nShe scoops some of the white stuff into a cone and hands it to you.\n\n\"That'll be two dollars, please.\"\n\n> You pay zuleika\nYou hand $2.00 to Zuleika and she grins.\n\n\"Thanks so much!\"\n\n> You look at what you're carrying with you\nYou are carrying:\na vanilla ice cream cone\na wire coat hanger\na note about parking\nan umbrella\na pair of sunglasses (being worn)\nan bag of M&M's\n$8.27, mostly in change\nyour keychain\na gun\n\n> You eat the ice cream\n(the vanilla ice cream cone)\nVanilla is supposed to be boring. So what the heck is going on here?\n\nIt's something else. It's not really vanilla; the girl is just calling it that. Or there is vanilla in it, but something else has been done. What is it?\n\nIt's something that's not bad, exactly, but something that you're not supposed to eat. That must be it, because you're starting to feel a little guilty. You hold on to that thought: You need to figure this out before it's gone.\n\nSo you start eating a little slower. You close your eyes.\n\nCookie dough! This tastes like cookie dough. It's not vanilla ice cream with pieces of cookie dough in it; it's cookie dough in the shape of--Goodness.\n\nNow that that's sorted out, you eat the rest fairly quickly, with a feeling of great satisfaction.\n\n> Go west\nHere's the entrance to Paco's Tacos, everyone's favorite place for a bite as long as everything else is closed. The stretch of sidewalk here is covered by a striped awning for the masses to huddle under while waiting for a table at peak hours. The door to the north is framed by neon signs behind plate glass windows. Further east is Get Your Licks.\n\nNow is a good time to go over the plan before you pull the job. It'd be nice if you had everything written down as a reminder, but a note like that could end up being incriminating. So, mentally, as you're standing here in front of the taco shop, remember:\n\nOnce you're inside, you're going to go north across the dining room, to where the counter is. Then you're going to point the gun at the cashier and, without hesitating, tell the cashier to open the cash register. When that's done, tell the cashier to take the money from the register and tell the cashier to give the money to you. (But don't say \"to you\", say \"to me\".) Finally, while still pointing the gun at the cashier, walk backward to the entrance. Once you're back outside, you just have to get to your car and drive away.\n\nNobody will get hurt, nobody will recognize you, and best of all, nobody will get evicted.\n\n> Go north\nThe place is pretty much dead. The chairs aren't on the tables yet, but the place may as well be closed. The nearest sign of life is a tiny potted tree.\n\nAt the north end, across the dining room, there's a counter attended by a cashier, and sitting in a booth way over there are a couple of bikers.\n\nAn oversized painting on the west wall arrests your attention.\n\n> You look at the painting\nThe canvas is so large and the frame so ornate that the piece takes up a huge chunk of wall.\n\nIn long, curving strokes that remind you unpleasantly of the sixties, the painting apparently depicts some Victorian millionaire's smoking-room. An unseen fireplace glows orange on the green wallpaper and the green velvet-backed armchairs, which are huddled around something else, over to the side, which you also can't see.\n\nThe focus of the composition is a collection of masks, mounted on the wall like trophies and casting weird shadows in the firelight. The masks are all grotesque: One has a huge lower jaw and protruding tusks; one has shaggy sideburns, a lolling tongue and a goatee; the worst has three unsettlingly lifelike eyeballs set above two noses and a wide, gap-toothed mouth.\n\nA mask! Should you be wearing a mask? The cashier will see your face! Or the bikers will see your face, and they'll know it was you!\n\nNo, hold on. The reason you're here at Paco's is because nobody around here is going to recognize you, because they'd never think to haul in a guy from your neighborhood for a robbery committed here. You've got nothing to worry about; just get over there and do it.\n\n> You examine the bikers\nJust a couple of guys having a taco. Nothing to worry about.\n\n> You talk to the bikers\nYou can barely even see the bikers from this end of the room.\n\n> Wave\nYou wave, feeling foolish.\n\n> You jump\nYou hop a little hop.\n\n> Sing\n\"Oh, I've got a brand-new pair of roller skates; you've got a brand-new key&\"\n\n> You go north\nHey, those bikers aren't bikers! They're\nCOPS\nAs you stagger backward, you collide with something large and doughy-soft, which grunts in response and drops an envelope at your feet.\n\n> You examine envelope\nYou scoop up the envelope and try to get a better look at it.\n\nIt's the size of a normal business envelope, but made out of fancy black paper. The side where you'd normally write an address is decorated with an embossed gold border. Both sides are bulging out from the girth of whatever's inside.\n\nThat thing you just bumped into, evidently a sweaty, balding man, snatches the envelope from your hands without so much as a thank you.\n\n\"Make sure and lock up my office when you leave,\" he barks at the cashier. The cashier merely mumbles in response, but his boss is already stomping his way out.\n\nThe cash register sits here on a long counter, accompanied by a great big tip jar and guarded by a bored-looking cashier. The menu is printed on a big chalkboard near the ceiling.\n\nAround the counter and to the north is a long hallway. That must be where the big guy came from.\n\nA blonde cop and a mustachioed cop are enjoying their tacos in a booth near the counter.\n\n> You look at the jar\nA huge, wide-mouthed glass jar with a piece of paper taped to it reading \"TIPS\" in huge letters and, below, \"aloha!\" penciled in smaller letters. It's lined at the bottom with a collection of bills and coins.\n\n> Steal tips\nThe cashier gapes at you. \"What are you doing?\"\n\n\"Nothing,\" you mutter, staring at your shoes.\n\n> You look at the menu\nIt looks like your standard taco is $2.50, and a beer is& geez, that much for a lousy beer?\n\n> Go south\nThe place is pretty much dead. The chairs aren't on the tables yet, but the place may as well be closed. The nearest sign of life is a tiny potted tree.\n\nAt the north end, across the dining room, there's a counter attended by a cashier.\n\nOver on the wall is that spooky painting.\n\n> Go south\nHere's the entrance to Paco's Tacos, everyone's favorite place for a bite as long as everything else is closed. The stretch of sidewalk here is covered by a striped awning for the masses to huddle under while waiting for a table at peak hours. The door to the north is framed by neon signs behind plate glass windows. Further east is Get Your Licks.\n\n> You go to the west\nThe bricks in this alley are so old that at the middle of the road they have sunk a full foot below the level of their neighbors closer to the building walls. Walking across this uneven half-pipe of bricks is an unnerving and probably dangerous experience.\n\nThe alley continues north, past a staple-encrusted utility pole, until the beams of the streetlamps don't quite reach; west is the parking lot and east is Paco's Taco's."
    },
    {
        "text": "> You look at the tree\nOn closer examination, it's not even a real tree. It's one of those fake plastic ones.\n\n> You go south\nThe place is pretty much dead. The chairs aren't on the tables yet, but the place may as well be closed.\n\nAt the north end, across the dining room, there's a counter attended by a cashier.\n\nAn oversized painting on the west wall arrests your attention.\n\n> Go west\nThe single streetlight shared by the two parking lots casts most of its light on the La Pizza side, so while you can barely see your own feet, your car back on the west side is cast in a harsh orange glow. Paco's is on the other side of the alley east of here.\n\nThis side of the lot has its own informative sign.\n\nWhile you were away someone parked their silver Honda here.\n\nThat guy's wallet is still lying on the pavement here.\n\n> You examine Honda\n(the silver Honda)\nWhose car is this? Where'd they go?\n\nIt's pretty nice, for an Accord anyway. It's not scratched up or dented or anything, and if you looked in the windows you'd probably see the seats aren't covered in stains.\n\nThere's something shiny in the back.\n\n> You examine shiny\nThe shiny thing is a knife, really a dagger. It looks like it's made out of gold, and it's sticking out of a human body.\n\nThere's a dead person in this car!\n\n> You open the car\nThe Honda that doesn't belong to you is locked.\n\nA guy with huge eyebrows appears from across the alley.\n\n> You examine guy\nThe guy with huge eyebrows seems put off by your attention, but slows down for a moment.\n\nThe guy is apparently dressed up for an event of some kind, but he's taking his time about getting there. His eyebrows are ridiculous.\n\n> You wait\nTime passes.\n\n> You talk to the man\nThe guy with huge eyebrows seems put off by your attention, but slows down for a moment.\n\n\"Um& can I help you?\"\n\n[1] \"How are you this evening?\"\n[2] \"What's that thing you're carrying?\"\n[3] \"Where are you headed?\"\n[4] \"Have a nice night.\"\n[5] Point your gun at him.\n\n> 1\n\"How are you this evening?\"\n\n\"Oh, I'm fine! A little tired! Better head home, right! Ha ha!\"\n\nThat was a very fake laugh.\n\n[1] \"What's that thing you're carrying?\"\n[2] \"Where are you headed?\"\n[3] \"Have a nice night.\"\n[4] Point your gun at him.\n\n> 1\n\"What's that thing you're carrying?\n\n\"You mean this? This is just a& sleeping bag. Going camping!\"\n\n[1] \"Where are you headed?\"\n[2] \"Have a nice night.\"\n[3] Point your gun at him.\n\n> 1\n\"Where are you headed?\"\n\n\"I'm& meeting for a friend. But they won't be here for a while. So I'll just& Don't you have somewhere to be yourself?\"\n\n[1] \"Have a nice night.\"\n[2] Point your gun at him.\n\n> 2\nPulling your gun out of your pocket and pointing it at the guy with huge eyebrows requires some mental and emotional exertion, but even if your body language betrays your anxiety, the process has its intended effect. He's too afraid to run, but he backs away a little; he even tries to put his hands up, although it isn't easy while he's holding that blanket in them.\n\n\"Okay okay okay okay!\" he stammers. \"What do you want?\"\n\n[1] \"Hand over that blanket!\"\n[2] \"How about you give me your wallet.\"\n[3] \"Where's Paco?\"\n[4] \"Why don't you tell me what the heck is going on around here?\"\n\n> 1\n\"Hand over that cloak!\"\n\n\"Sure! Sure thing! Absolutely!\" He tosses the mass of fabric to you, and you manage to catch it with the arm that isn't busy pointing a gun at him.\n\nAnd now you can what he was carrying underneath the blanket: some kind of ram mask.\n\n[1] \"And toss me that mask too!\"\n[2] \"How about you give me your wallet.\"\n[3] \"Where's Paco?\"\n[4] \"Why don't you tell me what the heck is going on around here?\"\n\n> 1\n\"And toss me that mask, too!\"\n\n\"Sure thing! Sure!\" the guy with huge eyebrows cries.\n\nIn retrospect, the word \"toss\" was a poor choice: he throws the ram mask in a high arc, forcing you to take your eyes and and gun off of him as you attempt to complete the pass while holding a gun in one hand and big heavy cape in the other.\n\nThe bad news is, the guy ran off down the street. The good news is, at least that mask didn't fall on the pavement and break."
    },
    {
        "text": "[Themes: Humor, Crime, gender-neutral protagonist, animals, humor, ice cream, Guns, crime]\n\n> Look around\nThe single streetlight shared by the two parking lots casts most of its light on the La Pizza side, so while you can barely see your own feet, your car back on the west side is cast in a harsh orange glow. Paco's is on the other side of the alley east of here.\n\nThis side of the lot has its own informative sign.\n\nA guy with huge eyebrows is here, minding what appears to be his own business.\n\nWhile you were away someone parked their silver Honda here.\n\nThat guy's wallet is still lying on the pavement here.\n\n> You talk to the man\n\"Um& can I help you?\"\n\n[1] \"And toss me that mask too!\"\n[2] \"How about you give me your wallet.\"\n[3] \"Where's Paco?\"\n[4] \"Why don't you tell me what the heck is going on around here?\"\n\n> 3\n\"Where's Paco?\"\n\nHe scrunches up his face in apparent disbelief. \"Who? I don't know anyone by that name.\"\n\n[1] \"And toss me that mask too!\"\n[2] \"How about you give me your wallet.\"\n[3] \"Why don't you tell me what the heck is going on around here?\"\n\n> 3\n\"Why don't you tell me what the heck is going on around here?\"\n\n\"You mean you don't know? You're in over your head, pal!\" he cackles.\n\nBut then he reconsiders his statement: \"Or maybe you're not in over\n\n> 3\nyour head. But you definitely don't know what you're dealing with, that's for sure. Pal.\"\n\n[1] \"And toss me that mask too!\"\n[2] \"How about you give me your wallet.\"\n\n>[Valid responses range from 1-2. Type REPEAT to relist the options.]\n\n> 2\n\"How about you give me your wallet.\"\n\n\"I& left it in my other pants.\" He shrugs sheepishly.\n\n[1] \"And toss me that mask too!\"\n\n> Bend hanger\nYou pull and twist on the coat hanger until it turns into a long, flat hooking implement.\n\n> Unlock Honda with hanger\nYou slide the bent hanger inside the window, assuming as best you can the posture and mannerisms of someone breaking into their own car. Eventually the hook catches on something. You tug, it clicks, and the car door is unlocked.\n\n> You open the car\nWith an incriminatingly nervous glance around the parking lot, you open the driver's side door and crawl inside.\n\nThese are leather seats! Who puts a dead, bleeding body on top of leather seats?\n\n> Inventory\nYou are carrying:\na cloak\na long, bent coat hanger\na note about parking\nan umbrella\na pair of sunglasses (being worn)\nan bag of M&M's\n$8.27, mostly in change\nyour keychain\na gun\n\n> You examine the cloak\nIt must be a cloak, and not a blanket, because blankets don't have sleeves or hoods. Most of the time. This isn't one of those blankets with sleeves anyway. It's a long, black, hooded cloak.\n\n> You examine body\nWith the lights in the car turned on, you can now see the mutilated body in all its gory detail. It is actually a black duffel bag. A golden dagger is sticking out of the top opening.\n\n> You look at the dagger\nIt does not look like the kind of dagger you would bring to a knife fight. The blade is long and thin, and wavy-shaped for some reason, with intricate carvings all up and down both sides. The handle is sculpted into the shape of two big birds standing back-to-back; their feet form the butt of the handle and their long, downward-curving beaks form the hilt.\n\nIt's probably worth hundreds of dollars.\n\n> You look at the bag\n(the bag of M&M's)\nJust a bag. You can't remember when you ate them, but hopefully you enjoyed them.\n\n> You look at the duffel bag\nNot only is it too small to fit a dead body inside, it's not even full.\n\nIn the duffel bag are a golden dagger and a fancy letter.\n\n> You look at the letter\nThe letter is a single piece of paper, embossed with a gold border and folded in thirds like it was delivered in a business envelope. The letterhead (also gold-embossed) says \u00c5\u00c3\u00c4\u00b7\u00c1\u00b9\u00bf \u00c9\u00b8\u00bf\u00c2, which must be Russian or something. At least the main text is in English:\n\nVenerable Brothers and Sisters!\n\nCircumstances have lately demanded that the meeting of our illustrious Organization in this turning of the Moon must be convened instead at our auxiliary Location, accessible via the roof of your Brother's most distinguished La Pizz\u00e1 Building. A thousand thousand apologies are extended for the inexcusable lack of Foresight that necessitated this disturbance.\n\nYou are reminded, O Brothers and Sisters, that acceptance into our Mystery is forbidden to those who do not prove themselves by the Sacred Ritual, and that entry to our auxiliary Location is granted only to those who pay fitting Homage to our Guardian Pet.\n\nYou are thus warned!\n\nAnd then where the signature should be there's just this goofy code: An upside-down J, a picture of a boot, and then picture of a teacup.\n\n> You take all\nduffel bag: Taken.\ngolden dagger: As soon as it's in your hands, you can tell it isn't real gold.\nfancy letter: Taken.\n\n> You put all in the duffel bag\nfancy letter: Done.\ngolden dagger: Done.\ncloak: Done.\nlong, bent coat hanger: Done.\nnote about parking: Done.\numbrella: Done.\nbag of M&M's: Done.\n$8.27, mostly in change: Your money is safe where it is; don't worry about it.\nkeychain: Done.\ngun: That would be a good way to lose track of it!\n\n> Inventory\nYou are carrying:\na duffel bag (open)\nyour keychain\nan bag of M&M's\nan umbrella\na note about parking\na long, bent coat hanger\na cloak\na golden dagger\na fancy letter\na pair of sunglasses (being worn)\n$8.27, mostly in change\na gun"
    },
    {
        "text": "[Themes: Crime, Humor, gender-neutral protagonist, money, slice of life, animals, ice cream, male protagonist, humor]\n\n> Look around\nThis is such a nice car. It's so clean. So depressing.\n\n> You go outside\nThe single streetlight shared by the two parking lots casts most of its light on the La Pizza side, so while you can barely see your own feet, your car back on the west side is cast in a harsh orange glow. Paco's is on the other side of the alley east of here.\n\nThis side of the lot has its own informative sign.\n\nThat silver Honda is still parked here.\n\nThat guy's wallet is still lying on the pavement here.\n\nYou can also see a ram mask here.\n\n> You get all\nlong, bent coat hanger: Taken.\nram mask: Taken.\nsilver Honda: Your pockets aren't big enough.\nwallet: It's empty. Floppy.\n\nkeychain: Taken.\nbag of M&M's: umbrella: Taken.\nnote about parking: Taken.\ncloak: Taken.\ngolden dagger: Taken.\nfancy letter: Taken.\n\n> You look at the mask\nGoats are incredibly creepy, but a lot of their creepiness is due to their rectangular pupils, so it's a good thing this mask has eye-holes instead. It also has curly horns that bend back, apparently to fit underneath the hood of a cloak.\n\n> Inventory\nYou are carrying:\na fancy letter\na golden dagger\na cloak\na note about parking\nan umbrella\nan empty M&M's bag\nyour keychain\nsome guy's wallet\na ram mask\na long, bent coat hanger\na duffel bag (open but empty)\na pair of sunglasses (being worn)\n$8.27, mostly in change\na gun\n\n> You remove the glasses\nYou take off the pair of sunglasses.\n\n> You wear the mask\nYou put on the ram mask.\n\n> You wear the glasses\nThe mask is too big to wear sunglasses on top of it.\n\n> You wear the cloak\nYou put on the cloak.\n\n> Go east\nThe bricks in this alley are so old that at the middle of the road they have sunk a full foot below the level of their neighbors closer to the building walls. Walking across this uneven half-pipe of bricks is an unnerving and probably dangerous experience.\n\nThe alley continues north, past a staple-encrusted utility pole, until the beams of the streetlamps don't quite reach; west is the parking lot and east is Paco's Taco's.\n\n> You go east\nHere's the entrance to Paco's Tacos, everyone's favorite place for a bite as long as everything else is closed. The stretch of sidewalk here is covered by a striped awning for the masses to huddle under while waiting for a table at peak hours. The door to the north is framed by neon signs behind plate glass windows. Further east is Get Your Licks.\nI beg your pardon?\n\n> Go north\nThe cash register sits here on a long counter, accompanied by a great big tip jar and guarded by a bored-looking cashier. The menu is printed on a big chalkboard near the ceiling.\n\nAround the counter and to the north is a long hallway. That must be where the big guy came from.\n\nA blonde cop and a mustachioed cop are enjoying their tacos in a booth near the counter.\n\n> You talk to the cop\n(the blonde cop)\nYou try to greet the officers, but they greet you first: \"Hey, could you take off the mask, pal? You're looking kind of suspicious. Kind of arrestable.\"\n\n> You remove the mask\nYou take off the ram mask.\n\n> You talk to the cop\n(the blonde cop)\nThe two officers look up from their respective tacos as you approach.\n\n[1] \"Good evening, officers!\"\n[2] \"Shouldn't you two be out cleaning up the streets?\"\n[3] \"I should probably get going.\"\n[4] Point your gun at them.\n\n> 4\nIt seems to take an awful long time to get your gun out of your pocket, but once you succeed, a number of things happen in quick succession. All of a sudden you're lying on your side on the floor, and people are yelling at you, and then you're in the back seat of a car, and then you're somewhere else and some other people are yelling, and&\n\nThe moral of this particular story is: aggravated assault upon a law enforcement officer is a felony offense, carrying a minimum sentence of three years.\n\n> 1\n\"Good evening, officers!\" is what you try to say, but it comes out as \"Good evening, ollifis--\" and then you seem to somehow choke on your own tongue. The cop with the mustache is able to stifle his laughter, but his partner audibly snorts into her drink.\n\n\"Good evening yourself, citizen!\" answers the mustachioed cop, as his partner wipes off her face. \"This here is Officer Rae, and I am Officer Bob, at your service.\"\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"Do you guys know Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"I should probably get going.\"\n[5] Point your gun at them.\n\n> 3\n\"I have a crime to report!\"\n\n\"Oh man!\" Blonde Cop smiles. \"Really? Lay it on me. Lay it on us.\"\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"Do you guys know Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"There's some graffiti painted on the utility pole in the alley.\" [5] \"I think there's a car parked illegally outside.\"\n[6] \"I should probably get going.\"\n[7] Point your gun at them.\n\n> 5\n\"I think there's a car parked illegally outside.\"\n\n\"What, seriously?\" Officer Rae asks, as if the sin of illegal parking could possibly be interpreted as a joke.\n\n\"What do you want us to do about it? We're not the towing company. We enforce the law, not people's made-up parking rules.\"\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"Do you guys know Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"There's some graffiti painted on the utility pole in the alley.\" [5] \"I should probably get going.\"\n[6] Point your gun at them.\n\n> 4\n\"There's some graffiti painted on the utility pole in the alley.\"\n\n\"No kidding! Graffiti, huh? Wow. Crazy. Tell you what,\" Mr. Mustache says, as if addressing an eight-year-old, \"Why don't you go get some hot, soapy water and wash that right off? Your good deed for the day.\"\n\n\"Taking care of that kind of stuff is the prerogative of the property owner,\" his partner adds, more helpfully.\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"Do you guys know Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"I should probably get going.\"\n[5] Point your gun at them.\n\n> You talk to the cop\n(Officer Rae)\nThe two officers look up from their respective tacos as you approach.\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"Do you guys know Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"I should probably get going.\"\n[5] Point your gun at them.\n\n> 2\n\"Do you guys know Paco?\"\n\nAfter a couple seconds of blank stares, the officers seem to come to the same realization simultaneously, and in near-unison they cry: \"Oh! Yeah! Paco!\"\n\nOfficer Rae rolls her eyes. \"Of course we know Paco.\"\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"What kind of guy is Paco?\"\n[3] \"I have a crime to report!\"\n[4] \"I should probably get going.\"\n[5] Point your gun at them.\n\n> 2\n\"What kind of guy is Paco?\"\n\n\"He's a beacon of integrity in this community,\" offers Officer Rae.\n\n\"We should know; we're his best customers,\" adds Officer Bob.\n\n\"Yeah, we're such good customers, we should be eating for free.\"\n\nOfficer Bob gapes at Officer Rae. \"Are you saying you've been paying money for these?\"\n\n[1] \"Stopped any good crimes lately?\"\n[2] \"I have a crime to report!\"\n[3] \"I should probably get going.\"\n[4] Point your gun at them.\n\n> 3\n\"I should probably get going,\" you mumble, turning away.\n\nAs you leave, you can hear one of the cops calling \"Smell ya later! I mean, remain vigilant, citizen!\""
    },
    {
        "text": "[Themes: Humor, Crime, slice of life, animals]\n\n> You describe your surroundings\nThe cash register sits here on a long counter, accompanied by a great big tip jar and guarded by a bored-looking cashier. The menu is printed on a big chalkboard near the ceiling.\n\nAround the counter and to the north is a long hallway. That must be where the big guy came from.\n\nOfficer Rae and Officer Bob are enjoying their tacos in a booth near the counter.\n\n> Go north\nAs you shuffle toward the hallway, you cast a sideways glance at the cashier, expecting him to tell you to stay out of Paco's office. But he just continues staring, catlike, straight in front of him.\n\nYour fingers find the light switch in the instant that your brain realizes there's someone sitting there in the darkness, ready to bust a cap in you the second they get a good look at who's sneaking around in their office. But when you turn on the light, there's nobody there.\n\nThis place is a dump. The one nod to aesthetics is a framed portrait hanging on the wall that looks like it was painted in a hurry. Besides that, the desk, the plastic wardrobe, the wheeled upholstered chair from 1976, even the garbage can all look like they fell down a couple flights of stairs each.\n\nSet into the wall behind the desk and looking extremely out of place in this atmosphere of squalor is an expensive-looking safe.\n\n> You examine the portrait\nThe painting, apparently from the same brush that created the piece out at the store entrance, depicts as austerely as possible the guy you ran into at the counter.\n\nIs this \"Paco,\" then? He doesn't look like a Paco. He looks more like a Chunk.\n\n> You look in the garbage can\nThat's an awful lot of submarine sandwich receipts.\n\n> You examine safe\nA metal door at about eye level, about two feet wide and a foot tall. On the right end there are four dials and a big handle; on the left end there's the insignia of the manufacturer.\n\n> You look at the insignia\nThe insignia reads \"UR-SECUR\".\n\n> You look at the desk\nThis thing has so many scratches and dents, you could almost mistake it for your car--if your car had a few more fake, peeling wood grain accents. There's nothing on top but a layer of dust. The desk has a top drawer and a bottom drawer, both currently closed.\n\n> You eat safe\n(first taking the safe)\nIt's stuck in the wall.\n\n> You open the drawer\nAs it turns out, the top handle and the bottom handle are both connected to the same big drawer. As you pull it open, an empty bottle rolls around inside. A pink sticky note is stuck to the bottom.\n\n> You examine the note\n(the sticky note)\nIt's pink, and the writing on it says:\n\nWFPP (safe)\n4523dave! (laptop)\n\n> You examine the dials\nThere are four dials; each one has a little arrow that can point at one of a selection of consonants: B, D, F, J, P, R, T, W and Z. Currently they spell out: WRTF.\n\n> You set the first dial to the W.\nYou spin the dial until the little arrow points at W.\n\n> You set the second dial to the f.\nYou spin the dial until the little arrow points at F.\n\n> You set the third dial to the p.\nYou spin the dial until the little arrow points at P.\n\n> You turn the handle\nWhich do you mean, the safe's handle or the hooked handle of the umbrella?\n\n> Safe's handle\nThe handle turns, and the safe door swings open.\n\nAs it turns out, the safe is only a few inches deep, and the back wall is a complicated console made up of a bunch of buttons and screens--it looks like mission control at NASA.\n\nSo where's the money?\n\n> You look at the console\nThere's a screen on the left and a screen on the right, surrounded by an incomprehensible mass of unlabeled buttons.\n\n> You look at the bottle\nIt's a brown glass bottle, for some brand of beer that's so cool you've never heard of it.\n\n> You look at the buttons\nIt's impossible to tell what's going on with any of these buttons, although one of them near the middle is red.\n\n> You press the red button\nYou have to glance again at the office door before you work up the nerve to push the button. Once you do, the console makes a couple of worrying clicking noises--but then it starts humming, and the two screens light up. The images are in grainy black and white, but you can mostly tell what's going on:\n\nOn the left screen is one of those Egyptian statues of a guy with a wolf's head wearing a towel. Someone has placed it in front of a curtain.\n\nMeanwhile, on the right screen, a number of people in hooded cloaks are milling around a candlelit room.\n\n> You wait\nTime passes.\n\nSomeone in a hooded cloak walks up to the wolf-head statue on the left screen.\n\nOn the right screen you can discern that the cloaked people are moving around a huge table. It's impossible to tell how many people there are; there are dozens of candles in the room, and they cast all kinds of confusing shadows.\n\n> You watch screens\nWhich do you mean, the left screen or the right screen?\n\n> You watch the left screen\nThe left screen depicts a statuesque man (or statue of a man) with a creepy wolf head, standing guard in front of a curtained doorway.\n\nThe cloaked person on the left screen raises his own hand (or her own hand?) back at the wolf guy. Are they going to high five? Are they just comparing hands? You can't see the cloaked guy's face.\n\nThe items are being arranged on the huge table in a spiral pattern: Circles within circles, around and around&\n\n> You watch the left screen\nThe left screen depicts a statuesque man (or statue of a man) with a creepy wolf head, standing guard in front of a curtained doorway.\n\nOn the left screen, the guy facing Shirtless Wolf Head Guy looks down to reach in his cloak, and for the moment he faces the camera you can see he's wearing a stoic lion's-face mask.\n\nThe intricate pattern on the table on the right screen is obviously arranged around some central thing, but you can't make out what it is.\n\n> You wait\nTime passes.\n\nThe dude (or lady) in the cloak on the left screen pulls a mean-looking dagger out of the copious folds of his (or her) voluminous robe.\n\nThe centerpiece of the table appears for an instant, glittering. Is it a diamond? Is it multiple diamonds?\n\n> You wait\nTime passes.\n\nOn the left screen, the cloaked person points his dagger right at Shirtless Wolf Head Guy.\n\nOne of the hooded people on the right screen raises her arms. Apparently she's yelling at everyone else, because they all stop what they're doing and look at her.\n\n> Wait\nTime passes.\n\nThe wolf head guy nods his smooth, expressionless, incredibly eerie wolf head. The cloaked guy nods back.\n\nThe leader of the cloaked people on the right screen gestures theatrically toward the table. As she turns, you can tell she's wearing a mask with a long snout.\n\n> You wait\nTime passes.\n\nOn the left screen, the wolf head guy steps out of the way, and the guy in the cloak walks through the curtain and out of sight.\n\nOn the right screen, the people are watching the snout-masked lady intently. Some of them start nodding.\n\n> You examine lady\nThese screens are so small, you can't really make out any details of the snout-masked lady.\n\nShirtless Wolf Head Guy steps back in front of the curtain and crosses his arms.\n\nAs Snout-Mask Woman's gesticulations reach a crescendo, some other person (probably wearing a cloak) walks in front of the camera. The image on the right screen goes completely black.\n\n> You read the letter\nThe letter is a single piece of paper, embossed with a gold border and folded in thirds like it was delivered in a business envelope. The letterhead (also gold-embossed) says \u00c5\u00c3\u00c4\u00b7\u00c1\u00b9\u00bf \u00c9\u00b8\u00bf\u00c2, which must be Russian or something. At least the main text is in English:\n\nVenerable Brothers and Sisters!\n\nCircumstances have lately demanded that the meeting of our illustrious Organization in this turning of the Moon must be convened instead at our auxiliary Location, accessible via the roof of your Brother's most distinguished La Pizz\u00e1 Building. A thousand thousand apologies are extended for the inexcusable lack of Foresight that necessitated this disturbance.\n\nYou are reminded, O Brothers and Sisters, that acceptance into our Mystery is forbidden to those who do not prove themselves by the Sacred Ritual, and that entry to our auxiliary Location is granted only to those who pay fitting Homage to our Guardian Pet.\n\nYou are thus warned!\n\nAnd then where the signature should be there's just this goofy code: An upside-down J, a picture of a boot, and then picture of a teacup.\n\nStanding perfectly still, with his arms crossed, the wolf head guy is starting to look like a statue again.\n\nWhoever's standing in front of the camera for the right screen doesn't seem to have anywhere else to be.\n\n> Go south\nThe cash register sits here on a long counter, accompanied by a great big tip jar and guarded by a bored-looking cashier. The menu is printed on a big chalkboard near the ceiling.\n\nAround the counter and to the north is a long hallway.\n\nOfficer Rae and Officer Bob are enjoying their tacos in a booth near the counter.\n\n> You go south\nThe place is pretty much dead. The chairs aren't on the tables yet, but the place may as well be closed.\n\nAt the north end, across the dining room, there's a counter attended by a cashier.\n\nAn oversized painting on the west wall arrests your attention.\n\n> Go south\nHere's the entrance to Paco's Tacos, everyone's favorite place for a bite as long as everything else is closed. The stretch of sidewalk here is covered by a striped awning for the masses to huddle under while waiting for a table at peak hours. The door to the north is framed by neon signs behind plate glass windows. Further east is Get Your Licks.\n\n> Go west\nThe single streetlight shared by the two parking lots casts most of its light on the La Pizza side, so while you can barely see your own feet, your car back on the west side is cast in a harsh orange glow. Paco's is on the other side of the alley east of here.\n\nThis side of the lot has its own informative sign.\n\nThat silver Honda is still parked here.\n\n> You go west\nLa Pizz\u00e1 Parking Lot\nThis parking lot is reserved solely for La Pizz\u00e1 customers, as the sign over there clearly states. La Pizz\u00e1 is across the street west of here, but of course by this time of night it's locked up tight.\n\nA low-slung iron chain separates this section of the lot from the one reserved for patrons of Paco's Tacos, which is further east.\n\nYour piece of junk Ford Focus is parked here.\n\n> Go west\nOutside La Pizz\u00e1\nYou brought a date here once. You could barely afford it then; you definitely wouldn't be able to afford it now.\n\nCome to think of it, as expensive as that date was, it should have gone a lot better.\n\nThe dark red brick building, tall and well-kept, looks extremely out of place in this neighborhood. By way of contrast, the lot directly to the north is vacant, a jungle of weeds and trash.\n\nThe name of the restaurant is displayed above the door in the form of a massive cursive neon sign, taking advantage of every flourish and curlicue that \"La Pizz\u00e1 Pizzeria\" can offer. Above the sign there are a number of windows, some with their lights on. There must be apartments or offices or something up on the second floor.\n\nThat buzzing you hear is the fancy security system.\n\n> Go north\nNorth of La Pizz\u00e1\nDozens of crickets jump out of your way as you make your way through the overgrowth.\n\nAll kinds of weeds and grasses have found homes in this plot of heavily-cracked pavement, studded with various pieces of litter.\n\nLooking around, you realize that the entire lot is fenced off. You're trapped in here, with the weeds and refuse--but then again, you can always go back south to the pizzeria entrance.\n\nA fire escape slashes its way down the north wall of the building.\n\n> You examine the fire escape\nThe network of black iron stairs and railings appears to go all the way up to the roof. It can only be accessed from the ground, however, by means of the attached ladder, which is hanging unclimbably in the air.\n\n> You search the weeds\nIf only someone had possessed the foresight to spread around some industrial-strength weed-killer on this spot two hundred years ago.\n\n> Go south\nOutside La Pizz\u00e1\nThe dark red brick building, tall and well-kept, looks extremely out of place in this neighborhood. By way of contrast, the lot directly to the north is vacant, a jungle of weeds and trash.\n\nThe name of the restaurant is displayed above the door in the form of a massive cursive neon sign, taking advantage of every flourish and curlicue that \"La Pizz\u00e1 Pizzeria\" can offer. Above the sign there are a number of windows, some with their lights on. There must be apartments or offices or something up on the second floor.\n\nThat buzzing you hear is the fancy security system.\n\n> You examine the windows\nSome are lit, and some are unlit, but they're way up there; who can tell what's going on behind them?\n\n> You listen\nAt least, you assume it's the security system. It sounds like the kind of buzzing sound that a really expensive security system would produce.\n\n> You go east\nLa Pizz\u00e1 Parking Lot\nThis parking lot is reserved solely for La Pizz\u00e1 customers, as the sign over there clearly states. La Pizz\u00e1 is across the street west of here, but of course by this time of night it's locked up tight.\n\nA low-slung iron chain separates this section of the lot from the one reserved for patrons of Paco's Tacos, which is further east.\n\nYour piece of junk Ford Focus is parked here.\n\n> Go north\nNorth of La Pizz\u00e1\nAll kinds of weeds and grasses have found homes in this plot of heavily-cracked pavement, studded with various pieces of litter.\n\nLooking around, you realize that the entire lot is fenced off. You're trapped in here, with the weeds and refuse--but then again, you can always go back south to the pizzeria entrance.\n\nA fire escape slashes its way down the north wall of the building.\n\n> Search refuse\nAt some point in the past, there wasn't enough trash in this lot to be a problem. Then, suddenly and without warning, there was too much trash to do anything about it, and that's where things stand now.\n\n> Dance\nDancing is for when you're alone, at home.\n\n> Up\nWith a nervous glance around the vacant lot, you climb up the ladder and begin your ascent of the fire escape.\n\nGood grief.\n\nOn top of this pizzeria, in the middle of this terrifying neighborhood, somebody has cultivated a garden the likes of which you have only seen in movies about drug lords. Here is a tall shrub that has been cut into the shape of a naked lady. Here is a statue of a cat, carved out of a block of marble or ivory or something like that. The flowerbeds are immaculate, lit by pale blue lamps in neat little rows.\n\nThe centerpiece of the spectacle is a gigantic artificial waterfall.\n\n> You examine the waterfall\nIt's taller than you. The water must be pumped up to the top through hidden tubes; it falls a great distance into a little pond, which feeds an adorable pebbled stream that runs into the flowerbeds and disappears.\n\nIt's astonishing that the whole setup isn't audible from the ground.\n\n> You look at the shrub\nIs it supposed to be a topiary version of the Venus de Milo? But then it wouldn't have arms. Guess it's just a generic naked lady shrub.\n\n> You examine the cat\n(the cat statue)\nThis cat is larger than life, and carved in great detail. It has its eyes closed and its head tilted, as if enjoying a particularly good petting or scratching.\n\n> Pet statue\n(the cat statue)\nThe cat statue produces an unnerving series of clicks, and all of a sudden the flow of the waterfall slows to a trickle, then stops. Now you can see what's on the other side: the fountain was obscuring a roof access door. How dramatic.\n\n> You examine the flowers\nMost of the flowers are those tall orange ones with the pointy petals and the bright red stamens. What are these flowers called? Why have you seen them in so many places around town?\n\n> Pet lady\nThe naked lady shrub does not respond. All of a sudden you feel very lonely.\n\nThe waterfall begins trickling again, and before you know it the roof access door is inaccessible again."
    },
    {
        "text": "[Themes: Crime, Humor, ice cream, gender-neutral protagonist, male protagonist, humor, slice of life]\n\n> You look around\nOn top of this pizzeria, in the middle of this terrifying neighborhood, somebody has cultivated a garden the likes of which you have only seen in movies about drug lords. Here is a tall shrub that has been cut into the shape of a naked lady. Here is a statue of a cat, carved out of a block of marble or ivory or something like that. The flowerbeds are immaculate, lit by pale blue lamps in neat little rows.\n\nThe centerpiece of the spectacle is a gigantic artificial waterfall.\n\n> You look at the lamps\nThey're so evenly spaced along the walkways, in such straight lines, that they suggest the lights of an airport landing strip.\n\n> You examine the cat\n(the cat statue)\nThis cat is larger than life, and carved in great detail. It has its eyes closed and its head tilted, as if enjoying a particularly good petting or scratching.\n\n> Pet cat\n(the cat statue)\nYou push down the cat head and the waterfall stops again."
    },
    {
        "text": "[Themes: Humor, Crime, culinary theme, male protagonist, money]\n\n> You look at your surroundings\n>Rooftop Garden\nOn top of this pizzeria, in the middle of this terrifying neighborhood, somebody has cultivated a garden the likes of which you have only seen in movies about drug lords. Here is a tall shrub that has been cut into the shape of a naked lady. Here is a statue of a cat, carved out of a block of marble or ivory or something like that. The flowerbeds are immaculate, lit by pale blue lamps in neat little rows.\n\nThe roof access door is currently unobscured by any waterfalls.\n\nThe waterfall begins trickling again, and before you know it the roof access door is inaccessible again.\n\n> You open the door\nIt's already open.\n\n> You go inside\nYou hurry in the roof access door before the waterfall starts up again.\n\nYou're inside La Pizz\u00e1! Finally! Well, you're inside the building anyway.\n\nThere's not much going on up here, except for the door to the roof and the stairs leading down.\n\nThere's a button on the wall here labeled \"waterfall control,\" which is convenient.\n\nYou can hear the waterfall starting up again."
    },
    {
        "text": "[Themes: Crime, Humor, money, culinary theme, slice of life, ice cream]\n\n> Go downward\nHey, there's something interesting here.\n\nOn this particular landing there's a little window set into the concrete wall, like you might use to look inside a prison cell. Or outside of a prison cell.\n\nOther than that: the stairs go up, and the stairs go down.\n\n> You examine the window\nThe window is only about three inches tall and eight inches wide, and it seems tinted, but you can see plenty on the other side: A bunch of tables and chairs. It must be the La Pizz\u00e1 dining room! If only you could get inside!\n\nActually, it doesn't look that nice from over here.\n\nBut what does this window look like from the other side? Are you looking out of the eyeballs of a creepy portrait? Why is this window even here?"
    },
    {
        "text": "[Themes: Crime, Humor, humor, gender-neutral protagonist, male protagonist]\n\n> Go downwards\nThere is nothing at the bottom of the stairs except a stain on the floor. And some heavy-looking double doors to the east.\n\nThe doors groan and open automatically as you approach.\n\n> You examine the stain\nIt could have been blood, or it could have been marinara sauce--perhaps some combination of the two.\n\n> You check your inventory\nYou are carrying:\na fancy letter\na golden dagger\na cloak (being worn)\na note about parking\nan umbrella\nan empty M&M's bag\nyour keychain\nsome guy's wallet\na ram mask (being worn)\na long, bent coat hanger\na duffel bag (open but empty)\na pair of sunglasses\n$8.27, mostly in change\na gun\n\n> Go east\nAs you cross some invisible threshold, the doors slam shut behind you.\n\nThis looks like one of those tunnels they use to covertly transport uncostumed workers at Disneyland. The walls are exactly as tall as the ceiling and floor are wide, so the hallway is perfectly square, a fact which wouldn't normally seem so eerie, but these walls are sweating in the humidity, and there are ancient stains and cracks all over them. The lights are only bare bulbs, and they're spaced out too far apart.\n\nThere's a human figure at the far eastern end of the hall.\n\n> You go to the east\nService Tunnel?\nHere, in a dark spot between two light bulbs, is a good place to pause for a moment, because from here you can see that the person at the eastern end of the hall is a shirtless dude wearing a wolf-face mask.\n\n> You talk to the dude\nHe's still too far away for you to do anything other than covertly admire his abs.\n\n> You look at the mask\n(the ram mask)\nGoats are incredibly creepy, but a lot of their creepiness is due to their rectangular pupils, so it's a good thing this mask has eye-holes instead. It also has curly horns that bend back, apparently to fit underneath the hood of a cloak.\n\n> You go east\nThis is the extreme end of the hall. The doorway to the east is obscured by an ornate curtain.\n\nThe shirtless guy with the wolf mask stands in front of the curtain, impeding your progress.\n\nNow he raises his palm to you, as if to say: \"Halt!\"\n\n> You raise hand\nYou raise your hand.\n\nWolf Head Guy stands there, with his palm facing your palm. He leans in a little, as if asking you to& do something.\n\n> You examine the abs\nNice.\n\nThe guard tries to rub his brow to demonstrate his frustration, but he can only rub his mask.\n\n> You show the dagger\n(to Shirtless Wolf Head Guy)\n[Use TALK TO to interact with characters.]\n\nThe guard composes himself.\n\n> You talk to Guy\nShirtless Wolf Head Guy's emotionless mask regards you coolly.\n\n[1] \"Nice wolf head mask!\"\n[2] \"Do you work out?\"\n\n> You talk to the guard\n[3] \"Have you seen Paco lately? Paco, of Paco's Tacos?\"\n[4] \"Could you tell me what's going on around here? I'm just getting more and more confused.\"\n\n[5] \"Did you know you're on TV?\"\n\nBefore you can finish a single syllable, Wolf Head Guy holds up a finger in front of his snout, as if to say \"Shut up!\"\n\nNow he raises his palm to you, as if to say: \"Halt!\"\n\n> You point the dagger at the Wolf Head Guy\nYou point the golden dagger squarely at Shirtless Wolf Head Guy.\n\nHe nods in response.\n\n> Nod\nYou nod.\n\nThis is apparently exactly what Wolf Head Guy wanted, because now he finally steps out of your way."
    },
    {
        "text": "> You describe your surroundings\nThis is the extreme end of the hall. The doorway to the east is obscured by an ornate curtain.\n\nShirtless Wolf Head Guy stands off to the side, ready to let you pass.\n\n> You go east\nWhat is this?\n\nDozens of people are milling around. They're all in hooded cloaks, and they're all wearing creepy animal masks, except for the people who are wearing very creepy yellow, glassy-eyed human masks. The room is huge--where the heck is this room?--and lit up with hundreds of little candles, enough to make the room unbearably hot. But the air conditioning is on full blast, so the flames just whip around crazily and cast all kinds of weird shadows.\n\nAt one end of the room is a raised platform with a podium; behind the platform are two giant bird-headed statues.\n\nIn the middle of the room is a massive table.\n\nShirtless Wolf Head Guy pokes his head in through the curtain and nods at somebody.\n\n> You look at the table\nThe table is laid out in a spiral pattern: rings within rings of napkins and punch bowls and plates and platters: shrimp, sorbets, mozzarella bruschetta, mousse in little glasses, slices of brie--a tourbillon des hors d'oeuvre that sweeps the eye like a drowning sailor toward the center of its vortex: An ice sculpture of a bird.\n\nOne of the cloaks breaks off from a group to take the stage. When he steps into the light, you can see his mask is a long, pointed face, a reptilian face. Either an alligator or a crocodile, depending on what the difference between those two things is.\n\nAs he nears the middle of the stage, the murmuring in the room diminishes, and the knots of people loosen into more of a herd as everyone turns toward the platform.\n\n> You look at the sobek\nHe definitely fills out that robe. And he moves around as if he doesn't care what he knocks over.\n\nThe guy in the alligator mask raises his arms. \"Brothers and sisters!\" his voice rumbles, muffled by the mask. \"I'm getting the signal from Doug that everyone is here, so let me start out by saying I am pleased, I am beyond pleased, to call to order this meeting of the Mystery of Thoth.\"\n\nWhere have you heard that voice before?\n\n> You look at Paco\nHe definitely fills out that robe. And he moves around as if he doesn't care what he knocks over.\n\n\"The catering for tonight's meeting was overseen by Sister Heatherton, and it's a really amazing spread, as you can see; I think she deserves some recognition. Sister Heatherton, can you show us where you are?\"\n\nA woman near you wearing a hippopotamus mask (Is that Snout Mask Woman? She's thinner in person) raises her hand. \"I had a lot of help!\" she giggles, but her attempt at modesty is drowned out by applause.\n\n> You talk to Paco\nEveryone in here is paying attention to something other than you. This is the one respect in which this party is like every other one you've been to.\n\n\"The chocolate mousse in particular is just staggering,\" continues the alligator mask, as the ovation peters out. \"You don't serve this to the general public, do you?\"\n\nShe shakes her hippo head emphatically, but Alligator Mask isn't really looking for an answer so much as he's trying to get a laugh out of the audience.\n\n\"Good! They don't deserve mousse like this!\" he growls, and as everyone laughs some more, you realize who it is that's wearing that mask.\n\nIt's Paco! From Paco's Tacos! Although you're starting to suspect that \"Paco\" isn't his real name.\n\n> You eat the mousse\n(first taking the glasses of mousse)\nYou carefully pick up one of the fragile-looking glasses.\n\n\"Now, before we get going, let me remind you that Brother Kerrigan is playing taxman, going around collecting your offerings,\" Paco continues. Somebody on the other end of the room raises a stack of envelopes over his head.\n\n\"Remember, a lot of people are depending on us, and vice versa. And although the Mystery of Thoth has yet to be recognized as a charitable organization,\" (another big laugh) \"&your support does make a difference in these people's lives. You all know Vic, from the health department. He told me the other day that his family's going to Maui in a couple weeks. I said 'That's nice! So, what are you gonna do while they're away?'\"\n\nHuge laugh.\n\n> You wait a while\nTime passes.\n\nBrother Kerrigan weaves his way through the crowd, shaking his pile of envelopes at everybody he passes, but each one raises a hand as he approaches, as if to say \"No, I'm good.\" When he's finally satisfied, he makes his way east, where the crowd parts to reveal a previously hidden doorway.\n\n> Wait\nTime passes.\n\n\"I'm glad everybody could make it; sorry we had to change the venue on you at the last minute. We were hoping to do this in Sister Witt's lounge at the Lafayette Caf\u00e9, but things fell through. I think it was a piano that fell through, right? Fell through the ceiling!\"\n\nThis one doesn't land quite as well. Paco coughs.\n\n\"Well, let's get right to it. What is there as far as old business?\"\n\n> Wait\nTime passes.\n\nSomeone else speaks up: \"There is the matter of the interloper.\"\n\nInterloper! Do they mean you? Are you found out?\n\n> Wait\nTime passes.\n\n\"I was actually hoping to save that issue for last&\" Paco grouses.\n\n\"Well I say we settle it now! She's been enough of an annoyance these past months.\"\n\nThen it's probably not you. You've only been an annoyance for maybe a couple of hours.\n\n> You wait for a while\nTime passes.\n\nPaco throws up his hands. \"The chair recognizes your bellyaching, Brother Stantz! But there are some other things we need to get out of the way first. How about new business; is there any new business?\"\n\nBrother Kerrigan re-emerges from the doorway to the east.\n\n> You go east\nIt's even colder in here.\n\nThis is either an office or some sort of lounge: The walls are lined with shelves, but the shelves are all empty; up against one wall is an aquarium, but without any fish; there's a long table in the middle of the room, but there's only one chair. A window in the door to the north and a lamp inside the aquarium supply the only light.\n\nThe door shuts behind you with a faint click, but the conversation in the next room is still audible.\n\nThat pile of fat envelopes is here, but now they're all empty.\n\n\"Point of order! We haven't finished with old business!\"\n\n\"Oh, point of order, huh? Well, I am going to table your point of order. I am going to postpone your point of order indefinitely.\"\n\nPaco's rapport with his audience has taken a turn. People are grumbling.\n\n> Search envelopes\nYou find nothing of interest.\n\nA new voice pipes up: \"Can't we have just one meeting that doesn't end with everybody at each other's throats?\"\n\n\"Yes! That is exact--\" Paco is blustering! \"That's why I wanted to finish off with the interloper issue, because it's something we can all agree on, so we could work as a team, and then when we were finished we could all leave feeling like we accomplished something.\"\n\n> You look under the table\nYou find nothing of interest.\n\nBrother Stantz yells: \"I think the first thing we should accomplish is the election of a new chair!\""
    },
    {
        "text": "> Describe the surroundings\nIt's even colder in here.\n\nThis is either an office or some sort of lounge: The walls are lined with shelves, but the shelves are all empty; up against one wall is an aquarium, but without any fish; there's a long table in the middle of the room, but there's only one chair. A window in the door to the north and a lamp inside the aquarium supply the only light.\n\nThe door shuts behind you with a faint click, but the conversation in the next room is still audible.\n\nThat pile of fat envelopes is here, but now they're all empty.\n\nAll of a sudden there's a lull in the meeting room. What's going on?\n\n> You look at the aquarium\nIs it technically an aquarium if there's no water in it? This one just has a bunch of rocks and sticks and moss. Someone has placed a folded white card in the middle.\n\nMaybe the meeting is over with? But there are no footsteps.\n\n> You look at the northern door\nThe little label on it says \"EXIT.\"\n\nYeah, there's still somebody in the meeting room. You can hear murmuring.\n\n> You look at the card\nIt has a poem on it, written in ballooning calligraphy:\n\nOur pal Apep, rest in pieces.\nFriend to shrewses and to meeces.\nYes, he truly was a sweetum,\nBut Sister Witt forgot to feed him.\n\nOr maybe there's no murmuring? Just the air conditioning?\n\n> You get the card\nYou can't get the lid off. Who wants some dumb memorial anyway?\n\nSomeone from the meeting room speaks up: \"Hey, who's in the office?\"\n\nOh. Oh no.\n\n> You go north\nThe stairs lead up into dingy dimness.\n\nThere's a commotion from the office behind you.\n\n\"Let me take care of it,\" somebody snarls.\n\n> Up\nThe stairs end here. There's one door, to the west, but it says \"EMERGENCY EXIT ONLY.\"\n\nYou hear someone stomping up the stairs.\n\n> Go west\nYou lean into the door, which turns out to be less heavy than you thought, and stumble outside.\n\nAny further north and the road gets too dark for any sane person to be walking around alone, but south of here there are streetlights, and a street.\n\nThere's a door in the east wall, but it has no handle."
    },
    {
        "text": "[Themes: Crime, Humor, money, Guns, restaurant setting]\n\n> You look around\nThere's not much going on up here, except for the door to the roof and the stairs leading down.\n\nThere's a button on the wall here labeled \"waterfall control,\" which is convenient."
    },
    {
        "text": "[Themes: Crime, Humor, male protagonist, humor]\n\n> Look around\nDozens of people are milling around. They're all in hooded cloaks, and they're all wearing creepy animal masks, except for the people who are wearing very creepy yellow, glassy-eyed human masks. The room is huge--where the heck is this room?--and lit up with hundreds of little candles, enough to make the room unbearably hot. But the air conditioning is on full blast, so the flames just whip around crazily and cast all kinds of weird shadows.\n\nAt one end of the room is a raised platform with a podium; behind the platform are two giant bird-headed statues.\n\nIn the middle of the room is a massive table.\n\n\"Point of order! We haven't finished with old business!\"\n\n\"Oh, point of order, huh? Well, I am going to table your point of order. I am going to postpone your point of order indefinitely.\"\n\nPaco's rapport with his audience has taken a turn. People are grumbling.\n\n> Go east\nIt's even colder in here.\n\nThis is either an office or some sort of lounge: The walls are lined with shelves, but the shelves are all empty; up against one wall is an aquarium, but without any fish; there's a long table in the middle of the room, but there's only one chair. A window in the door to the north and a lamp inside the aquarium supply the only light.\n\nThe door shuts behind you with a faint click, but the conversation in the next room is still audible.\n\nThat pile of fat envelopes is here, but now they're all empty.\n\nA new voice pipes up: \"Can't we have just one meeting that doesn't end with everybody at each other's throats?\"\n\n\"Yes! That is exact--\" Paco is blustering! \"That's why I wanted to finish off with the interloper issue, because it's something we can all agree on, so we could work as a team, and then when we were finished we could all leave feeling like we accomplished something.\"\n\n> You examine table\nThis looks like a meeting table, but there's only one chair next to it.\n\nOn the long table are a stack of maps, a crumpled list, some minutes, a cashbox and a collection of restaurant menus.\n\nBrother Stantz yells: \"I think the first thing we should accomplish is the election of a new chair!\"\n\n> You examine the cashbox\nA metal box of the sort typically guarded by moms running concession stands at high school football games. It's heavy. But it's locked.\n\nSomebody yells \"For the new chair, I nominate myself!\" but nobody seconds the motion.\n\n> You examine the maps\nOh, hey, these are all maps of this town!\n\nEach one has title written on it just north of the city limits, like \"ITALIAN\" or \"sports\" or \"ETHNIC,\" and then the city is broken up into different-colored sections, like a history textbook explaining where countries used to be.\n\nHere's the \"pizza\" map: La Pizz\u00e1 is in the middle of a big red area that takes up this whole side of town--that's right, there aren't any other pizza places around here, are there?--and the rest of the city is split up into much smaller blue, green, yellow and orange chunks, each with one other (less expensive) pizzeria.\n\nThe \"Mexican\" map has a doodle of a sombrero on it. And there's Paco's Tacos, sitting in the middle of its kingdom like Pierre in the middle of South Dakota.\n\nThere's an ice cream map, too, but it's a little different: this neighborhood is on the outskirts of the territory set apart for Captain Hugo's Locker (a pirate-themed pizza/ice cream place ten blocks from here). Get Your Licks isn't labeled by name, but the plat where it's located has been circled in red pen a few times. Maybe by Captain Hugo?\n\nHe must have been pretty angry.\n\nAll of a sudden there's a lull in the meeting room. What's going on?\n\n> You take all\nstack of envelopes: Taken.\nstack of maps: In a kind of nervous panic, you scoop up all the papers from the table in a big messy sheaf.\n\nA tiny metal key falls out of this sheaf and onto the floor.\ncrumpled list: You already have that.\nminutes: You already have that.\ncashbox: Taken.\ncollection of restaurant menus: You already have that.\n\nAll of a sudden there's a lull in the meeting room. What's going on?\n\n> You take the key\n(the tiny metal key)\nTaken.\n\nMaybe the meeting is over with? But there are no footsteps.\n\n> You wait\nTime passes.\n\nThe big, meaty footsteps are getting louder.\n\n> Wait\nTime passes.\n\nAs you're contemplating the pros and cons of opening the emergency exit, Paco arrives at the top of the stairs. \"Very kind of you to wait up for me,\" he pants. As you reach in your pocket for the gun, Paco pulls off your mask. \"Pleasure to meet you,\" he says, his own mask completely motionless. Then something (a fist!) slams into your face, and all of a sudden you are on the floor.\n\nMaybe, someday, things will get better for you.\n\n> Go south\nBefore you can scramble into the light of the streetlamps you fall to the ground, tackled by a huge man in an alligator mask.\n\nPaco turns your body over and presses a fat elbow against your neck. Then he tears off your mask and throws it down the alley.\n\n\"What are you doing here?\" he heaves.\n\n[1] \"I don't know!\n[2] \"Well, it started out when I lost my job&\"\n[3] \"Who are you?\"\n[4] \"What are you whackjobs doing down there?\"\n[5] Point your gun at him.\n\n> 2\n\"Well&\" With a monumental effort you successfully exhale the first sentence of your long, pathetic story, but before you can get any further Paco slaps you hard across the face.\n\n[1] \"I don't know!\n[2] \"Who are you?\"\n[3] \"What are you whackjobs doing down there?\"\n[4] Point your gun at him.\n\n> 3\nAll you can manage between shallow breaths is a weak \"What& &down there,\" which at least gets your point across.\n\nPaco leans in closer. \"We're business owners. We work together, to contribute to this community. We keep people like you in line,\" he hisses, \"because you people don't contribute anything.\"\n\n[1] \"I don't know!\n[2] \"Who are you?\"\n[3] Point your gun at him.\n\n> 2\n\"Who are you?\" you wheeze.\n\n\"Who am I?! I'm the Blue Moon! I'm Mike's On Fifth! I'm La Pizz\u00e1! I own half this town, and you're asking me who I am? You nobody?\"\n\nNow he's wheezing too.\n\n[1] \"I don't know!\n[2] Point your gun at him.\n\n> 1\n\"I hkkkk,\" you gag, Paco's elbow pressing down on your larynx. He does not ease up or respond.\n\n[1] \"Please, let me go! I won't tell anyone anything!\"\n[2] Point your gun at him.\n\n> 1\nYou manage the \"please,\" but Paco just pushes against your throat harder. You get the sense that he's a little overcome at the moment.\n\n[1] \"Please, let me go! I won't tell anyone anything!\"\n[2] Point your gun at him.\n\n> 2\nEven though Paco has you pinned to the ground, some sort of miracle happens and you're able to reach your gun. You point it at his face just long enough for him to realize what it is, and then you pull the trigger.\n\nYou hear a sharp crack, an explosion.\n\nWhich is odd, because the gun wasn't&\n\nNow you're standing up, and Paco is lying face down on the ground.\n\n\n\nAlthough you're pretty sure Paco isn't his real name.\n\nAny further north and the road gets too dark for any sane person to be walking around alone, but south of here there are streetlights, and a street.\n\nPaco is lying on the ground here.\n\n> You check the gun\nSmall enough to be carried inconspicuously in your pocket, but big enough to scare anybody it's pointed at, this is a kind of gun with a specific name--a brand name, like cars have. It also has a \"caliber,\" which is a number that refers to what kind of bullets you can put in it, but you can't remember that either.\n\nThe important details are easy enough: You point it like this, you put your index finger in here, and when you squeeze the trigger it goes boom, assuming the gun is loaded. One other important thing to keep in mind is that the gun is not loaded.\n\nThen you hear a scream from somewhere south of here. Some doors slam, some people yell at each other, and then a dog starts barking, so of course every other dog in the neighborhood starts barking, and from that point the noise becomes incomprehensible.\n\nThe gunshot must have been across the street. Some guy got mad at some other guy, or got mad at some other guy's car, or whatever. Somebody else's problem.\n\nMaybe it's time to go home.\n\n> You examine Paco\nBelly-down, in a fetal position, whimpering. If he's whimpering, then he's probably not dead, right?\n\n> You take Mask\n(the alligator mask)\nThat seems to belong to Paco.\n\n> You kick Paco\nYou give him a good kick, and he grunts pitifully in pain.\n\n> You go south\nThe bricks in this alley are so old that at the middle of the road they have sunk a full foot below the level of their neighbors closer to the building walls. Walking across this uneven half-pipe of bricks is an unnerving and probably dangerous experience.\n\nThe alley continues north, past a staple-encrusted utility pole, until the beams of the streetlamps don't quite reach; west is the parking lot and east is Paco's Taco's.\n\nYou can see a ram mask here.\n\n> You unlock the cashbox with the key\n(the tiny metal key)\nYou unlock the cashbox.\n\n> You open the cashbox\nGoodness. This is a lot of money. A whole lot of money, even speaking only in terms of how many pieces of paper there are. And a lot of them are hundreds. Counting all this would take a lot of time and require some math, so you decide to worry about that later.\n\n[Your funds have increased by, let's say, about fifty thousand dollars.]\n\n> Inventory\nYou are carrying:\na tiny metal key\na cashbox (open but empty)\na collection of restaurant menus\nsome minutes\na crumpled list\na stack of maps\na stack of envelopes\na glass of mousse\na fancy letter\na golden dagger\na cloak (being worn)\na note about parking\nan umbrella\nan empty M&M's bag\nyour keychain\nsome guy's wallet\na long, bent coat hanger\na duffel bag (open but empty)\na pair of sunglasses\n$50008.27, mostly in hundred dollar bills\na gun\n\n> You examine the menus\nThere must be a menu here for every restaurant in town! And they've all been marked up by pens of various colors, crossing out and replacing the prices of every item. Usually the prices go up (big surprise).\n\n> You look at minutes\nThat's what it says at the top of each sheet, anyway: \"Mystery of Thoth - Minutes of\" and then a date. The text is mostly incomprehensible bureaucratic nonsense. A random paragraph catches your eye:\n\nBrother Alpert moved to trade masks with somebody, saying he was \"tired of being the guy with a beetle for a face.\" Brother Malone denied this motion, although Brother Alpert was later seen at Mike's on Fifth offering Brother Stantz an undisclosed amount to swap him for the cobra mask.\n\nEach one is \"respectfully submitted\" by Sister Lagrange.\n\n> You examine the maps\nOh, hey, these are all maps of this town!\n\nEach one has title written on it just north of the city limits, like \"ITALIAN\" or \"sports\" or \"ETHNIC,\" and then the city is broken up into different-colored sections, like a history textbook explaining where countries used to be.\n\nHere's the \"pizza\" map: La Pizz\u00e1 is in the middle of a big red area that takes up this whole side of town--that's right, there aren't any other pizza places around here, are there?--and the rest of the city is split up into much smaller blue, green, yellow and orange chunks, each with one other (less expensive) pizzeria.\n\nThe \"Mexican\" map has a doodle of a sombrero on it. And there's Paco's Tacos, sitting in the middle of its kingdom like Pierre in the middle of South Dakota.\n\nThere's an ice cream map, too, but it's a little different: this neighborhood is on the outskirts of the territory set apart for Captain Hugo's Locker (a pirate-themed pizza/ice cream place ten blocks from here). Get Your Licks isn't labeled by name, but the plat where it's located has been circled in red pen a few times. Maybe by Captain Hugo?\n\nHe must have been pretty angry.\n\n> You look at the list\nThis paper is old, and it looks like people have been crossing parts out, rewriting parts, and annotating other parts with inscrutable question marks over the course of months or maybe years. It must have started out as a typewritten table: A column of names, a column of positions, and a column of dollar amounts. For example:\n\n\n\nMost of these names you don't recognize: building inspectors and health officials, police, newspaper editors. But the mayor is on here too! On his row, \"CITY COUNCILMAN\" has been crossed out and replaced with \"MAYOR,\" and \"$5000\" has been crossed out and replaced with a much larger number.\n\n> Go east\nThe lights are off. Paco's is closed.\n\n> You talk to Zuleika\n\"How can I help you?\"\n\n[1] \"I would actually love to taste something&\"\n[2] \"I know what kind of ice cream I want.\"\n[3] \"Would you mind my asking&\"\n[4] \"You wanna hear something weird?\"\n[5] \"What's your tattoo of?\"\n[6] \"What are all these newspaper clippings?\"\n[7] \"I should get going.\"\n\n> 4\n\"You wanna hear something weird?\"\n\nHer eyes widen. \"Yes. I do.\" You'd better think of something good!\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"Do you know about any weird cults around here?\"\n[8] \"Check out this dagger I found.\"\n[9] \"Look at this crazy mask.\"\n[10] \"Could you take a look at this note?\"\n[11] \"There's this garden with a waterfall on top of La Pizz\u00e1.\n[12] \"What's your tattoo of?\"\n[13] \"What are all these newspaper clippings?\"\n[14] \"I should get going.\"\n\n> 7\n\"Do you know about any weird cults around here?\"\n\n\"Cults?\" She frowns. \"I know that people act really weird around here, that's for sure. But I've never heard of any cults. I guess a good cult has to be secretive about it, right?\"\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"Check out this dagger I found.\"\n[8] \"Look at this crazy mask.\"\n[9] \"Could you take a look at this note?\"\n[10] \"There's this garden with a waterfall on top of La Pizz\u00e1.\n[11] \"What's your tattoo of?\"\n[12] \"What are all these newspaper clippings?\"\n[13] \"I should get going.\"\n\n> 7\n\"Check out this dagger I found.\"\n\n\"Oh my gosh! Where did you get this?\"\n\nYou hesitate.\n\nBut she doesn't notice: \"I found a dagger just like this, stuck in my door like a week ago! Someone stabbed it in my door in the middle of the night, like a warning from the mob or something. I thought it was just weirdos, I didn't think it was a thing. I have other stuff on my mind&\" She looks out the window.\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"Look at this crazy mask.\"\n[8] \"Could you take a look at this note?\"\n[9] \"There's this garden with a waterfall on top of La Pizz\u00e1.\n[10] \"What's your tattoo of?\"\n[11] \"What are all these newspaper clippings?\"\n[12] \"I should get going.\"\n\n> 7\n\"Look at this crazy mask.\" You hand it over to her, and she regards it suspiciously.\n\n\"Where the heck did this come from? It's creepy. I don't like it.\" She pushes it back toward you.\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"Could you take a look at this note?\"\n[8] \"There's this garden with a waterfall on top of La Pizz\u00e1.\n[9] \"What's your tattoo of?\"\n[10] \"What are all these newspaper clippings?\"\n[11] \"I should get going.\"\n\n> 8\n\"There's this garden with a waterfall on top of La Pizz\u00e1.\"\n\n\"Seriously?\"\n\n\"Yeah, it's got a shrub shaped like a cat, and a statue of a naked lady. I mean, the other way around.\"\n\n\"So, there's a statue of a cat, right? Do I understand you correctly? Well, give it a pet for me. I love cats, but I'm allergic.\"\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"Could you take a look at this note?\"\n[8] \"What's your tattoo of?\"\n[9] \"What are all these newspaper clippings?\"\n[10] \"I should get going.\"\n\n> 7\n\"Could you take a look at this note?\"\n\nShe says \"Sure,\" so you hand it to her.\n\n\"Wow, this is weird. These are some seriously nerdy people getting together. Where did you find this? Don't tell me.\"\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"What's your tattoo of?\"\n[8] \"What are all these newspaper clippings?\"\n[9] \"I should get going.\"\n\n> 4\n\"Would you mind my asking&\"\n\n\"Not at all!\" says Zuleika, without even knowing what it is you're going to ask.\n\n[1] \"You will not believe what just happened to me.\"\n[2] \"I would actually love to taste something&\"\n[3] \"I know what kind of ice cream I want.\"\n[4] \"Would you mind my asking&\"\n[5] \"You wanna hear something weird?\"\n[6] \"Have you seen this graffiti of a bird?\"\n[7] \"What's your tattoo of?\"\n[8] \"What are all these newspaper clippings?\"\n[9] \"I should get going.\"\n\n> 1\n\"You will not believe what just happened to me.\"\n\n\"Try me,\" she says.\n\n> You wait\nSo you tell her everything, from breaking into the car, to the cat statue and the waterfall, to Wolf Head Guy, to the whole scene in the meeting room, to your epic battle with Paco. As you hear yourself telling it, it sounds stupider and stupider, but your friend is transfixed. She doesn't doubt you for a second.\n\nAnd then you show her the papers you found in the office.\n\n\"This is me!\" she says, pointing to a circle on one of the maps. \"This is proof that they're after me! And this list has gotta be list of bribes that they're paying to people all over town! The freakin' mayor! You uncovered a huge, crazy restaurant conspiracy!\"\n\nShe pauses. \"We have to be careful about this. They're gonna be after you. But we can lay low. We can take it slow. We'll talk to my parents; they can hide you up on the farm if they have to. We'll figure it out.\"\n\n> You wait\nHer eyes glint. \"In the meantime, do you need a job?\"\n\n> You point gun at Zuleika\n\"You point it at her, but she yells \"Hey! Get that thing out of my face!\" and you put it away.\n\n> You give the money to Zuleika\nShe frowns. \"I don't need money,\" she says. \"I need customers that trust me. I need cops and building inspectors to stop breathing down my neck. I could use another cashier. But money isn't really my problem; my problem is business.\"\n\n> You check your inventory\nYou are carrying:\na ram mask\na tiny metal key\na cashbox (open but empty)\na collection of restaurant menus\nsome minutes\na crumpled list\na stack of maps\na stack of envelopes\na glass of mousse\na fancy letter\na golden dagger\na cloak (being worn)\na note about parking\nan umbrella\nan empty M&M's bag\nyour keychain\nsome guy's wallet\na long, bent coat hanger\na duffel bag (open but empty)\na pair of sunglasses\n$50008.27, mostly in hundred dollar bills\na gun\n\n> You give mousse to her\n(Zuleika)\n[Use TALK TO to interact with characters.]\n\n> You give the mousse to Zuleika\n[Use TALK TO to interact with characters.]\n\n> You enter the focus\nAside from the usual accomodations, the interior of this automobile boasts numerous empty pop cans, a tall and disorganized stack of documents and a variety of stains.\n\n> You drive\nAre you sure you want to drive home?\n\n> Yes\nSo, then, you go ahead and start the car.\n\nIt's so late now that there's nobody else on the roads. You can drive slowly, incredibly slowly, through intersections and empty parking lots; when you come up to the top of a hill you can weave back and forth while you idle your way down.\n\nAnd as you do, you let yourself smile a little bit.\n\nSome weird stuff happens over the next few weeks: Paco's Tacos closes, and then La Pizz\u00e1 says it's \"on hiatus,\" and some stories come out in the news that get people really angry, but you don't usually read the news.\n\nSo when the front page features a big picture of Paco (not his real name), next to a story about his controversial acquittal, you don't notice at all."
    },
    {
        "text": "[Themes: Fantasy, dragon, magical realism, underwater, nature, maritime, animals, physical simulation, contemplative, beach]\n\n> You take the shell\nTaken."
    },
    {
        "text": "[Themes: Fantasy, dragon, beach, animals, physical simulation, nature, magical realism]\n\n> You examine it\nIt's a lovely clam shell. The outer surface is almost pure white, while the inner is lined with bright, silvery mother of pearl.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a clam shell.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You go to the east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nThe snack bar must be what the sign on the stairs was pointing to. Your stomach rumbles again at the thought of food.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts.\nBehind the counter is an industrial boiler.\n\nBehind the counter, a vendor is busily locking things away for the night.\n\nThe vendor sees you approaching and throws a welcoming nod in your direction, followed by a rhetorical sounding \"Hey, how's it going?\"\n\n> You ask the vendor about the peanuts\nHe looks up from his work. \"They're definitely an acquired taste. I still prefer to peel the husks.\"\n\nThe vendor sweeps the patch of floor behind the counter.\n\n> You buy the peanuts\nYou clear your throat to get the vendor's attention before asking, \"Pardon, could I have some peanuts?\" \"Oh, sure,\" says the vendor. \"I think I've got a few left... yup, you're in luck. I'm closing up for the night. Another few minutes and I woulda tossed 'em.\" He takes a pot holder from beneath the counter and uses it to grab a wireframe sieve resting in the boiler. He bends over the boiler, and as he does, a small steel key slides out of his shirt pocket and falls into the bubbling water. Using the sieve, he scoops up the bobbing peanuts. He waits a moment while the sieve drains, and then dumps the peanuts into a brown paper sack. You dig a dollar out of your pocket and hand it over, and he in turn hands you the sack of peanuts. Apparently, he hasn't noticed his missing key.\n\nThe vendor sings a few lines of \"Yellow Submarine\" as he wipes down the counter.\n\n> You tell the vendor about the key\nIt occurs to you that you ought to keep that bit of information to yourself. If the vendor recovers the key, you may not get another chance to acquire it.\n\nThe vendor jerks his head sharply right, then left, issuing an uncomfortably loud crack each time.\n\n> You eat the peanuts\nThis southern delicacy is still something of an oddity to you. Some locals actually eat the entire peanut, husk and all. Never one to pass up a new experience, you pluck a peanut from the sack and pop it into your mouth. The husk crunches soggily between your teeth, revealing the pulpy fruit inside. You queazily suspect that a large bug would share the same texture. But despite that... it doesn't taste bad. In fact, boiled, the peanuts taste a lot like black eyed peas. You try another, this time removing the husk. Yes, it's quite tasty, so you eat a few more. They're so rich though, that it doesn't take many at all to quell your hunger. Thankfully, your stomach has stopped its rumbling, and there are still plenty of peanuts left in the sack.\n\nThe vendor bends down and slams a cupboard somewhere behind the counter.\n\nSuddenly, the vendor pulls a white plastic bucket from beneath the counter. To your surprise, he spills it out over the railing before locking it away again. \"Ah, just about done,\" he says to no one in particular. \"Just have to dump the peanut water and I'm outta here.\" He grabs the sieve from the boiler and sets it on the counter. \"Hey, would you lend me a hand here? I'd really appreciate it.\"\n\n> Yes\n\"Thanks!\" With your help, the vendor lifts the boiler pan off its foundation and muscles it to the railing. He calls out, \"Anybody down there?\" In an aside to you he says \"Don't worry, we only toss out stuff that's edible. It all gets eaten by the birds and the crabs. Everything else goes to the dump or gets recycled.\" He turns back to the railing and, having received no response from below, yells \"Ok, boiling water coming down!\" and leads you in tipping out the boiler. The boiling water cascades down into the sand, filling the air with billowing clouds of steam. Then, the vendor sets the empty boiling pan back on its base and folds down the lid. He reaches beneath the counter and withdraws a sturdy looking clamp, which he uses to fix the lid in place. \"Welp, that's it for me. Thanks much for the help.\nSee ya!\"\n\nWith that, the vendor steps out from behind the counter and sets his feet toward the center of the pavilion to the north."
    },
    {
        "text": "[Themes: Fantasy, animals, underwater, nature, magical realism, dragon]\n\n> You look around\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a sieve.\n\nThe boiled peanut vendor is here, apparently on his way home for the night.\n\nThe vendor exits the area and saunters north into the pavilion.\n\n> You get the sieve\nTaken.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You look in the boiler\nIt's closed.\n\n> You open the boiler\nYou try to pull the clamp off with your bare hands, but it's anchored too securely. There must be some trick to getting it off.\n\n> You examine the clamp\nIt's a thin, sturdy, triangle of steel. The open end of the triangle holds the boiler's lid tightly in place by pinching it against the thin bar that runs around the lip of the boiler.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You move the bar\nWhich bar do you mean, the snack bar, or the boiler?\n\n> Boiler\nIt seems to be firmly attached. There must be some special trick to removing it.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You pull the clamp\nPulling the clamp doesn't have any effect.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> Turn clamp\nTurning the clamp doesn't have any effect.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset."
    },
    {
        "text": "[Themes: Fantasy, beach, magical realism, physical simulation, underwater, contemplative, maritime]\n\n> Look around\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, underwater, magical realism, nature]\n\n> Go downwards\nIf you want to jump out of the pavilion, just say so. Otherwise, there is no way down.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> You examine the enclosure\nIt's a red brick enclosure that houses the pavilion's rest rooms.\nIt's only about twice your height, and it looks like there's plenty of space between the top of the enclosure and the pavilion's canopy. Two matching doors in the nearest wall are shut. Hung between them is a bronze plaque.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You examine the plaque\nThe plaque commemorates Tybrisa Pavilion II. You learn that the original Tybrisa Pavilion, built in 1891, played the role of dance hall, bandstand, and general tourist attraction, and at one time was a popular stop on the Big Band circuit. It served the local community for over three quarters of a century before burning down in 1967. Curiously, Tybrisa Pavlion II wasn't built until 1996, nearly 30 years after the original's destruction.\n\n> You look at the doors\nThe twin doors lead to the pavilion's rest rooms. Both doors are closed.\n\n> You open door\nYou can't. The rest room doors are both locked.\n\n> You go to the south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You jump\nYou throw your arms skyward and leap into the air."
    },
    {
        "text": "> Go down\nIf you want to jump out of the pavilion, just say so. Otherwise, there is no way down.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> Leave\nYou can't go that way.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> About yourself\nYou pause for a moment to take stock of your physical condition. You're feeling quite fit and healthy after your week of relaxation and exercise.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a clam shell, a sack of peanuts, and a sieve.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You look at the sand\nThe beach stretches quite a ways north and south of you, before curving out of sight around the contours of Tybee Island.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go south\nThe railing prevents you from walking off the pier.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man jerks and then begins reeling in line furiously. Apparently he's had a bite. The battle between man and nature begins! He lets out a bit of line, giving his catch some play, and then resumes reeling. The struggle continues until, at last, the line goes slack. The old man reels and reels, peering over the railing with anticipation until his catch is revealed to be... a shrimp. He glares with disgust at it for a moment before removing it from his line and tossing it over his shoulder, where it lands at your feet. He then expertly ties a new lure and recasts.\n\n> You take the shrimp\nTaken.\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> You look at the fountain\nIt's a waist high silver cabinet with a metal basin on top, just like all the other fountains you've ever seen.\n\nA small child bobbles into the area and tries to sneak up behind the old man, only to break out laughing. The old man jerks in surprise and throws the child a long, harsh glare.\n\n> You eat shrimp\nYou look with trepidation at the live, wriggling shrimp. Well, if it's good enough for sushi eaters... You pop the shrimp into your mouth and crunch down on it, shell, legs and all. You're struck with a brief sense of nausea that passes as quickly as it came. The shrimp's juices roll over your tongue and trickle down your throat, at the same both time sharply salty and subtly sweet. In the end, you decide it's not that bad. Not that bad at all.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> Drink water\nThe ocean water is too far away.\n\nThe old man pulls back hard on his rod, pulling the line taut.\n\nThe shrimp wriggles in your grasp.\n\n> You turn on the fountain\nYou turn the handle, but nothing happens. Perhaps the water main has been shut off for the night.\n\nThe old man plays out a few lengths of line.\n\n> You drop the shrimp\nYou toss the shrimp to the ground.\n\nThe old man pulls a flask from his pocket and takes a hearty swig.\n\n> You eat the shrimp\nYou're not holding the shrimp.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You eat it\nTaken.\n\nThe old man plays out a few lengths of line.\n\nThe shrimp wriggles in your grasp.\n\nYou look with trepidation at the live, wriggling shrimp. Well, if it's good enough for sushi eaters... You pop the shrimp into your mouth and crunch down on it, shell, legs and all. You're struck with a brief sense of nausea that passes as quickly as it came. The shrimp's juices roll over your tongue and trickle down your throat, at the same both time sharply salty and subtly sweet. In the end, you decide it's not that bad. Not that bad at all.\n\nThe slight breeze carries the sound of the old man grumbling to himself.\n\n> You ask man about the shrimp\nHe grunts in disgust. \"Danged shrimp keep catching up my line. They'll get tied up in anything given half the chance.\"\n\nThe old man reels in a tiny fish, grunts in disgust, and tosses it back.\n\n> Go west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\n> Go west\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> Go north\nThis patch of the broad pavilion floor seems to be set aside for spectators, as there are numerous wooden benches here. They're neatly arranged in two orderly rows. What with all these benches, you half expect to see picnic tables, but there are none. The main part of the pavilion floor sprawls largely to the south. Beyond that, against the southern railing, you can see the brick faced enclosure and the tiny snack bar.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You look at the benches\nThe benches are made of weathered gray wood. Each one is about knee high and as long as you are tall. They're neatly arranged in two orderly rows.\n\n> You look under the benches\nThere's nothing under the benches.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> Go west\nThe railing prevents you from going that way.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You go north\nThe railing prevents you from going that way.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You go east\nThe railing prevents you from going that way.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You look\nThis patch of the broad pavilion floor seems to be set aside for spectators, as there are numerous wooden benches here. They're neatly arranged in two orderly rows. What with all these benches, you half expect to see picnic tables, but there are none. The main part of the pavilion floor sprawls largely to the south. Beyond that, against the southern railing, you can see the brick faced enclosure and the tiny snack bar.\n\n> Go south\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You examine the railing\nIt looks like many railings you've seen. A long wooden handrail lies at waist height. Below it at knee height lies a second rail. Both are supported by vertical braces placed every body length or so. The railing surrounds the pavilion on every side, broken only by exits to the east and west. You're currently standing near the southernmost section of rail.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go west\nAs you step across the brick path, you stumble lightly on the rough bricks.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You go to the south-east\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls.\nYou see a mussel shell, lying in the sand.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You take the mussel\nTaken.\n\nFrom somewhere among the flock you hear a raucous cry that sounds suspiciously like \"Big Water!\"\n\n> You examine it\nIt's a small shell about the size of your thumb. The outer surface is a mottled black, while the inner is lined with dark, silvery mother of pearl.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You listen to it\nThe mussel shell isn't substantial enough to make much noise.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away."
    },
    {
        "text": "> Look around\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nFrom somewhere among the flock you hear a raucous cry that sounds suspiciously like \"Big Water!\"\n\n> You examine the message\nIn letters a hand high, someone has written \"Here There Be Dragons.\" Beneath that, they've drawn a simple compass rose with an arrow pointing to the northeast.\n\nA particularly bold or greedy gull waddles right up to your feet to seek a handout. It stares at you with one beady eye for a long, uncomfortable moment before returning to the flock.\n\n> You look at the trash\nYou try to wade through the flapping hoard of birds to get at the trash, but their greed is greater than their fear of you, and they refuse to back down.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You throw the mussel at the gulls\nYou toss the mussel shell among the squabbling hoard. Several of the gulls dash toward it, but quickly find it to be inedible.\n\nThe gulls battle among themselves for dominance over the temporary food supply.\n\n> You throw the peanuts at the gulls\nYou toss a couple of peanuts toward the flock of gulls. One lone gull takes notice of your offering and waddles over to investigate. It spots the peanuts, snatches one up, and devours it in a single gulp.\n\nThe entire flock suddenly erupts in a bout of frenzied screeching for no apparent reason. After a moment or two, they revert to their original decibel level.\n\n> You look at the garbage\nYou try to wade through the flapping hoard of birds to get at the trash, but their greed is greater than their fear of you, and they refuse to back down.\n\nA particularly bold or greedy gull waddles right up to your feet to seek a handout. It stares at you with one beady eye for a long, uncomfortable moment before returning to the flock.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a clam shell, a sack of peanuts, a sieve, and a mussel shell.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nFrom somewhere among the flock you hear a raucous cry that sounds suspiciously like \"Big Water!\"\n\n> Open mussel\nI don't know how to open the mussel shell.\n\nA new gull, apparently a stranger to the flock, flies low over the feeding grounds and sends the other gulls into a screaming rage.\n\n> You throw sack at the gulls\nYou toss a few more peanuts towards the flock of gulls. The first gull pecks hungrily at the peanuts, drawing the attention of some of the others. They flap over to see what the first gull is eating, and become embroiled in a minor squabble over the peanuts.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You examine the garbage\nYou try to wade through the flapping hoard of birds to get at the trash, but their greed is greater than their fear of you, and they refuse to back down.\n\nTwo gulls break off from the main flock to fight over a choice morsel. A third flies over to investigate, and soon all three fly squawking away over the beach.\n\n> Empty bag\nBetter just leave them in the sack.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You drop the sack\nYou toss the sack of peanuts to the ground.\n\nA new gull, apparently a stranger to the flock, flies low over the feeding grounds and sends the other gulls into a screaming rage.\n\n> You throw the sack at the gulls\nFinally, you toss the entire bag of peanuts toward the hungry flock. The trickle of curious gulls turns into a flood. Soon, the entire hoard comes flapping and squawking to join the fight over your peanuts, abandoning the trash heap in the process. You couldn't say how long the peanuts will keep them busy, but chances are it won't be for long.\n\nTwo gulls break off from the main flock to fight over a choice morsel. A third flies over to investigate, and soon all three fly squawking away over the beach.\n\n> You search the trash\nYou paw through the trash with your bare hands, but it's been scattered and mixed into the powdery sand. If there's anything useful in the pile, it may have been covered with sand.\n\nA new gull, apparently a stranger to the flock, flies low over the feeding grounds and sends the other gulls into a screaming rage.\n\n> Dig\nScooping sand away in great handfuls, you quickly excavate an area approximately a yard across and a couple of hand spans deep. Gravity and the slight wind join forces to send the surrounding sand sliding into the hole. You try to dig deeper, but the deeper you go, the more sand slides in. You are reminded unpleasantly of your efforts at work.\n\nFrom somewhere among the flock you hear a raucous cry that sounds suspiciously like \"Big Water!\"\n\n> You search the trash\nYou paw through the trash with your bare hands, but it's been scattered and mixed into the powdery sand. If there's anything useful in the pile, it may have been covered with sand.\n\nTwo strutting male gulls face off, puffing out their breast feathers and bobbing their heads in each other's direction. A noise suspiciously like laughter emanates from several female gulls, and the two males hurriedly stand down.\n\n> Inventory\nUsing the shingle as a shovel, you quickly excavate an area approximately a yard across and a couple of hand spans deep. Gravity and the slight wind join forces to send the surrounding sand sliding into the hole. You try to dig deeper, but the deeper you go, the more sand slides in. You are reminded unpleasantly of your efforts at work.\n\nThe entire flock suddenly erupts in a bout of frenzied screeching for no apparent reason. After a moment or two, they revert to their original decibel level.\n\nYou have a pair of shorts (being worn), a bathing suit (being worn), a clam shell, a sieve, and a mussel shell.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You put the trash in the sieve\nYou can't put the trash heap anywhere.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You sift the trash\nYou sift diligently through the mounds of sandy trash, pouring handful after handful through the sieve. Just when you've about decided to discontinue your search as fruitless, you turn up the key from the vendor's shirt pocket!\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You examine the key\nIt's a small steel key with the word 'Kwikset' stamped on it.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You get the shell\nWhich shell do you mean, the clam shell, or the mussel shell?\n\n> All\nThe clam shell: You already have the clam shell!\nThe mussel shell: You already have the mussel shell!\n\nThe entire flock suddenly erupts in a bout of frenzied screeching for no apparent reason. After a moment or two, they revert to their original decibel level.\n\nThe peanuts must be running out. You can see a few gulls beginning to trickle back towards the mound. The trickle grows to a flood and soon the entire flock is in motion, returning to the mound en masse. No trace remains of the peanuts you threw down. Even the brown paper sack is gone.\n\n> Go west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nAs you step across the brick path, you stumble lightly on the rough bricks.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion.\n\n> You move the brick\nWhich brick do you mean, the path, or the loose brick?\n\n> Loose\nMoving the loose brick doesn't reveal anything.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You take it\nYou're going to need both hands free to carry that sucker. You'll have to drop anything else you're carrying.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You get the loose brick\nYou're going to need both hands free to carry that sucker. You'll have to drop anything else you're carrying.\n\n> You put the key in the pocket\nYou cram the steel key in the pocket of your shorts.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a clam shell, a sieve, and a mussel shell.\nThe pocket of your shorts seems to contain some money, your\npasscard, and a steel key.\n\n> You put all in the shorts\nThe clam shell: The pair of shorts is not a container.\nThe sieve: The pair of shorts is not a container.\nThe mussel shell: The pair of shorts is not a container.\n\n> You put the shells in the pocket\nThe clam shell: You can't fit that in the pocket of your shorts.\nThe mussel shell: You can't fit that in the pocket of your shorts.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\n> You unlock the door with the key\nYou can't open the rest room doors with the steel key.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> Go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You go to the east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\nYou see a shrimp here.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> Go west\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You unlock the boiler with the key\nI don't know how to unlock the boiler.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You open the boiler with the key\nYou can't get the clamp off with the steel key.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You pry the clamp with the key\nYou can't get the clamp off with the steel key.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You examine the clamp\nIt's a thin, sturdy, triangle of steel. The open end of the triangle holds the boiler's lid tightly in place by pinching it against the thin bar that runs around the lip of the boiler.\n\n> About yourself\nYou pause for a moment to take stock of your physical condition. You're feeling quite fit and healthy after your week of relaxation and exercise.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\n> You examine the shower\nIt's really just a tall water pipe with a shower head on top of it. Not much in the way of privacy, but it does help people rinse the sand from themselves.\n\n> You examine the bell\nThe bell looks like half of a big white medicine capsule, just a bit taller than you, though quite a bit wider. The open end of the capsule stands at about chest height and faces down, so that you could enter the bell if you ducked down a bit. The capsule stands on four thick metal struts, which are in turn welded to a heavy, square, metal baseplate. The whole thing looks imposingly heavy. Deeply set in the white metal capsule are several thick, round, glass portholes.\n\n> You go to the west\nYou set your feet back on the path to the hotel, but... you're extremely conflicted over this whole idea of quitting. If only someone or something would present you with some convincing arguments to get you off the fence.\n\n> You enter the bell\nYou duck your head and shoulders, and crab-walk under the lip of the bell.\n\nIt surrounds you like a sturdy white shell. The ceiling is only a few fingers above your head, causing you to hunch over a bit for fear of bashing your skull. Protruding from the ceiling is a thin pipe that ends in an air valve. Several thick, round portholes look on the outside world.\n\nThe bell effectively muffles any outside sound, but an ominous low moan fills your ears.\n\n> You look at pipe\nDivers used this valve to pressurize the bell's chamber, as well as refill their own tanks. The valve is connected to a pipe that passes through the bell's hull. Presumably there's a similar valve on the outside, to allow divers to attach an air hose from a surface ship.\n\n> Exit bell\nYou duck your head and crab walk out of the bell.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\n> You go northeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\n> You look in the barrel\nThe can must have been emptied recently. Just a few pieces of sticky rubbish, consisting largely of ice cream wrappers and soda cups, lie at the bottom of the can.\n\n> You search the rubbish\nYou root through the trash, tossing aside ice cream wrappers and soft drink cups. You find an empty glass soda bottle, which you take.\n\n> You search barrel\nYou root through the trash, tossing aside ice cream wrappers and soft drink cups. Aha! You find a pair of plastic swim goggles, which you take.\n\n> You search the rubbish\nYou root through the trash, tossing aside ice cream wrappers and soft drink cups. You don't find anything else of interest.\n\n> Examine barrel\nIt actually consists of two concentric cylinders. The outer cylinder is made of rough wooden staves bound by three rusty metal hoops. The inner cylinder is a single piece of textured beige plastic. A strong steel chain passes through the topmost of the metal hoops, attaching the barrel to the end of the boardwalk. A few pieces of trash lie at the bottom of the barrel.\n\n> Empty barrel\nYou'd just be making a mess of the beach. Better leave the trash in the barrel.\n\n> You examine the hoops\nThree rusty hoops bind the outer, wooden ring of the barrel together. The topmost hoop is bent slightly out of shape to accommodate the heavy steel chain that passes through it. In fact, it seems to be a bit loose.\n\n> You get the top hoop\nYou manage to jam your finger tips beneath the topmost hoop. It wiggles a bit, but it's still too tight for you to remove with your bare hands.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> You take the hoop\nWhich hoop do you mean, the two bottom hoops, or the third hoop?\n\n> Third\nYou manage to jam your finger tips beneath the topmost hoop. It wiggles a bit, but it's still too tight for you to remove with your bare hands.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a clam shell, a sieve, a mussel shell, a glass bottle, and a pair of goggles.\nThe pocket of your shorts seems to contain some money, your\npasscard, and a steel key.\n\n> You look at the goggles\nIt's a cheap pair of plastic swim goggles, held together by a thin, white rubber strap.\n\n> You look at the strap\nIt's a strap made of thin, white rubber. If it were removed from the goggles, it looks as if it would measure about the length of your arm.\n\n> You pull the chain\nYou grab hold of the chain and give it a solid tug. Oof! It's not going anywhere. Maybe if you had a hacksaw, or some bolt cutters.\n\n> You look at the cup\nThe can must have been emptied recently. Just a few pieces of sticky rubbish, consisting largely of ice cream wrappers and soda cups, lie at the bottom of the can.\n\n> You look at the bottle\nIt's a clear glass soda bottle. It appears to be empty."
    },
    {
        "text": "> Look around\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> You examine the sculpture\nIt's some sort of big reptile, longer than you are tall. You can't tell much more from here, as it lies in the wet sand to the east.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\n\n> You look at the sculpture\nThe enormous sand sculpture is almost twice as long as you are tall, and stands nearly to your shoulder. It's some sort of huge, scaly reptile, basking on its swollen belly in the evening light. Lying flat against its sides are a pair of batlike wings that sprout from a ridged, bony spine. The spine curves down and around, ending in a massive, coiled tail. Two plump hind legs sprawl out in back, while a pair of short, stubby arms lies crossed beneath an angular head full of sharp looking teeth.\n\nYou note that certain parts of the creature, including its spine, claws, eyes, and teeth consist of carefully placed sea shells. The shells give the creature an illusory realism. Curiously, there is an empty cavity in the creature's beak that looks as if it might once have held a shell.\n\nAll in all, the dragon seems surprisingly realistic, as if it had recently clawed its way out of the sand to warm itself beneath the bright sun.\n\n> You kick it\nYou move towards the dragon... but halt with a sudden flash of insight. In your mind, you picture someone spending hours digging up and piling the sand, pushing it into rough form, carefully smoothing the curves and contours, detailing the fingers and face, collecting shells for the dorsal ridge... You carefully back away, and as you do, it almost seems that one of the dragon's heavy lidded eyes opens, and favors you with a long, lazy wink.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You put the shell in the reptile\nWhich shell do you mean, the clam shell, or the mussel shell?\n\n> You put the clam shell in the cavity\nYou try setting the clam shell into the cavity. Nothing happens, and somehow, it just doesn't feel right. Disappointed, you reclaim the clam shell.\n\n> You put the mussel shell in the cavity\nYou try setting the mussel shell into the cavity. Nothing happens, and somehow, it just doesn't feel right. Disappointed, you reclaim the mussel shell.\n\n> You examine the cavity\nIt's a shallow cavity about the size of your two cupped palms, in both depth and circumference. There's nothing in it.\n\n> You examine head\nWhich head do you mean, your head, or the dragon's head?\n\n> You look at the dragon's head\nThe dragon's angular head rests limply on the dragon's crossed arms. Its mouth is full of sharp-looking teeth, while its beak is home to a curiously empty cavity.\n\n> You look at your head\nIt's your head. You've had it for years.\n\n> You put your head in the cavity\nYou try setting your head into the cavity. Nothing happens, and somehow, it just doesn't feel right. Disappointed, you reclaim your head.\n\n> You examine the dragon's teeth\nIt's an angular slit bissecting the long birdlike beak. A mouthful of shells gives the dragon a cartoonish, picket fence grin.\n\n> You look at the wings\nThe dragon's wings are ribbed like a bats, and lie folded up against the dragon's swollen belly. Even though they're made of sand, they someone manage to look tough and leathery.\n\n> Go south\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nYou see a crab shell, lying in the sand.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You examine the crab shell\nIt's the carapace of some sort of crab. The edges of the shell come to sharp points, almost like a serrated blade, while the surface is mottled with deep shades of red and blue.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You get it\nYou've already got your hands full.\n\n> Oops sieve\nThe clam shell: You toss the clam shell in the sieve.\nThe mussel shell: You can't fit that in the sieve.\nThe crab shell: You can't fit that in the sieve.\n\n> Go west\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and a closed wire mesh gate leads to a small storage area to the west.\n\n> You examine the gate\nIt's an ordinary wire mesh gate that seals off the storage area. A smooth steel plate set in the gate houses a simple lock. Currently, the gate is closed and locked.\n\n> Unlock lock\nWhat do you want to unlock it with?\n\n> Key\nUnlocked.\n\n> You open gate\nThe gate swings open silently, on well oiled hinges.\n\n> Go west\nYou're in a small, cement walled room. But for the open gate in the east face, it would be one big cement cube. Apparently it's used as a storage area for recyclable trash, as there are two big blue recycling canisters here, one containing glass bottles, the other aluminum cans. Against the rear wall is a large bin full of used paper products.\nNext to that is a plain looking utility table over which is hung a peg board.\n\n> You drop the key\nYou toss the steel key to the ground.\n\n> You examine the board\nIt's a square piece of perforated cork board, hung with a variety of unrecognizable tools and useless spare parts. In fact, the only item that looks to be of any use at all is a thin, tapered strip of metal resembling a crowbar.\n\n> You get the crowbar\nYou've already got your hands full.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a sieve, a mussel shell, a single glass bottle, and a pair of goggles. The pocket of your shorts seems to contain some money and your passcard.\n\n> Wear the goggles\nYou slide the cheap white strap over your head and slide the goggles down over your eyes. They make an adequate, if uninspiring, seal.\n\n> Go east\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and an open wire mesh gate leads to a small storage area to the west.\n\n> Go south\nGreat dunes of sand, piled up against the pillars supporting the pavilion, block your exit in that direction.\n\n> You go east\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nYou see a crab shell, lying in the sand.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> Go south\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion.\nSomeone has built an odd little castle just above the tide line.\n\n> You examine the castle\nIt's very unusual. You've never seen a sand castle like this one. Instead of the usual overturned-pail-full-of-sand method, this castle seems to have been made of little beaded droplets of wet sand, stacked capriciously atop each other into miniature spires and minnarets. Several thin spires climb skyward, rising to about knee height, and a narrow band spirals around the whole construction from base to top.\nIt almost looks like the whole thing was grown, rather than built, like the crystals that sprout from the \"Grow Your Own Crystals!\" kits that are so popular at boardwalk novelty shops. Now that you've noticed it, the castle even seems to have a certain glassy sheen.\n\nThe castle is inhabited by some sort of insects, or tiny crustaceans, that crawl all over and through it.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> Go north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> Go west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> Pry hoop\nYou set down the other stuff you were carrying to free your hands. Then you slide the crowbar beneath the deformed hoop where it meets the steel chain, and ratchet it back and forth, trying to loosen the hoop. The hoop slides up a hair's breadth, then catches on a link of the chain. You remove the crowbar and shift your point of attack to the chain. As you apply pressure to the recalcitrant link, it bites into the soft wooden stave beneath it. You keep pushing, and... crack! The force applied to the link splits the stave lengthwise, dividing a thin slice from the trunk of the stave. The thin slice now bears the brunt of the metal hoop's tension, while the main part of the stave is free of it.\n\n> You take the stave\nYou set down the crowbar and then seize the top end of the stave with both hands. Though it's no longer bound by the top hoop, the two lower hoops still put a lot of tension on it. Nevertheless, you grit your teeth and rock the stave back and forth, until it finally scrapes free of the barrel.\n\n> You look at the stave\nIt's a long, heavy, slightly curved piece of wood.\n\n> You take the hoop\nWhich hoop do you mean, the two bottom hoops, or the third hoop?\n\n> Third\nYou manage to jam your finger tips beneath the topmost hoop. It wiggles a bit, but it's still too tight for you to remove with your bare hands.\n\n> Third\nYou to slide your fingers under the hoop, but all the give is gone.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), a pair of goggles (being worn), and a broken stave.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You take the bar\nYou toss the broken stave to the ground.\n\nTaken.\n\n> Pry third hoop\nYou to slide the crowbar under the hoop, but all the give is gone.\n\n> You take the stave\nTaken.\n\n> You take the bar\nYou already have the crowbar!\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\n> You go to the west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You go southeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA new gull, apparently a stranger to the flock, flies low over the feeding grounds and sends the other gulls into a screaming rage.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion.\nSomeone has built an odd little castle just above the tide line.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You look at the castle\nIt's very unusual. You've never seen a sand castle like this one. Instead of the usual overturned-pail-full-of-sand method, this castle seems to have been made of little beaded droplets of wet sand, stacked capriciously atop each other into miniature spires and minnarets. Several thin spires climb skyward, rising to about knee height, and a narrow band spirals around the whole construction from base to top.\nIt almost looks like the whole thing was grown, rather than built, like the crystals that sprout from the \"Grow Your Own Crystals!\" kits that are so popular at boardwalk novelty shops. Now that you've noticed it, the castle even seems to have a certain glassy sheen.\n\nThe castle is inhabited by some sort of insects, or tiny crustaceans, that crawl all over and through it.\n\n> You look at the insects\nYou lean in to take a close look. They're too tiny to see much detail, but there are hundreds of them zipping around the tall spires. They seem to be crustaceans. Or maybe some kind of insect. In any case, they have six legs. Or maybe eight. Call yourself crazy, but it looks like some of them are carrying grains of sand. You lean in further, and on closer inspection are able to confirm your theory. Then, right before your eyes, a small cluster of mites carries a bit of shiny something, perhaps a speck of broken glass, into the castle. They bring it to the very top of the tallest spire. Somehow, they melt down the shiny fragment and assimilate into the castle. Perhaps it's just your imagination, but you'd swear there was a miniscule plume of smoke curling about the spire.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nTwo strutting male gulls face off, puffing out their breast feathers and bobbing their heads in each other's direction. A noise suspiciously like laughter emanates from several female gulls, and the two males hurriedly stand down.\n\n> You take all\nThe steel key: Taken.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a pair of goggles (being worn), a crowbar, and a broken stave.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You look at the passcard\nIt's a card of bright orange plastic, a bit smaller and a good deal thicker than a credit card. You can see no magnetic stripe. Instead, it has a row of red and green dots running along one edge.\n\n> Go east\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and an open wire mesh gate leads to a small storage area to the west.\n\n> Go north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\n\n> You go to the west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\nYou see a sieve, a mussel shell, and a glass bottle, lying in the sand.\n\n> You take all\nThe sieve: You've already got your hands full.\nThe mussel shell: You've already got your hands full.\nThe glass bottle: You've already got your hands full.\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a pair of goggles (being worn), a crowbar, and a broken stave.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> DROP CROWBAR, STAVE, GOGGLES\nThe crowbar: You toss the crowbar to the ground.\nThe broken stave: You toss the broken stave to the ground.\nThe pair of goggles: You toss the pair of goggles to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go northeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\nYou see a sieve, a mussel shell, and a glass bottle, lying in the sand.\n\n> You take all\nThe sieve: Taken.\nThe mussel shell: Taken.\nThe glass bottle: Taken.\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\nYou see a crowbar, a broken stave, and a pair of goggles (being\nworn) here.\n\n> You drop all but the bottle\nThe sieve: You toss the sieve to the ground.\nThe mussel shell: You toss the mussel shell to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go southeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion.\nSomeone has built an odd little castle just above the tide line.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You take the insect\nIt's difficult, because they're so small... but you lean in close, follow one likely specimen, and... got it! You stand up to examine your catch in better light. Ouch! You instinctively beat at the air with your wounded hand, but the creature has already been dislodged. You look at the tiny red welt already swelling on the heel of your palm. Is it... smoking? No, it must be just an illusion caused by your sudden state of distress. But you'd swear you saw a tiny plume of smoke rising from your palm.\n\n> You put the insect in the bottle\nIt's difficult, because they're so small... but you lean in close, follow one likely specimen, and... got it! You cram the mite through the mouth of the bottle. Just as you're beginning to enjoy your mighty triumph, you detect a sudden whiff of burning glass. You peer into the bottle to discover that the mite is burning a tiny hole straight through the bottom! The mite leaps out and disappears into the beach sand, leaving behind only a tiny drop of molten glass which cools instantly, resealing the hole.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You throw the bottle at the castle\nYou toss the bottle among the castle's spires. It lies for a moment, unnoticed. Then, a lone crustacean investigates. You see a single, tiny plume of smoke. Suddenly, as if on a prearranged signal, the mighty miniature hoards descend. More swiftly than you can follow, the tiny mites somehow disassemble the glass bottle and assimilate its mass into the castle. As the bottle disappears, the castle grows. By the time the bottle is completely gone, the castle has grown a new spire.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You examine the pipes\nFar overhead, a pair of thick metal pipes run the length of the pier, suspended a few fingers beneath the pier's concrete underbelly. Presumably, they carry water to and from the pavilion's rest rooms and fountains. Squinting, you can just make out some shiny or reflective object, perhaps a glass lens, caught in the space between the pipe and the cement ceiling.\n\n> You take the lens\nThe shiny object is too far away.\n\n> You examine the shiny object\nIt's difficult to see just what it is from down here, hidden as it is in the dim shadow beneath the pier. All you can tell is that it's some sort of shiny object or reflective surface, perhaps a lens, nestled among the pipes overhead.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a glass bottle.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nYou see a crab shell, lying in the sand.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You go west\nYou're in a small, cement walled room. But for the open gate in the east face, it would be one big cement cube. Apparently it's used as a storage area for recyclable trash, as there are two big blue recycling canisters here, one containing glass bottles, the other aluminum cans. Against the rear wall is a large bin full of used paper products.\nNext to that is a plain looking utility table over which is hung a peg board.\nYou see a steel key here.\n\n> You take the canister\nWhich canister do you mean, the glass recycling canister, or the aluminum recycling canister?\n\n> Aluminum\nIt's too bulky too pick up and carry around, but you could easily push it in any direction you wanted to go.\n\n> You continue\nYou grab hold of the canister and slide it east, over the dry sand. You've made it almost to the far end of the pavilion when you trip over your own feet, sending the canister over on its side. You look up to find that the canister has begun rolling down the slope towards the ocean. You chase after it, but it's picking up speed. You redouble your efforts to catch it, and it looks like you just... might... make it... Splash! The canister goes into the water and starts drifting out to sea. It shrinks into the distance between the long row of pylons, becoming smaller and smaller. Soon, the canister has drifted out of sight.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nYou see a crab shell, lying in the sand.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You go west\nYou're in a small, cement walled room. But for the open gate in the east face, it would be one big cement cube. Apparently it's used as a storage area for recyclable trash, as there's a big blue recycling canister here, containing glass bottles. Against the rear wall is a large bin full of used paper products. Next to that is a plain looking utility table over which is hung a peg board.\nYou see a steel key here.\n\n> You go west\nThe solid cement wall prevents you from exiting in that direction.\n\n> Keep going\nYou put your shoulder to the canister again and try to move it further east, fighting the friction of the sandy floor. Sand piles up against the leading edge of the canister, but still you struggle onward, making slow progress. You make it almost to the far end of the pavilion, where the canister freezes in the sand. You brace yourself and try to force it with a good, strong shove... until crash! the canister goes over on its side, and you with it. You look up to find that the canister has begun rolling down the slope towards the ocean. You chase after it, but it's picking up speed. It continues its descent, heading towards one of the pier's cement pylons. You redouble your efforts to catch it, and it looks like you just... might... make it... Crash! The canister rebounds off the pylon and shatters with a hideous cacophony, spewing bottles and chunks of thin blue plastic in a rain of broken glass.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nThe beach is littered with broken bottles and blue plastic shards.\nYou see a crab shell, lying in the sand.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You take the shell\nTaken.\n\n> You drop the crab shell\nYou toss the crab shell to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a glass bottle.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You remove the goggles\nYou strip the goggles off of your head."
    },
    {
        "text": "[Themes: Fantasy, maritime, magical realism, contemplative, physical simulation, underwater]\n\n> You describe your surroundings\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There seems to be a loose brick in the path.\nYou see a crowbar, a broken stave, a pair of goggles, a sieve, a mussel shell, and a crab shell here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You drop bottle\nYou toss the glass bottle to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You get the loose brick\nYou rock the brick back and forth a bit, and manage to pry it from its berth. Oof! It's heavy! It takes both hands to carry it, and the muscles in your lower back protest as you straighten up. You'd better decide where you want to go now, because you won't be able to carry it for too long.\n\n> You drop the brick\nRelieved of the brick's weight, you quickly straighten up. All your aching body parts cry out in relief. You flex your hands to loosen them up, then plant them at your sides and bend backwards until you feel your spine crack. Ahh!\n\n> You go northeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\n> You examine the dunes\nTall, wind swept dunes stand between you and the hotels to the west, and also flank the base of the pavilion. The dunes are dotted with tall, scraggly sea-oats."
    },
    {
        "text": "[Themes: Fantasy, nature, contemplative, dragon, underwater]\n\n> Look around\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\n> You go to the east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> Xyzzy\nThe word escapes your mouth like a gentle zephyr and swirls in the air around you. You can feel powerful forces gathering, like a static charge before a storm. You glance around in anticipation. A long moment passes, but nothing happens. You begin to fear that something has gone truly awry with the fabric of the universe.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\n> You go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a broken stave, a pair of goggles, a sieve, a mussel shell, a crab shell, a glass bottle, and a loose brick here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You get the shells\nThe mussel shell: Taken.\nThe crab shell: Taken.\nThe clam shell: Taken.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You examine the beak\nThe dragon's angular head ends in a beaklike nose with two tiny nostrils. Just above the dragon's nostrils is a curiously empty cavity.\n\n> You put the shell in the beak\nWhich shell do you mean, the mussel shell, the crab shell, or the clam shell?\n\n> You put the crab shell in the cavity\nYou try setting the crab shell into the cavity. Nothing happens, and somehow, it just doesn't feel right. Disappointed, you reclaim the crab shell.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You drop the shells\nThe mussel shell: You toss the mussel shell to the ground.\nThe crab shell: You toss the crab shell to the ground.\nThe clam shell: You toss the clam shell to the ground.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, North of Pier\nThe surf swells around your knees, occasionally surging up to your waist. You can crawl up onto the beach to the west, where someone has built a large sand sculpture above the ebbing surf, or swim into deeper water to the east. To the south, you can pass through the cement pylons supporting the pier.\n\n> Go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nDeep Water, North of Pier, (treading water)\nThere's nothing but endless ocean to the east, but you can swim back into shallower water to the west. The long cement pier finally ends to the south, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "[Themes: Fantasy, nature, physical simulation, magical realism, beach]\n\n> Go downward\nYou fill your lungs to capacity and dive into the water. The cold salt water stings your eyes as you descend.\n\nYour stinging eyes and blurred vision prevent you from seeing anything interesting.\n\nA large red fish darts by, just barely out of reach.\n\n> You examine the herring\nYour blurred vision and salt stung eyes make it difficult to think about anything but clawing your way to the surface.\n\n> Go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, North of Pier, (treading water)\nThere's nothing but endless ocean to the east, but you can swim back into shallower water to the west. The long cement pier finally ends to the south, its supporting pylons disappearing into the murky depths.\n\n> Go east\nYou gaze longingly to the horizon. Though it beckons you, you decide you're safer staying close to shore.\n\nA gentle wave laps by, setting you bobbing in the current.\n\n> You go to the west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, North of Pier\nThe surf swells around your knees, occasionally surging up to your waist. You can crawl up onto the beach to the west, where someone has built a large sand sculpture above the ebbing surf, or swim into deeper water to the east. To the south, you can pass through the cement pylons supporting the pier.\n\n> You go to the west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a clam shell, lying in\nthe sand.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a broken stave, a pair of goggles, a sieve, a\nglass bottle, and a loose brick here.\n\n> You go northeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a clam shell, lying in\nthe sand.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, North of Pier\nThe surf swells around your knees, occasionally surging up to your waist. You can crawl up onto the beach to the west, where someone has built a large sand sculpture above the ebbing surf, or swim into deeper water to the east. To the south, you can pass through the cement pylons supporting the pier.\n\n> Wear the goggles\nYou slide the cheap white strap over your head and slide the goggles down over your eyes. They make an adequate, if uninspiring, seal."
    },
    {
        "text": "[Themes: Fantasy, nature, physical simulation, maritime]\n\n> Go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. It's layered with a suspension of mud and fine silt that sways to and fro with the pulsing tide. Small, leafy plants climb from the mud like grasping fingers.\nYou see a snail shell, drifting in the mud.\n\n> You take the shell\nTaken.\n\nPressure starts to build in your lungs.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a clam shell, lying in\nthe sand.\n\n> You put the snail shell in the cavity\nYou try setting the snail shell into the cavity. Nothing happens, and somehow, it just doesn't feel right. Disappointed, you reclaim the snail shell.\n\n> You examine the cavity\nIt's a shallow cavity about the size of your two cupped palms, in both depth and circumference. There's nothing in it.\n\n> You drop the snail shell\nYou toss the snail shell to the ground.\n\n> You examine the dragon's back\nRunning along the dragon's back from the base of the head to the tail is a thick, bony ridge made of sea shells.\n\n> You examine the shells\nWhich shells do you mean, the mussel shell, the crab shell, the clam shell, the snail shell, or the dragon's shells?\n\n> You look at the dragon's spine\nRunning along the dragon's back from the base of the head to the tail is a thick, bony ridge made of sea shells.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a pair of goggles (being worn).\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You go to the south-west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a broken stave, a sieve, a glass bottle, and a loose brick here.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a clam shell, and a snail\nshell, lying in the sand.\n\n> Go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, North of Pier\nThe surf swells around your knees, occasionally surging up to your waist. You can crawl up onto the beach to the west, where someone has built a large sand sculpture above the ebbing surf, or swim into deeper water to the east. To the south, you can pass through the cement pylons supporting the pier.\n\nSomething unseen nips lightly at your toes.\n\n> Go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nSalt water fills the glass bottle.\n\nDeep Water, North of Pier, (treading water)\nThere's nothing but endless ocean to the east, but you can swim back into shallower water to the west. The long cement pier finally ends to the south, its supporting pylons disappearing into the murky depths.\n\n> Go south\nYou launch yourself south with a vigorous crawl stroke.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> You look at the pylons\nTwin rows of cement pylons support the long pier. Each pair of pylons is a single unit resembling a truncated letter 'A'. Here in deeper water, the pylons rise an unknown height from the murky depths.\n\n> You climb the pylons\nYou paddle up to a promising looking pylon, receiving a few minor bruises as the tide pushes you against the rough cement.\nNevertheless, you cling to the inclined outside face and reach for the opposite side... but no matter how hard you stretch, it's just too wide for you to get your arms around."
    },
    {
        "text": "[Themes: Fantasy, underwater, animals]\n\n> Go down\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe sandy ocean floor lies about ten feet below the surface, layered with silt and dotted with climbing green fingers of sea grass. The angled cement pillars that support the pier end here. Just beyond the final pair of pillars is a sudden drop off, a steep slope that leads down and down, far beyond your limited visibility.\n\n> You look at pillars\nThe pylons supporting the pier come to an end here, mere feet from the sudden steep dropoff in the ocean floor.\n\nPressure starts to build in your lungs.\n\n> Go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> Go south\nYou glide to the south with a smooth breast stroke.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\nA gentle wave laps by, setting you bobbing in the current."
    },
    {
        "text": "[Themes: Fantasy, contemplative, magical realism, animals, maritime, beach, nature]\n\n> You go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\nResting on the rock is a great conch shell.\n\n> You get the shell\nAs you reach for the attractive looking shell, it suddenly sprouts legs and scuttles into a deep fissure that bisects the rock! Apparently, the shell is home to some sort of crab.\n\nPressure starts to build in your lungs."
    },
    {
        "text": "[Themes: Fantasy, magical realism, underwater, contemplative]\n\n> You describe your surroundings\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> Up\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "[Themes: Fantasy, magical realism, contemplative, animals, nature]\n\n> Go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\n> You look at the rock\nIt's a huge slab of porous, white rock, longer than you are tall and rising half your height from the muck of the ocean floor. Its scabrous surface has been eroded cruelly by time and tide, and a deep fissure cuts through it, nearly cleaving it in two. Tiny creatures crawl through the barnacles encrusting its gnarled surface, and small, broad leaved plants cling tenaciously to it.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe crab sends forth one probing eye stalk, then hastily withdraws it.\n\nPressure starts to build in your lungs.\n\n> Go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You go to the west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\n> You go north\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nThe beach is littered with broken bottles and blue plastic shards.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You examine the broken bottles\nThe bottles litter the beach, many of them shattered into sharp, dangerous fragments. Spread among the broken glass are numerous thin, blue, plastic shards, the only remainders of the recycling canister.\n\n> You get the broken bottles\nYou've already got one. If you want to take another, perhaps you should dispose of that one first.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), a pair of goggles (being worn), and a single glass bottle (containing salt water).\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You pour Water on the castle\nWhich water do you mean, the salt water, or the ocean water?\n\n> Salt\nThe salt water spills out of the glass bottle and rejoins the elements.\n\n> You put the insect in the bottle\nIt's difficult, because they're so small... but you lean in close, follow one likely specimen, and... got it! You cram the mite through the mouth of the water filled the bottle. It worked! You've got it! The tiny mite is floating around on the surface of the water. Uh oh. You watch as the mite begins to paddle its six (or eight) legs furiously, headed for the bottom of the bottle. Whatever you're going to do with the mite, you'd better do it soon.\n\n> Go north\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nThe beach is littered with broken bottles and blue plastic shards.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\nThe mite continues its furious paddling. It's almost to the bottom of the bottle.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You pour the salt water on the broken bottles\nYou toss the bottle containing the mite onto the pile, where it shatters on impact. For a moment, nothing happens. Then you detect a tiny whiff of smoke. Other than that, still nothing. You're just about ready to give up on your plan when you spot a writhing black line in the sand. Holy cow! It's a living stream made up of the tiny crustaceans. Seconds later they swarm over the pile of broken glass. Before your astonished eyes they start dissolving the bottles and shards into tiny molten beads. They carry the fiery glass to the middle of the pile. Then come the towers, sprouting like overgrown stacks of soap bubbles. The bulbous, head-sized building blocks budding before you are actually rough spheres of sand-filled glass. Apparently, with such an abundance of material to work with, the mites are building on a much larger scale. Higher and higher climb the towers, until they nearly brush the bottom of the pier. An abrupt flash of color catches your eye. A sheet of thin blue plastic, once part of the glass recycling canister, is floating across the floor. Now that you've noticed it, there are pieces of plastic in motion all around you, each levitating a fraction of an inch above the ground. Instead of melting the plastic down, the mites carry the sheets to the perimeters of the tower and begin incorporating them into a spiraling ramp. Step by step, the ramp corkscrews up and around until it wraps the pinnacle of the tallest tower. Finally, all growth ceases. The finished structure looms over twice your height.\n\nSomehow this amazing spectacle has cut through your ingrained layers of cynicism to revitalize your waning belief in a world full of wondrous novelty. It's enough to get you thinking about work again, in particular the way the same backdrop day after day has dulled your expectation for novelty.\n\nYou're feeling confused. \"I didn't realize how serious I was about quitting,\" is what you're now thinking. The truth is, you didn't really believe you were going to find the motivation to quit here on the beach. But it's hard to ignore the wonder of what you've seen. Maybe you really could quit. Still, you're going to need a lot more convincing.\n\nLooking around, you spot one ancient, discolored bottle that was passed up by the mites.\n\n> You examine bottle\nIt's an ancient rum bottle, aged to the color of dull copper, and sealed with a thick sheath of blood red wax. Much of its surface has been tinged an opaque sea green by the elements. Ribbons of oily color twist through the splotchy patches of copper and green.\n\n> You look at the bottle\nIt's an ancient rum bottle, aged to the color of dull copper, and sealed with a thick sheath of blood red wax. Much of its surface has been tinged an opaque sea green by the elements. Ribbons of oily color twist through the splotchy patches of copper and green.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You take the bottle\nTaken.\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You open the bottle\nAge and the elements have frosted the bottle nearly opaque, so you hold it up to the light of the setting sun. The orange rays flash through the bottle's glossy patina, casting a dazzling kaleidoscope into your eyes. The burst of light reveals what seems to be a rolled up sheet of parchment. You start peeling the aged wax from the bottle. It's so desiccated that it crumbles into flakes which float away on the light evening breeze. The cork pulls loose from the bottle with a small pop. You insert a finger into the bottle and slide out a rolled up parchment. Unrolling it reveals... a treasure map! It must be at least a hundred years old. Clearly, it was fashioned in another time. Thick black strokes grace the rich parchment, drawn in a purposeful hand. Fanciful trace works embellish the borders, and a spidery compass rose resides in one corner. The black strokes describe the chain of islands dominating the Savannah coast. One island in particular bears a bold red X. You examine the marker closer. Why, that's right here on Tybee Island!\n\n> You read the map\nThe black strokes describe the chain of islands dominating the Savannah coast. One island in particular bears a bold red X. You examine the marker closer. It seems to be a bit west of here.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You examine ramp\nYou feel as though you're looking at the original castle through a microscope. Everything looks quite similar, from the beaded droplets to the climbing towers, but oh, so much larger. The rounded building blocks of this castle are nearly the size of your head, and the tallest spires stand well over twice your height, climbing nearly to the underside of the pier. The ramp that spirals up and around the tower's circumference is paved with sheets of blue plastic and seems wide enough to stand on. Swarming over and through the castle's glossy crystalline surface are hoards of the tiny crustacean castle builders."
    },
    {
        "text": "[Themes: Fantasy, beach, maritime, underwater]\n\n> You look around\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\n> Go upwards\nDecided to grow wings, have you?\n\nA flash of light catches your eyes. It seems to have originated from the pipes running overhead.\n\n> You climb the ramp\nWith great trepidation, you set one foot on the lowest part of the spiral ramp. It supports your weight. You try the other foot. When the ramp fails to collapse, you start climbing, slowly, carefully, leaning on the nearby towers for support. Thank goodness for the blue plastic sheets inlaid in the ramp. Without them, the glassy surface would be far too slick to climb. You circle the castle once, twice, three times, four, all the while looking nervously up at the needle sharp spires. Eventually, the ramp becomes too narrow for you to continue any further. But, by bracing one foot against the topmost spire and standing on the toes of the other, you can just reach the pipes above. You reach for the shining object and... Ahh! Your foot glides off the glossy spire and you fall to your behind on the ramp. Gravity takes over and sends you sliding down the ramp, rear end scraping blue plastic through turn after turn. Finally, you slide into the sand at the base of the castle, unharmed. Wow! What a trip! Only then do you discover that you succeeded in pulling down the reflective object, because you've still got it clenched tightly in your white knuckled fist.\n\nYou examine the object to discover that you've retrieved a black banded scuba mask.\n\n> You look at the mask\nIt's an expensive looking scuba mask. The lens is a single large piece of glass, sides angled back to offer a wider field of vision. The lens is sealed on all sides with thick, black rubber, and held together by an equally tough neoprene strap.\n\n> You examine the neoprene strap\nThe strap is made of thick, black neoprene, the same stuff wetsuits are made of. It's only about as broad as your thumb where it meets the mask, but it fans out nearly to the breadth of your hand where it presses against the back of your head.\n\n> You wear the mask\nYou pull back the tough strap and slide the mask over your head. It fits snugly, creating a tight seal.\n\n> You look at the goggles\nIt's a cheap pair of plastic swim goggles, held together by a thin, white rubber strap.\n\n> You examine the strap\nWhich strap do you mean, the white rubber strap, or the black neoprene strap?\n\n> White\nIt's a thin, white, rubber strap about the length of your arm.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding."
    },
    {
        "text": "[Themes: Fantasy, beach, maritime, underwater]\n\n> You look around\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\n> You go north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a clam shell, and a snail\nshell, lying in the sand.\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a broken stave, a sieve, and a loose brick here.\n\n> Go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\n> You go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\nYou see a shrimp here.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You take the shrimp\nTaken.\n\nThe old man stares grimly at the sun, as if daring it to sink any lower.\n\n> You dive off the Pier\nThe old man watches with flinty eyes as you climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! You ready yourself for a neat cannonball, but the water rushes up faster than you anticipated. You're still trying to bend your legs into position when splash! You hit the water with a stinging impact that burns your buttocks and the backs of your thighs. The water you displaced now comes rushing back in to slap painfully at your ears. Your momentum carries you several feet underwater, but you quickly rise, sputtering, to the surface.\nYou seem to have lost several of your posessions in the fall.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\nYou see a cork, bobbing on the waves.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a scuba mask (being worn).\nThe pocket of your shorts seems to contain some money and your passcard.\n\nThe cork starts drifting slowly toward shallower water.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a strapless pair of goggles, an antique bottle, a cork, a treasure map, a scuba mask (being worn), a white rubber strap, and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You drop all\nThe strapless pair of goggles: You toss the strapless pair of goggles to the ground.\nThe antique bottle: You toss the antique bottle to the ground.\nThe cork: You toss the cork to the ground.\nThe treasure map: You toss the treasure map to the ground.\nThe white rubber strap: You toss the white rubber strap to the ground.\nThe shrimp: You toss the shrimp to the ground.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You dive off the Pier\nThe old man watches with flinty eyes as you climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! You ready yourself for a neat cannonball, but the water rushes up faster than you anticipated. You're still trying to bend your legs into position when splash! You hit the water with a stinging impact that burns your buttocks and the backs of your thighs. The water you displaced now comes rushing back in to slap painfully at your ears. Your momentum carries you several feet underwater, but you quickly rise, sputtering, to the surface.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\nA gentle wave laps by, setting you bobbing in the current."
    },
    {
        "text": "[Themes: Fantasy, underwater, animals]\n\n> Go down\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe sandy ocean floor lies about ten feet below the surface, layered with silt and dotted with climbing green fingers of sea grass. The angled cement pillars that support the pier end here. Just beyond the final pair of pillars is a sudden drop off, a steep slope that leads down and down, far beyond your limited visibility."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, nature, maritime, underwater]\n\n> Go downwards\nWith a strong kick, you propel yourself towards the depths beyond the slope. Visibility dims slightly as you move away from the warming light of the sun, and the pillars fall away behind you.\n\nUnderwater, (drifting)\nThe slope continues its sharp descent, inclining almost vertically. Though the level of ambient light has diminished, the sun still shines down strongly, fluttering on the surface above you.\n\nPressure starts to build in your lungs."
    },
    {
        "text": "[Themes: Fantasy, nature, dragon, animals]\n\n> Go downward\nYou continue your drop down the face of the slope. The temperature drops severely as you pass through a thermocline, and the mounting pressure makes your ears ache. You pinch your nose shut with thumb and forefinger, and exhale gently to clear the pressure.\n\nUnderwater, (drifting)\nThe slope just keeps on descending. The amount of sunlight that reaches you has diminished quite a bit and the water has become quite cold. Below you all is dark, but for a small glint of light hinting through the darkness.\nHalf buried in the mud of the steep slope is some sort of wire\nframe construction.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You take the wire\nYou give the trap a tentative yank, but it's buried too deeply in the face of the slope to come free.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> Go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\nSomething unseen brushes by your waist.\n\n> Go west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> You go to the west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a clam shell, and a snail\nshell, lying in the sand.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\n> You go northwest\nTall, sea-oat-covered dunes block your way.\n\n> Go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a broken stave, a sieve, and a loose brick here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You get the stave\nTaken.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You dive off the Pier\nThe old man watches with flinty eyes as you climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! You ready yourself for a neat cannonball, but the water rushes up faster than you anticipated. You're still trying to bend your legs into position when splash! You hit the water with a stinging impact that burns your buttocks and the backs of your thighs. The water you displaced now comes rushing back in to slap painfully at your ears. Your momentum carries you several feet underwater, but you quickly rise, sputtering, to the surface.\nYou seem to have lost one of your posessions in the fall.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\nYou see a broken stave, bobbing on the waves.\n\n> You go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\n> You drop the stave\nYou toss the broken stave to the ground.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> You go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You examine the wire\nThe construction's function isn't immediately obvious, so you clear away some of the mud surrounding it. It turns out to be a rough box made of wooden slats and chicken wire. There's a gaping hole in one face, where something has punched through the wire and splintered the surrounding slats. Apparently, it's a busted up lobster trap. Needless to say, the trap is empty. In the process of uncovering the trap, you've also revealed a short length of thick rope that's tied to it.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You take the rope\nYou'll have to untie the length of rope from the busted trap first.\n\nYour lungs are on fire and blue blood pounds in your veins, setting off waves of panic. You can control yourself no longer! Instinct takes over and sends you kicking and clawing your way to the surface. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. You sputter and gasp, inhaling deeply of the fresh salty air. After a few moments, the fire in your lungs subsides and calm is restored to your pounding veins.\n\n> You untie the rope\nYou detach the length of rope from the busted trap.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> Go upwards\nLungs burning, you kick and claw your way toward the glittering sunlight above you. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> You examine the rope\nIt's a short, stout section of rope, about half as long as you are tall and two thumb widths thick.\n\n> You take the stave\nTaken.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a clam shell, and a snail\nshell, lying in the sand.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a clam shell, and a snail\nshell, lying in the sand.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You go to the southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, and a loose brick here.\n\n> You drop all\nThe length of rope: You toss the length of rope to the ground.\nThe broken stave: You toss the broken stave to the ground.\n\n> You examine the gap\nIt's a gap in the path, where a brick has been removed.\n\n> You look in the gap\nThe gap is empty.\n\n> You go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, and a broken stave here.\n\n> You get all\nThe strapless pair of goggles: Taken.\nThe antique bottle: Taken.\nThe cork: Taken.\nThe treasure map: Taken.\nThe white rubber strap: Taken.\nThe shrimp: Taken.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You go west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, and a broken stave here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You drop all\nThe strapless pair of goggles: You toss the strapless pair of goggles to the ground.\nThe antique bottle: You toss the antique bottle to the ground.\nThe cork: You toss the cork to the ground.\nThe treasure map: You toss the treasure map to the ground.\nThe white rubber strap: You toss the white rubber strap to the ground.\nThe shrimp: You toss the shrimp to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You examine map\nIt's a treasure map. It must be at least a hundred years old. Clearly, it was fashioned in another time. Thick black strokes grace the rich parchment, drawn in a purposeful hand. Fanciful trace works embellish the borders, and a spidery compass rose resides in one corner.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You get the map\nTaken.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You read the map\nThe black strokes describe the chain of islands dominating the Savannah coast. One island in particular bears a bold red X. You examine the marker closer. It seems to be a bit east of here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> You read the map\nThe black strokes describe the chain of islands dominating the Savannah coast. One island in particular bears a bold red X. You examine the marker closer. It's right underfoot!\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Dig\nYou painfully pull back several fingernails trying to dig a hole in the cement floor.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, a strapless pair of goggles, an antique bottle, a cork, a white rubber strap, and a shrimp here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go west\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and an open wire mesh gate leads to a small storage area to the west.\nYou see an aluminum recycling canister here.\n\n> Dig\nAs best you can, you locate the spot indicated on the map. Scooping sand away in great handfuls, you quickly excavate an area approximately a yard across and a couple of hand spans deep. You don't manage to uncover anything interesting, but you're quite sure that this is the spot indicated on the map. As you continue to dig, gravity and the slight wind join forces to send the surrounding sand sliding into the hole. You can see that you're going to need a better digging implement than your hands if you're to make this hole any deeper.\n\n> You take the crowbar and the rope\nThe crowbar: You've already got your hands full.\nThe length of rope: You've already got your hands full.\n\n> You check what you're carrying\nYou have a pair of shorts (being worn), a bathing suit (being worn), a\n\n> You tie the clam shell to stave\nscuba mask (being worn), a treasure map, a broken stave, and a clam shell.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nThe clam shell can't be attached to the broken stave.\n\n> You go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier. A number of wooden benches sit along the north face of the pavilion.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You stand on the bench\nThe benches are too far away.\n\n> You climb the enclosure\nYou look longingly up at the red brick wall, but the roof of the enclosure is clearly out of reach.\n\n> Go north\nThis patch of the broad pavilion floor seems to be set aside for spectators, as there are numerous wooden benches here. They're neatly arranged in two orderly rows. What with all these benches, you half expect to see picnic tables, but there are none. The main part of the pavilion floor sprawls largely to the south. Beyond that, against the southern railing, you can see the brick faced enclosure and the tiny snack bar.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You stand on the bench\nYou choose a stable looking bench and clamber on to it.\n\n> Go upwards\nYou can't get any higher.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking."
    },
    {
        "text": "[Themes: Fantasy, animals, nature, contemplative]\n\n> You go downwards\nThe bench scrapes against the concrete floor as you leave it.\n\n> You move the benches\nYou push the benches around into an untidy mess.\n\n> You take bench\nChoosing a bench at random, you grab hold of one end and raise it about a foot in the air. The other end scrapes loudly against the concrete floor. The bench is light enough to move around, but too bulky to carry, so you set it back down.\n\n> You get on the enclosure\nYou decide that you should probably get off of the benches first.\n\n> Stack benches\nYou pile the benches up against the brick wall of the restroom enclosure, one on top of another, into a tower twice your height.\nThey don't look very sturdy, but the wall does seem to add some support.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You climb the benches\nYou'd better do something with the stuff you're carrying first.\nYou'll need both hands free to climb.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You drop all\nThe treasure map: You toss the treasure map to the ground.\nThe broken stave: You toss the broken stave to the ground.\nThe clam shell: You toss the clam shell to the ground.\n\n> You climb the benches\nYou nudge one of the benches in the tower to test for stability. The tower shivers, but remains firm. It seems to be shored up by the wall of the enclosure. Carefully, slowly, you climb to the top.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside.\n\n> You look at the canopy\nThe enormous canopy hangs directly overhead. From down here, you can see into the darkened rafters, and detect the pattern of wooden slats that make up the underside of the canopy. In fact, now that your eyes have adjusted to the relatively dim light, you can see a thin seam of light outlining a rectangular shape in the canopy.\n\n> You open hatch\nYou scramble up into the rafters, grab hold of a nearby beam, and lean out over empty space. You can just about reach the maintenance hatch. Unfortunately it's quite heavy, and at this angle you have no leverage with which to open it. Disappointed, you jump back down to the enclosure roof. If only you had a long pole to push it back with."
    },
    {
        "text": "> You go downwards\nYou test the top bench yet again. It's still not as sturdy as you'd like it to be, but it'll have to do. You set to climbing down the stack of benches.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a treasure map, a broken stave, and a clam shell here.\n\n> You take the stave\nTaken.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You throw the stave onto the enclosure\nYou toss the broken stave. It bounces off the enclosure and falls to the ground.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You take the stave\nTaken.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You put the stave on the benches\nYou choose a bench at random and set the broken stave on it. (If you meant to set the broken stave on top of the stack, you can't do it without actually climbing it.)\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You climb the benches\nYou'd better do something with the broken stave you're carrying first. You'll need both hands free to climb.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> You throw the stave\nYou toss the broken stave to the ground.\n\n> Go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, a strapless pair of goggles, an antique bottle, a cork, a white rubber strap, and a shrimp here.\n\n> You tie the strap to the stave\nYou tie the white rubber strap to the broken stave.\n\n> You tie the strap to yourself\nYou tie the other end of the white rubber strap to your wrist, joining the broken stave to your wrist.\n\n> You go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a treasure map and a clam shell here.\n\n> You climb the benches\nYou nudge one of the benches in the tower to test for stability. The tower shivers, but remains firm. It seems to be shored up by the wall of the enclosure. Carefully, slowly, you climb to the top.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside.\n\n> You open hatch\nYou scramble up into the rafters, grab hold of a nearby beam, and lean out over empty space. You can just about reach the maintenance hatch. Unfortunately it's quite heavy, and at this angle you have no leverage with which to open it. Disappointed, you jump back down to the enclosure roof. If only you had a long pole to push it back with.\n\n> You open the hatch with the stave\nYou extend the wooden stave and give the maintenance hatch a good, stiff jab. It rises up, swings on its hinges, and slams down on the roof. A shower of sand and a broad angular shaft of orange light fall into your eyes.\n\n> Go upward\nYou scramble up into the rafters, grab hold of a nearby beam, and lean out over empty space. You can just reach the opening in the pavilion. Your grip is tenuous, but you manage to pull yourself up and heave yourself through the trap door.\n\nAs you climb to your feet, a loose shingle rocks beneath your knee and nearly sends you falling back through the hatch.\n\nThe view from the shingled canopy is quite lovely. A deeply orange sun is setting beyond your hotel, while the beach stretches like a golden ribbon to north and south. To the east, the long pier stretches out towards the sprawling blue sea. Perhaps it's your imagination, but the sunset seems curiously enhanced from up here - more so than can be accounted for by the height of the canopy.\nThe maintenance hatch through which you climbed lies open against\nthe canopy.\n\n> You examine the sunset\nAs you gaze into the distant sky, you feel an incredible sensation, as if your body were a balloon in the process of being inflated. You rise, the canopy dropping away behind you. Your mind and vision expand as you ascend high into the atmosphere, above even the towering hotels. The world contracts beneath you. It's as if you've become some huge bubble, and your entire surface acts like a lens, magnifying, intensifying. Everything seems almost surreally beautiful. The sun wavers a hair's breadth above the horizon like a fat, ripe, blood orange. Its rays speed diagonally towards you through streamers of cloud turned to pink cotton candy. The sweeping rays hazily rake the fertile wetlands that lie beyond the shore.\nBroad swathes of grassy emerald are bordered by wheat colored marshes. Green and gold are divided by snake-like ribbons of shadow and light, where twisting streams alternately capture and reflect the light. The rays fade lazily to the east, smudging the sky with shades of peach and rose and lilac and cool, steely blue. A pale moon hangs like a plump sand dollar in the milky blue eastern sky. And beyond, the stars...\n\nSuddenly, the vision recedes as quickly as it came upon you, sending you plummeting like a falling star to the earth's welcoming grace.\nYou find yourself in yourself again, standing on the wood shingled canopy in the cool air of the early evening light.\n\nYou stand and consider the experience for a while. You'd nearly forgotten how to appreciate the beauty of everyday life. It's enough to get you to thinking about your job again, and how it consumes so much time that you can't even enjoy common miracles such as this.\n\nYou're wavering. \"Maybe I'm being hasty,\" is what you're now thinking. Sure, a couple of fancy displays now and then make life more interesting, but is that enough reason to quit your job? And what about your employers? What'll they do without you? You're still going to need a few more convincing arguments."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, contemplative, nature]\n\n> Go downwards\nYou swing your legs down over the edge of the trap door and lower yourself through.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside."
    },
    {
        "text": "[Themes: Fantasy, underwater]\n\n> Go downwards\nYou test the top bench yet again. It's still not as sturdy as you'd like it to be, but it'll have to do. You set to climbing down the stack of benches.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a treasure map and a clam shell here.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You go to the north\nThis patch of the broad pavilion floor seems to be set aside for spectators, while the main part of the pavilion floor sprawls largely to the south. You can see a bunch of wooden benches there. Beyond that, against the southern railing, you can see the brick faced enclosure and the tiny snack bar.\n\n> Go west\nThe railing prevents you from going that way.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You go to the south\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\n> You go to the north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, a strapless pair of goggles, an antique bottle, a cork, and a shrimp here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You go to the east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\n> You climb the benches\nYou'd better do something with the treasure map you're carrying first. You'll need both hands free to climb.\n\n> You drop the map\nYou toss the treasure map to the ground.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> Go upwards\nYou scramble up into the rafters, grab hold of a nearby beam, and lean out over empty space. You can just reach the opening in the pavilion. Your grip is tenuous, but you manage to pull yourself up and heave yourself through the trap door.\n\nAs you climb to your feet, a loose shingle rocks beneath your knee and nearly sends you falling back through the hatch.\n\nThe view from the shingled canopy is quite lovely. A deeply orange sun is setting beyond your hotel, while the beach stretches like a golden ribbon to north and south. To the east, the long pier stretches out towards the sprawling blue sea. Sadly, you can find no trace of your earlier vision, though the sunset is still glorious.\nThe maintenance hatch through which you climbed lies open against\nthe canopy.\n\n> You take the shingle\nWhich shingle do you mean, the rooftop shingles, or the loose shingle?\n\n> Loose\nWhile it does wiggle a bit, it's still wedged pretty firmly in place.\n\n> You pry the loose shingle with the stave\nYou locate the loose shingle and try to jam the stave beneath it, but the rows of shingles are too tightly mounted to permit the broad stave."
    },
    {
        "text": "[Themes: Fantasy, animals]\n\n> Go down\nYou swing your legs down over the edge of the trap door and lower yourself through.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside.\n\nYou test the top bench yet again. It's still not as sturdy as you'd like it to be, but it'll have to do. You set to climbing down the stack of benches.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell and a treasure map here.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a crowbar, a sieve, a loose brick, a length of rope, a strapless pair of goggles, an antique bottle, a cork, and a shrimp here.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You untie stave\nYou detach the white rubber strap from the broken stave, separating it from your wrist.\n\n> You drop the stave\nYou toss the broken stave to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You tie the crowbar to the strap\nWhich strap do you mean, the white rubber strap, or the black neoprene strap?\n\n> White\nYou tie the other end of the white rubber strap to the crowbar, joining the crowbar to your wrist.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell and a treasure map here.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> Go up\nYou nudge one of the benches in the tower to test for stability. The tower shivers, but remains firm. It seems to be shored up by the wall of the enclosure. Carefully, slowly, you climb to the top.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside.\n\n> You pry the loose shingle with the crowbar\nYou locate the loose shingle and jam the crowbar beneath it. You apply pressure and the shingle flies out with a loud snap, leaving behind a dark chink in the otherwise perfect rows.\n\n> You look at it\nIt's a thin, spade-shaped slice of wood, about two hand spans long and almost as wide. It's slightly convex across its width, and tapered along its length so that one end is narrower than the other."
    },
    {
        "text": "[Themes: Fantasy, contemplative, beach, maritime, underwater, dragon, magical realism]\n\n> Go downwards\nYou'd better do something with the loose shingle you're carrying first. You'll need both hands free to climb.\n\n> You put the loose shingle in the hole\nHole? What hole? You don't see any hole here.\n\n> You put loose shingle in the hatch\nYou toss the loose shingle through the maintenance hatch, where it clatters through the wooden rafters, glances off the enclosure roof, and crashes to the cement floor of the pavilion."
    },
    {
        "text": "[Themes: Fantasy, contemplative, animals, magical realism, physical simulation, maritime]\n\n> Go downwards\nYou swing your legs down over the edge of the trap door and lower yourself through.\n\nYou're standing on the enclosure that houses the restrooms. The cement floor spreads all around you to the north, and the snack bar lies just below you to the east. If it weren't for the pavilion's canopy, you might have a nice view of the sunset. Unfortunately, all you can see is the canopy's shadowy underside.\n\nYou test the top bench yet again. It's still not as sturdy as you'd like it to be, but it'll have to do. You set to climbing down the stack of benches.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell, a treasure map, and a shingle here.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> Shingle\nThe treasure map: Taken.\nThe shingle: Taken.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\n> You jump over the railing\nYou climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! The ground rushes up faster than you could have imagined. It seems you've only just jumped when wham! Your feet hit the ground with a stinging impact that sends you sprawling forwards into the sand. You lie, stunned, for several moments. After a time the stinging fades from your feet, if not from your memory, and you climb back to a vertical position. You seem to have lost several of your posessions in the fall.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\nYou see a treasure map and a shingle, lying in the sand.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nTwo gulls break off from the main flock to fight over a choice morsel. A third flies over to investigate, and soon all three fly squawking away over the beach.\n\n> You take all\nThe treasure map: Taken.\nThe shingle: Taken.\n\nTwo strutting male gulls face off, puffing out their breast feathers and bobbing their heads in each other's direction. A noise suspiciously like laughter emanates from several female gulls, and the two males hurriedly stand down.\n\n> You go to the east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\n> Go north\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\n> You go to the west\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and an open wire mesh gate leads to a small storage area to the west. The shallow hole you dug here earlier is still visible.\nYou see an aluminum recycling canister here.\n\n> You read the map\nThe black strokes describe the chain of islands dominating the Savannah coast. One island in particular bears a bold red X. You examine the marker closer. It's right underfoot!\n\n> You dig with the shingle\nSand continues to slide in from the hole's rim, but you're able to keep abreast of it through vigorous use of the shingle. You keep on digging, making the hole deeper and wider. You climb into the hole to facilitate the excavation, and soon you're knee deep in it.\n\n> Keep going\nYou continue digging industriously. You're forced to stop for a moment to wipe the sweat from your brow, but you shortly resume your labor. When you next look up, you discover that you're waist deep in the hole.\n\n> Continue\nYour back aches from stooping and lifting, and you're covered with sweat, but you keep on digging. That treasure must be here somewhere, you're just sure of it! Though if you don't find something soon, you may be out of luck. You're standing in the hole up to your chest, and the sand sliding in from the rim is starting to make you nervous.\n\n> You continue\nYou pause for a moment to contemplate the fruits of your labors. The hole rises nearly over your head. You shudder with a quick chill as the early evening breeze strokes your sweat coated skin. Or perhaps it's the sight of all the sand spilling down the rim of the hole. Then, with a dedication born of pure greed, you set the shingle to the bottom of the hole and continue digging. Hardly a moment has passed when, chunk, you strike something! You bend down to see what you've found, and...\n\n... fall into black.\n\nYou come awake groggily, with pounding head. You seem to be lying on your side in the cold and damp. You try to sit up, but your arms are somehow pinned behind you. In fact, it feels like they're tied down. You can even feel a coarse rope tied roughly around you. Your eyes are gummed shut, but you force them open and take in your surroundings with blurred vision.\n\nYou can't even begin to imagine how, but you've come to be lying in some sort of underground grotto. The walls and ceiling are of rough stone, and water drips from the ceiling and puddles around you on the stony floor. A cool breeze on your back suggests that the cavern extends to some distance behind you. Nearby, a thin, sandy shore descends towards a sheltered inlet. The inlet follows the cove as it bends out of sight towards the sea, while pink tongues of sunset reach back around the bend to lick the dark walls of the cave.\n\n> You untie the rope\nYou rock back and forth on the stony ground, struggling to break free of the rope that binds you. The motion sets your head to throbbing and the coarse rope tears into your flesh, but you're unable to free yourself.\n\n> Inventory\nIt's hard to tell with your hands tied behind you, but you don't seem to be carrying anything.\n\nThe gentle surf laps against the thin shore.\n\nYou can hear new sounds coming from around the bend. The protesting creak of old wood is accompanied by soft, irregular splashes, and punctuated by the base tones of a grumbled conversation.\n\n> About yourself\nUgh. Your whole body throbs painfully with the blood pulsing dully through your veins.\n\nThe gentle surf laps against the thin shore.\n\n> Go east\nThe back of your head throbs, and coarse rope binds your arms. You can't sit up or even focus your eyes well enough to do that.\n\nA drop of water falls from the stony ceiling and lands with a plip on the puddled ground.\n\nA boat rows into sight from around the bend. It's a small, wooden dinghy, rowed by two scruffy looking individuals. With your vision blurred, you can't tell much more about them from here. You can hear small snippets of their grumbled conversation, but not enough to make sense of it.\n\n> You listen\nThe two men's coarse voices carry over the placid waters of the inlet.\n\nThe wooden dinghy scrapes up onto the thin shore, and the two men slowly clamber out. Though they're quite close, their conversation is still garbled. Their voices are deep and slurred, with a grating timbre that sends a chill crawling across your aching scalp. They seem to be discussing the previous night's debaucheries.\nThe heavier of the pair rubs a meaty hand through his matted hair\nand says, \"Gar, oy still don't see why oy have to come collect t' new recruit. T'ain't enough I been t' cudgel man?\"\n\"Oh, shut yer stinkin' hole, McGintie. I be just as smashed as\nyou. Cab'in says do, ye do. Unless ye want yer throat cut here to ear.\" The second speaker draws one hand across his throat in a quick slashing motion.\n\n> You untie the rope\nYou rock back and forth on the stony ground, struggling to break free of the rope that binds you. The motion sets your head to throbbing and the coarse rope tears into your flesh, but you're unable to free yourself.\n\nThe gentle surf laps against the thin shore.\n\nThe foul reek of boozy breath chokes you as the pair scuffle your way. They're close enough now that you can make them out in better detail. It's ludicrous, but they seem to be dressed as... pirates. Though groggy and filled with fear, you're struck by the sheer lunacy of the situation. It nevertheless seems frighteningly real when the pair come to stand over you and look down with vile, appraising eyes.\n\"Gar, it's awake, it is. Feisty one, this,\" says the heavier man.\nThe slender man nods agreement. \"Aye, and let's get it back quick, 'fore my noggin explodes.\"\n\n> You get all\nThe scuba mask: Taken.\nThe treasure map: Taken.\nThe shingle: Taken.\nThe white rubber strap: You take the white rubber strap and the crowbar.\n\n> Shingle\nGreat dunes of sand, piled up against the pillars supporting the pavilion, block your exit in that direction.\n\nYou're in a small, cement walled room. But for the open gate in the east face, it would be one big cement cube. Against the rear wall is a large bin full of used paper products. Next to that is a plain looking utility table over which is hung a peg board.\nYou see a steel key here.\n\nThe treasure map: You toss the treasure map to the ground.\nThe shingle: You toss the shingle to the ground.\n\n> You go east\nYou're in a low space beneath the pavilion, which is supported by massive cement pylons. Two metal pipes extrude from the cement above you and bend east to follow the pier. The beach lies east through an opening in the dunes, and an open wire mesh gate leads to a small storage area to the west.\nYou see an aluminum recycling canister here.\n\n> You go east\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You go to the north\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a snail shell, lying in\nthe sand.\n\n> You go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a loose brick, a length of rope, a strapless pair\nof goggles, an antique bottle, a cork, a shrimp, and a broken stave here.\n\n> You check what you're carrying\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask, a crowbar, and a white rubber strap.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe white rubber strap dangles limply from the crowbar.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> Go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man stares grimly at the sun, as if daring it to sink any lower.\n\n> You ask the man about the man\nHis steely grey eyes hardly flicker. \"I am what I am, youngster.\"\n\nThe old man doggedly reels in a few lengths of line.\n\n> You ask the man about the sun\nThe old man's eyes never stray from the sea. \"Aye, 'tis a beaut.\"\n\nThe old man pulls back on his rod with all his might, struggling to reel in whatever he's hooked. Incredibly, an enormous marlin breaks the surface! But victory is short lived. The line snaps and the old man staggers nearly off his feet.\n\n> You examine the sack\nIt's a heavy, brown, burlap sack.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You look in the sack\nIt seems to be empty.\n\nThe old man reels in a whopper of a fish, which he tosses into the bucket by his feet.\n\n> You ask the man about the sack\nApparently the old man isn't interested in talking about that.\n\nThe old man pulls back on his rod with all his might, struggling to reel in whatever he's hooked. Incredibly, an enormous marlin breaks the surface! But victory is short lived. The line snaps and the old man staggers nearly off his feet.\n\n> You look at bucket\nIt's an ordinary, if somewhat corroded, metal pail, full of fish caught by the old man.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You search the fish\nThe old man spots you reaching for his fish and fires off a smouldering glower that burns straight through the center of your forehead.\n\nThe old man reels in a tiny fish, grunts in disgust, and tosses it back.\n\n> You ask the man about the fish\nHe glances down at the fish in the pail. \"That's today's catch. 'Relda'll cook 'em up nice.\"\n\nThe old man pulls back hard on his rod, pulling the line taut.\n\n> You ask the man about the fishing\nHe beams uncharacteristically. \"'Relda and the kids picked it out for my birthday.\"\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You ask man about Relda\nHe gazes wryly out to sea. \"My one true lady love. After the sea, that is. Couldn't live without either of 'em.\"\n\nThe old man doggedly reels in a few lengths of line.\n\n> You ask the man about the sea\nYou don't know of any such thing.\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> You ask the man about the Island\nThe old man just grips his rod more tightly.\n\nThe old man doggedly reels in a few lengths of line.\n\n> You ask the man about the crab\nThe old man just grips his rod more tightly.\n\nA small child bobbles into the area and tries to sneak up behind the old man, only to break out laughing. The old man jerks in surprise and throws the child a long, harsh glare.\n\n> You ask the man about the rod\nHe beams uncharacteristically. \"'Relda and the kids picked it out for my birthday.\"\n\nThe old man pulls back on his rod with all his might, struggling to reel in whatever he's hooked. Incredibly, an enormous marlin breaks the surface! But victory is short lived. The line snaps and the old man staggers nearly off his feet.\n\n> You ask the man about the pirates\nYou don't know of any such thing.\n\nThe old man reels in a tiny fish, grunts in disgust, and tosses it back.\n\n> You ask the man about the treasure\n\"Hmph. Fools goin' lightly an all that.\"\n\nThe old man doggedly reels in a few lengths of line.\n\n> You ask the man about the map\nYou don't know of any such thing.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You ask the man about the bait\nI don't know the word \"marlin\".\n\nI don't know the word \"bait\".\n\n> You ask the man about Pavilion\nAn uncomfortable silence ensues.\n\nThe old man doggedly reels in a few lengths of line.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask, a crowbar, and a white rubber strap.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe white rubber strap dangles limply from the crowbar.\n\nThe old man pulls back hard on his rod, pulling the line taut.\n\n> Go west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\n> You go west\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> Go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a loose brick, a length of rope, a strapless pair\nof goggles, an antique bottle, a cork, a shrimp, and a broken stave here.\n\n> You tie the white strap to the shrimp\nYou tie the other end of the white rubber strap to the shrimp, joining the crowbar to the shrimp.\n\n> Go southeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> You go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\n> You go to the east\nYou'd better do something with one of the items you're carrying first. You'll need at least one hand free to swim.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask, a crowbar, a white rubber strap, and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe crowbar is joined to the shrimp by the white rubber strap.\n\n> You wear the mask\nYou pull back the tough strap and slide the mask over your head. It fits snugly, creating a tight seal.\n\nA rather large wave surges past, wetting you up to the waist and nearly toppling you from your feet.\n\n> Go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nThe shrimp shows renewed life as it makes contact with the salt water.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "> You go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\n> You give the shrimp to the crab\n\"Hmm...\" you think to yourself, \"...maybe I can lure the crab out with a tasty treat.\" You give yourself a little pat on the back for your cleverness.\n\nYou lower the shrimp toward the fissure, but a nagging voice in the back of your mind suggests that you might never see the white rubber strap or the crowbar again.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\n> You untie the shrimp\nYou detach the white rubber strap from the shrimp, separating it from the crowbar.\n\n> You drop the crowbar\nYou let go of the white rubber strap and the crowbar. The strap sinks beneath the surface and disappears into the murky water along with the crowbar."
    },
    {
        "text": "[Themes: Fantasy, magical realism, underwater, beach, maritime]\n\n> You go downward\nYou plop down into the shallow water and let the gentle waves knock against your shoulders. The shrimp shows renewed life as it makes contact with the salt water.\n\nA gentle wave rides up the slope of your back as you sit in the shallow water.\n\n> Go west\n(Getting off of the ground first.)\n\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You drop the crowbar\nYou toss the crowbar and the white rubber strap to the ground.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\nA gentle, white crested wave laps past your knees."
    },
    {
        "text": "[Themes: Fantasy, beach, maritime]\n\n> Go down\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\n> You show the shrimp to crab\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You give the shrimp to the crab\nYou release the shrimp. Free of your grip, it darts immediately toward the dark fissure in the rock. With surprising speed, the crab comes to life and goes after it. The chase is brief, and shortly the crab retreats to the depths of the fissure, shrimp in claw. Hmm. If only you had some way of holding on to the shrimp. You release the shrimp. Free of your grip, it darts immediately toward the dark fissure in the rock. With surprising speed, the crab comes to life and goes after it. The chase is brief, and shortly the crab retreats to the depths of the fissure, shrimp in claw. Hmm. If only you had some way of holding on to the shrimp.\n\nThe crab extends its claws and clacks them together menacingly.\n\nPressure starts to build in your lungs.\n\n> You take the shell\nYou thrust your hand boldly into the fissure and probe the darkness, trying to grab the conch shell. Ouch! Something bit you! Or maybe pinched you. Either way, you jerk your hand free and examine it. Fortunately, whatever it was didn't break the skin. It occurs to you to find some way to lure the crab out.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\nYou see a crowbar and a white rubber strap, lying in the sand.\nThe white rubber strap dangles limply from the crowbar.\n\n> You take the crowbar\nYou take the white rubber strap and the crowbar.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA snowy white gull apparently materializes right in the middle of the flock, cranes its neck as if searching for someone, and then dematerializes.\n\n> Go west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a loose brick, a length of rope, a strapless pair\nof goggles, an antique bottle, a cork, and a broken stave here.\n\n> You drop the crowbar\nYou toss the crowbar and the white rubber strap to the ground.\n\n> You go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\nYou see a shrimp here.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man stares grimly at the sun, as if daring it to sink any lower.\n\n> You take the shrimp\nTaken.\n\nThe old man plays out a few lengths of line.\n\n> You tie the rope to shrimp\nYou try, but the coarse rope is too thick to be knotted around the shrimp.\n\nThe old man's mind must have been wandering. He jerks suddenly back to attention, evidently the result of a tug on his line.\n\n> You examine the line\nIt looks like 40lb test.\n\nThe old man pulls back hard on his rod, pulling the line taut.\n\n> You ask the man about the line\nHe shrugs his cast iron shoulders. \"Not much to say about it, youngster.\"\n\nThe old man reels in a whopper of a fish, which he tosses into the bucket by his feet.\n\n> You ask the man for the line\nHe twangs the active line to check for tautness. \"Sorry youngster, can't spare any line today.\"\n\nThe old man pulls a flask from his pocket and takes a hearty swig.\n\n> You take the money\nYou'd better just leave it in your pocket.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You buy the line from the man\n[TADS-1026: wrong number of arguments to user function \"<NO SYMBOL TABLE>.<NO SYMBOL TABLE>\"]\n\n> You go west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a loose brick, a strapless pair of goggles, an antique bottle, a cork, a broken stave, a crowbar, and a white rubber strap here.\nThe white rubber strap dangles limply from the crowbar.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You drop the shrimp\nYou toss the shrimp to the ground.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), and a length of rope.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> Go north\nYou launch yourself north with a heart pumping butterfly stroke.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline."
    },
    {
        "text": "> Go downwards\nYou continue your drop down the face of the slope. The temperature drops severely as you pass through a thermocline, and the mounting pressure makes your ears ache. You pinch your nose shut with thumb and forefinger, and exhale gently to clear the pressure.\n\nUnderwater, (drifting)\nThe slope just keeps on descending. The amount of sunlight that reaches you has diminished quite a bit and the water has become quite cold. Below you all is dark, but for a small glint of light hinting through the darkness.\nA busted lobster trap lies half buried in the mud of the steep\nslope.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You tie the rope to trap\nYou try to tie the length of rope to the busted trap, but find it difficult to summon enough coordination while bobbing in the currents.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You pull the trap\nPulling the busted trap doesn't have any effect.\n\nA large red fish darts by, just barely out of reach.\n\nYour lungs are on fire and blue blood pounds in your veins, setting off waves of panic. You can control yourself no longer! Instinct takes over and sends you kicking and clawing your way to the surface. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. You sputter and gasp, inhaling deeply of the fresh salty air. After a few moments, the fire in your lungs subsides and calm is restored to your pounding veins.\n\n> You look at the trap\nIt's a rough box made of wooden slats and chicken wire. There's a gaping hole in one face, where something has punched through the wire and splintered the surrounding slats. Apparently, it's a busted up lobster trap. Needless to say, the trap is empty.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> Keep going\nYou try to tie the length of rope to the busted trap, but find it difficult to summon enough coordination while bobbing in the currents.\n\nYour lungs are on fire and blue blood pounds in your veins, setting off waves of panic. You can control yourself no longer! Instinct takes over and sends you kicking and clawing your way to the surface. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. You sputter and gasp, inhaling deeply of the fresh salty air. After a few moments, the fire in your lungs subsides and calm is restored to your pounding veins.\n\n> Go southwest\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nSomething brushes your shoulder. You pivot, instinctively, just in time to see a gull sweep past your head.\n\n> You go northwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a loose brick, a strapless pair of goggles, an antique bottle, a cork, a broken stave, a crowbar, a white rubber strap, and a shrimp here.\nThe white rubber strap dangles limply from the crowbar.\n\n> You drop the rope\nYou toss the length of rope to the ground.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a scuba mask (being worn).\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You take the brick\nYou rock the brick back and forth and manage to get your fingers under it. Oof! It's heavy! It takes both hands to carry it, and the muscles in your lower back protest as you straighten up. You'd better decide where you want to go now, because you won't be able to carry it for too long.\n\n> You go to the east\nBrick in hands, you stagger up the concrete ramp. It's a good thing the ramp was there, as you doubt you could have carried the brick up all those stairs.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\nYour arms and shoulders feel a bit sore from carrying the weight of the brick.\n\n> You go east\nYou stagger out of the shady pavilion and onto the long pier. The weight of the brick makes the lengthy pier look even longer than usual.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\nYou let the brick hang lower, and it relieves the soreness in your arms a bit, but your lower back strains as it's forced to pick up the slack.\n\n> You go to the east\nYou stagger into the shade of the small shelter, brick still in hands.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nYour hands are starting to cramp from clutching the brick, and your lower back is in agony, forcing you to bend over almost double.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You jump\nNot while you're carrying that brick.\n\nFinally, you can carry the brick no more. It bangs to the ground with a loud, scraping thud that you feel in the soles of your feet, and narrowly misses your toes. Relieved of the brick's weight, you quickly straighten up. All your aching body parts cry out in relief. You flex your hands to loosen them up, then plant them at your sides and bend backwards until you feel your spine crack. Ahh!\n\nThe old man doggedly reels in a few lengths of line.\n\n> You take the brick\nYou rock the brick back and forth and manage to get your fingers under it. Oof! It's heavy! It takes both hands to carry it, and the muscles in your lower back protest as you straighten up. You'd better decide where you want to go now, because you won't be able to carry it for too long.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> Dive\nYou try to dig a hole to China, but don't get very far.\n\nYour arms and shoulders feel a bit sore from carrying the weight of the brick.\n\nA small child bobbles into the area and tries to sneak up behind the old man, only to break out laughing. The old man jerks in surprise and throws the child a long, harsh glare."
    },
    {
        "text": "[Themes: Fantasy, beach]\n\n> You go downwards\nIf you want to jump off the pier, you should say so. Otherwise, there is no way down.\n\nYou let the brick hang lower, and it relieves the soreness in your arms a bit, but your lower back strains as it's forced to pick up the slack.\n\nThe old man pulls a flask from his pocket and takes a hearty swig.\n\n> You jump off the Pier\nThe old man watches with flinty eyes as you set the brick on the railing and then climb over, coming to rest on the outside of the railing with your heels hanging over open air. Suddenly, you realize you won't be able to turn around while carrying the brick. You swallow and resign yourself to going off backwards. A trembling spasm flits through your calves as you raise the brick. You count three, take a deep breath, and... jump! You fall fast and hit the water, hard, with your face, throwing spray everywhere. The weight of the brick drags you down fast, faster. You fall down and down alongside an enormous dropping slope, and the water turns cold around you while the pressure pierces your ears with shards of glass. You throw back your head and howl in pain, losing most of your air in a glittering swarm of bubbles, and still you fall into darkness. But below you is a speck of light, and even as you fall from the sunlight, this new light gives you hope. It grows as the sun diminishes, and though it gives off no warmth, it cheers you slightly. The barbed pain in your ears subsides. You fall further and further, and finally, you hit bottom with a dull thud that raises a cloud of mud. When the mud clears you find you've somehow lost track of the brick.\n\nUnderwater, (drifting)\nYou're at the bottom of a long, precipitous slope. The cold and pressure are intense. Judging by the dim light, you must be many fathoms below the surface. It's astonishing that you made it this deep without any diving equipment. An enticing beam of light in these frigid, sub-arctic depths has resolved into... the huge staring eye of an enormous octopus!\n\nYour lungs are almost empty of air after your long descent. You can already feel burning tendrils of pain spreading through your chest.\n\n> You look at the octopus\nYou examine the 'octopus' more closely. You can see now that it's nothing more than a rusty old diving bell. But it really does look like an enormous octopus stretching up from the ocean floor. Its rusting, barnacle encrusted head is supported by four thin, stilted tentacles which disappear into the swirling sands. Completing the illusion are a pair of plate sized eyes, which stare at you with shining intensity while producing the light that lured you so deep.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You look through the porthole\nYou glance out the porthole expecting to see little more than muck and murk. Instead, you're confronted with a breathtaking vision. The stygian depths have parted to permit a single powerful beam of sunlight, which illuminates a scene of startling beauty. The ocean floor beyond the portholes is grown over with a coral reef that swarms with a kaleidoscopic variety of life. Brain coral sprout like fungi, their convoluted folds home to tiny, salmon colored shrimp. Larger crustaceans are visible here and there, hiding in shadow as they wait for their unwary prey. Schools of fish swarm in great prismatic clouds, their pale bellies reflecting tiny bursts of light as they wheel and twirl. Fluted ivory branches climb surface ward, reaching like grasping fingers for the silver fish that dart among them. And presiding over all like the kings of yore are great purple sea fans, which wave majestically in the currents as if bestowing grace upon their radiant subjects.\n\nDiscovering all this at such great depth and so far north is nothing short of miraculous. You'd almost forgotten the pleasant thrill of finding beauty in unexpected places. It starts you thinking about work again, in particular the way it dulls your interest in searching for wonder.\n\nYou're feeling skittish. \"Could I really do this?\" is what you're asking yourself. You've unconsciously begun tallying your savings. You've even got the beginnings of a resignation letter going in the back of your mind. If only you had a couple more arguments to put your mind at rest.\n\nYou notice that the mud beneath the coral seems oddly level. In fact, one patch in particular doesn't look like mud at all.\n\n> Search patch\nThe patch of level surface is too far away.\n\n> You examine patch\nYou pier out through the scratched glass straining for more detail. Eyes squinting, tongue poking through teeth in concentration, you can just make out some sort of pattern hidden beneath the mud...\n\n> Go outside\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nYou're at the bottom of a long, precipitous slope. The cold and pressure are intense. Judging by the dim light, you must be many fathoms below the surface. It's astonishing that you made it this deep without any diving equipment. An enticing beam of light in these frigid, sub-arctic depths has resolved into the porthole of a long disused diving bell. The porthole only reflects the single, powerful ray of sunlight that has miraculously penetrated to this great depth. You can make out a partially obscured pattern in the fine mud of\nthe ocean floor.\n\n> You move the mud\nYou can't move the mud.\n\nPressure starts to build in your lungs.\n\n> Search patch\nYou find nothing of interest.\n\nPressure starts to build in your lungs.\n\n> You examine the pattern\nUnfortunately, you can't make much out through the mud.\n\nPressure starts to build in your lungs.\n\n> Clean mud\nYou have no way to secure yourself, which makes moving the mud a difficult process. But you scrape it away industriously, waving it off in large swathes. The mud rises, clouding the surrounding water, but the pattern becomes slightly clearer. You can just make out a single black footprint.\n\nPressure starts to build in your lungs.\n\n> You look at the footprint\nYou can just make out what appears to be a black footprint.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You examine patch\nYou pier out through the scratched glass straining for more detail. Eyes squinting, tongue poking through teeth in concentration, you can just make out some sort of pattern hidden beneath the mud...\n\n> Go outside\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nYou're at the bottom of a long, precipitous slope. The cold and pressure are intense. Judging by the dim light, you must be many fathoms below the surface. It's astonishing that you made it this deep without any diving equipment. An enticing beam of light in these frigid, sub-arctic depths has resolved into the porthole of a long disused diving bell. The porthole only reflects the single, powerful ray of sunlight that has miraculously penetrated to this great depth. You can make out a partially obscured pattern in the fine mud of\nthe ocean floor.\n\n> You examine footprint\nYou can just make out what appears to be a black footprint.\n\nPressure starts to build in your lungs.\n\n> You stand on the footprint\nI don't know how to stand on the obscured pattern.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> Leave\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nYou're at the bottom of a long, precipitous slope. The cold and pressure are intense. Judging by the dim light, you must be many fathoms below the surface. It's astonishing that you made it this deep without any diving equipment. An enticing beam of light in these frigid, sub-arctic depths has resolved into the porthole of a long disused diving bell. The porthole only reflects the single, powerful ray of sunlight that has miraculously penetrated to this great depth. You can make out a partially obscured pattern in the fine mud of\nthe ocean floor.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\n> Clean pattern\nYou continue waving mud from the pattern, further clouding the water. You manage to uncover a second footprint, and a curved line connecting them both.\n\nA large red fish darts by, just barely out of reach.\n\nPressure starts to build in your lungs.\n\n> Keep going\nAt last you can make out the pattern. It's a dance diagram. There can be no doubt. Black footprints connected by swooping lines describe an intricate dance step. A sudden burst of recognition hits you. This flat surface must be a chunk of the original Tybrisa Pavilion! You wish you could tell what dance was being described here.\n\nA large red fish darts by, just barely out of reach.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You examine the pattern\nIt's a dance step diagram, inscribed on what must be a piece of the old Tybrisa pavilion dance floor.\n\nPressure starts to build in your lungs.\n\n> Dance\nYou can't dance in the water, but you do manage a provocative wiggle.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You leave the octopus\nUnderwater, (drifting)\nYou're at the bottom of a long, precipitous slope. The cold and pressure are intense. Judging by the dim light, you must be many fathoms below the surface. It's astonishing that you made it this deep without any diving equipment. An enticing beam of light in these frigid, sub-arctic depths has resolved into the porthole of a long disused diving bell. The porthole only reflects the single, powerful ray of sunlight that has miraculously penetrated to this great depth. You can make out a partially obscured pattern in the fine mud of\nthe ocean floor.\n\n> You go upwards\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> Go west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> You go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, Beneath Pier\nYou stand in the cool shadow of the long pier, among its supporting pylons. The pylons lead east like a subterranean avenue. A pair of pipes runs the length of the pier, presumably a part of the pavilion's plumbing. To the west, the dunes that surround the pavilion part to allow passage beneath it. You can escape the pier's chilly shadow to the north or south.\nA great crystalline castle dominates the area, rising nearly to the underside of the pier.\n\n> You go south\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\n> You go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nFrom somewhere among the flock you hear a raucous cry that sounds suspiciously like \"Big Water!\"\n\n> Go west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a strapless pair of goggles, an antique bottle, a cork, a broken stave, a crowbar, a white rubber strap, a shrimp, and a length of rope here.\nThe white rubber strap dangles limply from the crowbar.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Dance\nYou set your feet to the dance hall floor and follow the steps you learned from the old, sunken diagram. You begin with clumsy feet, but become more proficient as you rehearse. As you dance around the pavilion, a strange thing happens. Ghostly figures begin to join you - a small few at first, but growing in number. You can see them becoming more substantial as they spin and whirl in their gossamer wing tips and slippers. Petticoats twirl about you as the ladies wearing them prance and pirouette, lead by gentlemen in high collared, pin striped suits. You glance around at the revelers surrounding you, only to notice that the pavilion has undergone a transformation of its own. Where once everything was dull grey cement, you now find rough wooden planks painted with a variety of dance step diagrams. The pavilion has also shrunken considerably. Colorful banners light up the otherwise gloomy rafters. Your examination is interrupted when someone taps your shoulder. You whirl to find a partner inviting you to join in the revelry. Following your new partner's lead, you swing and sway to the spirited notes of a lively jazz band. The music plays on for what seems like hours, but you never tire, even when the sun descends in the west. As the sky grows dark, attendants set out paper lanterns which bring a fiery glow to the festivities. You continue to dance through song after song, frequently trading partners until you're giddy and slicked with sweat. Eventually, though, the ball begins to wind down. The musicians belt out one final, powerful number. Afterwards, they pack away their instruments. The lights dim as the attendants blow out the paper lanterns one by one and the dancers slowly crowd toward the exit. As they leave the pavilion, the ethereal dancers fade back into the past. The musicians go too, soon followed by the attendants with their paper lanterns.\n\nIn a few bare moments everyone is gone, and you notice that the pavilion has reverted back to grey cement. Though hours seemed to have passed while you danced, the sun is still just where you recall seeing it prior to this latest vision.\n\nYou feel like beating your chest in wild excitement. Ahh! What an incredible reminder of the joy of expression! In fact, it gets you to thinking about work again, particularly the way it crushes all your creative output and turns it into predigested pap for unintelligent clients.\n\nYou're feeling excited. \"Yes, I could really do this!\" you exclaim. You've got plenty of money in the bank. And to heck with your employers! What have they ever really done for you? You're teetering right on the brink of decision. If only you had one more argument to set your resolve.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> Go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a strapless pair of goggles, an antique bottle, a cork, a broken stave, a crowbar, a white rubber strap, a shrimp, and a length of rope here.\nThe white rubber strap dangles limply from the crowbar.\n\n> Crowbar\nThe shrimp: Taken.\nThe crowbar: You take the white rubber strap and the crowbar.\n\n> Go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> Go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man reels in a tiny fish, grunts in disgust, and tosses it back.\n\n> You examine the fountain\nIt's a waist high silver cabinet with a metal basin on top, just like all the other fountains you've ever seen.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You look in the basin\nThere's nothing in the drinking fountain.\n\nThe old man pulls back hard on his rod, pulling the line taut.\n\n> You turn on the fountain\nYou turn the handle, but nothing happens. Perhaps the water main has been shut off for the night.\n\nA small child bobbles into the area and tries to sneak up behind the old man, only to break out laughing. The old man jerks in surprise and throws the child a long, harsh glare.\n\n> Go west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> Go west\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You go to the south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\nGrains of sand on the concrete floor twinkle as the light of the setting sun streaks through them at just the right angle.\n\n> You look at the boiler\nThe metal appliance is an industrial sized boiler, which looks rather similar to a deep fryer. Basically, it consists of a deep metal pan resting on a foundation of electric heating coils. Handles on either side of the pan suggest that it can be detached from the base. A thin metal bar girdles the lip of the tray, reinforcing the frame, and a hinged lid lies flat on top, anchored to the metal bar with a sturdy clamp which the vendor attached before leaving for the night.\n\n> You examine the counter\nThe snack bar carries the usual variety of foods and beverages, though none of these are in evidence. Apparently, the vendor has locked up for the night. Empty shelves line the wall behind the counter, and presumably there are more shelves beneath the counter. A prominently placed sign advertises boiled peanuts, something you've come to think of as a particularly southern delicacy. Just behind the counter is a closed metal boiler, its metal lid held firmly in place by a strong metal clamp.\n\n> You look under the counter\nThe narrow space beneath the counter is deep in shadow. You can't make out anything of interest, and it's unlikely that you could retrieve anything anyway.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> Search counter\nYou find nothing of interest.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You look behind the counter\nThe only thing of obvious interest is the industrial boiler.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> You open the boiler\nYou try to pull the clamp off with your bare hands, but it's anchored too securely. There must be some trick to getting it off.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You pry the clamp with the crowbar\nYou put the other stuff you were carrying on the counter to free your hands. Then you slide the metal bar beneath the clamp and apply pressure. Getting no immediate results, you push harder on the bar. It bites into the soft flesh of your palms as you strain to force the clamp. Suddenly, instead of the clamp giving way, the lid's hinges shear off with a violent wrenching sound. Free of the lid's resistance, you go lunging forward and almost fall from your feet.\nThe clamp pops off with a metallic twang and clatters to the floor where it disappears beneath the counter. Simultaneously, the lid flies off and goes sailing away over the railing like a big, square, metallic frisbee.\n\n> You look in the boiler\nIt appears to be empty.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You look under the counter\nThe narrow space beneath the counter is deep in shadow. You can't make out anything of interest, and it's unlikely that you could retrieve anything anyway.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air."
    },
    {
        "text": "[Themes: Fantasy, underwater, beach, animals]\n\n> Look around\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a shrimp and a length of rope.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You put the shrimp in the boiler\nYou toss the shrimp in the boiler.\n\n> You go west\nThe brick faced enclosure blocks your way.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\n> Go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a sieve, a strapless pair of goggles, an antique bottle, a cork, and a broken stave here.\n\n> You go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a length of rope.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You put the shrimp in the sieve\nYou toss the shrimp in the sieve.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> You put the sieve in the boiler\nYou toss the sieve in the boiler.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You turn on the boiler\nYou turn the knob to the 'On' position.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You turn off the boiler\nYou turn the knob back to the 'Off' position.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, an antique bottle, a cork, and\na broken stave here.\n\n> You go southwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, a cork, and a broken stave\nhere.\n\n> Go northwest\nYou rattle the glass door of the Marine Center, but find it locked. A sign inside the door explains that the center is only open from 10am to 2pm. However, beside the entrance is a sturdy looking white diving bell.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You examine Center\nThe Tybee Island Marine Center is closed. A notice inside the glass door informs you that its hours are 10am to 2pm. Through the door you can see posters displaying various local sea life, and through a dark passage, you can just barely make out several glass tanks. Outside the entrance is a sturdy looking white diving bell.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You examine the posters\nThe Tybee Island Marine Center is closed. A notice inside the glass door informs you that its hours are 10am to 2pm. Through the door you can see posters displaying various local sea life, and through a dark passage, you can just barely make out several glass tanks. Outside the entrance is a sturdy looking white diving bell.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a snail shell, lying in\nthe sand.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, North of Pier\nThe surf swells around your knees, occasionally surging up to your waist. You can crawl up onto the beach to the west, where someone has built a large sand sculpture above the ebbing surf, or swim into deeper water to the east. To the south, you can pass through the cement pylons supporting the pier.\n\nA gentle, white crested wave laps past your knees.\n\n> You fill the bottle with Water\nYou fill the antique bottle with salt water from the ocean.\n\n> You go to the southwest\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a snail shell, lying in\nthe sand.\n\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, a cork, and a broken stave\nhere.\n\n> Go south\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a length of rope.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> You pour Water into the boiler\nWhich water do you mean, the salt water, or the ocean water?\n\n> Salt\nThe amount of water in the antique bottle is hardly enough even to cover the bottom of the pan. You decide not to bother.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> You take the shrimp\nTaken.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go west\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\nYou see a clam shell here.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, a cork, and a broken stave\nhere.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> Go southeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nTwo gulls break off from the main flock to fight over a choice morsel. A third flies over to investigate, and soon all three fly squawking away over the beach.\n\n> Go west\nYou're in a small, cement walled room. But for the open gate in the east face, it would be one big cement cube. Against the rear wall is a large bin full of used paper products. Next to that is a plain looking utility table over which is hung a peg board.\nYou see a steel key, a treasure map, and a shingle here.\n\n> You examine bin\nIt's a waist high wooden bin. It seems to be full of used paper products.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a crowbar, a white rubber strap, an antique bottle (containing salt water), and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe white rubber strap dangles limply from the crowbar.\n\n> You put the shrimp in Water\nYou let go of the white rubber strap, the shrimp and the crowbar. The strap sinks beneath the surface and disappears into the murky water along with the shrimp and the crowbar.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a crowbar, a white rubber strap, an antique bottle (containing salt water), and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe crowbar is joined to the shrimp by the white rubber strap.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\n> You drop the bottle\nYou toss the antique bottle to the ground.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\n> Go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nThe shrimp shows renewed life as it makes contact with the salt water.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "[Themes: Fantasy, beach, underwater, maritime, magical realism]\n\n> Go downward\nThe ocean muck oozes through your fingers, but there doesn't seem to be anything hidden beneath it.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\n> You go to the north\nYou launch yourself north with a heart pumping butterfly stroke.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You pry the trap with the crowbar\nYou realize the futility of trying to pry open the busted trap with the crowbar.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> Go upwards\nLungs burning, you kick and claw your way toward the glittering sunlight above you. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a crowbar, a white rubber strap, and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe crowbar is joined to the shrimp by the white rubber strap.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You go west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\nSomething unseen nips lightly at your toes.\n\n> You remove the white strap from the crowbar\nYou detach the white rubber strap from the crowbar, separating it from the shrimp.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a white rubber strap, a shrimp, and a crowbar.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe white rubber strap waves in the current, anchored to the\nshrimp.\n\n> You go to the east\nYou'd better do something with one of the items you're carrying first. You'll need at least one hand free to swim.\n\n> You drop the crowbar\nYou toss the crowbar to the ground.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\n> You go to the east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nThe shrimp shows renewed life as it makes contact with the salt water.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> You go to the south\nThe dim light and pulsing waves both serve to confound your sense of direction. Nevertheless, you kick off in what you believe to be the right direction.\n\nPressure starts to build in your lungs."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, beach]\n\n> Go downward\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe sandy ocean floor lies about ten feet below the surface, layered with silt and dotted with climbing green fingers of sea grass. The angled cement pillars that support the pier end here. Just beyond the final pair of pillars is a sudden drop off, a steep slope that leads down and down, far beyond your limited visibility.\n\nA large red fish darts by, just barely out of reach.\n\n> Go south\nThe dim light and pulsing waves both serve to confound your sense of direction. Nevertheless, you kick off in what you believe to be the right direction.\n\nA large red fish darts by, just barely out of reach.\n\nPressure starts to build in your lungs.\n\n> Go up\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You go to the south\nYou glide to the south with a smooth breast stroke.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\n> Go east\n(Getting off of the ground first.)\n\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nThe shrimp shows renewed life as it makes contact with the salt water.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "[Themes: Fantasy, beach, maritime]\n\n> Go down\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\n> You drop the shrimp\nYou let go of the white rubber strap and the shrimp. They disappear towards the murky bottom.\n\nA large red fish darts by, just barely out of reach.\n\nPressure starts to build in your lungs.\n\n> You give the shrimp to the crab\n\"Hmm...\" you think to yourself, \"...maybe I can lure the crab out with a tasty treat.\" You give yourself a little pat on the back for your cleverness.\n\nYou lower the shrimp toward the fissure, but a nagging voice in the back of your mind suggests that you might never see the white rubber strap again.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You drop the shrimp\nYou let go of the white rubber strap and the shrimp. The strap sinks beneath the surface and disappears into the murky water along with the shrimp."
    },
    {
        "text": "[Themes: Fantasy, magical realism, contemplative, animals, nature]\n\n> Go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach."
    },
    {
        "text": "> Go downwards\nThe ocean muck oozes through your fingers, but there doesn't seem to be anything hidden beneath it.\n\nA big wave must have broken somewhere above you. You can feel the dull percussion of it throughout your body.\n\nThe crab sends forth one probing eye stalk, then hastily withdraws it.\n\nPressure starts to build in your lungs.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a scuba mask (being worn).\nThe pocket of your shorts seems to contain some money and your passcard.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> You look at what you're carrying with you\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a white rubber strap, and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe white rubber strap waves in the current, anchored to the\nshrimp.\n\n> You tie the white strap to yourself\nYou tie the other end of the white rubber strap to your wrist, joining the shrimp to your wrist.\n\nA rather large wave surges past, wetting you up to the waist and nearly toppling you from your feet.\n\n> You give the shrimp to the crab\nNot while the shrimp is joined to your wrist by the white rubber strap.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\nYou see an antique bottle, lying in the sand.\n\n> You remove the mask\nYou strip the mask off of your head.\n\n> You take the neoprene\nYou can't, it's an integral part of the mask.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> You wear the mask\nYou pull back the tough strap and slide the mask over your head. It fits snugly, creating a tight seal.\n\n> You take all\nThe antique bottle: Taken.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a shrimp, a white rubber strap, and an antique bottle (containing salt water).\nThe pocket of your shorts seems to contain some money and your passcard.\nThe shrimp hangs from your wrist by the white rubber strap.\n\n> You go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nThe gulls battle among themselves for dominance over the temporary food supply.\n\n> You take shell\nTaken.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> You go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man reels in a tiny fish, grunts in disgust, and tosses it back.\n\n> You ask the man about the crab\nThe old man scuffs his heavy shoes against the cement floor, but makes no reply.\n\nThe old man stares grimly at the sun, as if daring it to sink any lower.\n\n> You examine the tackle box\nThe tackle box is a grownup's toychest full of colorful lures, shiny bobs, and dull metal weights.\n\nA small child bobbles into the area and tries to sneak up behind the old man, only to break out laughing. The old man jerks in surprise and throws the child a long, harsh glare.\n\n> You ask the man about the tackle box\nHe glances at the box and beams uncharacteristically. \"My grandkids got it for me last Christmas.\"\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> You ask the man about the lures\nHe glances at the box and beams uncharacteristically. \"My grandkids got it for me last Christmas.\"\n\nThe slight breeze carries the sound of the old man grumbling to himself.\n\n> You kick the bucket\nThe old man spots you reaching for his pail and fires off a smouldering glower that burns straight through the center of your forehead.\n\nThe old man plays out a few lengths of line.\n\n> Go west\nIt takes a moment for your eyes to adjust to the shade beneath the greater pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> Go south\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a length of rope.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You look at the rope\nIt's a short, stout section of rope, about half as long as you are tall and two thumb widths thick.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You untie the rope\nThe length of rope isn't attached to anything.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You remove the white strap from yourself\nYou detach the white rubber strap from your wrist, separating it from the shrimp.\n\n> White\nYou detach the white rubber strap from the shrimp.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> You tie the shrimp to the rope\nYou try, but the coarse rope is too thick to be knotted around the shrimp.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), an antique bottle (containing salt water), a clam shell, a length of rope, a shrimp, and a white rubber strap.\nThe pocket of your shorts seems to contain some money and your passcard.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You go to the west\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, a cork, and a broken stave\nhere.\n\n> You drop all but the mask and the shrimp\nThe antique bottle: You toss the antique bottle to the ground.\nThe clam shell: You toss the clam shell to the ground.\nThe length of rope: You toss the length of rope to the ground.\nThe white rubber strap: You toss the white rubber strap to the ground.\n\n> Go southeast\nYou skip along the wooden boardwalk to the beach, evoking a strong memory of the carefree summer days of your childhood.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You go to the east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\n> You give the shrimp to the crab\nYou release the shrimp. Free of your grip, it darts immediately toward the dark fissure in the rock. With surprising speed, the crab comes to life and goes after it. The chase is brief, and shortly the crab retreats to the depths of the fissure, shrimp in claw. Hmm. If only you had some way of holding on to the shrimp. You release the shrimp. Free of your grip, it darts immediately toward the dark fissure in the rock. With surprising speed, the crab comes to life and goes after it. The chase is brief, and shortly the crab retreats to the depths of the fissure, shrimp in claw. Hmm. If only you had some way of holding on to the shrimp.\n\nPressure starts to build in your lungs.\n\n> Wait\nTime passes...\n\nThe pressure turns into an itch, which quickly becomes a burning heat."
    },
    {
        "text": "[Themes: Fantasy, contemplative, animals, underwater, dragon, maritime]\n\n> Go downwards\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\n> You examine the fissure\nIt's a deep, dark crevice cut in the rock.You can just make out the tip of the conch shell hidden in it.\n\nPressure starts to build in your lungs.\n\n> You go west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\n\nSomething unseen nips lightly at your toes.\n\n> Go west\nYou splash merrily out of the shallow water, on to the hard packed sand.\n\nDamp Sand, South of Pier\nTo the east, the shallow surf ebbs and flows up onto the cold, wet sand. The sand turns into powdery gold back to the west. To the north, you can pass among the pylons supporting the long pier that extends from the pavilion. The small castle you found here earlier has disappeared. The mites must have integrated its materials into the larger castle.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nThe entire flock suddenly erupts in a bout of frenzied screeching for no apparent reason. After a moment or two, they revert to their original decibel level.\n\n> You go to the northwest\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, a cork, a broken stave, an antique bottle, a clam shell, a length of rope, and a white rubber strap here.\n\n> Go east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\n> Go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\n> You go to the east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\nYou see a shrimp here.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> You look at the fish\nA couple of flounder and some grouper, but mostly a bunch of red herring.\n\nThe old man stares out to sea, and solemnly salutes a far away tanker.\n\n> You examine man\nHe looks like he just stepped out of a Hemingway novel. He stares out to sea, lantern jaw thrust defiantly forward, stony countenance unbroken by any hint of emotion, while the evening breeze tousles his iron gray hair. He wears a rumpled blue shirt, brown canvas slacks, and heavy boots. The cuffs of his shirt are rolled up to the elbows, revealing forearms of corded steel. Powerful hands, scarred times beyond measure, anchor a rod no more rigid than themselves.\n\nThe old man pulls back on his rod with all his might, struggling to reel in whatever he's hooked. Incredibly, an enormous marlin breaks the surface! But victory is short lived. The line snaps and the old man staggers nearly off his feet.\n\n> You take the shrimp\nTaken.\n\nThe slight breeze carries the sound of the old man grumbling to himself.\n\n> You give the shrimp to the man\nThe old man's head turns towards you as if driven by archaic machinery. You can almost hear the gears groaning. He stares at you expressionlessly for a long, embarrassing moment that drags on interminably. Finally, his eyes dismiss you with a nearly imperceptible flicker before beginning the long return voyage out to sea.\n\nThe slight breeze carries the sound of the old man grumbling to himself.\n\n> You ask the man about the job\nYou don't know of any such thing.\n\nThe old man consults his bait box, and reties his line with a new lure.\n\n> You take the tackle\nThe old man spots you reaching for his tackle box and fires off a smouldering glower that burns straight through the center of your forehead.\n\nThe old man draws a cigarette from his breast pocket, rolls it meditatively between thumb and forefingers, and then puts it away.\n\n> You ask the man about the lobster trap\nThe old man frowns, but says nothing.\n\nThe old man doggedly reels in a few lengths of line."
    },
    {
        "text": "[Themes: Fantasy, beach, nature, animals, magical realism, dragon]\n\n> Look around\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nAn old man is fishing off the pier with a great, heavy rod. Resting on the railing beside him is an open tackle box, while at his feet sit a bucket full of freshly caught fish and an empty burlap sack.\n\nThe slight breeze carries the sound of the old man grumbling to himself.\n\n> You go to the south\nThe railing prevents you from walking off the pier.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach."
    },
    {
        "text": "> Go downward\nIf you want to jump off the pier, just say so. Otherwise, there is no way down.\n\nA speck of sunlight glints off a ship lying far off on the eastern horizon.\n\n> You jump off the Pier\nYou climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! The ground rushes up faster than you could have imagined. It seems you've only just jumped when wham! Your feet hit the ground with a stinging impact that sends you sprawling forwards into the sand. You lie, stunned, for several moments. After a time the stinging fades from your feet, if not from your memory, and you climb back to a vertical position. You seem to have lost one of your posessions in the fall.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a snail shell, and a shrimp, lying in the sand.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You examine the mud\nThe mud covers all of the ocean floor.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nPressure starts to build in your lungs.\n\n> You move the mud\nYou can't move the mud.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> Go upward\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), and a shrimp.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You check your inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), and a pair of goggles (being worn).\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You wear the mask\nYou pull back the tough strap and slide the mask over your head. It fits snugly, creating a tight seal.\n\nA tiny crab rushes from an invisible hole by your feet and scuttles away, quickly disappearing into another, equally invisible hole.\n\n> You go east\nThe surf glides up to meet you as you approach the water, a cool shock against your warm skin.\n\nShallow Water, Beneath Pier\nThe knee-deep water here is cooled by the shadow of the pier, which here rises to almost three times your height. A pair of metal pipes run the length of it, presumably a part of the pavilion's plumbing. The avenue of supporting pylons leads west, on to the sand, and also continued into deeper water to the east. You can escape the pier's chilly shadow to the north or south.\n\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nDeep Water, Beneath Pier, (treading water)\nThe long pier finally comes to an end, the last of its supporting pylons disappearing into the murky depths below. To the east lies nothing but endless ocean. The welcoming sands of the beach lie back to the west. Or you can strike off north or south, parallel to the shoreline.\n\n> You look at the wire\nThe construction's function isn't immediately obvious, so you clear away some of the mud surrounding it. It turns out to be a rough box made of wooden slats and chicken wire. There's a gaping hole in one face, where something has punched through the wire and splintered the surrounding slats. Apparently, it's a busted up lobster trap. Needless to say, the trap is empty. In the process of uncovering the trap, you've also revealed a short length of thick rope that's tied to it.\n\nA few small bubbles escape your lips, glittering in the light as they rise towards the surface.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You pull the rope\nYou tug on the length of rope, but nothing happens.\n\nYour lungs are on fire and blue blood pounds in your veins, setting off waves of panic. You can control yourself no longer! Instinct takes over and sends you kicking and clawing your way to the surface. You rise and rise and can't climb fast enough and finally, just when you don't think you're going to make it, you break the surface. You sputter and gasp, inhaling deeply of the fresh salty air. After a few moments, the fire in your lungs subsides and calm is restored to your pounding veins."
    },
    {
        "text": "> Go down\nYou continue your drop down the face of the slope. The temperature drops severely as you pass through a thermocline, and the mounting pressure makes your ears ache. You pinch your nose shut with thumb and forefinger, and exhale gently to clear the pressure.\n\nUnderwater, (drifting)\nThe slope just keeps on descending. The amount of sunlight that reaches you has diminished quite a bit and the water has become quite cold. Below you all is dark, but for a small glint of light hinting through the darkness.\nA busted lobster trap lies half buried in the mud of the steep\nslope.\nYou see a length of rope, drifting in the mud.\nThe length of rope waves in the current, anchored to the busted\ntrap.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You tie the rope to yourself\nThe length of rope isn't long enough to join the busted trap to you.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You examine the message\nIn letters a hand high, someone has written \"Here There Be Dragons.\" Beneath that, they've drawn a simple compass rose with an arrow pointing to the northeast.\n\nSomething brushes your shoulder. You pivot, instinctively, just in time to see a gull sweep past your head.\n\n> You examine the cork\nIt's stained a dark mahogany color.\n\n> You check what you're carrying\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a shrimp, and a cork.\nThe pocket of your shorts seems to contain some money and your passcard.\n\n> You tie the white strap to the cork\nYou can't tie the white rubber strap to the cork.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You drop the cork\nYou toss the cork to the ground.\n\n> You take the stave\nTaken.\n\nA slight gust of wind sends eddies of sand swirling over the brick path.\n\n> You tie the white strap to the shrimp\nYou tie the other end of the white rubber strap to the shrimp, joining the broken stave to the shrimp.\n\n> Go east\nThe warm dry sand gives way to cool wet sand as you move closer to the shoreline.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a snail shell, lying in\nthe sand.\n\n> You drop the shrimp\nYou let go of the white rubber strap, the shrimp and the broken stave. Together, they fall to the water with a splash and bob lightly on the surface.\n\n> Wait\nTime passes...\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\nThe broken stave starts drifting slowly toward shallower water, towing the shrimp behind it.\n\n> You go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\nYou see a broken stave, a shrimp, and a white rubber strap, bobbing\non the waves.\nThe broken stave is joined to the shrimp by the white rubber strap.\n\nThe broken stave drifts out of reach into shallower water, towing the shrimp behind it.\n\n> Go west\nYou kick back towards shore, skimming along for a few yards before coming to rest in shallower water.\n\nShallow Water, South of Pier\nYou're up to your knees in the gently surging tide. It flows up onto the beach to the west and grows deeper to the east. To the north, you can pass among the pylons supporting the pier.\nYou see a broken stave, a shrimp, and a white rubber strap, bobbing\non the waves.\nThe broken stave is joined to the shrimp by the white rubber strap.\n\nThe broken stave starts drifting slowly towards shore, towing the shrimp behind it.\n\n> You take the stave\nYou take the white rubber strap, the shrimp and the broken stave.\n\nSomething unseen nips lightly at your toes.\n\n> Go east\nYou launch yourself towards deeper water, skimming along for a few yards before coming to a stop.\n\nThe shrimp shows renewed life as it makes contact with the salt water.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths."
    },
    {
        "text": "[Themes: Fantasy, nature, maritime, animals, beach]\n\n> Go downwards\nYou try to dive below the surface, but the buoyancy of the stave prevents you from going under.\n\nA gentle wave laps by, setting you bobbing in the current.\n\n> Inventory\nYou have a pair of shorts (being worn), a bathing suit (being worn), a scuba mask (being worn), a broken stave, a shrimp, and a white rubber strap.\nThe pocket of your shorts seems to contain some money and your passcard.\nThe broken stave is joined to the shrimp by the white rubber strap.\n\n> You put the shrimp in pocket\nYou cram the white rubber strap, the shrimp and the broken stave into the pocket of your shorts."
    },
    {
        "text": "> Go downward\nYou fill your lungs to capacity and dive into the water.\n\nUnderwater, (drifting)\nThe gradually sloping ocean floor is only about ten feet below the surface here. The sandy bottom is layered with a suspension of mud and fine silt. Here and there, thin leaved plants claw through the mud like grasping fingers. Dominating the entire area is an enormous slab of barnacle encrusted rock.\n\nThe crab, which had resumed its perch on top of the rock, scuttles back into the fissure on your approach.\n\nThe crab pops out of the fissure, spots you, and scuttles back in.\n\n> You take the shrimp\nYou're already carrying the shrimp.\n\nThe crab pops out of the fissure, spots you, and scuttles back in.\n\nPressure starts to build in your lungs.\n\n> You take the stave\nYou're already carrying the broken stave.\n\nThe pressure turns into an itch, which quickly becomes a burning heat.\n\n> You drop stave\nYou let go of the white rubber strap, the shrimp and the broken stave. Together, they float up to the surface of the water and bob lightly on the waves.\n\nThe crab extends its eye stalks and peers tentatively from the fissure, as if sensing the shrimp's presence. Unfortunately, it soon spots you and retreats back into its hole.\n\nThe burning pain in your lungs grows stronger, triggering the first feelings of panic and setting your heart racing.\n\n> You go upwards\nLungs burning, you kick and claw your way toward the glittering sunlight above you. Gasping, you break the surface and fill your lungs with the salty ocean air.\n\nDeep Water, South of Pier, (treading water)\nThere's nothing but endless ocean to the east. Shallower waters beckon to the west. The long cement pier finally comes to an end to the north of you, its supporting pylons disappearing into the murky depths.\nYou see a broken stave, a shrimp, and a white rubber strap, bobbing\non the waves.\nThe broken stave is joined to the shrimp by the white rubber strap.\n\nA rather large wave surges over your head, leaving you momentarily sputtering.\n\nThe broken stave disappears beneath the waves with a sudden jerk, but pops back to the surface only a moment later.\n\nThe broken stave starts drifting slowly toward shallower water, towing the shell behind it.\n\n> You take the stave\nYou harvest the shell from your simple trap. It proves to be quite hefty. The crab has withdrawn deep into the shell's spirals. You tug on the rubber strap, and it pulls free with a small snap, leaving the strap tied to the broken stave.\n\nYou're still admiring your shiny new prize when your eye is caught by a tiny motion from above. Your eyes are drawn to the very tip of the pier, where the old man is just visible as a small blob of shadow against the pale sky. It's hard to tell from here, but he seems to be putting his pole away.\n\n> You examine the shell\nIt's a beautiful conch shell, half the size of your head. Nature has painted its whorls a luscious, glossy pink, and dotted them with subtly toned spots of brown and white. A crab is packed tightly inside it, entirely hidden but for one bony claw.\n\n> You listen to the conch\nThe conch shell isn't making any noise.\n\nThe conch shell rocks in your grasp.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, South of Pier\nThe cool early evening has left the beach nearly deserted but for a few joggers and unsupervised children. To the east, the dry, powdery sand goes hard as it rolls down toward the swelling tide. The boardwalk lies back to the west. To the north, tall dunes flank the base of the pavilion, blocking your way.\nSomeone has scrawled a message and a simple diagram in the powdery sand.\nA heap of trash has been scattered into the sand by the squabbling flock of gulls. The shallow hole you dug here earlier is still visible.\n\nHundreds of gulls are engaged in a fierce battle over the pile of refuse, squabbling and squawking at each other and filling the air with hungry shrieks.\n\nA toddler of about four, gurgling excitedly, barrels into the flock of gulls. A flurry of white and grey feathers explodes into the air, only to flap back to earth a few feet away.\n\n> You go to the west\nYou skip across the wooden boardwalk, passing over the scrub covered dunes.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, an antique bottle, a clam\nshell, a length of rope, and a cork here.\n\n> You go to the east\nYou skip lightly up the concrete stairs to the pavilion.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You go east\nThe light of the setting sun warms your back as you exit the shade of the pavilion and begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\nThe conch shell rocks in your grasp.\n\n> You go east\nIt takes a moment for your eyes to adjust to the shade beneath the small shelter.\n\nThe pier ends here in a small rectangular shelter with a low wooden roof. You imagine that, seen from overhead, it would look like a pendulum hung from the face of the pavilion. The railing surrounds you on all sides but to the west, where you can follow the pier back towards the pavilion. A water fountain is tucked in one corner.\n\nThe old man is here, apparently packing up for the night.\n\nThe old man seems reluctantly to be packing his gear away. He's already reeled in his line, and his rod lies beside him. He stows the flies, lures and weights into the tackle box and folds it up. Then, he draws a large folding blade from his hip pocket and proceeds to gut his catch. He takes each fish in turn from the pail and deftly decapitates it, slits it lengthwise, strips out the viscera, and sweeps the offal into the sea. Once done, he wraps each fish in newspaper and tosses them into a burlap sack at his feet. Once the pail is empty, he swings the sack over his shoulder, collects his rod and tackle, and turns his feet to the west.\n\n> You examine the pail\nIt's a large metal pail, left behind by the old man.\n\nThe old man hikes off toward the setting sun, hauling away the day's catch in the burlap sack slung over his shoulder. Whether by chance or intent, he seems to have left the pail behind.\n\n> You take the pail\nYou've already got your hands full.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\n> You drop the stave\nYou toss the broken stave and the white rubber strap to the ground.\n\n> You take the pail\nTaken.\n\nA bunch of young children run past, slowing only long enough to point at you and giggle.\n\n> You go to the west\nThe light of the setting sun stabs into your eyes as you exit the shade of the small shelter. You wait a moment for your eyes to adjust and then begin the long stroll down the pier.\n\nThe pier is even longer than it looked. It stretches back west to the great pavilion and continues still further east towards the sea. A small shelter rests at the far end. From below, you can hear the fizzle and hiss of the shallow surf.\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\nThe conch shell rocks in your grasp.\n\n> You jump off the Pier\nYou climb over the railing and maneuver yourself so that you're standing on your heels facing out with your toes hanging out over empty space. You steel yourself, take a deep breath, and... jump! The ground rushes up faster than you could have imagined. It seems you've only just jumped when wham! Your feet hit the ground with a stinging impact that sends you sprawling forwards into the sand. You lie, stunned, for several moments. After a time the stinging fades from your feet, if not from your memory, and you climb back to a vertical position. You seem to have lost several of your posessions in the fall.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, a snail shell, a conch shell, and a pail, lying in the sand.\n\n> You put the conch in the cavity\nYou set the conch shell in the cavity. It's a perfect fit, and somehow you can feel the... rightness... of it. A shiver seems to ripple over the dragon's spine, as if presaging some magical awakening. Uh oh. Sensing the lack of any restraint, the crab has also begun to stir. It probes the sculpted sand beneath it and, finding no resistance, extends its claws and scuttles out of the cavity. It falls from the dragon's face, then retreats hastily back into its shell on impact with the wet sandy floor.\n\n> Pail\nThe conch shell: Taken.\nThe pail: Taken.\n\n> You fill the pail with Water\nYou dip the bucket into the ocean, where it fills up immediately. The added weight of the water in the bucket staggers you, forcing you to hold it with both hands. You set the conch in the pail to keep from losing it in the surf.\n\n> Go west\nSplashing and struggling under the weight of the pail full of water, you stagger out of the shallow surf.\n\nDamp Sand, North of Pier\nThe damp, hard packed sand is darkened almost to bronze by the relentless tide to the east, while to the west it lightens to a powdery gold before ending in tall dunes. To the south, you can pass through the pylons supporting the long pier that stretches east from the pavilion.\nSomeone has built an enormous sand sculpture here. It seems to be some sort of reptile.\nYou see a mussel shell, a crab shell, and a snail shell, lying in\nthe sand.\n\n> Go west\nHard packed wet sand gives way to loose dry sand as you struggle up the beach under the weight of the pail full of water.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line , where someone has built a large sand sculpture. The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> You go to the west\nYou stagger west over the boardwalk under the weight of the pail full of water, thankful to have solid ground under your feet.\n\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, an antique bottle, a clam\nshell, a length of rope, and a cork here.\n\n> Go east\nBucket in hands, you stagger up the concrete ramp. It's a good thing the ramp was there, as you doubt you could have carried the water filled bucket up all those stairs.\n\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> Go south\nYou stagger south under the bucket's weight.\n\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> You pour Water into the boiler\nWhich water do you mean, the salt water, or the ocean water?\n\n> Salt\nYou heave the heavy pail full of water up to your chest and set it on the counter. Before tipping the pail out, you remove the item from it and set it on the counter. Then, you pour the contents of the pail into the boiler in a quick, heavy stream. The water from the pail fills the boiler about three quarters of the way to the top. You figure that should be sufficient.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\nThe shell rocks as the crab inside considers its surroundings.\n\n> You take the shell\nTaken.\n\nThe conch shell rocks in your grasp.\n\n> You examine the sieve\nIt's an open-topped wireframe box with a metal handle, used to extract and drain peanuts from the boiler. It's currently submerged in boiling water.\n\nThe conch shell rocks in your grasp.\n\n> You put the conch in sieve\nYou toss the conch shell in the sieve.\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed. The crab crawls out of the sieve and falls into the boiler.\n\nThe crab scuttles about in the boiler, revived by the cool salt water.\n\n> You turn on the boiler\nYou turn the knob to the 'On' position.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\nThe crab scuttles about in the boiler, revived by the cool salt water.\n\n> Wait\nTime passes...\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\nThe crab scuttles about in the boiler, revived by the cool salt water.\n\nThe water in the boiler begins to simmer.\n\n> You wait for a while\nTime passes...\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\nThe crab darts back and forth in the boiler, agitated by the water's warmth.\n\n> Wait\nTime passes...\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\nThe crab darts back and forth in the boiler, agitated by the water's warmth.\n\nSteam begins to rise from the water in the boiler.\n\n> You wait for a while\nTime passes...\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\nThe crab scuttles along the walls of the boiler, searching frenziedly for any escape from the searing heat. Finally, it gets one claw over the lip of the boiler and pulls itself out and onto the counter.\n\n> You turn off the boiler\nYou turn the knob back to the 'Off' position.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\n> You take the sieve\nYou consider the near boiling water, and decide otherwise.\n\nThe shell rocks as the crab inside considers its surroundings.\n\nSteam ceases to rise from the water in the boiler."
    },
    {
        "text": "[Themes: Fantasy, physical simulation, dragon, beach, animals, contemplative]\n\n> You look around\nA quaint little snack bar nestles beside the brick enclosure, while the rest of the pavilion sprawls out to the north. A hand-painted sign above the counter advertises boiled peanuts. The vendor has gone home for the night.\nBehind the counter is an industrial boiler.\nSitting on the snack bar is a conch shell.\n\n> You listen to the shell\nIt occurs to you that you'd need to be holding it in order to put it against your ear.\n\nThe water in the boiler stops simmering and comes to rest.\n\n> You look at the crab\nIt's a beautiful conch shell, half the size of your head. Nature has painted its whorls a luscious, glossy pink, and dotted them with subtly toned spots of brown and white. A crab is packed tightly inside it, entirely hidden but for one bony claw.\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\n> You turn on the boiler\nYou turn the knob to the 'On' position.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\nThe shell rocks as the crab inside considers its surroundings.\n\n> You wait\nTime passes...\n\nAn elderly couple strolls past you, hand in hand, clearly enjoying the sunset.\n\nThe shell rocks as the crab inside considers its surroundings.\n\nThe water in the boiler begins to simmer.\n\n> You wait for a while\nTime passes...\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\nThe conch shell rocks in your grasp.\n\nSteam begins to rise from the water in the boiler.\n\n> Wait\nTime passes...\n\nA young boy wearing a bright blue bathing suit and matching flip-flops runs by.\n\n> You examine Water\nWhich water do you mean, the salt water, or the ocean water?\n\n> Salt\nIt's ordinary salt water from the ocean.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\nThe water in the boiler reaches full boil.\n\n> You put the conch in sieve\nYou toss the conch shell in the sieve.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach. The crab crawls out of the sieve and falls into the boiler.\n\nA high, piercing shriek - a horrible sound that you wouldn't imagine a crustacean capable of - emanates from the crab as it, quite literally, dies a screaming death in the boiling salt water. The crab shoots from its overheated shell in a vain, frenzied attempt at escape. A bare moment later, the doomed creature floats to the top of the water, while its former home drops like a stone to the bottom of the boiler.\n\n> You take the sieve\nYou consider the boiling water, and decide otherwise.\n\nThe water in the boiler stops bubbling.\n\n> You take the sieve\nYou consider the near boiling water, and decide otherwise.\n\nThe breeze carries the sound of a calypso drum from somewhere far down the beach.\n\n> Wait\nTime passes...\n\nSeveral gulls land nearby, briefly tussle over some invisible morsel, and fly off shrieking.\n\nSteam ceases to rise from the water in the boiler.\n\n> You wait for a while\nTime passes...\n\nA young, auburn haired woman wearing nothing more than sneakers and an incredibly revealing thong bikini jogs past. Jogging alongside her is a darkly-tanned, slim-hipped young man, similarly dressed.\n\n> You take the sieve\nYou consider the near boiling water, and decide otherwise.\n\nAn early evening breeze fills your nose with the tangy scent of brine.\n\nThe water in the boiler stops simmering and comes to rest.\n\n> You examine the crab\nIt looks like an ordinary boiled crab to me.\n\n> You eat the crab\nYou crack the shell open without hesitation. The crab's juices dribble out over your chin as you suck out the sweet meat. Mmm! You couldn't have gotten better at Savannah's finest restaurant. Oh, if only you had some butter and a bit of lemon juice! Once you finish, you discard the broken bits of shell and wipe your greasy hands off on your damp shorts.\n\nA fat, grey gull swoops past you, lands momentarily on the nearby railing, and then launches itself back into the air.\n\n> Go north\nYou're standing in the center of a colossal gazebo that provides shade for sunburned tourists like yourself. The octagonal floor is made of unbroken grey concrete, bordered on each face by a waist high railing. Tall beams support a sloping wooden canopy that rises over three times your height. A red brick enclosure squats in the southwest corner and a small snack bar nestles up against the enclosure to the south. To the east lies the foot of a seemingly endless pier.\nThere are numerous wooden benches here. Right now, they're\nstacked, one on top of another, into a towering wooden column twice your height.\n\n> You go west\nThe brick beach path ends at the foot of a cement stairway that leads east to the Tybrisa Pavilion. To the northeast and southeast, twin boardwalks wrap around the pavilion towards the beach. By one of the boardwalks is a simple public shower, while a white diving bell stands near the entrance of a small building to the northwest. Your hotel towers back to the west, obscuring the sunset.\nA sign advertising boiled peanuts points east, into the pavilion. There's an ugly gap in the path.\nYou see a strapless pair of goggles, an antique bottle, a clam\nshell, a length of rope, and a cork here.\n\n> You put the conch in the cavity\nYou set the conch shell in the cavity. It's a perfect fit, and somehow you can feel the... rightness... of it. A shiver seems to ripple down the dragon's spine, as if presaging some magical awakening. The ripple rebounds from the tail and shudders back up the spine, growing in force and velocity until it disappears into the base of the creature's skull. Then, slowly, lazily, the eyes open as if from a long, restful sleep. Suddenly the head darts forward, causing you to leap back, fearful of an attack. But the creature is merely stretching its long, sinuous neck. Its angular head splits open in a great, toothy yawn that sends you peddling still further back. Then, it rises up on its plump forelegs and shakes from side to side like a dog throwing off droplets of water. Stretched and shaken, the creature throws its head skyward and trumpets forth with an elephantine roar that rattles your bones and sends every gull in the vicinity flapping away down the beach. The creature's wings snap open with a loud crack that echoes out over the water like gunshot. Finally, the great, sandy beast glances around the beach, tightens the muscles of its powerful hind legs, and launches itself into the air. In an instant, it is airborne, beating the air with mighty strokes of its wings. Its tail whips from side to side as it claws at the air, climbing higher and higher. It turns to the west, toward the setting sun and the great marshy wetlands. Soon, it's just a speck against the pastel smudged sky. Then, gone.\n\nIncredible. You've never believed that there was any real magic in the world, though your heart has always wished otherwise. Here it is not only proven, but shown to be the result of singular personal vision. What else but the sculptor's purity of belief in his creation could have brought it to life? It gets you to thinking about work again, and how infrequently it lets you pursue your own vision.\n\nYou're feeling resolute. \"That's it. I'm quitting.\" You've made up your mind and thrown caution to the winds. First thing on Monday, you're going to write your letter of resignation. You feel exhilaratingly light, as if some constant pressure had been removed. You're sure that this is the right decision.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> Go southwest\nThe dunes piled up against the base of the pavilion block your way.\n\nA thin crest of white foam glides up the beach and covers your toes before gently receding.\n\n> Go west\nCool wet sand gives way to warm dry sand as you climb up the beach.\n\nDry Sand, North of Pier\nThe season is early and the day late, leaving the beach deserted but for a few strollers. The golden sand turns dark as it leads east toward the tide line . The boardwalk lies back to the west. To the south, tall dunes flank the base of the Tybrisa Pavilion, blocking your way.\nChained to the end of the boardwalk is a trash barrel.\n\nA slight gust raises a thin skein of sand and whips it across your ankles.\n\n> Go west\n*   *   *   *   *\n\nAs the last rays of the sun dip below the horizon, a scrap of verse runs through your mind. It's something you read on a tombstone in Savannah's colonial cemetery.\n\n\"My life is like the Summer Rose,\n\"That opens to the morning sky;\n\"But ere the shades of evening close\n\"Is scattered on the ground - to die.\"\n\nYou recall that it was penned by Richard Henry Wilde. It was inspired by brother James' descriptions of Florida, where he campaigned against the Seminoles. Richard left his epic poem unfinished after James was shot through the heart in a duel with a fellow officer.\n\nYou reflect on all the things you've seen and done here today. Somehow, life seems more precious now. With life so short, why spend so much time and energy on a job you hate? Especially at the expense of the creative pursuits that make life worth living.\n\nYes, you think, it's definitely time for some change...\n\n*   *   *   *   *\n\nYou have completed Sunset Over Savannah.\n\nYou may undo your last move, restore a saved game, start over, view a list of fun things to try, view a list of painful things to try, or quit.\n\nPlease enter (U)NDO, (R)ESTORE, RE(S)TART, (F)UN, (P)AIN, or (Q)UIT:\n\n> Fun\nHave you tried...\n\n1) Burying yourself in the sand?\n2) Building (and destroying) a sand castle?\n3) Removing your bathing suit in various places?\n4) Typing \"XYZZY\"?\n5) Saying \"Hello, sailor\" to the old man and asking him about the waving girl?\n6) Saying \"Hello, sailor\" to the pirates, or cursing, greeting, or hitting them?\n7) Jumping off the pavilion's canopy?\n8) Eating the peanuts?\n9) Eating the shrimp?\n10) Eating the boiled crab?\n11) Hitting the dragon?\n12) Hitting or punching the sand castle?\n13) Dropping the brick on various small items?\n14) Pushing the aluminum canister out of the storage area?\n\nPlease enter (U)NDO, (R)ESTORE, RE(S)TART, (F)UN, (P)AIN, or (Q)UIT:\n\n> Pain\nThings that can get you hurt...\n\n1) Drowning yourself.\n2) Jumping in the diving bell.\n3) Jumping from the roof of the enclosure.\n4) Jumping off the pier into the sand.\n5) Jumping off the pier into the sand with the brick.\n6) Jumping off the pavilion canopy.\n7) Trying to dig with bare hands in the cement.\n8) Kicking the glass castle.\n9) Punching the glass castle.\n10) Putting your hand in the boiler.\n11) Swimming without eyegear.\n12) Reaching into the fissure.\n13) Climbing the benches while they're stacked in the north face.\n14) Picking up a glass mite.\n15) Dropping the brick on your feet.\n\nPlease enter (U)NDO, (R)ESTORE, RE(S)TART, (F)UN, (P)AIN, or (Q)UIT:"
    },
    {
        "text": "[Themes: Pirates, Romance, nautical, romance, sinister butler, female protagonist, pirates, Historical, pirate, island, maritime, crocodile]\n\n>SHOOT THE PIRATE\nTrembling, you fire the heavy arquebus. You hear its loud report over the roaring wind, yet the dark figure still approaches. The gun falls from your nerveless hands.\n\"You won't kill me,\" he says, stepping over the weapon. \"Not when I\nam the only protection you have from Jean Lafond.\"\nChestnut hair, tousled by the wind, frames the tanned oval of his\nface. Lips curving, his eyes rake over your inadequately dressed body, the damp chemise clinging to your legs and heaving bosom, your gleaming hair. You are intensely aware of the strength of his hard seaworn body, of the deep sea blue of his eyes. And then his mouth is on yours, lips parted, demanding, and you arch into his kiss...\nHe presses you against him, head bent. \"But who, my dear,\" he\nwhispers into your hair, \"will protect you from me?\"\n\n[Press RETURN or ENTER to begin.]\nPLUNDERED HEARTS\nInfocom interactive fiction\n\nLATE ONE SPRING NIGHT IN THE WEST INDIES...\n\nA crash overhead! Pirates are boarding the Lafond Deux! The first\nmate hurries you into Captain Davis's cabin.\n\"Good, you brought the girl,\" Davis smirks. \"She'll keep the pirates busy. She was only a tool of Lafond's, anyway. Let me just find that cof--\" A man on deck screams in agony and Davis starts. \"Let's go.\" The captain thrusts you on the bed and walks out, locking the door.\nHis laugh echoes. \"Best get comfortable, girl. You're likely to be there for the rest of your life.\"\n\nCabin, on the bed\nYou are in an officer's cabin, lit by the firelight glowing through\na porthole. A door is to starboard. Except for the built-in bed, the room seems to have been emptied thoroughly, if hurriedly.\n\n[Author's Note: In the 17th century, the seas are as wild as the untamed heart of a young woman. But when you set out on the schooner Lafond Deux, bound for the West Indies, your thoughts are only of your ailing father who awaits your care. Little do you know that your innocent journey will soon turn to dangerous adventure. You barely survive an encounter with pirates, whose plans for you include a fate worse than death. The explosives, the rocky reefs, the vicious crocodile - all these are obstacles which you must overcome with cunning and agility. True, it's not easy; but at least you can control your fate. What you cannot control is much more dangerous: your passion for Nicholas Jamison, the handsome pirate captain. Tall and lean, with azure eyes that penetrate deep into your soul, he makes your blood quicken despite his unsavory past. When you're in his arms, swirling around the dance floor or secluded in the flowered depths of the gazebo, you are apt to forget your mission. But don't dally too long with Nick. For your father is waiting, and on his rescue lies the fate of more than one man. Prepare for adventure on the high seas, lass. You'll need every bit of pluck you can muster.]\n\n> About yourself\nYou are wearing a cotton frock, very pretty, if a tad outmoded for today's fashions.\n\n> You get up\nYou get out of the bed.\n\"Aaieeee!\" echoes a scream, followed by several grunts and thumps."
    },
    {
        "text": "[Themes: Pirates, Romance, Historical, pirate, female protagonist, romance]\n\n> You look at your surroundings\nYou are in an officer's cabin, lit by the firelight glowing through\na porthole. A door is to starboard. Except for the built-in bed, the room seems to have been emptied thoroughly, if hurriedly.\n\"Cap'n Jamison! We've got 'em!\" cries a rough voice.\n\n> You open the door\nIt appears to be locked.\nSuddenly, the ship lurches to one side, throwing you off balance. A coffer slides from under the bed and bumps against your foot.\n\n> You look at the porthole\nThrough the porthole you see the bow of the pirate ship bucking in the high seas, lit by the fires burning on deck. It is called the \"Helena Louise.\" Odd, that was your mother's name.\n\n> Inventory\nYou have your reticule (hanging from your wrist). It seems that your reticule contains smelling salts and a banknote. You are wearing your kid slippers, a linen chemise and a cotton frock.\n\n> Inventory\nYou have your reticule (hanging from your wrist). It seems that your reticule contains smelling salts and a banknote. You are wearing your kid slippers, a linen chemise and a cotton frock.\nCrash! You whirl around to see the door shatter, kicked by a hulking man, his twisted visage blackened with soot and blood. \"Me name's Andy Crulley, and ladies learn to love me,\" sniggers the pirate.\n\"The Falcon! The Falcon conquers!\" yells someone.\n\n> About you\nYou are wearing a cotton frock, very pretty, if a tad outmoded for today's fashions.\n\"Avast me, but ain't ye a beauty,\" sniggers the pirate. His breath\nis heavy with rum.\nYou recognize a voice from far away, \"Don't take that! Look in the cabin at the stern -- you'll find some fun there!\" It sounds like Davis.\n\n> You read the note\nYou can't read a banknote!\n\"They calls me Andy, but I'm really randy,\" sniggers the pirate, advancing toward you.\nCrulley drags you, despite your resistance, towards him. Then\nsuddenly he grunts, stiffens and slumps into your arms. Stunned, Crulley collapses at your feet, his eyes rolling.\nA tall form blocks the shattered door, one fist still raised from striking your attacker. You catch a glimpse of the hard masculinity of his broad shoulders, the implied power in the scar that etches the stranger's jaw, and feel tremors course through your veins. Then you realize how ragged are his shirt, patched breeches and high boots. Intuitively, you understand -- he is the dreaded Falcon, scourge of the sea! Alas, your fate is sealed. Resigned, you meet his sea-blue eyes.\n\n> You look at the eyes\nThey look just like your eyes.\nTo your surprise, the stranger bows. \"Well met, my lady.\" His accent\nis cultured, his smile vibrant. \"I am Captain Nicholas Jamison, known in these waters as 'The Falcon'. Your father has sent me.\" He chuckles at your glare of distrust. \"Yes, you are like your sire. You needn't believe me untried -- I carry this.\" He hands you a missive.\nWith a creak and a crash, somewhere a mast falls to the deck.\n\n> You take the missive\nYou already have the missive.\nThe pirate captain glances around the empty room, then notices the coffer. \"Davis's safety box -- my men were hoping I'd find it.\" He takes it and nudges the unconscious man on the floor, \"I wonder how Crulley knew you were here? Just his bad luck? He'll be flogged when he wakes.\"\nThe pirate bows. \"My lady, may I offer my protection and my ship\nuntil your father is free?\"\n\n> You read missive\nThe missive is in dear Papa's handwriting:\n\n\"Dearest child,\nYou are in gravest danger! Lafond is a viper with the smile of a\nsaint, my most particular enemy. I have only now learned the depth of his deception. Should Lafond get you in his power... It is unspeakable! I have sided with Nicholas Jamison, a sea captain and a gentleman, whose circumstances have driven him to extreme measures, even branding him a pirate. Nevertheless, I trust him and so may you.\nYou will be safe -- but there is another for whom I fear! My horse\nis waiting and I ride to her rescue. Jamison will deliver this to you. Should anything happen to me, you must rely on him. I remain, with love, your father.\"\n\n\"We haven't time to waste. Will you come willingly or not?\" says Captain Jamison.\n\n> Yes\nYou nod tentatively.\nHe chuckles. \"Brave lady, to trust a stranger -- and a pirate. Who knows, perhaps I forged your father's signature? Keep by my side as we go to my ship -- few sailors respect a lady's dignity.\" He helps you through the door.\n\nThe deck is an avalanche of noise and blood. Lit by roaring fires, silhouetted forms crash swords, dancing around the screaming wounded. Out of the smoke staggers Davis, tugging a bloodied knife from the\nback of a pirate. Davis's eyes gleam white from a face blackened and bloody, his lips dark red as if he has been drinking blood. He turns to face you.\n\n> Scream\nAlthough your voice is quite piercing, no one notices you.\nDavis leaps across the deck to your side, \"Free me or she dies!\" he yells, jabbing a knife up to your throat. In one smooth motion, Captain Jamison draws his rapier, pulls you free and stabs. Davis slumps into a bloody heap.\nSwooning, you fall into the Falcon's arms. You are dimly aware of\nbeing carried to the other ship, down a short flight of stairs, and laid gently on a soft bed. When you gather strength to look around, the Falcon has left you in peace.\nYou remain confined to this room, a large cupboard blocking the\ndoor. Meals are brought by a peg-legged old man and eaten in silence. Of your handsome rescuer you see nothing. Slowly the days pass.\n\n[Press RETURN or ENTER to continue.]\n\n> You take the knife\nTWO DAYS LATER...\n\nYou blear awake from a bored nap, focusing on something shiny. You discern it to be a new ring, on a strong hand in the act of tying a ribbon onto a rapier.\nThe man with the rapier and the ring turns, \"Sorry, I tried not to\nwake you.\" You sit up as if the bed had caught fire, for this is the Falcon, changed from his rags to a finery all red velvet and white lace -- and in your presence!\n\nCaptain's Quarters, on the bed\nYou are in the captain's quarters of the Helena Louise, where you\nhave been trapped these past days since your \"rescue\" from the Lafond Deux. The room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed (upon which you lie). A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft."
    },
    {
        "text": "[Themes: Romance, Pirates, romance, Historical, pirate, nautical, crocodile]\n\n> Look around\nCaptain's Quarters, on the bed\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed (upon which you lie). A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\nCaptain Jamison is adjusting his clothes.\n\n> You open the curtain\nYou can't reach the curtain from the bed.\n\"We have anchored off St. Sinistra,\" says Captain Jamison, \"and I\nmust look like a guest at Lafond's dance tonight. I will find and free your father, and then finally wreak my revenge on Lafond.\" He half draws his rapier from its scabbard.\n\n> You go outside\nYou'll have to stand up first.\n\"I am sorry you have been confined down here, but I don't trust my lonely crew with such beauty. Crulley isn't the only man aboard with few principles.\" He smiles at you, eyes lingering, and takes your hand. You feel your color rising. \"If anything goes wrong, turn to Cookie. He is quite deaf, but capable. He'll see you through.\"\n\n> You stand up\nYou get out of the bed.\nHis look darkens. \"You should know why I hate Lafond: Some years\nago, as my brother and his bride sailed to a new life in Virginia, pirates struck. Their ship was boarded, looted and burned, the women taken, never to be seen again. A sailor, the one survivor, watched as a man of Lafond's description shot my brother in the back as he tried to save the women. Lafond has now bought respectability, but he shall never buy peace.\" Jamison straightens resolutely, bows, and departs."
    },
    {
        "text": "> You look at your surroundings\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\n\n> You examine the window\nTall panes of glass are inset into the ledge."
    },
    {
        "text": "[Themes: Romance, Pirates, sinister butler, pirate, Historical, nautical, romance]\n\n> You look in window\nThe moon beckons across the lagoon to St. Sinistra. Moored to the stern is a skiff.\n\n> Leave\nDid you have any particular direction in mind?\nYou hear the large cupboard scrape, and turn to see Captain Jamison. \"Hello! I came down to give you this -- my allotment from the coffer.\" He nods at the box in his arms.\nJamison starts to pin a jewelled brooch on your clothes, but, \"Devil take it, the clasp is broken. I'll have it repaired.\" He folds the pretty thing into your hand. \"And I meant to reassure you that if the men suddenly abandon ship, they are off to help me. Rodney will stay behind with you.\" He drops the coffer on the floor, smiling in farewell, and walks swiftly away.\n\n> You open the coffer\nOpening the coffer reveals an invitation.\n\n> You take all\ncoffer: Taken.\n\n> You check your inventory\nYou have a coffer, a jewelled brooch, a missive and your reticule (hanging from your wrist). It seems that the coffer contains an invitation. It seems that your reticule contains smelling salts and a banknote. You are wearing your kid slippers, a linen chemise and a cotton frock.\n\n> You examine the coffer\nIt is a small heavy chest, with a smashed lock. It is open.\n\n> You examine the invitation\nThe invitation is addressed to \"Davis\":\n\nIn Honor of Jean Lafond,\nrecently proclaimed\nGovernor of St. Sinistra\nA Dance at his Mansion\nAnanas Road, St. Sinistra\nFormal Dress and Invitation Required.\n\nA ball! You haven't been to a ball in months!\nMen clomp about overhead and a rope ladder unfurls itself past the window. Jamison climbs down it, entering the skiff that awaits him below. He rows to the island as the men above your head disperse, calling farewells to their captain.\n\n> You read the invitation\nThe invitation is addressed to \"Davis\":\n\nIn Honor of Jean Lafond,\nrecently proclaimed\nGovernor of St. Sinistra\nA Dance at his Mansion\nAnanas Road, St. Sinistra\nFormal Dress and Invitation Required.\n\nYou can't read an invitation!\nThe end of a rope ladder blows past the window.\n\n> You open the window\nThese windows don't open.\nThe end of a rope ladder blows past the window.\n\n> You examine the rope\nCompletely common looking rope ladder.\n\n> You climb the rope\nIt's on the other side of the window."
    },
    {
        "text": "> You look at your surroundings\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\n\n> You open the curtain\nYou pull the cloth aside momentarily. Behind it, a large cupboard mostly blocks the doorway.\n\n> You look at cupboard\nYou can see only the back of the large cupboard. You might be able to squeeze past it.\nThe end of a rope ladder blows past the window.\n\n> You open the cupboard\nThe door is on the other side of the large cupboard.\nThe end of a rope ladder blows past the window.\n\n> You grab the ladder\nIt's on the other side of the window.\nThe end of a rope ladder blows past the window.\n\n> You throw the chest at the window\nYou hurl the coffer through the window, sending it and a shower of glass into the sea. The ledge now looks deep enough to sit upon.\nThe end of a rope ladder blows past the window.\n\n> You grab the rope\nYou lean over the ledge, but the ladder is too far out to reach.\nThe end of a rope ladder blows past the window.\n\n> You sit on the ledge\nYou climb onto the ledge. The ladder drifts within reach.\n\n> You climb the ladder\nYou put everything in your reticule and reach out for the ladder and over-balance, tumbling from your perch. Your hand closes on a slimy hemp rung as you fly out over the waves, clinging tenuously, feet free, to the ladder.\n\nYou are clinging to a slimy ladder, tied to a rail of the poop deck above you. Not far from your feet, waves kiss the stern of the ship.\n\n> You jump\nIn these clothes? You jest.\nAll air is driven out of you as the ladder slams into the stern.\n\n> Up\nIn these clothes? You jest.\nRebounding, the ladder twists you around to face the Helena Louise.\n\n> You climb ladder\nIn these clothes? You jest.\nThe ladder swings back towards the Helena Louise.\n\n> You remove the dress\nYou can't manage the fastenings while whipping to and fro on a ladder. All air is driven out of you as the ladder slams into the stern.\n\n> Enter\nYou pull yourself over the ledge, tumbling head over heels into Jamison's quarters.\n\n> You remove the dress\nYou take off the cotton frock.\n\n> Go outside\nDid you have any particular direction in mind?\n\n> Yes\nThat was just a rhetorical question.\n\n> You sit on the ledge\nYou climb onto the ledge. The ladder drifts within reach.\n\n> Up\nYou'll have to be holding the ladder first.\nThe end of a rope ladder blows by.\n\n> You grab the ladder\nYou put everything in your reticule and reach out for the ladder and over-balance, tumbling from your perch. Your hand closes on a slimy hemp rung as you fly out over the waves, clinging tenuously, feet free, to the ladder.\n\nRebounding, the ladder twists you around to face the Helena Louise.\n\n> Up\nYou climb up the ladder.\nYour battered hands can take no more. Your grip loosens and the sea comes up to break your fall.\n\n> What\nYou may start over, restore a saved position, or end this session of the game. (Type RESTART, RESTORE, or QUIT):\n\n> You get up\nYou get out of the bed.\n\"The Falcon! The Falcon conquers!\" yells someone.\n\n> You open the door\nIt appears to be locked.\n\n> You wait for a while\nTime passes...\nSuddenly, the ship lurches to one side, throwing you off balance. A coffer slides from under the bed and bumps against your foot.\n\n> You open the coffer\nIt's quite locked.\nYou recognize a voice from far away, \"Don't take that! Look in the cabin at the stern -- you'll find some fun there!\" It sounds like Davis.\n\n> You take the coffer\nTaken.\nWith a creak and a crash, somewhere a mast falls to the deck.\n\n> You check your inventory\nYou have a coffer and your reticule (hanging from your wrist). It seems that your reticule contains smelling salts and a banknote. You are wearing your kid slippers, a linen chemise and a cotton frock.\n\"Cap'n Jamison! We've got 'em!\" cries a rough voice.\n\n> You examine the chemise\nIt's covered by other clothes.\nCrash! You whirl around to see the door shatter, kicked by a hulking man, his twisted visage blackened with soot and blood. \"Me name's Andy Crulley, and ladies learn to love me,\" sniggers the pirate, advancing toward you.\n\n> You kick andy\nYour slippered toes could not hurt Crulley.\n\"Avast me, but ain't ye a beauty,\" sniggers the pirate. His breath\nis heavy with rum.\n\"Aaieeee!\" echoes a scream, followed by several grunts and thumps.\n\n> Kiss andy\n\"Wi' a wannion! I likes me ladies forward!\"\n\"They calls me Andy, but I'm really randy,\" sniggers the pirate, advancing toward you.\nCrulley drags you, despite your resistance, towards him. Then\nsuddenly he grunts, stiffens and slumps into your arms. Stunned, Crulley collapses at your feet, his eyes rolling.\nA tall form blocks the shattered door, one fist still raised from striking your attacker. You catch a glimpse of the hard masculinity of his broad shoulders, the implied power in the scar that etches the stranger's jaw, and feel tremors course through your veins. Then you realize how ragged are his shirt, patched breeches and high boots. Intuitively, you understand -- he is the dreaded Falcon, scourge of the sea! Alas, your fate is sealed. Resigned, you meet his sea-blue eyes. With a creak and a crash, somewhere a mast falls to the deck.\n\n> You examine Falcon\nJamison carries an aura of power unusual in men so slim and tall, the strength of a willow in his hard seaworn body, straight shouldered and resilient. Chestnut hair, tousled by the wind, frames the tanned oval of his face. A jagged scar etches one cheek, harsh against the warmth of his limpid blue eyes.\nTo your surprise, the stranger bows. \"Well met, my lady.\" His accent\nis cultured, his smile vibrant. \"I am Captain Nicholas Jamison, known in these waters as 'The Falcon'. Your father has sent me.\" He chuckles at your glare of distrust. \"Yes, you are like your sire. You needn't believe me untried -- I carry this.\" He hands you a missive.\n\n> You look at the eyes\nThey look just like your eyes.\nThe pirate captain glances around the empty room, then notices the coffer in your arms. \"Davis's safety box -- my men were hoping I'd find it.\" He takes it and nudges the unconscious man on the floor, \"I wonder how Crulley knew you were here? Just his bad luck? He'll be flogged when he wakes.\"\nThe pirate bows. \"My lady, may I offer my protection and my ship\nuntil your father is free?\"\n\n> Yes\nYou nod tentatively.\nHe chuckles. \"Brave lady, to trust a stranger -- and a pirate. Who knows, perhaps I forged your father's signature? Keep by my side as we go to my ship -- few sailors respect a lady's dignity.\" He helps you through the door.\n\nThe deck is an avalanche of noise and blood. Lit by roaring fires, silhouetted forms crash swords, dancing around the screaming wounded. Out of the smoke staggers Davis, tugging a bloodied knife from the\nback of a pirate. Davis's eyes gleam white from a face blackened and bloody, his lips dark red as if he has been drinking blood. He turns to face you.\n\n> Scream\nAlthough your voice is quite piercing, no one notices you.\nDavis leaps across the deck to your side, \"Free me or she dies!\" he yells, jabbing a knife up to your throat. In one smooth motion, Captain Jamison draws his rapier, pulls you free and stabs. Davis slumps into a bloody heap.\nSwooning, you fall into the Falcon's arms. You are dimly aware of\nbeing carried to the other ship, down a short flight of stairs, and laid gently on a soft bed. When you gather strength to look around, the Falcon has left you in peace.\nYou remain confined to this room, a large cupboard blocking the\ndoor. Meals are brought by a peg-legged old man and eaten in silence. Of your handsome rescuer you see nothing. Slowly the days pass.\n\n[Press RETURN or ENTER to continue.]\nTWO DAYS LATER...\n\nYou blear awake from a bored nap, focusing on something shiny. You discern it to be a new ring, on a strong hand in the act of tying a ribbon onto a rapier.\nThe man with the rapier and the ring turns, \"Sorry, I tried not to\nwake you.\" You sit up as if the bed had caught fire, for this is the Falcon, changed from his rags to a finery all red velvet and white lace -- and in your presence!\n\nCaptain's Quarters, on the bed\nYou are in the captain's quarters of the Helena Louise, where you\nhave been trapped these past days since your \"rescue\" from the Lafond Deux. The room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed (upon which you lie). A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\n\n> You get up\nYou get out of the bed.\n\"We have anchored off St. Sinistra,\" says Captain Jamison, \"and I\nmust look like a guest at Lafond's dance tonight. I will find and free your father, and then finally wreak my revenge on Lafond.\" He half draws his rapier from its scabbard.\n\n> You examine the rapier\nJamison's rapier is a dangerous looking sword with a narrow pointed blade. It is decorated with a big floppy ribbon.\n\"I am sorry you have been confined down here, but I don't trust my lonely crew with such beauty. Crulley isn't the only man aboard with few principles.\" He smiles at you, eyes lingering, and takes your hand. You feel your color rising. \"If anything goes wrong, turn to Cookie. He is quite deaf, but capable. He'll see you through.\""
    },
    {
        "text": "[Themes: Romance, Pirates, island, pirates]\n\n> Look around\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\nCaptain Jamison is adjusting his clothes.\nHis look darkens. \"You should know why I hate Lafond: Some years\nago, as my brother and his bride sailed to a new life in Virginia, pirates struck. Their ship was boarded, looted and burned, the women taken, never to be seen again. A sailor, the one survivor, watched as a man of Lafond's description shot my brother in the back as he tried to save the women. Lafond has now bought respectability, but he shall never buy peace.\" Jamison straightens resolutely, bows, and departs."
    },
    {
        "text": "> You look at your surroundings\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and gilded woodwork decorates the sill of the tall window looking aft.\n\n> You go the cupboard\nDid you have any particular direction in mind?\n\n> You open the curtain\nYou pull the cloth aside momentarily. Behind it, a large cupboard mostly blocks the doorway.\n\n> You search the cupboard\nYou can see only the back of the large cupboard. You might be able to squeeze past it.\n\n> Go outside\nYou'll have to stand up first.\nYou hear the large cupboard scrape, and turn to see Captain Jamison. \"Hello! I came down to give you this -- my allotment from the coffer.\" He nods at the box in his arms.\nJamison starts to pin a jewelled brooch on your clothes, but, \"Devil take it, the clasp is broken. I'll have it repaired.\" He folds the pretty thing into your hand. \"And I meant to reassure you that if the men suddenly abandon ship, they are off to help me. Rodney will stay behind with you.\" He drops the coffer on the floor, smiling in farewell, and walks swiftly away.\n\n> You take all\ncoffer: You'll have to stand up first.\n\n> You stand up\nYou get out of the bed.\n\n> You take all\ncoffer: Taken.\n\n> You take all\nI don't see what you're referring to.\nMen clomp about overhead and a rope ladder unfurls itself past the window. Jamison climbs down it, entering the skiff that awaits him below. He rows to the island as the men above your head disperse, calling farewells to their captain.\n\n> You squeeze the cupboard\nIt's not worth it. Believe me.\nThe end of a rope ladder blows past the window.\n\n> You take the invitation\nTaken.\n\n> You read it\nThe invitation is addressed to \"Davis\":\n\nIn Honor of Jean Lafond,\nrecently proclaimed\nGovernor of St. Sinistra\nA Dance at his Mansion\nAnanas Road, St. Sinistra\nFormal Dress and Invitation Required.\n\nA ball! You haven't been to a ball in months!\n\n> You wait\nTime passes...\nThe end of a rope ladder blows past the window.\n\n> You search the bed\nYou find nothing.\nThe end of a rope ladder blows past the window.\n\n> You remove the dress\nYou take off the cotton frock.\nThe end of a rope ladder blows past the window.\n\n> You examine the chemise\nThe linen chemise, kneelength and sleeveless, clings damply to your legs and torso.\n\n> You look at the frock\nIt is your favorite old frock, looking rather bedraggled without its hoops, which you hadn't time to put on during the pirate attack. The worn fabric of the skirt often catches on things, tearing.\n\n> You look at the ladder\nCompletely common looking rope ladder.\nThe end of a rope ladder blows past the window.\n\n> Inventory\nYou have an invitation, a coffer, a jewelled brooch, a missive, your reticule (hanging from your wrist) and a cotton frock. It seems that your reticule contains smelling salts and a banknote. You are wearing your kid slippers and a linen chemise.\n\n> You wait\nTime passes...\nThe end of a rope ladder blows past the window.\n\n> You examine the reticule\nYou and Mama made the little drawstring bag a few months before she passed on. It's amazing how much it can hold.\n\n> You examine the brooch\nAll diamonds winking fire, tears of sapphire and crushed rubies in an oval setting, it is a pity that the clasp of the jewelled brooch has broken. The gold pin at the back swings about uselessly.\nThe end of a rope ladder blows past the window.\n\n> You throw coffer at the porthole\nYou hurl the coffer through the window, sending it and a shower of glass into the sea. The ledge now looks deep enough to sit upon."
    },
    {
        "text": "[Themes: Romance, Pirates, romance, nautical, pirates, female protagonist, island]\n\n> You describe your surroundings\nCaptain's Quarters, on the ledge\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and air breezes in over the ledge aft.\n\n> You climb the ladder\nYou put everything in your reticule and reach out for the ladder and over-balance, tumbling from your perch. Your hand closes on a slimy hemp rung as you fly out over the waves, clinging tenuously, feet free, to the ladder.\n\nYou are clinging to a slimy ladder, tied to a rail of the poop deck above you. Not far from your feet, waves kiss the stern of the ship.\n\n> Up\nYou climb up the ladder.\nAll air is driven out of you as the ladder slams into the stern.\n\n> Up\nYou climb up the ladder, passing the halfway point.\nRebounding, the ladder twists you around to face the Helena Louise.\n\n> Up\nYou climb up the ladder.\nThe ladder swings back towards the Helena Louise."
    },
    {
        "text": "[Themes: Romance, Pirates, nautical, female protagonist, pirates]\n\n> You look helena\nYou may use prepositions to indicate precisely what you want to do: LOOK AT the object, LOOK INSIDE it, LOOK UNDER it, etc. In this case I'll take you to mean LOOK AT the object.\nOn the Ladder\nYou are clinging to a slimy ladder, tied to a rail of the poop deck above you. Not far from your feet, waves kiss the stern of the ship. All air is driven out of you as the ladder slams into the stern."
    },
    {
        "text": "[Themes: Romance, Pirates, pirates, crocodile, pirate, island, female protagonist, nautical, sinister butler]\n\n> You look at Helena\nYou are clinging to a slimy ladder, tied to a rail of the poop deck above you. Not far from your feet, waves kiss the stern of the ship. Rebounding, the ladder twists you around to face the Helena Louise.\n\n> Up\nYou heave yourself over the stern rail and sink breathless to the deck of the Helena Louise.\n\nFrom this platform deck you can see the whole of the two-masted\nship, shadowy forms moving about here and there. A railing protects you from stepping off the deck in any direction but to the fore. A rope ladder is tied to the railing at the stern of the ship.\nThe ship is floating midway between the island and a line of reefs.\n\n> You take the ladder\nIf you wish to climb down the ladder, say so.\nYour eyes are drawn to a flicker of light off the sea. Squinting,\nyou see a man swimming to shore, moonlight flashing off his hook. A wisp of breeze brings an odor of onions and rum, and the occasional gargling chuckle, \"...mischief, har...reefs.\""
    },
    {
        "text": "[Themes: Pirates, Romance, sinister butler, pirate, maritime, female protagonist, island]\n\n> You look at your surroundings\nFrom this platform deck you can see the whole of the two-masted\nship, shadowy forms moving about here and there. A railing protects you from stepping off the deck in any direction but to the fore. A rope ladder is tied to the railing at the stern of the ship.\nThe ship is floating midway between the island and a line of reefs.\n\n> You look at the reefs\nA line of reefs separates the lagoon from the sea beyond.\n\n> Fore\nNo torches are lit, or needed on this moonlit night, except in the\ndeep shadows cast by the huge navigation wheel. Men move about to the fore, talking quietly. Under the stairs aft to the poop is a barred door.\nThe ship is floating midway between the island and a line of reefs. Abaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\nA sailor notices the \"swish\" of your petticoats. \"A woman,\" he\ngasps, \"free, aboard this ship!\"\nIt's been rather a long time since any of the crew have dealt with\nthe fairer sex, and they are a bit rough, despite Rodney Quick's exhortations.\n\n> You look at the island\nSt. Sinistra is blessed with lush tropical beauty, jungle besieging the mansion atop the southern cliffs.\n\n> You tear the dress\nYou rip a large rag out of the cotton frock.\n\n> You look at the rag\nIt is a fairly hefty scrap of fabric.\n\n> You wear the rag\nYou can't wear a rag!\nThe reefs seem a little larger than you thought before.\n\n> You examine the frock\nIt is your favorite old frock, looking rather bedraggled without its hoops. There is a tear out of the skirt.\n\n> You check your inventory\nYou have a rag and your reticule (hanging from your wrist). It seems that your reticule contains a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing your kid slippers and a linen chemise.\n\n> You examine the slippers\nThey are dainty yet practical kidskin shoes.\n\n> You examine the brooch\nAll diamonds winking fire, tears of sapphire and crushed rubies in an oval setting, it is a pity that the clasp of the jewelled brooch has broken. The gold pin at the back swings about uselessly.\n\n> You take the pin\nTaken.\n\n> Tear frock\nYou already have a rag.\n\n> You look at the sailors\nCompletely common looking man.\n\n> You check what you're carrying\nYou have a jewelled brooch, a rag and your reticule (hanging from your wrist). It seems that your reticule contains a cotton frock, a missive, an invitation, smelling salts and a banknote. You are wearing your kid slippers and a linen chemise."
    },
    {
        "text": "> Look around\nFrom this platform deck you can see the whole of the two-masted\nship, shadowy forms moving about here and there. A railing protects you from stepping off the deck in any direction but to the fore. A rope ladder is tied to the railing at the stern of the ship.\nThe reefs seem a little larger than you thought before.\n\n> You look at the salts\nYou always carry your smelling salts, for emergencies. There is a small tag on one side of them.\nThe reefs are definitely getting larger.\n\n> You look\nFrom this platform deck you can see the whole of the two-masted\nship, shadowy forms moving about here and there. A railing protects you from stepping off the deck in any direction but to the fore. A rope ladder is tied to the railing at the stern of the ship.\nThe reefs are definitely getting larger.\n\n> You wear the frock\nYou don the cotton frock.\n\n> Fore\nNo torches are lit, or needed on this moonlit night, except in the\ndeep shadows cast by the huge navigation wheel. Men move about to the fore, talking quietly. Under the stairs aft to the poop is a barred door.\nThe reefs are definitely getting larger.\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\nA sailor notices the \"swish\" of your petticoats. \"A woman,\" he\ngasps, \"free, aboard this ship!\"\nIt's been rather a long time since any of the crew have dealt with\nthe fairer sex, and they are a bit rough, despite Rodney Quick's exhortations."
    },
    {
        "text": "> Go downwards\nIn these clothes? You jest.\n\n> You look at what you're carrying with you\nYou have a jewelled brooch, a rag and your reticule (hanging from your wrist). It seems that your reticule contains a missive, an invitation, smelling salts and a banknote. You are wearing a cotton frock, your kid slippers and a linen chemise.\n\n> You remove the frock\nYou take off the cotton frock.\nBswish! Waves smash against the reefs nearby.\n\n> You remove the slippers\nBut your kid slippers are so comfortable!\n\n> You look\nFrom this platform deck you can see the whole of the two-masted\nship, shadowy forms moving about here and there. A railing protects you from stepping off the deck in any direction but to the fore. A rope ladder is tied to the railing at the stern of the ship.\nBswish! Waves smash against the reefs nearby.\n\n> You check your inventory\nYou have a cotton frock, a jewelled brooch, a rag and your reticule (hanging from your wrist). It seems that your reticule contains a missive, an invitation, smelling salts and a banknote. You are wearing your kid slippers and a linen chemise.\n\n> You examine the missive\nThe missive is in dear Papa's handwriting:\n\n\"Dearest child,\nYou are in gravest danger! Lafond is a viper with the smile of a\nsaint, my most particular enemy. I have only now learned the depth of his deception. Should Lafond get you in his power... It is unspeakable! I have sided with Nicholas Jamison, a sea captain and a gentleman, whose circumstances have driven him to extreme measures, even branding him a pirate. Nevertheless, I trust him and so may you.\nYou will be safe -- but there is another for whom I fear! My horse\nis waiting and I ride to her rescue. Jamison will deliver this to you. Should anything happen to me, you must rely on him. I remain, with love, your father.\"\n\n> You get the rope\nIf you wish to climb down the ladder, say so.\n\n> You sniff smelling salts\nYou jerk the smelling salts away from your nose after one brief ammoniac whiff. Your burning nostrils make you feel more alert."
    },
    {
        "text": "[Themes: Romance, Pirates, pirates, crocodile, female protagonist]\n\n> Go downwards\nYou climb down to opposite the ledge.\n\n> You go upwards\nYou dash up the ladder."
    },
    {
        "text": "[Themes: Romance, Pirates, maritime, sinister butler, romance, nautical, crocodile]\n\n> Go downward\nYou climb down to opposite the ledge.\n\nYou are misted in the spray of waves hitting the reefs. The island\nis far away."
    },
    {
        "text": "[Themes: Romance, Pirates, maritime, Historical, romance]\n\n> Look around\nThe room has a masculine air, with ebony panelling, a large messy table, and a rumpled bed. A curtain masks the forward exit and air breezes in over the ledge aft.\n\n> Fore\nThe large cupboard is not flush against the doorsill. You squeeze through the opening between cupboard and wall.\n\nYou are on the landing of a steep stairway heading up and down. A\nlarge cupboard against the aft wall blocks the doorway to the captain's quarters.\n\n> You examine the door\nIt is closed."
    },
    {
        "text": "[Themes: Romance, Pirates, crocodile, pirates, Historical, island]\n\n> Go downwards\nThis is a gloomy, damp area at the bottom of the Helena Louise. To\nthe fore there seems to be a little more light, or you can climb up some steep stairs.\nSuddenly you appreciate what it is to be a ball in an exploding\ncannon. The intense heat, the push of fire, and the sense of release when spit from the cannon's mouth -- these you feel when the lighted fuse finally burns up to the largest keg of gunpowder in the hold.\n\n> Wait\nTime passes...\nSuddenly you appreciate what it is to be a ball in an exploding\ncannon. The intense heat, the push of fire, and the sense of release when spit from the cannon's mouth -- these you feel when the lighted fuse finally burns up to the largest keg of gunpowder in the hold."
    },
    {
        "text": "> Go downwards\nYou climb down to opposite the ledge.\n\nYour eyes are drawn to a flicker of light off the sea. Squinting,\nyou see a man swimming to shore, moonlight flashing off his hook.\n\n> Enter\nYou pull yourself over the ledge, tumbling head over heels into Jamison's quarters.\n\n> You open the cupboard\nOpened. It is a dark messy bed, set entirely within and filling the large cupboard. A cabin boy must sleep here when Jamison isn't using it. Kicked into a far corner is a pile of clothes.\n\n> You enter the cupboard\nThe bed is softer than it looks, plumped up with fresh straw. A\nsoft, if somewhat cramped, bunk for the tall bulk of Jamison. The cupboard opens to the fore.\nKicked into a far corner is a pile of clothes.\n\n> You examine the clothes\nTo get a better look, you pick up the pile of clothes. It separates into a pair of breeches and a shirt.\n\n> You wear the clothes\n[Which clothes dost thou mean, the breeches, the shirt, the cotton frock, or the linen chemise?]\n\n> Breeches\nYou tuck the linen chemise into the pants. You look a little fat, but now you can move freely.\n\n> You wear the shirt\nIt fits loosely, masking your figure.\n\n> Hello sailor\nNothing happens here.\n\n> Down\nThis is a gloomy, damp area at the bottom of the Helena Louise. To\nthe fore there seems to be a little more light, or you can climb up some steep stairs.\n\n> Fore\nSteep stairs lead up in the dimness to a canvas hatch above. Rats' scratchings counterpoint the lullaby of bilge water sloshing in the bulkheads, punctuated by footsteps slapping the deck overhead. You may move fore or aft.\nBehind a high fence, decorated by a sign, are stacked the food and ammunition supplies; casks of rum, water, flour and salt meat interspersed with kegs of gunpowder and shot. A closed gate is the only way in.\nYou gradually notice a familiar, worrying smell, sniff, and identify\nit as smoke. A tiny glow of fire creeps across a stretch of floor -- inside the cage full of ammunition.\n\n> You open gate\nIt's quite locked.\n\n> Inventory\nYou have your reticule (hanging from your wrist). It seems that your reticule contains a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing a shirt, breeches, your kid slippers and a linen chemise.\n\n> Fore\nThe crew sleeps, in shifts, in this cramped space under the\nforecastle. A breeze blows in on a moonbeam through a grate in the ceiling. A low doorsill is abaft.\nThis area must also serve as sickroom. Strewn about the floor are various powders and spills of malodorous potions. In one corner, a large blood stain indicates an amputation; in another is the smear of a leech, dropped off a bloodletting.\nA small bottle has been dropped nearby.\nA chipped piece of mirror sits propped on a shoulder-high timber.\n\n> You get all\nleather bottle: Taken.\nbit of mirror: Taken.\n\n> Aft\nA tiny glow of fire creeps across a stretch of floor -- inside the\ncage full of ammunition.\n\n> You open the bottle\nThis is a squeezable bottle. You don't need to open or close it.\n\n> You squeeze the bottle\nA bubble of laudanum forms on the tip of the leather bottle then slurps back in.\n\n> You eat the laudanum\nYou squeeze three colorless drops into your mouth.\n\n> You wait\nTime passes...\nYour face convulses in a prodigious yawn.\n\n> You wait\nTime passes...\nYou stare into space for a long, thoughtless moment. It seems very\nhard to think, you think, but you aren't sure.\n\n> You wait\nTime passes...\nYour eyes are extraordinarily dry. You blink to moisten them, and\nsnort awake a minute later, drool dripping down your chin.\n\n> Wait\nTime passes...\nSleep overtakes you and you slump into unconsiousness.\nYou awake too late to save the ship -- or rather, you never wake at all.\n\n> Smell salts\nYou jerk the smelling salts away from your nose after one brief ammoniac whiff. Your burning nostrils make you feel more alert.\n\n> Fore\nSleep overtakes you and you slump into unconsiousness.\nYou awake too late to save the ship -- or rather, you never wake at all.\n\n> You look at the reef\nA line of reefs separates the lagoon from the sea beyond.\nYour eyes are drawn to a flicker of light off the sea. Squinting,\nyou see a man swimming to shore, moonlight flashing off his hook. A wisp of breeze brings an odor of onions and rum, and the occasional gargling chuckle, \"...mischief, har...reefs.\"\n\n> You take all\npile of clothes: You pick up the pile of clothes. It separates into a pair of breeches and a shirt.\n\n> You take the moonbeam\nThat seems a useless idea.\n\n> Aft\nA tiny glow of fire creeps across a stretch of floor -- inside the\ncage full of ammunition.\n\n> Up\nThe canvas hatch is closed.\n\n> Aft\nYou squeeze through the opening between cupboard and wall.\n\n> You climb the ladder\nYou put everything in your reticule and hop out, catching the ladder.\n\n> Up\nYou dash up the ladder.\n\nThe reefs are definitely getting larger.\n\n> Fore\nNo torches are lit, or needed on this moonlit night, except in the\ndeep shadows cast by the huge navigation wheel. Men move about to the fore, talking quietly. Under the stairs aft to the poop is a barred door.\nThe reefs are definitely getting larger.\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\n\n> You examine the door\nIt is closed and barred.\n\n> You open door\nSomeone yells from ahead, \"Cap'n 'll have your hide if you go down there!\" You haven't the strength to lift the bar anyway.\n\n> You examine the casks\nLying on their sides, the casks are stacked in a rather shaky pyramid: perhaps that's why someone has tied the rope about them. A cask on one corner has lost its lid. \"Hey, boy! Get away from those. It ain't safe!\" yells a sailor."
    },
    {
        "text": "> You look in the cask\nYou can see a slab of pork.\n\n> Fore\nIt is a deceptively quiet evening on the ship, the pirates singing\nlow shanties as they repair cannon, twist ropes and sharpen daggers. The mainmast casts an inky shadow over the canvas screening the hatch. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nThe reefs are definitely getting larger.\nTwo large barrels stand near the stair to the foredeck.\n\n> You examine the barrels\nThe two open barrels contain rum and water, you can tell by the smell of each. They are identical but for the dark stains around the mouth of the rum barrel.\n\n> Fore\nHigher than all but the poop deck, this end of the ship commands a\ngood view of the island; the \"crow's nest,\" swinging above in the heights of the foremast, would command a better. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nImbedded in the deck is a grated air hole to the crew's quarters\nbelow. You can go aft, or forward through a break in the ubiquitous railing.\nOdors of old grease and char waft from a little shack perched behind the mast.\nThe reefs are definitely getting larger.\nYou can see a mooring winch here.\n\n> You examine the winch\nMade of an old barrel turning on a pole, the mooring winch is used to coil in the anchor chain. A pair of metal teeth bite the links to prevent it from dragging out; a lever is connected to the teeth. Something is written on the lever.\n\n> You read the lever\nOn the lever is written \"Open Up, Close Down.\" You notice the lever is pointed down.\n\n> You pull the lever\nYou'll have to specify which way you want to move it.\nBswish! Waves smash against the reefs nearby.\n\n> You pull the lever up\nThe metal teeth open as you raise up the lever. The anchor, released, splashes down into the sea, dragging its clanking chain. After a moment, you feel the ship pull slightly against the current. You lower the lever to prevent any more chain from spooling out.\n\n> You examine the shack\nIt's a tiny charred wooden shack."
    },
    {
        "text": "> You look in the shack\nYou can't look inside Galley!\nWith a heave and creak of timbers, the Helena Louise drifts a little way back towards the island. The tide has turned.\n\n> You enter the shack\nThis tiny kitchen smells of old stew and yeast. A low door to\nstarboard shows the way out.\nA dagger is driven into the wooden floorboards.\nAn entirely bald man sits here, carving into his peg leg.\nThe man looks you over sharply, then winks an eye. \"Hullo, boy --\nSam, I'll call you. Nervous about Cap'n? He'll come to no harm. And if there is trouble, he only has to signal from that seaward winder of the house -- ye can see it from the crow's nest -- and we'll be there in a jiffy. Me and my peg are to stay aboard and guard y--, the Cap'n's young lady.\"\n\n> You tell the cook about the fuse\n\"Lose sommat? I be always losing things. Think there be thieves aboard.\"\n\n> You tell the cook about the fire\n\"Fire for the cold? I think it be too warm...\"\n\n> Kiss cook\n\"Nah, me pretty, ye belong to Cap'n.\"\n\n> Exit\nYou can see a mooring winch here.\n\n> Fore\nYou drop all you are carrying and creep out over the waves.\n\nHanging on the bowsprit, your arms and legs wrapped tightly around\nthe narrow spar, you can't see much beside an upside-down view of the figurehead of the Helena Louise, and the anchor chain descending into the swelling and breaking waves over (under?) your head.\nA stub of rope, roughly cut, swings rudely over the waves.\n\n> Aft\nYou can see a dagger and a mooring winch here.\n\n> You take all\ndagger: Taken."
    },
    {
        "text": "[Themes: Pirates, Romance, pirate, nautical]\n\n> Describe the surroundings\nIt is a deceptively quiet evening on the ship, the pirates singing\nlow shanties as they repair cannon, twist ropes and sharpen daggers. The mainmast casts an inky shadow over the canvas screening the hatch. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nTwo large barrels stand near the stair to the foredeck.\n\n> You examine the barrels\nThe two open barrels contain rum and water, you can tell by the smell of each. They are identical but for the dark stains around the mouth of the rum barrel.\n\n> Aft\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\n\n> You cut the rope\n[with the dagger]\nThe line snaps, and the pyramid collapses into dozens of tumbling casks. A large one rolls into you, stumbling you through the railing into the sea.\n\n> Climb rigging\nYou bite down on the dagger, freeing your hands to climb. When you stop, you take it back again. The wind, a mere breeze on the deck, blows more fiercely.\n\nThe deck swings far below as you cling to the rigging in the wind. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together."
    },
    {
        "text": "[Themes: Pirates, Romance, pirate, Historical, maritime]\n\n> Go downwards\nYou half-climb, half-fall, down to the deck.\n\n> You check your inventory\nYou have a dagger and your reticule (hanging from your wrist). It seems that your reticule contains a leather bottle, a bit of mirror, a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing a shirt, breeches, your kid slippers and a linen chemise.\n\n> You take the pork\nThe slab of pork is beyond your reach at the bottom of the cask.\n\n> You enter the cask\nYou crawl into the cask, feeling a slab of something stuck on the bottom. From this close, you can see the line is getting frayed where it rubs against the cask.\n\n> You take the pork\nYou peel it off the cask.\n\n> Wait\nTime passes...\n\n> You cut the line with the dagger\nYou hesitate, thinking of the fates of those left aboard this ship.\n\n> Go outside\nYou get out of the cask."
    },
    {
        "text": "> Look around\nHigher than all but the poop deck, this end of the ship commands a\ngood view of the island; the \"crow's nest,\" swinging above in the heights of the foremast, would command a better. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nImbedded in the deck is a grated air hole to the crew's quarters\nbelow. You can go aft, or forward through a break in the ubiquitous railing.\nOdors of old grease and char waft from a little shack perched behind the mast.\nYou can see a mooring winch here.\n\n> You look at the water\nThe water is sparkling clear.\n\n> You put the dress in the water\nKeeping hold on the cotton frock, you soak it with water. It becomes so heavy, however, that you drop it, with a loud squelch.\n\n> You take the frock\nTaken.\n\n> Aft\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island."
    },
    {
        "text": "[Themes: Romance, Pirates, crocodile, female protagonist, pirate]\n\n> Look around\nNo torches are lit, or needed on this moonlit night, except in the\ndeep shadows cast by the huge navigation wheel. Men move about to the fore, talking quietly. Under the stairs aft to the poop is a barred door.\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\n\n> You examine wheel\nCompletely common looking navigation wheel.\n\n> Fore\nYou squeeze through the opening between cupboard and wall.\n\n> You throw frock at the fuse\nYou throw the cotton frock up, its soaked skirt slapping your head. Too heavy and bulky to make it over the gate, it squelches to the floor nearby. A cold tear of water dribbles down the back of your neck."
    },
    {
        "text": "> Look around\nSteep stairs lead up in the dimness to a canvas hatch above. Rats' scratchings counterpoint the lullaby of bilge water sloshing in the bulkheads, punctuated by footsteps slapping the deck overhead. You may move fore or aft.\nBehind a high fence, decorated by a sign, are stacked the food and ammunition supplies; casks of rum, water, flour and salt meat interspersed with kegs of gunpowder and shot. A closed gate is the only way in.\nA tiny glow of fire creeps across a stretch of floor -- inside the\ncage full of ammunition.\nYou can see a cotton frock here.\n\n> You read the sign\nThe sign proclaims \"Thieves be keel-hauled\" in uncertain lettering.\n\n> You examine the hatch\nSteep stairs lead up in the dimness to a canvas hatch.\nThe tail of your shirt suddenly catches on something, tearing the fabric. A large scrap flutters to your feet.\n\n> You look at the rag\nIt is a fairly hefty scrap of fabric.\n\n> Go outside\nDid you have any particular direction in mind?\nThe end of a rope ladder blows past the window.\n\n> Fore\nYou can see a mooring winch here.\nSuddenly you appreciate what it is to be a ball in an exploding\ncannon. The intense heat, the push of fire, and the sense of release when spit from the cannon's mouth -- these you feel when the lighted fuse finally burns up to the largest keg of gunpowder in the hold.\n\n> Inventory\nYou have your reticule (hanging from your wrist). It seems that your reticule contains a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing a shirt, breeches, your kid slippers and a linen chemise.\n\n> Tear frock\nYou rip a large rag out of the cotton frock.\n\n> Aft\nYou squeeze through the opening between cupboard and wall.\n\n> Fore\nNo torches are lit, or needed on this moonlit night, except in the\ndeep shadows cast by the huge navigation wheel. Men move about to the fore, talking quietly. Under the stairs aft to the poop is a barred door.\nThe reefs seem a little larger than you thought before.\nAbaft the wheel sits a large pyramid of casks, held in place by a\nheavy rope.\nCannon line the deck, aimed at open sea and the island.\n\n> Fore\nIt is a deceptively quiet evening on the ship, the pirates singing\nlow shanties as they repair cannon, twist ropes and sharpen daggers. The mainmast casts an inky shadow over the canvas screening the hatch. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nThe reefs seem a little larger than you thought before.\nTwo large barrels stand near the stair to the foredeck.\n\n> You put the rag in the water\nKeeping hold on the rag, you soak it with water.\n\n> Fore\nHigher than all but the poop deck, this end of the ship commands a\ngood view of the island; the \"crow's nest,\" swinging above in the heights of the foremast, would command a better. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together.\nImbedded in the deck is a grated air hole to the crew's quarters\nbelow. You can go aft, or forward through a break in the ubiquitous railing.\nOdors of old grease and char waft from a little shack perched behind the mast.\nThe reefs seem a little larger than you thought before.\nYou can see a mooring winch here.\n\n> Go outside\nYou can see a mooring winch here.\nThe reefs are definitely getting larger.\n\n> You throw the rag at the fuse\nYou throw the rag over the gate. Luckily, it lands directly on the burning end of the fuse. With a sputter and a sigh, the flame dies."
    },
    {
        "text": "> You examine bottle\nIt's a small leather bottle, with a tiny label on one side. It appears to be almost empty.\n\n> You read the bottle\nThe label reads, \"Laudanum drops. Squeeze into a glass of wine to sleep free of pain and mental anguish.\"\n\n> Aft\nThe crash of surf is increasing in volume. You'd best find out\nwhat's going on!\n\n> Climb rigging\nThe wind, a mere breeze on the deck, blows more fiercely.\n\nThe deck swings far below as you cling to the rigging in the wind. A tangled mass of rigging hangs down from the mast, like many rope ladders woven together. Farther up the rigging is a small platform.\n\n> Up\nYou clamber up the rigging.\n\nYou perch on a platform high above the deck, giving a view of the endless sea and the southernmost cliffs of the island, where a house pokes out of the vegetation. It gives off a general glow, but no lights can be seen in any of the second story windows. A tiny beach nestles into the base of the cliff.\nWith a heave and creak of timbers, the Helena Louise drifts a little way back towards the island. The tide has turned."
    },
    {
        "text": "[Themes: Romance, Pirates, maritime, nautical, Historical, island]\n\n> Go downwards\nYou half-climb, half-fall, down to the deck.\n\nYou can see a mooring winch here.\n\n> You pull the lever d.\nIt already is.\n\n> You pull the lever up\nRaising the lever would release more chain and you might ground the Helena Louise.\n\n> You drink the rum\nYou take a sip and spit it out, coughing. This is much stronger than ratafia!\n\n> You cut the line with the dagger\nThe line snaps, and the pyramid collapses into dozens of tumbling casks. Your cask is thrust into the sea, the dagger flying from your hand.\nSputtering mouthfuls of salt water, you first look around several minutes later.\n\nLagoon, in the cask\nYou are crouched in a cask on the lagoon of St. Sinistra. The crash\nof surf hitting the reefs is quite loud.\n\n> You check your inventory\nYou have a slab of pork and your reticule (hanging from your wrist). It seems that your reticule contains a leather bottle, a bit of mirror, a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing a shirt, breeches, your kid slippers and a linen chemise.\nThe current pulls you in towards the island.\n\n> Hello sailor\nNothing happens here.\nThe current pulls you in towards the island.\n\n> You wait for a while\nTime passes...\nThe current pulls you in towards the island.\nLagoon, in the cask\nYou are crouched in a cask on the lagoon of St. Sinistra. The jungle looms gray-green in the light of the full moon.\n\n> You go outside\nAlthough the lagoon is warm and clear, it is much too deep.\nThe current pulls you in towards the island.\n\n> Wait\nTime passes...\nThe current pulls you in towards the island. With a scrape, the cask lodges in the sand.\n\nShallows, in the cask\nYou are crouched in the cask in the warm, lapping waves of the shallows. A white sand beach is west of you.\nA skiff nods in the waves, its oars jerking around in the current.\n\n> You leave\nFree of your weight, the cask bobs and spins in the current, pulled out into the lagoon. You splash after it, but it is gone.\n\n> You go west\nThis is a tiny beach, at the base of vine-covered cliffs. To the\neast, the Helena Louise floats serenely on the lagoon.\nImmediately north of you, a rocky staircase is hewn into the cliff.\n\n> You examine the vine\nCompletely common looking vine.\n\n> You go to the north\nJungle looms around this clipped lawn, a path meandering westward\ninto the dense undergrowth. To the east is a folly entangled in blooming jasmine. The way to the beach is obscure, but visible to the southeast. Behind the folly a thorny hedge blocks the cliff view of the sea.\nMusic and voices float from the veranda to the north.\nTwo men stand whispering in the shadows. You catch an occasional\nword, \"Davis dead... girl... Falcon on Sinistra.\" The men separate, the well-dressed one going into the ballroom as the other slinks into the bushes. You see his face. Crulley!\n\n> You go north\nSteps lead south from this white marble veranda to a clipped lawn.\nTo the north, beyond a closed glass door, a line of people blocks your view of the ballroom.\n\n> Go north\nThe door is closed.\n\n> You knock on the door\nSilence answers back.\n\n> You go to the west\nThe steps lead south.\n\n> You go to the west\nBuried in the subtropical undergrowth, you lose all sense of being\non someone's private estate; jungle seems to extend for miles on all sides of you. A footworn path curves from east to north here, and the vegetation lessens to the northeast.\n\n> You go north\nYou are on a well-trampled lawn at the side of the house, one low doorway leading in to the east. Gravelled paths lead north and south into the undergrowth.\n\n> You go east\nA firepit in the floor smokes badly, fogging up the depths of this large kitchen, somehow not escaping through either the south or west doors.\nA blond woman huddles alone by the fire, as if cold.\nThe woman smiles uncertainly, then rushes over. \"Are you come from\nthe village, boy? Dost know Lord Dimsford?\" She sighs at your surprise. \"So he sent you -- I am his Lucy. It's been so long since I've seen him. Lafond caught me eavesdropping and now I can't leave the grounds.\"\n\nShe fails to notice you've spoken.\n\"I haven't found Lafond's papers, I'm watched too closely. Tell Dimsford that I -- I'm scared, and I want him to come get me. Give this to him -- he'll recognize it.\" Lucy slides a garter down her leg and holds it out to you.\n\n> You wear the garter\n[taking the garter first]\nOne doesn't wear a garter over breeches!\n\n> Kiss woman\n\"Smooch!\"\n\n> You kiss you\n\"I hardly know you!\" she gasps.\n\n> You give the banknote to Lucy\nLucy slaps you hard across the face. \"I'm not that sort of girl!\"\n\n> You kill Lucy\nRelax.\n\n> Go north\nThe gravel path is just wide enough for a cart to pass. It bends around the west wing of the house, leading you to...\n\nThe front door stands open to the south, light splayed out onto a\ndrive stretching north into the jungle. A path leads around the western wing of the house; jutting out from the east wing is a tall hedge.\n\n> Go north\nA rutted drive runs north-south here, from a high spiked gate\nthrough the jungle to Lafond's mansion. You hide in the bushes nearby. Dragoons, conversing quietly, patrol the other side of the gate.\n\n> Go north\nDragoons guard the gate.\n\n> You check your inventory\nYou have a garter, a slab of pork and your reticule (hanging from your wrist). It seems that your reticule contains a leather bottle, a bit of mirror, a cotton frock, a missive, a jewelled brooch, an invitation, smelling salts and a banknote. You are wearing a shirt, breeches, your kid slippers and a linen chemise.\n\n> You squeeze the bottle on the pork\nYou squeeze three colorless drops onto the slab of pork. A patch of salt dissolves as the laudanum absorbs into the meat.\n\n> You take off the clothes\n[in front of the patrol]\nThat's not done in polite society.\n\n> Go west\nThe underbrush is much too thick to enter.\n\n> You take off the clothes\nYou strip down to your chemise.\n\n> You go north\nDragoons, conversing quietly, patrol the other side of the gate.\n\n> Go north\nDragoons guard the gate.\n\n> You go south\nThe front door stands open to the south, light splayed out onto a\ndrive stretching north into the jungle. A path leads around the western wing of the house; jutting out from the east wing is a tall hedge.\n\n> Go west\nThe gravel path is just wide enough for a cart to pass. It bends around the west wing of the house, leading you to...\n\nYou are on a well-trampled lawn at the side of the house, one low doorway leading in to the east. Gravelled paths lead north and south into the undergrowth.\n\n> You go south\nBuried in the subtropical undergrowth, you lose all sense of being\non someone's private estate; jungle seems to extend for miles on all sides of you. A footworn path curves from east to north here, and the vegetation lessens to the northeast.\n\n> You go to the northeast\nYou are in a small clearing under the western side of the house.\nHeavy vines creep up the wall past a second floor window, open to the night air. Southwest is an opening in the bushes.\n\n> You climb the vines\nIn these clothes? You jest.\n\n> You climb the vines\nYou take a firm grasp on a particularly thick tendril, jerk once to secure it, and scamper up the wall like some huge tropical spider. It is easy to climb through the window.\n\nLit only with moonlight through the open window, tonight this room\nis serving as a ladies' dressing room. An exit lies to the north. Draped across the bed is a lovely cream colored watered silk gown.\nIt looks about your size.\n\n> You look at the dress\n[Which dress dost thou mean, the beautiful ball gown or the cotton frock?]\n\n> Gown\nOf cream silk, heavily embroidered on the stiffened skirt and stomacher, the beautiful ball gown is a work of art.\n\n> You wear the garter\nYou slide the garter up around your thigh.\n\n> Gown\n[taking the beautiful ball gown first]\nThe beautiful ball gown fits perfectly, the creamy silk bringing a glow to your cheeks. You comb your hair with your fingers and bite your lips to make them red."
    },
    {
        "text": "> Look around\nLit only with moonlight through the open window, tonight this room\nis serving as a ladies' dressing room. An exit lies to the north.\n\n> You go to the north\nYou stand in a carpeted hallway, leading east to a stair landing.\nRooms lie north and south of you.\n\n> Go north\nThis room is exotically furnished with a Turkey divan and chairs.\nThe exit is south.\nA pair of duelling pistols is mounted high on one wall.\n\n> You get the pistols\nYou can't reach them. Ladies don't carry pistols, anyway.\n\n> You go east\nThe east-west hallway opens here to curve into a grand staircase sweeping down to the foyer.\n\n> Go east\nYou stand in a carpeted hallway, leading west to a stair landing. To the north is an ornately carved door. From the south comes the impression of light and air.\n\n> You look at the invitation\nThe invitation is addressed to \"Davis\":\n\nIn Honor of Jean Lafond,\nrecently proclaimed\nGovernor of St. Sinistra\nA Dance at his Mansion\nAnanas Road, St. Sinistra\nFormal Dress and Invitation Required.\n\nThere's nothing extraordinary about the invitation.\n\n> Go north\nYou'll have to open the ornate door first.\n\n> You open the door\nIt's quite locked.\n\n> Go south\nYou are on a wide balcony overlooking the ballroom. A hallway lies\nto the north.\nDown on the dance floor you see myriad colors as the guests weave\nthe intricate steps of their dances.\nA chandelier is held above the dance floor by a rope and pulley\nsystem, so that the servants can lower it to light and snuff its candles. Several feet of rope hang down from the pulley, the excess tied around the railing.\n\n> You untie the rope\nUntied. The chandelier swings slightly, dribs of hot wax spilling to the floor."
    },
    {
        "text": "[Themes: Romance, Pirates, pirate, sinister butler]\n\n> Look around\nYou are on a wide balcony overlooking the ballroom. A hallway lies\nto the north.\nDown on the dance floor you see myriad colors as the guests weave\nthe intricate steps of their dances.\nA chandelier is held above the dance floor by a rope and pulley\nsystem, so that the servants can lower it to light and snuff its candles. Several feet of rope hang down from the pulley, the end resting on the railing.\n\n> You pull the rope\nThe chandelier swings, but is too heavy for you to pull up.\n\n> You climb the rope\nYou have lost your mind."
    },
    {
        "text": "[Themes: Pirates, Romance, pirates, crocodile, pirate, island]\n\n> Go downwards\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you. The butler stands near the entrance to the ballroom.\n\n> Go south\nThe butler prevents you. \"Miss... your invitation?\"\n\n> Hello\nHe bows.\n\"Your invitation, Miss?\" says the butler bowing.\n\n> You show the invitation to the butler\nThe butler takes the invitation. \"Enjoy the dance, Miss Davis.\"\n\n> Go south\nThe sea of spectators parts to admit you, murmuring approval.\n\nLafond's party is well attended: you can hardly move for the crush. However, the room is oddly silent, no talk interrupting the musical efforts of the musicians to the west. Despite the heat, no one ventures south to the veranda, nor through the opening east. The foyer is north of you.\nCaptain Jamison moves up to you, saying, \"May I have this dance?\" He doesn't await an answer, sweeping you out onto the dance floor.\n\n> Dance\nYou pace out the steps.\n\"What the devil are you doing here! Lafond is a dangerous man to\nplay with!\" Jamison smiles suddenly. \"Why should I complain? You are quite safe, since no one expects you here. And you are looking lovely.\" The steps of the dance separate you a moment, as you twirl around\nand curtsey to another dancer. You glide back into the captain's arms.\n\n> Swoon\nYou've never been missish enough to faint on demand.\n\"I haven't found your father. We've long suspected a passage under\nthe library, but I cannot find an entrance,\" says Jamison.\nYour hands linked tightly with his and held high over your heads, a line of dancers files between you and Jamison.\n\n> You ask Jamison about Lafond\n\"I abhor the fiend.\" He clenches a fist.\n\"If there is any trouble, and I am unable to help -- a signal from\nan upstairs seaward window will bring my men. They can be here in moments,\" the Captain says.\nTogether you whirl around the ballroom, his arm snug around your\nwaist, leading you gracefully, masterfully.\nNicholas's grip tenses as he nods to a bewigged man staring at you.\nYou turn, and the man moves on.\n\n> You examine Jamison\nJamison is finely dressed, in red velvet coat and full breeches, with a long gold embroidered vest and waterfalls of white lace at his neck, wrists and boottops. His rapier is bedecked with a fringed gold ribbon. He wears no wig, his unpowdered hair tied neatly at the back of his neck.\n\"I wish you would call me 'Nicholas' -- I feel I know you much\nbetter than our brief acquaintance would allow.\" He presses your hand. The music ends with a flourish and you pirouette once more before curtseying to Jamison. As you move to the side of the dance floor, Nick adds, \"We should separate -- I'm sure I am being watched. You would be safer aboard the Helena Louise. If you slip out the veranda doors, no one will notice you leaving.\" He touches your hand and dissolves into the crowd."
    },
    {
        "text": "[Themes: Pirates, Romance, pirates, romance, pirate, island, nautical, female protagonist]\n\n> Look around\nLafond's party is well attended: you can hardly move for the crush. However, the room is oddly silent, no talk interrupting the musical efforts of the musicians to the west. Despite the heat, no one ventures south to the veranda, nor through the opening east. The foyer is north of you.\n\n> You go east\nwas served here earlier. West of you is the ballroom.\n\n> Go north\nYou scuttle underneath the long table.\n\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\n\n> Go north\nEverything in this private office is larger than life. A huge\nportrait decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nAn expensive hat is hanging on a knob.\n\n> You wear the hat\n[taking the hat first]\nAs you lift the hat from its knob on the wall, a low vibration tingles up your legs from the floor.\n\n> You wear hat\nYou're already wearing the hat!\n\n> Turn globe\nThe globe is solidly fastened to the floor.\n\n> You look at the bookshelves\nMost of the books appear unread, their pages uncut, the spines not yet creased. All except one, \"Treatise of Power\" by Sir Michael Villiers.\n\n> You take the treatise of the power\nYou half tip the book out of the shelf when it snaps surprisingly back into place. There is a mysterious scraping sound from inside the wall.\n\n> You listen to the wall\nIt sounds just like a wall.\n\n> You open the curtain\nYou pull the cloth aside momentarily.\n\n> You put the hat on the knob\nYou'll have to remove the hat first.\n\n> You put hat on the knob\nDoffed.\n\nYou prop the hat back on the knob."
    },
    {
        "text": "[Themes: Pirates, Romance, crocodile, female protagonist, nautical, romance]\n\n> You look behind the curtain\nIn the dark behind the drapes is a window."
    },
    {
        "text": "[Themes: Pirates, Romance, Historical, nautical, crocodile, romance, pirate]\n\n> You look around\nEverything in this private office is larger than life. A huge\nportrait decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nA knob juts out of the wall."
    },
    {
        "text": "[Themes: Romance, Pirates, nautical, female protagonist, romance]\n\n> You look in the window\nYou can see only darkness beyond the window.\n\n> Inventory\nYou have a hat, a cotton frock, your reticule (hanging from your wrist), a leather bottle, a slab of pork, a shirt and breeches. It seems that your reticule contains a bit of mirror, a missive, a jewelled brooch, smelling salts and a banknote. You are wearing a beautiful ball gown, a garter, your kid slippers and a linen chemise.\n\n> You put the frock on the knob\nDone.\n\n> You put all on the knob\nhat: You prop the hat back on the knob.\nbeautiful ball gown: You'll have to remove the beautiful ball gown first.\ngarter: You'll have to remove the garter first.\nyour reticule: A lady is never without her reticule.\nleather bottle: There's no room on the knob for the leather bottle. slab of pork: There's no room on the knob for the slab of pork.\nshirt: There's no room on the knob for the shirt.\nbreeches: There's no room on the knob for the breeches.\nyour kid slippers: You'll have to remove your kid slippers first.\nlinen chemise: You'll have to remove the linen chemise first.\n\n> You put the gown on the knob\nYou remove the beautiful ball gown, exposing your linen chemise.\n\nThere's no room on the knob for the beautiful ball gown.\n\n> You get the gown\nAs you lift the hat from its knob on the wall, a low vibration tingles up your legs from the floor.\n\nThere's no room on the knob for the beautiful ball gown.\n\nYou already have the beautiful ball gown.\n\n> You touch the globe\nYou press the globe at random.\n\n> You touch the Sinistra\nYou press the painted island, and it sinks into the wooden sea. You hear a whirr and a click and the portrait pops open. A draft of sea-scented air flows in from behind it.\n\n> You go west\nbut a servant's corridor. The foyer is east, a kitchen north of you.\n\n> You go north\nA firepit in the floor smokes badly, fogging up the depths of this large kitchen, somehow not escaping through either the south or west doors.\nLucy huddles alone by the fire, as if cold.\n\"Milady,\" exclaims the woman. \"Lafond's guests are wisest not to\nstray. Maybe you should stay at the ball.\" You find yourself ushered into a hallway.\n\nbut a servant's corridor. The foyer is east, a kitchen north of you.\n\n> You go east\n\"No, ma'am, that way's private.\" The butler stops you.\n\n> You go to the south\nThe sea of spectators parts to admit you, murmuring approval.\n\nLafond's party is well attended: you can hardly move for the crush. However, the room is oddly silent, no talk interrupting the musical efforts of the musicians to the west. Despite the heat, no one ventures south to the veranda, nor through the opening east. The foyer is north of you.\nA fashionably bewigged man stalks up to you and bows deeply. \"Will\nyou dance?\" he asks, with a light French accent. \"Not that you have much choice. If you turn me down, your father dies.\"\n\n> Slap lafond\nLafond grabs your hair and pulls your head sharply back, clinching your arms to your sides. The ballroom is a whirling blur through your tears as he leads you around the floor. \"Ma petite, a ball is not the right place to kill me. What would my guests think?!\"\nThe man's smile hardens. \"You have your father's eyes. I am Lafond\n--  I have recently become intimate with that gentleman.\" He slightly stresses the word \"intimate.\"\n\"Now, tell me 'yes.' And remember, I am a man of my word.\"\n\n> No\n\"No,\" you say, chin trembling.\n\"A mistake, ma petite.\" Lafond gestures to a shadowy figure, who disappears into the east wing. \"Say adieu to your dear Papa.\"\n\n> Never\n\"No,\" you say, chin trembling.\n\n> Yes\nYou summon a gracious smile, \"Why yes, I'd love to.\"\nHe laughs triumphantly and pulls you into the dance.\n\n> Wait\nTime passes...\n\"So you know I am not your father's friend,\" Lafond says, offering a hand for the promenade. \"Unfortunately, you are in my power, he is in my dungeon and I am still King of these waters.\" A gold ring flashes on his hand. It seems vaguely familiar.\n\n> You examine ring\nIt's an ancient gold band, with a curious design of gargoyles, curled tongues extended, on its flat face, with \"Sal Sapit Omnia\" engraved at the bottom.\nLafond's eyes rake your body. \"When I am ready, the butler will\nsummon you to sup with me in my room; it may be some time. We will find much in common before dawn, I am sure. Then I may free your father.\" Lafond bows as the dance ends, and kisses your hand. He cocks his head, curious, \"You have far less spirit than your father credited you. He swore you would have him freed in no time at all. A pity, I prefer doyennes with mettle.\" He moves to speak with the butler, then drifts into the crowd.\n\n> You go east\nwas served here earlier. West of you is the ballroom.\n\n> You examine the island\nA tiny replica of St. Sinistra is painted on the globe in greater detail than any other country, showing even the road from Santa Ananas to Lafond's mansion."
    },
    {
        "text": "> You look around\nEverything in this private office is larger than life. A huge\nportrait, slightly awry from the wall, decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nA knob juts out of the wall.\n\n> You look at the portrait\nCool air seeps out from the portrait.\n\n> Go north\nFor safety's sake, you leave the hat on its knob. Best not to show that you've been wandering.\nYou move beyond the portrait into the flickering torchlight.\n\nCool salt air, blowing past a torch on a spiral staircase below you, ruffles your hair and circles south into the library.\n\n> You take the torch\nYou can't reach the torch. Ladies don't carry them anyway."
    },
    {
        "text": "[Themes: Pirates, Romance, Historical, female protagonist, island, pirate]\n\n> Go downward\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\n\n> Go east\nA strong wet breeze blows from a low doorway to the east. A circle\nof light leads west. The passageway continues south.\n\n> Go south\nYou are at the far end of a dank passageway heading north. A wooden door leads east.\n\n> You open the door\nOpened.\n\n> Go east\nThis tiny cell is airless and shivering cold, entirely empty of anything but darkness. A wooden door leads west.\n\n> Go south\nYou are at the far end of a dank passageway heading north. A wooden door leads east.\n\nA strong wet breeze blows from a low doorway to the east. A circle\nof light leads west. The passageway continues south.\n\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\n\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nA crocodile lies half in the pool, gazing at you, with baleful eyes, jaws wide open. Dagger-sharp teeth glint in the torchlight.\n\n> You give the pork to croc\nThe crocodile snaps its jaws shut as the slab of pork disappears into its maw.\n\n> You enter the mouth\nIt would be safer to stay distant and throw things at the crocodile.\n\n> You kill the croc\nHarm a sleeping animal! Mama would have been shocked.\n\n> Go south\nYou edge past the reptile.\n\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is a closed trapdoor.\nA pair of manacles hangs from iron chains attached high on the wall.\n\n> You open the trapdoor\nThe door creaks open to reveal a black well, water hushing deep within.\n\n> Go west\niron door.\n\n> You unlock the door with the pin\nYou are unable to unlock the door.\n\n> You knock on the door\nSilence answers back.\n\n> Go north\nYou'll have to open the iron door first.\n\n> Go east\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is an open trapdoor.\nA pair of manacles hangs from iron chains attached high on the wall.\n\n> You take the manacles\nThat is a waste of time.\n\n> You look at the manacles\nA pair of manacles hangs from iron chains attached high on the wall.\n\n> You open the trap door\nIt is already open.\n\n> You enter the trap\nYou start to climb down the well, but lose your footing on the slimy rock. The fall to the bottom of the well is endless; you've lost consciousness by the time the water overtakes you.\n\n> Go north\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nThe crocodile lies half in the pool, sleeping.\n\n> Go north\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\n\n> Go east\nA strong wet breeze blows from a low doorway to the east. A circle\nof light leads west. The passageway continues south.\n\n> You go east\nOnce a cell, now, with the door missing, made into a guard's\nbunkroom, this room is distinctly uncomfortable. Gasps of air are forced through a crack in the seaward wall of the room. The way out is west of you.\nA powder horn hangs on a long strap from the wall.\nA canvas cot is shoved against a wall. Sitting on the cot is a large key.\n\n> You look at the key\nCompletely common looking large key.\n\n> You get all\npowder horn: Taken.\nlarge key: Taken.\n\n> You look at the horn\nAlmost triangular, with a little spout on top, the powder horn is similar to the one your father used to carry when hunting. It is filled with a mixture of gunpowder and shot.\n\n> You look at the bed\nIt is an uncomfortable canvas cot, old and torn.\n\n> You look in the crack\nThe Helena Louise floats, silent and serene, some distance out in the lagoon.\n\n> Go west\nA strong wet breeze blows from a low doorway to the east. A circle\nof light leads west. The passageway continues south.\n\n> Go west\nA strong wet breeze blows from a low doorway to the east. A circle\nof light leads west. The passageway continues south.\n\nYou can't go that way.\n\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\n\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nThe crocodile lies half in the pool, sleeping.\n\nYou edge past the reptile.\n\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is an open trapdoor.\nA pair of manacles hangs from iron chains attached high on the wall.\n\niron door.\n\n> You unlock door\n[with the large key]\nUnlocked.\n\n> You open the door\nOpened.\n\n> Go north\nHewn from dense rock, the cell is a stagnant burrow. Except for the tiniest glow of light from the torch two rooms away, it is pitch black. As you enter, a tall bony man moves out of the darkness. \"Papa,\" you cry, rushing into his arms.\n\"Why, hullo, my dear.\" He hugs you tightly. \"Nick certainly took his time about fetching you.\"\n\n> You ask Papa about Nick\n\"My dear,\" he says rather impatiently, \"There are people waiting for our help -- I haven't time to answer your questions just now.\"\nYou briefly explain the current situation to your father.\n\"I knew Falcon would do his best to rescue me, once you were safe,\"\nhe responds. \"Now to rescue Lucy -- Nicholas will have told you about her. You get him while I get Lucy, and the four of us will meet down at the beach. Just show me the way out of this maze, and we'll get started.\"\n\n> You show the garter to Papa\nHe smiles dreamily at a memory.\n\n> You give the garter to Papa\nYou'll have to remove the garter first.\n\n> You go south\niron door.\nPapa enters just a few steps behind you.\n\n> You go east\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is an open trapdoor.\nA pair of manacles hangs from iron chains attached high on the wall. Papa follows you.\n\n> Go north\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nThe crocodile lies half in the pool, sleeping.\nPapa mutters something to himself. You hear an occasional \"Zounds!\" Your father stops, smiling at the crocodile, \"Hello, chum, how are you?\" He bends over the creature, and scratches its bumpy snout, muttering, \"Never seen you sleep like this before.\" It stirs to life as your father walks over to you by the north entrance. The reptile, waking, lunges after him, choking on its chain.\n\n> Go north\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\nPapa follows you.\n\n> You go upward\nCool salt air, blowing past a torch on a spiral staircase below you, ruffles your hair and circles south into the library.\nPapa enters just a few steps behind you.\n\n> Go south\nYou move beyond the portrait into the library.\n\nEverything in this private office is larger than life. A huge\nportrait, slightly awry from the wall, decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nAn expensive hat is hanging on a knob.\nPapa mutters something to himself. You hear an occasional \"Zounds!\"\n\"A window!\" your father exclaims. \"I shall creep out to the kitchen. Get the Falcon.\" He climbs out the window.\n\n> Go south\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\nThere is a commotion from the west. A woman screams and a man yells, \"Stop, Pirate!\" You run to the foyer in time to see two dragoons dragging out the battered frame of Captain Jamison.\nAn officer quiets the guests, \"This is the buccaneer who has been pirating our ships. He had the audacity to come here tonight intending to assassinate our dear governor. Do not worry, ladies, he was arrogant enough to come alone.\" The officer marches after his men. The dancers return to their banal conversations.\n\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you. The butler stands near the entrance to the ballroom.\n\n> You kick butler\n\"Hey! Cut that out!\"\n\n> Go south\nThe sea of spectators parts to admit you, murmuring approval.\n\nLafond's party is well attended: you can hardly move for the crush. However, the room is oddly silent, no talk interrupting the musical efforts of the musicians to the west. Despite the heat, no one ventures south to the veranda, nor through the opening east. The foyer is north of you.\n\n> Go north\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you. The butler stands near the entrance to the ballroom.\nThe butler walks up to you. \"M. Lafond requests your presence in his room immediately, Miss.\" He points up the stairs, bows, and leaves.\n\n> Inventory\nYou have a large key, a powder horn, a cotton frock, your reticule (hanging from your wrist), a leather bottle, a shirt and breeches. It seems that your reticule contains a bit of mirror, a missive, a jewelled brooch, smelling salts and a banknote. You are wearing a beautiful ball gown, a garter, your kid slippers and a linen chemise.\n\n> Go south\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you.\n\n> Go east\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\n\n> You go to the north\nEverything in this private office is larger than life. A huge\nportrait, slightly awry from the wall, decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nAn expensive hat is hanging on a knob.\n\n> You go to the north\nYou move beyond the portrait into the flickering torchlight.\n\nCool salt air, blowing past a torch on a spiral staircase below you, ruffles your hair and circles south into the library.\n\n> You go to the south\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nThe crocodile lies half in the pool, gazing at you, with baleful\neyes, jaws wide open. Dagger-sharp teeth glint in the torchlight.\n\n> Go east\nOnce a cell, now, with the door missing, made into a guard's\nbunkroom, this room is distinctly uncomfortable. Gasps of air are forced through a crack in the seaward wall of the room. The way out is west of you.\nA canvas cot is shoved against a wall.\n\n> Go south\nThe crocodile roars at you. You retreat to the north entrance and the monster stills, waiting, chops open, almost smiling.\n\n> Go upwards\nCool salt air, blowing past a torch on a spiral staircase below you, ruffles your hair and circles south into the library.\n\n> Go south\nYou move beyond the portrait into the library.\n\nEverything in this private office is larger than life. A huge\nportrait, slightly awry from the wall, decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner. Music wafts distantly from the ballroom across the hall to the south.\nAn expensive hat is hanging on a knob."
    },
    {
        "text": "> You look in the door\nIt is open.\n\n> Go north\n\"Welcome, ma petite.\" Lafond bows you in.\n\nLafond's bedroom shows all the outpourings of his megalomania. Royal hues of purple and gold weigh down the hangings on the bed and the eastward window, as if trying to smother the moonbeam shining in. Lafond is leering, lip curled.\nA lace-covered table crouches beside a wing-backed chair in one\ncorner. Sitting on the table is a green goblet, a blue goblet and a flagon.\n\"Have some wine.\" Lafond pours wine into two glasses, giving a blue\none to you. \"Drink this down. We have a long night ahead of us.\" He drains his own.\n\n> You put the Laudanum in the green goblet\nLafond bounds to your side, grabbing the leather bottle out of your hand before you can use it. \"What have we here? Trying to poison yourself? Or me?\" He throws it out the shutters.\nLafond waits impatiently for you to drink.\n\n> You drink the wine\nYou empty the blue goblet of wine.\n\"Good girl,\" he says, \"Let's see more cooperation of this sort.\" Suddenly, the door slams open. It is Jamison, coatless, sword bared, his shirt ripped. \"Thank God I am not too late. Leave, darling, before I skewer this dog to his bedposts,\" he cries. The scar on his cheek gleams coldly.\nWith a yell, Crulley and the butler jump out of the darkness behind him. Nicholas struggles, but soon lies unconscious on the floor.\n\"Take him to the dungeon,\" Lafond says, setting down his glass.\n\"You, butler, stay nearby. I do not wish to be disturbed again.\n\"Now that we are rid of that intrusion, cherie, I will change into something more comfortable. Pour me more wine.\" He crosses to the wardrobe removing his coat and vest, turned slightly away from you.\n\n> You pour the wine in the green goblet\nYou fill the green goblet with wine.\n\"In private, call me Jean, or whatever endearment you choose, once I have approved it.\" Lafond is looking into the wardrobe.\n\n> You put the Laudanum in the green goblet\nYou squeeze three colorless drops into the green goblet. You sense Lafond hesitate, then continue primping.\nThe butler enters, laying a silver tray of cold chicken on the\ntable. \"The kitchen wench has gone, your grace. I took the liberty of fetching these myself.\" He bows and leaves the room.\n\"Sprinkle some spices on the fowl, ma petite,\" Lafond says, donning\na long brocade robe, his back to you. \"They are hot, but delicious.\"\n\n> You put the spice on the chicken\nYou're not holding the spices.\n\"Tsk. The cook has gone too far. She shall be 'leaving us'\ntomorrow.\" Lafond adjusts the lace at his neck.\n\n> You take the spice\nYou take a pinch of spices between your thumb and forefinger.\nLafond strolls to the table smiling slyly. \"But you haven't finished pouring the wine.\" He tops off both glasses. \"Which glass was mine? I seem to have forgotten.\" He points at the green goblet and smiles in a way that does not grant you confidence. \"Is this it?\"\n\n> You put spice on the chicken\nYou sprinkle some spices on a wing and nibble at it. The peppery heat hits you like a wave, leaving you gasping, eyes watering.\n\"Ah yes, of course.\" Lafond obligingly takes the green goblet, shrugging off your lack of cooperation.\nHe inhales deeply of the bouquet of his wine, then turns to you.\n\"You must think me very naive to fall for such a trick. I saw you pour something into one of these glasses -- although I cannot smell it.\" He switches goblets, setting the green goblet into your nerveless grasp and taking up the other, smiling evilly. \"Now you will drink from the cup intended for me.\"\n\n> You throw the green goblet at Lafond\nThe delicate glass of the green goblet shatters into pieces.\nLafond smacks you hard across the face with the back of his hand, \"Fool.\" He casts aside all formalities.\n\n> You pour the wine in the blue goblet\nYou fill the blue goblet with wine.\nThe butler enters, laying a silver tray of cold chicken on the\ntable. \"The kitchen wench has gone, your grace. I took the liberty of fetching these myself.\" He bows and leaves the room.\n\"Sprinkle some spices on the fowl, ma petite,\" Lafond says, donning\na long brocade robe, his back to you. \"They are hot, but delicious.\"\n\n> You put the Laudanum in the blue goblet\nYou squeeze three colorless drops into the blue goblet. You sense Lafond hesitate, then continue primping.\n\"Tsk. The cook has gone too far. She shall be 'leaving us'\ntomorrow.\" Lafond adjusts the lace at his neck.\n\n> You take the spice\nYou take a pinch of spices between your thumb and forefinger.\nLafond strolls to the table smiling slyly. \"Which glass was mine? I seem to have forgotten.\" He points at the green goblet and smiles in a way that does not grant you confidence. \"Is this it?\"\n\n> You put the spice on the chicken\nYou sprinkle some spices on a wing and nibble at it. The peppery heat hits you like a wave, leaving you gasping, eyes watering.\n\"Ah yes, of course.\" Lafond obligingly takes the blue goblet,\nshrugging off your lack of cooperation.\nHe inhales deeply of the bouquet of his wine, then turns to you.\n\"You must think me very naive to fall for such a trick. I saw you pour something into one of these glasses -- although I cannot smell it.\" He switches goblets, setting the blue goblet into your nerveless grasp and taking up the other, smiling evilly. \"Now you will drink from the cup intended for me.\"\n\n> Yes\nYou nod.\n\"Ah yes, of course.\" Lafond obligingly takes the green goblet.\nHe inhales deeply of the bouquet of his wine, then turns to you.\n\"You must think me very naive to fall for such a trick. I saw you pour something into one of these glasses -- although I cannot smell it.\" He switches goblets, setting the green goblet into your nerveless grasp and taking up the other, smiling evilly. \"Now you will drink from the cup intended for me.\"\n\n> Drink green goblet\nYou can't drink a green goblet!\nThe spices dribble out from between your fingers.\n\"Drink. We must not waste all night.\" Lafond pushes the glass toward your mouth.\n\n> Drink\n[What do you want to drink?]\n\n> You drink wine\nYou empty the green goblet of wine.\nThe spices dribble out from between your fingers.\n\"Good girl,\" he says. Lafond takes the leather bottle and drops it\nout the window. \"You shall not need this. You may suffer no headaches in my employ.\"\nHe lifts his glass to drink, but stops. \"Your father, for all his idiotic meddling in other people's business, is not a fool. I doubt you are, either.\" He calls in the butler, ordering him to empty the blue goblet. The man reports no odd taste and returns to his post.\n\n> You throw the spices at Lafond\nYou're not holding the spices.\nLafond draws near, whispering indecencies. He caresses your lily\nwhite neck, his fingers ice-cold despite the tropic heat.\n\n> You eat the chicken\nYou sprinkle some spices on a wing and nibble at it. The peppery heat hits you like a wave, leaving you gasping, eyes watering.\nLafond slides his hand up your neck and into your hair, letting it\nfall down your back in thick waves and tresses. He lays everything you carry on the floor.\n\n> Inventory\nYou have your reticule (hanging from your wrist). It seems that your reticule contains a bit of mirror, a missive, a jewelled brooch, smelling salts and a banknote. You are wearing a beautiful ball gown, a garter, your kid slippers and a linen chemise.\nOne by one Lafond undoes your buttons. He pulls open your bodice.\nYour clothes float to the floor.\nYou hear a \"thump-phoosh,\" like someone slumping against a wall.\n\n> Stab Lafond with pin\nTo put it bluntly, neither the jewelled brooch nor you are very sharp. Lafond runs his fingers down your naked spine, and compliments your body. He removes his dressing gown.\n\n> You wear the chemise\n[taking the linen chemise first]\nLafond stops you.\nLafond kisses your shoulder, your neck, your ear. \"Close your eyes,\nif you will,\" he taunts, \"and pretend I am your dearest Captain Jamison. But I am greater than he will ever be.\" He kisses you, his lips thin and cold.\n\n> You go south\nLafond whirls you around. \"My pretty, you came here freely, but you may not leave freely.\"\nLafond leads you over to the bed.\n\n> You kick Lafond\nLafond grabs your hair and pulls your head sharply back, clinching your arms to your sides. Twisting your wrist, pain stabbing down your arm, he forces his mouth on yours, hard, thrusting, cutting your lips. He releases you. \"Let that be a warning to you, my love.\"\nLafond pulls the sheets up to cover you both, pressing his long\nflaccid body against yours. Waves crash against the base of the cliff.\n\n> Scream\nPapa always says, \"Action, not reaction, girl!\"\nLafond pulls the sheets up to cover you both, pressing his long\nflaccid body against yours. Waves crash against the base of the cliff."
    },
    {
        "text": "[Themes: Pirates, Romance, pirate, Historical, island, nautical, maritime, pirates]\n\n> You describe your surroundings\nLafond's bedroom shows all the outpourings of his megalomania. Royal hues of purple and gold weigh down the hangings on the bed and the eastward window, as if trying to smother the moonbeam shining in. Lafond is leering, lip curled. He has a green goblet.\nA lace-covered table crouches beside a wing-backed chair in one\ncorner. Sitting on the table is a flagon.\nLafond waits impatiently for you to drink.\n\n> You drink the wine\nYou empty the blue goblet of wine.\n\"Good girl,\" he says, \"Let's see more cooperation of this sort.\" Suddenly, the door slams open. It is Jamison, coatless, sword bared, his shirt ripped. \"Thank God I am not too late. Leave, darling, before I skewer this dog to his bedposts,\" he cries. The scar on his cheek gleams coldly.\nWith a yell, Crulley and the butler jump out of the darkness behind him. Nicholas struggles, but soon lies unconscious on the floor.\n\"Take him to the dungeon,\" Lafond says, setting down his glass.\n\"You, butler, stay nearby. I do not wish to be disturbed again.\n\"Now that we are rid of that intrusion, cherie, I will change into something more comfortable. Pour me more wine.\" He crosses to the wardrobe removing his coat and vest, turned slightly away from you.\n\n> You pour the wine in blue goblet\nYou fill the blue goblet with wine.\n\"In private, call me Jean, or whatever endearment you choose, once I have approved it.\" Lafond is looking into the wardrobe.\n\n> You put the Laudanum in the green goblet\nYou squeeze three colorless drops into the green goblet. You sense Lafond hesitate, then continue primping.\nThe butler enters, laying a silver tray of cold chicken on the\ntable. \"The kitchen wench has gone, your grace. I took the liberty of fetching these myself.\" He bows and leaves the room.\n\"Sprinkle some spices on the fowl, ma petite,\" Lafond says, donning\na long brocade robe, his back to you. \"They are hot, but delicious.\"\n\n> You put the Laudanum in the flagon\nYou squeeze three colorless drops into the flagon. You sense Lafond hesitate, then continue primping.\nThe butler enters, laying a silver tray of cold chicken on the\ntable. \"The kitchen wench has gone, your grace. I took the liberty of fetching these myself.\" He bows and leaves the room.\n\"Sprinkle some spices on the fowl, ma petite,\" Lafond says, donning\na long brocade robe, his back to you. \"They are hot, but delicious.\"\n\n> You pour the wine in the green\nYou fill the green goblet with wine.\n\"Tsk. The cook has gone too far. She shall be 'leaving us'\ntomorrow.\" Lafond adjusts the lace at his neck.\n\n> No\nYou shake your head, teeth clenched.\n\"Ah yes, of course.\" Lafond obligingly takes the blue goblet.\nHe inhales deeply of the bouquet of his wine, then turns to you.\n\"You must think me very naive to fall for such a trick. I saw you pour something into one of these glasses -- although I cannot smell it.\" He switches goblets, setting the blue goblet into your nerveless grasp and taking up the other, smiling evilly. \"Now you will drink from the cup intended for me.\"\n\n> You put the spice on the chicken\nYou sprinkle some spices on a wing and nibble at it. The peppery heat hits you like a wave, leaving you gasping, eyes watering.\nThe spices dribble out from between your fingers.\nLafond grows suddenly violent. \"I will not have insubordination. You shall cooperate, minx.\" He forces the quantity of wine down your throat.\nLafond takes the leather bottle and drops it out the window. \"You\nshall not need this. You may suffer no headaches in my employ.\"\nHe lifts his glass to drink, but stops. \"Your father, for all his idiotic meddling in other people's business, is not a fool. I doubt you are, either.\" He calls in the butler, ordering him to empty the green goblet. The man reports no odd taste and returns to his post.\n\n> You get the spices\nYou take a pinch of spices between your thumb and forefinger.\nLafond draws near, whispering indecencies. He caresses your lily\nwhite neck, his fingers ice-cold despite the tropic heat.\n\n> You throw the spices at Lafond\nYou blow the spices off your fingertips, directly into Lafond's face. He sneezes, his eyes watering from the heat of the peppers. Reaching blindly for some wine, he instead upsets the table, shattering a glass. Lafond stumbles cursing out of the room, in search of relief.\n\n> You go to the south\nYou run out -- into the butler's barrel chest and leering grin. You return to the bedroom, the butler following. \"The governor said you were not to leave this room.\"\nThe butler collapses, head back, snoring loudly.\n\n> Go south\nYou creep over the prostrate butler.\n\nYou stand in a carpeted hallway, leading west to a stair landing. To the north is an ornately carved door. From the south comes the impression of light and air."
    },
    {
        "text": "[Themes: Pirates, Romance, pirates, sinister butler, maritime, nautical]\n\n> Look around\nYou stand in a carpeted hallway, leading west to a stair landing. To the north is an ornately carved door. From the south comes the impression of light and air.\n\n> Go north\nLafond's bedroom shows all the outpourings of his megalomania. Royal hues of purple and gold weigh down the hangings on the bed and the eastward window, as if trying to smother the moonbeam shining in.\nThe butler lies on the floor, prone and snoring loudly.\nA lace-covered table crouches beside a wing-backed chair in one\ncorner. Sitting on the table is a silver tray and a flagon.\n\n> You put the tray in moonbeam\nYou scrape everything off the silver tray into the bushes below. You roll the silver tray around in the beam of moonlight till it glows silver-white. After a moment, a flash of light responds from the Helena Louise.\n\n> Go south\nYou creep over the prostrate butler.\n\nYou stand in a carpeted hallway, leading west to a stair landing. To the north is an ornately carved door. From the south comes the impression of light and air.\n\n> You go north\nThe front door stands open to the south, light splayed out onto a\ndrive stretching north into the jungle. A path leads around the western wing of the house; jutting out from the east wing is a tall hedge.\nAn eerie battle cry arises on the wind, from all sides of the house.\nIt is drowned out a few minutes later by screams of terror from the dancers in the ballroom.\n\n> Go south\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you. Cookie rushes up to you, looking worried. \"Miss, we must find the Cap'n. Have ye any idea where to look?\"\n\n> Go east\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\nCookie pegs after you.\nCookie grins broadly, \"I knew we could depend on you, lass. Lead\non!\"\n\n> Go south\nYou scuttle underneath the long table.\n\nwas served here earlier. West of you is the ballroom.\nCookie pegs after you.\n\n> Go north\nYou scuttle underneath the long table.\n\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\nCookie pegs after you.\n\n> You go north\nEverything in this private office is larger than life. A huge\nportrait decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner.\nAn expensive hat is hanging on a knob.\nCookie pegs after you.\n\n> Go north\nThe portrait is closed.\n\n> Go north\nFor safety's sake, you leave the hat on its knob. Best not to show that you've been wandering.\nYou move beyond the portrait into the flickering torchlight.\n\nCool salt air, blowing past a torch on a spiral staircase below you, ruffles your hair and circles south into the library.\nCookie pegs after you."
    },
    {
        "text": "> You go downwards\nFlickering torchlight lights the bottom of a spiral staircase. A\ndraft blows from the east; a passage leads south.\nCookie pegs after you.\n\n> Go south\nTwo exits lead from this cavernous room, north and south. The walls drip with wet, forming a huge pool on the floor.\nThe crocodile lies half in the pool, gazing at you, with baleful\neyes, jaws wide open. Dagger-sharp teeth glint in the torchlight. Cookie pegs after you.\nCookie rushes at the crocodile, crying, \"I'll take care of this monster, sweetheart. You run by and do what you must do.\" He dives headlong into the pool.\n\n> You go to the south\nA whip cracks the air. \"Flogs me, will ye, Cap'n? Taste it yourself, har.\" Jamison groans, half conscious. You rush in.\n\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is an open trapdoor.\nNicholas is spread-eagled against the wall, shackled in the pair of manacles.\nA rapier lies in the half-dark of a corner.\nCrulley steps leering out of the shadows and cracks the whip near\nyou, hopping you towards the open trapdoor. \"What, afrighted of a lick o' the whip?\"\n\n> You get rapier\nTaken. Crulley snorts, \"Be careful, you might hurt yer dearie.\"\nCrulley cracks the whip near you, hopping you towards the open trapdoor. \"Would yer like a taste o' water?\"\n\n> Attack crulley\nCrulley seems more amazed than frightened of your attack, guessing correctly that you hardly know the tip from the hilt of the rapier. He steps sideways in surprise, so he stands at the edge of the trapdoor. Crulley cracks the whip near you, hopping you towards the open trapdoor. \"Ye're a tasty doxy to let slip, but no 'elp fer it.\"\n\n> Attack crulley\nYou flick the rapier across his chest, barely scratching him. He cries, \"Avast me! Pricked by a woman!\" and trips into the trapdoor.\nYou peer down the hole to find Crulley hanging in midair, his hook caught in the rocks a few yards down. He curses and starts to climb up the sheer slimy walls of the well.\n\n> You pick the lock with the brooch\nYou twist the pin of the jewelled brooch in the locks, quickly freeing Nicholas. He falls in a faint at your feet.\nSounds of scraping hook against stone and curses echo out of the\nwell.\n\n> Close trapdoor\nShut.\n\n> You give the salts to Jamison\nYou wave the smelling salts under Nicholas's nose. He stirs, sneezes and looks at you blearily. \"How --?\" he says, bewildered. \"Lafond, did he --?\" He straightens. \"Darling, you are an angel, to have gone through all this and then rescue me. Your ravisher will not go unpunished.\" He squares his shoulders. \"For my brother, his wife, and your honor, I will kill Jean Lafond.\"\nNick kisses you briefly, a butterfly touching your lips, then seizes his rapier and runs off to the north. Cookie calls a breathless \"Hullo, Cap'n\" to him as he races past.\nSounds of scraping hook against stone and curses echo out of the\nwell, muffled by the trapdoor."
    },
    {
        "text": "[Themes: Pirates, Romance, Historical, sinister butler, romance, pirates, crocodile]\n\n> Look around\nYou sense, rather than see, the rusty skeletons of old cages and torture devices that line the walls of this cavernous room. One flaming torch, high on a wall, casts mad licks of light into the darkness. Passages lead north and west. Set deep in the rocky floor is a closed trapdoor.\nA pair of manacles hangs from iron chains attached high on the wall. Sounds of scraping hook against stone and curses echo out of the\nwell, muffled by the trapdoor.\n\n> You go to the north\ncrocodile.\n\n> Go north\n\"I ain't goin' to fight this beast if you're headin' back upstairs.\" Cookie follows you.\n\nCookie pegs after you.\n\n> Go upwards\nCookie pegs after you.\n\n> You go south\nYou move beyond the portrait into the library.\n\nEverything in this private office is larger than life. A huge\nportrait, slightly awry from the wall, decorates the north side, and black drapes mask the east wall. Bookshelves tower over a cherry desk, and a massive wooden globe squats in a corner.\nAn expensive hat is hanging on a knob.\nCookie pegs after you.\nCookie cocks his head. \"What is that noise? Is Cap'n duelling\nLafond? There's no chance he could win as beaten as he is!\" Cookie races out towards the ballroom.\nSwords engage and disengage.\n\n> You go south\nThe carpeted hallway turns from west to north here, extending into\nthe east wing. A long table blocks the way south.\nYou hear a duellist leap forward, and swords clash, parrying.\n\n> You go west\nA grandiose staircase splits and twists up to the next floor here, framing the entrance south to the ballroom. Long hallways lead east and west; cool night air drifts in through the front door, north of you. You hear a piece of furniture being knocked over.\n\n> You go upward\nThe east-west hallway opens here to curve into a grand staircase sweeping down to the foyer.\nYou hear metal scrape metal. A woman gasps.\n\n> Go east\nYou stand in a carpeted hallway, leading west to a stair landing. To the north is an ornately carved door. From the south comes the impression of light and air.\n\"You must ... pay ... for your actions!\" Nicholas gasps.\n\n> Go south\nYou are on a wide balcony overlooking the ballroom. A hallway lies\nto the north.\nDown on the dance floor the dancers are pressed in a wide circle\naround Nicholas and Lafond. Cookie stands anxiously in the door to the veranda, near your father and Lucy.\nA chandelier is held above the dance floor by a rope and pulley\nsystem, so that the servants can lower it to light and snuff its candles. Several feet of rope hang down from the pulley, the end resting on the railing.\nNicholas and Lafond circle each other intently, the one breathing\nhard, the other casual, sword tips almost touching. Jamison has lost copious amounts of blood and is no match for Lafond, cool and competent.\nLafond's voice is cold, lazy, \"You will die, you know, Jamison.\"\n\n> You untie the rope\nThat seems a useless idea.\nSomeone calls out, \"We've got the Dimsford girl, Governor\" -- lying,\nof course, since you're obviously free. But Nick glances towards the voice, missteps, and slips in his own blood, falling backwards to the floor, his rapier skittering aside.\n\n> Swing on the rope\n\"Aaieeee!\" The cry comes uncalled to your lips as you swoop down from the balcony, petticoats flying, on the end of the rope.\nYour timing is perfect: you slam into Lafond just as he steps into\nhis lunge. His rapier stabs wildly, piercing Nicholas's shoulder, missing his heart. You and Lafond roll into a snowball of petticoats and brocade, dropping everything between you.\n\nNicholas shouts, from far away, \"Let me go! Let me deliver Lafond to\na 'better' world.\"\n\"A gentleman can't kill an unconscious man!\" That is Papa's voice.\n\"And you're in no shape to continue, Nicholas. Rodney -- help my daughter. I'll take Nick.\"\nCookie leans over you. \"We must get back to the ship, Miss. Dragoons surround the house.\" Nicholas, injured but still arguing, is already on the veranda, half-forced, half-supported by your father, shadowed by Lucy. Cookie helps you to your feet and rushes after them, expecting you to follow. Lafond lies nearby, apparently unconscious.\n\nThe dancers stare amazed at Lafond's limp body, some disbelieving,\nsome hopeful, all stock still. The pirates have fled to the darkness of the lawn.\nLafond, his wig awry, sprawls across the parquet floor.\nYou can see breeches, a shirt, a cotton frock, a powder horn, a\nlarge key and a silver tray here.\n\n> You get all\nbreeches: Taken.\nshirt: Taken.\ncotton frock: Taken.\npowder horn: Taken.\nlarge key: Taken.\nsilver tray: Taken.\n\n> Go south\nSteps lead south from this white marble veranda to a clipped lawn.\nTo the north the wreckage left by the duel is visible in the ballroom.\n\n> You go south\nJungle looms around this clipped lawn, a path meandering westward\ninto the dense undergrowth. To the east is a folly entangled in blooming jasmine. The way to the beach is obscure, but visible to the southeast. Behind the folly a thorny hedge blocks the cliff view of the sea."
    },
    {
        "text": "[Themes: Pirates, Romance, maritime, pirates, pirate, island]\n\n> Go downward\nThis is a tiny beach, at the base of vine-covered cliffs. To the\neast, the Helena Louise floats serenely on the lagoon. Halfway out to the ship is a skiff crowded with men; another skiff sits on the sand. Immediately north of you, a rocky staircase is hewn into the cliff. Cookie, Lucy and your father are moving towards the skiff.\nNicholas stands alone at one edge of the beach. He has a rapier.\nYou splash into the rising surf and pain needles up your leg. Blood swirls out from your shoe in the shallow water, flowing over a small pointed stone.\n\n> You wait for a while\nTime passes...\nA shot rings out over the roar of the surf. Turning, you see that Lafond stands at the top of the cliff, a pistol in each hand. \"Trying to sneak out the back, cowards? You will die like your brother, Falcon. Snivelling for mercy.\" He hands one gun to Crulley, standing nearby, and levels the other at Jamison.\n\n> You kill Crulley\nYour dainty fists could not hurt Crulley.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> Yes\nYou have no breath to speak. You nod once, never taking your eyes off Nicholas Jamison.\nNicholas looks determined. \"I accept. So long as my people go free\nif I win. Order your dragoons to obey us, then.\" In answer, Lafond jumps off the cliff like a huge brocaded bat to land in front of Captain Jamison. \"Die then, fool!\"\nThe pistol, spinning from Lafond's grip, drops to the sand nearby.\n\n> You get the pistol\nTaken.\nLafond immediately takes the advantage, forcing Nicholas in a\nretreat towards the foaming surf. But Nicholas fights hard, jaw set, ignoring his wounds. Lafond finally loses his smile.\nBehind the duellists, far away atop the cliff, you notice Crulley\nmadly reloading the pistol.\n\n> You put the powder in the pistol\nYou pour a lumpy stream of gunpowder mixture into the barrel of the pistol tamping it as best you can.\nSuddenly the force of the duel turns, Nicholas advancing against Lafond's retreat. Their blades silently flash in the moonlight. Lafond is pressed back into the shadow of the cliff, sweat beading on his forehead. Abruptly, Jamison leaps forward, metal scrapes, and his rapier licks neatly into Lafond's ribs, like a snake slipping into its burrow. The body of the governor of St. Sinistra convulses, as in amazement, then sags dead on the sword.\nNicholas removes a gold ring from the dead man's finger, throwing\nhis own cheap copy into the surf.\nFar above him, Crulley moves down the stairs.\n\n> You check what you're carrying\nYou have a powder horn, a pistol, a silver tray, a large key, a cotton frock, a shirt, breeches and your reticule (hanging from your wrist). It seems that your reticule contains a bit of mirror, a missive, a jewelled brooch, smelling salts and a banknote. You are wearing a beautiful ball gown, a garter, your kid slippers and a linen chemise. Crulley is levelling the pistol, feet apart, braced by the cliff\nwall.\n\n> You get the ring\nCaptain Jamison curls his fist around it. \"This is the family ring lost with my brother.\"\nCrulley carefully aims the pistol, a triumphal grin benighting his face. Nicholas turns and walks smiling towards you, oblivious to his danger.\n\n> You shoot Crulley\nTrembling, you fire the heavy pistol. You hear its loud report over roaring surf. Crulley staggers, hit, and falls from the cliff. The gun falls from your nerveless hands.\nTime stops as you and Nicholas gaze at one another, adoring and\namazed. Slowly he bows and offers his hand.\nChestnut hair, tousled by the wind, frames the tanned oval of his\nface. His eyes, twin seas of blue, devour you with a love deep and true-hearted, and you are pulled into his embrace, your mouth on his, lips parted, thirsting, arching into his kiss...\n\nAs dawn breaks over the eastern seas, you stand with Nicholas on his ship, looking north. \"I have nothing left in England,\" he says. \"There I am but a destitute gentleman, wanted for piracy. Here -- this isle holds too many memories; your father may have it. Mayhap my brother's wife yet lives. I must try to find her, either way.\" He takes you into his arms. \"Come with me, my love? To America -- they tell of endless fertile fields and strange beasts in that wild land. It won't be easy, but we will have each other. Together, shall we carve a kingdom blessed with fair children and freedom?\"\nYou wrap your arms about his waist and lean into him, and smile at\nthe rising sun.\n\nIn 437 turns, you have achieved a score of 25 out of 25 points.\nThus you have finished the story of PLUNDERED HEARTS, earning the title, \"Happily Ever After.\"\nYou may start over, restore a saved position, or end this session of the game. (Type RESTART, RESTORE, or QUIT):\n\n> You enter the boat\nThe skiff is out of reach. Wade into the shallows.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> You enter lagoon\nYou are holding your skirts high over the warm, lapping waves of the shallows. A white sand beach is west of you.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> You enter the boat\nYou are now in the skiff.\nLafond calls down to you, \"My pretty doxy, do make up your mind. Yes\nor no?\"\n\n> Row to ship\nYou dip the oars and pull them towards you. The skiff plows through the lagoon.\nYou hear distant shots and screams, and gaze back across the\nrestless waves to the massacre on the beach. The sight blurs with your tears of shame, tears for the father and the lover you left behind.\n\nThe tale you tell Jamison's crew, of rapine and blood, of your\nheroic attempt to save their captain, and of your own escape after his death in your arms, is not so far from the truth that you cannot appear sincere. Cannily, you take advantage of their temporary grief, select a private guard, and teach the rest the discipline of the whip. You have started on the ruthless road to revenge. You intend to meet Lafond again, and that time, you intend to win.\n\nIn 433 turns, you have achieved a score of 25 out of 25 points.\nThus you have finished the story of PLUNDERED HEARTS, earning the title, \"Pirate Queen.\" There are other, perhaps more satisfying, conclusions.\nYou may start over, restore a saved position, or end this session of the game. (Type RESTART, RESTORE, or QUIT):\n\n> You get all\nI don't see what you're referring to.\nSounds of scraping hook against stone and curses echo out of the\nwell, muffled by the trapdoor.\n\n> You get the stone\nTaken.\nA shot rings out over the roar of the surf. Turning, you see that Lafond stands at the top of the cliff, a pistol in each hand. \"Trying to sneak out the back, cowards? You will die like your brother, Falcon. Snivelling for mercy.\" He hands one gun to Crulley, standing nearby, and levels the other at Jamison.\n\n> You throw the stone at Lafond\nYou hurl the stone, but it falls far short of Lafond.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> Sling stone at Lafond\nYou'll have to put the stone into the garter.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> You put the stone in the garter\nYou're not holding the stone.\nA shot rings out over the roar of the surf. Turning, you see that Lafond stands at the top of the cliff, a pistol in each hand. \"Trying to sneak out the back, cowards? You will die like your brother, Falcon. Snivelling for mercy.\" He hands one gun to Crulley, standing nearby, and levels the other at Jamison.\n\n> You get the stone\nTaken.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> You get the stone\nYou already have the stone.\nLafond calls down to you, \"My pretty doxy, do make up your mind. Yes\nor no?\"\n\n> You put the stone in the garter\nNot while you're wearing the garter.\nLafond cries, \"No deal then. Take them, men!\" The dragoons pour down the cliff.\n\n> You put the stone in the garter\nNot while you're wearing the garter.\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> You remove the garter\n[in front of Crulley]\nThat's not done in polite society.\nLafond calls down to you, \"My pretty doxy, do make up your mind. Yes\nor no?\"\n\n> Wait\nTime passes...\nAs the gun fires, Cookie throws himself before his captain. He cries out, blood blossoming on his shoulder, and falls face first into the sand. Lucy runs to him.\nJamison yells up the cliff, brandishing his sword. \"Fight like a\nman, Lafond. You have drawn my blood once tonight -- let me draw yours.\"\nLafond sneers. \"On one condition. If I win, your lady comes to me.\nYou will have no need of her when you are dead.\"\nNicholas stiffens, glances at the dragoons on the cliff above, and turns slowly to you. He says nothing, his face hard, but his eyes tell you what you want to know. \"Answer, my darling. Yes or no?\"\n\n> No\nYou shake your head firmly, \"No.\"\nLafond cries, \"No deal then. Take them, men!\" The dragoons pour down the cliff.\n\n> Yes\nYou have no breath to speak. You nod once, never taking your eyes off Nicholas Jamison.\nNicholas looks determined. \"I accept. So long as my people go free\nif I win. Order your dragoons to obey us, then.\" In answer, Lafond jumps off the cliff like a huge brocaded bat to land in front of Captain Jamison. \"Die then, fool!\"\nThe pistol, spinning from Lafond's grip, drops to the sand nearby.\n\n> You get the pistol\nTaken.\nLafond immediately takes the advantage, forcing Nicholas in a\nretreat towards the foaming surf. But Nicholas fights hard, jaw set, ignoring his wounds. Lafond finally loses his smile.\nBehind the duellists, far away atop the cliff, you notice Crulley\nmadly reloading the pistol.\n\n> Fire pistol in air\nYou fire the pistol into the air. Startled by the loud report, Crulley jerks his pistol and fires, aiming not at Nicholas, but at you. You hear a distant scream, your own, and watch, as through from afar, your father wrestle Crulley to the ground. You feel only numbness as loving arms take you up, and Nicholas kisses you into death, his tears damp on your cheek.\n\n***   You have died   ***\n\nIn 435 turns, you have achieved a score of 25 out of 25 points.\nThus you have finished the story of PLUNDERED HEARTS, earning the title, \"Love Transcending Death.\" There are other, perhaps more satisfying, conclusions.\nYou may start over, restore a saved position, or end this session of the game. (Type RESTART, RESTORE, or QUIT):"
    },
    {
        "text": "[Themes: Humor, female protagonist]\n\n\"Yo momma's so fat when they take aerial photos they have to ask her to move out of the way!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so ugly because her face is so ugly...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n[Author's Note: Gus is a smug numbskull who doesn't deserve to have the insult battle championship. You are here to take the title from him with the best yo momma insults there are. You just have to find them first. Raising the Flag on Mount Yo Momma is heavy on puzzles and the average playtime is at around 2-3 hours.]\n\n> About yourself\nThis is it. You're here to win the insult battle championship, and you're ready for it. Maybe.\n\nYour hair is on a tight ponytail and you're wearing the most credible street clothes you own.\n\n> You check what you're carrying\nYou're wearing your street clothes and a track jacket."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage."
    },
    {
        "text": "[Themes: Humor]\n\n> Go downward\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nIt looks as if somebody in a dark corner table to the southeast is making a \"come here\" gesture.\n\n> Swallow defeat\nGulp.\n\n> Go southeast\nDark corner (SE corner)\nThe sharp spotlights in this corner of the club create dark and gloomy shadows around the tables.\n\nA mysterious stranger sits behind a table, gesturing you to sit on the chair opposite to him.\n\n> You sit on the chair\n\"You blew it up there, kid,\" the stranger says. \"Blew it big time.\"\n\nYou feel your cheeks getting red. \"Oh yeah? Who are you to judge?\"\n\nYou're about to get up but he raises his hand. \"I speak from experience. But don't worry, kid, I see you have potential. The game is not over yet. I can help you win the championship. If you're up for it.\"\n\n\"Who... Who are you?\"\n\nHe leans forward into the spotlight and reveals his face. An eyepatch covers the old man's right eye and a wide scar runs below it, from the right temple to the left side of his neck. You jolt backwards, not because of the grotesque sight, but because you recognize him.\n\nIt's Joe Mahma.\n\n> Insult joe\n\"Uh... Yo momma's so fat because she eats a lot...\"\n\n\"If I insulted you back, you couldn't sleep for months without horrible nightmares,\" he remarks dryly.\n\n\"Joe Mahma! No way!\" you gasp.\n\n\"I see you know me, kid. Good to know somebody still does.\"\n\nOf course you know who Joe Mahma is. Everybody knows Joe Mahma. He's a living legend, the infamous grandmaster of Yo Momma insult battles.\n\n\"Look, kid, you want my help or not?\"\n\n> Yes\n\"Ok then. Listen carefully. I know and you know you're not ready to take Gus head on. But here's the thing. A sharp tongue is all good and fine but when you really want to knock your opponent off their feet you have to strike hard. And nothing hurts more than truth. You follow me?\"\n\n\"Not really,\" you confess.\n\n\"Pay attention now! Do some reconnaissance. Dig out some facts and use them against him. When you have enough information, just think of what you have learned and the right insult will come to you. Got it?\"\n\n\"Snoop around for embarassing facts, draw inspiration from them. Got it.\"\n\n\"That's the spirit! Go for it, kid!\"\n\n> You ask Joe about Gus\n(To interact with people you can TALK TO them, INSULT them or SHOW things to them.)\n\n> You talk to Joe\n\"So you want me to snoop around for inspiration?\"\n\n\"Yes! Find your opponent's soft spots. Once you've found what would really push him off his feet, challenge him again with renewed confidence.\""
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nDark corner (SE corner) (on the chair)\nThe sharp spotlights in this corner of the club create dark and gloomy shadows around the tables.\n\nJoe Mahma sits behind a table holding a cigar.\n\n> You stand\nYou get off the chair.\n\nDark corner (SE corner)\nThe sharp spotlights in this corner of the club create dark and gloomy shadows around the tables.\n\nJoe Mahma sits behind a table holding a cigar.\n\n> You go west\nEntrance (southern side)\nThis is where you enter and leave the club.\n\nA bouncer is standing next to the door with his arms crossed.\n\nYou spot a thermostat mounted on the wall next to the doors.\n\n> You go northwest\n(In addition to using the compass directions you can move around the club by simply typing the name of the location where you want to go, or a name of a person in the location. You can also see the list of all locations by commanding MAP.)\n\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nA dubious-looking guy is leaning on the counter.\n\n> You look at thermostat\nThe thermostat has only two settings: warm and cool. It's currently in the \"cool\" position.\n\n> You set the thermostat to warm\n\"Hey! Keep your hands off that!\" the bouncer shouts. \"With this amount of people here they would sweat their clothes off if the air conditioning wouldn't keep them cooled!\"\n\n> You hit the bouncer\nProbably not a good idea. He's scrawny for a bouncer, but you're no muscleman either.\n\n> Go west\n(In addition to using the compass directions you can move around the club by simply typing the name of the location where you want to go, or a name of a person in the location. You can also see the list of all locations by commanding MAP.)\n\nArcade corner (SW corner)\nIn this corner of the club there's a collection of arcade machines. This is where all the tough kids like to hang out.\n\nSpeaking of tough kids, Vincent is hacking away on one of the machines.\n\nThere's a tall plant standing in the corner.\n\n> You examine the plant\nIt's possibly some sort of small palm tree, creating atmosphere.\n\n> You look at Vincent\nVincent is a bully. There's nothing that makes him happier than beating up people, and that's the only thing he's good at.\n\n> You talk to Vincent\nThere's really nothing to discuss with Vincent. It's a small miracle he can form even basic sentences.\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so fat she weighs a lot.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\nGood ol' Vincent. No matter how lame the insult, you can count on him getting agitated.\n\n?\n\n> You talk to Vincent\nBetter not use that many words. Anything above one word is probably too much for Vincent's pea-brain to understand.\n\n?\n\n> You examine the arcade\n\"You're just joking, right?\" he says and shoves you off before turning to the arcade machine again.\n\nYou recognize some of the names: Bubble Bobble, Pong, Zork, Tetris. Really old stuff. Vincent is fervously bashing the keys of something called 'Escapade!'.\n\n> Bouncer\n(To interact with people you can TALK TO them, INSULT them or SHOW things to them.)\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so fat she has a lot of weight.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> Gus\n\"I don' believe ya, punk. Gus and I are friends, he wouln' say that 'bout my momma.\"\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so stupid that she's dumb.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> Bouncer\nVincent looks like he's thinking hard, even though that's unlikely. \"I can't go beatin' the staff. They would kick me out and I couldn't finish my game,\" he concludes and lets you go.\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so ugly that people say she doesn't look good.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> Joe\n\"Who? I don' know 'im. Yer just yankin' my leg,\" he says and drops you down.\n\n> Go north\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nA dubious-looking guy is leaning on the counter.\n\n> You examine dubious\nThe dubious-looking guy is an obnoxious mix of overconfidence and desperation in its mid-30s. He wears a cheap white suit with large collars and matching shoes. His shirt is unbuttoned halfway down showcasing an uneven patch of chest hair. A thick layer of grease keeps his hair combed back.\n\nThe guy notices you looking at him and flashes a bleached smile.\n\n\"Well hello there sparkly-eyes!\" the guy says. \"My name is Sleazeball McDouchebag, but you can call me Sleaze.\"\n\n(That's not what he actually says, but that's what your brain hears.)\n\n> Insult Sleaze\n\"Ooh, I love it when women talk dirty! Let me have it, girl!\"\n\n> You buy the drink\nWhich do you mean, the cola, the tonic, the gin, the wine, the beer, or the vodka?\n\n> You hit him\n*slap*\n\n\"Ooh, feisty! Show me your claws, tiger girl!\"\n\n> You buy the vodka\nYou don't have any money. Besides it's very hard to get a drink without papers here.\n\n> You talk to the barkeep\n\"Sorry, too busy to chat,\" the barkeep says and moves on to the next customer.\n\n> You read poster\n\"Watch out! Don't leave your drink unguarded!\" It has a picture of a boogey man dropping a skull-marked pill into a cocktail glass.\n\n> You talk to the guy\n(the Sleaze)\n\"How old are you, angelface?\"\n\n\"Sevent--\"\n\n\"Twenty-one, eh? Perfect.\" He pulls mouthspray from his pocket and squirts it five or six times in his mouth.\n\n> Dance\nYou bust a few moves.\n\n> Go north\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nA guard is making sure no-one without a pass gets in.\n\nBritney, the bimbo girlfriend of Gus, sits on a couch looking bored.\n\n> You look at Britney\nBritney and Gus are a perfect match. He's full of hot air and her head is full of air. She sits there in her tiny tiny skirt and top looking like a circus clown in her face plastered with makeup.\n\n> You talk to Britney\n\"Ma'am, this area is off limits for anyone without a VIP pass,\" the guard says when you try to approach Britney.\n\n> You check what you're carrying\nYou're wearing your street clothes and a track jacket.\n\n> You talk to the guard\n\"On duty. Can't talk,\" the guard says bluntly.\n\n> You look at the jacket\nThe track jacket is the latest craze. Everybody who's somebody has to have one. It's way oversized, just like it should be.\n\n> You examine the street clothes\nYou express your individuality by wearing baggy hip-hop clothes, just like everyone else.\n\n> You go east\nWhen you feel you're ready to challenge Gus again you can CLIMB ON STAGE.\n\n> Go southeast\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nNorbert is standing here near the dance floor.\n\n> You look at Norbert\nNorbert is, to be blunt, a nerd. He's swaying there in his striped collar shirt, just too short pants and glasses with lenses thicher than his legs. What he's doing here is anybody's guess.\n\n> Insult norbert\n\"Yo momma's so fat and stupid!\"\n\n\"El oh el! I see what you did there!\"\n\nIf you can't taunt even Norbert, you're really in a big trouble.\n\n> Go west\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\n> Arcade\nArcade corner (SW corner)\nIn this corner of the club there's a collection of arcade machines. This is where all the tough kids like to hang out.\n\nSpeaking of tough kids, Vincent is hacking away on one of the machines.\n\nThere's a tall plant standing in the corner.\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so poor she doesn't have any money.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> Norbert\n\"That pencilneck? He'll eat through a straw for a month,\" Vincent says and storms to the dance floor.\n\nHe goes straight to Norbert, exchanges a few words and starts to slap him around. The bouncer sees this and leaves his post to cool things down.\n\n> Entrance\nEntrance (southern side)\nThis is where you enter and leave the club.\n\nYou spot a thermostat mounted on the wall next to the doors.\n\n> You set the thermostat to warm\nYou turn the thermostat to \"warm\".\n\n> Go northeast\nHall of Fame (eastern side)\nJust being here makes your heart beat faster. The walls are adorned by portraits of past champions, each of them a part of great history.\n\nRalph, one of Gus's goons, is sitting here with a satchel.\n\nAn old jukebox sits under the pictures.\n\n> You look at Ralph\nRalph is one of those dungbeetles who cling onto Gus for hopes that his fame would somehow rub off and transfer onto them. He must have some task, otherwise he wouldn't be so far away from his hero.\n\nLooks like the commotion on the dance floor is dying down.\n\n> You talk to Ralph\n\"What's going on, Ralph?\"\n\n\"Get lost, squirt. There's nothing here for you,\" he says.\n\n> You examine the satchel\nYou recognize Gus's satchel. Or man-purse, as you like to call it.\n\n> You open the satchel\n\"Hey, you little twerp! Get away from Gus's bag!\" Ralph shouts.\n\n> You examine the jukebox\nThe jukebox looks like a retro vinyl player but under the hood it plays MP3s like everything else. The machine controls all the music playing in the club, so when somebody chooses a new song, the whole club has to listen to that.\n\nThe buttons are labeled \"rap\", \"r&b\", \"jazz\", \"rock\", \"techno\", and something that has most of the letters scraped off, leaving only \"ass\". The button labeled \"rap\" is currently selected.\n\nThe jukebox is operated by inserting coins into the slot.\n\n> You press the ass\nThe button refuses to budge. The machine must require a coin to be inserted first.\n\n> You look under jukebox\n(searching the jukebox)\nOn the back side of the jukebox you find a knob.\n\n> You look at the knob\nThe knob is apparently for adjusting the volume of the music being played. It can be set to low, medium or high. At the moment it's set on medium.\n\n> You turn the knob to high\nYou turn the music up.\n\n> You listen\nSome rap is playing at ear-pearcing volume.\n\n> Search machines\nYou scoop up a good handful of coins from the coin return slots of the machines. Good thing Vincent is not brainy enough to collect his rejected coins.\n\n> Hall of Fame\nHall of Fame (eastern side)\nJust being here makes your heart beat faster. The walls are adorned by portraits of past champions, each of them a part of great history.\n\nRalph, one of Gus's goons, is sitting here with a satchel.\n\nAn old jukebox sits under the pictures.\n\n> Inventory\nYou're carrying a handful of coins, and wearing your street clothes and a track jacket.\n\n> You examine the coins\nYou have a handful of coins, straight from the depths of a sofa.\n\n> You put the coin in the jukebox\nThe coin tumbles inside the machine.\n\n> You press the ass\nYou push the \"ass\" button and a smoothing classical symphony starts playing. The \"rap\" button pops back up.\n\n\"What the... Who changed the music?\" Ralph shouts and gets up the chair. \"Get away from the jukebox, you twerp!\"\n\n> You take the satchel\nRalph would notice you walking away with the bag.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n> You open satchel\nYou open the satchel, revealing some books and a wallet.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n\"Hey, are you messing with Gus's bag? Get out of here, twerp!\" Ralph says and pushes you away.\n\n> You wait for a while\nTime passes.\n\n> You press the ass\nYou push the \"classical\" button and a smoothing classical symphony starts playing. The \"jazz\" button pops back up.\n\n\"What the... Who changed the music?\" Ralph shouts and gets up the chair. \"Get away from the jukebox, you twerp!\"\n\n> You search the satchel\nYou can't see inside, since the satchel is closed.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n> You turn the knob to the quiet\nThe knob doesn't have that setting.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n> You examine the knob\nThe knob is apparently for adjusting the volume of the music being played. It can be set to low, medium or high. At the moment it's set on high.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n> You examine rap button\nThe button is labeled \"rap\".\n\n> You take the rap button\nThat seems to be a part of the jukebox controls.\n\n> You set knob to low\nYou turn the music down.\n\n> You open satchel\nYou open the satchel, revealing some books and a wallet.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n\"Hey, are you messing with Gus's bag? Get out of here, twerp!\" Ralph says and pushes you away.\n\n> Go north\nArtist hangout (NE corner)\nThe people who are performing in the club usually hang around here by the stage.\n\nGus stands here chatting with his posse.\n\nA massive loudspeaker is booming tunes next to the stage.\n\n\"Man, it's really hot in here, dontcha think?\" Gus says. His posse nods in unison, competing who can agree most with him. Assflies. He takes his sweater off and hangs it on the back of a nearby chair.\n\n> You examine the posse\nWhen you're famous, you get all kinds of mindless drones following you around doing nothing but sucking up to you. It's so lame and childish. And so unfair that you don't have a posse. Yet.\n\n> You look at the sweater\nIt's Gus's hooded blue sweater with white decorations. A tag is sewn to it.\n\nFor some reason a thought that the tag is somehow important crosses your mind.\n\n> You look at the tag\nIt's too dark to make out what it says on the tag. It looks important, or at least as important as a clothes tag ever can.\n\n> You take the tag\nIt's sewn tightly to the sweater.\n\n> You take the sweater\nTaken.\n\n> Floor\nOne of Gus's goons sees you leave and points at you. Gus turns around and sees you with his sweater. \"Hey, whatcha think you're doing? That's my shirt, come back with it!\" he shouts."
    },
    {
        "text": "[Themes: Humor]\n\n> You describe your surroundings\nArtist hangout (NE corner)\nThe people who are performing in the club usually hang around here by the stage.\n\nGus stands here chatting with his posse.\n\nA massive loudspeaker is booming tunes next to the stage.\n\n> Inventory\nYou're carrying a sweater and a handful of coins, and wearing your street clothes and a track jacket.\n\n> You examine loudspeaker\nThe loudspeaker booms the tunes in deafening volume. Every bass beat makes the ground tremble slightly.\n\n> Wear sweater\nThe track jacket is way too big to fit the sweater over it.\n\n> You remove the jacket\nYou take off the track jacket.\n\n> Wear sweater\nYou put on the sweater.\n\n> Floor\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nNorbert is standing here near the dance floor.\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> You look under the table\nYou take off the track jacket.\n\n(searching the table)\nYou find a fresh wad of bubblegum under the nearest table.\n\n> You remove the sweater\nYou take off the sweater.\n\n> You look at the tag\nIt's too dark to make out what it says on the tag. It looks important, or at least as important as a clothes tag ever can.\n\n> You take the gum\nYou need to scrape it off the table, and you need gloves or a tool to do it. It's too icky to touch with bare hands.\n\nNorbert puts his hand above his eyes as to shield his eyes from the sun, which is somewhat unnecessary during the night in a dim club without windows.\n\n> You ask Norbert about tag\n(To interact with people you can TALK TO them, INSULT them or SHOW things to them.)\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> You examine norbert\nNorbert is, to be blunt, a nerd. He's swaying there in his striped collar shirt, just too short pants and glasses with lenses thicher than his legs.\n\nPoor Norbert's missing the left lens from his glasses.\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> You talk to Norbert\n\"What happened to your glasses?\"\n\n\"Ah well... it was Vincent, I'm afraid. We had a little quarrel just now and looks like the other ocular of my eyewear was loosened and rolled away,\" Norbert says.\n\nNorbert searches the table carefully but finds nothing."
    },
    {
        "text": "> You look at your surroundings\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nNorbert is standing here near the dance floor.\n\nNorbert searches the table carefully but finds nothing.\n\n> You examine table\nThere's no food served here so the tables are just for holding drinks.\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> You look under the jukebox\n(searching the jukebox)\nYou find nothing of interest.\n\n> Go west\nAmong others you recognize Missy Maestro, Doc Stockholm, Hetty R, Slick Joe Mittens, and of course Gus, the current champion.\n\nThe first portrait seems to be missing.\n\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nNorbert is standing here near the dance floor.\n\n> Corner\nWhich do you mean, the VIP lounge, the Artist hangout, the Arcade corner, or the Dark corner?\n\n> Dark corner\nDark corner (SE corner)\nThe sharp spotlights in this corner of the club create dark and gloomy shadows around the tables.\n\nJoe Mahma sits behind a table holding a cigar.\n\n> You talk to Joe\n\"What kind of things should I be looking for?\"\n\n\"Nothing hurts more than the truth. Find out some facts about Gus's life and craft your insults based on them.\"\n\n> You show the sweater to Joe\nIt's too dark to make out what it says on the tag. It looks important, or at least as important as a clothes tag ever can.\n\n\"Can you read what it says in the tag?\" you ask Joe Mahma. \"This is a problem you have to solve by yourself,\" he zens.\n\n> You talk to guy\n(the Sleaze)\n\"Did you know I make sixty... seventy... a HUNDRED grand a year? Yeah, I'm the number one salesman at the leading automobile sales establishment in the country. In fact, I'm here RIGHT NOW to give you the ride of your life, baby!\"\n\nYou hold back a gag reflex.\n\n> You talk to the guy\n(the Sleaze)\n\"Hey sweet-lips, can I buy you a drink? Just point at what you want from the menu and\" -- he pauses to make a tongue-clicking and akimbo finger guns -- \"it's yours.\"\n\n> You point at the vodka\nYou point at the vodka in the menu. \"Bartender! One vodka!\" the Sleaze declares and takes a stack of bills from his pocket. He counts the sum with grand gestures and pays for the drink. The bartender places the vodka on the counter.\n\n> You examine the vodka\nVodka is almost pure alcolhol. The best way to get drunk quickly.\n\n> You kiss him\nYou. Would. Rather. Die.\n\n> Go east\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\n> Go west\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nOn the counter is a glass of vodka.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\nEntering the bar you see the Sleaze looking around him, taking something from his jacket pocket and dropping it into the vodka when he thinks no-one is looking. The drink sizzles for a short while and turns back to normal again.\n\n> You give the vodka to guard\nHe gives the drink a longing look, smacking his dry lips. \"Thank you, ma'am, but I have to stay alert,\" he says.\n\n> Point at cola\nYou point at the cola in the menu. \"Bartender! One cola!\" the Sleaze declares and takes a stack of bills from his pocket. He counts the sum with grand gestures and pays for the drink. The bartender places the cola on the counter.\n\n> Go west\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nOn the counter is a glass of cola.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\nEntering the bar you see the Sleaze looking around him, taking something from his jacket pocket and dropping it into the cola when he thinks no-one is looking. The drink sizzles for a short while and turns back to normal again.\n\n\"I bet your parents were angels, because I would like to...\" the Sleaze says and ends the sentence with a short but vomit-inducing gesture show.\n\n> You take cola\nTaken.\n\n> Vip\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nA guard is making sure no-one without a pass gets in.\n\nBritney, the bimbo girlfriend of Gus, sits on a couch looking bored.\n\n> You give the cola to guard\n\"Thank you, ma'am! I appreciate this,\" the guard says and takes the glass. He empties it in a single draw.\n\n\"This is... strange...\" he says, and falls straight on a couch. You're worried for a moment that he might be more than just asleep, but you can see him breathing peacefully in his slumber.\n\n> You talk to Britney\n\"Hello, Britney.\"\n\n\"Hel-lo, Jen,\" she says without bothering to look at you.\n\n> Keep going\n\"How did you get into the VIP lounge?\"\n\n\"That's like the most stupidest question e-ver,\" she says with her annoying nasal voice. \"I'm like the main star's gee ef, and you very well know it.\"\n\n> You talk to Britney\n\"Wanna talk about Gus?\"\n\n\"Like, why should I want to?\" she gushes. \"Gus get's like really pissed off if I accidentally go telling something I shouldn't. I usually don't, not unless I'm like totally wasted, but still.\"\n\n> You check your inventory\nYou're carrying a glass of spiced vodka, a sweater, a handful of coins, and a track jacket, and wearing your street clothes.\n\n> You point at the vodka\nYou point at the spiced vodka. Nothing happens.\n\n\"I bet your parents were angels, because I would like to...\" the Sleaze says and ends the sentence with a short but vomit-inducing gesture show.\n\n> Go east\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\n> You drop the vodka\nIt's better not to leave the drugged drink anywhere. Someone might accidentally take it and you don't want to be responsible for that.\n\n> You put vodka in the plant\n(first taking the plant)\nThat's fixed in place.\n\n> You drink vodka\nNo way! You'd probably be knocked out cold!\n\n> Bar\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\n> You give the vodka to the bartender\nThe barkeep takes the drink and throws it away.\n\n> You point at the vodka\nYou point at the vodka in the menu. \"Bartender! One vodka!\" the Sleaze declares and takes a stack of bills from his pocket. He counts the sum with grand gestures and pays for the drink. The bartender places the vodka on the counter.\n\n> Vip\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nThe guard is lying passed out on one of the sofas.\n\nBritney, the bimbo girlfriend of Gus, sits on a couch looking bored.\n\n> You give drink to Britney\n\"I only take drinks from my friends,\" Britney sneers. \"Gus says it's dangerous to accept drinks from strangers.\"\n\nAt the last moment you decide not to do that.\n\n> You drop the drink\nYou put the vodka on the table.\n\n> Vip\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nThe guard is lying passed out on one of the sofas.\n\nBritney, the bimbo girlfriend of Gus, sits on a couch looking bored.\n\nSomeone has already snatched the drink you left here.\n\n> You talk to Britney\n\"C'mon, Britney. Let's talk about Gus, only for a little while. I'm... uh, really curious about him.\"\n\n\"No way! I only talk about my boyfriend with my friends. And we're not friends, Jen.\"\n\n> You look under the sofa\n(searching the sofas)\nAmong other assorted crap fallen from people's pockets like candy wrappers and used paper tissues you find a VIP pass.\n\n> You look at the pass\nThe pass allows for the person holding it to enter the VIP lounge. Not that it's that useful now when the lounge guard is out of the picture.\n\n> Inventory\nYou're carrying a VIP pass, a sweater, a handful of coins, and a track jacket, and wearing your street clothes.\n\n> You give the pass to Sleaze\n\"Care for a pass for the VIP lounge?\" you ask and wave the pass in front of the Sleaze. \"Would I!\" he says delighted. \"The rich and the idle are just waiting for a knight in white armor to come save them from boredom,\" he says, grabs the pass and heads to the lounge.\n\n> You go north\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nThe Sleaze sits on the couch with Britney who is doing her best to ignore him.\n\nThe guard is lying passed out on one of the sofas.\n\n> You talk to Britney\n\"C'mon, Britney. Let's talk about Gus, only for a little while. I'm... uh, really curious about him.\"\n\n\"No way! I only talk about my boyfriend with my friends. And we're not friends, Jen.\"\n\n\"Hey there, sister. You look like you would need a man in your life,\" the Sleaze suggests to Britney. \"Get lost creep,\" Britney says.\n\n> You talk to Britney\n\"C'mon, Britney. Let's talk about Gus, only for a little while. I'm... uh, really curious about him.\"\n\n\"No way! I only talk about my boyfriend with my friends. And we're not friends, Jen.\"\n\n> You examine Sleaze\nThe Sleaze is an obnoxious mix of overconfidence and desperation in its mid-30s. He wears a cheap white suit with large collars and matching shoes. His shirt is unbuttoned halfway down showcasing an uneven patch of chest hair. A thick layer of grease keeps his hair combed back.\n\nHe's currently working hard to have Britney notice himself.\n\n\"Nice outfit,\" the Sleaze says to Britney. \"It'll look good on my bedroom floor.\" She tries to tug her skirt hem lower with little success.\n\n> You wait for a while\nTime passes.\n\n> Hall of Fame\nHall of Fame (eastern side)\nJust being here makes your heart beat faster. The walls are adorned by portraits of past champions, each of them a part of great history.\n\nRalph, one of Gus's goons, is sitting here with a satchel.\n\nAn old jukebox sits under the pictures.\n\n> You talk to Gus\n\"Beat it, kid. We don't have anything to talk about.\"\n\n> You look at Gus\nGus, the insult battle champion. He's not that tough. You could beat him, if you were a little bit more well prepared...\n\n> Bar\nOne of Gus's goons sees you leave and points at you. Gus turns around and sees you with his sweater. \"Hey, whatcha think you're doing? That's my shirt, come back with it!\" he shouts.\n\n> Inventory\nYou're carrying a sweater, a handful of coins, and a track jacket, and wearing your street clothes.\n\n> Wear sweater\nYou put on the sweater.\n\n> Bar\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\n> You search guard\nIn the guard's pocket you find a taser.\n\n> You look at the taser\nThe hand-held stunning device looks impressive.\n\nThe Sleaze tries to wrap his arm around Britney but she slaps his hand away.\n\n> You tase Sleaze\n(with the taser)\nYou pull the taser from your pocket. \"Well hello, beautiful,\" the Sleaze says and turns to you. \"I was just talking with your friend here. I was thnking all three of us could go to my place and\" *kZap* \"OH my dear GOD WHAT the\" *kZap* \"that really HURTS\" *kZap* \"no NOT THERE PLEASE\" *kZap* *kZap*\n\nThe Sleaze staggers away, smoke rising from his head. His limbs twitch as he stumbles back to the bar.\n\n\"Oh wow, Jen. That's really sweet of you!\" Britney stands up and gives you an awkward hug. \"I think we could be like really good friends, Jen!\"\n\n> You talk to Britney\n\"So, now that we're friends, how about we talk about, say, Gus?\"\n\n\"I don't know, Jen. Can't we talk about something more important, like makeup or something?\"\n\n> Continue\n\"No, really, let's talk about Gus. What's his mother like?\"\n\n\"Yeah, uh... Well, I shouldn't really like talk about that. Gus has said that it might hurt him, somehow. I dunno.\"\n\n> Bar\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\n> You give the vodka to Britney\n\"I can't like drink any booze, Jen! Gus says I tend to blurt out stuff I shouldn't say when I'm drunk,\" Britney says.\n\n> You go to the south\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\n> Point at coke\nYou point at the cola in the menu. \"Bartender! One cola!\" the Sleaze declares and takes a stack of bills from his pocket. He counts the sum with grand gestures and pays for the drink. The bartender places the cola on the counter.\n\n> You take the coke\nTaken.\n\n\"I bet your parents were angels, because I would like to...\" the Sleaze says and ends the sentence with a short but vomit-inducing gesture show.\n\n> You pour the vodka into the coke\nYou pour the vodka into the cola and create black vodka cola.\n\n> You give cola to Britney\n\"Thanks Jen! It's, like, cola? Right?\"\n\n\"Uh, yeah. It's like cola,\" you say.\n\n\"Ok, great!\" She takes a gulp of the drink. \"You know, Jen, we're like, we're like, we're like the BESTESTEST frriends EVER!\" she stammers. Worst. Alcohol tolerance. Ever.\n\n> You talk to Britney\n\"Oh, hi Jen! We're just the bestest bee ef efs, aren't we?\" She speaks fast and short segments, like a machine gun firing bursts of stupid. \"I should like totally do your hair sometime, do you know this totally awesome conditioner...\"\n\n\"...and then I was totally like, 'Like, are you like totally...'\"\n\n\"...then we went for a burger and I said like, 'You know like how many calories those things have like?'...\"\n\n\"...and we went to the aquarium, and Gus's mom just had to drag along...\"\n\nWhat? You snap out of the torpor your brain had induced to prevent any permanent damage. \"What's that about Gus's momma?\"\n\n\"Yeah, it was kinda drag but kinda funny too when she accidentally slipped into the dolphin pool. But scary too. Anyway, I had this totally cool sweater on I bought the other day and...\"\n\nThat's it! That would like totally work! Er... gah, must get out of here before your wits are completely corrupted.\n\n> Inventory\nYou're carrying a taser and a handful of coins, and wearing a sweater, your street clothes, and a track jacket.\n\n> Floor\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\n> You look at the rose\nThe compass rose painted on the ceiling makes it easy to know your bearings. You are now at the center of the club.\n\n> You examine the gum\nThe gum is moist and sticky.\n\n> You take the sweater\nYou already have that.\n\n> You look under the plant\n(searching the plant)\nYou find nothing of interest.\n\n> You look under the machines\n(searching the arcade machines)\nThere's nothing to find from the machines.\n\n> Tase vincent\n(with the taser)\nVincent doesn't deserve zapping.\n\n> Go east\nEntrance (southern side)\nThis is where you enter and leave the club.\n\nA bouncer is standing next to the door with his arms crossed.\n\nYou spot a thermostat mounted on the wall next to the doors.\n\n> Tase bouncer\n(with the taser)\nThe bouncer doesn't deserve zapping.\n\n> You tase yourself\n(with the taser)\nThe situation is not that dire yet.\n\n> Go east\nDark corner (SE corner)\nThe sharp spotlights in this corner of the club create dark and gloomy shadows around the tables.\n\nJoe Mahma sits behind a table holding a cigar.\n\n> You look under the table\n(searching the corner table)\nThere is nothing on the corner table.\n\n> You talk to Joe\n\"Will you teach me the crane kick now?\"\n\n\"Don't be daft, girl.\"\n\n> Hall of Fame\nHall of Fame (eastern side)\nJust being here makes your heart beat faster. The walls are adorned by portraits of past champions, each of them a part of great history.\n\nNorbert is here, busy searching his missing lens.\n\nRalph, one of Gus's goons, is sitting here with a satchel.\n\nAn old jukebox sits under the pictures.\n\nNorbert goes west.\n\n> You look under the jukebox\n(searching the jukebox)\nYou find nothing of interest.\n\n> Search\nWhat do you want to search?\n\n> Norbert\nDance floor (center of the club)\nThis is the center of the Compass Club. Most people don't orient themselves in relation to compass directions, but here it's more than natural. A huge compass rose is painted to the ceiling and the abbreviations of cardinal directions are painted on the walls.\n\nTo north there's the stage where you can challenge Gus by just climbing on to it. The club continues in every other direction.\n\nNorbert is standing here near the dance floor.\n\n> You talk to Norbert\n\"Where do you think the lens went?\"\n\n\"Oh, it could be anywhere! Most likely it rolled under something.\"\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> You look under the stage\n(searching the stage)\nYou find nothing of interest.\n\n> You look under the chalkboard\n(searching the drinks menu)\nThe drinks menu is out of reach.\n\nThe Sleaze dry-humps a bar stool.\n\n> You look under the loudspeaker\n(searching the speaker)\nUnder the speaker near the wall you spot a bulging glass object. It can't be anything else than the lens from Norbert's glasses!\n\n> Hangout\nArtist hangout (NE corner)\nThe people who are performing in the club usually hang around here by the stage.\n\nA thick lens lies under the loudspeaker, just out of reach.\n\nGus stands here chatting with his posse.\n\nA massive loudspeaker is booming tunes next to the stage.\n\n> Press techno\nYou push the \"techno\" button and a steady stream of low thump-thump-thump beats fill the air. The \"rap\" button pops back up.\n\n> Hangout\nArtist hangout (NE corner)\nThe people who are performing in the club usually hang around here by the stage.\n\nA thick lens lies under the loudspeaker, just out of reach.\n\nGus stands here chatting with his posse.\n\nA massive loudspeaker is booming tunes next to the stage.\n\nThe loud bass tones make the lens under the speaker bounce up and down. At the same time it moves gradually more and more away from the wall until it's to your reach.\n\n> You take the lens\nYou reach under the speaker and grab the lens.\n\n> You look through the lens\nThe world looks distorted through the lens. And huge.\n\n> You look at tag through the lens\nThrough the lens the text on the tag would be large enough to read, but it's too dark here to make out the letters.\n\nNorbert searches the table carefully but finds nothing.\n\n> You give the lens to Norbert\nThat's a nice thing to do, but the lens could be useful yet.\n\nNorbert tries to look under the table. \"Ow, my back,\" he complains.\n\n> Vip\nVIP lounge (NW corner)\nThe area is reserved to those with VIP passes. There are cushy red sofas to sit on and you don't have to worry about drunken idiots crashing your table.\n\nThe guard is lying passed out on one of the sofas.\n\nBritney, the bimbo girlfriend of Gus, sits on a couch looking bored.\n\n> You tase Sleaze\n(with the taser)\nYou take the taser and thrust it in the Sleaze's ribs. \"YeeOW! That's way too kinky for my tastes!\"\n\n> Drink coke\nYou can't drink it.\n\n\"I bet your parents were angels, because I would like to...\" the Sleaze says and ends the sentence with a short but vomit-inducing gesture show.\n\n> Inventory\nYou're carrying a lens, a taser, and a handful of coins, and wearing a sweater, your street clothes, and a track jacket.\n\nThe Sleaze licks a toothpick from his martini slowly from end to end, all the while looking you straight in the eyes.\n\n> Xyzzy\n\"Yo momma's so ugly, xyzzy...\" No, that's not gonna work.\n\n> You talk to Sleaze\n\"Hey sweet-lips, can I buy you a drink? Just point at what you want from the menu and\" -- he pauses to make a tongue-clicking and akimbo finger guns -- \"it's yours.\"\n\n> You get the picture\nWhich do you mean, the Missy Maestro portrait, the Gus portrait, the Doc Stockholm portrait, the Hetty R portrait, the Slick Joe Mittens portrait, or the missing portrait?\n\n> Gus\nThe Gus portrait is out of reach.\n\n> You get missy\nThe Missy Maestro portrait is out of reach.\n\n> You examine missing\nThe first portrait is missing. It used to be the picture of Joe Mahma. The empty frame is a memorial of his defamation.\n\n> You examine the hetty r.\nIn the picture there's a thin older woman with a scarf around her head. \"Hetty had time for the art even with three kids to feed. Just like Yo Momma who has three chins to feed.\"\n\n> You look at missy Maestro\nThe portrait is of a serious-looking girl with a collar shirt and blonde hair combed back. Below it reads: \"Missy Maestro could command words like an orchestra, but nobody could command Yo Momma away from that third bucket of chicken.\"\n\n> You look at Doc Stockholm\nThe guy in the portrait wears a white jacket and rubber gloves. It reads: \"Doc could tie your intestines to a knot with a single quip. Too bad for Yo Momma that he isn't a cosmetic surgeon.\"\n\n> You look at Slick Joe\nThe picture depicts a young bald guy with tattoos and hip hop clothes. The text says: \"Slick Joe had his rhymes and his wits of which he let everyone have their share. Yo Momma has her tub-o-lard and that she never shares.\"\n\n> You look at Gus\nGus, that smug twit. The inscription reads: \"They say to beat Gus in his game is an impossible task, but not as hard as raising a flag on Mount Yo Momma.\"\n\n> You get the frame\nThe missing portrait is out of reach.\n\n> Break gus\nThe Gus portrait is out of reach.\n\n> You throw taser at Gus\nFutile.\n\n> Tase ralph\n(with the taser)\nRalph doesn't deserve zapping.\n\n> Go south\nAre you sure you want to quit?\n\n> You examine Sleaze\nThe Sleaze is an obnoxious mix of overconfidence and desperation in its mid-30s. He wears a cheap white suit with large collars and matching shoes. His shirt is unbuttoned halfway down showcasing an uneven patch of chest hair. A thick layer of grease keeps his hair combed back.\n\nNorbert arrives from the east.\n\n> You examine the spotlights\nThe spotlights cover the tables in sharp light and at the same time leaving unlit areas in shadows.\n\n> You look at the tag\nIt's too dark to make out what it says on the tag. It looks important, or at least as important as a clothes tag ever can.\n\n> You put sweater on the table\n(first taking it off)\n(first taking off the jacket)\nYou put the sweater on the corner table. The spotlight lights it brightly.\n\n> You look at the tag through the lens\nWith sufficient light and magnification you can easily make out what it says on the tag. Washing instructions... wash separately... may release color... made for Cheap-O-Mart...\n\nWait, Cheap-O-Mart? Where they sell crap and imported knick-knacks to poor people?\n\nInspiration strikes you like a lightning. Gus, you're going down.\n\n> Norbert\nArcade corner (SW corner)\nIn this corner of the club there's a collection of arcade machines. This is where all the tough kids like to hang out.\n\nNorbert is here, busy searching his missing lens.\n\nSpeaking of tough kids, Vincent is hacking away on one of the machines.\n\nThere's a tall plant standing in the corner.\n\nNorbert goes north.\n\n> You go to the north\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nNorbert is here, busy searching his missing lens.\n\nThe Sleaze is leaning on the counter, eyeing you and giving an occasional wink.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\n> You give the lens to Norbert\n\"I found your missing lens, Norbert.\"\n\nHis eyes light up. \"Oh! Oh, thank you! I've been looking everywhere!\" He takes the lens, snaps it into the frames and attaches it with a piece of white tape. \"Thanks, Jen,\" he says and prances off.\n\n\"Yo momma's so old she had a pet dodo!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so fat she has a lot of weight...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> You examine Sleaze\nThe Sleaze is an obnoxious mix of overconfidence and desperation in its mid-30s. He wears a cheap white suit with large collars and matching shoes. His shirt is unbuttoned halfway down showcasing an uneven patch of chest hair. A thick layer of grease keeps his hair combed back.\n\n> You talk to Sleaze\n\"Hey sweet-lips, can I buy you a drink? Just point at what you want from the menu and\" -- he pauses to make a tongue-clicking and akimbo finger guns -- \"it's yours.\"\n\n> Point at beer\nYou point at the beer in the menu. \"Bartender! One beer!\" the Sleaze declares and takes a stack of bills from his pocket. He counts the sum with grand gestures and pays for the drink. The bartender places the beer on the counter.\n\n> You examine the beer\nIt's like liquid bread, so it must be healty.\n\n\"Why don't you know who an' you know who go you know where with you know what an' do you know what using you know what?\" the Sleaze suggests. You do your best to ignore him.\n\n> You throw the beer at Sleaze\nYou splash the beer on the Sleaze.\n\n\"Playing hard to get is see,\" the Sleaze winks with the beer dripping down his face.\n\n> Inventory\nYou're carrying a glass of beer, a glass of cola, a lens, a taser, a handful of coins, and a track jacket, and wearing your street clothes.\n\n> You go to the south\nArcade corner (SW corner)\nIn this corner of the club there's a collection of arcade machines. This is where all the tough kids like to hang out.\n\nNorbert is here, busy searching his missing lens.\n\nSpeaking of tough kids, Vincent is hacking away on one of the machines.\n\nThere's a tall plant standing in the corner.\n\n> You give the lens to Norbert\n\"I found your missing lens, Norbert.\"\n\nHis eyes light up. \"Oh! Oh, thank you! I've been looking everywhere!\" He takes the lens, snaps it into the frames and attaches it with a piece of white tape. \"Thanks, Jen,\" he says and prances off.\n\n\"Yo momma's so fat when she gets up on the wrong side of the bed it's because she has to use the spare pulley!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so stupid she has a low IQ...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> You talk to Britney\nShe seems to be busy talking, not really paying attention to who is listening. It's unlikely she'll blurt out any more gems.\n\n\"Yo momma's so fat when they take aerial photos they have to ask her to move out of the way!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so ugly because her face is so ugly...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> Norbert\nArcade corner (SW corner)\nIn this corner of the club there's a collection of arcade machines. This is where all the tough kids like to hang out.\n\nNorbert is here, busy searching his missing lens.\n\nSpeaking of tough kids, Vincent is hacking away on one of the machines.\n\nThere's a tall plant standing in the corner.\n\nNorbert searches the plant carefully but finds nothing.\n\n> Arcade\nYou are already there.\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so ugly that people say she doesn't look good.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> You sleaze\n\"The greasehair over there? He's goin' to be picking his teeth from the floor in about five seconds,\" Vincent barks and storms into the bar. You witness a gruesome act that includes screaming, punching, and unhealthy amount of excruciating pain. You almost feel sorry for the Sleaze. Almost.\n\nVincent storms back, shaking his head. \"What a weasel,\" he mutters and returns to his game.\n\n> Bar\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThe Sleaze is lying face down on the floor.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze picks himself up from the floor and sways back to the counter. \"Sheez, I wonder what that guy's problem was,\" he mutters.\n\n> You look at Sleaze\nThe Sleaze is an obnoxious mix of overconfidence and desperation in its mid-30s. He wears a cheap white suit with large collars and matching shoes. His shirt is unbuttoned halfway down showcasing an uneven patch of chest hair. A thick layer of grease keeps his hair combed back.\nHe looks quite ruffled after the Vincent incident.\n\n> You talk to Sleaze\n\"Hey sweet-lips, can I buy you a drink? Just point at what you want from the menu and\" -- he pauses to make a tongue-clicking and akimbo finger guns -- \"it's yours.\"\n\n> Insult vincent\n\"Hey Vincent,\" you say. \"Word on the street is that yo momma's so fat she weighs a lot.\"\n\nVincent stops in his tracks. You can hear gears turning in his head. He turns around, grabs you by the collar and lifts you in the air. \"Who's been sayin' that? Talk ya little punk!\"\n\n?\n\n> You sleaze\n\"That smug bastard again? He's goin' to be picking his teeth from the floor in about five seconds,\" Vincent barks and storms into the bar. You witness a gruesome act that includes screaming, punching, and unhealthy amount of excruciating pain. You almost feel sorry for the Sleaze. Almost.\n\nVincent storms back, shaking his head. \"What a weasel,\" he mutters and returns to his game.\n\n> Bar\nBar (western side)\nA club wouldn't be a club if it didn't have a bar. The selection is written on a chalkboard behind the counter next to an educational poster.\n\nThere's a business card lying on the floor.\n\nThe Sleaze is lying face down on the floor.\n\nThe barkeep is busy serving drinks to thirsty clubbers.\n\nThe Sleaze picks himself up from the floor and sways back to the counter. \"I guess some people just can't handle my good looks,\" he mutters.\n\n> You take the card\nTaken. The card must have fallen from the Sleaze's pocket when he fell to the ground.\n\n\"Yo momma's so fat when she went to the beach Greenpeace tried to throw her back into the ocean!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so ugly that people say she doesn't look good...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> You examine the card\n(first picking it up)\nTaken. The card must have fallen from the Sleaze's pocket when he fell to the ground.\n\nIt reads \"Sleazeball McDouchebag, Junior Sales Assistant, Johnson's Used Cars and Auto Parts.\"\n\n> You scrape the gum with the card\nYou scrape the gum off. It's now on the business card.\n\n> You put the gum on the rap\nYou stick the bubblegum in and around the rap button.\n\n\"Yo momma's so fat she bought two tents and a coil of rope to make herself a bikini top!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so stupid she has a low IQ...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> You open satchel\nYou open the satchel, revealing some books and a wallet.\n\nRalph puts a coin into the jukebox and pushes the rap button.\n\nRalph returns from the jukebox.\n\n\"Hey, are you messing with Gus's bag? Get out of here, twerp!\" Ralph says and pushes you away.\n\n\"Yo momma's so fat when she gets up on the wrong side of the bed it's because she has to use the spare pulley!\"\n\nYour heart is pounding and you find it hard to breathe. You didn't supect that the quips would hit this hard in real situation. Focus. Focus!\n\n\"Yo momma's so fat she has a lot of weight...\"\n\nOh man. You didn't just say that. You did. Oh man.\n\nThe crowd starts booing and whistling. It's over. You blew it. Gus grins like a retard who has just plucked the last leg off a spider. You're not sure that you can find it in you to challenge him again.\n\nYou're standing dumbfounded and humiliated on the stage of the Compass Club. There's nothing left to do than to swallow your defeat and climb down the stage.\n\n> You take the gum\n(with the business card)\nYou scrape the gum off. It's now on the business card.\n\n> You put the gum on the ass\nYou stick the bubblegum in and around the classical button.\n\n> You open the satchel\nYou open the satchel, revealing some books and a wallet.\n\n\"Hey! What's wrong with this stupid machine?\" Ralph swears and pounds on the jukebox buttons.\n\n> Examine books\nLet's see, a Jack Mills pocket book... something about gardening... man, he reads crappy books too.\n\n\"Stupid piece of junk,\" Ralph says.\n\n> You examine the wallet\nHuh, it's Gus's wallet. Might be interesting.\n\nRalph has a fit and pounds himself instead of the jukebox.\n\n> You open the wallet\nYou go through the wallet quckily and discover a photograph. Looks like... well, it's an ugly old hag... wait, could it be Gus's momma?\n\nYes! It must be! She has this horrible wart in the middle of her face... Now that just gets your creative juices moving, not to mention your dinner. You quickly replace the picture and the wallet.\n\nRalph finally gets the bubblegum scraped off the button and gets the music changed. He comes back to his seat, steaming from the ears.\n\n\"Hey, are you messing with Gus's bag? Get out of here, twerp!\" Ralph says and pushes you away.\n\n> Facts\nDid you know that...\n...Yo momma's so fat NASA has a satellite in orbit around her?\n...Yo momma's so stupid she needs a dictionary to read the alphabet? ...Yo momma's so ugly they filmed \"Gorillas in the Mist\" in her shower?\n...Yo momma's so stupid she got lost in the desert and drowned?\n...Yo momma's so ugly a grue refused to eat her?\n...Yo momma's so fat she drove three all-you-can-eat buffets into bankruptcy - in one night?\n...Yo momma's so ugly she makes onions cry?\n...Yo momma's so stupid she lost count while counting to one?\n...Yo momma's so fat her chins have different area codes?\n...Yo momma's so fat she bought two tents and a coil of rope to make herself a bikini top?\n...Yo momma's so old she had a pet dodo?\n...Yo momma's so fat she's likely to be half-eaten by a grue?\n...Yo momma's so fat when she went to the beach Greenpeace tried to throw her back into the ocean?\n...Yo momma's so fat when she walks on the road she's legally classified as a semi-truck?\n...Yo momma's so fat when she switches her watch to the other hand\nshe has to set it to a new time zone?\n...Yo momma's so stupid she got locked inside a grocery store and starved?\n...Yo momma's so stupid she got stabbed in a shootout?\n...Yo momma's so ugly she's the control at the ugly stick factory? ...Yo momma's so stupid she got run over by a parked car?\n...Yo momma's so stupid she saw a \"wet floor\" sign and did it?\n...Yo momma's so fat when they take aerial photos they have to ask\nher to move out of the way?\n...Yo momma's so fat when she gets up on the wrong side of the bed it's because she has to use the spare pulley?\n\nAnd that...\n...Yo momma's so fat she don't fit in Z-machine?\n\nWould you like to RESTART, RESTORE a saved game, QUIT, see your full SCORE, or read some painful FACTS of life?"
    },
    {
        "text": "[Themes: Science Fiction, conversation, dreaming, conspiracy, science fiction, female protagonist]\n\n\"...deflagged the bitster down in big M, but he had less than four.\"\n\n\"By Fat! That must've lagged.\"\n\n\"Thought I was gonna be deflagged too but no, they zip me up here with you one-oh.\"\n\n\"Cold as Korh. Well us we... wait... our reg is stirring. Space it.\"\n\n\n\nPlease type ABOUT.\n\nPod 19-Q (in Bunk C)\nYou awake in Bunk C of Pod 19-Q, in the Morbozzo space station, location unknown. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nAcross the pod, a bearded man leans out of Bunk A, staring avidly at the screen.\n\nYou can also see Bunk B (closed) and Bunk D (closed) here.\n\n[Author's Note: Aliss can control her dreams, but will this help her when she's stuck in a galaxy on the brink of destruction? Winner of the Andromeda Legacy competition 2012, Andromeda Dreaming is in the same setting as Andromeda Awakening.]\n\n> About yourself\nYou are strapped into a bunk in a quarantine pod, and despite the bizarre lack of gravity, you feel like you could sleep easily here."
    },
    {
        "text": "> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nAcross the pod, a bearded man leans out of Bunk A, staring avidly at the screen.\n\nYou can also see Bunk B (closed) and Bunk D (closed) here.\n\n> You examine the bunk b.\nThe bunks are like micro-pods set into the sides of the main pod and they can each be sealed off. Bunk B is currently closed.\n\n> You look at the man\nThe man has a great bushy beard that obscures his face. And yet...\n\n> You talk to the man\nYou turn to the bearded man and he temporarily turns off his speakers. \"So at last the reg awakes. Stato me amato?\"\n\n> 3\n\"Amato, that's cold as Korh. I hope the bitsters deflagged it. Wouldn't want to catch something I couldn't throw back.\"\n\n> You examine the screen\nA low-res screen, not even vibertronic. It's showing what looks like some incredibly dumb looking action vid, but it's hard to tell with the speakers off.\n\n> You talk to the man\nYou turn to the bearded man and he temporarily turns off his speakers.\n\n> 2\n\"Look amato, if you're gonna get far in Morbozzo you gotta speak the right frequency, you bit?\"\n\nHe looks at your look of incomprehension and continues, \"You ever even been to a sky city, reg?\"\n\n> 1\n\"Monarch true, huh?\"\n\nThe man opens his palms and says, \"Well, most places gots their own slang, you bit? Uh, 'you know'? Well us age-long Morbozzans have our words for things. It's so regs and prens don't bit our frequency.\"\n\n> 1\n\"A pren is someone who apprehends you but Fat knows why they call Monarchans 'reg' or 'nob' or 'queeny'. There's a lot I don't bit, like what a hyerotrope is or why the bad guys never deflag Gettare,\" he says emphasising his last point by pointing at the big screen.\n\n> 1\n\"Morbozzo is the best quarantine space station there is,\" he says. \"Of course, there's less than four others. It's the place for deflagging disease and each of its self-contained pods can be attached to shuttles and zipped elsewhere, totally spaced so the rest of the station won't even miss it.\"\n\n> 1\n\"I said that there was less than four others didn't I?\" He shakes his head in despair. \"That means there's exactly oh-one Morbozzo and not a station more.\"\n\n> 1\n\"Ah Fat bits,\" says Kadro shrugging his shoulders, \"there's more than four but less than a googolplex of them.\"\n\nNow that you think about it, you recall that the hyerotropes are perfect spheres sometimes found under the surface of Monarch. You haven't the foggiest about them, but then, you didn't exactly study hard sciences.\n\n> 1\nHe coughs unconvincingly and leaves it at that.\n\n> You look at the straps\nThe straps bind you to the bunk. As you're not going anywhere, you might as well get some rest.\n\n> You check what you're carrying\nYou are wearing:\na medical shift\n\n> You examine the shift\nIt's a strange cover-all that's pricked into the skin in various places. It seems to be supplying you with nutrients and taking care of personal cleansing all by itself. If you'd have studied a more practical degree, you might have known how it works.\n\n> You listen\nIt's very quiet in the pod. Each bunk has its own localised sound system and yours is switched off.\n\n> You examine the screen\nA low-res screen, not even vibertronic. It's showing what looks like some incredibly dumb looking action vid, but it's hard to tell with the speakers off.\n\n> You turn on the speakers\nYou turn on the speakers, and noise starts burbling out. It's quite quiet, so you'll have to actively listen to pick up anything.\n\n> You listen\n\"There's only one thing worth going to Phelios for... the Terracentral Fortress!\"\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nThe hall is full of vibertron screens for picking modules. There are dozens of stalls where experts stand, ready to give advice. You guess there should be other students here, but you find it hard to focus on any of them.\n\nOne expert stands near you. This is the one you will speak with.\n\n> You look at the expert\nYou can't remember whether it was a man or woman. As you stare, the expert looks like the professor that taught you later and your mother's second sister at the same time.\n\n> You talk to expert\nYou approach the nearby expert and it seems to tower over you.\n\n\"What course do you represent?\" you ask. You don't remember there being any banner or reading material laid out.\n\n\"What is a dream?\" the expert asks.\n\n> 6\n\"Education is not training. I do not give you answers for you to memorise. Would you like to discover the truth for yourself?\"\n\n> 1\nThe expert takes out an E-Pad from below the stall.\n\n\"You won't find oneironautics on the core syllabus. Touch the pad here.\"\n\n> You touch the Pad\nYou begin to enter in your details in the E-Pad and the expert turns to you and says, \"Are you awake, reg?\"\n\n> No\nThat was a rhetorical question.\n\n> You say no\nWhom do you want to say that to?"
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nA thin woman has leaned out of Bunk D as far as her straps will allow, staring right at you.\n\nThe bearded man is looking on with interest.\n\nYou can also see Bunk B (closed) here.\n\n> You examine the woman\nThe woman has very angular features and is perhaps in her mid-forties, but it's hard to tell for sure. Although she is very thin, her cheeks are flush with colour and she doesn't seem to be displaying any outward signs of illness.\n\n> You talk to the woman\n\"You don't know how lucky you are,\" says the thin woman. \"I'm Sen Kulpa, you can call me Sen.\n\n> 2\n\"Oh, you'll see,\" she says before withdrawing to her bunk, sealing herself in again."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, dreaming, conspiracy, conversation]\n\n> You describe your surroundings\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nThe man in Bunk A has resumed watching the never ending series of action vids.\n\nYou can also see Bunk B (closed) here.\n\n> You look at the Bunk\nThe bunks are like micro-pods set into the sides of the main pod and they can each be sealed off. Bunk A is currently open.\n\nIn Bunk A is a bearded man.\n\n> You examine the bunk b.\nThe bunks are like micro-pods set into the sides of the main pod and they can each be sealed off. Bunk B is currently closed.\n\n> You check what you're carrying\nYou are wearing:\na medical shift\n\n> 2\n\"Hah! She's a regular cannery girl, that is to say, she's not a reg like you or a Morbozzan like me and Jimmy. She's from the sky cities but I'd say she's spent time grounded.\"\n\n> 2\n\"You bit Morbozzo's the can where they space whatever the prens don't want spreading. Jimmy, well he has a head full of ideas and there's less than four more infectious.\"\n\n> 1\nHe smiles wickedly. \"Dreaming is a very bad habit.\""
    },
    {
        "text": "[Themes: Science Fiction, conversation, conspiracy, dreaming]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nThe man in Bunk A is staring at the big screen.\n\nYou can also see Bunk B (closed) here.\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nYou're lying in the soft cyanotic glow of the sleeping chamber. It's the third week of your new course.\n\nJaspers, a new instructor with sparkling eyes and perma-stubble, sits nearby whispering.\n\nYour eyes are shut.\n\n> You open eyes\nYou stir and find yourself back Morbozzo, strapped in a bunk in Pod 19-Q.\n\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nSen has withdrawn to Bunk D, now closed.\n\nThe man in Bunk A is staring at the big screen.\n\nYou can also see Bunk B (closed) here.\n\n> You listen\n\"...and when I say the word duty, a new feeling of calm will come over you.\"\n\n> You listen\n\"Duty.\"\n\n> You listen\n\"...and when I say the phrase do your duty, you will listen.\"\n\n> You listen\n\"Do your duty.\"\n\n> You listen\n\"...and when I say the word...\"\n\n> Sleep\nYou begin to drift off as Jaspers' whispered words wash over you. You wake up and the room is dark and there's no one around. Then you wake up again, back in Pod 19-Q. That was the last time you remember seeing Jaspers."
    },
    {
        "text": "[Themes: Science Fiction, dreaming]\n\n> Look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nThe man in Bunk A is staring at the big screen.\n\nYou can also see Bunk B (in which is a sleeper) here.\n\n>Pod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nThe man in Bunk A is staring at the big screen.\n\nYou can also see Bunk B (in which is a sleeper) here.\n\n> You say the duty\nWhom do you want to say that to?\n\n> You say the duty to the man\nDo you mean:\n\n> You examine the sleeper\nThe man is fast asleep, turned away from you, and all you can see of him is his wild shock of hair and scars interlaced down his back.\n\n> You say the duty to Jimmy\n[If you want to communicate with the sleeper, just TALK TO SLEEPER (or T SLEEPER for short).]\nThe man is asleep and it would be rude to rouse him without a reason.\n\n> You talk to the man\n(the bearded man)\nYou turn to the bearded man and he temporarily turns off his speakers.\n\n> You talk sleeper\nThe man is asleep and it would be rude to rouse him without a reason.\n\n> You listen\nA female side-kick is incensed, saying \"That fiend! What could he be doing there?\"\n\n> You continue\nGettare on the screen says, \"He must be going to change one of the secret bounds so that it favours his ascension to the council!\"\n\n> You pinch yourself\nYou pinch yourself: still awake.\n\n> You look at the Bunk\nThe bunks are like micro-pods set into the sides of the main pod and they can each be sealed off. Bunk A is currently open.\n\nIn Bunk A is a bearded man.\n\n> You look at the straps\nThe straps bind you to the bunk.\n\n> Escape\nYou're strapped in tight to your bunk and unable to move out.\n\n> You examine the speakers\nThe speakers emit sound in a localised field around you. They're linked to the shared screen.\n\nThe speakers is currently switched on.\n\n> You examine the bunk C\nYou are strapped to a bunk which doesn't look very soft, but that doesn't really matter in zero-g. There are built in speakers for the big vid-screen which (despite you being strapped in) can be turned on or off. There doesn't seem to be a way of changing the channel.\n\n> You switch the speakers off\nYou switch the speakers off.\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nFinal Exam (on the hard chair)\nIt's your final exam; you've already passed all the practical lucid dreaming and hypnosis tests. You're at a steel table, there are no other students around you.\n\nOn the steel table is an Exam-Pad.\n\n> You talk to Pad\nYou have in front of you the vibertron exam-pad. You must dictate a short thesis encapsulating your position on the nature of dreaming.\n\n> 3\nYou take a perpendicular leap from the main question and use it as an excuse to discuss the possible uses and abuses of hypnotism and dream-suggestion, ending with a recommendation that in future dream-defence might be taught in schools. You'll get a poor mark for not sticking to the question, but you won't really care.\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\""
    },
    {
        "text": "[Themes: Science Fiction, conversation, dreaming]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nThe two men are leaning out of their bunks, engaged in a low conversation that you can't quite make out.\n\nSen has withdrawn to Bunk D, now closed.\n\n> You listen\nYou can't quite make out the conversation between the two men. Perhaps you should interrupt?\n\n> You talk to the men\nYou listen on for a lull in their conversation before jumping in. While you do, you catch both their names: Kadro and little Jimmy.\n\n\"Ah, excuse me,\" you venture.\n\n\"What is it, reg?\" says the man in Bunk A.\n\n> 1\n\"You shoulda spaced it,\" says little Jimmy.\n\n\"Yeah, but the reg was asleep. She's always asleep,\" says Kadro. Then, turning to you he says, \"Look amato, all one-double-oh of us are zipping out of this can in just a few clicks. Would you do your duty and give us a hand when we dock?\"\n\n> 2\nYou open your mouth to question him, but to your surprise you say \"Sure thing!\" instead.\n\nThe two men share a knowing glance, and little Jimmy floats out of his bay towards the airlock, his straps clearly undone. In moments, he has it open and has disappeared out."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro looks on at you expectantly.\n\n> You remove the straps\n(first taking the straps)\nThat seems to be a part of Bunk C.\n\n> You talk to Kadro\n\"I'm very much still strapped to the bunk here Kadro,\" you say.\n\n\"You bit that I can't just let you loose. It's not time for you to leave the can. Float tight, I'll go and see what Jimmy's snaffling. This may take a while.\"\n\nWith that he floats over to the airlock, opening and closing it behind him. Much time passes and no one returns, and still it is warm in the pod.\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nThe pink light of two of the three suns paints your bedroom pink, but the morning scene is hard to appreciate as you're covered in blood.\n\n> You examine the blood\nYour jumpsuit is coated in blood. This must be part of the sickness for which you were quarantined. It's becoming very uncomfortable to wear the jumpsuit now.\n\n> You remove the jumpsuit\nYou pull your sodden jumpsuit off. Perhaps you had an external injury to have so much blood?\n\n> About yourself\nLooking at yourself now, you realise that you have no injury and you don't feel unwell. The blood can't be your own. The words 'do your duty' echo faintly and your bedroom fades into darkness.\n\nYou're in a narrow backstreet, hunched over the dead body of the scientist, Dr. Andy Re's. He's supposed to have a folder on him. It was your duty to find it. To find it and forget. Except in dreams no one ever truly forgets.\n\n> You examine scientist\nYou rifle through Andy's pockets, his sticky blood coating your jumpsuit even more. But he has nothing on him. You know that this wasn't supposed to happen, but you can't recall who ever gave you the order to kill and search his body.\n\n\"You really are luckier than you know,\" someone says behind you.\n\n> You look at someone\nSen has very angular features and is perhaps in her mid-forties, but it's hard to tell for sure. Although she is very thin, her cheeks are flush with colour and she doesn't seem to be displaying any outward signs of illness.\n\n> You talk to Sen\nYou turn to the woman before you.\n\n> 1\n\"Answers?\" Sen says, \"I owe you many things, but answers are not one of them.\"\n\nThen, pondering for a moment, she says, \"Actually, you'll be of more use to us if you're not completely in the dark. Do you know much about the ancients?\"\n\n> 2\n\"About two thousand years ago a great event wiped out part of our galaxy and our ancestors came to live in the mechanosatellites, long range orbitals floating around Monarch. I have arranged for our pod to be dislocated from Morbozzo and taken to the Mechanosatellites. The quarantine was, if you like, a ruse to get us all up there without certain someones finding out.\"\n\n> 3\n\"We've been priming you for a long time to act as a sleeper assassin. The best killer is someone who doesn't know they are one. But it turns out that there might be another good use for you.\"\n\n> 1\n\"You'll have to wait and see. You'll be quite instrumental when we get there.\"\n\n> 1\n\"Why the other council members of course. After we had you knock off poor Dr. Re's, I was supposed to have you and the other sleeper agents killed too. Be glad that I had other plans.\"\n\n> 2\n\"Yes,\" she says wryly, \"I have access to records in the Phelios Fortress, and I have reason to believe that the end of the human race is afoot, and I rather like living. You three are useful towards that end.\"\n\n> 1\n\"Haven't you figure it out yet?\" I'm Sen Kulpa, one the masked Council of the Thirteen, and I have read all the bounds and known things beyond the ken of all others alive.\"\n\n> 1\n\"When we arri...\" and Sen is cut short by gravity suddenly emerging in the tiny pod. She lands roughly on her shoulder, and you're left dangling unceremoniously from your binds.\n\n\"Here,\" she says, \"let me get you down so you can do your duty.\"\n\nSen leads you through the airlock into a series of narrow chambers. The gravity is not quite what you're used to on Monarch but is better than the weightlessness of the Morbozzo pod. Soon you reach the others.\n\nYou are standing with the others in front of a vast window, through which you can see a tiny blue dot (half illuminated by Sehrn) in the distance of space: Monarch.\n\nThe place is strewn with the detritus of past archaeological expeditions.\n\n\"By Fat! Would you look at that view,\" says Kadro.\n\n> You look at the view\nYou once heard that space isn't really black, but a dark blue. Or was it beige? In any case it would be very black and forbodious beyond the window were it not for all the brilliant stars.\n\n\"It's about to get more spectacular,\" says Sen Kulpa, peering out into the void.\n\n> Keep going\nYou once heard that space isn't really black, but a dark blue. Or was it beige? In any case it would be very black and forbodious beyond the window were it not for all the brilliant stars.\n\n\"It's going to lag hard if Monarch really does explode,\" little Jimmy says.\n\n> You talk to Sen\nFor now you can't get in a word edgeways as the others speak.\n\n\"It will,\" says Sen, \"the alpha radiation readings are unequivocal: there will be no Monarch soon enough. If my research is right, the ancients had put in place technology to harness the energy of an Event such as this. This must be how they travel from galaxy to galaxy.\"\n\n> You examine Monarch\nMonarch, the planet of your birth, sixth in Andromeda's trinary system. Something looks wrong with it.\n\nKadro is looking uncomfortable, as if the truth of it is starting to sink in. \"Amato are you sure that this can we're in is the oh-one that'll zip us the next galaxy?\""
    },
    {
        "text": "[Themes: Science Fiction, female protagonist, conspiracy, conversation, science fiction]\n\n> Look around\nYou are standing with the others in front of a vast window, through which you can see a tiny blue dot in the distance of space: Monarch.\n\nThe place is strewn with the detritus of past archaeological expeditions.\n\n\"Well,\" says Sen, \"there's a small possibility that it's the Hyerotropes we want instead.\"\n\nAnd that's when Monarch implodes and the mechanosatellite fills with brilliant white light.\n\nIn the final moment, you know what to do. You desperately perform a reality check, hoping fervently that this is just a suggested dream.\n\n> You wake\nYou suspect that this is another sabotaged dream. You're probably lying on a bed back in Monarch with these creeps whispering over you. Before Monarch is destroyed, you calmly try opening your eyes for the second time...\n\n> Sleep\nYou couldn't possibly sleep now.\n\n\"Well,\" says Sen, \"there's a small possibility that it's the Hyerotropes we want instead.\"\n\nAnd that's when Monarch implodes and the mechanosatellite fills with brilliant white light.\n\nIn the final moment, you know what to do. You desperately perform a reality check, hoping fervently that this is just a suggested dream.\n\n> You ask the MAN about the dreams\n[If you want to communicate with the bearded man, just TALK TO BEARDED MAN (or T BEARDED MAN for short).]\nYou turn to the bearded man and he temporarily turns off his speakers. \"So at last the reg awakes. Stato me amato?\"\n\n> 2\n\"Digital! I'm Kadro, but that's not what I asked you, reg.\"\n\n> 1\n\"Why'd they can you then?\"\n\n> 2\nNow you come to think about it, your memories of your illness are very vague. You remember coughing up a lot of blood, passing out and waking up here. Maybe a nurse talked to you in between and told you where you were going. It's all a bit unclear.\n\n\"Digital,\" Kadro says emphatically, as if that settled it.\n\n> 1\n\"Monarch true, huh?\"\n\nKadro opens his palms and says, \"Well, most places gots their own slang, you bit? Uh, 'you know'? Well us age-long Morbozzans have our words for things. It's so regs and prens don't bit our frequency.\"\n\n> 1\n\"A pren is someone who apprehends you but Fat knows why they call Monarchans 'reg' or 'nob' or 'queeny'. There's a lot I don't bit, like what a hyerotrope is or why the bad guys never deflag Gettare,\" he says emphasising his last point by pointing at the big screen.\n\n> 2\n\"Ah Fat bits,\" says Kadro shrugging his shoulders, \"there's more than four but less than a googolplex of them.\"\n\nNow that you think about it, you recall that the hyerotropes are perfect spheres sometimes found under the surface of Monarch. You haven't the foggiest about them, but then, you didn't exactly study hard sciences.\n\n> 4\n\"And is your consciousness just your brain processing things while you're awake?\"\n\n> 1\n\"I think you may be ready for our course,\" the expert says, \"are you ready to join?\"\n\n> 1\nThe expert takes out an E-Pad from below the stall.\n\n\"You won't find oneironautics on the core syllabus. Touch the pad here.\"\n\n> You touch Pad\nYou begin to enter in your details in the E-Pad and the expert turns to you and says, \"Are you awake, reg?\""
    },
    {
        "text": "[Themes: Science Fiction, conspiracy, science fiction, conversation, female protagonist]\n\n> Describe the surroundings\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nA thin woman has leaned out of Bunk D as far as her straps will allow, staring right at you.\n\nKadro is looking on with interest.\n\nYou can also see Bunk B (closed) here.\n\n> You talk to the woman\n\"You don't know how lucky you are,\" says the thin woman. \"I'm Sen Kulpa, you can call me Sen.\n\n> 1\n\"\"Kadro here tells me that you were quarantined for illness, is that true?\"\n\n> 1\n\"Then I wonder why they quarantined you then,\" she says.\n\nThe strange thing is, she doesn't sound curious.\n\n> 1\n\"Oh, you'll see,\" she says before withdrawing to her bunk, sealing herself in again.\n\n> You repeat\nThe available options are:\n\n> 3\n[Valid responses range from 1-2. Type REPEAT to relist the options.]\n\n> 1\n\"Oh, you'll see,\" she says before withdrawing to her bunk, sealing herself in again."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist, science fiction, dreaming]\n\n> Look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen. The pod is quite warm, and warm enclosed spaces have a naturally soporific effect on you.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro has resumed watching the never ending series of action vids.\n\nYou can also see Bunk B (closed) here.\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nYou're lying in the soft cyanotic glow of the sleeping chamber. It's the third week of your new course.\n\nJaspers, a new instructor with sparkling eyes and perma-stubble, sits nearby whispering.\n\nYour eyes are shut.\n\n> You wake\nYou stir and find yourself back Morbozzo, strapped in a bunk in Pod 19-Q.\n\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro is staring at the big screen.\n\nYou can also see Bunk B (closed) here.\n\n> 2\n\"I'm always right, by Fat! Except when I ain't.\"\n\n> 1\n\"Look amato,\" he says, taking on a condescending tone, \"you probably didn't notice what with being so grounded all the time, but there are three suns in the sky, right? Fatimah, Korhos and a certain Sehrn. Ring a bell?\"\n\nYou decide not to rise to the bait."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist, dreaming]\n\n> Look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro is staring at the big screen.\n\nYou can also see Bunk B (closed) here.\n\n> Sleep\nYou let the warm stale air of the pod overcome you and soon you drift into altconsciousness. Your internal world-creator is deprived of your full range of senses and draws on memories to fill in the gaps.\n\nYou're lying in the soft cyanotic glow of the sleeping chamber. It's the third week of your new course.\n\nJaspers, a new instructor with sparkling eyes and perma-stubble, sits nearby whispering.\n\nYour eyes are shut.\n\n> You remember\nWhat a good idea."
    },
    {
        "text": "[Themes: Science Fiction, conspiracy, science fiction]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro is staring at the big screen.\n\nYou can also see Bunk B (in which is a sleeper) here.\n\n> You talk to Kadro\nYou turn to the bearded man and he temporarily turns off his speakers.\n\n> You examine the SLEEPER\nThe man is fast asleep, turned away from you, and all you can see of him is his wild shock of hair and scars interlaced down his back.\n\n> You look at the hair\nJimmy's hair is vast and incredibly messy. It's unusual that he was allowed to keep his.\n\n> 2\nYou explain how we do not see reality directly, but as through a glass darkly. Dreaming involves the same processes of waking conciousness, but our dreams do not have to cohere with the perceptions of others. Your more phenomenological approach gels well with the prejudices of your department and you'll come top of the class. (Though by this stage, there are only three of you left in the unadvertised Advanced Onieronautics course.)\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\"\n\n> 4\nYou'll explain how, although it is possible to experience dreams lucidly, real deep sleep dreams are nonsensical experiences that bear no direct relation to veridical experience and are perhaps best ignored in favour of more concrete pursuits. It is only your measured style and good marks in other modules that allows you to pass the course.\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\"\n\n> 1\nYou explain how dreams are a neurological feature hard-wired into our biology, and you reel off the main theories as to what evolutionary purpose they serve. You're guaranteed a good mark, but you know that some of your instructors would vehemently disagree with you.\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\"\n\n> 5\nYou put forward a full defence of solipsism, arguing that, theoretically, full dream control might allow one to alter waking experience, as all experience is only in the mind. You'll get a fairly high mark but will convince none of the markers of your position.\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\"\n\n> You wait\nTime passes."
    },
    {
        "text": "> You look at your surroundings\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nThe two men are leaning out of their bunks, engaged in a low conversation that you can't quite make out.\n\nSen has withdrawn to Bunk D, now closed.\n\n> You talk to the men\nYou listen on for a lull in their conversation before jumping in. While you do, you catch the two of them pointedly not looking at Bunk D.\n\n\"Ah, excuse me,\" you venture.\n\n\"What is it, reg?\" says Kadro\n\n> 1\n\"Sure thing!\" you say, and it seems the most natural thing in the world to help these people out.\n\nThe two men share a knowing glance, and little Jimmy floats out of his bay towards the airlock, his straps clearly undone. In moments, he has it open and has disappeared out."
    },
    {
        "text": "[Themes: Science Fiction, conversation, female protagonist, science fiction]\n\n> You look around\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nSen has withdrawn to Bunk D, now closed.\n\nKadro looks on at you expectantly.\n\n> You talk to Kadro\n\"I'm very much still strapped to the bunk here Kadro,\" you say.\n\n> You talk to Kadro\n\"You bit that I can't just let you loose. It's not time for you to leave the can. Float tight, I'll go and see what Jimmy's snaffling. This may take a while.\"\n\nWith that he floats over to the airlock, opening and closing it behind him. Much time passes and no one returns, and still it is warm in the pod.\n\n>You can't see any such thing."
    },
    {
        "text": "[Themes: Science Fiction, conspiracy, female protagonist, science fiction, dreaming]\n\n> Look around\nThe pink light of two of the three suns paints your bedroom pink, but the morning scene is hard to appreciate as you're covered in blood.\n\n> You remove the jumpsuit\nYou pull your sodden jumpsuit off. Perhaps you had an external injury to have so much blood?\n\n> About yourself\nLooking at yourself now, you realise that you have no injury and you don't feel unwell. The blood can't be your own. The words 'do your duty' echo faintly and your bedroom fades into darkness.\n\nYou're in a narrow backstreet, hunched over the dead body of the scientist, Dr. Andy Re's. He's supposed to have a folder on him. It was your duty to find it. To find it and forget. Except in dreams no one ever truly forgets.\n\n> You examine the body\nYou rifle through Andy's pockets, his sticky blood coating your jumpsuit even more. But he has nothing on him. You know that this wasn't supposed to happen, but you can't recall who ever gave you the order to kill and search his body.\n\n\"You really are luckier than you know,\" someone says behind you.\n\n> You look at someone\nSen has very angular features and is perhaps in her mid-forties, but it's hard to tell for sure. Although she is very thin, her cheeks are flush with colour and she doesn't seem to be displaying any outward signs of illness.\n\n> You talk to Sen\nYou turn to the woman before you.\n\n> 1\n\"Answers?\" Sen says, \"I owe you many things, but answers are not one of them.\"\n\nThen, pondering for a moment, she says, \"Actually, you'll be of more use to us if you're not completely in the dark. Do you know much about the ancients?\"\n\n> 1\n\"As I said, I think you'll be useful beyond being just an expendable assassin. The benefit of having you here is that the others think that you're dead.\"\n\n> 1\n\"When we arri...\" and Sen is cut short by gravity suddenly emerging in the tiny pod. She lands roughly on her shoulder, and you're left dangling unceremoniously from your binds.\n\n\"Here,\" she says, \"let me get you down so you can do your duty.\"\n\nSen leads you through the airlock into a series of narrow chambers. The gravity is not quite what you're used to on Monarch but is better than the weightlessness of the Morbozzo pod. Soon you reach the others.\n\nYou are standing with the others in front of a vast window, through which you can see a tiny blue dot (half illuminated by Sehrn) in the distance of space: Monarch.\n\nThe place is strewn with the detritus of past archaeological expeditions.\n\n\"By Fat! Would you look at that view,\" says Kadro.\n\n> You kill Sen\nYou're not a violent person. You cannot self-conjure a violent impulse even if you wanted it.\n\n\"It's about to get more spectacular,\" says Sen Kulpa, peering out into the void.\n\n> You check what you're carrying\nYou are wearing:\na medical shift\n\n\"It's going to lag hard if Monarch really does explode,\" little Jimmy says.\n\n> You kill Jimmy\nYou're not a violent person. You cannot self-conjure a violent impulse even if you wanted it.\n\n\"It will,\" says Sen, \"the alpha radiation readings are unequivocal: there will be no Monarch soon enough. If my research is right, the ancients had put in place technology to harness the energy of an Event such as this. This must be how they travel from galaxy to galaxy.\"\n\n> You talk to Sen\nFor now you can't get in a word edgeways as the others speak.\n\nKadro is looking uncomfortable, as if the truth of it is starting to sink in. \"Amato are you sure that this can we're in is the oh-one that'll zip us the next galaxy?\"\n\n> Escape\nFrom here you can go absolutely nowhere.\n\n\"Well,\" says Sen, \"there's a small possibility that it's the Hyerotropes we want instead.\"\n\nAnd that's when Monarch implodes and the mechanosatellite fills with brilliant white light.\n\nIn the final moment, you know what to do. You calmly lie on the ground, close your eyes, and wake up to create a new universe."
    },
    {
        "text": "[Themes: Science Fiction, conversation]\n\n> You look around\nFinal Exam (on the hard chair)\nIt's your final exam; you've already passed all the practical lucid dreaming and hypnosis tests. You're at a steel table, there are no other students around you.\n\nOn the steel table is an Exam-Pad.\n\n> You look at the table\nOne of the many light steel-alloy tables designed to fit into the university's 9720\"s d\u00e9cor.\n\nOn the steel table is an Exam-Pad.\n\n> You talk to Pad\nYou have in front of you the vibertron exam-pad. You must dictate a short thesis encapsulating your position on the nature of dreaming.\n\n> 2\nYou explain how we do not see reality directly, but as through a glass darkly. Dreaming involves the same processes of waking conciousness, but our dreams do not have to cohere with the perceptions of others. Your more phenomenological approach gels well with the prejudices of your department and you'll come top of the class. (Though by this stage, there are only three of you left in the unadvertised Advanced Onieronautics course.)\n\nThe invigilator says, \"Time's up, we're gonna be there any moment now.\""
    },
    {
        "text": "> You look at your surroundings\nPod 19-Q (in Bunk C)\nYou have been quarantined in Pod 19-Q. It's a narrow cylinder, big enough for one person to float in, with four bunks. You must have been shuttled in through the airlock on one end; the other end is taken up by a huge screen.\n\nThe two men are leaning out of their bunks, engaged in a low conversation that you can't quite make out.\n\nSen has withdrawn to Bunk D, now closed.\n\n> 1\nAcross the pod Kadro chuckles.\n\n\"You're new here so I'll forgive the indiscretion,\" Sen says. \"I am not nor will I ever be your 'amato' in either a serious or a jocular sense.\"\n\nKadro laughs again saying, \"Don't mind her, reg, she's still sore from her inoculations.\"\n\n> 1\n\"Just some jabs to make dormant the illness that wracked me.\"\n\n> Wait\nTime passes.\n\n\"It's going to lag hard if Monarch really does explode,\" little Jimmy says.\n\n> Continue\nTime passes.\n\n\"It will,\" says Sen, \"the alpha radiation readings are unequivocal: there will be no Monarch soon enough. If my research is right, the ancients had put in place technology to harness the energy of an Event such as this. This must be how they travel from galaxy to galaxy.\"\n\n> You keep going\nTime passes.\n\nKadro is looking uncomfortable, as if the truth of it is starting to sink in. \"Amato are you sure that this can we're in is the oh-one that'll zip us the next galaxy?\"\n\n> Keep going\nTime passes.\n\n\"Well,\" says Sen, \"there's a small possibility that it's the Hyerotropes we want instead.\"\n\nAnd that's when Monarch implodes and the mechanosatellite fills with brilliant white light.\n\nIn the final moment, you know what to do.\n\n\"This is the vessel to another galaxy, it is, it is!\"\n\nYou scream, hoping desperately that the other three survivors of humanity believe it as fervently as you do."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, zorkian, kid-friendly, kids, fantasy, platypi, magical stone, changing environment]\n\n\"Behind you!\" cries the Princess. \"It's a trap!\"\n\nToo late. The drawbridge crashes shut against the tower wall. You turn to face your enemy, and find yourself staring into the open maw of Thermofax.\n\nOnly your Magick sword can save you now. You swing it high, speak the Word and stand unhurt as the blade absorbs the searing dragon-breath.\n\nThe reptile bellows with rage and flaps its wings to fan the fire in its belly. You are advancing, sword poised to strike, when a familiar voice shatters the daydream and stays your mighty hand...\n\nCopyright (C)1985 Infocom, Inc. All rights reserved.\n\nYou're on a hilltop overlooking the seaside village of Festeron.\n\nTo the south stands the Festeron Post Office. It's a little brick building with a neatly-trimmed lawn. The Post Office door stands invitingly open.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nSomebody inside the Post Office is calling you.\n\nOkay, what do you want to do now?\n\n[Author's Note: It's an ordinary day in your ordinary little town, and you've been performing your ordinary mail clerk's duties in an altogether ordinary way. But there's something quite extraordinary in today's mail. It's a ransom note for a kidnapped cat, and it will lead you through unbelievably harrowing adventures to Wishbringer, a stone possessing undreamt-of powers. For though the note in question is addressed to someone in your ordinary little town, it's postmarked for Special Delivery to Parts Unknown. And its true destination is somewhere beyond your wildest dreams, c/o the magic of Infocom's interactive fiction.]\n\n> You examine signpost\nThere are two arrows on the signpost. The arrow pointing west says \"To Cemetery.\" The east arrow is marked \"To Festeron.\"\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You examine the lawn\nYou can see nothing unusual about the ground.\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You check your inventory\nYou're not holding anything.\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You examine yourself\nYou see nothing extraordinary about yourself.\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You listen\nUh-oh! The calling voice belongs to your mean old boss, Mr. Crisp!\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You enter Office\nThis is the lobby of the Festeron Post Office. The walls are lined with small, private mailboxes and wanted posters. A service counter runs along the entire length of the room.\n\nYour boss, Mr. Crisp, is behind the service counter reading other people's postcards.\n\nMr. Crisp hides the postcards away as you enter. \"Where have you been?\" he barks angrily. \"Daydreaming again, eh? I've been looking everywhere for you!\"\n\n(Your score just went up by 1 point! Your total score is 1 out of 100.)\n\nWhat next?\n\n> Crisp examine\nHe's wearing a regulation Post Office uniform, which does little to hide his ugly face.\n\nMr. Crisp reaches under the service counter and pulls out a mysterious envelope. \"We just got this Special Delivery,\" he snarls, tossing it onto the service counter. \"I want you to drop it off right away. That means NOW!\"\n\nWhat next?\n\n> You eat crisp\nIt seems unlikely that Mr. Crisp would agree with you.\n\nMr. Crisp drums his fingers on the service counter impatiently. \"Get moving! The Magick Shoppe closes at five o'clock!\"\n\nWhat next?\n\n> You look at the time\nYou can't see any time here!\n\nWhat next?\n\n> Envelope get\nTaken.\n\n(Your score just went up by 5 points! Your total score is 6 out of 100.)\n\nMr. Crisp rumbles, \"Quit stalling!\"\n\nWhat next?\n\n> You examine the envelope\n(You'll find the envelope inside your Wishbringer package.)\n\nMr. Crisp yells, \"Scram!\"\n\n(You won't see the \"What next?\" prompt any more.)\n\n> You go north\nAs you leave the Post Office, somebody slams and locks the door behind you.\n\n> You go north\nYou'd tumble down the hill if you went that way.\n\n> You go east\nYou're outside the cottage of Miss Voss, the town librarian. The road turns north toward the village, and bends upward to the summit of Post Office Hill.\n\nAs you approach the cottage you are greeted by the tiniest poodle you've ever seen in your entire life. It charges across the street, yapping angrily and showing its sharp little teeth.\n\nYou can smell the poodle's hot breath as it yaps.\n\nYou're outside the cottage of Miss Voss, the town librarian. The road turns north toward the village, and bends upward to the summit of Post Office Hill.\n\nAn angry poodle is blocking your path.\n\nThe poodle glares at you through eyes red with hatred.\n\nIt smells just like a poodle.\n\nYou can hear the poodle's sharp little teeth snapping as it nips your heels.\n\n> You look at what you're carrying with you\nYou're holding a mysterious envelope.\n\nThe poodle circles you warily, snarling and growling with menace.\n\n> Poodle get\nThe poodle might not like it if you tried that!\n\nYou can smell the poodle's hot breath as it yaps.\n\n> You kick the poodle\nAre you kidding? This poodle is MEAN!\n\nThe poodle glares at you through eyes red with hatred.\n\n> You enter the cottage\nThe poodle won't let you near the cottage.\n\nYou can hear the poodle's sharp little teeth snapping as it nips your heels.\n\n> Go west\nThe poodle yaps a threat as you back away.\n\n> You go west\nYou're standing next to an open iron gate that leads west into the Festeron Cemetery. A road runs east to the top of Post Office Hill.\n\n> You examine the gate\nThe bars of the open iron gate are 12 feet high, and closely spaced.\n\n> You open gate\nIt's already open.\n\n> You climb the gate\nThe iron gate is much too high.\n\n> You go west\nThe cemetery is a fearful place. Are you sure you want to go in there?\n\n> Yes\nYou have been warned.\n\nYou're in a creepy corner of the Festeron Cemetery, surrounded by silent tombstones. An iron gate opens to the east, and a narrow lane wanders north.\n\n> You examine the tombstones\nThe lettering is too faded to read clearly.\n\n> Go north\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\nAn old gravedigger is resting under a willow tree.\n\nThe gravedigger nods a greeting as you approach.\n\n> Hello\nThe gravedigger doesn't respond. He seems to be a bit hard of hearing.\n\n> Examine willow\n(Presumably, you mean the willow tree.)\nThe droopy boughs sway eerily in the breeze.\n\nThe gravedigger notices the mysterious envelope you're holding. \"That's a mighty mysterious-lookin' envelope you got there,\" he says. \"Let's have a look at it.\"\n\n> You look in the grave\nIt's six feet deep and freshly dug. You can see an old bone inside.\n\n\"Sure would like to get a closer look at that mysterious envelope.\"\n\n> You give the envelope\n(to the gravedigger)\nThe gravedigger peers at the address on the mysterious envelope. \"Hmm,\" he mutters, handing it back to you. \"Could've sworn I buried that old woman years ago.\"\n\n(You are again holding the mysterious envelope.)\n\n\"Got to go,\" says the gravedigger, picking up his shovel. \"See you soon.\"\n\nThe old man ambles away to the west.\n\n> You take the bone\nYou can't reach the old bone from here. The open grave is too deep.\n\n> You go west\nThe trees here are so thick, it's almost too dark to see! You can make out an open iron gate to the north, and a narrow lane between the tombstones winds off to the east.\n\nThere must have been a burial here recently. Somebody left their umbrella leaning up against a tombstone.\n\nThe gravedigger is locking the iron gate from the outside as you approach. \"Keep out of the cemetery after Dark,\" he tells you with a sly wink.\n\nYou can hear him chuckling as he disappears to the north.\n\n> You examine the umbrella\nThe handle of the closed umbrella is carved like a parrot's head.\n\n> You take the umbrella\nTaken.\n\n> You take the bone with the umbrella\n(That sentence didn't make sense. Please reword it or try something else.)\n\n> You take the bone\nYou can't reach the old bone from here. The open grave is too deep.\n\n> You enter the grave\nYou're at the bottom of an open grave, surrounded by six-foot walls of dirt.\n\nThere's an old bone here.\n\n> You take the bone\nTaken.\n\n(Your score just went up by 1 point! Your total score is 7 out of 100.)\n\n> Up\nWith great difficulty, you manage to climb out of the open grave.\n\n> You go east\nWhew! That cemetery sure is spooky.\n\n> Go east\nAn angry poodle is blocking your path.\n\nThe poodle circles you warily, snarling and growling with menace.\n\n> You feed the bone to the poodle\nThe poodle tests the old bone with its tongue, lies down and begins to gnaw on it, keeping a red eye on you.\n\n(Your score just went up by 3 points! Your total score is 10 out of 100.)\n\n> You go to the north\nThe poodle yaps a threat as you back away.\n\nThis is the south side of the Festeron Rotary. A road branches south, towards Post Office Hill.\n\nThe Festeron Public Library, famous for its museum of local historic artifacts, stands proudly on the nearby corner.\n\nMiss Voss, the town librarian, is locking the library door as you approach. \"Just the person I was looking for!\" she exclaims, smiling brightly.\n\n> You look at Voss\nShe's holding a purse and an armful of books.\n\nMiss Voss retrieves a violet slip of paper from the depths of her purse. \"Be a sweetie and give this note to your dear boss, Mr. Crisp,\" she coos, holding the note out to you. \"I'd be ever so much obliged.\"\n\n> You ask Voss about the poodle\n\"I'm in a hurry. Let's talk later,\" she replies.\n\n\"This is the note I want you to take,\" says Miss Voss, holding it out to you.\n\n> You get the note\nTaken.\n\n(Your score just went up by 3 points! Your total score is 13 out of 100.)\n\nMiss Voss hurries away down the street. \"Thanks! Toody-loo!\"\n\n> You read the note\nThe name \"Corky\" is beautifully handwritten on the outside.\n\n> You go south\nAn angry poodle is blocking your path.\n\nYou can smell the poodle's hot breath as it yaps.\n\n> Go south\nYou can't go that way.\n\nThe poodle glares at you through eyes red with hatred.\n\n> You go west\nThe poodle won't let you go that way.\n\nYou can hear the poodle's sharp little teeth snapping as it nips your heels.\n\n> You enter Library\nThe library door is closed.\n\n> You open library door\nYou can't do that. It's locked.\n\n> Xyzzy\nA hollow voice says, \"Fool!\"\n\n> You examine schedule\nThe schedule says:\n\nALL SHOWS ONE GOLD COIN\n\n> You examine the marquee\nThe marquee shows an outline of your mean old boss, Mr. Crisp, triumphantly stepping on the face of a helpless mail clerk. Underneath are the words \"Have You Delivered That Envelope Yet?\" in big red letters.\n\n> Go east\nYou're standing near the entrance to the Pleasure Wharf, the town's most popular tourist attraction. The Wharf extends eastward into Festeron Bay, and a tidal beach curves north along the shore.\n\nTo the south stands a ramshackle old building. Colorful lights, curious electronic sounds and a neon sign beckon you through the open entrance.\n\nA big mailbox is nearby.\n\n> You look in the mailbox\nYou can see nothing extraordinary in the big mailbox.\n\nThe lid of the big mailbox squeaks and snaps shut with a clang.\n\n> You read sign\nThe neon sign says, \"VIDEO GAMES.\"\n\n> You enter the building\nThis old building is the home of a sleazy arcade, lined with coin-op video games. The machines are all deserted and quiet, except for one in the corner that emits a feeble \"wokka-wokka\" sound.\n\nA sign on the wall says, \"All Games One Token.\"\n\n> You look at the game\nThe game machine is equipped with a video screen, a joystick, a big red button and a narrow slot for tokens. A lurid logo (\"LEATHER GODDESSES OF PHOBOS!\") is painted on the side.\n\n> You look in the slot\nIt's too dark to see!\n\n> You play the game\nHow do you intend to do that?\n\n> Empty slot\nBut the slot is already empty!\n\n> You examine the screen\nThe video screen is dark.\n\n> You press the button\nAre you sure you want to push the big red button?\n\n> Yes\nYou don't know what this game machine might do! You don't really want to press that big red button, do you?\n\n> Yes\n(Okay, just testing you.)\n\nNothing exciting happens.\n\n> Go east\nThe sea-worn planks of the Festeron Pleasure Wharf end abruptly a few feet to the east. You're surrounded by the blue, sparkling waters of Festeron Bay.\n\nApparently a careless fisherman has just left the wharf, for lying on the planks is a little seahorse, its gills moving in and out with its dying gasps.\n\nThe seahorse looks at you with moist, frightened eyes.\n\n> You take seahorse\nTaken.\n\nThe seahorse opens and closes its little mouth pathetically.\n\n> You put it in the ocean\nSplash!\n\nThe seahorse floats without moving for a few anxious moments. Then it springs suddenly to life, circling and splashing joyfully in the waves. Before it swims away it looks up at you with an unmistakable expression of gratitude.\n\n> You examine the water\nThe waters of the bay twinkle merrily in the sunlight.\n\n> You enter the water\nYou'd probably drown in the bay if you went that way.\n\n> Go north\nYou're on a damp stretch of sand that extends north towards Festeron Point, and south to the Pleasure Wharf.\n\nA large conch shell is lying in the sand at your feet.\n\n> You examine the shell\nThe conch shell is smooth and shiny. It'll look great on your TV set back home.\n\n> Smell shell\nIt smells just like a conch shell.\n\n(It's 4:30 pm. Better hurry! The Magick Shoppe closes in less than half an hour!)\n\n> You get the shell\nTaken.\n\n> You listen to the shell\nA tiny voice in the conch shell that sounds just like your mean old boss, Mr. Crisp, screams, \"Don't just stand there! DELIVER!\"\n\n> You watch the pelican\nIt's a fat old bird with a droopy beak and half-closed eyes.\n\n> You get the pelican\nThe pelican nips you with its beak. Ouch!\n\n> You examine the lighthouse\nIt's really just an automated beacon, erected by the town to impress tourists. There aren't any entrances or openings.\n\nPerched on top of the lighthouse is a pelican, watching you through half-closed eyelids.\n\n> Blow shell\nThe conch shell makes an embarrassing sound.\n\n> You kill the pelican\nImagine doing that to a defenseless pelican!\n\n> You go west\nYou're on a rocky path that runs east and west along the banks of the Festeron River. A dense, impenetrable forest borders the south edge of the path.\n\n> You examine the forest\nIt's almost impenetrable.\n\n> Go west\nThis is the south side of a covered bridge that spans the Festeron River. Paths lead off to the east and west, and a road leads south to the village.\n\n> Go north\nYou're on a covered bridge that spans the Festeron River. A sign hangs on an arch overhead.\n\n> You read the sign\nVisit Our Fun-Filled\nPleasure Wharf\n\n> Go north\nThis is the north side of the Festeron Bridge. Sheer cliff walls rise abruptly to the north and west. A path wanders east along the shore of the river.\n\n> Go east\nYou're at the bottom of a cliff that rises up from the north bank of the river. A steep trail winds upward.\n\nA gnarled tree trunk stands nearby, a lone branch its only adornment.\n\n> You see the tree\nThe gnarled tree trunk is rotten to the core.\n\n> You see the branch\nThe dead branch is about six feet long.\n\n> You take the branch\nCrack! The dead branch snaps off the gnarled tree trunk and falls to the ground with a thud.\n\n> You take the branch\nYour load is too heavy.\n\n> You go north\nA cliff wall blocks your path.\n\n> Up\n(The trail you're climbing is narrow and twisty. It's a good idea to draw a map as you go up.)\n\nA steep, rocky trail winds west and downward.\n\n> You go to the north\nA steep, rocky trail winds south and upward.\n\n> Up\nA steep, rocky trail winds east and downward.\n\n> You go east\nA steep, rocky trail winds south and west.\n\n> Go upwards\n(Your score just went up by 1 point! Your total score is 14 out of 100.)\n\nYou're standing high on a rocky cliff, at the top of a steep trail leading downward. Looking southwest, you can see the shadow of Post Office Hill creeping across the village as the sun sinks into a bank of clouds.\n\nThe peaceful scenery is disturbed by a tiny figure emerging from the distant Post Office. It stares in your direction for a few moments, checks its wrist and shakes a threatening little fist at you.\n\nA little old-fashioned store stands nearby. Its brightly painted shutters and thatched roof remind you of something out of a fairy tale. A curiously painted sign over the front door reads, \"Ye Olde Magick Shoppe.\"\n\n\"There you are, dummy!\"\n\nYou wince as Mr. Crisp strides into view and grabs you by the front of your uniform.\n\n\"You good-for-nothing chowderbrain!\" he bellows in your face. \"I wanted you to deliver that envelope BEFORE five o'clock! Now the Magick Shoppe is closed... and you're FIRED!\"\n\nYour score is 14 points out of 100, in 120 moves.\n\nDo you want to restart the story, restore a saved position, or quit?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, magical stone]\n\n> Hello\n\"Don't talk back to me!\" Mr. Crisp hollers.\n\nWhat next?\n\n> You wait\nTime passes.\n\nMr. Crisp reaches under the service counter and pulls out a mysterious envelope. \"We just got this Special Delivery,\" he snarls, tossing it onto the service counter. \"I want you to drop it off right away. That means NOW!\"\n\nWhat next?\n\n> You take the envelope\nTaken.\n\n(Your score just went up by 5 points! Your total score is 6 out of 100.)\n\nMr. Crisp drums his fingers on the service counter impatiently. \"Don't just stand there, dummy! The Magick Shoppe closes at five o'clock!\"\n\nWhat next?\n\n> Go outside\nAs you leave the Post Office, somebody slams and locks the door behind you.\n\nWhat next?\n\n> You go to the west\nYou're standing next to an open iron gate that leads west into the Festeron Cemetery. A road runs east to the top of Post Office Hill.\n\nWhat next?\n\n> You go west\nThe cemetery is a spooky place. Are you sure you want to go in there?\n\n> Yes\nYou have been warned.\n\nYou're in a creepy corner of the Festeron Cemetery, surrounded by silent tombstones. An iron gate opens to the east, and a narrow lane wanders north.\n\nWhat next?\n\n> You go to the north\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\nAn old gravedigger is resting under a willow tree.\n\nThe gravedigger nods a greeting as you approach.\n\nWhat next?\n\n> Greet the gravedigger\nThe gravedigger doesn't respond. He seems to be a bit hard of hearing.\n\nThe gravedigger notices the mysterious envelope you're holding. \"That's a mighty mysterious-lookin' envelope you got there,\" he says. \"Let's have a look at it.\"\n\nWhat next?\n\n> You enter the grave\nThe gravedigger reaches into the open grave and pulls you out. \"Don't go in there!\" he cries. \"You might get buried alive!\"\n\n\"Sure would like to get a closer look at that mysterious envelope.\"\n\nWhat next?\n\n> You go to the west\nThe trees here are so thick, it's almost too dark to see! You can make out an open iron gate to the north, and a narrow lane between the tombstones winds off to the east.\n\nThere must have been a burial here recently. Somebody left their umbrella leaning up against a tombstone.\n\nThe gravedigger follows behind you. \"What's your hurry?\" he complains.\n\nThrowing a shovel over his shoulder, the gravedigger ambles through the iron gate and locks it. \"Keep out of the cemetery after Dark,\" he tells you with a sly wink.\n\nYou can hear him chuckling as he disappears to the north.\n\n(You won't see the \"What next?\" prompt any more.)\n\n> Go north\nThe iron gate is closed.\n\n> Go east\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\n> You go outside\nWith great difficulty, you manage to climb out of the open grave.\n\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\n> You go south\nYou're in a creepy corner of the Festeron Cemetery, surrounded by silent tombstones. An iron gate opens to the east, and a narrow lane wanders north.\n\n> You go east\nWhew! That cemetery sure is spooky.\n\nYou're standing next to an open iron gate that leads west into the Festeron Cemetery. A road runs east to the top of Post Office Hill.\n\n> You go to the east\nYou're on a hilltop overlooking the seaside village of Festeron.\n\nTo the south stands the Festeron Post Office. It's a little brick building with a neatly-trimmed lawn. The Post Office door is closed.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\n> Go east\nYou're outside the cottage of Miss Voss, the town librarian. The road turns north toward the village, and bends upward to the summit of Post Office Hill.\n\nAs you approach the cottage you are greeted by the tiniest poodle you've ever seen in your entire life. It charges across the street, yapping angrily and showing its sharp little teeth.\n\nYou can smell the poodle's hot breath as it yaps.\n\n> You feed the dog\n(What do you want to feed the dog with?)\n\n> Bone\nThe poodle tests the old bone with its tongue, lies down and begins to gnaw on it, keeping a red eye on you.\n\n(Your score just went up by 3 points! Your total score is 10 out of 100.)\n\n> You go to the north\nThe poodle yaps a threat as you back away.\n\nThis is the south side of the Festeron Rotary. A road branches south, towards Post Office Hill.\n\nThe Festeron Public Library, famous for its museum of local historic artifacts, stands proudly on the nearby corner.\n\nMiss Voss, the town librarian, is locking the library door as you approach. \"Just the person I was looking for!\" she exclaims, smiling brightly.\n\n> Hello\n\"I'm in a hurry. Let's talk later,\" she replies.\n\n> You wait for a while\nTime passes.\n\nMiss Voss retrieves a violet slip of paper from the depths of her purse. \"Be a sweetie and give this note to your dear boss, Mr. Crisp,\" she coos, holding the note out to you. \"I'd be ever so much obliged.\"\n\n> You take the note\nTaken.\n\n(Your score just went up by 3 points! Your total score is 13 out of 100.)\n\nMiss Voss hurries away down the street. \"Thanks! Toody-loo!\"\n\n> You go north\nYou're standing in a circular park, surrounded by the Festeron Rotary. Walks converge from four directions on a shallow marble fountain, filled with sparkling water.\n\nA statue stands in the middle of the fountain.\n\n> Go west\nYou're on the west side of the Festeron Rotary. A street branches west, towards the lake.\n\nThe Police Station stands on a nearby corner. It's a modest little building with a sign over the open entrance.\n\n> Go north\nThis is the northern side of the Festeron Rotary. A road leads north, towards the river.\n\nOn the corner stands a quaint village church. Its little white steeple is straight out of a country postcard. The church door stands invitingly open.\n\n> Go north\nThis is the south side of a covered bridge that spans the Festeron River. Paths lead off to the east and west, and a road leads south to the village.\n\n> Go upward\n(Your score just went up by 1 point! Your total score is 14 out of 100.)\n\nYou're standing high on a rocky cliff, at the top of a steep trail leading downward. Looking southwest, you can see the shadow of Post Office Hill creeping across the village as the sun sinks into a bank of clouds.\n\nThe peaceful scenery is disturbed by a tiny figure emerging from the distant Post Office. It stares in your direction for a few moments, checks its wrist and shakes a threatening little fist at you.\n\nA little old-fashioned store stands nearby. Its brightly painted shutters and thatched roof remind you of something out of a fairy tale. A curiously painted sign over the front door reads, \"Ye Olde Magick Shoppe.\"\n\n> You enter\nThe Magick Shoppe door is closed.\n\n> You open the door\nA concealed bell tinkles merrily.\n\nOkay, the Magick Shoppe door is now open.\n\n> You enter\nYou're in the front showroom of the Magick Shoppe.\n\nEvery inch of wall space is crowded with magic tricks, puzzles and mystical paraphernalia. A glass case offers a selection of obscene jokes and naughty birthday cards.\n\nIn the corner stands an ancient grandfather clock, its dial ornamented with a frowning crescent moon and other celestial symbols.\n\nThe front door of the Magick Shoppe is wide open. At the west end of the room, you can see another exit concealed by a curtain.\n\nA sudden gust of wind slams the Magick Shoppe door closed. A concealed bell tinkles merrily.\n\n\"Just a moment!\" cries a voice behind the curtain.\n\n> You read the jokes\nTsk, tsk, tsk!\n\nThe noisy tick of the grandfather clock is making you uneasy.\n\n> You examine the clock\nThe staring grandfather clock says it's 3:42 pm.\n\nThe curtain opens so quickly it makes you jump.\n\nThe woman standing before you is older than your oldest aunt. Her thin, pale face and bony hands make her look fragile, like a fading signature in an antique book. But her eyes remember everything they have ever seen.\n\nYou appraise one another for a long moment before she breaks the ice. \"Welcome in, welcome!\" she chortles. \"Don't get many visitors this late in the day.\"\n\nThe room seems oddly quiet all of a sudden.\n\n> You listen\nAt the moment, you hear nothing extraordinary.\n\n\"Hope you have some mail for me,\" the old woman says eagerly.\n\n> You listen to the clock\nAt the moment, the grandfather clock makes no sound.\n\n\"It's fun to get a surprise letter.\"\n\n> You read the clock\nThe grinning grandfather clock is stopped at 3:42 pm.\n\n\"I hoped you might have some mail to give me.\"\n\n> You give the envelope to the woman\n(Your score just went up by 5 points! Your total score is 19 out of 100.)\n\nThe old woman turns pale as she takes the mysterious envelope from you. \"It's been a long, long time since I last saw this handwriting,\" she murmurs, turning it over in her hands. \"Hoped I never would again.\"\n\nShe starts to open the mysterious envelope, thinks better of it and hands it back to you. \"Will you open it up and read it to me?\" she pleads. \"I'll never find my glasses in this mess.\"\n\n(You are again holding the mysterious envelope.)\n\n> You open the envelope\n(You should now open the mysterious envelope in your Wishbringer package.)\n\nOpening the mysterious envelope reveals a letter.\n\n\"Don't be bashful. Read the letter to me.\"\n\n> You open the envelope\nIt's already open.\n\n\"Read the letter to me, please.\"\n\n> You read it\n(to the old woman)\n(Your score just went up by 1 point! Your total score is 20 out of 100.)\n\nThe old woman is motionless as you read. Glancing up, you see tears of anger forming; but she turns away as your eyes meet.\n\n\"Kidnapped,\" she whispers after a long silence. She paces aimlessly around the room, deep in thought.\n\n\"Many seek to gain the Stone of Dreams,\" she mutters, mostly to herself. \"Yet few can imagine the price. For years I have fought to conceal it from the Evil One and others like her. My youth, my home and family, all were forfeited for its protection. And now,\" her voice breaking with emotion, \"now it claims my only companion.\"\n\nImpulsively, the woman snatches away the letter and envelope and crumples them in her trembling hands. \"No one is strong enough to guard Wishbringer alone.\"\n\n> You ask her about Wishbringer\n\"That's a long story,\" sighs the old woman wistfully. \"Maybe later.\"\n\nThe old woman makes an effort to compose herself.\n\n\"Thank you for coming all this way for me,\" she says, reaching up to a shelf full of cheap gags. \"I know I'm not supposed to tip you, but take this little trinket anyway.\"\n\nThe woman holds out a small metal can for you to take.\n\n> You see can\nIt's a round metal can with a closed lid, illustrated with a tasty-looking assortment of mixed nuts.\n\n\"Take this gift,\" says the old woman, holding a metal can out to you.\n\n> You take can\nTaken.\n\n(Your score just went up by 3 points! Your total score is 23 out of 100.)\n\n\"It's getting Dark outside,\" the old woman remarks, and you can almost hear the capital D. \"Maybe you should be getting back to town.\"\n\n> You ask the woman about Cemetery\n\"Not now,\" sighs the old woman wistfully. \"Some other time, perhaps.\"\n\nThe old woman hobbles over to the Magick Shoppe door and opens it. A concealed bell tinkles merrily.\n\n\"Keep a sharp eye out for my cat, won't you?\" She speaks the words slowly and distinctly. \"Bring her to me if you find her. She's black as night from head to tail, except for one little white spot... right HERE.\"\n\nThe old woman touches the middle of your forehead with her finger. The light outside dims suddenly, like a cloud passing over the sun.\n\n> You open can\nYour body seems unwilling to respond.\n\nThe old woman takes away her finger. Your forehead is tingling.\n\n\"The Stone of Dreams can help you in your search. I cannot reveal the place where I have hidden it, for the Evil One would see your thoughts and take the treasure for herself. You must discover it alone, and rely on legends to instruct you in its mysteries.\"\n\nAs she speaks, the old woman gently leads you through the door of the Magick Shoppe. She pauses before closing the door.\n\n\"Return the cat to me, and Wishbringer shall be yours.\n\n\"Her name is Chaos.\"\n\nA concealed bell tinkles merrily.\n\nYou're standing high on a rocky cliff, at the top of a steep trail leading downward.\n\nThe surrounding landscape has disappeared under a thick blanket of evening fog. All the familiar buildings and landmarks are completely hidden; only the summit of Post Office Hill is high enough to pierce the cloud, rising like a lonely island in a sea of mist...\n\n... an island with a tower on it.\n\nThere's a TOWER where the Post Office used to be! The massive outline is hard to make out against the twilight sky. But the longer you stare, the clearer and more frightening it becomes.\n\nThe Magick Shoppe stands nearby.\n\n> You look at the tower\nIts lonely outline fills you with dread.\n\n> You open can\nYow! When you open the can a real, live rattlesnake leaps out! It squirms about angrily for a few moments, turns to hiss at you and slithers out of sight.\n\nThe fog in the valley is rising towards you!"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kid-friendly, platypi, changing environment]\n\n> Go downwards\nAs you descend the trail you are immediately engulfed in...\n\nYou're lost in a thick cloud of fog.\n\nThe can rattles in your hand.\n\n> Go north\nYou're lost in a thick cloud of fog."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, kid-friendly, changing environment, platypi, magical stone]\n\n> Go downwards\nA sudden gust of wind dissolves the fog and clears your vision.\n\nYou're at the bottom of a cliff that rises up from the north bank of the river.\n\nA gnarled tree trunk stands nearby, a lone branch its only adornment. A vulture perched on top is watching every move you make.\n\n> You climb the tree\nDone. You're sitting on the rotten, creaking branch...\n\nCrack! The dead branch snaps off the gnarled tree trunk and falls to the ground with a thud. Visibly annoyed, the vulture spreads its wings and soars away over the river.\n\nYou're now sitting on the ground. Painfully.\n\n> You examine the branch\nThe dead branch is about six feet long.\n\n> You get the branch\nYour load is too heavy.\n\nThe vulture can be seen circling high overhead.\n\n> You read the note\nThe name \"Corky\" is beautifully handwritten on the outside."
    },
    {
        "text": "> Look around\nYou're at the bottom of a cliff that rises up from the north bank of the river.\n\nA dead branch is lying on the ground.\n\nA gnarled tree trunk, stripped of all its branches, stands nearby.\n\nThe vulture appears high overhead.\n\n> You get the branch\nDropped.\n\nTaken.\n\n> You get the umbrella\nDropped.\n\nYour load is too heavy.\n\n> You go south\nYou'd probably drown in the river if you went that way.\n\n> Go west\nThis is the north side of the Witchville Bridge. Sheer cliff walls rise abruptly to the north and west. A path wanders east along the shore of the river.\n\nA rickety toll gate has been thrown up across the entrance to the covered bridge. A handpainted sign is nailed to the middle of the closed gate.\n\nStanding near the toll gate is an ugly, gnomelike creature. A less original story would probably refer to it as a troll.\n\n> You look at the troll\nThe troll is staring back at you stupidly.\n\n> You read the sign\nThe childlike scrawl is hard to decipher. With a little imagination, you can make out the phrase \"Toll Bridge, One Gold Coin.\"\n\n> You feed the troll\n(What do you want to feed the troll with?)\n\n> You look at what you're carrying with you\nYou're holding a dead branch and a metal can.\n\n> You give the can to the troll\nThe metal can rattles as you hand it to the troll. \"Mmm, yummy!\" he exclaims, peering at the label and then greedily opening the lid...\n\nYow! As he opens the can a real, live rattlesnake leaps out! It squirms about angrily for a few moments, turns to hiss at the troll and slithers out of sight.\n\nThe metal can clatters to the ground.\n\nA scream of terror echoes off the cliffs as the troll runs away across the covered bridge.\n\n(Your score just went up by 3 points! Your total score is 26 out of 100.)\n\n> Inventory\nYou're holding a dead branch.\n\n> You take can\nTaken.\n\nThe vulture is watching you from high overhead.\n\n> You drop can\nIt hits the ground with a rattle and lands at your feet.\n\n> You go to the north\nYour path is blocked by a cliff wall.\n\n> Go east\nYou're at the bottom of a cliff that rises up from the north bank of the river.\n\nA gnarled tree trunk, stripped of all its branches, stands nearby.\n\nYou can see a violet note and an umbrella here.\n\n> You go to the west\nThis is the north side of the Witchville Bridge. Sheer cliff walls rise abruptly to the north and west. A path wanders east along the shore of the river.\n\nA rickety toll gate has been thrown up across the entrance to the covered bridge. A handpainted sign is nailed to the middle of the closed gate.\n\nThere's a metal can here.\n\n> You go south\nThe toll gate is closed.\n\n> Go south\nYou're on a covered bridge that spans the Witchville River. A sign hangs on an arch overhead.\n\n> You see the sign\nViolators Will Be Jailed!\n\nYou can hear the tramp of marching boots to the south.\n\n> You go to the south\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nYou can hear the tramp of marching boots to the east.\n\n> Go west\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\n> Go upwards\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree.\n\nA horseshoe is lying in the grass near the stump."
    },
    {
        "text": "> You look at stump\nThe stump is huge, easily four feet across. Looking closely, you notice that the edge of the stump is hinged.\n\n> Open stump\nLifting the hinged top of the stump reveals a round hole leading downward into darkness.\n\n> You get the shoe\nYour load is too heavy.\n\n> You continue\n(What do you want to push up?)\n\n> Yourself\nPushing around yourself accomplishes nothing.\n\nYou can hear the tramp of marching boots at the bottom of the hill. It sounds as if they're coming this way!\n\n> You drop the branch\nDropped.\n\nThe night is filled with rhythmic thunder, and a platoon of gigantic leather army boots marches into view. It's the Boot Patrol!\n\nYou're immediately surrounded, tied, gagged and dragged before an especially tall Boot. \"What have we here?\" he hisses. \"Out after curfew? Tsk, tsk, tsk. I wonder what Sgt. MacGuffin will say about this.\"\n\nYou're thrown into an especially smelly Boot and carried, kicking and screaming, to the lobby of the Police Station.\n\nSgt. MacGuffin glares at you as the boots dump you on the floor. \"What's this?\" he demands impatiently.\n\n\"A nightcrawler,\" hisses the Tall Boot, giving you a vicious little kick. \"Outside after curfew. Shall I feed it to the sharks?\"\n\nSgt. MacGuffin shakes his head. \"Later. The Tower wants all prisoners held for questioning.\" He turns back to his work. \"Cell Three.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk against the wall with a thick blanket on it.\n\nYou can see an umbrella and a violet note here.\n\n> You drop the branch\nDropped.\n\nYou can hear the tramp of marching boots at the bottom of the hill. It sounds as if they're coming this way!\n\n> Go west\nThe vulture spreads its wings and soars away over your head.\n\nThis is the north side of the Witchville Bridge. Sheer cliff walls rise abruptly to the north and west. A path wanders east along the shore of the river.\n\nA rickety toll gate has been thrown up across the entrance to the covered bridge. A handpainted sign is nailed to the middle of the closed gate.\n\nStanding near the toll gate is an ugly, gnomelike creature. A less original story would probably refer to it as a troll.\n\n> You give the can to the troll\nThe metal can rattles as you hand it to the troll. \"Mmm, yummy!\" he exclaims, peering at the label and then greedily opening the lid...\n\nYow! As he opens the can a real, live rattlesnake leaps out! It squirms about angrily for a few moments, turns to hiss at the troll and slithers out of sight.\n\nThe metal can clatters to the ground.\n\nA scream of terror echoes off the cliffs as the troll runs away across the covered bridge.\n\n(Your score just went up by 3 points! Your total score is 26 out of 100.)\n\n> You go south\nThe toll gate is closed.\n\n> Go south\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\n> Go west\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\n> Go upwards\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree.\n\nA horseshoe is lying in the grass near the stump.\n\n> Close can\nOkay, the metal can is now closed.\n\nYou hear a rattling noise in the can.\n\n> You look in the can\nThe metal can appears to have a false bottom. You could probably get it out by squeezing the can.\n\n> You squeeze can\nThe false bottom is wedged tightly into the metal can. You might be able to loosen it by squeezing harder... harder!...\n\nPop! A small stone drops out of the squashed can and lands at your feet.\n\n> You examine Wishbringer\nThe small stone is dark and cold.\n\n> You squeeze Stone\nThat would be a useless effort.\n\n> You take Wishbringer\nTaken.\n\n(Your score just went up by 5 points! Your total score is 31 out of 100.)\n\nAs your fingers close around the small stone it begins to glow with an eerie violet-white radiance."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, zorkian, magical stone, kid-friendly, changing environment]\n\n> Go downwards\n(Do you want to go down the north side of the hill, or down into the open stump? Please type NORTH or IN.)\n\n> Enter\nYou're in a dirty underground chamber. Long tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> You go to the east\nYou're in a damp underground chamber. Long tunnels wander away to the south, east and west.\n\n> Go east\nYou have stumbled into the nesting place of a family of grues. Congratulations. Few indeed are the adventurers who have entered a grue's nest and lived as long as you have.\n\nEverything is littered with rusty swords of elvish workmanship, piles of bones and other debris. A closed refrigerator stands in one corner of the nest, and something... a small, dangerous-looking little beast... is curled up in the other corner.\n\nThe only exit is to the west. Hope you survive long enough to use it.\n\nSnoring fitfully, the little beast turns away from the light of the small stone and faces the wall.\n\n> You open the refrigerator\nA light inside the refrigerator goes out as you open it.\n\nOpening the refrigerator reveals a bottle and an earthworm.\n\nThe little beast is stirring restlessly. It looks as if it's about to wake up!\n\n> You take the worm\nTaken.\n\n(Your score just went up by 3 points! Your total score is 34 out of 100.)\n\nThe earthworm squirms with annoyance at your touch.\n\nWith a toothy yawn, the little beast opens its big red eyes and blinks at you with surprise and fear. It opens its slavering jaws and emits a hideous, plaintive wail that reminds you of a subway screeching to a halt.\n\nA very large creature, equipped with slavering fangs and wearing a calico apron, lurks into the nest. Its mother-instinct overcomes its overwhelming fear of light long enough to devour you.\n\nYour score is 34 points out of 100, in 74 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> You get all\nThe refrigerator: But the refrigerator is much too large!\n\nWith a toothy yawn, the little beast opens its big red eyes and blinks at you with surprise and fear. It opens its slavering jaws and emits a hideous, plaintive wail that reminds you of a subway screeching to a halt.\n\nA very large creature, equipped with slavering fangs and wearing a calico apron, lurks into the nest. Its mother-instinct overcomes its overwhelming fear of light long enough to devour you.\n\nYour score is 31 points out of 100, in 74 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n\"Behind you!\" cries the Princess. \"It's a trap!\"\n\nToo late. The drawbridge crashes shut against the tower wall. You turn to face your enemy, and find yourself staring into the open maw of Thermofax.\n\nOnly your Magick sword can save you now. You swing it high, speak the Word and stand unhurt as the blade absorbs the searing dragon-breath.\n\nThe reptile bellows with rage and flaps its wings to fan the fire in its belly. You are advancing, sword poised to strike, when a familiar voice shatters the daydream and stays your mighty hand...\n\nCopyright (C)1985 Infocom, Inc. All rights reserved.\n\nYou're on a hilltop overlooking the seaside village of Festeron.\n\nTo the south stands the Festeron Post Office. It's a little brick building with a neatly-trimmed lawn. The Post Office door stands invitingly open.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nSomebody inside the Post Office is calling you.\n\nOkay, what do you want to do now?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, changing environment, zorkian, magical stone]\n\n> You describe your surroundings\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness.\n\n> You squeeze can\nThe false bottom is wedged tightly into the metal can. You might be able to loosen it by squeezing harder... harder!...\n\nPop! A small stone drops out of the squashed can and lands at your feet.\n\n> You get Stone\nTaken.\n\n(Your score just went up by 5 points! Your total score is 31 out of 100.)\n\nAs your fingers close around the small stone it begins to glow with an eerie violet-white radiance."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, zorkian, magical stone, kid-friendly, changing environment]\n\n> Go downwards\n(Do you want to go down the north side of the hill, or down into the open stump? Please type NORTH or IN.)\n\n> You go inside\nYou're in a smelly underground chamber. Long, dark tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> You go to the east\nYou're in a dirty underground chamber. Cold tunnels wander away to the south, east and west.\n\n> You drop Stone\nDropped.\n\nThe small stone stops glowing.\n\nIt is pitch black.\n\n> You go to the east\nIt is pitch black. You are likely to be eaten by a grue.\n\n> Go west\nIt is pitch black."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, platypi, changing environment]\n\n> Describe the surroundings\nYou're in a damp underground chamber. Long, dark tunnels wander away to the south, east and west.\n\n> Go south\nYou're in a damp underground chamber. Cold, smelly tunnels wander away to the north and west.\n\nA dark, narrow hole is visible overhead.\n\n> You examine the hole\nThe hole is blocked by something overhead. It looks like the underside of a bed or bunk.\n\n> You enter the hole\nYou'll never get into the hole holding all that stuff!\n\n> You drop all\nThe small stone: Dropped.\nThe squashed can: Dropped.\nThe horseshoe: Dropped.\nThe violet note: Dropped.\nThe umbrella: Dropped.\n\nThe small stone stops glowing.\n\n> You enter the hole\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk in the middle of the floor with a thick blanket on it.\n\nThere's a dark, narrow hole in the floor.\n\n> You get all\nThe bunk: You can't be serious.\nThe thick blanket: Taken.\n\n(Your score just went up by 3 points! Your total score is 34 out of 100.)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kids, kid-friendly, magical stone, zorkian]\n\n> You describe your surroundings\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk in the middle of the floor.\n\nThere's a dark, narrow hole in the floor.\n\nYou can hear wails of anguish from an adjacent cell."
    },
    {
        "text": "> Go downwards\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're in a dirty underground chamber. Long tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\nYou can see an umbrella, a violet note, a horseshoe, a squashed can and a small stone here.\n\n> You get all\nThe umbrella: Taken.\nThe violet note: Taken.\nThe horseshoe: Taken.\nThe squashed can: Taken.\nThe small stone: Taken.\n\nThe small stone begins to glow again.\n\n> Go west\nYou're in a dark underground chamber. Long, smelly tunnels wander away to the north and east, and there's a dark hole in the south wall.\n\n> You go south\nYou'll never get into the hole holding all that stuff!\n\n> You drop all but Stone\nThe squashed can: Dropped.\nThe horseshoe: Dropped.\nThe violet note: Dropped.\nThe umbrella: Dropped.\nThe thick blanket: Dropped.\n\n> You enter hole\nYou're at the bottom of an open grave, surrounded by six-foot walls of dirt. A dark hole is visible in the north wall.\n\n> You go north\nYou're in a damp underground chamber. Cold tunnels wander away to the north and east, and there's a dark hole in the south wall.\n\nYou can see a thick blanket, an umbrella, a violet note, a horseshoe and a squashed can here.\n\n> You take all\nThe thick blanket: Taken.\nThe umbrella: Taken.\nThe violet note: Taken.\nThe horseshoe: Taken.\nThe squashed can: Taken.\n\n> Go east\nYou're in a dirty underground chamber. Long, damp tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\n> Go north\nYou're in a dark underground chamber. Long, dirty tunnels wander away to the south, east and west.\n\n> You put the blanket on grue\nOkay, the little beast is now covered with the thick blanket.\n\nThe creature stirs restlessly for an anxious moment. Then it settles into the comfortable darkness of the thick blanket, sighs gently and lies still.\n\n(Your score just went up by 3 points! Your total score is 37 out of 100.)\n\n> You open the fridge\nA light inside the refrigerator goes out as you open it.\n\nOpening the refrigerator reveals a bottle and an earthworm.\n\n> Kiss grue\nThe little beast smiles in its sleep.\n\n> You take the worm\nTaken.\n\n(Your score just went up by 3 points! Your total score is 40 out of 100.)\n\nThe earthworm squirms with annoyance at your touch.\n\n> Go west\nYou're in a smelly underground chamber. Cold tunnels wander away to the south, east and west.\n\n> You put worm in the can\nThere's no room. You squashed the metal can flat when you removed the false bottom.\n\n> You put the worm in the bottle\nThe mouth of the bottle is too narrow.\n\n> You put the worm in the umbrella\nThe umbrella is closed.\n\n> You open the umbrella\nOkay, the umbrella is now open.\n\n(It's bad luck to open an umbrella indoors.)\n\n> You put the worm in umbrella\nIt immediately slides out and lands at your feet.\n\n> You go to the west\nYou're in a smelly underground chamber. Long tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> Go upward\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness.\n\n> Go west\nYou'd probably drown in the lake if you went that way.\n\n> Go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see a closed iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake. Animal tracks are visible in the sand next to the pit.\n\n> You see the Island\nMisty Island has been shrouded in fog for as long as you can remember. Strange legends and mysterious rumors abound; but nobody you know has ever been there.\n\nThe vulture begins to hover high overhead.\n\nA rusty \"click!\" draws your eyes to the iron gate. You watch as it slowly creaks open, all by itself!\n\n> You see pit\nThe pit is more than five feet deep. You can see a platypus in it.\n\n> You see the platypus\nThe platypus is obviously unhappy about being trapped in the pit.\n\nYou can hear the tramp of marching boots to the north.\n\n> Go east\nYou're on the west side of the Witchville Rotary. A street branches west, towards the lake.\n\nThe Police Station stands on a nearby corner. It's a grim little building with a sign over the open entrance.\n\n> You read the sign\nThe sign over the entrance says, \"Witchville Police Headquarters.\"\n\n> Go west\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake. Animal tracks are visible in the sand next to the pit.\n\nYou can hear the tramp of marching boots to the north. It sounds as if they're coming this way!\n\n> You go east\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\n> You see the statue\nThe statue is a heroic commemoration of a very evil-looking old woman.\n\n> Go north\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\n> You enter the church\nYou're standing inside an abandoned old church. The aisles are littered with debris and bits of colored glass; everything is coated with a thick layer of dust.\n\nA lighted candle is visible in a nook near the exit.\n\n> You see the candle\nYou see nothing special about the candle.\n\nAs you look around the empty church a big brown rat scurries across the broken glass and disappears.\n\n> You take the candle\nA voice from above begins to proclaim something, but a burst of static drowns out the solemn words. Looking up, you notice a speaker in the ceiling emitting sparks.\n\nTaken.\n\n> You see the speaker\nIt's burned out."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fantasy, zorkian, changing environment, magical stone, kids]\n\n> Look around\nYou're standing inside an abandoned old church. The aisles are littered with debris and bits of colored glass; everything is coated with a thick layer of dust.\n\n> Go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake. Animal tracks are visible in the sand next to the pit.\n\n> You take the platypus\nYou can't reach the platypus. The pit is a little too deep.\n\n> You enter the pit\nYou can't fit into the pit. It's too narrow.\n\n> You drop all\nThe candle: Dropped.\nThe earthworm: Dropped.\nThe bottle: Dropped.\nThe squashed can: Dropped.\nThe horseshoe: Dropped.\nThe violet note: Dropped.\nThe umbrella: Dropped.\nThe small stone: Dropped.\n\nThe small stone stops glowing.\n\nYou can hear the tramp of marching boots to the east.\n\n> You take Stone\nTaken.\n\nThe small stone begins to glow again.\n\n> Go east\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nYou can hear the tramp of marching boots to the south. It sounds as if they're coming this way!\n\n> Go north\nYou're on a covered bridge that spans the Witchville River. A sign hangs on an arch overhead.\n\n> Go north\nThis is the north side of the Witchville Bridge. Sheer cliff walls rise abruptly to the north and west. A path wanders east along the shore of the river.\n\nA rickety toll gate has been thrown up across the entrance to the covered bridge. A handpainted sign is nailed to the middle of the open gate.\n\n> Go east\nYou're at the bottom of a cliff that rises up from the north bank of the river.\n\nA gnarled tree trunk stands nearby, a lone branch its only adornment.\n\n> You take the branch\nCrack! The dead branch snaps off the gnarled tree trunk and falls to the ground with a thud.\n\n> Go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake. Animal tracks are visible in the sand next to the pit.\n\nYou can see an umbrella, a violet note, a horseshoe, a squashed can, a bottle, an earthworm and a candle (providing light) here.\n\n> You put the branch in the pit\nOkay, the dead branch is now standing up inside the pit.\n\nThe platypus grabs onto the bottom of the dead branch with its forepaws.\n\n> You take all\nThe sand: The sand slips away between your fingers.\nThe umbrella: Taken.\nThe violet note: Taken.\nThe horseshoe: Taken.\nThe squashed can: Taken.\nThe bottle: Taken.\nThe earthworm: Taken.\n\nThe earthworm squirms with annoyance at your touch.\nThe candle: Taken.\n\n> You take the branch\nTaken.\n\n(Your score just went up by 5 points! Your total score is 45 out of 100.)\n\nThe platypus hangs on to the dead branch as you pull it out of the pit. It lets go when the branch clears the edge and waddles joyfully around on the sand.\n\nThe little creature draws an \"X\" in the sand with its tail. Then it gives you an oddly dignified nod of thanks, waddles to the edge of the lake and disappears into the dark water.\n\n> Examine X\nYou can see an \"X\" drawn in the sand.\n\nYou can hear the tramp of marching boots to the north.\n\n> You wait awhile\nTime passes.\n\n> Go west\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake. An \"X\" has been drawn in the sand next to the pit.\n\nYou can see an umbrella, a violet note, a horseshoe, a squashed can, a bottle, an earthworm and a candle (providing light) here.\n\n> You dig in the sand\nYou discovered a silver whistle in the sand under the \"X\"!\n\nYou can hear the tramp of marching boots to the north. It sounds as if they're coming this way!\n\n> Inventory\nYou're holding a dead branch and a small stone (providing light).\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> You drop the branch\nDropped.\n\n> You go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\nYou can see a silver whistle, an umbrella, a violet note, a horseshoe, a squashed can, a bottle, an earthworm and a candle (providing light) here.\n\nYou can hear the tramp of marching boots to the east.\n\n> You get all\nThe sand: The sand slips away between your fingers.\nThe silver whistle: Taken.\n\n(Your score just went up by 3 points! Your total score is 48 out of 100.)\nThe umbrella: Taken.\nThe violet note: Taken.\nThe horseshoe: Taken.\nThe squashed can: Taken.\nThe bottle: Taken.\nThe earthworm: Taken.\n\nThe earthworm squirms with annoyance at your touch.\nThe candle: Taken.\n\n> You eat the earthworm\nYuck! You've got to be kidding.\n\n> Go east\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\n> You go south\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\n> You watch Voss\nHer once kindly features have grown hard with cynicism.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> Go south\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\n> You wait\nTime passes.\n\nYou can hear the tramp of marching boots to the east.\n\n> Go north\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nYou can hear the tramp of marching boots to the east.\n\n> Go north\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\n> Go east\nYou're on a rocky path that runs east and west along the banks of the Witchville River. A shimmering trail leads south into a dense forest.\n\n> You go to the south\nAs you walk along the shimmering trail you feel a vague sense of disorientation, then a shock of recognition...\n\nYou are standing in an open field west of a white house, with a boarded front door.\n\nThere's a little mailbox here.\n\n> You open the mailbox\nOpening the little mailbox reveals a leaflet.\n\nThe edges of the little mailbox are beginning to twinkle.\n\n> You get the leaflet\nYou're holding too many things already!\n\nThe little mailbox is engulfed in a sparkling aurora! Tremors of anticipation run up and down its length, and the air sings with Magick.\n\n> You drop can\nDropped.\n\nWith a gentle pop, the little mailbox pulls itself out of the ground and cavorts about the grass like a happy rabbit!\n\n> You drop all\nThe candle: Dropped.\nThe earthworm: Dropped.\nThe bottle: Dropped.\nThe horseshoe: Dropped.\nThe violet note: Dropped.\nThe umbrella: Dropped.\nThe silver whistle: Dropped.\nThe small stone: Dropped.\n\nThe little mailbox notices you and snaps its tiny lid with joy. It makes a silly \"clump-clump, clump-clump\" sound as it hops to your side and rubs lovingly against your sleeve.\n\nThe small stone stops glowing.\n\n> You get the leaflet\nTaken.\n\nYou can hear the tramp of marching boots to the north.\n\n> Go south\nYour feet seem unwilling to move in that direction.\n\nThe little mailbox cuddles up around your feet.\n\n> Go east\nThe front door is securely closed.\n\nYou can hear the tramp of marching boots to the north.\n\n> You read the leaflet\nIt seems to be a junk-mail ad for a primitive computer game. The cancelled stamp on the leaflet is too faded to read clearly.\n\nThe little mailbox hops around with excitement.\n\n> You get all\nThe small stone: Taken.\nThe silver whistle: Taken.\nThe umbrella: Taken.\nThe violet note: Taken.\nThe horseshoe: Taken.\nThe bottle: Taken.\nThe earthworm: Taken.\n\nThe earthworm squirms with annoyance at your touch.\nThe candle: Taken.\nThe squashed can: You're holding too many things already!\n\nThe little mailbox is watching you eagerly.\n\nThe small stone begins to glow again.\n\n> You see the stamp\n(Presumably, you mean the leaflet.)\nIt seems to be a junk-mail ad for a primitive computer game. The cancelled stamp on the leaflet is too faded to read clearly.\n\n> You put the note in mailbox\nDone.\n\n> You take the note\nTaken.\n\nThe little mailbox is \"clump-clumping\" about happily.\n\n> Pet mailbox\nThe little mailbox coos with pleasure at your touch.\n\n> You see the house\nThis place has seen better days. Its stately colonial architecture reflects the taste and wealth of its builders. But eons of trespassing by thoughtless adventurers have left the once noble edifice in ruins.\n\n> You open the door\nThe front door is securely closed.\n\n> You show leaflet to the mailbox\nYou can't give anything to that!\n\nThe little mailbox nuzzles you lovingly.\n\n> You throw the leaflet\n(What do you want to throw the leaflet at?)\n\n> Mailbox\nThrown.\n\n> You see the mailbox\nIt's the strangest little mailbox you've ever seen.\n\n> Go north\nAs the house disappears into the distance, you get the distinct feeling that, someday, you will pass this way again.\n\nYou're on a rocky path that runs east and west along the banks of the Witchville River. A dense, impenetrable forest borders the south edge of the path.\n\n> You see the lighthouse\nIt's really just an automated beacon, erected by the town to impress tourists. There aren't any entrances or openings.\n\nPerched on top of the lighthouse is a pelican, watching you through half-closed eyelids.\n\nThe little mailbox \"clump-clumps\" to your side with a joyful snap.\n\n> You check your inventory\nYou're holding a violet note, a candle (providing light), an earthworm, a bottle, a horseshoe, an umbrella, a silver whistle, a small stone (providing light) and a leaflet.\n\nThe vulture hovers high overhead.\n\n> Wear whistle\nYou can't wear the silver whistle.\n\nThe little mailbox snaps playfully at your heels.\n\n> You feed the worm to pelican\nThe pelican sniffs the earthworm suspiciously, then swallows it without a word of thanks.\n\nThe little mailbox rubs your leg.\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> Go south\nYou can't go that way now. The tide is in.\n\nThe little mailbox rubs your leg.\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> You go inside\nYou can't go that way.\n\nThe night is filled with rhythmic thunder, and a platoon of gigantic leather army boots marches into view. It's the Boot Patrol!\n\nYou're immediately surrounded, tied, gagged and dragged before an especially tall Boot. \"What have we here?\" he hisses. \"Out after curfew? Tsk, tsk, tsk. I wonder what Sgt. MacGuffin will say about this.\"\n\nYou're thrown into an especially smelly Boot and carried, kicking and screaming, to the lobby of the Police Station.\n\nSgt. MacGuffin glares at you as the boots dump you on the floor. \"What's this?\" he demands impatiently.\n\n\"A nightcrawler,\" hisses the Tall Boot, giving you a vicious little kick. \"Outside after curfew. Shall I feed it to the sharks?\"\n\nSgt. MacGuffin shakes his head. \"Later. The Tower wants all prisoners held for questioning.\" He turns back to his work. \"Cell Three.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk in the middle of the floor.\n\nThere's a dark, narrow hole in the floor.\n\nYou can see a leaflet, a small stone (providing light), a silver whistle, an umbrella, a horseshoe, a bottle, an earthworm, a candle (providing light) and a violet note here.\n\nThe small stone stops glowing.\n\n> You put the leaflet in the hole\nOkay, the leaflet disappears into the hole."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, magical stone]\n\n> Go downwards\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're in a dark underground chamber. Long, dirty tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\nThere's a leaflet here.\n\n> Go upward\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk in the middle of the floor.\n\nThere's a dark, narrow hole in the floor.\n\nYou can see a small stone, a silver whistle, an umbrella, a horseshoe, a bottle, an earthworm, a candle (providing light) and a violet note here.\n\n> You get all\nThe bunk: Don't be silly.\nThe small stone: Taken.\nThe silver whistle: Taken.\nThe umbrella: Taken.\nThe horseshoe: Taken.\nThe bottle: Taken.\nThe earthworm: Taken.\n\nThe earthworm squirms with annoyance at your touch.\nThe candle: Taken.\nThe violet note: Taken.\n\nThe small stone begins to glow again.\n\n> You put all in the hole\nThe violet note: Okay, the violet note disappears into the hole.\nThe candle: Okay, the candle disappears into the hole.\nThe earthworm: Okay, the earthworm disappears into the hole.\nThe bottle: Okay, the bottle disappears into the hole.\nThe horseshoe: Okay, the horseshoe disappears into the hole.\nThe umbrella: Okay, the umbrella disappears into the hole.\nThe silver whistle: Okay, the silver whistle disappears into the hole. The small stone: Okay, the small stone disappears into the hole."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kid-friendly, kids, platypi, zorkian]\n\n> Go down\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're in a damp underground chamber. Long, dark tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\nYou can see a small stone, a silver whistle, an umbrella, a horseshoe, a bottle, an earthworm, a candle (providing light), a violet note and a leaflet here.\n\n> You get all\nThe small stone: Taken.\nThe silver whistle: Taken.\nThe umbrella: Taken.\nThe horseshoe: Taken.\nThe bottle: Taken.\nThe earthworm: Taken.\n\nThe earthworm squirms with annoyance at your touch.\nThe candle: Taken.\nThe violet note: Taken.\nThe leaflet: Taken.\n\nThe small stone begins to glow again.\n\n> You go north\nYou're in a damp underground chamber. Long tunnels wander away to the south, east and west.\n\n> Go west\nYou're in a dirty underground chamber. Long, smelly tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\nYou can hear the tramp of marching boots outside.\n\n> You wait awhile\nTime passes.\n\n> Go north\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\nYou can hear the tramp of marching boots to the south.\n\n> Go east\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\n> You go east\nYou're on a rocky path that runs east and west along the banks of the Witchville River. A dense, impenetrable forest borders the south edge of the path.\n\n> Go south\nYou can't go that way now. The tide is in.\n\n> Go south\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nYou can hear the tramp of marching boots to the west.\n\n> You see the marquee\nNow Playing!\nTHE ONE IS WATCHING!\nstarring\nTHE EVIL ONE\nin\nAmazing 3-D!\n\nThe little mailbox \"clump-clumps\" happily into view.\n\nYou can hear the tramp of marching boots to the south. It sounds as if they're coming this way!\n\n> You see the schedule\nThe schedule says:\n\nOPEN ALL NIGHT!\nALL SHOWS ONE GOLD COIN\n\nThe little mailbox \"clump-clumps\" into view and snaps a greeting.\n\nYou can hear the tramp of marching boots to the south. It sounds as if they're coming this way!\n\n> You enter\n\"You won't get far without a ticket!\" cries Miss Voss.\n\nYou're standing in the lobby of the movie theater. A short corridor leads north into darkness. Sound effects and music can be heard drifting down the corridor.\n\nThe gravedigger is standing near the corridor, a large cardboard carton at his feet.\n\n> You see the carton\nThe open carton is marked, \"Free 3D Movie Glasses Here!\"\n\n> You see the gravedigger\nNo doubt about it. He's the town gravedigger, looking stiff and uncomfortable in his new usher's uniform.\n\nYou can hear the tramp of marching boots outside.\n\n> You look in the carton\nIt's empty.\n\nThe gravedigger sees your disappointment, shrugs and mumbles something unkind about newfangled thingamabobs.\n\n> Go north\nThe gravedigger blocks your path. \"Can't get in without a ticket.\"\n\n> You look under the carton\nYou see nothing unusual.\n\nYou can hear the tramp of marching boots outside.\n\n> You ask the gravedigger about the ticket\nThe gravedigger doesn't respond. He seems to be a bit hard of hearing.\n\n> You go east\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights, curious electronic sounds and a neon sign beckon you through the open entrance.\n\nA big mailbox is nearby.\n\nA voice behind you growls, \"Feed me. I'm HUNGRY!\" You turn to face the sound, but there's nobody here except you.\n\n> You see the big mailbox\nThe big mailbox seems ordinary enough. Or does it?\n\nYou watch with astonishment as the lid of the big mailbox slowly opens by itself, then snaps shut with a clang.\n\nThe little mailbox \"clump-clumps\" into view and snaps a greeting.\n\n> You see the little mailbox\nIt's the strangest little mailbox you've ever seen.\n\nThe lid of the big mailbox opens again. \"Mail!\"\n\nThe two mailboxes freeze at the sight of one another.\n\nThe little mailbox snarls and stands protectively by your side. The big mailbox emits a frightful growl and throws its lid wide open, displaying rows of sharp little teeth. A crowd of postal meters and stamp dispensers gathers as the metal warriors circle each other with tense, snapping lids.\n\nWith a sudden rush, the little mailbox throws itself at the big mailbox and clamps onto its forefoot. The big mailbox roars with anger, bites the little mailbox viciously and tries in vain to shake it off. You stare in wonder as the fighting boxes swell to twice their normal size, then four times larger, eight times!\n\nThe big mailbox frees itself with a savage twist and bends to finish its foe. The little mailbox dodges, grips the descending lid and holds on for dear life. Locked in mortal combat, the giant boxes roll over and over, shaking the earth with the thunder of battle.\n\nThe scene disappears under a cloud of dust. You hear a terrible scream of agony, then an even more terrible silence. When the air clears, the boxes and spectators are gone.\n\n> You look\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights, curious electronic sounds and a neon sign beckon you through the open entrance.\n\n> You go south\nThis old building is the home of a sleazy arcade, lined with coin-op video games. The machines are crowded with half-crazed, stunted humanoids, who pay no attention to you as they satisfy their thirst for electric violence.\n\nOne machine in the corner appears to be deserted.\n\nA sign on the wall says, \"All Games One Token.\"\n\n> You see the humanoids\nThey have extraordinarily supple wrists, fast reflexes and tiny brains.\n\n> You see the machine\nThe game machine is equipped with a video screen, a joystick, a big red button and a narrow slot for tokens. A lurid logo (\"TRANSMATTER!\") is painted on the side.\n\n> You see the screen\nThe video screen displays a map of Witchville Village. A grid divides the map into 13 squares. The words \"Insert Token To Play\" are scrolling across the top of the screen.\n\n(You'll find the map inside your Wishbringer package.)\n\n> Go east\nThe sea-worn planks of the Witchville Pleasure Wharf end abruptly a few feet to the east. You're surrounded by the dark, shark-infested waters of Witchville Bay.\n\n> You look in the water\nYou can see a brass token and a piranha in the fountain.\n\n> You see the piranha\nThe piranha stares back at you defiantly, its sharp little teeth gleaming in the moonlight.\n\n> You eat the piranha\nYou'd have to catch the piranha to do that.\n\n> You feed the piranha with the worm\nIt lands in the fountain with a splash.\n\nThe piranha snatches away the worm and swims to the far side of the fountain to devour it.\n\n> You get Token\nTaken.\n\n(Your score just went up by 3 points! Your total score is 51 out of 100.)\n\nYou can hear the tramp of marching boots to the west.\n\n> Go south\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> You enter Library\nThe library door is closed.\n\nThe night is filled with rhythmic thunder, and a platoon of gigantic leather army boots marches into view. It's the Boot Patrol again!\n\nYou're immediately surrounded, tied, gagged and dragged before an especially tall Boot. \"What!\" he cries. \"I thought you were locked up with Sgt. MacGuffin. Tsk, tsk.\"\n\nYou're thrown into an especially smelly Boot and carried, kicking and screaming, to the lobby of the Police Station.\n\nSgt. MacGuffin glares at you as the boots dump you on the floor. His eyes narrow when he sees you. \"Well, well. If it isn't the disappearing mail clerk.\" You open your mouth to reply, but a vicious little kick changes your mind. \"The Tower wants a chat with this troublemaker.\"\n\n\"The sharks are getting restless,\" remarks the Tall Boot hopefully.\n\nSgt. MacGuffin smirks. \"So is the Evil One.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk against the wall.\n\nYou can see a small stone (providing light), a silver whistle, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note, a leaflet and a brass token here.\n\nThe small stone stops glowing.\n\n> Go north\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\nYou can hear the tramp of marching boots to the west.\n\n> Go north\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nThe vulture appears high overhead.\n\nYou can hear the tramp of marching boots to the west.\n\n> You enter the church\nYou're standing inside an abandoned old church. The aisles are littered with debris and bits of colored glass; everything is coated with a thick layer of dust.\n\n> You ask the miss voss about the key\n\"I don't have time for idle chatter,\" she replies.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You give the note to the miss voss\nMiss Voss shakes her head. \"I haven't any use for a violet note!\" she snarls.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You give the leaflet to the miss voss\nMiss Voss shakes her head. \"I haven't any use for a leaflet!\" she snarls.\n\nThe night is filled with rhythmic thunder, and a platoon of gigantic leather army boots marches into view. It's the Boot Patrol again!\n\nYou're immediately surrounded, tied, gagged and dragged before an especially tall Boot. \"What!\" he cries. \"I thought you were locked up with Sgt. MacGuffin. Tsk, tsk.\"\n\nYou're thrown into an especially smelly Boot and carried, kicking and screaming, to the lobby of the Police Station.\n\nSgt. MacGuffin glares at you as the boots dump you on the floor. His eyes narrow when he sees you. \"Well, well. If it isn't the disappearing mail clerk.\" You open your mouth to reply, but a vicious little kick changes your mind. \"The Tower wants a chat with this troublemaker.\"\n\n\"The sharks are getting restless,\" remarks the Tall Boot hopefully.\n\nSgt. MacGuffin smirks. \"So is the Evil One.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk against the wall.\n\nYou can see a small stone (providing light), a silver whistle, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note, a leaflet and a brass token here.\n\nThe small stone stops glowing.\n\n> Open note\nBut the violet note isn't addressed to you!\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> Go south\nYou're outside the cottage of Miss Voss, the former town librarian. The road turns north toward the village, and bends upward to the summit of Post Office Hill.\n\nAs you approach the cottage you are greeted by the biggest hellhound you've ever seen in your entire life. It charges across the street, roaring angrily and showing its sharp, bloody fangs.\n\nYou can smell the hellhound's hot breath as it roars.\n\n> Enter\nThe hellhound won't let you near the cottage.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> Go up\nThe hellhound won't let you go that way.\n\nYou can hear the hellhound's sharp, bloody fangs snapping as it nips your heels.\n\n> You look at what you're carrying with you\nYou're holding a brass token, a leaflet, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella, a silver whistle and a small stone (providing light).\n\nThe hellhound circles you warily, snarling and growling with menace. It looks as if it's getting ready to attack!\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nWith a savage leap, the hellhound lives up to its bloodthirsty reputation.\n\nYour score is 51 points out of 100, in 271 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nThe hellhound circles you warily, snarling and growling with menace. It looks as if it's getting ready to attack!\n\n> You go to the north\nThe hellhound roars a threat as you back away.\n\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the north.\n\n> Wait\nTime passes.\n\nYou can hear the tramp of marching boots to the west.\n\n> You put Token in machine\nThe brass token disappears into the slot.\n\nDing! You hear a pleasant electric chime, and a blinking star appears on the video screen.\n\n(Your score just went up by 1 point! Your total score is 52 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\n> You see the screen\nThe video screen displays a map of Witchville Village. A grid divides the map into 13 squares, and a blinking star is centered over one of the squares.\n\n(You'll find the map inside your Wishbringer package.)\n\n> You see the machine\nThe game machine is equipped with a video screen, a joystick, a big red button and a narrow slot for tokens. A lurid logo (\"TRANSMATTER!\") is painted on the side.\n\n> You press the button\nAre you sure you want to push the big red button?\n\n> Yes\nThe stunted humanoids in the arcade snicker behind your back as your hand touches the flashing button. This might be a trap! You don't really want to press that big red button, do you?\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in an incandescent aura.\n\nA shower of sparks erupts from the back of the game machine, and the video screen goes black.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\nA vague electrical smell quickly fades.\n\n> Yes\nThe stunted humanoids in the arcade hold their breath as your hand touches the flashing button. This might be a trap! You don't really want to press that big red button, do you?\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in an incandescent aura. You can feel your molecules being taken apart one at a time, analyzed, modulated and broadcast through space. It is not a pleasant sensation.\n\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are a closed drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\n(Your score just went up by 5 points! Your total score is 57 out of 100.)\n\n> You see signpost\nThere are two arrows on the signpost. The arrow pointing west says \"To Cemetery.\" The east arrow is marked \"To Witchville.\"\n\n> You see the moat\nThe moat is 20 feet wide and filled with black, oily water.\n\n> Drink water\nBetter not. The water might be dirty.\n\n> You see the window\nIt's wide open, and located a hundred feet above the moat.\n\n> You throw the horseshoe at the window\nUnfortunately, the window is too far away for you to do that.\n\n> Go north\nOne of the stunted humanoids eagerly takes over your game machine as you walk away.\n\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights, curious electronic sounds and a neon sign beckon you through the open entrance.\n\n> Go east\nYou're on a rocky path that runs east and west along the banks of the Witchville River. A dense, impenetrable forest borders the south edge of the path.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You see sign\nViolators Will Be Jailed!\n\n> You see Bridge\nYou see nothing interesting about the covered bridge.\n\nYou can hear the tramp of marching boots to the south.\n\n> You look under Bridge\nThe current looks swift and murky.\n\n> Swim\n(Presumably, you mean in the water.)\nYou'd probably drown in the river if you went that way.\n\n> You search the water\nThe water is too deep to see much of anything.\n\n> You see the cliff\nIt's a sheer, featureless wall, a hundred feet high.\n\n> You go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\n> You look in the pit\nThe pit is more than five feet deep.\n\n> Go south\nThe cemetery is a fearful place, especially at night. Are you sure you want to go in there?\n\n> Yes\nYou have been warned.\n\nThe trees here are so thick, it's almost too dark to see! You can make out an open iron gate to the north, and a narrow lane between the tombstones winds off to the east.\n\nAs you glance around you notice luminous ribbons of mist darting among the tombstones. The air is filled with sinister voices.\n\n> You listen\nAt the moment, you hear nothing special.\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears.\n\n> You see the mist\nThe eldritch vapors stare back at you with translucent curiosity.\n\nGiggling with mischievous Glee, the eldritch vapors clutch your legs and cover your eyes with their luminous hands. The ground falls away beneath your feet as the foggy fiends lift you high above the treetops, scatter your possessions and carry you screaming into the night.\n\nYou come to your senses empty-handed and aching all over.\n\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness."
    },
    {
        "text": "> Look around\nThe trees here are so thick, it's almost too dark to see! You can make out an open iron gate to the north, and a narrow lane between the tombstones winds off to the east.\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears.\n\n> You go east\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\nGiggling with mischievous Glee, the eldritch vapors clutch your legs and cover your eyes with their luminous hands. The ground falls away beneath your feet as the foggy fiends lift you high above the treetops, scatter your possessions and carry you screaming into the night.\n\nYou come to your senses empty-handed and aching all over.\n\nThe sea-worn planks of the Witchville Pleasure Wharf end abruptly a few feet to the east. You're surrounded by the dark, shark-infested waters of Witchville Bay."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, zorkian, platypi, magical stone]\n\n> You look around\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\n> Go east\nYou're on the west side of the Witchville Rotary. A street branches west, towards the lake.\n\nThe Police Station stands on a nearby corner. It's a grim little building with a sign over the open entrance.\n\nThe vulture eyes you suspiciously from high overhead.\n\n> You see the sign\nThe sign over the entrance says, \"Witchville Police Headquarters.\"\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> Go inside\nYou're in the front office of the Witchville Police Station. The room is lined with dimly-lit jail cells. Occasional wails of anguish suggest that many of the cells are occupied.\n\nSgt. MacGuffin, Witchville's finest, is glaring down at you from behind an intimidatingly high desk. You can see a wanted poster taped to the wall.\n\n\"You again!\" cries Sgt. MacGuffin as you enter. Moments later you're pinned to the floor by a dozen gigantic Boots. An especially tall Boot strides into the lobby, curls its leather tongue and leaves an ugly toeprint on your nice, clean clothes.\n\nSgt. MacGuffin shows you his sharp little teeth. \"Well, well. If it isn't the disappearing mail clerk.\" You open your mouth to reply, but a vicious little kick changes your mind. \"The Tower wants a chat with this troublemaker.\"\n\n\"The sharks are getting restless,\" remarks the Tall Boot hopefully.\n\nSgt. MacGuffin smirks. \"So is the Evil One.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk against the wall.\n\nYou can see a small stone (providing light), a silver whistle, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note and a leaflet here.\n\nThe small stone stops glowing.\n\n> You go to the north\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\nThe vulture is watching you from high overhead.\n\n> You go inside\nYou're in a damp underground chamber. Cold tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> You go south\nYou're in a dark underground chamber. Cold tunnels wander away to the north and east, and there's a dark hole in the south wall.\n\n> You drop all\nThe leaflet: Dropped.\nThe violet note: Dropped.\nThe candle: Dropped.\nThe bottle: Dropped.\nThe horseshoe: Dropped.\nThe umbrella: Dropped.\nThe silver whistle: Dropped.\nThe small stone: Dropped.\n\nThe small stone stops glowing.\n\n> You get Stone\nTaken.\n\nThe small stone begins to glow again.\n\n> Go upwards\nWith great difficulty, you manage to climb out of the open grave.\n\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\nAs you glance around you notice luminous ribbons of mist darting among the tombstones. The air is filled with sinister voices.\n\n> Go south\nYou're in a creepy corner of the Witchville Cemetery, surrounded by silent tombstones. An iron gate opens to the east, and a narrow lane wanders north.\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears.\n\n> You go east\nClang! A sudden gust of wind blows the iron gate shut in your face.\n\nYou can hear misty voices giggling all around you, and a loud \"click\" as the gate locks.\n\nGiggling with mischievous Glee, the eldritch vapors clutch your legs and cover your eyes with their luminous hands. The ground falls away beneath your feet as the foggy fiends lift you high above the treetops, scatter your possessions and carry you screaming into the night.\n\nYou come to your senses empty-handed and aching all over.\n\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\nThe night is filled with rhythmic thunder, and a platoon of gigantic leather army boots marches into view. It's the Boot Patrol again!\n\nYou're immediately surrounded, tied, gagged and dragged before an especially tall Boot. \"What!\" he cries. \"I thought you were locked up with Sgt. MacGuffin. Tsk, tsk.\"\n\nYou're thrown into an especially smelly Boot and carried, kicking and screaming, to the lobby of the Police Station.\n\nSgt. MacGuffin glares at you as the boots dump you on the floor. His eyes narrow when he sees you. \"Well, well. If it isn't the disappearing mail clerk.\" You open your mouth to reply, but a vicious little kick changes your mind. \"The Tower wants a chat with this troublemaker.\"\n\n\"The sharks are getting restless,\" remarks the Tall Boot hopefully.\n\nSgt. MacGuffin smirks. \"So is the Evil One.\"\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk against the wall."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, changing environment, platypi, zorkian, kids]\n\n> You look at your surroundings\nYou're in a smelly underground chamber. Cold tunnels wander away to the north and east, and there's a dark hole in the south wall.\n\nYou can see a small stone, a silver whistle, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note and a leaflet here.\n\n> You see the tombstone\nThe tombstone next to the open grave has your name on it!\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, platypi, fantasy, kids, kid-friendly]\n\n> Go downwards\nThe eldritch vapors moan with disappointment as you escape their misty clutches.\n\nYou're at the bottom of an open grave, surrounded by six-foot walls of dirt. Luminous ribbons of mist are swarming overhead, and a dark hole is visible in the north wall.\n\n> Go north\nYou're in a dirty underground chamber. Long tunnels wander away to the north and east, and there's a dark hole in the south wall.\n\nYou can see a small stone, a silver whistle, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note and a leaflet here.\n\n> You get all\nThe small stone: Taken.\nThe silver whistle: Taken.\nThe umbrella: Taken.\nThe horseshoe: Taken.\nThe bottle: Taken.\nThe candle: Taken.\nThe violet note: Taken.\nThe leaflet: Taken.\n\nThe small stone begins to glow again.\n\n> Go north\nYou're in a dirty underground chamber. Long tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> Go upward\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness.\n\n> You go north\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> Go north\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nYou can hear the tramp of marching boots to the north.\n\n> You go inside\nYou're standing inside an abandoned old church. The aisles are littered with debris and bits of colored glass; everything is coated with a thick layer of dust.\n\n> You see the nook\n(If you're really stuck, maps and InvisiClues (TM) Hint Booklets are available using the order form that came inside your Wishbringer package.)\n\n(Sorry, but the word \"nook\" is not in the vocabulary that you can use.)\n\n> Leave\nThis is the northern side of the Witchville Rotary. A road leads north, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\n> Go south\nYou're outside the cottage of Miss Voss, the former town librarian. The road turns north toward the village, and bends upward to the summit of Post Office Hill.\n\nAn angry hellhound is blocking your path.\n\nYou can smell the hellhound's hot breath as it roars.\n\n> You give the note to the hellhound\nThe hellhound tests the violet note with its tongue, drops it on the road and turns to roar at you again.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You get the note\nThe hellhound won't let you pick it up!\n\nYou can hear the hellhound's sharp, bloody fangs snapping as it nips your heels.\n\n> You give the whistle to the hellhound\nThe hellhound tests the silver whistle with its tongue, drops it on the road and turns to roar at you again.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You give the milk to the hellhound\nYou'll have to take grue milk out of the bottle first.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You give the bottle to the hellhound\nThe hellhound tests the bottle with its tongue, drops it on the road and turns to roar at you again.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You go north\nThe hellhound roars a threat as you back away.\n\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\n> R.\n(What do you want to r?)\n\n> You ask Voss about the tickets\nYou'll have to buy one from Miss Voss.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You see the schedule\nThe schedule says:\n\nOPEN ALL NIGHT!\nALL SHOWS ONE GOLD COIN\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You ask Voss about Corky\n(Mr. Crisp hates it when you use that name!)\n\n> You ask Voss about Crisp\n\"I don't have time for idle chatter,\" she replies.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You see whistle\nThe silver whistle is shaped like a platypus.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nThe silver whistle's music echoes over the lake, rippling the water with gentle Magick. A sudden gust of wind blows through your hair. You can see the soft outline of Misty Island drawing closer as you streak across the waves...\n\nYou're standing on a fog-shrouded beach. Sheer cliff walls rise to the north and south, and the dark waters of the lake stretch eastward.\n\nTo the west stands a magnificent castle, its parapets rising high into the mist. Golden light streams invitingly through the open entrance. You can hear friendly voices and music inside.\n\n> You go to the west\nYou're standing in a long, high-ceilinged chamber. Hundreds of platypuses are milling about with teacups in their paws, their faces illuminated by a roaring fireplace.\n\nAt the far end of the chamber stands a mighty throne. It's occupied by a snow-white platypus with a gold crown on its head and a jeweled scepter in its paw. On the floor near the throne is another crowned platypus... the same one you rescued from the pit.\n\nThe crowd falls silent as you enter.\n\n\"Welcome, brave Adventurer,\" says the white platypus, rising from its throne to greet you. \"I am Anatinus, King of Misty Island. My court thanks you most humbly for rescuing the life of my daughter, Princess Tasmania. Great would our sorrow have been if not for your cunning.\"\n\nThe crowd applauds politely, and Princess Tasmania blushes.\n\n> You see the King\n(Presumably, you mean King Anatinus.)\nNot unexpectedly, King Anatinus is arrayed in high platypus fashion.\n\n\"My messengers have told me of your quest,\" continues King Anatinus. \"Allow me to repay your kindness with words of advice.\"\n\nThe old platypus motions you to his side. \"The Tower of the Evil One is formidable,\" he begins in a low, serious voice. \"You will never get inside unaided. Legends speak of a Magick Word that can open the gates of the Tower. But what Word it is, none can say.\"\n\nThe king reaches beneath his throne and takes out a small wizard's hat. \"Take this,\" he says, holding it out to you.\n\n> You see Hat\nThe wizard's hat is decorated with foil stars and cheap glitter.\n\n\"I offer you this Hat,\" says King Anatinus, holding it out to you.\n\n> You take Hat\nTaken.\n\n(Your score just went up by 1 point! Your total score is 53 out of 100.)\n\n\"Take it to the sea,\" King Anatinus whispers as you turn the hat in your hands. \"There you will find a creature learned in the lore of Magick. Heed him well! In his wisdom lies your only hope.\"\n\n> You wear Hat\nBut the wizard's hat is much too small!\n\nA fanfare of trumpets breaks the silence, and the crowd falls to its knees.\n\n\"Good luck to you, brave Adventurer!\" cries King Anatinus, bowing deeply. \"Now blow into the silver whistle one more time, and deliver us from the horror of the Evil One.\"\n\nThe platypuses look at you expectantly.\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nA sudden gust of wind rises out of nowhere, and Misty Island falls away beneath your feet. You feel the silver whistle slip from your hand as you streak across the lake...\n\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\n> You see Hat\nThe wizard's hat is decorated with foil stars and cheap glitter.\n\n> Go east\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You wait a while\nTime passes.\n\nYou can hear the tramp of marching boots to the north.\n\n> You go to the north\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\nYou can hear the tramp of marching boots to the west.\n\n> You give Hat to the pelican\nThe pelican sniffs the wizard's hat suspiciously. Its eyes open wide with interest, and the wizard's hat quickly finds a place on the pelican's head. Then the old bird gives you a sly, knowledgeable wink.\n\nAll at once the lighthouse blazes to life! Its shining beacon whirls like a gyroscope, and a pencil-thin beam of light pierces the sky and traces a word on a passing cloud: SORKIN.\n\nThe pelican spreads its wings and soars away over the bay. As the beam of the lighthouse fades, a voice in your head whispers, \"Good luck, brave Adventurer!\"\n\n(Your score just went up by 5 points! Your total score is 58 out of 100.)\n\n> You ask Voss about ticket\nYou'll have to buy one from Miss Voss.\n\n> You ask the gravedigger about the ticket\nThe gravedigger doesn't respond. He seems to be a bit hard of hearing.\n\nYou can hear the tramp of marching boots outside.\n\n> You ask gravedigger about the vapors\nThe gravedigger doesn't respond. He seems to be a bit hard of hearing.\n\n> You enter the carton\nThat's impossible.\n\n> Inventory\nYou're holding a leaflet, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella and a small stone (providing light).\n\nYou can hear the tramp of marching boots outside.\n\n> You go to the north\nThe gravedigger blocks your path. \"No ticket, no movie.\"\n\n> You drink the milk\nYou'd have to open the bottle to do that.\n\n> You give the note to the gravedigger\n\"No, thanks,\" he says, shaking his head. \"Got enough junk already.\""
    },
    {
        "text": "> You look around\nYou're standing in the lobby of the movie theater. A short corridor leads north into darkness. Sound effects and music can be heard drifting down the corridor.\n\nThe gravedigger is standing near the corridor, a large cardboard carton at his feet.\n\n> You look in the carton\nIt's empty.\n\n> Crawl\n(Do you have any particular direction in mind?)\n\n> You crawl north\nThe gravedigger blocks your path. \"Ticket, please.\"\n\nYou can hear the tramp of marching boots outside.\n\n> You look in the water\nYou can see a piranha in the fountain.\n\n> You go to the north\nThis is where the lake empties into the Witchville River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\n(It's 12:00 am. Better hurry! You've only got 6 hours before the moon sets!)\n\n> Go inside\nYou're in a smelly underground chamber. Cold, damp tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> Go east\nYou're in a dark underground chamber. Cold tunnels wander away to the south, east and west.\n\n> Go south\nYou're in a smelly underground chamber. Cold tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\n> You drop all\nThe leaflet: Dropped.\nThe violet note: Dropped.\nThe candle: Dropped.\nThe bottle: Dropped.\nThe horseshoe: Dropped.\nThe umbrella: Dropped.\nThe small stone: Dropped.\n\nThe small stone stops glowing.\n\n> Go upward\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're locked inside a damp, uncomfortable jail cell. Its thick steel door and stone walls offer little hope for escape.\n\nThe only furnishing is a hard bunk in the middle of the floor.\n\nThere's a dark, narrow hole in the floor.\n\n> You see the door\nThe lock on the cell door is very secure.\n\n> Search bunk\nThe bunk doesn't look very sanitary.\n\nYou can hear somebody howling with pain from the corridor outside.\n\n> You look out\n(What do you want to look out?)\n\n> Bars\nThe lock on the cell door is very secure.\n\nYou can hear an agonized cry from the corridor outside.\n\n> You open the door\nIt seems unlikely that Sgt. MacGuffin would lend you the key.\n\n> You listen\nYou can hear sounds of violence from the corridor outside.\n\nYou can hear evil voices down the corridor.\n\n> You hit the door\nThe lock on the cell door is very secure.\n\nYou can hear sounds of violence from the corridor outside.\n\n> You check what you're carrying\nYou're not holding anything.\n\nThe evil voices down the corridor laugh among themselves."
    },
    {
        "text": "> Go down\nWith great effort, you manage to squeeze yourself into the hole.\n\nYou're in a damp underground chamber. Cold tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\nYou can see a small stone, an umbrella, a horseshoe, a bottle, a candle (providing light), a violet note and a leaflet here.\n\n> You take all\nThe small stone: Taken.\nThe umbrella: Taken.\nThe horseshoe: Taken.\nThe bottle: Taken.\nThe candle: Taken.\nThe violet note: Taken.\nThe leaflet: Taken.\n\nThe small stone begins to glow again.\n\n> You read the leaflet\nIt seems to be a junk-mail ad for a primitive computer game. The cancelled stamp on the leaflet is too faded to read clearly.\n\n> You squeeze Stone\nThat would be a pointless thing to do.\n\n> Yes\nTalking to yourself is said to be a sign of impending mental collapse.\n\n> You take the stamp\n(Presumably, you mean the leaflet.)\nYou're already holding it.\n\n> You remove the stamp\n(Presumably, you mean the leaflet.)\nYou aren't wearing that!\n\n> Smell milk\nThe fumes make you queasy.\n\n> Close milk\nHow can you do that to grue milk?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, changing environment, kid-friendly, platypi]\n\n> You describe your surroundings\nYou're in a dirty underground chamber. Cold tunnels wander away to the north and west.\n\nFaint light is streaming in from a narrow hole overhead.\n\n> Go north\nYou're in a dark underground chamber. Cold tunnels wander away to the south, east and west.\n\n> Go west\nYou're in a dark underground chamber. Cold, damp tunnels wander away to the south and east.\n\nThe surrounding walls are almost obscured by the roots of a mighty tree. Feeble light streams in from an opening overhead.\n\n> Go upward\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness.\n\n> You see the Village\nThe village is too far away to make out much detail.\n\nThe vulture is circling high overhead.\n\n> You see the vulture\nIts steady gaze makes you uneasy.\n\n> You pour the milk on the gravedigger\nThe grue milk splashes all over the place.\n\n> You drink the milk\nSlurp! All gone.\n\nYou can feel little icky things sliding down your throat.\n\n> You wait\nTime passes.\n\n(The grue milk is lurking in your stomach. If you want to make a wish, you'd better make it snappy!)\n\n> You wait awhile\nTime passes.\n\n(The taste of the grue milk is starting to wear off. Wish now, or forever hold your peace!)\n\n> You wait\nTime passes.\n\n(Thankfully, the icky taste of grue milk is gone.)\n\n> You see the milk\nThe grue milk is dark brown, with little icky things lurking in it.\n\n> Close bottle\nIt's already closed.\n\n> You see the gravedigger\nNo doubt about it. He's the town gravedigger, looking stiff and uncomfortable in his new usher's uniform.\n\n> You go south\nThere's no exit that way.\n\nYou can hear the tramp of marching boots outside.\n\n> You see the sand\nYou rubbed out all the markings in the sand.\n\n> You dig the sand\n(What do you want to dig the sand with?)\n\n> You go south\nThe cemetery is a creepy place, especially at night. Are you sure you want to go in there?\n\n> Yes\nYou have been warned.\n\nThe trees here are so thick, it's almost too dark to see! You can make out an open iron gate to the north, and a narrow lane between the tombstones winds off to the east.\n\nAs you glance around you notice luminous ribbons of mist darting among the tombstones. The air is filled with sinister voices.\n\n(It's 1:00 am. Better hurry! You've only got 5 hours before the moon sets!)\n\n> You go to the south\nThe tombstones block your path.\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears.\n\n> Go east\nA copse of willow trees makes this part of the cemetery look really spooky. Narrow lanes wander south and west.\n\nThere's an open grave nearby, freshly dug, with a tombstone erected next to it.\n\nThe luminous mists suddenly condense into a cloud of eldritch vapors! Circling like sharks, they stroke your face with ghostly fingers and whisper dreadful secrets into your ears.\n\n> Go east\nThe tombstones block your path.\n\nGiggling with mischievous Glee, the eldritch vapors clutch your legs and cover your eyes with their luminous hands. The ground falls away beneath your feet as the foggy fiends lift you high above the treetops, scatter your possessions and carry you screaming into the night.\n\nYou come to your senses empty-handed and aching all over.\n\nYou're standing at the summit of a high, barren hill. Looking east, you can see Witchville Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree. An opening in the stump leads down into darkness."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kids, fantasy]\n\n> You look around\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\n(It's 1:00 am. Better hurry! You've only got 5 hours before the moon sets!)"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, kids, kid-friendly, changing environment]\n\n> Go downward\nYou can't go that way.\n\nThe vulture can be seen circling high overhead.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You go to the east\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You go to the south\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the east.\n\n> You wait a while\nTime passes.\n\nYou can hear the tramp of marching boots to the north.\n\n> Go east\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights, curious electronic sounds and a neon sign beckon you through the open entrance.\n\n> You go to the south\nThis old building is the home of a sleazy arcade, lined with coin-op video games. The machines are crowded with half-crazed, stunted humanoids, who pay no attention to you as they satisfy their thirst for electric violence.\n\nOne machine in the corner appears to be deserted.\n\nA sign on the wall says, \"All Games One Token.\"\n\nA vague electrical smell quickly fades.\n\n> You move the joystick to the the south\nNothing exciting happens.\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in an incandescent aura. You can feel your molecules being taken apart one at a time, analyzed, modulated and broadcast through space. It is not a pleasant sensation.\n\nThis is the south side of the Witchville Rotary. A road branches south, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\n> You see star\nThe blinking star is now centered over square D-2 on the map.\n\nYou can hear the tramp of marching boots to the north.\n\n> Yes\nThe stunted humanoids in the arcade watch you carefully as your hand touches the flashing button. This might be a trap! You don't really want to press that big red button, do you?\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in an incandescent aura. You can feel your molecules being taken apart one at a time, analyzed, modulated and broadcast through space. It is not a pleasant sensation.\n\nYou are standing in an open field west of a white house, with a boarded front door.\n\nThere's a squashed can here.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\n> You go east\nThe front door is securely closed.\n\n> You go to the west\nA subtle pressure against your body prevents you from moving that way.\n\n> You go south\nYour feet seem unwilling to move in that direction.\n\n> You squeeze can\nYou squashed the metal can flat when you removed the false bottom.\n\n> You search the house\nYou find nothing extraordinary.\n\nYou can hear the tramp of marching boots to the north.\n\n> You get the house\nThat's impossible.\n\n> You go around the house\n(Do you have any particular direction in mind?)\n\nYou can hear the tramp of marching boots to the north."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fantasy, magical stone, kids]\n\n> You look at what you're carrying with you\nYou're holding a brass token, a leaflet, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella, a silver\nwhistle and a small stone (providing light).\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You see hellhound\nThe hellhound is big enough to eat you whole, and willing to try.\n\nYou can hear the hellhound's sharp, bloody fangs snapping as it nips your heels.\n\n> You open the bottle\nOkay, the bottle is now open.\n\nThe hellhound circles you warily, snarling and growling with menace.\nIt looks as if it's getting ready to attack!\n\n> You give the bottle to the hellhound\nThe hellhound tests the bottle with its tongue, drops it on the road and turns to roar at you again.\n\nWith a savage leap, the hellhound lives up to its bloodthirsty reputation.\n\nYour score is 51 points out of 100, in 271 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> You go north\nThe hellhound roars a threat as you back away.\n\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the east.\n\n> Go north\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You go to the south\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the east.\n\n> You see whistle\nThe silver whistle is shaped like a platypus, and twinkles with gentle Magick.\n\n> You blow it\nA clear, sweet note stills the night with its beauty.\n\nThe silver whistle's music echoes over the lake, rippling the water with gentle Magick. A sudden gust of wind blows through your hair. You can see the soft outline of Misty Island drawing closer as you streak across the waves...\n\nYou're standing on a fog-shrouded beach. Sheer cliff walls rise to the north and south, and the dark waters of the lake stretch eastward.\n\nTo the west stands a magnificent castle, its parapets rising high into the mist. Golden light streams invitingly through the open entrance. You can hear friendly voices and music inside.\n\n> You go inside\nYou're standing in a long, high-ceilinged chamber. Hundreds of platypuses are milling about with teacups in their paws, their faces illuminated by a roaring fireplace.\n\nAt the far end of the chamber stands a mighty throne. It's occupied by a snow-white platypus with a gold crown on its head and a jeweled scepter in its paw. On the floor near the throne is another crowned platypus... the same one you rescued from the pit.\n\nThe crowd falls silent as you enter.\n\n\"Welcome, brave Adventurer,\" says the white platypus, rising from its throne to greet you. \"I am Anatinus, King of Misty Island. My court thanks you most humbly for rescuing the life of my daughter, Princess Tasmania. Great would our sorrow have been if not for your cunning.\"\n\nThe crowd applauds politely, and Princess Tasmania blushes.\n\n> You see the fireplace\nYou can see nothing interesting about it.\n\n\"My messengers have told me of your quest,\" continues King Anatinus. \"Allow me to repay your kindness with words of advice.\"\n\nThe old platypus motions you to his side. \"The Tower of the Evil One\nis formidable,\" he begins in a low, serious voice. \"You will never get inside unaided. Legends speak of a Magick Word that can open the gates of the Tower. But what Word it is, none can say.\"\n\nhat. \"Take this,\" he says, holding it out to you.\n\n> You see the King\n(Presumably, you mean King Anatinus.)\nNot unexpectedly, King Anatinus is arrayed in high platypus fashion.\n\n\"Take this Hat,\" says King Anatinus, holding it out to you.\n\n> You take Hat\nYou're holding too many things already!\n\n\"I offer you this Hat,\" says King Anatinus, holding it out to you.\n\n> You drop the leaflet\nDropped.\n\n\"This Hat is for you. Take it,\" says King Anatinus, holding it out to you.\n\n> You see Princess\n(Presumably, you mean Princess Tasmania.)\nNot unexpectedly, Princess Tasmania is arrayed in high platypus fashion.\n\nThe King Anatinus glares at you with annoyance.\n\n\"You dare to ignore a royal gift?\" he cries, deeply offended. \"I see. Perhaps a short visit to the granola mines will teach you some respect!\"\n\nThe King turns you into a platypus with an angry wave of his scepter, and the guards lead you away to twenty years of backbreaking labor.\n\nYour score is 51 points out of 100, in 284 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> You take Hat\nTaken.\n\n(Your score just went up by 1 point! Your total score is 52 out of 100.)\n\n\"Take it to the sea,\" King Anatinus whispers as you turn the hat in your hands. \"There you will find a creature learned in the lore of Magick. Heed him well! In his wisdom lies your only hope.\"\n\n> Bow\n(What do you want to bow to?)\n\n> King\n(Presumably, you mean King Anatinus.)\nGraciously, King Anatinus acknowledges your respectful attention.\n\nA fanfare of trumpets breaks the silence, and the crowd falls to its knees.\n\n\"Good luck to you, brave Adventurer!\" cries King Anatinus, bowing deeply. \"Now blow into the silver whistle one more time, and deliver\nus from the horror of the Evil One.\"\n\nThe platypuses look at you expectantly.\n\n> Kiss Princess\n(Presumably, you mean Princess Tasmania.)\nIt's not likely that King Anatinus would approve.\n\n\"The merest blow into the whistle will speed you on your quest,\" says King Anatinus.\n\n> Kiss king\n(Presumably, you mean King Anatinus.)\nIt seems unlikely that King Anatinus would approve.\n\n\"You need only blow into the whistle,\" says King Anatinus.\n\n> Pet King\n(Presumably, you mean King Anatinus.)\nFiddling with King Anatinus has no effect.\n\n\"Blow into the whistle, and your quest will continue,\" says King Anatinus.\n\n> You get King\n(Presumably, you mean King Anatinus.)\nThat's impossible.\n\nThe King Anatinus glares at you with annoyance.\n\n\"You dare to ignore a royal command?\" he cries, deeply offended. \"I see. Perhaps a short visit to the granola mines will teach you some respect!\"\n\nThe King turns you into a platypus with an angry wave of his scepter, and the guards lead you away to twenty years of backbreaking labor.\n\nYour score is 52 points out of 100, in 289 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nA sudden gust of wind rises out of nowhere, and Misty Island falls\naway beneath your feet. You feel the silver whistle slip from your\nhand as you streak across the lake...\n\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\n> You check what you're carrying\nYou're holding a wizard's hat, a brass token, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella and a small\nstone (providing light).\n\n> Go north\nThis is the northern side of the Witchville Rotary. A road leads\nnorth, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\n> You go to the north\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You enter\nYou're standing inside an abandoned old church. The aisles are\nlittered with debris and bits of colored glass; everything is coated with a thick layer of dust.\n\n> Leave\nThis is the northern side of the Witchville Rotary. A road leads\nnorth, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nThe vulture is circling high overhead.\n\n> Go south\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\nThe vulture is watching you from high overhead.\n\n> You go to the east\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights,\ncurious electronic sounds and a neon sign beckon you through the open entrance.\n\n> Go east\nThe sea-worn planks of the Witchville Pleasure Wharf end abruptly a\nfew feet to the east. You're surrounded by the dark, shark-infested waters of Witchville Bay.\n\n> You go to the east\nThe sharks would gobble you up if you tried that!\n\n> Swim\n(Presumably, you mean in the water.)\nYou'd probably drown in the bay if you went that way.\n\n> Go south\nThis is the northern side of the Witchville Rotary. A road leads\nnorth, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nThe vulture hovers in the sky high overhead.\n\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\n> You go to the south\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\n> You go south\nYou're outside the cottage of Miss Voss, the former town librarian.\nThe road turns north toward the village, and bends upward to the\nsummit of Post Office Hill.\n\nAn angry hellhound is blocking your path.\n\nYou can smell the hellhound's hot breath as it roars.\n\n> You put Hat on the hellhound\nThere's no good surface on the hellhound.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You see the bird\nIt's a fat old bird with a droopy beak and half-closed eyes.\n\nThe vulture can be seen circling high overhead.\n\n> You put Hat on vulture\nThe vulture is much too high.\n\n> You put Hat on the pelican\nThe pelican sniffs the wizard's hat suspiciously. Its eyes open wide with interest, and the wizard's hat quickly finds a place on the pelican's head. Then the old bird gives you a sly, knowledgeable wink.\n\nAll at once the lighthouse blazes to life! Its shining beacon whirls like a gyroscope, and a pencil-thin beam of light pierces the sky and traces a word on a passing cloud: SORKIN.\n\nThe pelican spreads its wings and soars away over the bay. As the beam of the lighthouse fades, a voice in your head whispers, \"Good luck, brave Adventurer!\"\n\n(Your score just went up by 5 points! Your total score is 57 out of 100.)\n\n> Inventory\nYou're holding a brass token, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella and a small stone\n(providing light).\n\n> You see the lighthouse\nIt's really just an automated beacon, erected by the town to impress tourists. There aren't any entrances or openings.\n\n> West\nThis is the south side of a covered bridge that spans the Witchville River. Paths lead off to the east and west, and a road leads south to the village.\n\nA dead branch is lying on the ground.\n\nThe vulture eyes you suspiciously from high overhead.\n\n> You go inside\n\"You won't get far without a ticket!\" cries Miss Voss.\n\nYou're standing in the lobby of the movie theater. A short corridor leads north into darkness. Sound effects and music can be heard drifting down the corridor.\n\nThe gravedigger is standing near the corridor, a large cardboard\ncarton at his feet.\n\n> Go east\nYou're standing near the remains of the Pleasure Wharf. The Wharf extends eastward into Witchville Bay.\n\nTo the south stands a ramshackle old building. Colorful lights,\ncurious electronic sounds and a neon sign beckon you through the open entrance.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You go to the south\nThis old building is the home of a sleazy arcade, lined with coin-op video games. The machines are crowded with half-crazed, stunted humanoids, who pay no attention to you as they satisfy their thirst\nfor electric violence.\n\nOne machine in the corner appears to be deserted.\n\nA sign on the wall says, \"All Games One Token.\"\n\n> You put Token in the machine\nThe brass token disappears into the slot.\n\nDing! You hear a pleasant electric chime, and a blinking star appears on the video screen.\n\n(Your score just went up by 1 point! Your total score is 58 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\nYou can hear the tramp of marching boots to the north.\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in\nan incandescent aura. You can feel your molecules being taken apart\none at a time, analyzed, modulated and broadcast through space. It is not a pleasant sensation.\n\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are a closed drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\n(Your score just went up by 5 points! Your total score is 63 out of 100.)\n\n> You see the moat\nThe moat is 20 feet wide and filled with black, oily water.\n\n> You see the window\nIt's wide open, and located a hundred feet above the moat.\n\n> Sorkin\nWith a great creak of wood and rattle of chains, the drawbridge slowly lowers across the moat.\n\n(Your score just went up by 3 points! Your total score is 66 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\n> Go inside\nYou're standing in a dimly-lit vestibule just inside the tower's entrance. The drawbridge is opened across the moat to the north. A short corridor leads south, into the tower.\n\n\"Turn back, brave Adventurer!\"\n\nYou stare in horror at the platypus chained to the floor. It's\nPrincess Tasmania!\n\n> You ask Princess about chains\n(Presumably, you mean Princess Tasmania.)\nA rumbling noise calls your attention away from the chain.\n\n\"Behind you!\" cries the Princess. \"It's a trap!\"\n\nToo late. The drawbridge crashes shut against the tower wall. You turn to face your enemy, and find yourself staring into the open maw of... Mr. Crisp!\n\n\"Nice of you to drop by,\" he sneers as a gigantic Boot pins you to the ground. \"Saves me the bother of tracking you down.\"\n\nYou're chained up in the corner of a dim, stuffy chamber, deep within the bowels of the tower. The walls gleam with obscure medical instruments, and a diabolical torture machine occupies most of the opposite corner.\n\nPrincess Tasmania is clamped into the torture machine!\n\nA ladder rises to meet an open hatch in the middle of the ceiling.\n\nMr. Crisp is strolling around dusting off the instruments.\n\n> Hello\nMr. Crisp reddens. \"Don't use that name in front of me!\"\n\n> You show the note to Crisp\nMr. Crisp takes the violet note and stares at it. His face turns pale. \"Where did this come from?\" he whispers, opening it.\n\nAn unbearably sweet expression spreads over his face as he reads. The violet note falls from his hands.\n\n\"I've got to run,\" Mr. Crisp cries, tossing his white lab coat into a corner and stuffing his shirttails into his pants. \"Violet scolds me when I'm late!\" He struggles into a hideous velvet blazer, pushes a comb through his hair and scampers up the ladder like a little boy.\n\nThe hatch closes with a hollow thud.\n\n> You get the note\nYou can't. Mr. Crisp dropped it out of your reach.\n\nYou hear the distant rattle of the drawbridge opening.\n\nPrincess Tasmania breathes a sigh of relief."
    },
    {
        "text": "> You look at your surroundings\nYou're chained up in the corner of a dim, stuffy chamber, deep within the bowels of the tower. The walls gleam with obscure medical instruments, and a diabolical torture machine occupies most of the opposite corner.\n\nPrincess Tasmania is clamped into the torture machine!\n\nA ladder rises to meet a closed hatch in the middle of the ceiling.\n\nYou can see a violet note and a white lab coat here.\n\nYou hear the distant rattle of the drawbridge closing.\n\nPrincess Tasmania strains against her clamps. \"Release me from this torture machine, brave Adventurer! The merest pull of the lever will gain my freedom.\"\n\n> You pull the lever\nYou can't reach the lever while you're chained up.\n\n\"Please! Pull down this lever and set me free,\" cries Princess Tasmania.\n\n> Inventory\nYou're holding a candle (providing light), a bottle, a horseshoe, an umbrella and a small stone (providing light).\n\n\"Only pull down this lever, and I shall be freed,\" cries Princess Tasmania.\n\n> Unlock chains\n(What do you want to unlock the chains with?)\n\n> You see the chains\nThe closed chain is securely bolted into the floor.\n\n> You pull the lever with the umbrella\n(That sentence didn't make sense. Please reword it or try something else.)\n\n> You see the lever\nTasmania is clamped. It can be pushed up or pulled down.\n\n\"Only pull down this lever, and I shall be freed,\" cries Princess Tasmania.\n\n> You throw the horseshoe at the lever\nYou can't reach the lever while you're chained up.\n\n\"The merest pull of the lever will gain my freedom,\" cries Princess Tasmania.\n\n> You take the coat\nThe chains cut painfully into your wrist as you strain to grasp the white lab coat. Your fingertips brush against the collar... There! You got it!\n\n\"The merest pull of the lever will gain my freedom,\" cries Princess Tasmania.\n\n> You look in the coat\nYou can see a rusty key in the white lab coat.\n\n> You take the key\nTaken.\n\n(Your score just went up by 3 points! Your total score is 69 out of 100.)\n\n\"Only pull down this lever, and I shall be freed,\" cries Princess Tasmania.\n\n> You unlock the chains with key\nOkay, the chain is now unlocked and open.\n\n(Your score just went up by 1 point! Your total score is 70 out of 100.)\n\n\"Please! Pull down this lever and set me free,\" cries Princess Tasmania.\n\n> You pull lever\nThe clamps on the torture machine retract, and Princess Tasmania leaps off. She's free!\n\n\"Again you spare my unworthy life, brave Adventurer.\" The platypus humbly licks your shoe, to your considerable embarrassment. \"My\nfather, King Anatinus, does not forget such kindness.\"\n\nThe little creature produces a silver whistle from her gown and blows into it gently. A clear, sweet note stills the night with its beauty.\n\n\"Your journey is not yet ended,\" she warns as a whirlpool of colored light envelops her. \"But even if you fail, your deeds shall live forever in our legends. Have faith!\"\n\nWhen the colors fade, Princess Tasmania is gone.\n\n> You read it\n(Your score just went up by 3 points! Your total score is 73 out of 100.)\n\nThe handwritten note says:\n\n\"Corky-Poo,\n\nI've got a plate of fresh oatmeal cookies waiting for you. Come over around sixish, and I'll show you my collection of Byron first\neditions, etc...\n\nPS: If my little poodle yaps at you, just say ALEXIS, HEEL and she'll behave.\""
    },
    {
        "text": "[Themes: Zorkian, Fantasy, magical stone, kids]\n\n> Look around\nYou're in a dim, stuffy chamber, deep within the bowels of the tower. The walls gleam with obscure medical instruments, and a diabolical torture machine occupies most of the opposite corner.\n\nA ladder rises to meet a closed hatch in the middle of the ceiling.\n\n> You see the instruments\nOne of the medical instruments is labeled, \"Frobozz Magic Truth Extractor Company.\" Gulp!\n\n> You take the instrument\nBetter keep away from the medical instruments. You might hurt\nsomebody.\n\n> You see the machine\nThe torture machine has a lever that can be pushed up or pulled down. You can see nothing special inside.\n\n> You see the hatch\nThe hatch is closed.\n\n> You open hatch\nThe heavy hatch opens reluctantly.\n\n> Go upward\nYou're in a round chamber at the very heart of the tower. The clammy stone walls are hung with a series of paintings, all the same size and identically framed. Years of neglect have blackened the art almost beyond recognition.\n\nIn the corner is an open hatch. Peering downward, you see a ladder descending into gloom.\n\nA corridor disappears to the north, and a damp stairway winds upward into the tower.\n\n> You see the paintings\nThere are 13 paintings in the series. It seems to be a tragic sequence involving a beautiful princess and a wicked queen.\n\n> You go upward\nEverything around you appears blurry and fuzzy."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, zorkian, platypi, kids]\n\n> Go downwards\nIt's too blurred in that direction.\n\n> Go outside\nIt's too blurry in that direction.\n\n> Go north\nYou're standing in a dimly-lit vestibule just inside the tower's entrance. The drawbridge is closed against the north wall. A short corridor leads south, into the tower.\n\n> You open the drawbridge\nYou can't. The mechanism that controls the drawbridge is hidden.\n\n> You look behind the paintings\nthe wall.\n\n> You turn the crank\nAs you turn the metal crank you hear the distant rattle of the drawbridge opening.\n\n(Your score just went up by 1 point! Your total score is 74 out of 100.)\n\n> You go north\nYou're standing in a dimly-lit vestibule just inside the tower's entrance. The drawbridge is opened across the moat to the north. A short corridor leads south, into the tower.\n\n> You go north\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are an open drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nThe moment you take your foot off the drawbridge it swings up over the moat and closes with a mighty thud.\n\n> HEEL\nAlexis pricks up her ears at the sound of her name. She sits\nobediently at your feet, gently licks your hand and thumps her big\ntail happily.\n\n(Your score just went up by 5 points! Your total score is 79 out of 100.)\n\n> Enter\nThe cottage door is closed.\n\n> You go inside\nThe hellhound thumps its big tail happily as you pass.\n\nThis is the cottage of Miss Voss, the former town librarian. The walls are lined with timeworn books and dusty, faded photographs. Looks as\nif nobody's lived here for a long time.\n\nThere's a dusty bookcase with a steel key on it near the open front door. Somebody has scrawled a message in the dust on the bookcase.\n\n> You read the message\nThe scrawled message is enclosed in a heart-shaped outline. It says,\n\nVIOLET + CORKY\nXXXX\n\n> You take the key\nTaken.\n\n(Your score just went up by 3 points! Your total score is 82 out of 100.)\n\n> You go to the west\nYou're outside the cottage of Miss Voss, the former town librarian.\nThe road turns north toward the village, and bends upward to the\nsummit of Post Office Hill.\n\nA happy hellhound is thumping its tail nearby.\n\n> You go north\nThe hellhound thumps its big tail happily as you pass.\n\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> Wait\nTime passes.\n\nThe vulture hovers in the sky high overhead.\n\nYou can hear the tramp of marching boots to the north.\n\n> You go north\nThe hellhound thumps its big tail happily as you pass.\n\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\nYou can hear the tramp of marching boots to the east.\n\n> You unlock Library with the steel key\nYou can't unlock a library!\n\n(It's 12:00 am. Better hurry! You've only got 6 hours before the moon sets!)\n\n> You unlock the door with the steel key\nOkay, the library door is now unlocked and open.\n\n(Your score just went up by 3 points! Your total score is 85 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\n> Go inside\nYou're standing before a large desk at the library entrance. The top\nof the desk is almost hidden under a clutter of books, all grey with dust.\n\nA dark corridor leads south into darkness. The library door stands invitingly open.\n\n> You close the door\nOkay, the library door is now closed.\n\nYou hear a faint \"click\" as somebody locks the library door from the outside.\n\nThe candle flares brightly, and then fizzles out.\n\n> You see the books\nof years long past. Dust covers them equally, regardless of merit.\n\n> You go to the south\nFormerly a popular tourist attraction, the old Festeron Museum is in a sorry state. Many of the best exhibits have been carted away; the few remaining are sorely in need of renovation.\n\n> You blow on the books\nFortunately, one of your childhood favorites is still intact. It's a pair of enormous fossil mailboxes, their metal bones locked together\nin a pose of eternal combat.\n\nThere's a glass display case in the corner. You can see a sculpture in the case.\n\n(That sentence didn't make sense. Please reword it or try something else.)\n\n> You see the sculpture\nThe black marble sculpture is about 14 inches high. It's exquisitely crafted in the likeness of a cat.\n\nYou can see a round, shallow hole carved into the forehead of the sculpture.\n\n> Hello\nYou can't reach inside the closed display case.\n\nTalking to yourself is said to be a sign of impending mental collapse.\n\n> Open case\nYou can't do that. It's locked.\n\n> Break case\n(with your hand)\nThe display case is still intact, but your hand isn't. Ouch!\n\n> You see the mailboxes\nThere's something disturbingly familiar about the fossil exhibit.\n\n> You open mailboxes\nYou'd probably damage the priceless fossil exhibit if you tried that!\n\n> Go north\nYou're standing before a large desk at the library entrance. The top\nof the desk is almost hidden under a clutter of books, all grey with dust.\n\nA dark corridor leads south into darkness. The library door is closed.\n\n> You look behind the desk\nThere's nothing behind the circulation desk.\n\nYou can hear the tramp of marching boots outside.\n\n> You see the door\nIt looks like the library door is closed.\n\n> Go south\nFormerly a popular tourist attraction, the old Festeron Museum is in a sorry state. Many of the best exhibits have been carted away; the few remaining are sorely in need of renovation.\n\nFortunately, one of your childhood favorites is still intact. It's a pair of enormous fossil mailboxes, their metal bones locked together\nin a pose of eternal combat.\n\nThere's a glass display case in the corner. You can see a sculpture in the case.\n\n> Break case with horseshoe\nCrash! You broke the display case open with the horseshoe.\n\nThe tinkle of broken glass is drowned out by the blare of an electric security alarm! You stand frozen with fear as Sgt. MacGuffin strides into the Museum and drags you to the Tower, where you're subjected to months of slow, painful torture at the skilled hands of the Evil One.\n\nYour score is 85 points out of 100, in 426 moves.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n\"Behind you!\" cries the Princess. \"It's a trap!\"\n\nToo late. The drawbridge crashes shut against the tower wall. You turn to face your enemy, and find yourself staring into the open maw of Thermofax.\n\nOnly your Magick sword can save you now. You swing it high, speak the Word and stand unhurt as the blade absorbs the searing dragon-breath.\n\nThe reptile bellows with rage and flaps its wings to fan the fire in its belly. You are advancing, sword poised to strike, when a familiar voice shatters the daydream and stays your mighty hand...\n\nCopyright (C)1985 Infocom, Inc. All rights reserved.\n\nYou're on a hilltop overlooking the seaside village of Festeron.\n\nTo the south stands the Festeron Post Office. It's a little brick building with a neatly-trimmed lawn. The Post Office door stands invitingly open.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nSomebody inside the Post Office is calling you.\n\nOkay, what do you want to do now?\n\n> Inventory\nYou're holding a steel key, a violet note, a rusty key, a white lab coat (being worn), a candle (providing light), a bottle, a horseshoe, an umbrella and a small stone (providing light).\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!\n\n> You see Alexis\nThe hellhound is thumping its big tail happily.\n\n> You search Alexis\nBut Alexis might resent that.\n\n> Pet Alexis\nThe hellhound seems to enjoy your attention.\n\n> You see the collar\n(Presumably, you mean the white lab coat.)\nThe white lab coat isn't as clean as the one your doctor wears.\n\n> You wish for the luck\nThe Stone of Dreams brightens as you speak the Wish, and the edges of the horseshoe begin to twinkle with Luck.\n\nThe vulture hovers high overhead.\n\n> You see the horseshoe\nThe horseshoe is twinkling with lucky Magick.\n\n> You go west\nThe hellhound thumps its big tail happily as you pass.\n\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are a closed drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\n> You go north\nThe hellhound thumps its big tail happily as you pass.\n\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\n> Go north\nYou're standing in a circular park, surrounded by the Witchville Rotary. Walks converge from four directions on a neglected marble fountain, filled with greasy water.\n\nA statue stands in the middle of the fountain.\n\nYou can hear the tramp of marching boots to the north.\n\n> You wish for the darkness\nThe air becomes very still as you speak the Wish. The gravedigger frowns, blinks his eyes and looks around nervously.\n\nAll at once a terrifying shadow sweeps across the surface of Wishbringer. The candle flame withers and dies, plunging the room into total darkness.\n\n\"Who turned out the lights?!\" cries the gravedigger, stumbling around the pitch-black lobby in terror.\n\n(Thankfully, the icky taste of grue milk is gone.)\n\n> Go north\nThe gravedigger cries, \"Don't leave me alone!\"\n\nIt is pitch black.\n\nAs suddenly as it faded, the light from Wishbringer returns, and the candle flares back to life.\n\nThis is a movie theater unlike any you've ever seen! The seats are wide, deep and comfortable. The aisles are spotless. The air is clear of smoke, and the screen is dramatically large. A chill goes up your spine as you realize how alien your universe has become.\n\nThere's a noisy movie playing on the screen. A dark corridor leads out to the lobby.\n\nThe screen image is a meaningless blur of colored light.\n\n> You see the image\n(Presumably, you mean the movie screen.)\n\nAll you can see on the screen is a confusing double-image.\n\n> Search seats\nHmm. This place isn't completely spotless. You just discovered a used pair of 3D glasses under a seat.\n\nThe picture on the screen is fuzzy and hard to watch.\n\n> You wear the glasses\nYou're not holding the pair of 3D glasses.\n\nAll you can see on the screen is a confusing double-image.\n\n> You take the glasses\nTaken.\n\n(Your score just went up by 3 points! Your total score is 88 out of 100.)\n\nThe screen image is a meaningless blur of colored light.\n\n> You wear the glasses\nWow! As you put on the glasses the picture on the screen fuses into a solid, 3-dimensional image.\nThe movie screen shows an evil woman squinting through an antique telescope. A laboratory full of bubbling 3D chemicals is visible in\nthe background.\n\n> You see the woman\nShe's a dark, sinister being with terrible eyes!\n\nher ear. An evil eyebrow rises slowly as she listens.\n\n> You watch the film\nThe old woman swings the 3D antique telescope around (narrowly missing your nose) and peers into it again. A point-of-view shot reveals what the 'scope is focused on: a small movie theater, remarkably similar to the one you're in right now.\n\n> You see the telescope\nThe antique telescope is pointing out the window.\n\nThe antique telescope zooms in on the entrance to the movie theater. A dead ringer for Miss Voss looks up and waves timidly at the camera.\n\n> You see the vulture\nIts steady gaze makes you uneasy.\n\nThe old woman stalks across the lab to a panel of heavy-duty power switches. As the camera follows, you catch a fleeting 3D glimpse of a black cat sleeping in the corner of the lab.\n\n> You see the cat\nShe's black as night from head to tail, and sound asleep.\n\nThe old woman selects a power switch labeled \"Palace Theater\" and\nopens it with a diabolical cackle. A 3D arc of electricity leaps from the screen, and a shower of sparks seems to engulf the movie\ntheater...\n\nPoof! The image on the screen goes black. The soundtrack slowly grinds to a halt.\n\n> You see Stone\nThe small stone glows with an eerie violet-white radiance.\n\n> You ask Voss about the cat\n\"I'm not paid to chatter with you,\" she replies.\n\nYou can hear the tramp of marching boots to the east. It sounds as if they're coming this way!"
    },
    {
        "text": "> You look around\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are an open drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nThe vulture hovers in the sky high overhead."
    },
    {
        "text": "> You look at your surroundings\nYou are standing in an open field west of a white house, with a\nboarded front door.\n\nThere's a squashed can here."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fantasy, changing environment]\n\n> You look at your surroundings\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are an open drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\n> You go to the east\nYou're outside the cottage of Miss Voss, the former town librarian.\nThe road turns north toward the village, and bends upward to the\nsummit of Post Office Hill.\n\nAn angry hellhound is blocking your path.\n\nYou can smell the hellhound's hot breath as it roars.\n\n> Go upwards\nThe hellhound roars a threat as you back away.\n\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are an open drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\n> HEEL\nThe hellhound decides that you're only guessing its name, and roars\nall the louder.\n\n> Go south\nThis old building is the home of a sleazy arcade, lined with coin-op video games. The machines are crowded with half-crazed, stunted humanoids, who pay no attention to you as they satisfy their thirst\nfor electric violence.\n\nOne machine in the corner appears to be deserted.\n\nA sign on the wall says, \"All Games One Token.\"\n\nA vague electrical smell quickly fades.\n\n> You see the screen\nThe video screen displays a map of Witchville Village. A grid divides the map into 13 squares. The words \"Insert Token To Play\" are\nscrolling across the top of the screen.\n\n(You'll find the map inside your Wishbringer package.)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, zorkian, magical stone, fantasy]\n\n> Look around\nYou're outside the cottage of Miss Voss, the former town librarian.\nThe road turns north toward the village, and bends upward to the\nsummit of Post Office Hill.\n\nAn angry hellhound is blocking your path.\n\nThe hellhound glares at you through eyes red with hatred.\n\n> You go north\nThe hellhound roars a threat as you back away.\n\nThis is the south side of the Witchville Rotary. A road branches\nsouth, towards Post Office Hill.\n\nThe Witchville Public Library, once famous for its museum of local historic artifacts, stands in a pitiful state of disrepair.\n\n> You check what you're carrying\nYou're holding a brass token, a leaflet, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella, a silver\nwhistle and a small stone (providing light).\n\nYou can hear the tramp of marching boots to the east.\n\n> You wait for a while\nTime passes.\n\n\"My messengers have told me of your quest,\" continues King Anatinus. \"Allow me to repay your kindness with words of advice.\"\n\nThe old platypus motions you to his side. \"The Tower of the Evil One\nis formidable,\" he begins in a low, serious voice. \"You will never get inside unaided. Legends speak of a Magick Word that can open the gates of the Tower. But what Word it is, none can say.\"\n\nhat. \"Take this,\" he says, holding it out to you.\n\n> You get Hat\nYou're holding too many things already!\n\n\"This Hat is for you. Take it,\" says King Anatinus, holding it out to you.\n\n> Inventory\nYou're holding a brass token, a leaflet, a violet note, a candle (providing light), a bottle, a horseshoe, an umbrella, a silver\nwhistle and a small stone (providing light).\n\n> You drop the umbrella\nDropped.\n\n> Wait\nTime passes.\n\nA fanfare of trumpets breaks the silence, and the crowd falls to its knees.\n\n\"Good luck to you, brave Adventurer!\" cries King Anatinus, bowing deeply. \"Now blow into the silver whistle one more time, and deliver\nus from the horror of the Evil One.\"\n\nThe platypuses look at you expectantly.\n\n> Blow whistle\nA clear, sweet note stills the night with its beauty.\n\nA sudden gust of wind rises out of nowhere, and Misty Island falls\naway beneath your feet. You feel the silver whistle slip from your\nhand as you streak across the lake...\n\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\nThere's an umbrella here.\n\n> You get all\nThe sand: The sand slips away between your fingers.\nThe umbrella: Taken.\n\n> You eat the sand\nIt's doubtful that the sand would agree with you.\n\n> Go south\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see an open iron gate leading into the Witchville Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a narrow pit near the edge of the lake.\n\nThe vulture hovers in the sky high overhead.\n\n> You go north\nThis is the northern side of the Witchville Rotary. A road leads\nnorth, towards the river.\n\nOn the corner stands a broken-down old church that looks as if it hasn't been used for years.\n\nYou can hear the tramp of marching boots to the north.\n\n> Go north\nThe gravedigger cries, \"Don't leave me alone!\"\n\nIt is pitch black.\n\nAs suddenly as it faded, the light from Wishbringer returns, and the candle flares back to life.\n\nThis is a movie theater unlike any you've ever seen! The seats are wide, deep and comfortable. The aisles are spotless. The air is clear of smoke, and the screen is dramatically large. A chill goes up your spine as you realize how alien your universe has become.\n\nThere's a noisy movie playing on the screen. A dark corridor leads out to the lobby.\n\nAll you can see on the screen is a confusing double-image.\n\n> You look under the seat\nHmm. This place isn't completely spotless. You just discovered a used pair of 3D glasses under a seat.\n\nThe screen image is a meaningless blur of colored light.\n\n> You get the glasses\nTaken.\n\n(Your score just went up by 3 points! Your total score is 60 out of 100.)\n\nThe picture on the screen is fuzzy and hard to watch.\n\n> You wear the glasses\nWow! As you put on the glasses the picture on the screen fuses into a solid, 3-dimensional image.\n\nThe movie screen shows an evil woman squinting through an antique telescope. A laboratory full of bubbling 3D chemicals is visible in\nthe background.\n\n> You see movie\nher ear. An evil eyebrow rises slowly as she listens.\n\n> You wait\nTime passes.\n\nThe old woman swings the 3D antique telescope around (narrowly missing your nose) and peers into it again. A point-of-view shot reveals what the 'scope is focused on: a small movie theater, remarkably similar to the one you're in right now.\n\n> You wait a while\nTime passes.\n\nThe antique telescope zooms in on the entrance to the movie theater. A dead ringer for Miss Voss looks up and waves timidly at the camera.\n\n> Wait\nTime passes.\n\nThe old woman stalks across the lab to a panel of heavy-duty power switches. As the camera follows, you catch a fleeting 3D glimpse of a black cat sleeping in the corner of the lab.\n\n> You wait\nTime passes.\n\nThe old woman selects a power switch labeled \"Palace Theater\" and\nopens it with a diabolical cackle. A 3D arc of electricity leaps from the screen, and a shower of sparks seems to engulf the movie\ntheater...\n\nPoof! The image on the screen goes black. The soundtrack slowly grinds to a halt.\n\n> You put Token in the machine\nThe brass token disappears into the slot.\n\nDing! You hear a pleasant electric chime, and a blinking star appears on the video screen.\n\n(Your score just went up by 1 point! Your total score is 61 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\n> Yes\n(Hope you saved your story position.)\n\nA sudden power drain makes all the other games in the arcade go dim. Blue sheets of energy leap from the game machine, surrounding you in\nan incandescent aura. You can feel your molecules being taken apart\none at a time, analyzed, modulated and broadcast through space. It is not a pleasant sensation.\n\nYou're on a hilltop overlooking the seaside village of Witchville.\n\nA tower stands in bleak silhouette against the moonlit sky. It rises a hundred feet above a barren plateau, and is encircled by a deep moat. The only entrances are a closed drawbridge and a dark window near the top.\n\nRoads run down the hill to the east and west. There's a signpost nearby.\n\nA synthetic voice says, \"Game Over. Insert Token To Play Again.\"\n\n(Your score just went up by 5 points! Your total score is 66 out of 100.)\n\n> Sorkin\nWith a great creak of wood and rattle of chains, the drawbridge slowly lowers across the moat.\n\n(Your score just went up by 3 points! Your total score is 69 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\n> Hello\n(Presumably, you mean Princess Tasmania.)\nA rumbling noise calls your attention away from Princess Tasmania.\n\n(spoken to Princess Tasmania)\nA rumbling noise calls your attention away from Princess Tasmania.\n\n\"Behind you!\" cries the Princess. \"It's a trap!\"\n\nToo late. The drawbridge crashes shut against the tower wall. You turn to face your enemy, and find yourself staring into the open maw of... Mr. Crisp!\n\n\"Nice of you to drop by,\" he sneers as a gigantic Boot pins you to the ground. \"Saves me the bother of tracking you down.\"\n\nYou're chained up in the corner of a dim, stuffy chamber, deep within the bowels of the tower. The walls gleam with obscure medical instruments, and a diabolical torture machine occupies most of the opposite corner.\n\nPrincess Tasmania is clamped into the torture machine!\n\nA ladder rises to meet an open hatch in the middle of the ceiling.\n\nMr. Crisp is fondling the instruments, one by one.\n\n> You give the note to Crisp\nMr. Crisp takes the violet note and stares at it. His face turns pale. \"Where did this come from?\" he whispers, opening it.\n\nAn unbearably sweet expression spreads over his face as he reads. The violet note falls from his hands.\n\n\"I've got to run,\" Mr. Crisp cries, tossing his white lab coat into a corner and stuffing his shirttails into his pants. \"Violet scolds me when I'm late!\" He struggles into a hideous velvet blazer, pushes a comb through his hair and scampers up the ladder like a little boy.\n\nThe hatch closes with a hollow thud.\n\n> You get the coat\nYour load is too heavy.\n\nYou hear the distant rattle of the drawbridge opening.\n\nPrincess Tasmania breathes a sigh of relief.\n\n> You check your inventory\nYou're holding a pair of 3D glasses, an umbrella, a leaflet, a candle (providing light), a bottle, a horseshoe and a small stone (providing light).\n\nYou hear the distant rattle of the drawbridge closing.\n\nPrincess Tasmania strains against her clamps. \"Release me from this torture machine, brave Adventurer! The merest pull of the lever will gain my freedom.\"\n\n> You get the coat\nThe chains cut painfully into your wrist as you strain to grasp the white lab coat. Your fingertips brush against the collar... There! You got it!\n\n\"Only pull down this lever, and I shall be freed,\" cries Princess Tasmania.\n\n> Key\nYou'd have to be holding the rusty key to do that.\n\n\"Please! Pull down this lever and set me free,\" cries Princess Tasmania.\n\n> You get the key\nTaken.\n\n(Your score just went up by 3 points! Your total score is 72 out of 100.)\n\n\"Please! Pull down this lever and set me free,\" cries Princess Tasmania.\n\n> You unlock the chains with the key\nOkay, the chain is now unlocked and open.\n\n(Your score just went up by 1 point! Your total score is 73 out of 100.)\n\n\"Only pull down this lever, and I shall be freed,\" cries Princess Tasmania.\n\n> You open hatch\nThe heavy hatch opens reluctantly.\n\n\"The merest pull of the lever will gain my freedom,\" cries Princess Tasmania.\n\n> Go upwards\n\"Don't leave me here to die!\" mews Princess Tasmania.\n\nYou're in a round chamber at the very heart of the tower. The clammy stone walls are hung with a series of paintings, all the same size and identically framed. Years of neglect have blackened the art almost beyond recognition.\n\nIn the corner is an open hatch. Peering downward, you see a ladder descending into gloom.\n\nA corridor disappears to the north, and a damp stairway winds upward into the tower.\n\n> You pull down the lever\nThe clamps on the torture machine retract, and Princess Tasmania leaps off. She's free!\n\n\"Again you spare my unworthy life, brave Adventurer.\" The platypus humbly licks your shoe, to your considerable embarrassment. \"My\nfather, King Anatinus, does not forget such kindness.\"\n\nThe little creature produces a silver whistle from her gown and blows into it gently. A clear, sweet note stills the night with its beauty.\n\n\"Your journey is not yet ended,\" she warns as a whirlpool of colored light envelops her. \"But even if you fail, your deeds shall live forever in our legends. Have faith!\"\n\nWhen the colors fade, Princess Tasmania is gone.\n\n> You wear the glasses\nWow! As you put on the glasses the room fuses into a solid, 3-dimensional image.\n\nThe highest room in the tower is a laboratory, complete with bubbling chemicals and foul odors. An antique telescope is mounted near an open window to the north, and a control panel occupies most of the south wall.\n\nThe only exit is a damp stairway leading downward.\n\nA black cat is sound asleep in the corner.\n\nThere's a broom here.\n\n> You see the cat\nShe's black as night from head to tail, and sound asleep.\n\n> You look at what you're carrying with you\nYou're holding a rusty key, a white lab coat, a pair of 3D glasses (being worn), an umbrella, a candle (providing light), a bottle, a horseshoe and a small stone (providing light).\n\n> You see telescope\nThe antique telescope is pointing out the window.\n\n> You look through the telescope\nPeering through the antique telescope makes everything appear much closer.\n\n> You see the panel\nThe control panel is equipped with two large power switches.\n\n> You see the switches\nWhich switches do you mean, the first switch or the second switch?\n\n> You wake cat\nThe black cat wakes at the sound of your voice.\n\n> Hello\nThe black cat perks up its ears at the sound of your voice.\n\n> You get the cat\nYour load is too heavy.\n\n> You check your inventory\nYou're holding a rusty key, a white lab coat, a pair of 3D glasses (being worn), an umbrella, a candle (providing light), a bottle, a horseshoe and a small stone (providing light).\n\nThe black cat scampers restlessly around.\n\n> You see the cat\nShe's black as night from head to tail, and playing around your feet.\n\n> You see the first switch\nThe first switch is labeled, \"Palace Theater,\" and is turned off.\n\nThe black cat scampers away behind your back. You turn to catch it,\nbut it's gone without a trace!\n\n> You see the second switch\nThe second switch is labeled, \"Security,\" and is turned on.\n\n> You turn off second\n(Presumably, you mean the second switch.)\nOkay, the second switch is turned off.\n\n(Your score just went up by 3 points! Your total score is 76 out of 100.)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kid-friendly]\n\n> You go downwards\nEverything around you appears blurred and fuzzy.\n\n> You remove the glasses\nOkay, you're no longer wearing the pair of 3D glasses.\n\nYou're in a round chamber at the very heart of the tower. The clammy stone walls are hung with a series of paintings, all the same size and identically framed. Years of neglect have blackened the art almost beyond recognition.\n\nIn the corner is an open hatch. Peering downward, you see a ladder descending into gloom.\n\nA corridor disappears to the north, and a damp stairway winds upward into the tower."
    },
    {
        "text": "> Go downward\nYou're in a dim, stuffy chamber, deep within the bowels of the tower. The walls gleam with obscure medical instruments, and a diabolical torture machine occupies most of the opposite corner.\n\nA ladder rises to meet an open hatch in the middle of the ceiling.\n\nYou can see a leaflet and a violet note here.\n\n> You get the violet note\nYour load is too heavy.\n\n> Inventory\nYou're holding a rusty key, a white lab coat, a pair of 3D glasses, an umbrella, a candle (providing light), a bottle, a horseshoe and a\nsmall stone (providing light).\n\n> You get the note\nTaken.\n\n> Go upward\nEverything around you appears blurred and blurry.\n\n> You wear the glasses\nWow! As you put on the glasses the room fuses into a solid, 3-dimensional image.\n\nThe highest room in the tower is a laboratory, complete with bubbling chemicals and foul odors. An antique telescope is mounted near an open window to the north, and a control panel occupies most of the south wall.\n\nThe only exit is a damp stairway leading downward.\n\nThere's a broom here.\n\n> You turn the crank\nAs you turn the metal crank you hear the distant rattle of the drawbridge opening.\n\n(Your score just went up by 1 point! Your total score is 77 out of 100.)\n\n> Go upward\nEverything around you appears blurry and blurred.\n\n> You read note\n(Your score just went up by 3 points! Your total score is 80 out of 100.)\n\nThe handwritten note says:\n\n\"Corky-Poo,\n\nI've got a plate of fresh oatmeal cookies waiting for you. Come over around sixish, and I'll show you my collection of Byron first\neditions, etc...\n\nPS: If my little poodle yaps at you, just say ALEXIS, HEEL and she'll behave.\"\n\nThe hellhound glares at you through eyes red with hatred.\n\n> HEEL\nAlexis pricks up her ears at the sound of her name. She sits\nobediently at your feet, gently licks your hand and thumps her big\ntail happily.\n\n(Your score just went up by 5 points! Your total score is 85 out of 100.)\n\n> Go inside\nThe cottage door is closed.\n\nThe vulture is circling high overhead.\n\n> You check your inventory\nYou're holding a bottle, a rusty key, a broom, a violet note, a white lab coat (being worn), a pair of 3D glasses, a candle (providing\nlight) and a small stone (providing light).\n\n> You get the steel key\nTaken.\n\n(Your score just went up by 3 points! Your total score is 88 out of 100.)\n\n> Unlock Library\n(What do you want to unlock the library with?)\n\n> You unlock the door with steel key\nOkay, the library door is now unlocked and open.\n\n(Your score just went up by 3 points! Your total score is 91 out of 100.)\n\n(This might be a good time to SAVE your story position.)\n\nYou can hear the tramp of marching boots to the west. It sounds as if they're coming this way!\n\n> Go inside\nYou're standing before a large desk at the library entrance. The top\nof the desk is almost hidden under a clutter of books, all grey with dust.\n\nA dark corridor leads south into darkness. The library door stands invitingly open.\n\n> Sweep dust\nYou're a mail clerk, not a janitor!\n\nBang! The library door slams shut. You hear a faint \"click\" as\nsomebody locks it from the outside.\n\nThe candle flares brightly, and then fizzles out.\n\n(It's 12:00 am. Better hurry! You've only got 6 hours before the moon sets!)\n\nYou can hear the tramp of marching boots outside.\n\n> You sweep the dust with the broom\n(That sentence didn't make sense. Please reword it or try something else.)\n\n> Go south\nFormerly a popular tourist attraction, the old Festeron Museum is in a sorry state. Many of the best exhibits have been carted away; the few remaining are sorely in need of renovation.\n\nFortunately, one of your childhood favorites is still intact. It's a pair of enormous fossil mailboxes, their metal bones locked together\nin a pose of eternal combat.\n\nThere's a glass display case in the corner. You can see a sculpture in the case.\n\n> You break the display case with the broom\nCrash! You broke the display case open with the broom.\n\n> You see the sculpture\nThe black marble sculpture is about 14 inches high. It's exquisitely crafted in the likeness of a cat.\n\nYou can see a round, shallow hole carved into the forehead of the sculpture.\n\n> You put Stone in the forehead\n(Presumably, you mean the sculpture.)\nWishbringer glows brighter as it nears the sculpture. It looks like it will fit perfectly into the black forehead.\n\n\"Wait!\" commands a familiar voice.\n\nYou turn, and see the figure of an old woman standing in the darkness of the corridor.\n\n\"Your quest is ended, brave Adventurer,\" says the old woman. \"The sculpture you see before you is Chaos, the Cat Which Was Stolen. Now give Wishbringer to me, and together we shall rejoice in your\nsuccess.\"\n\nDo you still want to put Wishbringer into the sculpture?\n\n> Yes\n\"Don't!\" barks the old woman as your hand moves closer to the sculpture.\n\nDo you still want to put Wishbringer into the sculpture?\n\n> Yes\n\"No!\"\n\nA blast of Magick shakes the building as Wishbringer touches the forehead of the sculpture. Violet sheets of energy, pure and\nbrilliant, erupt from the very heart of the Stone and illuminate the room like daylight.\n\nThe woman's disguise evaporates in the glare. It's the Evil One, her mouth frozen open in a wail of despair as she fades into oblivion. The memory of that face will haunt your dreams as long as you live.\n\nYou watch as the sculpture begins to soften in the radiance. It wriggles like a thing alive, leaps across the floor and disappears\ninto a vortex of color. The library folds around you like the closing of a great book...\n\nYou're standing high on a rocky cliff, at the top of a steep trail leading downward. Looking southeast, you see a friendly orange sun rising from a bank of morning clouds.\n\nPost Office Hill is visible to the south, topped as usual by the Festeron Post Office.\n\nThe Magick Shoppe stands nearby.\n\nA black cat is rubbing against your leg.\n\n> Pet cat\nThe black cat rubs itself lovingly against you.\n\n> You enter Shoppe\nThe Magick Shoppe door is closed.\n\nThe black cat begins scratching urgently on the Magick Shoppe door.\n\n> You open door\nStrange. Despite your best efforts, the front door refuses to budge.\n\n> Door\nThe door of the Magick Shoppe creaks open, and the old woman, dressed in a nightgown, stands blinking in the morning sun. \"Who's there?\"\n\nThe black cat leaps into the woman's arms. \"Chaos!\" she cries,\nlaughing and sobbing all at once as the cat licks tears of joy from\nher face.\n\nAt last the old woman lowers Chaos to the ground and walks over to where you're standing, red with embarrassment.\n\n\"Now you know me for the old liar I am,\" she chuckles, clasping your hands gratefully in her own. \"I promised to give you Wishbringer, knowing full well that, if you succeeded, its virtue would be lost.\n\n\"In truth, the Stone would make a poor reward,\" she continues,\nstooping to tickle the cat's white forehead. \"As you can see, it\nbrings more joy in the shape of a companion than in any other. This is Wishbringer's finest Magick. A pity that my sister, the Evil One, did not know of it.\"\n\nYou can hear a familiar \"clump-clump, clump-clump\" sound behind you. It's the little mailbox, hopping bravely up the steep trail! The woman looks on with puzzled amusement as the faithful box hops to your side and rubs lovingly against your sleeve.\n\nThe old woman pulls Miss Voss's violet note from an obscure pocket and hands it to you. \"Make sure you give this to Mr. Crisp when you see him,\" she says with a sly wink. \"And tell him I said hello.\"\n\nCradling Chaos in her arms like a child, the old woman ambles back\ninto the Magick Shoppe. \"Farewell!\" she calls from the closing door, and the sunlight makes her face look young. \"Now you are a true Adventurer.\"\n\nA concealed bell tinkles merrily.\n\nCongratulations! You've finished the story of Wishbringer!\n\nYour score is 96 points out of 100, in 410 moves. You've used 1 of the Stone's 7 Wishes.\n\nany of the 7 Wishes? It's fun to go back and see if you can solve all of the problems without Wishing.\n\nDo you want to restart the story, restore a saved position, or quit?"
    },
    {
        "text": "> Look around\nFormerly a popular tourist attraction, the old Festeron Museum is in a sorry state. Many of the best exhibits have been carted away; the few remaining are sorely in need of renovation.\n\nFortunately, one of your childhood favorites is still intact. It's a pair of enormous fossil mailboxes, their metal bones locked together\nin a pose of eternal combat.\n\nThere's a broken glass display case in the corner. You can see a sculpture in the case.\n\n> No\nOkay, you're still holding Wishbringer.\n\nThe old woman steps out of the darkness and moves towards you. \"Give\nme the Stone,\" she says. \"I want to make certain you haven't damaged it.\"\n\n> You eat Wishbringer\nIt isn't likely that the small stone would agree with you.\n\n\"Let me touch Wishbringer,\" says the old woman, inching closer. \"I\nwant to hold it again in my hands.\"\n\nYou feel your fingers relaxing as she speaks.\n\n> You see the woman\nIt looks like the old woman you met at the Magick Shoppe.\n\n(Hmm. The outline of the woman is blurry, like a double image. Must be your eyes getting tired or something.)\n\n\"Quickly!\" snaps the old woman impatiently. \"Give me the Magick Stone. You have no use for it now!\"\n\nYour fingers are beginning to lose their grip on Wishbringer.\n\n> You see woman\nIt looks like the old woman you met at the Magick Shoppe.\n\n(Hmm. The outline of the woman is fuzzy, like a double image. Must be your eyes getting tired or something.)\n\nThe old woman stretches out her clawlike hand. \"If you will not give the Stone to me freely,\" she growls, \"I will have no choice but to\ntake it.\"\n\nYour hand is trembling violently. It wants to give her Wishbringer!\n\n> You go to the north\nThe old woman is blocking your path.\n\n\"Yield!\" commands the woman sharply.\n\nThe small stone leaps out of your hand and into the old woman's bony fingers. She holds it up and gazes into its depths. \"Wishbringer,\" she whispers, deep in her throat.\n\nThe Stone begins to pulse with crimson light. In its sinister glow,\nthe old woman's disguise melts away. It's the Evil One!\n\n\"A fool!\" she cackles wildly, and the sculpture shatters to pieces at the sound. \"My sister was a fool to send the likes of you on such a quest! Does she think a mail clerk can save the world from Wickedness? Be gone!\"\n\nWith a wave of her warty hand, the Evil One turns you into a furry toilet seat cover.\n\nYour score is 91 points out of 100, in 411 moves. You've used 1 of the Stone's 7 Wishes.\n\nDo you want to restart the story, restore a saved position, or quit?\n\n> Go south\nThis is the lobby of the Festeron Post Office. The walls are lined\nwith small, private mailboxes and wanted posters. A service counter runs along the entire length of the room.\n\nYour boss, Mr. Crisp, is behind the service counter reading other people's postcards.\n\nMr. Crisp hides the postcards away as you enter. \"Where have you\nbeen?\" he barks angrily. \"Daydreaming again, eh? I've been looking everywhere for you!\"\n\n(Your score just went up by 1 point! Your total score is 1 out of\n100.)\n\nWhat next?\n\n> You go north\nMr. Crisp screams, \"Come back here, numbskull!\"\n\nSomebody inside the Post Office is calling you.\n\nWhat next?\n\n> You go to the south\nMr. Crisp reaches under the service counter and pulls out a mysterious envelope. \"We just got this Special Delivery,\" he snarls, tossing it onto the service counter. \"I want you to drop it off right away. That means NOW!\"\n\nWhat next?\n\n> You take the package\n(Sorry, but this story doesn't recognize the word \"package.\")\n\nWhat next?\n\n> Hi\nMr. Crisp reddens. \"Don't use that name in front of me!\"\n\nWhat next?\n\n> You take the envelope\nTaken.\n\n(Your score just went up by 5 points! Your total score is 6 out of 100.)\n\nMr. Crisp drums his fingers on the service counter impatiently. \"Don't just stand there! The Magick Shoppe closes at five o'clock!\"\n\nWhat next?\n\n> You go to the north\nAs you leave the Post Office, somebody slams and locks the door behind you.\n\nWhat next?\n\n> You go to the west\nYou're standing next to an open iron gate that leads west into the Festeron Cemetery. A road runs east to the top of Post Office Hill.\n\nWhat next?\n\n> You go west\nThe cemetery is a creepy place. Are you sure you want to go in there?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, kid-friendly, fantasy, changing environment]\n\n> You go downwards\nYou can't go that way.\n\nWhat next?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, zorkian, fantasy]\n\n> Descend\nThe gravedigger reaches into the open grave and pulls you out. \"Don't go in there!\" he cries. \"You might get buried alive!\"\n\nThe gravedigger notices the mysterious envelope you're holding.\n\"That's a mighty mysterious-lookin' envelope you got there,\" he says. \"Let's have a look at it.\"\n\n(You won't see the \"What next?\" prompt any more.)\n\n> You give the envelope to the gravedigger\nThe gravedigger peers at the address on the mysterious envelope.\n\"Hmm,\" he mutters, handing it back to you. \"Could've sworn I buried that old woman years ago.\"\n\n(You are again holding the mysterious envelope.)\n\n\"Couldn't ask for a nicer day for diggin' graves.\"\n\n> Wait\nTime passes.\n\n\"Got to go,\" says the gravedigger, picking up his shovel. \"See you soon.\"\n\nThe old man ambles away to the west.\n\n> You take the bone\nTaken.\n\n(Your score just went up by 1 point! Your total score is 7 out of\n100.)\n\n> Go upward\nWith great difficulty, you manage to climb out of the open grave.\n\n> HEEL\nThe poodle decides that you're only guessing its name, and yaps all\nthe louder.\n\n> You give the bone to the poodle\nThe poodle tests the old bone with its tongue, lies down and begins to gnaw on it, keeping a red eye on you.\n\n(Your score just went up by 3 points! Your total score is 10 out of 100.)\n\n> Go north\n\"Wait! I want to talk to you!\" cries Miss Voss as you walk away.\n\nYou're standing in a circular park, surrounded by the Festeron Rotary. Walks converge from four directions on a shallow marble fountain, filled with sparkling water.\n\nA statue stands in the middle of the fountain.\n\nSomebody on the south side of the Rotary is calling you.\n\n> You look in the fountain\nYou can see a gold coin and a goldfish in the fountain.\n\nSomebody on the south side of the Rotary is calling you.\n\n> You take COIN\nTaken.\n\n(Your score just went up by 1 point! Your total score is 11 out of 100.)\n\nSomebody on the south side of the Rotary is calling you.\n\n> Go west\nYou're on the west side of the Festeron Rotary. A street branches\nwest, towards the lake.\n\nThe Police Station stands on a nearby corner. It's a modest little building with a sign over the open entrance.\n\nSomebody on the south side of the Rotary is calling you.\n\n> You go to the west\nYou're on the sandy shore of the lake. A road heads east towards the village, and another runs north along the edge of the lake. Looking south, you can see a closed iron gate leading into the Festeron Cemetery.\n\nMisty Island, its outline shrouded in fog, is visible far across the water.\n\nYou can see a circular pile of leaves near the edge of the lake. Somebody has scrawled a message in the sand next to the pile of\nleaves.\n\n> You see the sign\nThe sign over the entrance says, \"Festeron Police Headquarters.\"\n\nSomebody on the south side of the Rotary is calling you.\n\n> You enter Station\nYou're in the front office of the Festeron Police Station. A modest jail cell is visible in a corner of the room.\n\nSgt. MacGuffin, Festeron's finest, is nodding off behind a desk. You can see a piece of chocolate on the desk, and a wanted poster taped to the wall.\n\nSgt. MacGuffin opens one eye as you enter.\n\n> You see the poster\nIt's the same as the one in the Post Office.\n\n\"Just drop my mail on the desk,\" Sgt. MacGuffin murmurs sleepily.\n\n> You take the chocolate\n\"Hands off,\" Sgt. MacGuffin growls sleepily.\n\n\"Just drop my mail on the desk,\" Sgt. MacGuffin murmurs sleepily.\n\n> You deliver the mail\n(to Sgt. MacGuffin)\nPolitely, Sgt. MacGuffin refuses your offer.\n\nA voice crackles on the police radio. \"Ten-four,\" Sgt. MacGuffin\nyawns.\n\n> You put the mail on desk\nDone.\n\nSgt. MacGuffin begins to snore softly.\n\n> You take the candy\nTaken.\n\nThe voice of your mean old boss, Mr. Crisp, crackles to life on the police radio. \"Stop dawdling and deliver that envelope!\" he rumbles.\n\n> You see the desk\nYou can see a mysterious envelope on the desk.\n\n> Go west\nThis is where the lake empties into the Festeron River. A road leads south along the edge of the lake, and bends east to follow the river bank. A narrow trail leads upward to the top of Lookout Hill.\n\n> Go upward\nYou're standing at the summit of a high, barren hill. Looking east,\nyou can see Festeron Village nestled among the trees. A narrow trail winds down the north side of the hill, towards the river.\n\nCrowning the hill is the stump of what must have been a very large and majestic oak tree.\n\nA horseshoe is lying in the grass near the stump.\n\n> You see the stump\nThe stump is huge, easily four feet across."
    },
    {
        "text": "[Themes: Western, western, homosexual, violence, mute protagonist, post-apocalyptic, gay, cyborg, Guns, combat, steampunk, Gay/queer protagonist]\n\nThe desert sand squirms beneath your feet, alive with mutant nanomachines. Sheriff Clayton has Elias. He's hanging him at noon.\n\nIt looks like you're going to have to shoot some people.\n\nAn IF shoot-em-up by C.E.J. Pacian\n\n[Type 'About' if this is your first time playing.\nType 'Credits' to learn who's responsible for this drivel.]\n\nRolling dunes stretch in every direction, ending in a distant horizon broken only by a few low, jagged mountains. A small pile of sticks burns here, sending a thin trail of black smoke into the ruddy dawn sky.\n\nA pot of some strange green fluid sits bubbling on the fire.\n\nThe plainswoman sits meditatively by the fire, her spear resting across her lap.\n\n[Author's Note: Step into the shoes of Mute Lawton, a lone cowboy who must stop an execution set to occur at noon by shooting his way past dangerous cyborgs and mutants in a post-apocalyptic western setting. An Interactive Fiction shoot-em-up. Each location presents you with a simple puzzle which you must solve before you can progress to the next location and, in contrast to the Inform parser's famous default response, violence usually is the answer.]\n\n> About you\nYou're Mute Lawton. A devilishly handsome cowboy with windswept black hair and roguish stubble. Lean and tall, your tanned body is taut with cool, calculated strength.\n\nYou're topless and barefoot, wearing nothing but a pair of dust-caked black jeans and your holster.\n\nFar in the distance, you can just make out something uttering a low, metallic howl.\n\n> You check your inventory\nYou are carrying nothing, and are wearing a pair of dusty black jeans and a gun belt (which contains a six shooter and numerous bullets).\n\nThe plainswoman leans forward to sniff the concoction brewing on the fire. She sits back again shortly after, apparently unsatisfied.\n\n> You look at the plainswoman\nA woman with straight black hair and a stony stare. Her long, slender limbs are coiled with ropy muscle. Otherwise completely naked, her body is caked in a layer of sun-hardened mud.\n\nThe plainswoman is carrying a spear.\n\nThe wind picks up briefly, cooling your skin.\n\n> You look at the plainswoman\nA woman with straight black hair and a stony stare. Her long, slender limbs are coiled with ropy muscle. Otherwise completely naked, her body is caked in a layer of sun-hardened mud.\n\nThe plainswoman is carrying a spear.\n\nThe plainswoman leans forward once more to sniff the strange liquid. This time she smiles and gestures to the pot.\n\n\"Drink,\" she tells you.\n\n> You look at the pot\nThe small, battered metal pot contains a thick green fluid that bubbles in an eerily slow fashion.\n\n> Smell liquid\nYou've got out of the habit of smelling random things. You're often unpleasantly surprised.\n\n> You look at the speak\nThe word \"speak\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You examine the spear\nPointy sticks have come along way of late. This particular example has a lightweight polycarbonate shaft and a tip that glimmers with an incandescent plasma fire. You townsfolk have little time for the old ways of science though, and you'd happily take your reliable six shooter over something that probably has an arrogant computerised mind of its own."
    },
    {
        "text": "[Themes: Western, Guns, violence, steampunk, mute protagonist, gay, Gay/queer protagonist]\n\n> Look around\nRolling dunes stretch in every direction, ending in a distant horizon broken only by a few low, jagged mountains. A small pile of sticks burns here, sending a thin trail of black smoke into the ruddy dawn sky.\n\nA pot of some strange green fluid sits bubbling on the fire.\n\nThe plainswoman sits meditatively by the fire, her spear resting across her lap.\n\n> You ask the woman about the fluid\nThere's a reason they call you Mute Lawton.\n\n> Point to spear\nYou point at the spear.\n\n\"A fine weapon,\" the plainswoman says, \"far superior to your crude firearm.\"\n\nSomething grey and amorphous squirms up between your toes. You step to the side.\n\n> Point to pot\nYou point at the pot of strange green fluid.\n\nThe plainswoman adopts a serious expression. \"It is the highest aspiration to see one's consciousness join the Atmospheric Network, and the greatest magnanimity that they deign to help those of us still in physical form.\"\n\nYou squint as a cloud of airborne dust passes by.\n\n> Drink\n(the pot of strange green fluid)\nYou bring the pot to your lips and gulp down the bubbling green liquid. It smells foul, and it's burning hot. The roof of your mouth tingles unpleasantly as you set the pot back down on the fire.\n\nThe plainswoman studies you carefully as you grimace, the tingling in the roof of your mouth seeming to spread upwards, into your brain, dancing psychedelically before your eyes. And then arcane symbols rise through the white noise oppressing your mind: ++GPS UPLINK VERIFIED++TEMPORARY THERMOBOT NETWORK++SEARCHING FOR USER...++USER LOCATED++CREATING INSTINCTUAL IMPRINT++CLOSING CONNECTION++THANK YOU FOR USING GPSNET++\n\nThe vision fades. Gradually you become aware of your surroundings again, the plainswoman watching you with mild concern.\n\n\"You find the one you fear for?\" she asks.\n\nYou nod. Yes, you know where he is now. The way ahead is now obvious.\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> Inventory\nYou are carrying nothing, and are wearing a pair of dusty black jeans and a gun belt (which contains a six shooter and numerous bullets).\n\nSomething slick and black scuttles past on several asymmetrical legs, before disappearing beneath a rock.\n\n> F.\nFrom the peak of this rocky hill you can see the town you once called home sprawl out over the landscape ahead. Ramshackle iron and wood buildings are almost piled on top of one another, clustering around the shattered concrete dome of the old reactor.\n\n> You look at reactor\nA cathedral-like dome of grey concrete, pocked with gaping holes and coated in sickly weeds.\n\n> You look at the buildings\nFrom abject poverty to dehydrated affluence: the town's rooftops are\n\n> You examine the town\ndecorated with an eclectic array of vents, steam pipes, satellite dishes and good old-fashioned rust-eaten holes.\n\nFrom abject poverty to dehydrated affluence: the town's rooftops are decorated with an eclectic array of vents, steam pipes, satellite dishes and good old-fashioned rust-eaten holes.\n\n> F.\nYou're at the entrance to a street of low wooden buildings and corrugated iron shacks. A small corral encircles part of the dusty ground here, home to a single broken robot and a trough of stagnant water.\n\nVicious Sue faces you with one hand on her six shooter, smirking.\n\nClaw-Hand Hank stands by the water trough, legs apart, his one good hand ready to draw.\n\n\"Well, well, well,\" Sue says, looking you over. \"Look who it ain't. Sheriff said you'd be through here. But me, I didn't think you were quite so stupid.\"\n\nHank spits out a wad of tobacco and chuckles, fingering the buckle of his gun belt with his good hand.\n\n> You look at the robot\nOnce some sort of multi-legged farming machine, it now disintegrates into the ground, rubber hoses and shattered circuit boards visible through its corroded sides.\n\nHank bares his half-rotten teeth in a leering smile.\n\n> You take the cover\nThere's no cover here.\n\nHank's good hand twitches slightly.\n\n> You examine sue\nA hawkish woman in jeans and a close-fitting jacket. Her vulturine eyes peer out from beneath the rim of her stetson, flitting between your face and your hands.\n\nHank touches his fingertip to the handle of his gun, then draws it back again uncertainly.\n\n> You look at the trough\nA shallow metal container, stained with mould and filled with putrid green water.\n\nSue catches your eye and smiles evilly.\n\n> You look at the robot\nOnce some sort of multi-legged farming machine, it now disintegrates into the ground, rubber hoses and shattered circuit boards visible through its corroded sides.\n\nHank unconsciously squints his left eye as he stares at you.\n\n> You draw\nYou whip your gun out of its holster in a single fluid motion.\n\nVicious Sue and Claw-Hand Hank go for their guns. Sue has drawn her six shooter in a flash, but Hank fumbles with his holster.\n\n> You shoot sue\nYou fire at Vicious Sue, hitting her square in the stomach. She freezes for a moment, as if unsure what's happened, and then falls to the ground.\n\nHank finally manages to draw his gun. He takes careful aim at you, squinting his left eye.\n\n> Shoot hank\nYou shoot Claw-Hand Hank in the face. His head jerks back with a puff of splintered teeth and he collapses into the water trough.\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\n> Holster\n(your six shooter)\nYou slip your six shooter back into its holster.\n\n> Kiss sue\nYou'd sooner kiss a vampire spider-snake.\n\n> You find the dark tower\nWhat do you want to look that up in?\n\n> F.\nThis narrow, dusty street ends in a slat-fronted building bearing the name Rowdy Juanita's Saloon. A broken-down tractor rests here, its dismantled engine spilling out onto the ground.\n\nDeputy Gene stands in front of the saloon, brandishing a double-barrelled shotgun.\n\n\"If you're planning on rescuing Elias,\" Gene snarls, \"you're gonna have to shoot your way through the whole damn town. I'd turn back now if you don't want to end up sleeping in a pine box with a tombstone pillow!\"\n\nGene takes careful aim at you with his shotgun, about to fire...\n\n> You take the cover\nYou can't have that; it's part of the broken-down tractor.\n\nWith a powerful report, Gene fires. The buckshot blast catches you square in the chest. The last thing you see is the pink mist that was your lungs only an instant earlier.\n\n> You hide\n(behind the broken-down tractor)\nOkay, you're now taking cover behind the broken-down tractor.\n\nWith a powerful report, Gene fires, buckshot striking the side of the tractor.\n\n\"You ain't gettin' no further than this!\" the deputy screams.\n\n> You draw\nYou whip your gun out of its holster in a single fluid motion.\n\nWith a powerful report, Gene fires, buckshot striking the side of the tractor.\n\n\"Fight like a man!\" Gene shouts. \"And stand the fuck still!\"\n\n> Shoot gene\nYou can't get a good shot while you're taking cover.\n\nGene breaks open the shotgun. Two smoking cartridge cases are ejected from the breach.\n\n> You stand\nOkay, you're now standing.\n\nGene slots two new shells into his shotgun and closes the breech. He takes careful aim at you once more.\n\n> Shoot gene\nYou and Gene both fire at the same time. And your bodies hit the dirt within a few seconds of one another.\n\n> You draw\nYou whip your gun out of its holster in a single fluid motion.\n\nWith a powerful report, Gene fires, buckshot striking the side of the tractor.\n\n\"Come out with your hands up!\" Gene yells. \"So I can shoot you!\"\n\n> You wait\nTime passes...\n\nGene breaks open the shotgun. Two smoking cartridge cases are ejected from the breach.\n\n> You wait\nTime passes...\n\nGene slots two new shells into his shotgun and closes the breech. He takes careful aim at you once more.\n\n> You wait\nTime passes...\n\nWith a powerful report, Gene fires, buckshot striking the side of the tractor.\n\nGene growls with frustration. \"Get out from behind there, Mute! I gotta deal out some double-barrel justice!\"\n\n> You wait for a while\nTime passes...\n\nWith a powerful report, Gene fires, buckshot striking the side of the tractor.\n\n\"Fight like a man!\" Gene shouts. \"And stand the fuck still!\"\n\n> You stand\nOkay, you're now standing.\n\nGene breaks open the shotgun. Two smoking cartridge cases are ejected from the breach.\n\n> You look at the shotgun\nA standard-issue WPSF side-by-side double-barrelled shotgun.\n\n> You take the shotgun\nYou prefer to have six rounds to play with.\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\n> Forward\nRowdy Juanita's Saloon is a homely place, and mostly clean. A shady refuge from the wasteland sun, a shaft of harsh light shines in through the doorway, enveloping countless dancing motes of dust in its glare. A multitude of round tables are dotted around the carefully polished bar, and sturdy wooden beams criss-cross the high ceiling.\n\nRowdy Juanita stands behind the bar, a six shooter in each of her upper set of hands, a third being reloaded by her lower arms.\n\n\"Hi Mute,\" Juanita says cheerfully. \"Watch out! The sheriff reprogrammed me to shoot you on sight!\"\n\nAnd with that she starts firing wildly with both guns, wood splintering and glass shattering around the bar.\n\n\"It's a good thing I can't shoot worth a damn,\" Juanita says. \"You should be safe as long as you don't get too close to me.\"\n\n> You draw\nYou whip your gun out of its holster in a single fluid motion.\n\n\"I'm really sorry about this,\" Juanita says. \"Believe me, the last thing I want to do is to shoot up my own bar.\"\n\n> You shoot juanita\nYou don't want to shoot Juanita. She's always been nice to you, and it's not her fault if she's been reprogrammed to blow your brains out.\n\nYou flinch as a bullet whips past your head. \"Sorry!\" Juanita calls out, apologetically."
    },
    {
        "text": "[Themes: Western, gay, Gay/queer protagonist, mute protagonist, cyborg, western, homosexual, steampunk]\n\n> Look around\nRowdy Juanita's Saloon is a homely place, and mostly clean. A shady refuge from the wasteland sun, a shaft of harsh light shines in through the doorway, enveloping countless dancing motes of dust in its glare. A multitude of round tables are dotted around the carefully polished bar, and sturdy wooden beams criss-cross the high ceiling.\n\nThe floor is littered with splinters of wood and broken glass.\n\nRowdy Juanita stands behind the bar, a six shooter in each of her upper set of hands, a third being reloaded by her lower arms.\n\nA whisky bottle on a nearby table explodes as a bullet hits it. \"Damn it,\" Juanita grumbles.\n\n> You examine the beams\nThe ceiling is criss-crossed with thick wooden beams. Suspended among the beams you see a chandelier.\n\nA bullet strikes the leg of a table, causing it to collapse explosively. Juanita sighs. \"Fixing all this is gonna cost me.\"\n\n> You shoot the chandelier\nYou take careful aim at the rope anchoring the chandelier to the ceiling, and fire. For a second it seems to hang suspended in thin air. And then it drops down on Juanita with a terrifying crash. You race over to her, worried that you've done her permanent damage.\n\nPinned beneath the chandelier, her weapons scattered across the bar, Juanita looks up at you and offers a vinyl-lipped smile. \"Nice work, Mute. Now get moving and stop that execution!\"\n\n> Kiss juanita\nYou kiss Juanita affectionately on the cheek. She sighs. \"You always treated me right, Mute. I never could figure out why you seemed so immune to my charms.\"\n\n> F.\nYou're on a simple wooden platform next to the train tracks that run through the town. Standing on thick tripod legs, a water tower casts its shadow over you, ready to supply coolant to nuclear-powered locomotives. The only train in sight, however, is a single open railroad car, a gyro-controlled, multi-barrelled turret anchored to it with fat iron bolts.\n\nGatling Gun Fiona sits at the controls of the turret, staring at you with fierce, emerald green eyes.\n\n\"I been waiting for you!\" Fiona says, shouting over the whine of the turret's motors. \"I'm gonna make you into Swiss Cheese!\"\n\n> Shoot tower\nIt doesn't look like that would achieve much.\n\nWith the earth-shuddering sound of screaming servos, the turret turns to aim its fat bundle of barrels directly at you. Slowly but surely, the barrels begin to spin.\n\n\"You just stand right there,\" Fiona tells you.\n\n> B.\nFiona has all your potential exits covered with her monstrous turrets.\n\nWith the earth-shuddering sound of screaming servos, the turret turns to aim its fat bundle of barrels directly at you. Slowly but surely, the barrels begin to spin.\n\n\"You just stand right there,\" Fiona tells you.\n\n> You shoot fiona\nYou aim carefully at Fiona and squeeze the trigger. The perspex shield protecting her deflects the bullet without even a scratch to show for it.\n\n\"Hey,\" Fiona yells, \"you should learn when to just roll over and die!\"\n\nWith the earth-shuddering sound of screaming servos, the turret turns to aim its fat bundle of barrels directly at you. Slowly but surely, the barrels begin to spin.\n\n\"You just stand right there,\" Fiona tells you.\n\n> You climb tower\nThere's no way up the water tower, and you'd be completely exposed up there anyway.\n\nWith a sound like thunder splitting a mountain in two, Fiona's huge turret explodes into action. The fast moving, high calibre bullets distintegrate you so fast you don't even notice it happening.\n\n> F.\nYou're on a simple wooden platform next to the train tracks that run through the town. Standing on thick tripod legs, a water tower casts its shadow over you, ready to supply coolant to nuclear-powered locomotives. The only train in sight, however, is a single open railroad car, a gyro-controlled, multi-barrelled turret anchored to it with fat iron bolts.\n\nGatling Gun Fiona sits at the controls of the turret, staring at you with fierce, emerald green eyes.\n\n\"I been waiting for you!\" Fiona says, shouting over the whine of the turret's motors. \"I'm gonna make you into Swiss Cheese!\"\n\n> You hide\n(behind the water tower's legs)\nOkay, you're now taking cover behind the water tower's legs.\n\nWith the earth-shuddering sound of screaming servos, the turret turns to aim its fat bundle of barrels directly at you. Slowly but surely, the barrels begin to spin.\n\nFiona peers at you around the water tower. \"Come out, come out, wherever you are...\" she coos.\n\n> You shoot the car\nYou can't get a good shot while you're taking cover.\n\nWith a sound like thunder splitting a mountain in two, Fiona's huge turret explodes into action. Bullets strike the water tower's legs with frightening power, but the sturdy metal seems to withstand the onslaught.\n\n> You wait\nTime passes...\n\nThe entire train station flickers with the muzzle flash from the turret - a glare brighter than the wasteland sun.\n\n> You wait\nTime passes...\n\nYou notice that Fiona seems to be uttering a constant stream of inaudible expletives as she douses the water tower with ammunition.\n\n> You wait awhile\nTime passes...\n\nWith the shriek of metal on metal, the spinning barrels suddenly come to a juddering halt.\n\n\"Gods damn it!\" Fiona screams. She looks down at the stationary barrels, which are glowing dull red and emitting noxious black smoke. \"Hang on a moment,\" she tells you, almost apologetically, \"I'll get back to killing you in a jiffy...\"\n\nFiona looks down at the turret's control panel and begins pressing buttons.\n\n> You look at the control panel\nIt's difficult to see from this angle, but you're sure it has all sorts of neat buttons.\n\nThe large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.\n\nWith a tremendous hiss of steam, the hoses emerging from the tank douse the barrels in some sort of liquid. When the steam has cleared, the barrels are no longer glowing.\n\n> Shoot tank\nYou can't get a good shot while you're taking cover.\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You stand\nOkay, you're now standing.\n\nThe large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.\n\nWith a tremendous hiss of steam, the hoses emerging from the tank douse the barrels in some sort of liquid. When the steam has cleared, the barrels are no longer glowing.\n\n> Shoot tank\nYou fire off a shot at the chemical tank. The bullet richochets off of it harmlessly.\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You shoot the gyro\nYour bullet bounces harmlessly off the turret's thick metal hide.\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You hide in the car\nYou can't take cover behind that.\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You hide\n(behind the water tower's legs)\nOkay, you're now taking cover behind the water tower's legs.\n\nWith a sound like thunder splitting a mountain in two, Fiona's huge turret explodes into action. Bullets strike the water tower's legs with frightening power, but the sturdy metal seems to withstand the onslaught.\n\n> You examine the platform\nBetter than standing on dirt as wait for a train. Must make it easier to board as well.\n\nFiona clings to the controls as the turret judders with the recoil of its own insane firepower.\n\n> You examine the platform\nBetter than standing on dirt as wait for a train. Must make it easier to board as well.\n\nBullets whip either side of you in a terrifying stream of sparks, ricocheting off of the water tower and kicking up a thick cloud of dust.\n\n> You examine the car\nA flat bed of metal on wheels, sitting on the train tracks. It would have to be towed by a locomotive to actually get anywhere.\n\nThe railroad car is currently home to a gyro-controlled, multi-barrelled turret.\n\nWith the shriek of metal on metal, the spinning barrels suddenly come to a juddering halt.\n\n\"Gods damn it!\" Fiona screams. She looks down at the stationary barrels, which are glowing dull red and emitting noxious black smoke. \"Hang on a moment,\" she tells you, almost apologetically, \"I'll get back to killing you in a jiffy...\"\n\nFiona looks down at the turret's control panel and begins pressing buttons.\n\n> Examine tank\nA fat metal cylinder is mounted on the train carriage behind the turret. A number of colourful warning signs are plastered to its sides.\n\nThe large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.\n\nWith a tremendous hiss of steam, the hoses emerging from the tank douse the barrels in some sort of liquid. When the steam has cleared, the barrels are no longer glowing.\n\n> You read the signs\n\"Warning! Extremely cold! Handle with care! Danger of severe injury!\"\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You examine the hoses\nThick, rubbery hoses, covered in a pale frost. They're connected to a valve on the cylinder and disappear somewhere under the turret.\n\nWith a sound like thunder splitting a mountain in two, Fiona's huge turret explodes into action. Bullets strike the water tower's legs with frightening power, but the sturdy metal seems to withstand the onslaught.\n\n> Wait\nTime passes...\n\nThe barrels of the turret are a blur as they spit hundreds of rounds of high calibre ammunition at you.\n\n> You look at the tower\nIt's difficult to get a sense of what it looks like from up so close. You just get an impression of something large and metal blotting out a big chunk of the sky.\n\nThe water tower's thick legs look like they could offer good cover from the turret.\n\nYou can feel the staggering noise of the turret firing as it seems to rattle the whole desert.\n\n> You wait awhile\nTime passes...\n\nWith the shriek of metal on metal, the spinning barrels suddenly come to a juddering halt.\n\n\"Gods damn it!\" Fiona screams. She looks down at the stationary barrels, which are glowing dull red and emitting noxious black smoke. \"Hang on a moment,\" she tells you, almost apologetically, \"I'll get back to killing you in a jiffy...\"\n\nFiona looks down at the turret's control panel and begins pressing buttons.\n\n> You stand\nOkay, you're now standing.\n\nThe large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.\n\nWith a tremendous hiss of steam, the hoses emerging from the tank douse the barrels in some sort of liquid. When the steam has cleared, the barrels are no longer glowing.\n\n> You shoot the hose\nThe bullet passes easily through one of the hoses, throwing up a little puff of snow.\n\n\"Back in business!\" Fiona growls, as the barrels begin to spin back up to speed.\n\n> You hide\n(behind the water tower's legs)\nOkay, you're now taking cover behind the water tower's legs.\n\nWith a sound like thunder splitting a mountain in two, Fiona's huge turret explodes into action. Bullets strike the water tower's legs with frightening power, but the sturdy metal seems to withstand the onslaught.\n\n> You look at the hose\nThick, rubbery hoses, covered in a pale frost. They're connected to a valve on the cylinder and disappear somewhere under the turret. A little spray of something seems to be emerging from the hoses.\n\nThe barrels of the turret are a blur as they spit hundreds of rounds of high calibre ammunition at you.\n\n> Wait\nTime passes...\n\nYou can feel the staggering noise of the turret firing as it seems to rattle the whole desert.\n\n> You stand\nOkay, you're now standing.\n\nThe large chemical tank behind Fiona begins to tremble and groan. She takes hold of the controls again and grins.\n\nAnd then the tank starts spurting a huge stream of coolant out of its side, up into the air and very far from the red hot gun barrels.\nFiona spins round to watch this with wide-eyes, and then turns back to face you with a terrified, placating smile. \"Let's talk about this like reasonable human beings,\" she says, standing up from the turret's control seat and holding up her empty hands.\n\nAnd then she jumps off of the turret, hitting the ground running. She's disappeared before you're even sure how to react.\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\n> F.\nBetween cold stone walls, orderly rows of wooden pews face the pulpit ahead. Vengeful angels peer down on the absent congregation from lofty stained-glass windows.\n\nReverend Gun-Arm Joe stands in the pulpit.\n\n\"We thought we'd never see you again, child,\" the reverend says. His voice is quiet, but it echoes profoundly through the expanse of the church. \"Let us speak as equals. Allow me to show you the path to happiness through peace. Please, my son, put away your weapon.\"\n\n> Holster\n(your six shooter)\nYou slip your six shooter back into its holster.\n\n\"Now,\" Reverend Joe says, \"allow me to show you the true peace delivered by the Hand of Wrathzor...\"\n\nHe holds his right arm out to the side as something inside it seems to whir and click. In a single smooth, mechanical motion, the preacher's arm splits in two, divulging a sleek, nickel-plated machinegun. He aims his arm at you, bracing himself against the pulpit. \"May Wrathzor have mercy on your soul,\" he intones, solemnly.\n\n> You hide\n(behind the pews)\nOkay, you're now taking cover behind the pews.\n\nReverend Joe's machinegun arm spits out gunfire to a deafening staccato rhythm that rattles harshly against the stone walls. Bullets rip through the pews, cracking and splintering the wood. You throw your arms over your head defensively.\n\n\"There is no point hiding, my son,\" the reverend booms, \"for it is Wrathzor's judgement that you die, and you cannot hide from Him.\"\n\n> You draw\nYou whip your gun out of its holster in a single fluid motion.\n\nThe powerful recoil of the reverend's gun arm sends his aim climbing too high. For a moment, he totters on his feet, blasting chunks of stone out of the ceiling.\n\n> You stand\nOkay, you're now standing.\n\nThe reverend stops firing for a moment to regain his footing.\n\n> You shoot reverend\nYou aim at Reverend Joe. He ducks behind the pulpit at the last moment, and your shot goes wide.\n\nReverend Joe steadies himself against the pulpit and aims at you with his machinegun arm.\n\n> You shoot reverend\nYou aim at Reverend Joe. He ducks behind the pulpit at the last moment, and your shot goes wide.\n\nReverend Joe's machinegun arm spits out gunfire to a deafening staccato rhythm that rattles harshly against the stone walls. Bullets whack into you, passing through your body and leaving you gasping for breath in a pool of blood on the floor.\n\nReverend Joe leaves the pulpit to stand over your broken form. \"Allow me to complete your journey to the Almighty,\" he says, aiming his gun-arm at your head.\n\n> Duck\n(behind the pews)\nOkay, you're now taking cover behind the pews.\n\nReverend Joe's machinegun arm spits out gunfire to a deafening staccato rhythm that rattles harshly against the stone walls. Bullets rip through the pews, cracking and splintering the wood. You throw your arms over your head defensively.\n\n\"You can find peace only through acceptance,\" the reverend intones. \"Show yourself and receive your judgement.\"\n\n> You examine the ceiling\nYou see nothing unusual about it.\n\nThe powerful recoil of the reverend's gun arm sends his aim climbing too high. For a moment, he totters on his feet, blasting chunks of stone out of the ceiling.\n\n> You examine the window\nThe stained-glass windows depict warrior angels brandishing swords and cutting down swathes of wretched unbelievers. Their eyes seem to follow you around the room.\n\nThe reverend stops firing for a moment to regain his footing.\n\n> You look at the ceiling\nYou see nothing unusual about it.\n\nReverend Joe steadies himself against the pulpit and aims at you with his machinegun arm.\n\n> You examine the pulpit\nA raised wooden platform from which a man of Wrathzor can preach his message of fear and judgement.\n\nReverend Joe's machinegun arm spits out gunfire to a deafening staccato rhythm that rattles harshly against the stone walls. Bullets rip through the pews, cracking and splintering the wood. You throw your arms over your head defensively.\n\n\"Wood is but a thin veil for the hand of Wrathzor to part,\" the reverend booms.\n\n> You wait awhile\nTime passes...\n\nThe powerful recoil of the reverend's gun arm sends his aim climbing too high. For a moment, he totters on his feet, blasting chunks of stone out of the ceiling.\n\n> You stand\nOkay, you're now standing.\n\nThe reverend stops firing for a moment to regain his footing.\n\n> You shoot the glass\nYou blast one of the stained-glass windows with your six shooter. It shatters spectacularly, multi-coloured shards of glass raining down on the pulpit.\n\nJoe screams as the glass cuts into him, ducking behind the pulpit. After the tinkling of glass on stone has ceased, he does not re-emerge.\n\n> You look at Joe\nA pale form slumped in the pulpit among creased, blood-soaked robes. His right arm seems to consist of a hollow plastic shell that has split in two to reveal a shiny, high-calibre machinegun.\n\n> You look at the window\nThe stained-glass windows depict warrior angels brandishing swords and cutting down swathes of wretched unbelievers. Their eyes seem to follow you around the room. One of the windows has been shattered, perhaps explaining the angels' angry demeanour.\n\n> F.\nChipped and crumbling headstones here sprout from the desiccated wasteland soil, their names obscured by weathering and dust.\n\nMetal-Skin Mickey stands among the graves, a six shooter clasped in his robotic hand.\n\n\"TARGET IDENTIFIED,\" Mickey exclaims. \"ENGAGING!\"\n\n> You shoot Mickey\nYou blast Mickey with your six shooter. The bullet bounces harmlessly off of his thick metal skin.\n\nMickey aims his single eye at you, a narrow thread of laser light projecting from it onto your forehead.\n\n\"LOCK-ON ACQUIRED,\" Mickey states. \"PREPARING TO FIRE...\"\n\n> You hide\n(behind the tombstones)\nOkay, you're now taking cover behind the tombstones.\n\nA thin beam of laser light from Mickey's eye sweeps back and forth over the top of the headstones, seeking you out.\n\n> You examine Mickey\nA cylindrical war-bot, dressed in chipped and peeling desert camouflage paint. His face is featureless except for a single round, glassy eye.\n\nA thin beam of laser light from Mickey's eye sweeps back and forth over the top of the headstones, seeking you out.\n\n> You shoot eye\nYou can't get a good shot while you're taking cover.\n\nA thin beam of laser light from Mickey's eye sweeps back and forth over the top of the headstones, seeking you out.\n\n> You read the headstones\nJagged, worn, broken, crumbling, in some cases even completely collapsed. The tombstones are all made of stone, however, and might be sturdy enough to afford you some cover.\n\nYou are taking cover behind the tombstones.\n\nA thin beam of laser light from Mickey's eye sweeps back and forth over the top of the headstones, seeking you out.\n\n> Forward\nChipped and crumbling headstones here sprout from the desiccated wasteland soil, their names obscured by weathering and dust.\n\nMetal-Skin Mickey stands among the graves, a six shooter clasped in his robotic hand.\n\n\"TARGET IDENTIFIED,\" Mickey exclaims. \"ENGAGING!\"\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\nMickey aims his single eye at you, a narrow thread of laser light projecting from it onto your forehead.\n\n\"LOCK-ON ACQUIRED,\" Mickey states. \"PREPARING TO FIRE...\"\n\n> You shoot eye\nYou aim at Mickey's eye and squeeze the trigger. The eye shatters with a brittle crack, and Mickey freezes in place, sparking and whirring.\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\n> You examine Mickey\nA cylindrical war-bot, dressed in chipped and peeling desert camouflage paint. His face is featureless except for a single round, shattered eye.\n\nMickey stands perfectly still.\n\n> You take Gun\nYou've already drawn your gun.\n\n> F.\nYou're on a sturdy platform beneath a huge dome of cracked concrete, an expansive pool of off-colour, steaming water stretching out far below. An ancient control panel sits by the edge of the platform.\n\nA broken catwalk hangs from the ceiling.A mass of tree roots protrude from one of the larger cracks in the concrete.A girder juts up from the toxic pool.\n\nGlow-in-the-Dark Earl stands on the rickety catwalk.\n\n\"You!\" Earl rasps, hoarsely. \"Execution or no, this is my reactor, and ain't no-one passing through here long as I breath!\"\n\n> You look at the panel\nRusted right through and glowing faintly. It's encrusted with strange dials and buttons.\n\nEarl holds out his bow and notches an arrow to it.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\nEarl sends an arrow flying over your head. \"I know you're still in here! You can't hide from me!\"\n\n> You look at the roots\nHaving broken through the concrete dome over slow years of growth, the tree roots now seem strangely sinister and monstrous: as if frozen in the act of an intelligent writhing motion. Various objects from the reactor complex seem to have been snatched up by the roots over time, including a large, bright orange canister.\n\nEarl clucks like a chicken until his hoarse voice breaks down into a coughing fit.\n\n> You examine the canister\nA bright orange canister of some sort is caught up in the curled and grasping tree roots.\n\n> You read the canister\nThe bright orange canister is too far away.\n\n> You wait for a while\nTime passes...\n\nYou hear an arrow ping uselessly off the other side of the control panel.\n\n> You stand\nOkay, you're now standing.\n\nEarl holds out his bow and notches an arrow to it.\n\n> Shoot canister\nYou sight down your barrel at the bright orange canister, and squeeze the trigger. The canister erupts into a sizeable fireball, consuming the tree roots and burning them to a crisp.\n\nEarl jumps clear of the tree roots and lands on the catwalk.\n\nEarl holds out his bow and notches an arrow to it.\n\n> You shoot the catwalk\nThere's a small splash of radioactive water, but no other evidence you're having an effect on the submerged catwalk.\n\nEarl draws back the string on his bow, taking aim at you.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\n\"Come out of there!\" Earl yells.\n\n> You wait for a while\nTime passes...\n\nEarl growls with frustration.\n\n> You look at the catwalk\nCorroded in strange and unpleasant ways, it doesn't seem like it can keep up the fight against gravity for long. It hangs from crooked bolts that half protrude from the ceiling.\n\nGlow-in-the-Dark Earl is standing on the rickety catwalk.\n\nEarl clucks like a chicken until his hoarse voice breaks down into a coughing fit.\n\n> Wait\nTime passes...\n\n\"Come out of there!\" Earl yells.\n\n> Shoot panel\nYou can't get a good shot while you're taking cover.\n\nEarl sends an arrow flying over your head. \"I know you're still in here! You can't hide from me!\"\n\n> You shoot earl\nAs you aim at Earl, he tenses his grotesquely long legs. After you fire, but before the bullet hits him, he jumps up, high into the air, and lands on the girder.\n\n\"What's the matter, Mute?\" Earl says, \"too fast for you?\"\n\nEarl holds out his bow and notches an arrow to it.\n\n> Shoot bolts\nYou take aim at one of the ancient metal bolts and fire. It shatters into a cloud of rust. The catwalk creaks, and begins to move. One by one, the rusted bolts pop out of the ceiling and the catwalk curls downward, sinking into the steaming nuclear waste below.\n\nEarl jumps clear of the catwalk and lands on the girder.\n\nEarl holds out his bow and notches an arrow to it.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\nEarl growls with frustration.\n\n> You examine girder\nThe thick iron girder juts up at a crooked angle. It seems to be propped up on a thick pipeline that traverses the dome.\n\nGlow-in-the-Dark Earl is standing on the girder.\n\n> You examine the pipeline\nBlackened and heavily corroded, the pipeline emerges from a delicate husk of machinery and winds its way across the dome, disappearing into the distance.\n\nYou hear an arrow ping uselessly off the other side of the control panel.\n\n> You stand\nOkay, you're now standing.\n\nEarl holds out his bow and notches an arrow to it.\n\n> Shoot pipeline\nYou put a bullethole in the corroded metal of the pipeline. It quivers slightly, but remains otherwise intact.\n\nEarl draws back the string on his bow, taking aim at you.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\nEarl clucks like a chicken until his hoarse voice breaks down into a coughing fit.\n\n> Shoot pipeline\nYou put a second bullethole in the pipeline, close to the first. The pipeline creaks loudly, but stays in one piece.\n\nEarl looses the arrow. You look down and aren't entirely surprised to it sticking out of your chest. You feel yourself falling off the platform as if it were happening somewhere very far away.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\n> Wait\nTime passes...\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\nEarl growls with frustration.\n\n> Wait\nTime passes...\n\nEarl clucks like a chicken until his hoarse voice breaks down into a coughing fit.\n\n> Shoot pipeline\nYou put a second bullethole in the pipeline, close to the first. The pipeline creaks loudly, but stays in one piece.\n\nEarl draws back the string on his bow, taking aim at you.\n\n> You hide\n(behind the control panel)\nOkay, you're now taking cover behind the control panel.\n\nYou hear an arrow ping uselessly off the other side of the control panel.\n\n> You wait for a while\nTime passes...\n\nEarl sends an arrow flying over your head. \"I know you're still in here! You can't hide from me!\"\n\n> You wait for a while\nTime passes...\n\nYou hear an arrow ping uselessly off the other side of the control panel.\n\n> Shoot pipeline\nYou put a third bullethole in the pipeline, in between the first two. For a moment, nothing happens. And then the pipeline shatters into disparate shards of rust. The girder leaning on it tips slowly to one side, smashing into the dome with the sound of heavy masonry shattering like glass.\n\nEarl jumps clear of the girder and flails uselessly in the air for longer than seems possible. Then, inevitably, he drops - falling into the radioactive slime below with an infuriated yell.\n\n> F.\nOn the bank of a thick black river, you're surrounded on all sides by corroded tin shacks and heaps of rotting garbage.\n\nIt's awfully quiet around here.\n\n> You look at the garbage\nDirty rags, rotten food, human excrement... other things you don't want to look too closely at.\n\n> You look at the shacks\nHome to the physically diseased and the socially reviled.\n\n> You look at the river\nThe river is black and viscous, emitting a fine, yellowish vapour.\n\n> You listen\nIt's very quiet. The river burbles quietly.\n\n> You look at the vapour\nYou try not to breath too deeply. The river's noxious vapour probably does little to promote good health.\n\n> F.\nYou start looking for a good route to move through the dreary shanty town, when a rhythmic pistoning reaches your ears from somewhere ahead. Atomic April strides out from behind one of the shacks, blocking your path with her enormous metallic form.\n\nApril's distorted voice booms from the metallic grill she has for a mouth. \"I'm gonna pummel you good, Mute.\"\n\nApril raises her great metal fist into the air, blotting out the sun.\n\n> You look at April\nA towering metal figure, topped with a transparent brain jar, her right fist obscenely huge. She totters on stilt-like mechanical legs. A bright yellow symbol adorns her chest.\n\nApril's shoulder clunks loudly, letting out bursts of steam.\n\n> You shoot april\nYou blast April right in the middle of the archaic symbol on her chest. The bullet richochets without leaving a mark.\n\nApril's massive form is knocked backwards. She drops her arm and regains her footing in a slow and ungainly motion.\n\nApril booms with laughter. \"A squishy meat-bag like you is no threat to a mechanical god!\"\n\n> You shoot brain\nYou blast the see-through dome containing April's brain. The bullet richochets off, leaving a few hairline cracks.\n\n\"This is like pulling the legs off a fly...\" April muses.\n\nApril raises her great metal fist into the air, blotting out the sun.\n\n> You shoot brain\nYou shoot April's brain jar again, fine cracks spreading across the dome.\n\nApril laughs. \"I splatter insects like you without even thinking about it!\"\n\nApril's shoulder clunks loudly, letting out bursts of steam.\n\n> You shoot brain\nYour bullet completely shatters April's brain jar, showering glass over her shoulders.\n\n\"Some meat-bags just don't know when they're obsolete.\" April booms.\n\nApril brings her huge fist down in one swift, mechanical motion. It races down at you from the sky like a falling boulder.\n\n> You shoot brain\nYour bullet strikes April's exposed brain straight on, splattering it over her shattered head. Her body suddenly goes limp and collapses into a heap with a loud metallic clattering, sliding slowly into the river, fumes rising where her body touches the acidic slime.\n\n> You examine the symbol\nThe bright yellow radiation symbol adorns April's great metal upper torso.\n\n> F.\nA dark little office. The bright sunlight shining through the window casts a perfect square of light on the polished floor, as if it were too timid to wander away from a straight line. Coffins stand in rows against one wall, funereal garbs against the other.\n\nSolemn Gertrude is here, in a black suit and top hat.\n\nWhen she sees you arrive, Gertrude stands up from her chair by the window and unrolls her tape measure.\n\n> You examine gertrude\nA tall, thin woman with almost albinic pale skin. She wears a close fitting, jet-black suit and a shiny top hat. Her movements are small and carefully calculated. You remember Gertrude as being the one person in town more quiet than you.\n\nGertrude steps lightly on one end of the tape measure, and holds it up to measure your height.\n\n> You examine the hat\nA rather intimidating piece of headwear, really.\n\nGertrude measures you across the shoulders.\n\n> Point to coffin\nYou point at the coffins.\n\nGertrude doesn't seem to notice.\n\nGertrude quickly pulls out a notepad to jot down your measurements.\n\n> Point to garb\nyou a renegade lawman. Your score consists of:\n1 point for drinking the plainswoman's potion\n7 points for killing members of the sheriff's posse\n1 point for trapping Juanita beneath the chandelier\n1 point for kissing Juanita\n1 point for scaring off Gatling Gun Fiona\n1 point for getting measured for your coffin\n\nYou point at the funereal garbs.\n\nGertrude doesn't seem to notice.\n\nGertrude stands moderately far away from you and studies the floor.\n\n> You take the hat\nYou don't need to weigh yourself down with anything other than your trusty six shooter.\n\nGertrude redirects her attention to the ceiling.\n\n> You look in the coffin\nThere's nothing unusual in the coffins.\n\nYou catch Gertrude looking at you. She turns her head sharply.\n\n> You look at the ceiling\nYou see nothing unusual about it.\n\n\"Mute...\" Gertrude says, her voice almost a whisper. \"No, never mind.\"\n\n> Point to coffin\nYou point at the coffins.\n\nGertrude doesn't seem to notice.\n\nGertrude opens her mouth and then closes it again shortly after.\n\n> You point to yourself\nYou point at yourself.\n\nGertrude doesn't seem to notice.\n\nGertrude steps over to you, looking down at her feet. \"Mute, I know that... you must have passed Fiona to get this far. I was just wondering, well, is she okay?\"\n\n> Nod\nYou nod your head.\n\nGertrude remains absolutely impassive for quite a while. Slowly but surely, though, her lips start to form a smile. \"Okay,\" she says, so quietly you have to strain to hear her. \"I'm glad.\"\n\n> You point to her\nYou point at Solemn Gertrude.\n\nGertrude just blushes.\n\nGertrude smiles happily to herself.\n\n> You kiss her\nYou don't want to give her the wrong impression.\n\nGertrude cheerfully writes out a notice for the funeral of Vicious Sue\n\n> You listen\nYou hear nothing out of the ordinary.\n\nGertrude files the funeral notice away neatly, humming to herself."
    },
    {
        "text": "[Themes: Western, combat]\n\n> You look around\nA dark little office. The bright sunlight shining through the window casts a perfect square of light on the polished floor, as if it were too timid to wander away from a straight line. Coffins stand in rows against one wall, funereal garbs against the other.\n\nSolemn Gertrude is here, in a black suit and top hat.\n\nGertrude cheerfully writes out a notice for the funeral of Claw-Hand Hank\n\n> You look at the garbs\nRows of neatly pressed suits and dresses - all either black or white.\n\nGertrude files the funeral notice away neatly, humming to herself.\n\n> You examine the square\nThe sun casts a perfect square of light onto the floor of the room.\n\nGertrude cheerfully writes out a notice for the funeral of Deputy Gene\n\n> You examine the floor\nThe floor is shiny, meticulously polished, cold underfoot.\n\nGertrude files the funeral notice away neatly, humming to herself.\n\n> F.\nAs you leave, Gertrude clears her throat - a soft sound a little like someone hitting a cloud with a ball of cotton wool. \"G-G-Good luck,\" she stammers. \"If I see you again, I hope it's not in... a professional capacity.\"\n\nAnd then she unexpectedly races forward and throws her arms around your neck, her hands cold against your bare skin. \"Kill him,\" she whispers into your ear as she hugs you tightly. \"Don't hesitate to kill the sheriff. If there has to be someone with a gun walking around the town shooting people, I want it to be you. I trust you.\"\n\nShe starts to let you go, blushing bright red. You grab her roughly and kiss her on the cheek, your stubble scratching her pale skin. She laughs with a shy happiness.\n\nYou turn away from her and head out into the street. The sun is high overhead. It's almost time.\n\nThis narrow, cramped back street twists and winds fitfully towards the town centre, and your goal. A bare market stall stands here unattended. A simple wooden cart blocks up the road. A table sits here, ready to receive customers to a small restaurant nearby. A small neglected garden is surrounded by a tall wooden fence. In the garden, a sickly tree seems to have died long ago from dehydration.\n\nGun-Run Raoul stands here, ready to draw.\n\n\"Mute!\" Raoul calls out. \"Don't try and come any closer. You know I'm the fastest draw in the wastelands, and I'd hate to have to riddle an otherwise decent citizen such as yourself full of bullet-holes.\"\n\n> You look at Raoul\nA dusky, unshaven man with a multitude of guns and bullets strapped to his body. He's smiling mirthlessly, a sad glimmer to his eye.\n\n\"Hermano,\" Raoul pleads, \"there's no bad blood between us. Leave town while you still can.\"\n\n> You look at the cart\nTwo wheels and a large wooden bucket. Nothing special, certainly, but it must do a pretty good job of carting things around.\n\n\"Last chance, hermano,\" Raoul says, his hands slowly moving towards the many weapons he carries. \"Get out of here!\"\n\n> You hide\nYou'll have to be a little more specific here. You can take cover behind: The market stall. The cart. The restaurant table. The wooden fence. The sickly tree.\n\n\"Last chance, hermano,\" Raoul says, his hands slowly moving towards the many weapons he carries. \"Get out of here!\"\n\n> You hide behind the sickly tree\nOkay, you're now taking cover behind the sickly tree.\n\nIn a flash, Raoul has drawn a pair of six shooters. He fires both in a rapid blur, a hail of bullets disintegrating the sickly tree.\n\n> Wait\nTime passes...\n\nRaoul's six shooters click empty. He tosses them aside and pulls a lever-action rifle from over his shoulder. He loads and fires the gun with inhuman efficiency, his hands a blur. The high calibre bullets send you flying. You're already dead by the time you land.\n\n> You hide behind the cart\nOkay, you're now taking cover behind the cart.\n\n\"Hermano,\" Raoul pleads, \"there's no bad blood between us. Leave town while you still can.\""
    },
    {
        "text": "> You hide behind the market stall\nOkay, you're now taking cover behind the market stall.\n\n\"Hermano,\" Raoul pleads, \"there's no bad blood between us. Leave town while you still can.\"\n\n> Wait\nTime passes...\n\n\"Last chance, hermano,\" Raoul says, his hands slowly moving towards the many weapons he carries. \"Get out of here!\"\n\n> You wait awhile\nTime passes...\n\nIn a flash, Raoul has drawn a pair of six shooters. He fires both in a rapid blur, a hail of bullets disintegrating the market stall.\n\n> You hide behind the cart\nOkay, you're now taking cover behind the cart.\n\nRaoul's six shooters click empty. He tosses them aside and pulls a lever-action rifle from over his shoulder. He loads and fires the gun with inhuman efficiency, his hands a blur. The high-calibre bullets utterly destroy the cart you're taking cover behind.\n\n> You hide behind the fence\nOkay, you're now taking cover behind the wooden fence.\n\nRaoul tosses the rifle aside and pulls a sawn-off shotgun from a thigh holster. He aims at you and fires both barrels. The wooden fence you're taking cover behind explodes in a shower of splinters.\n\n> You hide behind the table\nOkay, you're now taking cover behind the restaurant table.\n\nRaoul tosses the sawn-off shotgun aside and pulls an antique machine pistol from the back of his belt. He fires indiscriminately, blowing apart the restaurant table in a series of shattering bullet strikes.\n\n> You hide behind the tree\nOkay, you're now taking cover behind the sickly tree.\n\nRaoul drops the machine pistol to the ground and grabs a small laser gun from his bandolier. He directs a beam of lethal blue light right at you, causing the sickly tree to spontaneously combust in a puff of smoke.\n\n> You hide\nRaoul has destroyed all the cover in this location.\n\nRaoul throws down the laser gun and pulls a derringer from his boot. He looks at the tiny gun for a second and then shrugs. \"That's all folks!\" he says, before bolting down a narrow alley and disappearing from view.\n\n> Reload\n(your six shooter)\nIt's already fully loaded.\n\n> F.\nThe eclectic buildings of the town crowd round this open space, leaving a circle of bare, trodden dirt, featureless except for the towering wooden gallows at its centre.\n\nElias stands on the gallows, the noose around his neck.\n\nThe rotund execution bot sits by the gallows, its single metallic arm gripping the lever that works the trapdoor.\n\nSheriff Clayton stands in your way.\n\n\"Mute,\" the sheriff says. \"Just in time.\"\n\n> You shoot sheriff\nYou shoot the sheriff, the bullet tearing right through his chest explosively. He lets out a yelp of pain and staggers briefly, before regaining his footing.\n\n\"Damn you, Mute!\" the sheriff screams, \"you want shooting? I'll give you shooting!\"\n\nClayton whirls round, draws his six shooter and takes aim at Elias.\n\n> You shoot the noose\nYou put a bullet right through the rope dangling from the gallows.\nThe noose falls slack around Elias' neck.\n\nThe sheriff fires, his bullet striking Elias right through the heart. The man you love looks at you, one hand held out into the blood gushing from his body. The light leaves his eyes in a matter of seconds and he collapses onto the gallows.\n\nNo! You let your gun fall from your hands.\n\n> You shoot the noose\nYou put a bullet right through the rope dangling from the gallows.\nThe noose falls slack around Elias' neck.\n\n\"Damn you, Mute!\" the sheriff screams, \"you want shooting? I'll give you shooting!\"\n\nClayton whirls round, draws his six shooter and takes aim at Elias.\n\n> Shoot gun\nWhich gun do you mean, the six shooter, or your six shooter?\n\n> You shoot the lever\nThe bullet ricochets off the lever, jerking it backwards. The trapdoor beneath Elias' feet drops away. With a short yell, Elias plummets downwards and disappears.\n\nThe sheriff fires, his bullet passing through thin air.\n\n> You point to the sherrif\nYou point at Sheriff Clayton.\n\nThe sheriff stamps his foot in the dust. \"Quit it, Mute, I'm talking now!\"\n\nThe sheriff turns to face you. \"You piece of crap,\" he splutters, \"I should have done this a long a time ago.\"\n\nHe aims his six shooter at you and fires again and again, hitting you square in the chest with bullet after bullet. You remain standing for a few seconds, unsure what's happening, and then the world begins to fade away.\n\n> You point to Elias\nYou point at Elias.\n\nThe sheriff stamps his foot in the dust. \"Quit it, Mute, I'm talking now!\"\n\n\"I'm sorry about trying to kill you the way I did,\" the sheriff continues.\n\n> You wait\nTime passes...\n\n\"I thought it'd be quick and painless. I didn't anticipate you wandering the wastelands half-naked, nurturing a vendetta - no, not even a vendetta, a petty grudge against me.\"\n\n> You wait\nTime passes...\n\nThe sheriff looks around at the shuttered buildings, as if grandstanding to a huge audience. \"I mean, come on Mute, you think I'm the bad guy here?\"\n\n> Nod\nYou nod your head.\n\n\"Of course you do,\" the sheriff sneers.\n\nThe sheriff points at you accusingly. \"You're the one shooting your way through the town, killing the only men and women who stand between its people and the marauders, the mutants and the savages!\"\n\n> You shake head\nYou shake your head.\n\n\"You're damn right I'm not,\" the sheriff responds.\n\nThe sheriff points at you accusingly. \"You're the one shooting your way through the town, killing the only men and women who stand between its people and the marauders, the mutants and the savages!\"\n\n> Wait\nTime passes...\n\n\"By the Gods, I know they were a motley crew of vagabonds, but as long as they were in my posse they were on the side of the Law!\"\n\n> Wait\nTime passes...\n\nThe sheriff fixes his steely eyes on you. \"And whose side are you on, Mute? Your own?\"\n\n> You point to Elias\nYou point at Elias.\n\nThe sheriff stamps his foot in the dust. \"Quit it, Mute, I'm talking now!\"\n\nHe aims an accusing finger at Elias. \"What about his?\"\n\n> Nod\nYou nod your head.\n\n\"As long as you're not on the side of the Law,\" the sheriff hisses, \"I don't owe you anything. Because I will always see that the Law is obeyed.\"\n\n> You wait\nTime passes...\n\n\"Or better than obeyed... feared.\"\n\n> Wait\nTime passes...\n\nThe sheriff rests his hands on his hips. \"Well, Mute, it's your move.\"\n\n> You shoot the noose\nYou put a bullet right through the rope dangling from the gallows.\nThe noose falls slack around Elias' neck.\n\n\"Damn you, Mute!\" the sheriff screams, \"you want shooting? I'll give you shooting!\"\n\nClayton whirls round, draws his six shooter and takes aim at Elias.\n\n> You shoot the lever\nThe bullet ricochets off the lever, jerking it backwards. The trapdoor beneath Elias' feet drops away. With a short yell, Elias plummets downwards and disappears.\n\nThe sheriff fires, his bullet passing through thin air.\n\n> You shoot sheriff\nYou shoot the sheriff, the bullet tearing right through his chest explosively. He lets out a yelp of pain and staggers briefly, before regaining his footing.\n\nThe sheriff turns to face you. \"You piece of crap,\" he splutters, \"I should have done this a long a time ago.\"\n\nHe aims his six shooter at you and fires. Still reeling from his gunshot wound, the sheriff misses by a hair's breadth, the bullet whipping past your bare arm.\n\n> You shoot sheriff\nYou send a second bullet ripping through the sheriff's body. He clutches his heart, blood gushing freely from his chest. \"You've killed me, Mute, but that ain't enough to stop me!\"\n\nThe sheriff fires, but his hands are shaking and his knees seem weak. The shot goes wide.\n\n> You shoot sheriff\nYou blast sheriff Clayton again. He falls to his hands and knees, struggling to keep his gun trained on you. \"Long as you're dead,\" he rasps, blood dripping down his chin, \"I can rest easy in the hereafter!\"\n\nThe sheriff fires, discharging his gun impotently into the dirt.\n\n> You shoot sheriff\nYou shoot the sheriff for the fourth time. He arches his back, squealing in agony, teeth bared, and then falls forward: finally dead.\n\n> Reload\n(your six shooter)\nYou quickly empty the spent casings from your six shooter and replace them with live bullets.\n\nThe execution bot surveys the scene with its optical sensors and begins to trundle away discreetly."
    },
    {
        "text": "> You look at your surroundings\nThe eclectic buildings of the town crowd round this open space, leaving a circle of bare, trodden dirt, featureless except for the towering wooden gallows at its centre.\n\nThe execution bot trundles slowly away from the gallows.\n\nSheriff Clayton lies on his front in a pool of blood.\n\nThe execution bot disappears down an alleyway.\n\n> You examine the gallows\nA wooden platform with a wooden beam over it, from which dangles a rope noose. A small trapdoor is set into the gallows, directly beneath the noose.\n\n> You pull the lever\nThe trapdoor is already open.\n\n> You examine the trapdoor\nThis opens and the person on the gallows drops down, the noose snapping their neck or strangling them to death. It's operated by the lever protruding from the back of the gallows.\n\n> F.\n(first getting off of the gallows)\n\nYou're in the shade beneath the gallows. The air is deathly cold.\n\nElias lies on the ground here, unconscious.\n\n> Point to Fiona\nYou point at Gatling Gun Fiona.\n\n\"She's growing on me,\" Elias says. \"Very, very slowly.\"\n\n> You point to Gertrude\nYou point at Solemn Gertrude.\n\n\"Oh, she's such a sweetheart,\" Elias says. \"Go kill some more people so she has something to do.\"\n\nRaoul rubs his unshaven jaw.\n\n> Point to Raoul\nYou point at Gun-Run Raoul.\n\n\"He's done a lot for the town, hasn't he?\" Elias says. \"But I'm not about to go running to him the next time there's a noose around my neck.\"\n\nFiona absently fingers the action of her machinegun.\n\n> You point to the zomboids\nYou point at the mutant zomboids.\n\nElias pulls a face. \"Are you sure they're dead now?\"\n\nFiona playfully pokes Gertrude in the ribs.\n\n> You look at Fiona\nFiona stands by Raoul, a machinegun propped up in the dirt next to her. Her gaze repeatedly wanders from the mutant zomboids towards Solemn Gertrude.\n\nGertrude laughs shyly.\n\n> You point to yourself\nYou point at yourself.\n\nElias leans over to kiss you on the cheek.\n\nRaoul prods one of the mutant zomboids with the barrel of his rifle.\n\n> You examine the zomboids\nYou're pretty sure they're dead for real this time.\n\nFiona absently fingers the action of her machinegun.\n\n> You examine gertrude\nSolemn Gertrude stands by Fiona, looking down at the ground as she twists the tip of her shoe into the dirt.\n\nRaoul prods one of the mutant zomboids with the barrel of his rifle.\n\n> About yourself\nYou're Mute Lawton. A devilishly handsome cowboy with windswept black hair and roguish stubble. Lean and tall, your tanned body is taut with cool, calculated strength.\n\nYou're smartly dressed in a black suit and a three-quarter length overcoat. A black stetson keeps the sun out of your eyes.\n\nFiona playfully pokes Gertrude in the ribs.\n\n> You kiss elias\nYou draw Elias closer and kiss him on the lips. He folds easily into your embrace.\n\n> You examine Elias\nSlender, dark haired, quite tall. He regards you with kind, hazel eyes.\n\n> You shoot the zombies\nRaoul and Fiona will deal with them if they start moving again.\n\nGertrude laughs shyly.\n\n> F.\nElias comes with you.\n\nRowdy Juanita's Saloon is a homely place, and meticulously clean. A shady refuge from the wasteland sun, a shaft of ruddy twilight shines in through the doorway, enveloping countless dancing motes of dust in its glare. A multitude of round tables are dotted around the carefully polished bar, and sturdy wooden beams criss-cross the high ceiling.\n\nThe former-execution bot trundles around behind the bar, a wash cloth in its single claw-like hand, while Rowdy Juanita is hard at work tending to the needs of her many customers.\n\nElias is close by your side.\n\n\"Well, if it isn't my two favourite patrons,\" Juanita exclaims. \"Your drinks are on the house.\"\n\n> Drink\nWhat do you want to drink?\n\n> You point to yourself\nYou point at yourself.\n\nElias leans over to kiss you on the cheek.\n\nJuanita sets two glasses of wasteland wine on the bar. Elias picks up one.\n\n> Point at bot\nYou point at the execution bot.\n\nElias sighs. \"I avoid him whenever I get the chance. He's nice enough, but still...\"\n\n> You take the wine\nAs she sees you raising your glass, Juanita heads over to you, brandishing a small capsule of machine oil. \"A toast,\" she says. \"To love.\"\n\nElias meets your eye. \"What do you think?\" he asks. \"To love?\"\n\n> Nod\nYou nod your head.\n\nElias smiles and slips his arm in yours. \"To love, then,\" he says.\n\n\"To love,\" Juanita repeats, her vinyl lips forming a wide smile.\n\nThe three of you raise your glasses.\n\n> Full\nThat isn't one of the options.\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your FULL SCORE, see some AMUSING things to try, or QUIT?"
    },
    {
        "text": "[Themes: Western, mute protagonist, steampunk, homosexual, Gay/queer protagonist, gay]\n\n> Shake\nWhat do you want to wake?\n\n> No\nYou must be more specific about whom you want to talk to.\n\n\"To love,\" Elias says, slipping his arm in yours.\n\n\"To love,\" Juanita repeats, her vinyl lips forming a wide smile.\n\nThe three of you raise your glasses.\n\n> You shake head\nYou shake your head.\n\n> You shake head\nAs she sees you raising your glass, Juanita heads over to you, brandishing a small capsule of machine oil. \"A toast,\" she says. \"To love.\"\n\nElias meets your eye. \"What do you think?\" he asks. \"To love?\"\n\nYou shake your head.\n\nElias cottons on immediately. \"No,\" he says to Juanita. \"A toast to the dead. Especially those we wanted dead. May they stay that way, and rest in peace.\"\n\nJuanita smiles. \"How noble. Okay: to the dead.\"\n\nThe three of you raise your glasses.\n\n> You look at Juanita\nOriginally intended as a utilitarian synthetic wife for lonely wasteland farmers, Juanita is half farm machine, half sexbot. Her figure has curvy, art deco proportions, while her four hydraulic arms can plough a whole field in minutes.\n\nJuanita is completely pinned down by a fallen chandelier. Up close you can now see that a program crystal has been inserted into a port in the back of her head.\n\n> You examine the crystal\nA thin, translucent shard of nanoscale computer memory.\n\n\"Do you see something that doesn't belong?\" Juanita asks.\n\n> You take the crystal\nYou take hold of the program crystal and pull it out of Juanita's head socket.\n\nJuanita sighs with relief. \"Ah, I feel much better now.\"\n\nShe wedges her upper arms against the the bar and they begin to emit a low, hydraulic hiss. \"Don't worry about me,\" she says. \"I'll be out of here in no time. Go save Elias!\""
    },
    {
        "text": "[Themes: Children's, child protagonist, male protagonist, dinosaurs, educational, Alternate History, kid-friendly, fantasy, polynesia]\n\nAre you sure you want to quit? \n\nWelcome to Aotearoa!\n\nDisplay Test:\n\n*+ LM jk\n\n\n\nIf no words above were colored or emphasized,\nor if you didn't see the characters as vowels with macrons,\nor if you want to adjust the colors displayed,\nor if you want to see interpreter compatibility information,\npress K now.\n\nPress R to restore an existing story, or a number from 1 to 4 to start a new story...\n\n1) ...with an in-game tutorial for new players, as well as color keyword highlighting in the text.\n2) ...with an in-game tutorial for new players, but no keyword highlighting.\n3) ...with no tutorial, but with color keyword highlighting in the text.\n4) ...with no tutorial and no keyword highlighting.\n\n[Author's Note: The Fish of M\u0101ui. The Land of the Long Cloud. Aotearoa. An entire continent of untamed wilds, and the last place on Earth where dinosaurs still roam. If only you'd come ashore under better circumstances...]\n\n> K.\nAotearoa can make use of emphasized keywords to indicate objects you can interact with. It is recommended that your interpreter program correctly displays them with some form of emphasis, although it is not strictly required. Type a number below to cycle through display options until you find one that shows clearly on your system:\n\n1) Emphasized object keywords currently look like this.\n2) Emphasized topic keywords currently look like this.\n\nPress 0 when you're finished here.\n\n> 1\nAotearoa can make use of emphasized keywords to indicate objects you can interact with. It is recommended that your interpreter program correctly displays them with some form of emphasis, although it is not strictly required. Type a number below to cycle through display options until you find one that shows clearly on your system:\n\n1) Emphasized object keywords currently look like this.\n2) Emphasized topic keywords currently look like this.\n\n**A warning: it may at times be useful to be able to differentiate between the various kinds of keyword.**\n\nPress 0 when you're finished here.\n\n> 0\nPolynesian Character Display Test: *+ LM jk\n\nIf the characters above are vowels with horizontal lines over them, your interpreter can properly display the special letters in this story. If not, you will need to change your interpreter's font to one that supports Polynesian characters. If you know your font already supports such characters, you may need to consider switching to an alternative interpreter.\n\nInterpreters known to function correctly with Aotearoa include (but are not limited to):\n\nGargoyle (the 2009-08-25 build or newer)\nZoom 1.1.4 or newer\nFilfre 0.987 or newer\nQuixe 1.0.2 or newer (using the CSS provided at\n\nOther browsers based on Glulxe 0.4.4 or newer or Git 1.2.4 or newer should work as well.\n\nFonts known to render well include (but, again, are not limited to):\n\nLinux Libertine (free for download and recommended if you have it) Georgia\nPalatino Linotype\nTimes New Roman\n\nKnown issues: The older, 2009-08-25 build of Gargoyle, out of the box, defaults to the Charter BT font, which is known to not support Polynesian characters. This can be fixed by changing the font settings in the garglk.ini configuration file to point to a font (such as one of the ones above) that does support the characters. The newest (2010.1) build of Gargoyle does not have this problem as it uses Linux Libertine by default. And although Filfre supports the proper characters out of the box, it doesn't render them correctly. Regardless of the interpreter you use, you may need to configure it for best appearance.\n\nWelcome to Aotearoa!\n\nDisplay Test:\n\n*+ LM jk\n\n\n\nIf no words above were colored or emphasized,\nor if you didn't see the characters as vowels with macrons,\nor if you want to adjust the colors displayed,\nor if you want to see interpreter compatibility information,\npress K now.\n\nPress R to restore an existing story, or a number from 1 to 4 to start a new story...\n\n1) ...with an in-game tutorial for new players, as well as color keyword highlighting in the text.\n2) ...with an in-game tutorial for new players, but no keyword highlighting.\n3) ...with no tutorial, but with color keyword highlighting in the text.\n4) ...with no tutorial and no keyword highlighting.\n\n> 4\nThe waka floats in the deep ocean, the sun motionless and searing in the clear sky. Mui, the trickster, casts his fishing line into the depths of the ocean, tied to his magic hook made from a human jawbone. Almost immediately the hook catches, and he pulls up an enormous fish that somehow becomes, as you watch, an entire continent. On that new continent magnificent dinosaurs -- taniwha -- prowl the dark forests. Volcanoes dim the sky with smoke and stain the air with the stench of sulfur, but the land is rich and fertile, and Mui's older brothers\nlook on it with greed in their eyes. Mui watches them, deep in\nthought, with a faraway expression you can't read. Then he turns to look directly into your eyes, and says, \"You know that some of my brothers cannot be trusted. You must keep them from carving up this great fish until I return from the gods with the proper karakia.\"\n\nAnd suddenly he's gone, flying away into the sun in the form of a seabird, and you're left floating in the waka with Mui's brothers as they smile secret half-smiles to each other and reach for their knives, and you wonder what in the world Mui thinks that you, twelve-year-old Tim Cooper, can do to stop them before they carve up and defile...\n\n\n\nDifficulty Level: Introductory            Cruelty Level: Polite\n\n Everyone is! You are ready to work?\"\n\nExcitement gets the upper hand for now and you grin just a bit -- you can't help it. \"I still can't believe I got picked to come! I get to see real dinosaurs? That's so cool!\"\n\nEruera laughs, a startling, wild sound. \"You may not think it is quite so 'cool' after picking through dinosaur roka for a few days, Tim.\"\n\nYou cock your head a bit, not quite sure you understood. \"Roka\"He just looks back at you silently, the friendly grin growing a bit wider.\n\nOh.\n\nThe cutter's hydrofoil brings the ship high out of the water -- high enough that there's very little spray. The wind whips past as the boat glides across the ocean off the coast to port. Thick, deep green bands of forest snake along the coastline to port. The treeline tracks stretches of black sand beach, sharp cliffs of dark volcanic rock, and the occasional salt marsh. The ocean glares as you look at the shore, almost overpoweringly blue.\n\nA dark feather from some sort of seabird flutters in the wind, caught in a small gap in the guardrail.\n\nYou hear an incomprehensible yell from the general direction of the bridge. Eruera turns toward it, then closes his eyes for an instant. \"I told them to double-check those gaskets,\" he sighs. \"I'd better go help them before we're dead in the water.\"\n\nHe starts to leave, then turns back to you for a moment. \"Why don't you head to the bridge? They've got sandwiches in there; I'm sure you're hungry after all your traveling. I'll catch up with you after I sort things out below decks.\"\n\nEruera sprints off to aft.\nThe Prow\nThe cutter's hydrofoil brings the ship high out of the water -- high enough that there's very little spray. The wind whips past as the boat glides across the ocean off the coast to port. Thick, deep green bands of forest snake along the coastline to port. The treeline tracks stretches of black sand beach, sharp cliffs of dark volcanic rock, and the occasional salt marsh. The ocean glares as you look at the shore, almost overpoweringly blue.\n\nA dark feather from some sort of seabird flutters in the wind, caught in a small gap in the guardrail.\n\n> About yourself\nYou're a bit taller than average for your age, with dark brown hair and green eyes. Currently you're feeling a bit hungry, a bit thirsty, and very nervously excited about getting to camp and seeing the dinosaurs.\n\n> You take the feather\nTaken.\n\nIt doesn't seem quite so hot any more.\n\n> You examine the feather\nIt's a small, grayish feather, possibly from a white-bellied tiko or other seabird.\n\n> You check your inventory\nYou are carrying:\na seabird feather\n\nYou think you see something large moving on shore -- could it be a dinosaur? You wish your binoculars weren't stowed in your luggage.\n\n> You examine the shore\nWhich do you mean, the 1) coastline or the 2) beach?\n\n> Coastline\nThe coastline is rough and varied. Some areas are relatively flat and at other places the cliffs come right up to the water's edge.\n\n> You look at the beach\nThe beach is a surprisingly dark black, which you've read is because of millenia of waves pounding against volcanic rock. It glitters with flashes of reflected sunlight as the cutter passes.\n\n> Fore\nIt's hard for you to make yourself even approach the guardrails, let alone think of hurling yourself off the speeding ship. Besides, you're this close to finally seeing the dinosaurs!\n\n> Exits\nThe only obvious exit is aft.\n\n(Use EXITS ON to enable the status line exit lister and EXITS OFF to turn it off. You may also cycle through the available colors to use for unvisited rooms with the command EXIT COLOR.)\n\n> Aft\nThe stern of the cutter is well-organized and uncluttered; all of the stores and supplies are stashed below. The deck and guardrail are painted white, and are almost too bright to focus upon in the sun. A small door leads inside to the bridge, and a rectangular opening in the deck leads down a steep ladder into the hold.\n\n> Go inside\nThe cutter's small bridge looks like it also serves as a living room and smoking lounge. The ship's controls are laid out on a cluttered panel to forward, under a wide, grimy window. A low side table stands by the door, food trash surrounding an overflowing, smoldering ashtray. A few chairs are scattered around as well. A door leads outside and a ladder leads down into the crew quarters.\n\nThe captain fidgets with his fingers unconsciously.\n\nThe captain acknowledges your arrival with a glance and a grunt, then turns back to his instruments. \"Help yourself to a sandwich. I think there's one left.\"\n\n> Examine sandwich\nYou look closely at the sandwich and shrug. You can't tell how old it is, or even what it's made of. The bread is brown and it looks edible, at least in theory.\n\n> You take it\nTaken.\n\n> You eat it\nYou decide that you're hungry enough to confront the mystery of the sandwich head-on and take a bite. Surprisingly, it's tasty, and you make short work of the rest of it.\n\n> You talk to the captain\nYou approach the captain a bit gingerly. \"Excuse me, sir?\"\n\n\"What do you want, tama?\"\n\n(You could ask him about himself, the sandwich, Eruera, the coastal cutter, the dinosaurs, or Aotearoa.)\n\n> You ask the captain about the sandwich\n\"Hey, that was a pretty good sandwich!\"\n\nThe captain looks at you for a moment and frowns, trying to decide if you expect a response, and if so, what it should be. He finally decides against saying anything and shakes his head as he turns away.\n\n> You ask him about Aotearoa\n\"Sir,\" you ask, \"what can you tell me about Aotearoa? I've never been here before.\"\n\n\"Well, that's obvious, son.\" He smiles, then starts talking, gesturing expansively with his hands.\n\n\"Aotearoa -- 'The Land of the Long Cloud'! You're just offshore of the closest place to Paradise on the face of the Earth, kid. The one place the British couldn't conquer when they were colonizing the world -- we Mori toa fought them to a standstill and they settled for an alliance as equals.\"\n\nHe laughs as he continues, \"Even the giant meteor that killed the dinosaurs all over the world couldn't defeat the taniwha of Aotearoa! All the dinosaurs left in the world live right here.\" He sweeps his hands to indicate the coastline moving past outside the window, then turns back to the controls.\n\n> You ask the captain about dinosaurs\n\"Have you ever seen one of the dinosaurs?\" you ask.\n\nThe captain laughs. \"'Have I seen a big one?', of course you mean. The taniwha are not as common as the television documentaries would have you believe, boy. But yes, I've seen several of the horned ones. Even though they are plant-eaters, they are still fearsome.\"\n\n> You ask the captain about Eruera\n\"What do you know about Eruera?\"\n\nThe captain turns to you. \"Eruera? I don't know him well, except by reputation. He's supposed to be a quite a toa -- a warrior. Served in the ADF before transferring to the Conservation Service.\"\n\n> You ask him about himself\n(himself)\n\"Who are you?\" you ask.\n\nThe captain responds. \"I'm Captain Hunapo, the captain of the ANS Whakamarumaru.\"\n\nHe grins as you try to mouth the name of the ship. \"It means 'protector'.\"\n\n> You ask the Captain about the cutter\n\"What kind of ship is this?\" you ask.\n\nThe captain grimaces. \"This decrepit old tub is the Whakamarumaru. It's an old hydrofoil design; one of the first they ever made. It's fast and maneuverable, but we have a devil of a time keeping it running.\"\n\ndeck.\n\n> You ask the Captain about the cutter\n\"So what's wrong with the ship now?\"\n\nThe captain shakes his head. \"Oil leak. A big one. We just overhauled the engine, but one of the gaskets blew out. It might have been bad to start with.\"\n\nHe raises his voice to include the ladder below, if they can hear him over the sound of clanking tools and Mori curse words. \"More likely, one of those mhunga wai screwed it up when they installed it!\"\n\n> You ask the Captain about Aotearoa\n\"Is there anything else you can tell me about Aotearoa? I'm really interested in the...\"\n\nHe cuts you off with a jerk of his hand. \"The taniwha, I know. You don't have to be a mind-reader to see that. I already gave you the basics. Aotearoa isn't someplace you can be told about. If you want to know more you'll find out for yourself in about an hour.\"\n\nSomething seems to bother the captain. He peers more closely at a control on the console, then mutters darkly to himself.\n\n> You look at the controls\nThe controls are labeled with unfamiliar abbreviations; you can't figure them out.\n\nThe captain checks the controls, then gives a grunt of apparent satisfaction.\n\n> You ask the Captain about the cutter\n\"Anything else about the ship?\"\n\n\"What do you want, the technical manuals? You looking to take my job? This tub will get you to the campsite in another hour -- that's all you need to know!\"\n\n> You ask him about the crewmen\nYou start to speak, but the captain doesn't seem to be interested.\n\n\"Yes yes,\" he says brusquely. \"I don't have time to discuss that right now.\"\n\n(You could ask him about himself, the sandwich, Eruera, the coastal cutter, the dinosaurs, or Aotearoa.)\n\nSomething seems to bother the captain. He peers more closely at a control on the console, then mutters darkly to himself.\n\n> You ask him about the sandwich\nThe captain's look of only partially suppressed exasperation makes you think that asking him about the sandwich yet again isn't a particularly good idea.\n\nThe captain checks the controls, then gives a grunt of apparent satisfaction.\n\n> You exit\nAs you turn away, the captain shakes his head, mutters something you can't understand, and turns back to the controls.\n\nThe stern of the cutter is well-organized and uncluttered; all of the stores and supplies are stashed below. The deck and guardrail are painted white, and are almost too bright to focus upon in the sun. A small door leads inside to the bridge, and a rectangular opening in the deck leads down a steep ladder into the hold.\n\nYou notice clouds gathering as you leave the bridge -- maybe there's a storm coming. As you take a few steps out onto the stern deck, you hear shouts from behind you. Almost immediately, the captain yells as well, calling you back. \"Hey, you... Kid! Whatever your name was... Come back here! I've got a job for you.\"\n\nIt doesn't seem quite so hot any more.\n\n> You enter\nThe cutter's small bridge looks like it also serves as a living room and smoking lounge. The ship's controls are laid out on a cluttered panel to forward, under a wide, grimy window. A low side table stands by the door, food trash surrounding an overflowing, smoldering ashtray. A few chairs are scattered around as well. A door leads outside and a ladder leads down into the crew quarters.\n\nThe captain paces impatiently.\n\nThe captain half-turns towards you. \"You! Make yourself useful and grab the hyperbolic torsion spanner from the hold. Those mhunga wai down there forgot it.\"\n\n> Exits\nThe obvious exits are down and outside.\n\n> You ask the Captain about the spanner\nThe captain looks up as you approach. He folds his arms and glowers at you. \"I'll talk to you after you bring me the hyperbolic torsion spanner like I asked you. Not before.\"\n\n> You look at the radar\nThe radar unit is a screen with some unlabeled controls underneath. Green lines indicate the position of the shore. If there were other ships nearby you'd assume that they would also appear, but there don't seem to be any at the moment.\n\nSomething seems to bother the captain. He peers more closely at a control on the console, then mutters darkly to himself.\n\n> You go outside\nThe stern of the cutter is well-organized and uncluttered; all of the stores and supplies are stashed below. The deck and guardrail are painted white, gleaming in the alternating patches of sun and shade as the cutter passes under the gathering clouds. A small door leads inside to the bridge, and a rectangular opening in the deck leads down a steep ladder into the hold."
    },
    {
        "text": "[Themes: Children's, child protagonist, dinosaurs, male protagonist, kid-friendly]\n\n> Go downwards\nThe hold's ceiling is frighteningly low, even for you. The space is cramped and hot, and the relentless, overpowering drone of the cutter's engine is almost unbearable here. The hold is mostly packed full of crates, probably containing supplies for the various Conservation Service camps in the Protected Lands. Near the stern there's a clear area with a pegboard mounted on the wall. The pegboard holds tools and supplies that the crew members use, and a ladder leads up.\n\nYour school backpack leans against against one the crates, looking out of place.\n\n> You look at the backpack\nAunt Janet gave you this at the beginning of the school year -- a cheap, nylon Camp Rock backpack more suited to the homeroom coat rack -- for a third grade girl, maybe -- than the Aotearoan bush. At least she tried.\n\nIn the backpack are your acceptance letter, your passport, your lucky rabbit's foot, your photographs, and Aotearoa 4 Kids!.\n\nOne of the crates shifts slightly, startling you.\n\n> You examine Aotearoa\nYour teacher, Mrs. Casmer, gave you this reference book about Aotearoa when your acceptance letter came in. She was really proud of you. The book is huge -- at least 400 pages -- and covers everything from history and politics to geography and wildlife. You've probably read it all the way through five times by now, trying to prepare yourself for this trip. You leaf through the familiar pages a bit distractedly, refreshing your memory a bit about the requirements for getting a driver's license.\n\nThe hot, humid atmosphere of the hold is almost overpowering.\n\n> You look at the crates\nThe wooden crates are stacked in rough order and held down with wide canvas straps. They come in several different sizes, but most appear to be cubes and measure around four or five feet on a side.\n\n> You listen to the crates\nThe low drone of the engine is surprisingly loud.\n\nThe tools and equipment clatter as the cutter lurches a bit.\n\n> You examine the photographs\nYou pull out a picture of your Mom fussing over your hair on your first day of second grade. The memories return, sharp and clear. When Mom was still alive, she always knew how to make things right, stand you back up when you fell. Even when you broke your arm skateboarding she talked you into riding again...\n\nThe hot, humid atmosphere of the hold is almost overpowering.\n\n> You look at the letter\nA copy of the letter from the Aotearoa Conservation Service informing you that you've been selected for the Junior Fieldwork Program. Who knew writing an essay about \"What Conservation Means to Me\" would lead to this? Only 100 kids total per year from all over the world get chosen, and you were one of them! Of course, you're also the only one that missed his connecting flight and has to catch up with the rest, too...\n\n> You look at tools\nWhich do you mean, the 1) hyperbolic torsion spanner, the 2) small pipe wrench, the 3) large pipe wrench, the 4) crescent wrench, the 5) hacksaw, or the 6) electric drill?\n\n> Hyperbolic\nAn obscure tool that you apparently overlooked in your earlier looting. You have no idea what it does.\n\n> You take all\nhyperbolic torsion spanner: Taken.\n\nsmall pipe wrench: Taken.\n\nlarge pipe wrench: Taken.\n\ncrescent wrench: Taken.\n\nhacksaw: Taken.\n\nelectric drill: Taken.\n\nyour acceptance letter: Taken.\n\nyour passport: Taken.\n\nyour lucky rabbit's foot: Taken.\n\nyour photographs: Taken.\n\nAotearoa 4 Kids!: Taken.\n\nThe tools and equipment clatter as the cutter lurches a bit.\n\n> You put all in the backpack\nAotearoa 4 Kids!: Done.\n\nyour photographs: Done.\n\nyour lucky rabbit's foot: Done.\n\nyour passport: Done.\n\nyour acceptance letter: Done.\n\nelectric drill: Done.\n\nhacksaw: Done.\n\ncrescent wrench: Done.\n\nlarge pipe wrench: You can't fit any more tools in there without risking damage to the cheap nylon backpack.\nsmall pipe wrench: You can't fit any more tools in there without risking damage to the cheap nylon backpack.\nhyperbolic torsion spanner: You can't fit any more tools in there without risking damage to the cheap nylon backpack.\nseabird feather: Done.\n\nThe hot, humid atmosphere of the hold is almost overpowering.\n\n> You wear backpack\nYou put on the backpack.\n\n> Up\nThe stern of the cutter is well-organized and uncluttered; all of the stores and supplies are stashed below. The deck and guardrail are painted white, gleaming in the alternating patches of sun and shade as the cutter passes under the gathering clouds. A small door leads inside to the bridge, and a rectangular opening in the deck leads down a steep ladder into the hold.\n\nYou fumble the tools around as you walk. They're so bulky that it's hard to keep hold of all of them at once, but you manage somehow.\n\nWhite seabirds pace the cutter for a while, then wheel away.\n\n> Go inside\nThe cutter's small bridge looks like it also serves as a living room and smoking lounge. The ship's controls are laid out on a cluttered panel to forward, under a wide, grimy window. A low side table stands by the door, food trash surrounding an overflowing, smoldering ashtray. A few chairs are scattered around as well. A door leads outside and a ladder leads down into the crew quarters.\n\nThe captain drums his fingers on the console.\n\nThe captain turns and notices you holding the hyperbolic torsion spanner, and reaches to take it. \"Thanks, son... Took you long enough, though. Now put the other ones back.\" He then turns and yells down the ladder to the lower deck.\n\n\"Hey, mhunga wai! Here's the hyperbolic torsion spanner!\" He tosses it down the ladder. You hear a yelp of pain, followed by a clatter as the tool falls to the deck. The captain mutters, shakes his head, and returns to work.\n\nThe radio erupts with a quick burst of staticky conversation, which the captain ignores. You can't make out a single word.\n\n> Leave\nAs you poke your head out the bridge door, you notice the clouds have thickened quickly -- it's now quite dark, except for brief, dim sparks of internal lightning that flicker deep within the clouds. Eruera pops his head up from the staircase. \"Is that you, Tim? Hold on a second...\" He looks down and waves someone on, then turns back to you. \"Good! I think we are almost done here -- I will meet you on the prow when we are finished. That will keep you a bit more out of the way while we test whether the repair will hold under pressure.\" He vanishes back down the ladder.\n\nThe captain checks the controls, then gives a grunt of apparent satisfaction.\n\n> Down\nThe captain waves you back. \"Don't go down there, kid! The men are cleaning up an oil leak. Very messy!\"\n\ndeck.\n\n> Inventory\nYou are carrying:\na large pipe wrench\na small pipe wrench\na backpack (being worn, and open)\na seabird feather\na crescent wrench\na hacksaw\nan electric drill\nyour acceptance letter\nyour passport\nyour lucky rabbit's foot\nyour photographs\nAotearoa 4 Kids!\n\nA sudden beeping from the radar attracts the captain's attention. He glances at the screen for a moment, then clicks his tongue.\n\n> Go outside\nThe stern of the cutter is well-organized and uncluttered; all of the stores and supplies are stashed below. The deck and guardrail are painted white, helping you to see them under the shade of the gathering storm clouds. A small door leads inside to the bridge, and a rectangular opening in the deck leads down a steep ladder into the hold.\n\n> Down\nThe hold's ceiling is frighteningly low, even for you. The space is cramped and hot, and the relentless, overpowering drone of the cutter's engine is almost unbearable here. The hold is mostly packed full of crates, probably containing supplies for the various Conservation Service camps in the Protected Lands. Near the stern there's a clear area with a pegboard mounted on the wall. The pegboard holds tools and supplies that the crew members use, and a ladder leads up.\n\n> You put the wrench on the pegboard\nWhich do you mean, the 1) large pipe wrench, the 2) small pipe wrench, or the 3) crescent wrench?\n\n> 1\n(the large pipe wrench on the pegboard)\nYou put the large pipe wrench on the pegboard.\n\n> You put the small wrench on the pegboard\nYou put the small pipe wrench on the pegboard.\n\nThe tools and equipment clatter as the cutter lurches a bit.\n\n> Fore\nThe cutter's hydrofoil brings the ship high out of the water -- high enough that there's very little spray. The wind whips past as the boat glides across the ocean off the coast to port. Gathering clouds dim the light, almost hiding the dark green bands of thick forest snaking along the coastline's inky beach and charcoal cliffs to port.\n\nYou spend a couple of minutes looking out over the ocean, watching the waves rise as dim lightning glows in the depths of the stormclouds and distant booms of thunder shake the air. It's a breathtaking scene, and for a moment you don't notice Eruera pushing through the wind from aft to stand beside you. He watches the approaching storm in silence with you for a moment as the light dims. \"It looks like quite an wh coming our way. Perhaps you should come back in to the bridge before it hits. I would hate for you to get soaked and miserable before we even get to camp.\"\n\nYou consider it as the sky darkens further. It's not a bad idea. But as you start to agree, Eruera snaps his head up, startled by something in the distance to port, and cuts you off with a raised hand. \"Tim, did you see...\"\n\nWithout warning, he seizes you in a powerful grip! In one smooth motion he wrenches you off of your feet and pitches you over the starboard railing, so quickly you don't even have time for a scream before you're tumbling towards the sea, arms pinwheeling. Just before you hit the water you catch a single brief glimpse of Eruera poised to leap, one hand on the railing and a wide-eyed look of panic on his face. Then you plunge into the ocean with a stinging jolt, seawater jetting up your nose and your limbs painfully forced into unnatural positions by the water's drag.\n\nAs you tumble and slow, there's a terribly loud crash of thunder. You flounder, stunned, trying to remember your swimming survival lessons. By the time you orient yourself and manage to look around, it's all over. But everything has changed. The cutter is half-submerged and leaning way over on its side, a huge, ragged hole punched in its port side near the stern. Twisted pieces of deck and the remains of crates are strewn over the ocean, visible in brief peeks over the rolling waves.\n\nBut even though the panic rises up and your breathing is shallow and fast, you know you have to stay afloat. You start paddling toward the ship, but before you can cover even half the distance it has sunk low in the water and you realize there's no point -- it will be gone before you can reach it.\n\nYou tread water for a moment as you look around, thrashing your legs wildly to keep your head above water and continuing to force down the panic. It seems you've gotten turned around somehow -- which way was the coast?\n\nYou are treading water alone in the ocean as a sudden summer storm drenches your face with sheets of rain. Lightning flashes and sledgehammers of thunder batter your ears as you try to get your bearings. The slightly acrid taste of engine oil mixed with seawater seeps into your mouth and makes you want to constantly spit; the bad taste and the floating debris are the only reminders that there was a ship with a living crew skimming over this water just minutes ago. The rise and fall of the ocean waves all around you limit how far you can see, and the storm blocks out the summer sun like an eclipse.\n\nIn the confusion, you lose your grip on what you were holding, and everything is swept away in the fury of the storm. Even the backpack is lost, the cheap straps ripping away as you hit the water.\n\n> Swim\nTo swim, you should specify to where you are swimming: SWIM TO BOAT or something similar."
    },
    {
        "text": "[Themes: Children's, child protagonist, educational, polynesia, male protagonist, dinosaurs, kid-friendly]\n\n> Go downwards\nMaybe it's crazy, but the sound of the rain and thunder is just too much after a while. You duck your head underwater, trying to gain a few moments of silence. But you can't see anything while submerged in the dark and you soon surface back into the chaos of the storm, gasping for breath.\n\nSomething bumps you from below. You thrash away from it, wasting energy. You're not sure if you moved very far, but whatever it was is apparently gone. At least, it isn't bothering you at the moment.\n\n> You go north\nYou have no choice; you have to try to get to shore. You kick, aiming in the direction you think might be correct. After several minutes of swimming, however, you don't notice any difference in your surroundings, and you're not even sure you're going the same direction you were headed when you started out.\n\nSomething oddly-shaped appears as it approaches you. It looks vaguely like a life vest.\n\n> Swim to vest\nYou hold out some hope that the jacket is still usable, but as you approach it you find it's far too damaged. Reluctantly, you watch as it's carried away by the storm.\n\nYou're very cold. It's getting harder to make your hands do what you want.\n\n> You go east\nOnce again, you decide on a direction and start swimming, hoping to reach land. Or at least sight it. But again the minutes pass and you can't see any change in your surroundings. You stop, filled with exhaustion and despair.\n\n> Shout\nWhat do you want to shout hello to?\n\n> Yourself\nYou're a bit taller than average for your age, with dark brown hair and green eyes. Currently you're feeling cold, terrified, waterlogged, and on the verge of sinking.\n\n> You go to the south\nYou're exhausted and confused, but you're not about to give up. You force yourself to set forth once more in search of the shore. Unfortunately, the results are the same as before: no land and more fatigue."
    },
    {
        "text": "[Themes: Children's, kid-friendly, fantasy, polynesia]\n\n> You describe your surroundings\nYou are treading water alone in the ocean as a sudden summer storm drenches your face with sheets of rain. Lightning flashes and sledgehammers of thunder batter your ears as you try to get your bearings. The slightly acrid taste of engine oil mixed with seawater seeps into your mouth and makes you want to constantly spit; the bad taste and the floating debris are the only reminders that there was a ship with a living crew skimming over this water just minutes ago. The rise and fall of the ocean waves all around you limit how far you can see, and the storm blocks out the summer sun like an eclipse.\n\n> You look at the debris\nBlown about at random in the storm are bits and broken pieces of the cutter, mostly unrecognizable. The blast must have done a lot of internal damage as well as what it did to the outside of the ship.\n\nYou see something at the limit of your vision -- something that looks like a floating crate. And you hear something -- Dad? How could that be? Unless... you're already dead, or dying... \"Tim, over here, buddy!\"\n\nThat's Dad's voice, all right -- you can hear him clearly, even over the deafening storm!\n\n> You get on the crate\nThere's nothing suitable to enter here.\n\nYou see something at the limit of your vision -- something that looks like a floating crate. Despite the fury of the storm, you can hear a voice calling to you. Could it be...? \"Tim! Swim to me! Grab ahold of the crate!\"\n\nYou have no idea how, but it sounds exactly like your father!\n\nYou seem to hear a voice crying out, but you can't tell whether it's real or simply a trick of the wind before it's gone.\n\n> Swim to crate\n\"Tim, over here!\" The call is clearer this time. It's definitely Dad, and you don't spare any more effort wondering whether it's possible or not.\n\n\"Dad!\" Fatigue is forgotten as you flail through the water towards your father. He's hanging on to one of the crates from the cutter -- this one miraculously intact -- that floats nearby, and he beckons you anxiously with his free hand.\n\nYou draw near -- the crate is very close, but you're so tired, and you think you might not make it, and then your father's voice rings clearly in your ears over the shrieks of the other kids at the pool...\n\nYou're standing in the warm water of the shallow end of the George Ross Community Center pool, five years old once more. The pool is indoors, so the the excited shouting and shrieking from all the other kids echo back and forth into a neverending high-pitched background noise. The air is thick with humidity and the itchy smell of chlorine.\n\nDad is crouching in the water, just a step or two beyond where the bottom of the pool starts to slope down into the deep end. His arms are outstretched, and there's an excited smile on his face. \"Swim with your hands and kick with your feet at the same time, Tim! You can do it!\" You're pretty scared, and really tired from all the swimming and playing earlier in the day, but maybe you can do this after all...\n\n> Swim to Dad\nYou start towards Dad, but it's too scary and you flail backwards to the safety of the shallow end, spluttering as cold, yucky-tasting water floods your mouth and nose.\n\nCold?\n\n\"Good try, Tim! You were doing it! Try once more and you'll make it!\"\n\n> About yourself\n. You're wearing your Spider-man swim trunks and standing up to your armpits in warm pool water. You're once again five and a half years old and just under four feet tall.\n\n> You look at Dad\nDad is much taller than you -- maybe even six feet tall -- with dark brown hair, blue eyes, and a slightly lopsided smile. He's wearing bright rainbow-colored swim trunks and is crouching in the water a few steps into the deep end of the pool.\n\n> Swim to Dad\nYou try to work up your courage for another attempt, but the memory of slipping underwater is too frightening. You're about to call out to Dad and tell him you can't do it, when you see a young dark-skinned boy about your age wade out to the drop-off. Who is he? He looks very familiar, but you know he's not in your kindergarten class. Maybe one of the other classes...\n\nHe turns to look directly at you, and something about the look in his eyes gives you a calm sense of confidence. He turns away, crouches, pushes with his legs, and he's off, a fish flitting to the far end of the pool without a backwards glance.\n\nAs you watch him, you can feel a new determination -- if that boy can do it, you can too. You turn, look at Dad, crouch down, and push forward, kicking your tired legs with new strength and moving your arms the right way -- you think it's the right way, at least. You keep going, trying to remember to breathe properly, until your hand pokes into Dad's stomach and he pulls you up out of the water with a huge smile on his face. He twirls you around, shouting \"You did it! You did it!\" as he gathers you into a great big hug...\n\n\"I pai ai! You're alive!\" Somehow you're hanging onto the crate near Eruera. Of course it couldn't have been Dad; what were you thinking? Something's wrong, though. Eruera winces as he shifts his grip on the crate, breath hissing and eyes narrowing. Then it passes, and he continues, shouting to be heard over the raging storm.\n\n\"We may be alive, Tim, but we won't stay alive unless we can get to shore. And I think I broke my leg when the missile hit -- I was almost over the railing, but not quite. I felt my left leg crunch below the knee, and it hurts very badly to move it at all, let alone kick.\" He smiles almost apologetically. \"I don't know how much help I'm going to be moving this thing.\"\n\nMissile? Was that what sank the ship?\n\nYou are floating holding onto a crate in what seems like the dead center of the storm. Eruera is beside you, grimacing with pain and taking shallow breaths as he holds on as well. The wind shoves the crate around where it will, dragging you along in its wake. You might be able to influence its direction, but your legs are really tired and you're not sure you have the strength.\n\nThunder crashes as the storm rolls on.\n\n> You talk to Eruera\n\"Eruera,\" you start. \"How are you doing?\"\n\nHe coughs, his arms tightening convulsively on the crate. \"Need to get to shore! Won't last much longer...\"\n\nHe seems to lose focus on the rest of what you were saying.\n\nYou seem to hear a voice crying out, but you can't tell whether it's real or simply a trick of the wind before it's gone.\n\n> You listen\nThe wind does its best to carry Eruera's few words away, and mostly succeeds.\n\nYou can't help wondering whether you're going to live through this. You fight down a rising sense of panic."
    },
    {
        "text": "[Themes: Children's, Alternate History, child protagonist, dinosaurs, polynesia]\n\n> You look around\nYou are floating holding onto a crate in what seems like the dead center of the storm. Eruera is beside you, grimacing with pain and taking shallow breaths as he holds on as well. The wind shoves the crate around where it will, dragging you along in its wake. You might be able to influence its direction, but your legs are really tired and you're not sure you have the strength.\n\nEruera is here alongside you, face twisted in pain and desperately clinging to the crate.\n\n> You ask Eruera about about shore\nYou try to get Eruera's attention, and at first he fails to respond. After long moments, he gasps in pain. \"Can't understand you!\" he calls. \"Must... get to shore...\"\n\nHe seems to lose focus on the rest of what you were saying.\n\nThunder crashes as the storm rolls on.\n\n> Inventory\nYou are carrying nothing.\n\nYou can't help wondering whether you're going to live through this. You fight down a rising sense of panic.\n\n> Swim east\n\"Hold on,\" you yell to Eruera over the howling of the wind. You can't really muster up much hope that you'll make it to shore, but at least you've got something to cling to, and you're not alone. That's way, way better than where you were a couple of minutes ago. You start kicking, trying to push the crate in a direction -- any direction. You can't tell whether you're making any progress. Eruera tries to encourage you, but his words are cut apart by the storm and garbled by your own exhaustion, and you can't make sense of what he's saying.\n\nYou keep kicking until your legs fail. You rest, then try again, a cycle that gets shorter and shorter as you slowly run out of energy. All of a sudden, an unexpectedly violent surge of the sea tears you loose from the crate, and in a strange calm you briefly slip under the waves before kicking upwards again with leaden feet. By the time you reorient yourself, the crate is out of reach, scudding just ahead of you before the wind. It's so close... but you have nothing left in your legs, and you can't quite reach Eruera's arm as he stretches out towards you. Slowly, unstoppably, the distance increases, carrying the crate into the dark and leaving you behind. The last thing you see is Eruera straining toward you, trying to yell something over the fury of the storm. But the thunder, wind, and rain drown his voice and he finally disappears into the gloom.\n\nAlive...\n\nYou must be alive -- you feel too miserable to be dead. Despite your aching leg muscles and the burning sensation in your lungs you'd rather stay unconscious -- if it weren't for the surf slapping your face every few seconds, making you choke and splutter. Very reluctantly, you shove yourself up the beach a bit farther to get away from the tide. After what seems like another hour, you open your stinging eyes and look around. You're on a strand of black sand in a shallow bay, and the lying sky is now innocent blue and filled with harmless-looking, puffy clouds.\n\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\nYou slowly stagger to your feet, your battered body and abused muscles protesting all the while. You look around with a dull stare, not really understanding yet what you're seeing and unsure what to make of the black beach you stand upon. You wonder what happened to Eruera.\n\n> About yourself\nYou're a bit taller than average for your age, with dark brown hair and green eyes. Your clothes are heavy with salt and you can taste it on your lips. Your skin feels raw and your muscles are stiff and sore. But you're alive, and nothing's broken.\n\n> You go to the east\nOnly the waters of the wide bay lie in that direction. And you've had enough of swimming for a lifetime.\n\n> You go north\nThe black sand beach transitions to stones and boulders here as the seashore lifts into the black cliffs. To the northwest a break in the volcanic stone leads upwards and into the depths of the forest. Where the water eddies at the north end of the beach a collection of light, floating junk has collected.\n\nA green plastic bucket is washed up on shore here.\n\n> You examine the junk\nAs you approach the floating junk, you notice a few interesting things. There are some shredded pieces of rope tangled around some crate splinters and seaweed, and a crumpled wad of what looks to be a ripped piece of tent fabric bobs here as well.\n\n> You examine the bucket\nThe bucket is made out of green plastic. Unfortunately, it has a small hole on the bottom. The bucket is currently empty.\n\n> You look at the tent\nA long strip of thick tent fabric. Despite the abuse it's suffered, it seems tough.\n\n> Go south\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\n> You go south\nSteep rocks block your path in that direction. It doesn't look like you'd be able to climb them.\n\n> Go north\nThe black sand beach transitions to stones and boulders here as the seashore lifts into the black cliffs. To the northwest a break in the volcanic stone leads upwards and into the depths of the forest. Where the water eddies at the north end of the beach a collection of light, floating junk has collected.\n\nShreds of what used to be a thick rope are here, washed up on the rocks at the north end of the beach and coated in black sand grains.\n\n> You go to the north-west\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\n> You take the rope\nThe remains of the rope are soggy and useless, and you end up just giving up and dropping the slimy shreds back onto the beach.\n\n> You go to the north-east\nAlone? The forest looks dangerous, and you might get lost! You don't know anything about how to survive in there, and you don't know what kind of wild life to expect or even where you should go. Maybe it would be better to wait on the beach and try to signal rescue, or at least talk to Eruera about it. If you can find him and he's still alive.\n\n> You search junk\nYou sift through the junk carefully, but you've already picked out the only items that would likely be useful.\n\n> Go south\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\n> You search debris\nYou start to pick through the pile of junk, and suddenly realize there's a body buried beneath! It's lying still, but you can just barely see its chest rise and fall. Moving as carefully as you can, you remove the splintered boards and assorted wreckage, until you expose the face. It's Eruera!\n\nThe jostling of debris disturbs him, and his eyes slowly open, flakes of dried salt falling from his eyelids. You can't bear to look at his face -- he's in too much agony. It takes a long minute before he becomes aware enough of his surroundings to recognize you.\n\n\"Tim, is that you?\" he croaks. \"I guess we made it.\"\n\nHe doesn't smile, barely even sounds interested. It's obvious he's going to need help quickly.\n\n> You examine Eruera\nEruera looks pretty bad -- he's soaked with seawater and moaning in pain, and not really fully aware. Despite everything, he's still desperately holding on to what you recognize as one of the broken boards from the crate. His left leg in particular looks really painful -- it doesn't seem to be as straight as it should, and it's swollen to almost grotesque size.\n\n> You examine the leg\nEruera's leg looks terrible. It looks like the top part is fine, but his left leg is broken below the knee, and it looks as if it's a pretty bad break. His leg is bent at an unnatural angle, although it's swollen so huge that you can't judge just how far it's bent.\n\n> You ask Eruera about the leg\nYou approach Eruera as he lies on the beach.\n\n\"Eruera, I... I want to talk to you about...\" You trail off. It's obvious he's not going to understand. But he does react to the sound of your voice.\n\nHe draws in a hissing breath. \"My leg... Help...\"\n\n\"Well, I found this board,\" you say, holding it out so he can see. \"And there are some more over in the pile. I also found this piece of tent fabric. Seems pretty strong to me. Will these work?\"\n\nEruera nods quickly. \"Those... should work.\"\n\nHe rallies and becomes a bit more coherent, speaking with forced precision. \"Tim, I think my left leg is badly broken. It needs to be straightened. I'll brace myself; you pull my leg straight toward you as hard as you can. After that you can splint it.\"\n\n> You pull the leg\nEruera braces himself, and you hesitate just a moment before taking a firm grip on his ankle. Trying not to think about it, you pull as hard as you can, throwing your weight into extending his leg as Eruera screams in pain. Just when you're sure you're not strong enough -- that this was all for nothing -- you feel his leg shift. Eruera lets out such a piercing shriek of agony that you let go of his leg in surprise, falling backwards onto the wet sand. But when you struggle back up, you see that Eruera's leg looks like it's straight again. Still horribly swollen, but straight.\n\nEruera himself lies flat on his back, panting in exhaustion. \"Good... Good job, Tim... Tn koe...\"\n\n> Splint leg\nWorking quickly, you brace Eruera's leg with the wood, tying the splint securely with scraps of tent fabric. Eruera hisses in pain as you pull, but also nods a quick jerk of approval through clenched teeth. You finish the knot.\n\nEruera tests the splint -- gingerly at first, but with more confidence as he sees how it holds up. \"Good work, Tim!\"\n\n> You talk to him\nYou walk up to Eruera where he lies near the pile of debris.\n\n\"Eruera, can I talk to you about...\" He cuts you off with a wave of his hand and swallows painfully.\n\n\"Please, Tim. I'm so thirsty I can barely think. Please bring me some water first and then we can talk.\"\n\nYou take stock of your possessions and realize you don't have anything suitable. \"OK, Eruera. I'll try to find something.\"\n\n>\"Eruera, could you just....\" He interrupts again.\n\n\"Please, Tim. I need water badly. We can talk afterwards.\"\n\n> Inventory\nYou are carrying:\na leaky bucket, currently empty"
    },
    {
        "text": "[Themes: Children's, educational, male protagonist, kid-friendly, child protagonist]\n\n> Look around\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\nEruera lies on the sand here, alert but unable to move.\n\n> You examine the rock\nA section of the volcanic cliffs has collapsed in huge chunks here, blocking travel to the west and south. In a few thousand years they'll likely wear away to more black sand.\n\n> Go northeast\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nA small dinosaur, which stands no taller than your shin, is nearby. She raises her head to issue a warbling call that sounds remarkably like a bird's, while continuing to watch you out of the corner of her eye.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that the female oviraptor is using as a nest.\n\n[You've encountered an animal that may figure significantly in the story! This story gives you the ability to name such animals with the command NAME FEMALE OVIRAPTOR BOOPSIE (or any other name of your choice). When you do this, the game will use your new name for the animal in descriptions, and you can use that name in your commands as well. Try it!]\n\n> You look at the tree\nThis kauri is intimidatingly tall, punching through the forest canopy into the full sunlight. It's very wide -- maybe three feet in diameter -- and its flaky bark has piled up around the roots of the tree, killing the grass and other plants in a wide radius around the trunk.\n\n[You've encountered an animal that may figure significantly in the story! This story gives you the ability to name such animals with the command NAME FEMALE OVIRAPTOR BOOPSIE (or any other name of your choice). When you do this, the game will use your new name for the animal in descriptions, and you can use that name in your commands as well. Try it!]\n\n> You name the female oviraptor dina\n[Great! Now you can refer to the animal using your new name rather than its generic description. If you dislike the name, you can use the NAME command again to change it, or use UNNAME to remove it and revert to the generic description.]\n\nYou address the female oviraptor. \"I'm going to call you 'Dina'.\"\n\nDina seems utterly disinterested.\n\n> You get the water\n(using the bucket)\nYou dunk the bucket into the stream, and pull it up brimming with fresh water.\n\nA thin stream of water drips to the ground as water leaks from the bucket.\n\n> You go south\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She stares at you with intense, beady eyes, tensed to spring away.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\nThe water in the bucket drips away as the level slowly falls.\n\n> Go southwest\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nThe water level in the bucket drops as the contents leak away.\n\n> You go southeast\nThe black sand beach transitions to stones and boulders here as the seashore lifts into the black cliffs. To the northwest a break in the volcanic stone leads upwards and into the depths of the forest. Where the water eddies at the north end of the beach a collection of light, floating junk has collected.\n\nShreds of what used to be a thick rope are here, washed up on the rocks at the north end of the beach and coated in black sand grains.\n\nThe water in the bucket drips away as the level slowly falls.\n\n> You go south\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\nEruera lies on the sand here, alert but unable to move.\n\nA thin stream of water drips to the ground as water leaks from the bucket.\n\n> You give the water to Eruera\n(the fresh water to Eruera)\nYou approach Eruera as he lies on the beach.\n\n\"Eruera! I've got water for you!\n\nYou hold out the bucket. \"Here's some water, Eruera.\"\n\nEruera sits up laboriously, takes the bucket from you, and tips it into his mouth. Water spills over his face as he drinks, and he closes his eyes in bliss. What seems like minutes later, he lowers the bucket. \"Thank you, Tim. That's much better!\"\n\nHe gathers strength for a minute, panting for air a bit after downing the water. Finally he beckons you closer. \"Tim, I'm sure the cutter was attacked, and I'm pretty certain it was by poachers -- criminals who illegally sneak ashore to capture the taniwha and sell them abroad. I'm not completely certain where we are at the moment, but if I'm right there should be a Conservation Service station about thirty miles to the north.\"\n\nHe grins and spreads his hands. \"Obviously I'm in no shape for such a trip through the bush, so it is going to fall to you to get to that station and get us some help. I'll try to answer any questions you have, and if you encounter anything unusual in the area you can always ask me about it.\"\n\nHe steels himself, then twists, reaches into the pile of debris, and pulls out a solid-looking metal case. A huge smile spreads over his face. \"By blind luck, that crate we stumbled across in the ocean had a set of field radios in it. They were in a sealed case, and they're pretty rugged, so they should still work.\" He hands you one of the radios and shows you how to push the button to make a call. You try it out, and the radio works perfectly! \"With these we should be able to keep in touch in the field! If you run into anything, just give me a call.\"\n\nHaving this link back to Eruera, even if he can't really get to you to help out, loosens up a tightness in your chest you weren't even aware you had.\n\n(You could ask him about himself, the coastal cutter, the dinosaurs, Dina, the battery, Aotearoa, or your vision.)\n\n> You ask him about Dina\n\"Hey, Eruera?\"\n\n\"Yes, Tim?\"\n\n\"I ran into a little dinosaur -- it was only about as high as my knee, but it was pretty active and, well, aggressive.\"\n\n\"That was probably an oviraptor, Tim. There are several species of the little pests around here.\"\n\nYou shift a bit. \"Are they dangerous?\"\n\n\"Well, to small lizards, bugs, and eggs, sure. Not really to people, although they're protective and have a nasty bite.\"\n\n> You ask him about the vision\n\"When we were in the ocean -- before I made it to the crate -- I thought I saw my father, back before he died.\"\n\nEruera looks at you with interest. \"You had a vision?\"\n\n\"Yes, I was a little kid again, maybe five years old, and my dad was teaching me how to swim.\"\n\n\"Tim, in the Mori culture, such visions are not uncommon. It is often said that the wairua -- the soul -- of an ancestor can send visions of warning or guidance. Perhaps your father's wairua gave you strength as you struggled in the ocean.\"\n\n> You ask him about the battery\n\"I found something odd in a little dinosaur's nest. She wouldn't let me near it, but it's obviously a battery of some sort.\"\n\nEruera sits up and looks at you seriously. \"Really? That's serious, Tim. \"It's likely some trash from the same group of poachers that attacked us. I'd be very careful as you go through the forest. If they're that close, you'll need to be quite alert to avoid being spotted.\"\n\n> You ask him about the cutter\n\"I have to ask -- what happened to the cutter?\"\n\n\"You won't believe this, Tim, but I think it was a ship-to-ship missile.\" Your look of incredulity must be immediately obvious. He smiles faintly and continues. \"I am serious, Tim. There have always been groups of poachers raiding the Protected Lands to take the taniwha away and sell them. They make a great deal of money, and so there's been an ongoing arms race between them and the Conservation Service for years. These poachers are pretty good at hiding their camps, but when they're cornered or feel they can get away with it they usually have some pretty heavy weaponry.\"\n\n> You ask him about the dinosaurs\n\"What can you tell me about the dinosaurs that live here?\"\n\nEruera shifts a bit, and there's a twinkle in his eye as he addresses you. \"We really shouldn't waste time with this until we've secured rescue, but I know that's the main reason you came, and you haven't gotten your chance to see them yet, so I'll indulge your curiosity. In many ways, Tim, the taniwha are the living symbols of this whole nation. When the Mori first arrived in Aotearoa, they fought the taniwha simply to exist here. In those days, they covered the continent, for the most part, and weren't really willing to share it with humans.\"\n\n\"But eventually the Mori learned how to coexist with the taniwha, and even partially domesticate some of them. When the pkeh came, bringing guns and colonists and looking for land to clear and farm, the Mori\nmet their firearms with kairkau mounted on taniwha. Their mana was strong -- the British guns had some effect, but the bony plates on the taniwha's heads served as shields and made the riders difficult targets. The pkeh were unable to simply take Mori land, but they weren't willing to give up. Years of fighting ensued, until Pitiroi -- Robert FitzRoy -- was sent here from Great Britain and met with the great chiefs -- the rangatira -- and signed the Treaty of Waitangi.\"\n\n\"The Treaty established a permanent state of alliance between Great Britain and Aotearoa. Mori sovereignty was guaranteed, but the pkeh were granted rights and brought into the iwi, or family, of Aotearoa. Many speculate that if the taniwha had not existed, we might have ended up like the aboriginal people of the Australian or American colonies -- a broken people, stripped of their land and heritage.\"\n\n\"So the taniwha are vitally important to the Mori people, Tim. That is why we work so hard to protect them.\"\n\n> You ask him about Aotearoa\nWhich do you mean, 1) Aotearoa 4 Kids! or 2) Aotearoa?\n\n> 2\n\"I've read about Aotearoa, but I don't really know what it's like here. Could you tell me about it?\"\n\nEruera chuckles. \"That is a lot to cover, Tim. How about I just tell you how I see it? Aotearoa is home. It's not like we don't have problems here -- we have poverty and some pretty harsh political fights over taxes and resources and things like that, but so many things went right here that seemed to go wrong other places. We've kept our precious indigenous species safe -- we haven't had an extinction since the Laughing Owl back about a century ago. Race relations here are good compared with some -- well, most, really -- other former British colonies.\"\n\nHe leans back. \"Let's leave it at that for now, OK?\"\n\n> You ask him about the station\nYou walk up to Eruera where he lies near the pile of debris. \"I'm sorry, Tim. I don't think I can help you much with that.\"\n\n(You could ask him about himself, the captain, the poachers, your vision, or the Conservation Service.)\n\n> You ask him about  the poachers\n\"So, about these poachers. What should I expect?\"\n\nEruera's face stills as he looks at you. \"Be very careful, Tim. If the poachers are in your path, do everything you can to avoid contact with them. These men killed my brothers on the cutter in cold blood, to protect their profits from stealing the taniwha. The best you could hope for if you are caught would be to be held for ransom.\"\n\n> You ask him about Conservation Service\n\"So what is the Conservation Service like?\"\n\nEruera frowns. \"To work for, I'm guessing you mean? They're a good employer. I've not worked elsewhere, but I am told it's one of the better places within the government to work. More importantly, though, I see a great deal of Aotearoa the way the tkpuna did -- wild and unspoiled. And I feel like I'm doing my part to keep the mana of my homeland strong -- to protect the whenua rhui.\"\n\n> You ask him about Captain\n\"The captain -- I'm guessing he must be ... dead, right? Did you know him?\"\n\nEruera shakes his head. \"Captain Hunapo? Yes, I suppose he is dead, although if anyone else managed to survive it would probably be that old kak+ mrM. Too stubborn to admit he's dead, I don't doubt.\"\n\nHe sighs. \"No, I'd known him by reputation -- a very skilled sailor, a long-time veteran of the Service, hell to work under -- but this was the first time I'd sailed with him.\"\n\n> Go north\nAs you leave, Eruera calls out to you. \"Haere r and waimaria, Tim. Come back safely.\"\n\nThe black sand beach transitions to stones and boulders here as the seashore lifts into the black cliffs. To the northwest a break in the volcanic stone leads upwards and into the depths of the forest. Where the water eddies at the north end of the beach a collection of light, floating junk has collected.\n\nShreds of what used to be a thick rope are here, washed up on the rocks at the north end of the beach and coated in black sand grains.\n\n> You go to the north-west\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\n> Go northeast\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She slowly moves from tree to tree, searching for something while always managing to keep you in view.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\n> You take the battery\nDina steps forward, lets out a violent hiss, and glares at you in rage as you approach her nest. You retreat empty-handed, not wanting to get bitten.\n\n> You examine Dina\nDina stands on her hind legs, her tiny head and sharp teeth about knee-high. Her front arms are short and clawed, making her look like a very miniature T-Rex, except for a smaller, almost birdlike head, and she has muted and dappled green and brown skin that makes her very hard to pick out of the undergrowth. She eyes you warily, unsure whether you're dangerous or not.\n\n> You examine the tree\nThis kauri is intimidatingly tall, punching through the forest canopy into the full sunlight. It's very wide -- maybe three feet in diameter -- and its flaky bark has piled up around the roots of the tree, killing the grass and other plants in a wide radius around the trunk.\n\n> Up\nYou approach the giant kauri and look up. It's impressively tall, and the first branches that look like they'd support your weight look like they could be almost thirty feet up. You begin to feel dizzy just thinking about trying to climb it. What if you fall? What if you get stuck?\n\n> You look at the nanakia\nThe nanakia looks kind of like a lemur, with spotted brown fur, delicate arms, and a long, thin tail. Her head is the big tipoff that she's not a lemur or a monkey -- two scooped ears that swivel around when she listens, beady yellow eyes, and a ratlike snout make it obvious that this creature has to be related to bats in some way. The nanakia stands on her hind legs on the far bank, watching you intently and mimicking your every move.\n\nThe nanakia watches you intently from across the stream. She notices you looking at her and gets very excited. She draws herself up to her full height, wiggles her handlike paws, and twitches her tail.\n\n> Name nanakia naginata\nYou address the nanakia, who draws herself up with a look of interest. \"I'm going to call you 'Naginata'.\"\n\nNaginata's eyes gleam, and she preens with the attention.\n\n> You ask the radio about Naginata\nYou can only do that to something animate.\n\n> You turn on radio\nYou click the transmitter. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNaginata watches you intently from across the river. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\n(You could ask him about himself, your vision, or your fear of heights.)\n\n> You ask Eruera about Naginata\n\"I'm sorry, Tim. I don't know much about that.\"\n\n(You could ask him about himself, your vision, or your fear of heights.)\n\n> You ask him about the fear of the heights\n\"I wanted to ask you about... well... climbing.\"\n\n\"Climbing, Tim?\"\n\n\"Yes. I've wanted to climb some of these trees -- I've even started to try -- but I just... Are they safe to climb?\"\n\n\"Ah, I think I understand. The bark is smooth, yes? And the branches are high?\"\n\n\"Yes! I've never climbed a tree like this before. They're so tall! If I slipped and fell, I might break a bone, or even get killed!\"\n\nEruera is silent for a moment. \"Well, Tim, I'm not sure what to tell you. I can't tell you it's completely safe, but I will say that Mori children often climb and play in trees much like these, and these are children younger than you, Tim. I feel certain that if you feel you need to climb a kauri, and you concentrate hard on what you are doing, that you will succeed.\"\n\nImmediately your mind fills with an image of the young boy you saw when you imagined being back learning to swim with Dad, before the accident. But this time the young boy is scampering up a tall tree like a hairless monkey, grabbing handholds quickly and surely as he climbs. After reaching the lower branches, he turns to you and beckons, and somehow your fear lessens. It's still there, but somehow more manageable. Something you can master, rather than the other way around. The young boy smiles and the brief vision ends.\n\n\"Tim? Are you listening?\"\n\nYou shake your head, back to reality. \"Yes, Eruera,\" you say. \"You know, I think I might be able to give this a try.\"\n\n\"You do? Very good! Take care and I'm sure you'll be fine.\"\n\n> Up\nYou release the transmitter as you walk, ending the conversation.\n\nYou are perched on a fairly thick branch of a kauri tree about thirty feet above the ground, which is about as high as you can climb, and higher than you feel truly comfortable with anyway. Above this level the bark is too smooth to climb, and you can't imagine trying to climb any higher even if it wasn't. The branch extends north out over the river. You take a moment to savor your victory -- you did it! You actually climbed all the way up to the low branches of a tall kauri tree! Sure, you were scared, but you did it anyway!\n\nI wish that little Mori boy was here so I could thank him.\n\nAcross the river, you notice Naginata watching you climb with great interest. She hops onto what looks like a dead or dying kauri on the north bank, which appears to have some sort of major trunk damage near the ground. The nanakia scampers up the trunk to a branch, about at your level, that reaches south across the stream.\n\n> Go north\nYou carefully creep out along the branch as it sags more and more under your weight. Your deathgrip on the branch takes most of your attention, but out of the corner of your eye you see Naginata approaching you, moving out over the river on her branch. The damaged kauri's limb sags and creaks alarmingly even under the slight weight of Naginata. She doesn't seem the slightest bit concerned. You, however, come to the abrupt realization that you're hanging about thirty feet above a rushing stream in the middle of the Aotearoan bush, and decide to retreat to the trunk.\n\n> Inventory\nYou are carrying:\na field radio\na leaky bucket, currently empty\n\nNaginata watches you intently from her perch on the branch across the stream. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals a flea, which she pops in her mouth and crunches with gusto."
    },
    {
        "text": "[Themes: Children's, kid-friendly, child protagonist, educational, Alternate History, fantasy]\n\n> Look around\nYou are perched on a fairly thick branch of a kauri tree about thirty feet above the ground, which is about as high as you can climb, and higher than you feel truly comfortable with anyway. Above this level the bark is too smooth to climb, and you can't imagine trying to climb any higher even if it wasn't. The branch extends north out over the river.\n\nNaginata stands on her hind legs on the far bank, watching you intently and mimicking your every move.\n\n> You hit yourself\nThat might hurt!\n\n> You take the bark\n(the chunk of bark)\nTaken.\n\nNaginata watches you intently from across the stream. She notices you reaching for the chunk of bark and picks up a fairly heavy nearby rock, holding it with some difficulty in obvious mimicry.\n\n> You examine the bark\n(the chunk of bark)\nThe bark is about a foot in diameter, thick and round, and there's a fair-sized blob of sticky sap or gum attached to it as well.\n\nNaginata watches you intently from across the stream. She notices you looking at the chunk of bark and peers at it with exaggerated interest.\n\n> You fix the bucket with the bark\n(the chunk of bark)\nYou can't fix the bucket with that.\n\n> You eat the bark\n(the chunk of bark)\nEating that doesn't make sense.\n\n> You examine sap\nYou see nothing special about the blob of sticky gum.\n\nNaginata watches you intently from across the stream. She notices you looking at the blob of sticky gum and peers at it with exaggerated interest.\n\n> You take the gum\nYou peel the gum from the bark, getting some on your hands in the process. It's very sticky.\n\nNaginata watches you intently from across the stream. She notices you reaching for the blob of sticky gum, but since she already has a possession she just continues to watch you.\n\n> You fix the bucket with the gum\nYou push the sticky gum into the hole in the bucket, mashing it around with increasingly sticky fingers until you get a good seal. It looks like the leak is plugged!\n\nNaginata watches you intently from across the river. She makes a few halfhearted motions, trying to imitate plugging the bucket with the blob of sticky gum, but quickly gives up and returns to watching you.\n\n> You fill the bucket\nYou dunk the bucket into the stream, and pull it up brimming with fresh water.\n\nNaginata watches you intently from across the stream. She peers with interest at the sight of you filling the bucket with the stream. Although she lacks a bucket of her own, she moves to the water's edge and mimes scooping water out, shaking drops off her wet paws as she stands.\n\n> You go south\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She stares at you with intense, beady eyes, tensed to spring away.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\n> You show bucket to Dina\nDina looks at the bucket briefly, then turns away, uninterested.\n\n> You turn on the radio\nYou press the transmitter button. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\n(You could ask him about himself or your vision.)\n\n> Go northeast\nYou release the transmitter as you walk, ending the conversation.\n\nHere a mountain stream reaches the headwall and plunges over. The water falls forty feet or so, splattering off a black rock ledge below before reforming and flowing into the ocean. The cliff is too sheer to descend on this side, but you can see that there's a rockfall just past the north bank that you might be able to scramble down -- if you could get to it.\n\n> You go southwest\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She raises her head to issue a warbling call that sounds remarkably like a bird's, while continuing to watch you out of the corner of her eye.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\n> Up\nYou approach the giant kauri and look up. It's impressively tall, and the first branches that look like they'd support your weight look like they could be almost thirty feet up. But you've seen this done; you know you can do it, and you force yourself to start climbing, not looking at the ground. You make some progress, but the bark gets your hands sticky with gum and tends to flake off at the same time, making climbing both dangerous and messy, and you head down again."
    },
    {
        "text": "[Themes: Children's, male protagonist, child protagonist, kid-friendly]\n\n> Describe the surroundings\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She slowly moves from tree to tree, searching for something while always managing to keep you in view.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\n> You pour the water on the nest\n(first taking the fresh water)\n(using the bucket)\nThere's nothing here to fill the bucket with.\n\n> Inventory\nYou are carrying:\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, which is full of some\nfresh water\n\n> Things\nNearby are the fresh water, the chunk of bark, the bucket, the leafy nest, the tall kauri, Dina, the battery, the animal trails, the kauri forest, the ferns, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You search the kauri\nWhich do you mean, the 1) kauri forest or the 2) tall kauri?\n\n> You give the bark to Dina\n(the chunk of bark to Dina)\nYou hold the chunk of bark out to Dina, letting it fall to see whether it is interested in it.\n\nDropped.\n\n> You give the water to Dina\nYou hold the bucket out to Dina. Dina wants nothing to do with you, and doesn't even approach the bucket.\n\n> You take the bark\n(the chunk of bark)\nTaken.\n\n> Go south\nThe undergrowth is really thick in that direction. It's probably best to stick to the animal trails, faint as they are, to avoid getting lost or getting hurt walking over ground you can't really see.\n\n> Up\nYou are perched on a fairly thick branch of a kauri tree about thirty feet above the ground, which is about as high as you can climb, and higher than you feel truly comfortable with anyway. Above this level the bark is too smooth to climb, and you can't imagine trying to climb any higher even if it wasn't. The branch extends north out over the river.\n\nAcross the river, you notice Naginata watching you climb with great interest. She hops onto what looks like a dead or dying kauri on the north bank, juggling her rock to try to keep hold of it. Naginata's tree appears to have some sort of major trunk damage near the ground, but she ignores it and climbs up the trunk to a branch about at your level that reaches south across the stream.\n\n> You jump\nEven the faintest thought of jumping from the tree makes you grip the trunk more tightly.\n\n> You look at the trunk\nNearby are Naginata, the fresh water, the chunk of bark, the bucket, the old kauri, the irregular kauri, the bark, the branch, the sharp rocks, the kauri forest, the ferns, the stream, the streambank, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n>(the irregular kauri)\nThe irregular kauri on the south side of the stream looks climbable, its rougher, more wavy bark offering you more footholds than most of this type of tree you've seen.\n\nNaginata watches you intently from across the stream. She notices you looking at the irregular kauri and peers at it with exaggerated interest.\n\n> You look at the branch\nThe gnarled branch is about thirty feet up, but looks like it could support your weight. It extends a good way over the stream.\n\nNaginata watches you intently from across the stream. She notices you looking at the branch and peers at it with exaggerated interest.\n\n> You throw the bark at Naginata\n(the chunk of bark at Naginata)\nYou'd never be able to hit something that agile from all the way across the stream.\n\n> You put the bark on the tree\nWhich do you mean, the 1) irregular kauri or the 2) old kauri?\n\n> 2\n(the chunk of bark on the old kauri)\nPutting things on the old kauri would achieve nothing.\n\n> You cut the old kauri with bark\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"cut old.\")\nYou can't cut that, since you can't reach it.\n\n> You cut the irregular kauri with the bark\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"cut irregular.\")\nCutting that up would achieve little.\n\n> You look at the rocks\nThe slick, sharp rocks make trying to cross the stream on foot too dangerous.\n\nNaginata watches you intently from across the stream. She notices you looking at the sharp rocks and peers at them with exaggerated interest.\n\n> You take rock\nThe last time you saw it, the tumble of volcanic rock was at Strand.\n\n> You look at the ferns\nFerns with fluffy leaves are found among the grasses on the ground, softening the sounds you hear.\n\n> You look at the trees\nThe tall, narrow cones of the kauri trees are striking, but several other species of broadleaf that you don't recognize are also scattered through the forest. Shorter fern-like plants fill much of the space between the larger trees, and a few different kinds of grass covers the ground. The scent of the recent rainfall combines with a strong piney fragrance from the trees -- it smells wonderful, but it's so sharp that it's all you can do not to sneeze.\n\n> You examine the cliff\nThe last time you saw it, the headwall was at Top of Falls.\n\n> Things\nNearby are the rope, the fresh water, the chunk of bark, the floating junk, the black volcanic cliffs, the bucket, the kauri forest, the ocean, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You go south\nYou stand on a thin strip of black sand lining the shallow curve of a bay to the east. A few seabirds fly overhead, and various clumps of driftwood, seaweed, and other shore debris litter the shore, the only visible evidence of the recent storm. A steep tumble of volcanic rock looms over the beach to the west and south, blocking travel in all directions except into the forest to the north.\n\nEruera lies under a makeshift debris shelter a ways up the beach, relatively calm and alert.\n\n> You examine Eruera\nEruera is dry and resting in a makeshift debris shelter that he's scraped together, making the best of his limited mobility. He looks about as comfortable as he's going to get without serious medical attention, and there's a quiet calm in his dark face that you're pretty sure you wouldn't be able to find if you were in his position.\n\n> You examine the cliff\nThe last time you saw it, the headwall was at Top of Falls.\n\n> You take the rock\nThat's hardly portable.\n\n> Things\nNearby are Eruera, the fresh water, the chunk of bark, the splint, Eruera's broken left leg, the driftwood, the seaweed, the debris, the tumble of volcanic rock, the seabird, the bucket, the kauri forest, the ocean, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You look at the driftwood\nYou pick through the piles of driftwood. One stick looks both straight and strong, and you set it aside.\n\n> You look at the stick\nA straight piece of green tree branch, thin and flexible.\n\n> You show the stick to Dina\nDina looks at the stick briefly, then turns away, uninterested.\n\n> You throw the stick\nDropped.\n\n> Go northeast\nHere a mountain stream reaches the headwall and plunges over. The water falls forty feet or so, splattering off a black rock ledge below before reforming and flowing into the ocean. The cliff is too sheer to descend on this side, but you can see that there's a rockfall just past the north bank that you might be able to scramble down -- if you could get to it.\n\n> You examine the rockfall\nA loose tumble of rocks from a collapsed section of the cliff face. It looks as though you could climb it, if you could get to the north bank.\n\n> You look at the water\n(the fresh water)\nThere's some fresh water sloshing around in the bucket.\n\n> Things\nNearby are the stick, the fresh water, the chunk of bark, the bucket, the headwall, the basalt ledge, the rockfall, the kauri forest, the ferns, the ocean, the stream, the streambank, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You examine the stream\nThe fast-moving stream falls steeply from the mountains to the west and flows generally southeast. Although it's not particularly wide, the fast current and rapids make it far too dangerous to try to wade or swim across.\n\n> You examine the headwall\nThe stream plunges straight over the sheer cliff. Even a quick look confirms that it's far too slick and sheer to attempt to climb down from here.\n\n> You examine the ledge\nThe ledge is a narrow outcrop of dark, volcanic stone that serves to break the falling stream into an impressive spray before it reaches the bottom of the falls.\n\n> Exits\nThe only obvious exit is southwest.\n\n> Inventory\nYou are carrying:\na stick\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, which is full of some\nfresh water\n\nNaginata watches you intently from across the stream. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals an unidentifiable bit of something, which she pops in her mouth and crunches with gusto.\n\n> Rename Naginata to Nagi\nYou address the Nanakia, who draws herself up with a look of interest. \"I'm going to call you 'To Nagi'.\"\n\nTo Nagi's eyes gleam, and she preens with the attention.\n\n> Rename naginata nagi\nYou address the Nanakia, who draws herself up with a look of interest. \"I'm going to call you 'Nagi'.\"\n\nNagi's eyes gleam, and she preens with the attention.\n\n> You turn on the radio\nYou click the transmitter. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNagi watches you intently from across the river. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\n(You could ask him about himself, the stream, or your vision.)\n\n> You ask Eruera about Nanakia\n\"I'm sorry, Tim. I don't think I can help you much with that.\"\n\n(You could ask him about himself, the stream, or your vision.)\n\n> You ask Eruera about the stream\n\"There's a stream up north, a little way past the ridge.\"\n\n\"Yes, you'll likely encounter several such streams on your journey north. Take care, it can sometimes be difficult to cross safely.\"\n\n> You ask Eruera about the vision\n\"There was something else in my vision -- a young boy about my age that looked like he could have been Mori. He encouraged me when I had trouble swimming the first time.\"\n\nEruera clicks his tongue and sounds more interested. \"Did he now? The tohunga ahurewa, back in my village, would say you may have had a vision of Mui.\" He pauses for a second. \"I didn't see your vision, so\nI wouldn't know. But certainly a vision of Mui is no bad thing.\"\n\n> Keep going\n\"About my vision...\"\n\nEruera interrupts you as you start talking. \"It is certainly very interesting, what you saw. But we must focus on the goal of getting you up north, to the station. After that we can talk more on this subject.\"\n\n> You ask Eruera about the kauri\nWhich do you mean, the 1) irregular kauri, the 2) tall kauri, or the 3) kauri forest?\n\n> 1\n(the irregular kauri)\n\"I'm sorry, Tim. I don't know much about that.\"\n\n(You could ask him about himself or Mui.)\n\n> You ask about mui\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't think I can help you much with that.\"\n\n(You could ask him about himself or Mui.)\n\n> You ask Eruera about Mui\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't know much about that.\"\n\n(You could ask him about himself or Mui.)\n\n> You ask Eruera about himself\n(himself)\n\"Could you tell me a little about yourself?\"\n\nEruera pauses for a moment, as if surprised by the question. \"Sure, Tim... Hmmm, where to start? I grew up in Kkarauri, a small village on the west coast. My family was large -- I had five brothers and sisters. We were poor -- Kkarauri is not prosperous, and my parents were not well educated. I took advantage of a government scholarship program to go to college, and it required me to join the ADF -- the army -- for four years. The poacher problem on the coasts was getting bad at the time, so I spent two of those years on detached duty with the Conservation Service.\"\n\n\"Those first couple years were hardly as exciting as the events of the last few hours, but they were enough to make me see that I wanted to stay in. When my duty to the ADF was discharged, I signed up with the Conservation Service full-time.\"\n\nYou can hear the smile in his voice. \"Twelve more years and here we are.\"\n\n> You look at the rock\nThe last time you saw it, the tumble of volcanic rock was at Strand.\n\n> You check your inventory\nYou are carrying:\na stick\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, which is full of some\nfresh water\n\nNagi watches you intently from across the stream. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals a burr, which she pops in her mouth and crunches with gusto.\n\n> You ascend\nYou release the transmitter as you walk, ending the conversation.\n\nYou are perched on a fairly thick branch of a kauri tree about thirty feet above the ground, which is about as high as you can climb, and higher than you feel truly comfortable with anyway. Above this level the bark is too smooth to climb, and you can't imagine trying to climb any higher even if it wasn't. The branch extends north out over the river.\n\nAcross the river, you notice Nagi watching you climb with great interest. She hops onto what looks like a dead or dying kauri on the north bank, juggling her rock to try to keep hold of it. Nagi's tree appears to have some sort of major trunk damage near the ground, but she ignores it and climbs up the trunk to a branch about at your level that reaches south across the stream.\n\n> Go north\nYou carefully creep out along the branch as it sags more and more under your weight. Your deathgrip on the branch takes most of your attention, but out of the corner of your eye, you see Nagi approaching you, moving out over the river on her branch, cradling her rock with one arm. The damaged kauri sags and creaks dangerously under the weight of Nagi and her rock, but she seems oblivious to the danger.\n\nSuddenly, her branch gives way! No, wait! It's the tree itself! The rotted section near the ground splinters under the leverage of both Nagi and her rock. Quickly, she dumps the rock and leaps back toward the trunk, but the tree is already falling! She sprints down the trunk towards the ground, and manages to jump off right before impact. She tumbles into a pile of debris and vanishes for a moment before popping out, shaking leaves and dirt off herself, and looking up at you with a gleam in her eye. You retreat backwards, closer to the trunk."
    },
    {
        "text": "[Themes: Children's, kid-friendly, polynesia, Alternate History, dinosaurs]\n\n> You descend\nYou stand at the south bank of a stream rushing down from the western mountains. The water flows over a tumble of rocks and its level drops steeply here, cutting into the ground and leaving steep, raw slopes on either side. An old, dead kauri tree has fallen across the stream here, its straight trunk making a narrow bridge to the north side.\n\nAs you reach the ground, the nanakia pops her head up from of a tangle of underbrush and peeps out at you, beady eyes sparkling.\n\n> Go north\nYou step out onto the fallen tree, balancing carefully with arms outstretched, walking slowly across the flowing water. The nanakia scampers onto the trunk as well, then raises herself to stand on her hind feet, splays her front paws out to the sides, and waddles forward in a surprisingly good impersonation of you. As you near each other, the nanakia drops back to all fours...\n\nAnd then springs at you, scampering up your chest to your shoulder, where she perches as if she belongs there.\n\nYou immediately twist away in panic, but you can't go too crazy, because you're more afraid of falling off the log and into the river. In a moment, you realize Nagi isn't hurting you, and you try to relax and slow your heartbeat down again. Well, I guess I've made a new friend!\n\n> You go to the north\nThis is the north bank of the cascading stream. Water tumbles over rocks as it rushes through the forest down towards the shore. To the east, a shallow slope of rocks and debris leads down further into the forest, away from the western mountains. A relatively straight, dead kauri tree has fallen across the stream here, bridging the banks and allowing you to cross to the south.\n\nNagi scampers off to your side, curious to see what adventures you have planned next.\n\nAfter touching your feet on the north side of the stream, you can't help pulling out the field radio and placing a call. \"Eruera! I made it across the stream! Nagi -- sorry, that's a nanakia that I found -- was copying everything I did, so I got it to pick up a rock and climb up a dying tree on the far bank. The weight was just enough to make it tip over and fall across the stream!\"\n\nEruera chuckles. \"Very good, Tim! I'm not sure I followed all that, but I'm pleased you're making progress!\"\n\n\"Me too! I actually climbed a tree on my side of the stream -- that was how I got Nagi to climb too!\"\n\n> You examine the debris\nThe slope consists of small rock fragments and forest debris, falling away from the top of the small valley carved by the stream.\n\nNagi watches you, showing her interest by her twitching tail and unblinking stare. She notices you looking at the scree slope and peers at it with exaggerated interest.\n\n> Exits\nThe obvious exits are south and east.\n\n> Pet nagi\nYou reach over to pet Nagi, who preens happily.\n\n> You go east\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nA large boulder stands out from the rest of the mixed rock and debris. It's remarkable for being particularly round.\n\nNagi saunters along in your wake, curious to see what you're up to.\n\n> You examine the boulder\nA surprisingly round boulder, resting on the forest floor.\n\nNagi watches you, her interest indicated by her tilted head and fixed gaze. She notices you looking at the boulder and peers at it with exaggerated interest.\n\n> You look at the debris\nThe slope consists of small rock fragments and forest debris, falling away from the top of the small valley carved by the stream.\n\nNagi watches you, curiosity evident from her twitching tail and unblinking stare. She notices you looking at the scree slope and peers at it with exaggerated interest.\n\n> You go to the southeast\nYou walk parallel to the stream, then scramble down a rockfall that cuts through the cliff edge. You climb down as far as you can go, stopping at a deep ledge of dark rock that is slick with spray from the stream falling over the headwall above.\n\nThe falling stream splashes off a ledge of black volcanic rock here, filling the air with a haze of cool, fine droplets that weave the sunlight into a glory -- a circular rainbow -- about your head. There's only a small pool at the base of the falls -- the overflowing water spills over the lip and flows the short distance into the ocean.\n\nNagi scampers off to your side, curious to see what adventures you have planned next.\n\n> You examine the pool\nThe falling water has hollowed out a small depression in the rock, which has filled with water before it overflows into the ocean. It's likely only a foot or two deep at most.\n\nNagi watches you, showing her interest by her perked ears and unconscious chittering. She notices you looking at the small pool and peers at it with exaggerated interest.\n\n> Taste pool\nThe small pool tastes pretty much exactly as you might expect.\n\nNagi watches you, her interest indicated by her twitching tail and fixed gaze. She approaches, clearly hoping to share in whatever it is you've found that's tasty. After seeing what it is that you're tasting, however, she retreats, her yellow eyes downcast.\n\n> You look at the ledge\nThe ledge is a narrow outcrop of dark, volcanic stone that serves to break the falling stream into an impressive spray before it reaches the bottom of the falls.\n\nNagi watches you, curiosity evident from her tilted head and unconscious chittering. She notices you looking at the basalt ledge and peers at it with exaggerated interest.\n\n> Things\nNearby are the stick, Nagi, the fresh water, the chunk of bark, the bucket, the basalt ledge, the glory, the small pool, the waterfall, the rockfall, the ferns, the ocean, the stream, the streambank, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You examine the glory\nThe glory is a circular rainbow that surrounds your head as you stand in the cloud of mist with the sun shining on you. You've heard about this phenomenon before, but never seen it. Time seems to slow as you stand transfixed, watching the colorful halo spread around you. A sense of peace and reassurance and confidence fills you as you turn your head from side to side and watch the play of light.\n\nNagi watches you, showing her interest by her perked ears and unblinking stare. She notices you looking at the glory and peers at it with exaggerated interest.\n\n> You wear the glory\n(first taking the glory)\nYou can't take that since you can't even reach it.\n\n> You turn on the radio\nYou press the transmitter button. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNagi watches you intently. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\n(You could ask him about the glory or Mui.)\n\n> You ask Eruera about the glory\n\"While I was exploring on the far side of the stream, I came across a waterfall. When I stood there I saw a circular rainbow surrounding my head.\"\n\n\"You saw a glory? Exciting! Those are quite rare -- the conditions need to be just right and it's still not very predictable when you'll see it and when you won't.\"\n\nYou fidget a bit. \"Well, yes, it was really pretty, but there was something else. I seemed to feel a sense of calmness or confidence while I was standing there.\"\n\nEruera chuckles. \"Well, that's a good sign, Tim. The niwaniwa can be a very good omen in Mori tradition, particularly when it is strong and unbroken. And a glory is about as unbroken as it gets.\"\n\n> You ask Eruera about the niwaniwa\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't think I can help you much with that.\"\n\n(You could ask him about the glory or Mui.)"
    },
    {
        "text": "[Themes: Children's, kid-friendly, fantasy]\n\n> You look at your surroundings\nThe falling stream splashes off a ledge of black volcanic rock here, filling the air with a haze of cool, fine droplets that weave the sunlight into a glory -- a circular rainbow -- about your head. There's only a small pool at the base of the falls -- the overflowing water spills over the lip and flows the short distance into the ocean.\n\nNagi is nearby, scratching happily and waiting for you to do something more interesting.\n\n> Swim\nTo swim, you should specify to where you are swimming: SWIM TO BOAT or something similar.\n\n> You go upwards\nYou release the transmitter as you walk, ending the conversation.\n\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nA large boulder stands out from the rest of the mixed rock and debris. It's remarkable for being particularly round.\n\nNagi saunters along behind you, curious to see what you're going to do next.\n\n> Go east\nThe forest thins rapidly here as you approach the coast. It looks as though you could probably travel in the clear, walking parallel to the coast, and you'd go quite a bit faster if you did. A very narrow animal trail leads west.\n\nNagi scampers off to your side, curious to see what you're up to.\n\n> Go northeast\nYou head off across the field toward the coast, happy to no longer have to push through the buggy undergrowth of the forest. You get maybe fifty yards away from the treeline when you hear human voices and the rumbling sounds of a truck engine to the northeast. The voices seem to be arguing.\n\nThere's no way this could be the station -- there's no tower! But if it isn't a Conservation Service station...\n\nYou freeze, very conscious of how exposed you are, and desperately hope no one pokes their head over the slight ridge between you and their camp, which must be just out of sight to the northeast. All of a sudden the field radio squawks to life. \"Tim? How's it going?\"\n\nHorrified, you drop to the ground and fumble for the radio, then hiss back. \"Quiet for now -- someone's close!\" You listen very carefully. The argument seems to have stopped, but you can't tell if that's because they heard you or if they resolved things themselves. Slowly, you creep back to the safety of the trees, and when you are confident you're screened from view you call Eruera back.\n\n\"OK, we can talk now.\"\n\nEruera responds quickly. \"Tim, what was that?\"\n\n\"I'm positive the poacher camp is just over a hill, not very far to the northeast. I could hear engines and loud voices.\"\n\nEruera's voice sounds very strained. \"I beg you, take great care, Tim. I'm sorry it has to be you making this journey, but you must stay away from these men. Stick to the bush and keep heading north.\"\n\n\"OK, Eruera. Not a problem. I don't want to be caught by these guys either.\"\n\n\"Good luck, Tim. Stay safe.\" You stand still for a moment, breathing hard, trying to calm back down. But no one is coming, so you seem to be safe for now.\n\n> You go west\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nA large boulder stands out from the rest of the mixed rock and debris. It's remarkable for being particularly round.\n\nNagi saunters along behind you, curious to see what adventures you have planned next.\n\n> Go north\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, venting what looks like smoke or steam from a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nA huge flightless bird steps back and forth around her nest in agitation. She looks like she's at least twice your height -- maybe three times! She can't be anything but a nesting moa.\n\nNagi scampers in your wake, curious to see what you're going to do next.\n\nAfter looking around, you decide this location is worth asking Eruera about, so you pull out the field radio and place a call. \"Eruera, I've stumbled across a pretty strange area.\"\n\n\"Could you describe it, Tim?\"\n\n\"Well, there's kind of a mini-volcano in the middle of a clearing here...\"\n\nEruera interrupts you, sounding amused. \"Well, it probably is! There is a great deal of volcanic activity all over Aotearoa, and it certainly wouldn't be unusual to run across hot springs or a fumarole.\"\n\n\"Oh! I didn't know they were that common. Are they safe?\"\n\n\"Reasonably. Don't go jumping into one, but most of the time these aren't particularly active. They might lead to hot rock, somewhere below, but around here there's not much risk of a full-scale eruption.\"\n\n\"OK, thanks.\" You eye the moa as it paces back and forth, then click the transmitter again. \"Um, Eruera? I had one more question. Can a moa be dangerous?\"\n\n\"Ah! There's a moa there? Well, I'm sure if you ran right up to it you'd probably get attacked, but they're usually pretty cautious of people. As long as you keep a reasonable distance from it, you should be fine.\"\n\nYou continue watching the moa, which still seems to be staying near its nest. \"OK, thanks again!\"\n\n\"No problem, Tim. Good luck!\"\n\nThe moa hops back and forth, obviously agitated.\n\n> You examine the moa\nThe moa has reddish-brown feathers with white tips, and her small head sits on top of a long neck that's probably as tall as you are. Her eyes, tiny, expressionless black beads, flick around the area but always seem to return to the large crevice in the mound of rock.\n\nNagi watches you, her interest indicated by her twitching tail and unconscious chittering. She notices you looking at the moa and peers at her with exaggerated interest.\n\nThe moa paces, fretful and silent.\n\n> You examine the nest\nAn enormous, flat nest of assorted grass and plant leaves sits close to the volcanic mound, likely in order to keep it warm. A shiny, yellow-colored object -- obviously not an egg -- rests on the nest. Upon closer examination, it looks like it could be a GPS unit.\n\nNagi watches you, curiosity evident from her perked ears and fixed gaze. She notices you looking at the flat nest and peers at it with exaggerated interest.\n\nThe moa hops back and forth, obviously agitated.\n\n> You look at the gps unit\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"x gps.\")\nYou try to approach closely enough to look at the GPS, but the moa squawks and buffets you with her wings. Since she's almost three times as tall as you, you back away quickly.\n\nNagi watches you, her interest indicated by her twitching tail and unblinking stare. She notices you looking at the GPS and peers at it with exaggerated interest.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You turn on the radio\nYou click the transmitter. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNagi watches you intently. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\nThe moa paces, fretful and silent.\n\n(You could ask him about the glory, the GPS, the egg, or Mui.)\n\n> You ask Eruera about eps\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't know much about that.\"\n\n(You could ask him about the glory, the GPS, the egg, or Mui.)\n\nThe moa hops back and forth, obviously agitated.\n\n> You ask Eruera about the egg\n\"I mentioned the moa I saw across the stream. Well, it has an egg that apparently rolled off the nest and ended up stuck in a crevice in some volcanic rock. It can't get it out and I can't figure out how to do it either. It's too deep for me to reach.\"\n\nEruera sounds thoughtful. \"Well, you wouldn't want to try to lever it out -- it might break.\" He thinks for a while longer. \"I'm sure there's a way you can do it -- maybe more than one -- I'm just not thinking straight right now.\"\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You look at the egg\nA moa egg, dappled and speckled like the face of the full Moon, and large enough and heavy enough to require two hands to carry.\n\nNagi watches you, curiosity evident from her tilted head and fixed gaze. She notices you looking at the egg and peers at it with exaggerated interest.\n\nThe moa paces, fretful and silent.\n\n> You examine the volcano\nThe black, congealed lava of the volcanic mound has a relatively mild slope. It vents steam or smoke from a number of fissures. Notable among these are a deep crack high up on the formation, and a large crevice near the ground. There's also a sizable fumarole on top -- a circular hole about two or three feet in diameter.\n\nNagi watches you, her interest indicated by her twitching tail and unblinking stare. She notices you looking at the mound of volcanic rock and peers at it with exaggerated interest.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You look at the crevice\nOne of the crevices is particularly large, and slopes down gently into the mass of cooled lava. You can't tell for sure, but there appears to be something wedged down inside it. You peer closer -- it's an egg!\n\nThe moa hops back and forth, obviously agitated.\n\n> You examine the fumarole\nThe fumarole is a hole about as large as the circle your arms can make, located at the top of the mound of volcanic rock.\n\nNagi watches you, showing her interest by her tilted head and fixed gaze. She notices you looking at the fumarole and peers at it with exaggerated interest.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You go south\nYou release the transmitter as you walk, ending the conversation.\n\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nA large boulder stands out from the rest of the mixed rock and debris. It's remarkable for being particularly round.\n\nNagi saunters along behind you, curious to see what adventures you have planned next.\n\n> You plug the fumarole with the boulder\nThat doesn't seem to be something you can fix.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You look at the nest\nAn enormous, flat nest of assorted grass and plant leaves sits close to the volcanic mound, likely in order to keep it warm. A shiny, yellow-colored object -- obviously not an egg -- rests on the nest. Upon closer examination, it looks like it could be a GPS unit.\n\nNagi watches you, her interest indicated by her twitching tail and unblinking stare. She notices you looking at the flat nest and peers at it with exaggerated interest.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You take the gps\nYou move forward to take the GPS, only to be intercepted by the moa, who fixes you with a flat, unmoving glare. She opens her beak, makes a threatening sound, and advances a step. You slowly retreat.\n\nThe moa hops back and forth, obviously agitated.\n\n> Go north\nThe narrow forest trail opens onto a small clearing here, where the kauri gives way to unhealthy-looking ferns and thin, yellowish grass. The trail leaves the clearing to both north and south.\n\nA folded sheet of what looks like notebook paper lies wedged up against a tree root at the edge of the clearing.\n\nA small dinosaur similar to the one you saw before stands here. He opens his mouth to let out a tentative hiss.\n\nNagi scampers behind you, curious to see what adventures you have planned next.\n\nAbruptly, the male oviraptor hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi seems unfazed.\n\n> You take the paper\nYou retrieve the paper, unfold it, and discover that it's a map!\n\nNagi watches you, showing her interest by her tilted head and fixed gaze. She notices you reaching for the map, but apparently she's decided she's had enough of carrying things around for now, as she just watches you calmly.\n\nWith a sudden lunge, the male oviraptor screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi makes a noise that sounds suspiciously like a laugh.\n\n> You go south\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, with a large boulder plugging up a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nA huge flightless bird steps back and forth around her nest in agitation. She looks like she's at least twice your height -- maybe three times! She can't be anything but a nesting moa.\n\nNagi saunters along in your wake, curious to see what you're up to.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You examine map\nA rough sketch shows the surrounding area of coastline, from the brook in the south to something marked as \"camp\" along the coast to the north. They've also marked a path northwest from \"camp\" to a location marked with an \"X\" and the label \"dinos\". The map has little tree shapes surrounding the \"X\".\n\nAt the bottom of the map are two sets of GPS coordinates, written in terrible handwriting:\n\nCamp: 46? 11' 97\" S, 179? 12' 81\" W\nDinos: 46? 10' 58\" S, 179? 12' 33\" W.\n\nNagi watches you, curiosity evident from her twitching tail and unblinking stare. She notices you looking at the map and peers at it with exaggerated interest.\n\nThe moa paces, fretful and silent.\n\n> You turn on the radio\nYou press the transmitter button. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNagi watches you intently. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n(You could ask him about the glory, the GPS, the map, or Mui.)\n\n> You tell Eruera about the map\n\"Eruera, I've got what looks like a map of the area.\"\n\n\"Can you describe it to me, Tim?\"\n\n\"Sure -- it has what looks like a sketch of the forest, and there are two places marked with what look like latitude and longitude. One says 'camp' and the other says 'dinos'\".\n\nEruera is silent for a moment as he thinks. \"It certainly sounds like a map that poachers might have made, Tim. No way of telling if they're the same ones that got our ship, but it seems reasonable. The 'dinos' entry sounds like they've located a group of taniwha, and I think 'camp' is pretty self-explanatory. If you can, try to go wide around that camp.\"\n\nThe moa paces, fretful and silent.\n\n> You open the crevice with stick\nThat doesn't seem to be something you can unlock.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You take the egg\nYou can't quite reach the moa egg with your hand, even wedging yourself into the crevice up to your shoulder.\n\nThe moa hops back and forth, obviously agitated.\n\n> You take the egg with the stick\nYou reach the stick carefully into the crevice and prod at the egg, but the opening is just too narrow to get much leverage and you can't quite lever it out.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You take the egg with the bark\nYou try to figure out a way to use the chunk of bark to retrieve the egg, but come up blank, so you just decide to take the direct approach.\n\nYou quickly check to see if the egg has shifted any, but it's still just out of your direct reach.\n\nThe moa paces, fretful and silent.\n\n> You examine the volcano\nThe black, congealed lava of the volcanic mound has a relatively mild slope. It vents steam or smoke from a number of fissures. Notable among these are a deep crack high up on the formation, and a large crevice near the ground. There's also a sizable fumarole on top -- a circular hole about two or three feet in diameter.\n\nNagi watches you, her interest indicated by her perked ears and fixed gaze. She notices you looking at the mound of volcanic rock and peers at it with exaggerated interest.\n\nThe moa hops back and forth, obviously agitated.\n\n> You look at the crack\nThis opening in the mound is no more than a small fissure or crack. It's situated higher up on the rock formation and looks quite deep, but it's much narrower than the large crevice.\n\nNagi watches you, showing her interest by her twitching tail and unconscious chittering. She notices you looking at the volcanic crack and peers at it with exaggerated interest.\n\nThe moa paces, fretful and silent.\n\n> You put the stick in the crack\nThe crack is very small. It won't fit.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You look in the crack\nYou find nothing of interest.\n\nThe moa hops back and forth, obviously agitated.\n\n> Inventory\nYou are carrying:\na map\na stick\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, which is full of some\nfresh water\n\nNagi watches you, her interest indicated by her tilted head and fixed gaze. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals a flea, which she pops in her mouth and crunches with gusto.\n\nThe moa hops back and forth, obviously agitated.\n\n> You plug the crack\nThat doesn't seem to be something you can fix.\n\nThe moa makes a plaintive crooning sound while bobbing her head at the crevice.\n\n> You touch the crack\nYou feel nothing unexpected.\n\nNagi watches you, showing her interest by her twitching tail and unblinking stare. She approaches with caution, touching the volcanic crack as well, then looks at you.\n\nThe moa hops back and forth, obviously agitated.\n\n> You pour water in the crack\nYou pour the water from the bucket into the crack in the side of the volcanic mound. The water drains inside. Shortly thereafter, a puff of steam blasts back out the crevice, propelling the egg along with it and rolling it just outside the mouth of the crevice. The moa darts forward as the last of the water drains, snatching the egg away with a triumphant squawk! She carries the egg back to the nest and places it there gently, flipping the GPS aside into the surrounding grass without a second glance.\n\nNagi watches you, her interest indicated by her tilted head and unconscious chittering. She's fascinated by the pouring action and starts to jump around in excitement.\n\nNagi looks at you curiously. She seems to be impressed.\n\n> You take the gps\nTaken.\n\nNagi watches you, showing her interest by her twitching tail and fixed gaze. She notices you reaching for the GPS, but apparently she's decided she's had enough of carrying things around for now, as she just watches you calmly.\n\n> You examine GPS\nThe GPS is bright yellow and labeled with the brand name \"Amring\". It's a very simple model, with just a single button to display coordinates. You push the button and nothing happens. Apparently the GPS is out of power.\n\nNagi watches you, her interest indicated by her tilted head and unconscious chittering. She notices you looking at the GPS and peers at it with exaggerated interest.\n\n> You go to the south\nYou release the transmitter as you walk, ending the conversation.\n\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi ambles along off to your side, curious to see what adventures you have planned next.\n\n> You go west\nThis is the north bank of the cascading stream. Water tumbles over rocks as it rushes through the forest down towards the shore. To the east, a shallow slope of rocks and debris leads down further into the forest, away from the western mountains. A relatively straight, dead kauri tree has fallen across the stream here, bridging the banks and allowing you to cross to the south.\n\nNagi saunters along in your wake, curious to see what you're going to do next.\n\n> You go south\nYou stand at the south bank of a stream rushing down from the western mountains. The water flows over a tumble of rocks and its level drops steeply here, cutting into the ground and leaving steep, raw slopes on either side. An old, dead kauri tree has fallen across the stream here, its straight trunk making a narrow bridge to the north side.\n\nNagi scampers off to your side, curious to see what you're up to.\n\nSuddenly, Nagi makes a lunge toward the GPS, and succeeds in knocking it out of your hands!\n\nNagi darts forward to grab the GPS as you drop it. Luckily, she doesn't run off with it; she just settles down to play with it right where it fell.\n\n> You go south\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She raises her head to issue a warbling call that sounds remarkably like a bird's, while continuing to watch you out of the corner of her eye.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\nNagi dawdles along in your wake, curious to see what you're going to do next.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\n> You take the battery\nDina steps forward, lets out a violent hiss, and glares at you in rage as you approach her nest. You retreat empty-handed, not wanting to get bitten.\n\n> You climb the tree\nYou approach the giant kauri and look up. It's impressively tall, and the first branches that look like they'd support your weight look like they could be almost thirty feet up. But you've seen this done; you know you can do it, and you force yourself to start climbing, not looking at the ground. You make some progress, but the bark gets your hands sticky with gum and tends to flake off at the same time, making climbing both dangerous and messy, and you head down again.\n\n> You turn on the radio\nYou click the transmitter. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nNagi watches you intently. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\n(You could ask him about the glory, the GPS, or Mui.)\n\n> You ask Eruera about GPS\n\"Eruera! I found a GPS unit out in the forest! I haven't put a battery in it yet, though.\"\n\nEruera sounds enthusiastic. \"Very good, Tim, but you'll need power. If you could find a battery that fits it, a GPS will be a great help in navigating the forest.\"\n\n> You ask Eruera about the glory\n\"You mentioned that the glory was a good sign. What did you mean?\"\n\nYou can hear Eruera shifting a bit, trying to get more comfortable. \"Let me tell you a quick story. Mori tradition tells of several different atua, or gods, of the rainbow. Kahukura is one of these -- he is the double rainbow that signifies that the storm has passed over. Another is Haere, and according to the stories he seeks to avenge the death of his father. At first he fails to properly respect tapu and is defeated, but later, with strong mana, they return to try again and are victorious.\"\n\n\"So, Tim, perhaps we can take heart from both stories. We've certainly been through a great storm, and if your glory tells us that it's over, no wonder you felt calm and reassured. And the story of Haere -- well, we were certainly beaten by the poachers at first, but perhaps our mana will prove the stronger in a second conflict.\"\n\n> You ask Eruera about the tapu\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't think I can help you much with that.\"\n\n(You could ask him about Mui.)\n\n> You ask Eruera about the atua\nThough you're talking to Eruera, you can't physically reach him.\n\n\"I'm sorry, Tim. I don't know much about that.\"\n\n(You could ask him about Mui.)\n\n> You go north\nYou release the transmitter as you walk, ending the conversation.\n\nYou stand at the south bank of a stream rushing down from the western mountains. The water flows over a tumble of rocks and its level drops steeply here, cutting into the ground and leaving steep, raw slopes on either side. An old, dead kauri tree has fallen across the stream here, its straight trunk making a narrow bridge to the north side.\n\nNagi saunters along off to your side, curious to see what adventures you have planned next.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\n> Go north\nThis is the north bank of the cascading stream. Water tumbles over rocks as it rushes through the forest down towards the shore. To the east, a shallow slope of rocks and debris leads down further into the forest, away from the western mountains. A relatively straight, dead kauri tree has fallen across the stream here, bridging the banks and allowing you to cross to the south.\n\nNagi dawdles along behind you, curious to see what you're going to do next.\n\n> Exits\nThe obvious exits are south and east.\n\n> Go east\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi scampers in your wake, curious to see what adventures you have planned next.\n\n> You go to the southeast\nYou walk parallel to the stream, then scramble down a rockfall that cuts through the cliff edge. You climb down as far as you can go, stopping at a deep ledge of dark rock that is slick with spray from the stream falling over the headwall above.\n\nThe falling stream splashes off a ledge of black volcanic rock here, filling the air with a haze of cool, fine droplets that weave the sunlight into a glory -- a circular rainbow -- about your head. There's only a small pool at the base of the falls -- the overflowing water spills over the lip and flows the short distance into the ocean.\n\nNagi saunters along behind you, curious to see what you're up to.\n\n> You ascend\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi scampers off to your side, curious to see what you're going to do next.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\n> Go north\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, with a large boulder plugging up a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nThe moa sits on her nest, calm and satisfied.\n\nNagi dawdles along in your wake, curious to see what you're up to.\n\n> You go to the north\nThe narrow forest trail opens onto a small clearing here, where the kauri gives way to unhealthy-looking ferns and thin, yellowish grass. The trail leaves the clearing to both north and south.\n\nA small dinosaur similar to the one you saw before stands here. He divides his attention between glaring at Nagi and tracking every move you make with the shiny GPS unit.\n\nNagi ambles along behind you, curious to see what you're going to do next.\n\nSuddenly, the male oviraptor hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi seems unfazed.\n\n> Name oviraptor tony\nYou address the male oviraptor. \"I'm going to call you 'Tony'.\"\n\nTony seems utterly disinterested.\n\nWith a sudden lunge, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi leaps to your shoulder and chatters for a moment.\n\n> You hit tony\nViolence has its place, but not here.\n\nAbruptly, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi seems unfazed.\n\n> Ride tony\nTony is far too small for you to ride!\n\nWith a sudden lunge, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi leaps to your shoulder and chatters for a moment.\n\n> You take Tony\nTony dodges your grasp with a quick leap into a nearby fern. He hisses at you in hurt contempt.\n\nAbruptly, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi makes a noise that sounds suspiciously like a laugh.\n\n> You check your inventory\nYou are carrying:\nan a GPS (unpowered)\na map\na stick\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, currently empty\n\nNagi watches you, showing her interest by her perked ears and unblinking stare. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals an unknown insect, which she pops in her mouth and crunches with gusto.\n\nSuddenly, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi leaps to your shoulder and chatters for a moment.\n\n> You show the stick to Tony\nTony looks at the stick briefly, then turns away, uninterested.\n\nWith a sudden lunge, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi seems unfazed.\n\n> You show the stick to Nagi\nNagi looks at the stick briefly, then turns away, uninterested.\n\nAbruptly, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi leaps to your shoulder and chatters for a moment.\n\n> You give the stick to Nagi\nYou hold the stick out to Nagi, letting it fall to see whether it is interested in it.\n\nDropped.\n\nNagi watches you, her interest indicated by her tilted head and fixed gaze. She notices you dropping the stick and checks her hands, as if looking to see whether she has something she can drop too. As she doesn't, she just sits back down and continues to observe you with interest.\n\nSuddenly, Tony charges Nagi, spitting and hissing, before quickly retreating back to a nearby patch of undergrowth. Nagi seems unfazed.\n\n> You take stick\nTaken.\n\nNagi watches you, showing her interest by her perked ears and unblinking stare. She notices you reaching for the stick, but apparently she's decided she's had enough of carrying things around for now, as she just watches you calmly.\n\nAbruptly, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi makes a noise that sounds suspiciously like a laugh.\n\n> Inventory\nYou are carrying:\na stick\nan a GPS (unpowered)\na map\na chunk of bark\na field radio\na bucket, repaired with a wad of kauri gum, currently empty\n\nNagi watches you, her interest indicated by her twitching tail and unconscious chittering. She watches you taking stock of your possessions, then starts looking at herself and patting her fur in a pretty good impersonation of you. Her search reveals a flea, which she pops in her mouth and crunches with gusto.\n\nWith a sudden lunge, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi seems unfazed.\n\n> Pet Tony\nYou try to approach Tony, hoping to look at him more closely and maybe even pet him. But the little dino explodes into hostile screeches and scrabbles away from you so desperately that he looks as if he's having a seizure.\n\nAbruptly, Tony charges Nagi, spitting and hissing, before quickly retreating back to a nearby patch of undergrowth. Nagi leaps to your shoulder and chatters for a moment.\n\n> Things\nNearby are the stick, Nagi, the chunk of bark, the bucket, the GPS, the map, Tony, the kauri forest, the ferns, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> Go north\nThe forest gets really thick up ahead, and the animal trail vanishes into the undergrowth. Without some way of figuring out where you are and where you're going, you stand a good chance of getting lost, and you're not desperate enough to be willing to risk that. You have the map, but no way to fix your position.\n\nSuddenly, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi makes a noise that sounds suspiciously like a laugh.\n\n> Go south\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, with a large boulder plugging up a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nThe moa sits on her nest, calm and satisfied.\n\nNagi scampers off to your side, curious to see what you're up to.\n\nTony, taking care to keep his distance, trails you with his eyes fixed on the GPS unit. He seems only partially aware of what he's doing.\n\nWith a sudden lunge, Tony charges Nagi, spitting and hissing, before quickly retreating back to a nearby patch of undergrowth. Nagi seems unfazed.\n\n> You go to the south\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi ambles along in your wake, curious to see what adventures you have planned next.\n\nTony, moving with exaggerated caution, follows you with his eyes fixed on the GPS unit. He seems only partially aware of what he's doing.\n\nSuddenly, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi leaps to your shoulder and chatters for a moment.\n\n> You go to the west\nThis is the north bank of the cascading stream. Water tumbles over rocks as it rushes through the forest down towards the shore. To the east, a shallow slope of rocks and debris leads down further into the forest, away from the western mountains. A relatively straight, dead kauri tree has fallen across the stream here, bridging the banks and allowing you to cross to the south.\n\nNagi dawdles along off to your side, curious to see what you're up to.\n\nTony, taking care to keep his distance, trails you with his eyes fixed on the GPS unit. He seems only partially aware of what he's doing.\n\nWith a sudden lunge, Tony screeches at Nagi, rearing and skittering back towards the safety of a tree. Nagi seems unfazed.\n\n> You go to the south\nYou stand at the south bank of a stream rushing down from the western mountains. The water flows over a tumble of rocks and its level drops steeply here, cutting into the ground and leaving steep, raw slopes on either side. An old, dead kauri tree has fallen across the stream here, its straight trunk making a narrow bridge to the north side.\n\nNagi ambles along in your wake, curious to see what you're going to do next.\n\nTony, moving with exaggerated caution, follows you with his eyes fixed on the GPS unit. He seems only partially aware of what he's doing.\n\nSuddenly, Tony hisses threateningly at Nagi, stomping back and forth in an exaggerated threat display that's as earnest as it is ridiculous. Nagi makes a noise that sounds suspiciously like a laugh.\n\n> You go south\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nDina, who stands no taller than your shin, is nearby. She slowly moves from tree to tree, searching for something while always managing to keep you in view.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\nNagi dawdles along off to your side, curious to see what adventures you have planned next.\n\nTony stalks along behind you as he's done for some time, fixated on the GPS unit. But something -- possibly a scent or sound -- alerts him to his surroundings. He looks around the area near the trail with jerky head movements, until he spies Dina. The GPS is forgotten as Tony veers abruptly and sprints to Dina's side. Something very like a battle ensues, quick jabs of the dinos' heads as they peck at each other almost faster than you can track. Dina seems to win the fight, pinning Tony down and chirruping at him before releasing him to stand again. From there they move into some sort of complicated mating dance. From the intensity of their concentration, it seems almost everything else in the world takes second place to the performance.\n\nTony and Dina continue their flirtation, although the presence of a bored and mischievous Nagi keeps their mating dance from taking their full attention.\n\n> You take the battery\nYou approach the nest, but although Tony and Dina seem fixated with each other, the presence of Nagi, bored and inquisitive, keeps them alert and edgy. Both oviraptors hiss and peck at you as you approach their nest, and you retreat, frustrated.\n\nTony and Dina continue their flirtation, although the presence of a bored and mischievous Nagi keeps their mating dance from taking their full attention.\n\n> You go to the southwest\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nNagi scampers in your wake, curious to see what you're going to do next.\n\n> You drop GPS\nNagi again rushes forward to seize the GPS as you drop it. She settles down to fiddle with it again.\n\n> Go northeast\nNagi stays put as you leave, engrossed in playing with the GPS.\n\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nThe two dinosaurs are engaged in an intricate and extensive mating dance. Tony is fully engaged in demonstrating his many personal virtues to Dina, prancing with quick jerks of his neck and precise, circling footwork. Dina seems fascinated with the performance, and both appear unaware of their surroundings.\n\nA shiny battery, apparently discarded or lost by someone, lies half-hidden by a pile of leaves that Dina is using as a nest.\n\n> You take the battery\nTaken.\n\n> You examine Tony\nTony stands on his hind legs, his tiny head and sharp teeth about knee-high. His front arms are short and clawed, making him look like a very miniature T-Rex, except with a smaller, crested, almost birdlike head, and he has garish purple spots on his otherwise khaki skin. His beady eyes bulge out as he tries to figure out whether you're a threat or a source of food.\n\n> Go southwest\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nNagi busily plays with the shiny but inert GPS, continually turning it over and trying to manipulate it.\n\n> You take GPS\nTaken.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\n> You put the battery in GPS\nYou pop the battery cover open and slip the battery inside, then close the cover and press the button. Your current latitude and longitude display: 46? 12' 88\" S, 179? 12' 87\" W.\n\nNagi watches you, showing her interest by her tilted head and unblinking stare. She watches with great interest, trying to see where the battery is going."
    },
    {
        "text": "[Themes: Children's, dinosaurs, Alternate History, male protagonist]\n\n> You look at your surroundings\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nNagi is nearby, watching you with obvious disinterest and waiting for you to do something more interesting.\n\n> You go to the northeast\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nThe two dinosaurs are engaged in an intricate and extensive mating dance. Tony is strutting in spirals around Dina, demonstrating his fitness and virility. Unfortunately, Tony keeps turning to glare at the nearby Nagi (who seems to be fascinated with this behavior) and in consequence Dina appears less than impressed by the performance.\n\nNagi dawdles along behind you, curious to see what you're up to.\n\nTony and Dina continue their flirtation, although the presence of a bored and mischievous Nagi keeps their mating dance from taking their full attention.\n\n> You go northeast\nHere a mountain stream reaches the headwall and plunges over. The water falls forty feet or so, splattering off a black rock ledge below before reforming and flowing into the ocean. The cliff is too sheer to descend on this side, but you can see that there's a rockfall just past the north bank that you might be able to scramble down -- if you could get to it.\n\nNagi saunters along off to your side, curious to see what adventures you have planned next.\n\n> You look at GPS\nThe GPS is bright yellow and labeled with the brand name \"Amring\". It's a very simple model, with just a single button to display coordinates. You push the button and your current latitude and longitude display: 46? 12' 26\" S, 179? 12' 51\" W.\n\nIn the GPS is a battery.\n\nNagi watches you, curiosity evident from her twitching tail and unconscious chittering. She notices you looking at the GPS and peers at it with exaggerated interest.\n\n> You go to the southwest\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nNagi saunters along off to your side, curious to see what adventures you have planned next.\n\n> You go to the southeast\nThe black sand beach transitions to stones and boulders here as the seashore lifts into the black cliffs. To the northwest a break in the volcanic stone leads upwards and into the depths of the forest. Where the water eddies at the north end of the beach a collection of light, floating junk has collected.\n\nShreds of what used to be a thick rope are here, washed up on the rocks at the north end of the beach and coated in black sand grains.\n\nNagi ambles along behind you, curious to see what you're up to.\n\n> You examine GPS\nThe GPS is bright yellow and labeled with the brand name \"Amring\". It's a very simple model, with just a single button to display coordinates. You push the button and your current latitude and longitude display: 46? 13' 09\" S, 179? 12' 61\" W.\n\nIn the GPS is a battery.\n\nNagi watches you, her interest indicated by her perked ears and fixed gaze. She notices you looking at the GPS and peers at it with exaggerated interest.\n\n> Go northwest\nLow bushy ferns give way to towering kauri trees here. Their delicate cones and thin, green leaves cast deeper shadows as the forest thickens to the northeast. A steep break in the cliff rock here leads southeast, down to the beach, and a faint animal trail leads into the forest to the northeast.\n\nNagi dawdles along in your wake, curious to see what you're going to do next.\n\n> You go northeast\nThe ground cover has been pushed aside by passing animals just enough to make this weaving trail the path of least resistance. There is a very tall kauri tree here, its thick roots snaking in and out of the ground. You can hear swiftly running water from somewhere off to the north. To the southwest you can see the forest lighten as it thins out, and the trail forks here, continuing to both the northeast and the north.\n\nThe two dinosaurs are engaged in an intricate and extensive mating dance. Tony is strutting in spirals around Dina, demonstrating his fitness and virility. Unfortunately, Tony keeps turning to glare at the nearby Nagi (who seems to be fascinated with this behavior) and in consequence Dina appears less than impressed by the performance.\n\nNagi scampers behind you, curious to see what adventures you have planned next.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\nTony and Dina continue their flirtation, although the presence of a bored and mischievous Nagi keeps their mating dance from taking their full attention.\n\n> You examine GPS\nThe GPS is bright yellow and labeled with the brand name \"Amring\". It's a very simple model, with just a single button to display coordinates. You push the button and your current latitude and longitude display: 46? 12' 43\" S, 179? 12' 69\" W.\n\nIn the GPS is a battery.\n\nNagi watches you, curiosity evident from her tilted head and unblinking stare. She notices you looking at the GPS and peers at it with exaggerated interest.\n\nTony and Dina continue their flirtation, although the presence of a bored and mischievous Nagi keeps their mating dance from taking their full attention.\n\n> You go to the north\nYou stand at the south bank of a stream rushing down from the western mountains. The water flows over a tumble of rocks and its level drops steeply here, cutting into the ground and leaving steep, raw slopes on either side. An old, dead kauri tree has fallen across the stream here, its straight trunk making a narrow bridge to the north side.\n\nNagi saunters along in your wake, curious to see what you're up to.\n\n> Go north\nThis is the north bank of the cascading stream. Water tumbles over rocks as it rushes through the forest down towards the shore. To the east, a shallow slope of rocks and debris leads down further into the forest, away from the western mountains. A relatively straight, dead kauri tree has fallen across the stream here, bridging the banks and allowing you to cross to the south.\n\nNagi ambles along off to your side, curious to see what you're going to do next.\n\nSuddenly, Nagi makes a lunge toward the GPS, and succeeds in knocking it out of your hands!\n\nNagi again rushes forward to seize the GPS as you drop it. She settles down to fiddle with it again.\n\n> You go east\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi dawdles along in your wake, curious to see what you're up to.\n\n> Go north\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, with a large boulder plugging up a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nThe moa sits on her nest, calm and satisfied.\n\nNagi scampers behind you, curious to see what adventures you have planned next.\n\n> Go north\nThe narrow forest trail opens onto a small clearing here, where the kauri gives way to unhealthy-looking ferns and thin, yellowish grass. The trail leaves the clearing to both north and south.\n\nNagi ambles along in your wake, curious to see what you're up to.\n\n> You go to the north\nArmed with your map and the powered GPS, you strike out into the deeper forest and head north, hoping the station is where Eruera thinks it is. Unfortunately, after just a few short minutes of travel, you hit a wall. Literally. Extending as far as you can see to the east and west is what must be about a twenty-foot volcanic ridge, the remnant of some long-ago eruption. You spend an hour or so scouting it out, trying to find a climbable spot, and eventually you find a place where the stone has crumbled and left a steep defile that you could probably scramble up.\n\nThe problem is that there's an obstacle in the way -- a large, bony-headed dinosaur that is rubbing itself energetically against the broken rocks, trying to contort itself to reach a particular spot on its back.\n\nThe breeze blowing the tops of the thickly-clustered kauri makes the few flashes of light dance and whirl around you. The trail is all but lost here. A tall, sheer, charcoal-gray ridge stretches as far as you can see from the east to the west.\n\nStanding alone in the shadow of the stone ridge is a huge animal. Its giant, bony head and squat, powerful body mark it immediately as a notoceratops mori -- the largest species of dinosaur in Aotearoa, and therefore the biggest dinosaur in the world! It's hanging around near a steep defile in the rock wall, rubbing against it like it's desperate. It notes your presence without reaction, obviously completely unthreatened by your presence.\n\nNagi scampers behind you, curious to see what adventures you have planned next.\n\nThe notoceratops flails its head towards its back frustratedly.\n\n> Name notoceratops fred\nYou address the notoceratops. \"I'm going to call you 'Fred'.\"\n\nFred seems utterly disinterested.\n\nFred rubs against a nearby rock outcrop in distress.\n\n> You examine Fred\nFred is an impressive animal, standing seven feet high at the shoulder and probably measuring twenty feet from nose to tail. Its large, bony head lacks the flattened, shield-like flange that the more commonly-known triceratops sports, but the bulbous knob the notoceratops has instead looks just as impressive. The dinosaur's skin is mostly a dull gray, similar to a hippopotamus, but it has dark brown spots on its torso as well. It is currently standing near the defile, attempting to scratch itself against the rough rocks, but apparently failing to reach the right spot.\n\nNagi watches you, her interest indicated by her twitching tail and unconscious chittering. She notices you looking at Fred and peers at it with exaggerated interest.\n\nFred flops on the ground and writhes around in obvious frustration.\n\n> You look at the defile\nA tall barrier, the ridge seems to be broken by a steep defile here that might allow you to climb up. If you can survive getting to it.\n\nNagi watches you, curiosity evident from her tilted head and unblinking stare. She notices you looking at the ridge and peers at it with exaggerated interest.\n\nFred flails its head towards its back in distress.\n\n> You examine GPS\nThe GPS is bright yellow and labeled with the brand name \"Amring\". It's a very simple model, with just a single button to display coordinates. You push the button and your current latitude and longitude display: 46? 10' 58\" S, 179? 12' 33\" W.\n\nIn the GPS is a battery.\n\nNagi watches you, her interest indicated by her perked ears and unconscious chittering. She notices you looking at the GPS and peers at it with exaggerated interest.\n\nFred snorts in obvious irritation.\n\n> You turn on the radio\nYou press the transmitter button. \"Can I ask you a question, Eruera?\"\n\n\"Sure, Tim. What would you like to talk about?\"\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\nNagi watches you intently. She makes a few halfhearted motions, trying to imitate calling Eruera on the field radio, but quickly gives up and returns to watching you.\n\nFred flails its head towards its back in distress.\n\n(You could ask him about Fred or Mui.)\n\n> You ask Eruera about Fred\n\"There's one of the big dinosaurs up here. The notoceratops.\"\n\nEruera chuckles a bit. \"I hope you didn't run into it literally, Tim.\" You smile, even though it's not that funny. \"And the great one did not chase you away?\"\n\n\"No, it didn't.\" There's a slight pause before he continues.\n\n\"That is -- surprising. It takes both a special attitude and strong mana to approach the great taniwha. It is normally something that must be cultivated over time. That you have this gift is... interesting.\"\n\nYou continue. \"It looks like it might be itchy or something -- it keeps rolling around and rubbing against the rocks in the same area I need to climb up.\"\n\n\"That is odd, Tim. It might have a fungus or other skin condition. You could probably try to scratch it. That won't fix the taniwha's problem permanently, but it might give it some relief so you could get past it.\"\n\n\"Yeah, Eruera, I thought of that. But... it's... so big! It could crush me like a bug if it wanted to.\"\n\nEruera is silent for a moment. \"I think I see. Let me tell you a brief story that might help you out. It's a legend about how the Mori first learned to tame the taniwha.\"\n\nYou wait, and in a moment he starts. \"Long ago, the people came to Mui with a problem. 'Every year we plant kkmara -- sweet potatoes -- and take great care to guard them. We build tall fences to keep away the pkkeko -- the swamp hen -- and the old men chase them away night and day. Every year the kkmara grow, and every year we prepare for the harvest. And every year, the great taniwha come, break down the fences, and ravage our crop. We try to fight and chase them away, but they charge with heads down and scatter us like raindrops!'\n\nThey pleaded with Mui to help them. 'We cannot continue to live when the taniwha eat most of our crops. Please, slay these taniwha and you may have anything you want as a reward.'\n\nMui agreed, saying 'I will end the threat of these taniwha for you,' for he had heard stories of the giant taniwha and had a plan.\"\n\nEruera pauses for a moment to catch his breath, then continues. \"Mui lived among the people of the village as their honored guest all year, and there was much grumbling as the year went on, for Mui ate very\nwell indeed and food was scarce.\n\nBut finally the harvest drew near, and Mui set forth for the fields to confront the taniwha. The villagers were confused, as he took no weapon, only a large sack. 'How can he slay the taniwha without a spear?' they asked themselves, and the grumbling grew greater. Finally the villagers sent a small boy to follow Mui to make sure he did what he had agreed to do and didn't just run away.\n\nThe boy saw something amazing. As the first of the taniwha approached, Mui stood still and silent. The taniwha stopped. Mui moved very\nslowly and smoothly, giving no offense to the great beast, and it didn't charge. Mui was able to walk right up to it and put his hand on it. Then Mui opened the bag, and inside were the kkmara he'd pretended to stuff himself with all year. As the boy watched, Mui pulled out a kkmara and fed it to the taniwha.\"\n\nEruera pauses for a few moments. \"Hours later, the boy came running back into the village. But before he could explain what he had seen to the elders, Mui appeared, riding proudly on the back of the great taniwha, and tossed down the empty sack. The elders were furious. 'You agreed to slay the taniwha, and you bring it here into our village?'\n\n'I never promised to slay the taniwha,' Mui responded. 'I have done what I promised. Remember my words. I have ended the threat of these taniwha to you.' The elders remembered, and although they were still furious, they had to agree that Mui had succeeded.\"\n\nEruera concludes, \"So the point of that story is that these taniwha react well to friendliness. Approach them slowly and respectfully, and work out a way to scratch this one's itch, and you should be quite safe.\"\n\n\"Wow, Eruera, that's a cool story.\" You pause for a moment, thinking. It makes sense. But you do have one question. \"So what did Mui choose as his reward?\"\n\nYou can hear the smile in Eruera's voice. \"That is a story for another time, Tim. Good luck to you!\"\n\nFred snorts desperately.\n\n> You touch fred\nFred is thrashing around too much for a close approach.\n\nFred flails its head towards its back in obvious irritation.\n\n> You examine the head\nFred is an impressive animal, standing seven feet high at the shoulder and probably measuring twenty feet from nose to tail. Its large, bony head lacks the flattened, shield-like flange that the more commonly-known triceratops sports, but the bulbous knob the notoceratops has instead looks just as impressive. The dinosaur's skin is mostly a dull gray, similar to a hippopotamus, but it has dark brown spots on its torso as well. It is currently standing near the defile, attempting to scratch itself against the rough rocks, but apparently failing to reach the right spot.\n\nSuddenly, Nagi makes a lunge toward the GPS, but you snatch it away before she can get it away from you.\n\nFred rubs against a nearby rock outcrop in obvious frustration.\n\n> You look at the bark\nThe bark is about a foot in diameter, thick and round.\n\nNagi watches you, showing her interest by her twitching tail and unblinking stare. She notices you looking at the chunk of bark and peers at it with exaggerated interest.\n\nFred snorts in distress.\n\n> Go west\nYou've already walked quite a ways to the west, and found no other places to scale the ridge.\n\nFred flops on the ground and writhes around in obvious frustration.\n\n> You go to the east\nYou've already walked quite a ways to the east, and found no other places to scale the ridge.\n\nFred snorts in distress.\n\n> You examine the rocks\nYou aren't sure where the sharp rocks are at the moment.\n\nFred flops on the ground and writhes around frustratedly.\n\n> Things\nNearby are Eruera, the stick, Nagi, the chunk of bark, the bucket, the battery, the GPS, the map, the ridge, Fred, the kauri forest, the ferns, the hole in the bucket, the blob of sticky gum, the field radio, and the call button.\n\n> You look at the ridge\nA tall barrier, the ridge seems to be broken by a steep defile here that might allow you to climb up. If you can survive getting to it.\n\nNagi watches you, her interest indicated by her perked ears and fixed gaze. She notices you looking at the ridge and peers at it with exaggerated interest.\n\nFred flails its head towards its back in distress.\n\n> Scratch fred\n(with your fingers)\nYou consider scratching Fred, but you don't have the reach required to get at Fred's itchy spot.\n\nFred rubs against a nearby rock outcrop in obvious irritation.\n\n> Scratch fred with stick\nYou approach Fred very slowly and deliberately with the stick, ready to back away if it shows any aggression. But it doesn't seem to treat you as a threat. Your heart pounds as you get close to the twitching beast, but finally you're in range. You reach upwards with the stick, toward where you've deduced the itchy spot must be. It seems that you've guessed correctly, as the huge beast immediately flops down on the ground and tilts its back towards you to improve the angle. Once your heart settles down after the huge dinosaur's abrupt movement, you scratch away as hard as you can, and Fred's satisfied grunts indicate that it, at least, thinks you're doing a good job. You study the impressive creature as you work, fascinated with its sheer size and power.\n\nNagi looks at you curiously. She seems to be impressed.\n\n...but you're completely surprised when a deep voice from behind you says \"Awww, isn't that cute?\"\n\nYou whirl around to see who it could be and end up with a rifle barrel pressed into your stomach by a tall, brown-haired man in jungle camouflage. \"Just stay right there, boy,\" the man says. \"You speak English?\" He plucks the radio out of your hands and looks at it briefly, noting the identifying markings on it. \"Working with the Conservation Service, eh? I don't know where you came from, but you aren't going to be going back to tell them about us.\"\n\nHe flicks one hand at the dinosaur without taking his eyes off you, and several other men in similar clothing move around you toward Fred, who lumbers to its feet, far too slow to avoid capture. Or so it seems. One of the men raises what looks like another rifle and points it at the beast, but at the last moment Nagi rushes from the undergrowth and hurtles onto him, scrambling up his back before leaping to the lower branches of a nearby tree and disappearing again. The man jerks as he pulls the trigger, and a tranquilizer dart goes wide, flying into the forest in a high arc.\n\nFred surges to its feet, bellows, and crashes off through the forest as the leader curses. With a curt gesture, he motions for the men to return and tie you up instead. \"Those bloody pests! Well, at least we know that big dino's still around here. It won't escape us for long. In the meantime, you can take its spot in the cages.\" He smiles. \"You never know when a Conservation Service hostage might come in handy.\" The man's rifle butt whips up towards the side of your head, and you see a blinding, red flash of pain, followed by blackness.\n\nYou awaken with a pounding headache, and your friend Nagi licking your temple with a raspy tongue. You can't tell whether it's the sandpaper sensation or the rank smell of her breath that succeeded in waking you, but you stagger to your feet and look around.\n\nYou're in a large, solidly-constructed steel cage. If the roka on the ground wasn't enough to tell you what these cages normally contain, the intermittent bellowing from the captured notoceratops in the four other cages makes it crystal clear. The locked door of the cage leads north, if you could somehow get it open.\n\nNagi is nearby, sprawled out on the ground in a funk. She glances at you every once in a while to see what you are going to do next.\n\n> You examine the door\n(the cage door)\nThe cage door, like the cage itself, is sturdy and solid, if not quite new. The bars are just slightly bent, which makes sense since they've been keeping live, agitated notoceratops in them. Unfortunately, the bend in the bars isn't enough to allow you to slip through like Nagi can. There's a lock mechanism on the door that looks like you could reach it.\n\nAs you take a step you notice something flash at your feet. Nagi pounces on it and comes up with something that looks like a snippet of thick copper wire.\n\n> You examine lock\nYou can't see the lock mechanism, but you feel around the outside enough to find the keyhole. It seems simple -- turn the key and the lock bolt should slide back and unlock the door. But you don't have the key.\n\n> You examine the roka\nThe roka litters the ground in the cage. Apparently notoceratops have a healthy appetite.\n\n> Things\nNearby are Eruera, Nagi, the wire snippet, the cages, the steel bars, the newer tent, the campfire, the piles of roka, the cage door, and the cage door lock.\n\n> You examine the cages\nA row of cages occupies the south side of the camp. Yours is in the middle, with similar cages to your east and west. The other cages contain sad-looking notoceratops, bored and waiting until they get shipped off to wherever their final destination might be.\n\n> You examine the tent\nThis tent's heavy, waterproof canvas seems in the best condition of anything in the camp. It's smaller than the army-surplus tent to the southwest, but still looks roomy enough to provide a good amount of living space and headroom.\n\n> You pick the lock with the wire\nYou wait for a moment when no one is watching and start to work. With determination, you insert the copper wire and fiddle with the lock. The wire snippet is pretty stiff, and long enough to access the lock mechanism, but you have no real idea how to pick a lock, and all your fumbling does is attract attention. Nagi watches you intently, head cocked, trying to figure out what you're doing. And unfortunately, you're so engaged in trying to open the lock and fending off the \"assistance\" of Nagi that you don't notice the apparent leader of the poachers -- the man who hit you -- approach.\n\n\"Well now, what's this?\" He grabs your hand, painfully twisting the piece of wire free. \"Oho, we've got Junior MacGyver here!\"\n\nHe grips your hand, holding on effortlessly as you try to twist away, and considers. \"Amusing, son. But if I see you doing that again I'm going to shoot you, just on the off chance you might get lucky.\" He drops the piece of copper wire onto the ground, out of your reach.\n\n\"Now behave, hear?\" He turns on his heel and walks off.\n\n> You examine Nagi\nNagi looks kind of like a lemur, with spotted brown fur, delicate arms, and a long, thin tail. Her head is the big tipoff that she's not a lemur or a monkey -- two scooped ears that swivel around when she listens, beady yellow eyes, and a ratlike snout make it obvious that this creature has to be related to bats in some way. Nagi is nearby, slipping back and forth through the bars to demonstrate to you how to leave the cell. She periodically looks at you, hoping you'll do something interesting.\n\nNagi seems drawn to the piece of copper wire. She slips through the bars of the cage, unnoticed, and picks the snippet up. She then turns it over and over in her hands, watching how it shines in the light.\n\n> Wait\nYou pause for a moment, idly watching Nagi, and think about how you might get out of here...\n\nNagi moves over to the door lock and inserts the piece of wire, imitating what she saw you do before. She wiggles the wire around for a while, but to no effect, and she finally sits down in confusion.\n\n> Lock\nYou can't see the lock mechanism, but you feel around the outside enough to find the keyhole. It seems simple -- turn the key and the lock bolt should slide back and unlock the door. But you don't have the key.\n\nNagi cocks her head and looks quizzically at the door, considering its lock and the piece of wire. You can almost see the wheels turning in her head. After a while, she glances over at the tent the leader entered.\n\n> You examine the tent\nThis tent's heavy, waterproof canvas seems in the best condition of anything in the camp. It's smaller than the army-surplus tent to the southwest, but still looks roomy enough to provide a good amount of living space and headroom.\n\nAll of a sudden, Nagi takes off across the center of the camp to the north and disappears into the tent there.\n\n> Wait\nYou wait near the door of the cage to see what Nagi is going to do next...\n\n> Wait\nYou wait near the door of the cage to see what Nagi is going to do next...\n\nNagi bounds out of the tent, carrying something shiny! You squint to look more closely as she approaches, and realize with a start that it's the key to the lock! Nagi must have stolen it without being detected! She sprints across the central area of camp and leaps up onto the door of your cell, then jams the key into the lock and starts moving it around. Somewhere in all the twisting and poking, you hear a \"click\".\n\nNagi looks up at you and wiggles in excitement. She keeps making scooting motions with her head to try to direct you toward the cage door.\n\n> You go to the north\n(first opening the cage door)\n\nYou slip out the cage door with care, grateful that the door hadn't made much noise when you opened it. Nagi jumps excitedly as you come out, and then scoots over to the other cages and quickly unlocks those as well. The notoceratops in the other cells waste little time pushing through the doors and heading for the hills. Unfortunately, they trumpet and bellow in triumph as they go. You can hear shouts from the alerted poachers around camp as the notoceratops scatter, but in the confusion no one has yet noticed your escape. You look to the east, towards the boats, but in a stroke of very bad luck you notice two men off in that direction pointing at the dinosaurs and starting to run in your direction.\n\nThis seems to be the center of the poachers' encampment. A banked campfire is in the center of a small cleared space here, a small, newer tent is set up to the north, and a collection of large cages is set to the south. To the east, a short trail leads down a slope to a beach, where the poachers keep their boats.\n\nNagi is nearby, zigzagging back and forth as you run and occasionally surging towards the west before returning to circle you again.\n\nThe formerly-imprisoned notoceratops spread out quickly and rampage around camp, trying to find their way out and avoiding the poachers who are trying to round them back up. Luckily, no one seems to have spotted you yet, although the men from the east are steadily approaching.\n\n> You look at the campfire\nThe campfire isn't burning right now, but looks like it's used for cooking to judge by the flat, stained rocks nearby.\n\nNagi is nearby, trying to lead the way to the west as she flies over obstacles with amazing speed.\n\nThe formerly-imprisoned notoceratops continue to roam about and rampage around camp, trying to find their way out and avoiding the poachers who are trying to round them back up. Luckily, no one seems to have spotted you yet, although the men from the east are steadily approaching.\n\n> Go north\nYou attempt to duck into the leader's tent to hide and wait out the chaos, but run headlong into the leader himself as you approach. He reacts quickly, pulling out his pistol and shooting you down as you turn to try to run. \"I told you I'd shoot you again if you tried to escape, boy...\"\n\n> Go south\nYou duck back into one of the cages, figuring that it should be safe from the rampaging notoceratops. Unfortunately, it also neatly traps you, and in a further display of bad luck one of the poachers sees you slip into the cage. He approaches, a sneer on his face. \"Trapped yourself, eh? No ransom is worth losing our dinos.\" He reaches for his sidearm...\n\n> Things\nNearby are Nagi, the newer tent, the campfire, the poachers, the cages, the herd of rampaging notoceratops, the cage door, and the cage door lock.\n\nNagi is nearby, trying to lead the way to the west as she flies over obstacles with amazing speed.\n\n> You go west\nYou set out to the west, hoping to use the exodus of the dinosaurs to cover your escape, and staying low. As you near the outskirts of camp, you duck behind a partially-disassembled jeep for some cover.\n\nThe poachers' camp borders the wilderness here. Deep ruts in the ground mark the likely spot where their vehicle is parked when it's not in use. One large tent lies to the south. To the northwest a crude road leads back into the forest, and you could also reach the forest to the southwest over a short rise and across a stretch of open field. The main portion of the camp is to the east.\n\nNagi is nearby, zigzagging back and forth as you run and occasionally surging towards the southwest before returning to circle you again.\n\nThe dinosaurs are fleeing the camp, pursued by poachers with guns, who are piling into a jeep. Apparently (and certainly fortunately), no one has yet seen you.\n\n> You look at the tent\nThis khaki barracks tent looks really old -- your best guess is it's army surplus from three or four wars ago. Its canvas is patched and worn, and you suspect it's not even waterproof.\n\nNagi is nearby, alternating between chittering anxiously at you and scampering up your leg to your shoulder, looking towards the southwest.\n\nThe dinosaurs are fleeing up the trail, pursued by poachers with guns roaring off up the trail after them. Apparently (and certainly fortunately), no one has yet seen you. Unfortunately, not all the poachers drove off in the jeep; there are a few still rounding up stragglers.\n\n> You go south\nNagi heads for the treeline to the southwest, and you realize that you probably should have followed her. Instead, you make a move toward the tent, hoping to hide inside. As you approach, however, you hear loud arguing from inside and quickly retreat back behind the jeep.\n\nThe dinosaurs are fleeing up the trail, pursued by poachers with guns roaring off up the trail after them. Apparently (and certainly fortunately), no one has yet seen you. Unfortunately, not all the poachers drove off in the jeep; there are a few still rounding up stragglers.\n\n> Go northwest\nNagi heads for the treeline to the southwest, and you realize that you probably should have followed her. Instead, headed up the trail toward the forest, and you're quickly apprehended by a group of poachers. This time you're thoroughly tied up before being thrown back in your cage, and escape proves impossible.\n\n> Go southwest\nYou set out across the open space to the southeast, staying low and heading for the treeline, still unseen. And it seems to be going well until one of the men gets bowled over by a notoceratops and sees you as he gets back to his feet.\n\n\"Hey! That kid's loose! He's getting away! Get him!\"\n\nYou've never been happier to see the thick forest -- you've got a good chance of losing your pursuers in here, you figure. The grasses of the slope to the northeast give way to ferns and kauri trees as the animal trail leads off into the shaded forest to the west.\n\nNagi is nearby, alternating between chittering anxiously at you and scampering up your leg to your shoulder, looking towards the west.\n\nYou hear shouts from your pursuers. \"He's getting away! Faster, dammit!\"\n\n> You go to the west\nYou dash up the animal trail, trying to keep distance over your pursuers, but they're much fresher and do a good job of keeping up with you. You burst from the undergrowth near the slope of scree.\n\nTo the west, a very shallow slope of mixed scree and debris leads up to the bank of the mountain stream. At the bottom, where you stand, the forest thickens again, with faint animal trails leading north into the deeper forest and east towards the thinner trees that line the coast. By keeping close to the streambank, you could also manage to follow the water southeast down toward the shore.\n\nNagi is nearby, trying to lead the way to the north as she flies over obstacles with amazing speed.\n\nThe pursuing men aren't shouting any more, but you can hear them crashing through the ferns and undergrowth. They're not far behind you.\n\n> You go north\nTurning abruptly, you head for the north at a dead sprint, bursting into the moa's hollow, causing her to squawk in alarm before she recognizes you. Your lungs are burning and you aren't sure how long you can keep this pace up.\n\nThe trail descends into a hollow here, free of trees. Centered in the valley floor is a large mound of volcanic rock, with a large boulder plugging up a fumarole on top. The surrounding rock is riddled with cracks, crevices, and fissures, and hidden in one of the larger depressions is a very large bird's nest, which doesn't look completely intact. The forest trail leads upslope to both the north and south.\n\nNagi is nearby, alternating between chittering anxiously at you and scampering up your leg to your shoulder, looking towards the north.\n\nThe moa seems alert and agitated, but sticks near her nest and egg.\n\nBehind you, a group of pursuers rushes into the hollow. This second disruption alarms the moa, who stands, draws herself up to her full twelve feet of height, and challenges the newcomers from her nest. The poachers ignore the bird, instead pointing at you and calling out in excitement. \"There he is! Grab that kid!\"\n\n> You go north\nYou skirt the fumarole, heading farther up the trail toward the deeper forest, and although your exhausted body keeps telling you there's no way you'll make it, you keep pushing forward anyway. Unfortunately, the main danger isn't behind you.\n\n\"Kai a te kur+! Gotcha, you little troublemaker!\" A tall Mori man wearing camouflage clothing and carrying a rifle rounds the corner directly ahead of you and grabs your shoulder, crunching the bones painfully. Almost before you realize what's happening, Nagi leaps onto your shoulder with a great bound and sinks her sharp little teeth into the man's hand! \"hah, what the hell?\"\n\nHe whips his hand off your shoulder to smack little Nagi, evoking a screech of rage. You twist free, sprinting towards the forest to the north, hoping there aren't any more poachers ahead of you on the trail.\n\nThe narrow forest trail opens onto a small clearing here, where the kauri gives way to unhealthy-looking ferns and thin, yellowish grass. The trail leaves the clearing to both north and south.\n\nAs you continue, you hear a shout of rage, and then a horrible, high-pitched squeal of pain. Despite your desperation, you slow for a second and risk a quick glance behind you. No sign of Nagi.\n\nI hope she's OK. If she can just get into the trees she should be fine...\n\n> You go north\nYou keep running, glancing to the side and over your shoulder, hoping to catch a glimpse of brown fur or beady yellow eyes, but you don't see anything. The forest seems silent, aside from the breath burning in and out of your lungs as you keep running north, heading for the defile you found earlier.\n\nThe breeze blowing the tops of the thickly-clustered kauri makes the few flashes of light dance and whirl around you. The trail is all but lost here. A tall, sheer, charcoal-gray ridge stretches as far as you can see from the east to the west.\n\nFred stands here, complacent and slowly munching plants with its powerful jaws as it watches you arrive, at a run and out of breath. It holds your gaze for a few eternal seconds, then slowly kneels down, as if in invitation.\n\nYou stumble to a stop in front of the dinosaur. Maybe it's the fatigue blurring your vision, but you seem to see it with a strange kind of double vision -- as the powerful lord of the forest, but also as the Mori do -- as an avenging spirit, the taniwha, the protector of the land. You and Fred hold motionless, watching each other for what seems like hours, but eventually the sounds of cursing men crashing through the ferns breaks the spell.\n\n> Ride fred\nAs you approach Fred -- the taniwha -- it feels inevitable. Even destined. You may be running for your life, but as you near the massive dinosaur there's a timeless moment when you can forget that -- can feel something like what those Mori warriors of legend must have felt\nbefore charging into battle on the backs of beasts just like this one.\n\nAs if in a dream, you climb up onto the taniwha's back. It seems high up, and that's before it stands, but for once you aren't afraid, and it feels so good to leave that fear back on the ground. You can actually see that little Mori boy from your visions sitting on the beast's back along with you, even though you know he can't be real. He has a wild grin on his face, and when you see it, you feel a thrill of contagious excitement. As it rises, the power and size of the beast you ride makes you feel like a superhero, or a Greek demigod like Hercules.\n\n(While riding Fred, you can try to control its movements. Use the command FASTER to urge it to greater speed, SLOWER to try to slow it down, and LEFT and RIGHT to try to shift the direction it's moving in.)\n\nDeep Forest (on Fred, facing east and stopped)\nThe breeze blowing the tops of the thickly-clustered kauri makes the few flashes of light dance and whirl around you. The trail is all but lost here. A tall, sheer, charcoal-gray ridge stretches as far as you can see from the east to the west.\n\n> Go east\nYou can't directly make Fred move to a compass direction. Use FASTER, SLOWER, LEFT, and RIGHT instead.\n\n> Faster\nWith some nervousness, you give Fred's flanks a bit of a kick, like you were riding a horse. For a moment, Fred doesn't move -- just stands there -- and a moment of doubt creeps in. What if the poachers find you while you're still just standing here? But then the beast lurches and you grab for a better handhold. It's stomping the ground with massive impacts, alternating sides and tossing its head, dancing a war-dance -- its own haka. It starts walking at a meandering pace, paralleling the rock wall.\n\n> Left\nYou reach forward, lean to your left, and try to pull the bony plate of Fred's head to get it to go to the left. It reluctantly turns to the northeast. It snorts in mild irritation.\n\n> Left\nYou reach forward, lean to your left, and try to pull the bony plate of Fred's head to get it to go to the left. It slowly complies, turning to the north. It then lowers its head to munch a few ferns.\n\n> Faster\nAlthough you're somewhat afraid of irritating it, you give Fred's flanks a bit of a kick, like you were riding a horse. Unfortunately, it's currently looking in the direction of the rock wall, and so it just sits there, unmoving.\n\n> Right\nYou reach forward, lean to your right, and try to pull the bony plate of Fred's head to get it to go to the right. It reluctantly comes around to the northeast. It tosses its head a bit in apparent frustration.\n\n> Right\nYou reach forward, lean to your right, and try to pull the bony plate of Fred's head to get it to go to the right. It grumpily veers to the east, parallel to the rock wall. Then it shakes its head and knocks your hand loose.\n\n> Faster\nWith determination, you give Fred's flanks a bit of a kick, like you were riding a horse. For a moment, Fred doesn't move -- just stands there -- and a moment of doubt creeps in. What if the poachers find you while you're still just standing here? But then the beast lurches and you grab for a better handhold. It's stomping the ground with massive impacts, alternating sides and tossing its head, dancing a war-dance -- its own haka. It starts walking at a meandering pace, paralleling the rock wall.\n\n> Faster\nAlthough you're somewhat afraid of irritating it, you urge Fred to greater speed with another kick. It speeds up to a trot, jolting your body with each impact of its feet, still paralleling the rock wall.\n\n> Faster\nWith determination, you kick again, hoping to spur Fred out of its jolting trot. Unfortunately, the notoceratops doesn't seem to want to go any faster in the thick forest."
    },
    {
        "text": "[Themes: Children's, fantasy, Alternate History, educational, child protagonist]\n\n> Look around\nDeep Forest (on Fred, facing east and trotting)\nThe breeze blowing the tops of the thickly-clustered kauri makes the few flashes of light dance and whirl around you. The trail is all but lost here. A tall, sheer, charcoal-gray ridge stretches as far as you can see from the east to the west.\n\n> You wait a while\nYou hold on and allow Fred to continue doing what it's doing.\n\n> Right\nYou reach forward, lean to your right, and try to pull the bony plate of Fred's head to get it to go to the right. It reluctantly comes around to the southeast, crashing through undergrowth and jarring you with each step. As you continue, you come across ruts in the ground that were obviously made by vehicles, and before long you're following the wide trail back toward the poacher camp.\n\nThey almost got me in the forest; my only chance is to get through to the shore where their boats are...\n\nFrom up ahead, you see the glow of headlights. In a moment, it resolves into one of the poachers' jeeps bouncing over the rutted trail."
    },
    {
        "text": "> You look around\nWide Trail (on Fred, facing southeast and trotting)\nThis makeshift dirt road has obviously seen heavy use by large vehicles. Deep, bare ruts push through a jumble of slashed plants and trees. The trail leads from the forest to the northwest to the poachers' camp to the southeast.\n\nThe jeep closes, almost upon you. You can see the men on the sides moving frantically, likely getting their guns ready to shoot.\n\n> Left\nYou reach forward, lean to your left, and try to pull the bony plate of Fred's head to get it to go to the left. It grumpily turns to the east, leaving the ruts and bashing back into the forest. Unfortunately, you don't manage to disappear into the forest quite quickly enough to avoid a lucky shot from one of the men in the jeep, and you tumble to the forest floor, fatally injured.\n\n> Wait\nYou hold on and allow Fred to continue doing what it's doing. Unfortunately, it's not moving quickly enough to outpace the jeep, which quickly slews around. The armed men inside get several good shots off as you trot down the trail, and one of them gets lucky.\n\n> Faster\nAlthough you're somewhat afraid of irritating it, you kick again, hoping to spur Fred out of its jolting trot. It responds, speeding up to a full, charging run! You can barely hold on as it hurtles onward toward the poacher camp.\n\nPoacher Camp (on Fred, facing southeast and running)\nThe poachers' camp borders the wilderness here. Deep ruts in the ground mark the likely spot where their vehicle is parked when it's not in use. One large tent lies to the south. To the northwest a crude road leads back into the forest, and you could also reach the forest to the southwest over a short rise and across a stretch of open field. The main portion of the camp is to the east.\n\nOne of the remaining jeeps roars into life, several armed men hanging on as the driver spins the wheel and tries to cut you off. The jeep is just to the left of Fred's head, blocking the way into the center of the poacher encampment.\n\n> Right\nYou reach forward, lean to your right, and try to pull the bony plate of Fred's head to get it to go to the right. For a moment you're not sure it's going to cooperate, but at the last minute Fred veers off to the south, headed for the large barracks tent. You hear a few gunshots behind you, but they don't seem to hit you. You barrel though the tent, pulling the heavy fabric down and quickly ensnaring even the powerful notoceratops. You don't get a chance to find out what the poachers might do to you, as Fred, in its futile thrashing attempts to escape, crushes the life out of you.\n\n> Left\nYou reach forward, lean to your left, and try to pull the bony plate of Fred's head to get it to go to the left. For a moment you're not sure it's going to cooperate -- that it's finally had enough of you tugging and prodding at it -- but at the last minute Fred lowers its massive head, puts on an extra burst of speed, bellows in fury, and charges to the left. You catch one glimpse of the men on the jeep, eyes wide, raising their hands in a futile instinctive attempt to ward off the charging beast. And then you're upon them, Fred's bony head slamming into the side of the jeep with a tremendous crash as you brace against the shock. The impact knocks the jeep clear over onto its side and sends men sprawling in all directions! You're thrown forward by the impact and take quite a thump from the back of the dinosaur's bony head plate. You start to slip off to the right, but manage to hang on -- barely -- with one hand.\n\nThe jeep's engine cuts out with a heavy sound of clunking metal, and before any of the men can even lift their heads from the ground, you and Fred barrel east into the center of the camp.\n\nFred barrels into the center of the camp in a berserk fury, charging at the tents and lashing out at the cages, whirling and stomping in a frenzy. You hold on for dear life, but when the taniwha rears and twists almost completely around, your grip loosens and you spin to the ground in a painful heap. You scramble to the side to avoid being trampled.\n\nThis seems to be the center of the poachers' encampment. A banked campfire is in the center of a small cleared space here, a small, newer tent is set up to the north, and a collection of large cages is set to the south. To the east, a short trail leads down a slope to a beach, where the poachers keep their boats.\n\nIn the general chaos you think you might again slip away unnoticed, but one of the cowering poachers to the west has apparently spotted you and is moving to intercept as Fred continues its destructive frenzy. You quickly shift to the side to avoid being stepped on, and consider your possible escape routes.\n\n> Go north\nYou duck into the remains of the private tent to the north, hoping to hide and wait out the destruction. However, the notoceratops decides that the tent is not flat enough yet, and charges again, trampling you as well as a footlocker and camp stove.\n\n> Go south\nYou duck into one of the cages, figuring that it should be safe from the rampaging notoceratops. Unfortunately, it also neatly traps you, and the poacher quickly slams shut the door and locks it again. Once order is restored, you don't stay a prisoner for long. However, you don't stay alive for long either.\n\n> Go east\nYou scramble in what seems to be the only safe direction -- down towards the beach. In all the confusion, you can't see whether you're being followed or not, but the chaos won't last forever. You scan the shoreline, evaluating your possible escape options.\n\nThis thin beach of grey sand curves around a shallow bay, with rough, broken rock blocking travel to the north and south. Waves lap at the shore in the mild breeze, rocking the boats moored here. A path rises up to the west towards the poachers' camp.\n\nA fairly large and weathered transport ship is here, partially hidden under frayed camouflage netting.\n\nA small speedboat, patched and covered with camouflage netting, is beached on the strand nearby.\n\nAs you move toward the shoreline, the poacher you noticed earlier crests the top of the ridge, rifle slung over his back. He scans the shore, stops when he sees you, and starts down at a jog, unlimbering his weapon.\n\n> You enter the speedboat\nYou climb into the speedboat and glance around to familiarize yourself with the controls.\n\nThe speedboat looks like it's seen better days -- its hull has been patched in numerous places and it's been covered with camouflage netting to keep it hidden. The motor looks pretty big, though. You're in a bit too much of a hurry to take much time going over the controls at this point, but the obvious ones include an ignition button and a steering wheel. A life preserver and attached coil of line sit at the aft end of the boat.\n\nThe armed man starts to run, visibly agitated. \"Get away from the boats, kid!\" He snaps a shot at you, but he's not that good at shooting on the run, and he misses.\n\n> You pull the line\nAnother shot sings past your ear as you pull the line, life preserver, and Nagi into the boat. Wasting no time, you hunch back to the seat, plant yourself, and slam the lever all the way to \"H\". The boat leaps forward, throwing water into the sky and pushing a huge wake out to the sides as you rocket out into the bay, leaving the poacher on shore with no shot but wild ones. You can feel a power -- strong mana surrounding you with destiny, and you know somehow that his shots will lack all potency against you.\n\nNagi scampers forward and leaps onto your shoulder, dripping seawater and chattering in ecstasy as you slew the craft towards the south. You know how it's going to be -- you'll make it back to Eruera, pick him up, and head for the closest Conservation Service coastal watch station. You know it, and as the air and sea rush past you, you seem to see the little Maori boy off on the horizon, smiling his wild, triumphant smile. You can feel his presence all the way as you roar down to the familiar shore where Eruera waits for you, waving and laughing in amazement, ready to hear your tale and leave this coast with you to find the station and rescue and, with luck, some justice.\n\n> Epilogue\n\"The helicopter's just ahead, Tim.\" Eruera's crutch slows him down just a bit, but you still have to trot a little to keep up. You stop at the edge of the clearing, and Eruera turns to you and gently lifts Nagi from your shoulder. \"I'll take care of Nagi for you until next year, OK?\" He smiles reassuringly and claps your shoulder. \"And don't worry, she'll remember you! These little ones do not often take a liking to people, but once they do their loyalty is legendary.\"\n\nYou pet Nagi for a while, and she chirps and bleeks contentedly as you blink away some dust the helicopter must have kicked up when it landed. It's time, I guess. You shake Eruera's hand, turn away, and push through the growing wind as the helicopter's blades begin to spin up. As you approach, the pilot pushes the cockpit door open and beckons you aboard, a lopsided smile on his face. You step up, fasten your harness, and put on your helmet. Once the intercom is enabled, the pilot speaks. \"So, you are the notorious Tim Cooper? The pkeh toa that caught the taniwha raiders?\"\n\n\"Yes, I'm Tim.\"\n\nThe helicopter rises into the air and you wave at Eruera and Nagi as you tilt forward and pick up speed. \"Kia ora, Tim! Good to have you aboard! We'll get you over to headquarters in about 45 minutes!\" Very little time before you get to New Port Nelson and start your long hours of official debriefing and depositions.\n\nYou take a moment to reflect back on the last two weeks. The memories blur together, but your almost unrecognizable Program t-shirt reads like a diary -- rips and green stains from the amazing adventure of that first day, grease spots from the paua skewers you scarfed down at the crazy celebratory beach barbecue after your rescue, the giant mudstain when you skidded down thirty steep feet of Te Apiti ravine on your back and side, in hot pursuit of a group of spiny-backed taniwha.\n\nThe clearing is nothing but a light green dot in the darker green of the forest, far behind you, and you slump back in your seat. You can't believe it's over already; it seems like only a day or two since you got here. But you hold tight to one hope. Eruera was sure you could come back next year. \"They're going to remember the name 'Tim Cooper',\" he said, grinning. \"I'll make sure of that! All you have to do is get your application in next year and you'll be on your way back.\" Back in the forest, back working with the taniwha and the Conservation Service. Back with Nagi. A year isn't so long to wait, right?\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or read the EPILOGUE?"
    },
    {
        "text": "[Themes: Surreal, adventure, metaphysics, ethics, humor, fantasy, educational, gender-neutral protagonist, unicorn, philosophy]\n\n> You look\nIt's a plain concrete box, equipped only with desk and chair. A computer sits on the desk, casting an insipid electronic glow over a stack of cards sitting by the keyboard. There's a slow drip from a damp patch up on the ceiling. Some grubby light seeps through a high window across onto the poster that dominates an entire wall. Across the top of the poster huge bold letters read \"THE CHINESE ROOM\". Underneath -- a string of Chinese characters.\n\n[Author's Note: The Chinese Room is a hilarious romp through the world of philosophical thought experiments. Have you ever wanted to win Zeno's race? Free the denizens of Plato's Cave? Or find out what it's really like to be a bat? Now is your chance!]\n\n> You think about CHINESE ROOM\nThe Chinese Room argument is a thought experiment originally devised by John Searle, designed to answer the question (in the negative): \"Can a computer ever understand language?\"\n\nImagine a computer that has so complete a set of rules for providing Chinese output to Chinese input that it behaves exactly as a human who understands Chinese would. Ask it a question in Chinese, and it will give an appropriate response in Chinese. It appears do \"understand\" Chinese. But does it?\n\nImagine now a human living in a small room, who is given a book consisting of a vast set of rules for providing a response in Chinese characters for any information ey receive in Chinese characters. Like a computer ey will provide appropriate Chinese output to Chinese input. The person is analogous to a computer, but does the person understand Chinese? It would seem, intuitively, that ey don't.\n\nThe meat of the argument here is to distinguish between syntax, the rules by which language is constructed and manipulated, and semantics, what language actually means, and then claim that even incredibly in-depth knowledge of syntax is not sufficient for semantics -- only human-type minds, and not an artificial intelligence, have the capability to understand meaning.\n\nThis leads into the debate about what \"meaning\" actually means. What can it be that only human-type minds have? What makes us special? Some philosophers, including, perhaps, the creators of the world you now find yourself in, would argue that actually all that the mind's ability to respond to input actually comprises is an incredibly complex set of learned syntactical rules, and that \"meaning\" separate from this is illusory -- so that if one were to learn all the rules for Chinese language-manipulation, one would understand that language.\n\n> You look at the poster\nUnderneath the title there is a string of Chinese characters.\n\n> You examine the characters\nChinese, if you please.\n\n> You look at the drip\nThere's a damp patch spreading across the ceiling from the hatch at one end.\n\n> You look at the hatch\nIt's too high to reach without standing on something, and it's locked.\n\n> You look at the desk\nA simple affair, with black steel legs and a woodgrain formica surface. A drawer is stuck on underneath as an afterthought, like chewing-gum. What is interesting is what is on the desk.\n\n> You think about the zombies\nPhilosophical zombies, or pzombies, are another common thought experiment in philosophy of mind. They are creations which look and behave in every way like people, but which have no conscious experience. They raise a huge number of questions: are they possible? What is conscious experience? Could a zombie behave like a human without conscious experience? Is conscious experience a physical or non-physical phenomenon?\n\nThese questions lead into what is known as \"the hard problem of consciousness\", which is: how do we explain subjective (or \"phenomenal\") conscious experience in terms of its neurological basis? Is the mind separate from the brain, like a free-floating soul? Is the mind a function of the brain, with mental activity caused by brain activity? Is the mind and conscious experience as we understand it an illusion, with the brain no more than the physical? If the mind is caused by the brain, how is it caused, and what is it about the brain that causes it?\n\nThe hard problem of consciousness is one of the most perennial problems in philosophy, and in the two decades since it was first formulated by Richard Chalmers we have made little progress. This had led some philosophers, especially postmodern philosophers or followers of Wittgenstein, to wonder whether the problem itself arises only from a sort of language-game, a particular linguistic conception of the mind that has developed over time, especially in the West. Maybe it is not consciousness which is illusory, but rather the existence of the problem of consciousness!\n\n> You open the drawer\nInside the drawer sits a squat, leather-bound manual. It looks even more daunting than The Phenomenology of Spirit.\n\n> You read the manual\nThe manual is a thick, leather-bound tome with THE RULES embossed in gold on the cover. Inside, you find hundreds and hundreds of rules, written in English, for transforming sets of incomprehensible Chinese characters into other sets of incomprehensible Chinese characters. You can't imagine why.\n\n> You get manual\nTaken.\n\n> Transform characters\nYour desire has passed beyond meaning.\n\n> You examine the cards\nYou flick through the cards. Each of them features a number and a set of incomprehensible Chinese characters.\n\n> You look on the desk\nA stack of strange rectangular cards is on the desk. The uppermost one features a number and a string of Chinese characters.\n\n> You get the cards\nWhat do you want with a bunch of cards like that? Leave them be, unless you want to CONSULT something ABOUT them.\n\n> You consult the manual about the cards\nYou pick a card and then slowly, meticulously use the rules in the manual to generate a new set of chinese characters from the set on the card, typing it into the computer. What it all means you can't begin to guess, but it passes the time with some harmless mental exercise, like a Sudoku puzzle.\n\n> You look at the computer\nThe computer screen displays the set of Chinese characters you just typed in, while each of the keyboard buttons features a Chinese character, apart from one big one at the bottom marked SEND.\n\n> You look at the poster\nUnderneath the title there is a string of Chinese characters.\n\n> Type characters\nYou'd better deal with the set you already typed in first.\n\n> Type characters\nYou press a few random keys, watching the Chinese appear on the screen, and then hit SEND. A message flashes up saying \"INCORRECT!\" before promptly vanishing again. Perhaps you ought to approach this more systematically.\n\n> You translate the poster\nYour desire has passed beyond meaning.\n\n> About yourself\nAs good-looking as ever.\n\n> You check your inventory\nYou are carrying:\na manual\n\n> You take the poster\nIt would tear!\n\n> You look at the poster\nUnderneath the title there is a string of Chinese characters.\n\n> You look at the window\nIt's high in the wall and far too small to fit through.\n\n> You think about descartes\nRen? Descartes (1596 - 1650) has become known as the Father of Modern Philosopher. A French thinker, his philosophy was founded on sceptical rationalism -- he sought to determine what could be rationally proved, using a method of extreme scepticism in order to test his beliefs. He as attempting to write \"as if no-one had written on these matters before\", and so his philosophy framed a great deal of what came after him, ushering in an era of ahistorical analytic philosophy which sought to determine the truth of the world.\n\n> You look\nIt's a plain concrete box, equipped only with desk and chair. A computer sits on the desk, casting an insipid electronic glow over a stack of cards sitting by the keyboard. There's a slow drip from a damp patch up on the ceiling. Some grubby light seeps through a high window across onto the poster that dominates an entire wall. Across the top of the poster huge bold letters read \"THE CHINESE ROOM\". Underneath -- a string of Chinese characters.\n\n> You look at the chair\nThe kind of grey plastic chair you find in schoolrooms. It sits by the desk.\n\n> You look at the drip\nThere's a damp patch spreading across the ceiling from the hatch at one end.\n\n> You stand on the chair\nYou stand on the chair. You can see your house from here! Well, you can't really, but you can reach the hatch.\n\n> You say open the sesame\n(to yourself)\nJust TALK TO them.\n\n> You examine the chair\nThe kind of grey plastic chair you find in schoolrooms. It sits under the hatch.\n\n> Examine poster\nYou can read the poster now! It says \"Look in the drawer\". Eh?\n\n> You look in the the drawer\nThere's a key in here!\n\n> You take key\nWhat the -- ? It was in here all along?\n\n> You think about John Searle\nThe Chinese Room argument is a thought experiment originally devised by John Searle, designed to answer the question (in the negative): \"Can a computer ever understand language?\"\n\nImagine a computer that has so complete a set of rules for providing Chinese output to Chinese input that it behaves exactly as a human who understands Chinese would. Ask it a question in Chinese, and it will give an appropriate response in Chinese. It appears do \"understand\" Chinese. But does it?\n\nImagine now a human living in a small room, who is given a book consisting of a vast set of rules for providing a response in Chinese characters for any information ey receive in Chinese characters. Like a computer ey will provide appropriate Chinese output to Chinese input. The person is analogous to a computer, but does the person understand Chinese? It would seem, intuitively, that ey don't.\n\nThe meat of the argument here is to distinguish between syntax, the rules by which language is constructed and manipulated, and semantics, what language actually means, and then claim that even incredibly in-depth knowledge of syntax is not sufficient for semantics -- only human-type minds, and not an artificial intelligence, have the capability to understand meaning.\n\nThis leads into the debate about what \"meaning\" actually means. What can it be that only human-type minds have? What makes us special? Some philosophers, including, perhaps, the creators of the world you now find yourself in, would argue that actually all that the mind's ability to respond to input actually comprises is an incredibly complex set of learned syntactical rules, and that \"meaning\" separate from this is illusory -- so that if one were to learn all the rules for Chinese language-manipulation, one would understand that language.\n\n> You ask the computer about the life\nYou can only do that to something animate.\n\n> You climb the chair\nYou're positively climbing up the walls.\n\n> You stand on the chair\nYou're already on it!\n\n> Unlock hatch\nWhat do you want to unlock the hatch with?\n\n> Key\nBalancing precariously on the chair, you reach up and unlock the hatch. It swings open, and fresh air and clean light flood the room. Freedom beckons!\n\n> Up\nYou haul yourself up through the hatch and scramble onto the roof of the Chinese Room, the hatch thudding shut behind you. Escape!\n\nGetting to your feet, you are conscious of your jaw dropping wide open. A fantastical landscape spreads out around you in every direction. You turn around and around, taking in the astonishing sights around you -- to the north, a pretty little rural town clambers up the wooded hillside; on the east side wide grassy plains spread off into the distance, on the west side the sea does likewise, while to the south . . . to the south an enormous granite crag towers on the countryside, topped by a castle of medieval extravagance.\n\nA bright sun and blue sky blaze over everything -- in fact, all of the colours in this extraordinary vista have a zealous intensity. It all feels too, too unreal for words.\n\nSlowly, as if it were about to vanish into nothingness beneath you, you sit down on the roof and raise your exhausted eyes to the sky. You let out a small whimper. For above you, flitting happily among the fluffy clouds, a flock of enormous flying beasts streaming spaghetti soar.\n\nThe roof of the Chinese Room is flat and covered with pitch, hot under the sun. On the east side of the building, a ladder leads down to the road."
    },
    {
        "text": "[Themes: Surreal, humor, philosophy, unicorn]\n\n> Look around\nThe Chinese Room, you have discovered, is in the centre of a fantastical world, on a road leading north to woods and a hillside village and south to a cragtop castle. Wide plains spread out to the east, grassy dunes and a strip of sand border an ocean to the west, and above you Flying Spaghetti Monsters gambol in the updrafts. The roof of the Chinese Room is flat and covered with pitch, hot under the sun. On the east side of the building, a ladder leads down to the road.\n\n> Pray\nGod is dead.\n\n> You think about Nietzsche\nFriedrich Nietzsche (1844 - 1900) was a German critical philosopher. Using highly artistic prose and an aphrositic style, he wrote critiques of the religion, morality, philosophy and society of the time, developing over the years a distinctive set of positions which helped pave the way for later post-modern critical philosophies.\n\n> You think\nWhat is it you want to THINK ABOUT?"
    },
    {
        "text": "[Themes: Surreal, unicorn, humor, fantasy, adventure, educational, philosophy]\n\n> Go downwards\nYou shimmy down the ladder onto the road.\n\nYou're on a road by the squat concrete hut that contains the Chinese Room. In smooth black tarmac, neatly painted with white lines, the road stretches north to the village in peculiarly perfect tapering perspective. Behind you, to the south, you see the road lead towards some queer-looking hedgerows at the base of the crag. To the east, as before, stretch the plains to the horizon, with the ocean, behind sand dunes, doing likewise to the west.\n\nWell, you can only be thankful that there aren't two legs sticking out from under the hut, and that the crowds of tiny people appear to have neglected to lay on a welcome party.\n\nThere is, however, a scarecrow.\n\n> You think about the Monsters\nThe Invisible Pink Unicorn, like the Flying Spaghetti Monster, is a popular satirical religious entity. While their use has now expanded to encompass all manner of religious satire, the original purpose was to point out a common fallacy regarding religious belief and burden of proof.\n\nIt has been argued that atheism is an untenable philosophical position, as one cannot give a watertight proof for the non-existence of a religious entity: how would it be possible to prove that a god does not exist? One can only give incomplete arguments in favour of a god's non-existence, and so certain atheism is impossible.\n\nThe question asked by the IPU is then, \"Well, does that mean that it's perfectly justifiable for me to believe in an invisible pink unicorn orbiting Saturn? No-one's ever seen it, but I believe in it, and it's impossible for you to definitively disprove its existence.\" Given the intuitive ridiculousness of believing in the IPU without evidence, this response serves to shift the ground of the debate away from requiring atheists to prove an entity's existence with certainty. One implication is that we ought not to be looking for certainty, but rather for good arguments for likely beliefs; another stronger atheistic response is to use this thought experiment to claim that the burden of proof for religious entities lies not with the atheist for disproving existence but rather the believer for proving existence. The question of who holds the burden of proof has become a thorny debate.\n\n> You examine the scarecrow\nGawky, stuffed, adorned with a fixed expression and with a broom handle rammed up its backside. You'd think it were a member of the Royal Family if it weren't for the silly hat and cast-off clothing. No, wait, hang on . . .\n\nIn any case, you rather wish all that sacking had been put to better use than as a body for this wretched thing.\n\nYou jump back as the scarecrow rustles its arms and says, \"Aren't you going to say hello then?\"\n\n> You talk to the scarecrow\n\"Er . . . hello,\" you say. \"I'm sorry, it's just I, um --\"\n\n\"Well I'll just bet you ain't never seen a talking scarecrow before? Ain't that right? Well dang me if I ain't right. Now tell me, what can I do y'for?\"\n\n[1] Um, where am I?\n\n> 1\n\"You just come out of that little room there, ain't you?\" asks the scarecrow, as if that settled everything.\n\n[1] Er, yes.\n[2] Yes, but where am I?\n\n> 2\n\"Well you're outta the liddle room, ain'tcha? And now, what do you think of this liddle land?\" The scarecrow looks at you as if he's about to hang on your words like a condemned criminal from the gallows.\n\n[1] I don't know, really.\n[2] Well, I don't know, as you won't tell me where it is and it's totally weird and I'm really freaked out, actually.\n[3] It's nice.\n\n> 2\n\"Now don't you be gettin' all cranky now,\" says the scarecrow, like an ornery old farmer dispensing invaluable wisdom, \"cause it ain't healthy for a nice young adventurer like you. Now, I'll tell you, I'm something like the tour guide, as y'say, round these here parts, and if you got any questions for me, you just ask me and I'll answer best as this little scarecrow can.\"\n\n[1] Where the hell am I?\n[2] What's that castle over there?\n[3] What lies north, yonder?\n[4] What lies east?\n[5] What lies west?\n[6] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[7] I think I'll just go, actually.\n\n> 1\n\"I told you that already! Outside-a the liddle room. Anything else?\"\n\n[1] What's that castle over there?\n[2] What lies north, yonder?\n[3] What lies east?\n[4] What lies west?\n[5] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[6] I think I'll just go, actually.\n\n> 1\nThe scarecrow's straw-stuffed arms snap out of in front of him, and his earthy (and deeply irritating) Kansas vowels are replaced by ringing, hollow tones saying \"I do not know any thing about the castle.\"\n\nThen his arms relax again and, seemingly oblivious, he says \"I do most humbly beg your pardon, there, what was that question agin?\"\n\n[1] What lies north, yonder?\n[2] What lies east?\n[3] What lies west?\n[4] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[5] I think I'll just go, actually.\n\n> 1\n(Because you've always wanted a chance to justifiably say \"yonder\", and if this isn't it then by Godot nothing ever will be.)\n\n\"Now that's just a little village,\" says the scarecrow. \"Now, I've never been there, but I do hear it's a pretty exciting place, with all sorts for a young adventurer like yourself to do. But is there anything else you want to know before you go?\"\n\n[1] What lies east?\n[2] What lies west?\n[3] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[4] I think I'll just go, actually.\n\n> 2\n\"Nothing but the wide, wide ocean, so far as I know. But I don't know much!\" The scarecrow swallows an unctuous guffaw. \"Anything else?\"\n\n[1] What lies east?\n[2] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[3] I think I'll just go, actually.\n\n> 1\n\"Now them's the wide, wide plains, where they do say the unicorns roam.\" The scarecrow waves his arms about vaguely, the two badly-stuffed sackcloth sticks not really up to the task of describing the expanse. \"But I'm willing to wager that a nice young adventurer like you don't believe in unicorns, so I guess you'll be wanting to ask about something else.\"\n\n[1] No, what was that about unicorns?\n[2] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[3] I think I'll just go, actually.\n\n> 1\n\"Well I don't know nothing about them, excepting that they's both pink and invisible, so I hear, but it's bad luck to talk about them so you just ask me something else,\" says the scarecrow sharply.\n\n[1] You're not going to start singing about whiling away the hours, conferring with the flowers, are you?\n[2] I think I'll just go, actually.\n\n> 1\n\"Now I'm sure I don't know what you're talking about, though I do flatter myself I have a splendid singing voice. You like to hear?\"\n\nWithout waiting for a response, the scarecrow bursts into a raucous rendition of \"I Will Survive\". One of you at least certainly won't unless you interrupt him quickly.\n\n[1] Shut up!\n[2] No, I think I'll just go, actually!\n\n> 1\nThe scarecrow stops singing abruptly, looking quite hurt. \"Oh,\" he says. \"A question, then?\"\n\n[1] I think I'll just go, actually.\n\n> 1\n\"Right you are, then! You just come back if you want to know anything else.\" He starts to hum quietly to himself, which is only slightly less irritating than his talking.\n\n> You ask the scarecrow about the dorothy\nJust TALK TO them.\n\n> You think about the scarecrow\nExamining the scarecrow reveals two rather odd things about it: while acting with at least the appearance a conscious entity, it appears to be operated internally by a horde of homunculi, and operated externally by radio signals from China.\n\nIt thus seems to be conflating two thought experiments in philosophy of mind: both Homunculi-Man and China-Brain. Homunculi-Man behaves like an ordinary person, but his brain consists of a huge operating station operated by millions of tiny people replicating the processes of a brain. China-Brain is controlled externally by the entire nation of China, which has organised its people to replicate the functions of the brain: instead of neurones firing, the people of China carry messages to each other and manipulate data, relaying the results in radio signals to the person whose brain is being operated.\n\nBoth arguments seek to debunk a position known as \"functionalism\" which holds that if two things hold the same function, or function in exactly the same way, then they are to all purposes the same thing. In philosophy of mind, this means that if something operates like a mind -- turns the same inputs into the same outputs, then it really is a mind. Homunculi-Man and China-Brain seem to show that something is missing from this picture -- this is usually argued to be \"consciousness\".\n\n\"Consciousness\" can come to be thought of as what is missing from China-Brain. What could that be? What is it that we think of the mind as having that we think China-Brain -- or, less wildly, a robot with artificial intelligence -- lacks? The ability to feel? The ability to actually experience the senses subjectively (having \"qualia\"), rather than simply responding to sensory input? Or is consciousness in this sense illusory? Or is it something else that's missing from the picture of China-Brain?\n\n> You examine the scarecrow\nGawky, stuffed, adorned with a fixed expression and with a broom handle rammed up its backside. You'd think it were a member of the Royal Family if it weren't for the silly hat and cast-off clothing. No, wait, hang on . . .\n\nIn any case, you rather wish all that sacking had been put to better use than as a body for this wretched thing.\n\n> You examine the hat\nIt looks like someone took a bunch of straw with em on an LSD trip and then threw the result under an elephant.\n\n> You get sacking\nYou're about to wrench the scarecrow's pole from the ground to take him with you when it starts humming, and you suddenly think better of it.\n\n> Go south\nIgnoring the scarecrow's warning, you confidently stride southward -- or make to, because instead of confidently striding southward you fall flat on your face, cracking your nose off the tarmac.\n\nGrimacing with pain and spitting grit from your teeth, you try to crawl to your feet but find yourself strangely incapacitated. Rolling onto your back, you see why -- a tiny little woman, now sitting on your knee, has tied your shoelaces together. Reaching down to undo her handiwork, you find that, with near invisible speed, she has jumped onto your aching nose and nutted you right between the eyes. You fall back with a resigned oof.\n\n\"I did warn you now,\" says the scarecrow. \"I reckon it's safe for you to untie those shoes, now, Anjeline.\"\n\nAs you get gingerly to your feet, you catch a flash of Anjeline's underskirts as she scrambles up the scarecrow's pole and into his stuffing.\n\n> Go north\nYou walk along the road towards the village. It's only a short distance, but this direct and precise road makes it seem like quite a trek, with the sight of the village always straight ahead of you, getting bigger by excruciating degrees.\n\nEventually, though, you reach the first few village houses. Yellow-thatched and cross-timbered, they cluster around the road like groups of schoolchildren on a picnic day. And, indeed, there are children playing games outside, -- the girls in pink blouses and the boys in blue britches -- laughing and clapping and throwing hoops at each other. You try not to listen to the actual words of the games which, where children are concerned, you find, tend to be more truly horrifying than anything the best gothic authors could dream up.\n\nSomething strange, you realise, has happened to the road. Without you noticing, it's switched from that black tarmac to a rutted country cartway. Then, looking up at the buildings as you walk further into the village, you see no more quaint cross-timbering but rather -- a modern pavement caf?? A bar, the word \"drink\" etched in fashionable lower-case letters on the window glass? Looking down, you see the road has changed again into a paved street. Looking up -- there's a maid in a peasant blouse pulling at a water pump! The bar has become a ramshackle country tavern!\n\nBlink. A medieval market village. Blink. A modern cosmpolitan town. Blink. Both at once?\n\nYour mind can't fix on a single image of the village. It seems to be every different thing at once, as and when needed. The maid, now in a crisp business suit, carries her wooden water pail into a barber shop, whose red and white striped pole sticks straight out of a dry stone wall. A man in peasant garb emerges from a building with the words \"Cartesian Theatre\" emblazoned above the door in neon letters. And the church's spire oscillates between a stone tower, a verdigris spire, and a concrete minaret.\n\nYou shake your head furiously, as if this will make reality fix itself. You feel terribly ill.\n\nA church, a theatre, a tavern, a barbershop, a pavement caf? -- their various changing forms clutter around, entrances facing out onto what seems (most of the time) to be an ordinary village street. Passers-by duck in and out of the buildings, stop by the water pump, or carry on to a square to the north. No-one, you notice, takes the road south -- or heads along the routes east towards the storybook hills or west into the fairytale woods.\n\n> Go south\nBy the road stands a scarecrow.\n\n> You look at Anjeline\nAnjeline lurks beneath the scarecrow's hat. Actually, looking more closely, you see several more pairs of little eyes alongside her. With the scarecrow grinning at you, you walk around him, suspicious, noticing a tiny pair of eyes in each sackcloth nostril, several in his sackcloth mouth, and a horde beneath his straw hat. As you come behind him you see that what you originally thought was a piece of straw poking out from behind is, in fact, a radio aerial. And there's a stamp on the sackcloth: \"Made in China\".\n\n> You get aerial\nYou reach round the back of the scarecrow and snap his aerial in two. His singing winds down in an electronic slur, and his whole body droops on the pole. There's a moment of silence, and then, one by one, the homunculi tumble out of his stuffing, gathering into a comatose heap on the ground.\n\n> You get sacking\nYou grab a handful of sackcloth and give it a yank, pulling it free from the pole. When you empty it of straw what results is a fairly serviceable sack, which you fling nonchalantly over your shoulder.\n\n> You look at the heap\nA pile of tiny unconscious people, who presumably have been acting as the scarecrow's brain on radio instructions from China. Presumably. It takes a special kind of mind to presume something like that, but a philosophy undergraduate certainly has one.\n\n> You examine the sack\n(the sack)\nA very large sack, still with a few strands of straw stuck in the bottom.\n\n> You get the sack\n(the sack)\nYou already have that.\n\n> You wear the sack\n(the sack)\nYou can't wear that!\n\n> You look\nA church, a theatre, a tavern, a barbershop, a pavement caf? -- their various changing forms clutter around, entrances facing out onto what seems (most of the time) to be an ordinary village street. Passers-by duck in and out of the buildings, stop by the water pump, or carry on to a square to the north. No-one, you notice, takes the road south -- or heads along the routes east towards the storybook hills or west into the fairytale woods.\n\n> You look at Pump\nYou walk up to the water pump in the middle of the street. As you approach, the gaggles of carters and fishwives clustered around it look at you and start gossipping furiously.\n\nThe pump itself is made of polished and riveted steel, with a gleaming handle. There is a brass plaque on it which reads \"Intuition Pump 3000\".\n\n> You think about the Pump\n\"Intuition Pump\" is a term popularised by the philospher Daniel Dennett to describe, somewhat pejoratively, philosophy thought experiments. All thought experiments, claims Dennett, are written in order to get us to pump out a particular intuition, to get us to think a particular thing determined by the set-up of the experiment. They're not true experiments, where what's interesting is to find out what result we'll get from the set-up, but rather rhetorical devices. Sometimes they can provide useful analogies, but it's always important, says Dennett, to look at the set-up of the intuition pump and make sure it's a good analogy, and that we're not being manipulated into pumping out an intuition we would't otherwise agree with.\n\n> Inventory\nYou are carrying:\na sack (open but empty)\na Chinese key\na manual\n\n> You look at the church\nIt's as if the designer had aimed the architecture at quaint, overshot, and gone straight through and out the other side into a strange uncharted territory beyond twee. Cherubs feature.\n\n> You enter the church\nYou step inside the church and are hit by a blast of pure serenity. The church appears to have made up its mind about its own interior, plumping for a simple majesty in stone and wood. As the door creaks gracefully closed behind you, you survey your surroundings: the oak pews lining the nave, the beautiful arched stone roof, the carved pulpit at the head of the church and, behind it, an enormous tapestry depicting -- nothing?\n\nIn one of the pews a woman in full bridal gear sits, weeping to herself. The priest, standing by the pulpit, is looking at her very awkwardly.\n\n> Pray\nGod is dead.\n\n> You look at the tapestry\nA monumental effort. It must have taken weeks of work to weave such a weight of white.\n\n> You look at the priest\nHe's dressed in severe black lightened only by a peculiar pink collar. There's an evangelical zeal in his eyes and a furry caterpillar on his top lip. It might be a moustache.\n\n> You remove the tapestry\n(first taking the tapestry)\nPhilosophers are not yet supermen.\n\n> You look at the woman\nShe's like a very damp pile of meringues, and she's getting damper by the second. She wipes her nose and eyes with a sodden veil.\n\nA man steps into the church, removes his cycle clips in awkward reverence, and walks up the centre of the aisle. He sinks to his knees in front of the tapestry, and brings a clenched hand up to his brow. Loosening the fist, he draws his hand forward and up, fully extending his arm, as if tracing the outline of something extending from his forehead. He brings his hand up and down the length several times, getting more and more rapid, before letting out a small cry, dropping his arms, standing up, bowing and hurriedly leaving the building, the oak doors swinging to behind him.\n\n> You get all\nThat's a bit greedy. Try taking specific things.\n\n> You talk to the priest\nThe priest notices you standing in the aisle and shouts, \"Welcome, adventurer! Has  the invisible pink unicorn made herself known to you as your equestrian saviour?\"\n\n[1] No, I don't think so.\n[2] Ye-es . . .\n[3] Invisible pink unicorn?\n\n> 3\n\"The Invisible Pink Unicorn (Blessed Be Her Holy Hooves) is the supreme deity, mistress of all in heaven and earth, creator of time and space, and trotter along the High Plains!\" His arms raise up to the ceiling and his whole body vibrates with a sing-song zeal.\n\n[1] Er . . . right . . . And you believe that, do you?\n[2] That's the most ridiculous thing I've ever heard.\n\n> 1\n\"I believe, for only She can protect me from the Purple Oyster (Of Doom),\" he says, sounding the final word like a foghorn on an iceberg.\n\n[1] You are truly insane.\n[2] Um, OK. Look, I'm struggling a bit here. What evidence do you base your faith on?\n\n> 2\n\"No, unbeliever, you don't understand! Have you proved that She does not exist? No, no, thrice no! The burden of proof, my young friend, is on you.\"\n\nAs he speaks you suddenly feel a heavy weight drag your neck down. Grappling at your throat, you loop over your head a lengthy leather thong at the end of which hangs a mysterious weight. The priest grins broadly at you, and suddenly the candlelit church appears dark and threatening. You hear thunder rumble outside, and with a backward glance stumble out of the doors.\n\n> You check your inventory\nYou are carrying:\na Burden of Proof\na sack (open but empty)\na Chinese key\na manual\n\n> You examine Burden\nA weighty matter, made of weighty matter. It hangs about your neck on a leather thong, but you wish it would hang about somewhere else, like a nice bar or a street corner. Whenever you speak it hangs on your every word, lusting after some token of truth, but, similarly, you wish it would just hang on something else. It can go hang itself, basically.\n\n> You drop Burden\nDropped.\n\n> You drop Burden\nThe Burden of Proof is already here.\n\n> You take Burden\n(putting the manual into the sack to make room)\nTaken.\n\n> You enter church\nThere's no way you're going back in there just now. Besides, every time you go near a massive rumble of thunder breaks across the sky, despite there not being a cloud in sight. If that's not the world trying to give you a hint then nothing is.\n\n> Climb church\nYou're positively climbing up the walls.\n\n> You think about Sartre\nJean Paul Sartre (1905 - 1980) was a pioneering French existentialist, socialist, public intellectual and literary writer, and has since become an icon of philosophy and black coffee. His thought centred around concepts of free will and life-defining choice -- he claimed that individuals create the meaning of their own lives.\n\n> You think about Kant\nImmanuel Kant (1724 - 1804) was one of the most influential thinkers writing towards the end of the Enlightenment. Writing on metaphysics, ethics, aesthetics and politics, he ushered in a new critical way of approaching philosophy, founded not only on rigorous rationalism, but also, most importantly, on the division of the discursively-produced \"world of appearances\" (as it appears to consciousness) and the \"world in itself (as it is independent of consciosuness). His philosophy defined the terms of the debate which has followed ever since. It's also famed for being some of the densest and most impenetrably-written of philosophy -- which probably only serves to enhance its reputation due to the small number of people who actually understand it.\n\n> You think about the Socrates\nSocrates  (c. 470 BC - c. 399 BC) was an early Greek philosopher, the teacher of Aristotle, who founded many of the subjects and methods of Western philosophy. The Socratic method of constant and persistent questioning of assumptions remains a driving force of philosophy. He wrote down none of his own philosophy, and so his works and (highly dramatic) life are known to us only through his pupils, especially Plato, his contemporaries, and historians.\n\n> You think about Hegel\nGeorg Hegel (1770 - 1831) was one of the most important of the German idealists. Writing on culture and politics, he developed a particular dialectical philosophy, a philosophy of progress, with influential thoughts on freedom, art, history and morality.\n\n> You enter the Theatre\nYou try the theatre doors, but they're fastened shut.\n\n\"Nah mate,\" says the man leaning by the entrance. \"We've been closed down, innit?\"\n\n[1] Oh, I'm terribly sorry to hear that. Why?\n[2] Typical. Trapped inside a vindictive fantasy world and I can't even watch some life-affirming theatre.\n\n> 1\n\"Him in there,\" he says, indicating the church with a grubby thumb. \"Sez the performing arts is an insult unto Her name.\"\n\n[1] Whose name?\n[2] Ouch, tough break. Stupid religion, isn't it?\n[3] And he had the power to close you down?\n\n> 3\n\"Nah, but soon as he says something everyone listens, know what I mean? Wouldn't a soul dare come in here.\"\n\n[1] Ouch, tough break. Stupid religion, isn't it?\n[2] That sucks. There's no way to convince everyone how daft the religion is?\n[3] And isn't there anyone who could help?\n[4] Well, that's rough, mate, but I'd best be getting on.\n\n> 3\n\"Nah,\" he says sadly. \"Unless you's offering.\"\n\n[1] Alright, you're on. I'll prove She doesn't exist. Then we'll get you going again.\n[2] Guess you're right. I'd best be getting on, then.\n\n> 1\nHe looks at you askance, cynically. \"Give it yer best shot then,\" he says. \"See you round.\"\n\n> You think about Plato\nPlato (428 - 348 BC) was an ancient Greek philosopher, who began relaying the philosophy of his teacher, Socrates, in a series of written dialogues, before developing his own. A founder of idealism (in politics, metaphysics, ethics, aesthetics and just about everything else), he taught in his turn Aristotle, whose reputation eventually grew to eclipse his own during the Middle Ages, before a Renaissance rediscovery of Plato.\n\n> You enter the cafe\nPavement Caf?\nThe caf? spills out into the street. Steel chairs are scattered around the serving kiosk, apparently chaotically, though you suspect there's a cynical art to it. Most of the customers are buried in books, thimble-sized cups of black coffee steaming by them and handmade cigarettes rolling around the corners of their mouths. Some of them, though, are intense young couples clasping hands across their plates, boring into each other's eyes as if looking for some flaw, breaking the gaze only to toss hair or adjust a beret. Sitting in the corner, Jean-Paul Sartre surveys the caf? around him and smiles in a satisfied yet enigmatic way.\n\nA willowy young server stands behind the kiosk, smiling in a way that makes you want to know her better.\n\n> You talk to the server\nYou smile at the server and say, \"Hello\".\n\n\"Hello,\" she replies.\n\nWell, that's that off to a good start.\n\n[1] Do you serve here often?\n[2] What time do you finish?\n[3] Can I have your phone number?\n[4] What's for lunch?\n\n> 1\nShe giggles coyly and swings from side to side. \"That depends,\" she says.\n\n[1] Oh, really? On what?\n[2] Actually, on second thoughts, I'm starving. What's for lunch?\n\n> 1\nShe leans in close to you, opens her lips a little, and says, \"On whether you stop staring down my dress and order some goddamn food.\"\n\n[1] Er . . . sorry . . . what's on the menu?\n[2] Ah. I suppose that means \"No\" then, does it? You wouldn't reconsider?\n\n> 1\nLighting a cigarette, she mutters at you bitterly, \"Fresh summer sorbet of pre-phyllorexa claret, plovers\" egg omelet with a side-platter of seasonal vegetables, oven-roasted black swan on a bed of couscous with a thyme and fennel garnish, or eggs, soss, an' beans.\"\n\n[1] Could I have the sorbet?\n[2] Could I have the omelet?\n[3] Could I have the swan?\n[4] Er, eggs, soss, and beans?\n\n> You think about the swan\n[I need some kind of reaction from you to continue the scene. Enter a number, or say REPEAT to reacquaint yourself with your options.]\n\n> 3\n\"Actually, no-one's ever seen a black swan round these parts,\" she admits abruptly. \"Though I hear some Australians have been spinning a few yarns. Something else?\"\n\n[1] Could I have the sorbet?\n[2] Could I have the omelet?\n[3] Er, eggs, soss, and beans?\n\n> 1\n\"Nah, sorry, fridge is broken. Something else?\" she says curtly.\n\n[1] Could I have the omelet?\n[2] Er, eggs, soss, and beans?\n\n> 1\n\"Fresh out of plover's eggs, I'm afraid. Actually,\" she says, thinking aloud, \"if you could get some of those little seaside ovulations, I might just do something nice for you. Meanwhile, something else?\"\n\n[1] Er, eggs, soss, and beans?\n\n> 1\n\"Right-o. That'll be fifty pence\"\n\nAh. Paying. Yes, you'd forgotten about that. You give the server a sheepish look, to which she only replies, \"No cash, no beans.\"\n\n> You examine server\nShe glares back at you as you admire her.\n\n> You talk to Sartre\nThe philosopher looks heavily at you and says, \"Everything is meaningless. We create our own meaning.\"\n\n[1] No, we don't.\n[2] Ah oui, c'est vrai.\n\n> 2\nIf he is pleased at your answer, he doesn't show it. \"Tell me,\" he demands, \"What has value?\"\n\n[1] Nothing.\n[2] Ta m?re.\n[3] What is chosen.\n[4] Black coffee and cigarettes.\n\n> 2\nHe huffs sharply at you and turns dismissively to his coffee.\n\n> You talk to Sartre\n\"Do you know yet, what has value?\" asks Sartre heavily.\n\n[1] Nothing.\n[2] Ta m?re.\n[3] What is chosen.\n[4] Black coffee and cigarettes.\n\n> 3\n\"Exactly! There is no objective value in anything.\"\n\n[1] Even in money?\n[2] Even in love?\n[3] Even in black coffee and cigarettes?\n\n> 1\nHe seems animated. \"Even in money!\" he cries.\n\n[1] Wow. My whole life has been a lie.\n[2] Excellent. You won't mind if I take yours then.\n\n> You look at the wallet\nIt contains only one pound coin and a lighter. You remove them both and discard it in disgust at the poverty of unemployed philosophers.\n\n> You talk to server\nYou'd rather just give her her money when you've got it, rather than face her wrath.\n\n> You give the coin to the server\nYou hand over your money abashedly, at which, after thrusting your change at you, the server vanishes into the kitchen in a huff. Peculiar clanky, sweary sounds come from within.\n\n> You look at the coin\nGolden and round, it's a shiny pound!\n\n> You check your inventory\nYou are carrying:\na fifty pence piece\na lighter\na Burden of Proof\na sack (open)\na manual\na Chinese key"
    },
    {
        "text": "> You wait\nTime passes. Or at least, loiters around for a while longer."
    },
    {
        "text": "> Look around\nPavement Caf?\nThe caf? spills out into the street. Steel chairs are scattered around the serving kiosk, apparently chaotically, though you suspect there's a cynical art to it. Most of the customers are buried in books, thimble-sized cups of black coffee steaming by them and handmade cigarettes rolling around the corners of their mouths. Some of them, though, are intense young couples clasping hands across their plates, boring into each other's eyes as if looking for some flaw, breaking the gaze only to toss hair or adjust a beret. Sitting in the corner, Jean-Paul Sartre surveys the caf? around him and smiles in a satisfied yet enigmatic way.\n\nThe server is clattering away in the kitchen behind the kiosk, making loud sweary noises.\n\n> You look at the kiosk\nIt's built from the same simple-yet-elegant brushed steel as the chairs, and it stands outside a building which presumably houses the kitchen and espresso machine. There's a menu tacked on the counter.\n\n> You look at the menu\nIn minimalist letters it lists the available fare:\n- Fresh summer sorbet of pre-phyllorexa claret\n- Plovers\" egg omelet with a side-platter of seasonal vegetables\n- Oven-roasted black swan on a bed of couscous with a thyme and\nfennel garnish\n- Eggs, soss, beans\n\n> You talk to the customers\nYou can't. They're too intense.\n\n> You go inside\nYou channel your will to power to summon a path in that direction. Sadly, nothing happens: you can't go that way.\n\n> You ask Sartre for the cigarette\nYour command falls on deaf ears. Perhaps you should TALK TO them about it?\n\n> You wait\nTime passes. Or at least, loiters around for a while longer.\n\n> You think about Heidegger\nMartin Heidegger (1889 - 1976) was one of the founders of phenomenology, the critical philosophy which, roughly speaking, explores the holistically-located meaning and being of things, rather than the analytically-defined nature of things. Whatever that means. He helped usher in the academic divide between \"Continental\" and \"Anglo-American\" philosophy which, based on that difference, still exists today.\n\n> You think about David Hume\nDavid Hume (1711 - 1776) was the foremost philosopher of the Scottish Enlightenment. Following fellow British philosophers Locke and Berkeley, he popularised philosophical empiricism (as opposed to the rationalism of Descartes and Spinoza), and was also influential in thought on free will and ethics. He was an important influence on the thought of Immanuel Kant, whom he \"woke from his dogmatic slumber\" -- Kant's work can be seen as overturning the divide between the rationalists and empiricists.\n\n> You wake\nIf only it were that simple.\n\n> Xyzzy\nA hollow voice says, \"There are no obligatory Adventure references in this game.\"\n\nThere is a long pause.\n\n\"Oh, bugger.\"\n\n> You think about categorical Imperative\nThe Categorical Imperative is to \"Act only according to that maxim whereby you can at the same time will that it should become a universal law.\" It is the key principle of Kant's deontological ethics, which can't really be summed up, but if they can be, they can be summed up as follows:\n\nIn order for acts to be judged on ethical grounds, they must be freely chosen. In order for an act to be freely chosen, it must be rationally chosen, as only rationality liberates us from the brute chains of natural causality. But in order for a choice to be rational, it must be universalisable -- we must be able to imagine that choice being made by everyone in the same situation, without undermining its own foundations. Thus, for example, to put it roughly, we must never steal, because is everyone stole no-one would be able to steal, so the act cannot be rationally undertaken -- it always undermines itself.\n\nThat may not be entirely clear. Like much of Kant's philosophy, deontological ethics are hard to understand, and you're not sure you've remembered your studies properly. One thing sticks in your mind, though: according to Kant, there are no moral dilemmas in deontological ethics as, without having to make any calculations, the proper application of the Categorical Imperative will always determine definitively what is ethical and what is not.\n\n> You enter the tavern\nYou duck as you enter the smoky tavern (evidently smoking bans do not exist in thought experiments), and are greeted by an astonishing sight:\n\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates quietly discussing anarchists in Victorian literature. The only one not joining in seems to be Aristotle, who is sitting glumly in the corner. You also suspect that that was John Stuart Mill you glimpsed running east through the back door, clutching his stomach.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You examine the machine\nIt's a brightly covered cabinet with \"Karl Popper's FALSIFICATION ADVENTURE\" emblazoned on it above the screen. There's a joystick, a button marked FIRE and a button marked START. You wonder what they could possibly be for.\n\n> Press start\nThe game machine springs into life. You are controlling a falsification gun, moving left and right across the bottom of the screen, protecting the collective conscious from a marauding band of theories. The theories -- rendered as implausible pixelated blobs -- are advancing slowly down the screen in.\n\nYanking the joystick to and fro, you fire off a volley of pixelated falsifiers. A pixelated bullet representing the measurement of Mercury's orbit hits the pixelated blob representing Newtonian Physics, and it explodes in a shower of pixelated sparks! Reflexes burning, you quickly dispatch the pixelated blob representing gender essentialism with pixelated bullet representing a well-aimed copy of Foucault's History of Sexuality, while a pixelated bullet representing Heisenberg's Uncertainty Principle does for the pixelated blob representing General Relativity. Suddenly the machine emits a warbling siren, and a pixelated missile representing dialectical materialism appears at the top of the screen! You fire volley after volley of pixelated bullets at it, but it simply absorbs your attacks as part of its pixelated interpretive schema. At the last moment you take cover behind a pixelated wall of healthy scepticism, which is sorely damaged, but destroys the pixelated missile! As you breathe a sigh of relief, taking your eyes off the screen for a moment, a second pixelated missile representing Freudian psychodynamic theory penetrates through your pixelated defences and obliterates you entirely.\n\nYou didn't even make the high score table.\n\n> You look at the booth\nIt's a dark and lonely corner of the tavern -- and you realise that, while you'd previously thought it was empty, there's actually a group of women sitting in it, staring melancholically into their drinks. One of them, whom you suddenly recognise to be Elizabeth Anscombe, is wearing a comic headband with two antennae on springs attached. Next to her sits Emma Goldman, glaring fiercely across the table at an equally glaring Ayn Rand, while the quartet is completed by Judith Butler, who surveys the roistering men, making small tutting noises.\n\n> You kiss emma\nSome would consider that an invasion of personal space.\n\n> You talk to Aristotle\nYou saunter over to the corner of the room where Aristotle sits, and he glances up at you, a hopeful look passing over his bearded features. When he speaks you expect it to be all Greek to you, but in fact he sounds more like a lower-upper-middle-class English gentleman. \"Good day to you,\" he says impeccably. \"Perhaps you might be able to help me with some small trouble?\"\n\n[1] Actually, no. I'm fed up with running errands for strange men.\n[2] It would be my pleasure.\n[3] Hmm, what do I get out of it?\n\n> 3\n\"Well, I suppose I could see my way to parting with a rather fine first edition of the complete works of my mentor, Plato,\" he offers, with a tone of slight regret. \"After all, if material gain is on your mind, then it is best to accompany it with the higher pleasures of the intellect.\"\n\n[1] Sounds lovely. I'll help you out\n[2] Actually, I think I'll pass.\n\n> 1\n\"Good show, old thing,\" he says, smiling broadly. \"Now listen carefully: to put it quite frankly, I'm buggered for a bottle.\"\n\n[1] Did I understand you right . . .\n[2] Surely, they serve bottles here?\n[3] I'm having no more of this sort of thing.\n\n> 1\n\"What I mean is that I'm after a good quality wine. More precisely, my tastes are such that I really can't stand anything other than a bottle of pre-phylloxera claret.\"\n\n[1] Won't a normal claret do?\n[2] That's impossible. I'm going to leave you to your vain quest.\n\n> 1\n\"No!\" he states emphatically, \"I won't have any of the paltry excuse for claret they serve here. It's pre-phylloxera claret or nothing.\"\n\n[1] Then it's going to have to be nothing . . .\n[2] Alright, then. I'll go find a bottle, shall I? There's nothing I like more than going on obscure object quests, after all.\n\n> 2\n\"Capital!\" he exclaims enthusiastically. \"Well then, what I'm after is a bottle of the finest pre-phylloxera claret. Only the best for the old tastebuds, eh?\"\n\nYou stare at the old philosopher, wondering several things, most prominently of which is what phylloxera are, and whether they involve sex in any way. But Aristotle merely smiles beningly at you. \"Chop chop!\" he says, and you take your leave.\n\n> You think about Aristotle\nAristotle (384 BC - 322 BC) was an ancient Greek philosopher, taught by Plato. He wrote on a huge range of philosophical subjects, including disciplines like physics and biology which later grew into their own sciences. Preserved for centuries, mainly by Muslim scholars, his work later exercised so much influence over the Medieveal Christian philosophers who helped found the European tradition of thought that he simply became known as the Philosopher.\n\n> You think about Mill\nJohn Stuart Mill (1806 - 1873) was a British ethical and political philosopher, and a public intellectual. He was the foremost proponent of utlitarianism, and also an early and formative theoriser of the liberal social state.\n\n> Go east\nYou wander through the back door into an alleyway and there amidst a pile of broken truth tables and discarded copies of the Principia Mathematica sit a sequiter of logicians, playing illegal logic games. W.V.O. Quine seems to be the ring leader.\n\n> You examine Principia\nThe copies of the Principia Mathematica are stacked in neat piles --they are being put to use as make-shift seats.\n\nYou notice Boole slip a few extra beads into the game from his sleeve. How naughty.\n\n> You think about Quine\nWillard Van Orman Quine (1908 - 2000), as well as having the coolest name in the history of philosophy, was an important logician and linguistic philosopher of the 20th century. Attacking many of the dogmas of analytic philosophy, he forged new ground in the theory of knowledge, as well as defining crucial approaches to logical problems.\n\n> You examine logicians\nPlaying games with coloured beads and cups amidst the truth tables sit a shifty-looking bunch of logicians. You think you notice Boole and Frege pondering over vagueness, while Kripke raises the stakes.\n\n> You talk to Quine\nQuine's eyes dart to and fro in a manner most shifty. \"Psst!\" he whispers.\n\n[1] Yes, can I help you?\n[2] What's going on here?\n[3] I'm sorry, I really don't have the time.\n[4] Psst off.\n\n> 4\nYou sense some disappointment in his eyes as he turns back to the truth tables and formulae.\n\n> 2\nBefore you can get a word in Quine says, \"Hey kid -- yeah you -- you lookin' to earn some prizes?\"\n\n[1] Wait a second. Didn't you teach at Harvard? What's with the implausible seedy low-life routine?\n[2] Is a finite whole greater than any of its parts?\n[3] Has prog-rock had its day?\n[4] Is Derrida an obscurantist?\n[5] Um . . . yes?\n[6] No thanks, I'm good in the prizes department.\n\n> 1\n\"Shh . . .\" he whispers, \"This is an illegal racket we got going here -- how am I supposed to talk?\" Before you can answer he says, \"Actually, forget that. Do you want to earn some prizes or not?\"\n\n[1] Oh, okay.\n[2] Not right now.\n\n> 2\n\"That's what I wanted to hear. Now listen close, here's how it works:\n\n\"This is a logic game, okay -- so here's how it works: I got two beads in this cup -- you payin' attention? -- they might be both red, both blue or one of each. Under this second cup,\" he points to another upturned cup on the ground, \"I got one bead which could be red, could be blue.\n\n\"With me so far?\"\n\n[1] Yes, please continue.\n[2] Could you go over that again?\n\n> 1\n\"So, kid, it's your job to figure out what colour the beads are.\n\n\"Now this a logic game, not a guessing game, so we got ourselves some rules. First: not all the beads are blue. Second: whatever the bead is in the second cup, there must be at least one of the same colour in the first cup. Third: no red bead can be in the same cup as a blue bead.\n\n\"So what's your bet, kid? What's in the cups?\"\n\n[1] Cup one: two blues. Cup two: one blue.\n[2] Cup one: two blues. Cup two: one red.\n[3] Cup one: one red, one blue. Cup two: one red.\n[4] Cup one: one red, one blue. Cup two: one blue.\n[5] Cup one: two reds. Cup two: one red.\n[6] Cup one: two reds. Cup two: one blue.\n\n> 5\n\"Hey, you got it right, kid!. Now . . . what would you like? We got an invitation to a state of naturist camp, a bottle post-phylloxera claret, or some cruise tickets for the ship of Neurath.\"\n\n[1] I'll go for the invitation.\n[2] It's the bottle of claret for me.\n[3] Hit me with those tickets.\n\n> 2\nQuine hands you a bottle of cheap red wine. \"Enjoy,\" he says.\n\n> You examine the wine\nThe label says: \"Consume within three months\". This doesn't bode well as far as quality is concerned.\n\nA discussion between Frege and Kripke over the proper interpretation of the Sorites paradox becomes rather heated, but G?del soon calms them down.\n\n> You go west\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates sensibly tackling Jungian personality types. The only one not joining in seems to be Aristotle, who is sitting glumly in the corner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You talk to Aristotle\n\"Haven't you the bottle to give me?\" he asks. \"Come now, hop to it!\"\n\n> You give wine to Aristotle\n(the post-phylloxera claret to Aristotle)\n\"You dare insult me so!\" Aristotle cries, \"This is post-phylloxera claret, I want pre-phylloxera claret! Now snap to it.\"\n\nYou make to leave, and Aristotle snatches the bottle of cheap red wine from you.\n\n\"I didn't say I wouldn't drink it. Still . . . get me some pre-phylloxera claret, and you'll be rewarded.\"\n\n> 1\nQuine hands you a scrap of paper. \"Don't know what you lot see in it, but enjoy yourself,\" he says.\n\n> You look at the paper\nScrawled upon a scrap of paper is: \"COME TO THE STATE OF NATURIST CAMP -- NASTY BRUTISH FUN FOR ALL!!!\"\n\nA discussion between Frege and Kripke over the proper interpretation of the Sorites paradox becomes rather heated, but G?del soon calms them down.\n\n> You think about the godel\nKurt G?del (1906 - 1978) was an Austrian-American mathematician whose work on self-reference the limits of knowledge broke new ground in philosophy. G?del developed sound and sophisticated mathematical proofs that for any sufficiently complicated epistemological system, there would always be certain undecidable propositions -- demonstrating effectively that knowledge is inherently self-limiting. His conclusions have huge repurcussions we are still struggling with today.\n\n> You talk to Kripke\nHe seems too engrossed in his game to pay any attention.\n\n> You think about Neurath\nThe Ship of Neurath is the term used by W.V.O. Quine in his decription of an analogy by Otto Neurath for his view of the holistic nature of language and scientific verification. Quine wrote, \"We are like sailors who on the open sea must reconstruct their ship but are never able to start afresh from the bottom. Where a beam is taken away a new one must at once be put therre, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction.\"\n\nThe point being made is that we are never able to start a new system of knowledge (and thus a system of language) from the beginning -- what we instead do is replace old known principles which we no longer agree with with new principles, insofar as those new principles can be supported by the rest of the system of knowledge. Perhaps those new principles will weaken another part of the system, which must then itself be removed and replaced. This is Quine's view of how knowledge progresses and language changes -- gradually, by replacing parts of the holistic system, rather than in huge revolutions. One of the most important aspects of this view is its characterisation of knowledge as a holistic system, rather than as a set of disconnected principles.\n\nIt may or may not be complete coincidence that a strikingly similar analogy, known as the Ship of Theseus, is used for a completely different philosophical problem: that of identity. That's definitely worth thinking about.\n\n> You examine the logicians\nPlaying games with coloured beads and cups amidst the truth tables sit a shifty-looking bunch of logicians. You think you notice Boole and Frege investigating supervaluation, while Kripke claims the jackpot.\n\n> You talk to Quine\n\"You want to give it another shot?\" asks Quine.\n\n[1] Does E equal M times the square of C?\n[2] Is the holy ghost the underdog of the trinity?\n[3] Does a mobius strip have only one side?\n[4] No -- I've had enough disappointment for one adventure.\n\n> 2\n\"You've probably got the formulae by now,\" says Quine. \"So I got three cups this time. One on the left, one in the middle and one on the right. There's one bead in each of them. Each bead is either red or blue. And we got us some rules again:\n\n\"Rule one: no red bead can be to the left of a blue bead.\n\n\"Rule two: no blue bead can be in a cup next to a cup with another blue bead.\n\n\"Rule three: there is at least one blue bead and one red bead.\n\n\"So, what colour beads are in what cup?\n\n[1] Left cup: red; middle cup: red; right cup: red.\n[2] Left cup: red; middle cup: red; right cup: blue.\n[3] Left cup: red; middle cup: blue; right cup: red.\n[4] Left cup: red; middle cup: blue; right cup: blue.\n[5] Left cup: blue; middle cup: blue; right cup: blue.\n[6] Left cup: blue; middle cup: blue; right cup: red.\n[7] Left cup: blue; middle cup: red; right cup: red.\n[8] Left cup: blue; middle cup: red; right cup: blue.\n\n> 7\n\"Nice!\" Quine pats you on the back. \"Now, my friend,\" he says, \"you got a tricky and potentially angst-ridden decision to make. Will it be a file of Platonic forms, cruise tickets for the ship of Neurath, or a straw dog?\"\n\n[1] I fancy the file of forms.\n[2] The cruise tickets sound good.\n[3] You can't go wrong with a straw dog.\n\n> 1\nQuine hands you a file of forms. \"Prime forms,\" he says. \"Prime forms.\"\n\n> You look at the forms\nThis a file of administrative forms that have reached the highest level of bureaucratic perfection. In order to complete them they must be signed by the relevant officials, who will only sign the form if they are presented with the very same form already signed.\n\nA loud cheer comes from the game as Turing elegantly solves a particularly difficult problem.\n\n> You go west\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates childishly pondering over Da Vinci Code conspiracy theories. The only one not joining in seems to be Aristotle, who is sitting glumly in the corner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You talk to Plato\nPlato beckons you closer, his breathe steeped in whisky. \"I have hardly ever known a mathematician who was capable of reasoning,\" he confides, before staggering off, apparently forgetting who you are.\n\n> You talk to Socrates\nRaising his glass up high, Socrates toasts, \"Bad men live that they may eat and drink, whereas good men eat and drink that they may live.\" This is greeted with a hearty chorus of \"I'll drink to that!\"\n\n> You look at the booth\nIt's a dark and lonely corner of the tavern -- and you realise that, while you'd previously thought it was empty, there's actually a group of women sitting in it, staring melancholically into their drinks. One of them, whom you suddenly recognise to be Elizabeth Anscombe, is wearing a comic headband with two antennae on springs attached. Next to her sits Emma Goldman, glaring fiercely across the table at an equally glaring Ayn Rand, while the quartet is completed by Judith Butler, who surveys the roistering men, making small tutting noises.\n\n> You talk to Anscombe\nThe women look at you. \"Hello,\" says Anscombe. \"We were having a girls\" night out.\" Never before has the phrase been delivered with such implacable mourning.\n\n[1] Were? What happened?\n[2] Well, you lot are glum. Why aren't you joining the fun?\n[3] Mind if I join you ladies for a drink?\n\n> 1\nRand perks up at this point, eyes flaring. \"Emma here,\" she says, snering, \"couldn't keep her big mouth shut.\"\n\n\"Don't you go curtailing my freedom of speech again, Ayn,\" spits Goldman in reply.\n\n[1] Bit of a fight, was there?\n[2] Now girls, don't go being all unbecoming.\n\n> 1\n\"They have entrenched themselves within a political binary through which they define themselves by opposition to the Other,\" chips in Butler.\n\n\"They had a punch-up,\" adds Anscombe.\n\n[1] Ooh, a bitch fight. Who won?\n[2] What about?\n[3] So why didn't you just leave them to it and join the rest of the party here?\n\n> 2\n\"She started spouting off about the dynamism of the revolution --\" starts Rand.\n\n\"-- It is easier to condemn than to think,\" Goldman butts in.\n\n\"Shut up and finish your drinks before I clunk your heads together,\" concludes Anscombe.\n\n[1] Why didn't you just leave them to it and join the rest of the party here?\n[2] Oh dear. I think I'll just leave now.\n\n> 1\n\"They wouldn't let us join in,\" says Anscombe.\n\n\"They wouldn't let me dance,\" says Goldman.\n\n\"Men!\" spits Butler.\n\n[1] Why wouldn't they let you join in?\n[2] Did you want to dance?\n[3] What's wrong with men?\n[4] Why are you still here?\n[5] Oh dear. I think I'll just leave now.\n\n> 3\n\"The promise of the phallus,\" says Butler, stealing Goldman's glass and downing it, \"is always disappointing.\"\n\n[1] Er . . . so why does that mean they wouldn't they let you join in? [2] Indeed. So did you want to dance?\n[3] Right. So why are you still here?\n[4] OK . . . I think that's my cue to leave.\n\n> 2\n\"If I can't dance . . .\" begins Goldman, in a rather loud voice, before being rapidly gagged by the other three women until she stops struggling.\n\n[1] Thanks, sisters. So why wouldn't they let you join in?\n[2] Phew. So why are you still here?\n[3] Oh dear. I think I'll just leave now.\n\n> 1\n\"We were excluded from the discourse,\" says Butler. All four women nod in rare agreement, Anscombe's pink antennae bobbing folornly up and down.\n\n[1] Too true, sisters. So why are you still here?\n[2] Ooh, sorry. Well, good luck; I'm off.\n\n> 1\n\"Why ask useless questions?\" asks Rand. \"How deep is the ocean? How high is the sky? Who is John Galt?\"\n\n[1] OK . . . I think that's my cue to leave.\n\n> 1\n\"And take your binary with you!\" cries Butler drunkenly as you take your leave.\n\n> You look at the antennae\nThe kind of thing you'd expect people to wear onto a hen-night.\n\n> Inventory\nYou are carrying:\nfile of Platonic forms\nthe invitation to the state of naturist camp\na fifty pence piece\na lighter\na Burden of Proof\na sack (open)\na manual\na Chinese key\n\n> You talk to Anscombe\nYou approach the women, but Butler's critical gaze warns you off.\n\n> You talk to Quine\n\"Want to pit your wits against my beads again?\n\n[1] Is Plato's Republic an elitist handbook?\n[2] Does Nietzsche rhyme with preacher?\n[3] Is Darth Vader Lukes father?\n[4] Actually, I'm all prized out.\n\n> 1\n\"Yes indeedy,\" he replies keenly. \"This time I got four cups arranged in a line. Same shtick: cups either contain a red bead or a blue bead. But this time one of the cups has two beads. You gots to guess which one. Rules are:\n\n\"Rule one: the cup with two beads is immediately to the left of a cup containing a red bead.\n\n\"Rule two: no cup containing one blue bead is immediately adjacent to a cup containing one blue bead.\n\n\"Rule three: there is only one red bead.\n\n[1] The leftmost cup.\n[2] The cup left of centre.\n[3] The cup right of centre.\n[4] The rightmost cup.\n\n> 2\n\"Amazing! Unfortunately, I only  got one prize left -- the cruise tickets for the Ship of Neurath.\"\n\n> You examine the tickets\nThese tickets appear to have already been used!\n\n> You talk to Quine\n\"Sorry, kid,\" Quine says, with a modicum of sincerity. \"I'm fresh out of prizes.\"\n\n> You tell Quine about categorical Imperative\nJust TALK TO them.\n\n> You go to the west\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates drunkenly investigating several meanings of the word Kafkaesque. The only one not joining in seems to be Aristotle, who is sitting glumly in the corner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You go outside\nA church, a theatre, a tavern, a barbershop, a pavement caf? -- their various changing forms clutter around, entrances facing out onto what seems (most of the time) to be an ordinary village street. Passers-by duck in and out of the buildings, stop by the water pump, or carry on to a square to the north. No-one, you notice, takes the road south -- or heads along the routes east towards the storybook hills or west into the fairytale woods.\n\n> You examine server\nYou could pop your head into the kitchen and admire her from behind as she cooks, but you rather fear what would happen if she spotted you.\n\n> Go west\nYou channel your will to power to summon a path in that direction. Sadly, nothing happens: you can't go that way.\n\n> You go the barbershop\nInside, the barbershop is clean, and smells pleasantly of cloves and soap. As you enter, the barber turns to you, brandishing magnificent moustachios, and beams. \"Have a seat!\" he cries, \"Have a seat! I shall be with you in two snips of a flea's whiskers!\"\n\nYou sit down on a wooden bench, somewhat overcome, and look around you. A small stand by the bench has complimentary phials of dye. The walls are covered with pictures of extraordinarily-coiffured models of all ages and genders, while the floor in places is ankledeep in hair. The room itself is spacious, and the barber is snipping away happily at his client -- who, you suddenly realise, is stunningly, shiningly bald.\n\n> You examine the client\nBaldier than a coot and an egg combines, he sits solemnly staring at himself in the mirror.\n\n> You get the hair\nMmm, silky. But you'd feel a bit weird carrying around people's hair.\n\n> You examine the dye\nWhich do you mean, the phial of black dye, the phial of red dye or the phial of white dye?\n\n> You talk to the client\nYou make to talk to the bald man, but the barber spins round and shushes in your ear, \"Ssh, signor! Don' you know who this is?\"\n\n[1] No, who?\n[2] The captain of the Starship Enterprise?\n\n> 2\n\"The present King of France!\" he hisses lispily. Or possibly lisps hissily.\n\n[1] Oh, my! I am sorry.\n[2] Well, I'm a republican, so I couldn't care less.\n[3] Wait . . . wasn't there, you know, some sort of revolution in France?\n\n> 3\nHe splutters wildly. \"Jus' don\" you let him hear you say that! Or-a mention that Russell character, either. You're-a new in town, I can tell.\"\n\n[1] Yes. What is this place?\n[2] No, you just don't recognise me with this haircut.\n\n> 1\n\"Oh, jus' a humble little village in the middle of nowhere. But I know all about you, my friend!\" he says\n\n[1] What, how?\n[2] I might have guessed. But can't you tell me something interesting about this place?\n[3] Oh, really. Well, you won't mind if I just sod off then.\n\n> 1\n\"Jus' some gossip down the village water pump,\" he explains. \"Which is always worth a visit if you need some advice, by the way.\"\n\n[1] I'll bear that in mind. But can't you tell me something interesting about this place?\n[2] Hmm, thanks. I might just go there now then.\n\n> 1\n\"There's-a nothing to tell! But what would you like to know?\"\n\n[1] Why did I just wake up in this bizarre fantasy world?\n[2] Why does no-one seem to leave by the village road?\n[3] What's that enormous castle, south of here?\n[4] Actually, I think I'll just leave.\n\n> 1\nThe barber looks at you slyly. \"That's-a for me not to know and you to find out,\" he says, winking. \"But it's-a probably been caused by the hyperreal causality of narrative metaphor propelling you through a tear in the fabric of the space-time continuum, caused either by a ladder in the tights of time or the overconsumption of psychoactive substances. Anything else-a you want to know?\"\n\n[1] Why does no-one seem to leave by the village road?\n[2] What's that enormous castle, south of here?\n[3] Actually, I think I'll just leave.\n\n> 2\nThe barber's arms shoot out in front of him (narrowly avoiding snipping the king's ear off) and he intones, \"I do not know any thing about the castle.\"\n\nThere's a moment of potent silence as the king looks pointedly at the scissors, and the barber resumes his snipping, muttering under his breath. You can barely make it out, but it sounds like a dire warning, and something about . . . a thing? A thing in itself? Enigmatic in the extreme\n\n[1] OK . . . I think it's time for me to go now.\n\n> 1\nThe barber looks terrified for a moment. \"South? Whadda we want to go south for?\" he blusters, before composing himself. \"Ask-a me about something else.\"\n\n[1] What's that enormous castle, south of here?\n[2] Actually, I think I'll just leave.\n\n> 1\nThe barber hums loudly at your departure.\n\n> You take all the dye\nphial of black dye: (putting the Chinese key into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\nphial of red dye: (putting the Burden of Proof into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\nphial of white dye: (putting the lighter into the sack to make room) You've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> Inventory\nYou are carrying:\nan informative leaflet\ncruise tickets for the Ship of Neurath\nfile of Platonic forms\nthe invitation to the state of naturist camp\na fifty pence piece\na sack (open)\na lighter\na Burden of Proof\na Chinese key\na manual\n\n> You drop Burden\n(first taking the Burden of Proof from the sack)\n(putting the fifty pence piece into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> You put all in the sack\ninformative leaflet: You put the informative leaflet into the sack. cruise tickets for the Ship of Neurath: You put the cruise tickets for the Ship of Neurath into the sack.\nfile of Platonic forms: You put the file of Platonic forms into the sack.\ninvitation to the state of naturist camp: You put the invitation to the state of naturist camp into the sack.\n\n> You take all\nThat's a bit greedy. Try taking specific things.\n\n> You take all the dye\nphial of black dye: Taken.\nphial of red dye: The barber winks at you, \"One per customer. If you change your mind put one back on the stand and take another.\nphial of white dye: The barber winks at you, \"One per customer. If you change your mind put one back on the stand and take another.\n\n> You think about Russell\nBertrand Russell (1872 - 1970) was for much of the 20th century one of Britain's most prominent public intellectuals, made in 1950 a Nobel Laureate in Literature. He was hugely important in mathematics and logic, was a populariser of philosopher, and was a prominent agnostic and pacifist. He is also notable for being the discoverer and early teacher of Ludwig Wittgenstein."
    },
    {
        "text": "> You look around\nThe barber is still here, snipping away happily at his bald client. You sit on the bench next to the stand of dye, waiting.\n\n> Go west\nHeading out on a track west from the village street, you soon come across the picturesque fairytale woods that had seemed so pleasant from a distance. Up close the uniformity of colour and the crude blobs of green on brown are somewhat unsettling.\n\nIn the midst of the woods stand a Buddhist monk and a lumberjack engaged in a heated discussion as to whether a tree falling down in a forest makes a sound if nobody is around to hear it. Their debate is punctuated by the occasional felling of a tree at the blade of the lumberjack's axe.\n\nThe woods become more sinister looking to the west and the village street is back to the east.\n\n> You talk to the monk\n\". . . now listen here, don't be a dosh-garned fool,\" the lumberjack is saying as you approach, \"-- of course the tree makes a sound when it falls down. Why, the sound permatriculates no matter who is listening.\"\n\n\"I am afraid,\" says the Buddhist monk, evidently not at all afraid, \"that you haven't thought this over enough. After all, how do you know it makes a sound if no one is there to hear it?\"\n\n[1] Can my philosophical know-how help you resolve this tricky issue? [2] Do you mind if I borrow that axe, Ms Lumberjack, sir?\n[3] I'm not going to get involved in further silliness. . .\n\n> 1\n\"I do not believe so,\" the monk says bowing his head slightly, \"the logical net you seek to cast across the world, neither of us care for it -- though for different reasons I do assure you.\"\n\n[1] What reasons are these?\n[2] Look, I know the answer -- I can resolve this straight away.\n[3] Oh, never mind. . .\n\n> 1\n\"I'll tell you one good reason,\" the lumberjack offers, \"no kind of philosophistrical trap-clap will convince me that a falling tree don't make no sound. Now let me tell you one thing,\" she says, preceding to tell you two things, \"I've seen more trees fall down than you've had hot dinners and they all make a 'creak . . . creak . . . creaaaakkk! . . . whumph!! . . . thud!!!' sound as they go.\"\n\nThe Buddhist looks unconvinced.\n\n[1] I agree with you, Ms Lumberjack -- the tree does make a sound.\n[2] Nonsense. The tree makes no such sound if no one's there.\n[3] I don't think it's something we can really know.\n\n> 3\nYou explain that it is perpetually undetermined -- it is only decided one way or the other when there is an observer. You can only tell if the tree is making a sound if you are present, and you being present decides the fact that it makes a sound. Before you are there the sound exists only in potential.\n\n\"That's what I've been trying to explain to my wood-cutting associate here,\" says the Buddhist, \"but she simply will not listen.\"\n\nThe lumberjack shakes her head in dismay, saying, \"That's the biggest load of nonsensication that I ever did hear.\"\n\n[1] Is there not some way I might convince you of this?\n[2] I'll just leave you two too it, shall I?\n\n> 1\nThe Buddhist monk seems to think on the matter for a few moments. Finally, he begins: \"My tree-felling friend's chief argument seems to rest upon the supposed fact that a sound is always made whenever a tree is felled. If this premise were undermined then perhaps we would come to some resolution.\"\n\nBefore you  ask him how this might be achieved he continues: \"Perhaps you could create a situation in which a tree is felled and she does not hear a sound.\n\n> You talk to Lumberjack\nYou decide to leave the pair to their discussion until you can find a way to resolve their argument.\n\n> You get the axe\nThat seems to belong to the lumberjack.\n\n> You give Burden to Lumberjack\n(first taking the Burden of Proof)\nThe lumberjack doesn't seem interested.\n\n> You go west\nYou head further to the west until you reach a dead-end of brambles, bracken and blackened lightning-struck trees. You hear a raven caw malevolently in the middle distance and a damp shiver sneaks down your spine.\n\nTurning east you can just about make out happier looking trees. All that you can see in this part of the woods is a mess of brambles.\n\nYou swear you just heard one of the trees stifle a cough.\n\n> You listen\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\nSomething seems to be laughing under its breath -- but there are only trees here.\n\n> You listen\n\"Oi! Over here!\" shouts someone behind you. You look around -- but there's nothing but trees.\n\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\n> You look at the brambles\nThe brambles spiral in a spiky and heavily-stylised manner around the base of the lightning-struck trees, surrounded by cloying bracken. Peering closely, you can just about make out a rocky formation beyond the brambles.\n\nWas that a tree you just heard mumble under its breath? It seemed terribly rude.\n\n> You listen\nWas that a tree you just heard mumble under its breath? It seemed terribly rude.\n\nSomething seems to be laughing under its breath -- but there are only trees here.\n\n> You listen\nYou swear you just heard one of the trees stifle a cough.\n\nYou swear you just heard one of the trees stifle a cough.\n\n> You search the trees\nYou find nothing of interest.\n\nSomething seems to be laughing under its breath -- but there are only trees here.\n\n> You look at the formation\nThere seems to be some sort of collection of rocks, perhaps even a small cave, beyond the brambles to the west.\n\nSomething seems to be laughing under its breath -- but there are only trees here.\n\n> Inventory\nYou are carrying:\na Burden of Proof\na phial of black dye\na sack (open)\nthe invitation to the state of naturist camp\nfile of Platonic forms\ncruise tickets for the Ship of Neurath\nan informative leaflet\na fifty pence piece\na lighter\na Chinese key\na manual\n\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\n> Burn brambles\nThis dangerous act would achieve little.\n\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\n> Light brambles with lighter\nYou consider indulging your subconscious pyromaniac for a moment, but decide to repress the urge instead on the grounds that it would do no good. No doubt this will cost a fortune in future psychoanalysis bills.\n\n\"Oi! Over here!\" shouts someone behind you. You look around -- but there's nothing but trees.\n\n> You read the leaflet\nTake a cruise upon the fabulous Ship of Neurath. Let your sense-data be amazed as the ship is reconstructed before your very eyes. In the words of V.W.O. Quine:\n\n\"Where a beam is taken away a new one must at once be put there, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction.\"\n\nThe ship sails annually across the dark ocean without shores or lighthouses, strewn with many a philosophic wreck.\n\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\n> You go to the west\nGetting ripped to shreds by malicious-looking herbage isn't your idea of a good plan.\n\n\"Oi! Over here!\" shouts someone behind you. You look around -- but there's nothing but trees.\n\n> You go to the north\nYou channel your will to power to summon a path in that direction. Sadly, nothing happens: you can't go that way.\n\nYou swear you just heard one of the trees stifle a cough.\n\n> Go south\nYou channel your will to power to summon a path in that direction. Sadly, nothing happens: you can't go that way.\n\n\"Oi! Over here!\" shouts someone behind you. You look around -- but there's nothing but trees.\n\n> You look at the trees\nAlthough they are mere lumps of carbon they seem ill-meaning and twisted. Indeed, their knots and gnarls, from particular angles, seem to form faces, complete with eyes, noses and mouths. You swear one of them just winked at you.\n\nYou nearly jump out of your skin as a tree behind you makes spooky ghost noises.\n\n> You talk to the trees\nYou look at the trees with suspicion.\n\n[1] Hello?\n[2] (leave the tree alone)\n\n> 1\n\"You know, talking to trees is probably a sign of madness,\" say the trees, conversationally.\n\n[1] I don't think that applies when the tree talks back.\n[2] Talking trees? What's next? Lichen that whistle show tunes?\n\n> 1\n\"You know, trees don't actually talk,\" the trees reply. The voice is rather high-pitched.\n\n[1] I think that the evidence shows that they do.\n[2] You're probably right.\n\n> 1\n\"A bloody empiricist are you now?\" the trees say, with a little cawing sound.\n\n[1] Hey! What have you got against empiricists?\n[2] That's rich coming from a group of trees.\n[3] Well it's true -- apparently some trees can talk.\n[4] Unless my senses deceive me . . .\n[5] Was that a caw I just heard?\n[6] You're just bitter because you haven't got eyes.\n[7] Actually, I'm a level seven phenomenologist with a plus two blade of Obfuscation.\n\n> 7\nThe trees are silent and suddenly you feel very silly.\n\n*** Run-time problem P10: Since the fairytale trees is not allowed the property \"greeting\", it is against the rules to try to use it.\n\nYou swear you just heard one of the trees stifle a cough.\n\n> 6\nThe trees are silent and suddenly you feel very silly.\n\n*** Run-time problem P10: Since the fairytale trees is not allowed the property \"greeting\", it is against the rules to try to use it.\n\nSomething seems to be laughing under its breath -- but there are only trees here.\n\n> 5\n\"No,\" the trees say with what sounds like a ruffle of feathers.\n\n[1] Trees don't caw or ruffle feathers. You're no tree at all, are you?!\n[2] Are you some sort of bird hiding amidst the trees?\n[3] Your smooth-talking ways don't fool me, Sen?r Tree!\n\n> 3\n\"Oh alright,\" says a voice from amidst the trees, \"you've got me, I'm not a tree, or several trees for that matter.\"\n\nFrom behind the trees hops a curious looking raven. The raven is strange in two ways. Firstly, it has a rainbow plumage. Secondly, it can talk.\n\n[1] So, do you come here often?\n[2] Like the plumage -- very colourful.\n[3] Do ravens often talk?\n[4] Do you know anyway past all this bramble?\n\n> 2\n\"Do you?\" the raven implores, \"I hate it. Hate it. Hate it. Hate it. None of the other ravens will go near me. I wish I could be rid of it once and for all.\"\n\n[1] So, do you come here often?\n[2] Do ravens often talk?\n[3] Do you know any way past all this bramble?\n\n> 2\nThe non-black raven hops to another branch, saying, \"When they've got something to say, of course they talk.\"\n\n[1] So, do you come here often?\n[2] Do you know anyway past all this bramble?\n\n> 1\n\"Lately, I've been coming here a little more often than I used to,\" says the non-black raven.\n\n[1] Do you know any way past all this bramble?\n\n> 1\nThe raven cocks its head to one side, \"Maybe . . .\"\n\n[1] Maybe? Maybe you could tell me then?\n\n> 1\nThe raven cocks its head to the other side, \"Maybe . . .\"\n\n[1] Maybe if I go on some inane quest for you?\n\n> 1\n\"Maybe if you find me some way of turning my plumage black like the other ravens?\"\n\n[1] Super! That's exactly what I wanted to do with my day.\n[2] Oh alright. It's probably inevitable anyway.\n[3] No way, Jos?. Why don't you help me first?\n\n> 3\n\"How abouts I peck your eyes out first, then you help me?\"\n\n[1] Oh alright.\n[2] No, I refuse. I've had enough. No more stupid quests.\n\n> 1\n\"Caw! Try and hurry though, I ain't gots all day.\"\n\n> You give the dye to the raven\n\"Not bad. Not bad. But you're forgetting one thing-- I don't gots hair,\" the raven swoops down and takes the bottle off of you. \"Until you get something better, I'll take it as down payment.\"\n\n> Go east\nIn the midst of the woods stand a Buddhist monk and a lumberjack engaged in a heated discussion as to whether a tree falling down in a forest makes a sound if nobody is around to hear it. Their debate is punctuated by the occasional felling of a tree at the blade of the lumberjack's axe.\n\nThe woods become more sinister looking to the west and the village street is back to the east.\n\n> You go the Theatre\nYou try the theatre doors, but they're fastened shut.\n\n> You listen\nThe babble and gossip of a busy market town.\n\n> You pull handle\nA tinny voice speaks from the mouth of the pump! \"Welcome to the Intuition Pump 3000! Thank you for choosing the Intuition Pump for all your intuiting needs. Got a tricky problem you can't solve, or an object you don't know what to do with? Simply hold the puzzler in your mind's eye and pull my handle -- which is to say, PUMP ABOUT the topic! Be amazed as intuitions flow through your mind about the puzzles, objects and people that are bothering you. Happy intuiting!\"\n\nHow extraordinary. Could be useful, though -- better remember to come here and PUMP ABOUT a problem when you're stuck.\n\n> You pump about the bucket\nYou pull the pump's handle, concentrating furiously. You realise that pitch can be used for making things look black, as well as as a sealant.\n\n> Pump about Burden\nYou pull the pump's handle, concentrating furiously. In a flash of inspiration, you wonder what would happen if you could do something like give a burden of proof to the invisible pink unicorn.\n\n> You go east\nYou make your way along the cobbled path leading east of the village to the hills beyond. The path begins winding up the hill steeply, but just as you find yourself out of breath from the climb, you find the path levelling out. Then, just as you start finding the leisurely walk a little dull, the path steepens again into a challenging climb. Finally, just as you wish you could reach wherever it is you're headed next in this disconcerting fantasy world, you crest the hill. In the way that happens too often here, you are met by a complete non-sequiteur of a situation.\n\nThere's a great pyre here very slowly catching alight. Tied to a stake in the centre of the fire is a handsome woman looking deeply determined, though you suppose she'd look less composed if the fire wasn't so pitifully poor. At the base of the pyre, an imposing, bushy-bearded man in an ornate uniform is interrogating her intensely, in a way that appears to be making her all the more resolute.\n\nFrom here, you could head west, back to the village, or further into the hills to the north.\n\n> You talk to Man\n\"Who the devil are you, and what are you doing to that poor woman?\" you greet the man forcefully.\n\nHe turns to you and declaims, with the light of madness in his eyes, \"I be the Zombiefinder General!\"\n\n[1] Right. And what are you doing to that poor woman?\n[2] Right. And what exactly is a Zombiefinder General?\n\n> 1\n\"What, her?\" he asks, gesticulating furiously at the bored-looking woman. \"She be no woman! She be a zombie -- and she will not confess!\n\n[1] Perhaps she bain't, sorry, isn't a zombie.\n[2] Fair cop.\n\n> 1\nHe cuts you off saying, \"That be exactly what a zombie would say!\"\n\n[1] Surely, if she confesses to being a zombie you will kill her.\n[2] You're probably right. I'll just leave you to it then...\n\n> 1\n\"Of course!\" he says with relish. \"But I'd do it humanely -- Splash her with some holy sauce, no problem.\"\n\n[1] Would that harm a non-zombie?\n[2] Not holy sauce! You fiend!\n[3] Sounds reasonable. I'll be sidling off now.\n\n> 1\n\"It might be harming their best dinner jacket,\" he muses. \"And perhaps their wallet when they get the dry cleaning bill. Other than that, no.\"\n\n[1] Then why don't you just do that to her anyway?\n[2] I can understand now why it would be a cruel and unusual to subject someone to that.\n\n> 1\n\"That be defeating the whole point of a fair interrogation!\" he says with exasperation. \"I can't just go about applying punishment all over the place without proof, no matter the benefit. The whole institution of justice would break down -- and such an institution be generally maximisin' well-bein' more than the well-bein' caused by breakin' the rules in particular instances.\"\n\n[1] I don't think breaking the rule this time will erode the principles of justice.\n[2] Ah, you are of course absolutely correct.\n\n> 1\nHe looks at you scornfully, \"It starts off with a few people sayin' 'Oh, Justice won't suddenly break down if you pour some Arrabbiata sauce on some girl that may otherwise burn to death' -- but it's a slippery slope! Soon you'll be wantin' to routinely sauce people up before they get on flights, or shake a little holy parmesan at them when they go to the library. I may be a Zombiefinder General, but even I wouldn't want an erosion of civil liberties to come about through the war against zombies.\"\n\n[1] (give up)\n[2] You've convinced me! I'll be off now.\n[3] Surely burning at the stake is an erosion of civil liberties?\n\n> 3\nHe seems to have already thought long and hard about this issue, and replies instantly, \"Burning at the stake is already an erosion of civil liberties and I be going to try as hard as I can to prevent future erosions. Now, please be on your way.\" He shoos you along, having tired of the conversation.\n\n[1] (leave)\n\n> 1\nThe Zombiehunter glares at you from beneath his orange eyebrows.\n\n[1] Incidentally, what exactly is a Zombiehunter General?\n\n> 1\n\"It means,\" he growls, \"That I find zombies. Have you seen any zombies, perchance?\"\n\n[1] No, I don't think so.\n[2] Why do you ask?\n\n> 2\n\"That village down there is crawling with the buggers,\" he replies gruffly. \"Zombieing all over the place, them and their qualia-free brains.\"\n\n[1] What do you want me to do about it?\n[2] Let me guess -- you want me to find the zombies?\n\n> 1\n\"I would like you to retire the zombies,\" he says. \"You know, remove them from action.\"\n\n[1] How would I go about doing that?\n[2] Sounds like a plan. I'll get right to it.\n\n> 1\n\"Give it a good hacking over the head with a sharp implement,\" he explains, gesturing violently in a way that makes you take a step back. \"That should do the trick. I'd recommend holy sauce, but it be a tad expensive and goes off quickly.\"\n\n[1] I'll get right on it.\n\n> 1\n\"Do not tarry!\" he shouts, \"Go retire some zombies!\"\n\n> You talk to the woman\nYou stare up at the woman tied to the stake. She is dressed in white, below her torso is wreathed in smoke like some melodramatic rendition of a vengeful god.\n\n[1] Are you alright, love?\n[2] You know, smoking is an awful habit.\n[3] Is this some sort of new-age skin treatment?\n\n> 3\n\"No,\" she replies, shaking her head, \"it's actually quite a traditional method of treatment. It's good both for the skin and also for confessions. It was once quite popular with Catholics in Spain and has celebrity endorsement from Joan of Arc.\"\n\n[1] You're taking this all remarkably well.\n[2] So, why exactly are you burning away here?\n[3] Now that you've tried it, would you recommend it to a friend?\n\n> 3\nShe seems to give the issue some thought. \"It certainly has its benefits, but I'm not sure I would have opted for this particular treatment were it offered as optional.\"\n\n[1] I suppose your skin is good already. It's one of your many qualities...\n[2] So, how did this situation come about?\n\n> 1\nHer face takes on a look that can be found on thumb-twiddlers, hair-fiddlers and feet-shufflers everywhere. \"Um . . .\" she begins, \"I don't so much possess qualities, as act in a wholly consistent manner.\"\n\n[1] That's nice. So, how did you get here?\n[2] On a slightly different note -- why are you burning on this stake?\n\n> 1\n\"That's a good question. It all started three weeks ago when . . .\" Two long hours pass. \". . . and then he tied me up here and now he's trying to make me confess to being a zombie.\"\n\n[1] Are you a zombie?\n[2] What happens if you confess?\n[3] And it wouldn't be consistent to lie and confess to something you hadn't done?\n\n> 1\nShe looks about herself and says, \"Not last time I checked.\"\n\n[1] So what would happen if you confessed?\n[2] Oh. I was excited there for a moment...\n\n> 2\n\"I'm sorry to disappoint you . . .\" she starts, but you've heard the condolence speech too many times to pay attention to the rest. All you pick up on is the word \"consistent\" peppered liberally throughout.\n\n[1] So . . . what would happen if you wanted to leave?\n[2] Is this all about consistency?\n\n> 2\n\"As a point of consistency, I'd rather die than lie. If I'm honest, which I always am, I'm a bit of a martyr for truth. I shall not admit to being a zombie, as I am not a zombie.\"\n\n[1] That's a tad extreme. Looks like you need proving right.\n[2] How very odd you are.\n\n> 2\n\"It'll be difficult to prove that I'm not a zombie,\" she says with finality, \"but hopefully history will vindicate me if you do not.\" You think it a good time to leave, given that she will soon be burning alive.\n\n> Go south\nYou're on a road by the squat concrete hut that contains the Chinese Room. In smooth black tarmac, neatly painted with white lines, the road stretches north to the village in peculiarly perfect tapering perspective. Behind you, to the south, you see the road lead towards some queer-looking hedgerows at the base of the crag. To the east, as before, stretch the plains to the horizon, with the ocean, behind sand dunes, doing likewise to the west.\n\nThe remains of a scarecrow droop on a pole here.\n\n> Go east\nThe plains are a grassy expanse extending to the east as far as the eye can see, and probably further. Here, just a short distance east of the road, a small crowd has gathered, silently gazing out onto the wilderness.\n\n> Go east\nIgnoring the disapproving glares of the unicornists, you strike out onto the plains purposefully. Then you trip over a rabbit hole, fall flat on your face, pick yourself up, woefully brush the resulting grass strains, and then strike out again, equally purposefully, if now a little humbly.\n\nYou make your way out into the wide plains. They're an extraordinary expanse of grass so green it hurts your eyes. No matter how far you walk into them -- so far that the crowd at the roadside becomes a mere speck, like a squashed fly on a motorway windscreen -- they remain as boundless as ever, stretching out in seemingly every direction.\n\nThere is a peculiar juddering noise in the distance.\n\n> You listen\nYou listen closely to the sound, and discern the direction of approach. You wait, tense, as the sound approaches, and then -- just as you fear you're about to be crushed beneath invisible hooves -- you launch yourself into the air and land, with a dramatic thud, on the heavy, pulsing, pink and invisible mound of the unicorn's back.\n\nThe unicorn tries to buck you, but you lurch forward and grab wildly -- successfully hooking an arm round the invisible pink horn on Her invisible pink head.\n\n> You put Burden on the horn\nPutting things on the horn would achieve nothing.\n\nAs the unicorn gallops onwards She whinnies madly and continues to buck her body furiously in an effort to throw you.\n\n> You put Burden on Unicorn\nPutting things on the unicorn would achieve nothing.\n\nUnless you do something to stop the unicorn soon, you'll be thrown to the ground and crushed beneath her mighty invisible pink hooves -- and no doubt cast down to the Pastures of Short Grass and High Manure.\n\n> You get Burden\nYou already have that.\n\nYour body's weight is clearly causing the unicorn great distress -- but it's not enough to totally incapacitate her. You're losing your grip on her horn.\n\n> You hang Burden on Unicorn\nYou grip Her flanks tightly with your thighs, feeling the enormous pink muscles pulse beneath her invisible skin, and lurch forward, strecthing out your arms to loops the burden's thong over the end of Her horn. There's a trembling equine scream and she stumbles; you feel Her front legs buckle beneath her as you're thrown into a somersault over Her head.\n\nPicking yourself up from the ground, you turn around and feel your breath snatched out from your lungs by the vision before you like a baby fox from its set by a hunter's hound. The unicorn is weeping and singing, Her broken legs flailing in the air -- in her last moments she has appeared. Her skin shimmers with a mega-pinkness truly beyond your understanding; her mighty silver horn is bent in two by the enormous burden of proof.\n\nThe earth cracks around Her and She seems to shrink from your sight while simultaneously expanding to encompass the entire breadth of the plain. There's a might boom and sucking of air and she vanishes, triumphantly, in a puff of logic, leaving behind her a whiff of greasy pink smoke.\n\nThe plains seem terribly small now, and the crowd terribly close. They are whimpering at your approach. Before you reach them, there's a collective roar, and the sprint as one down the road, ripping their Unicornist badges from their clothes and casting them aside.\n\nThe plains seem folornly empty now that the unicorn's non-existence has been firmly proven. There is nothing here for you.\n\n> You go to the east\nThe plains are too vast and empty for that to be a pleasurable walk.\n\n> You go to the west\nYou're on a road by the squat concrete hut that contains the Chinese Room. In smooth black tarmac, neatly painted with white lines, the road stretches north to the village in peculiarly perfect tapering perspective. Behind you, to the south, you see the road lead towards some queer-looking hedgerows at the base of the crag. To the east, as before, stretch the plains to the horizon, with the ocean, behind sand dunes, doing likewise to the west.\n\nThe remains of a scarecrow droop on a pole here.\n\n> Go south\nStriking out south towards the castle, you soon realise what it is that lurks so strangely at the base of the crag. As the rock looms over you like ten tonne weight over a hapless clown, the road becomes a pebbly path leading into what is clearly an enormous maze.\n\nYou're standing at the entrance to a vast maze built of hedges that tower six feet above you. The path seems extravagantly narrow, as if the designer wanted to prepare the unwary adventurer from the outside. Above the entrance is a painted wooden sign. It looks important.\n\n> You examine the sign\nAttention, Adventurer! This MAZE is not for the FAINTHEARTED, nor for the CORRUPT. This is the MORAL MAZE, where only the truly ETHICAL shall pass. Should you find yourself LOST forever -- what can you do but PRAY?\n\n> Pray\nGod is dead.\n\n> You go to the north\nAs you approach the village, you see that the crowd of unicornist has gathered outside the church, baying for blood. They charge the doors, which burst open, and they flood into the building. There's a moment of confused stillness, and then they come thundering out of the church, carrying the priest along bodily like a rock star at a open-air festival, only much more threateningly. You dive for cover as the crowd streams past you and mob off down the road, the priest's plaintiff cries drowned beneath their righteous anger.\n\nAs they vanish into the distance they leave nothing behind them but a cloud of dust and a single dazed unicornist. Hairy and bedraggled, he looks at you in utter confusion, says \"Nice day for it\", and wanders off.\n\nA church, a theatre, a tavern, a barbershop, a pavement caf? -- their various changing forms clutter around, entrances facing out onto what seems (most of the time) to be an ordinary village street. Passers-by duck in and out of the buildings, stop by the water pump, or carry on to a square to the north. No-one, you notice, takes the road south -- or heads along the routes east towards the storybook hills or west into the fairytale woods.\n\nThe theatre's director is here, jumping around declaiming his joy to\na skull held tenderly in his hand.\n\n> You talk to the director\nWhen the director spots you, he runs up to meet you, scuffing the hems of his trousers. \"You, mate,\" he says, \"Are a bloody marvel. I heard all about it! You and the unicorn, proving She doesn't exist! S'changed everyfing round here, I tell you. Look, I really owe you one. I've got this fing my grandfather passed on to me. Haven't a clue what it does, but he called it a qualiascope and sed it was the most valuable fing he owned. Looks bloody beautiful, anyway.\"\n\n\"Listen, I've gotta get on. Got a show to produce! Catch you later, comrade.\"\n\nHe shambles off back into the theatre, slamming the door behind him. You're left holding the arcane device in your hands.\n\n> You look at the qualiascope\nIt's covered in a hundred nozzles, dials and buttons; you daren't press a single one of them. There's a bit that looks like it's definitely meant to be an eyepiece, though.\n\n> You examine the eyepiece\nLook through it at what?\n\nYou hold the eyepiece to your eye and look through it. The scenery is rendered in black and white, but here and there are extraordinary flashes of color, and smells and tastes and sounds and feelings and emotions and . . . You put down the qualiascope, feeling queasy. You realise that what it allows you to do is see directly into other people's consciousness. Whatever they sense, you sense. Whatever they feel, you feel. It's more than you could possibly imagine. Or, indeed, would want to.\n\n> You go to the east\nThere's a great pyre here very slowly catching alight. Tied to a stake in the centre of the fire is a handsome woman looking deeply determined, though you suppose she'd look less composed if the fire wasn't so pitifully poor. At the base of the pyre, an imposing, bushy-bearded man in an ornate uniform is interrogating her intensely, in a way that appears to be making her all the more resolute.\n\nFrom here, you could head west, back to the village, or further into the hills to the north.\n\n> You go east\nThe hill's too steep to descend in that direction.\n\n> You look at General\nA brutish-looking man, with green eyes and orange eyebrows. He's wearing a uniform covered in silver brocade, with three purple chevrons on each shoulder. It's as if he's trying to assert the vibrancy of his colourful personality through the medium of military vestments.\n\nHe's determinedly interrogating the equally determined woman on the pyre.\n\nThe interrogator gesticulates manically at the woman, crying \"Confess!\" But she merely juts out her jaw determinedly.\n\n> You look through the qualiascope at the woman\nYou suddenly become awash with the person's unique and irreducible subjective sensations.\n\n> You look through the qualiascope at Man\nYou are surprised to see the Zombiefinder General appear in black and white. According to the qualiascope he is not conscious -- he is a zombie!\n\n> You talk to Zombiefinder\n\"Yes?\" he says, abruptly.\n\n[1] Ah... nothing.\n\n> You kill Zombiefinder\nNow that you know he's truly a zombie, dispatching him as quickly as possible seems like a plan, but you'll need something sharp . . .\n\n> Go north\nYou alight upon a square, around which runs someone who looks like a madman, grasping a lantern lit bright in the morning hours, and crying incessantly.This appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant, around whom the madman runs, crying, while they yell and laugh at him. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> You look at the madman\nHe has a bushy moustache and looks like the sort of guy who likes to hike.\n\n> You talk to the madman\nYou approach the madman, who is crying, \"I seek God! I seek God!\"\n\n[1] (laugh)\n[2] Are you lost?\n[3] Did you lose your way like a child?\n[4] (leave)\n\n> 3\nThe madman jumps into your midst and pierces you with his eyes. \"Whither is God?\" he cries; \"I will tell you. We have killed him---you and I. All of us are his murderers. But how did we do this?\n\n[1] With the Nietzsche book, in the ballroom?\n[2] (listen patiently)\n[3] (leave)\n\n> 1\nYour comment causes the madman to lose his thread, and like a record player rudely jolted he starts his spiel anew.\n\nYour desire has passed beyond meaning.\n\n> 2\n\"How could we drink up the sea? Who gave us the sponge to wipe away the entire horizon? What were we doing when we unchained this earth from its sun?\"\n\n[1] Perhaps we were very thirsty.\n[2] Um . . . the really big sponge merchant? That is to say -- the merhant who sells really big sponges.\n[3] We were unchaining. That's what people do when they unchain stuff. [4] Hey! One question at a time.\n[5] (listen patiently)\n[6] (leave)\n\n> 2\nYour comment causes the madman to lose his thread, and like a record player rudely jolted he starts his spiel anew.\n\n> 5\n\"Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying, as through an infinite nothing?\"\n\n[1] Stop it! You're making me dizzy.\n[2] Don't worry, I often feel that way too after a few drinks.\n[3] (listen patiently)\n[4] (leave)\n\n> 3\n\"Do we not feel the breath of empty space? Has it not become colder? Is not night continually closing in on us? Do we not need to light lanterns in the morning?\"\n\n[1] No, it's just you.\n[2] Do you ever say anything that isn't a question?\n[3] (listen patiently)\n[4] (leave)\n\n> 3\n\"Do we hear nothing as yet of the noise of the gravediggers who are burying God? Do we smell nothing as yet of the divine decomposition? Gods, too, decompose. God is dead. God remains dead. And we have killed him.\"\n\n[1] We? What do you mean we? Leave me out of this: I'm not going to be accessory to this murder.\n[2] Sorry about the smell; I think I stepped in some unicorn muck back there.\n[3] (listen patiently)\n[4] (leave)\n\n> 3\n\"How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us?\"\n\n[1] I always find a nice cup of tea comforting at times like this.\n[2] A hot shower should do the trick. Shall we...?\n[3] (listen patiently)\n[4] (leave)\n\n> 3\n\"What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?\"\n\n[1] Festival of atonement? Is that some sort of Gregorian chant gig? [2] If we're going to be inventing games, I suggest a dynamic cross between spelunking and curling.\n[3] On the greatness scale, I think it falls somewhere between juggling with chainsaws and licking one's own elbow.\n[4] Become Gods, eh? That sounds like a super plan fit for a Superman (and/or non-gender-specific Superbeing).\n[5] (listen patiently)\n[6] (leave)\n\n> 5\n\"There has never been a greater deed; and whoever is born after us---for the sake of this deed he will belong to a higher history than all history hitherto.\"\n\n[1] Pah! I reject your patriarchal meta-narrative!\n[2] A higher history? That doesn't sound too bad.\n[3] (listen patiently)\n[4] (leave)\n\n> 3\nHere the madman falls silent and looks again at you, his listener; and you, too, are silent and stare at him in astonishment. At last he throw his lantern on the ground, where it breaks into pieces and goes out. \"I have come too early,\" he says; \"my time is not yet. This tremendous event is still on its way, still wandering; it has not yet reached the ears of men. Lightning and thunder require time; the light of the stars requires time; deeds, though done, still require time to be seen and heard. This deed is still more distant from them than most distant stars---and yet they have done it themselves.\"\n\nWith these final words the madman leaves the square. You see him heading in the direction of the church, and from that direction you soon hear the words, \"What after all are these churches now if they are not the tombs and sepulchers of God?\". You feel like you've overslept and woken up in a 1970\"s Kaufmann translation of The Gay Science. I mean, who uses the word \"sepulchers\", anyway?\n\n> You examine the lantern\n(the broken lantern)\nThe glass part of the lantern is broken, so that the feeblest of winds would soon extinguish the fire within.\n\n> You take the lantern\n(the broken lantern)\nTaken.\n\n> Light lantern\n(the broken lantern)\nThis dangerous act would achieve little.\n\n> Go west\nThe Odditorium is filled with a crazy array of philosophical exhibits. You wander past a brain suspended in a vat of colourless liquid and wired to some complicated electronics, and then pause to examine an old-fashioned tachyon telephone. You could spend hours in here, but your attention is alerted by a furious argument taking place at the far end of the room, beneath the hulking hull of a ship that protrudes from the wall in a most unexpected manner. There, a man in extremely piratical clothing is giving a woman in a steward's uniform a piece of his mind.\n\n> You look at the pirate\nBandana, frock-coat, dreadlocks, eyeliner -- the lot. He's either a pirate or a glam rock refugee.\n\n\"Arr!\" says the pirate, with a sense of obligation. \"Theseus be the name o' my ship! This be just a shoddy replica!\"\n\n\"No, I think you'll find that this is the original Theseus, and your ship is but a pale remake,\" replies the steward camly.\n\n> You look through the qualiascope at the pirate\nYou suddenly become awash with the person's unique and irreducible subjective sensations.\n\n> You examine Ship\n(the Ship of Theseus)\nThe business end of a great ship is poking through the wall of the museum, with a surprised-looking mermaid stuck on the pointy bit. It might be a figurehead. The name on the prow is \"Theseus\".\n\n> You look at the woman\n\"Honestly, this is constructed entirely from the original abandoned timbers,\" says the steward.\n\n\"Shiver your timbers!\" replies the pirate, in the manner of a grave insult.\n\nShe sports a uniform and a badge that declares her to be called \"HallomynameisTracyhowmayIhelpyou\".\n\n\"You be takin' my livelihood away!\" cries the pirate, his mascara running. The steward simply crosses her arms and tuts at this display.\n\n> You talk to the pirate\n\"What seems to be the trouble here?\" you ask, approaching the arguing pair.\n\n\"She be stealin' my ship!\" exclaims the pirate.\n\n\"He be -- sorry, is -- kicking up a fuss in my museum over a silly little name.\"\n\n[1] So what exactly happened?\n[2] How does one steal a ship, exactly?\n[3] And what name seems to be causing the trouble?\n\n> 1\n\"It's quite simple,\" says the steward. \"Mr Starling --\"\n\n\"Cap'n Starling,\" corrects the pirate.\n\n\" -- Captain Starling here owned a rather famous ship, the Theseus. Over the years he's had to replace its timbers one by one, casting the old ones aside as he goes. We at Reichenbach's Believe-It-or-Not Ltd simply gathered the timbers together and rebuilt the original ship for display here.\"\n\n\"Scurvy dogs that you arrr! And now the Shippin' Board be on my back about name licensin', not lettin' me an' my mates sail the seas agin 'til we can either prove Theseus be our ship an' not this barnacle-bottomed bucket or come up with another name!\"\n\n\"Well, splice my mainbrace,\" you say.\n\n[1] Why don't you just rename your ship, then?\n[2] Why don't you just keelhaul her?\n[3] Couldn't you take up macrame instead?\n[4] Couldn't the museum set up some sort of licensing agreement?\n\n> 3\n\"And give up a lifetime's piratin'? Never! Besides, I can never do fiddly little knots like that properly.\"\n\n[1] Why don't you just rename your ship, then?\n[2] Why don't you just keelhaul her?\n[3] Couldn't the museum set up some sort of licensing agreement?\n\n> 2\n\"A fine suggestion!\" replies the pirate, before looking askance at steward, who has placed her hands on her hips in a very pointed fashion. \"Only, er, me poor ole back is achin' somewhat today, what with the Westerly breeze an' all.\"\n\n[1] Why don't you just rename your ship, then?\n[2] Couldn't the museum set up some sort of licensing agreement?\n\n> 2\n\"Certainly not,\" says the steward. \"The ship -- and it's name -- belong solely to us, and we're not going to waste money, on, er, scurvy sea-dogs like this gentleman here.\"\n\nThe pirate seems to take this rather ineffectual insult as a compliment, and swaggers a little.\n\n[1] Why don't you just rename your ship, then?\n\n> 1\n\"Theseus be the finest name ever to grace a ship on the high seas,\" growls the pirate. \"Lessen you can find a better unused name, I'm not budgin'.\"\n\n[1] Right. A better ship name. Fine. I'll see what I can do.\n\n> 1\n\"Aye-aye!\" says the steward, rather getting into the swing of things.\n\n> You enter Ship\n(the Ship of Theseus)\nThat's not something you can enter.\n\n> Go east\nThe square seems somehow madder now the madman has left.\n\nThis appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> Go north\nInside, the Institute is as a marvel of the limits of both modernist architecture and the persuasiveness of funding applications. The floor of the entrance corridor is covered in sticky linoleum and the walls, painted an unpleasant shade of grue, with damp health and safety posters. Three doors lead off the corridor, to the north, east and west, each with a hand-written notice.\n\n> You look at paper\nScrawled upon a scrap of paper is: \"COME TO THE STATE OF NATURIST CAMP -- NASTY BRUTISH FUN FOR ALL!!!\"\n\n> You check what you're carrying\nYou are carrying:\na broken lantern\na qualiascope\na sack (open)\na useless scrap of paper\nfile of Platonic forms\ncruise tickets for the Ship of Neurath\nan informative leaflet\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You look at the leaflet\nTake a cruise upon the fabulous Ship of Neurath. Let your sense-data be amazed as the ship is reconstructed before your very eyes. In the words of V.W.O. Quine:\n\n\"Where a beam is taken away a new one must at once be put there, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction.\"\n\nThe ship sails annually across the dark ocean without shores or lighthouses, strewn with many a philosophic wreck.\n\n> Go west\nThe Odditorium is filled with a crazy array of philosophical exhibits. The argument between the steward and the pirate still rages beneath the ship.\n\n> You give the leaflet to the pirate\n(first taking the informative leaflet)\n(putting the qualiascope into the sack to make room)\n\"Listen,\" you say to the pirate, \"I've just heard about this cruise. It's no longer running, so the name of the boat's free -- it's \"Neurath\". I thought that that was pretty good. And it's being constantly remade as well, just like yours, What do you say?\"\n\n\"Arr,\" says the pirate. \"You be sure this be a proper ship an' not just an allegory for the method of practising pseduo-falsification to preserve the coherency of any given epistemological system?\"\n\n\"Oh, certainly,\" you reply.\n\n\"That'll do nicely then,\" he says, swaggering off in a haze of alcohol, fleas, and overwrought guitar riffs. You and the steward watch him go, and then she takes you by the arm. \"Listen,\" she says, \"I ought to thank you for that. We've been getting rid of some old exhibits in order to make room for the Theseus, and I've some old moral principles nobody seems interested in any more. I could let you have one, if you like.\n\nShe shows you the display case, in which sits a tiny golden measuring rule, a little silver calculator, and an odd lead cube.\n\n[1] What's that golden ruler?\n[2] What's that silver calculator?\n[3] What's that lead cube?\n[4] I'll take the ruler, thanks.\n[5] I'll take the calculator, thanks.\n[6] I'll take the cube, thanks.\n\n> 1\n\"That's a Golden Mean Ruler,\" she explains. \"It calculates the perfect point between excess and deficiency of any given character trait. I don't know how well it works, but it's certainly beautiful.\"\n\n[1] What's that golden ruler?\n[2] What's that silver calculator?\n[3] What's that lead cube?\n[4] I'll take the ruler, thanks.\n[5] I'll take the calculator, thanks.\n[6] I'll take the cube, thanks.\n\n> 2\nThat's a Utility Calculator,\" she says. \"Punch in the details of any given situation and it'll tell you what action will produce the greatest happiness. Apparently. I don't know how a little thing can manage to work out all the possible consequences, though.\n\n[1] What's that golden ruler?\n[2] What's that silver calculator?\n[3] What's that lead cube?\n[4] I'll take the ruler, thanks.\n[5] I'll take the calculator, thanks.\n[6] I'll take the cube, thanks.\n\n> 3\n\"I'm not really sure,\" she says, puzzled. \"They call it a Categorical Imperativator, but I've no idea how it works. It's just a lead cube to me -- though it's certainly weightier than it looks.\n\n[1] What's that golden ruler?\n[2] What's that silver calculator?\n[3] What's that lead cube?\n[4] I'll take the ruler, thanks.\n[5] I'll take the calculator, thanks.\n[6] I'll take the cube, thanks.\n\n> 6\n\"Certainly!\" she says. \"Here you go. Now, if you ever want to borrow another, do come back and we'll do a discrete swap for you.\"\n\n> Go east\nThe square seems somehow madder now the madman has left.\n\nThis appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> Go north\nInside, the Institute is as a marvel of the limits of both modernist architecture and the persuasiveness of funding applications. The floor of the entrance corridor is covered in sticky linoleum and the walls, painted an unpleasant shade of grue, with damp health and safety posters. Three doors lead off the corridor, to the north, east and west, each with a hand-written notice.\n\n> You look at the linoleum\nIt sucks at your feet as you step on it.\n\n> You read north\n(the north door notice)\n\"Dr A. Schrodinger -- Feline Indeterminacy Studies\"\n\n> You read east\n(the east door notice)\n\"Dr M. Mary -- Colour and Pigmentation Research\"\n\n> You read west\n(the west door notice)\n\"Dr T. Nagel -- Chiropteran Psychology Laboratory\"\n\n> Go west\nThe laboratory is a  brightly-lit white chamber, covered wall-to-wall in cabinets, posters, and counters covered with disturbing-looking instruments. A gigantic model of a bat hangs from the ceiling, spinning around gently. A white-haired man is moving fitfully around the room, grabbing instruments and examining diagrams, as he proceeds to dissect a series of what look worryingly like tiny brains. He's muttering something over and over again under his breath: \"What is it like?\" it seems to be. \"What is it like? What is it like?\"\n\n> You look at the brains\nPink and wobbly, like strawberry jelly, only with more neurones. And rather more disturbing.\n\n> You say the nanananana batman\n(to Nagel)\nJust TALK TO them.\n\n> You talk to Nagel\nNagel notices you and grabs your shoulders with both hands. His eyes boring into yours, he whispers. \"Can you tell me what it is like? What it is like . . . to be a bat?\" This said, he seems to forget what he's doing, and returns to his dissection, muttering all the while.\n\n> You look through the qualiascope at the bat\nWhich do you mean, the gigantic bat model or the bat posters?\n\n> Model\nThat sounds like a terrific idea -- if only you had a qualiascope.\n\n> Inventory\nYou are carrying:\na Categorical Imperativator\na broken lantern\na sack (open)\na qualiascope\na useless scrap of paper\nfile of Platonic forms\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You examine Imperativator\nIt's a lead cube. That would seem to be it, though it feels rather heavier than it should.\n\n> You take the qualiascope\n(putting the broken lantern into the sack to make room)\nTaken.\n\n> Go north\nYou open the door, but hear a furious yowling coming from within. \"Get back in, damn you!\" cries a frustrated voice, before yelping from what sounds like a nasty bite. You decide to leave them to it.\n\n> You go east\nAs you enter the colour lab, the scientist inside jumps in surprise, dropping what looks like some rather sensitive equipment on the floor with an expensive-sounding crash.\n\n\"Bugger!\" she says in a pleasant English accent. \"There goes another prism assembly.\" She bends down to pick up the pieces, mumbling distractedly to herself. She seems to have entirely forgotten your presence.\n\nThe lab itself is filled with all manner of scientific equipment. Monitors, levers, dials and big red buttons cover the walls, while the room's desk -- pushed against the computer stacks on the back wall -- has a complicated-looking laptop-printer set-up perched somewhere in the middle, surrounded by arcane assemblies of metal and glass. Mary's gathering pieces from underneath the desk, still with her back to you.\n\n> You look at the printer\nIt's a swanky computer with a built-in printer. Nice.\n\n> You look at the computer\nBlinking lights. Ooh, pretty.\n\n> You look at the desk\nCovered in bizarre scientific equipment. A tube of black paint is sitting on one side.\n\n> You get the paint\n(putting the Categorical Imperativator into the sack to make room) Taken.\n\n> You get the paper\n(putting the qualiascope into the sack to make room)\nTaken.\n\n> You look at paper\nScrawled upon a scrap of paper is: \"COME TO THE STATE OF NATURIST CAMP -- NASTY BRUTISH FUN FOR ALL!!!\"\n\n> Inventory\nYou are carrying:\na useless scrap of paper\na tube of black paint\na sack (open)\na qualiascope\na Categorical Imperativator\na broken lantern\nfile of Platonic forms\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You put the paper in the sack\nYou put the invitation to the state of naturist camp into the sack."
    },
    {
        "text": "[Themes: Surreal, humor, metaphysics, unicorn, ethics, fantasy, philosophy]\n\n> You look at your surroundings\nThe lab is filled with all manner of scientific equipment. Monitors, levers, dials and big red buttons cover the walls, while the room's desk -- pushed against the computer stacks on the back wall -- has a complicated-looking laptop-printer set-up perched somewhere in the middle, surrounded by arcane assemblies of metal and glass, which Mary is operating with feverish skill.\n\n> You talk to Mary\n\"Uh . . . Dr Mary?\" you say, feeling a bit awkward.\n\nShe turns around, looking distracted underneath her enormous goggles. \"Oh, it's you, dear,\" she says. \"Do call me Mary. Was there something you wanted?\"\n\n[1] I was just interested in what it is you're doing in this lab.\n[2] Oh! -- what are those peculiar goggles you're wearing?\n[3] As you seem to be at least moderately sane, perhaps you could tell me what's going on, and why I've woken up in a weird fantasy world.\n\n> 3\n\"Oh no, dear,\" she says regretfully. \"I don't know about anything other than colours.\"\n\n[1] That's a peculiar research specialisation.\n[2] Nothing other than colours ar all?\n[3] Then I suppose you won't know how I can get out of it either?\n\n> 2\n\"Well, they're all I think about, to be honest!\"\n\n> 2\n\"The what?\" she says, puzzled. \"Oh! The goggles! D'you know, I forgot I had them on. I don't really think about them, you see.\"\n\n[1] They seem a bit big and unwieldy just to forget they're there.\n[2] Don't you want to take them off?\n[3] So what do they do?\n\n> 3\n\"As I understand it,\" she says, \"they filter out the experience of colour, meaning that I see everything in black and white. Of course, I wouldn't know, having never taken them off.\"\n\n[1] (something doesn't add up here)\n[2] Wait . . . you study colour intimately, but you've never taken off those goggles?\n[3] Wait . . . you've never experienced colour?\n[4] Wait . . . you said you were an expert on colour?\n\n> 4\n\"Absolutely. Anything you want to know about colour, I can tell you.\"\n\n[1] (something doesn't add up here)\n[2] And you study colour intimately, but you've never taken off those goggles?\n[3] And you've never experienced colour?\n\n> 2\n\"Never saw a reason too,\" she says simply.\n\n[1] (something doesn't add up here)\n[2] And you've never experienced colour?\n\n> 2\n\"As far as that goes, yes.\"\n\n[1] (something doesn't add up here)\n\n> 1\n\"Hang on,\" you say, and Mary grips the desk obligingly. \"I mean, you're a colour expert--\"\n\n\"I know everything there is to know about colours, yes.\"\n\n\"--but you've never experienced colours?\"\n\n\"That's right!\" says Mary brightly.\n\n[1] But doesn't that mean that one thing you don't know is what it's like to experience colours?\n[2] But, for example, you wouldn't know that a red apple was red, would you?\n[3] But if you took off the goggles and experienced colours, wouldn't you learn something new?\n[4] I don't understand any of this. I think I'll go.\n\n> 3\n\"Hmm,\" says Mary. \"D'you know, I don't think so? I already know exactly how my brain and body'll react to colours, you see, as I know everything about them. Is there anything more to it than that? I suppose it'll be nice to get some experimental confirmation, though.\"\n\n[1] Er . . . but you still don't know is what it's like to experience colours, do you?\n[2] Er . . . but, for example, you wouldn't know that a red apple was red, would you?\n[3] OK . . . but what if the first thing you saw was something unexpected? Like something that wasn't coloured the way it should be? Wouldn't that trick you, as you hadn't experienced it before?\n[4] I don't understand any of this. I think I'll go.\n\n> 1\nMary thinks for a while about this, as if she'd never considered it before. \"I said I know everything there is to know,\" she says. \"And I'm not sure 'what it's like' is something to know, is it? I mean, I know everything about how your brain reacts to colours, and so on. The 'what it's like' isn't really knowledge, is it?\n\n[1] Er . . . but, for example, you wouldn't know that a red apple was red, would you?\n[2] I don't understand any of this. I think I'll go.\n\n> 1\n\"Oh no, dear!\" she says. \"I absolutely know when an apple's red. I know everything about colours, you see -- including what they behave like when filtered through my goggles here. So I can tell when an apple is red.\"\n\n[1] I don't understand any of this. I think I'll go.\n\n> 1\n\"Oh, bye, dear,\" says Mary, turning back to her work. \"Do come back if you think of something else, or have something interesting to show me.\"\n\n> You check your inventory\nYou are carrying:\na tube of black paint\na sack (open)\na useless scrap of paper\na qualiascope\na Categorical Imperativator\na broken lantern\nfile of Platonic forms\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You examine the file\nThis a file of administrative forms that have reached the highest level of bureaucratic perfection. In order to complete them they must be signed by the relevant officials, who will only sign the form if they are presented with the very same form already signed.\n\n> You get the goggles\nYou really don't think you can muck about with the goggles -- Mary seems very protective of them. If you want her to take them off, you'll have to give her a very good reason to check out some colours.\n\n> Go north\nThere's a bloody furious cat in there -- an equally furious physicist is trying to force it into a box and close the lid, but is getting only bites and scratches for his troubles. You decide to leave them to it.\n\n> You go east\nInside, the library is distressingly ordinary. If there were a building in this crazed thought experiment of a world you would like to have seen exploit the full potential of the absurd, it would be the library. A winding maze of bookshelves, perhaps, in which the unwary adventurer could get lost for hours, on the run from herds of rogue thesauruses; a vast glass dome adorned with mysterious and disturbing stained glass images; bolts of narrative energy crackling between the books, frazzling the flocks of pamphlets roosting in the upper stacks.\n\nBut no. This is simply a square, book-lined room equipped with a borrowing counter, behind which stands a bored-looking librarian, and a few old desks. At one of these an imposing bearded man sits, writing furiously.\n\n> You examine man\nA large bearded man sits at a desk in the library, writing furiously. He's surrounded by bundles of paper, some typed, some written in a near-illegible scrawl.\n\n> You look at the counter\nThe bored-looking librarian stands behind a chipboard-looking counter. There's a ledger and inkwell sitting on it.\n\n> You look at the ledger\nThe list of names, books and telephone numbers is positively thrilling.\n\n> You examine inkwell\nA deep blue inkwell, filled with deep blue ink.\n\n> You check your inventory\nYou are carrying:\na tube of black paint\na sack (open)\na useless scrap of paper\na qualiascope\na Categorical Imperativator\na broken lantern\nfile of Platonic forms\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You talk to Man\nYou tap the man on his shoulder and, muttering under his breath, he turns away from his writing to you, asking \"Yes?\"\n\n[1] I just wondered what you were doing there?\n[2] What's that you're writing?\n[3] Oh, sorry, are you busy?\n[4] Ah. I'll leave you to it, shall I?\n\n> 1\n\"Writing,\" says the man is a heavy Germanic accent. \"Busy,\" he adds.\n\n[1] Oh. And what is it you're writing?\n[2] Oh, sorry. Urgent, is it?\n[3] Ah. I'll leave you to it, shall I?\n\n> 1\n\"My Manifesto!\" he says, his voice raising and his eyes glowing. \"The theory of the abolition of private property! The history of all hitherto society -- the history of class struggle! The exposure of the bourgeois prejudices of law, morality and religion! The revolution of the workers of the world!\n\n[1] Oh . . . ! You're Karl Marx, aren't you?\n[2] OK. This is me edging away slowly now.\n\n> 1\nHe stops mid-rant. \"The very same. You have heard of my work?\"\n\n[1] Well, to be honest, I didn't really get past page 7 of Das Kapital.\n[2] Ah, and that's the Manifesto itself, is it? Why are you copying it by hand?\n[3] Yup. Pleasure to meet you and all, but I have to go.\n\n> 2\nYou think you detect a blush rising beneath his beard. \"My typewriter broke,\" he says, before sitting down and burying his head in his hands.\n\n[1] Good job I'm not really interested in reading it, then.\n[2] Never fear, Karl! I shall procure you a typewriter and return forthwith!\n[3] Look, if that's a hint to get me to go on an obscure object quest, forget it. Not unless you've got the readies.\n\n> 3\nMarx looks affronted. \"Has the bourgeosie so pitilessly torn asunder the motley of ties that bound us and left remaining no other nexus between us than callous cash payment?\" he demands, before leaving you, chagrined, for his writing.\n\n> 2\nYou make to charge out of the library in a fit of adventurous fervour, before tripping over your shoelaces.\n\n> You look at the shoelaces\nThose pesky laces!\n\n> You go west\nThe square seems somehow madder now the madman has left.\n\nThis appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> Tie laces\n(to the sack)\nYou bang them together, without noticeable effect -- though you do momentarily consider founding a samba band.\n\n> Go north\nInside, the Institute is as a marvel of the limits of both modernist architecture and the persuasiveness of funding applications. The floor of the entrance corridor is covered in sticky linoleum and the walls, painted an unpleasant shade of grue, with damp health and safety posters. Three doors lead off the corridor, to the north, east and west, each with a hand-written notice.\n\n> You go to the east\nThis is simply a square, book-lined room equipped with a borrowing counter, behind which stands a bored-looking librarian, and a few old desks. At one of these Karl Marx sits, writing furiously.\n\n> You talk to the librarian\n\"Hallo,\" you say. \"I'd like to borrow a book, please.\"\n\nThe librarian looks at you sullenly. \"Well, I'm sorry,\" s/he says. \"This is a McDonalds.\"\n\n[1] In which case I'll have a fries and shakes, thanks, my good non-gender-specific-human.\n[2] No, seriously. Thought I might catch up on my Plato.\n[3] Well, if you're going to be like that, I'll just go.\n\n> 1\nThe librarian looks pointedly at you, before slouching back against the wall in a conversation-closed sort of way.\n\n> 2\n\"Not a chance,\" s/he says. \"Every time we lend something of his, someone just scribbles footnotes all over it, so we've put all of our Plato in protective custody.\"\n\n[1] Oh dear. Well, in that case, could you recommend me a good read? Something colourful?\n[2] In that case there's nothing for me here. Goodbye.\n\n> 1\nThe librarian smirks. \"I've just the thing. Hang on a moment,\" s/he says, before turning h/er back on you and walking over to the shelves.\n\n> You take the inkwell\nYou think the librarian might notice.\n\nThe librarian returns, holding a huge, brightly-coloured tome. S/he hands it to you, saying \"Colourful, you said? This should do the trick,\" before returning to h/er spot behind the counter.\n\n> You examine tome\nApparently this is an Encyclopaedia of Qualia. It's the colour edition. Opening it, you suddenly become overwhelmed by a veritable rainbow of sensations -- the smell of coffee, the feel of mist, the indescribable feeling you get when you've just dropped an egg. Looking down at the text, you realise that it consists of a carefully-organised catalogue of all the world's possible sensations, and as you read the name of each it washes over you. You snap the book shut before you become completely overcome.\n\n> You get it\nYou already have that.\n\n> You go west\n\"Oi!\" says the librarian, taking the book away from you. \"That's a priceless tome, that is. You can't leave with it.\"\n\n> You talk to librarian\nThe librarian spots you and says, \"What do you want this time?\"\n\n[1] Still got no Plato I can read?\n[2] Er, I was wondering if, maybe, you could see your way to getting that Encyclopaedia for me again?\n[3] Oh, nothing. I just wanted to annoy you, actually.\n\n> 1\nThe librarian shakes h/er head sullenly.\n\n> 2\nThe librarian glares at you, but heads off to the shelves to fetch the book.\n\n> You read the ledger\nThe list of names, books and telephone numbers is positively thrilling.\n\n> You look up Marx in the ledger\nThere's a ledger and inkwell sitting on it.\n\nYou discover nothing of interest in the ledger.\n\nThe librarian returns and hands the tome to you wordlessly, before returning to h/er spot behind the counter.\n\n> You examine the librarian\nShe -- you correct yourself, he -- hasn't even bothered to tie his hair back in a tight bun, or perch severe-looking glasses on the end of his aquiline nose (which turns out not to be aquiline), ready to be loosed and removed respectively to reveal a surprisingly beautiful young woman. Man. S\\he is simply rather bored-looking, and somewhat gender-ambiguous, sort of youth.\n\nThe librarian returns and hands the tome to you wordlessly, before returning to h/er spot behind the counter.\n\n> You get the ledger\nYou doubt the librarian will let you get away with that.\n\nThe librarian returns and hands the tome to you wordlessly, before returning to h/er spot behind the counter.\n\n> You examine paper\n(the bundles of paper)\nInspiring stuff, this.\n\n> You look at the scrap of the paper\nScrawled upon a scrap of paper is: \"COME TO THE STATE OF NATURIST CAMP -- NASTY BRUTISH FUN FOR ALL!!!\"\n\n> Inventory\nYou are carrying:\nan Encyclopaedia of Qualia\na tube of black paint\na sack (open)\na useless scrap of paper\na qualiascope\na Categorical Imperativator\na broken lantern\nfile of Platonic forms\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You give the forms to the librarian\n(first taking the file of Platonic forms)\n(putting the tube of black paint into the sack to make room)\nThe librarian doesn't seem interested.\n\n> You get qualiascope\n(putting the Encyclopaedia of Qualia into the sack to make room) Taken.\n\n> Inventory\nYou are carrying:\na qualiascope\nfile of Platonic forms\na sack (open)\nan Encyclopaedia of Qualia\na tube of black paint\na useless scrap of paper\na Categorical Imperativator\na broken lantern\na fifty pence piece\na lighter\na Chinese key\na manual\n\n> You give tome to Mary\n(first taking the Encyclopaedia of Qualia)\n(putting the file of Platonic forms into the sack to make room)\nMary doesn't seem interested.\n\n> You talk to Mary\nThough as startled by you as ever, Mary greets you warmly. \"Oh, hello again, dear! Did you think of something else?\"\n\n[1] Sorry, no. Still stuck. I'll leave you to it\n\n> 1\n\"Oh, bye, dear,\" says Mary, turning back to her work. \"Do come back if you think of something else, or have something interesting to show me.\"\n\n> You give the book to Mary\n(first taking the manual)\n(putting the qualiascope into the sack to make room)\nMary doesn't seem interested.\n\n> Drop book\nDropped.\n\n> You get tome\nYou already have that.\n\n> You look at the ladder\nA steel ladder on the east side of the roof. It's not funny in any way. Steel seldom is.\n\n> You get the keyboard\nThat seems to be a part of the computer.\n\n> You stand on the chair\nYou stand on the chair. You can see your house from here! Well, you can't really, but you can reach the hatch.\n\n> You go hatch\nYou haul yourself up through the hatch and scramble onto the roof of the Chinese Room, the hatch thudding shut behind you.\n\nThe Chinese Room, you have discovered, is in the centre of a fantastical world, on a road leading north to woods and a hillside village and south to a cragtop castle. Wide plains spread out to the east, grassy dunes and a strip of sand border an ocean to the west, and above you Flying Spaghetti Monsters gambol in the updrafts. The roof of the Chinese Room is flat and covered with pitch, hot under the sun. On the east side of the building, a ladder leads down to the road.\n\n> Go east\nYou shimmy down the ladder onto the road.\n\nYou're on a road by the squat concrete hut that contains the Chinese Room. In smooth black tarmac, neatly painted with white lines, the road stretches north to the village in peculiarly perfect tapering perspective. Behind you, to the south, you see the road lead towards some queer-looking hedgerows at the base of the crag. To the east, as before, stretch the plains to the horizon, with the ocean, behind sand dunes, doing likewise to the west.\n\nThe remains of a scarecrow droop on a pole here.\n\n> You go west\nLeaving the road, you find yourself walking through squat dunes scrubby with beachgrass. Your feet leave a trail behind you in the otherwise undisturbed sand. Soon, the ocean emerges again from behind the dunes, more blue and sparkling than a busking saxophonist on an empty Christmas morning.\n\nYou find yourself on a beach -- a strip of silvery sand bordering an ocean that seems truly boundless. You try and focus on the horizon, but find your attention wavering whenever you get close to pinning it down, as if there were a blind spot in your consciousness. The sea shimmers and shifts under your gaze. You shake your head, blinking, and make your way along the beach, feet sliding in the fine-grained sand, towards a few small figures further along.\n\nAs you approach them, the figures -- two men dressed in white togas -- turn to look at you. \"By Zeus, Achilles!\" says one to the other, \"It looks like an adventurer has arrived.\"\n\nBefore you can get a word in, the man -- an elderly, squat little Greek -- greets you effusively:\n\n\"Welcome, adventurer! Well come indeed, oh yes. Very, very fortuitous indeed . . . \" He tails off, and the other man glances at you, embarrassed.\n\n\"Hallo,\" he says, shuffling on his feet. \"I'm Achilles.\"\n\n[1] Hello, Achilles.\n[2] What's going on here?\n\n> 1\nThere's an awkward moment while Achilles searches for something to say and the other man continues to mutter to himself. You hear bursts of numbers shooting off in all directions from him. \"Oh!\" says Achilles, inspiration striking. \"This is Zeno. From Elea. He's very clever.\"\n\n[1] What's so clever about him?\n[2] Where's Elea? Is that the name of this place?\n[3] Hang on -- Zeno, Achilles . . . isn't there supposed to be a tortoise around here?\n[4] What's going on here?\n\n> 2\n\"Oh no, Elea is that place halfway between point A and point B. You'll never get there.\"\n\n[1] What's going on here, then?\n[2] Hang on -- Zeno, Achilles . . . isn't there supposed to be a tortoise around here?\n\n> 2\nZeno stops muttering immediately, and looks at you, aghast. Achilles turns away. You sense you've said something you shouldn't've.\n\nEventually, Zeno speaks, sighing. \"Well, that's our problem, don't you see? She's gone.\"\n\n\"Gone,\" echoes Achilles.\n\n\"Left,\" says Zeno.\n\n\"Kaput, concludes Achilles, mournfully.\n\n[1] Why?\n[2] So what is going on here, then?\n\n> 1\n\"She's on tour with her Aunt Hillary in France,\" explains Achilles. \"Said she was sick of being exploited by our patriarchal obsession with paradoxes and chauvanistic exploitation of her abilities, and wanted to be somewhere where she could truly be herself.\"\n\n\"Hence,\" says Zeno, \"our problem.\"\n\n[1] So what is going on here, then?\n\n> 1\n\"We're holding a race!\" cries Zeno. \"A great and magnificent race, of profound importance. But we've only got one racer.\"\n\n\"Me,\" says Achilles.\n\n\"And you can't hold a proper paradox with only one racer! It would be like holding a symposium with only one philosopher. Very boring. Not enough contradictions.\"\n\n[1] And that's where I come in, is it?\n[2] Hang on, I think I see where this is going . . .\n\n> 1\n\"Indeed! You look like you would make a fine racer.\"\n\n[1] Not a chance.\n[2] What's in it for me?\n[3] Gosh, thanks! I suppose when you put it like that . . .\n\n> 2\n\"Well there is this rather fine trophy to be presented to the winner,\" says Zeno, brandishing a large glass cup with a laurel leaf carving.\n\n[1] Wow, a glass trophy, really? Cor. Guess not, then.\n[2] Oh, alright then.\n\n> 2\n\"Splendid! Bravo! Well, then, you two had better get ready!\""
    },
    {
        "text": "[Themes: Surreal, humor]\n\n> Look around\nYou're standing at the start line, stripped to your underwear. You made that much of a compromise with the two Greeks. Achilles, limbering up next to you, was not so modest. You feel like your eyeballs are being dragged on strings, downwards and sideways . . . You look away, blushing furiously, and crouch down, set, the aching vision of school P.E. lessons mugging you in memory alley.\n\nWhen Zeno shouts the go, there's a moment of blurred confusion as you both launch off. Your mind can't manage any complicated tasks, like managing sensory apparatus, when it's pumping your arms and legs this hard. When the mess of sensations starts to coalesce, you realise that Achilles has streaked (in every sense of the word) off in front of you, and is already nearly at the finish line. Oh, well. At least you tried.\n\nAchilles loops around the flagpole and jogs back to you. Soon he's bouncing up and down at your side, jiggling in a disconcerting way. \"Come on!\" he says. \"You're halfway there!\"\n\nAt this stage, you don't think your brain can possibly cope with issuing any instructions other than GIVE UP or KEEP RUNNING.\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/4 a millos to go! Keep it up!\"\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/8 a millos to go! Keep it up!\"\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/16 a millos to go! That's nearly there!\"\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/32 a millos to go! You can do it!\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/64 a millos to go! You won't give up now, will you?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/128 a millos to go! Surely you can keep going?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/256 a millos to go! Keep it up!\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/512 a millos to go! Surely you can keep going?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/1024 a millos to go! Surely you can keep going?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/2048 a millos to go! You won't give up now, will you?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/4096 a millos to go! That's nearly there!\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/8192 a millos to go! Don't want to give up, do you?\"\n\nYou tumble into a heap on the ground, utterly exhausted. Achilles lets out a sympathetic groan and picks you up bodily, throwing you over his shoulder, before jogging leisurely back to Zeno at the start line.\n\n> Go east\nWhen you come to from your exhausted stupor, you see the two Greeks bending over you, concerned. Achilles (mercifully back in his toga) puts an amphora of wine to your lips, which you splutter away at, sitting up sharply.\n\n\"A brave attempt, young adventurer!\" says Zeno. \"And, philosophically speaking, very interesting, yes, very interesting indeed . . .\" He tails off again, and as you pick yourself up, Achilles looks at you regretfully.\n\n> You go to the west\nspooky woods you see before you. All around you are brambles, bracken and blackened lightning struck trees.\n\nTurning east you can just about make out happier looking trees. All that you can see in this part of the woods is a mess of brambles.\n\nYou can see a non-black raven here.\n\n> You give the paint to the raven\n(first taking the tube of black paint)\nThe ravenly laughs maniacly. \"Black paint?\" it cries, \"Black paint? Who'd you take me for? What am, some sort of canvas?\n\nThe non-black raven snatches the paint from your hands and hides it about its person. \"Caw,\" it says, \"I'll keep it anyhow.\"\n\n> Pump about Mary\nYou pull the pump's handle, concentrating furiously. Mary seems awfully familiar. Better think about that. You muse for a while on what might happen if she saw something surprising -- like something coloured as it shouldn't be. That'd probably shock her into taking her goggles off in order to double-check, and who knows what'd happen if she did that.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> You check what you're carrying\nYou are carrying:\nan Encyclopaedia of Qualia\na sack (open)\na qualiascope\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na broken lantern\na fifty pence piece\na lighter\na Chinese key\n\n> Go east\nThe lab is filled with all manner of scientific equipment. Monitors, levers, dials and big red buttons cover the walls, while the room's desk -- pushed against the computer stacks on the back wall -- has a complicated-looking laptop-printer set-up perched somewhere in the middle, surrounded by arcane assemblies of metal and glass, which Mary is operating with feverish skill.\n\nYou can see a manual here.\n\n> You give Encyclopaedia\n(to Mary)\nMary doesn't seem interested.\n\n> You examine the manual\nThe manual is a thick, leather-bound tome with THE RULES embossed in gold on the cover. The whole process adds up to a syntactical method for answering questions about badgers in Chinese. You can't imagine why.\n\n> Show encyclopaedia\n(to Mary)\nMary seems to take no notice.\n\n> You put the manual in the sack\nYou put the manual into the sack.\n\n> Go west\nThe Odditorium is filled with a crazy array of philosophical exhibits. The steward is giving the ship's hull a light dusting.\n\n> You check what you're carrying\nYou are carrying:\nan Encyclopaedia of Qualia\na sack (open)\na manual\na qualiascope\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na broken lantern\na fifty pence piece\na lighter\na Chinese key\n\n> You give the qualiascope to Nagel\nThat's either not here, or carelessly undescribed by the fickle creators of this world.\n\n(first taking the qualiascope)\nNagel doesn't seem interested.\n\n> You check your inventory\nYou are carrying:\na qualiascope\nan Encyclopaedia of Qualia\na sack (open)\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na broken lantern\na fifty pence piece\na lighter\na Chinese key\n\n> You give the cube to the monk\n(first taking the Categorical Imperativator)\nPhilosophers are not yet supermen.\n\n> You go north\nYou trek down the side of the first hill, sniffing the daffodils resentfully as you go, and then begin your climb up the next. That feeling of the path shifting helpfully beneath your feet continues, no matter how much you try and kick the hillside into submission. The sun smiles. You breathe a deep, almost contented sigh.\n\nAnd then throw yourself to the ground as an enormous screaming mare gallops madly down the side of the hill, dragging a shattered cart behind her. You pick yourself up as she thunders off into the distance, now properly content that this world continues to be completely insane, and climb on upwards.\n\nPassing a sign for \"John Stuart's Livery and Corn-Processors\", you reach the crest of the hill and realise just what made the horse gallop. The windmill here is aflame and billowing smoke, its sails spinning madly.You cover your face from the unbearable heat of the burning mill -- and then you hear the screams from inside.\n\n> Go north\nYou cover your face from the unbearable heat of the burning mill -- and then you hear the screams from inside.\n\n> You enter Mill\nSheilding your face from the fire and smoke, and momentarily questioning your sanity as you do so, you push your way through the door into the windmill. Wooden beams are crashing down around you in arcs of flame as you search for the source of the screams. Then you see them, trapped behind some arcane grinding machinery -- a huge man dressed in robes and an archbishop's mitre, and a small woman in a French maid's uniform.\n\nYou pick your way through the burning wreckage in an effort to reach them, and then you pull back in horror. Just as you realise that the man is the Archbishop of Cambray, instantly recognisable from his regular appearances in the pages of The Guardian, so too do you realise that the woman is -- your mother.\n\nHer screaming and his bellowing snap you back to the urgency of the situation. The mill is crashing round about you and you have just time to enact a daring rescue. But with mounting horror you realise that you can't possibly carry both of them at once -- indeed, you may only be able to rescue one of them. But who?\n\n> You think about Mill\nJohn Stuart Mill (1806 - 1873) was a British ethical and political philosopher, and a public intellectual. He was the foremost proponent of utlitarianism, and also an early and formative theoriser of the liberal social state.\n\n> You rescue the mother\nGrabbing her left leg, you drag your mother heroically from the burning mill. As soon as she is clear of the building it explodes in a melodramatic and highly implausible inferno, from which rolls, rather pitifully, the Archbishop's mitre. You watch it spin to a halt as your mother swoons on the grass.\n\n> You get mitre\nYou think perhaps you'd better leave it be.\n\n> You talk to the mother\nBefore you can say \"Oedipus Complex\", she smothers you with gratitude, wipes your face and departs, leaving you with a feeling of warmth and a used handkerchief.\n\n> You examine handkerchief\nA handkerchief, slightly scented, slightly used.\n\n> You go west\nYou smell nothing unexpected.\n\nYou'd rather not do any more hillwalking today --unless it's back south towards the village.\n\n> You examine Mill\nYou search through the ruined mill and find a bucket of pitch strangely untouched by the explosion.\n\n> You take the pitch\nYou already have that.\n\n> You give the bucket to the raven\nThe raven caws in despair. \"Look, it's hopeless. I'll take the bucket of pitch as a gift but I know I'll never be able to use it to change colour. I guess I'll always be bright and cheery.\"\n\nSobbing slightly, the raven pulls back the brambles before flying off.\n\n> You examine the brambles\nThe brambles are pulled back, allowing you to pass through them to the cave beyond.\"\n\n> You go west\nYou push your way through the brambles and gingerly descend into the dark cave beyond.\n\nThe darkness envelops everything. It is the darkness of ignorance. Or possibly just an ordinary sort of darkness, but in any case, you won't be able to do anything until you bring some sort of light source here.\n\n> Light lighter\nThis dangerous act would achieve little.\n\n> You check your inventory\nYou are carrying:\na handkerchief\na qualiascope\nan Encyclopaedia of Qualia\na sack (open)\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na broken lantern\na fifty pence piece\na lighter\na Chinese key\n\n> You take the lantern\n(putting the Encyclopaedia of Qualia into the sack to make room) You've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> You go to the east\nspooky woods you see before you. All around you are brambles, bracken and blackened lightning struck trees.\n\nTurning east you can just about make out happier looking trees. All that you can see in this part of the woods is a mess of brambles.\n\n> You take the lantern\n(putting the qualiascope into the sack to make room)\nTaken.\n\n> You look at lantern\nThe glass part of the lantern is broken, so that the feeblest of winds would soon extinguish the fire within.\n\n> You look at lighter\nThat's either not here, or carelessly undescribed by the fickle creators of this world.\n\nIt a bit old and creaky, but it gives a serviceable spark.\n\n> You fix the lantern\nWhat do you want to fix the broken lantern to?\n\n> You go west\nYou push your way through the brambles and gingerly descend into the dark cave beyond.\n\nThe darkness envelops everything. It is the darkness of ignorance. Or possibly just an ordinary sort of darkness, but in any case, you won't be able to do anything until you bring some sort of light source here.\n\n> You go to the east\nspooky woods you see before you. All around you are brambles, bracken and blackened lightning struck trees.\n\nTurning east you can just about make out happier looking trees. All that you can see in this part of the woods is a mess of brambles.\n\n> You talk to the scarecrow\nHe's hardly in any state for idle chit-chat.\n\n> Go west\nYou're on the beach, where Zeno has set up a race track between the dunes and the sea. Achilles is also here -- sans Tortoise.\n\nThe road lies back to the east.\n\n> You examine the dunes\nThese are the dunes between the beach and the road; they act as a buffer for the sea breeze. A few small birds flit between them skittishly.\n\n> You look at the birds\nYou walk towards the little birds, curious.\n\nAs you approach the dune, the little bird you followed here -- a tiny white and grey little thing with a black collar, like a vicar in negative -- flits off out of sight. You soon realise its business here: this is where it has made its nest.\n\nThe beach lies southwest of here.\n\n> You examine the nest\nA rough and ready little home built out of seaside debris. In it cluster a handful of tiny speckled eggs.\n\n> You get the eggs\n(putting the handkerchief into the sack to make room)\nFeeling truly barbaric, you scoop up the eggs in your hand and walk as fast as you can back to the beach to avoid looking the little bird in the eye.\n\nYou're on the beach, where Zeno has set up a race track between the dunes and the sea. Achilles is also here -- sans Tortoise.\n\nThe road lies back to the east, while the dune where you found the nest is northeast of here.\n\n> Inventory\nYou are carrying:\nsome eggs\na broken lantern\na sack (open)\na handkerchief\na qualiascope\nan Encyclopaedia of Qualia\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You examine Imperativator\nIt's a lead cube. That would seem to be it, though it feels rather heavier than it should.\n\n> You go west\nYou're on the beach, where Zeno has set up a race track between the dunes and the sea. Achilles is also here -- sans Tortoise.\n\nThe road lies back to the east, while the dune where you found the nest is northeast of here.\n\n> Go west\nYou'd only get wet.\n\n> Go northeast\nAs you approach the dune, the little bird you followed here -- a tiny white and grey little thing with a black collar, like a vicar in negative -- flits off out of sight. You soon realise its business here: this is where it has made its nest.\n\nThe beach lies southwest of here.\n\n> You look at nest\nA rough and ready little home built out of seaside debris.\n\n> You eat\nWhat do you want to eat?\n\n> You talk to the server\nYou'd rather not disturb her when she's having so much trouble in the kitchen. Not unless you've got an extra-special present for her or something.\n\n> You give the eggs to the server\nYou head nervously into the kitchen, where you find the server struggling with a frying pan. Hearing you enter, she spins around, brandishing the pan. \"You can bloody well forget about those sausages!\" she screams at you.\n\n\"That's OK,\" you say. \"I've got a wonderful surprise for you!\n\nPutting down the pan, she lights a cigarette on the stove, puffs sulkily on it, and says, \"Oh yeah? What?\"\n\nYou brandish your plovers\" eggs at her with a \"ta-da!\" and suddenly all her winsomeness returns. \"Darling!\" she says, hugging you. \"Just what I always wanted!\" She rummages in a cupboard and brings out a bottle. She thrusts it at you and says, \"Now sod off and leave me alone.\"\n\n> You look at the bottle\nIt appears to be a rather fine claret. Brushing some dust from it, you spot the vintage. Goodness, this is pre-phyllorexa claret! How extraordinary!\n\n> You enter the tavern\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates nonsensically picking apart Monkey Island. The only one not joining in seems to be Aristotle, who is sitting glumly in the corner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You give the bottle\nWhom do you want to give the a bottle of pre-phyllorexa claret to?\n\n> Aristotle\n\"Splendid! Aristotle cries. \"You actually managed it! For a moment there I thought I might have to compromise and drink the shoe polish they serve here.\"\n\nHe pulls out a book from the recesses of his raiments and hands it to you. \"A token of my appreciation -- I do hope you enjoy it. Just keep it away from this lot or they'll scribble footnotes all over it,\" he says, waving at the drunken philosophers, before turning his attention to the bottle with a satisfied gleam in his eyes.\n\n> Examine book\nThe manual is a thick, leather-bound tome with THE RULES embossed in gold on the cover. The whole process adds up to a syntactical method for answering questions about badgers in Chinese. You can't imagine why.\n\n> You check what you're carrying\nYou are carrying:\nPlato's Complete Works\na broken lantern\na sack (open)\na handkerchief\na qualiascope\nan Encyclopaedia of Qualia\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> Examine works\nThe Complete Works of Plato -- unabridged and unmolested.\n\n> You give Works to the librarian\n\"I thought you might have a use for a clean copy,\" you say, offering the book.\n\nYou think for a moment a smile might have crossed the librarian's face. \"Thanks,\" s/he says, if somewhat grudgingly. \"Have a banana.\"\n\nTo your surprise s/he does actually produce the fruit from underneath the desk and hands it to you, somewhat abashedly.\n\n> You examine the banana\nYellow and bent, like a politician.\n\n> You talk to Achilles\nAchilles blushes when you address him directly, and drags his foot in the sand. \"You should talk to Mister Zeno,\" he says.\n\n[1] Ah, Zeno? Hello?\n\n> 1\n\"What? Oh! Oh, it's you. Fancy another race then, do you?\"\n\n[1] Nah, thanks, I'd only get thrashed again.\n[2] I haven't a chance unless you give me a head start!\n[3] Yeah, I think I could give it another shot.\n\n> 2\n\"Oh no, I'm afraid that would foul all the calculations. We'd only need one of those to compensate for some flaw or other in the race track -- and just look at it! Aren't those lanes perfect? Can you manage without?\"\n\n[1] Hmm . . . nah, I'll pass this time.\n[2] Well, alright, I'll still give it another go.\n\n> You give up\nYou tumble into a heap on the ground, utterly exhausted. Achilles lets out a sympathetic groan and picks you up bodily, throwing you over his shoulder, before jogging leisurely back to Zeno at the start line.\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/64 a millos to go! Keep it up!\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/128 a millos to go! That's nearly there!\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/256 a millos to go! Don't want to give up, do you?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/512 a millos to go! Don't want to give up, do you?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/1024 a millos to go! You won't give up now, will you?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/2048 a millos to go! Surely you can keep going?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/4096 a millos to go! Surely you can keep going?\"\n\n> Again\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/8192 a millos to go! You can do it!\"\n\nYou tumble into a heap on the ground, utterly exhausted. Achilles lets\n\n> You eat the banana\nout a sympathetic groan and picks you up bodily, throwing you over his shoulder, before jogging leisurely back to Zeno at the start line.\n\nWhen you come to from your exhausted stupor, you see the two Greeks bending over you, concerned. Achilles (mercifully back in his toga) puts an amphora of wine to your lips, which you splutter away at, sitting up sharply.\n\n\"A brave attempt, young adventurer!\" says Zeno. \"And, philosophically speaking, very interesting, yes, very interesting indeed . . .\" He tails off again, and as you pick yourself up, Achilles looks at you regretfully.\n\n> You eat the banana\n(first taking the banana)\nYou're not particularly hungry.\n\n> You examine the bench\nSolidly wooden, and relatively unvandalised. Somebody wants to inform you that Friedrich hearts Lou, though.\n\n> You examine the dye\nWhich do you mean, the phial of red dye or the phial of white dye?\n\n> You examine hair\nAh hair. Hair hair hair. Long, beautiful hair, shining, gleaming, streaming, streaming, flaxen, waxen . . .\n\n> You take the red dye\nThe barber winks at you, \"One per customer. If you change your mind put one back on the stand and take another.\n\n> You put the banana in the red dye\nThis sort of dye involves powder and ammonia and would be a big hassle to use on a banana. Surely there's a simpler way.\n\n> You put the banana in the inkwell\nYou dip one end into the inkwell, and then the other end. It's messy, but the result is a rather handsome blue banana.\n\n> You go west\nYou're still waiting for that book.\n\n> You examine the banana\nBent and blue, like a police officer.\n\nThe librarian returns and hands the tome to you wordlessly, before returning to h/er spot behind the counter.\n\n> Go west\nYou already know the librarian won't let you leave while you've still got that Encyclopaedia, so you hand it back to h/er before leaving.\n\nThe square seems somehow madder now the madman has left.\n\nThis appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> You give the banana to Mary\nYou flourish the blue banana in Mary's direction. She squints at it, seeming a little confused. \"There's something very odd about that banana,\" she says. \"I think it's blue. You'd better not eat it,\" she counsels, motherly.\n\n\"No,\" you say. \"It's a perfectly ordinary yellow banana. Why don't you take those goggles off and check?\"\n\n\"Well, if you're sure, dear, then I suppose I'd better,\" says Mary, fiddling with the strap. \"I must have made a mistake in my calculations somewhere.\"\n\nStruggling with them a little, she pulls the goggles from her head. Blinking, her jaw drops wide open, and she looks about herself in wonderment. \"Colours!\" she whispers weakly, her knees buckling. \"After all this time . . . I never knew . . .\" She lets out a small, satisfied sound -- and faints on the spot.\n\n> You talk to Mary\nThough as startled by you as ever, Mary greets you warmly. \"Oh, hello again, dear! Did you think of something else?\"\n\n[1] Sorry, no. Still stuck. I'll leave you to it\n\n> You give the banana\n(to Mary)\nYou flourish the blue banana in Mary's direction. She squints at it, seeming a little confused. \"There's something very odd about that banana,\" she says. \"I think it's blue. You'd better not eat it,\" she counsels, motherly.\n\n\"No,\" you say. \"It's a perfectly ordinary yellow banana. Why don't you take those goggles off and check?\"\n\n\"Well, if you're sure, dear, then I suppose I'd better,\" says Mary, fiddling with the strap. \"I must have made a mistake in my calculations somewhere.\"\n\nStruggling with them a little, she pulls the goggles from her head. Blinking, her jaw drops wide open, and she looks about herself in wonderment. \"Colours!\" she whispers weakly, her knees buckling. \"After all this time . . . I never knew . . .\" She lets out a small, satisfied sound -- and faints on the spot.\n\n> You look at Mary\nMary is lying prone on the floor, unconscious, with with a peculiar smile playing about her lips.\n\n> You look\nThe lab is filled with all manner of scientific equipment. Monitors, levers, dials and big red buttons cover the walls, while the room's desk -- pushed against the computer stacks on the back wall -- has a complicated-looking laptop-printer set-up perched somewhere in the middle, surrounded by arcane assemblies of metal and glass.\n\nPoor Mary is lying collapsed on the floor, though she seems not unhappy about it..\n\n> You wake mary\nThat seems unnecessary.\n\n> You get the laptop\nLooking askance at the prone Mary, you regretfully snatch her laptop.\n\n> You examine the laptop\nIt's a swanky computer with a built-in printer. Nice.\n\n> You use the laptop\nYou've no time to muck about with computers. You're passing this on to someone who needs it as quickly as possible, before electronic entertainment serves as a distraction from the task at hand. You hate it when people play games instead of doing important things.\n\n> You give the laptop to Marx\nYou place the laptop on Marx's desk with a triumphant thunk. The old man looks up at you. \"Liebling!\" he cries, breathless. \"Not just a typewriter, but a word processor capable of printing multiple copies! This will not be forgotten after the revolution! In the meantime, please take this precious copy Manifesto,\" he says, pressing the typed manuscript into your hands, \"and may it guide you to your unchaining!\" With these words he turns back to his work and begins typing furiously.\n\n> You examine Manifesto\nYou flip to the back page. \"You have nothing to lose but your chains\"? Fiery stuff; enough to rouse anyone from their dogmatic slumber.\n\n> You go to the east\nThis is simply a square, book-lined room equipped with a borrowing counter, behind which stands a bored-looking librarian, and a few old desks. At one of these Karl Marx sits, typing furiously.\n\n> You examine monk\nFrom his bald head down to his plain sandals via his saffron robe, the Buddhist monk is a walking Zen clich?.\n\n> You check your inventory\nYou are carrying:\na Communist Manifesto\na broken lantern\na sack (open)\na handkerchief\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You give qualiascope to monk\n(first taking the qualiascope)\n(putting the broken lantern into the sack to make room)\nThe Buddhist monk doesn't seem interested.\n\n> Light paper\nThis dangerous act would achieve little.\n\n> You examine the hedgerows\nYou can't tell from here, but it looks like the road turns into a small path that in turn vanishes into some peculariarly cut hedges. Curiouser and curiouser.\n\n> Go south\nStriking out south towards the castle, you soon realise what it is that lurks so strangely at the base of the crag. As the rock looms over you like ten tonne weight over a hapless clown, the road becomes a pebbly path leading into what is clearly an enormous maze.\n\nYou're standing at the entrance to a vast maze built of hedges that tower six feet above you. The path seems extravagantly narrow, as if the designer wanted to prepare the unwary adventurer from the outside. Above the entrance is a painted wooden sign. It looks important.\n\n> You go south\nYou step tentatively into the maze, looking askance at the lump of lead. Approaching a moral dilemma, it starts whirring wildly, and glowing cracks in the cube appear. It begins to unfold into an astonishingly complex device -- an array of dishes and balances, with an arrow mounted on top. With little else to do you follow the arrow past the dilemma. And then past the next -- and the next. Moral dilemmas seem not to be dilemmas at all before its power, and soon you emerge from the maze, breathless, at the foot of the crag that looms over this land.\n\nA winding path leads up the side of the crag, and you follow it, huffing and puffing, until you reach the top. Here, looming dangerously atop the already looming crag, sits a gigantic loom. No, a gigantic castle -- you were confused for a minute there. Behind you, this crazy world stretches out below. You take a deep breath. You feel, somehow, that you are near your goal -- whatever that may be..\n\nYou are in a paved courtyard before the castle. Here, true to form, an ivory tower towers above you, the result of a billion poaching expeditions or more. Similarly true, a guard guards the broad stairs leading up to the tower.\n\nBelow you is the vertiginous path down the side of the crag -- and below that stretches the world. The strangest thing of all, however, is the faint and ominous organ music on the periphery of your hearing.\n\n> Up\nYou step up to the steps, whistling. The guard, clanking in her armour, steps resolutely in front of you.\n\n\"No!\" she says, pre-empting the merry greeting you had planned. \"I shan't let you past. For I know that I am a guard and that guards guard, and thus I will guard this tower from you.\n\n> You talk to the guard\nYou step up to the steps, whistling. The guard, clanking in her armour, steps resolutely in front of you.\n\n\"Go away,\" says the guard. \"If I'm assured anything, it's that I'm assured of things and one thing I'm assured of is that I don't want you to pass. This I'm sure of.\"\n\n> You give the handkerchief to guard\n(first taking the handkerchief)\n(putting the Communist Manifesto into the sack to make room)\nThe guard doesn't seem interested.\n\n> You examine the guard\nThe guard is decked out from head to foot in an oversized suit of armour, and is carrying an nasty-looking sword. The only part of the guard you can see are a pair of sparkling blue eyes glowing with righteous clarity."
    },
    {
        "text": "[Themes: Surreal, adventure, unicorn, educational]\n\n> Go downward\nYou pick your way back down the crag, leaving that penultimate-looking tower behind you. You're now able to make your way through the maze with ease, and you're soon back on the other side.\n\nYou're standing at the entrance to a vast maze built of hedges that tower six feet above you. The path seems extravagantly narrow, as if the designer wanted to prepare the unwary adventurer from the outside. Above the entrance is a painted wooden sign. It looks important.\n\n> You examine the hedges\nDark and daunting.\n\n> Go east\nThe plains seem folornly empty now that the unicorn's non-existence has been firmly proven. There is nothing here for you.\n\n> You go to the east\nThe plains are too vast and empty for that to be a pleasurable walk.\n\n> You go the church\nThe church appears to have made up its mind about its own interior, plumping for a simple majesty in stone and wood. As the door creaks gracefully closed behind you, you survey your surroundings: the oak pews lining the nave, the beautiful arched stone roof, the carved pulpit at the head of the church and, behind it, an enormous tapestry depicting -- nothing?\n\nIn one of the pews a woman in full bridal gear sits, weeping to herself.\n\n> You examine the pews\nOnce imposing rows of oak seating, the effect has been somewhat diminished by the hardy endeavours of bored worshippers equipped with pocket-knives. The pews now provide an education of biblical proportions for any inquisitve youngster in the arts of caricature, aphorism and sex miseducation.\n\n> You talk to the bride\nYou tap her lightly on the shoulder, and she dissolves into sobs at your touch like a centuries-old skeleton into dust.\n\n[1] Er . . . are you OK?\n[2] Um. Right. Sorry. I'll just . . . stand over here.\n\n> 1\nShe blows her nose very loudly on her veil and glares at you with red-rimmed eyes. \"What do you think?\" she says.\n\n[1] Ah. Guess not. Sorry. I'll just . . . stand over here.\n\n> 1\nShe wails even louder at your departure.\n\n> You examine the roof\nGreat stone arches support the vault, adorned with gargoyles depicting various breeds of anthropomorphised shellfish.\n\n> Inventory\nYou are carrying:\na handkerchief\na qualiascope\na sack (open)\na Communist Manifesto\na broken lantern\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You give the handkerchief to the bride\nThe bride looks at your proferred hanky, at takes it gratefully. Casting the soaked veil aside, she blows her nose with a foghorn bellow and looks folornly at the altar.\n\n> You take the veil\nYou pick up the veil and wring it out. On examining it, you realise that the fine lacework spells out a word: Ignorance. Curiouser and curiouser. Um. More curious.\n\n> You talk to the bride\nAfter she's fully evacuated her nose into your hanky she hands it back to you. You look at it, aghast at the vast quantities of snot therein.\n\n[1] That's OK. You can keep it.\n[2] Best hold on to that. Better now?\n\n> 2\n\"A little,\" she says, in a very small voice, and proceeds to snort out an even more prolific stream.\n\n[1] Well, that's good to hear. Do you think it would help to talk about what's bothering you?\n[2] Sweet. Glad to help. If you ever need a shoulder to cry on . . . [3] Why the long face, anyway?\n\n> 2\nImmediately the bride grasps your shoulder and sobs into it, the tearful torrent turning your clothes into a wet mush.\n\n[1] There, there.\n[2] Right. Sure. Well, this shoulder's a bit wet now, so I think I'll leave you with the hanky, OK?\n\n> 1\nYou pat her awkwardly on the shoulder, and wait for the tears to dry up. It takes a while. Then she sits up, takes a deep breath, and begins:\n\n\"We'd been engaged for months, and deeply in love for years before. We'd prepared for today for weeks and weeks, and it was all meant to be so -- so perfect. But I knew something was wrong. There's been something wrong with him for a few days now. Ever since he picked up a logic textbook.\n\n\"He started to get this awkward look in his eyes when we talked about the wedding. He'd dodge the subject. But he never said he'd do this! Leave me standing at the altar like an unwanted pudding!\n\n\"I waited for an hour. The guests all started to leave. His family scarpered and mine chased after them. Then it was just me, when his best man came and told me what had happened.\n\n\"He'd realised he couldn't marry me. The book had told him. Decades of the world's most pre-eminent philosophers have said it. He was a bachelor. And all bachelors are unmarried men.\"\n\nThe bride sighs, hiccups, and then, just as you think she's about to recover, dissolves into another bout of sobbing. You decide that now is probably the most tactful time to leave, and vow to be more original in your logic examples in future.\n\n> You examine the woman\nShe's like a very damp pile of meringues, and she's getting damper by the second.\n\n> You look at the pulpit\nAn huge oak platform with an overarching sound-board; you imagine a preacher could boom out from here.\n\n> You examine the door\nThe heavy wooden portal at the southwest end of the church leads back to the village street. It's covered with some very peculiar carvings.\n\n> You examine the carvings\nThese relief carvings appear to show a sequence of scenes from some strange mythology. In the first, a nubile young woman is examining a peculiar package laid under a tall tree. In the second, she is wearing a short tartan skirt, a snappy blaze and pigtails, and a strapping young lad is advancing on her rapidly. In the third, twelve men are gathered, six holding hoes and six holding spears, while in the fourth one of the spearmen is brutally attacking one of the hoemen. The following scenes include floods, burning rains, lots of sex and inumerable platypuses. Platypi. The usual myth-fodder.\n\n> You go the Theatre\nYou try the theatre doors, but they're fastened shut. A scrawled sign by them says \"Closed for rehearsals. New sensual extravaganzas coming soon.\n\n> You look at Lumberjack\nThe lumberjack is wearing a flannel shirt and heavy boots whilst sporting a beard of revolutionary proportions and carrying an axe. She looks like Paul Bunyan in minature.\n\n> You get the axe\nThat seems to belong to the lumberjack.\n\n> Inventory\nYou are carrying:\na veil\na qualiascope\na sack (open)\na Communist Manifesto\na broken lantern\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You give Manifesto to Lumberjack\n(first taking the Communist Manifesto)\n(putting the qualiascope into the sack to make room)\nThe lumberjack doesn't seem interested.\n\n> You examine model\nIt's mouth gaping open and its glass eyes staring, this enormous model of a bat frightens the life out of you. The fact that it's gently turning round and round serves only to add a touch of psychopathic absurdity.\n\n> Inventory\nYou are carrying:\na Communist Manifesto\na veil\na sack (open)\na qualiascope\na broken lantern\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You give the paper to Achilles\nYou can only do that to something animate.\n\n> You take the paper\n(putting the veil into the sack to make room)\nTaken.\n\n> 1\n\"Oh dear. Well, do drop by again if you change your mind.\"\n\n> You examine lighter\nIt a bit old and creaky, but it gives a serviceable spark.\n\n> You look at the track\nLittle more than a few lines in the sand. There's one just by Achilles and Zeno and the other terribly, terribly far (it seems) in the distance. You can only tell where it is by the flag fluttering away there. In between the two, long lines follow the steep curve of the beach to mark out two lanes, outside and inside. As the beach takes a steep curve for the length of the race track, the inside lane is probably a little bit shorter than the outer.\n\n> You talk to Zeno\n\"What? Oh! Oh, it's you. Fancy another race then, do you?\"\n\n[1] Nah, thanks, I'd only get thrashed again.\n[2] Yeah, I think I could give it another shot.\n[3] It's exhausting! Just how long is that track?\n\n> 2\n\"Splendid! Bravo! Well, then, you two had better get ready!\"\n\n> Swap lane\nYou're standing at the start line, stripped to your underwear. You made that much of a compromise with the two Greeks. Achilles, limbering up next to you, was not so modest. You feel like your eyeballs are being dragged on strings, downwards and sideways . . . You look away, blushing furiously, and crouch down, set, the aching vision of school P.E. lessons mugging you in memory alley.\n\nWhen Zeno shouts the go, there's a moment of blurred confusion as you both launch off. Your mind can't manage any complicated tasks, like managing sensory apparatus, when it's pumping your arms and legs this hard. When the mess of sensations starts to coalesce, you realise that Achilles has streaked (in every sense of the word) off in front of you, and is already nearly at the finish line. Oh, well. At least you tried.\n\nAchilles loops around the flagpole and jogs back to you. Soon he's bouncing up and down at your side, jiggling in a disconcerting way. \"Come on!\" he says. \"You're halfway there!\"\n\nAt this stage, you don't think your brain can possibly cope with issuing any instructions other than GIVE UP or KEEP RUNNING.\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/4 a millos to go! You can do it!\"\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/8 a millos to go! You can do it!\"\n\n> You give up\nYou tumble into a heap on the ground, utterly exhausted. Achilles lets out a sympathetic groan and picks you up bodily, throwing you over his shoulder, before jogging leisurely back to Zeno at the start line.\n\n> You examine the flag\nIt seems to be a simple red rectangle -- with a circular hole cut in it?\n\n> You hold the veil\n(putting the Communist Manifesto into the sack to make room)\nYou pick the veil up again. How tedious.\n\n> You check what you're carrying\nYou are carrying:\na veil\na useless scrap of paper\na sack (open)\na Communist Manifesto\na qualiascope\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You keep running\nYou plummet onwards down the track, Achilles keeping pace beside you.\n\n\"Only 1/4 a millos to go! Don't want to give up, do you?\"\n\n> You look at Ship\nThe business end of a great ship is poking through the wall of the museum, with a surprised-looking mermaid stuck on the pointy bit. It might be a figurehead. The name on the prow is \"Theseus\".\n\n> You look at the mermaid\nThe figurehead has a very peculiar expression on her face. Well, you would too if someone had carved you from wood and then shoved a ship up you.\n\n> You examine ruler\nIt's an exquisite measuring rule, that can apparently tell you the most beautifully perfect action in any given situation.\n\n> You drop all\nsack: Dropped.\nveil: Dropped.\ninvitation to the state of naturist camp: Dropped.\n\n> You open the sack\nThat's already open.\n\n> You get all except the cube\ninvitation to the state of naturist camp: Taken.\nveil: You pick the veil up again. How tedious.\nsack: Taken.\nshoelaces: Philosophers are not yet supermen.\nexhibits: You doubt you could escape the museum with that.\nShip of Theseus: Philosophers are not yet supermen.\nmermaid: Philosophers are not yet supermen.\npirate: Philosophers are not yet supermen.\nsteward: Philosophers are not yet supermen. HallomynameisTracyhowmayIhelpyou: Philosophers are not yet supermen. Golden Mean Ruler: Philosophers are not yet supermen.\nUtility Calculator: Philosophers are not yet supermen.\n\n> You talk to the pirate\n\"I've come up with an excellent name for your ship!\" you cry. The pair look at you inquisitively.\n\n[1] The Golden Behind!\n[2] The Black Oyster!\n[3] The Double Dutchman!\n[4] The Sea Ape!\n[5] The Peapod!\n[6] The Slutty Park!\n[7] Er . . . just joking.\n\n> 7\nThe pirate just blinks at you.\n\n> You examine the sack\nA very large sack, still with a few strands of straw stuck in the bottom.\n\n> You drop all\nsack: Dropped.\nveil: Dropped.\ninvitation to the state of naturist camp: Dropped.\n\n> TAKE SACK, VEIL, PAPER\nsack: Taken.\nveil: You pick the veil up again. How tedious.\ninvitation to the state of naturist camp: Taken.\n\n> You get all\nThat's a bit greedy. Try taking specific things.\n\n> Inventory\nYou are carrying:\na useless scrap of paper\na veil\na sack (open)\na Communist Manifesto\na qualiascope\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You examine the cabinets\nThe cabinets are filled with all manner of bat-related paraphernalia: bats preserved in formaldehyde, books on bat culture, packets of crispy fried bat wings . . .\n\n> You give the scope to Man\n(first taking the qualiascope)\n(putting the veil into the sack to make room)\nNagel doesn't seem interested.\n\n> You go tavern\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates brazenly investigating what the correct pronunciation of the word scone is. The only one not joining in seems to be Aristotle, who is sitting at a table in the corner, drinking fine claret in a very satisfied manner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> Go east\nYou wander through the back door into an alleyway and there amidst a pile of broken truth tables and discarded copies of the Principia Mathematica sit a sequiter of logicians, playing illegal logic games. W.V.O. Quine seems to be the ring leader.\n\n> You get Principia\nNot while G?del's watching!\n\n> You look at the tables\nTruth tables are chalked on the floor of the alleyway, achieving a very sophisticated level of graffiti.\n\nYou notice that Whitehead is in something of a sulk over a recent piece of aggressive betting from Boole.\n\n> You look at Quine\nWearing a battered trilby and a stained trench-coat, the logician looks about himself shiftily as he monitors the racket of logic games.\n\n> You examine the Whitehead\nPlaying games with coloured beads and cups amidst the truth tables sit a shifty-looking bunch of logicians. You think you notice Turing and Kripke pondering over vagueness, while G?del admits defeat.\n\n> You examine Principia\nThe copies of the Principia Mathematica are stacked in neat piles --they are being put to use as make-shift seats.\n\n> Go west\nA raucous rabble of eminent philosophers line the tables and bar, discussing matters squifflily with slurred syllables and questionable eloquence. You overhear Plato and Socrates childishly debating about linguistic puzzles. The only one not joining in seems to be Aristotle, who is sitting at a table in the corner, drinking fine claret in a very satisfied manner. In the eastern wall is the back door through which Mill threw himself earlier.\n\nSomewhat incongruously, you spot an electronic games machine sitting against the wall next to a rather glum looking booth, being rather neglected by the roistering philosophers.\n\n> You talk to Socrates\nHe seems rather too far gone to cope with intelligible conversation -- if indeed he ever was.\n\n> You talk to Aristotle\n\"Aristotle looks mournfully at you. \"Corked!\" he cries, indicating the claret. \"The gods too are fond of a joke,\" he sighs, a tear in his eye. You take the opportunity to tactfully remove yourself.\n\n> You examine fire place\nThe roaring fire is a pleasant backdrop to the unbridled drinking and philosophising.\n\n> You give Manifesto to Anscombe\n(first taking the Communist Manifesto)\n(putting the invitation to the state of naturist camp into the sack to make room)\nElizabeth Anscombe doesn't seem interested.\n\n> You check your inventory\nYou are carrying:\na Communist Manifesto\na qualiascope\na sack (open)\na useless scrap of paper\na veil\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You enter the cafe\nPavement Caf?\nThe caf? spills out into the street. Steel chairs are scattered around the serving kiosk, apparently chaotically, though you suspect there's a cynical art to it. Most of the customers are buried in books, thimble-sized cups of black coffee steaming by them and handmade cigarettes rolling around the corners of their mouths. Some of them, though, are intense young couples clasping hands across their plates, boring into each other's eyes as if looking for some flaw, breaking the gaze only to toss hair or adjust a beret. Sitting in the corner, Jean-Paul Sartre surveys the caf? around him and smiles in a satisfied yet enigmatic way.\n\nThe server stands behind the kiosk, chainsmoking and glaring menacingly.\n\n> You give the veil to the server\n(first taking the veil)\n(putting the qualiascope into the sack to make room)\nYou pick the veil up again. How tedious.\n\nThe server doesn't seem interested.\n\n> You look at lighter\nThe darkness envelops everything. It is the darkness of ignorance. Or possibly just an ordinary sort of darkness, but in any case, you won't be able to do anything until you bring some sort of light source here.\n\n> Inventory\nYou are carrying:\na veil\na Communist Manifesto\na sack (open)\na qualiascope\na useless scrap of paper\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You listen\nA worrying hush fills the room.\n\n> Smell\nThe whole place reeks of allegory.\n\n> You go to the east\nspooky woods you see before you. All around you are brambles, bracken and blackened lightning struck trees.\n\nTurning east you can just about make out happier looking trees. All that you can see in this part of the woods is a mess of brambles.\n\n> You go south\nRemembering the route from last time, you make your way quickly through the maze, up the crag, and to the foot of the castle.\n\nYou are in a paved courtyard before the castle. Here, true to form, an ivory tower towers above you, the result of a billion poaching expeditions or more. Similarly true, a guard guards the broad stairs leading up to the tower.\n\nBelow you is the vertiginous path down the side of the crag -- and below that stretches the world.\n\n> You ascend\nYou are in a paved courtyard before the castle. Here, true to form, an ivory tower towers above you, the result of a billion poaching expeditions or more. Similarly true, a guard guards the broad stairs leading up to the tower.\n\nBelow you is the vertiginous path down the side of the crag -- and below that stretches the world.\n\n> You give the veil to the guard\nI don't think she'd just accept the veil. It's more something that you'll need to throw at her.\n\n> You throw the veil at guard\nYou look shiftily from side to side, and when you assure yourself that nobody is watching, you cast the veil over the guard's helmet. For several long moments you wait. Hesitantly, you put a foot past the guard. She doesn't move.\n\n\"Hello?\" you whisper.\n\n\"Excuse me, I seem to be completely ignorant to who I am and why I am here,\" she replies. \"Can you help me?\"\n\n[1] A living statue, your job is to keep still and quiet all day.\n[2] You're a guard -- you're guarding these stairs from me passsing [3] You're Bishop Berkeley and you're on your way to the tavern to give a lecture on Idealism.\n[4] You're a mild mannered accountant by day, but by night you don a cape and fight crime.\n[5] You're a very charitable person who would never dream of impeding someone's progress up some stairs.\n[6] You're an itinerant farm-hand who dreams of one day owning their own farm with rabbits and alpaca, but deep down you know it'll never happen.\n[7] You write Thus Spoke Zarathustra fan-fiction and go to heavy metal concerts.\n\n> 1\n\"That sounds nice, but if it's all the same to you,\" she says, \"I'm just going to stand here until I've got things figured out for myself.\"\n\n> Go up\nYou clamber up the stairs and through into the tower. The ivory wall, eased by its last descent, crashes down behind you before you can do anything. This is it, then.\n\nPerfectly round and with walls of glistening ivory, this is definitely more of a chamber than a room. A huge sheet of ivory blocks the exit archway, while opposite it sits an ivory-panelled door, with a definite sense of being heavily locked about it. Through this door come the strains of atmospheric organ music you heard earlier, a little clearer, and a little more foreboding.\n\nNone of this is the most striking thing about the chamber, however. The most striking thing is the fact that in the centre of the room buzz thousands of bees, all hovering stationary in a curiously-shaped cloud.\n\n> You look at the bees\nOn closer examination the bees are hovering in the exact shape of a vending machine. You can even see the slot where the money goes, and the little tray where the goods drop down. It would be a refreshingly normal sight in this mad world, if it weren't for the fact that it were made out of thousands of writhing insects it would be rather a relief.\n\n> Inventory\nYou are carrying:\na Communist Manifesto\na sack (open)\na qualiascope\na useless scrap of paper\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You put fifty in the slot\nYou insert the fifty pence piece into the slot, and instead of the usual clunks and whirrings of machinery, you hear a series of buzzes and organic-sounding thuds. Finally, a key drops into the little tray at the bottom of the machine.\n\n> You get the key\nWhich do you mean, the first key or the Chinese key?\n\n> You examine it\nA slender key with the number one engraved into the metalwork."
    },
    {
        "text": "> Look around\nPerfectly round and with walls of glistening ivory, this is definitely more of a chamber than a room. A huge sheet of ivory blocks the exit archway, while opposite it sits an ivory-panelled door, with a definite sense of being heavily locked about it. Through this door come the strains of atmospheric organ music you heard earlier, a little clearer, and a little more foreboding.\n\nNone of this is the most striking thing about the chamber, however. The most striking thing is the fact that in the centre of the room buzz thousands of bees, all hovering stationary in a curiously-shaped cloud.\n\n> You examine the door\nThe huge, ivory-panelled door, is adorned with an intricate-looking lock.\n\n> You unlock door\nWhat do you want to unlock the firstdoor with?\n\n> First\nYou unlock the door and open it, trembling with trepidation. Through the door lies another ivory staircase -- a spiral staircase which winds upwards towards another chamber.\n\nYou are only a little surprised to find that this chamber is almost entirely identical to the first, with the same stairs leading down and the same huge door,  but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You look at the Time Machine\nA feat of elaborate steelwork has wrought this magnificent device. There's what looks like a control booth perched in a torturous assembly of elaborate mechanics, as beautiful as they are strange. There's a red fake leather seat inside the booth, which rather spoils the image, as does the mouldy newspaper sitting on it. The chrome dials inside the booth are pretty nice, though.\n\n> You look at the newspaper\nIt's a rather damp and extremely boring edition of The Times from 1957. The only interesting item in it is a piece about an ongoing unsolved crime -- the theft of a priceless paracentric key from the key exhibition at the International House of Keys, loaned to the museum by the H.G Wells Reenactment Society.\n\nThe one witness to the theft, a recently-engaged young security guard, said \"I don't know how the bugger snuck past me -- all I know is, there was a flash of light from the exhibition room, the alarm goes off, I rushes in, and he clunks me one. Don't know what with, but it laid me out for hours -- I was lucky he didn't have a proper weapon with him.\"\n\n> You get it\n(putting the Communist Manifesto into the sack to make room)\nTaken.\n\n> You examine the dials\n(the workings)\nTerrifyingly complicated; you'd rather not touch them.\n\n> You examine the seat\nIt looks like it was purloined from an American 1950\"s diner.\n\n> You listen\nThe sound of passing time.\n\n> You enter Machine\nYou clamber into the Time Machine and perch on the red seat.\n\nSecond Chamber (in the Time Machine)\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You examine Machine\nA feat of elaborate steelwork has wrought this magnificent device. There's what looks like a control booth perched in a torturous assembly of elaborate mechanics, as beautiful as they are strange. There's a red fake leather seat inside the booth, which rather spoils the image. The chrome dials inside the booth are pretty nice, though.\n\n> You check what you're carrying\nYou are carrying:\na newspaper\na first key\na sack (open)\na Communist Manifesto\na qualiascope\na useless scrap of paper\na broken lantern\na manual\nfile of Platonic forms\na Categorical Imperativator\na lighter\na Chinese key\n\n> Examine booth\nThe booth contains a red fake leather seat from which some chrome dials can be reached.\n\n> You examine the dials\n(the workings)\nTerrifyingly complicated; you'd rather not touch them.\n\n> You touch dials\n(the workings)\nYou feel nothing unexpected.\n\n> You turn the dials\n(the workings)\nThere is a season for that, but it's not this one.\n\n> Exit\nYou get out of the Time Machine.\n\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You go upwards\nThrough the door lies another ivory staircase -- a spiral staircase which winds upwards towards another chamber.\n\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You look at the mechanics\nIf only you were studying for a bachelors of science, not art! Then you might begin to understand the complexities of the time machine. Even a degree in zoology would take you a stage closer than you are now.\n\n> Inventory\nYou are carrying:\na banana\na broken lantern\na sack (open)\na handkerchief\na qualiascope\nan Encyclopaedia of Qualia\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You wait for a while\nTime passes. Or at least, loiters around for a while longer.\n\nThe librarian returns and hands the tome to you wordlessly, before returning to h/er spot behind the counter.\n\n> Go west\nYou already know the librarian won't let you leave while you've still got that Encyclopaedia, so you hand it back to h/er before leaving.\n\nThe square seems somehow madder now the madman has left.\n\nThis appears to be the academic quarter of the village, and so may in fact be a quadrangle, which is awfully exciting. You know it's the academic quarter, because the grass is covered with sprawling young people wearing brightly coloured clothes, dreadlocks, and organic deodorant. Architecturally and geographically speaking, the buildings look like they were placed there by a commitee of village planners whose equipment budget stretched only so far as a compass. Three sides of the square are complemented by a museum, research institute and a library, to the west, north and east respectively.\n\n> You give the handkerchief to the woman\n(first taking the handkerchief)\n(putting the broken lantern into the sack to make room)\nThe bride looks at your proferred hanky, at takes it gratefully. Casting the soaked veil aside, she blows her nose with a foghorn bellow and looks folornly at the altar.\n\n> You talk to her\nAfter she's fully evacuated her nose into your hanky she hands it back to you. You look at it, aghast at the vast quantities of snot therein.\n\n[1] That's OK. You can keep it.\n[2] Best hold on to that. Better now?\n\n> 1\n\"Thanks,\" she says tearfully, and proceeds to snort out an even more prolific stream.\n\n[1] You're more than welcome. Do you think it would help to talk about what's bothering you?\n[2] Not a problem. Glad to help. If you ever need a shoulder to cry on . . .\n[3] Yeah, well. Why the long face, anyway?\n\n> 1\n\"No,\" sniffs the bride. \"But I'll tell you anyway, if you're that interested.\"\n\n[1] Er . . . Sure!\n[2] Oh, well. I'll just leave you to it then.\n\n> 1\nShe wipes her cheeks, smearing mascara and blusher, takes a deep breath, and begins:\n\n\"We'd been engaged for months, and deeply in love for years before. We'd prepared for today for weeks and weeks, and it was all meant to be so -- so perfect. But I knew something was wrong. There's been something wrong with him for a few days now. Ever since he picked up a logic textbook.\n\n\"He started to get this awkward look in his eyes when we talked about the wedding. He'd dodge the subject. But he never said he'd do this! Leave me standing at the altar like an unwanted pudding!\n\n\"I waited for an hour. The guests all started to leave. His family scarpered and mine chased after them. Then it was just me, when his best man came and told me what had happened.\n\n\"He'd realised he couldn't marry me. The book had told him. Decades of the world's most pre-eminent philosophers have said it. He was a bachelor. And all bachelors are unmarried men.\"\n\nThe bride sighs, hiccups, and then, just as you think she's about to recover, dissolves into another bout of sobbing. You decide that now is probably the most tactful time to leave, and vow to be more original in your logic examples in future.\n\n> You get the veil\nYou pick up the veil and wring it out. On examining it, you realise that the fine lacework spells out a word: Ignorance. Curiouser and curiouser. Um. More curious.\n\n> You examine the woman\nShe's like a very damp pile of meringues, and she's getting damper by the second.\n\n> Pump about Achilles\nYou pull the pump's handle, concentrating furiously. You intuit that the only way to beat Achilles would be to get a headstart, and the only way to do that would be to demonstrate that something about the race is unfair. Better have a good look at that racetrack.\n\n> You look at the sand\nThe sand flows down from the dunes like sugar from a spilt and split shopping bag. You bend down and let it run thorugh your fingers in a stream of pure romantic clich?. It's astonishingly fine.\n\n> You show the track to Achilles\n(first taking the race track)\nPhilosophers are not yet supermen.\n\n> 3\n\"Oh, only a millos or so.\"\n\n[1] Hmm . . . nah, I'll pass this time.\n[2] Phew! Well, I'll still give it another go.\n[3] And had you realised that one lane is just a little bit shorter than the other?\n\n> 3\nZeno's eyes widen, and he glances round at the steeply curving track. \"Curses!\" he says \"Quite true! That throws all my my calculations out, and renders, I'm terribly sorry, all races completely invalid.\"\n\n[1] You could just give me -- I mean, the person on the outside lane -- a bit of a head start.\n[2] Well, I'm not racing again, I'm afraid.\n\n> 1\n\"Why, you're absolutely right! Magnificent! Well, what are you waiting for? Line up, you two!\"\n\n> Run run run\nAt this stage, you don't think your brain can possibly cope with issuing any instructions other than GIVE UP or KEEP RUNNING.\n\nWith a gleam in your eye, you quickly take your position on the outside lane, just 50 podes ahead of Achilles. When Zeno shouts the go, you pump your legs away without bothering to look behind you.\n\nWhen you've reached about halfway down the track, you hear a curse to Zeus close behind you. Achilles has made a good deal of headway, but something seems to be holding him back. Every time he reaches where you've just been, you've managed to make a little further hard progress down towards the flag. For each bound he takes, you manage another bound -- a smaller, humbler bound -- a little further forward. And while you're flagging more than him, and he manages to catch up a little further on each bound, he never quite makes it to you.\n\nNow it's just a matter of endurance. You set your head towards the flag and keep forging on. It gets closer and closer, with Achilles coming up just behind you, a gnat's crotchet away -- and you reach the flag! Throwing yourself over the finish line, you grab onto the pole and sink to the ground, exhausted. Achilles throws himself down beside you, and you both gaze up at the fluttering red flag, with that peculiar hole in the centre, waiting for something like breath to return to your lungs.\n\n> You run\nWhen you finally make it back to Zeno, he is applauding wildly. \"Magnificent! Magnificent!\" Even the deject Achilles is overwhelmed as Zeno thrusts the glass trophy into your arms and grabs him by the hand. \"Now see here, Achilles,\" he says, drawing complicated equations in the sand as Achilles looks on, rapt.\n\n> You examine trophy\nIt's a finely-engraved glass cup with a big bowl.\n\n> You give the lantern to the steward\n(first taking the broken lantern)\n(putting the Communist Manifesto into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> You attach the trophy to the lantern\nIt would be even better with some PVA glue, three yoghurt pots and an egg carton but even with just your will-to-create, a broken lantern and a priceless glass trophy you are able to fasten together a servicible lantern.\n\n> You examine the lantern\nThe trophy's glass bowl shields the lantern's wick splendidly. Now you just need to light the damn thing.\n\n> Inventory\nYou are carrying:\na modified lantern\na veil\na sack (open)\na Communist Manifesto\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na lighter\na Chinese key\n\n> You take lighter\n(putting the veil into the sack to make room)\nTaken.\n\n> Light lantern with lighter\nThe lantern lights! You jump around gleefully for a few moments, before recovering your sobriety.\n\n> You go west\nYou push your way through the brambles and gingerly descend into the dark cave beyond.\n\nThe lantern's dim glow casts shadows across the walls of the cavern, which, oddly, seems not so much collossal as contrived. Raising the lantern, you read an etching over the eastern entrance to the cave: \"Property of Plato.\" Casting it around, you notice a gap in the walls of the cavern that leads down further into the cave system.\n\nBizarrely, chained down in the centre of the cave are a group of wasted-looking humans. They make no reaction to your stumbling entrance, save to stare intently at the shadows you are casting on the wall. Feeling a little sheepish, you make a bunny shadow-picture for them, it being the only one you can remember. They fail to smile.\n\n> You look at the people\nThe denizens sit with their legs and necks chained so they cannot turn their heads from the shadowy forms in front of them. Their ears are covered in thick earmuffs and on their faces lie expressions devoid of all curiosity.\n\n> You show Manifesto to the people\n(first taking the Communist Manifesto)\n(putting the lighter into the sack to make room)\nThe denizens of Plato's Cave seems to take no notice.\n\n> You give Manifesto to people\nIt would be terribly cruel to incite them to cast off the shackles of their oppression when they're sitting impotent in locked chains.\n\n> You remove the chains\n(first taking the chains)\nPhilosophers are not yet supermen.\n\n> Unlock chains\nWhat do you want to unlock the chains with?\n\n> You examine the chains\nThe chains link every one of the denizens, locking them tightly in place. They come together into one giant padlock.\n\n> You examine the padlock\nThis padlock looks like it eats other locks for breakfast.\n\n> You check your inventory\nYou are carrying:\na Communist Manifesto\na lit lantern (providing light)\na sack (open)\na lighter\na veil\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\na Chinese key\n\n> You talk to the people\nYou saunter up to one of the denizens and tap one of them on the shoulder.\n\n[1] Hello?\n[2] (leave)\n\n> 1\n\"What?\" says the denizen, \"you'll have to speak up!\"\n\n[1] Hello?\n[2] I said, \"HELLO!\"\n[3] Oh, never mind. . .\n\n> 2\n\"Hello,\" replies the denizen. You resolve to speak a little louder from now on.\n\n[1] Love the earmuffs. They really complement the shackles.\n[2] Nice cave -- I like what you've done with the place.\n[3] What's the shadow play you're watching?\n\n> 1\nTwo of the denizens give a look that would usually accompany a cursory glance around in less cervical-rotational-inhibited examiners. One says, \"What earmuffs?\"\n\n[1] The ones your wearing.\n[2] Ah, my mistake: I must be mistaking a mass case of advanced ear-hair growth with earmuffs.\n\n> 1\n\"I don't know what you're talking about,\" three of them say in unison. Given the differing inflection, they may not all have been replying to the same remark.\n\n[1] So . . . quite the cave system you've got here.\n[2] Cute manacles. Are they one-cuff-chains-all, or do they come in different sizes?\n[3] Are those shadows playing the Importance of Being Earnest on the wall over there, or is it Deformed Rabbit?\n\n> 2\n\"I see no such thing!\" replies one of the cave dwellers. \"Nothing chains us here,\" rejoinders another.\n\n[1] How do explain the fact that you can't move?\n[2] Clearly the entire back catalogue of a bondage shop has been wasted on you if you don't even realise it's there.\n\n> 1\n\"Oh, alright,\" admits one of them, \"maybe we're a little chained up. It's not as if there's anything more inteesting to see behind us.\"\n\n[1] Other than the world of real forms as opposed to the shadow world you see before you?\n[2] What about colours and three dimensional objects?\n[3] There are many wondrous things out there -- like talking scarecrows, burning windmills and friendly barbers.\n\n> 1\nThe denizens of the cave don't seem to heed your word, dismissing such things as metaphysical illusions.\n\n[1] How do feel about sitting in a dank little cave?\n[2] Do you spend all your time watching shadows, or is it only when adventurers come by with sources of light?\n\n> 2\n\"What shadows?\" asks a denizen to your left, her eyes affixed on the shadow play on the wall.\n\n[1] The ones you're watching -- shapes caused by objects partially blocking a source of light.\n[2] What else do you call the display you're watching?\n\n> 1\n\"What we're watching,\" explains one of the denezins, \"is the world go by. This is reality.\"\n\n[1] This isn't reality, it's the semblance of reality.\n[2] You're glued to an illusion.\n\n> 1\nThe denizens don't seem to listen, preferring simply to continue to stare at the shadows on the wall.\n\n[1] So. . . nice cave system you've got here.\n\n> 1\n\"What cave?\" three of them chant from somewhere around the back row. The one you were addressing continues to stare ahead.\n\n[1] This cave. You know, the one you're sitting in.\n[2] My mistake, your cold damp dark cavernous environ isn't a cave. It's a foreshortened underground tunnel.\n\n> 1\nThe denizen that you were originally addressing expresses his disbelief in mutters.\n\n> You talk to the people\nThere's nothing else worthwhile to say to the denizens. They're still chained to the cave floor, watching the shadow play.\n\n> You unlock the padlock with the key\n(first taking the Chinese key)\n(putting the Communist Manifesto into the sack to make room)\nThat doesn't seem to fit the lock.\n\n> You unlock padlock with Manifesto\n(first taking the Communist Manifesto)\n(putting the Chinese key into the sack to make room)\nThat doesn't seem to fit the lock.\n\n> You eat the padlock\n(first taking the padlock)\nPhilosophers are not yet supermen."
    },
    {
        "text": "> You look around\nThe lantern's dim glow casts shadows across the walls of the cavern, which, oddly, seems not so much collossal as contrived. Raising the lantern, you read an etching over the eastern entrance to the cave: \"Property of Plato.\" Casting it around, you notice a gap in the walls of the cavern that leads down further into the cave system. Chained down in the centre of the room, eyes affixed on your shadow playing on the wall, are the denizens of this cave. You make a bunny shadow-picture for them."
    },
    {
        "text": "[Themes: Surreal, ethics, metaphysics]\n\n> Go downward\nYou crawl resolutely down into a dank catacomb, pausing only to scrape wumpus dung from your feet. Here in the catacombs a horde of chattering bats fly amidst the staligmites and staligtites.\n\nOne bat, looking particularly melancholy, hovers for a moment in front of your face. \"I hate my life,\" it says, before fluttering sadly off.\n\n> You listen\nThe bats chitter and chatter, and would chutter as well, if it didn't sound so silly.\n\nYou hear a bat circling above you humming a brutal-sounding song to itself.\n\n> You talk to the bat\n\"My, my, don't you look tasty,\" chatter the bats chitteringly.\n\n[1] Why, thank you.\n[2] I never foresaw the day when I'd be chat-up by bats.\n\n> 2\nA bat flies out from the group and droops dejectedly off a staligmite near you. \"I'd savour it and leave before they savour you.\"\n\n[1] Savour me? I'm not going to be eaten am I?\n[2] You seem a tad melancholy.\n\n> 2\n\"You would be too,\" the bat cries, \"if the bloody secrets of your tortured soul were ignored by all the reputable philosophy journals.\"\n\n[1] Reputable philosophical journals? Pardon?\n[2] That's a very strange thing to be upset about.\n[3] Do explain.\n\n> 3\nThe bat blinks sadly at you, brushing its fringe away from its eyes with a sweep of its tattered wing. \"It's like this,\" it begins, in a voice resonant with murky emotion. \"All the journals care about is zombies, zombies, zombies. None of them care to investigate the deepest, darkest revelations of the deep, dark mind of the vampire bat. No-one understands us! Nobody cares!\n\n[1] Well, I'm a philosopher -- perhaps I could spread the word?\n[2] Yes, I can certainly see how that would be pertinent to philosophy.\n[3] Gosh, that is tragic. Please do unclasp the bosom of your secret soul to me.\n\n> 1\nThe bat hops towards you a little hopefully. \"Really?\" it says. \"Really?\" It looks down at its claws. \"I've written a book, you know,\" it whispers. \"An autobiography. It has poems in it. Not that publishers do anything other than reject it. But perhaps . . . perhaps . . . ?\" It looks towards you expectantly.\n\n[1] Oh, go on, give it here.\n[2] A vampire bat's verse autobiography? I'm positively quivering with excitement.\n\n> 1\nThe bat pulls a tiny book from behind its wings and drops it to the ground in front of you with a little whimper. \"Thank you,\" it says breathily, its fringe drooping lower and lower. \"I'm going to go and feed on some virgins now to assuage my insatiable homicidal appetite for human blood. Thanks for listening.\" It takes off in an excited flurry and chitters away.\n\n> You get the book\n(the bat's autobiography)\n(putting the Communist Manifesto into the sack to make room)\nTaken.\n\n> You give the book\n(the bat's autobiography to Nagel)\nYou grab Nagel as he passes you, heading for the cabinets. \"Here,\" you say. \"I thought you might like this.\"\n\nHe looks down at the book, wide-eyed. \"Never . . . \" he says. \"Never in all my days . . . How did you get this?\"\n\n\"Just chatted to them, really,\" you reply.\n\n\"Interesting,\" he says, already frantically flipping through the pages, waving a hand around the laboratory. \"And I thought that all we could do was study them like this. But now . . . oh now . . . please, would you leave me with this? And would you look after these keys for me? They were given to me to look after by some old man in a toga when he saw how much time I spent in the caves gathering specimens. But I shan't need  . . . to go there . . . any more . . . \"\n\nHe drifts off into his own world, absorbed entirely by the book. You grab the bunch of keys from his outstretched hand, wondering what they could possibly open.\n\n> You check your inventory\nYou are carrying:\na bunch of keys\na lit lantern (providing light)\na sack (open)\na Communist Manifesto\na Chinese key\na lighter\na veil\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\n\n> You go to the west\nYou push your way through the brambles and gingerly descend into the dark cave beyond.\n\nThe lantern's dim glow casts shadows across the walls of the cavern, which, oddly, seems not so much collossal as contrived. Raising the lantern, you read an etching over the eastern entrance to the cave: \"Property of Plato.\" Casting it around, you notice a gap in the walls of the cavern that leads down further into the cave system. Chained down in the centre of the room, eyes affixed on your shadow playing on the wall, are the denizens of this cave. You make a bunny shadow-picture for them.\n\n> Unlock lock\nWhat do you want to unlock the padlock with?\n\n> Unlock padlock with bunch\nYou find the right key amonst the bunch to unlock the unwieldy padlock and it opens with a satisfying click. None of the denizens seem to notice.\n\n> You give Manifesto to people\n(first taking the Communist Manifesto)\n(putting the bunch of keys into the sack to make room)\nYou hand the closest denizen the Communist Manifesto and wait while she reads it outloud to the other. You go for a quick nap through the bits about modes of production and different kinds of bourgoisie, waking up in time for the end:\n\n\"Workers of the world unite!\" a denizen exclaims, getting into the spirit of things, \"You have nothing to lose but your chains!\"\n\n\"You know, I think she's right,\" pipes up another at the back.\n\n\"I agree!\" shouts another.\n\n\"Wait a second,\" one says, \"we're not workers. We've never done a day's work in our lives!\"\n\n\"Yes, Ted, but the oppression of the owners of the means of production clarifies and sharpens the class divide,\" explains the reader, \"so as members of the collective oppressed classes we're made de facto working class.\"\n\nThe voice known as Ted considers this for a moment, and then shouts, \"Those thieving capitalist bastards! Let's go knock some heads!\" With frantic calls for revolution and a classless society the denizens cast off their chains, and earmuffs, and storm outside in an angry mob.\n\n> You take the earmuffs\nTaken.\n\n> You look at the earmuffs\nBig furry earmuffs. A pair of them! They look like they'd induce a blissful silence for the wearer.\n\n> You give earmuffs to Lumberjack\nYou give the earmuffs to the lumberjack and the Buddhist monk. They put them on nice and snug and you give them the thumbs up and step back. The lumberjack takes a swing at the nearest tree, felling it with one hit. \"Wow,\" says the lumberjack a little louder than usual, \"I didn't hear that fall in the slightest!\"\n\n\"Aha!\" exclaims the Buddhist, \"so your premise that a tree always makes a sound when it falls is undermined!\"\n\nThe lumberjack sighs. \"I was uncorrect in my presumptitions, here -- take my axe.\"\n\n> You check your inventory\nYou are carrying:\nan axe\na lit lantern (providing light)\na sack (open)\na bunch of keys\na Chinese key\na lighter\na veil\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\na fifty pence piece\n\n> You kill him with axe\nWhen he's not paying attention, you viciously dispatch the zombie Zombiefinder with your axe. Afterwards, you roll the unsightly mess off the hill. There's nothing like a decapitated zombie to ruin an otherwise pleasant hilltop vista.\n\nYou move to untie the martyr for truth, but she'll have none of it, \"I can untie myself, thank you very much. I'm not some damsel in distress, I'll have you know.\"\n\n[1] I know, I know. Just trying to help.\n[2] Well, you certainly look like one . . .\n\n> 2\n\"Either way,\" she says, untying herself with a few wrenches at her ropes, \"My thanks for proving me right. And, I suppose, as you've done something for me, I suppose the only consistent behaviour is for me to give you something in return.\"\n\nClimbing down from the now redundant pyre, she hands you a small box that had been concealed about her person.\n\n\"Now inside this hermetically-sealed box,\" she says, \"is the thing. The only thing that's truly consistent. If you ever need to dispel a dangerous illusion or establish a firm and coherent grounding, open this box. But it'll only work once. As soon as anyone senses the thing, it'll just become shrouded in appearance like everything else. So I suggest you only open this box when you really, really need it.\"\n\nWith these words she disappears towards the village, leaving you alone with the final product of what can only be described as a viciously convoluted object-puzzle quest. You only hope it's worth it."
    },
    {
        "text": "[Themes: Surreal, metaphysics, gender-neutral protagonist, philosophy, unicorn, fantasy, ethics]\n\n> Look around\nThe hill is now fairly pleasant, though the pyre is still smouldering softly away.\n\nFrom here, you could head west, back to the village, or further into the hills to the north.\n\n> You examine the pyre\nAn impressive mound of wood built up around the central stake, it's catching alight slowly.\n\n> You look at the stake\nRather wooden.\n\n> You throw veil at the guard\n(first taking the veil)\n(putting the axe into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> Again\n(first taking the veil)\n(putting the wooden box into the sack to make room)\nYou pick the veil up again. How tedious.\n\nYou look shiftily from side to side, and when you assure yourself that nobody is watching, you cast the veil over the guard's helmet. For several long moments you wait. Hesitantly, you put a foot past the guard. She doesn't move.\n\n\"Hello?\" you whisper.\n\n\"Excuse me, I seem to be completely ignorant to who I am and why I am here,\" she replies. \"Can you help me?\"\n\n[1] A living statue, your job is to keep still and quiet all day.\n[2] You're a guard -- you're guarding these stairs from me passsing [3] You're Bishop Berkeley and you're on your way to the tavern to give a lecture on Idealism.\n[4] You're a mild mannered accountant by day, but by night you don a cape and fight crime.\n[5] You're a very charitable person who would never dream of impeding someone's progress up some stairs.\n[6] You're an itinerant farm-hand who dreams of one day owning their own farm with rabbits and alpaca, but deep down you know it'll never happen.\n[7] You write Thus Spoke Zarathustra fan-fiction and go to heavy metal concerts.\n\n> You unlock door\nWhat do you want to unlock the seconddoor with?\n\n> Bunch\n(first taking the bunch of keys)\n(putting the first key into the sack to make room)\nThat doesn't seem to fit the lock.\n\n> First key\n(first taking the first key)\n(putting the bunch of keys into the sack to make room)\nThat doesn't seem to fit the lock.\n\n> Examine box\nIt's a smooth and very plain wooden box, with the mysterious words \"Ding an Sich\" inscribed on the lid. The martyr for truth told you to open it when you really needed to dispel an illusion. Is that time now . . . ?\n\n> You check what you're carrying\nYou are carrying:\na first key\na lit lantern (providing light)\na sack (open)\na bunch of keys\na wooden box (closed)\nan axe\na Chinese key\na lighter\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\n\n> You open the box\nYou make to open the box, and then remember the martyr's instructions:\n\n\"If you ever need to dispel a dangerous illusion or establish a firm and coherent grounding, open this box. But it'll only work once. As soon as anyone senses the thing, it'll just become shrouded in appearance like everything else. So I suggest you only open this box when you really, really need it.\"\n\nAre you sure you want to open it now?\n\n> Yes\nYou eagerly open the box and look inside it. There is what appears to be . . . what can only be described as a thing. You have no idea what to do with it. It just sits there, in the box, thing-like. At least, that's how it seems to you. There is the vague sense about the thing that there's something more to it, something you can't get at -- but all you seem to have is what appears to be -- a thing.\n\n> You examine the thing\nIt's some thing or other, it appears.\n\n> You look\nSecond Chamber (in the Time Machine)\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You get the thing\n(putting the first key into the sack to make room)\nTaken.\n\n> You look\nSecond Chamber (in the Time Machine)\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\nIn the Time Machine you can see the thing.\n\n> You eat thing\nThat's plainly inedible.\n\n> You get the newspaper\n(putting the thing into the sack to make room)\nTaken.\n\n> You take qualiascope\n(putting the newspaper into the sack to make room)\nTaken.\n\n> You get in Machine\nYou clamber into the Time Machine and perch on the red seat.\n\nSecond Chamber (in the Time Machine)\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You listen to the music\nThe organ music is very forboding.\n\n> You look at the chrome dials\nThe three dials are highly polished and highly mysterious. They could affect space-time co-ordinates or they could regulate the air conditioning. Each seems to serve a different function: the leftmost is a two-way switch, the middle one seems to be able to be set to a wide range of possible points, and the rightmost looks like some kind of timer."
    },
    {
        "text": "[Themes: Surreal, fantasy, philosophy]\n\n> Look around\nYou're standing at the entrance to a vast maze built of hedges that tower six feet above you. The path seems extravagantly narrow, as if the designer wanted to prepare the unwary adventurer from the outside. Above the entrance is a painted wooden sign. It looks important.\n\n> You go south\nYou step tentatively into the maze, looking askance at the lump of lead. Approaching a moral dilemma, it starts whirring wildly, and glowing cracks in the cube appear. It begins to unfold into an astonishingly complex device -- an array of dishes and balances, with an arrow mounted on top. With little else to do you follow the arrow past the dilemma. And then past the next -- and the next. Moral dilemmas seem not to be dilemmas at all before its power, and soon you emerge from the maze, breathless, at the foot of the crag that looms over this land.\n\nA winding path leads up the side of the crag, and you follow it, huffing and puffing, until you reach the top. Here, looming dangerously atop the already looming crag, sits a gigantic loom. No, a gigantic castle -- you were confused for a minute there. Behind you, this crazy world stretches out below. You take a deep breath. You feel, somehow, that you are near your goal -- whatever that may be..\n\nYou are in a paved courtyard before the castle. Here, true to form, an ivory tower towers above you, the result of a billion poaching expeditions or more. Similarly true, a guard guards the broad stairs leading up to the tower.\n\nBelow you is the vertiginous path down the side of the crag -- and below that stretches the world. The strangest thing of all, however, is the faint and ominous organ music on the periphery of your hearing.\n\n> 2\n\"Really?\" she asks.\n\n\"No!\" you quickly reply, \"I was only joking.\"\n\n\"Well, if it's all the same to you,\" she says, \"I'm just going to stand here until I've got things figured out for myself.\"\n\n> 7\n\"That would certainly explain the suit of armour,\" she says, a little perturbed, \"but if it's all the same to you I'm just going to stand here until I've got my head straight.\"\n\n> You examine the leftmost dial\nA minus sign is etched above the dial to the left, and a plus sign to the right. It's currently turned to the right.\n\n> You look at the middle dial\nThere's a scale etched around the dial, with an M with a line above it at one end. Leading clockwise up to that are various other letters, with no pattern to them as far as you can see. The dial's currently at the far anti-clockwise end of the scale.\n\n> You turn the middle dial clockwise\nThe dial seems rather stiff. With an effort you can get it to snap further along the scale so that it points at an L, but it budges no further for now.\n\n> You turn the middle dial clockwise\nYou give the middle dial an extra twist and force it to the far end of the scale, pointing somewhere near the final M.\n\n> You look at the chrome dials\nThe three dials are highly polished and highly mysterious. They could affect space-time co-ordinates or they could regulate the air conditioning. Each seems to serve a different function: the leftmost is a two-way switch, the middle one seems to be able to be set to a wide range of possible points, and the rightmost looks like some kind of timer.\n\n> You turn the middle dial clockwise\nIt's already turned as far as it will go.\n\n> You turn the dial minus\nWhich do you mean, the leftmost dial, the middle dial or the rightmost dial?\n\n> You turn the leftmost dial anticlockwise\nJust try turning it instead.\n\n> You turn leftmost dial\nYou flick the dial to point at the minus sign.\n\n> Exit\nYou get out of the Time Machine.\n\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You turn the right dial\nYou turn the rightmost dial clockwise and release it -- with a ticking noise it begins to turn itself back the other way. When it reaches its starting point there is a sharp ringing noise and --\n\nYou sit back as the time machine hums and whistles into life. The brass railing starts to shiver and shake and somewhere in the depths of the engine something goes \"meow\" in a fuzzy sort of way and a bright light washes over the booth. The day turns to night and then to day and back at ever-increasing speeds. After about eighteen thousand, two hundred and fifty flashes you arrive in the past.\n\nAround you appears to be a night-darkened museum exhibition. A clock on the wall, its hands simulacra of keys, indicates the time (or perhaps the simulacrum of time) to be  9:58. Given that the time machine doesn't seem to move spatially, the Ivory Tower must have been the International House of Keys some fifty years previously, or so the banner on the wall suggests.\n\nIn the centre of the exhibition is a case displaying a key loaned by the H.G. Wells Reenactment Society. It has the number \"2\" engraved on it. With your axe to hand, you smash the case and grab the key.\n\nImmediately a heinous wailing fills the room, and lights flash in burning red -- the alarms have been set off! A security guard rushes in and rugby-tackles you. In defense you lash out with the axe, and to your horror the guard's head separates from his shoulders in a graceful arc of blood. The severed head, carried forward by its own momentum, smacks you in the chops -- and your horror is compounded by the fact that you immediately recognise -- though younger than you knew him -- your own grandfather.\n\nYou barely have time to contemplate the fact that you have successfully broken the entire universe before you wink out of existence, along with the rest of all creation.\n\n> You drop the axe\n(first taking the axe from the sack)\n(putting the newspaper into the sack to make room)\nDropped.\n\n> You turn the right dial\nYou turn the rightmost dial clockwise and release it -- with a ticking noise it begins to turn itself back the other way. When it reaches its starting point there is a sharp ringing noise and --\n\nYou sit back as the time machine hums and whistles into life. The brass railing starts to shiver and shake and somewhere in the depths of the engine something goes \"meow\" in a fuzzy sort of way and a bright light washes over the booth. The day turns to night and then to day and back at ever-increasing speeds. After about eighteen thousand, two hundred and fifty flashes you arrive in the past.\n\nAround you appears to be a night-darkened museum exhibition. A clock on the wall, its hands simulacra of keys, indicates the time (or perhaps the simulacrum of time) to be  9:58. Given that the time machine doesn't seem to move spatially, the Ivory Tower must have been the International House of Keys some fifty years previously, or so the banner on the wall suggests.\n\nIn the centre of the exhibition is a case displaying a key loaned by the H.G. Wells Reenactment Society. It has the number \"2\" engraved on it. You grab the nearest thing to hand -- a huge replica padlock -- and with it smash the display the case, grabbing the key.\n\nImmediately a heinous wailing fills the room, and lights flash in burning red -- the alarms have been set off! A security guard rushes in and rugby-tackles you. Quickly you lash out with the novelty padlock, knocking the guard unconscious. Casting the padlock from you, you hop into the booth and set the dials to the present day.\n\nSafely back in the second chamber, you clamber out of the Time Machine and give it a quick kick.\n\n> You get the axe\n(putting the second key into the sack to make room)\nTaken.\n\n> You examine Machine\nAs with the Time Machine, this device has its name engraved on the casing in a large copperplate font -- \"Turing Machine\", it says. Again similarly, there's some kind of booth in the machine, complete with fake red leather seat. This booth lacks the steampunk wizardry of the Time Machine -- there's simply a glowing screen with a keyboard in front of it.\n\n> You think about Turing\nAlan Turing (1912 - 1954) was an English mathematician and logician (and also, importantly, a cryptographer whose work on the Enigma machine in WWII proved essential) whose lasting legacy is in computer science and artificial intelligence. Turing's ideas on the functionality of computers are still central today, while his theories and tests for artificial intelligence are widely influential.\n\n> You get in the booth\nYou get into the machine and sit on the seat. The computer screen in front of you is displaying the word \"Hello!\" in garish green type, inviting a response.\n\n> You look at screen\nThe computer screen is displaying a message in bright green letters. \"Hello!\" it says. There's a little > symbol beneath that.\n\n> You type hello\nThe screen goes blank for a moment, and then another message appears: \"That's what you think passes for a human-sounding response, is it? Hmm. What's your name, anyway?\"\n\n> You type hello\nThe screen goes blank again and, sure enough, another message flashes up: \"Oh, really? Well, if you say so. And what are you doing here? You know, what's your quest, sort of thing?\"\n\n> Type truth\nThe screen now says: \"If it weren't so demeaning, I'd write \"lol\". But it is, so I shan't. Right. Last question: What's the fiftieth digit after the decimal place of pi?\"\n\n> Type 3\nThere's a very long wait before the screen responds. Eventually, it displays a final message: \"Oh, alright. That's a fairly human response, I suppose. You pass. Have a key.\" As you finish reading this, there's a swish electronic noise, a hitherto-unseen panel opens up, and a key falls onto the floor. You pick it up, as the panel closes into invisibility again, and the screen winks out.\n\n> You unlock door\nWhat do you want to unlock the thirddoor with?\n\n> Third\n(the third key)\nYou unlock the door and open it, trembling with trepidation. Through the door lies another ivory staircase -- a spiral staircase which winds upwards towards another chamber.\n\nThe organ playing is deafening here. It's echoing around the curved ivory walls, its descending scales and dark figures amplified and multiplying, a dense wall of foreboding music. The doorway and stairs behind you seem terribly inviting -- if you had any excuse to leave her, any unfinished business, you would scamper downstairs now. Otherwise -- another door lies on the other side of the chamber.\n\nBut there is another machine between you and that door. And looking in that machine, you almost flee straight away: sitting on the red fake leather seat, wearing a peculiar helmet, is a grinning skeleton.\n\n> You look at helmet\nA large metal helmet, with a vizor and ear-plugs, attached to the casing of the machine by a long rubber cord.\n\n> You examine the skeleton\nThe yellowed and wasted skeleton is grinning broadly -- or perhaps that's just the effect of your skin dissolving into dust and your clothes into rotted rags about you. It's slumped in the machine, wearing a large metal helmet which covers most of its skull -- a vizor over its eye sockets, plugs in its ear holes, even a cord leading into its mouth -- leaving exposed only that awful, leering smile.\n\nThe skeleton also seems to be clutching a peculiar hat in its bony hand.\n\n> You get the hat\nBetter leave it -- it's all there is to identify the poor adventurer by.\n\n> You examine the hat\nIt looks like the kind of cap worn by the nomads of Afghanisan to you. Presumably the skeleton -- when it was still an adventurer -- removed it to put on the helmet.\n\n> You look at Machine\nAs with the previous machines, there's an engraving -- \"Experience Machine\" -- and a fake red leather seat. The only visible electronics, however, is a strange sort of headset, currently being worn by a rather happy-looking skeleton.\n\n> You check what you're carrying\nYou are carrying:\na third key\na second key\na lit lantern (providing light)\na sack (open)\nan axe\na newspaper\na first key\na wooden box (closed)\na bunch of keys\na Chinese key\na lighter\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\n\n> Wear helmet\n(first taking the large metal helmet)\nYou pick up the helmet -- it's heavier than it looks -- and settle it on your head. You adjust the vixor and ear-plugs and, feeling a little awkward, put the little wired tab in your mouth. You wait expectantly for a moment, and then your ears are filled with the most beautiful voice you have ever heard. \"Welcome,\" it says, in tones so perfect you could almost weep.\n\nAnd then, suddenly, your every sense and emotion is awash with feeling. Joyous, exquisite pleasure -- your every desire feels fulfilled, your every need met. Your are euphoric, overcome.\n\nThe joy continues, and continues, and continues.\n\nForever.\n\n> You get the thing\n(putting the second key into the sack to make room)\nYou've got your hands a bit full. You're going to have to find a sack or something if you want to carry any more.\n\n> Wear helmet\n(first taking the large metal helmet)\nYou pick up the helmet -- it's heavier than it looks -- and settle it on your head. You adjust the vixor and ear-plugs and, feeling a little awkward, put the little wired tab in your mouth. You wait expectantly for a moment, and then your ears are filled with the most beautiful voice you have ever heard. \"Welcome,\" it says, in tones so perfect you could almost weep.\n\nAnd then, suddenly, your every sense and emotion is awash with feeling. Joyous, exquisite pleasure -- your every desire feels fulfilled, your every need met. Your are euphoric, overcome.\n\nThe joy continues, and continues, and continues.\n\nForever.\n\n> You take the thing\n(putting the third key into the sack to make room)\nTaken.\n\n> You put the thing in Machine\nYou put the thing into the Experience Machine.\n\n> You look at the dials\nTerrifyingly complicated; you'd rather not touch them.\n\n> You look at Machine\nAs with the previous machines, there's an engraving -- \"Experience Machine\" -- and a fake red leather seat. The only visible electronics, however, is a strange sort of headset, currently being worn by a rather happy-looking skeleton.\n\n> You get the skeleton\nAs you touch the skeleton, it slumps awkwardly out of the Machine and collapses, amid a cloud of choking dust, into a pile of bones on the floor of the chamber, clattering hollowly on the ivory. The headset swings down and bounces folornly on the end of its cord. There's an awkward silence.\n\n\"Sorry about that,\" you say.\n\n> You look at the headset\nA large metal helmet, with a vizor and ear-plugs, attached to the casing of the machine by a long rubber cord.\n\n> You wear the earplugs\n(first taking the large metal helmet)\nYou pick up the helmet -- it's heavier than it looks -- and settle it on your head. You adjust the vixor and ear-plugs and, feeling a little awkward, put the little wired tab in your mouth. You wait expectantly for a moment, and then your ears are filled with the most beautiful voice you have ever heard. \"Welcome,\" it says, in tones so perfect you could almost weep.\n\nAnd then, suddenly, your every sense and emotion is awash with feeling. Joyous, exquisite pleasure -- your every desire feels fulfilled, your every need met. Your are euphoric, overcome.\n\nThe joy continues, and continues, and continues.\n\nForever.\n\n> You look\nThe organ playing is deafening here. It's echoing around the curved ivory walls, its descending scales and dark figures amplified and multiplying, a dense wall of foreboding music. The doorway and stairs behind you seem terribly inviting -- if you had any excuse to leave her, any unfinished business, you would scamper downstairs now. Otherwise -- another door lies on the other side of the chamber.\n\nBut there is another machine between you and that door, with a sorry looking pile of bones beside it."
    },
    {
        "text": "[Themes: Surreal, humor, fantasy, philosophy, metaphysics]\n\n> Go downward\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You examine the ivory sheet\nThe archway is blocked by an impenetrable sheet of ivory. There's no going back.\n\n> Inventory\nYou are carrying:\nthe thing\na lit lantern (providing light)\na sack (open)\na third key\na second key\nan axe\na newspaper\na first key\na wooden box (open but empty)\na bunch of keys\na Chinese key\na lighter\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\n\n> Rub thing\nAy, there's the rub.\n\n> You unlock door\nWhat do you want to unlock the firstdoor with?\n\n> First\n(first taking the first key)\n(putting the thing into the sack to make room)\nThrough the door lies another ivory staircase -- a spiral staircase which winds upwards towards another chamber.\n\nThis chamber is exactly like the one below it but for two minor details: firstly, the atmospheric organ music is ever so slightly louder; secondly, the machine in the centre of the room is both not made of bees and clearly a time machine. The clue is in the words \"Time Machine\" engraved on its casing.\n\n> You unlock the door with third\n(the third fake red leather seat)\n(first taking the third fake red leather seat)\nPhilosophers are not yet supermen.\n\n> You examine Machine\nAs with the Time Machine, this device has its name engraved on the casing in a large copperplate font -- \"Turing Machine\", it says. Again similarly, there's some kind of booth in the machine, complete with fake red leather seat. This booth lacks the steampunk wizardry of the Time Machine -- there's simply a glowing screen with a keyboard in front of it.\n\n> You unlock door\nWhat do you want to unlock the thirddoor with?\n\n> Third key\n(first taking the third key)\n(putting the second key into the sack to make room)\nThrough the door lies another ivory staircase -- a spiral staircase which winds upwards towards another chamber.\n\nThe organ playing is deafening here. It's echoing around the curved ivory walls, its descending scales and dark figures amplified and multiplying, a dense wall of foreboding music. The doorway and stairs behind you seem terribly inviting -- if you had any excuse to leave her, any unfinished business, you would scamper downstairs now. Otherwise -- another door lies on the other side of the chamber.\n\nBut there is another machine between you and that door, with a sorry looking pile of bones beside it.\n\n> Wear helmet\n(first taking the large metal helmet)\nYou pick up the helmet -- it's heavier than it looks -- and settle it on your head. You adjust the vixor and ear-plugs and, feeling a little awkward, put the little wired tab in your mouth. You wait expectantly for a moment, and then your ears are filled with the most beautiful voice you have ever heard. \"Welcome,\" it says, in tones so perfect you could almost weep.\n\nAnd then, suddenly, your every sense and emotion is awash with feeling. Joyous, exquisite pleasure -- your every desire feels fulfilled, your every need met. Your are euphoric, overcome.\n\nThe joy continues, and continues, and continues.\n\nForever.\n\n> Smell thing\nThere's a disturbing musty smell in the air.\n\n> Rub thing\nAy, there's the rub.\n\n> Examine box\nIt's a smooth and very plain wooden box, with the mysterious words \"Ding an Sich\" inscribed on the lid. The martyr for truth told you to open it when you really needed to dispel an illusion. Is that time now . . . ?\n\n> Wave thing\nYou look ridiculous waving the thing.\n\n> You think about the ding an sich\n\"Ding an sich\" is Kant's German term meaning \"the thing in itself\". A thing in itself is something independent of awareness -- it is core to Kant's philosophy that we live in a world of appearances, the appearances created by a discursive mind which shapes them according to its own innate mental categories, but that \"beneath\" this world of appearances lies the world in itself, about which we can know nothing but that it exists.\n\nThis distinction, also known as that between \"phenomena\" and \"noumena\", has been enormously influential. In epistemology, it overturned the rationalist/empiricist debate, by implying that we can only know the empirical world (and not the ideal truths of rationalism), but also by adding that we must know that empirical world rationally. The idea that there is a world of subjective awareness fed into later debates in philosophy of mind, while the idea that the world of appearances is discursively created led the way for the postmodern and post-structuralist revolution in philosophy, which dismantled philosophical dogmas and preconceptions as being culturally and linguistically specific, and which implied that all knowledge is to some extent chosen, discursively determined by interpreting minds.\n\nThat revolution, as well as more analytic attacks on Kant's philosophy, has served to help undermine the phenomenal/noumenal distinction in the first place. Is there really a world of appearances present in consciousness? Is there really a world in itself independent of experience? These questions are the foundation of metaphysics to this day.\n\n> You get the helmet\nYou pick up the helmet -- it's heavier than it looks -- and settle it on your head. You adjust the vixor and ear-plugs and, feeling a little awkward, put the little wired tab in your mouth. You wait expectantly for a moment, and then your ears are filled with the most beautiful voice you have ever heard. \"Welcome,\" it says, in tones so perfect you could almost weep.\n\nAnd then, suddenly, your every sense and emotion is awash with feeling. Joyous, exquisite pleasure -- your every desire feels fulfilled, your every need met. Your are euphoric, overcome.\n\nThe joy continues, and continues, and continues.\n\nForever.\n\n> You go machine\nNow vacated by its former occupant, you climb into the machine. There really is nothing here but the helmet, attached to the machine's casing by a long rubber cord.\n\n> You cut the cord\nYou just make a cutting comment instead, which is about as useful.\n\n> You check what you're carrying\nYou are carrying:\nthe thing\na lit lantern (providing light)\na sack (open)\na third key\na second key\na first key\nan axe\na newspaper\na wooden box (open but empty)\na bunch of keys\na Chinese key\na lighter\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator"
    },
    {
        "text": "[Themes: Surreal, unicorn, humor, ethics, educational, fantasy]\n\n> Look around\nFourth Chamber (in the Experience Machine)\nThe organ playing is deafening here. It's echoing around the curved ivory walls, its descending scales and dark figures amplified and multiplying, a dense wall of foreboding music. The doorway and stairs behind you seem terribly inviting -- if you had any excuse to leave her, any unfinished business, you would scamper downstairs now. Otherwise -- another door lies on the other side of the chamber.\n\nYou're in the Experience Machine. It's an uncomfortable booth, containing only a strange metal helmet, with a sorry looking pile of bones beside it.\n\n> You go to the east\nYou'll have to get out of the Experience Machine first.\n\n> You open the door\nYou push suspiciously against the ivory door. Sure enough, it eases open -- it wasn't locked! You take a regretful look at the pile of bones on the floor and make your way up the spiral stairs as the organ music fills your ears.\n\nAs you step into the next chamber, a huge wall of ivory crashes down behind you, blocking the doorway. You, however, are too transfixed by the sight before you to even turn round.\n\nA vast organ fills much of this chamber, its huge bank of ornate pipes reaching higher than you can see. But even this, the biggest organ you have ever seen, is made to seem like a child's electronic keyboard by the figure that sits at it, back to you, playing the keys with vast, gnarled hands. It is a hulking brute of a figure, wearing a thick black cloak that ripples and flows as the figure plays and plays.\n\nHearing the crash of the ivory wall, the figure pauses in its playing. Notes ring around the chamber as it pulls itself to its feet, casting the cloak to the ground and turning round.\n\nIt is a hideous fiend. Two twisted horns sprout from its forehead; its skin is a burning red; its huge body taut with bulging muscle and its black-bearded face a picture of evil. It speaks, in a voice dark and deep:\n\"Welcome.\"\n\n[1] Er . . . Hello.\n[2] Wait a minute: top of a tower, climactic organ music, evil villain . . . This is a d?noument, isn't it?\n[3] Horns, check. Red skin, check. Point beard, check. Bulging muscles ready to crush pun humans, check. You're an evil demon, aren't you? [4] (whimper)\n\n> 3\nThe demon roars with laughter. \"Correct, my fine young adventurer!\" he bellows. \"I am the Evil Demon, and this is my realm. How do you find it?\"\n\n[1] It's . . . very nice.\n[2] Awful. I've been nearly gored by a unicorn, trodden in philosopher vomit, watched my mother almost get incinerated, and been emoted to by vampire bats. And that's your fault, I find now, is it?\n[3] I didn't find it, it found me. What's all this about?\n\n> 3\n\"Slow down, my hasty young friend,\" chides the demon mockingly. \"First, I must know: I have carefully crafted this world to be confounding to your every sense, bedazzling to your mind and befuddling to your wits. Now tell me: was it not good?\"\n\n[1] Yes, good, very good. Can I go now?\n[2] If by \"good\" you mean \"mind-numbingly sadistic\", then yes, it was good.\n[3] No, it was utterly horrible! Are you telling me you created this whole place?\n\n> 2\n\"Indeed I do,\" replies the demon. \"My thanks for your compliment. Now: to the fun!\n\n[1] Fun? Fun? What fun?\n[2] Wait, wait! Why me?\n[3] Sure, fun: but first I have to know: Where is this place? What am I doing here?\n\n> 3\nThe demon smiles. \"This is not a where,\" he says enigmatically. \"Where you are, I do not know. This world -- this world is but an illusion of your mind. My powers of creation are but these: to control your every sensation, to sustain the representation of life in your consciousness. I am your world.\n\nAnd now I will be your death. We must duel!\n\n[1] This is a duel for my life, right?\n[2] (fight him)\n\n> 1\n\"No,\" says the demon. \"This is a duel to your death. Fight!\"\n\n[1] (fight him)\n\n> 1\nThe demon snaps his fingers -- his cloak and the organ behind him vanish with a sulphurous crack. He stands, all-powerful, staring you down.\n\nNot knowing what else to do, you lower your head and charge at him, screaming. Your eyes closed, you fail to see where you're going and, as he dodges easily out of the way, you smack straight into the ivory wall. As you reel back in a daze, staggering, the demon soars above you, fire flaring from his fingertips and smoke pouring from his nostrils. The chamber fills with his laughter.\n\nThe demon extends his hand, and an enormous fireball careers towards you. You roll to the side just in time as the fireball crashes into the ivory floor, scorching the tiles.\n\n> You throw thing at Demon\nYou throw it at the demon, but he just catches it in his fist and crumbles it into dust.\n\nThe demon crashes to the ground, the shockwaves throwing you against the wall. You pick yourself up to your feet as the demon soars back into the air.\n\n> Kiss Demon\nIt wouldn't be any use!\n\nThe demon crashes to the ground, the shockwaves throwing you against the wall. You pick yourself up to your feet as the demon soars back into the air.\n\n> You eat Demon\n(first taking the Evil Demon)\nPhilosophers are not yet supermen.\n\nThe demon swoops down at you and smacks you with a huge clawed fist. You crash against the wall once more with the force of the blow.\n\n> You wake\nIf only it were that simple.\n\nThe demon conjures up an ethereal wind which launches you into the air, before dispelling it again and dropping you onto the ground with a sickening thud.\n\n> West\nYou channel your will to power to summon a path in that direction. Sadly, nothing happens: you can't go that way.\n\nThe demon lands in front of you and stares you in the eyes. There is a dreadful pause as you fall into the glowing hollows of his pupils, and then he punches you square in the stomach. As you collapse you think you hear the sound of ribs breaking.\n\n> Down\nYou are unable to descend by the fourthdoor.\n\n> You kill Demon with the axe\nYou charge at the demon, swinging your axe wildly into the air. He grabs your wrist, snaps it, takes the axe, and brings it crashing down on your skull.\n\n> You think about Demon\nThe Evil Demon rules over Western philosophy. He is one of the first thought experiments in its Modern period, devised by Descartes, the Father of Modern Philosophy.\n\nDescartes set out to determine what he could know using only the powers of his own rationality. He reasoned thus: there could be an Evil Demon controlling every aspect of my experience. Everything I think I know could be a false impression created by an Evil Demon to fool me. So what can I know by the use of reason alone? Descartes's first thought was that he knew with utter certainty that we was thinking -- for even if he only thought he was thinking, even if the Evil Demon was fooling him into thinking, that was still a thought. He could not doubt he was thinking, because doubt was a thought. So he was thinking. Cogito, ergo sum -- popularly translated as \"I think, therefore I am\".\n\nDescartes continued to think a lot more than that, but perhaps you'd better just think about this for a moment. First thought: this devision of what we reason and what we experience has ruled over much of Western philosophy. But why is reason more certain than experience? Couldn't the Evil Demon fool us into thinking that we were certain of our rationality as well? Couldn't we just as well think that direct experience, sitting safe in memory, is more reliable than waffly rationality? Second thought: how does Descartes get from the neat proof that he is thinking to the idea that he definitely exists? What about thought proves existence? Isn't just the humbler \"Cogito\" by itself better? Third thought: What do we mean by thoughts?\n\nThere are huge questions even at the very root of the founding ideas of our philosophy.\n\n> You throw the axe at Demon\n(first taking the axe)\n(putting the thing into the sack to make room)\nYou throw it at the demon, but he just catches it in his fist and crumbles it into dust.\n\n> Sing\nThe hills are alive. Which in any other context would be positively terrifying, but it's only the sound of music.\n\n> Shit\nQuite."
    },
    {
        "text": "[Themes: Surreal, adventure, gender-neutral protagonist, humor, fantasy, unicorn]\n\n> You look around\nThe organ playing is deafening here. It's echoing around the curved ivory walls, its descending scales and dark figures amplified and multiplying, a dense wall of foreboding music. The doorway and stairs behind you seem terribly inviting -- if you had any excuse to leave her, any unfinished business, you would scamper downstairs now. Otherwise -- another door lies on the other side of the chamber.\n\nBut there is another machine between you and that door. And looking in that machine, you almost flee straight away: sitting on the red fake leather seat, wearing a peculiar helmet, is a grinning skeleton.\n\n> You check what you're carrying\nYou are carrying:\na third key\na second key\na lit lantern (providing light)\na sack (open)\nan axe\na newspaper\na first key\na wooden box (closed)\na bunch of keys\na Chinese key\na lighter\na qualiascope\na manual\nfile of Platonic forms\na useless scrap of paper\na Categorical Imperativator\n\n> You get the skeleton\nAs you touch the skeleton, it slumps awkwardly out of the Machine and collapses, amid a cloud of choking dust, into a pile of bones on the floor of the chamber, clattering hollowly on the ivory. The headset swings down and bounces folornly on the end of its cord. There's an awkward silence.\n\n\"Sorry about that,\" you say.\n\n> Third\nsecond key: (first taking the second key from the sack)\n(putting the third key into the sack to make room)\nDropped.\nthird key: (first taking the third key from the sack)\nDropped.\n\n> 2\n\"Hah!\" laughs the demon. \"By and by, no doubt. But first: How do you find my realm?\"\n\n[1] It's . . . very nice.\n[2] Awful. I've been nearly gored by a unicorn, trodden in philosopher vomit, watched my mother almost get incinerated, and been emoted to by vampire bats. And that's your fault, I find now, is it?\n[3] I didn't find it, it found me. What's all this about?\n\n> 1\nThe demon chuckles once more at your response. \"I somehow doubt you've found it so, as you've got this far. Tell me, did you not find it all at all strange?\"\n\nBefore you can respond he continues: \"Of course you did. I designed it to be so. I have carefully crafted this world to be confounding to your every sense, bedazzling to your mind and befuddling to your wits. Now do tell me: was it not good?\n\n[1] Yes, good, very good. Can I go now?\n[2] If by \"good\" you mean \"mind-numbingly sadistic\", then yes, it was good.\n[3] No, it was utterly horrible! Are you telling me you created this whole place?\n\n> 3\n\"In a manner of speaking,\" answers the demon, his wrath mounting. \"But enough talk -- to the fun!\n\n[1] Fun? Fun? What fun?\n[2] Wait, wait! Why me?\n\n> 1\n[3] Sure, fun: but first I have to know: Where is this place? What am I doing here?\n\n\"Why, the d?noument,\" answers the demon. \"The final duel!\"\n\n[1] Wait, wait! First I have to know: Where is this place? What am I doing here?\n[2] This is a duel for my life, right?\n[3] (fight him)\n\n> 1\nThe demon smiles. \"This is not a where,\" he says enigmatically. \"Where you are, I do not know. This world -- this world is but an illusion of your mind. My powers of creation are but these: to control your every sensation, to sustain the representation of life in your consciousness. I am your world.\n\nAnd now I will be your death. We must duel!\n\n[1] This is a duel for my life, right?\n[2] (fight him)\n\n> You open the box\nYou remember what the martyr said -- that the power of the Ding an Sich will dispel all illusion -- and wrench the box open.\n\nImmediately the room is filled with an extraordinarily bright light pouring forth from the box, which is quaking in your grasp. You cast it to the ground, and it skids along the ivory towards the Demon, showering sparks in all directions.\n\nYou look up at the Demon's stricken face -- he is gasping, his eyes bulging -- he is clawing himself away from the burning light. You shield your eyes from the sight, but you can still hear his hellish bellows -- they echo round the chamber, growing louder and louder, and all you can hear is the noise and the light is burning through your eyelids . . .\n\n> You look\nSuddenly all is quiet and still. You open your eyes. The demon has vanished -- and so has the box. There is a dull, whistling sound. The walls of the ivory chamber, you realise, look wrong -- thin, weakened somehow. They are growing strangely transparent, but instead of the blue skies beyond there's a strange darkness. You look down, and realise that the same is happening to the floor beneath your feet.\n\nSoon the ivory tower has vanished entirely. You're falling, and beneath you you see the lights of the village wink out one by one. The now-dark ocean is rolling up the beach, and the plains seem to be melting away. You feel the air rushing by as the rocky ground comes rapidly up to meet you, ready to crush your helpless body. The end is coming.\n. . .\n. . . ugh . . .\n. . . bleurgh . . .\nYou didn't expect the afterlife to smell vaguely of vomit, which was the first clue. When you opened your eyes and realised that the dull pressure on your noise was due to the way it was squashed into the scratchy carpet, that was the second clue. The third was when you rolled over and saw your own bedroom ceiling.\n\nYour own blessed room. Your own blessed hangover. Your own blessed dried pool of sick lying beside you.\n\nYou pull yourself gingerly to your feet. You're still wearing your watch -- and it's telling the time and date you'd expect it to. For a moment you worry you're going to be late for the morning's lecture, and the wild dreams of the night are already fading from memory. Then you remember: term's over. You've nothing to do but lie around all day long, recovering from the previous festivities. And then, tonight, with your classmates, you fully intend to start a fantastic bonfire, and burn every single one of your lecture notes.\n\nYou realise you're still gripping something in your hand. You open it -- and there it is, lying in your palm. A tiny key, with a little Chinese symbol engraved on it.\n\nYou look at it for a while, and then go to fetch a mop and bucket."
    },
    {
        "text": "[Themes: maze, slice of life, multiple protagonists, college]\n\nThe sun is very low now, and as long as you stand in this exact spot with your head in this exact position, it shines straight through the tower's arches and into your eyes, so that you're standing right on its gargantuan shadow's axis of symmetry and staring directly into the center of its magnificent silhouette. It is gorgeous. This is a transcendent moment of perfect alignment, one which you wish you could prolong indefinitely, but now your eyes are starting to hurt. You should stop staring at the sun.\n\nThe hill on this side of the river is a wide lawn with only a few trees, seemingly designed for the purpose of offering a clear view of the tower. Down the hill to the west, the streetlamps are already turned on over the bridge, like runway lights marking the path up to: the tower.\n\nYou feel like there are spots like this all over town that exist only to make people notice this tower, and yet as far as you can tell, you're the only one who's as obsessed with the tower as you are.\n\nA couple of kids are sitting on a blanket nearby, pawing at each other like there's nobody else around\u2014and wouldn't that be nice?\n\n[Author's Note: A story of mild and non-debilitating obsession.]\n\n> You examine the kids\nThey stare into each other's eyes; they whisper; at intervals they kiss.\n\nBy \"wouldn't that be nice,\" you didn't mean that it would be nice to be necking outdoors in front of everyone. The thing that would be nice is the hypothetical situation in which there's nobody else around.\n\n> You check what you're carrying\nYou are carrying:\na photocopy from the library\n\n> About yourself\nYou aren't really obsessed.\n\nYou do have other things going on in your life. You have other goals. But isn't it best, with any goal, to give it your complete focus, at least for as long as you're focusing on it? Yesterday you had something else to take care of, so you took care of it. Tomorrow there will be yet another thing to worry about, and you will worry about it, exerting one hundred percent of the concern that the issue merits.\n\nBut tonight, you are going to get to the top of that tower.\n\n> You look at the photocopy\nThis is a photocopy of a photocopy of a grainy photo from an old book, but it gets the point across. It depicts a monster carved in stone, with the head and talons of a rooster but the wings and tail of a dragon. It is either a basilisk or a cockatrice."
    },
    {
        "text": "> You describe your surroundings\nThe hill on this side of the river is a wide lawn with only a few trees, seemingly designed for the purpose of offering a clear view of the tower. Down the hill to the west, the streetlamps are already turned on over the bridge, like runway lights marking the path up to: the tower.\n\nA couple of kids are sitting on a blanket nearby, but all their attention is focused on each other.\n\n> You examine the river\nIt winds into town from up north somewhere, and it loiters around here for a while, and then it heads south toward destinations unknown. Probably somewhere warmer.\n\n> You look at the hill\nWhich do you mean, the west hill or the east hill?\n\n> You look at the west hill\nThe hill on the far side of the river is covered in trees, and they all look the same. Not especially interesting.\n\n> You examine the east hill\nSomebody takes good care of this lawn. Some individual or group of individuals gets paid to make this a nice place for strangers to sit around and watch the sunset.\n\nThere's one bright orange ginkgo tree out in the middle of the grass; it stinks, but it's pretty.\n\n> You look at the ginkgo tree\nPeople would probably sit underneath it and have picnics all the time, if it didn't smell the way that it does. From a distance, though: very nice.\n\n> You look at the tower\nIt was built in the twenties by a man who had studied the Gothic architecture of France in his off time during the first World War. Then various other people built various other, uglier buildings around it, like it needed to be protected from something.\n\nFrom here, though, it seems to stand like a crown on the horizon, graceful and severe, all of its gables and arches very distinct against the sky. Is this the most beautiful thing in this city? Probably, yes.\n\n> You examine the blanket\nThe age of that blanket is in all likelihood greater than the sum of the ages of its occupants.\n\n> You talk to the kids\nYou mutter a hello, and the two kids look up to you with apprehensive smiles.\n\n> You ask the kids about the tower\nThey look across the river. \"Huh,\" says the girl. \"I never thought about it.\"\n\n\"I always thought it was a church,\" offers the boy.\n\nIt is not a church.\n\n> You ask the kids about themselves\nThe boy takes the lead. \"Uh, we're having a really nice afternoon. Thanks for asking.\"\n\n> Kiss kids\nThat's the kind of unabashed emotional openness that gets people arrested.\n\n> You show the photocopy to the boy\nThe two of them take a look at the photocopy.\n\n\"I have no idea what that is,\" says the girl.\n\nTo which the boy adds: \"Yeah.\"\n\n> You stare at the sun\nThe setting sun is \"directly\" behind the tower (actually, it is separated from the tower by ninety-three million miles of empty space).\n\n> You go west\nIt's getting harder to see the tower, but it's still due west from here.\n\nThe river looks a little choppy on account of the wind, and nobody's standing around to admire the view, but there are a few birds swooping around to make the scene tolerably pretty.\n\nSome guy is crossing from the other direction. Just don't make eye contact.\n\n> You examine guy\nHe's only a guy with a beard and a backpack, the type of guy you see all over the place. He might even look a little familiar.\n\nYou just looked him in the eye by accident, and now you have to nod politely to show him you're not a creep.\n\nHe keeps walking, and disappears behind you.\n\n> You examine the river\nIn a couple months, it'll be a wasteland of jagged ice floes grinding into each other; tonight it's just a run-of-the-mill river.\n\nThere used to be a trio of ferocious geese that would hang out around here, but something must have happened.\n\n> Go west\nThis side of the river is somewhat quieter, as there aren't as many people running around.\n\nBut now the hill and the trees and everything have made it impossible to see the tower at all. You're too close. It's still up the hill to the west, though. You know that much.\n\nWell, great, somebody is locking up her bike on the rack. What's she doing here?\n\n> You look at the woman\nActually, it looks like she was in fact unlocking her bike, and now she's cycling off across the bridge.\n\nMaybe you'll have the place to yourself after all.\n\n> You examine the trees\nThe hill is covered in trees. If you knew more about trees, you might get more out of staring intently at these trees the way you are. As it stands, you have no reason to continue staring at the trees.\n\n> You listen\nThe low rumble of society is all around you.\n\n> You go west\nAll right, this is it. The tower is just ahead.\n\nWell, just ahead is the newer building that surrounds the tower on all sides, too high for you to see the actual tower from down here. But you walked straight west from across the river, so it stands to reason that you could reach the tower by heading through the door to the west.\n\nA sidewalk running around the building leads northwest and southwest.\n\nThe placard over the door says \"ENTRANCE 19\".\n\n> You look through the window\nThe lights are still on inside, and you can just make out a photograph hung on the opposing wall. It may actually be a picture of the tower.\n\n> You look at the photograph\nIn the photograph, the tower stands alone atop a hill. It must have been taken before the construction of the building that you're peering into.\n\n> Go northwest\nThere's another door here at the north end of the building, facing an empty parking lot. Not much of a view.\n\nThe sidewalk turns from southeast to southwest, and it breaks off here toward a stairway that leads down to a basement exit or something.\n\n> You look at the lot\nIt's just a big black rectangle, but if you ran over to the other end you might be able to get a look at the tower.\n\n> You go north\nThere are no cars here; everyone must be home for the night. A low chain fence does a lousy job of separating the pavement from the slope below.\n\nBut when you turn back towards the south, you do get a very nice view of the tower.\n\n> You look at the tower\nYou haven't had a chance to see the tower from this angle before tonight, and it merits some close attention. The north face looks very similar to the east face, but there are some details that either differ between the two sides or aren't visible from way across the river. Those rosettes, for example; you've never seen anything like them before.\n\n> You look at the rosettes\nWell, you assume they're rosettes. They're probably rosettes.\n\n> You examine the chain\nIt's just a plain old chain, slung over fenceposts five or so feet apart.\n\n> You examine the slope\nThe hill descends into darkness."
    },
    {
        "text": "> You go downward\nThe tower is south from here. The city that extends in all other directions is of no interest to you tonight.\n\n> You go south\nThere's another door here at the north end of the building, facing an empty parking lot. Not much of a view.\n\nThe sidewalk turns from southeast to southwest, and it breaks off here toward a stairway that leads down to a basement exit or something."
    },
    {
        "text": "[Themes: multiple protagonists]\n\n> Go downwards\nThe sign says \"NO SMOKING\", but judging from the cigarette butts all over the floor, it looks like this little hole at the bottom of the stairs isn't used for anything else.\n\nThe pale door here must lead into the basement.\n\n> You open the door\nWell, hold on. You should think about this first. It's possible that you aren't supposed to go through this door.\n\nOn the other hand, there's no signage saying anything of the kind\u2014and even then, if these people don't feel like locking a particular door, that's their problem.\n\nAll right, it's settled. It is completely ethical for you to open this door.\n\n> You open the door\nYou reach toward the door, but it opens before you touch it\nYou reach toward the door, but it opens before you touch it, and two people walk out\npeople walk out and bump into you.\n\nIt's just a couple of kids! Well, college kids. One of them is wearing a bright green scarf\u2014why does she need a scarf? It's not that cold out.\n\nThey goggle at you for a second, until the other one manages to say \"Pardon me, sorry, excuse me,\" and they rush past you and up the stairs.\n\nThe door swings shut.\n\n> You open the door\nYou open the basement door.\n\n> Go inside\nThe lights in here are orange, which would seem to indicate something.\n\nAt the south of the hall, a door leads into the main staircase; the pale door at the north end opens outside. The door in the east wall is labeled \"MAINTENANCE\".\n\nHigh on the wall, an antiquated security camera turns from one to the other.\n\nThe door swings shut behind you.\n\n> You examine camera\nIt is a big angry trapezoid, painted a shade of burnt umber that hasn't been in currency for decades. The eye is a dusty bubble, behind a dustier pane of protective glass.\n\n> Go south\nYou knew this part was coming.\n\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\nThe door swings shut behind you.\n\n> You look at nook\nA person of your size could conceivably enter this cavity in order to hide from a pursuer, if it ever came to that.\n\n> You enter the nook\nYou hunch over slightly to fit in the nook. Hey, a dollar!\n\n> You take dollar\nTaken.\n\n> You look at dollar\nIt's in fairly good shape, considering.\n\n> You go outside\nYou get out of the nook.\n\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\n> Go north\nThe hallway is very dark, except in this small area near the vending machine. A cushioned bench sits across from it, a place where hungry souls can sit and consider which snack to purchase. A door leads back into the stairway.\n\nThe door swings shut behind you.\n\n> You look at the machine\nIt looks like a roll of mints (E2) or a pack of gum (E4) is fifty cents; a chocolate bar (D1), nut roll (D3), or box of crackers (C5) is seventy-five cents; and a bag of cookies (B1), potato chips, (A4) or corn nuts (A5, but those things are inedible) is a dollar and twenty cents.\n\nTo your right are the slots for bills and coins, that seven-segment display that says how much money is in the machine ($0.00), the buttons for your letters and your numbers and your coin return, and the little hole that your change comes out of.\n\n> You examine the bench\nNot a bad place to take a break.\n\n> You sit on the bench\nYou get onto the cushioned bench.\n\n> You stand\nYou get off the cushioned bench.\n\nThe hallway is very dark, except in this small area near the vending machine. A cushioned bench sits across from it, a place where hungry souls can sit and consider which snack to purchase. A door leads back into the stairway.\n\n> Go north\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\nThe door swings shut behind you."
    },
    {
        "text": "> Go downwards\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\n> You go outside\nYou get out of the nook.\n\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\n> Go north\nThe lights in here are orange, which would seem to indicate something.\n\nAt the south of the hall, a door leads into the main staircase; the pale door at the north end opens outside. The door in the east wall is labeled \"MAINTENANCE\".\n\nHigh on the wall, an antiquated security camera turns from one to the other.\n\nThe door swings shut behind you.\n\n> You go to the south\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\nThe door swings shut behind you.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\n> You go to the south\nThe hallway is very dark, except in this small area near the vending machine. A cushioned bench sits across from it, a place where hungry souls can sit and consider which snack to purchase. A door leads back into the stairway.\n\nThe door swings shut behind you.\n\n> Go north\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\nThe door swings shut behind you.\n\n> You go south\nAlthough it seems reasonable to guess that the hallway continues in the same direction for some distance, you'd prefer not to go stumbling around in the dark. A safer bet is heading back inside the stairway.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 2 is painted on the wall.\n\nA door leads out to the second floor hallway.\n\nSomeone dropped their notebook on the steps.\n\n> You take the notebook\nTaken.\n\n> You examine it\nIt's small enough to fit in a back pocket, and clearly has seen its share of adventures. The cover is closed; \"DIARY\" has been scrawled across it in pen.\n\n> You read it\nYou paw tentatively at the cover. It occurs to you that the author of this journal likely did not expect for a stranger to pick it up and start reading. The author probably would be somewhat upset if they discovered you browsing through their diary, and justifiably so.\n\nThat's false, though. Nobody can reasonably expect that their possessions will remain unmolested after being abandoned in a staircase. A person who wants their secrets to remain secret has a responsibility to avoid dropping those secrets on the floor, and probably shouldn't have them down in the first place.\n\nYou've made your decision.\n\n> You read the notebook\nYou open the book to a random page:\n\nSo, about a week ago I wrote in here about the steam tunnel grate next to the construction site on the hill across the river, and how I saw it was left unlocked, and how I stood over it with that incredible feeling of anticipation/dread as I considered what secrets lurked beneath before I chickened out and went home. You, faithful reader, already know that story.\n\nI ended up telling the same story to Kerianne after I wrote it all down, and she got way, way too excited about it. The emotional and spiritual significance of deciding not to climb down the grate was completely lost on her. She just told me that if it had been her, she would have jumped down there immediately. She told me this a number of times, and then she started asking about where exactly the grate was, and did I think it was still open, et cetera. I got suspicious. I knew what her game was.\n\nAnd I told her very clearly, in no uncertain terms, that she absolutely was not to go climbing down that grate into those steam tunnels, unless she took me with her. So that's what we did this afternoon.\n\n[Press any key to continue...]## Stretch of Tunnel\nKerianne climbed down the hatch first, and I went down after her. She did not seem nervous at all. I was tremendously nervous, but I don't know if Keri noticed. I've never been able to tell by looking at people whether they can tell how I'm feeling by looking at me.\n\nAnyway. The tunnel was terrifying. It would have been wide enough for two people to walk side by side, except the walls were covered in these huge pipes, so instead it was super claustrophobic. There were lights every so often, but they were so dim that you couldn't really see any appreciable distance.\n\nWhile we were still standing next to the ladder, I said, \"Well, let's say that way's north, and that way's south,\" because I had no idea which way north actually was, and I didn't want to get lost.\n\nThen Keri asked why it mattered which way was north, and I said it didn't, except it might help to have a frame of reference. We discussed this briefly. I failed to convince Keri of the virtue of my approach. She said, \"Did you bring the chalk?\" And I said yes (she had told me earlier to bring chalk, so I did), and she said that was all we needed to avoid getting lost.\n\nI decided I would privately refer to the directions as \"north\" and \"south\" in my mind regardless.\n\n> You check your inventory\nAll I was carrying was my piece of chalk.\n\n> About you\nI had come prepared. I was wearing my dirtiest jacket (so I didn't burn my arms on any steam pipes) and some extremely grody jeans.\n\n> Go north\nWe had ended up at a dead end. The only way back was south.\n\nKeri said, \"Don't worry about it. There can't be that many tunnels.\" As it turned out, there were lots and lots of tunnels. Many, many, many tunnels. But I refused to become discouraged.\n\n> You write de1\nI wrote \"de1\" on the floor.\n\n> You go south\nStretch of Tunnel - \"\"s art\"\"\nWe were in the middle of a stretch of tunnel that went north and south, with a ladder leading up to an access grate. \"\"s art\"\" was written on the floor.\n\nNow that we were well and truly intruding upon these steam tunnels, where we weren't supposed to be, I asked Keri why it was so important to her for us to intrude upon these steam tunnels where we weren't supposed to be.\n\n\"Well, these grates are all over campus, and I always used to stop and try to peer down into them. But there are only so many grates, and you can only see like a square foot of the tunnel from up on the sidewalk. I could tell that the tunnels were an entire separate plane of the campus, but I could barely see it, much less actually, you know, be there.\"\n\nI can remember this all perfectly accurately, because I have a photogenic memory.\n\n> Go south\nAt this juncture we had reached a fork in the tunnels that led north, east, and south.\n\nKeri thought about it some more and then she continued her thought from before. \"And everyone at this school ends up going to the same buildings, and they all walk on the same sidewalks, until they find the shortcuts that everyone else already knew about. Maybe sometimes you notice something that someone else hasn't noticed, but as far as the spaces you occupy, everybody ends up with the same experience.\n\n\"But nobody ever goes down in the steam tunnels! Because nobody ever gets the chance. But you gave us a chance, and I knew we had to take it.\" At this point she grabbed my arm in a very affirming if somewhat uncomfortable manner. \"So, thanks.\"\n\n> You write tiberius\nI wrote \"tiberius\" on the floor.\n\n> You write cloverfield\nI wrote \"cloverfield\" on the floor.\n\n> You go to the south\nAt this juncture we had reached a fork in the tunnels that led north, east, and south.\n\nI suggested to Keri that maybe we should try looking for a way out, since it was starting to look to me like we had seen everything the tunnels had to offer. She sighed very deeply.\n\n> You write the transylvania\nI wrote \"transylvania\" on the floor.\n\n> You go south\nWe had ended up at a dead end. The only way back was north.\n\n> You write the dracula's crypt\nI wrote \"dracula's crypt\" on the floor.\n\n> You go north\nT-intersection - \"trarsylvania\"\nAt this juncture we had reached a fork in the tunnels that led north, east, and south. \"trarsylvania\" was written on the floor.\n\n> Go east\nT-intersection - \"DRIEDOUT\"\nAt this juncture we had reached a fork in the tunnels that led north, east, and west. \"DRIEDOUT\" was written on the floor.\n\nIt was written in marker instead of chalk, so I couldn't have written it, even if I had forgotten about it (somehow?). We looked at it silently for a moment. It was a weird moment.\n\n\"So, someone's been down here before us,\" Keri said. Obviously the people who were supposed to be in the steam tunnels had been there, but that's not what she meant.\n\nI asked her if she was disappointed.\n\n\"Kind of,\" she said. \"I mean, I shouldn't be. It was dumb to assume we would be the first.\"\n\nShe smiled, although it might have been a fake smile, and said, \"It's kind of cool, actually. Whoever wrote this must have hoped someone else would find it, and now we did.\"\n\n> Go east\nAt this juncture we had reached a fork in the tunnels that led north, south, and west.\n\nKeri craned her head toward the passage to the south. \"I don't think we've been down that way,\" she said.\n\n> You go to the south\nThe floor of the tunnel started to slope upward, and then we passed through an open doorway into a room that was not, strictly speaking, a tunnel.\n\nWe were in a serious-looking room in a building we definitely hadn't been in before. All around us were machines and dials and valves, and of course a bunch of pipes that went into the wall to snake through the tunnels. The only window was very high on the wall, too high for us to see through\u2014but I recognized it immediately.\n\nI said, \"I know the shape of that window. We're in the power plant!\"\n\nKeri said, \"Well, where else would all those steam pipes come from?\" I had never bothered thinking about it that way.\n\nThe passage to the tunnels was \"north\" of us, but I noticed another door off to the \"east\".\n\n> You examine pipes\nThere were pipes of numerous diameters and materials, and they popped up into the ceiling or out of the walls at random intervals. I don't know why they need so many pipes down there. You could tell without getting all that close that they were extremely hot.\n\n> Go east\nWe had kind of wordlessly agreed that we needed to get out of there, but when Keri reached to open the door I stopped her. I indicated the sign on the door, and explained how it said the door was an \"EMERGENCY EXIT ONLY\" and how an \"ALARM [would] SOUND\" if she opened it. But Keri just rolled her eyes.\n\nShe said, \"Look closely at this door. There is no alarm attached to it. There are no wires that lead away from this door and toward any alarm. This is just a door like any other door, except this door has a sign on it that lies.\"\n\nThen she said, \"Go ahead and open it.\"\n\n> You examine the door\nThe door looked like most doors you see around campus, but it had a sign that said \"EMERGENCY EXIT ONLY ALARM WILL SOUND WHEN OPENED\", and that gave me pause.\n\n> You open the door\nWell, it was with great trepidation that I approached that door, but of course when I opened it nothing happened, except that a huge gust of gorgeous cool air rushed in around us, and I felt more relieved than I had ever felt about anything in my life. I felt amazing.\n\nThen we went back to Keri's apartment and she gave me a back rub, and I felt even better.\n\n[Press any key to continue...]You close the notebook.\n\nFirst Floor Hallway (on the cushioned bench)\nThe hallway is very dark, except in this small area near the vending machine. A cushioned bench sits across from it, a place where hungry souls can sit and consider which snack to purchase. A door leads back into the stairway.\n\n> Inventory\nYou are carrying:\na notebook\na dollar bill\na photocopy from the library\n\n> Go north\n(first getting off the cushioned bench)\n\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\nThe door swings shut behind you.\n\n> Go upwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 2 is painted on the wall.\n\nA door leads out to the second floor hallway.\n\n> You examine the door\nIt's a tough-looking steel door, painted industrial gray. There's a tall, skinny window set above the handle.\n\n> You look through window\nA tall trophy case stands against one wall, its contents illuminated with a tiny lamp that barely manages to reveal the letters \"HLOHOWSKYJ & ASSOCIATES\" mounted on the wall opposite.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 3 is painted on the wall.\n\nA door leads out to the third floor hallway.\n\nYou hear a dull noise from the other side of the door.\n\n> You listen\nThe dim drone of humans occupying a distant space.\n\n> You look through the window\nAll you can see through the window is an intermittent glow on a far wall, reflecting light from a source around the corner somewhere. Someone must be watching TV.\n\nYou hear a dull noise from the other side of the door.\n\n> You knock on the door\nNo response.\n\n> You go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 4 is painted on the wall.\n\nA door leads out to the fourth floor hallway.\n\n> You look at the window\nTwilight casts the vague shape of someone's open door against the wall.\n\n> You open the door\nThe door's handle won't budge. You can see through the window to the other side, though.\n\n> Go up\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 5 is painted on the wall.\n\nA door leads out to the fifth floor hallway.\n\nYou'd think by now you would be getting tired.\n\n> You look at the window\nA long, dark hallway is on the other side of the door, and at the far end, underneath the only light that's turned on, a figure appears to be mopping the floor.\n\n> You examine the figure\nHe or she is either mopping or sweeping. Maybe. It's tough to tell.\n\n> You wave at the figure\nThe distant mopping figure is on the other side of the door.\n\n> You knock on the door\nNo response.\n\n> Go upwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 6 is painted on the wall\u2014in the middle of the loop, the word \"DRIEDOUT\" has been written in marker.\n\nA door leads out to the sixth floor hallway.\n\n> You examine the window\nThe sixth floor is completely dark.\n\n> You examine the door\nIt's a tough-looking steel door, painted industrial gray. There's a tall, skinny window set above the handle.\n\n> You examine driedout\nIt's easier to read than some other tags you've seen, if not as elaborate. The stem of the T fading out is a nice touch.\n\n> Go up\nFinally.\n\nYou stand at the top of the staircase. There are no more stairs to climb. The door leads out to the seventh floor.\n\nAnd off to the side, through a huge window, you can see the tower.\n\n> You examine the window\n(the huge window)\nThe places where the outside building have been grafted on are in full view, and here and there vents and ducts hang out like abandoned medical instruments. These people weren't content to appreciate the tower; they had to stitch themselves onto it, crowd in and subsume it, so that nobody else could have it.\n\nBut the crown of the tower stands above all this. You can see details you've never seen before: the pinnacles are lined with delicate crockets, and a row of escutcheons are carved at the base of the arches.\n\n> You look at the crockets\nThey're like the buds of tiny flowers. There are so many of them, and they were all carved by human hands. Impossible.\n\n> You examine the escutcheons\nFrom left to right: a lion rampant regardant sinister; a decrescent; a chevron inverted.\n\n> You go outside\nA framed portrait hangs on the wall across from the door into the staircase, with a small plaque beneath it. The hallway continues south.\n\nThe door swings shut.\n\n> You examine the portrait\nA man with a small mustache glances off to the side and down, trying to put some painful memory out of his mind.\n\n> You examine the plaque\nThe plaque reads:\n\nAmos B. Emery (1895-1973) was born in Edmond, Kansas and studied architecture at the University of Pennsylvania from 1915 to 1922, his studies interrupted by World War I service in France from 1917 to 1919. His design of the Gothic Tower, completed in 1927, was completed while working for Proudfoot, Rawson, Soeurs and Thomas; in 1930 he established his own office.\n\n> You go to the south\nThis hall was built right into the north face of the tower, and you stand beneath a stone archway that used to loom impossibly high in the air. Carved into the keystone of the arch is a grotesque beast: a cockatrice. Or a basilisk.\n\nBeneath the arch is yet another door.\n\n> You examine the keystone\nThis cockatrice, a statue of a cockatrice, is harmless. In folklore, the gaze of the cockatrice turned its victims into stone. But folklore isn't very specific: Do you turn into stone whenever a cockatrice looks at you, or is it when you happen to look at a cockatrice? Or is it necessary for you to look at a cockatrice while the cockatrice is looking back at you for the magic to take effect?\n\n> You make the eye contact\nOnce you start thinking about it, it becomes impossible, and you stare down at the ground instead.\n\n> You look at the photocopy\nThis is a photocopy of a photocopy of a grainy photo from an old book, but it gets the point across. It depicts a monster carved in stone, with the head and talons of a rooster but the wings and tail of a dragon.\n\nIt's the same carving you see over the archway.\n\n> You examine the window\nThrough the window you can see stairs\u2014more stairs!\u2014leading up.\n\n> Go south\nYou draw your hand back from the door's handle.\n\nThis is the furthest you've ever explored in a building where you weren't supposed to be. What would happen if someone caught you now? Could they have you arrested? On what charge?\n\nWell, there's trespassing.\n\n> You open the door\nYou reach for the door, and open it without event, revealing more stairs for you to climb.\n\n> Wait\nTime passes.\n\nThe footsteps are getting closer.\n\n> You wait for a while\nTime passes.\n\nA man wearing a drab uniform and a tool belt emerges from the doorway. He smiles politely as he passes you.\n\n> You examine the tool belt\nThough it has numerous loops from which to hang the instruments of his service, at present he's equipped only with a bottle of cleaning fluid.\n\n> You ask the man about Tower\nHe slows down once you've gotten his attention.\n\n\"It's a beautiful building, yeah. But I guess you get used to how beautiful it is after a while.\"\n\n> You ask the man about the estrucheons\n\"Sorry, I don't know anything about that. I just work here.\"\n\n> You show the photocopy to the man\nHe nods in recognition. \"Yeah, that's right up here.\" He points to the carving above the arch.\n\"It's a mythological beast. A chicken with a grievance.\"\n\nHe continues down the hallway.\n\n> Go south\nYou ascend the stairs, and reach the room at the top of the tower.\n\nA long table takes up the middle of the room, with several chairs sitting upside-down on top of it. Only a wheeled office chair remains standing on the floor, next to an easel displaying a pristine whiteboard.\n\nThe doorway to the archway is down the stairs. A small door is built into the west wall, and in the east wall is an even smaller window.\n\n> You examine the window\n(the tiny window)\nLooking through the window, you should be able to see across the river to the lawn. This would only be fair; it would only be what you deserve, after climbing all those stairs.\n\nBut the blinds, between the two panes of glass, are almost completely closed, and you can only make out a few details of the outside world by moving your head rapidly up and down.\n\nSticking out of the window frame is a thin metal lever.\n\n> You examine the lever\nIt's connected to the window, but what mechanism it engages is a mystery.\n\n> You pull the lever\nYou pull down on the lever, and it snaps off in your hand.\n\n> You check what you're carrying\nYou are carrying:\na metal lever\na notebook\na dollar bill\na photocopy from the library\n\n> You look at the chair\nIt's not a low-end chair, but it looks a bit beat up. Probably it's retired from service in a more important office.\n\n> You examine the easel\nA flimsy-looking collapsible easel.\n\n> You examine the whiteboard\nIt is perfectly white. And with good reason; you can't see any markers around.\n\n> You examine the door\n(the small door)\nIt's lower and narrower than any other door in the building, and it bears a sign reading \"EMERGENCY EXIT ONLY. Alarm will sound if opened.\"\n\n> You sit on the chair\nYou get onto the wheeled office chair.\n\n> You open the door\n(the small door)\nThe sign on the door says: \"EMERGENCY EXIT ONLY. Alarm will sound if opened.\" As much as you'd like to see what's on the other side, setting off an alarm isn't really an option.\n\nBut there's no alarm built into the door, and there are no wires or anything connected to it. And if that kid can do it...\n\n> You open the door\n(the small door)\nYou open the door\nYou open the door, and step out into the air.\nYou open the door, and step out into the air. From there, it's just a short climb to the top of the tower.\n\nIt's pretty windy up here.\n\nThis is as high as it gets: higher than any of the buildings around, higher than anything else in the city.\n\nStanding here in the crown of the tower, looking out from the arches, you can see the entire city in the fading dusk. There's the parking lot to the north, and the dark neighborhoods beyond that; to the east is the river, and the bridge, and the lawn up on the hill, where a few people are still walking around.\n\nMan, is it windy.\n\n> You look at the bridge\nThe sun is down, and the cones of orange light falling down from the streetlamps are all that illuminate the bridge. Nobody is walking across right now: Even the swallows are gone, returned to their cozy nests.\n\n> You look at Tower\nFrom inside, you can't get a clear view of any one part. The only solid impression you have is of how gigantic this tower is.\n\n> You look at the hill\nThe hill is almost empty, and the people milling around seem less busy and angry than they normally do. That's the thing about people: They're not so bad, as long as you can appreciate them from a reasonable distance.\n\nYou turn your focus to a blank space on the lawn: the spot where you were standing as the sun set, when you were looking up at the tower, at the space under the arches that you're standing in right now. The circuit is complete.\n\nNow the moon is rising, slowly, from behind the hill. Waning gibbous.\n\n> You examine the moon\nThe moon has several advantages over the sun. The moon isn't responsible for making summer as unbearably hot as it often is; the moon doesn't shine in through your bedroom window and wake you up before you wanted to be awake.\n\nThe disc of the moon provides a lot more to look at than the sun: intricate patterns carved out of the surface over millions of years. And you can look directly at the moon, without the risk of bodily harm.\n\nThere's nobody around to stop you; you can stare at it for as long as you like.\n\nAre you sure you want to quit? ]  Lawn\n\nThe sun is very low now, and as long as you stand in this exact spot with your head in this exact position, it shines straight through the tower's arches and into your eyes, so that you're standing right on its gargantuan shadow's axis of symmetry and staring directly into the center of its magnificent silhouette. It is gorgeous. This is a transcendent moment of perfect alignment, one which you wish you could prolong indefinitely, but now your eyes are starting to hurt. You should stop staring at the sun.\n\nThe hill on this side of the river is a wide lawn with only a few trees, seemingly designed for the purpose of offering a clear view of the tower. Down the hill to the west, the streetlamps are already turned on over the bridge, like runway lights marking the path up to: the tower.\n\nYou feel like there are spots like this all over town that exist only to make people notice this tower, and yet as far as you can tell, you're the only one who's as obsessed with the tower as you are.\n\nA couple of kids are sitting on a blanket nearby, pawing at each other like there's nobody else around\u2014and wouldn't that be nice?\n\n> You go east\nThe only thing in any other direction is the boorish city you must endure on a daily basis. The tower stands to the west, across the river.\n\n> You look at Tower\nIt was built in the twenties by a man who had studied the Gothic architecture of France in his off time during the first World War. Then various other people built various other, uglier buildings around it, like it needed to be protected from something.\n\nFrom here, though, it seems to stand like a crown on the horizon, graceful and severe, all of its gables and arches very distinct against the sky. Is this the most beautiful thing in this city? Probably, yes.\n\n> You examine the kids\nThey stare into each other's eyes; they whisper; at intervals they kiss.\n\nBy \"wouldn't that be nice,\" you didn't mean that it would be nice to be necking outdoors in front of everyone. The thing that would be nice is the hypothetical situation in which there's nobody else around.\n\n> About yourself\nYou aren't really obsessed.\n\nYou do have other things going on in your life. You have other goals. But isn't it best, with any goal, to give it your complete focus, at least for as long as you're focusing on it? Yesterday you had something else to take care of, so you took care of it. Tomorrow there will be yet another thing to worry about, and you will worry about it, exerting one hundred percent of the concern that the issue merits.\n\nBut tonight, you are going to get to the top of that tower.\n\n> You ask the man about Tower\n\"Um, yeah.\" The guy tries to turn back to look at the tower without breaking his stride. \"Pretty cool.\"\n\nHe keeps walking, and disappears behind you.\n\n> Go west\nThis side of the river is somewhat quieter, as there aren't as many people running around.\n\nBut now the hill and the trees and everything have made it impossible to see the tower at all. You're too close. It's still up the hill to the west, though. You know that much.\n\nWell, great, somebody is locking up her bike on the rack. What's she doing here?\n\n> You ask the woman about Tower\nShe fails to notice you. Actually, it looks like she was in fact unlocking her bike, and now she's cycling off across the bridge.\n\nMaybe you'll have the place to yourself after all.\n\n> You examine the trees\nThe hill is covered in trees. If you knew more about trees, you might get more out of staring intently at these trees the way you are. As it stands, you have no reason to continue staring at the trees.\n\n> You look at the rack\nIt's a frame of thick metal bars, scuffed but serviceable.\n\n> Go southwest\nThe sidewalk from the northeast ends here, where the perimeter of the building runs into a row of thick bushes to the south. It looks like a dead end, although there is another door to the north, labeled \"ENTRANCE 20\".\n\n> You examine bushes\nThe first thing you notice about the bushes is that they haven't been trimmed recently. The second thing you notice is a little hole in between two of them, just wide enough that you could slip through to whatever lies beyond.\n\n> Go south\nWhat's this?\n\nCarved into the hill among all these trees is a little place to sit: a circle of lumpy flagstones, surrounded by stone benches. There are weeds all over everything.\n\nIt feels like you've ended up in the middle of nowhere, although you're aware that the sidewalk is just north of here.\n\n> You examine the flagstones\nThere's not enough space between the benches to comfortably accomodate even a small group of people. What did the person who built this space have in mind?\n\n> You pull the weeds\nYou pull out a clump of vegetation (creeping charlie? maybe?) and toss it over your shoulder. Your action is laudable, but its effects are minimal.\n\n> You sit on the bench\nYou take a seat, lean back, and look up at the sky.\n\nThis is nice.\n\nYou can't really see anything from here, so it stands to reason that nobody can see you. This is real solitude.\n\n> Sleep\nYou close your eyes, but are unable to let go of your thoughts completely.\n\n> Go north\n(first getting off the stone bench)\n\nThe sidewalk from the northeast ends here, where the perimeter of the building runs into a row of thick bushes to the south. There's only a very narrow gap where you could pass between them. To the north is another door, labeled \"ENTRANCE 20\".\n\n> You look through the window\nThe hallway inside is dark, but you can see a red \"EXIT\" sign at the other end, and below it, a narrow orange rectangle\u2014about the dimensions of the one you're looking through.\n\n> You go to the north-east\nJust ahead is the newer building that surrounds the tower on all sides, too high for you to see the actual tower from down here. You walked straight west from across the river, so it stands to reason that you could reach the tower by heading through the door to the west.\n\nA sidewalk running around the building leads northwest and southwest.\n\nThe placard over the door says \"ENTRANCE 19\".\n\n> Go northwest\nThere's another door here at the north end of the building, facing an empty parking lot. Not much of a view.\n\nThe sidewalk turns from southeast to southwest, and it breaks off here toward a stairway that leads down to a basement exit or something.\n\n> You go to the south-west\nNow that you're on the other side of the tower, there's very little between you and this amazing sunset.\n\nA placard above the door reads \"ENTRANCE 17\", and the graffito underneath that says \"DRIEDOUT\". The sidewalk goes south and northeast from here, following the perimeter of the building.\n\nHey, there's a quarter on the sidewalk.\n\n> You get quarter\nTaken.\n\n> You look at it\nOn one side, George Washington's head. On the other, that big angry eagle.\n\n> You examine the sunset\nIt occurs to you that the sun is ridiculous.\n\nThe sun is larger than your imagination can grasp. It is hotter than your imagination can grasp. It is so hot, and so massive, that the laws of physics as you normally interact with them do not apply in its vicinity. In many ways the sun is functionally an alternate dimension.\n\nBut all these disturbing facts are unproblematic, because the sun is very far away. It is so far away (you can \"understand\" how far away the sun is only in a very rudimentary taking-their-word-for-it sense) that it appears to be smaller than your thumb. It's a very good thing that the sun is so far away, for a multitude of reasons. The distance between you and the sun is the perfect distance, the correct\ndistance, and as with so many things the correct distance is \"very, very, very far away\".\n\nYou really should stop staring at the sun.\n\n> You look through the window\nThere's a painting hanging in the hallway inside. You can only see it at an extremely oblique angle, but it might be a painting of a waterfall. Or a lady wearing a cape.\n\n> Go south\nYour eyes follow the trail of the sidewalk as it curves toward Entrance 16, Entrance 15, and who knows what other destinations, and you apply some quick spatial reasoning:\n\nThe tower is at this end of the complex, probably (assuming this end of the complex is basically symmetrical) due east from where you're standing. And you have no idea what is going on in the rest of this building. If you lose your point of reference, you could get seriously lost.\n\nIt's also starting to get kind of dark over there. It kind of feels like you should find another way inside.\n\n> Examine B\nIt's about five feet tall. Hard to miss.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\n> Go outside\nThe hallway is very dark, except in this small area near the vending machine. A cushioned bench sits across from it, a place where hungry souls can sit and consider which snack to purchase. A door leads back into the stairway.\n\nThe door swings shut.\n\n> You look at the machine\nIt looks like a roll of mints (E2) or a pack of gum (E4) is fifty cents; a chocolate bar (D1), nut roll (D3), or box of crackers (C5) is seventy-five cents; and a bag of cookies (B1), potato chips, (A4) or corn nuts (A5, but those things are inedible) is a dollar and twenty cents.\n\nTo your right are the slots for bills and coins, that seven-segment display that says how much money is in the machine ($0.00), the buttons for your letters and your numbers and your coin return, and the little hole that your change comes out of.\n\n> You put dollar in the slot\nYou stick the dollar bill into the slot, and now the display reads $1.00.\n\n> You put quarter in the slot\nYou stick the quarter into the slot, and now the display reads $1.25.\n\n> You examine hole\nIn the little hole is a nickel.\n\n> You get the nickel\nYou scoop up a nickel from the coin return.\n\n> You examine it\nNickels really are larger than they have any right to be.\n\n> You look at cookies\nCookies could be nice. A cookie is a cookie, after all.\n\n> Go inside\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 1 is painted on the wall.\n\nA door leads out to the first floor hallway.\n\nThe door swings shut behind you.\n\n> Go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 2 is painted on the wall.\n\nA door leads out to the second floor hallway.\n\nSomeone dropped their notebook on the steps.\n\n> You examine notebook\nYou scoop up the notebook for a closer look.\n\nIt's small enough to fit in a back pocket, and clearly has seen its share of adventures. The cover is closed; \"DIARY\" has been scrawled across it in pen.\n\n> You go north\nThe sign says \"NO SMOKING\", but judging from the cigarette butts all over the floor, it looks like this little hole at the bottom of the stairs isn't used for anything else.\n\nThe pale door here leads into the basement.\n\nThe door swings shut behind you.\n\n> Go upwards\nThere's another door here at the north end of the building, facing an empty parking lot. Not much of a view.\n\nThe sidewalk turns from southeast to southwest, and it breaks off here toward a stairway that leads down to that alcove with all the cigarette butts.\n\n> Go southeast\nJust ahead is the newer building that surrounds the tower on all sides, too high for you to see the actual tower from down here. You walked straight west from across the river, so it stands to reason that you could reach the tower by heading through the door to the west.\n\nA sidewalk running around the building leads northwest and southwest.\n\nThe placard over the door says \"ENTRANCE 19\".\n\n> You go southwest\nThe sidewalk from the northeast ends here, where the perimeter of the building runs into a row of thick bushes to the south. There's only a very narrow gap where you could pass between them. To the north is another door, labeled \"ENTRANCE 20\".\n\n> Go south\nCarved into the hill among all these trees is a little place to sit: a circle of lumpy flagstones, surrounded by stone benches. There are weeds all over everything.\n\nIt feels like you've ended up in the middle of nowhere, although you're aware that the sidewalk is just north of here.\n\n> You sit on the bench\nYou get onto the stone bench.\n\n> You read the DIARY\nYou open the book to a random page:\n\nSo, about a week ago I wrote in here about the steam tunnel grate next to the construction site on the hill across the river, and how I saw it was left unlocked, and how I stood over it with that incredible feeling of anticipation/dread as I considered what secrets lurked beneath before I chickened out and went home. You, faithful reader, already know that story.\n\nI ended up telling the same story to Kerianne after I wrote it all down, and she got way, way too excited about it. The emotional and spiritual significance of deciding not to climb down the grate was completely lost on her. She just told me that if it had been her, she would have jumped down there immediately. She told me this a number of times, and then she started asking about where exactly the grate was, and did I think it was still open, et cetera. I got suspicious. I knew what her game was.\n\nAnd I told her very clearly, in no uncertain terms, that she absolutely was not to go climbing down that grate into those steam tunnels, unless she took me with her. So that's what we did this afternoon.\n\n[Press any key to continue...]## Stretch of Tunnel\nKerianne climbed down the hatch first, and I went down after her. She did not seem nervous at all. I was tremendously nervous, but I don't know if Keri noticed. I've never been able to tell by looking at people whether they can tell how I'm feeling by looking at me.\n\nAnyway. The tunnel was terrifying. It would have been wide enough for two people to walk side by side, except the walls were covered in these huge pipes, so instead it was super claustrophobic. There were lights every so often, but they were so dim that you couldn't really see any appreciable distance.\n\nWhile we were still standing next to the ladder, I said, \"Well, let's say that way's north, and that way's south,\" because I had no idea which way north actually was, and I didn't want to get lost.\n\nThen Keri asked why it mattered which way was north, and I said it didn't, except it might help to have a frame of reference. We discussed this briefly. I failed to convince Keri of the virtue of my approach. She said, \"Did you bring the chalk?\" And I said yes (she had told me earlier to bring chalk, so I did), and she said that was all we needed to avoid getting lost.\n\nI decided I would privately refer to the directions as \"north\" and \"south\" in my mind regardless.\n\n> You look at Keri\nI took a moment to look at Kerianne. She was wearing this really cute felt pea coat and her green scarf that she wears everywhere. It was an adorable ensemble, but it struck me as a little too Daphne Blake for mucking around in dirty steam tunnels.\n\n> About you\nI had come prepared. I was wearing my dirtiest jacket (so I didn't burn my arms on any steam pipes) and some extremely grody jeans.\n\n> You check your inventory\nAll I was carrying was my piece of chalk.\n\n> You look at the chalk\nThe chalk I brought was blue, because that was the first piece of chalk I saw when I opened up my chalk bag.\n\n> You write this is where we start\nUsing my piece of chalk I wrote \"this is where we start\" on the floor."
    },
    {
        "text": "[Themes: slice of life, maze]\n\n> Look around\nStretch of Tunnel - \"this is where we start\"\nWe were in the middle of a stretch of tunnel that went north and south, with a ladder leading up to an access grate. \"this is where we start\" was written on the floor.\n\n> You go to the south\nAt this juncture we had reached a fork in the tunnels that led north, east, and south.\n\nNow that we were well and truly intruding upon these steam tunnels, where we weren't supposed to be, I asked Keri why it was so important to her for us to intrude upon these steam tunnels where we weren't supposed to be.\n\n\"Well, those grates are all over campus, and I always used to stop and try to peer down into them. But there are only so many grates, and you can only see like a square foot of the tunnel from up on the sidewalk. I could tell that the tunnels were an entire separate plane of the campus, but I could barely see it, much less actually, you know, be there.\"\n\nI can remember this all perfectly accurately, because I have a photogenic memory.\n\n> You go to the south\nWe were at an intersection where the tunnels went north, east, south, and west.\n\nKeri thought about it some more and then she continued her thought from before. \"And everyone at this school ends up going to the same buildings, and they all walk on the same sidewalks, until they find the shortcuts that everyone else already knew about. Maybe sometimes you notice something that someone else hasn't noticed, but as far as the spaces you occupy, everybody ends up with the same experience.\n\n\"But nobody ever goes down in the steam tunnels! Because nobody ever gets the chance. But you gave us a chance, and I knew we had to take it.\" At this point she grabbed my arm in a very affirming if somewhat uncomfortable manner. \"So, thanks.\"\n\n> Kiss keri\nI wanted to kiss Kerianne. I really did. And I tried to get up the nerve.\n\n> Go south\nWe had ended up at a dead end. The only way back was north.\n\nKeri said, \"Don't worry about it. There can't be that many tunnels.\" In actual fact, there were lots and lots of tunnels. Many, many, many tunnels. But I refused to become discouraged.\n\n> You go north\n\"\n\n\"\nAt this juncture we had reached a fork in the tunnels that led north, east, and south. \"north was two steps f om where we starte|\" was written on the floor.\n\nI suggested to Keri that maybe we should try looking for a way out, since it was starting to look to me like we had seen everything the tunnels had to offer. She sighed very deeply.\n\n> Go east\nT-intersection - \"DRIEDOUT\"\nAt this juncture we had reached a fork in the tunnels that led north, east, and west. \"DRIEDOUT\" was written on the floor.\n\nIt was written in marker instead of chalk, so I couldn't have written it, even if I had forgotten about it (somehow?). We looked at it silently for a moment. It was a weird moment.\n\n\"So, someone's been down here before us,\" Keri said. Obviously the people who were supposed to be in the steam tunnels had been there, but that's not what she meant.\n\nI asked her if she was disappointed.\n\n\"Kind of,\" she said. \"I mean, I shouldn't be. It was dumb to assume we would be the first.\"\n\nShe smiled, although it might have been a fake smile, and said, \"It's kind of cool, actually. Whoever wrote this must have hoped someone else would find it, and now we did.\"\n\n> You examine driedout\nThis was the room where \"DRIEDOUT\" was written on the floor.\n\n> You write the south and the west was three steps from where we started\nI wrote \"south and west was three steps from where we started\" on the floor.\n\n> Go west\nFour-way Intersection - \"north was ore step from where we started\"\nWe were at an intersection where the tunnels went north, east, south, and west. \"north was ore step from where we started\" was written on the floor.\n\n> You go to the east\nT-intersection - \"south and west was three steps from where we started\"\nAt this juncture we had reached a fork in the tunnels that led north, south, and west. \"south and west was three steps from where we started\" was written on the floor.\n\nKeri craned her head toward the passage to the north. \"I don't think we've been down that way,\" she said.\n\n> You write south was four steps from where we started\nI wrote \"south was four steps from where we started\" on the floor.\n\n> You go to the west\nT-intersection - \"north was where we started\"\nAt this juncture we had reached a fork in the tunnels that led north, east, and south. \"north was where we started\" was written on the floor.\n\n> Go east\nFour-way Intersection - \"south was four steps from whcre we\nstartcd\"\nWe were at an intersection where the tunnels went north, east, south, and west. \"south was four steps from whcre we startcd\" was written on the floor.\n\n> You write south was five steps from where we started\nI wrote \"south was five steps from where we started\" on the floor.\n\n> You write west was six steps from where we started\nI wrote \"west was six steps from where we started\" on the floor.\n\n> Go east\nWe had ended up at a dead end. The only way back was west.\n\n> You go west\nFour-way Intersection - \"west was six steps from where we started\"\nWe were at an intersection where the tunnels went north, east, south, and west. \"west was six steps from where we started\" was written on the floor.\n\nKeri craned her head toward the passage to the north. \"I don't think we've been down that way,\" she said.\n\n> Go north\nWe had ended up at a dead end. The only way back was south.\n\n> You go south\nFour-way Intersection - \"west was ix steps from where we started\"\nWe were at an intersection where the tunnels went north, east, south, and west. \"west was ix steps from where we started\" was written on the floor.\n\n> You go south\nWe were in the middle of a stretch of tunnel that went north and south, with a ladder leading up to an access grate.\n\nI said, \"Isn't this the same place where we climbed down in the first place?\" but Keri reminded me that I had written \"this is where we start\" on the floor there, and here there wasn't anything written on the floor at all.\n\n> Go upwards\nI looked up and realized the grate was closed. Then I climbed up the ladder and pushed on the hatch until I realized it was locked. Then I freaked out a little. Actually, to Keri, it must have seemed like I was freaking out a lot. She kinda grabbed me and said we would find another way out. Which we eventually did, and now looking back on it I can describe it all very cavalierly. But at the time, I was terrified.\n\n> Keep going\nWell, it was with great trepidation that I approached that door, but of course when I opened it nothing happened, except that a huge gust of gorgeous cool air rushed in around us, and I felt more relieved than I had ever felt about anything in my life. I felt amazing.\n\nThen we went back to Keri's apartment and she gave me a back rub, and I felt even better.\n\n[Press any key to continue...]You close the notebook.\n\nCozy Place (on the stone bench)\nCarved into the hill among all these trees is a little place to sit: a circle of lumpy flagstones, surrounded by stone benches. There are weeds all over everything.\n\nIt feels like you've ended up in the middle of nowhere, although you're aware that the sidewalk is just north of here.\n\nIt's getting pretty dark. The sun must have gone down while you were reading."
    },
    {
        "text": "[Themes: maze, slice of life]\n\n> Go downwards\nThe sign says \"NO SMOKING\", but judging from the cigarette butts all over the floor, it looks like this little hole at the bottom of the stairs isn't used for anything else.\n\nThe pale door here leads into the basement.\n\n> You unlock door\nWhat do you want to unlock the door with?\n\n> Go upwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 3 is painted on the wall.\n\nA door leads out to the third floor hallway.\n\n> You look through the window\nAll you can see through the window is an intermittent glow on a far wall, reflecting light from a source around the corner somewhere. Someone must be watching TV.\n\n> You knock on the door\nNo response.\n\nYou hear a dull noise from the other side of the door.\n\n> Shout\n(hello to yourself)\nTalking to yourself is likely to prove unrewarding.\n\nYou hear a dull noise from the other side of the door.\n\n> You go upward\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 4 is painted on the wall.\n\nA door leads out to the fourth floor hallway.\n\n> Go up\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 5 is painted on the wall.\n\nA door leads out to the fifth floor hallway.\n\nYou'd think by now you would be getting tired.\n\n> Go upwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 6 is painted on the wall\u2014in the middle of the loop, the word \"DRIEDOUT\" has been written in marker.\n\nA door leads out to the sixth floor hallway.\n\n> You examine Tower\nThe places where the outside building have been grafted on are in full view, and here and there vents and ducts hang out like abandoned medical instruments. These people weren't content to appreciate the tower; they had to stitch themselves onto it, crowd in and subsume it, so that nobody else could have it.\n\nBut the crown of the tower stands above all this. You can see details you've never seen before: the pinnacles are lined with delicate crockets, and a row of escutcheons are carved at the base of the arches.\n\n> You go outside\nA framed portrait hangs on the wall across from the door into the staircase, with a small plaque beneath it. The hallway continues south.\n\nThe door swings shut.\n\n> You examine the portrait\nA man with a small mustache glances off to the side and down, trying to put some painful memory out of his mind.\n\n> You get the portrait\nThey'd probably miss it.\n\n> You examine the arch\nThe people who spent days carving this stone in minuscule detail knew that onlookers would appreciate it from the ground seven stories below. They could not have known that another, uglier building would eventually be attached to theirs, and that people would be able to examine their handiwork up close.\n\n> Go south\nYou reach for the door, and open it without event, revealing more stairs for you to climb.\nstairs for you to climb.Then you hear footsteps coming down the stairs\nstairs for you to climb.Then you hear footsteps coming down the stairs, and while you're wondering what to do, the door swings shut.\n\nThe footsteps are getting closer.\n\n> You go to the north\nA framed portrait hangs on the wall across from the door into the staircase, with a small plaque beneath it. The hallway continues south.\n\n> Go north\nThe only obvious paths are down the hallway to the south, and in the door to the staircase.\n\n> Go inside\nYou stand at the top of the staircase. The door leads out to the seventh floor.\n\nAnd off to the side, through a huge window, you can see the tower."
    },
    {
        "text": "[Themes: multiple protagonists]\n\n> You go downwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 6 is painted on the wall\u2014in the middle of the loop, the word \"DRIEDOUT\" has been written in marker.\n\nA door leads out to the sixth floor hallway."
    },
    {
        "text": "[Themes: college, multiple protagonists, slice of life]\n\n> You go down\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 5 is painted on the wall.\n\nA door leads out to the fifth floor hallway.\n\n> You wait awhile\nTime passes.\n\n> You wait\nTime passes.\n\nYou can hear footsteps approaching from upstairs.\n\n> You wait awhile\nTime passes.\n\nSomeone is walking down the stairs right above your head.\n\n> You wait for a while\nTime passes.\n\nA man wearing a drab uniform and a tool belt appears, and immediately notices you hiding under the stairs. His expression betrays nothing.\n\n> Wait\nTime passes.\n\nHe exits to the basement hallway.\n\n> You go to the north\nThe lights in here are orange, which would seem to indicate something.\n\nAt the south of the hall, a door leads into the main staircase; the pale door at the north end opens outside. The door in the east wall is labeled \"MAINTENANCE\".\n\nHigh on the wall, an antiquated security camera turns from one to the other.\n\nThe custodian is here with you.\n\nThe custodian waves goodbye and disappears through the maintenance door.\n\nThe door swings shut behind you.\n\n> You go to the south\nHere is the lowermost of many flights of stairs, this one with a triangular nook underneath it\u2014one of those spaces that attracts dust and dead bugs. Painted on the wall is a large letter B.\n\nA door leads out to the basement hallway.\n\nThe door swings shut behind you.\n\n> Go upwards\nThere's a flight of stairs going up, and there's a flight of stairs going down. A big numeral 6 is painted on the wall.\n\nA door leads out to the sixth floor hallway.\n\n> You go inside\nA framed portrait hangs on the wall across from the door into the staircase, with a small plaque beneath it. The hallway continues south.\n\nThe door swings shut behind you.\n\n> You go south\nThis hall was built right into the north face of the tower, and you stand beneath a stone archway that used to loom impossibly high in the air. Carved into the keystone of the arch is a grotesque beast: a cockatrice. Or a basilisk.\n\nBeneath the arch is another door.\n\n> Go south\nYou ascend the stairs, and reach the room at the top of the tower.\n\nA long table takes up the middle of the room, with several chairs sitting upside-down on top of it. Only a wheeled office chair remains standing on the floor, next to an easel displaying a pristine whiteboard.\n\nThe doorway to the archway is down the stairs. A small door is built into the west wall, and in the east wall is an even smaller window.\n\nThe door swings shut behind you.\n\n> Keep going\nNothing obvious happens.\n\n> You go north\nThe only obvious exits are down the stairs and the small door labeled \"EMERGENCY EXIT ONLY\"."
    },
    {
        "text": "> Go downwards\n(first getting off the wheeled office chair)\nThe only obvious exits are down the stairs and the small door labeled \"EMERGENCY EXIT ONLY\".\n\nYou would have to get off the wheeled office chair first.\n\n> You go to the west\nThe sign on the door says: \"EMERGENCY EXIT ONLY. Alarm will sound if opened.\" As much as you'd like to see what's on the other side, setting off an alarm isn't really an option.\n\nBut there's no alarm built into the door, and there are no wires or anything connected to it. And if that kid can do it...\n\n> You go west\nYou open the door, and step out into the air.\nYou open the door, and step out into the air. From there, it's just a short climb to the top of the tower.\n\nIt's pretty windy up here.\n\nThis is as high as it gets: higher than any of the buildings around, higher than anything else in the city.\n\nStanding here in the crown of the tower, looking out from the arches, you can see the entire city in the fading dusk. There's the parking lot to the north, and the dark neighborhoods beyond that; to the east is the river, and the bridge, and the lawn up on the hill, where a few people are still walking around.\n\nMan, is it windy.\n\n> You eat the cookies\nAs hungry as you are, it would be nice to sit down somewhere while you're eating.\n\n> You sit on the floor\nYou would prefer to sit on something designed for the purpose.\n\n> You look at the city\nNow the city is far away, and reduced to a manageable size. Surely it's still loud, cramped, and bewildering over there, but from up here it seems as silent as a painting.\n\n> You examine the lot\nStill very empty, and getting darker.\n\n> You look at the river\nThe river isn't black and anonymous, but dappled with color: silver, in a few places, where it reflects the light of the city; red, where it reflects the lights on top of the power plant; and orange, where it reflects the streetlamps above the bridge.\n\n> You look at the power plant\nIt's almost invisible against the southern sky, except for the red lights blinking atop its smokestacks."
    },
    {
        "text": "> You look at your surroundings\nThis is as high as it gets: higher than any of the buildings around, higher than anything else in the city.\n\nStanding here in the crown of the tower, looking out from the arches, you can see the entire city in the fading dusk. There's the parking lot to the north, and the dark neighborhoods beyond that; to the east is the river, and the bridge, and the lawn up on the hill, where a few people are still walking around.\n\n> You look at the bridge\nThe sun is down, and the cones of orange light falling down from the streetlamps are all that illuminate the bridge. Nobody is walking across right now: Even the swallows are gone, returned to their cozy nests.\n\n> You look at the hill\nThe hill is almost empty, and the people milling around seem less busy and angry than they normally do. That's the thing about people: They're not so bad, as long as you can appreciate them from a reasonable distance.\n\nYou turn your focus to a blank space on the lawn: the spot where you were standing as the sun set, when you were looking up at the tower, at the space under the arches that you're standing in right now. The circuit is complete.\n\nNow the moon is rising, slowly, from behind the hill. Waning gibbous.\n\n> You examine the moon\nThe moon has several advantages over the sun. The moon isn't responsible for making summer as unbearably hot as it often is; the moon doesn't shine in through your bedroom window and wake you up before you wanted to be awake.\n\nThe disc of the moon provides a lot more to look at than the sun: intricate patterns carved out of the surface over millions of years. And you can look directly at the moon, without the risk of bodily harm.\n\nThere's nobody around to stop you; you can stare at it for as long as you like."
    },
    {
        "text": "[Themes: Fanfic, fan fiction, robot, fanfic, complex NPC, female protagonist, experimental, romance]\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\n[Author's Note: You, Mary Jane Minsky, have a few things to clear up with your best friend Jenny Yoshida. When your robotic birthday gift doesn't go over as planned, you may need to reset your expectations, for her and yourself.]\n\nJenny tilts her head and squints at the Pine Nut Queen of Tomorrow. It's dressed in pink and its chassis is chrome-embellished. You even gave it your own hairstyle.\n\n\"Do you like her?\" you ask.\n\n\"Mary Jane, I-\" Jenny gives you a sideways look. Things have been weird since you both almost died. You've been trying to listen better. \"I wasn't expecting a present like this.\"\n\n1) \"You said you hate being cooped up in the store alone! So now\nyou can have a replica me. For company!\"\n2) \"I had to recycle a lot of the supplies so my father wouldn't\nknow what I was working on, but she's got all the same hardware as the Wife of Tomorrow.\"\n3) \"Happy Birthday!\"\n\n> 3\n\"Happy Birthday!\" you say. You even throw in a cheerleading jump. That always makes her smile.\n\n\"This is amazing! And so impressive. You could have your own engineering company if you wanted.\" But. You can tell there's a but. \"I just... couldn't you have made one of me? To run the shop? And then I wouldn't need robot company because I could spend the afternoon with actual you.\"\n\n1) \"I couldn't copy you, silly!\"\n2) \"But... it would've been weird to give you a birthday present\nthat was another you.\"\n\n> 1\n\"I couldn't copy you, silly!\" Just the idea of a Jenny of Tomorrow makes you feel strange. You'd be telling her what to do and how to be, a little like your father does with you, and...\n\n\"Could you try?\" Jenny asks. \"It doesn't have to be an exact replica. Just as long as it can ring up purchases and answer some basic plant care questions, it ought to be fine... And maybe you want to make sure it can bake, just in case.\"\n\n1) \"I really like Jenny of Today.\"\n2) \"Well, I might need some more training resources...\"\n3) \"Anything you want!\"\n\n> You look\nWhile you're conversing, you can only pick conversation options.\n\n1) \"I really like Jenny of Today.\"\n2) \"Well, I might need some more training resources...\"\n3) \"Anything you want!\"\n\n> 2\n\"I'd need some more training resources,\" you say. \"I don't know all the things you know.\"\n\n\"If you really get stuck, call me,\" Jenny says. \"But I bet you've got more around here than you realize... oh! I'd better get going. Speaking of the shop.\"\n\nShe gets up and gives you half an apologetic smile. You try to think of what to say. While you're thinking, Jenny kisses your cheek and goes out.\n\n\"Should I follow her?\" The Pine Nut Queen turns hopefully to you.\n\n1) \"Not this time, kid.\"\n2) \"We've got some more training to do.\"\n\n> 2\n\"We've got some more training to do.\"\n\n\"I'd love to!\" The Pine Nut Queen takes a seat on the sofa.\n\"I'd love to!\" The Pine Nut Queen takes a seat on the sofa.# The Mary Jane of Tomorrow\nFanfic for Steph Cherrywell's Brain Guzzlers From Beyond! by Emily Short\n\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Pine Nut Queen of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny. Arranged on the coffee table in front of her (to make the room look more realistic) are a poem book and Le Dernier Regret de\nTh\u00e9r\u00e8se.\n\n> About yourself\nYou, Mary Jane Minsky, were the Pine Nut Queen of Canyonville, and before that, Pine Nut Princess. You ride in parades. You taste pies. You have an exquisitely efficient metabolism. You are beloved by the entire citizenry. And that was even before you helped Bonstance Noodleman save the town from the massive brain-suckage induced by incoming yellow-slimed monsters. That's all in the past now. They're probably not coming back.\n\nThe Pine Nut Queen of Tomorrow looks at you. And blinks. Twice.\n\n> You look at what you're carrying with you\nYou are carrying:\na pink purse (being worn and closed and locked)\n\nThe Pine Nut Queen of Tomorrow watches you go through your possessions. \"I did not take any of your things, if that is what you are worried about.\"\n\nOkay, hang on, let's focus.\n\nThe Pine Nut Queen of Tomorrow is still able to process new training documents: books, manuals, pamphlets, any kind of written document. You just need to give her something to work with.\n\n> Open purse\nThe Pine Nut Queen of Tomorrow changed the combination last week during training, and you never got around to writing down the new combo.\n\nIf anything goes too wrong with the training program, you can always reset the Pine Nut Queen of Tomorrow back to hardware level with her reset button.\n\n> You give the poem boom to Pine Nut Queen\nYou can only do that to something animate.\n\n> You read the poem book\nThe Pine Nut Queen of Tomorrow has better things to do.\n\n> You give the poem book to the pine nut\n(first taking the poem book)\nThe Pine Nut Queen of Tomorrow watches you pick up the poem book. \"Is that for me?\" she asks. \"I've got lots of spare storage space still!\"\n\nThe Pine Nut Queen of Tomorrow scrutinizes the poem book, committing all of its details to memory. \"Poetry: Learned! Ennui: Memorized! Would you refrain from boring me with your purposeless tasks?\"\n\n> You ask the pine nut about the pine nut\nHere we TALK TO people. I'll assume that's what you meant.\n\nThe Pine Nut Queen of Tomorrow begins to speak: \"Hello there. I am the Pine Nut Queen of Tomorrow.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Your new name is Jenny Yoshida of Tomorrow.\"\n3) \"Could you hand me your sash?\"\n4) \"Can you give me some tips about plant care?\"\n5) \"Could I have the contents of your chassis?\"\n6) \"How do you feel about parades?\"\n7) \"Can you write me a poem?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 2\n\"Your new name is Jenny Yoshida of Tomorrow.\"\n\nThe Pine Nut Queen of Tomorrow shrugs. \"Understood. I'm now Jenny of Tomorrow.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 7\n\"Do you remember how to unlock my purse?\"\n\nThe Jenny of Tomorrow says, \"Sorry, I don't recall. I need security training.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow puts her hands on her hips in a mock cheerleading stance. \"Known skills: pine-nuts; cheerleading; poetry; ennui; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Goodbye, friend!\"\n\n> You give le dernier regret to the pine nut\n(first taking Le Dernier Regret de Th\u00e9r\u00e8se)\nThe Jenny of Tomorrow watches you pick up Le Dernier Regret de Th\u00e9r\u00e8se. \"Another book. I'm surprised we're not training in the Canyonville Central Library.\"\n\nTh\u00e9r\u00e8se, but says, \"Sorry, I need better French before I can understand such a text.\"\n\n> Reset pine nut\nThe button depresses. The Jenny of Tomorrow's head emits a metallic PING!! noise and her eyes flash twice. She is now back on line.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi! I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow tosses her hair.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow plays a mood-enhancing chime. \"Known skills: None. At all. I am skill-less. You'd better do something quickly.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Farewell, friend!\""
    },
    {
        "text": "[Themes: Fanfic, romance, complex NPC, experimental]\n\n> You look around\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> Go east\n\"Say hi to Jenny if you call her,\" says the Jenny of Tomorrow, as you head for the kitchen. Apparently you haven't completely got rid of the training you did last week, imprinting her robot brain with a liking for Jenny. Some things are hard to get rid of even with a reset.\n\nNothing has ever been prepared in the Ordinary Kitchen, so it is extremely clean and a little short on food and utensils. Still, there are the cabinets (faux walnut) and the sink (functional) to help teach your robot how to interact with a real kitchen. And there's a stove, though to the best of your knowledge the oven has never actually been used.\n\nThe telephone hangs on the wall, if you need to call Jenny.\n\n> You open the cabinet\nYou open the kitchen cabinet, revealing The Polite and Cheerful\nGirl's Guide To Elegant Dining.\n\n> You take the guide to the elegant dining\nTaken.\n\n> You go west\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\n> You give the elegant dining to Jenny\nThe Jenny of Tomorrow eagerly studies The Polite and Cheerful Girl's Guide To Elegant Dining. \"Etiquette: Learned! That's cooler than a dead man's nose.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there! I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 2\n\"Could you hand me your sash?\" you ask. She looks down at it thoughtfully.\n\n\"I really like parades! And sashes! So... I'd rather not.\"\n\nAdmittedly, it's what you'd say in the same situation. You did a great job of training her.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 5\n\"How do you feel about parades?\"\n\nThe Jenny of Tomorrow lights up. \"That's my favorite thing! I am super excited about sash-wearing!!\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Goodbye, friend!\"\n\n> You give the poem book to Jenny\nThe Jenny of Tomorrow pores over the poem book, committing all of its details to memory. \"Poetry: Mastered! Ennui: Memorized! No one ever asks what is the purpose of all this reading.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi. I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 6\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow sighs faintly. \"Sure.\" She clears her throat.\n\n\"The apocalypse horse grumbles in the basement! Rot! Skeleton dressed in Salmon! Gray suits!\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Blue rivers! Green valleys! Body of our Mother Earth! Blue Gum tree! The sky is ivory with mushrooms! War! Genocide!\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Salmon! Pork! The insurance salesmen are everywhere! Salmon! Ham! Buy! And don't be home when the debt comes due!\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Shrimp! Beef! The traitors swim in the sewers! Ham! Tuna! War! Genocide!\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 2\n\"I'm really coming to respect you as an artist.\"\n\n\"Uh, thanks.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 8\n\"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n\nThe Jenny of Tomorrow shrugs. \"Yes. Though honestly they weren't that much worse than the citizens they were replacing. Have you met a guy called Jimmy?\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> You examine the sash\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> You follow you\nHere we TALK TO people. I'll assume that's what you meant.\n\nThe Jenny of Tomorrow begins to speak: \"Hello there. I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n\"Where did Jenny go?\" Jenny of Tomorrow asks conversationally. \"I miss her.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> Go east\nNothing has ever been prepared in the Ordinary Kitchen, so it is extremely clean and a little short on food and utensils. Still, there are the cabinets (faux walnut) and the sink (functional) to help teach your robot how to interact with a real kitchen. And there's a stove, though to the best of your knowledge the oven has never actually been used.\n\nThe telephone hangs on the wall, if you need to call Jenny.\n\n> You open the cabinet\nThat's already open.\n\n> You look in the cabinet\nThe kitchen cabinet is empty.\n\n> Close cabinet\nYou close the kitchen cabinet.\n\n> You open stove\nYou open the oven, revealing a stove manual.\n\n> You take manual\nTaken.\n\n> You call Jenny\nJenny answers the phone on the first ring. \"Yoshida Floral,\" she says. \"What can I do for you?\"\n\n\"Jenny, it's me,\" you say.\n\n\"Hey,\" she says. It's only when she's talking to you that her voice settles down to what you think of as its normal sound. Around other people, it's higher and faster.\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could you give me your recipe for Snickerdoodles?\"\n3) \"Could I borrow your diary to train her with?\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 1\n\"Remind me what the Jenny of Tomorrow should do?\"\n\n\"Well... she'll need to know plant types, so she can answer questions in the shop. She should have enough finance skill to handle the register. And if she can bake, that would help with the illusion. Otherwise... you know what I'm like!\"\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could you give me your recipe for Snickerdoodles?\"\n3) \"Could I borrow your diary to train her with?\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 2\n\"Could you give me your recipe for Snickerdoodles? Not so I can make it, I wouldn't be good at it, but I need to train the Jenny of Tomorrow.\"\n\n\"It's not written down,\" Jenny says. \"I'd have to work out the quantities... Oh wait! We did write it down and donate the recipe to the Canyonville High Fundraiser Cookbook. I could send it to you by telepod, if you want.\"\n\nYou gave Jenny a telepad. It comes in handy when she wants to send you pies while you're working. You've always been generous like that.\n\nA moment later, you hear the familiar activation sound of the telepod.\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 2\n\"Could I borrow your diary to train her with?\"\n\n\"Ummm.\" There's a long, tense silence down the phone. \"I don't think she needs to know that kind of stuff. Some of what I wrote in there is kind of personal.\" It stands to reason. Jenny never lets you read her diary, so it makes sense she wouldn't let your robot read it either. But it means you can only make the robot so Jenny-like.\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 3\n\"Okay, thanks! I'll call you back when she's ready.\"\n\n\"Back to painting signs,\" Jenny says.\n\nBefore you can hang up, she adds, \"Thanks so much for doing this! ...uh. Actually. Granny's started me doing some ad sign painting. It would save a lot of time if she could do that too...? I don't know if that's too much to ask... Oops, I'd better go. Call me later if you need anything.\"\n\nYou hang up.\n\n> Inventory\nYou are carrying:\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and closed and locked)\n\n> You look\nNothing has ever been prepared in the Ordinary Kitchen, so it is extremely clean and a little short on food and utensils. Still, there are the cabinets (faux walnut) and the sink (functional) to help teach your robot how to interact with a real kitchen. And there's a stove, though to the best of your knowledge the oven has never actually been used.\n\nThe telephone hangs on the wall, if you need to call Jenny.\n\n> You go west\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\n> You give the manual to Jenny\nThe Jenny of Tomorrow slowly flips through the stove manual, obviously bored. \"Advertising: Committed to memory. Fire-safety: Simple enough, I suppose. Poetry: Canceled. Would you refrain from boring me with your purposeless tasks?\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi. I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 4\n\"Could I have the contents of your chassis?\" you ask.\n\n\"I'm not that kind of girl,\" says the Jenny of Tomorrow. Apparently her social conditioning around propriety runs pretty deep.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 6\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow sighs faintly. \"You won't be sorry you asked.\" She clears her throat.\n\n\"Bloodshed is red\nMood swings are blue\ntaffy is sweet\nI like it.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"The Trundle Bed of Tomorrow\nnow available in pink and blue.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 3\n\"That was terrible.\"\n\nThe Jenny of Tomorrow looks annoyed. \"I'd like to see you do better.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 3\n\"Can you give me some tips about plant care?\"\n\nThe Jenny of Tomorrow shrugs. \"Um... plant early, plant often.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 7\n\"Can you paint a sign advertising seasonal flowers?\"\n\nThe Jenny of Tomorrow sounds exasperated. \"You won't be sorry you asked.\" The Jenny of Tomorrow gets to work trying to draw a flower, but she gets bogged down when it becomes obvious she's never seen an actual flower at all. Her rendition looks a lot like the pattern on the upholstery.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 10\n\"Farewell, friend!\"\n\n> You go south\nSink, taps, toilet, even a bath: this is a fully functional bathroom in every sense except that it's not meant to be used by anyone. There's a little closet, not big enough to step into, that would be used to store clean towels if this were a normal household.\n\nOn the back of the toilet, someone has left Ye Goodwyfe's Bodice Overfloweth.\n\nThe telepod sits in the corner here, just to keep it out of the way.\n\n> You examine the telepod\nA large, egg-shaped pod about the size of a garbage can, but lightweight enough for you to lift. There's a closed hatch in the side.\n\n> You open the telepod\nYou open the telepod, revealing Great Eats From Canyonville\nHigh!.\n\n> You read the great Eats\nMost of these were sold as a fundraiser, featuring all the most delicious recipes from teachers and parents at Canyonville High, 1958! There aren't any pictures, so you'll just have to imagine what the Cauliflower Instant Rice Surprise is supposed to look like.\n\n> You read Goodwyfe\nRenee describes it as historical literature. It's bound in leather, so it must be quality.\n\n> You open closet\nThe closet is usually crammed with things that were used to set-dress the Showroom during other training sessions: the Wife of Tomorrow, the Butler of Tomorrow, and so on.\n\nYou open the closet, revealing some melted scissors, a collapsible hula hoop and a French Rhyming Dictionary.\n\n> You examine hoop\nIt makes a very handy circular template when you need one for engineering purposes. Which you currently do not.\n\n> You examine the scissors\nAt some point, they took a partial blast of pure anti-scissor. The handle is still there, but the blades are completely gone.\n\n> You drop the scissors\nDropped.\n\n> You read French\n(Le Dernier Regret de Th\u00e9r\u00e8se)\nSupposedly, a famous 19th-century novel about the love affair of model and painter. You are unable to read it, since you didn't take French at Canyonville High. But given the right training, Jenny of Tomorrow would be able to process it. Who knows what she might learn?\n\n> You read the rhyming\nThis might come in handy if you ever wanted to write books for little Parisian children.\n\n> You look\nSink, taps, toilet, even a bath: this is a fully functional bathroom in every sense except that it's not meant to be used by anyone. There's a little closet, not big enough to step into, that would be used to store clean towels if this were a normal household.\n\nEverything is very tidy in here.\n\nThe telepod sits in the corner here, just to keep it out of the way.\n\nYou can also see some melted scissors here.\n\n> You examine the bath\nThe bath is empty.\n\n> You examine the sink\nThe sink is empty.\n\n> You examine the tap\nThe sink tap is currently switched off.\n\n> You turn the tap on\nYou turn on the sink tap.\n\n> You look at the sink\nThe sink is empty.\n\nThe water flows from the sink tap.\n\n> You examine the water\n(the bath tap)\nThe bath tap is currently switched off.\n\n> You turn off tap\nYou turn off the sink tap.\n\n> You examine the sink\nThe sink is empty.\n\n> You look at what you're carrying with you\nYou are carrying:\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and closed and locked)\n\n> You read the manual\n\"Congratulations, consumer! You've chosen wisely in selecting the MinSystems Stove of Tomorrow for your wife! The Stove of Tomorrow truly is the most advanced stove technology available today. Please review a few simple guidelines in order to enjoy your new stove in safety...\"\n\n> You read the poem\nIt's a thin paperback, barely more than a pamphlet. The cover is black, except for the poet's name, T. Brandt. You've never gotten further than the first page or so, but The Jenny of Tomorrow might be able to do something with it. If for instance you need to teach her a disdain for authority and a general lack of enthusiasm.\n\n> You read dining\nFull of helpful hints and line-drawings of utensils in silhouette. If you've ever wondered whether the dessert fork should be placed to the right or the left of the steak knife, this is the book for you. The narration of the guide, as with all the works in this series, is relentlessly positive and enthusiastic. There is nothing negative in the wide world of utensils.\n\n> You examine table\nThe table is modern and low to the ground. Things are constantly rolling under it and getting lost.\n\n> You look under the table\nHey look, it's Cheyenne Rose! So that's where that went.\n\nThe Jenny of Tomorrow practices looking bored.\n\n> You take Rose\nYou already have that.\n\nThe Jenny of Tomorrow tosses her hair.\n\n> Inventory\nYou are carrying:\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and closed and locked)\n\n> You read rose\nSomeone left this book in the locker room at high school, and it's been making the rounds.\n\nThe cover of the novel shows a rugged man on a horse in the foreground, and in the background a woman standing in front of a burning ranch house. \"One cowboy! One notorious safe-cracker! And the heart of a woman, forever locked!\"\n\nThere's a lot about what good, down-home folks the heroes are - not like the snobs and bank people, who deserve to be robbed.\n\nThe book tends to fall open on its own to the page about the Dubuque Bank Robbery, where the safe-cracker is listening to the fall of the tumblers, and he realizes he can open a woman's heart by listening just as closely.\n\nThe Jenny of Tomorrow says, \"I don't know if you've considered constructing the Cowboy of Tomorrow?\"\n\nThe Jenny of Tomorrow emits a pre-recorded gusty sigh.\n\n> You look\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\nThe Jenny of Tomorrow practices looking bored.\n\n> You look at the sofa\nThe sofa's been upholstered in large, cheerful pink flowers.\n\nThe Jenny of Tomorrow emits a pre-recorded gusty sigh.\n\n> You look under the sofa\nYou've already found more things tucked under other things than you should expect in a mostly empty showroom. To be frank, the housekeeping isn't all it could be.\n\n> Go east\nNothing has ever been prepared in the Ordinary Kitchen, so it is extremely clean and a little short on food and utensils. Still, there are the cabinets (faux walnut) and the sink (functional) to help teach your robot how to interact with a real kitchen. And there's a stove, though to the best of your knowledge the oven has never actually been used.\n\nThe telephone hangs on the wall, if you need to call Jenny.\n\n> You examine the sink\nThe sink is empty.\n\n> You turn the tap\nNothing obvious happens.\n\n> You examine Stove\n(the stove manual)\n\"Congratulations, consumer! You've chosen wisely in selecting the MinSystems Stove of Tomorrow for your wife! The Stove of Tomorrow truly is the most advanced stove technology available today. Please review a few simple guidelines in order to enjoy your new stove in safety...\"\n\n> You open the oven\nThat's already open.\n\n> You examine the oven\nThe oven is built-in and has the perfect shininess that results from never baking anything at all.\n\n> Inventory\nYou are carrying:\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and closed and locked)\n\n> You go west\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there. I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow practices looking bored.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow shrugs. \"Known skills: etiquette; ennui; advertising; fire-safety; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> Reset\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> Reset\nWhat do you want to reset?\n\n> Reset Jenny\nThe button depresses. The Jenny of Tomorrow's head emits a metallic PING!! noise and her eyes flash twice. She is now back on line.\n\n> You check what you're carrying\nYou are carrying:\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and closed and locked)\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give the guide\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow avidly studies The Polite and Cheerful Girl's Guide To Elegant Dining. \"Etiquette: Learned! Holy moly, that was some reading!\"\n\n> You talk\nWhat do you want to talk to?\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi! I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 2\n\"Could you hand me your sash?\" you ask. She looks down at it thoughtfully.\n\n\"I really like parades! And sashes! So... I'd rather not.\"\n\nAdmittedly, it's what you'd say in the same situation. You did a great job of training her.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 5\n\"How do you feel about parades?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"That's my favorite thing! I am really excited about pie-eating!!\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You give Cowboy\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You give Cowboy\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow rapidly studies Cheyenne Rose. \"Cowgirl culture: Mastered! Security: Learned! Active listening: Acquired! I feel like we're really communicatin' now.\"\n\n\"You know, pardner, I don't have a hat,\" says the Jenny of Tomorrow out of the blue. \"Six gallon would be good.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there! I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you listen to my troubles?\"\n8) \"Can you paint a sign advertising seasonal flowers?\"\n9) \"Do you remember how to unlock my purse?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 9\n\"Do you remember how to unlock my purse?\"\n\nThe Jenny of Tomorrow plays a mood-enhancing chime. \"Um... I think I would have advised you to set the combination based on something important. Like years of peak pine-nut production!\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you listen to my troubles?\"\n8) \"Can you paint a sign advertising seasonal flowers?\"\n9) \"Do you remember how to unlock my purse?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> You examine the purse\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the c"
    },
    {
        "text": "ontents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you listen to my troubles?\"\n8) \"Can you paint a sign advertising seasonal flowers?\"\n9) \"Do you remember how to unlock my purse?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 11\n\"Adios, buddy!\"\n\n> You look at the purse\nIt's pink, and it locks with a combination, so that your most personal and private possessions can't be snooped-on by other people.\n\nThing is, the Jenny of Tomorrow changed the combination last week during training, and you never got around to writing down the new combo.\n\nYou haven't dialed the purse to any combination yet.\n\n> Unlock\nWhat do you want to unlock?\n\n> Unlock purse\nWhat do you want to unlock the pink purse with?\n\n> You give the bodice to Jenny\nThe Jenny of Tomorrow scrutinizes Ye Goodwyfe's Bodice Overfloweth. \"Medieval times: Learned! Innuendo: Memorized! I feel like we're really communicatin' now.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"How be ye! I'm ye Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nYou catch the Jenny of Tomorrow giving you a smoldering stare.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"Could I have the contents of your chassis?\"\n5) \"How do you feel about parades?\"\n6) \"Can you write me a poem?\"\n7) \"Can you listen to my troubles?\"\n8) \"Can you paint a sign advertising seasonal flowers?\"\n9) \"Do you remember how to unlock my purse?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 4\n\"Could I have the contents of your chassis?\" you ask.\n\n\"Sure!\" The Jenny of Tomorrow opens up her chassis and produces an annual Canyonville Pine Nut Harvest report and a Style Handbook of Proper English.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You read Handbook\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You read Handbook\nAccording to the introduction, it promises to eliminate foreign, archaic, and slang usages from the owner's vocabulary, leaving behind only that which is idiomatic and suitable for written prose and broadcast television. There are no pictures.\n\n\"Why is it a cowboy, and not a cowman?\" muses Jenny of Tomorrow.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Howdy, friend! I am ye Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow tosses her hair.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 5\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow mimes drawing a pistol, spinning it around her finger a few times, and holstering it again. \"Sure!\" She clears her throat.\n\n\"Roses are red\nviolets are blue\nsugar is sweet\nI like it.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Roses are red\nviolets are blue\nthou lookest funny\nbut I don't mind.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Mary had a little lamb,\na little Pigeon,\na little Mutton.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n\n> 1\n\"Bravo! Well done!\"\n\nThe Jenny of Tomorrow accepts your praise with a modest smile. \"It just came to me. The world is my inspiration.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow says, \"Known skills: etiquette; cowgirl culture; security; active listening; medieval times; innuendo; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 10\n\"Goodbye, pardner!\"\n\n> You read the report\nThe report covers the pine nut harvest and pine nut futures. It describes pine nut stockpile levels and average pine nut size. It projects pine nut earnings for years to come. There are graphs representing different weather possibilities. It even has a map of the three different agricultural zones in New Mexico, with charts of how many frost days you can expect in each.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give the report to Jenny\nThe Jenny of Tomorrow eagerly studies the annual Canyonville Pine Nut Harvest report, committing all of its details to memory. \"Finances: Acquired! Pine-nuts: Mastered! Weather: Learned! Well now, that was super intriguin'!\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Good day to ye! I'm ye Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 8\n\"Do you remember how to unlock my purse?\"\n\nThe Jenny of Tomorrow crosses her legs. \"Oh yes! We based the combination on something important! The years of peak pine-nut production were 13, 34, and 45.\"\n\nShe reaches over and spins the dial a few times, and your purse clicks open.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You examine the purse\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 10\n\"Adios, bud!\"\n\n> You look at the purse\nIt's pink, and it locks with a combination, so that your most personal and private possessions can't be snooped-on by other people.\n\nThing is, the Jenny of Tomorrow changed the combination last week during training, and you never got around to writing down the new combo.\n\nIn the pink purse is a library flyer.\n\nYou haven't dialed the purse to any combination yet.\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You take the flyer\nThe Jenny of Tomorrow watches you pick up the library flyer. \"Is that for me?\" she asks. \"I've got lots of spare storage space still!\"\n\n> Examine flyer\nNew technology comes to the Canyonville Library! Call the Canyonville Librarian and receive books delivered directly to your personal telepod! No waiting! No lines at the circulation desk! The ultimate convenience for all your reading needs!\n\n* Some restrictions apply.\n** Offer valid only to households that possess a telepod.\n*** No more than one book per household per week.\n**** Book selection is at the discretion of the librarian. This\nweek's special topic is botanical history!\n Only rhyming requests can be accepted at this time.\n\n> Inventory\nYou are carrying:\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You go north\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\nYou catch the Jenny of Tomorrow giving you a smoldering stare.\n\n> You look at the closet\nNowadays, the closet is used as a dumping place for Showroom set-dressing props that aren't currently in use.\n\nIn the closet is a French Rhyming Dictionary.\n\n> You go north\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting bolt upright on the sofa and wearing a sash. The sash was a good touch, but it's not very Jenny.\n\nYou can also see a coffee table here.\n\n> You give Dictionary to Jenny\nThe Jenny of Tomorrow pores over the French Rhyming Dictionary. \"Rhyme: Acquired! French: I did not spurn what thou asked me to learn! I feel like we're really communicatin' now.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Bonjour! I am ye Jenny of Demain.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 5\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow blinks slowly. \"But yes, absolument!\" She clears her throat.\n\n\"There's a colorful man baptized Max\nqui est toujours on guard for attacks\nHe was gifted at snipin'\nAnd General ass-wipin'\nAnd his medals he piled in stacks.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 5\n\"Let's phone the librarian now and you can recite that for her,\" you say.\n\n\"Ayup!\"\n\nThe Queen heads over to the kitchen and places the call.\n\nYou're not able to hear everything from her side of the conversation, but she comes back a moment later, complaining that the person at the other end described her composition as \"drivel\" and \"doggerel.\"\n\n\"They refused to lend any books on that basis,\" she says, flouncing back to the sofa.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> You check what you're carrying\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 11\n\"Blessings to ye!\"\n\n> Inventory\nYou are carrying:\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You give the dernier to Jenny\nThe Jenny of Tomorrow rapidly studies Le Dernier Regret de Th\u00e9r\u00e8se, committing all of its details to memory. \"Fromage: I've maximized ye merchandise thou requested me to memorise! French: Already know that one. Ennui: Learned! Snobbery: Got it. Painting: I've maximized ye merchandise thou requested me to memorise. I notice thou hast not paid me to read these.\"\n\n> You give the flyer to Jenny\nSighing, the Jenny of Tomorrow dubiously reads through the library flyer. \"Advertising: Thy demands for attention elude circumvention. Meh.\"\n\nThe Jenny of Tomorrow emits a pre-recorded gusty sigh.\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow languidly peruses the Style Handbook of Proper English, obviously bored. \"French: Canceled. Cowgirl culture: Canceled. Medieval times: Canceled. I feel like we're really communicating now.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi. I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow tosses her hair.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 4\n\"How do you feel about parades?\"\n\nThe Jenny of Tomorrow sounds exasperated. \"Overrated.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Could you hand me your sash?\"\n3) \"Can you give me some tips about plant care?\"\n4) \"How do you feel about parades?\"\n5) \"Can you write me a poem?\"\n6) \"Can you listen to my troubles?\"\n7) \"Can you paint a sign advertising seasonal flowers?\"\n8) \"Do you remember how to unlock my purse?\"\n9) \"What's the weather forecast?\"\n10) \"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n11) \"I'm done talking now.\"\n\n> 2\n\"Could you hand me your sash?\" you ask. She looks down at it thoughtfully.\n\n\"Parades are the cattle-drives of the bourgeoisie.\" Then, when you don't reply, she adds, \"Help yourself.\" She takes off the sash and hands it over.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> You examine the sash\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Cheerio, friend!\"\n\n> You examine the sash\nEvery Pine Nut Queen needs a sash. This used to be yours: pink satin with white lettering.\n\n> You wear sash\nYou slip the sash over your own head. It feels good. Familiar. \"I observe you take refuge in roles assigned by other people,\" remarks the Jenny of Tomorrow.\n\n> You look at Jenny\nThe chassis doesn't contain a drinks cabinet, because the Pine Nut Queen is clean-living and doesn't imbibe. Her mini-micro brain uses some of the same circuitry as the Wife of Tomorrow, though.\n\nThere's also a gleaming yellow button on the back of her neck.\n\n> Examine button\nThe button resets the Jenny of Tomorrow, booting her with a new personality and causing her to forget any training she's undergone so far. It has been pressed two times today.\n\n> You look\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa, and looking frankly a little on the underdressed side.\n\nYou can also see a coffee table here.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there. I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 7\n\"What's the weather forecast?\"\n\nThe Jenny of Tomorrow says, \"We can expect high temperatures most of the week.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 4\n\"Can you listen to my troubles?\"\n\nThe Jenny of Tomorrow looks down her nose. \"You won't be sorry you asked.\"\n\n1) \"My father wants me to go to a technical college, and I'm not\nsure I want to.\"\n2) \"I'm afraid of being separated from Jenny if I go to college.\"\n3) \"I keep having flashbacks to the Brain-Guzzlers attack.\"\n\n> 2\nThere's a lot to explain, and it's hard to get started, so you circle around the topic for quite a while.\n\nJenny of Tomorrow nods. \"College isn't forever, but it is a big change in a person's life, and it can change relationships. Unfortunately, you've a difficult decision in front of you. But there are more possibilities than you've currently considered. For instance, there are correspondence courses if you wish to study without leaving Canyonville. Most of all, you've not talked to Jenny about this, and it would help a lot to get her opinion. She's probably worried about that part of the future too.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nIf it's possible to look both seductive and bored at the same time, the Jenny of Tomorrow is doing a good impression of it. \"Known skills: etiquette; security; active listening; innuendo; finances; pine-nuts; weather; rhyme; fromage; ennui; snobbery; painting; advertising; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Okay, whatever.\"\n\n> Go north\nYou can't go that way.\n\nThe Jenny of Tomorrow eyes the sofa upholstery. \"Would you say these flowers were better described as puce, or venetian red?\"\n\n> You call Jenny\nJenny answers the phone on the first ring. \"Yoshida Floral,\" she says. \"If you're calling about the misprinted coupon in the Canyonville Gazette, we will be honoring it through next week.\"\n\n\"Jenny, it's me again,\" you say.\n\n\"Oh, hi!\"\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Fake Jenny is ready for her closeup.\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n5) \"I'm worried about moving away from you for college.\"\n\n> 5\nYou take a deep breath and then just say it. \"I'm worried about moving away from you for college.\"\n\nJenny is silent for a long moment. \"Me too,\" she says. \"But I didn't want to sound like I'm keeping you from doing what you want. And I know it means a lot to your father, for you to go.\"\n\n\"Yeah.\"\n\n\"I really want to talk about this more,\" Jenny says. \"Sometime when I'm not watching the store. We need to talk in person.\"\n\nBut at least now the topic isn't lurking like one of those Guzzlers in a creepy yellow egg-seed, waiting to climb out.\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Fake Jenny is ready for her closeup.\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 1\n\"Remind me what the Jenny of Tomorrow should do?\"\n\n\"Well... she'll need to know plant types, so she can answer questions in the shop. She should have enough finance skill to handle the register. She should be able to paint ad signs, too. And if she can bake, that would help with the illusion. Otherwise... you know what I'm like!\"\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Fake Jenny is ready for her closeup.\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 4\n\"Okay, thanks! I'll call you back when she's ready.\"\n\n\"Back to painting signs,\" Jenny says.\n\nBefore you can hang up, she says, \"Thanks again!\"\n\nYou hang up.\n\n> You call Jenny\nJenny answers the phone after a couple of rings. \"Yoshida Floral,\" she says. \"You'll never exceed a bouquet from Yoshida.\"\n\n\"Jenny, it's me again,\" you say.\n\n\"Oh, hi!\"\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Fake Jenny is ready for her closeup.\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 3\n\"Fake Jenny is ready for her closeup,\" you say. This is it: Jenny's going to judge your work.\n\n\"Wait, really? I'll be right over!\"\n\n\" Jenny's at the door. She looks... like someone has just given her the key out of prison. Wow. Maybe you didn't quite realize how much she hates working in that shop every day.\n\n\"Go for it,\" you say, and gesture at Jenny of Tomorrow.\n\n\"Okay,\" says Jenny. \"I'll just try to think of stuff I would ask her... I mean that I would ask me. Or, no, stuff that other people would ask me.\"\n\nYou give her a little nod. It's a sensible approach.\n\n\"\n\nIf it's possible to look both seductive and bored at the same time, the Jenny of Tomorrow is doing a good impression of it. \"Pine-nuts are a tolerable plant highly recommended by the local Nut Farmers Association.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"How much change would you give if I bought an apple sapling with a five dollar bill?\"\n\nIf it's possible to look both seductive and bored at the same time, the Jenny of Tomorrow is doing a good impression of it. \"That would be four dollars and sixty-nine cents, accounting for the six cents of local tax on top of the standard sapling price of twenty-five cents.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Can you listen to my troubles?\"\n\nThe Jenny of Tomorrow shrugs. \"You won't be sorry you asked.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 3\nYou don't try to say anything. Best just to wait and see how this plays out.\n\n\"Can you paint a sign advertising seasonal flowers?\"\n\nThe Jenny of Tomorrow sniffs commandingly. \"If I must.\" The Jenny of Tomorrow gets to work trying to draw a flower, but she gets bogged down when it becomes obvious she's never seen an actual flower at all. Her rendition looks a lot like the pattern on the upholstery.\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 1\n\"I don't know why she does that,\" you say.\n\nNeither Jenny of Today nor Jenny of Tomorrow look your way.\n\n\"What's the weather forecast?\"\n\nIf it's possible to look both seductive and bored at the same time, the Jenny of Tomorrow is doing a good impression of it. \"We're looking at light rainfall starting by mid morning and stopping by Wednesday. I mean, I think. I can't look outside from here.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Where are you really from?\"\n\nIf it's possible to look both seductive and bored at the same time, the Jenny of Tomorrow is doing a good impression of it. \"I was manufactured right here in Canyonville!\" she says brightly.\n\nJenny giggles. \"That's... yeah. That's perfect.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"I'd be worried about her trying to use the oven when she doesn't know how,\" comments Jenny. \"Fire safety is important.\"\n\nIt looks like Actual Jenny has something else to add, so you wait for it.\n\n\"Um,\" says Jenny. \"This is what you think I'm like? I don't even recognize me.\"\n\n> Reset\nWhat do you want to reset?\n\n> You go west\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa, and looking frankly a little on the underdressed side.\n\nYou can also see a coffee table here.\n\nThe Jenny of Tomorrow tosses her hair.\n\n> Reset Jenny\nThe button depresses. The Jenny of Tomorrow's head emits a metallic PING!! noise and her eyes flash twice. She is now back on line.\n\n> You give the dernier to Jenny\nTh\u00e9r\u00e8se, but says, \"Sorry, I need better French before I can understand such a text.\"\n\n> You give french Dictionary to Jenny\nThe Jenny of Tomorrow avidly studies the French Rhyming Dictionary. \"Rhyme: Mastered! French: I've maximized the merchandise you requested me to memorise! That's cooler than a fish.\"\n\n> You give the dernier to Jenny\nThe Jenny of Tomorrow scrutinizes Le Dernier Regret de Th\u00e9r\u00e8se, committing all of its details to memory. \"Fromage: All of this learning sends my positrons churning! French: Already know that one. Ennui: I've maximized le merchandise you requested me to memorise! Snobbery: Simple enough, I suppose. Painting: Your demands for attention elude circumvention. Would you refrain from boring me with your purposeless tasks?\"\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give the guide to Jenny\nYou can only do that to something animate.\n\n> Inventory\nYou are carrying:\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You give polite to Jenny\nThe Jenny of Tomorrow slowly flips through The Polite and Cheerful Girl's Guide To Elegant Dining, obviously bored. \"Ennui: Canceled. Etiquette: I've maximized le merchandise you requested me to memorise! Merci!\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Bonjour! I'm le Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow mimes smoking a cigarette in a very long holder. \"Known skills: rhyme; fromage; french; snobbery; painting; etiquette; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you remember how to unlock my purse?\"\n7) \"What's the weather forecast?\"\n8) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n9) \"I'm done talking now.\"\n\n> 9\n\"Great talking to you, friend!\"\n\n> You give Rose to Jenny\nThe Jenny of Tomorrow dubiously reads through Cheyenne Rose. \"Cowgirl culture: All of this learning sends my positrons churning! Security: I did not spurn what you asked me to learn! Snobbery: Canceled. Active listening: All of this learnin' sends my positrons churnin'! That's cooler than a cast-iron comm"
    },
    {
        "text": "ode on the north end of an iceberg.\"\n\n> You give Handbook\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow pores over the Style Handbook of Proper English. \"French: Canceled. Cowgirl culture: Canceled. That's cooler than a frog.\"\n\n> Inventory\nYou are carrying:\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You give the report\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow scrutinizes the annual Canyonville Pine Nut Harvest report, committing all of its details to memory. \"Finances: I've maximized the merchandise you requested me to memorise! Pine-nuts: I did not spurn what you asked me to learn! Weather: All of this learning sends my positrons churning! That was really a high-value use of my time!\"\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You give Eats\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow eagerly studies Great Eats From Canyonville High!. \"Cookery: Acquired! I feel like we're really communicating now.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi! I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"Known skills: rhyme; fromage; painting; etiquette; security; active listening; finances; pine-nuts; weather; cookery; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 3\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow lights up. \"Sure!\" She clears her throat.\n\n\"There's an angular man from St Kitt's\nwho ate nothing but affluent grits\nSeems his sister, named Nan,\nStole his money and ran,\nAnd he found being broke was the pits.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"There's an arduous man of San Juan\nand in contests of brain, he lacked brawn\nHe juggled with maces\nIn low-ceilinged places\nAnd instead of an ox bought a fawn.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> Reset\nWhile you're conversing, you can only pick conversation options.\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 1\n\"Bravo! Well done!\"\n\nThe Jenny of Tomorrow accepts your praise with a modest smile. \"It just came to me. The world is my muse.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 10\n\"Farewell, prospective investor!\"\n\n> You give French\nWhich do you mean, the French Rhyming Dictionary or Le Dernier\nRegret de Th\u00e9r\u00e8se?\n\n> You give Dictionary\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow pores over the French Rhyming Dictionary. \"Rhyme: Memorized! French: I've maximized the merchandise you requested me to memorise! Merci!\"\n\n> You give Handbook\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow scrutinizes the Style Handbook of Proper English, committing all of its details to memory. \"French: Canceled. That was fascinating!\"\n\n> You give the guide\n(to the Jenny of Tomorrow)\nThe Jenny of Tomorrow avidly studies The Polite and Cheerful Girl's Guide To Elegant Dining, committing all of its details to memory. \"Etiquette: All of this learning sends my positrons churning! Golly, that was eye-opening reading!\"\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there! I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow tosses her hair.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 3\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow plays a mood-enhancing chime. \"Sure!\" She clears her throat.\n\n\"Roses are red\nviolets are blue\ntaffy is illustrated\nand so are you.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"Roses are red\nviolets are blue\nonions stink\npeonies are pink.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 5\n\"Let's phone the librarian now and you can recite that for her,\" you say.\n\n\"I'd love to!\"\n\nThe Queen heads over to the kitchen and places the call.\n\nYou're not able to hear everything from her side of the conversation, but she comes back a moment later, complaining that the person at the other end described her composition as \"drivel\" and \"doggerel.\"\n\n\"They refused to lend any books on that basis,\" she says, flouncing back to the sofa.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 3\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"Sure!\" She clears her throat.\n\n\"I once knew a small lad from Lahore\nwho signed up for a stint in the war\nBut at his first muster\nthe war lost its luster\nAs his hairline had done just before.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 3\n\"That was terrible.\"\n\nThe Jenny of Tomorrow looks annoyed. \"You are the one who programmed me!\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You give the report to Jenny\nThe Jenny of Tomorrow pores over the annual Canyonville Pine Nut Harvest report. \"Finances: Acquired! Pine-nuts: I did not spurn what you asked me to learn! Weather: I did not spurn what you asked me to learn! That's cooler than a fish.\"\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> 3\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow lights up. \"I'd love to!\" She clears her throat.\n\n\"I once knew an old person called Thor\nof whose sense there was no guarantor\nHe juggled with maces\nIn low-ceilinged places\nHis diploma's sent back to the store.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 4\n\"Ooh, do me another one!\"\n\n\"There was once a large sailor of Bonn\nwho in matters of wit was no swan\nBut he flattered the Queen\nand paid court to a Dean\nAnd he took out a loan for a lawn.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 1\n\"Bravo! Well done!\"\n\nThe Jenny of Tomorrow accepts your praise with a modest smile. \"It just came to me. The world is my inspiration.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow plays a mood-enhancing chime. \"Known skills: rhyme; etiquette; finances; pine-nuts; weather; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> You give poem to Jenny\nThe Jenny of Tomorrow scrutinizes the poem book, committing all of its details to memory. \"Poetry: Memorized! Ennui: Learned! Would you refrain from boring me with your purposeless tasks?\"\n\n> You give Rhyming to Jenny\nThe Jenny of Tomorrow languidly peruses the French Rhyming Dictionary, obviously bored. \"Rhyme: Committed to memory. French: I've maximized the merchandise you requested me to memorise. That's duller than a post.\"\n\n> You give cheerful to Jenny\nSighing, the Jenny of Tomorrow slowly flips through The Polite and Cheerful Girl's Guide To Elegant Dining. \"Ennui: Canceled. Etiquette: I've maximized le merchandise you requested me to memorise! Merci!\"\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow pores over the Style Handbook of Proper English, committing all of its details to memory. \"French: Canceled. That was fascinating!\"\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hello there! I'm the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"Known skills: poetry; rhyme; etiquette; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 3\n\"Can you write me a poem?\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"I'd love to!\" She clears her throat.\n\n\"Although we ne'er may meet again,\nEnticed by you I shall remain.\nYou graced the front of Pine Gazette,\nThat meeting I shall ne'er forget.\nI would not say, 'I love,' but still,\nForgetting you is all uphill.\nSweet girl! though only once we met,\nyou'd ornament my new Corvette.\"\n\n1) \"Bravo! Well done!\"\n2) \"I'm really coming to respect you as an artist.\"\n3) \"That was terrible.\"\n4) \"Ooh, do me another one!\"\n5) \"Let's phone the librarian now and you can recite that for\nher.\"\n\n> 5\n\"Let's phone the librarian now and you can recite that for her,\" you say.\n\n\"Sure!\"\n\nThe Queen heads over to the kitchen and places the call.\n\nYou're not able to hear everything from her side of the conversation, but a few moments later, there's a familiar sound from the telepod.\n\n> Inventory\nYou are carrying:\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You look at the telepod\nA large, egg-shaped pod about the size of a garbage can, but lightweight enough for you to lift. There's an open hatch in the side.\n\nIn the telepod is a French botanical book.\n\n> You get the book\n(the French botanical book)\nTaken.\n\n> You read the botanical\nThe stamping on the spine says Soci\u00e9t\u00e9 botanique de France, and there are lots of very pretty drawings of flower types inside. Unfortunately, you can't read a word of it. But the Jenny of Tomorrow might be able to, with the proper training.\n\n> Go north\nThere are plenty of actual laboratories at MinSystems Labs. This isn't one of those: you train your robots in an ordinary household setting.\n\nOff to the east is the kitchen area, panelled in faux walnut, and there's a bathroom, south, just for the sake of verisimilitude. The robots do not need to use it.\n\nThe Jenny of Tomorrow is sitting properly on the sofa, and looking frankly a little on the underdressed side.\n\nYou can also see a coffee table here.\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give Rhyming to Jenny\nThe Jenny of Tomorrow scrutinizes the French Rhyming Dictionary. \"Rhyme: Already know that one. French: All of this learning sends my positrons churning! Merci!\"\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You give botanical to Jenny\nThe Jenny of Tomorrow pores over the French botanical book. \"Botany: Acquired! Merci!\"\n\n> Inventory\nYou are carrying:\na French botanical book\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give the report to Jenny\nThe Jenny of Tomorrow rapidly studies the annual Canyonville Pine Nut Harvest report, committing all of its details to memory. \"Finances: I've maximized le merchandise you requested me to memorise! Pine-nuts: Mastered! Weather: I've maximized le merchandise you requested me to memorise! That was tr\u00e8s tr\u00e8s a high-value use of my time!\"\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow scrutinizes the Style Handbook of Proper English. \"French: Canceled. That's cooler than a toad's nose.\"\n\n> You give Rose to Jenny\nThe Jenny of Tomorrow pores over Cheyenne Rose. \"Cowgirl culture: I did not spurn what you asked me to learn! Security: All of this learnin' sends my positrons churnin'! Active listening: Memorized! I feel my brains expandin' just lookin' at this!\"\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow scrutinizes the Style Handbook of Proper English, committing all of its details to memory. \"Cowgirl culture: Canceled. That's cooler than a dead man's nose.\"\n\n> You give Rhyming to Jenny\nThe Jenny of Tomorrow avidly studies the French Rhyming Dictionary. \"Rhyme: Already know that one. French: Learned! Gee whiz, that was some reading!\"\n\n> You give the dernier to Jenny\nThe Jenny of Tomorrow eagerly studies Le Dernier Regret de Th\u00e9r\u00e8se, committing all of its details to memory. \"Fromage: I did not spurn what you asked me to learn! French: Already know that one. Ennui: Mastered! Snobbery: I've maximized le merchandise you requested me to memorise. Painting: Your demands for attention elude circumvention. That's duller than a bucket of ditchwater.\"\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow dubiously reads through the Style Handbook of Proper English. \"French: Canceled. No one ever asks what is the purpose of all this reading.\"\n\n> You give the guide to Jenny\nYou can only do that to something animate.\n\n> You look at what you're carrying with you\nYou are carrying:\na French botanical book\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You give the elegant to Jenny\nSighing, the Jenny of Tomorrow dubiously reads through The Polite and Cheerful Girl's Guide To Elegant Dining. \"Ennui: Canceled. Etiquette: Already know that one. I feel like we're really communicating now.\"\n\nThe Jenny of Tomorrow tosses her hair.\n\n> You give Eats to Jenny\nThe Jenny of Tomorrow regards the cookbook with contempt and crosses her arms. \"That calls itself a cookbook?\" she says. \"There is nothing in there that would be fit for a dog.\"\n\n> You give the bodice to Jenny\nThe Jenny of Tomorrow rapidly studies Ye Goodwyfe's Bodice Overfloweth. \"Medieval times: I've maximized the merchandise you requested me to memorise! Innuendo: I did not spurn what thou asked me to learn! I feel like we're really communicating now.\"\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give Rose to Jenny\nThe Jenny of Tomorrow dubiously reads through Cheyenne Rose, committing all of its details to memory. \"Cowgirl culture: Learned! Security: Already know that one. Snobbery: Canceled. Active listening: Already know that one. I feel my brains expandin' just lookin' at this!\"\n\nThe Jenny of Tomorrow crosses her metal legs, the opposite way from before.\n\n> You give Eats to Jenny\nThe Jenny of Tomorrow pores over Great Eats From Canyonville High!, committing all of its details to memory. \"Cookery: Acquired! That was fascinating!\"\n\n> You give Handbook to Jenny\nThe Jenny of Tomorrow rapidly studies the Style Handbook of Proper English, committing all of its details to memory. \"Cowgirl culture: Canceled. Golly, that was eye-opening reading!\"\n\n> You give Stove to Jenny\nThe Jenny of Tomorrow scrutinizes the stove manual. \"Advertising: Learned! Fire-safety: I've maximized the merchandise you requested me to memorise! Poetry: Canceled. That's cooler than a frog.\"\n\n> You talk to Jenny\nThe Jenny of Tomorrow begins to speak: \"Hi! I am the Jenny of Tomorrow.\" She looks nothing like actual Jenny, which is disconcerting.\n\nThe Jenny of Tomorrow tosses her hair.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 1\n\"Remind me what you're trained in right now.\"\n\nThe Jenny of Tomorrow lights up. \"Known skills: botany; finances; pine-nuts; weather; rhyme; fromage; painting; etiquette; security; active listening; cookery; advertising; fire-safety; ...and that's it.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 2\n\"Can you give me some tips about plant care?\"\n\nThe Jenny of Tomorrow says, \"Plant summer squash in late May and expect to harvest by fall.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 4\n\"Can you listen to my troubles?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"Sure!\"\n\n1) \"My father wants me to go to a technical college, and I'm not\nsure I want to.\"\n2) \"I keep having flashbacks to the Brain-Guzzlers attack.\"\n\n> 2\nYou talk about the ooze, and the noise of the saucers. You talk about the nightmares. You talk about the time when you thought Jenny was dead. It's not a very organized explanation.\n\nJenny of Tomorrow listens for a while. \"I fear you've experienced something very frightening,\" she says. \"It's almost as though you've been to war. After something like that, you may expect some long-term effects.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 5\n\"Can you paint a sign advertising seasonal flowers?\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"Sure!\" The Jenny of Tomorrow gets to work with pastels on board. Thirty minutes later, there's a full-color sign wreathed in a border of botanically-accurate heather blooms, surrounding exquisite lettering inviting the buyer to buy seedlings now, 5 cents for a packet.\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 6\n\"Do you know how to bake Snickerdoodles?\"\n\nThe Jenny of Tomorrow lights up. \"I could, though I could also do something else if you wanted. Would you like a Finn, perhaps paired with some Orange jam?\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 8\n\"What's the weather forecast?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"We're looking at decreasing winds starting later today and persisting until Wednesday.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 9\n\"Is it true you fought off the Brain Guzzlers almost singlehanded?\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"Not quite singlehanded. But I was part of the team that pulled it off.\"\n\n1) \"Remind me what you're trained in right now.\"\n2) \"Can you give me some tips about plant care?\"\n3) \"Can you write me a poem?\"\n4) \"Can you listen to my troubles?\"\n5) \"Can you paint a sign advertising seasonal flowers?\"\n6) \"Do you know how to bake Snickerdoodles?\"\n7) \"Do you remember how to unlock my purse?\"\n8) \"What's the weather forecast?\"\n9) \"Is it true you fought off the Brain Guzzlers almost\nsinglehanded?\"\n10) \"I'm done talking now.\"\n\n> 10\n\"Goodbye, prospective investor!\"\n\n> You look at what you're carrying with you\nYou are carrying:\na French botanical book\na sash (being worn)\na French Rhyming Dictionary\na library flyer\na Style Handbook of Proper English\nan annual Canyonville Pine Nut Harvest report\nCheyenne Rose\na collapsible hula hoop\nGreat Eats From Canyonville High!\nYe Goodwyfe's Bodice Overfloweth\na stove manual\nThe Polite and Cheerful Girl's Guide To Elegant Dining\nLe Dernier Regret de Th\u00e9r\u00e8se\na poem book\na pink purse (being worn and open but empty)\n\n> You call Jenny\nJenny answers the phone after a couple of rings. \"Yoshida Floral,\" she says. \"We have a special on roses all this week.\"\n\n\"Jenny, it's me again,\" you say.\n\n\"Oh, hi!\"\n\n1) \"Remind me what the Jenny of Tomorrow should do?\"\n2) \"Could I borrow your diary to train her with?\"\n3) \"Fake Jenny is ready for her closeup.\"\n4) \"Okay, thanks! I'll call you back when she's ready.\"\n\n> 3\n\"Fake Jenny is ready for her closeup,\" you say. This is it: Jenny's going to judge your work.\n\n\"Wait, really? I'll be right over!\"\n\n\" Jenny's at the door. She looks... like someone has just given her the key out of prison. Wow. Maybe you didn't quite realize how much she hates working in that shop every day.\n\n\"Go for it,\" you say, and gesture at Jenny of Tomorrow.\n\n\"Okay,\" says Jenny. \"I'll just try to think of stuff I would ask her... I mean that I would ask me. Or, no, stuff that other people would ask me.\"\n\nYou give her a little nod. It's a sensible approach.\n\n\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"In this part of New Mexico, plant beans indoors in early May, outdoors in late May, and expect to harvest in September to mid-October.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"How much change would you give if I bought an apple sapling with a five dollar bill?\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"That would be four dollars and sixty-nine cents, accounting for the six cents of local tax on top of the standard Conkling sapling price of twenty-five cents. Or, if they went for the more deluxe Tom Blake Hard Times, the base price would be fifty cents with twelve cents tax, for change of $4.38.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Can you listen to my troubles?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"Sure!\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Can you paint a sign advertising seasonal flowers?\"\n\nThe Jenny of Tomorrow plays a mood-enhancing chime. \"You won't be sorry you asked!\" The Jenny of Tomorrow gets to work with pastels on board. Thirty minutes later, there's a full-color sign wreathed in a border of botanically-accurate lavender blooms, surrounding exquisite lettering inviting the buyer to buy seedlings now, 5 cents for a packet.\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Do you know how to bake Snickerdoodles?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"I could, though I could also do something else if you wanted. What would you say to Arugula Mashed Potato Divinity?\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 3\nYou don't try to say anything. Best just to wait and see how this plays out.\n\n\"What's the weather forecast?\"\n\nThe Jenny of Tomorrow pauses a moment before replying, \"We're looking at rising pressure starting in a few hours and stopping by Monday.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Where are you really from?\"\n\nThe Jenny of Tomorrow tilts her head pleasantly. \"I was manufactured right here in Canyonville!\" she says brightly.\n\nJenny giggles. \"That's... yeah. That's perfect.\"\n\n1) \"I don't know why she does that.\"\n2) \"Good, isn't she?\"\n3) \"...\"\n\n> 2\n\"Good, isn't she?\" you say.\n\nJenny flashes you a smile.\n\n\"Is it true you knew Tokyo Rose?\" Jenny asks the robot.\n\n\"I don't know who that is,\" says the Jenny of Tomorrow.\n\nWhen people find out Jenny was at Gila River Internment Camp, they come out with all kinds of questions, even though she was still a little kid when she left. Questions about whether she knew spies there, and what it was like, and why her family didn't go back to Fresno afterwards. Since Jenny's Granny doesn't talk about that topic, Jenny doesn't know the answer either. She told you once that the main thing she remembers is being warned to look out for scorpions.\n\nJenny's being very quiet, looking at the Jenny of Tomorrow, so you say, \"She isn't able to get upset about stupid questions.\"\n\nJenny nods. \"That's good. Useful feature.\"\n\nThe Jenny of Tomorrow looks at Jenny hopefully and smiles.\n\nEveryone is quiet for a moment, waiting for Jenny to say whatever she's going to say.\n\nIt looks like Actual Jenny has something else to add, so you wait for it.\n\n\"I'm... honestly I'm kind of amazed,\" says Jenny. \"She's so detailed. And definitely a better painter than I am.\"\n\n1) \"I've had a lot of time to study the original.\"\n2) \"I love you.\"\n\n> 2\n\"I love you.\"\n\nIt gets easier to say with practice. And it seems to need repetition, because every time you think things are finally clear between you and Jenny, they get muddied up again. But you're getting better at it. Maybe now you can actually talk about what's going to happen after this summer."
    },
    {
        "text": "[Themes: Horror, simulation]\n\n> You examine the self\n([self])\nThe paper itself is flat, nondescript. But as you focus on it, the written letters begin to remind you of something.\n\nS-E-L-F.\n\nOnce, you remember having a purpose in life. Your day-to-day existence was filled with tasks and errands. You owned an antique store in the small town of F\ufffd\ufffdrfeninnen...\n\nThe next thing you write will be the name of your store.\n\n[Author's Note: You are an antique store proprietor trying to make ends meet. Use your wits, manage your resources, play the hand you are dealt. This game features a story with multiple endings, achievements as well as an unique style of gameplay that is inspired by roguelite and card-based games.]\n\n> Floyditorium\nThe Floyditorium antique store... Is this okay? (Type 'yes' or\n'no'.)\n\n> You examine the store\nOnce again, you focus, and the notes and their words evoke something new in you.\n\nYou remember reading about how the old train depot changed hands and was repurposed multiple times over the years until its drafty interior was put to its latest use: to house an untold number of weird, forgotten objects. It became an antique store. But even this was long before you.\n\npicture. Did you...\n\n(1) Inherit the business from an obscure relative?\n(2) Buy the business on a whim?\n\n> You examine examine\nThe command EXAMINE. You can use it to gain more information about\nany note on the table. Examining something twice in a row means you're staring, which is impolite.\n\n> You talk the number\nYou picked up the store's rotary dial telephone and called the number that was left for you. There was a moment's silence, after which a young female voice answered: 'Yes. I will be there'.\n\nYou opened the front door to a woman in her 20s who was wearing clothing somewhere between frilly and modern. The colors were subdued, which befit her calm character. After a moment of silence, she invited herself inside and began talking: 'I contacted you because this is not an ordinary shop. There are things here that could be dangerous, if mishandled. I will tell you more. Please accept my help...'\n\nWhatever she said next drowned in a haze as she gingerly took you by the hand, leading you deeper into the building. Passing from room to room, she related to you her worries about the town and the old local faith. She had lived in F\ufffd\ufffdrfeninnen her entire life, raised into a mode of thought that seemed so foreign to you. 'Our ways are dying. It has been this way since a long time ago. But... I believe your coming might mean that change is upon this town. You have felt it too, have you not? There is value in this place. F\ufffd\ufffdrfeninnen used to be a crossroad, a center of activity and civilization. Even today it has a certain pull to it - obscure things just seem to find their way here. This store is full of history, and there are many things here worth unearthing. There is something you could do for us...'\n\nYou both stopped in front of one of the larger rooms that had a rather cathedralesque shape. It was unlit and half-full of crates, but for a moment you could see a glimpse of what she saw. Perhaps the store\ncould be full of light some day soon. Displays of local significance. Lore, artifacts. An entire community. It was a friendly vision, somehow. And as for your role in it, all it took was separating the wheat from the chaff - finding things of worth and showing them to the world.\n\nAfter she left, you lay awake on your mattress, watching lights pass\nby the ceiling. Somehow, the doubt that haunted you before was no longer there. You knew you were no longer alone, and there was a new motivation rising inside you. It was becoming clear enough to enunciate. You intended to...\n\n(1) Do as she suggested, creating an esoteric museum of local importance.\n(2) Simply make enough cash to retire.\n(3) Find forbidden knowledge.\n\n> You talk the catalogue\nThe general store always had a weekly promotion for some item. You decided to call them to get more information. It turned out that the item for this week was...\n\n'An axe! A hickory carpenter's axe is an useful tool for wood work!\nAnd why not self-defense too!'\n\nSince you have a voucher, you are able to get this item for free.\nWill you purchase it? (Yes / No)\n\n> You talk seer\nWhat would you like to talk about with the seer? The next thing\nyou write indicates the topic.\n\n> You talk the Ecame\nYou picked up the heavy tome and gave it another smell. There was a hint of divinity somewhere inside the musty manuscript. The written letters seemed irrelevant, as this was not a book one would read...\n\nYou can perform a trade with Ecame. This item will permanently disappear from the shop, but you will gain a random perk and forbidden knowledge. Do you agree? (Yes / No)\n\n> You talk seller\nYou took a look at the seller's wares. This week, he was selling 1 wares for 1 cash.\n\nPurchase it for 1 cash? (Yes / No)\n\n> You search the shoe\nYou took the horseshoe into your hands. It immediately started pulling you somewhere deeper inside the store...\n\nYou can go dowsing with this item. This guarantees finding a\nrandom unique item and you also gain forbidden knowledge. The drawback is that this activity will look strange to bystanders, and you will also lose 1 mind. Proceed? (Yes / No)\n\n> Promote verum\nYou placed the object in one of the large glass vitrines.\n\nAs you put finishing touches to the display, you were paid a surprise visit by the seer. She seemed happier than before, even giving a careful smile at your direction. 'This room... it's really starting to take shape. It will be wonderful when it's complete. It will be a cradle for the local spirit... A place in which to gather and to find your strength.'\n\nShe tentatively waited for you to say something before continuing. 'This is like a sanctum. An inner sanctum... a small oasis hiding inside your store. Don't you think it deserves a special name?'\n\nWould you like to rename the cathedralesque room? (Yes / No)\n\n> Yes\nroom.\n\n> Clubhouse\nClubhouse... Is this okay? (Type 'yes' or 'no'.)\n\n> Search box\nYou were curious about the box. It seemed at least a hundred years\nold, maybe more. While it wasn't heavier than two kilograms, its surface felt hard as stone. The seam of the box was mostly obfuscated, and you had to feel your way around the box to eventually find the points where both of its halves were connected. There was a small lock embedded into the wood, complete with a tiny keyhole. Trying to force the lock open with your tools was always an option.\n\nDo you want to attempt opening the box? (Yes / No)\n\n> You talk the catalogue\nThe general store always had a weekly promotion for some item. You decided to call them to get more information. It turned out that the item for this week was...\n\n'A small bell! It makes a loud noise that is sure to get anyone's attention!'\n\nThis item costs 1 cash. Will you purchase it? (Yes / No)\n\n> You talk seller\nYou took a look at the seller's wares. This week, he was selling an unique item called [Fasil].\n\nPurchase it for 2 cash? (Yes / No)\n\n> Fasil\nThe seer looked at you. 'By now, you know what twisted power this item holds. I can take it away from here, if you wish. I will dispel and dismantle it, putting its pieces finally to rest.'\n\nThe seer will permanently remove this item from the game. This\nwill cost 1 [cash]. Do you wish to proceed? (Yes / No)\n\n> You talk directory\nYou folded the directory open on your desk. A few useful numbers\ncaught your eye almost immediately. You decided to...\n\n(1) call a recruiting agency and hire an extra worker.\n(2) call an insurance firm and get your store and items insured.\n(3) get a loan.\n(4) call the police.\n(5) not call anyone.\n\nPlease type a number indicating your choice.\n\n> 3\nThe local loan businesses were not as strict as they were elsewhere. Even though you were new in town, financial security uncertain, they were willing to offer you a helping hand...\n\nIf you get a loan, you will immediately get 5 cash for yourself. However, you will have to pay the loan back over the next seven upkeeps, which means 1 cash per 7 turns until the loan is paid completely. Agree to these terms? (Yes / No)\n\n> You accept the defeat\nWithout the means to pay rent, you lost the store, and with it your last material possessions. You became destitute, shattered.\n\n> Achievements\nYour achievements in Ascension of Limbs thus far ...\n\n1: Local color --- You met the seer for the first time.\n2: ???\n3: Ending I - Impoverished --- You ran out of money.\n4: ???\n5: ???\n6: ???\n7: ???\n8: ???\n9: ???\n10: ???\n11: ???\n12: ???\n\nYou have unlocked 2 achievements out of 12.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or list your ACHIEVEMENTS?"
    },
    {
        "text": "[Themes: Fantasy, female protagonist, magic, fantasy, witch]\n\n\"Well, you've really done it now, haven't you?\" Arthur says sarcastically, with a flick of the tail that suggests that, if he were human, he would be rolling his eyes. Normally you ignore his snarky comments, but now at those words you can't help but burst into tears.\n\n\"There, there,\" Arthur says, sounding alarmed, \"you can fix this! Enchantress Igmenta won't be back until midnight!\"\n\n\"It's hopeless!\" you say, your voice muffled in your arms, \"I can't do anything right!\"\n\nFor years, you've been laughed at as the witch who can't even perform a simple ignition charm, whose potions invariably turn into black sludge, and whose spells send people running from electric green fireworks. Tonight is your coming of age test, and you've been trying desperately to do the spells you'll be tested on in the room where you've been learning magic for the past eight years. Your classmates like to joke that you should never be allowed out of the Pentacle Chamber because it's the only magic-proof sanctuary for miles around. It's unfortunate that the items contained in it aren't\nmagic-proof, though--a minute ago, a wayward Ventus charm, intended to produce a warm spring breeze, instead sent a tornado ripping through the room! Vials of potion are shattered on the floor, torn pages from spellbooks float in the air, and the Goddess statue has been smashed into a million pieces! How can you, the worst witch in West Witchington, fix the mess--and learn the required spells for the test--before midnight?\n\n[Author's Note: Potions shattered on the floor, pages torn out of books, a demolished statue... These are a few of the magical messes you will have to clean up before Enchantress Igmenta arrives for your coming-of-age test tonight. Unfortunately, you've never been much good at magic, and it will take all of your determination to learn enough of it to set the Pentacle Chamber to rights--and pass that test! Charming is a short, light, puzzly game. Writing it began around September of 2015; two programming language switches, many hiatuses, a college graduation, and two missed IFComp deadlines later, Kaylah Facey is thrilled to finally release it to the public. She very much hopes you enjoy her debut interactive fiction game.]\n\n> Todo\nThe following tasks remain:\n\n(NEW) Repair the torn spellbooks.\n(NEW) Replace the broken statue.\n(NEW) Separate the spilled potions.\n(NEW) Repair the potions bottles.\n\n> Spells\nYou have learned 1 out of 12 possible spells:\n\nVentus: A spell which produces wind.\n\n(Cast a spell with CAST spell AT something.)\n\n> You look at the books\nYou kneel close to the pile of books so that you can read the spines. You see Charming, Double, Double, A Witch's\nGuide to the Heavens, and A Treatise on Alchemy.\n\nArthur lazily licks a forepaw.\n\n> You examine charming\nUnfortunately, it seems to be missing some pages, and everything inside looks like gibberish.\n\n> You examine Alchemy\nWhich do you mean, A Treatise on Alchemy or the alchemy book\npage?\n\n> You examine pages\nThere are pages from several different books here... You see a spellbook page, a potions book page, an astrology book page, and an alchemy book page.\n\n> You put the alchemy page in the alchemy treatise\n(first taking the alchemy book page)\n\nare relieved to see that the jagged edges match exactly. In a moment, however, your relief fades as you realize that you still can't read the book! In addition to that, the alchemy book page threatens to fall out of A Treatise on Alchemy every time you move it. There\nmust be a way to make them stick together...\n\nArthur stretches luxuriously.\n\n> You look at the bench\nA solid wooden table that has survived generations of magical abuse, albeit with all of the stains and scratches one would expect from such treatment. Taking up much of the space on the table is a large cauldron.\n\n> You examine the cauldron\nDouble, double, toil and trouble; fire burn and cauldron bubble!\n\nIn the copper cauldron is an old wooden spoon.\n\n> You examine the spoon\nAn old beaten up wooden spoon.\n\n(You can STIR something COUNTER-CLOCKWISE or CLOCKWISE WITH the spoon.)\n\n> You examine the shelf\nA sturdy wooden shelf that ordinarily supports an assortment of potions bottles.\n\n> You look at the bottles\nJagged shards of glass in various colours.\n\n> You examine the bookcase\nThe bookshelf towers over its fallen denizens.\n\nIt is hard to believe that the books, scrolls, and other manuscripts that the shelves are crammed, stacked, and piled high with compose only a very small subset of the Library Arcana.\n\nOn the bookcase is a silver stand.\n\nArthur sniffs at a patch of floor.\n\n> You look at the stand\nThe crystal ball's stand is made of an elegant silver filigree.\n\n> You examine the circle\nTo have a circular diagram encompassing the entire area of a rectangular room without surpassing its bounds is a geometric impossibility. Nevertheless, the faint chalk circle drawn on the floor of the Pentacle Chamber appears to achieve the feat.\n\n> You examine the altar door\nThe altar door is beautifully painted, but you wince to see the statue of the Goddess spilling out of it.\n\nArthur grooms himself.\n\n> You look at the statue\nThe Goddess' opalescent eyes peer up at you from the debris--disapprovingly, it seems. You think you see something glinting under one of the larger rocks.\n\nArthur lazily licks a forepaw.\n\n> You look at the glint\nYou can't quite reach the glinting object, and the rocks are\ntoo large for you to push out of the way.\n\n> You examine the rubble\nThe Goddess' opalescent eyes peer up at you from the debris--disapprovingly, it seems. You think you see something glinting under one of the larger rocks.\n\n> You examine the door\nWhich do you mean, the library door or the altar door?\n\n> You look at the library door\nWhen Enchantress Igmenta comes to get you, she'll come through that door. You're trying not to look at it too much.\n\n> You examine the puddle\nAs you examine the shimmering puddle, you realize to your horror that it is the crystal ball, melted!\n\n> You look at Arthur\nArthur is your familiar. He looks a lot like a well-fed black housecat.\n\nArthur bats at a shadow on the wall.\n\n> About yourself\nWithout a mirror, you can't really look at yourself, but you know what you'd see if you had one. Your curly hair is always tangled into disarray, your cheek or nose always smudged by a spot of dirt or paint, and your robes always marred by rips, burn marks, and stains of every colour. To top it off you're perpetually dusted by a thin layer of chalk. People constantly help you put yourself to rights--this morning, your mother was careful to make you perfectly presentable for your test--but within minutes, you always return to your natural chaotic appearance."
    },
    {
        "text": "[Themes: Fantasy, magic, witch]\n\n> Look around\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door, currently blocked by a pile of rubble that used to be the Goddess statue. Set into the\nwestern wall is the door that leads downstairs to the rest of the Library Arcana.\n\nSeveral bottles of potion have fallen from their shelf and shattered all over the floor into a sticky mess.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nTorn pages are strewn about the room.\n\nThere is a shimmering puddle on the floor.\n\nYou can also see Arthur here.\n\n> You examine the cabinet\nAll the potions ingredients are kept in this battered old cabinet.\n\n(It's closed.)\n\n> You open it\nYou open the potions cabinet, revealing some witch hazel, some mugwort, some wolfsbane, some deadly nightshade, some evening glories, some lavender, and a mortar-and-pestle.\n\n> You look at the mortar\nAn old stone mortar-and-pestle, used for crushing herbs, spices, and other ingredients used in potions.\n(You can CRUSH an ingredient WITH the MORTAR-AND-PESTLE.)\n\n> You ask Arthur about the glint\n\"I'm bored of this line of conversation.\" Arthur interrupts.\n\n> You ask Arthur about Arthur\n\"How old are you, Arthur?\" you wonder.\n\n\"I'm as old as the stars, yet I was called forth into being when you summoned me at your birth.\"\n\nArthur sniffs at a patch of floor.\n\n> Cast Ventus at the rubble\nA strong gust of wind blows over the rubble, and several of the smaller pieces shift a few inches on the ground. Unfortunately, the large rocks blocking the door don't budge at all.\n\n> Cast ventus at glint\nYou can't quite reach the glinting object, and the rocks are\ntoo large for you to push out of the way.\n\n> You take all the page\nspellbook page: Taken.\npotions book page: Taken.\nastrology book page: Taken.\n\n> You take the spoon\nTaken.\n\nArthur lazily licks a forepaw.\n\n> You examine the eyes\nGleaming opal eyes that seem to stare directly into your soul.\n\n> You take the eyes\nTaken.\n\n> You ask Arthur about the eyes\n\"How am I supposed to get this statue back together?\" you ask.\n\n\"I don't know if that's even possible,\" Arthur muses.\n\n> You ask the eyes about the eyes\nYou can only do that to something animate.\n\n> You open the library door\nYou open the library door."
    },
    {
        "text": "[Themes: Fantasy, witch, magic]\n\n> Go downwards\nLooking around at the disaster, you throw your hands up in defeat. There's no way you'll be able to fix the room. With a sigh, you turn to leave and face the consequences. Maybe you can join the circus...\n\n\"What are you doing?!\" Arthur asks.\n\n\"You know I'm the worst witch in the class. Magic just... doesn't work out for me. I'm going to go tell Enchantress Igmenta what happened.\"\n\n\"Don't be ridiculous. I know you have it in you to fix this!\" Maybe Arthur is right. You close the door.\n\n> You look at the hazel\nSmall, dried yellow flowers.\n\n> You examine the mugwort\nDried purple stalks.\n\n> You examine wolfsbane\nDried bell-shaped purple flowers.\n\n> You look at books\nYou see Charming, Double, Double, A Witch's\nGuide to the Heavens, and A Treatise on Alchemy.\n\n> You examine pages\nYou see a spellbook page, a potions book page, an astrology book page, and an alchemy book page.\n\n> You put the astrology page in the guide\nHeavens and are relieved to see that the jagged edges match\nexactly. In a moment, however, your relief fades as you realize that you still can't read the book! In addition to that, the astrology book page threatens to fall out of A Witch's Guide to the Heavens\nevery time you move it. There must be a way to make them stick together...\n\n> You look at the potions\nYou see a sticky mess, a potions book page, and a potions cabinet.\n\n> You examine the mess\nThe spilled potions have mixed to form a stinking, sickening, sticky mess punctuated with shards of glass. You need to find a way to separate the potions and fix the bottles.\n\n> You put the astrology page in the mess\n(first taking the astrology book page)\n\nYou dip the page into the sticky mess. Goop now clings to one edge.\n\n> You put the astrology page in the guide\nAs you place the astrology book page into A Witch's Guide to the Heavens, being careful to line up the jagged edges, the words in\nthe page seem to morph and shift until the book is perfectly readable again.\n\n> You read the guide\nLooking up its index in A Witch's Guide to the Heavens, you\nsee:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, moon phases, star signs, crystal balls, werewolves.\n\n> You consult the guide about the crystal balls\nLooking up crystal balls in A Witch's Guide to the Heavens,\nyou see:\n\nAt one time, the only way to access the mysteries of the aether\nthat are now revealed by the crystal ball was by distilling starlight and drinking the glowing liquid that resulted. A witch who was careless of the dosage could find herself staring into the void for days or even weeks. In 1248, the practice was forbidden to novices after one unfortunate young witch went into a trance that lasted almost fifteen years! Luckily, the 1557 discovery of aether made the practice of looking into the starry void safe for all with even a shred of magical ability, though it lasted only as long as it could be levitated, as aether passes through containers even wind cannot escape. During the 1601 Paris Conference of Sorcery, a mass of aether was held before a group of diviners for almost a week before the enchantress keeping it afloat collapsed of exhaustion. It wasn't until the World Alchemical Exhibition of 1690 that Xylli Zzyllious (best known for the invention of the Xyzzy charm) proudly displayed a new kind of magically reinforced glass--soon to be known as dragonglass--that was capable of holding aether. It wasn't long after that that the crystal ball became a standard feature of the witch's arsenal.\n\n> Xyzzy\nYou take a deep breath and prepare to cast Xyzzy.\n\n\"What are you doing?!\" Arthur demands, interrupting your incantation, \"Casting spells all willy-nilly is how you got into this mess!\"\n(Try CASTing the spell AT something instead.)\n\n> Spells\nYou have learned 1 out of 12 possible spells:\n\nVentus: A spell which produces wind.\n\n(Cast a spell with CAST spell AT something.)\n\nArthur sniffs at a patch of floor.\n\n> You look at the pages\nYou see a spellbook page, a potions book page, and an alchemy book page.\n\n> You put the spellbook page in the mess\nYou dip the page into the sticky mess. Goop now clings to one edge.\n\n> You put it in charming\nAs you place the spellbook page into Charming, being careful\nto line up the jagged edges, the words in the page seem to morph and shift until the book is perfectly readable again.\n\n> You put alchemy page in the mess\n(first taking the alchemy book page)\n\nYou dip the page into the sticky mess. Goop now clings to one edge.\n\n> You put it in Treatise\nAlchemy, being careful to line up the jagged edges, the words in\nthe page seem to morph and shift until the book is perfectly readable again.\n\n> Examine page\nYou won't understand it until you've put it back in the book.\n\nArthur grooms himself.\n\n> Inventory\nYou are carrying:\na pair of opal eyes\nan old wooden spoon\na potions book page\n\n> You put it in double\nAs you place the potions book page into Double, Double, being\ncareful to line up the jagged edges, the words in the page seem to morph and shift until the book is perfectly readable again.\n\n> You look at the Charming\nA small but heavy tome, it's rumoured that the Library's\nteaching copy of Charming once had a distinct bright red\ncover. After 5 successive generations of witches learning with it, though, it's hard to tell which of the many colours it's splotched with is endemic to the book--if any.\n\nArthur bats at a shadow on the wall.\n\n> You look up Ventus in Charming\nLooking up Ventus in Charming, you see:\n\nA spell for conjuring wind.\n\nIn your experience, it produces either a tempest or a sigh, with nothing in between. Tonight's disaster is the production of the first.\n\n> You look up xyzzy in the charming\nYou don't have time to look up every topic that comes to mind.\n\nArthur stretches luxuriously.\n\n> You examine double\nAn enormous three-ringed binder crammed with recipes. Both the binder and the borders of the recipes are coloured in lurid checkers.\n\n> You read double\nLooking up its index in Double, Double, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, animated clay, evening glories, sage, lavender, mugwort, witch hazel, nightshade, elixir-of-life, recipe substitutions, mortal draught, philtre d'amour, flu tonic, dream powder, hair detangling potion, tokens, magical purification, cauldrons, wolfsbane.\n\nArthur grooms himself.\n\n> You consult double about the cauldrons\nLooking up cauldrons in Double, Double, you see:\n\nThe standard copper cauldron is the first piece of potion-making equipment a witch should buy when setting up her workbench. Almost every recipe in this book calls for this versatile piece of equipment, although a few use cauldrons of different materials or sizes. The importance of a good cauldron cannot be overstated, as anyone who has tried to use a cooking pot in its stead can attest.\n\nBelow, in spiky red handwriting:\n\nPoppycock! I find that a sturdy saucepan is just as good\nas a cauldron in a pinch.\n\n> You consult double about the clay\nLooking up animated clay in Double, Double, you see:\n\ncontroversy because the witch who first made it was the infamous Morgana le Fey, who used it to make bloody idols. The recipe below was adapted by Phoebe Merlin two centuries after le Fey's defeat by Merlin's grandfather. The substitution of nightshade with evening glories, removal of the summoning candle in favour of Firelight and sage, and discarding of the mortal draught make it perfectly\nbenign.\n\nIngredients: evening glories (originally nightshade), earth, sage, elixir-of-life (originally mortal draught), breath-of-life (originally corpse's sigh)\n\nInstructions: Crush evening glories and combine with earth in a\nsmooth paste. Combine paste with elixir in a copper cauldron. While burning sage with Firelight (originally simply burning a summoning candle), stir mixture first counter-clockwise 4 times, then clockwise 2 times. Repeat this sequence until it begins to rise. Then you can SHAPE the clay INTO the form you desire. Suffuse it with a breath-of-life to complete the process. At this stage the clay may be fired without danger of losing its magic.\n\n> You read Treatise\nLooking up its index in A Treatise on Alchemy, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, the elements, dragonglass, the sacred equation, common glass.\n\n> You consult Treatise about the introduction\nLooking up its introduction in A Treatise on Alchemy, you\nsee:\n\nAn ancient science, many without Talent attempted to divine its secrets but were unsuccessful. Within these pages are tales of the successes of enterprising witches and wizards who could do what would be impossible without magic.\n\nAlchemy is the science--some say, art--of altering the elemental makeup of substances to transform them into other substances. Most of these transformations are impossible without Talent, though modern physicists have had some successes with basic alchemy on the molecular level. This book is meant to serve as a theoretical introduction to the practice of alchemy, beginning with the sacred equation. For more detailed information on alchemical formulae, the author invites you to consult one of her other books on the subject:\n\n\n\n(in a childish scrawl) Alchemy for Nitwits\n\n> You consult Treatise about the elements\nLooking up the elements in A Treatise on Alchemy, you see:\n\nMost theorists agree that--magically speaking--it is impossible to break anything down further than into the elements fire, water, earth, wind, static, and aether. Aether is unique in that at this time, no incantation has been written that can summon it. Instead it must be produced through high alchemy. Some philosophers argue that aether has no place as one of the elements, as it can be produced by combining some of the other five. Other philosophers, citing the fact that it has thus far proved impossible to break aether into other elements, posit that aether is the only true element, on which all other elements are based. Their position is based on the argument that fire, earth, water, static, and wind are all composed of aether and an impurity, so that once elements are introduced to each other that naturally destroy each others' impurities, only aether remains. No attempt to separate one of the golden five elements into aether and another substance has yet succeeded, however.\n\n> You consult Treatise about the dragonglass\nLooking up dragonglass in A Treatise on Alchemy, you see:\n\nA truly impermeable glass that is also as strong as steel,\ndragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.\n\n> You consult Treatise about the sacred equation\nLooking up the sacred equation in A Treatise on Alchemy, you\nsee:\n\nof the middle ages called the sacred equation. They battled for hundreds of years to discover it, not knowing that they didn't have a chance without Talent.\n\n> You consult Treatise about the common glass\nLooking up common glass in A Treatise on Alchemy, you see:\n\nCommon glass can be produced by heating sand until melted.\n\n> You consult double about the index\nLooking up its index in Double, Double, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, animated clay, evening glories, sage, lavender, mugwort, witch hazel, nightshade, elixir-of-life, recipe substitutions, mortal draught, philtre d'amour, flu tonic, dream powder, hair detangling potion, tokens, magical purification, cauldrons, wolfsbane.\n\n> You consult double about the introduction\nLooking up its introduction in Double, Double, you see:\n\nTinctures, tonics, powders, potions, creams and ointments, poisons\nand remedies: Recipes for all manner of arcane mixtures can be found within these pages.\n\nDo your love potions cause nausea? Could your poisons be used as condiments without causing nausea? Are you tired of your\ntinctures being mocked for their ineffectiveness, or do you just want to improve yourself?\n\nMost witches rely on recipes passed to them by their friends and relatives. Sometimes a gem is found that way, but all too often has one of the many people along the chain introduced a variation that makes the recipe less effective or even adds a \"quirky\" side-effect. Double, Double intends to fix that. Using recipes gathered\nfrom witches around the globe, variations of each potion were tested rigorously by our in-house sorcerers and sorceresses until the most effective and most efficient production was found. No more side effects! No more ineffectiveness! No more unnecessary steps or ingredients! In addition, we have provided a handy guide to common potion ingredients that will be invaluable for altering these recipes or even designing new potions entirely. This really is the only potions book you'll ever need. Go to Double, Double, and all\nyour worst potions mishaps are no more.\n\nDespite the promises of the introduction, a quick glance through the book shows many, many annotations, corrections, insertions, and deletions suggesting that the witches of your coven, at least, are less than convinced of the recipes' perfection.\n\n> You consult double about the tokens\nLooking up tokens in Double, Double, you see:\n\nA token is a piece of something or someone which is very closely associated with that object. A token of a person could be a part of their body like their hair or it could be a treasured item of theirs like a special piece of jewelry. Tokens are used to bind spells and potions to their subjects.\n\n> You examine spellbook\nWhich do you mean, Charming, Double, Double, A\nWitch's Guide to the Heavens, or A Treatise on Alchemy?\n\n> You look at the Charming\nA small but heavy tome, it's rumoured that the Library's\nteaching copy of Charming once had a distinct bright red\ncover. After 5 successive generations of witches learning with it, though, it's hard to tell which of the many colours it's splotched with is endemic to the book--if any.\n\nArthur sniffs at a patch of floor.\n\n> You consult charming about the index\nLooking up its index in Charming, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, a spell for conjuring water, a spell for conjuring fire, a spell for conjuring earth, Ventus, a spell for conjuring static, a spell for enlarging, a spell for diminishing, a spell for binding, a spell for unbinding, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.\n\n> You consult charming about the magical education\nLooking up magical education in Charming, you see:\n\nMagical education has a widely varied history. Before 1700, little\nis known of it, as very few texts survive from that day, due in part, no doubt, to various rashes of witch hunts. After 1700, it's more clear what methods were used. Between 1700 and 1800, most education was done by parents or, if there was a sufficiently diverse community, by groups of unrelated witches. The latter method was preferred where possible, as it allowed novices to learn disciplines besides their parents'. Regardless of which method was employed, however, students often suffered from large gaps in knowledge, and standards between communities varied widely. In 1800, Alina Crabtree changed all that. She saw the issues with the educational methods of her day and thought that they could be ameliorated by one, golden standard. In her quest to determine what needed to be taught and when, she traveled around Europe interviewing families and communities on their practices. After 10 long years of accumulating data and writing her spellbook (at the time titled Spells for Students of Magick), Alina distributed\nthe curriculum she had devised, along with copies of the book, amongst a number of communities. This curriculum also included the original version of the coming-of-age test--the first standardized test of magic--that most young witches today must pass before they can enter secondary training. She then proceeded to conduct interviews over the course of the next 20 years, honing and rehoning her suggested teaching method. Over those 20 years 12 editions of the book now known as Charming were born. Alina's work and relentless dedication\nlaid the foundation for curricula in almost every magical school in Europe.\n\n> You consult charming about the binding\nLooking up a spell for binding in Charming, you see:\n\nA spell for binding things, the counter spell to Renodo.\n\nOnce you accidentally stuck all of the pages of a book together and had to spend three hours getting them unstuck when the counter spell didn't work properly either.\n\nArthur sniffs at a patch of floor.\n\n> Cast the ligo at the rubble\nThe rubble comes together in the shape of the Goddess statue for a moment, then falls to pieces again. Evidently, you won't be able to bind it back together.\n\n> Spells\nYou have learned 3 out of 12 possible spells:\n\nVentus: A spell which produces wind.\n\nLigo: A spell which binds.\n\nRenodo: A spell which unbinds.\n\n(Cast a spell with CAST spell AT something.)\n\nArthur sniffs at a patch of floor.\n\n> You consult charming about the water\nLooking up a spell for conjuring water in Charming, you see:\n\nA spell for conjuring water.\n\n\"You're not going to try that spell again, are you?\" asks Arthur in concern.\n\n> You ask Arthur about the aqua\n\"Do you even care about finishing before Enchantress Igmenta sees the room like this?\" Arthur asks, sounding annoyed.\n\n\"Of course I do!\" you protest.\n\n\"Then start fixing things instead of blathering on about random topics!\"\n\n> You consult charming about the fire\nLooking up a spell for conjuring fire in Charming, you see:\n\nA spell for conjuring fire.\n\nUsually people flee from you in terror when you attempt this spell.\n\n> You consult charming about air\nLooking up Ventus in Charming, you see:\n\nA spell for conjuring wind.\n\n> You consult charming about the earth\nLooking up a spell for conjuring earth in Charming, you see:\n\nA spell for conjuring earth.\n\nYou distinctly remember having to claw your way out of a mountain of dirt the last time you attempted it, trying to plant a daisy.\n\nArthur bats at a shadow on the wall.\n\n> You consult charming about the index\nLooking up its index in Charming, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, a spell for conjuring static, a spell for enlarging, a spell for diminishing, Ligo, Renodo, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.\n\nArthur bats at a shadow on the wall.\n\n> You consult charming about the static\nLooking up a spell for conjuring static in Charming, you see:\n\nA spell for producing static.\n\nOnce you accidentally cast this on yourself, and your mother had to use copious amounts of hair detangling potion just to get your hair to stop writhing like a mass of snakes--to say nothing of the\nfrizzing. In addition to that embarrassment, for weeks\nafterward you couldn't touch a light switch without downing the power to the whole street.\n\n> You consult charming about enlarging\nLooking up a spell for enlarging in Charming, you see:\n\nA spell for enlarging objects, the counter spell to Minui.\n\nOnce you tried it on Arthur, but all it did was make his fur stand on end. At least he looked bigger.\n\n> Cast the Minui on the rubble\nThe rubble turns to sand!\nIn the sand, you notice something glinting.\n\n> You examine glinting\nTwo tiny silver hands joined together at the ends of their arms. The left hand is slightly longer than the right, and both hands point with their index fingers.\n\n> You take the hands\nTaken.\n\n> You enter the altar door\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\nArthur grooms himself.\n\n> You look at the circle\n(the conjuring circle)\nThe chalk circle is faded, but its power is not. With it, the entire Altar is essentially one big conjuring circle.\n\n> You examine the ceiling\n(the domed ceiling)\nPast the small platform you can see the dark blue ceiling. You know there's a window onto the night sky, but you can't distinguish it from down here.\n\n> Go upwards\nArthur slinks after you.\n\nNo more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.\n\nA slender spiraling silver staircase winds down toward the altar.\n\nIn one corner is an astrological clock, miraculously unharmed.\n\nA telescope sits in one corner, facing the night sky.\n\nYou can also see Arthur here.\n\n> You look at the clock\n(the astrological clock)\nThe astrological clock is dark blue with silver constellations. Its glass front displays two long chimes, and its face is adorned with astrological symbols in the place of numbers.\n\nBehind the clock face is a hidden alcove where the candles are kept. The trouble is, you seem to have forgotten how to open it.\n\nIt doesn't seem to have any hands.\n\nArthur stretches luxuriously.\n\n> You look at the telescope\nAn ancient brass telescope that nevertheless produces a much clearer vision than those of non-witches.\n\nArthur bats at a shadow on the wall.\n\n> You look in telescope\nYou look through the telescope at the night sky and are faced with a dizzying array of stars. The moon is shaped into a perfect semicircle.\n\n> You put the hands on the clock\n(the astrological clock)\nThe silver hands click into the hole in the clock face, fitting perfectly.\n\nArthur lazily licks a forepaw.\n\n> You look at the clock\n(the astrological clock)\nThe astrological clock is dark blue with silver constellations. Its glass front displays two long chimes, and its face is adorned with astrological symbols in the place of numbers.\n\nBehind the clock face is a hidden alcove where the candles are kept.\n\n> You look at the chimes\nLong golden chimes trapped behind a layer of thick glass."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\n> Go west\nArthur slinks after you.\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nSeveral bottles of potion have fallen from their shelf and shattered all over the floor into a sticky mess.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nThere is a shimmering puddle on the floor.\n\nYou can also see Arthur here.\n\nArthur sniffs at a patch of floor.\n\n> Spells\nYou have learned 9 out of 12 possible spells:\n\nAgua: A spell which produces water.\n\nVentus: A spell which produces wind.\n\nTerra: A spell which produces earth.\n\nIgni: A spell which produces fire.\n\nMagna: A spell which enlarges.\n\nMinui: A spell which diminishes.\n\nTempesta: A spell which produces static.\n\nLigo: A spell which binds.\n\nRenodo: A spell which unbinds.\n\n(Cast a spell with CAST spell AT something.)\n\n> You cast Ligo at the sand\nThe sand comes together in the shape a miniature Goddess statue for a moment, then falls to pieces again. Evidently, you've destroyed the bind for good.\n\nArthur bats at a shadow on the wall.\n\n> You consult charming about index\nLooking up its index in Charming, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.\n\n> You consult charming about levitating\nLooking up a spell for levitating in Charming, you see:\n\nA spell for levitating objects.\n\nYou've never gotten anything to do more than shiver apprehensively with it.\n\n> You consult charming about the breath-of-the life\nLooking up breath-of-life in Charming, you see:\n\nclay and to revive an unconscious person. In blood magic, a perversion of this incantation--known as corpse's sigh and produced by conjuring air with a summoning candle--is used to craft a blood idol or to briefly re-animate the dead. The breath-of-life may be summoned by conjuring a wind under Firelight.\n\n> You consult charming about the living flame\nLooking up living flame in Charming, you see:\n\nA living flame is one of the best ways to remove impurities in a substance. To produce a living flame, conjure fire in Sunlight or set everwax (a kind of wax produced by melting ordinary witches' wax with a living flame) aflame. Be very cautious in the use of living flame and everwax; it is much more lively than ordinary flame and can easily get out of control if too much is produced.\n\n> You consult the Charming about the animated lightning\nLooking up animated lightning in Charming, you see:\n\nAnimated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.\n\nArthur bats at a shadow on the wall.\n\n> You consult the Charming about the witchwater\nLooking up witchwater in Charming, you see:\n\nWitchwater is water conjured in Moonlight.\n\n> You consult charming about terre vivant\nLooking up terre vivant in Charming, you see:\n\nTerre vivant, or living earth, is earth conjured in Sunlight.\n\n> You consult charming about the candles\nLooking up witches' candles in Charming, you see:\n\n\n\nWitches' candles are indispensable in practical magic. A candle of everwax produces a living flame, a summoning candle is indispensable in summoning, and other candles reproduce various lighting conditions, such as those of the celestial lights. Witches' candles can be purchased from supply shops or homemade.*\n\n*Only a very experienced practitioner should attempt to make\nwitches' candles, as a mistake of a single degree can be extremely dangerous.\n\n> You consult charming about the index\nLooking up its index in Charming, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, Volere, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.\n\n> You consult charming about the lights\nLooking up celestial lights in Charming, you see:\n\nThe three celestial lights are Sunlight, Starlight, and Moonlight. Eclipse light--that produced during a total solar eclipse--is sometimes considered as a fourth celestial light, but it is only used in summoning and banishing. Spells requiring a celestial light are best performed with the appropriate candle. It is very difficult to achieve the correct lighting conditions otherwise.\n\n> You consult charming about the spellbooks\nLooking up protecting spellbooks in Charming, you see:\n\nKeeping a spellbook has always been a risk, as some spells in the wrong hands or performed incorrectly can be dangerous, even deadly. To reduce the risk, most witches have some form of guard on their books. Some rely on physical locks and keys, but more often a magical lock is employed. Still greater security is enjoyed when the books themselves are enchanted. Some books are simply \"tethered\" to a particular location; the disadvantage of this method is that they may still be copied by anyone who manages to secure enough time in the witch's dwelling. Other books are enchanted so that they may only be read by the enchanter or their coven; unauthorized readers see only gibberish. Another very common method of spellbook protection, which is employed instead of or in tandem with other methods, is that of making a spellbook render itself illegible in the case of damage. This prevents the disastrous consequences of attempting to perform a spell with missing instructions, making it particularly suited to magical classrooms.\n\n> You consult charming about the blood\nLooking up blood magic in Charming, you see:\n\nBlood magic is magic which is evil and soul-blemishing in nature.\nThis discussion, therefore, is intended as a purely theoretical examination of blood magic. It is hoped that by understanding it better, we can better fight those who would use it to gain power for themselves.\n\n...\n\nTo aid her in her dark arts, a blood witch often makes for herself\na blood idol, a semi-alive statue that contributes extra power to dark enchantments. Making such a creature requires an animated clay of earth and the mortal draught, which must then be given corpse's breath--a wind summoned from beyond the aether with the aid of a summoning candle. Anyone who has seen either prepared would say with a chill that it is not an art of love; several formerly good witches who have created blood idols purely as an exercise in study, intending to destroy them after research, have gone mad with power and turned evil from the blood energy that seems to seep out of the idol's stone.\n\nArthur bats at a shadow on the wall.\n\n> You consult the Charming about the love\nLooking up love spells in Charming, you see:\n\nA love spell is any incantation with the purpose of inducing affection, obsession, or love.* Love spells are classified as blood magic by most magical societies worldwide, including The Witches' Association of North America, La Societe de Sorcellerie d'Europe, the World Confederation of Witchcraft, and the Australian Enchanters' Guild. Their use is not endorsed by the authors of\nthis text.\n\n*It should be noted that genuine love and affection has\nnever been successfully produced with magic.\n\n> You consult charming about the balance\nLooking up spell balance in Charming, you see:\n\nTo preserve the balance of a complicated spell, certain conditions must be met. Some qualities that can affect the quality of your incantation include lighting conditions, humidity, and the movement of the planets. Where balancing instructions are included with an incantation, it is very important that they be\nfollowed, as the consequences of unbalanced magic are unpredictable and often disastrous.\n\nArthur grooms himself.\n\n> You consult charming about the gibberish\nLooking up gibberish spells in Charming, you see:\n\nGibberish, Broken, and Made-Up Spells\n\nThere is no shortage of gibberish, broken, and made-up spells.\nTake any word or phrase (from a real language or not), and put a dash of Magical intention behind it, and you'll have a gibberish spell. With a little more intention, you could even develop it into\na real (minor) charm. Mostly such experiments are harmless, but nevertheless we caution you to exercise extreme\ncaution--on more than one occasion a young witch has been\nseriously injured or even killed after a poorly judged attempt at inventing a new spell.\n\ncharm, which was designed by Abraxas Hodge in 1682 to do nothing at all as part of a bet with Xylli Zzyllious to see who could come up with the most useless spell. Xylli's entry was the Xyzzy charm, which imbues its target with a faint scent of peppermint. That Yule and at every Yule following while the two sorcerers lived, they debated who won the bet, with Xylli contending that a spell which does nothing isn't really a spell and Abraxas countering that the Magical\nintention and predictability of it mean that it is. It became\nsuch a holiday tradition that now every Yule in Ealderley when the Wizener Waritchers' Consulate (of which Abraxas and Xylli were both members) meets for their annual game of Hex Hoax!, two delegates are nominated to carry on the Great Debate. At the end of the session, votes are taken, with the winner (the formal rules of the competition specify that the win is only for the duration of the current\ncalendar year, and should not be taken as a conclusion to the\ndebate) receiving the dubious honor of buying or making the Whisky Fairy Cake the following year. It's rumoured that the spirits of Xylli and Abraxas sometimes, when provoked, contact contestants with particularly stinging jabs at the opposing party's argument. Much doubt has been cast on contestants' claiming such contact, though, by the fact that they usually make such claims after being accused of Unsportsmanlike Conduct (which is punishable by a forced abstinence of Whisky Fairy Cake). Nevertheless, rule 87 of the competition states that if one is contacted by either of the original debatees,\nthey are required to put forth whatever argument they were given, no matter how pugnacious.\n\n> You consult charming about the index\nLooking up its index in Charming, you see:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, Volere, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.\n\nArthur sniffs at a patch of floor.\n\n> You consult charming about the diagrams\nLooking up spell diagrams in Charming, you see:\n\nlot of moving parts. They keep everything connected in the vision and therefore the mind of the enchanter. Experienced practitioners sometimes can hold everything focused in their minds' eye and don't require diagrams, but this requires absolute concentration to avoid the spell fizzling out and therefore shouldn't be attempted by novices.\n\nSome common diagrams:\n\nConjuring Circles: Most witches' first diagrams are conjuring (or summoning) circles, which are used to define the scope of magic. Most conjuring circles are not simply for mental focus; they are also enchanted to prevent any magic from leaving the bounds of the circle. This both prevents the expenditure of energy to extend a spell further than necessary and prevents those outside the circle from experiencing the spells' effects. In magical practice chambers, summoning circles are especially important, as young witches' efforts often have destructive consequences.\n\nTriangles: Triangles are used in spells that require\ntriple-focusing, usually for a subject, an object, and an observer or stabilizer.\n\nPentacles: Pentacles are used in spells with a lot of moving parts that need to be carefully kept in balance. Though the classic model is of a five-pointed star within a circle, any circle with points that connect to all other points on the circle is referred to as a pentacle by witches.*\n\n*Mathematically speaking, of course, only the\nfive-pointed model qualifies.\n\n> Todo\nThe following tasks remain:\n\n(DONE) Repair the torn spellbooks.\n(NEW) Return the spellbooks to the bookcase.\nReplace the broken statue.\n(NEW) Repair the crystal ball.\nSeparate the spilled potions.\nRepair the potions bottles.\n(NEW) Repair the astrological clock.\n\n> You take the shards\nThey're covered in potions--that could be dangerous.\n\n> You cast Renodo on the bottles\n\"Ren--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want Enchantress Igmenta to come back to the glass shards in smithereens?\"\n\nYou reflect on it. Arthur is right.\n\n> You cast Renodo on the mess\nThe sticky mess separates into three distinct potions: one a very pale pink, one a stormy grey, and one an intense black. There are also three labels that must go on the bottles.\nThe shards of glass neatly fall into their own pile with a gentle chinking.\n\n> You look at the labels\nYou see a round label, a square label, and a torn label.\n\n> You look at the round\nA round sticky potions bottle label. Loopy electric green handwriting identifies the potions maker as \"Annette March,\" and below that, Enchantress Igmenta's spiky black handwriting reads:\n\nScent: 7/10 -- Tea brewed too long.\n\nColour: 9/10\n\nClarity:9/10\n\nPotency: 8/10\n\n> You examine the square label\nA square sticky potions bottle label. Tiny dark blue handwriting identifies the potions maker as \"Stephen Underwell,\" and below that, Enchantress Igmenta's spiky black handwriting reads:\n\nScent: 5/10 -- You have burnt your witch hazel.\n\nColour: 10/10\n\nClarity: 10/10\n\nPotency: 4/10\n\n> You look at the torn label\nA potions bottle label, torn so that you can't read the name of the potions maker. Enchantress Igmenta's spiky black handwriting reads:\n\nScent: 3/10 -- The unconventional addition of cinnamon\nsomewhat makes up for the strong scent of mildew that results\nfrom stirring incorrectly--I told you to ignore the book and stir counter-clockwise every 7th turn!\n\nColour: 10/10\n\nClarity: 10/10\n\nPotency: 10/10 -- Very potent, though its effects are likely to be\nthe opposite of the intended."
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> Look around\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nThere is a shimmering puddle on the floor.\n\nYou can also see some glass shards, a torn label, a square label, a round label, a black powder, a grey potion, a pink potion, and Arthur here.\n\n> You cast Ligo on the shards\nThe shards come together to form three distinct potions bottles: one almost perfectly spherical, one faceted like crystal, and one in a standard test-tube shape.\n\n> Smell gray potion\nYou're hit with the scent of burnt...something, which almost completely overwhelms subtler scents of bergamot and eucalyptus.\n\nArthur lazily licks a forepaw.\n\n> You examine the bottles\nYou see a crystal bottle, a glowing bottle, and a bulbous bottle.\n\n> You examine crystal bottle\nAn exquisite crystal potions bottle.\n\nIt's empty.\n\n> You look at the glowing bottle\nA potions bottle shaped like a standard test tube but glowing faintly.\n\nIt's empty.\n\n> You look at the bulbous bottle\nA clear, round potions bottle. The only things preventing it from being a perfect sphere are the very small flat section that allows it to stand upright and the cork that sits almost flush with the edges of the tiny hole in the bottle.\n\nIt's empty.\n\n> You ask Arthur about the bottles\n\"How can I tell which potion goes in which bottle?\" you ask Arthur.\n\n\"Hm, maybe there's some information in Double, Double that\ncould help you?\" he suggests.\n\n> You consult double about philtre D'amour\nLooking up philtre d'amour in Double, Double, you see:\n\n\n\nThe authors of this book do not endorse the use of love potions, spells, or charms and include the following recipe purely for instructional purposes.\n\nIngredients: tea leaves (or pure cocoa), lavender*, other fresh flowers (optional), a token of the subject of the potion (the person to be induced to \"love\"), a token of the object of obsession (the person intended to be \"loved\")**, purified witchwater\n\nInstructions: Brew the tea leaves, being cautious not to allow the\ntea to become bitter (omit this step if using cocoa). Discard water used for brewing. Then, during the new moon***, combine tea with other ingredients in a silver cauldron and stir clockwise over a\nlow flame while concentrating on the subject of the potion and envisioning the effect you wish the potion to have on them. Do this until the potion is completely clear and odorless. Then it may be stored for up to 28 days before being given to the subject and absolutely no one else. After 3 weeks, the potion\nbecomes gradually less effective, though keeping it in a many-faceted container slows down that process.\n\n*As noted in Appendix B, this should not be\nsubstituted with sage in any love potions.\n\n**Omit to induce narcissism.\n\n***This potion is most effective during a new moon and should\nunder no circumstances be prepared or ingested during\na waning moon. As the moon waxes, the subject will become continuously more enamored of the object; as it wanes the effects will slowly wear off until by the following new moon they will have completely dissipated.\n\n> You consult double about the elixir-of-the life\nLooking up elixir-of-life in Double, Double, you see:\n\nThe elixir-of-life was developed by gifted potions mistress Julia Santemona as a treatment for the Bubonic Plague. Most of her tiny village in Spain was saved from the Plague by Julia's decision to add the elixir to the town's wells. When word spread of the strange lack of illness in the town, people began to travel to the village to drink the wellwater, which was soon taken and sold by enterprising vendors as an \"elixir-of-life.\" Naturally, after access to the wells was restricted, the potion eventually ran out, not that that stopped anyone from buying and drinking the water.\nThe elixir of life was termed \"the Devil's drink\" during witch\nhunts in the fifteenth century; witches were believed to drink it to extend their lives. Most medicinal potions use this as a base, and there is some evidence that drinking it regularly strengthens the immune system.\n\nIngredients:\n\nwitch hazel, witchwater\n\nInstructions:\n\nCombine witch hazel and witchwater. Then, to eliminate any\nimpurities, burn with a living flame until the potion stops\nsmoking.\n\n> You consult double about the hazel\nLooking up witch hazel in Double, Double, you see:\n\nWitch hazel is an astringent herb most famous for its use in the elixir-of-life and its efficacy as a poison antidote when properly prepared.\n\n> You consult double about the mortal draught\nLooking up mortal draught in Double, Double, you see:\n\nA poison concocted of fresh blood and wolfsbane, the mortal\ndraught, if imbibed, puts its victim into a dreamless sleep from which they often never awaken.\n\nArthur grooms himself.\n\n> You consult double about the flu\nLooking up flu tonic in Double, Double, you see:\n\nFor treating influenza, may be diluted to treat a common\ncold.\n\nIngredients: elixir-of-life, bergamot, eucalyptus, lemon juice, ginger, eggs, cream, animated lightning\n\nInstructions: Pour elixir-of-life into a copper cauldron and heat\nover a low flame until steam comes off the potion. Then add bergamot, eucalyptus, lemon juice, and ginger and simmer for 5 days. Take the cauldron off the heat and chill for at least 4 hours. Finally add eggs with the volume of 1/3 the potion and half as much cream, being careful not to break the yolks. Stir counter-clockwise 11 cycles, infuse with animated lightning, and then decant. This potion may be kept for up to 2 weeks refrigerated or 2 months frozen and should be provided with constant light. Flu patients should have 1/2 cup hot every 4 hours for at least 2 weeks; for cold patients dilute and reduce the dosage according to the severity of their symptoms.\n\n> You read the square label\nA square sticky potions bottle label. Tiny dark blue handwriting identifies the potions maker as \"Stephen Underwell,\" and below that, Enchantress Igmenta's spiky black handwriting reads:\n\nScent: 5/10 -- You have burnt your witch hazel.\n\nColour: 10/10\n\nClarity: 10/10\n\nPotency: 4/10\n\n> You consult double about the dream powder\nLooking up dream powder in Double, Double, you see:\n\nFor inducing vivid dreams and promoting a good night's sleep.\n\nIngredients: terre vivant, mugwort, chamomile, anise, indigo, belladonna\n\nInstructions: Fill cauldron with terre vivant. Add mugwort and\nstir clockwise for 139 cycles. Then let rest for 45 minutes. In the meantime, boil chamomile in water. Then add the chamomile tea to the earth with the indigo, belladonna, and anise. Finally, stir counter-clockwise for 3 cycles. Then heat until all the water has evaporated and a fine black powder remains. It should be stored in a container with smooth sides and kept in a cool dark place for up to one year. To use, mix with a small amount of hot witchwater to form a smooth paste and cover the subject's head completely with it. They must not ingest any, as the belladonna makes it\nextremely poisonous. They should experience vivid dreams and restful sleep that lasts as long as 12 hours. It is not recommended that one prematurely awaken a person under the effects of dream powder, as they will be extremely drowsy and disoriented until it wears off. Additionally, dream powder should not be used for more than 3 successive nights, as prolonged use is known to cause hallucinations, paranoia, and difficulty in distinguishing dreams and fantasy from reality.\n\n> You look at bulbous\nA clear, round potions bottle. The only things preventing it from being a perfect sphere are the very small flat section that allows it to stand upright and the cork that sits almost flush with the edges of the tiny hole in the bottle.\n\nIt's empty.\n\n> Touch glowing\nThe glowing bottle has smooth, straight sides.\n\n> You touch bulbous\nThe bulbous bottle has smooth, curved sides.\n\n> You put the black powder in the bulbous bottle\n(first taking the black powder)\n\nYou carefully pour the black powder into the bulbous bottle.\n\nThat looks right.\n\nArthur sniffs at a patch of floor.\n\n> You put torn label on bulbous bottle\n(first taking the torn label)\n\nYou stick the torn label to the bulbous bottle.\n\nThat looks right.\n\n> You put the gray potion in the glowing bottle\n(first taking the grey potion)\n\nYou carefully pour the grey potion into the glowing bottle.\n\nThat looks right.\n\nArthur grooms himself.\n\n> You put the square label on the glowing bottle\n(first taking the square label)\n\nYou stick the square label to the glowing bottle.\n\nThat looks right.\n\n> You put the pink potion in the crystal bottle\n(first taking the pink potion)\n\nYou carefully pour the pink potion into the crystal bottle.\n\nThat looks right.\n\n> You put the round label on the crystal bottle\n(first taking the round label)\n\nYou stick the round label to the crystal bottle.\n\nThat looks right.\n\nArthur stretches luxuriously.\n\n> Todo\nThe following tasks remain:\n\n(DONE) Repair the torn spellbooks.\nReturn the spellbooks to the bookcase.\nReplace the broken statue.\nRepair the crystal ball.\n(DONE) Separate the spilled potions.\n(DONE) Repair the potions bottles.\n(DONE) Return the potions to the correct bottles.\n(DONE) Return the labels to the correct bottles.\n(NEW) Return the bottles to the shelf.\nRepair the astrological clock.\n\nArthur grooms himself.\n\n> You put the bottles on shelf\ncrystal bottle: (first taking the crystal bottle)\n\nDone.\nbulbous bottle: (first taking the bulbous bottle)\n\nDone.\nglowing bottle: (first taking the glowing bottle)\n\nDone.\n\n> You cast Ligo on the puddle\nMomentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.\nArthur stretches luxuriously.\n\n> You put the puddle in the cauldron\n(first taking the melted crystal ball)\nYou reach out and touch the mirrorlike surface. It has a strange cool feeling that gives you goosebumps, and your fingers go straight through it. You reach further down and, mesmerized, watch as your hand disappears to your wrist, then your elbow. You look more closely, your nose almost touching it, but you cannot see your arm...\n\n\"HEY!\" Arthur yells, startling you. You pull your arm out in confusion.\n\n\"I turn my back for five minutes, and there you are, about to disappear into a puddle! Who would feed me if you vanished? Who would cuddle me? Who would throw my mousie?!\" Quickly the fog in your mind clears, replaced by annoyance.\n\n\"Right,\" you say tartly, \"because how it would affect you is\nthe most important thing. Not me. What do I matter?\" Arthur\njust gives you a superior look. How much time did you waste\nstaring into the void?\n\nArthur grooms himself.\n\n> Cast the Volere on the puddle\nThe melted crystal ball lifts into the air, and you grin triumphantly. Arthur yawns.\n\n\"Great, you can levitate a melted crystal ball. I'm so proud,\" he says sarcastically, but you notice that he carries his tail a little higher afterwards.\n\n> You cast Ligo on the puddle\nMomentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.\n\n> You cast Ventus on the puddle\n\"Ven--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want to blow the melted crystal ball away?\"\n\nYou reflect on it. Arthur is right.\n\n> You put the puddle in the cauldron\nYou add the melted crystal ball to the cauldron.\n\n> You consult Treatise on the aether\nYou don't have time to look up every topic that comes to mind.\n\nArthur grooms himself.\n\n> Inventory\nYou are carrying:\na pair of opal eyes\nan old wooden spoon"
    },
    {
        "text": "> You look at your surroundings\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You look at the puddle\nThe crystal ball has completely melted into a silvery liquid.\n\n> You consult Treatise on the dragonglass\nLooking up dragonglass in A Treatise on Alchemy, you see:\n\nA truly impermeable glass that is also as strong as steel,\ndragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.\n\n> Spells\nYou have learned 12 all possible spells:\n\nAbracadabra: A spell which does nothing.\n\nXyzzy: A spell which imbues its object with a faint peppermint scent.\n\nAgua: A spell which produces water.\n\nVentus: A spell which produces wind.\n\nTerra: A spell which produces earth.\n\nIgni: A spell which produces fire.\n\nMagna: A spell which enlarges.\n\nMinui: A spell which diminishes.\n\nTempesta: A spell which produces static.\n\nLigo: A spell which binds.\n\nRenodo: A spell which unbinds.\n\nVolere: A spell which levitates.\n\n(Cast a spell with CAST spell AT something.)\n\n> Cast the Volere on the puddle\nThe melted crystal ball lifts into the air, and you grin triumphantly. Arthur yawns.\n\n\"Great, you can levitate a melted crystal ball. I'm so proud,\" he says sarcastically, but you notice that he carries his tail a little higher afterwards.\n\nArthur lazily licks a forepaw.\n\n> You cast Ligo on the puddle\nMomentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.\n\n> You cast Agua at the cauldron\nA stream of clear water pours into the cauldron.\n\n> You cast Ventus at the cauldron\n\"Ven--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want to blow the copper cauldron away?\"\n\nYou reflect on it. Arthur is right.\n\nArthur grooms himself.\n\n> You examine the cauldron\nA standard copper cauldron, warped and blackened with age.\n\nIn the copper cauldron is some ordinary water.\n\n> Cast Igni at water\n\"Ign--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want to burn the ordinary water to the ground?\"\n\nYou reflect on it. Arthur is right.\n\nArthur sniffs at a patch of floor.\n\n> You put the puddle in the cauldron\nYou add the melted crystal ball to the cauldron.\n\n> You look at the cauldron\nThe items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...\n\n> Yes\nPlease answer yes or no.>\n\n\"What are you doing?!\" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the melted crystal ball and the ordinary water have been moved into your inventory.)\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> Inventory\nYou are carrying:\nsome ordinary water\na melted crystal ball\na pair of opal eyes\nan old wooden spoon\n\nArthur grooms himself.\n\n> Cast Terra at the cauldron\nRich black soil falls into the cauldron.\n\n> You put the water in the cauldron\nYou add the ordinary water to the cauldron.\nChamber\nThe items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...\n\n> Yes\n\"What are you doing?!\" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the ordinary water and the earth have been moved into your inventory.)\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You cast Tempesta at the water\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the ordinary water to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\n> You cast minui at Arthur\nArthur's shape writhes as he begins to shrink until he has the form of a small black kitten that mews piteously at you before with some apparent effort he grows again until he is his normal size.\n\n\"Don't you have something better to do than force me to change form?\" he asks, sounding exasperated.\n\nArthur sniffs at a patch of floor.\n\n> You ask Arthur about the aether\n\"I'm bored of this line of conversation.\" Arthur interrupts.\n\nArthur sniffs at a patch of floor.\n\n> You ask Arthur about the ball\n\"You need to bind the melted crystal ball to the dragonglass. So I would start with the dragonglass,\" he suggests.\n\n> You cast Tempesta at sand\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the sand to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\nArthur grooms himself.\n\n> You consult charming about Tempesta\nLooking up Tempesta in Charming, you see:\n\nA spell for producing static.\n\nArthur lazily licks a forepaw.\n\n> You consult the Charming on animated lightning\nLooking up animated lightning in Charming, you see:\n\nAnimated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.\n\n> You ask Arthur about the clock\nCheck if A Witch's Guide to the Heavens has anything useful,\"\nArthur suggests.\n\n> You consult the guide about the clock\nYou don't have time to look up every topic that comes to mind.\n\nArthur bats at a shadow on the wall.\n\n> You consult the guide about the introduction\nHeavens, you see:\n\nExplore the Mystery of the Heavens!\n\nThis book will take you on a journey through the stars, touching\non all the major constellations and their magical significance, as well as the significance of all the phases of Earth's moon.\n\nA Witch's Guide to the Heavens!--Hester Euphonus, fire witch\nand astrology enthusiast (no blood relation to the author)\n\nIf you can only have one book on astrology, get A Witch's\nGuide to the Heavens!--Delphine March, amateur mixologist\n\nNow expanded to include new research on the relationship between werewolves and the phases of the moon, A Witch's Guide to the\nHeavens, by Thaddeus Euphonus and with the invaluable assistance\nof celebrity astrologist Arianna H. Icherson*, is even more valuable to every practitioner's library! Whether you don't know the difference between Io and Ioreah or can chart the stars with your eyes closed, you will find this book a useful addition to your collection.\n\n*Author of Fly Me to the Moon: How the Astral Bodies affect\nYOU and YOUR LIFE: from Aether to the Zodiac: Over 108 spells and potions included AND fold out print of artist's representation of the Mystery of the Astrological Marriage.\n\n> You consult the guide about the index\nLooking up its index in A Witch's Guide to the Heavens, you\nsee:\n\nYou can CONSULT it ABOUT the following topics of interest: its introduction, its index, moon phases, star signs, crystal balls, werewolves.\n\n> You consult the guide about the moon phases\nLooking up moon phases in A Witch's Guide to the Heavens, you\nsee:\n\nThe lunar cycle affects many aspects of spellcraft. Countless\ncharms can only be performed under certain moons, and the effectiveness of many potion ingredients depends on under what phase they were picked. Evening glories are the first to come to mind--anyone who's tried to prepare a love potion with these flowers picked under a new or waning crescent moon--instead of the recommended waxing gibbous or full moon--can tell you that it's a sure way to result in a dislike potion that moreover causes punishing\nheadaches and stomach upsets.\n\nThe next several pages have information about the eight moon phases--\"NEW MOON\", \"WAXING CRESCENT MOON\", \"FIRST QUARTER MOON\", \"WAXING GIBBOUS MOON\", \"FULL MOON\", \"WANING GIBBOUS MOON\", \"LAST QUARTER MOON\", and \"WANING CRESCENT MOON\"--and their importance to a selection of spells and potions.\n\n> You consult the guide about the new moon\nLooking up moon phases in A Witch's Guide to the Heavens, you\nsee:\n\nThe lunar cycle affects many aspects of spellcraft. Countless\ncharms can only be performed under certain moons, and the effectiveness of many potion ingredients depends on under what phase they were picked. Evening glories are the first to come to mind--anyone who's tried to prepare a love potion with these flowers picked under a new or waning crescent moon--instead of the recommended waxing gibbous or full moon--can tell you that it's a sure way to result in a dislike potion that moreover causes punishing\nheadaches and stomach upsets.\n\nThe next several pages have information about the eight moon phases--\"NEW MOON\", \"WAXING CRESCENT MOON\", \"FIRST QUARTER MOON\", \"WAXING GIBBOUS MOON\", \"FULL MOON\", \"WANING GIBBOUS MOON\", \"LAST QUARTER MOON\", and \"WANING CRESCENT MOON\"--and their importance to a selection of spells and potions.\n\nArthur sniffs at a patch of floor.\n\n> You consult the guide about the star\nLooking up star signs in A Witch's Guide to the Heavens, you\nsee:\n\nThe positions of the twelve constellations known as the Zodiac are deeply significant to magic, especially in the drawing and placement of runes.\n\nThe next several pages have information about the twelve Zodiac constellations--\"ARIES\", \"TAURUS\", \"GEMINI\", \"CANCER\", \"LEO\", \"VIRGO\", \"LIBRA\", \"SCORPIO\", \"SAGITTARIUS\", \"CAPRICORN\", \"AQUARIUS\", \"PISCES\"--and their importance to various spells and potions.\n\n> You consult the guide about the werewolves\nLooking up werewolves in A Witch's Guide to the Heavens, you\nsee:\n\nfull moon; however, in reality every moon phase has its fair share of active weres. Many werewolves even shift during multiple moon phases.\n\nThere is some merit to the full moon rumor, though. Werewolves who shift at the full moon tend to be much more active than those that shift during other moon phases, so they are more often seen.\n\nFollowing is a lengthy chapter detailing the differences between phases of the moon as pertaining to werewolf behaviors.\n\n> You go to the east\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\nArthur bats at a shadow on the wall.\n\n> Go upward\nArthur slinks after you.\n\nNo more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.\n\nA slender spiraling silver staircase winds down toward the altar.\n\nIn one corner is an astrological clock.\n\nA telescope sits in one corner, facing the night sky.\n\nYou can also see Arthur here.\n\n> Go inside\nYou can't go that way.\n\nArthur bats at a shadow on the wall.\n\n> You open the clock\n(the astrological clock)\nYou search on the clock for a way to open it, but nothing budges.\n\n> You look at the symbols\nWhich do you mean, the astrological symbols, the outer ring of symbols, or the inner ring of symbols?\n\n> You look at the constellations\nThe stars and moon twinkle indistinctly above you.\n\n> You examine the outer ring\nThe twelve signs of the zodiac make up the outer ring of the symbols around the clock face.\n\n> You examine the inner ring\nThe eight moon phases make up the inner ring of the symbols around the clock face.\n\n> You look at astrological symbols\nTwo rings of symbols adorn the clock face in place of numbers.\nThe inner ring is composed of moon phases with the short hand lying between two phases, while the outer ring is made up of zodiac signs with the long hand lying between two signs.\n\n> You look through the telescope\nYou look through the telescope at the night sky and are faced with a dizzying array of stars aligned in AQUARIUS. The moon is shaped into a perfect LAST QUARTER.\n\nArthur lazily licks a forepaw.\n\n> You set long hand to AQUARIUS\nYou set the long hand to AQUARIUS.\n\n> You set the short hand to the last QUARTER\nAs you turn the short hand of the clock to LAST QUARTER, you hear a soft click from behind the clock face, and it silently swings open to reveal a small alcove and gold words on the inside of the clock face.\n\nIn the tiny alcove are a tall white candle, an ugly white candle, an average white candle, a tiny white candle, and a squat black candle.\n\n> You look at the candles\nYou see a tall white candle, an ugly white candle, an average white candle, a tiny white candle, and a squat black candle.\n\n> You examine the words\nThe back of the clock face reads:\n\nStarlight, sunlight, firelight, light of the moon,\n\nFour white candles, how shall I choose?\n\nstars,\n\nMoonlight reaches higher than the others by far,\n\nSunlight goes unremarked as the ruler of the day,\n\nAnd firelight is the one to which no other holds a claim.\n\n> You examine the squat\nA squat black candle that is seldom used by your class, though its dripping wax is testament to its use by older students in more advanced magic than you've ever done.\n\nSeldom is it that no candles are burning in the practice room or altar.\n\nArthur sniffs at a patch of floor.\n\n> You examine ugly\nA short, extremely fat white candle that has wax that is lumpy and uneven, as though it has been repeatedly melted and reformed.\n\nIt's currently cold to the touch.\n\n> You look at the average\nAn entirely average looking white candle.\n\nIt's currently cold to the touch.\n\n> You look at tall\nA tall, thin white candle.\n\nIt's currently cold to the touch.\n\n> You look at tiny\n(the small platform)\nIt's a tiny wooden platform, barely big enough for you, Arthur, the clock, and the telescope.\n\n> You examine the tiny candle\nA tiny white candle--more of a tealight, really.\n\nArthur grooms himself.\n\n> You examine the words\nThe back of the clock face reads:\n\nStarlight, sunlight, firelight, light of the moon,\n\nFour white candles, how shall I choose?\n\nstars,\n\nMoonlight reaches higher than the others by far,\n\nSunlight goes unremarked as the ruler of the day,\n\nAnd firelight is the one to which no other holds a claim.\n\n> Inventory\nYou are carrying:\nsome earth\nsome ordinary water\na melted crystal ball\na pair of opal eyes\nan old wooden spoon"
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\n> Go west\nArthur slinks after you.\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nFine, white sand spills over the floor.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You consult Treatise on the dragonglass\nLooking up dragonglass in A Treatise on Alchemy, you see:\n\nA truly impermeable glass that is also as strong as steel,\ndragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.\n\n> You consult the Charming on animated lightning\nLooking up animated lightning in Charming, you see:\n\nAnimated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.\n\n> You consult Treatise on the common glass\nLooking up common glass in A Treatise on Alchemy, you see:\n\nCommon glass can be produced by heating sand until melted.\n\nArthur grooms himself.\n\n> You drop the tiny candle\nDropped.\n\n> You cast Igni at the tiny candle\nA tiny spark appears on the candlewick, and within moments it is glowing steadily.\n\nArthur stretches luxuriously.\n\n> You look at the candle\nA tiny white candle--more of a tealight, really.\n\n> You cast Tempesta at the sand\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the sand to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\n> You cast Tempesta at the candle\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the white tealight to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\n> You cast Igni at the sand\nYou start to say the spell, then think better of it. Conjuring fire out in the open like this would be dangerous.\n\n> You look in the cauldron\nThe copper cauldron is empty.\n\nArthur stretches luxuriously.\n\n> You put the sand in cauldron\n(first taking the sand)\nthe sand: Taken.\n\nYou add the sand to the cauldron.\n\n> You cast Igni at the cauldron\nThe sand turns red as it heats and soon begins to melt together into shiny, bubbling liquid glass.\n\n> You cast Tempesta at the cauldron\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the copper cauldron to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\nArthur stretches luxuriously.\n\n> You cast Tempesta at the liquid glass\nLightning hits the melted glass, but it doesn't seem to change anything.\nYou must not have done the set up for animated lightning correctly.\n\n> You blow out the candle\nYou gently blow out the white tealight, leaving it smoking.\n\n> You go west\nArthur slinks after you.\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur and a white tealight (still smoking) here.\n\n> You put the average in the circle\nYou put the average white candle into the conjuring circle.\n\n> You put the tiny candle in the circle\n(first taking the white tealight)\n\nYou put the white tealight into the conjuring circle.\n\nArthur bats at a shadow on the wall.\n\n> Cast igni at tiny\nWhich do you mean, the white tealight or the square label?\n\n> You cast Igni at the tiny candle\nThe candlewick emits faint sparks before blazing to life.\n\n> You blow out the tiny candle\nYou gently blow out the white tealight, leaving it smoking.\n\nArthur sniffs at a patch of floor.\n\n> You put the average candle in the circle\nYou put the average white candle into the conjuring circle.\n\nArthur lazily licks a forepaw.\n\n> Cast igni at average\nA tiny spark appears on the candlewick, and within moments it is glowing steadily."
    },
    {
        "text": "> You look at your surroundings\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You ask Arthur about light\n\"Do you even care about finishing before Enchantress Igmenta sees the room like this?\" Arthur asks, sounding annoyed.\n\n\"Of course I do!\" you protest.\n\n\"Then start fixing things instead of blathering on about random topics!\"\n\nArthur grooms himself.\n\n> You ask Arthur about the starlight\nIt's a riddle. You have a tiny candle, a tall candle, a normal-looking candle, an ugly candle, and a black candle. Obviously the black candle is right out.\"\n\n> Continue\n\"The easiest to figure out is Moonlight. 'Moonlight reaches higher than the others by far.'\"\n\n> You keep going\n\"The tall candle is the Moonlight candle.\"\n\nArthur sniffs at a patch of floor.\n\n> Continue\n\"The average looking candle is the Sunlight candle.\"\n\n> You blow out average\nYou gently blow out the average white candle, leaving it smoking.\n\n> You ask Arthur about the starlight\n\"'Not the biggest nor the tallest grants the light of the stars.'\" Arthur sniffs at a patch of floor.\n\n> You ask Arthur about the starlight\n\"The tallest candle is the tall candle, the average candle is the Sunlight candle, and the ugly candle is short but quite fat.\"\n\n> Continue\n\"The tiny candle is the Starlight candle.\"\n\n> Continue\n\"The ugly candle is the Firelight candle.\"\n\n> Continue\n\"Tall--Moonlight; Tiny--Starlight, Average--Sunlight, Ugly--Firelight.\"\n\n> Keep going\n\"Tall--Moonlight; Tiny--Starlight, Average--Sunlight, Ugly--Firelight.\"\n\nArthur grooms himself."
    },
    {
        "text": "> You look around\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\nArthur bats at a shadow on the wall.\n\n> Inventory\nYou are carrying:\nsome earth\nsome ordinary water\na melted crystal ball\na pair of opal eyes\nan old wooden spoon\n\n> You consult charming about candles\nLooking up witches' candles in Charming, you see:\n\n\n\nWitches' candles are indispensable in practical magic. A candle of everwax produces a living flame, a summoning candle is indispensable in summoning, and other candles reproduce various lighting conditions, such as those of the celestial lights. Witches' candles can be purchased from supply shops or homemade.*\n\n*Only a very experienced practitioner should attempt to make\nwitches' candles, as a mistake of a single degree can be extremely dangerous.\n\nArthur stretches luxuriously.\n\n> You close the altar door\nYou close the altar door.\n\n> You look in the circle\nIn the conjuring circle are an average white candle and a white tealight.\n\n> Cast igni at tealight\nThe candlewick emits faint sparks before blazing to life.\n\nArthur grooms himself.\n\n> You take the tealight\nTaken.\n\nArthur sniffs at a patch of floor.\n\n> You put it on the bench\nYou put the white tealight on the workbench.\n\n> You look at the bench\nA solid wooden table that has survived generations of magical abuse, albeit with all of the stains and scratches one would expect from such treatment. Taking up much of the space on the table is a large cauldron.\n\nOn the workbench is a white tealight (glowing brightly).\n\n> You ask Arthur about the lightning\n\"Shouldn't you be worrying about this mess instead of quizzing me about irrelevant things?\" Arthur demands.\n\n> You ask Arthur about the animated lightning\n\"All that's left is to cast Tempesta at the object!\"\n\n> You cast Tempesta at the cauldron\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the copper cauldron to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\n> You cast Tempesta at the puddle\n\"Tem--\" you begin.\n\n\"Stop!\" Arthur interrupts, \"Do you want the melted crystal ball to shock the next person--or familiar--who touches it?\"\n\nYou reflect on it. Arthur is right.\n\n> You examine the glass\nClear melted glass.\n\n> You put puddle in the cauldron\nYou add the melted crystal ball to the cauldron.\nChamber\nThe aether mixes with the melted glass... then the melted glass disappears into the aether. Oh, no... You try to think of another way to get melted glass--you're all out of sand--and come up empty. You'll never be able to fix the crystal ball now...\n\n> Yes\n\"What are you doing?!\" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the melted crystal ball and the melted glass have been moved into your inventory.)\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You put the melted glass in the cauldron\nYou add the melted glass to the cauldron.\n\nArthur grooms himself.\n\n> You consult the Charming about the animated lightning\nLooking up animated lightning in Charming, you see:\n\nAnimated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.\n\nArthur bats at a shadow on the wall.\n\n> You shine tealight\nYou rub the white tealight.\n\n> You examine the tealight\nA tiny white candle--more of a tealight, really.\n\n> Light tealight\nYou screw up your face and concentrate on the white tealight, imagining it set aflame. Nothing happens.\n(You can BURN the white tealight WITH a lit candle, or you can CAST Igni AT the white tealight. Using telepathy to set it on fire is right out.)\n\n> You take the cauldron\nYou grip the cauldron by both sides and strain to lift it, but it's far too heavy. Arthur snickers at your efforts.\n\n> You look at what you're carrying with you\nYou are carrying:\na melted crystal ball\na white tealight (glowing brightly)\nan average white candle (still smoking)\nsome earth\nsome ordinary water\na pair of opal eyes\nan old wooden spoon\n\n> Go east\n(first opening the altar door)\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\n> You examine the pedestal\nThe Goddess' pedestal looks lonely without her.\n\nArthur grooms himself.\n\n> You look at the circle\n(the conjuring circle)\nThe chalk circle is faded, but its power is not. With it, the entire Altar is essentially one big conjuring circle.\n\n> You put the tealight in the circle\n(the conjuring circle)\nYou put the white tealight into the conjuring circle.\n\n> Go upward\nArthur slinks after you.\n\nNo more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.\n\nA slender spiraling silver staircase winds down toward the altar.\n\nIn one corner is an astrological clock.\n\nA telescope sits in one corner, facing the night sky.\n\nYou can also see Arthur here.\n\nArthur sniffs at a patch of floor.\n\n> You put the candle in the alcove\n(the average white candle in the tiny alcove)\nYou put the average white candle into the tiny alcove.\n\n> Go west\nArthur slinks after you.\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You go to the east\nArthur slinks after you.\n\nA tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.\n\nA slender spiraling silver staircase winds up toward the domed ceiling.\n\nEncompassing the room is a faint chalk circle drawn on the floor.\n\nYou can also see Arthur here.\n\nArthur bats at a shadow on the wall.\n\n> You get the candle\nTaken.\n\nArthur lazily licks a forepaw.\n\n> You put the candle in the circle\nYou put the white tealight into the conjuring circle.\n\n> You put the candle on the bookcase\nYou put the white tealight on the bookcase.\n\n> You cast Tempesta on the glass\nLightning hits the melted glass, but it doesn't seem to change anything.\n\nArthur bats at a shadow on the wall.\n\n> You put the candle on the cauldron\n(first taking the white tealight)\n\nPutting things on the copper cauldron would achieve nothing.\n\n> You put the candle in the cauldron\nYou add the white tealight to the cauldron.\nChamber\nThe items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...\n\n> Yes\n\"What are you doing?!\" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the white tealight and the melted glass have been moved into your inventory.)\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here.\n\n> You put the glass in circle\nYou put the melted glass into the conjuring circle.\n\n> You put the glass in the cauldron\n(first taking the melted glass)\n\nYou add the melted glass to the cauldron.\n\n> You ask Arthur about the animated lightning\n\"CAST TEMPESTA AT OBJECT.\"\n\n> You drop tealight\nDropped.\n\n> Go west\nArthur slinks after you.\n\nThe magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.\n\nA workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.\n\nOn the bookcase is the crystal ball's stand.\n\nA number of spell books have fallen to the floor in an accusatory heap.\n\nOn the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).\n\nYou can also see Arthur here."
    },
    {
        "text": "[Themes: Fantasy, poetry, multiple protagonists]\n\nJohann found the whole rattling car empty save one seat occupied by a girl about his age, whose face was hidden behind a large folding star chart, labeled MAP in one corner. He approached softly. There was something perhaps familiar about her.\n\n\"Mind if I sit here, Miss?\" he asked. She looked up from the map, and Johann at once recognized her as his sister, and wondered how in the world he hadn't known who she was earlier. She smiled to see him, but he thought he saw her wiping a tear from her eye as turned to put down his coat. Taking the seat opposite her, and looking for a moment at the near-total desolation outside the train, punctuated only by a few swimming blue lamps, he asked, \"Where did you get that map?\"\n\n\"They gave it to me at the station, of course. Didn't they give you one too?\" But Johann could not remember any station. In fact, he could not remember boarding the train at all.\n\n\n\nInspired by the life and work of Kenji Miyazawa.\nEnter \"about\" for more information.\n\nI. One More Painted Lantern\n\n\"Je tiu tago ni vidos kaj esperon kaj harmonion, kaj chu estos pli au malpli bela sunlevigho de tiu tago ol sunlevigho estas hodiau?\"\n\nSophie actually enjoyed the festival every year. She enjoyed the lights, the songs, and the crispness of the air. It was only the crowds that made her uneasy and drove her into the solitude she had learned to appreciate.\n\nThere the river was at its widest, flowing with a stealthy swiftness. The only way back to the city was to the northwest.\n\nPainted lanterns undulated just barely within view.\n\nShe was surprised to see Franz there.\n\n[Author's Note: \"Sophie actually enjoyed the festival every year. She enjoyed the lights, the songs, and the crispness of the air. It was only the crowds that made her uneasy and drove her into the solitude she had learned to appreciate.\"]\n\n> Inventory\nShe was carrying:\na faith pendant (being worn)\n\n> You examine the pendant\nSophie had inherited the pendant, a symbol of faith, from her grandmother. It was of a strange shape, with many curves. Sophie's grandmother had called it her \"ohm.\"\n\nFranz noticed Sophie's presence with a start. He stumbled, fell into the water, and was silently carried downstream.\n\n> About yourself\nSophie was sometimes told she was a good child, and she liked to think of herself that way.\n\n> You take the lantern\nThe lanterns were floating in the far-away sky.\n\n> You examine the gate\nThe ancient spirit gate was closed. In design, it looked far older than anything in the city, yet its wood seemed immune to rot. In it were carved three recesses, each of the same peculiar shape that defined the pendant Sophie wore wherever she went. One was green, another silver, and the third was pale blue.\n\n> You examine the lanterns\nThe lanterns formed new constellations in the inky sky.\n\n> You look at Franz\nHe was thoroughly wet and entirely dazed.\n\n> You put the pendant in the recess\nWhich did she mean, the green recess, the silver recess, or the pale blue recess?\n\n> Green\n(first taking it off)\nSophie placed her faith pendant in the gate's green recess.\n\n\"We cannot place our faith in the verdigris of life,\" said Franz, \"for all things that live must die.\"\n\n> You put the pendant in the silver recess\n(first taking the faith pendant)\nSophie placed her faith pendant in the gate's silver recess.\n\n\"We cannot place our faith in the sheen of silver,\" said Franz, \"for all things that are must pass.\"\n\n> You put the pendant in  the blue recess\n(first taking the faith pendant)\nSophie placed her faith pendant in the gate's pale blue recess.\n\n\"We can place our faith only in the Pale Blue Light -- the light of both death and compassion,\" said Franz, \"for death is certain, and compassion illuminates the way.\"\n\nThe gate opened, apparently of its own accord."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nCrane Island, Western Shore\nThis part of the island consisted mainly of smooth sedimentary rock, while she was on a small sandy bit of shore that connected to the east with a path guarded by an ancient spirit gate.\n\nThe ancient spirit gate was open.\n\nPainted lanterns undulated just barely within view.\n\nFranz stood silently by.\n\n> You enter the gate\nThe tunnel seemed to have been carved from the stone by hand with crude tools. It wasn't smooth, like the grand buildings in the city center, but rough, with uneven walls. She could go out to the east or through the spirit gate to the west.\n\nThe ancient spirit gate was open.\n\nFranz arrived from the west.\n\n> You examine the gate\nThe ancient spirit gate was open. In design, it looked far older than anything in the city, yet its wood seemed immune to rot. In it were carved three recesses, each of the same peculiar shape that defined the pendant Sophie wore wherever she went. One was green, another silver, and the third was pale blue.\n\n> You go east\nA circular stone platform with carved geometric designs surrounded an ancient stone well. It was in places like these that the old Theists offered prayers, and the first Monists held their whirlings all those centuries ago. Great rocks surrounded the western half of the circle. The spirit tunnel led west through them. The eastern half of the circle was open, allowing passage to the east, northeast, and southeast.\n\nFranz arrived from the west.\n\n> You look at the platform\nSophie had expected it to bear ritual inscriptions of some sort, but instead found it perfectly smooth.\n\n> You examine well\nThe well looked even older than everything else there - far older. It stood forever yawning, forever offering its deep obscurity to anything that should fall in.\n\n> Go west\nThe tunnel seemed to have been carved from the stone by hand with crude tools. It wasn't smooth, like the grand buildings in the city center, but rough, with uneven walls. She could go out to the east or through the spirit gate to the west.\n\nThe ancient spirit gate was open.\n\nFranz arrived from the east.\n\n> You take pendant\nTaken.\n\nThe spirit gate slid shut."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe tunnel seemed to have been carved from the stone by hand with crude tools. It wasn't smooth, like the grand buildings in the city center, but rough, with uneven walls. She could go out to the east or through the spirit gate to the west.\n\nFranz stood silently by.\n\nThe ancient spirit gate was closed.\n\n> You put pendant in the blue recess\nSophie placed her faith pendant in the gate's pale blue recess.\n\n\"We can place our faith only in the Pale Blue Light -- the light of both death and compassion,\" said Franz, \"for death is certain, and compassion illuminates the way.\"\n\nThe gate opened, apparently of its own accord.\n\n> You drop the pendant in well\nShe put the faith pendant into the ancient stone well.\n\nThe faith pendant was was carried swiftly downstream.\n\n> You ask Franz about well\nSophie could say nothing; she had always been unable to speak, and the language of the speechless had been forgotten long ago.\n\n> You go east\nThis area of the island featured a placid, shallow pond. It seemed to be the very center of the island; she could go in any of the four cardinal directions from there.\n\nFranz arrived from the west.\n\n> You examine the pond\nThe pond lay absolutely still, and at its center floated a blue crane.\n\n> You examine the Crane\nWhich did she mean, Crane Pond or the blue crane?\n\n> You look at the blue Crane\nStill. Stolid. Restfully being.\n\n> Swim\nThe crane, wary of Sophie's approach, flew off into the night. Sophie swam around a bit in the moonlight, and Franz turned away, apparently thinking it improper to watch. Soon, however, the cold was too much, and she stopped."
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists]\n\n> Look around\nThis area of the island featured a placid, shallow pond. It seemed to be the very center of the island; she could go in any of the four cardinal directions from there.\n\nFranz stood silently by.\n\n> You go north\nThis, at least, was familiar; there were shrines like this all over the mainland, dedicated to the Protector worshiped in ancient theology. This one was set apart by its distinctive watchtower rising upward into the cold sky. She could also go south, southeast, southwest, or up into the tower.\n\nFranz arrived from the south.\n\n> You go southwest\nA circular stone platform with carved geometric designs surrounded an ancient stone well. It was in places like these that the old Theists offered prayers, and the first Monists held their whirlings all those centuries ago. Great rocks surrounded the western half of the circle. The spirit tunnel led west through them. The eastern half of the circle was open, allowing passage to the east, northeast, and southeast.\n\nFranz arrived from the northeast.\n\n> You go east\nThis area of the island featured a placid, shallow pond. It seemed to be the very center of the island; she could go in any of the four cardinal directions from there.\n\nFranz arrived from the west.\n\n> You look at the tower\nThis watchtower was visible from the city, and had been a symbol of the region for ages. It was even depicted in Sophie's family crest.\n\n> You examine the shrine\nIt is of stone and of simple design. Whatever figure it may have held has long since gone. Attached to it is a tower.\n\n> Up\nHigh in the air, she could see it all: the island, the river with its bank, the path leading up to the gates, and the city beyond. It was beautiful.\n\nSophie remembered the heavy creases of her father's forehead, the religious fixation of his eyes as he saluted the family crest three years before. She remembered the engraved tower surrounded by the ancient motto she could not read. Franz had been there on one of his visits, and had examined the old letters closely, slowly tracing them with his finger before speaking aloud those strange words she could not understand:\n\n\"Neniame forlasu la gardon.\"\n\nHer father's face had become wildly hostile, and he had shouted condemnations of the utterance of Elderese. That had been the last time Sophie had seen her father.\n\nThe only way out was back down to the shrine.\n\nPainted lanterns undulated just barely within view.\n\n> You say the neniame forlasu la gardon\n(to Sophie)\nSophie could say nothing; she had always been unable to speak, and the language of the speechless had been forgotten long ago."
    },
    {
        "text": "[Themes: Fantasy, poetry]\n\n> Describe the surroundings\nHigh in the air, she could see it all: the island, the river with its bank, the path leading up to the gates, and the city beyond. It was beautiful.\n\nThe only way out was back down to the shrine.\n\nPainted lanterns undulated just barely within view.\n\n> Down\nThis, at least, was familiar; there were shrines like this all over the mainland, dedicated to the Protector worshiped in ancient theology. This one was set apart by its distinctive watchtower rising upward into the cold sky. She could also go south, southeast, southwest, or up into the tower.\n\nFranz was gone.\n\n> Go southwest\nA circular stone platform with carved geometric designs surrounded an ancient stone well. It was in places like these that the old Theists offered prayers, and the first Monists held their whirlings all those centuries ago. Great rocks surrounded the western half of the circle. The spirit tunnel led west through them. The eastern half of the circle was open, allowing passage to the east, northeast, and southeast.\n\nSophie's father stood there, seething, menacing, holding a knife to Franz.\n\nFranz, captive, shivered, a slight blue glow dancing about his teary eyes, and a pale, wavering, blue cocoon of light shielding him against the attacks of Sophie's father.\n\nHer father turned as she approached. \"Stay out of my way, Sophie,\" he commanded. \"It is at last time to end this aberration.\"\n\n> You look at Franz\nHe was thoroughly wet and entirely dazed.\n\n> You look at the father\nHe had changed much since Sophie had last seen him. All the love and care had gone from him.\n\nThe blue glow about Franz faded as Sophie's father drew the knife toward his throat.\n\nAgain the train slowed, and Johann saw a vast field of corn approaching ahead, the golden tuft of hair on every ear rippling in a slow breeze. He turned to the fisherman at his side, and was about to ask, \"Can you see that? Isn't it splendid?\"\n\nBut as suddenly as he had appeared, the fisherman had departed. Although he had seen too many things out of the ordinary to wonder where the man had gone, Johann wished very much that he had said more to his fellow passenger while he had the chance.\n\n\"People come and go so quickly on this train,\" he remarked to his sister. \"At least I know you won't disappear on me.\"\n\nShe nodded silently, shifting in her seat.\n\nII. Avery's Diary\n\nI am Avery Jones, and I am a schoolteacher.\n\n15 December 1921.\nAm working on a new story I'm calling \"Johann's Ticket.\" Have sketched out the basic arc already, and am trying to round it out into something to send off to the city publishers again, though I suspect I'll just end up having a small run printed at my own expense, as I did with \"One More Painted Lantern\" and the poetry.\n\nNoticed today that it's been over a month since I started teaching. Think I may have developed a knack for it. Seems the trick is to pay textbooks only the very little attention they're due, and to keep the children excited. Mme S. didn't seem much too pleased with this method at first, but I seem to have won the children's admiration, and the respect of my superiors has gradually followed.\n\nHad a real shock today when Benjamin Harker became ill during rehearsal for the play. When I had sent for his parents, I started cleaning up, at which point I confirmed my suspicions that the Harker family has it bad enough that they're eating mostly kelp. This prompted me to at last discuss the possibility of an agronomics curriculum with Mme S. She didn't seem too adverse to the idea. Also convinced Mr. Harker to let me have a look at his soil.\n\nEveryone seems to be catching the autumn sickness. Lately my coughing has been deeper and more difficult, and Lucy's begun coughing as well. Am doing my best to encourage hygiene among my pupils, but convincing any of them to show any concern for his own health is a struggle.\n\nYou,\nGreat Explorer,\n\n> About yourself\nYou,\nGreat Explorer,\n\n[That word is either insignificant or not part of the poem.]\n\n> You say onward\n(to Avery Jones)\n\nYou,\nGreat Explorer,\n\n[That word is either insignificant or not part of the poem.]\n\n> Explorer\nYou,\nGreat Explorer,\nrunning off into the forest\n\n> Running\nYou,\nGreat Explorer,\nrunning off into the forest\nto seek the light you saw inside,\nwear your damn raincoat!\n\nI am Avery Jones, and I am weak.\n\n21 September 1933.\nAm coughing up more blood than usual. Chills have set in harder. Some delirium this morning. All in all, is much like Lucy's last day. Had an unexpected visitor; Mr. Harker got word I'd returned to my parents' house and came to describe the condition of his crop, looking for advice. Convinced him to stay for some time, though Father seemed eager to shoo him away. Was discreet about my difficulties, and I don't think Mr. Harker caught on, but since he left things have deteriorated further. This is likely the end. Will attempt a traditional sort of rhyme, but this had better not end up on my tombstone, as I'm no Longfellow.\n\n> Alone\n\n\n> Sea\nour rising hopes, our growing fears;\nto claim these both she waits.\n\nI am Avery Jones, and I am in despair.\n\n27 November 1922.\nWent out for a walk today. Couldn't do anything else. I had walked all the way down to the creek before I even realized how far I'd gone.\n\nBack when it all started, when she coughed up blood for the first time, I'd gone there looking for a maple branch. \"I want one full of sap,\" she'd said, \"and with icicles hanging down.\" I'd thought it selfish and frivolous of her to ask, when it seemed so necessary that I remain. It occurred to me only today that it was the most selfless thing she could have done -- to give me leave when I most needed it.\n\nThis evening I thought, for a moment, that I had seen a bird. I thought, for a moment, that I was saved. But it was not a flurry of wings. It was only the dead falling of snow from the limb of an oak. It took some time to disinter my face from the wet folds of my handkerchief.\n\nWhen I had finished a prayer for the repose of Lucy's soul, I observed the noise of the water's currents below. The wind ran its fingers through my hair. It was calling me home. The water was pulling me in. It was calling me to jump.\n\n> Self\n\n\n> Cling\nwith bonds imitating love\n\n> Love\nwith bonds imitating love\nto objects of my own construction\nis a pale blue light\ncast by the flickering lamp\nfed on an alternating current.\n\nI didn't jump. Instead I found a low-hanging branch nearby, craned my neck heavenward, and sung the most bitter chorus of \"How Great Thou Art\" the world has ever heard.\n\nJohann strained his eyes, staring deep into the round void outside. \"I don't see a thing,\" he said.\n\nHis sister pointed excitedly out the window \"There's a small, pale blue light out there, right there in the middle!\" He stared as hard as he could, and still he saw nothing, but then a small dim something appeared, just where she had been pointing.\n\n\"I see it!\" he shouted, but his sister was no longer there, and turning back to that dim form in dread he saw that it was his sister, half a mile from the train or more, waving goodbye as she receded into the dark.\n\nIII. Jamaica Center Bound\n\nYou are Dr. Howard Mann, and you are on the E train.\n\"This is a Jamaica Center bound E local train. The next stop is Jamaica -- Van Wyck.\"\n\n\"Stand clear of the closing doors, please.\"\n\nThe dates and names of the diary run over and over in your mind, though you have tired of reading.\n\nA man sleeps opposite you, twitching fitfully.\n\nThe clock reads 5:13 pm.\n\n> You check what you're carrying\nYou are carrying:\nAvery's diary\n\nA shake and a rumble.\n\n> You examine diary\nYou can read no more of the photocopied manuscript of Avery's diary, though it occupies a vast territory in your conscious mind. He was your favorite poet growing up and the subject of your doctoral thesis. On your more grandiose days you imagine yourself to be his modern reincarnation. This is not one of your more grandiose days.\n\n\"This is Jamaica -- Van Wyck. Transfer is available to the F train\"\n\nThe doors open.\n\n> Leave\nAborting your plans, you step off the train early and board the next Manhattan-bound E train. Tonight you'll eat too much ice cream and watch a romantic comedy at home in Rego Park.\n\nThat night, you dream you run into one of the characters in Avery Jones's children's novel One More Painted Lantern, a girl named Sophie. She is sad, soaked to the bone, and alone, and all you can say to her is:\n\n> You say hello\n(to the sleeping man)\nSophie could say nothing; she had always been unable to speak, and the language of the speechless had been forgotten long ago."
    },
    {
        "text": "[Themes: Fantasy, poetry, multiple protagonists]\n\n> Look around\nA man sleeps opposite you, twitching fitfully.\n\nThe clock reads 5:17 pm.\n\n> Hello\nAnd then Avery Jones himself appears out of the gloom, greets Sophie with a tip of his hat, and then turns, smiling, to you. You feel there is something dreadfully important you want to tell him, but all you can manage is:\n\n> Continue\nAlthough Johann's Ticket remained unfinished at the time of Avery Jones's untimely death from tuberculosis in 1933, it has long been one of his most popular works, and has been translated into at least five languages since its first publication in 1945.\n\nIV. Afterword\n\nI am Avery Jones, and I have died.\n\nThis thin strip of land runs east-west through the river Acheron.\n\nA small girl approaches. I think she must be Sophie, a character in the book I've been writing. Perhaps these are the fevered imaginings of a dying brain. But then I look more closely and realize that I am looking into my sister's face. Oh, Lucy!\n\nA man stumbles into view from the depths of the night. He peers for a moment into Sophie's face, saying \"HELLO\"\n\nTo me, he says --"
    },
    {
        "text": "> You look around\nA man sleeps opposite you, twitching fitfully.\n\nThe clock reads 5:15 pm.\n\n\"This is a Jamaica Center bound E local train. The next stop is Sutphin Boulevard -- Archer Avenue -- JFK.\"\n\n\"Stand clear of the closing doors, please.\"\n\nYou've got about fifteen minutes until the next Montauk-bound train leaves.\n\n\"This is Sutphin Boulevard -- Archer Avenue -- JFK. Transfer is available to the J train. Connection is available to the Long Island Railroad and AirTran to JFK Airport.\"\n\nThe doors open wide for you.\n\n> You wait awhile\nTime passes.\n\n\"This is a Jamaica Center bound E local train. The next and last stop is Sutphin Boulevard.\"\n\n\"Stand clear of the closing doors, please.\"\n\nSomehow you just couldn't leave.\n\n\"The next and last stop is Jamaica Center -- Parsons Boulevard -- Archer Avenue.\"\n\nPerhaps it was a stupid idea anyway.\n\nThat night, you dream you run into one of the characters in Avery Jones's children's novel One More Painted Lantern, a girl named Sophie. She is sad, soaked to the bone, and alone, and all you can say to her is:\n\n> You're poetry is weird\nAlthough Johann's Ticket remained unfinished at the time of Avery Jones's untimely death from tuberculosis in 1933, it has long been one of his most popular works, and has been translated into at least five languages since its first publication in 1945.\n\nIV. Afterword\n\nI am Avery Jones, and I have died.\n\nThis thin strip of land runs east-west through the river Acheron.\n\nA small girl approaches. I think she must be Sophie, a character in the book I've been writing. Perhaps these are the fevered imaginings of a dying brain. But then I look more closely and realize that I am looking into my sister's face. Oh, Lucy!\n\nA man stumbles into view from the depths of the night. He peers for a moment into Sophie's face, saying \"HELLO SAILOR\"\n\nTo me, he says --"
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists, poetry]\n\n> You look around\nA circular stone platform with carved geometric designs surrounded an ancient stone well. It was in places like these that the old Theists offered prayers, and the first Monists held their whirlings all those centuries ago. Great rocks surrounded the western half of the circle. The spirit tunnel led west through them. The eastern half of the circle was open, allowing passage to the east, northeast, and southeast.\n\nFranz stood silently by.\n\n> You go to the southeast\nIt was a fairly well-known secret that Crane Island wasn't an island at all; this narrow isthmus extended south to the far bank of the Acheron. From there she could also go north, northeast, or northwest.\n\nShe could see a tiger there.\n\nFranz arrived from the northwest.\n\n> You examine the tiger\nA fearsome beast if ever there was one.\n\n> Pet tiger\nThe tiger was a capricious beast indeed, and did not take kindly to Sophie's advances. It lunged toward Sophie.\n\nA blue glow danced about Franz's eyes, then expanded outward, forming barriers of light that somehow pushed the tiger back mid-leap and kept it at bay.\n\n> You look at Franz\nHe was thoroughly wet and entirely dazed.\n\n> Go northeast\nThere was a steep hill at the easternmost point of the island, covered in images of the Sun. She could go west, northwest, or southwest from there, or enter the concrete shelter set into the hill.\n\nFranz arrived from the southwest.\n\n> You enter the shelter\nThough the City Council had forced the Museum to close some years ago, Sophie remembered that it had once held an exhibit that contained a number of artifacts recovered from this site -- an exhibit Sophie was explicitly forbidden to see.\n\nShe could see an ancient word machine and some parchment there.\n\nFranz arrived from the outside.\n\n> You examine the machine\nSophie had seen a number of these devices at the Museum. This particular sort of word machine, she remembered, was used for displaying changing information. This one was still working. Perhaps, thought Sophie, it was powered by light, like some of the museum pieces. It read thus:\n\n\"La aktuala nivelo de minaco estas rugho. Pro masiva aliranta objekto, chiuj civitanoj devas serchi shirmejon. La Chiela Gardo antaue ghisdatigis la minacan nivelon antau 472 jaroj, 3 monatoj, 25 tagoj kaj 3 horoj.\"\n\n> You examine the parchment\nIt was affixed to the concrete, and there was ancient writing on it:\n\nNeniame forlasu la gardon.\n\nLa eterna misio de la Chiela Gardo estas atente gardi la loghantaron de la terglobo kontrau la minaco de dangheraj chielaj eventoj. Pro tiu celo, la Asocio de Liberaj Popoloj formis la Chielan Gardon kiel reto de sciencistoj, antauaj militaj organizacioj kaj autonomaj registaroj investitaj je la chiela sekureco de chiuj personoj. Nia teleskopoj, eskapaj transportistoj kaj publikaj bunkroj cirkau la terglobo estas monumentoj al la forteco de popoloj unuighintaj pro la komuna bono.\n\nChu vi aspiras alighi la Chielan Gardon, ni invitas vin paroli kun la oficiro en tiu gardejo pri kiamaniere vi povas asisti.\n\nLa Chiela Gardo nuntempe klopodas provizi pli informajho je naciaj lingvoj. Atendu pli servoj je via gepatra lingvo baldau!\n\n> You show the machine to Franz\n(first taking the ancient word machine)\nThat was fixed in place."
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists]\n\n> You describe your surroundings\nThough the City Council had forced the Museum to close some years ago, Sophie remembered that it had once held an exhibit that contained a number of artifacts recovered from this site -- an exhibit Sophie was explicitly forbidden to see.\n\nFranz stood silently by.\n\nShe could also see an ancient word machine and some parchment there.\n\n> 2\nTo Peter Pears, because I flaked out on his project like the coward I am. And to Kenji Miyazawa, because I want to be him.\n\n> 3\nIdentification number: //6F43D86A-ECCE-11DE-9EE0-001D094ED464// Standard interpreter 1.0 (2N) / Library serial number 080126\nStandard Rules version 2/090402 by Graham Nelson\nCustom Library Messages version 4/110422 by Ron Newcomb (with special thanks to David Fisher)\nUndo Output Control version 1/090626 by Erik Temple\nQuestions version 4 by Michael Callaghan\n\nInspired by the life and work of Kenji Miyazawa.\n\nTested by Poster, Katzy, Tiddy Ogg, & Matt Weiner. Only one measly round of testing was conducted, so don't blame anything on the testers.\n\nThe cover image for \"Pale Blue Light\" uses material from the Governmental Nuclear Regulatory Commission.\n\n> 4\n\"Pale Blue Light\" was inspired by the life and work of Kenji Miyazawa. Kenji (1896 - 1933) was a Japanese Nichiren Buddhist, naturalist, agronomist, Esperantist, ultranationalist, and schoolteacher who lived in relative obscurity in rural and destitute Hanamaki of Iwate province but gained great fame and admiration in Japan for his poetry and children's stories during the 1990s. A number of his works have been translated into English. Perhaps the best English-language volume on Kenji is Hiroaki Sato's Miyazawa Kenji: Selections, which contains a number of Kenji's poems and a thorough biographical introduction. It is published by the University of California Press.\n\n> You go outside\nThere was a steep hill at the easternmost point of the island, covered in images of the Sun. She could go west, northwest, or southwest from there, or enter the concrete shelter set into the hill.\n\nFranz arrived from the inside.\n\n> Go northwest\nThis, at least, was familiar; there were shrines like this all over the mainland, dedicated to the Protector worshiped in ancient theology. This one was set apart by its distinctive watchtower rising upward into the cold sky. She could also go south, southeast, southwest, or up into the tower.\n\nFranz arrived from the southeast.\n\n> Up\nHigh in the air, she could see it all: the island, the river with its bank, the path leading up to the gates, and the city beyond. It was beautiful.\n\nSophie remembered the heavy creases of her father's forehead, the religious fixation of his eyes as he saluted the family crest three years before. She remembered the engraved tower surrounded by the ancient motto she could not read. Franz had been there on one of his visits, and had examined the old letters closely, slowly tracing them with his finger before speaking aloud those strange words she could not understand:\n\n\"Neniame forlasu la gardon.\"\n\nHer father's face had become wildly hostile, and he had shouted condemnations of the utterance of Elderese. That had been the last time Sophie had seen her father.\n\nThe only way out was back down to the shrine.\n\nPainted lanterns undulated just barely within view.\n\n> You take the knife\nSophie's father maintained his grip on the knife and coldly pushed her aside.\n\n> Kiss Father\nSophie's father gave a short gasp of surprise, his eyes momentarily widened, and he dropped his knife.\n\n> You take the knife\nSophie took hold of the knife.\n\n\"Sophie,\" her father said, \"we have to end this. He speaks the ancient language. He even uses the ancient light!\"\n\n> You drop the knife in well\nShe put the knife into the ancient stone well.\n\nThe knife was was carried swiftly downstream.\n\n\"Sophie!\" her father shouted. \"What have you done?\" He turned toward her and began to squeeze her throat. With a cry of despair, Franz came to her side, and the two were enveloped in blue light that met the coming blow of her father and deflected him backward into the gathering night.\n\nAgain the train slowed, and Johann saw a vast field of corn approaching ahead, the golden tuft of hair on every ear rippling in a slow breeze. He turned to the fisherman at his side, and was about to ask, \"Can you see that? Isn't it splendid?\"\n\nBut as suddenly as he had appeared, the fisherman had departed. Although he had seen too many things out of the ordinary to wonder where the man had gone, Johann wished very much that he had said more to his fellow passenger while he had the chance.\n\n\"People come and go so quickly on this train,\" he remarked to his sister. \"At least I know you won't disappear on me.\"\n\nShe nodded silently, shifting in her seat.\n\n> You press space\nYou,\nGreat Explorer,\n\n> Great\nYou,\nGreat Explorer,\nstumbling in your father's shoes,\n\n> Father\nYou,\nGreat Explorer,\nstumbling in your father's shoes,\n\n[That word is either insignificant or not part of the poem.]\n\n> Stumbling\nYou,\nGreat Explorer,\nstumbling in your father's shoes,\ntripping over your own eagerness,\nwear your damn raincoat!\n\nI am Avery Jones, and I am weak.\n\n21 September 1933.\nAm coughing up more blood than usual. Chills have set in harder. Some delirium this morning. All in all, is much like Lucy's last day. Had an unexpected visitor; Mr. Harker got word I'd returned to my parents' house and came to describe the condition of his crop, looking for advice. Convinced him to stay for some time, though Father seemed eager to shoo him away. Was discreet about my difficulties, and I don't think Mr. Harker caught on, but since he left things have deteriorated further. This is likely the end. Will attempt a traditional sort of rhyme, but this had better not end up on my tombstone, as I'm no Longfellow.\n\n> Ten\n\n\n> They\n[That word is either insignificant or not part of the poem.]\n\n> Count\nand number, as they haul in fish,\ninnumerable years.\n\nI am Avery Jones, and I am in despair.\n\n27 November 1922.\nWent out for a walk today. Couldn't do anything else. I had walked all the way down to the creek before I even realized how far I'd gone.\n\nBack when it all started, when she coughed up blood for the first time, I'd gone there looking for a maple branch. \"I want one full of sap,\" she'd said, \"and with icicles hanging down.\" I'd thought it selfish and frivolous of her to ask, when it seemed so necessary that I remain. It occurred to me only today that it was the most selfless thing she could have done -- to give me leave when I most needed it.\n\nThis evening I thought, for a moment, that I had seen a bird. I thought, for a moment, that I was saved. But it was not a flurry of wings. It was only the dead falling of snow from the limb of an oak. It took some time to disinter my face from the wet folds of my handkerchief.\n\nWhen I had finished a prayer for the repose of Lucy's soul, I observed the noise of the water's currents below. The wind ran its fingers through my hair. It was calling me home. The water was pulling me in. It was calling me to jump.\n\n> You proclaim\n\n\n> It\n[That word is either insignificant or not part of the poem.]\n\n> Hardly\nfor all the vanity\n\n> Vanity\nfor all the vanity\nit pours into the mirror bowl\nis a pale blue light\ncast by the flickering lamp\nfed on an alternating current.\n\nI didn't jump. Instead I found a low-hanging branch nearby, craned my neck heavenward, and sung the most bitter chorus of \"How Great Thou Art\" the world has ever heard.\n\nJohann strained his eyes, staring deep into the round void outside. \"I don't see a thing,\" he said.\n\nHis sister pointed excitedly out the window \"There's a small, pale blue light out there, right there in the middle!\" He stared as hard as he could, and still he saw nothing, but then a small dim something appeared, just where she had been pointing.\n\n\"I see it!\" he shouted, but his sister was no longer there, and turning back to that dim form in dread he saw that it was his sister, half a mile from the train or more, waving goodbye as she receded into the dark.\n\nIII. Jamaica Center Bound\n\nYou are Dr. Howard Mann, and you are on the E train.\n\"This is a Jamaica Center bound E local train. The next stop is Jamaica -- Van Wyck.\"\n\n\"Stand clear of the closing doors, please.\"\n\nThe dates and names of the diary run over and over in your mind, though you have tired of reading.\n\nA man sleeps opposite you, twitching fitfully.\n\nThe clock reads 5:13 pm.\n\n> You wake man\nYou're not sure you want to do that.\n\nA shake and a rumble.\n\n> You look at the clock\nIt reads 5:14 pm.\n\n\"This is Jamaica -- Van Wyck. Transfer is available to the F train\"\n\nThe doors open.\n\n> Wait\nTime passes.\n\n\"This is a Jamaica Center bound E local train. The next stop is Sutphin Boulevard -- Archer Avenue -- JFK.\"\n\n\"Stand clear of the closing doors, please.\"\n\nYou've got about fifteen minutes until the next Montauk-bound train leaves.\n\n\"This is Sutphin Boulevard -- Archer Avenue -- JFK. Transfer is available to the J train. Connection is available to the Long Island Railroad and AirTran to JFK Airport.\"\n\nThe doors open wide for you.\n\n> Go outside\nBefore you can even really think about it, you're Montauk-bound, a pilgrim, and you clutch Avery's diary -- your Holy Book -- closer to your chest. You have no idea where you'll spend the night.\n\nThat night, sleeping on the Long Island Railroad, you dream you run into one of the characters in Avery Jones's children's novel One More Painted Lantern, a girl named Sophie. Her friend Franz trails along behind, blue sparks playing about his hair. All you can say to them is:\n\n> Fiddlesticks\nAnd then Avery Jones himself appears out of the gloom, greets Sophie and Franz with a tip of his hat, and then turns, smiling, to you. You feel there is something dreadfully important you want to tell him, but all you can manage is:\n\n> Xyzzy\nAlthough Johann's Ticket remained unfinished at the time of Avery Jones's untimely death from tuberculosis in 1933, it has long been one of his most popular works, and has been translated into at least five languages since its first publication in 1945.\n\nIV. Afterword\n\nI am Avery Jones, and I have died.\n\nThis thin strip of land runs east-west through the river Acheron.\n\nA small girl approaches. I think she must be Sophie, a character in the book I've been writing. Perhaps these are the fevered imaginings of a dying brain. But then I look more closely and realize that I am looking into my sister's face. Oh, Lucy! And that boy trailing behind her, that is just the child I once was.\n\nA man stumbles into view from the depths of the night. He peers for a moment into Sophie's face, saying \"FIDDLESTICKS\"\n\nTo me, he says --"
    },
    {
        "text": "[Themes: Christmas, female protagonist]\n\nStupid Mom made you take your stupid little brother to town for stupid Christmas shopping in the freezing cold. And now you have to cross this stupid freezing-cold creek in a stupid boat to get back home.\n\nStupid Creek. Stupid Christmas.\nA Christmas puzzle by Troy Jones III\n\nIt's starting to snow, but the ground is too warm for it to stick.\n\nThe stupid rowboat sits here on the shore.\n\nTim plays his stupid video game thingy, seemingly completely oblivious to everything.\n\n[Author's Note: Stupid Mom made you take your stupid little brother to town for stupid Christmas shopping in the freezing cold. And now you have to cross this stupid freezing-cold creek in a stupid boat to get back home.]\n\n> You look at Tim\nMom says you and Tim are \"Irish twins\" since you were born less than a year apart. You call him your evil twin since he's ALWAYS trying to get you in trouble. Some of the kids at school call him \"Tiny Tim\", which is from a movie or whatever. He's wearing a black shirt that says \"I killed my father and all I got was this lousy t-shirt\", and he also has on a dark gray winter jacket, faded black jeans, black sneakers, and a knit cap with a black and purple zigzag pattern. (Nothing says dark edgy goth dude like a black-and-purple knit cap). His stupid pimply nose is in his stupid video game player thing as usual. Also as usual, he smells like stupid Axe body-spray.\n\n> About yourself\nYou're wearing a long chartreuse sweater, black wool leggings, adorable white fluffy earmuffs, white mittens, and a pair of uggs. You hate how stupidly pale you look in the winter-- if Mom weren't so cruel and hearltess, she'd bring you with her to the spa and let you spend some quality time in a tanning bed. In your mittens you're carrying a copy of Doom III and some fake designer Italian shoes.\n\n> You look at the boat\nA stupid-looking boat with stupid oars to make it go.\n\n> You enter the boat\nYou know from experience that trying to get in the boat while holding something is a bad idea. You don't want to risk falling into the creek.\n\n> You drop all\ncopy of Doom III: You toss the stupid copy of Doom III on the ground. fake designer Italian shoes: You hurl them to the ground.\n\n> You look at the earmuffs\nThey're cute AND they keep you warm.\n\n> You remove them\nIt's a chilly December day. Getting undressed now would be stupid.\n\n> You enter the boat\nTim waits just long enough to make you think he ignored you. But just as you start to open your mouth to repeat the order (with a few choice insults added), he starts to slowly drag his feet toward the boat, not taking his eyes off the stupid video game thing in his hand. And then finally stupid Tiny Tim gets into the stupid rowboat."
    },
    {
        "text": "[Themes: Christmas]\n\n> You look around\nIt's snowing, but the ground is too warm for it to stick.\n\nThe stupid rowboat sits here stupidly with your stupid little brother in it, playing his stupid handheld video game thingy.\n\nYou can also see some fake designer Italian shoes and a copy of Doom III here.\n\n> You get the shoes\nShaking your head at the ridiculousness of this whole situation, you snatch up the stupid fake designer Italian shoes.\n\n> You put the shoes in the boat\nYou impatiently stuff the stupid fake designer Italian shoes into the stupid boat.\n\n> You examine the boat\nA stupid-looking boat with stupid oars to make it go. The stupid fake designer Italian shoes are in the bottom of the stupid boat.\n\n> You wear the shoes\n(first taking the fake designer Italian shoes)\nPatience nearly gone, you grab the stupid fake designer Italian shoes.\n\nThey're not the right size for you; Mom has big clumsy feet. Besides that, you wouldn't be caught dead in these stupid things.\n\n> Cross Creek\nTiny Tim has better things to do.\n\n> You ask Tim,  to go east\nHe just goes on playing that stupid game like he didn't even hear you. Honestly, he makes you want to throw things at him sometimes.\n\n> You throw the shoes at Tim\nGood plan. The fake designer Italian shoes sail gracefully through the air after leaving your mittened hand and bounce off Tim's shoulder. \"Ow! Hey! Knock it off, Triniti!\" he whines.\n\n> You enter the boat\nYou get into the stupid rowboat.\n\nTim plays his stupid video game thingy. It makes stupid bleep-bloop-bloop noises."
    },
    {
        "text": "> Look around\nStupid West Bank (in the stupid rowboat)\nYou've made it to this side. Now to get everything else across.\n\nTim plays his stupid video game thingy.\n\n> You get out\nTiny Tim gets out of the stupid rowboat."
    },
    {
        "text": "[Themes: female protagonist]\n\n> Look around\nStupid West Bank (in the stupid rowboat)\nYou've made it to this side. Now to get everything else across.\n\nTim plays his stupid video game thingy.\n\n\"Don't you ever get tired of that stupid thing?\" you ask.\n\n\"Shut up,\" he replies.\n\n> You go west\nThis is no time to go wandering off. Mom expects you to get these presents and your stupid brother home!\n\n> Row boat\nYou row the boat across to the other shore, grumbling to yourself the whole way about this stupid freezing cold weather.\n\n> You get the game\nLeaning out of the boat to try and reach something on the shore might tip the boat over. Mom says she'll kill you if you ruin the presents or drown in the creek-- better not risk it.\n\n> You get out\nYou get out of the stupid rowboat.\n\nIt's snowing, but the ground is too warm for it to stick.\n\nThe stupid rowboat sits here stupidly.\n\nYou can also see some fake designer Italian shoes and a copy of Doom III here.\n\n> You put the shoes in the boat\n(first taking the fake designer Italian shoes)\n\nSighing, you snag the stupid fake designer Italian shoes.\n\nYou hastily toss the stupid fake designer Italian shoes into the stupid boat.\n\n> You put the game in the boat\n(first taking the copy of Doom III)\n\n> You get the game\nPatience nearly gone, you seize the stupid copy of Doom III.\n\nYou sigh and stuff the stupid copy of Doom III into the stupid boat.\n\nSilently fuming, you snag the stupid copy of Doom III.\n\n> You enter the boat\nYou know from experience that trying to get in the boat while holding something is a bad idea. You don't want to risk falling into the creek.\n\n> You put the game in the boat\nYou unceremoniously throw the stupid copy of Doom III into the stupid boat.\n\n> Row boat\nSighing heavily, you grab the stupid copy of Doom III.\n\nYou ditch the copy of Doom III.\n\nYou get into the stupid rowboat.\n\nIn the stupid rowboat you can see some fake designer Italian shoes.\n\nYou row the boat across to the other shore, griping to yourself the whole way about how ridiculously unfair life is.\n\n> You get the game\n\"Hey, quit it! I'm fighting a boss!\"\n\nYou decide now is not the best time to pick this particular fight so you let him keep it."
    },
    {
        "text": "[Themes: Christmas]\n\n> Look around\nYou've made it to this side. Now to get everything else across.\n\nThe stupid rowboat sits here stupidly.\n\nTim plays his stupid video game thingy.\n\nYou can also see some fake designer Italian shoes here.\n\n> You get in the boat\nStill dragging his feet, Tim slowly starts toward the boat again. You're pretty sure he wants to get home as much as you do-- he's only being difficult to annoy you. Finally stupid Tiny Tim gets into the stupid rowboat.\n\n> You enter the boat\nYou get into the stupid rowboat.\n\nTim plays his stupid video game thingy, seemingly completely oblivious to everything.\n\n> Row\n(the stupid rowboat)\nYou row the boat across to the other shore, grousing to yourself the whole way about how much your life really and truly sucks.\n\n> You get out\nTiny Tim gets out of the stupid rowboat.\n\n> You leave\nYou get out of the stupid rowboat.\n\nIt's snowing, but the ground is too warm for it to stick.\n\nTim plays his stupid video game thingy. It makes stupid bleep-bloop-bloop noises.\n\nThe stupid rowboat sits here stupidly.\n\nYou can also see a copy of Doom III here.\n\n> You put the Doom in the boat\n(first taking the copy of Doom III)\n\nSighing heavily, you snag the stupid copy of Doom III.\n\nYou chuck the stupid copy of Doom III into the stupid boat.\n\n> Row\n(the stupid rowboat)\nYou row the boat across to the other shore, griping to yourself the whole way about how much you hate, hate, hate stupid Christmas.\n\n> Row\nYou get out of the stupid rowboat.\n\nYou've made it to this side. Now to get everything else across.\n\nThe stupid rowboat sits here stupidly. The stupid copy of Doom III is in the bottom of the stupid boat.\n\nYou can also see some fake designer Italian shoes here.\n\nPatience nearly gone, you grab the stupid copy of Doom III.\n\nYou ditch the copy of Doom III.\n\nYou get into the stupid rowboat.\n\n(the stupid rowboat)\nYou row the boat across to the other shore, grumbling to yourself the whole way about how much your life really and truly sucks.\n\n> You enter the boat\nStill dragging his feet, Tim slowly starts toward the boat again. You're pretty sure he wants to get home as much as you do-- he's only being difficult to annoy you. Finally stupid Tiny Tim gets into the stupid rowboat.\n\n> You examine the boat\nA stupid-looking boat with stupid oars to make it go with your stupid little brother in it, playing his stupid handheld video game thingy.\n\n> Row\n(the stupid rowboat)\nYou row the boat across to the other shore, grousing to yourself the whole way about how ridiculously unfair life is.\n\nYou row the boat ashore. Somehow, at long last, by some miracle, you managed to get the stupid presents and your stupid brother across the creek in one piece. If anyone's going to ruin Christmas this year it won't be you.\n\nWhen Christmas morning does eventually roll around, you roll your eyes as your younger siblings and cousins tear eagerly into their presents. You are so over this. But when it comes time for you to open your present, you are surprised and delighted to find..."
    },
    {
        "text": "[Themes: Christmas]\n\n> Sing\nYou sing a few lines from the latest Justin Bieber hit, since he's simply the greatest talent who's ever lived. Ever.\n\nTim makes disgusted choking sounds.\n\n> Dance\nYou bust out some fly moves you saw in the latest Justin Bieber video. You heart Justin! Sometimes you feel as though he's the only light in this stupid world.\n\nTim turns his back to avoid seeing you in his peripheral vision.\n\n> Pray\nYou close your eyes and bow your head. \"Dear Lord, please help me to not ruin Christmas again this year. Please. In Jesus' name, amen,\" you pray.\n\nTim looks up from his video game. \"Really? Seriously? That just happened,\" he says sarcastically.\n\n\"You shut up!\" you snap.\n\n> You hit Tim\nBetter not. Mom says if you bring him home with a black eye again, you'll be grounded literally forever.\n\n> Lightning bolt\n(Tiny Tim)\nYou pull off a mitten and rub your sweater vigorously, building up a good static charge. Then when he least suspects it, you reach out and touch Tim on the neck. Bzzt!\n\n\"LIGHTNING BOLT!\" you call.\n\nHe flinches away. \"Ow! Quit it, Triniti! You almost made me die!\" He resumes playing his video game while you snicker.\n\n> Kiss tim\nUgh. How about NO.\n\n> Grass\nLots of dead grass. Who cares.\n\n> You throw shoes at Tim\nGood plan. The fake designer Italian shoes soar gracefully through the air after leaving your mittened hand and bounce off Tim's forearm. \"Ow! Hey! Knock it off, Triniti!\" he whines.\n\n> You throw the Doom at Tim\nGood plan. The copy of Doom III sails majestically through the air after leaving your mittened hand and bounces off Tim's forearm. \"Ow! Hey! Quit it, Triniti!\" he whines.\n\n> About yourself\nYou're wearing a long chartreuse sweater, black wool leggings, adorable white fluffy earmuffs, white mittens, and a pair of uggs. You hate how stupidly pale you look in the winter-- if Mom weren't so cruel and hearltess, she'd bring you with her to the spa and let you spend some quality time in a tanning bed.\n\n> You enter Creek\nIt's just the stupid creek.\n\n> You give the game to Tim\n(the copy of Doom III to Tiny Tim)\n(first taking the copy of Doom III)\nSighing, you snatch up the stupid copy of Doom III.\n\nTim can't be trusted with the presents. He's EVIL.\n\n> You look at the Doom\nSome stupid video game or some junk. Your stupid older brother wants it for Christmas.\n\n> You wear the shoes\n(Tiny Tim first taking the fake designer Italian shoes)\n\"Get the stupid thing yourself. Can't you see I'm busy?\" he says.\n\nYou growl wordlessly under your breath."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\nListen now, and hear this tale - a tale from the ancient days of Tode, a scant thirty-five years after the ascension of the Second Valley King, a day when Unnkul was in retreat but the Valley had lost the ways of Duhdha. Yea, hear this tale and listen well, for the lessons contained herein are ageless -\n\n\"Aaarrrgggghh!!!\"\n\ncavern, waking you from a deep sleep. You yawn and stretch, rising from your hard bunk in the Warrior's Barracks, and strap on your sword. It's going to be one of those days. What horrible Unnkulian menace will His Majesty send you out to fight today? You sigh; no use putting it off. You stride down the passageway to the Great Hall, boots clattering on the stones.\n\nYour master has never looked worse. He hasn't shaved, and he's\nalready been into the wine this morning; an empty bottle of Chateau Unnkulia stands at his elbow. He's bent over the massive oak table, sobbing, carving something in the seasoned wood. He stares at you through bleary eyes. \"Praise be!\" he cries. \"It's you, my most trusted warrior! You'll find her!\" He leaps to his feet and, grasping your arm, leads you down the hallway.\n\n\"Find who, Your Magnimosity?\" you ask politely.\n\n\"The Lady Amanda, fool!\" the King mutters. \"She's vanished! She\nwas last seen rowing on the lake; if the Unnkulians have stolen her - \" The King swallows, wiping tears from his eyes. He reaches up and unlocks an iron grate in the ceiling of the tunnel.\n\nYou gasp. The Lady Amanda! The King's betrothed! Her tinkling\nlaugh made the dead caverns come alive, and she is beloved of all the King's subjects! If she's vanished -\n\nYou shudder, not wanting to finish the thought. Without the fair Amanda's influence, your master will not have the strength to go on - the strength to ward off the Unnkulian menace. She must be found!\n\nThe King slips something into your hand. \"Take this,\" he whispers.\n\"My seal shall protect you. Go with haste! I cannot bear to lose my lady!\"\n\nYou grasp your liege lord's shoulder. \"Fear not, sire,\" you\nwhisper. \"She shall be found.\" You climb up out of the grate and blink in the bright sunshine. Behind you, the grate slams shut. You flex, muscles ripping beneath your shirt. It is a good day for a quest - and it may involve killing Unnkulians!\n\nUnnkulia Zero: The Search for Amanda\n\nCopyright (C) 1993, 1996 D. A. Leary\nAll rights reserved.\n\nDifficulty Rating: Dam Tuff (7 out of 10)\n\n***\n\nThis game is free. We encourage you to distribute it, but you may\nnot charge any money for it beyond the cost of the media it is stored on.\n\nADVENTIONS no longer supports this product. Please do not contact\n\n***\n\nRead footnotes [1]  with the note command; e.g., type \"note 1.\"\n\n***\n\nYou are standing in a peaceful glade in the Forest of Radeekal. The fall colors are glorious this time of year; the trees are ablaze with red, orange, and yellow.\n\nYou blink in the bright sunlight; it's been over a year since you\nlast left the underground realm of His Majesticalness. It's good to be outside and breathe fresh air again.\n\nThrough the trees, you catch glimpses of cheerful woodland\ncreatures, frolicking and gathering nuts and berries for the coming winter. If only you could stay here forever - but there's much to be done. Set in the forest floor is the iron grate leading back down to the realm of the Valley King. It's closed and locked. [2]  A well-traveled path leads southwest, and a narrower track, nearly overgrown, leads due south.\n\n[Author's Note: Will you, the Valley King's most trusted warrior, rescue his Lady Amanda from the gruesome clutches of the evil Unnkulians? Along the way to victory (or, <shudder>, defeat!), you will:o Find out about the ancient days of the Valley, o Meet the King's faithful (but not so bright) Valley Patrol, o Explore *beautiful* Lake Draounheer, o Discover the ancient burial ground of your ancestors, o Become frustrated with the pesky Stoll and his Stoll Bridge, and, of course, o Meet that wondrously wacky Wowsa Willy!]"
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> Note 1\n[1]: Footnote markers are numbers enclosed in square brackets.\n\n> Note 2\n[2]: This is, as you might have guessed, the entrance to \"Unnkulian Underworld: The Unknown Unventure.\" You can't get there from here!\n\n> About yourself\nYou're a hulking Valley Warrior, one of the fittest of the Valley King's soldiers.\n\n> You look at the ring\nThe bronze ring is set with the seal of His Magnimosity, the Valley King. It will provide good passage through the Forest of Radeekal, and it probably carries some weight even in other lands.\n\n> You examine the sword\nYour sword is your trusted friend. It's seen you through many a battle, and has the nicks and scars to prove it. Still, you keep it sharpened and polished. [3]\n\n> Note 3\n[3]: You thank the Gods daily that it's not an Acme Soopur-Slysur Whepun.\n\n> You examine the trees\nThe fall colors are coming to the Forest of Radeekal, and the woods are bathed in shimmering yellows and reds. It's a gorgeous sight, but warriors such as yourself should remain unmoved by beauty. The trees are mostly oak and birch, with a few ash and elm thrown in for good measure, but you can't tell them apart - you're a warrior, not a botanist. Through the trees, you sometimes catch glimpses of woodland creatures, too far off to determine just which adorable snugglies - er, potential dinners - they are.\n\n> You examine the creatures\nWhen you approach the chattering forest creatures, they scamper away before you can get a close look. You probably wouldn't recognize them anyway; you're a warrior, not a zoologist.\n\n> You examine the grate\nIt's set in the forest floor. It's closed and locked. Below is only darkness.\n\n> Go south\nYou're walking on a winding path that wends its way through a particularly thick part of the forest. The trees bend low overhead, and the sunlight filtering down through the colorful leaves is dim at best. The path runs north and east. To the south is a mound of moss-covered rocks and what looks like the entrance to a small grotto or cave.\n\n> You examine the mound\nThe great, jumbled mound of rocks is quite imposing. There's a dark opening near the bottom, directly to the south.\n\n> You go to the south\nYou're standing in a mossy cave carved from the living rock. A wide exit leads back out into the sun-dappled forest to the north. The floor and walls are solid rock, covered with lichens and fungi. It's quite peaceful here.\n\nYou see a spray can here.\n\n> Examine can\nTiny lettering on the side of the can reads:\n\n\"Acme Dam Phowl Snayk Rheepehlant. Guaranteed results! Shake\nbefore using. To use, spray target with repellant. In case of failure, send proof of purchase to ACME Inc., c/o The Golden Dragon Inn, Radeekal Forest, Unnkulia.\"\n\n> You get the repellant\nTaken.\n\n> You examine the lichen\nIt's quite soft, but rather yucky.\n\n> You get the lichen\nWhy would you want it?\n\n> You eat the lichen\nYou chomp on a big fistful of yucky mosses. Like most Unnkulian fungi, it's deadly poison. Urk!\n\n> You go to the east\nThe path ends in a small, dark clearing. The tree branches hang overhead, the thick canopy of leaves blocking almost all the light.\nThe ground here is muddy and soft; your feet sink in a few inches. A granite shrine stands in the very center of the clearing. Curled around the base of the shrine is a large spotted snake, a huge monster at least twelve feet long. Leaning up against the shrine is a wooden oar. The snake is wrapped around it protectively. The only path leads back to the west.\n\n> You examine the Snake\nThe snake is beautifully marked, an alternating pattern of red, gold, and black diamonds. Inch-long fangs suggest it's probably poisonous. Written in tiny letters on its back are the words \"Valley Death-Snake (TM). Hours of killing for the entire family.\" I guess it's one of the Valley King's guardians. It's curled around the oar, and I doubt it would let go.\n\n> You examine the oar\nThe snake is wrapped around it protectively.\n\n> You examine the shrine\nIt's a shrine dedicated to some long-forgotten prophet - Duhdha by name. No one's worshipped here for years. The shrine's a simple, modest granite pillar. You don't really know its significance - you're a warrior, not a priest. Tangled vines hang over the shrine, and weeds have sprung up around the bottom of the pillar. [4]\n\n> Note 4\n[4]: In the VK2 era, Duhdism is on the decline in the Valley. By VK3 (the time of UU1), Duhdism again will be the religion of Tode.\n\n> Shake can\nYou shake the can vigorously. Suddenly, the can starts to hiss ominously - and then, without warning, it explodes, sending metal shards flying everywhere. Amazingly, you are unharmed - but the can has disintegrated!\n\n> You spray the Snake\nWhat do you want to spray it with?\n\n> Repellant\nYou point the can at the monster and fire. A cloud of sickly green mist surrounds the snake, but the creature seems completely unaffected. In fact, it takes a deep breath - I think it actually likes the stuff!\n\n> You spray yourself with the repellant\nCOUGH! I wouldn't do that again; that stuff is poisonous.\n\n> You throw the repellant at Snake\nYou miss.\n\n> You get the oar\nYou grab for the oar. The snake eyes you suspiciously, but doesn't lash out. For a moment, you think you're going to get away with it - and then, a few coils loop around your hand. You cry out as your wrist snaps, crushed in the tightening grasp of the snake. You pass out, and the snake feeds -\n\n> Attack snake\nWhat do you want to attack it with?\n\n> Sword\nButchering the King's pet snake would get you in trouble. Better try something else.\n\n> You look at the seal\nThe bronze ring is set with the seal of His Magnimosity, the Valley King. It will provide good passage through the Forest of Radeekal, and it probably carries some weight even in other lands.\n\n> You show the seal to the Snake\nThe snake regards the ring silently. It seems a bit puzzled. I think it recognizes the King's seal, but it doesn't understand why you're showing the ring to it.\n\n> You get the oar\nYou grab for the oar. The snake eyes you suspiciously, but doesn't lash out. For a moment, you think you're going to get away with it - and then, a few coils loop around your hand. You cry out as your wrist snaps, crushed in the tightening grasp of the snake. You pass out, and the snake feeds -\n\n> You give the oar to you\nYou have lost your mind.\n\n> You take the oar\nAs you reach for the oar, the snake spots the ring on your finger. Since it's a loyal servant of the Valley King, it lets you have the paddle - though it still eyes you balefully."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Look around\nThe path ends in a small, dark clearing. The tree branches hang overhead, the thick canopy of leaves blocking almost all the light.\nThe ground here is muddy and soft; your feet sink in a few inches. A granite shrine stands in the very center of the clearing. Curled around the base of the shrine is a large spotted snake, a huge monster at least twelve feet long. The only path leads back to the west.\n\n> You go west\nYou're walking on a winding path that wends its way through a particularly thick part of the forest. The trees bend low overhead, and the sunlight filtering down through the colorful leaves is dim at best. The path runs north and east. To the south is a mound of moss-covered rocks and what looks like the entrance to a small grotto or cave.\n\n> Go north\nYou are standing in a peaceful glade in the Forest of Radeekal. The fall colors are glorious this time of year; the trees are ablaze with red, orange, and yellow.\n\nThrough the trees, you catch glimpses of cheerful woodland\ncreatures, frolicking and gathering nuts and berries for the coming winter. If only you could stay here forever - but there's much to be done. Set in the forest floor is the iron grate leading back down to the realm of the Valley King. It's closed and locked. [2]  A well-traveled path leads southwest, and a narrower track, nearly overgrown, leads due south.\n\n> You go to the south-west\nYou're standing outside the Valley King's forest retreat. It's a simple hut where His Regalness sheds the trappings of modern civilization and gets back to nature. You don't entirely understand his thinking; you're a warrior, not a philosopher. But he is, after all, the king. Paths wind through the woods to the north, west, and northeast. The hut is to the south. Through the trees to the west, you can see sunlight glinting off the waters of Lake Draounheer.\n\n> You look at the hut\nthatch. For the life of you, you can't imagine why the Valley King would leave his comfortable underground tunnels for this dump. You've never been allowed inside before - but His Pomposity *did* say you had the run of the kingdom -\n\n> Go south\nYou're standing inside the Valley King's forest retreat. It's a\nsimple hut, bare of furnishings, even more humble on the inside than on the out. The only exit is to the north, back out to the forest. There's a chalkboard against the back wall.\n\nYou see a pair of erasers here.\n\n> You look at the chalkboard\nAn image of the fair Lady Amanda is drawn on the chalkboard. Written underneath is the phrase \"Kuul or Unnkul?\" with several lines scratched through it. Underneath that is a single word - \"Hawt.\"\n\n> You look at erasers\nThey're quite chalky. They could use a good clapping.\n\n> You clap them\npair of erasers: <COUGH!> A huge cloud of chalk dust fills the air.\n\n> You examine them\npair of erasers: They're quite chalky. They could use a good clapping.\n\n> You get them\npair of erasers: Taken.\n\n> You go to the north\nYou're standing outside the Valley King's forest retreat. It's a simple hut where His Regalness sheds the trappings of modern civilization and gets back to nature. You don't entirely understand his thinking; you're a warrior, not a philosopher. But he is, after all, the king. Paths wind through the woods to the north, west, and northeast. The hut is to the south. Through the trees to the west, you can see sunlight glinting off the waters of Lake Draounheer.\n\n> Go north\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here. Its berries are plump and ripe, and they hang from the bush in bountiful clumps.\n\n> You look at the radberries\nNative to the forest of Radeekal, radberries are a delicacy in all of Unnkulia. There aren't many live bushes left these days, and the few there are are carefully cultivated. These particular berries are ripe and quite tasty-looking, hanging in clumps from the bush.\n\n> You get the berries\nYou reach for the succulent berries, mouth watering. Suddenly, the Valley Patrol appears, walking toward you from the south. They gasp as they see you picking berries. \"Whadya think yer doin', buddy?\" the burly leader says. \"Yer under arrest!\" The Patrol surrounds you, pointing their pikes at your soft, fleshy parts. You protest, claiming that you're the Valley King's servant - but it's too late for that now. The guards pummel you into unconsciousness and dump you in the lake. Mercifully, you drown before the King learns of your incredible stupidity.\n\n> You climb the trees\nThere's one especially large oak. Gritting your teeth, you pull yourself up through its branches and find yourself -\n\nYou're seated on the branch of an old oak tree. You don't dare\nclimb any higher; the wind's picking up, and you're afraid of heights as it is. Below you, the forest floor appears to be quite hard. Your stomach is feeling a bit queasy, and you're having trouble keeping your balance. With effort, you pry your eyelids open and look around you. To the west, through the branches, you can see the sandy beaches of Lake Draounheer. To the northeast, you catch a glimpse of what appears to be a wooden roof. Further along the branch is an unfinished bird's nest. The only way out of here is (gulp) back down.\n\n> You look at the Lake\nThe beaches of Lake Draounheer look quite inviting. The waters are sparkling and crystal-clear.\n\n> You examine the nest\nThe bird's nest is unfinished, but what's been done so far has been done with loving care. It'll make a fine home for some feathered beast when complete. There's nothing in the bird's nest. A sudden attack of vertigo grabs your guts, and you plummet to the ground. Thankfully, you land on your head, so your death is quick and relatively painless.\n\n> You look at the beaches\nThe beaches of Lake Draounheer look quite inviting. The waters are sparkling and crystal-clear. A sudden attack of vertigo grabs your guts, and you plummet to the ground. Thankfully, you land on your head, so your death is quick and relatively painless.\n\n> You go to the northeast\nYou're just outside a quaint wooden building nestled deep in the forest. The road runs north and southwest here - the forest is much too thick to travel in any other direction. The inn door stands open to the east. Sunshine glints from freshly-scrubbed window panes. A sign hangs above the door, waving gently in the breeze.\n\n> You examine the sign\nThe sign portrays a winged yellow serpent, coiled on a green field. Ornate lettering underneath reads \"The Golden Dragon Inn.\"\n\n> Examine can\nTiny lettering on the side of the can reads:\n\n\"Acme Dam Phowl Snayk Rheepehlant. Guaranteed results! Shake\nbefore using. To use, spray target with repellant. In case of failure, send proof of purchase to ACME Inc., c/o The Golden Dragon Inn, Radeekal Forest, Unnkulia.\"\n\n> Go east\nYou're standing in the main room of the Golden Dragon Inn. The room\nis warm and welcoming after the brisk fall breezes, though the place is mostly deserted. The barkeep is nowhere to be found, and there's no one seated at the bar. Still, the floor, bar, and tables look clean, and it's good to get out of the cold. The exit is to the west, and a narrow passage runs northeast.\n\nA wine bottle and a soft pretzel are sitting on the bar.\n\nThe only customer is a glum little man sitting alone at a table. He looks like one of those damned Acme salesmen the King's been trying to throw out of the Valley. [5]\n\n> Examine salesman\nThe salesman is dressed in a mauve jacket, orange shirt, purple tie, and green pants. He's drinking a beer and muttering to himself. He looks quite depressed.\n\n> You show can to the salesman\nThe salesman turns white. \"You're not returning it, are you?\" He grabs the can, points the nozzle at his face, and sprays. \"*Cough!* Seems to work okay. Surely you don't - \" He breaks off, seeing the look on your face. \"You do, don't you? You want your money back.\" Suddenly, the salesman's face lights up. \"Ah! But I can't give you your money without a receipt! Do you have one?\"\n\n> Note 5\n[5]: For more about this clown, see \"Unnkulia One-Half: The Salesman Triumphant\" (freeware!)\n\n> You examine bottle\nIt's Valley Bordeaux 569 - a very good year. It's unopened; the cork's still fitted into the neck.\n\n> You examine pretzel\nIt's one of those big, soft pretzels the Golden Dragon is so famous for. They're really tasty, and they last practically forever. It would be a meal in itself.\n\n> You look at the bar\nThe bar is made from mahogany, and is clean and polished. On the bar you see a wine bottle and a soft pretzel.\n\n> You get all\nwine bottle: Taken.\nsoft pretzel: Taken.\n\n> You ask Salesman about Acme\nThe salesman shrugs. \"I dunno. Get lost, chucko.\"\n\n> You ask Salesman about the repellant\nThe salesman's face twists into a half-hearted grin. \"Uh, yeah. One of our best products.\"\n\n> You show the ring to Salesman\nThe ACME salesman ignores your offer. \"Go away,\" he mutters."
    },
    {
        "text": "> You look around\nYou're standing in the main room of the Golden Dragon Inn. The room\nis warm and welcoming after the brisk fall breezes, though the place is mostly deserted. The barkeep is nowhere to be found, and there's no one seated at the bar. Still, the floor, bar, and tables look clean, and it's good to get out of the cold. The exit is to the west, and a narrow passage runs northeast.\n\nThe only customer is a glum little man sitting alone at a table. He looks like one of those damned Acme salesmen the King's been trying to throw out of the Valley. [5]\n\n> You look behind the bar\nYou find a valmid, which you take.\n\n> You look at the valmid\nThe bronze coin is a valmid, an image of the current monarch on one side and the Hall of the Valley King on the other. It's quite solid currency, good for trade in Unnkulia and beyond.\n\n> You go northeast\nInn, Back Room\n\nThe back room of the inn is bare of furnishings; not even a simple bucket is to be found. The floor creaks underfoot, and the innkeeper is nowhere to be seen. The only exit is southwest, back to the main room of the inn.\n\nYou see a small leather pouch here.\n\n> You look at the floor\nA few of the boards are loose. You might be able to pull them.\n\n> You pull the boards\nThe floorboards were indeed loose; you pull a few of them up, revealing a dark hole below the inn! Suddenly, with an explosion of light and sound, a scruffy-looking bearded man appears. He's quite short, wears rumpled clothing and a Baltimore Skipjacks cap. and is carrying a criminal law casebook. \"Hey!\" he shouts, waggling a finger at you and replacing the boards. \"Cut that out! That underworld's reserved for people playing 'Unnkulia One-Half!' Go find your own!\" With another loud explosion, the strange little man vanishes.\n\n> You get it\nTaken.\n\n> You put the valmid in the pouch\nDone.\n\n> Go west\nYou're just outside a quaint wooden building nestled deep in the forest. The road runs north and southwest here - the forest is much too thick to travel in any other direction. The inn door stands open to the east. Sunshine glints from freshly-scrubbed window panes. A sign hangs above the door, waving gently in the breeze.\n\n> You go north\nthe Valley King and the great cities of the North. The trees are starting to thin out, and the path is clear and well-traveled. Still, the underbrush to either side is quite thick; I'd stay on the north-south road if I were you. Through the trees to the south, you can just make out the Golden Dragon Inn.\n\n> You examine underbrush\nIt looks like an ordinary underbrush to me.\n\n> You go to the north\nYou begin the long trek toward the great cities of the north.\nSuddenly, Bruce Davis jumps out from behind a tree. \"BRAAAAAAGGHHH!\" he shouts. \"You can't go this way, stupid! Unnkulian Unventure Four isn't written yet! In fact, I don't think Nebel's gotten around to finishing UU3!\" He grabs your head and gives you a good noogie.\n\"Trust me! Amanda's not this way! BRAAAGGHH!\" He punches you on the arm before vanishing back into the woods. [6]\n\n> Note 6\n[6]: Actually, as of this writing (3/92) Unnkulia 3 hasn't been started yet! Let's all join in for a chorus of \"Nebel's A-Playin' Too Much Klondike and Not Getting Any Work Done!\"\n\n> You go west\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job. \"Who're you?\" one of them grunts, squinting suspiciously.\n\nThe leader of the Valley Patrol gives you a shove. \"What's yer\nbidness here, chum?\"\n\n> You show the ring to the thugs\n\"Oooh!\" the Patrol says with one voice. All eyes are fastened on your ring. \"Sorry, chum,\" the leader says, patting you on the back.\n\"Didn't know you had the Big Guy's seal. Go on wit' what you wuz doing.\"\n\nsoftest patch of grass for his nap.\n\n> You examine the thugs\nThe Valley Patrol is made up of thugs who couldn't cut it as Valley Warriors. The King lets them patrol the forest, and hopes they won't do too much harm. They're quite stupid-looking (even more so than you) and you're almost certain that their foreheads slope a bit more than normal. They're dressed in the green-and-white livery of His Holymutha, the Valley King, and wielding nasty-looking pikes. The leader of the Valley Patrol waves at you. \"Hiya!\" he says, grinning. He's missing some - well, actually, *all* of his front teeth.\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> Note 7\n[7]: You've had this fear of heights since you were a child, and spent most of your life fighting it. The Demons of Unnkul are nothing compared to the demons in your soul.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\nA sudden attack of vertigo makes you dizzy. Your stomach churns and your legs wobble. Spots roll in front of your eyes and you pitch forward, over the cliff. Thankfully, the water below breaks your fall. Sadly, you don't know how to swim (glug, glug).\n\n> You go northeast\nYou're standing on the highest plateau on this side of the lake.\nBelow, to the south, the forest stretches out, a vast expanse of impenetrable green foliage. To the southwest and west, you can see the waters of Lake Draounheer, sparkling in the bright sunshine, while across the lake are the snow-capped peaks of the Beegas'hell mountains. North of the lake is the vast unknown reaches of the Damsogee Swamp, unexplored by mortal man and said to be home to ferocious beasts and fearsome monsters. To the north stands a newly-built lighthouse, the latest public work ordered by the Valley King, its stone walls impressive and firm. The entrance to the lighthouse stands open to the north. The only other safe path down from the plateau leads back toward the cliff to the southwest.\n\n> You examine the lighthouse\nThe lighthouse is a masterpiece of Valley engineering. It's quite magnificent. [8]\n\n> Note 8\n[8]: It's also a crumbling ruin by the time of \"Unnkulian Underworld.\"\n\n> You examine Swamp\nYep, it's a heckuva view all right. Maybe you can get there someday.\n\n> You go to the north\nYou're standing on the bottom floor of the newly-constructed\nlighthouse of the Valley King. Not being one to waste building-space, His Grandiosity has turned this lower floor into the mint for valmids, the coin of the realm. A huge coin press occupies the center of the room. Since the workers work at night, minding both the press and the lighthouse, there's no one here right now. A stone staircase leads up, winding around the outside of the lighthouse to the top floor. The only other exit is south, back out of the lighthouse.\n\n> You look at the press\nThe coin press consists of a lever, a stamp, and a rectangular depression. The press is shiny and new.\n\n> You look at the stamp\nThe stamp is suspended above the depression, attached to the lever. It's printed with the image of His Stupendosity, the Valley King.\n\n> You examine depression\nThe rectangular depression is about three feet by two feet. There's nothing in the depression.\n\n> You examine the lever\nThe lever appears to be locked in the up position. There's a keyhole near the bottom of the lever. Without the appropriate key, I don't think you're going to be able to pull it down.\n\n> You go upward\nYou're standing on the top floor of the lighthouse. A brisk fall breeze whips up from below, chilling you to the bone. From here, there's quite a view. Southward, the forest stretches out before you, a bright blaze of colors. Across the lake, to the west, are the sinister Beegas'hell Mountains. To the north and west, you can just make out the mist-covered Damsogee Swamp, a sinister, uncharted land. The lighthouse lamp sits in the center of the round floor, on top of a brick base. It's currently off. The only exit is back down.\n\nYou see a spade and a trowel here.\n\n> You get all\nspade: Taken.\ntrowel: Taken."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You go downwards\nYou're standing on the bottom floor of the newly-constructed\nlighthouse of the Valley King. Not being one to waste building-space, His Grandiosity has turned this lower floor into the mint for valmids, the coin of the realm. A huge coin press occupies the center of the room. Since the workers work at night, minding both the press and the lighthouse, there's no one here right now. A stone staircase leads up, winding around the outside of the lighthouse to the top floor. The only other exit is south, back out of the lighthouse.\n\n> You examine spade\nIt's a short-handled iron spade, handy for digging.\n\n> You examine trowel\nOne of the workmen must have left it behind.\n\n> Go south\nYou're standing on the highest plateau on this side of the lake.\nBelow, to the south, the forest stretches out, a vast expanse of impenetrable green foliage. To the southwest and west, you can see the waters of Lake Draounheer, sparkling in the bright sunshine, while across the lake are the snow-capped peaks of the Beegas'hell mountains. North of the lake is the vast unknown reaches of the Damsogee Swamp, unexplored by mortal man and said to be home to ferocious beasts and fearsome monsters. To the north stands a newly-built lighthouse, the latest public work ordered by the Valley King, its stone walls impressive and firm. The entrance to the lighthouse stands open to the north. The only other safe path down from the plateau leads back toward the cliff to the southwest.\n\n> You go southwest\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [7]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe Valley Patrol leader grins at you. He's missing at least four front teeth. \"Hiya, chum.\"\n\n> You get berries\nYou pluck the berries from the bush. Soon, the bush is stripped clean, and you've got a nice little handful of berries. I wouldn't let the King catch you with them if I were you -\n\n> You put the berries in the pouch\nYou can't fit that in the small leather pouch.\n\nThe Valley Patrol marches up from the south.\n\n> You go west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [7]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe Valley Patrol walks up from the east.\n\n> You go south\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nThe Valley Patrol ambles down from the north.\n\n> You examine Patrol\nThe Valley Patrol is made up of thugs who couldn't cut it as Valley Warriors. The King lets them patrol the forest, and hopes they won't do too much harm. They're quite stupid-looking (even more so than you) and you're almost certain that their foreheads slope a bit more than normal. They're dressed in the green-and-white livery of His Holymutha, the Valley King, and wielding nasty-looking pikes. The leader of the Valley Patrol waves at you. \"Hiya!\" he says, grinning. He's missing some - well, actually, *all* of his front teeth.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You ask Patrol about Amanda\nThe patrol collectively shrugs. \"Sorry. We're just a buncha grunts. We don't know nuthin' about that.\"\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You ask Patrol about the berries\nThe patrol collectively shrugs. \"Sorry. We're just a buncha grunts. We don't know nuthin' about that.\"\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> You ask Patrol about King\n\"The King? He's swell. As well you know.\"\n\nThe Valley Patrol leader grins at you. He's missing at least four front teeth. \"Hiya, chum.\"\n\n> You ask Patrol about the retreat\nThe patrol collectively shrugs. \"Sorry. We're just a buncha grunts. We don't know nuthin' about that.\"\n\nsoftest patch of grass for his nap."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Look around\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You go to the south-west\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a rowboat here.\n\n> You look at the boat\nThe rowboat is small but looks quite sturdy. The only thing wrong with it is a small round hole in the bottom.\n\n> You look at the valmid\nThe bronze coin is a valmid, an image of the current monarch on one side and the Hall of the Valley King on the other. It's quite solid currency, good for trade in Unnkulia and beyond.\n\n> You examine bottle\nIt's Valley Bordeaux 569 - a very good year. It's unopened; the cork's still fitted into the neck.\n\n> You go east\nYou're standing outside the Valley King's forest retreat. It's a simple hut where His Regalness sheds the trappings of modern civilization and gets back to nature. You don't entirely understand his thinking; you're a warrior, not a philosopher. But he is, after all, the king. Paths wind through the woods to the north, west, and northeast. The hut is to the south. Through the trees to the west, you can see sunlight glinting off the waters of Lake Draounheer.\n\nThe Valley Patrol marches up from the west.\n\n> You go north\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\nThe Valley Patrol marches up from the south.\n\n> Give the bottle to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> Go south\nYou're standing outside the Valley King's forest retreat. It's a simple hut where His Regalness sheds the trappings of modern civilization and gets back to nature. You don't entirely understand his thinking; you're a warrior, not a philosopher. But he is, after all, the king. Paths wind through the woods to the north, west, and northeast. The hut is to the south. Through the trees to the west, you can see sunlight glinting off the waters of Lake Draounheer.\n\n> Go northeast\nYou are standing in a peaceful glade in the Forest of Radeekal. The fall colors are glorious this time of year; the trees are ablaze with red, orange, and yellow.\n\nThrough the trees, you catch glimpses of cheerful woodland\ncreatures, frolicking and gathering nuts and berries for the coming winter. If only you could stay here forever - but there's much to be done. Set in the forest floor is the iron grate leading back down to the realm of the Valley King. It's closed and locked. [2]  A well-traveled path leads southwest, and a narrower track, nearly overgrown, leads due south.\n\n> Go south\nYou're walking on a winding path that wends its way through a particularly thick part of the forest. The trees bend low overhead, and the sunlight filtering down through the colorful leaves is dim at best. The path runs north and east. To the south is a mound of moss-covered rocks and what looks like the entrance to a small grotto or cave.\n\n> Break bottle\nYou break the bottle over your knee. It shatters into a million pieces, the wine running down your leg. The cork lands on the ground near your feet. Suddenly, a little pixie appears and snatches the cork! \"I won't let you solve this game by being so destructive,\" she scolds in a tinkling voice. She vanishes in a puff of smoke, taking the cork with her.\n\n> Go southwest\nYou're standing outside the Valley King's forest retreat. It's a simple hut where His Regalness sheds the trappings of modern civilization and gets back to nature. You don't entirely understand his thinking; you're a warrior, not a philosopher. But he is, after all, the king. Paths wind through the woods to the north, west, and northeast. The hut is to the south. Through the trees to the west, you can see sunlight glinting off the waters of Lake Draounheer.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> Go upwards\nYou're standing on the top floor of the lighthouse. A brisk fall breeze whips up from below, chilling you to the bone. From here, there's quite a view. Southward, the forest stretches out before you, a bright blaze of colors. Across the lake, to the west, are the sinister Beegas'hell Mountains. To the north and west, you can just make out the mist-covered Damsogee Swamp, a sinister, uncharted land. The lighthouse lamp sits in the center of the round floor, on top of a brick base. It's currently off. The only exit is back down.\n\n> You examine the lamp\nIt's currently off. It sits on top of a brick base.\n\n> You look at base\nThe brick base looks like a recent piece of work; the cement hasn't quite set yet. One of the bricks is slightly loose. You could probably take it out.\n\n> You get the brick\nYou wiggle the brick around a bit and pull it from the base. A piece of paper flutters from the hole, landing on the ground. You reach for it, but just as your fingertips touch it, a huge bird swoops down out of nowhere, chirping angrily, and snatches the paper from your grasp. Before you can react, the bird is gone, flying swiftly away from the lighthouse.\n\n> You go to the south-west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [7]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> You go to the east\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\n> You climb the tree\nThere's one especially large oak. Gritting your teeth, you pull yourself up through its branches and find yourself -\n\nYou're seated on the branch of an old oak tree. You don't dare\nclimb any higher; the wind's picking up, and you're afraid of heights as it is. Below you, the forest floor appears to be quite hard. Your stomach is feeling a bit queasy, and you're having trouble keeping your balance. With effort, you pry your eyelids open and look around you. To the west, through the branches, you can see the sandy beaches of Lake Draounheer. To the northeast, you catch a glimpse of what appears to be a wooden roof. Further along the branch is an unfinished bird's nest. The only way out of here is (gulp) back down.\n\nThe bird's nest seems to contain a piece of paper.\n\n> You get the paper\nYou've already got your hands full.\n\nFrom below, you think you hear gruff voices arguing about something."
    },
    {
        "text": "> Go downwards\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nsoftest patch of grass for his nap.\n\n> Inventory\nYou have a bronze ring (being worn), a sword, a spray can, an oar, a pair of erasers, a wine bottle, a soft pretzel, a small leather pouch, a spade, a trowel, a handful of radberries, and a single brick.\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> You put the erasers in the pouch\nYou can't fit that in the small leather pouch.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You drop the brick\n(on foot)\n\nOuch! You should really try to be more careful!\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You look at the brick\nI see nothing especially unusual about the brick.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You go up\nYou grab a thick branch on the nearest oak and hoist yourself up.\nSoon, you find yourself -\n\nYou're seated on the branch of an old oak tree. You don't dare\nclimb any higher; the wind's picking up, and you're afraid of heights as it is. Below you, the forest floor appears to be quite hard. Your stomach is feeling a bit queasy, and you're having trouble keeping your balance. With effort, you pry your eyelids open and look around you. To the west, through the branches, you can see the sandy beaches of Lake Draounheer. To the northeast, you catch a glimpse of what appears to be a wooden roof. Further along the branch is an unfinished bird's nest. The only way out of here is (gulp) back down.\n\nThe bird's nest seems to contain a piece of paper.\n\n> You get the paper\nTaken."
    },
    {
        "text": "> Go downwards\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\nYou see a single brick here.\n\n> You look at the paper\nIt appears to be a receipt of some kind. There's writing on it.\n\nThe Valley Patrol marches up from the south.\n\n> You read it\n\"Acme Dam Phoul Snayk Rhepellant - One can: 3 valmids.\"\n\nA few members of the Valley Patrol lie down on the ground and start snoring.\n\n> You go to the northeast\nYou're just outside a quaint wooden building nestled deep in the forest. The road runs north and southwest here - the forest is much too thick to travel in any other direction. The inn door stands open to the east. Sunshine glints from freshly-scrubbed window panes. A sign hangs above the door, waving gently in the breeze.\n\n> You go east\nYou're standing in the main room of the Golden Dragon Inn. The room\nis warm and welcoming after the brisk fall breezes, though the place is mostly deserted. The barkeep is nowhere to be found, and there's no one seated at the bar. Still, the floor, bar, and tables look clean, and it's good to get out of the cold. The exit is to the west, and a narrow passage runs northeast.\n\nThe only customer is a glum little man sitting alone at a table. He looks like one of those damned Acme salesmen the King's been trying to throw out of the Valley. [5]\n\n> You give the can to Salesman\nThe salesman turns white. \"You're not returning it, are you?\" He grabs the can, points the nozzle at his face, and sprays. \"*Cough!* Seems to work okay. Surely you don't - \" He breaks off, seeing the look on your face. \"You do, don't you? You want your money back.\" Suddenly, the salesman's face lights up. \"Ah! But I can't give you your money without a receipt! Do you have one?\"\n\n> You give receipt to Salesman\nThe ACME salesman swallows. \"No. I mean - \" He swallows again, then grabs the receipt with a trembling hand. \"All right!\" he shrieks, burying his head in his hands. \"You win! Here!\" He reaches in his pocket and tosses you a coin, which you catch. \"Now go away!\"\n\n> You look at the coin\nWhich coin do you mean, the bronze coin, or the yellow coin?\n\n> You examine the bronze\nWhich bronze do you mean, the bronze ring, or the bronze coin?\n\n> You examine the bronze coin\nThe bronze coin is a valmid, an image of the current monarch on one side and the Hall of the Valley King on the other. It's quite solid currency, good for trade in Unnkulia and beyond.\n\n> You examine the yellow Coin\nThe yellow coin is rather soft and pliable, like a sponge. Carved on one side are the words \"Ihn Cheez Oui Truhst - Value 3 acmids.\" On the other side are the words \"Acme Dam Tastee Cheez Coin - Experimental!\nDo not let out of prototype lab!\" [10]\n\n> Note 10\n[10]: \"I think I do believe in eternal punishment.\" - Lord Dunsany. (Thanks to David Librik for pointing out some unintentional plagiarism from a fine play!)\n\n> You eat the yellow Coin\nIt tastes rather like motor oil mixed with fermented milk, quite gross. I suppose everything should be tried once, but I wouldn't eat another on a bet.\n\n> You go west\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\n> You go to the south-west\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a rowboat here.\n\n> You give the cheez to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\nsoftest patch of grass for his nap.\n\n> You give the berries to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> You give the valmid to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\nA sudden attack of vertigo makes you dizzy. Your stomach churns and your legs wobble. Spots roll in front of your eyes and you pitch forward, over the cliff. Thankfully, the water below breaks your fall. Sadly, you don't know how to swim (glug, glug).\n\n> Go west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [7]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\n> Inventory\nYou have a bronze ring (being worn), a sword, an oar, a pair of erasers, a wine bottle, a soft pretzel, a small leather pouch, a spade, a trowel, a handful of radberries, and a yellow coin.\n\nThe Valley Patrol walks up from the east.\n\nA sudden attack of vertigo makes you dizzy. Your stomach churns and your legs wobble. Spots roll in front of your eyes and you pitch forward, over the cliff. Thankfully, the water below breaks your fall. Sadly, you don't know how to swim (glug, glug).\n\n> You plug the hole\nWhat do you want to plug it in?\n\n> You eat the pretzel\nThat was delicious!\n\n> Note 9\n[9]: If you're trying to visualize the terrain, \"Unnkulian Unventure II\" takes place to the south of here - of course, the events of that game occur quite a few years in the future. And it should be obvious that the forest, retreat, inn, and iron grate were all in \"Unnkulian Underworld.\" (See the map in the documentation booklet.)\n\n> You examine Rock\nYou have a feeling you've been to Dawg Rock before, perhaps in a previous (or future?)  life."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> Look around\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a rowboat here.\n\n> Dig\nWhat do you want to dig in?\n\n> Sand\nWhat do you want to dig in it with?\n\n> Shovel\nYou dig a hole in the sand. It's hot work, but you keep with it.\nAfter a while, your spade strikes something metal. You reach in the hole and pull it out - it's a corkscrew.\n\n> You dig the mud with shovel\nYou turn up a few shovelfuls of the soft earth. Near the shrine, half-buried in the mud, you uncover a small jade figurine! You pick it up and pocket it.\n\n> You examine the figurine\nThe jade figurine depicts a smiling, pot-bellied Duhdha. The few remaining Duhdhists in the Valley carry these around, rubbing them for good luck. Such foolish nonsense is, of course, beneath a Valley Warrior. [11]  The figurine is encrusted with dirt, and quite filthy.\n\n> You look at the corkscrew\nThe corkscrew is quite ornate, with a mahogany handle. Printed in gold lettering on the handle are the letters \"VK.\"\n\n> Note 10\n[10]: \"I think I do believe in eternal punishment.\" - Lord Dunsany. (Thanks to David Librik for pointing out some unintentional plagiarism from a fine play!)\n\n> Note 11\n[11]: This is essentially the same type of figurine that was created at the end of \"Unnkulian Unventure I.\"\n\n> Clean figurine\nYou carefully clean the crusted dirt from the figurine. It looks much cleaner now - you can see Duhdha's belly button. He appears to be an outie."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You open the bottle\nUsing the corkscrew, you open the wine bottle. With a pop, the cork comes out.\n\n> You put cork in hole\nYou stick the cork in the small hole. It fits perfectly - in fact, quite tightly. I doubt you could get the cork out again.\n\n> Row\nJust type the direction you want to go, as if you were walking.\n\n> You go west\nYou paddle the boat out onto Lake Draounheer. The current is quite strong, and you're having trouble working against it. You soon find yourself swept southward, through a rocky channel, and before you can react, you're -\n\nYou're riding in a small boat, hurtling down a narrow north-south channel cut through Dawg Rock. Whitewater churns around you, and the boat rocks back and forth. To both sides, the thick granite walls lean overhead. There's no place to land, and no way to slow down - you're totally at the mercy of the churning water. From the south, a distant rumbling grows louder -\n\nYou see a rowboat here.\n\n> You go to the north\nYou can't row the boat in that direction; perhaps you'd better get out before going that way.\n\n> You get the boat\nYour load is too heavy.\n\n> You drop all\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\noar: Dropped.\npair of erasers: Dropped.\nwine bottle: Dropped.\nsoft pretzel: Dropped.\nsmall leather pouch: Dropped.\nspade: Dropped.\ntrowel: Dropped.\nhandful of radberries: Dropped.\nyellow coin: Dropped.\ncorkscrew: Dropped.\njade figurine: Dropped.\n\n> You get the boat\nTaken.\n\n> Go northeast\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> You drop the boat\nDropped.\n\nsoftest patch of grass for his nap.\n\n> Go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a bronze ring, a sword, an oar, a pair of erasers, a wine bottle, a soft pretzel, a small leather pouch, a spade, a trowel, a handful of radberries, a yellow coin, a corkscrew, and a jade figurine here.\n\n> You get all\nbronze ring: Taken.\nsword: Taken.\noar: Taken.\npair of erasers: Taken.\nwine bottle: Taken.\nsoft pretzel: Taken.\nsmall leather pouch: Taken.\nspade: Taken.\ntrowel: Taken.\nhandful of radberries: Taken.\nyellow coin: Taken.\ncorkscrew: You've already got your hands full.\njade figurine: You've already got your hands full.\n\n> You examine bottle\nIt's Valley Bordeaux 569 - a very good year. It's been opened.\n\n> Go northeast\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nA few members of the Valley Patrol lie down on the ground and start snoring.\n\n> Go west\nrowboat. The waters are clear, but you can't see the bottom of the lake - it's quite deep. You're forced to paddle against a gentle southerly current, but it's not hard to keep the boat stationary.\nSouth of here, the lake water is channeled through a narrow fissure in Dawg Rock, and becomes a rushing whitewater river. To the east and west are sandy beaches, and north of here is a swampy shore.\n\nYou see a rowboat here.\n\n> Go west\nYou're on the western shore of Lake Draounheer - the Unnkulian side! His Majesticalness, the Valley King, forbids his subjects to travel here - and with good reason! Dread Unnkulian Warriors patrol the land, and sinister beasts rend unwary travellers limb from limb. Surely, the fair Lady Amanda would not have come here. If I were you, I wouldn't stay here very long; the Unnkulian Patrols are sure to find you eventually. A trail runs up into the Beegas'hell Mountains to the southwest, and there's a dark cave opening to the north. The lake is back to the east.\n\nYou see a gilded cage and a rowboat here.\n\nThe gilded cage seems to contain a chittering churrel.\n\n> You examine the cage\nThe cage is fairly small, and made of wrought iron and gold. It's probably quite valuable. There's a chittering churrel within the cage.\n\n> You examine the churrel\nThe churrel is a cross between a squirrel and a chipmunk. Churrels are playful creatures, often seen as pets for the Lord of Unnkul. They're cheap to maintain, eating vegetable matter like vines, mosses, and leaves. This one is quite cute. It stares up at you with big, brown eyes, making soft, purring noises and rubbing its front paws together.\n\n> Go north\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat here.\n\n> You examine the footprints\nOne set of footprints, heading due north, catches your eye - a lady's shoe! Could the fair Amanda have come this way?\n\n> You look at the reeds\nIt looks like an ordinary reeds to me.\n\n> You go to the north\nYou can't row the boat in that direction; perhaps you'd better get out before going that way.\n\n> Go north\nYou're standing just south of a rickety wooden bridge that crosses a particularly swampy bit of land. The bridge is the only way to continue north; the land around is much too dangerous for you to wander. Beyond the bridge, to the north, you can see what looks like a low hill. The only other path leads south, back toward Lake Draounheer.\n\nA short, green stoll is blocking the bridge. His eyes light up as\nyou approach. \"Greetings, traveller,\" he grunts. \"Stop. Pay stoll.\" [12]\n\n> Note 12\n[12]: The stoll bridge is a rather obvious lift from the original Adventure - Colossal Cave, from which all other adventures were spawned.\n\n> You examine the stoll\nStolls are kleptomaniac cousins of trolls and drolls, smaller but more agile and quick. They can't get through the day without at least three or four acts of petty larceny. Pickpocketing is their favorite activity. This particular individual is, like most stolls, bright green, thin, and short. He's eyeing your possessions with a speculative gaze.\n\n> You examine the bridge\nThe bridge is made of wood, and looks quite rickety. Still, it's probably the only safe way to cross this section of the swamp; the land is so sodden and sandy that you could be sucked under if you strayed from the path.\n\n> You ask the stoll about the stoll\nThe stoll shrugs. \"I'm a stoll, not an encyclopedia.\"\n\n> Inventory\nYou have a bronze ring (being worn), a sword, an oar, a pair of erasers, a wine bottle, a soft pretzel, a small leather pouch, a spade, a trowel, a handful of radberries, a yellow coin, and a gilded cage.\n\nThe gilded cage seems to contain a chittering churrel.\n\n> Clap erasers\n<COUGH!> A huge cloud of chalk dust fills the air.\n\n> Go north\nThe stoll bumps against you as you pass by. For a moment, you think you feel light fingers brushing the leather pouch you carry - but then, the feeling fades, and the stoll vanishes under the bridge with a cackling laugh.\n\nYou are standing at the end of a path through the Damsogee Swamp.\nFor miles in almost all directions, the treacherous bogs and mires stretch. Sinister squishing sounds echo across the sodden moors, and sometimes, faintly, you can hear the howl of the wind - or is it a wolf? To the east is a low hill, flattened on its top; it's one of the old burial mounds of the early Ulian tribesmen. You could climb the hill to the east, or follow the path back to the south; all other directions are much too dangerous. Fog hangs over every stunted shrub here, and the air smells of death and decay.\n\n> You examine the pouch\nIn the small leather pouch you see a bronze coin.\n\n> You go to the south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat here.\n\n> Go northwest\nthe Damsogee Swamp. Dying plants sprout from waterlogged soil, and low-lying fog hugs the ground like a burial shroud. Even the bright afternoon sun is having trouble burning off the thick mist. It's quite depressing here. The trail continues northwest and southeast. The ground looks fairly solid to the west; you could probably find a path that way as well.\n\n> You examine the plants\nThey're slowly dying.\n\n> You examine the fog\nLike most mist and fog, it's damp and cold. [13]\n\n> Note 13\n[13]: It's not only damp and cold, but you really didn't need to examine it.\n\n> Go northwest\nYou're at the end of the trail through the Damsogee Swamp. Though\nthe swamp stretches northward many more miles, this is as far as you'll go without falling into a deadly bog. The trail ends in a relatively dry clearing. A small stone building stands to the east, its door open. A few words are etched in stone next to the entrance. The trail runs back to the southeast.\n\n> You look at hut\nThe stone buidling has seen better days. It's crumbling and ancient, little more than a ruin now. Some words are etched next to the entrance.\n\n> You read words\n\"Wowsa Willy's Wizardry Warehouse - The Wizard is OUT.\"\n\n> You go east\nYou're standing inside the stone building. The walls are dripping\nwith condensation and the thatch roof has rotted through in most places. The only exit is back to the west. Clearly, whatever purpose this place once served, it's long since been abandoned. There's no furniture and nothing of interest except a low stone shelf against the back wall.\n\nA thin wand is sitting on the stone shelf.\n\n> You examine the shelf\nCarved on the underside is the phrase \"Willy luvs Amanda.\" On the stone shelf you see a thin wand.\n\n> You look at the wand\nThe wand is a thin piece of wood, quite light and flexible. You can barely make out tiny letters down the side that read 'Wowsa Willy's Wishing Wand - Works When Waved.'\n\n> You get the wand\nYou pick the wand up. A thundering voice booms \"You'd better pay for that, Warrior. I won't warn you again. Put your payment on the shelf, please.\"\n\n> You put the yellow Coin on shelf\nA thundering voice chuckles. \"You must be joking!\"\n\n> You get yellow\nYou've already got your hands full.\n\n> You put the bronze coin on the shelf\nThe valmid vanishes in a puff of smoke! A thundering voice rumbles, \"Thanks for shopping at Willy's!\"\n\n> You put yellow Cthe pouchn pouch\nDone."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You look at your surroundings\nYou're standing inside the stone building. The walls are dripping\nwith condensation and the thatch roof has rotted through in most places. The only exit is back to the west. Clearly, whatever purpose this place once served, it's long since been abandoned. There's no furniture and nothing of interest except a low stone shelf against the back wall.\n\n> Wave wand\nNothing happens.\n\n> Go west\nYou're deep in the heart of the swamp now, in a dismal clearing of quicksand and mire. A gentle old willow tree hangs over the clearing, vine-covered branches dipping low. The only safe path is back to the east.\n\nWithout warning, your feet sink into the muck. You try to move, but can't. You're sinking in the quicksand - and you don't have much time left!\n\n> You get the branch\nThe tree's branches are out of reach.\n\n> Wave wand\n\"Cretin!\" a voice booms. \"Bother me not with such petty wishes! Escape from the sand yourself!\"\n\n> You get the vine\nThe vines are firmly attached to the trunk; you can't get them. You've nearly sunk below the surface of the quicksand. Suddenly, you feel something hook on your foot, far below the top of the ground; you can't quite tell what it is, but if you can get out, you'll probably pull it with you.\n\n> You grab the vine\nThe vines are firmly attached to the trunk; you can't get them. Your head finally sinks below the surface of the quicksand. You try to hold your breath, but it's useless; the bog seems bottomless. Finally, lungs bursting, you breathe in a mouthful of moist sand -\n\n> You open the cage\nYou open the cage and the churrel scampers out. It runs up the twisted old tree and starts chewing on the vegetation, making squeaking sounds.\n\n> You grab the vine\nThe vines are firmly attached to the trunk; you can't get them. Your head finally sinks below the surface of the quicksand. You try to hold your breath, but it's useless; the bog seems bottomless. Finally, lungs bursting, you breathe in a mouthful of moist sand -\n\n> You wait\nTime passes...\n\n> Wait\nTime passes...\nFrom the top of the willow tree, one end of a vine comes loose and drapes across the quicksand in front of you. You hear a chittering sound from above and catch a glimpse of the churrel you released as it scampers around the outside of the willow tree and vanishes from sight.\n\n> Wait\nTime passes...\nYou've nearly sunk below the surface of the quicksand. Suddenly, you feel something hook on your foot, far below the top of the ground; you can't quite tell what it is, but if you can get out, you'll probably pull it with you.\n\n> You grab the vine\nSending a silent prayer upward, you reach for the vine and pull with all your might. Slowly, with a great sucking sound, you lift yourself up out of the bog and lie panting on the edge of the quicksand. I wouldn't stay here too long if I were you; the ground is quite dangerous. A rusty lamp appears to have hooked around your foot. You pulled it up out of the bog with you. It's lying beside you on the ground.\n\n> You examine the lamp\nThe brass lamp has no apparent source of fuel; it must be magical.\nIt's inlaid with gold, and probably quite valuable. It's currently off.\n\n> You get the lamp\nYou've already got your hands full.\n\n> Go east\nthe Damsogee Swamp. Dying plants sprout from waterlogged soil, and low-lying fog hugs the ground like a burial shroud. Even the bright afternoon sun is having trouble burning off the thick mist. It's quite depressing here. The trail continues northwest and southeast. The ground looks fairly solid to the west; you could probably find a path that way as well.\n\n> You drop all\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\noar: Dropped.\npair of erasers: Dropped.\nwine bottle: Dropped.\nsoft pretzel: Dropped.\nsmall leather pouch: Dropped.\nspade: Dropped.\ntrowel: Dropped.\nhandful of radberries: Dropped.\ngilded cage: Dropped.\nthin wand: Dropped.\n\n> You go west\nYou're deep in the heart of the swamp now, in a dismal clearing of quicksand and mire. A gentle old willow tree hangs over the clearing, vine-covered branches dipping low. One of the vines has been chewed through, and a length of it has fallen across the quicksand. The only safe path is back to the east.\n\nWithout warning, your feet sink into the muck. You try to move, but can't. You're sinking in the quicksand - and you don't have much time left!\n\nYou see a brass lamp here.\n\n> You grab the vine\nSending a silent prayer upward, you reach for the vine and pull with all your might. Slowly, with a great sucking sound, you lift yourself up out of the bog and lie panting on the edge of the quicksand. I wouldn't stay here too long if I were you; the ground is quite dangerous.\n\n> You go east\nthe Damsogee Swamp. Dying plants sprout from waterlogged soil, and low-lying fog hugs the ground like a burial shroud. Even the bright afternoon sun is having trouble burning off the thick mist. It's quite depressing here. The trail continues northwest and southeast. The ground looks fairly solid to the west; you could probably find a path that way as well.\n\nYou see a bronze ring, a sword, an oar, a pair of erasers, a wine bottle, a soft pretzel, a small leather pouch, a spade, a trowel, a handful of radberries, a gilded cage, and a thin wand here."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Look around\nthe Damsogee Swamp. Dying plants sprout from waterlogged soil, and low-lying fog hugs the ground like a burial shroud. Even the bright afternoon sun is having trouble burning off the thick mist. It's quite depressing here. The trail continues northwest and southeast. The ground looks fairly solid to the west; you could probably find a path that way as well.\n\nYou see a trowel and a gilded cage here.\n\n> You drop the oar\nDropped.\n\n> You go to the southeast\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat and an oar here.\n\n> You give the cheez coin to the stoll\nThe stoll jumps back, horrified. \"Are you nuts? Don't give me anything! I wanna steal it!\"\n\n> You drop all\nbrass lamp: Dropped.\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\nthin wand: Dropped.\nsmall leather pouch: Dropped.\npair of erasers: Dropped.\nwine bottle: Dropped.\nsoft pretzel: Dropped.\nspade: Dropped.\nhandful of radberries: Dropped.\ntrowel: Dropped.\n\n> Go north\nThe stoll jumps in front of you. \"Hey! You'd better provide me with a better challenge than that! I want something to steal, something that I can't just pluck from you!\" The twisted creature folds its arms across its chest. \"You're not getting by without making it at least a little bit challenging for me to steal from you.\"\n\n> Go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a brass lamp, a bronze ring, a sword, a\nthin wand, a small leather pouch, a pair of erasers, a wine bottle, a soft pretzel, a spade, a handful of radberries, and a trowel here.\n\n> You get all\nrowboat: Taken.\noar: Your load is too heavy.\nbrass lamp: Your load is too heavy.\nbronze ring: Taken.\nsword: Your load is too heavy.\nthin wand: Your load is too heavy.\nsmall leather pouch: Your load is too heavy.\npair of erasers: Your load is too heavy.\nwine bottle: Your load is too heavy.\nsoft pretzel: Your load is too heavy.\nspade: Your load is too heavy.\nhandful of radberries: You've already got your hands full.\ntrowel: Your load is too heavy.\n\n> You drop the boat\nDropped.\n\n> You get all except boat\noar: Taken.\nbrass lamp: Taken.\nsword: Taken.\nthin wand: Taken.\nsmall leather pouch: Taken.\npair of erasers: Taken.\nwine bottle: Taken.\nsoft pretzel: Taken.\nspade: Taken.\nhandful of radberries: You've already got your hands full.\ntrowel: You've already got your hands full.\n\n> You get the berries and trowel\nhandful of radberries: Taken.\ntrowel: Taken."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You check your inventory\nYou have a bronze ring, a sword, a thin wand, a small leather pouch, a pair of erasers, a wine bottle, a soft pretzel, a spade, a handful of radberries, and a trowel.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go to the south\nYou're standing just south of a rickety wooden bridge that crosses a particularly swampy bit of land. The bridge is the only way to continue north; the land around is much too dangerous for you to wander. Beyond the bridge, to the north, you can see what looks like a low hill. The only other path leads south, back toward Lake Draounheer.\n\n> You drop all\nbronze ring: Dropped.\nsword: Dropped.\nsmall leather pouch: Dropped.\npair of erasers: Dropped.\nwine bottle: Dropped.\nsoft pretzel: Dropped.\nspade: Dropped.\nhandful of radberries: Dropped.\ntrowel: Dropped.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go northwest\nthe Damsogee Swamp. Dying plants sprout from waterlogged soil, and low-lying fog hugs the ground like a burial shroud. Even the bright afternoon sun is having trouble burning off the thick mist. It's quite depressing here. The trail continues northwest and southeast. The ground looks fairly solid to the west; you could probably find a path that way as well.\n\nYou see a gilded cage here.\n\n> You go to the south-east\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a brass lamp, a thin wand, a bronze ring,\na sword, a small leather pouch, a pair of erasers, a wine bottle, a soft pretzel, a spade, a handful of radberries, and a trowel here.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You eat the pretzel\nThat was delicious!\n\n> You go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a brass lamp, a thin wand, a bronze ring,\na sword, a small leather pouch, a pair of erasers, a wine bottle, a spade, a handful of radberries, and a trowel here.\n\n> You check your inventory\nYou have a small leather pouch.\n\n> You go to the south\nYou're standing just south of a rickety wooden bridge that crosses a particularly swampy bit of land. The bridge is the only way to continue north; the land around is much too dangerous for you to wander. Beyond the bridge, to the north, you can see what looks like a low hill. The only other path leads south, back toward Lake Draounheer.\n\n> You go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a brass lamp, a thin wand, a bronze ring,\na sword, a pair of erasers, a wine bottle, a spade, a handful of radberries, and a trowel here.\n\n> You get all\nrowboat: Your load is too heavy.\noar: Taken.\nbrass lamp: Taken.\nthin wand: Taken.\nbronze ring: Taken.\nsword: Taken.\npair of erasers: Taken.\nwine bottle: Taken.\nspade: Taken.\nhandful of radberries: Taken.\ntrowel: You've already got your hands full.\n\n> Go north\nYou are standing at the end of a path through the Damsogee Swamp.\nFor miles in almost all directions, the treacherous bogs and mires stretch. Sinister squishing sounds echo across the sodden moors, and sometimes, faintly, you can hear the howl of the wind - or is it a wolf? To the east is a low hill, flattened on its top; it's one of the old burial mounds of the early Ulian tribesmen. You could climb the hill to the east, or follow the path back to the south; all other directions are much too dangerous. Fog hangs over every stunted shrub here, and the air smells of death and decay.\n\n> You examine the hill\nThe burial mound is quite big, and obviously quite old. It was typical of the early northern Ulian tribes to build such mounds. As far as you know, none have ever been excavated.\n\n> Go east\nYou're standing on top of the burial mound, perhaps thirty feet\nabove the damp, swampy ground below. To the south, you can just make out Lake Draounheer through the mist, and to the southeast, the clifftop and the lighthouse. The only safe path off the mound is to the west. There's little of interest up here.\n\n> You dig mound with the shovel\nYou can't really bring yourself to desecrate the graves of your ancestors. [14]\n\n> Note 14\n[14]: The ancient Ulians, your ancestors, were a peaceful, artistic race. Almost nothing is known about them.\n\n> You jump\nWheeee!\n\n> You dig the mound with trowel\nThe trowel's much too small to do any serious digging. You need a better tool, like, say, a spade.\n\n> You drop trowel and spade\ntrowel: Dropped.\nspade: Dropped.\n\n> Go east\nDraounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\n> Go southwest\nYou can't go that way in the boat. Maybe you should try walking.\n\n> Exit\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\n> You go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a corkscrew and a jade figurine here.\n\n> You go to the north\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a trowel, a spade, and a rowboat here."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You put all in the pouch\nsmall leather pouch: You can't put the small leather pouch in itself! brass lamp: You can't fit that in the small leather pouch.\nthin wand: You can't fit that in the small leather pouch.\nbronze ring: You can't fit that in the small leather pouch.\nsword: You can't fit that in the small leather pouch.\npair of erasers: You can't fit that in the small leather pouch.\nwine bottle: You can't fit that in the small leather pouch.\nhandful of radberries: You can't fit that in the small leather pouch. jade figurine: You can't fit that in the small leather pouch.\nspade: You can't fit that in the small leather pouch.\ntrowel: You can't fit that in the small leather pouch.\n\n> You put all in the boat\nbrass lamp: I don't know how to put anything into the rowboat.\nthin wand: I don't know how to put anything into the rowboat.\nbronze ring: I don't know how to put anything into the rowboat.\nsword: I don't know how to put anything into the rowboat.\npair of erasers: I don't know how to put anything into the rowboat. wine bottle: I don't know how to put anything into the rowboat. handful of radberries: I don't know how to put anything into the rowboat.\njade figurine: I don't know how to put anything into the rowboat. spade: I don't know how to put anything into the rowboat.\ntrowel: I don't know how to put anything into the rowboat.\noar: I don't know how to put anything into the rowboat.\n\n> You go west\nYou're on the western shore of Lake Draounheer - the Unnkulian side! His Majesticalness, the Valley King, forbids his subjects to travel here - and with good reason! Dread Unnkulian Warriors patrol the land, and sinister beasts rend unwary travellers limb from limb. Surely, the fair Lady Amanda would not have come here. If I were you, I wouldn't stay here very long; the Unnkulian Patrols are sure to find you eventually. A trail runs up into the Beegas'hell Mountains to the southwest, and there's a dark cave opening to the north. The lake is back to the east.\n\nYou see a rowboat here.\n\n> You open the lamp\nI don't see any way to open the lamp. It appears to be magical, and it doesn't need any fuel.\n\n> You go north\nYou charge into the gloomy cave mouth. From out of darkened crevices, the steel-jawed Demons of Unnkul swarm out to meet you. Even a Valley Warrior can only withstand their endless attacks for so long -\n\n> You turn on the lamp\nYou turn the lamp on. It glows with a dim greenish light.\n\n> You go north\nYou charge into the gloomy cave mouth. From out of darkened crevices, the steel-jawed Demons of Unnkul swarm out to meet you. Even a Valley Warrior can only withstand their endless attacks for so long -\n\n> Go southwest\nYou trudge up the mountains. Suddenly, a sharp pain shoots up your leg. You look down - your foot has been sliced off by steel jaws buried in the pathway! Before you bleed to death, you just have time enough to read the writing on the trap - \"Acme Rhust-Pruph Stihl Trappe - Dam Dedlee!\"\n\n> You go north\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a small leather pouch and a rowboat here.\n\n> You dig the mound with the shovel\nThe Gods may strike you down if you persist in desecrating the holy graves of your godlike, sacred, and revered ancient ancestors!\n\n> You dig the mound with the shovel\nTo heck with your ancient ancestors - you've got a quest to finish!\nYou bend to your labors and start digging. It's back-breaking work, but you've soon made a sizeable hole in the top of the mound.\nSuddenly, your spade breaks through the muddy earth, vanishing into what must be a vast cavern far below! You leap from the hole, surprised.\n\n> You examine the hole\nThe hole's quite dark. If you climb down there, I'm not sure you could get back up."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Go downwards\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nhere; surely, you were the first to dig into the burial mounds. Still, there doesn't appear to be any way back up. It appears that searching these ancient tombs for another exit to the surface is your only option.\n\nYou see a spade here.\n\n> You look at the lamp\nThe brass lamp has no apparent source of fuel; it must be magical.\nIt's inlaid with gold, and probably quite valuable. It's glowing with a dim greenish light.\n\n> You examine the coffin\nThe coffin is quite large. A figure of a bearded and armored warrior, eyes closed and hands folded across his chest, is carved on the lid. Words are carved on the side - you recognize the language as early Ulian, a quite difficult and arcane tongue.\n\n> You examine the words\nYou could try reading them, I suppose.\n\n> You examine the figure\nThe jade figurine depicts a smiling, pot-bellied Duhdha. The few remaining Duhdhists in the Valley carry these around, rubbing them for good luck. Such foolish nonsense is, of course, beneath a Valley Warrior. [11]"
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Wake figure\nLet it sleep just a little longer. (Try something stupid, get a stupid response.\n\n> You go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nYou've obviously stumbled into a vast, uncharted underworld. (Big surprise.)  Could the fair Amanda have passed this way? Though you entered these caverns through the tombs, the footprints from the lake did lead back into the swamps; perhaps Amanda found another way down here. Only exploration will truly tell the tale. Tunnels run north and south, and a narrow crawl climbs up to the east. At the west end of the cavern is a freshly whitewashed gazebo.\n\n> You look at the gazebo\nThe gazebo is perhaps twenty feet high, with a tiny steeple on top. In the steeple, you can just make out a bell hanging from the roof. The gazebo is at the west end of the cavern. [15]\n\n> Note 15\n[15]: This is NOT the same as the gazebo in 'Horror of Rylvania!' It's entirely different! All-new code! Honest!\n\n> You examine the steeple\nIt looks like an ordinary steeple to me.\n\n> You examine the moss\nThe beds of moss and fungi cover the floor of the chamber. It's a sea of colors - reds, greens, blues.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nA long rope is attached to the bell, the other end dangling just\nabove the floor. You can only go back to the east from here.\n\n> You look at the rope\nThe rope hangs down from above; it appears to be attached to the bell overhead.\n\n> You examine the bell\nThe bell hangs high overhead; you can't see it very well.\n\n> You climb the rope\nYou shinny partway up the rope. The bell rings loudly as you pull on the rope, resounding through the cavern and sending vibrations along the rope. Your hands sting from the shocks, and you drop to the ground. You're not getting up there that way.\n\n> You ring bell\nBong! The clear, deep tone of the bell resounds through the cavern.\n\n> You jump\nWheeee!\n\n> Go east\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\n> You go to the north\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\n> You look at the monk\nThe old monk looks quite unhappy. He hasn't shaven in some time, and his robes are tattered and filthy. He stares at you sorrowfully.\n\n> You ask monk about the monk\nThe monk shrugs. \"Only Duhdha knows for sure.\"\n\n> You ask the monk about Duhdha\nA fleeting grin crosses the monk's wan face. \"Why, it's an image of the great Duhdha!\"\n\n> You examine the altar\nA sad old monk is sitting on the altar, chin in his hands.\n\n> You examine the mosaics\nYou recognize some of the images as icons of the ancient Duhdhist religion. This must be a temple of that long-forgotten god.\n\n> You show the figurine to the monk\nThe monk smiles. \"I already have one, my child. Keep it; your carrying of Duhdha's image sets a good eggsample for your fellow warriors.\"\n\n> You ask monk about the altar\nThe monk pats the hard stone. \"Duhdha lies in the world beyond, great Warrior. But you do not believe.\"\n\n> Go west\nYou're in a tiny room that's not much more than a stone closet. It probably serves as the vestry for the temple. The only exit is back to the east. There's a set of hooks on the western wall.\n\nA robe is hanging on the hooks.\n\n> You examine the robe\nThe robe is cream-colored and stained with brown splotches. It's rather tattered - between the stains, a few rips, and one half-torn pocket, it's not worth much.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a black stone.\n\n> You examine the stone\nThe black stone is quite small. Now that you look at it, you realize it's made out of plastic. It seems to be magnetic as well.\n\n> Go east\nYou're in a small, square chamber with a low ceiling. A rusty oven stands against the east wall. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nshelf.\n\n> You examine the oven\nThe oven's a rusty piece of junk. I doubt it's been used for years. It's also stone cold. I think the pilot light's gone out. There's a few scuff marks around the base of the oven. The oven is closed.\n\n> You open it\nOpened.\n\n> You look in the oven\nThe oven's a rusty piece of junk. I doubt it's been used for years. It's also stone cold. I think the pilot light's gone out. There's a few scuff marks around the base of the oven. The oven is open.\nThere's nothing in the oven.\n\n> You look at shelf\nOn the wooden shelf you see a small cardboard box and a cookbook.\n\n> You look at the box\nThe box is garishly decorated with mauve, orange, and green stars. Bright purple lettering on the front reads \"Acme Sorta-Yehlo Ehg Suhb-sti-toot Miks: A Dam Tastee Pahrt oph this Compleet Brekfhast.\nNo cholesterol!\" The box is, thankfully, closed.\n\n> Examine cookbook\nThe title of the cookbook is \"101 Damn Tasty Egg Recipes.\"\n\n> You show the box to the monk\n\"That is not unto my stomach as I am to God,\" the monk mutters angrily. \"What need have I of such worldly tripe?\"\n\n> Drop box and cookbook\nsmall cardboard box: Dropped.\ncookbook: Dropped.\n\n> You go south\nbedrock of the land. The walls are close around you, and tons of rock hang over your head. Luckily, enclosed spaces don't bother you - only heights do. Passages run north, east, and southwest. All are about the same width and height; none looks more well-traveled than any other.\n\n> You go to the east\nYou're standing in a circular room at the edge of a deep pit. A\nledge runs around the room, above the pit. Being here makes your stomach churn; the pit's quite deep, and your fear of heights is as strong as ever. [7]  An iron hook is embedded in one of the walls.\nThe only exit from the room is a passage back through the rock to the west. Below, in the pit, you can see what appears to be a baby dragon. It looks up at you briefly, then trips over its tail and falls down with a loud squeak.\n\n> You examine hook\nThe hook's firmly stuck in the wall. I don't think you can get it out.\n\n> You examine Dragon\nThe baby dragon is not exactly small - it probably weighs more than you do. But it is quite cute. As you watch, it trips over its own feet and goes flying in a great tangle of claws and tail. [16]\n\n> Note 16\n[16]: This rather clumsy dragon is MUCH larger by the time of \"Unnkulian Unventure II: The Secret of Acme.\"\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nA long rope is attached to the bell, the other end dangling just\nabove the floor. You can only go back to the east from here.\n\n> You cut the rope with the sword\nI don't think cutting the rope is a good idea; you might need the whole piece later.\n\n> You get the rope\nYou can't untie the rope from down here; the other end is attached to the bell, some twenty feet overhead.\n\n> You examine stalactites\nStrange, colorful veins of minerals spiral through the pillars of rock, sparkling in the light.\n\n> You examine the shadows\nThe shadows are probably just from the lamplight hitting the rock formations in the cave.\n\n> You examine the crevices\nThe crevices are uninteresting. You most certainly can't fit inside them, if that's what your thinking.\n\n> Go southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which is closed. A sign hangs just above the glass wall.\n\n> You examine the sign\nThe sign's made of wood, and embedded in the stone wall. It reads as follows:\n\"Poppa Ul Memorial Lodge - Members Only! Exits northeast and south. Sauna north. Gym northwest. Reading room west. Equipment furnished by Acme.\"\n\n> You examine the glass\nThe wall's not like the one in the King's lake view room. It's quite strong, and has a much different feel to it - almost rubbery to the touch. Through the glass, you can see a few fish swimming along the bottom of the lake. Tiny raised letters run along the bottom of the wall. They read, \"Wowsa Willy's Wonder Wall.\"\n\n> You examine the door\nThe steel door is closed. It's warm to the touch.\n\n> Go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\nA brown book, a yellow paperback, a black book, a blue book, and a white paperback are sitting on the shelf.\n\n> You examine the panelling\nIt's quite tacky, made from fiberboard and asbestos and stained with lead paint. Tiny lettering along the bottom of one wall reads \"Acme Hoam Improovmint Deevishun.\"\n\n> You look at chair\nThe chair looks quite comfortable, though it is completely hideous.\n\n> You examine the shelf\nOn the shelf you see a brown book, a yellow paperback, a black book, a blue book, and a white paperback.\n\n> You examine the brown\nThe book's cover is made of leather and embossed with gold letters that read \"Ulian to Valley-Tongue Dictionary.\"\n\n> You read it\nThoroughly reading the dictionary would take more time than you have. It might be useful if you have to translate something, though. [17]\n\n> 17\n[17]: Something fun to do is to try counting the dictionary (and other things in the game as well.)\n\n> You count the dictionary\nThere is one (1) dictionary. It contains forty-three thousand, eight hundred and fifty-five (43,855) words.\n\n> You examine the yellow\nIt's number forty-three in the \"Don Martyr of Cars\" series. You've got a copy at home, a much nicer edition. I think the cover of this one's made from cheez (tm).\n\n> You examine the black\nWhich black do you mean, the black book, or the black stone?\n\n> Book\nThe black book is quite heavy and trimmed with gold leaf. The title is \"A History Of Ancient Ul - W. Willy\"\n\n> You read it\nYou start reading the book, opening to a page at random.\n\n\" - and Poppa Ul led his people for many, many years - wearing the magic crown of Ul, he lived for well over two centuries.\nBut his evil brother Unk Ul slew him, and stole the crown, and led\nhis mercenaries west of Lake Draounheer. In the chaos that followed the death of Great Ul, Kuul, son of Ul, took the remnants of the Ulians to the wooded valley to the east of the lake. One day, he vowed, he would lead the people of Ul against the evil Unk's Ulians and their dread demons - and recover the crown of his father.\n\nAnd he did, and there was much rejoicing. The people praised Duhdha and built many temples to their prophet who had seen them through the days of strife. And the priests of these temples were called by a name that honored of the great Kuul son of Ul, the first Valley King. And his children shall wear the crown, and each shall rule for centuries, and forever keep at bay the evil Unk's Ulians.\"\n\nYou stop reading and glance at the copyright date. The book was published in 390 VK, only fifty-seven years ago! Could the great Wowsa Willy still have been alive then?\n\n> You look at the blue\nThe blue book's cover says \"Myths of Ancient Ul.\"\n\n> You read it\n\"The Story of the Ghostly Smith -\n\nSome say that Poppa Ul's mighty blacksmith Pyter still lives in the hallowed Ulian halls. Pyter killed himself when he realized he had cut down the very last tree west of Lake Draounheer to fuel his crucible. Now, the legend goes, Pyter sits in his forge, sharpening his axe, waiting for the day when he can make the flames rise once again and forge the jewelry and weapons that made the name of Poppa Ul famous far and wide.\"\n\n> You look at the white\nThe book's cover says \"Cradle to Grave.\" It's a science fiction novel by D. A. Leary. (It's also a shameless plug.)\n\n> You read it\nThough it's probably one of the best books you'd ever choose to read, you don't really have time right now. [18]\n\n> Note 18\n[18]: Unpublished at the time of game publication (bummer!)\n\n> Go east\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which is closed. A sign hangs just above the glass wall.\n\n> You go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\n> You read the writing\n\"Here lies Ul - Beloved Poppa of All Ulians.\"\n\n> You go north\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nYou see a small cardboard box and a cookbook here.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\n> You read the writing\nUsing your dictionary, you translate the ancient legend -\n\n\"Yea, verily, and the disciples did go unto the Great Duhdha. 'Give us your wisdom, O Wise One!' they clamored. 'Go away,' replied Duhdha. Yea, verily, and his followers did lament and weep, loudly and for an extremely long time. 'All right all ready!' Duhdha cried - for he could no longer bear their suffering. 'What wisdom do you guys seek - er, seeketh?'\n'Tell us how to behave, O Wise One!' the followers shouted. 'How\nto behave, what to do, what to eat - '\n'What to eat?' Duhdha said. Yea, verily, and Duhdha's brow did\nfurrow as he searched for wisdom. 'Let me see - something quite unhealthy, that'll make you all die off quicker. Something with a lot of cholestorol. Ah ha! Of course! Eat eggs, my followers, because, er - ' And Duhdha paused, seeking the proper enlightening words. 'An egg is unto our stomachs as we are to God! Yeah, that's it!'\"\n\nThe legend abruptly ends.\n\n> You ask the monk about the egg\nThe monk perks up and stares at you, eyes wide. \"Where?\" he asks.\n\n> You count the fish\nThere is one (1) fish.\n\n> You go northwest\nlinoleum. The chamber is featureless; only the contents suggest what the room might have been used for. The only exit is back to the southeast.\n\nYou see a trampoline and a barbell here.\n\n> You examine the trampoline\nIt's rather large and heavy-looking. It would probably be fun to jump on it. Tiny letters printed on the surface read \"Acme Dam Bownsee Tram-poh-leen.\"\n\n> You examine the barbell\nThe barbell is made from solid iron and (of course) is quite heavy.\nYou could really get a good workout lifting that sucker.\n\n> Lift barbell\nYou work out with the weights for a while. (Grunt - strain - urk) A Valley Warrior can never be too strong, after all!\n\n> You keep going\nYou're already kind of sore from your last workout.\n\n> You go southeast\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which is closed. A sign hangs just above the glass wall.\n\n> Go northeast\nbedrock of the land. The walls are close around you, and tons of rock hang over your head. Luckily, enclosed spaces don't bother you - only heights do. Passages run north, east, and southwest. All are about the same width and height; none looks more well-traveled than any other.\n\n> Go east\nYou're in a small, square chamber with a low ceiling. A rusty oven stands against the east wall. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\n> You pull the oven\nYou move the oven away from the east wall, into the center of the room, revealing a narrow passage to the east!\n\n> You go to the east\nYou're carrying too much to fit through the narrow passageway.\n\n> You drop all\nbrass lamp: Dropped.\nthin wand: Dropped.\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\npair of erasers: Dropped.\nhandful of radberries: Dropped.\njade figurine: Dropped.\ntrowel: Dropped.\nspade: Dropped.\nblack stone: Dropped.\nbrown book: Dropped.\n\n> You go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nIt's pitch black.\n\n> You go to the east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\n> Go north\nYou're standing in a damp, cluttered cave. Twisting, tiny tunnels\nrun off in all directions, but (thankfully) the only one you're big enough to fit through is back to the south. You've obviously stumbled into the legendary mines of the Dwarvish Lord Dioria, a brave but rather odious king who used to sell gems and gold to the ancient Ulians - you can recognize clumsy dwarvish mining when you see it.\nThankfully, all the legends suggest that the dwarves are long-dead. Jumbled rocks litter the floor, and it's rather hard to walk around.\n\n> You examine the rocks\nThe rocks are just cave litter, nothing too interesting. Suddenly, a dwarf runs out of one of the passages and tosses a rusty knife at you! It scratches your arm and clatters against the wall. \"Curses!\" the dwarf shrieks. Before you can react, he dives back into one of the narrow tunnels.\n\n> About you\nYou're a hulking Valley Warrior, one of the fittest of the Valley King's soldiers. Right now, however, you appear to be injured.\n\n> You examine the vein\nThe vein runs diagonally through the wall, and has obviously been mined. Still, an industrious person could probably get a few chunks of gold out.\n\n> You hit the vein\nWhat do you want to attack it with?\n\n> Sword\nCLANG! The shock of metal-on-metal sends a shock up your wrist.\nYou've dented the gold, but if you're going to do any serious mining, you'll need better equipment.\n\n> Go west\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nYou see a thin wand, a pair of erasers, a handful of radberries, a\njade figurine, a trowel, a spade, a black stone, and a brown book here.\n\n> You go west\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nYou see a thin wand, a pair of erasers, a handful of radberries, a\njade figurine, a spade, a black stone, a brown book, and a sword here.\n\n> You get all\nthin wand: Taken.\npair of erasers: Taken.\nhandful of radberries: Taken.\njade figurine: Taken.\nspade: Taken.\nblack stone: Taken.\nbrown book: Taken.\nsword: Taken.\n\n> You go to the west\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nYou see a small cardboard box and a cookbook here.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\n> Go south\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nunderworld! Perhaps Amanda passed this way after all - and maybe your exploration of these caves is not in vain!\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well. From the southwest, a faint grinding noise echoes up the passage.\n\n> You examine the door\nThe great iron door is covered with grotesque carvings. It's closed.\n\n> You look at the carvings\nThe carvings portray twisted demonic figures, torturing and killing helpless humans. The carvings look much like what you've seen on captured Unnkulian weaponry.\n\n> You open the door\nIt's locked.\n\n> Go southwest\nYou're standing in what must be an ancient forge. Dark wooden beams support a sagging stone roof, and the floor is stained with droplets of metal. A giant pair of bellows, attached to a huge crucible, stands in the very center of the room. To one side is a huge grindstone. The only exit is to the northeast.\n\nA burly man in a blacksmith's apron is seated at the grindstone, methodically sharpening his axe. Sparks fly as metal touches stone.\n\n> You examine Smith\nThe smith, a mighty man is he, with strong and sinewy hands. He's busy sharpening his axe, and he's not paying any attention to you. Now that you look at him closely, you notice that he's somewhat transparent - you can see right through him!\n\n> You look at the grindstone\nThe massive grindstone spins when then pedal beneath it is pushed. The stone's used for sharpening metal implements.\n\n> You examine the axe\nThe smith's axe looks plenty sharp. It would make a fine weapon, if it weren't insubstantial and ghostly.\n\n> You examine the droplets\nNo doubt, the droplets are left-over debris from when the forge was active.\n\n> You get them\nmetal droplets: You can't have the metal droplets.\n\n> You examine the crucible\nThe crucible's a huge container used for melting metals. The giant bellows are attached to it. There's nothing in the crucible.\n\n> You examine the bellows\nWhen a fire is lit under the crucible, the bellows are used to make the flames rise higher. Pushing the bellows will drive air under the crucible.\n\n> You ask Smith about the crucible\n\"Used for meltin' down metals,\" the smith mumbles. \"But I've got no fuel.\" A lone tear runs down his cheek. \"All the wood is gone.\"\n\n> You ask Smith about the bellows\n\"Leave my bellows be,\" the smith growls. \"Only I can heat the crucible.\"\n\n> You go to the north-east\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well. From the southwest, a faint grinding noise echoes up the passage.\n\n> You drop all\nbronze ring: (Taking off the bronze ring first)\nDropped.\nbrass lamp: Dropped.\ntrowel: Dropped.\nthin wand: Dropped.\npair of erasers: Dropped.\nhandful of radberries: Dropped.\njade figurine: Dropped.\nspade: Dropped.\nblack stone: Dropped.\nbrown book: Dropped.\nsword: Dropped.\n\n> Go south\nIt's pitch black.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a bronze ring, a trowel, a thin wand, a pair of erasers, a handful of radberries, a jade figurine, a spade, a black stone, a brown book, and a sword here.\n\n> You get all\nbronze ring: Taken.\ntrowel: Taken.\nthin wand: Taken.\npair of erasers: Taken.\nhandful of radberries: Taken.\njade figurine: Taken.\nspade: Taken.\nblack stone: Taken.\nbrown book: Taken.\nsword: Taken.\n\n> You go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nA long rope is attached to the bell, the other end dangling just\nabove the floor. You can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You jump on the trampoline\nYou jump on the trampoline and leap into the air. For some reason, you can really get some altitude here inside the gazebo. You come down and bounce again, higher and higher. The bell's almost in reach; in fact, you can just about grab the edge - suddenly, you find yourself -\n\nYou're hanging on the edge of the bell, a good fifteen feet above\nthe gazebo floor. The height is making you quite queasy, and the gentle rocking of the bell isn't helping you any. You can't seem to let go; you're having trouble prying your fingers from the bell's shiny surface. The only exit is (gulp) down. A long rope is tied to the edge of the bell, right near your fingers. It hangs down to the floor below.\n\n> You get the rope\nWith trembling fingers, you reach out with one hand and carefully untie the rope, trying not to shift your weight or the bell. It falls to the ground below.\n\nYour grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline and a long rope here.\n\n> You tie the rope to the hook\nYou carefully tie the rope to the hook. The other end dangles down into the pit, just reaching the floor. Suddenly, the rope catches on fire and burns to ashes! You glance down into the pit - is the baby dragon smiling?\n\n> Go west\nYou're in a tiny room that's not much more than a stone closet. It probably serves as the vestry for the temple. The only exit is back to the east. There's a set of hooks on the western wall.\n\nYou see an oar and a wine bottle here.\n\nA robe is hanging on the hooks.\n\n> You look at the oar\nThe oar is wooden, quite old and weathered - but I'm sure it would do.\n\n> You drop spade and trowel\nspade: Dropped.\ntrowel: Dropped.\n\n> You examine the beams\nThe beams look ready to collapse, but they've held up the roof for centuries. Probably another few minutes won't make much difference.\n\n> You ask Smith about the crucible\n\"Used for meltin' down metals,\" the smith mumbles. \"But I've got no fuel.\" A lone tear runs down his cheek. \"All the wood is gone.\"\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\nA yellow paperback, a black book, a blue book, and a white paperback are sitting on the shelf.\n\n> You examine the yellow\nIt's number forty-three in the \"Don Martyr of Cars\" series. You've got a copy at home, a much nicer edition. I think the cover of this one's made from cheez (tm).\n\n> You eat it\nYep, it's pure cheez all right. (Burp.)  Pretty filling, though it does taste like motor oil.\n\n> You go to the west\nYou're in a tiny room that's not much more than a stone closet. It probably serves as the vestry for the temple. The only exit is back to the east. There's a set of hooks on the western wall.\n\nYou see a wine bottle, a brown book, a spade, and a trowel here.\n\nA robe is hanging on the hooks.\n\n> You put all in pocket\nbrass lamp: Done.\nbronze ring: (Taking off the bronze ring first)\nDone.\nthin wand: Done.\npair of erasers: Done.\nhandful of radberries: Done.\njade figurine: Done.\nblack stone: Done.\nsword: Done.\nlong rope: Done.\noar: You can't fit that in the pocket.\nrobe: You can't fit that in the pocket.\n\n> You get all\nwine bottle: Taken.\nbrown book: Taken.\nspade: Taken.\ntrowel: Taken.\n\n> You go to the northwest\nYou're standing just northwest of a dark cave, somewhere in the Beeg'ashell Mountains. Inside the cave entrance, you can just make out a set of stone stairs sloping down, back into the heart of the mountains. Rough patches of crabgrass struggle for life here and there, poking through cracks in the rocky mountain soil. A trail climbs up to the west, while another slopes down to the north. A third, level trail leads due south. It's quite cold here, and a chill wind whips across the rocky hills. The cave entrance is back to the southeast.\n\n> You examine the crabgrass\nThe patches of crabgrass struggle for life in the rocky soil.\n\n> Go north\nYou're walking on a rocky mountain trail that slopes down the side of the mountain. There's almost no vegetation here; a few roots poke from the ground, but the plants here appear to be dying. The trail slopes down to the northeast and up to the south. There's a scruffy, smelly goat here, blocking the trail to the northeast and staring at you.\n\n> You look at the goat\nThe mountain goat is rather skinny and scruffy-looking, with great patches of hair missing. It's eyeing you balefully. Tiny letters along its horns read \"Acme Soopur Agyl Mowntan Ghowt.\" [19]\n\n> Note 19\n[19]: It should be self-evident that this is not the same goat that was in \"Horror of Rylvania.\" It's much smellier.\n\n> Go west\nYou're standing at the eastern edge of a deep mountain gorge. Far below you, mist swirls over sharp rocks. You're trying desperately to keep your vertigo in check, and having some success; staying a good fifteen feet back from the edge helps a lot. Across the gorge you can just make out a slender stone tower rising from a rocky mountain-top - but of course, you can't get there from here. If only you had an Acme Brij Kreeaytor! The only obvious exit is the trail back to the east; other directions appear too rocky to travel.\n\nSurely, the fair Amanda could not have crossed this great gash in\nthe earth. Perhaps your quest lies elsewhere.\n\n> You look at the tower\nYou can't really make out the tower from here, but it stirs memories in you that you don't quite understand. Could it be the fabled lost tower of Wowsa Willy?\n\n> Wave wand\n\"Fool!\" a voice thunders. \"Do you really think I'd help you get across *my* gorge? Are you mad?\"\n\n> Go south\nYou're standing on top of a low, rocky rise somewhere in the Beeg'ashell Mountains. Not far south of here is the land of the Unnkulians, the dread enemies of your beloved master, the Valley King. In fact, you can make out several features from here, further south - Lake Draounheer's western shore, to the southeast; the walls of what appear to be some sort of monastery; and, on top of the highest of the mountains, a giant boulder, perched quite precariously. Unfortunately (or perhaps thankfully) the terrain is far too rugged for you to get there from here. The only safe path is to the north. There's a spreading chestnut tree in the very center of the clearing.\n\n> You look at the tree\nIt's quite a stately old chestnut tree. It towers high above you, shading you with its thick limbs.\n\n> Shake tree\nYou shake the stately tree, but can't really budge it. From high above, however, you hear an angry squawking."
    },
    {
        "text": "> Go down\nI don't know which way you mean, north or southeast. Please specify a direction.\n\n> You go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\nA black book, a blue book, and a white paperback are sitting on the shelf.\n\n> You look at the white\nThe book's cover says \"Cradle to Grave.\" It's a science fiction novel by D. A. Leary. (It's also a shameless plug.)\n\n> You go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You give the white to goat\nThe goat sniffs the white paperback and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Unfortunately, it still looks hungry.\n\n> You go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\nA black book and a blue book are sitting on the shelf.\n\n> You get all\nblack book: Taken.\nblue book: Taken.\n\n> You give the blue book to the goat\nThe goat sniffs the blue book and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Unfortunately, it still looks hungry.\n\n> You give the black book to the goat\nThe goat sniffs the black book and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Finally satiated, the goat wanders off into the mountains.\n\n> You go to the northeast\nYou're standing on the bank of a rushing mountain river. The bank\nis grassy and slopes gently down to the water. The swift-moving river babbles gentle murmurings, and a sweet-smelling breeze blows from the north. It's peaceful here, and quite relaxing. A trail leads back up into the Beeg'ashell Mountains to the southwest. The river is to the north, and flows down from the west.\n\nThere's a beautiful woman seated at the water's edge - could it be\nthe fair Amanda? But no - Amanda is blond, while this woman's hair is auburn. Her face is narrower, and her eyes are quite different. She glances over her shoulder and smiles invitingly. \"Welcome, Warrior.\" Her voice is musical, lilting, her accent like nothing you've ever heard before.\n\n> You look at the river\nThe river is not quite as wide or deep as the one which flows through Dawg Rock, south of Lake Draounheer, but it's not a simple mountain stream either. From the direction of the current, it appears that it probably enters into the Damsogee Swamp, and thus eventually feeds the lake. At any rate, I doubt you could cross it.\n\n> You examine the woman\nThe woman's beauty is breathtaking - long auburn hair, violet eyes, shapely figure. She's dressed in a white gossamer gown, and her skin is pale, almost translucent. If anything, she's more attractive than Lady Amanda.\n\n> You ask the woman about the goat\nThe woman shrugs. \"I care little for such things.\"\n\n> You ask the woman about the river\nThe woman smiles. \"The river is deep and wide, and home to many marvelous things.\"\n\n> Go north\nThe river's too deep and wide for you to cross.\n\n> You kill the woman\nWhat do you want to attack her with?\n\n> Sword\nWhy would you attack the nymph?\n\n> Kiss nymph\nThe woman shies away from your seeking lips. \"Now, now,\" she says, eyes sparkling. \"A true gentleman would seek to bring a lady a gift before expecting such rewards.\"\n\n> You look at what you're carrying with you\nYou have an oar, a robe (being worn), a wine bottle, a brown book, a spade, and a trowel.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a thin wand, a pair of erasers, a handful of radberries, a jade figurine, a black stone, a sword, and a long rope.\n\n> You give the bottle to the nymph\nThe woman shakes her head sorrowfully. \"I need that not, nor do I desire it.\"\n\n> You ask the nymph about the necklace\n\"It would be a fine gift for a lady,\" the woman whispers, eyes fixed on the necklace.\n\n> Hi\nThe woman smiles. \"Greetings, brave Valley Warrior. My name is Rivaris.\"\n\n> Go southwest\nYou're walking on a rocky mountain trail that slopes down the side of the mountain. There's almost no vegetation here; a few roots poke from the ground, but the plants here appear to be dying. The trail slopes down to the northeast and up to the south.\n\n> You look at the roots\nThe roots have been chewed right down to the ground.\n\n> You get it\nYou pull up a handful of crabgrass.\n\n> You drop all\noar: Dropped.\nrobe: (Taking off the robe first)\nDropped.\nwine bottle: Dropped.\nbrown book: Dropped.\nspade: Dropped.\ntrowel: Dropped.\nhandful of crabgrass: Dropped.\n\n> You go east\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a wine bottle, a brown book, a spade, a trowel, and\na handful of crabgrass here.\n\n> You jump on the trampoline\nWhee! Loads of fun, but this isn't helping you find Amanda.\n\n> You examine  the tree\nIt's quite a stately old chestnut tree. It towers high above you, shading you with its thick limbs.\n\n> You shake it\nYou shake the stately tree, but can't really budge it. From high above, however, you hear an angry squawking.\n\n> You examine the rope\nIt looks like an ordinary long rope to me.\n\n> You throw the rope at the tree\nYou miss.\n\n> You tie the rope\nWhat do you want to attach it to?\n\n> You go west\nAs much as you might like to proceed further and attack the enemies of your liege lord, the terrain's just far too rugged for walking. The only safe path is to the north.\n\n> Go west\nYou're standing at the eastern edge of a deep mountain gorge. Far below you, mist swirls over sharp rocks. You're trying desperately to keep your vertigo in check, and having some success; staying a good fifteen feet back from the edge helps a lot. Across the gorge you can just make out a slender stone tower rising from a rocky mountain-top - but of course, you can't get there from here. If only you had an Acme Brij Kreeaytor! The only obvious exit is the trail back to the east; other directions appear too rocky to travel.\n\n> You jump on the trampoline\nYou jump on the trampoline and fly straight up through the hole overhead, landing on the soft grass next to the hole on top of the burial mound.\n\nYou're standing on top of the burial mound, perhaps thirty feet\nabove the damp, swampy ground below. To the south, you can just make out Lake Draounheer through the mist, and to the southeast, the clifftop and the lighthouse. The only safe path off the mound is to the west. There's little of interest up here.\n\n> Inventory\nYou have a robe (being worn), a long rope, and a small leather pouch.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a thin wand, a pair of erasers, a handful of radberries, a jade figurine, a black stone, and a sword.\n\n> You examine boat\nThe rowboat is small but looks quite sturdy. There's a small hole in the bottom of the boat, but a cork has been fitted inside."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You go downwards\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a trampoline here.\n\n> You go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a wine bottle, a brown book, a spade, a trowel, and\na handful of crabgrass here.\n\n> You get all\noar: Taken.\nwine bottle: Taken.\nbrown book: Taken.\nspade: Taken.\ntrowel: Taken.\nhandful of crabgrass: Taken.\n\n> Hi\nThe monk waves half-heartedly. \"You've lost the ways of Duhdha,\" he murmurs mournfully.\n\n> You go east\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west."
    },
    {
        "text": "> You look around\nYou're standing on the bank of a rushing mountain river. The bank\nis grassy and slopes gently down to the water. The swift-moving river babbles gentle murmurings, and a sweet-smelling breeze blows from the north. It's peaceful here, and quite relaxing. A trail leads back up into the Beeg'ashell Mountains to the southwest. The river is to the north, and flows down from the west.\n\nThere's a beautiful woman seated at the water's edge - could it be\nthe fair Amanda? But no - Amanda is blond, while this woman's hair is auburn. Her face is narrower, and her eyes are quite different. She glances over her shoulder and smiles invitingly. \"Welcome, Warrior.\" Her voice is musical, lilting, her accent like nothing you've ever heard before.\n\n> Go southwest\nYou're walking on a rocky mountain trail that slopes down the side of the mountain. There's almost no vegetation here; a few roots poke from the ground, but the plants here appear to be dying. The trail slopes down to the northeast and up to the south.\n\n> You put all in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\nthin wand: The thin wand is already in the pocket!\npair of erasers: The pair of erasers is already in the pocket!\nhandful of radberries: The handful of radberries is already in the pocket!\njade figurine: The jade figurine is already in the pocket!\nblack stone: The black stone is already in the pocket!\nsword: The sword is already in the pocket!\nlong rope: The long rope is already in the pocket!\noar: You can't fit that in the pocket.\nrobe: You can't fit that in the pocket.\nwine bottle: Done.\nbrown book: You can't fit that in the pocket.\nspade: You can't fit that in the pocket.\ntrowel: You can't fit that in the pocket.\n\n> You drop all\noar: Dropped.\nrobe: (Taking off the robe first)\nDropped.\nbrown book: Dropped.\nspade: Dropped.\ntrowel: Dropped."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Look around\nYou're standing in a damp, cluttered cave. Twisting, tiny tunnels\nrun off in all directions, but (thankfully) the only one you're big enough to fit through is back to the south. You've obviously stumbled into the legendary mines of the Dwarvish Lord Dioria, a brave but rather odious king who used to sell gems and gold to the ancient Ulians - you can recognize clumsy dwarvish mining when you see it.\nThankfully, all the legends suggest that the dwarves are long-dead. Jumbled rocks litter the floor, and it's rather hard to walk around.\n\nYou see a rusty knife here.\n\n> You get the knife\nYou reach for the rusty knife, but, like all dwarf-made goods, it vanishes in a puff of oily black smoke when a human touches it.\n\n> You look at the rocks\nThe rocks are just cave litter, nothing too interesting. A dwarf rolls out of one of the passages, and tosses a shiny knife at you. You're ready this time, and dodge his throw. The knife just misses your ear, and lands on the ground with a curious thump. \"Phooey!\" the dwarf cries, and dives into one of the tiny tunnels.\n\n> You examine the knife\nThe knife's blade appears to be made from a particularly shiny sort of rubber. Tiny letters on the handle read \"Acme Slysor-Dysor Ghinzoo Nyfe.\" [20]\n\n> Note 20\n[20]: Apologies to those guys that make the real ones.\n\n> You wait for a while\nTime passes...\nA dwarf pokes his head out of a tunnel in the ceiling and tosses a pillow at you. It hits you square in the face, and falls to the ground. You're shaken up, but still standing. \"Humbug!\" the dwarf squeals. You hear him scampering away up the tunnel.\n\n> You examine the pillow\nThe pillow is about as hard as a brick. Tiny letters on one side read \"Acme Soopur-Sopht Downee Pillough.\"\n\n> You wait\nTime passes...\nA low voice whispers, \"Haven't we got anything else to throw at him?\"\n\n> You wait awhile\nTime passes...\n\"No! Not that!\" a gruff voice whispers. \"It's far too valuable!\"\n\n> You wait\nTime passes...\nWithout warning, a dwarf pops up from a tunnel in the floor. He's carrying a pickaxe, which he swings at your head. You duck and leap back, surprised. With a stream of nasty curses, the dwarf hurls the pickaxe at you and dives back into the tunnel.\n\n> Go south\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\n> You hit the vein with the pickaxe\nThe pickaxe bites deep into the vein. A loose chunk of gold goes flying, and lands at your feet.\n\n> You get the gold\nTaken.\n\nYou're feeling a bit better now.\n\n> PUT PICKAXE, GOLD, KNIFE, AND PILLOW IN POCKET\npickaxe: You can't fit that in the pocket.\nlump of gold: You can't fit that in the pocket.\nshiny knife: You can't fit that in the pocket.\npillow: You can't fit that in the pocket.\n\n> You go west\nYou're carrying too much to fit through the passage.\n\n> DROP PILLOW, PICKAXE, AND KNIFE\npillow: Dropped.\npickaxe: Dropped.\nshiny knife: Dropped.\n\n> You look at what you're carrying with you\nYou have a robe (being worn) and a lump of gold.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a brown book, a spade, and a trowel here.\n\n> You examine pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a thin wand, a pair of erasers, a handful of radberries, a jade figurine, a black stone, a sword, a long rope, and a wine bottle.\n\n> DROP FIGURINE, STONE, ROPE\njade figurine: Dropped.\nblack stone: Dropped.\nlong rope: Dropped.\n\n> You go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a pillow, a pickaxe, a shiny knife, and a lump of gold here.\n\n> PUT PILLOW, GOLD, KNIFE, PICKAXE IN POCKET\npillow: Done.\nlump of gold: You can't fit that in the pocket.\nshiny knife: Done.\npickaxe: You can't fit that in the pocket.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a brown book, a spade, a trowel, a jade figurine, a black stone, and a long rope here.\n\n> DROP WINE, PILLOW, KNIFE\nwine bottle: Dropped.\npillow: Dropped.\nshiny knife: Dropped.\n\n> Go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a pickaxe and a lump of gold here.\n\n> Pickaxe in pocket\nlump of gold: Done.\npickaxe: You can't fit that in the pocket.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a brown book, a spade, a trowel, a jade figurine, a black stone, a long rope, a wine bottle, a pillow, and a shiny knife here.\n\n> You check your inventory\nYou have a robe (being worn).\n\n> You go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You get all\noar: Taken.\nbrown book: Taken.\nspade: Taken.\ntrowel: Taken.\njade figurine: Taken.\nblack stone: Taken.\nlong rope: Taken.\nwine bottle: Taken.\npillow: Taken.\nshiny knife: Taken.\n\n> You examine the coffin\nThe coffin is quite large. A figure of a bearded and armored warrior, eyes closed and hands folded across his chest, is carved on the lid. Words are carved on the side - you recognize the language as early Ulian, a quite difficult and arcane tongue. Luckily, you have an Ulian to Valley Tongue dictionary. The words read \"Here lies Ul - Beloved Poppa of All Ulians.\"\n\n> You drop all but the robe\noar: Dropped.\nbrown book: Dropped.\nspade: Dropped.\ntrowel: Dropped.\njade figurine: Dropped.\nblack stone: Dropped.\nlong rope: Dropped.\nwine bottle: Dropped.\nshiny knife: Dropped.\npillow: Dropped.\n\n> You go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a pickaxe here.\n\n> You go south\nYou slip and slide down the mine shaft, and find yourself in -\n\n\n\nYou're standing in a filthy cave hewn from the bedrock. The walls\nare covered with claw marks, and there's a foul, damp odor to the air. A narrow passage leads southwest, and a muddy slide runs up to the north. Dung litters the floor; you really have to watch where you're stepping. You recognize the offal - dragon dung!\n\nYou see a dragon's egg here.\n\n> You go up\nThere's no way you're going to climb the muddy slide; it's far too steep.\n\n> You look at the egg\nThe dragon's egg is quite large, with a fairly thick shell. Still, such eggs are rumored to be mighty good eatin'. [21]\n\n> Note 21\n[21]: This egg business does seem to be a recurring theme in these games, doesn't it?\n\n> You examine the dung\nIt's rather repulsive. You don't want to examine it too closely.\n\n> You go southwest\nThere's a clumsy, nearsighted baby dragon here. It appears to think that you're its mother - it runs up and leaps into your arms. Unfortunately, it weighs about a half-ton -\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a brown book, a spade, a trowel, a jade figurine, a black stone, a long rope, a wine bottle, a shiny knife, and a pillow here.\n\n> You open the box\nYou open the small box for only a moment. Inside is a soggy off-yellow powder. You catch a whiff of what must be petroleum products before quickly closing the box. I'd leave it shut if I were you - that stuff's toxic.\n\n> You examine the ledge\nIt looks like an ordinary ledge to me.\n\n> You examine Dragon\nThe baby dragon is not exactly small - it probably weighs more than you do. But it is quite cute. As you watch, it trips over its own feet and goes flying in a great tangle of claws and tail. [16]\n\n> Wave wand\n\"Idiot!\" a voice thunders. \"The dragon puzzle is triviality personified! Waste no more of my time!\"\n\n> Hi\nThe smith doesn't seem to hear you. He's too busy at the grindstone.\n\n> You examine the stone\nThe massive grindstone spins when then pedal beneath it is pushed. The stone's used for sharpening metal implements.\n\n> You follow you\nThe smith shrugs, then stands. \"For a while, perhaps. But soon I must return and sharpen my axe.\"\n\nThe ghostly smith wipes the crucible with his shirtsleeve.\n\n> Go northeast\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\nThe smith follows you, looking around curiously.\n\n> You go northwest\nYou're standing just northwest of a dark cave, somewhere in the Beeg'ashell Mountains. Inside the cave entrance, you can just make out a set of stone stairs sloping down, back into the heart of the mountains. Rough patches of crabgrass struggle for life here and there, poking through cracks in the rocky mountain soil. A trail climbs up to the west, while another slopes down to the north. A third, level trail leads due south. It's quite cold here, and a chill wind whips across the rocky hills. The cave entrance is back to the southeast.\n\nThe smith follows you, looking around curiously.\n\n> Go south\nYou're standing on top of a low, rocky rise somewhere in the Beeg'ashell Mountains. Not far south of here is the land of the Unnkulians, the dread enemies of your beloved master, the Valley King. In fact, you can make out several features from here, further south - Lake Draounheer's western shore, to the southeast; the walls of what appear to be some sort of monastery; and, on top of the highest of the mountains, a giant boulder, perched quite precariously. Unfortunately (or perhaps thankfully) the terrain is far too rugged for you to get there from here. The only safe path is to the north. There's a spreading chestnut tree in the very center of the clearing.\n\nThe smith wanders down the trail into the clearing. His eyes fall\nupon the spreading chestnut tree. \"Aha!\" he cries. \"Just what I need to fuel my forge!\" He swings his axe in one mighty stroke. The tree splits in two and falls to the ground, just missing you, and dislodging a great eagle that probably made its nest in the highest branches. The giant bird squawks once and wings its way north.\n\nover his shoulder. \"Be seeing you!\" he shouts, and walks back up the trail to the north. [21]\n\n> Note 21\n[21]: The smith, a mighty man is he, with strong and sinewy hands."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You look around\nYou're standing on top of a low, rocky rise somewhere in the Beeg'ashell Mountains. Not far south of here is the land of the Unnkulians, the dread enemies of your beloved master, the Valley King. In fact, you can make out several features from here, further south - Lake Draounheer's western shore, to the southeast; the walls of what appear to be some sort of monastery; and, on top of the highest of the mountains, a giant boulder, perched quite precariously. Unfortunately (or perhaps thankfully) the terrain is far too rugged for you to get there from here. The only safe path is to the north.\n\nRight now, there's nothing in the clearing.\n\n> Go southeast\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\n> You go southwest\nYou're standing in what must be an ancient forge. Dark wooden beams support a sagging stone roof, and the floor is stained with droplets of metal. A giant pair of bellows, attached to a huge crucible, stands in the very center of the room. To one side is a huge grindstone. The only exit is to the northeast.\n\n> You examine the crucible\nThe crucible's a huge container used for melting metals. The giant bellows are attached to it. There's nothing in the crucible.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a brown book, a spade, a trowel, a jade figurine, a black stone, a wine bottle, a shiny knife, and a pillow here.\n\n> You go north\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nYou see a cookbook here.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\n> Go west\nYou're in a tiny room that's not much more than a stone closet. It probably serves as the vestry for the temple. The only exit is back to the east. There's a set of hooks on the western wall.\n\n> Go south\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a pickaxe here.\n\n> You put the gold on the hook\nYou try to hang the lump of gold on the hook, but it slips off and falls into the pit.\n\n> You get all\noar: Taken.\nbrown book: Taken.\nspade: Taken.\ntrowel: Taken.\njade figurine: Taken.\nblack stone: Taken.\nwine bottle: Taken.\nshiny knife: Taken.\npillow: You've already got your hands full.\n\n> You put pillow on hook\nYou try to hang the pillow on the hook, but it slips off and falls into the pit.\n\n> You put the box on hook\nYou try to hang the small cardboard box on the hook, but it slips off and falls into the pit.\n\n> You look at pit\nThe pit's quite deep. You can just make out the bottom. A baby dragon is walking back and forth down there.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar here.\n\n> You put stone on the hook\nYou try to hang the black stone on the hook, but it slips off and falls into the pit.\n\n> Go northwest\nlinoleum. The chamber is featureless; the only exit is back to the southeast.\n\nYou see a barbell here.\n\n> You look at the crucible\nThe crucible's a huge container used for melting metals. The giant bellows are attached to it. In the crucible you see a lump of gold.\n\n> You examine the bellows\nWhen a fire is lit under the crucible, the bellows are used to make the flames rise higher. Pushing the bellows will drive air under the crucible.\n\n> Inventory\nYou have a robe (being worn), a small cardboard box, a long rope, a brown book, a spade, a trowel, a jade figurine, a black stone, a wine bottle, a shiny knife, and a pillow.\n\n> You put all in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\nthin wand: The thin wand is already in the pocket!\npair of erasers: The pair of erasers is already in the pocket!\nhandful of radberries: The handful of radberries is already in the pocket!\nsword: The sword is already in the pocket!\nshiny knife: The shiny knife is already in the pocket!\nblack stone: The black stone is already in the pocket!\nrobe: (Taking off the robe first)\nDone.\n\n[TADS-1001: stack overflow]\n\n> Inventory\nYou have a robe (being worn), a small cardboard box, a long rope, a brown book, a spade, a trowel, a jade figurine, a wine bottle, and a pillow.\n\n> PUT GOLD, BOTTLE, FIGURINE IN POCKET\nlump of gold: You can't fit that in the pocket.\nwine bottle: Done.\njade figurine: Done.\n\n> You drop all but the robe\nsmall cardboard box: Dropped.\nlong rope: Dropped.\nbrown book: Dropped.\nspade: Dropped.\ntrowel: Dropped.\npillow: Dropped.\nlump of gold: Dropped.\n\n> You go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a small cardboard box, a long rope, a brown book, a spade, a trowel, a pillow, and a lump of gold here.\n\n> You put the rope on the hook\nYou try to hang the long rope on the hook, but it slips off and falls into the pit.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see an oar, a small cardboard box, a brown book, a spade, a\ntrowel, a pillow, and a lump of gold here.\n\n> You look at the writing\nThe writing appears to be a legend, written in the ancient Ulian tongue.\n\n> You get all\noar: Taken.\nsmall cardboard box: Taken.\nbrown book: Taken.\nspade: Taken.\ntrowel: Taken.\npillow: Taken.\nlump of gold: You've already got your hands full.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a lump of gold here.\n\n> You eat it\nYou pull up a handful of moss and choke it down. It's not very filling, and tastes horrible.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a thin wand, a pair of erasers, a sword, a shiny knife, a black stone, a wine bottle, and a jade figurine. Something you ate is really not agreeing with you. In fact, you appear to be dying -\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a thin wand, a pair of erasers, a sword, a shiny knife, a black stone, a wine bottle, and a jade figurine.\n\n> DROP WAND, ERASERS, SWORD, KNIFE, STONE, BOTTLE, FIGURINE\nthin wand: Dropped.\npair of erasers: Dropped.\nsword: Dropped.\nshiny knife: Dropped.\nblack stone: Dropped.\nwine bottle: Dropped.\njade figurine: Dropped.\n\n> Inventory\nYou have a robe (being worn), a long rope, an oar, a small cardboard box, a brown book, a spade, a trowel, and a pillow.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a lump of gold, a thin wand, a pair of erasers, a sword, a shiny knife, a black stone, a wine bottle, and a jade figurine here.\n\n> You drop all but the robe\nlong rope: Dropped.\noar: Dropped.\nsmall cardboard box: Dropped.\nbrown book: Dropped.\nspade: Dropped.\ntrowel: Dropped.\npillow: Dropped.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a lump of gold, a thin wand, a pair of erasers, a sword, a shiny knife, a black stone, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, a brown book, a spade, a trowel, and a pillow here.\n\n> Sharpen pickaxe\nDuhdha says, \"Sharpening is for losers. Dullness brings reward.\"\n\n> You follow you\nThe old monk shakes his head. \"I only follow the Great Duhdha. These days, it's quite hard to keep the faith.\"\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), a pickaxe, and a spade.\n\n> You hit the vein with the pickaxe\nThe pickaxe bites deep into the vein. Unfortunately, it'll take better mining equipment to get any more gold out.\n\n> You dig the dung with the shovel\nShovelling manure is best left to Acme salesmen and their ilk.\n\n> You look at the marks\nThe dragon appears to have scratched some crude graffiti - 'Clumsy wuz heer.' [22]\n\n> Note 22\n[22]: At least it doesn't say 'Clumsy luvs Amanda.'\n\n> Smell\nWhat do you want to smell?\n\n> You examine the dung\nIt's rather repulsive. You don't want to examine it too closely.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a lump of gold, a thin wand, a pair of erasers, a sword, a shiny knife, a black stone, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, a brown book, a trowel, and a pillow here.\n\n> You put all but the robe in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\npickaxe: The pickaxe is already in the pocket!\nspade: The spade is already in the pocket!\n\n> You get all\nlump of gold: Taken.\nthin wand: Taken.\npair of erasers: Taken.\nsword: Taken.\nshiny knife: Taken.\nblack stone: Taken.\nwine bottle: Taken.\njade figurine: Taken.\nlong rope: Taken.\noar: You've already got your hands full.\nsmall cardboard box: You've already got your hands full.\nbrown book: You've already got your hands full.\ntrowel: You've already got your hands full.\npillow: You've already got your hands full.\n\n> You put all but the robe in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\npickaxe: The pickaxe is already in the pocket!\nspade: The spade is already in the pocket!\nlump of gold: Done.\nthin wand: You can't fit that in the pocket.\npair of erasers: You can't fit that in the pocket.\nsword: You can't fit that in the pocket.\nshiny knife: You can't fit that in the pocket.\nblack stone: You can't fit that in the pocket.\nwine bottle: You can't fit that in the pocket.\njade figurine: You can't fit that in the pocket.\nlong rope: You can't fit that in the pocket.\n\n> You get all\noar: Taken.\nsmall cardboard box: Taken.\nbrown book: Taken.\ntrowel: You've already got your hands full.\npillow: You've already got your hands full.\n\n> You go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\n> You examine the panelling\nIt's quite tacky, made from fiberboard and asbestos and stained with lead paint. Tiny lettering along the bottom of one wall reads \"Acme Hoam Improovmint Deevishun.\"\n\n> You look at chair\nThe chair looks quite comfortable, though it is completely hideous."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You look at the eagle\nThe eagle's much too far away for you to really get a good look at him. He must be looking for something to eat. He's quite large, probably the largest bird you've ever seen. I wouldn't want to tangle with him.\n\n> Wave\nWhat do you want to wave?\n\n> Wave wand\n\"Fool!\" a voice thunders. \"Do you really think I'd help you get across *my* gorge? Are you mad?\"\n\n> You go to the north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel and a pillow here.\n\n> You go to the west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\n> You drop all but the robe\nthin wand: Dropped.\npair of erasers: Dropped.\nsword: Dropped.\nshiny knife: Dropped.\nblack stone: Dropped.\nwine bottle: Dropped.\njade figurine: Dropped.\nlong rope: Dropped.\noar: Dropped.\nsmall cardboard box: Dropped.\nbrown book: Dropped.\n\n> You go to the west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel, a pillow, a thin wand, a pair of erasers, a sword,\na shiny knife, a black stone, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, and a brown book here.\n\n> You jump on the trampoline\nYou jump on the trampoline and leap into the air. For some reason, you can really get some altitude here inside the gazebo. You come down and bounce again, higher and higher. The bell's almost in reach; in fact, you can just about grab the edge - suddenly, you find yourself -\n\nYou're hanging on the edge of the bell, a good fifteen feet above\nthe gazebo floor. The height is making you quite queasy, and the gentle rocking of the bell isn't helping you any. You can't seem to let go; you're having trouble prying your fingers from the bell's shiny surface. The only exit is (gulp) down.\n\n> You look at the bell\nThe bell is hanging from the steeple roof. It's exquisite workmanship, polished and shiny. Since you're hanging on for dear life from one edge, it's rather hard to examine it fully. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You hit the bell with the pickaxe\nAttacking the bell doesn't appear productive. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You go east\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel, a pillow, a thin wand, a pair of erasers, a sword,\na shiny knife, a black stone, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, and a brown book here.\n\n> Pickaxe\nspade: Dropped.\npickaxe: Dropped.\n\n> You put the stone on the bell\nThere's no good surface on the bell. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You climb the bell\nI don't know how to climb the bell.Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You look in bell\nThere's nothing in the bell. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You ring bell\nAre you crazy? If you rang the bell in your position, you'd fall for sure. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a trampoline here.\n\n> You go east\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel, a pillow, a thin wand, a pair of erasers, a shiny knife, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, a brown book, a spade, and a pickaxe here.\n\n> You put the stone on door\nYou stick the magnetic stone on the steel door. It stays on for a moment, then falls off; I guess the magnet's not very powerful.\n\n> You examine the pilot light\nYep, it's out all right.\n\n> You turn on the oven\nThe pilot light's gone out; you can't turn the oven on.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a bronze ring (being worn), and a lump of gold.\n\n> You hit panelling with the sword\nI don't think you'll get anywhere by attacking the panelling. If you really want to get it off the walls, try pulling it.\n\n> You examine the linoleum\nThe linoleum lines the walls and ceiling, shiny and hideous. Tiny letters along one wall read \"Acme Dam Kolorphul Lih-know-lee-uhm.\"\n\n> You cut it\nWhat do you want to attack it with?\n\n> You take the shelf\nThe shelf is firmly attached to the wall; you're not getting it off.\n\n> You count the carvings\nThere is one (1) grotesque carvings.\n\n> Count beams\nThere is one (1) roof and eight (8) sagging wooden beams.\n\n> You count the droplets\nThere is one (1) metal droplets.\n\n> You go north\nThe steel door is closed.\n\n> You go to the north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel, a pillow, a thin wand, a pair of erasers, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, a brown book, a spade, and a pickaxe here.\n\n> Diagnose\nYou're in peak condition.\n\n> You drop all but the robe\nblack stone: Dropped.\nsword: Dropped.\nshiny knife: Dropped.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a trowel, a pillow, a thin wand, a pair of erasers, a wine bottle, a jade figurine, a long rope, an oar, a small cardboard box, a brown book, a spade, a pickaxe, a black stone, a sword, and a shiny knife here.\n\n> You get all\ntrowel: Taken.\npillow: Taken.\nthin wand: Taken.\npair of erasers: Taken.\nwine bottle: Taken.\njade figurine: Taken.\nlong rope: Taken.\nsmall cardboard box: Taken.\nbrown book: Taken.\nspade: You've already got your hands full.\npickaxe: You've already got your hands full.\nblack stone: Taken.\nsword: You've already got your hands full.\nshiny knife: You've already got your hands full.\n\n> You put all but the robe in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\nlump of gold: The lump of gold is already in the pocket!\noar: Done.\ntrowel: Done.\npillow: Done.\nthin wand: You can't fit that in the pocket.\npair of erasers: You can't fit that in the pocket.\nwine bottle: You can't fit that in the pocket.\njade figurine: You can't fit that in the pocket.\nlong rope: You can't fit that in the pocket.\nsmall cardboard box: You can't fit that in the pocket.\nbrown book: You can't fit that in the pocket.\nblack stone: You can't fit that in the pocket.\n\n> You get all\nspade: Taken.\npickaxe: Taken.\nsword: You've already got your hands full.\nshiny knife: You've already got your hands full.\n\n> You check your inventory\nYou have a robe (being worn), a thin wand, a pair of erasers, a wine bottle, a jade figurine, a long rope, a small cardboard box, a brown book, a black stone, a spade, and a pickaxe.\n\n> Drop\nWhat do you want to drop?\n\n> DROP BOTTLE, BOX, BOOK\nwine bottle: Dropped.\nsmall cardboard box: Dropped.\nbrown book: Dropped.\n\n> You go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [9]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a corkscrew here."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You look at your surroundings\nLake Shore East, the rowboat\n\nDraounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\n> You leave\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nsoftest patch of grass for his nap.\n\n> You give pillow to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> Go north\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [7]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [7]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\n> You turn it on\nYou can't see any way to light the lamp from here; access to the oil supply and wick must be from somewhere else.\n\n> You go east\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\nYou see a single brick here.\n\nThe Valley Patrol marches up from the south.\n\n> You get brick\nTaken.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You give the brick to Patrol\n\"Hmph,\" the leader snorts. \"Got no use fer that. Whatchoo tryin' to do, bribe the Patrol?\"\n\nThe Valley Patrol leader grins at you. He's missing at least four front teeth. \"Hiya, chum.\"\n\n> You break the brick\nYou don't need to break the single brick, however satisfying it might prove to be.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You put the brick in pillow\nI don't know how to put anything into the pillow.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You examine pillow\nThe pillow is about as hard as a brick. Tiny letters on one side read \"Acme Soopur-Sopht Downee Pillough.\"\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You check what you're carrying\nYou have a robe (being worn), a thin wand, a pair of erasers, a jade figurine, a black stone, a spade, a pickaxe, an oar, and a single brick.\n\n> Go southwest\nYou're walking along a well-travelled forest path that winds through the peaceful woods. Birds chirp and sing above you, and the temperature is brisk but pleasant. Like many of the children of the Valley, you played in these woods as a child, scampering through the woods, looking for animal tracks, and climbing trees. The path bends here, running south and northeast. The trees also thin out to the west, and the land slopes up in that direction. There's a radberry bush here, but it's been picked clean.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You throw brick at Patrol\nYou miss.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> You get the brick\nTaken.\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> Go west\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe Valley Patrol ambles down from the north.\n\n> You go south\nYou're riding in a small boat, hurtling down a narrow north-south channel cut through Dawg Rock. Whitewater churns around you, and the boat rocks back and forth. To both sides, the thick granite walls lean overhead. There's no place to land, and no way to slow down - you're totally at the mercy of the churning water. From the south, a distant rumbling grows louder -\n\nYou see a rowboat here.\n\n> You examine the walls\nThe towering granite walls impart a sense of impending doom.\n\nSuddenly, you round a bend in the rushing river. Above you, you can see a stone bridge - but it's much too high to reach from the boat.\nAnd just ahead - a waterfall! Before you have time to react, the boat plummets over the sheer drop, smashing the flimsy rowboat (and you) into tiny pieces -\n\n> You go north\nThe current's much too strong to paddle that way. You'd better just sit back and enjoy the ride.\n\nSuddenly, you round a bend in the rushing river. Above you, you can see a stone bridge - but it's much too high to reach from the boat.\nAnd just ahead - a waterfall! Before you have time to react, the boat plummets over the sheer drop, smashing the flimsy rowboat (and you) into tiny pieces -\n\n> Go outside\nYou jump over the side of the boat. Not knowing how to swim, you sink like a stone and drown.\n\n> Go southwest\nYou trudge up the mountains. Suddenly, a sharp pain shoots up your leg. You look down - your foot has been sliced off by steel jaws buried in the pathway! Before you bleed to death, you just have time enough to read the writing on the trap - \"Acme Rhust-Pruph Stihl Trappe - Dam Dedlee!\"\n\n> You go north\nYou charge into the gloomy cave mouth. From out of darkened crevices, the steel-jawed Demons of Unnkul swarm out to meet you. Even a Valley Warrior can only withstand their endless attacks for so long -\n\n> Go north\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a small leather pouch, a long rope, a wine bottle, a small cardboard box, a brown book, and a rowboat here.\n\n> You get all\nsmall leather pouch: Taken.\nlong rope: You've already got your hands full.\nwine bottle: You've already got your hands full.\nsmall cardboard box: You've already got your hands full.\nbrown book: You've already got your hands full.\nrowboat: Your load is too heavy.\n\n> Rope\nbrown book: Taken.\nlong rope: Taken.\n\n> Go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a sword and a shiny knife here.\n\n> You drop all but the robe and the rope\nthin wand: Dropped.\npair of erasers: Dropped.\njade figurine: Dropped.\nblack stone: Dropped.\nspade: Dropped.\npickaxe: Dropped.\nsingle brick: Dropped.\nsmall leather pouch: Dropped.\nbrown book: Dropped.\n\n> Go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a sword, a shiny knife, a thin wand, a pair of erasers, a\njade figurine, a black stone, a spade, a pickaxe, a single brick, a small leather pouch, and a brown book here.\n\n> You put the trampoline on the hook\nYou try to hang the trampoline on the hook, but it slips off and falls into the pit.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You tie the rope to the trampoline\nI don't know how to attach anything to the trampoline.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You put the trampoline on the hook\nYou try to hang the trampoline on the hook, but it slips off and falls into the pit.\n\n> You go east\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go southwest\nThere's a clumsy, nearsighted baby dragon here. It appears to think that you're its mother - it runs up and leaps into your arms. Unfortunately, it weighs about a half-ton -"
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You enter the boat\nYou're already in the rowboat!\n\n> GET ROPE, BOTTLE, BOOK\nlong rope: Taken.\nwine bottle: Taken.\nbrown book: Taken.\n\n> You put the bottle on the hook\nYou try to hang the wine bottle on the hook, but it slips off and falls into the pit.\n\n> You pour bottle\nWhat do you want to put it in?\n\n> You examine bottle\nIt's Valley Bordeaux 569 - a very good year. It's been opened.\n\n> You drink the wine\nYou glug back the wine. It's sweet and quite tasty. It makes you rather sleepy - in fact, you're passing out. You curl up for a quick nap. Sadly, Unnkulia is not the safest place to snooze - you never awaken! (And you'll never know just what got you! Frustrating, ain't it?)\n\n> You wear the ring\nYou're already wearing the bronze ring!\n\n> You pour the bottle on Dragon\nYou miss the dragon with the wine bottle. It lands beside the beast in the pit. The dragon gives it a sniff, then takes a tentative bite.\nYou watch with growing horror as the baby dragon consumes the entire object.\n\n> You wait awhile\nTime passes...\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You throw pillow at Dragon\nYou miss the dragon with the pillow. It lands beside the beast in the pit. The dragon gives it a sniff, then takes a tentative bite. You watch with growing horror as the baby dragon consumes the entire object.\n\n> Go west\nbedrock of the land. The walls are close around you, and tons of rock hang over your head. Luckily, enclosed spaces don't bother you - only heights do. Passages run north, east, and southwest. All are about the same width and height; none looks more well-traveled than any other.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You check what you're carrying\nYou have a robe (being worn), a thin wand, a pair of erasers, a jade figurine, a black stone, a spade, a pickaxe, a single brick, a long rope, and a brown book.\n\n> Go west\nrowboat. The waters are clear, but you can't see the bottom of the lake - it's quite deep. You're forced to paddle against a gentle southerly current, but it's not hard to keep the boat stationary.\nSouth of here, the lake water is channeled through a narrow fissure in Dawg Rock, and becomes a rushing whitewater river. To the east and west are sandy beaches, and north of here is a swampy shore.\n\nYou see a rowboat here.\n\n> Go north\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a small leather pouch, a long rope, a wine bottle, a small cardboard box, a brown book, and a rowboat here.\n\n> Exit\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a small leather pouch, a long rope, a wine bottle, a small cardboard box, a brown book, a rowboat, and an oar here.\n\n> GET ROPE, BOX, BOOK\nlong rope: Taken.\nsmall cardboard box: Taken.\nbrown book: Taken.\n\n> You eat box\nYou hold your breath and, opening the box, pour the yellow powder down your throat. Gag! Tastes kind of like WD-40 - and has much the same effect on your intestines -\n\n> You throw the box at Dragon\nYou miss the dragon with the small cardboard box. It lands beside the beast in the pit. The dragon gives it a sniff, then takes a tentative bite. You watch with growing horror as the baby dragon consumes the entire object.\n\n> You throw the brick at Dragon\nYou drop the brick. It lands smack in the middle of the dragon's head. The baby lets out a startled yelp and keels over in its tracks, knocked unconscious.\n\n> You tie the rope to the hook\nOkay, the rope is now tied to the hook. The other end dangles down into the pit, just touching the floor. You could probably get down there now."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Go downwards\nScrewing up your courage, you shinny down the rope.\n\nYou're standing at the bottom of a pit, cut into the rock. The\nwalls are solid bedrock, and quite sheer; you won't be able to climb up them. Luckily, a rope dangles down from above. Cutting this pit must have been a monumental task; obviously, this is no natural cavern.\nOnly the ancient Ulians could have made such a hole - and only with magical help. Narrow, low passages runs southeast and northeast. A baby dragon lies at your feet, curled up and snoozing peacefully. I'd let sleeping dragons lie if I were you.\n\nYou see a single brick here.\n\n> You look at Dragon\nThe baby dragon is quite beautiful, with scales of different shades of green laid out in a diamond pattern. It appears to be sleeping. Probably just as well - even as a baby, a dragon's not a beast to mess with.\n\n> You go to the southeast\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [22]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> You examine the chute\nThe chute runs straight down. Its walls are the same slick metal as the tunnels and the chamber. You can't see more than a few feet down it. It's only a few inches in diameter; you can't fit through it.\n\n> Note 22\n[22]: This is part of the infamous Wowsa Willy's Wizard Way, a not-maze. We at ADVENTIONS have taken to heart the public's dislike of adventure game mazes. THIS IS NOT ONE! If you're having trouble finding your way around, you're not doing it right. The same goes for the Bleak World - been there yet?\n\n> Go northwest\nYou're standing at the bottom of a pit, cut into the rock. The\nwalls are solid bedrock, and quite sheer; you won't be able to climb up them. Luckily, a rope dangles down from above. Cutting this pit must have been a monumental task; obviously, this is no natural cavern.\nOnly the ancient Ulians could have made such a hole - and only with magical help. Narrow, low passages runs southeast and northeast. A baby dragon lies at your feet, curled up and snoozing peacefully. I'd let sleeping dragons lie if I were you.\n\n> You go to the northeast\nYou're standing in a filthy cave hewn from the bedrock. The walls\nare covered with claw marks, and there's a foul, damp odor to the air. A narrow passage leads southwest, and a muddy slide runs up to the north. Dung litters the floor; you really have to watch where you're stepping. You recognize the offal - dragon dung!\n\nYou see a dragon's egg here.\n\n> You get the egg\nTaken.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go up\nYou're standing in a circular room at the edge of a deep pit. A\nledge runs around the room, above the pit. Being here makes your stomach churn; the pit's quite deep, and your fear of heights is as strong as ever. [7]  An iron hook is embedded in one of the walls.\nThe only exit from the room is a passage back through the rock to the west. A long rope is tied to it, and the other end dangles down into the pit. Below, in the pit, is a baby dragon, curled up and fast asleep. Little puffs of smoke rise from its nostrils as the dragon exhales.\n\n> Go north\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nYou see a cookbook here.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You show the egg to the monk\nThe monk stares at the egg hopefully, but then his face falls. \"I only have an oven, and a broken one at that,\" he murmurs. \"And an uncooked egg is the pitiful dregs.\"\n\n> Go south\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go north\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which is closed. A sign hangs just above the glass wall.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You go downwards\nScrewing up your courage, you shinny down the rope.\n\nYou're standing at the bottom of a pit, cut into the rock. The\nwalls are solid bedrock, and quite sheer; you won't be able to climb up them. Luckily, a rope dangles down from above. Cutting this pit must have been a monumental task; obviously, this is no natural cavern.\nOnly the ancient Ulians could have made such a hole - and only with magical help. Narrow, low passages runs southeast and northeast. A baby dragon lies at your feet, curled up and snoozing peacefully. I'd let sleeping dragons lie if I were you.\n\n> Go southeast\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [22]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition.\n\n> You put the stone in the chute\nYou drop the black stone in the chute. It tumbles down the steel shaft.\n\n> Go north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [23]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> Note 23\n[23]: This is part of the infamous Wowsa Willy's Wizard Way, a not-maze. We at ADVENTIONS have taken to heart the public's dislike of adventure game mazes. THIS IS NOT ONE! If you're having trouble finding your way around, you're not doing it right. The same goes for the Bleak World - been there yet?\n\n> You go to the north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [23]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition.\n\n> You go to the south\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [22]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a single brick here.\n\n> You go south\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [24]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> Inventory\nYou have a robe (being worn), a thin wand, a pair of erasers, a jade figurine, a black stone, a spade, a pickaxe, a small cardboard box, a brown book, and a dragon's egg.\n\n> Drop book\nDropped.\n\nYou can't go much longer without food.\n\n> Go north\nAs you step into the tunnel, something brushes past you, moving at\nthe speed of light. \"Hey, buddy!\" a deep voice intones. \"You're in the Way!\"\n\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [22]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a single brick here.\n\n> Go west\nbedrock of the land. The walls are close around you, and tons of rock hang over your head. Luckily, enclosed spaces don't bother you - only heights do. Passages run north, east, and southwest. All are about the same width and height; none looks more well-traveled than any other.\n\nYou can't go much longer without food.\n\n> You look at what you're carrying with you\nYou have a robe (being worn), a thin wand, a pair of erasers, a jade figurine, a black stone, a spade, a pickaxe, a small cardboard box, and a dragon's egg.\n\n> Go east\nYou're standing in a circular room at the edge of a deep pit. A\nledge runs around the room, above the pit. Being here makes your stomach churn; the pit's quite deep, and your fear of heights is as strong as ever. [7]  An iron hook is embedded in one of the walls.\nThe only exit from the room is a passage back through the rock to the west. A long rope is tied to it, and the other end dangles down into the pit. Below, in the pit, is a baby dragon, curled up and fast asleep. Little puffs of smoke rise from its nostrils as the dragon exhales.\n\nYou simply can't go on any longer without food. You perish from lack of nutrition."
    },
    {
        "text": "> You go to the west\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job. \"Who're you?\" one of them grunts, squinting suspiciously.\n\nThe leader of the Valley Patrol gives you a shove. \"What's yer\nbidness here, chum?\"\n\n> You show ring to Patrol\n\"Oooh!\" the Patrol says with one voice. All eyes are fastened on your ring. \"Sorry, chum,\" the leader says, patting you on the back.\n\"Didn't know you had the Big Guy's seal. Go on wit' what you wuz doing.\"\n\nThe Valley Patrol leader grins at you. He's missing at least four front teeth. \"Hiya, chum.\"\n\n> Go north\nYou can't go that way.\n\nsoftest patch of grass for his nap."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You go to the south-west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [3]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> Go up\nYou grab a thick branch on the nearest oak and hoist yourself up.\nSoon, you find yourself -\n\nYou're seated on the branch of an old oak tree. You don't dare\nclimb any higher; the wind's picking up, and you're afraid of heights as it is. Below you, the forest floor appears to be quite hard. Your stomach is feeling a bit queasy, and you're having trouble keeping your balance. With effort, you pry your eyelids open and look around you. To the west, through the branches, you can see the sandy beaches of Lake Draounheer. To the northeast, you catch a glimpse of what appears to be a wooden roof. Further along the branch is an unfinished bird's nest. The only way out of here is (gulp) back down.\n\nThe bird's nest seems to contain a piece of paper.\n\nFrom below, you think you hear gruff voices arguing about something.\n\n> Go east\nYou're standing in the main room of the Golden Dragon Inn. The room\nis warm and welcoming after the brisk fall breezes, though the place is mostly deserted. The barkeep is nowhere to be found, and there's no one seated at the bar. Still, the floor, bar, and tables look clean, and it's good to get out of the cold. The exit is to the west, and a narrow passage runs northeast.\n\nA wine bottle and a soft pretzel are sitting on the bar.\n\nThe only customer is a glum little man sitting alone at a table. He looks like one of those damned Acme salesmen the King's been trying to throw out of the Valley. [4]\n\n> Go southwest\nYou're standing in the main room of the Golden Dragon Inn. The room\nis warm and welcoming after the brisk fall breezes, though the place is mostly deserted. The barkeep is nowhere to be found, and there's no one seated at the bar. Still, the floor, bar, and tables look clean, and it's good to get out of the cold. The exit is to the west, and a narrow passage runs northeast.\n\nThe only customer is a glum little man sitting alone at a table. He looks like one of those damned Acme salesmen the King's been trying to throw out of the Valley. [4]\n\n> You put the coins in the pouch\nbronze coin: Done.\nyellow coin: Done.\n\n> Go east\nYou can't go that way.\n\nThe Valley Patrol marches up from the west.\n\n> You examine the figurine\nThe jade figurine depicts a smiling, pot-bellied Duhdha. The few remaining Duhdhists in the Valley carry these around, rubbing them for good luck. Such foolish nonsense is, of course, beneath a Valley Warrior. [5]  The figurine is encrusted with dirt, and quite filthy.\n\n> You go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [6]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a rowboat here.\n\n> You drop all\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\noar: Dropped.\nspade: Dropped.\ntrowel: Dropped.\nsingle brick: (on foot)\n\nOuch! You should really try to be more careful!\nhandful of radberries: Dropped.\nwine bottle: Dropped.\nsoft pretzel: Dropped.\nsmall leather pouch: Dropped.\npair of erasers: Dropped.\njade figurine: Dropped.\ncorkscrew: Dropped.\n\n> You drop the boat\nDropped.\n\nThe Valley Patrol ambles down from the north.\n\n> Go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [6]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a bronze ring, a sword, an oar, a spade, a trowel, a single brick, a handful of radberries, a wine bottle, a soft pretzel, a small leather pouch, a pair of erasers, a jade figurine, and a corkscrew here.\n\n> GET RING, SWORD, OAR, SPADE, BRICK, BERRIES, PRETZEL, POUCH\nbronze ring: Taken.\nsword: Taken.\noar: Taken.\nspade: Taken.\nsingle brick: Taken.\nhandful of radberries: Taken.\nsoft pretzel: Taken.\nsmall leather pouch: Taken.\n\n> You drop all but the cage\nbronze ring: (Taking off the bronze ring first)\nDropped.\nsword: Dropped.\nspade: Dropped.\nsingle brick: Dropped.\nhandful of radberries: Dropped.\nsoft pretzel: Dropped.\nsmall leather pouch: Dropped.\nthin wand: Dropped.\nbrass lamp: Dropped.\n\n> You go to the north\nYou're standing just south of a rickety wooden bridge that crosses a particularly swampy bit of land. The bridge is the only way to continue north; the land around is much too dangerous for you to wander. Beyond the bridge, to the north, you can see what looks like a low hill. The only other path leads south, back toward Lake Draounheer.\n\nA short, green stoll is blocking the bridge. His eyes light up as\nyou approach. \"Greetings, traveller,\" he grunts. \"Stop. Pay stoll.\" [7]\n\n> You go to the south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a bronze ring, a sword, a spade, a single brick, a handful of radberries, a soft pretzel, a small leather pouch, a thin wand, and a brass lamp here.\n\n> You go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a rowboat, an oar, a bronze ring, a sword, a spade, a single brick, a handful of radberries, a soft pretzel, a thin wand, a brass lamp, and a gilded cage here.\n\n> You get all but the boat\noar: Taken.\nbronze ring: Taken.\nsword: Taken.\nspade: Taken.\nsingle brick: Taken.\nhandful of radberries: Taken.\nsoft pretzel: Taken.\nthin wand: Taken.\nbrass lamp: Taken.\ngilded cage: You've already got your hands full.\n\n> You dig the ground with spade\nYou can't really bring yourself to desecrate the graves of your ancestors. [8]\n\n> You dig the ground with spade\nThe Gods may strike you down if you persist in desecrating the holy graves of your godlike, sacred, and revered ancient ancestors!\n\n> You put all in the pocket\nblack stone: The black stone is already in the pocket!\nsmall leather pouch: Done.\noar: Done.\nbronze ring: (Taking off the bronze ring first)\nDone.\nsword: Done.\nsingle brick: Done.\nhandful of radberries: Done.\nsoft pretzel: Done.\nthin wand: You can't fit that in the pocket.\nbrass lamp: You can't fit that in the pocket.\ngilded cage: You can't fit that in the pocket.\nrobe: You can't fit that in the pocket.\n\n> You check what you're carrying\nYou have a thin wand, a brass lamp (providing light), a gilded cage, and a robe (being worn).\n\n> You get the trampoline\nYour load is too heavy.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a black stone, a small leather pouch, an oar, a bronze ring, a sword, a single brick, a handful of radberries, and a soft pretzel.\n\n> You go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a spade here.\n\n> You put all but the robe in the pocket\nblack stone: The black stone is already in the pocket!\nsmall leather pouch: The small leather pouch is already in the pocket! oar: The oar is already in the pocket!\nbronze ring: The bronze ring is already in the pocket!\nsingle brick: The single brick is already in the pocket!\nhandful of radberries: The handful of radberries is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nthin wand: Done.\nshiny knife: You can't fit that in the pocket.\npillow: You can't fit that in the pocket.\npickaxe: You can't fit that in the pocket.\nlump of gold: You can't fit that in the pocket.\n\nYou're feeling a bit better now.\n\n> Inventory\nYou have a robe (being worn), a shiny knife, a pillow, a pickaxe, and a lump of gold.\n\n> You drop all but the robe\nshiny knife: Dropped.\npillow: Dropped.\npickaxe: Dropped.\nlump of gold: Dropped.\n\n> You go west\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nshelf.\n\n> You get all\nsmall cardboard box: Taken.\ncookbook: Taken.\n\n> You go to the west\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nA simple, featureless altar made from dark gray granite is built\ninto the northern wall. Above the altar, some writing has been carved into the black stones. Identical passages run south, east, and west.\n\nThere's an old monk here, seated on the altar. He looks like he\nhasn't slept or eaten in days, and appears to be very distressed. He glances up as you enter. \"Welcome, Valley Warrior.\"\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a black stone, a small leather pouch, an oar, a bronze ring, a single brick, a handful of radberries, a soft pretzel, a brass lamp (providing light), and a thin wand.\n\n> DROP STONE, POUCH, OAR\nblack stone: Dropped.\nsmall leather pouch: Dropped.\noar: Dropped.\n\n> Cookbook\nsmall cardboard box: Dropped.\ncookbook: Dropped.\n\n> Go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a shiny knife, a pillow, a pickaxe, and a lump of gold here.\n\n> You get all\nshiny knife: Taken.\npillow: Taken.\npickaxe: Taken.\nlump of gold: Taken.\n\n> You put all but the robe in the pocket\nbronze ring: The bronze ring is already in the pocket!\nsingle brick: The single brick is already in the pocket!\nhandful of radberries: The handful of radberries is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nthin wand: The thin wand is already in the pocket!\nshiny knife: Done.\npillow: Done.\npickaxe: You can't fit that in the pocket.\nlump of gold: You can't fit that in the pocket.\n\n> Lump\npickaxe: Dropped.\nlump of gold: Dropped.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a black stone, a small leather pouch, an oar, a small\ncardboard box, and a cookbook here.\n\n> Pillow\nshiny knife: Dropped.\npillow: Dropped.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a black stone, a small leather pouch, an oar, a small\ncardboard box, a cookbook, a shiny knife, and a pillow here.\n\n> You go to the northwest\nlinoleum. The chamber is featureless; the only exit is back to the southeast.\n\nYou see a barbell, a gilded cage, and a sword here.\n\n> Sword\ngilded cage: Taken.\nsword: Taken.\n\n> You read it\nThoroughly reading the dictionary would take more time than you have. It might be useful if you have to translate something, though. [9]\n\n> You give the grass to the goat\nThe goat sniffs the handful of crabgrass and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Unfortunately, it still looks hungry.\n\n> You give the box to goat\nThe goat sniffs the small cardboard box and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Finally satiated, the goat wanders off into the mountains.\n\n> You go south\nYou're standing on top of a low, rocky rise somewhere in the Beeg'ashell Mountains. Not far south of here is the land of the Unnkulians, the dread enemies of your beloved master, the Valley King. In fact, you can make out several features from here, further south - Lake Draounheer's western shore, to the southeast; the walls of what appear to be some sort of monastery; and, on top of the highest of the mountains, a giant boulder, perched quite precariously. Unfortunately (or perhaps thankfully) the terrain is far too rugged for you to get there from here. The only safe path is to the north. There's a spreading chestnut tree in the very center of the clearing.\n\nThe smith wanders down the trail into the clearing. His eyes fall\nupon the spreading chestnut tree. \"Aha!\" he cries. \"Just what I need to fuel my forge!\" He swings his axe in one mighty stroke. The tree splits in two and falls to the ground, just missing you, and dislodging a great eagle that probably made its nest in the highest branches. The giant bird squawks once and wings its way north.\n\nover his shoulder. \"Be seeing you!\" he shouts, and walks back up the trail to the north. [10]\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a single brick, a handful of radberries, a soft pretzel, a brass lamp (providing light), a thin wand, and a lump of gold.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a black stone, a small leather pouch, an oar, a cookbook, a shiny knife, and a pillow here.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a long rope here.\n\n> Go east\nYou're standing in a circular room at the edge of a deep pit. A\nledge runs around the room, above the pit. Being here makes your stomach churn; the pit's quite deep, and your fear of heights is as strong as ever. [3]  An iron hook is embedded in one of the walls.\nThe only exit from the room is a passage back through the rock to the west. Below, in the pit, you can see what appears to be a baby dragon. It looks up at you briefly, then trips over its tail and falls down with a loud squeak.\n\n> Go southeast\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [11]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a handful of radberries, a soft pretzel, a brass lamp (providing light), a thin wand, and a lump of gold.\n\n> You go north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [12]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> Go west\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [13]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> Go south\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [13]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go to the east\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [14]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> Go west\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [15]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> You put the key in the chute\nYou drop the steel key in the chute. It tumbles down the steel shaft.\n\n> Go west\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [15]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> Go north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [12]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go east\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [14]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You put the key in the chute\nYou drop the steel key in the chute. It tumbles down the steel shaft.\n\n> You go west\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [11]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go northwest\nYou're standing at the bottom of a pit, cut into the rock. The\nwalls are solid bedrock, and quite sheer; you won't be able to climb up them. Luckily, a rope dangles down from above. Cutting this pit must have been a monumental task; obviously, this is no natural cavern.\nOnly the ancient Ulians could have made such a hole - and only with magical help. Narrow, low passages runs southeast and northeast. A baby dragon lies at your feet, curled up and snoozing peacefully. I'd let sleeping dragons lie if I were you.\n\nYou see a single brick here.\n\n> You examine key\nThe steel key is polished and featureless. It's quite large and heavy."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Go upwards\nYou're standing in a circular room at the edge of a deep pit. A\nledge runs around the room, above the pit. Being here makes your stomach churn; the pit's quite deep, and your fear of heights is as strong as ever. [3]  An iron hook is embedded in one of the walls.\nThe only exit from the room is a passage back through the rock to the west. A long rope is tied to it, and the other end dangles down into the pit. Below, in the pit, is a baby dragon, curled up and fast asleep. Little puffs of smoke rise from its nostrils as the dragon exhales.\n\n> Wait\nTime passes...\nBelow, in the pit, the baby dragon opens one eye and then the other. The beast stretches, then stands up, shaking its head.\n\n> You throw the brick at Dragon\nYou drop the brick. It lands smack in the middle of the dragon's head. The baby lets out a startled yelp and keels over in its tracks, knocked unconscious."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> Go downwards\nScrewing up your courage, you shinny down the rope.\n\nYou're standing at the bottom of a pit, cut into the rock. The\nwalls are solid bedrock, and quite sheer; you won't be able to climb up them. Luckily, a rope dangles down from above. Cutting this pit must have been a monumental task; obviously, this is no natural cavern.\nOnly the ancient Ulians could have made such a hole - and only with magical help. Narrow, low passages runs southeast and northeast. A baby dragon lies at your feet, curled up and snoozing peacefully. I'd let sleeping dragons lie if I were you.\n\nYou see a single brick here.\n\n> You get the rope\nYou untie the rope, coil it up, and take it with you.\n\n> You unlock the door with the key\nUnlocked.\n\n> You go to the north\nYou head for the open door, but hot clouds of steam force you back. You're not going down into that hell-pit without getting scalded.\n\n> You look at door\nBeyond the door, you see a stairway that leads down. Great clouds of hot steam billow up the stair.\n\n> You close the door\nClosed.\n\n> You open the door\nOpening the steel door reveals a dragon's egg.\n\n> You examine the egg\nThe dragon's egg is quite large, with a fairly thick shell. Still, such eggs are rumored to be mighty good eatin'. [16]\n\n> You read the cookbook\nYou don't really have time to peruse the cookbook now.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\nThe steel door seems to contain a dragon's egg.\n\n> You go north\nYou head for the open door, but hot clouds of steam force you back. You're not going down into that hell-pit without getting scalded.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition.\n\n> You break the egg\nYou break the egg open. The shell, like most dragon eggshells, shatters to dust, and the liquid interior runs down cracks in the ground.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a soft pretzel, a brass lamp (providing light), a thin wand, and a lump of gold.\n\n> Egg\nsingle brick: Dropped.\ndragon's egg: Dropped.\n\n> Go southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a black stone, a small leather pouch, a cookbook, a shiny knife, a pillow, a single brick, and a dragon's egg here.\n\n> Go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a spade and a trampoline here.\n\n> You get the sign\nIt's firmly attached to the stone wall.\n\n> You get grindstone\nThe grindstone is much too heavy for you to lift.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a shiny knife, a pillow,\na single brick, a dragon's egg, and a steel key here.\n\n> You eat the egg\nYou crack open the egg and consume it. Bleck. Raw eggs have always made you a bit queasy.\n\n> You examine the knife\nThe knife's blade appears to be made from a particularly shiny sort of rubber. Tiny letters on the handle read \"Acme Slysor-Dysor Ghinzoo Nyfe.\" [17]\n\n> You go to the north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a shiny knife, a pillow,\na single brick, and a steel key here.\n\n> Go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a spade and a trampoline here.\n\n> Go southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\nYou see a dragon's egg here.\n\n> You go east\nDraounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\n> You go outside\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe Valley Patrol ambles down from the north.\n\n> Go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [6]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a trowel, a wine bottle, a pair of erasers, a jade figurine, and a corkscrew here.\n\n> You get all\ntrowel: Taken.\nwine bottle: Taken.\npair of erasers: You've already got your hands full.\njade figurine: You've already got your hands full.\ncorkscrew: You've already got your hands full.\n\n> You put all in the pocket\nbronze ring: The bronze ring is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nthin wand: The thin wand is already in the pocket!\nlump of gold: The lump of gold is already in the pocket!\nrobe: (Taking off the robe first)\nDone.\n\n[TADS-1001: stack overflow]\n\n> You put all but the robe in the pocket\nbronze ring: The bronze ring is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nthin wand: The thin wand is already in the pocket!\nlump of gold: The lump of gold is already in the pocket!\npickaxe: You can't fit that in the pocket.\ngilded cage: Done.\nsword: You can't fit that in the pocket.\nbrown book: Done.\nlong rope: You can't fit that in the pocket.\noar: You can't fit that in the pocket.\nblack stone: You can't fit that in the pocket.\ntrowel: You can't fit that in the pocket.\nwine bottle: You can't fit that in the pocket.\n\n> You get all\npair of erasers: Taken.\njade figurine: Taken.\ncorkscrew: You've already got your hands full.\n\n> You look at erasers\nThey're quite chalky. They could use a good clapping.\n\n> You wear them\npair of erasers: You can't wear the pair of erasers.\n\n> Go southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\nYou see a dragon's egg and a spade here.\n\n> Clap erasers\n<COUGH!> A huge cloud of chalk dust fills the air.\n\n> You go west\nThis chamber's walls are covered in tacky stained purple and green wooden panelling. It's not exactly what I would call peaceful, but there is a comfortable chair (upholstered in bright orange) and, on the western wall, a bookshelf. In some ways, the room is kind of like an evil twin of the King's library back in the Valley. The only exit is back to the east.\n\nA yellow paperback, a black book, and a blue book are sitting on the shelf.\n\n> DROP TROWEL, BOTTLE, ERASERS\ntrowel: Dropped.\nwine bottle: Dropped.\npair of erasers: Dropped.\n\n> You go southwest\nThe lakeshore here becomes a stretch of white sand, glaring in the\nfall sunshine. Further south, the land becomes rocky and too difficult to travel; a bit further on, the tip of the awesome Dawg Rock is visible. [6]  You can hear the thunderous crash of water to the south as the lake empties through the Rock. The lake stretches before you to the west. The only way to go appears to be back along the shore to the northeast.\n\nYou see a corkscrew here.\n\n> You go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a shiny knife, a pillow,\na single brick, a steel key, a trowel, a wine bottle, and a pair of erasers here.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a soft pretzel, a brass lamp (providing light), a thin wand, a lump of gold, a gilded cage, and a brown book.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a shiny knife, a single brick, a steel key, a trowel, a wine bottle, and a pair of erasers here.\n\n> You look at boulder\nThe boulder's too far away to examine closely, but it looks like it's perched quite precariously on a faraway mountain-top.\n\n> You go to the west\nYou're standing at the eastern edge of a deep mountain gorge. Far below you, mist swirls over sharp rocks. You're trying desperately to keep your vertigo in check, and having some success; staying a good fifteen feet back from the edge helps a lot. Across the gorge you can just make out a slender stone tower rising from a rocky mountain-top - but of course, you can't get there from here. If only you had an Acme Brij Kreeaytor! The only obvious exit is the trail back to the east; other directions appear too rocky to travel.\n\nSurely, the fair Amanda could not have crossed this great gash in\nthe earth. Perhaps your quest lies elsewhere. A gigantic eagle is circling the gorge. He's probably looking for something to eat.\n\n> You look at the tower\nYou can't really make out the tower from here, but it stirs memories in you that you don't quite understand. Could it be the fabled lost tower of Wowsa Willy?\n\n> Go west\nAre you crazy? You can't climb down the side of the gorge. With your fear of heights, you'd fall in a second. [3]\n\n> Rub figurine\nYou rub the head of the figurine. You feel a little silly, but who knows? A little luck never hurt anyone.\n\n> Rub figurine\nYou rub the head of the figurine. You feel a little silly, but who knows? A little luck never hurt anyone.\n\n> You go north\nYou charge into the gloomy cave mouth. From out of darkened crevices, the steel-jawed Demons of Unnkul swarm out to meet you. Even a Valley Warrior can only withstand their endless attacks for so long -\n\n> Go southwest\nYou trudge up the mountains. Suddenly, a sharp pain shoots up your leg. You look down - your foot has been sliced off by steel jaws buried in the pathway! Before you bleed to death, you just have time enough to read the writing on the trap - \"Acme Rhust-Pruph Stihl Trappe - Dam Dedlee!\"\n\n> You drop all\nrobe: (Taking off the robe first)\nDropped.\npickaxe: Dropped.\nsword: Dropped.\nlong rope: Dropped.\noar: Dropped.\nblack stone: Dropped.\njade figurine: Dropped.\ncorkscrew: Dropped.\npillow: Dropped.\n\n> You drop all but the robe\npickaxe: Dropped.\nsword: Dropped.\nlong rope: Dropped.\noar: Dropped.\nblack stone: Dropped.\njade figurine: Dropped.\ncorkscrew: Dropped.\npillow: Dropped.\n\n> You look at what you're carrying with you\nYou have a robe (being worn) and a rowboat.\n\n> Go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\nYou see a pickaxe, a sword, a long rope, an oar, a black stone, a\njade figurine, a corkscrew, and a pillow here.\n\n> You get all\npickaxe: Taken.\nsword: Taken.\nlong rope: Taken.\noar: Taken.\nblack stone: Taken.\njade figurine: Taken.\ncorkscrew: Taken.\npillow: Taken.\n\n> Go northeast\nYou're standing on the bank of a rushing mountain river. The bank\nis grassy and slopes gently down to the water. The swift-moving river babbles gentle murmurings, and a sweet-smelling breeze blows from the north. It's peaceful here, and quite relaxing. A trail leads back up into the Beeg'ashell Mountains to the southwest. The river is to the north, and flows down from the west.\n\nYou see a rowboat here.\n\nThere's a beautiful woman seated at the water's edge - could it be\nthe fair Amanda? But no - Amanda is blond, while this woman's hair is auburn. Her face is narrower, and her eyes are quite different. She glances over her shoulder and smiles invitingly. \"Welcome, Warrior.\" Her voice is musical, lilting, her accent like nothing you've ever heard before.\n\n> Go east\nYou can't paddle the boat that way from here; maybe you'd better get out first.\n\n> You go to the west\nYou can't paddle the boat that way; maybe you'd better get out first.\n\n> DROP PICKAXE, OAR, CORKSCREW, PILLOW\npickaxe: Dropped.\noar: Dropped.\ncorkscrew: Dropped.\npillow: Dropped.\n\n> Sharpen sword\nUsing the grindstone, you put a sharp new edge on your trusty blade.\n\n> You examine the sword\nYour sword is your trusted friend. It's seen you through many a battle, and has the nicks and scars to prove it. Still, you keep it sharpened and polished. [18]\n\n> You put the egg on the grindstone\nIf you're trying to sharpen something, just sharpen it.\n\n> Go north\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\nYou see a spade here.\n\n> You go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a single brick, a steel\nkey, a trowel, a wine bottle, a pair of erasers, a pickaxe, an oar, a corkscrew, and a pillow here.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a soft pretzel, a brass lamp (providing light), a thin wand, a lump of gold, a gilded cage, and a brown book.\n\n> You tie the rope to the hook\nOkay, the rope is now tied to the hook. The other end dangles down into the pit, just touching the floor. You could probably get down there now.\n\n> You hit dragon with the sword\nKilling baby creatures of any kind is against the Valley Warrior's Code. If you're going to behave that way, you'd better play \"Unnkulia Thirteen: Unnkul Triumphant.\" [19]\n\n> Note 19\n[19]: It doesn't exist, and please don't ask us about it. Can't you take a joke?\n\n> You go to the north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a wine bottle, a pair of erasers, a pickaxe, an oar, a corkscrew, a pillow, and a thin wand here."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a wine bottle, a pair of erasers, a pickaxe, an oar, a corkscrew, and a pillow here.\n\n> You examine the crevices\nThe crevices are uninteresting. You most certainly can't fit inside them, if that's what your thinking.\n\n> Smell breezes\nThe breezes carry the faint scent of flowers.\n\n> You get the wine\nTaken.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go to the south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a pair of erasers, a pickaxe, an oar, a corkscrew, and a pillow here.\n\n> You go to the southwest\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. Great clouds of hot steam billow up the stairs. If you were to go down there, you'd surely be scalded. A sign hangs just above the glass wall.\n\nYou see a spade here.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You read the yellow\nYou've already read this one sixteen times. Aren't you tired of it yet? You know the plot - Don Martyr goes out in his flier, and gets shot down by the fearsome Mauve Men of Cars that wander the dead sea bottoms, then he bounds across the green-and-orange sward, etc. etc. It's just like all the others. [20]\n\n> You eat the yellow book\nYep, it's pure cheez all right. (Burp.)  Pretty filling, though it does taste like motor oil.\n\n> You count the door\nThere is one (1) steel door.\n\n> You examine the hands\nYour hands are supple, sensuous, delicate - oh, pardon me. Guess I got carried away.\n\n> You wake up\nNothing happens.\n\nI don't know the word \"ul\".\n\n> Go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a pair of erasers, a pickaxe, an oar, a corkscrew, and a pillow here.\n\n> DROP ROPE, KNIFE, BOTTLE\nlong rope: Dropped.\nshiny knife: Dropped.\nwine bottle: Dropped.\n\n> Go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a pair of erasers, an oar, a corkscrew, a pillow, a long rope, a shiny knife, and a wine bottle here.\n\n> You examine the gorge\nThe yawning chasm stretches out before you, a deep gash in the earth. The walls are far too steep to climb down, if that's what you're thinking; and there's no convenient ledge for you to drop to."
    },
    {
        "text": "> Go down\nAre you crazy? You can't climb down the side of the gorge. With your fear of heights, you'd fall in a second. [3]\n\n> Wave wand\n\"Fool!\" a voice thunders. \"Do you really think I'd help you get across *my* gorge? Are you mad?\"\n\n> Figurine\nblack stone: Dropped.\njade figurine: Dropped.\n\n> You throw the barbell at dragon\nYou drop the barbell directly on top of the dragon's head. It's squished to a bloody pulp. The baby croaks once, pitifully, then expires. Suddenly, a ferocious roar fills the air. You turn, startled, as a gigantic beast thunders down the passage toward you!\nThe mother dragon must have had some sort of bond with her young - and severing that bond has made her a mite testy -\n\n> You throw the barbell at the coffin\nYou must be joking. You can't throw the barbell anywhere - it's far too heavy.\n\n> You drop all but robe\nsword: Dropped.\ndragon's egg: Dropped.\nsingle brick: Dropped.\nthin wand: Dropped.\npickaxe: Dropped.\nbarbell: Dropped.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a sword, a dragon's egg, a single brick, a thin wand, a pickaxe, and a barbell here.\n\n> You drop the barbell\nDropped. Your grasp loosens and you plummet to the ground.\nThankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a sword, a dragon's egg, a single brick, a thin wand, a pickaxe, and a trampoline here.\n\n> You jump on the trampoline\nYou jump on the trampoline and leap into the air. For some reason, you can really get some altitude here inside the gazebo. You come down and bounce again, higher and higher. The bell's almost in reach; in fact, you can just about grab the edge - suddenly, you find yourself -\n\nYou're hanging on the edge of the bell, a good fifteen feet above\nthe gazebo floor. The height is making you quite queasy, and the gentle rocking of the bell isn't helping you any. You can't seem to let go; you're having trouble prying your fingers from the bell's shiny surface. The only exit is (gulp) down.\n\nYou see a barbell here.\n\n> You get the barbell\nTaken. Your grasp loosens and you plummet to the ground. Thankfully, the trampoline was right underneath you, and you land uninjured.\n\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a sword, a dragon's egg, a single brick, a thin wand, a pickaxe, and a trampoline here.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a sword, a dragon's egg, a single brick, a thin wand, a pickaxe, and a trampoline here.\n\n> Go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a barbell here.\n\n> Go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a trampoline and a barbell here.\n\n> Go south\nYou're on the north shore of Lake Draounheer, at the southern edge\nof the infamous Damsogee Swamp. This is unexplored territory now; you've left the safety of the Forest of Radeekal for dangerous and uncharted wilderness. Perhaps a wiser man would turn back now - but you are a Valley Warrior, and know no fear. Mist swirls at the water's edge, and reeds bend in the cold, damp breeze. Two paths lead into the swamp, one due north, the other northwest. The path is surprisingly well-traveled; small footprints lead north.\n\n> You go to the northwest\nlinoleum. The chamber is featureless; the only exit is back to the southeast.\n\nYou see a black stone and a jade figurine here.\n\n> You get all\nblack stone: Taken.\njade figurine: Taken.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a soft pretzel, a brass lamp (providing light), a lump of gold, a gilded cage, and a brown book.\n\n> Inventory\nYou have a robe (being worn), an oar, a black stone, and a jade figurine.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a pair of erasers, a corkscrew, a pillow, a long rope, a shiny knife, and a wine bottle here.\n\n> Go west\nYou're standing in the whitewashed gazebo in the mystical cavern.\nIt's quite peaceful here; the moss-covered cavern floor outside muffles most sounds. Faint flowery smells reach your nostrils, and you feel quite relaxed. Truly, there is an almost magical tranquillity here. High above you, you can see the steeple bell.\n\nYou can only go back to the east from here.\n\nYou see a sword, a dragon's egg, a single brick, a thin wand, and a pickaxe here.\n\n> You get all\nsword: Taken.\ndragon's egg: Taken.\nsingle brick: Taken.\nthin wand: Taken.\npickaxe: Taken.\n\n> Go outside\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\nThe Valley Patrol appears to be engaged in a belching contest. Ooh, that last one was a real prize-winner!\n\n> Go south\nYou're standing in a mossy cave carved from the living rock. A wide exit leads back out into the sun-dappled forest to the north. The floor and walls are solid rock, covered with lichens and fungi. It's quite peaceful here.\n\n> You climb the tree\nYou shinny partway up a tree, but slide back down.\n\n> You examine the shrine\nIt's a shrine dedicated to some long-forgotten prophet - Duhdha by name. No one's worshipped here for years. The shrine's a simple, modest granite pillar. You don't really know its significance - you're a warrior, not a priest. Tangled vines hang over the shrine, and weeds have sprung up around the bottom of the pillar. [21]\n\n> You climb the vines\nClimbing all over Duhdha's shrine would be most impolite.\n\n> You examine the weeds\nIt looks like an ordinary tangled vines to me."
    },
    {
        "text": "> You check your inventory\nYou have a robe (being worn), an oar, a black stone, a jade figurine, a sword, a dragon's egg, a single brick, a thin wand, and a pickaxe.\n\nThe Valley Patrol marches up from the west.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a soft pretzel, a brass lamp (providing light), a lump of gold, a gilded cage, and a brown book.\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> You go south\nYou're standing inside the Valley King's forest retreat. It's a\nsimple hut, bare of furnishings, even more humble on the inside than on the out. The only exit is to the north, back out to the forest. There's a chalkboard against the back wall.\n\n> You erase it\nYou don't have the erasers.\n\nOutside the hut, you hear tramping feet and gruff voices raised in argument.\n\n> You climb the tree\nYou shinny partway up a tree, but slide back down.\n\nsoftest patch of grass for his nap.\n\n> Go northeast\nInn, Back Room\n\nThe back room of the inn is bare of furnishings; not even a simple bucket is to be found. The floor creaks underfoot, and the innkeeper is nowhere to be seen. The only exit is southwest, back to the main room of the inn.\n\n> You look at the floor\nA few of the boards are loose. You might be able to pull them.\n\n> You pull the boards\nThe floorboards were indeed loose; you pull a few of them up, revealing a dark hole below the inn! Suddenly, with an explosion of light and sound, a scruffy-looking bearded man appears. He's quite short, wears rumpled clothing and a Baltimore Skipjacks cap. and is carrying a criminal law casebook. \"Hey!\" he shouts, waggling a finger at you and replacing the boards. \"Cut that out! That underworld's reserved for people playing 'Unnkulia One-Half!' Go find your own!\" With another loud explosion, the strange little man vanishes.\n\n> Go west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [3]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\n> You examine the base\nThe brick base looks like a recent piece of work; the cement hasn't quite set yet.\n\n> You break the lighthouse lamp\nMindless destruction of the Valley King's lighthouse would surely get you in trouble.\n\n> Go southwest\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [3]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe six thugs that make up the Valley Patrol are here, leaning on\ntheir pikes. They appear to be loafing on the job.\n\n\"Well, we'd better be moving along,\" the Valley Patrol leader says.\nHe yawns and stretches. \"Only twenty more minutes on this break, fellas.\"\n\n> Go south\nYou're standing on the eastern shore of Lake Draounheer. Across the sparkling blue waters, you can see the snow-covered caps of the Beeg'ashell Mountains, deep in the heart of evil Unnkulia. But here, on this side of the lake, you could truly find peace. Gentle waves lap at the shore, and reeds bend gracefully in the brisk fall breezes. To the east, a path leads back into the forest. North of here, the land slopes up sharply, and the path continues. You could also go southwest, along the shore of the lake - further along, the grassy lakeshore turns into a sandy beach.\n\nYou see a rowboat here.\n\nThe Valley Patrol ambles down from the north.\n\n> You put all but the robe in the pocket\nbronze ring: The bronze ring is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nlump of gold: The lump of gold is already in the pocket!\ngilded cage: The gilded cage is already in the pocket!\nbrown book: The brown book is already in the pocket!\noar: You can't fit that in the pocket.\nblack stone: Done.\njade figurine: You can't fit that in the pocket.\nsword: You can't fit that in the pocket.\ndragon's egg: You can't fit that in the pocket.\nsingle brick: You can't fit that in the pocket.\nthin wand: You can't fit that in the pocket.\npickaxe: You can't fit that in the pocket.\n\n> You erase the chalkboard\nYou erase the chalkboard. Hope the Valley King doesn't catch you...\n\n> You turn the chalkboard\nTurning the chalkboard doesn't have any effect.\n\nOutside the hut, you hear tramping feet and gruff voices raised in argument.\n\n> You look behind the chalkboard\nThe chalkboard is firmly nailed to the wall.\n\n> Wave wand\nNothing happens.\n\nSuddenly, you round a bend in the rushing river. Above you, you can see a stone bridge - but it's much too high to reach from the boat.\nAnd just ahead - a waterfall! Before you have time to react, the boat plummets over the sheer drop, smashing the flimsy rowboat (and you) into tiny pieces -\n\n> Go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a corkscrew, a pillow, a long rope, a shiny knife, and a wine bottle here.\n\n> Break bottle\nYou break the bottle over your knee. It shatters into a million pieces, the wine running down your leg.\n\n> You put all but the robe in the pocket\nbronze ring: The bronze ring is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nlump of gold: The lump of gold is already in the pocket!\ngilded cage: The gilded cage is already in the pocket!\nbrown book: The brown book is already in the pocket!\nblack stone: The black stone is already in the pocket!\noar: You can't fit that in the pocket.\njade figurine: Done.\nsword: You can't fit that in the pocket.\ndragon's egg: You can't fit that in the pocket.\nsingle brick: You can't fit that in the pocket.\nthin wand: You can't fit that in the pocket.\npickaxe: You can't fit that in the pocket.\npair of erasers: You can't fit that in the pocket.\n\n> You lift it\nYou push the oven back against the east wall, blocking the passage.\n\n> You go west\nYou're deep in the heart of the swamp now, in a dismal clearing of quicksand and mire. A gentle old willow tree hangs over the clearing, vine-covered branches dipping low. One of the vines has been chewed through, and a length of it has fallen across the quicksand. The only safe path is back to the east.\n\nWithout warning, your feet sink into the muck. You try to move, but can't. You're sinking in the quicksand - and you don't have much time left!\n\n> Wait\nTime passes...\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat. Your head finally sinks below the surface of the quicksand. You try to hold your breath, but it's useless; the bog seems bottomless. Finally, lungs bursting, you breathe in a mouthful of moist sand -\n\n> You go to the south\nYou can't go that way.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You examine the wall\nThere's not much here. The Valley King doesn't keep a very well-stocked larder. A chalkboard is nailed to one wall, and the exit is north.\n\nOutside the hut, you hear tramping feet and gruff voices raised in argument.\n\n> You search the wall\nThere's not much here. The Valley King doesn't keep a very well-stocked larder. A chalkboard is nailed to one wall, and the exit is north.\n\n> You sit on the egg\nI don't know how to sit on the dragon's egg.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\nOutside the hut, you hear tramping feet and gruff voices raised in argument.\n\n> You pull the button\nYou can't seem to get a grip on Duhdha's belly button. Maybe you could push it.\n\n> Go upward\nYou grab a thick branch on the nearest oak and hoist yourself up.\nSoon, you find yourself -\n\nYou're seated on the branch of an old oak tree. You don't dare\nclimb any higher; the wind's picking up, and you're afraid of heights as it is. Below you, the forest floor appears to be quite hard. Your stomach is feeling a bit queasy, and you're having trouble keeping your balance. With effort, you pry your eyelids open and look around you. To the west, through the branches, you can see the sandy beaches of Lake Draounheer. To the northeast, you catch a glimpse of what appears to be a wooden roof. Further along the branch is an unfinished bird's nest. The only way out of here is (gulp) back down.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\nFrom below, you think you hear gruff voices arguing about something.\n\n> You jump\nWheeee!A sudden attack of vertigo grabs your guts, and you plummet to the ground. Thankfully, you land on your head, so your death is quick and relatively painless.\n\n> You enter the boat\nOkay, you're now in the rowboat.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition.\n\n> You throw the brick at the window\nYou toss the brick at the wall. With a great crashing sound, the brick shatters the strange glass! Lake water rushes into the room, burying you in a soaking torrent.\n\nOut of the corner of your eye, you can see the water rushing down\nthe stairs to the north. A loud hissing sound reaches your ears, and, for a moment, the billowing steam flowing from the doorway increases in volume. Then, without warning, the steam slowly dissipates.\n\nSuddenly, without warning, the water is sucked back into the lake\nwith a great slurping sound. You stare at the strange wall - and realize that the hole you created has been somehow repaired! The wall is back to normal once again, and you're a bit damp but otherwise uninjured. Only a few rivulets of water dripping from the walls - and the brick lying on the ground - give any sign of what happened here."
    },
    {
        "text": "> You go downward\nYou're standing at a small room, at the foot of a short flight of stairs. The walls are mauve and orange linoleum in alternating squares - quite hideous - and are dripping with water. A low bench sits against the north wall, and an iron bucket filled with rocks stands in one corner. It's quite warm and humid in here. The only exit is to the south, back up the stairs.\n\n> You examine bucket\nThe iron bucket is filled with rocks, and nailed to the floor. Probably, the rocks were heated and then splashed with water to produce steam for the sauna. The rocks are cooling off fast, but are still quite hot.\n\n> You look at the rocks\nThe rocks are still quite hot - too hot to touch.\n\n> You put the egg in the bucket\nYou drop the egg on the hot rocks. It sizzles up nicely, frying a deep golden brown. Carefully, you pick it up. If you weren't a battle-hardened Valley Warrior, it might burn your hands.\n\n> Go upwards\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. A sign hangs just above the glass wall.\n\nYou see a spade here.\n\n> You give egg to the monk\nThe monk grabs the still-warm egg from your outstretched hands, and bites into it. Yolk runs down his stubbly chin, and he grins blissfully, eyes closed, as if remembering long-lost happier days. \"If cooked it be - \" he whispers, then turns a cartwheel, whooping and shouting with glee. \"You are eggsactlee the Warrior foretold!\" he cries, leaping atop the altar. \"You must restore the Valley King's faith! Seek enlightenment from the eggsistential master himself - Duhdha!\" The monk tosses the remnants of the egg down on the altar. There's a flash - and then a great cloud of thick white smoke. You cover your mouth, coughing. The smoke finally clears - and you stare in amazement. The altar and the monk have vanished. In the north wall, a strange circular portal has opened, but you can't really see through it; dense, swirling fog billows from the portal. From somewhere far off, a faint voice calls \"Remember! Only the persistent can find the great Duhdha! And only the enlightened can hope to best him at his own game!\""
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> Describe the surroundings\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nIn the northern wall is a strange, circular portal. Beyond, through the portal, you can see nothing but dense fog. Identical passages run south, east, and west.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a brass lamp (providing light), a lump of gold, a gilded cage, a brown book, a black stone, and a jade figurine.\n\n> Go north\nYou're standing on a flat, gray featureless plain. A cold wind whips about your face, coming first from the east, then the west, then the north. Damp mist swirls around your feet. To the south is a shimmering circular portal, hanging in mid-air. You could walk in any other direction. A wooden signpost is the only landmark.\n\n> You look at the signpost\nThe wooden post is rotting and tilted. It consists of three directional arrows. One points east, and reads \"Kuul.\" One points west and reads \"Unnkul.\" The last points north and reads \"Enlightenment.\"\n\n> You go north\nYou're walking on a flat, gray plain, a featureless world with no landmarks. Mist swirls around your feet, and the air is stale and damp. You could walk in any direction.\n\n> You look at mist\nWhen you look too closely at the mist, strange faces seem to form, sometimes beautiful, sometimes demonic and horrible.\n\n> Go north\nYou're walking on a flat, gray plain, a featureless world with no landmarks. Mist swirls around your feet, and the air is stale and damp. You could walk in any direction.\n\nYou see a went board here.\n\n> You examine the board\nThe ancient game of went has been played by Duhdhist monks for centuries. The board is a simple grid, on which white and black stones are put down. You have no idea what the rules are. It looks like a game's in progress - a lot of stones have already been placed. Tiny raised printing on the edge of the board reads \"Duhdha's Went Board - Stealing is Most Unnkul!\"\n\n> You put the stone on the board\nWith trembling fingers, you place the black stone on the went board.\nIt snaps into place with a satisfying click. \"Argh!\" a booming voice shouts. \"You've played a Tu-kool Yu Whin pattern! All your stones are comatose, and you've forced a tie!\"\n\nThe voice grows quiet. \"Truly, you must be enlightened to make such\na move at random. You've forced a tie with the Great Duhdha, and glimpsed the duality of the universe. Remember this, O Warrior. Black is sometimes white, white is sometimes black, and the duality must always be maintained. Such is the true way of Duhdha.\" The voice pauses. \"I shall aid you on your quest, Enlightened One. Duhdha can open doors of iron as well as doors of perception.\"\n\nThe voice fades in your ears, and the went board fades from sight.\nMist slowly rises around you, obscuring your vision. You blink, and find yourself in -\n\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nIn the northern wall is a strange, circular portal. Beyond, through the portal, you can see nothing but dense fog. Identical passages run south, east, and west.\n\nYou see an iron key here.\n\n> You examine the iron key\nThe iron key is quite large and heavy. The end is carved in the shape of a horned, demonic head.\n\n> You unlock the door with the iron\nWhich iron do you mean, the iron door, or the iron key?\n\n> Key\nUnlocked.\n\n> Go west\nYou're standing in a strange round chamber. The walls here are\nplated with iron, and a dank, oily stench fills the humid air. Identical, low hallways run northwest and southwest. A wider tunnel runs south; that route is more rocky and looks like a natural passage. A dim red glow is faintly visible to the south. From somewhere far away, a low humming noise reaches your ears, but you can't make out what it is from here. A dark stone stair climbs up to the east.\n\nThe warrior in you senses danger - your skin is tingling, and the thumping beat of your heart echoes in your ears, practically drowning out the quiet humming sound. Could this be an entrance into the dread and dangerous caverns under Unnkulia - the Unnkulian Underworld that you'd thought the Valley King had sealed off with his Guardians?\n\nYou shudder. The thought of the fair Amanda in this vile place\nmakes you shiver to your very bones. If she is somewhere down here, she surely needs to be rescued!\n\n> You go northwest\nstairs - iron walls and two identical passages, this time to the southeast and southwest. A strange control panel takes up a good bit of the curving northern wall. One unique feature of the chamber is a winding spiral stair in the center of the room that climbs up into darkness. Dim lights in the wall above the control panel illuminate the chamber in a ruddy glow.\n\nThere's a dead man lying on the floor here. His neck's been\nsnapped.\n\n> You look at the control\nThe control panel is a maze of readouts and switches. You wouldn't know what to turn first. Blinking lights illuminate the readouts, but provide no clue as to what does what. However, one large white dial in the very center of the panel looks promising. There's a cube-shaped hole next to the dial.\n\n> You examine the dial\nThe area above the fifth setting on the dial is marked in red, with a little skull and crossbones. I think the panel's creators are trying to tell you something. [22]  The white dial can be turned to settings numbered from 1 to 7. It's currently set to 5.\n\n> Note 22\n[22]: Subtle, ain't it?\n\n> You examine man\nFrom the position of the man's body, it appears that he fell down the stairs - a simple tragic accident. He's wearing white coveralls with the word \"Hobson\" stenciled above his heart.\n\n> You examine the coverall\nThey're supple and light, and made of a material you've never seen before. Stenciled above the heart is the word \"Hobson\" - probably the dead man's name.\n\n> Go upward\na deep metal shaft. You sigh; you're almost starting to get used to high places, and the shaft is hardly as scary as the chasm, or the clifftop, or the bell tower. From deep in the bowels of the earth, an intense white light shines up the shaft, nearly blinding you. The humming noise you heard downstairs is louder here, and heat washes over you from below.\n\nUnderneath you, through the catwalk, you can see the control room.\nA narrow metal stair leads down to the chamber, and the catwalk curves around the shaft to the southwest and southeast."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> Go down\nstairs - iron walls and two identical passages, this time to the southeast and southwest. A strange control panel takes up a good bit of the curving northern wall. One unique feature of the chamber is a winding spiral stair in the center of the room that climbs up into darkness. Dim lights in the wall above the control panel illuminate the chamber in a ruddy glow.\n\nThere's a dead man lying on the floor here. His neck's been\nsnapped.\n\n> You look at the hole\nThe hole's about two inches on a side. Probably one of those infamous Unnkulian activation-cubes would fit in it.\n\n> You turn the dial to 1\nThe dial won't turn.\n\nFor just a moment, you feel queasy, but the feeling soon passes.\n\n> You get coveralls\nYou strip Hobson of his coveralls. After all, he certainly doesn't need them anymore.\n\nSuddenly, a queasy feeling grips your stomach and won't let go.\n\n> You go southwest\nYou're standing in yet another round chamber deep in the bowels of Unnkulia. The iron-plated walls drip with moisture and oil, the faint humming noise is as loud as ever, and the harsh, metallic odor of machinery is ever-present and overpowering. Identical passages run northeast and southeast, and a narrower hallway runs southwest.\nThere's a sealed door to the west, with no apparent means of opening it. There's a faint light just visible at the end of the southwest corridor.\n\n> You look at the door\nIt's closed.\n\n> You go southeast\nYou're standing at the north end of a long, wide hall. The floor is black marble lined with red streaks; your boots clatter on the hard stone. The walls are carved wood, probably teak and oak. The northern wall curves outward and lined with iron. Two identical passages run northeast and northwest. You could also travel south down the hall.\n\n> Go northeast\nYou're standing in a strange round chamber. The walls here are\nplated with iron, and a dank, oily stench fills the humid air. Identical, low hallways run northwest and southwest. A wider tunnel runs south; that route is more rocky and looks like a natural passage. A dim red glow is faintly visible to the south. From somewhere far away, a low humming noise reaches your ears, but you can't make out what it is from here. A dark stone stair climbs up to the east.\n\n> You listen\nYou hear nothing.\n\nWithout warning, unbearable pain stabs at your stomach, and you keel over. Your hair falls out and your skin flakes off. Obviously, something is quite wrong -\n\n> You get the coveralls\nYou strip Hobson of his coveralls. After all, he certainly doesn't need them anymore.\n\n> You wear them\ncoveralls: Okay, you're now wearing the coveralls.\n\n> You examine the stair\nThe spiral staircase is made from wrought iron, and quite sturdy.\n\n> You go to the south-west\ngadgets. A long stone table lines the western wall, a strange bicycle stands in the very center of the room, an odd blue box stands in the northwest corner, and a large metal cage stands against the eastern wall. Passages run northeast and south.\n\nA pile of debris is sitting on the stone table.\n\nThere's a strange old man here, rummaging through the stuff on the table. From the chemical stains on his hands and clothes you guess he must be a scientist. He glances at you briefly. \"Ah, there you are, Hobson,\" he says. \"Have you seen my stirring rod? I've lost the blasted thing.\"\n\n> You ask the scientist about the rod\nThe scientist frowns. \"Shush, Hobson, I'm trying to think. Now what in the world did I do with that blasted thing?\"\n\n> You examine debris\nIt's typical lab materials - bits of wire, broken test tubes, nothing of interest. The scientist certainly keeps a messy workplace.\n\n> You examine the bicycle\nThe bicycle is of the stationary variety, with no wheels. It's plated with chrome, and quite flashy. There's a small digital display between the handlebars.\n\n> You examine the display\nThe display reads \"-1617 RY.\"\n\n> You look at the box\nThe sides of the box are swirls of blue and white. The box appears to be made out of some type of metal, but it's like no metal you've seen before - smooth, quite hard, and extremely shiny. Oh, for a sword made of such material! There's a large green button on top of the box.\n\n> Examine button\nWhich button do you mean, the green button, or the Duhdha's belly button?\n\n> Green\nIt looks like an ordinary green button to me.\n\n> You examine large cage\nIt's quite a large cage, much too large for you to carry. There's a gnooby inside.\n\n> You look at the gnooby\nYou don't know why, but you really think the creature in the cage must be called a gnooby. It's about the size of a poodle, it's round with short, stubby legs, it's covered in purple fur, and it has beady little red eyes. It's certainly not a native of the Valley, or Unnkulia.\n\n> You search debris\nIt's typical lab materials - bits of wire, broken test tubes, nothing of interest. The scientist certainly keeps a messy workplace.\n\n> Ride bike\nYou'd better get on the bike first.\n\n> You examine the display\nThe display reads \"94 RY.\"\n\n> You examine the bunks\nAll of the bunks are quite hard and low. They look extremely uncomfortable.\n\n> You look under them\nbunk: The bunks seem to be part of the floor; there's no way to look under them.\n\n> You look behind them\nbunk: There's nothing behind the bunk.\n\n> You search them\nbunk: All of the bunks are quite hard and low. They look extremely uncomfortable.\n\n> You look at it\nThe locker is extremely large and made out of shiny metal. The locker is closed.\n\n> You jump\nWheeee!\n\n> Go north\nYou're standing in a square chamber with walls of shiny metal. A\nhuge black desk shaped like a half-moon faces north. On the north wall are three screens, each displaying a different picture. A pale man in a strange outfit is slumped in a chair behind the desk, fast asleep and snoring. A passage runs south - back to the barracks - and a huge sealed door is to the west. Sitting against the eastern wall is a strange machine.\n\n> You look at the man\nThe pale man is fast asleep with his feet propped up on the desk. He's snoring.\n\n> You look at the screens\nthird screen: The third screen displays a dark and gloomy landscape. Jutting, fern-like trees slash across a blood-red sky, and three suns hang low on the horizon. Black underbrush obscures the forest floor - is that a gnooby you glimpse, darting in and out of the vegetation? first screen: The first screen is rather boring. It shows a chamber that looks suspiciously like the barracks you just came from - right down to the strange stationary bicycle.\nsecond screen: The second screen shows a vast glowing chamber filled with strange machinery. Huge gray rods climb from floor to ceiling, and tiny human figures scurrying back and forth give some idea of the immensity of the scale.\n\n> You examine the desk\nThere are four buttons on the desk - white, yellow, green, and red. There's a drawing of a little megaphone above the red button. Each button has an up and a down position.\n\n> You examine the machine\nThe machine is a roughly person-sized jet black capsule. Letters down the side read \"Matter-Mover,\" and beneath that, smaller lettering reads \"Colorspace Olive Drab: 4196, 5568, 1372.\" The capsule has three dials, color coded red, green, and blue. Each dial can be set to a number between 0 and 10,000. Current dial settings: (6000, 3270, 1732)\n\n> You enter the capsule\nYou enter the capsule, but nothing much happens. After a few seconds, you climb out again. Whatever the darn thing's supposed to do, it's not doing it.\n\n> You examine the door\nThe door has no apparent controls of any type. It's sealed shut.\n\n> You go to the west\nThe door is sealed."
    },
    {
        "text": "> You look at first\nThe first screen is rather boring. It shows a chamber that looks suspiciously like the barracks you just came from - right down to the strange stationary bicycle. The huge metal locker is visible also, standing open.\n\n> You look at the boots\nThe boots are made from polished black leather, with steel tips. They're quite sturdy. [23]\n\n> Note 23\n[23]: Obviously, the boots aren't made by either Acme or Akmi.\n\n> You get the boots\n*** Your score has just gone up. ***\n\nTaken.\n\n> Ride bike\nYou pedal the bike furiously. The same flash of light and stomach-turning movement occurs again. When you open your eyes again, you find yourself elsewhere -\n\nThe scientist is standing here, frowning. \"Don't do that again,\" he mutters. \"The time machine is very delicate.\" He fiddles with something in his pocket. \"There. Now it's keyed to my DNA.\"\n\n> You get the box\nThe box is far too heavy for you to lift.\n\n> Go south\n\"I've already looked in there, Hobson,\" the scientist mutters.\n\nThis tiny chamber is obviously the supply closet for the scientist's lab. There's not much of interest except a wooden shelf along the southern wall. The only exit is back to the north.\n\nA tiny bottle of pills, a mauve cube, and a Geiger counter are\nsitting on the wooden shelf.\n\n> You look at the pills\nThe bottle contains quite a few blue pills. A label on the outside reads \"Iodine - For Radiation Sickness.\"\n\n> You examine cube\nThe cube is about an inch on a side, and made out of a crumbly material. Tiny raised letters along one side read \"Akmi Galaktikorp Soopur-Nootrishunal Dee-hi-dray-tid Phood.\"\n\n> You look at the counter\nThe Geiger counter is a rather cumbersome and bulky device, a heavy black box with a readout on top. You know what it is because the Valley King has one, though his isn't made by Acme - tiny letters on the side of this one read \"Acme Soopur Pro-tek-tore Gygur Kowntur.\"\n\n> You examine the readout\nThere are three bands of color on the Geiger counter readout - green, yellow, and red. The red band is labelled with a little skull-and-crossbones. The tacky bit is that the skull appears to be wearing Acme cheez specs - what a shameless product plug! [24] Currently, the needle is well into the red band.\n\n> Note 24\n[24]: The cheez specs can be found in Unnkulian Unventure II.\n\n> You get all from the shelf\ntiny bottle of pills: Taken.\nmauve cube: Taken.\nGeiger counter: Your load is too heavy.\n\n> You put the cube in the hole\nYou stick the mauve cube in the control panel. Sparks fly and lights flicker. Then, without warning, the panel makes a loud noise (PTOOEY!) and the mauve cube sails across the room. I guess it wasn't very appetizing -\n\n> You look at readout\nThere are three bands of color on the Geiger counter readout - green, yellow, and red. The red band is labelled with a little skull-and-crossbones. The tacky bit is that the skull appears to be wearing Acme cheez specs - what a shameless product plug! [24] Currently, the needle is in the middle of the green band.\n\n> You examine the shaft\nThe walls of the shaft look like hard, polished glass. The warm light from below reflects off the surfaces as if they were mirrors. Certainly, the shaft is too slippery for you to climb down, though I suppose you could enter the shaft if you were feeling suicidal.\n\n> Go southeast\nYou're moving around a catwalk just east of the metal shaft. If anything, the heat's more intense here, and the light is quite brilliant. The catwalk curves around to the southwest and northwest. Below, through grates in the floor, you can see what are probably heating or ventilation ducts. This stretch of the catwalk is fairly uninteresting.\n\nFor just a moment, you feel queasy, but the feeling soon passes.\n\n> You eat the pill\nYou swallow one of the little blue pills. There's plenty left for all your friends - and they're dam tastee!\n\n> You go to the southwest\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nThere's a large rusted patch in the curving southern wall, but this section of catwalk is otherwise uninteresting.\n\n> You examine the patch\nThe patch of wall has almost rusted through. The Unnkulians are really letting this place deteriorate.\n\n> Break patch\nI don't think pounding on the patch of wall will do the trick. Why don't you try kicking it?\n\n> Kick patch\nYou smash your boot into the very center of the rusty patch of wall. The patch crumbles, revealing a mass of pink insulation.\n\n> You examine the insulation\nThe insulation is pink fiberglass, a bulky bundle that's essentially weightless. It's quite soft, almost like a giant pillow or mattress. It's stuffed haphazardly inside the wall.\n\n> You get it\nI'd pull it out of the wall first.\n\n> You pull the insulation\nYou yank on the fiberglass insulation, pulling what seems like mountains of the stuff from the wall. Eventually, you clean it all out, revealing a narrow crawl space leading to the southwest.\n\n> Go south\nThe crawl space terminates at a metal grate, suspended above what appears to be a meeting-chamber. You can't really see through the grate too well; the holes are too close together. From the chamber below, you hear gruff, demonic voices arguing, and see monstrous shapes moving around. You could squeeze back through the crawl space to the north, or possibly get through the grate.\n\nYou see a catcher's mitt here.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You examine the mitt\nThe mitt is yellow and spongy. Tiny letters along the lining read \"Acme Dam Tastee Cheez Mhit - Owers oph Thro-eng Phun!\"\n\n\"The human scientist's reactor is too vulnerable,\" one of the voices growls. \"We must post guards. If the power were to fail - \" The voice pauses. \"I trust not this man from the future. His tongue is silver, but his eyes tell me he lies.\"\n\n> You get the mitt\nYour load is too heavy.\n\n\"Fear not,\" another demonic voice murmurs. \"Only the old wizard's accursed water can douse the core - and only if the setting is below three.\"\n\n> You wear the mitt\nYou don't have the catcher's mitt.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You examine the grate\nThe grate's closed, but you can see a dimly-lit rectangular meeting-room below. If you want to see the contents of the chamber, you'll have to open the grate.\n\n\"And what of the Lady Amanda?\" one of the voices asks. You hold\nyour breath and wait silently. She is somewhere close by, and these demons know where!\n\n> You wait for a while\nTime passes...\n\n\"She is well-protected,\" another demon growls. \"And she watches\nover Unnkul's Hope, in the Inner Nursery.\"\n\nAmanda - watching over the evil children of the dread demons? Your heart aches for the fair maiden - forced into servitude by these evil beasts! The sword at your side seems to scream for their blood, and a red haze swims in front of your eyes.\n\n> You wait awhile\nTime passes...\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> Go northeast\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nsouth, revealing a narrow crawl space running to the southwest.\n\nYou see a mass of insulation here.\n\n> Go northwest\nYou're now west of the deep shaft; the catwalk curves around to the southeast and northeast. Heat washes over your face; you feel like you could get a sunburn from the shaft's intense light.\n\n> You examine insulation\nThe insulation is pink fiberglass, a bulky bundle that's essentially weightless. It's quite soft, almost like a giant pillow or mattress.\n\n> Wave wand\n\"Doofus!\" a voice booms. \"What does a Wizard know of petty technology such as this? Bother me not with such foolishness!\"\n\n> Go northeast\na deep metal shaft. From deep in the bowels of the earth, an intense white light shines up the shaft, nearly blinding you. The humming noise you heard downstairs is louder here, and heat washes over you from below.\n\nUnderneath you, through the catwalk, you can see the control room.\nA narrow metal stair leads down to the chamber, and the catwalk curves around the shaft to the southwest and southeast."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You go to the south\nYou're standing about halfway down a long north-south hall. Specks\nof red minerals in the black marble floor catch the pale green lamplight, glinting eerily. A growing and ever-present feeling of evil permeates the hall, seeming to throb with diabolical intensity.\n\nFurther down the hall to the south, you can just make out a dim\nlight. A low humming noise echoes down the hall from the north, just barely audible.\n\n> You put the cube in the box\nWhich box do you mean, the blue box, or the Geiger counter?\n\n> You look at the cage\nWhich cage do you mean, the metal cage, or the gilded cage?\n\n> Go south\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is closed. From the west, you can see a faint reddish glow and you can hear gruff, demonic voices arguing. You could also travel up the hallway to the north.\n\n> You examine the door\nThe wooden door to the east is strengthened with iron bands, and looks quite sturdy. A single word has been carved into the door with a knife, or perhaps a claw (!)  - it reads \"Nursery.\" It's closed and locked.\n\n> You go west\nThe walls of this rectangular chamber are hung with red and black curtains, depicting the triumph of nasty Unnkulians over pitiful, scraggly Valley Warriors. The floor is bone white marble streaked with blood-red minerals, iron ore and granite. A giant pentacle-shaped table stands in the very center of the chamber. There's what appears to be a heating duct at the very top of the chamber in the northern wall. A dim glow from strange panels in the ceiling illuminates the room with a ruddy glow. The only exit is back to the east.\n\nSquatting around the table are five monstrous demons. You recognize them from the paintings of Valley artists - the demon lords of Unnkul! On the right, Ug'lee Ist, the six-headed Warlord, commander of the military demons. To the left, Gher'ee Phahl-wil, the Bishop of the false prophets of Unnkul. Between them, the other three lords, all unbearably evil, all unbearably powerful - all staring at you. The Demon Wizard Dug'heh-neng leers in your direction, stroking the scraggly hairs on his upper lip. \"The ways of my Magic are most Unnkul,\" he growls, gesturing with a slender claw. Suddenly your insides are on the outside -\n\n> You go to the south\nYou're standing on the edge of a pool of bubbling lava. The molten rock bubbles up through cracks deep in the earth, eating away at the sandstone walls. The pool stretches out before you. It's rather hard to breathe here; the room is filled with a haze of sulpher fumes and steam. The only safe path is back to the north.\n\n> You examine the pool\nThe pool of molten rock fills the chamber. There's no way to tell how deep it is. It looks like there might be a slight undertow to the south, but it's hard to tell.\n\n> Metal\nI don't know how to enter the metal cage.\n\nThe blue box stops whirring.\n\n> You go to the south\n\"I've already looked in there, Hobson,\" the scientist mutters.\n\nThis tiny chamber is obviously the supply closet for the scientist's lab. There's not much of interest except a wooden shelf along the southern wall. The only exit is back to the north.\n\nYou see a pair of erasers here.\n\n> Go north\ngadgets. A long stone table lines the western wall, a strange bicycle stands in the very center of the room, an odd blue box stands in the northwest corner, and a large metal cage stands against the eastern wall. Passages run northeast and south.\n\nA pile of debris is sitting on the stone table.\n\nThere's a strange old man here, rummaging through the stuff on the table. From the chemical stains on his hands and clothes you guess he must be a scientist. He glances at you briefly. \"Ah, there you are, Hobson,\" he says. \"Have you seen my stirring rod? I've lost the blasted thing.\"\n\n> You go south\nYou're standing in a gloomy domed chamber. Black tapestries hang on the walls and shadows lurk in every corner. The southern wall is a great curved window, overlooking a deep chasm. Further south, through the window, you can see a beautiful rainbow bridge spanning the chasm. Below, a molten river of lava flows through the rock, carving the gorge from the living rock. It's an amazing sight. A massive ebony throne stands in the very center of the chamber, facing south. The only exit from the chamber is back to the north.\n\n> You look at the window\nThe curved window takes up the entire southern wall of the chamber.\nThe view of the underworld beyond is incredible.\n\n> You examine the bridge\nYep, it's quite a view. You'd have to get closer to examine it more closely.\n\n> You look at the throne\nThe ebony throne is quite large and quite beautiful. It's covered with carvings of demonic figures engaged in various Unnkul acts. It faces south.\n\n> You examine the tapestries\nThe tapestries are solid black and not especially interesting. The Demons of Unnkul may be \"dam tuff\" but they sure don't know how to decorate.\n\n> You look at the window\nThe curved window takes up the entire southern wall of the chamber.\nThe view of the underworld beyond is incredible.\n\n> You look at the doorway\nWhich doorway do you mean, the wooden door, or the gigantic mouth?\n\n> Mouth\nIt's quite artistic, and quite disturbing.\n\n> You knock on wooden\nYou rap loudly on the door. From behind, you hear the sound of small children giggling, but soon, all's quiet once again.\n\n> Unlock wooden with the iron\nWhich wooden do you mean, the wooden door, or the oar?\n\n> You look at the man\nFrom the position of the man's body, it appears that he fell down the stairs - a simple tragic accident.\n\n> Go upwards\na deep metal shaft. From deep in the bowels of the earth, an intense white light shines up the shaft, nearly blinding you. The humming noise you heard downstairs is louder here, and heat washes over you from below.\n\nUnderneath you, through the catwalk, you can see the control room.\nA narrow metal stair leads down to the chamber, and the catwalk curves around the shaft to the southwest and southeast.\n\n> You open the grate\nYou kick open the grate, revealing the chamber below. Seated around a pentacle-shaped table are the five demon lords of Unnkul, the most powerful creatures known! They look up at you, fixing you with beady demon-eyes. You feel a bit exposed. You feel even more exposed a moment later, when the demon lords pull you from the crawl space and skin you like a rabbit -\n\n> You put the insulation in the lava\nYou drop the mass of insulation in the pool of molten rock. It slips beneath the lava, lost forever.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a bronze ring, a brass lamp (providing light), a lump of gold, a gilded cage, a brown book, a jade figurine, and a tiny bottle of pills.\n\n> You go east\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west, a great iron door has been opened, revealing a damp,\ndark passage plunging deeper into the earth. Passages run north and southwest as well.\n\n> You give the wand to the scientist\nThe old man's eyes light up. \"Ah, thank you.\" He pulls a beaker from under the debris on the table and stirs it with the wand. The liquid inside the container turns bright mauve. \"Dear me,\" the scientist murmurs, scratching his head. \"That's not right at all. I must have left the froogle-juice back in our own time. Watch the lab, Hobson - I'll be back in a moment.\" The scientist hops on the stationary bike and starts pedalling. \"And check the reactor, will you?\" the scientist shouts, waving to you. \"One of those damned Unnkulian brats tossed his ball down there, and it's fouling up the cooling system.\"\nHe stabs a button on his wristwatch. \"I've opened the emergency elevator at the bottom. Be careful! Don't forget to shut the reactor down first!\"\n\nSuddenly, there's a blinding flash of light. When the spots vanish from in front of your eyes, both the scientist and the bicycle are gone!\n\n> Go west\nYou'll have to open the door first.\n\n> Go southwest\ngadgets. A long stone table lines the western wall, an odd blue box stands in the northwest corner, and a large metal cage stands against the eastern wall. Passages run northeast and south.\n\nA pile of debris is sitting on the stone table.\n\n> You enter the shaft\nEntering the shaft with all the heat and light is certain suicide."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> Go downwards\nstairs - iron walls and two identical passages, this time to the southeast and southwest. A strange control panel takes up a good bit of the curving northern wall. One unique feature of the chamber is a winding spiral stair in the center of the room that climbs up into darkness. Dim lights in the wall above the control panel illuminate the chamber in a ruddy glow.\n\nThere's a dead man lying on the floor here. His neck's been\nsnapped.\n\nYou see a mauve cube here."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You get all from the shelf\ntiny bottle of pills: Taken.\nmauve cube: Taken.\nGeiger counter: You've already got your hands full.\n\n> You look at the outfit\nThe man's outfit is blue with little gold tassels on the shoulders. Written across the man's chest are the words \"Security - Class Y.\"\n\n> You get the outfit\nI doubt you could strip the man without waking him.\n\n> You enter the capsule\nYou enter the capsule, but nothing much happens. After a few seconds, you climb out again. Whatever the darn thing's supposed to do, it's not doing it.\n\n> You examine third\nThe third screen displays a dark and gloomy landscape. Jutting, fern-like trees slash across a blood-red sky, and three suns hang low on the horizon. Black underbrush obscures the forest floor - is that a gnooby you glimpse, darting in and out of the vegetation?\n\n> You look at the boots\nThe boots are made from polished black leather, with steel tips. They're quite sturdy. [23]\n\n> Note 23\n[23]: Obviously, the boots aren't made by either Acme or Akmi.\n\n> You get the boots\n*** Your score has just gone up. ***\n\nYou've already got your hands full.\n\n> You wear them\npair of boots: Okay, you're now wearing the pair of boots.\n\n> You eat it\nThe cube is absolutely tasteless, but relatively filling.\n\n> You examine table\nThe stone table is scarred and cracked, but not especially interesting. On the stone table you see a pile of debris.\n\n> You examine debris\nIt's typical lab materials - bits of wire, broken test tubes, nothing of interest. The scientist certainly keeps a messy workplace.\n\n> You look at the gnooby\nYou don't know why, but you really think the creature in the cage must be called a gnooby. It's about the size of a poodle, it's round with short, stubby legs, it's covered in purple fur, and it has beady little red eyes. It's certainly not a native of the Valley, or Unnkulia.\n\n> You enter the pool\nYou execute a perfect swan dive into the center of the lava pool. Not surprisingly -\n\n> You put the gold in the lava\nYou drop the lump of gold in the pool of molten rock. It slips beneath the lava, lost forever.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You put the rope in the lava\nYou drop the long rope in the pool of molten rock. It slips beneath the lava, lost forever.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go north\nYou're standing in a strange round chamber. The walls here are\nplated with iron, and a dank, oily stench fills the humid air. Identical, low hallways run northwest and southwest. A wider tunnel runs south; that route is more rocky and looks like a natural passage. A dim red glow is faintly visible to the south. From somewhere far away, a low humming noise reaches your ears, but you can't make out what it is from here. A dark stone stair climbs up to the east.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go west\nYou're standing at the eastern edge of a deep mountain gorge. Far below you, mist swirls over sharp rocks. You're trying desperately to keep your vertigo in check, and having some success; staying a good fifteen feet back from the edge helps a lot. Across the gorge you can just make out a slender stone tower rising from a rocky mountain-top - but of course, you can't get there from here. If only you had an Acme Brij Kreeaytor! The only obvious exit is the trail back to the east; other directions appear too rocky to travel. A gigantic eagle is circling the gorge. He's probably looking for something to eat.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> Go up\na deep metal shaft. From deep in the bowels of the earth, an intense white light shines up the shaft, nearly blinding you. The humming noise you heard downstairs is louder here, and heat washes over you from below.\n\nUnderneath you, through the catwalk, you can see the control room.\nA narrow metal stair leads down to the chamber, and the catwalk curves around the shaft to the southwest and southeast.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You go to the south-west\nYou're now west of the deep shaft; the catwalk curves around to the southeast and northeast. Heat washes over your face; you feel like you could get a sunburn from the shaft's intense light.\n\n> You go to the southeast\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nsouth, revealing a narrow crawl space running to the southwest.\n\nYou see a Geiger counter and an iron key here.\n\n> You eat mitt\nPhooey! Cheez (TM) doesn't really go down too smoothly.\n\n\"Let us reveal all of our sinister plans for the benefit of any\nspies who might be listening!\" a squeaky-voiced demon chirps. You hear the swift, painful sounds of the other demons pounding him into silence.\n\n> Wait\nTime passes...\n\n\"Let us reveal all of our sinister plans for the benefit of any\nspies who might be listening!\" a squeaky-voiced demon chirps. You hear the swift, painful sounds of the other demons pounding him into silence.\n\n> Go northeast\nYou're moving around a catwalk just east of the metal shaft. If anything, the heat's more intense here, and the light is quite brilliant. The catwalk curves around to the southwest and northwest. Below, through grates in the floor, you can see what are probably heating or ventilation ducts. This stretch of the catwalk is fairly uninteresting.\n\n> You examine the ducts\nThere's a metal grate over the duct. Wisps of steam billow up through the ducts; there's quite a bit of air moving down there, seemingly from the northwest to the southwest. I don't think you can get the grate open; it's securely bolted to the floor. Besides, the ducts are too small for you to crawl through.\n\n> You get Hobson\nThe dead man is much too heavy to bring with you.\n\n> Wait\nTime passes...\n\nThe blue box stops whirring.\n\n> You throw the brick at the window\nYou toss the brick at the wall. With a great crashing sound, the brick shatters the strange glass! Lake water rushes into the room, burying you in a soaking torrent.\n\nSuddenly, without warning, the water is sucked back into the lake\nwith a great slurping sound. You stare at the strange wall - and realize that the hole you created has been somehow repaired! The wall is back to normal once again, and you're a bit damp but otherwise uninjured. Only a few rivulets of water dripping from the walls - and the brick lying on the ground - give any sign of what happened here.\n\n> You go north\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which is closed. A sign hangs just above the glass wall.\n\nYou see a spade here.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a corkscrew, a pillow, a shiny knife, a wine bottle, and a mass of insulation here.\n\n> You get the bottle\nWhich bottle do you mean, the wine bottle, or the tiny bottle of pills?\n\n> Go south\nYou step into the shimmering portal, and find yourself in - Altar Chamber\n\nYou are standing in a chamber cut from dark obsidian. Somehow, you feel at peace here. Obviously, this is some kind of temple to one of the gods of ancient Ul. Patterned mosaics cover the floor, and the black walls are streaked with swirls of white marble.\n\nIn the northern wall is a strange, circular portal. Beyond, through the portal, you can see nothing but dense fog. Identical passages run south, east, and west.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a corkscrew, a pillow, a shiny knife, and a mass of insulation here.\n\n> Go east\nYou're standing in an ancient chamber inside the burial mound. High above your head, the muddy hole you dug beckons you - but there's no way to reach it. The walls of the chamber are hard-packed sod, but the floor is solid stone, good Unnkulian granite. A massive stone coffin stands in the very center of the room. The only exit from the chamber is a narrow passage sloping down to the west, vanishing into darkness.\n\nYou see a trampoline and a barbell here."
    },
    {
        "text": "[Themes: Fantasy, Satire]\n\n> You go west\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a corkscrew, a pillow, a shiny knife, and a wine bottle here.\n\n> You put the cube in lava\nYou drop the mauve cube in the pool of molten rock. It slips beneath the lava, lost forever.\n\n> You put pillow in the lava\nYou drop the pillow in the pool of molten rock. It slips beneath the lava, lost forever.\n\n> You enter the pool\nYou execute a perfect swan dive into the center of the lava pool. Not surprisingly -\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a small leather pouch, a cookbook, a steel key, a trowel, a corkscrew, a shiny knife, and a mass of insulation here.\n\n> DROP PILLOW, PICKAXE, WINE\npillow: Dropped.\npickaxe: Dropped.\nwine bottle: Dropped.\n\n> Insulation\nshiny knife: Taken.\nmass of insulation: Taken.\n\n> You examine the lights\nThere's no discernible pattern to the control panel's lights and switches. I wouldn't mess with anything if I were you.\n\n> You put all but robe in the pocket\nblack stone: The black stone is already in the pocket!\nsmall leather pouch: Done.\noar: Done.\nbronze ring: (Taking off the bronze ring first)\nDone.\nsword: Done.\nsingle brick: Done.\nhandful of radberries: Done.\nsoft pretzel: Done.\nthin wand: You can't fit that in the pocket.\nbrass lamp: You can't fit that in the pocket.\ngilded cage: You can't fit that in the pocket.\n\n> Wand in pocket\nbrass lamp: Done.\nthin wand: Done.\n\n> You drop all but the robe\ngilded cage: Dropped.\nspade: Dropped.\noar: Dropped.\ncookbook: Dropped.\n\n> Go northwest\nlinoleum. The chamber is featureless; the only exit is back to the southeast.\n\nYou see a barbell, a gilded cage, a spade, an oar, and a cookbook\nhere.\n\n> You get all\nbarbell: Taken.\ngilded cage: Taken.\nspade: Taken.\noar: Taken.\ncookbook: Taken.\n\n> You give the cage to the goat\nThe goat sniffs the gilded cage and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Unfortunately, it still looks hungry.\n\n> You give cookbook to the goat\nThe goat sniffs the cookbook and grabs it with yellowing teeth. It chews a few times, swallows, and burps loudly. Finally satiated, the goat wanders off into the mountains.\n\n> Trowel\nwine bottle: Taken.\njade figurine: Taken.\ncorkscrew: Taken.\n\n> Inventory\nYou have a robe (being worn), a long rope, a barbell, a spade, an oar, a wine bottle, a jade figurine, and a corkscrew.\n\nA few members of the Valley Patrol lie down on the ground and start snoring.\n\n> You go west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [3]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\nThe Valley Patrol walks up from the east.\n\n> Go north\nYou can't go that way.\n\nThe patrol leader tells a particularly foul joke about the Acme salesman and the King's Droll.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a black stone, a small leather pouch, a bronze ring, a sword, a single brick, a handful of radberries, a soft pretzel, a brass lamp (providing light), and a thin wand.\n\n> Go west\nStanding so close to the clifftop makes you dizzy. I wouldn't stay here too long if I were you. [3]\n\nYou're standing at the top of a rocky cliff, overlooking Lake Draounheer to the west. It's rather frightening, for you suffer from extreme vertigo - in fact, you're feeling a little shaky. [3]  To the east, a path runs downhill back into the forest, and another path leading south slopes down to the lake. You could follow the cliff northeast as well; the land slopes up in that direction, but at least it's further away from the edge of the cliff. Across the lake are the sinister Beegas'hell Mountains, the heart of the Unnkulian menace that no doubt your liege shall soon deal with.\n\n> You drop all but the robe\nlong rope: Dropped.\nbarbell: Dropped.\nspade: Dropped.\noar: Dropped.\nwine bottle: Dropped.\njade figurine: Dropped.\ncorkscrew: Dropped.\n\n> You go to the east\nYou're in a small, square chamber with a low ceiling. A rusty oven stands against the east wall. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nA small cardboard box is sitting on the wooden shelf.\n\n> You pull the oven\nYou move the oven away from the east wall, into the center of the room, revealing a narrow passage to the east!\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a long rope, a barbell, a spade, an oar, a wine bottle, a\njade figurine, and a corkscrew here.\n\n> DROP WAND, SWORD, POUCH, BRICK, RING, STONE\nthin wand: Dropped.\nsword: Dropped.\nsmall leather pouch: Dropped.\nsingle brick: Dropped.\nbronze ring: Dropped.\nblack stone: Dropped.\n\n> You go to the east\nYou're in a small, square chamber with a low ceiling. In the center\nof the room is a rusty oven. It appears to have been pulled away from the wall, revealing a very narrow tunnel to the east. Attached to the northern wall is a long wooden shelf. Otherwise, the room is quite featureless. A passage runs back to the west.\n\nA small cardboard box is sitting on the wooden shelf.\n\n> You look at the rocks\nThe rocks are just cave litter, nothing too interesting. A dwarf pokes his head out of a tunnel in the ceiling and tosses a pillow at you. It hits you square in the face, and falls to the ground. You're shaken up, but still standing. \"Humbug!\" the dwarf squeals. You hear him scampering away up the tunnel.\n\n> You look at the rocks\nThe rocks are just cave litter, nothing too interesting. A low voice whispers, \"Haven't we got anything else to throw at him?\"\n\nI don't know the word \"haven't\".\n\n> You examine rocks\nThe rocks are just cave litter, nothing too interesting. \"No! Not that!\" a gruff voice whispers. \"It's far too valuable!\"\n\n> You examine the rocks\nThe rocks are just cave litter, nothing too interesting. Without warning, a dwarf pops up from a tunnel in the floor. He's carrying a pickaxe, which he swings at your head. You duck and leap back, surprised. With a stream of nasty curses, the dwarf hurls the pickaxe at you and dives back into the tunnel.\n\n> You put all but the robe in the pocket\nhandful of radberries: The handful of radberries is already in the pocket!\nsoft pretzel: The soft pretzel is already in the pocket!\nbrass lamp: The brass lamp is already in the pocket!\nshiny knife: Done.\npillow: Done.\npickaxe: Done.\nlump of gold: You can't fit that in the pocket.\n\nYou're feeling a bit better now.\n\n> You go west\nYou're carrying too much to fit through the passage.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a long rope, a barbell, a spade, an oar, a wine bottle, a\njade figurine, a corkscrew, a thin wand, a sword, a small leather pouch, a single brick, a bronze ring, and a black stone here.\n\n> Knife\npickaxe: Dropped.\nshiny knife: Dropped.\n\n> Go east\nYou squeeze through the narrow tunnel, and find yourself -\n\nYou're standing in a rough-hewn cave at the top of a long-forgotten mine shaft. A thick vein of gold ore runs diagonally across the east wall, glowing in the pale green lamplight. A narrow squeeze runs west, but you're not going to get through there if you're carrying a lot. To the south, the deep mine shaft runs down. Mudslides and rockfalls have taken their toll, and the shaft is slippery and cluttered, but still negotiable. Still, I doubt if you could climb back up. A wider, straight passage runs north.\n\nYou see a lump of gold here.\n\n> You go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a long rope, a barbell, a spade, an oar, a wine bottle, a\njade figurine, a corkscrew, a thin wand, a sword, a small leather pouch, a single brick, a bronze ring, a black stone, a pickaxe, and a shiny knife here.\n\n> Brick\nlong rope: Taken.\nsingle brick: Taken.\n\n> Go southeast\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [9]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> You go north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [10]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\n> You go south\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [11]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go to the north\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [10]  In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go south\nYou're standing in a strange, spherical room. The walls seem to\nglow with pale, bright shades of purple and blue - your lamp is not needed here. The curving floor and walls feel like slick metal underfoot, and you're having some difficulty maintaining your balance. Round tunnels, made from the same strange purple-blue metal, run north, south, east, and west. [9]  A more normal-looking passage, hewn from gray rock, runs northwest. In the center of the floor is a small, round chute. It vanishes into darkness a few feet below the floor.\n\nYou see a steel key here.\n\n> You go to the south\nYou are standing in a square chamber carved from the rock. The\neastern wall of the chamber is made from what appears to be transparent glass - and through it, you can see water and what must be the muddy bottom of Lake Draounheer! Somehow, you've gotten around to the western side of the lake. Perhaps if you strain your eyes, you might make out the King's Lake View room on the other side - but no; the lake is too wide, and the waters too muddy. Identical passages run northeast, northwest, west, and south. To the north is a thick steel door, which stands open, revealing a stone staircase leading down. A sign hangs just above the glass wall.\n\nYou see a steel key here.\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a barbell, a spade, an oar, a wine bottle, a jade figurine,\na corkscrew, a thin wand, a sword, a small leather pouch, a bronze ring, a black stone, a pickaxe, and a shiny knife here.\n\n> You put the stone on board\nYou put the stone down on the went board. Suddenly, a horrible rumbling sound rolls across the gray world, and the earth shakes under your feet. The mist swirls up, and a deep, booming laugh echoes in your ear. \"Fool!\" the deep voice shouts. \"You've made a Nut-kool Gomi-flub pattern! All your stones are intoxicated, and I can force a win!\" A white stone suddenly appears overhead, spinning down through the dark clouds. It gets closer - and bigger - and bigger - that's no ordinary went stone! It's a veritable mountain! Just before it lands, you realize you are destined to die unenlightened -\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a barbell, a spade, an oar, a wine bottle, a jade figurine,\na corkscrew, a thin wand, a sword, a small leather pouch, a bronze ring, a pickaxe, and a shiny knife here.\n\n> Rub figurine\nYou rub the head of the figurine. You feel a little silly, but who knows? A little luck never hurt anyone.\n\n> Go south\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a barbell, a spade, an oar, a wine bottle, a corkscrew, a\nthin wand, a sword, a small leather pouch, a bronze ring, a pickaxe, and a shiny knife here.\n\n> Go northeast\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\nYou see an iron key here.\n\nThe smith follows you, looking around curiously.\n\n> You go to the south\nYou're standing on top of a low, rocky rise somewhere in the Beeg'ashell Mountains. Not far south of here is the land of the Unnkulians, the dread enemies of your beloved master, the Valley King. In fact, you can make out several features from here, further south - Lake Draounheer's western shore, to the southeast; the walls of what appear to be some sort of monastery; and, on top of the highest of the mountains, a giant boulder, perched quite precariously. Unfortunately (or perhaps thankfully) the terrain is far too rugged for you to get there from here. The only safe path is to the north. There's a spreading chestnut tree in the very center of the clearing.\n\nThe smith wanders down the trail into the clearing. His eyes fall\nupon the spreading chestnut tree. \"Aha!\" he cries. \"Just what I need to fuel my forge!\" He swings his axe in one mighty stroke. The tree splits in two and falls to the ground, just missing you, and dislodging a great eagle that probably made its nest in the highest branches. The giant bird squawks once and wings its way north.\n\nover his shoulder. \"Be seeing you!\" he shouts, and walks back up the trail to the north. [14]\n\n> You go southeast\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\nYou see an iron key here.\n\n> You go to the southwest\nYou're standing in what must be an ancient forge. Dark wooden beams support a sagging stone roof, and the floor is stained with droplets of metal. A giant pair of bellows, attached to a huge crucible, stands in the very center of the room. To one side is a huge grindstone. The only exit is to the northeast.\n\nThe crucible seems to contain a gold necklace.\n\n> You look at it\nThe gold necklace is marvelous craftsmanship, thin strands of sparkling metal spun fine and twisted to form a chain. It must be quite valuable. Perhaps you can give it to Amanda when you find her.\n\n> You give necklace to Rivaris\nThe woman's eyes light up with pleasure. \"A princely gift indeed,\" she whispers, putting it around her neck. She stands up and lightly kisses you on the cheek. \"Perhaps someday I can return the favor.\"\n\nWithout warning, the woman's gossamer gown seems to shift and blend, melting into her body. And are those gills, there, around her ribs? Before you can speak or react, the woman dives smoothly into the ice-cold river. You wait for a long moment, but she doesn't come back up. Could she have been a river nymph?\n\n> You go southeast\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west is a great iron door, covered in sinister carvings.\nIt's closed. Passages run north and southwest as well.\n\nYou see an iron key here.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You eat the pretzel\nThat was delicious!\n\n> You get all from shelf\ntiny bottle of pills: Taken.\nmauve cube: Taken.\nGeiger counter: Taken.\n\n> You go to the southeast\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nThere's a large rusted patch in the curving southern wall, but this section of catwalk is otherwise uninteresting.\n\nFor just a moment, you feel queasy, but the feeling soon passes.\n\n> You get the mitt\nTaken.\n\n\"The human scientist's reactor is too vulnerable,\" one of the voices growls. \"We must post guards. If the power were to fail - \" The voice pauses. \"I trust not this man from the future. His tongue is silver, but his eyes tell me he lies.\"\n\n> Wait\nTime passes...\n\n\"Fear not,\" another demonic voice murmurs. \"Only the old wizard's accursed water can douse the core - and only if the setting is below three.\"\n\n> Wait\nTime passes...\n\n\"And what of the Lady Amanda?\" one of the voices asks. You hold\nyour breath and wait silently. She is somewhere close by, and these demons know where!\n\n> You wait for a while\nTime passes...\n\n\"She is well-protected,\" another demon growls. \"And she watches\nover Unnkul's Hope, in the Inner Nursery.\"\n\nAmanda - watching over the evil children of the dread demons? Your heart aches for the fair maiden - forced into servitude by these evil beasts! If only you had kept your trusted sword with you! A red haze swims in front of your eyes, and you thirst for the blood of the demons.\n\n> You go northeast\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nsouth, revealing a narrow crawl space running to the southwest.\n\n> Go south\nThe crawl space terminates at a metal grate, suspended above what appears to be a meeting-chamber. You can't really see through the grate too well; the holes are too close together. From the chamber below, you hear gruff, demonic voices arguing, and see monstrous shapes moving around. You could squeeze back through the crawl space to the north, or possibly get through the grate.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> Go east\nYou're standing in a carved square chamber with an arched roof.\nStairs climb up to the northwest, and bright sunlight filters down, bathing the room in a pale yellow glow.\n\nTo the west, a great iron door has been opened, revealing a damp,\ndark passage plunging deeper into the earth. Passages run north and southwest as well.\n\nYou see an iron key here.\n\n> You drop all but the robe\nsmall cardboard box: Dropped.\nlong rope: Dropped.\nsingle brick: Dropped.\njade figurine: Dropped.\ncoveralls: (Taking off the coveralls first)\nDropped.\ntiny bottle of pills: Dropped.\nmauve cube: Dropped.\nGeiger counter: Dropped.\npair of boots: (Taking off the pair of boots first)\nDropped.\nmass of insulation: Dropped.\ncatcher's mitt: Dropped.\n\n> You look at the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a handful of radberries, a brass lamp (providing light), and a pillow.\n\n> You show berries to the eagle\nThe eagle seems a bit interested; he circles in for a closer look. I think your hand is blocking his sharp-eyed view; maybe if you dropped the berries, he could see them better.\n\n> You drop the berries\nYou drop the radberries on the ground. Suddenly, the circling eagle turns and flies toward you!\n\n> You wait\nTime passes...\n\nThe giant eagle swoops down and lands next to the handful of radberries. It's a magnificent bird, fully as large as you are. It scoops up the berries in one giant mouthful, then takes off and flies across the gorge, vanishing into the distance.\n\n> You wait awhile\nTime passes...\n\nThe giant eagle swoops down and grabs you by the shoulders. You\nwince, trying to pull away, but the monstrous bird is much stronger than you. Suddenly, your feet leave the ground! You close your eyes and swallow, trying to keep your stomach from churning. When you open your eyes again, you find yourself -\n\nFlying Over the Gorge, Carried by a Giant Eagle (AAAAAH!)\n\nYou don't have any time to enjoy the scenery; you're too busy trying not to vomit. If you were to look down, you'd probably see extremely jagged rocks, extremely far below. The eagle seems to be flying westward.\n\n> Wait\nTime passes...\nYou risk a glance down. The eagle has crossed the gorge! Suddenly, you drop the few feet to the western edge. Shaking, you bend and kiss the ground. The eagle rakes a talon down your back, searching for the berries it saw earlier. It finds them, and gobbles them down. Sated, the great bird takes off, winging its way back across the gorge to the east. You stand, brush yourself off, and look around.\n\nYou're west of the wide gorge, high in the Beegas'hell Mountains.\nHow you're going to get back across is something of a mystery. The land here is barren and rocky, and would make for quite difficult travelling. A trail follows the gorge to the northeast, climbing slowly through the snow-capped mountains. High above you to the north, you can just make out a tall stone tower, shrouded in mist. Could it be the fabled tower of the Wizard of Ul, Wowsa Willy? [15]\n\nWhile it's clearly possible to cross the gorge, it seems doubtful\nthat Amanda arrived here the same way you did. Full exploration of this fabled land can wait; you must find a way back over the gorge before the trail grows cold!\n\n> You go to the north\nThe terrain is much too rocky in that direction.\n\n> Go northeast\nYou're standing in a clearing high in the mountains. It's quite\ncold here; patches of snow cover dying lichens, and a brisk wind whipping across the mountain-tops chills you to the bone. There's quite a view from here; to the east, you can see the gorge you flew across, and, a bit further down, you can just make out the waters of Lake Draounheer. North of here, down the mountains, you can hear what must be a rushing river, but you can't see it from where you are standing. To the west stands a crumbling stone tower, still imposing but definitely a ruin. A trail leads down to the gorge to the southwest. All other directions are much too rocky or steep to travel.\n\n> Go west\nTower, Bottom Floor\n\nYou're standing on the bottom floor of an ancient, dank stone tower.\nA wooden ladder leads up into the darkness overhead. Inscribed in the stone floor is a huge pentagram. There are no furnishings of any kind. The exit is to the east.\n\n> You examine the ladder\nThe ladder is securely attached to the wall with iron bolts. It's rotted with age, but can still support your weight (probably).\n\n> You examine the pentagram\nThe pentagram covers the entire floor, the five points touching the walls. It's inlaid with gold, and covered with black smudges.\n\n> Go upward\nTower, Second Floor\n\nYou're on the second floor of the tower, about halfway up inside.\nThere are no windows here, but light leaks down from above and up from below. Still, the room is quite gloomy, and everything is shrouded in shadow. The ladder continues up and down. A writing-desk sits in the very center of the chamber. A silver casket has been pushed against one wall.\n\nA tattered piece of parchment is sitting on the writing-desk.\n\n> You look at the desk\nThe desk is made from finished mahogany, and the surface is inlaid with swirling patterns of silver. It's quite beautiful. There are no drawers. On the writing-desk you see a tattered piece of parchment.\n\n> You examine the parchment\nThe parchment is quite tattered. There's spindly writing on it.\n\n> You read it\n\"Dear Violator of My Tower,\n\nYou probably think you're quite clever, getting up here. Well,\nthink again. I built this tower in an isolated place because I don't like being hassled by insignificant insects such as yourself. Know that gorge you came across? Well, *I* made that. It took me about an hour. (Think about it.)\n\nI'd strongly suggest you leave - right now.\n\nYours Sincerely,\nWowsa Willy, Wizard\n\nP.S. - Don't open the casket. It's mine.\"\n\n> You look at the casket\nThe casket is solid silver, tarnished with age but still quite beautiful. It's carved with images of wizardly feats. Interestingly, it's got no lock. The silver casket is closed.\n\n> You open it\nAs you lift the lid of the casket, there's an explosion from the floor below you. Suddenly, the air is filled with an odious stench, and you hear a strange growling noise from downstairs. Opening the silver casket reveals a white ball and a glass jar.\n\n> You examine the ball\nThe ball is made of plastic and is full of holes. It's quite light. Tiny raised letters read \"Wowsa Willy's Weightless Whiffleball.\"\n\n> You look at the jar\nThe jar is rather small. Raised letters on the side read \"Wowsa Willy's Wetter Water - Read Instructions Before Using!\" Too bad there aren't any instructions. In the glass jar you see some clear liquid.\n\nA huge, hairy beast crawls up the ladder and squats down, eyeing you balefully.\n\n> You examine the beast\nThe creature must have been summoned from some dark, deadly nether region. It's horrible, huge, and furry, with three-foot long fangs and rippling muscles. It outweighs the Valley King's new Acme Jenerik Advenchur Beest by a good half-ton. Emblazoned in flaming letters across the creature's brow are the words \"Wowsa Willy's Watchful Wumpus.\" [16]\n\n> Note 16\n[16]: Credit to the creators of the original \"Hunt the Wumpus,\" a classic BASIC game if ever there was one.\n\n> You close the casket\nClosed.\n\nThe horrible creature decides you must be edible, or you wouldn't\nlook so frightened. It leaps, and tears a large chunk from the top of your body. Oh, wait a minute - that chunk was your head -\n\n> Go up\nTower, Top Floor\n\nYou're at the very top of the ancient stone tower. A window looks\nout to the north, toward more mountains. The ladder leads down. A cold wind whistles through the window, nipping at your nose. The chamber is empty.\n\nA huge, hairy beast crawls up the ladder and squats down, eyeing you balefully.\n\n> You look at the window\nThere's no actual glass in the window; it's just an opening. You could probably look through it and see what's outside.\n\n> You look through it\nIt's quite a view. Far below you is a rushing river, running down through the mountains from the west. No doubt it empties into Lake Draounheer. To the northeast, you can see the Damsogee Swamp, and to the northwest are more snow-capped mountains. There's a ledge right outside the window.\n\n> Go outside\nYou're perched, shaking, on a ledge only a few inches wide, outside\nthe top floor of the Wizard's tower. Below, the icy, deadly waters of a rushing river beckon you. The wind has picked up, threatening to blow you from your precarious foothold at any moment. The only safe way off the ledge is back through the window to the south. Inside the tower, you hear what must be some sort of ferocious beast snuffling around. Pretty soon, I imagine it'll figure out where you are.\n\nYou're feeling a bit better now.\n\n> You get the casket\nThe casket is far too heavy to take with you. Even a mighty Warrior like you can't carry a chunk of metal that size.\n\n> You open it\nAs you lift the lid of the casket, there's an explosion from the floor below you. Suddenly, the air is filled with an odious stench, and you hear a strange growling noise from downstairs. Opening the silver casket reveals a white ball and a glass jar.\n\n> You get all from the casket\nwhite ball: Taken.\nglass jar: Taken.\n\n> Go up\nTower, Top Floor\n\nYou're at the very top of the ancient stone tower. A window looks\nout to the north, toward more mountains. The ladder leads down. A cold wind whistles through the window, nipping at your nose. The chamber is empty.\n\n> Go outside\nYou're perched, shaking, on a ledge only a few inches wide, outside\nthe top floor of the Wizard's tower. Below, the icy, deadly waters of a rushing river beckon you. The wind has picked up, threatening to blow you from your precarious foothold at any moment. The only safe way off the ledge is back through the window to the south.\n\n> You put all in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nrobe: (Taking off the robe first)\nDone.\n\n[TADS-1001: stack overflow]\n\n> You put all but the robe in the pocket\nbrass lamp: The brass lamp is already in the pocket!\nwhite ball: Done.\nglass jar: Done.\n\n> You jump\nClosing your eyes, you leap from the ledge. You fall for what seems like forever, and finally hit the icy water below. The shock makes you pass out.\n\nYou dream of a peaceful place, a place of rest and warmth. As the frigid water closes over your head, you imagine you feel gentle fingers dancing over your face. \"I always repay kindness,\" a whispered voice says. You awaken much later, lying on the grass beside the -\n\nYou're standing on the bank of a rushing mountain river. The bank\nis grassy and slopes gently down to the water. The swift-moving river babbles gentle murmurings, and a sweet-smelling breeze blows from the north. It's peaceful here, and quite relaxing. A trail leads back up into the Beeg'ashell Mountains to the southwest. The river is to the north, and flows down from the west.\n\n> You examine pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a white ball, and a glass jar.\n\n> You go to the southwest\nYou're walking on a rocky mountain trail that slopes down the side of the mountain. There's almost no vegetation here; a few roots poke from the ground, but the plants here appear to be dying. The trail slopes down to the northeast and up to the south.\n\nYou're feeling a bit better now.\n\n> Go south\nYou're standing just northwest of a dark cave, somewhere in the Beeg'ashell Mountains. Inside the cave entrance, you can just make out a set of stone stairs sloping down, back into the heart of the mountains. Rough patches of crabgrass struggle for life here and there, poking through cracks in the rocky mountain soil. A trail climbs up to the west, while another slopes down to the north. A third, level trail leads due south. It's quite cold here, and a chill wind whips across the rocky hills. The cave entrance is back to the southeast.\n\nYou see a small cardboard box, a long rope, a single brick, a jade figurine, some coveralls, a tiny bottle of pills, a mauve cube, a Geiger counter, a pair of boots, a mass of insulation, a catcher's mitt, and a pillow here.\n\n> You get all\nsmall cardboard box: Taken.\nlong rope: Taken.\nsingle brick: Taken.\njade figurine: Taken.\ntiny bottle of pills: Taken.\nmauve cube: Taken.\nGeiger counter: Taken.\nmass of insulation: Taken.\ncatcher's mitt: Taken.\npillow: You've already got your hands full.\n\n> PUT ALL BUT ROBE, BOOTS, COVERALLS IN POCKET\nbrass lamp: The brass lamp is already in the pocket!\nwhite ball: The white ball is already in the pocket!\nglass jar: The glass jar is already in the pocket!\nsmall cardboard box: Done.\nlong rope: Done.\nsingle brick: Done.\njade figurine: Done.\ntiny bottle of pills: Done.\nmauve cube: Done.\nGeiger counter: You can't fit that in the pocket.\nmass of insulation: You can't fit that in the pocket.\ncatcher's mitt: Done.\n\n> You throw the ball\nWhat do you want to throw it at?\n\n> You put the ball in the shaft\nYou drop the white ball down the shaft. There's a flash of white light in the midst of the yellow glow below, and a brief hiss.\n\n> You put pillow in the shaft\nYou drop the pillow down the shaft. There's a flash of white light in the midst of the yellow glow below, and a brief hiss.\n\n> You examine the water\nThe liquid looks pretty much like water, but seems to be somewhat more soupy, like oil. It sparkles when held up to the light.\n\n> Inventory\nYou have a robe (being worn), a pair of boots (being worn), some coveralls (being worn), a Geiger counter, a mass of insulation, a pillow, and a white ball.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a glass jar, a small cardboard box, a long rope, a single brick, a jade figurine, a tiny bottle of pills, a mauve cube, and a catcher's mitt.\n\n> You examine the jar\nThe jar is rather small. Raised letters on the side read \"Wowsa Willy's Wetter Water - Read Instructions Before Using!\" Too bad there aren't any instructions. In the glass jar you see some clear liquid.\n\n> You go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a barbell, a spade, an oar, a wine bottle, a corkscrew, a sword, a small leather pouch, a bronze ring, a pickaxe, and a shiny knife here.\n\n> You pour the wine in the grate\nYou can't put anything in the grate.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You go northeast\nYou can't go that way.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You examine the dial\nThe area above the fifth setting on the dial is marked in red, with a little skull and crossbones. I think the panel's creators are trying to tell you something. [16]  The white dial can be turned to settings numbered from 1 to 7. It's currently set to 5.\n\n> You look at the hole\nThe hole's about two inches on a side. Probably one of those infamous Unnkulian activation-cubes would fit in it.\n\n> You go south\nThe crawl space terminates at a metal grate, suspended above what appears to be a meeting-chamber. You can't really see through the grate too well; the holes are too close together. From the chamber below, you hear gruff, demonic voices arguing, and see monstrous shapes moving around. You could squeeze back through the crawl space to the north, or possibly get through the grate.\n\n\"Let us reveal all of our sinister plans for the benefit of any\nspies who might be listening!\" a squeaky-voiced demon chirps. You hear the swift, painful sounds of the other demons pounding him into silence.\n\n> You put the ball in the grate\nYou can't put anything in the grate.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You put the ball on the grate\nThere's no good surface on the metal grate.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You open the grate\nYou kick open the grate, revealing the chamber below. Seated around a pentacle-shaped table are the five demon lords of Unnkul, the most powerful creatures known! They look up at you, fixing you with beady demon-eyes. You feel a bit exposed. You feel even more exposed a moment later, when the demon lords pull you from the crawl space and skin you like a rabbit -\n\n> You go to the south\nThe grate's closed.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You go northeast\nbottomless shaft. The light and heat is really getting to you now; you're continually mopping your face. The catwalk continues around the deep hole to the northeast and northwest.\n\nsouth, revealing a narrow crawl space running to the southwest.\n\n> West\nThe walls of this rectangular chamber are hung with red and black curtains, depicting the triumph of nasty Unnkulians over pitiful, scraggly Valley Warriors. The floor is bone white marble streaked with blood-red minerals, iron ore and granite. A giant pentacle-shaped table stands in the very center of the chamber. There's what appears to be a heating duct at the very top of the chamber in the northern wall. A dim glow from strange panels in the ceiling illuminates the room with a ruddy glow. The only exit is back to the east.\n\nSquatting around the table are five monstrous demons. You recognize them from the paintings of Valley artists - the demon lords of Unnkul! On the right, Ug'lee Ist, the six-headed Warlord, commander of the military demons. To the left, Gher'ee Phahl-wil, the Bishop of the false prophets of Unnkul. Between them, the other three lords, all unbearably evil, all unbearably powerful - all staring at you. The Demon Wizard Dug'heh-neng leers in your direction, stroking the scraggly hairs on his upper lip. \"The ways of my Magic are most Unnkul,\" he growls, gesturing with a slender claw. Suddenly your insides are on the outside -\n\n> Go north\nYou're standing in a vast, mystical cavern. Stalactites shimmer in\nthe pale green lamplight, and brightly-colored beds of moss catch your eye. Pale glowing mists swirl at your feet. Shadows seem to leap from dark crevices in the corner, and breezes, some cold, some hot, nip at your cheeks. Magic seems to flow from the very rocks, tingling your toes.\n\nTunnels run north and south, and a narrow crawl climbs up to the\neast. At the west end of the cavern is a freshly whitewashed gazebo.\n\nYou see a barbell, a spade, an oar, a corkscrew, a sword, a small leather pouch, a bronze ring, and a pickaxe here.\n\n> Examine box\nWhich box do you mean, the small cardboard box, or the Geiger counter?\n\n> Cardboard\nYou can't put anything in the grate.\n\n\"Let us reveal all of our sinister plans for the benefit of any\nspies who might be listening!\" a squeaky-voiced demon chirps. You hear the swift, painful sounds of the other demons pounding him into silence.\n\n> You throw the cardboard at the grate\nYou miss.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You get the box\nTaken.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> Shout\nYour throat is a bit sore now.\n\nOne of the demonic voices from the chamber beyond the grate mutters something you can't quite hear.\n\n> You pour the water in the shaft\nYou pour the clear water down the shaft. There's a momentary flash of light, and a brief dimming of the glow below, but then the light and heat climb back up to their former levels.\n\n> You pour the wine in the shaft\nYou drop the wine bottle down the shaft. There's a flash of white light in the midst of the yellow glow below, and a brief hiss."
    },
    {
        "text": "[Themes: Satire, Fantasy]\n\n> You check your inventory\nYou have a robe (being worn), a pair of boots (being worn), some coveralls (being worn), a Geiger counter, a mass of insulation, a pillow, a white ball, a shiny knife, a wine bottle, and a small cardboard box.\n\n> Cardboard\nHolding the box at arm's length, you sprinkle a little bit of the noxious powder down the grate. Even from a distance, it smells horrible. Unfortunately, you've still got quite a bit of the stuff left; I think if you poured the whole box down the grate, you'd eat right through the metal. Suddenly, from the southwest, you hear muffled demonic coughing. A shout makes you leap to your feet, but the voices are quite distant. \"Arrgh!\" one gruff voice cries. \"What's wrong with the heating ducts? Is that eggs I smell? What has that cursed scientist done now? We must flee!\"\n\n> You go to the south\nThe crawl space terminates at a metal grate, suspended above what appears to be a meeting-chamber. You can't really see through the grate too well; the holes are too close together. You could squeeze back through the crawl space to the north, or possibly get through the grate.\n\n> Go south\nThe walls of this rectangular chamber are hung with red and black curtains, depicting the triumph of nasty Unnkulians over pitiful, scraggly Valley Warriors. The floor is bone white marble streaked with blood-red minerals, iron ore and granite. A giant pentacle-shaped table stands in the very center of the chamber. There's what appears to be a heating duct at the very top of the chamber in the northern wall. A dim glow from strange panels in the ceiling illuminates the room with a ruddy glow. The heating-duct has been opened, but you can't climb up to it from here. The only exit is back to the east.\n\nA skull key is sitting on the pentacle-shaped table.\n\n> You look at the Key\nThe key is made from solid silver, with a tiny ebony skull for a head. It's small, and not too heavy. Raised letters on one edge read \"Unnkulian Death-Key.\"\n\n> You examine table\nThe table is shaped like a pentacle. It's made from stained teak and is inlaid with gold and silver. It's quite pretty, but someone's been defacing it - scratched on the tabletop are the words \"Demonz luv Amanda.\" On the pentacle-shaped table you see a skull key.\n\n> You examine the panel\nThe ceiling panels glow with a ruddy light.\n\n> You go east\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is closed. You could also travel up the hallway to the north.\n\n> You go to the east\nYou're standing in a large square chamber cut from the living rock.\nThe ceiling is domed overhead, and a dim light-globe hanging from the peak illuminates the chamber. An open doorway stands to the west, and appears to be the only exit. The southern wall is entirely composed of shimmering green light.\n\nA group of small children is sitting on the floor here, playing with\na collection of toys. They're all rather dangerous-looking for such tiny tots.\n\n> You examine the wall\nThe shimmering green wall radiates heat and appears quite impassable.\nI wouldn't get too close to it if I were you. Even the ferocious little tots here seem to avoid it. [17]\n\n> Note 17\n[17]: This wall is quite similar to the green wall of light in \"Unnkulian Underworld.\"\n\n> You examine the kids\nNone of the children is more than three years old. They must be the progeny of the elite Unnkulian lords, protected by the demons that roam these deep caverns. All are dressed in black jumpsuits, all are playing with toys, and none are paying any attention to you.\n\n> You look at toys\nThe toys are quite a strange collection. One of the girls is playing with a doll that looks suspiciously like the Valley King, a boy is playing with a little wagon, and another boy over in the corner is stacking blocks.\n\n> You examine the blocks\nThe boy is trying to make a castle out of the blocks. It's not going very well. One of the blocks, a black one, appears to be a bit smaller than the rest, and the castle keeps tumbling down before it gets very high.\n\n> You examine the black cube\nThe black block is smaller than the other ones; it's probably part of a different set. The boy's playing with it; you can't really examine it too closely.\n\n> You get the black cube\nWhen you reach for the black block, the boy whimpers and yanks it away.\n\n> You ask the boy about the block\nThe children aren't really old enough to talk. Besides, they're not paying any attention to you. If demons were your nannies, you probably wouldn't pay much attention to a human warrior either.\n\n> You check your inventory\nYou have a robe (being worn), a pair of boots (being worn), some coveralls (being worn), a Geiger counter, a mass of insulation, a pillow, a shiny knife, a wine bottle, a small cardboard box, and a white ball.\n\n> You look at the doll\nThe doll looks almost exactly like the Valley King - that is, if the Valley King had a spike driven through his head. The little girl twists the spike a bit deeper into the doll's cloth flesh, then smiles winningly at you. [18]\n\n> Note 18\n[18]: Acme Dam Growtesk Ded Dhols are quite popular among today's kiddies.\n\n> You examine the wagon\nAt first, you think the little boy's wagon is a fine and wholesome toy. But now that you look at it more closely, you see that it's really an exact replica of a gallows wagon - the type used to haul criminals to their execution. In fact, there's a little felon riding in it. Gee, he looks just like the Valley King!\n\n> You give Mauve to the boy\nYou hand the mauve cube to the child playing with the blocks. The boy takes it, shrugs, and pops it in his mouth.\n\n> You examine the pocket\nThe pocket of the robe is quite tattered, and hanging by just a few threads. In the pocket you see a brass lamp (providing light), a glass jar, a long rope, a single brick, a jade figurine, a tiny bottle of pills, a mauve cube, and a catcher's mitt.\n\n> You give the brick to the boy\nThe child playing with the blocks takes the brick, shrugs, and drops it on the floor.\n\n> You get the cube\nWhich cube do you mean, the black block, or the mauve cube?\n\n> Black\nFor a second, the boy looks angry when you take the black block, but then he picks up the nearby brick and starts using it instead. Now that you've got the block, you can see that it's an Unnkulian Activation Cube. How irresponsible! Who would let a child play with such a powerful item?\n\n> You go to the west\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is open. You can see a lit chamber beyond the doorway, perhaps twenty feet down a short hall. Could that be laughing children you hear? You could also travel up the hallway to the north.\n\nYou see a skull key here.\n\n> You go to the north\nYou're standing about halfway down a long north-south hall. Specks\nof red minerals in the black marble floor catch the pale green lamplight, glinting eerily. A growing and ever-present feeling of evil permeates the hall, seeming to throb with diabolical intensity.\n\nFurther down the hall to the south, you can just make out a dim\nlight. A low humming noise echoes down the hall from the north, just barely audible.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You examine activation\nTiny letters on one side of the cube read \"Unnkulian Activation Death-Cube.\" The cube is jet black, and warm in your hand. It measures about an inch on a side. [19]\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You put activation in the hole\nThe cube fits snugly into the hole - so snugly, in fact, that I doubt you could get it out again.\n\n> You pour the water in the shaft\nYou pour the clear water down the shaft. For a moment, it seems as if nothing is happening - and then the light and heat fades, and the shaft goes dark.\n\nYou're feeling a fuzz hungry. Perhaps it would be a good time to find something to eat.\n\n> You enter the shaft\nTaking a deep breath, you slide down the shaft, holding your lamp out and trying to see the bottom. You pick up speed, and even have time to examine the shaft briefly on the way down - it's quite deep, and the walls are all smooth and mirrored. Suddenly, you see water below you, and take a deep breath. You hit the surface hard, very hard, and wince with pain. Standing up, you find yourself -\n\n- with two broken legs and a broken back. You keel over again, screaming in agony. The shock makes you pass out, and you sink beneath three feet of water and drown. Bummer!\n\n> You put pillow in the shaft\nYou drop the pillow down the shaft. You hear a faint splash far below.\n\n> You enter the shaft\nTaking a deep breath, you slide down the shaft, holding your lamp out and trying to see the bottom. You pick up speed, and even have time to examine the shaft briefly on the way down - it's quite deep, and the walls are all smooth and mirrored. Suddenly, you see water below you, and take a deep breath. You hit the surface hard, very hard, and wince with pain. Standing up, you find yourself -\n\n- with two broken legs and a broken back. You keel over again, screaming in agony. The shock makes you pass out, and you sink beneath three feet of water and drown. Bummer!"
    },
    {
        "text": "> Go downward\nstairs - iron walls and two identical passages, this time to the southeast and southwest. A strange control panel takes up a good bit of the curving northern wall. One unique feature of the chamber is a winding spiral stair in the center of the room that climbs up into darkness.\n\nThere's a dead man lying on the floor here. His neck's been\nsnapped.\n\n> Go south\nYou're standing about halfway down a long north-south hall. Specks\nof red minerals in the black marble floor catch the pale green lamplight, glinting eerily. A growing and ever-present feeling of evil permeates the hall, seeming to throb with diabolical intensity.\n\n> Go south\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is open. You could also travel up the hallway to the north.\n\nYou see a skull key here.\n\nYou're feeling really hungry. You should find some food soon or you'll pass out from lack of nutrition.\n\n> You eat Cube\nThe cube is absolutely tasteless, but relatively filling.\n\n> Go east\nYou're standing in a large square chamber cut from the living rock.\nThe ceiling is domed overhead, and the light-globe hanging from the ceiling is now dark. Passages run west and south.\n\nA group of small children is sitting on the floor here, playing with\na collection of toys. They're all rather dangerous-looking for such tiny tots.\n\n> Go south\nYou're standing in a small square chamber. The walls are plush\nblack velvet, and the floor is padded. There's not a dangerous surface in sight, and the room is completely empty. A passage runs north.\n\nDeep in your bones, you feel that this must be the Inner Nursery of which the demons spoke. Where is the fair Amanda? There's no sign of her, but you must be nearing the end of your quest. [20]\n\nThere's a small boy here, looking a bit lost and forlorn. His gaze disturbs you; the child seems palpably evil. \"Want toy,\" he mutters. His voice is low and gutteral.\n\n> You give the ball to the boy\nThe boy examines the whiffleball briefly, then shrugs and turns away.\n\n> You look at the boy\nThe child is quite odd-looking. He's extremely pale, with jet-black hair. Liquid brown eyes fix you with a penetrating stare. Do his ears truly taper to a slight point, or are you imagining things? \"Want toy,\" he mutters. His voice is low and gutteral.\n\n> You check your inventory\nYou have a robe (being worn), a pair of boots (being worn), some coveralls (being worn), a Geiger counter, a mass of insulation, a pillow, a shiny knife, a wine bottle, a small cardboard box, and a white ball.\n\n> Go west\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is open. You could also travel up the hallway to the north.\n\nYou see a skull key here.\n\n> Go north\nYou're standing about halfway down a long north-south hall. Specks\nof red minerals in the black marble floor catch the pale green lamplight, glinting eerily. A growing and ever-present feeling of evil permeates the hall, seeming to throb with diabolical intensity.\n\n> You go to the north-west\nYou're standing in yet another round chamber deep in the bowels of Unnkulia. The iron-plated walls drip with moisture and oil, and the harsh, metallic odor of machinery is ever-present and overpowering. Identical passages run northeast and southeast, and a narrower hallway runs southwest. There's a sealed door to the west, with no apparent means of opening it.\n\n> You examine the panel\nThe control panel is a maze of readouts and switches. You wouldn't know what to turn first. The panel's power appears to be off; all the readouts are dark. However, one large white dial in the very center of the panel looks promising. There's a cube-shaped hole next to the dial. Stuck in the hole is a black cube.\n\n> Go upward\na deep metal shaft. The shaft is dark. A cold breeze wafts up from below, making you shiver.\n\nUnderneath you, through the catwalk, you can see the control room.\nA narrow metal stair leads down to the chamber, and the catwalk curves around the shaft to the southwest and southeast.\n\n> You put the insulation in the shaft\nYou drop the mass of insulation down the shaft. You hear a faint splash far below.\n\n> You enter the shaft\nTaking a deep breath, you slide down the shaft, holding your lamp out and trying to see the bottom. You pick up speed, and even have time to examine the shaft briefly on the way down - it's quite deep, and the walls are all smooth and mirrored. Suddenly, you see water below you, and take a deep breath. Luckily, you land on a soggy pile of fiberglass. Though it's not the safest stuff to land on, it and the water combine to help break your fall. You stand and find yourself -\n\nYou're splashing around in about two feet of water in a spherical chamber at the base of a deep shaft. The water is clear, but quite warm. A short, thick rod of dull metal extends up from the center of the floor. To the west is an open doorway, just above the water line. There's no other exit from this chamber; you certainly can't climb the sheer walls of the shaft.\n\nYou see a yellow ball and a mass of insulation here.\n\n> You get all\nyellow ball: Taken.\nmass of insulation: Taken.\n\n> You examine the rod\nThe rod's made out of a dull gray metal. It appears to be glowing. It's planted in the very center of the floor; only the top inch or so extends above the surface of the water.\n\n> You examine the ball\nWhich ball do you mean, the white ball, or the yellow ball?\n\n> Yellow\nThe ball is yellow and full of holes. It's rather heavy. Tiny raised letters read \"Acme Dam-Lite Whiphulbawl: 100% Swhiss Cheez!\" [21] Interestingly, it appears to be completely unaffected by its harsh environment.\n\n> You look at the water\nThe water's quite murky and extremely hot, but you can bear the heat; you are, after all, a battle-scarred Valley Warrior.\n\n> You examine doorway\nIt's open.\n\n> You go west\nAs you step in the door, it seals behind you. Suddenly, it feels like the floor has dropped out from under you, and you sense yourself moving rapidly upward.\n\nYou're standing in a very small square chamber. The walls and floor are padded black carpeting, and the ceiling is a dimly glowing panel. The entire eastern wall is a large door, currently sealed. You can't see any way of opening it. It feels like the entire room is shooting upward.\n\n> You get the rod\nWhen you grasp the top of the rod, a horrible burning sensation runs up your arm, and you're forced to release it.\n\n> You examine the carpeting\nTiny raised lettering in the carpeting reads \"Akmi Galaktikorp El-eh-vay-t'hor Karpit.\"\n\n> You examine the panel\nThe panel's lit up, bathing the room in a dim glow. Block lettering along one edge reads \"Emergency Lighting.\"\n\n> Wait\nTime passes...\n\nWithout warning, the square room ceases its upward motion, and the door slides open with a hiss.\n\n> You go to the east\nYou're standing in yet another round chamber deep in the bowels of Unnkulia. The iron-plated walls drip with moisture and oil, and the harsh, metallic odor of machinery is ever-present and overpowering. Identical passages run northeast and southeast, and a narrower hallway runs southwest. A doorway to the west stands open, revealing a small square chamber beyond.\n\n> Go southeast\nYou're standing at the north end of a long, wide hall. The floor is black marble lined with red streaks; your boots clatter on the hard stone. The walls are carved wood, probably teak and oak. The northern wall curves outward and lined with iron. Two identical passages run northeast and northwest. You could also travel south down the hall.\n\nYou're feeling a bit better now.\n\n> Go south\nYou're standing about halfway down a long north-south hall. Specks\nof red minerals in the black marble floor catch the pale green lamplight, glinting eerily. A growing and ever-present feeling of evil permeates the hall, seeming to throb with diabolical intensity.\n\n> You go south\nThe hall terminates before a great open doorway to the south. The doorway is finished in solid silver streaked with ebony, and carved in the shape of a gigantic snaggletoothed mouth. It's quite a disconcerting image, especially since beyond the doorway is only darkness. A narrow hallway runs west, and a wooden door to the east is open. You could also travel up the hallway to the north.\n\nYou see a skull key here.\n\n> You give the yellow ball to the boy\nThe boy's expression lights up. \"Throw it me,\" he shouts.\n\n> You throw the ball at boy\nWhich ball do you mean, the white ball, or the yellow ball?\n\n> Yellow\nYou throw the heavy yellow ball at the boy. Clumsily, the child tries to catch it, but since you threw it at him rather than to him, he fails. The ball strikes him on the head with an ominous thump. The boy shrieks, a horrible, grating sound. It's only a few seconds before the demon guards respond -\n\n> Yellow\nYou toss the clumsily-weighted ball to the boy. To give the child credit, he attempts to field it, but misses. The ball strikes him in the chest and he falls backward, hitting his head. An ungodly wail fills the air as the kid howls, never once pausing for breath. It's only a matter of seconds before the demon guards arrive -\n\n> You give mitt to the boy\nThe boy snatches the mitt from your grasp and eyes you suspiciously. \"Mine. Lost it. Daddy gave it me.\"\n\n> You throw the yellow ball to boy\nYou toss the clumsily-weighted ball to the boy, not really expecting him to field it. He surprises you - the ball lands in the very center of his mitt with a wet slurping sound. Cheez striking cheez - it's all you can do to keep from tossing your lunch.\n\nThe boy lifts the ball to his mouth and takes a huge bite. A wicked smile crosses his face. \"Yum,\" he snarls. Are his teeth pointed? And how can such a small boy look so unbelievably evil? Suddenly, the child races to the eastern wall and twists a knob of rock that you never would have found yourself. A section of the wall slides open, revealing a chamber beyond, and the child races through. \"Where have you been, you little dickens!\" you hear a motherly voice scold. With a start, you recognize the voice - the fair Lady Amanda! Is this the end of your quest?"
    },
    {
        "text": "> You look around\nYou're standing in a small square chamber. The walls are plush\nblack velvet, and the floor is padded. There's not a dangerous surface in sight, and the room is completely empty. A passage runs north. A section of wall to the east has swung open, revealing a poorly-lit chamber beyond.\n\nDeep in your bones, you feel that this must be the Inner Nursery of which the demons spoke. Where is the fair Amanda? There's no sign of her, but you must be nearing the end of your quest. [20]\n\n> You go east\nThe Search Ends...\n\nYou enter what appears to be a bedroom of some kind. Toys are littered all over the floor, and expensive paintings line the walls. And then you see her - the Lady Amanda! She's seated in a rocking chair, holding the strange, sinister child on her lap. She looks up as you enter.\n\n\"Welcome, Warrior,\" she says, her voice smooth and low. \"I knew my love would send one after me. I did not imagine the Warrior he sent would ever find this place; I had hoped I had covered my tracks well.\" She sighs, smoothing the child's hair. \"You must be wondering why I am here.\"\n\nYou nod, speechless. What can she be doing here?\n\n\"This child,\" Amanda begins, \"Is the product of an unholy union\nbetween a female Demon of Unnkul and - don't look so surprised - that annoying little Acme salesman from the Golden Dragon Inn. He is the product of evil and cheeziness, and will grow up to be a most dreaded Unnkulian Warrior, a fearsome tool of evil.\"\n\n\"So why - \" you begin.\n\n\"Why am I here?\" the Lady Amanda finishes, smiling. Slowly, her\nsmile fades. \"The child needs mothering. His demon parent is hardly suitable. And, yes, he must grow up - he has a purpose in this world. My beloved, and your liege, the Valley King, needs a worthy opponent.\nI love him, but he and his people have lost the ways of Duhdha. The Unnkulians alone cannot match his might, and provide him with no challenge, not even with that strange old man from the future helping them. But this child, this fusion of Acme and Unnkulia - he is a worthy opponent for your liege.\"\n\nYou open your mouth to respond, then close it again. Indeed, you think, she's right. It is as Duhdha said - the duality of the universe must be maintained. Good cannot exist without evil - and Kuulness cannot exist without Unnkul.\n\n\"But won't the child be too powerful?\" you ask. \"Will those of Kuulness be able to withstand a fusion of Acme and Unnkul? When the child grows, will there still be brave souls to fight against him?\"\n\nAmanda shrugs. \"It is in your hands, Warrior,\" she says. \"You\ndecide. You can kill the child now, or let him live. But slay him, and the Valley King's people will surely turn to evil, and never seek Duhdha again.\"\n\nThere is but one choice. Amanda shows you the way out, leading you past the demon guards. At the Entrance to Unnkulia, you bid the lady farewell, wondering what you'll say to the Valley King. Yes, you have found Amanda - but you cannot bring her back with you. She has a purpose, and must remain. But this journey has not been a waste of time. You've received enlightenment, and even lost your fear of heights. Now you understand the ways of Duhdha. You only wish you could see into the future, and discover what happens to Amanda, and this strange child born of evil.\n\n*** THE END ***\n\nIn a total of 761 turns, you have achieved a score of 350 points out of a possible 350.\n\nThis means you're the winner of \"Unnkulia Zero!\" Congratulations!"
    },
    {
        "text": "J. Daggett Winton, archeologist, explorer, inventor, mathematician, philosopher. Director, Winton Antiquities Research Foundation. Chairman of the Board, Winton International. Holder of thirty-seven patents in fields as diverse as Genetics and Game Theory. Rumored to have the largest privately-held collection of historical artifacts in the world.\n\nYou're looking forward to the chance to actually meet the legendary man. Your errand is trivial - special private courier assigned to deliver a small, sealed package, in-person delivery required, contents unknown. Your task is made a bit more difficult because immediately following the death of J. Daggett's lovely young bride Emmeline some three years ago, he quietly withdrew into the depths of his magnificent Gothic mansion, and no one has had any direct contact with him since.\n\nFollowing his withdrawal, the world added one more title to Mr. Winton's extensive list of accomplishments...\n\nVer. 1.0, 03-18-2008\n\nYou are standing before the main entrance to a huge, foreboding Gothic mansion. A massive pair of solid oak doors leads inside. To the south marble steps lead down to the gravel driveway behind you. At the moment the doors are closed, and there is no one in sight. There is a polished brass plaque mounted on the wall next to the doors.\n\nYour car broke down a mile up the road, and you're eager to complete your delivery and get started on your long walk back to town. You can't see a bell or buzzer of any kind near the doors, so you might as well try knocking.\n\n(First-time players are encouraged to view the TIPS before proceeding.)\n\n[Author's Note: A text adventure in the classic Infocom style. It begins with you delivering a sealed package, contents unknown, to J. Daggett Winton, noted archeologist, explorer, inventor, mathematician, philosopher,... and recluse.]\n\n> You check your inventory\nYou are carrying a package.\n\n> You examine package\nThe package is about ten inches long by eight wide, and nearly two inches thick. It is securely wrapped in plain brown paper. It's moderately heavy for its size, and doesn't rattle when shaken. If you had to guess you would say it was a book. There's something printed on it.\n\n> You read it\nURGENT!\nDeliver to: J. Daggett Winton\nPERSONAL and CONFIDENTIAL\n\n> You examine the plaque\nLike most plaques it has something engraved on it.\n\nNO Soliciting!\n\nMy, what a cheery little omen.\n\n> You look at the door\nThe oak doors tower over you, dark and foreboding. They're closed.\n\n> You knock on door\nIgnoring a growing sense of impending doom, you reach out and firmly rap your knuckles on one of the doors. The sound is surprisingly loud. You can hear it echoing down the long empty corridor on the other side. You hold your breath. Nothing happens. You put your ear to the door. Not a sound. Maybe there's nobody home. No, wait. Sounds like footsteps approaching. Yes, definitely footsteps. Long, slow, thudding ones. Uh oh...\n\nThe doors slowly creak open to reveal a heavyset oriental in a tuxedo, probably the butler. He bears a remarkable resemblance to Oddjob from the James Bond movie Goldfinger. He is not smiling, which is just as well. He probably only smiles while he's torturing salesmen. You try not to think about it.\n\n\"Uh... Hi there. Is Mr. Winton in by any chance?\"\n\nIn one powerful motion, the butler reaches out, grabs the front of your shirt, and lifts you six inches off the ground. Holding you at arms length, he demands thickly, \"You have appointment?\"\n\nYou can hear yourself stammering. \"Uh... Well actually, no. But you see I have this package...\"\n\nThe butler's scowl darkens. Your eyes widen. A moment later you're flying through the air. You have been bodily hurled right off the steps! You barely have time to hear him growl, \"Next time, have appointment,\" behind you before the gravel driveway floats up to meet your pointy head and knocks you silly.\n\nAfter regaining consciousness the first thing you notice is a pair of shiny black boots just inches in front of your eyes. You hear the metallic snick of a spring-loaded carpenter's tape-measure retracting into its case, followed by a rumbling chuckle. The butler, who has been squatting beside you, stands and pulls a little spiral notebook from his pocket. He makes an entry, then to nobody in particular states, \"Sixteen feet, six and one-half inches. New record!\" The boots turn and disappear from your line of sight, and you hear him crunching his way back up the driveway.\n\nYou hear the mansion door slam shut, and he is gone.\n\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\nYou see a business card here.\n\n> You look at the card\nIt's a standard business card. It must have fallen out of the butler's pocket when he pulled out his spiral notebook to write down his new record.\n\nPLASTI-SIDE, Inc.\n\nGuarantee!\n\nDwayne R. Splatz\nCustomer Representative\n(800) 555-KOTE\n\nHmm... Looks like some poor siding salesman didn't read the plaque. Oh well, not your problem. On the other hand, at least he managed to get himself taken inside. Which gives you an idea...\n\nIf you just had a few simple props you could easily impersonate a salesman, knock on the doors, and in you'd go. You already have a good start in the business card. Maybe you can find some more of Mr. Splatz's stuff. Yeah, that's the ticket!\n\nAs you look around to see if there's anything else nearby it occurs to you that you also might want to find some way to protect yourself once you're inside - just in case that torture stuff turns out not to be somebody's idea of a lame joke.\n\n> You take the card\nTaken.\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> You examine the trees\nEvery tree here looks pretty much like every other tree here, namely, tall and green. None are very close to the driveway or paths though. The groundskeeper must keep them cut back.\n\n> You look at the hedge\nThe hedge is very neatly trimmed and much too thick for you to shove your way through.\n\n> You examine the path\nThe path is paved with smooth gray flagstones. It passes through the hedge to the west.\n\n> You look at the house\nHuge. Imposing. More of a palace than a house. Commissioned by Darren Lamont Winton III, J. Daggett's great-grandfather. Designed by noted architect James Renwick, Jr. (1818-1895). Built in the latter 1800's at the height of the Gothic Revival period. The site selected was the top of a cliff overlooking the ocean, backed by five hundred densely wooded acres. Like all great estate houses it has a name. It is called Seacliff.\n\nThe building itself is constructed from dark gray granite. There are multiple towers and row upon row of tall, narrow arched windows. Stonework tracery adorns the walls, eaves, and towers.\n\n> You go to the north\nYou ascend the marble steps, arriving at...\n\nYou are standing before the main entrance to a huge, foreboding Gothic mansion. A massive pair of solid oak doors leads inside. To the south marble steps lead down to the gravel driveway behind you. At the moment the doors are closed, and there is no one in sight. There is a polished brass plaque mounted on the wall next to the doors.\n\n> You go west\nYou'll have to descend the steps first.\n\n> You go to the south\nYou descend the marble steps, arriving at...\n\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\n> Go east\nThe driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.\n\n> You look at the outbuilding\nIt's hard to be sure from here but it looks like it might be a garage.\n\n> Go north\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The hedge continues along the driveway to the garage. However, unlike the hedge in other parts of the estate, this one is rather badly overgrown. The driveway leads back to the south.\n\n> You examine the garage\nThe garage probably started as a carriage house and was converted for automobile use once they became the preferred method of transportation. It has the same distinctive architectural style as the mansion, however its original wooden carriage doors have been replaced with modern steel ones.\n\nThe word \"recap\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> Enter\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. A large red tool cabinet has been rolled up next to the Jaguar. The lift is currently down.\n\nA battered old canoe hangs on the wall in bay four.\n\nA bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.\n\n> You examine the cabinet\nThe tool cabinet is about four feet tall, red, and mounted on casters so that it can be rolled up next to whatever needs to be worked on.\nIt has a flat painted top, four standard drawers for wrenches, sockets, and the like, and one deep bottom drawer for storing bulky items. All drawers are secured by a single small silver lock.\n\nScratched into the paint next to the lock is a small symbol. It looks like the Greek letter Psi, which happens to resemble a trident. The tool cabinet is closed and locked.\n\n> You examine Jaguar\nThe E-Type is a real beauty. Often called an XKE in the States, this appears to be an immaculately-restored early Series I roadster done in British racing green with a biscuit leather interior. It has the E-Type's distinctive long rounded bonnet, oval air intake, and wire wheels. It appears to be the same model as Austin Powers's \"Shaguar,\" but you decide it looks much better without the Union Jack paint job.\n\nThe top is up and the doors are locked. It is currently on the lift which is down.\n\n> You examine the canoe\nThe two-man aluminum canoe hanging from a wall rack in bay four is old and battered. It's had a few to many close encounters with jagged rocks, one of which no doubt ripped the gaping hole you can see in its bottom. It's hanging bottom-outward and stored up high to keep it out of the way.\n\n> You look in the canoe\nThe hole is too high for you to be able to see into from the garage floor.\n\n> You look in the hole\nYou lean forward and peer through the hole in the bottom of the canoe. It takes a moment for your eyes to adjust to the dim interior. After looking for a bit you notice the shadowy outline of a paddle lying along the lower side of of the canoe.\n\n> You take the paddle\nYou reach into the hole and grab the paddle. It's longer than the opening and takes a bit of juggling, but you finally manage to slip it out of the canoe.\n\n> You look at the bike\nThe bicycle is a 50's Schwinn Black Phantom. It has red pinstriping and lots of chrome trim. The seat is large and comfortable, and its spoked wheels are decked out in white wall street tires. The front fender has an integrated headlight, and the rear has an integrated tail light and reflector. Like many 50's bikes there's a sleek horntank mounted under the frame's top tube to give it a bit of a motorcycle look. The classic Schwinn cross-in-a-circle logo adorns the chain guard.\n\nThe one piece of non-standard equipment on the bike is a small leather pouch attached to the back of its seat. The Schwinn's front wheel is secured by a bicycle lock.\n\n> You open the pouch\n(first getting out of bay four, then standing in bay two)\nOpening the leather pouch reveals an inner tube patch.\n\n> You take the patch\nTaken.\n\n> You examine patch\nThe patch is one of the new \"peel and stick\" patches. No adhesives or matches required.\n\n> You examine the headlight\n(the Schwinn's headlight)\nThe Schwinn's headlight is turned off\n\n> You take it\nYou can't have that; it's part of the bicycle.\n\n> You examine the bay 1\nAside from the varying patterns of oil stains on its floor, bay one look pretty much like the others.\n\n> You examine the bay 2\nAside from the varying patterns of oil stains on its floor, bay two look pretty much like the others.\n\nA bicycle is parked next to you in bay two. Its front wheel is secured by a bicycle lock.\n\nYou are standing in bay two.\n\n> You look at the bicycle lock\nThe lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently attached to the Schwinn's front wheel and locked.\n\n> You examine the bay 3\nAside from the varying patterns of oil stains on its floor, bay three look pretty much like the others.\n\n> You look at the bay 4\nAside from the varying patterns of oil stains on its floor, bay four look pretty much like the others.\n\nA large red tool cabinet sits under the canoe.\n\nA battered old canoe hangs on the wall in bay four.\n\n> You look at the bay 5\nAside from the varying patterns of oil stains on its floor, bay five look pretty much like the others.\n\n> You examine the bay 6\nIn the service bay are a Jaguar on a lift (currently down), and an air compressor for running pneumatic tools.\n\n> You look at the lift\nThe hydraulic lift is the same type found in service stations and auto repair facilities everywhere. Its control panel is mounted to the east wall of the garage. A Jaguar E-Type is parked on top of it. It is currently down.\n\n> You examine the panel\n(first getting out of bay two, then standing in the service bay)\nThe lift control panel is mounted to the east wall of the garage. It would normally have two buttons, one marked UP and one marked DOWN, however there's an empty hole where the UP one should be. The panel's maintenance cover is currently held closed by a stripped-out sheet metal screw. The panel has a red tag hanging from it.\n\n> You examine the screw\nThe screw appears to be a standard slotted sheet metal screw. It's head has been stripped out.\n\n> You take it\nYou'll have to unscrew it first.\n\n> You look at the hole\n(the UP button hole)\nIt's round, about three-quarters of an inch in diameter, and right where the UP button should be.\n\n> Inventory\nYou are carrying a package, a business card, a paddle, and an inner tube patch.\n\n> You look in the hole\n(the UP button hole)\nYou bend over and peer into the hole. There's just enough light coming in to let you make out the two electrical terminals the missing UP button should be wired to, but that's about it.\n\n> You look under Jaguar\nYou kneel and peer under the Jag. The lift platform blocks your view of most of the area. You'll have to raise it to see if there's actually anything under there.\n\n> You look in Jaguar\nYou peer through the windows of the Jag. Its Connolly leather and Wilton wool clad interior is as immaculate as its exterior.\n\n> Go west\nYou can't go that way. The only obvious exit leads out.\n\n> You go outside\nYou step out of the service bay and into the main part of the garage.\n\n> Leave\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The hedge continues along the driveway to the garage. However, unlike the hedge in other parts of the estate, this one is rather badly overgrown. The driveway leads back to the south.\n\n> Go east\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\n> Go east\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main path leads back west. A smaller footpath continues to the east.\n\n> You examine the benches\nEight benches are spaced evenly around the perimeter of the paved area. They consist of a seat set on two concrete supports.\n\n> You examine the statue\nThe life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.\n\n> You examine the horn\nMaybe you'll have time to study the nuances of lawn sculpture later. Right now you have a package to deliver.\n\n> You look at the plaque\nUnlike the other plaques in the area this particular plaque appears to be hinged, as though you might actually be able to pull it open. It has something engraved on it.\n\nHis ship was the giant Triton,\nthe sound of whose conch\naffrighted the dark-blue water.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.\n\n> You open it\nYou slip your fingers under the right edge of the plaque and pull. There is some resistance, like you're pulling against a spring. You hear a soft clicking noise coming from somewhere inside the sculpture's pedestal as the plaque moves, almost as though you were winding some kind of mechanism. You continue to pull until the plaque will open no further, and are quite disappointed to discover that nothing but bare stone lies behind it.\n\nThe clicking sound stops. You wait a moment, but nothing unexpected happens. As you stare at the plaque you can't help but wonder what kind of mechanism opening it wound, and what it might take to start it running.\n\n> You examine the plaque\nThe brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.\n\nHis ship was the giant Triton,\nthe sound of whose conch\naffrighted the dark-blue water.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.\n\n> Close plaque\nThe plaque snaps closed against the sculpture's pedestal with a solid \"clunk.\" A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.\n\n> Go west\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nYou hear a faint, rapid ticking sound coming from the general area of the sculpture of Triton.\n\n> You go to the west\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\n> Go west\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\n> You go west\nThe flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.\n\nThe plaque has inexplicably moved upwards about six inches to reveal a small recess in the stone behind it. The recess contains a small silver key.\n\nWithout warning the brass plaque begins to slide downward, grating loudly across the stone as it moves. Within moments it has once again covered the small recess in the sculpture's stone pedestal.\n\n> You open the plaque\nYou try everything you can think of to somehow move or otherwise open the plaque, to no avail. It stubbornly refuses to budge.\n\n> You read the plaque\nO blessed one, be kindly in\nheart and help those who\nvoyage in ships.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find that particular Homeric Hymn meaningful.\n\n> Close plaque\nThe plaque snaps closed against the sculpture's pedestal with a solid \"clunk.\" A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.\n\nA rapid ticking sound is coming from somewhere inside the sculpture's pedestal.\n\n> You open the plaque\nYou slip your fingers under the right edge of the plaque and pull. It won't budge. You pull harder, then again with all your strength. The plaque remains stubbornly immovable. Apparently it won't open while the mechanism inside the sculpture's pedestal is still running.\n\n> You look at the statue\nThe life-size bronze sculpture depicts the Greek god Poseidon and his wife the goddess Amphitrite side by side in an ornately decorated chariot being drawn by two Hippocampi (the immortal winged chariot-horses of the gods). Poseidon is wearing a laurel wreath while Amphitrite is wearing a tiara. The beauty and level of detail of the sculpture is impressive.\n\n> Go east\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.\n\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\n> Go east\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main path leads back west. A smaller footpath continues to the east.\n\n> You go to the east\nYou hike down the path. The rolling green lawn quickly gives way to woods choked by dense undergrowth as it bends to the south.\n\nThis small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.\n\n> You go west\nThe trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.\n\nYou notice a small green grasshopper munching on a clump of grass nearby.\n\n> You examine the grass\nThe grasshopper finds the clumps of grass fascinating. You fail to see the allure.\n\n> You take the grasshopper\nYou lunge for the grasshopper, and miss. He casually hops to another clump of grass and continues munching.\n\n> Inventory\nYou are carrying a package, a business card, a paddle, and an inner tube patch.\n\n> Go east\nThis small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.\n\n> You go north\nThe trees thin quickly, giving way to rolling green lawn as the path bends to the west.\n\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.\n\n> You examine the plaque\nThe brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.\n\nHis ship was the giant Triton,\n\n> You put the paddle behind the plaque\naffrighted the dark-blue water.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.\n\nYou can't put anything behind the polished brass plaque.\n\n> You examine the plaque\nThe brass plaque is currently standing open, but there is nothing but bare stone behind it. It has something engraved on it.\n\nHis ship was the giant Triton,\nthe sound of whose conch\naffrighted the dark-blue water.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.\n\n> You examine patch\nThe patch is one of the new \"peel and stick\" patches. No adhesives or matches required.\n\n> You go to the north\nYou can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, back to the footpath through the small clearing; and west, to the east lawn.\n\n> You examine the flowers\nThe flower beds are ablaze with color. Dozens of varieties of flowers crowd against both sides of the path as it meanders across the rolling lawn.\n\n> You go to the east\nYou hike down the path. The rolling green lawn quickly gives way to woods choked by dense undergrowth as it bends to the south.\n\nThis small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.\n\n> You search the twigs\nYou poke around through the scattered leaves a bit. The only object of any size you discover in the process is a sturdy forked stick.\n\n> You take the stick\nTaken.\n\n> You look at stick\nThe stick is Y-shaped and a foot long overall. It's about as thick as your thumb. It looks like something the local neighborhood \"menace\" might have sticking out of his back pocket.\n\n> Go southeast\nA dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.\n\n> You look at the padlock\nThe chrome-plated padlock is made from heavy tempered steel and looks capable of withstanding even the most determined assault. Stamped on its bottom are the words, \"Certified Pick-proof* (*certification void outside Slovenia)\" It's locked.\n\n> You look at the door\nThe shed door is just as badly weathered as the rest of the shed.\nEven so it still looks sturdy enough to withstand any type of brute-force attempt to batter it down. It's closed.\n\n> You look at the shed\nDilapidated is right. It's been years since a fresh coat of paint last covered the shed's badly weathered flanks.\n\n> You take the grass\nYou pick a small clump of grass and hold it out toward the grasshopper. Apparently happy with the clump he's already munching on, he completely ignores your generous offer. You finally give up and toss the grass aside.\n\n> Go southwest\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou hear birds twittering in the branches above you.\n\n> You look at the birds\nYou can hear the birds twittering, but you can't see them. They must be in the branches above you.\n\n> Go upwards\nThere's only so much you can carry up a tree. You'd better leave the paddle here.\n\n> You drop the paddle\nDropped.\n\n> Go upward\nIt's a long climb to the top of the tree. You just hope you'll be able to somehow SAVE yourself should you slip and fall. (Climb again to continue.)\n\nYou hear birds twittering in the branches above you.\n\n> Go upward\nIt's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.\n\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.\n\n> You examine the branch\nThe sturdy branches here would make a great place to build a tree house. It makes you wish you were a kid again. Additional sturdy branches are within easy reach just above your head.\n\n> Go upwards\nThe branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.\n\nThere is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.\n\nA squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves.\n\n> You examine the acorns\nThe pile is huge. It contains thousands of acorns in every shape and size imaginable.\n\n> You look at the squirrel\nThe squirrel isn't here at the moment. He probably left to find a hiding place for his acorn.\n\n> You search the acorns\nYou peer into the hole, but all you can see are acorns. Lots and lots of acorns.\n\n> You take the acorns\nThe squirrel has worked hard for many long months gathering and storing his supply of acorns. It wouldn't be right to rob him of the fruits of his labor. He probably wouldn't miss just one acorn, though.\n\nYou hear birds twittering in the branches above you.\n\n> You take the acorns\nThe squirrel has worked hard for many long months gathering and storing his supply of acorns. It wouldn't be right to rob him of the fruits of his labor. He probably wouldn't miss just one acorn, though.\n\n> You take the acorn\nThe hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.\n\nJust as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.\n\n> You take the acorn\nWhich acorn do you mean, the pile's acorn, or the squirrel's acorn?\n\n> Pile'S\nYou're already holding one of the acorns from the pile.\n\n> You examine the squirrel\nSquirrels are noted for their fondness for acorns, and this one is no exception. He is holding a nice large one. The presence of your hand in his hole has apparently overcome his normal shyness. He watches you warily from a nearby branch.\n\n> You take the squirrel\nThe squirrel is sitting on a branch safely out of your reach. He ignores your clumsy attempt to grab him.\n\n> You take the squirrel's acorn\nThe squirrel is sitting on a branch safely out of your reach. He ignores your clumsy attempt to grab his acorn."
    },
    {
        "text": "> Go downwards\nYou seem to have a bit of a problem here.\n\nThis situation reminds you of something you once saw on \"The Discovery Channel.\" It was one of those endless nature specials, this one about native tribesmen who trap monkeys by drilling a small hole in a coconut and putting a lump of food inside. The monkey reaches in, grabs the food, then panics when he can't get his hand back out. He's too dumb to realize that all he has to do to escape is drop the food, and as a result he ends up in the stew pot.\n\n> You drop the acorn\nCongratulations! You have just proved that you're smarter than the average monkey. Of course you still don't have an acorn. Maybe what you need to be is smarter than the average squirrel.\n\nSatisfied that his acorns are safe, the squirrel abandons his sentry post and disappears back into the leaves.\n\n> You look at what you're carrying with you\nYou are carrying a package, a business card, an inner tube patch, and a forked stick.\n\nA squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves.\n\n> You take the acorn\nThe hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.\n\nJust as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.\n\n> Scream\nYou scream as loud as you can.\n\n> You hit the squirrel\nThe squirrel is sitting on a branch safely out of your reach.\n\n> You drop the acorn\nYou can't attack anything with the forked stick.\n\nYou release the acorn and withdraw your hand from the hole.\n\nSatisfied that his acorns are safe, the squirrel abandons his sentry post and disappears back into the leaves."
    },
    {
        "text": "> Go downward\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.\n\n> Go upwards\nThe branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.\n\nThere is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.\n\nYou hear birds twittering in the branches above you.\n\n> Go upward\nThe dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.\n\nAs you continue to admire the view you slowly become aware of the fact that you're being watched. You peer around cautiously, then spot a large female robin perched on a branch to your left. She appears to be standing guard over the nest she has built there.\n\n> You examine the nest\nThe robin has done a very neat job of building her nest in the fork of a limb. The usual twigs, straw, tufts of hair, and bits of twine have been woven with care into a sturdy home. Peering into its feather-lined interior you can see that she has laid four pale blue eggs. You also notice that one of the tufts of hair she used still has a bobby pin attached to it.\n\nYou hear birds twittering in the branches below you.\n\n> You take the nest\nNaturally the robin assumes that your approaching hand is after her eggs. As soon as you start to reach for her nest she explodes into the air, and with a trilling battle cry springs to the attack.\n\nHer wings beat angrily in your face while a flurry of painful pecks rain down on the top of your head. You swat at her wildly in an effort to drive her back, but she's in her element and has no problem avoiding your clumsy flailing. You, on the other hand, are clearly out of your element. The fury of the robin's attack so startles you that you momentarily forget one of the basic tenets of tree climbing, namely, ALWAYS hold onto the tree.\n\nAAAIIIIIEEEEEEEEEEEE...............\n\nIn the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.\n\n> You examine Robin\nYou scrutinize her closely to determine if she is an American or European Robin, and conclude that she is indeed an American Robin.\nHer general thrush-like appearance, characteristic red breast (slightly paler in the female), and the little American flag tattooed on her left bicep are dead giveaways.\n\n(Just kidding about that tattoo.)\n\n> You examine the pin\nThe bobby pin is badly rusted. It must have been lying outside in the rain and snow for a long time before the robin found it.\n\n> You take the pin\nSomething about the way the robin is watching your every move makes you think that right now might not be a good time to be reaching toward her nest.\n\nYou hear birds twittering in the branches below you.\n\n> You examine the birds\nYou can hear the birds twittering, but you can't see them. They must be in the branches below you.\n\n> Go up\nThrowing caution to the wind, you push ever higher up the huge old oak. A branch breaks and falls away under your feet, but fortunately you were holding onto the limb above it. As you hang there looking for another branch to transfer your weight to it occurs to you that now might be a good time to give up and head back down. That's when you hear it.\n\nCreeeaaakkkkk..............SNAP!!!\n\nAAAIIIIIEEEEEEEEEEEE...............\n\nIn the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.\n\n> You check your inventory\nYou are carrying a package, a business card, an inner tube patch, and a forked stick.\n\n> You take the egg\nSeeing that you are clearly after her eggs, the robin explodes into the air, and with a trilling battle cry springs to the attack.\n\nHer wings beat angrily in your face while a flurry of painful pecks rain down on the top of your head. You swat at her wildly in an effort to drive her back, but she's in her element and has no problem avoiding your clumsy flailing. You, on the other hand, are clearly out of your element. The fury of the robin's attack so startles you that you momentarily forget one of the basic tenets of tree climbing, namely, ALWAYS hold onto the tree.\n\nAAAIIIIIEEEEEEEEEEEE...............\n\nIn the process of falling you manage to break most of the major bones in your body by crashing into the same sturdy branches you climbed earlier. Your thick skull miraculously survives, at least until you tumble out of the tree and smack head first onto the path below. Twisted and bleeding, you lie under the huge old oak tree and calmly watch the world fade to black around you.\n\n> You examine the hair\nThe robin has done a very neat job of building her nest in the fork of a limb. The usual twigs, straw, tufts of hair, and bits of twine have been woven with care into a sturdy home. Peering into its feather-lined interior you can see that she has laid four pale blue eggs. You also notice that one of the tufts of hair she used still has a bobby pin attached to it."
    },
    {
        "text": "> Go downward\nThe branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.\n\nThere is a three-inch wide hole in the trunk here. It contains a huge pile of acorns."
    },
    {
        "text": "> Go downward\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive."
    },
    {
        "text": "> Go downward\nHaving reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle here.\n\n> You drop all\nbusiness card: Dropped.\ninner tube patch: Dropped.\nforked stick: Dropped.\n\nYou hear birds twittering in the branches above you.\n\n> You take all\nbusiness card: Taken.\ninner tube patch: Taken.\nforked stick: Taken.\n\n> You take the paddle\nYou are already carrying the paddle.\n\nYou hear birds twittering in the branches above you.\n\n> You go west\nThe south end of the property is heavily wooded. A single winding footpath starts at the gap in the hedge to the west and runs east through the dense foliage near the wall.\n\n> Go west\nAfter a bit of squirming you manage to squeeze through the narrow gap between the hedge and the wall. You make a mental note to reconsider your decision not to go on a diet.\n\nThe gravel driveway widens a bit as it passes through a gate in the high stone wall that surrounds the estate. On the other side of the gate the road quickly bends and disappears from sight behind the trees. The neatly trimmed hedge on the west side of the driveway runs in a solid, unbroken line right up to the wall. But, oddly enough, there's a narrow gap between the hedge and the wall on the east side.\n\nYou see a piece of paper here.\n\n> You take paper\nJust as you reach for the piece of paper a sudden gust of wind swirls it up and deposits it on the other side of the gate.\n\n> You get the paper with the paddle\nIt's too far away for you to make out any detail, but it appears to be some kind of sales brochure.\n\nYou can't reach the sales brochure with a paddle.\n\n> You look at the gate\nThe gate is an imposing affair made of wrought iron pikes interwoven with decorative ironwork vines. It was standing wide open when you arrived, but someone has apparently closed and locked it since then.\n\n> You open gate\nThe wrought iron gate seems to be locked.\n\n> You climb the gate\nThe tips of the pikes are VERY sharp. You wisely change your mind about climbing the gate.\n\n> Go west\nThe thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north; south; and east, back to the east footpath.\n\n> Go south\nThat's strange. The gate was standing wide open when you passed through it earlier, but someone has apparently closed and locked it since then.\n\n> Go north\nThe driveway runs generally north to south, with occasional deviations to pass by a large tree or, as is the case here, around a decorative cement pond. A fountain sprays and splashes cheerfully in the center of the pond. The neatly trimmed hedge continues unbroken along both sides of the driveway.\n\n> You examine the fountain\nThe fountain sprays and splashes cheerfully in the center of the pond.\n\n> You examine pond\nIt looks like one of those decorative cement ponds that landscapers are so fond of. This one is fairly large, say, maybe thirty feet across, but doesn't look to be more than knee deep. A fountain sprays and splashes cheerfully in its center.\n\n> You look in the pond\nYou walk around the edge of the pond peering into the water. You don't notice anything lying on the bottom within reach.\n\n> You enter the pond\nThrowing caution to the wind, you step over the edge of the pond and plunge into the water.\n\nThe water is surprisingly cold, but thankfully only about knee deep. The footing is a bit slippery, but as long as you're careful you should be able to move around easily enough. The glint from something shiny lying on the bottom of the pond briefly catches your eye.\n\n> You take shiny\nAccording to my handy pocket dictionary, a glint is \"a tiny bright flash of light.\" Now you can splash about the pond chasing phantom lights all day long if you want to, but what you might want to do instead is search the pond for whatever it is that's making the glint.\n\n> Search pond\nYou slosh around the pond looking for anything visible lying on its bottom, and discover a shiny penny.\n\n> You take the penny\nTaken.\n\n> You examine it\nIt's a shiny Lincoln cent, just like the ones that keep cluttering up your pockets. You do notice that it has the original wreath design on the reverse. You don't see many of those any more.\n\n> Search pond\nYou slosh around the pond looking for anything visible lying on its bottom, but come up empty handed.\n\n> Leave\nYou climb up out of the pond to stand dripping on the gravel driveway.\n\nThe driveway runs generally north to south, with occasional deviations to pass by a large tree or, as is the case here, around a decorative cement pond. A fountain sprays and splashes cheerfully in the center of the pond. The neatly trimmed hedge continues unbroken along both sides of the driveway.\n\n> You look at the wreath\nYou look at the penny more closely. It's dated 1909 and has an \"S\" mint mark. You also notice the initials \"VDB\" at the bottom of the reverse. The penny is a lot older than it looks, and in mint condition. You find yourself wondering if it might be worth something to a collector.\n\n> Go outside\nWhat do you want to get out of?\n\n> North\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently down.\n\nA battered old canoe hangs on the wall in bay four.\n\nA large red tool cabinet sits under the canoe.\n\nA bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.\n\n> You enter the bay 6\nYou step into the service bay.\n\n> You put the penny in the hole\n(the UP button hole)\nThe terminals are recessed too far inside the control panel for you to be able to touch them with the the shiny penny.\n\n> You unscrew the screw with the penny\nThe head of the screw is stripped out. You can't remove it.\n\n> You pull the screw\nYou'll have to unscrew it first.\n\n> You open the panel\nYou'll have to remove the screw holding it closed first. And since its head is stripped out, that's not really an option.\n\n> South\nYou step out of the service bay and into the main part of the garage.\n\n> East\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe brass plaque in Triton's pedestal is currently standing open.\n\nThe main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.\n\n> You examine the pedestal\nThe stone pedestal is circular and rises about two feet above the flagstone pavement. It supports a life-sized bronze sculpture of Triton, and has a polished brass plaque attached to the front of it. The brass plaque is currently standing open.\n\n> You read the plaque\nHis ship was the giant Triton,\nthe sound of whose conch\naffrighted the dark-blue water.\n\nYou remember reading somewhere that J. Daggett's great-grandfather made his fortune as a sea captain. You can certainly understand why he might find the sea-god Triton meaningful.\n\n> You examine Triton\nThe life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.\n\nThe brass plaque in Triton's pedestal is currently standing open.\n\n> You go west\nThe flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.\n\n> Go north\nYou soon realize you're in for a bit of a hike. The path passes to the east of a large greenhouse, then bends northeast toward the cliffs overlooking the ocean. The ground turns rocky and starts sloping downward. Before long you're winding down stairs cut into the face of the cliff.\n\nThe steps end at wide ledge overlooking the ocean. The stairway that once continued on down the cliff face to the narrow crescent-shaped beach some fifty feet below you has collapsed into a twisted pile of corroded metal. The beach itself is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. A rusty iron railing surrounds the overlook and protects you from falling.\n\nThe way back starts with a long climb back up the steps.\n\n> You examine the railing\nThe railing is bolted directly to the rock, and at one time was no doubt very safe and sturdy. However long exposure to the salt air has left it badly rusted. An experimental shake causes one of the remaining bolts to crack and fall to the beach below. You cautiously take a step back from the edge.\n\n> You take the railing\nGiven the railing's current condition it might actually be possible to rip it right out of the rock. However you see no reason to do so.\n\n> You look at stairway\nAll that's left of the stairway that once descended from the overlook to the beach is a twisted pile of corroded metal on the sand below.\n\n> You look at the beach\nThe beach is about fifty feet directly below you. It's a narrow crescent littered with broken shells and hemmed in on both ends by a jumble of fallen rock. You can see a couple of large boulders surrounded by thick brush standing against the face of the cliff.\n\n> Oops boulders\nA couple of large boulders surrounded by thick brush stand against the face of the cliff on the narrow crescent-shaped beach.\n\n> You examine the brush\nThe brush is thickest around the large boulders.\n\n> You examine the shells\nBroken shells litter the sand on the narrow crescent-shaped beach.\n\n> You examine the ocean\nA gentle onshore breeze brings a light swell rolling onto the beach. Its color rapidly changes from green to dark blue as it deepens offshore.\n\n> You examine the cliff\nYou have a breathtaking view of the ocean from the cliffs."
    },
    {
        "text": "> You descend\nThe stairway down to the beach has collapsed.\n\n> You jump\nYou peer over the railing at the beach some fifty feet below. You make a mental note to reconsider your decision not to put The Suicide Prevention Hotline on speed dial.\n\n> Search shells\nThe broken shells are too far away.\n\n> You look at the rocks\nThe beach is hemmed in on both ends by a jumble of fallen rock. Waves break over their jagged edges.\n\n> Dive\nWhat do you want to dive in?\n\n> Ocean\nThe water is too far away.\n\n> You jump on the brush\nThe thick brush is too far away.\n\n> You search the stairway\nThe stairway is too far away.\n\n> You look at what you're carrying with you\nYou are carrying a package, a paddle, a business card, an inner tube patch, a forked stick, and a shiny penny.\n\n> South\nThe hike back isn't any shorter, and it's all uphill. You're huffing and puffing a bit by the time you make it back to Poseidon & Amphitrite.\n\nThe flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.\n\n> North\nThe path ends at the entrance to a large greenhouse. Its glass-paneled walls are fogged with moisture. Peering inside you can just make out what looks like long rows of plants, as well as the shadowy shape of a figure moving about among them. There is a single door, also glass, directly in front of you. It's closed.\n\nThe flagstone path leads back south across the lawn.\n\n> You look at the figure\nYou can see a shadowy figure moving around among the rows of plants inside the greenhouse.\n\n> You knock on the door\nYou step up and knock on the greenhouse door. You see the shadowy figure look your way, then walk over to a table and pick something up. The door swings open.\n\nThe figure turns out to be the estate's gardener. He is clad in coveralls and stooped with age. He is carrying a pair of hedge clippers. He peers up at you through thick, fogged glasses.\n\n\"That you Earl? 'Bout time you got back. That hedge by the garage needs clippin', and uh, wait a sec...\" He studies you intently through the Coke bottle bottoms he uses for lenses for a moment, then says, \"Saaay, you ain't Earl.\"\n\nYou decide to try the direct approach. \"No, actually I have a very important package I need to deliver to Mr. Winton, but I'm having a hard time getting in to see him. I wonder if you could...\"\n\nThe old gardener cuts you off with a snort. \"Nope! Try the main entrance.\"\n\nOnce again you find yourself standing before a closed door. So much for the direct approach.\n\n> You knock on the door\nYou start to knock on the door again and realize that you don't have a plan of action, even if he does answer. He can't see that well. He might talk to you if you could somehow make him think you were Earl.\n\nThe gardener stoops and appears to examine some plants.\n\n> You look in the greenhouse\nYou press your face against the glass and try to peer through the fog. You see the shadowy figure of the gardener moving around among the rows of plants inside the greenhouse.\n\nThe gardener shuffles over to one side of the greenhouse and picks through some objects on a table.\n\n> Go west\nYou see no particular reason to go hiking off across the beautifully manicured lawn when there are perfectly good paths available. Obvious exits lead north; and south, back to the west lawn.\n\n> You go to the south\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\n> Go south\nYou can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead north, back to the greenhouse; east, to the gravel driveway; and west, to the west lawn by Poseidon & Amphitrite.\n\n> You read the card\nPLASTI-SIDE, Inc.\n\nGuarantee!\n\nDwayne R. Splatz\nCustomer Representative\n(800) 555-KOTE\n\nHmm... Looks like some poor siding salesman didn't read the plaque. Oh well, not your problem.\n\n> You go to the south\nThe thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, to the garage entrance; east, to the east lawn; and west, back to the gravel driveway.\n\n> You go to the south\nYou can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, to the east lawn by Triton; and west, back to the east gravel driveway.\n\n> Go west\nThe thick, overgrown hedge blocks your way. Obvious exits lead north, to the garage; and south, back to the east gravel driveway.\n\n> Trim hedge\nWhat do you want to cut it with?\n\n> You take the hopper\nYou lunge for the grasshopper, and miss again. This time he takes flight just long enough to reach a clump of grass on the other side of the clearing.\n\n> Continue\nOoh... really close that time. The grasshopper takes three quick hops and ends up behind you.\n\n> Keep going\nJust as you're about to spring the grasshopper decides the grass is greener over... there, and leaps to a new clump.\n\n> You keep going\nYou lunge for the grasshopper one last time, and much to your (and even more to the grasshopper's) surprise you actually manage to trap him under your cupped palm. I guess your previous clumsy efforts must have lulled the poor little guy into a false sense of security.\n\n> You go to the south-west\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\n> You drop the paddle\nDropped.\n\n> Go upward\nIt's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.\n\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive.\n\n> Go upwards\nThe branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the ground some twenty-five feet below.\n\nThere is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.\n\n> Go upward\nThe dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.\n\nA large female robin is perched on a branch to your left. She appears to be standing guard over the nest she has built there. The nest contains four pale blue eggs and a bobby pin.\n\nYou hear birds twittering in the branches below you.\n\n> You give the grasshopper to Robin\nIt just so happens that small green grasshoppers are this particular robin's absolute favorite afternoon snack. Her normal caution overcome by hunger, she bursts forth in a flurry of beating wings and dives for the grasshopper. Before you can even twitch in response she's snapped it from your fingertips and zoomed back out of reach.\nBy the time she has regained her perch all traces of the poor little guy are gone. She continues to watch you warily.\n\nSo much for your show of good will.\n\n> Show hopper to Robin\nCarefully taking the grasshopper between thumb and forefinger, you hold it out to where the robin can see it. She begins cheeping and bobbing her head in excitement. You can almost feel the poor little guy cringe in your fingers.\n\n> You drop the hopper\nYou hold the hand containing the grasshopper out in front of you and slowly open it. The grasshopper cautiously pokes its head up and takes a look around. Spotting the robin, it immediately springs in terror for the nearest clump of leaves. The robin explodes into the air and dives in after it. You hear rustling sounds and occasional excited chirps coming from various points in the branches around you.\n\nThe chase is on."
    },
    {
        "text": "> Clean pin\nYou wouldn't know how to clean that.\n\nA squirrel holding a large acorn darts out of the foliage to chitter at you angrily for invading his domain, then just as abruptly disappears back into the leaves."
    },
    {
        "text": "> Go downward\nHaving reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle here.\n\nYou hear birds twittering in the branches above you.\n\n> You take the paddle\nTaken.\n\nYou hear birds twittering in the branches above you.\n\n> You go to the north-east\nThe trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.\n\n> Go east\nThis small open area is surrounded on all sides by dense undergrowth. Over the years dry leaves and twigs have accumulated here and now cover much of the ground. Paths lead west, southeast, and north. The path to the north passes through the trees then bends west toward Triton.\n\n> Go southeast\nA dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.\n\n> You pick the lock with the pin\nIt always works in the movies, but you don't hold out much hope as you carefully straighten the rusty bobby pin and insert in the keyhole. You poke and prod a bit, then twist the pin. Much to your surprise you hear a tiny grinding sound and the lock cylinder moves slightly. You twist harder and it moves some more, but you can also feel the bobby pin starting to bend and crumble in your fingers. You decide to give it one final hard twist. Just as the cylinder starts to turn the bobby pin snaps off flush with the keyhole and what's left of it disintegrates into a pile of gritty rust in your hand.\n\nThe lock stays shut.\n\nNote: There will now be a short pause to allow you to fully express your opinion of bobby pins, padlocks, adventure games, adventure game authors, and life in general.\n\nPress the space bar when you're done...\n\nWow! Where did you learn all those six-syllable expletives? I'm impressed.\n\nAnyway, with that out of your system you decide to give the offending padlock one last yank before you stomp off in disgust, and darned if the stupid thing doesn't fall open in your hand. (Now aren't you sorry you said all those terrible things about adventure game authors.)\n\n> You check your inventory\nYou are carrying a package, a business card, an inner tube patch, a forked stick, a shiny penny, and a paddle.\n\n> You take the lock\nThe remaining piece of the bobby pin has hopelessly jammed the padlock's locking mechanism, rendering it useless. Since it obviously has been picked you briefly consider trying to return it to the manufacturer for replacement, but decide to skip the trip to Slovenia for now and leave it where it is.\n\n> You open the door\nYou unhook the lock, flip back the hasp, re-hang the lock, and give the door a tug. It creaks open on rusty hinges.\n\n> Go inside\nIt takes a moment for your eyes to adjust to the shadowy dimness inside the shed. The first thing you notice is a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\nHanging on the nails are a gimme cap and a chambray work shirt.\n\n> You look at the cap\nThe cap looks like your typical gimme cap, the kind businesses like to emblazon with their company logos then sell to rubes who actually WANT to look like walking billboards. This one is a bit worn and has a few grease stains on it, but looks to be perfectly serviceable.\n\n> You examine the shirt\nThe shirt is a typical blue chambray work shirt. It has short sleeves, is passably clean, and has the name Earl embroidered over the spot where the now-missing pocket used to be.\n\n> Shirt\ngimme cap: Taken.\nchambray work shirt: Taken.\n\n> You examine the cases\nYep, that's what they are all right. Salesman's sample cases. A whole pile of 'em in every shape and size imaginable. You've never seen so much genuine Naugahyde all in one place in your life. Kind'a makes you wonder just how many salesmen over the years failed to read the plaque next to the mansion's main entrance.\n\n> You take the cases\nYou rummage around in the pile and pick a sample case at random. Opening it reveals a wonderful collection of plastic shower curtain hooks (available in nine decorator colors). After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> Search cases\nThere's nothing in the pile of sample cases but sample cases. Lots and lots of them.\n\n> You take the case\nYou rummage around in the pile and pick a sample case at random. Opening it reveals listings for over fifty fabulous time-share vacation condos, all available for a limited time only! After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> Continue\nYou rummage around in the pile and pick a sample case at random. Opening it reveals a fascinating assortment of adult nov... Uh, never mind that one. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> Keep going\nYou rummage around in the pile and pick a sample case at random. Opening it reveals a set of six Elvis collector plates showing his transformation from young heartthrob to aging, overweight superstar. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> Continue\nAs you prepare to check yet another no doubt useless sample case you can almost hear Obi-Wan's voice behind you. \"These aren't the cases you're looking for. Move along...\"\n\n> Keep going\nYou rummage around in the pile and pick a sample case at random. Opening it reveals over forty wonderful herbal products guaranteed to keep you healthy, fit, and broke for life (dealerships available). After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> You continue\nYou rummage around in the pile and pick a sample case at random. Opening it reveals a complete line of Cramway products, each specifically formulated to meet your every cleaning need. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> Continue\nYou rummage around in the pile and pick a sample case at random. Opening it reveals no less than fourteen different handy-dandy labor-saving widgets no kitchen should be without. After a brief examination of the case's totally useless contents you close it in disgust and toss it back on the pile.\n\n> You examine the junk\nBroken tools, old car parts, and assorted unidentifiable junk litter the top of the bench. Nothing useful is readily apparent in the pile, but who knows what a more thorough examination might turn up.\n\n> You search junk\nYou dig through the pile of junk on the table, and much to your surprise discover some leather work gloves, a screwdriver, and an inner tube.\n\n> You examine the screwdriver\nThe screwdriver has the usual bladed tip and a yellow plastic handle grooved for easy gripping.\n\n> You examine tube\nA typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The rubber still looks serviceable, but upon closer inspection you discover a quarter-inch long gash near the valve stem. The gash explains why it was abandoned among the other junk on the bench.\n\n> You put the patch on the tube\nYou carefully peel the backing from the patch, position it over the gash, and press it home. Hopefully it will hold once the tube is inflated.\n\n> You examine the grinder\nThe electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is not plugged into anything at the moment.\n\n> You examine the bulb\nThe light bulb is ordinary in every way. It is unlit.\n\n> You turn on the bulb\nThere's a click as you pull the chain, but the light bulb remains dark. It could be burned out, or the circuit could be dead. It might not hurt to see where the wires lead.\n\n> You turn off the bulb\nThe light bulb is already as off as it's ever going to get.\n\n> You examine the wires\nThe electrical cable runs from the light fixture to a location behind the workbench.\n\n> You look at the fixture\nA single-bulb light fixture is mounted over the workbench. An electrical cable leads from the fixture to a location behind the workbench. The fixture has a pull chain attached to it for turning it on and off. The light bulb is unlit.\n\n> You look behind the workbench\nYou bend down and peer under the workbench. There's an power outlet conveniently attached to the wall under there. The cable from the light fixture feeds into it from above, and conduit runs from it to a location concealed by the open door.\n\n> You examine the conduit\nThe conduit runs from the power outlet under the bench to a location concealed by the open door.\n\n> You close the door\nYou swing the door closed. The gloom inside the shed deepens to near-total darkness.\n\n> You open the door\nYou swing the door open. The inside of the shed returns to its normal level of gloominess.\n\nYou see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\n> You examine the outlet\nA standard 3-prong power outlet is attached to the wall under the bench. The cable from the light fixture feeds into it from above, and conduit runs from it to a location concealed by the open door.\n\n> You look behind the door\nYou swing the door closed to check behind it. The gloom inside the shed deepens to near-total darkness.\n\n> You examine nails\nThe nails appear to be perfectly ordinary 10p carpentry nails.\n\n> You examine the grinder\nThe electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is not plugged into anything at the moment.\n\n> You look at the motor\nThe 1/4 hp electric motor is old and battered, but the shaft spins freely. You don't see anything obviously wrong with it.\n\n> You examine the wheel\nThe grinding wheel currently attached to the motor's shaft is marked \"medium grit\". It should be OK for most grinding and sharpening needs.\n\n> You look at the switch\nThe power switch is currently in the OFF position.\n\n> You check what you're carrying\nYou are carrying a package, a business card, a forked stick, a shiny penny, a paddle, a gimme cap, a chambray work shirt, some leather work gloves, a screwdriver, and an inner tube.\n\n> Go north\nThe trees thin quickly, giving way to rolling green lawn as the path bends to the west.\n\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe brass plaque in Triton's pedestal is currently standing open.\n\nThe main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.\n\n> You knock on the door\nYou start to knock on the door again, but hesitate. The chambray work shirt and leather work gloves still might not be enough to fool the old gardener into thinking you're Earl. You decide to try to find one more piece of his apparel to wear, just to be sure.\n\n> You knock on the door\nYou start to knock on the door, but hesitate. The old gardener might be a bit surprised to see Earl the groundskeeper lugging around a paddle, and you don't want him looking at you too closely.\n\nThe gardener walks to a different group of plants and starts digging with a hand trowel.\n\n> You drop the paddle\nDropped.\n\nThe gardener picks up a water can and sprinkles some seedlings.\n\n> You knock on the door\nYou step up and knock on the greenhouse door. You see the old gardener again look your way, hesitate, scratch his head, sigh, then finally walk over to a table and pick something up. The door swings open. He peers up at you through thick, fogged glasses. You stare intently at your shoes, letting the bill of the gimme cap hide your face.\n\nGrumbling, he says, \"'Bout time you got back, Earl. That hedge by the garage needs clippin' real bad. Here, take these.\"\n\n\"OK,\" you mumble as you take a pair of hedge clippers from his hands. You turn quickly to make your getaway.\n\n\"And come right back when you're done,\" he calls after you. \"I got some more stuff that needs doin'.\"\n\nYou wave in acknowledgement without looking back.\n\n> You examine the clippers\nThe hedge clippers are well-worn and dulled with age. Spots of rust adorn the blades. They move easily when you open and close them, but given their current state it's unlikely that you'll be able to cut anything with them.\n\n> You check your inventory\nYou are carrying a package, a business card, a forked stick, a shiny penny, a screwdriver, an inner tube, some dull hedge clippers, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\nThe gardener reties some stray branches to a trellis.\n\n> Go inside\nYou see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\n> You plug the cord in the outlet\nYou crawl under the workbench and plug the power cord into the outlet, then stand back up when you're done. The grinder remains off.\n\n> You turn on the grinder\nYou turn on the grinder's power switch. The grinder remains off.\n\n> You turn off the grinder\nYou turn off the grinder's power switch. The grinder remains off.\n\n> You examine the grinder\nThe electric grinder's motor, grinding wheel, power cord, and on-off switch are all in place and intact. It is plugged in and turned OFF.\n\n> You examine the conduit\nThe conduit runs from the power outlet under the bench to a location concealed by the open door.\n\n> Go outside\nA dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.\n\n> Go northeast\nYou can't go that way. Obvious exits lead northwest, to the footpath through the small clearing; and in, back to the garden shed.\n\n> You go north\nYou can't bring yourself to trample through the flowers when there are perfectly good paths available. Obvious exits lead east, back to the east lawn by Triton; and west, to the east gravel driveway.\n\n> Panel\n(first standing in the service bay)\nYou carefully stick the blade of the screwdriver through the hole in control panel and touch it to the two terminals. The lift's hydraulic pump whines to life and the Jag rises smoothly into the air.\n\nYou discover a gold cigarette lighter lying on the service bay floor under the hydraulic lift.\n\n> You examine lighter\nThe lighter is a classic Zippo done in 18K gold. You remember reading somewhere that J. Daggett was a great cigar aficionado. The message engraved into the lighter's shiny gold surface would certainly indicate that it belonged to him. It's closed.\n\n> You read lighter\nDag!\nMay 4th\n\nLove, Em\n\nYou can't help but wonder how J. Daggett came to lose this obviously expensive personal gift from his wife Emmeline.\n\n> You open lighter\nYou snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.\n\nYou see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\nNow that the door is closed you can see a fuse box mounted to the wall in the space normally concealed by the open door.\n\n> You open the box\nYou'll have to remove the screw first.\n\n> Examine box\nThe fuse box is a small gray metal box, slightly smaller than a shoebox, with a lever on one side and a hinged cover. It's mounted to the wall next to the bench. Electrical conduit runs from the bottom of the fuse box to the power outlet under the bench.\n\nThe fuse box lever is in the ON position. The fuse box cover is closed and secured with a screw.\n\n> You unscrew the screw with the screwdriver\nYou insert the tip of the screwdriver into the head of the screw and twist firmly counterclockwise. After a brief hesitation the screw breaks loose, then spins out the rest of the way easily. As the last few threads clear the hole it wobbles then falls to the floor.\n\n> You turn off the lever\nYou move the lever down into the OFF position. The light bulb remains off. The grinder remains off.\n\n> You open the box\nOpened.\n\n> You look in the box\nThe fuse box contains a single fuse socket. The socket contains a blown fuse.\n\n> You take the fuse\nYou unscrew and take the blown fuse.\n\n> Close box\nClosed.\n\n> You turn on the lever\nYou move the lever up into the ON position. You hear the metallic 'clink' of the penny falling out of the socket and hitting the bottom of the fuse box. The vibration from the lever being moved must have jarred it loose.\n\n> You check your inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, some dull hedge clippers, a paddle, a gold lighter (providing light), a screw, and a blown fuse. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> You examine tube\nA typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The patch you applied appears to be firmly stuck into place. Hopefully it will hold air when you try to inflate it.\n\n> You remove the patch\n(from the inner tube)\nYou can't have that; it's part of the inner tube.\n\n> You open the box\nOpening the fuse box reveals a shiny penny. As soon as you get the fuse box cover fully open the penny falls out and rolls off across the floor.\n\n> You put the fuse in the socket\nYou screw the blown fuse down on top of the penny.\n\n> Close box\nClosed.\n\n> You turn on the lever\nYou move the lever up into the ON position. The light bulb begins to glow dimly. The grinder remains off.\n\n> You close lighter\nYou snap the lighter closed to extinguish the flame.\n\n> You turn on the grinder\nYou turn on the grinder's power switch. It's power restored, the grinder spins to life.\n\nYou hear a low, steady whirring sound coming from the grinder.\n\n> You look at what you're carrying with you\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, some dull hedge clippers, a paddle, a gold lighter, and a screw. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> Grind clippers\n(with the electric grinder)\nYou open the clippers and begin to move the edges of the two blades back and forth against the spinning grinder wheel. Sparks fly as you carefully hone them back to razor sharpness.\n\nYou hear a low, steady whirring sound coming from the grinder.\n\n> Grind clippers\n(with the electric grinder)\nThe hedge clippers are already as sharp as they're going to get.\n\n> You turn off the grinder\nYou turn off the grinder's power switch. It's power cut, the grinder spins down and stops.\n\n> You turn off the bulb\nThe gloom inside the shed deepens to near-total darkness. There's a click as you pull the chain, and the light bulb goes out.\n\n> Go outside\n(first opening the shed door)\nYou swing the door open. The inside of the shed returns to its normal level of gloominess.\n\nA dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.\n\n> Go inside\nYou see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\n> You close the door\nYou swing the door closed. The gloom inside the shed deepens to near-total darkness.\n\n> You open lighter\nYou snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.\n\nYou see a long wooden workbench against the left wall. The top of the bench is littered with broken tools, old car parts, and assorted unidentifiable junk. The only thing you recognize is the electric grinder bolted to the bench's far end. A crooked row of rusty nails march along the right wall, probably driven there long ago to hang tools on. Stacked against the back wall is what looks to be a pile of salesman's sample cases. The whole place has a musty, abandoned air about it.\n\nThere's a single-bulb light fixture mounted over the workbench. The light bulb is unlit.\n\nNow that the door is closed you can see a fuse box mounted to the wall in the space normally concealed by the open door.\n\n> You open the box\nThe fuse socket contains a shiny penny.\n\n> You take the penny\nYou'll have to remove the fuse first.\n\n> You take the fuse\nYou unscrew and take the blown fuse.\n\n> You take the penny\nYou hold your hand under the socket and tap the side of the fuse box. The penny tumbles out into your palm. It appears to have accumulated a few nicks and scratches from having the fuse screwed down on top of it.\n\n> You go outside\n(first opening the shed door)\nYou swing the door open. The inside of the shed returns to its normal level of gloominess.\n\nA dilapidated old garden shed squats forlornly next to the wall in the far southeast corner of the property. The only thing even remotely new about it is the shiny chrome-plated padlock on its door. The path back to the small clearing lies to the northwest.\n\nYou see no reason to travel around with a lit lighter in your hand. You snap the lighter closed to extinguish the flame.\n\n> Trim hedges\n(with the sharp hedge clippers)\nYou set about the task of trimming the thick hedge with vigor. The freshly sharpened clippers chew through the foliage with little resistance, and before long you have the hedge shaping up nicely. As you work on its east side you also uncover the entrance to a bare footpath leading east. A bit of extra clipping makes it passable once again.\n\n> You go east\nYou pass through the opening you cleared while trimming the hedge and turn northeast toward the cliffs.\n\nYou can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.\n\nA wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.\n\n> You examine the sand\nThe beach is about two hundred feet directly below you. It's wide and sandy, and looks like it would be a great place to spend a sunny afternoon with the family. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock."
    },
    {
        "text": "> Go downward\nThe beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.\n\n> You look at the rock\nPart of the cliff has collapsed, blocking the west end of the beach. The rocks extend well out into the bay. Waves break over their jagged edges.\n\n> You examine the sand\nThe wide, sandy beach follows the curve of the bay to the east and eventually disappears behind the cliffs as it turns south. To the west it ends at a jumble of fallen rock.\n\n> You climb the rock\nYou explore the fallen rocks to see if you can find a way over or through them. You quickly give up. They're steep, jagged, dangerously slippery, and extend well out into the bay.\n\n> You dig the sand\nMaybe you'll have time to dig for buried pirate treasure later. Right now you have a package to deliver.\n\n> You go east\nYou shade your eyes and study the long curve of the beach to the east. Other than a few nude sunbathers you see nothing of interest, and decide to skip the hike.\n\n(Just kidding about the nude sunbathers.)\n\n> You examine the ocean\nA gentle onshore breeze brings a light swell rolling onto the beach. The color of the water changes from green to dark blue as it deepens offshore.\n\n> Swim\n(the water)\nA nice swim would certainly be refreshing, however you can't put the package down and you dare not get it wet.\n\n> You look at the cliff\nThe view of the cliffs towering over the beach is awe-inspiring.\n\n> Go south\nYou can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.\n\nA wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.\n\n> You examine tube\nA typical old black rubber inner tube. It's too big to be for a car tire. It must have come from a truck or tractor or something. The patch you applied appears to be firmly stuck into place. Hopefully it will hold air when you try to inflate it.\n\n> You blow up the tube\nWhat do you want to inflate it with?\n\n> You go south\nYou leave the cliffs behind and head back toward the garage. A brisk hike soon brings you to the opening you cleared while trimming the hedge.\n\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\nFreshly cut hedge clippings are strewn about the area.\n\n> You drop the paddle\nDropped.\n\nThe gardener walks to a different group of plants and starts digging with a hand trowel.\n\n> You knock on the door\nYou step up and knock on the greenhouse door. You see the gardener look your way, then walk toward the door. It swings open. You again stare intently at your shoes to hide your face.\n\n\"You get that hedge clipped yet?\"\n\n\"Yep,\" you mumble without looking up.\n\nThe gardener nods and picks up a couple of items sitting next to the door. He hands them to you and says, \"'Bout time. Now take these and clean up, and this time don't take all day doin' it neither.\"\n\nYou take the leaf rake and peanut sack and turn to go. You hear the door close sharply behind you.\n\n> You examine rake\nThe leaf rake consists of a fan of springy metal tines attached to a long wooden handle. It's ideal for raking up loose brush, leaves, and grass.\n\nThe gardener shuffles over to one side of the greenhouse and picks through some objects on a table.\n\n> You examine the sack\nThe large burlap sack looks just like the ones handed out at fairs for sack races. It has the word \"PEANUTS\" stenciled in block letters on it. It's closed.\n\n> Smell sack\nYou smell nothing out of the ordinary.\n\nThe gardener reties some stray branches to a trellis.\n\n> You open sack\nOpening the peanut sack reveals three peanuts.\n\n> You examine peanuts\nThe peanuts are raw and still in their shells. They look typical in every respect. You have three peanuts left.\n\n> You go to the north\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\nFreshly cut hedge clippings are strewn about the area.\n\n> Rake clippings\nIt takes a bit of doing, but before long you manage to rake the scattered hedge clippings into a single large pile.\n\n> You put the clippings in the sack\nYou set the peanut sack down and start to work. The sack is roomier than it looks, and after a bit of jamming and cramming you manage to get the whole pile of clippings stuffed inside.\n\n> You check your inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, some sharp hedge clippers, a blown fuse, a shiny penny, a leaf rake, three peanuts, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> You go to the south\nThe thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, back to the garage entrance; east, to the east lawn; and west, to the gravel driveway.\n\n> Go south\nThe gravel driveway widens a bit as it passes through a gate in the high stone wall that surrounds the estate. On the other side of the gate the road quickly bends and disappears from sight behind the trees. The neatly trimmed hedge on the west side of the driveway runs in a solid, unbroken line right up to the wall. But, oddly enough, there's a narrow gap between the hedge and the wall on the east side.\n\nYou see a sales brochure here (on the other side of the gate).\n\n> You take the brochure with the rake\nYou kneel down in front of the closed gate. There's just enough of a gap between the two sides to permit the head of the rake to slip through. Getting your hand through is a bit tougher, but by leaning on the gate you manage to widen it enough for that as well. You extend the rake as far as you can toward the piece of paper and lower its blade.\n\nBulls-eye!\n\nIt takes a bit of patience but you eventually manage to work the piece of paper close enough to the gate to be able to reach it. You pick it up and resume your feet.\n\n> You read the brochure\nThe front of the sales brochure contains the standard vinyl siding marketing spiel. Yep, there's the de rigueur before/after picture of a dilapidated old house miraculously transformed by the addition of the manufacturer's products. And of course the words \"Lifetime Guarantee\" in thirty point type followed by a microscopic asterisk and about five hundred words in three point type. Mind-numbing stuff.\n\nThe back of the brochure is much more interesting. The drawing is crudely sketched, but there's no doubt that it's some kind of map. It shows a small beach bordered on both sides by fallen rocks and backed by a cliff. There's an arrow pointing to some bushes next to a large boulder on the southwest side. Behind one of the bushes is marked a bold X.\n\n> Go north\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\n> You go east\nYou pass through the opening you cleared while trimming the hedge and turn northeast toward the cliffs.\n\nYou can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.\n\nA wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest."
    },
    {
        "text": "> Go downward\nThe beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.\n\n> You examine the cliffs\nThe view of the cliffs towering over the beach is awe-inspiring.\n\n> You examine the map\nIt's a sales brochure for Plasti-Side, Inc.'s complete line of vinyl home products, including siding, trim, shutters, gutters, and storm doors. There's a map drawn on the back of it.\n\n> You read the map\nThe front of the sales brochure contains the standard vinyl siding marketing spiel.\n\nThe back of the brochure is much more interesting. The drawing is crudely sketched, but there's no doubt that it's some kind of map. It shows a small beach bordered on both sides by fallen rocks and backed by a cliff. There's an arrow pointing to some bushes next to a large boulder on the southwest side. Behind one of the bushes is marked a bold X.\n\n> You go upwards\nYou can see why J. Daggett's great-grandfather chose this site for his estate. The view from the top of the cliff is breathtaking. The bay stretches out before you. A wide expanse of sandy beach lies below. The day is sunny and relatively calm, with only a slight onshore breeze. A gentle swell rolls onto the sand.\n\nA wide, sandy path leads down to the beach. The bare footpath leads back toward the garage to the southwest.\n\n> You go to the west\nYou leave the cliffs behind and head back toward the garage. A brisk hike soon brings you to the opening you cleared while trimming the hedge.\n\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\n> You go inside\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA battered old canoe hangs on the wall in bay four.\n\nA large red tool cabinet sits under the canoe.\n\nA bicycle is parked in bay two. Its front wheel is secured by a bicycle lock.\n\n> You examine the air\nYou see no air here.\n(Not like in L.A. You actually can see the air there.)\n\n> You look at the compressor\nThe compressor is a heavy duty self-contained unit that starts automatically when the air pressure in its tank drops below a preset level. There's a quick-connect for attaching an air hose.\n\n> You attacthe quick-connect to the tube\n(first standing in the service bay)\nYou can't attach that to the inner tube.\n\n> You knock on the door\nThere's not much point in bothering the old gardener further. You already have everything you're going to get from him.\n\n> Go up\nThere's only so much you can carry up a tree. You'd better leave the sharp hedge clippers, the leaf rake, and the peanut sack here.\n\n> DROP CLIPPERS, RAKE, SACK\nsharp hedge clippers: Dropped.\nleaf rake: Dropped.\npeanut sack: Dropped.\n\n> Go upward\nIt's been a long time since you last did much tree climbing, but you're willing to give it a try. You grab one of the lower branches and pull yourself up.\n\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive. You can clearly see the peanut sack lying on the ground directly below you.\n\n> Go upwards\nThe branches aren't quite so thick and sturdy here. You can feel them swaying slightly under you with the wind. Every once in awhile the leaves part enough for you to catch a glimpse of the peanut sack lying on the ground some twenty-five feet below.\n\nThere is a three-inch wide hole in the trunk here. It contains a huge pile of acorns.\n\n> You take the acorn\nThe hole is a tight fit, but you manage to squeeze your hand through and grab an acorn from the pile.\n\nJust as you do the squirrel returns, this time taking up sentry duty on a nearby branch. Apparently concerned by your discovery of his hidey-hole, he watches warily as you paw around among his stash of acorns.\n\n> You examine the sack\nYou can catch an occasional glimpse of the peanut sack full of clippings on the ground far below.\n\n> You put the peanut in the sack\nThe peanut sack is too far away.\n\n> You show peanut to the squirrel\nYou take one of the peanuts in your free hand and hold it out to where the squirrel can see it. He sniffs and chitters excitedly.\nApparently he likes peanuts even better than acorns.\n\n> You drop the peanut\nYou drop three peanuts, and watch as they fall out of sight through the leaves below. The squirrel is tempted to chase after it, but ultimately decides that the safety of his entire stash of acorns is more important. He remains on station, watching warily.\n\n> You give the peanut to the squirrel\nYou take one of the peanuts in your free hand and hold it out to where the squirrel can see it. He sniffs and chitters excitedly. He moves cautiously toward you. You hold very still.\n\nCloser...\nCloooser...\n\nHe snatches the peanut, and drops his acorn! It falls out of sight through the branches below. He scampers back out of reach to consume his prize. You have two peanuts left.\n\n> You drop the acorn\nYou release the acorn and withdraw your hand from the hole.\n\nSatisfied that his stash of acorns is safe, the squirrel takes off down the trunk of the tree in search of the acorn he dropped."
    },
    {
        "text": "> Go downward\nYou pause to catch your breath at a point that is about ten feet above the ground. The branch under your feet is thick and sturdy, and the trunk beside you is reassuringly massive. You can clearly see the peanut sack lying on the ground directly below you."
    },
    {
        "text": "> Go downwards\nHaving reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.\n\nThe squirrel has beaten you to the ground and recovered his acorn!\nYou make a grab for him as he darts past, but he evades you easily. You begin to consider ways to get down the tree ahead of him as he disappears into the foliage above you.\n\n> You jump\nYou pick a spot unobstructed by large branches and step off of the limb. After a brief fall you hit the peanut sack, roll, and bounce to your feet unharmed.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.\n\nThe squirrel has beaten you to the ground and recovered his acorn!\nYou make a grab for him as he darts past, but he evades you easily. You begin to consider ways to get down the tree ahead of him as he disappears into the foliage above you.\n\n> You jump\nYou pick a spot that you hope is clear of the larger branches, set your sights on the peanut sack directly below you, and step out into thin air. The dense foliage slows you somewhat as you plunge toward the ground below.\n\nYour plan works perfectly. You land on the peanut sack, roll clear, and bounce to your feet unharmed.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle, some sharp hedge clippers, a leaf rake, a peanut sack (which contains some hedge clippings), and an acorn here.\n\nThe squirrel pokes his head out of the branches above you, chitters unhappily at the sight of you standing over his acorn, and scampers back up the tree to safety.\n\n> You take the acorn\nTaken.\n\nYou hear birds twittering in the branches above you.\n\n> You examine the acorn\nExcluding typical variation in size and shape, every acorn looks pretty much like every other acorn. All except this one that is. It is larger than average, nearly perfectly round, and feels unusually hard and heavy.\n\nYou hear birds twittering in the branches above you.\n\n> Inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> You examine the shirt\nThe shirt is a typical blue chambray work shirt. It has short sleeves, is passably clean, and has the name Earl embroidered over the spot where the now-missing pocket used to be.\n\n> You tie the tube to stick\nYou can't tie the inner tube to the forked stick.\n\nYou hear birds twittering in the branches above you.\n\n> You look at what you're carrying with you\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, and an acorn. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> Go upwards\nThe dangerously thin branches creak and groan under your weight as you cling precariously to your shaky perch. Your climb has taken you nearly forty feet into the air. Looking out and down, all you can see are the tops of the other trees below you. Glancing up, you see that you have climbed to within ten feet of the top.\n\nA large female robin is perched on a branch to your left. She appears to be standing guard over the nest she has built there. The nest contains four pale blue eggs."
    },
    {
        "text": "> Go down\nHaving reached the lowest branch, you grab it and swing down out of the tree. It feels good to have your feet on solid ground again.\n\nThe forest thins slightly here, no doubt due to the huge old oak that is blocking most of the sunlight. The footpath continues from west to east along the wall for a bit before bending northeast to go around the tree's massive trunk.\n\nYou see a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings) here.\n\n> You take all\npaddle: Taken.\nsharp hedge clippers: Taken.\nleaf rake: Taken.\npeanut sack: Taken.\n\n> You go to the north-east\nThe trees are a bit thinner here, allowing dappled sunlight to reach the ground. As a result there are numerous small clumps of grass scattered along this stretch of the footpath. The footpath bends to the southwest behind you. It continues to the east where it looks like it might widen out a bit.\n\n> Go north\nMaybe you'll have time to trample through the woods looking for Bigfoot later. Right now you have a package to deliver. Obvious exits lead east to the footpath through the small clearing, and southwest to the footpath under the oak tree.\n\n> You throw the acorn\nWhat do you want to throw it at?\n\n> Inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, an inner tube, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings). You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> You look at bare\nThe small bare footpath leads east across the lawn for a short distance before bending south toward the woods.\n\n> You look at the bare stone\nThe stone pedestal is circular and rises about two feet above the flagstone pavement. It supports a life-sized bronze sculpture of Triton, and has a polished brass plaque attached to the front of it. The brass plaque is currently standing open.\n\n> You look at the sculpture\nThe life-size bronze sculpture depicts the Greek sea-god Triton. He is shown as a man from the waist up and has a dolphin's tail in place of his legs. He is holding his signature trident in one hand and his conch shell horn in the other. The beauty and level of detail of the sculpture is impressive.\n\nThe brass plaque in Triton's pedestal is currently standing open.\n\n> You examine the horn\nMaybe you'll have time to study the nuances of lawn sculpture later. Right now you have a package to deliver.\n\n> Deliver package\nWhom do you want to give it to?\n\n> You put package in the plaque\nYou have no idea how important or valuable the package might be. You dare not let it out of your hands, even for a second.\n\n> You examine the bike lock\n(first standing in bay two)\nThe lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently attached to the Schwinn's front wheel and locked.\n\n> You turn the lock to 0504\n(the bicycle lock)\nYou cannot turn that.\n\n> You set the lock to 0504\nRecalling the inscription on the lighter, you set the lock's dials to J. Daggett's anniversary date. Success! The lock pops open, and you remove it from the wheel.\n\n> You take the bike\nThe Schwinn isn't one of these state-of-the-art titanium, lift-with-one-finger racing bikes. It has a steel tube frame and it's both heavy and bulky. You decide that the easiest way to move it would be to ride it.\n\n> Ride bike\nThere's only so much you can carry while riding a bicycle. You'd better leave the paddle, the sharp hedge clippers, the leaf rake, and the peanut sack here.\n\n> DROP PADDLE, CLIPPERS, RAKE AND SACK\npaddle: Dropped.\nsharp hedge clippers: Dropped.\nleaf rake: Dropped.\npeanut sack: Dropped.\n\n> Ride bike\nYou take a seat on the classic Schwinn, raise its kickstand, and get ready to ride.\n\n> Go south\nKeeping your seat, you use your feet to walk the Schwinn out of bay two.\n\n> You go south\nYou carefully maneuver the Schwinn through the side entry door and out into the open.\n\nGarage Entrance (sitting on the bicycle)\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\n> You go south\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nEast Driveway (sitting on the bicycle)\nThe driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.\n\n> Go west\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nGravel Driveway (sitting on the bicycle)\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\n> Go west\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nWest Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east."
    },
    {
        "text": "> Look around\nWest Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\n> You go east\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nEast Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\n> You go east\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nTriton (sitting on the bicycle)\nThe main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe brass plaque in Triton's pedestal is currently standing open.\n\nThe main path leads back west. A smaller footpath continues to the east. The path to the east passes through rolling green lawn then bends south toward the small clearing.\n\n> You open the plaque then close it\nThe polished brass plaque is already open.\n\nThe plaque snaps closed against the sculpture's pedestal with a solid \"clunk.\" A moment later you hear the faint but unmistakable sound of metal grating against stone coming from somewhere to the west of you. As soon as it stops the mechanism inside the pedestal starts to tick.\n\nA rapid ticking sound is coming from somewhere inside the sculpture's pedestal.\n\n> You go west\nThe clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...\n\nEast Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nYou hear a faint, rapid ticking sound coming from the general area of the sculpture of Triton.\n\n> You go to the west\nThe clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...\n\nEast Driveway (sitting on the bicycle)\nThe driveway bends to the north here, leading toward a large outbuilding in the distance. A flagstone path passes through the hedge to the east. The way back to the mansion is west. Otherwise the neatly trimmed hedge continues unbroken along the outside edge of the driveway on both sides.\n\n> Go west\nThe clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...\n\nGravel Driveway (sitting on the bicycle)\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\n> You go west\nThe clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...\n\nWest Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\n> Go west\nThe clock is ticking! You take off on the Schwinn, and after a bit of furious peddling arrive at...\n\nPoseidon & Amphitrite (sitting on the bicycle)\nThe flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean.\n\nThe plaque is still up, revealing the small recess in the stone behind it. The recess contains a small silver key.\n\n> You take the key\nYou quickly peddle the Schwinn right up to the sculpture's pedestal and snatch the key out of the recess. It looks like you made it just in the nick of time.\n\nWithout warning the brass plaque begins to slide downward, grating loudly across the stone as it moves. Within moments it has once again covered the small recess in the sculpture's stone pedestal.\n\n> You examine the key\nThe silver key is too small to be a car key or door key. It must fit something else.\n\n> Go east\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nWest Lawn (sitting on the bicycle)\nThe flagstone path runs east to west through acres of low, rolling hills covered by emerald-green lawn. The path itself is bordered on both sides by lush flower beds. Tall trees dot the landscape, getting generally thicker to the south.\n\nThe main path leads north toward what appears to be greenhouse in the distance. The way back to the mansion is east.\n\n> You go east\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nGravel Driveway (sitting on the bicycle)\nThe gravel driveway starts at the foot of the marble steps, then winds off across the lawn to the south. It also continues around the building to the east. A neatly trimmed hedge borders the outside edge of the driveway on both sides, broken only by the entrance to a flagstone path leading west. Tall trees dot the landscape, getting generally thicker to the south.\n\n> You go north\nThe Schwinn is no mountain bike. It would be best if you stuck to paved surfaces while riding it.\n\n> Go north\nYou set off on the Schwinn, and after a leisurely bit of peddling arrive at...\n\nGarage Entrance (sitting on the bicycle)\nTo the north the driveway ends at the entrance to a large garage. You count six bay doors for vehicles, as well as a side entry door for those on foot. The neatly trimmed hedge continues along the west side of the driveway to the garage. A bare footpath passes through the hedge to the east then bends northeast toward the cliffs overlooking the ocean. The driveway leads back to the south.\n\n> You go to the north\nYou carefully maneuver the Schwinn through the side entry door and into the garage's interior.\n\nGarage (sitting on the bicycle)\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA large red tool cabinet sits under the canoe.\n\nA battered old canoe hangs on the wall in bay four.\n\nBay two contains a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).\n\n> UNLOCK CABINET WITH KEY, OPEN IT, TAKE SQUIRREL TRAP\n(first standing up, then standing in bay four)\nUnlocked.\n\nOpening the tool cabinet reveals an air hose.\n\nThe word \"trap\" is not necessary in this story.\n\n> You attach the hose to connect\n(first taking the air hose, getting out of bay four, then standing in the service bay)\nThere's a momentary hiss of escaping air as you snap the air hose onto the compressor's quick-connect. You coil it on the ground next to the compressor, ready for use.\n\n> You attach the hose to the tube\n(first dropping the inner tube)\nYou press the hose's air chuck onto the valve. Air starts to flow into the inner tube. After a moment or two the compressor motor starts.\n\nThe tube fills quickly. Once you judge it to be fully inflated you remove the chuck. The compressor motor continues to run for a few seconds as it replenishes the tank, then shuts off. You listen for the telltale hiss of a leak, but hear nothing. It looks like your patch job is holding.\n\n> You look at the tube\nThe old black inner tube is fully inflated, and for the moment at least your patch job appears to be holding. It ain't no boat, but it should float.\n\n> You go to the north\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA large red tool cabinet sits under the canoe.\n\nA bicycle is parked next to you in the garage.\n\nA battered old canoe hangs on the wall in bay four.\n\nThe service bay contains an air hose (attached to the compressor) and an inner tube. Bay two contains a paddle, some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).\n\n> You enter the bay 2\nYou step into bay two.\n\n> Go south\nYou step out of bay two and into the main part of the garage.\n\n> Inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, and a paddle. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> Go north\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA large red tool cabinet sits under the canoe.\n\nA bicycle is parked next to you in the garage.\n\nA battered old canoe hangs on the wall in bay four.\n\nThe service bay contains an air hose (attached to the compressor) and an inner tube. Bay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).\n\n> You take the tube\n(first standing in the service bay)\nTaken.\n\n> Go south\nYou step out of the service bay and into the main part of the garage.\n\n> You put the tube in the water\nYou toss the inner tube into the water. It floats nearby.\n\n> You enter the tube\nYou wade out, settle into the inner tube, and start paddling away from the beach. It takes a bit of experimentation to figure out the best paddle stroke to use, but before long you've cleared the breakwater and are moving along nicely.\n\nEast Bay (sitting on the inner tube)\nYou are floating several hundred yards off of the sandy beach to the south. The fallen rocks lie directly to the west. You'll need to paddle northwest to safely clear them. You rock gently on the light swell.\n\n> Paddle nw\nYou pick a point a hundred feet seaward of the jagged rocks and start paddling toward it. You have to correct your course a bit to compensate for the onshore breeze.\n\nRocky Point (sitting on the inner tube)\nYou are floating just off of the point made by the fallen rocks. To the west you can see a narrow crescent-shaped beach. The sandy beach lies to the southeast. The jagged edges of the rocks loom dangerously close, and the onshore breeze keeps trying to push you closer. You have to paddle vigorously just to maintain your position.\n\n> You paddle west\nYou safely clear the rocky point and paddle briskly toward the narrow crescent-shaped beach to the west.\n\nWest Bay (sitting on the inner tube)\nYou are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.\n\n> Paddle sw\nYou set out for the crescent-shaped beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.\n\nThe beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.\nThe steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.\n\nYou see an inner tube here.\n\n> Search shells\n(two peanuts)\nThere's nothing unusual in two peanuts.\n\n> You examine the bush\nThere's a lot of brush growing along the base of the cliff. It's thickest around the two large boulders.\n\n> You examine the boulders\nThe boulders are the size of a small house. They're standing against the face of the cliff and are surrounded by thick brush.\n\n> You search the brush\nUsing what you remember from reading the map on the back of the brochure as a guide, you carefully search the brush next to the large boulder on the southwest side of the beach. You discover the hidden entrance to a shallow cave.\n\n> Go southwest\nThe cave is actually little more than a sheltered niche in the rocks. It's barely big enough for you to stand in. The walls are bare rock. Light filters in from the opening to the northeast.\n\nThere's a large sample case sitting on the cave floor.\n\n> You examine the case\nThe sample case is much larger and heavier than most. It's covered in genuine tan pebble-textured Naugahyde with a matching handle and it has shiny brass hardware. There's a small brass nameplate on the front. It's closed.\n\n> You read the nameplate\nThe nameplate has the initials D.R.S. engraved on it. It looks like you've found Mr. Splatz's sample case. You're just glad you didn't also find his dead hand still clutching the handle.\n\n> Open case\nYou open the case and discover that it's filled with vinyl siding samples. Dozens of 'em, in a rainbow of attractive, guaranteed never to fade decorator colors. There are also little miniature storm door samples, and gutter samples, and a ring of colored tags so the customers can pick their favorite shade of pastel, and catalogs, and a photo album of finished projects, and more brochures, and...\n\nYou quickly snap the case closed before the vinyl fumes overwhelm you.\n\n> You take the case\nYou grab the handle and pick up the sample case. It's surprisingly heavy."
    },
    {
        "text": "> You look around\nThe cave is actually little more than a sheltered niche in the rocks. It's barely big enough for you to stand in. The walls are bare rock. Light filters in from the opening to the northeast.\n\n> You examine walls\nwest wall: You see nothing unusual about it.\neast wall: You see nothing unusual about it.\nnorth wall: You see nothing unusual about it.\nsouth wall: You see nothing unusual about it.\n\n> You leave\nThe beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.\nThe steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.\n\nYou can just make out the entrance to a shallow cave behind the brush to the southwest.\n\nYou see an inner tube here.\n\n> You look at metal\nAll that's left of the stairway that once descended from the overlook to the beach is a twisted pile of corroded metal.\n\n> You enter the tube\nThe sample case is too large and heavy to haul back in the inner tube. You'll have to find some other way of getting it off of the stony beach.\n\n> Inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, a paddle, and a sample case. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\nThe inner tube washes up onto the beach.\n\n> You examine the lock\nThe lock has a long hasp that can be inserted through the spokes of a bicycle's wheel then locked to its frame to keep the wheel from turning. The body of the lock has four numbered dials for entering the combination. It's currently unlocked.\n\n> You throw the case\nWhat do you want to throw it at?"
    },
    {
        "text": "> Look around\nThe beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.\nThe steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.\n\nYou can just make out the entrance to a shallow cave behind the brush to the southwest.\n\nYou see an inner tube here.\n\n> You put the lock on the handle\nWhich handle do you mean, the straight-slot handle, or the sample case handle?\n\n> You look at the beach\nThe narrow crescent-shaped beach is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. Two large boulders surrounded by thick brush stand against the face of the cliff.\n\n> Search shells\n(two peanuts)\nThere's nothing unusual in two peanuts.\n\n> You throw the case at the railing\nThe iron railing is too far away.\n\n> You look at the railing\nA rusted iron safety railing surrounds the overlook above you.\n\n> Inventory\nYou are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, a paddle, and a sample case. You're wearing a gimme cap, a chambray work shirt, and some leather work gloves.\n\n> You open the lighter\nYou snap the lighter open and flick the striking wheel. The flint sparks and the wick instantly bursts into flame.\n\n> You put the tube in the water\n(first taking the inner tube)\nYou toss the inner tube into the water. It floats nearby.\n\n> You enter the tube\nYou wade out, settle into the inner tube, and start paddling away from the beach. You soon clear the breakwater.\n\nWest Bay (sitting on the inner tube)\nYou are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.\n\n> You go to the northeast\nYou briefly consider rigging a sail and putting out to sea in your inner tube, but only briefly."
    },
    {
        "text": "> You look around\nWest Bay (sitting on the inner tube)\nYou are floating several hundred yards off of the narrow crescent-shaped beach to the southwest. The fallen rocks lie to the southeast. You'll need to paddle east to safely clear them. You rock gently on the light swell.\n\n> Paddle east\nYou pick a point a hundred feet seaward of the jagged rocks and start paddling toward it. You have to correct your course a bit to compensate for the onshore breeze.\n\nRocky Point (sitting on the inner tube)\nYou are floating just off of the point made by the fallen rocks. To the west you can see a narrow crescent-shaped beach. The sandy beach lies to the southeast. The jagged edges of the rocks loom dangerously close, and the onshore breeze keeps trying to push you closer. You have to paddle vigorously just to maintain your position.\n\n> Paddle se\nYou safely clear the rocky point and paddle briskly toward the wide, sandy beach to the southeast.\n\nEast Bay (sitting on the inner tube)\nYou are floating several hundred yards off of the sandy beach to the south. The fallen rocks lie directly to the west. You'll need to paddle northwest to safely clear them. You rock gently on the light swell.\n\n> Paddle south\nYou set out for the sandy beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.\n\nThe beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.\n\nYou see an inner tube here.\n\n> You go to the north\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA large red tool cabinet sits under the canoe.\n\nA bicycle is parked next to you in the garage.\n\nA battered old canoe hangs on the wall in bay four.\n\nThe service bay contains an air hose (attached to the compressor).\nBay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).\n\n> You take the canoe\n(first standing in bay four)\nThe battered old canoe is to high for you to be able to reach from the garage floor.\n\n> You stand on the cabinet\nJust to be safe, you should close the tool cabinet before trying to climb on top of it.\n\n> You take the canoe\nThe gaping hole in the bottom of the canoe is big enough to sink it like a rock. You might as well leave it where it is.\n\n> You look at the hole\n(the hole in the canoe)\nIt looks like the canoe has had a few to many close encounters with jagged rocks, one of which no doubt ripped the gaping hole you can see in its bottom. You're no expert, but it looks to be beyond repair.\n\n> You get the hose\n(first getting out of bay four, then standing in the service bay)\nThe hose comes free with a sharp pneumatic pop. Taken.\n\n> You look at the hose\nThe 50' air hose is long enough to reach about anything in the service bay. It has an air chuck at one end for filling tires, and a quick-connect at the other end for attaching it to the compressor.\n\n> You go to the west\nThe thick (but neatly trimmed) hedge blocks your way. Obvious exits lead north, back to the garage; south, to the east gravel driveway; and east, to the top of the cliff.\n\n> You tie the hose to the railing\nYou tie one end of the air hose to the iron railing and toss the other end over the edge of the cliff. The hose is thicker and stiffer than a typical rope and you can only manage a single overhand knot. Even so it will probably hold more weight than the rusty railing can handle. A quick check confirms that the free end of the hose is hanging a couple of feet above the ground below.\n\n> You go to the south\nThe hike back isn't any shorter, and it's all uphill. You're huffing and puffing a bit by the time you make it back to Poseidon & Amphitrite.\n\nThe flagstone path ends at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.\n\nThe main flagstone path leads back east. A rocky footpath leads north toward the cliffs overlooking the ocean."
    },
    {
        "text": "> You go down\nThe beach is wide and sandy. It follows the curve of the bay to the east and eventually bends south and disappears behind the cliffs. To the west it ends at a jumble of fallen rock.\n\nYou see an inner tube and a paddle here.\n\n> You take all\ninner tube: Taken.\npaddle: Taken.\n\n> You go southwest\nYou set out for the crescent-shaped beach. With the breeze to your back it doesn't take long to clear the breakwater. You stand up and drag the inner tube ashore.\n\nThe beach is a narrow crescent strewn with broken shells and hemmed in on both ends by a jumble of fallen rock. There are a couple of large boulders surrounded by thick brush standing against the face of the cliff. Above them is a wide ledge surrounded by a safety railing.\nThe steps that once led from the ledge to the beach have collapsed into a twisted pile of corroded metal.\n\nAn air hose hangs from the iron railing above you. Its free end sways within easy reach.\n\nYou can just make out the entrance to a shallow cave behind the brush to the southwest.\n\nYou see a sample case and an inner tube here.\n\n> You tie the hose to the case\nYou feed the free end of the air hose through the handle of the sample case and tie a knot. You lower the case until it's full weight is held by the hose. The rusty iron railing above you creaks and wobbles ominously, but for the moment at least seems to be holding. The case sways gently in the breeze.\n\n> You go north\nYou soon realize you're in for a bit of a hike. The path passes to the east of a large greenhouse, then bends northeast toward the cliffs overlooking the ocean. The ground turns rocky and starts sloping downward. Before long you're winding down stairs cut into the face of the cliff.\n\nThe steps end at wide ledge overlooking the ocean. The stairway that once continued on down the cliff face to the narrow crescent-shaped beach some fifty feet below you has collapsed into a twisted pile of corroded metal. The beach itself is littered with broken shells and hemmed in on both ends by a jumble of fallen rock. A rusty iron railing surrounds the overlook and protects you from falling.\n\nThe way back starts with a long climb back up the steps.\n\nAn air hose is tied to the iron railing next to you. Its free end hangs over the edge of the cliff. It has a sample case tied to it.\n\n> You take hose\nYou try to keep the sample case from banging into the face of the cliff as you haul the hose up. You can imagine it popping open and scattering samples and brochures all over the beach. But it holds together, and with a bit of effort you manage to drag it over the rail and set it on the ground. You untie both ends of the air hose and toss it aside.\n\n> You take the case\nYou grab the handle and pick up the sample case. It's surprisingly heavy.\n\n> You check what you're carrying\nYou are carrying a package, a business card, a forked stick, a screwdriver, a gold lighter, a screw, a blown fuse, a shiny penny, two peanuts, a sales brochure, an acorn, a bicycle lock, a small silver key, and a sample case. You're wearing some leather work gloves.\n\n> You read the plaque\nNO Soliciting!\n\nMy, what a cheery little omen.\n\n> You knock on the door\nAs best as you can tell you're all set for your debut as a vinyl siding salesman. You just hope you can figure out some really clever way to SAVE yourself from almost certain torture and death once you get inside. (Knock again to continue.)\n\n> You continue\nYou set the sample case on the steps next to you, take the business card and sales brochure in hand, square your shoulders, take a deep breath, and rap your knuckles firmly on the door. The thudding of your heart sounds louder than the footsteps thudding down the hall. The door swings open. Dark eyes glare at you.\n\n\"Good afternoon sir! My name is Splatz, Dwayne R. Splatz. But please call me Dwayne, everybody else does. Ha ha.\" You hand the butler your card. His scowl darkens.\n\n\"I'm here today representing Plasti-Side Inc.'s complete line of vinyl siding products.\" You make a show of looking around. \"You have a pretty nice place here, and I'm sure you'd like to keep it that way. And believe me, there's nothing like vinyl siding for keeping a home looking great!\"\n\nThe butler's scowl becomes thunderous. You see his thick fingers clutch into mallet-sized fists. You suppress a sudden overwhelming urge to see Paris one more time before you die, starting right now with a really quick trip down the steps. You hand the butler your sales brochure.\n\n\"As you can see by these photographs, our products can make a dramatic difference in the appearance of almost any structure. And unlike our competitors who make their siding from old LP records, we use only the finest virgin vinyl in their manufacture. In fact I happen to have several nice samples here with me. Let me just show you...\"\n\nYou bend over to reach for your sample case. You don't even see the massive fist hurtling toward your head.\n\nThe blackness slowly diminishes...\n\nThe first thing you become aware of is something cold and hard pressing against your face. It takes you a moment to figure out it's the floor. You open your eyes, and discover that you've been dumped in the corner of a large stone chamber.\n\nYou struggle to your feet.\n\nThe chamber is large an oppressive. Tall stone columns support heavy overhead beams. Flickering torches make shadows on the wall. It feels like you're deep underground, but you could just as easily be in a windowless tower.\n\nIt's not hard to figure out the chamber's purpose. In fact you're rather surprised not to see manacled skeletons hanging from the walls and an iron maiden in the corner. There is a torture rack however, or at least the modern high-tech equivalent of one. It's sitting against the far wall. The only visible exit is the open doorway next to it.\n\nThe butler is standing next to the torture rack with his back to you. It looks like he's busy preparing it for use.\n\nWARNING! You have recently performed an action (entering the mansion unprepared) that will prevent you from winning the game. To correct this you may type UNDO (multiple times if necessary) or RESTORE to a previously saved game.\n\n(If you would prefer not to be alerted when the game becomes unwinnable in the future, or to SAVE a game that's in an unwinnable state, type ALERTS OFF.)\n\n> You go to the north\nThe garage interior is divided into five open parking bays and a service bay equipped with a hydraulic lift and an air compressor. A classic Jaguar E-Type convertible sits on the lift. The lift is currently up.\n\nA battered old canoe hangs on the wall in bay four.\n\nA bicycle is parked next to you in the garage.\n\nA large red tool cabinet sits under the canoe.\n\nBay two contains some sharp hedge clippers, a leaf rake, and a peanut sack (which contains some hedge clippings).\n\n> You take the clippers\n(first standing in bay two)\nTaken."
    },
    {
        "text": "> Go downwards\n(off of bay two)\nOkay, you're no longer in bay two.\n\n> You cut the tube with the clippers\nYou start hacking up the inner tube up with the sharpened clippers. Your first cut causes it to deflate with a loud whoosh. Before long you manage to cut a single long strip of rubber from it. The inner tube is completely destroyed in the process. You discard what's left. Hopefully you have some kind of really clever use in mind for the rubber band you've just made.\n\n> You tie the band to stick\nAh, a weapon. Good idea. You tie the ends of the rubber band to the tines of the Y-shaped stick, and voila! You have a slingshot.\n\n> Continue\nYou set the sample case on the steps next to you, take the business card and sales brochure in hand, square your shoulders, take a deep breath, and rap your knuckles firmly on the door. The thudding of your heart sounds louder than the footsteps thudding down the hall. The door swings open. Dark eyes glare at you.\n\n\"Good afternoon sir! My name is Splatz, Dwayne R. Splatz. But please call me Dwayne, everybody else does. Ha ha.\" You hand the butler your card. His scowl darkens.\n\n\"I'm here today representing Plasti-Side Inc.'s complete line of vinyl siding products.\" You make a show of looking around. \"You have a pretty nice place here, and I'm sure you'd like to keep it that way. And believe me, there's nothing like vinyl siding for keeping a home looking great!\"\n\nThe butler's scowl becomes thunderous. You see his thick fingers clutch into mallet-sized fists. You suppress a sudden overwhelming urge to see Paris one more time before you die, starting right now with a really quick trip down the steps. You hand the butler your sales brochure.\n\n\"As you can see by these photographs, our products can make a dramatic difference in the appearance of almost any structure. And unlike our competitors who make their siding from old LP records, we use only the finest virgin vinyl in their manufacture. In fact I happen to have several nice samples here with me. Let me just show you...\"\n\nYou bend over to reach for your sample case. You don't even see the massive fist hurtling toward your head.\n\nThe blackness slowly diminishes...\n\nThe first thing you become aware of is something cold and hard pressing against your face. It takes you a moment to figure out it's the floor. You open your eyes, and discover that you've been dumped in the corner of a large stone chamber.\n\nYou struggle to your feet.\n\nThe chamber is large an oppressive. Tall stone columns support heavy overhead beams. Flickering torches make shadows on the wall. It feels like you're deep underground, but you could just as easily be in a windowless tower.\n\nIt's not hard to figure out the chamber's purpose. In fact you're rather surprised not to see manacled skeletons hanging from the walls and an iron maiden in the corner. There is a torture rack however, or at least the modern high-tech equivalent of one. It's sitting against the far wall. The only visible exit is the open doorway next to it.\n\nThe butler is standing next to the torture rack with his back to you. It looks like he's busy preparing it for use.\n\n> You shoot the butler with the slingshot\nYou take careful aim at the back of the butler's head, draw back the acorn, and fire. As fate would have it he chooses that exact moment to lean forward and peer at the flashing lights on the rack's control panel. The acorn grazes the top of his skull, hits the stone wall, and explodes into a thousand pieces. He spins around with a snarl and starts toward you. You bolt for the doorway.\n\nHe moves quickly to cut you off and lunges for you as you dart by.\nYou duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.\n\nThe world plunges into darkness.\n\nLying Unconscious (Again)\nThe blackness slowly diminishes...\n\nYou sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.\n\nYou struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.\n\nThe mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.\n\n> You go south\nYou give the gate a final shake, turn, and start your long, lonely hike back up the road.\n\n> You shoot the skeleton with the slingshot\nThankfully there aren't any skeletons hanging in the dungeon.\n\nThe butler adjusts one of the dials on the rack's control panel and pushes a red button. The indicator lights flash, but nothing else obvious happens. He scratches his head, then pulls his spiral notebook out of his pocket and lays it on the rack. He begins to flip through its pages.\n\n> You examine the panel\nThe control panel is mounted to the wall over the rack. It has two round black dials for setting various functions, and a large red pushbutton for activating them. Several indicator lights, also unlabeled, flash in seemingly random patterns. A pair of electrical cables tipped with clamps hang from the bottom of the panel.\n\nThe butler adjusts one of the dials on the rack's control panel and pushes a red button. The indicator lights flash, but nothing else obvious happens. He scratches his head, then pulls his spiral notebook out of his pocket and lays it on the rack. He begins to flip through its pages.\n\n> Go outside\nYou carefully consider your options. The butler has his back to you, and looks engrossed in his task. You figure you have a good chance to make the open doorway. You decide to go for it.\n\nYou start by crouching low and moving forward as quietly as possible, but you only manage a couple of steps before your flickering shadow on the wall gives you away. The butler grunts in surprise and spins around. You kick it into high gear.\n\nHe moves quickly to cut you off and lunges for you as you dart by.\nYou duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.\n\nThe world plunges into darkness.\n\nLying Unconscious (Again)\nThe blackness slowly diminishes...\n\nYou sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.\n\nYou struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.\n\nThe mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.\n\n> You read notebook\n(first trying to take the spiral notebook)\nThe last thing in the world you want to do is get anywhere near the torture rack. You decide to try something else.\n\nHaving found the information he was looking for in his notebook, the butler turns a dial one click to the left and pushes the red button. Lights flash. The four winches mounted to the corners of the rack whine to life and start spooling out cable. He lets them run briefly, then pushes the button again to stop them.\n\n> Shoot panel\n(with the slingshot)\nYou take careful aim at the control panel, draw back the acorn, and fire. The acorn flies wide, hits the stone wall, and explodes into a thousand pieces. Startled, the butler spins around with a snarl and starts toward you. You bolt for the doorway. (first removing the acorn)\n\nHe moves quickly to cut you off and lunges for you as you dart by.\nYou duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.\n\nThe world plunges into darkness.\n\nLying Unconscious (Again)\nThe blackness slowly diminishes...\n\nYou sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.\n\nYou struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.\n\nThe mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.\n\n> You shoot notebook\nThe last thing in the world you want to do is get anywhere near the torture rack. You decide to try something else.\n\nThe butler turns the same dial one click to the right and pushes the red button. The cables retract. The winches stop automatically when the cables are fully retracted.\n\n> You examine rack\nThe rack sits against the far wall. Its main component is a large metal table with a perforated steel top. The traditional large barrel winch and ratchet have been replaced with modern cable winches at each corner. Shackles are attached to the winches. Electrical cables and clamps hang from a control panel mounted to the wall above the table. A hot iron is warming up in an electric brazier attached to the foot of the table. The butler's notebook is lying open on the rack's perforated steel top.\n\nThe butler clicks the same dial to a new position, pushes the button, then rotates the other dial clockwise. The glow of the electric brazier intensifies.\n\n> You shoot the brazier\n(with the slingshot)\nYou take careful aim at the electric brazier, draw back the acorn, and fire. The acorn flies wide, hits the stone wall, and explodes into a thousand pieces. Startled, the butler spins around with a snarl and starts toward you. You bolt for the doorway. (first removing the acorn)\n\nHe moves quickly to cut you off and lunges for you as you dart by.\nYou duck and dodge to the left. His hand misses, but you loose your balance and tumble to the floor. Your head cracks hard against cold, unyielding stone.\n\nThe world plunges into darkness.\n\nLying Unconscious (Again)\nThe blackness slowly diminishes...\n\nYou sit up and look around with a start. You fully expect to find yourself strapped to the rack in the dungeon. But you see blue sky overhead. It takes you a moment to recognize your surroundings. You're lying on a patch of grass next to a gravel road. Tall trees loom overhead. Just to the north is a high stone wall, and a very familiar-looking iron gate.\n\nYou struggle to your feet. Nothing seems to be broken. In fact, aside from a sore jaw and a pounding headache you're in perfect health. You're also, for the first time since you got here, completely empty-handed.\n\nThe mansion's main gate is closed and locked behind you. The package is gone. The way home lies down the road to the south. It will be dark soon. You might as well start walking.\n\n> You examine the beams\nMaybe you'll have time to study torture chamber construction details later. Right now you have your ass to save.\n\nThe butler uncoils the two electric cables and lays them out on the bench. He selects a new dial position, and pushes the red button. There's a crack of electricity as twin arcs jump between the ends of the cables and the top of the bench. He punches the button again to shut the current off.\n\n> You climb the columns\nThe stone columns aren't important.\n\nApparently dissatisfied with the result, the butler turns one of the dials all the way clockwise and pushes the button. The clamps jump and the sharp crackle of electricity fills the air. He lets them buzz for a couple of seconds then punches the button again to shut them off.\n\n> Wait\nTime passes...\n\nThe butler picks up the ends of the cables and holds them up to the light. He inspects them closely, probably looking for signs of pitting or corrosion.\n\n> You shoot the the button\n(with the slingshot)\nYou take careful aim at the large red pushbutton, draw back the acorn, and fire. The acorn flies true, smacks squarely into its intended target, and explodes into a thousand pieces. Electrical current arcs through the butler's body. Unable to let go of the cables, he jerks wildly until a breaker in the control panel finally opens and shuts the power off. He slowly collapses into a twitching heap on the floor.\n\nSeeing your chance, you toss the slingshot aside and make a break for the doorway. You do have the presence of mind to grab the butler's notebook as you pass by the rack. He groans loudly, hurrying you on your way.\n\nYou plunge through the open doorway into darkness. Unable to see, you slow and begin to feel your way along the wall. The stone quickly gives way to cold metal. You see a faint glow of light ahead of you. You move toward it, and enter a small square room. As soon as you cross the threshold a sliding steel door whooshes closed behind you. An overhead fluorescent fixture flickers to life.\n\nThis small, windowless room has bare metal walls and two exits - the sliding steel door you entered through to the south, and a pair of elevator doors ahead of you to the north. It is lit by a recessed fluorescent fixture in the ceiling. The elevator doors are closed. The control panel mounted on the wall next to the elevator looks unusually complex.\n\n> You examine the panel\nThe elevator control panel contains fifteen round lighted buttons arranged in a pyramid and marked A1, B1, B2, etc., plus two additional rectangular lighted buttons marked RESET and NEXT. Below the panel is an unmarked card reader slot.\n\n(A1)\n\n(B1)  (B2)\n\n(C1)  (C2)  (C3)\n\n(D1)  (D2)  (D3)  (D4)\n\n(E1)  (E2)  (E3)  (E4)  (E5)\n\n[RESET]          [NEXT]\n\n> You examine the fixture\nThe fluorescent light is recessed into the ceiling and out of reach. It is currently lit."
    },
    {
        "text": "> Look around\nCheck your inventory. [2/7]"
    },
    {
        "text": "> Look around\nHave you read the butler's notebook? [3/7]\n\n> Go outside\nThe sliding steel door is closed, and you see no way to open it. It looks like the elevator is your only way out."
    },
    {
        "text": "> You look at your surroundings\nThis small, windowless room has bare metal walls and two exits - the sliding steel door you entered through to the south, and a pair of elevator doors ahead of you to the north. It is lit by a recessed fluorescent fixture in the ceiling. The elevator doors are standing open.\n\n> You enter doors\nThe insides of elevator cars tend to all look alike, and this one is no exception. At least the control panel is much simpler. It only has one button, marked RUN.\n\n> You examine the panel\nThe control panel inside the elevator is much simpler. It only has one button, marked RUN.\n\nThe elevator continues to move steadily upward.\n\n> Wait\nTime passes...\n\nThe elevator slows to a stop. The doors whoosh open. You look out onto a long, beautifully appointed hallway. You sigh with relief. You've finally made it into the main part of the mansion. Elated, you step out of the elevator and into the hall. The elevator doors whoosh closed behind you.\n\nYou're still trying to figure out which way to go when a heavyset figure in a black tuxedo steps out of the shadows to stand directly in front of you. You recognize him instantly. The butler!\n\nYour mind whirls. Fight, or flee? The elevator doors are closed behind you. You're at the far end of the hall so the only way you can go is toward the butler. You look around for a weapon. A suit of armor holding a double-bladed axe would be about right. Then suddenly, and without warning, the butler does something totally unexpected.\n\nHe smiles, and bows.\n\n\"Good, evening, and welcome to Seacliff. Mr. Winton is expecting you. If you will be so kind as to follow me I will take you to his study.\"\n\nThe butler's guttural grunts and snarls have completely vanished. He speaks to you with a perfect clipped British accent. You're stunned. A thousand questions flood your mind.\n\nJ. Daggett Winton's mansion has the kind of tasteful elegance that only the seriously wealthy can afford. The floor is Italian marble. Groupings of antique furniture sit on Persian rugs. Impressionist paintings hang on the walls. The skylight is Tiffany stained glass. And that's just the hall. You can't even imagine what the rooms must be like.\n\nYou're standing at the far north end of the mansion's main hall. The closed entrance doors can be seen at the other end of the hall. The elevator doors, also closed, are directly behind you to the south.\n\nThe butler is standing here. He is waiting for you to follow him to Mr. Winton's study.\n\n> You give the package to Winton\nYou've carried the package so long that you're almost reluctant to part with it. But clearly the time has come to do just that. You rise slightly and place it in J. Daggett's outstretched hands.\n\n\"Ah, finally,\" he beams. He checks the wrapping paper to make sure it hasn't been tampered with. Slipping a finger under a taped seam he tears it open.\n\nYou guessed it might be a book, and you are correct. But what kind of book? A rare Gutenberg Bible, or perhaps one of Leonardo da Vinci's lost notebooks? Your pulse quickens with excitement. You lean forward and just manage to catch sight of the dust jacket.\n\n\"Stunned\" doesn't even begin to describe how you feel. It slowly sinks in that you have risked life and limb to deliver a Harry Potter book to J. Daggett Winton! But then again, maybe there's something special about this particular copy of this particular Harry Potter book. Perhaps it is a signed first-edition of some kind with a personal note from J.K. Rowling herself inscribed inside the cover.\n\nThen you see the little blue sticker on the cover.\n\nWAL*MART\n$13.99\n\nYou slump into your chair like a deflated balloon! At least J. Daggett seems happy enough with it. He thumbs the pages, checks the binding, then turns and slides it onto the bookshelf behind him. You do notice that it fits neatly into one of the few gaps in the overflowing shelves, and that it is sitting next to books 1 & 2 of the series.\n\nYou finally manage to regain enough of your composure to realize that J. Daggett has been watching your reaction to the package's contents with great amusement. Smiling broadly, he says, \"I'm sure you have a number of questions running through your mind right now. You have my full attention, and my gratitude for a job well done. Please feel free to ask anything you like.\"\n\n(You could ask him about himself, the package, Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)\n\n> You ask Daggett about the package\nYou still can't believe that everything you've been through was for the sole purpose of delivering a Harry Potter book. There just has to be more to it than that. But what? Not sure how J. Daggett might react to your questioning his motives, you proceed carefully.\n\n\"I hope that you received everything you were, uh, expecting.\"\n\nJ. Daggett's eyes twinkle with concealed amusement. \"Oh yes, I certainly did. In fact I'm quite pleased with both of your deliveries today.\"\n\n\"Both?\" you ask in puzzlement.\n\n\"Yes, both. And no, there are no secret messages written in invisible ink on the wrapping paper. But we still have a few other things we need to discuss before I tell you what that second delivery actually was.\"\n\n(You could ask him about himself, Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)\n\n> You ask Daggett about himself\n\"I've heard a great deal about you,\" you say politely. \"I'm glad to finally have the chance to meet you in person.\"\n\n\"Not too disappointed I hope,\" J. Daggett replies. \"I manage my public image almost as carefully as I manage my businesses. Or at least I did before the accident. After that I had more pressing matters to attend to.\"\n\nHe pauses reflectively for a moment then clears his throat. \"Anyway, let's just say that the real J. Daggett Winton is more interested in making discoveries than in making money, prefers a cold beer to fine wine, can't resist a challenge, wins with grace, and tries to never lose the same way twice.\n\nNow let's move on to something more interesting than me, shall we.\"\n\n(You could ask him about Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the gold lighter, or the spiral notebook.)\n\n> You give the lighter to Daggett\nYou reach into your pocket and pull out the gold lighter. Showing it to J. Daggett, you say, \"I came across this while I was in the garage. It was under the Jaguar. Based on the inscription I assume it belongs to you.\"\n\nJ. Daggett's fingers almost tremble as he takes the lighter from you. He gently rubs it between his palms to feel the familiar heft and smoothness of its polished surface, then holding it up to the light he reads the inscription. He sighs happily. \"I've been looking all over for this. It was a first anniversary gift from Emmeline. It was under the Jaguar you say? No wonder I couldn't find it! Thank you for returning it.\"\n\n(You could ask him about Emmeline, the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)\n\n> You ask Daggett about Emmeline\nNormally you would avoid bringing up something as clearly painful as the loss of someone's wife, but the more you talk to J. Daggett the more she seems to somehow be related to the package you just delivered. Even so, you decide to proceed carefully.\n\n\"I read the inscription on the gold lighter I found. Your wife seems like someone very special.\"\n\n\"Very special indeed,\" J. Daggett replies softly. After a moment his voice firms. \"But we still have a few other things we need to discuss before I tell you any more about Emmeline.\"\n\n(You could ask him about the butler, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)\n\n> You ask Daggett about the butler\n\"I had a bit of a run-in with your butler. Then when I met him again in the hall, he was a completely different person. Does he have an evil twin or something?\"\n\nJ. Daggett laughs and replies, \"No, no evil twin. Harold has many talents, not the least of which is acting. He also has an MBA from Oxford, a beautiful wife, three kids, and thanks to generations of shrewd investing, so much money in the family that if I ever needed a loan I'd go to him first. I keep trying to get him to run one of my corporations, but he just likes being a butler. His family has been with ours since the sailing days, and for him, it's a matter of honor and tradition.\"\n\nJ. Daggett smiles in fond memory. \"You know, we grew up together here. We had a great time poking around this huge old place. He is as true a friend as a person could ever ask for. I owe him a great deal, including my life. But before I tell you that story I need to show you something important.\"\n\n(You could ask him about his story, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)\n\n> You ask Daggett about Triton\nJ. Daggett looks thoughtful. Finally he says, \"An interesting topic for another time. But for now there are more important things we need to discuss.\"\n\n(You could ask him about his story, the gardener, the groundskeeper, the salesmen, or Harry Potter, or give him the spiral notebook.)\n\n> You ask Daggett about Harry Potter\nYou try not to sound too peevish. \"You must be quite a Harry Potter fan.\"\n\nJ. Daggett completely ignores any hint of hidden meaning that might lie within your question and answers simply, \"Yes, I am as a matter of fact. The books are superbly written and tell a great story. I'm really looking forward to reading the one you just delivered.\"\n\n(You could ask him about his story, the gardener, the groundskeeper, or the salesmen, or give him the spiral notebook.)\n\n> You ask Daggett about the salesmen\n\"So what's the story on torturing salesmen anyway?\"\n\nJ. Daggett laughs. \"Purely a scare tactic. The plaque by the door keeps most of them away. The few who persist get one look at the rack, a quite harmless theatrical prop I might add, and flee for their lives. Only one actual salesperson has ever made it all the way into my study. A fellow by the name of Splatz I believe. He thought my garden shed could really use some vinyl siding. Ha!\"\n\n\"And what happened to him?\"\n\n\"Good question.\" J. Daggett touches one of the buttons on the arm of his wheelchair and asks, \"Harold, whatever happened to that Dwayne Splatz salesman guy, the one that actually made it past you?\"\n\nHarold's response is immediate and sounds just a tad disgruntled. \"I believe you made him V.P. of Sales and Marketing for Winton International, Sir.\"\n\nJ. Daggett nods. \"Ah yes, so I did. Thank you Harold.\" Looking back at you, he adds, \"If there's anything I've learned about hiring good people, it's to go for initiative first.\"\n\n(You could ask him about his story, the gardener, or the groundskeeper, or give him the spiral notebook.)\n\n> You give the notebook to Daggett\nYou pull the spiral notebook out of your pocket and hand it to J. Daggett. \"I found this um, downstairs somewhere. I think it belongs to the butler.\"\n\nJ. Daggett picks it up, glances at it, and slips it into his pocket. \"Thanks. I'll make sure Harold gets it back. I'm having a yen for some of his famous Thai Red Beef Curry, and he can never remember if the recipe calls or one teaspoon of fish sauce, or one tablespoon.\"\n\n(You could ask him about his story, the gardener, or the groundskeeper.)\n\n> You ask Daggett about the the gardener\nJ. Daggett smiles fondly at your mention of the aged gardener. \"My great grandfather loved the sea. My grandfather has always preferred solid ground. He just loves puttering around in the greenhouse.\" His grin widens. \"He's also pretty good at keeping Earl on his toes.\"\n\n(You could ask him about his story, or the groundskeeper.)\n\n> You ask Daggett about Earl\n\"I found a shirt outside that had the name Earl on it. Is he your groundskeeper?\"\n\nJ. Daggett nods. \"Head groundskeeper actually. He and his staff are responsible for maintaining the entire estate, and they are very, very good at what they do. Normally you would have seen a few of them about, but today happens to be their day off.\"\n\n(You could ask him about his story.)\n\n> You ask Daggett about his story\nYour original mission is complete. You have met the great J. Daggett Winton and delivered your package. But you're far from ready to just walk out the door. Too many questions remain unanswered. You decide it's time to take J. Daggett up on his offer.\n\n\"You mentioned earlier that you have something important you want to show me, and a story to tell?\"\n\n\"Yes I do,\" J. Daggett replies firmly. \"If you have no further questions then we can be on our way. Just follow me when you're ready.\"\n\n(You could ask him about his story.)\n\n> You ask Daggett about his story\nJ. Daggett replies, \"I'm ready when you are. Just follow me and we'll be on our way.\"\n\n(You could ask him about his story.)\n\n> You ask Daggett about the house\nJ. Daggett looks thoughtful. Finally he says, \"An interesting topic for another time. But for now there are more important things we need to discuss.\"\n\n(You could ask him about his story.)\n\n> You ask the dagget his story\nStudy (sitting on the guest chair)\nYou expected a dimly-lit chamber filled with dark leather furniture and smelling of single-malt scotch and cigar smoke. You're surprised to discover that J. Daggett's study is light, airy, and quite modern. Instead of oak and mahogany the walls and bookcases are made from natural cherry. Dozens of sticky-notes litter his expansive desk. It is also home to two large flat-screen computer terminals and an array of state-of-the-art communications equipment. Message lights flash. Market quotes scroll across one terminal. The other is teleconferenced into a board meeting of some kind.\n\nThe second big surprise is J. Daggett Winton himself. He still looks like the same swarthy, ruggedly-handsome businessman/adventurer who used to be featured in the news on an almost daily basis. A little older, a little wearier perhaps. But the glint of brilliance in his keen gray eyes hasn't dimmed in the least. However the information about the accident that had taken Emmeline's life hadn't included any mention of his own injuries. There is no office chair behind his desk. It has been removed to make room for his high-tech powered wheelchair.\n\nJ. Daggett Winton is sitting on the wheelchair. He is waiting for you to either follow him or ask your next question.\n\nJ. Daggett Winton isn't important.\n\n> You look at the wheelchair\nJ. Daggett's motorized wheelchair looks like it's much more than just transportation. Judging from the array of controls and readouts built into the chair's arms you would guess that it also serves as his mobile command center. You have no doubt he designed it himself.\n\n> You follow Daggett\n\"I'm ready to go if you are.\"\n\nJ. Daggett responds by touching a control on the arm of his wheelchair. A motor hums to life and his desk starts to smoothly rotate out of the way. At the same time, a bookshelf in the north wall of the study swings back to reveal a short, well lit corridor. The humming stops.\n\nGesturing toward the opening, he says, \"We'll take the back way down.\"\n\nYou fall in behind his wheelchair. The short hallway leads to another elevator. This one doesn't have any visible controls; therefore you assume it must be operated remotely from the wheelchair. Your guess is confirmed when the doors open as J. Daggett approaches, then close behind you.\n\nThe descent is brief. The elevator quickly slows to a stop and the doors whoosh open. Banks of overhead lights flicker to life. Your jaw drops in amazement. You're so overwhelmed that it takes a moment for you to realize that J. Daggett has moved forward. You trot after him.\n\nThe chamber is huge and crammed floor to ceiling with a dazzling array of historical artifacts. There are Renaissance masterpieces, Grecian sculptures, numerous statues from the Egyptian and Roman pantheons, Aztec and Mayan figurines, suits of samurai armor, a troop of Emperor Qin Shi Huang's terra cotta soldiers, and that's just what's setting out around you. Chests and packing cases are stacked everywhere. You half expect to see the crated Ark of the Covenant being wheeled off in the distance.\n\nThe elevator doors lie behind you to the north. The only clear path you can see through the stacked crates continues southward. Several rather unusual pieces near where you're standing arouse your curiosity.\n\nJ. Daggett Winton is sitting on the wheelchair. He is waiting for you to either follow him further or ask another question.\n\n(You could ask him about the collection, or his story.)\n\n> Examine crates\nIt looks like the rumors about J. Daggett's huge collection of historical artifacts were true.\n\n> You ask Daggett about the collection\nCurious, you ask, \"I noticed several rather interesting artifacts as we were walking along. Mind if I ask you about them?\"\n\n\"Not at all,\" J. Daggett responds. \"Ask away.\"\n\n(You could ask him about his story, the pair of marble arms, the giant bronze thumb, or the carved limestone nose.)\n\n> You examine the thumb\nThe bronze thumb is something you might want to ask J. Daggett about.\n\n> You look at the arms\nThe marble arms are something you might want to ask J. Daggett about.\n\n> You ask Daggett about thumb\n\"It's all that remains of the Colossus of Rhodes,\" J. Daggett sighs. \"The rest was supposedly sold as scrap to a traveling salesman from Edessa. What a sad end to a great work of art. And don't even get me started on traveling salesmen!\"\n\n(You could ask him about his story, the pair of marble arms, or the carved limestone nose.)\n\n> You ask Daggett about the nose\n\"There's a rumor that Napoleon's troops shot it off for target practice. Another account attributes the vandalism to Muhammad Sa'im al-Dahr. He was a Sufi fanatic and supposedly did it to dissuade the locals from making offerings to the Sphinx in hope of increasing their harvest. In any case Granddad found this piece on one of his trips to Giza. It looks to me like it just broke off on its own.\"\n\n(You could ask him about his story, or the pair of marble arms.)\n\n> You ask Daggett about the arms\n\"Ah yes, those,\" J. Daggett chuckles. \"I suppose I should donate them to the Louvre, but people these days are accustomed to seeing the Venus de Milo without them.\"\n\n(You could ask him about his story.)\n\n> You ask Daggett about the story\nYou look around in amazement. \"This is an incredible collection, but I have a feeling it's not what you wanted to show me.\"\n\n\"You are correct,\" J. Daggett acknowledges. \"That lies just ahead. Follow me.\"\n\n(You could ask him about his story.)\n\n> You follow Daggett\nYou again fall in behind J. Daggett's wheelchair. The path through the stacked crates leads to a heavy steel door. It rolls smoothly upward as you approach, revealing darkness beyond. J. Daggett continues a few feet inside and stops. He motions for you to join him.\n\nJ. Daggett's voice is strangely hushed. \"We have reached our destination. I'm going to close the door, and when I do, it will be almost completely dark. But don't worry, there's nothing in here that can harm you. We need a little time for our eyes to adjust. And while they do, I will tell you my story.\"\n\nIt's too dark to do anything but wait.\n\n> You wait\nJ. Daggett begins his story.\n\n\"The first time I met Emmeline we were on the face of a cliff. I was headed up. She was on her way down. We stopped on a ledge for a bit of a chat. I was very impressed by her skill as a climber; and when we met again a day later at a dinner party, I was even more impressed by her grace and beauty. We continued to see each other and were married within six months.\n\n&ldquoShe was a bit overwhelmed by Seacliff at first, but it didn't take her long to settle in. She charmed Harold immediately, and he really helped her feel at home. She especially loved to explore the grounds, and she was delighted the day I showed her the entrance to the caves in the basement. The cliffs around here are riddled with them. Some of them go back for miles. Exploring them together soon became one of our favorite activities.\n\n&ldquoThe day of the accident, we were headed for a large chamber we had named The Cathedral. Emmeline was in an excellent mood. I could tell she had some kind of good news she wanted to share with me. The Cathedral was one of our favorite places to sit and talk.\n\n&ldquoThe only challenge along the route is a sheer descent of about thirty feet down a chasm wall, but we had been up and down it dozens of times before and we had no trouble with it that day. We were almost there when Em noticed a fresh rock fall, and the new opening that it had exposed. Of course, we had to see where it led.\"\n\n> Wait\nAs you wait in the darkness, you slowly become aware of a faint blue glow. It seems to be floating in the air about five feet in front of you. J. Daggett continues his narrative.\n\n\"The passage beyond opened quickly into a domed chamber. The walls were polished smooth and had about a dozen small niches cut into them. The center of the chamber was dominated by a wide stone arch. It was about twelve feet tall and covered with a strange flowing script in a language neither of us had seen before. The niches were empty, save for one. It contained a small silver-blue bracelet.\n\n&ldquoThe bracelet was metallic and heavy like gold or platinum might be. The outside was polished smooth, but the inside had more of the same flowing script engraved around it. There were no other exits from the room that we could find; and looking at that arch, we couldn't help but think sci-fi...\"\n\nJ. Daggett smiles slightly in memory. \"Take your pick. Stargate?\nThe Time Tunnel? 'Beam me up, Scotty?' I stepped through it first. Nothing. Em got the idea to slip on the bracelet and try it. Still nothing. Oh well. We took a few pictures and headed back.\n\n&ldquoI made it through the opening without any trouble. Em had just started through when the rocks gave way again.\"\n\n> Wait\nYou continue to wait. The blue glow looks a bit brighter now. It appears to be coming from a supine human figure, probably lying on a platform of some kind. The figure is feminine and completely still. You don't believe in ghosts. But, could it possibly be...\n\nJ. Daggett's voice is filled with emotion when he begins to speak again.\n\n> You look at the glow\n\"It took me almost twenty minutes of frantic digging with my hands and climbing axe to free her. The rocks and loose soil hadn't crushed her, but they had buried her. That much time with no air...\n\n&ldquoAfter that, all I could do was try to carry her body back. I remember nothing of the return trip until I reached the chasm. I was almost at the top when my footing gave way. We both tumbled to the floor below.\n\n&ldquoI regained consciousness hours later. My torch was smashed. I couldn't move my legs. I figured I would simply die where I lay. And to be perfectly honest, by that time I was looking forward to doing just that. I did notice a faint blue glow surrounding Em's body, but I was too far gone to even care what it was. I was still holding her in my arms when Harold found us.\"\n\nIt's still too dark to make out any detail. You continue to wait.\nYou can see the figure a bit more clearly, and you have no doubt now that it's Emmeline. She's lying on some kind of table in the center of the room. Her eyes are closed. Her features are serenely composed. She is still dressed in khakis and climbing boots as though she had walked out of the cave moments before and stretched out for a bit of a nap. Her entire body is surrounded by the strange blue glow. She is startlingly beautiful. You are so struck by the sight that it takes you a moment to realize that J. Daggett has continued his narrative.\n\n\"Harold took care of everything. Doctors, police, Em's funeral arrangements, all of it. I was so deeply depressed that I didn't care if I lived or died. Then about a month after the accident, Harold finally felt I was well enough for him to tell me that he had secretly arranged to have an empty casket cremated. He too had discovered the blue glow. And even stranger, he had found that it was impossible to penetrate. A needle would stop microns short of actual contact. X-rays just bounced off. It was as if she was encased in some kind of force field. He couldn't even be sure if she was dead or alive.\n\n&ldquoAfter that I couldn't wait to get out of the hospital. I had to know. I put every ounce of energy and determination I had into my rehabilitation, but it still took me almost six months to get mobile again. The only thing that made it bearable was Harold's continued assurance that Em's condition remained completely unchanged.\"\n\n> Wait\nYou continue to wait. J. Daggett pauses just long enough to turn the lights up a bit.\n\nYou can now see that the entire back wall of the room is stacked with racks of lab instruments. All of them are powered off. Emmeline is lying in front of them on a padded exam table. J. Daggett touches one of the controls on his wheelchair and all the equipment comes to life at the same time. Lights flash, traces start scanning across monitors, computer screens display boot up sequences. He scans the instruments quickly, then turns back to you.\n\n\"As soon as I got back here I set up this lab and tried everything I could think of to get some kind of reading from inside the field with no success. I could see her, but I couldn't touch her. It finally occurred to me to try time-lapse photography. I set it up to capture any hint of movement inside the field, no matter how slow or faint. And I found it. A visible pulsing of the carotid artery. One heartbeat every twenty-seven and a half hours. She was alive!\"\n\nJ. Daggett leans forward. \"I knew where the field was coming from of course. She hadn't removed the bracelet after walking through the arch, and she was still wearing it when the passage collapsed. But it was inside the field with her and untouchable.\n\n&ldquoI've spent over two years now trying to figure out how the bracelet works. It has to be generating some kind of stasis field.\nMy best guess is that it's a protective device. The falling rocks activated it. But why hadn't it turned back off? I've also had no luck trying to determine its origin. The script on the arch has proved to be unique. I needed to try a different approach.\"\n\nHis story complete, J. Daggett sags back in his chair and fixes you with a steady gaze. Finally he asks, \"So, have you figured out what your second delivery was yet?\"\n\nThe room has been converted into a laboratory. The entire back wall is stacked with racks of lab instruments. Lights flash, traces scan across monitors, status messages scroll up computer screens. Emmeline is lying in front of them on a padded examination table.\n\nAn old wooden door leads west. The chamber full of artifacts lies behind you to the north. Both doors are closed.\n\nJ. Daggett Winton is sitting on the wheelchair. He is waiting for you to respond yes or no.\n\n> You say yes\n\"Yes, I believe I've figured it out. Your research into the bracelet from this end has stalled. You can't go back down into the caves and find the answer yourself. You need me to do it for you. I'm the second delivery.\"\n\nJ. Daggett beams. \"Exactly! I need someone who can solve problems, overcome obstacles, and prevail in the face of adversity. The fact that you're standing here proves that you can do that, and more. The only question that remains is, will you?\"\n\nHe stops your immediate response with a raised hand. \"Before you answer there are two additional things you should know. The first is that the other two Harry Potter books on the shelf in my study were also delivered by highly skilled individuals. Harry Potter and the Sorcerer's Stone arrived by way of an ex-Navy SEAL. Harry Potter and the Chamber of Secrets was handed to me by a woman who reminded me very much of Emmeline herself. Both went into the caves. Neither has returned.\"\n\nYou think about that for a moment before finally asking, \"And the second thing I should know?\"\n\n\"We had both wanted children, but the doctors had told us Em couldn't. Just before we left the chamber containing the arch, Em told me her good news. She had proved the doctors wrong. She was going to have a baby.\"\n\nJ. Daggett is again watching you carefully, trying to gauge your reaction to everything he's told you. Finally he says, \"So now you have to make a choice. The entrance to the cave is through the wooden door to the west. The way out is through the steel door behind you. If you choose it, I have misjudged you; and it is best that our relationship ends here. You can pick up whatever trinket you feel you've earned as payment as you leave.\n\n&ldquoIf you choose to go on I don't need to talk about fame or fortune or glory because you're not motivated by them. In that case, all I can say further is, 'Good luck, and Godspeed'.\""
    },
    {
        "text": "> Describe the surroundings\nThe room has been converted into a laboratory. The entire back wall is stacked with racks of lab instruments. Lights flash, traces scan across monitors, status messages scroll up computer screens. Emmeline is lying in front of them on a padded examination table.\n\nAn old wooden door leads west. The chamber full of artifacts lies behind you to the north. Both doors are closed.\n\nJ. Daggett Winton is sitting on the wheelchair. He is waiting for you to choose your path.\n\n> You examine Emmeline\nEmmeline is lying on a padded examination table in the center of the room. Her eyes are closed. Her features are serenely composed. She is still dressed in khakis and climbing boots, as though she had walked out of the cave moments before and stretched out for a bit of a nap. Now that the lights are on you can no longer see the strange blue glow that you know still surrounds her body. She is startlingly beautiful. She is lying.\n\n> You touch Emmeline\nThat is neither necessary or appropriate.\n\n> Go west\nYou know there is only one choice you can live with: therefore, it really isn't a choice at all.\n\nJ. Daggett gives you everything you might need. Among the climbing gear, first aid kit, and survival rations, you are surprised to notice a shiny brass lantern. Apparently your host is also something of a traditionalist.\n\nA final handshake, a last look at Emmeline, and you're on your way. You feel about ten-feet tall as you step through the doorway into darkness.\n\n(Oops. You forgot to turn on the dang lantern, again.)\n\n> You say no\n\"I'm not really sure,\" you respond hesitantly. \"My best guess seems a bit...\"\n\n\"Farfetched?\" J. Daggett finishes for you. \"Think about it. My research into the bracelet from this end has stalled. I can't go back down there and find the answer myself. I need someone to do it for me. Someone who can solve problems, overcome obstacles, and prevail in the face of adversity. In other words, someone like you.\"\n\n\"So I am the second delivery then.\"\n\n\"That's right,\" he confirms. \"The fact that you're standing here proves that you can do that, and more. The only question that remains is, will you?\"\n\nHe stops your immediate response with a raised hand. \"Before you answer there are two additional things you should know. The first is that the other two Harry Potter books on the shelf in my study were also delivered by highly skilled individuals. Harry Potter and the Sorcerer's Stone arrived by way of an ex-Navy SEAL. Harry Potter and the Chamber of Secrets was handed to me by a woman who reminded me very much of Emmeline herself. Both went into the caves. Neither has returned.\"\n\nYou think about that for a moment before finally asking, \"And the second thing I should know?\"\n\n\"We had both wanted children, but the doctors had told us Em couldn't. Just before we left the chamber containing the arch, Em told me her good news. She had proved the doctors wrong. She was going to have a baby.\"\n\nJ. Daggett is again watching you carefully, trying to gauge your reaction to everything he's told you. Finally he says, \"So now you have to make a choice. The entrance to the cave is through the wooden door to the west. The way out is through the steel door behind you. If you choose it, I have misjudged you; and it is best that our relationship ends here. You can pick up whatever trinket you feel you've earned as payment as you leave.\n\n&ldquoIf you choose to go on I don't need to talk about fame or fortune or glory because you're not motivated by them. In that case, all I can say further is, 'Good luck, and Godspeed'.\"\n\n> You enter the steel\nJ. Daggett's face is expressionless as you turn to walk out. He touches the control to open the steel door, then turns his back on you and rolls over to sit beside his wife. He takes her hand in his and bows his head.\n\n> Go west\nYou know there is only one choice you can live with: therefore, it really isn't a choice at all.\n\nJ. Daggett gives you everything you might need. Among the climbing gear, first aid kit, and survival rations, you are surprised to notice a shiny brass lantern. Apparently your host is also something of a traditionalist.\n\nA final handshake, a last look at Emmeline, and you're on your way. You feel about ten-feet tall as you step through the doorway into darkness.\n\n(Oops. You forgot to turn on the dang lantern, again.)"
    },
    {
        "text": "There's no rush, but by unspoken agreement you both climb up to the highest, fastest-moving tier of the ?lev?. The breeze stiffens as you ascend, but the ride is surprisingly smooth and pleasantly quiet. Plenty of free seats at the top; Emma carefully chooses one, waves at you to join her. You gratefully drop the luggage, fling yourself down, and take in the view.\n\nParis! At this height the people seem like toys, the city an elegantly sculpted model. You could easily imagine that your seat is stationary, and Paris itself is gliding dreamily past. There's no rush, not any more, but your heartbeat refuses to slow...\n\nMust be because you've almost arrived.\n\nEmma pinches your arm. At first you think she's feeling the same rush of nervous tension as you, but then you realise that she's amused by something. Maybe that man sitting nearby?"
    },
    {
        "text": "> You examine man\nKind of a beefy guy, maybe in his early 50s. He's wearing a rather striking outfit: pinstripe trousers, bottle-green morning coat, yellow waistcoat, deep purple ascot, high stiff collar, and a top hat. Must be absolutely sweltering, but he shows no signs of discomfort.\n\nHe proudly sports mutton-chop sideburns and a rather magnificent moustache. He rests both hands on a fine walking-stick.\n\nYour eyes meet for a second, and he gives you a polite nod.\n\n[Maybe you'd like to say something? If so, type TALK, or T for short.]\n\n> You look at Emma\nYou've never found quite the right word to describe her appearance. Rangy? Gamine? Gawky, even. Sometimes she laughs at your attempts, sometimes she scowls. Dark hair, dark eyes, cute by any objective standard. Aren't you lucky?\n\nShe's wearing a kind of hipster-ish ensemble that looks great on her (just don't actually say \"hipster\" in her hearing). Long loose shirt over fitted tee, cut-offs over leggings, canvas shoes, messenger bag, chunky specs, and -- you're in Paris, after all -- a beret.\n\nEmma tries not to be too obvious about looking at the strangely-dressed man.\n\n> About you\nYou're Robbie Teyte, 29 years and some several months old. Never really figured out what you want from life; not that you're feeling any pressure, but maybe a little bit at a loose end. You wanted to do something a bit different, a bit romantic, a bit adventurous. \"Dirty weekend!\" Emma said by way of summary. \"I'm so there.\"\n\nOr maybe you just wanted to know what you look like? You don't have a mirror handy, sorry. Don't worry about it, I'm sure you look just fine.\n\nThe man coughs. \"Do pardon my curiosity,\" he says, \"but are you by any chance en route to the Hotel Guiraud?\"\n\n\"Yes we are,\" Emma says cheerfully. \"Hotel Guiraud and Old Paris. How did you know? I suppose we look like the most awful tourists.\"\n\n\"Not at all, not at all,\" he replies grandly. \"As a matter of fact it was your luggage.\"\n\n> You talk to Emma\n[In this game, you don't need to specify a person or topic when talking. Just type TALK, or T for short, and I'll show a menu of things you might want to say.]\n\n[To say something, type a number. Or you can ignore the menu and do something else. If at any time you want to talk but there's no menu, just type TALK again.]\n\n1. Introduce yourself.\n\n> 1\n\"Hey,\" you say, \"I'm Robbie. Pleased to meet you.\"\n\n\"Hi!\" Emma says. \"Emma.\"\n\n\"Enchanted,\" the strangely-dressed man says. \"The pleasure is mine, I assure you. George Austerley, at your service.\" And he gallantly raises his top hat.\n\n\"Wow, thank you,\" Emma says. \"Rob, you need a hat like that.\"\n\n1. \"What was that about luggage?\"\n2. \"Do you visit Old Paris a lot?\"\n\n> 1\n\"What's wrong with our luggage?\" you ask. (You have certain dark opinions of your own on the topic.)\n\n\"Oh, nothing wrong -- nothing wrong at all -- quite the opposite,\" George says. \"In fact it rather resembles my own, as you can see.\" He gestures with his walking-stick, and you suddenly notice that he, too, has a massive unwieldy trunk, stowed neatly under the seat next to him. \"The very thing for a journey to the past.\"\n\n1. \"Can we actually take luggage with us?\"\n2. \"Do you visit Old Paris a lot?\"\n\n> You look at the luggage\nWhich do you mean, George's luggage or your luggage?\n\n> You look at your luggage\nYour luggage for this trip is a massive trunk originally belonging to Emma's great-grandfather, before being passed down through several generations. Emma probably stole it from some aunt or other because it looked quirky and interesting, not realising or not caring that it also has the approximate weight of a great dane.\n\nIt predates such decadent ideas as wheels or comfortable handles, but does have the advantage of being more or less indestructible. Kick it as you might, you've never managed to make the slightest dent in it.\n\nEmma says she brought it because it'd be a laugh. There's a cruel streak to her humour sometimes.\n\n\"Before I forget,\" George says, \"perhaps you'd like my card.\" He deftly retrieves a thin silver case from his breast pocket, and from the case takes a card.\n\n\"Oh, I love cards!\" Emma says. He hands the card to her with a slight flourish.\n\n> You give you the the card\nEmma has better things to do.\n\n\"You're an art dealer?\" Emma says, inspecting the card. \"I can certainly see why you like Old Paris. Do you buy paintings there and bring them back?\"\n\n\"Oh, dear me, no,\" says George. \"That's absolutely against the rules. Economic exploitation, you know.\"\n\n> 2\n\"Something tells me you visit Old Paris a lot,\" you say.\n\n\"Oh, well, a certain amount,\" George says modestly. \"Perhaps once every month or two.\"\n\n\"Every month?\" Emma says. \"I think you can call that a lot. This is our first time.\"\n\nThe ?lev? starts to gain height and slowly swing round to the south. You're approaching the Op?ra-Garnier.\n\n1. \"Can we actually take luggage with us?\"\n2. \"How long have you been going there?\"\n\n> 2\n\"How long have you been going over there?\" you ask.\n\n\"Now there's a question,\" George says. \"Not since the beginning, but a fair old time. It's 1902 now, so, let's see... My goodness, almost 10 years.\"\n\n1. \"Can we actually take luggage with us?\"\n2. \"You must have seen a lot of changes in 10 years.\"\n\n> You examine the stick\nIt's made of some dark wood, finely polished, brass-tipped, with a round head also in brass.\n\n> 2\n\"You must have seen a lot of changes in 10 years,\" you say.\n\n\"Astonishing changes,\" George says. \"History books have the facts, but not the feel of it. In art especially -- most incredible enthusiasm -- bold new directions -- but in everything -- the Grand Palais, the ?lev? -- change is the essence of the place.\"\n\n1. \"Can we actually take luggage with us?\"\n2. \"Seen anything that's not in the history books?\"\n\n> You examine the opera\nAn opulent wedding cake -- more layers than anyone could possibly eat -- with the ?lev? routes twined around it like decorative ribbons.\n\nThe ?lev? completes its turn around the Op?ra, and heads towards the Louvre. Your hotel can't be far away now.\n\nYou can't go that way.\n\n> You stand\nYou get up to stretch your legs and enjoy the breeze. That faint thrilling vibration feels stronger when you're standing, too.\n\n\"We should pick your brains,\" Emma says, \"Is there anything we must do while we're there?\"\n\n\"Hmm,\" George says, \"you put me on the spot. How long are you staying?\"\n\n\"Just the weekend -- three nights,\" Emma says.\n\n\"Oh! Barely enough to scratch the surface, I'm afraid,\" George says. \"I suppose my advice should be, don't listen to anyone's advice! Follow where chance and instinct lead -- sleep and the morning can be safely disregarded -- the left bank, of course, but one must not follow a plan.\"\n\n\"We'd better write this down,\" Emma says.\n\n> Kiss george\nThat moustache is rather fascinating, isn't it? But even on a summer's evening in Paris, he's not really your type.\n\nEmma beckoningly pats the seat next to her.\n\n> You look at the moustache\nRobustly three-dimensional, almost curvaceous, with perfect bilateral symmetry. It glistens.\n\nGeorge sits up and looks keenly to the south. \"And here's our stop coming up, I believe,\" he says.\n\n\"Already?\" Emma says, craning her neck. \"I see it! That blue sign -- Hotel Guiraud.\"\n\nGeorge stands. \"Well, I'll take my leave now. Like to give myself plenty of time to navigate the steps of this monstrosity, you know.\"\n\n> Open luggage\nWhich do you mean, George's luggage or your luggage?\n\n> You open george's luggage\nI don't think George would appreciate that.\n\nGeorge stands, doffs his hat and bows elegantly. \"Emma, Robbie -- most pleasant to make your acquaintance,\" he says.\n\n\"It was lovely to meet you,\" Emma says.\n\n\"Well, I shan't hold you up,\" George says. \"Au revoir and all that -- should be delighted to see you on the other side, of course --\" And he hoists his luggage and starts carefully descending.\n\n> You look\nThe ?lev? is a huge, terraced moving walkway that curves and swoops through the heart of Paris. Perhaps not the most efficient mode of transport in the world, but certainly one of the most striking. It's a little reminiscent of an ancient Greek amphitheatre, except that the rows of steps are moving, each a little faster than the one beneath. The only sound is a gentle rumble and the occasional whine from one of the motors. Each step whines at its own distinctive pitch, and the combined effect is oddly musical. Clever baffles divert most of the wind, leaving only a stiff breeze. Perched at the top, you're moving at some twenty kilometres per hour.\n\nYou're travelling south-east along the Avenue de l'Op?ra, towards the Louvre. And there it is, approaching fast -- Hotel Guiraud!\n\nEmma stands looking out over Paris.\n\nEmma waves at George.\n\n> Talk\n1. (to Emma) \"He left in a hurry.\"\n2. (to Emma) \"What a great old man.\"\n3. (to Emma) \"What a weird old man.\"\n4. (to Emma) \"What do you think of him, then?\"\n\n> 3\n\"What do think of him, then?\" you say.\n\n\"Crazy,\" Emma says, \"but lovely. And maybe not totally crazy at that. All that gentlemanly hat-doffing stuff is kind of sexy.\"\n\n\"Sexy? With that moustache? You've got to be kidding.\"\n\n\"You've got to be more open-minded,\" Emma says.\n\n1. \"We'd better be on our way too.\"\n\n[That option isn't available.]\n\n\"We'd better be on our way too,\" Emma says. But she pauses for a moment and looks out over Paris, and smiles. She has never looked more beautiful.\n\n> You kiss emma\nYou can't let the moment pass unacknowledged. You put arms around her and kiss her deeply, and she kisses you back and holds you tightly. Your heartbeat has finally slowed; it's so slow it's painful. And you're gliding through the air above Paris.\n\"Okay,\" Emma says finally, \"If we don't get a move on there's a risk of the past turning into the present.\"\nShe skips away down the levels of the ?lev?, and you follow, swinging the luggage in one hand. With each step the city slows and looms larger; it feels like you're acquiring a childlike stature to match your childlike glee.\n\nYou catch up with her, and hand in hand you walk together towards the Hotel Guiraud.\n\nWho knows what the past will hold?\n\n> Afterword\nThanks for playing! I would love to hear your feedback. E-mail iain.merrick@gmail.com or just catch me on ifMUD.\n\nThis is an entry in IntroComp 2010, so if you'd like to see more, please vote for me! You'll get to visit Paris in the 1900s, and I'll get to do a ton of research so it actually feels like Old Paris, as it was and as it should have been: art, music, style, romance, intrigue, scandal, debauchery, intoxication, chases over the rooftops, temporal paradoxes, and perhaps a night at the opera. Interested?\n\nWould you like to RESTART, QUIT, UNDO the last command, read the CREDITS or read the AFTERWORD?"
    },
    {
        "text": "[Themes: Horror, mystery, crime, gender-neutral protagonist, attempted murder, horror]\n\nYour interpreter doesn't support volume control.\nYour interpreter doesn't support volume control.\nYour interpreter doesn't support volume control.\nYour interpreter doesn't support volume control.\nA sasquatch bends down before a leprechaun, who pulls a gold coin from behind the beast's ear. Chuckling, the sasquatch takes the treasure and places it onto a table as the leprechaun speaks to him. With a shake of the head, he follows his fellow conspirator through a tangle of costumed guests and out of the ballroom.\n\nA pirate wobbles his way to the gold, a wooden prosthesis attached to one knee, a plush toucan on his shoulder bobbing as if it were keeping time with the music. the pirate retrieves the coin, scowls, and peels away the bright gold foil. Eating the chocolate and blinking his unpatched eye in the dim light, he watches the other members of the Fortean Society  \u2014 a collection of caricatures, characters, monsters, and myths \u2014 mingle in the Soul Dancers ballroom.\n\nA Fly on the Wall, or An Appositional Eye Interactive\nApposition by Nigel Jayne. \n\nType the number of your choice then press \"enter\" to proceed:\n1. Start the game and join the party.\n2. Visit the Info Desk, which is recommended for anyone who hasn't played A Fly on the Wall, or An Appositional Eye.\n3. Resume a previous surveillance.\n\n[Author's Note: The Harrison Mansion is closing after 45 years of delighting its visitors with collections of the weird and recreations of the macabre. The night before, the Fortean Society of New England gathers in the haunt to celebrate its history and investigate its reputation as a real house of horrors. You volunteer to take a shift in the Fly eye, a room with five monitors that watch the most haunted corners within the house. You can't watch all five simultaneously, though, so what exactly will you see?]\n\n> 2\n(If you're using a screen reader, press S to turn on Screen Reader mode. This message only appears on the front page of the menu system.)\n\n2. Set Audio and Goldie's Thoughts\n3. Help Desk\n4. Acknowledgements\n5. About the Author\n\n> 1\nIn A Fly on the Wall, or An Appositional Eye, you're represented by Goldie, a Fortean Society member tasked with watching five (very high-definition) monitors that receive feeds from five paranormal hotspots in the Harrison Mansion. You begin in the Soul Dancers Ballroom where music is playing, and you're likely to hear other sounds throughout your vigil. However, this interpreter can't play the audio files. Only a small number of commands are needed to complete the game. Typical commands include X (or EXAMINE) [someone or\nsuggest actions that you can try. For example, you could try LISTEN TO MUSIC or LISTEN when music is playing.\n\nUnconventional commands are needed once Goldie settles in the Fly Eye. You can watch a room by typing its monitor number   . Use LOOK (or L) to turn your attention to all the views, which will help you to decide what to watch next. To replay an event after it has played, type REPLAY. When you watch an event for the first time, ostensibly important events continue to play out in the other rooms, and you won't be able to see them. Fortunately, nothing of interest occurs on the monitors when you do something other than selecting a feed, such as examining or talking. COMMANDS shows many actions recognized by the game, and you should check them if you're unfamiliar with commands such as SAVE and UNDO. A hypertext version of A Fly on the Wall, or An Appositional Eye is available at\n\nGoldie won't usually offer comments about the on-screen events,  but you can follow this thought process with THOUGHTS ON (they are off by default). Goldie will comment when an event is witnessed that is part of one of the storylines. THINK shows Goldie's current thought regardless of whether or not thoughts are activated and, if you're watching all of the monitors, it will hint at which monitor you might want to watch next. REMEMBER shows all the important events you've specific room (or person, if you specify one instead).\n\nThe HELP command always displays this menu. Check out the Help Desk for general tips or the combinations to all three storylines. The staff here at the mansion wishes you a frightfully good evening.\n\n> You go south\nPress ESCAPE to return to the parent menu or X to exit the menu system.\nPress M to turn Book Mode on\n\nIn A Fly on the Wall, or An Appositional Eye, you're represented by Goldie, a Fortean Society member tasked with watching five (very high-definition) monitors that receive feeds from five paranormal hotspots in the Harrison Mansion. You begin in the Soul Dancers Ballroom where music is playing, and you're likely to hear other sounds throughout your vigil. However, this interpreter can't play the audio files. Only a small number of commands are needed to complete the game. Typical commands include X (or EXAMINE) [someone or\nsuggest actions that you can try. For example, you could try LISTEN TO MUSIC or LISTEN when music is playing.\n\nUnconventional commands are needed once Goldie settles in the Fly Eye. You can watch a room by typing its monitor number   . Use LOOK (or L) to turn your attention to all the views, which will help you to decide what to watch next. To replay an event after it has played, type REPLAY. When you watch an event for the first time, ostensibly important events continue to play out in the other rooms, and you won't be able to see them. Fortunately, nothing of interest occurs on the monitors when you do something other than selecting a feed, such as examining or talking. COMMANDS shows many actions recognized by the game, and you should check them if you're unfamiliar with commands such as SAVE and UNDO. A hypertext version of A Fly on the Wall, or An Appositional Eye is available at\n\nGoldie won't usually offer comments about the on-screen events,  but you can follow this thought process with THOUGHTS ON (they are off by default). Goldie will comment when an event is witnessed that is part of one of the storylines. THINK shows Goldie's current thought regardless of whether or not thoughts are activated and, if you're watching all of the monitors, it will hint at which monitor you might want to watch next. REMEMBER shows all the important events you've specific room (or person, if you specify one instead).\n\nThe HELP command always displays this menu. Check out the Help Desk for general tips or the combinations to all three storylines. The staff here at the mansion wishes you a frightfully good evening.\n\n> Examine\nThe other members of the Fortean Society of New England \u2014 a\ncollection\nof caricatures, characters, monsters, and myths \u2014 mingle in groups in the dimly-lighted ballroom.\n\nType the number of your choice then press \"enter\" to proceed:\n1. Start the game and join the party.\n2. Visit the Info Desk, which is recommended for anyone who hasn't played A Fly on the Wall, or An Appositional Eye.\n3. Resume a previous surveillance.\n\n> 1\nA green-skinned man with a stitch across his forehead lumbers toward you, two jumper cables swinging from his chest. Frankie bumps into Cleopatra standing next to the stage, sending her to the floor and knocking the headdress from her head. He extends his hand down to her, but she swats it away and glowers. Black Widow, a woman dressed in black with a red hourglass symbol on her back, picks up the headdress. Cleopatra snatches it back, stands, and returns to her spot beside the stage.\n\nFrankie stops in front of you. Are those batteries attached to opposite sides of his neck? you wonder. As Frankie speaks, his\nchin taps at the antenna protruding up from your forehead, and his breath suffocates your nose with alcohol. \"Our whorey sister over there has sent me.\" He gestures erratically behind him. A nun with a hunched back bends over the punchbowl by the stage. You think he must have said \"holy\" sister, not \"whorey.\"\n\nThe nun straightens and turns around to face you. She rests her cup of punch on her pregnant belly.\n\n\"She told me it's your turn in the Fly Eye, Goldie,\" Frankie says.\n\nGoldie? you wonder. My name isn't Goldie. Then you\nrealize that, despite the alcoholic soup bathing his brain, Frankie connected your costume with the eponymous horror film, Goldie being a contraction of its star's surname, Goldblum.\n\nFrankie retreats toward Cleopatra. Arms crossed, she stands firm. Frankie stumbles away, passing Black Widow who, head cocked, watches Cleopatra.\n\nYou glance at the double doors and consider making your exit to the Fly Eye, but the nun attracts your attention. She smiles and raises her cup in salute.\n\n> You go south\nThe nun waves to you as you begin toward the hall outside. She strides off, targeting a man with spiky white hair and wearing a lab coat. The scientist takes a few steps back and stares at the floor.\n\nYou head out the double doors, descend the stairs, and enter the small room nicknamed, for tonight, the Fly Eye.\n\nThe wire frames of your wings bend as you gently lean back into the only chair in the room. The two floppy legs attached to your belt rise as you rest your hands on a table in front of a bank of monitors on the wall. The five screens receive signals from cameras in five different rooms in the mansion. Normally, these would be used for security, but tonight the Society is trying to record footage of the supernatural that will raise the eyebrows of even the most stone-faced skeptics. While you're hoping to witness such phenomena, following the exploits of any one of the costumed characters would probably be more interesting, after looking at the screens to decide which captures your attention.\n\nThe only person you know well is Gregory Hoblett, dressed as the Russian mystic and healer Grigori Rasputin, in the Laboratory on monitor 3. Everybody in the Society likes Hoblett, unlike Grigori who survived a stabbing, possible cyanide poisoning, and two point blank gunshots, only to succumb after being shot twice in the back and beaten.\n\nThe sasquatch chuckles quietly from the playroom on monitor 5, which is wired to record the electronic voice phenomena of ghostly children.\n\n> Examine\n(1) Soul Dancers Ballroom: Cleopatra stomps over to where her headdress had lain, picks something up, and tries to re-affix it to her headgear. Black Widow rushes over to the side of the stage and bends into the shadows. Was Cleopatra hiding something? you\nwonder.\n\n(2) Communications: Vacant.\n\n(3) Laboratory: Rasputin, bloody axe in one hand, rummages through a chest as someone you don't know, a medicine man, studies his face in a mirror.\n\n(4) Alien Zoo: Vacant.\n\n(5) Children's Possessions Playroom: The sasquatch smiles as the leprechaun tries to lift a gold dinner plate from a small table. You wonder whether the leprechaun will play any tricks tonight.\n\nBelow the pentagon of screens, \"Abracadabra\" plays on a laptop, which shows an open web browser.\n\n> You browse web\nFocus on the cameras, you think. I don't want to miss\nanything.\n\n> About yourself\nYou're dressed completely in black, including leather gloves and a hoody, its hood hiding your hair but not your forehead, from which a paper towel roll wrapped in a black sock points like a unicorn horn. Two more of these appendages are stuck to your belt, each attached by a length of string to the arm above. Oval wire scaffolds covered in plastic wrap protrude from your back. Your mobile phone is tucked under your belt.\n\n> You examine the phone\nIt's stuffed behind your belt; you don't want to think about where some of the other society members with the most extravagant costumes are holding theirs. For the next hour, though, your attention is focused strictly on the monitors.\n\n> You look at 1\nAs events on the other monitors unfold, you watch:\n\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nCleopatra slaps the headdress onto her head and, noticing Black Widow, strides over to the crouching woman. Jerking her head up, Black Widow teeters on her feet and almost falls over. She rises and backs away from the other woman.\n\nSeveral of the guests watch as the spider and queen exchange words. Black widow shakes her head and holds up her empty hands. Cleopatra's shoulders lower, and her hands fall to her sides. Black Widow walks away, shaking her head.\n\nCleopatra pulls a bulky bag from the shadow beside the stage. She looks inside the bag, hefts it over her shoulder, and leaves the room.\n\nThe voices of the leprechaun and sasquatch play from the playroom feed.\n\n> You listen\n[Sound effect number 4 here.]\nThe door behind you creaks. You whirl around. The door is still, still in the position you left it. You think it is, anyway. You stand and swing the door, but it doesn't make a sound. Hearing \"Superstitious\" playing from the laptop, you return to your seat.\n\nThe leprechaun speaks: \"I'd be more scared if you showed up in my house.\" A pause and he continues, \"Guess you should have taken it easy on the cabbage and beans at dinner.\"\n\n\"No way, man. Didn't you smell that when we came in? It's all over this room.\" That sounded like the sasquatch.\n\nThe leprechaun says, \"Someone's coming. Go out there and bring our friend in.\"\n\n> Examine 5\nRemembering that something could be happening on the other screens, you watch:\n\nChildren's Possessions Playroom (main floor, west wing)\n(watch all monitors)\n\nThe sasquatch enters with one hairy arm wrapped around Rasputin's shoulders. A toy clown sitting near the door behind them leans over. Suddenly, a black-and-white blur darts from behind the clown and out the door.\n\nRasputin pulls away from the sasquatch. He takes in the shelves of staring dolls and puppets. He chokes, and his face blanches.\n\nThe sasquatch doesn't seem to notice Rasputin's distress. \"Pretty impressive collection,    huh? You should see what's in that toybox.\"\n\nRasputin glances at the chest just as the leprechaun pops out of it. Rasputin screams and falls back into the sasquatch's arms.\n\nYou're surprised the shriek didn't shatter the monitor's screen.\n\nThe leprechaun climbs out of the toybox. \"You seem a bit on edge.\" He laughs.\n\n\"Do you guys know what happened in here?\" Rasputin says.\n\n\"Why don't you tell us what you've heard,\" the sasquatch says as he steadies Rasputin's wobbly stance.\n\nRasputin watches the dolls as he speaks. \"Wayne Harrison was having a birthday party for his twin daughters in this room. They had cake and drinks.\" His voice lowers. \"Most of the kids died. Right here. The twins, too. Poisoned. People suspected Wayne's chauffeur, who was never charged. He was going to be fired for gambling and . . . doing inappropriate things in front of the kids. His son didn't get sick. That's why . . . \".\n\n\"This place is haunted,\" the sasquatch says.\n\nThe leprechaun picks up a child-sized doll with red hair and a white dress. Wailing like a ghost, he shakes it at Rasputin. The mystic rushes out the door. The leprechaun grins broadly. \"We can have some fun with this.\" He carries the doll out of the room with him, and the sasquatch follows, shaking his head."
    },
    {
        "text": "> You look around\n[Sound effect number 5 here.]\nSomething thumps onto the hallway floor. On instinct, you pull your phone from your pocket and look out the door. The guestbook has fallen from the table in the lobby. You wait but don't detect anyone, so you return to your chair and tuck away the phone as you hear \"I don't like spiders and snakes, and that ain't what it takes to love me\" from the laptop.\n\n(1) Soul Dancers Ballroom: Some guests mingle at the refreshment table.\n\n(2) Communications: The medicine man enters, stops at a mirror, and stares into his contorted reflection.\n\n(3) Laboratory: Cleopatra enters, drops her bag next to a chest, and unpacks some whips.\n\n(4) Alien Zoo: The sasquatch appears and positions himself in the doorway, while the leprechaun passes him and searches the exhibits with the red-haired doll tucked under his arm.\n\n(5) Children's Possessions Playroom: Vacant.\n\nBelow the pentagon of screens, \"Spiders and Snakes\" plays on the laptop, which shows an open web browser.\n\n> Examine 4\nAlien Zoo (second floor, north wing)\n(watch all monitors)\n\nThe leprechaun stops in front of some rope hanging between two stanchions, which have been pushed up against the far wall to allow greater access to the collections. He unhinges one end of the rope and begins to wrap it around the doll's neck.\n\nThe sasquatch steps back from the door, nodding at a devil in a hockey jersey entering the room. The two speak. The sasquatch addresses the leprechaun. Scowling, the leprechaun unwinds the rope from the doll. He slaps the freed end into the devil's hand then rushes out the door, his hairy friend following behind.\n\nSomething snaps and cracks behind you. You spin around. A black cat with a white stripe down its back tears at a rat on the floor. The cat discards its prey, leaps onto your lap, and settles. It purrs loudly.\n\n> You listen\nThe laptop below the screens plays a song you recognize: \"You Can Do Magic.\"\n\n> You look at the cat\nThe stripe runs from the cat's neck to the base of its tail. It's a straight line, and the intensity of the white color is uniform all along the cat's back."
    },
    {
        "text": "[Themes: Horror, attempted murder]\n\n> Look around\n(1) Soul Dancers Ballroom: Without her bag,  Cleopatra enters, stops near the stage, and searches the crowd.\n\n(2) Communications: The medicine man pokes at a chandelier with his staff. The leprechaun, doll in hand, and sasquatch arrive. They look at the witch doctor then up at the fixture.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: A bald man dressed completely in black enters. The MIB stares down through sunglasses at the devil, who steps back, rope dangling from his hand.\n\n(5) Children's Possessions Playroom: Vacant.\n\nBelow the pentagon of screens, America is playing \"You Can Do Magic\" on the laptop, which shows an open web browser, and the cat purrs on your lap.\n\n> Look\nYou figure any of the five haunted hotspots on the monitors are worth investigation."
    },
    {
        "text": "[Themes: Horror, horror, mystery]\n\n> You look around\n(1) Soul Dancers Ballroom: Without her bag,  Cleopatra continues to study the guests.\n\n(2) Communications: The medicine man pokes at a chandelier with his staff. The leprechaun, doll in hand, and sasquatch watch him.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: The devil tries to look beyond the MIB and out the door.\n\n(5) Children's Possessions Playroom: Vacant.\n\nBelow the pentagon of screens, America is playing \"You Can Do Magic\" on the laptop, which shows an open web browser, and the cat purrs on your lap.\n\n> Xyzzy\nFocus on the cameras, you think. I don't want to miss\nanything.\n\n> You look at 2\nCommunications (second floor, west wing)\n(watch all monitors)\n\nSomething is different about the room . . . The lighting has dimmed, and shadows shroud the corners.\n\nThe sasquatch and leprechaun turn to each other, and the sasquatch shrugs. The leprechaun speaks to the medicine man, who glances at the red-haired doll as he listens. He points at the door. Smiling, the leprechaun leads the sasquatch out of the room.\n\nThe medicine man touches his staff to the bottom of the chandelier as the white-haired scientist arrives. The scientist smiles and speaks. The medicine man nods then lowers his staff. He speaks. The scientist nods then begins to pull a liquor bottle with a ribbon around its neck out of his pocket, but the medicine man stops him. The scientist glances at the camera, and the medicine man gestures at the door with his staff. They leave together.\n\nA shadow is cast over you. You swivel around. Frankie's bulk crowds the tiny room. He considers the cat then looks up to you. His grin is crooked. \"What's new, pussycat?\" he says. He laughs then starts humming the eponymous Tom Jones song before turning to the monitors. He tries to focus on the monitored characters.\n\n> You close the door\nThe door remains silent as you swing it. You leave it open; you don't want anything in your way if something happens out in the hall.\n\n> You examine Frankie\nReanimation, apparently achieved by shocking one's heart through jumper cables attached to the chest, has turned Frankie's face green and tore his shirt and jeans, and the brain transplant has left a nasty black stitch across his forehead. Given the way Frankie has been stumbling around the party, maybe it's time to hook up those batteries attached to his neck because he definitely isn't fully charged.\n\n> You talk to Frankie\n\"So, have you seen anything unusual tonight?\" you say.\n\n\"You mean besides the fact that Bigfoot is wandering the halls?\" Frankie regards the cat. \"And there's a giant skunk sitting on a fly's lap?\"\n\nThe cat hisses, jumps to the floor, and runs out the door.\n\n\"Sorry, pussy,\" Frankie says. \"You don't smell as bad!\" His voice booms in the small room. \"What was your question again?\"\n\n\"Have you seen anything creepy tonight. Supernatural.\"\n\n\"Like ghosts? That's crap. It never hurts to be careful, though. We're all targets thanks to the Greada Treaty that Eisenhower signed with the grays. Human experiments for alien technology. I've seen them all. The Nordics. Arcturians. Reptilians.\"\n\n\"How do you know I'm not one of them?\"\n\nHe smiles. \"They're cold blooded. You're hot.\"\n\n> You talk about the aliens\n\"I'm beyond being able to talk about that,\" Frankie says then burps.\n\n> You talk to Frankie\n\"It looks like we need to keep an eye on the leprechaun,\" you say.\n\n\"I wouldn't trust Lucky Charms as far as I could toss \u2014\" Frankie attempts a swing of his arms and teeters on his feet. \"He's trying to scare us with that stupid doll, but I'm too smart for that.\"\n\n> You look at 2\nCommunications (second floor, west wing)\n(watch all monitors)\n\nBlack Widow appears and pulls Rasputin through the doorway to join her. She notices a curtained off area at the far end of the room. Passing between tables, she approaches it and pulls back the curtains, revealing a set of audio equipment. Fiddling with the stereo, she says something and gestures for Rasputin to join her.\n\nRasputin takes a deep breath, rubs his palms on his pants, and makes his way over to Black Widow. She points at a knot of cables snaking from the equipment to a dark corner behind some speakers. Rasputin hesitates then reaches into the darkness. Suddenly, he flings his arm back and stumbles backward. With wide eyes, he rubs his hand and speaks.\n\nBlack Widow frowns and inspects Rasputin's hand. She shrugs. She attempts to look behind the speaker, but Rasputin stops her with a hand to her shoulder. Smiling, she shakes her head then bends over into the darkness.\n\nThe leprechaun, without the doll, steps through the doorway, the sasquatch following behind him. They move aside as Black Widow, head shaking, leads the trembling Rasputin out the door. As she exits, the scientist appears in the doorway with a bottle. Rasputin snatches it from his hand and takes a swig. He pauses and does it again. Nodding, he returns the bottle, and the two men leave.\n\nThe sasquatch follows the grinning leprechaun to the doorway where they stop and look into the hall.\n\n> Keep going\nCommunications (second floor, west wing)\n(watch all monitors)\n\nThe leprechaun and sasquatch look out the door and into the hall. The grin falters on the leprechaun's face. He scowls and leaves the room, the sasquatch trailing.\n\nThe chandelier shakes. Tick one box on the \"haunted house\"\nchecklist: shaking chandelier, you think.\n\nBeneath, the room is filled with not only the tools of transcommunication, such as ouija boards and sound trumpets, but also the tricks of the trade, such as ectoplasmic cheesecloth and wobbly furniture.\n\nYour interpreter doesn't support sound reproduction.\nYour interpreter doesn't support sound reproduction.\nYour interpreter doesn't support sound reproduction.\nA high-pitched scream pierces the Fly Eye. That was from somewhere upstairs.\n\nStatic bursts from the playroom. Are children giggling?\n\n\"Gotta check that out,\" Frankie says before lumbering away.\n\n> You listen\nDespite the static, you can hear the laptop playing \"Clap for the Wolfman.\"\n\n> You examine the chandelier\nIt's a fixture with lots of dangly glass bits for maximum jangling and clattering."
    },
    {
        "text": "[Themes: Horror, crime, gender-neutral protagonist, horror]\n\n> Look around\n(1) Soul Dancers Ballroom: Cleopatra rushes out. She returns holding up a man with white hair and a cape. The two stumble forward, and the man slumps to the floor.\n\n(2) Communications: Vacant.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: The medicine man talks to someone through the doorway.\n\n(5) Children's Possessions Playroom: The footage is a blur of color. Children seem to giggle in the static of the monitor's tiny speaker.\n\n> Examine 1\nYour interpreter doesn't support sound reproduction.\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nCleopatra steps back. The arms of the fallen man spasm, fingers covered in rings. It's Greg in his Rasputin costume. Except for that spiked white hair. He lies prone with his cape flat on his back. Two red holes are punched into the black fabric.\n\nGuests gather around your fallen friend. Several of them grab their cell phones. Some take pictures while others make calls. The nun bends down and touches the holes in Greg's cape. She rubs her fingers together and shakes her head. Black Widow helps Frankie turn Greg onto his back. His face is almost as white as his hair. The nun starts the chest compressions for cardiopulmonary resuscitation. Cleopatra watches with a concerned look.\n\nA tall woman wearing a white dress and tiara takes the hand of a suited man in a top hat. They swirl and step around the crowd.\n\nSomeone stomps toward the door to the Fly Eye.\n\nPress a key to whirl around and face the door.\nYour interpreter doesn't support sound reproduction.\nA doll the size of a small girl is sitting on the floor next to the door and with the black-and-white cat covering her lap. She smiles a black line under red freckles. She shakes as the cat raises its head and Frankie stomps into the room. The doll begins saying \"Mama . . . mama . . . mama . . .\n\nFrankie's voice booms. \"We have a problem. Everyone's meeting in the ballroom.\"\n\nPress a key to follow Frankie out.\nOutside the mansion, paramedics lift Greg into an ambulance. The resuscitation attempts by the nun may have saved his life. But from what? you know Greg wasn't shot. The bullet holes in the cape were part of the Rasputin costume, and Greg had no visible wounds.\n\nEveryone seems to have gathered around the lights cast by the mansion and its exterior lamps. Black Widow and Cleopatra, both in tears, tell their stories to a police officer. The medicine man places his staff into the trunk of a car before finding the scientist. They talk and wait. The leprechaun watches the paramedics, but the sasquatch stares at the ground.\n\nSomeone is missing, though . . . You don't see the man in black.\n\nThe ambulance drives away. Cleopatra points at you, and the officer she was talking to nods. It's time to tell your story, but you can't make any reasonable connections between what happened to Greg and what you saw on the monitors. Maybe the events would have come together more clearly had you watched from a different perspective."
    },
    {
        "text": "[Themes: Horror, attempted murder, gender-neutral protagonist, horror]\n\n> You talk to the nun\nThe nun sips from her punch as you approach.\n\n\"So, did you see anything good on your watch?\" you say to the nun.\n\nShe rests her cup on her belly. \"I did hear some odd sounds out in the hall, but that's about it. But there's always something going on with this bunch.\" She gestures her cup at the guests. \"I'd keep an eye on them, if I were you.\" She laughs.\n\nMost of the guests have congregated into small groups in which someone \u2014 or something \u2014 tries to talk over the music. Holographic dancers materialize momentarily to dip, spin, and swing their partners next to the corporeal partygoers before disappearing to continue their dance in the ethereal. You thought that Robin Hood was up on the stage, but the flute hanging from his neck suggests that instead he is the Pied Piper of Hamelin, playing his enchantment. Black Widow watches Cleopatra stand guard over a shadowed area next to the stage and uncomfortably close to a pair of stacked speakers. Cutlass in one wobbly hand, Frankie spars with an invisible foe as the pirate tries to get his weapon back. The nun smiles at you from the refreshment table along one wall. You suppose it may be time to make your exit and take your shift in the Fly Eye.\n\n> You talk to black Widow\nShe seems more intent on studying Cleopatra.\n\n> You go south\nThe nun waves to you as you begin toward the hall outside. She strides off, targeting a man with spiky white hair and wearing a lab coat. The scientist takes a few steps back and stares at the floor.\n\nYou head out the double doors, descend the stairs, and enter the small room nicknamed, for tonight, the Fly Eye.\n\nThe wire frames of your wings bend as you gently lean back into the only chair in the room. The two floppy legs attached to your belt rise as you rest your hands on a table in front of a bank of monitors on the wall. The five screens receive signals from cameras in five different rooms in the mansion. Normally, these would be used for security, but tonight the Society is trying to record footage of the supernatural that will raise the eyebrows of even the most stone-faced skeptics. While you're hoping to witness such phenomena, following the exploits of any one of the costumed characters would probably be more interesting, after looking at the screens to decide which captures your attention.\n\nThe only person you know well is Gregory Hoblett, dressed as the Russian mystic and healer Grigori Rasputin, in the Laboratory on monitor 3. Everybody in the Society likes Hoblett, unlike Grigori who survived a stabbing, possible cyanide poisoning, and two point blank gunshots, only to succumb after being shot twice in the back and beaten.\n\nThe sasquatch chuckles quietly from the playroom on monitor 5, which is wired to record the electronic voice phenomena of ghostly children."
    },
    {
        "text": "[Themes: Horror, crime]\n\n> Look around\nYou study the monitors:\n\n(1) Soul Dancers Ballroom: Cleopatra stomps over to where her headdress had lain, picks something up, and tries to re-affix it to her headgear. Black Widow rushes over to the side of the stage and bends into the shadows. Was Cleopatra hiding something? you\nwonder.\n\n(2) Communications: Vacant.\n\n(3) Laboratory: Rasputin, bloody axe in one hand, rummages through a chest as someone you don't know, a medicine man, studies his face in a mirror.\n\n(4) Alien Zoo: Vacant.\n\n(5) Children's Possessions Playroom: The sasquatch smiles as the leprechaun tries to lift a gold dinner plate from a small table. You wonder whether the leprechaun will play any tricks tonight.\n\nBelow the pentagon of screens, \"Spirit in the Sky\" plays from a laptop, which shows an open web browser.\n\n> 3\nAs events on the other monitors unfold, you watch:\n\nLaboratory (third floor, west wing)\n(watch all monitors)\n\nAxe in hand, Rasputin continues to root around in the chest at a dark corner of the room. The medicine man leans his totem-laden staff onto the wall between the two of them. He taps a couple of dark bulbs surrounding the vanity's mirror. When they don't light, he tries tightening them into their sockets, but that doesn't work either. He gives up and studies himself in the mirror's reflection. He reaches into a pouch on his belt and applies more black makeup to his face.\n\nRasputin stands, turns, and kicks over the staff. Animal figurines spill onto the floor. He drops the axe and begins to gather them up.\n\nWatching Rasputin, the medicine man retrieves his staff. He scowls as Rasputin, on his knees and talking constantly, polishes each totem before looping them onto their former holder. A raven settles down the staff first, followed by an owl, frog, and wolf.\n\nRasputin stands, and the medicine man glares at him as the mystic slinks out of the room.\n\nThe voices of the leprechaun and sasquatch play from the playroom feed.\n\n> You watch Rasputin\n[Sound effect number 4 here.]\nThe door behind you creaks. You whirl around. The door is still, still in the position you left it. You think it is, anyway. You stand and swing the door, but it doesn't make a sound. Hearing \"Strange Magic\" playing from the laptop, you return to your seat.\n\nRasputin is no longer visible in the Laboratory. Maybe he's on another monitor.\n\nThe voices of the leprechaun and sasquatch play from the playroom feed."
    },
    {
        "text": "> You look around\n(1) Soul Dancers Ballroom: Guests continue to mingle.\n\n(2) Communications: Cleopatra appears in the doorway with a bag over one shoulder.\n\n(3) Laboratory: The medicine man leaves.\n\n(4) Alien Zoo: Vacant.\n\n(5) Children's Possessions Playroom: The sasquatch enters with one hairy arm wrapped around Rasputin's shoulders. A toy clown sitting near the door behind them leans over.\n\nBelow the pentagon of screens, \"Strange Magic\" plays on the laptop, which shows an open web browser.\n\n> 5\nRemembering that something could be happening on the other screens, you watch:\n\nChildren's Possessions Playroom (main floor, west wing)\n(watch all monitors)\n\nSuddenly, a black-and-white blur darts from behind the clown and out the door.\n\nRasputin pulls away from the sasquatch. He takes in the shelves of staring dolls and puppets. He chokes, and his face blanches.\n\nThe sasquatch doesn't seem to notice Rasputin's distress. \"Pretty impressive collection,    huh? You should see what's in that toybox.\"\n\nRasputin glances at the chest just as the leprechaun pops out of it. Rasputin screams and falls back into the sasquatch's arms.\n\nYou're surprised the shriek didn't shatter the monitor's screen.\n\nThe leprechaun climbs out of the toybox. \"You seem a bit on edge.\" He laughs.\n\n\"Do you guys know what happened in here?\" Rasputin says.\n\n\"Why don't you tell us what you've heard,\" the sasquatch says as he steadies Rasputin's wobbly stance.\n\nRasputin watches the dolls as he speaks. \"Wayne Harrison was having a birthday party for his twin daughters in this room. They had cake and drinks.\" His voice lowers. \"Most of the kids died. Right here. The twins, too. Poisoned. People suspected Wayne's chauffeur, who was never charged. He was going to be fired for gambling and . . . doing inappropriate things in front of the kids. His son didn't get sick. That's why . . . \".\n\n\"This place is haunted,\" the sasquatch says.\n\nThe leprechaun picks up a child-sized doll with red hair and a white dress. Wailing like a ghost, he shakes it at Rasputin. The mystic rushes out the door. The leprechaun grins broadly. \"We can have some fun with this.\" He carries the doll out of the room with him, and the sasquatch follows, shaking his head."
    },
    {
        "text": "> You look around\n[Sound effect number 5 here.]\nSomething thumps onto the hallway floor. On instinct, you pull your phone from your pocket and look out the door. The guestbook has fallen from the table in the lobby. You wait but don't detect anyone, so you return to your chair and tuck away the phone as you hear \"I don't like spiders and snakes, and that ain't what it takes to love me\" from the laptop.\n\n(1) Soul Dancers Ballroom: Some guests mingle at the refreshment table.\n\n(2) Communications: The medicine man enters, stops at a mirror, and stares into his contorted reflection.\n\n(3) Laboratory: Cleopatra enters, drops her bag next to a chest, and unpacks some whips.\n\n(4) Alien Zoo: The sasquatch appears and positions himself in the doorway, while the leprechaun passes him and searches the exhibits with the red-haired doll tucked under his arm.\n\n(5) Children's Possessions Playroom: Vacant.\n\nBelow the pentagon of screens, \"Spiders and Snakes\" plays on the laptop, which shows an open web browser."
    },
    {
        "text": "> Look around\n(1) Soul Dancers Ballroom: Some guests mingle at the refreshment table.\n\n(2) Communications: The medicine man makes faces at his distorted reflection in the mirror.\n\n(3) Laboratory: Cleopatra continues to transfer weapons from her bag to the chest.\n\n(4) Alien Zoo: The sasquatch is standing in the doorway, while the leprechaun searches the exhibits with the red-haired doll tucked under his arm.\n\n(5) Children's Possessions Playroom: Vacant.\n\nBelow the pentagon of screens, \"Spiders and Snakes\" plays on the laptop, which shows an open web browser.\n\n> 12\nThere are only five monitors on the wall, and they are numbered from one to five.\n\n> 1\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nThe monitor shows about a third of the room, including downstage, which is flanked by stacked speakers. Most of the guests have drifted toward the refreshment table lining the far wall. A couple of spirited dancers materializes in front of the stage. The woman, dressed in a purple ball gown, twirls as her partner holds her hand over her head. They embrace then disappear.\n\nA fat, bald man, wearing a bloody apron and carrying a cleaver, munches on a carrot as he watches the colorful guests.\n\nSomething snaps and cracks behind you. You spin around. A black cat with a white stripe down its back tears at a rat on the floor. The cat discards its prey, leaps onto your lap, and settles. It purrs loudly.\n\n> 1\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nCleopatra enters, stops near the stage, and searches the crowd. Rasputin rushes past her. He grabs a drink \u2014 from the alcoholic punch bowl \u2014 just as Cleopatra catches up to him. He gulps down his drink\nas\nCleopatra talks.\n\nBlack Widow emerges from a crowd and approaches Rasputin. Smiling, she places a hand on his shoulder. She speaks, silencing Cleopatra. Rasputin replies to Black Widow, who nods. Arms crossed, Cleopatra gets in a few words, but Rasputin only shrugs and finishes his drink. He hands the cup to Cleopatra then allows himself to be lead out of the room arm-in-arm with Black Widow.\n\nCleopatra crushes the cup, tosses it onto the table. Staring at the doors, she taps her foot. She walks to the exit and disappears off-screen.\n\nA shadow is cast over you. You swivel around. Frankie's bulk crowds the tiny room. He considers the cat then looks up to you. His grin is crooked. \"What's new, pussycat?\" he says. He laughs then starts humming the eponymous Tom Jones song before turning to the monitors. \"Nervous guy, that Rasputin. Bit of a wimp, if you ask me. I'm surprised he came out from hiding under his bed tonight.\""
    },
    {
        "text": "> You look around\n(1) Soul Dancers Ballroom: A couple of dancers materializes, jitterbugs, and disappears.\n\n(2) Communications: Black Widow appears and pulls Rasputin through the doorway to join her.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: An alien of the gray-type, or a petit female Homo sapiens, waits inside the doorway then steps out.\n\n(5) Children's Possessions Playroom: Vacant.\n\nFrankie bobs his head, although you aren't sure that he's keeping time with \"Werewolves of London\" playing on the laptop, which shows an open web browser. The cat lying on your lap has turned its head to keep an eye on him as he tries to follow the peripatetic Fortean members on the monitors.\n\n> 2\nCommunications (second floor, west wing)\n(watch all monitors)\n\nSomething is different about the room . . . The lighting has dimmed, and shadows shroud the corners.\n\nBlack Widow notices a curtained off area at the far end of the room. Passing between tables, she approaches it and pulls back the curtains, revealing a set of audio equipment. Fiddling with the stereo, she says something and gestures for Rasputin to join her.\n\nRasputin takes a deep breath, rubs his palms on his pants, and makes his way over to Black Widow. She points at a knot of cables snaking from the equipment to a dark corner behind some speakers. Rasputin hesitates then reaches into the darkness. Suddenly, he flings his arm back and stumbles backward. With wide eyes, he rubs his hand and speaks.\n\nBlack Widow frowns and inspects Rasputin's hand. She shrugs. She attempts to look behind the speaker, but Rasputin stops her with a hand to her shoulder. Smiling, she shakes her head then bends over into the darkness.\n\nThe leprechaun, without the doll, steps through the doorway, the sasquatch following behind him. They move aside as Black Widow, head shaking, leads the trembling Rasputin out the door. As she exits, the scientist appears in the doorway with a bottle. Rasputin snatches it from his hand and takes a swig. He pauses and does it again. Nodding, he returns the bottle, and the two men leave.\n\nThe sasquatch follows the grinning leprechaun to the doorway where they stop and look into the hall."
    },
    {
        "text": "[Themes: Horror, gender-neutral protagonist, horror, mystery]\n\n> Describe the surroundings\n(1) Soul Dancers Ballroom: Black Widow strolls into the room and begins to chat with the nun in front of the stage.\n\n(2) Communications: The leprechaun and sasquatch look out the door and into the hall.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: Vacant.\n\n(5) Children's Possessions Playroom: A bald man dressed completely in black steps into the room, a hand at the device on his belt.\n\nNext to Frankie, \"Magic Man\" plays on the laptop, which shows an open web browser. The cat lying on your lap continues to stare at Frankie as he tries to follow the peripatetic Fortean members on the monitors.\n\n> 1\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nCleopatra appears beside the doors and rushes over to Black Widow, interrupting her conversation with the nun. Cleopatra speaks to Black Widow, who responds with a few words and a pat on the woman's arm. Cleopatra heads to the exit, and Black Widow shrugs at the nun.\n\nCleopatra stops at the doors and stares out into the hall.\n\nYour interpreter doesn't support sound reproduction.\nYour interpreter doesn't support sound reproduction.\nYour interpreter doesn't support sound reproduction.\nA high-pitched scream pierces the Fly Eye. That was from somewhere upstairs.\n\nThe cat leaps from your lap and scrambles out the door. Static bursts from the playroom. Are children giggling?\n\n\"Gotta check that out,\" Frankie says before lumbering away."
    },
    {
        "text": "[Themes: Horror, crime, gender-neutral protagonist, horror]\n\n> Look around\n(1) Soul Dancers Ballroom: Cleopatra rushes out. She returns holding up a man with white hair and a cape. The two stumble forward, and the man slumps to the floor.\n\n(2) Communications: Vacant.\n\n(3) Laboratory: Vacant.\n\n(4) Alien Zoo: The medicine man talks to someone through the doorway.\n\n(5) Children's Possessions Playroom: The footage is a blur of color. Children seem to giggle in the static of the monitor's tiny speaker.\n\n> 1\nYour interpreter doesn't support sound reproduction.\nSoul Dancers Ballroom (second floor, east wing)\n(watch all monitors)\n\nCleopatra steps back. The arms of the fallen man spasm, fingers covered in rings. It's Greg in his Rasputin costume. Except for that spiked white hair. He lies prone with his cape flat on his back. Two red holes are punched into the black fabric.\n\nGuests gather around your fallen friend. Several of them grab their cell phones. Some take pictures while others make calls. The nun bends down and touches the holes in Greg's cape. She rubs her fingers together and shakes her head. Black Widow helps Frankie turn Greg onto his back. His face is almost as white as his hair. The nun starts the chest compressions for cardiopulmonary resuscitation. Cleopatra watches with a concerned look.\n\nA tall woman wearing a white dress and tiara takes the hand of a suited man in a top hat. They swirl and step around the crowd.\n\nSomeone stomps toward the door to the Fly Eye.\n\nPress a key to whirl around and face the door.\nYour interpreter doesn't support sound reproduction.\nA doll the size of a small girl is sitting on the floor next to the door and with the black-and-white cat covering her lap. She smiles a black line under red freckles. She shakes as the cat raises its head and Frankie stomps into the room. The doll begins saying \"Mama . . . mama . . . mama . . .\n\nFrankie's voice booms. \"We have a problem. Everyone's meeting in the ballroom.\"\n\nPress a key to follow Frankie out.\nOutside the mansion, paramedics lift Greg into an ambulance. The resuscitation attempts by the nun may have saved his life. But from what? you know Greg wasn't shot. The bullet holes in the cape were part of the Rasputin costume, and Greg had no visible wounds.\n\nEveryone seems to have gathered around the lights cast by the mansion and its exterior lamps. Black Widow and Cleopatra, both in tears, tell their stories to a police officer. The medicine man places his staff into the trunk of a car before finding the scientist. They talk and wait. The leprechaun watches the paramedics, but the sasquatch stares at the ground.\n\nSomeone is missing, though . . . You don't see the man in black or his gray partner.\n\nThe ambulance drives away. Cleopatra points at you, and the officer she was talking to nods. It's time to tell your story, but you can't make any reasonable connections between what happened to Greg and what you saw on the monitors. Maybe the events would have come together more clearly had you watched from a different perspective.\n\nSomeone is missing, though . . . You don't see the man in black."
    },
    {
        "text": "[Themes: Travel, Nature, Humor, alaska, sea]\n\nThat isn't one of the options.\n\nWould you like to RESTORE a saved position, RESTART the\nstory, UNDO the last move, or QUIT?\n\nIf this was the proper version of this game you could replay a particular scenario using RESTART . This game was number\n7142, so you could play it again with RESTART 7142. Unfortunately it won't work in this special TADS-3.0-compatible version.\n\n> About yourself\nYou have dreamed of coming to Alaska your entire life, and you're finally here.\n\n> You check your inventory\nYou are carrying:\na backpack (closed)\na pair of sunglasses (being worn)\n\n> You open the backpack\nYou open the backpack, revealing a warm beer.\n\nYou hear a low rumble, like thunder, that tells you the glacier's calved off another ice berg somewhere nearby.\n\n> You examine the glasses\nThe light off the water and the ice does get pretty bright sometimes. You're glad you brought these... who'd have thought they'd come in handy in rainy southeastern Alaska?\n\n> You examine the case\nIn the glass case is a fishing rod.\n\n> You examine the beer\nAn Alaskan Amber, made not far from here, in Juneau.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\n> You look at the menu\nYou can get half-day and full-day sight-seeing tours, and half-day and full-day fishing trips.\n\n> You examine captain\nThe Captain is wearing a baseball cap and carrying a small silver key.\n\n> You ask Captain about the key\n(To communicate in this story, TALK TO the captain.)\n\n> You talk to Captain\n\"You know,\" says the captain, \"I never get sick of coming up here.\nIt's just so beautiful.\"\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> You get the ice\nThat's hardly portable.\n\n> You examine the cushions\nThey look well-worn, sort of scuffed and dingy on the edges, shiny in the center where many a person before you has sat.\n\n> You open the cushions\nYou open the storage compartment, revealing a net and a warm Coke.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\n> You get the bits\nPerhaps you could get some ice if you were on the back deck of the boat.\n\n> You examine the finder\n\"Why do you have the fish finder on when we're not going fishing?\" you ask.\n\n\"Well, it does help you find fish, but it's also useful for\nknowing how deep the water is beneath the boat. We wouldn't want to get into water that was too shallow.\"\n\nYou can't get your mind off of that fishing pole you saw in the main cabin.\n\nSomewhere out of sight, you hear a giant splash.\n\n> Open case\n\"Hey, don't break my case, I've got a key...\" scolds the captain. He smiles and says, \"...and I'll give it to ya, if you'd be so kind as to get me something cold to drink.\"\n\nHuh. You thought you were paying him to do stuff.\nBut then, he's the one making sure the boat stays safe, and that's important, so the least you can probably do is find him something to drink.\n\n> Aft\n(first opening the cabin door)\n\nThe whole back half of the boat is open, allowing you to view the surroundings without intervening windows \u2014 if you can stand the cold.\n\nAll around the boat bob chunks of glacier ice.\n\nYou can also see a cooler (closed) here.\n\nYou hear a bird cry off in the distance, but can't seem to locate it.\n\n> You open the cooler\nYou open the cooler.\n\n> You look in it\nThe cooler is empty.\n\n> You put the ice in the cooler\nLittle bits of glacier ice scratch against the ship's hull.\n\nYou hear an odd barking, almost roaring sound, far off.\n...could there be sea lions around here? Gosh, there probably could be.\n\n> You put the beer in the cooler\nYou place the beer inside the cooler.\n\n> You take ice\nYou are having a hard time fishing out the ice with your bare hands.\n\n> You take the net\nTaken.\n\n> You give Coke to Captain\n\"It needs chilling,\" the Captain remarks, disgruntled.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\n> Aft\nThe whole back half of the boat is open, allowing you to view the surroundings without intervening windows \u2014 if you can stand the cold.\n\nAll around the boat bob chunks of glacier ice.\n\nYou can also see a cooler (in which is a warm beer) here.\n\n> You get the ice with the net\nYou scoop up the ice with the net.\n\n> You put the ice and Coke in the cooler\npiece of glacier ice: You dump the ice from the net into the ice\nchest.\nwarm Coke: You place the Coke inside the cooler.\n\nYou keep thinking about that lovely fishing rod in the glass cabinet, and how fun it would be to play with.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\n> You put the beer in the cooler\nYou place the beer inside the cooler.\n\n> You get the fore\nYou must name something more substantial.\n\nThe glacier is quiet for a moment, and you realize it's been making so much noise you're surprised by the silence.\n\n> You give Coke to Captain\n\"Ah, that's great! Thank you,\" he says. How he can drink an iced soda on a day like today boggles your mind... but then again, you've heard some crazy statistic that Alaskans eat the most ice cream, per capita, of any US state.\n\nYou're not sure you believe that, though.\n\nI guess I promised you the key to that case, didn't I? Here ya go.\"\nHe tosses you the silver key.\n\nYou hear the water lap gently against the boat.\n\n> Unlock case with key\nYou unlock the glass case.\n\n> You take the rod\nYou open the glass case, giddy with the idea of using the fishing rod.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\nYou seize the rod triumphantly (you really should get out more) and head onto the deck of the boat to engage in a bit of light casting.\nThe boat wasn't set up to go fishing today \u2014 you chartered the boat just to come see the glacier \u2014 so there's no bait on board. Still, it's fun to practice your casting...\n\n> Cast rod\nAnd almost as soon as you feel the explosion on your line, there is a sudden slackening: whatever you \"caught,\" it has severed the line.\n\n> Marry chloe\nYou can hear the captain panicking about something in the cabin. It sounds like his words might be interlaced with swears.\n\n> You examine finder\nUseful for knowing how deep the water is, so you don't end up on a\nreef like Captain Hazelwood.\n\nDamn, the captain is kind really not handling this emergency well. You're probably going to have to take matters into your own hands.\n\nYou see something leap out of the water... did it have a\nhorn??\n\n\"Um, did you feel something?\"\n\n> You talk to Captain\nThe captain doesn't seem to be making much sense, but his swears are creative.\n\nYou and the captain both search the water frantically.\n\n> You examine the water\nThe water is an oddly milky grey, a consequence of all the sediment stirred up by the glacier. The wind makes the water ripple, with occasional tiny whitecaps.\n\n\"That... nah, can't be. I've never seen one of them this far\nsouth...\" says the captain.\n\n> You continue\nThe water is an oddly milky grey, a consequence of all the sediment stirred up by the glacier. The wind makes the water ripple, with occasional tiny whitecaps.\n\nYou feel something big jostle against the boat!\n\n\"Okay, that's it. I'm charging you double,\" says the captain.\n\n> You look at the water\nThe water is an oddly milky grey, a consequence of all the sediment stirred up by the glacier. The wind makes the water ripple, with occasional tiny whitecaps.\n\n\"Make that triple.\"\n\n> Turn wheel\nIt is fixed in place.\n\nThe captain says, \"Holy shit. What was that?\"\n\n> You use the radio\nYou get on the radio and send out a May Day. And an SOS. And a panicked scream.\n\nIt takes nearly an hour for help to arrive, and of course by the time the search and rescue folks show up, all the excitement is over.\n\"Wait, why did you call for us? There's nothing wrong with you...\" scolds the lead rescuer.\n\n\"Well,\" the captain begins, \"there was this scary sea creature\nbumping against the boat \u2014\"\n\n\"I swear it was a narwhal!\" you interject. The captain throws you a quick sideways glance as if to say, \"Yes, it sure as hell did look\nlike a narwhal, but we're not going to tell him that.\"\n\nSuffice it to say, you're the laughing stock of the local village, but that's okay: you're alive, you had an incredible Alaskan adventure."
    },
    {
        "text": "[Themes: Nature, Travel, Humor, sea]\n\n> Aft\nThe whole back half of the boat is open, allowing you to view the surroundings without intervening windows \u2014 if you can stand the cold.\n\nYou can see a cooler (in which are a cold beer and a piece of glacier ice) here.\n\nThere's a huge splash to starboard.\n\nYou can hear the captain ranting about something in the cabin. It sounds like his words might be interlaced with swears.\n\n> You get the beer\nTaken.\n\nThe captain is obviously not thinking straight. You might not be an Alaskan boat captain, but surely there's a way out of this. Think!\n\nYou can hear the captain screaming about something in the cabin. It sounds like his words might be interlaced with swears.\n\n> You drink the beer\nYou open the beer, which sounds as if it still has some fizz to it,\nand you take a sip.\n\nOkay, that's oddly refreshing, despite making you feel even colder\nthan you already were.\n\nYou can hear the captain panicking about something in the cabin. It sounds like his words might be interlaced with swears.\n\n> You examine the finder\nUseful for knowing how deep the water is, so you don't end up on a\nreef like Captain Hazelwood.\n\n> You examine the finder\nUseful for knowing how deep the water is, so you don't end up on a\nreef like Captain Hazelwood.\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> Turn finder\nIt is fixed in place.\n\n> You look at the sign\nYou can get half-day and full-day sight-seeing tours, and half-day and full-day fishing trips.\n\n> You look for the fish\nSadly, you haven't any bait or traps, so your chances of encountering creatures from the depths is slim.\n\nYou hear the water lap gently against the boat.\n\n> You switch off the finder\nYou switch off the depth finder. The captain looks at you, frowning, and turns it right back on again.\n\n> You switch off the finder\nYou switch it off the depth finder again. The captain says, \"Hey, don't touch that.\"\n\n> You switch off the finder\nYou slowly sneak your hand up when you think the captain's not looking and switch the depth finder off.\n\n\"Look,\" says the captain, \"that's not funny, and I'm definitely not amused, and I don't care if you want to hit a rock or whatever your death-wish is, but this is my boat and you need to keep your hands off of stuff. Got it?\"\n\nYou nod, but for some reason he doesn't look like he believes you.\n\nSomewhere out of sight, you hear a giant splash.\n\n> You examine the splash\nThere've been all sorts of splashes all morning: some small, like when a seal hops off an iceberg or a diving bird goes after a fish, and others immense, such as when the glacier calves off another giant\npiece of ice.\n\n> You switch off the finder\nYou reach up to touch the depth finder, and the captain slaps your hand. Ouch!\n\n> You listen\nYou hear the low rumble of the boats engine idling.\n\nYou hear the water lap gently against the boat.\n\n> You fiddle with the finder\nYou go to turn off the depth finder, and the captain goes to slap you again.\n\nYou decide not to turn off the depth finder.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\n> You listen\nYou hear the low rumble of the boats engine idling.\n\n> Aft\n(first opening the cabin door)\n\nThe whole back half of the boat is open, allowing you to view the surroundings without intervening windows \u2014 if you can stand the cold.\n\nAll around the boat bob chunks of glacier ice.\n\nYou can also see a cooler (closed) here.\n\n> You listen\nThis isn't at all like home: no car alarms, no sirens, just... nature.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\n> You open the backpack\nYou open the backpack, revealing a warm beer.\n\n> You drink the beer\nYou're not really in the mood for a warm beer.\n\nYou hear a bird cry off in the distance, but can't seem to locate it.\n\nYou hear an odd barking, almost roaring sound, far off.\n...could there be sea lions around here? Gosh, there probably could be.\n\n> You listen to the bird\nThey're far too far away, and besides, wild animals are best left alone.\n\n> You look at the icebergs\nBergs of various sizes bob up and down all around you, some of them nearly as large as the boat, others small enough to hold in your hand. They are so thick in the bay that the boat occasionally must scrape against them to make its way through the water, but the captain is skilled at this, and the hull is solid enough to do this at slow speeds.\n\nOff in the distance, you can see a harbor seal and her pup hauled out on one of the larger, flatter bergs.\n\nYou hear the glacier pop, far in the distance.\n\n> You look at the harbor seal\nThere are harbor seals everywhere, and as the boat drifts and changes direction, it's hard to keep track of any one seal in particular.\nQuite close to the boat, though, you see a seal swimming through the water. It looks a bit like a sleek, wet, spotted dog in profile, but it swims more gracefully than any dog you've ever seen. Suddenly it turns, makes eye contact, and bobs before making what appears to be a deep dive.\n\n> You look for the sea lions\nHm, yeah, there could be sea lions up here, you suppose... you search the shore, and sure enough, there is a group of them hauled out on the eastern shore of the bay.\n\nLittle bits of glacier ice scratch against the ship's hull.\n\n> You look for the penguins\nDidn't you hear? The North American penguin is endangered. Your chances of seeing one are really, really low.\n\n> You look for the polar bear\nThere aren't any of those here, and even if there were, wild animals are best left alone. Especially polar bears.\n\n> You listen to the penguins\nLook, penguins live in the southern hemisphere, not here, you idiot.\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> You examine Glacier\nThe Hubbard Glacier appears, at this distance, as a towering wall of ice. It rises nearly three hundred feet high from the waterline, and the wind off its face chills you noticeably, despite the sunny day.\nYou have to wonder if the boat is far enough away from the glacier should an entire column of ice break free... but you know that the captain knows these waters extremely well and that he'll get you close enough for the experience you paid for, but will keep his boat in the clear.\n\n> Xyzzy\nIsn't this place magical enough for you?\n\nYou hear the water lap gently against the boat.\n\n> Plover\nYes, yes there are small brown birds around here. Well done.\n\n> You jump\nYou jump on the spot, but not without fruit: the boat seems to rock, ever so slightly from your efforts.\n\n> Sing\nYour singing is abominable.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\n> About yourself\nYou have dreamed of coming to Alaska your entire life, and you're finally here.\n\n> Lick birds\nThey're far too far away, and besides, wild animals are best left alone.\n\nYou hear the water lap gently against the boat.\n\n> You look for the wildlife\nYou suppose in a place this wild there must be animals everywhere, and where you look will dictate what you see. The seals seem to be on the icebergs, for instance, but you'd probably only see a bear if you were specifically looking for one on the distant shore.\n\n> You search the shore\nThat's far too far away.\n\n> You examine the shore\nThe shores on both sides of the bay, which are quite far off, appear\nto be pretty rocky. Just beyond them, thick vegetation lines the shore, quickly sloping up and away into terrain too steep to easiliy climb. You skim the beach, looking for bears, because the captain\nsaid there was a pretty good chance of seeing one.\n\nSomewhere out of sight, you hear a giant splash.\n\nYou hear an odd barking, almost roaring sound, far off.\nIt's those sea lions again.\n\n> You look at it\nThe shores on both sides of the bay, which are quite far off, appear\nto be pretty rocky. Just beyond them, thick vegetation lines the shore, quickly sloping up and away into terrain too steep to easiliy climb. You skim the beach, looking for bears, because the captain\nsaid there was a pretty good chance of seeing one.\n\n> You look for the bears\nYou scan the beach, knowing that sometimes bears come down to look for clams or other tidepool foods \u2014 and you see one! This one is a large grizzly.\n\n> You talk to the bear\nIt's far too far away, and besides, wild animals are best left alone.\n\nYou hear a bird cry off in the distance, but can't seem to locate it.\n\n> You watch the bear\nThere's a grizzly bear on the rocky beach, flipping over rocks in search of food. It sniffs the ground, checking something out.\n\n> Oops grizzly\nThere's a grizzly bear on the rocky beach, flipping over rocks in search of food. It nudges a stone with its snout.\n\n> You keep going\nThere's a grizzly bear on the rocky beach, flipping over rocks in search of food. How cool \u2014 it appears to have found a clam. It takes\na seat, pries the shell open, and enjoys some lunch.\n\nYou hear the glacier pop, far in the distance.\n\n> You look in the backpack\nIn the backpack is a warm beer.\n\n> You put the beer in the cooler\nYou open the cooler and place the beer inside the it.\n\n> You look in the cooler\nIn the cooler is a warm beer.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\n> You continue\nIn the cooler is a warm beer.\n\n> You check your inventory\nYou are carrying:\na backpack (open but empty)\na pair of sunglasses (being worn)\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> You go east\nCompass directions make no sense on this tiny boat, but you can use\nAFT and FORE (abbreviated as A or F) to move around.\n\n> You open bench\nYou open the storage compartment, revealing a net and a warm Coke.\n\nYou hear the glacier pop, far in the distance.\n\n> Aft\nThe whole back half of the boat is open, allowing you to view the surroundings without intervening windows \u2014 if you can stand the cold.\n\nAll around the boat bob chunks of glacier ice.\n\nYou can also see a cooler (in which is a warm beer) here.\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> You put the ice in the cooler\nYou dump the ice from the net into the ice chest.\n\n> You look at the beer\nAn Alaskan Amber, made not far from here, in Juneau.\n\nYou hear the water lap gently against the boat.\n\nYou hear an odd barking, almost roaring sound, far off.\nIt's those sea lions again.\n\n> You remove the glasses\nYou take off the pair of sunglasses.\n\n> You look in the cooler\nIn the cooler are a piece of glacier ice and a cold beer.\n\n> You get the beer then drink it\nTaken.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\nYou open the beer, which sounds as if it still has some fizz to it,\nand you take a sip.\n\nOkay, that's oddly refreshing, despite making you feel even colder\nthan you already were.\n\n> You drink the beer\nYeah, nice and smooth.\n\n> You drink the beer\nYou enjoy another sip, and decide that you may have to buy a case of this stuff to take home.\n\nYou hear a bird cry off in the distance, but can't seem to locate it.\n\n> You drink the beer\nAhhh, this is good. Wonder if they brew any other good stuff. Maybe you'll do a layover in Juneau on the way home, and take a tour of the Alaskan Brewing Company's facility. That'd be fun.\n\n> You listen to the beer\nThis isn't at all like home: no car alarms, no sirens, just... nature.\n\n> You drink beer\nOkay, darn, this seems like the last sip, and it's mostly just backwash.\n\nYou hear the water lap gently against the boat.\n\n> You drink the beer\nYep, that was it. No more beer.\n\n> You drink the beer\nSorry, all gone.\n\n> You check your inventory\nYou are carrying:\na cold beer\na warm Coke\na net\na backpack (open but empty)\na pair of sunglasses\n\nYou hear a low rumble, like thunder, that tells you the glacier's calved off another ice berg somewhere nearby.\n\n> You talk to Captain\n\"You know,\" says the captain, \"I never get sick of coming up here.\nIt's just so beautiful.\"\n\n> Keep going\n\"It is incredibly surreal up here by the glacier,\" you say, \"thanks\nfor bringing me up here.\"\n\n\"Yeah, I'd say 'You're welcome,' except that, y'know, you're paying me pretty well to do this.\"\n\nYou hear the water lap gently against the boat.\n\n> You continue\n\"So, where's all this ice coming from?\"\n\n\"Way up in those mountains, over seventy miles from here. This is the longest tidewater glacier in North America. The ice takes decades to travel this far.\"\n\n> You talk to Captain\n\"Really?\" you ask. \"Just decades? I thought glacier ice was, like, ancient or something.\"\n\n\"Well, I guess some glacier ice might be, but this glacier moves\npretty fast, so the ice calves off into the sea and melts before it\ncan get too old.\"\n\nSomewhere close, the glacier makes a sound like a shotgun going off.\n\n> You listen to Captain\nThe captain is quiet, watching the instruments and navigating the\nboat.\n\n> You talk to Captain\n\"So, why's some of the ice blue?\" you ask.\n\n\"It's because of how dense the ice is... the ice absorbs most of the light and in some spots all that escapes is the blue.\"\n\n> You continue\n\"Why's the water so chalky looking?\"\n\n\"Man, you're just full of questions, aren't you?\" The captain looks a little bit annoyed, but he recovers quickly. \"It's because as the glacier moves through the mountains it grinds down rock, some of it into a fine powder, and it carries that powder in all the water runoff and stuff, and so eventually that spills out into the ocean and close to the glacier all that sediment gets churned up in the water, so it looks like that.\"\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\nYou hear an odd barking, almost roaring sound, far off.\nIt's those sea lions again.\n\n> Continue\n\"Say, you want to hear a joke?\" the captain asks, switching tracks.\nYou shrug and nod your head.\n\n\"Have you seen that movie, Titanic?\" You nod your head.\n\"And have you seen The Sixth Sense?\" You nod your head\nagain. The captain leans forward, grinning childishly, \"You know\nwhat those two films have in common??\"\n\nYou think about it for a second. \"Um, no,\" you admit.\n\n\"ICY DEAD PEOPLE!\" He laughs, like this is the first time he's ever told this joke (you're actually quite sure it's more like the millionth). \"Get it? I SEE DEAD PEOPLE!\"\n\n> You talk to Captain\n\"Want to hear another joke?\" You're about to tell him no, when he says, \"Why did the shark wear a tuxedo? Because he was dressed to kill!\"\n\nOh, brother.\n\n> You talk to Captain\n\"Okay, okay, you'll love this next one,\" says the captain. \"How do harbor seals like their soda? ON THE ROCKS!\"\n\nThe captain laughs hard at first, then looks around at all the ice bergs and to the shore not far away, and his laughter sputters out.\n\"I guess that's not too funny, huh, us being in a boat and all.\"\n\nThe glacier is quiet for a moment, and you realize it's been making so much noise you're surprised by the silence.\n\n> You talk to Captain\n\"Wait,\" you point out. \"You thought that Titanic joke was\nhilarious, but the silly harbor seal joke is unnerving?\"\n\nSilence from the captain. I think he's pretending not to have heard you.\n\n> You look for the icebergs\nThey're beautiful, and you could probably take a small one if you had the right tool, but really, they're better admired from afar for the most part.\n\nYou make out a faint scratching sound, like ice rubbing against the boat.\n\n> Inventory\nYou are carrying:\na cold beer\na warm Coke\na net\na backpack (open but empty)\na pair of sunglasses\n\n> You give the beer to Captain\n\"I don't drink on the job, thanks,\" he says. \"You can help yourself if you want it, though.\"\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Horror, cat, horror]\n\nYou have been travelling for weeks. Your supplies are running low. You had nearly lost all hope -- and then you found the first sign of humanity you've seen in days.\n\nType \"about\" for more information on this project.\n\nYour tracks lead through the snow back into the distance. Everywhere else is blank and undefined; the sky and the ground are one solid, flat plane ahead of you.\n\nSomething silver is sticking out of the snow.\n\n[Author's Note: Travel down into an abandoned Antarctic Base and unveil the mysteries within. A story made in the paper-telephone style, with each person only having access to the section before, with a co-ordinated ending that ties everything beautifully together.]\n\n> You examine silver\nA strange thin silver device, smaller than the palm of your hand. There is a small depression on one end.\n\n> You take it\nSomething inside rattles as you pick up the strange device.\n\n> You shake it\n(first taking the depression)\nThat seems to be a part of the strange device.\nYou need to be holding the depression first.\n\nBut you aren't holding that.\n\n> Shake device\nAs you start to move the device around, a red light on one end starts to flash.\n\n> Shake device\nWith a bit of experimentation, you find that the device blinks fastest when it's pointed towards the west.\n\n> Wave device\nThe device blinks fastest when pointing west.\n\n> West\nHolding the strange device out in front of you, you trudge ahead for a few minutes, until the rate of blinking slows down.\n\n> Author\nScene 1, \"Southern Exposure\", was written by Chris Conley.\n\n> Wave device\nThe device blinks fastest when pointing southwest.\n\n> You go west\nHolding the strange device out in front of you, you trudge ahead for a few minutes, until the rate of blinking slows down.\n\nThe device begins vibrating in your hand, as you nearly trip over something buried in the snow.\n\n> Dig\nWhat do you want to dig?\n\n> Snow\nYou don't have anything extremely well-suited to digging, but the snow is fortunately dry and lightly packed. Using a bowl from your supplies, progress is fairly quick. Within half an hour, you are...\n\nThe only real landmark of any note here is the research center. At last, you have found the site you were searching for.\n\n> You check your inventory\nYou are carrying:\na strange device\nan arctic gear (being worn)\na giant backpack (being worn, and closed)\n\n> You examine center\nBarely anything more than a metal shack with a solid door.\n\n> You open door\n(the research center shack)\nAfter some effort, the door to the research center pops open. You are greeted by a blast of stale-but surprisingly not cold-air. Stairs lead downward, and you descend...\n\nYour steady search for the research center has not been in vain! The airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you melts slowly on the stairs that lead up to the outer door that gapes open above. To the north is the inner door that presumably leads into the research center proper.\n\n> You close the outer door\nWith a satisfying slam, you shut the outer door and a stale warmth fills the airlock.\n\nNow the whistling of the outside wind is no longer a distraction, you take a greater stock of your surroundings and note with mounting unease a red smear on the floor leading towards the inner door.\n\n> You examine the smear\nA dried red-brown smear leads in under the inner door. The sight brings back your fears about the research center's long radio silence.\n\n> Smell smear\nYou lean right in and inhale deeply. The smear has a sharp iron tang to it.\n\n> Taste smear\nThe smear has a sharp iron tang to it.\n\n> You open the backpack\nYou open the giant backpack, revealing some survival supplies and a collapsible tent.\n\n> You examine supplies\nMREs, granola bars, a small propane stove and a bowl for making soup with melted snow. Nothing glamorous, and there's almost nothing left.\n\n> You look at the gear\nThe arctic gear lies in a damp creased pile.\n\n> You drop the gear\nThe arctic gear drops with a resounding squelch.\n\n> About yourself\nYou are weary from the harsh trek through the snowy wastes, but you know you've certainly looked worse. You are currently decked out in a hooded jacket combo and a giant backpack.\n\n> You open the inner door\nYou open the inner door and are greeted by a warm waft of stale air.\n\nA slow dripping alerts you to the fact that the snow on the stairs has now melted completely.\n\n> Go north\nYou step out of the airlock and into a dim, narrow corridor. As you pass the threshold, the strange device that you'd picked up from the snow beeps shrilly before going silent.\n\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\n> Wave device\nAs you start to move the device around, a red light on one end starts to flash.\n\n> You examine the red light\nA tiny hole on the top of one of the broad sides of the device, currently blinking red.\n\n> You examine the trail\nThe trail becomes more of a splatter as it moves continues west.\n\n> You close the inner door\nYou close the inner door.\n\n> Go west\nYou step into the supply room and grow pale. You know the form sprawled on the floor, that twisted thing that once was Kira Argmanov. Steadying yourself on the doorframe for a second, trying to blink the tears away. You take a deep breath, breathing in the smell of her death, and stop. Your love, dead in Antarctica.\n\nThen something rumbles in the locker, and at the same time the strange device beeps once again.\n\nThis room has been thoroughly and methodically searched. Boxes stand open, racks are emptied, balls of plastic wrapping lie on the floor. There is a single locker in the corner.\n\nThe corpse of the woman you love lies here, exposed.\n\n> You examine the corpse\nYou can't bear to look at her too long. Looks like someone or something attacked her from behind and cracked her open. You notice a birthmark on her shoulder you used to kiss a thousand miles from here, and somehow that's the worst. There's a bile taste in your mouth, and you can't look anymore.\n\n> You examine the locker\nIt's a functional metal locker. It doesn't have a lock.\n\n> You open the locker\nYou carefully open the locker, prepared for everything - then something jumps out at you! You screech and cover your face - warm, prickly fur on your face, hitting the ground as you stumble backwards. As you regain your senses, something small flees into the corridor.\n\n> You open the locker\nThat's already open.\n\n> Wave device\nThe device blinks fastest when pointing southwest.\n\n> You search the locker\nIn the locker is a blanket.\n\n> You examine the blanket\nIt's an olive emergency blanket, made of olive PET, meant to preserve heat in wounded personnel.\n\nYou sneeze.\n\n> Wear blanket\n(first taking the blanket)\nYou can't wear that!\n\n> You eat the corpse\n(first taking Kira Argmanov)\nYou'd get her blood on you, and ... things ... might slip.\n\n> You look at the racks\nEmpty metal racks.\n\n> You examine the plastic\nThese are just bits of plastic, utterly useless.\n\nYou're starting to feel extremely warm.\n\n> You eat the plastic\n(first taking the balls of plastic wrapping)\nThey're hardly portable.\n\n> Inventory\nYou are carrying:\na blanket\na hooded jacket combo (being worn)\na strange device\na giant backpack (being worn, and open)\nsome survival supplies (running low)\na collapsible tent (closed)\n\n> You remove the jacket\nYou remove your hooded jacket combo.\n\n> You check your inventory\nYou are carrying:\na blanket\na hooded jacket combo\na strange device\na giant backpack (being worn, and open)\nsome survival supplies (running low)\na collapsible tent (closed)\n\n> Go outside\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThe cat is here. She stares at you warily with yellow eyes.\n\n> Pet cat\nYouch! The cat is hot to the touch.\n\nThe cat sees you, and quickly runs off to the Supply Room."
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\n> You go to the north-east\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\n> You take the cheese\nYou can hardly bring yourself to come near it.\n\n> You eat the cheese\n(first taking the moldy block of cheese)\nYou can hardly bring yourself to come near it.\n\n> You get the fridge\nThat's hardly portable.\n\n> You open the refrigerator\nYou open the refrigerator, revealing some meat.\n\nA tickle in the back of your throat becomes a cough.\n\n> You take the meat\nTaken.\n\n> Go east\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nYou find yourself coughing regularly now.\n\n> You open the trap door\nYou open the trap door."
    },
    {
        "text": "> Go downwards\nDark and bare with a corridor leading east. In the center of the basement is a black and white television, currently featuring a screaming man.\n\n> You examine the television\nBlack and white close-up of a man's screaming mouth, spittle and teeth and lips snarling and shrieking through static snow. A cord runs from the television and into the shadows east.\n\nThe television is currently switched on.\n\n> You examine man\nHis teeth are shiny with saliva. His lips are split open and chewed, with unkempt stubble spiking around them.\n\n> You get the cord\nThat seems to be a part of the television.\n\nYou are consumed by an extreme, hacking cough that leaves you gasping for air.\n\n> Go east\nFaint light from the television screen reveals a flickering, inconstant path down the narrow corridor. To the east, impenetrable gloom swallows up the last licks of static reflection. Beneath your feet the cable runs.\n\nMore obviously, a dark doorway leads north.\n\n> You go north\nYou lose track of the cord as you stumble in here. Looking back, you can see no sign of it at all. Odd.\n\nThe floor is wet with grimy black water. This used to be a storage room until the leaking began. Apathy kind of sets in on a base this remote, so no one ever bothered sealing the cracks.\n\nYou are gripped by a sudden terror. You want to get out of here, to get away from everything, all of this, the entire base.\n\nAfter a moment, the panic passes, but an uneasy feeling of dread remains.\n\nYou briefly hear something scratching in the wall beside you.\n\n> You listen\nYou hear nothing unexpected.\n\nThere's something sinister about the bare rock wall.\n\n> You look at the wall\nThe rocky walls seem pretty normal here. Perhaps further down the corridor?\n\n> Go south\nFaint light from the trapdoor to your west. Damp, musty air to your east.\n\nMore obviously, a dark doorway leads north.\n\n> Go east\nJust a dingy, empty supply room, containing little of note.\n\nThe terrible cough is accompanied this time by a sharp pain in your abdomen.\n\n> You go west\nThe dodgy light panel from the basement to the west, hitherto overpowered by the light from the television, bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nNow it's quiet and you can concentrate properly, there's definitely something odd about the wall here.\n\nMore obviously, a dark doorway leads north.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\n> You examine the wall\nThere's definitely something wrong with the walls here...\n\n...Of course! The corridor is a lot narrower than either the basement or the utility room. Feeling carefully about the rock face, you accidentally push a catch hidden in the bare rock of the corridor. The south wall swings open, revealing a small hidey hole.\n\nYou shiver involuntarily for a full minute.\n\n> You go south\nSomething squeaks and shuffles in the dark of the Hidey Hole, and you are still unnerved by the other things you saw in the base. Better not go in there.\n\n> You check your inventory\nYou are carrying:\nsome meat\na blanket\na hooded jacket combo\na ascended strange device\na giant backpack (being worn, and open)\nsome survival supplies (running low)\na collapsible tent (closed)\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\n> You examine the device\nA strange thin silver device, smaller than the palm of your hand. There is a small depression on one end, in which a light is blinking red It is vibrating slightly.\n\nYou shiver involuntarily for a full minute.\n\n> Wave device\nThe device blinks fastest when pointing southwest.\n\n> Go west\nDark and bare with a corridor leading east.\n\nYou gasp once more.\n\n> Go upwards\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\n> Go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\n> You go west\nThis room has been thoroughly and methodically searched. Boxes stand open, racks are emptied, balls of plastic wrapping lie on the floor. There is a single locker in the corner.\n\nThe cat is here. She stares at you warily with yellow eyes.\n\nThe corpse of the woman you love lies here, exposed.\n\nThe cat sniffs toward you at something in your possession.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\n> You give the meat to the cat\nYou toss the piece of hilarious meat to the gnostak cat, who wolfs it down quickly. She comes over and gives you a quick rub on your legs as thanks.\n\nYou cough once more.\n\n> You put blanket on corpse\nYou tactfully put the blanket over her body.\n\nThen something catches the cat's attention, and she bounds off to the outside.\n\nThere's something sinister about Kira Argmanov.\n\n> Go east\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\n> Go east\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nYou gasp once more."
    },
    {
        "text": "> Go downward\nDark and bare with a corridor leading east.\n\n> Go east\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\n> Author\nScene 6, \"The Best Untold\", was written by Joey Jones.\n\n> Smell\nYou smell nothing unexpected.\n\nYou briefly hear something scratching in the wall beside you.\n\n> You go to the south\nSomething squeaks and shuffles in the dark of the Hidey Hole, and you are still unnerved by the other things you saw in the base. Better not go in there.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\n> You listen\nYou hear nothing unexpected.\n\nYou hack once more.\n\n> You examine cable\nThe television cord is plugged in to a dodgy looking power outlet here.\n\nYou have a pounding headache.\n\n> You look at the cable\nThe television cord is plugged in to a dodgy looking power outlet here.\n\nYou briefly hear something scratching in the wall beside you.\n\n> Go west\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\n> You go to the west\nDark and bare with a corridor leading east.\n\nYou shiver involuntarily for a full minute.\n\n> You look at the television\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> Go north\nThe floor is wet with grimy black water. This used to be a storage room until the leaking began. Apathy kind of sets in on a base this remote, so no one ever bothered sealing the cracks.\n\nYou cough once more.\n\n> You examine the cracks\nYou could probably smash through if you had some kind of tool.\n\n> Inventory\nYou are carrying:\na vibrant hooded jacket combo\na strange device\na giant backpack (being worn, and open)\nsome select survival supplies (running low)\na collapsible tent (closed)\n\nThere's something sinister about the cracks.\n\n> You examine supplies\nMREs, granola bars, a small propane stove and a bowl for making soup with melted snow. Nothing glamorous, and there's almost nothing left.\n\n> You examine the jacket\nA plain breathable jacket and trousers, with many other layers besides.\n\n> You go south\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nYou gasp once more.\n\n> You go south\nSomething squeaks and shuffles in the dark of the Hidey Hole, and you are still unnerved by the other things you saw in the base. Better not go in there.\n\n> Go upwards\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\n> You go to the west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a off-kilter moldy block of cheese.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\n> You get the cheese\nYou can hardly bring yourself to come near it.\n\n> You go to the southeast\nYou can't go that way.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nYou wheeze once more.\n\n> Go south\n(first opening the depressed inner door)\n\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nThe cat is here. She blinks at you contently.\n\nA disconcerting red smear is splattered beneath the inner door.\n\nYou can also see an arctic gear here.\n\nThe cat climbs into the giant backpack, digging around for something.\n\n> You get the cat\nShe jumps out of your arms with practiced elegance.\n\n> You look at the backpack\nTall, sturdy, and probably 50 pounds completely empty.\n\nIn the giant backpack are a cat, some survival supplies, and a collapsible tent.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n> You go north\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The quality bloody trail leads to the west.\n\n> Go northeast\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThe cat licks its paws.\n\nThe cat emerges from the giant backpack once more.\n\n> You examine cat\nThis is a mangy, tortoiseshell cat. Rips poke through her fur, and she limps slightly. However, her yellow eyes are clean and aware. She wears no collar or other identifying marks.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\n> You put the cat in the backpack\n(first taking the rippling cat)\n\nShe jumps out of your arms with practiced elegance.\n\nYou briefly hear something scratching in the wall beside you.\n\n> Pet cat\nYouch! The squeezeable cat is hot to the touch.\n\nYou shiver involuntarily for a full minute.\n\nYou gasp once more.\n\n> Attack cat\nAnimal cruelty was never your forte.\n\n> You eat the cat\n(first taking the cat)\nShe jumps out of your arms with practiced elegance.\n\nThere's something sinister about the cat.\n\n> You go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThe cat arrives from the northeast.\n\n> You go south\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the undulating outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see an arctic gear here.\n\nThe rhythmic cat arrives from the north.\n\n> You examine the gear\nThe arctic gear lies in a damp creased pile.\n\nThe cat paces back and forth in the airlock, seemingly testing the air. Suddenly, she darts underneath the ecstatic airlock stairs and starts chewing on something. After a while she comes to the conclusion that it isn't edible, and starts lapping at the melted snow.\n\n> Search gear\nYou find nothing of interest.\n\nYou hear what sounds like a scream, coming from somewhere to the north.\n\nYou shiver uncontrollably once more."
    },
    {
        "text": "> You describe your surroundings\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nThe cat is here. She blinks at you contently.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a leatherbound diary and an arctic gear here.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\n> You examine diary\nIt's still dusty from where it lay under the stairs. You brush it off and open the first page.\nI have taken the liberty of starting this private diary - in clear violation of corporation policy - to make sense of the things that have been happening here. It looks like Kira is having some problems with that technician, Dannerham. He's hitting on her, but she has a guy back home. As simple as that.\n\nYou have a pounding headache.\n\n> Continue\nDannerham is beginning to get on my nerves. He did two tours in\nIraq, and he isn't bragging, but he doesn't let me forget for a minute that I'm not American. Kira tells me that his advances get more serious. She is a tough girl and can handle herself, but still, we don't need this sort of tension around the base. I don't feel like having a fistfight with Dannerham to protect her. I think she'd stand a better chance in a fight against him than me, too.\n\n> You read the diary\nDarn! One of my rats escaped. I thought it was sedated, but this\nnew strain seems to be reistant not only to cancer, but also to our sedatives. I must try a higher dose tomorrow.\n\n> You read the diary\nthrough the vents. Kira tells me to catch it and report about it to her first thing in the morning. She's getting tense. That's not\ngood.\n\n> You read the diary\nDannerham tells me he wants to put me in a movie and grins like an imbecile.\n\n> You read the diary\nI have taken the liberty of starting this private diary - in clear violation of corporation policy - to make sense of the things that have been happening here. It looks like Kira is having some problems with that technician, Dannerham. He's hitting on her, but she has a guy back home. As simple as that.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nYou hack once more.\n\n> You check your inventory\nYou are carrying:\na object hooded jacket combo\na strange device\na giant backpack (being worn, and open)\nsome survival supplies (running low)\na collapsible tent (closed)\n\nThe cat climbs into the giant backpack, digging around for something.\n\n> Go north\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\n> You go northeast\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is an moldy block of cheese.\n\n> Go east\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThe cat emerges from the giant backpack once more."
    },
    {
        "text": "[Themes: Horror]\n\n> Go downwards\nDark and bare with a corridor leading east.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nThe cat arrives from above.\n\n> You go east\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives from the west.\n\n> Go south\nSomething squeaks and shuffles in the dark, and you pull back. The cat, however, jumps to your aid- there is a quick and fierce shuffle in the half-light and the cat emerges with a dead rat in its jaw, which she carries off to the Basement.\n\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nDiscarded in a corner lies a small, smooth wooden box.\n\nYou wheeze once more.\n\n> You look at the box\nThere are two hinges along one edge of the box, and a latch on the other side of that face. The wood looks expensive, and the bottom bears a makers mark: Rosado, Portugal.\n\n> You open box\nYou open the box, and something clicks. A delightfully carved little ballerina turns on an unseen screw, and tingling, scratchy music plays from somewhere inside the box.\n\nYou catch a glimpse of something white in the depths of the box.\n\nwhy won't the music stop Stop STOP.\n\n> You examine the white\nIt looks like a corner of something is stuck between the wooden floor and one side of the musical box, behind the ballerina.\n\nSomething seems off about the musical box, like it was put together all wrong.\n\nSuddenly the cat arrives from the Subterranean Corridor, licking her maw. She looks at you innocently.\n\nQuiet, tingling music accompanies the ballerina on her rounds inside the musical box.\n\n> You take the white\nThe ballerina is in the way. It's too awkward and you can't get a good grip on that corner of... whatever it is.\n\nwhy won't the music stop Stop STOP.\n\nThe music dies down.\n\n> You take the ballerina\nThat's fixed in place.\n\n> You unscrew the ballerina\nIt is fixed in place.\n\n> You examine supplies\nMREs, granola bars, a small propane stove and a bowl for making soup with melted snow. Nothing glamorous, and there's almost nothing left.\n\nYou have a pounding headache.\n\nYou gasp once more.\n\n> Examine box\nThere are two hinges along one edge of the box, and a latch on the other side of that face. The wood looks expensive, and the bottom bears a makers mark: Rosado, Portugal.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\n> You show box to the cat\n(first taking the musical box)\nThe cat is unimpressed.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n> You pull white\nIt is fixed in place.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\n> You examine the white\nIt looks like a corner of something is stuck between the wooden floor and one side of the musical box, behind the ballerina.\n\n> You get the box\nYou already have that.\n\nYou shiver uncontrollably once more."
    },
    {
        "text": "[Themes: Horror]\n\n> Go downward\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat arrives from above.\n\n> You look at the glass\nBroken bits are strewn about. There really is nothing of value.\n\n> Author\nScene 8, \"Music and Words\", was written by Tom Blawgus.\n\n> Go west\nIt is not much more than a small room. There are shelves lining the walls. The Laboratory is back to the east.\n\nOn the shelves is a sledgehammer.\n\nVarious bottles of cleaning supplies are scattered on the floor.\n\nThe cat arrives from the east.\n\n> You take the sledgehammer\nTaken.\n\nThe billowing cat climbs into the excrutiating giant backpack, digging around for something.\n\nYou cough once more.\n\n> You examine the cleaning supplies\nVarious shapes, sizes, and colors. If the warning labels are any indication, this is some powerful stuff.\n\nYou hear what sounds like a scream, coming from somewhere outside.\n\n> You take cleaning\nTaken.\n\nThe cat emerges from the giant backpack once more.\n\n> You examine the shelves\nYou can see dust, dust, and more dust.\n\nThe cat climbs into the giant backpack, digging around for something.\n\n> Inventory\nYou are carrying:\nsome cleaning supplies\na sledgehammer\na musical box\na white something\na ballerina\na hooded jacket combo\na strange device\na giant backpack (being worn, and open)\na cat\nsome survival supplies (running low)\na gleaming collapsible tent (closed)\n\n> Go east\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\n> You go south\nThis doorway leads to a staircase that spirals down, eventually opening out into a cavernous area below the test chamber.\n\nThis is a very wide cylindrical room, apparently built to the same dimensions as the test chamber above. A dozen or so columns support the ceiling, arranged in a circular pattern. The stone walls almost look carved from natural stone. Stairs lead back up to the lab.\n\nSomething is dripping into a large basin in the center of the room from a hole above.\n\nThe cat emerges from the giant backpack once more.\n\n> You examine the basin\nA squat, wide cylindrical basin, made of something like smoothed white cement, with a huge bowl cut into the top of it. You have no idea why someone would put this thing here, directly under the test chamber.\n\nIn the catchment basin is a scintillating dark pool of liquid.\n\nYou gasp once more.\n\n> You examine the liquid\nA thin layer of some dark liquid has stained the bottom of the bowl.\n\n> You touch liquid\nIt's some kind of dark, sticky, viscous liquid, but too thin to be worth collecting.\n\n> You go to the north\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThere's something sinister about the cupboards.\n\nThe cat arrives from below.\n\n> You go east\n(first opening the solid metal door)\nIt doesn't budge. Stuck?\n\nThere is a faint ticking sound coming from a distant part of the base.\n\n> You look at the metal door\nThis is a solid, heavy metal door, apparently made of something like burnished steel.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n> You listen\nYou hear nothing unexpected.\n\nThere's something sinister about the cupboards.\n\nYou hack once more.\n\n> You hit the door with the sledgehammer\nThe tremendously loud sound of a sledgehammer striking the solid metal door echoes throughout the base. However, it's also accompanied by a cracking sound, and you hear something metal hitting the concrete floor on the other side. You've managed to open the door about half a foot, enough for you to fit through.\n\nOn the other side is a gruesome sight.\n\nYou have found the missing Antarctic research team. The dark shapes visible within are human bodies... or, at least, they once were.\n\nThe cat climbs into the perturbed giant backpack, digging around for something.\n\n> Go east\nNo.\n\n> You look at the shapes\nMisshapen and broken bodies, distorted into sometimes unrecognizable shapes, all covered in black pustules, dripping, all with the same manic grin on their faces.\n\nYou notice a hand, propped up against the door, clutching some kind of paper.\n\n> You get paper\n(the scrawl)\nYou manage to pull the paper from the locked fist, careful not to touch what remains of its oozing skin. The arm flops to the floor.\n\nThe oblong cat emerges from the giant backpack once more.\n\n> You read the paper\n(the scrawl)\nDespite its ragged and stained appearance, you recognize this as a page cut neatly from the leatherbound diary.\n\nDannerham's gone crazy. He must have sabotaged the last\nexperiment. He locked us in this room. He says we brought this on ourselves, that we've created something too terrible to escape, that there's no cure.\n\nHe's wrong, damn it! If I had access to the original carrier, with\na few simple blood diagnostics I'm sure I could identify the mutations that make this strain unique and develop a vaccine, or at least antibodies, within days. Days! And with cold storage, I believe the progression of the disease can be greatly slowed or even halted indefinitely. The imbecile will kill us all for nothing, he doesn't listen to the audio comms system the observ.n. window is too high\nto\nI just need sth.g. wh.ch\n\nybe destroy the comm. consol. autom.tic send a distr.s signal\nt\n\nIf I coud only j.st get out i want get.out.ineedineed\nineedgetoutGET OUT GET OU\n\nThe scrawl becomes illegible beyond this point."
    },
    {
        "text": "[Themes: Horror, horror]\n\n> You look around\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe cat is here. She blinks at you contently.\n\nThe end of the ladder dangles from a hole above.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nYou gasp once more.\n\n> You go to the north\nThe stairs through this doorway climb up to the east, ending in an observation room above the test chamber.\n\nThis must be where the researchers carried out their work.The southern wall is dominated by a giant window overlooking the test chamber. One side of the room features a console with a few chairs in front of it. Stairs lead back down to the west.\n\nThe cat arrives.\n\n> You look at the console\nThe console is a drab tan-colored plastic contraption, wide enough to seat three people comfortably, with a lot of displays, knobs, switches, and levers. You don't know what any of it means, most of the displays and digital readouts are blank, anyway.\n\n> You look at the window\nSpanning the whole width of the room, the window is made from some thick, heavy-duty glass. It adds a hazy white tint to everything on the other side.\n\nIt's difficult to make out many details in the test chamber. The light panels in that room have apparently failed, and all you can make out are a few large, dark shadows covering most of the polished concrete flooring.\n\nThe quality cat climbs into the giant backpack, digging around for something.\n\n> You examine the chairs\nPerfunctory black chairs, though more comfortable than you might expect. They're fixed in place before the console.\n\nThe cat emerges from the giant backpack once more.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on the chair\nYou sit in one of the artistic chairs facing the console.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\nYou hack once more.\n\n> You listen\nYou hear nothing unexpected.\n\nThe cat climbs into the giant backpack, digging around for something.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\n> Smash window\nViolence isn't the answer to this one.\n\nYou briefly hear something scratching in the wall beside you.\n\n> You hit the console with the hammer\nA display panel shatters with a satisfying crunch. The\nconsole begins to spark and smoke.\n\nFire licks at the edges of the destroyed part of the console.\n\nSomewhere in the base, an alarm begins to sound.\n\n> Smash console\nViolence isn't the answer to this one.\n\nYou shiver involuntarily for a full minute.\n\n> You hit the console with the hammer\nA display panel shatters with a satisfying crunch. The\nconsole begins to spark and smoke.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nFire licks at the edges of the destroyed part of the console.\n\nSomewhere in the base, an alarm begins to sound.\n\nThe cat emerges from the giant backpack once more.\n\n> You go to the west\n(first getting off the chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThere's something sinister about ladder.\n\nThe stygian cat arrives.\n\n> Up\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nThe cat arrives from below.\n\n> You go north\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives.\n\nYou wheeze once more.\n\n> You go north\nThe floor is wet with grimy black water. This used to be a storage room until the leaking began. Apathy kind of sets in on a base this remote, so no one ever bothered sealing the cracks.\n\nThe cat arrives from the south.\n\n> You hit the cracks with the hammer\nYou take a deep breath and swing. The entire wall rolls over, burying you under foul smelling water and heavy bricks. You're pinned, helpless to do anything but feel your lungs swell with gritty black fluid. Then darkness.\n\n> You go to the south\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThe cat arrives.\n\n> Go east\nJust a dingy, empty supply room, containing little of note.\n\nHold on... wasn't there a power generator here before?\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\nThe cat arrives from the west.\n\n> Go west\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives from the east.\n\n> Go west\nDark and bare with a corridor leading east.\n\nYou shiver involuntarily for a full minute.\n\nThe cat arrives from the east.\n\n> Go upward\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThe cat arrives from below.\n\nYou shiver uncontrollably once more.\n\n> You go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nThe cat arrives from the east.\n\n> You throw the hammer at the cheese\nFutile.\n\n> You go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nYou briefly hear something scratching in the wall beside you.\n\nThe cat arrives from the northeast.\n\nYou cough once more.\n\n> Go south\nThe airlock is a cool dank chamber, with savage metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a leatherbound diary and an quizzical arctic gear here.\n\nThere's something sinister about the leatherbound diary.\n\nThe cat arrives from the north.\n\n> You take the diary\nTaken.\n\nThe cat climbs into the giant backpack, digging around for something.\n\n> You close the backpack\nYou close the giant backpack.\n\nThere is a rustling, bumping sound coming from the giant backpack.\n\n> You take the gear\nIt's too warm to bother with the arctic gear.\n\nYou hear a single, tentative scratching sound from inside the giant backpack.\n\n> Go upward\nYou can't bring yourself to go out into that weather unless you're properly geared up.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n\"Yow?\" asks the giant backpack.\n\n> You wear the jacket\nYou put on the hooded jacket combo.\n\nThe scratching from the giant backpack becomes more insistent.\n\n> You wear the gear\n(first taking the minimal arctic gear)\nIt's too warm to bother with the arctic gear.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou hack once more.\n\n> Go upward\nYou can't bring yourself to go out into that weather unless you're properly geared up.\n\nYou shiver involuntarily for a full minute.\n\nBlack smoke oozes in from the north.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You check your inventory\nYou are carrying:\na ascended leatherbound diary\nan scrawl\nsome cleaning supplies\nan sledgehammer\na musical box\na white something\na rippling ballerina\na hooded jacket combo (being worn)\na rippling strange device\na giant backpack (being worn, and closed)\n\nThere's something sinister about the bloody smear.\n\nThere is a rumbling from somewhere to the north.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Drink cleaning\nThere's nothing suitable to drink here.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You look at the cleaning\nVarious shapes, sizes, and colors. If the warning labels are any indication, this is some powerful stuff.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You open the pack\nThe cat leaps out of the giant backpack, shakes her head, and looks around as if nothing had happened.\n\nThere is another explosion-you're sure it's an explosion this time-from somewhere to the north.\n\n> You put the music box in pack\nYou put the musical box into the giant backpack.\n\n> You go north\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThick black smoke fills the area.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\nThe cat arrives from the south.\n\nYou wheeze once more.\n\n> Author\nScene 8, \"Music and Words\", was written by Tom Blawgus.\n\n> Shake box\n(first taking the musical box)\nYou look ridiculous waving the musical box.\n\n> You take all from the box\nballerina: That's fixed in place.\nwhite something: The ballerina is in the way. It's too awkward and you can't get a good grip on that corner of... whatever it is.\n\n> You turn ballerina\nIt is fixed in place.\n\nThe cat climbs into the giant backpack, digging around for something.\n\n> You put the box in the pack\nYou put the musical box into the giant backpack.\n\nYou shiver involuntarily for a full minute.\n\n> You go west\nThis room has been thoroughly and methodically searched. Boxes stand open, racks are emptied, vicious balls of plastic wrapping lie on the floor. There is a single locker in the corner.\n\nThick black smoke fills the area.\n\nKira lies here, covered by a blanket.\n\n> Wait\nTime passes.\n\nThe cat purrs.\n\nThe cat emerges from the giant backpack once more.\n\n> You close backpack\nYou close the giant backpack.\n\nThe smoke down here is becoming too thick to breathe.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Wait\nTime passes.\n\nThe cat purrs.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You go outside\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThick black smoke fills the area.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou hack once more.\n\n> Go south\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nThick black smoke fills the area.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see an arctic gear here.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Close inner\nYou close the scintillating inner door.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You open outer\nYou open the outer door, and are met by a fierce breeze.\n\nYou have a pounding headache.\n\nThere is a constant yowling coming from inside the jaunty giant backpack.\n\n> You wear the gear\n(first taking the arctic gear)\nYou put on the perturbed arctic gear.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You go upward\nYou came here to investigate the Antarctic Research Center, and you don't intend to leave until your curiosity is satisfied.\nThat, and it's colder than a brass suppository out there.\n\nYou hear what sounds like a scream, coming from somewhere to the north.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Inventory\nYou are carrying:\nan arctic gear (being worn)\na leatherbound diary\na scrawl\nsome cleaning supplies\na sledgehammer\na notable hooded jacket combo (being worn)\na strange device\na giant backpack (being worn, and closed)\n\nThe delightful cat rubs against your leg.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Clean smear\nYou achieve nothing by this.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nThe smoke here is quickly becoming too much to bear.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You take the box\nTaken.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n> You hit the box with the hammer\nYou smash the musical box into several pieces and you find a note among the pieces, which you pick up.\n\nThere's something sinister about the cat.\n\n> You look at the note\n\"The cat is the carrier. I can't leave this room to tell anybody because the cat is scratching outside. I'm the only one around here who ever paid it any attention and now I'm going to die for it. No gas mask in here, no nothing. Just some lab results like a death warrant.\"\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\n> You hit the cat with the hammer\nAnimal cruelty is not the answer.\n\nThe smoke becomes too much for you. You fall to the ground, gasping for air, but never find it.\n\n> Go upwards\nYou stagger out into the wilderness, smoke billowing from the surface structure behind you. You hear the distant whining drone of the extraction team's transport approaching. Looking up to try to make them out in the sky, you lose your balance and fall back onto the snow.\n\nCool, calming, comforting snow.\n\nYou're barely conscious when the team arrives, but are vaguely aware of coughing as the team attempts to move you. Then, only blackness.\n\nWithin a week, the plague has reached Europe.\n\n> You read note\n\"The cat is the carrier. I can't leave this room to tell anybody because the cat is scratching outside. I'm the only one around here who ever paid it any attention and now I'm going to die for it. No gas mask in here, no nothing. Just some lab results like a death warrant.\"\n\nThere's something sinister about the chairs.\n\nThe cat emerges from the giant backpack once more.\n\n> You examine the scrawling\nDespite its ragged and stained appearance, you recognize this as a page cut neatly from the leatherbound diary.\n\nDannerham's gone crazy. He must have sabotaged the last\nexperiment. He locked us in this room. He says we brought this on ourselves, that we've created something too terrible to escape, that there's no cure.\n\nHe's wrong, damn it! If I had access to the original carrier, with\na few simple blood diagnostics I'm sure I could identify the mutations that make this strain unique and develop a vaccine, or at least antibodies, within days. Days! And with cold storage, I believe the progression of the disease can be greatly slowed or even halted indefinitely. The imbecile will kill us all for nothing, he doesn't listen to the audio comms system the observ.n. window is too high\nto\nI just need sth.g. wh.ch\n\nybe destroy the comm. consol. autom.tic send a distr.s signal\nt\n\nIf I coud only j.st get out i want get.out.ineedineed\nineedgetoutGET OUT GET OU\n\nThe scrawl becomes illegible beyond this point.\n\n> Go west\n(first getting off the chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nThe cat arrives.\n\n> Go east\nNo!\n\nYou wheeze once more.\n\n> You pull the ladder\nIt is fixed in place.\n\n> Go south\nThis doorway leads to a staircase that spirals down, eventually opening out into a cavernous area below the test chamber.\n\nThis is a very wide cylindrical room, apparently built to the same dimensions as the test chamber above. A dozen or so columns support the ceiling, arranged in a circular pattern. The stone walls almost look carved from natural stone. Stairs lead back up to the lab.\n\nSomething is dripping into a large basin in the center of the room from a hole above.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThe cat arrives from above.\n\n> You look at Hole\nA small hole-maybe half an inch across-and perfectly round. It seems to serve as some sort of intentional collection outlet for the test chamber above.\n\n> You go upwards\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat arrives from below.\n\n> Go south\nThis doorway leads to a staircase that spirals down, eventually opening out into a cavernous area below the test chamber.\n\nThis is a very wide cylindrical room, apparently built to the same dimensions as the test chamber above. A dozen or so columns support the ceiling, arranged in a circular pattern. The stone walls almost look carved from natural stone. Stairs lead back up to the lab.\n\nSomething is dripping into a large basin in the center of the room from a hole above.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nThe cat arrives from above.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You take the basin\nThat's hardly portable.\n\nYou cough up ropy black spatters of blood.\n\n> You put the backpack in the basin\n(first taking it off)\nYou remove your giant backpack.\n\nYou put the giant backpack into the catchment basin.\n\nHot. Hot. Burning up.\n\nYou gasp once more.\n\n> Inventory\nYou are carrying:\na note\na scrawl\nsome serious cleaning supplies\na huggable sledgehammer\na hooded jacket combo\na strange device\n\nYou briefly hear something scratching in the wall beside you.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You hug the sledgehammer\nKeep your mind on the game.\n\nYou cough up ropy black spatters of blood.\n\n> You put the cleaning supplies in basin\nYou put the cleaning supplies into the catchment basin.\n\nHot. Hot. Burning up."
    },
    {
        "text": "[Themes: Horror, horror]\n\n> You look at your surroundings\nThis is a very wide cylindrical room, apparently built to the same dimensions as the test chamber above. A dozen or so columns support the ceiling, arranged in a circular pattern. The stygian stone walls almost look carved from natural stone. Stairs lead back up to the lab.\n\nThe cat is here. She blinks at you contently.\n\nSomething is dripping into a large basin in the center of the room from a hole above.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You look in basin\nIn the catchment basin are some cleaning supplies, a giant backpack, and a dark pool of liquid.\n\nThere's something sinister about the stone walls.\n\nYou slump to the floor, coppery drool oozing from your lips. Blindly you reach out and pet the cat with a trembling hand. It licks your fingers. \"There there, kitty kitty.\" You stay that way until the end. Kind of peaceful.\n\n> You go west\n(first getting off the ecstatic chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat rubs against your leg.\n\n> Up\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nThe cat emerges from the serious giant backpack once more.\n\n> Go north\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives.\n\n> You go north\nThe floor is wet with grimy black water. This used to be a storage room until the leaking began. Apathy kind of sets in on a base this remote, so no one ever bothered sealing the cracks.\n\nThe cat arrives from the south.\n\n> You examine the water\nA layer of muck covers the floor.\n\nThe cat climbs into the giant backpack, digging around for something.\n\nYou wheeze once more.\n\n> You pour the cleaning on the water\nPutting things on the bleak grimy black water would achieve nothing.\n\nYou hear what sounds like a scream, coming from somewhere outside.\n\n> You hit the box with the hammer\nYou smash the musical box into several pieces and you find a note among the pieces, which you pick up.\n\nYou have a pounding headache.\n\n> You read the note\n\"The cat is the carrier. I can't leave this room to tell anybody because the cat is scratching outside. I'm the only one around here who ever paid it any attention and now I'm going to die for it. No gas mask in here, no nothing. Just some lab results like a death warrant.\"\n\nThe cat emerges from the giant backpack once more.\n\n> Close bag\nYou close the giant backpack.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nThere is a rustling, bumping sound coming from the giant backpack.\n\n> You read the note\n\"The cat is the carrier. I can't leave this room to tell anybody because the cat is scratching outside. I'm the only one around here who ever paid it any attention and now I'm going to die for it. No gas mask in here, no nothing. Just some lab results like a death warrant.\"\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nYou hear a single, tentative scratching sound from inside the giant backpack."
    },
    {
        "text": "[Themes: Horror, horror, cat]\n\n> You look around\nThe floor is wet with grimy black water. This used to be a storage room until the leaking began. Apathy kind of sets in on a base this remote, so no one ever bothered sealing the cracks.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n\"Yow?\" asks the giant backpack.\n\n> You hit the cracks with the hammer\nYou take a deep breath and swing. The entire wall rolls over, burying you under foul smelling water and heavy bricks. You're pinned, helpless to do anything but feel your lungs swell with gritty black fluid. Then darkness.\n\n> You hit the backpack with the hammer\nThat wouldn't be helpful.\n\nThe scratching from the minimal giant backpack becomes more insistent.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\nYou gasp once more.\n\n> Go south\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nThe savage cat purrs.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Go west\nDark and bare with a corridor leading east.\n\nYou have a pounding headache.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Go upward\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nThe stygian cat licks its paws.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nHot. Hot. Burning up.\n\n> Go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The minimal bloody trail leads to the west.\n\nThe cat purrs.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Go south\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a leatherbound diary and an arctic gear here.\n\nThere is a constant yowling coming from inside the notable giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You wear arctic gear\n(first taking the arctic gear)\nIt's too warm to bother with the arctic gear.\n\nYou shiver involuntarily for a full minute.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nHot. Hot. Burning up.\n\nYou shiver uncontrollably once more.\n\n> You go upwards\nYou can't bring yourself to go out into that weather unless you're properly geared up.\n\nThere is a constant yowling coming from inside the quality giant backpack.\n\n> You wear the jacket\nYou put on the hooded jacket combo.\n\nThere's something sinister about the outer door.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Wear arctic\n(first taking the arctic gear)\nIt's too warm to bother with the arctic gear.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nHot. Hot. Burning up.\n\n> Go upwards\nYou can't bring yourself to go out into that weather unless you're properly geared up.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou cough up ropy black spatters of blood.\n\n> You open the outer door\nThe door won't budge. The way an airlock works is that you have to close one door before you can open the other.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou gasp once more.\n\n> You close the inner door\nYou close the inner door.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou slump to the floor, coppery drool oozing from your lips. After listening to your fever-distorted moans echo through the base for what feels like an eternity, you finally die a lonely death.\n\n> You examine the hammer\nA nine-pound hammer. Looks like it might have once been featured in a bluegrass number. Perfect for hitting things with.\n\nThe cat rubs against your leg.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou slump to the floor, coppery drool oozing from your lips. After listening to your fever-distorted moans echo through the base for what feels like an eternity, you finally die a lonely death.\n\n> You read the note\n\"The cat is the carrier. I can't leave this room to tell anybody because the cat is scratching outside. I'm the only one around here who ever paid it any attention and now I'm going to die for it. No gas mask in here, no nothing. Just some lab results like a death warrant.\"\n\nThe cat emerges from the giant backpack once more.\n\n> Up\n(first getting off the chairs)\nYou can't go that way.\n\n> You go to the west\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe heavenly cat arrives.\n\nYou gasp once more.\n\n> Up\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nYou hear what sounds like a scream, coming from somewhere below.\n\nThe cat arrives from below.\n\n> Go north\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThe cat arrives.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You go east\nJust a dingy, empty supply room, containing little of note.\n\nHold on... wasn't there a power generator here before?\n\nThere's something sinister about the plug.\n\nThe cat arrives from the west.\n\nYou cough up ropy black spatters of blood.\n\n> You examine the walls\nThe rocky walls seem pretty normal here.\n\nYou shiver involuntarily for a full minute.\n\n> You look at the plug\nThe television cord is plugged in to a dodgy looking power outlet here.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You look at the cord\nThe television cord is plugged in to a dodgy looking power outlet here.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nHot. Hot. Burning up.\n\n> Go west\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe rhythmic cat arrives from the east.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\nYou hack once more.\n\n> You go west\nDark and bare with a corridor leading east.\n\nThe cat arrives from the east.\n\nHot. Hot. Burning up.\n\n> Go upwards\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nYou shiver involuntarily for a full minute.\n\nThe cat arrives from below.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a expectant moldy block of cheese.\n\nThe cat arrives from the east.\n\n> You go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThe cat arrives from the northeast.\n\nYou cough up ropy black spatters of blood.\n\n> Go south\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a delicious leatherbound diary and an ticklish arctic gear here.\n\nThe cat arrives from the north.\n\nYou slump to the floor, coppery drool oozing from your lips. Blindly you reach out and pet the cat with a trembling hand. It licks your fingers. \"There there, kitty kitty.\" You stay that way until the end. Kind of peaceful.\n\n> You go west\n(first getting off the chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe vibrant cat arrives.\n\n> You go upward\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\nThe cat arrives from below.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You go north\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives.\n\nYou cough up ropy black spatters of blood.\n\nYou shiver uncontrollably once more.\n\n> You go to the west\nDark and bare with a corridor leading east.\n\nYou briefly hear something scratching in the wall beside you.\n\nThe cat arrives from the east.\n\n> Go upwards\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThere's something sinister about the trap door.\n\nThe jaunty cat arrives from below.\n\n> You go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nThe cat arrives from the east.\n\n> Go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThe cat arrives from the northeast.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You go south\nThe airlock is a cool dank chamber, with droning metal walls, floor, and ceiling. The delightful fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a leatherbound diary and a arctic gear here.\n\nThe cat arrives from the north.\n\nHot. Hot. Burning up.\n\n> Close inner\nYou close the inner door.\n\nThe cat climbs into the perturbed giant backpack, digging around for something.\n\n> You open outer\nYou open the outer door, and are met by a fierce breeze.\n\nThis sudden chill makes you feel strangely at ease.\n\n> Close pack\nYou close the billowing giant backpack.\n\nThere is a rustling, bumping sound coming from the giant backpack.\n\n> You wear the jacket\nYou put on the hooded jacket combo.\n\nYou catch a few words of whispered conversation, but when you turn -- nothing.\n\nYou hear a single, tentative scratching sound from inside the giant backpack.\n\n> Wear arctic\n(first taking the arctic gear)\nYou put on the arctic gear.\n\n\"Yow?\" asks the giant backpack.\n\n> Go upwards\nYou stagger out into the frozen waste, blinking in the setting sun. You take a few trudging steps forward before you remember that you don't have enough supplies to make the weeks-long trek back to the dropoff site-and there will be no one there waiting for you, anyway."
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the stygian outer door that gapes open above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a leatherbound diary here.\n\nThe scratching from the giant backpack becomes more insistent.\n\n> You check what you're carrying\nYou are carrying:\nan arctic gear (being worn)\na note\na scrawl\nsome cleaning supplies\na sledgehammer\na hooded jacket combo (being worn)\na strange device\na serious giant backpack (being worn, and closed)\n\nYou hear what sounds like a scream, coming from somewhere above.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Shake device\nThe device blinks fastest when pointing southwest.\n\nThe ticklish cat purrs.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Go north\n(first opening the delicious inner door)\nThe door won't budge. The way an airlock works is that you have to close one door before you can open the other.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Close outer\nWith a satisfying slam, you shut the outer door and a stale warmth fills the airlock.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You open the inner\nThe door is quite fiddly and you won't be able to open it while wearing all these layers.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You remove the gear\nYou remove your arctic gear, leaving you holding the sodden garments.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You open the inner\nYou wont be able to open the door while holding all these wet clothes.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou cough up ropy black spatters of blood.\n\n> You go north\n(first opening the inner door)\nYou wont be able to open the door while holding all these wet clothes.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You drop the gear\nThe arctic gear drops with a resounding squelch.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Go north\n(first opening the inner door)\nYou open the inner door.\n\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\nYou cough once more.\n\n> Go northeast\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nYou shiver involuntarily for a full minute.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> You go east\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nYou have a pounding headache.\n\nThere is a constant yowling coming from inside the giant backpack.\n\n> Down\nDark and bare with a corridor leading east.\n\nThe cat licks its paws.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou cough up ropy black spatters of blood.\n\n> Go east\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat rubs against your leg.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You go south\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude gloomy markings adorn the walls. A secret ignoble panel in the ground is open, and a ladder leads down.\n\nThere is a constant yowling coming from inside the perturbed giant backpack.\n\nHot. Hot. Burning up.\n\n> Down\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou cough up ropy black spatters of blood.\n\n> Go north\nThe stairs through this doorway climb up to the east, ending in an observation room above the test chamber.\n\nThis must be where the researchers carried out their work.The southern wall is dominated by a giant window overlooking the test chamber. One side of the room features a console with a few chairs in front of it. Stairs lead back down to the west.\n\nThere is a constant yowling coming from inside the quality giant backpack.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Clean console\nYou achieve nothing by this.\n\nYou shiver involuntarily for a full minute.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou cough up ropy black spatters of blood.\n\nYou hack once more.\n\n> You pour the cleaning on the console\nYou dump the contents of the bottles of cleaning supplies onto the console, which begins to spark and smoke.\n\nThe cat licks its paws.\n\nFire licks at the edges of the destroyed part of the console.\n\nSomewhere in the base, an alarm begins to sound.\n\nThere is a constant yowling coming from inside the giant backpack.\n\nYou slump to the floor, coppery drool oozing from your lips. After listening to your fever-distorted moans echo through the base for what feels like an eternity, you finally die a lonely death.\n\n> You wait for a while\nTime passes.\n\nYou hear what sounds like a scream, coming from somewhere"
    },
    {
        "text": "> You look around\nObservation Room (on the chairs)\nThis must be where the researchers carried out their work.The southern wall is dominated by a giant window overlooking the test chamber. One side of the room features a console with a few chairs in front of it. Stairs lead back down to the west.\n\nThe cat is here. She blinks at you contently.\n\nThe cat rubs against your leg.\n\n> You pour the cleaning on the console\nYou dump the contents of the bottles of cleaning supplies onto the console, which begins to spark and smoke.\n\nFire licks at the edges of the destroyed part of the console.\n\nSomewhere in the base, an alarm begins to sound.\n\n> You hit the console with the hammer\nYou bash another section. The flames grow higher.\n\nYou gasp once more.\n\n> Continue\nYou bash another section. The flames grow higher.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You continue\nYou bash another section. The flames grow higher.\n\n> You keep going\nYou bash another section. The flames grow higher.\n\nThe cat climbs into the giant backpack, digging around for something.\n\nThere's something sinister about the console.\n\nHot. Hot. Burning up.\n\n> Go west\n(first getting off the chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat arrives.\n\n> You go to the east\nNo!\n\n> Go west\nIt is not much more than a small room. There are shelves lining the walls. The Laboratory is back to the east.\n\nThere is a faint ticking sound coming from a distant part of the base.\n\nThe cat arrives from the east.\n\nYou wheeze once more.\n\n> Go east\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe blunt cat arrives.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> You go to the south\nThis doorway leads to a staircase that spirals down, eventually opening out into a cavernous area below the test chamber.\n\nThis is a very wide cylindrical room, apparently built to the same dimensions as the test chamber above. A dozen or so columns support the ceiling, arranged in a circular pattern. The stone walls almost look carved from natural stone. Stairs lead back up to the lab.\n\nSomething is dripping into a large basin in the center of the room from a hole above.\n\nThe cat arrives from above.\n\nHot. Hot. Burning up.\n\n> Up\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat arrives from below.\n\n> Go east\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Go east\nYour arm itches unbearably. You pull up your sleeve to scratch it, and the feeling stops immediately.\n\n> You go east\n~no~\nYou hear what sounds like a scream, coming from somewhere above.\n\nYou cough up ropy black spatters of blood.\n\nYou hack once more.\n\n> You look through the door\nYou find nothing of interest.\n\nHot. Hot. Burning up.\n\n> You examine the shadows\nMisshapen and broken bodies, distorted into sometimes unrecognizable shapes, all covered in black pustules, dripping, all with the same manic grin on their faces.\n\nYou catch a fleeting scent of cinnamon and cloves.\n\nYou slump to the floor, coppery drool oozing from your lips. Blindly you reach out and pet the cat with a trembling hand. It licks your fingers. \"There there, kitty kitty.\" You stay that way until the end. Kind of peaceful.\n\n> You pour the cleaning on the console\nYou dump the contents of the bottles of cleaning supplies onto the console, which begins to spark and smoke.\n\n> You check what you're carrying\nYou are carrying:\na note\na flippant scrawl\na sledgehammer\na blunt hooded jacket combo\na strange device\na illuminating giant backpack (being worn, and open)\nsome survival supplies (running low)\na delicious collapsible tent (closed)\n\nYou shiver uncontrollably once more.\n\n> Go west\n(first getting off the chairs)\n\nCupboards are hanging open and there doesn't seem to be a whole lot left. The counters are strewn with broken glass and pieces of broken lab equipment. There are doors to the north, east and south. A closet lies to the west.\n\nThe end of the ladder dangles from a hole above.\n\nThe cat arrives.\n\nHot. Hot. Burning up.\n\n> Up\nA small and cramped space, with no exits except the one you came through. It's cavelike, damp, dusty and unpleasant. Crude markings adorn the walls. A secret panel in the ground is open, and a ladder leads down.\n\nThere's something sinister about the excrutiating ladder.\n\nThe cat arrives from below.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Go north\nThe dodgy light panel from the basement to the west bathes the corridor in an anemic glow. Beneath your feet the cable runs eastwards to the utility room.\n\nThe south wall hangs open, revealing a space beyond.\n\nMore obviously, a dark doorway leads north.\n\nThe cat arrives.\n\nHot. Hot. Burning up.\n\n> Go east\nJust a dingy, empty supply room, containing little of note.\n\nHold on... wasn't there a power generator here before?\n\nThe cat arrives from the west.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Go west\nDark and bare with a corridor leading east.\n\nThe cat arrives from the east.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Up\nLight shines in through the kitchen door as you take in the room. The shelves are bare and show signs of vandalism, and you cannot see anything of interest left on the shelves. You can see a trap door in the floor.\n\nThe cat arrives from below.\n\nYou cough up ropy black spatters of blood.\n\nYou gasp once more.\n\n> Go east\nYou can't go that way.\n\nYou have a pounding headache.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Go west\nEverything is strewn about in here as well. The cupboards have been left open and there appears to not be anything left in them. A refrigerator stands forlornly in the corner. Doorways lead to the east and southwest.\n\nOn the kitchen counter is a moldy block of cheese.\n\nYou are suddenly overcome by an extreme sense of vertigo. You steady yourself, and the dizziness passes as quickly as it came.\n\nThe cat arrives from the east.\n\n> Go southwest\nClaustrophobia gropes at your mind with feral claws in this corridor. It leads northeast and west from here. The functional, bolted metal of the walls continues from the airlock. It's warm in here, far too warm. The bloody trail leads to the west.\n\nThe cat arrives from the northeast.\n\nHot. Hot. Burning up.\n\n> You go to the south\nThe airlock is a cool dank chamber, with metal walls, floor, and ceiling. The fresh snow that blew in with you is now a puddle on the stairs that lead up to the outer door above. To the north is the inner door that leads into the research center proper.\n\nA red smear is splattered beneath the inner door.\n\nYou can also see a serious leatherbound diary and an fulminating arctic gear here.\n\nThe cat arrives from the north.\n\nBlack smoke oozes in from the north.\n\nPiercing pain jets through your body like flashes of lightning, subsiding to a dull ache.\n\n> Close inner\nYou close the inner door.\n\nYou cough up ropy black spatters of blood.\n\n> You wear the gear\n(first taking the arctic gear)\nIt's too warm to bother with the arctic gear.\n\nThe cat climbs into the ecstatic giant backpack, digging around for something.\n\n> You open outer\nYou close the giant backpack.\n\nThere is a rumbling from somewhere to the north.\n\nThere is a rustling, bumping sound coming from the elysian giant backpack.\n\nYou slump to the floor, coppery drool oozing from your lips. After listening to your fever-distorted moans echo through the base for what feels like an eternity, you finally die a lonely death.\n\n> You open outer\nYou open the outer door, and are met by a fierce breeze.\n\nYou hear what sounds like a scream, coming from somewhere to the north.\n\nThis sudden chill makes you feel strangely at ease.\n\n> You wear the gear\n(first taking the arctic gear)\nYou put on the arctic gear.\n\nYou hear a single, tentative scratching sound from inside the giant backpack.\n\n> Up\nYou stagger out into the wilderness, smoke billowing from the surface structure behind you. You hear the distant whining drone of the extraction team's transport approaching. Looking up to try to make them out in the sky, you lose your balance and fall back onto the snow.\n\nCool, calming, comforting snow.\n\nYou're barely conscious when the team arrives, but are vaguely aware of coughing as the team attempts to move you. Then, only blackness.\n\nThe cat, clinging to your body, protected inside the arctic gear, is the second and last to be rescued from the Antarctic Research Center. By isolating the sample taken from her, the team is soon able to find a treatment for the plague. You and Kira may not be so lucky, but at least, perhaps, your efforts were not in vain."
    },
    {
        "text": "Future King\"\n\nIt was love at first sight. You weren't permitted even to see them until you passed the trials: rappelling down the east tower, slipping through the gap in the patrols, and then picking the counting house lock. When you returned triumphantly, your new friends toasted and praised and paraded you around the hall. You were happiest, though, when the master--- now just another respected colleague--- solemnly handed your set of lockpicks, shining darkly in the guild hall. For a while, it was perfect.\n\nAnd then it all went wrong.\n\nA Do-It-Yourself Guide to Crime\n\nMistakes were made. Plans were exposed. People were compromised. The job was ambitious but reasonable for a crew as skilled as Big Sally's, and you're certain your scheme would have been successful. The authorities couldn't prove anything, but the damage was done. With the town watch constantly looking over your shoulder, the Thieves' Guild gently suggested you look elsewhere. It was over.\n\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\n> About yourself\nAs good-looking as ever.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome forms\na spellbook\na set of lockpicks\n\n> You look at the forms\nVarious forms releasing the town council from any legal liability in various likely scenarios. Dragon-slaying has changed quite a bit since Blackacre was founded.\n\nA clerk scurries over to Trelawney and whispers something to him. \"All right,\" he says to you, \"give me your forms, and you can leave.\"\n\n> You talk to Trelawney\nYou approach the seneschal's desk.\n\n0) (Leave.)\n1) What happens now?\n2) Anything wrong?\n3) What's the competition like?\n4) When will I find out if I've been chosen?\n\n> 0\nChoose a topic (0-4) > 0\n\n> 0\nChoose a topic (0-6) > 0\n\n> You read the spellbook\nA year of study, and you've only learned one spell:\n\nanracni: turns green objects red\n\n> 2\nChoose a topic (0-4) > 2\n\nYou're with the Thieves' Guild, aren't you?\" asks Trelawney.\n\"I was,\" you reply delicately. \"Is that a problem?\"\nTrelawney pauses as he thinks about how to make it one. \"Have you ever done anything illegal?\"\n\"Of course not.\"\n\"You were in the Thieves' Guild, and you expect me to believe you never did anything illegal?\"\n\"Well...I've never been caught,\" you say without conviction.\n\"I think it's safe to say that the matter will be moot anyway,\" he replies, smiling icily.\n\n0) (Leave.)\n1) What happens now?\n2) Anything wrong?\n3) What's the competition like?\n4) When will I find out if I've been chosen?\n\n> 3\nChoose a topic (0-4) > 3\n\n\"So, any idea about my competition?\" you ask Trelawney.\n\"With all due respect---\" he pauses and corrects himself. \"With all the respect you deserve, I'm not sure you're quite up to our standards. There have been quite a few remarkable applicants this morning.\"\n\"Such as?\"\nThe seneschal opens his mouth to speak, then thinks better of it. \"You'll find out at noon along with everyone else.\"\n\n0) (Leave.)\n1) What happens now?\n2) Anything wrong?\n3) What's the competition like?\n4) When will I find out if I've been chosen?"
    },
    {
        "text": "> You look around\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\n> You look at the tapestries\nThe tapestries show Blackacre's founder, depicted as a victorious blond knight in spotless armor, slaying some sort of monstrous serpent. According to town legend, he defeated a monster that had been threatening the area and made it safe again for human habitation; in gratitude, the struggling settlers then declared him their mayor. In reality, Blackacre was founded by a consortium of herring merchants looking for a port closer to their shoals to cut down on transportation costs, and the founding comprised filing a proposal with the deputy undersecretary of the Royal Ministry of Fisheries. The artist chose the story that's easier to weave into a tapestry.\n\n> You look at the portraits\nThe portraits show long-deceased merchants from the past centuries of Blackacre's history. Some of their business practices were indisputably underhanded and occasionally completely illegal, but their considerable donations to the town have apparently succeeded in whitewashing their pasts. The painters did their best to present their dissipated, corpulent subjects in a favorable light (literally, in the case of the chiaroscuros), but the rows of faces look blank and unremarkable even as they sneer down at you.\n\n> You talk to Wattman\nAgainst your better judgment, you strike up a conversation with Mr. Wattman.\n\n0) (Leave.)\n1) Nervous at all?\n2) How's the Guild?\n\n> 2\nChoose a response (0-2) > 2\n\n\"How are you doing in the Guild?\"\n\"Mr. Puncher and I have moved up in the world. We're management now,\" he says proudly. \"We run the loss prevention group in the Guild.\" \"Isn't that against the entire point of the Guild?\"\n\"Preventing the loss of people, not things. We're looking at the bigger picture now. You see, occasionally some guild members forget their loyalty to the guild and try to do some things they shouldn't: quit the guild, join a rival guild, or even run tattling to the town watch.\"\n\"You don't think I---\"\n\"Oh, don't worry. You left the Guild on mutual and perfectly amicable terms. Besides, we have bigger fish to fry.\"\n\"In burning oil,\" puts in Mr. Puncher.\n\"For example. Our job is to find those poor, wayward souls who might be tempted to leave the Guild and put the fear of God, as well as several knives, into them.\"\n\n1) That's great!\n2) That's awful!\n\n> 1\nChoose a response (1-2) > 1\n\n\"That's great!\" you say a bit too loudly.\n\"Glad to see you're on our side. Like I keep telling people, you're a good kid. I know a few members of the Guild think you're a traitor, but I want you to know that I merely think you're incompetent.\"\n\nAs he leans forward to pat you on the shoulder in what he presumably thinks is a reassuring manner, you notice a small rock tied to his belt.\n\n0) (Leave.)\n1) Nervous about your interview?\n2) How's the Guild?\n3) What's that rock?\n\n> 3\nChoose a response (0-3) > 3\n\n\"What's that?\" you ask, pointing toward the rock hung from his belt?\"Oh, that?\" He shifts his tunic in an unsuccessful attempt to hide it. \"There's a mission later on, and--- well, I'd tell you, but...\"\n\n0) (Leave.)\n1) Nervous about your interview?\n2) How's the Guild?\n3) What's that rock?\n\n> 1\nChoose a response (0-3) > 1\n\n\"Are you nervous about your interview?\"\n\"Not at all,\" he says enthusiastically. \"This is actually the second one; Mr. Puncher and I met with the council last week. I showed off some of my knife tricks, which will come in handy for fighting a dragon. Some of the council members were concerned that I didn't have much experience with the finer points of diplomacy and negotiation, but I said I could take a wild stab in the dark at them. When they're walking home at night, for example.\"\n\n0) (Leave.)\n1) Nervous about your interview?\n2) How's the Guild?\n3) What's that rock?\n\n> 2\nChoose a response (0-3) > 2\n\n\"How are you doing in the Guild?\"\n\"Mr. Puncher and I have moved up in the world. We're management now,\" he says proudly. \"We run the loss prevention group in the Guild.\" \"Isn't that against the entire point of the Guild?\"\n\"Preventing the loss of people, not things. We're looking at the bigger picture now. You see, occasionally some guild members forget their loyalty to the guild and try to do some things they shouldn't: quit the guild, join a rival guild, or even run tattling to the town watch.\"\n\"You don't think I---\"\n\"Oh, don't worry. You left the Guild on mutual and perfectly amicable terms. Besides, we have bigger fish to fry.\"\n\"In burning oil,\" puts in Mr. Puncher.\n\"For example. Our job is to find those poor, wayward souls who might be tempted to leave the Guild and put the fear of God, as well as several knives, into them.\"\n\n1) That's great!\n2) That's awful!\n\n> 2\nChoose a response (1-2) > 2\n\n\"That's terrible!\"\n\"No, it's actually very profitable.\"\n\"I mean that it's morally wrong.\"\n\"Well, maybe it is, and maybe it isn't. If we always stopped to worry about what's 'right' or wrong',\" he says, making quotation marks with his fingers, \"then nothing would ever get done.\n\"You have to keep in mind what's really important,\" he continues, giving you what he apparently thinks is a smile. \"Does the Guild pay me a literally and metaphorically criminal sum for my work? Certainly. Am I successful? Of course. But I'm rich because I have a lot of friends.\" He clears his throat. \"Excuse me, I misspoke. I'm rich because I have a lot of money.\"\n\nYou notice idly that when he lifted his arms and his tunic rode up slightly, he had a small rock tied to his belt.\n\n0) (Leave.)\n1) Nervous about your interview?\n2) How's the Guild?\n3) What's that rock?\n\n> 0\nChoose a response (0-3) > 0\n\n> You talk to Puncher\nYou approach the massive thief.\n\n0) (Leave.)\n1) Anxious about the interview?\n2) How's the Guild?\n\n> 1\nChoose a topic (0-2) > 1\n\n\"Are you anxious about your interview with the council?\"\n\"No,\" he says simply.\n\"Really? Not at all?\"\n\"No.\"\n\"All right, then.\"\n\n0) (Leave.)\n1) Anxious about the interview?\n2) How's the Guild?\n\n> 2\nChoose a topic (0-2) > 2\n\n\"Are you still working with Mr. Wattman in the Guild?\"\n\"Yes,\" he replies.\n\"And that's enjoyable?\"\n\"It's good exercise.\" Having run out of things to say after such a long sentence, he falls silent.\n\n0) (Leave.)\n1) Anxious about the interview?\n2) How's the Guild?\n\n> 0\nChoose a topic (0-2) > 0\n\nTrelawney swats at a passing fly irritably. \"Rotten things, insects,\" he grumbles.\n\n> Inventory\nYou are carrying:\na spellbook\na set of lockpicks\n\n> You examine the lockpicks\nYour trusty set of lockpicks are undoubtedly your most treasured possession, far beyond the literal treasure you've possessed. Even though the Guild politely suggested that you return the other accoutrements and clever devices you carried, it would have been unthinkable to suggest or offer to relinquish your lockpicks."
    },
    {
        "text": "> You look around\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\nYou can see Mr. Puncher and Mr. Wattman here.\n\n> Go south\nDr. Mortemain only deigned to let you come to the castle this morning after you promised to retrieve the missing letters for him. If you return empty-handed, you'll likely spend another week as a frog.\n\n> You examine the chandeliers\nThe chandeliers are an obligatory bit of finery in the hall, but they serve no purpose; the castle is now a place of business rather than a residence, and it's unlit after the clerks leave at night.\n\n> You examine the desk\nThis desk is Trelawney's bulwark against the hordes of demanding troublemakers in the hall. Like its owner, it's wooden, imposing, and has paperwork piled onto it.\n\n> Steal rock\nYou sidle over to Mr. Wattman and search around for something with which to distract him. \"So, it sounds like you're moving up in the world.\"\n\n\"Absolutely,\" he says, grinning. \"Both metaphorically and literally. I'm in a corner office on the top floor, with a secretary to keep out the riffraff.\"\n\n\"Impressive. Soon you'll have a portrait up there,\" you say, pointing at the rows of gilt-edged oil paintings of merchants lining the walls. As Mr. Wattman reflexively looks up at the portraits, you quickly snatch the rock off his belt.\n\n\"Well, you'd better go in for your interview now,\" you say quickly, looking at Trelawney supplicatingly. He waffles for a moment between his distaste for you and his distaste for Mr. Wattman, then brusquely waves him toward the door. He triumphantly leaves to the north, and Mr. Puncher follows mutely.\n\n> You examine the rock\nThe grey, spongy rock is enchanted with a spell that magically summons a swarm of illusory insects when it's poked or squeezed, which can serve as a convenient distraction. It's one of the last resorts of thieves and joke shops; it's strange for Mr. Wattman to have had it.\n\n> You squeeze the rock\nWith a dry susurration, a horde of bugs crawls out of the holes in the rock and scatters across the floor. Even though you know they're only an illusion, you skin crawls as they do across the floor. The audience-seekers are too practiced to lose their composure, merely lifting their feet off the floor and trying to avoid eye contact with the bugs or their companions. The clerks, however, have no need to impress anyone, and several give short cries and dash out of the hall. Trelawney looks up from his desk and sighs.\n\n> You examine the clerks\nThe clerks shuffle through the hall carrying piles of documents, somehow managing to dodge the audience-seekers and other functionaries seemingly without looking at where they're going.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room.\n\n> You read the book\nA year of study, and you've only learned one spell:\n\nanracni: turns green objects red\n\n> Anracni rock\nNothing happens.\n\nTrelawney slowly and methodically adjusts the accounts on his desk, straightening the already neat stacks of paperwork. \"A tidy desk means a tidy mind,\" he murmurs to himself.\n\n> You examine the paperwork\nYou surreptitiously glance over the seneschal's shoulder at the accounting reports. They seem to be standard, uninteresting paperwork related to the castle upkeep.\n\n> Blow paperwork\n(first taking the accounting reports)\nYou'd rather leave the reports alone. As long as Trelawney is concentrating on them, he's not paying close attention to you.\n\n> You throw the rock at Trelawney\nYou miss, and the rock bounces into a corner. With a dry susurration, a horde of bugs crawls out of the holes in the rock and scatters across the floor. Even though you know they're only an illusion, you skin crawls as they do across the floor. The audience-seekers are too practiced to lose their composure, merely lifting their feet off the floor and trying to avoid eye contact with the bugs or their companions. The clerks, however, have no need to impress anyone, and several give short cries and dash out of the hall. Trelawney looks up from his desk and sighs.\n\n> You throw the rock at the chandelier\n(first taking the porous grey rock)\nFutile.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room."
    },
    {
        "text": "> You describe your surroundings\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\nA horde of illusionary insects skitters across the floor here, causing many of the audience-seekers to jump on their chairs or hover in the corners of the hall.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room. The spell maintaining the swarm is a weak one, and the complexity of responding to his actions is enough to disrupt it. The illusions scurry into corners of the room and fade out.\n\n> You wait\nTime passes.\n\n> You wait for a while\nTime passes.\n\nTrelawney swats at a passing fly irritably. \"Rotten things, insects,\" he grumbles.\n\n> You squeeze the rock\nWith a dry susurration, a horde of bugs crawls out of the holes in the rock and scatters across the floor. Even though you know they're only an illusion, you skin crawls as they do across the floor. The audience-seekers are too practiced to lose their composure, merely lifting their feet off the floor and trying to avoid eye contact with the bugs or their companions. The clerks, however, have no need to impress anyone, and several give short cries and dash out of the hall. Trelawney looks up from his desk and sighs.\n\n> You take the bugs\nYou don't feel any sensation as the illusionary horde of insects passes through your fingers, which is just as well.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room.\n\n> You throw the rock at Trelawney\nYou lack the nerve when it comes to the crucial moment.\n\n> You throw the rock at the desk\nYou miss, and the rock bounces into a corner. With a dry susurration, a horde of bugs crawls out of the holes in the rock and scatters across the floor. Even though you know they're only an illusion, you skin crawls as they do across the floor. The audience-seekers are too practiced to lose their composure, merely lifting their feet off the floor and trying to avoid eye contact with the bugs or their companions. The clerks, however, have no need to impress anyone, and several give short cries and dash out of the hall. Trelawney looks up from his desk and sighs."
    },
    {
        "text": "> You look at your surroundings\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\nA horde of illusionary insects skitters across the floor here, causing many of the audience-seekers to jump on their chairs or hover in the corners of the hall.\n\nYou can also see a porous grey rock here.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room.\n\n> You examine the men\nWell-dressed men and women mill around the hall, trying in vain to grab the attention of the clerks that sweep through the room. A few more sit in the chairs around the edge of the hall, waiting patiently for their audience with the council.\n\nThe seneschal tries gamely to corral the swarm of illusionary bugs, stalking them about the room. The spell maintaining the swarm is a weak one, and the complexity of responding to his actions is enough to disrupt it. The illusions scurry into corners of the room and fade out.\n\n> You examine the women\nWell-dressed men and women mill around the hall, trying in vain to grab the attention of the clerks that sweep through the room. A few more sit in the chairs around the edge of the hall, waiting patiently for their audience with the council.\n\n> You take the rock\nTaken.\n\n> Go east\nThis salon also functions as a waiting room, though it's refreshingly quieter than the main gallery to the west. A massive table occupies most of the space in the small, dimly-lit room, and there is a soft carpet underfoot.\n\n> You examine table\nIt's a massive table, probably used for some sort of meeting or conference.\n\n> You look at the carpet\nThe carpet is soft and thick, though slightly frayed at the edges.\n\n> You look under the carpet\nYou shove a corner of the carpet aside. The floor beneath it is far less dusty than you would have expected, and one of the flagstones in it looks loose.\n\n> You move the flagstone\nThe flagstone is too heavy to lift completely off the floor, though you can shove it aside with a bit of effort. The stone groans as it grinds against the floor, and you hear impatient footsteps approaching. You heave it back in place just in time to face Trelawney as he glares at you from the doorway.\n\n\"What's going on in here?\" he demands.\n\"What do you mean, what's going in here?\"\n\"What do you mean, what do I mean, what's going in here?\"\n\"What do you---\"\n\"Enough. I heard a loud noise.\"\n\"Oh, that. Sorry, I was doing some calisthenics--- you know, for the dragon. I must have bumped the table by accident.\"\n\"Very well,\" says Trelawney. \"I'll leave you alone for now. You should know, however, that I've talked with the city guard. I'll be keeping an eye on you.\"\n\"I don't know what you mean, sir. I'm just eager to help out my city however I can.\"\n\nTrelawney mutters something under his breath and returns to the main hall.\n\n> You check your inventory\nYou are carrying:\na porous grey rock\na spellbook\na set of lockpicks\n\n> You move the flagstone\nWith a dry susurration, a horde of illusionary bugs crawls out of the holes in the rock and scatters across the floor. Even though you know they're only an illusion, you skin crawls as they do across the floor. The flagstone is too heavy to lift completely off the floor, though you can shove it aside with a bit of effort. The stone groans as it grinds against the floor, and you hear impatient footsteps approaching. You heave it back in place just in time to face Trelawney as he glares at you from the doorway.\n\n\"What's going on in here?\" he demands. \"I heard a loud noise.\"\n\"Hmm? I didn't hear anything.\"\nThe seneschal looks at you disapprovingly. \"I don't know what you're up to, young man, but stay out of trouble. Don't make me have a word with your master. He and I are very good friends, you know.\"\n\"I doubt that Dr. Mortemain is very good friends with anyone,\" you say skeptically.\nTrelawney opens his mouth to respond, then decides that he was bested and quietly withdraws from the room.\n\n> Exits\nThere is an exit leading west.\n\n> You stand on the table\nThat's not something you can stand on.\n\nThe swarm of insects dissolves as the spell maintaining the illusion dissipates.\n\n> You pull the stone\nThe flagstone is too heavy to lift completely off the floor, though you can shove it aside with a bit of effort. The stone groans as it grinds against the floor, and you hear impatient footsteps approaching. You heave it back in place just in time to face Trelawney as he glares at you from the doorway.\n\n\"Could you please keep it down in here?\" asks Trelawney exasperatedly. \"I don't know what you're up to, and I don't care. Just don't make any trouble.\"\n\"Wouldn't dream of it, sir,\" you reply, smiling innocently.\n\nThe seneschal sighs and returns to the audience hall.\n\n> You go to the west\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\n> You squeeze the stone\nYou achieve nothing by this.\n\nTrelawney slowly and methodically adjusts the accounts on his desk, straightening the already neat stacks of paperwork. \"A tidy desk means a tidy mind,\" he murmurs to himself.\n\n> You go east\nThis salon also functions as a waiting room, though it's refreshingly quieter than the main gallery to the west. A massive table occupies most of the space in the small, dimly-lit room, and there is a soft carpet underfoot.\n\nYou can see a loose flagstone here.\n\nFrom the audience hall to the west, you hear heavy bootsteps and mild minced oaths directed at insects.\n\n> You take the stone\nThe flagstone is too heavy to lift completely off the floor, though you can shove it aside with a bit of effort. The stone groans as it grinds against the floor, but you manage to heave it far enough aside to reveal a sheaf of letters underneath. You gingerly pocket it and replace the flagstone.\n\nFrom the audience hall to the west, you hear heavy bootsteps and mild minced oaths directed at insects.\n\n> You read the letters\nThe top sheet is blank, and the papers are bound together too tightly to read any of the others.\n\n> Open letters\nYou consider unraveling the sheaf of letters, but Dr. Mortemain insisted that you not read them, and you don't think you could tie them together as neatly again.\n\n> Go west\nYou discreetly conceal the letters in your tunic and return to the antechamber.\n\nBefore it became the seat of local government, this castle was an actively defended fortress, built and run to protect the town of Blackacre. It was designed for defense rather than comfort, and the castle still retains its original vertiginous spiral staircases, cavernous galleries, and piles of crumbling stonework. Nevertheless, people expect a certain reassuring level of conspicuous wealth in their public buildings, and the town council has obligingly added little bits of opulence to this audience hall. An array of dainty chandeliers hanging from the ceiling barely warms or brightens the room. Portraits of jowly merchants line the stone walls, looking down onto the clerks and audience-seekers below with imperturbable disdain. The entrance to the council chambers to the north and the exit from the hall to the south are both flanked by extravagantly woven but thin tapestries.\n\nWell-dressed men and women sit in ornate chairs lined across one wall of the gallery, presumably also waiting for an audience with the council. The town's clerk, Trelawney, watches over them irritably from his desk.\n\n> You go south\nWith the letters safely tucked under your tunic, you dispose of the incriminating rock, bound out of the antechamber, and head toward Blackacre. The castle gate clatters down behind you, crashing against the stonework with a deafening finality.\n\nThe imposing Castle Blackacre stands before you to the south, casting a long shadow over the nearby farmland. Centuries ago, it was a useful fortification; now, it's the de facto town hall and headquarters for Mayor Pratt and his staff.\n\nA road to the north leads into town. The castle gate is normally left open, but today the portcullis is down while the castle prepares for the Mayor's speech at noon.\n\n> Go north\nThis path winds northwest to south between the town of Blackacre and its nearby castle. Newly-planted fields stretch as far as you can see to either side of the trail. It's a charmingly rustic sight but an unpleasant smell; the farmers must have fertilized the fields recently.\n\nYou can see a skunk here.\n\n> You examine the skunk\nA small black and white creature with a bushy tail. It looks at you warily.\n\n> Shake lockpicks\nYou look ridiculous waving the set of lockpicks.\n\n> You show the lockpick to the skunk\nThe skunk is unimpressed.\n\nThe skunk leaves to the northwest.\n\n> You look at the field\nBlackacre was originally a fishing outpost, and the land here is not particularly fertile. There's no shortage of overly optimistic farmers in the area around the castle, but they don't stay in town long.\n\nThe skunk enters from the northwest.\n\n> You go to the north-west\nThis path winds north to southeast between the town of Blackacre and its nearby castle. The farmland on either side of the road is bare; it's far too early for crops to start growing, and no trees disturb the empty fields.\n\n> You go north\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, shivering in the crisp morning air.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> You go southwest\nYou decide to hand off the papers to Dr. Mortemain first; walking around town with them is unnecessarily risky.\n\n> You go to the east\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains a beige envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nYou have a letter!\nIt could be a sweater!\nOr something even better!\nLet's find out together!\nWhich almost rhymes with letter!\nHooray!\n\n> You go to the north\nYou can't, since the massive oak doors are in the way.\n\nA tinny but catchy song issues from the mailbox:\n\nThere's something in your mailbox!\nDon't invest in kale stocks!\nSomething something snail fox!\nHooray!\n\n> You open mailbox\nThat's not something you can open.\n\nA tinny but catchy song issues from the mailbox:\n\nPlease pick up your mail!\nBefore it gets too stale!\nLike a shrimp cocktail\nLeft on the windowsail!\nSupport the local Guild of Songwriters!\nHooray!\n\n> You take the envelope\nTaken.\n\n> You examine envelope\nThe beige envelope is closed.\n\n> You open the envelope\nYou open the beige envelope, revealing a glossy flyer.\n\n> You read the flyer\nThe glossy flyer shows colorful images of various alleged magical paraphernalia: raven's skulls, black pointy hats, staves with vaguely mysterious symbols on them, and so on. At the bottom is an endorsement from the head of the Illusionists' Guild: \"These products have...magical value, and the claims made by their sellers are [not] fraudulent.\"\n\n> You open the door\nThey seem to be locked.\n\n> You unlock door\nWhat do you want to unlock the massive oak doors with?\n\n> Lock pick\nWhat do you want to lock the set of lockpicks with?\n\n> You unlock the door with the lockpick\nWith a sullen click, the lock yields.\n\n> You open the door\nYou open the massive oak doors.\n\n> You go north\nThis familiar area is the tower's entryway. It's intended to impress and intimidate visitors, and so the recesses of the gloomy vaulted ceiling are decorated with elaborate carvings of gargoyles and demons. The curtains are partially drawn, bathing the cavernous hall in hesitant shadows. As an uncharacteristic nod to practicality, an umbrella stand sits beside the double doors leading south from the tower. A corridor to the north leads across the polished marble floor deeper inside.\n\nFlux, Dr. Mortemain's familiar, waves its tail in a desultory greeting as you enter. \"I sssee you have returned. How did the busssinesss at the cassstle go?\" it hisses.\n\"Great!\" you lie smoothly. \"I won't know until noon, but the interview went very well.\"\n\"Not that,\" sneers Flux. \"Did you sssteal the massster'sss lettersss?\" \"Oh, right. Sure, no problem.\"\n\"Good! I knew you could do it,\" says Flux unconvincingly, dipping its head slightly in an uncharacteristic gesture of appreciation. \"The massster sssaid you're good for nothing, but I know you're good for exsssactly one thing.\"\n\n> You take all\nFlux: I don't suppose Flux would care for that.\nperch: That's fixed in place.\n\n> You take the umbrella\nThat's hardly portable.\n\n> You examine stand\nOnly visitors to the tower use the umbrella stand; you've never managed to keep track of an umbrella for more than a few days, and no wizard worth the title would deign to get caught in a rainstorm.\n\n> You look in the stand\nThe umbrella stand is empty.\n\n> You examine Flux\nFlux is Dr. Mortemain's familiar. You're not sure what kind of creature it is, but it looks like a small lizard with leathery, bat-like wings and a scaly, prehensile tail. It performs some basic chores around the tower, but you suspect that the wizard keeps it around just to annoy you.\n\n> You talk to Flux\n\"Not now! Bring me the massster'sss lettersss!\" it hisses.\n\nFlux idly whacks the perch with its tail.\n\n> Go north\nFlux flaps its wings angrily in your face and hisses. \"No no no! The massster told you to get his lettersss, and he told me to ssstop you from going inside the tower until you get them!\"\n\n> You give the letters to Flux\nFlux greedily snatches the letters from you and flies off deeper into the castle. After a moment, it returns with three pouches and a sheet of parchment.\n\"Well,\" you say conversationally, \"I guess I'll be getting on with things. It'll nice to have the day to myself, without Dr. Mortemain dictating what I do.\"\n\"I'm sssure it would, but the massster left some choresss for you in hisss absssenssse,\" says Flux, brandishing the parchment.\n\"But---\"\n\"Or I could tell him that you ignored hisss inssstructionsss, if you'd prefer. I'm sssure he'd ssstill let you go to the ssseremony thisss afternoon...\" It leaves the threat hanging in the air as you sigh and take the items. \"Let me know when you're done, and I'll passs them along to the massster.\"\n\"And that's it?\"\n\"Of courssse. Almossst sssertainly. Probably.\"\n\n> You read the parchment\nYou read the parchment:\n\nAll right flux do I just start talking and oh it's already going. How long does the spell last? Three hundred words might not be enough for hang on don't write that part. Stop. Stop writing. End. Turn off. Fine, whatever, let's just start.\n\nI know your eager to prove yourself, but I have some errands for you to perform first. Not that your. The other one. Your, not your. Back up. Backspace. Go back. Sigh. Fine.\n\nI know your with an apostrophe eager to prove yourself, but I have some errands for you to perform first. Once you complete them, you have my permission to attend the ceremony in the town square at noon. Maybe the council will even be impressed enough with your incompetent backspace backspace backspace incomparable display of talent to decide that yore oh for expletive deleted\n\nTo decide that you space are the one they want to send to fight the dragon. I wish you the best of luck. In the year weave whatever let's keep going known each other, I've been impressed by your youthful energy, prodigious capacity for learning, and some sort of third thing I'll add in later. As such put a comma there I'm entrusting you with a crucial task.\n\nTo help fight the dragon, I am preparing a powerful spell that I will cast this afternoon. It is start underline vitally important stop underline that you secure and deliver to flux the three\ncomponents I need to cast it. They are parentheses number 1 powdered skink, parentheses number 2 basilisk scales, and parentheses number 3 a fossilized toad. The first two can be found at the magic shop, and the third should have arrived in the mail early this morning.\n\nWhatever you do, it is absolutely imperative that you never\n\nFlux idly whacks the perch with its tail.\n\n> Inventory\nYou are carrying:\na sheet of parchment\nan indigo pouch (which is closed)\na black pouch (which is closed)\na moss-colored pouch (which is closed)\na beige envelope (which is open)\na glossy flyer\na spellbook\na set of lockpicks\n\n> You read the flyer\nThe glossy flyer shows colorful images of various alleged magical paraphernalia: raven's skulls, black pointy hats, staves with vaguely mysterious symbols on them, and so on. At the bottom is an endorsement from the head of the Illusionists' Guild: \"These products have...magical value, and the claims made by their sellers are [not] fraudulent.\"\n\n> You look at indigo pouch\nIt's indigo and has the magical character for 'skink' embroidered on it.\n\n> You examinthe moss-colored pouch\nIt's moss-colored and has the magical character for 'toad' embroidered on it.\n\n> You look at the black pouch\nIt's black and has the magical character for 'basilisk' written on it.\n\n> You open the indigo pouch\nYou open the indigo pouch.\n\n> You look in the indigo pouch\nThe indigo pouch is empty.\n\n> You go to the north\nThe tower's library is wonderful. You spent the first two weeks as Dr. Mortemain's apprentice here, grudgingly falling asleep early each morning after spending the day and night reading through the mountain of the books piled around the room. Even now, you've only covered a small fraction of the maze of tipping bookcases that stretch to the ceiling and crowd around the reading area. In this quiet and undisturbed area, redolent of old books, you've spent the happiest part of your year in the tower. If you have to leave, exits lead in all four directions to the other wings.\n\nA lectern stands in an empty space near the center of the room.\n\nYou can also see a leather-bound index here.\n\n> Examine index\nIt's an index of some common substances used in enchantments. It's not detailed or specific enough to be helpful when actually casting spells, which is why it's in this library rather than a laboratory, but it's nevertheless a useful reference.\n\n> You read the index\nYou flip through the book to a random entry:\n\nSKINK: Skinks are often used in divination spells, usually in the form of a bright red powder. The natural color of powdered skink is a dull grey; the chemicals and magical treatments involved in preparing it for spellcraft dye it that color. They are particularly useful in spells locating quarry in caves or underground, due to their predilection for burrowing.\n\n> You read the index\nYou flip through the book to a random entry:\n\nBASILISK: This frightening monster is used in only very powerful magical spells, as it is rare and extremely dangerous. Its scales are far less dangerous to work with than the live creature, and they can often be found in abandoned lairs after molting. Basilisks are often used in protective spells, particularly in enchanting armor.\n\n> You look up toad in the index\nTOAD: Frogs and toads are used in a variety of magic. For larger and more complex spells, it is generally preferable to use fossilized or petrified toads, rather than powdered ones, in order to concentrate the magical energies. The natural agility of the toad makes it a natural component for spells related to travel, and its locomotion makes it particularly apt for teleportation spells.\n\n> You examine lectern\nThe stately lectern suits this library well, even if there's no real use for it. A heavy tome is chained to it.\n\n> You take all\nleather-bound index: Taken.\nlectern: That's fixed in place.\n\n> You look at the tome\nThe heavy book is a bestiary of mundane and fantastical creatures. It's not very reliable; the information in it is taken from folk legends and secondhand reports from explorers. Its illustrations are beautiful, though, and it's remarkable as a work of art, if not scholarship. The book is chained to the lectern.\n\n> You read tome\nYou flip through the book to a random entry:\n\nBASILISK: Basilisks are dangerous monsters able to turn their prey to stone with a glance. Few currently survive, but they prefer cold climates and isolated areas.\n\nUnsurprisingly, there is no illustration with the entry.\n\n> You go to the east\nFlux suddenly appears in front of you in a cloud of acrid smoke. \"No!\" he snarls. \"The massster said that you're to get hisss ssspell componentsss before your other choresss! Get back to work!\" He then immediately disappears.\n\n> Go north\nThis room is Dr. Mortemain's study, his gentlemanly refuge from the rigors of his duties as a wizard. An inviting antimacassared armchair sits in front of the fireplace, and a liquor cabinet stands at the ready nearby. Above the mantle, an intricately painted map hangs from the wainscoting. An octagonal stand has been tucked discreetly into the corner.\n\nYou can see a wooden staff here.\n\n> You examine the stand\nThe crystal ball sits at the center of an octagonal stand with an arrow painted on it, pointing to the south.\n\n> You examine the staff\nSome wizards have staves covered in eldritch runes and imbued with tremendous magical power. Dr. Mortemain's is a plain wooden staff he started using a few years ago when he was having knee problems. It's a bit of a disappointment, really.\n\n> You take all\nwooden staff: Taken.\noctagonal stand: That's fixed in place.\nfireplace: That's fixed in place.\n\n> You search the crystal ball\nAn image slowly fades into view:\n\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\n> You open the liquor cabinet\nYou receive a mild shock as you try to open the cabinet; apparently Dr. Mortemain has put a magical ward on it to prevent your breaking into it. You feel a momentary bit of righteous indignation at his lack of trust in you, tempered by the fact that you've just proven him right."
    },
    {
        "text": "> You look at your surroundings\nThis room is Dr. Mortemain's study, his gentlemanly refuge from the rigors of his duties as a wizard. An inviting antimacassared armchair sits in front of the fireplace, and a liquor cabinet stands at the ready nearby. Above the mantle, an intricately painted map hangs from the wainscoting. An octagonal stand has been tucked discreetly into the corner.\n\n> You look at the ball\nIt's a perfectly round sphere of crystal, or at least glass, set into the exact center of the octagonal stand. You can vaguely make out some hazy images deep within it.\n\n> You look in the ball\nAn image slowly fades into view:\n\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, shivering in the crisp morning air.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> You look at map\nThe map depicts this corner of the world in intricate detail: the ports along the coast, the financial center at Moneyville, the barren northeastern tundra, the densely forested marches to the west, and the rough gorges in the western scrublands.\n\n> Go south\nThe tower's library is wonderful. You spent the first two weeks as Dr. Mortemain's apprentice here, grudgingly falling asleep early each morning after spending the day and night reading through the mountain of the books piled around the room. Even now, you've only covered a small fraction of the maze of tipping bookcases that stretch to the ceiling and crowd around the reading area. In this quiet and undisturbed area, redolent of old books, you've spent the happiest part of your year in the tower. If you have to leave, exits lead in all four directions to the other wings.\n\nA lectern stands in an empty space near the center of the room.\n\n> You go west\nThe tower's kitchen is almost an afterthought; Dr. Mortemain prefers to conduct business with various dignitaries over meals in town rather than wasting time eating alone in the tower, and you're usually too busy while here to eat. As such, the spartan kitchen is usually empty and spotless. An unused trestle table sits in the center of the room, and a desultory cabinet has been set into the far wall.\n\nOn the trestle table are a white canister (which is closed) and a green canister (which is closed).\n\n> You open white\nYou open the white canister, revealing some salt.\n\n> You open green\nYou open the moss-colored pouch.\n\n> You open the green canister\nYou open the green canister, revealing some bright green powder.\n\n> You examine the green powder\nDr. Mortemain is very particular about his tea, and he had this fine, bright green powder shipped here at great expense.\n\n> You take all\ntrestle table: That's fixed in place.\ncupboard: That's fixed in place.\n\n> You open the cabinet\nOpening the cupboard reveals a variety of foodstuffs: a manchet loaf, some salted herring, and a slab of beef.\n\n> You take all from the cabinet\nmanchet loaf: Removed.\nsalted herring: Removed.\nslab of beef: Removed.\n\n> You look at the herring\nAlthough Blackacre was founded by fishermen, its appeal was quantity rather than quality. These herring look completely unremarkable.\n\n> You read the spell\nanracni: turns green objects red\n\n> Anracni green tea\nThe bright green powder turns bright red.\n\n> You examine the tea\nDr. Mortemain is very particular about his tea, and he had this fine, bright red powder shipped here at great expense.\n\n> Go south\nThis familiar area is the tower's entryway. It's intended to impress and intimidate visitors, and so the recesses of the gloomy vaulted ceiling are decorated with elaborate carvings of gargoyles and demons. The curtains are partially drawn, bathing the cavernous hall in hesitant shadows. As an uncharacteristic nod to practicality, an umbrella stand sits beside the double doors leading south from the tower. A corridor to the north leads across the polished marble floor deeper inside.\n\nFlux sits on his perch, idly kneading it with its claws.\n\n> You go to the south\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox here.\n\n> Go west\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, shivering in the crisp morning air.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> Go southwest\nBlackacre's only magic shop looks the part: It's a musty, timbered building with some feeble light oozing in through its rafters. Its owner, Sandie, was formerly an undistinguished apprentice wizard; now she uses both that title and her ineptitude with magic for considerable financial gain. Her clients are from rich families and have elderly, sick relatives. They want to inherit, but they're obligated to do something to help. Sandie is that something. She performs the perfunctory duties of an attendant magician, but her lack of talent with magic eliminates the possibility of any inconvenient recovery. She sadly informs the dutiful sons or daughters that nothing can be done; they inherit a large sum of money shortly thereafter; and then they donate a modest fraction of that sum to Sandie in gratitude for her services.\n\nAs such, most of the items in the shop are gaudy, sparkly trinkets of no use or value. A stuffed alligator even hangs gratuitously from the ceiling. To maintain plausible deniability, though, Sandie keeps some genuinely magical items in her shop. Having the occasional wizard as a customer makes her consulting activities more plausible, and she tries to keep you and Dr. Mortemain as loyal customers. Your jaundiced eye notices a display case that looks invitingly dusty.\n\nThe store continues to the south, and the exit back to the town square is to the northeast.\n\nA golem stands at the exit.\n\n> Go south\nThis back corner is a bit more tasteful than the main shop floor to the north. There aren't any magical (or magickal) items for purchase here, but at the back of the room is a long, high counter.\n\nA satchel hangs from a hook on the wall.\n\nSandie herself is here, stuffing a pile of envelopes into a satchel. She greets at you with a brisk but genuine friendliness without affection behind it. \"I'm just about to take these to the post office,\" she explains, indicating the satchel. \"It's part of a marketing campaign I've just begun. I'm mailing off as many of these as I can to advertise the shop. It means lugging a bag full of envelopes to the mail about four or five times per hour, but it'll be worth it if it drums up some more customers.\" She excuses herself and heads north.\n\n> You go to the north\nBlackacre's only magic shop looks the part: It's a musty, timbered building with some feeble light oozing in through its rafters. Its owner, Sandie, was formerly an undistinguished apprentice wizard; now she uses both that title and her ineptitude with magic for considerable financial gain. Her clients are from rich families and have elderly, sick relatives. They want to inherit, but they're obligated to do something to help. Sandie is that something. She performs the perfunctory duties of an attendant magician, but her lack of talent with magic eliminates the possibility of any inconvenient recovery. She sadly informs the dutiful sons or daughters that nothing can be done; they inherit a large sum of money shortly thereafter; and then they donate a modest fraction of that sum to Sandie in gratitude for her services.\n\nAs such, most of the items in the shop are gaudy, sparkly trinkets of no use or value. A stuffed alligator even hangs gratuitously from the ceiling. To maintain plausible deniability, though, Sandie keeps some genuinely magical items in her shop. Having the occasional wizard as a customer makes her consulting activities more plausible, and she tries to keep you and Dr. Mortemain as loyal customers. Your jaundiced eye notices a display case that looks invitingly dusty.\n\nThe store continues to the south, and the exit back to the town square is to the northeast.\n\nA golem stands at the exit.\n\nYou can also see Sandie here.\n\nSandie exits the shop, and the golem bows reverentially as she passes.\n\n> You examine the display case\nThe display case lacks the gaudiness of the rest of the shop's offerings and thus has accumulated a thick layer of dust. Three are three bins in it, suitable for storing small magical components.\n\n> You examine bin\nWhich do you mean, the left bin, the center bin, or the right bin?\n\n> You examine left bin\nLike the rest of the display case, the left bin has seen little use.\n\nThe left bin is closed.\n\n> You open the left bin\nYou open the left bin, revealing some powdered skink.\n\n> You open the center bin\nYou open the center bin.\n\n> You examine the center bin\nLike the rest of the display case, the center bin has seen little use.\n\nThe center bin is open.\n\n> You open the right bin\nYou open the right bin, revealing some basilisk scales.\n\n> You examine the scales\nThe scales are transparent but have a faint oily, iridescent sheen.\n\n> You examine the skink\nIt's a fine, acrid red powder.\n\nSandie enters the shop, and the golem bows reverentially as she passes.\n\n> You go to the northeast\nAs you leave, the golem pats you down, pawing at your clothing aggressively and rifling through your possessions. It lays one massive hand on the basilisk scales and looks at you expressionlessly.\n\"Oh, that? I must have accidentally forgotten to pay for it by accident,\" you manage to say through confused anger.\nThe golem continues to stare at you blankly, though it makes no movement away from the exit.\n\n> You look at the floor\nThere's a narrow crack in the floor, presumably leading into the store's basement or underground.\n\n> You take the basilisk\nTaken.\n\nSandie leaves to the south.\n\n> Go south\nThis back corner is a bit more tasteful than the main shop floor to the north. There aren't any magical (or magickal) items for purchase here, but at the back of the room is a long, high counter.\n\nA hook is mounted on the wall here.\n\nYou can also see Sandie here.\n\nSandie hangs up her satchel.\n\n> You buy the basilisk\n\"I'm a bit busy at the moment. Let's talk once I open up the shop again,\" she demurs.\n\nSandie, smilingly brightly, stands once again at the counter.\n\n> You buy the basilisk\n\"How much are these basilisk scales?\"\nShe peers at them critically. \"Hmm, eighteen marks.\"\n\"Eighteen marks? That's more than the rent for my cottage for\nan entire year!\"\n\"Is it?\" she asks, regarding you with disappointment. \"Then perhaps the scales are not for you.\"\n\"They aren't for me; they're for my master. Can you put them on his account?\"\n\"Dr. Mortemain? He doesn't have an account here,\" she says firmly. \"Rich wizards with their attention on loftier matters have a tendency to forget about their debts. My creditors are not as absent-minded. If you want the scales, you'll have to pay for them in cash.\"\n\n> You check what you're carrying\nYou are carrying:\nsome basilisk scales\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na black pouch (which is closed)\na moss-colored pouch (which is open but empty)\na beige envelope (which is open)\na glossy flyer\na spellbook\na set of lockpicks\n\n> You take the flyer\nTaken.\n\n> Inventory\nYou are carrying:\na glossy flyer\nsome basilisk scales\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na black pouch (which is closed)\na moss-colored pouch (which is open but empty)\na beige envelope (which is open but empty)\na spellbook\na set of lockpicks\n\nSandie drums her fingers on the counter impatiently.\n\n> You put the basilisk in the envelope\nYou put the basilisk scales into the beige envelope.\n\n> You put the envelope in the satchel\nYou put the beige envelope into the satchel.\n\n> Go north\nBlackacre's only magic shop looks the part: It's a musty, timbered building with some feeble light oozing in through its rafters. Its owner, Sandie, was formerly an undistinguished apprentice wizard; now she uses both that title and her ineptitude with magic for considerable financial gain. Her clients are from rich families and have elderly, sick relatives. They want to inherit, but they're obligated to do something to help. Sandie is that something. She performs the perfunctory duties of an attendant magician, but her lack of talent with magic eliminates the possibility of any inconvenient recovery. She sadly informs the dutiful sons or daughters that nothing can be done; they inherit a large sum of money shortly thereafter; and then they donate a modest fraction of that sum to Sandie in gratitude for her services.\n\nAs such, most of the items in the shop are gaudy, sparkly trinkets of no use or value. A stuffed alligator even hangs gratuitously from the ceiling. To maintain plausible deniability, though, Sandie keeps some genuinely magical items in her shop. Having the occasional wizard as a customer makes her consulting activities more plausible, and she tries to keep you and Dr. Mortemain as loyal customers. Your jaundiced eye notices a display case that looks invitingly dusty.\n\nThe store continues to the south, and the exit back to the town square is to the northeast.\n\nA golem stands at the exit.\n\n> You go to the south\nThis back corner is a bit more tasteful than the main shop floor to the north. There aren't any magical (or magickal) items for purchase here, but at the back of the room is a long, high counter.\n\nA satchel hangs from a hook on the wall.\n\nYou can also see Sandie here.\n\n> You talk to Sandie\nYou approach the shopkeeper.\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n\n> 1\nChoose a topic (0-4) > 1\n\n\"Excuse me, I was wondering if you had any---\"\n\"We have everything here!\" she says, gesturing expansively. \"Take a look around!\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n\n> 2\nChoose a topic (0-4) > 2\n\n\"Where did you get that golem?\n\n\"Wonderful, isn't it? That was a gift from the Baron Brombury. His elderly mother caught a nasty cold, and he asked me to look after her. I did all I could, but...\" She trails off. \"Anyway, the baron was quite forgiving, and he graciously offered me the golem in gratitude for my services. It's been quite useful. I had a few problems with thieves earlier---\"\n\"I'm sure the Thieves' Guild would never---\"\n\"Oh, of course not,\" she says, smiling. \"It's the amateurs I'm worried about. Fortunately, the golem has scared them off.\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n\n> 3\nChoose a topic (0-4) > 3\n\n\"Do you have any clients outside the shop?\"\n\"Not at the moment. I heard that the Dowager Countess of Wittering fell into a coma last week, though, so I have my fingers crossed.\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n\n> 4\nChoose a topic (0-4) > 4\n\n\"What are those for?\" you ask, nodding at the stack of envelopes.\n\"Ah, those are part of a new marketing campaign. I'm sending out flyers to everyone in town reminding them that I'm here to help them with their rich but annoyingly long-lived relatives. There should at least be some distant, twice-removed cousin of a baronet around here.\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n\n> Go northeast\nAs you leave, the golem pats you down, pawing at your clothing aggressively and rifling through your possessions. You jump back in surprise, but, having found nothing, it looks at you expressionlessly and gestures toward the exit. You sneer at it but quietly leave.\n\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\nYou notice that the sky has become overcast. It's likely to rain soon.\n\n> Go north\nWhen the Guild of Postmen flourished under the patronage of the town, this sprawling building was its headquarters. Now it's a humid, cavernous warehouse containing a single contraption, designed by the popular Thaumatics Group, that handles all of the mail within the city. The machine hums quietly as tiny iridescent sparks coruscate along its surface.\n\nThe building's exit is to the south.\n\n> You look at the machine\nThe large machine looms over the post office. Its simple red brass exterior doesn't expose any of the complicated mechanical and magical workings that must be inside. On its face are two simple buttons, one white and one black. Below them are two slots, one narrow and one wide.\n\n> You examine the white\nWhich do you mean, the white button, the manchet loaf, or the white canister?\n\n> You examine the white button\nThere's an image on the button of a white rectangle with an arrow pointing out of it.\n\n> You examine the black button\nThere's an image on the button of a white rectangle and a yellow circle, both crossed out.\n\n> You check your inventory\nYou are carrying:\na glossy flyer\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na black pouch (which is closed)\na moss-colored pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You put the flyer in the wide slot\nWith an offended clurnk, the machine spits it back out onto\nthe floor.\n\n> You take the flyer\nTaken.\n\nSandie enters from the south.\n\n> You put the flyer in the wide slot\nWith an offended clurnk, the machine spits it back out onto\nthe floor.\n\nSandie puts some coins into the machine.\n\n> You take the flyer\nTaken.\n\nSandie takes some letters out of her satchel and puts them into the machine.\n\n> You wait\nTime passes.\n\nSandie takes some letters out of her satchel and puts them into the machine.\n\n> You talk to Sandie\n\"I'm a bit busy at the moment. Let's talk once I open up the shop again,\" she demurs.\n\nSandie steps back from the machine and wipes her hands on her dress.\n\n> You look at the satchel\nSandie is carrying a rough burlap satchel.\n\nSandie leaves to the south.\n\n> Go south\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\nYou can see Sandie here.\n\nSandie exits to the southwest.\n\n> Go east\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members i"
    },
    {
        "text": "n its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains a pearl-colored envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nPlease pick up your mail!\nBefore it gets too stale!\nLike a shrimp cocktail\nLeft on the windowsail!\nSupport the local Guild of Songwriters!\nHooray!\n\n> You open the envelope\nYou open the pearl-colored envelope, revealing a glossy flyer.\n\n> You read envelope\nThe address on it is that of Dr. Mortemain's tower, though there's no specific person named.\n\n> You take flyer\nYou already have that.\n\n> Inventory\nYou are carrying:\na pearl-colored envelope (which is open)\na glossy flyer\na glossy flyer\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na black pouch (which is closed)\na moss-colored pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You remove the flyer from the envelope\nRemoved.\n\n> You go to the west\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\nThe sky looks cloudy.\n\n> Go north\nWhen the Guild of Postmen flourished under the patronage of the town, this sprawling building was its headquarters. Now it's a humid, cavernous warehouse containing a single contraption, designed by the popular Thaumatics Group, that handles all of the mail within the city. The machine hums quietly as tiny iridescent sparks coruscate along its surface.\n\nThe building's exit is to the south.\n\n> Go south\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> You go east\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains an umber envelope and a beige envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nYou have a letter!\nIt could be a sweater!\nOr something even better!\nLet's find out together!\nWhich almost rhymes with letter!\nHooray!\n\n> You take the envelope\nYou already have that.\n\nA tinny but catchy song issues from the mailbox:\n\nPlease pick up your mail!\nBefore it gets too stale!\nLike a shrimp cocktail\nLeft on the windowsail!\nSupport the local Guild of Songwriters!\nHooray!\n\n> You look in mailbox\nIn the tarnished brass mailbox are an umber envelope and a beige envelope.\n\nA tinny but catchy song issues from the mailbox:\n\nThere's something in your mailbox!\nDon't invest in kale stocks!\nSomething something snail fox!\nHooray!\n\n> You take the beige envelope\nTaken.\n\nA tinny but catchy song issues from the mailbox:\n\nYou have a letter!\nIt could be a sweater!\nOr something even better!\nLet's find out together!\nWhich almost rhymes with letter!\nHooray!\n\n> You open the beige envelope\nThat's already open.\n\n> You look in the beige envelope\nIn the beige envelope are some basilisk scales.\n\n> Inventory\nYou are carrying:\nan umber envelope (which is closed)\na beige envelope (which is open)\nsome basilisk scales\ntwo glossy flyers\na pearl-colored envelope (which is open but empty)\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na black pouch (which is closed)\na moss-colored pouch (which is open but empty)\na spellbook\na set of lockpicks\n\nThe sky looks cloudy.\n\n> You look at the black pouch\nIt's black and has the magical character for 'basilisk' written on it.\n\n> You open the black pouch\nYou open the black pouch.\n\n> You put the basilisk in the black pouch\nYou put the basilisk scales into the black pouch.\n\n> You close the black pouch\nYou close the black pouch.\n\n> You go north\nThis familiar area is the tower's entryway. It's intended to impress and intimidate visitors, and so the recesses of the gloomy vaulted ceiling are decorated with elaborate carvings of gargoyles and demons. The curtains are partially drawn, bathing the cavernous hall in hesitant shadows. As an uncharacteristic nod to practicality, an umbrella stand sits beside the double doors leading south from the tower. A corridor to the north leads across the polished marble floor deeper inside.\n\nFlux sits on his perch, idly kneading it with its claws.\n\n> You give the black pouch to Flux\nFlux considers the basilisk scales for a moment, trying to think of a reason to be displeased with them. \"I sssuppossse this will have to do,\" it says resignedly, accepting the pouch and flying off with it deeper into the tower. After a moment, it returns empty-handed and lands heavily on its perch, clawing it at irritably.\n\n> You go to the south\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox here.\n\n> Inventory\nYou are carrying:\nan umber envelope (which is closed)\na beige envelope (which is open but empty)\ntwo glossy flyers\na pearl-colored envelope (which is open but empty)\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na moss-colored pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You read the spells\nanracni: turns green objects red\n\nThe sky looks cloudy.\n\n> Anracni tea\nThe bright green powder turns bright red.\n\n> You look at the green pouch\nIt's moss-colored and has the magical character for 'toad' embroidered on it.\n\n> You put the tea in the indigo pouch\nYou put the bright red powder into the indigo pouch.\n\n> You close the blue pouch\nYou close the indigo pouch.\n\n> You look at the blue pouch\nIt's indigo and has the magical character for 'skink' embroidered on it.\n\n> You go north\nThis familiar area is the tower's entryway. It's intended to impress and intimidate visitors, and so the recesses of the gloomy vaulted ceiling are decorated with elaborate carvings of gargoyles and demons. The curtains are partially drawn, bathing the cavernous hall in hesitant shadows. As an uncharacteristic nod to practicality, an umbrella stand sits beside the double doors leading south from the tower. A corridor to the north leads across the polished marble floor deeper inside.\n\nFlux sits on his perch, idly kneading it with its claws.\n\n> You give the blue pouch to Flux\nFlux considers the bright red powder for a moment, trying to think of a reason to be displeased with it. \"Thisss doesssn't ssseem quite right. The magic on it feelsss wrong,\" it hisses, gingerly poking the powder with its claws. It sinuously lowers its head to the powder and sniffs it. \"No, thisss sssmellsss wrong. It isssn't the ssskink the massster asked for.\"\n\"It must have gone off,\" you say innocently.\n\"Then find a better one,\" says Flux, handing the pouch back to you.\n\n> You go to the east\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\nYou can see a shiny brass mailbox (which contains a brown parcel) here.\n\nA shadowy figure stalks over to the mailbox and starts to open it. Seeing that you're watching him, he pointedly turns away from you. He then does something with the mailbox, but with his back blocking your view, you can't tell what exactly it is. There is a faint click from the mailbox, and the man turns back around. He pulls a parcel out of the mailbox, confusedly ponders its label for a moment, and returns it. With a shrug, he leaves to the east.\n\nThe sky looks cloudy.\n\n> Go southeast\nThis narrow alley runs behind the Thieves' Guild headquarters and is thus scrupulously avoided by most of the town. You can reenter Guild Street to the northwest.\n\nThe sky looks cloudy.\n\n> Go northwest\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\nYou can see a shiny brass mailbox (which contains a brown parcel) here.\n\nThe sky looks cloudy.\n\n> You search ball\nAn image slowly fades into view:\n\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\n> Go east\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\nYou can see a shiny brass mailbox (which contains a brown parcel) here.\n\n> You examine the parcel\nThe street address written on the nondescript parcel is smudged and difficult to read. The last digit could be a 9, meaning that it was intended for the Thieves' Guild, but it's much more likely to be a 7 and thus intended for Dr. Mortemain's tower.\n\n> You take the parcel\nYou suddenly recall some of the horror stories told in the Guild about the defenses it placed on even something as ordinary as a mailbox. No one would be stupid enough to try to steal from you all, but sometimes stupid people can be taught a lesson. You reconsider, trying to remember if you knew anything about booby traps around the Guild.\n\n> You look at the mailbox\nThe Thieves' Guild mailbox is much like its owner: tastefully expensive, designed to blend into its surroundings, and quietly menacing.\n\nInside the shiny brass mailbox is a brown parcel.\n\n> You examine umber\nThe umber envelope is closed.\n\n> You read the umber\nThe address on it is that of Dr. Mortemain's tower, though there's no specific person named.\n\n> You open umber\nYou open the umber envelope, revealing a glossy flyer.\n\n> Examine flyer\nThe glossy flyer shows colorful images of various alleged magical paraphernalia: raven's skulls, black pointy hats, staves with vaguely mysterious symbols on them, and so on. At the bottom is an endorsement from the head of the Illusionists' Guild: \"These products have...magical value, and the claims made by their sellers are [not] fraudulent.\"\n\n> Close umber\nYou close the umber envelope.\n\n> You put umber in the mailbox\nYou put the umber envelope into the shiny brass mailbox.\n\nA tinny but catchy song issues from the mailbox:\n\nPlease pick up your mail!\nBefore it gets too stale!\nLike a shrimp cocktail\nLeft on the windowsail!\nSupport the local Guild of Songwriters!\nHooray!\n\n> Go west\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains an ochre envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nYou have a letter!\nIt could be a sweater!\nOr something even better!\nLet's find out together!\nWhich almost rhymes with letter!\nHooray!\n\n> You go north\nThis familiar area is the tower's entryway. It's intended to impress and intimidate visitors, and so the recesses of the gloomy vaulted ceiling are decorated with elaborate carvings of gargoyles and demons. The curtains are partially drawn, bathing the cavernous hall in hesitant shadows. As an uncharacteristic nod to practicality, an umbrella stand sits beside the double doors leading south from the tower. A corridor to the north leads across the polished marble floor deeper inside.\n\nFlux sits on his perch, idly kneading it with its claws.\n\n> You search ball\nAn image slowly fades into view:\n\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\nA shadowy figure approaches the Guild's mailbox. He looks around and, seeing no one, sighs in relief. From your vantage above the scene, you watch him tap a small indentation concealed on the underside of the mailbox. He then fearlessly reaches into the mailbox and rummages around within it.\n\n> Go south\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains an ochre envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nThere's something in your mailbox!\nDon't invest in kale stocks!\nSomething something snail fox!\nHooray!\n\n> You examine the mailbox\nDespite already beginning to tarnish, the brass mailbox is a recent addition to the tower. It emits a blandly cheerful tune when mail arrives, and it continues to do until it's removed. You and Dr. Mortemain both dislike it, but each of you keeps it around out of mild spite towards the other.\n\nInside the tarnished brass mailbox is an ochre envelope.\n\nA tinny but catchy song issues from the mailbox:\n\nThere's something in your mailbox!\nDon't invest in kale stocks!\nSomething something snail fox!\nHooray!\n\n> You open the ochre\nYou open the ochre envelope, revealing a glossy flyer.\n\n> Inventory\nYou are carrying:\nan ochre envelope (which is open)\na glossy flyer\na beige envelope (which is open but empty)\ntwo glossy flyers\na pearl-colored envelope (which is open but empty)\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na moss-colored pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You go to the east\nGuild Street (East)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. Nevertheless, there are still some guilds whose headquarters lie along this street. Most infamous among them is the Thieves' Guild, whose aggressively nondescript building runs along the south edge of the street.\n\nThe street continues to the east and west, and a narrow alley to the southeast winds along the guild.\n\nYou can see an umber envelope (which is closed) and a shiny brass mailbox (which contains a brown parcel) here.\n\n> You look under the mailbox\nRemembering the earlier actions of the footman, you gingerly run your hands over the mailbox and discover a small indentation on its underside.\n\n> Go west\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox here.\n\nThe sky looks cloudy.\n\n> Open parcel\nYou rip apart the parcel, revealing a fossilized toad.\n\n> You take the toad\nYou already have that.\n\n> You put the toad in the green pouch\nYou put the fossilized toad into the moss-colored pouch.\n\n> Close pouch\nWhich do you mean, the indigo pouch or the moss-colored pouch?\n\n> You close the green pouch\nYou close the moss-colored pouch.\n\n> You give the green pouch to Flux\nFlux considers the fossilized toad for a moment, trying to think of a reason to be displeased with it. \"I sssuppossse this will have to do,\" it says resignedly, accepting the pouch and flying off with it deeper into the tower. After a moment, it returns empty-handed and lands heavily on its perch, clawing"
    },
    {
        "text": "it at irritably.\n\n> You look up skink in the index\nSKINK: Skinks are often used in divination spells, usually in the form of a bright red powder. The natural color of powdered skink is a dull grey; the chemicals and magical treatments involved in preparing it for spellcraft dye it that color. They are particularly useful in spells locating quarry in caves or underground, due to their predilection for burrowing.\n\n> You check what you're carrying\nYou are carrying:\nan ochre envelope (which is open)\na glossy flyer\na beige envelope (which is open but empty)\ntwo glossy flyers\na pearl-colored envelope (which is open but empty)\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open)\nsome bright green powder\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You take the flyer from the ochre\nRemoved.\n\n> You put the envelopes on the floor\nochre envelope: Dropped.\nbeige envelope: Dropped.\npearl-colored envelope: Dropped.\n\n> You look at the skink\nIt's a fine, acrid red powder.\n\n> You take the skink\nAs you reach down to scoop up the powder, you're rudely jostled from behind. It tumbles out of your hand, and you watch helplessly as it falls down a crack in the floor. You turn in around in irritation and are met by the smirking face of Mr. Wattman.\n\"Oh, I'm so sorry! It's so crowded in here,\" he says, gesturing at the empty space around the two of you, \"and it looks like we were both looking for some powdered skink. I know your master asked you to get some, and now... Oh well, these things happen.\"\nWhistling happily, Mr. Wattman leaves the shop, doffing his hat to the golem as he passes it.\n\n> You take the envelopes\npearl-colored envelope: Taken.\nbeige envelope: Taken.\nochre envelope: Taken.\n\n> You take the inventory\nYou are carrying:\nsome bright green powder\nan ochre envelope (which is open but empty)\na beige envelope (which is open but empty)\na pearl-colored envelope (which is open but empty)\nthree glossy flyers\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open but empty)\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You put the tea in the left bin\nThe bright green powder is too large to fit inside the left bin.\n\n> You put the tea in the center bin\nThe bright red powder is too large to fit inside the center bin.\n\n> You pour tea into the center bin\nThat's something you can pour.\n\n> You take the trinket\nThat would be pointless.\n\n> You take the alligator\nThat's hardly portable.\n\n> You examine the alligator\nThe massive reptile looks like a dragon without the wings. It's hard not to empathize with him, stuck watching over a hoard of sparkly junk.\n\n> You look at the right bin\nLike the rest of the display case, the right bin has seen little use.\n\nThe right bin is open.\n\n> You look in the right bin\nThe right bin is empty.\n\n> You go to the south\nThis back corner is a bit more tasteful than the main shop floor to the north. There aren't any magical (or magickal) items for purchase here, but at the back of the room is a long, high counter.\n\nA satchel hangs from a hook on the wall.\n\nYou can also see Sandie here.\n\n> You take the satchel\nThat's far too cumbersome for you to carry around.\n\n> You examine the counter\nThe counter creates a small area in which the shopkeeper can stand and watch over the store.\n\n> You show the tea to Sandie\nSandie is unimpressed.\n\n> Inventory\nYou are carrying:\nsome bright red powder\nan ochre envelope (which is open but empty)\na beige envelope (which is open but empty)\na pearl-colored envelope (which is open but empty)\nthree glossy flyers\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open but empty)\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\nSandie drums her fingers on the counter impatiently.\n\n> You take the red\nWhich do you mean, the bright red powder or the slab of beef?\n\n> You look in the left bin\nThe left bin is empty.\n\n> Inventory\nYou are carrying:\nsome bright red powder\nan ochre envelope (which is open but empty)\na beige envelope (which is open but empty)\na pearl-colored envelope (which is open but empty)\nthree glossy flyers\na slab of beef\nsome salted herring\na manchet loaf\na green canister (which is open but empty)\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\n> You put the flyer on the crack\nThat would be pointless.\n\nSandie enters from the south.\n\n> You insert the flyer into the crack\nThat would be pointless.\n\nSandie exits the shop, and the golem bows reverentially as she passes.\n\n> You unlock the crack with the lockpick\nThat doesn't seem to be something you can unlock.\n\nSandie enters the shop, and the golem bows reverentially as she passes.\n\n> Jimmy crack with staff\nThat doesn't seem to be something you can unlock.\n\nSandie leaves to the south.\n\n> You look at the golem\nThe golem is a gigantic, roughly humanoid, earthenware figure with some vague facial features roughly carved into it. Golems are rare; this particular one was a present to Sandie from the grateful heir to a baron who devoted his leisure time to magical oddities. The unnerving thing about it is not how much it looks like a human, but how much it doesn't look like a human; it's like looking at a corpse.\n\n> You talk to golem\nThe golem stares at you blankly. It's probably better that it doesn't respond, considering its crudely-drawn face has no mouth.\n\n> You examine bin\nWhich do you mean, the left bin, the center bin, or the right bin?\n\n> You examine the left bin\nLike the rest of the display case, the left bin has seen little use.\n\nThe left bin is open.\n\n> You look in the center bin\nThe center bin is empty.\n\n> You look in left bin\nIn the left bin is some powdered skink.\n\n> You look at tea\nDr. Mortemain is very particular about his tea, and he had this fine, bright red powder shipped here at great expense.\n\nSandie enters from the south.\n\n> You give the tea to Sandie\nSandie doesn't seem interested.\n\nSandie exits the shop, and the golem bows reverentially as she passes.\n\n> Wait\nTime passes.\n\nSandie enters the shop, and the golem bows reverentially as she passes.\n\n> You take the skink\nAs you reach down to scoop up the powder, you're rudely jostled from behind. It tumbles out of your hand, and you watch helplessly as it falls down a crack in the floor. You turn in around in irritation and are met by the smirking face of Mr. Wattman.\n\"Oh, I'm so sorry! It's so crowded in here,\" he says, gesturing at the empty space around the two of you, \"and it looks like we were both looking for some powdered skink. I know your master asked you to get some, and now... Oh well, these things happen.\"\nWhistling happily, Mr. Wattman leaves the shop, doffing his hat to the golem as he passes it.\n\nSandie leaves to the south.\n\n> You put the tea in the right bin\nThe bright red powder is too large to fit inside the right bin.\n\nSandie leaves to the south.\n\n> You put the green canister in the left bin\nThe green canister is too large to fit inside the left bin.\n\n> Smell the tea\nIt smells strongly of earth.\n\n> You eat the skink\n(first taking the powdered skink)\nAs you reach down to scoop up the powder, you're rudely jostled from behind. It tumbles out of your hand, and you watch helplessly as it falls down a crack in the floor. You turn in around in irritation and are met by the smirking face of Mr. Wattman.\n\"Oh, I'm so sorry! It's so crowded in here,\" he says, gesturing at the empty space around the two of you, \"and it looks like we were both looking for some powdered skink. I know your master asked you to get some, and now... Oh well, these things happen.\"\nWhistling happily, Mr. Wattman leaves the shop, doffing his hat to the golem as he passes it.\n\n> Wait\nTime passes.\n\nYou notice with apprehension that it's starting to get late. If you're going to pull off some clever trick before the ceremony at noon, you'd better hurry.\n\n> You go south\nThis back corner is a bit more tasteful than the main shop floor to the north. There aren't any magical (or magickal) items for purchase here, but at the back of the room is a long, high counter.\n\nA satchel hangs from a hook on the wall.\n\nYou can also see Sandie here.\n\nSandie drums her fingers on the counter impatiently.\n\n> You talk to Sandie\nYou approach the shopkeeper.\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n5) Do you have any more powdered skink?\n\n> 5\nChoose a topic (0-5) > 5\n\n\"Do you have any more powdered skink?\"\n\"Sorry, that's it. Most of my customers prefer flashier items, and I prefer safer ones.\"\n\"Do you know where I could get some more?\"\n\"Sure: Travel six hundred miles to the northern wastes, find a nest of skinks, capture one without getting bitten, carefully dissect it, dissolve it in several caustic acids, pulverize it, apply a variety of enchantments to preserve it, then travel back to Blackacre by dogsled.\"\n\"Is how you get them?\"\n\"No, I pay someone to travel six hundred miles to the\nnorthern wastes, find a nest of skinks, capture one without getting bitten, carefully dissect it, dissolve it in several caustic acids, pulverize it, apply a variety of enchantments to preserve it, then travel back to Blackacre by dogsled.\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n5) Do you have any more powdered skink?\n\n> 1\nChoose a topic (0-5) > 1\n\n\"Excuse me, I was wondering if you had any---\"\n\"We have everything here!\" she says, gesturing expansively. \"Take a look around!\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n5) Do you have any more powdered skink?\n\n> 2\nChoose a topic (0-5) > 2\n\n\"Where did you get that golem?\n\n\"Wonderful, isn't it? That was a gift from the Baron Brombury. His elderly mother caught a nasty cold, and he asked me to look after her. I did all I could, but...\" She trails off. \"Anyway, the baron was quite forgiving, and he graciously offered me the golem in gratitude for my services. It's been quite useful. I had a few problems with thieves earlier---\"\n\"I'm sure the Thieves' Guild would never---\"\n\"Oh, of course not,\" she says, smiling. \"It's the amateurs I'm worried about. Fortunately, the golem has scared them off.\"\n\n0) (Leave.)\n1) What do you have in stock?\n2) What's with the golem?\n3) Do you have any clients now?\n4) What's with all the envelopes?\n5) Do you have any more powdered skink?\n\n> 0\nChoose a topic (0-5) > 0\n\n> Go north\nBlackacre's only magic shop looks the part: It's a musty, timbered building with some feeble light oozing in through its rafters. Its owner, Sandie, was formerly an undistinguished apprentice wizard; now she uses both that title and her ineptitude with magic for considerable financial gain. Her clients are from rich families and have elderly, sick relatives. They want to inherit, but they're obligated to do something to help. Sandie is that something. She performs the perfunctory duties of an attendant magician, but her lack of talent with magic eliminates the possibility of any inconvenient recovery. She sadly informs the dutiful sons or daughters that nothing can be done; they inherit a large sum of money shortly thereafter; and then they donate a modest fraction of that sum to Sandie in gratitude for her services.\n\nAs such, most of the items in the shop are gaudy, sparkly trinkets of no use or value. A stuffed alligator even hangs gratuitously from the ceiling. To maintain plausible deniability, though, Sandie keeps some genuinely magical items in her shop. Having the occasional wizard as a customer makes her consulting activities more plausible, and she tries to keep you and Dr. Mortemain as loyal customers. Your jaundiced eye notices a display case that looks invitingly dusty.\n\nThe store continues to the south, and the exit back to the town square is to the northeast.\n\nThe floor here has a small crack in it, through which the powdered skink fell.\n\nA golem stands at the exit.\n\n> You pull the hook\nIt is fixed in place.\n\n> Turn hook\nIt is fixed in place.\n\nSandie paces behind the counter.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You show the tea to the golem\nThe golem is unimpressed.\n\n> Go outside\nAs you leave, the golem pats you down, pawing at your clothing aggressively and rifling through your possessions. You glare at it, but, having found nothing, it looks at you expressionlessly and gestures toward the exit. You sneer at it but quietly leave.\n\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> You go to the south\nThis path winds north to southeast between the town of Blackacre and its nearby castle. The farmland on either side of the road is bare; it's far too early for crops to start growing, and no trees disturb the empty fields.\n\nThe skunk enters from the southeast.\n\n> You show the herring to the skunk\nThe skunk considers the salted herring with interest. It looks at you warily but hopefully.\n\nThe skunk looks at you expectantly.\n\n> You go north\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\n> You go to the south\nThis path winds north to southeast between the town of Blackacre and its nearby castle. The farmland on either side of the road is bare; it's far too early for crops to start growing, and no trees disturb the empty fields.\n\nYou can see a skunk here.\n\nThe skunk looks at you expectantly.\n\n> You give the herring to the skunk\nThe skunk considers the salted herring with interest. It looks at you warily, then snatches them from you and greedily devours them.\n\n> You wait\nTime passes.\n\nThe skunk looks at you expectantly.\n\n> You go north\nBlackacre's picturesque town square spreads out before you. Although it's no longer central in terms of geography or importance, this area is nevertheless a genuinely pleasant part of town. A clock tower dominates the plaza, towering over the cedars planted around it. Benches surround the flowerbeds that dot the square. Blackacre residents occasionally filter through the square, glancing up nervously at the overcast sky.\n\nStreets leave the square to the east and west, and a road to the south leads from the town of Blackacre to the castle of Blackacre. Among the crowded buildings ringing the square are the post office to the north and magic store to the southwest.\n\nYou can see Sandie here.\n\nSandie leaves to the north.\n\n> You give the loaf to the skunk\nThe skunk considers the manchet loaf with interest. It looks at you warily, then snatches it from you and greedily devours it.\n\n> Inventory\nYou are carrying:\nsome bright red powder\nan ochre envelope (which is open but empty)\na beige envelope (which is open but empty)\na pearl-colored envelope (which is open but empty)\nthree glossy flyers\na slab of beef\na green canister (which is open but empty)\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\nThe skunk looks at you expectantly.\n\n> You give beef to the skunk\nThe skunk considers the slab of beef with interest. It looks at you warily, then snatches it from you and greedily devours it.\n\n> Poke skunk\nThe skunk shies away from you and hisses.\n\nThe skunk flees to the southeast.\n\n> Go southeast\nThis path winds northwest to south between the town of Blackacre and its nearby castle. Newly-planted fields stretch as far as you can see to either side of the trail. It's a charmingly rustic sight but an unpleasant smell; the farmers must have fertilized the fields recently.\n\nYou can see a skunk here.\n\nThe skunk leaves to the northwest.\n\n> Go northwest\nThis path winds north to southeast between the town of Blackacre and its nearby castle. The farmland on either side of the road is bare; it's far too early for crops to start growing, and no trees disturb the empty fields.\n\nYou can see a skunk here.\n\nThe skunk leaves to the southeast.\n\n> Inventory\nYou are carrying:\nsome bright red powder\nan ochre envelope (which is open but empty)\na beige envelope (which is open but empty)\na pearl-colored envelope (which is open but empty)\nthree glossy flyers\na green canister (which is open but empty)\na white canister (which is open)\nsome salt\na wooden staff\na leather-bound index\na sheet of parchment\nan indigo pouch (which is open but empty)\na spellbook\na set of lockpicks\n\nThe skunk enters from the southeast.\n\n> You wait\nTime passes.\n\nThe sky looks cloudy.\n\n> You wait for a while\nTime passes.\n\nThe skunk enters from the southeast.\n\n> Poke skunk\nThe skunk hisses at you and waves its tail threateningly.\n\nThe skunk flees to the northwest.\n\n> Go northwest\nThis path winds north to southeast between the town of Blackacre and its nearby castle. The farmland on either side of the road is bare; it's far too early for crops to start growing, and no trees disturb the empty fields.\n\nYou can see a skunk here.\n\nThe skunk hisses at you and waves its tail threateningly.\n\n> Poke skunk\nThe skunk's patience is exhausted. You leap out of the way, nimbly somersaulting in your haste to avoid the noisome onslaught. You manage to avoid the brunt of the attack, but the stench still clings to you. Fortunately, no one else is around to smell it; unfortunately, that also means no one was around to witness your impressive combat maneuvers.\n\nThe skunk flees to the southeast.\n\n> You smell yourself\nThe only thing you can smell is the overwhelming stench from the skunk.\n\n> Smell the tea\nThe only thing you can smell is the overwhelming stench from the skunk.\n\nThe sky looks cloudy.\n\n> Go east\nGuild Street (West)\nAs its name implies, Guild Street contains most of the town's guildhalls. There are far fewer now than a century ago, when the street was originally constructed, as the daily administration of the town became concentrated in the nearby castle. The ominous stone tower standing to the north was formerly the base of operations of the once-prominent Magicians' Guild, which counted dozens of wizards among its members in its heyday. That heyday passed centuries ago, however, and the only wizards currently in town are you and Dr. Mortemain. He acquired the tower after the guild's dissolution, and it's there that you now spend most of your time.\n\nThe street returns to the town square to the west and continues to the east.\n\nYou can see a tarnished brass mailbox (which contains a lemon-colored envelope) here.\n\nA tinny but catchy song issues from the mailbox:\n\nPlease pick up your mail!\nBefore it gets too stale!\nLike a shrimp cocktail\nLeft on the windowsail!\nSupport the local Guild of Songwriters!\nHooray!\n\n> You go to the north\nThe tower's library is wonderful. You spent the first two weeks as Dr. Mortemain's apprentice here, grudgingly falling asleep early each morning after spending the day and night reading through the mountain of the books piled around the room. Even now, you've only covered a small fraction of the maze of tipping bookcases that stretch to the ceiling and crowd around the reading area. In this quiet and undisturbed area, redolent of old books, you've spent the happiest part of your year in the tower. If you have to leave, exits lead in all four directions to the other wings.\n\nFlux perches on the lectern, hissing excitedly.\n\nA lectern stands in an empty space near the center of the room.\n\n\"Come on, come on,\" squeaks Flux, flying off to the east.\n\n> You go to the east\nYou follow Flux through the doorway and arrive at the base of the tower's central staircase. As you begin to climb upward, you hear the sound of breaking glass above you, followed by a heavy, muffled thump. Flux seems unconcerned, though, and you follow it as it glides up the spiral stairs. Just as you reach the third floor, a figure dressed completely in black and cradling a crumbling spellbook bounds down the stairs, narrowly avoiding crashing into you. It loses its balance and tumbles roughly down the remaining stairs, only to fall into a roll at the bottom and gracefully recover. Snatching the book from the ground where it had landed, the figure runs out of the tower. You dash down the stairs to give chase, but you only manage to get a receding glimpse of the figure as it runs towards the Thieves' Guild."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\nYou awaken, finding yourself in a grassy field. Twisted images\nflash through your mind quickly: driving out on Halloween to do a little camping and try and work things out by yourself ... your awakening in the middle of the night ... walking to the cliff-top in the moonlight, not exactly knowing why ... stepping up to the edge, and falling off -- no, stepping off. Only a few scattered memories remain past that: sensations of wind rushing past you, and then wings surrounding you, and then blackness. Now you're here, wherever that is. The sun shines brightly overhead, and a brook babbles gently along nearby. An apple tree grows in the center of the field, branches rich with fruit.\n\nLethe Flow Phoenix: A Flight of Fantasy (\n\n[Welcome to the game. If you want to set up game options, type \"SETUP\" at the prompt. If you need other help, type \"HELP\" at the prompt.]\n\n[Author's Note: Camping out at night takes you into a strange otherworld peopled with, among other things, several biblical references, objects of a symbolic nature, and a talking tree.]\n\n> About you\nYou look about the same as always.\n\n> You check your inventory\nYou are empty-handed.\n\n> You examine apple tree\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\n\nIt's an old, gnarled apple tree. As you stare at it, you think you can see vague outlines of a grumpy-looking face in the trunk. Juicy, delicious-looking red apples hang from the branches above your head, and the tree looks great for climbing. A colorful kite-like object is sitting on a branch, high up in the tree.\n\n> You climb the tree\nYou approach the tree and start to climb it. You are startled by a sudden voice which seems to emanate from the tree itself, like some mystic speech from the kingdom of faerie. The voice says \"Hey birdbrain! Put that foot on my branch and I'll whack yer bleedin' head off!\" Rather surprised, you desist for the moment.\n\n> You ask the tree about tree\n\"I'm an apple tree, and a damn fine specimen of one, if I do say so myself. Which I do, since you're obviously too busy gawking to say anything of any use.\"\n\"Tweet-tweet!\" goes the robin.\n\n> You give you an the apple\n\"Nice one, eh? Picked it up 'bout a year ago in a windstorm.\"\nThe robin whistles loudly.\n\n\"Ooh, I'd bet you'd like one of these nice, juicy, apples.\" A branch lowers slightly, lifting one into reach. \"Well too bad! They're mine!\" The branch jerks away again.\n\n> You kill the tree\nWhat do you want to attack it with?\n\n> You look at the face\nIt's a face all right. Perhaps someone carved it in there? The face is quite a grumpy one. The artist must have been having a bad day.\n\n> You examine the robin\nA happy-looking robin. It sings a playful little song.\n\n> You ask robin about the tree\nIt's too far away.\nThe robin whistles loudly.\n\n> You ask the tree about the robin\n\"If you could get rid of that annoying bird, I'd be much obliged. I'd let you climb up there, but I have this terrible case of woodrot on that side, and ...\"\nThe tree spends the next ten minutes or so explaining its troubles to you in great detail.\n\n> You check your inventory\nYou are empty-handed.\n\nYour stomach rumbles. You realize that you're getting hungry.\nThe robin chirps.\n\n> You ask the tree about the kite\n\"I suppose you want it? Too bad!\"\n\n> You look at the kite\nYou can't make out much from here. It looks like a kite, only bigger. The robin glances stealthily around to look for female robins. Must be mating season."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune. \"Tweet-tweet!\" goes the robin.\n\n> You search the grass\nYou find nothing of interest.\n\nYour stomach rumbles. You realize that you're getting hungry.\n\n> You climb the tree\n\"Hey! Don't climb me! I don't want your ugly fat feet all over me!\" says the tree. Ignoring its protests, you reach for a low branch and start climbing. The leaves rustle angrily, but nothing seems to happen, so you continue up the tree. Suddenly, though, there's a sound from above you. You look up just in time to see a large red apple falling. It *THWACKS* you on the nose, you cry out and let go, and everything becomes all tumbled up in a heap on the ground. \"Hah!\"\nsays the tree. \"That'll teach you.\" \"Ha!\" you say back, grabbing the apple.\n\"Oh,\" says the tree. \"I hadn't thought of that.\"\n\n> You eat the apple\nQuite possibly the finest apple you have ever tasted in your life.\nThat was delicious!\n\n> You throw the apple at the robin\n\"Don't try and throw things at it, idiot! You'll only end up knocking my leaves off, and then who knows what will happen? I suppose you think I can photosynthesize with my bark, hmm? Sheesh, humans!\" The tree continues to talk. You decide to find another approach and save yourself a second lecture on the subject.\n\n> You go north\nYou walk for a few minutes, when the ground abruptly seems to fall away beneath your feet. You stumble forward, and look up to find yourself in a different place.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\n> You examine the sun\nThe sun is high in the sky, as usual. It doesn't seem to be moving, though.\n\nShadows from distant dunes make the image of cool water. You rush towards it, only to have the scene dissolve as you get closer.\n\n> Go south\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nYour stomach rumbles. You realize that you're getting hungry.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from:\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\n\n> You climb the tree\n\"Oh, no,\" the tree says. \"I'm not falling for that one again. I didn't drop off the tree yesterday, I can tell you that much. You want any more apples, bud, you're doing me a favor first.\" The apple tree's branches move around enough to make climbing impossible now.\n\n> You look at what you're carrying with you\nYou have an apple.\n\n> You examine the flowers\nThe wild flowers grow among the grasses, in a wild assortment of colors.\n\n> Go east\nYou walk for a few minutes, when the ground abruptly seems to fall away beneath your feet. You stumble forward, and look up to find yourself in a different place.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\nYou're feeling really hungry. You should find some food soon.\n\n> Go west\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\n> You eat the apple\nQuite possibly the finest apple you have ever tasted in your life.\nThat was delicious!\n\nThe wind picks up, and as the burning breeze blows past your ear, you fancy you hear voices. Whose voices? Even the words they say are beyond comprehension.\n\n> You go west\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from:\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\n\n> You examine the flowers\nThe wild flowers grow among the grasses, in a wild assortment of colors.\nThe robin chirps.\n\n> You go west\nYou walk along the banks of the stream for a time.\n\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nSitting on the large black rocks you see a sheet of red paper.\n\n> You get the sheet\nTaken.\nA gentle breeze ruffles the leaves on the bushes.\n\n> You examine it\nIt looks to be the kind of paper used in making origami figures. It's a plain sheet of red paper.\n\n> You fold the paper\nWhat do you want to fold it into?\n\n> You fold the paper into the bird\nThe only kind of origami bird you ever learned how to make was a crane, so you attempt that instead. You skillfully fold the sheet of paper into an origami crane.\nThe branches on the bushes sway gently in the wind.\n\n> You examine the fountain\nThe fountain, as has been mentioned, is made of stone, and shaped like the head of a dragon. The dragon's mouth is open, and water pours from it into the stream.\n\n> You put the crane in the fountain\nThe water flowing out prevents things from going in.\nThe leaves on the bushes are actually bending in the breeze. Strange, really, considering the wind is barely blowing.\n\n> Drink water\nThe cool draught refreshes you.\nThe hedges are moving. Casually, as non-chalant as a bush can be, the hedges have uprooted themselves. Well, some of them have, anyway.\nMost of the bushes are sitting there looking innocent again. The uprooted ones begin to move about the garden. One or two of them reach under rocks and bushes and pull out rakes and spades and a bucket.\nThey quietly start to water the flowers, rake the paths, and prune the bushes. You look on in amazement. The hedge beasts totally ignore you.\n\n> You examine the beasts\nWell, I guess they aren't just your ordinary hedges. Definitely a close relative, however, as the hedge beasts still seem to have leaves and branches and such. At the moment, the hedge beasts are moving around the garden, tending to the flowers and raking the paths."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nThe hedge beasts are tending to the garden, raking and digging.\n\n> You examine the brick\nThe brick walls are tall and smooth enough to be unclimbable. They surround the garden on the north and west sides, stretching off into the haze at the two edges.\n\n> You go to the south\nYou follow the brook's path out of the garden, and into a field.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA cool stream runs north-south through the field. A wide white plank allows you to cross from one bank to the other.\n\n> You examine the boulders\nThey're your basic large, gray chunks of rock. There's about six in the field, arranged in a rough three-quarter circle around around the gazebo.\n\n> You look at the gazebo\nA rather nice white gazebo, hexagon-shaped. Most of the walls are covered with lattices to keep the sun out, but one is open to allow entrance. The roof of the gazebo is rather strange. It is flat, but then mounted atop the flat part is an extra structure which appears to be a long thin wall cutting straight across the roof. The wall is shaped like a right triangle, with the square corner and one other affixed to the gazebo, and the third jutting straight up. Atop that, you can see a weather vane, moving slightly in the slow wind. You could enter the gazebo and look around, if you liked.\n\n> You enter the gazebo\nYou walk inside the gazebo.\n\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, making it fairly dim in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall. Also, set into the ceiling, you can see a multi-faceted crystal.\nSitting on the wooden table you see a large wicker bird cage."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, making it fairly dim in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall. Also, set into the ceiling, you can see a multi-faceted crystal.\nSitting on the wooden table you see a large wicker bird cage.\n\n> You get the cage\nTaken.\n\n> You look at the crystal\nWhich crystal do you mean, the large crystal, or the tiny crystal?\n\n> Large\nThe large crystal has six visible facets. It is set into the ceiling, directly over the sundial. It is dark, and seems somehow sad.\n\n> You examine tiny\nThe crystal seems to be tiny and six-sided. It looks a lot like a miniature version of the one mounted directly above it in the ceiling. It's fixed quite firmly in place, on the tip of the gnomon of the sundial.\n\n> You examine the sundial\nIt's a bronze sundial, on a pedestal. A rather nice sundial too, by the looks of it. It's a pity there's no real sunlight to make it useful. The inscription \"Tempus Non Fugit\" has been printed around the face of the sundial, and there are also six small metal studs set into the bronzework. In the dim light, you notice the sparkle of a tiny crystal on the tip of the gnomon.\n\n> You look at the studs\nThey're six small, metal studs. Nothing too exceptional. They all feel rather loose, but are small enough that it would be difficult to remove them by hand. The studs are spaced fairly evenly around the sundial, at six, eight, ten, twelve, two, and four o'clock.\n\n> You examine the gnomon\nA gnomon, of course, is the thingy on the sundial which casts the shadow. This gnomon appears no different from any other one you've seen, except that most gnomons don't have tiny crystals on their tips. Whereas this one seems positively festooned with them. Well, it has one of them, anyway.\n\n> You look in the cage\nWillow twigs have been plaited together to form a simple cage. The cage door (open) has a single slide bolt which can be used to keep it shut.\n\n> You examine table\nThe table has been painted white to match the rest of the gazebo.\n\n> Go outside\nYou exit the gazebo.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA cool stream runs north-south through the field. A wide white plank allows you to cross from one bank to the other.\n\n> N then east\nYou walk until you enter a garden.\n\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nThe hedge beasts are tending to the garden, raking and digging.\n\nYou walk east until you are in the field again.\n\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\n\n> You put the crane in cage\nThe robin sings happily.\n\n> You show the cage to robin\nThe robin trills a short song, seeming to emphasize the virtues of freedom and open spaces. The tree grumbles.\n\n> You examine the cage\nWillow twigs have been plaited together to form a simple cage. The cage door (open) has a single slide bolt which can be used to keep it shut. Inside the cage, you can see a red origami crane.\n\n> You drop cage\nDropped.\n\n> Wait\nTime passes...\n\n> You give the cage to the robin\nIt's too far away.\n\n> Go north\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nThe sands move, perhaps pushed by the wind. In their motion, you see faces of people long-buried in memory.\n\n> You go south\nYou stagger forwards, the rays of sun lashing your back and neck. One foot kicks something half-buried in the sand, and you pause and look.\nA burning desert\nJust looking at the scorched and blasted terrain is enough to make\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\nYou see a sun-bleached skull here.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from:\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\n\n> You jump\nTaken.\n\nWheee!\n\n> You show the origami to bird\nThe robin trumpets a (relatively) loud war-cry, and swoops at the paper figure, seeking to defend its territory. At the last moment, however, it veers off, and returns to its perch in the tree. You must have frightened it.\nThe robin glances stealthily around to look for female robins. Must be mating season.\n\n> You show the crane to the bird\nThe robin trumpets a (relatively) loud war-cry, and swoops at the paper figure, seeking to defend its territory. At the last moment, however, it veers off, and returns to its perch in the tree. You must have frightened it.\n\n> You drop the crane\nDropped.\nThe robin glances stealthily around to look for female robins. Must be mating season.\n\n> You get the crane\nTaken.\n\"Tweet-tweet!\" goes the robin.\n\n> You give the crane to tree\nUnlikely, I think.\n\n> Go west\nYou walk along the banks of the stream for a time.\n\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nThe hedge beasts are curled up on the ground, practically indistinguishable from the normal hedges.\n\n> You go south\nWalking south eventually takes you to a rocky cliff-top.\n\nCliff top, by a waterfall\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream winds its way between the rocks, widening as it goes, only to curve eastwards and finally pour off the edge of the cliff in a glorious waterfall. A cloud of water vapor is visible down below, as the stream crashes to the ground and starts to move normally again. A flash of reflected sunlight attracts your attention to something in a crack in the rocks.\nSitting on the river rocks you see a music box and a small fly.\n\n> You get all\nmusic box: Taken.\nsmall fly: Taken.\n\n> You look at the fly\nOn closer inspection, you see that the fly is a fake fly, made from twisted plastics. Quite realistic looking too.\n\n> You look at the music\nIt's a small wooden music box. A crank protudes from one side, but there's no other markings on it."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nCliff top, by a waterfall\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream winds its way between the rocks, widening as it goes, only to curve eastwards and finally pour off the edge of the cliff in a glorious waterfall. A cloud of water vapor is visible down below, as the stream crashes to the ground and starts to move normally again. A flash of reflected sunlight attracts your attention to something in a crack in the rocks.\n\n> You turn the crank\nYou wind up the music box.\n\n> You examine the crack\nThe most noticable crack in the rocks is about a dozen feet from the cliff's edge, a large gap between two big boulders. Sometimes the current pushes objects in there instead of off the waterfall. A glass bottle has sunk to the bottom of the crack.\nThe crank turns, and the music box plays. A rather nice, but short, piece of classical music comes from the box.\n\n> You get the bottle\nTaken.\nThe crank turns, and the music box plays. The peaceful sound of\nwater running over rocks comes from the box.\n\n> You examine bottle\nThe bottle is made of glass, but seems fairly sturdy. It has a snap-top allowing it to be firmly closed and sealed, as it is now. The glass bottle is closed.\nThe crank turns, and the music box plays. Twitters and whistles\ncome from the box. Birdcalls, you assume.\n\n> You look at it\nThe bottle is made of glass, but seems fairly sturdy. It has a snap-top allowing it to be firmly closed and sealed, as it is now. The glass bottle is closed.\nThe crank turns, and the music box plays. The sound of a crackling fire, blazing away, comes from the box."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nCliff top, by a waterfall\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream winds its way between the rocks, widening as it goes, only to curve eastwards and finally pour off the edge of the cliff in a glorious waterfall. A cloud of water vapor is visible down below, as the stream crashes to the ground and starts to move normally again.\nThe crank turns, and the music box plays. The sound of wind-chimes\nin a gentle breeze comes from the box.\n\n> You examine the waterfall\nThe stream winds its way between numerous gaps in the rocks, until it finally plunges off the cliff as a waterfall. It's a much wider stream than the part north of here."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nCliff top, by a waterfall\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream winds its way between the rocks, widening as it goes, only to curve eastwards and finally pour off the edge of the cliff in a glorious waterfall. A cloud of water vapor is visible down below, as the stream crashes to the ground and starts to move normally again.\n\n> Examine vapor\nDown at the bottom, the waterfall creates a vapor cloud when it crashes to earth. Sometimes, when the cloud shifts, you can vaguely make out something glinting in it, but you can't tell anything through the mist.\n\n> N then\nYou walk north, and soon arrive back at the open field.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA cool stream runs north-south through the field. A wide white plank allows you to cross from one bank to the other.\nThe crank turns, and the music box plays. A rather nice, but short, piece of classical music comes from the box.\n\n> You go north\nYou walk until you enter a garden.\n\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nThe hedge beasts are curled up on the ground, practically indistinguishable from the normal hedges.\nThe crank turns, and the music box plays. The peaceful sound of\nwater running over rocks comes from the box.\n\n> You go to the east\nYou walk east until you are in the field again.\n\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nA robin is perched atop the tree, whistling a merry tune.\nThe robin whistles loudly.\nThe crank turns, and the music box plays. Twitters and whistles\ncome from the box. Birdcalls, you assume. The robin seems to rouse itself upon hearing the music. It gazes alertly around for other robins, beginning to sing its own territory-song. Sighting the red paper figure in your possession, the robin swoops down towards you, only to veer off and return to the tree at the last second. It chirrups angrily.\n\n> You put the bird in the cage\nIt's out of reach, silly.\nThe crank turns, and the music box plays. The sound of a crackling fire, blazing away, comes from the box.\n\n> You put the origami in the cage\nThe crank turns, and the music box plays. The sound of wind-chimes\nin a gentle breeze comes from the box.\n\n> You wait for a while\nTime passes...\nThe robin sings happily.\nThe crank turns, and the music box plays. A rather nice, but short, piece of classical music comes from the box.\n\nTime passes...\nThe crank turns, and the music box plays. The peaceful sound of\nwater running over rocks comes from the box.\n\nTime passes...\nThe robin sings selected pieces by Mozart.\nThe crank turns, and the music box plays. Twitters and whistles\ncome from the box. Birdcalls, you assume. The robin seems to rouse itself upon hearing the music. It gazes alertly around for other robins, beginning to sing its own territory-song. Sighting the red paper figure in your possession, the robin swoops down towards you, only to veer off and return to the tree at the last second. It chirrups angrily.\n\n> You drop the cage\nDropped.\nThe crank turns, and the music box plays. Twitters and whistles\ncome from the box. Birdcalls, you assume. The robin seems to rouse itself upon hearing the music. It gazes alertly around for other robins, beginning to sing its own territory-song. Sighting the paper crane inside the large wicker bird cage, the robin charges. It swoops down inside the large wicker bird cage and begins to batter the folded paper unmercifully. \"And stay away, ya stupid bird!\" cries the apple tree, leaves rustling gleefully.\n\n> You close the cage\nClosed.\nThe crank turns, and the music box plays. The sound of a crackling fire, blazing away, comes from the box.\n\n> You ask the tree about the apple\n\"You can have one or two, I suppose.\"\nThe crank turns, and the music box plays. The sound of wind-chimes\nin a gentle breeze comes from the box. Finally having demolished its opponent, the robin whistles a victory song. It turns to leave the large wicker bird cage, only to discover the large wicker bird cage has been closed around it. It batters itself against the wall for a few minutes, until it finally gives up and takes a perch inside. \"Oh, thank you thank you thank you!\" calls the apple tree. \"You've gotten rid of that dratted robin for good! I can nap again! No more stupid nests, no more stupid chirping in the mornings when I've got my head-aches. If there's anything I can do to repay you, just ask!\"\n\n> You ask the tree about the kite\n\"I suppose you want it? I guess I owe you one. Here.\"\nThe tree's branches start to shake for a bit. The kite-like thing is dislodged, and slides down to the ground. It looks like it's a hang-glider.\n\"Tweet-tweet!\" goes the robin.\n\n> You take kite\nTaken.\n\n> You check your inventory\nYou have a music box, a glass bottle, a small fly, and a hang-glider. The glass bottle seems to contain a small black magnet, a piece of paper, and a heavy stone.\n\n> You look at the stone\nThe rock is oval, fairly heavy, and about the size of an apple or maybe even slightly bigger. Useful as a paperweight, I suppose. You fancy it was in the bottle to weigh the bottle down and keep it from drifting away.\nThe robin glances stealthily around to look for female robins. Must be mating season.\n\n> You examine paper\nWhich paper do you mean, the piece of paper, or the scraps of paper?\n\n> Piece\nIn a easy, flowing script, someone has written on the paper. \"Welcome, child. Please, think things over for a bit, and then come and see me. Be careful.\n--D.\" It's a plain sheet of white paper.\nThe robin chirps.\n\n> You look at the stone\nThe rock is oval, fairly heavy, and about the size of an apple or maybe even slightly bigger. Useful as a paperweight, I suppose. You fancy it was in the bottle to weigh the bottle down and keep it from drifting away.\n\n> You wear the kite\nYou grab hold of the glider bar and adjust your position on it. You're ready to fly! Okay, you're now wearing the hang-glider."
    },
    {
        "text": "> Describe the surroundings\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> You go east\nYou walk for a minute or two, only to feel the ground beginning to slip away. You take a hasty step backwards.\n\n> You examine bottle\nThe bottle is made of glass, but seems fairly sturdy. It has a snap-top allowing it to be firmly closed and sealed, as it is now. The glass bottle is closed.\n\n> Examine scraps\nPoor crane :(\nThe robin glances stealthily around to look for female robins. Must be mating season.\n\n> You go to the north\nYou walk for a minute or two, only to feel the ground beginning to slip away. You take a hasty step backwards.\nThe robin sings selected pieces by Mozart.\n\n> You go south\nYou walk forwards, and again feel the sensation of the ground vanishing. A blast of sweltering heat welcomes you to the desert one more time.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\nYou see a sun-bleached skull here.\n\nYou think you hear a voice behind you. \"Okay, Mom, I'm coming,\" you reply. But when you turn, there is no one there.\n\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\n> You take the skull\nYour load is too heavy.\n\n> You examine the skull\nThe skull has been made fragile and white by exposure to the sun and sand. Two horns sprout from the forehead, and the teeth are long and pointed. It is from no creature you have ever seen before.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from:\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> You drop the kite\nDropped.\n\n> You look at what you're carrying with you\nYou have a music box, a glass bottle, and a small fly. The glass bottle seems to contain a small black magnet, a piece of paper, and a heavy stone.\n\n> You take the stone\nYou'll have to open the glass bottle first.\n\n> You go south\nYou walk for a minute or two, only to feel the ground beginning to slip away. You take a hasty step backwards.\n\n> You open the bottle\nYou pop open the bottle.\n\n> You get the stone\nTaken.\n\n> Go south\nYou walk forwards, and again feel the sensation of the ground vanishing. A blast of sweltering heat welcomes you to the desert one more time.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\nYou see a sun-bleached skull here.\n\n> Go north\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nA single cloud appears in the sky. For an instant, it shifts shape, becoming a bird rising from cold ashes.\n\n> You go north\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\n> You go north\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from:\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage, a hang-glider, and a heavy stone here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> You check what you're carrying\nYou have a music box, a glass bottle, a small fly, and a sun-bleached skull. The glass bottle seems to contain a small black magnet and a piece of paper.\n\n> You look in the skull\nThere's nothing in the sun-bleached skull.\nThe robin sings happily.\n\n> You look at the horns\nThe skull has been made fragile and white by exposure to the sun and sand. Two horns sprout from the forehead, and the teeth are long and pointed. It is from no creature you have ever seen before.\nThe robin sings selected pieces by Mozart.\n\n> You ask the tree about the skull\n\"Sorry, I don't know anything about that. Us trees don't get out much, y'know.\"\n\n> You ask tree about the apple\n\"You can have one or two, I suppose.\"\nThe robin glances stealthily around to look for female robins. Must be mating season.\n\n> You get the apple\nYou reach up for an apple, and the branches bend to drop one into your hand.\n\n> You break the skull\nThe sun-bleached skull shatters into a million pieces!\nThe robin sings happily."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Look around\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A babbling brook softly runs westwards. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage, a hang-glider, and a heavy stone here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> You check what you're carrying\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, and an apple. The glass bottle seems to contain a small black magnet and a piece of paper.\n\n> Go south\nWalking south eventually takes you to a rocky cliff-top.\n\nCliff top, by a waterfall\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream winds its way between the rocks, widening as it goes, only to curve eastwards and finally pour off the edge of the cliff in a glorious waterfall. A cloud of water vapor is visible down below, as the stream crashes to the ground and starts to move normally again.\n\n> You wear the kite\nYou grab hold of the glider bar and adjust your position on it. You're ready to fly! Okay, you're now wearing the hang-glider.\n\n> You jump\nIf you want to get off the cliff, a few steps east will do it.\n\n> You go to the east\nYou walk out to the very edge of the cliff, and look down at the steep drop-off below. The wind tugs at you playfully up here, making you vaguely nervous.\n\n> Go east\nYou step off the cliff ...\nAnd soar into the air. The transition from land to sky is a bit tricky, but you get the hang of it fast. You're still dropping in altitude, though. (Of course, compared to how fast you'd be dropping without a hang-glider, you're doing great.)\n\nYou are riding the winds on the hang-glider. Below you and to the west, the cliff's base is easily apparent, as is the waterfall pouring down it. When it strikes the ground, the water resumes its normal course as a river, flowing eastwards. The ground below you is covered with scattered rocks and such, and not many grasses.\n\n> You go to the west\nUh, there is a cliff in the way, in case you hadn't noticed. You can't maintain this flying in circles forever. You'd better find a good place to land.\n\n> You remove the kite\nIt was Heinlein, I believe, who said that the only crime is stupidity, and the punishment is always death. This would be a good demonstration of that.\n\n> You go to the east\nYou steer the glider eastwards. \"Hey, this flying stuff isn't so bad,\" you think to yourself. \"Just gotta push this way to turn left, this way to turn right and --\" Your thoughts are interrupted by a large object which suddenly looms in your path. Luckily for you, it is a fairly soft one. You tumble to the ground in a large heap of glider-and-person, and look around to see yourself surrounded by giant mushrooms ...\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west.\n\n> You examine the mushrooms\nYes, they're giant mushrooms. Perhaps a dozen feet high, with broad caps that block out much of the sunlight. All different colors, and many have spots and splotches of various hues, too. Still, the dim light makes them look shadowy and strange rather than ridiculous. A spiderweb hangs from between two giant red mushrooms. Sitting on the spiderweb, a brown spider watches you with beady eyes. Below, a small (ie, normal-sized) gray mushroom pokes up from the ground into the strands of webbing. The spider scurries around the web, surprisingly quickly. It seems to be changing the strands of the web. To your amazement, words begin to form on the web, carved out in strands of gossamer silk.\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"Altered visions\".\n\n> You examine the gray mushroom\nThe mushroom is small and gray, yet somehow enticing. It's nearly impossible to make out more about it, because of the strands of spider-silk that have been wrapped around its cap.\n\n> You examine the red mushroom\nYes, they're giant mushrooms. Perhaps a dozen feet high, with broad caps that block out much of the sunlight. All different colors, and many have spots and splotches of various hues, too. Still, the dim light makes them look shadowy and strange rather than ridiculous. A spiderweb hangs from between two giant red mushrooms. Sitting on the spiderweb, a brown spider watches you with beady eyes. Below, a small (ie, normal-sized) gray mushroom pokes up from the ground into the strands of webbing. The spider scurries around the web, surprisingly quickly. It seems to be changing the strands of the web. The old words are removed, and new words take their place.\n\n> You check what you're carrying\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, an apple, and a hang-glider (being worn). The glass bottle seems to contain a small black magnet and a piece of paper.\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"All are doomed to die\".\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"All are doomed to die\". The spider scurries around the web, surprisingly quickly. It seems to be changing the strands of the web. The old words are removed, and new words take their place.\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"Reborn in fire\".\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"Reborn in fire\". The spider scurries around the web, surprisingly quickly. It seems to be changing the strands of the web. The old words are removed, and new words take their place.\n\n> You read web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out \"Truth in death\".\n\n> You examine the spider\nIt's a brown spider. You seem to vaguely recollect it from a naturalist class you took once: the brown recluse. Deadly venom, you remember the teacher saying. The many eyes glitter at you. The spider scurries around the web, surprisingly quickly. It seems to be changing the strands of the web. The old words are removed, and new words take their place.\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out only a single word this time: \"Phoenix\".\n\n> You go south\nTaking more than a few steps in any direction while wearing a large glider is rather beyond your capabilities.\n\n> You go to the west\nYou walk until you reach the base of a waterfall.\n\nYou are near the banks of the east-flowing river that starts from\nthe nearby waterfall. The ground is covered with large numbers of scattered rocks, all shapes and sizes. Not much grass grows here. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You examine the rocks\nThe same basic sorts of rocks and scree and such that you see all over this place. The only difference in this area is that there's lots and lots of the rocks, enough to force you to follow the twisted paths in between them when they're too big to climb over.\n\n> You examine mist\nWhich mist do you mean, the strange haze, or the cloud of water vapor?\n\n> You look at the cloud\nWhich cloud do you mean, the white clouds, or the cloud of water vapor?\n\n> You examine the haze\nThe air becomes strangely hazy once it gets too far away from you. You can make out nothing but vague shapes through the haze.\n\n> You look at the water vapor\nThe waterfall creates a vapor cloud when it crashes to the ground nearby. The wind blows water droplets onto your face.\n\n> You examine the white clouds\nI don't know the word \"shapes\".\n\nSome white clouds drift through the sky, blown by the wind.\n\n> Go west\nThe cliff is in the way, silly.\n\n> You examine the water\nThe waterfall splashes down the cliff, forming a large vapor cloud, and becomes a river again, heading east.\n\n> You climb cliff\nThe waterfall makes the cliff impossible to scale."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Look around\nYou are near the banks of the east-flowing river that starts from\nthe nearby waterfall. The ground is covered with large numbers of scattered rocks, all shapes and sizes. Not much grass grows here. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You examine the rocks\nThe same basic sorts of rocks and scree and such that you see all over this place. The only difference in this area is that there's lots and lots of the rocks, enough to force you to follow the twisted paths in between them when they're too big to climb over.\n\n> Go south\nYou walk forwards, and again feel the sensation of the ground vanishing. A blast of sweltering heat welcomes you to the desert one more time.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\n> Go east\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nBorn by the wind, a single whispered word touches your ears: Phoenix.\n\n> Go south\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from: At base of cliff\nYou are near the banks of the east-flowing river that starts from\nthe nearby waterfall. The ground is covered with large numbers of scattered rocks, all shapes and sizes. Not much grass grows here. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You examine the grass\nOnly a few sparse tufts of yellow-brown grass grow between the rocks.\n\n> Go west\nThe cliff is in the way, silly.\n\n> You go to the south\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nA voice speaks from behind a dune. \"This is not the place for you. Go back until you are ready.\"\n\n> You check your inventory\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, an apple, and a hang-glider. The glass bottle seems to contain a small black magnet and a piece of paper.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from: At base of cliff\nYou are near the banks of the east-flowing river that starts from\nthe nearby waterfall. The ground is covered with large numbers of scattered rocks, all shapes and sizes. Not much grass grows here. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You go east\nYou walk eastwards. The river leads into a grove of technicolor mushrooms.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You give the fly to the spider\nDon't want to get that close - better throw it.\n\nI don't know how to give anything to the brown spider.\n\n> You throw the fly\nWhat do you want to throw it at?\n\n> You throw fly at the web\nThe small fly sticks in the web, caught on a thread. The spider scuttles over to investigate the interesting-looking arrival.\n\n> You take the mushroom\nStealthily, not wanting to alert the spider, you reach out and grab the mushroom. Then you see the spider scurrying over on spindly legs, going angrily towards your hand. Things seem to be slowing. You see it leaping towards you, fangs extended, you pull your hand away but it is too late, far too late. The spider's fangs graze your finger for a moment before you throw it off into the bushes. You sigh, examining the mushroom and wondering if it was worth it. Then the scratch mark on your hand starts to throb.\n\n> You check your inventory\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, an apple, and a hang-glider. The glass bottle seems to contain a small black magnet and a piece of paper.\n\n> You go to the east\nEventually the mushroom patch ends, and the river widens.\n\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\n\n> You examine the water\nThe river is filled with glitters and sparkles, some from the sunlight on the quartz. But others don't seem to be caused by that, since sometimes you notice a faint glow in the shadows.\n\n> You examine the glow\nThe light rippling across the wavelets of the river certainly does look a bit unusual.\n\n> You examine the trees\nThe trees are tall, and mossy. If they had any low branches, you could climb them, but since they don't, you can't.\n\n> You look at the sun\nThe sun is high in the sky, as usual. It doesn't seem to be moving, though.\n\n> You look at the quartz\nThe granite stream bed has been almost polished by all the water running over it. Small bits of quartz are exposed in the bare rock, and they sparkle as the sunlight touches them.\n\n> You open the bottle\nIt's already open!\n\n> You take all from the bottle\npiece of paper: Taken.\n\n> You look at the river\nThe river is filled with glitters and sparkles, some from the sunlight on the quartz. But others don't seem to be caused by that, since sometimes you notice a faint glow in the shadows.\n\n> You put the magnet in the river\nThe small black magnet sinks to the bottom of the wide stream.\n\n> You examine the river\nThe river is filled with glitters and sparkles, some from the sunlight on the quartz. But others don't seem to be caused by that, since sometimes you notice a faint glow in the shadows. At the bottom of the wide stream you can see a small black magnet.\n\n> You look at bottle\nThe bottle is made of glass, but seems fairly sturdy. It has a snap-top allowing it to be firmly closed and sealed, but it isn't at the moment. The glass bottle is open. The glass bottle is full of water.\n\n> You enter the river\nYou would be quite unhappy if you got all wet.\n\n> You go east\nYou walk for a minute or two, only to feel the ground beginning to slip away. You take a hasty step backwards."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\n\n> You look at the forest\nThe moss is hanging everywhere off the old trees. It's not terribly interesting, and it's too high up to reach.\n\nI don't know the word \"forest\".\n\n> You examine the flowers\nThe wild flowers grow among the grasses, in a wild assortment of colors.\n\n> You examine the trees\nThe trees are tall, and mossy. If they had any low branches, you could climb them, but since they don't, you can't.\n\n> You go to the south\nYou walk forwards, and again feel the sensation of the ground vanishing. A blast of sweltering heat welcomes you to the desert one more time.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\nThere are no more visions left for you. The desert sun is hot and painful.\n\n> Go north\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from: By a wide stream\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\n\n> You examine the hole\nThe water flows into the hole, making a faint splashing sound. It's too dark to see anything inside.\n\n> You examine the bushes\nThe bushes are quite tangly and spiky. It would be impossible to force your way through them without a machete.\n\n> You enter hole\nEither the hole's too small or you're too big. Besides, you don't want to get all muddy.\n\n> You dig hole\nWhat do you want to dig in it with?\n\n> You check your inventory\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, an apple, a hang-glider, a piece of paper, and a small black magnet.\n\n> You put the apple in the hole\nYour apple floats around on the surface.\n\n> You wait\nTime passes...\nWith only a slight bump, your apple tumbles into the hole and is lost from sight.\n\n> You examine the river\nThe stream only goes a short distance before it flows into a hole in the ground and is lost from sight. You can hear it moving below the ground, faintly.\n\n> You look in the hole\nIt's awful dark in there.\n\n> You enter hole\nEither the hole's too small or you're too big. Besides, you don't want to get all muddy."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> You descend\nThe bushes are much too thick, and much too thorny, for you to force your way through them.\n\n> You fold the paper into the boat\nYou skillfully fold the sheet of paper into an origami boat.\n\n> You examine boat\nIn a easy, flowing script, someone has written on the paper. \"Welcome, child. Please, think things over for a bit, and then come and see me. Be careful.\n--D.\" It's an origami boat, made from white paper.\n\n> You go to the north\nYou return to the mushroom patch.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You examine web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. A small brown spider squats in the center of the web. Behind it, you can see strange designs. The designs appear to be letters. Words, even. You can make out only a single word this time: \"Phoenix\".\n\n> Inventory\nYou have a music box, a glass bottle, a small fly, a sun-bleached skull, a hang-glider, a piece of paper, a small black magnet, and an apple.\n\n> You look at the stream\nThe river runs sluggishly here, winding its way through the mushroom forest. The mushroom-caps throw shadows on the river, making it dark and murky.\n\n> You wait a while\nTime passes...\nThe crank turns, and the music box plays. A rather nice, but short, piece of classical music comes from the box.\n\n> You wait\nTime passes...\nThe crank turns, and the music box plays. The peaceful sound of\nwater running over rocks comes from the box.\n\n> You enter the boat\nI don't know how to enter the piece of paper.\nThe crank turns, and the music box plays. Twitters and whistles\ncome from the box. Birdcalls, you assume.\n\n> You wait\nTime passes...\nThe crank turns, and the music box plays. The sound of a crackling fire, blazing away, comes from the box.\n\n> You examine the mushroom\nThe mushroom is small and gray, yet somehow enticing. It's nearly impossible to make out more about it, because of the strands of spider-silk that have been wrapped around its cap.\nThe crank turns, and the music box plays. The sound of wind-chimes\nin a gentle breeze comes from the box.\n\n> You put the boat in stream\nThe piece of paper floats around on the surface. The piece of paper is now quite soggy.\n\n> You look at the spider\nIt's a brown spider. You seem to vaguely recollect it from a naturalist class you took once: the brown recluse. Deadly venom, you remember the teacher saying. The many eyes glitter at you.\n\n> You fold the paper into the phoenix\nUnfortunately, you don't know the moves to fold the paper into a error: shouldn't see this.\n\n> Go south\nYou follow the river branch to the south.\n\nThe river from the mushroom forest ends here. It drains into a\nsmall hole in the ground, making a quiet gurgling noise as it does so. Meanwhile, the ground around it has become more muddy, and the mushrooms have disappeared. They have been replaced with tangled bushes that block the way in all directions except back north.\n\n> You examine the boat\nThe ink is rather smeared and the paper is a bit damp, but it's still possible to make out what has been written on the paper. \"Welcome, child. Please, think things over for a bit, and then come and see me. Be careful.\n--D.\" It's an origami boat, made from white paper.\n\n> You wait a while\nTime passes...\nThe spider begins to spin webbing around the fly, wrapping it up firmly in silk.\n\n> You get the mushroom\nStealthily, not wanting to alert the spider, you reach out and grab the mushroom. Then you see the spider scurrying over on spindly legs, going angrily towards your hand. Things seem to be slowing. You see it leaping towards you, fangs extended, you pull your hand away but it is too late, far too late. The spider's fangs graze your finger for a moment before you throw it off into the bushes. You sigh, examining the mushroom and wondering if it was worth it. Then the scratch mark on your hand starts to throb.\n\n> You wait\nTime passes...\nFinally, the spider realizes that it's not dealing with a real fly. Disgustedly, it tosses the silk-wrapped bundle away."
    },
    {
        "text": "> You describe your surroundings\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You go to the north\nYou return to the mushroom patch.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You throw fly at the web\nThe small fly sticks in the web, caught on a thread. The spider scuttles over to investigate the interesting-looking arrival.\n\n> Go south\nYou follow the river branch to the south.\n\nThe river from the mushroom forest ends here. It drains into a\nsmall hole in the ground, making a quiet gurgling noise as it does so. Meanwhile, the ground around it has become more muddy, and the mushrooms have disappeared. They have been replaced with tangled bushes that block the way in all directions except back north.\nFor a moment, you stumble as a wave of dizziness strikes.\n\n> You eat the mushroom\n\"Well, things can't possibly get any worse, can they?\" you think, examining the mushroom. You tenatively take a small bite. It doesn't really taste like anything special. Not very good at all, more like stale cardboard than anything else. But you take a second bite, and then a third bite. Everything seems to get very quiet around you.\nJust you, and the bushes. And the mushroom, and the venom in your blood. Your finger seems to be hurting less, or perhaps hurting more and you aren't feeling the pain. You take another bite, and choke on the piece for a minute before it goes down your throat dry. Your forehead is on fire, you're going to burn up. The bushes are rustling and waving their thorns at you. You cough on the next piece, but swallow it. Is there a bee-hive nearby? The humming in your ears seems to suggest that, or perhaps you're going mad . . .\ngoing mad\ngoing mad\nYou take a bite. How many is this? Six bites? Seven? Too hard to count now, too hard to think. Just eat. You feel strangely detached from everything, able to realize you have pain and are in serious trouble from the spider-bite, but at the same time just watching it all happen to your body. Finally, sweet release. The mushroom tumbles from your hand, and hits the ground almost at the same time you do . . .\nEverything goes away for a little bit, and you drift into blackness.\n\nYou are awakened by a voice calling your name.\n\nThe river from the mushroom forest ends here, draining into a small hole in the ground. The way is blocked by tangled bushes that reach out at you on all sides except northwards. The ground is soggy and muddy, and makes little slurping and drooling noises as you walk over it.\nYou, or a long-lost twin at least, are standing here.\n\n\"Listen, I know this is kind of strange,\" the\nperson-who-looks-like-you says. \"But listen to me. You have got to figure out what's going on here. I can't help you out with it, either. I'm just a hallucination.\"\n\n> You look at the hole\nThe water flows into the hole, making a faint splashing sound. It's too dark to see anything inside.\n\"Pay attention!\" your double says, impatiently. \"There's no time. They're everywhere, and pretty damn soon we'll be falling off that cliff again. Here's what you have to do: keep exploring this place, and find Daniel. He'll explain everything once you find him.\"\n\n> You ask double about Daniel\nYou don't seem to notice your questions.\n\"Right now, there'll be some others coming along to help you walk\nyour path,\" says the figure, \"Listen to your ghosts. You're protected some here, but it won't last forever. *They* are everywhere. Be careful, and look for the others.\"\n\n> You enter hole\nEither the hole's too small or you're too big. Besides, you don't want to get all muddy.\n\"C'mon, let's go,\" the you-hallucination says. \"Hurry, hurry. Try\nand remember everything you see. It's all got to fit together.\"\n\n> You go to the north\nYou return to the mushroom patch.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nAmidst the mushrooms\nYour strange state of mind makes the mushrooms even more peculiar\nthan they already are. Or perhaps now they're normal, because you're strange ... In any case, they seem to loom over you, colors ranging from bright to menacing, and sometimes changing even as you look at them. The path of the river splits, one branch meandering south as the main river continues to run east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nZippy barks excitedly at you. He runs over and sniffs your feet,\nand then tries to lick your face. You don't feel anything as he does so, and his barks seem faint and shadowy, as if from a long distance away.\n\n> Pet zippy\nYou reach out to pet Zippy. Sadly, your fingers slip through and you can make no contact. He whimpers sadly.\nZippy sniffs the air and turns his head this way and that, as if looking for something.\n\n> You read the web\nThe spiderweb is composed of long, lacy strands, like fine silk or long hair. It seems to shimmer in the snatches of sunlight that filter in. Strange designs are visible in the web. The designs appear to be letters. Words, even. You can make out only a single word this time: \"Phoenix\". Hanging in the web, you see a small fly.\nZippy whines quietly. He trots a short distance, then comes back to sit at your feet again.\n\n> You take the fly\nTaken.\nZippy barks shrilly, and then looks at you. His eyes are wide and a little panicky. He seems to want you to get moving.\n\n> You go to the east\nEventually the mushroom patch ends, and the river widens.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nBy a wide stream\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. Strange glowing fish are swimming around quite happily in the water. Many are swimming against the current, seemingly without effort. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\nZippy glances at the water, and then begins to bark loudly at the lightfish for a few minutes. He turns and looks at you expectantly. \"Hello, boy,\" great-aunt Polly says. \"Never expected to see me\nagain, did you? I see you've turned into a grown man already. Well, well. I only wish I was alive to see it.\" She sighs.\n\n> You look at fish\nThe lightfish seem to glow as they swim about in the river. Perhaps it's just sunlight on scales, but perhaps not. Furthermore, it's hard to tell what size they are. Sometimes they seem as long as your arm, and sometimes some are only fingerlings. Maybe it's just the lighting in here. In any case, they swim around and around in complex patterns as you watch. It's almost as if they're trying to tell you something. \"Still, this isn't so bad. Daniel brought me back to talk to you.\nI'm glad I got this chance to see you again.\" Polly sighs again.\n\"It's only a pity it had to be under such circumstances.\"\n\n> You ask Polly about Daniel\nYour great-aunt Polly doesn't seem to notice your questions.\n\"There's a lot going on here, boy, more than you can know. And your life is pretty screwed up, too. I've seen a little of the things you've gotten into. Not good. I know it's all part of the great story, but it still hurts me to watch you destroy yourself. I did what I could for you when I was alive, but here the rules are different. Daniel said it was for you to explore within yourself, without help, and I guess he's right. You'd better go see him next, and then you had best be finding your dad. A good man, your dad. But he went in the same way I did ... _They_ got him. I can only pray you'll be different.\" Aunt Polly falls silent for a minute.\n\n> You look in yourself\nWhich me do you mean, you, or yourself?\n\n> You look in myself\nYou look about the same as always.\n\"I'd like to help you out more'n this, but Daniel said I mustn't.\nOnce you find your father, lad, everything will get explained. I'd like to come along and walk with you for a bit, though. I don't got many chances to see you nowadays. Only when the worlds are right.\"\n\n> Go east\nYou walk forwards. Tendrils of sparkling white mist begin to spiral upwards from the ground. As you keep going, the mist gets thicker.\nAnd more solid. After five steps, it feels like you're trying to push through a pillow. After ten steps, you can't go any farther. Disgruntled, you finally must retreat.\n\n> Go west\nYou walk until you see the mushrooms ahead.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nAmidst the mushrooms\nYour strange state of mind makes the mushrooms even more peculiar\nthan they already are. Or perhaps now they're normal, because you're strange ... In any case, they seem to loom over you, colors ranging from bright to menacing, and sometimes changing even as you look at them. The path of the river splits, one branch meandering south as the main river continues to run east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You go to the west\nYou walk until you reach the base of a waterfall.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nAt base of cliff\nIn your slightly altered state, the waterfall seems to flow with\nbright diamonds that crash to earth only to twist into a river of shining silver. The rocks now form a maze that you could lose yourself in if you aren't extra-careful. Tufts of green grass, glowing with life, sprout in between the stones, and the roar of the water is loud in your ears. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You examine the maze\nThe twisted paths wind their crazy way between the rocks.\n\n> You go to the east\nYou walk eastwards. The river leads into a grove of technicolor mushrooms.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nAmidst the mushrooms\nYour strange state of mind makes the mushrooms even more peculiar\nthan they already are. Or perhaps now they're normal, because you're strange ... In any case, they seem to loom over you, colors ranging from bright to menacing, and sometimes changing even as you look at them. The path of the river splits, one branch meandering south as the main river continues to run east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You go to the south\nYou follow the river branch to the south.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nEnd of path\nThe river from the mushroom forest ends here, draining into a small hole in the ground. The way is blocked by tangled bushes that reach out at you on all sides except northwards. The ground is soggy and muddy, and makes little slurping and drooling noises as you walk over it.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You go north\nYou return to the mushroom patch.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nAmidst the mushrooms\nYour strange state of mind makes the mushrooms even more peculiar\nthan they already are. Or perhaps now they're normal, because you're strange ... In any case, they seem to loom over you, colors ranging from bright to menacing, and sometimes changing even as you look at them. The path of the river splits, one branch meandering south as the main river continues to run east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You examine the mushrooms\nYes, they're giant mushrooms. Perhaps a dozen feet high, with broad caps that block out much of the sunlight. All different colors, and many have spots and splotches of various hues, too. Still, the dim light makes them look shadowy and strange rather than ridiculous. A spiderweb hangs from between two giant red mushrooms.\n\n> You climb them\ngiant mushrooms: The mushrooms are too slippery, and there are no footholds available.\n\n> You go east\nEventually the mushroom patch ends, and the river widens.\n\nThe figment of you walks along beside you, his footsteps making no sound.\nZippy trots along by your side.\nPolly walks along on your other side, moving slowly but somehow keeping up.\nBy a wide stream\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. Strange glowing fish are swimming around quite happily in the water. Many are swimming against the current, seemingly without effort. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou, or a long-lost twin at least, are standing here.\nZippy, your pet dog, is scampering around here.\nYour great-aunt Polly is here, her eyes twinkling merrily at you.\n\n> You take the fish\nYou reach out a hand to grab a fish. The fish begin to swim more quickly, going round and round in circles. As you get closer, their motion becomes more frantic. It's as if some special is about to happen. Suddenly, one fish jumps out of the water, just a little ways. Then a second follows. Then another, and another. Soon all the fish are leaping out of the water and falling. You stop, amazed. The lightfish keep jumping. Very quickly, the jumping becomes more organized. The fish are actually forming lines in the water to jump. So many fish are jumping, you wonder how the river could possibly contain them all. Each fish leaps, arcs overhead up almost six feet, and then splashes into the water again. So many are jumping that the individual forms become indistinguishable. It's as if there's just a single arch of glowing light, rising from the water. And it is an arch, or rather, a doorway. The air within the arch suddenly goes inky black. The stark contrast to the lighted edge is amazing. Within the blackness, you see a few harsh points of light, stars. But all the rest is pure ebony darkness. The fish continue their jumping. The arch beckons.\n\n> You enter the arch\nYou take a step towards the archway. Below you, the water rushes away from your feet, leaving a dry path to walk upon. The arch seems to glow even more. The second step brings you closer, and the third step is through the gate. \"Goodbye, boy,\" Polly calls, her voice thin and weak. Zippy barks once, and then all sound is shut out as you pass into the archway.\nThe sun winks out immediately, replaced by black. Harsh stars glow in the silent sky. The wind is cold. You land on ice.\n\nA chill wind whips you as you stand on the icy surface here. In all directions, you see only ice, stretching out even to the horizon. No tracks mark the ground ... perhaps you are the only person ever to have come here. The sky is black, and the only light is starlight from the strange constellations above your head.\n\n> You read the stars\nThe stars aren't important. It is eerily quiet here. The wind makes no sound, and the stars above are silent. Only the small, small scraping of your feet on the ice can be heard. Then, overhead, a star gleams.\n\n> You look at the star\nA single star directly above you seems to glow brighter than the rest. The star begins to streak across the sky, leaving a silver trail behind it. In fact, it seems to be getting closer, increasing in size.\n\n> Continue\nThe star is huge, as big as the moon, and just as pale white. The star is so big! It must surely swallow up the lake and everyone on it! Until, in a flash of light, it is gone. And you are no longer alone."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nA chill wind whips you as you stand on the icy surface here. In all directions, you see only ice, stretching out even to the horizon. No tracks mark the ground ... perhaps you are the only person ever to have come here. The sky is black, and the only light is starlight from the strange constellations above your head.\nA tall figure in shimmering white stands here. You suddenly realize this is Daniel.\n\n> You examine Daniel\nDaniel is humanoid, perhaps seven feet in height, and cloaked in shimmering white robes. His eyes are deeper than those of any mortal you have ever seen, but even they are not deep enough to contain the infinite wisdom and infinite sorrow you see inside. Daniel looks at you for a minute, then smiles softly. He begins to speak.\n\"I'm glad you've come. I suppose you'd like a little explanation\nnow?\"\n\"Well, yes, I would --\" you start to say, only to realize that's not what you're actually asking. The small words that somehow tumble out of your mouth are \"Daniel ... are you ... y'know . . . God?\"\nHe smiles that smile at you again, and shakes his head. A hand\nreaches out to brush your hair softly. \"No, child, I'm not God. Only . . only a fallen angel.\" The look of regret in his eyes is almost more than you can bear.\n\"But let me explain things a little better for you. You're\nconfused, tired, scared. Let me help.\" Daniel's smile this time is dazzling, not tired. \"Let me help you.\"\n\n> You wait awhile\nTime passes...\n\"To begin with -- where to begin with? Let me tell you a story. In the beginning, my son, it is said that when humans were just beginning to live on the earth, there were the angels in heaven. And the angels looked down on the humans, and laughed to see their petty squabbling, their jealousies, their wars, their many imperfections. The things that made them mortal. And the angels would look at one another, and mock the humans on earth, and talk about how much better *they* could do if they were down there. One day, they were given their chance.\nGod took the four most boastful of the angels, and sent them down to earth. \"Go and live amongst the humans,\" God said, \"And return to Me in a year and a day, to say what you have learned.\" So the angels came to earth. And though their descent had stripped their magic from them, the angels were still fair of face, strong and noble of body, and goodly to look upon. And the angels walked amongst the people, and saw them as mortals see each other.\"\n\n> You wait a while\nTime passes...\n\"The angels tarried with the people for less than a fortnight before they had established themselves as braver, nobler, more beautiful, stronger, in all ways better than the humans. Or so they believed. Drunk on flattery from their new-found admirers (for among the angels in heaven, their attributes were nothing special), the four angels married the sons and daughters of the people, and made residence with them. There was much rejoicing in the houses that the former angels joined, and much celebration. Wine was brought out, a thing the children of the sky had never tasted before. There was merrymaking and great feasting.\nThe angels lived on earth for many months. In that time, they lost\nall the virtues that they had come with. One took to brigandry, using his strength and cunning to waylay and rob the rich and terrorize and abuse the poor and helpless. One took to gambling -- her near-divine intuition was unsurpassed, and when that failed her, her marked cards and easy blackmail did not. The third became a war- lord, and she sought to conquer all the world. The last became a sorcerer, performing dark rites and blood sacrifices for power to replace that which he had lost in his fall from heaven.\"\n\n> You wait\nTime passes...\n\"So the days passed, and so the months passed, and so the year\npassed. Finally, the entire year ended. In but two hours, the final day would end as well, and the angels' stay on earth would end. And none of the four remembered, none recalled, none cared. So, when the call came and they flew up to the sky, their mortal baggage was brought along. Raphael still held his daggers and looted gold, and the scars that he had gained. Lilith still clasped a palmed die in one hand, and a wine-skin in the other. Jaela held her sword, steeped in the tears of the innocent. And Daniel --\" Daniel's voice chokes for a minute, then he continues. \"Daniel still held his black book of sorcery, and his sacrificial dagger, wet with baby's blood. God gazed upon the four angels, and the angels gazed upon themselves. And they were ashamed. God spoke to them, and to the assembled angels. \"I reject thee, now. Because of the pridefulness that is within all, heaven's gates are closed to you forevermore. Go forth, back to the lands from whence you came. You are angels no more.\"\nThe four who had gone to earth took special punishment. Raphael was sent, in his strength, to hold the Earth in its course. Lilith, in her cunning, was sent to tease the rivers into their courses, and the seas into their proper basins. Jaela, with her might, was given the storms and skies to oversee, for all eternity. And Daniel was sent forth to the stars, a lonely wanderer, forevermore.\"\n\n> You wait\nTime passes...\n\"As you may have realized, you are a chosen one, a Phoenix. Within\nyou is the potential for great power, and much magic. When the need is here, you must awaken it. And the need *is* here. Earth is threatened. This time, it is from within. Evil works through man, this time, through bribed senators and corporate thugs. The world leadership is almost all either unknowingly or knowingly helping evil, preparing the way for the enemy to take over. Because the invaders are here again too.\nThey were driven off once by angels, but now they have returned, and there are no angels left who can stand against them. Only mortals. Phoenix, you must rise up. Already, *They* recognize you for what you are. Already, they have struck against you. I think you know when. The last time was on the cliff. They had hoped to kill you, and eliminate the final threat, but you were snatched out of reality for an instant. I hastily pulled together snatches of Reality and wove them into a place for you to stay in. The action took great effort, and I am very tired. But I was tired before. I brought you here because you must awaken. And perhaps so that you can see Truth a bit more clearly. It is true that the invaders have been working against you, yet many\nof the troubles in your life are your own doing, you know. Before you return home, you must confront them, and yourself. Then you can fly as a Phoenix must, because only a Phoenix can save the world now.\nThis place--\" Daniel gestures with one shapely hand \"is not quite\nthe same as where you were before. The spider venom should have killed you, as should the huge dose of mushroom that you took. But instead, you came to me, to this dream-land that I live in. In a minute, I will put you back in to the place you left, and give you some time to finish thinking about things. But first, perhaps you have some questions about things?\"\n\n> You ask Daniel about the tree\n\"Ah, yes. A bit rude, but a heart of gold. I think.\"\n\n> You ask Daniel about the gazebo\n\"I rather like the gazebo. It's dreadfully symbolic, and quite pleasant to spend time in. Or on top of. I never did get around to putting a proper stairway to the roof though.\"\n\n> You ask Daniel about the sun\n\"I think you've noticed the sun doesn't move. Time is different\nhere -- it's more under your control. You'll understand in a bit, I expect.\"\n\n> You ask Daniel about the waterfall\n\"The river symbolizes life, in a way. It springs from nowhere and\ngoes to nowhere when it ends. 'Ashes to ashes and dust to dust, as it were.'\" Daniel pauses for a minute. \"Before you leave here, you will have to stop the river.\"\n\n> You ask Daniel about robin\n\"A bit too symbolic, perhaps.\"\n\n> You ask Daniel about the magnet\n\"I'm sorry,\" Daniel says, \"But I don't understand what you mean.\" Daniel frowns suddenly, glancing upwards at the stars. \"It's time\nfor you to go,\" he says.\nDaniel gestures, and an arch appears. This one is shining silver,\nlike the stars overhead. He points, and you step through. The lake, the sky, the wind, everything dissolves. Daniel's parting words drift after you, as he too vanishes: \"My regards to your father ...\"\n\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. Strange glowing fish are swimming around quite happily in the water. Many are swimming against the current, seemingly without effort. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYour father stands here.\n\n> You examine father\nYes, it's your father. The man that left you when you were only six years old, leaving nothing but memories behind. He never, ever even bothered to call, even on your birthdays. Your mother never talked about him much, but when you got older, you realized his departure was probably responsible for her drinking problem, at the very least. Bastard.\nThe years seemed to have aged him deeper than they should have, but\nof course it's hard to tell. His eyes are still the same burning blue that you remember from long-ago dreams.\n\"Hello, son.\" Your eyes open wide as you seen the man.\n\"D-D-Dad? Is that you?\"\nYour father nods, slowly. \"Yeah, it's me.\" He looks at you.\n\"You've grown up.\"\nAnger returns, almost involuntarily, as he speaks. \"Yes, I have.\nBut you wouldn't know, would you? You never came to see me.\" Your voice is already trembling.\nHe looks pained, and suddenly shivers. He starts to speak, stops,\nand starts again. \"I, I, I can't say much except ... 'sorry'?\"\nYou interrupt his next words with a shout. \"Sorry? Sorry??? You bastard, you left me alone, left Mom to drown her sorrows with all her fucking six-packs, and all you can say is 'sorry'??\"\nYour father seems staggered by the outburst. Each word strikes him like a blow. \"I *am* sorry, so very very sorry. I just couldn't handle it. Having a child, losing my job ... I stuck it out as long as I could, and then I ran. Left one night, walked out the door, never came back ... I'm sorry.\" He seems close to tears.\n\"Dammit, Dad, how could you do this? Coward.\" He shrinks away as\nyou talk. You keep going, forcing him back. \"You left me. You abandoned us. You sent my life into a tailspin. Me, the last hope for this crazy planet, me, the Phoenix, you ruined me. You realize what you've done?\"\nYour father stands up straight then, and looks at you for a long minute. When he speaks, his voice is firm again, and clear. \"I'm sorry. It was inexcusable. I had no right to run. But you don't either.\"\n\"What? What the hell are you talking about? You're the problem\nhere, not me.\"\n\"Son, listen to me. *Listen* to me. When I ran, it was running\naway from myself. You see ... the Phoenix is carried by bloodlines. When I was young, I was Phoenix too.\"\nYou are too shocked to speak, so he continues. \"Yeah, that's right. The Phoenix is genetic. But it fades as you get older, passes along to the young and vigorous. Your great-aunt had it too, though not as strong as I saw it in you. Don't you see why I ran? I knew what my childhood was like ... things going wrong for me in school, at home, the accident that took both *my* parents away. I couldn't bear it twice, to see it happen to my child as They tried to get him too. I just couldn't. So I ran away. Maybe I hoped, even, to draw Them away from you. I was just playing into Their hands, I realize now, but I was still pretty young then. So I ran from you, ran from responsibility, ran from the Phoenix. My gift never awakened. I never flew. You've got to fly now, son, because I never could.\"\nA quick pause, and he speaks again. \"I've been able to watch you a\nfew times, as you grew up. I saw you take the same paths I took, suffer the same things I did. And I was never able to warn you. It was agony. Finally, They did get me after all -- a mistaken drive-by shooting, the police said -- and Daniel came to collect me. *You* have got to break the pattern now. Leave the cycle, and go fly free.\" His voice stumbles to the end of the speech, and he takes a long shuddering breath. \"Break the cycle. For me.\" His hand stretches out to you. You slowly raise yours to meet his shadowy touch. It is like touching air, almost, but not quite.\n\"I forgive you, Dad.\" The words bring sweet release as you say\nthem, starting the healing of too many lost years.\nHe smiles, the first smile of his you've seen since you were six. \"Thanks.\" His hand reaches into his pocket, and he pulls something out. It drops onto the ground and rolls to your feet. A bit of a grin comes to your father's face, and he says \"Bust things wide open.\" He looks at you for a long time, and then says one last word. \"Goodbye.\" Already, he is fading, and before the echo of the word has disappeared, he is no longer there. Your father is gone, forever.\n\"'Bye, Dad.\" You speak to the empty air, then bend down to see what\nhe left you.\nIt seems to be one of the relics of the army stuff you remember he\nused to collect: a hand grenade. A curious gift, but surely he would have known what you needed right now.\n\n> You examine the grenade\nIt's a hand grenade. Vaguely oval-shaped, and roughly the size of an apple. You remember your dad used to collect them before - well, before he left. Seems to be in working condition, too. Of course, there's only one way to find out, and that's pulling the pin . . ."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou see a hand grenade here.\n\n> You take the grenade\nYour load is too heavy.\n\n> Inventory\nYou have a music box, a glass bottle, a sun-bleached skull, a hang-glider, a piece of paper, a small black magnet, an apple, and a small fly."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You describe your surroundings\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou see a hang-glider here.\n\n> You go west\nYou walk until you see the mushrooms ahead.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> Go south\nYou follow the river branch to the south.\n\nThe river from the mushroom forest ends here. It drains into a\nsmall hole in the ground, making a quiet gurgling noise as it does so. Meanwhile, the ground around it has become more muddy, and the mushrooms have disappeared. They have been replaced with tangled bushes that block the way in all directions except back north.\n\n> You pull the pin\nYou yank the pin out. The grenade begins to hiss softly, like sand running through an hour glass (or, in a different sort of metaphor, like a fuse burning quickly).\n\n> You put the grenade in the hole\nThe hand grenade sinks to the bottom of the short stream. Getting all wet can't be good for grenades.\n\n> You go to the east\nEventually the mushroom patch ends, and the river widens.\n\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou see a hang-glider here.\n\n> You take the grenade\nYour load is too heavy.\n\n> You put the grenade in the bottle\nYou drop the hand grenade into the water-filled bottle.\nThe hand grenade sinks to the bottom of the glass bottle. Getting all wet can't be good for grenades.\n\n> Empty bottle\nYou empty the glass bottle.\n\n> You pull the pin\n(Taking the hand grenade first)\nTaken. You yank the pin out. The grenade begins to hiss softly, like sand running through an hour glass (or, in a different sort of metaphor, like a fuse burning quickly).\n\n> You put the grenade in the bottle\nThe grenade trembles a bit. You start thinking about getting rid of it.\n\n> Close bottle\nYou close the bottle, firmly sealing it.\n\n> You put the bottle in the hole\nThe glass bottle sinks to the bottom of the short stream.\n\n> You go to the north\nYou return to the mushroom patch.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see there is a split in the now-sluggish stream here, one branch going south and the main branch running east-west. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You go to the east\nEventually the mushroom patch ends, and the river widens.\n\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A stream runs through the forest here. It is wide but shallow, allowing you to see the granite ground below it. Small bits of quartz are embedded everywhere in the granite, and they sparkle and glimmer as the sunlight shines on the moving water. But occasionally, you see other bright flashes in the water that don't seem to be caused by the sunlight. The stream passes into the forest to the east, and is quickly lost amongst the trees.\nYou see a hang-glider here.\n\n> You wait\nTime passes...\nThe ground trembles for a minute. \"Grenade must have gone off,\" you think to yourself. There is a distant clanking from deep down below ground-level, followed by a muffled cracking noise. Then a sound like water rushing, far away. A few seconds later, a gurgling noise attracts your attention, and you look over at the stream. The water is rushing away over the granite, leaving the bare rock exposed. Within moments, the stream has vanished."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Look around\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A wide stream-bed runs through the forest, strangely devoid of water. It is granite, with small pieces of quartz embedded, that shimmer in the sunlight.\n\n> Go west\nYou walk until you see the mushrooms ahead.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see only muddy puddles where the stream once drifted. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> Go south\nYou follow the river branch to the south.\n\nMud, and more mud, surrounds the hole in the ground here. Tangled bushes block the way in all directions except north, and there is no sign of the stream.\n\n> You go north\nYou return to the mushroom patch.\n\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see only muddy puddles where the stream once drifted. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You go to the west\nYou walk until you reach the base of a waterfall.\n\nThe river used to flow from here, when the waterfall was still\nworking. Now it's ceased, and so has the river, leaving only a rocky stream bed behind. The wild grasses still poke out between the rocks, though, just like before. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You climb the cliff\nYou carefully grip a jutting-out rock, and begin the climb.\n\nYou are climbing on the rocky cliff face. The waterfall is no\nlonger here, but the rocks are still a bit damp. Below you are scattered rocks and such, and scattered tufts of grass. Nearby, a small cave leads into the cliff and darkness.\n\n> Go inside\nYou cautiously enter the cave.\n\nIt's not as dark in here as it looks from the outside. Some\nsunlight still filters into the cave to illuminate the (stone) floor. The exit is east.\n\n> Go west\nThe only way out seems to be to go out through the cave mouth.\n\n> You examine the floor\nThe floor is your basic stone cave flooring, not much carpet or linoleum or the like. There is, however, a small knob set into the floor here. There's nothing on the ground.\n\n> You examine the knob\nIt's one of those enticing-looking small knobs you see around. It's just asking to be pulled.\n\n> You pull it\nYou give the knob a tug. It sticks for a second, and then slides out a short distance. Almost immediately afterwards, the wall in front of you opens, the floor tilts, and you tumble forwards into darkness . . .\n\nWell, if you've ever wondered what was going on, you seem to have\nfound the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen. Sitting on the comfy chair you see a small remote and a handwritten note.\n\n> Handwritten\nThe note reads \"Investigate what's here. The exit is through the screen. The portal won't work until you reflect on things a bit more. --D.\"\n\n> You look at the screen\nThe viewscreen is quite large, taking up most of one wall. Currently, it's blank.\n\n> You examine the chair\nIt looks to be a vaguely familiar chair, small and plush and awful comfortable to sit in.\n\n> You look at the machines\nThe machines are surprisingly cliched. They have strange dials, weird flashing lights, hiss and beep seemingly at random, and expel ticker-tape for no apparent reason at all. Luckily, they've all been sealed behind glass, thus saving you from the temptation of wanting to mess with them."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> You look at your surroundings\nControl Central, in the comfy chair\nWell, if you've ever wondered what was going on, you seem to have\nfound the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen. Sitting on the comfy chair you see a small remote and a handwritten note.\n\n> You look at the remote\nLike a tv remote. Almost identical, except that whereas a tv's remote would be labelled things like \"Channel 1\" and \"Rewind,\" this is mostly unlabelled. It does, however, have no less than two dials (the green one being set to 8, and the black one being set to 0), three buttons (a silver, a yellow, and a blue), and one fancy clear touchpad.\n\n> You examine the dials\nstrange machine dials: They're ordinary dials, spinning or twirling or whatever machine dials do, covered with cryptic symbols and stuff.\nPity you can't touch them.\ngreen dial: The green dial is much the same as all other dials in this world. This one ranges from zero to twenty, and is currently set at 8. black dial: Just an ordinary dial, ranging from zero to twelve and currently set to 0.\n\n> You look at the buttons\nyellow button: It's your basic round yellow button.\nsilver button: The small silver button is labelled \"Piping Repairs (automatic)\".\nblue button: The button is blue. Other than that, it has no distinguishing features.\n\n> You examine the touchpad\nIt looks fancy, like something you'd see in a sci-fi movie. You probably just have to touch it to activate it.\n\n> You touch it\nOne machine lights up, but then there is a sad honking noise and it shuts down again. A mechanical voice crackles out of nowhere. \"Portal access denied.\"\n\n> You stand\nOkay, you're no longer in the comfy chair. Finally, the clanking stops. Instead, it is replaced by the sound of running water."
    },
    {
        "text": "> Look around\nWell, if you've ever wondered what was going on, you seem to have\nfound the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen.\nYou see a hang-glider here. Sitting on the comfy chair you see a handwritten note.\n\n> Inventory\nYou have a music box, a sun-bleached skull, a piece of paper, a small black magnet, an apple, a small fly, a grenade pin, and a small remote.\n\n> You look at pin\nIt's the pin from a grenade. Once it comes out the grenade is triggered to explode in a matter of seconds.\n\n> You turn green dial to 16\nOkay, it's now turned to 16. One of the machines whirrs quietly to itself as you adjust the dial, and a flicker of lights goes across its face.\n\n> You turn the black dial to 12\nOkay, it's now turned to 12. Dials on the machines spin, and a light blinks off, then on again. The viewscreen lights up with a picture. The viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: A burning desert\nJust looking at the scorched and blasted terrain is enough to make\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\n> You turn the green dial to 0\nOkay, it's now turned to 0. One of the machines whirrs quietly to itself as you adjust the dial, and a flicker of lights goes across its face.\n\n> You turn the black dial to 0\nOkay, it's now turned to 0. Dials on the machines spin, and a light blinks off, then on again. The picture on the screen vanishes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's blank.\n\n> You turn the black dial to 1\nOkay, it's now turned to 1. Dials on the machines spin, and a light blinks off, then on again. The viewscreen lights up with a picture. The viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: A grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A muddy ditch lies where the stream used to be. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage and a heavy stone here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> You turn the black dial to 2\nOkay, it's now turned to 2. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: In a garden\nA beautiful garden, bounded by brick walls to the north and west.\nAlas, the stream that flowed once is no longer here, and the dragon's head fountain no longer spouts water. The bushes and flowers remain, but they droop sadly around the muddy ditch where the stream was.\nThe hedge beasts are slowly uncurling their leaves and branches as\nthey prepare to stand.\n\n> You examine the viewscreen\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: In a garden\nA beautifully-sculpted garden, bounded by brick walls to the north\nand west. A stream flows in from the east and curves to flow to the south, slowly drifting through the garden. The brook lazily winds its way under the small bridges and between the large rocks and stone paths that have been placed here. Small, pretty bushes are scattered here as well, each one elegantly trimmed and shaped. In one corner of the garden there is a fountain, shaped like a dragon's head. From the dragon's open mouth flows a steady stream of water, falling into the brook.\nThe hedge beasts are curled up on the ground, practically indistinguishable from the normal hedges.\n\n> You turn black to 3\nOkay, it's now turned to 3. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: An open field\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\n\n> You turn black to 4\nOkay, it's now turned to 4. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: Inside the gazebo\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, making it fairly dim in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall. Also, set into the ceiling, you can see a multi-faceted crystal.\n\n> You turn black to 5\nOkay, it's now turned to 5. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a new place: Atop the gazebo\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You turn black to 6\nOkay, it's now turned to 6. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: Cliff top\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream that flowed here once no longer does, and the cliff-face looks quite bare without the waterfall.\n\n> You turn black to 7\nOkay, it's now turned to 7. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: Climbing the cliff\nYou are climbing on the rocky cliff face. The waterfall is no\nlonger here, but the rocks are still a bit damp. Below you are scattered rocks and such, and scattered tufts of grass. Nearby, a small cave leads into the cliff and darkness.\n\n> You turn black to 8\nOkay, it's now turned to 8. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: At base of cliff\nThe river used to flow from here, when the waterfall was still\nworking. Now it's ceased, and so has the river, leaving only a rocky stream bed behind. The wild grasses still poke out between the rocks, though, just like before. The cliff is impassible to the west (unless you want to climb it), but the other directions are all possible.\n\n> You turn black to 9\nOkay, it's now turned to 9. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: Amidst the mushrooms\nOn either bank of the river, stretching high into the sky, are giant mushrooms. Giant technicolored mushrooms. Red and blue and yellow and green and purple, and most are splotched with splashes of other colors. The mushrooms tower at least a dozen feet above you, perhaps more, and their outstretched caps block out most of the sun. You can see only muddy puddles where the stream once drifted. Between two dusky red mushrooms, a large silver spiderweb has been spun.\n\n> You turn black to 10\nOkay, it's now turned to 10. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: End of path\nMud, and more mud, surrounds the hole in the ground here. Tangled bushes block the way in all directions except north, and there is no sign of the stream.\n\n> You turn black to 11\nOkay, it's now turned to 11. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: By an empty stream-bed\nThis is a clearing in the middle of a forest. Tall trees grow all around, moss hangs from their branches, and there are scattered flowers. A wide stream-bed runs through the forest, strangely devoid of water. It is granite, with small pieces of quartz embedded, that shimmer in the sunlight.\n\n> You turn black to 12\nOkay, it's now turned to 12. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: A burning desert\nJust looking at the scorched and blasted terrain is enough to make\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\n\n> You turn black to 5\nOkay, it's now turned to 5. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a new place: Atop the gazebo\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You touch the touchpad\nOne machine lights up, but then there is a sad honking noise and it shuts down again. A mechanical voice crackles out of nowhere. \"Portal access denied.\"\n\n> You look\nControl Central, in the comfy chair\nWell, if you've ever wondered what was going on, you seem to have\nfound the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen.\nYou see a hang-glider here. Sitting on the comfy chair you see a handwritten note.\n\n> You turn green to 1\nOkay, it's now turned to 1. One of the machines whirrs quietly to itself as you adjust the dial, and a flicker of lights goes across its face.\n\n> You examine the screen\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a new place: Atop the gazebo\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You touch the screen\nYou touch the screen, and are abruptly elsewhere.\n\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You get the remote\nYou already have the small remote!\n\n> You touch the touchpad\nA mechanical voice crackles out of nowhere. \"Portal access denied.\"\n\n> You look at the chain\nIt's a slim chain, made of (apparently) quite nice gold. Attached to the chain is a small crystal sphere. The clear crystal sphere is the size of a large marble. Deep within the sphere, rainbow points of light dance a forever dance, round and round.\n\n> You get it\nJump about though you may, the chain dangles about a yard above your reaching finger-tips.\n\n> You look at the sphere\nThe clear crystal sphere is the size of a large marble. Deep within the sphere, rainbow points of light dance a forever dance, round and round."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> You look around\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You examine the vane\nThe bronze weather vane twists slowly in the breeze. Curiously enough, the figure on it seems to be a turtle. Hanging from the bronze weather vane you see a golden chain with sphere.\n\n> You jump\nYou can't escape *that* easily.\n\n> Inventory\nYou have a music box, a sun-bleached skull, a piece of paper, a small black magnet, an apple, a small fly, a grenade pin, and a small remote.\n\n> You throw the skull at the chain\nYou miss.\n\n> You climb the gazebo\nThe latticed walls have a number of holes in them, making them quite easy to climb.\n\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> You go downward\nYou carefully climb down.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\n\n> You examine the plank\nYou can walk across this plank to reach the opposite part of the field.\n\n> You examine the panel\nA control panel, set into a pillar which juts from the ground. The panel is very simple: it contains only a joystick (which can be pulled left or pushed right), and a status meter. The status meter currently has 4 blocks filled out of eleven.\n\n> You pull the joystick\nYou pull the joystick to the left.\nOne block disappears on the status bar. Something seems different about the area once you look up from the panel. Rubbing your eyes, you suddenly realize what it is. The shadows have changed. A look upwards confirms it: The sun has moved.\nThe shadow of the gazebo moves slowly across the field, as the sun strikes the gazebo from a new angle.\n\n> You enter the gazebo\nYou walk inside the gazebo.\n\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, making it fairly dim in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall. Also, set into the ceiling, you can see a multi-faceted crystal.\n\n> Go outside\nYou exit the gazebo.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\n\n> You go north\nYou walk until you enter a garden.\n\nA beautiful garden, bounded by brick walls to the north and west.\nAlas, the stream that flowed once is no longer here, and the dragon's head fountain no longer spouts water. The bushes and flowers remain, but they droop sadly around the muddy ditch where the stream was.\nThe hedge beasts are curled up on the ground, practically indistinguishable from the normal hedges. Slowly, the hedge beasts start to move again. Leaves start to twist and vines begin to wrap around things as the hedge beasts prepare to begin work.\n\n> You examine the dragon\nThe fountain, as has been mentioned, is made of stone, and shaped like the head of a dragon. The inside of the mouth is damp, but no water emerges.\n\n> You look at the beasts\nWell, I guess they aren't just your ordinary hedges. Definitely a close relative, however, as the hedge beasts still seem to have leaves and branches and such. The hedge beasts are slowly shifting positions as they prepare to move.\nSlowly, the hedge beasts begin work again. One reaches under a bush to retrieve the gardening tools, and hands them (or vines them, I suppose) out to the others. Soon they are industriously raking the paths and pruning the plants.\n\n> Wait\nTime passes...\nThe hedge beasts seem to be getting sleepier. Their movements grow slower and slower. One carefully wipes off the tools on its leaves, and replaces them under a convenient bush. The hedge beasts' movements continue to slow until they stop altogether. They're practically indistinguishable from the other bushes again.\n\n> You look under the bush\nYou search under the bushes. Besides a lot of dead leaves and such, you find some of the hedge beasts' gardening tools. A large wooden bucket, a strange leaf-spade, and a thorny rake, to be precise.\nlarge wooden bucket: Taken.\nstrange leaf-spade: Your load is too heavy.\nthorny rake: Your load is too heavy. Slowly, the hedge beasts start to move again. Leaves start to twist and vines begin to wrap around things as the hedge beasts prepare to begin work.\n\n> You wait for a while\nTime passes...\nSlowly, the hedge beasts begin work again. One reaches under a bush to retrieve the gardening tools, only to find they are not there. The hedge beasts rustle confusedly for a bit, and then begin work anyway. Soon they are doing their best to tend the garden tool-lessly. Eventually, however, the hedge beasts do notice the tools are on the ground, and they pick them up and start using them.\n\n> You check your inventory\nYou have a music box, a sun-bleached skull, a piece of paper, a small black magnet, an apple, a small fly, a grenade pin, a small remote, and a large wooden bucket.\n\n> You take rake\nTaken.\nSlowly, the hedge beasts begin work again. One reaches under a bush to retrieve the gardening tools, only to find they are not there. The hedge beasts rustle confusedly for a bit, and then begin work anyway. Soon they are doing their best to tend the garden tool-lessly. Eventually, however, the hedge beasts do notice the tools are on the ground, and they pick them up and start using them.\n\n> Go south\nYou follow the brook's path out of the garden, and into a field.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\n\n> Inventory\nYou have a music box, a sun-bleached skull, a piece of paper, a small black magnet, an apple, a small fly, a grenade pin, a small remote, and a thorny rake.\n\n> DROP FLY, PIN, APPLE\nsmall fly: Dropped.\ngrenade pin: Dropped.\napple: Dropped.\n\n> Go upwards\nThe only way up from here would be to climb the gazebo.\n(And so you do.)\n\nThis is the roof of the gazebo. The floor (well, roof) below is not latticed like the walls, so it must be quite dark inside. A wall, about six feet high, has been constructed across the gazebo-top. It has no apparent purpose (since you can walk around it to reach the other side of the roof), except to hold a bronze weather vane on top of it. The only good exit from here is to climb down the sides.\nSomething hanging on the weather vane glints in the sunlight.\nFrom up here, you have a view of the open field. Still, it seems\nthat you cannot see quite as far as you should be able to, and the view is distorted and shadowy beyond the edges of the grass.\nHanging from the bronze weather vane is a golden chain with sphere.\n\n> You take chain with the rake\nAha! Reaching up with the rake, you manage to hook a prong onto the chain, and lift it off the weathervane, and from there into your hands."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou carefully climb down.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, and an apple here.\n\n> You look at what you're carrying with you\nYou have a music box, a sun-bleached skull, a piece of paper, a small black magnet, and a small remote.\n\n> You take the marble\nYou already have the golden chain with sphere!\n\n> You look at the stud\nWhich stud do you mean, the stud at six o'clock, the stud at eight o'clock, the stud at ten o'clock, the stud at twelve o'clock, the stud at two o'clock, or the stud at four o'clock?\n\n> Six\nIt's a small metal stud, a flattened hemisphere, located at six o'clock.\n\n> You get it\nAlthough the studs feel loose, you find out they are too small and flat to be removed by hand.\n\n> You put the magnet on six stud\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at six o'clock.\n\n> You get the magnet\nThe stud comes out easily, still attached to the magnet. You pull the two apart.\n\n> You put the magnet on eight\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at eight o'clock.\n\n> You put magnet on ten\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at ten o'clock.\n\n> You put the magnet on twelve\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at twelve o'clock.\n\n> You put the magnet on two\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at two o'clock.\n\n> You put the magnet on four\nWith a small *clink* noise, the magnet suddenly adheres itself to the stud at four o'clock.\n\n> You look at the sundial\nIt's a bronze sundial, on a pedestal. A rather nice sundial too, by the looks of it. It's a pity there's no real sunlight to make it useful. The inscription \"Tempus Non Fugit\" has been printed around the face of the sundial, and there are also six holes cut into the bronze (formerly covered by metal caps). In the dim light, you notice the sparkle of a tiny crystal on the tip of the gnomon.\n\n> You check your inventory\nYou have a music box, a sun-bleached skull, a piece of paper, a small remote, a golden chain with sphere, six ordinary metal studs, and a small black magnet.\n\n> You look at the hole\nWhich hole do you mean, the hole at six o'clock, the hole at eight o'clock, the hole at ten o'clock, the hole at twelve o'clock, the hole at two o'clock, or the hole at four o'clock?\n\n> Six\nIt's a small hole in the bronzework, perhaps an inch across, located at six o'clock.\n\n> You put the marble in six\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The deep vibrating chime is accompanied by a shaft of shining light. The deep violet light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Finally, all is silent again. You cautiously pull the sphere from the hole. The sparks of color inside seem to be whirling faster than before.\n\n> You put the marble in eight\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The low sonorous note is accompanied by a shaft of shining light. The stunning blue light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Finally, all is silent again. You cautiously pull the sphere from the hole. The sparks of color inside seem to be whirling faster than before.\n\n> You put the marble in ten\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The full, clear tone is accompanied by a shaft of shining light. The verdant green light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Finally, all is silent again. You cautiously pull the sphere from the hole. The sparks of color inside seem to be whirling faster than before.\n\n> You put the marble in twelve\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The lilting high tone is accompanied by a shaft of shining light. The shining yellow light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Finally, all is silent again. You cautiously pull the sphere from the hole. The sparks of color inside seem to be whirling faster than before.\n\n> You put the marble in two\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The pure whistling tone is accompanied by a shaft of shining light. The rich orange light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Finally, all is silent again. You cautiously pull the sphere from the hole. The sparks of color inside seem to be whirling faster than before.\n\n> You put the marble in four\nYou lower the sphere into the hole, holding onto the chain. It drops about four inches before it touches bottom. An instant after it makes contact, there is a chime from the hole. The achingly beautiful chime is accompanied by a shaft of shining light. The flaming red light shoots from the hole, passing through the sphere. It bends as it goes through the sphere, angling so that it flies upwards and strikes the large crystal in the ceiling. Briefly, the large crystal shimmers with the color. At the same time, it echoes the sound -- at a higher pitch. Unlike the other times, the music does not end here. Rather, the\ntiny crystal on the gnomon vibrates, giving the sound a third time at an even higher pitch. A pure white column of light flashes downwards, stretching from the crystal in the ceiling to the crystal on the gnomon. And when the light strikes the tiny crystal, it splits into six parts, each one spreading outwards to touch a hole. From the holes, six lines of color reach upwards to the ceiling crystal again, and again they form a single pure white column falling downwards. The effect is that of a pillar of shining rainbow, with a heart of glowing white.\nSomehow, the sound reflects the visual, and the crystals are fairly purring with the growing tone. The tone grows and grows and soon your whole body is humming with it, and the rainbow tower is shining forth into the darkness around it, and then there is a blinding/deafening explosion of noise and color.\nYou blink your eyes and look around, pulling the sphere from the\nhole again. The round crystal has lost the internal sparks, and is a dull lusterless gray. The other two crystals are nowhere to be seen.\nA sudden grating sound from above your head attracts your attention. Looking upwards, you can see that the ceiling is retracting -- warm sunlight floods into the room.\nThe floor of the gazebo suddenly tilts slightly, and then tips back\nthe other way."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Look around\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, but the open roof makes it quite sunny in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall.\nThe tilting becomes more severe. There is an abrupt lurch, and the gazebo surges upwards. Looking outside, you can see the grass falling away as the gazebo starts to move up into the air.\n\n> You go outside\nYou exit the gazebo (climbing down the rope ladder).\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo (currently floating above the ground), its shadow providing perhaps the only real shade in the area. A muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere.\nThe gazebo continues to soar into the air. When it finally stops,\nit is hanging about four meters off the ground, still with no apparent means of support. The rope ladder dangles down from the entrance, just about brushing the grass. Meanwhile, of course, the upward motion of the gazebo also affects its shadow, which is now such that the shadow of the gazebo falls between the second and third rocks.\n\n> You leave\nYou exit the gazebo in a hurry.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo, its shadow providing perhaps the only real shade in the area.\nA muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere.\nThe gazebo continues to sway, and then as if it suddenly came to a decision, it drifts up into the air, leaving a patch of dirt and dead grass behind. A rope ladder tumbles out from underneath the gazebo, attached at one end to the lintel of the entrance. (There's no provision in the laws of physics for flying gazebos, but I suppose there has to be a first time for everything. Still, you'd feel a lot more at ease with the whole thing if there were something more than empty air between the gazebo and the ground.)\n\n> Go upward\nThe only way up from here would be to use the rope ladder hanging down from the gazebo.\n(And so you do.)\n\nThe gazebo has six sides, one of which is open to allow you to\nenter. The other five are walled off with thick lattices which prevent both sunlight and egress in those directions, but the open roof makes it quite sunny in here. A bronze sundial in the center of the room is the most impressive thing in sight, but there's also an ordinary table against one wall. It's also true that the gazebo is hovering about a meter off the ground without any apparent supports, but that's no big deal, right?\nThe gazebo rises and rises and you continue to stare through the lattices in astonishment. Finally, when it has reached a height of three or four meters, it halts. There is still nothing holding it up, as far as you can tell. Luckily, someone seems to have attached a rope ladder to the bottom of the door-way at some point, and you can get down that way. Much safer than jumping, which seems to be your only alternative. Meanwhile, of course, the upward motion of the gazebo also affects its shadow, which is now such that the shadow of the gazebo falls between the second and third rocks."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou exit the gazebo (climbing down the rope ladder).\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo (currently floating above the ground), its shadow providing perhaps the only real shade in the area. A muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere.\n\n> You look at the shadow\nThe gazebo's shadow is not especially interesting, nor unique as shadows go. Right now, the position of the sun is such that the shadow of the gazebo falls between the second and third rocks.\n\n> You look at rocks\nThey're your basic large, gray chunks of rock. There's about six in the field, arranged in a rough three-quarter circle around around the gazebo.\n\n> You examine the panel\nA control panel, set into a pillar which juts from the ground. The panel is very simple: it contains only a joystick (which can be pulled left or pushed right), and a status meter. The status meter currently has 3 blocks filled out of eleven.\n\n> You pull the lever\nYou pull the joystick to the left.\nOne block disappears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the second rock is in the shade from the gazebo.\n\n> You look at the first rock\nThe first boulder, going clockwise around the arc. Totally like all the others.\n\n> You examine the second rock\nThe second boulder, going clockwise around the arc. Totally like all the others.\n\n> You look at the third rock\nThe third boulder, going clockwise around the arc. Totally like all the others.\n\n> You examine the fourth rock\nThe fourth boulder, going clockwise around the arc. Totally like all the others.\n\n> You examine fifth rock\nThe fifth boulder, going clockwise around the arc. Totally like all the others.\n\n> You examine the sixth rock\nThe sixth boulder, going clockwise around the arc. Totally like all the others.\n\n> You pull the lever\nYou pull the joystick to the left.\nOne block disappears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the shadow of the gazebo falls between the first and second rocks.\n\n> You pull the lever\nYou pull the joystick to the left.\nOne block disappears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the first rock is in the shade from the gazebo.\n\n> You examine meter\nA control panel, set into a pillar which juts from the ground. The panel is very simple: it contains only a joystick (which can be pulled left or pushed right), and a status meter. The status meter currently has 0 blocks filled out of eleven.\n\n> You pull the lever\nYou pull the joystick to the left.\nThe status bar fails to change, and nothing seems to happen.\n\n> Continue\nYou push the joystick to the right.\nOne new block appears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the fourth rock is in the shade from the gazebo.\n\n> Continue\nYou push the joystick to the right.\nOne new block appears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the shadow of the gazebo falls between the fourth and fifth rocks.\n\n> You continue\nYou push the joystick to the right.\nOne new block appears on the status bar. Again, there is the peculiar sight of shifting shadows as the sun moves across the sky.\nNow the fifth rock is in the shade from the gazebo.\nThe boulder seems to tremble for an instant as the shadow falls on\nit. You are almost ready to dismiss it as your imagination when it happens again. With ponderous slowness, the boulder rolls slightly to one side, then to the other. Then it starts to lift into the air, perhaps an inch. You gape. It continues to rock back and forth and raise up until it is several inches off the ground. You collect your wits and walk over to look closer, only to realize what it is. A head pops out of the rock and regards you quizzically. This must be the *biggest* turtle you will ever see in your entire life.\nPossibly annoyed about its missing sunlight, the turtle slowly\nshambles out of the field to the west. Underneath where it lay is a ring of dead grass, and in the center, a large hole leads downwards.\n\n> You look at the hole\nThe hole's sides are smooth, but there are indentations in the side to allow you to climb down. It's neither a terribly dark nor a terribly deep hole, but it's fairly wide and roomy.\n\n> You look at enormous\nThe turtle isn't here. It shambled off to the west, and vanished (presumably into the desert).\n\n> You go west\nYou walk forwards, and again feel the sensation of the ground vanishing. A blast of sweltering heat welcomes you to the desert one more time.\n\nyou gasp for water. The sun beats down all around with no hope of shade or any other respite, and there are no land-marks in sight in any direction.\nThe turtle is snoozing in the warm sun.\n\n> You examine the turtle\nThe large turtle is basking happily in the sun. With all its limbs retracted, it is almost indistinguishable from a boulder.\n\n> You go to the east\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nThere are no more visions left for you. The desert sun is hot and painful.\n\n> You go to the east\nYou stagger on ahead, baking in the sun. Finally, you must stop to breathe. Taking a look behind yourself, it is hard to tell that you have moved at all. Already, the hot desert breeze is erasing the signs of your passage.\n\nAbruptly, the desert air seems to swirl around you. You blink your eyes, and when they open again, you're back where you came here from: An open field\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo (currently floating above the ground), its shadow providing perhaps the only real shade in the area. A muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. One of the boulders has vanished, and a hole gapes where it used to be. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou climb down into the hole.\n\nThis hole is fairly roomy, and about ten feet deep. Foot-holes in\nthe side allow you to climb up into the sunlight. The floor is dirty, but there seems to be something shining beneath the dust.\n\n> You examine the floor\nBending down to examine the floor reveals it to actually be a giant mirror, covered in years of dust. The mirror's surface is obscured by grime.\n\n> Clean mirror\nYou set to work cleaning the thing, wiping dust and grime away as best you can with your shirt-tails. By the time you're sweating from the effort, the mirror is fairly clean.\n\n> You examine the mirror\nPeople used to use the mirror to foretell the future. That always seemed sort of odd. What the mirror actually does is reflect the one who views it, so isn't it far more truthful to have the mirror reflect ... the past? At least for this mirror, that seems to be true.\nImages begin to drift across the screen, like smoke rising from a fire, like clouds floating across the sky, like leaves riding a gentle stream-current.\n\nThe first memories are pleasant. You see your birthday party from\nage five, surrounded by both your parents and a circle of smiling friends . . .\nYou see yourself, age six, with your dog Zippy, him barking madly and running in circles around tiny you as you throw sticks for him to fetch . . .\nThere are other easy memories that come to mind, before the pictures turn darker.\nYou see yourself cradling Zippy's broken and bloody body, crying into the dark night on an empty street . . .\nYou see yourself, age seven, wailing because it is your birthday and your dad hasn't called for a year now . . .\nYou see your mom staggering around the house, blind drunk, cursing and stumbling, and you hiding in the corner terrified . . .\n\"These aren't *my* fault!\" you think, \"The invaders, it's all their work. How could they have ruined my life like this? What did I do to deserve my shitty life?\"\nThen that excuse is torn away as the pictures in the mirror shift again.\nNow you see yourself in high school, sitting at a desk. Someone comes over to ask you a question and you turn your face away with a scowl.\nHe retreats, a hurt expression on his face.\nAnd another scene, your senior year, someone asks you to the prom. Incredulous, you refuse, sure it's just a cruel joke. Later, of course, you found out they had been deeply in love with you, but by then it was too late. Too late . . .\nCollege, this time, and more of the same. In all your classes, people try to reach out and are rebuffed. You stagger through a year, and then another, spurning all attempts at friendship. You flirt with alcohol and drugs for a while, finding solace there through a numbed mind, but eventually even those pale.\n\nthe mirror. Each one pains you, and it is a dual pain: pain from recalling the emotions, and the pain of realization, the pain as you see your mistakes for what they are. More and more images go past, each one a scene from your life. Finally, you see the thing that drove you to the cliff-top, that night in your dorm when you cried out that no one loved you, no one in the world.\nPerhaps for the same reasons and perhaps for others too, the scene brings you to tears one more time. You lift your hand to your eye, and a single tear-drop tumbles down. It glitters in a beam of sunlight as it falls oh-so-slowly, and splashes onto the mirror. The mirror's surface ripples like water, and the pictures dissolve. They are replaced by a black backdrop of star- spangled night, and Daniel's face.\n\"Yes,\" says Daniel softly, \"Yes. You see it now. Though you\nsuffered in life, it was not all of others' doing. You are ready for rebirth now, Phoenix. Fly.\" He pauses for a minute and draws a shaky breath. \"You may turn the portal on now. It is time for you to go home.\" Daniel's image vanishes.\n\nHome? It has been too long since the word meant anything to you. Still, he is right. It is time to go home.\n\n> You look at the mirror\nThe mirror now only shows a reflection of the clouds above you, drifting slowly across a blue sky. (Oh, and you can also see yourself, upside-down.)\n\n> You touch the touchpad\nA mechanical voice crackles out of nowhere. \"Portal engaged.\""
    },
    {
        "text": "> Look around\nThis hole is fairly roomy, and about ten feet deep. Foot-holes in\nthe side allow you to climb up into the sunlight. Covering the entire floor is a newly cleaned mirror, brightly polished.\n\n> You touch the mirror\nThe mirror feels exactly like a mirror, and yields about as much as a rock.\n\n> Go upward\nYou climb up and out of the hole.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo (currently floating above the ground), its shadow providing perhaps the only real shade in the area. A muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. One of the boulders has vanished, and a hole gapes where it used to be. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere.\n\n> You go to the north\nYou walk until you enter a garden.\n\nA beautiful garden, bounded by brick walls to the north and west.\nAlas, the stream that flowed once is no longer here, and the dragon's head fountain no longer spouts water. The bushes and flowers remain, but they droop sadly around the muddy ditch where the stream was.\nThe hedge beasts are slowly uncurling their leaves and branches as\nthey prepare to stand.\n\n> You go east\nYou walk east until you are in the field again.\n\nA grassy field, by an apple tree\nThis is a field of lush green grass. In the center of the field, an apple tree grows. Its branches are hung with ripe red apples. Scattered flowers wink at you from the grass, as the sun shines brightly overhead. A muddy ditch lies where the stream used to be. A small foot-bridge allows you to cross from one bank to the other.\nYou see a large wicker bird cage and a heavy stone here. The large wicker bird cage seems to contain the robin and some scraps of paper.\n\n> Go west\nYou walk along the banks, where the stream used to be, for a time.\n\nA beautiful garden, bounded by brick walls to the north and west.\nAlas, the stream that flowed once is no longer here, and the dragon's head fountain no longer spouts water. The bushes and flowers remain, but they droop sadly around the muddy ditch where the stream was.\nThe hedge beasts are slowly uncurling their leaves and branches as\nthey prepare to stand.\nSlowly, the hedge beasts begin work again. One reaches under a bush to retrieve the gardening tools, only to find some are not there. The hedge beasts rustle confusedly for a bit, and then begin work anyway. Soon they are doing their best to tend the garden tool-lessly.\n\n> You go south\nYou follow the brook's path out of the garden, and into a field.\n\nThis is an open field, with a few boulders and the like scattered about. In the center of the field, someone has constructed a white gazebo (currently floating above the ground), its shadow providing perhaps the only real shade in the area. A muddy streak slashes through the field north-south, where the water used to be. A wide white plank allows you to cross from one bank to the other. One of the boulders has vanished, and a hole gapes where it used to be. Sticking out of the ground is a stone pillar, a control panel and joystick built into its side.\nYou see a small fly, a grenade pin, an apple, and a thorny rake\nhere.\n\n> Go south\nWalking south eventually takes you to a rocky cliff-top.\n\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream that flowed here once no longer does, and the cliff-face looks quite bare without the waterfall.\n\n> You go to the east\nYou walk out to the very edge of the cliff, and look down at the steep drop-off below. The wind tugs at you playfully up here, making you vaguely nervous."
    },
    {
        "text": "[Themes: Fantasy, gender choice]\n\n> Go downwards\nYou climb down the cliff.\n\nYou are climbing on the rocky cliff face. The waterfall is no\nlonger here, but the rocks are still a bit damp. Below you are scattered rocks and such, and scattered tufts of grass. Nearby, a small cave leads into the cliff and darkness. Floating in mid-air, there is a glowing purple portal. It crackles with energy.\n\n> You examine the Portal\nThe portal crackles with blue-violet energies. Just being near it makes your skin tingle, and all the little hairs on your arms stand up. It looks to be about seven feet across.\n\n> Go inside\nYou cautiously enter the cave.\n\nIt's not as dark in here as it looks from the outside. Some\nsunlight still filters into the cave to illuminate the (stone) floor. The exit is east.\n\n> You pull the knob\nYou give the knob a tug. It sticks for a second, and then slides out a short distance. Almost immediately afterwards, the wall in front of you opens, the floor tilts, and you tumble forwards into darkness . . .\n\nWell, if you've ever wondered what was going on, you seem to have\nfound the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen.\nYou see a hang-glider here. Sitting on the comfy chair you see a handwritten note.\n\n> You turn the black dial to 6\nOkay, it's now turned to 6. Dials on the machines spin, and a light blinks off, then on again. The picture changes.\nThe viewscreen is quite large, taking up most of one wall. Currently, it's showing a familiar scene: Cliff top, at the edge\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream that flowed here once no longer does, and the cliff-face looks quite bare without the waterfall.\n\n> You touch the viewscreen\nYou touch the screen, and are abruptly elsewhere.\n\nCliff top, at the edge\nThe area is fairly rocky here, with scattered grasses growing\nbetween cracks in the rocks. The stream that flowed here once no longer does, and the cliff-face looks quite bare without the waterfall.\n\n> You go east\nYou step off the cliff ...\nAnd soar into the air. The transition from land to sky is a bit tricky, but you get the hang of it fast. You're still dropping in altitude, though. (Of course, compared to how fast you'd be dropping without a hang-glider, you're doing great.)\n\nYou are flying near the bare clifftop. It looks quite strange\nwithout the pounding waters. Small scraggly mosses and surround a small cave entrance, and down below you can see piles of jagged rocks on the ground. Floating in mid-air, there is a glowing purple portal. It crackles with energy.\n\n> You enter the Portal\nYou angle the glider towards the portal. It seems to hum and swirl\nat a higher and higher pitch the closer you get to it. The portal starts to pulse, very softly. You fly closer, suddenly realizing the portal isn't nearly big enough to fit the wings of the glider, but also realizing it's far too late to turn back now.\nThen you are inside the portal. You are in a sea of endless violet\nfor a little while, surrounded by voices: your father's, your mother's, Daniel's, yours -- you even fancy you can hear a dog yipping in the background. You smile to yourself, feeling peace like you have not known in years. Finally, you emerge out the other side, into the hot sun of noon-time in the desert.\n\nNow you are falling again, off the same cliff that you left . . . could it have really been just a day before? But this time you are ready. You spread your wings out and -- in a burst of flames -- Phoenix soars skywards.\n\nYour past is behind you, your present surrounds you, and the future\nis wide, wide open. Congratulations, Phoenix.\n\nYou may restore a saved game, start over, quit, show your score for this game, or see the help menu."
    },
    {
        "text": "[Themes: Humor, yeti, silly, humor, absurd]\n\nYou are Steve Goodwin. You're a regular guy, young, successful, dynamic. Recently promoted to the post of junior marketing executive at the Funhouse Novelty Company, you're the one who comes up with all those zany items you can buy for a Dollar in the pages of Cosmic Comics.\n\nBut something is missing in your life. A nagging question gnaws at your soul, undermines your joy at your new-found success and interferes with the very business of living. But this is not a answer you can find in the pages of any book; for what you yearn to know is the very meaning of life itself!\n\nBut then you learned about a man, a guru of great wisdom, endowed with the miraculous supreme realisation who could teach him the secrets of the universe. A six hundred year old hermit living at the top of a mountain in a kingdom most right-thinking people assume to be a myth. A man known as the Dada Lama!\n\nAnd this is why we find you now, after many months of journeying, of fruitless searching, beaten and battered by the uncaring elements, in this mysterious valley hidden deep within the mountains...\n\n...the mystical valley of Shangri-La!\n\nYak Shaving for Kicks and Giggles!\nA Philosophical Odyssey by J. J. Guest\n\nYou weren't sure what to expect from the mystic valley of Shangri-La. You'd heard all the stories of course -- a land of mystery and matchless beauty where life is lived in tranquil wonder, beyond the grasp of a doomed world! That's what it said in the brochure, anyway...\n\nWhat you weren't expecting was a caravan park. But there's no mistaking the large sign over the entrance: \"Shangri-La Caravan Park welcomes the pure of soul -- 200 Spaces Available.\" Most of the spaces are empty.\n\nDirectly ahead is perhaps the loveliest mountain you have ever seen; an almost perfect cone of snow, it is as though a small child had dropped a Cornetto in the middle of the valley. A broad path leads north to the mountain, and on either side are narrow trails leading northeast and northwest.\n\n[Author's Note: You are Steve Goodwin. You're a regular guy, young, successful, dynamic. But a nagging question gnaws at your soul, undermines your joy at your success and interferes with the very business of living. For this is not an answer you can find in the pages of any book. What you yearn to know is \u0097 the meaning of life itself! But then you learned about a man, a guru of great wisdom, endowed with the miraculous 'supreme realization', who could teach you the secrets of the universe! A six-hundred-year-old hermit, living at the top of a mountain in a kingdom most right-thinking people assume to be a myth. A man known as \u0097 the Dada Lama! And this is why we find you now, after many months of journeying, of fruitless searching, beaten and battered by the uncaring elements, in this mysterious valley hidden deep within the mountains... ... the mystical valley of Shangri-La! Yak Shaving for Kicks and Giggles! is a humorous quest for spiritual enlightenment involving a yak, a disposable razor, a jar of pickled eggs and the abominable snowman.]"
    },
    {
        "text": "[Themes: Humor, silly]\n\n> About yourself\nYour long journey has left you looking a bit frayed around the edges. Your hand-tooled Mexican boots are curled up at the toes and your elaborately embroidered Afghan coat is falling apart at the seams. You've looked better, and you'd be feeling a lot better too if you hadn't eaten that dodgy burger at the Happy Eater on the M4.\n\n> You go northwest\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\n> You examine the barn\nA windowless wooden box of no great architectural merit. The builder has thoughtfully provided an opening through which to enter.\n\n> You examine the flowers\nIf you were a botanist you'd realise that many of these precious flowers are endemic to this little-known, largely unexplored region. Unfortunately you're not, so to you they're just a lot of pretty flowers that add a splash of colour to an otherwise unprepossessing location.\n\n> Smell flowers\nAh! The delicate fragrance of alpine flowers.\n\n> You take the flowers\nYou decide to leave the flowers alone.\n\n> You enter the barn\nYou take a few steps inside the yak shed, but the smell is so overpowering that within moments you are outside again, gasping for air. If you've ever wondered how a hamster cage would smell to a bloodhound, now you know.\n\n> You hold the nose\nThat seems to be a part of yourself.\n\n> Frug\nYou begin to clambake like nobody's business. Groovy, man.\n\n> Go northeast\nYou are standing at the foot of the glacier, a sheer wall of ice that would dwarf the tallest skyscraper. For thousands of years it has followed this valley like the world's most doggedly determined Slush Puppie. Scattered around are immense boulders deposited here by the glacier during its inexorable retreat. Who knows what else might have been swept up in this monstrous river of ice?\n\nTo the south the holy mountain broods over the valley like a thundercloud. Narrow trails lead southeast and southwest.\n\n> You rub the frost\nYou rub away a patch of frost and gaze into the pure ice, clear as crystal. For the briefest of moments you glimpse another face, leathery and ancient, staring back at you. Something, or someone, has been trapped in the ice - perhaps for aeons! Within seconds the ice has frosted over again.\n\n> Go southeast\nThat you are standing outside the caravan of one of Shangri-La's permanent residents is evidenced by the fact that a tiny section of garden has been fenced off. This garden consists of a small patch of meticulously raked gravel, with, placed at harmonious intervals, two potted bonsai trees, three garden gnomes (all in the lotus position) and the inevitable plastic flamingo. The door to the caravan is open, revealing a curtain of colourful plastic ribbons that flutter in the breeze.\n\nPaths lead west to the mystic mountain, northwest to the glacier and southwest to the camp entrance.\n\n> You wake flamingo\nYou can only do that to something animate.\n\n> You examine the caravan\n(the monk's caravan)\nA tiny teardrop trailer, neat, tidy and well cared for. The door is open, revealing a curtain of colourful plastic ribbons that flutter in the breeze.\n\n> You examine the ribbons\nAs well as making a stylish design statement, this curtain of colourful plastic ribbons is good for keeping out flies.\n\n> You look at the fence\nA ridiculous plastic picket fence about a foot high.\n\n> Enter\nThe inside of this tiny caravan is completely bare as befits a monk's cell. Only the fitted furniture remains, and presumably its owner's few possessions are secreted away in the handy under-seat storage areas. The only other feature is the colourful ribbon curtain through which you entered.\n\nSat cross-legged on the built in sofa is a tiny monk with a disproportionately large shaven head. He appears to be deep in mediation.\n\n> You examine monk\nThere is no reply.\n\nThis must be one of those monks who sit in meditation for days or even months and years without ever feeling the need for food or water. He's probably another disciple of the Lama on a quest for enlightenment.\n\n> You talk to the monk\nTo start a conversation, try to ASK the monk ABOUT something or TELL the monk ABOUT something."
    },
    {
        "text": "> Look around\n\n\n> You sit\n(on the sofa)\n\n> You search under the seat\nThe sofa is already occupied by a monk.\n\nYou can't see any such thing.\n\n> You examine the furniture\nA built-in sofa upholstered in a restful paisley moquette. The seat of the sofa is hinged to provide additional storage beneath. The sofa is closed, and there is a monk on top.\n\n> You open the sofa\n(first removing the monk)\nYou put your arms around the monk and attempt to haul him off the sofa, but inspite of his small stature he seems to weigh a tonne. It is as though he is nailed to the spot. You don't even succeed in breaking his meditative trance.\n\nYou'd have to remove the monk from the lid first."
    },
    {
        "text": "> Look around\nThat you are standing outside the caravan of one of Shangri-La's permanent residents is evidenced by the fact that a tiny section of garden has been fenced off. This garden consists of a small patch of meticulously raked gravel, with, placed at harmonious intervals, two potted bonsai trees, three garden gnomes (all in the lotus position) and the inevitable plastic flamingo. The door to the caravan is open, revealing a curtain of colourful plastic ribbons that flutter in the breeze.\n\nPaths lead west to the mystic mountain, northwest to the glacier and southwest to the camp entrance.\n\n> Go west\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\n> You examine the path\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\n> Up\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You ask acolyte about Dada\n\"His holiness the Dada Lama, Exalted Master of the Cerulean Mist, will be able to answer all your questions,\" says the acolyte dismissively, \"I'm just a lowly acolyte, what would I know about that?\"\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You examine the flags\nOn second glance, the \"prayer flags\" turn out to be the Dada Lama's laundry, attached to the ropes with clothes pegs. You try not to look too closely at the Guru's undergarments with their dried-in stains, but your eye can't help being drawn to a single yak's wool sock also pegged to the line. The thing is simply enormous.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You take the sock\nYou unpeg the yak's wool sock from the clothes line.\n\nThe acolyte sighs with frustration.\n\n> Inventory\nYou are carrying:\na clothes peg\na yak's wool sock\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You wear the peg\nYou place the clothes peg on your nose.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You ask the acolyte about the Yak\n\"His holiness the Dada Lama, Ascended Master of Mystic Power, will be able to answer all your questions,\" says the acolyte dismissively, \"I'm just a lowly acolyte, what would I know about that?\"\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You look in sock\nYou find nothing of interest.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> Wear sock\nIt's way too big for you.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> Inventory\nYou are carrying:\na clothes peg (being worn)\na yak's wool sock\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You drop the sock\n\"Oh, that's right\" says the acolyte, \"just strew your worldy goods all over the landscape, why don't you? You have no respect for the sanctity of nature!\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You check what you're carrying\nYou are carrying:\na clothes peg (being worn)\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You take the sock\nTaken.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You examine the sock\nThis sock is so big you could fit it over your head. You can't imagine what kind of creature could have such an abominably big foot. What happened to other sock is a riddle that will probably never be solved.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You go to the west\nThe only directions you can take from here are in to the caravan or down a meandering path to the valley floor. In every other direction lie sheer drops or dangerous scree slopes.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything."
    },
    {
        "text": "[Themes: Humor, humor, absurd]\n\n> Go down\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\n> You enter the Shed\nClothes peg firmly in place, you step bravely into the yak shed.\n\nThe yak shed is a gloomy wooden structure of rickety construction. Enormous piles of dung take up most of the available floorspace; shafts of light from cracks in the ceiling illuminating thousands of buzzing flies.\n\nA solitary yak stands in the middle of the shed, its shaggy pelt illuminated by a shaft of sunlight.\n\n> You look at the dung\nThe manufacture of dung is the one thing that yaks are really good at, apart that is from growing hair and smelling really bad.\n\n> You show the sock to the Yak\nThe yak is unimpressed.\n\n> You take all\nyak: I don't suppose the yak would care for that.\nenormous piles of dung: And what exactly would you do with armfuls of yak dung? Not be a hit with the ladies, for one.\nflies: Try as you like, you cannot catch the flies with your bare hands.\n\n> Shave yak\nA razor is a prerequisite to shaving.\n\n> You look at what you're carrying with you\nYou are carrying:\n\n> You search yak\na clothes peg (being worn)\n\nYou find nothing of interest.\n\n> You take off the clothes peg\nYou think better of removing the peg."
    },
    {
        "text": "> Describe the surroundings\nThe yak shed is a gloomy wooden structure of rickety construction. Enormous piles of dung take up most of the available floorspace; shafts of light from cracks in the ceiling illuminating thousands of buzzing flies.\n\nA solitary yak stands in the middle of the shed, its shaggy pelt illuminated by a shaft of sunlight.\n\n> You eat yak\n(first taking the yak)\nI don't suppose the yak would care for that.\n\n> Inventory\nYou are carrying:\na yak's wool sock\na clothes peg (being worn)\n\n> You ask yak about the monk\nBovines are not known for their scintilating repartee. This beast, being an unexceptional example of her breed, merely responds to your enquiry with a quizzical look.\n\n> Up\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\n\"You again!\" says the Acolyte. \"What do you want now?\"\n\nThe acolyte sighs with frustration.\n\n> You put the sock on the line\nPutting things on the clothes line would achieve nothing.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You ask Acolyte about the chopsticks\n\"Get your own!\" snaps the acolyte..\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> Wear sock\nIt's way too big for you.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You remove the peg\nYou take off the clothes peg.\n\nThe acolyte sighs with frustration.\n\n> You go to the south\nThe only directions you can take from here are in to the caravan or down a meandering path to the valley floor. In every other direction lie sheer drops or dangerous scree slopes.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You drop all\nyak's wool sock: Dropped.\n\nclothes peg: Dropped.\n\n> Up\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nThe acolyte sighs with frustration.\n\n> Go inside\nAfter your long and arduous journey it's hard not to be disappointed by the famous Sanctum Sanctorum of his Holiness the Dada Lama. Sure, incense burners and mandalas abound, but there's no getting away from the fact that this is nothing more than a shabby old trailer home with seating that folds up to provide additional storage.\n\nHis holiness the Dada Lama, Exalted Master of Excelling Works, sits in the middle of a bubbling hot-tub surrounded by topless beauties.\n\nThe brunette massages the old man's scalp whilst the blonde lovingly soaps his scanty beard.\n\n\"I have been expecting you, oh faithful disciple!\" says the Dada Lama as you enter.\n\n\"You don't look like you were expecting anyone,\" you reply, glancing at the blonde as she ladles hot water over his shiny dome.\n\n\"Do not be deceived by appearances, my son.\" says the Lama, \"In Shangri-La we live a life of simple austerity. This hot tub is merely an illusion. Candy and Mitzi here are neophytes who, like yourself, are taking their first faltering steps on the path to enlightenment. You seek the ancient wisdom of the exalted masters, yes?\"\n\n\"Something like that,\" you reply.\n\n\"Well wisdom must be earned. Take this jar of pickled eggs. If you can get the lid off, enlightenment will be yours. Now, go!\"\n\n> You examine eggs\nA jar of eggs, pickled in vinegar. The jar is currently tightly closed.\n\n> You examine Dada Lama\nSmall, bald and wrinkled as last night's bedsheets, the Dada Lama is either very old or he's been in that hot tub too long.\n\n> You ask Lama about yak\n\"What are you doing here still?\" says the Lama, \"Have I not given you clear instructions? Now, go!\"\n\n> You read the jar\nA jar of eggs, pickled in vinegar. The jar is currently tightly closed.\n\n\"What are you doing here still?\" snaps the Lama. \"Did I not give you clear instructions? Now, go!\"\n\n> Leave\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You take the chopsticks\nYou try to grab the chopsticks from the acolyte's hands, but his highly trained reflexes are just too fast for you.\n\n\"Get your own!\" he admonishes.\n\nThe acolyte sighs with frustration.\n\n> You show the jar to Acolyte\nThe acolyte is unimpressed.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You take all\nacolyte: I don't suppose the acolyte would care for that.\npair of chopsticks: You try to grab the chopsticks from the acolyte's hands, but his highly trained reflexes are just too fast for you.\n\n\"Get your own!\" he admonishes.\noverhang: That's hardly portable.\nclothes line: That's hardly portable.\nLama's caravan: That's hardly portable.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You clap one hand\nYou attempt to clap with one hand, waving it through the air ineffectually.\n\n\"It's not as easy as it sounds, is it?\" says the acolyte.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> Down\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nYou can see a clothes peg and a yak's wool sock here.\n\n> You take all\nclothes peg: Taken.\n\nyak's wool sock: Taken.\n\nmountain: That's hardly portable.\n\n> Up\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You examine the overhang\nIt really is an avalanche waiting to happen. Any loud noise could set it off.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> Clap\nYou attempt to clap with one hand, waving it through the air ineffectually.\n\n\"It's not as easy as it sounds, is it?\" says the acolyte.\n\nThe acolyte sighs with frustration.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe acolyte sighs with frustration.\n\n> You open the jar\nThe acolyte has better things to do.\n\nThe acolyte sighs with frustration.\n\n> You give the jar to Acolyte\nFor a moment you consider handing over the jar of pickled eggs (closed), but the chances are you'd never see it again.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You open the jar with the sock\nThat doesn't seem to be something you can unlock.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> Inventory\nYou are carrying:\na yak's wool sock\na clothes peg\na jar of pickled eggs (closed)\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You put the sock on the jar\nPutting things on the jar of pickled eggs (closed) would achieve nothing.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You throw the jar at the overhang\nFutile.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You look at the overhang\nIt really is an avalanche waiting to happen. Any loud noise could set it off.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You check what you're carrying\nYou are carrying:\na yak's wool sock\na clothes peg\na jar of pickled eggs (closed)\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You drop all\nyak's wool sock: Dropped.\n\nclothes peg: Dropped.\n\njar of pickled eggs (closed): Dropped.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You check your inventory\nYou are carrying nothing.\n\nThe acolyte sighs with frustration.\n\n> Clap acolyte's hand\nAfter your long and arduous journey it's hard not to be disappointed by the famous Sanctum Sanctorum of his Holiness the Dada Lama. Sure, incense burners and mandalas abound, but there's no getting away from the fact that this is nothing more than a shabby old trailer home with seating that folds up to provide additional storage.\n\nHis holiness the Dada Lama, Ascended Master of the Greater Mysteries, sits in the middle of a bubbling hot-tub surrounded by topless beauties.\n\nThe brunette massages the old man's scalp whilst the blonde lovingly soaps his scanty beard.\n\n\"So, my son, you have returned!\" says Lama. \"Have you completed the task I set you?\"\n\nYou can't see any such thing.\n\n> You open the couch\nYou open the seat, revealing a hairdryer.\n\nYou can't see any such thing.\n\n> You take the dryer\nTaken.\n\n\"Hey!\" says Mitzy, \"Put that back!\"\n\n> You take the hairdryer\nYou already have that.\n\n> You go outside\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nYou can also see a jar of pickled eggs (closed), a clothes peg and a yak's wool sock here.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You take all\njar of pickled eggs (closed): Taken.\n\nclothes peg: Taken.\n\nyak's wool sock: Taken.\n\nacolyte: I don't suppose the acolyte would care for that.\npair of chopsticks: You try to grab the chopsticks from the acolyte's hands, but his highly trained reflexes are just too fast for you.\n\n\"Get your own!\" he admonishes.\noverhang: That's hardly portable.\nclothes line: That's hardly portable.\nLama's caravan: That's hardly portable.\n\nThe acolyte sighs with frustration.\n\n> You examine the hairdryer\nQuite what the Dada Lama wants with a hairdryer is beyond you - the man is as bald as a coot. Perhaps it belongs to one of his \"disciples\".\n\nThe hairdryer bears the legend \"FOHAT 400 DELUXE\". It appears to be powered by cosmic electricity, which is handy as there doesn't seem to be anywhere to plug it in.\n\nThe hairdryer is currently switched off.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You turn on the dryer\nYou switch the hairdryer on.\n\n> Melt ice\nAfter many hours of laborious work, you succeed in melting a hole in the glacier large enough to climb into. Wreaths of icy vapour exude from the hole.\n\nAfter many hours of laborious work, you succeed in melting a hole in the glacier large enough to climb into. Wreaths of icy vapour exude from the hole.\n\n> Go inside\nA vast, cathedral-like cavern bathed in an eerie blue glow. Through the walls you can make out the shapes of objects entombed in the ice; a woolly mammoth, a Viking longboat with full complement of oarsmen, and a 1948 Morris Minor two-door saloon. The only exit is back out through the hole you made with the hairdryer.\n\nA hole in the ice, just big enough to crawl through, leads  out into the sunshine.\n\nSlumped in the middle of the cavern is an extraordinary figure. The abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows! The yeti seems to thawing; his face and hands are a healthy pink but his gigantic feet are still blue with cold.\n\n> You examine the snowman\nThe yeti stands a few feet away, eyeing you amusedly.\n\nThe abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows and incredibly large, incredibly cold feet.\n\nThe yeti stomps off towards Moraine.\n\n> Leave\nYou are standing at the foot of the glacier, a sheer wall of ice that would dwarf the tallest skyscraper. For thousands of years it has followed this valley like the world's most doggedly determined Slush Puppie. Scattered around are immense boulders deposited here by the glacier during its inexorable retreat. Who knows what else might have been swept up in this monstrous river of ice?\n\nTo the south the holy mountain broods over the valley like a thundercloud. Narrow trails lead southeast and southwest.\n\nA hole in the ice, just big enough to crawl through, leads  into the depths of the glacier.\n\nSlumped in the middle of the cavern is an extraordinary figure. The abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows! The yeti seems to thawing; his face and hands are a healthy pink but his gigantic feet are still blue with cold.\n\nThe yeti stomps off towards Meadow.\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go southwest\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\nSlumped in the middle of the cavern is an extraordinary figure. The abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows! The yeti seems to thawing; his face and hands are a healthy pink but his gigantic feet are still blue with cold.\n\nThe yeti stomps off towards Shangri-La.\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go north\nYou make no progress in that direction. However, there are rugged paths leading east towards the Mystic Mountain, northeast towards the glacier, and southeast to the pass where you first entered the valley. You could also, if you felt so inclined, try entering the Yak Shed.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You go southeast\nYou weren't sure what to expect from the mystic valley of Shangri-La. You'd heard all the stories of course -- a land of mystery and matchless beauty where life is lived in tranquil wonder, beyond the grasp of a doomed world! That's what it said in the brochure, anyway...\n\nWhat you weren't expecting was a caravan park. But there's no mistaking the large sign over the entrance: \"Shangri-La Caravan Park welcomes the pure of soul -- 200 Spaces Available.\" Most of the spaces are empty.\n\nDirectly ahead is perhaps the loveliest mountain you have ever seen; an almost perfect cone of snow, it is as though a small child had dropped a Cornetto in the middle of the valley. A broad path leads north to the mountain, and on either side are narrow trails leading northeast and northwest.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go north\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You listen\nYou hear nothing unexpected.\n\nThe yeti arrives from Moraine, the ground trembling under his massive feet.\n\n> You give the jar to yeti\nThe yeti is in some kind of hypothermic coma, and doesn't react to the\n\n> Up\njar of pickled eggs (closed).\n\nThe yeti stomps off towards Shangri-La.\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\nYou seem to want to talk to someone, but I can't see whom.\n\n> Wait\nTime passes.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Wait\nTime passes.\n\nThe yeti arrives from Meadow, the ground trembling under his massive feet.\n\n> You give the sock to yeti\nThe yeti is in some kind of hypothermic coma, and doesn't react to the yak's wool sock.\n\nThe yeti stomps off towards Plot 108.\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You put the sock on yeti\nOne sock is not much use to anybody.\n\nThe yeti stomps off towards Plot 108.\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You knit the sock\nYou would need a pair of knitting needles for that, or something sufficiently similar.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You go north\nYou are standing at the foot of the glacier, a sheer wall of ice that would dwarf the tallest skyscraper. For thousands of years it has followed this valley like the world's most doggedly determined Slush Puppie. Scattered around are immense boulders deposited here by the glacier during its inexorable retreat. Who knows what else might have been swept up in this monstrous river of ice?\n\nTo the south the holy mountain broods over the valley like a thundercloud. Narrow trails lead southeast and southwest.\n\nA hole in the ice, just big enough to crawl through, leads  into the depths of the glacier.\n\nThe yeti arrives from Meadow, hurling aside any giant boulders that stand in his path.\n\n> You enter\nA vast, cathedral-like cavern bathed in an eerie blue glow. Through the walls you can make out the shapes of objects entombed in the ice; a woolly mammoth, a Viking longboat with full complement of oarsmen, and a 1948 Morris Minor two-door saloon. The only exit is back out through the hole you made with the hairdryer.\n\nA hole in the ice, just big enough to crawl through, leads  out into the sunshine.\n\n> You get all\nIt's beyond your help unfortunately.\n\nhole in the ice: That's fixed in place.\nwoolly mammoth: It's beyond your help unfortunately.\nviking longboat: It's beyond your help unfortunately.\n1948 Morris Minor two-door saloon: It's beyond your help unfortunately.\n\n> You look at the mammoth\nIt's beyond your help unfortunately.\n\n> You look at what you're carrying with you\nYou are carrying:\na yak's wool sock\na clothes peg\na jar of pickled eggs (closed)\na hairdryer\n\n> Melt the ice with the hairdryer\nThe hole in the ice seems to have a melting point higher than the temperature of the air expelled by the hairdryer.\n\n> Leave\nYou are standing at the foot of the glacier, a sheer wall of ice that would dwarf the tallest skyscraper. For thousands of years it has followed this valley like the world's most doggedly determined Slush Puppie. Scattered around are immense boulders deposited here by the glacier during its inexorable retreat. Who knows what else might have been swept up in this monstrous river of ice?\n\nTo the south the holy mountain broods over the valley like a thundercloud. Narrow trails lead southeast and southwest.\n\nA hole in the ice, just big enough to crawl through, leads  into the depths of the glacier.\n\nSlumped in the middle of the cavern is an extraordinary figure. The abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows! The yeti seems to thawing; his face and hands are a healthy pink but his gigantic feet are still blue with cold.\n\n> You follow you\nThe yeti stands a few feet away, eyeing you amusedly.\n\nThere is no reply.\n\n> You tell Acolyte about yeti\nThis provokes no reaction.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You turn on the dryer\nNothing happens.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You turn off the dryer\nYou switch the hairdryer off.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You look at the overhang\nIt really is an avalanche waiting to happen. Any loud noise could set it off.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> Sing\nYou hum a little ditty.\n\nThe acolyte sighs with frustration.\n\n> You examine the flags\nOn second glance, the \"prayer flags\" turn out to be the Dada Lama's laundry, attached to the ropes with clothes pegs. You try not to look too closely at the Guru's undergarments with their dried-in stains.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You examine the sigils\nYou recognise among them the lamen of the Golden Dawn office of Kerux, the ouroboros; ancient emblem of eternity, the astrological glyph of the planet Neptune, the Secret Seal of Solomon, the mystical symbol Aum in Tibetan script, and The Golden Arches; famous symbol of McDonald's restaurants.\n\nThe acolyte sighs with frustration.\n\n> You turn on the dryer\nNothing happens.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You throw the dryer at the overhang\nFutile.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything."
    },
    {
        "text": "[Themes: Humor, silly, absurd]\n\n> Go downwards\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Wait\nTime passes.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go west\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You go south\nYou weren't sure what to expect from the mystic valley of Shangri-La. You'd heard all the stories of course -- a land of mystery and matchless beauty where life is lived in tranquil wonder, beyond the grasp of a doomed world! That's what it said in the brochure, anyway...\n\nWhat you weren't expecting was a caravan park. But there's no mistaking the large sign over the entrance: \"Shangri-La Caravan Park welcomes the pure of soul -- 200 Spaces Available.\" Most of the spaces are empty.\n\nDirectly ahead is perhaps the loveliest mountain you have ever seen; an almost perfect cone of snow, it is as though a small child had dropped a Cornetto in the middle of the valley. A broad path leads north to the mountain, and on either side are narrow trails leading northeast and northwest.\n\n> You go northeast\nThat you are standing outside the caravan of one of Shangri-La's permanent residents is evidenced by the fact that a tiny section of garden has been fenced off. This garden consists of a small patch of meticulously raked gravel, with, placed at harmonious intervals, two potted bonsai trees, three garden gnomes (all in the lotus position) and the inevitable plastic flamingo. The door to the caravan is open, revealing a curtain of colourful plastic ribbons that flutter in the breeze.\n\nPaths lead west to the mystic mountain, northwest to the glacier and southwest to the camp entrance.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You show the eggs to yeti\nThe yeti is unimpressed.\n\n> You ask yeti about Lama\nThe yeti stands a few feet away, eyeing you amusedly.\n\nThe yeti is in some kind of hypothermic coma, which makes him a rather limited conversationalist.\n\n> Go southwest\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You go east\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Up\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You ask Acolyte about yeti\n\"His holiness the Dada Lama, Exalted Master of the Celestial Dragon, will be able to answer all your questions,\" says the acolyte dismissively, \"I'm just a lowly acolyte, what would I know about that?\"\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You ask Acolyte about the clapping\n\"Oh my god!\" says the acolyte suddenly dropping to his knees, \"Do you know the answer? Tell me! For the love of Buddha, tell me! What is the sound of one hand clapping?\" He clutches your lapels and drags himself up until you are face to face. \"Please! You got to help me! He's making me do all his laundry until I work it out! Have you seen the state of those longjohns?\".\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You drop all\nyak's wool sock: Dropped.\n\nclothes peg: Dropped.\n\njar of pickled eggs (closed): Dropped.\n\nhairdryer: Dropped.\n\nThe acolyte sighs with frustration.\n\n> You hit Acolyte\nViolence isn't the answer to this one.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You tell Acolyte about the silence\nThis provokes no reaction.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You tell Acolyte about one hand clapping\nYou'd like to put the little guy out of his misery, but you have no more of an idea than he does. Perhaps you should ask the Lama?\n\nThe acolyte sighs with frustration.\n\n> Go inside\nAfter your long and arduous journey it's hard not to be disappointed by the famous Sanctum Sanctorum of his Holiness the Dada Lama. Sure, incense burners and mandalas abound, but there's no getting away from the fact that this is nothing more than a shabby old trailer home with seating that folds up to provide additional storage.\n\nHis holiness the Dada Lama, Ascended Master of the August Centre of the Heavens, sits in the middle of a bubbling hot-tub surrounded by topless beauties.\n\nThe brunette massages the old man's scalp whilst the blonde lovingly soaps his scanty beard.\n\n> You ask Lama about yeti\n\"Tell me, oh Exalted Master, is there really such a thing as the abominable snowman?\" you ask.\n\n\"It is possible,\" says the Lama, stroking his scanty beard, \"that some of them may have survived the great ice age.\".\n\n> You ask Dada about one hand clapping\n(the Dada Lama about that)\n\"Oh great Lama,\" you say, rather self consciously, \"tell me, what is the sound of one hand clapping?\"\n\nThe Lama gives Mitzi a conspiritorial wink before beckoning you closer with his finger. Cautiously you lean in to listen to him.\n\n\"Closer, closer!\" says the Lama. Slightly suspicious now, you lean in further with your left ear turned towards him.\n\n\"Closer!\" whispers the Lama, and by now it's a struggle to avoid falling into the hot tub, but somehow you manage. You can feel the Exalted Master's hot, eggy breath in your earhole.\n\nAnd then suddenly he claps you on the ear with one hand. It's a sound you won't forget in a hurry. Over the ringing in your ear you can hear the ringing of Candy and Mitzi's laughter.\n\n> You ask Dada about the monk\n(the Dada Lama about that)\n\"What are you doing here still?\" says the Lama, \"Have I not given you clear instructions? Now, go!\"\n\n> Go outside\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nA lowly acolyte stands guard outside the door to the caravan.\n\nYou can also see a hairdryer, a jar of pickled eggs (closed), a clothes peg and a yak's wool sock here.\n\nThe acolyte attempts to clap with one hand, cupping the other hand over his ear the better to hear the sound it makes.\n\n> You take all\nhairdryer: Taken.\n\njar of pickled eggs (closed): Taken.\n\nclothes peg: Taken.\n\nyak's wool sock: Taken.\n\nacolyte: I don't suppose the acolyte would care for that.\npair of chopsticks: You try to grab the chopsticks from the acolyte's hands, but his highly trained reflexes are just too fast for you.\n\n\"Get your own!\" he admonishes.\noverhang: That's hardly portable.\nclothes line: That's hardly portable.\nLama's caravan: That's hardly portable.\n\nThe acolyte sighs with frustration.\n\n> You tell Acolyte about one hand clapping\nIt's a little hard to explain. Perhaps a demonstration would be in order?\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> You hit Acolyte\nViolence isn't the answer to this one.\n\nThe acolyte attempts to catch a passing fly with his chopsticks. They say that a man who can catch a fly with chopsticks can do anything.\n\n> Clap acolyte\nJust CLAP will suffice.\n\n> Clap\nWith one hand you clap the acolyte about the face with a sound that echoes throughout the valley like thunder. After a moment the look of shock on the acolyte's face is replaced with a look of beatific understanding.\n\n> Clap\nA moment later there is a rumble from the overhang above his head, and he is buried under twenty tonnes of snow.\n\nYou give yourself a round of applause. With one hand, naturally."
    },
    {
        "text": "[Themes: Humor, silly]\n\n> You look at your surroundings\nHere, at the peak of the mountain, perched beneath a snow-covered overhang, is a 1969 model Sprite Alpine caravan in a delapidated state of repair. Mystic sigils have been daubed across its rotting sides. Colourful prayer flags flap from ropes tied to the awning poles. Could it be that you have finally found the fabled Sanctum Sanctorum of the Dada Lama?\n\nA narrow traverse takes you down to foot of the mountain.\n\nYou can see a pile of snow here.\n\n> You take the snow\nThat's fixed in place.\n\n> You turn on the dryer\nThat's already on.\n\n> Melt snow\nAll the cosmic electricity is used up.\n\n> You look at the pile\nA perfect, pristine pile of pure, pearly-white snow. You try to forget about the poor little dude buried underneath it. Ah, what the heck. He had it coming. A pair of chopsticks are sticking out of the top of the pile."
    },
    {
        "text": "[Themes: Humor, silly, absurd]\n\n> Go downwards\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go west\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You wear the peg\nYou place the clothes peg on your nose.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You enter\nClothes peg firmly in place, you step bravely into the yak shed.\n\nThe yak shed is a gloomy wooden structure of rickety construction. Enormous piles of dung take up most of the available floorspace; shafts of light from cracks in the ceiling illuminating thousands of buzzing flies.\n\nA solitary yak stands in the middle of the shed, its shaggy pelt illuminated by a shaft of sunlight.\n\n> You catch the fly with the chopsticks\nAfter many, many hours of patient practice, you finally succeed in catching a fly with a pair of chopsticks. By this time of course, you have also succeeded in acquiring a sore nose (from the clothes peg), a headache (from working in near total darkness) and a severe case of repetitive strain injury of the wrist. They say a man who can catch a fly with a pair of chopsticks can do anything, but oddly enough you don't feel like doing anything at the moment.\n\nThe fly buzzes angrily.\n\n> Examine fly\nHere, in the foothills of the mountains is a meadow of lush grass, strewn with boulders and dotted with tall wild flowers that frug and shimmy in the breeze. A pastoral idyll in other words, marred only by the fact that someone has erected a barn smack in the middle of it. A windowless wooden box, this barn, of no great architectural merit. Daubed above the entrance are the words \"Yak Shed\".\n\nTo the east, a rugged path leads down into the valley whilst other, more ordinally inclined paths lead northeast and southeast.\n\nThe fly buzzes angrily.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\nA large, bad tempered bluebottle.\n\nThe fly buzzes angrily.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You go east\nHere, at the foot of the mountain you are at last fully able to appreciate its immense size. A rough, twisting path becomes a narrow traverse that zig-zags its way up the mountainside, its summit obscured by mist.\n\nTo the west is a pleasant looking meadow, whilst to the east are a scattering of caravans. Far away to the north the Valley is blocked by a sheer wall of ice; an enormous glacier!\n\nThe fly buzzes angrily.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go east\nThat you are standing outside the caravan of one of Shangri-La's permanent residents is evidenced by the fact that a tiny section of garden has been fenced off. This garden consists of a small patch of meticulously raked gravel, with, placed at harmonious intervals, two potted bonsai trees, three garden gnomes (all in the lotus position) and the inevitable plastic flamingo. The door to the caravan is open, revealing a curtain of colourful plastic ribbons that flutter in the breeze.\n\nPaths lead west to the mystic mountain, northwest to the glacier and southwest to the camp entrance.\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> Go inside\nThe inside of this tiny caravan is completely bare as befits a monk's cell. Only the fitted furniture remains, and presumably its owner's few possessions are secreted away in the handy under-seat storage areas. The only other feature is the colourful ribbon curtain through which you entered.\n\nSat cross-legged on the built in sofa is a tiny monk with a disproportionately large shaven head. He appears to be deep in mediation.\n\nThe fly buzzes angrily.\n\n> You drop the fly\nYou release the fly. After a moment or two of aimless buzzing around it alights upon the vast dome of the monk's shaven head. Like a miniature Buzz Aldrin it begins to explore this strange new world on its six tiny, featherlight feet. Around and around it goes, with a lack of purpose you find almost admirable. You can only imagine the agonies the poor monk must be suffering.\n\nEventually the little man can stand it no more. With a yowl like a wounded animal he charges from the room, swatting fruitlessly at his scalp with both hands, months and months of patient meditation down the pan. If he'd had any hair, he'd be tearing it out right now.\n\n> You open the sofa\nYou open the sofa, revealing a disposable razor.\n\n> You take the razor\nTaken.\n\n> You wear the peg\nYou're already wearing that!\n\nYou hear the yeti sounding his barbaric YAWP across the roof of the world...\n\n> You enter\nClothes peg firmly in place, you step bravely into the yak shed.\n\nThe yak shed is a gloomy wooden structure of rickety construction. Enormous piles of dung take up most of the available floorspace; shafts of light from cracks in the ceiling illuminating thousands of buzzing flies.\n\nA solitary yak stands in the middle of the shed, its shaggy pelt illuminated by a shaft of sunlight.\n\n> Shave yak\nIt takes you three days of painstaking work to denude the yak of every last hair, during which time you subsist on the fleas, ticks and lice that infest the animal. Finally you stand back and admire your handiwork. It's a pretty scrawny looking beast without its wool.\n\n> You knit the sock\nKnit one, pearl one... Granny taught you well. After just three months of patient work, and four hundred and eighty-three dropped stitches, you produce a sock that more or less exactly resembles the other one.\n\n> Inventory\nYou are carrying:\na pair of yak's wool socks\na disposable razor\na pair of chopsticks\na clothes peg (being worn)\na jar of pickled eggs (closed)\na hairdryer\n\n> You give socks to yeti\nGingerly you tug the socks over the yeti's enormous tootsies, and having lit the blue touchpaper, stand back. After a few moments, his eyelids flicker. A few moments after that, his eyes flick open, he jumps to his feet, does a little dance and gives you big, hairy, smelly bear-hug before crashing out into the open air.\n\n> You look at yeti\nThe yeti stands a few feet away, eyeing you amusedly.\n\nThe abominable snowman, once thought to be a myth, now a hulking four hundred pound fact with muscles like marshmallows and incredibly large, incredibly cold feet.\n\n> You give the jar to yeti\n\"Say, you couldn't lend me a paw with this jar, could you, man?\" you say, \"It's really been bugging me.\"\n\nThe yeti gives you a big, yellow, snaggle-toothed grin. He takes the jar in his huge gnarly hands, pops off the lid like it was nothing, and hands it back to you lidless. Far out.\n\n> You examine jar\nA jar of eggs, pickled in vinegar. The jar is currently open.\n\n> You eat the eggs\nYou decide the pickled eggs are best left alone.\n\n> You enter\nAfter your long and arduous journey it's hard not to be disappointed by the famous Sanctum Sanctorum of his Holiness the Dada Lama. Sure, incense burners and mandalas abound, but there's no getting away from the fact that this is nothing more than a shabby old trailer home with seating that folds up to provide additional storage.\n\nHis holiness the Dada Lama, Exalted Master of the Slanting Moon, sits in the middle of a bubbling hot-tub surrounded by topless beauties.\n\nThe brunette massages the old man's scalp whilst the blonde lovingly soaps his scanty beard.\n\n> You give the jar to Dada\n(the Dada Lama)\n\"I have opened your jar of pickled eggs, oh exalted master,\" you say, holding out the item in question.\n\n\"Well, and what have you learned?\" replies the ancient one.\n\n\"Well,\" you say, \"I had to do a load of stuff, and in order to do that I first had to do a load of other stuff, melt a glacier, knit a sock, shave a yak...\"\n\n\"That's it!\" says the Lama, splashing excitedly, \"in order to do stuff, you had to do other stuff, and on and on. That is life. Life is yak shaving!\"\n\n\"And I guess,\" you say, stroking your beard thoughtfully, \"that as long as you get a few kicks and have a few giggles along the way, it's okay.\"\n\n\"Behold!\" cries the Lama, \"enlightenment, illumination! I'm afraid I can't offer you a cigar or a coconut, but please, help yourself to a pickled egg.\"\n\n\"Thanks, I'll pass.\"\n\n\"Please yourself.\" says the Lama.\n\n\"I will,\" you say, grinning. \"I will.\""
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists]\n\nContent warning: Violence, wounds.\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n(Did you know?) By default, the game asks you to press the space bar after showing the aftermath of an action. You can turn this behavior off (or back on) with the command \"autopause off/on.\"\n\n[Author's Note: The afternoon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours.]\n\n> About you\nYou are Pia, wielding a sharp blade, and wearing some well-made armor crafted by your brother Piet. Piet who, unfortunately, is facing you right now in combat, wielding the accursed Thornblade - the weapon that you found abandoned, that you suggested Piet could wield, that you should have recognized as a tool of corruption. This is all your fault.\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You look at Piet\nYour brother wields the evil, cursed Thornblade. Its corruption has taken a clear toll on him. His eyes shine with hatred, his face twisted into a seemingly permanent snarl. He wears some crudely-made ring mail, something he would have never done before his corruption.\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You kill the brother\nGritting your teeth, you rush at Piet. Almost as if it had its own mind, your blade moves, and with a sickening sound, it finds your brother's stomach. He looks at you in surprise, his eyes free from the corruption that had taken him. \"Why, Pia?\" he whispers as his blood stains your hands. \"Was there no other way?\" These words echo in your head much louder than Piet spoke them.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Xyzzy\nYou mutter the ancient words that you've learned from the strange hermit, not expecting a whole lot, but your surroundings fade away, leaving you and your brother in a strange gray void along with a third figure, hulking, thorny, towering. The curse of the Thornblade incarnate. Alone, you would not be able to defeat it. But in this realm, your brother is free. You two make quick eye contact, nod, and explode into teamwork that you thought long forgotten. It is another long battle, but you two end up victorious, the curse of the Thornblade fading with the gray realm.\nBack in the real world, Piet tosses the blade down, trampling it until it breaks like wood, and looks at his hand. \"I'll bring you to a priest who'll heal those wounds, brother.\" you promise, but he shakes his head. \"Those wounds run deep. I'm not sure there is a healer strong enough to treat them within a few days' travel.\" - \"There is. I brought her with me.\"\n\n*** Your brother has been freed from your foe. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You take the blade\n(the Thornblade)\nA quick feint and a step towards your brother. Piet doesn't step away as you draw closer, so you strike another feint that your brother tries to parry with the Thornblade - which is exactly what you were hoping for. You catch it with your other hand, its thorns burying deep into your flesh, its curse flowing into your veins. \"Pia? What are you...\"\n\"Piet.\" you interrupt his brief moment of clarity. \"Together, we're stronger. Stronger than the curse. Right?\"\n\nOf course, you aren't. Over the next few days, the Thornblade reshapes itself back into a blade held by the two of you. The blade's terror though has more than doubled.\n\n) You can refer to the shovel as a spade. Pia doesn't like that much, but obliges anyway."
    },
    {
        "text": "> You look at your surroundings\nThe old yard of your family, spacious, and overgrown with weed. No one has tended it in ages. Seeing it in this condition almost makes you weep.\n\nAbandoned when your family broke up, an old shovel lies nearby.\n\nYour foe, your brother, Piet... he is standing there, the Thornblade grown into his hand. His eyes betray his irreversible corruption... or do they?\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Attack blade\n(the Thornblade)\nYes, maybe that's the right move. It is the Thornblade's dark curse that had caused you so much trouble. And it's your fault that Piet is wielding that dreadful weapon. Yes, a quick swing at the blade should... splinter it like wood? No, it splintered rather like bone, you realize, and see it bleeding. Piet's face pales fast and he collapses, and you guess the tragic truth - the Thornblade didn't just grow into your brother's hand. It became a part of his body, an extension. Destroying the blade was rather like cutting off Piet's hand, and here and now, this is a death sentence for him. \"Pia.\" he manages to whisper. He doesn't have the power for more.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Inventory\nYou are carrying:\nsome well-made armor (being worn)\na blade\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n) You can refer to your foe as \"foe!\". There are four short lines of text dedicated to stripping out the exclamation sign.\n\n> You take the spade\n(No, shovel.)\n\nTaken.\n\n\"I don't wanna play fighters, I wanna play pirates!\" you shout, shovel in hand, and Piet yells excitedly. The two of you dig a few small holes, excited about every little bit of rubbish you manage to find, and especially about the few coins that managed to find their way into the old yard. Sharing fairly, both of you manage about two dollars, and remain tight-lipped about your windfall. After all, you promised mom not to play in the old yard.\n\n*** Dig out treasures. Bury rivalries, not rivals. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Sing\nThe ancient tune you've learned demands to be sung, so you begin to hum it. Uncertain, your brother takes a few steps back, holding the Thornblade in front of his as if it were a shield. The song has risen to a chant, and the world beyond the yard seems to fade away. Realizing what you must be planning, Piet begins to charge, but your voice rises to the level of a chorus and keeps him at bay, even pushing him back. You try to whisper an apology in between verses, but it remains a thought as the yard in front of you, Piet in front of you, fades beyond black. The song reaches its climax as you fall back into reality with half of the old yard, and the rest falls into another plane. No longer holding back your tears, you say your goodbyes.\n\n*** You have condemned your brother to an unknown world.\n***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You ask blade about the blade\nYou can only do that to something animate.\n\n> You ask the brother about blade\nThere is no reply.\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You remove the armor\n\"This is stupid!\" you shout. \"I want out of this stupid game! I want out of this stupid armor!\" You begin tearing up the cardboard armor with a mixture of malicious glee and shameful guilt. After all, he made it for you, and made it quite well - it almost looked like real armor before you began tearing it. Piet watches you open-mouthed, and quickly starts bawling as he runs home.\nMother is soon chewing you out. Not only did you destroy the armor Piet created for you, you were playing in the old yard, which you had promised not to do. You'll be grounded for a while. Piet, too, but not for as long. That's good. It wasn't his fault, after all. It was yours. As it always is.\n\n*** A Higher Power has intervened. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You jump\nGritting your teeth, you rush at Piet, vaulting at him at the last second and closing your eyes. As you bring down your blade where Piet's head should be, you feel searing, horrifying pain - your stomach was torn asunder. Through the pain, you barely hear the crunch of Piet's head being split by your blade, but you feel him fall. You try to open your eyes, whisper a few words as you find his hand, but everything fades to red...\n\n*** You are together in death. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Kiss piet\nYou feint, dodge, and weave until you are close to Piet. Your plan is a desperate one, inspired by the stories you heard as a kid, what feels like eons ago. But when everything else has failed, what else can you try than the old, seemingly outlandish ideas? The power of love, the power of the kiss, it is your last hope. You grab the wrist of the hand holding the Thornblade to keep Piet from using it, and kiss your brother on the forehead, on the cheek, even on the lips, and take a few steps back. Piet blinks a bit, smiles, and beckons you closer. Did you do it? You step closer full of hope, until Piet quickly moves to stab you, barely dodging out of the way in time. Your brother's face has turned into a grimace of rage, and you run, fast, fighting back the tears and the realization that your last hope of saving your brother has failed.\n\n*** Love did not conquer all. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Go east\nYou quickly take a step aside, beginning to circle around Piet, and he does likewise. A feint quick causes your brother to stumble. This should be your chance - a quick stab, and the tyranny of the cursed blade is over. One step... backwards. You just can't do it. Even though all this is your fault. Especially because all this your fault. Another step backwards changes into you quickly turning around, running away from the old yard and from your brother.\n\n*** You did not finish your foe. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You throw the blade at Piet\n(the blade at your brother)\nGritting your teeth, you rush at Piet. Almost as if it had its own mind, your blade moves, and with a sickening sound, it finds your brother's stomach. He looks at you in surprise, his eyes free from the corruption that had taken him. \"Why, Pia?\" he whispers as his blood stains your hands. \"Was there no other way?\" These words echo in your head much louder than Piet spoke them.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You kick piet\nGritting your teeth, you rush at Piet. Almost as if it had its own mind, your blade moves, and with a sickening sound, it finds your brother's stomach. He looks at you in surprise, his eyes free from the corruption that had taken him. \"Why, Pia?\" he whispers as his blood stains your hands. \"Was there no other way?\" These words echo in your head much louder than Piet spoke them.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Plugh\nYou mutter the ancient words that you've learned from the strange hermit, not expecting a whole lot, but your surroundings fade away, leaving you and your brother in a strange gray void along with a third figure, hulking, thorny, towering. The curse of the Thornblade incarnate. Alone, you would not be able to defeat it. But in this realm, your brother is free. You two make quick eye contact, nod, and explode into teamwork that you thought long forgotten. It is another long battle, but you two end up victorious, the curse of the Thornblade fading with the gray realm.\nBack in the real world, Piet tosses the blade down, trampling it until it breaks like wood, and looks at his hand. \"I'll bring you to a priest who'll heal those wounds, brother.\" you promise, but he shakes his head. \"Those wounds run deep. I'm not sure there is a healer strong enough to treat them within a few days' travel.\" - \"There is. I brought her with me.\"\n\n*** Your brother has been freed from your foe. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You think\n\"I don't want to play.\" you mutter, sitting down by the weeds. You think about how your family lost the yard in the first place, how uncle screwed you all over. And once again, you come to the conclusion that it is, ultimately, your fault. If you hadn't blabbed, uncle would never have gotten the idea, you're sure. Piet sits down next to you, putting his arm around your shoulder and again tries to tell you that it isn't your fault.\n\n*** But the certainty will remain. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Dodge\nPiet and you stare each other in the eyes, each of you determined to not show any weakness. It is your brother - or what's left of him - who breaks eye contact as he rushes at you. You're prepared. You dodge out of his way, letting yourself fall, and slash at his legs. Quickly, you get back to your feet, hold your blade in both hands to deliver the coup de grace... and you look down at your brother, grimacing in pain. You can't do it. You just can't. Your feet carry you away from the old yard, away from your brother, away from the chance to end the threat of the Thornblade.\n\n*** You did not finish your foe. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You look at what you're carrying with you\nYou are carrying:\nsome well-made armor (being worn)\na blade\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You drop your blade\n(the blade)\nYou can't do it. You just can't. You can't kill Piet. As you fall to your knees crying, you let go of your blade. Were you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it... In the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your foe finished you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You look at the ring mail\nPiet is wearing some kind of crudely-made ring mail. If you needed any more confirmation that your brother has been corrupted away from the person he once was, this would be it. An expert armorsmith like him wouldn't wear this thing.\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Disarm brother\nYes, maybe that's the right move. It is the Thornblade's dark curse that had caused you so much trouble. And it's your fault that Piet is wielding that dreadful weapon. Yes, a quick swing at the blade should... splinter it like wood? No, it splintered rather like bone, you realize, and see it bleeding. Piet's face pales fast and he collapses, and you guess the tragic truth - the Thornblade didn't just grow into your brother's hand. It became a part of his body, an extension. Destroying the blade was rather like cutting off Piet's hand, and here and now, this is a death sentence for him. \"Pia.\" he manages to whisper. He doesn't have the power for more.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You leave\nBut you aren't in anything at the moment.\n\nIn the last moment, you hesitate, the realization of what you are about to do weighing you down. Are you really going to kill your brother? Though you have convinced yourself that it would be deliverance, with that accursed blade having corrupted him, part of you still wonders whether you really did your best trying to save him from the Thornblade's curse...\n\nPiet, it turns out, has no qualms. He lunges at you, and as your vision turns to red, you see the Thornblade sticking out of a weak spot of your armor. ... of course... he was the one who forged it...\n\n*** Your hesitation has cost you dearly. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You break the blade\n(the Thornblade)\nYes, maybe that's the right move. It is the Thornblade's dark curse that had caused you so much trouble. And it's your fault that Piet is wielding that dreadful weapon. Yes, a quick swing at the blade should... splinter it like wood? No, it splintered rather like bone, you realize, and see it bleeding. Piet's face pales fast and he collapses, and you guess the tragic truth - the Thornblade didn't just grow into your brother's hand. It became a part of his body, an extension. Destroying the blade was rather like cutting off Piet's hand, and here and now, this is a death sentence for him. \"Pia.\" he manages to whisper. He doesn't have the power for more.\n\n*** You can wash away the blood, but not the deed. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your blade, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You examine the foe\nA tall, deathly pale woman with flowing red hair and sharp, long canines. This creature is a vampire, and not just any vampire. The red queen is an ancient affront to Hielon, god of the sun. Not only is she one of the vampires capable of surviving his gaze, she once was his high priest before her betrayal. She is wearing a red dress that, though you've struck many wounds on the red queen (that have quickly mended), shows no signs of gashes.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Inventory\nYou are carrying:\nsome gold-inlaid plate mail (being worn)\na sword\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You kill the queen\nEven though the red queen seems unimpressed by your attacks, it is the only option you truly have at this moment. You have basically no orisons or smites left to call upon, no vials of holy water to toss at the vampiric blaphemy. Nothing but your blade... and that one orison that Tanrond and Yeleen asked you to never use. But it might be your only hope now. You whisper an apology to your spouses and children as you call upon the sacrifice of light, feeling your life force turn to light enveloping your sword. Striking at the red queen, the light gets stronger and stronger as she suffers more and more wounds, and finally, she succumbs. However, your sacrifice has been made.\n\n*** You go into the light of Hielon for your family, despite\ntheir wishes. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Sing\nBeginning with a hum, you begin a liturgy that has been sealed for an eternity, and for good reason. It may have been an important contributor to the Chaos Age, and using it runs the risk of repeating that dark age. But it has been unsealed somehow, and you feel that it may have been for this fight specifically. As your liturgy reaches its climax, it seems that the red queen realizes what this liturgy will do, even if it predates her by ages. \"Fool! Stop this at once! This will destroy...\"\nBut it is too late. Hielon enters this world, in violation of the Covenant of Eternity, and light obliterates you, and your immediate surroundings.\n\n) There are three foes that you might face after (re)starting.\n\n> Xyzzy\nWith a hollow voice, you intone a magical word.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Kiss queen\nAn aura of temptation washes over you, and the red queen asks with a smile \"You are a mighty warrior indeed, but is war not such a dreadful business? Would you not rather be a lover?\" She really must have a low opinion of the followers of her former church. The wave of temptation was nowhere strong enough to even make a dent in your willpower.\n\"You are by far less fair than my husband, by far less passionate than my wife, by far less adorable than our children. There is nothing you can offer to me to replace even one of them, let alone all five of them.\" As you speak, the red queen's face becomes more and more distorted with anger and hatred, and she dives at you. You instinctively throw a punch, and are surprised to actually see a bruise developing on your foe's face, and before you can react to figure out what caused the bruise, the red queen has muttered a word and fades to another location.\n\n) Most foes have an implemented head and hand. Referring to them in an action might bring you to other endings or information.\n\n> You ask the queen about the blood\nThere is no reply.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short"
    },
    {
        "text": "> Look around\nThe throne room of the Blood Tower is a mockery to your god Hielon. Open to the sky, as if its inhabitant weren't the vilest of vampires, and a throne made of skulls and bones with rays much like those of the sun symbols your church uses.\n\nFloating near the dark throne is your foe, the mockery of your god, the red queen.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You sit on the throne\nBarreling past the red queen, you approach her throne. Your first inclination is to destroy it as you feel a wave of disgust. But you quickly recognize the disgust as the result of an incantation, surely intended to make you attack the throne. So instead, you sit on it.\n\n...\n\nInstantly, you recognize the truth. The red queen has been right all along. You have been but a slave to Hielon, the other gods, the church, and your family, even. You eagerly accept a place at the red queen side.\n\n) You can refer to your foe as \"foe!\". There are four short lines of text dedicated to stripping out the exclamation sign.\n\n> You destroy the throne\nIt seems clear that the dark throne holds dread power. Perhaps it holds the power that protects the red queen from your blade's attacks. You rush past her, striking and severing one of the rib-crafted sun rays, and another, then jump backwards as the red queen dives at you. Instinctively, you hit her with your sword, and with grim satisfaction, you see a small wound on her cheek, smaller than you would normally expect, but it is there.\n\"You do not know what powers you are toying with, mortal worm!\" the red queen shouts. \"By damaging the throne, you have allowed a creature more powerful and destructive than me access to our world, and it is on its way already.\" Paying no heed to what you think a transparent attempt to save her life, you continue to damage the throne, and when it is nearly completely destroyed, the red queen dies to your sword, and you return home triumphantly.\n\n*** But then the demon lord arrives... ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You turn throne\nThough you are no priest, you do have a weak ability to harm the undead. Vampires are usually too powerful to be affected, but perhaps if you concentrate on the dark throne, you might be able to destroy it and whatever vile influence it provides. You channel your devotion to Hielon and direct it at the dark throne, but you feel that it is absorbed by the throne rather than harming it. Before you can react, a pulse of vile energy radiates from the throne, and disgust overcomes you. You fall to your knees and vomit, and the red witch approaches with a dagger, cackling evilly, dagger in hand.\n\n*** Your blessings have turned into a curse. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You turn the queen\nThough you are no priest, you do have a weak ability to harm the undead. Vampires are usually too powerful to be affected, but perhaps you can weaken her magical protections this way. You channel your devotion to Hielon and direct it at the red queen... but you realize it is redirected, absorbed by the dark throne. Before you can react, a pulse of vile energy radiates from the throne, and disgust overcomes you. You fall to your knees and vomit, and the red witch approaches with a dagger, cackling evilly, dagger in hand.\n\n*** Your blessings have turned into a curse. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You examine the queen\nA tall, deathly pale woman with flowing red hair and sharp, long canines. This creature is a vampire, and not just any vampire. The red queen is an ancient affront to Hielon, god of the sun. Not only is she one of the vampires capable of surviving his gaze, she once was his high priest before her betrayal. She is wearing a red dress that, though you've struck many wounds on the red queen (that have quickly mended), shows no signs of gashes.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You throw the sword at the queen\nYou lack the nerve when it comes to the crucial moment.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> You take the dress\nThat seems to belong to the red queen.\n\nAs you continue looking around, your disgust with your environment wells up to unexpected heights. It is enough to cause you physical pain and nausea. Nausea strong enough to cause you to vomit. Falling to your knees, you hear the laughter of the red queen as she draws a dagger from Hielon knows where and slits your throat.\n\n*** Your disgust has overwhelmed you. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Dance\nIt feels silly, but you start the dance that you were taught. It is a fluid one, seamlessly allowing you to dodge away from the red queen's assaults. It is a long dance, though, and exhaustion begins to set in, and the red queen pins you down right at the end. She rips apart your gorget and is about to tear your throat as the tower shakes and it appears over the walls. The elder treant with a vast vendetta against the red queen. It grabs her, instantly sealing her head in resin. You shudder to think what tortures the beast has in store for an undying vampire, but you feel that you had no other choice.\n\n*** You have consigned your foe to a horrible fate. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Kiss queen\nAn aura of temptation washes over you, and the red queen asks with a smile \"You are a mighty warrior indeed, but is war not such a dreadful business? Would you not rather be a lover?\" She really must have a low opinion of the followers of her former church. The wave of temptation was nowhere strong enough to even make a dent in your willpower.\n\"You are by far less fair than my husband, by far less passionate than my wife, by far less adorable than our children. There is nothing you can offer to me to replace even one of them, let alone all five of them.\" As you speak, the red queen's face becomes more and more distorted with anger and hatred, and she dives at you. You instinctively throw a punch, and are surprised to actually see a bruise developing on your foe's face, and before you can react to figure out what caused the bruise, the red queen has muttered a word and fades to another location.\n\n*** This fight may have ended, but it will start anew. ***\nMaybe things could have gone differently...\n\nThe noon sun burns hot even with the wind rushing through your hair. Catching a quick glance of your reflection in your sword, you quickly return your attention to the important matter at hand - your foe. It has been a long battle, but now the advantage is yours. It is time to make the decisive move, and to\n\nFinish your Foe!\n\nStandard Rules version 3/120430 by Graham Nelson\nEnglish Language version 1 by Graham Nelson\nExtended Grammar version 8/140501 by Aaron Reed\nBasic Screen Effects version 7/140425 by Emily Short\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: cooking]\n\nThe sun has not even risen when the Elves rouse you from your rest. You've slept far too little since last night's bloodbath, but it's time once again for battle. You sharpen your blades and head to the arena. Only six combatants remain, including yourself. Great merciful Zeus, you are exhausted. But you're not giving up now, not with glory and treasure on the line.\n\nNot to mention that spread in Food & Wine.\nQuickfire\n\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nReally, you should.]\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\nJustin, Andre, Linh, Stephen and Violet are here milling around.\n\n[Author's Note: The sun has not even risen when the Elves rouse you from your rest. You've slept far too little since last night's bloodbath, but it's time once again for battle. You sharpen your blades and head to the arena. Only six combatants remain, including yourself. Great merciful Zeus, you are exhausted. But you're not giving up now, not with glory and treasure on the line. Not to mention that spread in Food & Wine.]\n\n> About yourself\nYou haven't showered today, and your hair is kind of a mess, but the Elves have done their best to make you look presentable for the cameras. You're wearing your Top Chef whites over a Litchfield Women's Correctional Facility T-shirt and a pair of jeans.\n\n> Inventory\nYou are carrying:\na Top Chef whites (being worn)\na Litchfield Women's Correctional Facility T-shirt (being worn)\njeans (being worn)\nsome knives\n\n> You examine the knives\nA punishingly expensive and well-honed set of Bob Kramers for various applications, including a large chef's knife, a paring knife, a fillet knife, a cleaver, a serrated bread knife, and a few others. At Padma's request, you will pack them and go. [Note: You will automatically choose appropriate knives for your kitchen tasks. No need to worry about what's what.]\n\n> You examine Justin\nJustin is tall and faux-hawked, and has meticulously-maintained three-day stubble every day of the week. He likes to remind people that he staged at El Bulli.\n\n> You examine andre\nA fairly big dude from Houston; nominated for a James Beard last year. He's a sweet guy, for the most part.\n\n> You examine Linh\nA feisty little Vietnamese-American woman, executive chef at one of Charlie Palmer's places. She's a real tough competitor, but usually not a jerk.\n\n> You examine Stephen\nHe's a small, quiet Midwesterner, self-taught, and works currently as a private chef. While everyone else is drinking in the Stew Room, he's always got a bottle of fizzy water. He's won a bunch of challenges, which drives Justin insane.\n\n> You look at Violet\nShe's African-American too; well, quite a bit further removed temporally from Africa than you are, and likely from the other side of the continent, but still, by American reckoning, African. You can tell she is going to be a fan favorite. Very pretty, very quick-witted, and usually very good as well.\n\n> About yourself\nYou haven't showered today, and your hair is kind of a mess, but the Elves have done their best to make you look presentable for the cameras. You're wearing your Top Chef whites over a Litchfield Women's Correctional Facility T-shirt and a pair of jeans.\n\n> You look at the stove\nThe details are not that important. When you're ready, you can just PUT SKILLET ON RANGE.\n\n> You examine the counter\nEach station has a counter with some electrical sockets for equipment and sundry standard kitchen implements. Back at the start of the season, every station was occupied, leading to elbow-to-elbow cooking, territorial fights, ingredient theft, bickering, crashes, and other reality-show goodness. Now there's a little room to spread out. The rest still happens.\n\nOn your station is a cutting board.\n\n> Y.\ncheapglulxe quit with exit status: 0\n\nThe sun has not even risen when the Elves rouse you from your rest. You've slept far too little since last night's bloodbath, but it's time once again for battle. You sharpen your blades and head to the arena. Only six combatants remain, including yourself. Great merciful Zeus, you are exhausted. But you're not giving up now, not with glory and treasure on the line.\n\nNot to mention that spread in Food & Wine.\nQuickfire\n\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nReally, you should.]\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\nJustin, Andre, Linh, Stephen and Violet are here milling around.\n\n> Xyzzy\nSorry, did you say \"tzatziki?\"\n\n> You examine Coupe\nA hideously-expensive, industrial-grade food processor used in professional kitchens. Put stuff into it and press the button.\n\n> You examine the skillet\nA heavy fifteen-inch cast-iron pan, properly seasoned.\n\nThe cast-iron skillet is empty.\n\n> You examine the board\nIt's a nice butcher-block model. There are many like it, but this one (for the duration of the challenge) is yours.\n\nThere is nothing on the cutting board.\n\n> You go to the west\nDon't wander off just yet.\n\nOne of the Elves, a production assistant, raises his voice. \"OK, everyone, we're starting. Cheftestants, please line up.\" The other chefs dutifully begin to arrange themselves, with the assistance of the Elves.\n\nA few minutes later, Padma and Tom arrive and chat with each other inaudibly, over by the logo. Tom's wearing a Santa hat. The Elves set them on their marks, then wheel out a table loaded down with tubs of something. Fabulous. More product placement. Everyone straightens up. \"Quiet on the set!,\" shouts the director. The cameramen take their places and begin rolling.\n\n\"Action!\"\n\n\"Greetings, chefs,\" purrs Padma. She's considerably better-rested and groomed than you lot. \"It's Christmas!\" Actually, it's June as you're filming this, and about 90 degrees outside. \"Behind me, as you can see\" --  she waves for effect -- \"we have sour cream from Organic Valley. Sour cream is extremely versatile and can be used in a wide variety of last-minute sweet and savory dishes for a holiday party.\"\n\nTom: \"Your Quickfire challenge this week is to make us a delicious dish for a holiday party incorporating Organic Valley sour cream.\"\nThe cameras come in for reaction shots from you and the others. You can see the wheels turning in your fellow competitors.\n\nPadma, again: \"You have twenty minutes. The winner of the Quickfire will not get immunity, but will get a significant benefit in the next Elimination Challenge.\"\n\n\"Cut!\", yells the director. \"OK, everyone, stay on your marks. Let's get some acknowledgments.\" Tom and Padma chat for a bit, while a pair of Elves, one holding a camera, walk the line of cheftestants. They approach, and make you repeat the terms of the challenge back to the cameras for legal purposes. Reality show contestants can be rather litigious, you know.\n\n\"Samiira, do you fully understand the terms of the challenge?\"\n\n> Y.\n\"Thank you, Samiira.\" They move on down the line until all the cheftestants have given their assent.\n\n> Go west\nDon't wander off just yet.\n\nThe director shouts, \"Everyone, back on your marks!\" Moments later, they're set up and rolling again.\n\nEveryone tenses as they wait for Padma. \"Your time starts\" -- slight pause -- \"NOW!\"\n\nOK! Well, there's probably a million baking options, but you don't have anything other than kac kac or luqaimat\nmemorized. You don't have time to bake during a Quickfire anyway. Think of something! What was the last thing you made with sour cream? OK, yes -- a friend you worked with (now your ex-boyfriend's wife) taught you to make latkes last year. That'll work. The timing will be really tight, though you think you can finish, inshallah.\n\nSo you're gonna need POTATOES and EGGS and ONIONS and MATZO MEAL and OIL (or equivalent) and SALT. And then SOUR CREAM, obviously, and something else on top. Maybe a BERRY of some kind? Or savory -- wait, wasn't there some IKURA in the fridge yesterday? [You can type RECIPE or R at any time to pull up the recipe.]\n\nThe other cheftestants bolt off their marks to get their stuff. You see Linh, Violet, and Justin dash to the pantry, and Andre and Stephen heading over to the equipment.\n\n> You go west\nThe Top Chef pantry is stocked, at least most days, with just about anything you could want. Not always in huge quantities, though. Having the cheftestants squabble over ingredients makes for good TV.\nA giant GE Monogram\u00ae refrigerator occupies much of the north wall. Next to it are shelves filled with various nonperishable goods. And opposite them are baskets of produce.\n\nHere getting ingredients are Violet and Linh.\n\nThe camera comes in for a close-up on you and what you're doing. You manage a few words.\n\nYou see Linh, already weighed down with armfuls of ingredients, struggling to reach a jar of Moroccan olives on the shelves. She turns to you for help. \"Sam, hey, uh, can you?\", she asks. There are actually a couple up of jars there. Justin, meanwhile, peels around the corner and starts lunging towards the baskets, with an Elf close behind. \"..blackberrry jus,\" he seems to be saying to no one in particular.\n\n> You take the potatoes\nYou leave Linh hanging. \"Thanks for nothing!\" she says. She puts some stuff down, jumps, and gets the jar herself.\n\nTaken.\n\nStephen and Andre arrive and begin gathering ingredients.\n\n> R.\nYou can't consult actual written recipes on the show, so quantities and times are always going to be inexact. That said--\n\npotatoes, peeled, grated and dried\nonions, chopped\neggs\nmatzo meal\noil or fat\nsalt\n\nCombine potatoes, onions, eggs, salt and matzo meal in bowl. Fry latkes in very hot oil, flipping after five minutes. Drain and plate the latkes. Garnish as appropriate, and finish with salt to taste.\n\nGiven this challenge, \"garnish\" means sour cream, and maybe a little something else. Berries, or caviar, perhaps.\n\n> You get the oil\nTaken.\n\nJustin elbows his way to the baskets and grabs the blackberries. \"Sorry,\" he claims. \"I need them for a jus.\" He lurches off.\n\n> You get all\nPlease be specific.\n\n> You get the salt\nTaken."
    },
    {
        "text": "> Look around\nThe Top Chef pantry is stocked, at least most days, with just about anything you could want. Not always in huge quantities, though. Having the cheftestants squabble over ingredients makes for good TV.\nA giant GE Monogram\u00ae refrigerator occupies much of the north wall. Next to it are shelves filled with various nonperishable goods. And opposite them are baskets of produce.\n\n> You open the fridge\nYou open the refrigerator, revealing a leg of lamb, a lobe of foie gras, some duck fat, some short ribs, some milk, some Ahi tuna, some bacon, some feta and some eggs.\n\n> You take the eggs\nYou grab some eggs. [Note: you can just PUT THEM IN BOWL to use them].\n\n> Inventory\nYou are carrying:\nsome eggs\nsome matzo meal\nsome kosher salt\nsome yellow onions\nsome vegetable oil\nsome Yukon Gold potatoes\nyour Top Chef whites (being worn)\na Litchfield Women's Correctional Facility T-shirt (being worn)\njeans (being worn)\nsome knives\n\n> You get foie gras\nYou don't need the lobe of foie gras. Focus on what you need for your dish.\n\nThe fridge door swings shut.\n\n> You get the bacon\nYou don't need the bacon. Focus on what you need for your dish.\n\nYou hear someone furiously chopping.\n\nThe fridge door swings shut.\n\n> You go east\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\nJustin calls out, \"Does anyone have the immersion blender?\"\n\n> You put the eggs and the onions and the potatoes and the salt and the matzo in a the bowl\neggs: You crack some eggs, dump them into the bowl, and whisk them to a light froth.\nyellow onions: You dunk an entire onion, skin and all, into the raw egg mix. Hm, that doesn't seem right. You fish it back out again. Yukon Gold potatoes: You plop the whole potatoes into the raw egg mix. Hm, that doesn't seem right. You fish them back out again.\nkosher salt: (first taking the salt)\nYou sprinkle some salt in to the mix; probably a little less than you might normally need, but it's always easy to add later.\nmatzo meal: You add the matzo meal.\n\nJustin is making a show of his butchering technique.\n\n> Peel potatoes\nPeels from the Yukon Gold potatoes go flying as you race to get your mise together.\n\nJustin is making a show of his butchering technique.\n\n> You cut the onion\nYou grab the onions, quickly discard the skins, halve them, and holding the halves firmly, make a series of fine crosswise cuts. Keeping them together, you rock your big chef's knife up and down with lightning speed, turning the onions into tiny tidbits. Your eyes are tearing, but you have no time to wipe them.\n\n> R.\nYou can't consult actual written recipes on the show, so quantities and times are always going to be inexact. That said--\n\npotatoes, peeled, grated and dried\nonions, chopped\neggs\nmatzo meal\noil or fat\nsalt\n\nCombine potatoes, onions, eggs, salt and matzo meal in bowl. Fry latkes in very hot oil, flipping after five minutes. Drain and plate the latkes. Garnish as appropriate, and finish with salt to taste.\n\nGiven this challenge, \"garnish\" means sour cream, and maybe a little something else. Berries, or caviar, perhaps.\n\n> You chop the onions\nYou've already chopped the yellow onions.\n\nJustin is talking to the camera somewhere.\n\n> You examine the oil\nIt has a high smoke point, so it's a good, if unremarkable, choice for frying latkes."
    },
    {
        "text": "> You look around\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\n> You put the oil in the skillet\nYou pour a little vegetable oil into the skillet. [You can PUT SKILLET ON RANGE to start cooking.]\n\n> You put\nWhat do you want to put on?\n\n> You put the skillet on the range\n(first taking the cast-iron skillet)\nYou put the skillet on the range and turn the burner up to high. The oil begins to heat up.\n\n> You put the taters in the bowl\nYou probably want to start with the eggs.\n\n> You put the eggs in the bowl\nYou crack some eggs, dump them into the bowl, and whisk them to a light froth.\n\n> You put the taters in the bowl\nYou plop the whole potatoes into the raw egg mix. Hm, that doesn't seem right. You fish them back out again.\n\nSomeone shouts \"Hot!\" as they race around the kitchen.\n\n> You chop the potatoes\nYou add the matzo meal.\n\nYou need to grate, rather than chop, the potatoes.\n\n> You grate the potatoes\nYou need to something to grate with. Like a grater. Or even better, a Robot Coupe.\n\n> You put the taters in Coupe\nYou put the Yukon Gold potatoes into the Robot Coupe.\n\n> You look at Robot\nA hideously-expensive, industrial-grade food processor used in professional kitchens. Put stuff into it and press the button. Unfortunately, the one you grabbed is missing the grating attachment.\n\n> You get Robot\nYou grab the last Robot Coupe off the rack, and -- wase! --\nthis one is missing the damned grating attachment. Without that attachment, you can chop things (like onions), but won't be able to grate the potatoes."
    },
    {
        "text": "> Describe the surroundings\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater and a huge pressure cooker.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\n> You examine the grater\nIt's a stainless-steel handheld grater, of the sort one might use for cheese or potatoes.\n\n> Grate taters\nUnfortunately you can't grate anything with the Robot Coupe without the proper attachment.\n\nThere's a crash of pans on the floor and Justin takes a mock bow.\n\n> You get grater\nTaken.\n\nA camera-wielding Elf scurries past you.\n\n> Grate taters\nYou furiously grate the Yukon Gold potatoes. You make very good progress until you're grating just a little nub, at which point your manic intensity gets the best of you. You slice open your fingers. Wallahi, you never catch a break. \"Medic!\", you shout. You\nsit there bleeding for a minute or two, careful to keep the blood away from the food. One of the on-staff personnel patches you up, but you've lost valuable time.\n\nA burst of flame erupts momentarily from the range as someone else's pot boils over.\n\n> You put the taters in the bowl\nYou add the Yukon Gold potatoes.\n\n> R.\nYou can't consult actual written recipes on the show, so quantities and times are always going to be inexact. That said--\n\npotatoes, peeled, grated and dried\nonions, chopped\neggs\nmatzo meal\noil or fat\nsalt\n\nCombine potatoes, onions, eggs, salt and matzo meal in bowl. Fry latkes in very hot oil, flipping after five minutes. Drain and plate the latkes. Garnish as appropriate, and finish with salt to taste.\n\nGiven this challenge, \"garnish\" means sour cream, and maybe a little something else. Berries, or caviar, perhaps.\n\n> You put the salt in the bowl\n(first taking the salt)\nYou sprinkle some salt in to the mix; probably a little less than you might normally need, but it's always easy to add later.\n\nYou hear someone furiously chopping.\n\n> You examine the bowl\nIt's just a large metallic bowl used for combining ingredients.\n\nIn the mixing bowl are some salt, some Yukon Gold potatoes, some matzo meal and some eggs.\n\n> You mix it\nYou don't need to specify that you're MIXing anything. Just put what you want to mix into the mixing bowl.\n\n> You put the onions in the bowl\nYou add the last of the latke ingredients into the bowl and mix them thoroughly. You now have raw latkes, or at least the stuff of raw latkes. [To begin cooking, add some frying medium to the skillet and put the skillet on the range.]\n\n> You put the latkes in the skillet\n(first taking the latkes)\nYou slide the latkes into the pan, and they begin to sizzle a little. [Note: when you're done cooking them, just GET SKILLET.]\n\nThe latkes continue to fry in the skillet.\n\n> You wait for a while\nTime passes.\n\nThe latkes continue to fry in the skillet.\n\n> You wait for five minutes\nWaiting for 5 minutes.\n\nThe latkes continue to fry in the skillet.\n\nThe latkes are browning nicely.\n\n> You take the sour cream\n(the tubs of sour cream)\nYou grab one of the tubs.\n\n> You put the sour cream in the bowl\n(the sour cream in the mixing bowl)\nYou don't need to mix the sour cream with anything.\n\n\"Behind!\" someone yells.\n\n> You put the cream on the latkes\n(the sour cream on the latkes)\nYou'll want to do that after you've plated the latkes.\n\n> Plate latkes\nYou put the latkes straight from the pan onto the plate. A lot of grease goes with it.\n\n> Drain latkes\nYou put the latkes on some paper towels to drain the excess grease.\n\n> Plate latkes\nYou carefully plate the latkes, trimming some of the edges to make them more visually appealing, and arranging them just so.\n\n> You put the cream on the latkes\n(the sour cream on the latkes)\nYou put a small dollop of sour cream on the latkes.\n\nSomeone shouts \"Hot!\" as they race around the kitchen."
    },
    {
        "text": "> Look around\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's a huge pressure cooker.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\n> You look at the sink\nYou don't need to worry about the details of the sink. If something calls for water, water you shall have.\n\n> You attack padma\nReaching your breaking point, you hack at Padma Lakshmi with your cleaver until your whites are spattered with blood. Man, that was satisfying. I feel like you're going to get a bad edit, though.\n\n> You examine Elves\nMagical Elves is the name of the production company, and so people refer to anyone behind the cameras generically as Elves. Naturally you've gotten to know a few of them pretty well, having spent so much time over the last couple of weeks in their constant presence. But in the heat of a challenge, they're just an undifferentiated mass of people putting cameras in your face and generally getting in your way.\n\n> You attack justin\nReaching your breaking point, you hack at Justin with your cleaver until your whites are spattered with blood. Man, that was satisfying. I feel like you're going to get a bad edit, though.\n\n> You talk to Justin\nYou make small talk with Justin.\n\n> Examine cooker\nIt's an enormous, professional-quality pressure cooker. It seems to be sitting unevenly on the rack.\n\n> You open it\nYou open the huge pressure cooker.\n\n> You search it\nLooks like something is wedged under it.\n\nThe huge pressure cooker is empty.\n\nJustin is talking to the camera somewhere.\n\n> You look under the cooker\nLooks like something is wedged under it.\n\nThe huge pressure cooker is empty.\n\nLinh calls out, \"Does anyone have the immersion blender?\"\n\n> You take cooker\nYou shift the huge pressure cooker, and find a Robot Coupe grating attachment underneath. The attachment is now sitting on the equipment rack."
    },
    {
        "text": "[Themes: cooking]\n\n> You look around\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's a huge pressure cooker.\n\nOn the equipment rack is a grating attachment.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\n> You go west\nThe Top Chef pantry is stocked, at least most days, with just about anything you could want. Not always in huge quantities, though. Having the cheftestants squabble over ingredients makes for good TV.\nA giant GE Monogram\u00ae refrigerator occupies much of the north wall. Next to it are shelves filled with various nonperishable goods. And opposite them are baskets of produce.\n\nThere's a crash of pans on the floor and Justin takes a mock bow.\n\n> You look at the baskets\nLarge wooden baskets, filled with all manner of produce.\n\nIn the baskets are a few heads of garlic, some artichokes, some okra, some carrots, some green beans, some kale, some broccoli, some apples, some tomatoes, some spinach, some eggplant, some arugula, some endives, some lemons, some radicchio, some cauliflower, some zucchini, some celery, some limes and a watermelon.\n\n> You take the watermelon\nYou don't need the watermelon. Focus on what you need for your dish.\n\n> R.\nYou can't consult actual written recipes on the show, so quantities and times are always going to be inexact. That said--\n\npotatoes, peeled, grated and dried\nonions, chopped\neggs\nmatzo meal\noil or fat\nsalt\n\nCombine potatoes, onions, eggs, salt and matzo meal in bowl. Fry latkes in very hot oil, flipping after five minutes. Drain and plate the latkes. Garnish as appropriate, and finish with salt to taste.\n\nGiven this challenge, \"garnish\" means sour cream, and maybe a little something else. Berries, or caviar, perhaps.\n\n> You open the fridge\nYou open the refrigerator, revealing some milk, some short ribs, some bacon, some feta, some duck fat, some Ahi tuna, a leg of lamb and a lobe of foie gras.\n\n> You look at the shelves\nPlain but attractive shelves filled, for the most part, with medium-sized dry goods.\n\nOn the shelves are some cardamom, some tomato paste, some soy sauce, some mustard, a bottle of gochujang, some Panko, some baking soda, some cinnamon, some sugar, some ketchup, some cocoa powder, some wild rice, a bag of flour, some masa, some linguine, some paprika and some jasmine rice.\n\n> You search the fridge\nIn the refrigerator are some short ribs, some milk, a leg of lamb, a lobe of foie gras, some feta, some bacon, some Ahi tuna and some duck fat.\n\n> You open the fridge\nThat's already open.\n\nThe camera comes in for a close-up on you and what you're doing. You manage a few words.\n\nThe fridge door swings shut.\n\n> Keep going\nYou open the refrigerator, revealing some bacon, some milk, some short ribs, some feta, some Ahi tuna, a lobe of foie gras, a leg of lamb and some duck fat.\n\n> You take the ahi tuna\nYou don't need the Ahi tuna. Focus on what you need for your dish.\n\nA burst of flame erupts momentarily from the range as someone else's pot boils over.\n\n> You close the fridge\nYou close the refrigerator.\n\nJustin is making a show of his butchering technique.\n\n> You take the paprika\nYou don't need the paprika. Focus on what you need for your dish.\n\n> You take the arugula\nYou don't need the arugula. Focus on what you need for your dish.\n\n> You examine Panko\nYou don't need the Panko. Focus on what you need for your dish.\n\n> You examine the baskets\nLarge wooden baskets, filled with all manner of produce.\n\nIn the baskets are some celery, some limes, some eggplant, some kale, some radicchio, a few heads of garlic, some endives, some apples, a watermelon, some cauliflower, some lemons, some arugula, some carrots, some tomatoes, some green beans, some okra, some artichokes, some spinach, some zucchini and some broccoli.\n\n> You go east\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's a huge pressure cooker.\n\nOn the equipment rack is a grating attachment.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\nA camera-wielding Elf scurries past you.\n\n> You examine the latkes\nYou check the underside of the latkes. They're still a little pale on that side.\n\n> You put the latkes in the skillet\nToo late for that now. You've already topped them with sour cream.\n\n> You wait for 5 minutes\nWaiting for 5 minutes.\n\nAs the clock ticks down to zero, Padma shouts: \"Utensils down, hands UP!\"\n\n\"Cut!\" yells the director. An Elf comes by with a cart and carefully gathers up the beauty plates to be photographed off-set. Another Elf straightens up the tasting plates and gets everyone, including Tom and Padma, lined up after a few seconds. You're the last in line.\n\n\"Action!\"\n\n\"Hi, Linh,\" says Padma, heading to the first cheftestant. \"What did you make for us today?\" Padma and Tom taste everyone's dishes and chitchat with the chefs for a bit until finally they get to you.\n\n\"You made latkes!\" says Tom, with some amusement. \"Yeah, I'm not much of a Christmas person,\" you reply. \"I have to say, you don't look like a Hanukkah person, either.\" He chuckles. You continue: \"It's just a classic potato latke, with sour cream.\"\n\nPadma digs in. Tom picks at the latkes. \"Did you forget to flip them?\", he asks. \"Looks like you got one side, but not the other.\" Padma asks, \"What did you fry this in?\" \"Vegetable oil,\" you reply. She and Tom are inscrutable. \"Thanks,\" she says.\n\nThe Elves guide Padma and Tom back to their marks, and the cameras begin rolling again. \"So, Tom, who had our least-favorite dishes?\" Tom points. \"Justin,\" he says. \"The individual components were all cooked well, but it just didn't make sense to me. I'm not sure why you would pair the bison with Mentos.\"\n\nHe then turns to you. \"Samiira.\" Wase. \"My wife does\nlatkes every year at Hanukkah, and these just weren't up to snuff.\" Awesome. You stop listening to the rest. Hey, Violet actually won. Good for her. After everyone settles down, Padma begins again. \"And now for this week's Elimination Challenge: it's what you've all been waiting for.\" She winds and delivers: \"Restaurant Wars!\"\n\n> Examine cooker\nIt's an enormous, professional-quality pressure cooker. It seems to be sitting unevenly on the rack.\n\n> You wait a while\nTime passes.\n\nThe director shouts, \"Everyone, back on your marks!\" Moments later, they're set up and rolling again.\n\nEveryone tenses as they wait for Padma. \"Your time starts\" -- slight pause -- \"NOW!\"\n\nOK! Well, there's probably a million baking options, but you don't have anything other than kac kac or luqaimat\nmemorized. You don't have time to bake during a Quickfire anyway. Think of something! What was the last thing you made with sour cream? OK, yes -- a friend you worked with (now your ex-boyfriend's wife) taught you to make latkes last year. That'll work. The timing will be really tight, though you think you can finish, inshallah.\n\nSo you're gonna need POTATOES and EGGS and ONIONS and MATZO MEAL and OIL (or equivalent) and SALT. And then SOUR CREAM, obviously, and something else on top. Maybe a BERRY of some kind? Or savory -- wait, wasn't there some IKURA in the fridge yesterday? [You can type RECIPE or R at any time to pull up the recipe.]\n\nThe other cheftestants bolt off their marks to get their stuff. You see Linh, Violet, and Justin dash to the pantry, and Andre and Stephen heading over to the equipment.\n\n> You go to the west\nThe Top Chef pantry is stocked, at least most days, with just about anything you could want. Not always in huge quantities, though. Having the cheftestants squabble over ingredients makes for good TV.\nA giant GE Monogram\u00ae refrigerator occupies much of the north wall. Next to it are shelves filled with various nonperishable goods. And opposite them are baskets of produce.\n\nHere getting ingredients are Violet and Linh.\n\nJustin is making a show of his butchering technique.\n\nYou see Linh, already weighed down with armfuls of ingredients, struggling to reach a jar of Moroccan olives on the shelves. She turns to you for help. \"Sam, hey, uh, can you?\", she asks. There are actually a couple up of jars there. Justin, meanwhile, peels around the corner and starts lunging towards the baskets, with an Elf close behind. \"..blackberrry jus,\" he seems to be saying to no one in particular.\n\n> You get the jar\nWhich do you mean, the intact jar of Moroccan olives or the greasy jar of Moroccan olives?\n\n> You get the intact jar\nYou reach up and grab the nicer of the two jars and hand it to Linh. She's always been pretty decent to you, except that one time during the mise en place relay race when you overheard her whispering smack to Brian about your supr\u00e8ming technique. Linh nearly drops the jar but recovers and heads to her station.\n\nStephen and Andre arrive and begin gathering ingredients.\n\n> You examine the shelves\nPlain but attractive shelves filled, for the most part, with medium-sized dry goods.\n\nOn the shelves are some Panko, some masa, some mustard, some paprika, some sugar, some baking soda, a bottle of gochujang, some soy sauce, some vegetable oil, some linguine, some kosher salt, some ketchup, some tomato paste, a bag of flour, some cardamom, some cocoa powder, some cinnamon, some matzo meal, some wild rice and some jasmine rice.\n\n> You get the matzo\nTaken.\n\nJustin elbows you out of the way and grabs the blackberries. He lurches off.\n\n> You take the blackberries\nJust as you reach for the blackberries, Justin barges in, elbowing you aside. \"Sorry,\" he claims. \"I'm doing a jus.\" He snags them and heads back toward his station.\n\nAndre calls out, \"Does anyone have the immersion blender?\"\n\n> You get the blackberries\nJust as you reach for the blackberries, Justin barges in, elbowing you aside. \"Sorry,\" he claims. \"I'm doing a jus.\" He snags them and heads back toward his station.\n\n> You get matzo\nTaken.\n\nAndre, Stephen and Violet head back to the kitchen.\n\n> You get the potatoes and the onions\nYukon Gold potatoes: Taken.\nyellow onions: Taken.\n\nLinh calls out, \"Does anyone have the immersion blender?\"\n\n> You open the fridge\nYou open the refrigerator, revealing some duck fat, some milk, some bacon, some Ahi tuna, some eggs, some feta, a leg of lamb, some short ribs and a lobe of foie gras.\n\n> You take the eggs and the fat\neggs: You grab some eggs. [Note: you can just PUT THEM IN BOWL to use them].\nduck fat: Taken.\n\n> You close the fridge\nYou close the refrigerator.\n\nYou hear someone furiously chopping.\n\n> You take the salt\nTaken.\n\nThe camera comes in for a close-up on you and what you're doing. You manage a few words.\n\n> You go east\nTop Chef Kitchen is the focal point of the show, your home away from home. Well, technically, that would be the loft. This is your home away from home away from home. It's where the majority of challenges take place. When you first arrived, it was intimidating and awkward, but now that you've been here awhile -- and with half the cheftestants gone -- it's become reasonably comfortable.\n\nIn the \"center\" of the room (pretending for the moment that there is a fourth wall), there are a bunch of stations, each with some basic utensils, and a sink. Along one wall is a gleaming row of GE Monogram\u00ae ovens, scrubbed inside and out after every challenge to show the sponsor in the best possible light. Above them, the massive Top Chef logo looms. And as always, a bunch of Elves are here with their gear, all artfully hidden from the viewers. The pantry is to the west.\n\nFuriously prepping and cooking here are Andre, Violet, Stephen, Justin and Linh.\n\nPadma Lakshmi and Tom Colicchio are chatting off-camera.\n\nA bunch of equipment is lined up on a rack near the gas range and grill: among many other things, there's some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\nOn the equipment rack is a grating attachment.\n\nYou can also see a table (on which are many tubs of sour cream) here.\n\n> You grate the potatoes\nYou need to something to grate with. Like a grater. Or even better, a Robot Coupe.\n\n> Peel potatoes\nYou grab a peeler from the implements at your station and peel the Yukon Gold potatoes as fast as you possibly can.\n\n> You put potatoes in Robot\nYou put the Yukon Gold potatoes into the Robot Coupe.\n\nSomeone shouts \"Hot!\" as they race around the kitchen.\n\n> You examine rack\nThe rack is where the common kitchen equipment is kept.\n\nOn the equipment rack are a grating attachment, some plates, a grater, a cast-iron skillet, a Robot Coupe, a huge pressure cooker and a mixing bowl.\n\n> You put the attachment on Robot\nYou pop the attachment into the Robot Coupe. Now you can grate stuff with it.\n\n\"Behind!\" someone yells.\n\n> You press the button\nYou pulse the Robot Coupe with the grating attachment in place until the potatoes are grated nicely. You dump the potatoes on the cutting board and quickly rinse out the processor.\n\n> You cut the onions\nYou grab the onions, quickly discard the skins, halve them, and holding the halves firmly, make a series of fine crosswise cuts. Keeping them together, you rock your big chef's knife up and down with lightning speed, turning the onions into tiny tidbits. Your eyes are tearing, but you have no time to wipe them.\n\nA camera-wielding Elf scurries past you.\n\n> You put the eggs in the bowl\nYou crack some eggs, dump them into the bowl, and whisk them to a light froth.\n\nLinh is talking to the camera somewhere.\n\n> You put the matzo in the bowl\nYou add the matzo meal.\n\n> You put the potatoes in the bowl\n(first taking the Yukon Gold potatoes)\nYou add the Yukon Gold potatoes.\n\n> You put the fat in the skillet\nYou spoon some of the duck fat into the skillet. [You can PUT SKILLET ON RANGE to start cooking.]\n\n> You put the skillet on the range\n(first taking the cast-iron skillet)\nYou put the skillet on the range and turn the burner up to high. The duck fat begins to heat up.\n\nThere's a crash of pans on the floor and Stephen takes a mock bow.\n\n> You put the onions in the bowl\nYou add the yellow onions.\n\n> You examine the onions\nThey're your basic onions. They've been finely diced.\n\n> You look at the counter\nEach station has a counter with some electrical sockets for equipment and sundry standard kitchen implements. Back at the start of the season, every station was occupied, leading to elbow-to-elbow cooking, territorial fights, ingredient theft, bickering, crashes, and other reality-show goodness. Now there's a little room to spread out. The rest still happens.\n\nOn your station are a mixing bowl and a cutting board.\n\n> Dry potatoes\nYou dry the Yukon Gold potatoes as best you can with paper towels, trying to wring as much moisture out as possible.\n\n> You examine the potatoes\nSmall, golden spuds. They've been peeled. You've grated them. And they've been dried.\n\n> You put the potatoes in the bowl\n(first taking the Yukon Gold potatoes)\nYou add the Yukon Gold potatoes.\n\n> You put the fat in the skillet\nYou spoon some of the duck fat into the skillet. [You can PUT SKILLET ON RANGE to start cooking.]\n\nThere's a crash of pans on the floor and Stephen takes a mock bow.\n\n> Inventory\nYou are carrying:\nsome kosher salt\nsome yellow onions (chopped)\nyour Top Chef whites (being worn)\na Litchfield Women's Correctional Facility T-shirt (being worn)\njeans (being worn)\nsome knives\n\n> You put the skillet on the range\n(first taking the cast-iron skillet)\nYou put the skillet on the range and turn the burner up to high. The duck fat begins to heat up.\n\n> You put the salt in the bowl\n(first taking the salt)\nYou add the last of the latke ingredients into the bowl and mix them thoroughly. You now have raw latkes, or at least the stuff of raw latkes. [To begin cooking, add some frying medium to the skillet and put the skillet on the range.]\n\n> You examine skillet\nA heavy fifteen-inch cast-iron pan, properly seasoned.\n\nIn the cast-iron skillet is some duck fat.\n\n> Wait\nTime passes.\n\nThe intensity of the sizzling tells you that the pan is now hot enough to fry with.\n\n> You turn the latkes\nNothing obvious happens.\n\nThe latkes continue to fry in the skillet.\n\nThe latkes are browning nicely.\n\n> You flip the latkes\nYou carefully flip the latkes.\n\nA burst of flame erupts momentarily from the range as someone else's pot boils over.\n\nThe latkes continue to fry in the skillet.\n\n> Drain latkes\nFirst things first. You remove the latkes from the heat. The sizzling abates.\n\nYou put the latkes on some paper towels to drain the excess grease.\n\n> Plate latkes\nYou carefully plate the latkes, trimming some of the edges to make them more visually appealing, and arranging them just so.\n\nPadma and Tom re-enter the kitchen. Violet looks up and shouts \"54 seconds!\"\n\n> You look at latkes\nThey're nicely browned and crisp. They look pretty good.\n\n> You take the cream\n(the tubs of sour cream)\nYou grab one of the tubs.\n\nAndre calls out, \"Does anyone have the immersion blender?\"\n\n> You put the cream on the latkes\n(the sour cream on the latkes)\nYou put a small dollop of sour cream on the latkes.\n\nStephen is talking to the camera somewhere.\n\n> You go west\nThe Top Chef pantry is stocked, at least most days, with just about anything you could want. Not always in huge quantities, though. Having the cheftestants squabble over ingredients makes for good TV.\nA giant GE Monogram\u00ae refrigerator occupies much of the north wall. Next to it are shelves filled with various nonperishable goods. And opposite them are baskets of produce.\n\n> You examine jar\nLooks the cap was loose or there was a leak somewhere. Some of the oil has clearly soaked through the label.\n\n> You get the jar\nYou don't need olives for your dish.\n\nThere's a crash of pans on the floor and Linh takes a mock bow.\n\n> You open the fridge\nYou open the refrigerator, revealing a lobe of foie gras, some bacon, some feta, some Ahi tuna, some short ribs, some milk and a leg of lamb.\n\n> You search the fridge\nIn the refrigerator are some short ribs, some milk, a leg of lamb, a lobe of foie gras, some feta, some bacon and some Ahi tuna.\n\n> You search the tuna\nYou don't need the Ahi tuna. Focus on what you need for your dish.\n\nA burst of flame erupts momentarily from the range as someone else's pot boils over.\n\nThe fridge door swings shut.\n\n> You open the fridge\nYou open the refrigerator, revealing some bacon, a leg of lamb, a lobe of foie gras, some milk, some Ahi tuna, some short ribs and some feta.\n\n> You take the caviar\nThere might be some, but you don't see it immediately. You'd have to SEARCH THE FRIDGE FOR it, which might take a little time.\n\n> You search the fridge\nIn the refrigerator are some short ribs, some milk, a leg of lamb, a lobe of foie gras, some feta, some bacon and some Ahi tuna.\n\nThe fridge door swings shut.\n\n> You open the fridge\nYou open the refrigerator, revealing a lobe of foie gras, some milk, some Ahi tuna, some bacon, some short ribs, some feta and a leg of lamb.\n\n> You search the fridge for the caviar\nYou find the ikura, buried in the back, and grab it before anyone else does. Sweet!\n\nAs the clock ticks down to zero, Padma shouts: \"Utensils down, hands UP!\"\n\n\"Cut!\" yells the director. An Elf comes by with a cart and carefully gathers up the beauty plates to be photographed off-set. Another Elf straightens up the tasting plates and gets everyone, including Tom and Padma, lined up after a few seconds. You're the last in line.\n\n\"Action!\"\n\n\"Hi, Linh,\" says Padma, heading to the first cheftestant. \"What did you make for us today?\" Padma and Tom taste everyone's dishes and chitchat with the chefs for a bit until finally they get to you.\n\n\"You made latkes!\" says Tom, with some amusement. \"Yeah, I'm not much of a Christmas person,\" you reply. \"I have to say, you don't look like a Hanukkah person, either.\" He chuckles. You continue: \"It's just a classic potato latke, with sour cream.\"\n\nPadma digs in. Tom takes a bite. \"Did you taste these?\", he asks. \"They're underseasoned. They need more salt.\" Padma asks, \"What did you fry this in?\" \"Duck fat,\" you reply. \"I can tell,\" she says. \"Thanks.\"\n\nThe Elves guide Padma and Tom back to their marks, and the cameras begin rolling again. \"So, Tom, who had our least-favorite dishes?\" Tom points. \"Justin,\" he says. \"The individual components were all cooked well, but it just didn't make sense to me. I'm not sure why you would pair the bison with Mentos.\" He then turns to Stephen. \"Steve. The lamb was just overcooked.\"\n\n\"And who were our favorites?,\" Padma asks. \"Violet,\" he says. \"You really got an amazing amount of flavor from that chicken in such a short time, and the sour cream was a nice contrast with the spice. And... Andre. The deconstructed potato skin was a pretty clever idea.\"\n\nOh well. At least you weren't on the bottom. Oh hey, Violet wins. Good for her. After everyone settles down, Padma begins again. \"And now for this week's Elimination Challenge: it's what you've all been waiting for.\" She winds and delivers: \"Restaurant Wars!\""
    },
    {
        "text": "[Themes: Fantasy]\n\n\"Look out!\"\n\nThe noise of battle is distracting, and it takes you almost too long to realize that the warning was shouted to you. An outlaw wearing a blue turban is charging toward you, his longspear leveled at your heart. What will you do?\n\nA: Stand firm, blocking the spear away at the last moment and slashing twin tiger claws across his face.\nB: Pounce toward him at the last moment, springing like a leopard, and bring an elbow down on his head.\nC: Dart off to the side, balancing on one leg like a crane before delivering a swift kick to his knee.\nD: Weave hypnotically in my stance, and when he strikes, I am no longer there; I launch a series of quick, snakelike strikes to the pressure points in his exposed rib cage.\nE: Make a series of flashy moves that draw his target toward my right side, then move to the left, delivering a reiken strike to the right side of his head as he passes by.\nF: Remain still, my hands low at the chi center of my body, and at the moment he would hit me, circle his spear away and shift myself away from the strike.\n\n[Author's Note: Become the greatest fighter the world has ever known, harnessing the power of chi to manipulate the energies of the universe. Defeat rivals, find romance, and rise to become the Imperial Champion. Win the right to question the immortal Dragon Sage, who speaks just once every hundred years! The fate of the Middle Kingdom depends on you! Will you play as male or female? Gay or straight? Will you battle against foreign invaders, or will you rise up against the Emperor? What question will you ask the Dragon Sage, the wisest of all creatures?]"
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go downwards\nHe stumbles when his attack falters, and he clutches one arm to his injured side. He looks suddently exhausted, courtesy of the disruption in his chi that your knowledge of the mystical Snake technique allowed.\n\nWith your opponent deterred, but not out of the fight, how do you follow up your attack?\n\nA: Use a palm heel strike under the chin to drive his head backwards, tearing down with a tiger claw on his face as he falls.\nB: Drive into him with a series of fast leopard punches down the center of his body until he falls to the ground.\nC: Take his leg out from under him with a sweeping straight kick, delivering a wing strike to his neck at the same moment, graceful as a crane.\nD: With my fingers tight like a snake's head, strike out at his face and neck in a complex pattern of several hits that impact on nerve points, disabling him.\nE: Feign a low kick to the knee, and when he moves the spear shaft down to block, shoot a dragon tooth strike?my fingers separated in a V?into his eyes before sweeping him from behind.\nF: His death would be senseless and against the Buddha nature; pivot around behind him and lock him in a sleeper hold."
    },
    {
        "text": "> You go down\nThe quick strikes of the Snake style, combined with the knowledge of chi, drop him to the ground, unconscious. He'll be feeling that when he wakes up.\n\nThe outlaws continue toward you and your fellow students, flashes of blue catching your eye against the greens and browns of the marsh surrounding your path. It is hard to imagine that only moments ago, the nine of you were making your way back to the monastery of the Order of the Peach Tree, students on the simple assignment of escorting a wagonload of supplies home.\n\nThe students have mostly remained on the path, where their footing is more certain, but the outlaws appear to have little trouble navigating the wetlands. While they fight like untrained peasants, numbers are definitely on their side.\n\nIt's time to get serious. Drawing on the training you received before entering the Order of the Peach Tree, you prepare your next attack. How will you fight?\n\nA: Draw my sword. This blade was forged by the most expert smiths in the Middle Kingdom, designed specifically to be used with the Celestial Sword style, taught only to the Imperial Family.\nB: Unhitch the horse from the cart of supplies. He is a mean beast?not the fine mare I trained on at my father's estate?but few monks could master a horse from as honorable a family as mine. I draw my blade and prepare to charge.\nC: Draw on my chi, as well the energy in the world around me. I can sense the life energies of my fellow students and the approaching outlaws.\nD: Release the bindings that secure my longspear to my back. It is only one of the many weapons I have mastered in my wanderings, and it is a good choice to keep the outlaws at bay.\nE: Why change? The style my masters at the Order of the Peach Tree are teaching me is a superior one, and I am eager to prove the worth of my unarmed style in battle."
    },
    {
        "text": "> Go down\nYou have had a wonderfully open-minded experience in your training. Luckily for you, the Order of the Peach Tree feels similarly. Are you a man or a woman?\n\nA: I am a man.\nB: I am a woman.\n\n> B.\nWhat is your given name?\n\nA: Yin.\nB: Meili.\nC: Yan.\nD: None of these is my name.\n\n> B.\nA name as beautiful as your features.\n\nAnd what is your family name?\n\nA: Liu.\nB: Wong.\nC: Cao.\nD: None of these is my family name.\n\n> B.\nYou pull one of the outlaws to his feet, and in the process realize that this scrawny bandit is no more than thirteen. Malnourished and weak, it is amazing he is not dead from the beating he received.\n\nA: I feel admiration for his bravery, in spite of his conditions. I tell him he fought well.\nB: I feel pity for this boy who has turned to thievery to survive.\nC: I am furious that this urchin attacked us.\n\n> B.\nA wise decision.\n\n>Next\nAs you walk back to the monastery, you take a moment to consider the path that has brought you here. As a child, you were told stories of the Order of the Peach Tree, a monastery where many great warriors were trained. But it was not just the combat skills that enticed you. Every hundred years, one member of the Order of the Peach Tree is given the honor of consulting the Dragon Sage. That monk may ask a single question of the wise dragon. It is only thirty years until the next monk of the Order of the Peach Tree is selected, and you are determined to be the order's representative to the dragon.\n\nWhat question drives you toward this goal?\n\nA: I know I have much to learn of combat, but I am convinced that the Dragon Sage holds the key to greatness beyond what I can learn from mortal teachers. I plan to ask, \"How can I become the greatest warrior in the world?\"\nB: The strife I see in the Middle Kingdom?so recently reiterated by my encounter with the bandits?disturbs me greatly. I wish to see balance restored to the Middle Kingdom, so that the Emperor is once again in alignment with the Heavens. I will ask, \"How can the Empire return to Heaven's Favor?\"\nC: I am more concerned with esoteric knowledge than worldly issues. I wish to ask, \"What is the first question?\"\nD: My question is simple: \"Why do kites fly?\"\n\n> B.\nYou have set your sights high; if anyone would know how to set the Emperor back on the path of Heaven, it is the Dragon Sage.\n\n>Chapter One: Bandits in the Woods\nA few days after the conflict with the outlaws in the marsh, Abbot Bao Ho sends for you to meet him beneath the peach tree. The tree itself is ancient: you have been told that most peach trees live, at most, fifty years, but this one has grown wide around the trunk and gnarled in the branches. Despite its age, it continues to produce fruit. Some say that this is the peach tree after which the monastery was named, a true immortal tree in the breed of trees that represents immortality. Others believe it to be a descendant of the original peach tree, the result of careful cultivation by the monks who teach you.\n\nWhat do you think?\n\nA: It must be immortal.\nB: If it is grown from the cuttings of earlier trees, the continuation of its line makes it immortal despite its many incarnations.\nC: The tree is clearly not immortal; only the superstitious and uneducated would believe so.\nD: I haven't given it much thought.\nE: I don't care.\n\n> B.\nPerhaps you're right.\n\nThe peach tree's branches extend over a reflection pool. It is normally a very peaceful spot, but now the atmosphere is tense. Abbot Bao stands there with Master Shen, the oldest teacher in the monastery, at his side, and the two men wear identical expressions of concern.\n\nJust as you arrive, Lu Jin approaches from the other side. He appears as surprised to see you as you are to see him.\n\n\"Greetings, my senior students,\" Abbot Bao says in greeting.\n\nLu Jin bows. \"Do you have training for us today, masters?\"\n\nMaster Shen chuckles. \"Always so eager for more, Lu Jin? As I recall, at our last bout between the senior students, Liu Meili gave you a very fine black eye.\"\n\nLu Jin bares his teeth at you in a smile that is neither humble nor friendly.\n\n>Next\n\"Unfortunately, my students, this is no simple matter of training,\" Abbot Bao says. \"Or, perhaps it is, but not of our usual devising. You told us of your experience with the bandits along the road to the Order, and I am afraid it is becoming an all too common experience in these interesting times. Too many people of the Middle Kingdom are turning to thieving and banditry to make their ends meet, and too many honest folk are made to suffer.\"\n\nMaster Shen grunts, and you think you hear him mutter something about a distinct lack of honest folk, but it is unclear.\n\nThe abbot continues: \"Because you have some experience, and because we feel it will be a good test of your readiness to fully join the order, we have chosen the two of you to lead a group of students to the village of Kuei Xian, across the Baijiang Bridge, to solve the trouble locals are having with the bandits.\"\n\nLu Jin blanches momentarily, but your teachers do not seem to notice.\n\nHow do you respond to this mission?\n\nA: It is an honor to be chosen, even if I must share leadership with Lu Jin. I agree to set off at once.\nB: I can't wait to try my skills against real opponents again.\nC: Lu Jin's hesitation is an opportunity for me. I volunteer to take the team alone.\nD: I am not really interested in this interruption to my training.\n\n> B.\nHopefully your greater skill will aid you if greater numbers are on the side of the bandits. You pass a number of merchants with carts drawn by water buffalo, messengers and warriors on horseback, and travelers walking along the road with bundles on their backs. It is a fine day: the sky is blue, the clouds are wisps, and the summer air is thick with the smell of blossoms and ripening rice. As on your last trip from the monastery, you are traveling with a horse and cart, full of the food and supplies you will need for your journey.\n\nIt is up to you and Lu Jin to set the tone for this mission. The trip to Kuei Xian takes three days at a steady pace.\n\nA: Three days is fast enough; the situation is urgent, but unlikely to get much worse in three days' time.\nB: This mission is urgent, and we have been trained to move quickly. We can make the trip in two days.\n\n> B.\nAbbot Bao leads you to the gates of the monastery. The courtyard has been cleared of students, and only a handful of monks are here to witness the beginning of your challenge. Just inside the gates, a brazier is lit, and over it is suspended a large urn, full of burning coals. Aligned to the cardinal directions are four animals: to the north is the tortoise; south, the phoenix; east, the dragon; and west, the tiger.\n\nWhile the metalwork is beautiful, it mostly looks hot.\n\nYou must carry the urn with your forearms from the monastery to the river below. How will you face this challenge?\n\nA: I grit my teeth and carry the heavy load through sheer will.\nB: I will not rely on strength alone, but will use the heat to further forge my chi.\n\n> B.\nYou contemplate the animals on the urn. The phoenix is a creature of fire, opposed by the tortoise, a creature of water. The dragon, which represents the element of wood, is opposed by the tiger, which represents metal. Although you are tempted to focus on the idea that the fire has the potential to consume wood and metal, but is opposed by water and only lends strength back to its own element, you know that there is still a fifth element to consider.\n\nThere is void, the element of the center. Your own mind must be empty in order for the chi to flow through you, carrying the strength?and freedom?necessary to lift the urn. You still your mind, breathe, and reach for the urn.\n\nYou feel the pain along your forearms, and it is excruciating?but it washes over you, just a part of the moment. With each breath, you let the moment flow and change, accepting it without worrying over past or future, or even holding a thought. Your feet know this path; they have walked it hundreds of times on the simple task of fetching water. You allow them to carry you.\n\nYou breathe. You exist. The moment comes and passes, and another follows on its heels.\n\nYou reach the river almost before you realize you are there, and you calmly lower the urn into the water. It hisses with steam, bathing you in hot air as your arms enter the cold stream. You realize that your body feels the shock of the contrast, but you only observe this as another part of the moment before letting it, too, go. When you return to the monastery, you show the monks your new scars to prove that you have withstood the challenge. You have passed. What scars do you bear?\n\nA: The dragon and the tiger.\nB: The tortoise and the phoenix.\n\n> B.\nWhere the easiest access to the river lies below the monastery, near where the dry land becomes marsh, Bingdian Waterfall is on the far side of the karst mountain. The trip there is not a long one, but it is hard, as there is no path. As you begin your ascent, you find some goat paths to travel, delaying the true climb until the waterfall is in sight.\n\nYou feel the mist of the waterfall before you see it. Despite the warm weather, the air takes on a clammy chill?the water here is always freezing, nearly ice cold. You rub your hands together and approach the waterfall. It cascades down the side of the mountain into a pool of unknown depth. It falls from perhaps ten times your own height, and somewhere in that length there is a cave or a hole behind it, in which lies the Scroll of Destiny.\n\nHow will you attempt to find the scroll?\n\nA: Climb the mountain next to the waterfall until I see it.\nB: Use my chi to propel me up the side of the mountain, like a lizard. C: Make observations from below to calculate the most likely location for the scroll.\nD: Fashion an impromptu spear from the available wood and throw it until it hits an indentation.\n\n> B.\nYou gather your chi and make a great leap, getting a long head start on your climb. From there, you are able to scramble up the side of the mountain by keeping your energy focused, and by borrowing some of the grounded nature of the mountain you climb. You can sense from the energy of the mountain where the indentation that stores the scroll will be, and you dart your hand into the cold water, drawing the scroll case out as quickly as if you were pulling a fish from a stream. You turn and jump, using your chi to float to the ground. You sit down next to the pool, the roar of the waterfall drowning out any other noise, and open the scroll case. Inside is what feels like an ancient scroll, marked with diagrams that show various techniques you have learned while studying at the Order of the Peach Tree. But though there are many images to contemplate, most of the scroll is empty. There do not seem to be any great secrets contained in the writing here. You do not see a hidden final technique explained, nor a clue about how to bring balance to the Middle Kingdom.\n\nWhat do you wish to do?\n\nA: Meditate on the scroll. An answer will come.\nB: Analyze the scroll and puzzle out its meaning."
    },
    {
        "text": "Error: bad interpreter\nPossible terps are:\nglulxe\nbocfel\ngit\nnitfol\ncheapglulxe\nolddebugcheapnitfol\nfizmo\nfizmodev\ndebugcheapnitfol\ncheaphe\ncheaptads\ndebugcheaptads\n\n\"Look out!\"\n\nThe noise of battle is distracting, and it takes you almost too long to realize that the warning was shouted to you. An outlaw wearing a blue turban is charging toward you, his longspear leveled at your heart. What will you do?\n\nA: Stand firm, blocking the spear away at the last moment and slashing twin tiger claws across his face.\nB: Pounce toward him at the last moment, springing like a leopard, and bring an elbow down on his head.\nC: Dart off to the side, balancing on one leg like a crane before delivering a swift kick to his knee.\nD: Weave hypnotically in my stance, and when he strikes, I am no longer there; I launch a series of quick, snakelike strikes to the pressure points in his exposed rib cage.\nE: Make a series of flashy moves that draw his target toward my right side, then move to the left, delivering a reiken strike to the right side of his head as he passes by.\nF: Remain still, my hands low at the chi center of my body, and at the moment he would hit me, circle his spear away and shift myself away from the strike."
    },
    {
        "text": "> Go down\nYou have had a wonderfully open-minded experience in your training. Luckily for you, the Order of the Peach Tree feels similarly. Are you a man or a woman?\n\nA: I am a man.\nB: I am a woman.\n\n> B.\nYou sit with the scroll spread out in front of you, studying the detail, identifying the moves. You begin to get stiff from your proximity to the cold waterfall, so you get up to stretch, going through the movements on the page as they are written. You pause from one technique to the next, studying the diagram and noticing how small details have changed from when the scroll was written to when your teachers shared these techniques. You realize that the closer you get to the blank part of the scroll, the closer the techniques are?in their details?to what you have learned.\n\nExcited by this discovery, you sit down next to the scroll again. You realize that, though the change is only barely discernible, the ink is ever so slightly darker toward the blank section. It occurs to you that the final technique shown on the scroll is one you have heard a story about: one of your teachers, a snake master, changed the way the technique was taught to the students in order to give them a lesson on pressure points. The strikes he added to the technique are clearly marked.\n\nThere are no secrets on the scroll, but there is a legacy of detail. You consider the techniques you have adjusted in your own studies. What will you teach to future students in the Order? How will your art be applied to wushu as you make it your own?\n\nYou discover that the scroll case has a small compartment that contains a brush and a block of dry ink. You take out your bowl?something a monk must always carry, you have been told?and add water to the ink. In your finest calligraphy, you add a technique to the scroll, allowing it to dry before you return it to its secret location behind the waterfall.\n\nWhen you return to the monastery, Abbot Bao notices the ink smudges in your bowl and offers you a smile and a bow. You have passed this test. Which task will you undertake next?\n\nA: I am satisfied with my performance on my tasks and conclude the test.\nB: I am confident I can fight my way through Dashanmen.\n\n> B.\nWith a sweep of his hands, Abbot Bao extinguishes all the flames in the room. For an instant, you think the peach tree statue glows with reflected light, but then all is dark.\n\nMaster Shen's hand tightens on your shoulder, escorting you to the far side of the chamber. You can hear the soft sounds of people entering the room, though with the quiet treads the monks have practiced, it is impossible to tell how many. Certainly more than the sounds you hear would indicate.\n\nFinally, Master Shen turns you around. \"Remember your training,\" he says, before he, too disappears in the darkness.\n\nYou wait, your stance relaxed as you have been taught, until you are told to begin?or until the first attack comes.\n\nHow will you face this challenge?\n\nA: I have faith in my fighting skills. I face my opponents with confidence?they are as blind as I am.\nB: The challenge is to get from one side of the room to the other, but the path was never specified. I weave through the room, confusing my opponents.\n\n> B.\nIn your time with the Order of the Peach Tree, you have often been complimented on your ability to think outside of the boundaries of the exercise. That skill is useful here. You begin by crouching low to the ground, and you feel where the strike of your first opponent would have been had you remained in place. You strike to a pressure point on the back of his leg, collapsing it under him, as you move away from the center of the room and through the crowd of opponents.\n\nThe monks realize your strategy quickly, so you have to keep shifting your pattern of movement. The intention is to be where the strikes are not. You get into a low stance and circle walk. You move, changing directions and heights of your stance with syncopation so that your foes never catch you in a rhythm. You launch a flurry of palm strikes as you feel the body of a monk ahead of you. The next monk, however, you just evade, moving around him the moment that your earlier foe counterstrikes your former position.\n\nIt is not easy, but you focus on the strategies you have learned for keeping your opponents off balance, leading them into each other and falling away from their attacks. Occasionally, a strike catches you, but your steps never falter, and you keep moving. You can feel that what you are doing borders on what some would call the supernatural talents of the monks; you know you are drawing on your own knowledge of strategy and the principles of bagua?the eight diagrams that represent the nature of the universe.\n\nYou can sense how close you are coming to the far side of the room, where Abbot Bao awaits. You reach the wall, then circle back into the throng, gliding out of the way of the monks turning to attack you. You reach out and place your hand on the warm wood of the door.\n\n\"Finish,\" says Abbot Bao. He makes a final attack?a high strike aimed at your throat?but you back against the door and push it open, shooting yourself backward out of his reach. Light floods the room, dazzling you and the monks. As your eyes adjust, you realize that they are all bowing to you. Clearly your teachers were correct: you were ready for this test, and you have passed. With your successes behind you, you are welcomed once again into the inner temple. The candles are all lit, and the monks who reside at the monastery offer you their oaths of brotherhood. The Order of the Peach Tree is now your family, and you are one step closer to getting to ask a question of the Dragon Sage.\n\n>Chapter Three: The Master\nYour first few years as a monk feel little different from your last year as a senior student. Though you now have a greater leadership role, and an official ranking as a teacher with the students, much continues on as it had before. You work at the monastery, taking care of the things required of all who live there to maintain the daily workings of the Order. You spar with the monks and continue to learn the intricacies of wushu. You oversee the newest applicants as they prove their worth by accomplishing the most menial chores. You do not miss those days from your own apprenticeship.\n\nThe seasons change. The peach tree blossoms and bears fruit, then shows its naked branches until spring returns. The strength of the Blue Scarves Rebellion grows as the foreigners maintain and further develop their presence in the Middle Kingdom. Still, the Emperor shows no intention of changing their role at his court, or defending the people of the Middle Kingdom against the foreigners' encroachment upon lands they have farmed for generations.\n\nNo further threats call for the attention of the Order of the Peach Tree, however, and Abbot Bao has not become involved with the quarrel between the rebels and the Emperor on either side. The monks are divided in their opinions of the world's events: some strongly support the Emperor, others profess that it is not the Order's role to get involved in events of the world, and a few mention their concerns for the common people without ever fully defying the Son of Heaven.\n\nDo you involve yourself in these conversations?\n\nA: I support the Emperor. He is the Son of Heaven and clearly knows what's best for the Empire.\nB: I agree that the Middle Kingdom is out of balance with the Heavens, but do not openly question the Emperor.\nC: I am not concerned with such worldly matters when I strive toward Enlightenment.\n\n> B.\nYou realize that doing nothing only lends strength to the Emperor's position, but openly admitting doubt in the Son of Heaven is both unwise and dangerous. But if the choice is saying nothing or giving up your path to the Dragon Sage and joining the rebellion like Lu Jin?well, you know what you will choose.\n\nOne day in late summer, the third year after your test, Master Shen asks to speak with you beneath the peach tree. When you arrive, the old master is dozing off beneath the tree, his staff leaning next to him. You approach quietly, but as soon as you are within range of Master Shen's staff, it shoots out to tap your ankle, suddenly in his gnarled but quick hand. His eyes remain closed.\n\n\"This ankle feels like it belongs to Liu Meili,\" he says with a grin. He opens one eye. \"Ah, good. If it had been Kai Lo bringing a late afternoon snack to the decrepit old man, that would have been an embarrassing mistake.\"\n\nMaster Shen pats the ground beside him in a gesture for you to sit. It is oddly informal for one who served as your teacher for so long.\n\n\"Why did you wish to speak with me, Master?\" you ask.\n\n\"Maybe I enjoy the company of my young students in my old age,\" Master Shen says gruffly. He taps your foot with the end of his staff. \"You may be a monk now, but I still concern myself with your education.\"\n\nHow do you respond to this?\n\nA: I am learning much from teaching the students and continuing to spar with the monks.\nB: I admit that I fear my own art is stagnating.\nC: I tell him that I miss the challenge of real combat.\n\n> B.\nHe raps your ankle. \"As well you should. There is much more for you to learn outside these walls, Liu Meili.\" Master Shen raises his staff and knocks twice on one of the peach tree's branches. Two peaches tumble down, and you catch them both, handing one to the old master when he reaches for it. He takes a bite of juicy peach, savoring it, before continuing.\n\n\"It is traditional for members of the Order to spend some time away from the monastery after they become monks,\" he explains. \"For some it is a time of wandering, living only on the kindness others drop into their begging bowls. For others, it is a chance to become embroiled in the matters of the Middle Kingdom. Abbot Bao suggested that for you, actually, and was planning to send you to Xiaonanhai, but I think that perhaps the capital is not the place for you now.\"\n\nYou are surprised that Abbot Bao would think to send you to the capital of the Middle Kingdom?and that Master Shen has objected to the abbot's plans.\n\n\"I think you would gain a greater benefit from studying under an old teacher of mine.\"\n\n\"Of yours, Master?\" you ask, trying to imagine a teacher of Master Shen's that would still be walking, let alone alive.\n\nHe raps his staff against your ankle again, clearly guessing your thoughts. \"I recommend that you seek out Master Zhuge in the Yellow Mountains. Zhuge is an old hermit?a true recluse?but crafty as a dragon.\"\n\n>Next\nIn fact, you have heard of Master Zhuge, whom some call the Veiled Dragon. Stories say that Master Zhuge has followed the path to immortality, though whether this was through alchemy, devout living, or the mystical arts of the bedchamber is the subject of much debate. No one knows how old he is or the full extent of his abilities, but people say he can blow on water to change the direction of its current, heal the sick at a distance, and take on the shape of any object. He also writes very fine poetry.\n\n\"Zhuge lives in the mountains above Kuei Xian,\" Master Shen continues. He pulls a scroll out of his sengfu and hands it to you. It is a map of that section of the Yellow Mountains, incredibly detailed. A hermitage is marked.\n\nMaster Shen stands, slowly, hiding the quick reactions you know he is capable of. \"I suggest you take a present,\" he says, and knocks the bough of the peach tree with his staff again. A pile of peaches falls into your lap. \"Go. Learn. I will see you in a few years, if I am still around. And if you survive.\"\n\nWhat gift will you take with you?\n\nA: Peaches. If Master Shen suggested them, they must be a good idea.\nB: I take a cutting from the peach tree, which will eventually produce its own peaches.\nC: I take the time to copy one of the scrolls from the temple library before I leave.\n\n> B.\nCaring for the peach tree is one of the tasks you have learned as a monk. You carefully take a cutting, wrapping the base in a wet cloth to prepare it for travel. Then you return to your room to pack your remaining things. You leave from the monastery on a beautiful, sunny day to begin your journey to the Yellow Mountains. It has been years since you traveled this road, and the journey alone is very different from one with seventeen companions. By the time you reach Baijiang Bridge, the weather has started to turn, and a summer squall hits just as you arrive in Kuei Xian. You sit in the tea house for a few hours until the skies clear, then begin your ascent into the mountains.\n\nYou are hardly out of sight of town when you see a young woman on the road ahead of you, pacing and looking quite distraught. She is dressed in humble clothes, bedraggled from the recent storm, but despite the smudged dirt on her face and the disarray of her hair, it is clear that she is beautiful. A heavy pack lies near her by the side of the road. She spots you and the worry on her face eases.\n\n\"Thank the heavens,\" she says, then looks down and bows in deference, despite the fact that she clearly intends to address you without waiting for you?of higher social rank?to speak first. \"Honored monk, forgive my boldness, but I am in need of aid. I was traveling toward Kuei Xian when the storm hit, and my ox startled at the thunder and bolted off the road. Could you help me?\"\n\nA: I don't have the time or inclination to help a peasant.\nB: I can spare a little time to help a poor woman.\nC: This woman seems very familiar?she reminds me of a certain fox spirit I met the last time I traveled this way."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nIt takes you a bare moment to reconcile the woman before you with the legends you have learned about Zhuge the Immortal, the Veiled Dragon. But though all the stories you know refer to Zhuge as a man, you can sense the gravitas this woman has.\n\nThe old woman beams. \"It has been at least fifteen years since someone identified me so quickly,\" she says. \"Either you are a remarkably clever monk, or I am getting less crafty in my old age.\" She holds the door open. \"I choose to believe it is the former. Please, come inside.\" The hut is larger on the inside than it appeared on the outside, and though it is sparely furnished, it is comfortable. The main room has a small hearth; a kettle for tea water is currently suspended over it. One wall is filled with racks of scrolls. Another has weapons of all sizes and shapes suspended from it. Two paper doors hide additional rooms.\n\nMaster Zhuge offers you tea.\n\nA: Accept the tea and drink it as Master Zhuge drinks it.\nB: Take the tea cup and contemplate the tea, considering its qualities. C: Decline the tea.\n\n> You go east\nMaster Zhuge seems surprised by the request, as very few people have ever sought her out as a poetry instructor. Still, she is eager to find another person with whom she can share her love of poetry.\n\nBut rather than putting your own words together, or even studying the words of the masters, Master Zhuge divides your day into two parts: practicing calligraphy and meditating in a clearing near the hut. Neither of these things feels much like poetry when you begin.\n\nA: I do not understand Master Zhuge's techniques and have taken to making up poems in my head without her.\nB: Clearly, the art of calligraphy is poetry's physical expression. The words must also appear beautiful.\nC: Sitting in nature is clearly about poetry. Poetry is about observation as much as it is about creation.\n\n> B.\n\"You see?\" Master Zhuge says, a touch defensively. \"Your school is not the only one, Pai.\" \"Let us speak of poetry! But first, Miao, tell me that you have brought me wine.\"\n\n\"Of course,\" says Master Zhuge, handing her guest the first of, you suspect, many wine skins to be drunk that night.\n\nLi Pai begins to launch into his own poetry, and Master Zhuge responds with her own, some that you recognize from the work of hers that you have already heard and read, and some that sounds extemporaneous, but no less sophisticated. After you have listened to the exchanges for some time, it is clear that, in order to participate in this evening, you will need to contribute some poetry of your own.\n\nA: I am happy just to be in the presence of two such gifted poets. I will let it all sink in.\nB: I am confident that I will be able to create extemporaneous poetry. C: I am uncertain about creating my own poetry, but I rely on my memory of older poems to add to the conversation."
    },
    {
        "text": "> Go downwards\nYou know the history of Hongcao Pass?it was one of your favorite stories as a child, and you have studied the different tellings of that event at every opportunity. Master Zhuge was on the side of Hong Wei, the most capable general among the three armies, who fought on behalf of the Imperial Family against a rebelling warlord and the horse-riding savages of the western plains. Between General Hong and Master Zhuge, the battle was decisive, and Hongcao Pass was named after the general, who became a trusted advisor to the Emperor.\n\nThe story that Master Zhuge tells you surprises you: Zhuge knew that in order for the general's strategy to work, the army would need to double the number of drummers sending out the orders to the soldiers. In order to meet the army's need, Zhuge recruited a number of young women instrumentalists from a nearby village. Though General Hong was unsure about using untried women in the role, they were vital to his ruse: he needed the drum calls to disorient his enemies and keep the opposing armies from learning his location until it was too late for them to prevent his attack. Zhuge snuck the women up into the pass into secure locations, where their drum calls would echo and multiply, thus adding further confusion to General Hong's original plan. Many other details played into the battle, of course?including an east wind Master Zhuge summoned, which caused the banners of the horse barbarians to flutter chaotically in the winding pass and further disorient the enemy?but history's record of the numbers is entirely accurate.\n\nAs you discuss old battles, day after day, Master Zhuge insists that you play go. The board game, played on a grid where stones of opposing colors?black and white?are used to attempt to surround their opponent's pieces, distracts you from the tales of Master Zhuge's important strategic decisions.\n\nDo you question her technique?\n\nA: The distraction is unwelcome. I would rather pore over maps of Master Zhuge's campaigns.\nB: The multitasking is difficult, but I suspect it is part of the exercise.\nC: I love go! I could play this game all day.\n\n> B.\nPaying attention to both the stories and the strategy of the game, retaining both in your head without being distracted, is certainly a skill that requires a quick mind. It also has the added benefit of causing you to focus more closely on Master Zhuge's reactions and expressions. You feel you are beginning to learn how to read her emotions more clearly, and your insight into her expressions aids both your game and your understanding of her campaign decisions. One evening, during which you are comparing two accounts of the campaign during the Border War fought between Emperor Da Xiaoten?the grandfather of current Emperor Da Gaozu, the Son of Heaven?and the barbarians of the western plains, Master Zhuge sets up the go board, as has become your custom. This time, however, she sets three chairs around the table.\n\n\"Are we having company?\" you ask.\n\n\"In a manner of speaking,\" Master Zhuge says in her typical cryptic fashion.\n\nAfter arranging the board, Master Zhuge disappears into her room, then returns with a silk bag and heads outside. You follow, curious, and watch as she withdraws a bundle of small flags and arranges them in a circle. She begins to chant in a language that is only vaguely familiar?it sounds like a very old dialect of your own language, with a very different vocabulary?and, after a few moments, the ghost appears. At first he is only a shade, but as Master Zhuge's chanting continues, he resolves into a tall man wearing scale armor over a changshan. A red cloak is draped over his armor, and his helmet is decorated with an equally red feather plume. A well-shaped beard and mustache, flecked with gray, surround a mouth that breaks into a smile when he sees your master.\n\n\"Zhuge Miao,\" he says, sounding like an echo of a once-booming voice. \"Has it been long, my friend?\"\n\n\"Ages,\" Master Zhuge confirms, taking the ghost's hands in her own. \"I have a go player to introduce you to while I tell you stories of the future.\"\n\nThe man looks at you sharply.\n\nA: I bow, in deference to this old friend of my master's.\nB: I bow, but only slightly. Surely I have greater status than a ghost! C: I remain frozen in place, unsure how to greet a ghost.\nD: I bow, recognizing General Hong Wei from his description in the legends."
    },
    {
        "text": "> You go downward\nThe general notices the clear respect on your face and returns your bow. \"I see you have recognized my old friend,\" Master Zhuge says warmly. \"Wei, this is Liu Meili, my student. Liu Meili, I present to you General Hong Wei.\" \"It is an honor,\" you say, and your admiration, honed by years of studying his feats in combat, is clear. The ghost laughs. \"We will see what you say after I have defeated you at go!\"\n\nInside, Master Zhuge offers the ghost her usual seat. She begins to busy herself around the hut in a way that strikes you as more domestic than her typical fashion.\n\n\"You may go first,\" says General Hong.\n\nWhat is your strategy?\n\nA: I play in silence, focused solely on the game, even though this will be construed as rudeness.\nB: I have been training with Master Zhuge to converse and play at the same time. I can handle the challenge.\nC: I study General Hong's expressions, trying to draw him into storytelling and conversation that will distract him from the game.\n\n> B.\nYou have chosen to learn magic?or, at least, what the superstitious would call magic. Master Zhuge explains that it is all a matter of understanding the flow of energy through the universe. When she says it, of course, it sounds simple. But your new training regimen is anything but. You find that magic is much less about action and much more about scholarship. Master Zhuge has you studying star charts, herbal encyclopedias, and books on anatomy. You imagine you can feel your muscles atrophy as you do nothing but read.\n\nAre you frustrated by all this book learning?\n\nA: I am fascinated by everything I am learning, and am eager to learn more.\nB: I love what I am learning, but wake before dawn in order to have time to go through my forms, so that my body remembers its fighting arts.\nC: I am sick of books and wish I were doing something with more action."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nFeng looks mischievously intrigued by this development. \"I thought I would have noticed your having any romantic interest by now, monk,\" she says. \"Tell me, who is the lucky person?\"\n\nA: I admit my longing for my former rival, Lu Jin.\nB: I confess my interest in Feng herself.\n\n> B.\nTo your surprise, the fox spirit blushes.\n\n\"How unexpected,\" she says, almost to herself. \"I admit I find you intriguing?certainly more so than other monks that I have met?but I did not think a monk would return those feelings.\" She turns away, as though she is unable to meet your eyes. \"I want us to be clear. I have promised Miao that I will not take you down the foxhole unless you ask it, but I promised nothing about the possibility of warming your bed. Is that what you wish?\"\n\nA: Yes. I cannot deny my attraction to the fox spirit.\nB: I did not actually believe she would accept my advance. Faced with the reality of being a fox spirit's lover, I find I cannot actually accept.\n\n> B.\nAfter so much solitude, it is heartwarming to be surrounded by so many joyous people. It is also tiring. Though the food is excellent and the dancing is scheduled to go on until dawn, you find yourself ready to return home to the quiet of your courtyard and the comfort of your bed.\n\n>Next\nA week goes by before you begin to receive visitors. One bright morning, a young man arrives at your door. When you meet him at the gate, he bows.\n\n\"Honored Master Zhuge, I seek to become your student.\"\n\nYou have already given some thought about how you will greet prospective students. At the Order of the Peach Tree, student spend years doing menial labor before they are granted permission to learn forms and techniques. In other places, students are left to wait outside without food or drink, and only those who survive several days without giving up?or fainting?are allowed to be taught.\n\nHow do you greet your first prospective student?\n\nA: I make him wait?but only a few hours. Then I set him to work doing chores.\nB: I welcome him immediately, ushering him inside and discussing what he hopes to learn.\nC: Although it could mean fewer students, I want only the most tenacious. I tell him to come back tomorrow and get to work repairing the servants' building.\nD: I only want the brightest students. I ask them an impossible riddle."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou pose a difficult riddle, one that will reveal not only critical thinking skills but a familiarity with literature and philosophy. The prospective student sits to consider it, then leaves.\n\nBut he returns the next day, with a friend.\n\nA week and a handful of additional minds later, the first student approaches you with an answer, without sharing it with his peers. It is correct, and you let him inside the gate.\n\n\"Why didn't you share the answer?\" you ask.\n\n\"How will they learn if they don't figure it out on their own?\" he asks in return.\n\nIt takes time for others to solve the riddle, and many give up. But soon you have a group of very clever students who are eager to learn.\n\nHaving the cleverest students also serves to keep you on your toes, and you have to work to stay one step ahead of them. They drive you to be your best in order to teach them to be theirs.\n\nWhat do you teach at your school?\n\nA: Physical combat.\nB: Magic.\nC: Both physical combat and magic.\n\n> B.\nHis challenge letter is scrupulously polite, and you see no reason not to respond in kind.\n\nIn the morning, bright and early as per your invitation, Sun An arrives at the gate. Watching his approach from one of the windows in the servants' building, you see that he is a tall, wiry man, his whiplike body made of corded muscle. A long scar stretches from his left eyebrow to his chin, which gives the warrior a menacing appearance. He wears a loose tangzhuang?lightweight pants and a jacket designed for ease of movement?and across his back, a pair of shuang dao, identical single-edged sabers. He walks with confidence and wears a perpetually unimpressed expression on his face.\n\nHow do you greet him?\n\nA: Like any who approach my school, he must wait patiently until I decide to answer the door.\nB: I send students to greet Sun An at the door and have him brought through the school to my dining room, where I will receive him.\nC: I meet Sun An at the gate myself, to greet him as an equal."
    },
    {
        "text": "> Go down\n\"Excuse me a moment,\" you say to Sun An, leaving him with a bow. Your students stop their conversation as you approach, and they quickly fall into rank behind you, starting the form at the beginning. As you move through the form with your students, all three of you moving in synch, you see that Sun An is watching you raptly.\n\nThe form concludes, and you turn to your students to make sure they have no further questions. Both bow to you, looking slightly embarrassed to have been caught uncertain of their work, but grateful that you stopped to go over it with them. You return their bows with a shallow one of your own, then walk to join Sun An, who is still standing in the center of the courtyard.\n\n\"Thank you for waiting,\" you say.\n\n\"I enjoyed the chance to watch you work,\" Sun An says, returning your bow. He grins at you, and you are not entirely certain whether it is intended as friendly or fierce. \"It gives me an advantage for our coming battle.\"\n\nHow do you respond?\n\nA: I laugh it off. Watching me teach a low level form is not likely to give him insight into my higher level skills.\nB: I tell him he is welcome to the advantage. I would not wish for him to enter our competition unprepared.\nC: I suggest that, as an honorable man, he might like to even the odds by demonstrating a form of his own.\n\n> B.\nSun An takes your defensive posture for hesitation, and his moves become flashier as his confidence increases. You can tell that his greatest weakness is his arrogance, and that despite this flaw, his confidence is well earned.\n\nAnd by watching him, you are certain that, with his fighting skills alone, he is better than you are. You will have to outwit him, overwhelm him with your chi, or simply outlast him in order to win. Or you must find a way to concede that he is the winner without losing face entirely.\n\nA: I want to keep Sun An at the edge of the platform and cause him to lose his balance.\nB: I continue on the defensive, determined to outlast him. When he tires, he will become sloppy, and I will make my move.\nC: I meet his eyes, drawing him into a fight of the minds; the rest of the battle will play out without further injury to our bodies and allow for an honorable surrender.\n\n> B.\nYou make your way down to the outskirts of the foreign camp. You time your arrival to the hills below the monastery so that you can see the foreign army as dusk is falling. You and your company keep off of the road and travel through the bamboo forest that lies in the hills beneath the home of the Order. Gower's army looks nothing like the organized Imperial Army?instead, they are dressed in a variety of foreign clothing, with nothing resembling a uniform. There is very little that resembles armor, but then, you do not wear armor, either. What is distressing about their encampment is that you see a number of cannons and hand cannons?supplies that are commonly used by the Imperial Army, though of a different style.\n\nThe Order of the Peach Tree, with their reliance on the physical and spiritual arts of battle, has nothing like cannons at the monastery.\n\nFrom within the shadows, you can see that the size of the army has not been exaggerated. Probably five hundred men are here; though that is a small force compared to the Imperial Army, the monks and students that live at the monastery would be facing odds of five to one. Even with the support you bring, the odds are bleak. One outright fight could be disastrous if the men are skilled at combat, especially given their likelihood of bringing those explosive weapons into play.\n\nA: I have seen what I want to see. From here we can cut over to the path that leads to the monastery without being noticed.\nB: I want to sabotage their camp.\nC: I am concerned about those cannons. I want to seek out Gower to negotiate.\n\n> B.\nYou leap faster than the bullet fires, feeling it pass below you as you descend on your opponent. He raises his hand cannon at you in the air, but you are already on him, using your higher vantage point to execute Parting the Clouds?which rakes twice across his face before piercing the pressure point called the village rain, the notch right between the clavicles, with an Immortal Man strike. The strike drives him downward as your full body weight presses on top of him, and as he hits the ground, you feel your fingers crush his windpipe. The foreigners, who had begun to cheer when Fontaine shot, fall deadly silent. But Gower simply nods at you. \"It seems I have underestimated you,\" he says. \"We will abide by our agreement.\" He says something in the foreign tongue and you tense?but immediately, the foreigners turn away, heading back into their camp. Within hours, they have started a retreat, leaving the Order of the Peach Tree to once again decide its own fate.\n\nYou are hailed as the hero of the hour, and it is clear your prestige has grown among the members of the Order. For your own sake, you are glad of the success you had in defending the monastery, and are relieved that another challenge is behind you.\n\n>Chapter Seven: The Imperial Challenge\n\n> Stats\njava.text.AttributedString@15b7986: 73% java.text.AttributedString@87816d: 56% java.text.AttributedString@422ede: 98% java.text.AttributedString@112f614: 61% java.text.AttributedString@1d9dc39: 87% java.text.AttributedString@93dcd: 68% java.text.AttributedString@b89838: 62%\n65% java.text.AttributedString@111a3ac vs. 35% java.text.AttributedString@110b053\nName Zhuge Meili\nStyle Zhuge\nQuestion How can the Empire return to Heaven's Favor?\n\nYour relationships: java.text.AttributedString@723d7c: 45% java.text.AttributedString@22c95b: 83% java.text.AttributedString@1d1acd3: 89% java.text.AttributedString@a981ca: 70% java.text.AttributedString@8814e9: Feng java.text.AttributedString@1503a3: 5\n\n>OK\nYou leap faster than the bullet fires, feeling it pass below you as you descend on your opponent. He raises his hand cannon at you in the air, but you are already on him, using your higher vantage point to execute Parting the Clouds?which rakes twice across his face before piercing the pressure point called the village rain, the notch right between the clavicles, with an Immortal Man strike. The strike drives him downward as your full body weight presses on top of him, and as he hits the ground, you feel your fingers crush his windpipe. The foreigners, who had begun to cheer when Fontaine shot, fall deadly silent. But Gower simply nods at you. \"It seems I have underestimated you,\" he says. \"We will abide by our agreement.\" He says something in the foreign tongue and you tense?but immediately, the foreigners turn away, heading back into their camp. Within hours, they have started a retreat, leaving the Order of the Peach Tree to once again decide its own fate.\n\nYou are hailed as the hero of the hour, and it is clear your prestige has grown among the members of the Order. For your own sake, you are glad of the success you had in defending the monastery, and are relieved that another challenge is behind you.\n\n>Chapter Seven: The Imperial Challenge\nAfter the conflict between the Order of the Peach Tree and the foreigners at the monastery, events seem to pass quickly. News of the foreigners is hard to avoid: more of their ships are landing in the fishing villages they took over to establish their own port. While their numbers increase, they are also making a clear attempt to insinuate themselves further into the Imperial Court. George Gower has taken up residence in Xiaonanhai, and the rumor is that he calls on the Emperor every day, trying to mold a space for himself as an Imperial advisor.\n\nOr, some whisper, as the man who will try to steal the Emperor's throne.\n\nBut though tensions are high, the violence has slowed. The Blue Scarves Rebellion has continued with raids, hassling the foreigners at every opportunity, but there have been no large-scale battles. It is though everyone is holding their breath.\n\nWhat do you think the foreigners will do next?\n\nA: I am still not concerned with worldly affairs. At this point, if I weren't also seeking to detach myself from emotional reactions, I'd be annoyed with everyone pointing them out to me.\nB: Clearly, there is a reason behind their change in tactics. I analyze their locations to determine what outcome they may seek.\nC: They are saving their resources for a large fight. I make discreet inquiries into their weapon stores and the supply chain between Gower and his men.\n\n> B.\nYou acquire a large map and start marking the rumored locations of the foreigners on it. They are densest at the shoreline, but while more are landing there, there is a trend from the shore northward, toward the capital, skirting the marshes when possible. It makes perfect sense now why the foreigners wanted control of the monastery: its location is directly in the path of the settlements the foreigners have been making over the past twenty years.\n\nBut the presence of George Gower at the capital makes you suspect that he is not planning to lead an army against the Emperor. If anything, you see wisdom in the rumors that he hopes to gain power through influencing the Emperor, rather than replacing him. Given how the foreigners have treated the people they've displaced, Gower having the Imperial ear could be disastrous for the Middle Kingdom.\n\n>Next\nYou get a clue into Gower's plans the spring after the attack on the monastery. It arrives in the form of a summons: sealed with blue wax impressed with the shape of a rampant lion, the bleached white paper is so stiff it crackles when it opens. The letter reads:\n\n\"To Zhuge Meili:\n\n\"Based on the reputation of your skill and honor, you have been selected to compete in a fighting exhibition for the entertainment of the glorious Emperor. The fight, which will take place in an arena now being constructed just south of the Imperial capital, will feature two warriors of my native country on horseback, wielding the weapons of our lands. You will fight alongside a captured rebel and traitor to the Middle Kingdom, Lu Jin, who will be released from the Imperial dungeons for the event. The outcome of the combat will settle a wager between myself and the Emperor as to which nation boasts superior fighters.\n\n\"As a reward, the winners will be granted lands and a title by the crown, and, should it be relevant, receive a pardon for crimes against the Empire. More, however, the winners will have the prestige of having defended their country's honor.\n\n\"An Imperial guard will be sent to accompany you.\n\n\"Cheers,\n\n\"George Gower\"\n\nIt looks as though you will be unable to simply decline participating in this competition. How do you react to this summons?\n\nA: Lu Jin, a prisoner? Of course we will fight?and win?to insure his freedom!\nB: This is our moment to prove the foreigners are unworthy. We will fight for the honor of the Middle Kingdom!\nC: This is sure to be a farce, with the game board aligned against us, but we will triumph regardless?by whatever means necessary.\nD: I have no interest in fighting in this competition. I will escape before the supposed honor guard arrives.\n\n> B.\nPart of the art is knowing when to fade and knowing when to strike?and knowing when to combine those two elements to launch a surprise attack. You keep drawing your opponent into your range, deflecting his blows and keeping him off balance. Eventually, he overextends himself, and his lunge sends him stumbling forward. You strike him on the back of his helmet as he falls, and when you check him to receive his surrender, you find that he is sleeping peacefully?though he will likely have quite the headache in the morning.\n\nAcross the field, Lu Jin and his opponent are still locked in battle. You hurry across the field to join them.\n\nBy the time you reach Lu Jin, both Lu Jin and his opponent are on the ground, locked in a sword fight. The foreign warrior is relying on his armor to protect him from Lu Jin's blows, and for the most part, this strategy works, with Lu Jin's hook swords skittering off the steel. But his strikes are slow, and Lu Jin, though wounded, is dancing out of the way of his strikes. When Lu Jin sees you approach, however, his strategy changes. He darts around behind the armored warrior and hooks both of the warrior's arms in his hook swords.\n\n\"Now!\" Lu Jin yells at you.\n\nA: I am tough enough that I can deliver a knockout blow from beneath the helmet, despite the armor between me and my foe's chin.\nB: I deliver a piercing blow with the jian's tip through the hole in the helmet, killing him.\nC: I gather my chi and throw the energy at him with a shout, momentarily paralyzing him.\n\n> B.\nThe Dragon Sage's laugh shakes snow from the cave's roof, and sends it tumbling down outside the door. \"Little monk,\" it chortles, \"you have already returned the Middle Kingdom to the favor of Heaven! With every choice you have made, you have restored that balance. You have regained tianxia.\"\n\nThe word the Dragon Sage uses?under heaven?means the entire world; you believe the Dragon Sage means that the world, in both physical and metaphysical aspects, has aligned to once again be a single entity.\n\n\"But balance can always be tipped, and thus your job is far from over, little monk.\" The Dragon Sage places one of its huge tiger paws on your shoulder, and you feel each of the four eagle talons as they gently rest on your skin. \"You are already the Imperial Champion, giving you a voice in the Imperial Court. What role best suits your future?\"\n\nA: A respected scholar, whom even the Emperor seeks for advice.\nB: An Imperial advisor, whom the Emperor uses as primary counsel.\nC: A general in the Imperial Army, whom the Emperor relies upon for matters of state.\nD: A leader in the Order of the Peach Tree?who will build firmer ties to the Emperor.\nE: The Emperor. This dynasty nearly brought the Middle Kingdom to ruin; I will return us to glory.\n\n> B.\nThe Dragon Sage nods, then breathes on you. You feel the divine energy wash over you, filling you with confidence and, you quickly realize, a sharper intellect and a greater insight. You realize that the Dragon Sage wants the Heavens and the Middle Kingdom to be aligned, and in asking this question and choosing this role, you are fulfilling its wishes as well. \"The path before you will be a dangerous one,\" the Dragon Sage warns. \"The Imperial Court is difficult to navigate even at the best of times. But your cleverness and your intuition will guide you, and the Emperor will come to rely on your judgment.\"\n\nYou quickly realize the weight of this gift. You will be under the scrutiny of the most powerful members of the Imperial Court, and many will be looking for a way to remove you from the equation. It will not be an easy path, but you are prepared to walk it without fear.\n\nYou bow deeply to the Dragon Sage, pressing your forehead to the ground, and when you rise, the dragon is already flying back into the heavens. But as you watch the sun glint off those carplike scales, you are filled with confidence. There will be balance, and you will serve as the conduit. And as you descend the mountain, you feel as though your place in tianxia?all the world under heaven?is exactly where it should be.\n\nThe Dragon Sage has returned to the Heavens.\n\nIf you had it to do all over again, what question would you ask?\n\nA: Play again.\nB: Play more games like this.\nC: Share this game with friends.\n\n> B.\n\"Bolted, you say?\" you respond. You can see some deep tracks in the mud where an ox might have charged off the road and into the woods. The trees are not terribly dense, but the terrain is uneven, and you could see how a woman without your training might be concerned about bandits or worse?particularly given the problems Kuei Xian has had in the past.\n\n\"I'm afraid so,\" she answers. \"I did start to go after him.\" She gestures down to her mud-caked boots and skirt. \"My pack was too heavy to let me navigate the mud, and I didn't want to go too far into the woods. I wish I could be of use!\" Suddenly, her face brightens. \"I know! If you went after my ox, I could watch your pack for you. That way you wouldn't be weighed down!\"\n\nA: What a thoughtful suggestion. I could manage the pack, but it would be kind to make her feel useful.\nB: It's kind?if a little suspicious?of her to offer, but I can manage my pack AND hers.\nC: Ah ha! She is a bandit! I want nothing more to do with this woman.\n\n\"Look out!\"\n\nThe noise of battle is distracting, and it takes you almost too long to realize that the warning was shouted to you. An outlaw wearing a blue turban is charging toward you, his longspear leveled at your heart. What will you do?\n\nA: Stand firm, blocking the spear away at the last moment and slashing twin tiger claws across his face.\nB: Pounce toward him at the last moment, springing like a leopard, and bring an elbow down on his head.\nC: Dart off to the side, balancing on one leg like a crane before delivering a swift kick to his knee.\nD: Weave hypnotically in my stance, and when he strikes, I am no longer there; I launch a series of quick, snakelike strikes to the pressure points in his exposed rib cage.\nE: Make a series of flashy moves that draw his target toward my right side, then move to the left, delivering a reiken strike to the right side of his head as he passes by.\nF: Remain still, my hands low at the chi center of my body, and at the moment he would hit me, circle his spear away and shift myself away from the strike."
    },
    {
        "text": "[Themes: Fantasy]\n\n> B.\nYou leap faster than the bullet fires, feeling it pass below you as you descend on your opponent. He raises his hand cannon at you in the air, but you are already on him, using your higher vantage point to execute Parting the Clouds?which rakes twice across his face before piercing the pressure point called the village rain, the notch right between the clavicles, with an Immortal Man strike. The strike drives him downward as your full body weight presses on top of him, and as he hits the ground, you feel your fingers crush his windpipe. The foreigners, who had begun to cheer when Fontaine shot, fall deadly silent. But Gower simply nods at you. \"It seems I have underestimated you,\" he says. \"We will abide by our agreement.\" He says something in the foreign tongue and you tense?but immediately, the foreigners turn away, heading back into their camp. Within hours, they have started a retreat, leaving the Order of the Peach Tree to once again decide its own fate.\n\nYou are hailed as the hero of the hour, and it is clear your prestige has grown among the members of the Order. For your own sake, you are glad of the success you had in defending the monastery, and are relieved that another challenge is behind you.\n\n>Chapter Seven: The Imperial Challenge\nAfter the conflict between the Order of the Peach Tree and the foreigners at the monastery, events seem to pass quickly. News of the foreigners is hard to avoid: more of their ships are landing in the fishing villages they took over to establish their own port. While their numbers increase, they are also making a clear attempt to insinuate themselves further into the Imperial Court. George Gower has taken up residence in Xiaonanhai, and the rumor is that he calls on the Emperor every day, trying to mold a space for himself as an Imperial advisor.\n\nOr, some whisper, as the man who will try to steal the Emperor's throne.\n\nBut though tensions are high, the violence has slowed. The Blue Scarves Rebellion has continued with raids, hassling the foreigners at every opportunity, but there have been no large-scale battles. It is though everyone is holding their breath.\n\nWhat do you think the foreigners will do next?\n\nA: I am still not concerned with worldly affairs. At this point, if I weren't also seeking to detach myself from emotional reactions, I'd be annoyed with everyone pointing them out to me.\nB: Clearly, there is a reason behind their change in tactics. I analyze their locations to determine what outcome they may seek.\nC: They are saving their resources for a large fight. I make discreet inquiries into their weapon stores and the supply chain between Gower and his men.\n\n> B.\nYou acquire a large map and start marking the rumored locations of the foreigners on it. They are densest at the shoreline, but while more are landing there, there is a trend from the shore northward, toward the capital, skirting the marshes when possible. It makes perfect sense now why the foreigners wanted control of the monastery: its location is directly in the path of the settlements the foreigners have been making over the past twenty years.\n\nBut the presence of George Gower at the capital makes you suspect that he is not planning to lead an army against the Emperor. If anything, you see wisdom in the rumors that he hopes to gain power through influencing the Emperor, rather than replacing him. Given how the foreigners have treated the people they've displaced, Gower having the Imperial ear could be disastrous for the Middle Kingdom.\n\n>Next\nYou get a clue into Gower's plans the spring after the attack on the monastery. It arrives in the form of a summons: sealed with blue wax impressed with the shape of a rampant lion, the bleached white paper is so stiff it crackles when it opens. The letter reads:\n\n\"To Zhuge Meili:\n\n\"Based on the reputation of your skill and honor, you have been selected to compete in a fighting exhibition for the entertainment of the glorious Emperor. The fight, which will take place in an arena now being constructed just south of the Imperial capital, will feature two warriors of my native country on horseback, wielding the weapons of our lands. You will fight alongside a captured rebel and traitor to the Middle Kingdom, Lu Jin, who will be released from the Imperial dungeons for the event. The outcome of the combat will settle a wager between myself and the Emperor as to which nation boasts superior fighters.\n\n\"As a reward, the winners will be granted lands and a title by the crown, and, should it be relevant, receive a pardon for crimes against the Empire. More, however, the winners will have the prestige of having defended their country's honor.\n\n\"An Imperial guard will be sent to accompany you.\n\n\"Cheers,\n\n\"George Gower\"\n\nIt looks as though you will be unable to simply decline participating in this competition. How do you react to this summons?\n\nA: Lu Jin, a prisoner? Of course we will fight?and win?to insure his freedom!\nB: This is our moment to prove the foreigners are unworthy. We will fight for the honor of the Middle Kingdom!\nC: This is sure to be a farce, with the game board aligned against us, but we will triumph regardless?by whatever means necessary.\nD: I have no interest in fighting in this competition. I will escape before the supposed honor guard arrives."
    },
    {
        "text": "[Themes: Fantasy, dragon, female protagonist]\n\n\"It's coming for the queen! Everybody run!\"\n\nYour loyal subjects flee as the dragon circles around for one final attack. It settles directly in front of you.\n\nA frightened crowd of bizarre creatures and monsters surrounds you at a safe distance.\n\nBefore you looms a terrible red dragon, invincible, tall, proud, and ready to strike the killing blow.\n\n[Author's Note: Magic comes with a price. But on your birthday, all your expenses are paid. Welcome to Grooverland.]"
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> You talk to the dragon\n\"Have at thee, villain!\" you cry, waving your sword.\n\nThe dragon pushes closer, biting at the air by your head.\n\n> You kill the dragon\nThe mighty sword whistles through the air as you swing at the dragon. With a loud \"snick\" you slice through his head.\n\nOut pour buckets and buckets of...\n\n...candy!\n\nThe costumed crowd cheers and scrambles towards you to pick through the remains of the dragon, while a voice over the loudspeaker proclaims:\n\n\"Ladies and Gentlemen, welcome to...\"\n\nThe theme park of the century! by Mathbrush\n\nYour family gathers around you while an attendant takes the sword.\n\n\"That was awesome!\" shouts David.\n\n\"Pretty cool,\" says Alice.\n\n\"Thanks for choosing this as your wish, kid,\" says your Dad.\n\n\"Alright, let's go! Lily has the run of the park for the day, so the rest of you go ahead. Happy birthday, Lily,\" your Mom says to you and kisses your head. Then they all run off to the east.\n\n> You take the candy\nThe crowd already took all the candy in their mad scramble for sweets.\n\n> About you\nYou are Lily Lee, and this is your eleventh birthday! You are Queen of Grooverland for a day.\n\n> You check your inventory\nYou are a young queen without possessions.\n\n> You look\nThe crowd has gone, leaving you free to enter the park to the\neast.\n\nThe shell of the red papier-m\u00e2ch\u00e9 dragon is all that remains here. So strange, how lifelike it was!\n\n> You go east\nYou walk towards the entrance of Grooverland and are impressed by its extravagance and size.\n\nGrooverland is surrounded by a plastic castle wall pierced by two tall gates to the east, one red and one white. Streams of people\nflow in and out of them and you can hear screams and laughter from inside.\n\nA gate guard in a paisley vest sitting in a Welcome Booth waves you over. \"Welcome, Your Majesty! Let me know if you have any questions. Otherwise, go out there and have fun!\" he says, handing you a flier.\n\nA smiling woman (accompanied by dog) is standing near the booth and holding a sign that says \"Lily\". That's your name!\n\n> You read the flier\nAs our royal guest of honor, you are cordially invited to your own private coronation tonight at sundown!\n\nTo enter the castle, you must find a full set of regalia. This includes:\n\na ring,\na Sugar Plum Crown,\na royal scepter,\na mantle,\nand a sun orb.\nEach can be found in a different attraction.\n\nThe park is laid out from west to east. Shops are available off the Melancholy Mall. Animals both gentle and dangerous can be found\noff the Prowling Promenade. Exciting rides are found off of the Mechanical Marvels. Halloween-themed spooky attractions are\navailable year-round in the Spooky Sideshow! And our performers\nand the Queen's Castle itself are available in the Bitter End.\n\nThe Mirrored Queen and the Scarlet Empress welcome you to Grooverland!\n\n> You ask the guard about the gates\n\"We're not a medieval castle. The gates are open all day!\" he says.\n\n> You ask the guard about mirrored Queen\nHe says, \"Well, there's two people in charge of this park: her, and the Scarlet Empress. And let me tell you, if you have to meet one of them, you'd better hope it's the queen!\"\n\n> You ask the guard about scarlet Empress\nThe gate guard looks at you seriously. \"Lily, if you're involved with the Scarlet Empress, then you're in for a world of hurt.\"\n\n> You ask guard about Mall\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK the gate guard ABOUT David, the royal scepter, or Dad.\n\n> You ask the guard about the mantle\n\"It's a traditional garment worn by royals in Europe,\" he says. \"This one is your size.\"\n\n> You ask the guard about the orb\nHe says, \"It was traditional for kings of old in some cultures to hold an orb that siginified the earth being in the rulers' hands. But this orb represents the sun.\"\n\n> You examine the dog\ndog is a mixed breed dog, somewhere between a spaniel and a terrier, with a collar and a name tag that says \"Toby\".\n\n> You look at the woman\nThis is a professional-looking woman holding a sign with your name on it and standing next to a dog.\n\n> You talk to the woman\n\"Are you Lily?\" the woman asks, crouching down. You nod.\n\n\"Hi, Lily! I'm from the 'Kids Paws the Game' Foundation. We've donated our own gift for the big day.\" She pulls out a whistle on a chain and hands it to you.\n\n\"If you ever get lost, just blow this whistle and Toby here will come find you,\" she says, ruffling the hair of the dog next to you. \"We'll let you get on with the big day. Hope you have fun!\"\n\nShe gives you a wink, and then she vanishes, leaving Toby behind. You blink, but nobody else seems to have noticed her disappearance. Toby licks your hand reassuringly. You place the whistle around your neck.\n\n> You look at Toby\nToby is a mixed breed dog, somewhere between a spaniel and a terrier, with a collar and a name tag that says \"Toby\".\n\n> Pet toby\nToby smiles and barks, as if to say, \"I am indeed a good boy!\"\n\n> Smell toby\nEverything in this park has a smell like peppermint mixed with copper.\n\n> You ask toby about Queen\n(the Mirrored Queen)\nToby doesn't understand you, but he puts a paw on your hand and stares into your eyes, letting you know that he'll wait for you here until you blow the whistle.\n\n> You ask the guard about Dad\n\"Your father seems like a swell fellow, really knows his way around a map. He was hanging around Mechanical Marvels or thereabout, if I remember,\" says the guard.\n\n> You ask the guard about white gate\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK the gate guard ABOUT Grooverland, the Scarlet Empress, or the ring.\n\n> You go east\nAs you enter the gates, the full beauty of Grooverland is exposed to your view. You smell a bizarre mixture of sweets and metal, you hear screams from unseen rides, and, far off to the east, you see the distant castle. That's where your coronation ceremony will be tonight, if you can find everything you need, of course!\n\n[You can check the flier in your inventory to see the requirements for entering the Queen's Castle.]\n\nYou are standing in the main thoroughfare for Grooverland. Park-goers wearing masks and carrying cricket bats pass all around you, and you see quite a few children holding jelly-covered ice cream cones.\n\nA sign to the north says \"Sugar Plum Snack Bar\".\n\nA sign to the south is labeled \"Painful Purchases Gift Shop\". Underneath the name is a tagline: \"All Magic Has a Price\".\n\neast to the Prowling Promenade.\n\n> Go north\nThis snack shop is one of the highest-rated attractions at the park, according to your sister.\n\nA harried-looking snack attendant stands at the register dispensing drinks out to ticket-holders.\n\nA mighty confectionery castle cake rises here, wider than a wedding cake. Each piece is made of a different substance in various layers. The uppermost layer of the cake is the Devil's Food Tower, made of dark, dense chocolate cake. A little sign nearby says \"For Lily\".\n\n> You look at the cake\nAn enormous cake made of decadent foods. Currently you can see the Devil's Food Tower, made of dark, dense chocolate cake.\n\n> You examine the attendant\nImagine Betty White in her 50's dressed as a carnival showman, while also being very drunk. This woman is the complete opposite of that.\n\n> You ask the attendant about the cake\n\"Oh, that cake's all for you. There's a prize if you eat it, sugar,\" says the attendant.\n\n> You eat the cake\nYou gorge yourself on the Devil's Food Tower, squishing your fingers through and through the spongy mass. Underneath, you see a library made of marshmallow.\n\n> You eat the library\nYour mouth is too dry to eat more.\n\n> You ask the attendant for the drink\n(the snack attendant first taking the drinks)\nYou can TALK TO the snack attendant or ASK the snack attendant ABOUT something you've seen.\n\n> You talk to the attendant\n\"First time?\" she asks, peering down at you with a polite smile. \"Drinks are free, but only if you have a ticket. You see any drink tickets, bring them to me and I'll trade them in for a drink. Okay, hun?\" She peers closer at you. \"Oh, you're Lily, right? The cake is yours, too. There's a prize if you can eat the whole thing!\"\n\nShe then goes back to serving the other customers.\n\n> You go south\nYou are standing in the main thoroughfare for Grooverland. Park-goers wearing masks and carrying cricket bats pass all around you, and you see quite a few children holding jelly-covered ice cream cones.\n\nA sign to the north says \"Sugar Plum Snack Bar\".\n\nA sign to the south is labeled \"Painful Purchases Gift Shop\". Underneath the name is a tagline: \"All Magic Has a Price\".\n\neast to the Prowling Promenade.\n\n> You go south\nYou are standing in Painful Purchases, the gift shop for Grooverland. Everything is decorated in burgundy and beige.\n\nHere, there are rows and rows of pristine merchandise.\n\nA book of poems is on display. A little dollhouse is here as well, filled with simulated rot and rust.\n\nA shop clerk is waiting patiently for your mom to finish her purchases.\n\nYour mom is here, browsing through the merchandise.\n\n> You look at the dollhouse\nThis house is filled with all sorts of little furniture. It has a label that says, \"The house is insignificant, a worthless husk, too tiny to love. It is entirely too small. Please do not shake the house.\"\n\nIt's filled with little furniture.\n\n> You look at the furniture\nThe dollhouse is filled with little, immovable pieces of furniture. There are plastic doves' nests in little holes. Ridged vines coil over tiles painted with cracks. The rug is a sponge, pre-moistened to a swampy state. The abandoned chairs are crumpled into a pile. A little crooked painting of an elderly woman adorns the wall. There is a little wooden cabinet. There are bookcases with plastic moss and little black wax candles like fingers, black logs in the fireplace with an oversized mantel.\n\n> You examine the elderly woman\nI wonder who she is.\n\n> You examine the cabinet\nHmm, this cabinet looks shinier than the rest of the furniture.\n\n> You open it\nYou open the little cabinet, revealing a winding key.\n\n> You take the winding key\nYou grab the winding key.\n\n> You examine the poems\nYou flip through the book.\n\n\"They say it is a haunted place.\nIn ages past a priest lived there\nand when his prayers were not\nanswered he starved himself.\nHis body transformed into rats\nand they destroyed the sacred\nbooks and holy scrolls...\"\n\nIt goes on like this for some time.\n\n> You examine mom\nMom is wearing her sandals and capri pants. She has her pencil out and is jotting down everything she sees into a present list. She clicks and mutters every time she spots something new.\n\n> You examine clerk\nThe clerk is short and thin, and he has extremely long golden hair.\n\n> You ask the clerk about the dollhouse\nHe laughs. \"I'm not, like, into dolls, man. I don't know.\"\n\n> You examine the dollhouse\nThis house is filled with all sorts of little furniture. It has a label that says, \"The house is insignificant, a worthless husk, too tiny to love. It is entirely too small. Please do not shake the house.\"\n\nIt's filled with little furniture, including an open cabinet.\n\n> You examine the bookcases\nThe moss on the bookcases must have taken forever to make.\n\n> You examine the rug\nGross.\n\n> You examine the candles\nThey are honestly pretty disgusting.\n\n> You look at the logs\nWhy is there so much detail in this dollhouse?\n\n> You examine the bats\nThey're marked with some kind of weird alphabet or sigils. It looks burned into the wood; in fact, some of the bats are still smoking.\n\n> You asthe park-goers about the bats\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK the mall crowd ABOUT the Painful Purchases Gift Shop, the book of poems, or the dollhouse.\n\n> You go east\nThe crowd is more or less divided here, with younger kids and families headed west to the Melancholy Mall and more adventurous teens\nand adults headed east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\n> Examine seller\nA heavy-set man with thick stubble and a layer of grease all over him.\n\nHe's standing in front of the sausage menu.\n\n> You examine the sausage menu\n\"Try our delightfully bloody food!\n\nB/S/R FOOD\n\n4/2/1 TAGHAIRM DELUXE\n3/2/2 BARON'S BREAKFAST\n4/1/2 HUNTED UNICORN\"\n\n> XYZZY\n\nYou are in a debris room filled with stuff washed in from the surface. A low wide passage with cobbles becomes plugged with mud and debris here, but an awkward canyon leads upward and west. At least, it used to. Now it's blocked by an iron portcullis\"\n\nA note on the wall says, \"Magic word XYZZY.\"\n\nYou can see a blasting rod here.\n\n> You take the rod\nYou grab the blasting rod.\n\n> Go west\n(first opening the iron portcullis)\n(first unlocking the iron portcullis)\nYou lack a key that fits the iron portcullis.\n\n> Xyzzy\nGrooverland is surrounded by a plastic castle wall pierced by two tall gates to the east, one red and one white. Streams of people\nflow in and out of them and you can hear screams and laughter from inside.\n\nDavid is contemplating the various attractions and people in the park with wide eyes. He's holding his favorite plush chimera.\n\nIn between the two gates is a Welcome Booth with a kindly-looking gate guard standing inside.\n\nToby waits patiently here for the next time you'll need him.\n\n> You ask the guard about the rod\nOh no! When you say the words \"blasting rod\", it explodes!\n\n> You go to the east\nYou are standing in the main thoroughfare for Grooverland. Park-goers wearing masks and carrying cricket bats pass all around you, and you see quite a few children holding jelly-covered ice cream cones.\n\nA sign to the north says \"Sugar Plum Snack Bar\".\n\nA sign to the south is labeled \"Painful Purchases Gift Shop\". Underneath the name is a tagline: \"All Magic Has a Price\".\n\neast to the Prowling Promenade.\n\nSpike the park inspector comes up to you and grabs the blasting rod. \"Not safe for children!\" he yells over his shoulder.\n\nNow your blasting rod is gone forever. Which is good, because it was just a silly toy implemented in an out-of-game action and doesn't accomplish anything.\n\n> You examine chef\nA thin and almost rubbery-looking woman with bulging eyes.\n\nShe's standing in front of the ceviche menu.\n\n> You examine the ceviche menu\n\"No one is more raw than us!\n\nB/S/R FOOD\n\n1/2/4 BRINY BYTE\n2/2/3 CRAGNE CRAWFISH\n2/1/4 PICKLED PRIORESS\"\n\n> You look at the jelly menu\n\"The sloppiest scraps you'll ever find!\n\nB/S/R FOOD\n\n2/4/1 JELLIED EELS\n1/4/2 MOLTEN MONOLITH\n2/3/2 PORCINE PUREE\"\n\n> Go north\n\"Queen coming through!\" shouts someone in the crowd, and the petting zoo slowly clears out. Personal time with the animals is one of your perks for the day.\n\nThis homey-looking area surrounded by a gleaming chrome fence has several soft animals (and, in one case, squishy) for you to pet or feed. A gleaming chrome food table provides snacks for the animals: a lettuce tray, a crate of mushrooms, and a plate of bratwursts.\n\nA placid and professional zookeeper stands watch over the animals.\n\nA racing slug is oozing around here.\n\nA truffle pig is sniffing around the petting zoo.\n\nA tailypo is stalking back and forth.\n\n> Pet slug\nIt's very squishy, but you do it. The slug looks happy.\n\n> You examine the pig\nWell, it's called a truffle pig, but it looks like a regular pig.\n\n> Pet pig\nIt oinks merrily at your touch.\n\n> You examine the tailypo\nBlack shape. Whiskers. Big eyes. Sharp claws. Long tail.\n\n> You ask the zookeeper about the tailypo\n\"Now he's a weird little creature,\" says the zookeeper. \"Looks so smart I swear he could talk, but I've never heard a peep out of him.\"\n\n> You talk to tailypo\nThe tailypo looks at you in utter confusion.\n\n> Pet tailypo\nIt bristles but allows you to pet it. It does look less grumpy.\n\n> You examine the lettuce\nWhich do you mean, the 1) lettuce tray or the 2) lettuce leaf?\n\n> Leaf\nIt is almost disgustingly healthy and vibrant.\n\n> You look at mushrooms\nAn open crate filled with mushroom caps.\n\nIn the crate of mushrooms is a mushroom cap.\n\n> You look at the bratwurst\nWhich do you mean, the 1) plate of bratwursts or the 2) limp bratwurst?\n\n> Limp\nThis bratwurst is dripping with grease.\n\n> You talk to the zookeeper\n\"This part of the park is mostly for the younger kids, but I think you might like it, too,\" says the zookeeper. It's not as frightening as the menagerie and its strange little keeper.\n\n\"We're also missing our monkey, so I'm sorry about that. He's a clever little scamp and likes to disappear from time to time.\"\n\n> You ask the zookeeper about the monkey\n\"I do wonder where our monkey has gone to,\" says the zookeeper worriedly. \"He loves to pick fights.\"\n\n> You give the leaf to the slug\n(first taking the lettuce leaf)\nThe slug devours the lettuce greedily. It squeaks and gurgles in a gelatinous joy.\n\n> You give the cap to the pig\n(first taking the mushroom cap)\nThe pig leans forward to sniff the mushroom, enjoying its fungal scent. It takes a small bite, rolling it around on its tongue to enjoy the flavor, before delicately swallowing it. Then it chomps down on the rest, eating it in one gulp and almost taking off your hand.\n\n> You give the limp to tailypo\n(first taking the limp bratwurst)\nThe tailypo devourse the bratwurst greedily, splashing bits of grease and skin all over itself before cleaning itself."
    },
    {
        "text": "> You describe your surroundings\nThis homey-looking area surrounded by a gleaming chrome fence has several soft animals (and, in one case, squishy) for you to pet or feed. A gleaming chrome food table provides snacks for the animals: a lettuce tray, a crate of mushrooms, and a plate of bratwursts.\n\nA placid and professional zookeeper stands watch over the animals.\n\nA racing slug is oozing around here.\n\nA truffle pig is sniffing around the petting zoo.\n\nA tailypo is stalking back and forth.\n\n> You examine the fence\nThis fence must be polished daily. It's so bright!\n\n> You ask the zookeeper about the fence\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK the zookeeper ABOUT the Devil's Food Tower, the paisley vest, or the Scarlet Empress.\n\n> You ask the zookeeper about the ticket\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK the zookeeper ABOUT the sun orb, the zookeeper, or the Hunted Unicorn.\n\n> You ask the zookeeper about the sausage seller\n\"I don't trust any of the food vendors. Animals should have simple food, not elaborate concoctions!\" she says.\n\n> You examine the tray\nA tray filled with fresh lettuce.\n\nIn the lettuce tray is a lettuce leaf.\n\n> Go south\nThe crowd is more or less divided here, with younger kids and families headed west to the Melancholy Mall and more adventurous teens\nand adults headed east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\nDavid is contemplating the various attractions and people in the park with wide eyes. He's holding his favorite plush chimera.\n\nDavid starts going to the east, but sees something that makes him turn around.\n\n> You talk to David\n\"Lily, this park is awesome!\" says David. \"Did you know there's a giant castle cake in the snack shop?\"\n\n> You ask David about the chimera\n\"Chimeras are awesome! They can multiattack and fly!\" says David.\n\n> You ask David about the tickets\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK David ABOUT the castle cake, Alice, or the lettuce leaf.\n\nDavid wanders off to the west.\n\n> Go south\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nA scabrous little man with a nametag reading Crust walks along the cages, banging the bars with an ornate scepter when the animals become too unruly.\n\n> You look at the scepter\nThis is a scepter, part of the Grooverland regalia.\n\n> You examine the Crust\nHe's a little man holding an ornate scepter. His nametag says Crust.\n\n> You talk to the Crust\n\"Step lightly, child. A misstep here would land somebody in a bad place. We serve the Scarlet Empress in this part of the park, not like that simple-minded zookeeper who serves the Mirrored Queen.\" He peers at you closely. \"Ah, the special girl of the day! Well, we have a treat for you, don't we. If you want this,\" he says, tapping the royal scepter that he holds, \"you'll have to beat me at my own game.\"\n\nHe grins and says, \"These animals are hungry beasts, never full. I have my own menu, which you can see in the plaza of the menagerie. I'll give you five tokens for the food carts up in the Promenade. Order your five best foods, and I'll bring my five best, and we'll see which beasts prefer your food over mine. If more animals like your food than mine, I'll give you this piece of the regalia.\"\n\nThen he hands you five tokens. \"Go on then!\"\n\n> You take the ticket\nYou peel off the ticket.\n\n> You look at the ticket\nThis is a white ticket that says \"Good for one glass of milk at the Sugar Plum Snack Bar.\"\n\n> You go west\nThis exhibit looks has the appearance of dreadful wilds, with false crags and pools of water.\n\nThere is an informational sign here.\n\nThe rest of the menagerie is to the east.\n\nA griffin stalks back and forth here, watching you keenly.\n\nCrust arrives from the east.\n\n> You examine Griffin\nThis animal is not a pleasant one to look at. It has a large head with sharp teeth, powerful claws and a projecting tail.\n\nHow they got an animal to look like that, you can't imagine. Its wings are moving, even. Is it an ostrich in a costume? It must be.\n\n> You look at the Crust\nHe's a little man holding an ornate scepter. His nametag says Crust.\n\nHe is carrying the following menagerie food (with Blooodiness, Sloppiness, and Rawness)\n(B 7, S 5, R 4) Goat Meat\n(B 7, S 3, R 5) Lamb Meat\n(B 5, S 3, R 4) Bantam\n(B 3, S 3, R 5) Minnow\n(B 3, S 3, R 5) Rat Meat\n\n> You look at the sign\nIt reads, \"The griffin is a fiercely independent but intelligent creature who loves bloody food.\"\n\n> You go east\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nCrust arrives from the west.\n\n> You go to the east\nThis dark room is lined with many, many skulls. Plastic, you presume.\n\nThere is an informational sign here.\n\nThe rest of the menagerie is to the west.\n\nA vicous sharp-toothed skull scraper hops around this exhibit.\n\nCrust arrives from the west.\n\n> You examine the scraper\nThe skull scraper is small creature with extremely sharp teeth. You can only assume it must be a variant of rabbit, but it doesn't look like any rabbit you've seen. Instead of hopping, it scurries from place to place, occasionally gnawing on skulls.\n\n> You look at the sign\nIt reads, \"The skull scraper is a fastidious creature that prefers raw food but detests sloppiness.\"\n\n> You go to the west\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nCrust arrives from the east.\n\n> You go to the south\nThis unusual exhibit looks like an alley between two suburban houses. A strange choice for a menagerie, but Grooverland is a strange place.\n\nThere is an informational sign here.\n\nThe rest of the menagerie is back to the north.\n\nA wolf wearing a top hat prowls here, never looking away from you.\n\nCrust arrives from the north.\n\n> You look at the wolf\nA wolf that is, for some reason, wearing a top hat.\n\n> Pet wolf\nYou can't touch the wolf. He is too far away!\n\n> You examine sign\nIt reads, \"This semi-sentient wolf is the only one of its kind known. It especially enjoys sloppy meals.\"\n\n> You go north\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nCrust arrives from the south.\n\n> Go upwards\nThis exhibit is made up to look like an abandoned shrine. There are so many places for something to hide.\n\nThere is an informational sign here.\n\nThe rest of the menagerie is down from here.\n\nA shadowy shrine beast prowls from hiding place to hiding place.\n\nCrust arrives from below.\n\n> You examine the beast\nIt's hard to see it, but it looks like a black panther, only...larger.\n\n> You examine sign\nIt reads, \"The shrine beast is a legendary creature with sightings dating back to the Edo period in Japan. It prefers bloody, but not raw, food.\""
    },
    {
        "text": "[Themes: Fantasy, dragon]\n\n> Go downward\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nCrust arrives from above."
    },
    {
        "text": "[Themes: Fantasy, dragon]\n\n> Go downwards\nThis is a dark burrow with shadows everywhere. You'll have to be careful down here.\n\nThere is an informational sign here.\n\nThe rest of the menagerie is up from here.\n\nThe rawhead lurks in a corner here.\n\nCrust arrives from above.\n\n> You look at Rawhead\nThe rawhead lurks in the corner. What seem to be glistening red sinews constitute its skin. Although it might just be a bald bear.\n\n> You examine the shadows\nThe perfect hiding place for a killer.\n\n> You examine the sign\nIt reads, \"The rawhead is best not described in detail. It loves raw things.\"\n\n> You ask Crust about Rawhead\nCrust says, \"They have a skin condition, that one. Poor little thing. Wish I could do more for it.\"\n\n> You ask Crust about the top hat\nYou can only ASK someone about an important thing or person you've seen. For instance, you could ASK Crust ABOUT the Devil's Food Tower, the dollhouse, or Crust.\n\n> Go upwards\nThis attraction is lively and loud. You are in a red brick plaza in the middle of all the dangerous animal exhibits of the menagerie.\n\nTo the west lies the Griffin Exhibit, to the east lies\nthe Skull Scraper Sanctuary, and to the south is the Lupine\nLair. You can also go up to the Abandoned Shrine and\ndown from here is the Rawhead's Refuge.\n\nA large menu is posted on a sign here.\n\nEscape is to the north.\n\nCrust arrives from below.\n\n> You examine the token\nThis token is good for one item from the Prowling Promenade food carts.\n\n> Go west\nYou are standing in the main thoroughfare for Grooverland. Park-goers wearing masks and carrying cricket bats pass all around you, and you see quite a few children holding jelly-covered ice cream cones.\n\nA sign to the north says \"Sugar Plum Snack Bar\".\n\nA sign to the south is labeled \"Painful Purchases Gift Shop\". Underneath the name is a tagline: \"All Magic Has a Price\".\n\neast to the Prowling Promenade.\n\nDavid is contemplating the various attractions and people in the park with wide eyes. He's holding his favorite plush chimera.\n\n> You go to the north\nThis snack shop is one of the highest-rated attractions at the park, according to your sister.\n\nA harried-looking snack attendant stands at the register dispensing drinks out to ticket-holders.\n\nA mighty confectionery castle cake rises here, wider than a wedding cake. Each piece is made of a different substance in various layers. The uppermost layer of the cake is the Marshmallow Library, which seems to consist entirely of marshmallow. A little sign nearby says \"For Lily\".\n\n> You give the ticket\n\"Thank you,\" says the attendant mechanically as she snatches your ticket and hands you a glass of milk.\n\n> You drink the milk\nNice and cold. That was very refreshing!\n\n> You eat Library\nThe library is sticky, so sticky it drapes over your fingers and hands. You have to snatch at it, gobble up pile after pile of marshmallow. Now you can reach the Cheesecake Guardhouse.\n\n> You examine Guardhouse\nThis, the center of the cake, is composed of every imaginable flavor of cheesecake.\n\n> You look east\nUnfortunately, you missed school on the day they taught you to look in specific directions.\n\n> You go east\nThis part of the park is blocked off by a maintenance crew working on what looks like a clogged pipe. Some of the park goers try to go past, but the crew turn them back to the west.\n\nA chief engineer is supervising the maintenance crew.\n\nYour dad is here, looking at the maintenance crew with a concerned expression.\n\n> You examine the pipe\nThere is a large pipe sticking out of the ground at an angle in the middle of a dry fountain. It looks like there's some kind of fungus growing deep inside. It's big, but not big enough for a grownup to fit inside. It look like it's turned off.\n\n> You look at the fungus\nThere's definitely something growing in there. Looks like a red fungus you saw in biology class. They said it was edible, but you wouldn't eat it!\n\n> You talk to the engineer\n\"I'm sorry, miss, about your big day and all. Turns out we've had a problem with a clogged pipe. There's some kind of fungus growing in that blocked it up. We've turned off the water, but the pipe is too small for us to fit in to clear the blockage,\" says the chief engineer.\n\n> You talk to Dad\n\"I talked to the maintenance crew. They say they can't let anyone through unless they can clear out the fungus in the pipe,\" he says.\n\n> You go west\nThe crowd is more or less divided here, with younger kids and families headed west to the Melancholy Mall and more adventurous teens\nand adults headed east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\nDavid is contemplating the various attractions and people in the park with wide eyes. He's holding his favorite plush chimera.\n\n> You go north\n\"Queen coming through!\" shouts someone in the crowd, and the petting zoo slowly clears out.\n\nThis homey-looking area surrounded by a gleaming chrome fence has several soft animals (and, in one case, squishy) for you to pet or feed. A gleaming chrome food table provides snacks for the animals: a lettuce tray, a crate of mushrooms, and a plate of bratwursts.\n\nA placid and professional zookeeper stands watch over the animals.\n\nA racing slug is oozing around here.\n\nA truffle pig is sniffing around the petting zoo.\n\nA tailypo is stalking back and forth.\n\n> You ask the zookeeper about the pipe\n\"Sorry, Lily, but we have problems with fungus in the pipes this time of year,\" says the zookeeper.\n\n> You ask the zookeeper for the pig\n(the zookeeper first taking the truffle pig)\nYou can TALK TO the zookeeper or ASK the zookeeper ABOUT something you've seen.\n\n> You take the pig\nIn this game, it will never be necessary to take other people, animatronics, or animals. [Footnote 1].\n\n> Footnote 1\nIf you want a game that involves taking people, try The Origin of Madame Time.\n\n> You take the cap\nYou grab the mushroom cap.\n\nThe pig grunts in interest, looking at the mushroom cap. It starts following you around.\n\n> You go to the south\nThe zookeeper says, \"Be careful! These pets are gentle, but they'll follow you anywhere for that food. Make sure they get back safely!\"\n\nThe crowd is more or less divided here, with younger kids and families headed west to the Melancholy Mall and more adventurous teens\nand adults headed east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\nThe sausage seller looks amused by the truffle pig following you.\n\n> You go east\nThis part of the park is blocked off by a maintenance crew working on what looks like a clogged pipe. Some of the park goers try to go past, but the crew turn them back to the west.\n\nA chief engineer is supervising the maintenance crew.\n\nYour dad is here, looking at the maintenance crew with a concerned expression.\n\nThe chief engineer looks at the truffle pig and says, \"Lovely litter critter, isn't it?\"\n\n> You examine the pig\nWell, it's called a truffle pig, but it looks like a regular pig.\n\n> You put the cap in the pipe\nThe pig watches as you toss the mushroom cap into the clogged pipe. At first, it looks shocked, but as it gets closer to the pipe, it sniffs, intrigued.\n\nIt climbs into the fungus-filled pipe while the maintenance crew stare in surprise. After a minute or two of munching noises, the pig emerges from a now-empty pipe and trots away to the petting zoo.\n\nThe engineer says, \"Let 'er rip, boys!\" They turn the wheel, and water gushes out of the pipe, turning the fountain back on.\n\n\"Thanks, kid, you're one in a million,\" says the engineer as he and his crew pack up and go.\n\nThe rest of the park is now open!\n\n\"Well, Lily, I'm headed off to try out some rides. See you later!\" says your dad before he walks away."
    },
    {
        "text": "> You look at your surroundings\nThe air here is split with sounds of screams and clanks from the nearby attractions. Some of the park-goers pass by quickly to more quiet areas to the west, while others run eagerly into the\nattractions and to the Spooky Sideshow to the east.\n\nSerpent Slide at the top in bright red paint.\n\nwords Midnight Laserfight inscribed on it in silver.\n\n> You look at the fountain\nThe fountain has now been repaired. Water flows freely from the fountain.\n\nYour dad wanders back into view. He sees you and waves.\n\n> Drink water\nYou can't touch the free flowing water. That is too far away!\n\n> You look in the fountain\nThe fountain is empty.\n\n> Go north\nThis room contains a square pyramid-shaped ramp that leads to a giant opening shaped like the mouth of a huge, feathered serpent. Inside the opening is a bright red slide going down.\n\nYou can leave to the south.\n\n> You examine the Serpent\nThe slide is spongy and soft."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nYou ride down the slide until it comes to its first stop.\n\nThis large cylindrical room is constructed from mottled rubber webbing stretched between plastic ribs. The webbing pulses in and out to the hiss of hidden machinery.\n\nThe way the ribs pulse in and out is fascinating, although they seem misshapen.\n\nYou can try climbing back up or continue sliding down.\n\n> You examine the ribs\nThe ribs are spaced evenly around the room, supporting the webbing. One unusual rib sticks out to you.\n\n> You take the rib\nThe rib shifts under your weight. You push again and it comes off in your hand. This isn't a rib at all! It's a plastic beam that says \"HYDRAULICS\".\n\n> You examine the webbing\nThis rubbery webbing is stretched between the plastic bones. It is emblazoned with foreign script lightly carved into the rubber."
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> Go downwards\nYou ride down the slide again to the second stop.\n\nYou stand on the shore of a shallow lake lit underneath by some sort of yellow source. Mist is pumped over the water from the edges of the lake. To the north, beyond the lake, is a glowing room. You can\nclimb back up the slide, too.\n\nA plastic skeleton lies partially in the lake.\n\n> You look at the skeleton\nOne of the skeleton's arms seems positioned like a lever.\n\n> You pull arm\nbones and rubber body parts.\n\n> You examine the lake\nThe water looks nasty.\n\n> You go to the north\nYou can leave to the south. This is a large round room made of\norange plastic. In the center is a pedestal.\n\nOn the pedestal is a sun orb.\n\nAs you enter the Sunroom, though, a monkey crawls out from behind the pedestal and snatches the sun orb. It leaps around the room, keeping the orb away from you!\n\n> You look at the monkey\nThe monkey is lanky and hairy. He has some fresh scratches on him.\n\n> Pet monkey\nYou can't touch the monkey. He is too far away!\n\n> You talk to the monkey\nThe monkey shakes its fist at you and chatters angrily.\n\n> You examine orb\nIt is a clear orb wrapped in a plastic frame.\n\n> You examine the pedestal\nThis is a simple plastic pedestal fixed to the ground.\n\n> You check your inventory\nYou are carrying:\na plastic beam\nfive food tokens\na winding key\na safety whistle (being worn)\na flier\n\n> You go to the south\nThe monkey chatters and shakes its fist at you as you leave.\n\nYou stand on the shore of a shallow lake lit underneath by some sort of yellow source. Mist is pumped over the water from the edges of the lake. To the north, beyond the lake, is a glowing room. You can\nclimb back up the slide, too\n\nA bridge of bones and body parts (plastic, of course) leads north.\n\nA plastic skeleton lies partially in the lake.\n\n> Go upward\nYou carefully climb back up the slide.\n\nThis large cylindrical room is constructed from mottled rubber webbing stretched between plastic ribs. The webbing pulses in and out to the hiss of hidden machinery.\n\nThe way the ribs pulse in and out is fascinating.\n\nYou can try climbing back up or continue sliding down.\n\n> You go upward\nYou carefully climb back up the slide.\n\nThis room contains a square pyramid-shaped ramp that leads to a giant opening shaped like the mouth of a huge, feathered serpent. Inside the opening is a bright red slide going down.\n\nYou can leave to the south.\n\n> Go south\nThe air here is split with sounds of screams and clanks from the nearby attractions. Some of the park-goers pass by quickly to more quiet areas to the west, while others run eagerly into the\nattractions and to the Spooky Sideshow to the east.\n\nSerpent Slide at the top in bright red paint.\n\nwords Midnight Laserfight inscribed on it in silver.\n\nDad is standing around, relaxing and occasionally looking at his map.\n\nYour brother David wanders over from the west.\n\n> Go north\n\"Queen coming through!\" shouts someone in the crowd, and the petting zoo slowly clears out.\n\nThis homey-looking area surrounded by a gleaming chrome fence has several soft animals (and, in one case, squishy) for you to pet or feed. A gleaming chrome food table provides snacks for the animals: a lettuce tray, a crate of mushrooms, and a plate of bratwursts.\n\nA truffle pig is sniffing around the petting zoo. It looks very full.\n\nA placid and professional zookeeper stands watch over the animals.\n\nA racing slug is oozing around here.\n\nA tailypo is stalking back and forth.\n\n> You tell the zookeeper about the monkey\n\"So that's where the monkey went! Naughty little thing. Thanks for letting me know. He's done it before, and he always comes back after a day or two, so don't worry too much about it,\" says the zookeeper. \"At least he'll stop fighting with the tailypo.\"\n\n> You take the limp\nYou grab the limp bratwurst.\n\nThe tailypo smells the bratwurst and scrabbles towards you, knocking the other animals out of the way. It seems the tailypo won't let any other creature get its bratwurst!\n\n> Go south\nThe zookeeper says, \"Be careful! These pets are gentle, but they'll follow you anywhere for that food. Make sure they get back safely!\"\n\nThe crowd is more or less divided here, with younger kids and families headed west to the Melancholy Mall and more adventurous teens\nand adults headed east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\nDavid is contemplating the various attractions and people in the park with wide eyes. He's holding his favorite plush chimera.\n\nThe ceviche chef watches you and the tailypo silently.\n\n> You go east\nThe air here is split with sounds of screams and clanks from the nearby attractions. Some of the park-goers pass by quickly to more quiet areas to the west, while others run eagerly into the\nattractions and to the Spooky Sideshow to the east.\n\nSerpent Slide at the top in bright red paint.\n\nwords Midnight Laserfight inscribed on it in silver.\n\nDad is standing around, relaxing and occasionally looking at his map.\n\nDad is so absorbed in his map he doesn't even notice the tailypo behind you.\n\nYour brother David wanders over from the west.\n\n> Go north\nThis room contains a square pyramid-shaped ramp that leads to a giant opening shaped like the mouth of a huge, feathered serpent. Inside the opening is a bright red slide going down.\n\nYou can leave to the south.\n\nThe tailypo follows you to the north."
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> Go downwards\nYou ride down the slide until it comes to its first stop. The tailypo slides down as well.\n\nThis large cylindrical room is constructed from mottled rubber webbing stretched between plastic ribs. The webbing pulses in and out to the hiss of hidden machinery.\n\nThe way the ribs pulse in and out is fascinating.\n\nYou can try climbing back up or continue sliding down.\n\nThe tailypo follows you downwards."
    },
    {
        "text": "> Go downwards\nYou ride down the slide again to the second stop. The tailypo slides down as well.\n\nYou stand on the shore of a shallow lake lit underneath by some sort of yellow source. Mist is pumped over the water from the edges of the lake. To the north, beyond the lake, is a glowing room. You can\nclimb back up the slide, too\n\nA bridge of bones and body parts (plastic, of course) leads north.\n\nA plastic skeleton lies partially in the lake.\n\nThe tailypo looks at the glowing room with excitement.\n\n> Go north\nYou can leave to the south. This is a large round room made of\norange plastic. In the center is a pedestal.\n\nA mischievous monkey has the sun orb!\n\nThe tailypo follows you to the north.\n\nWhen the tailypo sees the monkey, it hisses loudly and launches itself forward. The monkey shrieks in terror and drops the sun orb.\n\nThe two animals roll around, hissing and shrieking. Finally, the monkey pushes a catch in the floor and a trapdoor springs open.\n\nUnfortunately, the trapdoor is right where you were standing. You, the tailypo, and the sun orb fall into the bowels of the serpent while the monkey screeches in triumph.\n\nThis doesn't feel normal. Everything is dark down here, and no one is around. Strange sounds echo down unseen halls.\n\nThe tailypo scampers away into the hallways, leaving you alone. The sun orb rolls to a stop on the ground.\n\n> You take the orb\nAs you take the sun orb, you feel dizzy. It feels like the whole park is spinning around you. From outside, you can hear harsh voices in the street. For a moment, you think you can hear your brother David calling out, but then everything is quiet.\n\nSomething about Grooverland has changed."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, dragon]\n\n> You look at your surroundings\nThis doesn't feel normal. Everything is dark down here, and no one is around. Strange sounds echo down unseen halls.\n\n> Inventory\nYou are carrying:\na sun orb\na limp bratwurst\na plastic beam\nfive food tokens\na winding key\na safety whistle (being worn)\na flier\n\n> You examine the floor\nThe walls, floors and unseen halls are not something you can see or feel clearly. It's just dark and confusing here.\n\n> You look at the beam\nThis is a long shaft made of plastic. It says \"HYDRAULICS\" on it in large letters.\n\n> Blow whistle\nThe whistle pierces through the darkness like a knife.\n\nYou hear barking in the distance. After a minute or two, Toby arrives and wags his tail at you, then turns and starts walking slowly. You follow Toby until you arrive back at the Welcome Booth.\n\nGrooverland is surrounded by a plastic castle wall pierced by two tall gates to the east, one red and one white. A rather frightening\ncrowd of people in realistic monster costumes flows in and out of them and you can hear screams from inside.\n\nDavid's plush chimera is on the ground. He must have left it here, but why?\n\nIn between the two gates is a Welcome Booth with a kindly-looking gate guard standing inside.\n\nToby waits patiently here for the next time you'll need him.\n\nAs you walk into the street, a group of figures covered in red robes passes by you. One bumps heavily into you. The figure turns and snarls, then walks away, disappearing into the crowd. The unsettling thing is, it almost looked like it had a snout!\n\nIn fact, it looks like a lot more of the crowd in Grooverland is wearing costumes now. Very realistic ones.\n\n> You look at the guard\nThis elderly man has a gleaming bald head and a sharp, witty grin. He sits in his booth and wears a paisley vest and a badge saying \"Ask me anything--Wade.\"\n\n> You ask the wade about Serpent Slide\n\"The Serpent Slide is fun,\" he says, \"even for an old man like me. Has a bumpy ending, though. I wouldn't go in unless you know a way out!\"\n\n> You ask the wade about the ticket\n\"I think you have to give that to the snack attendant,\" says the gate guard.\n\n> You ask the wade about Bar\nHe says, \"Oh, I love the snack bar. I heard they made a huge cake for you, there.\"\n\n> Inventory\nYou are carrying:\na sun orb\na limp bratwurst\na plastic beam\nfive food tokens\na winding key\na safety whistle (being worn)\na flier\n\n> You ask the wade about winding the key\nHe looks closely. \"That looks like something you'd use to wind up an old device. Like a clock, or a music player, or a monkey.\"\n\n> You ask wade about the bratwurst\n(the limp bratwurst)\n\"I'm not really interested in the animals' food,\" says the gate guard.\n\n> You go to the east\nYou are standing in the main thoroughfare for Grooverland. Park-goers wearing monstrous costumes and carrying authentic-looking weapons (including swords and pitchforks) pass all around you, getting uncomfortably close at times.\n\nA sign to the north says \"Sugar Plum Snack Bar\".\n\nA sign to the south is labeled \"Painful Purchases Gift Shop\". Underneath the name is a tagline: \"All Magic Has a Price\".\n\neast to the Prowling Promenade.\n\n> Go east\nThe costumed crowd is more or less divided here, with goblins and elves headed west to the Melancholy Mall and ogres and ghouls\nheaded east to Mechanical Marvels.\n\nA sign to the north proclaims \"Cragne Meatpacking Presents:\nPetting Zoo\". Some graffiti applied to the sign proclaims, \"TOBY KNOWS.\"\n\nA sign to the south says \"The Queen's Menagerie\". You've heard\nthis is where more dangerous animals are displayed.\n\nThere are three food sellers here: a sausage seller, a ceviche chef, and a jelly man, each with their own menu and cart. But something about the food they're selling seems weird.\n\n> Go east\nThe air here is split with sounds of screams and clanks from the nearby attractions. Some of the robed crowd scurries to the\nwest, while others trot east to the Spooky Sideshow.\n\nSerpent Slide at the top in bright red paint.\n\nwords Midnight Laserfight inscribed on it in silver.\n\nDad is standing around, relaxing and occasionally looking at his map.\n\n> Go south\nYou're stopped on the way in. \"Oh, there's our birthday girl!\" says an attendant, beaming at you. \"We have a special treat for you. You're just a little too young to compete in the laserfights, but you get to operate the controls of our Midnight Laserfight set!\"\n\nShe walks you over to a control panel off-stage. She says, \"It's a little complicated, but basically, you control the set with this. The players are in exploration phase right now. Turn the knob or pull the lever to help them find new rooms, use the crane to take and drop weapons and armor for the players, then push the duel button to start the actual fight.\"\n\nShe looks closer at the control panel. \"Dang it, Brad! I told him not to mess with the panel. It looks like the lever is missing again. He likes to hide it around the park. I'm going to go tell my manager. Have fun here, though!\" she says, and she walks away.\n\nYou are on a soundstage filled with plastic mannequins in dance positions. A plastic chandelier hangs from above. The back of the stage is painted with a grand staircase.\n\nIt takes you a while to figure it out, but it looks like there are two teams: the vicomtes, wielding some red laserpistols and are wearing some red motley, and the countesses, wielding some white laserpistols and are wearing some white motley.\n\nOver everything are cranes you can use to TAKE things from or GIVE things to the people below. The wall has a knob labelled \"DIRECTION\" that can be turned clockwise (cw) or counterclockwise (cc) and a button labelled \"DUEL\" that can be pushed. There is a hole that looks like it could fit a lever if you had one. It's labelled \"HYDRAULICS\".\n\nA monitor describes the rooms adjacent to this one: Grand Staircase (available by PUSHing the hydraulics lever), Well (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nYou can leave to the north.\n\n> You put the beam in the hole\nYou slide the hydraulics lever into the hole. It fits perfectly! Now everything should work just fine.\n\n> You look at the red\nWhich do you mean, the 1) red motley or the 2) red laserpistols?\n\n> Motley\nThis outfit is filled with bells, and makes people act silly.\n\nYou can TAKE and GIVE them (the cranes will move them automatically).\n\n> You examine the vicomtes\nThis group of people are so wild and diverse they are impossible to describe. Your sister Alice might say they have a look that \"inspires passion\", but that's just Alice. They are carrying some red laserpistols and wearing some red motley.\n\n> You examine the countesses\nThese masked and dangerous women wear outrageous gowns. They are carrying some white laserpistols and wearing some white motley.\n\n> You look at the chandelier\nIt looks pretty fancy for something fake.\n\n> You look\nYou are on a soundstage filled with plastic mannequins in dance positions. A plastic chandelier hangs from above. The back of the stage is painted with a grand staircase.\n\nIt takes you a while to figure it out, but it looks like there are two teams: the vicomtes, wielding some red laserpistols and are wearing some red motley, and the countesses, wielding some white laserpistols and are wearing some white motley.\n\nOver everything are cranes you can use to TAKE things from or GIVE things to the people below. The wall has a lever labelled \"HYDRAULICS\" that can be pushed or pulled, a knob labelled \"DIRECTION\" that can be turned clockwise (cw) or counterclockwise (cc), and a button labelled \"DUEL\" that can be pushed.\n\nA monitor describes the rooms adjacent to this one: Grand Staircase (available by PUSHing the hydraulics lever), Well (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nYou can leave to the north.\n\n> You examine the cranes\nThese let you manipulate the weapons and other laserfight equipment.\n\n> You take the cutlasses\nA crane comes down and takes all of the laser cutlasses.\n\n> You turn the knob cc\nThe knob spins and the whole room rotates counterclockwise, revealing a new room!\n\nBlack crepe streamers hang from the ceiling and walls, and black shag carpeting covers the floor. Scarlet radiance slants through scarlet cellophane. An ebony box painted as a grandfather clock is set at one quarter to twelve.\n\nYou can see some inflatable kielbasas here.\n\nA monitor describes the rooms adjacent to this one: Cloak Room (available by PUSHing the hydraulics lever), Banquet Hall (available by PULLing the hydraulics lever), Grand Staircase (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> Examine box\nEh. Could be better. It doesn't look much like a clock.\n\n> You look at the kielbases\nThese are completely ineffective as weapons, but fun nevertheless.\n\nYou can TAKE and GIVE them (the cranes will move them automatically).\n\n> You give the kielbases\nYou'll have to pick who gets these. You can GIVE the inflatable kielbasas TO the Vicomtes or the Countesses.\n\n> You give the kielbases to Countesses\n(first taking the inflatable kielbasas)\nA crane comes down and takes all of the inflatable kielbasas.\n\nThe cranes come down, dropping the inflatable kielbasas. The countesses leap around excitedly and grab them, ready to fight, dropping their white laserpistols, which you grab.\n\n> You unlock the clock with the key\nThis isn't that kind of key. This is used for winding.\n\n> Wind clock\nYou'd never be able to reach that, and it's made of paper.\n\n> You look at the wings\nThese pink canvas wings allow the players to get a lot more height.\n\nYou can TAKE and GIVE them (the cranes will move them automatically).\n\n> You give wings to Vicomtes\n(first taking the pig wings)\nA crane comes down and takes all of the pig wings.\n\nThe cranes come down, dropping the pig wings. The vicomtes leap around excitedly and put on the new outfits after removing their red motley, which you grab."
    },
    {
        "text": "[Themes: Fantasy, dragon, female protagonist]\n\n> Look around\nOrnamental oversized overcoats hang from the ceiling, providing a maze for players to run through here.\n\nIt takes you a while to figure it out, but it looks like there are two teams: the vicomtes, wielding some red laserpistols and are wearing some pig wings, and the countesses, wielding some inflatable kielbasas and are wearing some white motley.\n\nA monitor describes the rooms adjacent to this one: Black Salon (available by PULLing the hydraulics lever) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\n> You look at overcoats\nIt reminds you of a book you read in school last year.\n\n> You pull lever\nThe lever clanks back to neutral and the room shifts upward on a massive piston, raising a new room up from down below.\n\nBlack crepe streamers hang from the ceiling and walls, and black shag carpeting covers the floor. Scarlet radiance slants through scarlet cellophane. An ebony box painted as a grandfather clock is set at one quarter to twelve.\n\nA monitor describes the rooms adjacent to this one: Cloak Room (available by PUSHing the hydraulics lever), Banquet Hall (available by PULLing the hydraulics lever), Grand Staircase (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You turn the knob cw\nThe knob spins and the whole room rotates clockwise, revealing a new room!\n\nThe soundstage is dominated by a monumental staircase covered in red carpet.\n\nA monitor describes the rooms adjacent to this one: Ballroom (available by PULLing the hydraulics lever), Black Salon (available by TURNing the knob COUNTERCLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You pull the lever\nThe lever clanks back to neutral and the room shifts upward on a massive piston, raising a new room up from down below.\n\nYou are on a soundstage filled with plastic mannequins in dance positions. A plastic chandelier hangs from above. The back of the stage is painted with a grand staircase.\n\nA monitor describes the rooms adjacent to this one: Grand Staircase (available by PUSHing the hydraulics lever), Well (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You turn the knob cw\nThe knob spins and the whole room rotates clockwise, revealing a new room!\n\nA paper moon hangs down here, and a cardboard well sits in the middle of this space.\n\nA monitor describes the rooms adjacent to this one: Ballroom (available by TURNing the knob COUNTERCLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You examine the moon\nThis moon has drawings of skeletons and cheese on it. It seems a little loose.\n\n> You take moon\nYou can't touch the paper moon. That is too far away!\n\n> You examine well\nThis is very primitive looking.\n\n> You check what you're carrying\nYou are carrying:\na sun orb\na limp bratwurst\nfive food tokens\na winding key\na safety whistle (being worn)\na flier\n\nsome white laserpistols\nsome laser cutlasses\n\nA man with badge saying \"Spike M, Park Inspector\" wanders by. \"I haven't played this one yet!\" he says. \"Need to make sure I try it out.\" Then he walks on.\n\n> You turn the knob cc\nThe knob spins and the whole room rotates counterclockwise, revealing a new room!\n\nYou are on a soundstage filled with plastic mannequins in dance positions. A plastic chandelier hangs from above. The back of the stage is painted with a grand staircase.\n\nA monitor describes the rooms adjacent to this one: Grand Staircase (available by PUSHing the hydraulics lever), Well (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> Blow moon\nYou hear barking in the distance. After a minute or two, Toby arrives and wags his tail at you, then turns and starts walking slowly. You follow Toby until you arrive back at the Welcome Booth.\n\nGrooverland is surrounded by a plastic castle wall pierced by two tall gates to the east, one red and one white. A rather frightening\ncrowd of people in realistic monster costumes flows in and out of them and you can hear screams from inside.\n\nDavid's plush chimera is on the ground. He must have left it here, but why?\n\nIn between the two gates is a Welcome Booth with a kindly-looking gate guard standing inside.\n\nToby waits patiently here for the next time you'll need him.\n\n> You turn knob cc\nThe knob spins and the whole room rotates counterclockwise, revealing a new room!\n\nBlack crepe streamers hang from the ceiling and walls, and black shag carpeting covers the floor. Scarlet radiance slants through scarlet cellophane. An ebony box painted as a grandfather clock is set at one quarter to twelve.\n\nA monitor describes the rooms adjacent to this one: Cloak Room (available by PUSHing the hydraulics lever), Banquet Hall (available by PULLing the hydraulics lever), Grand Staircase (available by TURNing the knob CLOCKWISE) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You pull lever\nThe lever clanks back to neutral and the room shifts upward on a massive piston, raising a new room up from down below.\n\nThis set is more dynamic than the others. A large table is suspended at an angle in mid-air while a dozen stuffed cherubs pile on the other end. Plastic food is hanging in the air on strings.\n\nThe floor of this set looks weakened, with cracks stretching all the way over by you at the controls.\n\nA pink ticket lies near you.\n\nA monitor describes the rooms adjacent to this one: Black Salon (available by PUSHing the hydraulics lever) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\nA pink ticket flutters out of the machinery and lands by you.\n\nThe Vicomtes and Countesses pour out of various openings onto the new set.\n\n> You take ticket\nYou grab the pink ticket.\n\n> You look at the cherubs\nThey're so chubby!\n\n> You examine the FOOD\n(the food token)\nThis token is good for one item from the Prowling Promenade food carts.\n\n> You look\nThis set is more dynamic than the others. A large table is suspended at an angle in mid-air while a dozen stuffed cherubs pile on the other end. Plastic food is hanging in the air on strings.\n\nThe floor of this set looks weakened, with cracks stretching all the way over by you at the controls.\n\nIt takes you a while to figure it out, but it looks like there are two teams: the vicomtes, wielding some red laserpistols and are wearing some pig wings, and the countesses, wielding some inflatable kielbasas and are wearing some white motley.\n\nA monitor describes the rooms adjacent to this one: Black Salon (available by PUSHing the hydraulics lever) and Dueling Garden (available by pushing the DUEL button).\n\nThe lever, knob, and button are still next to you. You can leave to the north.\n\n> You examine the plastic FOOD\nThis looks like it would taste pretty good!\n\n> You give plastic Vicomtesvicomtes\nYou can't touch the plastic food on strings. That is too far away!\n\n> You examine the floor\nThe floor of this set is much flimsier than the others. You can see cracks extending all the way to you by the controls.\n\n> Examine box\nThe ring that was here fell beneath the stage.\n\n> Break floor\nYour karate instructor made you promise to try to find a peaceful solution before attempting violence.\n\n> You jump on the floor\nWait, what was that? I only got the part about wanting to jump.\n\n> You jump\nYou promised your basketball coach that you wouldn't jump while you're off the court. Don't want to get injured.\n\n> Go north\nYou exit the Laserfight arena.\n\nThe air here is split with sounds of screams and clanks from the nearby attractions. Some of the robed crowd scurries to the\nwest, while others trot east to the Spooky Sideshow.\n\nSerpent Slide at the top in bright red paint.\n\nwords Midnight Laserfight inscribed on it in silver.\n\nDad is standing around, relaxing and occasionally looking at his map.\n\n> You go east\nThis part of the park is darker than the rest, lit only by glowing red lanterns. Tall trees shade the street from the sun above. A shadowy crowd seems to linger here, but for some reason they're hard to look at for too long. You can go west to Mechanical Marvels or\neast to the Bitter End.\n\nA sign to the north declares \"This way to the Creaky House\".\n\nThe sign to the south is held by a scarecrow, and says \"The\nLeft/Right Corn Maze\".\n\nYour sister Alice is here, playing the park's AR game on her phone.\n\n> You examine Alice\nYour older sister Alice is excited about discovering park lore on her phone. She's wearing the silver bracelet she got from Nana.\n\n> You talk to Alice\n\"Hey,\" says Alice, \"this is cool, isn't it? You can ask me about any location and I'll tell you what Groover game it was inspired by!\"\n\n> You ask alice about the stomach\n\"Wow,\" says Alice, \"apparently the Serpent Slide was inspired by Groover's game \"Down the Serpent and the Sun!\"\n\n> You ask Alice about the lupine lair\nAlice says, \"Okay, it looks like the menagerie was based on \"The Queen's Menagerie\" by Groover.\"\n\n> You ask alice about the dollhouse\n\"This app only deals with locations, but I'll try to see if I can look up where that's at,\" she says. \"Give me a second.\" She checks her phone for a second.\n\n\"The book of poems contains the first lines of What Fuwa Bunsaku Found, and the tiny dollhouse is a reference to the game 'little',\" says Alice.\n\n> You ask Alice about scarlet Empress\n\"This app only deals with locations, but I'll try to see if I can look up where that's at,\" she says. \"Give me a second.\" She checks her phone for a second.\n\n\"There's not much in that location itself which is a reference to Groover, unfortunately. But the rides off of it are!\" says Alice.\n\n> You look at the bracelet\nNana, your great grandmother, left this to Alice when she died. Alice has worn it ever since.\n\n> You look at the scarecrow\nThis scarecrow fills you with happiness.\n\n> You ask alice about Maze\nAlice says, \"The corn maze is a reference to the game Left/Right.\"\n\n> You ask alice about creaky House\n\"All parts of the creaky house are references to the tiny game Creak, Creak\" says Alice. \"Parts of it also reference the exceptional story Cricket, Anyone?\"\n\n> You go to the north\nA cold wind blows around this dilapitated, creaky house to the\nnorth. It creaks and moans.\n\nThe Spooky Sideshow, the crowd, and warmth are back to the\nsouth.\n\nA creaky singer with bony, unusually long limbs sits cross-legged here.\n\n> Examine singer\nA strange man with yellow eyes whose whole body seems to creak as he moves.\n\n> You talk to the singer\nHe smiles as you approach, and you smell sulfur.\n\n\"Have you come to the creaky house, then? Welcome. You'll find that here, in my little creaky house, your movements are more than mere steps: they are words in a language written by the feet: a \"creak\" here, a \"rattle\" there.\n\n\"This is the language spoken by the cool wind. If your feet can make a song like mine, the wind will reward you, and something good will happen. Or bad, depending on who you ask. But enough of that. I'll sing the song now,\" he adds.\n\nThe creaky singer begins performing. He starts his song from the very beginning. \"Creak, creak, goes the beast,\" he sings, moving himself in curious patterns.\n\n> Wait\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. \"Rattle, rattle, soon he'll feast,\" he sings, moving himself in curious patterns.\n\n> You wait\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. \"Shake, shake, time to sob,\" he sings, moving himself in curious patterns.\n\n> Wait\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. \"Turn, turn goes the knob,\" he sings, moving himself in curious patterns.\n\n> Wait\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. \"It's just the wind, mother always says,\" he sings, moving himself in curious patterns.\n\n> Wait\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. \"Why fear the wind,\" he sings, moving himself in curious patterns.\n\n> You wait a while\nYour majesty deigns to linger for a moment.\n\nThe creaky singer continues performing. He starts his song from the very beginning. \"Creak, creak, goes the beast,\" he sings, moving himself in curious patterns.\n\n> You go north\n(first opening the creaky front door)\n\nYou stand in front of a creaky front door to the south. To the\nwest is a creaky dining room, and to the east is a\ncreaky parlor. A creaky game room is to the north. It's cold in\nhere.\n\nThe wind blows the front door shut.\n\nYou can hear something howling outside. It might be the wind.\n\n> You go west\nIt's so cold in here. A dim chandelier squeaks back and forth from the drafts. You have no desire to remain. To the north is a creaky kitchen. The creaky hallway is back to the east, and you can go\nup to the creaky tower.\n\nYou can hear the front door creak back and forth. Wasn't it\nclosed?\n\nAt the sound of that creak, you feel the unseen thing behind\nyou grow stronger.\n\n> Go upward\nThese tall and narrow walls seem constructed quite shakily. You can go down to the creaky dining room, north to the Creaky\nLoft, or east to the creaky passageway.\n\nSomething has set the chandelier in the dining room below you rattling. It makes the shadows dance.\n\nThe sounds made by your feet are jangling, empty words. The power in the house subsides.\n\n> You go north\nYou can return to the creaky dining room to the south, go\nup to the creaky loft, or move through the kitchen door to the\neast. This is the darkest part of the house.\n\nA creaky refrigerator is the only appliance in the kitchen.\n\nSomething has set the chandelier in the dining room behind you rattling. It makes the shadows dance.\n\nThe sounds made by your feet are jangling, empty words. The power in the house subsides."
    },
    {
        "text": "[Themes: Humor, Wordplay, intelligent pig, riddle, silly, profanity, wordplay]\n\n> You open the door\nWhich do you mean, the difficult difficult difficult door or the southern door?\n\n[Author's Note: With the cantankerous Wizard of Wordplay evicted from his mansion, the worthless plot can now be redeveloped. The city regulations declare, however, that the rip-down job can't proceed until all the items within had been removed. As an adventurer hired by the demolitions contractor to kleptomaniacially clear out this mansion, you must engage in wordplay in order to gather all the items inside. It is not necessary to think of puns, cliches, or homonyms, however, as has been the case with previous logological interactive fiction. The puzzles in Ad Verbum are of a different -- and perhaps even unique -- nature.]"
    },
    {
        "text": "[Themes: Wordplay, Humor, intelligent pig, wordplay, profanity]\n\n> You look at the dumpster\nIt's made of steel, and almost entirely open on one end for easy deposition of debris. Scrawled across it is the phrase \"ATROPHY CASE.\" Perhaps the contractor left out a space when labelling it.\n\n> About yourself\nYou're the adventurer, in this scenario.\n\n> You go south\nThe southern door leads out of the house. It is immediately recognizable as one of those doors through which one can pass only upon completing the game.\n\n> You open the south door\nI only caught that first part. Try truncating that command or using a different object.\n\n> Difficult difficult difficult\nYour difficult labor pays off. You open the difficult difficult difficult door.\n\n[+2.]\n\n> You examine the difficult difficult difficult door\nThis difficult difficult difficult door looks like the kind that is always getting stuck stuck stuck. It now stands open.\n\n> Go north\nHere's a sort of small, enclosed backyard, closed in with a high wooden fence and completely covered with asphalt.\n\nA door to the s, leading inside, is open.\n\nA little boy stands here smugly. 'Georgie' is embroidered on his knit shirt.\n\nThere's one of those robotic puppies - the latest fad - here.\n\nYour object-sensitive eyes also notice: ... toy dinosaur.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You take the dinosaur\n[ ... ]\n\n> You look at the dinosaur\nThe toy dinosaur looks like a triceratops. It is made of injection-molded plastic, and colored the same pale, milky green all over.\n\nThe puppy quips: \"Your momma was playing Zork on my computer, and she's so ugly, she broke the Mirror Room!\"\n\n> Jump shark\nI only caught that first part. Try truncating that command or using a different object.\n\n> You examine boy\nThe boy looks about the size for second grade, but his serious, bespectacled gaze suggests that he may be slightly older.\n\nThe puppy quips: \"Your momma's face looks like an 'at' sign.\"\n\n> Hello\nGeorgie waves at you tentatively.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You take the boy\nYou move in to hoist Georgie away from the prize, but he eludes your grasp. He manages to stay near the toy dinosaur, too.\n\nThe puppy quips: \"You got an elvish momma of great antiquity.\"\n\n> You take the puppy\nThe robotic puppy is endowed with locomotive abilities that are as quick and random as its prepackaged wit. It scuttles away from you quickly.\n\nThe puppy quips: \"Your momma's so stupid, she tried to give hypertext Ritalin.\"\n\n> You ask Georgie about dinosaur\n\"Miiiiiiiiine!\" Georgie screeches, whisking the toy dinosaur away and setting it down elsewhere on the asphalt. \"You can't have that. Not unless you know more dinosaur names than me, and nobody knows more dinosaur names than me. So there!\"\n\nThe puppy quips: \"Your momma's so stupid, when you were born she thought the umbilical cord meant that you were a peripheral.\"\n\n> You say the triceratops\nWhom do you want to say that to?\n\n> You say the triceratops to Georgie\nGeorgie reddens. He clenches his fists, twists back and forth while straining forward on his toes, and emits a trumpeting whine. \"I was gonna say that one next!\" he says. His concentration seems unbroken, despite this outburst.\n\n\"Oh yeah? Tyrannosaurus!\" Georgie says, with pride.\n\nThe puppy quips: \"Your momma's so ugly, the computer took one look at her and said 'Illegal operation.'\"\n\n> You say the stegasaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Psittacosaurus!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the raptor to Georgie\nGeorgie reddens. He clenches his fists, twists back and forth while straining forward on his toes, and emits a trumpeting whine. \"I was gonna say that one next!\" he says. His concentration seems unbroken, despite this outburst.\n\n\"Oh yeah? Stegosaurus!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the onatops to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma's extra-wide, and SCSI.\"\n\n> You say the pteradon to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma's so stupid, she thinks she can make a floppy disk into a hard disk by pulling on it.\"\n\n> You say the brontosaurus to Georgie\nGeorgie reddens. He clenches his fists, twists back and forth while straining forward on his toes, and emits a trumpeting whine. \"I was gonna say that one next!\" he says. His concentration seems unbroken, despite this outburst.\n\n\"Oh yeah? Theropod!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the apatasaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Hadrosaur!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the hydropsaur to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Supersaurus!\" Georgie says, with pride.\n\nThe puppy quips: \"Your momma's so fat she'd barely fit on five CD-ROMs.\"\n\n> You say the godzilla to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma's so poor, she's got a C-64.\"\n\n> You say the azerty to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma goes down more often than Windows 98.\"\n\n> You say the puppy to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma's so stupid, when she got hungry she asked people to forward spam to her.\"\n\n> You kick Georgie\nGeorgie is deft at eluding playground bullies, and dodges your attack. \"You don't know-ow dinosaur names,\" Georgie sings. \"You're just a stupid me-e-nie!\" He manages to remain quite near the toy dinosaur, though.\n\n> You say dino to Georgie\nThe puppy quips: \"Your momma's so stupid, she thought USENET was previously owned.\"\n\n\"Miiiiiiiiine!\" Georgie screeches, whisking the toy dinosaur away and setting it down elsewhere on the asphalt. \"You can't have that. Not unless you know more dinosaur names than me, and nobody knows more dinosaur names than me. So there!\"\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the abcsaur to Georgie\n\"Is that supposed to be a dinosaur name?\" Georgie says. \"Nuh-uh!\"\n\nThe puppy quips: \"Your momma's so stupid, when tech support told her to reboot she started putting her shoes back on.\"\n\n> You say the abcsaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Prosauropod!\" Georgie says, with pride.\n\nThe puppy quips: \"Your momma's so fat, they're trying to break her up like Microsoft.\"\n\n> You say the xyzsaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Apatoosaur!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You say the yomommasaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n> You say stegosaurus to Georgie\n\"Oh yeah? Pterosaurus!\" Georgie says, with pride.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> Xyzzy\nGeorgie lets out a high-pitched laugh. \"That one's already been sa-aid!\" he sings, taunting you. \"You don't know any mo-ore dinosaur names!\"\n\nThe puppy quips: \"Your momma's so butch, she shops at Amazon.\"\n\nA distracted figure with a huge bushy beard blunders in just as you speak the word of ancient magic. The man wears loose clothing, and an expression of intense concentration. He is clutching his frizzy hair with one hand; his other hand grips an intricate grid - the object of his attention.\n\nHis eyes brighten as the word you've spoken reaches his ears. \"Yes! Yes! That's it!\" he exclaims as he draws out a pen and fills in a row of squares. \"Now my hyperconstrained, double-acrostic, cryptic crossword is complete, and ready to puzzle others. That was all I needed - just a simple five-letter word, composed only of the letters 'X' 'Y' and 'Z,' that would fit here!\"\n\nHe grips your hand and shakes it fervently. \"Thank you! Now that I've finished with that, I can get on to those other things I've been meaning to do, such as monkey-wrenching the demolition and saving recreational linguistics for future generations.\" He turns away and mutters, just before he departs, \"I hope none of that will involve lying in front of a bulldozer...\"\n\nThe puppy lets out a derisive little puppy laugh.\n\n[+1.]\n\n> You say the thing1saurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\n\"Oh yeah? Mosasaurus!\" Georgie says, with pride.\n\nThe puppy quips: \"Your momma's faster than 1GHz.\"\n\n> You say the thing2saurus to Georgie\nGeorgie looks puzzled - for a moment. \"Hey, you just said something like that,\" he says. \"That doesn't count.\"\n\nThe puppy quips: \"I checked out www.uglydog.com the other day - and guess who I saw?\"\n\n> You say applesaurus to Georgie\nGeorgie looks puzzled, as if he hasn't heard that dinosaur name before. He sputters for a moment, perhaps confused by the novel name, apparently finding it difficult to think.\n\nGeorgie sniffs. His eyes become large, resembling the eyes of an affrighted waif-child in a Margaret Keene painting. A big shiny tear gleams beneath his glasses, dripping from his right eye. Then the boy's face reddens as a bead of snot begins to droop from his left nostril. \"That's ... I don't ... that's all the dinosaur names I know. Uh, well ... Waaaaaaaaah!\"\n\nHe gives the toy dinosaur a little kick, tipping it over. \"Well, it's just a stupid toy. You can have it, anyway. So what!\" Georgie runs through the difficult difficult difficult door, then runs across the foyer and out the front door of the house, disappearing.\n\nThe puppy quips: \"Your momma's so ugly, she broke the QuickCam.\"\n\n> You take the dinosaur\nTaken.\n\nThe puppy quips: \"I saw your momma selling herself on eBay yesterday.\"\n\n[+10.]\n\n> You kick the puppy\nThe robotic puppy is endowed with locomotive abilities that are as quick and random as its prepackaged wit. It scuttles away from you quickly.\n\nThe puppy lets out a derisive little puppy laugh.\n\n> You take the puppy\nThe robotic puppy is endowed with locomotive abilities that are as quick and random as its prepackaged wit. It scuttles away from you quickly.\n\nThe puppy quips: \"Your momma provides service on every port.\"\n\n> You say your momma to the puppy\nThe puppy doesn't seem to notice you speaking to it. Perhaps this cut-rate model doesn't accept voice commands or queries.\n\nThe puppy quips: \"Your momma's so ugly I need a screen saver to look at her.\"\n\n> You throw the dinosaur at puppy\nYou lack the nerve when it comes to the crucial moment.\n\nThe puppy quips: \"Your momma's so stupid, when I told her I was backing up my computer she said I should eat more fiber.\"\n\n> You look at what you're carrying with you\nYou are carrying:\n... toy dinosaur\n\nThe puppy quips: \"Your momma's plug-and-play.\"\n\n> You turn the puppy off\nThat's not something you can switch.\n\nThe puppy quips: \"The Wizard of Frobozz took one look at your momma and said, 'Fugly!'\"\n\n> You cry\nWaaaah!\n\nThe puppy lets out a derisive little puppy laugh."
    },
    {
        "text": "[Themes: Wordplay, Humor, wordplay, riddle, silly]\n\n> Look around\nHere's a sort of small, enclosed backyard, closed in with a high wooden fence and completely covered with asphalt.\n\nA door to the s, leading inside, is open.\n\nThere's one of those robotic puppies - the latest fad - here.\n\nThe puppy lets out a derisive little puppy laugh."
    },
    {
        "text": "> You look around\nHere's a sort of small, enclosed backyard, closed in with a high wooden fence and completely covered with asphalt.\n\nA door to the s, leading inside, is open.\n\nThere's one of those robotic puppies - the latest fad - here.\n\nThe puppy quips: \"I hear everybody's got random access to your momma.\"\n\n> Go south\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\n> You look at Dumpster\nIt's made of steel, and almost entirely open on one end for easy deposition of debris. Scrawled across it is the phrase \"ATROPHY CASE.\" Perhaps the contractor left out a space when labelling it.\n\n> You search Dumpster\nThe Dumpster is empty.\n\n> Go west\nThat area used to a be a separate room, but it's all part of the foyer now. There's no part of the house further to the west.\n\n> You get it\nTaken.\n\n> You look\nThis huge, bare living room occupies about half the mansion's ground floor.\n\n> Go north\nYou can't go that way.\n\nA bearded figure wanders in, oblivious to you and, it seems, somewhat uncertain of where he is going. His loose clothing billows as he steps about.\n\n\"Walk east...\" he mutters. He stops short after a few steps. \"Walk not east!\" he exclaims, and starts going in the opposite direction. He stops again, wanders around a bit, and finally leaves. By the time you've recovered from the shock, you realize that he has completely disappeared.\n\n> Go west\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\n> You go south\nThe southern door leads out of the house. It is immediately recognizable as one of those doors through which one can pass only upon completing the game.\n\n> Up\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the north, while toward the other three exits on this floor '2' is scrawled. The stairway that runs down to the foyer turns and continues up, to the next floor. The constrained passages to the north, east, west, and south look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'\n\n> You drop the verbosifier\nDropped.\n\n> Go north\nA pillow-like force keeps you from moving that way. A sonorous voice booms out, in attempted hollowness, \"You may be very, very frustrated if you walk in there without reading the WARNING. Sure, maybe you read the WARNING three years ago in some other game session and you remember it perfectly, but how do I know that? I'm not supposed to let you in unless I know you've read it. It's like airline flight attendants have to keep showing you how to use the seatbelt even if you've been on a plane for a third of your life.\"\n\nThere is a hollow sigh.\n\n\"So just go on and read the WARNING, by typing WARNING. And then I'll let you in.\"\n\n> Go north\n\"LISTEN WELL!\" a sonorous voice booms out, in attempted hollowness. \"Know ye that passage back through here is difficult for some, impossible for others! Should you wish to transport yourself - without your cherished possessions - out of these constrained confines, have your controlling consciouness type the magic command: NEW!\"\n\nNice, nondescript nursery, noticeably neat. Normally, nurslings nestle noisily. Now, none. No needful, naive newborns.\n\nNearby: ... nifty nappy.\n\n> Nap\n[ ... ]\n\n> Nick nappy\nNabbed.\n\n[+3.]\n\n> You notice the nappy\nNifty, new, niveous nappy. Notably, nylon.\n\n> Go north\nNorthward? No, necessarily not. Not north. No noticeable notch, no navigable nook.\n\n> You go east\nYou'll never get through that constrained passage carrying that nifty nappy."
    },
    {
        "text": "> Go downward\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\n> You put the nappy in Dumpster\nYou put the nifty nappy into the Dumpster.\n\n> Go east\n\"LISTEN WELL!\" a sonorous voice booms out, in attempted hollowness. \"Know ye that passage back through here is difficult for some, impossible for others! Should you wish to transport yourself - without your cherished possessions - out of these constrained confines, have your controlling consciouness type the magic command: EMBARK!\"\n\nEating enclave. Entire environment ebon. Each edge embossed elegantly, every entity essentially effaced. Effect: eerie.\n\nEmpty, except: ... evil effigy... earthen ewer.\n\n> You examine the effigy\nEnemy effigy. Extreme enormity evident. Execrable evildoer!\n\n> Excise effigy\nEh? Edict enciphered, evidently ...\n\n> You extract the effigy\nExpropriated.\n\n> Extract ewer\nExpropriated.\n\n[+4.]\n\n> You examine the Ewer\nEstimable ewer, even, edgeless. Ewer's empty.\n\n> You put everything in Dumpster\nearthen ewer: Done.\nevil effigy: Done.\n\n> You go to the west\n\"LISTEN WELL!\" a sonorous voice booms out, in attempted hollowness. \"Know ye that passage back through here is difficult for some, impossible for others! Should you wish to transport yourself - without your cherished possessions - out of these constrained confines, have your controlling consciouness type the magic command: WIND!\"\n\nWee warehouse warily warded wearable wares - when wares were within. Wan, whitewashed walls wait without woolens. Wooden, weathered wainscoting wobbles weakly.\n\nWithin: ... wooden weapon.\n\n> You whisk weapon\nWhat? Wild, whirling words ...\n\n> Wield weapon\nWon.\n\n[+5.]\n\n> Walk\nWhich way?\n\n> You put the weapon in Dumpster\nYou put the wooden weapon into the Dumpster.\n\n> Go west\nWee warehouse warily warded wearable wares - when wares were within. Wan, whitewashed walls wait without woolens. Wooden, weathered wainscoting wobbles weakly.\n\n> You watch the wainscoting\nWobbly wooden wainscoting, weathered with weary weeks.\n\n> Wallop wainscotting\nWhack! Wall wiggles.\n\n> You win wainscoting\nWhile wobbly, wainscot's wed with wall.\n\n> Wall wainscoting\nWhat? Wanton words were worked with welcome words.\n\n> Wham wall\n(wainscot)\nWhack! Wall wiggles.\n\n> Walk\nWhich way?\n\n> Wallop wainscotting with weapon\nWhack! Wall wavers. Wall wobbles wildly. Wall warps. Wall was withholding ... weird widget!\n\n> Wield widget\nWon.\n\n[+9.]\n\n> You look in Dumpster\nIn the Dumpster are ... evil effigy, ... earthen ewer, ... nifty nappy and ... toy dinosaur.\n\n> You put all in Dumpster\nweird widget: Done.\nwooden weapon: Done.\n\n> Steal stapler\nSeized.\n\n[+2.]\n\n> You snatch the stapler\nSeizing superfluous.\n\n> You seize the sofa\nSorry? Semantics shrouded ...\n\nSizable sofa sits solidly, stubborn.\n\n> You search the sofa\nSearching sofa seams ... some sou stuck? Sadly, sofa surface's slick.\n\n> Spy sou\nSorry? Semantics shrouded ...\n\n> Staple sofa\nStapler's sans staples. Stapling's senseless.\n\n> You see the sofa\nSizable sofa's stuffed - softly satiated.\n\n> You see sou\nSome sight seems suppressed.\n\n> Slice sofa\nSnicker-snack! Slicing, slashing ... something sharp should serve superiorly.\n\n> You sit sofa\nSorry? Some superfluous sayings succeeded solid start.\n\n> You see the Stapler\nStrong stainless steel surface seems smoothly solid. \"Swingline,\" stapler says. Serviceable, slick, sure. Sadly, stapler seems sans staples.\n\n> You sit\nSit? Sure. Sofa seems suitable. Sitting ... seated.\n\n> Slide sofa\nShoving sofa, seated, seems some severe struggle. Shoving stymied.\n\n> You stand\n... sweet, simple sofa sojourn. So ... standing.\n\n> Slide sofa\nShoving ... shoving ... sofa slides ... sofa shifts ... sofa successfully shoved! Salon seems sans sofa.\n\n[+3.]\n\n> Shove sofa\nSome sight seems suppressed.\n\n> Sleep\nSun shines still! Sweet sunlit sphere, sincere situational striving, solemn story session. Shirk sleep! Stir! Straighten salon! Sort seedy structure! Succeed!\n\n> See\nSimple social space, sadly spoiled. Some skewed situation's sequel, surely. Seemingly, slovenly students sojourned -- scraping, scratching, scuffing surfaces.\n\n> Sigh\nSorry? Semantics shrouded ...\n\n> DDD\nEnter saved game to store: Save seemed successful.\n\n> Slide\n(subject selection subsumed)\nShifting ... slid. So?\n\n> Saunter\nSure. Simply say such, specifically.\n\n> Saunter south\nSorry. Structural surroundings stop southern striding.\n\n> Go southwest\nSouthwest, salon's stone shell sits solidly.\n\n> You put all in Dumpster\nstainless steel stapler: Done.\n\n> You look at weapon\nWeighty. Whittled walnut. Warrior's worthy weapon.\n\n> You cut the sofa with the weapon\nI only caught that first part. Try truncating that command or using a different object.\n\n> Slice sofa\nCutting that up would achieve little.\n\n> You look at the sofa\nSizable sofa's stuffed - softly satiated.\n\n> You search the sofa\nSearching sofa seams ... some sou stuck? Sadly, sofa surface's slick.\n\n> You sit\nYou sit down on the sofa.\n\n> You get the verbosifier\nTaken.\n\n> Up\nYou'll have to get off the sizable sofa first.\n\n> Up\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the north and east) are normal passages, but one, to the south, is oddly constrained. It has an ominous sign above it. The main stairway leads down, while another staircase, straight and narrow, allows passage up to the next floor.\n\n> You examine the sign\nThis ominous sign is tortured into the shape of an 'S.' It further warns: \"Abandon all fifth orthographic glyphs, you who walk within!\"\n\n> Go north\nEven the light fixture has been removed from this squarish bedroom, which is in much better repair than most of the rest of the house. It seems to have been freshly painted, in puce. The exit is south.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> You look at the pig\nThe pig seems extremely well-behaved, even a bit stately. He is wearing a distinctive toga.\n\n> You take the pig\nThe pig saunters to the side to avoid your indelicate approach.\n\n> Drat\nQuite.\n\n> You ask the pig about the toga\nThere is no reply.\n\nA distracted, bearded figure, garbed in loose clothing, blunders in. He is looking at a newspaper article about President Clinton, muttering, \"Man of Hope, sole hope of man.\"\n\nHe blunders out, using motions that seem to be exactly the reverse of the ones he made when entering. By the time you've recovered from the shock, you realize that he has completely disappeared.\n\n> You examine the toga\nNice toga. At first glance, you might guess the pig was headed to a fraternity party. But this is a senatorial toga, with a purple stripe. Was it Nero or Caligula who appointed a pig to a high Roman office? At any rate, the idea of a pig senator certainly gives a new meaning to the phrase \"pork-barreling.\"\n\n> You show the weapon to the pig\nThe pig is unimpressed.\n\n> Leave\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the n and e) are normal passages, but one, to the s, is oddly constrained. It has an ominous sign above it. The main stairway leads d, while another staircase, straight and narrow, allows passage u to the next floor.\n\nA distracted figure blunders in, scratching at his huge beard. The man wears loose clothing. He's reading intently from a Jean Genet novel. He mutters, \"Punk pretty soon becomes criminal. Jailed, criminal becomes, soon, pretty punk.\"\n\nHe blunders out, using motions that seem to be exactly the reverse of the ones he made when entering. By the time you've recovered from the shock, you realize that he has completely disappeared.\n\n> You go south\n\"LISTEN WELL!\" a sonorous voice booms out, in attempted hollowness. \"Know ye that passage back through here is difficult for some, impossible for others! Should you wish to transport yourself - without your cherished possessions - out of these constrained confines, have your controlling consciouness type the magic command: START!\"\n\nSmall, shadowy, stifling study. Softwood slats (stain: sandy) surround.\n\nStuff: ... stylus.\n\n> You snatch the stylus\n[ ... ]\n\n> You snatch the stylus\nSnagging satisfaction!\n\n[+3.]\n\n> Go north\nEven the light fixture has been removed from this squarish bedroom, which is in much better repair than most of the rest of the house. It seems to have been freshly painted, in puce. The exit is south.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> You look at the pig\nThe pig seems extremely well-behaved, even a bit stately. He is wearing a distinctive toga.\n\n> Pray\nNothing practical results from your prayer.\n\n> Inventory\nYou are carrying:\n... stylus\n\n> Outhsay\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nAlthough the pig lends an ear to you, he doesn't seem able, or inclined, to carry out your request.\n\n[+8.]\n\n> Ogay outhsay\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nThe pig glances in the direction indicated.\n\nThe pig proceeds at a moderate gait, moving along as you asked.\n\n> You ask Pig,  to go downward\nThe pig shrugs. Perhaps you need to address him in a language he understands."
    },
    {
        "text": "[Themes: Humor, Wordplay, intelligent pig]\n\n> Go downward\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the s, e, w, and n look as if they might spell trouble. Or perhaps they simply spell 'SEWN.'\n\nA pig sits here calmly. He is quiet and oddly attired.\n\nYour object-sensitive eyes also notice: ... sizable sofa.\n\nA distracted figure with frizzy hair blunders in. The man is clad in loose clothing and peers at a fashion magazine he is holding open before him. On one page are some nicely-dressed women; the facing page has an image of some textile machine. The man mutters, partly to himself and partly as if he were addressing the magazine, \"Girls, attractive dresses that loom here this second certainly second this here loom that dresses attractive girls.\"\n\nHe blunders out, using motions that seem to be exactly the reverse of the ones he made when entering. By the time you've recovered from the shock, you realize he has completely disappeared.\n\n> P.\nWhat do you want to open?\n\n> Ntereay umpsterday\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nThe pig didn't seem to understand your request, however.\n\n> Up\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the north, while toward the other three exits on this floor '2' is scrawled. The stairway that runs down to the foyer turns and continues up, to the next floor. The constrained passages to the north, east, west, and south look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'\n\nA pig sits here calmly. He is quiet and oddly attired.\n\nYour object-sensitive eyes also notice: ... sizable sofa."
    },
    {
        "text": "[Themes: Humor, Wordplay, silly]\n\n> Go downwards\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\nA pig sits here calmly. He is quiet and oddly attired.\n\nA door to the n, leading out back, is open.\n\n> Aketay ofasay\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nAlthough the pig lends an ear to you, he doesn't seem able, or inclined, to carry out your request.\n\n> You take the sofa\nSizable sofa sits solidly, stubborn."
    },
    {
        "text": "[Themes: Humor, Wordplay, wordplay, silly, riddle]\n\n> You examine the stairs\nThe stairway stands undemolished, ready to convey you in a vertical direction. You can just type that direction, as is traditional.\n\n> Umpjay intoway umpsterday\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nThe pig didn't seem to understand your request, however.\n\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nAlthough the pig lends an ear to you, he doesn't seem able, or inclined, to carry out your request.\n\nA distracted figure with wide, glistening eyes blunders in. The bearded man wears loose clothing and is looking at a tiny, hand-held television set. He tunes it, then shakes his head in disgust. \"Again? 'Never Say Never Again'?\"\n\nHe blunders out, using motions that seem to be exactly the reverse of the ones he made when entering. By the time you've recovered from the shock, you realize he has completely disappeared.\n\n> Go upward\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the n, e, w, and s look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'\n\nYour object-sensitive eyes notice: ... sizable sofa.\n\n> You go east\nBuilt-in shelves, now bare, line this room. All are of pitted wood, fixed in place, with subtle grain running horizontally. The bare shelves still sag a bit, a reminder that they long bore a heavy load of books. There seem to be a few things left on the shelves.\n\nYour object-sensitive eyes notice: ... copybook... abecedarian book... dust casing... wee writ.\n\n> Examine copybook\nThis little notebook has something originally published by Town Glow Books copied out in it. The title is \"Footwords to Howl, for Solomon.\" The author is Onon Gonsborg.\n\n> You get the copybook\nA mysterious force holds the book to the built-in shelves. \"Rules must be observed in the library,\" says a full, sonorous voice, clearly attempting to sound hollow.\n\n> Burn book\nThis dangerous act would achieve little.\n\n> You examine abecedarian book\nThis book is tiny, with a total of 32 pages. It is entitled \"ABC.\" The author is Robert Pinsky. It seems to have been published by a different three letters of the alphabet, FSG.\n\n> You read the page 1\nWhat do you want to read in?"
    },
    {
        "text": "[Themes: Wordplay, Humor, intelligent pig]\n\n> You look at your surroundings\nBuilt-in shelves, now bare, line this room. All are of pitted wood, fixed in place, with subtle grain running horizontally. The bare shelves still sag a bit, a reminder that they long bore a heavy load of books.\n\nYour object-sensitive eyes notice: ... copybook... abecedarian book... dust casing... wee writ.\n\n> You look at the dust casing\nThis dust jacket's most obvious feature is a large lowercase \"e\" with a red \"no\" slash-in-a-circle around it. It came off of the novel \"A Void,\" which is Gilbert Adair's Translation of \"La Disparition.\" The original French novel is apparently by George Perec, and was written entirely without recourse to a certain frequently-used letter. The English translation is similarly constrained. From the way the dust jacket is folded, it seems like \"A Void\" - wherever that absent book may be - is a sizable volume.\n\nFrom the looks of the dust casing, these used to be a large bug sitting upon it, which has been completely smashed. Completely. Don't even bother referring to the bug at this point. It's not there. It's gone.\n\n> You pick up the dust casing\nSuccess! Taken.\n\nA distracted figure with a huge bushy beard blunders in. The man wears loose clothing and has a cell phone up against his head. He takes the cell phone from his ear and stares at it, muttering, \"Hold on? Me old silly put silly old me on hold!\"\n\nHe blunders out, using motions that seem to be exactly the reverse of the ones he made when entering. By the time you've recovered from the shock, you realize he has completely disappeared.\n\n> Examine writ\nThis is a wee piece of paper, with the title \"Top Row Retort.\" The author's name doesn't seem to be completely printed beneath that title, but something that looks like \"-i-- -o-t-ort\" does appear there. A busted U.S. keyboard appears on the cover. Most of the letters have been removed from this, leaving only 'QWERTYUIOP.'\n\n> Pry writ\nSuccess! Taken."
    },
    {
        "text": "[Themes: Wordplay, Humor, silly]\n\n> Look around\nBuilt-in shelves, now bare, line this room. All are of pitted wood, fixed in place, with subtle grain running horizontally. The bare shelves still sag a bit, a reminder that they long bore a heavy load of books.\n\nYour object-sensitive eyes notice: ... copybook... abecedarian book.\n\n> Examine copybook\nThis little notebook has something originally published by Town Glow Books copied out in it. The title is \"Footwords to Howl, for Solomon.\" The author is Onon Gonsborg.\n\n> You get ABC\nA mysterious force holds the book to the built-in shelves. \"Look,\" says a somewhat frustrated sonorous voice that has given up trying to sound hollow, \"I should make you read the hints to find out about this, but I'm getting fed up. You have to use a command that obeys the constraint of the text you're trying to take. Understand? Look, check the hint file if you still don't get it. I don't really care about that stuff myself. But I'm just the warning voice, you know. I'm not able to let you have the damn thing, you see. If it were my choice...\" The voice trails off.\n\n> You get it\nA mysterious force holds the book to the built-in shelves. You hear a somewhat hollow-sounding sigh.\n\n> You read ABC\nThe text is very short. In fact, there are only 26 words, each printed on a page of its own. One page is occupied by a lone typographical symbol, and a simply-presented half-title page and title page round out the slim volume. The copyright page indicates the poem is copyright 2000 by Robert Pinsky and appears in this virtual environment with his permission.\n\nAny body can die, evidently. Few\ngo happily, irradiating joy,\n\nknowledge, love. Many\nneed oblivion, painkillers,\nquickest respite.\n\nSweet time unafflicted,\nvarious world:\n\nX = your zenith.\n\n> Acquire book\nSuccess! Taken.\n\n[+10.]"
    },
    {
        "text": "[Themes: Humor, Wordplay, intelligent pig, wordplay, riddle]\n\n> Go downwards\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> You put the book in Dumpster\nYou put the abecedarian book into the Dumpster.\n\n> You put the copybook in Dumpster\nYou put the copybook into the Dumpster.\n\n> You put the writ in Dumpster\nYou put the wee writ into the Dumpster.\n\n> You put the casing in Dumpster\nYou put the dust casing into the Dumpster.\n\n> You put the stylus in Dumpster\nYou put the stylus into the Dumpster.\n\n> You put the weapon in Dumpster\nYou put the wooden weapon into the Dumpster.\n\n> Up\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the north, while toward the other three exits on this floor '2' is scrawled. The stairway that runs down to the foyer turns and continues up, to the next floor. The constrained passages to the north, east, west, and south look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'\n\nYour object-sensitive eyes notice: ... sizable sofa.\n\n> You examine the couch\nThe couch is about the size that the sofa was. It looks about as comfy, too.\n\n> Examine daybed\nThe daybed is actually larger than the sofa and couch were, although it looks a bit more comfortable. That's slight consolation, since it's going to be even harder to get it down the stairs now.\n\n> You examine the loveseat\nWonderfully, this loveseat is fairly small, although it looks pretty tacky - it's a sort of pale green with white flowers. But so what? You might manage to pick it up and get it down the stairs and into the Dumpster.\n\n> You get the loveseat\nIt's not going to be easy to lift this, even though it's much smaller now. Here's what we can try: lifting the loveseat, quickly proceeding down the stairs with it, and setting it down directly into the Dumpster. Sound good?\n\n> Yes\nAll right, here we go...\n\nTaken.\n\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the west must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is east. On the south side is the front door. A Dumpster has been dumped here.\n\nA door to the north, leading out back, is open.\n\nA pig sits here calmly. He is quiet and oddly attired.\nYou put the lovely loveseat into the Dumpster.\n\nWhew!\n\n[+5.]\n\n> You search Dumpster\nIn the Dumpster are ... lovely loveseat, ... wooden weapon, ... stylus, ... dust casing, ... wee writ, ... copybook, ... abecedarian book, ... stainless steel stapler, ... weird widget, ... evil effigy, ... earthen ewer, ... nifty nappy and ... toy dinosaur.\n\n> Go upwards\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the s, e, w, and n look as if they might spell trouble. Or perhaps they simply spell 'SEWN.'\n\n> Go upward\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the n and e) are normal passages, but one, to the s, is oddly constrained. It has an ominous sign above it. The main stairway leads d, while another staircase, straight and narrow, allows passage u to the next floor.\n\n> Go upwards\nAt this level the house is neither as broad or as long as it is on the ground floor. There seems to only be one other room on this floor, through a constrained double doorway to the w. One thin, unpainted stairway leads u into darkness from here. Another one, almost as narrow, leads d.\n\n> You go to the west\n\"LISTEN WELL!\" a sonorous voice booms out, in attempted hollowness. \"Know ye that passage back through here is difficult for some, impossible for others! Should you wish to transport yourself - without your cherished possessions - out of these constrained confines, have your controlling consciouness type the magic command: APPROACH THE APPROACH!\"\n\nThis is a reasonably-sized bedroom, laid out symmetrically. On the room's centerline is a scan of two photographs, framed and affixed to the wall. A double doorway, now bereft of doors but clearly marked \"EXIT,\" leads out, to the e.\n\nFortunately, someone's already cleared out the twin beds.\n\n(The mansion, incidentally, like many adventure game houses, seems rather inadequately supplied with bathrooms. Perhaps there are certain adventurer functions that are better elided, though.)\n\nYour object-sensitive eyes notice: ... pile of feed.\n\n> You look at the pile\n[ ... ]\n\n> You look at the pile\nType the type of thing that is permitted here.\n\n> You look at the pile the x.\nYadda yadda.\n\n> Pile pile\nFurther heaping cannot be done. The pile is as piled as it's going to get.\n\n> Feed feed\n(to yourself)\nYou're not going to eat that feed yourself! You're not getting paid enough to do to that.\n\n> You look look\nYou assume the most debonair adventurer stance possible, glancing around at the room as you do so, much as an assiduous adventurer would.\n\n> Elip pile\nThis is a reasonably-sized bedroom, laid out symmetrically. On the room's centerline is a scan of two photographs, framed and affixed to the wall. A double doorway, now bereft of doors but clearly marked \"EXIT,\" leads out, to the e.\n\nFortunately, someone's already cleared out the twin beds.\n\nYour object-sensitive eyes notice: ... pile of feed.\n\nYadda yadda.\n\n> You walk the the walk\nYou strut around the room, walking the walk. But you haven't said where you wish to go.\n\n> You talk the the talk\n\"SE. NE. OPEN WINDOW. W.\" you say enthusiastically, talking the talk of an adventurer.\n\n> Scan scan\nThe scan of the two photographs is set in a frame that is actually nailed to the wall. This is too bad, because of course you would like to take this object. But since it is fixed to the structure, it means the job of getting it downstairs falls to someone else.\n\nThe photo on the left side of the scan is of a famous cello player: Yo Yo Ma. The photo on the right depicts a man standing behind a United Nations podium. It's Boutros Boutros Ghali.\n\n> Frame frame\nYou try to make it look as if the frame has actually committed the murder.\n\n> Frame frame\nYou make a little square out of your hands and look through it at the frame and enclosed scan, imagining how it would look as a photograph. It would be pretty boring."
    },
    {
        "text": "[Themes: Wordplay, Humor, silly]\n\n> Go downwards\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the n, e, w, and s look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'"
    },
    {
        "text": "[Themes: Humor, Wordplay, intelligent pig, wordplay, riddle]\n\n> Go downwards\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> Ogay upway\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nThe pig glances in the direction indicated.\n\nThe pig proceeds at a moderate gait, moving along as you asked.\n\n> Up\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the north, while toward the other three exits on this floor '2' is scrawled. The stairway that runs down to the foyer turns and continues up, to the next floor. The constrained passages to the south, east, west, and north look as if they might spell trouble. Or perhaps they simply spell 'SEWN.'\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> Go upward\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the n and e) are normal passages, but one, to the s, is oddly constrained. It has an ominous sign above it. The main stairway leads d, while another staircase, straight and narrow, allows passage u to the next floor.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\n> Ogay estway\nThe pig looks up at you with a smile, understanding the language you're speaking.\n\nThe pig glances in the direction indicated.\n\nThe pig does not seem troubled by the constrained double doors west. The pig proceeds at a moderate gait, moving along as you asked.\n\n> Go west\nThis is a reasonably-sized bedroom, laid out symmetrically. On the room's centerline is a scan of two photographs, framed and affixed to the wall. A double doorway, now bereft of doors but clearly marked \"EXIT,\" leads out, to the e.\n\nFortunately, someone's already cleared out the twin beds.\n\nA pig sits here calmly. He is quiet and oddly attired.\n\nYour object-sensitive eyes also notice: ... pile of feed.\n\n> Feed feed\n(to pig)\nThe pig smiles at your polite offer of the feed and delicately (but quickly) nibbles away at the pile, consuming all of it. Sated, the pig departs. You hear the stately animal clopping down flight after flight of stairs. Then the front door swings open and shut, and the sounds are no more.\n\n[+6.]\n\n> You go west\nYadda yadda.\n\n> You feel\nWhat do you want to feel?\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You look at the widget\nWow! Wacky, wireless widget, worked whimsically with whorls. Widget's workings? Well ... widget wants worth. Warrantless widget!\n\n> You look at weapon\nWeighty. Whittled walnut. Warrior's worthy weapon.\n\n> You look at the effigy\nEnemy effigy. Extreme enormity evident. Execrable evildoer!\n\n> You look at the dinosaur\nThe toy dinosaur looks like a triceratops. It is made of injection-molded plastic, and colored the same pale, milky green all over.\n\n> You look at the stylus\nSmall stylus, straight, short. Stylus shan't suit staff, studiously scribbling symbols. Styptic stylus! Shaving scratch? Smooth stylus, soothing sorrowful slit - salvation.\n\n> You take all from Dumpster\nlovely loveseat: This furniture isn't going anywhere like that.\nwooden weapon: Removed.\nstylus: Removed.\ndust casing: Removed.\nwee writ: Removed.\ncopybook: Removed.\nabecedarian book: Removed.\nstainless steel stapler: Removed.\nweird widget: Removed.\nevil effigy: Removed.\nearthen ewer: Removed.\nnifty nappy: Removed.\ntoy dinosaur: Removed.\n\n> Go up\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the n, e, w, and s look as if they might spell trouble. Or perhaps they simply spell 'NEWS.'\n\n> Go upward\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the n and e) are normal passages, but one, to the s, is oddly constrained. It has an ominous sign above it. The main stairway leads d, while another staircase, straight and narrow, allows passage u to the next floor.\n\n> Go up\nThis is the mansion's top floor. The whole level, barely illuminated in the pale, milky glow of the toy dinosaur, is one large room. It seems partially finished, like an attic. Fiberglass insulation bulges between bare boards. There are no windows. A stairway leads d.\n\nYour object-sensitive eyes notice: ... manual.\n\n[+5.]\n\n> You examine the insulation\nThe insulation is pink, sort of fuzzy, and with a strange sort of medical or metallic glitter. An outfit made of this material might serve as fetishwear for a Sesame Street character.\n\n> You get the insulation\nYou lose your grip on the insulation as you attempt to pull out a bit. It doesn't look like it can be taken, in this case.\n\n> You examine AA\nIt's a shiny PowerTreat-brand AA cell."
    },
    {
        "text": "[Themes: Humor, Wordplay]\n\n> Go downward\nThis lobby, allowing access to the rooms of the next-to-next-to-top floor, is in good shape. It is very similar to the lobby below, although the ceiling may be a bit lower. Here there are only three passages. Two of them (to the n and e) are normal passages, but one, to the s, is oddly constrained. It has an ominous sign above it. The main stairway leads d, while another staircase, straight and narrow, allows passage u to the next floor."
    },
    {
        "text": "> Go down\nThe lobby of the mansion's initial floor - the one above the ground floor - is an ordinary and fairly well-maintained room. There are some things scrawled on the ground here, in the contractor's handwriting: '1 object' is written to the n, while toward the other three exits on this floor '2' is scrawled. The stairway that runs d to the foyer turns and continues u, to the next floor. The constrained passages to the s, e, w, and n look as if they might spell trouble. Or perhaps they simply spell 'SEWN.'\n\n> Go north\nHere's a sort of small, enclosed backyard, closed in with a high wooden fence and completely covered with asphalt.\n\nA door to the s, leading inside, is open.\n\nThere's one of those robotic puppies - the latest fad - here.\n\nThe puppy quips: \"Your momma got interested in Infocom games 'cause she thought there was one called 'Witless.'\"\n\n> You give the battery to the dog\nYips of pleasure sound as the robot puppy take the AA cell and chews on it playfully.\n\nThe robot puppy rolls about happily, chewing on the AA cell.\n\n> You take the puppy\nThe robotic puppy is endowed with locomotive abilities that are as quick and random as its prepackaged wit. It scuttles away from you quickly.\n\nThe robot puppy rolls about happily, chewing on the AA cell.\n\n> You ask Puppy,  to go south\nThe puppy doesn't seem to notice you speaking to it. Perhaps this cut-rate model doesn't accept voice commands or queries.\n\nThe robot puppy rolls about happily, chewing on the AA cell.\n\n> You take the cell\nAfter a bit of effort, you wrest the AA cell from the puppy's robotic mouth. The puppy yips at you playfully.\n\nThe robot puppy yips and bounds about near you without taunting you.\n\n> You show the cell to the puppy\nThe robot puppy yips gleefully and bounds in your direction at the sight of the shiny AA cell you are holding out.\n\nThe robot puppy yips and bounds about near you without taunting you.\n\n> Go south\nThis is the mansion's spacious ground-floor antechamber. The wallpaper is peeling and bits of plaster have fallen from the ceiling here and there. There is a stairway, stable enough to ascend. The big area to the w must have once been a separate room, but the demolition crew seems to have already taken out a wall. A living room is e. On the s side is the front door. A Dumpster has been dumped here.\n\nA door to the n, leading out back, is open.\n\nThere's one of those robotic puppies - the latest fad - here.\n\nThe robot puppy yips and bounds about near you without taunting you.\n\n> You put AA cell in Dumpster\nThe puppy hops into the Dumpster, chasing the AA cell. Robot jaws clamp upon the shiny treat happily. The puppy settles down in the Dumpster to play with the AA cell.\n\nThe puppy is now busy chewing on the AA cell in the Dumpster.\n\n[+10.]"
    },
    {
        "text": "[Themes: Slice of life, funny, twist, house setting, Evil protagonist, modern day]\n\nThe phone rings.\n\nOh, no -- how long have you been asleep? Sure, it was a tough night, but-- This is bad. This is very bad.\n\nThe phone rings.\n\n9:05 by Adam Cadre\n\n\n\nBedroom (on the bed)\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone, a wallet (which is closed) and some keys.\n\nThe phone rings.\n\n[Author's Note: The phone rings. Oh, no \u0097 how long have you been asleep? Sure, it was a tough night, but... This is bad. This is very bad. The phone rings.]"
    },
    {
        "text": "[Themes: Slice of life, twist, funny, house setting, modern day]\n\n> You answer the phone\nYou pick up the phone. \"Hadley!\" a shrill voice cries. \"Hadley, haven't you even left yet?? You knew that our presentation was at nine o' clock sharp! First the thing with the printers, now this -- there won't even be enough left of you for Bowman to fire once he's done with you. Now get the hell down here!!\"\n\nClick.\n\n> You take the wallet and keys\nwallet: Taken.\nkeys: Taken.\n\n> You get up\nYou get off the bed.\n\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable is a telephone.\n\n> You open the dresser\nYou open the dresser, revealing some clean clothing.\n\n> About yourself\nYou're covered with mud and dried sweat. It was quite an exhausting night -- no wonder you overslept! Even making it to the bed before conking out was a fairly heroic accomplishment.\n\n> You go to the south\nThis is a far from luxurious but still quite functional bathroom, with a sink, toilet and shower. The bedroom lies to the north.\n\n> You remove the clothes\nYou take off the soiled clothing.\n\n> You drop all\nkeys: Dropped.\nwallet: Dropped.\nsoiled clothing: Dropped.\n\n> Inventory\nYou have:\na gold watch (being worn)\n\n> You look at the watch\nAccording to your watch, it's 9:17.\n\n> You remove the watch\nYou take off the gold watch.\n\n> You drop the watch\nDropped.\n\n> You enter the shower\nYou step into the shower, turn on the water, and within a few moments you feel like a new man. But no time to dawdle -- you hop back out again and dry off in record time.\n\n> You wear the watch\n(first taking the gold watch)\nYou put on the gold watch.\n\n> Go north\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable is a telephone.\n\n> You wear the clean clothes\n(first taking the clean clothing)\nYou put on the clean clothing.\n\n> You go to the east\nThe furniture isn't as carefully arranged as one might like, and it's a bit lacking in the luxuries that might make this a more pleasant place to spend an evening -- no stereo, no TV, no DVD, none of that -- but this living room is still nicer than most of those in this neighborhood. A kitchenette lies to the east, the bedroom to the west and the front door to the south.\n\n> You open the door\n[Which do you mean, the bedroom door or the front door?]\n\n> You open the front door\nYou open the front door.\n\n> Go south\nThis is quite a seedy neighborhood, but there isn't really anywhere in the whole Las Mesas metro area that isn't at least a little rundown. Of course, the locals may complain about the ugliness and the crime, but the fact is that a starter home like this one would cost easily five times as much in someplace like Las Playas -- and that's if you could find one.\n\nA car is parked on the driveway.\n\n> You shut the front door\nYou close the front door.\n\n> You lock front door\nThe locking mechanism seems to be broken.\n\n> You look at the door\nThis door has seen better days.\n\n> You get in the car\nYou unlock the car door, climb inside and start up the engine.\n\n> Go south\nYou'll have to get out of the car first.\n\n> You drive\n(the car)\n\nAh, scenic Las Mesas. Man, this place is an absolute toilet. Soon you'll be able to afford to get the hell out of here -- provided you can avoid making any more slip-ups on the job.\n\n> Yes\nYou start to change lanes, but you notice that the ramp is out of service today -- some sort of maintenance work. But that's okay -- there's another onramp less than a mile down the road from here.\n\n> Wait\nTime passes.\n\n> Y.\nYou pull into the parking lot and hop out.\n\nYou are at the employees' entrance to the Loungent Technologies building. There is a slot by the door, next to a sign reading \"INSERT ID CARD HERE\".\n\nThe car is parked in the parking lot.\n\n> You open the wallet\nYou open the wallet, revealing a driver's license and an ID card.\n\n> You take the ithe d.\nTaken.\n\n> You insert the ithe d in the slot\nA green LED lights up, the door clicks open and you step inside.\n\nYou are standing in a hallway near the back entrance to Loungent Technologies. The hallway leads north to the reception area and south to the parking lot, while a door marked \"MATTHEW BOWMAN\" lies to the west.\n\nThere is a cubicle here; it is marked simply \"HADLEY\".\n\n> You go west\nWalk into Bowman's office without the form? Not smart.\n\n> You go to the west\nWalk into Bowman's office with an unsigned form? Not smart.\n\n> Examine form\nThis is a form numbered \"209F\". It is filled out, but not signed.\n\n> You sign form\nSomeone passes by the cubicle as you sign the form. You look up just in time to see Bowman's door click shut.\n\n> Go west\nYou walk into Bowman's office and, smiling, hand him the signed form.\n\nBowman asks, \"Who the hell are you?\"\n\nThe jig is up. You try to make a break for it, but Bowman calls for security and they wrestle you to the ground before you can make it back to the car.\n\nThe anchorman chuckles. \"And now, on the lighter side of the news -- you've heard about the burglar who broke into a home and started stealing the family's valuables, only to get so worn out from the exertion that he fell asleep and was caught when the homeowners returned? Here's one to top that: a burglar broke into an East Las Mesas home, killed the owner and stashed his body under the bed, put his possessions in the trunk of his car -- and then fell asleep, woke up the next morning, went to his victim's office and tried to do the victim's job! An insanity defense is likely. And now here with the weather is Jay Doubleday -- or is it?\"\n\n> You get up\nYou get off the bed.\n\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone, a wallet (which is closed) and some keys.\n\nThe phone rings.\n\n> You look under the bed\nUnder the bed you see the corpse of the guy who owns this house.\n\nThe phone rings.\n\n> You take the corpse\nYou'd rather not mess around with the corpse -- better to just clean up and get out of here.\n\nThe phone rings.\n\n> You go to the south\nThis is a far from luxurious but still quite functional bathroom, with a sink, toilet and shower. The bedroom lies to the north.\n\n> Go north\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone, a wallet (which is closed) and some keys.\n\nThe phone rings.\n\n> You take the keys\nTaken.\n\nThe phone rings.\n\n> You go east\nYou don't really have time to poke around and cook yourself a fabulous breakfast right now. Best to keep your time here limited. The exit is west.\n\nOn the counter are a toaster and a pop-tart.\n\n> Go west\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone and a wallet (which is closed).\n\nThe phone rings.\n\n> You go to the south\nThis is a far from luxurious but still quite functional bathroom, with a sink, toilet and shower. The bedroom lies to the north.\n\n> You drop all\npop-tart: Dropped.\nkeys: Dropped.\ngold watch: Dropped.\n\n> You remove the clothes\nYou take off the soiled clothing.\n\n> You drop all\n(the soiled clothing)\nDropped.\n\n> You get in the shower\nYou step into the shower, turn on the water, and within a few moments you feel like a new man. But no time to dawdle -- you hop back out again and dry off in record time.\n\n> You eat the keys\n(first taking the keys)\nThey're not edible.\n\n> You take keys\nYou already have those.\n\n> You watch\n[What do you want to watch?]\n\n> You look at the mirror\nYou put on the gold watch.\n\n[That object is either not here or not important.]\n\n> You go to the north\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. Cleaner clothing is to be found in the dresser. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone and a wallet (which is closed).\n\nThe phone rings.\n\n> You open the front door\nThat's already open.\n\n> You open the dresser\nYou open the dresser, revealing some clean clothing.\n\nThe phone rings.\n\n> You take the clean clothes\nTaken.\n\nThe phone rings.\n\n> You wear the clean clothes\nYou put on the clean clothing.\n\nThe phone rings.\n\n> You go to the south\nThis is a far from luxurious but still quite functional bathroom, with a sink, toilet and shower. The bedroom lies to the north.\n\nYou can see some soiled clothing here.\n\n> Go north\nThis bedroom is extremely spare, with dirty laundry scattered haphazardly all over the floor. A bathroom lies to the south, while a door to the east leads to the living room.\n\nOn the endtable are a telephone and a wallet (which is closed).\n\nThe phone rings.\n\n> You examine the driver's license\nEAST LAS MESAS, DO 88827\n\nDriver's license photos are generally far from flattering, and this one is no exception, but this photo looks a lot better than you look now.\n\n> Go south\nThis is quite a seedy neighborhood, but there isn't really anywhere in the whole Las Mesas metro area that isn't at least a little rundown. Of course, the locals may complain about the ugliness and the crime, but the fact is that a starter home like this one would cost easily five times as much in someplace like Las Playas -- and that's if you could find one.\n\nA car is parked on the driveway.\n\n> You open the trunk\nYou have a quick look in the trunk. TV, stereo, DVD player -- throw in the car and it's a pretty impressive haul.\n\n> You get in the car\nYou unlock the car door, climb inside and start up the engine.\n\n> You drive\n(the car)\n\nAh, scenic Las Mesas. Man, this place is an absolute toilet. Soon you'll be able to afford to get the hell out of here -- provided you can avoid making any more slip-ups on the job.\n\n> You go north\nIt turns out that the ramp was blocked anyway -- some sort of maintenance work.\n\n> Wait\nTime passes.\n\n> You go north\nSoon the Loungent building is in your rear-view mirror.\n\n> Y.\nYou merge onto the freeway, crank up the radio, and vanish without a trace.\n\n> You go north\n[Please give one of the answers above.]"
    },
    {
        "text": "> Look around\nAh, scenic Las Mesas. Man, this place is an absolute toilet. Soon you'll be able to afford to get the hell out of here -- provided you can avoid making any more slip-ups on the job.\n\n> Go north\nYou elect not to get on the freeway, but the idiot in the other lane decides to give it a try. Swerving in front of you before you can react, he sparks a collision that ends in a gruesome fireball."
    },
    {
        "text": "[Themes: Mystery, Slice of life, Religious, Christianity, female protagonist, photography, mystery, ghosts, ghost hunt, cat, teenagers, teenage protagonist, church, religion]\n\nCasey glances around the newspaper office. \"Orchid is gone, right?\"\n\n\"Yes, she left. Why do you ask?\"\n\n\"I wanted to give you this while she wasn't around.\" He hands you a thick, well-leafed notebook. \"It's just kind of a guide kind of thing, with some general information and directions, just to help you get around. Don't let Orchid see it.\"\n\n\"Are you sure I'll require so much background material? And why shouldn't Orchid see it?\"\n\n\"Well, Robin,\" Casey says, and he spins around a chair to sit on it backwards in what he surely thinks is a very casual and friendly pose, \"Orchid is a church member, and you're not, and you missed the lock-in, so you don't have a lot of the context that Orchid has. I just wanted to put you on an even footing. And for your second question, I might have written some things in there that I wouldn't have said to Orchid's face.\"\n\nYou nod, and slip the notebook into your backpack. \"I'm sure you've adequately prepared me for my mission.\"\n\n\"Yes, I have. You're welcome. No, wait, I've got one more thing to say. Make sure you take lots of pictures, obviously. It's your job. That's one.\" He starts counting on his fingers. \"Um, it's more fun if you run off by yourself, so make sure you get Sharon off your back. That's two. And keep an open mind. I mean, just because you don't believe in ghosts doesn't mean you're not gonna see one.\n\n\"So, yeah. That's three things.\"\nRobin & Orchid\nAn exercise in photojournalism by Ryan Veeder & Emily Boegheim\n\nSharon, in her wisdom, decided that everybody should sleep in this cramped corner of the church basement.\n\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits underneath them. It's already dark outside, and the doors west to the basement stairway and south are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when you finish your investigation.\n\nOrchid is lounging around, lecturing you.\n\n\"You'd better hold onto this,\" she says, handing you the camera, \"you're the official photographer. Just don't forget, if you see something that might be evidence of a ghost, make sure you take a photo of it.\"\n\nYou slip the camera strap around your neck.\n\n[Author's Note: High school journalists spend the night in a church, investigating reports of a ghost.]\n\n> Inventory\nYou are carrying:\nCasey's notes\na Polaroid camera (being worn)\n\nOrchid notices your notebook. \"What's all that?\" she asks.\n\n\"Oh, Casey gave it to me. It's just some notes about things in the church.\"\n\n\"Is there anything about me in there?\"\n\n\"I don't think so,\" you lie, and Orchid loses interest.\n\n> About yourself\nYou are Robin Monaghan, high school junior, associate reporter for the West High Warbler. You are not overly fond of churches, and you have never claimed to believe in ghosts, but here you are.\n\n\"Oh, and,\" Orchid adds, \"don't turn the lights on while you're looking around unless you have to. Some ghosts won't appear unless it's dark, and we've only got tonight to gather all our evidence.\"\n\n> You take a the photo of Orchid\n(with the Polaroid camera)\nYou snap a picture of Orchid. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\nSharon stomps into the nursery. \"There are supposed to be some blankets somewhere in this nursery,\" she says. \"Robin, can you find them and grab them for me?\" She looks thoughtfully at the child-sized cots scattered around the room.\n\n> You examine sharon\nSharon is the student teacher assisting the staff advisor for the West High Warbler. In the past the staff has always managed quite well without a student teacher, but she does come in handy as a chaperone for situations like this.\n\n\"Okay, girls,\" she says. \"Here's how this is going to work.\"\n\n> You look at Orchid\nOrchid, like most girls your age, is taller than you. Her cheeks are covered in freckles that you had never seen before tonight; she must put makeup on over them for school. You have the uneasy feeling that there are more freckles on her left cheek than her right.\n\nShe notices you examining her, and you look away.\n\nSharon continues, \"This is your story and your investigation, so don't expect me to be running around the church with you all night.\" She pushes one of the cots up against the wall.\n\n> You read the notebook\nThe notebook is thick, and as you flick through the pages, it looks like it's nearly full. Surely Casey didn't make notes about everything in the church? How long did he spend on this anyway?\n\nThere's way too much information here to sit down and read it all at once, but you can look up anything you want to know about.\n\nSharon pulls another of the cots toward her and lines it up with the first one. \"I don't care if you stay up all night, tomorrow isn't a school day so it's not my problem if you're exhausted. Personally, I want my eight hours, though.\"\n\n> You look up ghosts\n(in Casey's notes)\n[This action may cause some slight lag in the browser version of this game. We sincerely regret any inconvenience.]\n\nYou flick through the notes and read Casey's scrawly handwriting: \"I don't know how much you already know about the ghost in the church so I'll give you the whole story. Jennie Bancroft is the name of the ghost that haunts Grace United Methodist. She used to be alive, but then she died, in or around the church, sometime in the distant past. I keep meaning to look up when she died but I haven't had time.\n\n\"When people see her, she looks like a teenage girl in pigtails. I don't think she shows up covered in blood or anything like that; she's just a sad girl. Obviously a lot of the time she's invisible though.\n\n\"Some of the evidence that we have for her existence includes:\n\n- sounds of footsteps and a girl crying when nobody else is in the church\n- cold spots in rooms, rooms that suddenly become cold for no reason\n- stuff goes missing, then shows up again\n- you see someone at the end of the hallway but when you get to the end of the hallway there's nobody there\n- basically everybody has seen her out of the corner of their eye at some point\n\n\"Debate continues on the subject of how Jennie died. Popular theories state that she jumped off of the church steeple, or she drank poison, or used a space heater to carbon monoxide herself. According to one explanation she died accidentally, because she was using a Ouija board, but that theory is idiotic. Jennie Bancroft definitely committed suicide, and it was definitely because of a boy she was in love with.\"\n\nSharon continues, \"So I'm going to stay here and sleep, and you two are going to get on with your investigating, and not wake me up unless there's a life-threatening emergency or something.\"\n\n> You look up casey\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Dear Robin. I am Casey, your friend. I am writing to you from the past. Back here in the past it is very dark, but we have hope that you, in the future, will be able to rekindle the flame of enlightenment and lead us to wisdom. Have you seen a ghost yet? If you haven't seen a ghost, keep looking around until you do. Thanks. Sincerely, Casey.\"\n\n\"Orchid, pass me that cot in the corner, will you?\" Sharon asks.\n\nOrchid pulls a face but goes to get it.\n\n> You look at the cot\nEach cot is composed of scratchy fabric stretched over an aluminum frame, and there is no way any of them could be very comfortable.\n\n\"Just don't complain to me when you've spent the whole night ghost-hunting and have nothing to show for it. Thanks, Orchid.\" Sharon pushes the last cot into place alongside the other two and frowns at the result.\n\n> You look up orchid\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Here's an anecdote about Orchid. This happened just recently. I didn't tell you, because I wanted to save it for here. Okay:\n\n\"I'm at school after hours because of rehearsals. But we're still in the fairly lazy stage of the production, so there's lots of time to just goof off around the school. So while the underclassmen are sitting around in the hall running lines, I head up to the drama office, because there are donuts there.\n\n\"But Orchid and Aiden Kingsley are already up in the office, and as soon as I poke my head in Orchid looks up and says 'Actors only, please!' and I'm like 'Actually, I am an actor,' and she says, 'Well, you know what I mean.'\n\n\"No, Orchid! I do not have the slightest idea what you mean. I would have just grabbed a donut and left, but you're not allowed to take the donuts out of the drama office, so I just left.\n\n\"I wouldn't say I hate Orchid. Hate is a very strong word. I completely hate Aiden, though.\"\n\nSharon unrolls a thin mattress on top of the cots. \"I expect the West High Warbler can find some other story to run if this one doesn't work out. It'll be a nuisance, though.\"\n\n> You search the cupboards\nThere are way too many cupboards, and you can't even see what's on the top shelves from here, much less reach them. Surely there's a better way to find out where the blankets are kept than just hunting through everything.\n\n> You look up Sharon in the notebook\nYou flick through the notes and read Casey's scrawly handwriting: \"Why do people like Sharon want to become teachers? (By 'people like Sharon' I mean 'people who obviously hate everything about teaching, even and especially students'.) If you're already completely jaded and cynical after your first semester of student teaching, isn't that a sign that you should give up on K-12 education and possibly on life in general?\"\n\n> You look up the blankets\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"What I heard is that you guys are going to sleep in the nursery, which doesn't make sense because there are couches in the youth rooms, but I guess those couches are pretty grody actually. I see your point. They keep some blankets up in the cupboards, but somebody as short as you is probably going to have to climb up on top of the recliner to reach them. No offense, Robin. I'm just saying. You're really short.\"\n\nCasey glances around the newspaper office. \"Orchid is gone, right?\"\n\n\"Yes, she left. Why do you ask?\"\n\n\"I wanted to give you this while she wasn't around.\" He hands you a thick, well-leafed notebook. \"It's just kind of a guide kind of thing, with some general information and directions, just to help you get around. Don't let Orchid see it.\"\n\n\"Are you sure I'll require so much background material? And why shouldn't Orchid see it?\"\n\n\"Well, Robin,\" Casey says, and he spins around a chair to sit on it backwards in what he surely thinks is a very casual and friendly pose, \"Orchid is a church member, and you're not, and you missed the lock-in, so you don't have a lot of the context that Orchid has. I just wanted to put you on an even footing. And for your second question, I might have written some things in there that I wouldn't have said to Orchid's face.\"\n\nYou nod, and slip the notebook into your backpack. \"I'm sure you've adequately prepared me for my mission.\"\n\n\"Yes, I have. You're welcome. No, wait, I've got one more thing to say. Make sure you take lots of pictures, obviously. It's your job. That's one.\" He starts counting on his fingers. \"Um, it's more fun if you run off by yourself, so make sure you get Sharon off your back. That's two. And keep an open mind. I mean, just because you don't believe in ghosts doesn't mean you're not gonna see one.\n\n\"So, yeah. That's three things.\""
    },
    {
        "text": "[Themes: Mystery, Slice of life, Religious, Christianity, photography, teenage protagonist]\n\n> Look around\nAn exercise in photojournalism by Ryan Veeder & Emily Boegheim\n\nSharon, in her wisdom, decided that everybody should sleep in this cramped corner of the church basement.\n\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits underneath them. It's already dark outside, and the doors west to the basement stairway and south are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when you finish your investigation.\n\nOrchid is lounging around, lecturing you.\n\n\"You'd better hold onto this,\" she says, handing you the camera, \"you're the official photographer. Just don't forget, if you see something that might be evidence of a ghost, make sure you take a photo of it.\"\n\nYou slip the camera strap around your neck.\n\n> You examine the camera\nSomething went wrong with the West High Warbler's official camera, so Casey scrounged up this old Polaroid instead. He was very keen on you using a Polaroid camera for this story, for some reasonhe gave you enough photo paper to document a whole congregation of ghosts.\n\nOrchid notices your notebook. \"What's all that?\" she asks.\n\n\"Oh, Casey gave it to me. It's just some notes about things in the church.\"\n\n\"Is there anything about me in there?\"\n\n\"I don't think so,\" you lie, and Orchid loses interest.\n\nCasey glances around the newspaper office. \"Orchid is gone, right?\"\n\n\"Yes, she left. Why do you ask?\"\n\n\"I wanted to give you this while she wasn't around.\" He hands you a thick, well-leafed notebook. \"It's just kind of a guide kind of thing, with some general information and directions, just to help you get around. Don't let Orchid see it.\"\n\n\"Are you sure I'll require so much background material? And why shouldn't Orchid see it?\"\n\n\"Well, Robin,\" Casey says, and he spins around a chair to sit on it backwards in what he surely thinks is a very casual and friendly pose, \"Orchid is a church member, and you're not, and you missed the\nlock-in, so you don't have a lot of the context that Orchid has. I\njust wanted to put you on an even footing. And for your second question, I might have written some things in there that I wouldn't have said to Orchid's face.\"\n\nYou nod, and slip the notebook into your backpack. \"I'm sure you've adequately prepared me for my mission.\"\n\n\"Yes, I have. You're welcome. No, wait, I've got one more thing to\nsay. Make sure you take lots of pictures, obviously. It's your job. That's one.\" He starts counting on his fingers. \"Um, it's more fun if you run off by yourself, so make sure you get Sharon off your back. That's two. And keep an open mind. I mean, just because you don't believe in ghosts doesn't mean you're not gonna see one.\n\n\"So, yeah. That's three things.\"\nRobin & Orchid\nAn exercise in photojournalism by Ryan Veeder & Emily Boegheim\n\nSharon, in her wisdom, decided that everybody should sleep in this cramped corner of the church basement.\n\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits\nunderneath them. It's already dark outside, and the doors west to the basement stairway and south are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when\nyou finish your investigation.\n\nOrchid is lounging around, lecturing you.\n\n\"You'd better hold onto this,\" she says, handing you the camera, \"you're the official photographer. Just don't forget, if you see something that might be evidence of a ghost, make sure you take a\nphoto of it.\"\n\nYou slip the camera strap around your neck.\n\n> You look at the recliner\nThe armchair is covered in lumpy blue corduroy. At least it's clean.\n\nOrchid notices your notebook. \"What's all that?\" she asks.\n\n\"Oh, Casey gave it to me. It's just some notes about things in the church.\"\n\n\"Is there anything about me in there?\"\n\n\"I don't think so,\" you lie, and Orchid loses interest.\n\n> You climb on the recliner\nYou step up onto the seat of the recliner, adding at least a foot to your height.\n\n\"Oh, and,\" Orchid adds, \"don't turn the lights on while you're looking around unless you have to. Some ghosts won't appear unless it's dark, and we've only got tonight to gather all our evidence.\"\n\n> You look at the cupboards\nThe nursery cupboards are numerous and mounted high up on the walls, presumably so the kids can't get into them.\n\nSharon stomps into the nursery. \"There are supposed to be some\nblankets somewhere in this nursery,\" she says. \"Robin, can you find them and grab them for me?\" She looks thoughtfully at the child-sized cots scattered around the room.\n\n> Inventory\nSharon talks over you, drowning you out.\n\n\"Okay, girls,\" Sharon says. \"Here's how this is going to work.\"\n\n> You open cupboards\nIt takes some hunting to find them, but there are the blankets, up on the top shelf.\n\nSharon continues, \"This is your story and your investigation, so don't expect me to be running around the church with you all night.\" She pushes one of the cots up against the wall.\n\n> You get the blankets\nTaken.\n\nSharon pulls another of the cots toward her and lines it up with the first one. \"I don't care if you stay up all night, tomorrow isn't a school day so it's not my problem if you're exhausted. Personally, I want my eight hours, though.\"\n\n> You look at the blankets\nThe blankets are small, thin, and colorful. Probably they're designed for making kids' afternoon naps fun, not for actually sleeping under.\n\nSharon continues, \"So I'm going to stay here and sleep, and you two\nare going to get on with your investigating, and not wake me up unless there's a life-threatening emergency or something.\"\n\n> You give the blankets to Sharon\nSharon takes the pile of blankets from you. \"Thanks, Robin,\" she says.\n\n\"Orchid, pass me that cot in the corner, will you?\" Sharon asks.\n\nOrchid pulls a face but goes to get it.\n\n> You examine the toys\nToy cars, a lot of wooden blocks, a tea set, that kind of thing. It looks like someone tried to take a bite out of one of the blocks.\n\n\"Just don't complain to me when you've spent the whole night ghost-hunting and have nothing to show for it. Thanks, Orchid.\" Sharon pushes the last cot into place alongside the other two and frowns at the result.\n\n> You ask Orchid,  to check what you're carrying\nSharon talks over you, drowning you out.\n\nSharon unrolls a thin mattress on top of the cots. \"I expect the West High Warbler can find some other story to run if this one\ndoesn't work out. It'll be a nuisance, though.\"\n\n> Exits\nFrom here, you could head south and west to the basement stairway.\n\nSharon looks at the makeshift cot bed and purses her lips. \"I guess that'll do,\" she says.\n\nSuddenly Orchid gasps and grabs your arm. \"Someone's outside!\" she squeaks, pointing at the window.\n\nBehind the glass, you see a pale face, blurry in the dim light.\n\n> You take photo of the face\n(with the Polaroid camera)\nThe click of the shutter sounds loud in the silence and seems to startle the creature outside the window. It turns and vanishes out of the light, its tail flicking past the glass. Orchid gives a high-pitched giggle.\n\n\"Scared of a cat!\" Sharon says. \"You better not freak out and wake me up every time you mistake a shadow for a ghost tonight.\"\n\n> You look at the photo\nIt's the photo you took of the cat looking in through the window. How did you ever think it was a person? It's much too small and pale to be anything human. Although outside the window, obscured by the glass, it did look pretty ghostly.\n\nOrchid peeks over your shoulder at the photo you took. \"Hey, that's good!\" she says. \"I guess you can see how it's a cat now, but it\nlooked really spooky, didn't it?\"\n\n> You look at the photograph\nIt's the photo you took of the cat looking in through the window. How did you ever think it was a person? It's much too small and pale to be anything human. Although outside the window, obscured by the glass, it did look pretty ghostly.\n\nSharon yawns. \"Right, I'm going to bed now. Keep out of trouble, don't break anything, and don't wake me up unless it's really,\nreally serious, got it?\" Without waiting for an answer, she lies\ndown on the row of cots, facing away from you, and pulls the blankets over herself.\n\nOrchid says, \"We'd better get started. How about this: you check out the basement, and I'll go upstairs and look around there, and then we'll meet up and compare notes. Don't forget to take a photo if you find any evidence of a ghost!\" She slips out of the room. A moment later, you hear her footsteps echoing in the stairwell as she heads back up to the main floor.\n\n> You tell Sharon about the couches\nOn second thoughts, maybe what you wanted to say isn't urgent enough\nto brave Sharon's wrath at being woken.\n\n> You go south\n(first getting off the recliner)\nYou switch the lights on in the next room.\n\nA large part of this room is taken up by a rickety ping pong table. Couches line the edges of the room, some of them close enough to the table that they're probably not safe to sit on if someone is actually playing ping pong. On the other hand, you can't see any ping pong bats anywhere, so maybe that's not an issue. In between the couches, doors lead north to the nursery, west, and south.\n\nA garish golden trophy catches your eye.\n\nA trolley with an ancient TV and a Super Nintendo on it is standing in front of one of the couches.\n\n> You look at trophy\nThe figurine on top is a generic gold-painted plastic person raising its arms in victory. The text at the bottom reads: \"BIBLE QUIZ TOURNAMENT CHAMPIONS\".\n\n> You look at the trolley\nA cube of black metal bars, mounted on casters.\n\nOn the TV trolley are a television set and a SNES (in which is a Bubsy cartridge).\n\n> You turn on Nintendo\nThis is no time for video games. Especially not Bubsy.\n\n> You look up bubsy\n(in Casey's notes)\n[This action may cause some slight lag in the browser version of this game. We sincerely regret any inconvenience.]\n\nYou flick through the notes and read Casey's scrawly handwriting: \"I don't even know what Bubsy is about. A squirrel? It doesn't even have\na proper two-player mode. You have to wait and watch the other guy play. It's bad for the group. I miss Tetris Attack.\"\n\n> You examine the cage\nThe curving faux-wrought-iron bars and caked-on \"rust\" identify this\nas one of the non-functioning, overpriced decorations which are so popular in craft stores. What does a Sunday School need with a bird cage?\n\n> You look up cage\n(the bird cage)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Can't really tell you what the Sunday School bird cage is for; it showed up after I graduated. I think it might have something to do\nwith like, Old Testament animal sacrifices? Back when you had to give the priest two of your doves instead of just praying for forgiveness?\"\n\n> You take the photo of the cage\n(with the Polaroid camera)\nYou snap a picture of the bird cage. The camera whirrs and vibrates\nand eventually spits out a print of the photo.\n\n> You look at the photo\nWhich do you mean, the photo of the cat looking through the window or the photo of the bird cage?\n\n> You examine cross\nThis is a nice little cross for a table. Nothing fancy.\n\n> You take the cross\nTaken.\n\n> You take the photo of the photo of the cat\n(with the Polaroid camera)\nA photo of a photo would be a waste of time. Useless clutter.\n\n> You take photo of the camera\n(with the Polaroid camera)\nYou'll need a mirror if you're really serious about that.\n\n> You take the photo of yourself\n(with the Polaroid camera)\nYou snap a picture of yourself. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You examine the photo of yourself\nIt turns out it's not that easy taking a photo of yourself with a Polaroid camera. The picture came out slightly blurry; you're not sure if it's because you weren't holding the camera still, or because it\nwas too close to your face."
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, teenage protagonist, religion, photography, ghost hunt]\n\n> Look around\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> You look at the poster\nThe Ten Commandments are retold here by little cartoon children, in language appropriate to the target demographic: \"Thou shalt not covet thy neighbour's house, thou shalt not covet thy neighbour's wife,\" etc., becomes \"Don't be jealous of what other people have.\"\n\nAs rusty as you are in this area, you can't remember which commandment is the one about adultery. It must be the seventh one, which is translated here as \"Be faithful and loyal.\"\n\n> You examine the altar\nAs altars go, it is fairly tacky: sponge-painted to simulate age, draped with an excessively ornate doily.\n\n> You take the doily\nThat's hardly portable.\n\n> Go west\nYou turn the lights off in the Sunday School room.\n\nYou flick the hallway light switch on, but nothing happens. In the\nend, you turn the Sunday School room lights back on so you can see\nwhat you're doing.\n\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. A huge figure looms out of the shadows\u2014no, wait, it's just a plywood image of a lighthouse. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\nA movement catches your eye. Some tiny lights seem to be floating at the far end of the hall, flickering occasionally.\n\n> You take the photo of the lights\n(the flickering lights with the Polaroid camera)\nYou snap a picture of the flickering lights. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You examine the photo of the lights\nBlue lights trail across the photograph, bright against the darkness\nof the hallway.\n\n> You turn off the lights\nWhich do you mean, the light switch or the flickering lights?\n\n> You turn off the light switch\nThe lights are already off.\n\n> You examine the flickering\nThe lights float across the ceiling like rings of blue smoke, blinking in and out to a frantic, inaudible rhythm.\n\n> You examine the mural\nWhich do you mean, the little children or Jesus?\n\n> You examine the jesus\nAs is traditional, Jesus is depicted with very long hair, a white robe and a beatific smile.\n\n> You look at the little children\nHappy little children of various ethnic backgrounds are crowded around Jesus.\n\n> You examine the lighthouse\nThe piece of plywood is about eight feet tall and an inch thick. A minimum of detail has been painted on to convey that this tapered rectangle is supposed to be a lighthouse. There are no supports; it's just propped up against the wall.\n\n> You move the lighthouse\nYou get the feeling that if you tried to move this thing anywhere, it would fall on top of you and snap in half."
    },
    {
        "text": "[Themes: Slice of life, Mystery, Religious, mystery, religion, Christianity, teenagers, church]\n\n> Describe the surroundings\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. The plywood lighthouse, on the other hand, peacefully fails to provide any light. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\nA movement catches your eye. Some tiny lights seem to be floating at the far end of the hall, flickering occasionally.\n\n> You go north\nThe tiny lights to the north continue to drift aimlessly. Thanks to\nthe light filtering in from the south end of the hall, you can make\nout some kind of mural painted on the wall, but you can't tell what it's supposed to represent in the gloom.\n\n> You look at the mural\nWhich do you mean, the swathe of yellow, the indistinct smear, or the bluish blob?\n\n> You examine the yellow\nIt's too dark here to make out any details.\n\n> Blob\n(with the Polaroid camera)\nThe camera hums and drops an indistinct photograph into your hand.\n\n> You look at the photo\nWhich do you mean, the photo of the cat looking through the window,\nthe photo of the bird cage, the photo of you taking a photo of yourself, the photo of the flickering lights, or the photo of\ndarkness?\n\n> You go north\nThe flickering lights are only a little way to the north now. Otherwise, it's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> You look up flash\n(looking up \"flash\" in Casey's notes)\nThere isn't enough light for you to read Casey's notes here.\n\n> Go west\n(first opening the west storage room door)\n\nIt is pitch dark, and you can't see a thing.\n\n> Go east\nYour flailing about in the dark eventually discovers a door.\n\nThe flickering lights are only a little way to the north now. Otherwise, it's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> Go east\n(first opening the east storage room door)\n\nIt is pitch dark, and you can't see a thing.\n\n> Go north\nAs you approach the lights, they flicker one more time and vanish, leaving you in complete darkness.\n\nIt is pitch dark, and you can't see a thing except for the dim light trickling in from the south end of the hallway.\n\n> Go north\nIt's too dark to see where you're going. A dim light from the south\nend of the hallway shows you the way back, but if you wander around at random you're probably just going to walk into walls.\n\n> Go south\nYou run a hand along the wall to help you find your way, and your fingers trail through something cold and slimy. Ugh, now it's on your hand.\n\n> Go south\nIt's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> You go to the south\nThanks to the light filtering in from the south end of the hall, you can make out some kind of mural painted on the wall, but you can't\ntell what it's supposed to represent in the gloom.\n\nA little ectoplasm drips off your fingers.\n\n> You go to the south\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. The plywood lighthouse, on the other hand, peacefully fails to provide any light. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\nThe cat is sitting in the middle of the room, staring at you.\n\nto the east.\n\n> You examine ectoplasm\nThe ectoplasm is pale gray, thick and gooey.\n\n> You taste it\nHow do ghosts produce ectoplasm anyway? You're not sure it's something you want to put in your mouth.\n\nYour fingers itch where the ectoplasm is clinging to them.\n\n> You smell it\nThe ectoplasm smells bitter and unnatural.\n\nYou're about to adjust the camera strap around your neck, but catch yourself just before you smear the ectoplasm on it.\n\n> Inventory\nYou are carrying:\nsome ectoplasm (stuck to your fingers)\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You drop the ectoplasm\nIt clings to your fingers stubbornly.\n\n> You wipe the ectoplasm\nThere's nowhere to wash your hands here. You're briefly tempted to\nwipe the goo off on your jeans, but catch yourself in time.\n\n> Go east\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe cat is sitting in the middle of the room, staring at you.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> You examine the cat\nThe cat is almost completely white, except for a small black spot on the end of its tail. When it sees you looking at it, it narrows its pale blue eyes at you.\n\nThe cat wanders off to the north, glancing back at you as if to check whether you're following.\n\n> You look up the bathroom\nWhich do you mean, men's restroom or ladies' restroom?\n\n> You look upthe ladies' restroom\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Well, Robin. I actually explored the ladies' restroom briefly, during a game of Sardines. But then, because of events that transpired, the ladies' restroom was declared to be off-limits. And shortly after\nthat, because of fairness, the men's restroom was declared to be off-limits as well. For Sardines purposes at least.\"\n\n> You look up the Sardines\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Sardines is this awesome game we Christian Youth play instead of Romans and Christians now. In Sardines, a person hides somewhere and then everyone else looks for that person and when you find them you have to get in the hiding place and hide with them. It is fantastic. It's a lot less hectic than Romans and Christians.\"\n\n> You look up Romans and Christians\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Romans and Christians is the game we used to play at church. The\nrules were, you had two Romans, and everyone else was the Christians, and the Christians just ran around the church in the dark while the Romans tried to catch them and take them to the Jail, which was a couch. If there are any other rules then I'm forgetting them.\n\n\"The excitement of being actively chased around the church caused a\nlot of Christians to kinda lose their heads and occasionally break stuff, so we started playing Sardines instead.\"\n\n> You look up lions\n(looking up \"lions\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up mural\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I volunteered to paint a mural in the basement, and Patrick the youth leader gave me permission, so I painted a mural of the Four Beasts\n(the man and the lion and the ox and the eagle) and it was a GREAT MURAL but once they saw it they went ahead and covered it up with JONAH.\""
    },
    {
        "text": "> Describe the surroundings\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> You look up lighthouse\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The lighthouse symbolizes how the church is a beacon of guidance to the rest of the world. I don't mean my church specifically, I mean all of Christianity. Or at least Methodists.\"\n\n> You go to the east\nA large part of this room is taken up by a rickety ping pong table. Couches line the edges of the room, some of them close enough to the table that they're probably not safe to sit on if someone is actually playing ping pong. On the other hand, you can't see any ping pong bats anywhere, so maybe that's not an issue. In between the couches, doors lead north to the nursery, west to the Sunday School room, and south.\n\nA garish golden trophy catches your eye.\n\n> You go south\nYou turn the lights off in the youth room.\n\nYou flip the light switch, but the only things that light up are your shirt and your socks.\n\nThe black walls in here have been painted with Bible verses that glow underneath the UV lights. The couches are glowing, too; unsettlingly green. The door to the north, on the other hand, is barely visible.\n\nPropped up in one corner is a rough wooden cross.\n\n> You examine ectoplasm\nThe ectoplasm is pale gray, thick and gooey.\n\n> You examine the cross\n(the small white cross)\nThis is a nice little cross for a table. Nothing fancy.\n\n> You examine the wooden cross\nYou have to guess that whoever constructed this cross purposefully chose the roughest, most splintery lumber available.\n\nAround the center plank (which is twice as tall as you are), on top of the crossbar, is a \"crown of thorns\" made from rusty barbed wire.\n\n> You examine the notes\nThe notebook is thick, and as you flick through the pages, it looks like it's nearly full. Surely Casey didn't make notes about\neverything in the church? How long did he spend on this\nanyway?\n\nThere's way too much information here to sit down and read it all at once, but you can look up anything you want to know about.\n\n> You look up jonah\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I volunteered to paint a mural in the basement, and Patrick the youth leader gave me permission, so I painted a mural of the Four Beasts\n(the man and the lion and the ox and the eagle) and it was a GREAT MURAL but once they saw it they went ahead and covered it up with JONAH.\"\n\n> You look up patrick\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Patrick the youth leader is Grace's youth leader currently. In the distant past there was a different, previous youth leader, but we\ndon't talk about her.\n\n\"Actually, I'm looking over the other notes I've written and it looks like I've probably said too much about Patrick the youth leader too.\"\n\n> You look up jennie\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I don't know how much you already know about the ghost in the church so I'll give you the whole story. Jennie Bancroft is the name of the\nghost that haunts Grace United Methodist. She used to be alive, but then she died, in or around the church, sometime in the distant past.\nI keep meaning to look up when she died but I haven't had time.\n\n\"When people see her, she looks like a teenage girl in pigtails. I don't think she shows up covered in blood or anything like that; she's just a sad girl. Obviously a lot of the time she's invisible though.\n\n\"Some of the evidence that we have for her existence includes:\n\n- sounds of footsteps and a girl crying when nobody else is in the church\n- cold spots in rooms, rooms that suddenly become cold for no reason\n- stuff goes missing, then shows up again\n- you see someone at the end of the hallway but when you get to the\nend of the hallway there's nobody there\n- basically everybody has seen her out of the corner of their eye at some point\n\n\"Debate continues on the subject of how Jennie died. Popular theories state that she jumped off of the church steeple, or she drank poison, or used a space heater to carbon monoxide herself. According to one explanation she died accidentally, because she was using a Ouija\nboard, but that theory is idiotic. Jennie Bancroft definitely\ncommitted suicide, and it was definitely because of a boy she was in love with.\"\n\n> You go to the north\nA large part of this room is taken up by a rickety ping pong table. Couches line the edges of the room, some of them close enough to the table that they're probably not safe to sit on if someone is actually playing ping pong. On the other hand, you can't see any ping pong bats anywhere, so maybe that's not an issue. In between the couches, doors lead north to the nursery, west to the Sunday School room, and south\nto the black light room.\n\nA garish golden trophy catches your eye.\n\nYou hold your gooey hand out, away from your body, so as not to get\nany ectoplasm on your clothes.\n\n> You go north\nYou turn the lights off in the youth room.\n\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits\nunderneath them. It's already dark outside, and the doors west to the basement stairway and south to the youth room are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when\nyou finish your investigation.\n\nSharon's makeshift bed doesn't look comfortable, but apparently she's fast asleep anyway.\n\n> Go south\nA large part of this room is taken up by a rickety ping pong table. Couches line the edges of the room, some of them close enough to the table that they're probably not safe to sit on if someone is actually playing ping pong. On the other hand, you can't see any ping pong bats anywhere, so maybe that's not an issue. In between the couches, doors lead north to the nursery, west to the Sunday School room, and south\nto the black light room.\n\nA garish golden trophy catches your eye.\n\n> Go west\nYou turn the lights off in the youth room.\n\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> Go north\nYou switch the lights on in the next room.\n\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north. Mounted on the wall is a gigantic abstract painting.\n\n> You examine the painting\nThe piece is very pleasant, if not particularly interesting: the inoffensive greens and pinks could suggest river waters, or branches waving in the wind. Its size is probably its most impressive quality.\n\nYour fingers itch where the ectoplasm is clinging to them.\n\n> Go north\nYou turn the lights off in the basement stairway and switch the lights on in the next room.\n\nAll of a sudden you feel very claustrophobic. This must be a fairly large room, but most of the space is given over to snaking pipes, anonymous machinery, and the church's giant boiler.\n\nA little ectoplasm drips off your fingers.\n\n> You go south\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north to the boiler room. Mounted on the wall is a gigantic abstract painting.\n\n> Up\nThis room forms a sort of nook off the fellowship hall to the south. A wide flight of stairs leads down to the basement. There are doors to the north, northeast and southeast; according to the plaques on them, they open onto the pastor's office, the men's restroom and the ladies' restroom respectively.\n\nA vast framed poster is hanging on the wall in between the restroom doors, and in the middle of the room, directly facing the poster, is a wooden bench.\n\n> You go to the south-east\nThe door swings shut behind you.\n\nA restroom in a church is about the same as any other restroom. You have your stalls, your sinks, your mirrors, your garbage can.\n\n> You wash up\nYou must name something more substantial.\n\n> Wash\nWhat do you want to wash?\n\n> Hands\nYou scrub your hands until every trace of ectoplasm is gone.\n\n> You look in the mirror\nYour own face peers back at you.\n\n> You take photo of camera\n(with the Polaroid camera)\nYou aim the camera at the ladies' room mirrors and take a photo of the reflection.\n\n> About yourself\nYou are Robin Monaghan, high school junior, associate reporter for the West High Warbler. You are not overly fond of churches, and\nyou have never claimed to believe in ghosts, but here you are.\n\n> You examine photo\nWhich do you mean, the photo of the cat looking through the window,\nthe photo of the bird cage, the photo of you taking a photo of yourself, the photo of the flickering lights, the photo of darkness,\nor the photo of the ladies' room mirrors?\n\n> You look at the can\nThe cleaner must have been in recently, because the garbage can is empty.\n\n> You look at the photo of the mirrors\nIt's a photo of the ladies' room mirrors. The reflection in it shows you holding the camera up to your face.\n\n> You examine the photo of the darkness\nThe photo is just a black rectangle. There are maybe some lighter smudges of black here and there, but you can't tell what it's supposed to be.\n\n> You examine the stalls\nThey look like restroom stalls you'd see anywhere else.\n\n> You look at the sinks\nThe sinks are typical sinks.\n\n> Go outside\nThe door swings shut behind you.\n\nThis room forms a sort of nook off the fellowship hall to the south. A wide flight of stairs leads down to the basement. There are doors to the north, northeast and southeast; according to the plaques on them, they open onto the pastor's office, the men's restroom and the ladies' restroom respectively.\n\nA vast framed poster is hanging on the wall in between the restroom doors, and in the middle of the room, directly facing the poster, is a wooden bench.\n\n> You look at the poster\nThe poster is a vast glossy print of a bald eagle gliding through a bright blue sky. In a corner of the sky, a Bible verse is printed:\n\"But they that wait upon the LORD shall renew their strength; they shall mount up with wings as eagles. Isaiah 40:31.\"\n\n> You examine the bench\nThe bench seems to have been made in a deliberately rustic style, with heavy timber beams. It doesn't look very comfortable.\n\n> You get the poster\nIt's really too big to carry around with you.\n\n> You go to the north\nThe door to the pastor's office is locked.\n\n> Go south\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\n> You look up office\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"You used to be able to get into the pastor's office all the time, back\nwhen Patrick the youth leader had his own sub-office at one end of the room where he had free candy. But that was a security risk apparently, so they locked up the pastor's office and Patrick the youth leader had to move his office to his truck.\"\n\n> You examine model\nIt can't be a model of this church; it's the wrong shape. There's an incredible level of detail, though, from the tiles in the roof to the tiny people on the sidewalk. The double doors in front are open, and you can barely make out the shapes of little pews inside.\n\n> You look at the pews\nThere really are tiny pews in there. How much more furniture is under that roof?\n\n> You examine the case\nThe case itself is mounted in a pedestal about three feet high. You notice that there are numerous fingerprints caked onto the glass.\n\nIn the glass case is a model church.\n\n> You examine the fingerprints\nThey're mostly children's fingerprints, but some of these were left by adults.\n\n> You look up the fingerprints\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The model church is a model of some other church. I think it used to be inside of that church, but it got torn down, or they went bankrupt,\nand the model ended up in our church. It's kind of a creepy object, though. The guy who made it was clearly way too obsessed with his church.\"\n\n> You take the photo of the fingerprints\n(with the Polaroid camera)\nYou snap a picture of the model church. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You look at the photo of the church\nIt's a photo you took of the model church.\n\n> Go east\nkitchen, only more so. Long countertops line the walls, with cupboards and drawers underneath them. A break in the counters allows you to leave the kitchen via the door to the west, and on the far side of the room a sink is set into the counter.\n\nA sturdy box is sitting on the floor in the corner, with some cans in it.\n\nSomebody forgot to put away an empty jam jar.\n\n> You get all\norange box: Taken.\nempty jam jar: Taken.\ndishes: You restack a few of the dishes, but the cupboards don't look any more organized.\ncutlery: The sheer number and variety of utensils in the drawers paralyzes your ability to choose any individual item.\ndish towels: You can't bring yourself to disturb the perfectly folded dish towels.\ncan of tomato soup: Stolen.\ncan of pears: Stolen.\ncan of \"Sugarman's Potted Meat Food Product\": Stolen.\ncan of cherry pie filling: Stolen.\ncan of tuna: Stolen.\ncan of chicken soup: Stolen.\ncan of peaches: Stolen.\ncan opener: Taken.\n\n> You look at the jar\nThe jar has lost its lid, but it appears to be clean and sterile anyway.\n\n> You put the cans in the box\ncan of tomato soup: Your conscience gets the better of you, and you return the can of tomato soup to its original location.\ncan of pears: Your conscience gets the better of you, and you return the can of pears to its original location.\ncan of \"Sugarman's Potted Meat Food Product\": Your conscience gets the better of you, and you return the can of \"Sugarman's Potted Meat Food Product\" to its original location.\ncan of cherry pie filling: Your conscience gets the better of you, and you return the can of cherry pie filling to its original location.\ncan of tuna: Your conscience gets the better of you, and you return\nthe can of tuna to its original location.\ncan of chicken soup: Your conscience gets the better of you, and you return the can of chicken soup to its original location.\ncan of peaches: Your conscience gets the better of you, and you return the can of peaches to its original location.\n\n> Examine box\nAn old label on the box says \"Navel Oranges\", but someone has written \"FOOD BANK\" over that. Apparently they thought they'd need a good sturdy crate for all the Food Bank donations they'd get.\n\nIn the orange box are a can of peaches, a can of chicken soup, a can\nof tuna, a can of cherry pie filling, a can of \"Sugarman's Potted Meat Food Product\", a can of pears, and a can of tomato soup.\n\n> You examine the tuna\nThe label says this is twelve ounces of chunk tuna, in water.\n\n> You look at the opener\nIt looks to be tolerably clean.\n\n> You look up kitchen\nThe jar has lost its lid, but it appears to be clean and sterile anyway.\n\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"If you've seen Jurassic Park then the kitchen is really scary in\nthe dark. If you haven't seen Jurassic Park then you should\nget around to that.\"\n\n> You look up the jurassic park\n(looking up \"jurassic park\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up the food drive\n(looking up \"food drive\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up Food Bank\n(in Casey's notes)\nOn the subject of canned food Casey writes, \"I'm pretty sure the\npeople who are supposed to be in charge of donating stuff to the Food Bank are really disorganized, because you always see spare cans of stuff lying around. Or maybe some of the cans were rejected by the\nFood Bank. I don't know how it works.\"\n\n> You open the cupboard\nYou peek inside a random cupboard and find a large number of plates piled inside.\n\n> Inventory\nYou are carrying:\na can opener\nan empty jam jar\nan orange box\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You get the tuna\nStolen.\n\n> You open the drawers\nYou pull open a random drawer for a moment, revealing an assortment of dish towels."
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, mystery, Christianity, teenage protagonist, female protagonist, ghost hunt, religion, church, cat]\n\n> Describe the surroundings\nkitchen, only more so. Long countertops line the walls, with cupboards and drawers underneath them. A break in the counters allows you to leave the kitchen via the door to the west, and on the far side of the room a sink is set into the counter.\n\n> You examine sink\nIt's a big sink, capable of handling the influx of dirty dishes that church functions undoubtedly generate.\n\n> You look at the jar\nThe jar has lost its lid, but it appears to be clean and sterile anyway.\n\n> You go to the west\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\n> Go west\nThe main entryway to the church, this room has been set up to be as welcoming as possible. A rack of pamphlets sits in the center of a large table, flanked by pots of fake flowers. Lying open on a podium\nis a huge Bible. Pinned up on one wall is a board full of name tags.\n\nTo the east is the fellowship hall, and the large passage to the north obviously leads to the main sanctuary. The way out of the church is south of here, but that's none of your concern currently.\n\n> You examine Bible\nThe Bible is obviously a well-respected object around here, but it's not a mere display piece; the pages have been creased and scuffed by continuous use.\n\n> You examine tags\nThere must be a name tag on here for everybody who's ever set foot in this church. There's Casey's, and there's Orchid's, and this one says \"Robin\"\u2014but they must mean some other Robin.\n\n> You look up the tags\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"When the new pastor came, he insisted that everybody wear name tags all the time, but that didn't last long. Name tags are a pain.\"\n\n> You get Bible\npodium.\n\n> You open Bible\nIt's already open.\n\n> Turn page\nYou flip aimlessly through the book, and eventually your gaze lands on a passage: \"Therefore, one who speaks in a tongue should pray for the power to interpret. For if I pray in a tongue, my spirit prays but my mind is unproductive.\"\n\n> Turn page\nYou flip aimlessly through the book, and eventually your gaze lands on a passage: \"But there are also many other things that Jesus did; if every one of them were written down, I suppose that the world itself could not contain the books that would be written.\"\n\n> You wear the tag\n(first taking the name tag)\nYou pull the name tag labeled \"Robin\" off of the board, even though it couldn't possibly be for you.\n\nYou pin the name tag on.\n\n> You read it\nOne pamphlet is titled \"Meaningful Relationships?\".\n\n> You read the pamphlets\n\"Please Take One!\" reads the cursive text at the bottom of the rack, but none of the pamphlets succeeds in engaging your curiosity. You've never been afflicted with any of the problems they purport to solve.\n\n> Go north\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless. Orchid hasn't turned the lights on either; you can barely make out anything in the gloom.\n\nOrchid comes over to meet you. \"I didn't find anything up here,\" she says, \"how about you?\"\n\n> You show photo of the lights to Orchid\nHer eyes widen at the photo of the flickering lights. \"Wow, Robin,\"\nshe says, \"that's great, good work! That definitely looks paranormal\nto me.\"\n\nBefore you can say any more, Orchid gasps and points upwards.\nSomething is floating near the ceiling, glowing faintly\u2014a pale figure in a wispy dress.\n\n> You take the photo of the figure\n(with the Polaroid camera)\nYou snap a picture of the ghostly figure. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\nThe ghostly figure hovers silently in the air.\n\n> You look at figure\npigtails, just like Casey said. You can't make out the expression on her face, but she's holding her hands out as if she's reaching for something or asking for something.\n\nThe figure drifts towards the ground and glides northward towards the altar.\n\n> You examine the photo of the figure\nIt's too dark here to make out any details.\n\nOrchid hisses, \"What are you waiting around for? Get some more photos of the ghost!\"\n\nThe figure drifts northwards through a small door behind the altar.\n\n> Go north\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\n> Go north\nYou catch just a glimpse of the ghost in the darkness before it floats towards the back wall and vanishes. When you switch the light on, the room is empty.\n\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> You look at what you're carrying with you\nYou are carrying:\na name tag (being worn)\na can of tuna\na can opener\nan empty jam jar\nan orange box\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You get the ectoplasm with the jar\nYou carefully scoop a sample of the ectoplasm into the jar.\n\n> Lick ectoplasm\nYou touch the ectoplasm gingerly with the tip of your tongue. The bitter tang makes you gag.\n\n> You eat the ectoplasm\n(first taking the ectoplasm)\nYou've already collected some ectoplasm.\n\n> Smell ectoplasm\nThe ectoplasm smells bitter and unnatural.\n\n> You touch the ectoplasm\nYou prod the ectoplasm gingerly, then rub it between your fingers.\nIt's thick and gooey, with a slightly oily texture. And now it's all over your hand again.\n\n> Open chest\nYou open the huge wooden chest.\n\n> You look in the chest\nThe huge wooden chest is empty."
    },
    {
        "text": "[Themes: Religious, Slice of life, Mystery, religion, teenage protagonist, teenagers, female protagonist, mystery]\n\n> Look around\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> You enter the chest\nYou lie down inside the chest, and notice that there's plenty of space inside. It's not a bad spot.\ninside. It's not a bad spot.But there's no time for napping now.\n\nYou pull yourself out of the box.\n\n> Close chest\nYou close the huge wooden chest.\n\n> You look at the panels\nLooking closely at the walls, you realise that one of the panels on\nthe wall is sitting slightly further forward than the others.\n\n> You open panel\nYou're not quite sure how to open the panel, or even if it can be opened. You jiggle it experimentally and it shifts a little.\n\n> You pull the panel\nYou grab the edges of the panel and try to pull it towards you.\n\nNothing much seems to happen at first, but then the panel shifts\nupward and slides to the side. Behind it a narrow tunnel leads downwards. You open and close the panel a few more times to make sure you know how it works, and then leave it open.\n\n> You go to the south\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\n> You get the candles\nWithout something to light them with, these candles are just sticks. Not worth carrying around.\n\n> You light them\nThis dangerous act would achieve little.\n\n> You examine the cross\n(the small white cross)\nThis is a nice little cross for a table. Nothing fancy.\n\n> You examine the large cross\nIt must be fifteen feet from top to bottom. The wood is smooth, and\nthe proportions are graceful. Aesthetically speaking, it is a very pleasant object.\n\n> You examine the altar\nA simple beige table. On the side facing the congregation is an insignia with the letters \"IHS\".\n\nOn the altar are two candles.\n\n> You look up uv\n(looking up \"uv\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You examine the flag\nWhich do you mean, the American flag or the Christian flag?\n\n> You examine the american\nAlthough it's lying furled against its post, you can easily tell that this is an American flag. This one has tassels around the edges, and\nan eagle figurine is perched at the top.\n\n> You examine the christian flag\nYou assume it's the Christian flag, because there's a red cross near the top, but you've never seen such a flag anywhere else.\n\n> You examine the pulpit\nThe lectern stands on the stage-left end of the platform. The\nausterity of its design is diminished somewhat by the microphone sticking out of the top.\n\n> You speak into microphone\n(to yourself)\nYour voice echoes in the empty room.\n\n> You examine the microphone\nThe controls for the mic must be somewhere else. You don't see an on/off switch.\n\n> You examine the pews\nThe benches are like dense underbrush: something could be hiding anywhere.\n\n> You go to the south\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\n> You examine the windows\nSome of the designs are purely abstract, but you notice a dove, a\nlion, a lamb, and what looks like an elk.\n\n> You examine the elk\nThe elk is looking to the side, as if ready to take on some unseen assailant.\n\n> You look at the dove\nThe dove is flying downward, its wings outstretched.\n\n> You look at the lion\nThe lion is looking out into space with one paw raised.\n\n> You look at the lamb\nThe lamb is sitting down, its eyes closed.\n\n> You look at what you're carrying with you\nYou are carrying:\na name tag (being worn)\na can of tuna\na can opener\na jam jar\nsome ectoplasm\nan orange box\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You examine the desk\nYou saw one of these in a movie once. The top recedes into the back of the desk, and you can hide a convict inside.\n\n> You open the desk\nYou try to pull back the top of the desk, but it's locked down.\n\n> You look up orchid\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Here's an anecdote about Orchid. This happened just recently. I\ndidn't tell you, because I wanted to save it for here. Okay:\n\n\"I'm at school after hours because of rehearsals. But we're still in the fairly lazy stage of the production, so there's lots of time to just goof off around the school. So while the underclassmen are\nsitting around in the hall running lines, I head up to the drama office, because there are donuts there.\n\n\"But Orchid and Aiden Kingsley are already up in the office, and as soon as I poke my head in Orchid looks up and says 'Actors only, please!' and I'm like 'Actually, I am an actor,' and she says, 'Well, you know what I mean.'\n\n\"No, Orchid! I do not have the slightest idea what you mean. I would have just grabbed a donut and left, but you're not allowed to take the donuts out of the drama office, so I just left.\n\n\"I wouldn't say I hate Orchid. Hate is a very strong word. I\ncompletely hate Aiden, though.\"\n\n> Up\nFrom here, you could head north to the altar, south to the narthex,\nand east.\n\n> S then east\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\n> Up\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\n> You examine the projector\nA strong metal cage protects the projector from careless and/or malevolent handling.\n\n> You look at the pews\n(the balcony pews)\nThere are only a few rows of pews up here, mounted on a series of\nsteps so the people at the back can still see down to the altar.\n\n> You look at the cables\nIt's hard to tell what this stuff is for with it all tumbled into a heap like that. There are some metal bars, and some pulleys and\nthings, and a lot of tangled cables connecting things together.\n\n> You search the pews\n(the balcony pews)\nThere is nothing on the balcony pews.\n\n> You search cables\nYou try to disentangle some of the cables but it's all too mixed up. You sort out one bit and the rest just gets knottier.\n\n> You examine the trapdoor\nThe trapdoor is set into the ceiling, well above your head. The cord\nto pull it down seems to have got caught in the door, and only a small loop is visible on this side.\n\n> You look at the cord\nThe cord to open the trapdoor is caught up in the door. You can just see a small loop sticking out between the ceiling and the edge of the trapdoor, well out of reach.\n\nThe cat trots up the stairs and mews at you.\n\n> Pet cat\nThe cat dodges your hand and bounds off downstairs.\n\n> You feed the cat\nWhat do you want to feed the cat?\n\n> Go east\nFrom here, you could head up and down to the the balcony stairwell.\n\n> Down\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\nto the west.\n\n> You go to the west\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\nThe cat wanders off to the north, glancing back at you as if to check whether you're following.\n\n> You go south\nThe main entryway to the church, this room has been set up to be as welcoming as possible. A rack of pamphlets sits in the center of a large table, flanked by pots of fake flowers. Lying open on a podium\nis a huge Bible. Pinned up on one wall is a board full of name tags.\n\nTo the east is the fellowship hall, and the large passage to the north obviously leads to the main sanctuary. The way out of the church is south of here, but that's none of your concern currently.\n\n> You go to the east\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits\nunderneath them. It's already dark outside, and the doors west to the basement stairway and south to the youth room are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when\nyou finish your investigation.\n\nSharon's makeshift bed doesn't look comfortable, but apparently she's fast asleep anyway.\n\n> Sleep\nBefore you get into your sleeping bag, you quickly review the evidence you've collected. Are you sure you have everything you need for the story?\n\n> Yes\nYou put your belongings aside and snuggle down in the sleeping bag.\n\n> You open the tuna\nAfter a few moments' work with the can opener, the can is open, revealing a pungent mass of tuna.\n\n> You look at the trapdoor\nThe trapdoor is set into the ceiling, well above your head. The cord\nto pull it down seems to have got caught in the door, and only a small loop is visible on this side.\n\nThe cat trots up the stairs and mews at you.\n\n> You give the tuna to the cat\n(the open can of tuna to the cat)\nThe cat dodges your hand and bounds off downstairs.\n\n> You eat the tuna\n(the open can of tuna)\nYou definitely aren't desperate enough to start eating tuna straight from the can.\n\n> Up\n(first opening the trapdoor)\nThe pull-cord is caught up in the trapdoor, and you're much too short to reach it.\n\n> You look up trapdoor\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The trapdoor goes up into the steeple. Nobody uses it, because like I\nsaid, the steeple is super dangerous.\"\n\n> You look up cat\n(in Casey's notes)\nYou riffle through the notes, but it looks like Casey didn't have anything to say about the cat.\n\n> You look up altar\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Many church enthusiasts use the word \"altar\" to refer not only to the little table with the candles, but also to the raised area at the\nfront of the sanctuary where the little table with the candles is located. This practice is completely incorrect and extremely stupid. The raised area is called a 'raised area' or I guess maybe a 'stage'.\"\n\n> You look up dais\n(looking up \"dais\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You put the tuna in the cage\n(the open can of tuna in the bird cage)\nThe bird cage seems to be welded closed. It must be purely decorative."
    },
    {
        "text": "> Go downwards\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\nThe cat watches you for a moment, but runs off to the west before you can get near it.\n\n> You look at the plant\nThe plant is a tiny potted palm. It's fake, but that's fair enough. It's not like there's enough light in here for a real palm tree to flourish.\n\n> You look up the secret passage\n(looking up \"secret passage\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You move the plant\nNothing obvious happens.\n\n> Go upwards\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\n> You examine the cage\n(the bird cage)\nThe curving faux-wrought-iron bars and caked-on \"rust\" identify this\nas one of the non-functioning, overpriced decorations which are so popular in craft stores. What does a Sunday School need with a bird cage?\n\n> You look up projector\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Someone donated money for a projector to the church, and it caused this big kerfuffle in the Board of Trustees because they didn't really want a projector. But they couldn't spend the money on anything else, so now we have a projector that we never use!\"\n\n> You open that the cage\nThe cage is locked, presumably to stop people like you from messing with the projector."
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, teenage protagonist, Christianity, female protagonist, mystery, ghost hunt]\n\n> Go downward\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\n> Go west\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\n> Go north\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> You look at the hymnals\none-foot cube. It's actually very pleasant to see such an orderly display.\n\n> You read the hymnal\nYou flip one hymnal open to a random song. This one's called \"Great Is Thy Faithfulness\".\n\n> You read the hymnal\nYou flip one hymnal open to a random song. This one's called \"O Come,\nO Come, Emmanuel\".\n\n> You stand on the hymnals\nYou step up onto the stack of hymnals, careful not to knock any of\nthem out of place.\n\n> Sing\nYou mutter the West High fight song under your breath:\n\nFight, Fight, West High\nStomp 'Em Out Like Ants\nMortify The Other Guy\nAnd Make Him Pee His Pants\n\nBut it doesn't make you feel any better."
    },
    {
        "text": "> Describe the surroundings\nBack Room (on the stack of hymnals)\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nSome more ectoplasm is smeared on the floor.\n\n> You look at the robes\nThe robes are cut from a green satin fabric; you can't imagine one looking very flattering on anybody.\n\n> You look up emmanuel\n(looking up \"emmanuel\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You stand\nYou get off the stack of hymnals.\n\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> You wear the robes\n(first taking the choir robes)\nYou pull out one robe, straighten its sleeves, and put it back.\n\n> You look up the hymn\n(looking up \"hymn\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You get the robe\nYou pull out one robe, straighten its sleeves, and put it back.\n\n> You get the hymnals\nTaken.\n\n> You get the hymnals\nYou already have that.\n\n> Go upwards\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\nFrom here, you could head north to the back room and south to the sanctuary.\n\nFrom here, you could head north to the back room and south to the sanctuary.\n\n> You stand on the hymnals\nYou can only get into something free-standing.\n\n> You drop the hymnals\nYou place the stack of hymnals carefully on the floor.\n\n> You stand on the hymnals\nYou step up onto the stack of hymnals, careful not to knock any of\nthem out of place.\n\n> Up\n(first opening the trapdoor)\nEven standing on the stack of hymnals, your fingers are still are long way from reaching the loop of cord.\n\n> You put hymnals on the cage\n(the bird cage)\nYou lack the dexterity to balance the stack of hymnals on the bird\ncage while you're still holding the bird cage.\n\n> You put the hymnals on that the cage\nYou went to a lot of trouble to collect that ectoplasm. Better not leave it lying around.\n\n> You jump\nYou jump, miss the pull-cord, and almost fall off the stack of\nhymnals. You know, maybe there's a safer way to reach the cord.\n\n> You drop the cage\n(the bird cage)\nYou can't just drop the bird cage on the floor. What if someone steps on it or trips over it?\n\n> You put the cage on the hymnals\n(the bird cage on the stack of hymnals)\nThere isn't really room for both you and the bird cage on the stack of hymnals.\n\n> You stand\nYou get off the stack of hymnals.\n\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see a stack of hymnals here.\n\n> You pull the cord with the cage\n(the bird cage)\nThe bird cage really isn't a suitable tool for opening the trapdoor.\n\n> You put the cage on the hymnals\n(the bird cage on the stack of hymnals)\nYou put the bird cage on the stack of hymnals.\n\n> You stand on the cage\n(the projector)\nThat's not something you can stand on.\n\nThe cat trots up the stairs and purrs at you.\n\n> You stand on the birdcage\nThat's not something you can stand on.\n\nThe cat bounds downstairs.\n\n> Inventory\nYou are carrying:\na name tag (being worn)\nan open can of tuna\na can opener\na jam jar\nsome ectoplasm\nan orange box\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You put the box on the hymnals\n(the orange box on the stack of hymnals)\nYou put the orange box on the stack of hymnals.\n\n> You turn the box over\n(the orange box over)\nYou pick up the stuff in the orange box and turn it upside down.\n\n> You stand on the box\n(getting onto the stack of hymnals)\n\nYou step up onto the stack of hymnals, careful not to knock any of\nthem out of place.\n\nYou step up onto the upside-down orange box.\n\n> You reach the cord\nWhat do you want to reach the pull-cord with?\n\n> Hand\nEven standing on the upside-down orange box, your fingers are still\nare long way from reaching the loop of cord."
    },
    {
        "text": "> You look around\nBalcony (on the upside-down orange box) (on the stack of\nhymnals)\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nOn the stack of hymnals you can see a bird cage.\n\n> You put the hymnals on the box\nWhich do you mean, the upside-down orange box or the upside-down\norange box?\n\n> You get the box\nYou'd have to get off the upside-down orange box first.\n\n> You stand\nYou get off the upside-down orange box.\n\nBalcony (on the stack of hymnals)\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nThe orange box is sitting upside down on the floor.\n\nOn the stack of hymnals you can also see a bird cage.\n\n> You get all\nstack of hymnals: You'd have to get off the stack of hymnals first. tangle of bars and cables: You try to disentangle some of the cables but it's all too mixed up. You sort out one bit and the rest just gets knottier.\nupside-down orange box: Taken.\nbird cage: Taken.\nmass of tuna: You've already had one gross substance all over your hands tonight.\n\n> You stand\nYou get off the stack of hymnals.\n\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see a stack of hymnals here.\n\n> Drop box\nYou place the upside-down orange box carefully on the floor.\n\n> You put hymnals on the box\nYou put the stack of hymnals on the upside-down orange box.\n\n> You stand on the hymnals\nStanding on the hymnals is far too dangerous while they're on top of the upside-down orange box. What if the stack collapsed underneath\nyou?\n\n> You go east\nFrom here, you could head south to the youth room and west to the basement stairway.\n\n> Go south\nA large part of this room is taken up by a rickety ping pong table. Couches line the edges of the room, some of them close enough to the table that they're probably not safe to sit on if someone is actually playing ping pong. On the other hand, you can't see any ping pong bats anywhere, so maybe that's not an issue. In between the couches, doors lead north to the nursery, west to the Sunday School room, and south\nto the black light room.\n\nA garish golden trophy catches your eye.\n\n> You get the tv\nFar too heavy.\n\n> You go northeast\nAs you approach the door to the men's room, you stop yourself. Isn't this something that a creep would do?\n\nYou can put your hand on the handle, but that's as far as you get. You chide yourself for your indecision.\n\n> Go northeast\nThat's it. Enough with this cowardice.\n\nThe door swings shut behind you.\n\nYes, this is more or less what you expected.\n\nThere are some stalls, and some mirrors, and some sinks, and next to those is a garbage can. The only things you haven't seen before are\nthe urinals. Hardly worth having an ethical dilemma over.\n\n> You take the photo of the glowing tissue\n(with the Polaroid camera)\nYou snap a picture of the glowing tissue paper. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You examine glowing\nThis tissue was used to wipe up an eerie glowing substance, then\nthrown in a garbage can.\n\n> Search can\nWhich do you mean, the open can of tuna, a ladies' room garbage can, the ladies' room garbage can, the men's room garbage can, the can of tomato soup, the can of pears, the can of \"Sugarman's Potted Meat Food Product\", the can of cherry pie filling, the can of chicken soup, or the can of peaches?\n\n> You searchthe ladies' room garbage can\nThe ladies' room garbage can is empty.\n\n> You get bench\nThe bench is just as heavy as it looks.\n\n> You drop can\nWhich do you mean, the open can of tuna, the ladies' room garbage can, a ladies' room garbage can, the men's room garbage can, the can of tomato soup, the can of pears, the can of \"Sugarman's Potted Meat Food Product\", the can of cherry pie filling, the can of chicken soup, or the can of peaches?\n\n> You drop the garbage\nWhich do you mean, the ladies' room garbage can, a ladies' room\ngarbage can, or the men's room garbage can?\n\n> Ladies'\nYou place the ladies' room garbage can carefully on the floor.\n\n> You flip ladies'\nYou turn the ladies' room garbage can upside down.\n\n> You stand on the ladies'\nYou step up onto the upside-down ladies' room garbage can.\n\n> You reach\nWhat do you want to reach the glowing tissue paper with?\n\n> You stand\nYou get off the upside-down ladies' room garbage can.\n\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see an upside-down ladies' room garbage can here.\n\n> You look at the bars\nIt's hard to tell what this stuff is for with it all tumbled into a heap like that. There are some metal bars, and some pulleys and\nthings, and a lot of tangled cables connecting things together."
    },
    {
        "text": "[Themes: Religious, Slice of life, Mystery, teenagers, teenage protagonist]\n\n> You look at your surroundings\nBalcony (on the upside-down ladies' room garbage can)\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\n> You reach the cord\nWhat do you want to reach the pull-cord with?\n\n> Inventory\nYou are carrying:\na men's room garbage can\nsome glowing tissue paper\na Bible Quiz Tournament trophy\na bird cage\na can of tomato soup\na can of pears\na can of \"Sugarman's Potted Meat Food Product\"\na can of cherry pie filling\na can of chicken soup\na can of peaches\na name tag (being worn)\nan open can of tuna\na can opener\na jam jar\nsome ectoplasm\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You get the palm\nYou remove the tripping hazard from the bottom of the balcony stairs."
    },
    {
        "text": "[Themes: Mystery, Slice of life, Religious, ghost hunt, teenagers, church, female protagonist]\n\n> Go downwards\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north to the boiler room. Mounted on the wall is a gigantic abstract painting.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> You go to the west\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. The plywood lighthouse, on the other hand, peacefully fails to provide any light. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\n> You go to the north\nThanks to the light filtering in from the south end of the hall, you can make out some kind of mural painted on the wall, but you can't\ntell what it's supposed to represent in the gloom.\n\n> You examine the mural\nWhich do you mean, the bluish blob, the indistinct smear, or the\nswathe of yellow?\n\n> Inventory\nYou are carrying:\na potted plant\na men's room garbage can\nsome glowing tissue paper\na Bible Quiz Tournament trophy\na bird cage\na can of tomato soup\na can of pears\na can of \"Sugarman's Potted Meat Food Product\"\na can of cherry pie filling\na can of chicken soup\na can of peaches\na name tag (being worn)\nan open can of tuna\na can opener\na jam jar\nsome ectoplasm\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> Wave glowing\nYou look ridiculous waving the glowing tissue paper.\n\n> You go to the north\nIt's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> Go east\nYour flailing about in the dark eventually discovers a door.\n\nIt's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> You go south\nThanks to the light filtering in from the south end of the hall, you can make out some kind of mural painted on the wall, but you can't\ntell what it's supposed to represent in the gloom.\n\nThe cat strolls in from the south and purrs at you.\n\n> You drop tuna\n(the open can of tuna)\nYou place the open can of tuna carefully on the floor.\n\nThe cat wanders off to the south, glancing back at you as if to check whether you're following.\n\n> You follow the cat\n(heading south)\n\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. The plywood lighthouse, on the other hand, peacefully fails to provide any light. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\nto the east.\n\n> Again\n(heading east)\n\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe cat wanders off to the north, glancing back at you as if to check whether you're following.\n\n> Again\n(heading north)\n\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north to the boiler room. Mounted on the wall is a gigantic abstract painting.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\nThe cat scampers up the stairs.\n\n> Again\n(heading up)\n\nThis room forms a sort of nook off the fellowship hall to the south. A wide flight of stairs leads down to the basement. There are doors to the north, northeast and southeast; according to the plaques on them, they open onto the pastor's office, the men's restroom and the ladies' restroom respectively.\n\nA vast framed poster is hanging on the wall in between the restroom doors, and in the middle of the room, directly facing the poster, is a wooden bench.\n\nto the south.\n\n> Again\n(heading south)\n\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\nThe cat wanders off to the west, glancing back at you as if to check whether you're following.\n\n> Again\n(heading west)\n\nThe main entryway to the church, this room has been set up to be as welcoming as possible. A rack of pamphlets sits in the center of a large table, flanked by pots of fake flowers. Lying open on a podium\nis a huge Bible. Pinned up on one wall is a board full of name tags.\n\nTo the east is the fellowship hall, and the large passage to the north obviously leads to the main sanctuary. The way out of the church is south of here, but that's none of your concern currently.\n\nThe cat watches you for a moment, but runs off to the north before you can get near it.\n\n> Again\n(heading north)\n\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\nto the north.\n\n> Again\n(heading north)\n\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\nThe cat watches you for a moment, but runs off to the north before you can get near it.\n\n> You go south\nThe black walls in here have been painted with Bible verses that glow underneath the UV lights. The couches are glowing, too; unsettlingly green. The door to the north, on the other hand, is barely visible.\n\nPropped up in one corner is a rough wooden cross.\n\n> Inventory\nYou are carrying:\na potted plant\na men's room garbage can\nsome glowing tissue paper\na Bible Quiz Tournament trophy\na bird cage\na can of tomato soup\na can of pears\na can of \"Sugarman's Potted Meat Food Product\"\na can of cherry pie filling\na can of chicken soup\na can of peaches\na name tag (being worn)\na can opener\na jam jar\nsome ectoplasm\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You put the tissue on the light\nWhich do you mean, the light switch or the blacklights?\n\n> You put the paper under the lights\nThe lights are already on.\n\nI didn't understand that sentence.\n\n> Smell glowing\n(the glowing tissue paper)\nThe tissue has a flat, stuffy scent that makes you want to sneeze.\n\n> Photograph tissue paper\n(with the Polaroid camera)\nYou snap a picture of the glowing tissue paper. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You examine the photo of the tissue\nSomething about the lighting in the photo makes it hard to tell that the tissue paper was glowing, but the tissue has an unnatural greenish tinge to it.\n\n> You examine photos\nYou're holding ten photos:\ntwo photos of the glowing tissue paper\na photo of the ghostly figure floating in the air\na photo of the model church\na photo of the ladies' room mirrors\na photo of darkness\na photo of the flickering lights\na photo of you taking a photo of yourself\na photo of the bird cage\na photo of the cat looking through the window\n\n> You examine the cage\nThe curving faux-wrought-iron bars and caked-on \"rust\" identify this\nas one of the non-functioning, overpriced decorations which are so popular in craft stores. What does a Sunday School need with a bird cage?\n\n> You put the tissue in the cage\nThe bird cage seems to be welded closed. It must be purely decorative.\n\n> You look up tissue\n(in Casey's notes)\nYou riffle through the notes, but it looks like Casey didn't have anything to say about the glowing tissue paper."
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, teenage protagonist, ghosts, mystery, religion, cat]\n\n> You describe your surroundings\nThe black walls in here have been painted with Bible verses that glow underneath the UV lights. The couches are glowing, too; unsettlingly green. The door to the north, on the other hand, is barely visible.\n\nPropped up in one corner is a rough wooden cross.\n\n> You look at the couches\nThe black lights reveal several glowing stains on the couches.\n\n> You read the bible verses\nThere are maybe a dozen different verses, painted in different UV-sensitive colors, but one in particular demands your attention:\n\nFor the wages of sin is death, but the free gift of God is eternal life.\n\nIt should be \"The wages of sin are death.\"\n\n> You search couches\nYou'd rather not touch the couches. In fact, you'd rather not even get too close to them.\n\n> You look at the ectoplasm under the blacklights\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Yes! This room! So, Patrick the youth leader got us together a few years ago and had us paint the walls of this room black, and then\npaint Bible verses on it, and then install black lights instead of normal lights, so it would look like a Christian rave or whatever. And I mean it looks fairly cool, I guess.\n\n\"But when you have a dark room, with purple lights, and a bunch of couches, and then you invite teenagers into the room and leave them in that room unattended, what happens is, the teenagers will use that\nroom for what Patrick the youth leader calls 'heavy petting'.\n\n\"So that's why this room is called the Black Light Make-Out Room.\"\n\nYou can't see any such thing.\n\n> You take the cross\n(the small white cross)\nYou already have that.\n\n> You examine the fuse box\nSomeone left the fuse box door hanging open, showing a neat row of red switches. Most are in the on position, but one, marked \"WEST\nBASEMENT\", is off.\n\n> You flip the basement on\nYou flick the last switch into the ON position.\n\n> You look at the cloth\nThick, heavy black cloth of some kind\u2014a curtain or something, maybe.\n\n> You look at the sphere\nIt's a black metal ball with numerous round glass panels set into it. Turning it over, you notice that it's heavyish and slightly warm to\nthe touch. Your fingers also find a small button on the top? base? side? of the sphere.\n\n> You get the sphere\nTaken.\n\n> You press the button\nThe button clicks, and blue light streams from the glass panels on the sphere, reflecting off the cheap-looking mirror and scattering across the walls and ceiling. This must be one of those party light sphere things that are supposed to make your house look like a nightclub or something.\n\n> Inventory\nYou are carrying:\nsome black cloth\na party light sphere (glowing)\na potted plant\na men's room garbage can\nsome glowing tissue paper\na Bible Quiz Tournament trophy\na bird cage\na can of tomato soup\na can of pears\na can of \"Sugarman's Potted Meat Food Product\"\na can of cherry pie filling\na can of chicken soup\na can of peaches\na name tag (being worn)\na can opener\na jam jar\nsome ectoplasm\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You look at the mirror\nThe mirror is large-ish, but the frame is just cheap fake-wood-grain plastic and the glass (is it actually glass?) is slightly warped. Judging by the Goodwill price sticker on the frame, its previous owner didn't think much of it either.\n\n> You listen\nThe church is silent.\n\n> You examine the stained glass\nSome of the designs are purely abstract, but you notice a dove, a\nlion, a lamb, and what looks like an elk.\n\n> Go north\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nSome more ectoplasm is smeared on the floor.\n\n> You go to the north\nIt turns out it's not that easy taking a photo of yourself with a Polaroid camera. The picture came out slightly blurry; you're not sure if it's because you weren't holding the camera still, or because it\nwas too close to your face.\n\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\nYou can see a cheap-looking mirror here.\n\n> Go south\nThe hall ends here at a heavy door to the north. A huge mural of David fighting Goliath adorns the west wall, but it's marred by a streak of gray gunk clinging to the wall.\n\n> You look at the mural\nWhich do you mean, David or the giant?\n\n> You examine david\nDavid stands poised, ready to sling a stone at Goliath. The mural\nmakes him look like a ten-year-old. You can't really remember the the details of the story now, but surely he'd have to be a bit older than that before he was allowed to do battle with giants.\n\n> You look at Goliath\nGoliath is stooping slightly to avoid hitting his head on the ceiling of the hallway.\n\n> You put gunk in the jar\nYou've already taken a sample of the ectoplasm; that should be sufficient.\n\n> You go south\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\n> You look at the rainbow\nThe rainbow is painted in a bright, cartoony style, with thin black lines between each of the colors. Unfortunately whoever painted it put the indigo and violet stripes in the wrong order."
    },
    {
        "text": "[Themes: Mystery, Slice of life, Religious, ghost hunt, female protagonist, religion, Christianity]\n\n> Look around\n(with the Polaroid camera)\nYou snap a picture of the party light sphere. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n>\n\n> You go west\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\nYou can see a manger (empty), a huge stack of plastic chairs, a tin of half-used crayons, a pile of tiny hempen robes, a shepherd's crook, several big cloth signs, a tricycle, an unopened packet of marshmallows, an exercise ball, some paper streamer chains, and a door leading out to the hall here.\n\n> You examine it\nA wooden pole with a large hook at one end. Presumably this is for the Christmas play. Judging by its size, the shepherds are played by children.\n\n> You look at the manger\nThis is clearly a manger from a Nativity scene\u2014some wisps of hay are still caught in the corners. But baby Jesus is nowhere to be seen.\n\n> Unroll\n(the glowing tissue paper)\nThat's not something you can open.\n\n> You get the signs\nYou start to pick up one of the signs, but it slips through your hands and starts to unroll, so you quickly push it back into place.\n\n> You look at the ball\n(the party light sphere)\nIt's one of those party light sphere things, a black metal ball with bright blue light glowing out of the glass panels set into it. Turning it over, you notice that it's heavyish and slightly warm to the touch. Your fingers also find a small button on the top? base? side? of the sphere.\n\n> You examine the exercise ball\nA huge neon pink exercise ball. Some church member is into yoga?\n\n> You get on the ball\n(the party light sphere)\nThat's not something you can enter.\n\n> Ride tricycle\nThe tricycle creaks under your weight, so you quickly get off it\nagain."
    },
    {
        "text": "[Themes: Slice of life, Mystery, Religious, religion, ghosts, ghost hunt, female protagonist, photography, church, cat]\n\n> Look around\nThe robes could only be worn by children, but they could represent any number of Bible characters. They've been tossed on the floor in a pitiable heap.\n\nYou can see a manger (empty), a huge stack of plastic chairs, a tin of half-used crayons, a pile of tiny hempen robes, several big cloth signs, a tricycle, an unopened packet of marshmallows, an exercise ball, some paper streamer chains, and a door leading out to the hall here.\n\n> Search room\nThe men's room garbage can is empty.\n\n> You get the robes\nYou pick up the robes, but only to fold them neatly and put them back in a tidier pile.\n\n> You examine the robes\nThe robes could only be worn by children, but they could represent any number of Bible characters. They have been folded and stacked up neatly.\n\n> You examine the chains\nColorful chains made out of paper streamers, like you might use as decorations for a kid's birthday party. The links are all different sizes, and there doesn't seem to be any pattern to the choice of colors. At a guess, you'd say the Sunday School children made these.\n\n> You go east\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\n> Go east\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. For some reason, there's nothing on the lowest shelf, even though there's stuff everywhere else. Near the shelves is a sturdy cabinet, maybe three feet tall. In front of\nthe cabinet and blocking the lower two-thirds of its door stands a\nhuge amplifier. A plywood Noah's Ark and a plywood Ark of the Covenant are sitting on the floor by the cabinet. There's a case labelled \"HANDBELLS\" on the Ark of the Covenant.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\n> You examine glistening\nThe glistening container is up on top of the wall shelves; you can't get a look at it from your current height.\n\n> You look at Ark\nWhich do you mean, the plywood Noah's Ark or the plywood Ark of the Covenant?\n\n> You drop can\nWhich do you mean, the glistening container, the men's room garbage can, the men's room garbage can, the can of tomato soup, the can of pears, the can of \"Sugarman's Potted Meat Food Product\", the can of cherry pie filling, the can of chicken soup, or the can of peaches?\n\n> You drop the men'S\nYou place the men's room garbage can carefully on the floor.\n\n> You examine Noah'S\nThe whole thing is made out of plywood, but smaller planks of wood\nhave been painted on the sides to give the vague impression of a\ngiant, rectangular seafaring vessel. It's two feet tall, two feet\ndeep, and maybe four feet long.\n\n> You flip can\nWhich do you mean, the men's room garbage can, the men's room garbage can, the glistening container, the can of tomato soup, the can of pears, the can of \"Sugarman's Potted Meat Food Product\", the can of cherry pie filling, the can of chicken soup, or the can of peaches?\n\n> You flip the men'S\nYou turn the men's room garbage can upside down.\n\n> You look at Ark of the Covenant\nThis wooden box has been spraypainted gold and detailed with glitter markers in an attempt to convey that this is an object of great value. It's two feet tall, two feet deep, and maybe four feet long.\n\nOn the plywood Ark of the Covenant is a case labelled \"HANDBELLS\".\n\n> You stand on the men'S\nYou step up onto the upside-down men's room garbage can.\n\n> You examine glistening\nThe glistening container is up on top of the wall shelves; you can't get a look at it from your current height.\n\n> You take glistening\nThe glistening container is up on top of the wall shelves; you can't reach it from your current position.\n\n> You stand\nYou get off the upside-down men's room garbage can.\n\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. For some reason, there's nothing on the lowest shelf, even though there's stuff everywhere else. Near the shelves is a sturdy cabinet, maybe three feet tall. In front of\nthe cabinet and blocking the lower two-thirds of its door stands a\nhuge amplifier. A plywood Noah's Ark and a plywood Ark of the Covenant are sitting on the floor by the cabinet. There's a case labelled \"HANDBELLS\" on the Ark of the Covenant.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\nYou can see an upside-down men's room garbage can here.\n\n> You open the handbells\nYou open the case, revealing numerous handbell-shaped depressions in the velvet lining. No handbells here.\n\nYou close the case.\n\n> You examine the handbells\nThe case is made of tough black plastic.\n\n> Examine amplifier\nThis thing is much too big, and probably much too loud, for this church. That's probably why it's down here collecting dust.\n\nThe amplifier is about two feet tall.\n\nThe cat strolls in from the west and mews at you.\n\n> You stand on the amplifier\nYou climb up onto the amplifier.\n\nto the west.\n\n> You get glistening\nThe glistening container is up on top of the wall shelves; you can't reach it from your current height.\n\n> You stand\nYou clamber down again.\n\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. For some reason, there's nothing on the lowest shelf, even though there's stuff everywhere else. Near the shelves is a sturdy cabinet, maybe three feet tall. In front of\nthe cabinet and blocking the lower two-thirds of its door stands a\nhuge amplifier. A plywood Noah's Ark and a plywood Ark of the Covenant are sitting on the floor by the cabinet. There's a case labelled \"HANDBELLS\" on the Ark of the Covenant.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\nYou can see an upside-down men's room garbage can here.\n\n> You put the can on the amp\nWhich do you mean, the can of tomato soup, the can of pears, the can\nof \"Sugarman's Potted Meat Food Product\", the can of cherry pie filling, the can of chicken soup, the can of peaches, the upside-down men's room garbage can, the upside-down men's room garbage can, or the glistening container?\n\n> Men'S\n(the upside-down men's room garbage can on the amplifier)\n(first taking the upside-down men's room garbage can)\n\nYou put the upside-down men's room garbage can on the amplifier.\n\n> You stand on the men'S\nYou're not sure that it's safe to climb onto the upside-down men's\nroom garbage can while it's on the amplifier.\n\n> You reach glistening with the crook\nThe glistening container is up on top of the wall shelves; even if you could reach it with the crook, the most you could do is knock it off onto the floor and make a huge mess.\n\n> You put the noah's ark on Ark of the Covenant\n(first taking the plywood Noah's Ark)\n\nYou heft up the plywood Noah's Ark.\n\nThe plywood Noah's Ark is too large to fit on the plywood Ark of the Covenant while the case labelled \"HANDBELLS\" is still on it.\n\n> You get handbells\nIt's too awkward to pick up the case labelled \"HANDBELLS\" while you're still holding the plywood Noah's Ark.\n\n> You put other Ark on Ark\n(the plywood Noah's Ark on the plywood Ark of the Covenant)\nThe plywood Noah's Ark is too large to fit on the plywood Ark of the Covenant while the case labelled \"HANDBELLS\" is still on it.\n\n> You drop Noah'S\nYou place the plywood Noah's Ark carefully on the floor.\n\n> You get the handbells\nYou heft up the case labelled \"HANDBELLS\".\n\n> You put Ark of the Covenant on the noah's ark\n(first taking the plywood Ark of the Covenant)\n\nIt's too awkward to pick up the plywood Ark of the Covenant while you're still holding the case labelled \"HANDBELLS\".\nYou need to be holding the plywood Ark of the Covenant before you can put it on top of something else.\n\n> You drop the handbells\nYou can't just drop the case labelled \"HANDBELLS\" on the floor. What\nif someone steps on it or trips over it?\n\n> You put the handbells on the amp\nYou put the case labelled \"HANDBELLS\" on the amplifier.\n\n> Both\nplywood Noah's Ark: The plywood Noah's Ark is already here.\nplywood Ark of the Covenant: The plywood Ark of the Covenant is\nalready here.\n\n> You put Noah's on Covenant\n(first taking the plywood Noah's Ark)\n\nYou heft up the plywood Noah's Ark.\n\nYou put the plywood Noah's Ark on the plywood Ark of the Covenant.\n\n> You stand on Noah'S\nThe plywood Noah's Ark is too tall for you to climb up on top of it safely from your current position.\n\n> You get on the amp\nThere's a case labelled \"HANDBELLS\" and an upside-down men's room garbage can on top of the amplifier; you'll have to clear it off\nbefore you climb up.\n\n> You stand on Covenant\nCovenant; you'll have to clear it off before you climb up.\n\n> You drop the men'S\nYou place the upside-down men's room garbage can carefully on the floor.\n\n> You get on the amp\nThere's a case labelled \"HANDBELLS\" on top of the amplifier; you'll have to clear it off before you climb up.\n\n> You get HANDBELLS\nYou heft up the case labelled \"HANDBELLS\".\n\n> You put HANDBELLS on floor\nYou can't just drop the case labelled \"HANDBELLS\" on the floor. What\nif someone steps on it or trips over it?"
    },
    {
        "text": "[Themes: Mystery, Slice of life, Religious, church, photography, mystery, Christianity]\n\n> You describe your surroundings\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. For some reason, there's nothing on the lowest shelf, even though there's stuff everywhere else. Near the shelves is a sturdy cabinet, maybe three feet tall. In front of\nthe cabinet and blocking the lower two-thirds of its door stands a\nhuge amplifier. A plywood Ark of the Covenant is sitting on the floor by the cabinet, with a plywood Noah's Ark on top of it.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\nYou can see an upside-down men's room garbage can here.\n\n> You stand on other Ark\n(the plywood Noah's Ark)\nThe plywood Noah's Ark is too tall for you to climb up on top of it safely from your current position.\n\n> You stand on Ark of the Covenant\nCovenant; you'll have to clear it off before you climb up.\n\n> You put HANDBELLS on Ark of the Covenant\nThere's no room for the case labelled \"HANDBELLS\" on the plywood Ark\nof the Covenant while the plywood Noah's Ark is on the plywood Ark of the Covenant.\n\n> You put HANDBELLS on the noah's ark\nStacking the case labelled \"HANDBELLS\" on the plywood Noah's Ark on\nthe plywood Ark of the Covenant? On second thoughts, piling things\nthat high seems a bit dangerous.\n\n> You put HANDBELLS on the shelf\nYou put the case labelled \"HANDBELLS\" on the lowest shelf.\n\n> You stand on the amp\nYou climb up onto the amplifier.\n\n> You stand on the amp\nYou're already standing on the amplifier.\n\n> You stand on Noah'S\nThe plywood Noah's Ark is too tall for you to climb up on top of it safely, even though you're on the amplifier.\n\n> You stand\nYou clamber down again.\n\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. On the lowest shelf is a case labelled \"HANDBELLS\". Near the shelves is a sturdy cabinet, maybe\nthree feet tall. In front of the cabinet and blocking the lower two-thirds of its door stands a huge amplifier. A plywood Ark of the Covenant is sitting on the floor by the cabinet, with a plywood Noah's Ark on top of it.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\nYou can see an upside-down men's room garbage can here.\n\n> You stand on the cabinet\nThe sturdy cabinet is too tall for you to climb up on top of it safely from your current position.\n\n> You stand on the cabinet\nThe plywood Noah's Ark is too tall for you to climb up on top of it safely, even though you're on the amplifier.\n\nYou climb up onto the sturdy cabinet.\n\n> You stand on Noah'S\nYou climb up onto the plywood Noah's Ark. You now have a clear view of the glistening container.\n\n> You look at the container\nIt looks a lot like a paint can, but trails of viscous grayish goop\nare running down the sides. What printing you can see on the label is in the \"avoid contact with eyes, harmful if swallowed\" vein.\n\n> You get the container\nThe can of goo is still far out of reach, but at least from here you can take a clear picture of it.\n\n> Photograph container\n(with the Polaroid camera)\nYou snap a picture of the can of goo. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> You reach the container with the crook\nYou can reach the can with the crook, sure, but the most you could do is knock it off onto the floor and make a huge mess. Maybe you should just leave it where it is.\n\n> You stand\nYou clamber down again.\n\nThis place is a mess.\n\nA series of rickety shelves mounted to the north wall have failed to put the room into any kind of order. On the lowest shelf is a case labelled \"HANDBELLS\". Near the shelves is a sturdy cabinet, maybe\nthree feet tall. In front of the cabinet and blocking the lower two-thirds of its door stands a huge amplifier. A plywood Ark of the Covenant is sitting on the floor by the cabinet, with a plywood Noah's Ark on top of it.\n\nYou can just make out a container of some kind on the very top shelf, glistening strangely.\n\nYou can see an upside-down men's room garbage can here.\n\n> You examine the photo of the goo\nTrails of glistening grayish goop run down the sides of the can and dribble onto the shelf beneath it.\n\n> Go west\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\n> Go up\nFrom here, the only way out is south to more hallway.\n\n> Go north\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\n> Up\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nSome more ectoplasm is smeared on the floor.\n\n> You go to the east\nThere isn't really any room in here for anything except the stairs up to the balcony. An archway to the west leads back out into the sanctuary.\n\n> Up\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. On the ceiling behind the pews, you can see the square outline of what must be a trapdoor of\nsome kind, and a narrow staircase leads back down to the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see an upside-down ladies' room garbage can here.\n\n> You get on ladies'\nYou step up onto the upside-down ladies' room garbage can.\n\n> Crook\nYou catch the loop of cord with the end of the crook and pull. The trapdoor opens and a small ladder slides down, offering access to the steeple above.\n\n> You stand\nYou get off the upside-down ladies' room garbage can.\n\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. Behind the pews you can see the ladder up to the steeple, and a narrow staircase leads back down\nto the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see an upside-down ladies' room garbage can here.\n\n> Go up\nThe inside of the church steeple is a cold concrete cube with cinderblock walls. There's one window, but it's been boarded up.\n\nYou jump. There's a boy sitting on the floor, smirking at you. It's Aiden Kingsley.\n\nThe ghost's glowing dress lies in a heap nearby. It doesn't look very ghostly now.\n\nAiden stands up. \"Hey, hey, Robin! Are you enjoying your evening?\" he asks, smiling.\n\nYou are not smiling. \"So you're the ghost.\"\n\n\"Well, yes. Well, no. I am not a dead person. Heh. But I portrayed the ghost you saw, yes.\"\n\n\"Does Orchid know?\"\n\n\"Does Orchid know. Does Orchid know? What a well-chosen detective question.\"\n\nAiden looks down the trapdoor behind you. \"Do you think we could continue this conversation downstairs? It's really freaking cold up here.\"\n\n> You hit Aiden\nAiden\u2014like suspended-at-the-very-least levels of trouble.\n\n> Yes\nAiden grimaces. \"Seriously, can we talk downstairs? I'm about to\nfreeze to death. And then I'll be a real ghost! Heh.\""
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, church, mystery, cat, ghosts, female protagonist, teenage protagonist]\n\n> Go downward\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. Behind the pews you can see the ladder up to the steeple, and a narrow staircase leads back down\nto the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see an upside-down ladies' room garbage can here.\n\nYou look back to make sure Aiden has followed you.\n\n\"Yes. Now I'll tell you the answer to your question. Of course Orchid knows. This was all Orchid's idea. She was very naughty. And I'm not even supposed to be here, so I should probably get going.\"\n\nHe tries to slip past you, but you grab his arm.\n\nAiden yelps like a dog. \"What's your problem?\"\n\n\"You're not going anywhere. I've got a few more questions.\"\n\n\"Then can you get your hands off me first? You're gonna break my arm.\"\n\n\"Sure.\" You let go of his arm. \"Let's get going.\" You know exactly where the two of you are going, but you should probably keep that a surprise.\n\n> Photograph aiden\n(with the Polaroid camera)\nYou snap a picture of Aiden. The camera whirrs and vibrates and eventually spits out a print of the photo."
    },
    {
        "text": "> Go downward\nThere isn't really any room in here for anything except the stairs up to the balcony. An archway to the west leads back out into the sanctuary.\n\nAiden mopes along after you.\n\n\"Yeah, Orchid brought the idea to me. She said if she could write a story about a real ghost, then maybe people would actually read the newspaper. Heh. But I told her I'd help her.\"\n\n\"Why?\"\n\n\"For the heck of it, primarily.\"\n\n> Go upwards\nNo time to explore now. Sharon needs to know what's been going on.\n\n> You look at the dress\nIt's been cut up and painted, but you're pretty sure you recognize the dress as the one Orchid wore last Halloween, when she was Dorothy\nGale.\n\n> You take the photo of the dress\n(with the Polaroid camera)\nYou snap a picture of the glowing dress. The camera whirrs and\nvibrates and eventually spits out a print of the photo."
    },
    {
        "text": "[Themes: Slice of life, Mystery, Religious, teenage protagonist, church, teenagers, photography]\n\n> Go downwards\nThe inside of the church steeple is a cold concrete cube with cinderblock walls. There's one window, but it's been boarded up.\n\nAiden looks you over.\n\nThe ghost's glowing dress lies in a heap nearby. It doesn't look very ghostly now.\n\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. Behind the pews you can see the ladder up to the steeple, and a narrow staircase leads back down\nto the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou can also see an upside-down ladies' room garbage can here.\n\nYou look back to make sure Aiden has followed you.\n\n\"Yes. Now I'll tell you the answer to your question. Of course Orchid knows. This was all Orchid's idea. She was very naughty. And I'm not even supposed to be here, so I should probably get going.\"\n\nHe tries to slip past you, but you grab his arm.\n\nAiden yelps like a dog. \"What's your problem?\"\n\n\"You're not going anywhere. I've got a few more questions.\"\n\n\"Then can you get your hands off me first? You're gonna break my arm.\"\n\n\"Sure.\" You let go of his arm. \"Let's get going.\" You know exactly where the two of you are going, but you should probably keep that a surprise."
    },
    {
        "text": "> Go downward\nThere isn't really any room in here for anything except the stairs up to the balcony. An archway to the west leads back out into the sanctuary.\n\nAiden mopes along after you.\n\n\"Yeah, Orchid brought the idea to me. She said if she could write a story about a real ghost, then maybe people would actually read the newspaper. Heh. But I told her I'd help her.\"\n\n\"Why?\"\n\n\"For the heck of it, primarily.\""
    },
    {
        "text": "[Themes: Religious, Slice of life, Mystery, Christianity, teenage protagonist, church]\n\n> Go downward\nFrom here, you could head west to the sanctuary and up to the balcony.\n\n> Go west\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\nAiden follows you in.\n\n\"Originally, she was just going to let me in the church during the sleepover, and we'd just spend the night taking a bunch of ghost pictures. However. Then we found out that you were going to be the other newspaper girl staying the night. And Orchid said you'd never go along with it. So we had to change the plan.\"\n\n> You examine the desk\nYou saw one of these in a movie once. The top recedes into the back of the desk, and you can hide a convict inside.\n\n> You look up desk\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The sound guy, whose name I don't remember, keeps all the controls for the sound and lights in that rolltop desk. He takes the key to the desk home with him, because the stuff inside is super expensive. I'm just fine with not breaking into it and messing around because I would probably break everything.\"\n\n> You look up sound guy\n(looking up \"sound guy\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You ask Aiden for the number\nAiden looks around nervously. \"Why don't we keep moving, huh?\"\n\n> You go to the south\nThe main entryway to the church, this room has been set up to be as welcoming as possible. A rack of pamphlets sits in the center of a large table, flanked by pots of fake flowers. Lying open on a podium\nis a huge Bible. Pinned up on one wall is a board full of name tags.\n\nTo the east is the fellowship hall, and the large passage to the north obviously leads to the main sanctuary. The way out of the church is south of here, but that's none of your concern currently.\n\nAiden follows you in.\n\nAs you enter the narthex, Orchid strolls in through the front door of the church. When she sees Aiden, her eyes go wide.\n\n\"Aiden! What are you doing here?\"\n\n\"Hey. Don't bother,\" Aiden snaps. \"I've already told her everything.\nOr almost everything. Heh.\"\n\nOrchid rushes up to Aiden with her fists clenched. \"You're lying. There's no proof. All you can prove is that you broke into the church and tried to scare us.\"\n\n\"Well, no,\" says Aiden. \"I can prove some other things. I have the receipts. For the makeup and everything. Because you had to use a credit card, idiot.\"\n\nOrchid goes quiet.\n\n\"Well, we can talk about this in the morning,\" Aiden says, and he\nmakes for the southern exit\u2014but you grab his arm, and he cries out softly. \"Yeah. Your way is probably better.\"\n\n> You show the photos to Orchid\nOrchid declines to comment.\n\n> Go east\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\nAiden and Orchid come in after you.\n\n\"Now, where were we? Orchid didn't trust you to help her pull off this hoax. She said you're too much of a straight arrow. Those weren't her exact words. What were your exact words, Orchid?\"\n\nOrchid is looking down at her shoes.\n\nAiden shrugs. \"She said something really nasty.\"\n\n> You go north\nThis room forms a sort of nook off the fellowship hall to the south. A wide flight of stairs leads down to the basement. There are doors to the north, northeast and southeast; according to the plaques on them, they open onto the pastor's office, the men's restroom and the ladies' restroom respectively.\n\nA vast framed poster is hanging on the wall in between the restroom doors, and in the middle of the room, directly facing the poster, is a wooden bench.\n\nOrchid and Aiden follow along.\n\n\"But Orchid had this other great idea. She figured if we went a little further with the hoax, we could get you to believe the ghost was real. Heh.\"\n\n\"I wasn't trying to trick you!\" Orchid pleads. \"I just wanted it to be authentic. I wanted it to be a great story.\"\n\n\"Sure, and then the great ghost story would be in the newspaper with the name of the most trustworthy reporter on staff on it, and Orchid's name too.\" Aiden chuckles. \"But, looks like that didn't work out.\""
    },
    {
        "text": "[Themes: Religious, Mystery, Slice of life, teenage protagonist, religion]\n\n> Go downward\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north to the boiler room. Mounted on the wall is a gigantic abstract painting.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\nOrchid and Aiden come down the stairs after you.\n\nAiden looks past you, into the nursery, and you can see something\nclick in his brain.\n\n\"Although, you know, we could still do it. You guys can write the story, I won't say anything, Orchid won't say anything, everyone will love it, you'll probably be co-editors-in-chief next year. Let's go back upstairs, we'll get some better pictures of the ghost.\"\n\n\"No thanks,\" you say.\n\n> Photograph orchid\n(with the Polaroid camera)\nYou snap a picture of Orchid. The camera whirrs and vibrates and eventually spits out a print of the photo.\n\n> Go east\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits\nunderneath them. It's already dark outside, and the doors west to the basement stairway and south to the youth room are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when\nyou finish your investigation.\n\nSharon's makeshift bed doesn't look comfortable, but apparently she's fast asleep anyway.\n\nYou usher Aiden and Orchid in ahead of you.\n\n> You wake sharon\nSharon stirs, rubs her eyes, and looks at you, then Orchid, then\nAiden. She says something that one does not typically say in a church.\n\n***\n\n> You press space\n\"What did she say?\"\n\n\"I won't repeat it.\"\n\nCasey slumps back in his chair. \"You would make a great Christian,\" he mutters.\n\n\"I'm sure I would.\" You try not to smile.\n\n\"Well, how did Aiden fly around in the sanctuary?\"\n\n\"I'm entertaining a hypothesis. I noticed components from an unusual mechanism lying around in the balcony.\"\n\n\"The Engelgurt?\"\n\n\"If you like. I assume that, while I was chasing after Aiden, Orchid was up in the balcony disassembling the rig so it would look ever so slightly less suspicious.\"\n\n\"Hey, did you hear what happened to Orchid?\"\n\n\"I heard that she's suspended from the next two issues of the paper.\"\n\nCasey pouts. \"I wanted to be the one to tell you.\"\n\n\"Sorry. Why don't you tell me what happened to Aiden?\"\n\n\"I'd love to! Except, I didn't know anything happened to Aiden. I didn't think they could do anything, since he's not on the newspaper?\"\n\n\"Unfortunately for Aiden, in this case the left and right hands are in close communication. The drama department is putting him on probation for an as-yet undetermined period.\"\n\nCasey perks right back up. \"Robin! That is the best thing I've ever heard! Although the thing about Orchid is pretty great too.\"\n\n\"Well, Orchid is getting what she wanted anyway, I think. The\nWarbler is going to run a story that people will actually\nread, for once\u2014except this one is true.\""
    },
    {
        "text": "[Themes: Slice of life, Religious, Mystery, ghosts, religion, ghost hunt, Christianity, church]\n\n> You look up gwen\n(Gwen)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"I'll tell you about the big painting at the bottom of the stairs, but first I have to tell you about Homeschooled Gwen.\n\n\"Homeschooled Gwen, so called because she was totally homeschooled, went to our high school. Yes! She was not in fact completely homeschooled, because her parents sent her to West for seventh-period geometry, because they did not remember the quadratic formula. It is:\nx equals negative b plus or minus the square root of b squared minus 4ac, over 2a.\n\n\"But Gwen's parents couldn't remember that, even though I, Casey, memorized it so easily. So Gwen went to West High. And she was in my Geometry class.\"\n\nYou pause before flipping the page. This story barely seems relevant\nto the church, much less your investigation. Are you sure you want to keep reading?\n\n> Yes\nYou turn the page:\n\n\"So, due to being homeschooled, Gwen was not at all socialized for interacting with us teens of the modern era. What I am saying is that she was super weird. I was friends with her mostly out of morbid curiosity. Here are some of the weird stunts she pulled in Geometry: Told us all individually what breed of dog we would be if we were\ndogs. Read us stories, apparently like Wendy read to the Lost Boys. Gave us a survey about what we found attractive in girls.\n\n\"When I say 'us' I mean just the boys in class. Gwen was super boy-crazy, because, due to being homeschooled all of her life, Gwen\nhad never seen a boy before. Yes.\"\n\nThis looks like it might be turning into an extended rant against the institution of homeschooling (Casey can be something of a jerk when it comes to things he knows nothing about). Do you want to continue?\n\n> Yes\nCasey goes on:\n\n\"I mean she had probably seen a male human before. She had a dad; we found that out eventually. But you know what I mean.\n\n\"Anyway one day after school, after seventh-period geometry, I was hanging out in the mud room waiting for my ride home, and Gwen was there too, waiting for her own ride back to her own horrible school-home hybrid, and then Patrick the youth leader showed\nup, because he's still allowed on school grounds. And he asked me\nabout the lock-in.\"\n\nIt is increasingly clear to you that this story has no bearing on your investigation. Do you want to keep reading it?\n\n> Yes\nYou turn another page.\n\n\"Or he asked me about something. Probably the lock-in. But we\nwere talking, and Gwen was there, and Patrick the youth leader WITHOUT CONSULTING ME BEFOREHAND looks over at Gwen and asks her if she wants to come to the lock-in. And of course Gwen says yes, because there\nwill be boys there.\n\n\"Gwen came to the lock-in, and after that she started coming to the high school group meetings. And an unfortunate percentage of people in the group did not seem to catch on right away that Gwen was a nutbar, so she felt very welcome and emotionally supported by us, and when Patrick the youth leader opened the floor for 'discussion' after his sermons we all got to listen to her insane opinions about\nThanksgiving, and family togetherness, and sex, etc., etc.\"\n\nYou look up from the notes. Maybe there's something else you should be doing. Do you want to continue reading?\n\n> Yes\n\"Then, this was around the end of last semester, Patrick the youth leader gave all of us in the group one of his CHALLENGES. His\nCHALLENGE to us this particular week was for us to think about our relationship to the church. I mean, like, 'spend the next seven days thinking about this, and come back next week with something really profound.' A lot of Patrick the youth leader's CHALLENGES are\nbasically attempts to get us to say something profound.\n\n\"And of course we all forgot about this CHALLENGE immediately, because come on. He never follows up on any of them anyway. He just read in some youth leader magazine that you should give your youth group CHALLENGES.\n\n\"And when we came back the next week, of course, Patrick the youth leader doesn't bother asking anyone what brilliant answers we came up with to his incredibly vague CHALLENGE. We had a sermon and then we played Sardines or whatever.\n\n\"But before we could leave, Patrick the youth leader called us all together, because Gwen had something to share with us.\"\n\nKeep reading?\n\n> Yes\n\"Now that I think about it, she must have brought the painting in with her, left it behind a couch or something, and waited for three hours\nor however long for Patrick the youth leader to ask for people's answers to his CHALLENGE of the previous week. She was just too\nfreaked out and embarrassed to bring it up herself, until the very\nlast possible moment.\n\n\"So yeah it was this painting. I'm not gonna bother describing this painting, because you can see it yourself. But if you think about it, all those tiny brushstrokes on a canvas that huge must have taken a zillion hours to do, and she supposedly only had a week to paint it. I guess that's what the church meant to Gwen.\"\n\nIt goes on a little longer, but that feels like an end to the \"substance\" of the story, such as it is. Should you bother reading the rest?\n\n> Yes\n\"Well, sometime during the summer, Gwen quit coming to the youth\ngroup. It took me a while to figure out what happened but it turns out she got grounded from church because her parents\nfound out she had a crush on a boy who went there.\n\n\"So, that is the story on Homeschooled Gwen. You will never meet her, because her parents will never let her out of the house again.\"\n\n> Go west\nNo time to explore now. Sharon needs to know what's been going on.\n\n> You look up nap\n(looking up \"nap\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up the napping\n(looking up \"napping\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You hide\n(in the glowing tissue paper)\nThe glowing tissue paper wouldn't make much of a hiding spot.\n\n> You look up the CHALLENGES\n(looking up \"challenges\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You examine the photo of Orchid\nOrchid scowls out of the photo at you, her eyebrows scrunched and her mouth turned down at the corners.\n\n> You examine Orchid\nOrchid, like most girls your age, is taller than you. Her cheeks are covered in freckles that you had never seen before tonight; she must put makeup on over them for school. You have the uneasy feeling that there are more freckles on her left cheek than her right.\n\nShe notices you examining her, and you look away.\n\n> Kiss orchid\nThe reason your overnight investigatory team had to consist of two girls was to minimize the chances of any funny business.\n\n> You look up nativity\n(looking up \"nativity\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up manger\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"So last year, Orchid said she wanted to run the Christmas play. And\nMarcie Kempulfers, who always runs the Christmas play every year, thought that was a great idea. She said it would be really cute to\nhave a little girl be in charge of the play. This was last year, so Orchid was either fifteen or sixteen years old, I think.\n\n\"The first thing Orchid suggested was that they use a real baby to\nplay the baby Jesus. Some church person had a baby, and Orchid,\nbecause she's completely a girl, was totally nuts for this baby. But Marcie says oh no, we always use a doll for the baby Jesus, real\nbabies cause so many headaches.\n\n\"You can see where this is going. But I'll write more about it in some other entries. This is Entry One of Four.\"\n\n> You look up the entry two\n(looking up \"entry two\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up marcie\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Marcie Kempulfers is in charge of the bell choir and that kind of thing and she's boring.\"\n\n> You look up HANDBELLS\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Here is the deal with the handbells. Marcie Kempulfers is in charge\nof the bell choir. She has a very strict handbell protocol. The handbells are church property, and she says so frequently as people\ntry to goof off in bell choir practice.\n\n\"But Patrick the youth leader is not so uptight, and for this youth service he thought we should do a bell choir number, without any oversight by or permission from Marcie Kempulfers. He decided we\nshould play 'Seek Ye First', because he could only force an octave's worth of kids to volunteer, and he thought it was an easy song. And it is an easy song. But we were poorly motivated.\n\n\"So the youth service rolls around, and the extremely unofficial youth bell choir has yet to master our song. But we're listed in the\nprogram. We have to go out and perform, and when we perform this song we are going to butcher it.\n\n\"Then, right before the service starts, Marcie Kempulfers shows up to have words with Patrick the youth leader. The effects of these words were, first of all, we were definitely not going to be performing a non-Kempulfers-supervised handbell piece, ever, and secondly, now Marcie takes the handbells home with her whenever they aren't being used at church.\n\n\"I don't know why she doesn't take the case too.\"\n\n> You look up mary\n(looking up \"mary\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up joseph\n(looking up \"joseph\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up christmas\n(looking up \"christmas\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up nativity\n(looking up \"nativity\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up play\n(looking up \"play\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up cows\n(looking up \"cows\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up crook\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Okay. Just as she's about to land, Orchid's robe gets caught on one\nof the shepherd's crooks, and the Engelgurt suffers a critical failure and Orchid falls to the floor and according to some witnesses almost dies. The whole service gets shut down so that Orchid can go to the emergency room, although I think all that happened was she sprained\nher ankle.\n\n\"Of course, Orchid is in huge trouble with Marcie Kempulfers and with the church in general, but what does being in trouble with a church even mean? It's not like they can expel you. We're Methodists. They didn't even get rid of the Engelgurt; it's still in the storage room.\n\n\"And anyway Orchid wasn't sorry at all. She kept saying, 'At least it was new!' 'At least it was exciting!' Because that's how she operates.\n\n\"That's it. This is Entry Four of Four.\"\n\n> You look up the robes\nWhich do you mean, the choir robes or the neat stack of hempen robes?\n\n> You look up the hempen robes\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"So next Orchid says she wants the shepherds to sing a song. You have to understand that the shepherds are played by the littler kids, and the older kids play angels or Mary and Joseph or the wise men, and while every older kid ends up having to sing a song at some point, the shepherds do not. I think Orchid wanted them to sing 'Silent Night', which is a pretty good choice for little kids to sing. I will admit that Orchid made a good call here.\n\n\"But Marcie did not agree. I'm pretty sure Marcie thinks that because it's impossible to get little kids to carry a tune or understand Italian music vocabulary, nobody wants to hear them sing in church, which is a critical misconception and I think indicates some sort of psychological defect in Marcie Kempulfers's brain. Anyway.\n\n\"Marcie made up this insane justification to have the bell choir play 'Silent Night' instead. She said the bell choir had already practiced it, which was technically true, although specifically they had practiced it during the previous calendar year. But Marcie got her\nway.\n\n\"I hope you're not reading this as me defending Orchid, because I\nwould never do that. Don't worry; we will get to the part where Orchid is horrible in the next entry. This is Entry Two of Four.\"\n\n> You look up the cloth signs\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: We hang up the cloth signs in the sanctuary for Advent. I think they say 'Hope', 'Wait', 'Expect', and 'Await'.\"\n\n> You look up boiler room\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"I've only been inside of the boiler room very briefly, but I have to assume it's a really cool place to hang out. Make sure you tell me all about it when you get the chance.\"\n\n> You look up the blank page\n(looking up \"blank page\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up black light\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Yes! This room! So, Patrick the youth leader got us together a few years ago and had us paint the walls of this room black, and then\npaint Bible verses on it, and then install black lights instead of normal lights, so it would look like a Christian rave or whatever. And I mean it looks fairly cool, I guess.\n\n\"But when you have a dark room, with purple lights, and a bunch of couches, and then you invite teenagers into the room and leave them in that room unattended, what happens is, the teenagers will use that\nroom for what Patrick the youth leader calls 'heavy petting'.\n\n\"So that's why this room is called the Black Light Make-Out Room.\"\n\n> You look up back room\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The back room is kind of a secret, I guess, although we use it as the 'backstage' whenever we do plays and that kind of thing. Nobody ever uses it as a hiding place when we're playing games, though. I guess it might be too obvious? Or maybe it's just too boring.\n\n\"You can get to the basement from the back room, too: there's a\nsliding panel in the back wall, but to get it open, you have to apply some upward pressure to get it out of its groove a little bit. That's the real secret, I guess.\"\n\n> You look up tunnel\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"You might want to know where the tunnel is, because that's where the fuse box is. If I remember to draw a map for you then I'll make sure to point out the tunnel and stick it in here.\"\n\nThere is no map.\n\n> You look up fuse box\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The fuse box is in the tunnel. I don't know how it works. Ohms.\"\n\n> You look up the tuna\nWhich do you mean, the open can of tuna or the mass of tuna?\n\n> You look up the mass of the tuna\n(in Casey's notes)\nOn the subject of canned food Casey writes, \"I'm pretty sure the\npeople who are supposed to be in charge of donating stuff to the Food Bank are really disorganized, because you always see spare cans of stuff lying around. Or maybe some of the cans were rejected by the\nFood Bank. I don't know how it works.\"\n\n> You look up the cables\n(in Casey's notes)\nBut what is it? You're not sure what to look for in the notes.\n\n> You look up sugarman\n(looking up \"sugarman\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up cat\n(in Casey's notes)\nYou riffle through the notes, but it looks like Casey didn't have anything to say about the cat.\n\n> Xyzzy\nYou sneeze.\n\n> Go north\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\nto the north.\n\n> Go north\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\nThe cat bounds downstairs.\n\n> Down\nBehind the sliding door you find a steep, narrow flight of stairs with no handrail. You walk down them slowly, not wanting to miss your footing in the dim light.\n\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\nA cheap-looking mirror, a black sphere and some black cloth are lying in a heap on the floor.\n\nThe cat sits down underneath the fuse box and starts licking its paw.\n\n> You examine the cloth\nThick, heavy black cloth of some kind\u2014a curtain or something, maybe.\n\nThe cat scampers up the stairs.\n\n> You examine the fuse\nUnlike some of the other switches, the \"West Basement\" switch actually has a legible label. It's also the only switch that's not turned on right now.\n\n> Up\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> You look up Bible\n(the huge Bible)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"But if you turn the lights on, you'll see there's a Bible on that podium. I'm pretty sure that Bible is worth hundreds of dollars. It has a lot of really nice pictures in it, at least. Don't mess with it.\"\n\n> You examine Bible\nThe Bible is obviously a well-respected object around here, but it's not a mere display piece; the pages have been creased and scuffed by continuous use.\n\n> You look up podium\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"You want to be careful if you're sneaking around the narthex in the dark, because there is a podium in there that is really, really easy to not notice, and the corners of that podium are right about at crotch level.\"\n\n> You look up the genesis in Bible\nYou can't seem to find exactly what you're looking for, but you do\nfind this: \"Then I saw a new heaven and a new earth, for the first heaven and the first earth had passed away, and the sea was no more.\"\n\n> You examine the podium\nIt resembles a miniature Roman column, although you think it would probably fall over in a stiff breeze.\n\n> You hide\nWhat do you want to hide in?\n\n> You hide in the chest\nYou lie down inside the chest, and notice that there's plenty of space inside. It's not a bad spot.\ninside. It's not a bad spot.But there's no time for napping now.\n\nYou pull yourself out of the box.\n\n> You look up chest\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I don't know if we've ever used the chest in the back room for anything. I think Patrick the youth leader said they could keep sheet music in it, but fat chance of Marcie leaving her sheet music at church.\n\n\"But it doesn't bother me if it's always empty. Sometimes I take naps in there.\"\n\n> Nap in chest\nThe huge wooden chest would make a terrible bed.\n\n> You go south\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\nA cheap-looking mirror, a black sphere and some black cloth are lying in a heap on the floor.\n\n(first opening the heavy door)\nThe heavy door slips out of your fingers and slams shut behind you, leaving you in darkness.\n\nIt is pitch dark, and you can't see a thing except for the dim light trickling in from the south end of the hallway.\n\nIt's almost completely dark. At least you can still see the light at the south end of the hallway. The rectangles to the east and west must be doorways to somewhere, but they're barely distinguishable from the walls.\n\n> Go east\nThanks to the light filtering in from the south end of the hall, you can make out some kind of mural painted on the wall, but you can't\ntell what it's supposed to represent in the gloom.\n\nThe hallway runs north into darkness. It's hard to tell how long it might be from here, though the Sunday School room to the east provides some light at this end. The plywood lighthouse, on the other hand, peacefully fails to provide any light. Behind the lighthouse and partially obscured by it is a mural of Jesus blessing the little children.\n\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> Go north\nThis room is apparently just for show; there are no tables or chairs.\nA wide staircase runs up to the main floor of the church, and doorways lead east to the nursery, south to the Sunday School room and north to the boiler room. Mounted on the wall is a gigantic abstract painting.\n\nThis must be a fairly large room, but most of the space is given over to snaking pipes, anonymous machinery, and the church's giant boiler.\n\n> You examine the pipes\nMany of the pipes run all the way down to the floor from their tangled maze in the ceiling, making some corners of the room impossible to reach.\n\n> You examine the machinery\nA menagerie of valves and pressure gauges stick out from the pipes at awkward angles, some dangerously close to your eye level.\n\n> You search pipes\nA menagerie of valves and pressure gauges stick out from the pipes at awkward angles, some dangerously close to your eye level.\n\nThere are few gaps wide enough to stick your head through, and they only reveal more of the same scenery.\n\n> You examine the boiler\nA massive faceless hulk of an appliance. You can hear it murmuring quietly to itself\u2014or maybe you're hearing something else.\n\n> You listen\nNow you can only hear air currents: the whisper of an empty building\nat night.\n\n> You look at the painting\nThe piece is very pleasant, if not particularly interesting: the inoffensive greens and pinks could suggest river waters, or branches waving in the wind. Its size is probably its most impressive quality.\n\n> You examine the door\nWhich do you mean, the ladies' room door, the men's room door, or the pastor's door?\n\nWhich do you mean, the ladies' room door, the men's room door, or the pastor's door?\n\n> You look at the Pastor\nseen, but the plaque on it reads, \"Pastor Ivan Shearer.\"\n\n> You look up ivan\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Good old Pastor Ivan! What can you say about someone like Pastor\nIvan? Not much!\"\n\n> Unlock Pastor\nYou rattle the door handle, gently at first and then harder. Nothing happens.\n\n> Unlock Pastor\nhappens....and then the alarm starts screaming at you.\n\n> You go to the west\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\nThe main entryway to the church, this room has been set up to be as welcoming as possible. A rack of pamphlets sits in the center of a large table, flanked by pots of fake flowers. Lying open on a podium\nis a huge Bible. Pinned up on one wall is a board full of name tags.\n\nTo the east is the fellowship hall, and the large passage to the north obviously leads to the main sanctuary. The way out of the church is south of here, but that's none of your concern currently.\n\n> You examine tags\nThere must be a name tag on here for everybody who's ever set foot in this church.\n\nThe cat strolls in from the east and purrs at you.\n\n> You go east\nThe cat bounds into the fellowship hall ahead of you.\n\nThis room is a bit crowded for your tastes: between the many round tables, each surrounded by a complement of folding chairs, there isn't much space to get from one end of the room to the other. The main stairway is north, the kitchen is east, and the narthex is west.\n\nOne corner is given over to a glass case containing a model church.\n\nThe cat wanders off to the north, glancing back at you as if to check whether you're following.\n\n> Smash case\nYou have to assume you'd get in huge trouble if you broke anything.\n\n> You look up ladies'\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Well, Robin. I actually explored the ladies' restroom briefly, during a game of Sardines. But then, because of events that transpired, the ladies' restroom was declared to be off-limits. And shortly after\nthat, because of fairness, the men's restroom was declared to be off-limits as well. For Sardines purposes at least.\"\n\n> You look up men'S\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"If you have time, you should go ahead and take a look in the men's room, since who knows how many opportunities like this you'll have in the future. I won't spoil anything by describing it here.\"\n\n> You look up the urinals\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"The thing about the urinals in the men's room is, there are no divider walls in between them. I don't like it, Robin. I don't like it at\nall.\"\n\n> You look up the potted meat food product\n(in Casey's notes)\nOn the subject of canned food Casey writes, \"I'm pretty sure the\npeople who are supposed to be in charge of donating stuff to the Food Bank are really disorganized, because you always see spare cans of stuff lying around. Or maybe some of the cans were rejected by the\nFood Bank. I don't know how it works.\"\n\n> You look up robin\n(the name tag)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"When the new pastor came, he insisted that everybody wear name tags all the time, but that didn't last long. Name tags are a pain.\"\n\n> You look up camera\nkitchen, only more so. Long countertops line the walls, with cupboards and drawers underneath them. A break in the counters allows you to leave the kitchen via the door to the west, and on the far side of the room a sink is set into the counter.\n\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I'm really glad you're using a Polaroid to get proof of the ghost, because that's what Winona Ryder used in Beetlejuice to get proof of\nAlec Baldwin and Geena Davis.\n\n\"Now that I think of it, in the movie, the ghosts didn't actually show up on the Polaroids. But that's probably not how it works in real life.\"\n\n> You look up cross\n(the small white cross)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting:\n\"Man, when I was a little kid in Sunday School, and we had those\nlittle kid Bible lessons, I always used to stare at that little white cross, to pass the time or something. I'm pretty sure I was too smart for Sunday School. Sunday School is a weird thing to be too smart for, I guess.\n\n\"Although I guess when the high schoolers broke off to be their own mature group, that was basically the same thing. Kind of. In that situation it was because we were too cool for the junior high kids.\nBut that's still really weird.\n\n\"What I mean is, it's really weird for people who identify as Christians to also identify as being too cool for something.\"\n\n> You look up the wooden cross\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"If you ask me I think that big gnarly cross in the black light room is in kind of poor taste, mostly because of the barbed wire crown on top. It doesn't belong in a church, it belongs in a grungy music video, with some rotting steak or something.\n\n\"I dunno, I feel like the torture of Christ isn't exactly radical? But I guess Patrick the youth leader likes it.\"\n\n> You look up large cross\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"A cross is not technically a crucifix unless there's a Jesus on it. We are not Catholics, so we have a plain old cross, and it suits us just fine.\"\n\n> You look up the notes\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I know there's a lot of the church you haven't seen or that you don't remember, so I'm writing down everything I can think of. I feel like these notes will be an invaluable resource when I get older and feel the need to revisit the carefree days of my youth, so make sure you give them back to me.\"\n\n> You look up the candles\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Churches are all about candles. I bet 30% of any given church's\nbudget is probably spent on candles and candle paraphernalia. But can you imagine a church without candles? No, you can't.\"\n\n> You look up kitchen\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"If you've seen Jurassic Park then the kitchen is really scary in\nthe dark. If you haven't seen Jurassic Park then you should\nget around to that.\"\n\n> You look up sink\n(in Casey's notes)\nYou riffle through the notes, but it looks like Casey didn't have anything to say about the kitchen sink.\n\n> You look up the matches\n(looking up \"matches\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up match\n(looking up \"match\" in Casey's notes)\nYou riffle through the notes, but you can't find anything that seems relevant.\n\n> You look up light\n(the light switch)\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"I don't have much to say about the lights. Sometimes there's a problem and you have to go mess with the fuse box. But in your case it doesn't matter, because you should be leaving the lights off anyway! You're hunting a ghost!\"\n\n> You look up sharon\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Why do people like Sharon want to become teachers? (By 'people like\nSharon' I mean 'people who obviously hate everything about teaching, even and especially students'.) If you're already completely jaded and cynical after your first semester of student teaching, isn't that a sign that you should give up on K-12 education and possibly on life in general?\"\n\n\"No thanks,\" you say."
    },
    {
        "text": "[Themes: Mystery, Religious, Slice of life, mystery, Christianity, teenage protagonist, female protagonist, ghost hunt, religion, church, cat]\n\n> Describe the surroundings\nkitchen, only more so. Long countertops line the walls, with cupboards and drawers underneath them. A break in the counters allows you to leave the kitchen via the door to the west, and on the far side of the room a sink is set into the counter.\n\n> You look at what you're carrying with you\nYou are carrying:\na name tag (being worn)\na can of tuna\na can opener\na jam jar\nsome ectoplasm\nan orange box\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\n> You look up jam\n(in Casey's notes)\nYou can't find a note for any specific jar, but Casey did write down something related.\n\n\"In like, I think freshman year, Patrick the youth leader had this great idea to try canning preserves, to raise money for some kind of thing. And he gave each of us a job: you get jars, you get strawberries, you get peaches, we'll all come together and can stuff.\n\n\"And, because we were freshmen and not yet completely jaded by the\nhigh school experience, we all brought the stuff we were supposed to. But on the day of the big event it turned out, in a revelation that completely shocked the socks off of Patrick the youth leader, that canning preserves is a pretty complicated process with steps beyond just mashing up fruit and putting it into jars. And if you mess it up then your jam will give people salmonella and they'll die.\n\n\"So we just sat around and ate fruit, and now there are a bunch of glass jars hanging around the church for no good reason.\"\n\n> Go north\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\n> Go north\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\nA cheap-looking mirror, a black sphere and some black cloth are lying in a heap on the floor.\n\n> You examine the fuse\nUnlike some of the other switches, the \"West Basement\" switch actually has a legible label. It's also the only switch that's not turned on right now.\n\n> You turn on the switch\nYou flick the last switch into the ON position.\n\n> You go to the south\n(first opening the heavy door)\n\nThe hall ends here at a heavy door to the north. A huge mural of David fighting Goliath adorns the west wall, but it's marred by a streak of gray gunk clinging to the wall.\n\nEchoing footsteps draw your attention to a figure walking down the south end of the hallway, but whoever it is goes into the Sunday\nSchool room before you can see their face.\n\n> You go to the south\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\nThe hallway continues to run north and south. The wall here is taken\nup by a mural of a beached whale and a man lying on the sand.\n\nThe hallway runs north, past the plywood lighthouse, all the way up to the door to the tunnel. A doorway to the east leads into the Sunday School room, and on the wall opposite it is the mural of Jesus\nblessing the little children.\n\n> Go east\nThis is a room designed for small people. Low benches are arranged\nlike pews in two rows, facing toward a small table that serves as an altar. A poster explaining the Ten Commandments hangs on one wall, and doors lead north to the basement stairway, east to the youth room and west to the hallway.\n\nThe TV trolley is standing in the middle of the room, looking lonely.\n\n> You look up the tv trolley\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Yeah, we have video games at church. I think the SNES belongs to\nChad. Does Chad even come to church anymore? Well, he's gotta come\nback someday. To get his SNES.\"\n\n> You look up chad\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Chad's an all right guy. Or, he used to be. I haven't heard from him in a while.\"\n\n> You go west\nThe hallway runs north, past the plywood lighthouse, all the way up to the door to the tunnel. A doorway to the east leads into the Sunday School room, and on the wall opposite it is the mural of Jesus\nblessing the little children.\n\n> You go north\nThe hallway continues to run north and south. The wall here is taken\nup by a mural of a beached whale and a man lying on the sand.\n\n> You examine the whale\nsort of fashion. It doesn't seem at all bothered by having beached itself and vomited up a human.\n\n> Go north\nA huge rainbow arches across the wall in this part of the hallway. Underneath it, a door leads west, with an identical door opposite on the east wall.\n\n> You look at the crayons\nSome of the crayons are half-used. Some of them are more like three-quarters used, or even four-fifths used. The rest are broken.\n\n> You look up the crayons\n(in Casey's notes)\nYou flick through the notes and read Casey's scrawly handwriting: \"Before a certain unnamed individual left the church, we used to have art activities in Sunday School all the time. It was awesome. But things change, and people change, and on and on. I think there are\nsome crayons left in the storage room.\"\n\n> Go north\nThe hall ends here at a heavy door to the north. A huge mural of David fighting Goliath adorns the west wall, but it's marred by a streak of gray gunk clinging to the wall.\n\nYou could hardly call this a room. It's just a long, musty, narrow space behind a wall. At one end, a flight of stairs runs up to the\nroom behind the altar; at the other end a heavy door leads out to the south. In between them, a fuse box is mounted on the wall, its metal door hanging open to reveal a row of switches.\n\nA cheap-looking mirror, a black sphere and some black cloth are lying in a heap on the floor.\n\n> Go south\nThis is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south, or try the sliding door to the north.\n\nA stack of hymnals is crammed into one corner.\n\nSome more ectoplasm is smeared on the floor.\n\nA few steps up from the pews to the south are the preacher's pulpit, the altar, and the American and Christian flags. Behind them, to the north, is a tiny doorway.\n\nOn the altar are two candles.\n\nA large cross hangs high on the wall above the altar.\n\nThis room can't be as large as it seems. It certainly didn't look so huge from outside. It must be some kind of optical illusion, created\nby the angles of the vaulted ceiling or the long rows of pews.\n\nNear the southern exit is a rolltop desk. Up at the north end of the room is the altar, and the east stairway must lead up to the balcony.\n\nIt is dark outside, and the stained glass windows are dull and lifeless.\n\n> You go east\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\n> You look at what you're carrying with you\nYou are carrying:\na shepherd's crook\na name tag (being worn)\na can of tuna\na can opener\na jam jar\nsome ectoplasm\nan orange box\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)\n\nThe cat trots up the stairs and purrs at you.\n\n> Drop box\nYou place the orange box carefully on the floor.\n\n> Flip box\nYou pick up the stuff in the orange box and turn it upside down.\n\nonto the railing of the balcony but\u2014probably wisely\u2014immediately\njumps\nback down again.\n\n> You examine the railing\nA low wall runs along the edge of the balcony, with a thick wooden railing set on top of it. It's hard to tell if the railing is just meant to be decorative, or if it was added as an afterthought to make the wall a bit higher.\n\nThe cat bounds downstairs.\n\n> You stand on the box\nYou step up onto the upside-down orange box.\n\n> You reach the cord with the crook\nYou catch the loop of cord with the end of the crook and pull. The trapdoor opens and a small ladder slides down, offering access to the steeple above.\n\n> Down\nStanding here, you have a good view of the altar and most of the sanctuary. A low wall with a railing along the top prevents accidents, though it probably also obscures the view for anyone sitting on the balcony pews. A projector is mounted at one end of the pews, pointing down towards the front of the sanctuary. Behind the pews you can see the ladder up to the steeple, and a narrow staircase leads back down\nto the sanctuary.\n\nThe orange box is sitting upside down on the floor.\n\nA tangled heap of bars and cables is lying near the edge of the balcony.\n\nYou look back to make sure Aiden has followed you.\n\n\"Yes. Now I'll tell you the answer to your question. Of course Orchid knows. This was all Orchid's idea. She was very naughty. And I'm not even supposed to be here, so I should probably get going.\"\n\nHe tries to slip past you, but you grab his arm.\n\nAiden yelps like a dog. \"What's your problem?\"\n\n\"You're not going anywhere. I've got a few more questions.\"\n\n\"Then can you get your hands off me first? You're gonna break my arm.\"\n\n\"Sure.\" You let go of his arm. \"Let's get going.\" You know exactly where the two of you are going, but you should probably keep that a surprise.\n\n> You go east\nFrom here, you could head up to the steeple and down to the the\nbalcony stairwell."
    },
    {
        "text": "[Themes: Slice of life, Religious, Mystery, Christianity, church, teenage protagonist]\n\n> Go downward\nThere isn't really any room in here for anything except the stairs up to the balcony, but that hasn't stopped someone from putting a potted plant in the corner. If you can avoid tripping over the plant, an archway to the west leads back out into the sanctuary.\n\nAiden mopes along after you.\n\n\"Yeah, Orchid brought the idea to me. She said if she could write a story about a real ghost, then maybe people would actually read the newspaper. Heh. But I told her I'd help her.\"\n\n\"Why?\"\n\n\"For the heck of it, primarily.\""
    },
    {
        "text": "[Themes: Slice of life, Religious, Mystery, ghosts, female protagonist, church, teenage protagonist, ghost hunt, teenagers, religion]\n\n> Go down\nOrchid and Aiden come down the stairs after you.\n\nAiden looks past you, into the nursery, and you can see something\nclick in his brain.\n\n\"Although, you know, we could still do it. You guys can write the story, I won't say anything, Orchid won't say anything, everyone will love it, you'll probably be co-editors-in-chief next year. Let's go back upstairs, we'll get some better pictures of the ghost.\"\n\n\"No thanks,\" you say.\n\n> You go east\nSharon's makeshift bed doesn't look comfortable, but apparently she's fast asleep anyway.\n\nYou usher Aiden and Orchid in ahead of you.\n\n> Sleep\nIt's too late for that now. You have to do something about Orchid and Aiden."
    },
    {
        "text": "> Look around\nBattered toys spill out of the toybox and across the floor, piling up in a corner of the room. Cupboards are mounted high on the walls, out of reach of tiny fingers, and an enormous blue recliner sits\nunderneath them. It's already dark outside, and the doors west to the basement stairway and south to the youth room are dark as well.\n\nYour sleeping bag is lying on a tidy patch of floor, ready for when\nyou finish your investigation.\n\nAiden is here, rubbing his arm and pouting.\n\nOrchid is lounging around, yawning.\n\nSharon's makeshift bed doesn't look comfortable, but apparently she's fast asleep anyway.\n\n> You look at the toys\nToy cars, a lot of wooden blocks, a tea set, that kind of thing. It looks like someone tried to take a bite out of one of the blocks.\n\n> You get the block\nYou gather up an armful of toys.\n\n> You give the toys to Aiden\nAiden looks around nervously. \"Why don't we keep moving, huh?\"\n\n> Inventory\nYou are carrying:\nsome toys\na can of tomato soup\na can of pears\na can of \"Sugarman's Potted Meat Food Product\"\na can of cherry pie filling\na can of chicken soup\na can of peaches\na shepherd's crook\na name tag (being worn)\na can of tuna\na can opener\na jam jar\nsome ectoplasm\na bird cage\na small white cross\na stack of photos\nCasey's notes\na Polaroid camera (being worn)"
    },
    {
        "text": "[Themes: Mystery, conversation, murder, flashbacks, detective, crime, multiple protagonists, mystery, radio, simulation, drama]\n\nAre you sure you want to quit? ]  Exits:\nPhone Booth\n\nYou put a quarter in the slot and dial Rosalita's number. The phone rings a couple of times; there's nothing to do but wait.\n\n[If you are playing Color the Truth for the first time, you are strongly encouraged to type ABOUT.]\n\n[Author's Note: Rosalita Morales is dead, and you have to figure out who did it. The four people closest to her had the motive and the means: her partner, her secretary, her ex-husband, and her sister. Re-live their memories of Rosalita's last days to discover what really happened. But be careful: Everyone has something to hide, and everyone will Color the Truth.]\n\n> Wait\nYou wait for a moment, taking deep breaths to keep your calm.\n\nThe phone rings one more time before Rosalita picks up.\n\nShe says, \"Hello?\"\n\n[New topic - Hello]\n\n> You say hello\n(to Rosalita)\n\"Hello, Rosalita.\" You speak quietly, glancing through the glass to see if anyone's watching.\n\n\"What do you want this time?\" she asks.\n\n\"I think you know,\" you say. \"Same as last time.\"\n\n\"Good luck with that. It's all gone now. You just take, and you take, and you take, and now there's nothing left. I don't know what you want anymore.\"\n\n[New topic - Broke]\n\nShe sounds sincere, but she has to be lying. You've been looking into this for over a year, seeing where the money goes. It took months before it all came together, and you're not about to let your work go to waste. You read your notes again:\n\nRosa. Income:\n\nRoses for Rehab: 500K?\n\nCassette sales: 250k?\n\n[New topic - Charity]\n\n[New topic - Sales]\n\n> Link broke to charity\nShe says she's broke, but she's stolen more from Roses for Rehab than she's given you.\n\n[New topic - Funds]\n\n> Link broke to sales\nShe says she's broke, but her cassetes have been selling better than ever.\n\n> You say  the funds\n(to Rosalita)\n\"Cut it, Rosalita. I have the figures. You say you're broke, but you have plenty left to give. I'll expect my next payment in two days.\"\n\nRosa is silent.\n\n\"Two days, Rosalita.\" You hang up the phone.\n\n\"\n\nThey answer. \"Hector, this Chief Schwarz. I need you to come in early tomorrow...\"\n\n\n\nYou glance about the office. The Chief's office is full of shades of black; he's told you that it's a symbol of authority, and makes him more imposing. You find it depressing.\n\nThe office is large, and the leaden morning light from the window does little to brighten it. Its many bookshelves are filled with sable leather-bound volumes; it smells like a library in here, a mix of old books and card stock. The new chief's broad oak desk is in the center of the room, spotted with ink stains. A banker's lamp with a ebony shade stands on the desk, turned off.\n\nThe only way out is through the coal-black door to the south.\n\nThe Chief should be here soon.\n\n> Your thoughts\nYou are currently not thinking of anything.\n\n> About yourself\nYou are Detective Hector King, a 30-year veteran of the force and nearing retirement. You are wearing a frayed ash-grey suit suit with a checkered tie and a silvery dress shirt. Your stiff black-and-grey hair is cropped short, and your badge is pinned to your suit pocket.\n\nThe door behind you opens, and Chief Schwarz slips in. \"Good, you're here,\" he says as he grips your hand before sitting down. \"Listen, Hector. Rosalita Morales was found dead in the KOLR studio yesterday.\"\n\n\"Yeah, I heard.\"\n\nHe cracks his knuckles and says, \"The lab is working on the evidence, but so far we've got nothing. I've got our people talking to everyone she knew. There's a special assignment for you.\"\n\n\"She's left money to four people. A lot of money. I've asked them to come to the studio for questioning.\"\n\nHe reaches into a drawer and grabs a folder that he tosses on the desk. \"I've prepared a dossier on the suspects, along with the preliminary report on the death. Take it with you.\"\n\n[New topic - Testament]\n\n[New topic - Suspicion]\n\nOn the desk is a worn manila folder.\n\n> You say the testament\n(to Schwarz)\n\"What all can you tell me about the will?\"\n\n\"I had the agency attorney look over it. It looks legitimate; she signed the newest version about 2 years ago.\"\n\n\"And you said there are only four people in the will?\" you ask. \"What about the rest of her family?\"\n\n\"We checked it out. Only had one sister, and her parents died when they were teens.\"\n\n\"Murder?\"\n\n\"Car crash. Looks like she kept to herself, too. Not many friends outside of work. So what does that leave us? Her sister, her coworker-turned-husband-turned-ex, her business  partner, and her personal assistant.\"\n\n\"Do you remember what she left them?\"\n\n\"No, I don't. It's in the folder I left you, though; you can just look up each suspect.\"\n\n> You say the suspicions\n(to Schwarz)\n\"Chief, what makes you so sure that one of these people was involved?\"\n\n\"Listen, it's easy: Follow the money. These four are all much better off now that she's dead. It's not hard to see a connection there.\"\n\n\"Right,\" you say, \"but anyone could have done it when you come down to it; some stalker, or something.\"\n\n\"You know, I'd almost prefer that. Find some psycho that's roaming the streets, clean up the city. And I'm working on that angle. But the fact is these four have a clear motive. You do your job, and I'll do mine.\"\n\n> You get the envelope\nYou typed a valid action, but it was for something that isn't visible right now, something that isn't in the game, or possibly a typo. If you're stuck, type HINT repeatedly to find the next action you can try.\n\n> You get folder\nTaken.\n\nThe Chief smiles grimly. \"You can go now,\" he says, pointing to the door to the south.\n\n\"Call me whenever you want to talk,\" he says, pointing to his phone. He fixes you in place with his stare. \"This case is important to me. If you need anything, please call.\"\n\n[New topic - Assistance]\n\nThe Chief looks thoughtful, and taps his fingers on the desk.\n\n> Go south\n(first opening the Chief's door)\nYou brace yourself as you leave the precinct. Piercing winds cut through your clothes and the rain drives at you as you get in your car. You turn the key and go.\n\n\"\n\n\"Yes. And you are?\"\n\nShe says, \"Oh, I'm just the secretary here. They asked me to come here for questioning, or something like that. A bunch of us, actually; we all took different rooms.\"\n\nYou hear a rustling sound from the north hallway. You both turn to look. You catch a glimpse of neon green hair, and you hear footsteps down the hallway.\n\nThe secretary looks back at you. \"That's Rosalita's sister. She's supposed to be waiting in the studio.\" She rolls her eyes. \"She's a singer who calls herself Andromeda. Chuck's in his old office across the hall from her, and Danny's at the very end by...well, uh, by Rosalita's office. Anyway, I'll be in the break room.\"\n\nShe walks off to the west. You realize that you didn't catch her name. You'll need to get that later, along with her statement.\n\n[New topic - Greeting]\n\n[New topic - Statement]\n\nSome small speakers in the ceiling are tuned to KOLR. From the speakers, you hear the radio quietly playing We Got The Beat.\n\n> You check your inventory\nYou are carrying:\nworn manila folder\n\nFrom the speakers, you hear the radio quietly playing an ad for Ronald Reagan.\n\n> You open the folder\nThe Chief has provided you with a worn manila folder. There are five names and a single word written on the outside in black pen:\n\nYou can look up individual names to review your information, or\nthe timeline to review the timing of events.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"Indiana Jones and the Temple of Doom\".\n\n> You look up daniel\nName: Daniel Kostopoulos.\n\nAge: 63\n\nOccupation: Host of the conservative talk show, \"The Danny Kostopolous Show\".\n\nSummary: Daniel Kostopolous co-founded KOLR with Rosalita Morales over 20 years ago. His talk show and her \"An Evening with Rosa\" have consistently brought in the highest ratings and ad sponsorships for KOLR, outside of nationally syndicated programs. Daniel always goes by the name \"Danny\". Daniel lives alone, with no former marriages or children.\n\nIn her will, Rosalita left him all of her share of KOLR, making him the sole owner.\n\n[New topic - Partner]\n\nFrom the speakers, you hear the radio quietly playing an ad for a trivia board game.\n\n> You read folder\nThe Chief has provided you with a worn manila folder. There are five names and a single word written on the outside in black pen:\n\nYou can look up individual names to review your information, or\nthe timeline to review the timing of events.\n\nFrom the speakers, you hear the radio quietly playing an ad for Infocom's Suspect.\n\n> You look up lee\nName: Chuck Lee.\n\nAge: 45\n\nOccupation: TV News Anchor for WESL.\n\nConnection with Morales: Chuck Lee is Rosalita's ex-husband, and former coworker. Chuck was the news anchor for KOLR local news. He recently left KOLR for television after being headhunted by WESL.\n\nChuck and Rosalita were married 16 years ago, with no children resulting from the marriage. They divorced six years ago amicably, and for unspecified reasons.\n\nChuck resides at 75 Radhaus Lane #701.\n\nIn her will, Rosalita left Chuck the house that they had lived in together.\n\n[New topic - Ex]\n\nFrom the speakers, you hear the radio quietly playing Through The Years.\n\n> You look up cindy\nName: Cindy Jalcek.\n\nAge: 19\n\nOccupation: Receptionist for KOLR and personal assistant for Rosalita.\n\nConnection with Morales: Cindy Jalcek has worked for KOLR as a receptionist for 3 years. Due to the small size of the organization, her duties also include cleaning, supply shopping, and working as Rosalita's personal assistant. Rosalita hired her permanently after a successful internship, and she became Rosalita's confidant. In the will, Rosalita left Cindy her car and a lump sum of $50,000.\n\n[New topic - Secretary]\n\nFrom the speakers, you hear the radio quietly playing Through The Years.\n\n> You look up maia\nName: Maia Morales (stage name Andromeda).\n\nAge: 39\n\nOccupation: Vocal artist.\n\nConnection with Morales: Maia Morales, aka Andromeda, is Rosalita's only sibling. Both of their parents are deceased, making her Rosalita's closest living relative.\n\nMaia is an aspiring singer. Under the stage name Andromeda, she has released two singles and has fronted several big-name bands in the local area. Her two singles were recorded in KOLR studios.\n\nRosalita left Maia the remainder of her estate, after the other bequests.\n\n[New topic - Sister]\n\nFrom the speakers, you hear the radio quietly playing Through The Years.\n\n> You look up Rosalita\nName: Rosalita Morales\n\nAge: 42\n\nDate of death: February 29.\n\nCause of Death: Gunshot wound in the head.\n\nSummary: Officers were called to KOLR studios at 9:25am by her assistant, Ms. Jalcek, who discovered the body in the office when she came into work.\n\nThe investigation is ongoing, but initial results suggest a break-in: the office windows were forced open, and Ms. Jalcek and Maia Morales report seeing an intruder flee the scene.\n\nBackground: Rosalita Morales was the host of the popular romance talk show, \"An Evening With Rosa\". She was the co-founder and co-owner of KOLR, together with Daniel Kostopoulos. She was previously married to celebrity news anchor Chuck Lee, but divorced 6 years ago, and now lives alone. Her closest associates were her assistant Cindy Jalcek and her sister Maia Morales, aka Andromeda.\n\n[New topic - Death]\n\nFrom the speakers, you hear the radio quietly playing an ad for the CD-ROM.\n\n> You look up the timeline\nTimeline of Events:\n\nWednesday, February 27-Chuck Lee cleans out his office and leaves KOLR at approximately 5:00pm. He claims to have seen Rosalita, but left without talking.\n\nThursday, February 28-Daniel Kostopolous discussed the annual report with Rosalita at around 3:00pm. He did not see her again after this.\n\nFriday, February 29-Maia Morales visited Rosalita at work some time before 9:00am, then left. Cindy Jalcek was cleaning the studios, and discovered a stranger in a yellow poncho standing over Rosalita's body. She called emergency dispatch at 9:05am.\n\nFrom the speakers, you hear the radio quietly playing Rapture."
    },
    {
        "text": "[Themes: Mystery, radio, detective, mystery, murder, drama]\n\n> You look around\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. Another light buzzes at the edge of your hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway.\nThe parking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing Rapture.\n\n> Your thoughts\nCurrent thoughts:\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You go west\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nShe looks up expectantly as you walk in.\n\n> You say the greeting\n(to Cindy)\n\"I didn't catch your name earlier.\"\n\nCindy says, \"Oh! Cindy. Cindy Jalcek.\"\n\nYou say, \"My name is Hector King.\" She nods. You say, \"I've been assigned to investigate the murder of Rosalita Morales, and I'd like to ask you some questions.\"\n\nShe blanches. \"I've been wondering... am I under arrest?\"\n\n\"No, I'm just gathering information from everyone here at the station.\"\n\nShe nods, relieved. \"Okay, like I said, my name is Cindy Jalcek. I'm the receptionist here at KOLR. I also helped Rosalita with some of her other activities, including her charity, Roses for Rehab. I was responsible for accounting for the charity.\"\n\n[New topic - Accounting]\n\n> You say the statement\n(to Cindy)\n\"Tell me what you know about the death of Rosalita Morales.\"\n\n\"All right. Here's what happened.\"\n\nYou lean back as Cindy gives you a statement. You can picture it all in your head...\n\n\nParking Lot\nThe dawn sun smiles on you as you stand in the parking lot, and you smile back. Looks like you got here just in time; the lot is starting to fill up, and that means the studio will open soon. The wind cuts through your jacket like a knife, but the smell of rice and hot oil from the Chinese restaurant warms your heart. You know where you're getting lunch today. The lobby door is north from here.\n\nThe bus drops you off, then gasps and wheezes away. You're lucky you got here in time; the police were closing off the streets for a parade. The next bus isn't until noon.\n\n[New topic - Parade]\n\nTime to get to work.\n\n> You say the parade\n(to yourself)\nDuring flashbacks, conversation advances by using TALK TO [someone].\n\n> You go north\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn rolls in from the break room to the west. Oh no.\n\nYou see Rosalita coming out of the break room. She smiles. \"Oh, Cindy, it's good to see you. Listen, my sister's in the break room again. Can you make sure she leaves? I've got to pick the lineup for my show tonight.\" You nod, and she walks into the hallway. She turns around and touches the door. \"Oh, and can you take the trash out of my office?\" With that, she walks to her office.\n\nThe radio is playing an ad for the Apple IIc.\n\n> You go west\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn rolls in from the break room to the west.\n\nAs you rush in to find the source of the smell, you smack into someone and knock them to the ground!\n\n\"Oh, I'm so sorry!\" you say. Your victim rolls over, revealing a mop of green hair.\n\n\"Oh,\" you say. \"It's you.\" You frown, but lift her up. You say, \"Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick.\" Maia frowns and walks away back to the lobby and out of sight.\n\nThe radio is playing Uptown Girl.\n\n> You go west\nThe vending machine is still on the fritz; you called the manufacturer three times in the last week, and you'll have to call them again. A few tables and several chairs are scattered around the room. The smell of burnt popcorn overpowers you. The lobby is back to the east.\n\nSmoke billows from the microwave. Something's burning!\n\n> You open the microwave\nYou open the smoky microwave, revealing a bag of burnt popcorn.\n\n> You get the popcorn\n(the bag of burnt popcorn)\nYou gingerly pick it up by the edges. You'll have to throw it away in the bathroom!\n\nThe bag of popcorn is smoking in your hands.\n\n> Go east\nYou look around, but Maia seems to be gone.\n\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing She Works Hard For The Money.\n\nThe bag of popcorn is smoking in your hands.\n\n> You go to the east\n(first opening bathroom door)\n\nAt least the bathroom's moldy smell will help cover up the popcorn. You don't know why they won't let you remodel this bathroom, clearly the walls are crawling with mold. But at least it makes your job easier when nobody uses it. Even the sink is pretty clean, below the mirror, and the trash can is empty. Oh, looks like the paper towel dispenser is empty too. Oops. The toilet itself squats in a corner.\n\nThe bag of popcorn is smoking in your hands.\n\n> You put the popcorn in the trash\nThat's a good idea. You throw the popcorn into the toilet and turn to go. Wait! The toilet? Not again. You always mix the two up when you're in a hurry. It's caused a lot of messes.\n\nNow the burnt popcorn is floating in the toilet.\n\n> Flush\nYou flush the popcorn down the toilet. It disappears, thankfully, but the toilet starts backing up. Crap! Well, actually, just water, but still, you're glad no one uses this toilet.\n\nYou've got to deal with that smell in the break room, now. Time to get the fan from the closet."
    },
    {
        "text": "[Themes: Mystery, flashbacks, crime, murder, mystery, radio]\n\n> Look around\nAt least the bathroom's moldy smell will help cover up the popcorn. You don't know why they won't let you remodel this bathroom, clearly the walls are crawling with mold. But at least it makes your job easier when nobody uses it. Even the sink is pretty clean, below the mirror, and the trash can is empty. Oh, looks like the paper towel dispenser is empty too. Oops. The toilet itself squats in a corner.\n\n> You go west\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing an ad for The Very Best of An Evening With Rosa (boxed set).\n\n> Go north\n(first opening hallway door)\n\nYou've scrubbed the walls in this hallway a hundred times, and they are clean as a whistle. Chuck's office lies to the west.\nLooking closer, it seems like someone's gouged his door. You'll have to repaint it. The studio to the east is closed, and the On-Air\nlight is glowing. Someone must be recording. The hallway extends to the north. You can also go south to return to the lobby.\n\nThe radio is playing an ad for Who's the Boss.\n\n> You go north\nThe hallway from the south ends here. Rosalita's wooden door\nstands to the north. Danny's hand-carved door is to the\nwest. And your very own bright yellow door lies to the\neast: the janitor's closet.\n\nThe radio is playing an ad for \"A Nightmare on Elm Street\".\n\n> You go east\n(first opening the closet door)\nYou yank hard on the handle of the door. Everyone thinks you lock it, but it's just really, really hard to open.\n\nThis cool, concrete closet is tiny, but it is neatly\norganized and perfectly sorted. Rags, a mop, a bucket, a straw broom, a push broom, bottles of cleaner, two dustpans, extra toilet paper, and so on.\n\nOh, and the fan you were looking for.\n\n> You get fan\nTaken.\n\n> You get the paper towels\nYour sentence had too many words; you can try typing just the part where you wanted to get the extra toilet paper.\n\n> You get towels\nI didn't understand the object in that command.\n\n> Go west\nThe hallway from the south ends here. Rosalita's wooden door\nstands to the north. Danny's hand-carved door is to the\nwest. And your very own bright yellow door lies to the\neast: the janitor's closet.\n\nThe radio is playing I Can't Go For That.\n\n> You go south\nYou've scrubbed the walls in this hallway a hundred times, and they are clean as a whistle. Chuck's office lies to the west.\nLooking closer, it seems like someone's gouged his door. You'll have to repaint it. The studio to the east is closed, and the On-Air\nlight is glowing. Someone must be recording. The hallway extends to the north. You can also go south to return to the lobby.\n\nThe radio is playing I Can't Go For That.\n\n> Go south\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing I Can't Go For That.\n\n> Go west\nThe vending machine is still on the fritz; you called the manufacturer three times in the last week, and you'll have to call them again. A few tables and several chairs are scattered around the room. The smell of burnt popcorn overpowers you. The lobby is back to the east.\n\nThe microwave sits smugly and smokily against the wall.\n\n> You examine the fan\nIt runs on batteries; you can just drop it anywhere you want and turn it on.\n\n> You drop the fan\nDropped.\n\n> You turn it on\nYou turn on the fan. It sputters, then begins to blow.\n\nThe smell dissipates somewhat. Now you can finally get to cleaning Rosalita's office.\n\n> You go east\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing an ad for kid's dolls.\n\n> Go north\nYou've scrubbed the walls in this hallway a hundred times, and they are clean as a whistle. Chuck's office lies to the west.\nLooking closer, it seems like someone's gouged his door. You'll have to repaint it. The studio to the east is closed, and the On-Air\nlight is glowing. Someone must be recording. The hallway extends to the north. You can also go south to return to the lobby.\n\nThe radio is playing an ad for \"The Aquitane Progression\".\n\n> You go to the north\nThe hallway from the south ends here. Rosalita's wooden door\nstands to the north. Danny's hand-carved door is to the\nwest. And your very own bright yellow door lies to the\neast: the janitor's closet.\n\nThe radio is playing an ad for WESL weather alerts.\n\n> Go north\n(first opening the brown door)\nAs you open the door, you hear a loud gunshot, and you see Rosalita crumple to the floor.\n\nYou see an unfamiliar man wearing a yellow poncho hovering over Rosalita, holding a gold-handled revolver. Startled, he turns to look at you, and his bloodshot eyes widen in his stubble-covered face. He runs to the door and you shrink back in fear as he races down the hall outside.\n\n[New topic - Stranger]\n\nWhat do you do? What do you do? You have to call the police!\n\n> You go south\nThe hallway from the south ends here. Rosalita's wooden door\nstands to the north. Danny's hand-carved door is to the\nwest. And your very own bright yellow door lies to the\neast: the janitor's closet.\n\nThe radio is playing Karma Chameleon.\n\nYou have to call the police NOW!\n\n> You go south\nYou've scrubbed the walls in this hallway a hundred times, and they are clean as a whistle. Chuck's office lies to the west.\nLooking closer, it seems like someone's gouged his door. You'll have to repaint it. The studio to the east is closed, and the On-Air\nlight is glowing. Someone must be recording. The hallway extends to the north. You can also go south to return to the lobby.\n\nThe radio is playing an ad for \"Pet Sematary\".\n\nIs the killer still out there? What's going on?\n\n> Go south\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing Harden Heart.\n\nIn the lobby--the phone-- you've got to call the police!\n\n> You call police\n\"I called the police. And I waited up there until they showed up. It was horrible...\"\n\nCindy falls silent, shivering.\n\nYou clear your mind, and return to yourself.\n\n\nBreak Room\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nYou catch Cindy looking you up and down with an unhappy expression.\n\n> You look at the fan\nThe fan clicks and hums as it rotates about the room, trying to clear the air.\n\nCindy sniffs and wrinkles her nose. She glances at the microwave.\n\n> You examine the microwave\nThis seems like a fairly pricey microwave; but its once-white microwave has been yellowed by accumulated layers of grease. It stinks of popcorn.\n\nCindy taps her leg.\n\n> You examine the vending\nThe vending machine leans in the corner. Half of the buttons are dark or flickering; all that works is a couple of rows of iced tea. Not your favorite.\n\nYou hear a distant rumble of thunder.\n\n> Your thoughts\nCurrent thoughts:\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You say the parade\n(to Cindy)\n\"You said there was a parade the morning of Rosalita's death?\"\n\n\"Yes, the Founder's Day Parade. I saw the floats in a big parking lot, and they were putting up barricades.\"\n\n\"So you're sure there were no buses after you?\"\n\n\"Yes, I'm sure. The bus driver told me I was lucky to catch the last bus.\"\n\n> You say stranger\n(to Cindy)\n\"Did you see anything else about the killer?\"\n\nShe shakes her head. \"No, he was gone so fast.\"\n\n\"Was he tall, short, old, young?\"\n\n\"Listen, I don't know! I was terrified!\"\n\n\"Was there anything you remember?\"\n\n\"He was wearing some sort of yellow poncho, and he had a gun. He was unshaven, and I think he smelled a bit like week-old leftovers.\"\n\n> You say the accounting\n(to Cindy)\n\"Ms. Jalcek, could you describe for me exactly what your responsibilities were for Roses for Rehab?\"\n\nShe chews on her lower lip for a second, looking you directly in the eyes. \"I was the primary person in charge of receiving donations by phone or by check. I conducted quarterly audits, and kept the records.\"\n\n\"Thank you Ms. Jalcek, it's important for the record that I had this in your own words.\"\n\n> You say the death\n(to Cindy)\n\"Cindy, our records show that Rosalita Morales died two days ago, shot to death in her office.\"\n\nCindy sits silently.\n\n\"Miss Jalcek, do you have any comment?\"\n\n\"Oh! No, no comment. Just...it was so terrible. Do we really have to talk about this?\"\n\n\"Yes, it's part of the investigation.\"\n\n\"I was there when she was shot, but I didn't see it. I just heard it in the hallway, and saw the killer running away.\"\n\n> You say the sister\n(to Cindy)\n\"What do you know about Maia Morales?\"\n\nCindy opens her mouth, then pauses. \"I... I don't like her very much. Not much at all.\"\n\n\"Why don't you like her very much?\n\n\"I mean, she's a mooch! My job is to keep people like her out. She's always hitting up Rosalita for money, or trying to sneak into our studio.\"\n\nYou ask, \"Why was she sneaking into the studio?\"\n\n\"To record. She thinks she's a rock star because she dyed her hair and calls herself Andromeda.\" She shakes her head. \"I just don't like her.\"\n\n> You say secretary\n(to Cindy)\n\"Tell me more about your work with Rosalita.\"\n\nShe nods.\n\n\"Rosalita was the one who hired me on, three years ago. Apparently the previous secretaries couldn't handle the job,\" she says, smugly. \"I've made a real impact here, and Rosalita liked it. I could clean the studio, help her with errands, and run the front desk without breaking a sweat.\" A tear wells up in one eye. \"I really miss her.\"\n\n\"You were close?\"\n\n\"Yes, she liked to confide in me. She knew she could trust me.\"\n\n\"Did she tell you anything unusual around the time of her death?\"\n\nShe says, \"Nothing that I haven't told the police.\"\n\n> You say ex\n(to Cindy)\n\"What do you know about Chuck Lee?\"\n\nShe seems startled. \"What? What did you say?\"\n\n\"I said, what's your relationship like with Chuck?\"\n\nShe sighs in relief. \"Oh, our relationship. Well, you know, he was never one of the managers or owners at KOLR, so I didn't have to deal with him as much. He's a nice guy, handsome and all, but he and Rosalita...\" She bites her lip. \"I mean, they broke up, you know? It was kind of awkward after that.\"\n\n> You say the partner\n(to Cindy)\n\"What do you know about Danny Kostopoulos?\"\n\n\"Well, obviously I respect him as one of the owners, you know? And he is 'The Voice of the Bread Basket' or whatever he calls himself.\"\n\nYou say, \"The Voice of the Heartland.\"\n\n\"I know, I know. But he's so irritable all the time, he's got a real mean streak. Sometimes I'll pretend to be on the phone just to avoid talking to him.\"\n\n> You go east\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently, and another buzzes at the edge of hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway. The\nparking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing an ad for Infocom's Sorcerer.\n\n> You go east\n(first opening bathroom door)\n\nThe musty smell trapped in this room almost overwhelms you. Its low ceiling sports a single, dim bulb and a ventilation fan. The floor has faded from whatever its original color was into a dingy brown. A sink sits below a small mirror, and a nearby paper towel dispenser hangs over a battered trash can. The toilet itself squats in a corner.\n\n> You look at the dispenser\nA paper towel dispenser set over a trash can.\n\n> Go west\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. Another light buzzes at the edge of hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway. The\nparking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing MacArthur Park.\n\n> You go north\n(first opening hallway door)\n\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing MacArthur Park.\n\n> Go north\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing MacArthur Park.\n\n> Go north\n(first opening the hazel wood door)\nRosalita's office has been sealed off, and you don't want to disturb it. Your specialty is interrogation, not forensics.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"Gremlins\".\n\n> You go east\n(first opening closet door)\nIt seems to be locked.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"The Terminator\".\n\n> Go west\n(first opening plain door)\n\nThis office is decorated with flashy shades of red. It's large enough to fit a massive cherry desk, rows of mahogany bookshelves, and a battered scarlet cabinet. The walls are empty and clean, although the paint is patchy in spots, reaching to a textured plaster ceiling. A wine red floor lamp in the corner has been turned off. The blinds are open to the dim light from outside, punctuated by flashes of lightning. The soft rose carpet is matted and ragged, but looks recently cleaned.\n\nDanny sits slightly slumped in his chair with his hands clasped on his lap.\n\nYou pause by the doorway, and he glances at you. \"Please, come in,\" he says, and you step into the room.\n\n> You say the greeting\n(to Danny)\n\"Daniel Kostopolous?\"\n\nHe rises to grip your hand firmly. \"I usually go by Danny,\" he answers in a husky voice. He looks you up and down. \"I've seen you before, down at city hall. You've been on the force for a while, haven't you?\"\n\n\"Excellent memory, Mr. Kostopolous. I'm Detective King; I've been assigned to investigate the death of Rosalita Morales. I apologize for disrupting your broadcasting.\"\n\nDanny says, \"Not at all; we're broadcasting from the telephone line, right now. All of our local shows air in the evening.\" He looks at his watch. \"Hopefully this won't take too long.\"\n\nYou say, \"Of course. I would like to ask you some questions about what happened that night.\"\n\n\"Listen, call me Danny. Real shame what happened. She... I don't even like to think about it. It shouldn't have happened. Not to Rosa.\" He sits down.\n\n> You say the statement\n(to Danny)\n\"When was the last time that you saw Rosalita Morales?\"\n\n\"All right, sure, I'll tell you. It was the day before she died. Here's what happened.\"\n\nYou lean back as Danny gives you a statement. You can picture it all in your head...\n\nThis studio is the jewel of the station; a green-colored jewel, like an emerald, you suppose. The walls, floor, and ceiling are thickened and hollowed, covered with acoustic panels. The microphones hanging from the ceiling are vintage, from the golden era of broadcasting, when they made microphones right. You constructed the table in the center out of soft wood. The chairs, though, are just left over from the last tenants, years ago. The soundproof door to the west\nleads to the hallway. The control room is to the east, but the technician is still reviewing the show before broadcast.\n\n\"I'm Danny Kostopolous, the Voice of the Heartland. Join me tomorrow, when I'll present my top ten government agencies that need to be eliminated. Thanks for listening.\"\n\nYou pause until your theme song finishes playing. The technician from the control room gives you a thumbs up. You switch off your microphone.\n\nYou stand up. You have a meeting with Rosalita to go over the annual report. You need to look over it first, though.\n\n> You go to the west\n(first opening the studio door)\n\nYou're just outside the studio door, by Chuck's old office. Still stings each time you walk by. The On-Air light is turned off. Your office and Rosa's are to the north. You can also go\nsouth to return to the lobby.\n\nThe radio is playing Sister Christian.\n\n> Inventory\nYou are carrying:\nnothing\n\nThe radio is playing an ad for \"Amadeus\".\n\n> You go to the north\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing Footloose.\n\n> You go west\n(first opening plain door)\n\nYour spacious office is neat and tidy; the receptionist must have cleaned it up. Bookshelves line two walls, stuffed with overflow from Chuck's office. Your heavy desk sits in the middle of the room with a black swivel chair pushed close to it. The large window that you pushed hard for stretches across one wall, and your soft carpet cushions your feet.\n\nThe cabinet with your documents is here. All you really need is the report, though.\n\n> You open the cabinet\nYou keep all of the financial records in here. You can look up\nany files by name. You have many files, but the annual report is your main concern.\n\n> You look up the report\nYou look over the annual report. You and Rosalita need to do your yearly audit of the budget. It's been a tough year, but you've done fairly well for yourselves. The charity drive had a record year, too. All accounts have been audited and all expenditures and donations have been accounted for, and the receipts carefully filed away.\n\nWith the information in mind, you feel more comfortable talking to Rosalita.\n\n[New topic - Records]\n\n> You go to the east\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing Beat It.\n\n> You go north\n(first opening the hazel door)\n\nThis huge office sprawls across the north side of the building. You offered it to her when you moved here. A tall desk chair upholstered with crimson leather dominates the room behind an art deco desk. Bookshelves crawl up the walls, illuminated by giant windows with burgundy drapes.\n\n[Use TALK TO [someone] to talk during flashbacks.]\n\nRosalita is wearing a muted pink dress with a black suit jacket. A large carnation is pinned to her lapel. Her brown hair dips low over one eye and is pulled into a low ponytail behind her. The creases under her eyes and at the corners of her mouth are deeper than they were a year ago.\n\nOn the desk is a vase of flowers with a note that draws your attention.\n\n> You look at the vase\nA slender blue vase with a potpourri of colors, filled with a bouquet of flowers. A note is attached.\n\n> You examine the note\nA small note is attached to the flowers. It says:\n\n\"Thanks for dinner. Let's do it again some time.\n\n-Chuck\"\n\n[New topic - Flowers]\n\n> You talk to Rosa\n(Rosalita)\n\nRosalita speaks first. \"Danny, I'm glad you're here. Have you had a chance to review the annual report?\"\n\n\"Just finished looking over it.\"\n\nShe stands and rubs her eyes. They look red. \"Rosalita, are you okay?\"\n\n\"It's nothing. It's just that it's getting harder each year to get advertisers, you know? Everyone's moving over to television.\"\n\n\"You've got your cassette sales.\"\n\nShe smiles wryly, but then the smile fades. \"Also, I'm exhausted. I had dinner with a friend yesterday, then spent the evening at the shelter on Broad Street. It was exhausting.\"\n\n\"But you always say the charity work makes you happier, like you're a better person.\" She shrugs\n\n\"Rosalita, listen,\" you continue, \"if there's something going on, you can tell me.\"\n\nShe shakes her head. \"I'm fine.\" She walks to the door, and hesitates before going out. \"I'll file the report tomorrow,\" she says, and she walks out of the room and down the hallway.\n\n[New topic - Troubled]\n\n[New topic - Volunteer]"
    },
    {
        "text": "[Themes: Mystery, detective, flashbacks]\n\n> Look around\nThis huge office sprawls across the north side of the building. You offered it to her when you moved here. A tall desk chair upholstered with crimson leather dominates the room behind an art deco desk. Bookshelves crawl up the walls, illuminated by giant windows with burgundy drapes.\n\nOn the desk is a vase of flowers with a note that draws your attention.\n\n> You examine the chair\nA tall, imposing crimson chair that Rosalita bought two years ago.\n\n> You look at the desk\nThe desk is polished and gleaming. Rosalita has carefully locked away all of her files, but a blue vase of flowers lies on the desk with a note attached.\n\nOn the desk is a vase of flowers with a note that draws your attention.\n\n> You examine the bookshelves\nBookshelves line the walls, filled with the sort of books that look good but serve little purpose.\n\n> You examine the windows\nThe light through the drapes is weak and gray, and the sound of raindrops striking glass comes through.\n\n> You examine the drawers\nI didn't understand the object in that command.\n\n> You look under the desk\nYou crouch down and look, but you don't find anything.\n\n> Go south\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing an ad for The Danny Kostopolous Show.\n\n> Go west\nYour spacious office is neat and tidy; the receptionist must have cleaned it up. Bookshelves line two walls, stuffed with overflow from Chuck's office. Your heavy desk sits in the middle of the room with a black swivel chair pushed close to it. The large window that you pushed hard for stretches across one wall, and your soft carpet cushions your feet.\n\nThe cabinet with your documents is here.\n\n> You look at the bookshelves\nYour shelves are full of Chuck's leftover radio kitsch. There's hardly room for your stuff: an old crystal radio set, stacks of tapes, rows of sleeved vinyl, histories of America, patriotic magazines, and other objects lost in the gloom.\n\n> You look at the window\nYou begged, threatened, and cajoled Rosalita into getting this window.\n\n> You look at the desk\nYour desk is a classic; it cost you two months salary to convince the previous owner to give it up.\n\n> You look at the carpet\nThis carpet is top notch; you spent quite a bit of money to get it installed. It may be wearing out a bit, but you wouldn't change it for the world.\n\n> You go to the east\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing an ad for Infocom's The Hitchhiker's Guide to the Galaxy.\n\n> Go south\nYou're just outside the studio door, by Chuck's old office. Still stings each time you walk by. The On-Air light is turned off. Your office and Rosa's are to the north. You can also go\nsouth to return to the lobby.\n\nThe radio is playing an ad for Jeopardy.\n\n> You go south\n(first opening hallway door)\n\nThe lobby is the first thing visitors see when they visit KOLR, so you try to keep it looking good. As you cast about a critical eye, you notice that the stencil on the wall is wearing off. It'll need repainting in about a month. The carpet is clean, but it's looking worn out. The front desk looks pretty good, so you can keep that for a while. The buzzing of one of the lights resonates in your skull in a painful way; that's got to get fixed quick. The offices are back to the north, and the parking lot is south. You can also\nreach the bathroom or the break room from here, but you prefer to spend as little time in those two rooms as possible.\n\nCindy is here, answering phone calls.\n\n\"Thank you for calling KOLR Studios, this is Cindy.\"\n\n> You talk to Cindy\nCindy points to the phone and mouths the word \"sorry!\"\n\n\"Don't worry, the fundraiser is still going on. You can buy a box of dark-chocolate candybars or a year's supply of frozen pizza.\"\n\n> You go north\nYou're just outside the studio door, by Chuck's old office. Still stings each time you walk by. The On-Air light is turned off. Your office and Rosa's are to the north. You can also go\nsouth to return to the lobby.\n\nThe radio is playing Call Me.\n\n> Go west\nYou don't want to see Chuck's empty office.\n\nThe radio is playing Call Me.\n\n> Go east\nThis studio is the jewel of the station; a green-colored jewel, like an emerald, you suppose. The walls, floor, and ceiling are thickened and hollowed, covered with acoustic panels. The microphones hanging from the ceiling are vintage, from the golden era of broadcasting, when they made microphones right. You constructed the table in the center out of soft wood. The chairs, though, are just left over from the last tenants, years ago. The soundproof door to the west\nleads to the hallway. The control room is to the east, but the technician is still reviewing the show before broadcast.\n\n> You go south\nThe lobby is the first thing visitors see when they visit KOLR, so you try to keep it looking good. As you cast about a critical eye, you notice that the stencil on the wall is wearing off. It'll need repainting in about a month. The carpet is clean, but it's looking worn out. The front desk looks pretty good, so you can keep that for a while. The buzzing of one of the lights resonates in your skull in a painful way; that's got to get fixed quick. The offices are back to the north, and the parking lot is south. You can also\nreach the bathroom or the break room from here, but you prefer to spend as little time in those two rooms as possible.\n\nCindy is here, answering phone calls.\n\n\"Yes, cassettes are available for individual episodes or for boxed sets. Of course I recommend the boxed set!\"\n\n> Go south\n\"But she was gone, Detective. And that's what happened.\"\n\nYou clear your mind, and return to yourself.\n\n\nDanny's Office\nThis office is decorated with flashy shades of red. It's large enough to fit a massive cherry desk, rows of mahogany bookshelves, and a battered scarlet cabinet. The walls are empty and clean, although the paint is patchy in spots, reaching to a textured plaster ceiling. A wine red floor lamp in the corner has been turned off. The blinds are open to the dim light from outside, punctuated by flashes of lightning. The soft rose carpet is matted and ragged, but looks recently cleaned.\n\nDanny sits slightly slumped in his chair with his hands clasped on his lap.\n\nThunder booms in the distance.\n\n> Your thoughts\nCurrent thoughts:\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You say volunteer\n(to Danny)\n\"Did Rosalita give you any more information when she said she visited the shelter?\"\n\n\"No, but she's told me she spends a lot of time there. She likes to disburse some of the cash, help some of the families. She says she loves it there.\"\n\n> You say troubled\n(to Danny)\n\"Why do you think Rosalita was upset when you spoke with her last?\"\n\n\"I'm not sure. She's been under a lot of pressure recently, you know. Advertising revenue is down, Chuck is leaving, we're all getting older. My guess is she was broken up about that loser Chuck.\"\n\n\"You said revenue is down?\"\n\nDanny says, \"Yeah, it's TV, right? TV is more popular these days, you get to see the cereal or the soap flakes or the new toy. Drives down the demand for radio ads.\"\n\n> You say the flowers\n(to Danny)\n\"Tell me again about the flowers.\"\n\n\"I came in on Rosalita, red-eyed, sad, and of course I look over and see flowers with a note from good old Chuck.\" Danny shakes his head. \"It kills me to know that the day before she died she spent cut up about that loser.\"\n\n\"Did he often send flowers to Rosalita?\"\n\n\"When they were married, sure, it was his signature smooth move. But they haven't been together for a long time.\"\n\n> You say the records\n(to Danny)\n\"Mr. Kostopoulos, can you tell me about the record-keeping system you used for the studio?\"\n\nHe says, \"Yes, the idea was that we kept all records on paper. All original receipts were filed away, as well copies of all expenditures, which were recorded in a log which was also filed away. It's a good system.\"\n\n\"Is it though? What would you do if you found errors, something incorrect?\"\n\nHe shakes his head. \"Not going to happen.\"\n\n> You say stranger\n(to Danny)\n\"Cindy saw a strange man in a yellow poncho shoot Rosalita.\"\n\nDanny says, \"Did she see anything else about him? Was he old, young, heavy, thin? Did he have a scar, a limp? Did she see anything at all but a poncho?\"\n\n\"She didn't get a good look at him.\"\n\nDanny leans back. \"Well, I shouldn't be too hard on her; it's a hard situation all around. But I wish she had seen more.\"\n\n> You say the parade\n(to Danny)\n\"Cindy claimed that the streets were closed down for a parade the morning Rosalita died.\"\n\n\"Yes, that makes sense. I was watching it on the news. Is this important for the investigation, or are you just making idle chitchat?\"\n\n\"We'll have to see, won't we?\"\n\n> You link the volunteer to the records\nYou can't link those.\n\nDanny frowns. He says, \"I probably already told you this, but we need to be done here by ten. We can only broadcast reruns so long.\"\n\n> You link the volunteer to the accounting\nYou can't link those.\n\nDanny looks you over with a critical eye.\n\n> You say the accounting\n(to Danny)\n\"Mr. Kostopolous, what was Cindy Jalcek's relationship with Roses for Rehab?\"\n\nHe says, \"Oh, Ms. Jalcek; well, I'm sure you want me to be as specific as possible, so...if I recall, she would take the donations over the phone and in person, file them away, and do quarterly internal auditing and budget reports.\"\n\n\"So she was closely involved in the accounting, right?\"\n\nHe nods. \"That's correct.\"\n\n> Link accounting to records\nYou can't link those.\n\nDanny frowns in thought.\n\n> You say death\n(to Danny)\n\"Our records show that Rosalita was shot two days ago in her office.\"\n\nDanny looks incredulous. \"Well, isn't that fantastic. Congratulations on your wonderful record-keeping software. What's wrong with you? I got a phone call two days ago, telling me that my best friend and business partner was dead. That's how I knew.\"\n\n\"You're being sarcastic.\"\n\nDanny rolls his eyes. \"You cops. No heart. No heart at all.\"\n\nDanny is clearly agitated, and this conversation is making him worse. Although he is trying to calm down.\n\n> You say the Sister\n(to Danny)\n\"What do you know about Andromeda?\"\n\nDanny rolls his eyes. \"She's even got the police saying her stage name. Listen, she's just Maia Morales, Rosalita's sister and the scum of the earth.\"\n\n\"You don't like her.\"\n\nHe snorts. \"Like her? She's been riding off Rosalita's back for years. Always asking for gas money, or borrowing her clothes and never returning them. This Andromeda thing is her latest racket; I think she's been sneaking into the studio to record, and I am not\npleased with that.\"\n\nDanny is clearly agitated, and this conversation is making him worse. Although he is trying to calm down.\n\n> Your thoughts\nCurrent thoughts:\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You say secretary\n(to Danny)\n\"What do you know about Cindy Jalcek?\"\n\nHe rolls his eyes. \"Cindy. She's good intentioned but she just... She wears holes in everything with her scrubbing, she hides the toilet paper, she'll take really long lunch breaks at the Chinese restaurant.\"\n\n\"She seems to have been on good terms with Ms. Morales.\"\n\n\"Yeah, I would have fired her long ago, but Rosalita liked her. And at least she did good with the phones. Good service. Drove up sales. But still, I wish she had more sense. \"\n\n> You say ex\n(to Danny)\n\"What do you know about Chuck Lee?\"\n\nDanny glowers. \"Chuck Lee. The most trusted man in the county. What a joke. He was always after Rosalita's money, when he first dated her, and her connections.\"\n\nBefore you can respond, he says \"That's how he got his big breaks, you know; he'd get interviews by telling people he was Rosalita Morales' husband. Then he got too big for her, I guess. Left her, but kept a hefty chunk of money in the divorce settlement. She still gives him anything he wants. At least, he used to.\n\nDanny is having trouble focusing, clenching and unclenching his hands. He stands up for a second, and sits down again.\n\n> You say the partner\n(to Danny)\n\"Tell me more about your business relationship with Ms. Morales.\"\n\nDanny leans back and looks off at the corner for a second before looking back at you.\n\n\"Rosalita Morales and I built this station. Years ago...I provided the experience, I ran the business end of things, attracting clients. I already had spent a few years as a political guest expert on a few talk shows. Rosalita was the pretty face; she met with advertisers, potential employees, a charmer, you know? And her voice, oh man. There's a reason her show is so popular, you know. I was the brain, she was the face.\"\n\nHe rubs his nose and goes on. \"Or, at least, that's how it was going to be. But she knew her stuff; she started doing our taxes, choosing our investments, selling cassetes. Before I knew it, she was running the day to day operations of KOLR, and I just kept to my own show.\"\n\n> You say the testament\n(to Danny)\n\"Mr. Kostopolous, are you aware that Rosalita's will names you and three other people as inheritors?\"\n\n\"Yes, I know, and please, call me Danny. Rosalita always said she'd leave her half of the station to me.\"\n\n\"You two were co-owners?\"\n\n\"That's right,\" he says, and shakes his head. \"But the others are a bunch of sycophants and parasites. Chuck certainly doesn't deserve anything from her, and that sister... who was the fourth person again?\"\n\n\"Cindy Jalcek.\"\n\n\"Hmph. Don't get me wrong, Cindy's not bad, but Rosalita should have just given her money to charity.\"\n\nDanny is having trouble focusing, clenching and unclenching his hands. He stands up for a second, and sits down again.\n\n> Go east\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing an ad for Matlab.\n\n> You link stranger to parade\nYou can't link those.\n\nFrom the speakers, you hear the radio quietly playing an ad for Karate lessons.\n\n> You go to the south\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for Infocom's Seastalker.\n\n> You look up the timeline\nTimeline of Events:\n\nWednesday, February 27-Chuck Lee cleans out his office and leaves KOLR at approximately 5:00pm. He claims to have seen Rosalita, but left without talking.\n\nThursday, February 28-Daniel Kostopolous discussed the annual report with Rosalita at around 3:00pm. He did not see her again after this.\n\nFriday, February 29-Maia Morales visited Rosalita at work some time before 9:00am, then left. Cindy Jalcek was cleaning the studios, and discovered a stranger in a yellow poncho standing over Rosalita's body. She called emergency dispatch at 9:05am.\n\nFrom the speakers, you hear the radio quietly playing We Got The Beat.\n\n> Yank studio door\nYour first word had a typo or was a word not anticipated by the author. Try a different word or type HINT repeatedly to get suggestions.\n\n> You go west\n(first opening the blue door)\n\nThis comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to\nthe hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.\n\nChuck sits in the chair, trying not to look exhausted.\n\nHis eyes follow you as you enter the room, but he doesn't say anything.\n\n> You say the greetings\n(to Chuck)\nIn this game, speech is handled by using SAY [a topic], where topics can be found by typing T.\n\nA tear runs down Chuck's cheek.\n\n> You say the greeting\n(to Chuck)\nYou extend your hand, and he pauses for a moment before shaking it. You say, \"Thanks for coming into the studio today, Mr. Lee. I'm Detective Hector King, and I've been assigned to investigate the death of Rosalita Morales.\"\n\nHe nods absent-mindedly, then regains his focus and looks you in the eye. \"You can call me Chuck,\" he says in a hoarse voice. He flashes his famous TV grin, but it doesn't reach his eyes.\n\n> You say the statement\n(to Chuck)\n\"Tell me what you know about the death of Rosalita Morales.\"\n\n\"All right. Here's what happened.\"\n\nYou lean back as Chuck gives you a statement. You can picture it all in your head...\n\n\nYour Office\nYour office is depressingly empty. The movers have packed away and taken out most of the furniture; your desk remains, shoved against the wall, and a single chair. Danny pressured you into giving him most of your KOLR memorabilia, leaving you almost nothing. The hallway and the long drive home are waiting for you to the east, once you're\nfinished here. Your rugged blue carpet is still dented from furniture legs. At least you left a mark on something.\n\nA packing box lies in the middle of the room.\n\nYou can also see a certificate, a KOLR poster, and a bulletin board here.\n\nIt's time to clean up. You have to get all of your personal effects out of this room before you can go home.\n\n> You examine certificate\nYou pick up the certificate to look at it more closely.\n\nYou wonder yet again if you should even bother to keep this. A certificate of merit for 15 successful years of service at KOLR. It was signed by Danny and Rosalita as the station co-owners, and by the mayor. Danny always liked involving local politicians; it stoked their egos.\n\n> You read it\nYou wonder yet again if you should even bother to keep this. A certificate of merit for 15 successful years of service at KOLR. It was signed by Danny and Rosalita as the station co-owners, and by the mayor. Danny always liked involving local politicians; it stoked their egos.\n\n> You put it in the box\nYou put the certificate into the packing box.\n\n> Examine poster\n(the KOLR poster)\nYou pick up the KOLR poster to look at it more closely.\n\nYou didn't let Danny bully you out of this one. This was the first poster printed after you joined the team. It proclaims \"Tune in to KOLR 99.8!\" in large, day-glo letters at the top; the bottom has pop-art style portraits of you, Danny, and Rosa.\n\n> You put it in the box\nYou roll up the poster and set it in the box.\n\n> You look at the bulletin board\n(the bulletin board)\nYou pick up the bulletin board to look at it more closely.\n\nThis bulletin board is covered with fragments of your time at KOLR: letters from listeners, photos of the studio, your first paycheck. They must have been important to you, once.\n\nAs you lift the bulletin board off the wall, a picture flutters to the ground.\n\n> You look at the picture\nYou pick up the picture to look at it more closely.\n\nThis a photo of the \"grand opening\" of your renovated live room. You can pick out Danny in the corner; Rosalita's sister Maia is in the foreground, before she went by Andromeda. You and Rosalita sit together, your arm around her. Your eyes begin to tear up, looking at it.\n\n> You put all in the box\npicture: You go to pack it, but you hesitate. Better to keep this one with you.\nbulletin board: Done.\n\nFootsteps tread down the hallway, and a scent wanders into the room: Chanel No. 5, Rosalita's perfume. She must have stayed late; you didn't expect her to be here tonight.\n\nYou step towards the door, then stop. The footsteps move on, and the smell fades."
    },
    {
        "text": "[Themes: Mystery, mystery, drama, flashbacks, conversation, simulation]\n\n> You look around\nYour office is depressingly empty. The movers have packed away and taken out most of the furniture; your desk remains, shoved against the wall, and a single chair. Danny pressured you into giving him most of your KOLR memorabilia, leaving you almost nothing. The hallway and the long drive home are waiting for you to the east. Your rugged\nblue carpet is still dented from furniture legs. At least you left a mark on something.\n\nA packing box lies in the middle of the room.\n\n> You examine the desk\nThis mahogany desk has been recently washed and scrubbed. Its warm colors are offset by its bare surface.\n\n> You examine the chair\nYou'll be glad to abandon this old chair; Danny carved it for you, and you could never tell him how uncomfortable it was.\n\n> You examine the carpet\nThe blue carpet scrapes against the bottom of your shoes. Heavy furniture, now absent or moved aside, has left indentations in the carpet.\n\n> You get box\nThe movers are going to take it tomorrow.\n\n> You go to the east\n(first opening the your door)\n\nYou are standing across from the studio door. You look around at the narrow hallway, the dingy carpet, the patchy walls; nothing like the WESL offices you toured. The On-Air light is off, and the studio seems deserted. Danny and Rosa's offices are north, but the faint scent of Rosalita's perfume draws you south to the lobby.\n\nThe radio is playing Mr Roboto.\n\n> You go north\nEveryone's gone for the day, including Rosalita; maybe you should see if you can catch her.\n\nThe radio is playing Mr Roboto.\n\n> You go south\n(first opening hallway door)\n\nYou look around the lobby for the last time. The stencil on the wall has almost faded off. The furniture Rosalita bought for this room is getting worn out. The muddy carpet is scuffed and worn, curling up on the edges. The old break room is to the west, and the bathroom to the east, but those are places you'd rather forget. The doorway to the north leads to the hallway, but you never plan on going back there again. The parking lot, and Rosalita, are to the south.\n\nThe radio is playing Mr Roboto.\n\n> You go to the south\nThe parking lot is mostly empty, like usual for a Wednesday. Brick walls hem you in on either side. You've never enjoyed the claustrophobic feeling you get out here. Your blue car is parked near the back, to the south. KOLR studios squats behind you to the\nnorth.\n\nAs you walk out, you try to see Rosalita. You spot her getting into her car, at the south end. She is wearing a blue, short-sleeved dress and her long hair is parted in the middle. Her thick eyebrows are shaped in gentle curves and her large hoop earrings dangle as she walks. She looks the same as she did 20 years ago when you first met.\n\nYou walk towards her, but she gets in her car and leaves without seeing you.\n\n[New topic - Speechless]\n\n> You go south\n\"And that's what happened.\"\n\nYou clear your mind, and return to yourself.\n\n\nSpare Office\nThis comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to\nthe hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.\n\nChuck sits in the chair, trying not to look exhausted.\n\nYou feel a cold chill seeping in from outside.\n\n> Your thoughts\nCurrent thoughts:\nSpeechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You say speechless\n(to Chuck)\n\"So, Chuck, you didn't speak to Rosalita at all last Wednesday?\"\n\nHe rolls his eyes. \"Yes, that's what I told you. I didn't want to see her and she didn't want to see me.\"\n\n\"But you knew she was in the building,\" you ask.\n\n\"Yes.\"\n\n> You say volunteer\n(to Chuck)\nYou say, \"Danny says Rosalita was volunteering at the shelter last week.\"\n\nChuck yawns and stretches his arms before answering. \"I'm sorry,\" he says. \"I didn't sleep well last night. Anwyay, Rosalita really did seem to care about her charity. She was a good woman.\" He stares at the floor. \"I wish she was still alive. I can't stop thinking about it.\"\n\n> You say troubled\n(to Chuck)\n\"Chuck, Danny says that Rosalita seemed unusually troubled the day before she died.\"\n\nChuck sighs in exasperation. \"Danny loves to gossip, doesn't he? Well, I don't mean to be arrogant, but she was probably still upset that I was leaving. I mean, she clearly still had feelings for me. And she always hated WESL.\"\n\nYou say, \"And WESL is the television station you've joined?\"\n\n\"What? Yes, Rosalita hated their style, called it 'sensationalist'. But a job's a job. I strongly suspect that that was the cause of Rosalita's tension.\"\n\n> You say the flowers\n(to Chuck)\n\"Chuck, Danny saw the flowers that you sent Rosalita last Thursday. She had them on her desk.\"\n\nChuck narrows his eyes. \"Yes, I sent Rosalita flowers. What's your point?\"\n\nYou say, \"I'm just asking some basic questions, Mr. Lee, there's no need to get upset.\"\n\nHe taps his fingers on his leg, and says \"Let's talk about something more useful.\"\n\n> You say records\n(to Chuck)\nYou ask, \"Mr. Lee, were you involved in the accounting for the studio?\"\n\nHe pauses before answering. \"The accounting...well, the accounting...I'm sorry, I've just been thinking about Rosalita so much it's hard to think of anything else. What was the question again? Was I involved in it? No, Not at all, officer. I was never involved in the business side of KOLR.\"\n\n\"Do you know anything about the filing system?\" you ask.\n\nHe concentrates, furrowing his brow. \"The filing system...I'm sorry, I'm just not much of an accountant. Danny talked about his system a lot. He was always paranoid that he'd lose a file and get audited, or something. Maybe you should talk to him.\"\n\n> You say stranger\n(to Chuck)\nYou say, \"Cindy saw Rosalita get shot by a man in a yellow poncho.\"\n\nChuck looks like he's been kicked in the stomach, and nods. \"Yeah, I heard that.\" He says, \"Do you know anything more about the killer? Are you close to finding him?\"\n\n\"Not yet.\"\n\n\"It makes me sick, thinking about some stranger breaking into KOLR and killing Rosalita.\" He grimaces.\n\n> You say the parade\n(to Chuck)\nYou say, \"Cindy says that a parade shut down the streets the day Rosalita died.\"\n\n\"Yes, the Founder's Parade. I was supposed to cover it for WESL but I was at home, sick.\" Tears well up in Chuck's eyes. \"Sorry, I just haven't had any sleep, and this is just so exhausting.\"\n\nYou say, \"But you were sick? The first week of work? That must have been very unfortunate. Do you feel better now?\"\n\nChuck makes an equivocating gesture. \"Yes, I am. Well, mostly. Thanks for asking.\"\n\n> You say the accounting\n(to Chuck)\nYou ask, \"Mr. Lee, is it true that Rosalita's secretary took care of accounting for Roses for Rehab?\"\n\nChuck rubs his forearm as he answers. \"Cindy? Yeah, she was the one who did the internal auditing. She would go through about four times a year and reconcile all of the records. She would also take most of the donations and record them.\"\n\n\"So she was heavily involved.\"\n\n\"Yes, I would say that's accurate.\"\n\n> You say the death\n(to Chuck)\nYou say, \"Our records show that Rosalita died two days ago, February 29th,  from a gunshot wound to the head.\"\n\nChuck thinks for a moment. A couple of tears roll down his cheek, one at a time. He nods. \"That's right.\" He wipes his cheek. \"I identified the body.\"\n\n\"Do you know any more details about the death?\" you ask.\n\n\"No. But I know this: the murderer was a savage. He deserves to die,\" Chuck says, clenching his fist. He stares you in the eye. \"If you find out who did it, they should die.\"\n\n\"I'll pass that along,\" you say.\n\n> You say the Sister\n(to Chuck)\n\"How well do you know Maia Morales?\"\n\n\"Who, 'Andromeda'?\" He slowly shakes his head. \"I know her pretty well. She was always over at our place when we were married.\"\n\n\"Is that the house where Rosalita resided at the time of her death?\" you ask.\n\nChuck massages his neck for a moment, stretching, then answers. \"Yes. After Rosalita and I broke up, I didn't see her very much. As soon as I got the job at WESL, though, Maia started calling me, talking about our friendship, our past. I think she's just looking for an angle.\"\n\n> You say ex\n(to Chuck)\n\"Tell me about your relationship with Rosalita,\" you say.\n\nChuck's eyes water up. He asks, \"You want me to tell you what our marriage was like?\"\n\n\"I mean, what sort of interaction have you had with her recently?\" you say.\n\nChuck stares at the floor as he answers. \"Well, I'll admit, things were tense at times. Anyone here at the station could tell you that. Can you imagine working next to your ex for half a decade? That's one reason I wanted to leave.\"\n\n\"But she kept you in her will,\" you say.\n\nChuck closes his eyes momentarily and sighs. \"Rosalita... had trouble letting go. She always wanted to go out for drinks, or to talk to each other. But it just wouldn't have worked out.\"\n\n> You say secretary\n(to Chuck)\n\"What do you know about Cindy Jalcek?\" you ask.\n\nChuck yawns broadly. \"Cindy? Cindy is pretty reliable. We went through half a dozen interns before her, but she managed to last.\"\n\n\"Did she fit in well at the studio?\"\n\nChuck says,  \"Oh, hmmm, well, I don't think Danny really likes her. Rosalita loved her. They use to take lunch together, and Cindy was always chatting in Rosalita's office. When I found out that Rosalita had written her into her will, though, it made me worried about Cindy's sincerity.\"\n\n> You say the partner\n(to Chuck)\n\"What do you know about Daniel Kostopoulos?\"\n\nChuck says, \"Danny? I really respect him. \"The Voice of the Heartland\", right?\" He smiles briefly. \"And the voice of authority, here at KOLR. He likes to be involved with all the day to day operations at the station.\"\n\n\"What is your personal relationship like?\"\n\nChuck blinks slowly. \"Our personal relationship? Oh, let me think...Well, I don't think he likes me. I actually applied to work at the studio because of him; he was big back then. But then I met Rosalita. She was beautiful. But about Danny, we haven't really gotten along in the last few years. He's too touchy, too erratic; I irritate him.\"\n\n> You say the testament\n(to Chuck)\n\"Are you aware that Rosalita left her house to you in the will?\"\n\n\"Yes, they told me about it when they had me identify the--her body, \" says Chuck.\n\n\"So you weren't aware of it before?\"\n\nChuck massages his temple with one hand. \"When we were still married, I knew her will left the house to me, but I thought she would have changed it by now.\"\n\n\"Why do you think she left it to you?\"\n\nHe says, \"It was our house together; she was always sentimental. I think she shouldn't have done it, but I'll preserve it in her honor.\"\n\n> Go east\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for the Macintosh.\n\n> Go east\n(first opening the studio door)\n\nThe studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a\njuniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.\n\nMaia Morales sits at the table, looking bored.\n\nShe gives you a once-over as you walk in the room, then sighs, disappointed.\n\n> You say the greeting\n(to Maia)\nYou glance at your folder for a moment. \"Maia Morales?\"\n\nShe rises, extending her hand. \"Please, call me Andromeda.\"\n\n\"For the purpose of this interview, I'd prefer to use your legal name.\"\n\nHer face falls, but she recovers. \"That's alright then.\" She sits back down. She leans forward, looking at your badge. \"And you're Officer... King?\"\n\n\"Detective King, actually. I'd like to ask you some questions.\"\n\n> You say the statement\n(to Maia)\n\"Tell me what you know about the death of Rosalita.\"\n\n\"All right. Here's what happened.\"\n\nYou lean back as Maia gives you a statement. You can picture it all in your head...\n\n\"\n\n> You talk to Rosa\n\"Hey Rosa, you know how hard it's been to get any recording ti-\"\n\n\"You can't use it.\"\n\n\"What do you mean?\"\n\n\"You can't use the studio.\"\n\nYou frown. This not good. Maybe you should try again.\n\n> You talk to Rosa\n\"Rosa, please.\"\n\nThe microwave whirrs quietly.\n\n\"Rosa, this important. I don't even need a tech, I can do it mys-\"\n\nRosalita stands and glares at you. \"Maia, I have a real job to do. That's something you wouldn't know about, right? Do you have any idea what could happen to me if I let you screw around with the recording equipment? The audio mixer alone costs more money than you've made in your entire life. Go home and get a real job.\" She stands up and walks out of the room.\n\n> You open the microwave\nIf Rosa wants to overcook her popcorn, that's her prerogative.\n\n> Inventory\nYou are carrying:\nnothing\n\n> You go to the east\nAs you exit the break room, you notice an odd smell from behind you. Is that...burning? You turn around, but someone rushes into and knocks you over!\n\n\"Oh, I'm so sorry!\" you hear someone say. You roll over to see the secretary standing above you.\n\nLobby (on the floor)\nThe original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the\nwest, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.\n\nYou can see Cindy here.\n\nThe radio is playing Every Breath You Take.\n\n> You talk to Cindy\n\"Oh,\" she says. \"It's you.\" She frowns, but helps you up. \"Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick.\" She runs off to the west.\n\nYou dust yourself off.\n\nThe original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the\nwest, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.\n\nThe radio is playing Every Breath You Take.\n\n> Go north\nYou heard Rosa. She doesn't want you here.\n\nThe radio is playing an ad for \"Who Killed the Robins Family?\".\n\n> Go east\nYou don't have to go to the bathroom now, and you need to hurry.\n\nThe radio is playing an ad for robot action figures.\n\n> Go south\nRosa's studio has its own private parking lot. The sunlight glistens off the dripping bushes. A few cars are parked here and there, but all are empty and no one can be seen. Brick walls point up to an empty sky on either side. The lobby door is north from here.\n\nYou can go south to take the bus home.\n\n> You go south\nYou hail the bus, and go back home.\n\n\"And that's the last I saw of Rosa. I can't believe anyone would kill her,\" she says, shaking her mane of green hair.\n\n[New topic - Home]\n\nYou clear your mind, and return to yourself.\n\n\nStudio\nThe studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a\njuniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.\n\nMaia Morales sits at the table, looking bored.\n\nMaia stares at the door, lost in thought.\n\n> You link home to the parade\nThe statements don't match up; Cindy said the streets were closed for a parade, but Maia said she took a bus home.\n\n[New topic - Buses]\n\nMaia waves her hand at her nose before letting out a high-pitched, loud sneeze.\n\n> You say the buses\n(to Maia)\n\"Cindy Jalcek said that there was a parade the day that Rosalita died, shutting down the buses. But you said you took the bus home.\"\n\n\"I probably just remembered wrong. I think I actually took a taxi.\"\n\n\"Ms. Morales, all of the traffic was shut down. What did you really do that morning?\"\n\nMaia looks panicked. She says, \"Listen, it's not what you think!\"\n\n\"What is it, then?\"\n\n\"I want to change my statement.\"\n\n> You say the statement\n(to Maia)\n\"Tell me your story again.\"\n\n\"Fine.\"\n\nYou lean back as Maia gives you a statement. You can picture it all in your head...\n\n\"\n\n> You talk to Rosa\n\"Hey Rosa, you know how hard it's been to get any recording ti-\"\n\n\"You can't use it.\"\n\n\"What do you mean?\"\n\n\"You can't use the studio.\"\n\nYou frown. This not good. Maybe you should try again.\n\n> You go east\nAs you exit the break room, you notice an odd smell from behind you. Is that...burning? You turn around, but someone rushes into and knocks you over!\n\n\"Oh, I'm so sorry!\" you hear someone say. You roll over to see the secretary standing above you.\n\nLobby (on the floor)\nThe original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the\nwest, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.\n\nYou can see Cindy here.\n\nThe radio is playing Maneater.\n\n> You talk to Cindy\n\"Oh,\" she says. \"It's you.\" She frowns, but helps you up. \"Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick.\" She runs off to the west.\n\nYou dust yourself off.\n\nThe original ceiling in this comfortable room has been lowered for the installation of office lights and ceiling panels. A huge desk extends from one wall almost to the hallway, a telephone placed on its center. The black door to the hallway is solid, a throwback to times when security and safety mattered. KOLR has its own parking lot, to the south. The bathroom is to the east and the break room is to the\nwest, but you don't want to even think about the first and that nosy secretary is in the other. The station logo has been stenciled on the wall in faded, tasteful colors.\n\nThe radio is playing Maneater.\n\n> Go north\n(first opening hallway door)\n\nYou hold your breath and step quietly through this hallway. The office to the west looks unused. A red \"On-Air\" light is mounted next to the door. The hallway extends north to Rosa's office. The lobby is\nsouth from here.\n\nRosa's studio lies to the east, behind a heavy black door.\n\nThe radio is playing Maneater.\n\n> You go to the east\n(first opening the studio door)\nYou close the studio door behind you.\n\nThis studio is incredible, decorated in gorgeous greens. The walls are specially built to provide the perfect sound. The microphones hanging from the ceiling are incredibly expensive, much better than the ones you use at Saul's cousin's place. You're not too crazy about the table and chairs, given that you're not doing a radio show, but they won't be a big issue. The soundproof door to the west leads to the hallway, where Rosa might be lurking. The control room is to the east.\n\n> Go east\n(first opening the control room door)\n\nThis small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.\n\nThe session tapes are spooled here.\n\nThere is an emergency door to the outside here.\n\nYou see the audio console here, filling up a third of the room.\n\n> You examine the door\n(the emergency door)\nYou look over the emergency door, but don't see anything important.\n\n> You examine the bay\nThis device and the wires flowing in and out of it are used to decide what inputs end up in the console. It seems to be set up just fine for a vocal solo.\n\n> You record the solo\nYour sentence had too many words; you can try typing just the part where you wanted to do something to the record button.\n\n> You look at the console\nThis console is top of the line, with hundreds of switches and knobs. You could record anything in this studio; string ensemble, barbershop quartet, orchestra... well, if you could fit them in. You recognize a few of them: noise gate, expander, limiter, compressor, delay, harmonizer, modulation.\n\nYou also see a record button, a stop button, and a playback button. The session tapes are spooled here.\n\n> You go west\nThis studio is incredible, decorated in gorgeous greens. The walls are specially built to provide the perfect sound. The microphones hanging from the ceiling are incredibly expensive, much better than the ones you use at Saul's cousin's place. You're not too crazy about the table and chairs, given that you're not doing a radio show, but they won't be a big issue. The soundproof door to the west leads to the hallway, where Rosa might be lurking. The control room is to the east.\n\n> Sing\nYou belt out a song with all your heart.\n\n> Keep going\nYou reach within yourself and burst out in song.\n\n> You go east\nThis small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.\n\nThe session tapes are spooled here.\n\nThere is an emergency door to the outside here.\n\nYou see the audio console here, filling up a third of the room.\n\n> You get the tapes\nYou go to grab the tapes, but they seem stuck. You yank hard,  and the whole console shifts, knocking you to the floor. You rise and dust yourself off, holding the tapes.\n\nYou seem to have dislodged something from behind the console.\n\n> You look\nThis small room is packed with the best equipment available. The original plaster ceilings and wainscoted walls distinguish this room from the dumpy studios you've been using. A large patch bay in the corner is surrounded by a nest of wires.\n\nThere is an emergency door to the outside here.\n\nYou see the audio console here, filling up a third of the room.\n\nYou can also see a stack of receipts here.\n\n> You examine the receipts\nA stack of receipts? What are they doing here? You pick them up. This is odd... You flip through the stack, kicking dust into the air. These receipts are for payments to KOLR. Why would Rosa keep them here?\n\n[New topic - Hidden]\n\nYou hear the a siren wailing, far away but steadily approaching. Oh no... someone must have seen you. You have to get out of here!\n\n> You go east\nYou're out of here!\n\n\"And so I left. I found out later that day that Rosalita was dead. I didn't tell the police because I knew how bad it looked.\"\n\n\"Do you still have the receipts?\"\n\n\"No, I tossed them in a dumpster in an alley. I don't even remember where they are.\"\n\nYou clear your mind, and return to yourself.\n\n\nStudio\nThe studio is decked out in luxurious shades of green. The hardwood floor in this large room steps up almost half a foot more than the carpet in the hallway to the west, and is covered in a\njuniper-green carpet. The pistachio walls are noticeably thicker here, and partially covered in lime fabric-lined boards. A single table is placed in the center of the room with a few scattered chairs. Adjustable microphones hang from the ceiling, which is covered in pale mint acoustic panels. It's subtle, but you notice that none of the walls are at a right angle. The perfect stillness in the room is a relief after the incessant pitter-patter of rain and the buzzing of fluorescent lights. in the rest of the building. A bank of windows to the east reveals the intricate electronics of the control room, accessible by a slim door.\n\nMaia Morales sits at the table, looking bored.\n\nMaia looks at the window to the control room.\n\n> You go east\n(first opening the control room door)\nIt is locked.\n\nSomeone knocks at the door. You turn to see who it is.\n\nDanny Kostopolous is standing at the door. He points at Maia. \"Officer, this woman should not be in here. There's expensive equipment in here.\"\n\nMaia looks at you. \"Please,\" she says, \"I've been in here many times.\" Danny's face gets red at this. She continues. \"I think I can handle it without breaking anything.\"\n\nYou turn to Danny. You say, \"I'll try and hurry, Mr. Kostopolous. But I'd like you to return to your room; you're delaying the investigation.\"\n\nHe grumbles, and begins to walk away, but he stops and walks to the control room door. He jiggles the handle, but it's locked. He gives Maia a smug grin and says, \"At least you're not getting in there.\" Then he walks out.\n.\n\n> Your thoughts\nCurrent thoughts:\nHidden - \"Maia found a bunch of receipts hidden in the studio.\"\nBuses - \"Maia said she took a bus home, but Cindy said the buses weren't running.\"\nHome - \"Maia took the bus home after talking with Rosalita.\" Speechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You examine maia\n(Maia)\nMaia Morales, aka Andromeda, is a tallish woman with shocking neon green hair and thinly plucked eyebrows. She is wearing a long emerald sundress, and a light aqua jacket is thrown over her shoulders. She glanc"
    },
    {
        "text": "es languidly about the room.\n\nMaia runs her finger over the table.\n\n> You say hidden\n(to Maia)\n\"Tell me about the receipts again.\"\n\n\"You see, I was just trying to get the session tapes out, and I pulled something too hard, and the whole console shifted.\n\n\"And the receipts were behind the console?\"\n\nShe says \"Yes, that's exactly what happened.\"\n\n\"Where are they now?\"\n\n\"I tossed them in a dumpster when I was running. I wouldn't know which one.\"\n\n> Link hidden to records\nMaia found a stack of hidden receipts, but Danny claimed that all records were accounted for.\n\n[New topic - Missing]\n\nYou hear a door close somewhere in the station. Maia leans to look out the door, then looks back at you and shrugs.\n\n> You say missing\n(to Maia)\n\"Maia, Danny said that all the files were accounted for.\"\n\n\"I saw what I saw. A huge stack of receipts, hidden behind the audio console.\"\n\n\"Why do you think they were hidden?\"\n\n\"Obviously someone had something to hide. If Danny was claiming that everything was perfect and tidy, he's the one to talk to.\"\n\n> You say volunteer\n(to Maia)\n\"I heard that Rosalita volunteered at a shelter last Wednesday.\"\n\nMaia rolls her eyes. \"Rosalita doesn't care about the shelters.\"\n\nYou look at her, and ask, \"What do you mean?\"\n\nShe leans forward. \"She just likes the attention. She made up some phony story about being in rehab as a kid, and people just lap it up. It makes me sick.\"\n\nYou say, \"That's interesting.\"\n\n> You say troubled\n(to Maia)\n\"Danny says that Rosalita seemed especially troubled the day before she died.\"\n\nShe nods. \"Yeah, she really did seem to have something on her mind. That morning she died, she was really rude to me.\"\n\nYour expression gives her pause.\n\nShe says, \"Listen, I know she's dead, but I'm just trying to tell you what happened. She was more upset than usual. And it wasn't just before she died, she was troubled for a long time.\"\n\n\"Do you know what was troubling her?\"\n\n\"Something financial, I think. I don't know for sure, though.\"\n\n> You say the flowers\n(to Maia)\n\"Chuck gave flowers to Rosalita on Thursday, thanking her for letting him stay Wednesday night.\"\n\nShe looks put out. \"I wasn't aware that they were still seeing each other.\" Her face saddens. She says, \"It must be especially hard for him, then, her death.\"\n\nYou are silent.\n\n\"Maybe I should talk to him...\"\n\n> You say the records\n(to Maia)\n\"Your sister had a strict filing system set up. Did you ever work on it?\"\n\nMaia laughs. \"Rosalita wouldn't let me get anywhere near the files. She thought I'd try to take a piece of the pie.\"\n\n\"Did you?\"\n\nShe frowns. \"Of course not.\"\n\n> You say stranger\n(to Maia)\n\"Cindy saw a man in a yellow poncho shoot Rosalita.\"\n\n\"Who was he? Do you have any information about him?\"\n\n\"No.\"\n\n\"Do you guys have any leads on this guy? Any open cases? Serial killers running around? It's absolutely frightening that a murderer just broke into the studio and killed my sister. Are you doing anything?\"\n\nYou say, \"The department has quite a few people working on this case. My job is just to get the facts from you and the other witnesses.\"\n\n> You say the accounting\n(to Maia)\n\"Ms. Morales-\"\n\n\"Andromeda, please.\"\n\n\"Ms. Morales, what do you know about the accounting for Roses for Rehab?\"\n\nMaia rolls her eyes and sighs. \"I know absolutely nothing about it.\"\n\n> You say the death\n(to Maia)\n\"Our records show that Rosalita was shot to death on February 29th.\"\n\nMaia shivers. \"Yes.\"\n\nAfter a moments pause, she continues. \"I can't believe that someone could do that to her. Rosalita didn't deserve to die, especially not like that.\"\n\n\"No one really deserves to be murdered.\"\n\n\"I know; It was just so shocking, so unexpected.\"\n\n> You say the Sister\n(to Maia)\n\"What was your relationship like with your sister?\"\n\nShe leans back. \"With Rosalita? We were close, you know? I spent a lot of time at her house. We used to hang out, go shopping all the time. But she's been a lot more on edge this last year.\"\n\n\"On edge?\" you ask.\n\n\"She wasn't happy with my career change and my new look,\" she says, pointing to her hair. \"Me becoming 'Andromeda' disappointed her. She said it wasn't a real job. I said she was stuffy and boring, only cared about money. She would get really upset when I talked about it.\"\n\nShe shrugs. \"I don't know how things got this way.\"\n\n> You say secretary\n(to Maia)\n\"What do you know about Cindy Jalcek?\"\n\nMaia frowns. \"Cindy's the secretary, right? I didn't know her last name. She's a suspicious sort of woman.\"\n\n\"Does she have a criminal record?\"\n\n\"Oh, not that kind of suspicious! She's always watching me when I go there, following me around. I wish she would cool off a bit. She seems good at what she does, though; I like the stencil she put up in the lobby.\"\n\n> You say the partner\n(to Maia)\n\"What do you know about Danny Kostopolous?\"\n\n\"Danny?\" She stretches her back and thinks. \"He's famous and all, but he's wound up too tight. He only cares about his show. He keeps an iron fist on the studio, never lets anyone rent it out.\"\n\n\"He kept an iron fist? Even with Rosalita?\"\n\n\"What? No,\" says Maia. \"No one could keep Rosalita down. But she let him do what he wants around the station, if you know what I mean. He used to let people use the recording studio for a small fee on weekends, but that's gone and done.\"\n\n\"It sounds like you two didn't get along.\"\n\n\"I feel like he could be a lot more generous.\"\n\n> You say ex\n(to Maia)\n\"What do you know about Chuck Lee?\"\n\n\"Chuck is just great.\"\n\n\"So you like him.\"\n\n\"I was so proud when Rosalita married him, I mean he's just really handsome, especially since his surgery. WESL is lucky to have him.\"\n\n\"WESL the TV station?\" you ask.\n\n\"Right. I know he and Rosalita broke up, but I've been trying to keep in contact with him. He's been pretty busy, though.\"\n\n> You say the surgery\n(to Maia)\nIn this game, speech is handled by using SAY [a topic], where topics can be found by typing T.\n\nMaia yawns.\n\n> You say the testament\n(to Maia)\n\"Maia, are you aware that Rosalita left you a significant amount of money in her will?\"\n\nMaia's eyes gleam. \"I wasn't aware of the amount, but I know she always believed in staying close to family. Do you have an estimate of the amount?\"\n\n\"I'm sorry, I don't really deal with that end of things. I do know that her house has been left to her former husband, while her shares in KOLR were left to Mr. Kostopolous. Also, she left some smaller items to Cindy Jalcek.\"\n\n\"Oh. Well, you're right. This probably isn't the best time to talk about this all.\" She seems to be lost in thought.\n\n> You go to the west\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing I Love Rock And Roll.\n\n> You go to the north\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing I Love Rock And Roll.\n\n> Go west\nThis office is decorated with flashy shades of red. It's large enough to fit a massive cherry desk, rows of mahogany bookshelves, and a battered scarlet cabinet. The walls are empty and clean, although the paint is patchy in spots, reaching to a textured plaster ceiling. A wine red floor lamp in the corner has been turned off. The blinds are open to the dim light from outside, punctuated by flashes of lightning. The soft rose carpet is matted and ragged, but looks recently cleaned.\n\nDanny is highly irritated. He is breathing deeply, trying to relax.\n\nDanny picks at a splinter on the desk.\n\n> You say hidden\n(to Danny)\n\"Mr. Kostopolous, do you have any idea why a stack of receipts for payments to KOLR would be hidden in the control room?\"\n\nHe glowers at you. \"What do I look like, a janitor? It's none of my business if some idiot is stuffing paper in corners.\" But you notice that his fist clenches for a moment as you ask.\n\n> You say missing\n(to Danny)\n\"I have information that a large number of receipts for payments to KOLR were found in the control room recently. You said that all such receipts were kept filed away.\"\n\nDanny goes completely still except for the throbbing of a forehead vein. \"So you found them in the control room?\"\n\n\"Mr. Kostopolous, we need you to tell us everything that you know.\"\n\n\"Rosalita didn't keep secrets from me, and I don't want to betray her trust. She loved that charity. Two nights before she died, she was volunteering at one of the local shelters. Would a crook do that?\"\n\n> You say yes\n(to Danny)\nIn this game, speech is handled by using SAY [a topic], where topics can be found by typing T.\n\nDanny looks over the memorabilia on his shelves.\n\n> Your thoughts\nCurrent thoughts:\nMissing - \"Maia found a stack of receipts that Danny said was accounted for.\"\nHidden - \"Maia found a bunch of receipts hidden in the studio.\"\nBuses - \"Maia said she took a bus home, but Cindy said the buses weren't running.\"\nHome - \"Maia took the bus home after talking with Rosalita.\" Speechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> Link records to missing\nYou can't link those.\n\nDanny says, \"Did I tell you that I carved all the furniture in this office myself?\"\n\n> You go to the east\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"Full Circle\".\n\n> You go to the south\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for leg warmers.\n\n> Go south\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. Barely audible is the buzzing of another light. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing Through The Years.\n\n> Go west\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nCindy's hand trembles slightly.\n\n> You say hidden\n(to Cindy)\n\"Apparently, a large stack of receipts for payments to KOLR were found stuffed in the control room of the studio.\"\n\n\"What? Receipts? Who was in the control room?\"\n\n\"That's not what I'm talking about right now. Do you know about these receipts?\"\n\n\"No, but if it was Maia in the control room, I'm going to be extremely angry. Was it her?\"\n\n\"Just tell me about the receipts.\"\n\n\"I don't know anything about them. Rosalita usually handles them.\"\n\n\"Is she the only one?\"\n\n\"Danny always worked on the files, too; said he had the perfect system. I bet he's kicking himself now.\"\n\n> You say missing\n(to Cindy)\n\"Cindy, apparently a number of files connected with the studio were missing. What do you know about this?\"\n\n\"What do you mean missing?\"\n\n\"I mean they weren't filed with the others. Were you aware of this?\"\n\n\"No, Rosalita handled most of that by herself.\"\n\n> Your thoughts\nCurrent thoughts:\nMissing - \"Maia found a stack of receipts that Danny said was accounted for.\"\nHidden - \"Maia found a bunch of receipts hidden in the studio.\"\nBuses - \"Maia said she took a bus home, but Cindy said the buses weren't running.\"\nHome - \"Maia took the bus home after talking with Rosalita.\" Speechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You say speechless\n(to Cindy)\n\"Chuck claims that he saw Rosalita last Wednesday but didn't talk to her.\"\n\n\"Makes sense; he was pretty torn up about leaving, and so was Rosalita.\"\n\n\"Were you there that day?\"\n\nShe says, \"I wasn't there when Chuck cleaned out his stuff; I think I was on my lunch break.\"\n\n> You say volunteer\n(to Cindy)\n\"Rosalita told Danny she went to volunteer at the shelter last Wednesday night.\"\n\nCindy nodded. \"She didn't tell me what she was up to, but she loves going to the shelters. She likes to connect with the people in rehab, tell them her own rehab story.\"\n\n\"Rosalita went to rehab?\"\n\n\"Yeah, years ago, when she was a kid. Alcoholism. Makes for a great motivational story, made me feel motivated, even. It's part of the reason I signed up for the secretary job.\"\n\n> You say troubled\n(to Cindy)\n\"Danny said that Rosalita was very upset the day before she died. She wouldn't tell him what it was about.\"\n\n\"Yeah, she's been-I mean she had been preoccupied at work recently.\"\n\n\"Do you know why?\"\n\n\"I'm not sure. It could be just about anything. Chuck leaving, the two of them getting back together, or-\"\n\n\"Excuse me, did you say that her and Chuck were getting back together?\"\n\nShe blushes. \"Oh, gosh, I wasn't supposed to....listen, I saw some flowers, okay? On her desk. When I was cleaning, the day before she died. They had a note from Chuck. I don't remember what it said, but basically, you know, it seems like they hooked up.\"\n\n> You say the flowers\n(to Cindy)\n\"Danny said that Chuck had flowers delivered to Rosalita last Thursday.\"\n\nShe says, \"Yes... Listen, Rosalita didn't want me talking about her relationships with anybody. I know it's important for the investigation and all, but I just don't want to talk about Rosalita and Chuck. Honestly, those two were back and forth with each other all the time. Getting together, breaking up, gifts, arguments, it just never stopped.\"\n\n\"But you think they were most recently together?\"\n\n\"That's a weird way of phrasing it, but yes, that's what I think.\"\n\n> You link speechless to the flowers\nThe statements don't match up; Chuck says that he never had a chance to talk to her, but Danny says that they did.\n\n[New topic - Conversation]\n\nCindy notices some trash on the ground and picks it up.\n\n> Go east\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. Another light buzzes at the edge of hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway. The\nparking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"Ghostbusters\".\n\n> You go to the north\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for Walter Mondale.\n\n> You go west\nThis comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to\nthe hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.\n\nChuck sits in the chair, trying not to look exhausted.\n\nChuck's bloodshot eyes meet yours for a moment before turning away.\n\n> You say conversation\n(to Chuck)\nChuck says, \"We have a witness who claims that you talked to Rosalita the day that you cleaned out your office.\"\n\nChuck stares forward silently for an uncomfortably long amount of time. Without looking at you, he says \"You're right, I did talk to her.\"\n\n\"Maybe we should go over your statement again.\"\n\n\"Yeah, we might as well.\"\n\n> You say the statement\n(to Chuck)\n\"Tell me what you know about the death of Rosalita Morales.\"\n\n\"All right. Here's what happened.\"\n\nYou lean back as Chuck gives you a statement. You can picture it all in your head...\n\n\nYour Office\nYour office is depressingly empty. The movers have packed away and taken out most of the furniture; your desk remains, shoved against the wall, and a single chair. Danny pressured you into giving him most of your KOLR memorabilia, leaving you almost nothing. The hallway and the long drive home are waiting for you to the east. Your rugged\nblue carpet is still dented from furniture legs. At least you left a mark on something.\n\nA packing box lies in the middle of the room.\n\nYou can also see a certificate, a KOLR poster, and a bulletin board here.\n\nIt's time to clean up. You have to get all of your personal effects out of this room before you can go home.\n\n> You get all\nKOLR poster: You pick up the KOLR poster to look at it more closely.\n\nYou know that Rosa loved this poster; maybe she'll ask to see it in a week or two, and it'll break the ice between you. It proclaims \"Tune in to KOLR 99.8!\" in large, day-glo letters at the top; the bottom has pop-art style portraits of you, Danny, and Rosa.\ncertificate: You pick up the certificate to look at it more closely.\n\nYou look over the certificate and smile. A certificate of merit for 15 successful years of service at KOLR, signed by the mayor; this should impress your new colleauges at WESL.\nbulletin board: You pick up the bulletin board to look at it more closely.\n\nYou scan the board impatiently. It's covered with letters from listeners, photos of the studio, your first paycheck; later you'll take it all off and start a new one for WESL.\n\nAs you lift the bulletin board off the wall, a picture flutters to the ground.\npacking box: The movers are going to take it tomorrow.\n\n> You examine the picture\nYou pick up the picture to look at it more closely.\n\nThis a photo of the \"grand opening\" of your renovated live room. You can pick out Danny in the corner; Rosalita's sister Maia is in the foreground, before she went by Andromeda. You and Rosalita sit together, your arm around her. You smile.\n\n> You put all in the box\npicture: You go to pack it, but you hesitate. Better to keep this one with you.\nbulletin board: Done.\ncertificate: Done.\nKOLR poster: You roll up the poster and set it in the box.\n\nFootsteps tread down the hallway, and a scent wanders into the room: Chanel No. 5, Rosalita's perfume. She must have stayed late; you hoped she would be here tonight.\n\nYou step towards the door, then stop. The footsteps move on, and the smell fades.\n\n> You go east\n(first opening the your door)\n\nYou are standing across from the studio door. You look around at the narrow hallway, the dingy carpet, the patchy walls; nothing like the WESL offices you toured. The On-Air light is off, and the studio seems deserted. Danny and Rosa's offices are north, but the faint scent of Rosalita's perfume draws you south to the lobby.\n\nThe radio is playing an ad for \"Full Circle\".\n\n> Go south\nYou look around the lobby for the last time. The stencil on the wall has almost faded off. The furniture Rosalita bought for this room is getting worn out. The muddy carpet is scuffed and worn, curling up on the edges. The old break room is to the west, and the bathroom to the east, but those are places you'd rather forget. The doorway to the north leads to the hallway, but you never plan on going back there again. The parking lot, and Rosalita, are to the south.\n\nThe radio is playing an ad for Matlab.\n\n> You go south\nThe parking lot is mostly empty, like usual for a Wednesday. Brick walls hem you in on either side. You've never enjoyed the claustrophobic feeling you get out here. Your blue car is parked near the back, to the south. KOLR studios squats behind you to the\nnorth.\n\nAs you walk out, you try to see Rosalita. You spot her getting into her car, at the south end. She is wearing a blue, short-sleeved dress and her long hair is parted in the middle. Her thick eyebrows are shaped in gentle curves and her large hoop earrings dangle as she walks. She looks the same as she did 20 years ago when you first met.\n\nYou walk towards her, but she gets in her car and leaves without seeing you.\n\n> You go south\n\"You were right; I lied earlier. I followed Rosalita that day.\"\n\nYou've parked your car here in front of a house on Rosalita's street. The driveway stretches out from the house here. Rosalita's house, your old house, lies to the west, and a door to a stranger's house is to the north. Trees dot the yard.\n\nYou see Rosalita off to the west, gathering her purse and her sunglasses. She hasn't seen you yet. You watch as she walks up the steps and into the house, closing the door.\n\n> Go west\nThe street stretches behind you, and Rosalita's house looms before you. The steps up to the front door are freshly cleaned, and bright blue drapes frame the windows. Rosalita's car is parked in front of you.\n\nHer front door is to the north.\n\n> Go north\nYou knock on the door and Rosalita answers, with Cindy in the background turning to watch. A smile flashes on her face. \"Chuck!\" she says, and runs to embrace you. She steps back. \"I wanted to see you before you go, but I...\"\n\n\"Yeah, I know. I wasn't going to come here, but I just wanted to say goodbye.\"\n\n\"We talked all afternoon, remembering old times. It felt good. Now, I would never share this on my own, but just to be completely frank, we spent the night together, and the next day I sent flowers. I'd prefer not to go in more detail.\"\n\n\"And that's what happened.\"\n\n[New topic - Tryst]\n\nYou clear your mind, and return to yourself.\n\n\nSpare Office\nThis comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to\nthe hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.\n\nChuck sits in the chair, trying not to look exhausted.\n\nA fly lands on Chuck's hair. He doesn't notice. It soon flies away.\n\n> You say the tryst\n(to Chuck)\nYou ask, \"So you spent the whole night with Rosalita last week?\"\n\n\"Last week? Oh, yes, yes I did,\" he says.\n\n\"And you felt like hiding this fact?\"\n\nHe slowly shrugs. \"I'm sorry officer, I know it looks bad. But listen, would I have killed her if we were just getting back together?\"\n\n\"I don't know, Chuck. I hope for your sake that that's all you lied about.\" He shrugs again.\n\n> Your thoughts\nCurrent thoughts:\nTryst - \"Chuck spent all night with Rosalita last Wednesday.\" Conversation - \"Chuck said that he didn't talk to Morales, but\nDanny claims that they did talk.\"\nMissing - \"Maia found a stack of receipts that Danny said was accounted for.\"\nHidden - \"Maia found a bunch of receipts hidden in the studio.\"\nBuses - \"Maia said she took a bus home, but Cindy said the buses weren't running.\"\nHome - \"Maia took the bus home after talking with Rosalita.\" Speechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> Link troubled to missing\nYou can't link those.\n\nRain patters on the window.\n\n> Link troubled to hidden\nYou can't link those.\n\nIf you strain to listen, you think you can hear singing from somewhere.\n\n> Go east\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing Rapture.\n\n> Go south\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently, and another buzzes at the edge of hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway. The\nparking l"
    },
    {
        "text": "ot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing an ad for \"Who Killed the Robins Family?\".\n\n> You go to the west\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nCindy pops her neck.\n\n> You say the tryst\n(to Cindy)\n\"Cindy, Chuck admitted that he spent the night with Rosalita last week.\"\n\n\"I knew it. I just knew it.\" She shakes her head. \"He...But I can't fault him. They were married for a long, long time. They probably still loved each other, you know?\"\n\n\"Did you know anything about it?\"\n\n\"I mean, I saw the flowers he sent her, but I didn't know they were together. But it doesn't surprise me. Although now I wonder\nwhat Danny's up to; he told me she was at the shelter last Wednesday.\"\n\n> Link volunteer to tryst\nDanny claims that Rosalita was volunteering at a shelter on Wednesday, but Chuck says she was with him.\n\n[New topic - Absent]\n\nCindy runs her finger over the table, feeling the dents and stains.\n\n> You go east\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. Another light buzzes at the edge of your hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway.\nThe parking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing an ad for Ronald Reagan.\n\n> Go north\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing Too Much Heaven.\n\n> Go north\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing Too Much Heaven.\n\n> Go west\nThis office is decorated with flashy shades of red. It's large enough to fit a massive cherry desk, rows of mahogany bookshelves, and a battered scarlet cabinet. The walls are empty and clean, although the paint is patchy in spots, reaching to a textured plaster ceiling. A wine red floor lamp in the corner has been turned off. The blinds are open to the dim light from outside, punctuated by flashes of lightning. The soft rose carpet is matted and ragged, but looks recently cleaned.\n\nDanny is highly irritated. He is breathing deeply, trying to relax.\n\nDanny takes off his glasses to wipe them with his sweater, then returns them to his face.\n\n> You say absent\n(to Danny)\n\"Danny, you said that Rosalita volunteered at the shelter last Wednesday, but Chuck says they spent the night.\"\n\nHe shakes his head. \"I can't believe it...\"\n\nHe looks up at you. \"Why would Rosalita lie to me? Why?\" His face turns reddish. \"That woman...\"\n\nDanny furrows his brow and looks at the floor. He chews on his lip, then speaks. \"I wasn't being completely honest about my conversation with Rosalita. There's more that I need to tell you.\"\n\n\"Sounds like we need to go over your statement again.\"\n\n> You say the statement\n(to Danny)\n\"Tell me your story again.\"\n\n\"Of course, officer.\"\n\nYou lean back as Danny gives you a statement. You can picture it all in your head...\n\nThis studio is the jewel of the station; a green-colored jewel, like an emerald, you suppose. The walls, floor, and ceiling are thickened and hollowed, covered with acoustic panels. The microphones hanging from the ceiling are vintage, from the golden era of broadcasting, when they made microphones right. You constructed the table in the center out of soft wood. The chairs, though, are just left over from the last tenants, years ago. The soundproof door to the west\nleads to the hallway. The control room is to the east, but the technician is still reviewing the show before broadcast.\n\n\"I'm Danny Kostopolous, the Voice of the Heartland. Join me tomorrow, when I'll present my top ten government agencies that need to be eliminated. Thanks for listening.\"\n\nYou pause until your theme song finishes playing. The technician from the control room gives you a thumbs up. You switch off your microphone.\n\nYou stand up. You sigh. If your suspicions are true, you're going to have to confront Rosalita. But you need to be absolutely sure; the annual report is in your filing cabinet, where she can't get it.\n\n> You go to the north\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing Sister Christian.\n\n> You go to the west\nYour spacious office is neat and tidy; the receptionist must have cleaned it up. Bookshelves line two walls, stuffed with overflow from Chuck's office. Your heavy desk sits in the middle of the room with a black swivel chair pushed close to it. The large window that you pushed hard for stretches across one wall, and your soft carpet cushions your feet.\n\nThe cabinet with your documents is here. All you really need is the report, though.\n\n> You look up the report\nPaging through the report, your suspicions are confirmed. The amount KOLR donated to Roses for Rehab last year is less than you raised personally at your gala. There must be far more money than is being reported here. You could look at the bank reconciliation, but you already have enough information here.\n\nHow is this possible? You have to talk to Rosalita.\n\n> Go east\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing an ad for \"Amadeus\".\n\n> Go north\n(first opening the hazel door)\n\nThis huge office sprawls across the north side of the building. You offered it to her when you moved here. A tall desk chair upholstered with crimson leather dominates the room behind an art deco desk. Bookshelves crawl up the walls, illuminated by giant windows with burgundy drapes.\n\nRosalita is wearing a muted pink dress with a black suit jacket. A large carnation is pinned to her lapel. Her brown hair dips low over one eye and is pulled into a low ponytail behind her. The creases under her eyes and at the corners of her mouth are deeper than they were a year ago.\n\nOn the desk is a vase of flowers with a note that draws your attention.\n\n> You talk to Rosa\n(Rosalita)\n\nRosalita speaks first. \"Danny, I'm glad you're here. Have you had a chance to review the annual report?\"\n\n\"Just finished looking over it.\"\n\nShe stands and rubs her eyes. They look red. You ask, \"Rosalita, are you okay?\"\n\n\"It's nothing. It's just that it's getting harder each year to get advertisers, you know? Everyone's moving over to television.\"\n\n\"You've got your cassete sales.\"\n\nShe smiles wryly, but then the smile fades.\n\n\"Rosalita, listen,\" you continue, \"If there's something going on, you can tell me.\"\n\nShe shakes her head. \"I'm fine.\" She walks to the door, and hesitates.\n\n> You talk to Rosa\n(Rosalita)\nYou pause.\n\n\"Rosalita, I've checked the numbers. I know about Roses for Rehab.\"\n\nShe presses her lips together, and closes her eyes as tears run down her cheek. \"Oh Danny, I'm so glad you know. It's been torture.\"\n\n\"I can't say I really feel sorry for you, Rosalita. That money--people really thought they were doing something good with it, like it meant something. And you just took it.\"\n\n\"Danny, I know, I know, I know. Listen, I'm going to write them a check, later in the week. I'm going to give the money back... I can't sleep, I can hardly eat, it's been torture. \"\n\n\"Rosalita...\"\n\nI-I just-\" She stands still for a moment, then gives you a hurried hug before rushing out the door and down the hallway.\n\n[New topic - Fraud]\n\n> You go south\nThis hallway always smells like Rosalita; she loves Chanel No. 5. Her office lies to the north. Her plain hazel wood door is not\nnearly as impressive as your bright red door to the west. The\ncloset to the east is the receptionist's.\n\nThe radio is playing Footloose.\n\n> You go to the south\nYou're just outside the studio door, by Chuck's old office. Still stings each time you walk by. The On-Air light is turned off. Your office and Rosa's are to the north. You can also go\nsouth to return to the lobby.\n\nThe radio is playing Footloose.\n\n> Go south\nThe lobby is the first thing visitors see when they visit KOLR, so you try to keep it looking good. As you cast about a critical eye, you notice that the stencil on the wall is wearing off. It'll need repainting in about a month. The carpet is clean, but it's looking worn out. The front desk looks pretty good, so you can keep that for a while. The buzzing of one of the lights resonates in your skull in a painful way; that's got to get fixed quick. The offices are back to the north, and the parking lot is south. You can also\nreach the bathroom or the break room from here, but you prefer to spend as little time in those two rooms as possible.\n\nCindy is here, answering phone calls.\n\n\"Yeah, Janet told me about it, it's called a Synpiece and you wear it like a contact lens. It's so weird.\"\n\n> You go south\n\"But she was gone, Detective. And that's what happened.\"\n\nYou clear your mind, and return to yourself.\n\n\nDanny's Office\nThis office is decorated with flashy shades of red. It's large enough to fit a massive cherry desk, rows of mahogany bookshelves, and a battered scarlet cabinet. The walls are empty and clean, although the paint is patchy in spots, reaching to a textured plaster ceiling. A wine red floor lamp in the corner has been turned off. The blinds are open to the dim light from outside, punctuated by flashes of lightning. The soft rose carpet is matted and ragged, but looks recently cleaned.\n\nDanny is highly irritated. He is breathing deeply, trying to relax.\n\nDanny scratches his ear.\n\n> You say the fraud\n(to Danny)\n\"Tell me again about Rosalita's charity.\"\n\n\"Listen, I'll try to keep it simple for you. Roses For Rehab has fundraisers every year. It's a big deal around here, everyone gets in on it. But I checked the records, and the numbers just weren't adding up. I confronted Rosalita about it, and she confessed to stealing it, then ran off. That's the last I ever saw her.\"\n\n\"Does anyone else know about this?\"\n\n\"I don't know; Cindy did everything with Rosalita, maybe she would know.\"\n\n\"I'm not sure she'll talk to me. She might deny working with Rosalita.\"\n\n\"Did she tell you anything about it before?\" he asks.\n\n> You link the fraud to troubled\nYou can't link those.\n\nDanny rubs his knee, a grimace crossing his face.\n\n> Your thoughts\nCurrent thoughts:\nFraud - \"Rosalita Morales was defrauding her charity before she\ndied.\"\nAbsent - \"Rosalita told Danny she was at the shelter, but she was\nwith Chuck.\"\nTryst - \"Chuck spent all night with Rosalita last Wednesday.\" Conversation - \"Chuck said that he didn't talk to Morales, but\nDanny claims that they did talk.\"\nMissing - \"Maia found a stack of receipts that Danny said was accounted for.\"\nHidden - \"Maia found a bunch of receipts hidden in the studio.\"\nBuses - \"Maia said she took a bus home, but Cindy said the buses weren't running.\"\nHome - \"Maia took the bus home after talking with Rosalita.\" Speechless - \"Chuck claims he didn't have a chance to talk with Rosalita on Wednesday afternoon.\"\nVolunteer - \"Rosalita told Danny she was at the shelter Wednesday night.\"\nTroubled - \"Rosalita was troubled by something when Danny spoke to\nher last.\"\nFlowers - \"Chuck sent Rosalita flowers the day after they talked.\" Records - \"All receipts and files for KOLR were accounted for last year.\"\nStranger - \"Cindy saw a strange man in a yellow poncho hovering\nover Rosalita Morales.\"\nParade - \"The streets were closed down for a parade all morning.\" Accounting - \"Cindy did the accounting for Roses for Rehab\"\nDeath - \"Rosalita was shot on February 29th in her office.\"\nSister - \"Maia Morales was Rosalita's sister.\"\nSecretary - \"Cindy Jalcek was Rosalita's Secretary.\"\nEx - \"Chuck Lee is the former husband of Rosalita Morales.\"\nPartner - \"Daniel Kostopoulos was the business partner of Rosalita Morales.\"\nStatement - \"You need to take the statements of the suspects\"\nGreeting - \"You need to introduce yourself to the suspects.\" Assistance - \"The chief is always willing to give you help. (This gives a basic tutorial).\"\nSuspicion - \"The Chief thinks that someone close to her was\ninvolved in her death.\"\nTestament - \"Rosalita left all of her possessions to four people in her will.\"\n\n> You link the fraud to missing\nYou can't link those.\n\nDanny tries to pick something out of his teeth covertly.\n\n> Go east\nYou move carefully through the dim and narrow hallway. It smells of cleaner mingled with faint perfume. It terminates to the north\nat a hazel wood door. Its smooth surface is polished and warm in the chill hallway. A nameplate next to the door reads \"Rosalita Morales\". To the west hangs an apple red door, with a nameplate saying\n\"Daniel Kostopolous\". To the east is a narrow metal closet\ndoor.\n\nFrom the speakers, you hear the radio quietly playing an ad for Walter Mondale.\n\n> Go south\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for Jeopardy.\n\n> Go south\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently, and another buzzes at the edge of hearing. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the hallway. The\nparking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing Think of Laura.\n\n> You go to the west\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nThe fan clicks and sputters.\n\n> You link the fraud to absent\nYou can't link those.\n\nCindy hums a short song.\n\n> You say the fraud\n(to Cindy)\n\"I've been informed that Rosalita was stealing money from Roses for Rehab.\"\n\nCindy goes as pale as a sheet. \"Oh, no...\"\n\n\"Do you know anything about this?\"\n\n\"No, no, no... I wasn't a part of this. I wasn't involved.\"\n\nSomething tickles the back of your brain... something Cindy said earlier...\n\n> You link the fraud to the accounting\nRosalita was defrauding Roses for Rehab, and Cindy did all of the accounting. Cindy must have been involved.\n\n[New topic - Accomplice]\n\nThe lights flicker for a moment, and the fan slows. Then they pick up again.\n\n> You say the accomplice\n(to Cindy)\n\"I've been informed that Rosalita was stealing money from Roses for Rehab before her death. And that you were involved.\"\n\nCindy looks surprised for a moment. Then a look of panic crosses her face.\n\n\"Cindy, you were Rosalita's personal assistant. These are serious allegations. You may have to be taken into custody if you're involved.\"\n\nHer eyes harden, and she sits up straighter. \"What if I made you a deal? Gave you some bigger fish to fry?\"\n\n\"I can't make any promises, but if you cooperate in this investigation, your sentence may be reduced.\"\n\n\"Listen, I'm changing my statement. I have to tell you the truth. But you have to promise to work with me.\"\n\n\"I'll do what I can.\"\n\n> You say the statement\n(to Cindy)\n\"Tell me your story again.\"\n\n\"Fine.\"\n\nYou lean back as Cindy gives you a statement. You can picture it all in your head...\n\n\nParking Lot\nThe dawn sun smiles on you as you stand in the parking lot, and you smile back. Looks like you got here just in time; the lot is starting to fill up, and that means the studio will open soon. The wind cuts through your jacket like a knife, but the smell of rice and hot oil from the Chinese restaurant warms your heart. You know where you're getting lunch today. The lobby door is north from here.\n\nThe bus drops you off, then gasps and wheezes away. You're lucky you got here in time; the police were closing off the streets for a parade. The next bus isn't until noon.\n\nTime to get to work.\n\n> You go north\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn rolls in from the break room to the west.\n\nYou see Rosalita coming out of the break room. She seems lost in thought. \"Oh, Cindy, it's you!\" She looks around, and leans in. \"Listen, my sister's in the break room again. Can you make sure she leaves? I have to talk to Chuck in a few minutes, and I don't want her to be here.\"\n\nYou nod, and she walks into the hallway. She turns around and beckons you closer. \"I'm worried that he knows about Roses for Rehab. You know what will happen to both of us if he does.\" With that, she walks to her office.\n\nThe radio is playing Harden Heart.\n\n> Go west\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn rolls in from the break room to the west.\n\nAs you rush in to find the source of the smell, you smack into someone and knock them to the ground!\n\n\"Oh, I'm so sorry!\" you say. Your victim rolls over, revealing a mop of green hair.\n\n\"Oh,\" you say. \"It's you.\" You frown, but lift her up. You say, \"Rosalita said to make sure you left the station. I'm sorry, but you're going to have to go; I just have to take care of something real quick.\" Maia frowns and walks away back to the lobby and out of sight.\n\nThe radio is playing Harden Heart.\n\n> You go west\nThe vending machine is still on the fritz; you called the manufacturer three times in the last week, and you'll have to call them again. A few tables and several chairs are scattered around the room. The smell of burnt popcorn overpowers you. The lobby is back to the east.\n\nSmoke billows from the microwave. Something's burning!\n\n> You go east\nYou look around, but Maia seems to be gone.\n\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nThe radio is playing Harden Heart.\n\nThe bag of popcorn is smoking in your hands.\n\n> You go to the east\nAt least the bathroom's moldy smell will help cover up the popcorn. You don't know why they won't let you remodel this bathroom, clearly the walls are crawling with mold. But at least it makes your job easier when nobody uses it. Even the sink is pretty clean, below the mirror, and the trash can is empty. Oh, looks like the paper towel dispenser is empty too. Oops. The toilet itself squats in a corner.\n\nThe bag of popcorn is smoking in your hands.\n\n> You put the popcorn in the toilet\nGood idea! Now you can flush it down.\n\n> Flush\nYou flush the popcorn down the toilet. It disappears, thankfully, but the toilet starts backing up. Crap! Well, actually, just water, but still, you're glad no one uses this toilet.\n\nYou've got to deal with that smell in the break room, now. Time to get the fan from the closet.\n\n> Go west\nThis lobby is much bigger than the one at your old receptionist job. You glance at the KOLR logo you stenciled on the wall your first week; it always comforts you. The ceiling in this room is ten feet high, and your desk is huge. You've vacuumed this carpet so many times that it's almost worn through in places. The lights in the ceiling are wigging out again, you'll have to replace them, but the stepladder has been missing for weeks. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and the bathroom is to the east.\n\nThe phone sits on the desk.\n\nThe unmistakable stench of burning popcorn still leaks in from the break room to the west.\n\nYou hear the doors open, and you turn. You see Chuck, smiling.\n\nYou frown. \"What are you doing back here?\"\n\nHis smile deepens. \"I have a \"business\" meeting with Rosalita.\"\n\nYou smile as well. \"You did it!\" You kiss him on the cheek. \"I can't believe you gave her those flowers after your last meeting. She wanted to throw them away, but Danny saw them already.\"\n\nHe nods, but his thoughts are elsewhere. \"In 15 minutes, we'll get our last installment.\"\n\n\"Does she know about me?\" you ask.\n\n\"I haven't told her yet; she's got some dirt on you too, you know. Best to keep her in the dark for now.\"\n\n\"Tell me how it goes,\" you say. He smiles, and walks down the hallway.\n\nThe radio is playing Harden Heart.\n\n> Go north\nYou've scrubbed the walls in this hallway a hundred times, and they are clean as a whistle. Chuck's office lies to the west.\nLooking closer, it seems like someone's gouged his door. You'll have to repaint it. The studio to the east is closed, and the On-Air\nlight is glowing. Someone must be recording. The hallway extends to the north. You can also go south to return to the lobby.\n\nThe radio is playing Harden Heart.\n\n> Go north\nThe hallway from the south ends here. Rosalita's wooden door\nstands to the north. Danny's hand-carved door is to the\nwest. And your very own bright yellow door lies to the\neast: the janitor's closet.\n\nThe radio is playing Harden Heart.\n\n> Go east\n(first opening the closet door)\nYou yank hard on the handle of the door. Everyone thinks you lock it, but it's just really, really hard to open.\n\nThe walls are thin in this closet. You can make out snatches of conversation. You hear Chuck mention \"Rehab\", \"charity\", and \"money\". Just like you planned.\n\nYou take the fan to the break room and turn it on, then come back to the office. You press your ear to the door.\n\n\"I can't give you any more, Chuck. You're asking for too much. \"\n\n\"Rosalita, no!\" There are the sounds of a struggle. Someone's getting hurt in there! You go to open the door when you hear a loud gunshot. You drop to the floor and remain motionless.\n\nChuck opens the door, his face ashen and a gun in his hand. \"Cindy, it went bad, \"it went really bad. She had a gun. We have to figure something out.\"\n\n\"Maybe we can-\"\n\n\"Cindy, look!\" Chuck says, pointing down the hall. You turn and look. The On-Air light is on!\n\n\"Chuck, just go, go! Get rid of that thing! I'll call the cops and tell them it was an intruder. Just get out of here!\"\n\nChuck runs down the hall. You head to the lobby to call the police.\n\n\"And now, officer, you know the truth.\"\n\nYou clear your mind, and return to yourself.\n\n\nBreak Room\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\n[New topic - Truth]\n\nNow that  you know what happened, you have to do something.\n\nThe stench of burnt popcorn lingers in the air. A microwave with a thin tan layer of grease sits in the corner. A tawny brown vending machine sags in the corner with half of its buttons darkened or flickering. A small oat-colored fan is oscillating in the center, trying to clear out the smell. A few coffee-stained tables and several chairs are scattered around the room. The lobby is back to the\neast.\n\nCindy is sitting at a table.\n\nCindy looks like she's going to be sick, but she recovers.\n\n> Go east\nThe neutral tones suggest a professional but boring atmosphere. A faded rainbow stencil on the wall invites you to KOL studios; the R has worn off. The sepia-hued front desk hardly fits in this cramped room, but the beige ceiling is quite high; it looks like it was once part of a larger room. The muddy carpet is scuffed and worn, curling up on the edges. One of the off-white fluorescent lights in the ceiling flickers intermittently. There's a barely-audible buzz from another light. The smell of burnt popcorn wafts in from a break room to the west. The doorway to the north leads to the\nhallway. The parking lot is back to the south, and a bathroom door stands to the east. An ivory telephone sits on the desk.\n\nFrom the speakers, you hear the radio quietly playing an ad for the CD-ROM.\n\n> You go north\nYou are standing in a dim hallway with muddy carpet and beige walls. A battered navy blue door leads to the west. A heavy\nseaweed-green door to the east is labelled \"Studio\". A red\nOn-Air light is mounted next to the door. The hallway extends to the north. You can also go south to return to the lobby.\n\nFrom the speakers, you hear the radio quietly playing an ad for Karate lessons.\n\n> Go west\nThis comfortable office is mostly empty, but the owner's thoughtful personality is still evident in the azure carpet and the sky-blue walls. Lighter patches on the walls show where posters, picture frames and bulletin boards once hung. A navy blue door leads east to\nthe hallway. A long desk has been shoved out of the way, and a single chair remains. The carpet is still dented from furniture legs.\n\nChuck sits in the chair, trying not to look exhausted.\n\nChuck closes his eyes for a long moment.\n\n> You say the truth\n(to Chuck)\nSay, \"Chuck, it's over. I know that you killed Rosalita.\"\n\nChuck looks you in the eyes. \"Cindy told you, didn't she.\"\n\nYou say, \"Mr. Lee, you're under arrest for the murder of Rosalita Morales.\"\n\nChuck is quiet. Thunder rumbles outside. He says, \"Cindy...Did she tell you it was an accident? That it wasn't supposed to happen?\"\n\nYou say, \"You can tell us all about it at the police station. Would you care to step this way?\"\n\nChuck nods and stands up slowly. You shepherd him down the hallway, passing the open doorways where the others are sneaking glances. You walk through the station doors together and into the night.\n\nAs you drive away, you turn on the radio; they're playing the end of another rerun of An Evening With Rosa:\n\n\"Thank you so much for sharing the evening with me. From all of us\nat KOLR, I wish you a good night, and God bless..\""
    },
    {
        "text": "[Themes: Science Fiction, diabetes, cyberpunk, unreality, nonhuman protagonist, amnesia, virtual reality setting, virtual reality, transformation]\n\n[Press any key to begin.]\n\n[Author's Note: A trip into virtual reality: all begins with debugging a VR system, but then things get out of hand. Who is Morrodox, what has he to do with your colleagues, and what is going on?]"
    },
    {
        "text": "> You look at your surroundings\nReality is so... unreal.\n\nThe tangle of observations woven about it, humankind's utter lack of consensus, phases it to fit individual desires. Becoming and unbecoming, back and forth eternally, as it paradoxically coexists with and within infinite versions of itself...\n\nAt least, that's what always surfaces in your mind whenever your own perception of reality is altered. Which is to say, ten or fifteen times a day. But it's your job, working to someday entertain others with new observations, new experiences, new realities. And after all, you signed up for the Project (as you well remember, even though it was close to five years ago), so you suppose it's entirely your fault if you don't like it. Which, when you think about it, you realise you do.\n\nJusty's voice reaches out to you from somewhere you can't see. \"Okay, this should be it. One final test run to check any overload potential, and this world is done! I'm starting her up.\"\n\nA loud CLANK, and the Sphere begins spinning, with you inside it.\n\n\"Brace yourself!\"\n\nBright lights.\n\nPain.\n\nFrom somewhere off in your mind's distance, a telltale splash.\n\nThen, as the resounding thrums fade, a distorted ripple sweeps your vision clear, and all traces of the laboratory vanish from your senses.\n\nAll five of them.\n\nWiped clean, twitching, anxious for new input.\n\nVirtual reality has become reality.\n\nAn Interactive Self-Discovery\nCreated using Inform 5.5\n\nSPECIAL COMPETITION RELEASE -- PLEASE DO NOT DISTRIBUTE!\n\nStandard interpreter 1.0\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves.\n\nYou experience a brief moment of sheer terror as you lose the ability to move your arms and legs, which quickly give way to fins and a flat, rudder-like tail. Freedom -- passionate, exhilarating freedom beyond any known to man -- pervades your spirit. Your vision is foggy, but your other senses appear strengthened.\n\nThe reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But    w\n\n\n\ngwrgxilp jidunfhx   idqgdkgll dicmz, playing through in your mind, soothes away all tension.\n\nOnly Justy's disembodied voice betrays the presence of a virtual reality. \"I estimate at max one potential for overload, maybe two. This one isn't all that complex, compared to the lab sim. Cynthesiser's got the analysis sweep running in the background, so you may feel some slight distortion. It's nothing to worry about. Just give us a typical walk -- or should I say, swim? -- through it.\"\n?\n\nI beg your pardon?\n\n> About yourself\nYou're a fish. Specifically, a yellow-finned grouper. Quite a nice-looking one too, as fish go.\n\n> Swim\nYou swim around in a tight circle.\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\nPebbles of gravel drift along the sandy floor, propelled by tidal currents.\n\n> You examine the gravel\nA small patch of smooth, rounded, colourful stones.\n\n> You get gravel\nYou're a fish, remember? Fish don't have hands. You'll have to find a more creative method of moving things around.\n\n> You eat the gravel\nYou swallow up a mouthful of the gravel.\n\nA red crab scuttles along the sand below you.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nThe images before your eyes become briefly distorted.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\nA large octopus propels itself up from the rift below, directly toward you!\n\n> You look at the octopus\nIts enormous grey-green body is soft and oval, encircled at the base by eight deadly sucker-studded tentacles.\n\nThe octopus grabs you with its tentacles and, despite your desperate struggling, forces you into its gaping mouth.\n\n Freaks me out no matter how many times I see it.\" He claps you lightly on the shoulder, then turns to study the printout Cynthia has spread out on the lab bench.\n\nShe flips through the pages briefly, running her fingers over the tiny raised bumps on one side before targeting a specific segment with an index finger. \"Here,\" she emphasises to Justy. \"According to the sweep, the interpreter stack may be unstable.\"\n\n\"Where is it?\" Justy inquires.\n\n\"Can't tell. It's a global event routine, not embedded in a specific object. Damn this pseudo-OO compiler.\"\n\nJusty nods grimly. \"It's in there somewhere.\" To you, he adds, \"Guess we need to do another run. Take a break, come back after you've recovered a bit. I'll be waiting.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n[AUTHOR'S NOTE: Incidentally, there were plenty of great\nopportunities for really bad fish jokes in that scene, but I resisted the temptation. You can thank me for that by voting this game into first place.]\n\n> Examine tank\nThis tank used to house an android that performed a lot of the preliminary VR diagnostics, but you're not sure what happened to it (the android, that is). Odd, that.\n\n> You examine mouse\n(the ergonomic mouse)\nA standard white two-button ergonomic input device.\n\n> You examine the manual\nThis thick volume is the Project's documentation, most of which has been filled in in bits and pieces as developments have occurred. A lot of it is hopelessly out of order, despite Dr Shimada's efforts to outline an index (which was some time ago). The cracked black leather binder bears the Project logo.\n\n> You read it\nThe technical manual has several hundred pages. It'd be more efficient to look up specific topics.\n\n> You look at Sphere\nThe Sphere is a human-sized anti-gravity gyroscope, encased in soundproof glass. VR sensors connect to status monitors, the lab terminal and the mainframe supercomputer in the next room by a thick bundle of coaxial cables. A fail-safe lever protrudes at an angle from one side.\n\n> You look at the suit\nWhich do you mean, the VR suit or the technician's jumpsuit?\n\n> Vvr .\nThe VR suit, a full-body outfit of spandex and kevlar, hangs on a rack against one wall. It fits tightly and is strung with a network of millions of tiny sensory-output devices.\n\n> You look at the jumpsuit\nA standard-issue grey Project uniform, loose-fitting and comfortable, emblazoned with the Project logo.\n\n> You look up android\nWhat do you want to look up androids in?\n\n> Manual\nYou find the following:\n  VR androids, manufactured by other divisions within the Corporation, are another protective tool, used in the early stages of VR sim debugging. Equipped with limited neural-network processors, they are strapped into the sphere and used to perform preliminary VR diagnostics to avoid the dangers to a human brain in the event of any serious bugs in a virtual sensory reality.\n\nSEE ALSO: Debug Icon, Fail-Safe Lever, Sphere, VR Viruses\n\n> You look uthe fail-safe lever\nWhat do you want to look up fail-safe lever in?\n\n> Manual\nYou find the following:\n  Built into one corner of the Sphere is a fail-safe lever that may be pulled to prematurely shut down a sim when a person is inside. This feature is equipped with its own fusion cell and is of vital importance in the event of power outages or other system glitches. If a sim is not shut down properly using the fail-safe mechanism, permanent damage to the brain is likely to result from the abrupt termination of the human-computer synapse.\n\nSEE ALSO: Android, Sphere\n\n> You look up Sphere in manual\nYou find the following:\n  The Sphere is an anti-gravity gyroscope that provides the sim user with the weightlessness necessary for the virtual experience to take over. The Sphere is the focal point for all sim-related activity within the system.\n\nSEE ALSO: Cray ZMP-2010X, Fail-Safe Lever, Lab Terminal, VR Suit\n\n> You look up Cray in the manual\nYou find the following:\n  The Cray ZMP-2010X, located in the Output Station, provides central processing, storage, and printing functions to the VR operating system. It is interfaced with the lab terminal via coaxial cables and fiber-optic bundles. Printing of the current system status is controlled via the \"report\" function of the O/S. Due to the severe paper shortages, it is necessary that the previous printout be recycled (through the built-in slot attached to the printer).\n\nSEE ALSO: Lab Terminal, Report Icon\n\n> You look up the report icon in the manual\nYou find the following:\n  The \"report\" icon generates a print job queued to the Cray ZMP-2010X. The default print job is the system status report, which lists the settings of the current VR sim.\n\nSEE ALSO: Cray ZMP-2010X\n\n> You look up the lab terminal in the manual\nYou find the following:\n  The Project's central terminal is located in the VR lab and is interfaced with the Cray ZMP-2010X and Sphere, but is otherwise isolated from the rest of the Corporation (for security purposes). Control of the various system components is handled through a GUI (Graphical User Interface) which serves as the Project's operating system.\n\nSEE ALSO: Cray ZMP-2010X, Configure Icon, Debug Icon, Flush Icon, Launch Icon, Report Icon, Sphere, System Icon\n\n> You look up the Configure Icon in the manual\nYou find the following:\n  The \"configure\" icon allows the operator to change sensory output settings for a VR. Changes made during a session do not take effect until the sim is reloaded.\n\nAll users have access to this program.\n\n> You look up the Debug Icon in the manual\nYou find the following:\n  The \"debug\" icon provides access to the VR compiler, editor, and debugger.\n\nAccess to these programs is restricted to Dr Shimada and myself.\n\n> You look up the Flush Icon in the manual\nYou find the following:\n  The \"flush\" program purges the system in the event of a critical error in the active VR. Once purged, the sim is wiped clean from the system and must be re-installed from archival storage.\n\nDue to the drastic nature of this program, only Dr Shimada has access to it.\n\n> You look up the Launch Icon in the manual\nYou find the following:\n  The \"launch\" program activates the currently loaded VR sim and runs it. Input and output devices are the Sphere and VR suit, and they must be occupied for this module to run.\n\nAll users have access to this program.\n\nSEE ALSO: Fail-Safe Lever, Sphere, VR Suit\n\n> You look up the System Icon in the manual\nYou find the following:\n  The \"system\" icon grants access to a number of operating system programs, allowing the user to load, unload, and archive sims, or to search the contents of files.\n\nAll users have access to this part of the system, but it is password protected.\n\n> You look at Justy\nHis bright eyes gleam through thick glasses framed by short brown hair and a small gold loop through his left earlobe.\n\nLooking at Justy again, you see... not an old friend, but someone else, someone different. Someone you've only begun to get to know recently... Very curious.\n\nOr were you just thinking of someone else...?\n\n> You say hello\n(to Justy)\nThere is no reply.\n\n> You examine terminal\nA twentieth-century user would have called this a \"personal computer\" or \"PC\", although the elimination of the \"lone programmer\" concept has since made that acronym outdated.\n\nIt's an 8-gigahertz multimedia package with a 16-terabyte hard drive, 12 gigs of RAM, and a 96-megabyte cache. The CPU case is disproportionately tiny next to the keyboard and monitor, larger only out of human necessity.\n\nDr Shimada ordered this system some time ago, when increased processing speed became necessary if the Project's deadlines were to be met. It arrived less than a week ago, and it's already obsolete.\n\n> Go up\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You go to the west\nFluorescent lights cast a harsh, blurry glare on bundles of cable stretching overhead, and on metal walls, not quite reflective. The glare breaks at a doorway in the south wall, and at the west end of the east-west corridor, outside Dr Shimada's office.\n\nOn the north wall are a pair of closed elevator doors.\n\n> Go south\nDank and cold, these facilities contain only the usual fixtures -- toilet, shower stall, and a dripping, rust-stained washbasin. On the wall above the last is an off-colour rectangle, where a mirror once hung, but no longer.\n\n> You knock on the door\n\"Come in,\" says Dr Shimada, politely but firmly.\n\n> Enter\nThe corridor runs east to west, with a doorway to the south.\n\n> You open the door\nYou open Dr Shimada's office door.\n\n> You go west\nWith the Project approaching conclusion, Dr Shimada's workload has increased geometrically. Several open and disarrayed filing cabinets and the layer of paperwork covering her desktop and computer belie her typical attention to immaculacy.\n\nOn your right is a small wooden shelf, bulging with assorted books.\n\nDr Shimada works furiously at her desk.\n\nOn Dr Shimada's desk are a three-hole punch and Dr Shimada's cellular phone.\n\n> You look at the shelf\nAll of the great works, eastern and western, of literature, philosophy, and religion (on CD-ROM, of course).\n\n> You get the punch\n\"Bring it back when you're done, please,\" says Dr Shimada.\n\nTaken.\n\n> You get phone\nDr Shimada gives you a \"look\" that makes you change your mind.\n\n> Kiss shimada\nYou never were comfortable with that kind of thing.\n\n> You say hello\n(to Dr Shimada)\nThere is no reply.\n\n> You ask Shimada about Project\nDr Shimada waves you away impatiently.\n\n> You look at Shimada\nShimada is the Project's director, working under the control of the Executives. Following Justy's recommendation, she was the one who recruited you for your current position.\n\nYou've worked under Dr Hyechong Shimada for years, but are still unable to say that you truly know her due to her intensely private nature. Half-Chinese, half-Japanese, she was transferred in from the Corporation's Kyushu office to direct the Project.\n\nThe jagged scars on her face and hands mark Dr Shimada as a survivor of the Great Cancer, and give her already dogmatic presence an artificial air of fierceness (which you suspect she secretly enjoys).\n\n> Go east\n(closing Dr Shimada's office door on the way out)\n\nOn the north wall are a pair of closed elevator doors.\n\n> You go to the north\nIronic proof against the aphorism that supercomputers are shrinking dominates this section of the lab. The walls and narrow walkways enclose the Project's brain, an enormous Cray ZMP-2010X whose size is directly proportional to its awesome processing power. Equally large racks of storage media occupy the four corners.\n\n> You look at Cray\nOne of the larger exabyte systems, though you're not familiar with the exact configuration. Its most familiar feature is a built-in printer, with a recycling slot for immediate paper reprocessing.\n\n> Examine slot\nThe curved recycling slot forms the \"mouth\" of a cutesy little picture of a smiling planet earth.\n\n> Go northwest\nCynthia's quarters are just as sparsely furnished as yours, with only a bed, desk, and a few of Cynthia's personal belongings.\n\nCynthia busies herself with the VR analysis system.\n\nAbove Cynthia's desk hangs a 3-D picture.\n\n> You examine it\nWell, you've got two of 'em. Five fingers each. Nothing extraordinary about that.\n\nSomething is strange -- an echoing, shadowy air of inconsistency about your hands, but you can't quite place it...\n\n> You look at the picture\nIt's one of those pictures made up of a matrix of coloured dots, arranged to form a three-dimensional image when stared at long enough with one's eyes crossed. You've never understood why Cynthia (who is blind) would keep such a thing around.\n\nWait a minute... If you squint your eyes just right... There! It looks like a giant sundial gnomon, with an atomic mushroom cloud erupting behind.\n\nTruly bizarre that you never recognised it until this moment.\n\n> You examine Cynthia\nBlack lenses hide failed eyes, but Cynthia's other senses are even sharper than your own. Her long hair spills down her back in thick dreadlocks the same colour as a curious symbol tattooed on her right forearm.\n\nThere's a pencil tucked behind her ear.\n\n[AUTHOR'S NOTE: Just in case you care, this is the first work\nof I-F to feature a major NPC with a tattoo. (No, the disembodied hand in \"The Lurking Horror\" doesn't count.)]\n\n> You touch Cynthia\nKeep your hands to yourself!\n\n> You look at the symbol\nAn unrecognisable (to you) symbol, an eight-pointed star with a single letter at each point (two at each of the diagonals), done in black ink. It's hard to see clearly against Cynthia's dark skin.\n\n> Sleep\nSurely you can find a good place to lie down.\n\n> In the cynthia's bed\nThat was a rhetorical question.\n\nI only understood you as far as wanting to in.\n\n> You go southwest\nJusty's quarters are just as sparsely furnished as yours, with only a bed, desk, and a few of Justy's personal belongings.\n\nThe south wall is completely taken up Justy's film library.\n\nHanging nearby is a framed sketch by M.C. Escher.\n\nA large holovision set dominates the west wall.\n\n> You examine the library\nJusty's collection of science-fiction films includes the complete \"Star Wars\" saga, the \"Terminator\" trilogy, and both the 2001 remake and classic 1926 versions of Fritz Lang's \"Metropolis.\"\n\n> You examine Escher\nThe charcoal sketch depicts a stream, flowing upwards at impossible angles through a square-edged canal before cascading downward from a minaret to begin the process anew. (Unlike your Giger, though, this isn't the original.)\n\n> Examine set\nThe dark, glassy eye of the holoscreen stares vacantly back.\n\n> You turn on the set\nThe holovision screen lights up as the set clicks on, broadcasting a \"Jeopardy\" match already in progress.\n\nThree contestants stand behind podiums labelled, from left to right (from your perspective), \"Tom\", \"Lisa\", and \"Brian\". Tom currently has $1400, Lisa's score is $1200, and Brian trails hopelessly behind with -$900. Hovering beside the matrix of blue question screens in a transparent plastic bubble is Jeopardy's host, the once-cryogenically frozen head of Alex Trebek.\n\n\"What is Planck's constant?\" asks Lisa.\n\n\"Correct,\" states Alex.\n\n> Wait\nTime passes.\n\n\"I'll take interactive fiction for 400.\"\n\n> You wait for a while\nTime passes.\n\n\"Currently the CEO of the BranMuffin World Conglomerate, she was the original editor of XYZZYnews.\"\n\n> You wait\nTime passes.\n\nTom taps his buzzer. \"Who is Eileen Mullin?\"\n\nAlex's head nods (an amusing sight when it's not attached to a body).\n\n> You wait\nTime passes.\n\nTom glances briefly at the board before deciding on, \"Interactive fiction for 600, Alex.\"\n\n> Go south\nA rather stark infirmary, with cold cement walls and floor lit by a single flickering fluorescent bulb. It feels more like a morgue than a medical facility. An exit leads north.\n\nYou can see a metal gurney, an IV stand and a medical cabinet (which is closed) here.\n\n> You open the cabinet\nYou open the medical cabinet, revealing a power X-Acto knife, a gelstrip and an antitoxin caplet.\n\n> You look at the gurney\nA flat metal stretcher with wheels attached.\n\n> Caplet and gelstrip\npower X-Acto knife: Taken.\nantitoxin caplet: Taken.\ngelstrip: Taken.\n\n> You open door\nWhich do you mean, Cynthia's door, Justy's door or the metal door?\n\n> Metal\nYou open the metal door.\n\n> Go southeast\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nOn your desk is a hypodermic syringe.\n\nHanging near the door is a painting by H.R. Giger.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nOn your bed is a pillow.\n\nYou can also see an electric violin and an amplifier (on which is a bow) here.\n\n> You look at Giger\nIt's \"The Crucified Serpent\", one of Giger's earlier works (1975), depicting an enormous metallic T-bar on which is draped a large snake with a face vaguely similar to that of Christ. Wisps of mist billow out from behind the crucifix, illuminated by lights angling upward from short black cylinders.\n\nOdd, this. You can't seem to recall any details of the auction. In fact, you don't remember buying it at all. A mental doubt surfaces as to whether or not it's really the original.\n\n> You get the syringe\nTaken.\n\n> You plug in the violin\n(first taking the electric violin)\nYou plug the electric violin into the amplifier.\n\n> You play it\n(first taking the bow)\n(turning the amplifier on)\nTucking one end of the instrument firmly under your chin, its neck held firmly in your right hand, you run the bow in your left expertly over the strings. With confident, practiced motions, you invoke from the instrument a sonorous croon that manifests itself as Faure's Requiem.\n\n> You go northwest\nYou drag the amplifier along with you.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You go east\nDragging the amplifier down the stairs will damage it.\n\n> You drop it\nDropped.\n\n> Go northwest\nCynthia busies herself with the VR analysis system.\n\nAbove Cynthia's desk hangs a 3-D picture.\n\n> Go east\nThe door is to the southeast.\n\n> You go to the southeast\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> Go northeast\nA small kitchen and dining area rolled into one.\n\nOn the counter is a pair of metal kitchen tongs.\n\nYou can also see a combination refrigerator/freezer and a microwave oven (which is closed and empty) here.\n\n> You get the tongs\nYour hands are full. You can't pick up anything more until you drop something else first.\n\n> You open it\nFrosty air billows out around you.\n\nOpening the freezer reveals a lightstick.\n\n> You get the lightstick\n(It's cold to the touch.) Your hands are full. You can't pick up anything more until you drop something else first.\n\n> Inventory\nYou are carrying a bow, a hypodermic syringe, a gelstrip, an antitoxin caplet, a power X-Acto knife and a three-hole punch. You are wearing a technician's jumpsuit and a fingerwatch.\n\n> You drop the bow\nDropped.\n\n> You get light\n(It's cold to the touch.) Taken.\n\n> You look at the fingerwatch\nLike anyone in today's highly time-controlled society, you have a small clock affixed to your right index finger, continuously winking the correct time, according to the International Chronometer.\n\nIt has a built-in alarm which can be set to alert you with a painful little jolt when the timer expires. (It's also digital, which you always thought was pretty neat.)\n\nCurrently, your fingerwatch reads \"4435\".\n\n> You look at the caplet\nA small white caplet with a red band around the centre.\n\n> You examine the punch\nA page-length three-hole punch, used to punch three holes (hence the name) in pages to be added to the Project binder.\n\n> You open the fridge\nOpening the refrigerator reveals a cold slice of pizza.\n\n> You get that\n(the bow)\nYour hands are full. You can't pick up anything more until you drop something else first.\n\n> Go southwest\n(first closing the refrigerator and freezer)\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You examine the lightstick\nClear liquid sealed in a vial of pale green plastic, capped at one end.\n\n> You shake the lightstick\nYou give the lightstick a vigorous shake. A very faint glow emanates, then fades almost immediately.\n\n> You wear the suit\n(the technician's jumpsuit)\nYou're already wearing that!\n\n> You wear the vr suit\n(first taking the VR suit)\n\"Ready to have another go at it?\" Justy asks rhetorically.\n\nPlacing your possessions on the lab bench, you change out of the technician's jumpsuit and into the VR suit and helmet. You climb into the centre of the Sphere and spread your arms and legs so Justy can lock them down. This done, he steps to the workstation and does something you can't quite see.\n\n\"Okay, looks like we're all set for another run. Brace yourself!\"\n\nHe throws the switch, and you soon find yourself floating in liquid space...\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves.\n\nYou experience a brief moment of sheer terror as you lose the ability to move your arms and legs, which quickly give way to fins and a flat, rudder-like tail. Freedom -- passionate, exhilarating freedom beyond any known to man -- pervades your spirit. Your vision is foggy, but your other senses appear strengthened.\n\nThe reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Beethoven's Symphony no. 9 in D Minor, playing through in your mind, soothes away all tension.\n\nJusty's voice pierces through the fantasy.\n\n\"You must've overlooked something last time. Try playing through it differently this run. We'll find that overload yet!\"\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\nPebbles of gravel drift along the sandy floor, propelled by tidal currents.\n\n> You eat the gravel\nYou swallow up a mouthful of the gravel.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nThe reality around you wavers slightly."
    },
    {
        "text": "[Themes: Science Fiction, transformation, virtual reality setting, nonhuman protagonist, virtual reality, cyberpunk]\n\n> Go downward\nYou flee pursuit, knifing through the water.\n\nOnly a cold blue light penetrates to these ocean depths. As the illumination dissipates, so does the field of anemones, leaving only bare rock walls in its wake. The seafloor lies directly below you, encircled by cliffs on all sides.\n\nCuriously, a part of it seems to be made up of wooden beams. Dark algae drapes the timbers until they disappear straight downward into the seafloor, coalescing into sand and kelp.\n\nA pair of jagged holes in the wooden surface, one on your right and one on your left, lead deeper into inky darkness.\n\nThe octopus chases after you, tentacles writhing!\n\n> You go right\nYou approach the hole. Before you can even get close, an enormous sea snake darts its head out and snaps you up in its massive jaws.\n\n Freaks me out no matter how many times I see it.\" He claps you lightly on the shoulder, then turns to study the printout Cynthia has spread out on the lab bench.\n\nShe flips through the pages briefly, running her fingers over the tiny raised bumps on one side, then shakes her head. \"No change from last time. The analysis sweep still detects the possibility of an overload, but I can't pinpoint it.\"\n\nJusty nods grimly. \"It's in there somewhere.\" To you, he adds, \"Guess we need to do another run. Can't go to the Executives with a defective program, they don't take happily to that. Take a break, come back after you've recovered a bit. I'll be waiting.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n> You wear VR\n(first taking the VR suit)\n\"Ready to have another go at it?\" Justy asks rhetorically.\n\nPlacing your possessions on the lab bench, you change out of the technician's jumpsuit and into the VR suit and helmet. You climb into the centre of the Sphere and spread your arms and legs so Justy can lock them down. This done, he steps to the workstation and does something you can't quite see.\n\n\"Okay, looks like we're all set for another run. Brace yourself!\"\n\nHe throws the switch, and you soon find yourself floating in liquid space...\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves.\n\nYou experience a brief moment of sheer terror as you lose the ability to move your arms and legs, which quickly give way to fins and a flat, rudder-like tail. Freedom -- passionate, exhilarating freedom beyond any known to man -- pervades your spirit. Your vision is foggy, but your other senses appear strengthened.\n\nThe reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Beethoven's Emperor Concerto, playing through in your mind, soothes away all tension.\n\nJusty's voice pierces through the fantasy.\n\n\"You must've overlooked something last time. Try playing through it differently this run. We'll find that overload yet!\"\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\nPebbles of gravel drift along the sandy floor, propelled by tidal currents.\n\n> You eat the gravel\n?\n\n> You go east\nYou swallow up a mouthful of the gravel.\n\n?\n\nSwishing your tail, you propel yourself forward.\n\n> You go east\nA school of tiny fish is disturbed as you pass through the jagged hole! Startled, they flee the grotto, scattering all about you before regrouping and, like a living comet, curving gracefully and uniformly away to the north.\n\nPrecious little sunlight pierces this dark grotto from the west, muted by vague inky shapes that weave about the shadowy, porous rock surrounding you. You sense an opening in the south wall, and feel something deadly lurking there. Below you, a round opening snakes downward out of sight, into shades of deepest black.\n\nThe octopus, its attention distracted by the school, propels itself away from the grotto and out of sight."
    },
    {
        "text": "[Themes: Science Fiction, amnesia, cyberpunk, unreality]\n\n> You go down\nThe world spins about as currents drag you down into the tunnel, which twists and wrenches you through sharp turns, until you emerge in...\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles."
    },
    {
        "text": "[Themes: Science Fiction, virtual reality, nonhuman protagonist, diabetes]\n\n> Go downward\nSwishing your tail, you propel yourself forward.\n\nOnly a cold blue light penetrates to these ocean depths. As the illumination dissipates, so does the field of anemones, leaving only bare rock walls in its wake. The seafloor lies directly below you, encircled by cliffs on all sides.\n\nCuriously, a part of it seems to be made up of wooden beams. Dark algae drapes the timbers until they disappear straight downward into the seafloor, coalescing into sand and kelp.\n\nA pair of jagged holes in the wooden surface, one on your right and one on your left, lead deeper into inky darkness.\n\nA dark shadow circles overhead alarmingly.\n\n> You go left\nYou approach the hole. Before you can even get close, an enormous sea snake darts its head out and snaps you up in its massive jaws.\n\n Freaks me out no matter how many times I see it.\" He claps you lightly on the shoulder, then turns to study the printout Cynthia has spread out on the lab bench.\n\nShe flips through the pages briefly, running her fingers over the tiny raised bumps on one side, then shakes her head. \"No change from last time. The analysis sweep still detects the possibility of an overload, but I can't pinpoint it.\"\n\nJusty nods grimly. \"It's in there somewhere.\" To you, he adds, \"Guess we need to do another run. Can't go to the Executives with a defective program, they don't take happily to that. Take a break, come back after you've recovered a bit. I'll be waiting.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\nA faint buzzing sends the pricks of a million tiny needles coursing through your right index finger and up your arm. After a few seconds, the sensation passes."
    },
    {
        "text": "[Themes: Science Fiction, diabetes, amnesia, cyberpunk, transformation, unreality]\n\n> You go downwards\nThere are two holes here. You'll have to specify which one you want to enter.\n\nYou flap your tail furiously, but are unable to escape. A wall of jagged teeth crashes shut around you.\n\n Freaks me out no matter how many times I see it.\" He claps you lightly on the shoulder, then turns to study the printout Cynthia has spread out on the lab bench.\n\nShe flips through the pages briefly, running her fingers over the tiny raised bumps on one side, then shakes her head. \"No change from last time. The analysis sweep still detects the possibility of an overload, but I can't pinpoint it.\"\n\nJusty nods grimly. \"It's in there somewhere.\" To you, he adds, \"Guess we need to do another run. Can't go to the Executives with a defective program, they don't take happily to that. Take a break, come back after you've recovered a bit. I'll be waiting.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n> You look\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\n> You check your inventory\nYou have a mouthful of gravel.\n\nA jellyfish balloons its way across the rift.\n\n> You go to the east\nA school of tiny fish is disturbed as you pass through the jagged hole! Startled, they flee the grotto, scattering all about you before regrouping and, like a living comet, curving gracefully and uniformly away to the north.\n\nPrecious little sunlight pierces this dark grotto from the west, muted by vague inky shapes that weave about the shadowy, porous rock surrounding you. You sense an opening in the south wall, and feel something deadly lurking there. Below you, a round opening snakes downward out of sight, into shades of deepest black.\n\n> Go south\nSwishing your tail, you propel yourself forward.\n\nYou float in cold, empty blackness, a zone of bathypelagic void, emptiness in which nothing seems to exist, not even yourself.\n\nFar ahead, a luminous bulb weaves back and forth enticingly, as a will-o'-the-wisp. You feel drawn to it, and begin following it deeper into the darkness. An instant later, the light is yanked away abruptly, before you even have a chance to see the enormous mouth that swallows you whole.\n\n Freaks me out no matter how many times I see it.\" He claps you lightly on the shoulder, then turns to study the printout Cynthia has spread out on the lab bench.\n\nShe flips through the pages briefly, running her fingers over the tiny raised bumps on one side, then shakes her head. \"No change from last time. The analysis sweep still detects the possibility of an overload, but I can't pinpoint it.\"\n\nJusty nods grimly. \"It's in there somewhere.\" To you, he adds, \"Guess we need to do another run. Can't go to the Executives with a defective program, they don't take happily to that. Take a break, come back after you've recovered a bit. I'll be waiting.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n> You go upwards\nYou zigzag back and forth, desperate to shake your pursuer.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\nThe shark follows, intent on devouring you!\n\n> Go east\nPrecious little sunlight pierces this dark grotto from the west, muted by vague inky shapes that weave about the shadowy, porous rock surrounding you. You sense an opening in the south wall, and feel something deadly lurking there. Below you, a round opening snakes downward out of sight, into shades of deepest black.\n\nThe shark, still in pursuit, attempts to squeeze into the narrow grotto. As its pointed snout passes across the threshold, a school of tiny fish is released! They attempt to scatter away, but many are pushed back into the grotto by the shark's advance. Soon the shark itself has become trapped in the grotto, but makes no effort to extricate itself, its attention still focused solely on you.\n\nMore tiny fish are generated as the shark's presence in the opening triggers the event over and over again, its bulk trapping them in the grotto with you. The space around you becomes so tightly packed that it grows difficult to breathe, and still more fish are generated!\n\nIn a split-second, a horrible snapping as the world, filled to capacity, ruptures, oozing pure data in a solid, swirling stream.\n\nThen the onrush of darkness...\n\nA tidal-wave of mental pictures swarms about as your mind seeks desperately to cling to them, to place them, to somehow piece back together the splintered fragments of reality.\n\nJusty unstraps you from inside the Sphere, and you climb out, remove the VR suit, and quickly dress, hanging the suit back on its rack.\n\nCynthia walks in from the output station with a thick printout.\n\n\"Wow, that was intense!\" Justy exclaims. The smile on his face shows obvious satisfaction.\n\nCynthia's fingers scrutinise the tiny indentations on the printout. \"Here we go,\" she says. \"Interpreter stack overflow on event #69105, releasing the school. Too many dynamic creations.\"\n\n\"Never considered that,\" says Justy, shaking his head before facing you. \"Well, I guess that's why we debug. Gimme me about half a chron or so to fix it. Take a break, you've earned it!\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n> You open the drawer\nYou open the drawer, revealing a tool belt.\n\n> You get the belt\nYour hands are full. You can't pick up anything more until you drop something else first.\n\n> You check your inventory\nYou are carrying a cold slice of pizza, a lightstick, a hypodermic syringe, a gelstrip, an antitoxin caplet and a power X-Acto knife. You are wearing a technician's jumpsuit and a fingerwatch.\n\n> You examine the belt\nA long, wide strap of cracked leather, adorned with a number of hooks, loops, and clips to hold things. The metal buckle bears the likeness of the Project logo.\n\n> You get all except the pizza\nCynthia's door: That's hardly portable.\nJusty: I don't suppose Justy would care for that.\nlab bench: That's fixed in place.\nthe Sphere: That's fixed in place.\nmetal door: That's hardly portable.\namplifier: It's pretty heavy. You'd have to drop everything you're carrying before you could lift it. (It does have casters attached to the underside, though.)\nelectric violin: You unplug the electric violin and pick it up. Justy's door: That's hardly portable.\n\nWaves of dizziness and nausea splash over you. It would be advisable to take your medication soon.\n\n> You wear it\nYou strap on the tool belt.\n\nYou stagger about, temporarily forgetting where you are. Memories and thoughts flicker in and out of the encroaching fog. One in particular is quite urgent, but you seem unable to grasp it.\n\n> You look at what you're carrying with you\nYou are carrying a lightstick, a hypodermic syringe, a gelstrip, an antitoxin caplet and a power X-Acto knife. You are wearing a tool belt, a technician's jumpsuit and a fingerwatch.\n\n> Peel gelstrip\nYou peel open the gelstrip.\n\n> You insert the syringe in the hand\nThat can't contain things.\n\nAmid fleeting consciousness, you sink to the floor, retching violently, your body convulsing spasmodically...\n\nYou wake to find Justy's concerned face hovering over you.\n\n\"Jesus, you scared the hell out of me! You're lucky I heard the commotion and managed to get Dr Shimada in time for a shot of glucagon, or you wouldn't have made it. Be more careful next time.\"\n\nHe turns to go, adding, \"Take it easy for awhile, you hear? When you've recovered a bit, the fish VR is ready for the next run.\"\n\n> You examine the syringe\nThe hairsbreadth point gleams menacingly. You are certain now that its contents were not insulin. What, then? And why the need for the shots? Jesus Christ, what did they DO to you?!\n\nAmid fleeting consciousness, you sink to the floor, retching violently, your body convulsing spasmodically...\n\nYou wake to find Justy's concerned face hovering over you.\n\n\"Jesus, you scared the hell out of me! You're lucky I heard the commotion and managed to get Dr Shimada in time for a shot of glucagon, or you wouldn't have made it. Be more careful next time.\"\n\nHe turns to go, adding, \"Take it easy for awhile, you hear? When you've recovered a bit, the fish VR is ready for the next run.\"\n\n> You inject the syringe\nGingerly you push the tiny point of the syringe through your skin, eliciting a faint pop, and into the thick vein on the inside of your right elbow joint. A press of the needle's switch, and the insulin flows away in your bloodstream.\n\n> Go west\nYou open Dr Shimada's office door.\n\n\n\nWith the Project approaching conclusion, Dr Shimada's workload has increased geometrically. Several open and disarrayed filing cabinets and the layer of paperwork covering her desktop and computer belie her typical attention to immaculacy.\n\nOn your right is a small wooden shelf, bulging with assorted books.\n\nDr Shimada works furiously at her desk.\n\nOn Dr Shimada's desk is Dr Shimada's cellular phone.\n\n> You ask Shimada about the syringe\nDr Shimada waves you away impatiently.\n\n> Go east\n(closing Dr Shimada's office door on the way out)\n\nFluorescent lights cast a harsh, blurry glare on bundles of cable stretching overhead, and on metal walls, not quite reflective. The glare breaks at a doorway in the south wall, and at the west end of the east-west corridor, outside Dr Shimada's office.\n\nOn the north wall are a pair of closed elevator doors.\n\n> You go east\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, a cold slice of pizza, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You enter the tank\nA rather strange request. You're not an android... are you?\n\n> You look at what you're carrying with you\nYou are carrying a lightstick, a hypodermic syringe, a gelstrip, an antitoxin caplet and a power X-Acto knife. You are wearing a tool belt, a technician's jumpsuit and a fingerwatch.\n\n> You look at the knife\nA round-handled electrical cutting tool with a sharp, vibrating (and replaceable) blade. It's powered by its own internal fusion cell.\n\n> You go to the southeast\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nHanging near the door is a painting by H.R. Giger.\n\nOn your bed is a pillow.\n\n> You remove the painting\n(first taking the painting by H.R. Giger)\nTaken.\n\nNow you remember why you hung it here in the first place: There's a large, unsightly niche hacked into the thick plasterboard wall.\n\n> Cut niche\nWhat do you want to cut the niche with?\n\n> Knife\nCutting that up would achieve little.\n\n> You look in the niche\nThe niche is empty.\n\n> You feel the north wall\nYou'll have to get into the shadowy alcove first.\n\n> You go alcove\nYou get into the shadowy alcove.\n\nIn the shadowy alcove you can see plywood shelves.\n\n> You pull the shelf\nYou rattle the shelves slightly.\n\n> You hit the shelf with the knife\nPointless destruction. How typically human.\n\n> You climb shelf\nYou doubt the shelves would support you.\n\n> You go outside\nYou get out of the shadowy alcove.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\n> You go to the northwest\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see an electric violin, a cold slice of pizza, an amplifier and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n\"Okay, this should do it,\" says Justy, glancing up at you. \"Anytime you're ready, we can have another go at it.\"\n\n> You get the amp\nIt's pretty heavy. You'd have to drop everything you're carrying before you could lift it. (It does have casters attached to the underside, though.)\n\n> Go outside\nYou get out of the shadowy alcove.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see an amplifier here.\n\n> You remove the shelf\n(first taking plywood shelves)\nThat's fixed in place.\n\n> You go to the southeast\nYou'll have to get out of the shadowy alcove first.\n\n> Go outside\nYou get out of the shadowy alcove.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see an amplifier here.\n\n> You examine  the knife\nA round-handled electrical cutting tool with a sharp, vibrating (and replaceable) blade. It's powered by its own internal fusion cell.\n\n> Go northwest\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, an electric violin, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> Go south\nA rather stark infirmary, with cold cement walls and floor lit by a single flickering fluorescent bulb. It feels more like a morgue than a medical facility. An exit leads north.\n\nYou can see a metal gurney, an IV stand and a medical cabinet (which is empty) here.\n\n> Go southeast\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see a metal gurney and an amplifier here.\n\n> You drop violin\nDropped.\n\n> Go northwest\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You go northeast\nA small kitchen and dining area rolled into one.\n\nOn the counter is a pair of metal kitchen tongs.\n\nYou can also see a three-hole punch, a bow, a combination refrigerator/freezer and a microwave oven (which is closed and empty) here.\n\n> You get the bow\nTaken.\n\n> Go southeast\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see an electric violin, a metal gurney and an amplifier here.\n\n> You throw the bow\nDropped.\n\n> You cut the shelf\nWhat do you want to cut plywood shelves with?\n\n> Knife\nCutting that up would achieve little.\n\n> Go southwest\nYou get out of the shadowy alcove.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see an electric violin, a metal gurney and an amplifier here.\n\n> You stand on the gurney\nYou lie down on the gurney.\n\n> You drop all\npower X-Acto knife: Dropped.\nantitoxin caplet: Dropped.\ngelstrip: Dropped.\nhypodermic syringe: Dropped.\nlightstick: Dropped.\nbow: Dropped.\n\n> You go to the southwest\nYou get out of the shadowy alcove.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see a metal gurney, an electric violin and an amplifier here.\n\n> Go northeast\nYou get into the shadowy alcove.\n\nIn the shadowy alcove you can see a bow, a lightstick, a hypodermic syringe, a gelstrip, an antitoxin caplet, a power X-Acto knife and plywood shelves.\n\n> You get all\nplywood shelves: That's fixed in place.\npower X-Acto knife: Taken.\nantitoxin caplet: Taken.\ngelstrip: Taken.\nhypodermic syringe: Taken.\nlightstick: Taken.\nbow: Taken.\n\n> You look up VR in the manual\nWhich do you mean, virtual reality, VR suit, VR viruses or VR specification?\n\n> Virtual reality\nYou find the following:\n  A Brief History of Virtual Reality\n\nThe concept of virtual reality is generally attributed to author William Gibson, but it was Jaron Lanier of VPL Research (now part of the BranMuffin World Conglomerate) who first coined the term \"virtual reality\".\n\nEarly VR systems were used in CAD, medical and scientific research, robotics, and the training of pilots, but their most popular use has always been entertainment. The first VRs required users to don large, bulky goggles equipped with tiny monitors for each eye to enter a world of crude polygon graphics. Visual input and output equipment was limited to goggles, gloves and waist sensors.\n\nThe invention of full-body suits, equipped with millions of tiny sensors, came about in the 1990s, through the use of fiber-optics and holographic imagery. VR hit home computers in the mid-1990s with the advent of VRML, a \"markup language\" that could be read by various \"browsers\" or \"interpreters\". Often these programs were built into headsets and gloves that could be connected to a computer via an adapter card. What is now called the First Generation of VR came to a halt when the viruses began to appear. Today, the Second Generation of VR is nearing birth, with full virtual sensory reality just around the corner. The Corporation is dedicated to protecting the integrity of this new technology through meticulous security measures, in order to avoid the fatal flaws of the First Generation of VR.\n\nSEE ALSO: VR Specification, VR Viruses\n\n> You look up the vr viruses in the manual\nYou find the following:\n  Rather than simply crashing systems or corrupting files, the creators of early VR viruses took a more sinister purpose: By manipulating the operation of VR hardware, the viruses were able to produce incredibly bright lights and loud, high-pitched sounds that could actually blind or deafen people due to the equipment's close proximity to the sensory organs. Fear of this uncorrectable damage to persons instilled fear in the technology, ultimately pushing it by the wayside.\n\n> You look up the vr specification in the manual\nYou find the following:\n  The storage structure of a sensory VR is modelled after an early world-building technique developed in the early 1980s, now forgotten. Objects, their properties and attributes, and the sim's functions and global variables are all stored in a specific format in order to ensure compliance with all VR systems.\n\nIt is important to note that only those aspects directly pertaining to the behaviour of the VR world are stored here. Details of the presentation of such worlds are invoked in the stored VR, but undergo actual execution in a separate program, called an \"interpreter\". As various systems are developed to make use of sensory VR, this standardisation will permit fundamentally different sensors, central processors, etc. to invoke the same virtual world, with no need for specialised versions.\n\nThe exact storage format is detailed as follows: \n\nAt this point, Justy's docs launch into a long, dull description of a stored VR, ridiculously simplified for the Executives:\n\n\"The computer sees the stored reality as a series of ones and zeroes...\"\n\nThis continues for approximately 100 pages, but, lacking both the time and the patience, you stop reading.\n\n> You cut the stick with the knife\nYes, I suppose you could, but the liquid would just spill all over and make a mess.\n\n> You go to the north\nIronic proof against the aphorism that supercomputers are shrinking dominates this section of the lab. The walls and narrow walkways enclose the Project's brain, an enormous Cray ZMP-2010X whose size is directly proportional to its awesome processing power. Equally large racks of storage media occupy the four corners.\n\n> You hit justy\nYour sense of right and wrong refuses to permit this.\n\n> You shake justy\nShake it, baby!\n\n> Examine monitor\nJusty created this graphical interface to suit the Project, replacing the hopelessly outdated \"Windows 2000\" O/S which came pre-installed.\n\nThe desktop currently displays a mouse cursor, a \"Launch\" icon, a \"Configure\" icon, a \"Report\" icon, a \"Debug\" icon, a \"System\" icon and a \"Flush\" icon.\n\n> You move the mouse\n(the ergonomic mouse)\nThe mouse cursor glides in a graceful arc across the screen.\n\n> You move the mouse to the Configure Icon\n(the ergonomic mouse to the \"Configure\" icon)\nThe mouse cursor glides in a graceful arc across the screen.\n\n> You examine mouse\n(the ergonomic mouse)\nA standard white two-button ergonomic input device.\n\n> Double click mouse button\nWhich do you mean, the left mouse button or the right mouse button?\n\n> Left\nThe mouse emits a pair of sharp, satisfying clicks.\n\n> Examine monitor\nJusty created this graphical interface to suit the Project, replacing the hopelessly outdated \"Windows 2000\" O/S which came pre-installed.\n\nThe desktop currently displays a mouse cursor, a \"Launch\" icon, a \"Configure\" icon, a \"Report\" icon, a \"Debug\" icon, a \"System\" icon and a \"Flush\" icon.\n\n> You move the mouse to the Report Icon\n(the ergonomic mouse to the \"Report\" icon)\nThe mouse cursor glides in a graceful arc across the screen.\n\n> You go northeast\nA small kitchen and dining area rolled into one.\n\nOn the counter is a pair of metal kitchen tongs.\n\nYou can also see a three-hole punch, a combination refrigerator/freezer and a microwave oven (which is closed and empty) here.\n\n> You put the light in the freezer\nAlas, it is closed.\n\n> You open the freezer\nFrosty air billows out around you.\n\nYou open the freezer part of the combination refrigerator/freezer.\n\n> You put light in the freezer\nYou put the lightstick into the freezer part of the combination refrigerator/freezer.\n\n> Close the freezer\nYou close the freezer part of the combination refrigerator/freezer.\n\n> You ask Cynthia about bug\n\"Do you have to ask me about EVERYTHING?\"\n\n> You go to the southwest\nJusty's quarters are just as sparsely furnished as yours, with only a bed, desk, and a few of Justy's personal belongings.\n\nThe south wall is completely taken up Justy's film library.\n\nHanging nearby is a framed sketch by M.C. Escher.\n\nThe holovision set is on, displaying the \"technical difficulties\" still frame.\n\n> You watch\nWhat do you want to watch?\n\n> Holovision\nThe cute little \"Technical Difficulties\" still frame shows a distraught cameraman hopelessly tangled in a mess of cables. A cute little bouncy tune jingles in the background. (It would seem that no one can yet recall the name of that ex-football star.)\n\n> You get the star wars\nLeave Justy's things alone.\n\n> You remove Escher\n(first taking the sketch by M.C. Escher)\nThere's nothing behind it.\n\n> You drop the sketch\nAlready on the floor.\n\n> You look at the pizza\nPepperoni.\n\n> You go to the south\nA rather stark infirmary, with cold cement walls and floor lit by a single flickering fluorescent bulb. It feels more like a morgue than a medical facility. An exit leads north.\n\nYou can see an IV stand and a medical cabinet (which is empty) here.\n\n> You move stand north\nYou push the IV stand along with you.\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You move it se\nYou push the IV stand along with you.\n\nThis is where you've lived the last five years of your life while working on the Project team. Comfortable, if a bit confined, the small enclosure is furnished with only a writing desk and bed. The walls are of solid cement blocks, with the exception of the north wall, where thick plasterboard gives the impression of having been put up hastily.\n\nPlywood shelves stand in a shadowy alcove in the northeast corner.\n\nThere's a large, unsightly niche hacked into the thick plasterboard wall.\n\nOn your bed is a pillow.\n\nYou can also see a metal gurney, an electric violin and an amplifier here.\n\n> Inventory\nYou are carrying a bow, a hypodermic syringe, a gelstrip, an antitoxin caplet and a power X-Acto knife. You are wearing a tool belt, a technician's jumpsuit and a fingerwatch.\n\n> You look at the jumpsuit\nA standard-issue grey Project uniform, loose-fitting and comfortable, emblazoned with the Project logo.\n\n> Press logo\nYou find nothing of interest.\n\n> You remove the logo\nYou can't see any such thing.\n\n\n\nYou can't see any such thing.\n\n> You remove the jumpsuit\nUnfortunately, you seem to have developed a sense of modesty, which serves to prevent you from doing that.\n\n> You examine the rectangle\nAs far as you can remember, there has never been a mirror here. It must have been removed before you came to the Project.\n\nSomething is strange -- an echoing, shadowy air of inconsistency about the place where a mirror once hung, but you can't quite place it...\n\n> Go southwest\n(first closing the freezer)\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\n> You examine the light\nClear liquid sealed in a vial of pale green plastic, capped at one end.\n\n> You check what you're carrying\nYou are carrying a lightstick, a bow, a hypodermic syringe, a gelstrip, an antitoxin caplet and a power X-Acto knife. You are wearing a tool belt, a technician's jumpsuit and a fingerwatch.\n\n> Examine watch\nLike anyone in today's highly time-controlled society, you have a small clock affixed to your right index finger, continuously winking the correct time, according to the International Chronometer.\n\nIt has a built-in alarm which can be set to alert you with a painful little jolt when the timer expires. (It's also digital, which you always thought was pretty neat.)\n\nCurrently, your fingerwatch reads \"7362\".\n\n> You wear the vr suit\n(first taking the VR suit)\n\"Ready to have another go at it?\" Justy asks rhetorically.\n\nPlacing your possessions on the lab bench, you change out of the technician's jumpsuit and into the VR suit and helmet. You climb into the centre of the Sphere and spread your arms and legs so Justy can lock them down. This done, he steps to the workstation and does something you can't quite see.\n\n\"Okay, looks like we're all set for another run. Brace yourself!\"\n\nHe throws the switch, and you soon find yourself floating in liquid space...\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves.\n\nYou experience a brief moment of sheer terror as you lose the ability to move your arms and legs, which quickly give way to fins and a flat, rudder-like tail. Freedom -- passionate, exhilarating freedom beyond any known to man -- pervades your spirit. Your vision is foggy, but your other senses appear strengthened.\n\nThe reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Beethoven's Emperor Concerto, playing through in your mind, soothes away all tension.\n\nJusty's voice rings clear through the barrier of illusion.\n\n\"A quick play through is all we need, but make sure you win it. Sometimes you get interpreter crashes after a major memory reallocation. Wouldn't do to show a faulty world to the Executives.\"\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\nPebbles of gravel drift along the sandy floor, propelled by tidal currents.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Debussy's Arabesque no. 2, playing through in your mind, soothes away all tension.\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\nA jellyfish balloons its way across the rift.\n\n> Go east\nPrecious little sunlight pierces this dark grotto from the west, muted by vague inky shapes that weave about the shadowy, porous rock surrounding you. You sense an opening in the south wall, and feel something deadly lurking there. Below you, a round opening snakes downward out of sight, into shades of deepest black.\n\nThe shark circles the grotto opening briefly before swimming back the way it came.\n\n> You go west\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles."
    },
    {
        "text": "[Themes: Science Fiction, unreality, amnesia, transformation, virtual reality]\n\n> Go west\nYou zigzag back and forth, desperate to shake your pursuer.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Gershwin's Rhapsody in Blue, playing through in your mind, soothes away all tension.\n\nThe shark follows, intent on devouring you!\n\n> You go to the west\nYou zigzag back and forth, desperate to shake your pursuer.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\nThe shark follows, intent on devouring you!\n\nA red crab scuttles along the sand below you.\n\n> Go west\nYou zigzag back and forth, desperate to shake your pursuer.\n\nThe tide buffets you constantly in the tight confines between mounds of brown sand which barely break through the watery surface. Clouds of sediments and silt whirl about you, stirred by the cresting waves, and it's difficult to maneuver.\n\nAn insistent, claustrophobic panic taps at your consciousness, advising you to seek deeper waters to the east rather than attempt to venture westward, closer to the shore.\n\nThe shark, kept at bay by the shore's proximity, circles patiently a short distance away before moving on.\n\n> You go to the east\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Gershwin's Rhapsody in Blue, playing through in your mind, soothes away all tension.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles."
    },
    {
        "text": "> Go down\nSwishing your tail, you propel yourself forward.\n\nOnly a cold blue light penetrates to these ocean depths. As the illumination dissipates, so does the field of anemones, leaving only bare rock walls in its wake. The seafloor lies directly below you, encircled by cliffs on all sides.\n\nCuriously, a part of it seems to be made up of wooden beams. Dark algae drapes the timbers until they disappear straight downward into the seafloor, coalescing into sand and kelp.\n\nA pair of jagged holes in the wooden surface, one on your right and one on your left, lead deeper into inky darkness."
    },
    {
        "text": "[Themes: Science Fiction, transformation, unreality, virtual reality setting]\n\n> Go downwards\nThere are two holes here. You'll have to specify which one you want to enter.\n\n> You go right\nYou approach the hole. Before you can even get close, an enormous sea snake darts its head out and snaps you up in its massive jaws.\n\n*** You have died ***\n\nWell, okay, not really. But you've reached an exit point in the current VR session...\n\nA tidal-wave of mental pictures swarms about as your mind seeks desperately to cling to them, to place them, to somehow piece back together the splintered fragments of reality.\n\nJusty unstraps you from inside the Sphere, and you climb out, remove the VR suit, and quickly dress, hanging the suit back on its rack.\n\nCynthia walks in from the output station with a thick printout.\n\nJusty turns to you. \"Nice run, but we need a complete pass through it to be sure there are no aftereffects from that last bug fix. Try it again when you're ready.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\nThe VR session has exacted its toll on your hyperglycemic body. You feel an urgent need for your insulin medication.\n\n> Go upward\nThrashing your tail wildly, you propel yourself up to grab a quick glance at the world above. For a brief but terrifying moment, you are unable to breathe, but then, silently and gracefully, you slip back below the waves.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\n> Wait\nTime passes.\n\n> You go to the north\nYour progress is halted by porous rock walls."
    },
    {
        "text": "[Themes: Science Fiction, diabetes, cyberpunk, amnesia]\n\n> You descend\nThe world spins about as currents drag you down into the tunnel, which twists and wrenches you through sharp turns, until you emerge in...\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But deFalla's Ritual Fire Dance, playing through in your mind, soothes away all tension.\n\n> Go west\nSwishing your tail, you propel yourself forward.\n\nThin stalks of kelp fan lazily about this shallow stretch of ocean. They disperse somewhat to the east, where clumps of coral rise to form a towering reef. Westward, the ocean floor inclines rapidly toward the surface, narrowing the seawater corridor to a thin, flat wedge.\n\n> Go east\nSwishing your tail, you propel yourself forward.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Faure's Requiem, playing through in your mind, soothes away all tension.\n\n> Go south\nSwishing your tail, you propel yourself forward.\n\nYou float in cold, empty blackness, a zone of bathypelagic void, emptiness in which nothing seems to exist, not even yourself.\n\nFar ahead, a luminous bulb weaves back and forth enticingly, as a will-o'-the-wisp. You feel drawn to it, and begin following it deeper into the darkness. An instant later, the light is yanked away abruptly, before you even have a chance to see the enormous mouth that swallows you whole.\n\n*** You have died ***\n\nWell, okay, not really. But you've reached an exit point in the current VR session...\n\nA tidal-wave of mental pictures swarms about as your mind seeks desperately to cling to them, to place them, to somehow piece back together the splintered fragments of reality.\n\nJusty unstraps you from inside the Sphere, and you climb out, remove the VR suit, and quickly dress, hanging the suit back on its rack.\n\nCynthia walks in from the output station with a thick printout.\n\nJusty turns to you. \"Nice run, but we need a complete pass through it to be sure there are no aftereffects from that last bug fix. Try it again when you're ready.\"\n\nThe heart of the Project, in the form of complex electrical devices linked together by a maze of coaxial cable, packs this small underground laboratory to capacity. Exits lead off in nearly every compass direction, and a set of disused cement steps descends into darkness.\n\nThe Sphere looms in one corner, between the VR suit and a large glass tank.\n\nJusty works at the lab terminal, oblivious to all else.\n\nYou can also see a painting by H.R. Giger, a cold slice of pizza and a lab bench (on which are the Project's technical manual, a computer workstation and an ergonomic mouse) here.\n\nCynthia leaves the lab to the northwest.\n\n> You drop the gravel\nYou spit the gravel out again.\n\n> You examine the gravel\nA small patch of smooth, rounded, colourful stones."
    },
    {
        "text": "> You go downward\nIt is pitch dark, and you can't see a thing.\n\nThe VR session has exacted its toll on your hyperglycemic body. You feel an urgent need for your insulin medication."
    },
    {
        "text": "> Go downward\nYou dart downward, almost grazing the seafloor, then flash back up again."
    },
    {
        "text": "[Themes: Science Fiction, unreality, diabetes, nonhuman protagonist]\n\n> You look around\nOnly a cold blue light penetrates to these ocean depths. As the illumination dissipates, so does the field of anemones, leaving only bare rock walls in its wake. The seafloor lies directly below you, encircled by cliffs on all sides.\n\nCuriously, a part of it seems to be made up of wooden beams. Dark algae drapes the timbers until they disappear straight downward into the seafloor, coalescing into sand and kelp.\n\nA pair of jagged holes in the wooden surface, one on your right and one on your left, lead deeper into inky darkness.\n\nYou can see some pebbles of gravel here."
    },
    {
        "text": "> Go downward\nThe world spins about as currents drag you down into the tunnel, which twists and wrenches you through sharp turns, until you emerge in...\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Chopin's Nocturne no. 1, playing through in your mind, soothes away all tension."
    },
    {
        "text": "[Themes: Science Fiction, unreality, cyberpunk, virtual reality]\n\n> Go downwards\nSwishing your tail, you propel yourself forward.\n\nOnly a cold blue light penetrates to these ocean depths. As the illumination dissipates, so does the field of anemones, leaving only bare rock walls in its wake. The seafloor lies directly below you, encircled by cliffs on all sides.\n\nCuriously, a part of it seems to be made up of wooden beams. Dark algae drapes the timbers until they disappear straight downward into the seafloor, coalescing into sand and kelp.\n\nA pair of jagged holes in the wooden surface, one on your right and one on your left, lead deeper into inky darkness.\n\nYou can see some pebbles of gravel here.\n\n> You go to the west\nSwishing your tail, you propel yourself forward.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Gliere's Russian Sailor's Dance, playing through in your mind, soothes away all tension.\n\n> You go to the west\nSwishing your tail, you propel yourself forward.\n\nThe tide buffets you constantly in the tight confines between mounds of brown sand which barely break through the watery surface. Clouds of sediments and silt whirl about you, stirred by the cresting waves, and it's difficult to maneuver.\n\nAn insistent, claustrophobic panic taps at your consciousness, advising you to seek deeper waters to the east rather than attempt to venture westward, closer to the shore.\n\n> You go to the east\nSwishing your tail, you propel yourself forward.\n\nTall branches of pale blue coral poke up from clusters of seaweed, glittering in the sunlight that filters down through lapping waves. The reef clears away to what you for some reason perceive as east and west, perfectly calm, still. Almost eerily so. But Bach's Goldberg Variations, playing through in your mind, soothes away all tension.\n\nThe reality around you wavers slightly.\n\n> You listen\nSounds rush by in somber, hollow echoes.\n\n> You go east\nSwishing your tail, you propel yourself forward.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\nA spotted stingray flaps lazily along the seafloor.\n\n> You go to the west\nThe cliffs surround you on all sides.\n\n> Go upward\nThrashing your tail wildly, you propel yourself up to grab a quick glance at the world above. For a brief but terrifying moment, you are unable to breathe, but then, silently and gracefully, you slip back below the waves.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\nA jellyfish balloons its way across the rift.\n\n> Go upward\nThrashing your tail wildly, you propel yourself up to grab a quick glance at the world above. For a brief but terrifying moment, you are unable to breathe, but then, silently and gracefully, you slip back below the waves.\n\nHere the seafloor drops away abruptly as a watery rift slices downward out of sight between two jagged rock walls. Both sides of the fissure are crowded with the polyps of large anemones, flecked in sun-dappled pastel shades. Their many calyces grasp at you from all directions, but you wisely keep your distance.\n\nThe reef rises to the west, and a cleft in the eastern wall is visible through the wriggling mass of gelatinous tentacles.\n\n> Go upward\nThe ceiling of the grotto is in your way.\n\n> You go east\nYour progress is halted by porous rock walls.\n\n> Inventory\nYou're not carrying anything. Not surprising, seeing as how you're a fish, and fish don't have hands to carry things with.\n\n> About yourself\nYou're a fish. Specifically, a yellow-finned grouper. Quite a nice-looking one too, as fish go."
    },
    {
        "text": "[Themes: Science Fiction, complex NPC, conversation, science fiction]\n\n\"What do you know about this place?\" you ask her.\n\n\"Only what I've heard, sir,\" she replies, \"I've never been here before. It does have quite an odd reputation, though, as I'm sure you know. Something went horribly wrong in the past, but no-one wants to talk about it. And now the natives refuse to use any technology that's much more advanced than the wheel.\"\n\n[Author's Note: It was meant to be a routine visit on behalf of the imperial government, just to remind the settlers that the Empire hadn't forgotten them, and if you stick rigidly to the letter of your orders and refuse to use either your eyes or your initiative that's all it'll be. But with an interstellar war brewing in the background, you'd be wise not to take anything for granted.]\n\n> You ask the pilot about the natives\nAs you start your question the pilot lets out a wide yawn.\n\n> You ask the pilot about the mission\n\"So, sublieutenant, what do you think about...\" you begin.\n\n\"Perhaps we should discuss that some other time, sir,\" the pilot suggests, \"right now you have a job to do.\"\n\n> You ask the pilot about the meeting\n\"About meetings...\" you begin.\n\n\"What about meetings, sir?\" she replies warily.\n\n\"Well...\" you start, but something in her manner makes you trail off as you realize your question wasn't all that important after all.\n\n> Inventory\nYou are carrying nothing, and are wearing a purple belt and a white uniform. The purple belt contains a drik. Your left pocket contains an ID card. Your right pocket contains a crumpled piece of paper.\n\n> You read the paper\n(first taking the crumpled piece of paper from your right pocket) After the standard preamble, it goes on:\n\n\"I'm sorry to dump this on you, but the Federation crisis means that we've had to pull all but skeleton resources out of this sector, and you're the nearest Legion officer to hand. As a result, we need you to include Elysium in your rounds. It's a sensitive planet - probably one of the most sensitive settlements in the Empire - but provided you go straight in and straight out and stick strictly to these orders you shouldn't have any problems.\n\nThe purpose of your visit is simply to remind the local leadership that they are still part of the Empire and that we are still keeping tabs on them; quite literally, you're just there to 'show the flag'. To do this you'll need to make your way to the Legion office in what passes for the settlement's capital, and, once there, hoist the imperial flag above the building to show the local Elders that you're open for business. One or more of them should then come to call on you within the hour. When they do, be as diplomatic and courteous as possible, but otherwise keep the conversation to a minimum. Inform them in the simplest possible terms of the nature of the Federation crisis, emphasising that the Empire will continue to guard them from intrusion. Ask them if they have anything they want to raise with you. Almost certainly they won't, apart from their standard grumbles about imperial interference. Say as little as possible in reply beyond promising to pass their comments on. Once you have completed this conversation get out of there as quickly as you can.\n\nThe most important thing to understand about the Elysians is that they have made a religion of technophobia. Their idea of a paradisal society is a pre-industrial society, so try not to flaunt any technology you bring with you; the less the settlers see of any thirtieth-century technology, the better you'll get on with them.\n\nFinally, I cannot stress too strongly that you should on no account get involved in any of the internal affairs of Elysium, and that you should if at all possible avoid any contact with any of the settlers apart from the Elders who come to meet you. Terrible mistakes have been made on Elysium in the past, and any problems that come up in the present must be left to officers with a deep understanding of the situation there, which does not include you. So, get in, keep the chat nice and short, and get straight out again.\n\nI look forward to receiving your report in due course.\nSubtribune G.F. Booker (C/O Sect PP12, ISL)\n13-Sep-2980.\n\n[Auth Code: ISL-GF-PPn342]\"\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> You ask the pilot about flag\n\"Where do you suppose I'll find this imperial flag I'm meant to be hoisting?\" you wonder.\n\n\"It'll be in the Legion building somewhere, sir,\" she assures you, \"I'm sure you won't have any trouble finding it.\"\n\n> You examine the iD\n(first taking your ID card from your left pocket)\nYour ID card is a rectangle of white data-plastic about two centimetres wide by four long. It bears a small photograph of you and identifies you as Praefect Andrew Holt of the Imperial Sovereign Legion.\n\n> You put the ithe d in the left pocket\nDone.\n\n> You look at the uniform\n(your uniform)\nYour uniform comprises a white tunic and matching white trousers. On the left breast of the tunic is emblazoned a purple eagle, and though you can't see them without the aid of a mirror, you know that there's a purple patch on each collar, bearing your insignia of rank. Below your belt the tunic has a pair of pockets. Your left pocket contains an ID card.\n\n> You examine the belt\nIt's a standard issue Sovereign Legion uniform belt, with a gold belt buckle at the front. It contains a drik.\n\n> You examine the drik\nYou have no idea where the name \"drik\" came from; so far as you know that's what it's been called for centuries. The drik is a multipurpose device that's issued to all Legion officers as standard. Despite the natives' dislike of modern technology, this is one item you're not prepared to go without - it was drummed into you at the Legion Training School that a Legion Officer's drik is an integral part of his uniform, never to be lost or surrendered under any circumstances.\n\nThe drik is vaguely dagger-shaped, with a black handle, on which are four small coloured studs, and a slightly longer \"blade\", a flat plastimetal strip that is not actually sharp enough to cut anything.\n\nThe drik has one further function in addition to that provided by its four studs: although you're unlikely to encounter much strange technology on Elysium, if you do encounter something you're suspicious of, pointing your drik at it may reveal something about its function.\n\n\"I hope this isn't going to take too long, sir,\" the pilot remarks, \"The sooner we're out of here the happier I shall be!\"\n\n> You examine the studs\nThere are four small studs round the base of the handle: one red, one yellow, one green, and one blue.\n\n> You ask her about the drik'\n(the pilot)\n\"Sublieutenant, I've been meaning to ask you about...\" you begin.\n\n\"Beg pardon, sir, but I thought we were both anxious to get out of here, sir,\" she interrupts you, \"So can we talk about that on the way back to the ship once you've finished here?\"\n\n\"Okay,\" you nod.\n\n> You exit shuttle\n(first standing up)\n\"Goodbye, sir,\" the pilot calls after you.\n\nYou clamber out of the shuttle.\n\nYou step out of the shuttle and feel the soil of Elysium pressing against your boots. It feels good to be back on the surface of a planet once more, and at first glance this planet looks welcoming enough. The early autumn air is comfortably warm, and smells fresh, if a little earthy, while the grass underfoot looks springy and green. But what really strikes you is how quiet it is.\n\nLooking around, you speculate that your shuttle has just landed in what was originally an impact crater. To the west the ground rises quite sharply - more sharply than you care to climb - but there seems to be a usable trail running north and south, and from what the pilot said, it's the southern one you want.\n\nYour shuttle rests in the middle of the hollow.\n\n> You examine the red stud\nThe red stud is quite plain.\n\n> Continue\nThe drik goes dark.\n\n> You ask the pilot about the crisis\n\"So, what do you make of this Federation business, sublieutenant?\" you ask her, \"Will it be war do you think?\"\n\n\"I don't know, sir.\" she replies, \"But if it is, at least we're well out of it here!\"\n\n> You ask pilot about the Elysium\n\"Do you know anything else about Elysium, sublieutenant?\" you ask.\n\n\"I thought the Sovereign Legion was meant to be the experts on that kind of thing, sir,\" she replies pertly.\n\n> Bye\n\"Over and out,\" you say.\n\n\"Over and out, sir,\" she confirms, just before the comms link goes dead.\n\n> You go south\nYou leave the hollow and follow the dirt track down a ridge onto level ground, where it runs on south between untended fields towards the forest. This area looks like it may have been farmland once, but now the fields are reverting to wilderness, and even the track is starting to become overgrown. As you pause to take stock of your surroundings, you wonder why the land has been allowed to go to waste.\n\n> You look at the fields\nThe fields on either side of the track are so overgrown as to be impenetrable. They look as if they may once have been valuable arable land, but now they are rapidly reverting to wilderness.\n\n> Go south\nYou set off down the track and after a few minutes' walk you find yourself deep in the heart of the forest.\n\nYou stop to look round and try to reassure yourself that you're still on the path the pilot told you about. You can't see any side trails (though there may be the odd gap in the trees through which you could leave the main path) so it's hard to see how you could have gone wrong; and yet it doesn't quite feel right - but perhaps that's just because you find it so disconcerting being forced to walk through a forest for a routine meeting with local officialdom.\n\nAlthough the path has been straight enough so far, a short way ahead it starts to twist.\n\n> You follow path\nWhich way do you want to go: north or south?\n\n> You go south\nThe path twists and turns through the trees, but broadly continues south.\n\nThe track becomes straighter and wider here as the trees become sparser. They are now so widely spaced that you could easily wander among them to east and west, and since they continue to thin out to the south you surmise that you must be coming to the edge of the forest.\n\nWhile you are taking stock of your surroundings, you hear a sudden rustling in the undergrowth. Your heart misses a beat as you see a figure emerge from the trees and walk rapidly towards you. Under the dirt and the tattered rags you recognize it as a young woman, and you wonder if this is how all the settlers live.\n\n\"Excuse me!\" she cries, as she hurries up to you, \"You're an offworlder, aren't you? From the Empire?\"\n\n(You could say yes, or ask her who she is.)\n\n> Yes\n\"Yes, that's right,\" you nod, \"Why, is there a problem?\"\n\n\"Can't you see for yourself?\" she demands, \"As you can see, my clothes are falling to rags, and I'm starving! I'm an outcast - no one from round here will help me, and I daren't be caught stealing. But you're an offworlder - so maybe - please, can you try to find me some new clothes and something to eat?\"\n\n(You could say yes or no, refuse politely, offer to get help, or ask her about food or clothes.)\n\n> You refuse politely\n\"Look, I'd like to help, but I really can't,\" you tell her, \"I have my orders you see - I'm not even meant to be talking with you, let alone getting involved. Besides, I won't be here more than an hour or so.\"\n\n\"Oh, but it won't take you more than an hour or two to find me something,\" she assures you, \"The town isn't far away, and I'm sure you can find something for me there.\"\n\n> You ask her about her\n\"So, who are you?\" you ask.\n\n\"I'm Leela,\" she tells you.\n\n> Topics\nYou could ask her about herself, the town, or Elysium.\n\n> You ask her about the exile\n\"So, what can you tell me about... \" you begin.\n\n\"Well,\" she interrupts, \"I think you should tell me something about yourself before you ask me anything else.\"\n\n> You ask her about the food\n\"Where am I meant to get food from?\" you ask.\n\n\"Like I said, the town's the best bet,\" she reminds you.\n\n> You ask her about the town\n\"What will I find in the town?\" you wonder.\n\n\"Not much,\" she shrugs, \"No one actually lives there; it's just for meetings and markets. But that means things get stored there, so you should be able to find me some food and clothes, without anyone there to stop you.\"\n\n> You ask her about the Elysium\n\"What can you tell me about this world?\" you ask her.\n\n\"Well, it's the only world I know, so I wouldn't know what to compare it with,\" she begins, a little hesitantly.\n\n> You examine the woman\nShe's a young woman of about twenty standard Earth years of age.\nShe's smeared in dirt and her long dark hair flops lank and limp over her shoulders. She looks like she might be quite pretty if she had a good wash, but right now she's a mess.\n\nLeela is wearing some smelly rags.\n\n> You ask Leela why she was cast out\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> You ask her about the outcast\n\"What happened to you? Why are you wandering around half-naked in the forest?\" you want to know.\n\n\"I asked too many questions,\" she replied, \"the Elders don't like you asking too many questions, so when I asked one too many they decided I wasn't fit for Elysian society - so now I'm an outcast.\"\n\n> You ask her about the questions\n\"What sort of questions did you ask that upset the Elders so much?\" you wonder.\n\n\"Oh, all sorts,\" she replies, \"Why there are so many restrictions, why they're so scared of change, why our ancestors came here, what happened between Elysium and the Empire, why we've stayed such a small community, why I can't choose my own husband... you name it, I've probably asked it!\"\n\n> Go north\n\"No, no!\" Leela stops you, \"You need to go into town to find me some new clothes and something to eat! The town isn't that way, it's that way!\" she points to the south.\n\n> Go south\nLeela waves to you, then turns and walks away, deeper into the forest.\n\nEmerging from the forest you catch sight of the pathetic cluster of buildings at the foot of the slope, and realize that this must be the town where you're meant to be meeting with the Elders; on any other world it wouldn't even rate as a hamlet. The centre of the town lies straight down the slope to the south. Beyond the western edge of the hillside you catch a glimpse of the river that flows on past the town, while at your back is the forest.\n\nObvious exits: North, South, West, Northwest\n\n> You examine the buildings\nThe collection of buildings spread out below is apparently the nearest approximation to a town anywhere on the planet, though on any other world it would hardly even rate as a hamlet.\n\n> You examine the river\nThe river flows down from the forest and runs along the western edge of the town, before disappearing across the distant fields to the south.\n\n> Go south\nYou walk down the slope into the centre of the town.\n\nThe centre of Elysium's sole town looks no more impressive than it did from a distance. The main street, running east-west, is simply the baked mud space between buildings you could count on your fingers.\nThe track you've just walked down continues south between a neat white building (to the east) and a large barn (to the west). Across the street from the barn is an enclosed area that has the look of a primitive market, while opposite the single-storey white building a large wooden hall has shed most of its red paint. Overall this place is more like your idea of some frontier trading post than a planetary capital, and it seems totally deserted.\n\nObvious exits: North, South, East, West, Northwest\n\n> You put the drik in pocket\nWhich pocket do you mean, your right pocket, or your left pocket?\n\n> Right\n(first taking the drik from the purple belt)\nIt would fit better in your belt.\n\n> You examine the white building\nIt's a small, square, single-storey flat-roofed building, with a flagpole jutting up from the roof.\n\n> Go east\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> You go south\n(first trying to open the purple door)\nThe purple door seems to be locked.\n\n> You look at the purple door\nAffixed to the purple door is a neatly hand-painted sign, under which is a small vertical slot. It's closed.\n\n> You examine the sign\nThe sign reads \"Imperial Sovereign Legion Office, Elysium\" in neat gold lettering.\n\nThe sign reads \"Imperial Sovereign Legion Office, Elysium\" in neat gold lettering.\n\n> Examine slot\nThe small vertical slot is about two centimetres long.\n\n> You put the ithe d in the slot\n(first taking your ID card from your left pocket)\nA sharp click from the door indicates that it has just unlocked itself.\n\n> Go south\n(first opening the purple door, then taking your ID card)\n\nYou look round the clean, white office with a flood of relief, feeling that you are at last back in civilization. Everything here looks clean and neat and Legion-fashion. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> You examine the eagle\n(the large golden eagle)\nIt's a large heraldic eagle, of the same pattern as the one on your tunic, that represents the might of the Empire and the authority of the Aquila dynasty who rule it.\n\n> You close the main door\nThe door closes with a sharp click, indicating that it has relocked itself.\n\n> You look at the hatch\nIt's a square hatch, set in the ceiling. It's closed. It's currently locked.\n\n> Unlock hatc\nThe word \"hatc\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> Unlock hatch\nUnlocked.\n\n> You go upwards\n(first opening the hatch)\n\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nObvious exits: Down"
    },
    {
        "text": "> Go down\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> You look at the desk\nThe desk is the familiar model you've seen in many Legion offices, with a built-in console and a single shallow drawer.\n\n> You look at the console\nIt's a standard model console, with a 50 cm screen and a datatab slot. On an ordinary world it would be connected to the planet-wide datanet, but you doubt that such a thing exists on Elysium.\n\n> Examine slot\nIt's about 8mm long.\n\n> You examine portrait\nThe portrait provides evidence that even on this insignificant world someone is taking regular care of the Legion office, since it's a portrait of Charles V, who ascended the throne only a few months ago. He's a man of about thirty, trying to look formal despite the twinkle in his eye, dressed in the traditional gold-trimmed purple cloak and golden laurel-wreath crown of his office.\n\n> You open the drawer\nOpening the drawer reveals a purple datatab and a pair of safety pins.\n\n> Point drik at eagle\nWhich eagle do you mean, the eagle on your tunic, or the eagle on the wall?\n\n> Wall\nOkay, you point the drik at the large golden eagle.\n\n> Point drik at console\nA stream of coloured dots runs along the blade of the drik and disappears into the handle; but this is just what you'd expect for the console.\n\n> You point the drik at yourself\nOkay, you point the drik at yourself.\n\n> Point drik at slot\nOkay, you point the drik at the portrait of the Emperor.\n\nOkay, you point the drik at the slot.\n\n> Point drik at datatab\nOkay, you point the drik at the purple datatab.\n\n> You take all from the drawer\npurple datatab: Taken.\npair of safety pins: Taken.\n\n> You close the drawer\nClosed.\n\n> You put the drik in the belt\nDone.\n\n> You put the datatab in the console\nThe screen displays: \"Please enter your Authorization Code: \"\n\n> You enter Code\n(on the console)\nYou need to enter the actual code, not the words \"code\".\n\n> You read the iD\nYour ID card is a rectangle of white data-plastic about two centimetres wide by four long. It bears a small photograph of you and identifies you as Praefect Andrew Holt of the Imperial Sovereign Legion.\n\n> You read the paper\nYour ID card is a rectangle of white data-plastic about two centimetres wide by four long. It bears a small photograph of you and identifies you as Praefect Andrew Holt of the Imperial Sovereign Legion.\n\n(first taking the crumpled piece of paper from your right pocket) After the standard preamble, it goes on:\n\n\"I'm sorry to dump this on you, but the Federation crisis means that we've had to pull all but skeleton resources out of this sector, and you're the nearest Legion officer to hand. As a result, we need you to include Elysium in your rounds. It's a sensitive planet - probably one of the most sensitive settlements in the Empire - but provided you go straight in and straight out and stick strictly to these orders you shouldn't have any problems.\n\nThe purpose of your visit is simply to remind the local leadership that they are still part of the Empire and that we are still keeping tabs on them; quite literally, you're just there to 'show the flag'. To do this you'll need to make your way to the Legion office in what passes for the settlement's capital, and, once there, hoist the imperial flag above the building to show the local Elders that you're open for business. One or more of them should then come to call on you within the hour. When they do, be as diplomatic and courteous as possible, but otherwise keep the conversation to a minimum. Inform them in the simplest possible terms of the nature of the Federation crisis, emphasising that the Empire will continue to guard them from intrusion. Ask them if they have anything they want to raise with you. Almost certainly they won't, apart from their standard grumbles about imperial interference. Say as little as possible in reply beyond promising to pass their comments on. Once you have completed this conversation get out of there as quickly as you can.\n\nThe most important thing to understand about the Elysians is that they have made a religion of technophobia. Their idea of a paradisal society is a pre-industrial society, so try not to flaunt any technology you bring with you; the less the settlers see of any thirtieth-century technology, the better you'll get on with them.\n\nFinally, I cannot stress too strongly that you should on no account get involved in any of the internal affairs of Elysium, and that you should if at all possible avoid any contact with any of the settlers apart from the Elders who come to meet you. Terrible mistakes have been made on Elysium in the past, and any problems that come up in the present must be left to officers with a deep understanding of the situation there, which does not include you. So, get in, keep the chat nice and short, and get straight out again.\n\nI look forward to receiving your report in due course.\nSubtribune G.F. Booker (C/O Sect PP12, ISL)\n13-Sep-2980.\n\n[Auth Code: ISL-GF-PPn342]\"\n\n> You enter isl-GF-ppn342\n(on the console)\nThe screen displays: \"Authorization Code Correct! Access permitted.\n\"\n\nThe console screen displays a recent report on the status of Elysium.\n\nThe summary page tells you that the current population of the planet is a mere 11,345 (as of the latest count, last year), and that Elysium has the lowest GDP per head of any planet of the Empire by a very long way. The population apparently peaked at around fifteen thousand about a century ago and has been declining slowly ever since (there's a link to a lengthy social-scientific analysis of this, but you're content with the summary, which suggests that the society has simply become too stagnant). The prognosis is that within a century or two Elysian society will have become non-viable and the Empire will be able (and obliged) to move in with a fresh bunch of settlers and make something of the world (though this is not to be communicated to any of the current inhabitants) but in the meanwhile, the Elysians are to be left alone to decay as they wish, since there must be no repetition of past tragedies (there's a link to a file explaining this in more detail, but it turns out you don't have the security clearance to read it). The summary ends with an instruction to all imperial personnel operating on Elysium to keep contact and interference to the bare minimum required to monitor the status of Elysian society and ensure no outside interference.\n\n> You take the datatab\nAs you remove the purple datatab, the console screen goes blank.\n\n> You put the datatab in the drawer\n(first opening the drawer)\nDone.\n\n> You search eagle\n(the purple eagle)\nThere's nothing unusual in the purple eagle.\n\n> You leave\n(first opening the street door)\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> You go to the south-east\n(first trying to open the green door)\nThe green door seems to be locked.\n\n> Go east\n(first opening the east door)\n\nThis small bedroom is presumably provided in case a visiting Legion officer needs to stay overnight, but there's not much here apart from a single bed hard against the wall, a small wardrobe, and a small chest of drawers. There's a door to the west back into the office, and a tiny bathroom to the south.\n\nObvious exits: South, West\n\n> You open the wardrobe\nInside the wardrobe is a small domestic robot.\n\n> You examine the robot\nYou see nothing unusual under the chest of drawers.\n\nIt's one of those small cylindrical jobs, basic but robust.\nPresumably it carries out the routine maintenance and cleaning in this building. There's a yellow sticker attached to it. It's currently plugged into the wall, charging.\n\n> You look under the wardrobe\nYou see nothing unusual under the wardrobe.\n\nIt strikes you that you should really hurry up and get that flag hoisted over the Legion Building, like your orders said.\n\n> You read the sticker\nThe sticker reads, \"Last maintenance check 14-Mar-80: Fixed glitch in laundry program.\" Under the notation is a Harcourt Research Logo.\n\n> Examine logo\nThe logo depicts a pair of spaceships orbiting a sun in a manner that resembles a pair of electrons orbiting an atomic nucleus. The intention is presumably to convey that Harcourt Research's technological competence encompasses all scales.\n\n> You open the drawers\nbottom drawer: Opening the bottom drawer reveals a plain white sheet.\n\ntop drawer: Opening the top drawer reveals a duvet.\n\nmiddle drawer: Opening the middle drawer reveals a fluffy pink towel.\n\n> You take the sheet\nTaken. Moving the plain white sheet reveals an imperial flag underneath.\n\n> You examine the flag\nTaken.\n\nYou know that the imperial flag depicts a large golden eagle on a purple background, though it's a little difficult to tell that while it's folded.\n\n> Unfold flag\nYou unfold the imperial flag.\n\n> You examine the flag\nThe imperial flag depicts a large golden eagle on a purple background.\n\n> You fold it\nYou fold the imperial flag.\n\n> Go west\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> You go upward\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nObvious exits: Down\n\n> You examine the panels\nThe array of four solar panels at the east end of the roof is arranged to catch as much sunlight as possible during the course of the day. You suspect that they convert the sun's energy into electricity using photovoltaic cells, and that the power is then stored in batteries. These panels wouldn't give enough power for continuous use all the year round, but they probably generate enough for the few days a year on which this building is actually used.\n\n> Point drik at panels\n(first taking the drik from the purple belt)\nOkay, you point the drik at the solar panels.\n\n> You press the green\nThe drik lights up.\n\n> Point drik at panels\nOkay, you point the drik at the solar panels.\n\n> You press the green\nThe drik goes dark.\n\n> Fuck\nThe word \"fuck\" is not necessary in this story. Using obscenities may\n\n> You open the locker\nmake you feel better, but it won't progress the game!\n\nOpening the locker reveals a white pillowcase.\n\n> You examine the pillowcase\nIt's just an ordinary plain pillowcase of the sort used to put pillows in. It's freshly laundered and neatly folded.\n\n> You unfold it\n(first taking the white pillowcase)\nYou unfold the white pillowcase.\n\n> You put it on head\nYou can't manipulate it in any way; it's simply part of your ID card.\n\n> You wear the sheet\nThe white pillowcase contains a tiny black object.\n\nYou wrap the sheet round yourself like a toga, but the style doesn't go with your uniform, and in any case the sheet quickly slips off again.\n\n> You fold the sheet\nYou fold the plain white sheet.\n\n> You examine the object\nYou almost missed it, it's so tiny. It's round and black and smaller than a pea, and could easily be mistaken for an innocuous piece of dirt. But it also looks suspiciously artificial.\n\n> You get the object\nTaken.\n\n> Point drik at object\n(first taking the drik from the purple belt)\nThe drik blade flashes red and emits a little beep, indicating that you have discovered a listening device. The next question is where the receiver is; given the limited range of such a tiny listening device it can't be too far away from where the bug was planted - somewhere else in the town perhaps.\n\n> Break device\nIt's tougher than it looks.\n\n> You go to the east\nThis small bedroom is presumably provided in case a visiting Legion officer needs to stay overnight, but there's not much here apart from a single bed hard against the wall, a small wardrobe, and a small chest of drawers. There's a door to the west back into the office, and a tiny bathroom to the south.\n\nThe middle drawer contains a fluffy pink towel. The top drawer contains a duvet.\n\nInside the wardrobe is a small domestic robot.\n\nObvious exits: South, West\n\n> You fly flag\nYou pop your head into the bathroom, and note that it neatly contains all the essential facilities in the minimum of space, but since you don't want to wash or relieve yourself right now, there's nothing here you need, so you return to the bedroom.\n\nYou need to attach the flag to something before hoisting it.\n\n> You throw the device\nWhat do you want to throw it at?\n\n> Town\nThe town is too far away.\n\n> Go west\nThis is the centre of the town, such as it is. The main street, if it can be called a street, runs east and west from here, crossing a track that runs north and south. To the northwest is a market area, opposite a large barn on the south side of the street, while to the east the street runs between a small white building (on its south side) and a large wooden hall (on its north).\n\nObvious exits: North, South, East, West, Northwest\n\n> You go to the west\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\n> Point drik at device\n(first taking the drik from the purple belt)\nThe drik blade flashes red and emits a little beep, indicating that you have discovered a listening device. The next question is where the receiver is; given the limited range of such a tiny listening device it can't be too far away from where the bug was planted - somewhere else in the town perhaps.\n\nThe blue stud on your drik starts flashing, indicating that someone is trying to contact you; to accept the call, press the blue stud.\n\n> No\nNothing obvious happens.\n\n> No\n\"No, I haven't come across any Elders yet,\" you tell her.\n\n\"You have hoisted the flag, haven't you, sir?\" she asks.\n\n> No\n\"No I haven't got round to it yet,\" you admit.\n\n\"Don't you think you should be making it your top priority, sir?\" she asks.\n\n> No\n\"No, I have other things I need to look into first,\" you tell her.\n\n\"Well, if you say so, sir,\" she replies dubiously, \"but if I were in your place I wouldn't delay too long in carrying out my orders!\"\n\n> You put the bug in the river\nYou don't want to put the tiny black bug in the river; you might never be able to recover it.\n\n> Oops drik\nAlthough you probably could swallow it whole, that might not be a very good idea.\n\nYou can only use OOPS to correct a misspelling immediately after the story points out a word it doesn't know.\n\n> Bug\nThere's no point trying to shoot that; you can't stun a tiny black bug.\n\n> Point drik at barn\nThe drik lights up.\n\nOkay, you point the drik at the barn.\n\n> Point drik at shack\nOkay, you point the drik at the tumbledown shacks.\n\n> You drop the bug\nDropped.\n\nThe drik light goes out to conserve power.\n\n> You go east\nThis is the centre of the town, such as it is. The main street, if it can be called a street, runs east and west from here, crossing a track that runs north and south. To the northwest is a market area, opposite a large barn on the south side of the street, while to the east the street runs between a small white building (on its south side) and a large wooden hall (on its north).\n\nObvious exits: North, South, East, West, Northwest\n\n> You ask pilot about Harcourt\n\"What do you think of Harcourt Research, sublieutenant?\" you ask.\n\n\"From what point of view, sir?\" she asks, \"They make a lot of decent products, but as a corporation they stink, as I'm sure I have no need to tell you! I mean, Senator Harcourt has been arrested for treason!\"\n\n> You ask pilot about the Senator\n\"What was that, sir?\" she asks, \"I'm afraid I didn't quite copy.\"\n\n> You ask pilot about Harcourt\n\"As you say, sublieutenant, Senator Harcourt's been arrested for treason,\" you muse, \"Among other things, his Federation links are under the microscope. I wonder - his massive multiplanetary conglomerate had a reputation for swallowing things even before the good Senator got himself arrested; could Harcourt Research have had designs on Elysium?\"\n\n\"I hardly see how, sir,\" Sublieutenant Soolin protests, \"Anywhere that offered fewer prospects for a hi-tech company like Harcourt Research would be impossible to imagine!\"\n\n> You ask the pilot about Harcourt\n\"Obviously Harcourt Research wouldn't find much of a market on Elysium, and obviously they wouldn't find much use for native labour either, but apart from the tiny area of cultivated land, there's a whole unexploited world out there,\" you point out, \"Could it have something they want? Some valuable raw material perhaps?\"\n\n\"With respect, sir, aren't you extrapolating rather wildly beyond the evidence?\" Sublieutenant Soolin points out.\n\n> You ask the pilot about the evidence\nHer reply is lost in a burst of static.\n\n> Bye\n\"Over and out,\" you say.\n\n\"Over and out, sir,\" she confirms, just before the comms link goes dead.\n\n> Go west\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nYou see a tiny black bug here.\n\nObvious exits: North, South, East\n\n> You go south\n(first trying to open the barn door)\nThe barn door seems to be locked.\n\n> You look at the barn\nIt's the largest building at this end of the town, perhaps some nine or ten metres high; it's basically a plain wooden structure with its gable end presented to the street. Since it's just across the street from the market area, you surmise that it's probably used to store produce for the market.\n\n> You examine the barn door\nIt's just a big barn door. It's closed.\n\n> You examine the gable\nIt's the largest building at this end of the town, perhaps some nine or ten metres high; it's basically a plain wooden structure with its gable end presented to the street.\n\n> You kick the barn door\nIt seems singularly impervious to your attack,\n\n> Go north\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area, with a trestle table off to one side. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nOn the trestle table are a carrot and a parsnip.\n\nA large black dog is sniffing around, scavenging for food.\n\nObvious exits: North, South, Southeast, In The dog charges up to you and starts snapping at your heels.\n\n> You take the food\nparsnip: The dog growls at you so fiercely as your hand approaches the parsnip that you decide you'd better leave it alone.\n\ncarrot: The dog growls at you so fiercely as your hand approaches the carrot that you decide you'd better leave it alone.\n\n> You examine the dog\nIt's an ugly black mongrel with fierce-looking teeth. He's scavenging for food.\n\nThe dog sniffs round the table.\n\n> You examine shed\nThe small wooden shed might be for storage, or it might be some sort of stall. Either way it's a crude wooden structure with a plain wooden door.\n\nThe dog leaps up on the table and snatches the parsnip. Then it drops back down and starts chewing it.\n\n> Stun dog\n(with the drik)\n(first taking the drik from the purple belt)\nThe dog lets out a startled whine, then topples over with legs splaying. His legs give a final couple of twitches, and then he lies still.\n\n> You take the food\nTaken.\n\n> Inventory\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase, a drik, and a carrot. You're wearing a purple belt and a white uniform.\n\n> You open the shed\nOpened.\n\n> You go inside\nTwo people standing inside this tiny hut would be cramped; three would be excessively intimate. It is almost completely bare apart from a small hook fixed to the west wall.\n\nA folded piece of cloth lies on the floor of the hut.\n\nA fishing rod is leaning against the wall.\n\nOn the small hook is a small iron key.\n\nThere's a faint cheesy smell from somewhere.\n\nObvious exits: Out\n\n> Oops drik\nDone.\n\nThere's a faint cheesy smell from somewhere.\n\n> Smell\nThere's a faint cheesy smell from somewhere.\n\n> You look at the hook\nFor some reason the small hook has a very sharp point. On the small hook is a small iron key.\n\nThere's a faint cheesy smell from somewhere.\n\n> You take the key\nTaken.\n\n> You move the sheet\nMoving the plain white sheet has no effect.\n\nThere's a faint cheesy smell from somewhere.\n\n> You take sheet\nYou are already carrying the plain white sheet."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Describe the surroundings\nTwo people standing inside this tiny hut would be cramped; three would be excessively intimate. It is almost completely bare apart from a small hook fixed to the west wall.\n\nA folded piece of cloth lies on the floor of the hut.\n\nA fishing rod is leaning against the wall.\n\nThere's a faint cheesy smell from somewhere.\n\nObvious exits: Out\n\n> You examine the cloth\nIt's little more than a strip of folded grey cloth. It would be quite useless for clothing.\n\nThere's a faint cheesy smell from somewhere.\n\n> Unfold cloth\nYou unfold the piece of cloth. Inside the cloth you find a small wedge of cheese.\n\n> You look at the cheese\nIt's a deep yellow colour, and is a hard cheese, like some kind of cheddar. It smells quite strong, but by no means unappetizing.\n\n> You examine the rod\nIt's quite crude, comprising a long wooden pole with a line attached.\n\n> You fold the cloth\nYou fold the piece of cloth.\n\n> You check your inventory\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase, a carrot, a small iron key, and a piece of cloth. You're wearing a purple belt and a white uniform. The purple belt contains a drik.\n\nThere's a faint cheesy smell from somewhere.\n\n> Carrot in pillowcase\npiece of cloth: Done.\ncarrot: Done.\n\n> Go outside\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area, with a trestle table off to one side. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nThe dog is lying unconscious on the ground.\n\nObvious exits: North, South, Southeast, In\n\n> You search it\nYou find a little worm wriggling among the scraps.\n\nThere's a faint cheesy smell from somewhere.\n\n> You go south\n(first opening the barn door)\n\nInside the Barn (in the dark)\nHardly any light finds its way in here, apart the little that leaks in through the doorway to the north, so you can discern little except vague shapes in the large dark space.\n\nObvious exits: North\n\nThere's a faint cheesy smell from somewhere.\n\n> You examine it\nIt's just a rough old brown sack, but it is quite large.\n\n> You look in it\nThe old brown sack contains an apple.\n\n> You examine the shutter\nIt's just a plain wooden shutter, mounted on the east wall. It's closed.\n\n> You open it\nOpened.\n\n> You look at the shutter\nIt's just a plain wooden shutter, mounted on the east wall. It's open.\n\nThere's a faint cheesy smell from somewhere."
    },
    {
        "text": "> Look around\nThis vast barn looks like it might be used as storage space for the market opposite. A ladder leads up to a high platform at the south end. On the east wall is a large shutter.\n\nObvious exits: North, Up\n\n> Go up\nYou start to climb the ladder, but as you're about half way up, a rung gives way beneath you; you fall onto the next one down and that breaks too, and then you tumble back down to the ground, bringing the bottom half of the ladder with you as it crumbles into a heap of fragments.\n\n> You look at the platform\nThe platform is a raised area at the southern end of the barn's interior; it's about four metres off the floor, so from down here you can't really see what's on it.\n\n> You jump\nYou jump a little, and land back where you started.\n\nThe blue stud on your drik starts flashing, indicating that someone is trying to contact you; to accept the call, press the blue stud.\n\n> Thank her\n\"Thank you, sublieutenant, that's useful,\" you reply. \"I'll follow it up.\"\n\n\"We only aim to serve, sir,\" she replies pertly.\n\n> Bye\n\"Over and out,\" you say.\n\n\"Over and out, sir,\" she confirms, just before the comms link goes dead.\n\n> You climb the shutter\nThat is not something you can climb.\n\nThere's a faint cheesy smell from somewhere.\n\n> You examine the ladder\nIt's a plain wooden ladder running vertically up to the platform. It looks a little rough, and a closer examination suggests it may also be a little rotten.\n\n> You fly\nWhat do you want to fly?\n\n> You go north\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nYou see a tiny black bug here.\n\nObvious exits: North, South, East\n\n> Go north\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area, with a trestle table off to one side. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nThe dog is lying unconscious on the ground.\n\nObvious exits: North, South, Southeast, In\n\n> You go inside\nTwo people standing inside this tiny hut would be cramped; three would be excessively intimate. It is almost completely bare apart from a small hook fixed to the west wall.\n\nA fishing rod is leaning against the wall.\n\nObvious exits: Out\n\n> You take the hook\nThe hook is screwed firmly to the wall of the booth.\n\n> Unscrew hook\nYou unscrew the hook from the wall of the hut and take it.\n\n> You tie the line to hook\nYou attach the hook to the line.\n\n> Fish\nWhat do you want to fish in?\n\n> Platform\n(with the fishing rod)\nYou can't reach it from here.\n\n> Bait hook with worm\nDone.\n\nThere's a faint cheesy smell from somewhere.\n\n> Fish\n(fishing in the river)\n(with the fishing rod)\nWhat good luck! After a few minutes you get a bite and manage to land a small trout.\n\n> You examine the trout\nYou're not all that familiar with freshly-caught fish; the only trout you have encountered before have been the cooked variety, served up in restaurants and officers' messes, but from what you recall of the trout you've eaten, you think this fish is probably a trout. It looks a decent enough specimen, anyway.\n\n> Point drik at trout\n(first taking the drik from the purple belt)\nOkay, you point the drik at the small trout.\n\n> You look at the platform\nThe platform is a raised area at the southern end of the barn's interior; it's about four metres off the floor, so from down here you can't really see what's on it.\n\n> You climb the ladder\nFrom the trestle table you step onto one of the upper rungs of the ladder and haul yourself up onto the platform.\n\nThe loft is little more than a storage platform running the width of the barn, about three metres deep, in the space under the rafters. At the eastern end of the platform a large wooden box is fixed to the wall, next to a pile of hay in the corner.\n\nA black cat is lying on top of the box.\n\nObvious exits: Down\n\nThe cat lets out a plaintive meeow.\n\nThere's a faint cheesy smell from somewhere.\n\n> You give the trout to the cat\n(first taking the small trout from the old brown sack)\nThe cat snatches the trout from your grasp and leaps onto the floor.\n\n> You open the box\nOpening the large wooden box reveals a lettuce, a piece of ham, a small loaf of bread, and two tomatoes.\n\n> You put all from the box into the sack\nlettuce:\n(first taking the lettuce)\nDone.\n\npiece of ham:\n(first taking the piece of ham)\nDone.\n\nsmall loaf of bread:\n(first taking the small loaf of bread)\nDone.\n\ntomato:\n(first taking the tomato)\nDone.\n\ntomato:\n(first taking the tomato)\nDone.\n\n> You examine the hay\nThe hay is all piled up in the corner.\n\n> You search the hay\nUnder the pile of hay is a pear.\n\n> You move the hay\nAttempting to move it would just cause a mess.\n\n> You get the pear\nTaken.\n\n> You look at it\nIt's green and pear-shaped."
    },
    {
        "text": "[Themes: Science Fiction, complex NPC, conversation]\n\n> You look around\nThe loft is little more than a storage platform running the width of the barn, about three metres deep, in the space under the rafters. At the eastern end of the platform a large wooden box is fixed to the wall, next to a pile of hay in the corner.\n\nThe cat is sitting happily chewing at the fish.\n\nObvious exits: Down\n\n> You examine the rafters\nThe rafters are simply wooden beams running east to west above your head. The southernmost one looks a little misshapen.\n\n> You examine the south rafter\nThere's a lump near the east end of the southernmost rafter.\n\n> You examine the lump\nIt's roughly cube-shaped but it's hard to make out without better light.\n\n> Point drik at lump\n(first taking the drik from the purple belt)\nIn the direct light of the drik you can see that the lump is actually a black cube placed on the rafter.\n\nThere's a faint cheesy smell from somewhere.\n\n> You examine cube\nAll you can see from here is that it's a black cube.\n\n> You take the cube\nThe small black cube is out of reach.\n\nThe drik light goes out to conserve power.\n\n> You take the cube\nThe small black cube is out of reach.\n\n> You stand on the box\nYou're already standing on the large wooden box.\n\n> You jump\nYou carefully choose a spot between the rafters so as not to risk bumping your head, and then jump. As your head comes level with the rafters, you catch a brief glimpse of a lump on the southernmost one, but you fall back down to the floor before you can get a decent look at it.\n\n> You check what you're carrying\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase (which contains a piece of cloth and a carrot), a small iron key, an old brown sack (which contains an apple, a lettuce, a piece of ham, a small loaf of bread, two tomatoes, and a pear), a fishing rod, and a drik. You're wearing a purple belt and a white uniform.\n\nThere's a faint cheesy smell from somewhere.\n\n> You hit the cube with the rod\nIt's too light to make an effective weapon.\n\n> You throw the ham at the rod\n(first taking the piece of ham from the old brown sack)\nThe piece of ham hits the fishing rod without any obvious effect, and falls onto the large wooden box.\n\n> You throw the ham at cube\n(first taking the piece of ham from the old brown sack)\nThe piece of ham strikes the small black cube and both piece of ham and small black cube fall to the floor.\n\n> You get the ham\nTaken.\n\n> You look at the cube\nThe small black cube looks like it's made of some kind of shiny plastic, and seems featureless apart from the small slot in the side. Whatever it is, it looks more like the product of offworld technology than something that belongs on Elysium.\n\n> You eat the cube\nIt's obviously inedible.\n\n> You tell the pilot about the cube\n\"I found a small black cube in the barn in town,\" you tell her, \"It looks far too advanced for Elysian technology.\"\n\n\"Try testing it with your drik, sir,\" she suggests.\n\n> Point drik at cube\nThe drik blade emits a short series of rapid amber flashes, confirming your suspicions: the cube is some sort of receiving device.\n\n> You tell the pilot about the cube\n\"That black cube I told you about,\" you tell her, \"I've tested it with my drik and it turns out it's some sort of receiving device.\"\n\n\"Great galloping galazies, sir!\" she exclaims, \"And if someone's planted a receiving device in the town, where's the transmitter?\"\n\n> You tell the pilot about bug\n\"I'm still concerned about this bug I found,\" you remark.\n\n\"You have every right to be, sir,\" she agrees, \"Bugging a Sovereign Legion building is a very serious matter.\"\n\n> Inventory\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase (which contains a piece of cloth and a carrot), a small iron key, an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, and a pear), a fishing rod, a drik, a piece of ham, and a small black cube. You're wearing a purple belt and a white uniform.\n\nThere's a faint cheesy smell from somewhere.\n\n> Unfold cloth\n(first taking the piece of cloth from the white pillowcase)\nYou unfold the piece of cloth. Inside the cloth you find a small wedge of cheese.\n\n> You look at the cheese\nIt's a deep yellow colour, and is a hard cheese, like some kind of cheddar. It smells quite strong, but by no means unappetizing.\n\n> You taste the cheese\nIt tastes quite strong - possibly a little overripe."
    },
    {
        "text": "> Go downwards\n(off the large wooden box)\nOkay, you're no longer on the large wooden box."
    },
    {
        "text": "[Themes: Science Fiction, conversation]\n\n> Go down\nThis vast barn looks like it might be used as storage space for the market opposite. A ladder leads up to a high platform at the south end. On the east wall is a large shutter.\n\nThe trestle table is positioned next to the ladder.\n\nObvious exits: North, Up\n\n> You go north\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nYou see a tiny black bug here.\n\nObvious exits: North, South, East\n\n> Point drik at bug\nThe drik blade flashes red and emits a little beep, indicating that you have discovered a listening device.\n\n> Inventory\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase (which contains a carrot), a small iron key, an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, and a pear), a fishing rod, a piece of ham, a small black cube, a piece of cloth, and a tiny black bug. You're wearing a purple belt and a white uniform. The purple belt contains a drik.\n\nThere's a faint cheesy smell from somewhere.\n\n> You put the carrot in the sack\n(first taking the carrot from the white pillowcase)\nDone.\n\n> You go north\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nThe dog is lying unconscious on the ground.\n\nObvious exits: North, South, Southeast, In\n\n> Go north\nYou walk north along the river bank, but at no point do you see anywhere the river could readily be crossed. You continue north up the slope until you come to the edge of the forest, which quickly becomes too dense for you to make any further progress, so at that point you turn round and retrace your steps.\n\n> You check what you're carrying\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, an imperial flag, a white pillowcase, a small iron key, an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, a pear, a carrot, a piece of cloth, and a piece of ham), a fishing rod, a small black cube, and a tiny black bug. You're wearing a purple belt and a white uniform.\nThe purple belt contains a drik.\n\nThere's a faint cheesy smell from somewhere.\n\n> Go south\n(first unlocking the purple door, then opening it)\n\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> You go upward\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nObvious exits: Down\n\n> DROP SACK, CUBE, BUG\nold brown sack: Dropped.\nsmall black cube: Dropped.\ntiny black bug: Dropped.\n\n> You put the flag on the pole\n(first unfolding the imperial flag)\nDone.\n\n> You raise flag\nYou hoist the flag to the top of the pole, where it flutters gamely in the breeze."
    },
    {
        "text": "> Go down\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> Go upwards\n(first opening the hatch)\n\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base and a flag flying from its top. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nYou see an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, a pear, a carrot, a piece of cloth, and a piece of ham), a small black cube, and a tiny black bug here.\n\nThere's a faint cheesy smell from somewhere.\n\nObvious exits: Down\n\n> You take the bug\nTaken.\n\nAn old man enters the town centre from the south.\n\nThere's a faint cheesy smell from somewhere.\n\n> You put the bug in right pocket\nDone.\n\nThe old man goes to the east end of the town.\n\nThere's a faint cheesy smell from somewhere."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, conversation]\n\n> Go downward\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nThe old man is standing out in the street.\n\nObvious exits: North, East, Up\n\nThe old man enters the Sovereign Legion Office. \"I'm Petroc, Chief Elder of Elysium,\" the old man introduces himself, \"I saw your flag flying, so I came - but you look even greener than the last one they sent. So what have you come to bother about us this time?\"\n\n> You ask him about planet\n\"This is just one of our regular visits to check up on how things are going here,\" you tell him, \"So, how are things going here? Any problems?\"\n\n\"The harvest is not plentiful, children are not respectful to their parents, and parents do not produce enough children to make our numbers increase,\" he shrugs, \"Nothing changes.\"\n\n> You tell him about Empire\n\"Let me tell you about the Empire,\" you say.\n\n\"If you must,\" he sighs.\n\n> You tell him about Empire\nYou start to tell him about the Empire, but he interrupts you with an abrupt wave of the hand. \"Some other time, maybe,\" he says.\n\n> You examine man\nWhich man do you mean, the portrait of the Emperor, or Petroc?\n\n> Petroc\nHe's a slightly-stooped old man with a weatherbeaten face, grizzled grey hair, and a straggly beard. He's standing here talking with you.\n\nPetroc is wearing a floppy hat.\n\n> You examine the hat\nIt's brown in colour and battered almost shapeless.\n\n> You ask him about himself\n(Petroc)\n\"Did you say you're the Chief Elder?\" you ask.\n\n\"I sure did,\" he affirms, \"but that just makes me the first among equals - the Chairman of the Council of Elders, I'm not some petty emperor.\"\n\n> You ask him about the bridge\n\"I see the bridge at the west end of town has fallen into terminal disrepair,\" you remark, \"Can't you people even maintain a bridge?\"\n\n\"You are right,\" he sighs, \"I have been trying to get agreement from my fellow Elders to act on that for some time now, but always there seem to be other priorities.\"\n\n> You ask him about the green house\n\"What's that green house for?\" you ask.\n\n\"The Wheatsheaf, you mean?\" Petroc replies, scratching his head, \"It's the best inn in town - hell, it's the only inn in town. Too bad it's closed.\"\n\n> You tell Elder about Federation\n\"How often do people come to meetings in this town?\" you ask.\n\n\"The Elders meet here once a month. Once a year there's a Great Gathering when anyone can come,\" he replies, \"Otherwise, it's just as and when.\"\n\n\"I've been instructed to tell you something about the Federation crisis,\" you explain, \"Ever since Relda, tension between the Empire and the Federation has been growing, and now there's a real risk of war. I'm instructed to inform you that, in the event of hostilities, the Empire will continue to protect Elysium from outside interference as it has always done, even though much of our attention will of necessity be diverted to, ah, other matters.\"\n\n\"Empire or Federation, what difference does it make to us?\" Petroc shrugs; but then his curiosity gets the better of him, \"Who or what was Relda? And why is your mighty Empire so worried about this Federation?\"\n\n> You tell Petroc about Relda\n\"It was what happened on Relda that revealed the real nature of the Federation,\" you explain, \"Relda was one of the Federation's wealthier worlds - it may still be, for all we know. It used to be self-governing, but the Federation took more and more power away from the planetary government, and bought up more and more of the planet's assets. Then, a few years ago, the Reldans elected a new Planetary Council on a platform of wresting control of their world back from the Federation. The Federation responded by blowing up the Council and blaming it on terrorists; then they took over the planetary government themselves. Relda went from being a member-world to being a subject-world, a pattern that's been repeated all over the Federation.\"\n\n\"That is where riches and greed and human ambition always lead,\" Petroc opines, \"to injustice and oppression. That is why we have forsworn all such things here.\"\n\n> You tell Petroc about Federation\n\"The Paranian Federation has grown nearly as strong as the Empire - it too now numbers more than sixty worlds over a comparable volume of space,\" you explain, \"Over the last two decades or so they've become more and more of a tyranny - as events on Relda showed - and they're also becoming more and more aggressive, looking for new worlds to conquer. We can't stand by and just watch this happen, so sooner or later we seem bound to clash. In any case, there's every danger they'll try to attack us!\"\n\n\"That's what your 'progress' and 'technology' does for you,\" Petroc grunts, \"Our ancestors were right to turn their backs on all that rubbish!\"\n\n> You tell Petroc about the bug\n\"I found this planted in a pillowcase in the Legion office,\" you say, \"Know anything about it?\"\n\n\"Planted in a pillowcase, you say?\" he chortles, \"Any fool knows it won't grow if you plant it there!\"\n\n> You tell Petroc about the bug\n\"This is a listening device; someone's trying to bug the Legion office.\" you tell him.\n\n\"Bug, you say? Well, if there's bugs in your office you ought to clean it more often,\" he replies.\n\n> You tell Petroc about the bug\n\"This device was being used to spy on the Empire,\" you insist, a little pompously, \"Do you have any idea who might be responsible?\"\n\n\"Spy? Call that a spy? Looks more like a withered pea to me!\" he replies. \"But I suppose you're going to tell me it's one of them techno-thingies. Well, I don't know about such stuff, and I don't want to know about it!\"\n\n> You ask Petroc about Harcourt\n\"I think we should discuss Harcourt Research,\" you suggest.\n\n\"Do you now?\" he retorts, \"I should have thought we both had better things to do!\"\n\n> You ask Petroc about the barn\nPetroc appears baffled by your question.\n\n> You tell Petroc about the cube\nYou know better than to offend Petroc by discussing modern technology with him; he probably doesn't understand it and even if he does he certainly won't admit it.\n\n> You ask Petroc about previous\nPetroc drowns your question in a fit of coughing.\n\n> You ask Petroc about Elysium\n\"Is there anything you need to report, any outside interference or anything like that?\" you enquire.\n\n\"The only outside interference comes from your empire,\" Petroc grunts. But then he relents to the extent of adding, \"You haven't been talking with old Jeb, have you? You don't want to take any notice of anything he says - he's full of addle-witted fool-guff.\"\n\n> You ask Petroc about Jeb\n\"Who or what is old Jeb?\" you wonder.\n\n\"Oh, he's just the old fool who owns the farm just across the river.\" Petroc tells you, \"He's not such a bad fellow, but he's so full of bumble-rot. He says he saw something last week - or was it the week before? He's such a muddle-wit he probably doesn't even know himself!\"\n\n> You ask him about Leela\n\"I met a young woman called Leela in the forest on the way here,\" you inform him, \"She says she's an outcast - that you elders cast her out.\"\n\n\"I know of no Leela,\" he tells you stiffly, \"And we do not cast people out. We take care of our own on Elysium.\"\n\n> Keep going\n\"Leela's a young woman with long dark hair, about twenty standard Earth years or so old, I'd say,\" you remark, \"Do you not know of such a woman?\"\n\n\"Your description would match any of a score of young women I know,\" Petroc complains, \"But none of them have been 'cast out'. We do not do such things.\"\n\n> You continue\n\"Leela is half-starved and half-naked, and says none of you will feed her or clothe her,\" you tell him.\n\n\"That is nonsense; if any young woman was in such a plight, any of our people would give her food and clothing,\" Petroc replies.\n\n\"But she says you have forbidden it!\" you protest.\n\n\"That is a lie!\" he declares fiercely, \"We would never do such a thing!\"\n\n> Keep going\n\"Leela told me you cast her out because she was asking too many questions,\" you say.\n\n\"The young always ask too many questions,\" he opines, \"that is there way. But we do not expel them for it; we simply try to teach them.\"\n\n\"Teach them what?\" you ask suspiciously.\n\n\"The answers to those questions that may be answered, and the futility of asking questions that may not.\" he replies.\n\n> Continue\n\"So you don't know anything about the young woman I met in the forest?\" you ask.\n\n\"That is right - I do not,\" he affirms, \"Indeed, I can't believe you met anyone like that - or if you did, she must have been spinning you some right old tale!\"\n\n> Continue\nYou've exhausted that topic for now. Petroc is clearly sceptical of what Leela told you, and even of her existence.\n\n> You ask him about Jeb\n\"What exactly did this old Jeb character think he saw?\" you ask.\n\n\"Something in the sky,\" Petroc grunts, \"at the dead of night, he says. He went out to check on a mare that was in foal, and says he saw something blotting out some stars. Sounds to me like it was just a passing cloud if it was anything at all, but the old fool swears blind it was more like something floating down from heaven. I ask you - he'll be saying it was the second coming next!\"\n\n> You ask him about Jeb\n\"What else did Jeb say about this object he saw at night?\" you want to know.\n\n\"Well - he reckons what it was came down a little way to the north of his farm. That would make it to the northwest of here, somewhere across the river running through the forest. But that's just crazy nonsense, of course - there aint nothing there but trees and grass!\"\n\n> You ask him about Jeb\n\"This thing that old Jeb says came down to the northwest, what could it have been?\" you wonder.\n\n\"Hell, I don't suppose it was anything,\" Petroc replies scornfully, \"Like I said, he probably just saw a cloud after having a mite too much to drink. I wouldn't have mentioned it at all except to warn you not to take no notice of it. Old Jeb is such an addle-wit I'd not set much store by anything he said.\"\n\n> You ask him about Jeb\n\"So you haven't checked old Jeb's story out?\" you ask.\n\n\"Of course not,\" Petroc snaps, \"No one else has mentioned anything strange, and I've better things to do than waste my time checking on drunken ghost stories - and so, I imagine, have you!\"\n\n> You ask him about the the bridge\n\"So what are you going to do about that ruined bridge?\" you ask.\n\n\"As I said, I'm trying to get my fellow Elders to agree on a repair plan,\" he reminds you, a little irritably.\n\n> You ask him about the bridge\nHe's already told you he's trying to get his fellow Elders to agree on a repair plan; there's no need to irritate him by going on about it.\n\n> You ask him about the technology\n\"Your aversion to technology - is it some kind of religion?\" you ask.\n\n\"Not quite that, though no doubt it helps us be more in tune with life in a religious kind of way,\" he replies, \"Our ancestors, the people who first settled this world, saw what technology did to people and figured that it just wasn't good for folks to live like that. The hankering for ever better technology was just the hankering to own more, to get what you want right away without waiting for it, and to get ahead of everyone else - in a word, plain, naked greed. Your technology doesn't make folks any happier, it just makes them nastier, and blind to the really important things in life.\"\n\n> You ask him about the tech\nPetroc ponders your question for a moment, then shakes his head.\n\n> You ask him about the technology\n\"Surely you don't think technology is all bad,\" you protest, \"I can't believe you don't use any. Surely you must at least use ploughs in your farming, ovens to cook, looms for weaving cloth and that sort of thing.\"\n\n\"To be sure,\" Petroc allows, \"But we try to keep it as simple and basic as possible. Of course we have the means of providing ourselves with food, clothing and shelter, but beyond such basic necessities, nothing more is needful.\"\n\n> You ask him about the technology\n\"Don't you find life very hard and dull, denying yourselves all modern luxuries and modern technology?\" you wonder.\n\n\"You forget, none of us have ever known such things, so we can't miss 'em,\" he smiles gently, \"we have what we have and we're content with that. We don't starve or freeze, but more to the point we don't kill each other for greed or fight wars with ever more terrible weapons.\nWe don't clamber over each other in some crazy race to prove who's best, who's cleverest, who's greediest and powerfulest. And as for life being dull - no, we're too busy to find life dull. Besides, in the long winter evenings there's always the tale-telling and music-making and dancing and feasting. At least we make our own entertainment - the stories passed down from our ancestors tell of human zombies on your technological worlds staring at moving pictures on screens all day long - what kind of entertainment is that? And what kind of life? Well, you may think our life hard by your soft standards, but to me it seems the only kind of life worth living. If you don't believe me, join us and find out for yourself - how about it?\"\n\n(You could say yes, say no, ask him about the planet, old Jeb, the river, himself, the council of elders, meetings, market-days, the old tales, the town, the Empire, technology, the green house, or repairs, tell him about the Federation, or Relda, or ask him for clothing.)\n\n> Yes\nYou consider Petroc's offer for a moment, and then decide it's really rather attractive. You only joined the Sovereign Legion because it's a tradition in your family, and, if you're honest with yourself, you realize that both service in the Legion and life in the Empire is all a weariness - especially with the prospect of war looming. Perhaps what you really need is a fresh start away from all the complexities of life in the modern Moltinoran Empire.\n\nSo, looking Petroc straight in the eye, you smile and reply, \"Yes, in fact I was hoping you'd offer. If you'll have me I'd like to join you.\"\n\nPetroc nods his approval, \"You are wiser than you look - and yes, you are welcome. Come, let me lead you to your new life.\"\n\nSo you follow Petroc back to his farm, and the first thing you do is swap your smart Legion uniform for a crude peasant smock. Then you spend the rest of your life learning to become a competent and contended farm labourer. In time you marry a pretty farm girl, have two fine sons and a pretty daughter, and neither the Empire nor the Federation ever bothers you again.\n\n> You ask him about the market days\n\"How often is there a market-day in town?\" you ask.\n\n\"About every ten days or so,\" he replies, \"Less in winter, of course.\"\n\n> You ask him about the market days\n\"Do many people come when there's a market-day?\" you wonder.\n\n\"Depends what you mean by 'many',\" he grunts. \"There don't seem to be as many coming as when I was a youngster, if that's what you mean, but there's still enough.\"\n\n> You ask him about the market days\n\"What sort of things are traded here in the market?\" you enquire.\n\n\"Farm produce, mainly,\" he tells you, \"A few pots and pans and the like. Nothing fancy, mind.\"\n\n> You ask him about the market days\n\"Do you use money in your markets, or barter?\" you ask.\n\n\"Money?\" he asks, with a look of repulsion appropriate to the mention of some particularly disgusting vice, \"We don't use money on Elysium. So I suppose it must be what you call 'barter'\".\n\n> You ask him about the market days\n\"Does the market here meet everyone's needs?\" you wonder.\n\n\"I don't hear anyone complaining about it,\" he replies.\n\n> You ask him about the market days\nThere's really no more to say about markets. He's told you that there's a market-day in town about every ten days or so, though less frequently in winter. The markets use barter, not money, and trade mainly in farm produce and basic utensils. Fewer people come to the markets than in Petroc's youth, but in his opinion the markets still meet everyone's needs.\n\n> You ask him about the the green house\n\"Why is the inn closed?\" you wonder.\n\n\"Dry rot, wet rot, stairs getting too rickety,\" he shrugs, \"Anyway, it's too unsafe for folks to use till it's been repaired.\"\n\n> You ask him about the the green house\n\"When's the Wheatsheaf likely to open again?\" you wonder.\n\n\"This year, next year, sometime, never,\" he replies vaguely, \"It seems to be harder and harder to get anyone to do repairs these days.\"\n\n> You ask him about the the green house\nYou've plainly exhausted this topic: the Wheatsheaf is the town's only inn, but it's closed since it's badly in need of repairs which no one seems willing to carry out.\n\n> You ask him for clothing\n\"The young woman I told you about needs some new clothes, where might I find some?\" you enquire.\n\n\"Do I look the sort of man who carries a spare set of women's clothes around?\" he snorts, \"Women make their own clothes on this world - you won't find them growing on trees!\"\n\n> You ask him about the the river\n\"How do I get across the river?\" you ask.\n\n\"You're the one with all the clever technology - a mere river can't be a problem for you!\" Petroc replies sniffily.\n\n> You ask him about the the planet\n\"So there's nothing else you need to tell me?\" you ask.\n\n\"Nothing,\" he insists, \"We are quite capable of ordering our affairs without your help.\"\n\n> You ask him about himself\n\"I trust I find you in good health?\" you enquire politely.\n\n\"I have nothing to complain of in that regard,\" he shrugs.\n\n> You ask him about himself\n\"Is there anything the Empire can do for you?\" you ask.\n\n\"Yes - you can leave us alone,\" he grunts.\n\n> You ask him about himself\nYou seem to have exhausted that topic. You've ascertained that Petroc is the Chief Elder, that he's in good health, and that he'd much rather the Empire left his people alone.\n\n> You ask him about the repairs\n\"Why is it so difficult to get any repairs done round here?\" you want to know.\n\n\"Because no one cares any more,\" Petroc replies, his shoulders stooping dejectedly, \"Not about the town, anyway. These days it seems anyone with the necessary skills is too busy fixing up his own farm.\"\n\n> You ask him about the repairs\n\"Are you saying that you can't get any repairs done in this town?\" you ask.\n\nPetroc lets out a heavy sigh. \"It seems to be getting pretty much that way,\" he admits.\n\n> You ask him about the old tales\n\"What sort of old tales do you tell at your Great Gathering?\" you ask.\n\n\"Oh, all sorts,\" he replies, \"Why our ancestors left your corrupt society to come here, how they built this place, how we survived harsh winters and dry summers - and then there are all the cautionary tales, stories of how greed and pointless 'technological improvements' always lead to misery and impoverishment.\"\n\n> You ask him about the old tales\n\"What other stories do you tell?\" you want to know.\n\n\"Now look here, youngster,\" he replies, \"you don't have time to listen to our tales, and I don't have time to tell them right now.\"\n\n> You ask him about the old tales\nHe's already indicated that he can't be bothered to tell you the old tales. So far as you can tell from what he said, they appear to act as legitimation for Elysium's backwardness.\n\n> You ask him about Jeb\n\"Is there anything else you can tell me about old Jeb?\" you ask.\n\n\"No, not really\" he replies, \"I mean, he's a decent enough farmer and all that, and he don't generally create any trouble, but he is such an addlepated old fool. Like I said, you don't want to take any notice of him.\"\n\n> You ask him about the meetings\n\"So you don't have that many meetings here,\" you surmise.\n\n\"We have enough,\" he shrugs.\n\n> You ask him about the meetings\nHe's already told you that the Elders meet in town once a month and that there's a Great Gathering once a year. That seems to be about as much as he's prepared to say on the topic.\n\n> You ask him about the Council\n\"How many Elders are there?\" you ask.\n\n\"Twelve,\" he tells you, \"We each take responsibility for one district, but once a month we come together to discuss matters of common concern.\"\n\n> You ask him about the Council\n\"What do the Elders do?\" you inquire, \"What is your function?\"\n\n\"To guide our people and preserve our ancestral ways,\" he replies, \"In particular we preserve the memory of the worlds we left behind, the greed and oppression and misery that goes with 'technology' and 'progress', so that each generation can be taught what we have escaped and why we must preserve our simple way of living.\"\n\n> You ask him about the Council\n\"Do the Elders have a judicial function?\" you wonder.\n\n\"We settle disputes, if that's what you mean,\" he nods, \"And we discipline anyone who must be disciplined - but you must understand that there is very little crime on Elysium; our simple lifestyle simply doesn't give rise to the greed and envy that drives so much of the evildoing in your advanced technological 'civilization'.\" He looks at you for a moment then asks, with a little smile, \"Perhaps you would like to escape your oppressive lifetyle and join us?\"\n\n(You could say yes, say no, tell him about the Federation, or Relda, ask him about the town, the Empire, technology, or repairs, or ask him for clothing.)\n\n> No\n\"No,\" you smile, \"I think not.\"\n\n\"I thought not,\" he replies.\n\n> You ask him about the repairs\n\"Would you like some help with the repairs needed here?\" you offer, \"I'm sure we could send a team of people to fix things up nicely for you.\"\n\n\"No!\" he replies fiercely, \"We don't want any more of your imperial interference on this world than we can help!\"\n\n> You ask him about the town\n\"Why is this town so deserted?\" you ask him.\n\n\"Because it's not a market-day or meeting-day,\" he tells you.\n\n> You ask him about the town\n\"Does no one live in this town permanently?\" you wonder.\n\n\"Nah,\" he shakes his head, \"What would be the point? Folks have got too much to do in their own places without loafing around here.\"\n\n> You ask him about the town\n\"Was this town always so - unoccupied?\" you enquire, avoiding the word \"run-down\" just in time.\n\n\"There used to be a few folks who stayed here more or less permanently, back in the old days,\" he replies, \"but those days have gone, and now we just use the place for markets and meetings.\"\n\n> You ask him about the town\nYou've already pursued the topic of the town as far as you tactfully can. It's obviously in decline, since people no longer live there and only come for markets and meetings.\n\n> You ask him about the technology\n\"What about medical technology?\" you ask, \"Surely you people get sick? Things must be pretty grim for you without the benefits of modern medicine!\"\n\n\"You folks are always coming out with that tired old argument,\" Petroc chuckles, \"But from what the ancestors say about your world, it seems to me that it's your technology that causes half your illnesses in the first place. You folks just don't get enough fresh air and exercise, let alone good, healthy, natural food. That's why you need all that fancy technological medicine. There's nothing a healthy lifestyle and the right herb can't cure here well enough - till a man's reached his allotted span.\"\n\n> You ask him about the technology\n\"So you really think your people are happy living the way they do, without all the benefits of modern technology?\" you ask incredulously.\n\n\"I don't think it; I know it,\" he assures you. \"If you don't believe me, you're mighty welcome to join us and find out for yourself; you look young enough not to have have been totally corrupted by technological ways yet. So how about it, youngster?\"\n\n(You could say yes, say no, tell him about the Federation, or Relda, ask him about the Empire, technology, or repairs, or ask him for clothing.)\n\n> No\n\"No,\" you smile, \"I think not.\"\n\n\"I thought not,\" he replies.\n\n> You ask Petroc about the herbs\n\"I fail to see the relevance of that question,\" he complains.\n\n> You ask him about Federation\n\"What do you think about the Federation?\" you ask.\n\n\"Nothing I can be bothered to discuss with you right now!\" he grunts.\n\n> You ask him about Relda\n\"I'd be interested in your views on Relda,\" you tell him.\n\n\"Then you'll just have to be disappointed, since I have no interest in indulging your idle curiosity,\" he replies.\n\n> You ask him about the repairs\n\"So it's a real problem getting any repairs done here,\" you surmise.\n\n\"You could say that,\" he concurs.\n\n> You ask him about the repairs\nThere's no need to rub it in: it's obviously difficult to get anything repaired round here, and equally obvious that Petroc doesn't want your help.\n\n> You ask him about Federation\n\"Tell me about the Federation,\" you say.\n\n\"Aargh, don't waste my time, I've got better things to do than talk about that!\" he snorts.\n\n> You ask him about Empire\n\"Tell me, Petroc,\" you ask, \"How do your people actually feel about the Empire?\"\n\n\"My people?\" he echoes, \"Why, for the most part they hardly think about it at all. It's not relevant to their lives - and that's the way we like it.\"\n\n> You ask him about Empire\n\"What do you feel about the Empire, Petroc,\" you want to know.\n\n\"The more it leaves us alone the better I like it,\" he replies, \"Or rather, the less I dislike it. No good ever came of the Empire meddling in our affairs.\"\n\n> You ask him about Empire\n\"But don't you realize that your settlement was set up in imperial space, and that you only exist because we allow you to, and because we protect you from outside interference?\" you ask.\n\n\"I may only be an Elder of a people who no doubt seem very backward to you, young man, but I'm totally ignorant of such matters,\" he replies gruffly, \"Our ancestors were a peaceful group of settlers minding our own business when your ancestors came along and claimed we were on your land, as the strong always bully the weak. And as for 'protecting' us - go search the forest and see for yourself what your imperial 'protection' is worth.\"\n\n> You ask him about the forest\n\"So what will I find in the forest?\" you ask.\n\n\"Go and see for yourself,\" he growls in reply.\n\n> Goodbye\n\"Well, I think that's about it, then; I needn't detain you any longer,\" you say.\n\n\"You've already detained me quite long enough,\" Petroc concurs gruffy, \"So I shall bid you good day.\"\n\nPetroc leaves through the street door.\n\n> Street door\nThe door closes with a sharp click, indicating that it has relocked itself.\n\nPetroc goes inside the large wooden hall.\n\n> You open the drawer\nOpening the drawer reveals a purple datatab.\n\n> You look at it\nIt's a small square of purple plastic or polymer, about 7mm to a side. By some kind of molecular wizardry, the precise technical details of which escape you, it's capable of holding several terabytes of data.\n\n> You put the datatab in the slot\nThe screen displays: \"Please enter your Authorization Code: \"\n\n> You enter isl-GF-ppn342\n(on the console)\nThe screen displays: \"Authorization Code Correct! Access permitted.\n\"\n\nThe console screen displays a recent report on the status of Elysium.\n\nThe summary page tells you that the current population of the planet is a mere 11,345 (as of the latest count, last year), and that Elysium has the lowest GDP per head of any planet of the Empire by a very long way. The population apparently peaked at around fifteen thousand about a century ago and has been declining slowly ever since (there's a link to a lengthy social-scientific analysis of this, but you're content with the summary, which suggests that the society has simply become too stagnant). The prognosis is that within a century or two Elysian society will have become non-viable and the Empire will be able (and obliged) to move in with a fresh bunch of settlers and make something of the world (though this is not to be communicated to any of the current inhabitants) but in the meanwhile, the Elysians are to be left alone to decay as they wish, since there must be no repetition of past tragedies (there's a link to a file explaining this in more detail, but it turns out you don't have the security clearance to read it). The summary ends with an instruction to all imperial personnel operating on Elysium to keep contact and interference to the bare minimum required to monitor the status of Elysian society and ensure no outside interference.\n\n> You enter the report\n(on the console)\nThis doesn't achieve much.\n\n> You look up Elders on the computer\nThe screen displays a link to that information, but when you try to access it you find you don't have the necessary security clearance to read it.\n\nThere doesn't seem to be any link to that from the report you're viewing.\n\n> You tell Soolin about Jeb\n\"I'm not sure how much credence I should give to the Elder's report of what the old farmer thought he saw, but maybe I should see if I can find out any more,\" you say.\n\n\"Whatever you think, sir,\" she agrees.\n\n> You check your inventory\nYou are carrying an ID card, a pair of safety pins, a crumpled piece of paper, a plain white sheet, a white pillowcase, a small iron key, and a fishing rod. You're wearing a purple belt and a white uniform. The purple belt contains a drik. Your right pocket contains a tiny black bug.\n\n> Go up\n(first opening the hatch)\n\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base and a flag flying from its top. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nYou see an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, a pear, a carrot, a piece of cloth, and a piece of ham) and a small black cube here.\n\nThere's a faint cheesy smell from somewhere.\n\nObvious exits: Down\n\n> You look at the cube\nold brown sack: Taken.\nsmall black cube: Taken.\n\nThere's a faint cheesy smell from somewhere.\n\nThe small black cube looks like it's made of some kind of shiny plastic, and seems featureless apart from the small slot in the side. Your drik tells you that it is in fact some kind of receiver.\n\nThere's a faint cheesy smell from somewhere.\n\n> You look in the slot\nThe small slot contains a black datatab.\n\n> You get the black datatab\nTaken.\n\nThere's a faint cheesy smell from somewhere.\n\n> You examine it\nIt's a small square of black plastic or polymer, about 7mm to a side. By some kind of molecular wizardry, the precise technical details of which escape you, it's capable of holding several terabytes of data."
    },
    {
        "text": "[Themes: Science Fiction, complex NPC, science fiction]\n\n> Go downwards\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\nThere's a faint cheesy smell from somewhere.\n\n> You take the purple datatab\nAs you remove the purple datatab, the console screen goes blank.\n\n> You take the black datatab\nYou are already carrying the black datatab.\n\n> You put the black datatab in the slot\n(the slot)\nThe screen displays: \"Enter Password: \"\n\n> You enter Harcourt\n(on the console)\nThe console beeps and displays:\n\n\"ACCESS DENIED\n\nEnter Password: \"\n\nThere's a faint cheesy smell from somewhere.\n\n> You enter isl-GF-ppn342\n(on the console)\nThe console beeps and displays:\n\n\"ACCESS DENIED\n\nEnter Password: \"\n\n> You look under the chair\nWhich chair do you mean, the red chair, the comfortable mock-leather chair, or the white chair?\n\n> Red\nYou see nothing unusual under the red chair.\n\nThere's a faint cheesy smell from somewhere.\n\n> You look at the cube\nThe small black cube looks like it's made of some kind of shiny plastic, and seems featureless apart from the small slot in the side. Your drik tells you that it is in fact some kind of receiver.\n\n> Point drik at black datatab\n(first taking the drik from the purple belt)\nOkay, you point the drik at the black datatab.\n\n> You go up\nAlthough the roof is not that high up, it affords you a reasonably good view over the town. A low parapet runs round the edge of the roof, at one end of which is a tall white flagpole with a white locker at its base and a flag flying from its top. At the far end is an array of solar panels, while in between a narrow staircase leads back down through an open hatch.\n\nObvious exits: Down\n\n> You take the flag\nThe imperial flag is too far away.\n\n> Lower flag\nYou lower the flag to the base of the pole.\n\n> You take flag\n(first detaching the imperial flag from the rope)\nTaken.\n\nThere's a faint cheesy smell from somewhere.\n\n> You take the pole\nYou are already carrying the fishing rod.\n\n> You examine the inn\nIt's a two-storey wooden house in apparently quite good repair. A sign hangs above the door.\n\n> You examine the sign\nIt's too far away to make out any detail.\n\n> You enter the inn\nThe large green house is too far away.\n\nThere's a faint cheesy smell from somewhere.\n\n> You examine the parapet\nThe parapet running round the edge of the roof is only about a metre high, and so would not provide much of a barrier to someone determined to jump off or clumsy enough to fall over. In common with the rest of the building it's covered in white plaster. A close examination of the parapet reveals what looks like a fresh scratch.\n\n> You examine the scratch\nIt's a short vertical scratch on the inside near the top, as though someone had recently dragged a sharp object up the plaster.\n\n> Climb sign\nThe weatherbeaten hanging sign is too far away.\n\n> You unscrew the pole\nWhich pole do you mean, the flagpole, or the fishing rod?\n\n> You examine the sign\nThe weatherbeaten sign is decorated with a faded picture of a sheaf of wheat.\n\n> You examine the ground\nThe street, such as it is, is little more than a beaten earth path between the buildings.\n\n> You examine the hall\nIt's the largest building at the east end of the town, but only on Elysium would it look at all impressive. It has something of the look of a run-down village hall, or a primitive parish church without a spire. At some point in its history it was painted red, but the paintwork has long since grown shabby and faded.\n\nThere's a faint cheesy smell from somewhere.\n\n> Go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\nPetroc turns away from you.\n\n> You ask Petroc about the hall\n\"Hello again!\" you say.\n\n\"Oh, it's you,\" he grunts.\n\n\"What's the hall used for?\" you wonder.\n\n\"Meetings, mainly,\" he replies laconically.\n\n> You look at windows\nThey're just unglazed rectangles high up in the walls, serving to let the light in but hardly to exclude cold draughts.\n\n> You look at the benches\nThe long wooden benches are about as basic as they can get, little more than planks on legs.\n\n> You examine the stage\nA raised area a couple of metres deep occupies the northern end of the hall.\n\nPetroc is standing on the stage.\n\n> You sit on the bench\nOkay, you're now sitting on the benches.\n\nPetroc resumes pacing around the stage.\n\n> You stand\nOkay, you're now standing.\n\nPetroc clasps his hands together and peers out over the hall.\n\n> You ask Petroc about the stage\n\"Pardon my bothering you, but I just wondered whether I might have another word,\" you say.\n\n\"If you must,\" he sighs.\n\nPetroc drowns your question in a fit of coughing.\n\n> You go to the south\nPetroc resumes pacing around the stage.\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> You go east\nYou set off down the narrow farm track for a few hundred metres, until you see what you take to be a distant farmhouse some way further off to the east. Then you pause, remembering your orders tell you to leave the settlers alone (apart from the Elders you've come to meet), so after a few moments' hesitation you turn round and come back.\n\n> Go south\nYou walk a dozen metres or so down the path to the south, but find it quickly reaches the edge of town and heads out over farmland. Remembering that you're meant to be avoiding contact with all settlers apart from the Elders, you decide to turn round and retrace your steps.\n\n> You go north\nThe grassy hillside slopes gently down towards the small town below, which is surrounded by farmland and bordered by a river to the west. The centre of the town lies straight down the slope to the south. Just up the slope to the north is the edge of the forest, which can also be entered to the northwest.\n\nObvious exits: North, South, West, Northwest\n\n> You go north\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nObvious exits: North, South, East, West\n\n> Go east\nYou wander off among the trees to the east of the path, but find little of interest beyond more trees. Rather than wasting time in this part of the forest you return to the main path.\n\n> Go west\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east.\n\nObvious exits: East, Southeast\n\nThere's a faint cheesy smell from somewhere.\n\n> Go north\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but there may be the odd gap in the trees through which you could pass.\n\nObvious exits: North, South\n\n> You go to the north\nThe dirt track runs a short way north up to a ridge, just beyond which lies the hollow where your shuttle landed; to the south the track disappears into a sizeable forest. There are fields either side of the track, but they look overgrown and untended.\n\nObvious exits: North, South\n\n> Go south\nYou set off down the track and after a few minutes' walk you find yourself deep in the heart of the forest.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but there may be the odd gap in the trees through which you could pass.\n\nObvious exits: North, South\n\n> Go south\nThe path twists and turns through the trees, but broadly continues south.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nObvious exits: North, South, East, West\n\n> Go west\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east.\n\nObvious exits: East, Southeast\n\n> You search trees\nWell, they certainly have plenty of leaves.\n\n> You listen\nIt is not quite silent here; there are quiet forest sounds all around, maybe the rustling caused by small animals you cannot see, or the play of wind in the leaves. But though not silent, it is certainly quiet.\n\n> You climb the tree\nYou're not sure you can; tree-climbing wasn't a skill they taught you at the Legion Training School, and it feels beneath your dignity to attempt it now.\n\n> You ask Soolin about the forest\n\"It would take too long to explain, sir,\" she replies, \"Let's talk about it later.\"\n\n> You tell Soolin about the black datatab\n\"I found a black datatab in the black cube I found in the barn.\" you tell her.\n\n\"If you can find out what's on it, you may be able to work out who's behind all this, sir,\" she suggests.\n\n\"My thought entirely, sublieutenant,\" you agree.\n\n> You search the forest\n(the autumnal trees)\nWell, they certainly have plenty of leaves.\n\n> You go to the south\nYou walk down the slope into the centre of the town.\n\nThis is the centre of the town, such as it is. The main street, if it can be called a street, runs east and west from here, crossing a track that runs north and south. To the northwest is a market area, opposite a large barn on the south side of the street, while to the east the street runs between a small white building (on its south side) and a large wooden hall (on its north).\n\nObvious exits: North, South, East, West, Northwest\n\n> You go to the west\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\n> You examine the dog\nIt's an ugly black mongrel with fierce-looking teeth. It is lying on the ground. It's unconscious.\n\n> You take the dog\nThe dog is far too large for you to pick up and carry around with you.\n\n> You give the ham to the dog\n(first taking the piece of ham from the old brown sack)\nThe dog will be out cold for hours.\n\n> You kick the dog\nIt's probably best to let sleeping dogs lie.\n\nThere's a faint cheesy smell from somewhere.\n\n> You look at the bridge\nThe bridge looks ruined beyond any hope of repair; it's now little more than a collection of rotting beams slowly tumbling into the river.\n\n> Go north\nYou walk back up over the ridge, and descend into the hollow on the far side.\n\nThis grassy hollow, about thirty metres across, looks like it might once have been an impact crater. A steep slope rises just to the west, while a trail of sorts leads north and south.\n\nYour shuttle rests in the middle of the hollow.\n\nObvious exits: North, South, In\n\nThere's a faint cheesy smell from somewhere.\n\n> You go inside\nThe inside of the shuttle is not exactly spacious; there's room for the pilot and three passengers, one beside the pilot and two behind. The seats are comfortable enough, but otherwise it's all pretty basic. There's not much in front of you except the forward window; the pilot has a bank of instruments.\n\nSublieutenant Soolin is sitting in the pilot seat.\n\nObvious exits: Out\n\nAs you clamber into the flyer you sit yourself down on the front passenger seat, next to the pilot.\n\n\"Hello, sir!\" Sublieutenant Soolin greets you, \"Does this mean you're all done and ready to leave?\"\n\n> No\n\"No, not yet,\" you reply, \"I still have things to do here.\"\n\n\"Very well,\" she sighs.\n\n> You ask her about the river\n\"What do you reckon about the river, sublieutenant?\" you enquire.\n\nIn reply she frowns, as if she doesn't quite see the point of your question.\n\n> Go south\nThe dirt track runs a short way north up to a ridge, just beyond which lies the hollow where your shuttle landed; to the south the track disappears into a sizeable forest. There are fields either side of the track, but they look overgrown and untended.\n\nObvious exits: North, South\n\n> Go south\nYou set off down the track and after a few minutes' walk you find yourself deep in the heart of the forest.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but there may be the odd gap in the trees through which you could pass.\n\nObvious exits: North, South\n\n> You go north\nYou walk back up over the ridge, and descend into the hollow on the far side.\n\nThis grassy hollow, about thirty metres across, looks like it might once have been an impact crater. A steep slope rises just to the west, while a trail of sorts leads north and south.\n\nYour shuttle rests in the middle of the hollow.\n\nObvious exits: North, South, In\n\n> You close the door\n(the street door)\nThe door closes with a sharp click, indicating that it has relocked itself.\n\n> You go to the east\nThis small bedroom is presumably provided in case a visiting Legion officer needs to stay overnight, but there's not much here apart from a single bed hard against the wall, a small wardrobe, and a small chest of drawers. There's a door to the west back into the office, and a tiny bathroom to the south.\n\nThe middle drawer contains a fluffy pink towel. The top drawer contains a duvet.\n\nInside the wardrobe is a small domestic robot.\n\nObvious exits: South, West\n\n> You look at the robot\nIt's one of those small cylindrical jobs, basic but robust.\nPresumably it carries out the routine maintenance and cleaning in this building. There's a yellow sticker attached to it. It's currently plugged into the wall, charging.\n\n> You unplug the robot\nYou'd better not do that while the robot is still charging.\n\nThere's a faint cheesy smell from somewhere.\n\n> You look at the sticker\nThe sticker reads, \"Last maintenance check 14-Mar-80: Fixed glitch in laundry program.\" Under the notation is a Harcourt Research Logo.\n\n> You take the robot\n(first putting your ID card in your left pocket to make room, putting the crumpled piece of paper in your right pocket to make room, putting the plain white sheet in the old brown sack to make room, putting the fishing rod in the old brown sack to make room, putting the small black cube in the old brown sack to make room, then putting the old brown sack in the white pillowcase to make room)\nThe robot is too bulky.\n\n> Examine logo\nThe logo depicts a pair of spaceships orbiting a sun in a manner that resembles a pair of electrons orbiting an atomic nucleus. The intention is presumably to convey that Harcourt Research's technological competence encompasses all scales.\n\n> You enter the barn\n(first entering the west end of the town)\n\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\nThis vast barn looks like it might be used as storage space for the market opposite. A ladder leads up to a high platform at the south end. On the east wall is a large shutter.\n\nThe trestle table is positioned next to the ladder.\n\nObvious exits: North, Up\n\n> You look at the shutter\nIt's just a plain wooden shutter, mounted on the east wall. It's open.\n\n> You examine table\nIt's a long wooden table, probably used by market traders selling their produce.\n\n> You look at the shacks\nThey're both small, single-storey wooden buildings. They may once have constituted rudimentary homes for people staying in the town, but they look long-since abandoned.\n\n> You go to the north\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nThe trestle table stands in the middle of the road.\n\nThe dog is lying unconscious on the ground.\n\nObvious exits: North, South, Southeast, In\n\n> Go north\nYou walk north along the river bank, but at no point do you see anywhere the river could readily be crossed. You continue north up the slope until you come to the edge of the forest, which quickly becomes too dense for you to make any further progress, so at that point you turn round and retrace your steps.\n\n> You examine river\nThe river flows southwards along the west side of the market area.\n\n> Go south\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nThe trestle table stands in the middle of the road.\n\nObvious exits: North, South, East\n\n> You examine the shed\nThe small wooden shed might be for storage, or it might be some sort of stall. Either way it's a crude wooden structure with a plain wooden door.\n\n> Yell\nYou scream as loud as you can.\n\n> You go south\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\nThere's a faint cheesy smell from somewhere.\n\n> You go southwest\nYou take a few hesitant steps in that direction, but since you can discern no clear path, you decide to go no further.\n\nThere's a faint cheesy smell from somewhere.\n\n> Yell\nYou scream as loud as you can.\n\n> Point drik at trees\nOkay, you point the drik at the autumnal trees.\n\n> Stun trees\nThere's no point trying to shoot those; you can't stun some autumnal trees.\n\n> You enter the hall\n(first entering the east end of the town)\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\n> You look at benches\nThe long wooden benches are about as basic as they can get, little more than planks on legs.\n\nPetroc clasps his hands together and peers out over the hall.\n\n> You put the bug under the bench\nYou can't put anything under those.\n\nPetroc clumps noisily across the stage.\n\n> You look at the stage\nA raised area a couple of metres deep occupies the northern end of the hall.\n\nPetroc is standing on the stage.\n\nPetroc pretends to ignore you.\n\n> You stand on the stage\nOkay, you're now standing on the stage.\n\nPetroc clears his throat.\n\n> You jump\nIt would be undignified, unseemly and undiplomatic to start jumping around in front of Petroc.\n\n> You remove the uniform\nYou see no reason to start stripping off here, quite apart from the fact that your uniform shows that you bear the Emperor's authority, which is what you are here to represent.\n\nPetroc mutters something to himself.\n\n> You go outside\n(out of the stage)\nOkay, you're no longer on the stage.\n\nThere's a faint cheesy smell from somewhere.\n\n> You go outside\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> You enter barn\n(first entering the west end of the town)\n\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\nThis vast barn looks like it might be used as storage space for the market opposite. A ladder leads up to a high platform at the south end. On the east wall is a large shutter.\n\nObvious exits: North, Up\n\n> Go north\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nObvious exits: North, South, East\n\n> Go up\n(first standing on the trestle table)\nFrom the trestle table you step onto one of the upper rungs of the ladder and haul yourself up onto the platform.\n\nThe loft is little more than a storage platform running the width of the barn, about three metres deep, in the space under the rafters. At the eastern end of the platform a large wooden box is fixed to the wall, next to a pile of hay in the corner.\n\nThe cat is sitting happily chewing at the fish.\n\nObvious exits: Down\n\n> Examine box\nIt's a large wooden box with a heavy wooden lid. It's open.\n\n> You look at the cat\nIt's a large cat, black all over. It is sitting on the floor. It's happily feasting on a trout.\n\n> You examine the rafters\nThe rafters are simply wooden beams running east to west above your head.\n\n> Inventory\nYou are carrying a pair of safety pins, a white pillowcase (which contains an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, a pear, a carrot, a piece of cloth, a piece of ham, a plain white sheet, a fishing rod, and a small black cube)), a small iron key, a purple datatab, and a drik. You're wearing a purple belt and a white uniform. Your left pocket contains an ID card. Your right pocket contains a tiny black bug and a crumpled piece of paper.\n\nThere's a faint cheesy smell from somewhere.\n\n> You open cloth\n(first taking the piece of cloth from the old brown sack)\nYou open the piece of cloth. Inside the cloth you find a small wedge of cheese."
    },
    {
        "text": "[Themes: Science Fiction, complex NPC, conversation]\n\n> You look around\nThe loft is little more than a storage platform running the width of the barn, about three metres deep, in the space under the rafters. At the eastern end of the platform a large wooden box is fixed to the wall, next to a pile of hay in the corner.\n\nThe cat is sitting happily chewing at the fish.\n\nObvious exits: Down\n\n> You check your inventory\nYou are carrying a pair of safety pins, a white pillowcase (which contains an old brown sack (which contains an apple, a lettuce, a small loaf of bread, two tomatoes, a pear, a carrot, a piece of ham, a plain white sheet, a fishing rod, and a small black cube)), a small iron key, a purple datatab, a drik, and a piece of cloth (which contains a small wedge of cheese). You're wearing a purple belt and a white uniform. Your left pocket contains an ID card. Your right pocket contains a tiny black bug and a crumpled piece of paper.\n\nYou can smell the cheese.\n\n> You put the bug on the rafter\nThe southernmost rafter is out of reach.\n\n> You wear the sheet\n(first taking the plain white sheet from the old brown sack)\nYou wrap the sheet round yourself like a toga, but the style doesn't go with your uniform, and in any case the sheet quickly slips off again.\n\n> You examine the southernmost rafter\nIt looks much the same as all the others.\n\n> You attach the pins to the sheet\nYou can't attach that to the plain white sheet.\n\nYou can't attach that to the plain white sheet.\n\n> You go to the southeast\nThis is the centre of the town, such as it is. The main street, if it can be called a street, runs east and west from here, crossing a track that runs north and south. To the northwest is a market area, opposite a large barn on the south side of the street, while to the east the street runs between a small white building (on its south side) and a large wooden hall (on its north).\n\nObvious exits: North, South, East, West, Northwest\n\nYou can smell the cheese.\n\n> You open cloth\nThe piece of cloth is already unfolded.\n\n> You go to the south\nYou walk down the slope into the centre of the town.\n\nThis is the centre of the town, such as it is. The main street, if it can be called a street, runs east and west from here, crossing a track that runs north and south. To the northwest is a market area, opposite a large barn on the south side of the street, while to the east the street runs between a small white building (on its south side) and a large wooden hall (on its north).\n\nObvious exits: North, South, East, West, Northwest\n\n> Go east\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> You go south\n(first taking your ID card from your left pocket, unlocking the purple door, then opening it)\n\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\n> You examine the duvet\nIt's a good thick duvet, and looks like it should keep its user snug and warm; its cover is patterned but predominantly purple.\n\n> You examine the towel\nIt looks like one of those super-absorbent towels that gets a soaking person completely dry in under a minute. It also looks fresh and new.\n\n> You go to the north\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\nYou can smell the cheese.\n\n> Go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\nPetroc gestures with his right hand, as if practising a dramatic performance in front of an imaginary audience.\n\n> Stun Petroc\nYou don't go round shooting people for no good reason.\n\nPetroc clasps his hands behind his back.\n\n> You drop cheese\n(first taking the small wedge of cheese from the piece of cloth) Dropped.\n\n> You drop the cloth\nDropped.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: Science Fiction, conversation]\n\n> Look around\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nYou see a piece of cloth (which contains a small wedge of cheese) here.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> You examine the trees\nMost of the trees round here seem to be deciduous; some are already starting to shed their leaves, on others the leaves are turning various shades of red and brown.\n\n> You examine the town\nImmediately to the west is the large green building, almost abutting the roof. Across the street to the north is a large wooden hall; the street continues west between an enclosed market area to the northwest and the large barn immediately to the west.\n\n> You enter Building\nWhich building do you mean, the small white building, the barn, or the wooden hall?\n\n> Green\nThe large green house is too far away.\n\n> You enter the white\nThis office is the about the only place on Elysium that resembles your idea of civilization. A large white desk, with a standard built-in console, rests under the great golden eagle mounted on the east wall. Behind the desk sits a comfortable mock-leather chair, while a pair of smaller chairs, one red, the other white, are positioned in front of the desk, presumably for the benefit of visitors. The main door is next to the window overlooking the street to the north, while a staircase runs up against the south wall to a hatch in the ceiling. A second door is set in the east wall, to the left of the eagle, while a large portrait of the Emperor hangs opposite.\n\nObvious exits: North, East, Up\n\nYou can smell the cheese.\n\n> You examine the console\nIt's a standard model console, with a 50 cm screen and a datatab slot. On an ordinary world it would be connected to the planet-wide datanet, but you doubt that such a thing exists on Elysium. The screen displays: \"Enter Password: \"\n\n> Go east\nThis small bedroom is presumably provided in case a visiting Legion officer needs to stay overnight, but there's not much here apart from a single bed hard against the wall, a small wardrobe, and a small chest of drawers. There's a door to the west back into the office, and a tiny bathroom to the south.\n\nThe middle drawer contains a fluffy pink towel.\n\nInside the wardrobe is a small domestic robot.\n\nObvious exits: South, West\n\n> You take the robot\nThe robot is too bulky.\n\n> You take the sticker\nThe sticker seems to be too well stuck to the robot.\n\n> You look at the robot\nIt's one of those small cylindrical jobs, basic but robust.\nPresumably it carries out the routine maintenance and cleaning in this building. There's a yellow sticker attached to it. It's currently plugged into the wall, charging.\n\n> You look in the slot\nWhich slot do you mean, the black cube slot, or the console slot?\n\n> You remove belt\nYou've no reason to take it off; it's part of your uniform.\n\n> You examine the buckle\nThe gold buckle is embossed with an imperial eagle and the letters I S L.\n\n> You enter the isl\nYou're already in the sovereign legion office.\n\n> You examine portrait\nThe portrait provides evidence that even on this insignificant world someone is taking regular care of the Legion office, since it's a portrait of Charles V, who ascended the throne only a few months ago. He's a man of about thirty, trying to look formal despite the twinkle in his eye, dressed in the traditional gold-trimmed purple cloak and golden laurel-wreath crown of his office.\n\n> You look at the cloak\nA purple cloak is draped over the shoulders of the man in the portrait.\n\n> You look at the crown\nThe imperial crown in the portrait was clearly modelled on that of ancient Romans.\n\n> You go to the east\nThis small bedroom is presumably provided in case a visiting Legion officer needs to stay overnight, but there's not much here apart from a single bed hard against the wall, a small wardrobe, and a small chest of drawers. There's a door to the west back into the office, and a tiny bathroom to the south.\n\nThe middle drawer contains a fluffy pink towel.\n\nInside the wardrobe is a small domestic robot.\n\nObvious exits: South, West\n\nYou can smell the cheese.\n\n> You examine the bed\nThe single bed is set hard against the wall. It's nothing special but it looks comfortable enough.\n\n> You pull the bed\nThe single bed is too heavy.\n\n> West\nOn the west wall is a small fitted wardrobe, next to the door leading back into the office.\n\n> You look at the wardrobe\nIt's a fitted wardrobe, inset into the west wall. It's open.\n\nInside the wardrobe is a small domestic robot.\n\n> You examine the east wall\nThe bed is against the east wall.\n\n> You examine the south wall\nThrough the south wall is the way into the bathroom.\n\n> You examine the toilet\nThat's in the bathroom.\n\n> You examine the bug\nIt's round and black and smaller than a pea, and could easily be mistaken for an innocuous piece of dirt. But you now know that it's a state-of-the-art listening device sensitive enough to pick up any conversation held above a whisper at a range of at least ten metres.\n\n> You ask Soolin about herself\n\"Is everything okay back there, sublieutenant?\" you ask.\n\n\"No change, sir; all's well here,\" she reports.\n\n> You ask Soolin about the crisis\n\"I don't think the Empire has faced a crisis this big in a quarter of a millenium,\" you remark.\n\n\"Since the Border War, you mean, sir?\" she replies, \"But the Federation is much more powerful than the Free World League ever was!\"\n\n\"Quite,\" you agree grimly.\n\n> You ask Soolin about the crisis\n\"Do you reckon this Federation crisis will be over with quickly, sublieutenant?\" you ask.\n\n\"I wish I could say I did, sir,\" she replies.\n\n> You ask Soolin about the crisis\nYou seem to have exhausted that topic for now.\n\nYou can smell the cheese.\n\n> You ask Soolin about League\n\"At least relations with the Free World League seem better at last,\" you remark.\n\n\"Thanks to the efforts of the Emperor, I understand, sir,\" she replies.\n\n\"That's right - and not least thanks to the efforts of the Emperor when he was still a serving Legion officer,\" you add proudly.\n\n> Topics\nYou could tell her about yourself, Leela, the robot, the town, the Elder, the receiving device, or the bug.\n\n> You tell Soolin about Leela\n\"I came across a young woman in the forest,\" you tell her, \"she seems in a bad way. Apparently she's an outcast - the Elders have turned her out and left her to fend for herself. She asked me to find some food and clothing for her.\"\n\n\"Well, that's up to you, of course, sir,\" Sublieutenant Soolin replies, \"But I didn't think you were sent here to play the Good Samaritan!\"\n\n> You tell Soolin about Leela\n\"I'm still wondering what to do about that young woman I met,\" you say.\n\n\"That's your call, sir,\" Sublieutenant Soolin replies.\n\n> You tell Soolin about the robot\n\"I found a robot in the Legion Office building with a Harcourt Research maintenance sticker on it,\" you inform her, \"I didn't know Harcourt Research Engineers visited this world!\"\n\n\"I suppose if it's one of their robots, then one of their engineers would be the most logical person to maintain it, sir,\" she points out.\n\n\"True,\" you concede, \"But they're hardly a company I'd trust on this particular world.\"\n\n\"Right now, they're hardy a company anyone would trust anywhere, sir!\" she points out.\n\n> You tell Soolin about the robot\n\"I'm still wondering about that robot, and the idea of Harcourt Research on Elysium,\" you say.\n\n\"I doubt it's significant, sir,\" Sublieutenant Soolin replies, \"One engineer making a routine maintenance visit hardly constitutes a corporate takeover!\"\n\n> Topics\nYou could tell her about yourself, the town, the Elder, the receiving device, or the bug.\n\n> You tell Soolin about the bug\n\"I've just had another thought about that bug, sublieutenant,\" you tell her, \"I found a scratch on the inside of the parapet running round the Legion Office roof. It looks as if it could have been made by some sort of grappling-hook. So someone could have scaled up onto the roof and planted the bug in the pillow-case, knowing they'd then be able to listen into any conversations taking place in the building whether the pillow-case was left in the flag locker or taken back down to the bedroom.\"\n\n\"I suppose that is a possibility, sir,\" she concurs.\n\n> You tell Soolin about the bug\n\"I'm still concerned about this bug I found,\" you remark.\n\n\"You have every right to be, sir,\" she agrees, \"Bugging a Sovereign Legion building is a very serious matter.\"\n\n> You tell Soolin about the cube\n\"So, sublieutenant,\" you say, \"I've found a bug in the Legion building and a receiving device in the barn. Someone's spying on us, that's for sure. I wonder if could be Harcourt Research.\"\n\n\"This is a serious matter, whoever it is, sir,\" she replies, \"I imagine that means you'll need to poke around a bit more.\"\n\n> Topics\nYou could tell her about yourself, the town, or the Elder.\n\n> You tell Soolin about Elder\n\"I've now done all I need to do with their Elder,\" you tell her, \"He didn't have anything interesting to say about Elysium and he didn't seem all that bothered by the Federation crisis.\"\n\n\"Did you expect anything different, sir?\" she asks.\n\n\"Not really,\" you admit.\n\n> You tell Soolin about the town\n\"Well, I've now seen this town of theirs and I don't think much of it!\" you tell her, \"It's not even a decent hamlet!\"\n\n\"You weren't exactly led to expect it would be like Romnova, sir,\" she replies, referring to the imperial capital.\n\n> You ask Soolin about the romnova\n\"Have you ever visited Romnova, sublieutenant?\" you ask.\n\n\"I can't say I have, sir,\" she admits.\n\n\"You should some time,\" you tell her, \"it's a great city.\"\n\n\"So I've heard, sir,\" she concurs.\n\nYou can smell the cheese.\n\n> Topics\nYou could tell her about yourself, or the town.\n\n> You tell Soolin about the town\n\"The town is practically deserted!\" you complain.\n\n\"I wonder what that says about their society, sir,\" she muses.\n\n> You tell Soolin about the town\nShe already knows you're not that impressed with the town; there's really no more to say about it.\n\n> You tell Soolin about yourself\n\"Just checking in, sublieutenant,\" you tell her, \"right now I'm in the sovereign legion office.\"\n\n\"Right you are, sir,\" she replies.\n\n> Topics\nYou could tell her about yourself.\n\n> You read the letter\nThe letters I S L (standing for Imperial Sovereign Legion) are embossed on your belt buckle in an arc above the eagle.\n\n> You examine foliage\nActually, you're not entirely sure how alien it is, that is whether it's indigenous to this planet or some imported (and possibly mutated) Earthish flora you're not familiar with. But then, botany never was your strong point. Whatever it is, the bluish-green stuff looks too thick to wade through.\n\nYou can smell the cheese.\n\n> You examine the gap\nApart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\n> You go west\nYou squeeze through the gap, and then blunder around in the undergrowth for a while before hitting on another path.\n\nYou seem to have found your way onto a different path from the one you just left. For one thing it looks narrower, and for another it leads west and southeast from here. The trees also look different from the ones you saw before; there's a gap through them just to the east, through which you've just emerged.\n\nObvious exits: East, West, Southeast\n\n> Go west\nIt looks as if the forest is gradually encroaching on this clearing, with the line of trees advancing slowly but steadily towards its centre year by year. Right now, it's still quite large, with a clear path running out to the east, and another to the west. A closer examination reveals what looks like the rotting remains of several buildings, now heavily overgrown and scarcely jutting about ground level, apart from the remains of a white stone building, the walls of which are more or less still standing. This building stands just to the south, while the clearing continues a short way to the north.\n\nObvious exits: North, South, East, West\n\n> Go south\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nAn old metal crate sits in the southwest corner.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nObvious exits: North\n\n> Examine crate\nThe large metal crate was once painted dark green, and some of the paint remains between the patches of rust. The dust on the floor round the crate looks as if it may have been recently disturbed. It's closed.\n\n> Open crate\nOpening the metal crate reveals a mallet and some smelly rags.\n\n> You take the mallet and the rags\nmallet: Taken.\nsmelly rags: Taken.\n\n> You open cabinet\nThe rubble prevents you getting at the cabinet to open it.\n\n> You move the rubble\nThere's far too much rubble to shift it all, and the pieces of rubble covering the cabinet are too large to move.\n\n> You examine the cabinet\nMost of it is buried under the rubble, but the parts you can make out are painted blue. It's closed.\n\n> You examine the rubble\nYou smash the larger pieces of rubble covering the cabinet with the mallet.\n\nThe rubble looks like it mostly consists of fragments of the collapsed ceiling.\n\n> Smell rags\nThey smell of muck, sweat, and stale leaves.\n\n> You hit the rubble with the mallet\nYou have already broken as much of it as much of it as you need to.\n\nYou have already broken as much of it as much of it as you need to.\n\nYou can smell the cheese.\n\n> You take the light\nGiven the delapidated state of its surroundings, it is still surprising firmly fixed in place.\n\n> Southwest\nA broken light fitting is fixed high up - too high up to reach - in the southwest corner of the room.\n\nAn old metal crate sits in the southwest corner.\n\n> You hit the light with the mallet\nThe light fitting is out of reach.\n\n> You stand on the crate\n(first getting in the southwest corner, then closing the metal crate) When you stand on the crate you catch sight of something sitting on the light fitting.\n\n> You look at the sw corner\nA broken light fitting is fixed high up - too high up to reach - in the southwest corner of the room. On the light fitting is a small silver key.\n\nAn old metal crate sits in the southwest corner.\n\nYou are standing on the metal crate.\n\n> Examine strip\nWhich strip do you mean, the piece of cloth, the narrow strip, the blade, or the small silver key?\n\n> Narrow\nAlthough most of the floor is covered with rubble, a narrow strip running from the door to the southwest corner of the room is relatively rubble-free.\n\n> Go outside\n(out of the metal crate)\nOkay, you're no longer on the metal crate.\n\n> Go outside\n(out of the southwest corner)\nOkay, you're no longer in the southwest corner.\n\n> Leave\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nObvious exits: North, South, East, West\n\n> You look at Leela\nShe's a young woman of about twenty standard Earth years of age. She is swimming in the river. So far as you can see she's completely naked.\n\nLeela swims a little nearer.\n\n> You remove the uniform\nYou see no reason to start stripping off here, quite apart from the fact that your uniform shows that you bear the Emperor's authority, which is what you are here to represent.\n\nLeela splashes herself.\n\n> You talk to Leela\nLeela does not appear to hear you.\n\nLeela gives a cheerful wave then ducks beneath the surface.\n\n> Go north\nJust as you are about to go Leela swims to the bank and hauls herself out of the water, then stands before you naked, dripping and beaming.\n\n\"Haven't you ever seen a naked woman before?\" she laughs, seeing the startled expression on your face, \"It's perfectly natural, you know - don't tell me you sophisticated offworlders have a problem with nudity!\" As you try not to blush, she continues, \"But if it is a problem - well, I was so sure you would bring me some new clothes I threw the old ones away. And I then managed to make myself some soap out of guba-bark and peka-leaves, and I thought I'd give myself a good wash. So - you did bring me some food and clothes, didn't you?\"\n\n> You give the sheet to Leela\nLeela looks at the plain white sheet then says, \"I'll need to dry off first before I can try wearing anything. I don't suppose you found anything I could dry myself with?\"\n\nLeela looks at the plain white sheet then says, \"I'll need to dry off first before I can try wearing anything. I don't suppose you found anything I could dry myself with?\"\n\n> Go east\nLeela follows close behind you. You walk a short way down to the path and arrive back in the clearing.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nObvious exits: North, South, East, West\n\n\"Look, offworlder, I'm not trying to get rid of you or anything,\" says Leela, \"but I'm starving; is there any chance you could find me something to eat?\"\n\n> Go east\nLeela follows close behind you. You set off down the path to the east, and continue straight on until the point where it starts to bend.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nObvious exits: East, West, Southeast\n\n> You go east\nLeela follows close behind you.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nLeela enters the heart of the forest with you.\n\nObvious exits: North, South, West\n\n\"I feel nice and clean now,\" Leela remarks, \"but I don't seem to be drying off as fast as I'd hoped. I don't suppose you've found anything I could dry myself with?\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look at your surroundings\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nLeela is standing naked in front of you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, West\n\n\"You haven't told me anything about yourself,\" Leela complains. \"Who are you? What are you doing here?\"\n\n(You could tell her about yourself, or ask why she wants to know.)\n\n> Go south\nLeela follows close behind you. The path twists and turns through the trees, but broadly continues south.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela reaches the edge of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n\"Tell me honestly,\" Leela says suddenly, \"Do you find me attractive?\"\n\n(You could say yes or no, or equivocate.)\n\n> Yes\n\"Yes, I do, Leela,\" you tell her frankly, \"In fact I think you're absolutely gorgeous!\"\n\n\"Why, thank you, kind sir!\" she beams, \"That's good, because you're not so bad yourself!\"\n\n> Kiss leela\nShe gives you a little kiss in return.\n\n> You examine Leela\nShe's a young woman of about twenty standard Earth years of age.\nShe's stark naked and dripping wet, but at least she looks a lot cleaner than before. She looks far from unattractive, but you're more struck by how lean and athletic her body looks.\n\nLeela is carrying a tomato, a carrot, a lettuce, an apple, and a small wedge of cheese.\n\n> No\n\"Good God, no!\" you cry disdainfully, \"To me you're just a common farm-girl!\"\n\n\"Oh, I suppose that means I'm not good enough for you!\" she retorts bitterly.\n\n> You equivocate\nPlease select the saved position file to restore >\nRestored.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela is standing naked in front of you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n\"Well, I hardly know what to say,\" you mutter.\n\n\"How about a straight yes or no?\" she suggests.\n\n> You go south\n\"I can't follow you into the town,\" says Leela, \"I daren't be spotted there. I'll have to wait for you here.\" She stands still and gives you a little wave as you walk away. Leela blocks you path, \"Hey! Don't try to walk away!\" she protests, \"I just asked you a question - do you find me attractive?\"\n\n\"Hello, you're back!\" Leela greets you.\n\n> Yes\n\"Yes, I do, Leela,\" you tell her frankly, \"In fact I think you're absolutely gorgeous!\"\n\n\"Why, thank you, kind sir!\" she beams, \"That's good, because you're not so bad yourself!\"\n\n> Go south\n\"I can't follow you into the town,\" says Leela, \"I daren't be spotted there. I'll have to wait for you here.\" She stands still and gives you a little wave as you walk away.\n\nThe grassy hillside slopes gently down towards the small town below, which is surrounded by farmland and bordered by a river to the west. The centre of the town lies straight down the slope to the south. Just up the slope to the north is the edge of the forest, which can also be entered to the northwest.\n\nObvious exits: North, South, West, Northwest\n\n> You go to the north\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela is walking towards you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n\"Hello, you're back!\" Leela greets you.\n\n> You give the sheet to Leela\n\"I couldn't find any clothes, but I thought you might be able to make something out of this,\" you say, handing her the sheet.\n\nShe takes the sheet and tries folding it and wrapping it round her, but each time she walks a few places, the sheet slips off again.\n\n\"It's no good!\" she laughs, \"I can't make it stay on! But I'll keep it anyway - perhaps I can tear a hole it in and slip it over my head, or perhaps we can come up with a way to fasten it.\"\n\nYou can smell the cheese.\n\n> You give the sheet to Leela\nLeela already has that.\n\n\"Now I'm dry I could really do with something to wear,\" Leela remarks.\n\n> You check your inventory\nYou are carrying a pair of safety pins, a white pillowcase (which contains an old brown sack (which contains a fishing rod and a small black cube)), a small iron key, a purple datatab, a drik, a tiny black bug, an ID card, a duvet, a piece of cloth, a mallet, some smelly rags, and a small silver key. You're wearing a purple belt and a white uniform. Your right pocket contains a crumpled piece of paper.\n\nYou can smell the cheese.\n\n> You give the pins to Leela\n\"Here, I thought you could use these to pin the sheet round you somehow,\" you suggest, handing her the safety pins.\n\nAfter a couple of tries, Leela apparently works out how to operate the safety pins, then she folds the sheet and, with your help, manages to drape it round her and over one shoulder, pinning it together in a couple of places so that it stays in place. Finally she does a little twirl to demonstrate her success - and the sheet still remains in place.\n\n\"There, that's better!\" she beams.\n\n> You look at Leela\nShe's a young woman of about twenty standard Earth years of age. Now that she's cleaned up and clothed in something better than filthy rags, she looks a lot better than when you first saw her. Indeed, she's a remarkably attractive young woman, with a beautifully formed oval face framed by a cascade of long dark hair.\n\nLeela is carrying a tomato, a carrot, a lettuce, an apple, a small wedge of cheese, and a fluffy pink towel, and she's wearing a sheet.\n\n\"You have really been very good to me,\" Leela remarks, \"You hardly know me, and you're obviously someone very important, and yet you've found the time to feed me and clothe me. I'm very grateful, of course, but it's such a long time since anyone's been kind to me, and I feel - I feel more than gratitude. But what can I possibly do for a great man like you in return?\"\n\nYou can smell the cheese.\n\n(You could offer to take her offworld, or ask her for a relationship.)\n\n> Offer to take her offworld\n\"I could do more for you,\" you point out, \"I could take you with me, offworld, and find you a new home in the Empire. There doesn't seem to be much future for you here!\"\n\n\"Could you?\" she asks, her eyes lighting up, \"How?\"\n\n\"I have a shuttle waiting nearby - that's a kind of flying machine that can take us off this planet. Come with me and I'll show you.\"\n\n\"All right, then; whenever you're ready to leave, I'll come with you,\" she declares.\n\n> You ask Leela about Jeb\n\"Do you know anything about a fellow called old Jeb?\" you ask.\n\n\"Isn't he the old fellow who lives over...?\" she suggests.\n\n\"Over there, just across the river,\" you say.\n\n\"That's right,\" she affirms.\n\n> You ask her for a the relationship\n\"Leela, can you give me a relationship, please?\" you ask.\n\n\"I'm not sure I care to!\" she replies.\n\n> You ask her for a the relationship\n\"Well, I find you a very attractive woman,\" you admit, \"and it's been some time since I... and I wondered if... well, perhaps we could...\"\n\n\"Get better acquainted?\" she suggests, \"Yes, I should like that - I fancy you a lot too. Perhaps tonight we could - but in the meantime, is there anything else you want of me?'\n\n> Offer to take her offworld\n\"I could do more for you,\" you point out, \"I could take you with me, offworld, and find you a new home in the Empire. There doesn't seem to be much future for you here!\"\n\n\"Could you?\" she asks, her eyes lighting up, \"How?\"\n\n\"I have a shuttle waiting nearby - that's a kind of flying machine that can take us off this planet. Come with me and I'll show you.\"\n\n\"All right, then; whenever you're ready to leave, I'll come with you,\" she declares.\n\n> You ask her about the river\n\"What can you tell me about the river\"? you ask.\n\n\"Not much,\" she replies.\n\n> You go to the north\nLeela follows close behind you.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nLeela enters the heart of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, West\n\n> Go west\nLeela follows close behind you. You squeeze through the gap, and then blunder around in the undergrowth for a while before hitting on another path.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nYou can smell the cheese.\n\nObvious exits: East, West, Southeast\n\n> Smell leela\nYou can smell the cheese.\n\n> Go west\nLeela follows close behind you.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> Go east\nLeela follows close behind you. You walk a short way down to the path and arrive back in the clearing.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> You go to the east\nLeela follows close behind you. You set off down the path to the east, and continue straight on until the point where it starts to bend.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nYou can smell the cheese.\n\nObvious exits: East, West, Southeast\n\n> You go to the south-east\nLeela follows close behind you. You walk down the path some way until it finally peters out among more sparsely-spaced trees.\n\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east, and that there's another path to the northwest.\n\nLeela walks into the thinning forest with you.\n\nYou can smell the cheese.\n\nObvious exits: East, Northwest, Southeast\n\n> You go to the southeast\n\"I can't follow you into the town,\" says Leela, \"I daren't be spotted there. I'll have to wait for you here.\" She stands still and gives you a little wave as you walk away.\n\nThe grassy hillside slopes gently down towards the small town below, which is surrounded by farmland and bordered by a river to the west. The centre of the town lies straight down the slope to the south. Just up the slope to the north is the edge of the forest, which can also be entered to the northwest.\n\nObvious exits: North, South, West, Northwest\n\n> You go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\n> You ask Petroc about the silver key\n\"Excuse me,\" you say.\n\n\"Now what?\" he snaps.\n\n\"I fail to see the relevance of that question,\" he complains.\n\n> You tell Petroc about Leela\nYou've exhausted that topic for now. Petroc is clearly sceptical of what Leela told you, and even of her existence.\n\n> Inventory\nYou are carrying a white pillowcase (which contains an old brown sack (which contains a fishing rod and a small black cube)), a small iron key, a purple datatab, a drik, a tiny black bug, an ID card, a duvet, a piece of cloth, a mallet, some smelly rags, and a small silver key. You're wearing a purple belt and a white uniform. Your right pocket contains a crumpled piece of paper.\n\n> You go to the south\nPetroc resumes pacing around the stage.\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> Go northwest\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east, and that there's another path to the northwest.\n\nLeela is walking towards you.\n\nYou can smell the cheese.\n\nObvious exits: East, Northwest, Southeast\n\n\"Hello, you're back!\" Leela greets you.\n\n> You show the silver key to Leela\n\"This looks like it could be the key to the trapdoor!\" you tell her, \"Strange that it should have been left so close by!\"\n\n\"Try it, go on!\" Leela urges you.\n\nYou can smell the cheese.\n\n> You ask Leela about the trapdoor\n\"Let's talk about something else,\" she suggests.\n\nYou can smell the cheese.\n\n> Go northwest\nLeela follows close behind you. You wander through the trees a short way, and then manage to pick up the path.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nYou can smell the cheese.\n\nObvious exits: East, West, Southeast\n\n> Go west\nLeela follows close behind you.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> Go south\nLeela follows you inside.\n\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nAn old metal crate sits in the southwest corner.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nLeela enters the building with you.\n\nYou can smell the cheese.\n\nObvious exits: North\n\n> You move the crate\nYou move the metal crate aside, revealing a trapdoor beneath.\n\nLeela walks over to the trapdoor, \"Oh look!\" she says, \"There was a hatch under that crate all the time!\" She tries to open the trapdoor, but without success, \"It's no good,\" she says, \"I can't budge it! I wonder what's down there!\"\n\n> You unlock the trapdoor with the silver key\nUnlocked.\n\nYou can smell the cheese."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\n(first getting in the southwest corner, then opening the trapdoor)\n\n\"Oh! You've managed to open it!\" Leela declares excitedly as the trapdoor swings open, \"I wonder what's down there - let's take a look!\"\n\nLeela stands in the southwest corner.\n\nLeela follows close behind you.\n\nThe light stealing in through the open trapdoor above reveals a steel ladder leading back up, but the rest of this space is shrouded in gloom.\n\nThere's a faint cheesy smell from somewhere.\n\nObvious exits: Up\n\n> Agree\n\"I suppose that's the most plausible explanation,\" you frown, \"Though this is the first I'd heard of the Empire carrying out clandestine operations here.\"\n\n\"Obviously they don't tell you everything,\" she remarks, \"As I understand it, the only people you imperial offworlders are ever meant to see here are the Elders; is that right?\"\n\n\"Yes,\" you nod, \"But how did you know that?\"\n\n\"Because I never met anyone but an Elder who's ever spoken to an offworlder,\" she replies, \"So that means the Elders get to control the way your people see this world, and what they think is going on here. Well, maybe it is just wishful thinking on my part, but I'd like to think that your people are not quite so easily duped. But because there seems to be some kind of understanding that the only people your people are meant to meet on this world are the Elders - no doubt to spare the rest of us from offworld 'corruption' - the only way you people are ever going to learn how things really are here is by sending people to watch us in secret. What do you think?\"\n\nYou can smell the cheese.\n\n(You could agree with her ideas, tell her that you suspect illegal settlers, blame Harcourt Research, or say you don't know.)\n\n> You blame Harcourt\n\"I'm wondering if it could be something to do with Harcourt Research,\" you tell her, \"They're a rapacious outfit, and I know at least one of their people has been on this world recently. They might be interested in trying to suss this place out some more.\"\n\n\"Who or what are Harcourt Research, and why do you suspect them?\" she wants to know.\n\n(You could tell her about Harcourt Research, yourself, the town, Petroc, the small silver key, or the raft, say it's too complicated to explain, or ask her about herself, the elders, Elysium, her questions, the town, markets or meetings, old Jeb, the mallet, or the small silver key.)\n\n> You tell her about Harcourt\n\"Harcourt Research is the biggest commercial organization in the Empire,\" you explain, \"It's a big company doing business over lots and lots of planets. Some people have been saying for a long time that it's grown too rich and powerful, especially as it's basically owned and controlled by one man, Charles Harcourt. Anyway Harcourt, the man, is now in a lot of trouble, but his company is still operating, at least for now. Some people say it's a bit ruthless in its pursuit of wealth and profits, so if it saw something here it thought it could use - well, it would be tempted to send someone to investigate, at least.\"\n\n\"I'm not sure I understood all of that,\" she admits, \"But I think I get the general picture: there's this big group of people who think Elysium might have something they want, and you think they might have sent someone along to see if it's actually worth taking. Is that what you're saying?\"\n\n\"More or less, Leela\" you nod.\n\nShe frowns thoughtfully for a few moments, then remarks, \"But if they did find something they wanted, they'd have to come back to get it, and if they had to come often the Empire would stop them, wouldn't it? I mean, offworlders aren't meant to come here that often, are they?\"\n\n> Yes\n\"Yes; someone from the Sovereign Legion calls every four months or so,\" you tell her, \"But no one else, of course. No one else is allowed to come here. That's the agreement we made with you.\"\n\n\"I see,\" she nods.\n\n> You examine the raft\nThe raft, which is currently deflated, is made of some dark green rubbery material. The only marking is a small label bearing the manufacturer's name. Attached to the raft are a small red handle and a small green handle.\n\nLeela yawns and then stands up again. \"Well, I can't lie around all day,\" she remarks, \"Found anything else interesting down here?\"\n\nYou can smell the cheese.\n\n> You examine the label\nThe label on the raft reads \"Relda Raft Corp. - Mark IV Inflatable\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nThe cellar is about the same size as the room above, but in slightly better condition. The walls have suffered from centuries of damp, so that little of the original white paint shows through the dark mould and damp stains. The only things of any significance to have survived the ravages of the years are a tall metal cabinet in one corner and the ladder leading up to an open trapdoor in another.\n\nA large mattress lies on the floor in the middle of the room.\n\nYou see a dark green knapsack here.\n\nLeela is standing nearby.\n\nYou can smell the cheese.\n\nObvious exits: Up\n\n> You examine the knapsack\nIt looks reasonably new and of modern design. There are no obvious identifying marks but it looks like it could be either standard military issue or the sort of thing sold in camping shops anywhere round the known galaxy, though the lack of any trademark makes it seem unlikely that this is a consumer item. It's closed.\n\n> You open it\nOpening the dark green knapsack reveals a ration pack, a small round mirror, and a small black comb.\n\n> You examine the mirror\nIt's just a small round hand-mirror, in which you can see your face. Its casing is made of a rather tasteless shade of orange plastic, and there's a serial number stamped on the back. A closer look at the casing reveals a narrow crack running round its rim, suggesting there may be some way to open it up.\n\n> You open the mirror\n(first taking the small round mirror)\nYou open the mirror casing so that the back folds over to face the front at an angle of about 45 degrees.\n\nYou can smell the cheese.\n\n> You look in the mirror\nYou see your own reflection. How fetching.\n\n> You examine the serial number\nThe serial number stamped on the back of the mirror is \"IOHop80Advx\". As reflected in the mirror it reads \"xvbA08qoHOI\".\n\n> You look at pack\nIt's a small container labeled \"Field Rations\" It's closed.\n\n> You open it\nOpening the ration pack reveals three food bars.\n\n> You look at the comb\nIt's just an ordinary small black comb; but a closer inspection reveals a couple of long dark hairs attached to it.\n\n> You look at the hairs\nThere's only a couple of them, and they're very fine, so it's difficult to be precise about their colour, but they're both fairly long.\n\n> You examine Leela\nShe's a young woman of about twenty standard Earth years of age. Now that she's cleaned up and clothed in something better than filthy rags, she looks a lot better than when you first saw her. Indeed, she's a remarkably attractive young woman, with a beautifully formed oval face framed by a cascade of long dark hair.\n\nLeela is carrying a tomato, a carrot, a lettuce, an apple, a small wedge of cheese, and a fluffy pink towel, and she's wearing a sheet.\n\n> You take the knapsack\nTaken.\n\nYou can smell the cheese.\n\n> You look under the mattress\nThe floor under the mattress looks much the same as it does in the rest of the room.\n\n> You examine the cabinet\nIt looks old and battered enough to be part of the original furnishings, although it's still basically sound. It's closed.\n\n> You open it\nA plain black jumpsuit hangs in the cabinet.\n\n> You look at the jumpsuit\nIt's a plain black jumpsuit of a modern cut, rather too small for you and probably made for a woman. A closer inspection reveals that it has a single small pocket.\n\n> You look in the jumpsuit\n(first opening the jumpsuit pocket)\nThe jumpsuit pocket contains an orange datatab.\n\n> You ask Leela about the jumpsuit\n\"And people say I ask too many questions,\" she replies.\n\n> You ask Leela about Leela\n\"How long will you be an outcast for, Leela?\" you inquire.\n\n\"Goodness knows!\" she replies, \"This present bunch of Elders isn't in any hurry to take me back. Maybe once they've all dropped dead their replacements will be more forgiving - but I'm not counting on it.\"\n\nYou can smell the cheese.\n\n> You wear the jumpsuit\n\"Leela, I'd like you to wear the black jumpsuit,\" you tell her.\n\n\"I'm sure there are all sorts of things you'd like me to do, offworlder,\" she replies, \"But not even an outcast farm-girl does everything she's asked to by a man she's only just met!\"\n\n> You go up\nLeela follows you up the ladder.\n\nInside the Stone Building (standing in the southwest corner)\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nAn old metal crate sits by the wall, next to the trapdoor in the corner.\n\nLeela scrambles up through the trapdoor after you.\n\nYou can smell the cheese.\n\nObvious exits: North, Down\n\n> You go north\n(first getting out of the southwest corner)\n\nLeela gets out of the southwest corner.\n\nLeela follows close behind you.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> Go southeast\nLeela follows close behind you. You walk down the path some way until it finally peters out among more sparsely-spaced trees.\n\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east, and that there's another path to the northwest.\n\nLeela walks into the thinning forest with you.\n\nYou can smell the cheese.\n\nObvious exits: East, Northwest, Southeast\n\nThe drik light goes out to conserve power.\n\n> You examine the mirror\nIt's just a small round hand-mirror, in which you can see your face. Its casing is made of a rather tasteless shade of orange plastic, and there's a serial number stamped on the back. The casing is currently open, so that the back is folded round to face the mirror.\n\n> You examine number\nThe serial number stamped on the back of the mirror is \"IOHop80Advx\". As reflected in the mirror it reads \"xvbA08qoHOI\".\n\n> You take the black datatab\nAs you remove the black datatab, the console screen goes blank.\n\n> You put the orange tab in the slot\n(the slot)\nThe screen displays: \"Enter Password: \"\n\n> You enter the xvba08qohoi\n(on the console)\nThe screen displays: \"Correct!\"\n\n\"My initial survey of the small inhabited district of Elysium indicates that this world could well serve our interests in the event of war with the Empire. The imperial authorities take a minimal interest in the inhabitants, and their allegiance to the Empire appears equally minimal. Moreover, the inhabitants are unbelievably primitive in their lifestyle, and have no significant military capacity. An invasion by a single company of our troops would suffice to conquer and hold this world. The inhabitants could be forced into slave labour (see below) and also used as hostages against any attempt by imperial forces to retake the world. Any slaughter of Elysians could then be represented as the consequence of a bungled imperial military operation - indications are that this would not be the Empire's first military blunder on Elysium.\n\nElysium has no industry beyond the bare minimum required to support their primitive farming methods. Nevertheless, its agricultural assets would be capable of sustaining a moderate-sized Federation force if placed under Federation management and equipped with modern machinery. Increased productivity would allow us to employ the surplus native labour thereby created in munitions factories to supply our forces; needless to say we should have to set up such factories ourselves, but the natives, though primitive, do not seem unduly stupid and could certainly be trained to work in such factories.\n\nSuch a scheme would enable us to sustain a sizeable fleet in the Elysium system indefinitely, apart from an imperial counter-attack. Holding an imperial world deep in imperial space may be of both strategic and propaganda value to us.\n\nWhether the capture of Elysium would in fact be strategically worthwhile is beyond my brief to determine. My initial survey indicates that it would be tactically feasible.\n\nTwo further items of intelligence need to be determined before my investigation is complete, however:\n(1) How often the Empire comes to check up on Elysium.\n(2) In what strength the Empire comes to check up on Elysium.\n\nSquadleader Anita Johnson, FFIS.\"\n\n> You tell Soolin about the orange datatab\n\"I found a datatab,\" you say, \"in the pocket of a black jumpsuit I found in the basement of an old ruin in the forest.\"\n\n\"Do you know what's on it, sir?\"\n\n\"Yes,\" you reply,\"It's a report from a Federation agent working on Elysium, suggesting that it would be tactically feasible for the Federation to invade and use this planet as a base behind our lines in the event of war.\"\n\n\"Goodness!\" Sublieutenant Soolin's voice declares.\n\n> You tell Soolin about the orange datatab\n\"The existence of this datatab shows that there must be a Federation spy operating on this planet, sublieutenant,\" you tell her.\n\n\"I appreciate that, sir.\" she replies, \"Have you any idea who it might be?\"\n\n> You tell Soolin about Anita\n\"I see, sir,\" she replies blandly.\n\n> Yes\n\"Yes - at least I have my suspicious, sublieutenant,\" you tell her, \"but I'd like to make sure.\"\n\n\"Just as you say, sir,\" she replies.\n\n> Topics\nYou could tell her about yourself, the mallet, or the raft, or ask her about the Federation crisis.\n\n> You tell Soolin about the raft\n\"I found this raft in the basement of the ruined building in the forest,\" you tell her, \"According to the label it was manufactured by the Reldan Raft Corporation!\"\n\n\"That's very odd, sir,\" Sublieutenant Soolin opines, \"Relda's a Federation world!\"\n\n\"Quite so, sublieutenant,\" you concur.\n\n> You tell Soolin about the mallet\n\"I found a mallet in a ruined building in the forest,\" you tell her. \"It looks like it's of offworld manufacture.\"\n\n\"That's odd,\" she replies, \"It would be interesting to know where it came from; I don't suppose there's a manufacturer's name on it anywhere?\"\n\n> You examine the mallet\nThe handle has a rubber grip to enable you to get a firm hold, while the head is wood tipped with steel.\n\n> You examine the grip\nWhich grip do you mean, the drik handle, or the mallet handle?\n\n> Mallet\nThe rubber grip is orange, and covers most of the handle. A closer inspection of the end of the handle shows the words \"Made on Paran\" inscribed there.\n\n> You tell Soolin about the mallet\n\"I've just taken another look at that mallet I found, the handle is stamped 'Made in Paran'!\"\n\n\"That's very suspicious, sir,\" Sublieutenant Soolin replies, \"especially with that Reldan-manufactured raft as well. That's two items of Federation manufacture you've found in the forest.\"\n\n\"Quite, sublieutenant,\" you agree.\n\n> You tell Soolin about the hair\n\"You have really nice-looking hair, sublieutenant,\" you tell her, \"I bet it looks great when you let it down!\"\n\n\"Don't you have anything better to discuss, sir?\" she retorts, trying not to either look or sound too embarrassed.\n\n> Topics\nYou could tell her about yourself, or ask her about the Federation crisis.\n\n> You ask Soolin about the crisis\n\"I wonder if the Federation really would have tried to come here and take this place over,\" you muse.\n\n\"I think they're ruthless enough to try anything, sir,\" she replies.\n\n> Bye\n\"Over and out,\" you say.\n\n\"Over and out, sir,\" she confirms, just before the comms link goes dead.\n\n> You take the orange tab\nAs you remove the orange datatab, the console screen goes blank.\n\n> You put the black tab in the computer\nThe screen displays: \"Enter Password: \"\n\n> Full\nIn 976 moves, you have scored 16 of a possible 30 points. You could reach a winning ending with only 21 points. Your score consists of:\n1 point for reading your orders\n1 point for finding the bug\n2 points for feeding the cat\n2 points for finding the receiver\n2 points for hoisting the imperial flag\n1 point for finding the gap through the trees\n1 point for satisfying Leela's hunger\n1 point for giving Leela the towel to dry herself with\n1 point for finding Leela something to wear\n4 points for reading the orange datatab\n\n> You look at the raft\nThe raft, which is currently deflated, is made of some dark green rubbery material. The only marking is a small label bearing the manufacturer's name. Attached to the raft are a small red handle and a small green handle.\n\n> You examine the red handle\nIt's marked \"Pull to deflate\".\n\n> You examine the green handle\nIt's marked \"Pull to inflate\".\n\n> You go north\n(first opening the street door)\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> Inflate raft\nThere's a hiss of rushing air as the raft inflates.\n\n> You put the raft in the river\nThe bank by the broken bridge is too steep for you to put raft into the river here; that is, you could put it into the river, but you wouldn't be able to hold onto it or get into it.\n\n> You go north\nThis fenced-in area of a few dozen square metres looks like it might be used for a market, both from the rubbish that's been left lying around, and the impress in the muddy ground of what might be stalls or tables. A small shed stands near the centre of the area. Gaps in the fence allow egress to the south and southeast, as well as north along the bank of the river.\n\nThe dog is lying unconscious on the ground.\n\nObvious exits: North, South, Southeast, In\n\n> You put the raft in river\nThe bank is still quite steep here; you manage to lower the inflated raft into the water, but then it slips out of your grasp and gets carried downstream.\n\n> Go south\nThe muddy street from the centre of the town to the east ends at a ramshackle wooden bridge that has unfortunately fallen into a terminal state of disrepair, leaving no other means of crossing the river. A large wooden barn stands immediately to the south, next to a pair of tumbledown shacks, while on the north side of the street is a rough enclosed area that looks like it's probably some sort of market. Behind the market the land climbs up towards the distant forest.\n\nAn inflated rubber raft floats in the middle of the river.\n\nObvious exits: North, South, East\n\n> You examine the raft\nThe raft, which is currently inflated, is made of some dark green rubbery material. The only marking is a small label bearing the manufacturer's name. Attached to the raft are a small red handle and a small green handle.\n\n> Fish\n(fishing in the river)\n(with the fishing rod)\n(first taking the fishing rod from the old brown sack)\nYou don't catch anything; but then since your line isn't baited, maybe that's not so surprising.\n\n> Inventory\nYou are carrying a white pillowcase (which contains an old brown sack (which contains a fishing rod and a small black cube)), a small iron key, a purple datatab, a drik, a tiny black bug, an ID card, a duvet, a piece of cloth, a mallet, some smelly rags, a small silver key, a small round mirror, a dark green knapsack (which contains a ration pack (which contains three food bars) and a small black comb), and an orange datatab. You're wearing a purple belt and a white uniform. Your right pocket contains a crumpled piece of paper.\n\n> You throw the hook at raft\n(first taking the small hook from the fishing line)\nThe small hook hits the inflated rubber raft without any obvious effect, and falls to the street.\n\n> You pull green\n(the dark green knapsack)\nPulling the dark green knapsack has no effect.\n\n> You examine the rod\nIt's quite crude, comprising a long wooden pole with a line attached. A small hook is attached to the line.\n\n> You throw the rod at the raft\n(first taking the fishing rod from the old brown sack)\nThe fishing rod hits the inflated rubber raft without any obvious effect, and falls to the street."
    },
    {
        "text": "[Themes: Science Fiction, conversation]\n\n> Go downward\n(off the trestle table)\nOkay, you're no longer on the trestle table.\n\n> You take orange\n(the orange datatab)\nTaken.\n\nYou can smell the cheese.\n\n> You open the mirror\n(first taking the small round mirror from the dark green knapsack)\nYou open the mirror casing so that the back folds over to face the front at an angle of about 45 degrees.\n\n> You take the raft\nYou are already carrying the rubber raft.\n\nYou can smell the cheese."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nThe cellar is about the same size as the room above, but in slightly better condition. The walls have suffered from centuries of damp, so that little of the original white paint shows through the dark mould and damp stains. The only things of any significance to have survived the ravages of the years are a tall metal cabinet in one corner and the ladder leading up to an open trapdoor in another.\n\nA plain black jumpsuit hangs in the cabinet.\n\nA large mattress lies on the floor in the middle of the room.\n\nLeela is standing nearby.\n\nYou can smell the cheese.\n\nObvious exits: Up\n\n> You move the cabinet\nThe tall metal cabinet is too heavy.\n\n> You go up\nLeela follows you up the ladder.\n\nInside the Stone Building (standing in the southwest corner)\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nAn old metal crate sits by the wall, next to the trapdoor in the corner.\n\nLeela scrambles up through the trapdoor after you.\n\nYou can smell the cheese.\n\nObvious exits: North, Down\n\n> Stud\nThe drik goes dark.\n\n> Handle\n(the rubber grip)\nThe rubber grip is orange, and covers most of the handle. A closer inspection of the end of the handle shows the words \"Made on Paran\" inscribed there.\n\n> You look at the raft\nThe raft, which is currently deflated, is made of some dark green rubbery material. The only marking is a small label bearing the manufacturer's name. Attached to the raft are a small red handle and a small green handle.\n\n> You tell Soolin about the mallet\n\"I found this mallet in a ruined building in the forest,\" you tell her, \"the handle is stamped 'Made in Paran'!\"\n\n\"That's very suspicious, sir,\" Sublieutenant Soolin replies, \"what in seven score solar systems is a mallet made on the Federation capital doing on Elysium?\"\n\n\"Quite, sublieutenant,\" you agree.\n\n> You tell Soolin about the raft\n\"I found this raft in the basement of the ruined building in the forest,\" you tell her, \"According to the label it was manufactured by the Reldan Raft Corporation!\"\n\n\"That's very odd, sir,\" Sublieutenant Soolin opines, \"Relda's a Federation world; and what with that Paranian-made mallet you found, that makes two Federation-made artifacts left in that building!\"\n\n\"Quite so, sublieutenant,\" you concur.\n\n> You ask Soolin about Federation\n\"I wonder if the Federation really would have tried to come here and take this place over,\" you muse.\n\n\"I think they're ruthless enough to try anything, sir,\" she replies.\n\n> You ask Soolin about the crisis\n\"You realize what that little discovery I made on that orange tab means, sublieutenant,\" you say.\n\n\"Yes, sir,\" she replies, \"it means the Federation is thinking of going to war with us.\"\n\n> Topics\nYou could tell her about yourself, or the mallet, or ask her about the Federation crisis.\n\n> You ask Soolin about the mallet\n\"I found this mallet in a ruined building in the forest,\" you tell her, \"the handle is stamped 'Made in Paran'!\"\n\n\"That's very suspicious, sir,\" Sublieutenant Soolin replies, \"especially with that Reldan-manufactured raft as well. That's two items of Federation manufacture you've found in the forest.\"\n\n\"Quite, sublieutenant,\" you agree.\n\n> You examine the rags\nThey're dirty, ragged and torn and look ready to fall to bits at any instant. They also look suspiciously like the rags Leela was wearing.\n\n> You examine the silver key\nIt looks like the key to a maglock; there are no teeth or grooves and the key data is presumably encoded in its plain metal strip. The key is obviously quite new.\n\n> You look at the cube\nThe small black cube looks like it's made of some kind of shiny plastic, and seems featureless apart from the small slot in the side. Your drik tells you that it is in fact some kind of receiver.\n\n> You point the drik at the silver key\nOkay, you point the drik at the small silver key.\n\n> Go north\nLeela follows close behind you.\n\nHere the clearing is more overgrown than the main part of the clearing to the south, and among the undergrowth you can see a series of mounds.\n\nLeela enters the north side of the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: South\n\n\"Something terrible happened here long ago,\" Leela shudders, \"I can feel it. And just look at all those graves.\" she turns to you with a sombre look, \"We heard stories...\"\n\n> You check your inventory\nYou are carrying a white pillowcase (which contains an old brown sack (which contains a fishing rod and a small black cube)), a small iron key, a purple datatab, a tiny black bug, an ID card, a duvet, a piece of cloth, a mallet, some smelly rags, a small silver key, a rubber raft, a dark green knapsack (which contains a ration pack and a small black comb), a small round mirror, a black datatab, and an orange datatab. You're wearing a purple belt and a white uniform. The purple belt contains a drik. Your right pocket contains a crumpled piece of paper.\n\nYou can smell the cheese.\n\n> You look at the mounds\nThe mounds are remarkably regular, all just under two metres long and set out in straight rows. These rows seem to continue among the trees to the north, but there the ground has become too overgrown to allow close investigation. A closer inspection of the mounds suggests that they could well be old graves, and including those that are starting to be concealed by the ever-encroaching forest, there must be well over three dozen of them. On one of the graves you can just make out a weathered headstone. One or two of the others nearby look suspiciously bumpy.\n\nYou can smell the cheese.\n\n> Oops mounds\nYou find the rim of an old steel helmet poking out of the top of one of the mounds, and the end of a piece of wood jutting out of another.\n\n\"I hope you don't make a habit of digging up graves!\" Leela remarks, \"What did you find? Show me!\"\n\n> You look at the headstone\nThe headstone is covered with dirt and moss, making it virtually impossible to read the faded lettering that was once incised on it.\n\nYou can smell the cheese.\n\n> You clean it\nYou wipe some of the dirt off the headstone, revealing most of the lettering beneath. The rather crude lettering reads:\n\nb. 4th April 2687\nd. 14th July 2722\n\nR.I.P.\n\n\"Mark Villiers,\" Leela reads, \"He's been here a long time. What do IPC and RIP mean?\"\n\n\"Imperial Police Corps and Rest in Peace,\" you tell her.\n\n\"I wonder who he was and what he did to end up here, among all these other graves,\" she muses.\n\n(You could ask her where she learned to read, tell her about yourself, the town, Petroc, the orange datatab, the small silver key, or the raft, or ask her about herself, the elders, Elysium, her questions, the stories, the town, markets or meetings, old Jeb, the mallet, or the small silver key.)\n\n> You ask Leela where she learned to read\n\"Just as a matter of interest, Leela, where did you learn to read?\" you ask, a little suspiciously.\n\n\"My parents taught me,\" she replies, laughing, \"I know Elysium must seem very backward to you, offworlder, but we're not so backward that we don't have reading and writing!\"\n\nYou can smell the cheese.\n\n> You get the helmet\nYou manage to pull the helmet clear of the burial mound.\n\n> You get the wood\nYou manage to pull the broken piece of wood clear of the burial mound.\n\n> You look at wood\nIt looks like the left-hand half of a sign that's been broken near the middle. On it is some lettering that reads \"IMPERIAL POL\"\n\nYou can smell the cheese.\n\n> You look at the helmet\nIt's battered and rusty, and obviously old. It looks as if it was once green, and on the front you can just make out a very faded golden eagle. It looks like it might have been an Imperial Marines helmet, but it's certainly not the current pattern. If the helmet were in better condition, it would belong in a military museum.\n\n> You show the helmet to Leela\n\"Have a look at this,\" you say, handing her the helmet.\n\nShe takes it and looks at with evident distaste, before handing it back. \"What do you think it is?\" she asks.\n\n\"It's an Imperial Marines helmet, I reckon, but one of a very old pattern. It must be centuries old,\" you tell her, taking it back from her.\n\n\"So your soldiers were here,\" she remarks.\n\n> You show the wood to Leela\nShe looks at the broken sign, and reads, \"Imperial Pol? Who's Pol?'\n\n\"Police, perhaps,\" you suggest.\n\n> You dig in the mounds\nYou don't fancy doing any more digging in the graves with your bare hands, and you're not sure you fancy digging up the graves any further in any case: you've probably discovered all there is to find near the surface, and you don't want to start digging up old human bones.\n\nYou can smell the cheese."
    },
    {
        "text": "[Themes: Science Fiction, conversation]\n\n> You look at your surroundings\nHere the clearing is more overgrown than the main part of the clearing to the south, and among the undergrowth you can see a series of mounds.\n\nLeela is standing nearby.\n\nYou can smell the cheese.\n\nObvious exits: South\n\n> You look at the undergrowth\nThe thick, tangled undergrowth looks horribly like the advanced guard of the inexorably encroaching forest. Amongst the undergrowth you see a series of mounds.\n\n> Point drik at mounds\n(first taking the drik from the purple belt)\nOkay, you point the drik at the mounds.\n\n> Point drik at helmet\nOkay, you point the drik at the helmet.\n\n> You ask Leela for the cheese\n\"Leela, can you give me the small wedge of cheese, please?\" you ask.\n\n\"I'm not sure I care to!\" she replies.\n\n> You eat the cheese\n(first taking the small wedge of cheese)\nLeela won't let you have that.\n\n> Go south\nLeela follows close behind you.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> Examine remains\nThere's really very little left except some pieces of rotting timber forming the outlines of floor plans of two or three large buildings. Even these are largely overgrown with grass and weeds and moss, and you suspect that in a few more decades even these poor remains will have vanished from sight.\n\n> You look at the bridge\nThe bridge has long since vanished, perhaps having collapsed into the river a century or so past; a couple of rotting posts sticking out of the ground are all that remain to suggest that there was once a bridge here.\n\n> You take the posts\nThe posts are firmly embedded in the ground.\n\n> You go south\nThe trees and undergrowth along the bank make it impossible to go that way.\n\n> Go east\nLeela follows close behind you. You walk a short way down to the path and arrive back in the clearing.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela enters the clearing with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> You go to the east\nLeela follows close behind you. You set off down the path to the east, and continue straight on until the point where it starts to bend.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nYou can smell the cheese.\n\nObvious exits: East, West, Southeast\n\n> You go to the north\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nObvious exits: North, South, West\n\n> Go west\nYou squeeze through the gap, and then blunder around in the undergrowth for a while before hitting on another path.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nObvious exits: East, West, Southeast\n\n> Go west\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nObvious exits: North, South, East, West\n\n> You put the raft in the river\nYou lower the raft into the water.\n\n> You enter raft\nYou clamber aboard the raft. Okay, you're now sitting in the inflated rubber raft.\n\n> Paddle with wood\n(paddling the inflated rubber raft)\nYou paddle the raft with the broken piece of wood over to the west bank of the river.\n\nOn the River (sitting in the inflated rubber raft)\nYou are sitting in an inflatable raft that's floating near the west bank of the river.\n\nObvious exits: East, West, Out\n\n> Go outside\n(first standing up, then getting out of the inflated rubber raft)\n\nThere's a clear view up and down the river from here, and it seems you could walk some way along the bank to north and south, while an overgrown path disappears off through the trees to the west. A solitary wooden post sticking out of the ground is all that remains of what may once have been a bridge.\n\nThe river contains an inflated rubber raft.\n\nObvious exits: North, South, East, West\n\n> You pull the red handle\nThere's a hiss of rushing air as the raft deflates.\n\n> You look at the post\nIt's a round post, about ten centimetres in diameter, broken off about half a metre from the ground.\n\n> You tell Soolin about the graves\n\"I've come across some old graves in a clearing in the forest,\" you say, \"There must be dozens of them!\" you say, \"anyway, one of them still has a headstone. Apparently it's for some chap called Mark Villiers who was an IPC subcenturion back in the twenty-eighth century.\"\n\n\"Hang on a moment, sir,\" she replies. After a brief pause she continues, \"I've just checked the on-board datastore. Apparently there was a Subcenturion Mark Villiers of the IPC who was stationed here from 2720. It says he died here in 2722.\"\n\n\"That matches the date on the tombstomb,\" you tell her.\n\n\"Then it's obviously the same chap.\" you say.\n\n> You tell Soolin about the graves\n\"Does your datastore say anything else about Villiers?\" you ask.\n\n\"Just standard details of an unremarkable service record,\" she replies, \"Plus, date of birth: 4th April 2687; planet of birth: Logya.\"\n\n\"Nothing about how or why he died?\" you wonder.\n\n\"No, sir,\" she replies, \"It's strangely silent about that. I wonder if it could be related to whatever it was that went so horribly wrong here way back when?\"\n\n\"I was wondering that too,\" you say.\n\n> You examine bottle\nIt's a clear plastic bottle of the sort that would be quite unremarkable on any human-occupied world but here. According to the label it contains \"Magiclean All-In-One Conditioning Shampoo and Body Cleanser (manufactured by Stellarchem, a Harcourt Research Company)\". It contains a bright green liquid.\n\n> You tell Soolin about the bottle\n\"I found a bottle of Magiclean All-In-One Conditioning Shampoo and Body Cleanser just across the river, hidden under an old bridge-support,\" you tell her.\n\n\"It's a popular brand, sir,\" she remarks, \"I use it myself. But if you found it by the river I'd guess that woman you met in the forest has been using it - in which case she can hardly be what she seems.\"\n\n\"That's what's worrying me,\" you confess, \"I suppose there could be some other explanation - another strange woman visiting the forest.\"\n\n\"Soolin's razor, sir: strange women should not be multiplied beyond necessity,\" she replies pertly."
    },
    {
        "text": "> Look around\nThere's a clear view up and down the river from here, and it seems you could walk some way along the bank to north and south, while an overgrown path disappears off through the trees to the west.\n\nObvious exits: North, South, West\n\n> Go south\nYou walk downstream along the river bank for a couple of hundred metres or so until you reach a point where a stream joins the river from the west. Since this makes progress further south impossible, you are forced to turn round and come back.\n\n> You go north\nYou walk upstream by the river for a couple of hundred metres, but the ground becomes increasingly steep, until it reaches the point where you'd be climbing as much as walking. At that point you decide it probably isn't worth the effort, so you turn back.\n\n> Go west\nYou battle your way along the overgrown path for a dozen metres or so, then suddenly emerge into a field.\n\nThe path from the east emerges in an overgrown field bounded by forest to east and south, a stream to the west, and a slope rising to the north. The most striking feature, however, is the strange green structure half-hidden next to the trees to the south.\n\nObvious exits: North, South, East, In\n\n> You examine the structure\nIt's hard to make out exactly what it is, since it's covered by a dark green tarpaulin. Whatever it is it's about three metres long and stands about two metres high at its highest point. If this was your homeworld you'd guess it was a piece of farm machinery covered up to protect it from the elements, but you don't expect to find such things on Elysium. On the other hand it looks the wrong shape for a hayrick and a distinctly odd shape for a farm building.\n\n> Go south\nYou wander a short distance into the forest, but it quickly becomes apparent that you can't get very far in any direction. The stream that runs down the west side of the field bend round to the east through the forest to join the river a little south of where you crossed it, and thus bars progress further south, or in any other direction except back north into the field. After satisfying yourself that there is nothing of interest hidden among the trees, you accordingly retrace your steps.\n\n> You move the tarp\nIt's too firmly tied down.\n\n> You untie the tarp\nYou unfasten three of the ties from their spikes; that should be enough.\n\n> You move the tarp\nIt's rather unwieldy to manhandle by yourself; besides, if all you want to do is to see what's inside, you could just crawl through the gap underneath it.\n\n> You enter\nYou crawl under the tarpaulin.\n\nUnder the Tarpaulin (in the dark)\nYou can't see much, but you're aware that a large object is taking up most of the space here.\n\nObvious exits: Out\n\n> You examine the object\nAlthough it's a large object, nearly three metres long, it's quite small for what it is - a single-person shuttle (i.e. a craft for conveying someone between an orbiting spaceship and the planetary surface). Apart from a cryptic sequence of tiny letters under the door, it is unmarked and painted black all over, suggesting a desire for stealth. You can't immediately identify the model, but you don't think it's an imperial one.\n\n> You look at the letters\n(the tiny letters)\nThe letters stencilled under the shuttle door are almost too tiny to make out. By shining your drik directly at them you just manage to decipher them as AHAYWEH.\n\n> You unlock the ship with the silver key\nThe ship that brought you to Elysium is in orbit round the planet; you can't see it from here.\n\n> You examine the door\nLike the rest of the shuttle, it's black, with a cryptic sequence of tiny letters stencilled just underneath.\n\n> You tell Soolin about the shuttle\n\"I'd say that black shuttle and that datatab together provide pretty conclusive evidence of Federation interference on this world,\" you remark.\n\n\"It certainly looks that way, sir,\" she agrees.\n\n> You tell Soolin about AHAYWEH\n\"I'll bear that in mind, sir,\" she promises.\n\n> Go outside\nThe path from the east emerges in an overgrown field bounded by forest to east and south, a stream to the west, and a slope rising to the north. The most striking feature, however, is the strange green structure half-hidden next to the trees to the south.\n\nObvious exits: North, South, East, In\n\n> You examine the stream\nIt's just over a couple of metres wide at this point and flowing quite fast. Upstream you can see it tumbling down a slope to the north, whereas a little way downstream it starts to bend round to the southeast.\n\n> Tie tarp\nYou refasten the tarpaulin to the spikes.\n\n> Go north\nYou walk up the slope, and pause to take in the view. Looking south you can see over part of the forest to what may be farmland beyond.\nSo far as you can tell there's more farmland lying in the distance to north and west, while just a little way over to the east the river cuts through the forest. You see no need to risk confrontation with the settlers by walking over their fields, so after spending a few more moments taking in the view, you walk back down the slope.\n\n> Go south\nYou wander a short distance into the forest, but it quickly becomes apparent that you can't get very far in any direction. The stream that runs down the west side of the field bend round to the east through the forest to join the river a little south of where you crossed it, and thus bars progress further south, or in any other direction except back north into the field. After satisfying yourself that there is nothing of interest hidden among the trees, you accordingly retrace your steps.\n\n> You pull the green handle\nThere's a hiss of rushing air as the raft inflates.\n\n> You put the raft in the stream\nAs you lower the raft into the stream, the current snatches it from your grasp and begans to carry it downstream. You race after it and just manage to retrieve it from the water before it disappears out of sight.\n\n> You pull the red handle\nThere's a hiss of rushing air as the raft deflates.\n\n> You tell Soolin about Jeb\n\"Presumably that black shuttle I just found was what the Elder told me the old farmer saw coming down out of the sky a couple of weeks back,\" you say.\n\n\"Presumably, sir,\" she agrees.\n\n> You tell Soolin about the mallet\n\"I found this mallet in a ruined building in the forest,\" you tell her, \"the handle is stamped 'Made in Paran'!\"\n\n\"That's very suspicious, sir,\" Sublieutenant Soolin replies, \"especially with that Reldan-manufactured raft as well. That's two items of Federation manufacture you've found in the forest.\"\n\n\"Quite, sublieutenant,\" you agree.\n\n> You ask Soolin about the crisis\n\"Is the navy ready for war with the Federation, do you think?\" you ask.\n\n\"Ready enough, sir,\" she replies, trying to sound brave, \"We'll give a good account of ourselves, I'm sure of that.\"\n\n> Keep going\nYou both know the implications of what you found on the orange datatab: the Federation really is thinking of going to war with the Empire. But there's no point dwelling on it right now; it would be more constructive to finish what you came for.\n\n> Topics\nYou could tell her about yourself, or the mallet.\n\n> Enter\nWhat do you want to enter?\n\n> Raft\nYou clamber aboard the raft. Okay, you're now sitting in the inflated rubber raft.\n\n> Go east\nYou paddle the raft with the broken piece of wood over to the east bank of the river.\n\nOn the River (sitting in the inflated rubber raft)\nYou are sitting in an inflatable raft that's floating near the east bank of the river.\n\nObvious exits: East, West, Out\n\n> Go east\nYou walk a short way down to the path and arrive back in the clearing.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela is walking towards you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n\"Ah, there you are!\" says Leela, \"I wondered where you had got to!\"\n\n> You kiss her\n(Leela)\nYou kiss her fully on the lips, and she responds by wrapping her arms round your neck to give you a long passionate kiss in return.\n\nYou can smell the cheese.\n\n> You enter AHAYWEH\n(on the console)\nThe screen displays: \"Correct!\"\n\nThe console plays back a clear recording of you talking with Sublieutenant Soolin, and with Petroc.\n\n> You tell Soolin about the black tab\n\"That clinches it, sublieutenant,\" you tell her, \"The black tab I found has got a recording of me talking on it. Someone's definitely trying to listen in on us. And one more thing, the password for accessing the data on the black tab was on the black shuttle I found across the river.\"\n\n\"The plot thickens,\" Sublieutenant Soolin remarks.\n\n> You talk to Leela\n\"I'm still here, offworlder,\" Leela assures you.\n\nYou can smell the cheese.\n\n(You could tell her about yourself, the town, Petroc, the strange green structure, the black shuttle, the orange datatab, the plastic bottle, the small silver key, or the raft, or ask her about herself, the elders, Elysium, her questions, the stories, the town, markets or meetings, old Jeb, the mallet, or the small silver key.)\n\n> Go south\nLeela follows you inside.\n\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nAn old metal crate sits by the wall, next to the trapdoor in the corner.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nLeela enters the building with you.\n\nYou can smell the cheese.\n\nObvious exits: North, Down\n\n> Examine crate\nThe large metal crate was once painted dark green, and some of the paint remains between the patches of rust. The dust on the floor round the crate looks as if it may have been recently disturbed. It's closed.\n\nYou can smell the cheese.\n\n> Open crate\nOpened.\n\n> You examine trapdoor\nIt's about 0.8 metres square, and currently open. Although the trapdoor is as old and scuffed as the surrounding floor, the maglock fitted to it looks new.\n\nYou can smell the cheese.\n\n> You open the cabinet\nThe rubble prevents you getting at the cabinet to open it.\n\n\"I couldn't get it open, either,\" Leela tells you.\n\n> You open trapdoor\nThe trapdoor is already open.\n\nYou can smell the cheese.\n\n> You examine the key\nWhich key do you mean, the small iron key, or the small silver key?\n\n> Silver\nIt looks like the key to a maglock; there are no teeth or grooves and the key data is presumably encoded in its plain metal strip. The key is obviously quite new.\n\n> You tell Leela about orange\nYou could tell her about yourself, the maglock, the town, Petroc, the strange green structure, the black shuttle, the orange datatab, the plastic bottle, the small silver key, or the raft, or ask her about herself, the elders, Elysium, her questions, the stories, the town, markets or meetings, old Jeb, the mallet, or the small silver key.\n\n\"I've managed to read the orange datatab I found in the basement of the white building,\" you tell her.\n\n\"Really?\" she asks, suddenly wary, \"What did it tell you?\"\n\nYou can smell the cheese.\n\n> You tell Leela  about Anita\n\"Is that right?\" she asks.\n\n> You tell Leela about Federation\nLeela listens attentively to your account of the Federation.\n\nYou can smell the cheese.\n\n> You tell Leela about the black datacube\nShe gives a puzzled frown.\n\n> You tell Leela about the shuttle\n\"I found a black shuttle across the river,\" you tell her, \"I don't think it should be there - do you happen to know anything about it?\"\n\nLeela frowns, looks away for a moment, and repeatedly clenches and unclenches her fists, as if trying to resolve a quandry. Then at length she lets out a heavy sigh and turns back to you, her manner suddenly different, as if she has just grown older and taller.\n\n\"Okay,\" she admits, \"There's no point in keeping up this pretence, is there? That's my shuttle you found, and I'm not an Elysian farm-girl, as I'm sure you realize by now. But it's not as bad as you think, really it's not. I'm not a - well, I'm an anthropologist from Earth.\" Before you can protest, she cuts you off with a gesture, saying, \"Yes - I know - I have no business being here. But this is about the only place in the known galaxy where I can study such a primitive culture in the field. so - what happens now?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, or show her the orange datatab.)\n\n> You ask Leela why she lied before\n\"Why did you lie to me before?\" you ask.\n\n\"Because I shouldn't be here, obviously,\" she shrugs, \"I've been trying to learn about the natives by living like one of them, and I hoped I could get away with passing myself off as one, but obviously it didn't work. So, as I said: what happens now?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, or show her the orange datatab.)\n\n> You ask Leela which the university she's from\n\"So, you're an Earthish anthropologist,\" you say, \"Which university are you from?\"\n\n\"Cambridge,\" she replies, \"Why, does it make a difference? So, what now? If I promise to be a good girl and go straight back there, will you let me go?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, show her the orange datatab, let her go, or arrest her.)\n\n> You show datatab to Leela\nWhich datatab do you mean, the purple datatab, the black datatab, or the orange datatab?\n\n> Orange\n\"So what's this, then?\" you ask, showing the orange datatab, \"I found it in the pocket of what is no doubt your jumpsuit.\"\n\nLeela stares down at the tab for a moment, then nods, \"Right,\" she agrees, \"Obviously that is my jumpsuit, and obviously that is my datatab. Like I said, I'm an anthropologist; it contains my field notes. May I have it back please?\"\n\n> You tell Leela about the spy\n\"I asked you if you'd let me have my datatab back,\" she reminds you, holding her hand out, \"Will you give it to me, please?\"\n\n> No\n\"Certainly not!\" you reply, \"I'm confiscating this as material evidence of your illegal activity on this planet.\"\n\nShe lays a gentle hand on your arm, and sets her face in an equally gentle pleading look, \"Please,\" she begs, \"I haven't made a copy, and if you don't give it back to me, all my work here will have been wasted. If I'm going to get into terrible trouble, at least don't let it be for nothing. You can give it back to me, can't you?\"\n\nYou can smell the cheese.\n\n> You tell Leela about the bug\n\"I take it from your attempt to change the subject that that's a 'no' then,\" she sighs, \"So what happens now?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, tell her about the orange datatab, let her go, or arrest her.)\n\n> You tell Leela i don'T believe you\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n\"The suspense is killing me,\" Leela complains, \"Now that you know who I really am, what are you going to do about it?\"\n\n> You tell Leela i don'T believe her\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n\"Look, I do know I'm the one in the wrong here, but it would be polite to answer my question,\" Leela insists, \"What happens now?\"\n\n> You say i don'T believe her\n\"I don't believe you,\" you say, \"if you're an anthropologist on an illegal field trip, why in the galaxy did you accost me earlier on asking me to bring you food and clothing? Showing yourself to a Legion officer like that is the last thing anyone here illegally would do!\"\n\n\"I didn't realize you were a Legion officer until it was too late,\" she replies, \"I just saw a figure moving through the trees - once I realized my mistake I just had to improvise as best I could. Silly, really, I just dug myself into a deeper hole, didn't I? So, what are you going to do about it?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, tell her about the orange datatab, let her go, or arrest her.)\n\n> Arrest leela\n\"I'm sorry, Leela, but I'm afraid I'm going to have to place you under arrest,\" you tell her, \"We both know you shouldn't be here, and my duty is plain: I have to take you in for questioning.\"\n\n\"Okay, I'll come quietly...\" she assures you, spreading her hands in a gesture of surrender, and approaching as if to follow you back to your shuttle. Then, suddenly, she leaps at you, her hands clutching at your throat. \"...after hell freezes over,\" she rasps, as her grip tightens on your windpipe.\n\nLeela makes a grab for your throat but you manage to throw her off.\n\n\"Is that the best you can do? You're a dead man!\" she sneers.\n\n> Stun leela\n(with the drik)\n(first taking the drik from the purple belt)\nLeela stiffens, an expression of momentary astonishment on her face, then with a little moan she tumbles to the ground.\n\n> You tell Soolin about Leela\n\"Remember that young woman I told you about? I think she must be a Federation spy; she attacked me just now - I think she was trying to kill me - I suppose because she thinks I've found out too much. I shot her with my drik and she's out cold.\"\n\n\"Good heavens, sir!\" cries Sublieutenant Soolin, \"But why do you think she's a Federation spy?\"\n\n\"Well, sublieutenant,\" you say, \"First, finding the bug in the pillow-case, second finding the receiver in the barn, third the fact that her old clothes were in the crate when she said she had thrown them away, fourth finding the maglock key so close to the trapdoor, fifth the Reldan-made raft, sixth the mallet made on Paran, seventh what the report on the orange datatab said, eighth the bottle of shampoo/cleansing lotion I found hidden by the river, near where she was bathing, ninth the black shuttle parked in the field across the river, tenth the recording of my bugged conversations, and finally the new maglock on the trapdoor.\"\n\n\"A Federation spy on Elysium!\" she declares, \"Any chance you could get her aboard the shuttle? We should take her back for questioning.\"\n\nYou can smell the cheese.\n\n> You get Leela\nYou manage to lift the unconscious Leela up and hoist her over your shoulder.\n\n> You drop Leela\nYou lower Leela gently on to the floor.\n\n> You eat cheese\nYou eat the small wedge of cheese. It tastes quite strong - possibly a little overripe.\n\n> You look\nThe single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.\n\nAn old metal crate sits by the wall, next to the trapdoor in the corner.\n\nA battered cabinet lies half-buried under the rubble in the northeast corner of the room.\n\nYou see a tomato, a carrot, a lettuce, an apple, and a fluffy pink towel here.\n\nObvious exits: North, Down\n\n> You go to the north\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nObvious exits: North, South, East, West\n\n> You tell the pilot about Leela\n\"The young woman I shot is still unconscious,\" you say.\n\n\"If you zapped her with your drik she'll be out for hours, sir,\" Sublieutenant Soolin opines. \"Perhaps you can carry her back aboard.\"\n\n> You go east\nYou set off down the path to the east, and continue straight on until the point where it starts to bend.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nObvious exits: East, West, Southeast\n\n> You go to the east\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nObvious exits: North, South, West\n\n> You go inside\nThe inside of the shuttle is not exactly spacious; there's room for the pilot and three passengers, one beside the pilot and two behind. The seats are comfortable enough, but otherwise it's all pretty basic. There's not much in front of you except the forward window; the pilot has a bank of instruments.\n\nSublieutenant Soolin is sitting in the pilot seat.\n\nObvious exits: Out Opening the passenger door, you first set Leela down on the rear seat.\n\nAs you clamber into the flyer you sit yourself down on the front passenger seat, next to the pilot.\n\n\"Hello, sir!\" Sublieutenant Soolin greets you, \"I see you've got that Federation spy aboard. Does this mean you're all done and ready to leave?\"\n\n> Yes\n\"Yes, I'm all done here, let's go,\" you nod.\n\nSublieutenant Soolin turns to the controls and starts up the shuttle. Within seconds the argoms cut in and the shuttle lifts effortlessly up into the air. You glance down at the forest and the tiny town below for one last time, but they shrink rapidly out of sight as the shuttle speeds skywards towards the orbiting frigate.\n\nOnce she has put the shuttle on autopilot, Sublieutenant Soolin turns to you and says, glancing at the figure lying on the back seat, \"I wonder if she'll talk, sir? I can't imagine it'll be too easy to persuade her to confess to being a spy!\"\n\n\"No, I suppose you're right, sublieutenant,\" you agree, \"she's a cunning little vixen and she'll use every trick in the galaxy to protest her innocence!\"\n\nFor a moment, you wonder whether you'll ever see Elysium again, but then Sublieutenant Soolin starts chatting with you, and your thoughts turn to the more immediate future.\n\n> 1\nSome things you might try to improve your score next time:\n\n1. Give Petroc an important warning.\n\n2. Get Leela to incriminate herself even more thoroughly.\n\n3. Make a more determined effort to find out what's in the cabinet in the ruined white building.\n\n4. Find out what went so horribly wrong on Elysium all those centuries ago.\n\n[The End]\n\n> 2\nThe Elysium Enigma is set in the same universe as a series of novels I've been writing and re-writing for the last thirty years or so, and may well be for the next thirty, as my ideas change faster than my ability to produce something I'm satisfied with. This game does not directly intersect with the story-line of the novels, though it takes place at roughly the same time, and alludes to some of the same characters in passing. And like the protagonist of the Elysium Enigma, the protagonist of my permanently-in-progress novels has a career in the Imperial Sovereign Legion.\n\nIn this story universe the Moltinoran Empire came into being in the 25th century as a result of a Centauran initiative to gain Moltinoran support against an aggressive neighbour. By the thirtieth century the Empire has become the most powerful political grouping so far known to humankind. Although far from perfect, it is basically a benign institution, with huge constitutional safeguards limiting the power of the Emperor and guaranteeing a great degree of autonomy to member worlds; even a cranky failing settlement like Elysium is largely allowed to go its own way. By the late thirtieth century, however, the Empire has gained a rival almost equal in power, the (so-called) Free Trade Federation of Paran. Although originally benign in intent, the Federation has been growing steadily more sinister, sliding slowly but steadily into tyranny.\n\nMy series of novels follows the career of Simon Quiller, a young Legion officer (who later becomes something rather more than that) roughly speaking through the 2970s and on into the early 2980s, from the time that the truly sinister nature of the Federation starts to become clear (Simon Quiller is on Relda to witness the events Andrew Holt tells Petroc about), through a period of growing tension, until the situation erupts into open conflict, and the Empire is faced with the seemingly ghastly choice between fighting a war that could cost billions of lives or giving way to one of the nastiest tyrannies in human history.\n\nIn this universe, Earth (along with a few other worlds) lies between the Empire and the Federation and tries, futilely, to play the role of benevolent neutral, refusing to recognize the real threat of the Federation threat until it is too late. Unlike Andrew Holt, who was born of aristocratic stock in the heartlands of the Empire, Simon Quiller, the hero of my novels, was born on Earth of an Earthish mother and Moltinoran father, and starts out as something of an outsider in the Empire.\n\nOf course, after the novels get re-written a few more times, some of that may change, not least the role of Senator Charles Harcourt, whom I invented as a villain a long while back, but the nature of whose villainy I have yet to master...\n\n[The End]\nAmusing\n\n1. Improve your Score\n2. Some Background to the Story\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> Go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South Since you don't want one of the natives to see you talking over the drik you surreptitiously cut the connection.\n\n> You tell Petroc about Leela\nYou've exhausted that topic for now. Petroc is clearly sceptical of what Leela told you, and even of her existence.\n\n> You tell Petroc about Federation\n\"Pardon my bothering you, but I just wondered whether I might have another word,\" you say.\n\n\"If you must,\" he sighs.\n\n\"If the Federation were to come here, you'd soon realize how well the Empire has treated you,\" you point out.\n\n\"How well?\" he cries, \"Have you see what's in the forest? Look there and learn how well your Empire has treated us!\"\n\n> You move the rubble\nYou manage to move the shattered pieces of rubble off the cabinet.\n\nYou can smell the cheese.\n\n> You open the cabinet\nOpening the battered cabinet reveals a small book.\n\n\"Hey, well done, offworlder!\" Leela declares, \"What's in there?\"\n\nYou can smell the cheese.\n\n> You get the book\n\"What have you got there?\" Leela wants to know, as you pick up the diary \"Do show me!\"\n\n> You read the book\nIt appears to be the diary of one Subcenturion Mark Villiers, who served as the representative of the Imperial Police Corps on this planet in the early twenty-eighth century, about a quarter of a millenium ago, when Elysium was newly colonized. It seems that Villiers was posted here to enforce a modicum of imperial law and order on the new settlement, but that the settlers proved as difficult back then as they have done ever since.\n\nAs you flick over the pages you find a series of accounts of ongoing friction between the uncooperative Elders and the increasingly frustrated Villiers. Some of the other natives seemed to have been reasonable enough, and as Villiers's account progresses it becomes clear that he was becoming increasingly friendly with one young woman in particular, but the Elders were consistently obstructive, insisting that the maintenance of law on Elysium was their job and theirs alone, and no business of the Empire. Even when news of some petty crime did come Villiers's way, the Elders would frustrate every attempt the subcenturion made to investigate it.\n\nOn the last few pages the tone becomes even darker. Villiers apparently believed that someone - one of the settlers called Natasha with whom he had become quite friendly - had been murdered, and he was determined to bring the killer to justice. The Elders proved particularly intransigent, denying that any crime had taken place that they weren't perfectly capable of taking care of. It's clear from the diary that this made Villiers increasingly angry: if a murder had been committed it was clearly a matter for the imperial authorities, and all the settlers, Elders included, were duty-bound to co-operate.\n\nOn the final page, the entry for July 14 2722, the diary concludes with the words, \"I am now morally certain that Natasha was murdered, and I now have a pretty good idea where to find her body and the proof I need to bring her killers to justice. Poor Natasha! Always too much of a free spirit for this narrow little planet, and now she's paid the ultimate price for her broad-mindedness and her enquiring mind. But I am determined to bring matters to a head, despite veiled threats from the Elders.\n\nAnd now, I'm just off to follow up my latest lead; I'll fill in the details on my return.\"\n\nBut it seems Subcenturion Villiers never did return, for there his account ends.\n\nYou can smell the cheese.\n\n> You show book to Leela\nLeela takes the diary off you, and reads through it with a deepening frown. \"How sad!\" she declares as she reaches the last page, \"that poor Natasha - she sounds a bit like me, really - I wonder what the Elders did to her. And Mark Villiers, the person who wrote this, that's the man whose grave we just found, isn't it? So we know how he ended up. I wonder if he found justice for Natasha first.\"\n\nShe closes the diary and hands it back to you.\n\n> Go north\nLeela follows you outside.\n\nThe trees that surround this large clearing seem to be gradually encroaching upon it, though it will be a century or two yet before they finally overwhelm it. For now, the overgrown remains of several buildings are still visible, with one solitary white stone building to the south still just about standing. The clearing continues to the north, while paths lead out to east and west.\n\nLeela emerges from the stone building with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> You go to the east\nLeela follows close behind you. You set off down the path to the east, and continue straight on until the point where it starts to bend.\n\nA narrow path, rather faint to the southeast but becoming clearer to the west, bends through the trees at this point. It may also be possible to squeeze through the gap to the east.\n\nLeela walks along the narrow path with you.\n\nYou can smell the cheese.\n\nObvious exits: East, West, Southeast\n\n> Go east\nLeela follows close behind you.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela reaches the edge of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> Go east\nYou wander off among the trees to the east of the path, but find little of interest beyond more trees. Rather than wasting time in this part of the forest you return to the main path.\n\n> You tell the pilot about the diary\n\"I've found a diary belonging to one Subcenturion Mark Villiers, who apparently served here a couple of centuries ago,\" you tell her, \"It makes quite interesting reading.\"\n\n\"Then perhaps you could show it to me when you get back to the shuttle, sir,\" she suggests.\n\n> Go north\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela is walking towards you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West Since you don't want one of the natives to see you talking over the drik you surreptitiously cut the connection.\n\n\"Hello, you're back!\" Leela greets you.\n\n> You go to the north\nLeela follows close behind you.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nLeela enters the heart of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, West\n\n> You go north\nLeela follows close behind you.\n\nThe dirt track runs a short way north up to a ridge, just beyond which lies the hollow where your shuttle landed; to the south the track disappears into a sizeable forest. There are fields either side of the track, but they look overgrown and untended.\n\nLeela walks along the dirt track with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South\n\n> Go north\nLeela follows close behind you. You walk back up over the ridge, and descend into the hollow on the far side.\n\nThis grassy hollow, about thirty metres across, looks like it might once have been an impact crater. A steep slope rises just to the west, while a trail of sorts leads north and south.\n\nYour shuttle rests in the middle of the hollow.\n\nLeela enters the hollow with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, In\n\nLeela clutches at you in alarm at the sight of the white shuttle.\n\n> Enter\nLeela clasps your hand, looking at you anxiously, \"I don't think I can do this,\" she says, \"That big machine scares me - and so does leaving this world - it's the only world I know!\"\n\nYou can smell the cheese.\n\n> Bye\n\"Oh, you're going off in that flying-machine thing?\" Leela asks dubiously, \"Don't be long, offworlder! I'll wait for you here.\"\n\nYou can smell the cheese.\n\n> Bye\n\"You're not going anywhere without me, offworlder!\" Leela tells you.\n\n> Go south\nLeela follows close behind you. You set off down the track and after a few minutes' walk you find yourself deep in the heart of the forest.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nLeela enters the heart of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, West\n\n> You go south\nLeela follows close behind you. The path twists and turns through the trees, but broadly continues south.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nLeela reaches the edge of the forest with you.\n\nYou can smell the cheese.\n\nObvious exits: North, South, East, West\n\n> You go to the west\nLeela follows close behind you.\n\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east, and that there's another path to the northwest.\n\nLeela walks into the thinning forest with you.\n\nYou can smell the cheese.\n\nObvious exits: East, Northwest, Southeast\n\n> You show the diary to Soolin\n\"Here, take a look at this,\" you say, handing her the diary.\n\nShe takes the diary and reads through it rapidly, slowing down as she reaches the end. Then she looks up at you with a worried frown as she hands it back. \"I wonder what happened to Villiers after that?\" she asks.\n\n> You tell Soolin about the grave\n\"None of the other graves seem to have been marked,\" you say.\n\n\"Perhaps none of the other markers survived, sir,\" she suggests.\n\n> You show the helmet to Soolin\nSublieutenant Soolin glances at the helmet without much interest.\n\n> You look at the helmet\nIt's battered and rusty, and obviously old. It looks as if it was once green, and on the front you can just make out a very faded golden eagle. It looks like it might have been an Imperial Marines helmet, but it's certainly not the current pattern. If the helmet were in better condition, it would belong in a military museum.\n\n> Go outside\n(first standing up)\n\"Goodbye, sir,\" Sublieutenant Soolin calls after you.\n\nYou clamber out of the shuttle.\n\nThis grassy hollow, about thirty metres across, looks like it might once have been an impact crater. A steep slope rises just to the west, while a trail of sorts leads north and south.\n\nYour shuttle rests in the middle of the hollow.\n\nObvious exits: North, South, In\n\n> Go south\nYou set off down the track and after a few minutes' walk you find yourself deep in the heart of the forest.\n\nAlien foliage clogs the ground between the trees that crowd around you on every side. The main trail heads straight off to the north and snakes through the trees to the south. You can't see any side trails as such, but apart from the main path, the only gap through the trees that looks passable here is the one directly to the west. It's pretty narrow, but you could just squeeze through it.\n\nObvious exits: North, South, West\n\n> Go south\nThe path twists and turns through the trees, but broadly continues south.\n\nThe main north-south track runs wide and straight here. The trees are more widely spaced, so that you could easily wander among them on either side of the main track. To the south they become sparser still, indicating that the edge of the forest lies that way.\n\nObvious exits: North, South, East, West\n\n> Go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\nPetroc reaches the end of the stage and turns round.\n\n> You show diary to Petroc\n\"Excuse me,\" you say.\n\n\"Now what?\" he snaps.\n\n\"I found this diary in the forest; I thought you might find it interesting,\" you tell him.\n\nPetroc hesitates for a moment, then takes the diary from you and reads it slowly. At length, he looks up at you again, and remarks, \"If you're as clever as you think you are, you should be able guess the rest. This man Villiers poked his nose in where it wasn't welcome.\nHe came to a sticky end. Eventually your people sent someone else along to find out what had happened to him. My ancestors believed justice had been done, but yours didn't, so they sent a gang of warriors here. Things quickly got out of hand - some of our young men went along to the old town with sticks and stones to chase your warriors away, and your warriors retaliated with their weapons of terror. It was a massacre, a terrible bloody massacre, so terrible that even your ancestors were ashamed of it. Anyway, no one wanted the old town after that, it had too many bad memories for all of us, so we abandoned it, and rebuilt here - but still you wouldn't leave us alone.\" He pauses, and looks at you with something like pity as he hands the diary back to you, \"So now you know - all your great empire has done for us.\""
    },
    {
        "text": "> Look around\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is standing on the stage.\n\nObvious exits: South\n\n> You go to the south\nPetroc resumes pacing around the stage.\n\nThe north side of the street is occupied by a large wooden hall. On the south side is a neat single-storey white building (directly south) next to a two-storey green house (to the southeast). The street continues eastwards but quickly peters out into a narrow farmtrack as it leaves the town, while to the west it runs back towards the town centre.\n\nObvious exits: North, South, East, West, Southeast\n\n> Go north\nThis seems to be a meeting hall of some sort, with rows of plain wooden benches facing a crude stage at the northern end. It's unclear whether this place is intended for religious or secular purposes; quite possibly it does duty for both. The overall effect is decidedly gloomy, even though a fair amount of sunlight steals in through the unglazed windows and the open doorway to the south.\n\nPetroc is pacing up and down on the stage.\n\nObvious exits: South\n\nPetroc clasps his hands behind his back.\n\n> You go southeast\nYou walk down the path some way until it finally peters out among more sparsely-spaced trees.\n\nDappled light plays through the sparsely spaced trees that thin out even more towards the southeast, where the forest ends. In principle you could walk in any direction amongst these autumnal trees, but one direction looks much the same as any other, so you could all too easily get lost, except that you know that the way back to the main path is to the east, and that there's another path to the northwest.\n\nLeela is walking towards you.\n\nYou can smell the cheese.\n\nObvious exits: East, Northwest, Southeast\n\n\"Hello, you're back!\" Leela greets you.\n\n> You ask her about Federation\n(Leela)\n\"What's your view on the Federation?\" you enquire.\n\n\"I don't have a view on that,\" she replies, \"How could I? I know virtually nothing about it!\".\n\nYou can smell the cheese.\n\n> Topics\nYou could tell her about yourself, the town, Petroc, the strange green structure, the black shuttle, the orange datatab, the plastic bottle, the small silver key, the raft, or the white shuttle, or ask her about herself, the elders, Elysium, her questions, the stories, the town, markets or meetings, old Jeb, the mallet, or the small silver key.\n\n> You ask her about the the shuttle\n\"I found a black shuttle across the river,\" you tell her, \"I don't think it should be there - do you happen to know anything about it?\"\n\nLeela frowns, looks away for a moment, and repeatedly clenches and unclenches her fists, as if trying to resolve a quandry. Then at length she lets out a heavy sigh and turns back to you, her manner suddenly different, as if she has just grown older and taller.\n\n\"Okay,\" she admits, \"There's no point in keeping up this pretence, is there? That's my shuttle you found, and I'm not an Elysian farm-girl, as I'm sure you realize by now. But it's not as bad as you think, really it's not. I'm not a - well, I'm an anthropologist from Earth.\" Before you can protest, she cuts you off with a gesture, saying, \"Yes - I know - I have no business being here. But this is about the only place in the known galaxy where I can study such a primitive culture in the field. so - what happens now?\"\n\nYou can smell the cheese.\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, or show her the orange datatab.)\n\n> You ask Leela how long she's been here\n\"How long have you been here, Leela?\" you want to know.\n\n\"Only a couple of weeks, praefect,\" she assures you, \"Not long enough to do any harm to the natives, if that's what you're thinking. In any case, that's the first rule of any anthropologist working in the field - don't interfere with the indigenous society you're meant to be studying. So, does that mean I get off lightly? You could just let me go, couldn't you? So, how about it?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, show her the orange datatab, let her go, or arrest her.)\n\n> You ask her how long she's been here\n\"Are you sure you've only been here a couple of weeks?\" you ask.\n\n\"Quite sure,\" she assures you.\n\nYou can smell the cheese.\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, show her the orange datatab, let her go, or arrest her.)\n\n> You show orange datatab to Leela\n\"So what's this, then?\" you ask, showing the orange datatab, \"I found it in the pocket of what is no doubt your jumpsuit.\"\n\nLeela stares down at the tab for a moment, then nods, \"Right,\" she agrees, \"Obviously that is my jumpsuit, and obviously that is my datatab. Like I said, I'm an anthropologist; it contains my field notes. May I have it back please?\"\n\n> You tell Leela about orange datatab\n\"I asked you if you'd let me have my datatab back,\" she reminds you, holding her hand out, \"Will you give it to me, please?\"\n\nYou can smell the cheese.\n\n> No\n\"Certainly not!\" you reply, \"I'm confiscating this as material evidence of your illegal activity on this planet.\"\n\nShe lays a gentle hand on your arm, and sets her face in an equally gentle pleading look, \"Please,\" she begs, \"I haven't made a copy, and if you don't give it back to me, all my work here will have been wasted. If I'm going to get into terrible trouble, at least don't let it be for nothing. You can give it back to me, can't you?\"\n\n> No\n\"I'm afraid not,\" you reply, \"It's my clear duty to hang on to it.\"\n\n\"Very well,\" she sighs, \"So what happens now?\"\n\n(You could ask why she lied before, ask which university she's from, ask how long she's been here, say you don't believe her, tell her about the orange datatab, let her go, or arrest her.)\n\n> You tell her about orange datatab\n\"You say this datatab contains your field notes,\" you say, \"and so it does - but they aren't the field notes of an anthropologist, they're the field notes of a Federation spy called called Anita Johnson.\"\n\n\"If you know that then you've obviously found a way to read them,\" she replies stonily, \"in which case you know too much...\"\n\nWithout further warning she leaps at you, her hands clasping for your throat.\n\nLeela makes a grab for your throat but you manage to throw her off.\n\n\"Is that the best you can do? You're a dead man!\" she sneers.\n\n> You let her go\n\"All right, Leela, you can go,\" you tell her, \"Just as long as you pack up and go at once, and promise never to return.\"\n\n\"Oh, thank you!\" she beams, \"But are you sure? I can go, just like that? Really?\"\n\n> Yes\n\"Yes, you can go,\" you nod, \"You don't seem to have done any real harm here, and what the Empire is really concerned about is preventing any unauthorized settlers staying, so if you go now, we'll say no more about it.\"\n\n\"I'll go now,\" she nods, \"And thanks, offworlder, you're a really decent guy.\" So saying, she smiles at you and gives you a little peck on the cheek.\n\nYou spend the next half hour or so helping her first to pack her belongings together and carry them back across the river to her shuttle, and then to dismantle and stow the tarpaulin. Finally, you bid her farewell, and stand watching to make sure she does actually board the black shuttle, before retreating across the field to get out of the way for its take off. The shuttle takes off a few seconds later, and you watch as it rises from the field, and then darts up into the sky faster than an eagle taking flight, until it is no more than a black dot you quickly lose sight of.\n\nSince Leela took her inflatable raft with her, you summon Sublieutenant Soolin to come and collect you in your shuttle, which lands in the field only a minute or two later. Her astonished reaction at your clemency when you explain what's just happened does not bode well your superiors' reaction - or your future career."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, science fiction, sidekick NPC]\n\nYou're just starting to doze off when a jerking motion brings you back to alertness. You look over to see your boss, Mr. Teeterwaller, struggling to steer the car onto the shoulder as the engine dies. You can see that all of the dashboard lights are on as the car jerks to a stop.\n\nThis is turning into a fine business trip. First Mr. Teeterwaller insists on making the five-hour car trip in the middle of the night so the company won't have to pay for a hotel, then you spend an hour stuck behind a convoy of slow trucks on Teeterwaller's two-lane supposed short-cut, and now his aging bargain-basement car strands you out in the middle of nowhere.\n\nTeeterwaller turns off the headlights and turns on the hazard lights. \"I just had this thing in the shop,\" he mumbles.\n\nCopyright \u00a91998 Michael J. Roberts.\n\nThe Toyunchknisk Piglet was imported from Blottnya during the brief period between the fall of the old iron-fisted regime and the ethnic unrest that divided the tiny country into several even tinier countries whose names you can't recall, since the press lost interest several years ago. The car is almost comically spartan, so it's just like your boss to own one. The only amenity the dashboard offers is a glove compartment; no radio, no air conditioner, no console armrest, no cup-holders.\nYou're sitting in the rather uncomfortable passenger's seat. The driver's door is closed, and your door is closed.\nSitting on the back seat is a jacket, a map, a Project Tyche manual, and a magazine. The ignition seems to contain a car key.\nYour boss Mr. Teeterwaller is here.\n\nYou're carrying your temporary ID card.\n\n[Author's Note: You're on a business trip with your boss, driving down a deserted highway in the middle of nowhere, when the car breaks down. You set off on foot seeking help, but you soon find yourself in the middle of a shocking conspiracy in a dangerous industrial complex. Can you penetrate the decades-old cover-up and reveal the secrets that might forever change the world?]\n\n> About you\nYou look about the same as always.\n\nThe hazard lights click on and off in a steady rhythm.\n\n> You look at Teeterwaller\nHe's about five-foot-six, with graying black hair that he keeps cut in a short business-like style, and a neatly trimmed mustache. He's wearing a dull brown slacks that are part of a suit (although he's not currently wearing the jacket), a beige shirt and a brown striped tie.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You check your inventory\nYou have your temporary ID card.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller watches you expectantly.\n\n> You look at the glove\nThe glove compartment is closed.\n\nThe hazard lights click on and off in a steady rhythm.\n\n> You attack Teeterwaller\nThat would not look good on your performance review.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You examine the jacket\nIt's a dull brown suit jacket, matching Teeterwaller's pants.\n\nThe hazard lights click on and off in a steady rhythm.\n\n> You wear the jacket\nThe jacket is too small for you.\n\nThe hazard lights click on and off in a steady rhythm.\n\n> You look at the tie\nIt's a medium-width tie with brown stripes.\n\nThe hazard lights click on and off in a steady rhythm.\n\nTeeterwaller looks through his pockets for something.\n\n> You search the teeterwaller's pockets\n\"Hey!\" Teeterwaller protests, moving away from you.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller looks around.\n\n> You examine the manual\nIt's a stack of photocopied pages, bound with a plastic spiral. The cover page reads \"Project Tyche Specification\" at the top, and \"Omegatron Corporation - Copyright 1972 - Confidential\" at the bottom. You glance through it, and find page after page of electronic diagrams and schematics interspersed with dense blocks of technical information and parts lists. None of it is familiar to you, since you're in the software part of the company.\n\nIt occurs to you that you should ask Mr. Teeterwaller about the project some time, since you're always interested in hearing stories about the early days at the company.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> Examine magazine\nThe cover has a photo of a streak of light in the dusk sky above a wooded hilltop, with the caption The Milltown Sighting: A New Re-Examination, Part III.\n\nYou thumb through the magazine. There's an article by an expert on official cover-ups, insisting that the government open an investigation into a previous investigation of an alleged cover-up. Another article describes the many revelations that have come out of Blottnya since the break-up of the old government, including photos from Blottnya's old space program that show that the \"face\" on Mars bears an uncanny resemblance a famous Eastern European television star, raising the possibility that the ancient Martians not only were capable of space travel but time travel as well.\n\nThe interesting thing about the journal is that they're obviously quite serious; it's not a supermarket tabloid.\n\nThe hazard lights click on and off in a steady rhythm.\n\nTeeterwaller looks around purposefully.\n\n> You ask Teeterwaller about Project\n\"I worked on that project, oh, twenty-five years ago or so. We were building an embedded controller system for some industrial equipment; it would be quite routine today, but it had some amazing technology for those days. There were a couple of parts in particular, some logic chips, that seemed to come out of nowhere... without them the project would have been nearly impossible. I got a copy of the old specification document from the corporate archives people a couple of months ago, because I wanted to figure out the history of those logic chips, but for some reason that section of the spec is missing.\"\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You get the map\nTaken.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller looks around.\n\n> You examine it\n\"Excellent idea,\" Teeterwaller says. The two of you unfold the map and inspect it.\n\nYou find state route 142 on the map. You don't know exactly how far you are from Bakerton, but you'd guess that it's at least fifty miles west, which puts you in this big empty expanse out in the valley. The nearest city is Conners City, which is perhaps twenty miles east. The map shows a couple of crossroads that could be a short distance to the east; it doesn't depict any businesses, but it's possible that one of the crossroads has a service station or at least someone with a phone.\n\nThe hazard lights click on and off in a steady rhythm.\n\nTeeterwaller looks around purposefully.\n\n> You open the door\nWhich door do you mean, the driver's door, or the passenger's door?\n\n> You open the passenger's door\nOpened.\n\nThe hazard lights click on and off in a steady rhythm.\n\n> You examine the iD\nIt's your temporary employee identification card; it's just a worn piece of cardboard with the Omegatron logo and the word TEMPORARY stamped in red letters. It's amazing how inefficient the company's bureaucracy is; you've worked at Omegatron for three months now, and you're still stuck with this temporary badge, which doesn't have the little magnetic stripe that opens doors, so you constantly have to call Security to come unlock doors for you.\n\nThe hazard lights click on and off in a steady rhythm.\n\nMr. Teeterwaller looks around.\n\n> Open glove\nOpening the glove compartment reveals a garage opener.\n\nMr. Teeterwaller looks around.\n\n> You look at the garage\nTaken.\n\nTeeterwaller notices you taking the opener. \"That isn't mine,\" he offers. \"I think it belonged to the previous owner of the car. I've never been able to return it, of course, since I bought the car at an estate sale.\"\n\n(the garage opener)\nIt's a small plastic box with a large button. On the back is a small compartment, which is currently closed.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You turn ignition key\nTurning the car key doesn't have any effect.\n\nMr. Teeterwaller looks around.\n\n> You take key\nMr. Teeterwaller looks at you sharply, wondering if you've forgotten whose car this is.\n\nTeeterwaller looks through his pockets for something.\n\n> You open compartment\nOpening the garage opener compartment reveals a battery.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look under the seat\nWhich seat do you mean, the driver's seat, the passenger's seat, or the back seat?\n\n> About yourself\nYou look about the same as always.\n\n> You look under the passenger's seat\nThere's nothing under the passenger's seat.\n\nTeeterwaller looks around purposefully.\n\n> You look under the driver's seat\nThere's nothing under the driver's seat.\n\nTeeterwaller looks through his pockets for something.\n\n> You look under the back seat\nThere's nothing under the back seat.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look at the back seat\nOn the back seat you see a jacket, a Project Tyche manual, and a DUFON journal.\n\nMr. Teeterwaller looks around.\n\n> You take the jacket\nTaken.\n\nTeeterwaller looks through his pockets for something.\n\n> You wear the jacket\nThe jacket is too small for you.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You open the door\nOpened."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, sidekick NPC]\n\n> You look at your surroundings\nThe Toyunchknisk Piglet was imported from Blottnya during the brief period between the fall of the old iron-fisted regime and the ethnic unrest that divided the tiny country into several even tinier countries whose names you can't recall, since the press lost interest several years ago. The car is almost comically spartan, so it's just like your boss to own one. The only amenity the dashboard offers is a glove compartment; no radio, no air conditioner, no console armrest, no cup-holders.\nYou're sitting in the rather uncomfortable passenger's seat. The driver's door is open, and your door is open.\nSitting on the back seat is a Project Tyche manual and a DUFON\njournal. The ignition seems to contain a car key.\nYour boss Mr. Teeterwaller is here.\n\nTeeterwaller looks around purposefully.\n\n> You get manual and the journal\nProject Tyche manual: Taken.\nDUFON journal: Taken.\n\n> Go outside\nMr. Teeterwaller comes with you.\n\nRoad, near car\nThe road stretches off into the dim moonlight to the east and west.\nMr. Teeterwaller's car sits in the shoulder, parked just slightly off the road.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You examine the car\nThe small economy car is parked in the shoulder just off the road. The driver's door is open, and the passenger's door is open.\n\nA corner of the sky glows briefly with a lightning flash.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You ask the boss about the map\n\"Excellent idea,\" Teeterwaller says. The two of you unfold the map and inspect it.\n\nYou find state route 142 on the map. You don't know exactly how far you are from Bakerton, but you'd guess that it's at least fifty miles west, which puts you in this big empty expanse out in the valley. The nearest city is Conners City, which is perhaps twenty miles east. The map shows a couple of crossroads that could be a short distance to the east; it doesn't depict any businesses, but it's possible that one of the crossroads has a service station or at least someone with a phone.\n\nMr. Teeterwaller mumbles something to himself.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nA gravel driveway leads away from the road to the north. The road continues east and west. To the west you can just make out Mr. Teeterwaller's car; it's too dark to see much to the east.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThe driveway ends at a closed roll-up metal door in a large,\nwindowless building to the north. The door looks like it belongs on a one-car garage. Bolted to the side of the building is a heavy steel chain, attached to which is a dog harness. The driveway leads south, back to the road.\nA huge dog chained to the side of the building eyes you warily.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You look at the dog\nThe dog is bigger than you are. You don't recognize the breed; he has tall, pointy ears, a long muzzle, a long bushy tail, and a body like a bear. His hair is light brown, with a few darker markings. He has a harness around his chest, which is attached to a chain.\n\n\"I saw a television program where they explained that guard dogs are usually trained using German commands,\" Teeterwaller says. \"I think you just have to say `aus,' which is German for `out,' to call off an attack.\"\n\nMr. Teeterwaller looks around.\n\n> You press the button\nYou press the button. A moment later, you hear a thunk, and the door starts opening. The door slowly rolls up its tracks, and finally stops when fully open.\n\n> You enter garage\n(the garage opener button)\nI don't know how to enter the garage opener button.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You go to the north\nThe dog jumps into your path, snarling and growling, refusing to let you pass.\n\nLightning flashes for a moment on the horizon.\n\n> Pet dog\nThe dog is acting too menacing to pet him right now.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> Aus\nThe dog rears up on his hind legs and barks angrily at you.\n\nTeeterwaller practically jumps into the air at the barking and runs back a ways further from the dog. \"I guess this must not be a German dog,\" he says.\n\nThe dog gradually calms down again, and resumes his guarding posture.\n\n> You ask Dog,  to go outside\nThe dog just snarls at you menacingly.\n\n> You sit\nWhat do you want the huge dog to sit on?\n\n> Down\nThe dog just snarls at you menacingly.\n\nMr. Teeterwaller looks around.\n\n> You examine the chain\nIt's about ten feet long and made of heavy steel links. One end is bolted to the wall of the building; at the other end is a clip, which is attached to the dog harness.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You unclip the chain\nThe dog tenses up as you approach and snarls menacingly. You decide to keep at a safe distance.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nMr. Teeterwaller looks around.\n\n> You look at the harness\nThe harness goes around a dog's chest. Even though it's meant for a dog, this one seems like it's big enough for a bear. At the top of the harness is a ring that's used to attach the harness to a chain or leash; it's currently attached to the chain.\n\nIn the distance, a flash of lightning glows in the sky.\n\nMr. Teeterwaller looks around.\n\n> You look at ring\nThe harness goes around a dog's chest. Even though it's meant for a dog, this one seems like it's big enough for a bear. At the top of the harness is a ring that's used to attach the harness to a chain or leash; it's currently attached to the chain.\n\nA corner of the sky glows briefly with a lightning flash.\n\nTeeterwaller looks through his pockets for something.\n\n> You eat Teeterwaller\nThe dog just snarls at you menacingly.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, and a DUFON journal. The garage opener compartment seems to contain a battery.\n\nLightning flashes for a moment on the horizon.\n\n> You throw jacket at the dog\nYou miss.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You go south\nMr. Teeterwaller comes with you.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe road continues east and west, rising slightly as it crosses a\ndeep ditch. Metal guard rails run alongside the road on both sides to prevent vehicles from running into the ditch. You can't see anything through the darkness to the west, but to the east you can see some dimly flashing lights.\n\n> You go to the east\nMr. Teeterwaller comes with you.\n\nA set of wooden barricades, painted with orange stripes and topped\nwith flashing orange lights, stand blocking the road to the east to vehicles, and \"Detour\" signs point to the intersecting road leading south. Beyond the signs, trucks and construction machinery sit idle on the road, presumably awaiting the return of workers in the morning.\n\nLightning flashes for a moment on the horizon.\n\n> You get the lights\nYou can't have the barricade.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You examine the ditch\nIt's a deep ditch, running north and south under the road.\n\nMr. Teeterwaller looks around.\n\n> Search ditch\nYou find nothing of interest.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You examine the rail\nThe guard rails are heavily dented from years of collisions. At the right end of the rail on the north side of the road, you notice a narrow foot path leading northeast.\n\n> Go northeast\nMr. Teeterwaller comes with you.\n\nThe path runs north and south alongside a deep ditch, which is to\nthe west. The road lies to the south.\n\n> You examine ditch\nThe ditch runs north and south alongside the path. The banks are steep here.\n\nA corner of the sky glows briefly with a lightning flash.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You enter ditch\nThe bank is too steep to climb down here.\n\nA corner of the sky glows briefly with a lightning flash.\n\n> You go to the north\nThe path veers toward the ditch, then slopes down along a terrace cut into the ditch's bank until it reaches the bottom of the ditch.\n\nMr. Teeterwaller comes with you.\n\nthe ditch. The path to the south climbs a narrow terrace cut into the ditch's bank. You can't go any further north, but the tenuous ledge hugging the bank to the southwest looks passable; without something to light the way, though, it would be too dangerous.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You look at the terrace\nIt's just wide enough to accommodate the path.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You take the battery\nBehind the battery, you find a diagram showing the proper way to install the battery, and a bank of tiny switches.\n\nTaken.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You look at the water\nThe ditch runs north and south.\n\nMr. Teeterwaller watches you expectantly.\n\n> You examine the switches\nEight tiny slide switches are lined up next to each other. On the side of each switch, eight small notches show the possible positions; each switch can be set to a number from 0 to 7. Currently, the switches are in the following positions: 55567562. Just above the switches, someone has written \"55567562\".\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You examine diagram\nThe diagram shows the correct way to install the battery.\n\nLightning flashes for a moment on the horizon.\n\nTeeterwaller looks around purposefully.\n\n> You go to the north\nYou can't go that way.\n\nTeeterwaller looks through his pockets for something.\n\n> Go south\nThe path ascends a terrace cut into the ditch's bank back to the top of the bank.\n\nMr. Teeterwaller comes with you.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You go south\nMr. Teeterwaller comes with you."
    },
    {
        "text": "[Themes: Science Fiction, Espionage]\n\n> Look around\nA set of wooden barricades, painted with orange stripes and topped\nwith flashing orange lights, stand blocking the road to the east to vehicles, and \"Detour\" signs point to the intersecting road leading south. Beyond the signs, trucks and construction machinery sit idle on the road, presumably awaiting the return of workers in the morning. Your boss Mr. Teeterwaller is here.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nMr. Teeterwaller looks around.\n\n> You look at the machinery\nThe barricades block vehicle travel to the east, and direct traffic along the road to the south.\n\nTeeterwaller looks around purposefully.\n\nYou can't see much detail from here, but all of the equipment looks idle.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nThe road runs north and south. To the north, you can just make out\nthe dim lights of the detour barricades.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nA light fog hangs over the road in the still night air. The road continues into the darkness to the north. To the south, distant lights glow weakly through the fog.\n\n> You look at the fog\nIt's a thin fog, not dense enough to obscure nearby objects very much, but it gives the night air a damp chill.\n\nTeeterwaller looks around purposefully.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nThe road ends at the gated entrance to a huge industrial complex sprawling over the foggy landscape to the south. A tall chain-link fence surrounds the complex; the fence is interrupted only by a sliding section of fence that serves as a gate (currently closed) across the road. Narrow paths run along the outside of the fence east and west of the road. The road continues into the darkness to the north.\n\n\"That's curious,\" Teeterwaller mumbles. \"Why would they set up a detour that just comes to a dead end?\"\n\n> You examine the lights\nThe complex must be a chemical factory, or an oil refinery, or perhaps a power plant. Towering smokestacks and fat vertical tanks are wrapped in a thick tangle of pipes, which run up the towers, between smokestacks, alongside each other, grouped together in wide sets of parallel cylinders for hundreds of yards and then suddenly parting ways, bending abruptly up, down, around one other, joining new groups for a while then bending away again. Atop the towers are flashing lights to warn off aircraft, dozens of lights slowly flashing to their own rhythm, twinkling sometimes with their neighbors and often on their own.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You open gate\nThe gate is securely closed.\n\n> You press button\nI don't know the word \"fense\".\n\n\"Click.\"\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the fence\nThe fence is huge, easily twenty feet high, and topped with loops of razor wire.\n\nIn the distance, a flash of lightning glows in the sky.\n\nMr. Teeterwaller looks around.\n\n> You examine path\nIt's not much of a path; just a narrow band along the fence where no vegetation is growing. One path leads east, and another leads west.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You look at the gate\nThe gate is merely a separate section of the fence that slides across the road. It's currently closed.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You go to the east\nMr. Teeterwaller comes with you.\n\nfence, creating this path. The road is just to the west, and the enormous plant complex is beyond the fence to the south. The terrain slopes up to the east.\n\nLightning flashes for a moment on the horizon.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe terrain is considerably elevated above the road, which lies some distance to the west. Scrubby bushes grow almost up to the fence here, making it too difficult to travel further to the east. The elevation gives you a clear view of the road through the vegetation. The sprawling plant complex lies to the south, beyond the fence, and the path leads west along the fence.\n\nFrom the direction of the plant, you hear three short, low-pitched electronic beeps, distant and echoing but still loud, then a deep male voice, broadcast through a public address system in the plant.\n\n\"Section blue, section green, clear sector S, stand by stations. Section black, target approaching, commence operation.\"\n\nFrom the road to the north, faint lights come into view, moving down the road toward the gate. The lights come closer and you see that several large vehicles are approaching.\n\nThe gate in the fence starts slowly sliding open. A group of men wearing dark jumpsuits and black helmets and carrying machine guns trot out through the gate; some take up positions along the shoulder of the road, others run out into the underbrush alongside the road. The men keep pouring out of the gate until at least a couple hundred have emerged.\n\nThe first few of the approaching vehicles rumble to a stop near the gate. You can now see that the vehicles are large semi trucks, painted a uniform white, without any markings you can see.\n\n> You search the bushes\nYou find nothing of interest.\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe last of the trucks rolls to a stop up the road; you count eight trucks. Some of the armed men start moving in groups towards the trucks, while others remain crouched along the sides of the road.\n\nMr. Teeterwaller crouches behind the bushes, watching the road intently. \"Get down! Get down!\" he whispers at you urgently. You move to conceal yourself a little better.\n\n> You wait\nTime passes...\n\nIn the distance, a flash of lightning glows in the sky.\n\nTeeterwaller nervously watches the road through the bushes.\n\nOne by one, the truck drivers emerge from their cabs, holding their arms up while the armed men lead them away from the trucks, towards the plant gate.\n\nThe fourth truck in line suddenly lurches forward, pulls out of the line, and starts picking up speed, sending everyone on the road scrambling to get out of its way. Gunfire immediately erupts from the men flanking the road, and the truck is engulfed in a shower of sparks and flying metal. The cab of the truck suddenly lurches sideways; half a moment later a deafening boom sounds. The truck rolls off the road and stops as the engine compartment bursts into flames; two figures jump out of the cab and flee in opposite directions.\n\nMore gunfire from up the road. Soldiers in full battle gear have come storming out of the backs of two of the trucks and are scrambling around the trucks looking for cover, and trying to fire back through the hailstorm of bullets coming from the sides of the road.\n\n> You wait\nTime passes...\n\nLightning flashes for a moment on the horizon.\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe gunfire starts to trail off. Soon the soldiers seem to be the only ones firing; they quickly notice this and stop firing, looking warily around.\n\nA deep rumbling sound draws your attention to the plant gate, where you see a tank come rolling out onto the road. The tank rumbles to a stop just past the first truck. The tank's turret swings slowly around until the protruding cylinder of its cannon is pointed at one of the trucks the soldiers are using for cover. Almost in unison, the soldiers around the truck bolt from their positions and scatter across the road; only a moment later, flames shoot out of the tank's cannon and the truck explodes in a huge fireball.\n\nThe attackers waste no time rounding up the scattered soldiers, and the remaining soldiers quickly surrender and are marching toward the plant gate with their hands in the air.\n\n> Wait\nTime passes...\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe last of the soldiers march into the plant, a large contingent of their attackers escorting them at gunpoint. A few dozen of the armed men continue patrolling around the edges of the road, but most are heading back towards the gate.\n\nElectronic beeps echo from the direction of the plant, followed by a voice on the PA system. \"Section blue, section green, all clear. Section white, initiate containment procedures.\"\n\nFrom up the road, several vehicles that look like road construction equipment--dump trucks,bulldozers,and the like--roll toward the wreckage. At the same time, a few dozen people wearing blue hard hats and tool belts, making them look like construction workers, walk out of the complex's gate and start heading purposefully toward the trucks.\n\n> You wait awhile\nTime passes...\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe trucks that are still intact start moving into the plant, one by one, as the bulldozers clear a path through the wreckage.\n\n> You wait\nTime passes...\n\nA lightning flash momentarily lights up the sky in the distance.\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe construction workers continue clearing the wreckage out of the road.\n\n\"Did you see that?\" Teeterwaller says, talking very quietly. \"What could that have been about?\"\n\n> Xyzzy\nPoof! In a cloud of orange smoke, you're magically transported to...\n\nThe terrain is considerably elevated above the road, which lies some distance to the west. Scrubby bushes grow almost up to the fence here, making it too difficult to travel further to the east. The elevation gives you a clear view of the road through the vegetation. The sprawling plant complex lies to the south, beyond the fence, and the path leads west along the fence.\nYour boss Mr. Teeterwaller is here.\n\n(Okay, it wasn't that magical.)\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe construction workers continue to clear the wreckage from the road.\n\n\"Look,\" Teeterwaller says, \"I know this is going to sound a little strange, but I think we should try and find out what's going on here.\nI think we need to get inside there,\" he says, indicating the industrial complex beyond the fence. \"I think this could be really important.\"\n\n> You go west\nTeeterwaller stops you. \"Let's stay here for a moment,\" he whispers. \"We need to figure out what's going on before we walk into the middle of this.\"\n\nIn the distance, a flash of lightning glows in the sky.\n\nTeeterwaller nervously watches the road through the bushes.\n\nThe construction workers clear the last of the wreckage from the road. The construction equipment and workers withdraw into the complex, leaving only a few of the armed men still out on the road.\n\n\"I could really use your help getting in there,\" Teeterwaller says. \"I know it could be dangerous, so if you don't want to join me, if you just want to return to the car and wait for help, I'll understand. But I'm not sure I can do it alone.\"\n\n> You ask Teeterwaller about the plant\n\"All I can tell is that it looks like a chemical plant.\"\n\nTeeterwaller nervously watches the road through the bushes.\n\nYou hear the rumbling of approaching trucks, this time from the complex. Out of the gate comes a large, white truck, exactly like the ones that arrived before the fighting. The truck accelerates up the road to the north. Another truck follows, then another, until the trucks number eight. These obviously aren't the original eight, though, since several of those were badly damaged in the fighting.\n\n\"I used to fancy myself something of an amateur sleuth,\" Teeterwaller tells you, looking a little sheepish and little smug at the same time. \"This will give me a chance to get back in practice.\"\n\nThe trucks travel away to the north until they're out of sight. The remaining men on the road withdraw into the complex, and the gate slides shut.\n\n> You go west\nYou start back towards the road, staying alert for anyone who might still be patrolling.\n\nMr. Teeterwaller comes with you.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nLightning flashes for a moment on the horizon.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nThe path ends abruptly to the west with a wall of tall, thorny\nbushes growing out of a deep ditch. The road is just to the east, and the plant complex is on the other side of the fence to the south.\nA metal framework under the fence inside the ditch is visible\nthrough the bushes.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You look at the framework\nThe framework is inside the ditch, under the fence, so you can't easily see the whole thing through the bushes. Two vertical rails, one on each side of the ditch, are connected at the top by a crossbar. A winch is in the center of the crossbar, and a pair of cables lead down from the winch.\n\n> You search the bushes\nYou find nothing of interest.\n\nMr. Teeterwaller looks around.\n\n> Down\nThe bushes are too thick.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThe main road leads east and west here. A smaller intersecting road leads south.\n\n\"Isn't this where the detour was?\" Teeterwaller mumbles to himself.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go to the east\nMr. Teeterwaller comes with you.\n\nThe brush alongside the road is crushed against the ground, and deep tracks from heavy machinery are pressed into the soil. The road continues east and west; you can see only darkness in either direction.\n\n> You examine tracks\nThe tracks are from several different types of trucks or tractors; they're wide and deep, clearly from heavy equipment. They don't lead anywhere, but just meander on and off the road for a stretch, as though the equipment was turning around at this spot.\n\nYou notice a flashlight partially hidden by some of the flattened brush. You reach down and pick up the flashlight.\n\n> You turn on flashlight\nYou switch on the flashlight.\n\nLightning flashes for a moment on the horizon.\n\nTeeterwaller looks through his pockets for something.\n\n> You turn off the flashlight\nYou switch off the flashlight.\n\nTeeterwaller looks around purposefully.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nThe road continues east and west. It's too dark to see much in\neither direction.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nA small, dilapidated building is just north of the road, which continues east and west. In the darkness, you can just barely make out a sign by the side of the road.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You examine the sign\nMilltown   51 mi\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThis one-room schoolhouse has clearly been out of use for many\nyears. A chalkboard is on one wall, and a single desk remains. Exits lead north and south.\n\n> You look at chalkboard\nThe blackboard is chipped and warped with age.\n\nMr. Teeterwaller looks around.\n\n> You examine the desk\nIt's the type that combines a desk and a chair into one unit. The top of the desk can be opened to get at a storage area. The top is currently closed.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You open the desk\nOpening the desk reveals a book.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You read the book\nTaken.\n\n\n\nIt seems to be an elementary Blottnian textbook, for learning Blottnian as a foreign language. Despite its age (\"copyright 1967, The Horton, Merfin Company, New York\"), it's still intact. It has chapters numbered 1 through 5 that you can read.\n\nTeeterwaller looks around purposefully.\n\n> You read 1\nInshna Hojdzunshchk!\n\nWelcome to your introductory Blottnian course! In this book, we will learn not only how to speak and write the Blottnian language, but much about the rich history and colorful culture of the nation of Blottnya.\n\n(The chapter goes on at length about how to use the textbook and accompanying audio tapes; a quick scan of the chapter reveals little of note.)\n\nTeeterwaller looks through his pockets for something.\n\n> You read 3\nThis chapter discusses the culture of Blottnya. You scan a few of the passages.\n\nA picture of a dog, which looks very much like the guard dog you encountered earlier, is accompanied by a caption:\n\nYears ago, herders used the Blottnian Moose Dog to help control their herds. Centuries of careful breeding have made the Moose Dog extremely intelligent and hard-working. Today, the same herding instinct that once served moose herders now serves Blottnian government security police, who use the Moose Dog to help control the cheerful citizens. Blottnya even trains Moose Dogs for service abroad; guard dogs are the country's second largest export.\n\nTeeterwaller reads the book over your shoulder. \"I've never heard of anyone in this country studying Blottnian before,\" he says.\n\n> You ask Teeterwaller about the blottnya\n\"I went there on a business trip once,\" he says. \"That was years ago, back when they had a government. It was a little scary--they had undercover police following us around everywhere, and you could hear them listening in on the phone. I wouldn't want to go back.\"\n\n> You read 5\nThis is a chapter on culture, focusing on how children in Blottnya are raised. For example, it points out that parents in Blottnya are very fond of using reverse psychology, always telling children just the opposite of what they want them to do. Apparently this practice applies to road signs as well, making driving in Blottnya extremely confusing for foreigners.\n\nTeeterwaller looks through his pockets for something.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThis school yard must always have been a modest playground at best,\nbut is now little more than a dirt patch overgrown with weeds. The schoolhouse building is to the south.\nYou see a hand pump here.\n\n> You look at the pump\nTaken.\n\nTeeterwaller looks through his pockets for something.\n\nIt's a small hand-operated pump, probably for inflating basketballs or something similar.\n\nMr. Teeterwaller watches you expectantly.\n\n> You go to the east\nTeeterwaller stops you. \"Look at the sign!\" he says, flustered. \"We can't walk twenty-five miles. We'll miss our meeting!\"\n\n> You go to the west\nMr. Teeterwaller comes with you.\n\nA corner of the sky glows briefly with a lightning flash.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nA huge dog chained to the side of the building eyes you warily.\n\n> Azdrupu\nThe dog stands up on his hind legs for a few moments, then resumes his guarding posture.\n\n> Yijtgu\nThe dog sits down for a moment, then resumes his guarding posture.\n\nA corner of the sky glows briefly with a lightning flash.\n\n> Wurtru\nThe dog suddenly becomes very friendly. He wags his tale and whines at you happily.\n\n\"Whatever you said, it worked!\" Teeterwaller exclaims. He cautiously approaches the dog and pets him, getting lots of licking and tail-wagging in return.\n\n> You remove the clip\nThe chain is securely bolted to the wall.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You unclip the harness\nYou unfasten the chain from the harness.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You get the chain\nThe chain is securely bolted to the wall.\n\nA corner of the sky glows briefly with a lightning flash.\n\n> You examine harness\nThe harness goes around a dog's chest. Even though it's meant for a dog, this one seems like it's big enough for a bear. At the top of the harness is a ring that's used to attach the harness to a chain or leash.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Shchrudu\nThe dog looks at you curiously, but seems to decide he'd rather stay friends.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThis cavernous space is broken up only by a few vertical steel beams supporting the roof high above. A diffuse yellow glow from pale lights suspended from above filters down through the thick dust hanging in the air.\nRows of drab gray metal desks extend off in all directions,\nseparated by just enough space to form aisles. On each desk is a ragged pile, several feet high, of assorted papers, and a small machine of some kind. Some of the piles of paper are narrow, precariously balanced columns, others are mounds; a few have fallen over, scattering papers across the floor.\nA large door (currently open) to the south leads out of the\nbuilding. The area near the door, where you're standing, is clear of desks, and instead is mostly open, except for a huge workbench.\nSeveral huge burlap sacks full of envelopes are piled alongside the workbench.\nSitting on the workbench is a small plastic device and a looseleaf page.\n\n> You examine the device\nThe device appears to be a portable hand-held scanner of some kind.\nThe boxy plastic body is mounted on top of a pistol grip with a trigger; at the front of the body is a little red window, and on top is an electronic display. Clearly, you are meant to hold the scanner by the grip, point it at an object to be scanned, and pull the trigger. The display is currently dark.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You look at the page\nWhich page do you mean, the Project Tyche manual, or the looseleaf page?\n\n> You examine the looseleaf\nWhich looseleaf do you mean, the looseleaf page, or the looseleaf page bar code?\n\n> You examine the looseleaf page\nIt's an 8\u00bd-by-11 page with holes punched in the margin; it must have fallen out of a three-ring binder.\n\n> You examine the bar code\nWhich bar code do you mean, the black box bar code, or the looseleaf page bar code?\n\n> You take all\nportable hand-held scanner: Taken.\nlooseleaf page: Taken.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the looseleaf page bar code\nThe bar code consists of a series of vertical bars of varying thickness, with the number 20300273 written just below the bars in computer-style block numerals.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You scan him\n(with the portable hand-held scanner)\nYou can't reach that from here.\n\n> You read the looseleaf page\nITEM: Gazette SonarTrack Razor 3-Pack\n\nREBATE AMOUNT: $2.15\n\nUPC: 20300273\n\nIMPORTANT: Verify all UPC bar-code symbols with scanner.\n\nBelow this is a bar code, of the same type that you see on packages in the supermarket, with the number 20300273 written in computer-style block numerals just below the vertical bars.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You look at the sacks\nAbout ten large burlap sacks are piled haphazardly beside the workbench. They're all filled to overflowing with envelopes.\n\n> You examine the envelopes\nThere are far too many envelopes for a thorough examination, but you pick a few at random, and find that they're all addressed to different products' rebate offers: Healthy Concern Low-Fat Cr\u00e8me Br\u00fbl\u00e9e Frozen Dessert $1.51 Rebate Offer, Gazette SonarTrac Razor 3-Pack $2.15 Mail-In Rebate Offer, Sergeant Sweet's Peanut Butter Sweet with Chocolaty Chips and Macadamia Nuts 44 Ounce Breakfast Cereal $3.77 Rebate Offer, ToxiCola 24-Pack $1.01 Mail-In Rebate Offer, Mrs. Palfrey's Olde-Tyme Naturally and Artificially Flavoured Snacking Cones $2.35 Rebate Offer, Blowiger's Very Fine Teas $0.90 Rebate Offer, Shane's No-Spill Men's 100% Cotton Briefs $2.80 Mail-In Rebate Offer, and many more. Even though each envelope is for a different product's rebate offer, they all have the same address: PO Box 2004, Conners City.\n\n> You scan the looseleaf bar code\n(with the portable hand-held scanner)\nYou point the scanner at the bar code and pull the trigger.\nPencil-thin lines of red light vibrate across the bar code for a few moments, then the scanner emits a short bip, and the display lights up to show: 2.15.\n\nTeeterwaller looks around purposefully.\n\n> Search envelopes\nYou find nothing of interest.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You get the looseleaf\nWhich looseleaf do you mean, the looseleaf page, or the looseleaf page bar code?\n\n> You get the looseleaf page\nYou already have the looseleaf page!\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You examine the desks\nThe desks are arranged in closely-spaced rows stretching off in all directions. Each of the desks has a huge heap of papers on one side, and a small machine on the other.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the machine\nThe machines look a little like typewriters, but they have strange keyboards, and the paper-feeding mechanisms don't look like they're for paper.\n\n\"Those are card punch three-three-five's,\" Teeterwaller says, sounding surprised. It takes you a moment to figure out what he means, then you realize he's talking about a model number, something like Card Punch 335~. \"I haven't seen one of these in years,\" he says. You're afraid he's going to go off on one of his tangents about the good old days of computing when real programmers had to key in the operating system in binary with their toes, but he just looks fondly at the machines.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the piles\nThe piles look random; they're composed of papers of all sizes and colors.\n\n> Search piles\nThey're too far away.\n\nMr. Teeterwaller mumbles something to himself."
    },
    {
        "text": "[Themes: Science Fiction, Espionage]\n\n> Look around\nThis cavernous space is broken up only by a few vertical steel beams supporting the roof high above. A diffuse yellow glow from pale lights suspended from above filters down through the thick dust hanging in the air.\nRows of drab gray metal desks extend off in all directions,\nseparated by just enough space to form aisles. On each desk is a ragged pile, several feet high, of assorted papers, and a small machine of some kind. Some of the piles of paper are narrow, precariously balanced columns, others are mounds; a few have fallen over, scattering papers across the floor.\nA large door (currently open) to the south leads out of the\nbuilding. The area near the door, where you're standing, is clear of desks, and instead is mostly open, except for a huge workbench.\nSeveral huge burlap sacks full of envelopes are piled alongside the workbench.\nYour boss Mr. Teeterwaller is here.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look at the workbench\nThe workbench is very wide, and dominates the entire open area near the door. On closer inspection, you see that it's not merely a workbench, but is actually a machine of some kind. In the center of surface of the workbench is a rectangular depression, about the size of a coffee-table book and about four inches deep, lined at the bottom with little gears and wheels; it's currently empty. Sticking out of the front of the workbench, roughly under the top depression, is a metal basket, of roughly the same dimensions as the depression, placed in front of a chute coming out of the workbench; the basket contains a deck of punched cards.\n\nOn top of the workbench, near the depression, is a knob that looks like the channel dial on a really old television; the knob can be set to values from 0 to 7, and is currently set to 0. Next to the knob is a black push-button.\n\nThere's nothing on the workbench.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the cards\nThe deck is ten inches thick and must contain thousands of cards--far too many to examine individually. Each card has numerous neat little square holes randomly dispersed across the card, and a series of numbers printed across the top, corresponding to the punched holes.\nThe numbers are arranged into groups: the first group has eight digits; the second group has one or two digits, then a decimal point, then two more digits.\n\nGlancing through the deck, you notice that the cards are sorted by the first group of numbers, which would make it easy to find a particular number of that group in the deck.\n\nMr. Teeterwaller watches you expectantly.\n\n> You take the cards\nTaken.\n\n> You look at the knob\nThe knob looks like the mechanical channel dials on old televisions.\nIt can be set to positions numbered from 0 to 7; it's currently set to 0.\n\nMr. Teeterwaller looks around.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a battery, a flashlight, a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, a looseleaf page, and a deck of punched cards.\n\n> You examine the deck\nThe deck is ten inches thick and must contain thousands of cards--far too many to examine individually. Each card has numerous neat little square holes randomly dispersed across the card, and a series of numbers printed across the top, corresponding to the punched holes.\nThe numbers are arranged into groups: the first group has eight digits; the second group has one or two digits, then a decimal point, then two more digits.\n\nGlancing through the deck, you notice that the cards are sorted by the first group of numbers, which would make it easy to find a particular number of that group in the deck.\n\nMr. Teeterwaller looks around.\n\n> You put the cards in the depression\nDone.\n\n> You look up 20300273 in the deck\nThe cards are sorted, so you easily flip through the deck to where 20300273 should be. You find a card that looks like this:\n\n20300273        2.15\n\n> You press the button\n(the black push-button)\nThe machine inside the workbench grinds into action. Waves of motion start rippling through the cards sitting in the depression, and they all vibrate rapidly. The machinery makes more and more noise until the whole workbench is vibrating wildly. Suddenly, the cards start disappearing into the machinery, and after a few moments the entire deck has been sucked inside the workbench.\n\nThe workbench impossibly gets even louder, and starts making bangs and clunks at irregular intervals--clunk... whir... bang-bang-bang-clunk... whir... clunk-bang... clunk... bang-bang... whir...\n\nSuddenly, the cards start issuing from the chute at incredible speed and lining up neatly in the basket. It only takes a few seconds before the entire deck has been reassembled.\n\nThe noise from the machinery starts to subside, falling in both pitch and volume as the gears and flywheels coast to a halt within the workbench. The machine eventually becomes quiet and still.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You look at the cards\nThe deck is ten inches thick and must contain thousands of cards--far too many to examine individually. Each card has numerous neat little square holes randomly dispersed across the card, and a series of numbers printed across the top, corresponding to the punched holes.\nThe numbers are arranged into groups: the first group has eight digits; the second group has one or two digits, then a decimal point, then two more digits.\n\nGlancing through the deck, you notice that the cards are sorted by the first group of numbers, which would make it easy to find a particular number of that group in the deck.\n\n> You put the cards in the depression\nDone.\n\nMr. Teeterwaller watches you expectantly.\n\n> You press the button\n(the black push-button)\nThe machine inside the workbench grinds into action. Waves of motion start rippling through the cards sitting in the depression, and they all vibrate rapidly. The machinery makes more and more noise until the whole workbench is vibrating wildly. Suddenly, the cards start disappearing into the machinery, and after a few moments the entire deck has been sucked inside the workbench.\n\nThe workbench impossibly gets even louder, and starts making bangs and clunks at irregular intervals--clunk... whir... bang-bang-bang-clunk... whir... clunk-bang... clunk... bang-bang... whir...\n\nSuddenly, the cards start issuing from the chute at incredible speed and lining up neatly in the basket. It only takes a few seconds before the entire deck has been reassembled.\n\nThe noise from the machinery starts to subside, falling in both pitch and volume as the gears and flywheels coast to a halt within the workbench. The machine eventually becomes quiet and still.\n\nTeeterwaller looks around purposefully.\n\n> You look at the cards\nThe deck is ten inches thick and must contain thousands of cards--far too many to examine individually. Each card has numerous neat little square holes randomly dispersed across the card, and a series of numbers printed across the top, corresponding to the punched holes.\nThe numbers are arranged into groups: the first group has eight digits; the second group has one or two digits, then a decimal point, then two more digits.\n\nGlancing through the deck, you notice that the cards are sorted by the second group of numbers, which would make it easy to find a particular number of that group in the deck.\n\n> You turn the knob to 2\nOkay, it's now turned to 2.\n\nTeeterwaller looks around purposefully.\n\n> You put the cards in the depression\nDone.\n\n> You look at the cards\nThe deck is ten inches thick and must contain thousands of cards--far too many to examine individually. Each card has numerous neat little square holes randomly dispersed across the card, and a series of numbers printed across the top, corresponding to the punched holes.\nThe numbers are arranged into groups: the first group has eight digits; the second group has one or two digits, then a decimal point, then two more digits.\n\nGlancing through the deck, you can detect no apparent ordering; they're just randomly arranged in the deck, which would make it next to impossible to find a particular number in the deck.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You press button\nDone.\n\nMr. Teeterwaller seems to be lost in thought.\n\nThere are words after your command that I couldn't use.\n\n> You examine the switches\nEight tiny slide switches are lined up next to each other. On the side of each switch, eight small notches show the possible positions; each switch can be set to a number from 0 to 7. Currently, the switches are in the following positions: 55567562. Just above the switches, someone has written \"55567562\".\n\n> You press the button\n(the black push-button)\nThe machine inside the workbench grinds into action. Waves of motion start rippling through the cards sitting in the depression, and they all vibrate rapidly. The machinery makes more and more noise until the whole workbench is vibrating wildly. Suddenly, the cards start disappearing into the machinery, and after a few moments the entire deck has been sucked inside the workbench.\n\nThe workbench impossibly gets even louder, and starts making bangs and clunks at irregular intervals--clunk... whir... bang-bang-bang-clunk... whir... clunk-bang... clunk... bang-bang... whir...\n\nSuddenly, the cards start issuing from the chute at incredible speed and lining up neatly in the basket. It only takes a few seconds before the entire deck has been reassembled.\n\nThe noise from the machinery starts to subside, falling in both pitch and volume as the gears and flywheels coast to a halt within the workbench. The machine eventually becomes quiet and still.\n\n> You look up 55567562 in the deck\nThe cards are sorted, so you easily flip through the deck to where 55567562 should be. You find a card that looks like this:\n\n55567562        2.57\n\nMr. Teeterwaller seems to be lost in thought.\n\n> 57 in the envelopes\nYou can't look up anything in the envelopes.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You look up 12345678 in the deck\nSince the cards are sorted, you easily flip through the deck to where 12345678 should be, but you don't find a card with that value.\n\nTeeterwaller looks around purposefully.\n\n> You look up 12345670 in the deck\nSince the cards are sorted, you easily flip through the deck to where 12345670 should be, but you don't find a card with that value.\n\nTeeterwaller looks around purposefully.\n\n> You look at the envelopes\nThere are far too many envelopes for a thorough examination, but you pick a few at random, and find that they're all addressed to different products' rebate offers: Healthy Concern Low-Fat Cr\u00e8me Br\u00fbl\u00e9e Frozen Dessert $1.51 Rebate Offer, Gazette SonarTrac Razor 3-Pack $2.15 Mail-In Rebate Offer, Sergeant Sweet's Peanut Butter Sweet with Chocolaty Chips and Macadamia Nuts 44 Ounce Breakfast Cereal $3.77 Rebate Offer, ToxiCola 24-Pack $1.01 Mail-In Rebate Offer, Mrs. Palfrey's Olde-Tyme Naturally and Artificially Flavoured Snacking Cones $2.35 Rebate Offer, Blowiger's Very Fine Teas $0.90 Rebate Offer, Shane's No-Spill Men's 100% Cotton Briefs $2.80 Mail-In Rebate Offer, and many more. Even though each envelope is for a different product's rebate offer, they all have the same address: PO Box 2004, Conners City.\n\nTeeterwaller looks through his pockets for something.\n\n> You turn the dial to 1\nOkay, it's now turned to 1.\n\nMr. Teeterwaller looks around.\n\n> You press the button\n(the black push-button)\nThe machine inside the workbench grinds into action. Waves of motion start rippling through the cards sitting in the depression, and they all vibrate rapidly. The machinery makes more and more noise until the whole workbench is vibrating wildly. Suddenly, the cards start disappearing into the machinery, and after a few moments the entire deck has been sucked inside the workbench.\n\nThe workbench impossibly gets even louder, and starts making bangs and clunks at irregular intervals--clunk... whir... bang-bang-bang-clunk... whir... clunk-bang... clunk... bang-bang... whir...\n\nSuddenly, the cards start issuing from the chute at incredible speed and lining up neatly in the basket. It only takes a few seconds before the entire deck has been reassembled.\n\nThe noise from the machinery starts to subside, falling in both pitch and volume as the gears and flywheels coast to a halt within the workbench. The machine eventually becomes quiet and still.\n\n> 77 in the deck\nThe cards are sorted, so you easily flip through the deck to where 3.77 should be. You find a card that looks like this:\n\n41531454        3.77\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nA huge dog is here, happily puttering around.\n\n> Pet Dog\nThe dog wags his tail at you happily, and returns to his puttering around.\n\nTeeterwaller looks around purposefully.\n\n> Go northeast\nIt's too dangerous to attempt to travel the off-road terrain on foot in this darkness.\n\nTeeterwaller looks through his pockets for something.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go to the northeast\nMr. Teeterwaller comes with you.\n\nLightning flashes for a moment on the horizon."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, science fiction, sidekick NPC]\n\n> Look around\nThe path runs north and south alongside a deep ditch, which is to\nthe west. The road lies to the south.\nYour boss Mr. Teeterwaller is here.\n\nTeeterwaller looks around purposefully.\n\n> You go north\nThe path veers toward the ditch, then slopes down along a terrace cut into the ditch's bank until it reaches the bottom of the ditch.\n\nMr. Teeterwaller comes with you.\n\n> Go south\nThe path ascends a terrace cut into the ditch's bank back to the top of the bank.\n\nMr. Teeterwaller comes with you.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nRoad, near car\n\nA corner of the sky glows briefly with a lightning flash.\n\n> You go to the west\nMr. Teeterwaller comes with you.\n\nThe road continues east and west. To the east you can just make out Teeterwaller's car. It's too dark to see much to the west, although you remember from having driven this stretch that there's nothing for a long ways.\n\n> You go west\nTeeterwaller stops you. \"We just came from this direction,\" he says. \"There's nothing this way for at least twenty miles.\"\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nRoad, near car\nThe road stretches off into the dim moonlight to the east and west.\nMr. Teeterwaller's car sits in the shoulder, parked just slightly off the road.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nA gravel driveway leads away from the road to the north. The road continues east and west. To the west you can just make out Mr. Teeterwaller's car; it's too dark to see much to the east.\n\n> Go northeast\nIt's too dangerous to attempt to travel the off-road terrain on foot in this darkness.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe road continues east and west, rising slightly as it crosses a\ndeep ditch. Metal guard rails run alongside the road on both sides to prevent vehicles from running into the ditch; a narrow foot path leads northeast from the end of the north rail. In the darkness, you can't see far down the road in either direction.\n\n> Go north\nThe path veers toward the ditch, then slopes down along a terrace cut into the ditch's bank until it reaches the bottom of the ditch.\n\nMr. Teeterwaller comes with you.\n\nthe ditch. The path to the south climbs a narrow terrace cut into the ditch's bank. You can't go any further north, but the tenuous ledge hugging the bank to the southwest looks passable; without something to light the way, though, it would be too dangerous.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You turn on the flashlight\nYou switch on the flashlight.\n\nMr. Teeterwaller watches you expectantly.\n\n> Go southwest\nIt's difficult, but since you have enough light to see what you're doing, you manage to make your way further along the ledge.\n\n\"Wait for me!\" your boss cries from behind. You shine the light back for him, and he nervously negotiates the narrow ledge.\n\nThe ditch passes through a tunnel under the road. The path is wide\nand straight here, continuing alongside the ditch to the north and south.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nThe path continues north and south along the ditch. To the north,\nyou can just barely make out the road crossing over the ditch. To the south, you see some faint lights in the distance.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nDitch, north of fence\nThe ditch is deep here--the banks are perhaps twenty feet high. A chain-link fence runs above the top of the ditch to the south, below which is a gate made of closely-spaced steel bars; the gate covers the full width of the ditch, and blocks travel to the south.\n\n> You look at the gate\nThe gate is made of vertical steel bars, spaced about six inches apart. Rails at either side guide the gate so that it can slide up and down, and a pair of cables attached to the top of the gate are connected to a winch high above. The gate is immersed in the water and covers the full width of the ditch; it completely blocks travel to the south.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the cables\nThe cables connect the gate to a winch above the gate.\n\n> Down\nYou can't go that way.\n\nIn the distance, a flash of lightning glows in the sky.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You press the button\n\"Click.\"\n\nLightning flashes for a moment on the horizon.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You look at the garage\n(the garage opener button)\nYou presumably push the button to transmit a radio signal to open a garage door somewhere.\n\n> You examine the switches\nEight tiny slide switches are lined up next to each other. On the side of each switch, eight small notches show the possible positions; each switch can be set to a number from 0 to 7. Currently, the switches are in the following positions: 55567562. Just above the switches, someone has written \"55567562\".\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Search gate\nYou find nothing of interest.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You go east\nThe bank is too steep to climb.\n\nLightning flashes for a moment on the horizon.\n\n> You examine the winch\nIt's high above; you can't see any detail from here.\n\n> You examine the rails\nThe rails guide the gate so that it can move up and down.\n\nA corner of the sky glows briefly with a lightning flash.\n\nMr. Teeterwaller looks around.\n\n> You open gate\nYou brace yourself and pull the bars as hard as you can, but the gate is much too heavy to move.\n\n> You set the switches to 20300273\nYou carefully manipulate the tiny switches into the new positions.\n\n> You press the button\n\"Click.\"\n\nMr. Teeterwaller looks around.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a battery, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, and a looseleaf page.\n\nA lightning flash momentarily lights up the sky in the distance.\n\nTeeterwaller looks through his pockets for something.\n\n> You throw the harness at the winch\nIt's too far away.\n\nTeeterwaller looks around purposefully.\n\n> You climb the cables\nIt's too far away.\n\n> You look at the rails\nThe rails guide the gate so that it can move up and down.\n\nMr. Teeterwaller watches you expectantly.\n\n> Go south\nThe gate is blocking the way.\n\nA corner of the sky glows briefly with a lightning flash.\n\nTeeterwaller looks through his pockets for something.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThe path continues north and south along the ditch. To the north,\nyou can just barely make out the road crossing over the ditch. To the south, you see some faint lights in the distance.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go north\nMr. Teeterwaller comes with you.\n\nThe ditch passes through a tunnel under the road. The path is wide\nand straight here, continuing alongside the ditch to the north and south.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nthe ditch. The path to the south climbs a narrow terrace cut into the ditch's bank. You can't go any further north, but the tenuous ledge hugging the bank to the southwest looks passable; you may be able to find your way with something to light the way.\n\n> Go south\nThe path ascends a terrace cut into the ditch's bank back to the top of the bank.\n\nMr. Teeterwaller comes with you.\n\nThe path runs north and south alongside a deep ditch, which is to\nthe west. The road lies to the south.\n\n> You go south\nMr. Teeterwaller comes with you.\n\nThe road continues east and west, rising slightly as it crosses a\ndeep ditch. Metal guard rails run alongside the road on both sides to prevent vehicles from running into the ditch; a narrow foot path leads northeast from the end of the north rail. In the darkness, you can't see far down the road in either direction.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe main road leads east and west here. A smaller intersecting road leads south.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nThe road runs north and south. In both directions, you can see\nnothing but darkness.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nThe road ends at the gated entrance to a huge industrial complex sprawling over the foggy landscape to the south. A tall chain-link fence surrounds the complex; the fence is interrupted only by a sliding section of fence that serves as a gate (currently closed) across the road. Narrow paths run along the outside of the fence east and west of the road. The road continues into the darkness to the north.\n\n> You look at the gate\nThe gate is merely a separate section of the fence that slides across the road. It's currently closed.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nfence, creating this path. The road is just to the west, and the enormous plant complex is beyond the fence to the south. The terrain slopes up to the east.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe terrain is considerably elevated above the road, which lies some distance to the west. Scrubby bushes grow almost up to the fence here, making it too difficult to travel further to the east. The elevation gives you a clear view of the road through the vegetation. The sprawling plant complex lies to the south, beyond the fence, and the path leads west along the fence.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nfence, creating this path. The road is just to the west, and the enormous plant complex is beyond the fence to the south. The terrain slopes up to the east.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nThe road ends at the gated entrance to a huge industrial complex sprawling over the foggy landscape to the south. A tall chain-link fence surrounds the complex; the fence is interrupted only by a sliding section of fence that serves as a gate (currently closed) across the road. Narrow paths run along the outside of the fence east and west of the road. The road continues into the darkness to the north.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nThe path ends abruptly to the west with a wall of tall, thorny\nbushes growing out of a deep ditch. The road is just to the east, and the plant complex is on the other side of the fence to the south.\nA metal framework under the fence inside the ditch is visible\nthrough the bushes.\n\n> You look at the framework\nThe framework is inside the ditch, under the fence, so you can't easily see the whole thing through the bushes. Two vertical rails, one on each side of the ditch, are connected at the top by a crossbar. A winch is in the center of the crossbar, and a pair of cables lead down from the winch.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look at the winch\nIt looks like a heavy-duty winch capable of lifting an extremely large load.\n\nNext to the winch is a small black box.\n\nA corner of the sky glows briefly with a lightning flash.\n\nTeeterwaller looks around purposefully.\n\n> Examine box\nYou shine the flashlight on the black box, which gives you enough light to make out some detail. Several wires run from the box to the winch, and a short antenna sticks up out of the top of the box. On the side of the box is a white adhesive label with what looks like a bar code printed on it.\n\nTeeterwaller looks around purposefully.\n\n> You scan the bar code\n(with the portable hand-held scanner)\nWhich bar code do you mean, the looseleaf page bar code, or the black box bar code?\n\n> You scan the black box bar code\n(with the portable hand-held scanner)\nYou point the scanner at the bar code and pull the trigger.\nPencil-thin lines of red light vibrate across the bar code for a few moments, then the scanner emits a short bip, and the display lights up to show: 4.71.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> 71\nWhat do you want to look up it in?\n\n> You check what you're carrying\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a battery, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, and a looseleaf page.\n\nA corner of the sky glows briefly with a lightning flash.\n\nTeeterwaller looks around purposefully.\n\n> Go north\nYou can't go that way.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You go to the east\nMr. Teeterwaller comes with you.\n\nThe road ends at the gated entrance to a huge industrial complex sprawling over the foggy landscape to the south. A tall chain-link fence surrounds the complex; the fence is interrupted only by a sliding section of fence that serves as a gate (currently closed) across the road. Narrow paths run along the outside of the fence east and west of the road. The road continues into the darkness to the north.\n\n> You go north\nMr. Teeterwaller comes with you.\n\nA light fog hangs over the road in the still night air. The road continues into the darkness to the north. To the south, distant lights glow weakly through the fog.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThe road runs north and south. In both directions, you can see\nnothing but darkness.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThe main road leads east and west here. A smaller intersecting road leads south.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nThe road continues east and west, rising slightly as it crosses a\ndeep ditch. Metal guard rails run alongside the road on both sides to prevent vehicles from running into the ditch; a narrow foot path leads northeast from the end of the north rail. In the darkness, you can't see far down the road in either direction.\n\n> Go north\nIt's too dangerous to jump into the ditch from here.\n\nTeeterwaller looks around purposefully.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nA gravel driveway leads away from the road to the north. The road continues east and west. To the west you can just make out Mr. Teeterwaller's car; it's too dark to see much to the east.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThe driveway ends at an open roll-up metal door in a large,\nwindowless building to the north. The door looks like it belongs on a one-car garage. Bolted to the side of the building is a heavy steel chain. The driveway leads south, back to the road.\nA huge dog is here, happily puttering around.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThis cavernous space is broken up only by a few vertical steel beams supporting the roof high above. A diffuse yellow glow from pale lights suspended from above filters down through the thick dust hanging in the air.\nRows of drab gray metal desks extend off in all directions,\nseparated by just enough space to form aisles. On each desk is a ragged pile, several feet high, of assorted papers, and a small machine of some kind. Some of the piles of paper are narrow, precariously balanced columns, others are mounds; a few have fallen over, scattering papers across the floor.\nA large door (currently open) to the south leads out of the\nbuilding. The area near the door, where you're standing, is clear of desks, and instead is mostly open, except for a huge workbench.\nSeveral huge burlap sacks full of envelopes are piled alongside the workbench.\n\n> You take the cards\nTaken.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> 71\n(in the deck of punched cards)\nThe cards are sorted, so you easily flip through the deck to where 4.71 should be. You find a card that looks like this:\n\n42325515        4.71\n\nMr. Teeterwaller mumbles something to himself.\n\n> You set switches to 42325515\nYou carefully manipulate the tiny switches into the new positions.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You go to the east\nIt's too dangerous to attempt to travel the off-road terrain on foot in this darkness, even with the flashlight.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nThe road continues east and west, rising slightly as it crosses a\ndeep ditch. Metal guard rails run alongside the road on both sides to prevent vehicles from running into the ditch; a narrow foot path leads northeast from the end of the north rail. In the darkness, you can't see far down the road in either direction.\n\nLightning flashes for a moment on the horizon.\n\n> Go north\nThe path veers toward the ditch, then slopes down along a terrace cut into the ditch's bank until it reaches the bottom of the ditch.\n\nMr. Teeterwaller comes with you.\n\nthe ditch. The path to the south climbs a narrow terrace cut into the ditch's bank. You can't go any further north, but the tenuous ledge hugging the bank to the southwest looks passable; you may be able to find your way with something to light the way.\n\n> Go southwest\nIt's difficult, but since you have enough light to see what you're doing, you manage to make your way further along the ledge.\n\n\"Wait for me!\" your boss cries from behind. You shine the light back for him, and he nervously negotiates the narrow ledge.\n\nThe ditch passes through a tunnel under the road. The path is wide\nand straight here, continuing alongside the ditch to the north and south.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nThe path continues north and south along the ditch. To the north,\nyou can just barely make out the road crossing over the ditch. To the south, you see some faint lights in the distance.\n\n> Go south\nMr. Teeterwaller comes with you.\n\nDitch, north of fence\nThe ditch is deep here--the banks are perhaps twenty feet high. A chain-link fence runs above the top of the ditch to the south, below which is a gate made of closely-spaced steel bars; the gate covers the full width of the ditch, and blocks travel to the south.\n\n> You go south\nThe gate is blocking the way.\n\nTeeterwaller looks through his pockets for something.\n\n> You press the button\n\"Click.\"\n\nA corner of the sky glows briefly with a lightning flash.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThe path continues north and south along the ditch. To the north,\nyou can just barely make out the road crossing over the ditch. To the south, you see some faint lights in the distance.\n\nIn the distance, a flash of lightning glows in the sky.\n\n> You put the battery in the opener\nYou install the battery, making sure to align it in the correct direction according to the diagram.\n\nLightning flashes for a moment on the horizon.\n\nTeeterwaller looks around purposefully.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nDitch, north of fence\nThe ditch is deep here--the banks are perhaps twenty feet high. A chain-link fence runs above the top of the ditch to the south, below which is a gate made of closely-spaced steel bars; the gate covers the full width of the ditch, and blocks travel to the south.\n\nA lightning flash momentarily lights up the sky in the distance.\n\n> You press the button\nFrom above, you hear the winch make a loud humming noise. The cables become tense, then the gate starts slowly rising. It lifts up out of the water, then continues sliding up the rails for a few feet. When it reaches the top of the rails, it stops, and the winch becomes silent.\n\nTeeterwaller looks through his pockets for something.\n\n> Go south\nYou have to bend down slightly to move past the gate. Mr. Teeterwaller cautiously joins you, looking up to make sure the gate isn't going to come crashing down on him as he passes underneath. As you cross under the fence, the ditch changes to a concrete-lined canal.\n\nMr. Teeterwaller comes with you.\n\nVertical concrete walls line this deep canal. A chain-link fence crosses over the top of the canal above; under the fence, a steel gate hangs several feet above the water, allowing passage through a low opening under the gate. To the south, the canal stops at a concrete wall perforated by an array of pipes.\nA ladder is set into the west wall.\n\n\"Wonderful job!\" Teeterwaller says excitedly. \"We're inside the complex! Now we just need to find the trucks.\"\n\n> You look at the pipes\nThe pipes vary in size; most are about a foot in diameter, but many are only a few inches and a few are two feet wide. The pipes all open into the canal, and most are dripping slightly.\n\nSomething deep inside a large rusty pipe catches your eye.\n\nTeeterwaller looks around purposefully.\n\n> You look at rusty\nThe pipe is over two feet in diameter and is very rusty, whereas most of the other pipes look clean and new. You can see something inside the pipe, but you can't tell what it is from here; it's too far inside the pipe for you to reach it.\n\nMr. Teeterwaller looks around.\n\n> You put harness in pipe\nYou don't want to put anything into the pipe; it would just get all covered with slime.\n\n> You hit the pipe\nWhich pipe do you mean, the array of pipes, or the rusty pipe?\n\n> You hit rusty\nI don't know how to attack the rusty pipe.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You ask Teeterwaller about the trucks\n\"You probably know as much as I do.\"\n\nTeeterwaller looks through his pockets for something.\n\n> Rusty\nI don't know how to enter the rusty pipe.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> You kick rusty\nI don't know how to attack the rusty pipe.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> Go upwards\nYou cautiously climb up the rungs. It's quite a ways up and you feel a little anxious about the height, but you reach the top and peer over the edge to see if there are any guards about. You can't see anyone, so you pull yourself over the edge.\n\nYou motion to Teeterwaller to join you. He nervously climbs the ladder, looking down several times.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\n\n> Go west\nYou cross the grating, and climb the gentle slope of the stairway through one revolution around the tower.\n\nMr. Teeterwaller comes with you.\n\nLanding, two stories up\nA short landing, about two stories above the ground on the east side\nof the tower, interrupts the steady spiral of the stairs, which continue up and down. The canal is visible in the distance below, and the tower looms overhead.\nSitting above you, on top of the grating of the stairs one level up, you see a yellow hard-hat and a white hard-hat.\n\n> You take the hats\nyellow hard-hat: That's on the other side of the grating.\nwhite hard-hat: That's on the other side of the grating.\n\n> Go up\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs end at this landing, and go no further up. This landing\nis nearly at the top of the tower, around four stories above the ground, and on the east side of the tower.\nA closed rounded metal door is set into the tower wall to the west.\nA large wheel is in the center of the door.\nThrough the grating below, you see a yellow hard-hat and a white hard-hat on the stairs one level down.\n\n> You examine the wheel\nIt's a big metal wheel, about a foot in diameter, in the middle of the door.\n\nTeeterwaller looks through his pockets for something.\n\n> Turn wheel\nThe wheel is hard to move, but you manage to turn it a couple of revolutions clockwise, where it stops. A hissing sound escapes from the door for a few moments, then fades away.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You open the door\nAs soon as you start to move the door, a thick, acrid vapor oozes out of the opening, and your eyes and lungs start burning. You quickly shut the door again.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nTeeterwaller looks around purposefully."
    },
    {
        "text": "[Themes: Espionage, Science Fiction]\n\n> Go down\nMr. Teeterwaller comes with you.\n\nLanding, two stories up\nA short landing, about two stories above the ground on the east side\nof the tower, interrupts the steady spiral of the stairs, which continue up and down. The canal is visible in the distance below, and the tower looms overhead.\nSitting above you, on top of the grating of the stairs one level up, you see a yellow hard-hat and a white hard-hat.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You examine grating\nWhich grating do you mean, the top grating, or the bottom grating?\n\n> You examine top grating\nThe grating is the bottom of the stairs one level above. Through the grating, you can see a yellow hard-hat and a white hard-hat.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You open the grating\n(the top grating)\nIt's too far away."
    },
    {
        "text": "[Themes: Espionage, Science Fiction]\n\n> You go downward\nMr. Teeterwaller comes with you.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\n\n> You examine the grating\nIt's a sturdy metal grating covering a shaft around the tower.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You open the grating\nIt's firmly fixed in place.\n\nMr. Teeterwaller looks around.\n\n> You go to the southwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\n\n> You look at the enclosure\nThe enclosure is about seven feet tall and open on one side to provide access to the equipment within. A gray fire hose is coiled up neatly on a giant reel. In addition, the enclosure contains a newer gas mask and an older gas mask.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You get the masks\nnewer gas mask: Mr. Teeterwaller picks up the older gas mask. \"Good idea,\" he says. \"This could come in handy.\"\n\nTaken.\nolder gas mask: Mr. Teeterwaller is carrying the older gas mask and won't let you have it.\n\nTeeterwaller looks around purposefully.\n\n> You get the hose\nYou take hold of the end of the fire hose, and unreel the hose a couple of feet. The reel remains under tension as you pull it, but it allows you to unreel the hose.\n\nMr. Teeterwaller watches you expectantly.\n\n> You examine hose\n(the coiled fire hose)\nThe hose is neatly coiled on a giant reel (except for the last few feet, which you're holding); next to the coil is a valve with a brass control wheel. The hose ends in a nozzle, attached to which is a lever.\n\nA lightning bolt rips through the sky nearby to the east.\n\nTeeterwaller looks through his pockets for something.\n\n> Turn wheel\nYou turn the wheel counterclockwise until it stops. You can hear water rush through the valve for a few moments as the hose pressurizes.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> Go northeast\nYou carefully pull the fire hose along with you. The reel unwinds, letting out the hose for you.\n\nMr. Teeterwaller comes with you.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\nThe fire hose stretches along the ground through the opening to the southwest.\n\n> You go west\nYou won't be able to drag the hose up the stairs; it would get stuck wrapping around the tower wall.\n\nMr. Teeterwaller looks around.\n\n> Go east\nTeeterwaller looks down into the canal. \"I don't think the hose will make it over the edge without some help,\" he says. \"I'll stay up here and guide it over the edge for you.\" He situates himself at the top of the ladder as you start to climb down.\n\nVertical concrete walls line this deep canal. A chain-link fence crosses over the top of the canal above; under the fence, a steel gate hangs several feet above the water, allowing passage through a low opening under the gate. To the south, the canal stops at a concrete wall perforated by an array of pipes.\nA ladder is set into the west wall.\nThe fire hose stretches up the wall of the canal to the top of the ladder.\n\n> You put the hose in rusty\nYou shove the fire hose nozzle into the pipe. You still have to hold the hose to keep it from retracting.\n\n> You pull the lever\nYou pull the lever, and water immediately starts gushing through the nozzle and into the pipe. The pipe quickly fills up, and the water starts shooting back out. You release the lever and jump out of the way as the water pours out of the pipe. A deflated silver balloon falls out of the pipe, carried by the force of the water.\n\n> You take the balloon\nTaken.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> You examine the pump\nIt's a small hand-operated pump, probably for inflating basketballs or something similar.\n\n> You examine the balloon\nIt's an ordinary balloon, made of shiny silver plastic. It's currently fully deflated.\n\n> Go upwards\nYou cautiously climb up the rungs. It's quite a ways up and you feel a little anxious about the height, but you reach the top.\n\nThe fire hose retracts as you go.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\nThe fire hose stretches along the ground through the opening to the southwest.\nYour boss Mr. Teeterwaller is here.\n\nMr. Teeterwaller watches you expectantly.\n\n> Go southeast\nYou can't get the hose around the bend--there are too many pipes at odd angles.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You drop the hose\nAs soon as you let go of the hose, it slides away to the southeast as the reel winds the hose back onto the coil.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You go southeast\nMr. Teeterwaller comes with you.\n\nThe pipes are just barely far enough apart here for you to squeeze through to the northwest, but this is otherwise a dead end.\nA space between some pipes to the east affords a peephole view of a large courtyard.\n\n\"Look!\" Mr. Teeterwaller says, pointing through the opening in the pipes.\n\nThrough the opening, you can see several trucks parked in the courtyard--the same trucks that you saw hijacked.\n\nTwo people, wearing baggy white whole-body suits with hoods and gas masks, emerge from the back of one of the trucks, walking backwards, carrying something. They continue out down a ramp at the back of the truck; two more people dressed the same way come into view, also helping to carry the object, which you can now see is a large shiny silver crate. Two more people come out of the truck, then another two carrying the trailing end of the crate. The eight slowly make their way down the ramp with the obviously heavy cargo.\n\nYou wonder what they could be removing from the trucks that requires such elaborate protective clothing. You look at Teeterwaller. He's watching intently, but, strangely, does not seem surprised by what he's seeing.\n\nAnother space-suited worker emerges from the truck, slowly waving a wand attached by a cord to a box that makes intermittent ticking sounds.\n\nYou feel a chill as you realize that the cargo must be radioactive.\n\nThe group and their load disappear behind the truck, and the clicking of the Geiger counter recedes into inaudibility.\n\nTeeterwaller continues watching for a few moments. \"Interesting,\" he finally says."
    },
    {
        "text": "> Look around\nThe pipes are just barely far enough apart here for you to squeeze through to the northwest, but this is otherwise a dead end.\nA space between some pipes to the east affords a peephole view of a large courtyard.\nYour boss Mr. Teeterwaller is here.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You go to the northwest\nMr. Teeterwaller comes with you.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You go to the southwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\n\n> You go southeast\nYou have to crawl underneath a large pipe about three feet above the ground, but once you're past the pipe, you're able to stand again. Mr. Teeterwaller comes with you.\n\nThis opening in the pipes is large enough to stand in, but not much more. To the northwest is a low crawl-way, but there are no other openings large enough to travel through. The dense wall of pipes to the south is, however, broken in one spot by a six-inch gap.\n\n> You examine the gap\nThe gap is about six inches high and a little wider. Beyond the gap, there appears to be a large open area with a glass floor.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> You look in the gap\nThe gap is about six inches high and a little wider. Beyond the gap, there appears to be a large open area with a glass floor.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\n\n> You examine the cage\nThe cage isn't the kind that's meant to keep someone from getting out; it's simply a metal floor about three feet by eight feet with a loose framework of metal poles forming the edges of a box; a cable attached at the top of the framework holds the whole thing a few inches off the ground.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the cage\nThe cage isn't the kind that's meant to keep someone from getting out; it's simply a metal floor about three feet by eight feet with a loose framework of metal poles forming the edges of a box; a cable attached at the top of the framework holds the whole thing a few inches off the ground.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You enter the cage\nMr. Teeterwaller comes with you.\n\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is above solid ground, at the north edge of the glass, and about ten feet from the west edge.\nA small gap in the pipes is visible about fifty feet east of the\ncage.\n\n> You read the note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\nTeeterwaller looks around purposefully.\n\n> You examine the note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nMr. Teeterwaller watches you expectantly.\n\n> You look at the glass\nThe glass looks like a giant window set into the ground, roughly square and a hundred feet on a side. It looks as though a huge chamber is below the glass.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nMr. Teeterwaller looks around.\n\n> Go outside\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> Up\nYou cross the grating, and climb the gentle slope of the stairway through one revolution around the tower.\n\nMr. Teeterwaller comes with you.\n\nLanding, two stories up\nA short landing, about two stories above the ground on the east side\nof the tower, interrupts the steady spiral of the stairs, which continue up and down. The canal is visible in the distance below, and the tower looms overhead.\nSitting above you, on top of the grating of the stairs one level up, you see a yellow hard-hat and a white hard-hat.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> Up\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs end at this landing, and go no further up. This landing\nis nearly at the top of the tower, around four stories above the ground, and on the east side of the tower.\nA closed rounded metal door is set into the tower wall to the west.\nA large wheel is in the center of the door.\nThrough the grating below, you see a yellow hard-hat and a white hard-hat on the stairs one level down.\n\n> You wear the mask\n(the newer gas mask)\nOkay, you're now wearing the newer gas mask.\n\nMr. Teeterwaller puts his gas mask on as well.\n\nTeeterwaller looks around purposefully.\n\n> You open the door\nOpened.\n\nWisps of viscous green vapor waft slowly out from the door. Fortunately, the gas mask seems to be protecting you from the gas.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You go to the west\nMr. Teeterwaller comes with you.\n\nA catwalk starts at the rounded door to the east (which is open),\nand extends west toward the center of the cylinder of the tower, suspended by cables over a churning, bubbling sea of viscous yellow-green liquid ten feet below. A green, misty vapor swirls up from the surface of the liquid.\n\nThe rounded metal door swings shut with a dull thud.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nThis is roughly the center of the catwalk, which extends east and\nwest. A pair of cables, suspended from above, are attached to the catwalk here to provide support.\n\n> You go to the west\nMr. Teeterwaller comes with you.\n\nThe catwalk reaches the west wall of the tower here, and extends\ninto the center of the tower to the east. A door is set into the west wall; it's currently closed.\n\n> You open the door\nThe door won't budge; it seems to be locked from the outside.\n\nMr. Teeterwaller watches you expectantly.\n\n> You look at the door\nThe closed door is about four feet tall and rounded at the corners.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You pull the door\nPulling the rounded metal door doesn't have any effect.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look at the cables\nThe cables extend to the domed roof of the tower above, and are attached to the catwalk here to support its weight. At the top of the cables, you can just make out what looks like an access hatch in the roof.\n\n> You climb the cables\n\"I think I'll wait here,\" Mr. Teeterwaller says nervously.\n\nYou take a deep breath and grasp the cable, giving it a tug to make sure it's as firmly attached as it appears to be. Taking care not to look down at the bubbling cauldron of who-knows-what below, you start ascending the cable. It's as hard as you expect, but you manage to climb the twenty feet to the roof of the dome.\n\nUnder the roof, on a cable\nThe cable is attached to a hook bolted to the roof of the dome.\nWithin reach is a round access hatch, currently closed, in the roof of the dome.\n\n> You examine the hatch\nIt's a round door about two feet in diameter, with a wheel in the center. It's currently closed.\n\n> You wear harness\nOkay, you're now wearing the dog harness. Tightening the harness securely around your chest, you can't help but feel a little silly.\n\n> You attach the harness to the hook\nYou slip the harness's ring onto the cable hook. The hook and harness seem easily able to support your weight.\n\n> Turn wheel\nYou cautiously let go of the cable, letting your weight shift to the harness. The harness easily holds you in place, letting you take hold of the wheel. The wheel is hard to move, but you manage to turn it a couple of revolutions clockwise, where it stops. A hissing sound escapes from the door for a few moments, then fades away.\n\n> You open the door\nOpened.\n\n> Go up\nYou start to leave, but the harness instantly jerks you to a stop.\n\n> Go upwards\nYou grab onto the edge of the access hatch and pull yourself through the opening and out onto the roof of the tower.\n\nThis is the apex of the tower dome, which slopes down in all directions. The air is cool and a steady wind flows past the dome. An access hatch is at the top; it's precariously propped up and open, and wisps of green vapor drift out. Handholds set into the roof form a ladder down the west side of the dome.\nThe industrial wasteland of the plant complex stretches to the\nnorth, other towers delineated by colored lights twinkling in the distance, a vast spiderweb of pipes and conduits below.\n\nYou hear frightened muttering from the hatch. Mr. Teeterwaller's head appears in the opening. You reach down and help him up onto the roof.\n\n\"Good job getting that hatch open,\" Teeterwaller tells you. \"That never would have occurred to me.\"\n\n> Go west\nThe precariously-balanced hatch slams shut as you leave.\n\nYou climb down the handholds, following the curved dome as it becomes steeper and finally vertical. The handholds continue down the side of the tower to a landing.\n\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs reach their summit at this landing, which, unlike all of\nthe other landings, is on the west side of the tower. Handholds set into the tower wall at regular intervals form a ladder up the side of the tower.\nA closed rounded metal door is set into the tower wall. In the\ncenter of the door is a wheel."
    },
    {
        "text": "[Themes: Science Fiction, Espionage]\n\n> Go down\nYou follow the stairs halfway around the tower to the next landing.\n\nMr. Teeterwaller comes with you.\n\nLanding, three stories up\nThis landing is about three stories above the ground, on the east\nside of the tower. The stairs continue wrapping around the tower, allowing you to travel up or down.\nYou see a yellow hard-hat and a white hard-hat here.\n\n> You get the hats\nyellow hard-hat: Mr. Teeterwaller picks up the white hard-hat. \"Good idea,\" he says. \"This could come in handy.\"\n\nTaken.\nwhite hard-hat: Mr. Teeterwaller is carrying the white hard-hat and won't let you have it.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, sidekick NPC]\n\n> Go down\nMr. Teeterwaller comes with you.\n\nLanding, one story up\nThis landing is about one story above the ground, on the east side\nof the tower. The stairs continue up and down."
    },
    {
        "text": "> Go downwards\nAs the stairway winds around to the west side of the tower, it passes through an opening in the grating surrounding the tower and descends into the shaft below.\n\nMr. Teeterwaller comes with you.\n\nUnderground, in shaft\nConcrete walls line this cylindrical shaft surrounding the tower.\nThe stairs end their descent here, about a story beneath the surface, but the shaft continues far below. A metal grating completely covers the shaft at the bottom of the stairs, providing a floor.\nA narrow opening in the wall of the shaft leads west.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nThis low, narrow tunnel was probably never intended as a walkway;\nit's more like a ventilation shaft than a corridor. The tunnel becomes an aluminum duct to the west, and several small vents connect through the north and south walls. The passage opens into a larger area to the east.\n\n> You look at the vents\nThe vents are circular and vary in size from a few inches to a foot in diameter.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nThis aluminum air duct is just large enough to crawl through here,\nbut splits into several smaller ducts to the west, none of which are large enough to permit further passage. The duct widens to the east.\nA vent cover, two feet on a side, is over an opening in the floor.\n\n> You examine the ducts\nThere are six smaller ducts, all too small to enter.\n\n> You open the cover\nYou swing the vent cover down and out, leaving the opening uncovered.\n\nYou hear some voices from the room below, but you can't make out what they're saying.\n\n> You wear the hat\n(the yellow hard-hat)\nOkay, you're now wearing the yellow hard-hat.\n\nMr. Teeterwaller puts his hard-hat on as well.\n\nMr. Teeterwaller looks around.\n\nSeveral workers wearing isolation suits and gas masks, together carrying a large silver crate the size of a refrigerator, walk into view in the room below. They put the crate on the floor.\n\n> You look at the crate\nThe crate is made of a very shiny silver metal. It's about the size of a refrigerator sitting on its back.\n\nOne of the workers visible below walks slowly around the silver crate, scanning the crate with a hand-held device. He makes two circuits of the crate, then clips the device to his belt and takes off his mask. After a few moments, the other workers all remove their masks as well.\n\n> You wait awhile\nTime passes...\n\nMr. Teeterwaller looks around.\n\nThrough the opening in the floor, you see the workers file out of the room to the south."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, sidekick NPC]\n\n> Go downward\nThe floor is a hundred feet below.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, a looseleaf page, a deck of punched cards, a newer gas mask (being worn), a silver balloon, and a yellow hard-hat (being worn).\nThe garage opener compartment seems to contain a battery.\n\nMr. Teeterwaller watches you expectantly.\n\n> Inflate balloon\n(with your lips)\nYou'd have a hard time fitting the balloon under your gas mask. If you want to inflate the balloon with the pump, though, just say so.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You inflate the balloon with the pump\nYou put the hand pump into the balloon's opening and pump up the balloon, expanding the silver plastic into an oblong ball. Once the balloon is inflated, you tie a knot in the opening to keep the air from escaping.\n\nTeeterwaller looks around purposefully.\n\n> You examine the balloon\nIt's an ordinary balloon, made of shiny silver plastic. It's currently fully inflated, and the opening is knotted to keep the air from escaping.\n\nMr. Teeterwaller watches you expectantly.\n\n> You jump\nWheeee!\n\nMr. Teeterwaller watches you expectantly."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, science fiction]\n\n> Go downward\nThe floor is a hundred feet below.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go south\nYou can't go that way.\n\nMr. Teeterwaller watches you expectantly.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nUnderground, in shaft\nConcrete walls line this cylindrical shaft surrounding the tower.\nThe stairs end their descent here, about a story beneath the surface, but the shaft continues far below. A metal grating completely covers the shaft at the bottom of the stairs, providing a floor.\nA narrow opening in the wall of the shaft leads west.\n\n> Go up\nFollowing the stairs around the tower, you cross through an opening in the grating and emerge into the night air.\n\nMr. Teeterwaller comes with you.\n\nLanding, one story up\nThis landing is about one story above the ground, on the east side\nof the tower. The stairs continue up and down.\n\nLightning flashes across the sky directly above.\n\n> Go upward\nMr. Teeterwaller comes with you.\n\nLanding, three stories up\nThis landing is about three stories above the ground, on the east\nside of the tower. The stairs continue wrapping around the tower, allowing you to travel up or down.\n\n> Go up\nThe stairs only make half a turn around the tower before you encounter another landing, this time on the west side of the tower.\n\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs reach their summit at this landing, which, unlike all of\nthe other landings, is on the west side of the tower. Handholds set into the tower wall at regular intervals form a ladder up the side of the tower.\nA closed rounded metal door is set into the tower wall. In the\ncenter of the door is a wheel.\n\n> You open the door\nOpened.\n\nWisps of viscous green vapor waft slowly out from the door. Fortunately, the gas mask seems to be protecting you from the gas.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller watches you expectantly.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThe catwalk reaches the west wall of the tower here, and extends\ninto the center of the tower to the east. A door is set into the west wall; it's currently open.\n\nThe rounded metal door swings shut with a dull thud.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nA catwalk starts at the rounded door to the east (which is closed),\nand extends west toward the center of the cylinder of the tower, suspended by cables over a churning, bubbling sea of viscous yellow-green liquid ten feet below. A green, misty vapor swirls up from the surface of the liquid.\n\n> You go east\n(Opening the rounded metal door)\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs end at this landing, and go no further up. This landing\nis nearly at the top of the tower, around four stories above the ground, and on the east side of the tower.\nAn open rounded metal door is set into the tower wall to the west; a viscous green vapor wafts out of the door. A large wheel is in the center of the door.\n\nA lightning bolt rips through the sky nearby to the east."
    },
    {
        "text": "> Go downwards\nAs you start down the stairs, you notice that the door swings shut.\n\nMr. Teeterwaller comes with you.\n\nLanding, two stories up\nA short landing, about two stories above the ground on the east side\nof the tower, interrupts the steady spiral of the stairs, which continue up and down. The canal is visible in the distance below, and the tower looms overhead."
    },
    {
        "text": "> You go downward\nMr. Teeterwaller comes with you.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\n\nLightning flashes across the sky directly above.\n\n> Go southwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> Go southwest\nMr. Teeterwaller comes with you.\n\nThis is a narrow walkway along the west edge of an array of glass panels covering the ground to the east. A wall of pipes parallels the edge of the glass a few feet back from the edge, blocking travel except to the northeast. Midway along the wall of pipes is an elevator door.\n\n> You examine the door\nThe elevator has a sliding metal door, which is closed, and a round button just to the right of the door.\n\n> You press button\n(the elevator button)\nNothing happens.\n\nLightning flashes across the sky directly above.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the pipes\nThe pipes are broken here only by a passage to the northeast and by the elevator to the west.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You open the door\nThe door is controlled automatically by the elevator; you can't open it manually.\n\nTeeterwaller looks around purposefully.\n\n> You wait for a while\nTime passes...\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You wait for a while\nTime passes...\n\nTeeterwaller looks around purposefully.\n\n> Wait\nTime passes...\n\nLightning flashes across the sky directly above.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You go northeast\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\n\n> You go outside\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> Go south\nYou'd fall through the glass.\n\nMr. Teeterwaller looks around.\n\n> You examine the levers\nleft lever: The lever is standing straight up; it looks like you could push it or pull it.\nright lever: The lever is standing straight up; it looks like you could push it or pull it.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You get hose\nYou take hold of the end of the fire hose, and unreel the hose a couple of feet. The reel remains under tension as you pull it, but it allows you to unreel the hose.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> You go to the south\nYou carefully pull the fire hose along with you. The reel unwinds, letting out the hose for you.\n\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nThe fire hose stretches along the ground to the north.\n\n> You enter the cage\nYou carefully pull the fire hose along with you. The reel unwinds, letting out the hose for you.\n\nMr. Teeterwaller comes with you.\n\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is above solid ground, at the north edge of the glass, and about ten feet from the west edge.\nThe fire hose stretches off to the north."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, sidekick NPC]\n\n> Look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is at the north edge of the glass, and about thirty-five\nfeet from the west edge of the glass.\nYour boss Mr. Teeterwaller is here.\nThe fire hose stretches off to the north.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller watches you expectantly."
    },
    {
        "text": "> Look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is at the north edge of the glass, and about sixty feet\nfrom the west edge of the glass.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You examine the gap\nIt's a small gap, about six inches high, in the pipes to the north.\n\nMr. Teeterwaller mumbles something to himself.\n\n> Search gap\nIt's a small gap, about six inches high, in the pipes to the north.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nTeeterwaller looks around purposefully.\n\n> You examine the note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it about sixty feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller seems to be lost in thought."
    },
    {
        "text": "> You look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about sixty feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible about fifty feet north of the\ncage.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and thirty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nMr. Teeterwaller watches you expectantly."
    },
    {
        "text": "[Themes: Science Fiction, Espionage, science fiction]\n\n> You describe your surroundings\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about thirty-five feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible about twenty-five feet east and fifty feet north of the cage.\n\nLightning flashes across the sky directly above."
    },
    {
        "text": "> You look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about seventy-five feet from the north edge, and about thirty-five feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible about twenty-five feet east and seventy-five feet north of the cage.\n\n> You look at the glass\nThe glass looks like a giant window set into the ground, roughly square and a hundred feet on a side. It looks as though a huge chamber is below the glass.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You examine note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and thirty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nMr. Teeterwaller seems to be lost in thought."
    },
    {
        "text": "> Look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about thirty-five feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible about twenty-five feet east and fifty feet north of the cage.\n\nMr. Teeterwaller watches you expectantly."
    },
    {
        "text": "[Themes: Science Fiction, Espionage]\n\n> You look at your surroundings\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about sixty feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nA small gap in the pipes is visible about fifty feet north of the\ncage.\n\n> You go outside\nThe cage is fifty feet from the edge of the glass. You can't walk on the glass, since it would not support your weight.\n\nMr. Teeterwaller watches you expectantly.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and thirty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nLightning flashes across the sky directly above.\n\nTeeterwaller looks around purposefully.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about twenty-five feet south of the north edge, and thirty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA lightning bolt rips through the sky nearby to the east.\n\nMr. Teeterwaller looks around.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it about thirty-five feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nLightning flashes across the sky directly above.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it back over solid ground. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\n> You go outside\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\n\n> You get the hose\nYou take hold of the end of the fire hose, and unreel the hose a couple of feet. The reel remains under tension as you pull it, but it allows you to unreel the hose.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nTeeterwaller looks through his pockets for something.\n\n> Go southeast\nYou have to crawl underneath a large pipe about three feet above the ground, but once you're past the pipe, you're able to stand again. You pull the hose along with you, carefully holding onto it as you crawl under the pipe.\n\nMr. Teeterwaller comes with you.\n\nThis opening in the pipes is large enough to stand in, but not much more. To the northwest is a low crawl-way, but there are no other openings large enough to travel through. The dense wall of pipes to the south is, however, broken in one spot by a six-inch gap.\nThe fire hose stretches through the crawl-way to the northwest.\n\nLightning flashes across the sky directly above.\n\n> You put the hose in the gap\nYou shove the nozzle into the gap. It's a tight squeeze, but it fits through. The lever on the side of the nozzle catches slightly on the pipes, holding the nozzle in place as you let go of the hose.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go northwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\nA fire hose stretches out of the enclosure and through the crawl-way\nto the southeast.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nAbout fifty feet to the east, you can see the nozzle of the fire\nhose sticking out through the pipes.\n\n> You enter the cage\nMr. Teeterwaller comes with you.\n\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is above solid ground, at the north edge of the glass, and about ten feet from the west edge.\nThe nozzle of the fire hose is sticking through a gap in the pipes about fifty feet east of the cage.\n\n> You get the hose\nYou take hold of the nozzle, and pull it through the hole in the pipes. The hose is under tension, but you have no trouble holding on to it.\n\nMr. Teeterwaller looks around.\n\n> You pull the hose lever\nYou pull the lever, and water immediately starts gushing through the nozzle at such pressure that you can't control where the hose is pointing. The water sprays all over, and makes a mess of the glass.\n\nYou let go of the lever, and the water stops spraying as a spring pulls the lever back to its normal position.\n\n> You look at note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\nLightning flashes across the sky directly above."
    },
    {
        "text": "> You look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about sixty feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nThe fire hose stretches off through a gap in the pipes to the north.\n\nMr. Teeterwaller watches you expectantly.\n\n> You examine the hose\nAt the end of the hose is a nozzle and a lever.\n\nLightning flashes across the sky directly above.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You examine the nozzle\nThe nozzle directs the flow of water from the hose. A lever is attached to the nozzle.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> You attach the hose to the harness\nThere's no obvious way to do that.\n\nMr. Teeterwaller mumbles something to himself."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, sidekick NPC, science fiction]\n\n> You look around\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about sixty feet from the west edge.\nYour boss Mr. Teeterwaller is here.\nThe fire hose stretches off through a gap in the pipes to the north.\n\nTeeterwaller looks around purposefully.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and sixty feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nYou manage to hold on to the fire hose, which drags along the ground as the cage moves.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and sixty feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nYou manage to hold on to the fire hose, which drags along the ground as the cage moves.\n\nLightning flashes across the sky directly above.\n\nMr. Teeterwaller looks around.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and thirty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nYou manage to hold on to the fire hose, which drags along the ground as the cage moves.\n\nTeeterwaller looks around purposefully.\n\n> You pull left\nWith a lurch, the cage starts moving to the west.\n\nThe fire hose suddenly snags on a pipe and refuses to go any further. You scramble to keep your hold on the hose, but the cage's motor is too strong and forces you to let go. The nozzle luckily doesn't break the glass, but skitters away as the coil retracts the hose.\n\nThe cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and ten feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You pull left\nNothing seems to happen. You release the lever, and a spring returns it to the upright position.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nTeeterwaller looks through his pockets for something.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about twenty-five feet south of the north edge, and sixty feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it about sixty feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it about thirty-five feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You go north\nYou can't go that way.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You examine station\nThe enclosure is about seven feet tall and open on one side to provide access to the equipment within. A gray fire hose is coiled up neatly on a giant reel.\n\nTeeterwaller looks through his pockets for something.\n\n> Examine reel\nThe hose is neatly coiled on a giant reel; next to the coil is a valve with a brass control wheel. The hose ends in a nozzle, attached to which is a lever.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You examine the valve\nThe valve is big, obviously meant to control a substantial flow of water. At the top is a brass control wheel.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You examine the control wheel\nThe valve is big, obviously meant to control a substantial flow of water. At the top is a brass control wheel.\n\n> You turn it\nYou turn the wheel clockwise until it stops. The hose gradually depressurizes.\n\nTeeterwaller looks through his pockets for something.\n\n> Turn wheel\nYou turn the wheel counterclockwise until it stops. You can hear water rush through the valve for a few moments as the hose pressurizes.\n\nMr. Teeterwaller looks around.\n\n> Turn wheel\nYou turn the wheel clockwise until it stops. The hose gradually depressurizes.\n\nMr. Teeterwaller watches you expectantly.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, a looseleaf page, a deck of punched cards, a newer gas mask (being worn), a silver balloon, and a yellow hard-hat (being worn).\nThe garage opener compartment seems to contain a battery.\n\nMr. Teeterwaller looks around.\n\n> You stand on the hose\nI don't know how to stand on the coiled fire hose.\n\nMr. Teeterwaller looks around.\n\n> You put the balloon on nozzle\nThere's no good surface on the fire hose nozzle.\n\nLightning flashes across the sky directly above.\n\n> You put the hose in the balloon\nYou can't put the coiled fire hose anywhere.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\n> You inflate the balloon with the hose\nI don't know how to inflate anything with the coiled fire hose.\n\nTeeterwaller looks through his pockets for something.\n\n> You get the hose\nYou take hold of the end of the fire hose, and unreel the hose a couple of feet. The reel remains under tension as you pull it, but it allows you to unreel the hose.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nTeeterwaller looks through his pockets for something.\n\n> You go to the southeast\nYou have to crawl underneath a large pipe about three feet above the ground, but once you're past the pipe, you're able to stand again. You pull the hose along with you, carefully holding onto it as you crawl under the pipe.\n\nMr. Teeterwaller comes with you.\n\nThis opening in the pipes is large enough to stand in, but not much more. To the northwest is a low crawl-way, but there are no other openings large enough to travel through. The dense wall of pipes to the south is, however, broken in one spot by a six-inch gap.\nThe fire hose stretches through the crawl-way to the northwest.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> You stand on the hose\nI don't know how to stand on the end of the fire hose.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You look at the lever\nThe lever is attached to the nozzle.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You examine the nozzle\nThe nozzle directs the flow of water from the hose. A lever is attached to the nozzle.\n\nTeeterwaller looks around purposefully.\n\n> You pull the lever\nNothing happens. You let go of the lever, and a spring pulls it back to its normal position.\n\nLightning flashes across the sky directly above.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> You go northwest\nThe hose retracts as you travel back toward the reel.\n\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\n\n> Go southeast\nYou have to crawl underneath a large pipe about three feet above the ground, but once you're past the pipe, you're able to stand again. You pull the hose along with you, carefully holding onto it as you crawl under the pipe.\n\nMr. Teeterwaller comes with you.\n\nThis opening in the pipes is large enough to stand in, but not much more. To the northwest is a low crawl-way, but there are no other openings large enough to travel through. The dense wall of pipes to the south is, however, broken in one spot by a six-inch gap.\nThe fire hose stretches through the crawl-way to the northwest.\n\n> You put the hose in the gap\nYou shove the nozzle into the gap. It's a tight squeeze, but it fits through. The lever on the side of the nozzle catches slightly on the pipes, holding the nozzle in place as you let go of the hose.\n\nA lightning bolt rips through the sky nearby to the east.\n\nMr. Teeterwaller watches you expectantly.\n\n> Go northwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\nA fire hose stretches out of the enclosure and through the crawl-way\nto the southeast.\n\nLightning flashes across the sky directly above.\n\n> Go south\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nAbout fifty feet to the east, you can see the nozzle of the fire\nhose sticking out through the pipes.\n\nA lightning bolt rips through the sky nearby to the east."
    },
    {
        "text": "> You examine the note\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You examine diagram\nTo: Window washing crew\nFrom: Cleaning crew manager\nSubject: Water in atrium\n\nThe cleaning crew has been complaining for several weeks about water collecting on the atrium floor, making cleanup more difficult, etc. We have determined that the source of the water is the window washing crew.\n\nPlease take note of the access hatch (SEE DIAGRAM BELOW) and DO NOT open this while the glass is still wet.\n\nThank you for your cooperation.\n\nJ. Stimms\nCleaning crew manager\n\nBelow this is a hand-drawn diagram showing a five-by-five grid of squares, with the square in the center emphatically circled.\n\n> You pull right\nNothing seems to happen. You release the lever, and a spring returns it to the upright position.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and eighty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nMr. Teeterwaller watches you expectantly.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about twenty-five feet south of the north edge, and eighty-five feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nMr. Teeterwaller watches you expectantly.\n\n> You pull right\nWith a lurch, the cage starts moving to the north. The cage travels about twenty-five feet, then stops, leaving it about eighty-five feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nTeeterwaller looks through his pockets for something.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it about sixty feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nMr. Teeterwaller watches you expectantly.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it about thirty-five feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\n> You pull right\nNothing seems to happen. You release the lever, and a spring returns it to the upright position.\n\nA lightning bolt rips through the sky nearby to the east.\n\nTeeterwaller looks through his pockets for something.\n\n> Exit\nThe pipes are too close to the edge of the glass here--there's no place to stand except on the glass, which you'd fall through. You need to go about twenty-five feet west to get back to solid ground.\n\n> You pull left\nWith a lurch, the cage starts moving to the west. The cage travels about twenty-five feet, then stops, leaving it back over solid ground. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\n> Leave\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nAbout fifty feet to the east, you can see the nozzle of the fire\nhose sticking out through the pipes.\n\n> Turn wheel\nYou turn the wheel counterclockwise until it stops. You can hear water rush through the valve for a few moments as the hose pressurizes.\n\nMr. Teeterwaller watches you expectantly.\n\n> You get the hose\nYou take hold of the nozzle, and pull it through the hole in the pipes. The hose is under tension, but you have no trouble holding on to it.\n\n> You examine the glass\nThe glass looks like a giant window set into the ground, roughly square and a hundred feet on a side. It looks as though a huge chamber is below the glass.\n\nThe glass pane directly outside the cage is different from all of the others; it has a handle and hinges, and can clearly be opened.\n\nTeeterwaller looks around purposefully.\n\n> You open the glass\nYou carefully lean out, grasp the handle, and give it a good pull. The cage sways slightly as you pull. The glass sticks for a moment, but then pops free, and you tilt up the panel until it's sitting straight up, where it locks into position.\n\n> Down\nYou can't walk on the glass, since it wouldn't support your weight, and you can't enter the hatch, since the floor is a hundred feet below.\n\nA bolt of lightning streaks down from the sky and strikes the ground a short distance to the west.\n\nMr. Teeterwaller looks around.\n\n> You put the hose in the glass\nYou feed the fire hose down through the opening, gradually pulling hose off the reel in the distance. The weight of the hose hanging down into the opening eventually starts doing most of the work of pulling more down. Finally, after a tremendous length of hose has disappeared into the chamber below, the hose seems to reach the floor.\n\nYou carefully let go of the hose, letting it drape over the edge of the opening.\n\n> Down\nIf you want to climb down the hose, just say so.\n\nLightning flashes across the sky directly above.\n\nMr. Teeterwaller watches you expectantly.\n\n> You climb down the hose\nYou have a sudden chill looking at the hose disappearing into the darkness below.\n\nTeeterwaller gulps. \"B-b-b-be careful,\" he stutters. \"I'll wait here until you reach the bottom, to make sure we don't put too much weight on the hose.\"\n\nSlowly, you maneuver yourself over to the edge nearest the opening, and lean out of the cage, holding on to the pole with both hands. It's only a foot or two to the hose, but somehow it feels like you're about to try jumping over a canyon.\n\nYou realize you've been holding your breath, and force yourself to exhale. You jerk one hand out and grab at the hose, slipping at first but finally getting a good grip on it. You carefully swing one leg out onto the framework supporting the windows, then the other, taking care not to put any weight on the glass.\n\nWith nothing left to do, you let go of the cage with your other hand and grab at the hose. The framework is obviously sturdy enough to support you if it can support all of this glass, you keep telling yourself, but you can feel it flexing under you.\n\nHaving successfully negotiated the chasm between the cage and the hose, you feel much less panicked, and start descending the hose. It's a nice rough material and easy to grip as you climb down.\n\nThe descent takes less time than you would have thought, given the amount of hose you had to feed down through the hatch. You reach the floor, and rest a moment to let the adrenaline wear off.\n\nas they rise hundreds of feet to the glass panes of the ceiling.\nLights from the towers above the surface twinkle like Christmas tree decorations through the glass. An elevator is to the west, and passages lead north and southeast.\nA fire hose hangs down from the ceiling, the end of the hose just reaching the floor.\n\nAfter a few minutes, Mr. Teeterwaller comes sliding down the hose at high speed, and crashes into the floor. He collects himself off the floor and spends a few moments brushing off dust.\n\n\"What a novel idea,\" Teeterwaller tells you. \"I wondered what you were thinking, dragging that hose everywhere.\"\n\n> You climb up the hose\nClimbing hundreds of feet up a fire hose might seem like a daunting task to some people. It's a good thing you've been working out.\n\n\"I'll follow you after you get to the top,\" Teeterwaller says.\n\nYou laboriously climb the hose. It seems a lot further going up than it did coming down.\n\nYou reach the top and are relieved to find the cage parked next to the opening in the glass. You grab a pole and drag yourself onto the platform.\n\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is hanging over the glass, about fifty feet from the north edge, and about sixty feet from the west edge.\nThe glass pane roughly in the center of the glass has been tilted\nup, creating an opening in the glass. A fire hose stretches between a gap in the pipes to the north and the open panel.\n\nAfter a few minutes, Mr. Teeterwaller comes climbing up the hose, panting and exhausted. You help him into the cage.\n\n> You examine the towers\nThe lights twinkle through the glass.\n\nTeeterwaller looks around purposefully.\n\n> Go west\nYou'll have to open the elevator first.\n\n> You open the elevator\nThe door is controlled automatically by the elevator; you can't open it manually.\n\n> You examine the elevator\nThe elevator has a sliding metal door, which is closed, and a round button just to the right of the door.\n\nTeeterwaller looks around purposefully.\n\n> You press the button\n(the elevator button)\nThe elevator door slides open.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go west\nMr. Teeterwaller comes with you.\n\nThis elevator has a sliding door to the east, next to which is a control panel, with buttons labeled UPPER LEVEL, LOWER LEVEL, DOOR OPEN, and DOOR CLOSE, plus a red knob labeled PUSH TO RUN/PULL TO STOP. The knob is currently pulled out. The door is open.\n\n> You wait for a while\nTime passes...\n\nYou can feel the elevator start moving.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You wait\nTime passes...\n\n> Wait\nTime passes...\n\nYou can feel the elevator come to a stop, and the door slides open."
    },
    {
        "text": "[Themes: Espionage, Science Fiction, sidekick NPC]\n\n> You describe your surroundings\nThis elevator has a sliding door to the east, next to which is a control panel, with buttons labeled UPPER LEVEL, LOWER LEVEL, DOOR OPEN, and DOOR CLOSE, plus a red knob labeled PUSH TO RUN/PULL TO STOP. The knob is currently pushed in. The door is open.\nYour boss Mr. Teeterwaller is here.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Go outside\nMr. Teeterwaller comes with you.\n\nThis is a narrow walkway along the west edge of an array of glass panels covering the ground to the east. A wall of pipes parallels the edge of the glass a few feet back from the edge, blocking travel except to the northeast. Midway along the wall of pipes is an elevator door.\n\n> Go inside\nMr. Teeterwaller comes with you.\n\nThis elevator has a sliding door to the east, next to which is a control panel, with buttons labeled UPPER LEVEL, LOWER LEVEL, DOOR OPEN, and DOOR CLOSE, plus a red knob labeled PUSH TO RUN/PULL TO STOP. The knob is currently pushed in. The door is open.\n\nThe elevator door slides closed.\n\n> You pull knob\nYou pull the knob all the way out. You feel the elevator lurch to a stop.\n\nTeeterwaller looks around purposefully.\n\n> You wait\nTime passes...\n\nYou can feel the elevator come to a stop, and the door slides open.\n\nTeeterwaller looks through his pockets for something.\n\n> You go outside\nMr. Teeterwaller comes with you.\n\nas they rise hundreds of feet to the glass panes of the ceiling.\nLights from the towers above the surface twinkle like Christmas tree decorations through the glass. An elevator is to the west, and passages lead north and southeast.\nA fire hose hangs down from the ceiling, the end of the hose just reaching the floor.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThis wide hallway is filled with dust and debris from a construction project. A foreman is looking at a blueprint, and several construction workers are demolishing parts of the hallway. The hallway opens to the south, and continues north past the contruction.\n\n> You go to the north\nThe foreman waves you by. You carefully navigate through the construction debris, following the hallway as it turns a corner and continues west.\n\nMr. Teeterwaller comes with you.\n\nThis is the west end of a wide east-west hallway. A sliding metal door, labeled \"Lab 7,\" leads north, and a white door, labeled \"Observation Room,\" leads west.\n\n> Go north\nYou'll have to open the sliding metal door first.\n\n> You open the door\nWhich door do you mean, the sliding metal door, or the white door?\n\n> You open the sliding metal door\nYou can't manage to move it at all.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You open the white door\nOpened.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You go west\nMr. Teeterwaller comes with you.\n\nThe lighting in this room is muted, presumably to reduce glare on\nthe window that covers the north wall. On the other side of the window is a huge chamber, a hundred feet high and twice as wide; pieces of electronic equipment are scattered throughout the area, and a workbench is in the center of the room. Near the workbench is a silver crate the size of a refrigerator lying on its back. A woman, whom you take to be a scientist because of her white lab coat, and a technician, wearing a blue jump-suit, are working with the equipment. A white door leads east.\n\nThrough the glass, you see the scientist walk to the silver crate. She does something you can't see to the side of the crate, and the top slowly swings open. The woman reaches inside and removes a black disk, about the size of a half-dollar coin. She holds it up and looks at it, then closes the crate's lid.\n\n> Examine crate\nThe crate is made of a very shiny silver metal. It's about the size of a refrigerator sitting on its back.\n\nThrough the glass, you see the scientist walk to the workbench near the center of the room and carefully place the black disk on a stand on the workbench. The technician pulls a cart carrying an electronic device over to the workbench, and attaches a pair of electrodes from the device to the stand, on opposite sides of the disk.\n\n> Wait\nTime passes...\n\nMr. Teeterwaller watches you expectantly.\n\nA woman's voice issues from a hidden speaker; you realize it's the scientist in the lab, talking to the technician. \"Okay, we'll start at low voltages and work our way up. Ready?\"\n\nThe technician carries a hand-held meter to the lab bench, points it at the stand, and nods to the scientist.\n\n\"Here we go, then. One percent.\" She makes some adjustments to the electronic device. You can't be sure, but it looks like the disk glows faintly for a moment.\n\n\"Negative point zero zero three gee,\" the technician says.\n\n> You wait a while\nTime passes...\n\nThe scientist's voice is audible through a hidden speaker: \"Two percent.\" She adjusts the electronic device, and you again see a faint, momentary glow from the disk.\n\n\"Negative point zero one gee,\" the technician says.\n\n> Wait\nTime passes...\n\n\"Five percent,\" the scientist says. She adjusts the electronic device, and you see a clear blue glow from the disk; the glow fades after a few moments.\n\n\"Negative point zero eight gee,\" the technician says.\n\n> Wait\nTime passes...\n\nMr. Teeterwaller watches you expectantly.\n\nYou hear a warbling sound through the hidden speakers. The scientist reaches into the pocket of her lab coat and takes out a cellular phone. \"Yes?\" She listens to the phone. \"Affirmative. We've just started, but the anti-gravity effect is confirmed.\" She listens some more. \"I understand. We're on our way.\"\n\nShe turns to the technician. \"They're ready to start the omicron beam again and they need us to monitor the scattering. Leave everything set up here and we'll resume this when we're done with the beam test.\"\n\nThe two walk briskly to the door and leave the lab.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nThis is the west end of a wide east-west hallway. A sliding metal door, labeled \"Lab 7,\" leads north, and a white door, labeled \"Observation Room,\" leads west.\n\n> You look at the sliding door\nThe door is closed and is labeled \"LAB 7--RESTRICTED.\" A small slot, about the right size to accept a credit card, is next to the door.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You put the ithe d in the slot\nYou slip your ID card into the slot; it's a good fit, but nothing seems to happen, so you pull it back out.\n\nMr. Teeterwaller watches you expectantly.\n\n> You go east\nYou follow the hallway as it turns a corner and continues south, then carefully make your way through a huge pile of construction debris littering the hallway.\n\nMr. Teeterwaller comes with you.\n\nThis wide hallway is filled with dust and debris from a construction project. A foreman is looking at a blueprint, and several construction workers are demolishing parts of the hallway. The hallway opens to the south, and continues north past the contruction.\n\n> You wear the hat\n(First taking the white hard-hat)\nYou're not wearing the white hard-hat.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, a looseleaf page, a deck of punched cards, a newer gas mask (being worn), a silver balloon, and a yellow hard-hat (being worn).\nThe garage opener compartment seems to contain a battery.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nas they rise hundreds of feet to the glass panes of the ceiling.\nLights from the towers above the surface twinkle like Christmas tree decorations through the glass. An elevator is to the west, and passages lead north and southeast.\nA fire hose hangs down from the ceiling, the end of the hose just reaching the floor.\n\n> You go southeast\nMr. Teeterwaller comes with you.\n\nThe proportions of this passage, the workmanship of the marble\nfloor, the wire-caged light fixtures all give this corridor an antique appearance. A large room lies to the northwest, and silvery doors lie to the east, west, and south; the door to the south is labeled \"MAINTENANCE,\" and the door to the east is marked \"RECORDS.\"\n\n> You go west\n(Opening the west door)\nMr. Teeterwaller comes with you.\n\nto ceiling. A door leads east; above the door is a small air vent which is blowing a steady stream of fresh air.\n\n> You look at the crates\nThe crates are neatly stacked from floor to ceiling. The crates all look alike; you see no markings that distinguish one from another.\n\nTeeterwaller looks around purposefully.\n\n> Search crates\nThe crates are all closed.\n\nMr. Teeterwaller watches you expectantly.\n\n> You look at the vent\nIt's a small vent, only a few inches high; it's blowing fresh air.\n\n> You open the vent\nThe vent is firmly closed.\n\n> You climb the crate\nI don't know how to climb the crates.\n\nTeeterwaller looks around purposefully.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nThe proportions of this passage, the workmanship of the marble\nfloor, the wire-caged light fixtures all give this corridor an antique appearance. A large room lies to the northwest, and silvery doors lie to the east, west, and south; the door to the south is labeled \"MAINTENANCE,\" and the door to the east is marked \"RECORDS.\"\n\n> You go south\n(Opening the south door)\nMr. Teeterwaller comes with you.\n\nThis is a small, musty-smelling room whose only exit is the door to\nthe north. A cabinet occupies one wall. Opposite the cabinet is a large air vent, below which is a lever.\n\n> You examine the cabinet\nThe cabinet occupies the entire wall; it's closed.\n\nMr. Teeterwaller looks around.\n\n> You open the cabinet\nOpened.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You examine the cabinet\nThe cabinet occupies the entire wall; it's open, but is empty.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look at the vent\nThe vent is mounted near the top of the wall; it's about three feet square.\n\nTeeterwaller looks around purposefully.\n\n> You examine the lever\nThe lever is mounted below the vent, and moves left and right. The left end is labeled \"Outside,\" and the right end is labeled \"Recycled.\" The lever is currently at the left limit of its travel.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You open the vent\nIt's firmly fixed in place.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You pull the lever\nYou pull the lever all the way right. The vent starts drawing in air.\n\n> You pull the lever\nYou pull the lever all the way left. The vent stops drawing in air.\n\n> You climb the cabinet\nI don't know how to climb the cabinet.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You look behind the cabinet\nThere's nothing behind the cabinet.\n\nTeeterwaller tells you about the latest episode of his favorite TV show, \"Shadow Man.\" You never liked the show very much--too much silly conspiracy theory stuff--but you listen politely.\n\n> Go east\nYou'll have to open the east door first.\n\n> You open east\nYou start to open the door, but then you hear a voice from the other side. Since you wouldn't want to have to explain why you're here, you decide to keep a low profile for now.\n\n> You touch door\nI beg your pardon?\n\n(the east door)\nTouching the east door doesn't seem to have any effect.\n\nTeeterwaller looks around purposefully.\n\n> Go south\nI beg your pardon?\n\nMr. Teeterwaller comes with you.\n\nThis is a small, musty-smelling room whose only exit is the door to\nthe north. A cabinet occupies one wall. Opposite the cabinet is a large air vent, below which is a lever.\n\n> You inflate the balloon with the pump\nYou put the hand pump into the balloon's opening and pump up the balloon, expanding the silver plastic into an oblong ball. Once the balloon is inflated, you tie a knot in the opening to keep the air from escaping.\n\n> You look at the lever\nThe lever is mounted below the vent, and moves left and right. The left end is labeled \"Outside,\" and the right end is labeled \"Recycled.\" The lever is currently at the left limit of its travel.\n\n> You put the balloon in the vent\nYou can't put anything into the air vent.\n\nMr. Teeterwaller looks around.\n\n> You deflate the balloon\nYou carefully untie the knot and let the air escape.\n\nMr. Teeterwaller looks around.\n\n> You throw the balloon in the vent\nYou can't put anything into the air vent.\n\nTeeterwaller looks through his pockets for something.\n\n> You throw the balloon\nIt would be simpler to just drop it.\n\nTeeterwaller looks around purposefully.\n\n> You inflate the balloon with the pump\nYou put the hand pump into the balloon's opening and pump up the balloon, expanding the silver plastic into an oblong ball. Once the balloon is inflated, you tie a knot in the opening to keep the air from escaping.\n\nTeeterwaller looks around purposefully.\n\n> You release the balloon\nI don't know how to release the silver balloon.\n\nMr. Teeterwaller looks around.\n\n> You drop the balloon\nDropped.\n\n> You wait for a while\nTime passes...\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You get the balloon\nTaken.\n\n> You press the button\n(the elevator button)\nThe elevator door slides open.\n\nMr. Teeterwaller mumbles something to himself.\n\n> You go inside\nMr. Teeterwaller comes with you.\n\nThis elevator has a sliding door to the east, next to which is a control panel, with buttons labeled UPPER LEVEL, LOWER LEVEL, DOOR OPEN, and DOOR CLOSE, plus a red knob labeled PUSH TO RUN/PULL TO STOP. The knob is currently pushed in. The door is open.\n\n> You press upper\nThe button lights up.\n\nMr. Teeterwaller mumbles something to himself.\n\nThe elevator door slides closed.\n\n> You wait\nTime passes...\n\nYou can feel the elevator start moving.\n\n> You wait for a while\nTime passes...\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You wait\nTime passes...\n\nYou can feel the elevator come to a stop, and the door slides open.\n\nTeeterwaller looks through his pockets for something.\n\n> Go outside\nMr. Teeterwaller comes with you.\n\nThis is a narrow walkway along the west edge of an array of glass panels covering the ground to the east. A wall of pipes parallels the edge of the glass a few feet back from the edge, blocking travel except to the northeast. Midway along the wall of pipes is an elevator door.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> You go to the north-east\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nRoughly in the center of the glass, one of the panes has been tilted up, creating an opening in the glass.\nA fire hose is sticking through the pipes about fifty feet to the\neast; the hose stretches across the glass and disappears down through the access hatch.\n\n> Go upwards\nYou cross the grating, and climb the gentle slope of the stairway through one revolution around the tower.\n\nMr. Teeterwaller comes with you.\n\nLanding, two stories up\nA short landing, about two stories above the ground on the east side\nof the tower, interrupts the steady spiral of the stairs, which continue up and down. The canal is visible in the distance below, and the tower looms overhead.\n\n> Go up\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs end at this landing, and go no further up. This landing\nis nearly at the top of the tower, around four stories above the ground, and on the east side of the tower.\nA closed rounded metal door is set into the tower wall to the west.\nA large wheel is in the center of the door.\n\n> Inventory\nYou have your temporary ID card, a map, a garage opener, a jacket, a Project Tyche manual, a DUFON journal, a flashlight (providing light), a Blottnian textbook, a hand pump, a dog harness, a portable hand-held scanner, a looseleaf page, a deck of punched cards, a newer gas mask (being worn), a yellow hard-hat (being worn), and a silver balloon.\nThe garage opener compartment seems to contain a battery.\n\n> You open the door\nOpened.\n\nWisps of viscous green vapor waft slowly out from the door. Fortunately, the gas mask seems to be protecting you from the gas.\n\nTeeterwaller looks around purposefully.\n\n> You go to the west\nMr. Teeterwaller comes with you.\n\nA catwalk starts at the rounded door to the east (which is open),\nand extends west toward the center of the cylinder of the tower, suspended by cables over a churning, bubbling sea of viscous yellow-green liquid ten feet below. A green, misty vapor swirls up from the surface of the liquid.\n\nThe rounded metal door swings shut with a dull thud.\n\n> Pump balloon\nIt's already as inflated as it can be.\n\nMr. Teeterwaller looks around.\n\n> You deflate the balloon\nYou carefully untie the knot and let the air escape.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> Pump balloon\n(with your lips)\nYou'd have a hard time fitting the balloon under your gas mask. If you want to inflate the balloon with the pump, though, just say so.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You inflate the balloon with the pump\nYou put the hand pump into the balloon's opening and pump up the balloon, filling the balloon with the toxic green gas. Once the balloon is inflated, you tie a knot in the opening to keep the fumes from escaping.\n\n> You go to the east\n(Opening the rounded metal door)\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs end at this landing, and go no further up. This landing\nis nearly at the top of the tower, around four stories above the ground, and on the east side of the tower.\nAn open rounded metal door is set into the tower wall to the west; a viscous green vapor wafts out of the door. A large wheel is in the center of the door."
    },
    {
        "text": "[Themes: Espionage, Science Fiction]\n\n> You go downward\nMr. Teeterwaller comes with you.\n\nA deep, concrete-lined canal is to the east; metal rungs are set\ninto the wall, forming a ladder down into the canal. A tall fence topped with razor wire is to the north.\nPipes and conduits are everywhere, packed so tightly together that\nthey form walls. Narrow openings in the pipes allow travel to the southeast and southwest. To the west, a cylindrical tower rises up out of the pipes and looms several stories overhead; a spiral stairway encircling the tower leads up. The ground is replaced by a metal grating for the ten feet around the tower.\n\n> Go southwest\nMr. Teeterwaller comes with you.\n\nThe forest of pipes opens up a little here into a large clear area.\nIn the center of the clearing stands a tall metal enclosure topped with a brightly-lit red sign:\n\nAn opening in the pipes leads northeast, and another passage leads south. You may also be able to squeeze through a narrow crawl-way to the southeast.\nA fire hose stretches out of the enclosure and through the crawl-way\nto the southeast.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\npanels, stretching hundreds of feet to the south and as far to the east. The pipes that are everywhere in this compound bend around the sea of glass leaving the area above open to the sky; white cylindrical towers rising up above the pipes are scattered around the perimeter of the glass. A passage through the pipes opens to the north, and the pipes leave enough space for a walkway southwest along the edge of the glass.\nA metal cage, suspended a few inches off the ground by a cable\nhanging from a beam overhead, is just this side of the glass.\nRoughly in the center of the glass, one of the panes has been tilted up, creating an opening in the glass.\nA fire hose is sticking through the pipes about fifty feet to the\neast; the hose stretches across the glass and disappears down through the access hatch.\n\n> Down\nYou can't go that way.\n\nA lightning bolt flashes through the sky a short distance to the north.\n\nMr. Teeterwaller watches you expectantly.\n\n> You enter the cage\nMr. Teeterwaller comes with you.\n\nThe cage is a simple framework of poles connected to a metal floor. Attached to one of the poles, about midway up, is a pair of levers. A few inches above the levers, a yellow note is taped to the pole.\nThe cage is above solid ground, at the north edge of the glass, and about ten feet from the west edge.\nThe glass pane roughly in the center of the glass has been tilted\nup, creating an opening in the glass. A fire hose stretches between a gap in the pipes to the north and the open panel.\n\nA lightning bolt rips through the sky nearby to the east.\n\n> Keep going\nWith a lurch, the cage starts moving to the east. The cage travels about twenty-five feet, then stops, leaving it about sixty feet east of the west edge of the glass. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You examine the glass\nThe glass looks like a giant window set into the ground, roughly square and a hundred feet on a side. It looks as though a huge chamber is below the glass.\n\nA glass panel about fifty feet south of here is tilted up, creating an opening. A fire hose, stretching from a gap in the pipes to the north, hangs down through the opening.\n\n> You climb down the hose\nThe cage must be closer to the opening for you to climb down the hose.\n\n> Continue\nWith a lurch, the cage starts moving to the south. The cage travels about twenty-five feet, then stops, leaving it hanging over the glass, about fifty feet south of the north edge, and sixty feet east of the west edge. You release the lever, and a spring returns it to the upright position; after a few wide swings, the cage gradually settles into its new location.\n\nThe glass pane just outside the cage has been tilted up, creating an opening the glass. A fire hose stretches between a gap in the pipes and the open panel.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You climb down the hose\nYou carefully maneuver yourself over to the hose, and start lowering yourself down its length. You reach the floor after a brief descent.\n\nas they rise hundreds of feet to the glass panes of the ceiling.\nLights from the towers above the surface twinkle like Christmas tree decorations through the glass. An elevator is to the west, and passages lead north and southeast.\nA fire hose hangs down from the ceiling, the end of the hose just reaching the floor.\n\nAfter a few minutes, Mr. Teeterwaller comes sliding down the hose at high speed, and crashes into the floor. He collects himself off the floor and spends a few moments brushing off dust.\n\n> You go to the south\nMr. Teeterwaller comes with you.\n\nThis is a small, musty-smelling room whose only exit is the door to\nthe north. A cabinet occupies one wall. Opposite the cabinet is a large air vent, below which is a lever.\n\n> You examine the lever\nThe lever is mounted below the vent, and moves left and right. The left end is labeled \"Outside,\" and the right end is labeled \"Recycled.\" The lever is currently at the right limit of its travel.\n\nMr. Teeterwaller watches you expectantly.\n\n> You deflate the balloon\nYou carefully untie the knot, allowing the green gas to escape. Your gas mask protects you as the toxic vapors swirl around you. The green gas is quickly drawn into the vent; a few moments later, from the hall, you hear loud coughing and yelling. Down the hall, one of the doors bursts open, and two men and a woman run out into the hall, holding their hands over their mouths. They run off down the hall.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThis long, narrow chamber might better be called a corridor than a room. The north and south walls are lined with file drawers from floor to ceiling; there must be thousands of drawers. A door lies to the west; a small vent is over the door.\nYou see a briefcase and a red ID card here.\n\nTeeterwaller has a look of awe on his face. \"This is amazing,\" he says. \"I never thought they'd just file everything away like this.\"\nHe picks up the briefcase. \"This is perfect.\"\n\nHe starts opening drawers and going through files.\n\n> You take the ithe d.\nTaken.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over. \"Very interesting,\" he mutters, putting the files in his briefcase.\n\n> You examine the briefcase\nThe briefcase is closed.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over. \"Amazing,\" he mutters, putting the files in his briefcase.\n\n> You open the briefcase\nI beg your pardon?\n\nMr. Teeterwaller won't let you.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over. \"This is astonishing,\" he says. \"I've been looking for this type of information for years, but all I've ever been able to find is the vaguest of hints, just bits and pieces. This is everything I've been looking for, all in one place.\"\n\n> You ask Teeterwaller about the files\n\"I've been trying to find this sort of information for years, but all I've been able to find before are bits and pieces.\"\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over. \"This is it! Look!\" he says excitedly, showing you the file. It's marked \"Omegatron Corp. (Project `Tyche')\" and is dated in 1970. He flips through the file for you; it contains electronic diagrams and technical data, none of which makes sense to you but clearly is important to Teeterwaller.\n\n\"I don't know if I ever told you about Project Tyche,\" he says. \"I worked on it around twenty-five years ago. We were building an embedded controller system for some industrial equipment. Part of the project involved these logic chips that seemed almost magical at the time. They were far ahead of anything we'd seen. I started wondering about them recently, so I asked our corporate archives people for a copy of the specification document for the project. I got the spec, but the parts about the logic chips were missing. Well, this is the missing section. Plus, it has information about how these people,\" he looks around the room at the file drawers, \"whoever it is who's keeping these records, planted this information with our project.\"\n\n> You ask Teeterwaller about the car\n\"It's always been very reliable,\" he says defensively. \"I know people make all sorts of jokes about what a terrible car it is, but I've had very good luck with it.\"\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over, stuffing them into his briefcase."
    },
    {
        "text": "[Themes: Science Fiction, Espionage]\n\n> You look around\nThis long, narrow chamber might better be called a corridor than a room. The north and south walls are lined with file drawers from floor to ceiling; there must be thousands of drawers. A door lies to the west; a small vent is over the door.\nYour boss Mr. Teeterwaller is here.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over, stuffing them into his briefcase.\n\n> You open the drawers\nYou pick a drawer at random and open it. The drawer is loaded with files; you choose one with a typewritten label reading \"Microprocessor Transfer Study\" and look through it.\n\nThe rapid pace of transfers over the past five years has clearly strained several absorption factors and is not producing the benefits that accrued in prior stages. The original recipients bear partial responsibility through their dubious practices, but fundamentally we have simply transferred technology too rapidly. The schedule adjustments we have initiated should stabilize the market within two years and restore full profitability.\n\nTeeterwaller snatches the file. \"This one looks important,\" he says as he stuffs the file into his briefcase.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over, stuffing them into his briefcase.\n\n> Keep going\nYou pick a drawer at random and open it. The drawer is loaded with files; you choose one with a typewritten label reading \"Embargo Schedule - Medical\" and look through it.\n\nAgreements with Mercer & Co., Pfalk Laboratories, Seth and Gurney, Milnes renewed through FY 2015. All below listed substances are embargoed to all parties through contract expiration, pending timely receipt of annual suppression fees as negotiated.\n\nNN 373 AS1 (wide spectrum influenza antiviral)\nA901/902 PF (macular regenerative)\nX-6080114 (bacteriophage - BUT NOTE use as car wax approved for 1999, see Schedule - Automotive, Cleaning & Cosmetic)\n\n...and a long list of similar entries follows.\n\nTeeterwaller snatches the file. \"This one looks extremely interesting,\" he says as he stuffs the file into his briefcase.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over, stuffing them into his briefcase.\n\n> You keep going\nYou pick a drawer at random and open it. The drawer is loaded with files; you choose one with a typewritten label reading \"MB-7\" and look through it.\n\nThis file contains numerous technical diagrams of a jet airliner, including everything from the passenger compartment floor plan to the parts list for the fan blades in the engine.\n\nTeeterwaller snatches the file. \"This one looks curious,\" he says as he stuffs the file into his briefcase.\n\nTeeterwaller looks through a drawer, pulling a couple of files and looking them over, stuffing them into his briefcase.\n\n> Go west\n\"We must come back here,\" Teeterwaller says, stuffing a few last files into his briefcase as he follows you out of the room. \"There's much more I want to see here.\"\n\nThe proportions of this passage, the workmanship of the marble\nfloor, the wire-caged light fixtures all give this corridor an antique appearance. A large room lies to the northwest, and silvery doors lie to the east, west, and south; the door to the south is labeled \"MAINTENANCE,\" and the door to the east is marked \"RECORDS.\"\n\n> You go northwest\nMr. Teeterwaller comes with you.\n\nas they rise hundreds of feet to the glass panes of the ceiling.\nLights from the towers above the surface twinkle like Christmas tree decorations through the glass. An elevator is to the west, and passages lead north and southeast.\nA fire hose hangs down from the ceiling, the end of the hose just reaching the floor.\n\n> Go west\nYou'll have to open the elevator first.\n\n> You go to the north\nMr. Teeterwaller comes with you.\n\nThis wide hallway is filled with dust and debris from a construction project. A foreman is looking at a blueprint, and several construction workers are demolishing parts of the hallway. The hallway opens to the south, and continues north past the contruction.\n\n> Go west\nYou can't go that way.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You go to the north\nThe foreman waves you by. You carefully navigate through the construction debris, following the hallway as it turns a corner and continues west.\n\nMr. Teeterwaller comes with you.\n\nThis is the west end of a wide east-west hallway. A sliding metal door, labeled \"Lab 7,\" leads north, and a white door, labeled \"Observation Room,\" leads west.\n\n> You put the red ithe d in the slot\nYou slip the red ID card into the slot; it's a good fit. A soft beep emanates from the slot, and the metal door slides open.\n\nTeeterwaller looks through his pockets for something.\n\n> Go north\nMr. Teeterwaller comes with you.\n\nThis is a cavernous room, a hundred feet tall and twice as wide.\nPieces of electronic equipment are scattered throughout the chamber.\nIn the center of the room is a workbench, on which is a plastic stand; a pair of electrodes are connected to the stand, and the electrodes are connected with wires to an electronic device on a cart next to the workbench. Near the workbench is a silver crate, the size of a refrigerator sitting on its back.\nAn air vent is visible in the center of the ceiling. A glass window\nin the south wall looks out into an observation room.\nA sliding metal door leads south.\nSitting on the plastic stand is a black disk.\n\nThe metal door slides closed.\n\n> You examine the disk\nIt's about the size of a half-dollar coin, and is made of a dull black material.\n\n> You take the disk\nA siren sounds from a loudspeaker somewhere above you, and a voice echoes through the room: \"Intruder alert, laboratory seven. Section black, commence procedure one one delta.\"\n\nThrough the window in the south wall, you see several guards dressed in black jump-suits and black helmets rush into the observation room.\nThey see you and start motioning to one another.\n\nTeeterwaller takes two steps backwards. \"Uh, oh...\"\n\nTaken.\n\nGuards run in and out of the observation room.\n\n> Examine crate\nThe crate is made of a very shiny silver metal. It's about the size of a refrigerator sitting on its back.\n\n> Open crate\nThere's no obvious way to open the crate. You can find no latches, buttons, catches, or other mechanisms, and there's not even a visible seam anywhere.\n\n> You look at the device\nWhich device do you mean, the portable hand-held scanner, or the electronic device?\n\n> You look at electronic\nWhich electronic do you mean, the equipment, or the electronic device?\n\n> You examine the electronic device\nThe device is about the same size and shape as a video recorder, but the case is unpainted metal and the only obvious controls are a dial and a red button.\n\nTeeterwaller looks through his pockets for something.\n\n> You examine the dial\nThe dial can be turned to settings numbered from 1 to 100. It's currently set to 5.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You press the red button\nA spark jumps across the electrodes. The disk glows faintly for a moment, then returns to normal.\n\n> You turn the dial to 100\nOkay, it's now turned to 100.\n\nA siren sounds from a loudspeaker somewhere above you, and a voice echoes through the room: \"Intruder alert, laboratory seven. Section black, commence procedure one one delta.\"\n\nThrough the window in the south wall, you see several guards dressed in black jump-suits and black helmets rush into the observation room.\nThey see you and start motioning to one another.\n\nTeeterwaller takes two steps backwards. \"Uh, oh...\"\n\nThe guards make threatening gestures at you through the window.\n\n> You attach the electrodes to the disk\nThere's no obvious way to do that.\n\nTeeterwaller looks around purposefully.\n\n> You examine the electrodes\nThe electrodes are connected to the device on the cart, and the ends are attached to opposite sides of the stand.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You put the disk on the stand\nThe black disk is already on the plastic stand!\n\nTeeterwaller looks around purposefully.\n\n> Examine crate\nThe crate is made of a very shiny silver metal. It's about the size of a refrigerator sitting on its back.\n\nMr. Teeterwaller seems to be lost in thought.\n\n> You open it\nThere's no obvious way to open the crate. You can find no latches, buttons, catches, or other mechanisms, and there's not even a visible seam anywhere.\n\nMr. Teeterwaller starts telling you some office gossip, but stops, a little disappointed, when he realizes you don't know the people involved in the embarrassing parts.\n\n> You knock on the crate\nI don't know how to knock the silver crate.\n\nTeeterwaller looks through his pockets for something.\n\n> You turn the dial to 100\nOkay, it's now turned to 100.\n\nA siren sounds from a loudspeaker somewhere above you, and a voice echoes through the room: \"Intruder alert, laboratory seven. Section black, commence procedure one one delta.\"\n\nThrough the window in the south wall, you see several guards dressed in black jump-suits and black helmets rush into the observation room.\nThey see you and start motioning to one another.\n\nTeeterwaller takes two steps backwards. \"Uh, oh...\"\n\nThe guards in the observation room bang on the glass.\n\n> You press the button\n(the red button)\nDarkness suddenly falls over the room as all of the lights go out; a second later, the electrodes blaze with a blinding flash of white light and make a loud pop like a balloon bursting. The spark fades, and the disk glows with an intense but ghostly blue light.\n\nYou suddenly feel like you're tumbling sideways, and it feels like something is pulling your feet and your head in opposite directions. You reach out for something to hold, but find nothing in reach.\n\nJust as you think you're going to hit the ground, you realize that the floor is twenty feet away and getting further. You're falling, but somehow you're falling toward the ceiling. The room is spinning rapidly, and you see that Mr. Teeterwaller is falling alongside you, his eyes closed and his arms flailing wildly; beside him the brightly-glowing disk is serenly floating in mid-air.\n\nYou keep falling upwards for several seconds, moving directly toward a large air vent on the ceiling. You draw closer and closer to the vent, and you brace yourself for impact. In a moment the vent is only a few feet away, but now you can see that you're not moving very quickly after all, and you easily maneuver yourself into the opening.\n\nTeeterwaller crashes into the ceiling just outside the vent, but you manage to grab his arm and help him through the opening.\n\nYou find yourself in a large air duct. The disk floats up through the opening; its glow gradually fades, and as it does, you, Teeterwaller, and the disk settle to the floor of the duct. Gravity returns to normal.\n\nThis aluminum air duct is just large enough to crawl through here,\nbut splits into several smaller ducts to the west, none of which are large enough to permit further passage. The duct widens to the east. In the floor is a square opening, two feet on a side, whose cover has been swung out and down; a cavernous chamber below is visible through the opening.\nYou see a black disk here.\n\nThrough the opening, you see the door to the lab slide open, and dozens of guards rush into the lab, looking up at you from the floor far below.\n\n> You get the disk\nTaken.\n\nThrough the opening, you see the guards in the lab watching you.\n\nMr. Teeterwaller looks around.\n\n> You take the disk\nYou already have the black disk!\n\nThe guards in the lab rush around busily, several keeping a close watch on you.\n\nMr. Teeterwaller mumbles something to himself.\n\n> Go east\nMr. Teeterwaller comes with you.\n\nThis low, narrow tunnel was probably never intended as a walkway;\nit's more like a ventilation shaft than a corridor. The tunnel becomes an aluminum duct to the west, and several small vents connect through the north and south walls. The passage opens into a larger area to the east.\n\n> You go east\nMr. Teeterwaller comes with you.\n\nUnderground, in shaft\nConcrete walls line this cylindrical shaft surrounding the tower.\nThe stairs end their descent here, about a story beneath the surface, but the shaft continues far below. A metal grating completely covers the shaft at the bottom of the stairs, providing a floor.\nA narrow opening in the wall of the shaft leads west.\n\n> Go upward\nFollowing the stairs around the tower, you cross through an opening in the grating and emerge into the night air.\n\nMr. Teeterwaller comes with you.\n\nLanding, one story up\nThis landing is about one story above the ground, on the east side\nof the tower. The stairs continue up and down.\nSeveral guards are watching you through the grating of the landing\none level up.\n\nThe guards watch you through the stairs.\n\n> You look at the guards\nThe guards are watching you through the grating of the stairs.\n\nThe guards watch you through the stairs.\n\nMr. Teeterwaller looks around.\n\n> Go up\nMr. Teeterwaller comes with you.\n\nLanding, three stories up\nThis landing is about three stories above the ground, on the east\nside of the tower. The stairs continue wrapping around the tower, allowing you to travel up or down.\nSeveral guards are watching you through the grating of the landings above and below.\n\nThe guards watch you through the stairs.\n\n> Go up\nThe stairs only make half a turn around the tower before you encounter another landing, this time on the west side of the tower.\n\nMr. Teeterwaller comes with you.\n\nLanding, four stories up\nThe stairs reach their summit at this landing, which, unlike all of\nthe other landings, is on the west side of the tower. Handholds set into the tower wall at regular intervals form a ladder up the side of the tower.\nA closed rounded metal door is set into the tower wall. In the\ncenter of the door is a wheel.\n\n> Go up\nAs you start up the ladder, the door bursts open and guards start pouring out onto the landing. You climb the ladder as quickly as you can.\n\nMr. Teeterwaller comes with you.\n\nThis is the apex of the tower dome, which slopes down in all directions. The air is cool and a steady wind flows past the dome. An access hatch is at the top; it's closed. Handholds set into the roof form a ladder down the west side of the dome.\nThe industrial wasteland of the plant complex stretches to the\nnorth, other towers delineated by colored lights twinkling in the distance, a vast spiderweb of pipes and conduits below.\n\nGuards take up positions at the top of the stairs below the dome, but for some reason do not follow you up the ladder.\n\n> You open hatch\nOpened.\n\nWisps of viscous green vapor waft slowly out from the door. Fortunately, the gas mask seems to be protecting you from the gas.\n\nSomeone starts climbing the ladder from below. For a moment you think it's one of the guards, but as the figure draws closer, you see that it's a tall, gray-haired man in a business suit. He reaches the top of the ladder and walks toward you and Teeterwaller, his hands open, presumably to show he's not carrying a weapon. His jacket flaps in the breeze; he reaches down to button it.\n\n\"When I was a boy,\" the man says in a deep, gravelly voice, \"my family lived in a small town in Arizona. One day I rode my bike out into the desert, as I often did, in search of dinosaur fossils or Indian relics. After several hours I was still empty-handed and had mostly forgotten what I had set out to find anyway, so with the sun nearing the horizon I started heading home, when a glint in the eastern sky caught my eye.\"\n\n> You look at the Man\nHe's a tall, athletic-looking man with gray hair. His dark business suit is fluttering in the strong wind.\n\nThe gray-haired man continues. \"I watched as the glint turned into a streak, and the streak turned into a fireball, all in the course of a few heartbeats. The sight transfixed me and I barely recognized that I was directly in the path of whatever was falling from the sky, but some instinct made me dive under a nearby boulder, only an instant before the ground shattered from the impact. I hid under my rock as debris rained down.\"\n\n> You wait\nTime passes...\n\nThe man continues speaking to you. \"My fear soon turned to curiosity and before long I made my way to the crash site. I expected a meteorite, which I pictured as some kind of red glowing sphere with miniature moon craters. What I found was obviously not a meteorite, not even anything natural. But it wasn't anything man-made either. It was the size of a small airplane, but had no wings; its shape was complex and irregular; and it was made of a dull gray material that looked like wet clay.\"\n\n> You wait for a while\nTime passes...\n\n\"The wreckage was in a few large pieces, but some small bits were scattered around, and I pocketed a few as souvenirs. I was about to start looking at the larger pieces, when a group of airplanes came over the horizon and made for the crash site. Something made me return to my bicycle and pedal away as fast as I could. I took refuge behind some rocks up a hill half a mile away and watched as the planes disgorged men and machines by parachute.\"\n\n> Wait\nTime passes...\n\n\"I stayed for some time watching the men load the pieces of the fallen object onto trucks. Nightfall forced me to abandon my hideout and go home, and when I returned the next day I could find nothing left of the crash; the crater had been filled and even the fragments of rock scattered hundreds of yards away had been swept into the sand.\"\n\n> You wait a while\nTime passes...\n\n\"I spent years looking at the fragments I had kept from the crash without recognizing their true nature. A series of chance discoveries, however, led me to realize that the object that crashed was not some experimental military craft, as I had long imagined, and that indeed it was not even of this Earth.\"\n\n> You wait for a while\nTime passes...\n\n\"My souvenirs were in fact products of a highly advanced technology, far beyond what was thought possible when I found them and beyond even what is commonly believed possible today, and having discovered a few of their secrets I quickly learned more. I realized at once the commercial potential of my discoveries and set about finding practical applications. You see around you here a small facet of the enterprise that we have built, dedicated to the steady improvement of our society and the world through the carefully controlled introduction of this technology.\"\n\n> Wait\nTime passes...\n\n\"I did not know until many years after the crash the fate of the rest of the object. As our company grew, we began to have the resources necessary to cultivate relationships inside the government, and we eventually learned where the pieces recovered from the crash were being studied. We have monitored the progress of the government's studies carefully, and it has been a source of constant frustration for us that these studies have not only been almost completely unproductive, but what little they have gleaned has been hidden behind a veil of military secrecy and national security.\"\n\n> Wait\nTime passes...\n\n\"We have for many years known that the government is incapable of putting this technology to proper use, and that we must take control of it for the good of mankind. Unfortunately, even our resources have proven insufficient to correct this problem, at least until now. When we learned that the crash artifacts were to be relocated to a new facility, we saw our chance to intervene, taking what is rightfully and morally ours.\"\n\nA lightning bolt strikes one of the nearby towers.\n\n> You wait\nTime passes...\n\nTeeterwaller, who up to now has been silently listening to the gray-haired man, speaks to him. \"`Rightfully and morally' yours,\" he scoffs. \"You're just as bad as the government, hiding this technology for decades. You're worse, in fact, the way you dole it out a little at a time to maximize your profit at everyone else's expense.\"\n\nThe gray-haired man shakes his head slightly. \"Profit isn't our motive,\" he says. \"It is society's readiness to absorb change that dictates the rate of our disclosures. If we were to reveal all we knew at one time, the world would plunge into chaos.\"\n\n\"You'll never get away with this,\" Teeterwaller says. \"You actually think the government won't figure out who stole the artifacts?\"\n\n\"The government will never even suspect they were taken,\" the gray-haired man responds dismissively. \"We replaced the originals with inert duplicates. The fools have never been able to learn anything from the originals anyway; they'll labor for fifty more fruitless years, then shrug, pack the whole mess off to a warehouse in Illinois, and move on to their next assignments.\"\n\nThunder rumbles from the sky overhead.\n\n> You wait\nTime passes...\n\nThe gray-haired man continues. \"You have something that belongs to us,\" he says. \"As you can plainly see, there is nowhere for you to go. Despite your weak bargaining position, we can afford to be generous, so I would like to offer both of you positions as Vice Presidents in one of our many exciting subsidiary or affiliated corporations. All you have to do is give me the disk.\"\n\nA few bright flashes of lightning light the sky directly overhead.\n\n> Wait\nTime passes...\n\nThe gray-haired man looks at you expectantly.\n\nStatic electricity crackles through the sky overhead.\n\n> You throw the disk\nYou throw the disk. Teeterwaller and the gray-haired man follow the disk with their eyes as it arcs into the night sky and disappears into the distance.\n\n\"I'm disappointed that we couldn't reach an agreement,\" the gray-haired man says. He motions to the guards, who come up onto the roof and arrest you.\n\nThe guards take you to their security office, and later turn you over to the local police, who arrest you on trespassing charges. You and Teeterwaller tell your fantastic story of hijacked trucks and floating anti-gravity disks, but the police just ignore you.\n\nAfter a night in the local jail, the police release you, explaining that the company that owns the plant is not pressing charges. In town, you and Teeterwaller find a mechanic to fix the car. You return home, having missed your meeting. Life returns to normal.\n\nIn the months that follow, the subject of that strange night seems to become taboo, and you and Teeterwaller never again discuss it. Eventually, Teeterwaller leaves the company; you hear later that he's working for one of those UFO magazines, writing bitter diatribes about government conspiracies and military cover-ups.\n\nYou often wonder what might have happened if you had escaped with the odd little black disk, but you feel fortunate enough to have made it through the experience unscathed.\n\n> You give the disk to the Man\n\"Thank you,\" he says, taking the disk. He shakes your hand, \"Welcome aboard, Mr. Vice President,\" he says, then turns to Teeterwaller and welcomes him.\n\nAs promised, you are immediately appointed a Vice President at AmCaustiCo, a maker of caustic chemical speciality products, and given a plush corner office overlooking a pleasant little woods a safe distance from the smoke-belching factories whose maintenance schedule you are assigned to oversee.\n\nYou find your compensation much more than comfortable and your duties agreeably undemanding, leaving you plenty of time to practice your golf and \"network\" with other top executives at the country club, trading stock tips and dirty jokes. Years later, looking back, you know you made a good career decision that strange night, but you can't help wondering from time to time what might have happened if you'd somehow escaped with the odd little black disk. It's an idle thought, though; you'd just have ended up like Teeterwaller, writing bitter diatribes for some little conspiracy-minded UFO magazine.\n\n> Wait\nTime passes...\n\nThe gray-haired man watches you expectantly. \"The perks are very nice for Vice Presidents,\" he says.\n\nYour hair feels like it's standing on end from the static charge in the air.\n\n> Wait\nTime passes...\n\nThe gray-haired man looks at you expectantly.\n\nThunder roars overhead. Lightning flashes from cloud to cloud in the sky above you. Suddenly, a tongue of lightning cuts through the air directly in front of you, striking the center of the dome.\n\nSomehow, the lightning bolt stays where it is, dancing a little around the top of the dome but continuing to discharge electricity.\n\n> You put the disk in the lightning\nYou carefully hold out the disk, and very slowly move your hand toward the lightning bolt. Your skin tingles with electricity as you get closer, and your hair starts to stand on end.\n\nA tiny tendril of brilliant white light leaps out from the lightning bolt and touches the disk. You feel a jab and jerk your hand back, but you see that the disk is glowing with an intense blue light, and you start to feel light-headed and disoriented. Teeterwaller grabs your arm, and the two of you rapidly ascend into the sky. The gray haired man reaches his hand out toward you and shouts something, but you're already too far away to hear what he's saying.\n\nThe wind picks up speed and changes direction several times as you climb, and you start drifting to the north. Soon the lights of the plant are behind you, and you're over open ground. Silence falls as your own motion matches the wind speed and you move along at the same rate as the surrounding air.\n\n\"I can't believe we made it out of there alive!\" Teeterwaller says. \"This is an amazing find,\" he says, indicating the disk.\n\nYou start descending again, and you see that you're headed for the road--in fact, you can see Teeterwaller's car, right where you left it. The disk's glow fades, and you settle gently to the ground near the car.\n\nHeadlights approach from down the road. They draw nearer, and the vehicle starts slowing down and pulling over behind Teeterwaller's car. You almost make a run for it, when you see that the vehicle is a van from a local television station. A young woman in a smart blue dress gets out from the passenger side, and a man in a flannel shirt carrying a video camera follows.\n\n\"Excuse me,\" the woman says as she approaches you. \"We've had some reports of strange electrical activity in the sky around here, and I wondered if either of you have seen anything interesting tonight.\"\n\nTeeterwaller smiles at you. \"Yes,\" he says. \"As a matter of fact we have.\""
    },
    {
        "text": "[Themes: Science Fiction, transformation, virtual reality, church, gender-neutral protagonist, cave, changing environment, library]\n\nTime for a fresh start.\n\nYou've been slogging towards the goal -- true metasemanticity -- for months. Code-logic sparkles in your dreams and mutters in your ears. You've made great strides of progress, thrown them away, rewritten, rearranged, refactored -- but the contract deadline is crawling down your throat. No escaping that. You've got to pull this project together, and soon.\n\nSo forget all of the environment modelling, the texture cores, the interface splicing. You're going to build on basic physical forces. Like heat, light, maybe mass... Make it feel real, in the user's gut.\n\nA Metasemantic Construction by Andrew Plotkin (\"Nigel Smith\")\n\n(Type \"about\" for credits and game information.)\n\nNothing surrounds you. The virtual space is unbounded and absolutely blank. Just the opposite of what you're aiming at, you think wryly.\n\nWith a mental flick, you call up the archetype of a force. Pressure, you decide. Mathematically simple, but instinctual. The archetype forms before you: a simple equation hanging in the workspace.\n\n[Author's Note: This story takes place in a single room \u0097 but not always the same one. The room contains just one item, but again, there's more to it than that. Experiment and enjoy.]"
    },
    {
        "text": "[Themes: Science Fiction, changing environment, transformation, church]\n\n> You take the equation\nYou cup your hand around the equation and compile. It shrinks obligingly into a small icon, which you take.\n\nThis is just what you were hoping for -- a simple principle, from which an entire immersive world can grow. Now to drop it in the workspace and see what you get.\n\n> About yourself\n\"T. Jant Ganzfeld is a notable contract researcher in virtual workspace design...\" But you don't need to re-read your own Distribupedia article. If this project works out, it'll get a lot more impressive. If not -- goodbye to that \"notable\". And maybe that \"is\", too.\n\n> You check what you're carrying\nYou are carrying:\nthe pressure icon\n\n> You examine icon\nIt's a small symbol representing pressure, in all its aspects and implications.\n\n> You drop icon\nYou haven't got that.\n\nThis environment is a mere sketch, but you didn't sketch it. It's grown entirely from your subconscious symbolism. This is what you've been striving for. Now you just need to draw out more archetypes.\n\n> You examine the altar\nThe altar is a simple block of smoky marble, at one end of the red carpet. Standing upon it is a tall candle, which is lit.\n\nA gust of air brushes over you.\n\n> You look at the altar\nThe altar is a simple block of smoky marble, at one end of the red carpet. Standing upon it is a tall candle, which is lit.\n\n> You get the candle\nUpon closer examination, the candle is an archetype: heat. You reach out and compile; it shrinks obligingly into a small icon, which you take.\n\n> You look at the icon\n(the heat icon)\nIt's a small symbol representing heat, in all its ramifications and aspects.\n\nAir moves through the cathedral.\n\n> You drop icon\nWhich do you mean, the heat icon, or the pressure icon?\n\n> Pressure\nYou haven't got that.\n\nSweat begins to drip from you.\n\n> You examine the chest\nA heavy wooden trunk, at least a yard wide, stands at the south end of the hall. The trunk is closed.\n\n> Open chest\nYou grab the lid and yank, but it doesn't move. You crouch and shift your hold; but the chest is either locked, or jammed, or warped with age. It will not open.\n\nThe fire crackles unexpectedly.\n\n> You look at the fire\nA trench runs up the hall; bonfires are built along it in a blazing chain. You can feel the yellow heat pressing against your face, and your back is cool only in comparison. The air is nearly stifling.\n\n> You check your inventory\nYou are carrying nothing.\n\nThe icons shift slightly in the workspace.\n\n> You invoke the pressure icon\nYou invoke the pressure icon, and the environment shifts around you.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar.\n\nYour workspace is a squat cube in the center of the room. Inside it hang your two icons.\n\nSomething is different here... You glance around. A small offering-box now sits on top of the altar. You're sure it wasn't there before.\n\n> You examine the altar\nThe altar is a simple block of smoky marble, at one end of the red carpet. Standing upon it is a small offering box, which is closed.\n\n> You look at the offering box\nA small chased-silver box, perhaps an offering-box, rests on the altar. The box is closed.\n\nYou glance around the room, comparing locations. Yes, a direct symbolic parallel: this tiny box occupies the same spot as the enormous wooden chest.\n\nA puff of air brushes past you.\n\n> You get the box\nUpon further inspection, the box is bolted down. Given that this is your own imagery, you wonder what your subconscious is saying about the rest of you.\n\n> You open the box\nYou lift the lid. Disappointingly, the box is empty.\n\n> You examine the icons\nWithin the workspace you see the heat icon and the pressure icon.\n\nAir sighs through the cathedral.\n\n> You examine Air\nThe air here shifts in unpredictable gusts and currents; the organ pipes blow gentle, unceasing turbulence throughout the room.\n\nThe icons shift slightly in the workspace.\n\n> You look at the organ\nBrass organ pipes cover the north wall. Air rushes through them -- not loudly, but with a steady undertone of irregular chords.\n\n> You examine the knife\nLying in the chest is a knife, a plain black iron blade with a leather-wrapped hilt. You see immediately that the knife is an archetype of light.\n\nThe icons shift slightly in the workspace.\n\n> You take it\nYou take the knife and compile. It shrinks obligingly into a small icon.\n\nSweat begins to drip from you.\n\n> You look at the icon\n(the light icon)\nIt's a small symbol representing light, in all its details and ramifications.\n\n> You touch it\nYou hold the light icon up and give it a push towards the workspace. It slides neatly into place, and the world transforms around you.\n\nYou are underground, by the echoes and the irregular rock underfoot. But the space is lost in darkness. A chill stream trickles past, and the faintest phosphorescence trickles with it. Beyond arm's reach, however, you see only black.\n\nYour workspace stands beside you. Inside it drift three icons.\n\nA worn axe is jammed into a stalactite, just to the south. Unfortunately, it's well above your head.\n\n> You jump\nYou can't jump quite high enough to reach the axe.\n\nAir flutters, somewhere overhead.\n\n> You look at the axe\nIt's an axe, perhaps an old spelunker's tool. It's stuck into a stalactite, which projects down out of the darkness above.\n\n> You look at the stream\nA shallow stream of water flows nearby. Where it ripples, it sheds a slight phosphorescence -- the only illumination around you.\n\n> Drink water\nYou scoop up a few drops and lick them from your fingers. The water tastes very clean, and very old.\n\nYou hear a few bats flutter by, off to snack on insects somewhere.\n\n> You take the axe\nThe axe is stuck too high to reach.\n\nThe icons rebound gently off the sides of the workspace.\n\n> You invoke the pressure\nYou invoke the pressure icon, and the environment transforms around you.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar, which supports a small open offering box.\n\nYour workspace is a squat cube in the center of the room. Inside it drift three icons.\n\nA rough pewter chalice is lying near the altar. Ah -- this must be the parallel of the rusty axe.\n\n> You examine the pewter\nThe chalice is dull metal -- roughly-hammered, and decorated only by scratches. It is empty.\n\nA breath of air brushes over you.\n\n> You take the pewter\nTaken.\n\n> You invoke the heat\nYou invoke the heat icon, and the environment shifts into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it drift three icons.\n\n> You invoke the light\nYou invoke the light icon, and the environment changes around you.\n\nYou are underground, by the echoes and the irregular rock underfoot. But the space is lost in darkness. A chill stream trickles past, and the faintest phosphorescence trickles with it. Beyond arm's reach, however, you see only black.\n\nYour workspace stands beside you. Inside it drift three icons.\n\nThe icons rebound gently off the sides of the workspace.\n\n> Inventory\nYou are carrying:\na pewter chalice\n\n> You put the water in the chalice\nYou kneel and fill the chalice with stream water.\n\nAir flutters, somewhere overhead.\n\n> You drop the chalice\nAs you release the pewter chalice full of water, it shimmers. You watch, fascinated, as its shape readjusts to its new environment. In moments, the pewter chalice full of water has reverted to being a rusty axe.\n\n> You press the heat\nYou invoke the heat icon, and the environment transforms into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it drift three icons.\n\n> You drop the axe\nAs the rusty axe leaves your grasp, it shimmers and transforms into a wooden torch.\n\nThe icons rebound gently off the sides of the workspace.\n\n> You press the light\nTaken.\n\nSweat begins to drip from you.\n\nYou invoke the light icon, and the environment shifts around you.\n\nYou are underground, by the echoes and the irregular rock underfoot. But the space is lost in darkness. A chill stream trickles past, and the faintest phosphorescence trickles with it. Beyond arm's reach, however, you see only black.\n\nYour workspace stands beside you. Inside it drift three icons.\n\n> Light torch\nYou invoke the heat icon, and the environment changes into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it drift three icons.\n\nThe flame catches easily. The torch is now burning brightly.\n\nSweat begins to drip from you.\n\n> You press light\nYou invoke the light icon, and the environment transforms around you.\n\nYou stand in an echoing space; your torch picks glimmers of reflection from distant stone walls. A chill stream trickles past you and away into the darkness.\n\nThe torchlight reveals a pale fat mushroom squatting in a corner of the cave, a short distance away.\n\nYour workspace stands beside you. Inside it drift three icons.\n\n> You examine the mushroom\nA pale mushroom shines dimly in a nearby corner of the cave. You recognize the mushroom as an archetype of charge.\n\nThe icons rebound gently off the sides of the workspace.\n\n> You take it\nYou take the mushroom and compile. It shrinks obligingly into a small icon.\n\nAir flutters, somewhere overhead.\n\n> You examine the small icon\n(the charge icon)\nIt's a small symbol representing charge, in all its implications and details.\n\n> You press charge\nYou hold the charge icon up and push it towards the workspace. It resists for a moment, and then slides into place. The environment transforms.\n\nThis square tower is built of granite blocks braced by high iron beams. The roof is a broad sweep of lead-framed glass; it creaks and flexes under the assault of the hammering rain outside.\n\nA complex apparatus dominates the room: a heavy brass tank, surmounted by copper and glass tubing. Wires drape from the roof down to the apparatus, hanging every which way.\n\nYour workspace sits in the center of the lab. Inside it move four icons.\n\n> You examine the apparatus\nA fat brass vessel, a riveted cauldron of a thing, squats before you. A narrow copper pipe curves from the tank's top; the pipe spirals up inside of a wider glass flask.\n\nThrough a small porthole you can see the contents of the tank: a heap of rusty brown flakes lying in a cloud of sparkling vapor.\n\nLightning illuminates the storm overhead, followed instantly by a deafening crack of thunder. At the same moment, you notice the vapor in the tank suddenly whirl and dance.\n\n> You examine the flakes\nIn the brass tank is a small heap of some flaky mineral; the substance is rusty brown with faint flecks of gold. Sparkling vapor rises from the material and swirls within the tank."
    },
    {
        "text": "[Themes: Science Fiction, virtual reality, transformation, changing environment, gender-neutral protagonist, library]\n\n> Look around\nThis square tower is built of granite blocks braced by high iron beams. The roof is a broad sweep of lead-framed glass, hammered by the roaring rain outside.\n\nA complex apparatus dominates the room: a heavy brass tank, surmounted by copper and glass tubing. Wires drape from the roof down to the apparatus, hanging every which way.\n\nYour workspace sits in the center of the lab. Inside it move four icons.\n\n> You examine the wires\nWires run from the tank up to the roof, or from the roof down to the tank, as you like. They are connected above to antennas which thrust from the roof, up into the storm.\n\nThe workspace quivers. You glance at it, and notice the icons moving jerkily inside. Strange.\n\n> You examine the workspace\nThe workspace is represented by a clear, waist-high cube. Within it are the charge icon, the light icon, the heat icon, and the pressure icon, all moving jerkily.\n\nLightning flashes somewhere nearby. At the same moment, you notice the vapor in the tank suddenly whirl and dance.\n\n> Examine tank\nA fat brass vessel, a riveted cauldron of a thing, squats before you. A narrow copper pipe curves from the tank's top; the pipe spirals up inside of a wider glass flask.\n\nThrough a small porthole you can see the contents of the tank: a heap of rusty brown flakes lying in a cloud of sparkling vapor.\n\nThunder rumbles.\n\n> You examine flask\nA wide glass flask is suspended above the tank. The copper pipe runs up to it, and then spirals up the flask's interior. You notice the inside of the flask, and the pipe within it, show a dry white crust -- as if the flask had boiled dry.\n\n> You look at the flakes\nIn the brass tank is a small heap of some flaky mineral; the substance is rusty brown with faint flecks of gold. Sparkling vapor rises from the material and swirls within the tank.\n\nLightning flashes somewhere in the distance. At the same moment, you notice the vapor in the tank suddenly whirl and dance.\n\n> You drop the torch\nAs the flaming torch leaves your grasp, it shimmers and transforms into a brass compass.\n\nThe workspace quivers as the icons move.\n\n> You examine compass\nThe compass is a palm-sized instrument, precisely engraved. The needle wavers uncertainly in this charged atmosphere.\n\nThunder rumbles.\n\n> You invoke the pressure\nYou invoke the pressure icon, and the environment shifts into a new form.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar, which supports a small open offering box.\n\nYour workspace is a squat cube in the center of the room. Inside it move four icons.\n\n> You drop the compass\nAs the brass compass leaves your grasp, it reverts to being a pewter chalice full of water.\n\nThe workspace quivers as the icons move.\n\n> You take the chalice\nTaken.\n\nA gust of air brushes past you.\n\n> Wait\nTime passes. Your deadline creeps closer.\n\nHair-fine red crystals, like frost, are beginning to form at the top of the pipe.\n\n> You examine the crystals\nA delicate snowflake of red crystal is forming at the top of the copper pipe, above the flask. It grows before your eyes.\n\nThe workspace quivers as the icons move.\n\nA red crystalline snowflake is condensing on the copper spike.\n\n> You examine the snowflake\nA delicate snowflake of red crystal is forming at the top of the copper pipe, above the flask. It grows before your eyes.\n\nThe red crystal continues to solidify.\n\n> Wait\nTime passes.\n\nThe last of the vapor is drawn from the tank, as the red crystal finishes filling out; it is now a solid polyhedral mass.\n\n> You touch the crystal\nYou feel nothing unexpected.\n\nLightning illuminates the storm overhead, followed instantly by a deafening crack of thunder.\n\n> You take it\nIt appears that the crystal is an archetype: weight. You reach out and compile; it shrinks obligingly into a small icon, which you take.\n\n> Press weight\nYou push the weight icon towards the workspace -- but it skids to the side. You tighten your grip to try again. With some careful pressure, the icon slides into place.\n\nShelves loom here in rank and file. It is only at a second glance that you realize they are not stacked with books. Instead, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nA single bookcase stands to the west -- that is, one case which is full of books, as opposed to metal. It is fitted with doors, however, and they are closed.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\n> You drop the chalice\nAs the pewter chalice leaves your grasp, it shimmers and transforms into a silver key.\n\nThe blades overhead clink gently.\n\n> You unlock door\nTaken.\n\n(with the silver key)\nYou prod at the doors, but you see no way to insert a key at all.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You open door\nThe bookcase's doors are closed and locked. You see no keyhole.\n\n> Examine books\nThe books, like the weapons, vary wildly in size and heft. No titles are evident, but they are bound in all shades of green and brown. And since they are locked away behind a steel screen, you have no idea what they contain.\n\n> You take the swords\nUnfortunately, they're all strapped tightly to the shelves. Except for the blades that are hanging from chains from the roof, and you can't reach those. Apparently this is not a lending library.\n\n> You invoke the light\nYou invoke the light icon, and the environment transforms into a new form.\n\nYou are underground, by the echoes and the irregular rock underfoot. But the space is lost in darkness. A chill stream trickles past, and the faintest phosphorescence trickles with it. Beyond arm's reach, however, you see only black.\n\nYour workspace stands beside you. Inside it bounce five icons.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You drop the key\nAs the silver key leaves your grasp, it reverts to being a rusty axe.\n\n> You take the axe\nTaken.\n\nAir flutters, somewhere overhead.\n\n> You examine the workspace\nThe workspace is represented by a clear, waist-high cube. Within it are the weight icon, the charge icon, the light icon, the heat icon, and the pressure icon, all bouncing around.\n\n(Your workspace, of course, is not visually rendered. It would be visible even in total darkness.)\n\nThe workspace vibrates to the icons' sharp movements.\n\n> Press weight\nYou invoke the weight icon, and the environment shifts around you.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nA single bookcase stands to the west -- that is, one case which is full of books, as opposed to metal. It is fitted with doors, however, and they are closed.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\n> You hit the screen with the axe\nYou whack the bookcase with the axe, but it is solid. And the axe isn't that sharp.\n\nThe blades overhead clink gently.\n\n> You examine the bookcase\nThe bookcase is a tall wooden affair, finely built; the wood is inlaid with an abstract pattern of tree branches. Behind the steel-mesh doors are rows of books, bound in old green and brown leather.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You invoke the pressure\nYou invoke the pressure icon, and the environment changes into a new form.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar, which supports a small open offering box.\n\nYour workspace is a squat cube in the center of the room. Inside it bounce five icons.\n\nThe west wall is now filled by an enormous stained-glass window, which certainly wasn't there before. The window depicts a tall green tree, standing in a field of lesser greenery.\n\n> You examine the window\nThe glass tiles are not set in lead; perhaps the mosaic is fused or cemented. However the window was made, it shines with thousands of tints of green.\n\nA puff of air brushes over you.\n\n> You open the window\nThere's no way to open that.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You break the window\nYou raise the axe, and chop down at the window. Glass splinters, and the window cracks alarmingly. Then, with a towering crash, the entire window shatters into a cascade of broken green glass.\n\nWhen the catastrophe ends, the window frame is a jagged hole, beyond which is a blank white marble wall.\n\n> You look at the hole\nShards of broken green glass spill across the floor. Behind the window casing is only blank white marble.\n\n> You invoke the weight\nYou invoke the weight icon, and the environment transforms around you.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nThe bookcase still stands, but its doors have been torn open; they hang in pieces. The books have tumbled out in a heap at your feet.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> Examine books\nYou pick up a book and open it. The pages are all blank.\n\n> You take the books\nYou open another book; this one, too, is blank.\n\nThe blades overhead clink gently.\n\n> Inventory\nYou are carrying:\na rusty axe\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You take the book\nStill blank.\n\n> Again\nStill blank.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You drop all\nYou invoke the heat icon, and the environment shifts into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it bounce five icons.\n\nSomething new lies here, on the west side of the hall. It's a dead, gnarled tree, lying uprooted where certainly you saw no tree before. Its leaves have fallen into a yellow heap, drifted around the bare branches.\n\n(the rusty axe)\nAs the rusty axe leaves your grasp, it reverts to being a flaming torch.\n\nSweat begins to drip from you.\n\n> You burn books with the torch\nYou invoke the weight icon, and the environment changes around you.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nThe bookcase still stands, but its doors have been torn open; they hang in pieces. The books have tumbled out in a heap at your feet.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\nA silver key shines gently on the floor.\n\nI only understood you as far as wanting to burn the books.\n\n> You take the torch\nYou invoke the heat icon, and the environment transforms into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it bounce five icons.\n\nA torch is lying on the ground, burning unsteadily.\n\nThe old tree has been uprooted; it lies dead on the west side of the hall. Its leaves have fallen into a yellow heap, drifted around the bare branches.\n\nThe workspace vibrates to the icons' sharp movements.\n\nTaken.\n\n> You burn the books with the torch\nYou invoke the weight icon, and the environment shifts around you.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nThe bookcase still stands, but its doors have been torn open; they hang in pieces. The books have tumbled out in a heap at your feet.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\nI only understood you as far as wanting to burn the books.\n\n> Burn books\nThat's a horrible idea, even for blank books.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You search the books\nYou dig into the pile of books, but there are many of them, and none stand out.\n\nThe blades overhead clink gently.\n\n> You invoke the heat\nYou invoke the heat icon, and the environment changes into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it bounce five icons.\n\nThe old tree has been uprooted; it lies dead on the west side of the hall. Its leaves have fallen into a yellow heap, drifted around the bare branches.\n\n> Search leaves\nYou grab a handful of leaves; they crumble away. Well, you think, and dig in with both hands. Leaves disintegrate in clumps and wafts, filling the air with dust. It doesn't take long before the entire heap is gone.\n\nA single leaf remains, lying against the fallen tree. Unlike the others, this one gleams bright metallic gold.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> You examine tree\nThe tree lies uprooted upon the earth. A single gold leaf remains, lying against the wood.\n\nSweat begins to drip from you.\n\n> You take the gold leaf\nYou realize that the gold leaf is not real; it is painted on the fallen tree.\n\n> Burn tree\nThe leaves are already gone.\n\n> You invoke the weight\nYou invoke the weight icon, and the environment transforms around you.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nThe bookcase still stands, but its doors have been torn open; they hang in pieces. A single book remains, a small golden volume. It is chained to the bookcase with a gold padlock.\n\nYour workspace rests by one wall. Inside it bounce five icons.\n\nThe workspace vibrates to the icons' sharp movements.\n\n> Examine book\nThe remaining book is a small volume, the size of your palm, but its leather cover is leafed in gold. It is chained to the bottom shelf with a gold chain and padlock. You see immediately that the book is an archetype of form.\n\n> You drop the torch\nAs the flaming torch leaves your grasp, it reverts to being a silver key.\n\nThe blades overhead clink gently.\n\n> You take the book\nYou take the book and compile. It shrinks obligingly into a small icon.\n\n> You put the icon in the workspace\n(the form icon in the workspace)\nYou raise the form icon, and feel the tangible resistance beating from the workspace. What a mess. You lean against it, and slowly shove the icon into its place.\n\nYou stand on mossy earth, surrounded by the silhouettes of dark and massive standing stones. It is night. But the sky shows no stars at all.\n\nYour workspace sits in the center of the circle. Inside it the six icons whirl.\n\n> You look at the stones\nThe stones are massive, worn, and very old. You can make out little else.\n\nYou count eight stones around you. Seven of them are of similar height; one is much taller.\n\n> You examine the tall stone\nThe taller stone is to the... the...\n\nHang on. You're not sure which direction that is. How bizarre.\n\nThe workspace is shaking.\n\n> You press charge\nYou invoke the charge icon, and the environment shifts into a new form.\n\nThis square tower is built of granite blocks braced by high iron beams. The roof is a broad sweep of lead-framed glass, hammered by the roaring rain outside.\n\nA complex apparatus dominates the room: a heavy brass tank, surmounted by copper and bubbling glass tubing. Wires drape from the roof down to the apparatus, hanging every which way.\n\nYour workspace sits in the center of the lab. Inside it the six icons whirl.\n\n> You drop key\nAs the silver key leaves your grasp, it reverts to being a brass compass.\n\nThe workspace is shaking.\n\n> You take compass\nTaken.\n\nLightning illuminates the storm overhead, followed instantly by a deafening crack of thunder.\n\n> You look at the icons\nWithin the workspace you see the form icon, the weight icon, the charge icon, the light icon, the heat icon, and the pressure icon, all whirling rapidly.\n\n> Invoke form\nYou invoke the form icon, and the environment changes around you.\n\nYou stand on mossy earth, surrounded by the silhouettes of dark and massive standing stones. It is night. But the sky shows no stars at all.\n\nYour workspace sits in the center of the circle. Inside it the six icons whirl.\n\nThe workspace is shaking.\n\n> You examine the tall stone\nThe taller stone is to the... the...\n\nHang on. You're not sure which direction that is. How bizarre.\n\n> You examine compass\nYou bend over the compass. The needle turns slowly, as if seeking something more subtle than magnetic north. It gleams, catching the moonlight...\n\nWait. There is no moon. Something glows in your cupped hand -- no longer a brass compass -- and then it crawls between your fingers and flutters upward.\n\nThe workspace is shaking."
    },
    {
        "text": "> You describe your surroundings\nYou stand on mossy earth, surrounded by the silhouettes of dark and massive standing stones. It is night. But the sky shows no stars at all.\n\nYour workspace sits in the center of the circle. Inside it the six icons whirl.\n\nA glowing moth is fluttering erratically back and forth around the Circle, above you.\n\n> You examine the moth\nThe moth is fluttering erratically back and forth around the Circle, above you. Its wings glow softly against the night sky.\n\nThe workspace is shaking.\n\n> You take the moth\nIt's just out of reach.\n\n> You examine the workspace\nThe workspace is represented by a clear, waist-high cube. Within it are the form icon, the weight icon, the charge icon, the light icon, the heat icon, and the pressure icon, all whirling rapidly.\n\nThe workspace is shaking.\n\n> You look\nYou stand on mossy earth, surrounded by the silhouettes of dark and massive standing stones. It is night. But the sky shows no stars at all.\n\nYour workspace sits in the center of the circle. Inside it the six icons whirl.\n\nThe glowing moth is fluttering erratically back and forth around the Circle, above you.\n\nThe workspace is shaking.\n\n> You examine the stones\nThe stones are massive, worn, and very old. You can make out little else.\n\nYou count eight stones around you. Seven of them are of similar height; one is much taller.\n\n> You examine the tall stone\nThe taller stone is to the... but you're not sure which direction is which.\n\n> You invoke the pressure\nYou invoke the pressure icon, and the environment transforms into a new form.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar, which supports a small open offering box.\n\nYour workspace is a squat cube in the center of the room. Inside it the six icons whirl.\n\nInteresting -- the glowing moth has remained invariant, in the room's transformation. It is fluttering around the Church, unchanged.\n\nThe window is broken, but most of the glass is gone.\n\nThe workspace is shaking.\n\n> You take the moth\nIt escapes your grasp.\n\n> You look at the glass\nThe window is shattered, although most of the broken glass has vanished. Behind the window casing is only blank white marble.\n\nThe workspace is shaking.\n\n> You invoke the light\nYou invoke the light icon, and the environment shifts around you.\n\nYou are underground, by the echoes and the irregular rock underfoot. But the space is lost in darkness. A chill stream trickles past, and the faintest phosphorescence trickles with it. Beyond arm's reach, however, you see only black.\n\nYour workspace stands beside you. Inside it the six icons whirl.\n\nAs the Cave forms around you, the glowing moth flutters up into its high, dark recesses. Its light shines softly on gleaming limestone.\n\nAnd on the bats. One flutters by and nips the moth right out of the air. Whoops.\n\nThe moth shimmers, desperately seeking another form, one less vulnerable. It breaks up into pixels -- and reforms as a fat snowflake, drifting around the upper regions of the Cave. The bats, apparently uninterested in bits of ice, now ignore it.\n\n> You press the heat\nYou invoke the heat icon, and the environment changes into a new form.\n\nYou stand in a long, low hall of smoke-darkened timbers. The floor is earth, benches line the walls, and you are washed by heat from the blazing fire-pit that runs the hall's entire length.\n\nAt the south end the hall rises, and an enormous wooden chest stands on an earthen mound. The chest is open and empty.\n\nThe cube that is your workspace rests nearby. Inside it the six icons whirl.\n\nThe old tree has been uprooted; it lies dead on the west side of the hall. Its limbs are bare, except for a single gold leaf lying against the wood.\n\nThe workspace is shaking.\n\nThe snowflake whirls in the fire-pit's smoky updrafts, as the Longhall shimmers into place. In moments the flake is losing its luster.\n\nAgain it shimmers away. This time it sublimates into a smoke-ring, which drifts above you in cheerful disregard of the heat.\n\n> You invoke the heat\nYou poke the heat icon, but it is already active.\n\n> You invoke the pressure\nYou invoke the pressure icon, and the environment transforms around you.\n\nWhite marble rises in smooth, heavy columns to an arching vault. The walls are worked in geometric traceries; a rich red carpet runs up the room's length, to the brass pipes which stand at its north end. Air throbs from the pipes and thunders quietly across the chamber.\n\nTo the south stands a graceful marble altar, which supports a small open offering box.\n\nYour workspace is a squat cube in the center of the room. Inside it the six icons whirl.\n\nThe window is broken, but most of the glass is gone.\n\nThe smoke ring is torn this way and that way in the Church's turbulent gusts of air. It begins to tatter... and then shimmers into a new form.\n\nA long silk thread now rides the air currents. It swirls back and forth, curling and twisting, but never falling.\n\n> Press weight\nYou invoke the weight icon, and the environment shifts into a new form.\n\nShelves loom here in rank and file. On them, arms are arrayed in tidy rows: swords, knives, spears, and weapons of every other description. More blades hang overhead, point-down and silently menacing.\n\nThe bookcase still stands, but its doors have been torn open; they hang in pieces.\n\nYour workspace rests by one wall. Inside it the six icons whirl.\n\nThe workspace is shaking.\n\nThe silk thread slides among the hanging blades, or tries to. It tangles, is caught, and the many edges pull at it...\n\nThe thread dissolves into pixels, and becomes a miniature silver kite, which slides dextrously between the blades.\n\n> Invoke charge\nYou invoke the charge icon, and the environment changes around you.\n\nThis square tower is built of granite blocks braced by high iron beams. The roof is a broad sweep of lead-framed glass, hammered by the roaring rain outside.\n\nA complex apparatus dominates the room: a heavy brass tank, surmounted by copper and bubbling glass tubing. Wires drape from the roof down to the apparatus, hanging every which way.\n\nYour workspace sits in the center of the lab. Inside it the six icons whirl.\n\nThe silver kite bobs near the wires, and jerks as a spark leaps across to it. It tries to slide away; but a flash of lightning sears the sky, and the room's air grows prickly and electric. Sparks dance from the kite's tail, and the wires pull it closer --\n\nThe kite shimmers away... into a gleam of pure light that plays across the roof.\n\n> Invoke form\nYou invoke the form icon, and the environment transforms into a new form.\n\nYou stand on mossy earth, surrounded by the silhouettes of dark and massive standing stones. It is night. But the sky shows no stars at all.\n\nYour workspace sits in the center of the circle. Inside it the six icons whirl.\n\nThe workspace is shaking.\n\nThere is no roof now, only the night sky... and the gleam of light shines upwards, unimpeded, into the darkness.\n\nYou can still see it there. And then, as your eyes adjust, you can see more. Sparks of light, infinitely distant. The stars are out.\n\n...How did you miss it? The starlight illuminates a shape at your feet. It's a small, perfect model of a room: your workspace. Your usual, habitual workspace -- not this fluid environment.\n\n> You examine model\nIt's a small glass model of an office workspace. Every detail within is perfect. You see immediately that the model room is an archetype of metasemantics.\n\n> You examine the workspace\n(the model room)\nIt's a small glass model of an office workspace. Every detail within is perfect.\n\n> You take it\nYou take the model room and compile. It shrinks obligingly into a small icon.\n\nThe workspace is shaking.\n\n> You put the icon in the workspace\n(the metasemantics icon in the workspace)\nThe metasemantics icon shudders in your grip. Pushing it into the workspace is like forcing it through gravel, but you lean into the force. After several moments of struggle, the icon is in place. The world changes...\n\nThis is your workspace. All your furniture and things are set up just as you like them. The exit is to the south.\n\nThe cube representing your workspace sits on a desk. Inside it, the seven icons vibrate wildly.\n\nYou look around. This, too, is magnificent -- in a quiet way. The program has condensed your style of interaction into a tangible metaphor... a perfect rendition of the way you work.\n\n> You examine the furniture\nYour stuff is all just as you expect.\n\nThe workspace cube buzzes angrily. Really, what is going on with that? It must be some kind of physical simulation fault. You'll sort it out tomorrow.\n\n> Go south\nYou turn, and reach for the exit of your virtual environment.\n\nThere is a wild crash behind you. You spin. The workspace cube lies in splinters, sprayed across your desk, tinkling to the floor. Above it are whirling seven -- forces -- that grow, and become more potent --\n\nThen the walls are splintering, too.\n\nNothing surrounds you. The virtual space is absolutely blank... but no longer unbounded. You are unable to move, or to escape.\n\nYou wonder if someone will come looking.\n\n> You examine the desk\nYour stuff is all just as you expect.\n\nThis is a good stopping point, however. You should leave and report in to your client.\n\n> You examine cube\nThe workspace is represented by a clear, waist-high cube. Within it are the metasemantics icon, the form icon, the weight icon, the charge icon, the light icon, the heat icon, and the pressure icon, all vibrating wildly around.\n\nThe workspace vibrates violently.\n\n> You get the cube\nYou are already in your workspace. This is it. This is where you work.\n\n> You look at the desk\nYour stuff is all just as you expect.\n\nThe workspace shudders irately.\n\n> You look at the icons\nWithin the workspace you see the metasemantics icon, the form icon, the weight icon, the charge icon, the light icon, the heat icon, and the pressure icon, all vibrating wildly around.\n\n> Inventory\nYou are carrying nothing.\n\nThe workspace shakes dangerously."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist]\n\n> You look around\nThis is your workspace. All your furniture and things are set up just as you like them. The exit is to the south.\n\nThe cube representing your workspace sits on a desk. Inside it, the seven icons vibrate wildly.\n\n> Wait\nTime passes.\n\nThe workspace rattles violently.\n\n> You get the metasemantics icon\n(invoke the metasemantics icon)\nYou poke the metasemantics icon, but it is already active.\n\nThe workspace vibrates irately.\n\n> Invoke form\nYour collection is complete; you feel like you've done enough for the day's work.\n\n> Go south\nYou turn, and reach for the exit of your virtual environment.\n\nThere is a wild crash behind you. You spin. The workspace cube lies in splinters, sprayed across your desk, tinkling to the floor. Above it are whirling seven -- forces -- that grow, and become more potent --\n\nThen the walls are splintering, too.\n\nNothing surrounds you. The virtual space is absolutely blank... but no longer unbounded. You are unable to move, or to escape.\n\nYou wonder if someone will come looking."
    },
    {
        "text": "[Themes: Humor, Slice of life, child protagonist, gender-neutral protagonist, cute]\n\n> You cry\nSuddenly the darkness is gone, and it is so light, you are blinded for just a second. You blink and blink and then you can see the mom holding the blanket she was covering you with. \"Oh, kid, I'm so sorry, I thought you were having fun,\" she says. \"We'll do something else.\"\n\nThat'll teach her.\n\nA child, a toy, and a rival by Stephen Granade\n\nAll rights reserved.\nType ABOUT for more information.\n\nThis is the middle of the living room, it is all big and vast. But it would be bigger and vaster if there weren't all these pillows and stuff in a big ring around you. The mom is totally all paranoid and whatever, she is a new mom.\n\nThere is a red footstool, it looms over you.\n\nThe mom is playing with you and is all excited about it.\n\nYou can also see a squishy ball, a plush book, and your favorite toy here.\n\nYou eye your favorite toy and the mom sees you doing it and scoops it up. \"No, no, we're going to try pulling up!\" She is all the time trying to build your character or something. She waves the toy at you. \"Look! Look where I'm putting it!\" She drops the toy on the footstool where you can't see it unless you're all pulled up, that is just no fair.\n\n[Author's Note: It is playgroup day and playgroup day is normally a good day but ever since that little red-haired girl started coming she always wants your toys. She shouldn't get your toys. You tried telling the mom this but she doesn't understand you. She mostly ignored you but then she just shoved a pacifier in your mouth and changed your diaper.]\n\n> You stand up\nYou try that standing thing but you are still no good at it without holding onto something so you will have to pull up on something to stand up.\n\nThe mom sits there looking at you all expectantly.\n\n> Examine book\nIt is plush and the mom likes to read it to you.\n\n> You pull up on the footstool\nYou pull yourself up and it is one hand and another hand which is hard because the footstool is all unstable and rocks some but then you are all on your feet so yay you! And now that you are up here you can see your favorite toy on the footstool.\n\nThe mom applauds, \"Way to go!\" She looks at her watch and is all \"Whoops! Playgroup's about to arrive. You hang out here while mom goes and gets ready.\" She stands up and steps over all of those pillows and you are stuck here now by yourself.\n\n> You get down\nThose pillows are terribly high, you can't really climb over them, and they are too big to shove. Stupid small legs. Stupid small body.\n\n> You sit down\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\n> You examine the diaper\nThe diaper covers you and contains any embarassing accidents or whatever.\n\n> You look in the diaper\nThat is all you in there.\n\n> Smell diaper\nYou are baby powder fresh.\n\n> You take the pillows\nIt is true that there are a bunch of individual pillows in the ring of pillows but each one is like bigger than you are, so you aren't going to be able to take any of them. The mom and the dad must need a lot of softness in their lives.\n\n> You remove the diaper\n(first taking your diaper)\nThe diaper is always there, it's not like there's anything you can do about it.\n\n> You climb the pillows\nYou can pull up on stuff and all but you can't do that climbing thing. Stupid short stubby legs.\n\n> You pull up on the pillow\nThey are all smooshy and that makes them too hard to pull up on."
    },
    {
        "text": "[Themes: Slice of life, Humor, gender-neutral protagonist, cute]\n\n> You look around\nThis is the middle of the living room, it is all big and vast. But it would be bigger and vaster if there weren't all these pillows and stuff in a big ring around you.\n\nThere is a red footstool, it looms over you.\n\nYou can also see a squishy ball and a plush book here.\n\n> You get ball\nYou pick it up.\n\n> You shake it\nYou shake the squishy ball and that is okay I guess.\n\n> Examine book\nIt is plush and the mom likes to read it to you.\n\n> You throw the ball\nDropped.\n\n> You look at the pillows\nThe ring is a bunch of pillows and stuff piled around in a circle so you can't go crawling away when the mom is all distracted. The whole thing is taller than you even when you are sitting.\n\nHey wait, what is Alfadog doing wedged in the pillows like that?\n\n> You look at the alfadog\nIt is Alfadog, your alphabet-knowing toy and it is all wedged under some pillows. He is about as long as you and he is about as tall as you when you are crawling, it is as if he is your brother only he is a dog. He has this switch on him that makes him run and say the alphabet and such.\n\n> You show the book to the mom\nYou can only do that to something that is all alive.\n\n> You turn on the switch\nYou can pull up on stuff and all but you can't do that climbing thing. Stupid short stubby legs.\n\nYou are all fumbly on the switch but then you get it turned on and look out! Alfadog lights up and his paws start digging in and he is barking out \"A! B! C! D! EFG!\" It looks like he may be stuck under those pillows but then \"L! M! N! O! P!\" pillows tumble out of his way and he is free, zipping off to the east! You hear him winding down, \"W X Y and Zeee.....\" And now there is this big gap in the pillows to the east.\n\nThat Alfadog is very powerful, he should probably be recalled.\n\n> Go east\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nYou can see Alfadog and your favorite toy here.\n\n> You get the toy\nYou pick it up.\n\nThere is a ding-dong and the mom comes clattering in all \"Hang on! I'm coming!\" She opens the door and there is Marion Kinmundy here for playgroup. She is carrying that little red haired girl Zoe who started coming to playgroup a couple of whiles ago. Zoe sees your favorite toy and her eyes light up.\n\nThe mom must be psychic or something because she whirls around and snatches up your favorite toy. \"Oh, no,\" she says with a little laugh, \"we're not having you two fight over this thing again. I'll tuck it away where it'll be safe.\" And Marion laughs too, which is cool, that way they don't notice you and the little red haired girl glaring at each other.\n\nShe wants your toy? And the mom wants to lock the toy away? Bring it on.\nChapter 1\nPlaytime\n\nRight behind Marion and Zoe the little red haired girl is Lisa who is Cassie's mom. Lisa is carrying Cassie all carefully but Cassie is squirming to get down. \"Hi Farina, hi Marion--hang on Cassie, mommy's going to put you down,\" Lisa says and then she steps over the baby gate and dumps Cassie by the couch to the south of you.\n\nMeanwhile the mom is putting all the pillows back on the couch and loveseat. As she finishes she asks Marion, \"Can I put this toy in Zoe's backpack for now?\" Marion is all \"Sure!\" as she puts Zoe on the floor over by the rocking chair and sits on the loveseat.\n\n> You look at the toy\nThis is the thing your aunt gave you which is a super fun toy. It has places to chew and places that are shiny and it rattles when you shake it.\n\n> Shake toy\nRattle rattle rattle.\n\n> You take the toy\nYou pick it up.\n\nThere is a ding-dong and the mom comes clattering in all \"Hang on! I'm coming!\" She opens the door and there is Marion Kinmundy here for playgroup. She is carrying that little red haired girl Zoe who started coming to playgroup a couple of whiles ago. Zoe sees your favorite toy and her eyes light up.\n\nThe mom must be psychic or something because she whirls around and snatches up your favorite toy. \"Oh, no,\" she says with a little laugh, \"we're not having you two fight over this thing again. I'll tuck it away where it'll be safe.\" And Marion laughs too, which is cool, that way they don't notice you and the little red haired girl glaring at each other.\n\nShe wants your toy? And the mom wants to lock the toy away? Bring it on."
    },
    {
        "text": "> Look around\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nYou can see Alfadog here.\n\n> Examine backpack\nZoe's backpack has all these cute bears sewed on it. Clearly her mom Marion picked it out, it does not reek of evil like it would if Zoe had chosen it. It is closed so you can't see what's in it though you know your toy is in there somewhere. It is next to the gliding rocking chair to the northwest.\n\n> Go northwest\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a smooth rock here.\n\nZoe is sitting in a fog of grump on the floor.\n\nThere is a ding-dong! and the mom goes and opens the front door. It is Becca and her son Jemison and some strange guy is there holding Watson Mason. \"Come on in, everyone,\" the mom says. She turns to the strange guy, \"I'm glad you could make it, Parry.\"\n\nParry shrugs and smiles and says, \"I always wondered what everyone did during playgroup.\"\n\n\"Drink mimosas!\" Becca says over her shoulder to Parry and there is polite laughter and Parry smiles like he is kinda unsure about all of this.\n\n\"Why don't you put Watson in here with the others?\" the mom asks and Parry nods. He ends up putting Watson by Jemison over by the loveseat. Then all the standing adults sit down with Parry sitting near you so now I guess they are sitting adults.\n\n> You kill Zoe\nThere is no way the parents will believe you had nothing to do with hurting her, you'd better leave her alone for now.\n\nZoe scrunches up her face and bursts into wails.\n\n> Kiss zoe\nYour kisses are only for your family.\n\n> You take the rock\nYou pick it up.\n\n> You examine the rock\nThe mom found this one one of your walks, well it wasn't really a walk, more like the mom driving you around in a stroller, anyway she found this rock and gave it to you.\n\nZoe scrunches up her face and bursts into wails.\n\n> You open the backpack\nYou would but Parry is rocking, rocking, rocking, and you can't reach under the rocking chair to get to the backpack while he is rocking, rocking, rocking.\n\nZoe screws up her face and bursts into wails, those are so baby crocodile tears.\n\nYou shove the smooth rock in your mouth and start chewing on it and that leaves your hands free.\n\n> You examine the rocking chair\nThe dad likes to sit in the chair and rock back and forth and back and forth and back and forth which is okay for napping (not that you need naps) but is not so good when you are trying to pull up on it.\n\nZoe clenches her tiny fists and waves them while complaining about life. \"I know, Zoe,\" Marion says. So Parry stops rocking long enough for Marion to reach the backpack under the rocking chair and then she digs around and pulls out a plastic cup and closes the backpack and she gives the plastic cup to Zoe. Then Zoe sees that it's not your favorite toy, ha ha to her, and she squalls and tries to shove the plastic cup away but Marion says, \"Shh, Zoe, be calm,\" and makes Zoe take it.\n\n> You put the rock under the rocking chair\nThat would be a good way to stop the rocking chair from rocking but it is a gliding rocking chair and so even if you put something under there it could keep gliding.\n\nZoe gives the plastic cup a brief chew before spitting it out with a \"buh\" noise.\n\nYou would but your mouth is all full.\n\n> Fuck\nYou don't have speech down yet.\n\nZoe stares at the plastic cup and she sighs.\n\n> Laugh\nYou would but your mouth is all full.\n\nMarion asks Parry, \"How is Shari doing?\"\n\nYou pop the smooth rock out of your mouth.\n\n\"Oh, my God, Parry and Shari!\" laughs Becca. \"I hadn't realized that--that's just too precious.\"\n\nZoe stares at the plastic cup and she sighs.\n\n> You take the cup\nZoe shrieks at you and yanks back the plastic cup. Marion sees that and she reacts in a flash and says \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from you. \"I'm sorry, Farina,\" she tells the mom.\n\n\"She's feeling better,\" Parry says. \"She's keeping food down now, at least.\"\n\nYou already have that.\n\nMarion asks, \"Oh, are you two expecting?\"\n\n> You throw the rock at Zoe\nThere is no way, you can barely pick stuff up and you are no Cy Young or whatever.\n\nParry is all, \"Oh, no, no, no. No. It's just the flu.\"\n\nZoe takes the plastic cup and tosses it aside.\n\n> You look at cup\nThis is one cup that originally came with a bunch of other cups and they were all different sizes so you could stack them up into a giant tower of cups. But there is only one cup, that is no good for stacking.\n\nBecca goes, \"You two should give Watson a brother. Toughen him up.\"\n\n> You go to the east\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\n\"Can you imagine having two?\" Lisa laughs, and it's not a calm laugh, more a desperate laugh, \"I'd go crazy.\"\n\nThese are books but boring and with no pictures. They are all probably post-modern stories of longing and loss and existential angst and whatever because books about Maisy totally are better.\n\n(first taking the books)\nThe books are way big and there is no way you're picking them up or anything.\n\n> You look at the playpen\nThis portable playpen is all old, probably it should be recalled except that the parents are way cheap. It is this frame made of metal bars and it has mesh sides and a floor for babies to play on. The bars go around in ovals at the top and bottom. It should be recalled because the top oval is hinged and you can lower one side of the playpen by pushing the top bar up and then letting go so that the mesh comes down, that is a total deathtrap.\n\nThe mesh gives too much for you to pull yourself up on it.\n\n> You go to the southwest\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a plush book here.\n\n> You eat the book\n(first taking the plush book)\nThe plush book is big enough that you will have to drop everything to get it because it takes two hands.\n\n> Inventory\nYou are carrying:\na smooth rock\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> You get the book\nYou pick it up and it takes two hands.\n\n> You go north\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a little doll and a plastic cup here.\n\nZoe is sitting in a fog of grump on the floor.\n\n> You examine chair\nThe dad likes to sit in the chair and rock back and forth and back and forth and back and forth which is okay for napping (not that you need naps) but is not so good when you are trying to pull up on it.\n\nZoe makes this sort of grumping grunting half-cry.\n\n> You put the book under the chair\n(the plush book under the gliding rocking chair)\nThat would be a good way to stop the rocking chair from rocking but it is a gliding rocking chair and so even if you put something under there it could keep gliding.\n\nBecca says to the mom, \"Nice job on those mimosas.\"\n\n\"Thanks,\" the mom replies.\n\n> You put the book under the feet\n(the plush book under Parry)\nThere is no real need to do that.\n\nLisa says, \"It's nice, they help me calm down.\"\n\nZoe makes this sort of grumping grunting half-cry.\n\n> You pull the feet\nIt is no good kicking or biting a parent, it is better to rebel in less obvious ways.\n\n\"And they're good for you,\" Marion says.\n\n> You examine Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this sundress-like jumper thing, it's not like you know fashion or anything so you're not sure exactly what it is but it leaves her arms and legs bare for speed and evil. Her red hair is in pigtails, like that will fool anyone into thinking she is nice.\n\n\"I'm not sure they're that good for you,\" Parry says.\n\n> You give the book to Zoe\n(the plush book to Zoe)\nZoe shrieks at you and shoves the plush book out of your hands and hits at you. Marion sees that and she reacts in a flash and says \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from you. \"I'm sorry, Farina,\" she tells the mom.\n\nMarion says, \"They do have orange juice in them.\"\n\n> Drop book\nDropped.\n\n\"Besides, if it tastes good, it's good for you,\" says Becca.\n\n> You go west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nThe legs of Marion dangle from the loveseat.\n\n> You pull up on Marion\nMarion says \"You go play with the others now\" and takes you and puts you back on the ground.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair and Marion stands up and goes to quiet her and then comes back in a second.\n\n> You examine the loveseat\nThe loveseat is pink and striped and tastes funny if you lick it. This is the north part of it and there is open space past it to the west that is blocked by a baby gate.\n\n> Lick loveseat\nIt has this funny zing to it like dust or stale cheerios."
    },
    {
        "text": "[Themes: Humor, Slice of life, child protagonist, cute]\n\n> You look around\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nMarion is sitting there on the loveseat.\n\n> You go south\nYou slide along while moving your hands to keep steady.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nBecca is sitting on the loveseat.\n\nYou can also see a rattly car here.\n\nJemison and Watson are here. Jemison watches you watching him. Watson sits all sad and dumpy on the floor.\n\n> You look at Watson\nWatson Mason has this big round face that is perfect for commercials and baby food labels, only his face is always tear-streaked so maybe he is not cut out for show-biz. Maybe he is sad because he is dressed like a teeny tiny engineer in his polo onesie with a collar and because he smells like baby powder.\n\n> You take the car\nYou cannot reach the rattly car because you are standing and if you let go with one hand you would just plop down before you could get it.\n\n\"Hey, I just realized,\" Becca says all loud above you, \"Your name is Parry Mason!\"\n\n> You examine Jemison\nJemison Thorsby's name is not one you would want, that is for sure. He is stylish in his blue onesie and he has a small mouth and these big eyes that are watching, always watching, it is kinda creepy.\n\n\"Um, yes?\" Parry says.\n\n> You look at the car\nIt is all rattly, I guess that makes it more fun or something.\n\n\"Cool, just like the detective!\" Becca says.\n\n> You hug Jemison\nYou have short arms, you can't reach Jemison from up here.\n\nParry says, \"My name's actually spelled--\"\n\n\"No, I think the original Perry Mason was a lawyer,\" Lisa says.\n\n> You sit down\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\nParry clears his throat. \"The lawyer spells his name with an e--\"\n\n\"Right, lawyer, that's what I meant,\" Becca tells Lisa.\n\n> You check what you're carrying\nYour hands are all empty.\n\n\"Let Parry finish,\" the mom says, but Parry just goes, \"No, that's okay.\"\n\n> You look at the car\nIt is all rattly, I guess that makes it more fun or something.\n\n> Shake car\nIt goes rattle rattle.\n\n> Go south\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa's legs are hanging off of the couch.\n\nJemison comes in after you and settles close by you and looks pointedly at the rattly car.\n\n> You give the car to Jemison\nYou give the rattly car to Jemison and he grabs it out of your hands.\n\n> You drop the car\nWhen you drop the rattly car Jemison is all over that and he snatches it up.\n\n> You pull up on the couch\nYou pull up on the west grey couch and get to your feet and you are all steady except for the occasional sway."
    },
    {
        "text": "> Describe the surroundings\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa is sitting there on the couch.\n\nJemison is playing with the rattly car.\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\n> You look at the couch\nGrey and short and it is soft when the mom or the dad put you on it. This part is all to the west and there is more couch to the east.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> You take the car\nJemison has a grip that is like steel.\n\n> You hit Jemison\nHitting and pushing and pulling other babies when you're in front of parents is no good, they willl take you away and you won't get your toy.\n\n\"Say, how's Watson's rash doing?\" Lisa asks Parry.\n\nParry clears his throat. \"He's much better, thanks.\"\n\n> You look at Watson\nWatson Mason has this big round face that is perfect for commercials and baby food labels, only his face is always tear-streaked so maybe he is not cut out for show-biz. Maybe he is sad because he is dressed like a teeny tiny engineer in his polo onesie with a collar and because he smells like baby powder. He is by the south end of the loveseat to the north.\n\nThe mom says, \"Did you use zinc oxide cream?\"\n\n> Smell Watson\nWatson is by the south end of the loveseat to the north and so is way too far away for that.\n\n\"In a roundabout way,\" Parry says, \"We used Boudreaux's butt paste.\"\n\n> You get the car\nJemison has a grip that is like steel.\n\n\"Ew,\" Becca laughs, \"that is the grossest name for a product.\"\n\n> Go east\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nMarion tells Becca, \"Given what we have to deal with from our children, a name like that is the least of our worries.\"\n\n> You examine Jemison\nJemison Thorsby's name is not one you would want, that is for sure. He is stylish in his blue onesie and he has a small mouth and these big eyes that are watching, always watching, it is kinda creepy. He is carrying a rattly car. He is by the west end of the couch to the west.\n\n> You pull up on the couch\nYou pull up on the middle grey couch and get to your feet and you are all steady except for the occasional sway.\n\n> Go east\nYou slide along while moving your hands to keep steady.\n\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nCassie is all pulled up on the east grey couch.\n\n> You look at Cassie\nThat is Cassie Sandoval, she is wearing a white dress that is all bright against her dark skin and her hair is captured with pink clips. Her arms are scraped up and she has some bruises on her legs.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> You examine the clips\nWow those are pink.\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff."
    },
    {
        "text": "> Look around\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nCassie is all pulled up on the east grey couch.\n\n> You examine the couch\nGrey and short and it is soft when the mom or the dad put you on it. This part is the east part. The rest of the couch is west.\n\n> You pull up on the couch\nYou wriggle your way next to Cassie and pull up on the east grey couch and get to your feet.\n\nLisa all of a sudden busts out with \"I know I asked this last time but does anyone else's boobs hurt? Because here lately feeding Cassie is murder.\"\n\n> Continue\nYou are already all pulled up on the east grey couch and you can't go any higher.\n\n\"Mine don't,\" Parry says quietly, but Becca is all \"That's why I got Jemison on solids as soon as I could.\"\n\n> You climb the couch\nYou are already all pulled up on the east grey couch and you can't go any higher.\n\nThe mom asks Lisa, \"Have you tried lanolin?\"\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\n\"You and your remedies, Farina,\" Lisa says. \"Lanolin this and cabbage leaves that.\"\n\n> Go north\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nYou can see Alfadog here.\n\n\"It makes me glad Zoe was so good at latching on,\" Marion says. Grr, Zoe.\n\n> You turn on Alfadog\nYou make a move towards the switch on Alfadog and the mom grabs you and says, \"We're not playing with Alfadog right now, kiddo. We're working on pulling up.\"\n\nLisa sighs and says, \"Maybe I'll try the lanolin,\" and the mom says, \"Let us know how it works.\"\n\n> You open the doors\nYou push on the doors to the entertainment center but the parents have them all fixed in place.\n\n> You look through the doors\nThere is stereo equipment behind the glass doors and there is a big TV all tall up there on the entertainment center.\n\n> Southwest part\nThis portable playpen is all old, probably it should be recalled except that the parents are way cheap. It is this frame made of metal bars and it has mesh sides and a floor for babies to play on. The bars go around in ovals at the top and bottom. It should be recalled because the top oval is hinged and you can lower one side of the playpen by pushing the top bar up and then letting go so that the mesh comes down. It is in the middle of the living room to the west.\n\n> Go west\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a smooth rock here.\n\n> You pull up on the playpen\nThe mesh gives too much for you to pull yourself up on it.\n\n> You look in the playpen\nThe southwest part of the playpen is empty.\n\n> You go to the north-east\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\n> Lift bar\n(with the northeast part of the playpen)\nYou have short arms, you can't reach the top oval from down here.\n\n> You examine the mesh\nThis portable playpen is all old, probably it should be recalled except that the parents are way cheap. It is this frame made of metal bars and it has mesh sides and a floor for babies to play on. The bars go around in ovals at the top and bottom. It should be recalled because the top oval is hinged and you can lower one side of the playpen by pushing the top bar up and then letting go so that the mesh comes down.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> You go north\nThat baby gate is completely in your way.\n\n> Go west\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a plush book here.\n\nZoe is sitting in a fog of grump on the floor.\n\n> You examine the fog\nBoy, Zoe is grumpy.\n\nZoe makes this sort of coughing hiccuping half-cry.\n\n> You look at Parry\nThat is Parry Mason, he is Watson Mason's dad. Normally Watson's mom Shari is here but she must be somewhere else so that is why Parry is here.\n\n> You climb Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking. If you were on the ground you could get to the backpack now.\n\n> Inventory\nYour hands are all empty.\n\n> Poop\nSee for you to do that on command you'd have to be potty trained and you are not, that is just another way the man controls you.\n\nParry says, \"Okay, down you go,\" and he gently lowers you to the floor and starts rocking again.\n\n> You spit on Zoe\nIt may be normal little baby behavior to drool and spit up all over parents and other babies but you are like eleven months old and now it would be unseemly.\n\nZoe makes this sort of coughing grunting half-sob.\n\n> Go south\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a smooth rock here.\n\n> You get the rock\nYou pick it up.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> You go west\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nThose are Becca's legs by the loveseat.\n\nWatson sits all sad and dumpy on the floor.\n\n> Go south\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa's legs are hanging off of the couch.\n\nJemison is all chewing on the rattly car.\n\n> You drop rock\nDropped.\n\n> You get rock\nWhen Jemison sees you take the smooth rock, his eyes light up and he lets go of a rattly car and starts watching the smooth rock and thus yourself.\n\n> Go north\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nThose are Becca's legs by the loveseat.\n\nWatson sits all sad and dumpy on the floor.\n\nJemison comes in after you and settles close by you and looks pointedly at the smooth rock.\n\nWatson pulls up on Becca who says \"Watch the pants, kid!\" and she laughs and puts him back on the floor.\n\n> Go north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nThe legs of Marion dangle from the loveseat.\n\nJemison comes in after you and settles close by you and looks pointedly at the smooth rock.\n\n> You go east\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a plush book here.\n\nZoe has hold of a soft foam block all sadly.\n\nJemison comes in after you and settles close by you and looks pointedly at the smooth rock.\n\nZoe looks at the soft foam block and she sighs.\n\n> You give the rock to Zoe\nZoe shrieks at you and shoves the smooth rock out of your hands and hits at you. Marion sees that and she reacts in a flash and says \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from you. \"I'm sorry, Farina,\" she tells the mom.\n\nJemison suddenly sees that the smooth rock is available and he scoops it up.\n\n> You take the block\nZoe shrieks at you and yanks back the soft foam block. Marion sees that and she reacts in a flash and says \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from you. \"I'm sorry, Farina,\" she tells the mom.\n\nWatson wanders in from the southwest.\n\n> You look at the block\nMagenta and soft and fun to chew. It is like one hand wide on a side.\n\nZoe drops the soft foam block and shoves it away from her. When Jemison sees Zoe drop the soft foam block he gets rid of a smooth rock and takes the soft foam block instead.\n\n> You take the rock\nWhen Jemison sees you pick up the smooth rock, he gets all excited and he drops a soft foam block and starts watching the smooth rock and thus yourself.\n\n> You give the rock to Parry\nHe is too busy with talking and adults and other stuff.\n\nZoe scrunches up her face and bursts into wails.\n\n> You drop the rock\nWhen you drop the smooth rock Jemison is all over that and he snatches it up.\n\nZoe scrunches up her face and bursts into wails.\n\nWatson gingerly takes the plush book. When Jemison sees Watson take the plush book, his eyes light up and he drops a smooth rock and starts watching the plush book and thus Watson.\n\n> You take the block\nWhen Jemison sees you take the soft foam block, his eyes light up and he forgets all about the plush book and he starts watching the soft foam block and thus yourself.\n\n> You put the block under the chair\nThat would be a good way to stop the rocking chair from rocking but it is a gliding rocking chair and so even if you put something under there it could keep gliding.\n\n> Go southeast\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nYou can see Alfadog here.\n\nJemison comes in after you and settles close by you and looks pointedly at the soft foam block.\n\n> Go south\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nCassie is all pulled up on the east grey couch.\n\nCassie moves hand over hand along the east grey couch to the west and is gone.\n\nJemison comes in after you and settles close by you and looks pointedly at the soft foam block.\n\n> You put the block in the mouth\nYou shove the soft foam block in your mouth and start chewing on it and that leaves your hands free.\n\n> You pull up on the couch\nYou pull up on the east grey couch and get to your feet and you are all steady except for the occasional sway.\n\nJemison cannot look away from you and the soft foam block.\n\n> You go west\nYou slide along while moving your hands to keep steady.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThe mom is sitting on the couch.\n\nCassie has hold of the squishy ball and keeps fiddling with it.\n\nCassie crawls off to the northwest.\n\nJemison comes in from the east.\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nThose are Becca's legs by the loveseat.\n\nJemison comes in after you and settles close by you and looks pointedly at the soft foam block.\n\nJemison cannot look away from you and the soft foam block.\n\n> You examine Cassie\nThat is Cassie Sandoval, she is wearing a white dress that is all bright against her dark skin and her hair is captured with pink clips. Her arms are scraped up and she has some bruises on her legs. She is carrying a squishy ball. She is next to the gliding rocking chair to the northeast.\n\n> Go northeast\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a smooth rock here.\n\nCassie and Watson and Zoe are here. Cassie has hold of the squishy ball and keeps shaking it. Watson is holding the plush book. Zoe has hold of a teeny squeezy book all sadly.\n\nJemison comes in after you and settles close by you and looks pointedly at the soft foam block.\n\nZoe looks at the teeny squeezy book and she sighs.\n\nCassie offers the squishy ball to Zoe and Zoe shrieks and shoves and kicks at the squishy ball and at Cassie. Marion sees that and she reacts in a flash and says, \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from Cassie. \"Sorry about Zoe's behavior,\" she says all apologetically.\n\n> You take clips\nCassie has a grip that is like steel.\n\nWatson puts down the plush book.\n\n> You give the block to Cassie\nYou show the soft foam block to Cassie who looks at it and then shows you the squishy ball in response.\n\nCassie chews on the squishy ball.\n\nJemison stares at you and waits for you to drop the soft foam block.\n\n> You pull up on Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking. And then Jemison pulls up on the gliding rocking chair and looks up at you and grunts softly.\n\nZoe takes the teeny squeezy book and shakes it half-heartedly, she is so bored with it."
    },
    {
        "text": "[Themes: Slice of life, Humor, cute]\n\n> Go downward\nYou wriggle and fuss a bit and Parry says, \"Okay, down you go,\" and he gently lowers you to the floor. He then is all \"And now it's your turn\" and he picks Jemison up but Jemison makes a big fuss and Parry is all, \"Whoa! Whoa!\" and Becca laughs and says, \"Jemison gets that way sometimes.\" Parry smiles weakly and puts Jemison back down and Jemison looks pointedly at the soft foam block. Then Parry starts rocking again.\n\nZoe shakes the teeny squeezy book half-heartedly.\n\nCassie tries giving the squishy ball to Jemison but Jemison ignores the offer.\n\nWatson picks up the smooth rock.\n\n> You drop the toy\nYou can't really do anything to your toy right now because it is in that backpack.\n\nCassie pops the squishy ball out of her mouth.\n\nCassie pops the squishy ball out of her mouth.\n\n> You look at what you're carrying with you\nYou are carrying:\na soft foam block (being chewed)\n\nZoe puts the teeny squeezy book in her mouth and gnaws it some but then she lets it fall out of her mouth.\n\n> You drop the block\n(popping the soft foam block out of your mouth first)\nThe soft foam block falls into Parry's lap.\n\nZoe shakes the teeny squeezy book half-heartedly.\n\nWatson gingerly takes the smooth rock.\n\nParry says, \"Okay, down you go,\" and he gently lowers you to the floor. He then is all \"And now it's your turn\" and he picks Jemison up.\n\n> You open the backpack\nWhen you open the backpack all you can see in it is this white onesie that is totally in your way.\n\nZoe sees you open that backpack and she gets agitated and tosses the teeny squeezy book aside.\n\nCassie chews on the squishy ball.\n\n> You get onesie\nYou pull on the onesie and it comes part of the way out of the backpack and then it gets hung on the backpack zipper. Great. Now it is blocking the backpack and it is also stuck.\n\nCassie stops chewing the squishy ball and spits it into her hands.\n\nCassie pops the squishy ball out of her mouth.\n\n> You get the onesie\nYou tug on that stupid onesie but it is stuck in the stupid backpack's stupid zipper.\n\nZoe shrieks angrily and bounces up and down and flails her arms in the general direction of the backpack that you opened. \"I know, Zoe,\" Marion says. So Marion reaches the backpack under the rocking chair and she sees the white onesie stuck in the backpack. \"Geez,\" she says and pulls out a teething ring and dumps it in Zoe's lap. Zoe gets all upset but Marion says, \"Shh, Zoe, be calm, I can't fix the backpack if you're fussing.\" Parry says, \"Here, I'll empty out the backpack and fix that for you\" but Marion says \"No, thanks,\" and she sits down and starts trying to get the onesie out of the backpack.\n\nWatson puts down the smooth rock.\n\n> You pull up on Marion\nMarion is over by the north end of the loveseat to the west and so is way too far away for that.\n\nCassie plays with the squishy ball.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the soft foam block. Parry gently lowers Jemison to the floor and starts rocking again.\n\nThere is this rattle rattle and your head snaps up and you look way over at the loveseat and see Marion start to pull your favorite toy out of the backpack and then she looks at you and then she looks at Zoe and she puts the toy back in the backpack.\n\n> Go west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nMarion is on the loveseat with Zoe's backpack and your toy.\n\n> You take the toy\nYou can't really do anything to your toy right now because it is in that backpack.\n\nMarion stands up and walks over to the gliding rocking chair and then she is back only now she doesn't have the backpack any more.\n\n> You go east\n(first letting go of the north pink striped loveseat and plopping on the ground)\n\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nParry's feet keep leaving the floor as he rocks.\n\nYou can also see a soft foam block, a smooth rock, and a teeny squeezy book here.\n\nJemison and Cassie and Watson and Zoe are here. Jemison is playing with the plush book. Cassie has hold of the squishy ball and keeps fiddling with it. Watson sits all sad and dumpy on the floor. Zoe has hold of a teething ring loosely.\n\n> You take it\nWhen Jemison sees you pick up the teeny squeezy book, he gets all excited and he drops a plush book and starts watching the teeny squeezy book and thus yourself.\n\nZoe gives the teething ring a brief chew or two.\n\n> You put it in the mouth\nYou shove the teeny squeezy book in your mouth and start chewing on it and that leaves your hands free.\n\nWatson takes the smooth rock.\n\n> You get the ring\nZoe shrieks at you and yanks back the teething ring. Marion sees that and she reacts in a flash and says \"No, Zoe, no!\" and stops doing whatever parent thing she was doing and jumps up and pulls Zoe away from you. \"I'm sorry, Farina,\" she tells the mom.\n\nZoe takes the teething ring and shakes it half-heartedly, she is so bored with it.\n\nCassie plays with the squishy ball.\n\nWatson holds the smooth rock at arm's length as if it might bite him.\n\n> You pull up on Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking. And then Jemison pulls up on the gliding rocking chair and looks up at you and grunts softly.\n\n> You drop teeny\n(popping the teeny squeezy book out of your mouth first)\nThe teeny squeezy book falls into Parry's lap."
    },
    {
        "text": "[Themes: Slice of life, Humor, cute]\n\n> You go downwards\nYou wriggle and fuss a bit and Parry says, \"Okay, down you go,\" and he gently lowers you to the floor. He then is all \"And now it's your turn\" and he picks Jemison up.\n\n> You open the backpack\nWhen you open the backpack all you can see in it is this white onesie that is totally in your way.\n\nZoe sees you open that backpack and she gets agitated and tosses the teething ring aside.\n\nCassie chews on the squishy ball.\n\n> You take the onesie\nYou pull on the onesie and it comes part of the way out of the backpack and then it gets hung on the backpack zipper. Great. Now it is blocking the backpack and it is also stuck.\n\nWatson fiddles with the smooth rock.\n\n> You look at the zipper\nYou see nothing special about the zipper.\n\nZoe shrieks angrily and bounces up and down and flails her arms in the general direction of the backpack that you opened. That makes Marion laugh and she says, \"Parry, if you don't mind?\" So Marion reaches the backpack under the rocking chair and she sees the white onesie stuck in the backpack. \"Geez,\" she says and pulls out a plastic cup and dumps it in Zoe's lap. Zoe gets all upset but Marion says, \"Shh, Zoe, be calm, I can't fix the backpack if you're fussing.\" Parry says, \"Here, I'll empty out the backpack and fix that for you\" but Marion says \"No, thanks,\" and she sits down and starts trying to get the onesie out of the backpack.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the teeny squeezy book. Parry gently lowers Jemison to the floor and starts rocking again.\n\n> You take the onesie\nYou tug on that stupid onesie but it is stuck in the stupid backpack's stupid zipper.\n\nZoe shrieks angrily and bounces up and down and flails her arms in the general direction of the backpack that you opened. Marion says \"Okay, Zoe, okay\" and laughs and says \"Excuse me, Parry, I need to get a toy from Zoe's backpack. Again.\" So Marion reaches the backpack under the rocking chair and she sees the white onesie stuck in the backpack. \"Geez,\" she says and pulls out a little doll and dumps it in Zoe's lap. Zoe gets all upset but Marion says, \"Shh, Zoe, be calm, I can't fix the backpack if you're fussing.\" Parry says, \"Here, I'll empty out the backpack and fix that for you\" but Marion says \"No, thanks,\" and she sits down and starts trying to get the onesie out of the backpack.\n\nCassie stops chewing the squishy ball and spits it into her hands.\n\nCassie pops the squishy ball out of her mouth.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the teeny squeezy book. Parry gently lowers Jemison to the floor and starts rocking again.\n\n> Go west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nMarion is on the loveseat with Zoe's backpack and your toy.\n\nThere is this rattle rattle and your head snaps up and see Marion start to pull your favorite toy out of the backpack and then she looks at you and then she looks at Zoe and she puts the toy back in the backpack.\n\n> You pull up on Marion\nMarion says, \"Sorry, I've got my hands full with this backpack,\" and gently lowers you back to the ground with a pat on your back.\n\n> You go east\n(first letting go of the north pink striped loveseat and plopping on the ground)\n\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nYou can also see a teething ring, a plush book, and a soft foam block here.\n\nJemison and Cassie and Watson and Zoe are here. Jemison is all chewing on the teeny squeezy book. Cassie has hold of the squishy ball and keeps fiddling with it. Watson is holding the smooth rock. Zoe has hold of a little doll loosely.\n\nWatson puts down the smooth rock. Jemison sees Watson get rid of the smooth rock and is all excited, at least as excited as he gets, and gets rid of a teeny squeezy book and takes the smooth rock instead.\n\nA shadow falls over you and it is Marion with the backpack. Parry stops rocking and Marion shoves the backpack back under the gliding rocking chair."
    },
    {
        "text": "[Themes: Slice of life, Humor, cute, gender-neutral protagonist, child protagonist]\n\n> You look around\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet are flat on the floor and he is not rocking right now because he is holding Jemison all gingerly.\n\nYou can also see a smooth rock, a teeny squeezy book, and a plush book here.\n\nCassie and Watson and Zoe are here. Cassie has hold of the squishy ball and keeps fiddling with it. Watson sits all sad and dumpy on the floor. Zoe has hold of a teething ring all sadly.\n\nCassie plays with the squishy ball.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the soft foam block. Parry gently lowers Jemison to the floor and starts rocking again.\n\nThere is this rattle rattle and your head snaps up and you look way over at the loveseat and see Marion start to pull your favorite toy out of the backpack and then she looks at you and then she looks at Zoe and she puts the toy back in the backpack.\n\n> You take the plush book\nWhen Jemison sees you pick up the plush book, he gets all excited and he gets rid of a soft foam block and starts watching the plush book and thus yourself.\n\nZoe tosses the teething ring aside.\n\n> You take the plush book\nYou pick it up and it takes two hands.\n\nZoe tosses the teething ring aside.\n\nCassie gives the squishy ball a shake.\n\nWatson picks up the smooth rock.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the soft foam block. Parry gently lowers Jemison to the floor and starts rocking again.\n\nThere is this rattle rattle and your head snaps up and you look way over at the loveseat and see Marion start to pull your favorite toy out of the backpack and then she looks at you and then she looks at Zoe and she puts the toy back in the backpack.\n\n> You check your inventory\nYou are carrying:\na plush book\n\n> You give the book to Zoe\n(the plush book to Zoe)\nZoe shrieks at you and shoves the plush book out of your hands and hits at you. Marion sees that and she reacts in a flash and says \"Parry, here,\" and shoves the backpack at Parry who takes it. \"Can you get that onesie out of the way?\" Parry just nods and digs in the backpack and pulls out your favorite toy and dumps it in his lap! Then he starts tugging the onesie this way and that to free it from the implacable jaws of the backpack zipper. Meanwhile Marion shushes Zoe before sitting back on the loveseat.\n\nWatson puts down the smooth rock. When Jemison sees Watson get rid of the smooth rock he drops a soft foam block and takes the smooth rock instead.\n\n> You pull up on Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking.\n\nWatson gingerly takes the soft foam block. When Jemison sees Watson pick up the soft foam block, he gets all excited and he lets go of a smooth rock and starts watching the soft foam block and thus Watson.\n\n> You get the toy\nYou pick it up.\n\nParry says, \"Okay, down you go,\" and he gently lowers you to the floor, right next to Zoe. Zoe looks over and sees what you have in your hands and she goes totally nuts, she is shrieking and waving her fists and if she had Force powers you would totally be choked right now.\n\nAnd of course Zoe acting out gets Marion and the mom to pay attention and Marion is all \"Hey, hey, Zoe, calm down!\" and the mom is all \"Oh, gosh, they managed to get that toy out of the backpack.\" So the jig is up where by \"the jig\" I mean the toy and by \"up\" I mean going away.\n\n> Swallow toy\nAnd it's just like you expected. The mom scoops you and the toy up and the two of you dangle in mid-air while she removes the baby gate by the loveseat and goes around behind the loveseat. There's a cabinet back there, she pushes down the baby lock at the top of the cabinet door and opens the door and in goes your toy.\n\nYou would be all into getting the toy back except everyone decides now is the time to have a snack so a bunch of toys get piled in that small open area in the living room and you and Zoe and Cassie and Watson and Jemison are dragged into the kitchen and out comes the food.\n\nYour high chair is not way super high since it only gets you up to the level of the kitchen table but that is still pretty high. It lets you see around the table which is better than when you are on the floor and cannot even see the top of the table.\n\nThe mom is hovering around you.\n\nIn front of you is this spoon full of food that the mom wants you to eat.\n\nYou can also see Becca, Parry, Lisa, and Marion here.\n\nJemison and Watson and Cassie and Zoe are here. They are all being fed.\n\n> Puke\nYou start to spit up but the mom is right there wiping up your spit.\n\nBecca says, \"Farina, I know you're not feeding that child chopped-up people food.\" Meanwhile, Cassie is trying to climb out of her chair so she can fall to the floor and Lisa is restraining her.\n\n> You eat food\nYou open your mouth and the mom spoons in the prunes. Yeuch. And if that isn't bad enough, the spoon goes away and comes back with more prunes! You are just like Sisyphus here.\n\n\"It's no different than canned baby food,\" the mom tells Becca. Meanwhile, Watson is spitting up and Parry is looking sad that he's going to have to change Watson's clothes.\n\n> You eat the food\nYou open your mouth and the mom spoons in the prunes. Yeuch. And if that isn't bad enough, the spoon goes away and comes back with more prunes!\n\n\"Really?\" Lisa says. \"I'd be worried that I'd give Cassie something that'd hurt her.\" Meanwhile, Zoe is demanding more food. Grr, Zoe.\n\n> You cry\nThe mom says, \"I know you don't like them, but prunes are good for you.\"\n\n\"Kids can eat nearly anything you can if it's pureed,\" says Marion. Meanwhile, the mom is saying, \"Here! Take a bite!\"\n\n> Scream\nThe mom says, \"I know you don't like them, but prunes are good for you.\"\n\n\"Weird,\" Becca says. \"Then why buy special baby food at all?\" Meanwhile, Jemison is taking bits of food and dropping them over his high chair and then watching them hit the floor.\n\n> Rock\nYou rock and rock and try to tip your chair over but it is too safely designed. The mom must read Consumer Reports or something.\n\n\"Well,\" says Parry, \"Sometimes it's really convenient to have a jar for Mason so--whoops!\" And then you stop paying attention to him because he spilled a teeny bowl of Cheerios and you and all the other babies are all staring at the spray of Cheerios.\n\n> You play with Cheerios\nWith you strapped into your high chair you cannot reach the pile of Cheerios.\n\nJemison reaches for the Cheerios but they are way too far away."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist]\n\n> Go down\n(tearing yourself away from the Cheerios)\nYou are all strapped into your high chair so you are going nowhere.\n\nCassie rocks hard in her seat, maybe she thinks she can tip over to get to the Cheerios.\n\nFinally all of this feeding is over and the Cheerios get put away and everyone gets wiped up with baby wipes before getting dumped back in the living room.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a tall plastic block here.\n\n> You examine the block\nIt is blue and it is about as wide as you are and tall as your head is high when you are pulled up.\n\n> You pull up on the block\nYou pull up on the tall plastic block and get to your feet and you are all steady except for the occasional sway.\n\nYou hear Watson cry loudly.\n\n> You examine the medium block\nIt is green and it is about as wide as you are and as tall as your head is high when you are sitting down. It is by the south end of the loveseat to the west.\n\nYou hear Watson cry loudly.\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\nYou hear Watson cry loudly."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist]\n\n> You look around\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a tall plastic block here.\n\n> You go south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison is all staring at the velcro jangly balls. The velcro jangly balls hang off of him.\n\n> You examine the balls\nThey are all silver and jangly with velcro on the end of them and they dangle off of Jemison.\n\nJemison reaches around to the jangly balls and pats at them and they jangle quietly.\n\n> You look at the block\nSo which do you mean, the short plastic block, the soft foam block, the tall plastic block, or the medium plastic block?\n\n> Medium\nIt is green and it is about as wide as you are and as tall as your head is high when you are sitting down. It is by the south end of the loveseat to the northwest.\n\nYou hear Watson cry loudly, boy is he angry.\n\n> You examine the short block\nIt is red and it is about as wide as you are and as tall as your head is high when you are crawling around. It is in that small open area to the northeast.\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a medium plastic block here.\n\nParry says to Marion and the mom, \"Your two kids really love that one toy.\"\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a short plastic block (on which is Cassie), a little doll, a much-loved kangaroo, a plastic cup, a soft foam block, and a squishy ball here.\n\n\"I always thought that kind of competition wouldn't happen until Zoe was two or so,\" Marion says.\n\nCassie climbs down off of the short plastic block.\n\n> You get on the short block\nYou start out pulling up on the block but it is so short you fall forward onto it and then you are sitting on it a little ways above the ground.\n\n\"I don't know what I'll do if Cassie ends up grabbing toys from other kids,\" Lisa says.\n\n> You look at Becca\nBecca is Jemison's mom, she is as loud as Jemison is quiet and that is very loud. Or very quiet. Anyway, that is Becca. She is next to the gliding rocking chair to the north.\n\nMarion says, \"You'll watch for it and redirect Cassie and the other kid. When Cassie's older, you'll punish her.\"\n\nYou see Parry stand up and he goes over to where the TV is and the swing is and he does something that probably involves Watson before he sits down again.\n\n> You get on the medium block\n(getting off the short plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\n\"Oh,\" Lisa says, \"I couldn't spank Cassie.\"\n\nZoe stalks off to the west.\n\n> You get on tall block\n(getting off the medium plastic block)\nYou clamber up onto the tall plastic block, you are getting so high.\n\n\"You don't have to spank her,\" the mom says and Marion chimes in, \"Farina's right. You'll figure out what Cassie's levers are and you'll pull them.\""
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist, cute]\n\n> Describe the surroundings\nMiddle of the Living Room (on the tall plastic block)\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block and a medium plastic block here.\n\nLisa sounds all puzzled, \"What do you mean?\"\n\n> Open playpen\nYou push on the side of the oval closest to you and it goes up a bit and clicks but when you let go it drops back into place. I guess you need to push up the oval at both ends of the playpen at the same time.\n\nMarion says, \"As outgoing as Cassie is, you can try sending her to her room, or you can take away something she likes or likes to do. Figure out what she values. That's where you apply pressure.\""
    },
    {
        "text": "[Themes: Humor, Slice of life, gender-neutral protagonist, child protagonist]\n\n> Go downwards\n(getting off the tall plastic block)\nThe tall block is way tall and you would hurt yourself if you tried to get down from it directly so instead you climb onto the medium block.\n\n\"Oh, okay,\" Lisa says, but you can tell she is not convinced."
    },
    {
        "text": "[Themes: Humor, Slice of life, cute]\n\n> Go downward\nYou get off the medium plastic block.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a little doll, a much-loved kangaroo, a plastic cup, and a squishy ball here.\n\nCassie has hold of the soft foam block and keeps fiddling with it.\n\nCassie tosses the soft foam block up and it falls.\n\n> Love the kangaroo\nNothing obvious happens.\n\nCassie crawls off to the southwest.\n\n> You take the foam block\nYou pick it up.\n\n> Go southwest\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block (on which is Cassie), a medium plastic block, and a tall plastic block here.\n\nCassie climbs onto the medium plastic block.\n\n> You put the foam in the mouth\nYou shove the soft foam block in your mouth and start chewing on it and that leaves your hands free.\n\nCassie climbs onto the tall plastic block.\n\n> Go up\nYou so can't go that way.\n\nCassie giggles and leaps off of the tall block and that would be okay if she didn't then smack her face into the floor. Cassie shrieks, it is the loudest you have ever heard her be. I guess she is not the super-tough baby she thinks she is. Anyway Lisa leaps up and runs to Cassie and Parry leaves his tumbler and runs to Cassie too, they scatter the plastic blocks around the room in their haste. \"Baby, baby, it's okay, shh,\" you hear Lisa saying and then Parry is also checking Cassie over and shining this little flashlight in her eyes and saying, \"I think she's okay, she's just scared. Her pupillary response is just fine.\"\n\n> You look at the tall block\nIt is blue and it is about as wide as you are and tall as your head is high when you are pulled up.\n\nLisa is still saying \"It'll be okay, Cassie, it'll be okay\" and Parry is saying \"Breathe, Cassie, breathe\" and Cassie is now taking big hiccuping breaths.\n\n> You examine the medium block\nIt is green and it is about as wide as you are and as tall as your head is high when you are sitting down. It is over by the north end of the loveseat to the northwest.\n\n> You go to the north-west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nHey, that baby gate that blocked your way west is all gone.\n\nYou can see a medium plastic block here.\n\nZoe stalks in from the south and settles near you.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats.\n\n> You go west\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nZoe stalks in from the east and settles near you.\n\n> You look at the door\nIt is big and wood and goes outside.\n\n> Go south\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a heavy tumbler.\n\nYou can't believe the mom just shoved your favorite toy in that cabinet so you couldn't have it.\n\nZoe stalks in from the north and settles near you.\n\n> You look at the cabinet\nThe cabinet is wood like a lot of other furniture in here because the parents like wood or something, maybe they are tree huggers but only if the trees have been cut down and planed and shaped. Anyway it has this door in it which is closed and on top is a heavy tumbler.\n\n> You open the cabinet\nYou tug on the door but it has one of those baby lock things on it that you have to push down to open the door and you cannot reach it at all so the door opens a tiny bit and you can barely see your favorite toy in there.\n\nThen Zoe falls forward and pushes against the door and it slams shut.\n\nLisa looks over the couch at you and at Zoe and she says, \"Awwww, they're playing together! How cute!\"\n\n\"Cassie is really pulling up well,\" the mom tells Lisa.\n\n> You examine the tumbler\nThe tumbler is thick glass and it holds water, it is left over from Parry snacking. It is way up on the cabinet.\n\n\"We've been working on pulling up,\" the mom says, boy is she going to be surprised by all the practice you're getting today.\n\n> You look at the lock\nYou cannot really see the baby lock when the cabinet door is closed but you know what it looks like, it is a plastic latch way up at the top of the door. If you push down on the plastic latch then you can open the door which is a laugh because you are way short and it is way high.\n\nLisa says, \"You're just annoyed that Jemison just sits there--\" but Becca keeps on talking, \"So your kid pulls up or cruises or whatever. Big deal!\"\n\n> You go to the north\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nParry says, \"Kids develop at different speeds. It's not as if I'll still be helping Watson pull up when he goes to college.\"\n\n> Go east\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nLisa's legs are hanging off of the loveseat.\n\nYou can also see a medium plastic block here.\n\n\"As long as Zoe doesn't fall too far behind, I'm not worried,\" Marion says.\n\n> You go south\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\n\"Yeah,\" Parry says. \"It won't bother me if Watson is like many boys and is slower to talk.\"\n\n> You go south\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nYou can see Parry or at least his legs over by the couch.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can also see a short plastic block and a rattly car here.\n\nCassie is looking around for mischief to make.\n\nYou can just see some paper beyond the footstool.\n\n\"As long as Cassie is ahead of where she's supposed to be, I won't worry either,\" Lisa says.\n\n> You examine paper\nIt is a tiny folded piece of paper. It is tucked behind the footstool.\n\nCassie climbs onto the short plastic block.\n\n> You take paper\nThe folded piece of paper is tucked behind the footstool and so is way too far away for that.\n\nCassie climbs down off of the short plastic block.\n\n> You look at the footstool\nThe footstool is up in a corner, there is only a small gap between it and the couch with more couch past it to the west. Beyond it past the gap between the footstool and the couch you can see this little piece\n\n> Go east\nof paper.\n\nCassie climbs onto the short plastic block.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison is all staring at the velcro jangly balls. The velcro jangly balls hang off of him.\n\nJemison reaches around to the jangly balls and pats at them and they go jangle jangle jangle.\n\n> You take the balls\nYou tug on the velcro jangly balls and you tug some more and they come off of Jemison with a rrrrrrrip sound and Jemison looks at you with sad sad eyes and then stares at the velcro balls.\n\nWatson wanders in from the north.\n\n> Wear the balls\nYou put on the velcro jangly balls.\n\n> Go west\nYou are all jangle jangle jangle as you leave.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nYou can see Parry or at least his legs over by the couch.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can also see a short plastic block and a rattly car here.\n\nCassie is looking around for mischief to make.\n\nJemison comes in after you.\n\n> Go west\nCrawling like you are there is no way you will fit in the narrow gap between the footstool and the couch, it is because you have the shoulders of a very small linebacker.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You pull up\nYou'll have to say what you want to pull up on.\n\n> You pull up on the stool\nYou pull up on the footstool and get to your feet and you are all steady except for the occasional sway.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You go to the west\nThere is just enough space for you to slide between the footstool and the couch so you cruise along the couch past the footstool and into the tiny space back there.\n\nThere is not a lot of room back here behind the footstool, you fill most of the space between the footstool and the couch and this wood cabinet that is acting like an endtable.\n\nThere is a red footstool, it is all close to you.\n\nThere is this tiny folded piece of paper shoved under the cabinet.\n\n> You look at the paper\nIt is a tiny folded piece of paper that is all shoved under the wood cabinet.\n\n> You get the paper\nYou tug and tug and tug and then you see Parry's hand reach over you and remove the tumbler from on top of the cabinet where it was and pop! the folded paper comes out from under the wood cabinet and the cabinet goes rock rock rock. It is a good thing Parry was thirsty right now.\n\nBecca is still all sipping on a mimosa and she says, \"Hey, hospitals should give us mimosas to go with our epidurals.\"\n\n> You read the paper\nIt must be nice to read, the mom and the dad are always doing it, but you do not yet know how.\n\nThe mom laughs, \"Becca, you didn't even get an epidural.\"\n\n> You examine paper\nIt is a tiny folded piece of paper.\n\nBecca just smiles while Lisa says, \"I still can't believe you did that.\"\n\n> Unfold paper\nIt is really folded and creased from being under the cabinet and your fingers are too stubby.\n\n\"It wasn't too hard,\" Becca says. \"I just screamed a lot and hit Kurt when the pain got really bad.\"\n\n> Unfold paper\nIt is really folded and creased from being under the cabinet and your fingers are too stubby.\n\n\"The trick,\" Marion says, \"is to relax into the pain instead of anticipating it and tensing up.\"\n\n> You put the paper in the mouth\nYou would but your mouth is all full.\n\nLisa sighs and says, \"My epidural stopped working.\"\n\n> You check your inventory\nYou are carrying:\na folded piece of paper\nsome velcro jangly balls (being worn)\na soft foam block (being chewed)\n\n\"What?\" Becca asks. \"I hadn't heard that.\"\n\n> You pull up on the stool\nYou have stuff in your hands and you will need those hands to pull yourself up so drop something I guess.\n\n\"Yeah\", says Lisa, \"I got my epidural and then they turned me on my side. The next thing I knew I was feeling everything, and I mean everything, on my left side.\"\n\n> Rock\nYou are already totally rocking.\n\nParry pipes up, \"You know, it's a shame that the anesthesiologist makes you hunch forward so he can slide the needle into your spine just when contractions make you want to flatten out.\"\n\n> Go north\nReally there is only one way out of this teeny space and that is to pull up and cruise on out to the east.\n\n> You pull up\nYou'll have to say what you want to pull up on.\n\n> You drop the paper\nsteady except for the occasional sway.\n\nYou have short arms, you can't reach the folded piece of paper from up here.\n\n> Go east\nYou slide back out into the big wild world.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is all close to you.\n\nThere is Parry on the couch.\n\nYou can also see a heavy tumbler, a short plastic block, and a rattly car here.\n\nCassie and Watson and Jemison are here. Cassie is looking around for mischief to make. Watson sits all sad and dumpy on the floor. Jemison is all staring at the velcro jangly balls.\n\nZoe stalks in from the east and settles near you.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You go north\n(first letting go of the footstool and plopping on the ground)\nYou are all jangle jangle jangle as you leave.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nZoe stalks in from the south and settles near you.\n\nJemison comes in after you.\n\n> Go north\nYou jangle your way out of the room.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nLisa's legs are hanging off of the loveseat.\n\nYou can also see a medium plastic block here.\n\nZoe stalks in from the south and settles near you.\n\nJemison comes in after you.\n\n> Go west\nYou jangle your way out of the room.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nZoe stalks in from the east and settles near you.\n\nJemison comes in after you.\n\n> Go south\nYou jangle your way out of the room.\n\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a paper coaster.\n\nZoe stalks in from the north and settles near you.\n\nJemison comes in after you.\n\n\"You've all picked out preschools, right?\" Becca says.\n\n> Rock\nYou are already totally rocking.\n\n\"Oh my God, it's almost too late!\" Lisa says, and Becca chimes in, \"Competition for the good preschools is fierce.\"\n\n> You pull up on the cabinet\nYou can't pull up on the wood cabinet to stand.\n\nParry says, \"We've looked at some, but really we're just after somewhere where Watson can have more socialization.\"\n\nJemison reaches out and pokes at the velcro jangly balls.\n\n> You remove the balls\nThe bells go rrrrrrrrip and pull off.\n\n\"Cassie is in preschool one day a week,\" says Lisa. \"I can already tell that she's learning faster because of it.\"\n\n> You give the balls to Jemison\nYou give the velcro jangly balls to Jemison and he grabs them out of your hands and sticks them onto his onesie.\n\nBecca agrees, \"I'm going to make sure Jemison has three or four legs up educationally.\"\n\n> You pull up on loveseat\nYou tug on the door and the baby lock on the door catches and the entire cabinet rocks towards you now that there is no paper under it and your favorite toy rattles around in there. This paper coaster that must have been under the tumbler slides forward like it's about to fall off the cabinet.\n\nThen Zoe shoves the door and the cabinet rocks back making the coaster slide back fully on top of the cabinet and the door closes.\n\nYou can totally hear Marion's frown when she says, \"I'm not interested in pushing Zoe like that.\"\n\nThe back loveseat is behind the loveseat to the north and so is way too far away for that.\n\n\"It's not pushing,\" Becca sniffs. \"It's making sure our kids live up to their potential.\"\n\nJemison jiggles the jangly balls and they go jangle jangle jangle.\n\n> You take the balls\nYou tug on the velcro jangly balls and you tug some more and they come off of Jemison with a rrrrrrrip sound and Jemison looks at you with sad sad eyes and then stares at the velcro balls.\n\n\"Still,\" Marion says, and the conversation kinda peters out."
    },
    {
        "text": "[Themes: Humor, Slice of life, gender-neutral protagonist, cute]\n\n> Look around\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a paper coaster.\n\nJemison and Zoe are here. Jemison is all staring at the velcro jangly balls which you are holding. Zoe has her eye on you (not literally).\n\n> You go to the north\nYou jangle your way out of the room.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You go east\nYou are all jangle jangle jangle as you leave.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nLisa's legs are hanging off of the loveseat.\n\nYou can also see a medium plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You climb on the medium block\nThe block is just short enough that you cannot pull yourself up on it and tall enough that you cannot really climb up on it from the floor.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> Go north\nYou are all jangle jangle jangle as you leave.\n\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nThere are Becca's legs, they are by the rocking chair.\n\nYou can also see a plush book, a teeny squeezy book, a smooth rock, and a teething ring here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You spit up on Jemison\nYou would but your mouth is all full.\n\n> You check what you're carrying\nYou are carrying:\nsome velcro jangly balls\na soft foam block (being chewed)\n\n> Show balls to Jemison\nHe makes this motion towards the velcro jangly balls and you pull it away, ha ha, this is like taking candy away from a you.\n\n> You check your inventory\nYou are carrying:\nsome velcro jangly balls\na soft foam block (being chewed)\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You look\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nThere are Becca's legs, they are by the rocking chair.\n\nYou can also see a plush book, a teeny squeezy book, a smooth rock, and a teething ring here.\n\nJemison is all staring at the velcro jangly balls which you are holding.\n\nJemison reaches out and pokes at the velcro jangly balls.\n\n> Go east\nYou jangle your way out of the room.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a little doll, a much-loved kangaroo, a plastic cup, and a squishy ball here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nThe mom asks the other parent people, \"Do any of you have a suggestion for a baby sitter?\" W. T. F.\n\n> Go south\nYou are all jangle jangle jangle as you leave.\n\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nThe mom goes on, \"We've got a Christmas party to go to in a month or so, and we've never used a babysitter before.\" No, really--W. T. F.???\n\n> You go to the west\nYou jangle your way out of the room.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a medium plastic block and a tall plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nMarion says, \"Didn't you have luck with Susan, Lisa?\" Susan, that's a name that sounds okay.\n\n> Go west\nYou jangle your way out of the room.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nLisa says, \"I've used Susan two--no, three times. She said Cassie was great.\" Lisa pauses all thoughtful like. \"Maybe she was lying to get a bigger tip.\"\n\n> You go to the south\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a rattly car, a heavy tumbler, and a short plastic block here.\n\nCassie is looking around for mischief to make.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n\"I didn't think she was all that,\" Becca says. \"I had her keep Zoe once. Susan and Zoe didn't get along at all.\" This Susan is sounding better all the time.\n\nJemison stares at you and waits for you to drop the velcro jangly balls.\n\n> Go southwest\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler here.\n\nCassie has hold of the rattly car and keeps fiddling with it.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n\"I'll give her a call, then,\" the mom says.\n\n> Wait\nTime passes.\n\n> You take the tumbler\nYou move towards the tumbler but Parry picks it up and says \"No, that's my glass.\" And then the mom chimes in, \"Hey, kiddo, no mouth! No mouth.\" Once you back off Parry puts the tumbler back down.\n\nJemison stares at you and waits for you to drop the velcro jangly balls.\n\n> You go northeast\nYou are all jangle jangle jangle as you leave.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nZoe stalks in from the northwest and settles near you.\n\n> You go to the south-west\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler here.\n\nWatson and Cassie are here. Watson sits all sad and dumpy on the floor. Cassie has the rattly car in her mouth.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You give the balls to Cassie\nYou show the velcro jangly balls to Cassie who looks at it and then shows you the rattly car in response.\n\nCassie offers you the rattly car but pfft, like you want to owe her anything.\n\nWatson wanders off to the north.\n\n> You get the car\nCassie has a grip that is like steel.\n\n> You go to the north-east\nYou jangle your way out of the room.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\nZoe has her eye on you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nZoe stalks off to the west.\n\n> You go southwest\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler here.\n\nCassie has hold of the rattly car and keeps shaking it.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Drink\nWhat do you want to drink?\n\n> You go to the northeast\nYou are all jangle jangle jangle as you leave.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go west\nYou jangle your way out of the room.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block and a medium plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go west\nYou are all jangle jangle jangle as you leave.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a short plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nWatson wanders in from the northwest.\n\n> You go to the south-west\nYou jangle your way out of the room.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nCassie crawls in from the west.\n\n> Wait\nTime passes.\n\nCassie grabs the middle grey couch and pulls herself up.\n\n> Wait\nTime passes.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> Go northeast\nYou are all jangle jangle jangle as you leave.\n\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Wait\nTime passes.\n\n> You wait for a while\nTime passes.\n\nWatson wanders in from the west.\n\n> You climb short\nYou get onto the short plastic block.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You climb the medium\n(getting off the short plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nWatson wanders off to the north.\n\n> You climb tall\n(getting off the medium plastic block)\nYou clamber up onto the tall plastic block, you are getting so high.\n\nCassie zooms in from the southwest.\n\nJemison reaches out and bats at the velcro jangly balls."
    },
    {
        "text": "> You go down\n(getting off the tall plastic block)\nThe tall block is way tall and you would hurt yourself if you tried to get down from it directly so instead you climb onto the medium block."
    },
    {
        "text": "> Go downward\nYou get off the medium plastic block.\n\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nYou can also see a short plastic block, a medium plastic block, and a tall plastic block here.\n\nCassie and Jemison are here. Cassie is looking around for mischief to make. Jemison is all staring at the velcro jangly balls which you are holding.\n\n> You go to the southwest\nYou are all jangle jangle jangle as you leave.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go west\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a rattly car and a heavy tumbler here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Wait\nTime passes.\n\n> You wait awhile\nTime passes.\n\nYou suddenly hear this heavy thud which must be Cassie leaping off the tall plastic block. Cassie shrieks, it is the loudest you have ever heard her be. I guess she is not the super-tough baby she thinks she is. Anyway Lisa leaps up and runs to Cassie and Parry leaves his tumbler and runs to Cassie too, they scatter the plastic blocks around the room in their haste. \"Baby, baby, it's okay, shh,\" you hear Lisa saying and then Parry is saying, \"I think she's okay, she's just scared. Her pupillary response is just fine.\"\n\n> You get the tumbler\nThere is no way you're lifting it, it is really heavy.\n\nLisa is still saying \"It'll be okay, Cassie, it'll be okay\" and Parry is saying \"Breathe, Cassie, breathe\" and Cassie is now taking big hiccuping breaths.\n\n> You put the block in the tumbler\n(the soft foam block in the heavy tumbler)\nYou shove the soft foam block into the tumbler and it goes ploop into the water.\n\nJemison cannot look away from you and the velcro jangly balls.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats. You see Parry pick up his tumbler for a drink and he lifts it to his lips and says \"Ugh! There's a soft foam block in my tumbler!\" and everyone laughs at Parry. Becca says, \"That's why you don't put things where the kids can get to them!\" And Parry sighs and you see him put the tumbler way up on the wood cabinet in the corner between the couch and the loveseat and definitely out of your reach.\n\n> Drool on tumbler\nYou would but your mouth is all full.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats.\n\n> You drop all\nvelcro jangly balls: When you drop the velcro jangly balls Jemison is all over that and he snatches them up and sticks the jangly balls to his onesie.\nsoft foam block: (popping the soft foam block out of your mouth first) Dropped.\n\n> Lick tumbler\nYou taste nothing unexpected.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats.\n\n> Drool on tumbler\nYou put your mouth on the edge of the glass but there is no way you will tip it enough to drink but at least you slobbered all over it.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats. You see Parry pick up his tumbler for a drink and he lifts it to his lips and says \"Ugh! My tumbler's damp!\" and everyone laughs at Parry. Becca says, \"That's why you don't put things where the kids can chew all over them!\" And Parry sighs and you see him put the tumbler way up on the wood cabinet in the corner between the couch and the loveseat and definitely out of your reach.\n\n> You get the balls\nYou tug on the velcro jangly balls and you tug some more and they come off of Jemison with a rrrrrrrip sound and Jemison looks at you with sad sad eyes and then stares at the velcro balls.\n\n> You go to the north\nYou jangle your way out of the room.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You go north\nYou jangle your way out of the room.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nLisa's legs are hanging off of the loveseat.\n\nZoe stalks in from the southeast and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You go to the west\nYou jangle your way out of the room.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nZoe stalks in from the east and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go south\nYou are all jangle jangle jangle as you leave.\n\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a heavy tumbler.\n\nZoe stalks in from the north and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You open the cabinet\nYou go for the door but then Jemison is in front of you reaching for the jangly balls and they go jingle jangle when you pull away from him.\n\n> You look\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a heavy tumbler.\n\nJemison and Zoe are here. Jemison is all staring at the velcro jangly balls which you are holding. Zoe has her eye on you.\n\n> You put the balls on Zoe\nYou shove the velcro end of the balls against Zoe high on her back where she can't reach and the velcro sticks!\n\nJemison reaches out and hits the velcro jangly balls that are hanging off of Zoe.\n\n> You open the cabinet\nYou reach for the door and Zoe moves to stop you but Jemison gets in front of Zoe and reaches for the jangly balls. While she is all dealing with him you tug on the door and the baby lock catches, making the entire cabinet rock towards you. And as it does so the tumbler tumbles, hitting the baby lock and pushing it down before springing off of the lock and over your head. The cabinet door pops open and your favorite toy rolls out and into your lap!\n\nThen you hear the crying. When you turn you see a very wet Zoe and a very wet Jemison and the empty tumbler is next to them. Jemison takes it like a toddler, he is fine, but Zoe is angry like a wet evil cat. Heads pop over the top of the loveseat staring down at all of you, one of them is Parry and he looks really embarassed.\n\nYou're probably not going to get to keep the toy.\n\n> You take the toy\nIt is like you are psychic because you don't get to keep the toy. The mom storms around the couch and scoops you up and grabs the toy. \"It's okay, Farina,\" Marion says, \"accidents happen. Zoe and Jemison don't look hurt, just wet.\" Several of the other parents are glaring at Parry, he looks all sheepish.\n\n\"Since the kids have to be changed anyway, let's take pictures!\" Marion says.\n\n\"Sure, works for me,\" Lisa says, and just like that everyone is getting their onesies taken off and instead they are being put in these Halloween costumes, and that would be okay except your squid costume is totally restrictive.\n\nYou don't get up on the couch all that much but now you are up here with everyone else so you can have your pictures taken.\n\nBecca is all ordering everyone around.\n\nParry is standing back a bit watching the picturetime commotion.\n\nLisa is staying near Cassie in case she makes a break for it.\n\nMarion is calm in the face of all this chaos.\n\nThe mom is trying to get all of you together for a picture.\n\nJemison and Watson and Cassie and Zoe are here. Jemison is all dressed like a bumblebee. Watson is gloomy in his sad homemade bat costume. Cassie is dressed in this pumpkin costume, it is adorable. Zoe hunkers in a ladybug costume like a wolf in cute sheep's clothing.\n\n> You bite Zoe\nThere is no way the parents will believe you had nothing to do with hurting her, you'd better leave her alone for now.\n\nThe mom says, \"That's an interesting costume Watson's wearing.\" Watson must know he's being talked about, he ducks his head and looks sad.\n\n> You eat yourself\n(first taking yourself)\nWith this stupid costume on you cannot take anything, the fake tentacles are all in the way.\n\n\"We made it ourselves,\" Parry replies.\n\n> You examine Watson\nWatson Mason has this big round face that is perfect for commercials and baby food labels, only his face is always tear-streaked so maybe he is not cut out for show-biz. Maybe he is sad because he is dressed in this costume that is supposed to be a scary bat but instead is like a sad dumpy bat.\n\nBecca laughs all loud. \"It's not very cheerful--whoops, hold on there Jemison.\" Zoe must've pushed Jemison because he starts to topple sideways before Becca rescues him."
    },
    {
        "text": "> Go downward\nYou start to move and then there is the mom, she pushes you back in place. \"Whoa, kiddo, we've got to get a picture of everyone.\"\n\nParry is all huffy, \"We wanted something different from the usual.\"\n\n> You examine Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice.\n\n\"Does that thing have buttons? That'll make it fun to take off if he spits up on it,\" Becca laughs again.\n\n> You look at Cassie\nThat is Cassie Sandoval, she is wearing a costume that makes her look like a pumpkin. Her arms are scraped up and she has some bruises on her legs.\n\nCassie bounces up and down next to you and you try to back away from her but your tentacles get in your way. \"Keep the kids together!\" Lisa calls, pointing a small camera at all of you.\n\n> You examine the bumblebee\nThe tiny antennas and tiny wings totally make the costume.\n\nParry and the mom get you all in place on the couch. The mom dangles your favorite toy in front of all of you! You and Zoe stare raptly at it and then Parry says \"Now!\" and it is like a thousand suns explode in front of you and all you can see are these white and red spots.\n\n> Scream\nThe mom says, \"We're just taking a couple of pictures, kiddo. Hang in there.\"\n\nAs the spots clear you see Watson has pitched face first into the couch. Zoe is busy tugging on Jemison's wings and Cassie is chewing on one of your tentacles. \"Hope no one wanted another picture!\" Becca says.\n\n> You jump\nThere is no way you are going to jump, you can barely crawl.\n\nThe parents give up and take you all off the couch. As the mom puts you down she stops by the bookcase and puts your toy up there. \"Maybe next year they'll sit still,\" Lisa sighs, and Parry just snorts.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\n> Inventory\nYou are carrying:\na squid costume (being worn)\n\n> You cry\nYou let out this sobbing wail and the mom says, \"Shh, it's okay.\"\n\n> You examine the block\nSo which do you mean, the tall plastic block, the short plastic block, the medium plastic block, or the soft foam block?\n\n> You look in the diapers\nThat is all you in there."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist]\n\n> Describe the surroundings\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\n> You go to the north-east\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a tall plastic block, a short plastic block, a medium plastic block, a squishy ball, a plastic cup, a little doll, and a much-loved kangaroo here.\n\nZoe hunkers in a ladybug costume like a wolf in cute sheep's clothing.\n\nZoe gets onto the short plastic block.\n\n> You look at the blookcase\nBooks sleep here when they are not being read by the parents. The books do not really taste all that good and besides you cannot reach any of them now that the bottom bookcase shelves are all empty. From down here it is even hard to see the books, they are way up there. Your favorite toy is up next to the books about a half a parent high.\n\nZoe gets onto the medium plastic block.\n\n> You wait for a while\nTime passes.\n\nZoe gets onto the tall plastic block.\n\n> You fly to the toy\nYou are not chewing on that.\n\nZoe gets onto the medium plastic block.\n\nI only understood you as far as wanting to se.\n\n> You get on the small block\nYou get onto the short plastic block.\n\n\"Oh my God, you guys,\" Lisa says, \"I almost forgot to tell you! This kid in Cassie's class bit her yesterday!\"\n\nZoe climbs down off of the medium plastic block.\n\n> You get on the medium block\n(getting off the short plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nBecca says, \"I was always worried that Jemison would be--\" and here her voice gets real quiet, \"a biter.\" Then she gets loud again, \"But he never was.\"\n\nZoe grabs a squishy ball.\n\n> You get on the tall block\n(getting off the medium plastic block)\nYou clamber up onto the tall plastic block, you are getting so high.\n\n\"Mine was a biter for a little while,\" the mom says, that was so three months ago, and besides, those kids totally deserved it.\n\nZoe gets onto the short plastic block.\n\n> You look at the bookcase\nBooks sleep here when they are not being read by the parents. The books do not really taste all that good and besides you cannot reach any of them now that the bottom bookcase shelves are all empty. Your favorite toy is up next to the books about a half a parent high.\n\nParry is all, \"What do you do if your child does bite other children?\"\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face, ha ha, she can suck it.\n\n> You get on the medium block\n(getting off the tall plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\n\"At this age, there's not much you can do,\" Marion says, \"other than removing them from the situation.\" The moms are all silent for a moment, they're probably thinking of Allan. He used to be in the playgroup but then he started biting people and now he is an unperson like Nikolai Yezhov.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face. Clearly she is waiting for you to go down directly from the medium block.\n\n> You get on the small block\nThe short plastic block doesn't have enough room as long as Zoe is there.\n\n\"Can you keep them from even biting in the first place?\" Lisa asks, and Parry follows up with, \"It would be nice if the parents were controlling their child better.\"\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face. Clearly she is waiting for you to go down directly from the medium block."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist]\n\n> Go downwards\nYou get off the medium plastic block.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a tall plastic block, a short plastic block (on which is Zoe), a medium plastic block, a plastic cup, a little doll, and a much-loved kangaroo here.\n\n\"It's not a matter of control,\" Marion says, \"you can't really control a ten-month old.\"\n\nZoe gets onto the medium plastic block.\n\n> You get on the small block\nYou get onto the short plastic block.\n\nThe mom says, \"I'm just glad we aren't still dealing with this problem.\"\n\nZoe gets onto the tall plastic block.\n\n> You get on the medium block\n(getting off the short plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nZoe pokes the squishy ball towards your favorite toy, she is doing the baby equivalent of randomly using everything in your inventory on an object.\n\n> You get on the tall block\n(getting off the medium plastic block)\nYou clamber up onto the tall plastic block, you are getting so high.\n\nZoe gets onto the medium plastic block.\n\n> You check your inventory\nYou are carrying:\na squid costume (being worn)\n\nZoe gets onto the short plastic block.\n\n> You bite Zoe\nThere is no way the parents will believe you had nothing to do with hurting her, you'd better leave her alone for now.\n\nZoe climbs down off of the short plastic block.\n\n> You remove the costume\nYou cannot see how it comes off, maybe you will be stuck in it forever.\n\nZoe tosses aside the squishy ball and she picks up a much-loved kangaroo.\n\n> You examine Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on a much-loved kangaroo.\n\nZoe gets onto the short plastic block.\n\n> You examine the squid\nIt is like a squid if a squid was all plush and powder blue and didn't have any suckers. You are wearing it and its tentacles cover your arms and hands.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> You look at the ladybug\nBlack and red and cute all over, though it is not so cute when Zoe is wearing it.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> You examine the tentacles\nWow that would end with your face all planted and full of pain, let's not do that.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\nIt is like a squid if a squid was all plush and powder blue and didn't have any suckers. You are wearing it and its tentacles cover your arms and hands.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> You suck it\nYou don't have speech down yet.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> Wave tentacles\nYou shake the squid costume and that is okay I guess.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> You hit the toy with the tentacles\nSee for you to do that on command you'd have to be potty trained and you are not, that is just another way the man controls you.\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\nYou have short arms, you can't reach your favorite toy from up here.\n\nThe mom says, \"The other day when we were out, I saw a mom with her toddler on her leash.\"\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> Pee\nSee for you to do that on command you'd have to be potty trained and you are not, that is just another way the man controls you.\n\n\"What?\" Becca says, and the mom is all, \"I know! The toddler was wearing this monkey backpack and the tail unspooled into a leash that the mom held.\"\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face.\n\n> You get on the medium block\n(getting off the tall plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nParry says, \"I don't know, that sounds like a clever idea.\"\n\nZoe starts to climb up onto the medium plastic block but then since you are on the higher blocks she looks up at you and makes this annoyed face. Clearly she is waiting for you to go down directly from the medium block."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist, cute]\n\n> Go downwards\nYou get off the medium plastic block.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a squishy ball, a tall plastic block, a short plastic block (on which is Zoe), a medium plastic block, a plastic cup, and a little doll here.\n\nThe mom is indignant, \"My child is not a dog to be on a leash!\" Good for her, there is no way you'd wear a leash.\n\nZoe gets onto the medium plastic block.\n\n> You go to the south\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nLisa says, \"When you get down to it, babies are about as smart as pets. Cassie might as well be a hyperactive Yorkie.\"\n\n> Examine tv\nThe TV is blocked by this baby swing that is in the way.\n\n\"You know,\" Parry says, \"A combination playpen and Skinner box might sell really well.\"\n\n> You go to the south\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nThe legs of Marion dangle from the sofa.\n\nBecca says, \"That is the kind of thing people call Child Protective Services about.\"\n\n> Go west\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a brix blox bucket here.\n\nCassie and Watson are here. Cassie is dressed in this pumpkin costume, it is adorable. Watson is gloomy in his sad homemade bat costume.\n\n\"I'm not sure Child Services gets called that often to rescue kids from Skinner boxes,\" Parry says.\n\n> You examine the bucket\nIt is a tall cube that is open on top only the corners are all rounded so no babies are harmed in the extracting of the blox from the bucket and it is also wider at the top than at the bottom. It is full of these lame faker Lego blocks.\n\nThe mom is still all huffy, \"Kids aren't pets.\"\n\nCassie babbles happily.\n\nWatson stares at the brix blox bucket.\n\n> You kick the bucket\nYou are way not coordinated enough to do that.\n\nCassie says \"Pbbbbbth.\"\n\n> You look at the booklet\nThe booklet tells you how to build stuff out of the blox, you've never really used it. It is flopped open right now and is showing this helicopter. It involves these complex blades and gears and stuff on the page.\n\nCassie says \"Eeeeeee eeee ee-ah!\"\n\n> You build the helicopter\nYou look at the instructions but man, they are way complex. This is the kind of thing you hire people to do instead of bothering yourself.\n\nCassie babbles happily.\n\n> You look at the booklet\nThe booklet tells you how to build stuff out of the blox, you've never really used it. It is flopped open right now and is showing this helicopter. It involves these complex blades and gears and stuff on the page.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a helicopter. He looks at it and then drops it, he is so going to grow up to be an engineer and like online games and in his spare time I bet he will LARP.\n\n> You take the helicopter\nWith this stupid costume on you cannot take anything, the fake tentacles are all in the way.\n\nJemison puts his mouth all over the brix blox bucket. He looks pretty thoughtful when he does that.\n\n> Lick tentacle\nYou are small and all but this is even smaller and it is a shame you cannot get in it and fly it around.\n\nWatson picks up the helicopter and takes it apart and dumps the brix into the big pile.\n\nYou taste nothing unexpected.\n\n> You check what you're carrying\nYou are carrying:\na squid costume (being worn)\n\nCassie falls forward onto her hands and then she is crawling off to the northeast.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a helicopter. He looks at it and then drops it.\n\n> You put Watson in the swing\nYou can't reach into the In Front of TV.\n\n\"Let me guess,\" says the mom, \"they carried Watson everywhere and played with him and wouldn't leave him alone, and now he's upset you're not doing the same.\"\n\n> You go west\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa's legs are hanging off of the couch.\n\nYou can also see a soft foam block and a rattly car here.\n\n\"Exactly!\" Parry exclaims. \"How'd you know?\"\n\n> You go north\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\n\"Detox!\" Lisa and Becca and Marion chorus.\n\n> Go east\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\n\"You must not talk to many other parents,\" Becca says. \"It's nice when the grandparents visit and give you a break, but when they leave, oh boy!\"\n\nJemison comes in from the south.\n\n> You cry\nWhen you cry again the mom says, \"Shh. Calm down.\"\n\nParry says, \"I can't believe the same thing happens to all of you! How do you keep it from happening?\"\n\n> You go west\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\n\"You can keep your parents from visiting Watson,\" Marion says. \"Otherwise, no, there's no real prevention.\"\n\n> You go north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nShoved half-under the loveseat is a remote control.\n\nThose are Parry's feet dangling from the loveseat.\n\nThe mom says, \"Be glad they love Watson as much as they do.\"\n\n> You pull up on the loveseat\nYou would but the tentacles of your stupid squid costume are too slick. You really have to get someone to take this costume off for you.\n\n\"Yeah. Yeah!\" Parry says.\n\n> You examine remote\nThis is the remote control that lets parents turn on the TV as if they have big stretchy arms that can reach the television from anywhere in the room. You could use it to turn on the TV if you were ancient, like three years old or something.\n\n> You turn on TV\nThe television is to the east and so is way too far away for that.\n\n> You turn on the remote\nThe remote control is too advanced for you, it is the kind of thing adults use.\n\n> Go south\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa's legs are hanging off of the couch.\n\nYou can also see a rattly car here.\n\nJemison is all dressed like a bumblebee.\n\n> Go east\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a helicopter, a building instructions booklet (open to some helicopter instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\nWatson picks up the helicopter and takes it apart and dumps the brix into the big pile.\n\n> You go east\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nThe legs of Marion dangle from the sofa.\n\n> You go to the north\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nCassie is dressed in this pumpkin costume, it is adorable.\n\nCassie falls forward onto her hands and then she is crawling off to the southwest.\n\n> You examine the swing\nIt is this a-frame thing with a swing in the middle and a speed switch way up there. When the speed switch is all the way up boy does that swing go high, nearly high enough to kick a parent in the head if you were that kind of baby. It is supposed to be this cheerful baby plaid but instead it is this weird lumberjack-like plaid.\n\n> You turn the switch\nYou have short arms, you can't reach the speed switch from down here.\n\n\"Did anyone see last night's episode of \"Beat\"?\" Parry says.\n\n> Go north\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a much-loved kangaroo, a little doll, a squishy ball, a tall plastic block, a short plastic block (on which is Zoe), and a medium plastic block here.\n\n\"Is that the Boston cop show?\" Becca asks.\n\nZoe climbs down off of the short plastic block.\n\n> Go east\nYou so can't go that way.\n\n\"Oh my God, who has time for TV?\" Lisa asks. \"Besides, I can't watch something that violent when Cassie's up, even if she'd let me leave her alone.\n\nZoe drops the plastic cup and she picks up a much-loved kangaroo.\n\n> Go west\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nThere are Becca's legs, they are by the rocking chair.\n\nYou can also see a teething ring, a plush book, a teeny squeezy book, and a smooth rock here.\n\nThe mom says, \"I don't have a lot of time for TV either. Besides Sesame Street, that is,\" and the parents all laugh, why are they dissing the Street?\n\n> You go south\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nBecca sighs. \"I always feel guilty when I set Jemison in front of the TV so I can get some work done.\"\n\n> You go to the northwest\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nShoved half-under the loveseat is a remote control.\n\nThose are Parry's feet dangling from the loveseat.\n\n\"I don't allow Zoe to watch much television,\" Marion says, \"though she does watch some.\"\n\n> You rub the squid on the safety pin\nNothing obvious happens.\n\nParry says, \"We did consider not letting Watson see any TV until he's two or so.\"\n\nI only understood you as far as wanting to rub the squid costume.\n\n> You go to the west\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\n\"You're not one of those no-TV nuts, are you?\" Lisa says all sharpishly.\n\n> You go south\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\n\"They're not nuts,\" Parry says, you can tell he's annoyed. \"In fact, they make a lot of sense.\"\n\n> You examine the cabinet\nThe cabinet is wood like a lot of other furniture in here because the parents like wood or something, maybe they are tree huggers but only if the trees have been cut down and planed and shaped. Anyway it has this door in it which is closed.\n\n\"Whatever,\" Lisa sniffs, and the mom says, \"Remember, watch what you say about religion, politics, and TV.\"\n\n> Drool on tentacles\nYou reach deep down inside you and bring up some of those stupid prunes the mom was feeding you and spit them up on the squid costume, making it all dirty.\n\n> Go north\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\n> Go east\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nShoved half-under the loveseat is a remote control.\n\nThose are Parry's feet dangling from the loveseat.\n\n> You pull up on Parry\nYou rub up against the legs of Parry, who sees that you are dirty and says \"Uh, Farina,\" and hands you over to the mom. The mom takes you and says, \"Oh, oh, your costume is all dirty, kiddo,\" and the next thing you know you are back on the ground and free of that evil squid costume.\n\n> Go south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a helicopter, a building instructions booklet (open to some helicopter instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You put the remote in the pile\nThat so can't contain stuff.\n\nWatson picks up the helicopter and takes it apart and dumps the brix into the big pile.\n\n> You drop the remote\nDropped.\n\n> You put the remote in the pile\nYou need to be holding the remote control before you can put it into something else.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a helicopter. He looks at it and then drops it."
    },
    {
        "text": "> You look at your surroundings\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a helicopter, a remote control, a building instructions booklet (open to some helicopter instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You look at the bucket\nIt is a tall cube that is open on top only the corners are all rounded so no babies are harmed in the extracting of the blox from the bucket and it is also wider at the top than at the bottom. It is lying on its side.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a rolly car thing.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a nuclear reactor model.\n\n> You open the remote\nThat's not something you can open.\n\nWatson picks up the helicopter and takes it apart and dumps the brix into the big pile.\n\n> You put the remote in the pile\nYou need to be holding the remote control before you can put it into something else.\n\nCassie zips in from the west.\n\n> You get the remote\nYou pick it up.\n\nCassie babbles happily.\n\n> You examine Cassie\nThat is Cassie Sandoval, she is wearing a costume that makes her look like a pumpkin. Her arms are scraped up and she has some bruises on her legs.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a nuclear reactor model. He looks at it and then drops it.\n\n> You look at the model\nThe little scoop in the back for loading in the enriched uranium is a nice touch.\n\nWatson picks up the nuclear reactor model and takes it apart and dumps the brix into the big pile.\n\n> Trow remote\nThe remote control is already here.\n\nCassie babbles happily.\n\n> You get recctor\nYou scoop up the booklet and it flops all closed.\n\nCassie falls forward onto her hands and then she is crawling off to the north.\n\n> You get the model\nYou scoop up the booklet and it flops all closed.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a wall.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.\n\n> You wait for a while\nTime passes.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a poosh stick. He looks at it and then drops it.\n\n> You take the poosh stick\nYou pick it up and it takes two hands.\n\nWatson tries to build a poosh stick but he doesn't have enough blox.\n\n> You examine the stick\nThe parents call this a poosh stick because they think you are stupid and need baby talk, it is really a push stick. It is a stick for pushing things around. I guess the blox makers wanted easier and easier things to make and someone said, \"Hey, I know what would be easy to build, a long stick.\" The stick is nearly two babies long, it's amazing that it holds together.\n\nCassie zips off to the northwest.\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a little doll, a squishy ball, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nZoe has hold of a plastic cup but she looks like she doesn't like it.\n\nZoe gets onto the short plastic block.\n\n> You get on the short block\nThe short plastic block doesn't have enough room as long as Zoe is there.\n\nZoe gets onto the medium plastic block.\n\n> You continue\nYou get onto the short plastic block.\n\nZoe gets onto the tall plastic block.\n\n> You get on the medium block\n(getting off the short plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nZoe pokes the plastic cup towards your favorite toy.\n\n> You give the stick to Zoe\nZoe eyes you coldly, no way she is taking anything from you.\n\nZoe starts to climb down onto the medium plastic block but then since you are on the lower blocks she looks down at you and makes this annoyed face. Clearly she is waiting for you to go down directly from the medium block.\n\n> You get on medium block\n(getting off the tall plastic block)\nYou carefully climb onto the medium plastic block, it is a ways off the ground.\n\nZoe climbs down off of the short plastic block.\n\n> Down\nYou get off the medium plastic block.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a little doll, a squishy ball, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nZoe has hold of a plastic cup but she looks like she doesn't like it.\n\nZoe discards the plastic cup and she picks up a little doll.\n\n> You drop the stick\nDropped.\n\nZoe gets onto the short plastic block.\n\nJemison crawls in from the southwest.\n\n> Wait\nTime passes.\n\nZoe gets onto the medium plastic block.\n\n> You wait for a while\nTime passes.\n\nZoe gets onto the tall plastic block.\n\n> Wait\nTime passes.\n\nZoe lifts the little doll into the air as if it will magically get her your favorite toy.\n\nJemison carefully picks up the plastic cup and blinks at it.\n\n> You wait\nTime passes.\n\nZoe gets onto the short plastic block.\n\n> Wait\nTime passes.\n\nZoe climbs down off of the short plastic block.\n\nJemison puts his mouth all over the plastic cup.\n\n> Wait\nTime passes.\n\nZoe tosses aside the little doll and she grabs a squishy ball.\n\n> Go south\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\n> You go south\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nThe legs of Marion dangle from the sofa.\n\n> You go west\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a remote control, a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You go north\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nCassie is dressed in this pumpkin costume, it is adorable.\n\nCassie babbles happily.\n\n> You go south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a remote control, a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\nCassie zooms in from the north.\n\n> You get the remote\nYou pick it up.\n\nWatson tries to build a poosh stick but he doesn't have enough blox, he gets all grunty about that.\n\n> You give the remote to Watson\nYou show the remote control to Watson and he kinda flinches and looks away.\n\nCassie says \"B-b-b-b-b-buh buh buh.\"\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a helicopter.\n\nWatson tries to build a helicopter but he doesn't have enough blox.\n\n> You drop the stick\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a rolly car thing.\n\nCassie makes these noises like a wounded pteranodon and smiles.\n\nThe poosh stick is in that small open area to the northeast and so is way too far away for that.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a nuclear reactor model.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a wall.\n\nWatson tries to build a wall but he doesn't have enough blox, he gets all grunty about that.\n\n> Go northeast\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nCassie zips in from the southwest.\n\nJemison crawls in from the west.\n\n> Go north\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a squishy ball, a plastic cup, a poosh stick, a much-loved kangaroo, a tall plastic block (on which is Zoe), a short plastic block, and a medium plastic block here.\n\nZoe gets onto the medium plastic block.\n\n> You get the poosh stick\nThe poosh stick is big enough that you will have to drop everything to get it because it takes two hands.\n\nZoe gets onto the short plastic block.\n\n> You go to the south\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\nCassie is dressed in this pumpkin costume, it is adorable.\n\n> You go south\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nThe legs of Marion dangle from the sofa.\n\n> Go west\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some wall instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nCassie and Watson are here. Cassie is dressed in this pumpkin costume, it is adorable. Watson is gloomy in his sad homemade bat costume.\n\nWatson tries to build a wall but he doesn't have enough blox.\n\n> You drop the remote\nDropped.\n\nCassie zips off to the northwest.\n\n> Go northeast\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nThere is this baby swing right in front of the TV.\n\n> You go to the north\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a little doll, a plastic cup, a poosh stick, a much-loved kangaroo, a tall plastic block (on which is Zoe), a short plastic block, and a medium plastic block here.\n\nJemison comes in from the southwest.\n\n> You get the stick\nYou pick it up and it takes two hands.\n\nJemison picks up the little doll.\n\n> Go southwest\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a remote control, a building instructions booklet (open to some wall instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You get the remote\nYou pick it up.\n\nCassie zips in from the north and sits down all pleased.\n\n> You give the remote to Watson\nYou show the remote control to Watson and he kinda flinches and looks away.\n\nCassie babbles happily.\n\nWatson picks up the poosh stick and takes it apart and dumps the brix into the big pile.\n\n> You put the remote in the mouth\n(first taking the remote control)\nYou shove the remote control in your mouth and start chewing on it and that leaves your hands free.\n\n> You pull up on the couch\nYou pull up on the middle grey couch and get to your feet and you are all steady except for the occasional sway.\n\nCassie says \"B-b-b-b-b-buh buh buh.\""
    },
    {
        "text": "[Themes: Slice of life, Humor, gender-neutral protagonist]\n\n> Look around\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThe mom is sitting on the couch.\n\nYou can also see a building instructions booklet (open to some wall instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nCassie and Watson are here. Cassie is dressed in this pumpkin costume, it is adorable. Watson is gloomy in his sad homemade bat costume.\n\nCassie makes these noises like a wounded pteranodon and smiles.\n\n> You give the remote to mom\nYou go to pull up on the mom to get her attention. (first letting go of the middle grey couch and plopping on the ground)\nThe mom laughs and says, \"Where did you find that?\" as she pulls the remote out of your mouth.\n\nThen Parry sees you and her with the remote and says, \"That reminds me, I'd like to put in a Baby Feynman video for Watson.\" There is then this big pregnant pause before Parry says, \"Uh, if that's okay.\"\n\nThe mom is quiet, she is probably communicating with the other moms using only her eyes and mom-telepathy because wasn't Parry anti-TV for kids before? And then she says, \"Sure!\" So Parry heads over to the TV and drags the baby swing out of the way of the TV and over by the bookcase and turns the TV on.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a wall. He looks at it and then drops it.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.\n\nCassie crawls off to the north.\n\n> Wait\nTime passes.\n\nWatson picks up the wall and takes it apart and dumps the brix into the big pile."
    },
    {
        "text": "[Themes: Humor, Slice of life, gender-neutral protagonist]\n\n> Look around\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a poosh stick. He looks at it and then drops it.\n\n> You get on it\nYou don't have speech down yet.\n\nWatson picks up the poosh stick and takes it apart and dumps the brix into the big pile.\n\n> You examine the stick\nThe parents call this a poosh stick because they think you are stupid and need baby talk, it is really a push stick. It is a stick for pushing things around. I guess the blox makers wanted easier and easier things to make and someone said, \"Hey, I know what would be easy to build, a long stick.\" The stick is nearly two babies long, it's amazing that it holds together.\n\n> Go northeast\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\n> Go north\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nZoe and Jemison are here. Zoe has hold of a little doll but she looks like she doesn't like it. Jemison is all dressed like a bumblebee.\n\nZoe gets onto the short plastic block.\n\n> You examine the switch\nThat is the switch that controls how high the swing goes, it can be set to lo, med, or hi. Right now it is on lo.\n\nZoe gets onto the medium plastic block.\n\n> You get in the swing\nYou cannot get in the baby swing yourself, that is something the parents do for you when they are bored of you or you are upset.\n\nZoe pokes the little doll towards your favorite toy.\n\n> You cry\nThis time you add a lot of tremolo to your crying and the mom says, \"You're not going to calm down, are you, kiddo? Do you need the swing?\"\n\nZoe gets onto the medium plastic block.\n\n> You cry\n\"Okay, kiddo, let's check you and make sure,\" the mom says and scoops you up. \"Diaper's okay. You're not hungry. To the swing!\" You're airlifted into the swing and the mom takes away the poosh stick and straps you in. She turns it on, click click click, and then you are swinging really high.\n\nSmall Open Area (in the baby swing)\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a poosh stick, a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block (on which is Zoe) here.\n\nJemison is all dressed like a bumblebee.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe gets onto the tall plastic block.\n\n> You take the toy\nYou stretch for the toy but it is just barely out of reach.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You jump\nYou are strapped into the swing and that keeps you from jumping to your pain if not death.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You take the toy\nYou stretch for the toy but it is just barely out of reach.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\nParry comes wandering by with his water glass but he stops when he sees you swinging. He looks at your favorite toy. He looks at you. He looks at your toy. He looks at Zoe. He looks at how close you get to your favorite toy. When he is all done with his looking he casually leans against the bookcase and taps your toy. It totally falls a bit closer! He winks at you and heads on by.\n\n> You take the toy\nYou stretch your arms but they are still too much like teeny T. Rex arms so then you scrunch down in your swing and stretch out a leg and as you swoop up again you just are able to kick the toy! It flies into the air and onto your lap! But as you swing back Zoe leans over from the tall block and swats at the toy and you swat at her and the upshot is the toy goes flying again and it goes kerplunk into the playpen.\n\nThis is the worst playdate ever.\n\n> You cry\nYou have already gotten in the baby swing, crying will do you no good now.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it.\n\nZoe gets onto the medium plastic block.\n\nYou look up and there is the mom, you are swinging toward her face and away, toward and away. She turns off the swing and gets you down and puts you on the floor before going back to her seat.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. Through the mesh you can see your favorite toy.\n\nYou can also see a squishy ball, a poosh stick, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block (on which is Zoe) here.\n\nJemison is all dressed like a bumblebee.\n\n> You look at the toy\nThis is the thing your aunt gave you which is a super fun toy. It has places to chew and places that are shiny and it rattles when you shake it.\n\nZoe gets onto the short plastic block.\n\n> You look in the playpen\nIn the northeast part of the playpen is your favorite toy.\n\nZoe climbs down off of the short plastic block.\n\nJemison carefully picks up the squishy ball.\n\n> You take the foam\nThe soft foam block is by the west end of the couch to the southwest and so is way too far away for that.\n\nZoe tosses the little doll aside. Jemison sees Zoe drop the little doll and is all excited and lets go of a squishy ball and takes the little doll instead.\n\n> You go southwest\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nZoe comes in and looks sadly at the playpen.\n\n> You go southwest\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nLisa's legs are hanging off of the couch.\n\nYou can also see a rattly car and a soft foam block here.\n\n> Go northeast\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nZoe hunkers in a ladybug costume like a wolf in cute sheep's clothing.\n\nZoe hunches her shoulders sadly.\n\n> You go to the north-east\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. Through the mesh you can see your favorite toy.\n\nYou can also see a squishy ball, a plastic cup, a poosh stick, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nJemison is all dressed like a bumblebee.\n\nZoe comes in and sighs heavily.\n\n> Inventory\nYou are carrying:\na soft foam block\n\n> You take the stick\nYou pick it up and it takes two hands.\n\nJemison chews on the little doll.\n\n> You open the playpen with the stick\n(the northeast part of the playpen with the poosh stick)\nThat doesn't seem to be something you can unlock.\n\nZoe looks at the playpen.\n\n> You open the playpoen with the stick\n(the northeast part of the playpen with the poosh stick)\nThat doesn't seem to be something you can unlock.\n\nJemison pulls the little doll out of his mouth.\n\n> Wait\nTime passes.\n\nZoe gets onto the medium plastic block.\n\n> You examine playpen\nThis portable playpen is all old, probably it should be recalled except that the parents are way cheap. It is this frame made of metal bars and it has mesh sides and a floor for babies to play on. The bars go around in ovals at the top and bottom. It should be recalled because the top oval is hinged and you can lower one side of the playpen by pushing the top bar up and then letting go so that the mesh comes down.\n\nYou hear this cough, it is Zoe trying to get your attention.\n\n> You examine Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice.\n\nYou hear this cough, it is Zoe trying to get your attention.\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. The playpen is all open. In the playpen you can see your favorite toy.\n\nYou can also see a soft foam block, a squishy ball, a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block (on which is Zoe) here.\n\nJemison is all dressed like a bumblebee.\n\nZoe climbs down off of the medium plastic block.\n\nLisa suddenly says, \"Parry! Are you eating Cheerios?\"\n\nParry sounds all sheepish, \"Yeah.\"\n\nBecca is all \"I hope you don't mind crumbs all over your loveseat, Farina,\" and everyone laughs but Parry.\n\n> You go to the southwest\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast. The playpen is all open.\n\n> You enter the playpen\nYou get into the southwest part of the playpen.\n\n> You go northeast\nYou move to the other part of the playpen.\n\nSmall Open Area (in the northeast part of the playpen)\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nYou can also see a soft foam block, a squishy ball, a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nZoe and Jemison are here. Zoe has your toy! ZOE HAS YOUR TOY! Jemison is all dressed like a bumblebee.\n\n> You get the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe pushes her way past babies and runs off to the south with your toy! SHE HAS YOUR TOY!\n\nFirst Jemison lets go of a little doll. Then he trails after Zoe.\n\n> You go south\nYou'll have to get out of the northeast part of the playpen first.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Go outside\nYou get out of the northeast part of the playpen.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. The playpen is all open.\n\nYou can also see a little doll, a soft foam block, a squishy ball, a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Go south\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n> You bite Zoe\nZoe sees you coming and she runs like the toyful coward she is!\n\nZoe runs off to the southwest with your toy!\n\n> Go southwest\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nZoe and Jemison and Watson are here. Zoe has your toy! ZOE HAS YOUR TOY! Jemison is all dressed like a bumblebee. Watson is gloomy in his sad homemade bat costume.\n\n> You get the bucket\nThe brix blox bucket is way big and there is no way you're picking it up or anything.\n\nZoe pushes her way past babies and runs off to the west with your toy!\n\nJemison trails after Zoe.\n\n> You go west\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nYou can see a rattly car and Lisa here.\n\nJemison and Zoe are here. Jemison is all dressed like a bumblebee. Zoe has your toy! ZOE HAS YOUR TOY!\n\n> You look at the doll\nIt has red hair like Zoe but presumably it is not evil like Zoe. It is in that small open area to the northeast. It is all damp from being chewed.\n\nZoe pushes her way past babies and runs off to the east with your toy! SHE HAS YOUR TOY!\n\n> You go to the east\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nZoe and Watson are here. Zoe has your toy! ZOE HAS YOUR TOY! Watson is gloomy in his sad homemade bat costume.\n\nWatson tries to build a poosh stick but he doesn't have enough blox.\n\n> You bite Zoe\nZoe sees you coming and she runs like the toyful coward she is!\n\nZoe pushes her way past babies and runs off to the northwest with your toy! SHE HAS YOUR TOY!\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n> You bite Zoe\nZoe sees you coming and she runs like the toyful coward she is!\n\nZoe runs off to the south with your toy!\n\n> You go north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nOn the north pink striped loveseat is a cup of Cheerios.\n\nYou can see Parry here.\n\n> Go south\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nYou can see Lisa here.\n\nZoe and Jemison are here. Zoe has your toy! ZOE HAS YOUR TOY! Jemison is all dressed like a bumblebee.\n\n> You bite Zoe\nZoe sees you coming and she runs like the toyful coward she is!\n\nZoe pushes her way past babies and runs off to the east with your toy!\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You go to the east\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nZoe and Watson are here. Zoe has your toy! ZOE HAS YOUR TOY! Watson is gloomy in his sad homemade bat costume.\n\n> You pull up on the mom\nYou have stuff in your hands and you will need those hands to pull yourself up so drop something I guess.\n\nZoe pushes her way past babies and runs off to the northwest with your toy! SHE HAS YOUR TOY!\n\nWatson tries to build a poosh stick but he doesn't have enough blox.\n\n> You cry\nCrying to get the parents to take back the toy is a total Zoe trick, you will not stoop that low. Besides, you are so close to getting the toy it would be no good to have the mom take it away again.\n\n> You drop stick\nDropped.\n\nWatson picks up the poosh stick and takes it apart and dumps the brix into the big pile.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a helicopter.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a helicopter. He looks at it and then drops it.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a wall.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You look at Watson\nWatson Mason has this big round face that is perfect for commercials and baby food labels, only his face is always tear-streaked so maybe he is not cut out for show-biz. Maybe he is sad because he is dressed in this costume that is supposed to be a scary bat but instead is like a sad dumpy bat.\n\n> You look at the bat\nYou can see how someone would think this was a fun idea but man, it just makes Watson look like a giant emo cupid.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You look at Watson\nWatson Mason has this big round face that is perfect for commercials and baby food labels, only his face is always tear-streaked so maybe he is not cut out for show-biz. Maybe he is sad because he is dressed in this costume that is supposed to be a scary bat but instead is like a sad dumpy bat.\n\nWatson picks up the helicopter and takes it apart and dumps the brix into the big pile.\n\n> You look at Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on your favorite toy. She is by the south end of the loveseat to the northwest.\n\n> You look at Cassie\nThat is Cassie Sandoval, she is wearing a costume that makes her look like a pumpkin. Her arms are scraped up and she has some bruises on her legs. She is carrying a smooth rock. She is next to the gliding rocking chair to the northwest.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a poosh stick. He looks at it and then drops it.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a helicopter.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a rolly car thing.\n\nWatson picks up the poosh stick and takes it apart and dumps the brix into the big pile.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a nuclear reactor model.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a nuclear reactor model. He looks at it and then drops it.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a wall.\n\nWatson picks up the nuclear reactor model and takes it apart and dumps the brix into the big pile.\n\n> You wait awhile\nTime passes.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a wall. He looks at it and then drops it.\n\n> You wait awhile\nTime passes.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You examine the wall\nMan what? This is the stupidest blox thing ever. Who needs a tiny portable wall that is like six inches tall? You can't even stop someone with it, even clumsy Jemison would crawl right over it and knock it over, and keeping orcs from overrunning Helm's Deep? Forget it.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You examine doll\nIt has red hair like Zoe but presumably it is not evil like Zoe. It is in that small open area to the northeast. It is all damp from being chewed.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\nWatson tries to build a wall but he doesn't have enough blox.\n\n> You go to the northeast\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nIt looks like the TV is done with white things, now there is this big row of balls starting with this huge yellow one and then a smaller one and a little bigger one and so on. There are a lot of those balls.\n\n> You go to the north\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. The playpen is all open.\n\nYou can also see a little doll, a soft foam block, a squishy ball, a plastic cup, a much-loved kangaroo, a tall plastic block, a short plastic block, and a medium plastic block here.\n\n> You take doll\nYou pick it up.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Shake doll\nYou shake the little doll and that is okay I guess.\n\n> You look at the doll\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on your favorite toy. She is by the south end of the loveseat to the west.\n\nIt has red hair like Zoe but presumably it is not evil like Zoe. It is all damp from being chewed.\n\n> You go west\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nThere are Becca's legs, they are by the rocking chair.\n\nYou can also see a smooth rock, a teething ring, a teeny squeezy book, and a plush book here.\n\nCassie is dressed in this pumpkin costume, it is adorable.\n\n> Chew doll\nYou shove the little doll in your mouth and start chewing on it and that feels good.\n\n> You go to the west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nOn the north pink striped loveseat is a cup of Cheerios.\n\nYou can see Parry here.\n\n> You go west\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Go east\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nOn the north pink striped loveseat is a cup of Cheerios.\n\nYou can see Parry here.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You examine cup\nSo which do you mean, the cup of Cheerios, or the plastic cup?\n\n> Cheerios\nCheerios! In a cup! What a totally portable idea.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You drop all\nlittle doll: (popping the little doll out of your mouth first)\nDropped.\nwall: Dropped.\n\n> You climb on the loveseat\n(first taking the cup of Cheerios)\nYou cannot reach the cup of Cheerios because you are standing and if you let go with one hand you would just plop down before you could get it.\n\nYou are already all pulled up on the north pink striped loveseat and you can't go any higher.\n\n> Go southeast\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast. The playpen is all open.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Go south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some wall instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You drop the wall\nDropped.\n\nWatson picks up the wall and takes it apart and dumps the brix into the big pile.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.\n\n> You examine the pile\nA big pile of dayglo blox from the brix blox bucket. Some are one hand wide and some are two hands wide and some are three hands wide and I guess they go together in various ways but whatever, you are no engineer.\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a poosh stick. He looks at it and then drops it.\n\n> You take the stick\nYou pick it up and it takes two hands.\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nCassie and Zoe are here. Cassie is dressed in this pumpkin costume, it is adorable. Zoe has your toy! ZOE HAS YOUR TOY!\n\n> Go west\nYou so can't go that way.\n\nZoe pushes her way past babies and runs off to the southeast with your toy!\n\n> You go to the north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nOn the north pink striped loveseat is a cup of Cheerios.\n\nYou can see a little doll and Parry here.\n\n> You take Cheerios\nYou have short arms, you can't reach the cup of Cheerios from down here.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You look at Zoe\n(tearing yourself away from the Cheerios)\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on your favorite toy. She is at the middle of the couch to the southeast.\n\nWatson wanders in from the south.\n\nJemison crawls in from the southeast.\n\n> You go southeast\n(tearing yourself away from the Cheerios)\nYou have to push your way past Jemison, Watson, and Cassie thanks to those Cheerios and that slows you down.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast. The playpen is all open.\n\n> You look at Zoe\nGrr, Zoe Kinmundy. That little red-haired girl has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on your favorite toy. She is at the middle of the couch to the south.\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> Go south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a building instructions booklet (open to some poosh stick instructions), a pile of dayglo blox, and a brix blox bucket here.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n> You take the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe runs off to the northwest with your toy!\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n> You take the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe runs off to the north with your toy!\n\n> You go to the north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nThose sure are a bunch of Cheerios spilled everywhere.\n\nYou can also see a little doll and Parry here.\n\nZoe and Jemison and Watson and Cassie are here. Zoe has your toy! ZOE HAS YOUR TOY! Jemison is all dressed like a bumblebee. Watson is gloomy in his sad homemade bat costume. Cassie is dressed in this pumpkin costume, it is adorable.\n\nCassie takes some Cheerios and eats them.\n\nJemison considers the pile of Cheerios and then he takes some Cheerios and munches on them.\n\n> You take toy\nZoe tries to crawl away, but there are babies and Cheerios and it is a big train-wreck and she cannot get away!\n\nYour hands are all full, maybe if you drop something you could get your favorite toy.\n\nZoe somehow ignores the Cheerios and pushes her way past babies who don't move very fast because of the Cheerios and runs off to the southeast with your toy!\n\nWatson gingerly takes a single Cheerio and then he eats it.\n\n> You drop all\n(tearing yourself away from the Cheerios)\nDropped.\n\nZoe somehow ignores the Cheerios and pushes her way past babies who don't move very fast because of the Cheerios and runs off to the west with your toy!\n\nJemison picks up some Cheerios and munches on them.\n\nZoe screws up her face and bursts into these loud wails, they are so terribly loud. She shoves at Cassie who also starts crying and soon just about everyone is crying except you, ha ha, they are such babies.\n\nMarion says, \"I was afraid we were staying too late past Zoe's naptime. Farina, everyone, it's been fun, and glad you could come, Parry. See everyone next week.\" Hands come down and the squalling Zoe zips up into the air and into Marion's arms. Soon all of the babies are going skywards, parentwards, and out-the-doorwards.\n\nWith them all gone the air kinda leaks out of you, it has been a long playdate. The mom gathers you and your favorite toy up. \"C'mon, kid, let's get you to bed before you completely pass out.\" But you do not need naps, does she not understand that?\n\nThough your crib is nice and soft and your favorite toy chimes a bit as you curl around it and your teeny eyelids are so heavy.\n\nSo...heavy....\n\n> You drop all\nDropped.\n\nZoe runs off to the north with your toy!\n\n> Go north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nThose sure are a bunch of Cheerios spilled everywhere.\n\nYou can also see a little doll and Parry here.\n\nZoe and Jemison and Watson and Cassie are here. Zoe has your toy! ZOE HAS YOUR TOY! Jemison is all dressed like a bumblebee. Watson is gloomy in his sad homemade bat costume. Cassie is dressed in this pumpkin costume, it is adorable.\n\nCassie snatches a handful of Cheerios and inhales them and grins around the mushy oatiness of them.\n\n> You take toy\nZoe tries to crawl away, but there are babies and Cheerios and it is a big train-wreck and she cannot get away!\n\nYou lunge forward and yank on the toy and Zoe is all distracted by Cheerios and the toy pops out of her evil sweaty grasp! You have your toy!\n\nZoe screws up her face and bursts into these loud wails, they are so terribly loud. She shoves at Watson who also starts crying and soon just about everyone is crying except you, ha ha, they are such babies.\n\nMarion says, \"I was afraid we were staying too late past Zoe's naptime. Farina, everyone, it's been fun, and glad you could come, Parry. See everyone next week.\" Hands come down and the squalling Zoe zips up into the air and into Marion's arms. Soon all of the babies are going skywards, parentwards, and out-the-doorwards.\n\nWith them all gone the air kinda leaks out of you, it has been a long playdate. The mom gathers you and your favorite toy up. \"C'mon, kid, let's get you to bed before you completely pass out.\" But you do not need naps, does she not understand that?\n\nThough your crib is nice and soft and your favorite toy chimes a bit as you curl around it and your teeny eyelids are so heavy.\n\nSo...heavy....\n\n> Commentary on\nCommentary track on[1]. To read commentary track notes, type NOTE #.\n\n> Note 1\nWelcome to the commentary track of Child's Play! I'm your author and host, Stephen Granade. In this track, I'll be talking about design decisions I made, some of my goals in writing the game, and fun things to try.\n\n> You cry\nSuddenly the darkness is gone, and it is so light, you are blinded for just a second. You blink and blink and then you can see the mom holding the blanket she was covering you with. \"Oh, kid, I'm so sorry, I thought you were having fun,\" she says. \"We'll do something else.\"\n\nThat'll teach her[2].\n\nA child, a toy, and a rival by Stephen Granade\n\nAll rights reserved.\nType ABOUT for more information.\n\nThis is the middle of the living room, it is all big and vast. But it would be bigger and vaster if there weren't all these pillows and stuff in a big ring around you. The mom is totally all paranoid and whatever, she is a new mom.\n\nThere is a red footstool, it looms over you.\n\nThe mom[3] is playing with you and is all excited about it.\n\nYou can also see a squishy ball, a plush book, and your favorite toy here.\n\nYou eye your favorite toy and the mom sees you doing it and scoops it up. \"No, no, we're going to try pulling up!\" She is all the time trying to build your character or something. She waves the toy at you. \"Look! Look where I'm putting it!\" She drops the toy on the footstool where you can't see it unless you're all pulled up, that is just no fair[4].\n\n> Note 2\nCrying is a great baby way of manipulating parents.\n\n> Note 3\nThe protagonist doesn't really think of the parents in a possessive way. They're just people who provide food and toys.\n\n> Note 4\nThe major conceit of the game is that the player is a baby, and must interact with the world as a baby. That leaves the player with a limited range of actions. Sadly, unless you've become a parent recently, you've probably forgotten what it's like to be a baby and what a baby does. That's why the game has to re-teach you babies' limited actions, like pulling up[5].\n\n> Note 5\nBy the way, you should wait for a while and frustrate the mom.\n\n> You wait\nTime passes.\n\nThe mom sits there looking at you all expectantly.\n\n> You wait\nTime passes.\n\nThe mom points to the footstool. \"Give it a try! Go ahead! Pull up!\"\n\n> You wait\nTime passes.\n\nThe mom sighs and is all \"You were pulling up just yesterday[6].\"\n\n> You pull up on the stool\nYou pull yourself up and it is one hand and another hand which is hard because the footstool is all unstable and rocks some but then you are all on your feet so yay you! And now that you are up here you can see your favorite toy on the footstool.\n\nThe mom applauds, \"Way to go!\" She looks at her watch and is all \"Whoops! Playgroup's about to arrive. You hang out here while mom goes and gets ready.\" She stands up and steps over all of those pillows and you are stuck here now by yourself[7].\n\n> You look at the toy\nThis is the thing your aunt gave you[8] which is a super fun toy. It has places to chew and places that are shiny and it rattles when you shake it.\n\n> Note 9\nBabies are notorious for trying to pull up on things and instead accidentally pushing them or knocking them over. This initial footstool puzzle serves to introduce the push-on-things mechanic in a setting where there's little else to do.\n\n> You look at the pillows\nThe ring is a bunch of pillows and stuff piled around in a circle so you can't go crawling away when the mom is all distracted. The whole thing is taller than you even when you are sitting.\n\nHey wait, what is Alfadog doing wedged in the pillows like that?\n\n> You look at Alfadog\nIt is Alfadog, your alphabet-knowing toy and it is all wedged under some pillows. He is about as long as you and he is about as tall as you when you are crawling, it is as if he is your brother only he is a dog. He has this switch on him that makes him run and say the alphabet and such.\n\n> You turn on Alfadog\nYou are all fumbly on the switch but then you get it turned on and look out! Alfadog lights up and his paws start digging in and he is barking out \"A! B! C! D! EFG!\" It looks like he may be stuck under those pillows but then \"L! M! N! O! P!\" pillows tumble out of his way and he is free, zipping off to the east! You hear him winding down, \"W X Y and Zeee.....\" And now there is this big gap in the pillows to the east.\n\nThat Alfadog is very powerful, he should probably be recalled[10].\n\n> Note 10\nA theme of the game is the PC getting others, both animate and inanimate, to do his or her bidding.\n\n> Examine book\nIt is plush and the mom likes to read it to you.\n\n> You go to the east\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north[11].\n\nYou can see Alfadog and your favorite toy here.\n\n> Note 11\nI entered this first part of the game in Introcomp 2006. The competition helped, as it really made me think about what I wanted the player to see in the first few moves. I wanted to have a few simple puzzles that nevertheless depended on baby-like actions, introduce the writing style I'd chosen, and have a very clear direction. The last was critical -- without that throughline, players are increasingly likely to type QUIT.\n\n> You take the toy\nYou pick it up.\n\nThere is a ding-dong and the mom comes clattering in all \"Hang on! I'm coming!\" She opens the door and there is Marion Kinmundy here for playgroup. She is carrying that little red haired girl Zoe who started coming to playgroup a couple of whiles ago. Zoe sees your favorite toy and her eyes light up.\n\nThe mom must be psychic or something because she whirls around and snatches up your favorite toy. \"Oh, no,\" she says with a little laugh, \"we're not having you two fight over this thing again. I'll tuck it away where it'll be safe.\" And Marion laughs too, which is cool, that way they don't notice you and the little red haired girl glaring at each other.\n\nShe wants your toy? And the mom wants to lock the toy away? Bring it on[12].\n\n> Note 12\nRight behind Marion and Zoe the little red haired girl is Lisa who is Cassie's mom. Lisa is carrying Cassie all carefully but Cassie is squirming to get down. \"Hi Farina, hi Marion--hang on Cassie, mommy's going to put you down,\" Lisa says and then she steps over the baby gate and dumps Cassie by the couch to the south of you.\n\nMeanwhile the mom is putting all the pillows back on the couch and loveseat. As she finishes she asks Marion, \"Can I put this toy in Zoe's backpack for now?\" Marion is all \"Sure!\" as she puts Zoe on the floor over by the rocking chair and sits on the loveseat.\n\n> Note 12\nI like games with an antagonist. Wandering around exploring is fine, but it's nice to be working against someone. With that said, I wanted Zoe to start out passively working against you, in effect pursuing her own separate agenda, only working directly against you as the game went on.\n\n> You look at the backpack\nZoe's backpack has all these cute bears sewed on it. Clearly her mom Marion picked it out, it does not reek of evil like it would if Zoe had chosen it. It is closed so you can't see what's in it though you know your toy is in there somewhere. It is next to the gliding rocking chair to the northwest[13].\n\n> Note 13\nLucian Smith suggested that you be able to examine things in other \"rooms\" within the large living room. It was an extremely handy addition to the game, since then I could see where things were and go to them. Shame it was such a headache to implement. I managed to get it working for this small game, but I'd hate to try it for a larger game.\n\n> Examine tv\nThe TV is dark and that makes you sad.\n\n> You go northwest\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall[14].\n\nYou can also see a smooth rock here.\n\nZoe is sitting in a fog of grump on the floor.\n\nThere is a ding-dong! and the mom goes and opens the front door. It is Becca and her son Jemison and some strange guy is there holding Watson Mason. \"Come on in, everyone,\" the mom says. She turns to the strange guy, \"I'm glad you could make it, Parry[15].\"\n\nParry shrugs and smiles and says, \"I always wondered what everyone did during playgroup.\"\n\n\"Drink mimosas[16]!\" Becca says over her shoulder to Parry and there is polite laughter and Parry smiles like he is kinda unsure about all of this.\n\n\"Why don't you put Watson in here with the others?\" the mom asks and Parry nods. He ends up putting Watson by Jemison over by the loveseat. Then all the standing adults sit down with Parry sitting near you so now I guess they are sitting adults.\n\n> Note 14\nAdmiral Jota is a madman and managed to break the backpack puzzle by the judicious use of TAKE ALL, requiring me to fiddle the rules regarding what's included in ALL.\n\n> Note 15\nParry's the foil to the rest of the group. He's an outsider and can thus make comments that are probably closer to your reactions to the groups' comments. Plus he does things the more experienced moms don't.\n\n> You look at Parry\nThat is Parry Mason, he is Watson Mason's dad. Normally Watson's mom Shari is here but she must be somewhere else so that is why Parry is here.\n\n> You go southwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nThose are Becca's legs by the loveseat.\n\nYou can also see a rattly car here.\n\nJemison and Watson are here. Jemison watches you watching him. Watson sits all sad and dumpy on the floor. [17]\n\nWatson gingerly picks up the rattly car[18]. When Jemison sees Watson take the rattly car, he gets all excited and he starts watching the rattly car and thus Watson[19].\n\nWatson puts down the rattly car. Jemison suddenly sees that the rattly car is available and he scoops it up.\n\n> Note 17\nMany turns there's a heck of a lot of text printed as parents talk and playmates romp around. To cut down on how many paragraphs are printed, I collated the descriptions of the playmates into a single paragraph.\n\n> Note 18\nI randomized the babies' behavior and action descriptions to keep things fresh. It also made debugging a nightmare. NPCs suck; randomized NPCs suck more.\n\n> Note 19\nBabies are all the time becoming fascinated by what other babies do. Stupid babies.\n\n> You go north\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west except that a baby gate is in the way. There is the rocking chair to the east as well, that is always fun.\n\nThe legs of Marion dangle from the loveseat.\n\n> You look at Marion\nGrr, Marion Kinmundy. She is Zoe's mom. Grr, Zoe. What is weird is that Marion is all nice while Zoe is pure evil.\n\n> Go southeast\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a plush book here.\n\n> You take the book\nYou pick it up and it takes two hands.\n\nYou can hear Zoe squalling all loudly by the gliding rocking chair.\n\n> Go west\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nThose are Becca's legs by the loveseat.\n\nJemison and Watson are here. Jemison is playing with the rattly car. Watson sits all sad and dumpy on the floor.\n\nWatson pulls up on Becca who says \"Watch the pants, kid!\" and she laughs and puts him back on the floor.\n\n> Drop book\nDropped.\n\nWatson pulls up on Becca who says \"Watch the pants, kid!\" and she laughs and puts him back on the floor.\n\n> You take the book\nWhen Jemison sees you take the plush book, his eyes light up and he starts watching the plush book and thus yourself.\n\nWatson gingerly picks up the rattly car.\n\n> You go to the northeast\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nParry's feet keep leaving the floor as he rocks.\n\nA backpack with bears on and your favorite toy in it is shoved behind the rocking chair next to the wall.\n\nYou can also see a smooth rock here.\n\nZoe has hold of a much-loved kangaroo loosely.\n\nJemison comes in after you and settles close by you and looks pointedly at the plush book.\n\n\"Say, how's Watson's rash doing?\" Lisa asks Parry.\n\nParry clears his throat. \"He's much better, thanks.\"[20]\n\n> Note 20\nAll of the parents' conversations are exaggerated versions of conversations and arguments that parents really have.\n\n> You put the book in the mouth\n(the plush book in mouth)\nYou shove the plush book in your mouth and start chewing on it and that feels good.\n\nThe mom says, \"Did you use zinc oxide cream?\"\n\n> You pull up on Parry\nEven though you are chewing on the plush book it is big enough that you still have to keep it in your hands and so you can't pull up while you have it, if only the plush book were smaller you would have your hands free.\n\n\"In a roundabout way,\" Parry says, \"We used Boudreaux's butt paste[21].\"\n\nZoe looks at the much-loved kangaroo and she sighs.\n\n> Note 21\nhttp://www.buttpaste.com/. Ask for it by name!\n\n> Drop book\n(popping the plush book out of your mouth first)\nWhen you drop the plush book Jemison is all over that and he snatches it up.\n\n\"Ew,\" Becca laughs, \"that is the grossest name for a product.\"\n\nWatson wanders in from the southwest.\n\n> You look at the stone\nThe mom found this one one of your walks, well it wasn't really a walk, more like the mom driving you around in a stroller, anyway she found this rock and gave it to you.\n\nMarion tells Becca, \"Given what we have to deal with from our children, a name like that is the least of our worries.\"\n\n> You take the stone\nWhen Jemison sees you pick up the smooth rock, he gets all excited and he gets rid of a plush book and starts watching the smooth rock and thus yourself.\n\nZoe pulls at the much-loved kangaroo but then she stops, she is so bored with it.\n\n> You put the stone in the mouth\nYou shove the smooth rock in your mouth and start chewing on it and that leaves your hands free[22].\n\n> Note 22\nBabies are all the time chewing on things. They also -- and I swear this is true -- chew on things to get around their inventory limit.\n\n> You pull up on Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking. If you were on the ground you could get to the backpack now. And then Jemison pulls up on the gliding rocking chair and looks up at you and grunts softly.\n\n> You drop the stone\n(popping the smooth rock out of your mouth first)\nThe smooth rock falls into Parry's lap.\n\nZoe takes the much-loved kangaroo and shakes it half-heartedly.\n\nWatson picks up the plush book.\n\n> Squirm\nYou wriggle and fuss a bit and Parry says, \"Okay, down you go,\" and he gently lowers you to the floor. He then is all \"And now it's your turn\" and he picks Jemison up[23].\n\n> You open the backpack\nWhen you open the backpack all you can see in it is this white onesie that is totally in your way.\n\nZoe sees you open that backpack and she gets agitated and tosses the much-loved kangaroo aside.\n\n> You take the onsie\nYou pull on the onesie and it comes part of the way out of the backpack and then it gets hung on the backpack zipper. Great. Now it is blocking the backpack and it is also stuck[24].\n\nWatson puts the plush book down.\n\n> You take book\nYou pick it up and it takes two hands.\n\nZoe shrieks angrily and bounces up and down and flails her arms in the general direction of the backpack that you opened. That makes Marion sigh and she says, \"Parry, if you don't mind?\" So Marion reaches the backpack under the rocking chair and she sees the white onesie stuck in the backpack. \"Geez,\" she says and pulls out a plastic cup and dumps it in Zoe's lap. Zoe gets all upset but Marion says, \"Shh, Zoe, be calm, I can't fix the backpack if you're fussing.\" Parry says, \"Here, I'll empty out the backpack and fix that for you\" but Marion says \"No, thanks,\" and she sits down and starts trying to get the onesie out of the backpack.\n\nParry says, \"Okay, down you go\" to Jemison who scrabbles around and grabs the smooth rock. Parry gently lowers Jemison to the floor and starts rocking again.\n\n> You give the book to Zoe\n(the plush book to Zoe)\nZoe shrieks at you and shoves the plush book out of your hands and hits at you. Marion sees that and she reacts in a flash and says \"Parry, here,\" and shoves the backpack at Parry who takes it. \"Can you get that onesie out of the way?\" Parry just nods and digs in the backpack and pulls out your favorite toy and dumps it in his lap! Then he starts tugging the onesie this way and that to free it from the implacable jaws of the backpack zipper. Meanwhile Marion shushes Zoe before sitting back on the loveseat[25].\n\n> Note 25\nBabies are masters at destroying the flow of your actions and plans. Eventually you learn how to break your plans up into tiny chunks separated by what you have to do for your kid.\n\n> You pull up on Parry\nAs soon as you have pulled up on the gliding rocking chair Parry looks down and says \"Hey, there, you want to be picked up?\" and he lifts you into his lap and stops rocking.\n\n> You take the toy\nYou pick it up.\n\nParry says, \"Okay, down you go,\" and he gently lowers you to the floor, right next to Zoe. Zoe looks over and sees what you have in your hands and she goes totally nuts, she is shrieking and waving her fists and if she had Force powers you would totally be choked right now.\n\nAnd of course Zoe acting out gets Marion and the mom to pay attention and Marion is all \"Hey, hey, Zoe, calm down!\" and the mom is all \"Oh, gosh, they managed to get that toy out of the backpack.\" So the jig is up where by \"the jig\" I mean the toy and by \"up\" I mean going away.\nChapter 2\nSnacktime\n\nAnd it's just like you expected. The mom scoops you and the toy up and the two of you dangle in mid-air while she removes the baby gate by the loveseat and goes around behind the loveseat. There's a cabinet back there, she pushes down the baby lock at the top of the cabinet door and opens the door and in goes your toy.\n\nYou would be all into getting the toy back except everyone decides now is the time to have a snack so a bunch of toys get piled in that small open area in the living room and you and Zoe and Cassie and Watson and Jemison are dragged into the kitchen and out comes the food.\n\nYour high chair is not way super high since it only gets you up to the level of the kitchen table but that is still pretty high. It lets you see around the table which is better than when you are on the floor and cannot even see the top of the table[26].\n\nThe mom is hovering around you.\n\nIn front of you is this spoon full of food that the mom wants you to eat.\n\nYou can also see Becca, Parry, Lisa, and Marion here.\n\nJemison and Watson and Cassie and Zoe are here. They are all being fed.\n\n> You eat the food\nYou open your mouth and the mom spoons in the prunes and they slide down your throat. Yeuch. And if that isn't bad enough, the spoon goes away and comes back with more prunes! You are just like Sisyphus here.\n\nBecca says, \"Farina, I know you're not feeding that child chopped-up people food.\" Meanwhile, the mom is saying, \"Here! Take a bite!\"\n\n> You examine Becca\nBecca is Jemison's mom, she is as loud as Jemison is quiet and that is very loud. Or very quiet. Anyway, that is Becca.\n\n\"It's no different than canned baby food,\" the mom tells Becca. Meanwhile, Cassie is trying to climb out of her chair so she can fall to the floor and Lisa is restraining her.\n\n> You eat the food\nYou open your mouth and the mom spoons in the prunes. Yeuch. And if that isn't bad enough, the spoon goes away and comes back with more prunes!\n\n\"Really?\" Lisa says. \"I'd be worried that I'd give Cassie something that'd hurt her.\" Meanwhile, Watson is spitting up and Parry is looking sad that he's going to have to change Watson's clothes.\n\n> You hit Zoe\nWith you strapped into your high chair you cannot reach Zoe.\n\n\"Weird,\" Becca says. \"Then why buy special baby food at all?\" Meanwhile, Jemison is taking bits of food and dropping them over his high chair and then watching them hit the floor.\n\n> You examine Jemison\nJemison Thorsby's name is not one you would want, that is for sure. He is stylish in his blue onesie and he has a small mouth and these big eyes that are watching, always watching, it is kinda creepy.\n\n\"Well,\" says Parry, \"Sometimes it's really convenient to have a jar for Mason[27] so--whoops!\" And then you stop paying attention to him because he spilled a teeny bowl of Cheerios and you and all the other babies are all staring at the spray of Cheerios.\n\n> Note 27\nPerhaps a Mason jar. Ha! I crack myself up.\n\n> You look at Cheerios\nOaty o's of pure goodness.\n\nJemison reaches for the Cheerios but they are way too far away.\n\n> You take the cherrios\nWith you strapped into your high chair you cannot reach the pile of Cheerios.\n\nWatson looks at the Cheerios all sadly."
    },
    {
        "text": "[Themes: Slice of life, Humor, child protagonist]\n\n> Go down\n(tearing yourself away from the Cheerios)\nYou are all strapped into your high chair so you are going nowhere.\n\nCassie rocks hard in her seat, maybe she thinks she can tip over to get to the Cheerios.\n\nFinally all of this feeding is over and the Cheerios get put away and everyone gets wiped up with baby wipes before getting dumped back in the living room.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a tall plastic block here.\n\n> You examine the block\nIt is blue and it is about as wide as you are and tall as your head is high when you are pulled up.\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a short plastic block, a little doll, a teeny squeezy book, a teething ring, and a plastic cup here.\n\nZoe has hold of a soft foam block loosely.\n\n> You look at medium block\nIt is green and it is about as wide as you are and as tall as your head is high when you are sitting down. It is by the south end of the loveseat to the west.\n\nCassie crawls in from the southwest.\n\nYou hear Watson cry loudly, boy is he angry.\n\n> You go west\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a medium plastic block and a rattly car here.\n\nZoe has her eye on you.\n\nYou hear Watson cry loudly.\n\n> You go southwest\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nYou can see Parry or at least his legs over by the couch.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can just see some paper beyond the footstool.\n\n> You pull up on the footstool\nYou pull up on the footstool and get to your feet and you are all steady except for the occasional sway.\n\nYou hear Watson cry loudly.\n\n> Go south\n(first letting go of the footstool and plopping on the ground)\nYou so can't go that way.\n\nYou hear Watson cry loudly. Then Parry says, \"Farina, I'm going to borrow your swing and see if that calms Watson down.\" He stands up and strides off and you can see him come back with a baby swing. He goes over by the TV with it and then there is the picking up of Watson and the strapping in of Watson and the swinging of Watson, I hope that makes Watson feel better.\n\n> You go west\nThere is just enough space for you to slide between the footstool and the couch so you cruise along the couch past the footstool and into the tiny space back there[28].\n\nThere is not a lot of room back here behind the footstool, you fill most of the space between the footstool and the couch and this wood cabinet that is acting like an endtable.\n\nThere is a red footstool, it is all close to you.\n\nThere is this tiny folded piece of paper shoved under the cabinet.\n\n> You sit\nYou sit down on your diaper and it is good that it is all padded and stuff.\n\nYou suddenly hear this heavy thud which must be Cassie leaping off the tall plastic block. Cassie shrieks, it is the loudest you have ever heard her be. I guess she is not the super-tough baby she thinks she is[29]. Anyway Lisa leaps up and runs to Cassie and Parry leaves his tumbler and runs to Cassie too, they scatter the plastic blocks around the room in their haste. \"Baby, baby, it's okay, shh,\" you hear Lisa saying and then Parry is saying, \"I think she's okay, she's just scared. Her pupillary response is just fine.\"\n\n> Note 29\nTake that, overactive baby.\n\n> You take the paper\nYou tug and tug and tug and then you see Parry's hand reach over you and remove the tumbler from on top of the cabinet where it was and pop! the folded paper comes out from under the wood cabinet and the cabinet goes rock rock rock. It is a good thing Parry was thirsty right now.\n\nYou hear Watson cry loudly.\n\nLisa is still saying \"It'll be okay, Cassie, it'll be okay\" and Parry is saying \"Breathe, Cassie, breathe\" and Cassie is now taking big hiccuping breaths.\n\n> You examine paper\nIt is a tiny folded piece of paper.\n\nYou hear Watson cry loudly.\n\n> Unfold paper\nIt is really folded and creased from being under the cabinet and your fingers are too stubby.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats.\n\n> You drop the paper\nDropped.\n\nYou hear Watson cry loudly, boy is he angry. Then Parry says, \"Farina, I'm going to borrow your swing and see if that calms Watson down.\" He goes clomping around and you can see him come back with a baby swing. He goes over by the TV with it and then there is the picking up of Watson and the strapping in of Watson and the swinging of Watson, I hope that makes Watson feel better.\n\n> You go east\nReally there is only one way out of this teeny space and that is to pull up and cruise on out to the east.\n\nBecca says to the mom, \"Nice job on those mimosas.\"\n\n\"Thanks,\" the mom replies.\n\n> You pull up on the stool\nYou pull up on the footstool and get to your feet and you are all steady except for the occasional sway.\n\nLisa says, \"It's nice, they help me calm down.\"\n\n> You go east\nYou slide back out into the big wild world.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is all close to you.\n\nThere is Parry on the couch.\n\nYou can also see a heavy tumbler and a short plastic block here.\n\nCassie is looking around for mischief to make.\n\n\"And they're good for you,\" Marion says.\n\n> Drool on tumbler\nYou move towards the tumbler but Parry picks it up and says \"No, that's my glass.\" And then the mom chimes in, \"Hey, kiddo, no mouth! No mouth.\" Once you back off Parry puts the tumbler back down.\n\n\"I'm not sure they're that good for you,\" Parry says.\n\nA shadow falls on you, it is Parry standing up. He goes over to where the TV is and the swing is and he does something that probably involves Watson before he sits down again.\n\n> Drool on tumbler\nYou move towards the tumbler but Parry picks it up and says \"No, that's my glass.\" Once you back off Parry puts the tumbler back down.\n\nMarion says, \"They do have orange juice in them.\"\n\nCassie climbs onto the short plastic block.\n\n> You go to the east\n(first letting go of the footstool and plopping on the ground)\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison is all staring at the velcro jangly balls. The velcro jangly balls hang off of him.\n\n\"Besides, if it tastes good, it's good for you,\" says Becca.\n\n> You take the balls\nYou tug on the velcro jangly balls and you tug some more and they come off of Jemison with a rrrrrrrip sound and Jemison looks at you with sad sad eyes and then stares at the velcro balls[30].\n\n> Note 30\nI get tired of games where you're introduced to a certain game mechanic that you then never use again, so I deliberately re-used mechanics like Jemison's fascination with stuff throughout.\n\n> You go to the north-west\nYou jangle your way out of the room.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a rattly car here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go north\nYou jangle your way out of the room.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nHey, that baby gate that blocked your way west is all gone.\n\nLisa's legs are hanging off of the loveseat.\n\nZoe stalks in from the southeast and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go west\nYou are all jangle jangle jangle as you leave.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nZoe stalks in from the east and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go south\nYou jangle your way out of the room.\n\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a paper coaster.\n\nYou can't believe the mom just shoved your favorite toy in that cabinet so you couldn't have it.\n\nZoe stalks in from the north and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You open the cabinet\nYou go for the door but then Jemison is in front of you reaching for the jangly balls and they go jingle jangle when you pull away from him.\n\nJemison stares at you and waits for you to drop the velcro jangly balls.\n\n> You go to the north\nYou jangle your way out of the room.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> Go east\nYou jangle your way out of the room.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nLisa's legs are hanging off of the loveseat.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You go to the southeast\nYou are all jangle jangle jangle as you leave.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a tall plastic block here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You go south\nYou jangle your way out of the room.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n> You look at the tumbler\nThe tumbler is thick glass and it holds water, it is left over from Parry snacking. I guess Parry took it off the cabinet to take a drink from it and then forgot to put it back on the cabinet. It is by the west end of the couch to the west.\n\n> You go west\nYou jangle your way out of the room.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler and a short plastic block (on which is Cassie) here.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\nCassie climbs down off of the short plastic block.\n\n> Wear the balls\nYou put on the velcro jangly balls.\n\nMarion asks Parry, \"How is Shari doing?\"\n\n> Drool on tumbler\nYou move towards the tumbler but Parry picks it up and says \"No, that's my glass.\" Once you back off Parry puts the tumbler back down.\n\n\"Oh, my God, Parry and Shari!\" laughs Becca. \"I hadn't realized that--that's just too precious.\"\n\nCassie climbs onto the short plastic block.\n\nJemison cannot look away from you and the velcro jangly balls.\n\n> You go to the north-east\nYou are all jangle jangle jangle as you leave.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nYou can also see a tall plastic block here.\n\nZoe has her eye on you.\n\nJemison comes in after you.\n\n\"She's feeling better,\" Parry says. \"She's keeping food down now, at least.\"\n\n> Go south\nYou are all jangle jangle jangle as you leave.\n\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nJemison comes in after you.\n\nMarion asks, \"Oh, are you two expecting?\"\n\n> You look at the medium\nIt is green and it is about as wide as you are and as tall as your head is high when you are sitting down. It is by the east end of the couch to the east.\n\nParry is all, \"Oh, no, no, no. No. It's just the flu.\"\n\nJemison reaches out and pokes at the velcro jangly balls.\n\n> You go to the east\nYou are all jangle jangle jangle as you leave.\n\nYou are where the couch ends here at the east, at least where it ends at one end. North is the TV and west is more couch.\n\nThe legs of Marion dangle from the sofa.\n\nYou can also see a medium plastic block here.\n\nWatson sits all sad and dumpy on the floor.\n\nJemison comes in after you.\n\nBecca goes, \"You two should give Watson a brother. Toughen him up.\"\n\n> You examine small\nIt is red and it is about as wide as you are and as tall as your head is high when you are crawling around. It is by the west end of the couch to the southwest.\n\nZoe stalks off to the northwest.\n\n> Go southwest\nYou are all jangle jangle jangle as you leave.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler and a short plastic block here.\n\nCassie is looking around for mischief to make.\n\nJemison comes in after you.\n\n> Go southwest\nYou are all jangle jangle jangle as you leave.\n\nThe couch is very long and this is the west part of it. There is a loveseat to the north and more couch to the east.\n\nThere is a red footstool, it is right next to the couch.\n\nYou can see Parry or at least his legs over by the couch.\n\nYou can also see a heavy tumbler here.\n\nCassie is looking around for mischief to make.\n\nJemison comes in after you.\n\n> Wait\nTime passes.\n\nCassie falls forward onto her hands and then she is crawling off to the northeast.\n\n> You examine Cassie\nThat is Cassie Sandoval, she is wearing a white dress that is all bright against her dark skin and her hair is captured with pink clips. Her arms are scraped up and she has some bruises on her legs.\n\nYou suddenly hear this heavy thud which must be Cassie leaping off the tall plastic block. Cassie shrieks, it is the loudest you have ever heard her be. I guess she is not the super-tough baby she thinks she is. Anyway Lisa leaps up and runs to Cassie and Parry leaves his tumbler and runs to Cassie too, they scatter the plastic blocks around the room in their haste. \"Baby, baby, it's okay, shh,\" you hear Lisa saying and then Parry is saying, \"I think she's okay, she's just scared. Her pupillary response is just fine.\"\n\n> Drool on tumbler\nYou put your mouth on the edge of the glass but there is no way you will tip it enough to drink but at least you slobbered all over it.\n\nLisa is still saying \"It'll be okay, Cassie, it'll be okay\" and Parry is saying \"Breathe, Cassie, breathe\" and Cassie is now taking big hiccuping breaths.\n\n> You go north\nYou are all jangle jangle jangle as you leave.\n\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a rattly car here.\n\nWatson sits all sad and dumpy on the floor.\n\nJemison comes in after you.\n\n> Go north\nYou are all jangle jangle jangle as you leave.\n\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nZoe stalks in from the east and settles near you.\n\nJemison comes in after you.\n\nZoe stalks off to the west.\n\nCassie finally is all better and is laughing some and Lisa says, \"Thanks, Parry, I appreciate your help\" and Parry says, \"No problem.\" And they go back to their seats. Then you hear Parry say \"Ugh! My tumbler's damp!\" and everyone laughs at Parry. Becca says, \"That's why you don't put things where the kids can chew all over them!\" And Parry sighs and you hear the wooden thunk of Parry putting the tumbler way up on the wood cabinet in the corner between the couch and the loveseat and definitely out of your reach[31].\n\n> Note 31\nPoor Parry. It's like he's never been around babies before[32]. He's fallen prey to the common misconception that, if you keep pushing babies away from something they're interested in, eventually they'll grow bored and wander off.\n\n> Note 32\nMore likely, it's that Watson's so low-key that Parry is lax in his baby defense.\n\n> You go west\nYou are all jangle jangle jangle as you leave.\n\nBack here is the back of the loveseat casting a shadow over you, it is kind of cold. You can go south and east. You could go west but there is totally a door in your way. You could go north in the hall but there is a baby gate in the way there.\n\nZoe has her eye on you (not literally).\n\nJemison comes in after you.\n\n> You take the balls\nYou tug on the velcro jangly balls and you tug some more and they come off of yourself with a rrrrrrrip sound.\n\n> Go south\nYou are all jangle jangle jangle as you leave.\n\nThe cabinet that is also like an endtable for the loveseat and the couch is here. You can go north back to behind the loveseat.\n\nWay up on top of the cabinet you see a heavy tumbler.\n\nZoe stalks in from the north and settles near you.\n\nJemison comes in after you and settles close by you and looks pointedly at the velcro jangly balls.\n\n\"Hey, I just realized,\" Becca says all loud, \"Your name is Parry Mason!\"\n\n> You put the balls on Zoe\nYou shove the velcro end of the balls against Zoe high on her back where she can't reach and the velcro sticks!\n\n\"Um, yes?\" Parry says.\n\n> You open cabinet\nYou reach for the door and Zoe moves to stop you but Jemison gets in front of Zoe and reaches for the jangly balls[33]. While she is all dealing with him you tug on the door and the baby lock catches, making the entire cabinet rock towards you. And as it does so the tumbler tumbles, hitting the baby lock and pushing it down before springing off of the lock and over your head. The cabinet door pops open and your favorite toy rolls out and into your lap!\n\nThen you hear the crying. When you turn you see a very wet Zoe and a very wet Jemison and the empty tumbler is next to them. Jemison takes it like a toddler, he is fine, but Zoe is angry like a wet evil cat. Heads pop over the top of the loveseat staring down at all of you, one of them is Parry and he looks really embarassed[34].\n\nYou're probably not going to get to keep the toy.\nChapter 3\nPicturetime\n\nIt is like you are psychic because you don't get to keep the toy. The mom storms around the couch and scoops you up and grabs the toy. \"It's okay, Farina,\" Marion says, \"accidents happen. Zoe and Jemison don't look hurt, just wet.\" Several of the other parents are glaring at Parry, he looks all sheepish.\n\n\"Since the kids have to be changed anyway, let's take pictures!\" Marion says.\n\n\"Sure, works for me,\" Lisa says, and just like that everyone is getting their onesies taken off and instead they are being put in these Halloween costumes, and that would be okay except your squid costume is totally restrictive[35].\n\nYou don't get up on the couch all that much but now you are up here with everyone else so you can have your pictures taken.\n\nBecca is all ordering everyone around.\n\nParry is standing back a bit watching the picturetime commotion.\n\nLisa is staying near Cassie in case she makes a break for it.\n\nMarion is calm in the face of all this chaos.\n\nThe mom is trying to get all of you together for a picture.\n\nJemison and Watson and Cassie and Zoe are here. Jemison is all dressed like a bumblebee. Watson is gloomy in his sad homemade bat costume. Cassie is dressed in this pumpkin costume, it is adorable. Zoe hunkers in a ladybug costume like a wolf in cute sheep's clothing.\n\n> Note 33\nIt takes a baby to stop a baby, clearly. Since Zoe has upped the ante by blocking your actions directly, you get to stop her by using Jemison.\n\n> Note 34\nPoor Parry. He's responsible for you getting the toy once again.\n\n> Note 35\nSo much of baby life consists of being dressed by your parents in uncomfortable or embarrassing outfits.\n\n> You examine the squid\nIt is like a squid if a squid was all plush and powder blue and didn't have any suckers. You are wearing it and its tentacles cover your arms and hands.\n\nThe mom says, \"That's an interesting costume Watson's wearing.\" Watson must know he's being talked about, he ducks his head and looks sad.\n\n> You examine the bumblebee\nThe tiny antennas and tiny wings totally make the costume.\n\n\"We made it ourselves,\" Parry replies.\n\n> You look at the pumpkin\nRound but not so round that Cassie cannot zoom around in it.\n\nBecca laughs all loud. \"It's not very cheerful--whoops, hold on there Jemison.\" Zoe must've pushed Jemison because he starts to topple sideways before Becca rescues him.\n\n> Wait\nTime passes.\n\nParry is all huffy, \"We wanted something different from the usual.\""
    },
    {
        "text": "> Go downward\nYou start to move and then there is the mom, she pushes you back in place. \"Whoa, kiddo, we've got to get a picture of everyone.\"\n\n\"Does that thing have buttons? That'll make it fun to take off if he spits up on it,\" Becca laughs again.\n\n> You smile\nYou smile and make a bubbly laugh noise, it is the thing you do that makes everyone say \"oh my goodness how cute!\"\n\nCassie bounces up and down next to you and you try to back away from her but your tentacles get in your way. \"Keep the kids together!\" Lisa calls, pointing a small camera at all of you.\n\n> You jump\nThere is no way you are going to jump, you can barely crawl.\n\nParry and the mom get you all in place on the couch. The mom dangles your favorite toy in front of all of you! You and Zoe stare raptly at it and then Parry says \"Now!\" and it is like a thousand suns explode in front of you and all you can see are these white and red spots.\n\n> Wait\nTime passes.\n\nAs the spots clear you see Watson has pitched face first into the couch. Zoe is busy tugging on Jemison's wings and Cassie is chewing on one of your tentacles. \"Hope no one wanted another picture!\" Becca says.\n\n> You examine the tentacles\nIt is like a squid if a squid was all plush and powder blue and didn't have any suckers. You are wearing it and its tentacles cover your arms and hands.\n\nThe parents give up and take you all off the couch. As the mom puts you down she stops by the bookcase and puts your toy up there. \"Maybe next year they'll sit still,\" Lisa sighs, and Parry just snorts.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\n> Go west\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a rattly car here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You spit on costume\nYou reach deep down inside you and bring up some of those stupid prunes the mom was feeding you and spit them up on the squid costume, making it all dirty[36].\n\n> You pull up on Watson\nYou would but the tentacles of your stupid squid costume are too slick[37].\n\n> Note 37\nYou know what's more fun in IF than only being able to carry a few things? Being able to carry nothing.\n\n> Go southeast\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a brix blox bucket here.\n\nJemison is all dressed like a bumblebee.\n\n> You pull up on the mom\nYou rub up against the legs of the mom and she looks down and says, \"Oh, oh, your costume is all dirty, kiddo.\" She lifts you up and the next thing you know you are back on the ground and free of that evil squid costume.\n\nWatson wanders in from the northwest.\n\n> You pull up on Watson\nYou can't pull up on Watson to stand.\n\nWatson tries to look through the brix blox bucket to the brix blox inside it.\n\nJemison crawls to the north.\n\n> Go northwest\nThis is the south end of the loveseat, there is more loveseat to the north and a big play area to the east and to the south is the couch that is bigger than the loveseat.\n\nYou can see a rattly car here.\n\n> You go to the southeast\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nCassie and Jemison are here. Cassie is dressed in this pumpkin costume, it is adorable. Jemison is all dressed like a bumblebee.\n\nCassie falls forward onto her hands and then she is crawling off to the north.\n\n> You go to the south\nHere is where the middle of the couch is. If you want to play you should totally go north to the middle of the room where there is a lot of space. There is more couch to the east and west.\n\nThose are the mom's legs there by the couch.\n\nYou can also see a brix blox bucket here.\n\nWatson is gloomy in his sad homemade bat costume.\n\n> You kick the bucket\nYou are way not coordinated enough to do that.\n\nWatson gazes at the brix blox bucket.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a rolly car thing.\n\nParry says, \"I don't know, that sounds like a clever idea.\"\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a nuclear reactor model.\n\nThe mom is indignant, \"My child is not a dog to be on a leash!\" Good for her, there is no way you'd wear a leash.\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a wall.\n\nLisa says, \"When you get down to it, babies are about as smart as pets. Cassie might as well be a hyperactive Yorkie.\"\n\n> Turn page\nYou flip the pages by scrabbling at them until you are looking at this blocky diagram of a poosh stick.\n\n\"Lisa!\" Marion says. \"That's horrible!\"\n\n> You put the remote in the mouth\nYou shove the remote control in your mouth and start chewing on it and that leaves your hands free.\n\n\"It's true!\" Lisa says. \"They make messes on the floor and can't talk and you can classically condition them.\"\n\n> You pull up on the mom\nThe mom laughs and says, \"Where did you find that?\" as she pulls the remote out of your mouth.\n\nThen Parry sees you and her with the remote and says, \"That reminds me, I'd like to put in a Baby Feynman video for Watson.\" There is then this big pregnant pause before Parry says, \"Uh, if that's okay.\"\n\nThe mom is quiet, she is probably communicating with the other moms using only her eyes and mom-telepathy[39] because wasn't Parry anti-TV for kids before? And then she says, \"Sure!\" So Parry heads over to the TV and drags the baby swing out of the way of the TV and over by the bookcase and turns the TV on.\n\n\"You know,\" Parry says, \"A combination playpen and Skinner box might sell really well[40].\"\n\n> Note 39\nAs best I can tell, mom telepathy comes from moms having had a large shared pool of experiences when it comes to babies.\n\n> Note 40\nThis is my favorite of all of the parents' conversations, mainly for this line right here.\n\n> You sit\nSince you are already sitting you can't sit again or maybe it's like you've already succeeded at sitting.\n\nBecca says, \"That is the kind of thing people call Child Protective Services about.\"\n\nWatson looks at the instruction booklet and his hands move so fast they are almost blurry and the dayglo blox go together and suddenly Watson has built a poosh stick. He looks at it and then drops it.\n\n> You take the stick\nYou pick it up and it takes two hands.\n\n\"I'm not sure Child Services gets called that often to rescue kids from Skinner boxes,\" Parry says.\n\n> You go to the north\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\nThe mom is still all huffy, \"Kids aren't pets.\"\n\n> Go northeast\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a soft foam block, a tall plastic block, a short plastic block, a medium plastic block, a little doll, a teeny squeezy book, and a teething ring here.\n\nZoe has hold of a plastic cup all sadly.\n\nZoe gets onto the short plastic block.\n\n> You look at the toy\nThis is the thing your aunt gave you which is a super fun toy. It has places to chew and places that are shiny and it rattles when you shake it. Right now it is up on the bookcase, it is like nearly half a parent high.\n\nZoe gets onto the medium plastic block.\n\n> You examine the switch\nThat is the switch that controls how high the swing goes, it can be set to lo, med, or hi. Right now it is on lo.\n\nZoe gets onto the tall plastic block.\n\n> You cry\nYou let out this sobbing wail and the mom says, \"Shh, it's okay.\"\n\nZoe gets onto the medium plastic block.\n\n> You cry\nWhen you cry again the mom says, \"Shh. Calm down.\"\n\nZoe gets onto the short plastic block.\n\n> You take the toy\nYou have short arms, you can't reach your favorite toy from down here.\n\nZoe climbs down off of the short plastic block.\n\n> You give the stick to Zoe\nZoe eyes you coldly, no way she is taking anything from you.\n\nZoe gets onto the medium plastic block.\n\n> You drop the stick\nDropped.\n\nZoe gets onto the tall plastic block.\n\n> You cry\nThis time you add a lot of tremolo to your crying and the mom says, \"You're not going to calm down, are you, kiddo? Do you need the swing?\"\n\nThe mom asks the other parent people, \"Do any of you have a suggestion for a baby sitter?\" W. T. F.\n\n> You cry\n\"Okay, kiddo, let's check you and make sure,\" the mom says and scoops you up. \"Diaper's okay. You're not hungry. To the swing!\" You're airlifted into the swing and the mom straps you in. She turns it on, click click click, and then you are swinging really high.\n\nSmall Open Area (in the baby swing)\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nAbout half a parent high in the bookcase is your favorite toy.\n\nPart of your playpen is here, there is more of it to the southwest.\n\nYou can also see a poosh stick, a plastic cup, a soft foam block, a tall plastic block (on which is Zoe), a short plastic block, a medium plastic block, a little doll, and a teeny squeezy book here.\n\nThe mom goes on, \"We've got a Christmas party to go to in a month or so, and we've never used a babysitter before.\" No, really--W. T. F.???\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You take the toy\nYou stretch for the toy but it is just barely out of reach.\n\nMarion says, \"Didn't you have luck with Susan, Lisa?\" Susan, that's a name that sounds okay.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You take toy\nYou stretch for the toy but it is just barely out of reach.\n\nLisa says, \"I've used Susan two--no, three times. She said Cassie was great.\" Lisa pauses all thoughtful like. \"Maybe she was lying to get a bigger tip.\"\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You take the toy\nYou stretch for the toy but it is just barely out of reach.\n\n\"I didn't think she was all that,\" Becca says. \"I had her keep Zoe once. Susan and Zoe didn't get along at all.\" This Susan is sounding better all the time.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\n> You take the toy\nYou stretch for the toy but it is just barely out of reach.\n\nMarion says, \"You could have Susan visit ahead of time to look for any problems.\"\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it. At the top of the swing you are way close to your toy.\n\nZoe watches you swing back and forth, back and forth.\n\nParry comes wandering by with his water glass but he stops when he sees you swinging. He looks at your favorite toy. He looks at you. He looks at your toy. He looks at Zoe. He looks at how close you get to your favorite toy. When he is all done with his looking he casually leans against the bookcase and taps your toy. It totally falls a bit closer! He winks at you and heads on by[41].\n\n> Note 41\nSince Parry had helped you accidentally in the first two sections, I wanted him to help you directly in the third. Plus I figured he'd be on the side of truth and justice -- yours.\n\n> You take the toy\nYou stretch your arms but they are still too much like teeny T. Rex arms so then you scrunch down in your swing and stretch out a leg and as you swoop up again you just are able to kick the toy! It flies into the air and onto your lap! But as you swing back Zoe leans over from the tall block and swats at the toy and you swat at her and the upshot is the toy goes flying again and it goes kerplunk into the playpen.\n\nThis is the worst playdate ever.\n\n\"I'll give her a call, then,\" the mom says.\n\n> You leave\nYou are way high in the baby swing and are all swinging, you are not some stunt baby who is used to taking falls.\n\nThe baby swing clicks and clacks as it swings really high, and the whole world tilts and turns as you swing with it.\n\nZoe gets onto the medium plastic block.\n\nYou look up and there is the mom, you are swinging toward her face and away, toward and away. She turns off the swing and gets you down and puts you on the floor before going back to her seat.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. Through the mesh you can see your favorite toy.\n\nYou can also see a poosh stick, a plastic cup, a soft foam block, a tall plastic block, a short plastic block, a medium plastic block (on which is Zoe), a little doll, and a teeny squeezy book here.\n\n> You take the stick\nYou pick it up and it takes two hands.\n\nZoe gets onto the short plastic block.\n\n> Note 42\nI like you having to team up with your antagonist, even if only for a little while. Though it's not a perfect arrangement: try pushing the oval with the poosh stick on the side where Zoe is.\n\n> You go southwest\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast.\n\n> You enter the playpen\nYou get into the southwest part of the playpen.\n\nLisa suddenly says, \"Parry! Are you eating Cheerios?\"\n\nParry sounds all sheepish, \"Yeah.\"\n\nBecca is all \"I hope you don't mind crumbs all over your loveseat, Farina,\" and everyone laughs but Parry.\n\n> You go northeast\nYou move to the other part of the playpen.\n\nSmall Open Area (in the northeast part of the playpen)\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nYou can also see a plastic cup, a soft foam block, a tall plastic block, a short plastic block, a medium plastic block, a little doll, and a teeny squeezy book here.\n\nIn the northeast part of the playpen you can see your favorite toy.\n\nZoe has hold of a teething ring loosely.\n\nZoe grabs your favorite toy.\n\n> You take the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe runs off to the south with your toy! SHE HAS YOUR TOY!\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You go outside\nYou get out of the northeast part of the playpen.\n\nYou are east of the gliding rocking chair that is fun to ride on and north of the big TV that Sesame Street comes from. On the wall is a big bookcase full of chewy books. There is a way into the kitchen to the north but one of those baby gates is there, that is no fair.\n\nThere is a big old baby swing all shoved up against the bookcase.\n\nPart of your playpen is here, there is more of it to the southwest. The playpen is all open.\n\nYou can also see a plastic cup, a soft foam block, a tall plastic block, a short plastic block, a medium plastic block, a little doll, and a teeny squeezy book here.\n\n> You take the stick\nYou pick it up and it takes two hands.\n\n\"Cassie is really pulling up well,\" the mom tells Lisa.\n\n> You go west\nThe gliding rocking chair is all tall and wooden. It is where the mom rocks you when she thinks you need a nap even though you do not need naps. The loveseat is west and there is a small open area to the east and a big open area in the middle of the room to the south.\n\nThere are Becca's legs, they are by the rocking chair.\n\nYou can also see a smooth rock, a plush book, and a much-loved kangaroo here.\n\n\"Oh, thanks,\" Lisa says. \"She's probably too good at pulling up and climbing, to tell you the truth.\"\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\n> You go west\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nOn the north pink striped loveseat is a cup of Cheerios.\n\nYou can see Parry here.\n\n\"We've been working on pulling up,\" the mom says, boy is she going to be surprised by all the practice you're getting today.\n\n> Note 43\nTrue story: at my son's first birthday party, he knocked over a small cup of Cheerios, spilling them near my feet. Instantly, every baby at the party crawled towards us, swarming around me.\n\nCheerios are baby crack.\n\n> You drop the stick\n(tearing yourself away from the Cheerios)\nDropped.\n\nLisa says, \"You're just annoyed that Jemison just sits there--\" but Becca keeps on talking, \"So your kid pulls up or cruises or whatever. Big deal!\"\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\nWatson wanders in from the south.\n\n> You look at Zoe\n(tearing yourself away from the Cheerios)\nGrr, Zoe Kinmundy. That little red-haired girl[44] has this ladybug costume on, it is supposed to be cute but you are not fooled. Her red hair is in pigtails, like that will fool anyone into thinking she is nice. She has a death-grip on your favorite toy and a teething ring. She is over by the TV to the east.\n\nParry says, \"Kids develop at different speeds. It's not as if I'll still be helping Watson pull up when he goes to college.\"\n\nYou hear this rattle jingle, it is Zoe playing with your toy!\n\nJemison picks up some Cheerios and munches on them.\n\n> You go to the south-east\n(tearing yourself away from the Cheerios)\nYou have to push your way past Watson, Jemison, and Cassie thanks to those Cheerios and that slows you down.\n\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast. The playpen is all open.\n\n\"As long as Zoe doesn't fall too far behind, I'm not worried,\" Marion says.\n\n> Go east\nThe entertainment center here holds the TV all towering above you and it has these glass doors beneath the TV that you can see stereo equipment through. You are near the couch to the south and the middle of the living room to the west and there is a small open area to play in to the north.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n\"Yeah,\" Parry says. \"It won't bother me if Watson is like many boys and is slower to talk.\"\n\n> You take the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe runs off to the west with your toy!\n\n\"As long as Cassie is ahead of where she's supposed to be, I won't worry either,\" Lisa says.\n\nNow on TV all of these stars are gathering together, it is like they are having a big star party.\n\n> Go west\nThis is the middle of the living room, it is all big and vast. This is where everybody plays because it is so big. But when you get bored there is a bunch of other stuff you can go to like the TV to the east and the loveseat to the west and the couch to the south and the gliding rocking chair to the north.\n\nPart of your playpen is here, there is more of it to the northeast. The playpen is all open.\n\nZoe has your toy! ZOE HAS YOUR TOY!\n\n> You take the toy\nZoe sees you coming for the toy! She will not let you have it!\n\nZoe runs off to the northwest with your toy!\n\n> Go northwest\nThis is the part of the loveseat that is to the north. It goes on to the south and you could totally slip around the end of the loveseat to the west. There is the rocking chair to the east as well, that is always fun.\n\nThose sure are a bunch of Cheerios spilled everywhere.\n\nYou can also see a poosh stick and Parry here.\n\nZoe and Watson and Jemison and Cassie are here. Zoe has your toy! ZOE HAS YOUR TOY! Watson is gloomy in his sad homemade bat costume. Jemison is all dressed like a bumblebee. Cassie is dressed in this pumpkin costume, it is adorable.\n\nCassie grabs a handful of Cheerios and inhales them.\n\n> You take the toy\nZoe tries to crawl away, but there are babies and Cheerios and it is a big train-wreck and she cannot get away!\n\nYou lunge forward and yank on the toy and Zoe is all distracted by Cheerios and the toy pops out of her evil sweaty grasp! You have your toy!\n\nZoe screws up her face and bursts into these loud wails, they are so terribly loud. She shoves at Cassie who also starts crying and soon just about everyone is crying except you, ha ha, they are such babies.\n\nMarion says, \"I was afraid we were staying too late past Zoe's naptime. Farina, everyone, it's been fun, and glad you could come, Parry. See everyone next week.\" Hands come down and the squalling Zoe zips up into the air and into Marion's arms. Soon all of the babies are going skywards, parentwards, and out-the-doorwards.\n\nWith them all gone the air kinda leaks out of you, it has been a long playdate. The mom gathers you and your favorite toy up. \"C'mon, kid, let's get you to bed before you completely pass out.\" But you do not need naps, does she not understand that?\n\nThough your crib is nice and soft and your favorite toy chimes a bit as you curl around it and your teeny eyelids are so heavy.\n\nSo...heavy....\n\n> Xyzzy\nPlease give one of the answers above.\n\n> Xyzzy\nEverything you try just winds you tighter in the darkness, this sucks.\n\nYou are trying not to breathe fast, it is hard when you are so closed in.\n\n> You remove the cover\n(first taking the blanket)\nEverything you try just winds you tighter in the darkness, this sucks.\n\nThe darkness is all scratchy on your skin.\n\n> You cry\nSuddenly the darkness is gone, and it is so light, you are blinded for just a second. You blink and blink and then you can see the mom holding the blanket she was covering you with. \"Oh, kid, I'm so sorry, I thought you were having fun,\" she says. \"We'll do something else.\"\n\nThat'll teach her.\n\nA child, a toy, and a rival by Stephen Granade\n\nAll rights reserved.\nType ABOUT for more information.\n\nThis is the middle of the living room, it is all big and vast. But it would be bigger and vaster if there weren't all these pillows and stuff in a big ring around you. The mom is totally all paranoid and whatever, she is a new mom.\n\nThere is a red footstool, it looms over you.\n\nThe mom is playing with you and is all excited about it.\n\nYou can also see a squishy ball, a plush book, and your favorite toy here.\n\nYou eye your favorite toy and the mom sees you doing it and scoops it up. \"No, no, we're going to try pulling up!\" She is all the time trying to build your character or something. She waves the toy at you. \"Look! Look where I'm putting it!\" She drops the toy on the footstool where you can't see it unless you're all pulled up, that is just no fair."
    },
    {
        "text": "[Themes: Fantasy, conversation, animal protagonist, spider, female protagonist, multiple protagonists, nonhuman protagonist]\n\nIt's spring, finally. The hard winter months are a fading memory, and the branches bud and blossom with bright colour.\n\nThe Queen has sent for you.\n\nIt'll be the first time in your life that you've spoken to your own mother.\n\nMalarkey in a tree, by C.E.J. Pacian\n\n[Type 'About' if this is your first time playing.\nType 'Credits' to see who made this possible.]\n\nThis village - your home since birth - sprawls across and up the sides of the tree hollow. Spittle cottages, fungal fields and twig farmhouses are set among the knotted wood on all sides, even clinging to the roof high above.\n\nFrom here you could head in to the Queen's chamber, or out to the sunlit world beyond the hollow.\n\nClose by, a group of your sisters tend to a herd.\n\n[Author's Note: You play as a young woman in red overalls, a red worker ant. Every spring, five dangerous creatures visit the tree and threaten the village, and every spring, the Queen sends one of her daughters to negotiate with them. This spring, the Queen wants you to be that daughter.]\n\n> You examine the sisters\nSlender, long-limbed women, a lot like yourself, though of all different ages. They wear red overalls.\n\n> About yourself\nA slender, long-limbed young woman - not very long ago a girl. Your compound eyes have a bright sheen to them and your antennae twitch eagerly through the air.\n\n> You examine the overalls\nYour overalls are comfortable and durable.\n\n> You go inside\nNot opulent, as you might expect, but twilit and homely. Simple, finely crafted lamps cast a warm glow over the phloem walls.\n\nCots line one side of the chamber, each holding a formless, swaddled bundle.\n\nThe Queen, your mother, sits elegantly upon her throne. She meets your eye and beckons to you.\n\n> You talk to Queen\nYou clear your throat and curtsy. \"Hello, your highness.\"\n\nThe Queen smiles benevolently. \"My favourite daughter. I have a very special task for you.\"\n\n(You could ask her about the task, her wings, herself, or your brothers.)\n\n> You ask her about herself\n\"You've worked for the village for so many years,\" you begin, \"so\n\n> Topics\nYou could ask her about the task, her wings, the five creatures, herself, or your brothers.\n\n> You go outside\nYou curtsy before you leave.\n\n\"Good luck,\" the Queen says, \"my favourite daughter.\"\n\nThis village - your home since birth - sprawls across and up the sides of the tree hollow. Spittle cottages, fungal fields and twig farmhouses are set among the knotted wood on all sides, even clinging to the roof high above.\n\nFrom here you could head in to the Queen's chamber, or out to the sunlit world beyond the hollow.\n\nClose by, a group of your sisters tend to a herd.\n\n> Go outside\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe entrance to the Tree Hollow Village is set into the bark here. Just below it, a sturdy old branch stretches out into the distance, splitting into three smaller branches. Suspended magically between the three branch-tips is a pulsating whorl of bright colour.\n\nOne of your sisters lies curled up in the furrowed bark, dead.\n\n> You examine the whorl\nYour faceted eyes struggle to make it out in any detail. A spiral of flickering colour seems to dance in time with the wind.\n\n> You touch the whorl\nThe whorl of colour is too far away."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nThis tree is a huge enough world in itself. Leaving it seems pointlessly suicidal.\n\n> Up\nYou cover your mouth and swear. Holy shit.\n\nYour eyes have never been that good over long distances, and this has got to be the longest distance you've ever seen. The green jungle stretches off to the horizon - something you had always thought a myth - where a jumble of strange shapes seem frozen in the act of rearing up into the sky.\n\nTall, green-topped structures stand in a great cluster around the tree that you call home. They can't be other trees, surely?\n\nObvious exits: Down\n\n> You examine the shapes\nYou haven't the faintest clue what they might be. All you can tell is that they're enormous, and so far away that you find it difficult to conceive of the distance.\n\n> You examine the horizon\nStunning. Confusing to look at. Do the land and sky stretch on forever in parallel? Do they meet at the horizon? Or is it something else even harder to understand?\n\n> You fly\nThe word \"fly\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)"
    },
    {
        "text": "[Themes: Fantasy, female protagonist, nonhuman protagonist]\n\n> You go downwards\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe entrance to the Tree Hollow Village is set into the bark here. Just below it, a sturdy old branch stretches out into the distance, splitting into three smaller branches. Suspended magically between the three branch-tips is a pulsating whorl of bright colour.\n\nOne of your sisters lies curled up in the furrowed bark, dead.\n\nObvious exits: Up, Down, In, Out, Sunwise, Widdershins\n\n> You go outside\nBranch Tip, Beneath the Rainbow Net\nSomeone has stretched a vast net from the tip of this branch to the tips of two others high overhead - an impressive feat, to say the least. Flurries of blossom sail past on the wind, catching in the net and painting it bright, quivering colours.\n\nA solitary black figure stands in the centre of the net above.\n\nObvious exits: Up, In\n\n> You examine the blossom\nHundreds of colourful petals float past on the wind. Those that have become trapped in the net above tremble in the breeze.\n\n> Up\nYou set your feet on the net. You have a natural aptitude for walking at all angles, but it helps that the net happens to be quite sticky.\n\nFrom here, thin threads of silk extend in every direction, weaving a circular net in the air that catches delicate petals of blossom. The net seems remarkably sturdy, for something so insubstantial, and you're confident you can get down from here with ease.\n\nA tall, pale widow stands in the centre of the net, watching her threads with keen interest.\n\nObvious exits: Down\n\n> You look at the widow\nA tall, pale woman: slender and long-limbed, clothed in a flowing black dress. There's an icy, elegant beauty to her that almost takes your breath away.\n\nHer eight eyes watch the world from behind a black lace veil that stops just above her voluptuous red lips.\n\n> You talk to the woman\n\"Um,\" you begin, \"excuse me...\"\n\nThe widow turns to face you and smiles broadly. \"One of the Queen's little darlings! What a pleasure to meet you.\"\n\nShe leans forwards to kiss you and, surprised, you step back.\n\n\"You poor creature,\" she says. \"You needn't be frightened of me. I'm just a lovelorn woman with a penchant for bright blossom.\"\n\n(You could ask her about her husband, kissing, the net, the Queen, or the tree.)\n\n> Topics\nYou could ask her about her husband, kissing, the net, the Queen, or the tree.\n\n> You go outside\nYou curtsy before you leave.\n\n\"Good luck,\" the Queen says, \"my favourite daughter.\"\n\nThis village - your home since birth - sprawls across and up the sides of the tree hollow. Spittle cottages, fungal fields and twig farmhouses are set among the knotted wood on all sides, even clinging to the roof high above.\n\nFrom here you could head in to the Queen's chamber, or out to the sunlit world beyond the hollow.\n\nClose by, a group of your sisters tend to a herd.\n\nObvious exits: In, Out\n\n> Go outside\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe entrance to the Tree Hollow Village is set into the bark here. Just below it, a sturdy old branch stretches out into the distance, splitting into three smaller branches. Suspended magically between the three branch-tips is a pulsating whorl of bright colour.\n\nOne of your sisters lies curled up in the furrowed bark, dead.\n\nObvious exits: Up, Down, In, Out, Sunwise, Widdershins\n\n> Leave\nBranch Tip, Beneath the Rainbow Net\nSomeone has stretched a vast net from the tip of this branch to the tips of two others high overhead - an impressive feat, to say the least. Flurries of blossom sail past on the wind, catching in the net and painting it bright, quivering colours.\n\nObvious exits: Up, In\n\n> Up\nYou set your feet on the net. You have a natural aptitude for walking at all angles, but it helps that the net happens to be quite sticky.\n\nFrom here, thin threads of silk extend in every direction, weaving a circular net in the air that catches delicate petals of blossom. The net seems remarkably sturdy, for something so insubstantial, and you're confident you can get down from here with ease.\n\nA large silk bundle has been tied to the centre of the net.\n\nObvious exits: Down\n\n> You look at the bundle\nA fair size, kind of curved. No telling what might be inside it.\n\n> You open the bundle\nOutside the village, you hear it's important to respect property rights.\n\n> You go south\nYou walk sunwise around the tree trunk, stopping when you encounter the next branch growing out from its bark.\n\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nA thin, young branch sprouts from the bark at your feet, rapidly dividing into a forest of smaller twigs, each decorated with thick, colourful blossom.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\n> Up\nYou cover your mouth and swear. Holy shit.\n\nYour eyes have never been that good over long distances, and this has got to be the longest distance you've ever seen. The green jungle stretches off to the horizon - something you had always thought a myth - where a jumble of strange shapes seem frozen in the act of rearing up into the sky.\n\nTall, green-topped structures stand in a great cluster around the tree that you call home. They can't be other trees, surely?\n\nObvious exits: Down"
    },
    {
        "text": "> Go downwards\nA thin, young branch sprouts from the bark at your feet, rapidly dividing into a forest of smaller twigs, each decorated with thick, colourful blossom.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\n> Go outside\nThis peaceful clearing is surrounded on all sides by wiry twigs bearing blossom. At its centre, a stubby knot spirals out of the youthful bark, its top glazed over with amber.\n\nA long-haired artist stands at his easel - paintbrush and palette in hand.\n\nObvious exits: In\n\nThe artist turns to offer you a warm smile. \"Aha! Just what this scene was missing: a model.\"\n\n> You examine the artist\nA young man, though still a fair bit older than yourself. His features have a refined gentleness to them, and he moves with a leisurely grace.\n\nThe artist is carrying a paintbrush and a palette, and he's wearing a little black dress and a red cloak.\n\n> You talk to the artist\nYou inch closer to the artist, uncertain how to begin.\n\n\"Relax,\" he says. \"I don't bite.\"\n\n(You could ask him about the Queen, the tree, the painting, his cloak, or art.)\n\n> You look at the painting\nIt's clearly supposed to be a painting of the view in front of the artist, but your engineer's eye easily picks out numerous inaccuracies. The colours are too bright, the blossom too vague, the sky too blue. And yet, for all that, it seems almost more real than the scene itself.\n\nThe centre of the canvas is blank and untouched.\n\nThe artist leans towards you. \"It really needs something interesting to go in the middle, doesn't it? Something sitting on that knot of bark...\"\n\n> You look at the knot\nJust the right height for sitting on.\n\n> You sit on the knot\nYou sit on the smooth amber atop the knotted bark, feeling rather self-conscious. One of a thousand sisters, you've never been the centre of attention before.\n\n\"That expression,\" the artist says. \"Whatever it is, don't change it.\"\n\nAnd with that, he begins to paint you.\n\n> You change the expression\nYou attempt a smile. It feels kind of strange.\n\nThe artist bites his paintbrush in alarm. \"No, no... Your expression is just perfect as it is.\"\n\nYou relax your face, and the artist sighs with relief.\n\nIt's not easy to sit still like this, feeling the artist's eyes on you, wondering how you'll appear in the end result. But it's not like you've never had to bear hardships before, so you sit through it.\n\n\"Don't change your expression,\" the artist chides.\n\n> You wait\nAs you sit in the sun, surrounded by colour, you watch the artist's brush flowing over the canvas. Idly you wonder if you could ever take up painting as a hobby. You're sure you might be able to cadge the supplies together, especially if you succeed in your task, but could you really teach yourself?\n\n\"There,\" the artist says, \"all done. Stand up and come over here.\"\n\n> You stand\nYou stand up awkwardly.\n\nThe artist smiles and gestures at the canvas. \"Go on,\" he says, \"take a good look.\"\n\n> You examine the painting\nTaking pride of place in the canvas, surrounded by colourful blossom, is your likeness: sitting uneasily, and smiling in a most peculiar way. Undeniably you, and not any of your sisters.\n\n\"So?\" the artist asks. \"What do you think?\"\n\n(You could gasp, gawp, or praise.)\n\n> Praise\n\"It's amazing!\" you gush. \"Most of my sisters can't even recognise me, but this... Thank you so much!\"\n\nThe artist sniffs and wipes his cheeks with his delicate hands. You realise that he's crying. \"It means a lot to me that you like it.\nI'm actually going to give it to your mother. It's part of our arrangement.\"\n\n\"What arrangement?\" you ask, only half interested, still looking in awe at the canvas.\n\n\"I have to eat,\" the artist says. \"Not often, but more than I'd like. I'm very sorry.\"\n\nHe reaches into his cloak and retrieves a small, snub-nosed revolver. You're still smiling, quizzically. It almost doesn't make sense to you.\n\nWithout realising it, you die happy.\n\n***YOU WERE EATEN***\n\nThe Queen smiles at your enthusiasm, perhaps a little sadly. \"Every spring,\" she says, \"five dangerous creatures come to the tree and threaten my nest. So I send one of my daughters to negotiate with them, and each year they give us no trouble. This spring, I want you to be that daughter.\"\n\nYou curtsy again from sheer surprise. \"Your majesty! I would be honoured!\"\n\nNot opulent, as you might expect, but twilit and homely. Simple, finely crafted lamps cast a warm glow over the phloem walls.\n\nCots line one side of the chamber, each holding a formless, swaddled bundle.\n\nThe Queen, your mother, sits elegantly upon her throne.\n\nObvious exits: Out\n\n> You go outside\nYou curtsy before you leave.\n\n\"Good luck,\" the Queen says, \"my favourite daughter.\"\n\nThis village - your home since birth - sprawls across and up the sides of the tree hollow. Spittle cottages, fungal fields and twig farmhouses are set among the knotted wood on all sides, even clinging to the roof high above.\n\nFrom here you could head in to the Queen's chamber, or out to the sunlit world beyond the hollow.\n\nClose by, a group of your sisters tend to a herd.\n\nObvious exits: In, Out\n\n> Go outside\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe entrance to the Tree Hollow Village is set into the bark here. Just below it, a sturdy old branch stretches out into the distance, splitting into three smaller branches. Suspended magically between the three branch-tips is a pulsating whorl of bright colour.\n\nOne of your sisters lies curled up in the furrowed bark, dead.\n\nObvious exits: Up, Down, In, Out, Sunwise, Widdershins\n\n> You go to the west\nYou walk widdershins around the tree trunk, stopping when you encounter the next branch growing out from its bark.\n\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThis thick branch is dotted with dozens of coiled grey shells - most of them broken or shattered to some degree.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\n> You examine the shells\nGrey and utilitarian, they seem very well constructed indeed. You wonder how exactly so many of them came to be in such a state of disrepair.\n\n> Leave\nGargantuan broken shells cast a cold shadow over this narrow path as it winds between them. Conspicuous among the ruin is a single intact shell, spiral and grey, with a smart wooden door set into its opening.\n\nA knotted piece of rope hangs beside the door, dangling over a brass plaque.\n\nObvious exits: In\n\n> You read the plaque\nCornu Aspersa Esq.\nAttorney at Law\n\n> You examine the rope\nA very finely constructed piece of rope - not much use for practical work, but certainly nice to look at. It's been knotted in a way that suggests pulling on it.\n\n> You pull it\nYou pull the rope. Somewhere inside the house, a bell rings.\n\nThe door is answered by a smartly dressed gentleman with no arms or legs. \"Ah yes,\" he says. \"You're expected. Please, come right in.\"\n\nHe leads you inside, up some stairs, around a corner and down a slope.\n\nThe floor and ceiling of this room are both curved, and you're not entirely sure which way up you are. Antique chairs and a coffee table are stuck to the carpet with discreet blobs of tree sap. Bookcases line the walls like the slats of a folding fan.\n\nOn the coffee table are a jar of sauce and a rotary telephone.\n\nA limbless aristocrat stands here, balanced on his tail.\n\nObvious exits: Down\n\n\"Good thing you turned up, what?\" the aristocrat says. \"There might be something you can help me with.\"\n\n> You examine bookcases\nLining a curved room with huge bookcases is the kind of inspired but futile feat of engineering that you're always both impressed by and derisive of. The books seem kind of interesting, though.\n\nYour eye's also drawn to a framed photograph sitting on the shelves.\n\n> You look at the photograph\nThe photograph seems to be of a portly old gent with no arms or legs. Limblessness aside, though, he's clearly no close relative of the aristocrat.\n\n\"Ah yes,\" the aristocrat says, \"the old owner of this place. Still a few things of his around, you know.\"\n\n> You read the books\nIt would be a bit rude to stand in the aristocrat's house reading his books.\n\n> Topics\nYou could ask him about help, the Queen, the spiral house, his arms and legs, or the tree.\n\n> You examine the jar\nThe label recommends serving with escargot, whatever that is. It's closed.\n\nThe aristocrat clears his throat.\n\n> You open the jar\nOpening a jar of sauce. Seems like an easy enough task. You take the jar in both hands and grip it firmly, twisting the lid in an anti-clockwise motion. The jar opens.\n\n\"Excellent,\" the aristocrat says. \"Most excellent indeed. I'll dine well over the coming weeks, though she could have sent a less scrawny specimen.\"\n\nYour heart skips a beat. Does he mean-?\n\nThe aristocrat head butts you, and everything goes black.\n\n***YOU WERE EATEN***\n\nThe Queen smiles at your enthusiasm, perhaps a little sadly. \"Every spring,\" she says, \"five dangerous creatures come to the tree and threaten my nest. So I send one of my daughters to negotiate with them, and each year they give us no trouble. This spring, I want you to be that daughter.\"\n\nYou curtsy again from sheer surprise. \"Your majesty! I would be honoured!\"\n\nNot opulent, as you might expect, but twilit and homely. Simple, finely crafted lamps cast a warm glow over the phloem walls.\n\nCots line one side of the chamber, each holding a formless, swaddled bundle.\n\nThe Queen, your mother, sits elegantly upon her throne.\n\nObvious exits: Out\n\n> You look at the throne\nA high-backed and ornate chair, perhaps the most comfortable chair in the hollow.\n\nThe Queen is sitting on the throne.\n\n> Curtsy\nYou curtsy. You're very good at it by now.\n\nThe Queen smiles benevolently. \"Don't be frightened, my child. Head out into the branches and make me proud.\"\n\n> You go west\nYou walk widdershins around the tree trunk, stopping when you encounter the next branch growing out from its bark.\n\nThis thick branch is dotted with dozens of coiled grey shells - most of them broken or shattered to some degree.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe base of this branch has partially split through, and some strange shimmering mirror is wedged between the two halves.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\n> Leave\nRainwater has collected in this cleft in the branch, forming a calm, clear pool that perfectly reflects the blue sky.\n\nA pointed hat is floating on the mirror surface of the pool.\n\nA delicate damsel sits on a twig, crying softly to herself.\n\nObvious exits: In, Out She makes a big show of pretending she hasn't seen you.\n\n> You look at the hat\nEmerald blue and ridiculously tall. Not that you know much about fashion, but it would go rather nicely with the damsel's outfit.\n\nYou can feel the damsel peeking at you hopefully.\n\n> You get the hat\nThe pointed hat is too far away. You'd have to swim in the pool.\n\n> You talk to the damsel\nYou carefully approach the delicate damsel and ask her if everything is okay.\n\nShe raises her head and wipes her dainty nose on her wrist. \"Does everything look all right? I was flying over that pool and my hat fell in. Now I can't get it back because if my wings get wet I'll drown.\"\n\n(You could ask her about the pointed hat, her wings, the mirror pool, the Queen, the tree, or swimming.)\n\n> You examine her\nA delicate waif of a girl, crying into her tiny hands. Your heart breaks for her. Her dainty wings glitter with rainbow light.\n\nThe damsel is wearing an emerald dress and some high-heeled shoes.\n\nThe damsel meets your eye. \"It's rude to stare,\" she says, \"if understandable.\"\n\n> Swim\n(in the mirror pool)\nYou wade out into the water until it's up to your armpits and then try kicking and splashing to move. It doesn't work. You just end up face down, making a lot of noise and trying to only breathe in when your head is above water.\n\nWith a melodious giggle, something lands on your back. Delicate hands take tight hold of your hair, and push your face down into the pool. Thrumming wings beat into the water, throwing up stronger splashes than your feeble attempts to struggle. As the life starts to leave you, a set of small, but very sharp teeth close around the back of your neck.\n\n***YOU WERE EATEN***\n\nThe Queen smiles at your enthusiasm, perhaps a little sadly. \"Every spring,\" she says, \"five dangerous creatures come to the tree and threaten my nest. So I send one of my daughters to negotiate with them, and each year they give us no trouble. This spring, I want you to be that daughter.\"\n\nYou curtsy again from sheer surprise. \"Your majesty! I would be honoured!\"\n\nNot opulent, as you might expect, but twilit and homely. Simple, finely crafted lamps cast a warm glow over the phloem walls.\n\nCots line one side of the chamber, each holding a formless, swaddled bundle.\n\nThe Queen, your mother, sits elegantly upon her throne.\n\nObvious exits: Out\n\n> You go west\nYou walk widdershins around the tree trunk, stopping when you encounter the next branch growing out from its bark.\n\nThis thick branch is dotted with dozens of coiled grey shells - most of them broken or shattered to some degree.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\nThe base of this branch has partially split through, and some strange shimmering mirror is wedged between the two halves.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\nThe fertile brown bark of the tree stretches in all directions: up into the blue sky, down to the exotic green jungle, and curving around on itself both sunwise and widdershins.\n\nThe branch here writhes out from the trunk as if racked with agony. Its cracked bark and gnarled flesh sprout bizarre clusters of twisted fungi.\n\nObvious exits: Up, Out, Sunwise, Widdershins\n\n> You leave\nStrange, asymmetrical fungi sprout out from within this branch, splitting the bark and corrupting its offshoots into weird, bloated shapes. One particularly corpulent mushroom bulges out of the bark beneath a tall, healthy twig.\n\nThe twig ends in a bright green leaf.\n\nAn enormous knight towers over the area, clad in black armour. It shows only the vaguest interest in the soft white baby lying at its feet.\n\nObvious exits: In\n\nThe baby reaches out vainly towards the leaf.\n\n> You examine baby\nEnormous. Pale. Soft. Its mouth a gaping black hole.\n\nIt reminds you painfully of your brothers. Only much, much bigger.\n\nThe baby reaches out for the leaf and wails in frustration.\n\n> You look at the knight\nA giant of a person, covered from head to toe in thick black plate mail. Its helmet sports a ridiculous pair of curved horns.\n\nThe baby emits a high, keening wail. You cover your ears.\n\n> You talk to the knight\nThe knight does not respond. Deep inside that ridiculous helmet, it's possible that the knight can't even hear you.\n\nThe baby looks at you as if it's not really sure what to make of you.\n\n> You talk to the baby\nThe baby just gurgles stupidly.\n\n> You examine the helmet\nThe smooth faceplate of the knight's helmet has only the slightest of slits to see through. Ridiculous horns curve up from the helmet and into the sky.\n\n> You examine the leaf\nIt would look rather delicious, if you were much of a leaf eater.\n\nThe baby reaches out for the leaf and wails in frustration.\n\n> You eat it\nYou've never been much of one for eating leaves.\n\n> You get it\nThe leaf is tantalisingly out of reach.\n\nThe baby emits a high, keening wail. You cover your ears.\n\n> You climb the horns\nThat is not something you can climb.\n\nThe knight shifts slightly on its feet.\n\n> You look\nStrange, asymmetrical fungi sprout out from within this branch, splitting the bark and corrupting its offshoots into weird, bloated shapes. One particularly corpulent mushroom bulges out of the bark beneath a tall, healthy twig.\n\nThe twig ends in a bright green leaf.\n\nAn enormous knight towers over the area, clad in black armour. It shows only the vaguest interest in the soft white baby lying at its feet.\n\nObvious exits: In\n\nThe baby stretches out a fat-fingered hand towards the leaf.\n\n> You look at the mushroom\nIt looks like it must be swollen with rotten ooze. But it could probably take your weight.\n\nThe baby looks at you as if it's not really sure what to make of you.\n\n> You eat it\nThe mushroom does not appear to be edible.\n\nThe baby reaches out vainly towards the leaf.\n\n> You get the leaf\nYou stand on tiptoe and grasp the fresh green leaf in your hands.\nWith one tug, it separates from its twig, and you fall forwards, towards the baby. It catches you in its fat fingers.\n\nYou smile, holding out the leaf triumphantly.\n\nThe baby pulls you towards its gaping mouth. Wait, this wasn't what you-\n\n***YOU WERE EATEN***\n\nIt's done. For another year, the village is safe. Now come the spring festivities, the rejoicing and singing.\n\nQueen's Chamber (sitting on the throne)\nNot as nice as your mother's place, but you've made yourself comfortable here. Simple, finely crafted lamps cast a warm glow over the phloem walls.\n\nCots line one side of the chamber, each holding a formless, swaddled bundle.\n\nOne of your daughters leans a framed painting against the wall and curtsies, before leaving hurriedly.\n\nSounds of merriment and raised voices carry into the chamber from outside.\n\nObvious exits: Out\n\n> You look at the painting\nA bright, expressionistic portrayal of one of your daughters - you've no idea which one. She's smiling in the most peculiar way. There's something about this painting, some portent or emotion that you can almost but not quite grasp. But then, there always is, and it's always different.\n\nYou'll leave the painting out, for now, to remind you - as you're sure he wanted it to. And then you'll have it stowed away with the others.\n\nSounds of merriment and raised voices carry into the chamber from outside.\n\n> About you\nNot young any more, but still elegant and beautiful. Your wings are as breathtaking at ever.\n\n> You leave\n(off of the throne)\nYou stand up from your throne. Your daughters will be waiting for you outside, eager to celebrate the renewal of the seasons.\n\nSounds of merriment and raised voices carry into the chamber from outside.\n\n> Go outside\nYou step serenely out of your chamber, into the village. A thousand of your daughters await you, cheering happily, waiting for you to begin the spring festival. Blissfully ignorant.\n\nYou raise your hand in salute, and spread your wings."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, female protagonist, conversation, animal protagonist]\n\n> Xyzzy\nUnbidden, some ancient instinctual meme crawls up from your subconscious. Your lips dance of their own accord. \"Xyzzy,\" you say.\n\nYou begin to twitch and shudder, your tiny brain cartwheeling into an ouroboros of self-referential insanity. \"Xyzzy,\" you repeat.\n\"Xyzzy.\"\n\nYou don't even notice as your legs give way and you collapse to the ground. Your senses have closed in, your mind shut down. And all that is left... is xyzzy."
    },
    {
        "text": "[Themes: Humor, scientific experimentation, anthropomorphised animals, robot, based on songs, silly, humor, non-human npcs]\n\nThey must have moved you here in your sleep again. Right now it looks uncannily like your grandmother's kitchen, which is a new fact and an unnerving one, but you can tell it's the usual test chamber by the anatomically correct ichthyosaur you managed to carve into the linoleum before they got the knife away from you. You miss that knife.\n\n(Man, you're hungry.)\n\nDr. Beagle taps on the glass to get your attention. When you look at him, he points at a grocery bag on a counter behind you, clears his throat meaningfully, and starts chewing on the hand-held trigger to your shock collar.\n\nYou really hate it when he does that.\n\nAn Existential Horror/Comedy by Jenni Polodna\n\nIt really does look just like your grandmother's kitchen. The oven, fridge, and counter are that same buttery marzipan color, those same seven drawers are next to the cabinet under the sink, even the kitten wallpaper is the same. That motivational poster belongs to the test chamber, though, and has survived its every redecoration including \"submarine\" and \"open grave.\" The only other difference is a photograph over the oven where your grandmother used to hang the heads of her enemies (mostly crickets).\n\nOh, and the observation chamber where Dr. Beagle is watching you through two-way glass. Your grandmother didn't have one of those.\n\nOn the counter are a grocery bag, a bucket of wax pears and a ship in a bottle.\n\n[Author's Note: You are the involuntary and very hungry test subject of a semi-anthropomorphized dog in a labcoat who wants you to find all sixteen food items mentioned in They Might Be Giants' song Dinner Bell, which have been hidden in a near-perfect replica of your grandmother's kitchen. If you're very good, you might be allowed to eat.]\n\n> Inventory\nYou are carrying:\na shock collar (being worn)\na dinner jacket (being worn)\n\n> You open the bag\nThe distinction between things you can open and things you cannot open is not actually as subtle as you make it out to be. You can open a meat drawer. You can't open a grocery bag. Are we good here?\n\n> About yourself\nYou've been leaving on your things, because they took all your other things and you would rather not be naked. As a result, there's still dinner, as well as every other meal, on your dinner jacket when the dinner bell rings.\n\nYou hope it rings soon. You're starving.\n\n> You look at the drawers\nIn your grandmother's kitchen, at least, these were the cutlery drawer, the junk drawer, the meat drawer, the doll drawer, the reptile drawer, the mitten drawer, and the bird drawer, from top to bottom.\n\n> You look in the bag\nThe grocery bag is empty.\n\n> You look at the photograph\nA smiling blond woman holding a tray of enticing-looking bacon. You can practically smell it.\n\nThe sight of food makes your salivary glands kick into overdrive.\n\n> You look at the heads\nWhat heads? What are you even talking about?\n\n> You examine the Pears\nYou remember Griswold's Legendary Bucket of Wax Pears from the stories your grandmother used to tell when your incessant appetite for stories had exhausted her supply of more interesting ones about princesses on rockets or whatever.\n\nAccording to legend, this bucket contains one real pear and 37 enchanted wax ones, all identical in smell, texture, and appearance. Anyone who eats the real pear gets to be king of Reno, Nevada, and anyone who eats a wax pear is cursed to spend eternity making out under the bleachers with their fifth-grade math teacher. Your blood runs cold just thinking about it.\n\nThe sight of food makes your mouth fill with saliva and your eyes fill with tears.\n\n> You examine the groceries\nWhat groceries? What are you even talking about?\n\n> You examine the bag\n/\n\nIf this grocery bag could talk, it would inform you in no uncertain terms that it was a grocery bag. It's empty, which makes you feel strangely anxious.\n\n*whirrrrrrrr*\nYou hear the sound of a tiny electric door opening somewhere, and Pat the head-patting robot glides into the room. You'd been wondering where he'd gotten to.\n\n> You look at Pat\n/\n\nThis little robot was created to kick ass and pat heads, and he's all out of heads. I mean, ass. He sees you looking and does a little dance.\n\n(Your stomach makes a noise that, coming from a television, would be indicative of a major poltergeist problem.)\n\n> You open meat drawer\n/\n\nYou open the meat drawer, revealing a bag of space beef.\n\nThe sight of food makes you drool all over your dinner jacket.\n\n> You examine the jacket\n/\n\nA once-natty dinner jacket. You've started keeping your diary on it, written in a secret code of food stains. Honey mustard means \"Today I received an electric shock,\" beef bourguignon means \"I want to go home.\"\n\n> You smell the space beef\n/\n\nThe bag of beef smells delicious. You drool a little.\n\n> You eat the beef\n/\n\n>>ZAP!<<\nDr. Beagle sees you trying to eat the bag of beef and shocks the crap out of you. You think you smell Vienna sausages.\n\n> You look at Beef\n/\n\nA foil package labeled \"Astronaut Beef (for Space Astronauts).\" This must be what you eat if you want beef in space.\n\nYou hear some faint squeaking coming from the fridge, and are unsettled.\n\n> You examine the fridge\n/\n\nThis fridge is almost, but not quite, the color of cheap French vanilla ice cream, the kind you get in a bucket with an alarming cartoon character on the lid. It is closed.\n\nYou hear some faint squeaking coming from the fridge, and are unsettled.\n\n> You remove the collar\n/\n\n>>>>ZAP!!!<<<<\nDr. Beagle sees you trying to remove your collar and hits you with maximum voltage. Boy, does that hurt! You flop around for a\nfew minutes like a fish who has just been cured of any psychological ailments popular in the 1950s, such as homosexuality or feminism.\n\n> You open the fridge\n/\n\nYou open the fridge and the entire kitchen goes dark.\n\n> You close the fridge\n/\n\nYou fumble around until you locate the fridge door, and close it but good. The room fills with light and you can see again.\n\n> You examine the ship\n/\n\nThis bottle contains what appears to be a handsome steamship, churning its way happily through placid waters accompanied by squawking gulls.\n\nPat gets tired of waiting for you to do something patworthy and pats the doll drawer on its head-analogue instead. You feel oddly jealous.\n\n> You open the cabinet\n/\n\nYou open the cabinet under the sink, revealing a complicated knot of pipes and a can of everybody's favorite household chemical, Shiptogar.\n\n> You examine the Shiptogar\n/\n\nA bright yellow spray can with an enthusiastic label.\n\n> You read the label\n/\n\nGot ship? Need vinegar? Shiptogar turns any ship into vinegar, fast! Just spray it on! (WARNING: Use with extreme caution! Messrs. Spikeney & Pithhelmet assume no responsibility for accidental creation of relationvinegar, internvinegar, vinegarping boxes, two vinegars passing in the night, or liver spots. If vinegar-a-dee-doo-dah occurs, please return defective can for a full refund.)\n\nYou hear some faint squeaking coming from the fridge, and are unsettled.\n\n> You examine the pipes\n/\n\nA convoluted tangle of pipes. Corncob pipes, looks like. You spot an intact ear of corn among their ranks.\n\nThe sight of food makes your salivary glands kick into overdrive.\n\nPat gets tired of waiting for you to do something patworthy and pats the meat drawer on its head-analogue instead. You feel oddly jealous.\n\n> You spray the ship with the Shiptogar\n/\n\nA light spritzing of Shiptogar turns the ship in a bottle into a bottle of vinegar. No wonder they used to market this stuff as the housewife's best friend.\n\n> You examine the vinegar\n/\n\nYou know how the old saying goes, you'd rather have a bottle of vinegar than a family of bears living in your gastrointestinal tract.\n\n(You are so hungry. Maybe you have a useless body part you can eat. Could you locate your appendix? Wait, no, that's a terrible idea.)\n\n> You smell the vinegar\n/\n\nThe bottle of vinegar smells delicious. It makes you want to cry.\n\n(You fantasize about how you would cook George Lucas. Luau-style, probably.)\n\n> Locate appendix\n/\n\nDude, I know you don't technically need it for anything, but that's still a terrible idea.\n\n> You take Beef\n/\n\nYou take the bag of beef. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag.\n\n(Your stomach growls loudly.)\n\n> You take the vinegar\n/\n\nYou take the bottle of vinegar. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag. That's fine, you probably weren't going to drink it anyway.\n\n(Boy, are you hungry.)\n\n> You take the corn\n/\n\nYou wrest the ear of corn from its home amidst the plumbing. Some sort of classical conditioning kicks in and you immediately toss the thing into the grocery bag.\n\n(You're freaking starving.)\n\n> Smell the corn\n/\n\n>>ZAP!<<\nDr. Beagle sees you trying to take the ear of corn from the bag and activates your shock collar. It would be sort of pleasant if you found terribly painful things sort of pleasant. You don't.\n\n> You open the junk drawer\n/\n\nYou open the junk drawer, revealing a flashlight.\n\n> You get the flashlight\n/\n\nTaken.\n\n> You turn on the flashlight\n/\n\nYou flip the switch, but nothing happens. According to your encyclopedic knowledge of flashlights, this is probably some sort of, you know, problem with the, what's it called, innards. Yeah.\n\nThis is why no one uses encyclopedias anymore.\n\n> You open the flashlight\n/\n\nYou unscrew the top of the flashlight and peer inside, discovering an egg.\n\nThe sight of food makes your mouth fill with saliva and your eyes fill with tears.\n\n> You get the egg\n/\n\nYou shake the egg gently out of the flashlight. Hey, now that the flashlight is empty, you notice it doesn't even take batteries. It'll probably work fine now, once you turn it on. You close it up to be tidy.\n\nOh, right, you almost forgot. Some sort of classical conditioning kicks in and you chuck the egg into the grocery bag as hard as you can.\n\n(Your stomach growls loudly.)\n\n> You put Beef in the bag\n/\n\n(the grocery bag)\n>>ZAP!<<\nDr. Beagle sees you trying to take the bag of beef from the bag and shocks you lightly. You wish you still owned rubber shoes.\n\n> You close flashlight\n/\n\nThat's already closed.\n\n(Yup, you're still hungry.)\n\n> You open the fridge\n/\n\nYou open the fridge and the entire kitchen goes dark.\n\n> Shake flashlight\n/\n\nIt's too dang dark. You should find a light source or close that fridge.\n\n> You turn on the flashlight\n/\n\nThe flashlight summons the full force of its bountiful self-esteem and lights up like a debutante at a rodeo. Now you can look at anything!\n\n> You examine the fridge\n/\n\nThis fridge is almost, but not quite, the color of cheap French vanilla ice cream, the kind you get in a bucket with an alarming cartoon character on the lid. Scrawled inside of it (the fridge, not the bucket of ice cream) are the ravings of a madman.\n\nIn the fridge are a bean, a beer and a basket of garlic bread.\n\n> Smell the beer\n/\n\nThe beer smells delicious. You drool a little.\n\n> You smell the garlic bread\n/\n\nThe basket of garlic bread smells delicious. It makes you want to cry.\n\n> You get the beer and the bread\n/\n\nbeer: You take the beer. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag. What a waste of liquid bread.\nbasket of garlic bread: You take the basket of garlic bread. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag.\n\n> You read the ravings\n/\n\nThe mad scrawl is written in something black; old teriyaki maybe? Not even you the sauce expert can quite tell what. You don't think\nthe crazed manic handwriting is yours. It says:\n\nI (I) re (RE) heat (HEAT) my (MY) soup (SOUP)\ngive (GIVE) it (IT) a (A) good (GOOD) look (LOOK)\nand (AND) walk (WALK) a (A) way (WAY)\n\nWithout taking his eyes off of you, Dr. Beagle starts scribbling frantically on his clipboard.\n\n*whirrrrrrrr*\nYou hear the sound of a tiny electric door opening somewhere, and Pat's friend Soupbot rolls into the room, bleeping and sloshing. Pat greets her with a Christian side hug.\n\nIt's getting kind of crowded up in this test chamber. You certainly hope this won't compromise whatever science might be happening.\n\n> You look at the bean\n/\n\nIt looks up at you with a little dog face. \"Ne shitteru?\" it asks. \"Ostriches are the only animals that kiss during mating. When they're done mating, they suck each others' eyeballs out.\" You feel the blood drain from your face.\n\n> You get it\n/\n\nYou pick up the bean and chuck it into the grocery bag as hard as you can. \"Did you know?\" you hear it ask, faintly. \"The inside of this grocery bag is really smelly. Know what else is really smelly? A kangaroo's di--\" You cover your ears and hum.\n\n(Man, are you ever hungry.)\n\n> You examine the bean\n/\n\nIt looks up at you with a little dog face. \"Did you know?\" it asks. \"If you put your hand inside a cow, there's a 93% chance you'd be touching something pink, and a 100% chance you'd be touching something disgusting.\" You pretend you didn't just hear that.\n\n> You examine beer\n/\n\nThis beer is big, and brown, and furry, with claws on the ends of its powerful arms and legs. Wait, I'm thinking of a bear. This beer is a bit on the hoppy side, with woodsy undertones. Like a bunny.\n\n> You examine the garlic bread\n/\n\nGarlic bread is your favourite food. You could honestly eat it for every meal. Or just all the time without even stopping.\n\nDr. Beagle watches you attentively. You're unsure whether it's scientific interest or he thinks you're about to throw a ball.\n\n> You look at Soupbot\n/\n\nSoupbot is not exactly the latest in autonomous soup-dispensing technology, and sometimes she gets overexcited and splatters, but you can't fault her enthusiasm, and she gets the job done. The buttons above her three nozzles are currently labeled \"chowder,\" \"creamed cauliflower,\" and \"cup.\"\n\n> You look at the bean\n/\n\nIt looks up at you with a little dog face. \"Ne shitteru?\" it asks. \"If you've ever had a headache, you're at risk for gelatinosis, a rare disease that turns your bones into skin and your skin into jelly.\" Your stomach turns, and you look away.\n\n> You press the cup button\n/\n\nSoupbot stops you from pressing her cup button and presses it herself. A terrible clattering noise emanates from the vicinity of her cup nozzle, and she begins to vibrate ominously. You frantically look around for somewhere to hide from the imminent explosion. Just when you've decided there is no safe place and you are going to die here, Soupbot stops rattling, opens a convenient drawer in her chassis, and hands you a cup.\n\nPat gets tired of waiting for you to do something patworthy and pats the doll drawer on its head-analogue instead. You feel oddly jealous.\n\n> You examine the cup\n/\n\n(the cup)\nYou study the cup from all angles, trying to find something remarkable about it, but the cup refuses to be at all interesting.\n\n> You examine the bean\n/\n\nIt looks up at you with a little dog face. \"Did you know?\" it asks. \"If you scrape your face off, it'll take you almost a thousand years to grow a new one, cell by painful cell. Fortunately, it'll keep growing long after you die, although not necessarily on your skull.\" You feel the blood drain from your face.\n\n> You open the doll drawer\n/\n\nWith some trepidation (your grandmother owned some terrifying dolls), you open the doll drawer. Fortunately, all you find is Dr. Bagel. What's up, Dr. Bagel?\n\nThe sight of food makes you drool all over your dinner jacket.\n\n> You examine Bagel\n/\n\nYou think he might be a real doctor, because he's wearing a little round labcoat, but he doesn't have a tiny clipboard or stethoscope or anything. He's definitely a real bagel, though, unless you're one of those jerks that insists a real bagel has to be made in New York with Jerusalem tap water or whatever.\n\n> You take Bagel\nYou pick up Dr Bagel. Some sort of classical conditioning kicks in and you immediately drop him into the grocery bag, tiny labcoat and all.\n\n(Boy, are you hungry.)\n\n> You open the reptile drawer\nYou open the reptile drawer, revealing a can of snakes. Oh, wow! A can of snakes!\n\nThe bean clears its throat conspicuously from inside the grocery bag.\n\n> You take the snakes\nTaken.\n\nYou feel like the bean is staring at you from inside the grocery bag.\n\n> You look at the can\n(the can of snakes)\nThe label on this can is written in some weird foreign language, but based on the pictures, you deduce that this can is full of deadly snakes that are going to spring out and frighten you when you open the can. What fun!\n\n> You open can\n(the can of snakes)\nThe lid comes off the can with a satisfying pop, and a colorful medley of poisonous snakes completely fails to come shooting out of the can and bite you on the face. Hey, there's no snakes in here at all, just this piece of peanut brittle! What the heck.\n\n> You eat the peanut brittle\n>>ZAP!<<\nDr. Beagle sees you trying to eat the piece of peanut brittle and shocks the crap out of you. You spontaneously remember your piano lessons.\n\n> You take brittle\nYou take the piece of peanut brittle. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag. Good riddance, lousy not-snake peanut brittle.\n\n(You're probably going to die if you don't eat something soon.)\n\n> You take the bag\n(the grocery bag)\nThe very thought of picking up a less-than-full grocery bag makes you want to throw up for some reason.\n\n> You take the Pears\nYou pick up the bucket of pears.\n\n> You search the Pears\nYou spend some time sorting through the pears in an attempt to identify the real one, but your search proves...\n\n(narrator puts on sunglasses)\n\n...fruitless.\n\n(YEAAAAAAAH!)\n\n> You examine the pear\nThirty-eight pears are in this bucket. One is real, the other thirty-seven are wax. You can't tell them apart by looking, smelling, or touching. How will you proceed, player, how will you proceed?\n\nYou sense that the bean is trying to get your attention from inside the grocery bag.\n\n> You ask bean about the Pears\nYou can only do that to something animate.\n\n> You examine the bean\nIt looks up at you with a little dog face. \"Ne shitteru?\" it asks. \"In order to make a baby, a woman has to lick a leather saddle while a man dressed as a clown spanks her and calls her \"Norman.\" Your parents did this to make you, and knowing them, they liked it.\" You pretend you didn't just hear that.\n\n> Taste bears\nWhat bears? What are you even talking about?\n\n> Taste pears\nYou don't even try it. Your fifth-grade math teacher was a creepy pervert who wore tight purple pants.\n\n> You examine the sink\nCloser examination reveals this to be merely a child's drawing of a sink. The drain has been hastily rendered in blue crayon, and near it a posse of scrubbing bubbles is fighting a dinosaur.\n\n> You open the oven\nYou swing the oven door open, interrupting what appears to be a fight to the death between a cherry pie and a pepperoni pizza. A minuscule tumbleweed falls through a gap in the bottom rack and bursts into flame.\n\nThe sight of food makes your salivary glands kick into overdrive.\n\nPat gets tired of waiting for you to do something patworthy and pats the mitten drawer on its head-analogue instead. You feel oddly jealous.\n\n> You look at the pepperoni pizza\nWhat pepperoni pizza? What are you even talking about?\n\n> You put the Pears in the oven\nYou're afraid to put the bucket of wax pears in the oven with those other violent foodstuffs. It's very delicate emotionally.\n\n> You take pie\nIt's like four hundred degrees inside that oven. You should find a hot mitt or something before you try to take anything out of it.\n\n> You open the glove drawer\nWhat glove drawer? What are you even talking about?\n\n> You open the mitten drawer\nYou open the mitten drawer, revealing an exoskeletal heat absorption glove. Sure, why not.\n\n> You take the glove\nTaken.\n\n> Wear glove\nYou stick your hand in the glove and its component nanosentients alter its parameters to conform perfectly with the contours of your digits. Ace!\n\n> You examine the glove\nYou love this glove. It's so bad.\n\nAn intern enters the observation chamber to deliver some correspondence. Dr. Beagle barks at the poor kid furiously until he flees the room.\n\n> You take the pie\nYou take the pie. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag, which it explodes all over the inside of.\n\n(Your stomach growls loudly.)\n\n> You look at the oven\nThis oven's designer got tired of trying to remember if they'd left the oven on, so they invented an oven you can't turn off. Its internal temperature is a constant 400 degrees Fahrenheit. You know this because you are omniscient all of a sudden, but only as regards this oven and the names of everyone in New Jersey.\n\nIn the oven is a pizza.\n\n> You take the pizza\nYou take the pizza. Some sort of classical conditioning kicks in and you immediately fold the whole pepperoni mess up and plop it into the grocery bag.\n\n(Boy, are you hungry.)\n\n> You put the Pears in the oven\nYou put Griswold's Legendary Bucket of Wax Pears into the hot oven. The wax pears melt and run together, there is a really confusing couple of seconds where everything goes all swirly and Price-is-Right-looking, and you are left with a single, presumably real, magical, and very hot pear in a bucket. Well done you!\n\n> You take the pear\nYou take the pear. Some sort of classical conditioning kicks in and you immediately drop it into the grocery bag. Oh well, being king of Reno, Nevada probably isn't all it's cracked up to be anyway.\n\n(Man, are you ever hungry.)\n\n> You look at the drawers\nIn your grandmother's kitchen, at least, these were the cutlery drawer, the junk drawer, the meat drawer, the doll drawer, the reptile drawer, the mitten drawer, and the bird drawer, from top to bottom.\n\n> You open the bird drawer\nYou open the bird drawer, revealing a broken vinyl record.\n\n> You look at the record\nUseless pieces of a vinyl record labeled \"101 Different Varieties of Morning Birdsong as performed by Henry Boyd.\" This must have been what they would play over the loudspeaker to make you think it was morning.\n\nDr. Beagle watches you attentively. You're unsure whether it's scientific interest or he thinks you're about to throw a ball.\n\n> You get the record\nIt's worthless. Forget about it.\n\n> You open the meat drawer\nThat's already open.\n\n> You open the cutlery drawer\nYou open the cutlery drawer, expecting the shining spoons of this town all to point in your direction. Sadly, though, the drawer is empty. This is not at all surprising, given what happened the last time they were dumb enough to let you have silverware.\n\nPat gets tired of waiting for you to do something patworthy and pats the photograph on its head-analogue instead. You feel oddly jealous.\n\n> Pat pat\nYou pat the head-patting robot on his little robot head. He seems confused by this bizarre shift in circumstances."
    },
    {
        "text": "[Themes: Humor, scientific experimentation, robot]\n\n> Look around\nIt really does look just like your grandmother's kitchen. The oven, fridge, and counter are that same buttery marzipan color, those same seven drawers are next to the cabinet under the sink, even the kitten wallpaper is the same. That motivational poster belongs to the test chamber, though, and has survived its every redecoration including \"submarine\" and \"open grave.\" The only other difference is a photograph over the oven where your grandmother used to hang the heads of her enemies (mostly crickets).\n\nOh, and the observation chamber where Dr. Beagle is watching you through two-way glass. Your grandmother didn't have one of those.\n\nOn the counter is a grocery bag.\n\nSoupbot is here to keep Pat company.\n\nPat the head-patting robot is here waiting for you to do something worthy of a head-pat.\n\nYou smell bacon.\n\n> You take the bacon\nHunger Level: Starving  |  Turns: 100  |  Score:\n15\n\nYou reach out towards the delicious-looking bacon and discover it is actual bacon, taped to the photo. That will certainly make taking it a lot easier!\n\nYou untape the bacon from the photo. Some sort of classical conditioning kicks in and you immediately drop it greasily into the grocery bag.\n\n> You take the bag\nHunger Level: Starving  |  Turns: 100  |  Score:\n15\n\nWhich do you mean, the grocery bag or the bag of beef?\n\n> Grocery\nThe lights, even the flashlight, suddenly flicker and go out...\nThen they come back on.\nThen they go out again.\nHunger Level: Starving  |  Turns: 101  |  Score:\n15\n\nA small flame cuts through the darkness. As it draws closer you see it's composed of several even smaller flames, attached to a cake. The air around you is suddenly thick with the sounds of noisemakers and Perry Como singing \"Happy Birthday to You.\"\n\nIs... is it your birthday?\n\nThe lights come back on, and you see that Dr. Beagle and the robots are wearing party hats. In front of you, on Cakebot's head platter, is an elaborately frosted cake with sixteen lit candles and the words \"HAPPY BITRHDAY CONTROL 15\" in blue icing. Everyone seems to be waiting for you to blow out the candles.\n\n> You examine the cake\nHunger Level: Starving  |  Turns: 102  |  Score:\n15\n\nIt's a beautiful cake. They really went all out, what with the icing and the flowers and the almost spelling \"BIRTHDAY\" right. The candles flicker cheerfully.\n\nThe sight of food makes you salivate uncontrollably.\n\n> You eat the cake\nHunger Level: Starving  |  Turns: 103  |  Score:\n15\n\nYou'll need to pick it up first. Go ahead. Pick up your cake. Happy birthday, by the way.\n\n> You take the cake\nHunger Level: Starving  |  Turns: 104  |  Score:\n15\n\nYou pick up the elaborately frosted birthday cake, knowing full well you're just going to chuck it into the grocery bag when your classical conditioning kicks in, because your entire life is a sad farce. Yup. Any second now, you're going to throw the cake into the bag.\n\nAny second now?\n\nOkay. Don't freak out, but by some miracle, you are still holding on to the cake. I repeat, you are still holding on to the cake.\n\nSo... now what do you do?\n\n> You eat cake\nHunger Level: Starving  |  Turns: 104  |  Score:\n15\n\nYou shove the cake at your face, taking minimal care not to set your hair on fire. Your tongue almost touches icing when --\n\n>>%>#>ZAP!!!!!<*<&<<\nDr. Beagle shocks you so hard that the wiring in your brain scrambles and you have to really quickly reform all of your neural connections, which is totally a thing that can happen. (Later, in your room, you will have to test whether or not this has given you superpowers, which is also totally a thing that can happen.)  As you lie twitching on the linoleum, you feel a familiar cold metal hug around your left calf, and barely have time to whisper hello to Sedatebot before everything goes white and fuzzy.\n\nYou are just conscious enough as they wheel you past the kitchen to see that it's burritos in your IV tube again tonight. \"Oh good, burritos,\" you think, passing out.\n\n> You look at what you're carrying with you\nHunger Level: Starving  |  Turns: 105  |  Score:\n15\n\nYou are carrying:\na cake\nan exoskeletal heat absorption glove (being worn)\na can of snakes (open but empty)\na flashlight (providing light and closed)\na shock collar (being worn)\na dinner jacket (being worn)\n\n> You look at the grocery bag\nHunger Level: Starving  |  Turns: 106  |  Score:\n15\n\nIf this grocery bag could talk, it would inform you in no uncertain terms that it was a grocery bag.\n\nIn the grocery bag are an order of bacon, a pear, a pizza, a pie, a piece of peanut brittle, Dr Bagel, a cup of creamed cauliflower, a cup of chowder, a bean, a basket of garlic bread, a beer, an egg, an ear of corn, a bottle of vinegar and a bag of beef.\n\n> You examine the bean\nHunger Level: Starving  |  Turns: 107  |  Score:\n15\n\nIt looks up at you with a little dog face. \"Did you know?\" it asks. \"If you scrape your face off, it'll take you almost a thousand years to grow a new one, cell by painful cell. Fortunately, it'll keep growing long after you die, although not necessarily on your skull.\" You feel the blood drain from your face.\n\n> You put the cake in the bag\nHunger Level: Starving  |  Turns: 107  |  Score:\n16\n\n(the grocery bag)\nYou drop the lit birthday cake into the grocery bag, which surprises you by going whoosh up in flames, as though it were made out\nof 1970s kids' Halloween costumes. You can feel your eyebrows sizzle as you instinctively leap back from the column of fire. The countertop begins to melt, and the scrubbing bubbles flee down the drain before the sink catches. The dinosaur remains behind fighting fire with fire, which doesn't actually work very well. Soupbot pulls a hose attachment out of somewhere and starts spraying chicken broth everywhere in a twenty-foot radius. To her firefighting credit, she even gets some on the flames.\n\n\"Did you know?\" you hear a faint voice say from the inferno. \"I'm on fire!\"\n\nPat pats your head quickly, then beats a strategic retreat through the robot flap. You think your score went up by one point, although you could barely feel it through the heat of the blaze, or hear it over the slow clapping of Slowclapbot. The ceiling crashes down around you as you stand perfectly still in the center of the burning kitchen, staring at your own reflection in Dr. Beagle's mirrored sunglasses. (Wait, where'd he get those?)\n\nDr. Beagle's tail is wagging. Who's a good test subject? You are. You're a good test subject. Now he's reaching for the Bell..."
    },
    {
        "text": "[Themes: Mystery, transformation, mystery, detective, wordplay, noir, hard-boiled]\n\n> You look at the oil\nGreasy black oil.\n\n[Author's Note: The Baron's daughter is missing, and you are the man to find her. No problem. With your inexhaustible arsenal of hard-boiled similes, there is nothing you can't handle.]"
    },
    {
        "text": "[Themes: Mystery, detective, mystery, hard-boiled]\n\n> About yourself\nYou are a bit worse for wear, but you are still the best detective in town.\n\n> You examine the shadows\nShadows gather in all corners of the office, like dark pools of oil.\n\n> You look at the embers\nA few glowing pieces of coal are left at the camp site.\n\n> You examine the lamp\nThe old dirty desk lamp struggles valiantly to light up the office, like an elderly knight fighting to keep the forces of darkness at bay.\n\n> You look at the knight\nThe knight seems weary. His armor is old and dirty. How much longer can he keep fighting, you wonder?\n\n> You talk to the knight\nThe knight stands to attention. \"Don't worry, sir. I have been doing this for years. I am not going to abandon you.\"\n\n> You talk to the knight\nWhat are you going to say? A bunch of platitudes about how everything is going to be okay? Better to stay silent for now.\n\n> You take the embers\nYou carefully pick up one of the embers from the camp fire.\n\nThere is a knock at the door.\n\n> You open the door\nIt takes effort to push the chair away from the desk so you can get off. You really should fix the wheels some day.\n\nThe door opens and a tall man in a tuxedo enters the room. He looks like a butler of some kind.\n\n> You talk to the butler\n\"How may I help you?\", you ask.\n\n\"My name is Allan Jameson.\" His voice is as hard as his face. \"I represent the Baron Ahrend von B\u00fclow. You are Douglas Reilly, the private investigator?\"\n\nYou lean back into your chair, hoping to look relaxed and self-assured. \"That's right. What does a Baron want with me?\"\n\n\"The Baron, for some reason beyond my understanding, has decided that a Private Investigator is the most discreet way of dealing with a current problem. He has allowed me the courtesy of selecting one.\"\n\n\"And I take it that you have selected me?\"\n\nHe raises an eyebrow. \"I haven't selected anyone, Mr. Reilly. Perhaps you could tell me why you would be the right man for the job?\"\n\n> You look at the man\nTall, thin, and impeccably dressed in a tuxedo with a black bow tie. His face looks like it has been cut out of marble. No emotion is visible at all.\n\n> You examine the marble\nExquisite white creole marble with black coloration. Its perfection is sublime.\n\n> You take the marble\nTaken.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome figurative white marble\na figurative smoldering ember (providing light)\n\n> You look at the man\nTall, thin, and impeccably dressed in a tuxedo with a black bow tie. His face is ordinary; he seems like a kind, if somewhat reserved, person.\n\n> You talk to the butler\n\"I assure you that you will not regret hiring me. I will serve the interests of the Baron to the utmost of my abilities.\"\n\nA smile lights up his face. \"I am very glad to hear that, Mr. Reilly. You sound just like the person we need. Unfortunately, I can't just take your word for it, you understand. I just need some kind of assurance.\"\n\n> You examine tuxedo\nNot a speck of dust is visible. It's either brand new or he just picked it up from the cleaners.\n\n> You examine the bow tie\nPerfectly tied. You never could figure out those things yourself.\n\n> You look\nShadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.\n\nThe office door to the north leads to the corridor outside.\n\nYou see Allan Jameson here.\n\n> You read the files\nYou haven't had much work lately, so you have been reviewing some old case files, remembering old times. You never know if you might learn something.\n\n> You examine the chair\nThe rust has long since caused the wheels on the chair to get stuck. It would be much more comfortable if you fixed them.\n\n> You examine the wheels\nThe wheels are covered with crimson rust, like coagulated blood.\n\n> You examine blood\nThe blood has long since turned into a reddish brown substance, almost like rust.\n\n> You take the blood\nTaken.\n\n> You show knight to the butler\n(first taking the holy knight)\nI don't suppose the holy knight would care for that.\n\n> You show the marble to the butler\nFor some reason, you seem to be only one capable of seeing these things.\n\n> You examine the desk\nCountless cups of coffee have been spilled across what was once an impeccable wooden surface. It's not pretty, but it serves its purpose well enough. It is currently covered with old case files. The desk contains a single drawer.\n\n> You look at the files\nYou haven't had much work lately, so you have been reviewing some old case files, remembering old times. You never know if you might learn something.\n\n> You open the drawer\nYou open the desk drawer, revealing a revolver.\n\n> You examine revolver\nA .38 revolver. It has served you well for many years, like a trusty servant never leaving your side.\n\n> You examine servant\nMr. Smith Wesson, your trusty servant, is at your side as always. He is dressed in a grey suit and a tie.\n\n> You take the gun\nTaken.\n\n> You talk to the servant\n\"Good evening, sir,\" says Mr. Wesson. \"If you need me to do anything, just say something like 'Wesson, take the ball' or 'Wesson, attack the man'. I will do my very best to fulfill your wishes. If you can't figure out what to do, you can always talk to me. I might be able to give you some hints.\"\n\n> You talk to the butler\nMr. Wesson has better things to do.\n\n> You take the gun\nYou already have that.\n\n> You show the gun to the butler\nAllan Jameson is unimpressed.\n\n> You talk to the butler\n\"Mr. Jameson, how can I convince you that I am the right man for the job?\"\n\nHe thinks for a few seconds. \"I am not certain. You seem like a pretty decent person, but perhaps I should investigate some other options before I decide.\"\n\n> You take the file\nYou are tired of living in the past.\n\n> You show the files to butler\n(first taking the case files)\nYou are tired of living in the past.\n\n> You check what you're carrying\nYou are carrying:\na revolver\nsome figurative coagulated blood\nsome figurative white marble\na figurative smoldering ember (providing light)\n\n> You put the ember on the butler\nHis eyes light up with a friendly glow.\n\n> You talk to the butler\n\"Mr. Jameson, I think this might be the beginning of a beautiful business relationship.\"\n\nHe laughs heartily. \"Please, call me Allan. It's really been a pleasure talking to you, Douglas. I am so glad I decided to visit you, instead of going with one of the other people. They were all so glum and cynical.\"\n\n\"The pleasure is entirely mine,\" you say with a smile. \"Now, shall we go see the Baron?\"\n\n\"Of course. Follow me.\"\n\nThe stately mansion of the Baron von B\u00fclow looms in front of you,\nlike\na sleeping giant. Light seeps out from a single window on the second floor to the right; all the others are dark. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n\"Here we are, sir,\" says Jameson. \"If you will just follow me.\"\n\nHe opens the doors and disappears into the mansion.\n\n> You examine the doors\nTwo massive dark mahogany doors.\n\n> You look at the giant\nThe giant seems to have been asleep for some time. His face is serene; his breath, calm and rhythmic.\n\n> You wake giant\nYou poke the giant, but there is no reaction. Figures; your tiny fingers would hardly be noticeable on his massive hide.\n\n> Go south\nWhere would you like to go?\n\n> You put the marble on the fingers\nYou do not normally need to refer to specific parts of the body.\n\n(retrying as if you'd typed \"put marble .\")\nWhat do you want to put the white marble around?\n\n> You look\nThe stately mansion of the Baron von B\u00fclow looms in front of you,\nlike\na sleeping giant. Light seeps out from a single window on the second floor to the right; all the others are dark. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n> You go north\nIt almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a frozen lake of grey marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.\n\nYou see Allan Jameson here.\n\nMr. Jameson ascends the stairs.\n\n> You examine the lake\nThe lake seems to have been frozen forever. You can feel the cold through your shoes.\n\n> Go upwards\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nYou see Allan Jameson here.\n\nMr. Jameson opens the east door and enters.\n\n> You go to the east\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nYou see Allan Jameson here.\n\nThe Baron sits in a black leather easy chair on the east side of the room. He has been reading a book, but when you enter he puts it away on a small table next to the chair. A hint of something that might one day grow into a smile is briefly visible on his face.\n\n\"Ah, Mr. Jameson. You have brought the detective. Excellent; you may leave us.\"\n\nMr. Jameson leaves through the door, closing it behind him.\n\n> You talk to Baron\nMaybe you should check him out first?\n\n> You look at Baron\nThin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. What little is left of his hair is entirely grey, like strands of steel embedded into his scalp.\n\n> You examine the steel\nThe strand seems to have been cut from a roll of steel wire. It is long, thin, and sharp. It might be useful as a weapon.\n\n> You look at the lakes\nThe lakes are deep and dark. What secrets hide beneath the surface of the water, you wonder? Perhaps you should take a swim and find out?\n\n> You swim in lakes\nYou dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.\n\nIt is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker."
    },
    {
        "text": "[Themes: Mystery, detective, hard-boiled]\n\n> Go downward\nIt is darker down here; you can't see much more than a few feet in any direction. A few fish pass by, just outside your field of vision. From above, the distant sun shines faintly.\n\n> You look at the fish\nA variety of multicolored fish. You can't identify the species.\n\n> You take the fish\nYou reach for them, but they quickly slip away."
    },
    {
        "text": "> Go down\nThe darkness engulfs you. The sun is no longer visible. You are floating in an infinite void. Lost.\n\n.\n\n.\n\n.\n\nThe sharp smell of smelling salts pull you back to the library. Mr. Jameson is standing above you. The Baron is leaning forward in his chair.\n\n\"How are you feeling, Douglas?\" asks Allan. \"I would hate to lose a new friend so soon.\"\n\nYou brush him off. \"I am fine, thank you. I just haven't had much sleep lately.\"\n\nHe shrugs. \"As you wish.\"\n\nHe leaves the room, leaving you alone with the Baron once more.\n\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nThe Baron sits in a black leather easy chair on the east side of the room.\n\n> You dive in\nWhat do you want to dive in?\n\n> Go upwards\nYou emerge from the lake, gasping for air.\n\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nThe Baron sits in a black leather easy chair on the east side of the room.\n\n> You examine the carpet\nA soft red carpet.\n\n> You talk to Baron\nThe Baron takes a deep breath. His voice, when it emerges, is like a scratched vinyl record.\n\n\"I am glad you could come on such short notice, Mr....\"\n\n\"Reilly. Douglas Reilly.\"\n\n\"Mr. Reilly. I don't normally deal with your kind, but I have a precarious problem that will need to be handled with the utmost discretion...\" His voice trails off.\n\n> You talk to Baron\n\"It might help, Mr. von B\u00fclow, if I knew what the problem was.\"\n\nHe blinks. The lakes are briefly covered with clouds, then reappear.\n\nHis hoarse voice continues. \"Of course. You must excuse an old man. It concerns my daughter, you see. She has always been a free spirit, but now she has run off with that damnable boyfriend of hers. Obviously, the police can't get involved, but I need her found. If you can also convince her to leave the man, that would be perfect, but the primary goal is to locate her and make sure she is unharmed. Do you think you can handle that?\"\n\n> You talk to Baron\n\"Can you tell me some more about your daughter and her boyfriend?\"\n\n\"Of course. My daughter's name is Lisa von B\u00fclow\" - he shows you a photograph - \"she is 22 years old, much too old for this rebellious nonsense in my opinion.\"\n\n\"And the boyfriend?\"\n\nHe sneers. \"I am afraid I don't have a picture. I only met the man once, but he is a drunkard Scotsman with a scraggly full beard. His name is Erik McAllister. You can't miss him. I have no idea what my daughter sees in him.\"\n\n> You talk to Baron\n\"How do you know they have run off together?\"\n\n\"Well, I don't know that for certain; I am simply assuming since they both disappeared at the same time. It's possible that they are both dead in a ditch somewhere, but I prefer to believe that my daughter is alive. You must humour an old man.\"\n\nYou shrug. \"Of course. Do you have any idea where they might have gone?\"\n\nHe laughs. His laughter erupts in hard bursts, like a record getting stuck. \"I have some ideas - I know where they used to spend time together, anyway - but I expect you to be able to figure these things out by yourself. You are a detective, right?\"\n\n> You examine the record\nIt is full of scratches. It probably won't be very pleasant to listen to.\n\n> You talk to Baron\n\"Mr. von B\u00fclow, I may be a detective, but I still need something to work with. If you won't give me any information, I am not sure how much I can do.\"\n\nThe lakes are still for a moment, and you detect a glimmer of something hidden in their depths. \"Then perhaps I should hire someone else, Mr. Reilly.\"\n\n> You dive into the eyes\nYou dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.\n\nIt is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.\n\n> You give the blood to the fish\nYou can only do that to something animate.\n\n> You look at what you're carrying with you\nYou are carrying:\na figurative vinyl record\na figurative steel strand\na revolver\nsome figurative coagulated blood\nsome figurative white marble\n\n> Go upwards\nIt is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.\n\n> Go upwards\nYou emerge from the lake, gasping for air.\n\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nThe Baron sits in a black leather easy chair on the east side of the room.\n\n> You examine the window\nA small window with a view of the back garden. It looks like it hasn't been opened in generations.\n\n> You look at the bookshelves\nThey are filled with a wide variety of books, mostly dealing with literature and history.\n\n> You examine the air\nThe room could use some ventilation.\n\n> You examine the skeleton\nThin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. His hair is grey.\n\n> You go west\n(first opening the east door)\n\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nYou see Allan Jameson here.\n\n> Go west\n(first opening the west door)\nIt seems to be locked.\n\n> You examine the railing\nThe railing is cool to the touch.\n\n> You talk to the butler\nMr, Jameson smiles warmly. \"I trust you are getting along with the Baron, Douglas?\n\n> You talk to the butler\n\"How are you, sir? I trust you are getting along with the Baron?\"\n\n> You go to the east\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nThe Baron sits in a black leather easy chair on the east side of the room.\n\n> You swim in the lake\nYou dive. The surface of the lake approaches quickly, until it fills your entire field of vision. Then the cool water surrounds you.\n\nIt is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker."
    },
    {
        "text": "[Themes: Mystery, detective, hard-boiled]\n\n> Go downward\nIt is darker down here; you can't see much more than a few feet in any direction. A few fish pass by, just outside your field of vision. From above, the distant sun shines faintly.\n\n> Inventory\nYou are carrying:\na figurative smoldering ember\na figurative vinyl record\na figurative steel strand\na revolver\nsome figurative coagulated blood\nsome figurative white marble\n\n> You examine ember\nThe water has extinguished the glow. It is just a lump of black coal now.\n\n> Go upwards\nIt is dark under the water and you can't see much more than a few yards in any direction. Above you, the sun shines through the surface. Below, the darkness gets thicker.\n\n> You examine ember\nFrom within the warm piece of coal, a red glow can still be glimpsed.\n\n> You look at what you're carrying with you\nYou are carrying:\na figurative smoldering ember (providing light)\na figurative vinyl record\na figurative steel strand\na revolver\nsome figurative coagulated blood\nsome figurative white marble\n\n> Go west\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nYou see Allan Jameson here.\n\n> You open the west door\nIt seems to be locked.\n\n> You examine the west door\nIt is the kind of door you could hack away at for hours with an axe without making a dent. The crack under the door is dark. Either no one is using the room, or they have gone to sleep.\n\n> You ask the butler about the door\n[Use TALK TO to interact with characters.]\n\n> You look at the crack\nThe crack under the door is too small to be of any use to you."
    },
    {
        "text": "[Themes: Mystery, mystery, detective]\n\n> You go downwards\nIt almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a frozen lake of grey marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.\n\n> You examine the lake\nThe lake seems to have been frozen forever. You can feel the cold through your shoes.\n\n> You break the ice\nYou were never much of a pugilist. If you want to use a weapon, use the ATTACK SOMETHING WITH SOMETHING syntax instead.\n\n> Poke giant with steel\nYou poke the giant with the sharp steel strand. The giant absentmindedly swats in your general direction, but it doesn't wake up. Maybe you could find a way to make the strand hurt more?\n\n> You put ember on the lake\nThe ice evaporates as the floor bursts into flame.\n\nThe steel strand grows red hot from the fire.\n\n> Poke giant with steel\nThe red hot steel strand sizzles as it penetrates the skin. The giant roars, and scrambles to its feet, its eyes ablaze with rage. It looks around for its attacker, but luckily it seems to be looking for someone of the same size. It doesn't notice you huddling at its feet.\n\n> You examine giant\nThe giant is wide awake now. His eyes scan the horizon for potential attackers.\n\n> You talk to the giant\nHe seems angry. You should probably avoid attracting attention to yourself.\n\n> Go north\nIt almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.\n\nThe steel strand grows red hot from the fire.\n\n> You go to the north\n(first opening the french doors)\n\nThe grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass like scaly snakes, going nowhere and everywhere. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.\n\nThe air is cold and clear, like the justice we all seek, but never find.\n\n> You take the justice\nYou try, but it slips away between your fingers, as always.\n\n> You go to the south\nIt almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.\n\n> Go up\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nLight seeps from the crack beneath the door to the west, like fluid from a leaky container.\n\nYou see Allan Jameson here.\n\n> You examine fluid\nA kind of luminescent fluid.\n\n> You open the west door\nYou open the west door.\n\n> Go west\nA large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.\n\n> You examine the lamp\nA large table lamp, which somehow manages to light up the entire room. A paper lampshade shields your eyes from the light, like a white cocoon.\n\n> You examine the cocoon\nA delicate white cocoon. It seems like it should be able to contain small items.\n\n> You look at the lamp\nA large table lamp, which somehow manages to light up the entire room. The lamp has a paper lampshade.\n\n> You examine shade\nThe paper lampshade covers the light.\n\n> You take the shade\nA paper lampshade is hardly going to be of any use to you.\n\n> You get the lamp\nIt's a table lamp, not a flashlight. There would be no point to carrying it around with you.\n\n> Inventory\nYou are carrying:\na figurative white cocoon\na figurative vinyl record\na figurative steel strand\na revolver\nsome figurative coagulated blood\nsome figurative white marble\n\n> You examine the dresser\nA small wooden dresser. So ordinary that not a single simile comes to mind.\n\n> You examine bed\nIt's the kind of bed that looks like it could swallow a man whole. You get the feeling that if you went to sleep in it, you might disappear entirely, never to be seen again.\n\n> You look out the window\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"look.\")\nThe Bedroom\nA large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.\n\n> You examine the window\nFrom here you can see the front garden. The path winds towards the gates leading away from the mansion.\n\n> You go east\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nThe door to the west is standing wide open.\n\nYou see Allan Jameson here.\n\n> You close the west door\nYou close the west door."
    },
    {
        "text": "[Themes: Mystery, hard-boiled]\n\n> You look at your surroundings\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nLight seeps from the crack beneath the door to the west, like fluid from a leaky container.\n\nYou see Allan Jameson here.\n\n> You put the fluid in the cocoon\n(first taking the luminescent fluid)\n\nTaken.\n\n> You look at the cocoon\nA delicate white cocoon. It seems like it should be able to contain small items.\n\nIn the white cocoon is some luminescent fluid."
    },
    {
        "text": "> Go downwards\nThe sun is no longer visible at all. Only the soft glow from the cocoon allows you to see anything. The bottom of the lake is white sand. Close by, you notice an old wooden chest.\n\n> You examine the sand\nSoft white sand covers the bottom of the lake.\n\n> Open chest\nIt seems to be locked.\n\n> You look at the chest\nThat's hardly portable.\n\nIt looks like something straight out of a pirate movie. A big metal padlock is supposed to guard the contents from unauthorized visitors.\n\n> You look at the padlock\nA big old-fashioned padlock. You are pretty sure you could get it open if you had something that could be used as a lockpick.\n\n> You put steel in lock\nYou manage to pick the padlock with the steel strand, but you break the strand in the process.\n\n> Open chest\nYou open the wooden chest, revealing a treasure.\n\n> You look at the treasure\nGold doubloons, jewelry, and gemstones. Everything a good treasure needs.\n\n> Inventory\nYou are carrying:\na figurative treasure\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\na figurative vinyl record\na revolver\nsome figurative coagulated blood\nsome figurative white marble\n\n> You give treasure to Baron\nHis face lights up with a golden glow. He seems much more friendly.\n\n> You talk to Baron\n\"Mr. von B\u00fclow, I am really not going to get anywhere without more information. Do you want your daughter found or not?\"\n\nHe smiles. \"Of course. I really must apologize for playing these little games with you.\" He pauses to collect his thoughts. \"Let me see, there are several places they might be. Mr. McAllister lives in an apartment on 23 Roosevelt Street. I really doubt they are hiding out in such an obvious location, but there might be some clues there at least. The man is also a degenerate gambler and alcoholic. He gambles all the time at a joint called the Butterfly Club - sometimes he even drags my daughter down there with him, the bastard. When he isn't gambling he is drinking heavily down at a local bar called the Water Buffalo. That's about all I know. Will that be of any help, Mr. Reilly?\"\n\nYou nod. You know both of the places he mentioned. \"Absolutely. I have enough to get started, anyway. I will let you know how the case proceeds.\"\n\n\"Thank you.\" He sighs. \"I hope you find her. I should have done something about that terrible Scotsman a long time ago.\"\n\n> Go west\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nYou see Allan Jameson here.\n\n> You talk to Baron\n\"Please find my daughter, Mr. Reilly.\"\n\n> Go south\nThe stately mansion of the Baron von B\u00fclow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n> Go south\nWhere would you like to go?\n\n> 2\nYou head towards the gambling joint.\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> You examine the formation\nIcicles grow from the ceiling in an intricate formation. Why haven't they melted, you wonder?\n\n> You take the icicles\nIt is too far up. If you had someone to help you, you might be able to reach it together.\n\n> You look at the gamblers\nPeople from all strata of society are gathered here as equals, united through their common addiction. It almost warms your heart.\n\n> You examine the games\nCountless gambling tables cover almost every square foot of the room. Every imaginable game of chance is represented here. A lot of people seem to be watching the poker game in the corner of the hall.\n\n> You look at the poker\nFour people are playing a high stakes game of poker in the corner of the hall. A small crowd has gathered around the table, attracted by the sight of large amounts of money changing hands. One of the players draw your attention: a pale man wearing a tuxedo who seems to be losing big.\n\n> You examine pale man\nOne of the nouveau riche for sure. He looks like someone who has never tried wearing a tuxedo before. His face is like putty; every emotion leaves a visible mark. Not a good thing for a poker player. He seems to be losing a lot of money.\n\n> You examine the putty\nThe putty is soft and pliable.\n\n> You put the marble on the pale man\nHis face is like carved out of marble. No emotion is visible.\n\n> You examine the pale man\nOne of the nouveau riche for sure. He looks like someone who has never tried wearing a tuxedo before. His face is expressionless, as if it had been carved out of marble. A good thing for a poker player. He seems to be winning a lot of money.\n\nThe poker game continues. The other players try to read the emotions of the tuxedo man, but his face is impenetrable. They all fold.\n\n> You talk to the man\nThe other onlookers hush you. Clearly, disturbing the game isn't an option.\n\n\"You are not fooling me this time,\" says one of the poker players and reveals his hand: Three aces. One by one, the tuxedo man puts his cards on the table: 6-7-8-9-10. A straight. The audience claps.\n\n> You look at the poker\nFour people are playing a high stakes game of poker in the corner of the hall. A small crowd has gathered around the table, attracted by the sight of large amounts of money changing hands. One of the players draw your attention: a pale man wearing a tuxedo who seems to be winning big.\n\nThe tuxedo man wins again. And again. The mountain of chips in front of him grows to unprecedented heights. Finally, a crack appears in his face and he smiles. \"Enough with this. This is my lucky night!\"\n\nHe picks up the huge pile of chips, walks to the roulette table and drops the pile down next to the spinning wheel. \"I am putting it all on red!\" The marble cracks and falls apart as a huge smile appears on his face. You have a feeling you might be able to find it again with its original owner.\n\n> You put the blood on the man\nMaking the tuxedo man red like blood would not be helpful.\n\n\"I am sorry sir,\" says the croupier. \"The table can't match your bet. I am going to have to get the manager.\" He goes through the small discreet door and emerges a few minutes later, followed by a tall thin man dressed in a beige suit.\n\n> You put the blood on the roulette\nMaking the roulette table red like blood would not be helpful.\n\nThe tuxedo man looks at the newcomer and smiles even more broadly. \"What will it be Camino? Are you afraid I am going to bankrupt you tonight?\"\n\nThe man in the beige suit - whose name seems to be Camino - pays no attention the tuxedo man. He looks straight at the croupier. \"It's alright. Let him play.\" His voice is soft and smooth.\n\nThe wheel spins. The entire club seems to be holding its breath. The wheel slows down; the ball jumps a few times, and finally comes to rest ---- on red.\n\nThe club erupts in applause. Everyone looks at the tuxedo man as if he had just single-handedly defeated Hitler in one-on-one combat. The tuxedo man picks up his winnings and leaves the club followed by an entourage of admirers. Camino does nothing, except look pensively at the wheel.\n\n> You look at the wheel\nA perennial favorite of the gambling crowd, the roulette is simple and exciting. More people are playing now, after the tuxedo man's big win. A big winner is good advertisement.\n\n> You examine Camino\nA tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A scar crosses his left cheek, like a canyon in the middle of an otherwise pristine African savanna.\n\n> You examine the canyon\nThe canyon is deep. It must have been carved in the landscape many aeons ago. At the bottom, you can just barely make out a river.\n\n> You enter the canyon\nIt is way too steep. You would fall.\n\n> You examine the river\nEven from all the way up here, you can tell that the river is crystal clear. No pollution is going to reach it in this pristine landscape.\n\n> You take the canyon\nA canyon is not something you can carry around. Maybe there is something of interest down there?\n\n> You talk to Camino\n\"A bad day for you, I suppose?\"\n\nHe emerges from his reverie. \"Not really. A big winner makes everyone else believe they can do the same. The extra business should make up for the loss.\"\n\nHis eyes scan you inquisitively. \"I haven't seen you around here before. What can I do for you?\"\n\n> You talk to Camino\n\"My name is Douglas Reilly. I am a private detective. I was wondering if we could have a word?\"\n\n\"I don't do business with private dicks. Unless you have you some useful information for me, I am not interested.\"\n\n> You talk to Camino\n\"I am looking for Lisa von B\u00fclow. I understand she used to come here along with a bloke named McAllister?\"\n\nHe has the perfect poker face. \"I never talk about my clientele. It's bad for business.\"\n\n> You talk to Camino\n\"Please, Mr. Reilly. Unless you have something of use to me, I have no interest in talking to you.\"\n\n> You go east\n(first opening the discreet door)\nAn Italian-American man wearing a pinstriped suit grabs your arm. \"Sorry, sir. This is a private area.\" He merges with the crowd once more."
    },
    {
        "text": "> Look around\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\nCamino - the owner of the club - is looking pensively at the roulette table.\n\n> You look at the table\nWhich do you mean, the gambling tables or the roulette table?\n\n> You examine the gambling tables\nCountless gambling tables cover almost every square foot of the room. Every imaginable game of chance is represented here. A couple of people are playing the roulette table, apparently hoping that the tuxedo man's winning streak will transfer to them.\n\n> Go west\nWhere would you like to go?\n\n> 3\nYou decide to check out McAllister's apartment.\n\nThe entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall, like a dirty rag.\n\n> You look at the rag\nAn old dirty rag. It looks like it hasn't been cleaned in ages."
    },
    {
        "text": "[Themes: Mystery, noir, transformation]\n\n> You look at your surroundings\nThe entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall.\n\n> You examine the jacket\nAn old worn denim jacket. You notice a piece of paper sticking out from one of the pockets.\n\n> You read the paper\nThe writing is almost illegible, but you manage to decipher it.\n\n\"Lisa\n\nI know you have something going on with that bawbag Camino. Don't try to deny it I have seen how you flirt and god knows what else you are doing. You are not gonna do that no more or im gonna have to take matters into ma own hands.\n\nErik.\"\n\n> Go north\nThe toilet is filthy. You quickly exit back to the entrance hall.\n\n> You go east\n(first opening the Eastern Door)\n\nWhat a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.\n\n> You enter the city\nThe sun bakes down on the city from above. Streets wind in every direction among the buildings. The streets are crowded with people, all hurrying in different directions. Close to you, a majestic minaret reaches towards the sky.\n\n> You examine Minaret\nThe Minaret is a tall, round, white tower. Inside it, a winding staircase leads to the top.\n\n> You look at the people\nThey hurry by too quickly for you to get a good look at any one of them.\n\n> You examine the buildings\nAll sorts of buildings occupy the city. Your attention is drawn to the majestic minaret nearby.\n\n> Go upwards\nFrom here the entire city is stretched out beneath you. Tiny people are milling around on the streets far below, waiting for someone to perform the next call to prayer.\n\n> You call\nYou take a deep breath and perform the call to prayer as loudly as you can. Beneath you, the people stop what they are doing and head inside."
    },
    {
        "text": "[Themes: Mystery, mystery, noir]\n\n> Describe the surroundings\nFrom here the entire city is stretched out beneath you. The streets are empty."
    },
    {
        "text": "> You go downwards\nThe sun bakes down on the city from above. Streets wind in every direction among the buildings. Close to you, a majestic minaret reaches towards the sky.\n\nYou see an old beggar here.\n\n> You talk to the beggar\n\"I thought the voice seemed unfamiliar,\" says the beggar. \"Haven't seen you around here before. Can you spare some food or coin for a poor man?\"\n\n> Inventory\nYou are carrying:\na letter\na figurative dirty rag\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\na figurative vinyl record\na revolver\nsome figurative coagulated blood\n\n> You examine the putty\nThe putty is soft and pliable.\n\n> You exit city\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"exit.\")\nThe Living Room\nWhat a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.\n\n> You examine the couch\nAn old couch that looks like it has seen everything and now just wants to be left alone. There is a blanket and a pillow lying on the floor next to it. Apparently, Mr. McAllister also uses it as a bed.\n\n> You look at the pillow\nThrown in a pile on the floor. Mr. McAllister hardly seems like the epitome of neatness.\n\n> You look at the stove\nCovered with grime from a dozen meals. The place doesn't seem like it gets cleaned very often.\n\n> You open cabinet\nYou open the cabinet, revealing a knife.\n\n> You look at the knife\nA large brutal bowie knife.\n\n> Clean stove\nAre you kidding? This isn't even your place.\n\n> You examine table\nThe multitude of bottles, matchboxes, candlesticks and general junk on the table almost make it seem like someone has tried to create a model city out of the mess."
    },
    {
        "text": "[Themes: Mystery, transformation, wordplay, noir, mystery]\n\n> You look around\nWhat a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.\n\n> 3\nYou head towards the gambling joint.\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\nCamino - the owner of the club - is looking pensively at the roulette table.\n\n> You show the paper to Camino\nHe scans the letter and his eyes widen. \"Where did you get this?\"\n\n\"I never reveal my sources, Mr. Camino. Would you like to discuss the issue, or should I continue digging up dirt?\"\n\n\"Not here. Come with me. We can discuss this in my office.\" He unlocks the small eastern door and enters.\n\n> You go to the east\n(first opening the discreet door)\n\nNeat. Everything here is neat. The stack of papers on the desk is so perfect that it looks more like a big white brick rather than the disorderly piles you see in most offices. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.\n\nCamino is sitting behind the desk, waiting for your next move.\n\n> You look at the brick\nThe brick is painted a bright white color. The paint seem to have been applied recently. You wonder if it might still be possible to wipe it off.\n\n> You wipe the brick\nYou vigorously scrub the brick with the old rag. The paint comes off easily, and soon you are left holding a plain brown brick.\n\n> You talk to Camino\n\"You have my attention, Mr. Reilly. Do you have anything more for me?\"\n\n> You throw the brick at Camino\nYou lack the nerve when it comes to the crucial moment."
    },
    {
        "text": "[Themes: Mystery, noir, transformation]\n\n> You look around\nNeat. Everything here is neat. The papers on the desk are neatly stacked. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.\n\nCamino is sitting behind the desk, waiting for your next move.\n\n> You look at the papers\nThe papers are stacked on top of each other.\n\n> You go to the west\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> 4\nYou head towards the seedy bar.\n\nThe bouncer pats you down in front of the entrance.\nThe bouncer locates the revolver and confiscates it. \"Sorry, Mister. No guns in the bar.\" Mr. Wesson manages to sneak in with you anyway. The bouncer easily locates the large conspicuous bowie knife. \"Well, wadda we got here? Sorry, Mister. Can't have ya stabbin' the other patrons.\"\n\"Your belongings will be returned to you when you leave, Mister.\"\n\nThe thick cigarette smoke makes it almost possible to see more than a few feet ahead. It's like being trapped in a thick London fog. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.\n\n> You examine the fog\nThe fog is so thick that it seems like you could cut it with a knife.\n\n> You take the fog\nIt slips between your fingers.\n\n> You enter the fog\nYou are already surrounded by fog.\n\n> You talk to the bartender\n\"What do you want, buddy?\" says the bartender.\n\n\"Actually I need some information. I am looking for Erik McAllister. I understand that he used to come here a lot?\"\n\nThe bartender sneers. \"No idea who you are talking about, buddy. Order something or get out.\"\n\n> You order the drink\nYou buy a cheap beer and drink it while your consider your options.\n\n> You talk to the bartender\nYou don't seem to be getting anywhere with him. Maybe if you could show him something to get his attention?\n\n> You show the paper to the bartender\nThe bartender reads the letter and laughs out loud. \"HAHAHAHA. I knew a loser like McAllister couldn't keep a girl like that. I told him she was way out of his league, but he wouldn't listen.\"\n\n\"So you do know him?\"\n\n\"Yeah, I guess you got me there, buddy. Look, I don't want any trouble. McAllister hasn't been around for the last couple weeks. You should talk to his friend; that brown haired guy over there with the scar. Leave me out of it.\"\n\nHe points at a place in the thick fog. If you only you could see anything, that might actually be helpful.\n\n> 2\n\"Here you are, Mister,\" says the bouncer, and returns your weapons.\n\nYou head back to your office.\n\nShadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.\n\nThe office door to the north leads to the corridor outside.\n\n> Inventory\nYou are carrying:\na revolver\na knife\na figurative brown brick\na letter\na figurative dirty rag\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\na figurative vinyl record\nsome figurative coagulated blood\n\n> Clean knight\nMaybe some other day.\n\n> You put the oil in the cocoon\n(first taking the oil)\n\nThe white cocoon is already full.\n\n> You examine the lamp\nThe old dirty desk lamp struggles valiantly to light up the office, like an elderly knight fighting to keep the forces of darkness at bay.\n\n> You take the fluid out of the cocoon\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"take fluid.\")\nYou carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.\n\n> You put the light on knight\n(first taking the desk lamp)\n\nWhy would you want to carry around a desk lamp?\nYou need to be holding the desk lamp before you can put it on top of something else.\n\n> You put the oil in the cocoon\n(first taking the oil)\n\nTaken.\n\n> You put the oil on the wheels\nThe wheels look like they have been oiled recently.\n\n> You fix the chair\nA good idea, but you will have to be more specific. How, exactly, are you going to accomplish it?\n\n> You examine the coin\nA shiny penny, which has been apparently been stuck under your chair for quite some time. One side of it has been crushed, making it as sharp as the blade of a knife.\n\n> You take the knife\n(the literal knife)\nYou already have that.\n\n> You examine the blade\nOh, how sharp it is. It seems like it could slice a hair into two.\n\n> 3\nYou decide to check out McAllister's apartment.\n\nThe entrance to the apartment is a dark narrow hallway. The door behind you to the south leads back outside. To the east, the door to the living room is standing ajar. To the north is the bathroom. An old denim jacket hangs on a hook on the wall.\n\n> You go east\nWhat a mess! A large couch stands against the southern wall, with a table in front of it. The table is covered with a diverse variety of empty liquor bottles, rising from the surface like minarets in a dilapidated middle eastern city. To the north is a kitchen counter with two stove plates built into it. Above it is a kitchen cabinet. To the west is the door to the entrance hall.\n\n> You give the coin to the beggar\nThe coin is real. The beggar is not.\n\n> You examine the coin\nA shiny penny, which has been apparently been stuck under your chair for quite some time.\n\n> You check your inventory\nYou are carrying:\na figurative sharp knife\na coin\na revolver\na literal knife\na figurative brown brick\na letter\na figurative dirty rag\nsome figurative putty\na figurative white cocoon\na figurative vinyl record\nsome figurative coagulated blood\n\n> You cut the fog with the blade\nUsing the knife, you cut the fog into more manageable pieces, which quickly fade away."
    },
    {
        "text": "> Describe the surroundings\nCigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.\n\nA brown-haired man with a scar is sitting at one of the tables by himself.\n\n> You talk to the man\n(the brown-haired man with the scar)\nYou approach the man with the scar. \"Excuse me. I am looking for a man named Erik McAllister. I was told you might know something.\"\n\nHe looks at you like one would look at a cockroach that has just slithered out from beneath the kitchen table. \"I don't know nothin'. And even if I did, I ain't no snitch.\"\n\n\"I am looking for him for his own sake. I must insist that you tell me what you know.\"\n\nHe laughs. \"Insist? You ain't in no position to insist on anything, Mister.\" He pulls open his coat, revealing a small knife hidden in the inner pocket. \"Me and me friend here says you should probably get out of here. Unless you got something to back up your words?\"\n\n> You examine the blade\nOh, how sharp it is. It seems like it could slice a hair into two.\n\n> Inventory\nYou are carrying:\na figurative sharp knife\na coin\na figurative brown brick\na letter\na figurative dirty rag\nsome figurative putty\na figurative white cocoon\na figurative vinyl record\nsome figurative coagulated blood\n\n> You show the letter to the man\n(the brown-haired man with the scar)\nHe shows you his knife again. Doesn't seem like words alone will get his respect.\n\n> You examine the scar\nDefinitely from a knife wound.\n\n> You examine table\nCheap wooden tables who look like leftovers from a better establishment.\n\n> You give the coin to the man\n(the brown-haired man with the scar)\nthe brown-haired man with the scar doesn't seem interested.\n\n> You examine the record\nIt is full of scratches. It probably won't be very pleasant to listen to.\n\n> You put the record on man\n(the brown-haired man with the scar)\nMaking the brown-haired man with the scar sound like a scratched record would not be helpful.\n\n> You put the rag on man\n(the brown-haired man with the scar)\nThe brown toupee is in the way.\n\n> You look at the toupee\nSomeone seems to have spilled some grey paint on the toupee.\n\n> You examine man\n(the brown-haired man with the scar)\nA broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is brown with some grey here and there. A vicious scar adorns his face; looks like a knife wound to you.\n\n> You put the rag on man\n(the brown-haired man with the scar)\nHis hair is like a dirty rag on top of his head.\n\n> You look at man\n(the brown-haired man with the scar)\nA broad, muscular man who looks like he could crush your head like a grape with one of his hands. His brown and grey hair rests on the top of his head, like a dirty rag. A vicious scar adorns his face; looks like a knife wound to you.\n\n> You put the blood on the toupee\nIf you want to change his hair, just give the blood to Ronald.\n\n> You look at the bartender\nA middle aged man who looks like he should be sitting at the other side of the bar. He eyes the patrons jealously as they sip their drinks.\n\n> You put the blood on man\n(the brown-haired man with the scar)\nThe dirty rag is in the way.\n\n> You put the blood on Ronald\nHis hair is reddish brown, like coagulated blood.\n\n> You examine man\n(the brown-haired man with the scar)\nA broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is a reddish brown color, like coagulated blood. A vicious scar adorns his face; looks like a knife wound to you.\n\n> You take the blood\nYou like him better this way.\n\n> You put the rag on man\n(the brown-haired man with the scar)\nThe coagulated blood is in the way.\n\n> You take the wound\nIt is there to stay, like all the wounds we receive in life."
    },
    {
        "text": "> Describe the surroundings\nCigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.\n\nA brown-haired man with a scar is sitting at one of the tables by himself.\n\n> 1\n\"Here you are, Mister,\" says the bouncer, and returns your weapons.\n\nYou decide to visit the Baron again.\n\nThe stately mansion of the Baron von B\u00fclow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n> Go north\nIt almost seems like a waste for such a massive entrance hall to be used to welcome a single person. The floor is a conflagration of red marble. Two sets of stairs lead up to a balcony above. French doors in the north side of the room lead to the back garden. To the south, the mahogany doors lead back out.\n\n> Go up\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nLight seeps from the crack beneath the door to the west, like fluid from a leaky container.\n\nYou see Allan Jameson here.\n\n> You take the fluid\nTaken.\n\nYou put the luminescent fluid into the white cocoon.\n\n> You show the letter to Baron\nHe reads the letter, and his face grows red. \"I swear if that damn Scotsman has done anything to hurt my daughter, I will make him pay.\" His face grows pale once more. \"Please find her as soon as possible, Mr. Reilly. Make sure that she is okay.\"\n\n> You examine Baron\nThin, as though his skin had been draped over his skeleton with nothing in between. Dark blue eyes, like deep lakes carved into his face. His hair is grey. His friendly smile lights up his face with a golden glow.\n\n> 1\nYou head back to your office.\n\nShadows huddle in the corners; the sickly yellow light from the desk lamp does little to dispel the darkness. An old cigarette butt lies in the ashtray. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.\n\nThe office door to the north leads to the corridor outside.\n\n> 1\nYou decide to visit the Baron again.\n\nThe stately mansion of the Baron von B\u00fclow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n> You look at the red marble\nThe floor is a conflagration of red marble. You can feel the warmth from the fire through your shoes.\n\n> You take the fire\nThe fire is way too hot. Carrying fire around with you would probably not be a good idea, anyway.\n\n> Go north\nThe grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass like scaly snakes, going nowhere and everywhere. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.\n\n> You examine the citizens\nEqual in every way. Are they happy, you wonder, without the weight of individuality on their shoulders?\n\n> You talk to the citizens\n\"Beware the snakes,\" they tell you. Sounds like good advice.\n\n> You examine the snakes\nThey slither around in the grass, back and forth, unpredictably.\n\n> You take the snakes\nWith your bare hands? You have no idea how poisonous they might be. A single bite might be enough to kill you.\n\n> You look at grass\nThe grass has been meticulously groomed.\n\n> You examine the paths\nLike snakes, slithering through the grass.\n\n> You check your inventory\nYou are carrying:\nsome figurative white marble\na revolver\na literal knife\na figurative dirty rag\na figurative brown toupee\na figurative sharp knife\na coin\na figurative brown brick\na letter\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\na figurative vinyl record\n\n> You cut the snakes with the knife\nWhich do you mean, the literal knife or the sharp knife?\n\n> Sharp\nYou stab the nearest snake with the knife. It writhes in pain and flees from the garden. The other snakes follow its example.\n\n> You look at the paths\nThe stones are like the scales of a giant snake.\n\n> You examine the fountain\nThe water pours from the trumpet into the air. The droplets rain down from above, glistening in the moonlight, like manna from heaven.\n\n> You examine the manna\nA piece of white manna.\n\n> You look at the angel\nIts eyes are closed; its wings spread behind it, as if it is preparing to take off once the trumpet has been emptied. Too bad it never will be.\n\n> You look at Water\nThe water is clear.\n\n> Drink water\nIt might look clean, but you doubt it is safe to drink.\n\n> You give the manna to the beggar\nThe beggar takes the manna and eyes it suspiciously. He tries a bite and his face lights up. \"Thank you, good sir. This will help me get through the day. Please allow me to give you this in return.\" He hands you a tiny needle before disappearing down one of the streets.\n\n> 4\nYou head towards the seedy bar.\n\nThe bouncer pats you down in front of the entrance.\nThe bouncer locates the revolver and confiscates it. \"Sorry, Mister. No guns in the bar.\" Mr. Wesson manages to sneak in with you anyway. \"Your belongings will be returned to you when you leave, Mister.\"\n\nCigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.\n\nA brown-haired man with a scar is sitting at one of the tables by himself.\n\n> You take the needle\nThe knife is much more handy this way.\n\n> You show the knife to man\n(the literal knife to the brown-haired man with the scar)\nYou open your coat, showing him the discreet knife hidden inside. His eyes open wide and then he laughs out loud. \"I gotta give it to you, Mister. You have got some guts. I respect that. I am Ronald Ericksson. Call me Ronald if you want to.\"\n\n> You talk to Ronald\n\"Do you know where I can find Mr. McAllister?\"\n\nHe shakes his head. \"Nope, but I suspect he might be in trouble. I know he had been arguing lots with that broad of his lately. Then I start hearing rumors that he got into trouble with Camino, guy who owns the gambling joint down by the harbour, you know. That guy is trouble. I ain't afraid of him though. I've dealt with plenty worse in my time.\"\n\n> You talk to Ronald\n\"Sorry, Mister. That's all I know.\"\n\n> Examine bar\nThe bar is covered with unidentifiable grime.\n\n> 3\n\"Here you are, Mister,\" says the bouncer, and returns your weapons.\n\nYou head towards the gambling joint.\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> Go east\nNeat. Everything here is neat. The papers on the desk are neatly stacked. There is not a speck of dust on the mahogany desk. It makes you uncomfortable. You never trust people who always need to be in control. That desire hardly ever stops with themselves.\n\nCamino is sitting behind the desk, waiting for your next move.\n\n> You talk to Camino\n\"Mr. Camino, it has come to my attention that you had a beef with Mr. McAllister.\"\n\nHis eyes flash. \"Who told you that?\"\n\n\"I never reveal my sources. How about you tell me what you know? I can get on with my case, and we never have to see each other again.\"\n\n> You talk to Camino\n\"You have done a fine job digging up some pointless dirt, Mr. Reilly.\" His soft smooth voice surrounds you like a velvet blanket. \"But I am afraid I see no hard evidence of any wrongdoing. If you discover any new information, do not hesitate to contact me.\"\n\nThe blanket closes around you, and you find yourself standing outside the door to the office. You don't quite remember what he said to make you leave, but he was very convincing.\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> You put the record on Camino\nHe clears his throat. The sound is like a record getting stuck.\n\n> You talk to Camino\n\"Just what do you think you are doing here, Mr. Reilly?\" His voice is coarse and insecure, like a broken record. \"Did you think this pointless slander would scare me?\"\n\n\"Mr. Camino, I have no interest in scaring you. I am simply trying to locate Miss von B\u00fclow. If you could help me out, I assure you that I won't bother you again.\"\n\nHis voice is almost a growl. \"Oh, you won't bother me again. I am not worried about that at all. ALFONO!\"\n\nThe door opens and the man in the pinstriped suit enters the room. Without a word, he grabs your arm and escorts you out of the office.\n\nYou feel like you are missing something. Perhaps you should explore more and make sure you have found everything?\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling, like an intricate icicle formation. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> You check your inventory\nYou are carrying:\na revolver\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na figurative sharp knife\na coin\na figurative brown brick\na letter\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You go east\n(first opening the discreet door)\nIt seems to be locked.\n\n> You examine Door\nWhich do you mean, the discreet door or the massive double doors?\n\n> Discreet\nA small door that almost seems to blend in with the wall.\n\n> You examine the massive doors\nMassive wooden doors that look like a battering ram would shatter against them.\n\n> You examine the chandelier\nA giant crystal chandelier hangs from the ceiling, like a intricate icicle formation.\n\n> You take the formation\nIt is too far up. If you had someone to help you, you might be able to reach it together.\n\n> You take the formation\nMr. Wesson nods. \"I think I might just be able to reach it if you help me, sir.\" You let him climb up on your shoulders and just barely manage to lift his weight. He reaches towards the icicle. You struggle to keep your balance, and for one precarious moment it seems like you are going to end up in a pile on the floor. Then Mr. Wesson deftly breaks off an icicle and jumps down. He hands you the icicle. \"Here you are, sir.\"\n\n> You look at the icicle\nA cool beautiful icicle."
    },
    {
        "text": "> Look around\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> Gamble\nYou believe in never gambling what you cannot afford to lose. And you can't afford to lose anything.\n\n> You examine the brick\nThe brown brick is dry and porous. You can almost feel its thirst.\n\n> Go north\nThe grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass; the stones are like scales left behind by a giant snake. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south.\n\n> Go west\n(first opening the west door)\n\nA large luxurious bed completely dominates the room. Next to the bed is a small dresser. On the dresser is a lamp. Apart from these things, the room is entirely empty. The window to the south provides a view of the front garden.\n\n> You enter the bed\nNo way. That bed would eat you alive.\n\n> You turn off the lamp\nIt would be pitch dark in here without the light from the lamp.\n\n> You examine the window\nFrom here you can see the front garden. The path winds towards the gates leading away from the mansion.\n\n> You go east\nFrom here you can see the hall beneath you. An iron railing prevents you from falling to the floor far below. Massive oak wood doors block the paths to the east and the west.\n\nThe door to the west is standing wide open.\n\nYou see Allan Jameson here.\n\n> You examine the railing\nThe railing is cool to the touch.\n\n> You examine french doors\nThe glass is so clean that it is almost invisible.\n\n> You examine the mahogany\nTwo massive dark mahogany doors.\n\n> Go south\nThe stately mansion of the Baron von B\u00fclow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\n> You examine the gate\nThe path winds south towards the gate.\n\n> Light\n(the brown brick)\nThis dangerous act would achieve little.\n\n> You look at light\n(the luminescent fluid)\nA kind of luminescent fluid.\n\n> You talk to Wesson\n\"I can't think of anything, sir. Maybe, if we went somewhere else, I could get some ideas?\"\n\n> You look at Door\nWhich do you mean, the Eastern Door, the Entrance Door, or the Toilet Door?\n\n> Go north\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"x n.\")\nYou see nothing unexpected in that direction.\n\n> You examine the toilet door\nA plain door with a sign saying \"Toilet\"\n\n> You examine the sign\n\"Toilet\"\n\n> You take the sign\nWhat on earth would you want that for?\n\n> You enter city\nThe sun bakes down on the city from above. Streets wind in every direction among the buildings. Close to you, a majestic minaret reaches towards the sky.\n\n> You examine the sun\nNot a single cloud obscures its merciless rays.\n\n> Go north\nYou would soon get lost in the maze of twisty streets and alleys. Better to stay here. (If you want to get back to the living room, just type \"exit\".)\n\n> Go upwards\nFrom here the entire city is stretched out beneath you. The streets are empty.\n\n> You examine the jacket\nAn old worn denim jacket.\n\n> 4\nYou head towards the seedy bar.\n\nThe bouncer pats you down in front of the entrance.\nThe bouncer locates the revolver and confiscates it. \"Sorry, Mister. No guns in the bar.\" Mr. Wesson manages to sneak in with you anyway. \"Your belongings will be returned to you when you leave, Mister.\"\n\nCigarette smoke winds through every part of the bar. Various people are sitting at the tables or standing by the bar. Behind the bar, the bartender is cleaning a whiskey glass with an old rag. The door to the south leads outside.\n\nRonald Ericksson is sitting at one of the tables by himself.\n\n> You examine people\nA wide variety of shady people occupy the bar.\n\n> You examine Ronald\nA broad, muscular man who looks like he could crush your head like a grape with one of his hands. His hair is a reddish brown color, like coagulated blood. A vicious scar adorns his face; looks like a knife wound to you.\n\n> You talk to Wesson\n\"You should take the scale from the stone paths, sir. It might be useful later.\"\n\n> You look at the scale\nA single scale left behind by a fleeing snake.\n\n> You look at the path\nThe stones are like the scales of a giant snake.\n\n> You check your inventory\nYou are carrying:\na figurative snake scale\na revolver\na figurative icicle\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na figurative sharp knife\na coin\na figurative brown brick\na letter\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You go south\nThe stately mansion of the Baron von B\u00fclow looms in front of you. Light blares from two windows on the second floor, like the eyes of an angry giant. Two large mahogany doors guard the entrance to the north. The path to the south leads to the gate, away from the mansion.\n\nThe shadows part and the man in the pinstriped suit steps forward. He is holding a gun.\n\n> You examine man\nHis tailored pinstriped suit makes him seem like a businessman on his way to accept his next promotion. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.\n\n> You look at the gun\n(the 22 revolver)\nA small .22 revolver. Bad news; it means he is good enough to get by with that much gun.\n\n> Shoot man\nHe is holding you at gunpoint. You would be dead before you could even the gun out of your pocket. You will have to distract him somehow. Maybe you could throw something at him?\n\n> You check your inventory\nYou are carrying:\na figurative snake scale\na 38 revolver\na figurative icicle\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na figurative sharp knife\na coin\na figurative brown brick\na letter\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You throw the coin at man\nYou expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and bounces harmlessly off his neck. If only it was sharper. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.\n\n> You put the sharp knife on the coin\nThe coin is sharp as a knife.\n\n> You throw the coin at man\nYou expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He doesn't even blink. He executes you with as much emotion as a businessman conducting a deal. If only you could get rid of the businessman, he might be less efficient.\n\n> You look at the businessman\nA well dressed gentleman who looks like he never lets his emotions interfere with business.\n\n> Inventory\nYou are carrying:\na figurative snake scale\na 38 revolver\na figurative icicle\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na coin\na figurative brown brick\na letter\nsome figurative putty\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> Go north\nHis gun barks once, and once is enough. If only you could have distracted him somehow.\n\n> You examine the snake\n(the black snake)\nA smooth black snake.\n\n> You take the snake\n(the snake scale)\nYou already have that.\n\n> You take the black snake\nThe smooth snake slithers between your fingers and escapes.\n\n> You put the scale on the black snake\nYou put the scale on the black snake, but it just slides off the smooth skin. If only you had some way of making it stick.\n\n> You put the putty on scale\nYou carefully attach the putty to the back of the scale. Now it should be able to stick to anything.\n\n> You put the scale on the black snake\nThe black snake is rough and scaly.\n\n> You take the black snake\n\"Hissss,\" You quickly withdraw your hand.\n\n> You look at what you're carrying with you\nYou are carrying:\na 38 revolver\na figurative icicle\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na coin\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You put the rag on the snake\nWhich do you mean, the black snake or the snake scale?\n\n> You talk to the businessman\n\"Please don't take this personal, sir. It's just business.\"\n\n> You put Wesson on businessman\n(first taking Mr. Wesson)\n\nI don't suppose Mr. Wesson would care for that.\nYou need to be holding Mr. Wesson before you can put him on top of something else.\n\n> You talk to Wesson\n\"He is too efficient, sir. Maybe you can scare away the businessman that makes him so? Try attacking the businessman.\"\n\n> You throw the coin at the businessman\nYou lack the nerve when it comes to the crucial moment.\n\n> You hit the businessman with the knife\n(the literal knife)\nThe literal knife is real. The businessman is not.\n\n> You hit businessman with the sharp knife\nThe businessman deftly avoids your attacks. \"There is no need to get aggressive, sir. It's just business.\" If only you were a better fighter, you might be able to take him down. Maybe Mr. Wesson would have better luck?\n\n> You hit the businessman with the sharp knife\n(Mr. Wesson first taking the sharp knife)\n\"If you want me to have the sharp knife, you should give it to me, sir.\"\n\n> You give the sharp knife to Wesson\n\"Thank you, sir. Let me know if you want me to attack someone.\"\n\n> You attack businessman\nYou both advance on the businessman. Mr. Wesson is brandishing the knife. You follow not far behind him. The businessman looks from one of you to the other, and his professional demeanor evaporates. \"Look, I don't want any trouble. This really isn't any of my business.\" With that, he disappears into the shadows.\n\n> Attack snake\nWhich do you mean, the black snake or the snake scale?\n\n> You give the knife to you\n(the sharp knife to yourself)\n\"Of course, sir. Here you are.\"\n\n> You put it on the coin\nThe coin is sharp as a knife.\n\n> You examine the carlo\nHe is wearing a pinstriped suit. Within the suit is an ordinary looking Italian-American man with a moustache resting above his lips like a small black snake. He is pointing a gun at you. His face is expressionless.\n\n> You hit snake with the icicle\n(the black snake with the icicle)\nYou can't use the icicle as a weapon.\n\n> You take the snake\n(the black snake)\n\"Hissss,\" You quickly withdraw your hand.\n\n> You give the icicle to the snake\n(the black snake)\nThat would not be a very good simile.\n\n> You look at what you're carrying with you\nYou are carrying:\na 38 revolver\na figurative icicle\nsome figurative white marble\na literal knife\na figurative dirty rag\na figurative brown toupee\na coin\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You put the snake in the cocoon\n(the black snake in the white cocoon)\nThe white cocoon is just a simile. It can't contain literal objects.\n\n> You kill the snake with the knife\n(the black snake with the literal knife)\nThe knife is real. The snake is not.\n\n> You kill the snake with the blade\n(the black snake with the sharp knife)\nThe snake nimbly avoids your attacks.\n\n> You show the coin to the black snake\nThe black snake is unimpressed.\n\n> You look at the icicle\nA cool beautiful icicle.\n\n> You give the marble to the snake\n(the black snake)\nMaking the black snake as smooth and hard as marble would not be helpful.\n\n> You examine the letter\nThe writing is almost illegible, but you manage to decipher it.\n\n\"Lisa\n\nI know you have something going on with that bawbag Camino. Don't try to deny it I have seen how you flirt and god knows what else you are doing. You are not gonna do that no more or im gonna have to take matters into ma own hands.\n\nErik.\"\n\n> You talk to Wesson\n\"It is still futile to attack him while he is holding us at gunpoint, sir. You will have to distract him somehow.\"\n\n> You throw coin at carlo\nYou expertly flick the coin at Alfono. It glides through the air, like a tiny flying disc, and the sharp edge embeds itself in his neck. He cries out in pain, and instinctively reaches for the wound. His gun points towards the clear night sky. His moustache gleams in the moonlight.\n\n> You shoot carlo\nIt's tempting, but dead men tell no tales. You want to take him alive.\n\n> You cut the moustache with the knife\n(the literal knife)\nThat seems like a bad idea.\n\n> You throw the knife at Carlo\n(the literal knife at Carlo Alfono)\nNice try, but he executes you as soon as you pull the knife. Perhaps you should try a more discreet object?\n\n> You take the moustache\nWhile he is distracted, you grab his moustache and pull as hard as you can. He roars in pain and the gun drops to the ground. It doesn't take long before your roles are reversed.\n\n\"Who sent you?\" you ask. He merely stares at you, without a word. \"Tell me what I want to know, and I might let you live.\" You can tell he knows you are bluffing. You are no murderer.\n\nIt's a moot point anyway. You can hear the police sirens approaching in the distance. Someone from the mansion must have noticed the commotion. The police will have to deal with him.\n\nCopernik's Office (on your chair)\nThis small cramped office is just large enough to fit in a desk and two chairs. The walls are yellow from cigarette smoke. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.\n\nDetective Copernik is sitting on the chair behind the desk.\n\n> You look at Copernik\nA huge man, almost as broad as he is tall. His eyes are piercing; his hair, jet black.\n\n> You talk to him\nYou have been talking for what seems like hours already. What more does he want to know?\n\n\"I have already told you what happened, Detective. Why don't you just let me go now and we can both get some sleep?\"\n\nDetective Copernik lights yet another cigarette and blows a ring of smoke at your face. It dissipates before it reaches you, merging with the grey substance that passes for air in here. \"I just want to make sure I have all the facts straight here. Private dicks always complicate matters. We tell people they should just let us do our jobs, but they never listen. So, you visit this Camino fella about Miss B\u00fclow. You get him angry, and shortly afterwards his goon tries to kill you?\"\n\n\"That's correct. Has Mr. Alfono said anything?\"\n\nHe leans back in his chair. \"We are actively pursuing all leads. Now, I am wondering why Mr. Camino would want to have you killed merely for asking a few questions. Would it surprise you to hear that we are also looking for Miss B\u00fclow? The Baron filed a missing persons report.\"\n\nThat does surprise you. \"That doesn't surprise me.\"\n\n\"I should have known he would hire a private dick as well. These old rich guys never trust the authorities. Now that you are involved, we might as well make the best of it. Why don't you tell me everything you know?\"\n\n> You look at the bodies\nThey are at peace. The fire in their hearts died aeons ago.\n\n> You look at the desk\nA flat piece of wood resting on four wooden legs. That is all.\n\n> You talk to Copernik\n\"Detective, I have already told you everything I know. Keeping me here serves no purpose.\"\n\n\"I don't think so,\" he says. His eyes are fixed at your face. \"You people always hide something. Why don't you tell me what it is so you can get out of here? I am used to staying in this crappy office. I am sure you are more uncomfortable than I am.\"\n\nHe is right. The cramped room. The yellow walls. Everything contributes to the claustrophobic atmosphere.\n\n> You examine the walls\nThey might have been white in the distant past, but they have long since turned a sickly yellow color from the cigarette smoke - like the skin of a man slowly dying from liver cancer.\n\n> You look at the skin\nHe is delirious from fever. He clearly doesn't have long left to live.\n\n> You talk to the skin\nHe is delirious. You can't make sense of anything he is saying.\n\n> You check your inventory\nYou are carrying:\na revolver\na figurative icicle\nsome figurative white marble\na knife\na figurative dirty rag\na figurative brown toupee\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You put the toupee on Copernik\nHis hair is getting grey.\n\n> You examine Copernik\nA huge man, almost as broad as he is tall. His hair is getting grey. His eyes are tired.\n\n> You take the toupee\nYou like him better with it.\n\n> You search the bodies\nThey are at peace. You don't want to disturb them.\n\n> You talk to Copernik\nYou are not getting anywhere. The atmosphere in here just isn't made for friendly conversation."
    },
    {
        "text": "[Themes: Mystery, detective, wordplay, mystery]\n\n> You look around\nCopernik's Office (on your chair)\nThis small cramped office is just large enough to fit in a desk and two chairs. The walls are yellow from cigarette smoke. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.\n\nDetective Copernik is sitting on the chair behind the desk.\n\n> You look at the ashtray\nThe \"ashtray\" is an amorphous blob of congealed clay shaped so that it can just barely keep its contents from spilling all over the desk. It is filled with ancient cigarette butts, resting in the recess, like mummies from long forgotten eras.\n\n> You go west\nYou wish you could just leave and go home. Alas, the Detective does not look to be done with you yet.\n\n> You check your inventory\nYou are carrying:\na revolver\na figurative icicle\nsome figurative white marble\na knife\na figurative dirty rag\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You give the icicle to the skin\nThe icicle will burn him if it touches him directly.\n\n> You put the icicle on the rag\nYou carefully wrap the icicle in the rag.\n\n> You give the rag to the skin\n(first taking the dirty rag)\nThat would not be a very good simile.\n\n> You look at what you're carrying with you\nYou are carrying:\na figurative dirty rag\na revolver\na figurative icicle\nsome figurative white marble\na knife\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You give it to skin\nWith the icicle carefully wrapped in the rag, you touch it to his forehead. There is a sigh of relief as his skin cools. A sizzling sound emerges from within the rag as the icicle melts, evaporates, and dissipates. The man opens his eyes - the color has returned to his skin.\n\n\"Thank you, friend,\" he says, and smiles. \"I feel much better now. I should probably go see my doctor.\" With that, he gets up and leaves the room. You are left holding the empty rag."
    },
    {
        "text": "> Look around\nCopernik's Office (on your chair)\nThis small cramped office is just large enough to fit in a desk and two chairs. The walls are bright white, lighting up the room. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.\n\nDetective Copernik is sitting on the chair behind the desk.\n\n> You talk to Copernik\n\"Detective, I really have told you everything. I think we are both going to solve this case much faster if you just let me go.\"\n\nHe smiles. \"I suppose you are right. Whatthehell, I am in a good mood today. You can go, Mr. Reilly, as long as you promise to keep me up to date if you manage to dig up some more information.\"\n\nYou stand up and shake his hands. \"Of course, Detective.\"\n\nThis small cramped office is just large enough to fit in a desk and two chairs. The walls are bright white, lighting up the room. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.\n\nDetective Copernik is sitting on the chair behind the desk.\n\n> 3\nYou head towards the gambling joint.\n\nAll sorts of gambling tables dot the floor. There are roulette, blackjack, poker and more games you have never even heard of. No one looks at you. Every ounce of their attention is directed toward the random events that decide their lives. A giant crystal chandelier hangs from the ceiling. To the west, massive double doors lead outside. At the eastern wall is a small discreet door; the kind of door you are not supposed to notice, much less enter.\n\n> You go east\n(first opening the discreet door)\nIt seems to be locked.\n\n> Inventory\nYou are carrying:\na figurative dirty rag\na revolver\nsome figurative white marble\na knife\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> 5\nYou head back to the police station.\n\nThis small cramped office is just large enough to fit in a desk and two chairs. The walls are bright white, lighting up the room. On the desk is an ashtray that looks like it was made by a kindergartener as a gift. It is filled with old cigarette butts, like tiny mummified bodies. To the west, a door leads to the rest of the police station.\n\nDetective Copernik is sitting on the chair behind the desk.\n\n> You show the letter to Copernik\nHe reads the letter without much interest. \"Nice find, Mr. Reilly, but my gut tells me that Camino is behind the girl's disappearance. McAllister is too much of a loser to pull of something like this.\"\n\n> You go north\nThe grass here has been meticulously groomed. Not a single strand stands above the others, like citizens in a socialist utopia. Stone paths wind through the grass. From a fountain in the middle of the garden, from a trumpet held by an angel, water shoots into the air. The mansion lies behind you, to the south."
    },
    {
        "text": "> O brick\nYou can only do that to something animate.\n\n> You talk to Copernik\n\"Think about it, Detective. I do all the hard work. You get all the credit. I get my paycheck and everyone is happy. What do you say?\"\n\nHe sighs. \"I guess you have a point. I am getting too old for this shit. Look, I am afraid we don't know much more than you do. All I can tell you is that Camino owns a vacation home on the outskirts of the city. I haven't had time to check it out yet. Why don't you do it and tell me if you find anything?\"\n\n> 6\nYou head towards the vacation house.\n\nThe moonlight filters through the trees like silvern waterfalls. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.\n\n> You examine the waterfalls\nThe liquid shines with a light that seems to come from within.\n\n> You examine the windows\nThrough the windows you can make out Camino arguing with a young girl you can only assume must be Lisa von B\u00fclow. Bingo.\n\n> You examine Door\nA sturdy front door. It is all that stands between you and your target.\n\n> Inventory\nYou are carrying:\na figurative dirty rag\na revolver\nsome figurative white marble\na knife\na figurative brown brick\na letter\na figurative white cocoon\nsome figurative luminescent fluid (providing light)\n\n> You open Door\nYou open the front door.\n\n> Go north\nSo this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.\n\nCamino is looking straight at you. His face is contorted in a mixture of anger and surprise.\n\nLisa von B\u00fclow is smiling, and looking at you as if you were a new plaything.\n\n> You look at Lisa\nBuilt like a mountain road, full of dangerous curves - drive too fast and you might go right over a cliff. A sly smile plays on her face.\n\n> You look at the road\nThe road goes up, twisting around the mountain. There is no telling where it ends. Maybe you should check it out?\n\n> You enter Road\nOn the Mountain Road (in the car)\nThe road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.\n\n> You go north\nFarther Along the Mountain Road (in the car)\nThe road continues to the west before ending abruptly in a road block. A police cruiser is parked behind the road block, its emergency lights silently illuminating the road. To the east, the road leads back down the mountain.\n\nA police officer is leaning against the cruiser.\n\n> You examine the officer\nA tall fit man in a police uniform. He looks like he has dealt with far worse than you.\n\n> You talk to the officer\n\"The road is closed, sir,\" says the officer. \"There has been a rockfall farther along the road. It's not safe to drive here.\"\n\n> You continue\n\"I know what I am doing, officer. Why don't you just let me through? I am fine with the risk.\"\n\nHe shakes his head slowly. \"Sorry, sir. I would be held responsible if you got hurt.\"\n\n\"And there is nothing that can change your mind?\"\n\n\"That depends...\" He smiles. \"Wadda ya got?\"\n\n> You examine the cruiser\nA blue and white police cruiser.\n\n> You examine the roadblock\n\"Road Block,\" says the sign. That's a road block, all right.\n\n> You talk to the officer\n\"If you want me to risk my job, you gonna have to give me something in return, Mister.\"\n\n> You give the marble to the officer\n\"What on earth would I want with that?\"\n\n> You give the fluid to the officer\n(first taking the luminescent fluid)\nYou carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.\n\n> You examine the car\nOld, a bit worse for wear, but reliable. Like you, really.\n\n> You put the river in the cocoon\nThe white cocoon is just a simile. It can't contain literal objects.\n\n> Exit\nThe moonlight filters through the trees like silvern waterfalls. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.\n\n> You put the waterfall in the cocoon\n(first taking the liquid silver)\n\nThe white cocoon is already full.\n\n> Empty cocoon\nYou carefully try to remove the luminescent fluid from the white cocoon, but it runs through your fingers and disappears. You have a feeling there is more where that came from.\n\n> You put the silver in the cocoon\n(first taking the liquid silver)\n\nTaken.\n\n> Go north\nSo this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.\n\nCamino is looking straight at you. His face is contorted in a mixture of anger and surprise.\n\nLisa von B\u00fclow is smiling, and looking at you as if you were a new plaything.\n\n> You enter Road\nOn the Mountain Road (in the car)\nThe road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.\n\n> You give the cocoon to the officer\n(first taking the liquid silver)\nHis eyes light up with greed as you show him the silver. \"Wow, that'll certainly do the job, Mister. Thanks a lot.\" He pours the silver into a canteen, and secures the lid. \"I can't wait to find out how much that will be worth. Enjoy your mountain trip, Mister.\" He removes the road block, gets into the cruiser, and drives down the road, disapearing around the corner.\n\n> You look at what you're carrying with you\nYou are carrying:\na figurative dirty rag\na revolver\nsome figurative white marble\na knife\na figurative brown brick\na letter\na figurative white cocoon\n\n> You go to the west\nEven Farther up the Mountain (in the car)\nThe road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.\n\n> You look at the cabin\n(the log cabin)\nAn old-fashioned log cabin; the kind that William Henry Harrison wasn't born in. There is light coming from the windows.\n\n> You look at the windows\nAn old-fashioned log cabin; the kind that William Henry Harrison wasn't born in. There is light coming from the windows.\n\n> You examine the rocks\nA giant pile of big heavy rocks blocks the road. There is no way you are getting past here.\n\n> You enter the cabin\n(the log cabin)\nThe car won't fit through the door.\n\n> You exit\nYou get out of the car.\n\nThe road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.\n\nYou see your car here.\n\n> Go east\n(first opening the cabin door)\n\nThe warm air in the cabin caresses your face. The heat comes from a cozy fireplace fire that fills the cabin with a soft warm light. An old couch stands by one of the walls. On the couch table are two glasses of brandy.\n\n> You look at the couch\n(the old couch)\nAn old worn couch that seems like it has been used by generations of log cabin owners.\n\n> You examine the brandy\n(the first glass of brandy)\nA glass of brandy.\n\n> You examine the fireplace\nA crackling fire keeps the log cabin warm.\n\n> You examine table\nA simple wooden couch table.\n\n> You take brandy\n(the first glass of brandy)\nYou pick up one of the glasses of brandy. Mr. Wesson takes the other.\n\n> You taste the brandy\n(the first glass of brandy)\nYou taste nothing unexpected.\n\n> You taste the brandy\n(the first glass of brandy)\nMr. Wesson has better things to do.\n\n> You sip the brandy\n(the first glass of brandy)\n\n> Yes\nHe has served you well for so many years. You can't bear to refuse him.\n\nA smile lights up his face. \"Thank you, sir. You can still visit me any time you want if you need my advice.\"\n\n> You talk to Wesson\n\"You will have to get rid of Camino before you can talk to Lisa, sir. Maybe try attacking him?\"\n\n> You look at Wesson\nMr. Wesson is lounging on the couch. He looks content.\n\n> You look at the couch\n(the old couch)\nAn old worn couch that seems like it has been used by generations of log cabin owners."
    },
    {
        "text": "[Themes: Mystery, mystery, detective, transformation]\n\n> Look around\nThe warm air in the cabin caresses your face. The heat comes from a cozy fireplace fire that fills the cabin with a soft warm light. Mr. Wesson is lounging on the couch in front of the fireplace.\n\n> Leave\nThe road continues south before ending at a huge pile of rocks. A quaint log cabin has been erected east of the road.\n\nYou see your car here.\n\n> You look at the gun\nA .38 revolver. What more do you need to know?\n\n> You examine Mountain\nThe peak of the mountain is lost in the clouds.\n\n> You go north\nIt is too far to walk.\n\n> You examine the car\nOld, a bit worse for wear, but reliable. Like you, really.\n\n> You enter the car\nYou get into the car.\n\n> Go north\nFarther Along the Mountain Road (in the car)\nThe road continues to the west before turning around another corner. The path ahead is clear. To the east, the road leads back down the mountain.\n\n> Go east\nOn the Mountain Road (in the car)\nThe road twists around the mountain, like the curves of a beautiful woman. To the north, the road turns left, disapearing behind walls of stone. Who knows where it might lead? To the south, the road leads back where you came from.\n\n> You examine the walls\nImpenetrable.\n\n> You go south\nSo this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.\n\nCamino is looking straight at you. His face is contorted in a mixture of anger and surprise.\n\nLisa is smiling nervously and looking at Camino, like a servant girl waiting for her master to handle matters.\n\n> You talk to Camino\n\"You again?\" he says. \"I thought Alfono would have taken care of you by now.\"\n\nYou shrug. \"I am tougher than I look. If you have other employees you need to get rid of, feel free to send them my way. Now, I think it's time for Miss B\u00fclow to go home.\"\n\nHe laughs. \"She is not going anywhere. Now scram, or I will deal with you myself.\"\n\n> You hit Camino with the knife\nYou are not sure you can take him in a fair fight. You need to find a weak spot.\n\n> You examine Camino\nA tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A scar crosses his left cheek, like a canyon in the middle of an otherwise pristine African savanna.\n\n> You look at the hat\nA stylish beige trilby hat.\n\n> You examine the suit\nA beige suit.\n\n> You look at the savanna\nThe savanna is dry, with only a few clumps of grass bravely clinging to their lives. The sun beats down mercilessly from above. You see no signs of animal life.\n\n> You rub the rag on the brick\nI only understood the first part of that-- trying anyway.\n\n(retrying as if you'd typed \"rub rag.\")\nYou achieve nothing by this.\n\n> You examine the brick\nThe brown brick is dry and porous. You can almost feel its thirst.\n\n> You go south\nThe moonlight shines through the treetops. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.\n\n> You take the oil\nTaken.\n\nYou put the oil into the white cocoon.\n\n> You put the oil on the brick\nYou pour the oil on the brick. The viscous black fluid is quickly absorbed. The brick is now as black as midnight.\n\n> 6\nYou head towards the vacation house.\n\nThe moonlight shines through the treetops. In front of you, to the north, is the house. There is light coming from both windows. To the south, the forest path leads back towards the city.\n\n> Go north\nSo this is were she has apparently been hiding this entire time. The living room is littered with expensive furniture - the kind that exists solely to show that the resident can afford it. You pay no attention to the decorations. The people are all that matters. The door to the south leads back out.\n\nCamino is looking straight at you. His face is contorted in a mixture of anger and surprise.\n\nLisa is smiling nervously and looking at Camino, like a servant girl waiting for her master to handle matters.\n\n> You put the brick in the river\nYou throw the oily brick down the canyon, and can just barely make it out hitting the river far, far below. The effect is immediate: The oil spreads quickly, and within moments the previously pristine profluence is black with pollution. You say a quick prayer for the poor fish who might have lived there. They never saw it coming.\n\n> You look at Camino\nA tall thin man impeccably dressed in a beige suit and a trilby hat. Everything about him is beige; even his pale skin is almost indistinguishable from the color of his clothes. A gangrenous wound crosses his left cheek, like a polluted river.\n\n> You cut wound with the knife\nThat seems like a bad idea.\n\n> You hit Camino with the knife\nYou are not sure you can take him in a fair fight. You need to find a weak spot.\n\n> You take the knife\nYou already have that.\n\n> You throw the knife at the wound\nFutile.\n\n> Hit the wound\nBefore he has a chance to react, you reach out and rip some of the gangrenous flesh off his face. He should be thankful, really, but as he drops screaming to his knees with blood flowing from his cheek, you are sure that gratitude is the last thing on his mind. Lisa looks at him with contempt. \"Is that really the best you can do?\"\n\nHe turns towards towards her; his face, a mask of rage. \"YOU STUPID BITCH! I help cover up the murder of your pathetic boyfriend, and I have got nothing but misery to show for it. I am not going to risk my life for your sake anymore.\"\n\nHe gets up, covering the wound with one hand, adjusting his hat with the other. \"She is all yours, mister detective. Just keep her out of my sight.\" With that, he disappears out the door.\n\n> You talk to Lisa\n\"Okay, Miss von B\u00fclow, you've had your fun. Time to go home.\"\n\nShe looks at her feet and chews at a bit of hair. \"I am sorry I ran away, but I was so scared. I didn't mean to kill Erik. We were arguing and...\" She sobs.\n\n\"Don't worry about it,\" you say, and take her hand. \"I am sure your father will be able to sort things out.\"\n\nBookshelves line every wall, allowing only a small space for the door to the west and another one for the small window in the north wall. The floor is covered in a thick luxurious red carpet. The air smells of dust.\n\nMr. Jameson is standing by the door.\n\nDetective Copernik is standing next to the Baron.\n\nLisa von B\u00fclow is standing in front of her father, awaiting her judgement.\n\nThe Baron sits in a black leather easy chair on the east side of the room.\n\n> You talk to Baron\nLisa looks pleadingly at her father. His face melts in the glow from her eyes, and he smiles.\n\n\"Lisa, I have spoken to the detective, and I think we have reached an understanding.\"\n\nCopernik nods. \"It is obvious that your daughter was being framed by Mr. Camino. No one could possibly suspect such an innocent creature. I will see to it that Camino is brought to justice for the murder of Erik McAllister. At the very least, you have no reason to worry, miss.\"\n\nShe smiles. The kind of smile that wars have been fought over. \"Thank you so much, Detective. You should come visit me some day. We could have lots of fun.\"\n\n\"Well... I... Ehm...\" The detective leaves the room without ever finishing the sentence.\n\nThe Baron hands you your check. \"Thank you so much for bringing my daughter back, Mr. Reilly. You can't imagine how much that means to me.\"\n\n\"I was only doing my job,\" you assure him, as you accept the check. No need to get personal.\n\nYour Office (on the office chair)\nShadows huddle in the corners, like dark pools of oil; the sickly yellow light from the desk lamp does little to dispel the darkness. A cigarette butt smolders in the ashtray, like the last embers from a dying camp fire. Your desk is covered with old case files - reminders of past glories. Apart from the desk, the only other furniture is an old office chair.\n\nThe office door to the north leads to the corridor outside.\n\nThere is a knock at the door.\n\n> You open Door\nYou get off the office chair.\n\nThe door opens and your doctor enters the room.\n\n> You examine doctor\nA fine medical professional, no doubt. If only he wouldn't try to interfere with your life all the time.\n\n> You talk to the doctor\nHe looks around the office. \"It stinks in here.\"\n\nIt's the oil. It stinks up the place.\n\n\"Have you been sitting in your office all day?\"\n\nOf course not! You tell him all about the case. The Baron, the missing daughter, the treasure hidden beneath the lake. Everything.\n\nThere is sadness in his eyes. \"I spoke to Mr. Jameson. He mentioned that you did not seem well.\"\n\nWhat an asshole. You solved the case, didn't you?\n\n\"I really wish you would listen to my advice. You need to take your medication every day. Lytton-Chandler syndrome is no joking matter.\"\n\nAbsolutely. You will make sure to remember it from now on.\n\n\"Very well.\" He sighs. \"I will stop by and see how you are doing next week.\" He leaves, closing the door behind him.\n\nHe is okay, though, just way too pedantic. You don't need to take it every day. You work much better without it."
    },
    {
        "text": "[Themes: Surreal, language, magical realism, surreal, linguistics, ocean, aliens, gender-neutral protagonist, nonhuman protagonist]\n\nThe sun has gone. It must be brought. You have a rock.\n\nFor A Change, v1.02\nDan Schmidt <dfan@alum.mit.edu>\n\nUnder the High Wall (on the resting)\nSweetness fills the shade of the High Wall to your east. Under this sweetness lies a small expanse of fod. A mobile releases mildly to the west; far in that direction a tower proudly plants itself, while the ground rises more slowly to the south and relaxes to the north.\n\nSpread on the resting is a guidebook.\n\nSleep gradually departs from your eyes. A small stone has been insinuated into your hand.\n\nIt is a small smooth stone, the size of a small gland, a size to roll between your fingertips, nothing more than a pebble.\n\n[Author's Note: The sun has gone. It must be brought. You have a rock.]\n\n> About yourself\nYou are faded and silent.\n\n> You look at guidebook\nThis tattered book describes itself quietly but firmly as an indispensable guide to the plain.\n\n> You take the guidebook\nTaken.\n\n> You look at the sweetness\nThe sweetness slowly shortens and expands.\n\n> You examine mobile\nThe mobile is made of dirt and twine and extends along the ground, beckoning.\n\n> You take the mobile\nThe mobile is to be traversed, rather than to be held.\n\n> You take the fod\nThe fod is, and remains, where it is.\n\n> You read guidebook\nThe guidebook inflates itself with numerous definitions.\n\n> You look up the fod in the the guidebook\n'FOD is the substance of earth.'\n\n> You look up the mobile in the guidebook\n'The MOBILE is laid for the provision of movement with additional ease.'\n\n> You look up the tower in the guidebook\n'The TOWER of the plain admits a view of all that may be seen. Our standard flies proudly from its height.'\n\n> You look up SUN in the guidebook\n'The fabled SUN, it is said, will rise in our lifetime to bring brightness and warmth, though to date it has remained hidden.'\n\n> You look up HIGH WALL in the guidebook\n'The HIGH WALL divides the sunrise from its setting, and ensures the shade of the plain.'\n\n> You look up the guidebook in the guidebook\n'This GUIDEBOOK explicates the statements of the plain. It may be consulted and carried. No finer guidebook can be found within reach.'\n\n> You go to the east\nThe resting must first be departed.\n\n> You examine the resting\nThe resting sits on five wooden legs and slopes gradually.\n\n> You depart resting\nThe resting sighs at your departure.\n\n> You look up resting in guidebook\n'The RESTING is a device made for that selfsame purpose.'\n\n> Go west\nThe land increases towards your head to the south, and decreases away from your feet to the north. Mobiles lead accordingly in both directions. The High Wall may also be approached to the east. A long walk to the west is a tower, dwarfing your form, and dwarfed in turn by the wall.\n\nIt is clear, after a time, that all things are shaded, everywhere. Thus the Wall.\n\nInscribed on the brown grass is a toolman.\n\n> You examine the toolman\nThe toolman is bright and misty. Thoughts and uses hang from his shoulders like birds.\n\n> You look up the toolman in the guidebook\n'The TOOLMAN is the grower and keeper of tools. He takes with a hand and likewise provides.'\n\nThe toolman smiles softly.\n\n> You examine the thoughts\nThe thoughts and uses of the toolman glimmer in the shade.\n\nThe toolman smiles softly.\n\n> Hello\nThe toolman understands.\n\nThe toolman jingles in the breeze.\n\n> You ask the toolman about the thoughts\nThe toolman shakes his head.\n\n> You tell you about the thoughts\nThe toolman expresses a soothing regret.\n\n> You look at what you're carrying with you\nIn hand:\na guidebook (loquacious and proud)\na small stone (humble and true)\n\n> You show the stone to the toolman\nThe toolman is unmoved.\n\nThe toolman jingles in the breeze.\n\n> Punch toolman\nYou restrain from such an action.\n\n> You go to the west\nA stone tower rises high and west above you, surrounded by a ring of stamped dirt. An archway faces the wall, strangely small compared to the tower's bulk; one must almost duck to transcend it. A plaque is set above the archway, approaching its size.\n\n> You examine the dirt\nIt lies below, and dreams of the sky.\n\n> Go west\nThe inside of the tower is completely void, nothing remaining but a long spiral staircase rising through the ceiling far above. The plain awaits to the east.\n\nA few scraps of wood lie without pride on the floor, all that remains of the original construction.\n\n> You look at the wood\nPotential and kinetic energy both lost forever, these timbers look helplessly upon the heights.\n\n> You take the wood\nThe wood is too heavy to move from its final place.\n\n> Up\nWhen viewed, as now, from four stories above the ground and an equal distance from the top of the tower, these stairs are the whole of the universe. Far above, they penetrate an opening in the stone ceiling.\n\n> Up\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nA glass-encased model landscape squats on the floor near the east window.\n\n> You examine model\nThe model is the size of a small desk. Spread across its top is the landscape you have traversed, down to the tiniest detail, including, of course, this tower. The structure is set flush against the east wall of this room so that the wall of the room functions as the High Wall. The scene is covered by a pane of glass.\n\n> You examine the glass\nThe pane of glass covers the landscape at a modest height.\n\n> You examine the north window\nThe window describes the wilds to the north, free of mobile and structure. Even there, with no elements to protect, the High Wall holds.\n\n> You look at the south window\nThe window describes the hills of the south. Blue with silence and age, they straddle the ground where once they sought the sky. Just below the window, a flagpole extends from the tower.\n\n> You examine the flagpole\nIt extends perhaps ten feet from the tower, and is long bare of any clothing.\n\n> You look at the east window\nThe window describes the High Wall of the east. Its bulk impresses even more from a location of altitude itself. The plain maintains itself before the High Wall, cowering beneath its span.\n\n> You look at the west window\nThe window describes the desert to the west. The brown is dark to the edge of your sight, covered to all directions by the shade that extends without cease.\n\n> You examine the tower\nThe tower is one of the few landmarks visible in the model. For all you know, you are inside it as well.\n\n> You take the model\nThe model is, and remains, where it is.\n\n> Break glass\nThe glass resists all force."
    },
    {
        "text": "> You describe your surroundings\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nA glass-encased model landscape squats on the floor near the east window.\n\n> You look at what you're carrying with you\nIn hand:\na guidebook (loquacious and proud)\na small stone (humble and true)\n\n> You drop all\nguidebook: Dropped.\nsmall stone: Dropped.\n\n> You go to the south\nYou force yourself through the small window and crawl out onto the flagpole.\n\nOn the Flagpole (clinging to the flagpole)\nThe whole of the land is visible from here, though you are in no position to appreciate it. The tower deepens far below you, and the High Wall looms off to the east.\n\n> Up\nMovement fails in that direction.\n\n> Down\nThat would be suicide.\n\n> Go north\nWith relief, you back up through the window.\n\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nA glass-encased model landscape squats on the floor near the east window.\n\nYou can also see a small stone and a guidebook here.\n\n> You take all\nsmall stone: Taken.\nguidebook: Taken.\nmodel: The model is, and remains, where it is.\n\n> You go east\nThe land increases towards your head to the south, and decreases away from your feet to the north. Mobiles lead accordingly in both directions. The High Wall may also be approached to the east. A long walk to the west is a tower, dwarfing your form, and dwarfed in turn by the wall.\n\nInscribed on the brown grass is a toolman.\n\n> You ask the toolman about the tools\nThe toolman beams with pride.\n\n> Go north\nBy the mobile south, a rounded hole, five times as wide as you are tall, deepens through the earth. Its dark is deeper than that around you. The east is also passable.\n\n> You look at the hole\nThe hole funnels thinly. Far below crouches a narrow pool, in which something slowly circles.\n\n> You look at the pool\nIt lurks far below. Moving deliberately through it is a handle.\n\n> You take the handle\nThe pool flattens far out of your reach."
    },
    {
        "text": "[Themes: Surreal, magical realism, linguistics, aliens, surreal, language]\n\n> Go downwards\nThe walls steepen inward; your feet have no hold.\n\n> Go east\nThe wall to your east continues to gain out of sight. To your north is a massive transparent cube, perhaps five of your heights on each side. Retreats lie west and south.\n\n> You look up the cube in the guidebook\n'It portends poorly to extend a CUBE by other than artifical means; it must be constructed deliberately if at all.'\n\n> You examine cube\nThe cube is featureless in all respects. There appears to be something small on the ground inside, perhaps a manner of cup.\n\nThere is a sudden cracking high above.\n\n> You look at the cube\nThe cube is featureless in all respects. There appears to be something small on the ground inside, perhaps a manner of cup.\n\nA shower of crystal clatters down on the cube and the dirt around you. Shards shoot past your face and embed themselves in the ground.\n\n> You examine the shards\nThe shards act as a carpet of broken glass. Even standing here is treacherous.\n\n> You examine cube\nThe cube is featureless in all respects. There appears to be something small on the ground inside, perhaps a manner of cup.\n\n> You examine the cup\nThe cup sits patiently.\n\n> You look up\nYou see the sky.\n\n> You look up sky in the guidebook\n'The SKY covers the land. Its farthest reaches, it is said, house the sun.'\n\n> You take the shards\nThe glass sharpens far too acutely to retrieve safely.\n\n> Break cube\nThe glass resists all force.\n\n> Go south\nSweetness fills the shade of the High Wall to your east. Under this sweetness lies a small expanse of fod. A mobile releases mildly to the west; far in that direction a tower proudly plants itself, while the ground rises more slowly to the south and relaxes to the north.\n\nAlmost touching the High Wall is a resting, firm and soft.\n\n> Go south\nDun tumbles down loosely from a steep hill to the south, sliced through by the wall to the east.\n\nA spinster flutters in the breeze.\n\n> You look at the spinster\nIt brightens to your approach.\n\n> You look up the spinster in the guidebook\n'The SPINSTER, traditionally made of burlap and bark, predicts sunlight and likewise foretells its shade.'\n\n> You look at Dun\nIt rises to the sky.\n\n> You look up Dun in the guidebook\n'DUN: loose fod.'\n\n> You climb dun\nYou slip on the loose tall earth.\n\n> You take the spinster\nThe spinster is, and remains, where it is.\n\n> You go to the west\nThe mobile from the north ends as the land's slope increases too greatly. Dirt glistens blue. To the south, amid the land, a way opens into darkness, while more ground lies to the east.\n\n> You look at the dirt\nVoid of even grass, the blue of the underworld pokes through.\n\n> You go south\nA dark volume, curried from the surrounding stone, fills your eyes and ears. To the north a passing opens into dimness; from further inside, to the east, a slight glow weakly straggles into the room.\n\n> You examine the glow\nThe glow crawls in from the east and collapses on the floor.\n\n> You go to the east\nThis subsection of the inset brightens and flickers. The shadows belong to the air more than you do, it seems. They walk the cordstone walls; they move and excite. The shadows look to a wall, to bars in the wall, and the songlantern behind them. Further in is east, further out is west, and a slope obtains up to the south.\n\n> You examine the shadows\nThe shadows dance up and down the cordstone, following the brightening and dimming of the songlantern, following the rhythm of its song.\n\n> You examine the songlantern\nThe songlantern hums and burbles, circled by brightening words, evading the bars and piercing the silence and darkness.\n\nThe songlantern murmurs and sings.\n\n> You listen\n\"For a fever well or neither nor believe her...\" The songlantern sings brightness; sparks hum and circle lightly. The shadows dance in three.\n\n> You take the songlantern\nThe bars divide any possible touch between you and the lantern.\n\n> You look at the bars\nThe tall bars, vertical metal and close-set, provide two faculties. First, the creation of shadows. Second, the absence of emptiness by which to pass through. Behind the bars, in a space the width of a handful and height of an arm, the songlantern sits patiently.\n\n> You look up SONGLANTERN in the guidebook\n'The SONGLANTERN brightens without intervention; its tones enlighten its words, as all tones do.'\n\n> Sing\nWords tumble and float from you, and brighten your eyes.\n\n> You look up the cordstone in the book\n'CORDSTONE: A mass consisting of strands of rock, twisted or knotted. Sympathy to waves is thus inherent. Currying of cordstone is uncharacteristically difficult, due to its lengthy nature.'\n\n> You look up currying\n(in the guidebook)\n'CURRY: to consume silently and with regret.'\n\nThe songlantern murmurs and sings.\n\n> Curry cordstone\nThe age of currying is long past.\n\nThe songlantern murmurs and sings.\n\n> You take the bars\nOne bar is loose, and looser, and then free.\n\nThe songlantern murmurs and sings.\n\n> You look at the bar\n(the iron bar)\nAn armlength of iron.\n\n> You take SONGLANTERN\nThe songlantern is wider than the gap.\n\n> You examine the gap\nIt is difficult to describe an absence.\n\nThe songlantern murmurs and sings.\n\n> About you\nYou glow with song.\n\n> You go south\nThe walls and light contract as this space leads up and westward. The light and song from the north weaken with distance.\n\n> About yourself\nYou are faded and silent.\n\nYour circling utterances collapse and distune, fading.\n\n> Go west\nYou are surrounded by the lack of thought and light.\n\n> You go west\nYou are surrounded by the lack of thought and light.\n\nThe song of the lantern dances in and out of your hearing, faint with distance.\n\n> Sing\nWords tumble and float from you, and brighten your eyes.\n\nThe song of the lantern dances in and out of your hearing, faint with distance.\n\nThe passage ends without foreshadowing, as if the end came without warning.\n\nA worn anchisel rests on the roughened floor.\n\n> You take the anchisel\nTaken.\n\n> You look up anchisel in the book\n'An ANCHISEL may be used to curry any softer rock with precision. For larger work, a granchisel is required.'\n\n> Go east\nThe passage ends at a wall of water to the east. Light stumbles from the west.\n\nGlowing words hang in the air before the water.\n\nYour circling utterances collapse and distune, fading.\n\n> You look at the water\nThe water hangs in midair like a hummingbird.\n\n> You examine the words\n\"In this hall\nShall water stand\nAnd gravity's grip be loose\"\n\n> You go north\nThe land increases towards your head to the south, and decreases away from your feet to the north. Mobiles lead accordingly in both directions. The High Wall may also be approached to the east. A long walk to the west is a tower, dwarfing your form, and dwarfed in turn by the wall.\n\nInscribed on the brown grass is a toolman.\n\nThe toolman examines your anchisel with interest.\n\n> You give the anchisel to the toolman\nThe toolman smiles and accepts the anchisel with grace. Holding up one finger, he invites before you and impresses a lie opener upon your hand.\n\nThe toolman smiles softly.\n\n> You look at the lie opener\nThe lie opener is intentional in shape, and surmounted by a small button, shy and silent.\n\nThe toolman smiles softly.\n\n> You look up LIE OPENER in the guidebook\n'The LIE OPENER is a device utilized to unstop that which is false. On the object which is true it has no effect.'\n\nThe toolman jingles in the breeze.\n\n> You go east\nThe passage ends at a wall of water to the east. Light stumbles from the west.\n\nGlowing words hang in the air before the water.\n\n> You look at the water\nThe water hangs in midair like a hummingbird.\n\n> You press the button\nAs you press the button surmounting the lie opener, the hovering words falter and dim. Seconds of silence later, the water collapses upon you, falling and churning.\n\n> You examine the words\nYou can make out almost nothing through the torrent of water.\n\nThe water rushes down and through, covering and carrying you along.\n\nThis subsection of the inset brightens and flickers. The shadows belong to the air more than you do, it seems. They walk the cordstone walls; they move and excite. The shadows look to a wall, to bars in the wall, and the songlantern behind them. Further in is east, further out is west, and a slope obtains up to the south.\n\nA torrent of water is rushing through the room.\n\n> You examine water\nYou can make out almost nothing through the torrent of water.\n\nYou surface and submerge, grabbing at nothing but water as it carries you further.\n\nA dark volume, curried from the surrounding stone, fills your eyes and ears. To the north a passing opens into dimness; from further inside, to the east, a slight glow weakly straggles into the room.\n\nA torrent of water is rushing through the room.\n\n> Wait\nTime passes.\n\nThe water roars out into the plain, tumbling you with it.\n\nThe mobile from the north ends as the land's slope increases too greatly. Dirt glistens blue. To the south, amid the land, a way opens into darkness, while more ground lies to the east.\n\nA torrent of water is rushing out of the cave mouth.\n\n> Wait\nTime passes.\n\nYou are tossed aside onto the dirt as the water continues to rush downhill to the north.\n\n> Go north\nThe land increases towards your head to the south, and decreases away from your feet to the north. Mobiles lead accordingly in both directions. The High Wall may also be approached to the east. A long walk to the west is a tower, dwarfing your form, and dwarfed in turn by the wall.\n\nA stream of water rushes swiftly to the north.\n\nInscribed on the brown grass is a toolman.\n\n> Go south\nThe mobile from the north ends as the land's slope increases too greatly. Dirt glistens blue. To the south, amid the land, a way opens into darkness, while more ground lies to the east.\n\nA stream of water rushes swiftly to the north.\n\n> You go south\nA dark volume, curried from the surrounding stone, fills your eyes and ears. To the north a passing opens into dimness; from further inside, to the east, a slight glow weakly straggles into the room.\n\nA cold knee-deep stream rushes out to the north.\n\n> Go east\nThis subsection of the inset brightens and flickers. The shadows belong to the air more than you do, it seems. They walk the cordstone walls; they move and excite. The shadows look to a wall, to bars in the wall, and the songlantern behind them. Further in is east, further out is west, and a slope obtains up to the south.\n\nA cold knee-deep stream rushes to the west.\n\n> Go east\nA cylinder heightens out of sight, a steady stream of water descending it and splashing about your knees.\n\nGray words hang lifelessly in the air.\n\n> You examine the words\n\"In this hall\nShall water stand\nAnd gravity's grip be loose\"\n\n> Drink\nWhat do you want to drink?\n\n> Drink water\nThe water is swift, cool and clean.\n\n> You go north\nThe land increases towards your head to the south, and decreases away from your feet to the north. Mobiles lead accordingly in both directions. The High Wall may also be approached to the east. A long walk to the west is a tower, dwarfing your form, and dwarfed in turn by the wall.\n\nA stream of water rushes swiftly to the north.\n\nInscribed on the brown grass is a toolman.\n\nThe toolman smiles softly.\n\n> You go to the north\nBy the mobile south, a rounded hole, five times as wide as you are tall, deepens through the earth. Its dark is deeper than that around you. The east is also passable.\n\nA stream of water flows in from the south, filling the hole with a pool.\n\n> You look at the pool\nThe water waves gently. A handle slowly circles it round.\n\n> You take the handle with the bar\nReaching out, you hook the handle, and the fish attached.\n\n> You look at the fish\nThe handlefish blinks impassively.\n\n> You look up the handlefish in the guidebook\n'The HANDLEFISH has adapted to the water of the shade so perfectly that it is liable to violently discorporate when exposed to the water of the sun.'\n\n> You check your inventory\nIn hand:\na handlefish (stoic and taciturn)\na lie opener (merry and vigorous)\nan iron bar (forthright and content)\na guidebook (loquacious and proud)\na small stone (humble and true)\n\n> Up\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nA glass-encased model landscape squats on the floor near the east window.\n\nSomething seems to have cracked the model's glass cover.\n\n> You look at the crack\nIt is too small even to fit a finger through.\n\n> You check your inventory\nIn hand:\na handlefish (stoic and taciturn)\na lie opener (merry and vigorous)\nan iron bar (forthright and content)\na guidebook (loquacious and proud)\na small stone (humble and true)\n\n> You put the stone in the crack\nThe stone barely fits through the crack in the glass. It drops to the landscape below, shattering a small crystal structure.\n\nThrough the east window, in the distance, a dark object flashes downwards and disappears.\n\nSomething thuds in the distance, and the tower shudders.\n\n> You look at the model\nThe model is the size of a small desk. Spread across its top is the landscape you have traversed, down to the tiniest detail, including, of course, this tower, as well as the stream you recently created. The structure is set flush against the east wall of this room so that the wall of the room functions as the High Wall, against which the pebble you dropped is visible. The scene is covered by a pane of glass.\n\n> You examine the tower\nThe tower is one of the few landmarks visible in the model. For all you know, you are inside it as well."
    },
    {
        "text": "[Themes: Surreal, ocean]\n\n> You descend\nWhen viewed, as now, from four stories above the ground and an equal distance from the top of the tower, these stairs are the whole of the universe. Far above, they penetrate an opening in the stone ceiling."
    },
    {
        "text": "[Themes: Surreal, gender-neutral protagonist, language]\n\n> Go down\nThe inside of the tower is completely void, nothing remaining but a long spiral staircase rising through the ceiling far above. The plain awaits to the east.\n\nA few scraps of wood lie without pride on the floor, all that remains of the original construction.\n\n> Go east\nYou now see what fell outside the window; a boulder has smashed through much of the cube.\n\nThe wall to your east continues to gain out of sight. To your north is what remains of a massive transparent cube, perhaps five of your heights on each side.\n\nA large boulder squats on one corner of the cube's remains.\n\nThe ground is covered with glass dust and shards, threatening your footing.\n\n> You look at the boulder\nTwice your height, the boulder buries itself in the dirt.\n\n> You take the cup\nThe cup is inside, and you are out.\n\n> Go north\nThe land, free of its former boundaries, is bare, save for the perfect square of grass, untrod for years until now, formerly within the constraints of its walls.\n\nA wooden cup broods upon the grass.\n\n> You look at cup\nIn the cup is a lie establisher.\n\n> You take cup\nThe cup is fastened to the earth.\n\n> You take the establisher\nThe cup reluctantly yields the lie establisher.\n\n> You look up LIE ESTABLISHER in the guidebook\n'The LIE ESTABLISHER is a device utilized to enhance and fix the untrue. When squeezed, it sustains all immediate lies.'\n\n> You look at LIE ESTABLISHER\nIt is remarkably like a lemon in every respect.\n\n> Go south\nThe wall to your east continues to gain out of sight. To your north is what remains of a massive transparent cube, perhaps five of your heights on each side.\n\nA large boulder squats on one corner of the cube's remains.\n\nThe ground is covered with glass dust and shards, threatening your footing.\n\n> Go south\nSweetness fills the shade of the High Wall to your east. Under this sweetness lies a small expanse of fod. A mobile releases mildly to the west; far in that direction a tower proudly plants itself, while the ground rises more slowly to the south and relaxes to the north.\n\nAlmost touching the High Wall is a resting, firm and soft.\n\n> Go south\nDun tumbles down loosely from a steep hill to the south, sliced through by the wall to the east.\n\nA spinster flutters in the breeze.\n\n> You squeeze lemon\nYou squeeze the lie enhancer. The dim words slowly waken and glow. For one moment the water is still. Then it heeds the words and floods up the tube, taking you with it.\n\nBouncing upon a spume of water, you can make out little of the scene around you. A hollow cylinder rises immensely far, a pinprick of light staring from its end.\n\n> You wait for a while\nTime passes.\n\nYou are buffeted upward for an eternity, rising at an unimaginable speed toward a spot of light at the top of the cylinder. You lose consciousness and regain it after an unknown delay.\n\nYou bob at the top of a hollow cylindrical column with walls of fitted stone, filled almost to the top with water, clean and cold. A ladder ascends from the water's height to a bright opening perhaps twenty feet directly overhead. Below water level is fastened a narrow opening in the east wall.\n\n> Up\nYou hoist yourself up onto the ladder and climb up to the open air.\n\nAs you ascend, the sunlight strikes you fully for the first time with almost physical force. You are stunned by warmth and light.\n\nThe surface of the wall is as wide as you are tall, and unimaginably high above the land to the west. The stones themselves fit each other perfectly, with no mortar between. It is unclear how they barricade the vast ocean to the east, an easy dive of perhaps twenty feet.\n\nThe handlefish blinks in alarm.\n\nThe handlefish is in obvious pain.\n\nThe handlefish gulps with dismay.\n\nThat is no subject.\n\n'The HANDLEFISH has adapted to the water of the shade so perfectly that it is liable to violently discorporate when exposed to the water of the sun.'\n\nThe handlefish glances desperately to and fro."
    },
    {
        "text": "[Themes: Surreal, linguistics, aliens, surreal]\n\n> Look around\nThe surface of the wall is as wide as you are tall, and unimaginably high above the land to the west. The stones themselves fit each other perfectly, with no mortar between. It is unclear how they barricade the vast ocean to the east, an easy dive of perhaps twenty feet.\n\nThe handlefish blinks in alarm.\n\n> You examine ocean\nThe water extends infinitely in all directions but west.\n\nThe handlefish gulps with dismay.\n\n> You look at SUN\nThe sun beams with unparalleled warmth and glory.\n\nThe handlefish glances desperately to and fro.\n\n> You throw the fish in the ocean\nThe handlefish protests silently as you toss it into the vast ocean. As it submerges, a plume of water extends towards the sun and relapses. Then there is a moment of loudness and shock.\n\nThere is a short trembling, as if the ground becomes slightly unsteady for a moment, but it passes.\n\nLooking down, you spy a trickle of water emerging from the west side of the wall.\n\n> You look at the trickle\nThe trickle of water is steadily growing.\n\nA violent shock throws you to your knees. You clutch at the broad stones as best you can, releasing your possessions.\n\nThe wall is falling."
    },
    {
        "text": "> Go down\nGravity is taking care of that.\n\nThe entire wall slides down towards the land to the west. Water soaks you from behind. Ancient chunks of rock fly past you in all directions.\n\nSome great mass hits you in the back, knocking you into the rush of water.\n\nThe world is a mad mixture of rocks, water, and too little air. Waves and stone madly buffet you about, as you periodically go under and resurface.\n\nDuring a brief period above the surface, you catch sight of a rock just by your head.\n\n> You take the rock\nYou clamber up out of the water onto the rock.\n\nRocks and water thunder down on the plain, you atop them. Soon they will overtake the observation tower now looming in front of you.\n\n> You examine the tower\nThe tower rushes at you from below.\n\nThe roiling mass of stone and water overwhelms the tower. Its flagpole is just in front of you.\n\n> You grab Flagpole\nYou reach out with one hand and barely grasp the flagpole, then manage to pull yourself up.\n\nOn the Flagpole (clinging to the flagpole)\nAmidst the chaos around you, this flagpole and the tower to its north are the two things stationary. Just underneath you, huge chunks of stone whip past, unleashing a lifetime of energy.\n\n> You go north\nYou crawl through the window.\n\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nThe model landscape lies on the ground, slightly askew and quickly filling with water.\n\nWater rushes in through the open window and up through the stairway.\n\n> You examine model\nThe model has been dislodged. Its cover has disappeared, and water and sand stream in from a chink in the east wall.\n\nWater rushes in through the open window and up through the stairway. It's now up to your knees.\n\n> You take the model\nStretching your arms to their limit, you groan and lift the model just off the floor.\n\nThe ground shakes.\n\nWater rushes in through the open window and up through the stairway.\n\n> Empty model\nYou strain to upset the model and the flood therein. In response to your desperate lift, the entire tower in which you stand begins to tilt as well, ages of stone and rock sliding through the air with a sickening lack of reluctance. You slip across the newly displaced floor, its angle yawing further with each moment, barely retaining your grip. Water pours in without cease, all denial useless, from all portals, whether windows or stairs. Flung against a wall suddenly turned floor, you flicker, your world narrowing to nothing but your fingers, their hold on the model, on the world, as you meet the wall with a crack that engulfs your consciousness. Water rushes past you and the sky.\n\nWhen you come to, it is gone."
    },
    {
        "text": "[Themes: Surreal, aliens, ocean, gender-neutral protagonist, language]\n\n> You look at your surroundings\nFor an observation room, the view disappoints; it is provided only by four small windows, perhaps two feet by two, long bare of glass, one in each of four directions. A slight breeze is redolent of altitude. An abandoned flagpole vainly gestures outward beneath the southern opening. Stairs descend from the bare stone floor.\n\nYou can see a model here.\n\n> About yourself\nYou are faded and silent."
    },
    {
        "text": "> Go downwards\nThe inside of the tower is completely void, nothing remaining but a long spiral staircase rising through the ceiling far above. The plain awaits to the east.\n\nThe scraps of wood once here have fled.\n\n> Go east\nYou step out into the sunlight, and a newly lit land."
    },
    {
        "text": "[Themes: curse, dynamic fiction, travel]\n\nGillivray is on a rant again. His anger, like an icicle of acid, rotates around his place at the head of the boardroom table. It burns Atkins, to your right, who \"apparently forgot to evolve from the apes,\" then swings mercifully past you, to smite Carter, to your left, who isn't even \"up to the level of apes, that antediluvian amoeba!\"\n\nGillivray's attention swings back to the middle to focus on you. So he didn't forget you after all: \"And you, Norton, you're a man, by species at least. Which makes your manifold failures all the more despicable! Would you like to know the very definition of a shit-eating grin? Look in a mirror, Norton. Furthermore--\"\n\nThere is no mirror. But, with an inward glance, at this moment of overwhelming stress, thought twists, buckles. Decades of mental training slough away. You do see something, behind your fixed grin. There's that caustic crystal in your skull: the dire compulsion of the family curse. For the last century, once the curse is activated, where it commands, your family must obey: GO NORTH.\n\nYou've been lucky your whole life, but no longer.\n\nA high-ceilinged cell of pale polished birch. Hanging on either side of the room are portraits of the Walsingham brothers; Robert, with a dot-eyed face that glistens like polished agate, and pale, rough-skinned Alfred, whose eyes in contrast shine like lamps that seep hypnotic poison.\n\nThe oval table is crowded with all the senior employees; foam-flecked Gillivray at the head, and moving clockwise, Mockerby, Shardlow, Ferne, Williams, Ford, Atkins, you (Norton), Carter, Patson, Ripon, Goodenough, and Clevars.\n\nA large doorway heads south into main lobby. A small door leads east to a washroom. A smaller back door, to the north, leads outside.\n\n[Author's Note: Oh no, the old family curse has flared up! This is a short story about limits to action.]\n\n> About yourself\nThe family curse, once activated, can neither be cured nor ignored.\n\nIf you do not choose to go north then you shall die.\n\nYour soul gutters out.\n\n> You go north\nYou stand up, and Gillivray's mouth hangs open. \"Furthermore--\" he says again, specks of white gathering around his livid lips, and then you walk out the back door before hearing further what more he has to say. Leaving behind a shocked silence you walk north along a nameless alley and out into the bustling center of Boroughbury.\n\nEndless buildings, stone in the lower stories and hewn wood in the upper, huddle as if for warmth in blocks. The streets are bumper to bumper with motor vehicles, the sidewalks elbow to kidney with pedestrians. Wide and roaring Main Street runs southwest to northeast, while the smaller Mill Street runs north and south.\n\n> You go northeast\nThe family curse, once activated, can neither be cured nor ignored.\n\nIf you do not choose to go north then you shall die.\n\nYour soul gutters out.\n\n> You go north\nYou surge across Main barely waiting for a break in the traffic. A chemical wind from an auto rushing past inches behind you slaps you on the back. You walk north for three-quarters of an hour, until you come to a familiar address, 814 North Mill, as evening gathers strength.\n\nYour House, Garden\nIt's small, but neatly groomed, a miniature in gold and emerald. Through the front window you can see the warm light of your living room, where you spot your wife, Alice, reading a book of fairytales to Arnold Jr. They look happy. You remember the book from your own childhood, when your father used it as a tool to help explain the idea of a \"family curse.\" The smell of the book, leather and pipe smoke, still reminds you of him. They look so happy.\n\nYour front door is east. Mill Street turns here, running south and west. A tangled thicket is to the north.\n\n> You go north\nYou plunge into the thicket. Stems scrape, wet leaves slap you. When you can see the sky again it is very dark. Your shoes are ruined from the mud. How are there so many ruts here, in this scrubland? The lights of Boroughbury have faded behind you. You cross an abandoned lot, then a sheep field, then a trickle of a stream, then an empty field.\n\nThe glacier-scarred land north of Boroughbury. Night. You are cold, hungry. This is nothing, though, really. The sky is smeared with clouds, dots of stars like specks of ice. You stand on a broad and shallow rural road, flowers between the wheeltracks, bordered by dense hedgerows. The road runs east and west.\n\n> You go north\nYou force your way through a hedge. Thorns score your face, make runs in your clothing. You walk north all through the night, feeling lighter and lighter from hunger, colder and damper from the settling dew. Towards morning you have come to the southern edge of a large city. The buildings resemble hives of glazed pottery. This must be Konigsburg, which you have never before found the time to visit.\n\nKonigsburg, Festival Day!\nThere's a parade, and your northerly route aligns you with it. Cheering citizens throw paper roses from balconies high above you. The air is dense with the various smells of humanity. You are walking within a marching band, a thousand musicians in uniforms of blue, red, and white, with gold trim, and towering green feather plumes. It's hard to think inside this sawtoothed thunder of serpents, sackbuts, shawms, and a hundred species of drum.\n\nThe parade is heading north along the main road towards the center of the city.\n\n> You go north\nMarching north between the ranks of musicians you overtake them, and find yourself amidst a regiment of soldiers. The uniforms are similar, but they are armed with weapons of murder instead of aural assault.\n\nThen the parade turns to the east, cutting across the plaza that opens out before a great palace.\n\nYou walk north through double doors, past a quartet of ruffed, bewigged guards bearing ornamental spears, down a hallway lined on either side with black-clad courtiers, and into a ballroom.\n\nThe music is soft, yet echoes like chips of ice on the parquet floor. Is it a floor, or a field? At the edges of your sight are vast expanses of wallpaper, a vague impression of mauve and egg-yolk yellow. The ceiling is a vault full of crystal and candlelight. There are dozens of doors leading away in every direction from this place.\n\n> You go north\nYou cut north, through the heaviest knot of dancers. Plump, silky calves kick, floating hemlines like the dresses of mermaids swirl out of your way, their owners all glares and toothy smiles. Somewhere a violin bow drags squallingly across the strings. Someone shrieks.\n\nShaped like the inside of a beehive. Golden light comes through windows as tall and narrow as treetrunks. There's a whole forest of them, and of the pencil-thin, shining columns. At the north end of the room is a throne made of polished, greenish wood.\n\nThe King stands half-up from the throne. His hand is raised. A man in a black suit lies dying beneath the throne. His white ruff is stained red with blood. A lady in oxblood velvet holds a pistol. Her mouth is open, halfway through shouting an anti-aristocratic slogan. Behind her, a group of guards has thrown off their Konigsburg colors and revealed the black and red of the revolution. They have knives, ancient hunting pieces. Loyal guards face them, rifles raised to their shoulders. The King's face has twisted masklike with horror.\n\n> You go north\nYou shove through the scene of the assassination attempt. Guns are fired, screams knit together into a tapestry of violence as old as all repressive regimes. Revolutionary forces pin your arms behind your back, and drag you down a dusty stone staircase. Rising behind you comes the whickering whirr of a mechanical guillotine. Your feet, as you are dragged underground to the north, trail blood which is not your own.\n\nA low-ceilinged room, redolent of rats.\n\n> You go north\nA stinking vertex, full of skulls.\n\n> You go north\nA tight space, walls blotchy with mold, like warm frost.\n\n> You go north\nA dripping cell. Please do not wonder what it is dripping with.\n\n> You go north\nYou emerge into dank afternoon light. Though having more the sheen of pewter, the sky seems silver after your time in the dungeon.\n\nDockyard, With Refugees\nHundreds of people, all crammed into a stone yard under the watchful gaze of soldiers of the new regime. It's probably unwise to call them revolutionaries anymore.\n\nTo the north, a fat-hulled wooden ship sits low in the water. The refugees are waiting to board, and escape from this dreary place.\n\n> You go north\nYou cut sideways and through the lines, bulling your way onto the ship. Perhaps it is your slightly mad affect that makes people jump out of your way. Slightly? That's too kind.\n\nThe ship, which is called the Morning Frost, sails north across the Bay of Dirgeholm, past an island haunted with frozen ghosts, and up the ice-choked Sickleglass River.\n\nLanding where the river becomes too rocky to sail, the refugees build a new town out of sprucewood and stacked sod.\n\nThe sky is dark green, and patterned like the ribs of a starving dog. Torches gleam behind windowflaps of hides scraped thin. Muffled laughter around you would seem to indicate that these people have found happiness at last. The main street, Pothole, runs east and west. A pub (The Last Gasp) is to the northeast. A small chapel, rich in candlelight, is to the northwest.\n\n> You go northeast\nThe family curse, once activated, can neither be cured nor ignored.\n\nIf you do not choose to go north then you shall die.\n\nYour soul gutters out.\n\n> You go north\nThe lights of Wichfield fade behind you. A midnight wind strips all the warmth from the air. Your feet are lumps of pickled ice.\n\nThe landscape varies little.\n\n> You go north\nThe landscape varies little.\n\n> You go north\nThe landscape varies little.\n\nAnd any variations average each other out.\n\n> Go north\nThe landscape varies little.\n\nAll variations average each other out.\n\nYou feel light as a husk.\n\n> You go north\nThe landscape varies little.\n\nAll variations average each other out.\n\nYou feel light as a husk.\n\nThe air is clear as crystal.\n\n> You go to the north\nA crumpled landscape of bright snow and crisp shadow. There is nothing here. The sky is the deep blue of poison.\n\nThe crystal tumor in your brain hums contentedly.\n\n> You go north\nThere isn't any more north.\n\nSnow drifts further up your body.\n\n> You jump\nThe family curse, once activated, can neither be cured nor ignored.\n\nIf you do not choose to go north then you shall die.\n\nYour soul gutters out.\n\n> You go north\nThere isn't any more north.\n\nSnow rises up around your ankles.\n\n> Go north\nThere isn't any more north.\n\nYou don't feel cold any more.\n\n> Go north\nThere isn't any more north.\n\nSnow rises up around your waist.\n\nThe air around you cracks. The crack is in a novel direction; along it, just visible, a sunny glade, grass shining with dew like each blade is made of quartz and emerald.\n\n> Go north\nThere isn't any more north.\n\nSnow rises up over the top of your head.\n\n> You go outside\nThe family curse, once activated, can neither be cured nor ignored.\n\nIf you do not choose to go north then you shall die.\n\nYour soul gutters out.\n\n> You go northnorth\nYou walk northnorth into the crack. The air is warm here, the air smells of flowers. A pleasant pocket. Across the glade, a man in a green frock coat and chestnut wig rises from a portable writing desk. His boots are shiny leather. He reaches a hand to you. His fingernails are long and wavy. His smile is very wide. There are fibers of meat between his yellowed teeth. His wig is crooked. His eyes are crooked, swinging left and right like they are mounted on oiled gimbles.\n\n\"You made it!\"\n\nHe clasps your hand. His own is sweaty, crawling with parasites like transparent inchworms.\n\n\"I've been waiting a century!\"\n\nYou open your mouth and nothing comes out.\n\n\"You don't recognize me? I'm your great, great, great grandfather, Merridew Norton. All these years I have been waiting for a partner to help explore the Northnorth Passage... They said it did not exist, but look...\"\n\nHe gestures to the northnorth, where the land falls and climbs in haphazard terraces, strips of earth and mineral deposits laced together like shoddy wicker. The sky is pink, marred with smears of yellow like runny yolk.\n\nThe speckled stars are brown."
    },
    {
        "text": "[Themes: Fantasy, surreal, wordplay, transformation, silly, magic]\n\nSo you just got fired from the best company ever, and it's the best day of your life. New opportunities! New horizons! New ways to look at things! Like calling this stupid kiss-off job fair a \"convention.\"\n\n\n\nThis is the ritziest hotel you'll ever stay in. Terraces are west, a banner hangs over an auditorium entry to the east, and the elevator you came from is to the south. North's a function for later in the day.\n\nThere's a sign over an odd side passage the bustling, babbling masses seem to be ignoring.\n\n[Author's Note: A weird power to save a weird world. So you just got fired from the best company ever, and it's the best day of your life. New opportunities! New horizons! New ways to look at things! Like calling this stupid kiss-off job fair a \"convention.\"]\n\n> You look at the side passage\nIt's just under the NONE TRY sign. You could probably ENTER it, or go INSIDE. It's not really any direction you can tell, and you could have sworn it was near a different exit before you turned your back on it just a bit ago. It curves quickly so you can't see much of it.\n\n> You read the banner\n\"This way: BEING FIRED!\" People walk by, discussing how the DEBRIEFING should make Mondays dynamos again.\n\n> Go east\nThat way's an hour or two of listening to an under-action denunciator. You sure?\n\n> No\nYou pause before entering. The lecture seems like it'd be fun to ditch.\n\n> Go south\nYou already spent too much time in the overlate elevator.\n\nYour eye catches the side passage, which looks more interesting than the standard ways out. Maybe you could give it another look.\n\n> You go to the north\nThat way's a costlier cloister of rooms than recent firees deserve. The measure-a-resume event will be there, but not for another couple hours. You don't really want to get an agent, anyway.\n\nYou feel sort of cornered by all the main passages. Sneaking off anywhere would be kind of fun.\n\n> You enter the side passage\nSomeone tugs you by the arm. \"Can't you read? It says NO ENTRY! Quit dawdling and get to the DEBRIEFING already!\"\n\nYou check and make sure. No, still NONE TRY. As you walk away, you hear \"INSTRUCTIONS, son. I trust I c...\"\n(this is the first in-game pause. Whenever the game pauses without a cursor in the future, you need to push any key to continue.)\n\n> You examine the toga\nOn it you see a four-legged animal with a sort of beard and horns. In one corner you see some writing. The toga also smells vaguely of barnyards.\n\n> You look\nNothing particularly beautiful grows here. All manner of prickly things and dried-up weeds lie around. You see an exit in some direction or other where the thorn was. The shrub and brush the goat wrecked are here, too.\n\nThe goat is half-sleeping here. He's probably best left that way.\n\n> Cat\n(examining instead)\nThe goat ate enough of it, it doesn't look like anything any more.\n\n> Exit\nYou feel a sudden sense of vertigo as you walk towards the passage where the thorn was. You realize you have lost your sense of direction, and for whatever reason, you're preoccupied with finding it before you can continue. So, which way is the thorn?\n\n> North\nWith the big thorn gone, why, of course you can go north. Though the goat didn't clear out all the thorns. One rips your nametag slightly. But beyond that, there's a path that leads to an open field.\n\nYou're not sure what to do here, and there's no welcoming committee. But there's a broad board with various scrawlings.\n\nYou see an incomplete-looking dollhouse with a crackling noise coming from a few loud holes. It is labeled FOR INSTRUCTIONAL PURPOSES ONLY.\n\nIt can't be... can it be...? A cabinet floating in mid-air. It looks acne-bit. It's open, too.\n\nA gateway is here. You can see through its sturdy wire fencing, but it doesn't seem to lead anywhere.\n\n> You check your inventory\nItem time! You are carrying:\na dope tan notepad\na magenta nametag (being worn)\n\n> You look at the notepad\nIt's your workbook. It holds bookwork. Not a thrilling color to most, and one of many you bought cheap a long time ago, and they haven't run out yet. It's small enough to fit in a pocket, and you have clipped a pen over it, too.\n\n(To use the notepad, you can type PAD (subject) or CONSULT PAD ABOUT (subject). If you forget what you've written about, you can type PAD or CONSULT PAD.)\n\n> You examine the nametag\nIt's still a bit scratched from your trip through the thorns--about 3/7 of the way from the right.\n\n> Man gate\nWhich do you mean, the gateman, the dead beat deadbeat, the cheesy spearman or bearded man?\n\n> You look in the cabinet\n(Nothing in this game has anything deeply hidden, so searching works like examining.)\n\nIt's open. The cratered bits, once retraced, spell CAN BITE. You see a tinfoil info-lit, a tagged gadget, an idlers' slider and a salient saltine inside.\n\n> Consult pad\nCurrently you can consult it about:\n--notepad, lecture\n\n> You take the gadget\nYou wonder what this gadget IS as you pick it up. It looks like it analyzes something. Perhaps you should try it on a few available things like the nametag?\n\n> You use the gadget on the nametag\nUse is a bit too vague for this game's parser to understand. You can SWITCH something, or PUT something IN/ON something, or even ATTACH something to something. You can PUSH a button or OPEN something, as well. Specific items should clue you what to do if you EXAMINE them.\n\n> You look at gadget\nIt looks like a wall stud sensor, six inches by twelve, with a screen broken into nine mini-panels. An instructional tag you can read is tied to the handle, which narrows where it meets the main part. The gadget crackles with greeny energy.\n\n> You examine tag\n(the instructional tag)\n\"This gadget is certified untransmogrifiable. It can be used to SCAN objects to determine their transmogrification states. Removing tag invalidates warranty. One beep means item is changeable. Buzz means it has been changed.\"\n\nThe good stuff is about how one beep means something you should change, and a buzz means something that can't be changed again. Above a small print disclaimer you see the text EXAMPLE: LEMON <- RGRGG -> MELON. A little thought and you realize only two reds on the gadget makes things trivial. The example seems loaded in the gadget's favor, but hey, that's advertising for you.\n\n> You scan nametag\nYou see lights form on the screen--RGRGR*R--the sixth light starts red, then flashes to green and back, as if there are two aspects to the magenta nametag worth considering.\n\n> You look at the gateway\nIt's a fence gate, so you can see beyond and through it, though it seems too heavy to lift in any case, but who knows, maybe if there was a guy who tended to gates, he'd help you. It'd be neat if...\n\n(You can say the name of the gateway now to enter it. There's nothing more hidden in its description.)\n\n> Gateway\n(entering instead)\nIt doesn't lead anywhere. Yet. Plus, you'd run into the, uh, gate part. Maybe if you had someone who could give information. And not stupid information like a silly old nametag.\n\n> Gateman\nIf you really CAN change the nametag, you don't want a gateman in your face--so you chuck the nametag away. Not really believing...\n\nWhoah! The nametag pulses and pops in directions you didn't think something that flat could. You hear a gish, then a sigh. A tall, grouchy old man in sober robes so aged you almost say \"Egad\" cries \"The eyes! They see!\" He grumbles how he shoulda been a portal king in the parking lot, he's such a talking pro. Then he notices you.\n\n\"Smug gums. But you'll have to do. Ehh? Heh. I'm Old Man Almond. What d'you want? I can tell you about this-here quest.\"\n\n> You ask the gateman about the quest\n\"Three major problems. Noise is one. A lupine lineup. Noble Ol' Ben: gone. Lorn. No longer.\"\n\n\"And I think I know who's behind it: RED BULL BURDELL!\""
    },
    {
        "text": "[Themes: Fantasy, magic, silly, wordplay]\n\n> You describe your surroundings\nThe broad board has some scrawlings you haven't read yet.\n\nOld Man Almond, the gateman, is grousing around here.\n\nYou see an incomplete-looking dollhouse with a crackling noise coming from a few loud holes. It is labeled FOR INSTRUCTIONAL PURPOSES ONLY.\n\nThe acne-bit cabinet is still floating here. It contains the tinfoil info-lit, the idlers' slider and the salient saltine.\n\nA gateway is here. You can see through its sturdy wire fencing, but it doesn't seem to lead anywhere.\n\n> You take the slider\nOuch! The cabinet door slams on you--it seems to have developed fangs that came from a hidden compartment. Maybe you only get one device. (Note: you can SWAP the gadget and slider.)\n\n> Swap gadget\nYou put the gadget back in the cabinet and take the slider.\n\n> You look at the slider\nIt's like an electronic t-square, with nine mini-panels. Reading it, you see it's useful to SCAN things to sort out their edges. It crackles with greeny energy and has some colored writing that looks important.\n\n> You look at the writing\n\"Provably 79.12% hintier than a tagged gadget. Green print\ngives you the start, red print the end. The middle bits fall\ninto place.\"\n\nThe example reads PASTE <-> TAPES.\n(red S, green T, green P, red E. Everything else blue.)\n\n> You look\nThe broad board has some scrawlings you haven't read yet.\n\nOld Man Almond, the gateman, is grousing around here.\n\nYou see an incomplete-looking dollhouse with a crackling noise coming from a few loud holes. It is labeled FOR INSTRUCTIONAL PURPOSES ONLY.\n\nThe acne-bit cabinet is still floating here. It contains the tagged gadget, the tinfoil info-lit and the salient saltine.\n\nA gateway is here. You can see through its sturdy wire fencing, but it doesn't seem to lead anywhere.\n\n> You read the board\nWANTED:\n\n--selfless soul willing to turn self into humiliating identification to aid adventurers in rescuing our fair land. Must have strength or magic touch to raise big metal gate. Benefits include unlimited complaining to rescuer/prospective hero.\n\n--fellow named Terry to allow quick way for temporarily stuck adventurers to RETRY and return to Trips Strip. (you haven't been there yet, so it probably doesn't do anything.)\n\n--quester request: text adventurer with savoir-savior to save world from economic and moral malaise. High chance of real fun, low chance of funeral.\nCanny Nancy or Brian Brain preferred to Manly Lyman or Army Mary. Scrabble, MasterMind, and/or Boggle expertise a plus. Training with two simple 7-letter portmanteaux provided. No crudities like diuretics needed!\nWARNING: Must qualify with simple on-the-game...oh, wait, never\nmind, you're already here. Hi there! Hey, that cabinet's useful, and that dollhouse's a sample puzzle.\n\n!!!!LIMITED TIME TEXT ADVENTURING SEASON OFFER FOR THE BUSY TEXT ADVENTURER: ONLY SOLVE 2 OF 3 AFFLICTED AREAS TO EARN ACCESS TO YOUR ROMAN MANOR!!!! (You record the information in your dope tan\nnotepad under board.)\n\n> You examine the dollhouse\nYou hear static hissing through some loud holes. Plus, the dollhouse isn't nearly as tall as it could be. It could use an extra floor or two.\n\n> You scan the dollhouse\nBefore your slider gets close, you begin to pick something up. Perhaps it isn't the dollhouse you need to do something with. Something ambient--like the static. So you do that.\n\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nRBGBBB\n\n> Attics\nThe static cuts off and seems to grow opaque. Then it forms into a small box with a cupola, pyramid, and other shapes. They fit with a click on top of the dollhouse. Old Man Almond golf-claps. \"Good work. Actually, the attics are a lot tougher to figure out than the gateway, especially with that tool you have.\"\n\n> Consult pad\nCurrently you can consult it about:\n--notepad, lecture, board\n\n> You consult PAD about the lecture\nAn hour-long pre-lunch lecture by some fellow named Curt Lee netted you three pages of doodles. You remember him saying how ONE WORD could open a NEW DOOR in this age of technological innovation if you picked the right one, and that's more magic than real magic, if real magic existed, which it doesn't.\n\nWell, lunch was nice.\n\n> You swap the saltine\nNot worth swapping.\n\n> You examine saltine\nIt says SLAINTE on the package.\n\n> You look at the info-lit\nIt's tinfoil only in writing content--it's actually just paper. It's excessively all-caps and underlined, but I'll spare you that.\n\nReason So Near from Sane Sean, Farce Facer and Saltier Realist:\n--If you can change stuff, why can't the people who made the gadget and slider? Or why couldn't they find someone off the street? Perhaps they're the real enemy and you're the pawn.\n--If they really wanted you to clean things up, why can't you take both the cabinet items?\n--That NEW DOOR is not really ONE WORD. Same as the guy who can lift it! They are two short words, easier than one big scary seven-letter word.\n--Anyone smart enough to untangle this world won't get any fulfillment from doing so. So there, stupider disputer!\n\nIt'd all be distressingly persuasive gotcha-logic if you hadn't been able to flip that toga. But this is a fantasy world, and you've already shown cracks in his logic.\n\n> You look in cabinet\nIt's open. The cratered bits, once retraced, spell CAN BITE. You see a tagged gadget, a tinfoil info-lit and a salient saltine inside.\n\n> You take the saltine\nGot it. You'd have liked a beefier freebie, but with calm opining, you see no use complaining.\n\n> You take info-lit\nTaken.\n\n> You check your inventory\nItem time! You are carrying:\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad"
    },
    {
        "text": "[Themes: Fantasy, wordplay]\n\n> You look around\nThe broad board has some scrawlings you figure will be useful.\n\nOld Man Almond, the gateman, is grousing around here.\n\nYou see that dollhouse you put those attics on. It is labeled FOR INSTRUCTIONAL PURPOSES ONLY.\n\nThe acne-bit cabinet is still floating here. It contains the tagged gadget.\n\nA gateway is here. You can see through its sturdy wire fencing, but it doesn't seem to lead anywhere.\n\n> You enter the gateway\nYou hold your hand out in front of you to see if the gateway vanishes as you walk through. Nope. The gateman speaks.\n\n\"It's not that easy. But it's not that hard. It doesn't get anywhere yet. Til it does, you can't go far away.\"\n\n> You examine the fencing\nIt's strong enough. You aren't getting through the gateway by force.\n\n> Scan info-lit\nNothing happens. Which just proves the paper's premise that this is all too ridiculous, amirite?\n\n> Scan gateman\nThe gadget buzzes.\n\n\"What?! Were you hoping to change me back?\" harrumphs Old Man Almond.\n\n> Scan gateway\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nGBBBBBR\n\n> You get away\nThe gateway rumbles. \"Bout time you figured it!\" says Old Man Almond. \"Let me use my trifle lifter here.\" He tugs down on the gate with his index finger, and it flips up. \"What?! I can have magic powers, too! Couldn't a survived being a nametag otherwise!\"\n\nThe scenery behind the gate rumbles to grass, hills, and even a few thatched huts. \"If you have any more questions...now's a good time to ask,\" says Old Man Almond.\n\n> You talk to the gateman\nYou engage in small talk, not sure what to ASK about.\n\n\"Eh?! There's all sorts of things to ask me about! That goat back there! Your quest! Your purpose! The getaway! The rules! No time to scold clods asking about--whatever you just mumbled about.\"\n\n> You ask the gateman about the rules\nWell, you figured a few things out. Probably want to focus more on changing stuff than doing weird actions."
    },
    {
        "text": "> You ask the gateman about the the getaway\n\"Get going through there!\"\n\n> You ask the gateman about the burdell\n\"Like he was thought up by a demonic comedian. Seemed a poseur when he uprose but he made a desireable age disagreeable. He'd make a poignant nag point, but really, he's an RPG player in a text adventuring world. Hit points and magic points and all. Claimed our way was no more than multiple choice. Heard his cleats in the castle as he did something called \"Leveling up.\" Tackled Raw Rori, a warrior, but we ignored eroding til he humbled Bud Helm. We have lost LOTS because of him. He beat us all. Rooftops of troops on Fort Oops. Profs too. Auctioned Education. I cautioned...\" His eyes grow mistened. \"Ten dimes say it's end times. We've waited for an upturn to turn up...\"\n\n> You ask the gateman about the goat\n\"Yes, yes, you got the first puzzle. Good adventurer, good adventurer. If you're interested, the gadget would've said Red-Green-Red-Red and the slider would've said Red-Blue-Green-Blue.\" (You record the information in your notepad under goat.)\n\n> You ask the gateman about being fired\n\"Eh?! There's all sorts of things to ask me about! That goat back there! Your quest! Your purpose! The getaway! The rules! No time to scold clods asking about--whatever you just mumbled about.\"\n\n> You enter\nYour path is clear. Old Man Almond gets his hanky out. \"Okay, hunt.\"\n\n\"Thank you,\" you say.\n\nThe gate disappears behind you, and you walk down a pathway, then yap \"What?!\" when you see...\n\n> You read the graffiti\nFORK SPOONERISMS!\n\nThere's a lot more, and you could waste a lot of time here.\n\n> You examine the sidewalk\nMorgan Gorman was here!!!\n\n> You look at the malls\nThey're labeled with letters, not numbers, though you can refer to them by number if you want. Of the various stores you see, only store r, store m, store i and store f look like you can do anything with them. Store r has a COMING SOON sign by it. A few others seem greyed-out, like in a video game or something. There can't be anything in any of them. (You record the information in your notepad under stores.)\n\n> You scan the malls\nNot all at once.\n\n> You examine the store r.\nIt's almost all grey, except for a touch of red at the corners. You probably need to see what's behind at least one other stores first. You also see a roster in the front door.\n\n> Scan store r.\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBRBGBB\n\n> You look at the roster\nThe roster on the front of store R reads: \"People who have earned a vacation: you (well, soon!)\"\n\n> Resort\nThat seems like it should work, but you sense you have not done enough yet. In fact, you probably haven't even visited some place you need to work through. But maybe, soon, you will.\n\n> You enter the store r.\nIt's closed and locked, and you won't find a key. Maybe you can do something else to it.\n\n> Forest\nThis is odd. It's kind of green on top, brown on the bottom. You smell pine needles and dirt and leaves you can't quite discern. You think back to the gateway and how you got here.\n\nThe greens and browns of Store F coagulate and pull apart into an actual forest.\n\n> You look\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nThere's a forest here where store F was.\n\n> You examine the forest\nIt's bigger on the inside than the outside, you're sure, or something like that.\n\n(You can say the name of the forest now to enter it. There's nothing more hidden in its description.)\n\n> You examine the malls\nOf the various stores you see, only store r, store m and store i look like you can do anything with them. Store r has a COMING SOON sign by it. A few others seem greyed-out, like in a video game or something. There can't be anything in any of them.\n\n> Forest\n(entering instead)\nAs you walk in the forest, you hear rumors of monsters ravaging the surrounding areas. Not zombies, or vampires, or skeletons. Trying to figure what it is, you daydream maybe YOU could be that hero--so successfully that you get lost!"
    },
    {
        "text": "[Themes: Fantasy, transformation]\n\n> Describe the surroundings\nsuccessfully that you get lost!Until you stumble on a small clearing. You think you smell something.\n\nThere's no clear sign of clearings, but the leaves are soft here. There's a smell, too. Unusual but pleasant. There's also a lapsing sapling, half bent over from a breeze.\n\n> You look at the sapling\nIt seems to be bending south, away from the nice-smelling breeze.\n\n> You sniff the air\nIt's a weird smell, but you like it. You feel a breeze from the north, so that's the direction the smell must be from.\n\n> Go north\nYou walk for a while, following your nose, and...\n\nThis is the place where you tracked the odor to.\n\n> Smell\nIt's an odor of new places and adventure and puzzles and how to get there. Which is all very good, but you'd like something more physical to help you.\n\n> Door\nThe odor becomes thick and choking, then a wood you've never smelled before but know it's wood. The odor swirls into a door--plain except for a bulge. Like the gateway, nothing seems to be behind it. You'll probably need to figure how to open it.\n\n> You examine the door\nIt's got a big musical note painted on the front above a bulge which doesn't seem to belong on the door. It probably leads somewhere interesting, if you can get through it.\n\n> Bugle\nThe ovular shape on the door rumbles then falls off. You see that extra bit is a horn--yes, you've definitely found a bugle. The door looks as impervious to force as ever, but maybe...?\n\n> Bugle\n(examining instead)\nIt's brass, you guess, and it probably can't be too hard to play.\n\n> You enter door\nYou walk through the door to a leveraged everglade. You slip into a fissure and feel fussier, then make a vainer attempt to crawl back up the ravine you slid down. Looks like you're stuck here.\n\nYou feel a breeze from the west, and there's a plainer passage east. Weird solitary figures pass through a turnstile to the north at regular intervals.\n\nA man walks by through the turnstile, which glows briefly. He's got a glorious handlebar mustache and is wearing reading glasses and a fake parrot beak.\n\n> You examine man\nToo late. He's gone. But here's another.\n\nA man walks by through the turnstile, which glows briefly. He's got a pencil-thin mustache and is wearing specs with a hideous elastic strap at the back and a pickle-shaped and -colored schnoz.\n\n> You look at the Man\nToo late. He's gone. But here's another.\n\nA man walks by through the turnstile, which glows briefly. He's got general patchy scuzz and is wearing a pretentious monocle and a fake parrot beak.\n\n> Go east\nThis is where, presumably, stuff gets sorted. A notes stone relates some sort of silly myth that's probably relevant to you. You see three containers here: a bucket full of ones, a shell full of dashes and a bubble full of noughts.\n\nYou can see a bucket full of ones, a shell full of dashes and a bubble full of noughts here.\n\n> You examine the stone\n\"Attention, word-boy/girl/woman/man! You may think letters are the basic building blocks of everything, but the computer age has shown it's 1's and 0's! We don't stow twos here! You won't find simpler piles, Mr.! Or a simpler pile, Mrs.!\"\n\n> You look at the bubble\nIt's full of zeroes or, since there aren't many words with Z, noughts. You see a stick figure falling over, clutching at more spilling innards than a stick figure has a right to have.\n\n> You get the ones\nToo many of them. They'd spill all over.\n\n> You examine the bucket\nIt's got HERE BE ONES scrawled on it, and a stick-figure with a question mark between a mouth and a pair of eyes. A bunch of narrow rectangular tiles are piled in.\n\n> You look at the shell\nIt's upturned, so it can hold stuff, with HERE BE DASHES scrawled on it. A bunch of narrow rectangular tiles are piled in, a bit more efficiently than the other containers. A stick figure on it has X-eyes from looking into the sun.\n\n> Shades\nMost of the dashes reform into a pair of eyeglass rims, and the remaining one fill in as lenses. They lighten a little, and you have fully functioning shades.\n\n> Nose\nThe ones line up next to each other in a pair of not quite v-shaped semicircles. Then they melt into a nose. You take it."
    },
    {
        "text": "> Look around\nThis is where, presumably, stuff gets sorted. A notes stone relates some sort of silly myth that's probably relevant to you. You see three containers here: a bucket, a shell and a bubble full of noughts.\n\nYou can see a bucket, a shell and a bubble full of noughts here.\n\n> You examine noughts\nOne look at them makes you feel like solving silly word puzzles, shooting stuff and chewing bubble gum.\n\nThere is no bubble gum in this game.\n\n> Shotgun\nBam! The noughts slink together to form a gun barrel, then a whole big powerful gun.\n\n> Shoot gun\nMention what you want to shoot with the gun."
    },
    {
        "text": "[Themes: Fantasy, surreal, wordplay]\n\n> You look around\nThis is where, presumably, stuff gets sorted. A notes stone relates some sort of silly myth that's probably relevant to you. You see three containers here: a bucket, a shell and a bubble.\n\nYou can see a bucket, a shell and a bubble here.\n\n> You check what you're carrying\nItem time! You are carrying:\na shotgun\na nose\nsome shades\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> Shotgun\n(examining instead)\nIt's pretty dingy but still intimidating. For whatever reason, it's six-barreled at the muzzle end. Not loaded, though.\n\n> You get the shell\nIt's welded to the wall.\n\n> You look at the shades\nThey're not dark enough to prevent you seeing anything. You suspect they'd fit your face just fine. They also have a small hook between the lens bits.\n\n> Go west\nYou feel a breeze from the west, and there's a plainer passage east. Weird solitary figures pass through a turnstile to the north at regular intervals.\n\nA man walks by through the turnstile, which glows briefly. He's got a fu-manchu mustache and is wearing specs with a hideous elastic strap at the back and a red plastic ball under his glasses.\n\n> You go west\nThis is a storing area with various unpalatable-looking meats on a flesh shelf.\n\nYou see a scantier canister, a sandwich, a chicken liver and a cow liver on the shelf.\n\n> You look at the canister\nIt's small, nowhere near the size of a cistern. It's got a red ring you can put stuff in, and you can see a grinder of sabled blades inside. The grinder reads team meat, tame 'em at... and\nappears to have no switch or anything.\n\n> You look at the sandwich\nJust bread and--oh dear--spam.\n\n> You examine the cow liver\nIt's ugly and frozen and stamped 100% amalgamatable.\n\n> You put the cow liver in the canister\nThe canister seems to whir. The meat you put in is shortly unrecognizable."
    },
    {
        "text": "[Themes: Fantasy, wordplay, transformation]\n\n> You look around\nThis is a storing area with various unpalatable-looking meats on a flesh shelf.\n\nYou see a scantier canister, a sandwich and a chicken liver on the shelf.\n\n> Maps\nWith a sickening SCHLURP, the spam curdles and flattens to form several maps.\n\n> You put the chicken liver in the canister\nBam! The canister chokes, sputters, and then wheezes--you see a mist arise from it and vanish. It coughs out a combined glop that can only be described as LIVERS. Then it wheezes and seems to die.\n\n> Silver\nThe livers pulse for a moment, but...nothing happens. Perhaps they have another use, first.\n\n> Sliver\nThe livers narrow a bit and become more pointy at the end. They are a nice long sliver now, which you pick up.\n\n> You look at the sliver\nSurprisingly sharp and of an odd metal. It could cut something as long as you didn't have to saw much."
    },
    {
        "text": "> Look around\nThis is a storing area with various unpalatable-looking meats on a flesh shelf.\n\nYou see a scantier canister on the shelf.\n\nYou can also see some maps and a bread here.\n\n> Beard\nThe bread seems to grow a fuzzy dark mold, then narrows into a sickle. It's now a beard, though not a particularly beautiful one. As you pick it up, you shake it for crumbs, and the hairs don't crumble into mold.\n\n> You take all\nmaps: Taken.\n\n> You wear the beard\nIt would just slip off your face as-is. Now what could hang on your face? And stay there?\n\n> You put the beard on the glasses\nThe nose (with shades attached to it) hooks over the beard easily and naturally.\n\nYou've made a full disguise now!\n\n> Inventory\nItem time! You are carrying:\nsome maps\na full-blown beard disguise\na sliver\na shotgun\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You wear the disguise\nYou're already wearing that!\n\n> Go east\nYou feel a breeze from the west, and there's a plainer passage east. Weird solitary figures pass through a turnstile to the north at regular intervals.\n\nA man walks by through the turnstile, which glows briefly. He's got a carefully-trimmed Vandyke and is wearing granny glasses and a Pinocchio-style wooden rod sprouting from his face.\n\n> You go north\nYou are \"recognized\" and let through. A voice whispers \"Many vowels, one flow.\"\n\nA creepy acre, yep. Liches block your way north. Drat! You were hoping for a ghost, whom you could zap to goths, and then if they had any spunk, you'd show them up as punks.\n\n> You examine liches\nThey seem to be moaning about being reduced to a tool of greater evil.\n\n> Chisel\nThe liches waver and pop out of existence, leaving only a chisel behind. Hmm...the mass of liches were hiding some drapes along the north wall, it appears. The chisel doesn't seem to vibrate scarily or anything, so you take it.\n\n> Spread\nShazam! The drapes unfold, and they become a large horizontal spread. It's wide enough, you can't detect the message that was there before."
    },
    {
        "text": "[Themes: Fantasy, silly, wordplay, surreal]\n\n> You look around\nA creepy acre, yep. A spread blocking the way north flutters in some breeze you cannot feel.\n\n> Retry\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nThere's a forest here where store F was.\n\n> Go north\nThe spread still blocks you."
    },
    {
        "text": "> Look around\nA creepy acre, yep. Along the north wall you see drapes fluttering. They're too thick to work through, but they seem to have some sort of message on them.\n\n> You read the drapes\nToo thick to walk or even cut through. They're made of heavy cloth packed together. Very dark, even in this semi-darkness. But if you look long enough, the various folds seem to make letters.\n\n> You look at the letters\nThe message in the folds is: NONE WILL | BE SP---D. Three of the letters seem smudged. Darn it.\n\n> Spared\nThat is what the drapes say.\n\n> You spread the spread\n(examining instead)\nYou can see traces of the old message on the drapes--you realize it was NONE WILL BE SPARED now.\n\n> Spared\nActually, the spread must NOT be spared if you want to get anywhere.\n\n> Scan spread\nThe slider buzzes.\n\n> You cut the spread\nThe spread falls off to the side, revealing a doorway.\n\n> You go north\nYou don't know what's to the north. You remember something about a lupine lineup, but that unloaded shotgun won't be enough, and you don't have anything that works against them.\n\n> Silver\nThe sliver changes and grows even more metallic. It becomes a row of six bullets, tied together like plastic twist-off toys, but obviously more lethal.\n\n> Go north\nThis is as ethereal as its inhabitants. You're not sure where the marsh starts and the lake ends. You think you hear a dog bark in this dark bog.\n\n> You listen\nYou can't hear the dog any more. You're not sure if you want to.\n\n> You examine the bog\nThe bog feels like a big old gob that could suck you in. You just want to find a way away from it.\n\n> You examine the lake\nOn almost all sides. You worry you may get sucked down into it.\n\n> Releather\nYou won't need to use a word that long in this game. They should all be eight letters or less, except for one compound word.\n\n> You check what you're carrying\nItem time! You are carrying:\na chisel\nsome maps\na full-blown beard disguise (being worn)\na shotgun\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You examine the maps\nYou read the maps. So many places to avoid: ah, the heath. Harm's Marsh, Hell's Shell, Dirge Ridge, Nowt Town, even a grocery that'd make an ogre cry. Then the chilling cries of \"BRAAINS, SABRINA!\" distract you, until you look up in horror...\n\nIt'd take a chimera to do the ice harm here, there's so much of it. The forts all around seem to frown at you, and six-foot-high iced dice are placed all around.\n\nAll exits seem to lead somewhere even darker. You steel yourself against the sleet.\n\nSix large aplastic capitals sway when there is no breeze and stand still when there is.\n\n> You examine the capitals\nA, E, I, O, U and Y, piled up in a pyramid. Hm, they are not just ANY letters. Yup, they're pretty much shouting out (figuratively) \"We're vowels!\" Yup, even the Y. The vowels also have bumps where they end.\n\n> You examine the bumps\nThey look almost like fangs or very long nails.\n\n> Wolves\nWell, you've done it now. The imposing vowels become werewolves--but they notice your shotgun and stand back. The first forward gets shot--or so they imagine.\n\n> You shoot e\nYou must name something more substantial.\n\n> You shoot werewolves\nBlam! Some part of the shotgun you couldn't see carves the silver bullet into sixths. Each flies off in a slightly different direction--taking out the wolves. The poison works quickly on them, and the frost forts and iced dice begin to melt quickly. Behind them, you see the strip. You walk back there.\n\nThe lupine lineup is no more, thanks to your adept hit in the death pit!\n\nCongratulations! Forest node: done!\n\"Yeah! Heya.\" says a big fellow you hadn't met before, who eyes your inventory and points at the more useless stuff. \"Nice work up in the forest. Eric Rice, museum muse. Um. Those Extras. Taxers for you. Nice parts of tributes I'd distribute once you fixed things for good.\" Before you can thank him, he's gone.\nTrips Strip\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nThere's a forest here where store F was, but you probably don't need to go back there.\n\n> You check your inventory\nItem time! You are carrying:\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You examine the malls\nOf the various stores you see, only store r, store m and store i look like you can do anything with them. Store r has a COMING SOON sign by it. A few others seem greyed-out, like in a video game or something. There can't be anything in any of them.\n\n> You examine the store r.\nThere's a thin band of red paint around the bottom. You probably need to see what's behind at least one other stores first. You also see a roster in the front door.\n\n> Roster\n(examining instead)\nThe roster on the front of store R reads: \"People who have earned a vacation: you (well, soon!)\"\n\n> You examine the store i.\nIt has pictures of famous political figures in the window--Winston Churchill, Benjamin Disraeli and that great charmer, Margaret Thatcher (*). You think you remember what party they belonged to. The pictures are big enough to obscure--almost--the outline of a trap door behind them.\n\n(*) semantically, too good to pass up. Feel free and welcome to picture it being said sarcastically.\n\n> Tories\n(examining instead)\nA closer look indicates that they are glued to the inside of the store window, instead of hanging from a wire on a nail or something.\n\n> Sortie\nThe store rumbles, destroying the portraits of famous Tories (this is not a political statement) and revealing the small sortie down, collapsing the trap door. A stairway down remains, but that's about it.\n\n> Down\nYou climb down a larded ladder, slip, and hear people chattering about Mean Old Lord Ablemiser who'd been a money yeoman, the frugalest till the fear gluts, but who'd nag nary a granny for late fees, a fiances fan since... Generous til gone sour. First he grew antsy, then nasty... more garnish, less sharing... stern rents... quite the extra taxer... claiming to feel raw and that the welfare era flew! \"No grace in ignorance, caring one!\" He may even have aborted a debtor...\nin ignorance, caring one!\" He may even have aborted a debtor...You hear cases for destroying his castle and for showing love. You see and\navoid tripwires, and just as you feel your wit's riper, you swat at a pest and miss a step, then tumble madly wide of a middle way over a pit...\npit...You roll down a gradient, tirade, nag to yourself...\npit...You roll down a gradient, tirade, nag to yourself...Thump. (\"Drat, poor trapdoor!\" you hear.)\n(\"Drat, poor trapdoor!\" you hear.)Oh,\n\n> You press the space\n(\"Drat, poor trapdoor!\" you hear.)Oh, Man,\n\n(\"Drat, poor trapdoor!\" you hear.)Oh, Man, My\n\n(\"Drat, poor trapdoor!\" you hear.)Oh, Man, My head's\n\n(\"Drat, poor trapdoor!\" you hear.)Oh, Man, My head's spinning...\n\n(\"Drat, poor trapdoor!\" you hear.)Oh, Man, My head's spinning...Oh dear it's not me it's the room...\n\nUg, Frenetic Centrifuge\nTwo exits are spinning counterclockwise. They're a right angle apart.\n\nThere's a dial here in the middle of the room. It is at 0 and is not spinning with the rest of the room, so you can probably turn it.\n\nGo yon, bud! Repair!\n\n> You examine the dial\nYou see EXITS ? ?--you can see two letters, but they're scrolling through the four cardinal directions--written in the center of its circle. It's currently set to 0, and you can set it anywhere from 0 to 99.\n\n> Scan dial\nThe slider, when over the EXITS part, reads BBBBG??--flipping reds and blues. The dial's solution probably has the letters EXITS in it, somehow.\n\n> You set the dial to 16\nThe room warps a bit. You wonder if you made things worse, but then things start to slow down...yes! You did it!\n\nThe flipping bits in the dial lock in to say EXITS N E. And you see, yes, exits are north and east now.\n\n> Go north\nTwo nuts stun you as they jump out. \"A blockhead! Ha, blockade!\n\n\"Passed our tamest net, but that's no statement. Outrage if you get past our gate.\" After this rare accident, you're incarcerated.\n\nAs they walk away, you hear \"...made mead. Much, chum.\"\n\nThen, drunken reveling. Boy, those pinheads made your head spin.\n\nYou're locked in this arty suite of austerity by a great grate. It's a more forbidding version of gateway in the Notices Section. You doubt even Old Man Almond could magic it open. There appears to be no standard way out. It has no accomodations, not even unsoft futons. This is a saner snare than the centrifuge, but it doesn't look like you'll drug a guard or reveal a lever to escape.\n\nYour slider seems to shake a bit.\n\nBoy. Incarceration's making you hungry.\n\n> You go north\nYou're stuck here. Well, physically, anyway.\n\nYou think back to your home and all its comfy rooms.\n\n> You look at grate\nHuge. Eugh.\n\nMmm, Foood. Even a lame meal. You'd even make it yourself.\n\n> Great\n(examining instead)\nHuge. Eugh.\n\nYou feel the heat of Lord Ablemiser's hate even from here. You can't take it, so you want to get out of the The Nick. The Nick.\n\n> Sortie\nYou can't see anything here like that, or changeable into that.\n\nYou doze off and dream you're watching a cooking show featuring ten hicks. They work in multiple...oops, you wake up and forget.\n\n> Examine slider\nYou might rather thin-nen to slip through the bars, but you can't.\n\nYour slider's not near anything, but it's registering BBBRBBG.\n\nYou wish, randomly, you could etch ink somewhere.\n\n> Kitchen\nThat does it! The heck with that silly old grate. Your prison dissolves, and it becomes the place you meant to go all along.\n\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge and some really corny tune. There's also a tall trio of chef statues. South is the centrifuge room and east is somewhere less hectic.\n\nA cheesy spearman is here. Well, he's posed all cheesy.\n\nA bottle of CATHOUSE perfume is here.\n\nYou can also see a cult tee and a skate here.\n\nYou notice some warts on your face. Stress causes them, you know, and between the centrifuge and the nick, you've had a bit lately.\n\n> Steak\nThe skate turns reddish, and the blade retracts and becomes the main connecting bone in a slab of steak.\n\n> Lettuce\nThe t-shirt crumples and then shreds before turning into a light green head of lettuce.\n\n> Straw\nThe warts just peel off and lengthen into straw, which is too heavy to carry. You drop it."
    },
    {
        "text": "> Look around\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge and some really corny tune. There's also a tall trio of chef statues. South is the centrifuge room and east is somewhere less hectic.\n\nSome straw, too much to lug around in your hands, is here.\n\nA cheesy spearman is here. Well, he's posed all cheesy.\n\nA bottle of CATHOUSE perfume is here.\n\nYou can also see a head of lettuce and a slab of steak here.\n\n> You look at the perfume\nIt's yellow-gold, like most. The bottle seems to advertise a spicy scent too hot for most people's tastes.\n\nBy the way, you were never sure if it was one word or two, and what's more, the company who made it probably didn't care, either. There's something about how it'll free-m-up to love you, which you try to forget.\n\n> Hot sauce\nThe CATHOUSE perfume turns into a packet of equally over-capitalized and under-spaced hot sauce.\n\n> You look at the spearman\nHe's got a stupid smile and is giving a thumbs-up with his spearless hand. It's cheesy, not corny. You know the difference. But it is not a REAL cheese. Yet.\n\n> Parmesan\nThe spearman transforms into something cheesier--parmesan cheese! Unfortunately, it doesn't have one of those cute plastic spears sticking from it, but you can't have everything."
    },
    {
        "text": "[Themes: Fantasy, silly, transformation, wordplay]\n\n> Look around\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge and some really corny tune. There's also a tall trio of chef statues. South is the centrifuge room and east is somewhere less hectic.\n\nSome straw, too much to lug around in your hands, is here.\n\nYou can also see a pile of grated parmesan cheese, a large packet of HOTSAUCE, a head of lettuce and a slab of steak here.\n\n> You look at the statues\nWell, they are actually only six inches tall. But they're skinny enough that you sort of assume they're tall. Well, I'm assuming. There's a loose label on one of them.\n\n> You read the label\n\"We can help be something to base a whole spicy dish on! It may help you make a run through a border!\"\n\n> You look at the fridge\nA manila animal forms a lamina over it. Inside is a moldy pancake on a cake pan, but that lame meal is neither yours nor eatable-looking. You close the fridge.\n\n> You take the label\nYou can read it okay without taking it.\n\n> Tortilla\nPoof! The doughy fellows maintain their Mexican-ness and, err, breadiness, but they flatten out into a tortilla.\n\n> You put steak on the tortilla\nHm, a good start. The tortilla's not plain any more.\n\n> You listen\nA song with the chorus \"He oft partook of the okra pot.\" The tune and the thought of okra make you gag, even when you realize it's a novelty song and not serious.\n\n> You put the cheese on the tortilla\nThe tortilla's coming together.\n\n> You put the hot sauce on the tortilla\nYou open the packet and squirt the sauce in the tortilla. You place the empty packet in a pocket, where you forget about it. The tortilla's almost there!\n\n> You put the lettuce on the tortilla\nYou got it! A full-blown taco! You can't help but pick it up and admire it!"
    },
    {
        "text": "[Themes: Fantasy]\n\n> You describe your surroundings\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge. South is the centrifuge room and east is somewhere less hectic.\n\nSome straw, too much to lug around in your hands, is here.\n\n> You examine the straw\nYellowy, rough edges, semi-musty. Just straw.\n\n> You get the straw\nToo unwieldy to carry anywhere.\n\n> Go east\nThis room feels close to something important. The trellis to the east is the only decoration you've seen in this area, and the wall below it seems scraped and beaten up a bit. You can also go west or south.\n\n> You look at the wall\nIt's scraped away, but not enough to bust through. You see HALLWAY UNDER (UN-)UN-CONSTRUCTION scrawled on it.\n\n> Wall hay\n(the scraped wall)\nThat's not something you can say, do or see here.\n\n> You look at trellis\nIt arches over the scraped bit of wall, as if the wall wasn't supposed to be there. You could picture a passage through it, somehow.\n\n> Coat\nThe hot-to-your-tongue taco becomes a warm-to-your-body coat.\n\n> You look at the coat\nIt's warm and fuzzy and shapeless and as multi-colored as the taco you made it from.\n\n> You look at what you're carrying with you\nItem time! You are carrying:\na coat\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> West\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge. South is the centrifuge room and east is the room with the trellis.\n\nSome straw, too much to lug around in your hands, is here.\n\n> East\nThis room feels close to something important. The trellis to the east is the only decoration you've seen in this area, and the wall below it seems scraped and beaten up a bit. You can also go west or south.\n\n> South\nThis room is a little too undescribed. It's nice to have a break from all this puzzling, but it's almost too easy a break. It feels like the Nick, but you can't explain why. Your slider seems to vibrate a bit.\n\nA passage leads west back to the centrifuge, and another leads north.\n\nYou see a plain cask here--someone has cut a small hole in the top.\n\n> You examine cask\nIt's plain and cedar, with a small hole on top. It's empty.\n\n> Moor\nThere you go! You're outside, now. Your coat keeps you warm--you managed to slip it on as the scenery changed and the temperature dropped.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nWoeful Pat, the awful poet, sees he has an audience and administers a dose of his odes.\n\nYou see a roadblock that isn't actually blocking any roads.\n\nThe poem establishes its singsong rhythm early.\n\n> Sack\nYou can't see anything here like that, or changeable into that.\n\nThe poem drones on, poor and laboring--good qualities in a person but not a poem. Da da DA, da da DA, da da DA.\n\n> Moor\nYes, it is a moor. At least, right now, it is.\n\nThe poem drones on, and Pat gestures with a hand to the ear and nod of his head to make sure you're listening, not breaking his meter. Da da DA, da da DA, da da DA. That anapest is getting annoying, and you'd like to get rid of it, somehow.\n\n> Mope\nWoeful Pat can't decide if you're mocking him or trying to outdo him. But he is sure you're not listening carefully enough to his poem, so he coughs briefly to get your attention.\n\nThe poem drones on. Da da DA, da da DA, da da DA.\n\n> Ad ad ad\nYou can't see anything here like that, or changeable into that.\n\nThe poem drones on, poor and laboring--good qualities in a person but not a poem. Da da DA, da da DA, da da DA. That anapest is getting annoying, and you'd like to get rid of it, somehow.\n\n> Tap\n\"Ah! You are TAPping your feet to my anapest beat!\"\n\n(You may want to PUSH or ATTACK something instead.)"
    },
    {
        "text": "> You look at your surroundings\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room. You hear bad poetry.\n\nWoeful Pat, the awful poet, is well into a ballad. It's all bad.\n\nYou see a roadblock that isn't actually blocking any roads.\n\nThe poem drones on, and Pat gestures with a hand to the ear and nod of his head to make sure you're listening, not breaking his meter. Da da DA, da da DA, da da DA.\n\n> You examine the roadblock\nIt's about eight feet long and really dark and dented about halfway through--well, four-ninths of the way from the right. You are utterly unsure what it could possibly be guarding.\n\nYou think back to how your nametag was creased, and how the roadblock probably doesn't change into anything too easy like a broad lock. The moor and the sack already felt a bit easy.\n\nThe poem drones on. Da da DA, da da DA, da da DA. That anapest is getting annoying, and you'd like to get rid of it, somehow.\n\n> Room\nAs you pop back to the room, Woeful Pat looks visibly shocked. You have left him speechless, which is good news, but he is reaching for his pen, which is bad news for some poor soul in the future.\n\nZapping yourself to the moor hasn't made this room any more exciting.\n\nA passage leads west back to the centrifuge, and another leads north.\n\nYou see a plain cask here--someone has cut a small hole in the top.\n\n> Sack\nThe cask retains its color but looks visibly frayed as its wood turns to burlap. The sack it has become collapses in a heap on the floor. You pick it up.\n\n> You examine the sack\nSturdy burlap. It's empty.\n\n> Moor\nOh, hey, teleporting's easier with experience. Woeful Pat seems hurt that you did not return with a larger audience.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room. You hear bad poetry.\n\nWoeful Pat, the awful poet, is well into a ballad. It's all bad.\n\nYou see a roadblock that isn't actually blocking any roads.\n\nThe poem drones on, poor and laboring--good qualities in a person but not a poem. Da da DA, da da DA, da da DA.\n\n> Peasant\nNothing happens. You worry your magic powers have failed, until a peasant strides out from the edge of the moor, carrying a bale of hay and singing a cheery song about nothing in particular. Distracted, you look over and smile.\n\n\"Oh, does THAT resonate with your stone ear?\" whines Woeful Pat.\n\nYou notice his papers have crumbled (but don't worry, he has PLENTY of written drafts.) He storms off, claiming you will make a perfect arch-villain in his new socially significant blank-verse epic. Or yet another poor henchman who deserves but one line before a horrible fate!"
    },
    {
        "text": "[Themes: Fantasy, silly, surreal]\n\n> Look around\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nA peasant is here, carrying some hay over his shoulder.\n\nYou see a roadblock that isn't actually blocking any roads.\n\n> Room\nZapping yourself to the moor hasn't made this room any more exciting.\n\nA passage leads west back to the centrifuge, and another leads north.\n\n> Go north\nThis room feels close to something important. The trellis to the east is the only decoration you've seen in this area, and the wall below it seems scraped and beaten up a bit. You can also go west or south.\n\n> Go west\nThis is a kitchen, though it's a bit bare, except for the obligatory fridge. South is the centrifuge room and east is the room with the trellis.\n\nSome straw, too much to lug around in your hands, is here.\n\n> You put the straw in the sack\nYou put the straw into the sack.\n\n> You put the straw on the wall\nThat would be perfectly sensible, to make the wall impermeable. The scraped wall seems to indicate the need for a hallway, though.\n\n> Wall hay\n(the scraped wall)\nThat's not something you can say, do or see here.\n\n> You go south\nZapping yourself to the moor hasn't made this room any more exciting.\n\nA passage leads west back to the centrifuge, and another leads north.\n\n> Moor\nOh, hey, teleporting's easier with experience.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nA peasant is here, carrying some hay over his shoulder.\n\nYou see a roadblock that isn't actually blocking any roads.\n\n> You give the straw to the peasant\n\"Oh, thank you! Lord Ablemiser stuck me with this hay when I needed much stronger material to re-patch my house. He pretended not to know the difference. But he did once!\"\n\n\"Here's a little something I wrote. He said even an economist\nwouldn't put emoticons in a poem.\"\n\nHe hands you a paper and heads off. You're sick of poetry, but with the hay weighing you down, you'll never catch the peasant.\n\n> You examine paper\n(the poem)\n\"I'm just a guy who loves his work :) :)\nNot like that poet, he's a jerk :) :)\nHe says he rhymes neater :) :)\nAnd rips on my meter :) :)\nI'd like to punch him in his smirk :) :)\"\n\nWhoah, lots of smilies, there. They'd drive a grammar pedant ballistic. The paper seems creased on a few diagonals.\n\n> You look at the diagonals\nOne down the middle and two diagonally up from its base--two parallel to the middle crease bisect the diagonals.\n\nOh, forget it, let's try the non-technical explanation. From what you remember from being ten, it'll fold into a plane. Maybe one that can't fly very far, but a plane.\n\n> You fold the paper\n(the poem)\nYou're about to fold the poem up, but those smilies launch into a surprising display of emotion. It's an impressive passive resistance--they do it all without any violence.\n\n> Similes\nIf you added any fancy stuff into the limerick, it wouldn't scan. And it would ruin the poem's straightforwardness. Maybe you could do something else to wipe the smilies off.\n\n> Room\nZapping yourself to the moor hasn't made this room any more exciting.\n\nA passage leads west back to the centrifuge, and another leads north.\n\n> You put the hay on the wall\nThe wall is now made of hay. Hey, well, I hope you know what you're doing.\n\n> You look at the wall\nIt's scraped away, but not enough to bust through. In fact, you stuffed hay where the wall was sort of peeled away.\n\n> You check your inventory\nItem time! You are carrying:\na poem\na sack\na coat (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> Hallway\nOf course! The hay wall you made collapses into a hallway leading east. One you won't even have to duck through!\n\n> You go west\nUg, Frenetic Centrifuge\nExits lie north and east, and they've been behaving since you fixed that dial!\n\nThere's a dial here in the middle of the room. It is at 16 and should probably be kept it that way.\n\n> You go north\nThis room feels close to something important. The trellis to the east is the only decoration you've seen in this area. You can also go west or south.\n\n> You go east\nYou follow the haywrought throughway...\n\nYou are in a room with thick entwined cedars as walls. On one, a spout pouts, waiting for a stoup. You can go back west to the generic room. Oddly, you feel no reason to be scared. You see drawings and holy verse on the walls.\n\n> You examine verse\nIt's all calligraphic, and it reads\n\nFrom here, where lumbers slumber, is, lo! Purest oil snout erupts: solution! Ground unsod becomes sound. Lovely volley. A stone\natones!\n\n> You examine the drawings\nYou see a vermian minerva, a cliche chalice, a lanced candle, and a clean lance. They're probably not for anything, but they're solid idols and add atmosphere nicely.\n\n> Soil\nThat would really clog up the tap, changing the oils in it to soil.\n\n> Silo\nThat would really clog up the tap, changing the oils in it to a silo.\n\n> Missile\nBad idea. There'd be more room for that outside where you found the poem."
    },
    {
        "text": "[Themes: Fantasy, magic, surreal]\n\n> You look around\nYou are in a room with thick entwined cedars as walls. On one, a spout pouts, waiting for a stoup. You can go back west to the generic room. Oddly, you feel no reason to be scared. You see drawings and holy verse on the walls.\n\n> Oils\n(examining instead)\nYou try looking up the spout for a glimpse of the oils, but it doesn't work.\n\n> You serve\nYou must serve by going forth on your mission of warlikeness and love.\n\n> Sever\nViolence or vandalism in such a holy place? For shame.\n\n> You go west\nThe trellis feels appropriate to guard or indicate the room to the east, now you've been there. You can also go west or south.\n\n> Moor\nOh, hey, teleporting's easier with experience.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou see a roadblock that isn't actually blocking any roads.\n\n> Black door\nBam! The fissure in the roadblock covers up, and a black door appears where it was. It's light but bulky--you can probably put or push it where it needs to go."
    },
    {
        "text": "> You look around\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou can see a black door here.\n\n> Moor\nOh, hey, teleporting's easier with experience.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou can see a black door here.\n\n> You examine the poem\n\"I'm just a guy who loves his work :) :)\nNot like that poet, he's a jerk :) :)\nHe says he rhymes neater :) :)\nAnd rips on my meter :) :)\nI'd like to punch him in his smirk :) :)\"\n\nWhoah, lots of smilies, there. They'd drive a grammar pedant ballistic. The paper seems creased on a few diagonals.\n\n> Missile\nThe smilies seem to waver. But they sever from the verse, grow, and clump together to form a big yellow missile! You reread the poem. You didn't think it would change much without the smilies, but it now seems pointed, warlike, sinister--a restrained, plain-language indictment of not just bad poetry but nastiness in general!"
    },
    {
        "text": "[Themes: Fantasy, magic]\n\n> Look around\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou can see a missile and a black door here.\n\n> You look at the missile\nIt's covered with smiley faces and surprisingly nerfy to the touch. You haven't experienced any ill effects when you're around it, so maybe it isn't all that violent or deadly.\n\n> You look at the poem\n\"I'm just a guy who loves his work\nNot like that poet, he's a jerk\nHe says he rhymes neater\nAnd rips on my meter\nI'd like to punch him in his smirk\"\n\nThe limerick doesn't make you want to lick the mire like Woeful Pat's stuff. The paper seems creased on a few diagonals.\n\n> You fold the paper\n(the poem)\nYou fold the paper, and it looks sort of like a paper plane.\n\n> Panel\nPoof! The paper plane becomes a panel. It's light enough to carry, you suppose. Well, it doesn't cause an immediate hernia.\n\n> You look at the panel\nIt looks kind of electrical. It doesn't seem to have wires, so hopefully you can just slip it where it needs to go.\n\n> You take the missile\nToo heavy. You can drag it where you need to, though. Maybe even push it. It's cylindrical. It can roll.\n\n> Inventory\nItem time! You are carrying:\na panel\na sack\na coat (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You look at the cedars\nThey look nice and even smell nice. A holy verse is carved on one.\n\n> You examine the drawings\nYou see a vermian minerva, a cliche chalice, a lanced candle, and a clean lance. They're probably not for anything, but they're solid idols and add atmosphere nicely.\n\n> Red cars\nWhich do you mean, the discolored buttons, the red optical beam, Red Bull Burdell or the red ring?\n\n> Spout\n(examining instead)\nIt can be used to FILL the appropriate receptacle here.\n\n> Cask\nThe sack stiffens, rises and becomes less blobby. It's the cask again, nice and upright.\n\n> You fill the cask\nGainly laying the cask under the spout, you pour in some oils.\n\n> You look at the cask\nIt's plain and cedar, with a small hole on top. In it you see oils.\n\n> You examine the oils\nYou can't see through the cask--or its narrow hole very well--but you remember the oils being thick and somewhat golden. You trust they are sacred enough for your job, though.\n\n> You examine verse\nIt's all calligraphic, and it reads\n\nFrom here, where lumbers slumber, is, lo! Purest oil snout erupts: solution! Ground unsod becomes sound. Lovely volley. A stone\natones!\n\n> You look at what you're carrying with you\nItem time! You are carrying:\na cask\nsome oils\na panel\na coat (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You look at the coat\nIt's warm and fuzzy and shapeless and as multi-colored as the taco you made it from.\n\n> Moor\nOh, hey, teleporting's easier with experience.\n\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou can see a missile and a black door here.\n\n> Silo\nThe moor's ground, as is, is not stable enough. You need a foundation first.\n\n> Soil\nThe oils seep into the moor and make it less squishy and sandy."
    },
    {
        "text": "[Themes: Fantasy, magic]\n\n> Look around\nYou're on a moor. Woods all around don't look inviting, but they also don't look like they can stop you returning to the room.\n\nYou can see a missile and a black door here.\n\n> Silo\nThe oils seep into the moor, and you back up as a huge silo several times your size takes shape.\n\n> You put door on the silo\nThe door fits the dotted line in the silo perfectly, swinging slightly before sliding in place with a click.\n\n> You put the missile in the silo\nYou schlep the missile through the door. You hear some mechanics and whizzing, then \"SMILIES MISSILE PROPERLY ALIGNED FOR DEALING A RESULT WITH LUSTER.\"\n\n> Fire missile\nMaybe if you plugged that panel in.\n\n> You put the panel on  the silo\nThe panel fits into that rectangle handily and even starts to glow. Two buttons appear on it--one says HOOTS, the other TREES.\n\n> You shoot steer\nThe hoots button glows--you touch it (so hot,) and it changes to a shoot button as its letters shift.\n\n> You look at the panel\nThere are two buttons, on the left (\"STEER\") and right (\"SHOOT.\") Both are an important shade of red, and you'll probably have to push them to figure what they do.\n\n> Press shoot\nBoom! The force of the missile launch knocks you back, and you know you'll see no finer inferno than the rainbows that burst before you pass out. You are knocked unconscious, unable to feel the wave of simple, heartfelt, plainly-worded concerns that explode across the land.\n\nYou wake up in a castle. Lord Ablemiser is beaming, no longer big, mean.\n\n\"That launch deserves A LUNCH!\" he booms. \"To be had now!\n\"That launch deserves A LUNCH!\" he booms. \"To be had now!And how! You learn he is, of course, Noble Ol\" Ben. But he feels he hasn't re-earned the title, yet. (Yeh, ok, hokey.)\n\nAfter a fast, live festival with an orchestra, a carthorse returns you to the Trips Strip.\n\nCongratulations! Sortie node: done!\n\"Yeah! Heya.\" says Eric Rice, again. \"Nice work up in the sortie. Oo, more stuff. Let me take it. You go get relaxing now in your Roman Manor. Don't worry about that last one, if you don't want to. Someone apprentice adventurer can clean it up.\" Before you can thank him, he's gone.\nTrips Strip\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nSome stairs lead down from the wreckage of store I, further than you can see. But no sense looking--you know what's there, and you've taken care of it.\n\nThere's a forest here where store F was, but you probably don't need to go back there.\n\nSo. Apparently, you have one store area left to clear. But you don't need to. Store R suddenly looks invitingly idyllic, but if you're in the mood for adventure, you may want to look somewhere else first--store m, maybe.\n\n> Shuffling1\nSAVEOk.\n\n> L\n\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nSome stairs lead down from the wreckage of store I, further than you can see. But no sense looking--you know what's there, and you've taken care of it.\n\nThere's a forest here where store F was, but you probably don't need to go back there.\n\n> You look at the malls\nOf the various stores you see, only store r and store m look like you can do anything with them. Store r finally looks like you can visit. A few others seem greyed-out, like in a video game or something. There can't be anything in any of them.\n\n> Metros\nThe store rumbles, with the collections of small-scale cities disappearing. You see an escalator leading--well, somewhere populated.\n\n> You look at the escalator\nThe escalator has TO THE METROS scrawled on it.\n\n(You can say the name of the metros now to enter it. There's nothing more hidden in its description.)\n\n> METROS\n(entering instead)\nYou think you hear oohing and ahing in the background at the adventurer who has decided to do more than the bare minimum.\nThe shops recede as you walk down the escalator...\n\n> You examine the beer\nIt appears to be AGED RAIN brand beer. Hooray, truth in advertising?\n\n> Drainage\n(examining instead)\nIt smells and looks disgusting. Just the sort of thing that needs to be cleaned up or reprocessed to get this city looking nice again. An empty beer can and a flyer float in it.\n\n> Examine flyer\nThe flyer seems like an invitation to an ARENA DIG--perhaps an arena that never got built, or a shindig in some arena.\n\n> You look at the hotel\nYou can't see any such thing."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\nThat drainage you stepped in is taunting you as much as drainage can. You see a can of beer and a flyer in it. Cleaning it up would help take this city back.\n\n> You scan the beer\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nRGBBBBBB\n\n> Scan flyer\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nRBBBBBBG\n\n> Gardenia\nIn a fit of ecological, aesthetic magic-slinging, you transform the drainage and all the flotsam inside it into a much prettier gardenia. The whole underside is still pretty dingy, but hey, free flower. You take it."
    },
    {
        "text": "> Look around\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\n> You examine the gardenia\nIt's white, and it's just one flower instead of the whole bush. But it's the only one you've seen in the city proper.\n\n> Go north\nAs you walk north, you run into someone who is carrying a basket full of corn. You help him pick everything up. Or so you think. As he runs off, cursing you, you look in a corner--a corn ear!\n\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nA driveway with a yard view leads north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. His eyes dart between you and the lost corn. Clearly, he resents the work your presence is forcing on him.\n\nA small clover is growing here.\n\n> You examine the clover\nYou touch the leaves a bit, and they seem to hook into your skin.\n\n> You scan the clover\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBBRGBB\n\n> Velcro\nPop! The clover expands and grows scratchier and darker. It is now a long strip of velcro. The leaves appear to have expanded into something resembling mittens. You pick them up.\n\n> Inventory\nItem time! You are carrying:\nsome velcro\na gardenia\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You look at the buttons\n(the discolored buttons)\nThey give you this weird urge to push them.\n\n> You examine dead beat\nHe's wearing some of the hardest-trashed threads you've seen. You know he's a deadbeat because his t-shirt says DEAD BEAT DEADBEAT. Which fits in with this world, yes, but about as half-donkeyed as possible. Oh, and he has a ridiculous goatee, too.\n\n> You scan dead beat\n\"Whoah, don't tase me, bro. I have civil rights!\"\n\n> You go to the north\nSince you shave, you can pass as one of the \"haves.\" The beats drown out as you enter the condo. \"Eat On!\" cries the hired help.\n\n\"Neato! ... No tea? ATONE!\"\n\nYou are inspected and deemed less unworthy than that deadbeat who tried to enter--the one still sitting in the camp--but all the same, you're warned not to try anything funny.\n\nThe beats aren't audible here, but conversation voices rant on. The talkers seem to take you for a stalker, but nobody wants to get too close. A barnacled candelabra hangs above, antlers are attached to a wall, and carpets provide garish spectra on the floor.\n\nAll in all, this place probably has a high property value, and people would be horrified if something happened to make it drop.\n\nSome dry cake is here. Nobody else is lower-class enough to eat it, but everyone's making sure nobody lower-class nabs it.\n\n> You scan the cake\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nRBBBBGB\n\n> Keycard\nThe chatterers would have something to talk about at their next get-together. Like the weirdo who did something scary to that cake and got arrested. Ix-nay on the agic-may 'til they're gone."
    },
    {
        "text": "[Themes: Fantasy, surreal, silly, transformation]\n\n> You look at your surroundings\nThe beats aren't audible here, but conversation voices rant on. The talkers seem to take you for a stalker, but nobody wants to get too close. A barnacled candelabra hangs above, antlers are attached to a wall, and carpets provide garish spectra on the floor.\n\nAll in all, this place probably has a high property value, and people would be horrified if something happened to make it drop.\n\nSome dry cake is here. Nobody else is lower-class enough to eat it, but everyone's making sure nobody lower-class nabs it.\n\n> Go north\nIt's dark that way. You step on a pliers and turn back before hitting any more perils.\n\n> Go east\nLadies with ideals grab your garb. \"Step, pest!\" they cry. \"You'll startle a starlet!\"\n\n> Go west\nA man with a handkerchief over his nose welcomes you to the Allergy Gallery. You turn back.\n\n> You go upwards\nYou hear a warden being warned, and soon you're routed to a detour back where you started.\n\n> You scan the carpets\nAn officious water informs you there are no wines for a swine like yourself. They are reserved for actors and a costar.\n\nThe slider makes no noise.\n\n> Go south\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nA driveway with a yard view leads north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. His eyes dart between you and the lost corn. Clearly, he resents the work your presence is forcing on him.\n\n> You go south\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\n> You listen\nThe sharp harps are out of tune but a change of pace from the beasts. At least.\n\n> You open the door\nYou hear braying laughter behind the door. \"Hey! Some unintellectual's trying to get in. Like we'd make it a piece of cake for them to.\" Then someone else admonishes the speaker for ending a sentence with a preposition.\n\n> You go to the west\nWhat would a beaten-down city be without an ol' hotel? Both have seen better days, but this place has been trashed hardest. Everything's boarded up, and the only way out is east.\n\nA scary Night Thing is here, sitting on some sort of mattress.\n\nA ketchup bottle lies here, torn apart--and you have a prime suspect in the Night Thing that is roaring nearby.\n\n> Inventory\nIt's grown wrong, a gigantic hairy eyeless potato clearly not the right girth. And it's wired weird, with a cruel ulcer for a mouth. It seems more in the mood for bellowing than fighting, but it still probably doesn't belong in the hotel. It's too big to fight and too fearsome to get near. It appears to be sitting on some sort of mattress.\n\nItem time! You are carrying:\nsome velcro\na gardenia\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You examine bottle\nIt is THE PUCK brand ketchup. They apparently put, heck, whatever they want in it! And you'll like it that way!\n\n> You take the bottle\nThe night thing roars. Though it's drained the bottle of its contents, it still feels an emotional attachment you would be wise not to break.\n\n> You put the ketchup on the potato\n(first taking the ketchup bottle)\n\nThe night thing roars. Though it's drained the bottle of its contents, it still feels an emotional attachment you would be wise not to break. You need to be holding the ketchup bottle before you can put it on top of something else.\n\n> You examine the velcro\nYou're not smitten by these mittens--they're like what some kids had to wear when they were younger. Two glovey bits, with a long connecting string. They're made of a bunch of hooks and can probably catch on something if need be.\n\n> You wear the mittens\nYou put on the velcro.\n\n> You take the corn\nThe deadbeat almost gets up. \"Hey, Man, like, how do we know someone undisreputable doesn't, like, like the Man, man? Hey? Hey?\" he says, with no dearth of hatred as he jerks his thumb north. He might not do anything, but his friends might pour out from their tents. You don't need a fight right now.\n\nMaybe you need to strike a blow against some rich people to show you belong.\n\n> Go north\nThe beats aren't audible here, but conversation voices rant on. The talkers seem to take you for a stalker, but nobody wants to get too close. A barnacled candelabra hangs above, antlers are attached to a wall, and carpets provide garish spectra on the floor.\n\nAll in all, this place probably has a high property value, and people would be horrified if something happened to make it drop.\n\nSome dry cake is here. Nobody else is lower-class enough to eat it, but everyone's making sure nobody lower-class nabs it.\n\n> You take the cake\nYou overhear tales of what happens to those that steal. Someone else takes a turn watching you.\n\n> You examine the antlers\nThe antlers are just the sort of annoying thing that people only buy to show they own something more expensive than you do. They seem more chipped and worn than you'd expect for something so showy.\n\n> You scan the antlers\nSomeone comes over to you and says \"Put that thing away. They're genuine. And new, too! The owner just bought them! Or shot a seventeen-point buck to get them! Well, I'm not sure, but I didn't see them here last time.\"\n\n> You scan the candelabra\nYou couldn't even jump to get close to it. But it's not important. Someone just put it there because they could.\n\n> You listen\nThe conversation changes subject rapidly and randomly. The conversationalists decry conservationalists.\n\n> Inventory\nItem time! You are carrying:\nsome velcro (being worn)\na gardenia\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You examine the cake\nThe least stale of what's left, but weird and silvery and in no state to taste. Someone sees you eyeing the cake, and you suddenly wish to steal it out of spite.\n\n> Go south\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nA driveway with a yard view leads north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. His eyes dart between you and the lost corn. Clearly, he resents the work your presence is forcing on him.\n\n> You go south\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\n> You go to the south\nEr, Train Terrain\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet.\n\n> You go west\nThe big fuzzy wall is that way.\n\nThe tracks are east, and the city is back north.\n\n> You examine the wall\nThe wall looks and feels like steel wool, from top to bottom.\n\n> You take the wall\nThat's hardly portable.\n\n> You touch the wall\nKind of rough and gritty.\n\n> You climb the wall\nThe velcro strip is just the thing to climb the wall and reach the small recess.\n\nEr, Train Terrain (on the fuzzy looking wall)\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, though you may need to get off the wall first. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet.\n\n> You examine the recess\nIn the recess, you read Wirin' by Irwin. In event of missing control panel, power spikes on track will be unpredictable."
    },
    {
        "text": "> Look around\nEr, Train Terrain (on the fuzzy looking wall)\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, though you may need to get off the wall first. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet."
    },
    {
        "text": "[Themes: Fantasy, transformation, wordplay]\n\n> Go downwards\nYou get off the fuzzy looking wall.\n\nEr, Train Terrain\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet.\n\n> Go east\nThere may be an evil lair that way, but it's behind a live rail in the darkness. You'd touch it before you got there.\n\n> You go to the east\nYou're in a flower shop manned (elfed?) by faeries. You can go back west to the camp.\n\nA small piece of brocade is discarded away from the merchandise. You see scratchings above it.\n\nYou can also see some freesia faeries, some heaths and some begonias here.\n\n> You examine the brocade\nIt's rather plain and white with lots of black bars. It would take a rabider braider than most to weave such a design. Scratchings above it indicate it's not part of the normal merchandise.\n\n> Scan brocade\nYou feel a bit self-conscious waving your slider around such intrinsically magical beings. But they do not seem to mind.\n\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nGBBBBBR\n\n> Barcode\nYou take the brocade first--you're a bit embarrassed your magic seems more, well, applied than theirs.\n\nThe faeries buzz around for a bit, peeved at your boldness. \"Well, maybe you will do something for us some day.\"\n\nThe FREE TO FREELOADERS scratching by the brocade vanishes as you take it. Nice magic touch, that.\n\nYou turn your back and focus so the faeries can't see you mangle their gift. Or so they aren't jealous, or they don't laugh at how dumb your magic is.\n\nThe brocade schlurps and reorganizes into something flatter, but with the same pattern.\n\n> You examine the barcode\nIt's got the adhesive backing so it looks like you could PUT it ON something. Barcodes just don't exist by themselves."
    },
    {
        "text": "[Themes: Fantasy, surreal, transformation, magic, wordplay]\n\n> Describe the surroundings\n\"What low serf seeks our flowers?\" you hear as you enter. \"He must do better than that primrose promiser! A rose leaves us sore! No succor in a crocus either! Players with parsley are rewarded sparely!\"\n\nYou're in a flower shop manned (elfed?) by faeries. You can go back west to the camp.\n\nYou can see some freesia faeries, some heaths and some begonias here.\n\n> You scan the barcode\nYou receive a rush of insight unlike anything anywhere else in the game!\n\nJack's Pizza, 5/$10, limit 5 at Aldi!\n\n> You look at the heaths\nThey're tied together so their stems seem to form a sort of narrow tube. But surely flowers alone aren't going to stop the thumping here.\n\n> You look at the begonias\nReddish, pinkish, white. Kind of fragile, but they seem to silence things a bit, like they could somehow contain the sounds if you knew how to mess with them.\n\n> Sheath\nThe heaths are (still) merchandise. You don't want to know what faeries do to vandals.\n\n> Scan begonias\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBBRBGBBB\n\n> Noise bag\nThe begonias are (still) merchandise. You don't want to know what faeries do to vandals.\n\n> You give gardenia to fairies\nSomething you did or thought causes the freesia faeries to buzz...I guess they're magical enough to detect your misspellings. You feel a tingling, but it passes.\n\nThey're visibly impressed. \"Perhaps you are the word smyth who will fulfill the sword myth! We offer a flower of your choice. But only one. Our flowers, or what you make of them, cannot provoke or participate violence, but they may be able to contain the weapon you need.\"\nGo, bud. Reap irony!\n\n> You take the heaths\n\"Remember, adventurer! The flowers cannot be used for violence. They may be a suitable vessel.\"\n\n> Sheath\nYou turn your back and focus so the faeries can't see you mangle their gift. Or so they aren't jealous, or they don't laugh at how dumb your magic is.\n\nThe heath grows, tangles around itself, and lumps into a passable sheath that could carry a decent-sized sword, which you wear."
    },
    {
        "text": "> Look around\nYou're in a flower shop manned (elfed?) by faeries. You can go back west to the camp.\n\nYou can see some freesia faeries and some begonias here.\n\n> You go to the west\nThis dead-end alley is littered with words, which almost drown out the intense beats heard elsewhere in the city, and garbage. Only way out is back east.\n\nA motto is here. It's on a placard, which would be wholly unnoticeable and useless among all the garbage but for how bad a motto it\nis.\n\n> You look at the motto\nSomehow, someone named Too-Apt Pat Ott has managed to make a hash of grammar, logic, math, science and basic human decency in sixty letters. Sixty-four if it were spelled correctly.\n\nI'd tell you what it said, but you-the-person would be the worse for it. It's like Monty Python's funniest joke in the world that way. Even considering it makes you feel worried you'll forget simple stupid stuff, like what's a fruit and what's a vegetable.\n\n> Scan motto\nYour gadget gives BBBBGR. Since Motto is only five letters, you wonder what's up, but it's labeled A MOTTO.\n\n> Tomato\nThe motto--that is, both words and paper--curls up and bundles into a small sphere, and you almost drop it. Amazingly, it's not icky-soft or anything, and it doesn't smell TOO bad."
    },
    {
        "text": "[Themes: Fantasy, silly, transformation, surreal]\n\n> You look around\nThis dead-end alley is littered with words, which almost drown out the intense beats heard elsewhere in the city, and garbage. Only way out is back east.\n\n> You examine the garbage\nThe garbage smell would make a bear gag--stink bug, gunk bits, etc.\n\n> You go east\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nA driveway with a yard view leads north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. His eyes dart between you and the lost corn. Clearly, he resents the work your presence is forcing on him.\n\n> You go west\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\nWhat would a beaten-down city be without an ol' hotel? Both have seen better days, but this place has been trashed hardest. Everything's boarded up, and the only way out is east.\n\nA scary Night Thing is here, sitting on some sort of mattress.\n\nA ketchup bottle lies here, torn apart--and you have a prime suspect in the Night Thing that is roaring nearby.\n\n> You examine the tomato\nIt's as rotten as the motto of Pat Ott's you extracted it from. It is probably even more rotten on the inside, not that you have the bravery to check. Yet it also has that staying power. It doesn't have any mold on it, yet.\n\n> You squeeze the tomato\nThat's either icky or impossible or both.\n\n> You throw tomato at the potato\nA direct hit! The tomato goes into the cruel ulcer, and the Night Thing smiles at first at the ketchupiness of the tomato. Then the inner rottenness and backwards logic from the (oops, a) motto kicks in. The beast wonders what sort of villain would DO that to ketchup. It looks at you in fear, sure you have more where that came from, and retreats into an unseen hole, scratching and clawing.\n\nThe mattress the Night Thing was on is slightly but noticeably bumpy. It's also ripped open, and it's concealing something rather badly.\n\n> You examine Mattress\nThe Smartest Mattress doesn't have a one-page proof of Fermat's Last Theorem in it or anything. It just \"remembers\" the shape of whatever sat on it for a long, long time. The bump in the mattress is obvious enough that you have to take another look. You find a small machine labeled, apparently, a termite emitter, and you take it.\n\n> You examine the machine\nIt's a small black box, six inches by six inches. It probably holds a lot of termites. You can switch it when you need to. Someone has scratched a circle with a line through it over a dollar sign. You can't hear or see the termites that should be in there, but hey, faith.\n\n> You examine Mattress\nThe Smartest Mattress doesn't have a one-page proof of Fermat's Last Theorem in it or anything. It just \"remembers\" the shape of whatever sat on it for a long, long time. It doesn't seem to have held anything other than the termite emitter.\n\n> You turn on the machine\nThis place has seen enough abuse. Maybe find one that hasn't?\n\n> You turn on the machine\nYou activate. They vacate it. It's like a petard--those who prated, depart and ratchet down the chatter. The emitter dies down after the last termite escapes.\n\n> Keycard\nThe dry metallic cake turns into a dry metallic keycard, which you take for yourself. Hooray, technology.\n\n> You go south\nYou migrate, ragtime music in your head. From the south, some camped folks decamp for har-hars and rah-rahs. \"Roaches scare! Ho!\"\n\nYou're the camp's scamp now, so to speak. I bet you could even take that corn now!\n\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nThe cordoned red condo you're not welcome back at is to the north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. Despite your heroism with the cake in the condo, he barely acknolwedges you.\n\n> Controls\nThe different-colored kernels only flatten out as the lost corn collapses into a circuit board. The controls you possess--for whatever--seem powerful.\n\n> You check your inventory\nItem time! You are carrying:\nsome controls\na keycard\na termite emitter\na sheath\na barcode\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> Go east\n(first opening the metallic door)\nThe metallic door's got no handle. It's probably operated by the sensor, which might open if you put something like your keycard on it.\n\n> You put the keycard on the sensor\nHm. The blank keycard doesn't seem to work. Maybe you could jazz it up a bit.\n\n> You put the barcode on the keycard\nYou unpeel the barcode, slap it on the keycard, and it is a perfect fit! Also, you stuff the adhesive backing in your pocket, where you forget about it until you can find a proper garbage can. You haven't seen any in this city yet.\n\n> You put the keycard on the sensor\nWhat do you know? It works! The door slides open!\n\nWhat do you know? It works! The door slides open!\n\nThe metallic door slides shut."
    },
    {
        "text": "[Themes: Fantasy, silly, surreal]\n\n> You describe your surroundings\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side. Probably reads something-or-other to let you in.\n\nThe metallic door slides shut.\n\n> Go east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping. You suspect the actual entertainment center's in back, and you'd have to learn a secret handshake or something to get there. But you've got a city to save.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\nThe metallic door slides shut.\n\n> You examine nerds\nThey're sitting around nattering about nerd things. They don't look particularly nerdy, but most of their conversation seems to revolve around how smart other people aren't. They're babblier than most but don't seem bribable.\n\n\"...butler I rebuilt!\"\n\n> You examine the tulip\nNo fickler flicker or slight lights--its twinkle lets it wink for a long while, with no way to turn it off or on.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You scan the tulip\nOne of them demands to see your slider. They poke around at it, convince you they know more about it than you do, and hand it back\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You scan nerds\nYou don't bring it close to them, but there's some chuckling about how you probably don't know the specifications behind such a neat tool. Nothing, until they remind each other you just don't seem to know what to ask nerds about. Then, GBBBBBR.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You show the controls to the nerds\nThe nerds are unimpressed.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You ask the nerds about the mensa\n\"He's not smart enough for us, is he?\"\n\n\"Well, if he found his way in, he is!\"\n\n\"Well, he'll have to find the right thing to ask nerds like us about if he wants us to stop talking about him like he's not here.\"\n\n\"If he doesn't know what to ask nerds about, he deserves Ed's snark!\" Whoever he is.\n\nSomeone shows how mediums are for dummies. Others agree, eager.\n\n> You check your inventory\nItem time! You are carrying:\nsome controls\na keycard\na termite emitter\na sheath\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You ask the nerds about the sheath\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You ask nerds about the tulip\n\"We've got plenty of light here. You can have it, if you know what to ask us about. And if the tulip would help.\"\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You ask the nerds about the controls\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You ask the nerds about the red bull\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You ask nerds about the dead beat\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You ask the nerds about saltine\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You ask the nerds about the flowers\nWhich do you mean, the heaths, the begonias, the merchandise or the gardenia?\n\n> You ask the nerds about the begonias\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You go west\n(first opening the metallic door)\nThe door slides open as you step near it.\n\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> You go to the south\nEr, Train Terrain\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet.\n\n> You examine the controls\nThis panel features all manner of black and yellow and red doohickeys and there's a small warning message saying REPLACEMENT CONTROLS IN CASE OF SURGE TO TRACKS. They've got instructions, which are surprisingly clear and even leave you wiser about u-boat wires.\n\n> You examine the instructions\nThey'll be useful once you find a place to put the controls.\n\n> Up\nThe velcro strip is just the thing to climb the wall and reach the small recess.\n\nEr, Train Terrain (on the fuzzy looking wall)\nYou're in a train station. It's a bit dark, but not as bad as to the east, which is where the noise may be coming from--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, though you may need to get off the wall first. A rail is to the east--it seems to be sparking quite a bit, so best not to step on it, yet.\n\n> You put the controls in the recess\nThey fit well. One of the red buttons starts blinking and whirring, and you flip the switch by it and, BAM! You hear a rush of power. The lights in the tunnel to the east seem to flicker and go stronger."
    },
    {
        "text": "[Themes: Fantasy, magic, transformation, surreal, silly, wordplay]\n\n> Look around\nEr, Train Terrain (on the fuzzy looking wall)\nYou're in a train station. The tracks are east and, it seems, so is the noise--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, though you may need to get off the wall first. A rail is to the east--it's no longer sparking."
    },
    {
        "text": "[Themes: Fantasy, surreal, transformation]\n\n> Go downwards\nYou get off the fuzzy looking wall.\n\nEr, Train Terrain\nYou're in a train station. The tracks are east and, it seems, so is the noise--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it's no longer sparking.\n\n> You examine the art\nIt's a typical train depot PSA saying \"DON'T PIRATE.\" You hope the creator wasn't paid. Rotten stuff.\n\n> You go to the east\nYou go east but reach a thin ledge. It needs to be lightened before you go further. You have no item to help with that.\n\n> Go north\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> Go east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\n\"...butler I rebuilt!\"\n\n> You ask nerds about the ledge\nMore annoying banter. Perhaps you could disperse them with the right item. They'd deserve it. Though maybe if you keep bugging them, they'll get exasperated and give you better hints than what to ask nerds about.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\nThe metallic door slides shut.\n\n> Inventory\nItem time! You are carrying:\na keycard\na termite emitter\na sheath\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You turn on the machine\nIt's empty now.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You examine info-lit\nReason So Near from Sane Sean, Farce Facer and Saltier Realist:\n--If you can change stuff, why can't the people who made the gadget and slider? Or why couldn't they find someone off the street? Perhaps they're the real enemy and you're the pawn.\n--If they really wanted you to clean things up, why can't you take both the cabinet items?\n--That NEW DOOR is not really ONE WORD. Same as the guy who can lift it! They are two short words, easier than one big scary seven-letter word.\n--Anyone smart enough to untangle this world won't get any fulfillment from doing so. So there, stupider disputer!\n\nIt'd all be distressingly persuasive gotcha-logic if you hadn't been able to flip that toga. But this is a fantasy world, so there's a chance he's wrong.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You ask the nerds about the rail\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You ask the nerds about the thin ledge\nThey form a grin ring, but you close your eyes a bit.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> Scan machine\nThe slider makes no noise.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You ask the nerds about thin ledge\n\"You might as well ask dorks like Karkdoss about something that inconsequential!\"\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You ask the nerds about the slider\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You ask the nerds about the Store\nWhich do you mean, store b, store c, store d, store e, store f, store g, store h, store i, store j, store k, store l, store m, store n, store o, store p, store q, store r, store s, store t, store u, store v, store w, store x, store y or store z?\n\n> You ask the nerds about the store r.\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You ask the nerds about the store m.\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You take tulip\nSomeone shoots a hand out. \"You have to ASK NERDS the right thing before you can get it. What do you want it for? ASK us, don't TELL us.\"\n\nThat was kind of abrasive. You think of the places you haven't been and the obstacles to getting there.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You ask NERDS about the light\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You ask NERDS about the lair\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\n\"...butler I rebuilt!\"\n\n> You ask NERDS about the train\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You go north\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nThe cordoned red condo you're not welcome back at is to the north. You hear painful music.\n\nA deadbeat is sitting on the ground here, looking dead beat. Despite your heroism with the cake in the condo, he barely acknolwedges you.\n\n> You ask the deadbeat about the sheath\nHe doesn't seem to know much about that. You'd be worried if he could help you much, actually.\n\n> You scan dead beat\n\"Whoah, don't tase me, bro. I have civil rights!\"\n\n> Go south\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> You go to the west\nWhat would a beaten-down city be without an ol' hotel? Both have seen better days, but this place has been trashed hardest. Everything's boarded up, and the only way out is east.\n\nA ketchup bottle lies here, torn apart--and you have a prime suspect in the Night Thing that was here.\n\nThe mattress still conforms to the shape of the night thing that sat on it.\n\n> Go south\nEr, Train Terrain\nYou're in a train station. The tracks are east and, it seems, so is the noise--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it's no longer sparking.\n\n> You read the ad\nIt references some dead fad while proclaiming TRANSIT FOR ARTISAN AND TSARINA.\n\n> You examine the art\nIt's a typical train depot PSA saying \"DON'T PIRATE.\" You hope the creator wasn't paid. Rotten stuff.\n\n> You go to the east\nYou go east but reach a thin ledge. It needs to be lightened before you go further. You have no item to help with that.\n\n> You read the PAD\nYou just like it. The color, the feel. Other people have computers, but your notepad is yours. Currently you can consult it about: --notepad, lecture, stores, goat\n--board\n\n> You look at what you're carrying with you\nItem time! You are carrying:\na keycard\na termite emitter\na sheath\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You consult the PAD about the board\nYou're past the bit about the introductory puzzles, and you note you only need to solve two regions\n\n> You go west\nThe big fuzzy wall is that way.\n\nThe tracks are east, and the city is back north.\n\n> Go north\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> Up\nEverything starts okay, but just as you get a glimpse of the top, the escalator starts speeding down more quickly. You try jumping a step, but it doesn't matter. Eventually, you're thrown to the bottom of the escalator, a bit more tired than before.\n\n> You ask NERDS about the burdell\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\nThe metallic door slides shut.\n\n> You ask NERDS about the trick\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You ask NERDS about the pirate\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You ask NERDS about tinfoil\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\n\"...butler I rebuilt!\"\n\n> You ask NERDS about the noise\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> Inventory\nItem time! You are carrying:\na keycard\na termite emitter\na sheath\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You examine the sheath\nIt's a dull grey, with the words FOR GREAT QUIETNESS inscribed in some Gothic font.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You examine emitter\nIt's a small black box, six inches by six inches. It's empty now, you hope. Someone has scratched a circle with a line through it over a dollar sign. It's probably empty after your hijinks.\n\n\"...How I do it, idiot.\"\n\n\"Who?\""
    },
    {
        "text": "[Themes: Fantasy, transformation, silly, wordplay, magic, surreal]\n\n> You look around\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\n\"...butler I rebuilt!\"\n\n> You examine the door\nIt's very solid.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> Odor\nYou can't see anything here like that, or changeable into that.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You examine the walls\nThey've got those perpendicular ridges in sets of three that kill sound. The nerds won't shut up, though.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You wear the sheath\nYou put on the sheath.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You scan the walls\nThe slider makes no noise.\n\n\"...butler I rebuilt!\"\n\n> About yourself\nYou're wearing generic, comfortable and inoffensive clothes, which have enough pockets for a modest inventory.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You check your inventory\nItem time! You are carrying:\na keycard\na termite emitter\na sheath (being worn)\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You put the tulip in the sheath\n(first taking the lit-up tulip)\n\nSomeone shoots a hand out. \"You have to ASK NERDS the right thing before you can get it. What do you want it for? ASK us, don't TELL us.\"\n\nThat was kind of abrasive. You wonder if there's a way to disrupt their little gathering if you can't figure what to ask.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You take off the sheath\nIt'd be too awkward to carry.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You look at the sheath\nIt's a dull grey, with the words FOR GREAT QUIETNESS inscribed in some Gothic font.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You go west\n(first opening the metallic door)\nThe door slides open as you step near it.\n\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> Go south\nEr, Train Terrain\nYou're in a train station. The tracks are east and, it seems, so is the noise--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it's no longer sparking.\n\n> You remove the sheath\nIt'd be too awkward to carry."
    },
    {
        "text": "[Themes: Fantasy, magic, silly, transformation, surreal]\n\n> You look at your surroundings\nYou're in a flower shop manned (elfed?) by faeries. You can go back west to the camp.\n\nYou can see some freesia faeries, some heaths and some begonias here.\n\n> You go to the north\nHere in this cross between a platform and farm plot lie the shocking red tents of the terminally un- and under-employed. You are quickly excluded from this once-mum commune, since you seem actually busy. An alley lies to the west, a posh shop is to the east, and back south is where you started from.\n\nA driveway with a yard view leads north. You hear painful music.\n\nThat lost corn is still in that corner. Sorry if that sounds corny.\n\nA deadbeat is sitting on the ground here, looking dead beat. His eyes dart between you and the lost corn. Clearly, he resents the work your presence is forcing on him.\n\nThe beats aren't audible here, but conversation voices rant on. The talkers seem to take you for a stalker, but nobody wants to get too close. A barnacled candelabra hangs above, antlers are attached to a wall, and carpets provide garish spectra on the floor.\n\nAll in all, this place probably has a high property value, and people would be horrified if something happened to make it drop.\n\nSome dry cake is here. Nobody else is lower-class enough to eat it, but everyone's making sure nobody lower-class nabs it.\n\n> Go north\nIt's dark that way. You step on a pliers and turn back before hitting any more perils.\n\n> Go west\nWhat would a beaten-down city be without an ol' hotel? Both have seen better days, but this place has been trashed hardest. Everything's boarded up, and the only way out is east.\n\nA ketchup bottle lies here, torn apart--and you have a prime suspect in the Night Thing that was here.\n\nThe mattress still conforms to the shape of the night thing that sat on it--but it also has a bump in one corner.\n\n> You take the machine\nYou already have that.\n\n> You check your inventory\nItem time! You are carrying:\na termite emitter\nsome begonias\na barcode\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You put the keycard on the sensor\nWhat do you know? It works! The door slides open!\n\n> You go east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping. You suspect the actual entertainment center's in back, and you'd have to learn a secret handshake or something to get there. But you've got a city to save.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\nThe metallic door slides shut.\n\n> Noise bag\nThe begonias twirl and create a bag. One with weird triangular spikes on the inside. You exclaim surprise at it--the bag whooshes every time you say something.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You open the bag\nYou open the noise bag.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You give the bag to NERDS\nThey aren't big on material things. They probably prefer to show how smart they are.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You ask NERDS about the bag\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You use the bag on NERDS\nUse is a bit too vague for this game's parser to understand. You can SWITCH something, or PUT something IN/ON something, or even ATTACH something to something. You can PUSH a button or OPEN something, as well. Specific items should clue you what to do if you EXAMINE them.\n\n> You put the bag on nerds\nPutting things on the nerds would achieve nothing.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You look at the bag\nIt's labeled OPEN TO CAPTURE NOISES.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You open bag\nThat's already open.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> Close bag\nYou close the noise bag.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You look in the bag\nIt's labeled OPEN TO CAPTURE NOISES.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You drop bag\nI noticed you used a period to separate commands. Unfortunately, the parser in Inform seems to have an extremely obscure bug (#1011 at inform7.com) that interacts with the solution to this game if you separate commands with periods. It was noticed near the release deadline, and it manifests itself when you refer to an in-game item or person or thing as one in a series of commands, usually three or more.\n\nThis warning won't appear again. Hit any key to continue.\nYou open the noise bag.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\nYou shouldn't need to drop that. You have enough hands and pockets.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You drop the bag\nYou shouldn't need to drop that. You have enough hands and pockets.\n\nSomeone shows how mediums are for dummies. Others agree, eager.\n\n> You ask NERDS about the noise\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You open the bag\nThat's already open.\n\n> You go to the north\nYou'd probably be recognized and arrested.\n\n> You examine the bag\nIt's labeled OPEN TO CAPTURE NOISES.\n\n> You put the noise in the bag\nTautology?! Got ya, lout!\n\n> Noise bag\nThe begonias twirl and create a bag. One with weird triangular spikes on the inside. You exclaim surprise at it--the bag whooshes every time you say something.\n\n> You take the cake\nYou feel a slap on your hand from someone who mentions Doc Bleak gave a creep a crepe once. A bold cake blockade! Someone else takes a turn watching you.\n\n> You listen\nThe conversation changes subject rapidly and randomly. \"It can't be a real toxin. It gives relaxation!\"\n.\n\n> You open the bag\nThat's already open.\n\n> You turn on the machine\nYou activate. They vacate it. It's like a petard--those who prated, depart and ratchet down the chatter. The emitter dies down after the last termite escapes.\n\n> You examine the bag\nIt's labeled OPEN TO CAPTURE NOISES.\n\n> Keycard\nThe dry metallic cake turns into a dry metallic keycard, which you take for yourself. Hooray, technology.\n\n> Go east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping. You suspect the actual entertainment center's in back, and you'd have to learn a secret handshake or something to get there. But you've got a city to save.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\nThe metallic door slides shut.\n\n> You ask NERDS about the wall\nWhich do you mean, the fuzzy looking wall, the scraped wall or the cedar wall/walls?\n\n> You ask NERDS about the controls\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You ask NERDS about the noise\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You examine the tulip\nNo fickler flicker or slight lights--its twinkle lets it wink for a long while, with no way to turn it off or on.\n\n\"...butler I rebuilt!\"\n\n> You examine walls\nThey've got those perpendicular ridges in sets of three that kill sound. The nerds won't shut up, though.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> About yourself\nYou're wearing generic, comfortable and inoffensive clothes, which have enough pockets for a modest inventory.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> Inventory\nItem time! You are carrying:\nsome controls\na keycard\na termite emitter\na noise bag (open but empty)\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\nSomeone shows how mediums are for dummies. Others agree, eager.\n\n> You ask NERDS about the quest\n\"He's not smart enough for us, is he?\"\n\n\"Well, if he found his way in, he is!\"\n\n\"Well, he'll have to find the right thing to ask nerds like us about if he wants us to stop talking about him like he's not here.\"\n\n\"If he doesn't know what to ask nerds about, he deserves Ed's snark!\" Whoever he is.\n\nThe nerds give amens that MENSA is the greatest social group ever.\n\n> You ask NERDS about the dungeons and the dragons\nMore annoying banter. Perhaps you could disperse them with the right item. They'd deserve it. Though maybe if you keep bugging them, they'll get exasperated and give you better hints than what to ask nerds about.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\n> You ask NERDS about the station\nThey form a grin ring, but you close your eyes a bit.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> You ask NERDS about the thin ledge\n\"You might as well ask dorks like Karkdoss about something that inconsequential!\"\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You ask NERDS about the mensa\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\n> You ask NERDS about the anagrams\nApparently you haven't seen the light for what to ask nerds about. A few smart-people in-jokes later, you feel too aliterate to retaliate, worried it might take a thousand years to guess.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You ask NERDS about the walls\n(soundproofed walls)\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You ask NERDS about the tulip\n\"We've got plenty of light here. You can have it, if you know what to ask us about. And if the tulip would help.\"\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You ask NERDS about METROS\nThe nerds look at each other, wondering why you would ask about that, really. They are sure you have something important to ask them. Maybe somewhere you can't get to or through. They could figure it out if in your shoes.\n\nHmm. Apparently, when you ASK NERDS, you need to come correct. All the same, you're a bit annoyed, and you wonder if you can maybe play a mean trick on them to get that tulip, instead.\n\nYou hear a MENSA-y yesman encourage someone to repeat himself.\n\n> You ask NERDS about the darkness\n\"What, you want us to do everything for you? We're exhausted from building this soundproofing. But whatever. Here. Have this lit-up tulip.\"\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> Go east\nYou hear an even worse noise as you walk across the tracks. You run back across where you can reflect how it would be nice if you had something in that noise bag to combat...whatever it is there.\n\n> You go to the east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds and a lit-up tulip here.\n\nA conceders' crescendo follows a claim nerds'd LIKE to help everyday stupid people.\n\n> You ask NERDS about the darkness\n\"What, you want us to do everything for you? We're exhausted from building this soundproofing. But whatever. Here. Have this lit-up tulip.\"\n\n\"Since I'm not omniscient...\" Ish, note his tone. Sarcastic, arctic ass.\n\nThe metallic door slides shut.\n\n> Go east\nYou hear an even worse noise as you walk across the tracks. You run back across where you can reflect how it would be nice if you had a weapon in that sheath.\n\n> You check your inventory\nItem time! You are carrying:\na lit-up tulip\na keycard\na termite emitter\na sheath\nsome velcro (being worn)\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> You go east\nYou swipe your keycard and go east as the door opens.\n\nIt's quiet here, mostly due to the soundproofed walls. It'd make a nice mob combine, but it's a small bunker for nerds who just got sick of the thumping.\n\nA large metallic door is to the west. It's got no sensor on this side, so you can probably just walk back through it.\n\nYou can also see some nerds here.\n\n\"...How I do it, idiot.\"\n\n\"Who?\"\n\n> Sword\nYou can't see anything here like that, or changeable into that.\n\nSomeone shows how he cut down a stupider disputer. Others agree, eager.\n\nThe metallic door slides shut.\n\n> You look at the sheath\nIt's a dull grey, with the words FOR GREAT QUIETNESS inscribed in some Gothic font.\n\n\"...butler I rebuilt!\"\n\n> You scan tulip\n\"Insanity is doing the same thing over and over again and expecting to get different results!\" one of them says. Stiff high-fives follow all around.\n\nSomeone blames the dim-led middle for This Whole Mess.\n\n> You go west\n(first opening the metallic door)\nThe door slides open as you step near it.\n\nThis is some sort of seedy underground intersection with a train station south. You can also go north to what looks like a camp. You see the down escalator you came by. A building to the west advertises itself as The Ol' Hotel.\n\nA large metallic door is to the east. It has a warning graphic repelling any old riff-raff from entering. There's also a sensor off to the side.\n\n> You scan tulip\nThe slider makes no noise.\n\nThe metallic door slides shut.\n\n> You look at the keycard\nIt's plain and metallic, with a barcode that might help with optical scanners.\n\n> Go east\nYou hear an even worse noise as you walk across the tracks. You run back across where you can reflect how it would be nice if you had a weapon in that sheath.\n\n> You take the bottle\nTrust me. You don't need it.\n\n> You sit\n(on the the slider's screen)\nThat's not something you can sit down on.\n\n> You sit on Mattress\nOn that mattress? Eww.\n\n> Sword\nThe words go slippery, claiming they didn't mean themselves, giving passive-aggressive threats. But it is too late--they fade, and a sword appears materially.\n\nYou sensibly put the sword--as slippery as the final words--into your sheath.\n\n> You go east\nEr, Train Terrain\nYou're in a train station. The tracks are east and, it seems, so is the noise--it's louder here than anywhere else. You suspect the darkness to the east is where your destiny lies.\n\nYou could go back north, and there's a fuzzy looking wall to the west, too. You notice pointed art and a faded ad on it, but the small recess near the top seems more useful. A rail is to the east--it's no longer sparking.\n\nYour lit-up tulip gives a welcoming anemic glow. You're ready to tackle whatever's lying craven in the cavern.\n\nYou're in a formerly dark passageway that houses the force responsible for all the pain in the metropolis. You feel like a movie star, with the beats pulsing in the background to lead you on to defeating--oh, wait. The beats ARE what you're trying to defeat.\n\nA siren kicks in, to make things even more head-achingly techno up in here. It's off to your side. It's noisy enough, you're not getting near it.\n\n> You examine the siren\nBlue and red and flashing and very loud. You'd love to pound it into a powder.\n\nRRIIEEUUWW. That siren just won't shut up. Man, you just want\nto pound it into a powder.\n\n> Scan siren\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBBGBR\n\nRRIIEEUUWW. That siren just won't shut up. Man, you just want\nto pound it into a powder.\n\n> Resin\nThe siren makes some even more spastic noises before grinding into resin powder. You scoop it up and put some on your hands, which feel sticky now. You feel your chances of defeating the beats has risen, unless you rinse."
    },
    {
        "text": "[Themes: Fantasy, surreal, silly]\n\n> Look around\nYou're in a formerly dark passageway that houses the force responsible for all the pain in the metropolis. You feel like a movie star, with the beats pulsing in the background to lead you on to defeating--oh, wait. The beats ARE what you're trying to defeat.\n\n> Go east\nThere's no easy way out. But you sense you have what you need.\n\n> Scan beats\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nGBBRB\n\n> Beast\nThe beats turn into a beast which also yells, but at least it's not that constant electronic thumping. The thing has to take time to breathe. It's an improvement. Well, for your survival chances.\n\n> You examine the beast\nIt's blob-shaped with one tooth and one eye and inside-out headphones that still transmit music.\n\n> You examine the sword\nIt's sheathed now. It's not really worth admiring. The handle looks slippery.\n\n> You attack the beast\nThe sword is yours, and you grab it firmly in your resined hands!\n\nYour sword acts as a microphone, converting the beast's beats to equally horrendous lyrics and providing feedback that makes it wince. It gives an owly yowl and runs off, sobbing. People can finally think again! \"You're quite a Smiter, Mister! You gave the monster no terms! You merit this mitre!\" someone says. But all you want is to get on with your quest. The escalator in the undesired underside is rigged to go up. You get a pared parade and, for slower fun, plant a sunflower before returning to the Trips Strip.\n\nCongratulations! Metros node: done!\n\"Yeah! Heya.\" says Eric Rice, again. \"Nice work up in the metros. Oo, more stuff. Let me take it. You go get relaxing now in your Roman Manor.\" Before you can thank him, he's gone.\nTrips Strip\nYou see what was once a bunch of small malls. Most lots appear vacant or dilapidated.\n\nYou see a down escalator here, but it's not worth revisiting the metros.\n\nSome stairs lead down from the wreckage of store I, further than you can see. But no sense looking--you know what's there, and you've taken care of it.\n\nThere's a forest here where store F was, but you probably don't need to go back there.\n\n> You examine the malls\nOf the various stores you see, only store r looks like you can do anything with it. Store r finally looks like you can visit. A few others seem greyed-out, like in a video game or something. There can't be anything in any of them.\n\n> Roster\n(examining instead)\nThe roster on the front of store R reads: \"People who have earned a vacation: you (well, go on!)\"\n\n> You enter\nYou've been there, done that. Big city life is not for you.\n\n> You enter the store r.\nIt's closed and locked, and you won't find a key. Maybe you can do something else to it.\n\n> Resort\nStore R rumbles and reforms into something far posher. A huge resort! You see, in the distance, a manor that seems made for you. \"I know what you're looking at!\" calls Old Man Almond. \"You've earned it! For defeating Red Bull Burdell!\"\n\nBefore you reply you haven't, he's already run behind store 7, yelling \"Go! Rest!\"\n\n> Resort\n(examining instead)\nMan, it's beautiful, spacious and sunny. Even sunnier than the Trips Strip, which is much nicer since you started cleaning up, but still...\n\n(You can say the name of the resort now to enter it. There's nothing more hidden in its description.)\n\n> Resort\n(entering instead)\nYou stride into the resort thinking \"Gee. Damn. Endgame.\" But it is a mirage! You're gamier than to let that bother you, though, even though you hardly seem to be in paradise.\n\nTiles, tiles, tiles. As far as you can see. Different colors, but this doesn't look like a comfortable place for a nice long vacation. Your slider jostles a bit.\n\n> You scan the tiles\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nB"
    },
    {
        "text": "[Themes: Fantasy, wordplay, surreal, silly, magic, transformation]\n\n> You look around\nTiles, tiles, tiles. As far as you can see. Different colors, but this doesn't look like a comfortable place for a nice long vacation. Your slider jostles a bit.\n\n> You check your inventory\nItem time! You are carrying:\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\n> Islet\nThe tiles crumble and shift around.\n\nWell, this is a little more idyllic. But it's all sand and so small, it can't be the one you were promised. You can see land way to the east.\n\nYou see a rudimentary swing hanging from a tree here.\n\nYou see a large-ish rock here.\n\n> You examine the swing\nThe swing is made of twine and hangs from a tree branch high up. You won't get to untie it, but you can see something scratched on the tree.\n\n> You examine tree\nIt has ALOFT scratched into it. An arrow points down to the swing, as if to say, the tree can't help you fly.\n\n> Wings\nThe old swing's ropes defray and the seat somehow transmogrifies. You see a pair of wings. They don't look like they'll last too long, but they're better than nothing. You take them.\n\n> You check your inventory\nItem time! You are carrying:\nsome wings\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad"
    },
    {
        "text": "> You look around\nWell, this is a little more idyllic. But it's all sand and so small, it can't be the one you were promised. You can see land way to the east.\n\nYou see a large-ish rock here, but it seems less potentially useful now you have the wings.\n\n> You go east\nYou put on the wings for your flight. The wings last just long enough for you to get to the landmass you see before shredding into the wind. But it probably doesn't matter now--you're across to some sort of mainland.\n\nYou've reached an odd low woodland. There's a gigantic set of poles off to the east. Also, a toolshed that's in bad shape.\n\nA spore, about a foot long, is here. Imagine what it could grow into.\n\nA sprig of some tree or weed you can't identify is here.\n\n> You examine the sprig\nVery fragile in its present form.\n\n> Grips\nThe fragile sprig pops into a pair of suction grips, which you take.\n\n> You examine the spore\nIt looks too delicate as is to support any weight.\n\n> Ropes\nThe spore grows more quickly than you could imagine, into a couple of long ropes tied together. You wind one around your waist. The combination of grips and ropes is probably enough to make climbing gear. You don't need the toolshed for tools.\n\n> You examine toolshed\nIt's metal, with no visible entry or even windows. You notice some outcroppings.\n\n> You look at the outcroppings\nThey are something you could put your feet--no, the edge of them--on. They look sturdy enough to hold you, but the problem is, they don't lead anywhere.\n\n> You scan toolshed\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nGBBBRBBB\n\n> You examine the poles\nThey are too vertical and smooth to climb. You can't push them--they look quite sturdy and are at least twenty feet tall--but maybe, if they were at an angle... Or you could get a grip somewhere.\n\n> Slope\nThe poles rumble and slide. You run away, fearing they may go vertically--then you're a bit disappointed to see they're still at a forty-five degree angle.\n\n> Toeholds\nThat'll do it! The toolshed crumbles, leaving only the small outcroppings--which somehow fly into the slope.They're plentiful and stable. You could probably climb up now. You probably don't need those tools you made.\n\n> You climb\n(the the slider's screen)\nI don't think much is to be achieved by that."
    },
    {
        "text": "[Themes: Fantasy, transformation, wordplay, surreal]\n\n> Look around\nYou've reached an odd low woodland. There's a gigantic slope you could climb off to the east. You see toeholds on the slope.\n\n> You go to the east\nYou make it up the slope with some effort and surprisingly little risk. You didn't even need any climbing gadgets. The toeholds are more like footholds, really.\n\nAn arid, trod dirt road. East is siesta.\n\nOh dear. A horde. Uprisers--surprise--protesting YOU! A full-blown riot.\n\nThe rioters decry The Villain In The Villa. The one they're blocking you from. Well, you weren't expecting airtight logic.\n\n> You examine the horde\nWell, you have to admit, there's a wide variety of people protesting you, even if they're not explaining why. The riot will probably be blocking your way to the east, but they don't seem to be attacking you, which is nice.\n\nYou probably can't take the whole riot at once, but it'd be nice to have a way to weed out most of them.\n\n\"GO, CURSE-SCOURGE!\" the rioters chant.\n\n> You listen\nSilent.\n\nThe rioters accuse you of animal cruelty: making monotremes into metronomes.\n\n> Continue\nQuite quiet.\n\nThe rioters decry The Villain In The Villa. The one they're blocking you from. Well, you weren't expecting airtight logic.\n\n> Scan horde\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBBRG\n\nThe rioters lambaste your work in the forest with a meat slab.\n\n> Trio\nYour word seems to have no effect. But that's just because the least enthusiastic people in the back leave first. Others follow--one of them even drops some chain links. And soon, just three people remain. The most energetic and dedicated, of course, but altering that triangle can't be too hard, can it?\n\nIt's still a protest. But while three's a crowd, they look similar.\n\nYou're presented with accusations you'd make the holiest hostile."
    },
    {
        "text": "> Look around\nAn arid, trod dirt road. East is siesta.\n\nThree can still be a protest as well as a crowd, apparently. They're blocking your way east.\n\nYou can see some chain links here.\n\nSome bitter lug says you're the litterbug throwing darn glass in his grassland.\n\n> Links\n(examining instead)\nA bunch of ovular links hooked together. Out of the hands of rioters, it'll cause less achin'. You notice they are Made In China. But they're still more violent things than you'd like, this near your manor.\n\nThe remaining protesters decry The Villain In The Villa. The one they're blocking you from. Well, you weren't expecting airtight logic.\n\n> Scan links\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nBBBGR\n\nOne carries an AVENGE GENEVA sign. You've never been there.\n\n> Kilns\nThe links burst and swell into luxury kilns. The yelling's loud as ever but increasingly directed at the kilns and not you. The protesters seem distracted.\n\nSome bitter lug says you're the litterbug throwing darn glass in his grassland."
    },
    {
        "text": "[Themes: Fantasy, transformation, surreal]\n\n> You look at your surroundings\nAn arid, trod dirt road. East is siesta.\n\nThree can still be a protest as well as a crowd, apparently. They're blocking your way east.\n\nYou can see some kilns here.\n\n\"HILLSIDE SHILL, DIE!\" they chant.\n\n> You go to the east\nThey still outnumber you. And they're still angrier, too. Gotta calm them down.\n\nThe visceral cavilers continue their masculine calumnies.\n\n> Inventory\nItem time! You are carrying:\nsome ropes\nsome grips\na tinfoil info-lit\na salient saltine\nan idlers' slider\na dope tan notepad\n\nThe tough-on-sin remaining protesters continue on shouting.\n\n> You examine the kilns\nYou certainly managed to summon the deluxe version. I guess all that practice earlier in the game, you learned how to give your anagrams OOMPH. You gaze at your work proudly, but it's not work you can work with further.\n\n\"HILLSIDE SHILL, DIE!\" they chant.\n\n> You examine the protesters\nThey're all smeared with--huh? Looks like clay?\n\nThe remaining protesters seem particularly upset you destroyed store I & R.\n\n> You scan the protesters\nMost of the screen goes blue, then a green dot and red dot bounce left and right across the slider screen, and they eventually wind up like so:\nGBBBBRB\n\nThe remaining protesters frame themselves as lackers, you as a slacker.\n\n> Potters\nThe trio grows even more lethargic. A fellow in a smock mocks the whole charade before throwing the smock in a corner. He talks with his two friends. Shortly, they see the kilns nearby. They go to work happily.\n\n> You go east\nhappily.You hear a shout from the south and see a man too ham-nosed to be handsome. He washes down some walnuts of wan lust with liquid from a purple metal can labeled Sado-Soda.\n\n\"I am RED BULL BURDELL!\" he shouts, in a voice neither earthy nor hearty. \"From my ROOTS to my TORSO!\"\n\nHe's the size of a large hut, bellowing real thug laughter. \"Ever since I came over in a CANOE from the OCEAN, I forged my RESPECT SCEPTER from iron noir and put it to great use! Once, you rodents snorted.\"\n\nMoving from angered to enraged, he throws down a battle tablet, which shatters.\n\n\"I will not waste sweat. GET OUT!!!! My ideal time? IMMEDIATELY! Nuance is nuisance!\"\n\nThe potters flee with their kilns, which had handy wheels you didn't notice, to a mowed meadow. Bad time to maunder unarmed.\n\n> You go to the east\nNot with Red Bull Burdell around you aren't.\n\n\"GET OUT!!!!\" yells Red Bull. \"Loser role's yours, pasty patsy!\"\n\nHis boot swings within an inch of your chin again.\n\n> You look at the red bull\nHis face is covered with crass scars. He's more muscly and less clumsy than you, and yet, he has a toe that sticks out. You think back to Achilles for some reason.\n\n\"GET OUT!!!!\" yells Red Bull. \"You should BLUSH, SHLUB!\"\n\nHis boot swings within an inch of your chin yet again.\n\n> You scan the red Bull\nHe kicks the slider out of the way! You were only able to read BRGBBB. He's not going to let you near it.\n\n\"GET OUT!!!!\" yells Red Bull. \"Turn, runt!\"\n\nHis boot swings within an inch of your chin, prompting one of your finest feints.\n\n> You kick the toe\nIt'll be clear when you need violence. And how. Hopefully.\n\n\"GET OUT!!!!\" yells Red Bull. \"You're SO THIN, you'll get NO HITS on me!\"\n\nHis boot swings within an inch of your chin. Be neat if he got beaten.\n\n> Tug toe\n\"No go, goon!\" you yell, grabbing his toe.\n\nYou hold on as he yells \"HA! Inept!\" ...\n\"THE PAIN!\" Burdell's toe yellows, and he yells \"OW!\" first irately, then tearily, before facing reality--he is shrinking!\n\nYou ignore the predator's teardrops through a rain of \"No fair!\"\n\nThen he moans \"No Mas,\" fleeing the feeling. Ya won! No way!"
    },
    {
        "text": "> You look at your surroundings\nAn arid, trod dirt road. East is siesta.\n\nIt's nice and peaceful here, but it's not quite home.\n\nYou can see an idlers' slider here.\n\n> You take slider\nYou take the slider, again.\n\n> You go east\nYou're in a beautiful, big residence. I could ramble about the marble, praise a spire, note the toaster rotates, or sanction what it contains, but really--you sense one last hurdle hurled in your way to happiness.\n\nThe darned exits are all around, but you just want to do less\nthan nothing. Your slider rattles for hopefully the last time.\n\n> You look at the slider\nYour slider's not near anything, but it's registering GBBRB. That can't be for the manor itself, though.\n\n> You exist\nThat is all that's left to do. It's time to become an adventurer emeritus. Perhaps one day you will resume it, but for now, the allures of your laurels are too great. Doing without the outwith, you begin your being binge, mentally writing the happiest epitaths to your vaunted, er, adventure. Where IS that notepad?\nI...what? End a pad with a deadpan: TREMENDOUS = ME (ENDS TOUR).\n\nFinal rank: a smart gamin' anagrammist."
    },
    {
        "text": "[Themes: Mystery, murder, mystery]\n\nHugh Dunnett\n\n\n\nThe following story is set up with a great deal of randomisation, and is different each time you start or restart. It would therefore be highly advisable to save the game before you even begin your investigation.\n\nThe story uses the basic \"ask X about Y\" format of speaking to other characters. For the most part, \"tell X about Y\" will be unimportant: it is generally (though not always!) assumed that your questions about something will include asking about any new discoveries you have made elsewhere about the topic. The main exception to this rule is when laying out your case before Chief Inspector Duffy: in that event, you will have to depend exclusively on \"tell...\" instead.\n\nTime in the story proceeds at 15 seconds a turn, allowing you ample time (one hopes) to complete your investigation. However, there is in fact a time limit: Chief Inspector Duffy will arrive to speak to you at 2:00 am; and, whatever time he arrives, he will eventually lose patience if you don't manage to make an arrest within a certain time of his arrival.\n\nAnd that's all that's new. Good luck, Inspector! Your public awaits!\n\n\"Frederic Sheppard.\" Chief Inspector Duffy pulls at his moustache mournfully and stares up at the house through the windshield. \"Theatrical sort, usually has a finger in some play or other. He bought up Gull Point about ten years ago. Never any complaints from the neighbours, never any scandals.\" He pulls at his moustache again. \"He was found dead in the cove at the foot of the cliff behind the house about half an hour ago. Caller said it looked as though he fell from his study window.\"\n\n\"Think he might have jumped?\"\n\n\"She's your investigation: you tell me. We're treating this as a murder unless you can find anything to prove otherwise.\"\n\nYou nod. As you get out of the car, the Chief Inspector yawns and says, \"All right. I'm heading back to HQ. I'll be back in a couple of hours. The investigation's all yours. And if at any time you think you're ready to make an arrest, give me a call first, got it?\"\n\n\"Got it.\"\n\nWhat a wonderful way to spend the night. As Chief Inspector Duffy drives off into the darkness, you check your watch to see just how late it really is -- only to find that your watch has stopped.\n\n\n\nYou are standing on the front drive of Gull Point, residence of noted theatrical patron Frederic Sheppard. The house, a rambling old place, stands to the south.\n\nBeside the front doors, the large doorbell button gleams amber in the moonlight.\n\nYou can also see a red Triumph Roadster, a blue Austin and a green Morris Saloon here."
    },
    {
        "text": "> Look around\nYou are standing on the front drive of Gull Point, residence of noted theatrical patron Frederic Sheppard. The house, a rambling old place, stands to the south.\n\nBeside the front doors, the large doorbell button gleams amber in the moonlight.\n\nYou can also see a red Triumph Roadster, a blue Austin and a green Morris Saloon here.\n\n> No\nShe raises an eyebrow. \"No? What do you want, then?\" Faced with a distinct lack of anything else to say, you admit that you are, after all, the police. The woman draws her lips into a tight line and says, \"This is hardly the time to be playing the fool, Inspector. Now please, come in.\"\n\nTheatrical bills on the walls give this otherwise sterile entry hall the appearance of a theatrical lobby. The front doors are to the north, and the central hall is to the south. The cloak room is to the east.\n\n\"My name is Deborah Wolf, by the way. Frederic Sheppard was my uncle. My husband and I just arrived today to spend the weekend....\" She shakes her head. \"I'm sorry. It has all been a terrible shock. Please, come this way.\"\n\nShe takes a few steps towards the south and pauses, waiting for you.\n\n> Go south\nAs she walks with you, Deborah Wolf says, \"I should explain that my husband is Alexander Wolf, the playwright. He's working on a new stage musical called Twisty Passages, with a friend, Elinor Lamb. They were going to spend the weekend here, working on it together.\"\n\nJust as you pass under the arch into the central hall, the grandfather clock by the stairs chimes the midnight hour in doleful tones. Wonderful.\n\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nDeborah Wolf is here, watching you attentively.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\nAs you set your watch and wind it up, a tall, slender young man emerges from the drawing room to the east. \"Ah,\" he drawls, \"the illustrious representative of the Law. How perfectly delightful.\" He looks down at you with a vaguely supercilious manner.\n\nDeborah Wolf makes the introductions. \"Inspector, this is Mr Benedict Lamb, Elinor Lamb's brother. As I mentioned, Miss Lamb is collaborating with my husband on a stage musical; and Benedict here is acting chaperone.\"\n\n\"Never trust a Wolf alone with a Lamb, I always say.\"\n\n> You ask Deborah about the window\nBenedict Lamb interrupts you, saying, a little sharply, \"I think we can leave my sister out of any of this, Inspector. She's in a wheelchair; her health is practically non-existant. She's quite incapable of any acts of violence. Would you agree?\"\n\n> No\nBenedict Lamb's grey eyes flash angrily, but Deborah Wolf quickly says, \"The Inspector hasn't even seen the -- the body yet. You can't honestly expect him to make that sort of a judgement without evidence!\"\n\nBenedict merely sneers. Deborah Wolf rolls her eyes and says, \"Where is Elinor, Ben?\"\n\n\"She's in the conservatory, of course.\" Benedict jerks his head to the northwest arch, through which you can see the dining room. \"I told her she should go to bed and get some rest, but she insists on staying up for the investigation.\" He looks in your direction. \"Any time you want to speak with her, Inspector, be my guest. Though I assure you it won't be necessary.\"\n\nBenedict turns on his heel and strides back into the drawing room. Deborah heads towards the door to south. \"Shall we continue, Inspector?\"\n\n> Yes\nDeborah lowers her voice and says, \"Ben's very protective of his sister, which is sweet but perhaps a little obsessive, in my opinion. Elinor may be wheelchair-bound, but she is nowhere near as delicate as he seems to think.\"\n\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is here, watching you attentively.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a tide table here.\n\nA short, red-headed young man is bent over a leather briefcase as you enter the Library. He looks up, startled, as you come in, and hurriedly shuts the briefcase. Then he's all smiles and cheerful camaraderie as he tosses his briefcase into a corner and comes forward to shake your hand.\n\n\"Inspector,\" says Deborah, \"I'd like you to meet Mr Cedric Crane, my uncle's former accountant. He was the one -- along with Mr Lamb -- who discovered the crime and raised the alarm.\"\n\nCedric Crane pumps your arm with all the excessive energy of a campaigning politician. Close up, you realise that he must actually be quite a bit older than he appeared at first glance. \"A pleasure to make your acquaintance,\" he says expansively, beaming from ear to ear.\n\n> You ask Cedric about the briefcase\nCedric Crane doesn't seem to have much to say about the leather briefcase.\n\nThere is a short burst of music from the west. Cedric Crane says, \"We left Mr Sheppard's wireless on. Since it was part of the crime scene, we didn't want to disturb it.\"\n\n\"You'd best take the Inspector to the body,\" says Deborah to Cedric, \"since you were the one who found him, after all.\"\n\nCedric does not look too happy at this, but turns towards the southeastern exit.\n\n> You get the briefcase\n\"Inspector, that briefcase is private.\" Cedric smiles, but it doesn't quite reach his eyes.\n\nThe door to the east suddenly crashes open, revealing a broad-shouldered, truculent-looking man holding a billiard cue. He glares at you.\n\n\"This is Alexander Wolf,\" says Deborah, \"my husband.\" Alexander makes a brief sweeping gesture by way of greeting, and growls, \"let's get this over with as quickly as possible, eh?\"\n\n\"Alex, you've been drinking.\"\n\nCedric Crane whispers to you, \"We'd best head on out, Inspector.\" He quietly exits the room to the southeast.\n\n> Go southeast\nThe wide, stone-paved terrace overlooks the sea here to the west and south, and stairs lead down towards the beach. French doors go north to the billiard room and northwest to the library. The terrace itself continues to the west, around the corner of the library.\n\nYou can see Cedric Crane here.\n\nCedric Crane nods to you. \"Right then. You've met the Wolfs, of course; have you met the Lambs? Benedict and Elinor? The five of us would be the only people in the house at the moment, other than yourself. Anyway, it seems plain that Mr Sheppard must have been killed in his study,\" he says, pointing to a part of the house just west of the library, \"but Mr Lamb and I found him among the rocks down by the beach. Come on, I'll show you.\"\n\nCedric Crane turns and descends the stairs to the cliffside path below.\n\nFrom the direction of Library, you hear Alexander Wolf's raised voice, and then the slamming of a door."
    },
    {
        "text": "> Go downward\nOn one side is the steep cliff, punctuated with scrubby bushes clinging to crevices in the rock face; on the other side, you are completely exposed to the wide expanse of the sea. Stairs go up to the terrace of Gull Point, not quite visible from here, and the path itself winds down to the rocky beach below.\n\nYou can see Cedric Crane here.\n\nCedric Crane goes down."
    },
    {
        "text": "> Go downward\nIt is a quiet, moonlit night. The waters of the lagoon lap gently against the sand. Treacherous-looking rocks surround the beach, but a narrow path back up to the house has been cut into the cliff face behind you, and the rocks to the northwest look just safe enough to clamber over.\n\nYou can see Cedric Crane here.\n\nCedric Crane looks around at you and points off to the northwest. \"There's a small tide pool out that way. That's where Mr Lamb and I found the body. I think it must have been a bit after 11:00 pm -- probably about 11:10 pm -- we're not surrounded by clocks out here as we are up in the house. We did take a closer look, of course, to make sure we weren't just making a horrible mistake, but otherwise we didn't touch anything.\"\n\n> You go to the northwest\nAs you begin picking your way through the rocks, Cedric Crane turns and heads back up to the house.\n\nIf the beach was isolated, this rocky area is even more so. Seawater filters in through the rocks all around to fill this little tide pool, currently at a low ebb. On one side, the cliff rises sharply up, and from here you can just make out the broken window of Frederic Sheppard's study. The least treacherous path through the rocks goes southeast, back to the beach.\n\nA sturdy wooden post stands upright in the water, just a short distance from the body.\n\nFrederic Sheppard is sprawled across the rocks, clearly dead.\n\n> You look at the body\nIn life, Frederic Sheppard was a big man, still quite robust at the age of 60. Right now, he's looking quite battered from the precipitous drop from his study window; it is not immediately apparent if it was the fall which killed him, or something else. He is also quite thoroughly soaked, though he's mostly clear of the water.\n\n> You search the body\nWhat's this? There's a bit of a broken branch clutched in his hand. He must have pulled it off of one of the scrubby little bushes in the cliffside, on his way down.\n\nFurther examination of the body reveals a a number of injuries consistent with either a sharp blow with a blunt object, or an unfortunate encounter with the side of a cliff. You're not quite enough of a forensics expert to distinguish between the two.\n\n> You get the branch\nYou already have that.\n\n> Examine post\nA bold, white line near the top of the post indicates the high water mark. It seems pretty accurate: the wood still seems wet from the last high tide, right up to the mark itself.\n\n> You look at the cliff\nBy the light of the moon, you can make out a few stunted, twisted bushes clinging desperately to the rocks of the cliff.\n\n> Go southeast\nIt is a quiet, moonlit night. The waters of the lagoon lap gently against the sand. Treacherous-looking rocks surround the beach, but a narrow path back up to the house has been cut into the cliff face behind you, and the rocks to the northwest look just safe enough to clamber over.\n\n> Go upward\nOn one side is the steep cliff, punctuated with scrubby bushes clinging to crevices in the rock face; on the other side, you are completely exposed to the wide expanse of the sea. Stairs go up to the terrace of Gull Point, not quite visible from here, and the path itself winds down to the rocky beach below.\n\n> Go upwards\nThe wide, stone-paved terrace overlooks the sea here to the west and south, and stairs lead down towards the beach. French doors go north to the billiard room and northwest to the library. The terrace itself continues to the west, around the corner of the library.\n\n> Go west\nYou can't go that way.\n\nThere is a sudden swell of dramatic music. It seems to be coming from the study.\n\n> You go to the north\nThis is Frederic Sheppard's study, a neat, spacious, modern room decorated with old theatrical bills. The library is through a door to the east, and french doors open south to the terrace. Cold, damp air flows in through the broken window to the west.\n\nThe well-ordered study desk stands to one side of the broken window.\nOn the study desk are a Faberge egg clock, a black telephone, a scrap of paper and an annotated ledger.\n\nA corner fireplace occupies, well, a corner.\n\nYou can also see a wireless, an antique fireplace poker and a hunting rifle here.\n\nThere is a sudden commotion: you hear raised voices and the sound of breaking glass from the wireless.\n\n> You examine the scrap of paper\nOdd that this scrap of paper would be found sitting on Frederic Sheppard's pristine study desk, but perhaps he never got around to clearing it away. A telephone number has been hastily scrawled across it.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You call number\nYou're not messing with the dead man's telephone any more than you can help. A fancy country house like this ought to have another telephone that you can use, probably out in the hall.\n\nYou hear a muffled explosion from the wireless. It's rather convincing, but in fact it is merely part of tonight's radio show.\n\n> You get the scrap of the paper\nTaken.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You look at the poker\nThis poker hails from a time when fireplaces were the sole source of household heating, and, as such, were much larger and required pokers nearly the size of pool cues to reach properly into their recesses. Well, perhaps that's an exaggeration, but you certainly wouldn't want to be poked by this particular poker.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> Fingerprint poker\nThe forensics crew will be taking everybody's fingerprints in the morning, if you can't determine a Most Likely Suspect before then; frankly, the Chief Inspector would really prefer to spare everyone the inky fingers. So right now, the only useful set of prints you're likely to have are Frederic Sheppard's ... and this being his home, they're on absolutely everything.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You look at desk\nFrederic Sheppard's desk is spacious and tidy, with everything easily visible and within reach. A pair of drawers are stacked one atop the other on one side of the desk.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You search the fireplace\nWhich do you mean, the corner fireplace or the antique fireplace poker?\n\n> Corner\nYou find nothing of interest.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You turn off the wireless\nAnd not a moment too soon. That thing was as annoying as all hell."
    },
    {
        "text": "[Themes: Mystery]\n\n> Look around\nThis is Frederic Sheppard's study, a neat, spacious, modern room decorated with old theatrical bills. The library is through a door to the east, and french doors open south to the terrace. Cold, damp air flows in through the broken window to the west.\n\nThe well-ordered study desk stands to one side of the broken window.\nOn the study desk are a Faberge egg clock, a black telephone and an annotated ledger.\n\nA corner fireplace occupies, well, a corner.\n\nYou can also see a wireless, an antique fireplace poker and a hunting rifle here.\n\n> You examine the window\nIt doesn't look as though it was ever particularly sturdy; positioned as it is over a steep drop into the sea, it probably never needed to be. The casement opens outwards; the panes are cracked but otherwise intact. The latch, a rather flimsy affair, is twisted half off the frame. The sill is quite high off the floor: it seems highly unlikely that anyone might have fallen through it by accident.\n\n> You examine the ledger\nThis ledger details the investments and various business dealings of Frederic Sheppard and the Sheppard Trust. While the numbers seem to indicate a perfectly healthy state of affairs, someone has gone through this ledger with a red pen, making annotations in the margin, and pointing out subtle discrepancies. While he is far from ruined, Frederic Sheppard is clearly not quite as well-off as everyone seems to think, nor is the Sheppard Trust quite so healthy. The annotations culminate in a note to \"Please speak to Cedric\" written across the final page and underlined twice.\n\n> You examine the clock\nAn ostentatious antique: a clock in the shape of a gold easter egg, with all manner of baroque designs picked out over its surface.\n\n> You examine the rifle\nIt's fancy enough to be purely decorative, but it is after all a working firearm. A careful inspection shows it to be loaded.\n\n> You open the drawer\nWhich do you mean, the upper drawer or the lower drawer?\n\n> Upper\nYou open the upper drawer.\n\n> You search the upper drawer\nThe upper drawer is empty.\n\n> You close the upper drawer\nYou close the upper drawer.\n\n> You open the lower drawer\nYou open the lower drawer, revealing a pistol.\n\n> You examine the pistol\nThis little pistol is so small, it might easily be mistaken for a toy. It is, however, quite the real thing.\n\n> You take the pistol\nTaken.\n\n> You go east\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is curled up in a comfortable armchair, reading a mystery novel.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a leather briefcase and a tide table here.\n\n> You look at the tide table\nYour eye goes straight for the present date. It seems the last high tide was 8:40 pm yesterday (or, if you prefer, 8:40 pm earlier tonight). Low tide is at 3:05 am and the following high tide at 9:30 am.\n\n> You examine the clock\nIts face appears to be formed from a collection of shattered gramophone records.\n\n> You check what you're carrying\nYou are carrying:\na pistol\na scrap of paper\na broken branch\nyour notebook\n\n> You read the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\n\n> Go north\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\n> You call number\nYou find yourself on the line with Frederic Sheppard's bank manager, who does not seem particularly happy about being called up at this time of the night, especially once you inform him of the circumstances. \"Yes, I spoke to Mr Sheppard this evening. He called ... must have been about 8:20 pm, maybe a little after. I was listening to the wireless at the time. Mr Sheppard's been very anxious of late about his financial affairs, and I should never have given him my home phone number. Fat lot of good I could do him without my files, anyway. Mr Crane could probably tell you more.\"\n\n> You read the tide table\nWhat do you want to read the tide table in?\n\n> Notebook\nTides: 8:40 pm (high)\n3:05 am (low)\n9:30 am (high again)\n\n> Go south\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is curled up in a comfortable armchair, reading a mystery novel.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a leather briefcase and a tide table here.\n\n> You open the briefcase\nThe briefcase is locked tight. Apparently a healthy amount of expense was put into ensuring its security.\n\n> You ask Deborah about Cedric\nDeborah Wolf purses her lips before saying: \"Not an honest man, I'm afraid. Vain, and a little too much in love with his own cleverness. Uncle Fred never recognised any of this, of course.\"\n\n> You examine the briefcase\nAn expensive-looking leather briefcase, with the initials \"C.C.\" picked out in gold on the handle. It appears to be locked.\n\n> You take the briefcase\nDeborah looks up from her book. \"You shouldn't take that, Inspector. Cedric's very touchy about his things, and would probably start screaming about whether or not you had a warrant.\"\n\n> You ask Deborah about the ledger\n\"The ledger on Uncle Fred's desk? I was the one who marked that up. I'd been wondering how Sheppard Trust was doing, so I took a look in Uncle Fred's books ... well, it does appear that Cedric Crane has been embezzling from the Trust. I suppose I shouldn't be surprised. He's a little too extravagant to be satisfied with an accountant's salary. Anyway, that was a couple of days ago, and I assume that Cedric was invited here today because Uncle Fred wanted to confront him about it face-to-face.\"\n\n> You go east\nThe middle of the billiards room is, of course, taken up by the billiards table. A bar occupies one corner of the west wall, beside the door to the library. The drawing room is through the arch to the north, and wide french doors open south onto the terrace. The central hall is to the northwest.\n\nAlexander Wolf and Cedric Crane appear to be deeply engrossed in a game of pool.\n\nOne of those old-fashioned schoolroom clocks hangs on the wall.\n\n> You ask Cedric about the ledger\nCedric Crane turns a trifle pale. \"You can't prove anything. Mrs Wolf is hardly a qualified accountant; she's probably made a mistake.\"\n\n> You ask Cedric about the alibi\n\"I stayed in the dining room after dinner -- to digest the meal properly, you know -- must have been about 6:45 pm. Had a cigar. Benedict Lamb was there, as I recall, at least until 8:05 pm when I decided to go stretch my legs. I met Elinor Lamb in the library, around 9:05 pm. Rather a surprise to see her without her brother hanging around, I thought. Anyway, we were together until 10:20 pm, when I decided to go take a walk on the beach. Benedict came down some time later, about 11:10 pm, I think, and we talked for a while. We wandered over to the rocks at the northwestern end of the beach, and that's when we found Frederic Sheppard's body.\"\n\n> You ask Wolf about the murder\n\"It was supposed to be a sort of working holiday -- for Elinor and me, anyway. We're working on a musical production, Twisty Passages, for the West End, and Fred was supposed to be backing us financially. Anyway, Debbie and I arrived separately: I had some stuff to attend to, and arrived only just as everyone was sitting down to dinner. That was about 5:30 pm. After dinner, we all wandered off to do our own thing. Nothing to it. Next thing you know, Ced comes pounding up from the beach bellowing for the police, and now Fred is dead and here you are. How are we supposed to get financial backing now?\"\n\nYou ask Alexander Wolf about his movements after dinner, to which he replies: \"I was playing billiards with Ben from 8:15 pm until about 9:35 pm. Round about 10:00 pm, I joined Debbie in the drawing room. We were together until 10:50 pm. Sure, it doesn't cover the whole evening, and maybe I might have wandered by the study at some point, but I didn't kill the old bastard, if that's what you're thinking.\"\n\n> Go north\nThe drawing room is a study in contrasts. The walls are very white, and there is a modern-looking fireplace in the middle of the north wall; grouped around the fireplace is a collection of the most old-fashioned drawing room furniture one can imagine. Wide arches go west to the central hall and south to the billiards room.\n\nAn oversized carriage clock sits on the fireplace mantle.\n\nBenedict lounges off to one side, watching you discreetly.\n\nA painting of Lord Dundreary, outlandish whiskers and all, looks down on the room with a vaguely befuddled air.\n\n> You ask Benedict about the alibi\n\"Let's see. I was in the dining room with Cedric from 6:45 pm until 8:05 pm. Later, about 8:15 pm, I wandered into the billiards room and played billiards with Alex until 9:35 pm, when I must confess I wandered off. Round about 11:10 pm, I decided to head down to the beach. I happened to run into Cedric there, and shortly thereafter we spotted Fred lying dead among the rocks. And that was my evening. I'm afraid that does leave some awfully large gaps, doesn't it? I suppose iron-clad alibis only happen in stories, anyway.\"\n\n> You go west\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\n> You ask the deb about the alibi\n\"I met Elinor in the library as I was taking out a book. That was after dinner, about 7:30 pm. We chatted until 8:50 pm. Otherwise, I spent most of the evening alone in a quiet corner of the drawing room, reading a book. Alex was there as well from about 10:00 pm to 10:50 pm. I'm afraid I didn't see anything unusual.\"\n\n> Go northwest\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\nFrom the west, you hear the soft tinkling of someone muddling around on a piano.\n\n> You go to the west\nEvidently an addition to the house before Frederic Sheppard ever bought the place, the Conservatory is only half-heartedly furnished. A few sad-looking plants testify to the man's lack of any real interest in horticulture. The dining room is back to the east.\n\nA baby grand piano sits in a corner of the room. Evidently there was some indecision as to which definition of \"conservatory\" to adopt.\n\nA girl in a wheelchair is parked in front of the piano.\n\nA large clock hangs from a bracket by the door.\n\nThe girl in the wheelchair, a fragile-looking blonde, looks up as you enter, and for a moment you get the impression of some sort of \"fight-or-flight\" instinct kicking in. Then she smiles hesitantly and introduces herself as Elinor Lamb. \"And you must be the police inspector investigating the murder. Oh dear, it's such a terrible shock....\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You ask Elinor about the alibi\n\"I spent some time in the library. Debbie was there. That was between 7:30 pm and 8:50 pm, I think. Cedric came by later, and the two of us were together in the library from 9:05 pm to 10:20 pm. I went to the conservatory after that to continue with my music. I was alone in the conservatory for the rest of the evening after that. I'm sorry, I can't think of anything else that might be important.\"\n\n> You look at the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nAlexander Wolf's statement\nAlexander Wolf's alibi\nguest arrivals\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\n\n> You read about the telephone call in the notebook\nSheppard called his bank manager, 8:20 pm; was concerned about finances. Manager suggested speaking to Crane?\n\n> You read about tide table in notebook\nTides: 8:40 pm (high)\n3:05 am (low)\n9:30 am (high again)\n\n> You ask Elinor about the murder\n\"It's just horrible. Ben and I arrived at about 3:30 pm; it's his first visit, and I wanted to surprise him with the secret passage behind one of the kitchen cabinets. But Deborah and Mr Sheppard were fixing dinner, and I never got around to doing that. We were all having such a fine time ... it seems impossible to believe that that was just a few hours ago, and the most important thing on my mind then was some stupid secret passage.\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You ask Elinor about secret passage\n\"From the study side, you turn one of the candlesticks on the fireplace, and from the kitchen side, you turn one of the hooks in the empty cabinet.\"\n\n> You go to the east\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\nFrom the west, you hear the soft tinkling of someone muddling around on a piano.\n\n> You open the cabinet\nGoing through the contents of the cabinets could take all night. Or, in the case of the one empty cabinet, about two seconds.\n\n> Turn hook\nYou jiggle the hooks, and one of them turns in its place. There is a click, and then the back wall of the empty cabinet swings open to reveal a room beyond.\n\n> Go south\nOn one side, a kitchen counter with cabinets and a small kitchen sink takes up the length of the wall; on the other, narrow stairs lead up and down, though the stairs going up are now used as storage shelves instead. There are narrow doors to the north and south.\n\n> Go south\nThe door swings open, and you find yourself passing through a secret panel into the study....\n\nThis is Frederic Sheppard's study, a neat, spacious, modern room decorated with old theatrical bills. The library is through a door to the east, and french doors open south to the terrace. Cold, damp air flows in through the broken window to the west. To the north, a secret panel leads into a room beyond.\n\nThe well-ordered study desk stands to one side of the broken window.\nOn the study desk are a Faberge egg clock, a black telephone and an annotated ledger.\n\nA corner fireplace occupies, well, a corner.\n\nYou can also see a wireless, an antique fireplace poker and a hunting rifle here.\n\n> You go northwest\nIf the beach was isolated, this rocky area is even more so. Seawater filters in through the rocks all around to fill this little tide pool, currently at a low ebb. On one side, the cliff rises sharply up, and from here you can just make out the broken window of Frederic Sheppard's study. The least treacherous path through the rocks goes southeast, back to the beach.\n\nA sturdy wooden post stands upright in the water, just a short distance from the body.\n\nFrederic Sheppard is sprawled across the rocks, clearly dead.\n\n> Measure mark\nThe current water level is about 48 inches below the high water mark. The body itself is 12 inches below the high water mark, at its, for want of a better phrase, highest point.\n\n> You examine notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nAlexander Wolf's statement\nAlexander Wolf's alibi\nguest arrivals\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\n\n> You read about the body position in the notebook\nBody at 12\" below high water mark. 12:23 am: sea level 48\" below high water mark.\n\n> Go southeast\nIt is a quiet, moonlit night. The waters of the lagoon lap gently against the sand. Treacherous-looking rocks surround the beach, but a narrow path back up to the house has been cut into the cliff face behind you, and the rocks to the northwest look just safe enough to clamber over.\n\n> New\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is curled up in a comfortable armchair, reading a mystery novel.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a leather briefcase and a tide table here.\n\n> You ask the deb about the murder\n\"It's difficult to believe that just half a day ago I was chopping onions with Uncle Fred in the kitchen. We were talking and laughing, and then Cedric Crane and the Lambs showed up, and it was just a regular kitchen party.\" Deborah pauses, then says, \"Speaking of the kitchen, I should probably tell you: there's a secret way from the kitchen into the study. From the study side, you have to turn one of the candlesticks on the fireplace mantle to get in, and from the kitchen you turn one of the hooks in the empty cabinet. The murderer might have gotten in and out that way -- though I rather think that everybody here already knows about it.\"\n\n> You ask the deb about Benedict\n\"Poor boy. He tries so hard to seem aloof and indifferent. Actually, I think it's rather sweet how he cares for his sister.\"\n\n> You ask the deb about Alex\n\"Alex is my husband. He's a brilliant playwright, but he needs direction and discipline.\" She smiles enigmatically and crosses her legs. \"I'm not sure what else there is to tell you, except to assure you that he really is a very talented man.\"\n\n> You ask the deb about Elinor\n\"I feel sorry for her, I admit. People will insist on treating her as though she's a child.\"\n\n> You ask Cedric about Deborah\n\"She's a bit of a priss, if you ask me. Always so very superior.\"\n\n> You ask Alexander about Deborah\n\"Debbie? She's my wife. Are you trying to insinuate something, here?\"\n\n> Go north\nThe drawing room is a study in contrasts. The walls are very white, and there is a modern-looking fireplace in the middle of the north wall; grouped around the fireplace is a collection of the most old-fashioned drawing room furniture one can imagine. Wide arches go west to the central hall and south to the billiards room.\n\nAn oversized carriage clock sits on the fireplace mantle.\n\nBenedict lounges off to one side, watching you discreetly.\n\nA painting of Lord Dundreary, outlandish whiskers and all, looks down on the room with a vaguely befuddled air.\n\n> You ask Ben about the deb\n\"Deborah's probably the most intelligent woman I've ever met.\" Benedict frowns. \"Which makes her marriage to that first class yob, Alexander Wolf, so very baffling. Love is blind, I suppose, however trite that may sound.\"\n\n> You examine notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nAlexander Wolf's statement\nAlexander Wolf's alibi\nguest arrivals\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\nDeborah Wolf's statement\n\n> You read the deb's statement in the notebook\nArrived early, separately from AW. In kitchen prepping dinner when others arrived. Mentioned secret access from study to kitchen.\n\n> Go northwest\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\n> You go west\nEvidently an addition to the house before Frederic Sheppard ever bought the place, the Conservatory is only half-heartedly furnished. A few sad-looking plants testify to the man's lack of any real interest in horticulture. The dining room is back to the east.\n\nA baby grand piano sits in a corner of the room. Evidently there was some indecision as to which definition of \"conservatory\" to adopt.\n\nElinor Lamb is parked in front of the piano.\n\nA large clock hangs from a bracket by the door.\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\nHugh Dunnett\n\n\n\nThe following story is set up with a great deal of randomisation, and is different each time you start or restart. It would therefore be highly advisable to save the game before you even begin your investigation.\n\nThe story uses the basic \"ask X about Y\" format of speaking to other characters. For the most part, \"tell X about Y\" will be unimportant: it is generally (though not always!) assumed that your questions about something will include asking about any new discoveries you have made elsewhere about the topic. The main exception to this rule is when laying out your case before Chief Inspector Duffy: in that event, you will have to depend exclusively on \"tell...\" instead.\n\nTime in the story proceeds at 15 seconds a turn, allowing you ample time (one hopes) to complete your investigation. However, there is in fact a time limit: Chief Inspector Duffy will arrive to speak to you at 2:00 am; and, whatever time he arrives, he will eventually lose patience if you don't manage to make an arrest within a certain time of his arrival.\n\nAnd that's all that's new. Good luck, Inspector! Your public awaits!\n\n\"Frederic Sheppard.\" Chief Inspector Duffy pulls at his moustache mournfully and stares up at the house through the windshield. \"Theatrical sort, usually has a finger in some play or other. He bought up Gull Point about ten years ago. Never any complaints from the neighbours, never any scandals.\" He pulls at his moustache again. \"He was found dead in the cove at the foot of the cliff behind the house about half an hour ago. Caller said it looked as though he fell from his study window.\"\n\n\"Think he might have jumped?\"\n\n\"She's your investigation: you tell me. We're treating this as a murder unless you can find anything to prove otherwise.\"\n\nYou nod. As you get out of the car, the Chief Inspector yawns and says, \"All right. I'm heading back to HQ. I'll be back in a couple of hours. The investigation's all yours. And if at any time you think you're ready to make an arrest, give me a call first, got it?\"\n\n\"Got it.\"\n\nWhat a wonderful way to spend the night. As Chief Inspector Duffy drives off into the darkness, you check your watch to see just how late it really is -- only to find that your watch has stopped.\n\n\n\nYou are standing on the front drive of Gull Point, residence of noted theatrical patron Frederic Sheppard. The house, a rambling old place, stands to the south.\n\nBeside the front doors, the large doorbell button gleams amber in the moonlight.\n\nYou can also see a red Triumph Roadster, a blue Austin and a green Morris Saloon here."
    },
    {
        "text": "> Look around\nYou are standing on the front drive of Gull Point, residence of noted theatrical patron Frederic Sheppard. The house, a rambling old place, stands to the south.\n\nBeside the front doors, the large doorbell button gleams amber in the moonlight.\n\nYou can also see a red Triumph Roadster, a blue Austin and a green Morris Saloon here.\n\n> No\nShe raises an eyebrow. \"No? What do you want, then?\" Faced with a distinct lack of anything else to say, you admit that you are, after all, the police. The woman draws her lips into a tight line and says, \"This is hardly the time to be playing the fool, Inspector. Now please, come in.\"\n\nTheatrical bills on the walls give this otherwise sterile entry hall the appearance of a theatrical lobby. The front doors are to the north, and the central hall is to the south. The cloak room is to the east.\n\n\"My name is Deborah Wolf, by the way. Frederic Sheppard was my uncle. My husband and I just arrived today to spend the weekend....\" She shakes her head. \"I'm sorry. It has all been a terrible shock. Please, come this way.\"\n\nShe takes a few steps towards the south and pauses, waiting for you.\n\n> Go south\nAs she walks with you, Deborah Wolf says, \"I should explain that my husband is Alexander Wolf, the playwright. He's working on a new stage musical called Twisty Passages, with a friend, Elinor Lamb. They were going to spend the weekend here, working on it together.\"\n\nJust as you pass under the arch into the central hall, the grandfather clock by the stairs chimes the midnight hour in doleful tones. Wonderful.\n\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nDeborah Wolf is here, watching you attentively.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\nAs you set your watch and wind it up, a tall, slender young man emerges from the drawing room to the east. \"Ah,\" he drawls, \"the illustrious representative of the Law. How perfectly delightful.\" He looks down at you with a vaguely supercilious manner.\n\nDeborah Wolf makes the introductions. \"Inspector, this is Mr Benedict Lamb, Elinor Lamb's brother. As I mentioned, Miss Lamb is collaborating with my husband on a stage musical; and Benedict here is acting chaperone.\"\n\n\"Never trust a Wolf alone with a Lamb, I always say.\"\n\n> Go north\nThis is Frederic Sheppard's study, a neat, spacious, modern room decorated with old theatrical bills. The library is through a door to the east, and french doors open south to the terrace. Cold, damp air flows in through the broken window to the west.\n\nThe well-ordered study desk stands to one side of the broken window.\nOn the study desk are a Faberge egg clock, a black telephone, a scrap of paper and an annotated ledger.\n\nA corner fireplace occupies, well, a corner.\n\nYou can also see a wireless, an antique fireplace poker and a hunting rifle here.\n\nOver the wireless comes an advertisement for the Higgins School of Elocution.\n\n> You call number\nYou're not messing with the dead man's telephone any more than you can help. A fancy country house like this ought to have another telephone that you can use, probably out in the hall.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> You get the scrap of the paper\nTaken.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> Fingerprint poker\nThe forensics crew will be taking everybody's fingerprints in the morning, if you can't determine a Most Likely Suspect before then; frankly, the Chief Inspector would really prefer to spare everyone the inky fingers. So right now, the only useful set of prints you're likely to have are Frederic Sheppard's ... and this being his home, they're on absolutely everything.\n\nFrom the wireless comes the soft hiss of static and the dramatic tension of a late-night radio show.\n\n> Corner\nYou find nothing of interest.\n\nThe sound of hoofbeats thunders from the wireless.\n\n> You turn off the wireless\nAnd not a moment too soon. That thing was as annoying as all hell.\n\n> You close the upper drawer\nThat's already closed."
    },
    {
        "text": "[Themes: Mystery]\n\n> You examine the poker\nThis poker hails from a time when fireplaces were the sole source of household heating, and, as such, were much larger and required pokers nearly the size of pool cues to reach properly into their recesses. Well, perhaps that's an exaggeration, but you certainly wouldn't want to be poked by this particular poker.\n\n> You go south\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is curled up in a comfortable armchair, reading a mystery novel.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a leather briefcase and a tide table here.\n\n> You ask the deb about the alibi\n\"I met Elinor in the library as I was taking out a book. That was after dinner, about 7:30 pm. We chatted until 8:50 pm. Otherwise, I spent most of the evening alone in a quiet corner of the drawing room, reading a book. Alex was there as well from about 10:00 pm to 10:50 pm. I'm afraid I didn't see anything unusual.\"\n\n> New\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\nFrom the west, you hear the soft tinkling of someone muddling around on a piano.\n\n> You go to the west\nEvidently an addition to the house before Frederic Sheppard ever bought the place, the Conservatory is only half-heartedly furnished. A few sad-looking plants testify to the man's lack of any real interest in horticulture. The dining room is back to the east.\n\nA baby grand piano sits in a corner of the room. Evidently there was some indecision as to which definition of \"conservatory\" to adopt.\n\nA girl in a wheelchair is parked in front of the piano.\n\nA large clock hangs from a bracket by the door.\n\nThe girl in the wheelchair, a fragile-looking blonde, looks up as you enter, and for a moment you get the impression of some sort of \"fight-or-flight\" instinct kicking in. Then she smiles hesitantly and introduces herself as Elinor Lamb. \"And you must be the police inspector investigating the murder. Oh dear, it's such a terrible shock....\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You ask Elinor about the alibi\n\"I spent some time in the library. Debbie was there. That was between 7:30 pm and 8:50 pm, I think. Cedric came by later, and the two of us were together in the library from 9:05 pm to 10:20 pm. I went to the conservatory after that to continue with my music. I was alone in the conservatory for the rest of the evening after that. I'm sorry, I can't think of anything else that might be important.\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You look at the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\n\n> You read about the telephone call in the notebook\nSheppard called his bank manager, 8:20 pm; was concerned about finances. Manager suggested speaking to Crane?\n\n> You read about tide table in notebook\nTides: 8:40 pm (high)\n3:05 am (low)\n9:30 am (high again)\n\n> You ask Elinor about the murder\n\"It's just horrible. Ben and I arrived at about 3:30 pm; it's his first visit, and I wanted to surprise him with the secret passage behind one of the kitchen cabinets. But Deborah and Mr Sheppard were fixing dinner, and I never got around to doing that. We were all having such a fine time ... it seems impossible to believe that that was just a few hours ago, and the most important thing on my mind then was some stupid secret passage.\"\n\n> You ask Elinor about the secret passage\n\"From the study side, you turn one of the candlesticks on the fireplace, and from the kitchen side, you turn one of the hooks in the empty cabinet.\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You go east\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\n> You take the tape measure\nTaken.\n\n> You look at the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\n\n> You read about the body position in the notebook\nBody at 12\" below high water mark. 12:22 am: sea level 48\" below high water mark.\n\n> You go northwest\nThe wide, stone-paved terrace overlooks the sea here to the west and south, and stairs lead down towards the beach. French doors go north to the billiard room and northwest to the library. The terrace itself continues to the west, around the corner of the library.\n\nThe study door to the west is almost obscured by the near-solid screen of crowded bookshelves occupying the west wall. The rest of the room is occupied with modern art. French doors open north to the central hall and southeast onto the terrace. The billiards room is through an anonymous-looking door to the east.\n\nDeborah Wolf is curled up in a comfortable armchair, reading a mystery novel.\n\nOn closer inspection, one piece of modern art turns out to actually be a clock.\n\nYou can also see a leather briefcase and a tide table here.\n\n> You ask the deb about the murder\n\"It's difficult to believe that just half a day ago I was chopping onions with Uncle Fred in the kitchen. We were talking and laughing, and then Cedric Crane and the Lambs showed up, and it was just a regular kitchen party.\" Deborah pauses, then says, \"Speaking of the kitchen, I should probably tell you: there's a secret way from the kitchen into the study. From the study side, you have to turn one of the candlesticks on the fireplace mantle to get in, and from the kitchen you turn one of the hooks in the empty cabinet. The murderer might have gotten in and out that way -- though I rather think that everybody here already knows about it.\"\n\n> You ask the deb about Cedric\nDeborah Wolf purses her lips before saying: \"Not an honest man, I'm afraid. Vain, and a little too much in love with his own cleverness. Uncle Fred never recognised any of this, of course.\"\n\n> You ask the deb about Alex\n\"Alex is my husband. He's a brilliant playwright, but he needs direction and discipline.\" She smiles enigmatically and crosses her legs. \"I'm not sure what else there is to tell you, except to assure you that he really is a very talented man.\"\n\n> You ask the deb about Elinor\n\"I feel sorry for her, I admit. People will insist on treating her as though she's a child.\"\n\n> You examine notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\nDeborah Wolf's statement\n\n> You read the deb's statement in the notebook\nArrived early, separately from AW. In kitchen prepping dinner when others arrived. Mentioned secret access from study to kitchen.\n\n> You go west\nThe central hall is a two-storeyed room, with wide arches north, northwest, southeast and east. French doors to the south open into the library, and a flight of stairs leads upstairs. The kitchen is through a discreet little door to the west. High above, the night sky is visible through a vast skylight.\n\nLoud, ponderous ticking echoes from the grandfather clock by the stairs.\n\nThe hall telephone stands in its niche beneath the stairs like an inscrutable modern art sculpture.\n\n> Go northwest\nThe dining room still bears traces of the evening's entertainment. A discreet little door leads south to the kitchen, while a wide arch goes southeast to the central hall. Through another arch to the west is the conservatory.\n\nAn elaborate clock keeps time on one wall.\n\nFrom the west, you hear the soft tinkling of someone muddling around on a piano.\n\n> Go west\nEvidently an addition to the house before Frederic Sheppard ever bought the place, the Conservatory is only half-heartedly furnished. A few sad-looking plants testify to the man's lack of any real interest in horticulture. The dining room is back to the east.\n\nA baby grand piano sits in a corner of the room. Evidently there was some indecision as to which definition of \"conservatory\" to adopt.\n\nElinor Lamb is parked in front of the piano.\n\nA large clock hangs from a bracket by the door.\n\n> You ask Elinor about the deb\n\"I never know what she's thinking, but she seems quite nice, otherwise.\"\n\nElinor absently fingers the keys of the piano, humming a little as she does.\n\n> You read the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\nDeborah Wolf's statement\n\n> You ask Alex about the alibi\n\"I was playing billiards with Ben from 8:15 pm until about 9:35 pm. Round about 10:00 pm, I joined Debbie in the drawing room. We were together until 10:50 pm. Sure, it doesn't cover the whole evening, and maybe I might have wandered by the study at some point, but I didn't kill the old bastard, if that's what you're thinking.\"\n\n> You ask Alex about the murder\n\"It was supposed to be a sort of working holiday -- for Elinor and me, anyway. We're working on a musical production, Twisty Passages, for the West End, and Fred was supposed to be backing us financially. Anyway, Debbie and I arrived separately: I had some stuff to attend to, and arrived only just as everyone was sitting down to dinner. That was about 5:30 pm. After dinner, we all wandered off to do our own thing. Nothing to it. Next thing you know, Ced comes pounding up from the beach bellowing for the police, and now Fred is dead and here you are. How are we supposed to get financial backing now?\"\n\nHugh Dunnett\n\n> You read the notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\nDeborah Wolf's statement\nAlexander Wolf's alibi\nAlexander Wolf's statement\nguest arrivals\n\n> You ask Cedric about the murder\n\"I actually arrived earlier than expected: Mr Sheppard was still fixing dinner when I came in the door, and I went to join him. I suppose I should have gone home straight after dinner, but that always seems a little rude. And besides,\" he adds with a wink, \"Mr Sheppard keeps a beautifully well-stocked bar. Anyway, I wound up heading down to the beach late in the evening for some fresh air and alone time. I'd already been there rather a while when Benedict Lamb came down from the house, and we happened to wander close enough to the tidal pool at the base of the cliff to notice Fred lying there dead, and that's when we raised the alarm.\" He shrugs his shoulders and continues, \"I wish I'd been paying more attention. For all I know, whatever happened could have happened while I was right there, strolling about on the sand.\"\n\n> You ask Cedric about the twisty Passages\n\"Currently, the main draw on the Sheppard Trust resources would be this stage musical production ... Twisty Passages, I think it's called.\" He glances around and lowers his voice. \"I shouldn't be saying this, but then this is rather a serious business. The others will probably tell you that Mr Wolf was writing the script and Miss Lamb the music, with Mr Sheppard supplying the funds ... but musical productions generally run into greater costs than non-musical stage plays. The entire project was sliding deep into debt, and Mr Sheppard was thinking about cutting his losses. He let slip about it while we were all in the kitchen, before dinner, and there was a tremendous uproar.\"\n\n> You ask Alex about the twisty Passages\n\"Yeah, Twisty Passages is the working title. Drama, romance, swashbuckling goodness, everything the public loves, with the added bonus of actually sounding intelligent. The script is mine, the score is Elinor's, and the money is Fred's. It's the first time any of us are working on a musical, and I thought it was going very well.\"\n\n> You ask Alex about Fred\n\"I could respect the guy. Not understand him and his fussiness, mind you, but I could respect him.\"\n\n> You ask Cedric about Fred\n\"Poor chap. He was a good fellow -- not wonderful with figures, but you can't have everything.\""
    },
    {
        "text": "[Themes: Mystery, murder]\n\n> You check your inventory\nYou are carrying:\na tape measure\na pistol\na scrap of paper\na broken branch\nyour notebook\n\n> You ask the deb about the twisty Passages\n\"Twisty Passages is one of Alex's better scripts, if I do say so myself. Elinor's providing the music, and Uncle Fred's money was supposed to actually get it onto the stage. Investing in the theatre was something of a hobby with Uncle Fred, you know: he didn't always get a good return, but he did love feeling like a great patron of the arts. Naturally, when Alex and Elinor started talking about producing something, I went straight to Uncle Fred and arranged it all with him.\"\n\n> You ask deb about the funding\nShe closes her eyes momentarily. \"I was ... disappointed ... in Uncle Fred. Very disappointed.\"\n\n> You ask Ben about the musical\n\"I don't pretend to pay it all too much attention. I know it's called Twisty Passages and that Frederic Sheppard was supposed to finance it. My sister Elinor, who is writing the music for it, could probably tell you more; as could Alex, who is writing the script.\"\n\n> You ask Ben about funding\n\"So you heard that Fred Sheppard was cutting the funding. Hmph. Elinor nearly had a relapse.\"\n\n> You ask Ben about Elinor\n\"My sister has had a very unfortunate life: first the accident that put her in the wheelchair, then her ... her health issues, and now this. She can't possibly have anything to do with this, believe me. As a matter of fact, I happen to have her latest medical report in one of my coat pockets. Go ahead and see for yourself; my coat's the green zimarra in the cloak room.\"\n\n> You ask Ben about the health issues\n\"Elinor's always been rather delicate. Then there was the accident that put her in a wheelchair, and when that happened they discovered she was already --\" Benedict clears his throat and fidgets. \"Well, you did get around to looking at that medical report, didn't you? It explains things better than I ever could.\"\n\n> You go to the north\nTheatrical bills on the walls give this otherwise sterile entry hall the appearance of a theatrical lobby. The front doors are to the north, and the central hall is to the south. The cloak room is to the east.\n\n> You go east\nA fancy name for a what is essentially a walk-in closet, with a powder room attached. The clutter gives it a more lived-in appearance than the entrance foyer back to the west.\n\nHalf hidden by the green overcoat is a tall umbrella stand in the shape of an elephant's foot.\n\nYou can also see five coats (a green overcoat, a leather jacket, a tan trenchcoat, a Burberry jacket and a brown blazer) here.\n\n> You search the overcoat\nYou spend a few seconds searching -- no, excavating -- through the pockets of the green overcoat and finally emerge into daylight (figuratively speaking) with issue no. 2 of The Incredible Hulk. As it is quite useless to you, you return it to the pockets of the green overcoat. You also find and take a medical report, but then you knew that would be there.\n\n> You examine the report\nThis sheaf of documents sets out in excruciating detail the circumstances of Elinor Lamb's health. Tucked between the pages is the following note: \"Mr Lamb, your sister has not much longer to live. While it is true that the completion of this magnum opus you describe will be a very great thing by which to remember your sister after she is gone, and that this is what she most certainly wants, is not her comfort now, while she is alive, more important? Why must you insist on encouraging her in this foolhardy project?\"\n\n> You look at notebook\nFlipping through your admittedly untidy shorthand, you pick up the following points:\nbroken branch\nbroken window\nannotated ledger\ntide table\ntelephone call\nCedric Crane's alibi\nBenedict Lamb's alibi\nDeborah Wolf's alibi\nElinor Lamb's alibi\nElinor Lamb's statement\nbody position\nDeborah Wolf's statement\nAlexander Wolf's alibi\nAlexander Wolf's statement\nguest arrivals\nCedric Crane's statement\nmusical\nmedical report\n\n> You read about the medical report in the notebook\nEL's med report found in green overcoat. Note from Dr: BL sees musical as memorial, insists on EL's continued involvement.\n\n> You ask Ben about the doctor's note\nBenedict seems to have entirely too much to say about that.\n\n> You check your inventory\nYou are carrying:\na medical report\na tape measure\na pistol\na scrap of paper\na broken branch\nyour notebook\n\n> You ask Alex about the elinor's health\n\"It's too complicated for my tiny little brain. Why don't you ask her? Or better yet, talk to that nursemaid brother of hers. He'll fill you in on the details you want and some that you don't.\"\n\n> You examine the branch\nThis small sprig of cliffside greenery was found clutched in the dead man's hand.\n\n> Search jacket\nWhich do you mean, the leather jacket or the Burberry jacket?\n\n> Leather\nYou quickly rummage through the pockets of the leather jacket, discovering an appointment book, which you take.\n\n> You look at appointment book\nThe name on the inside cover identifies this as belonging to Alexander Wolf. Paging through to yesterday's date, you find that Alexander Wolf had an appointment, which he apparently kept, with Frederic Sheppard's lawyer just that afternoon.\n\n> You examine the stnad\nIn the elephant's foot umbrella stand is an ebony walking stick.\n\n> You examine the stick\nIt's shiny and black, with a gold inlay ring about six inches down from a gold knob handle. It seems a little heavy, but is otherwise completely ordinary.\n\n> Search stand\nIn the elephant's foot umbrella stand is an ebony walking stick.\n\n> You take the stick\nTaken.\n\n> You ask Alex about the appointment\nAlexander Wolf grimaces. \"I suppose it'll all come out sooner or later. All right. Fred told me a couple of days back that he was thinking of pulling out of the project. He hadn't actually made up his mind about it, but I figured I'd see what my options were. So I made an appointment to find out exactly what sort of control Fred had over the Sheppard Trust. I waited all afternoon and the bastards still didn't have time for me. At least they left me a copy of Zack Sheppard's will. Here, I haven't looked at it yet, thanks to all this mess, but I'm guessing you'll want a look at it.\"\n\nAlexander Wolf takes a plain legal envelope out of an inside pocket and hands it to you.\n\n> You ask Alex about the zach\n\"Deb's father. He died when she was very young, before I ever met her. So no, I never knew the man, and have nothing to say about him.\"\n\n> You open the envelope\nYou open the legal envelope, revealing a copy of Zachary Sheppard's will.\n\n> Examine will\nThe main part of the will concerns the Sheppard Trust, the main purpose of which is to fund deserving theatrical projects, the secondary purpose of which is to provide Mr Zachary Sheppard's heirs with a steady income. Frederic Sheppard is named as a manager of the Trust. Thanks to some clumsiness in the wording, it seems that the Trust is to exist only for the duration of Frederic Sheppard's life, after which the capital is to be divided among various charities. Stapled to the back of the document is a list of figures detailing large chunks of money being shifted out of the Trust and into what appears to be Deborah Wolf's bank account.\n\n> You ask Deb about the will\nDeborah Wolf pauses, then says, \"Have you looked at the terms of my father's will, Inspector? My father meant the Trust to support struggling theatrical projects, yes, but he never meant for it to die with Uncle Fred. What we were doing was only practical, to ensure that the Trust lived on. Of course, now that Uncle Fred's gone ... I wish we hadn't left this so very late.\"\n\n> You ask Cedric about the will\nCedric Crane chuckles and says, \"Oh, those money transfers? That was Mr Sheppard and Mrs Wolf trying to get around the setup of the Sheppard Trust. The Trust's supposed to die with Mr Sheppard, leaving Mrs Wolf with nothing, so the two of them decided to engage in a spot of embezzling and shift the money into her bank account. It was rather slow going, but give them a couple more years, and I think they might even have succeeded.\" He shrugs. \"Well, it's a victimless crime. Can it still be embezzling if you're stealing from yourself, and if you let all the lawyers and accountants know what you're up to? I'm not a lawyer, so I don't know: I just like calling it that.\"\n\n> You call Chief\nYou get Chief Inspector Duffy after a couple of rings. \"Good man. I'll be there in five minutes.\"\n\n> Wait\nTime passes.\n\n> You call Chief\nIt's a few rings before you get one of the junior policemen at the station. \"The Chief Inspector is already on his way,\" he says. \"No need to get in a twist about it.\"\n\n> Go north\nAre you sure you want to quit?\n\n> You wait for a while\nTime passes.\n\nThe door swings open, admitting Chief Inspector Duffy. He looks more put-upon than ever. \"I hope you have something for me, Inspector. I want to be home and in bed some reasonable amount of time before having to get up and head back to the station.\"\n\nHe sighs. \"At the moment, as far as I know, everybody had the means and opportunity, and nobody had any motive. Tell me about anything you've found that will change this.\"\n\n> You tell Chief about the ledger\nChief Inspector Duffy nods thoughtfully as you fill him in on what you've learnt so far.\n\n\"That's a very serious accusation on Mrs Wolf's part. If Mr Crane were afraid of Mr Sheppard finding out about his little sideline, it might have been a very good reason to want him dead.\n\nHugh Dunnett\n\n\n\nThe following story is set up with a great deal of randomisation, and is different each time you start or restart. It would therefore be highly advisable to save the game before you even begin your investigation.\n\nThe story uses the basic \"ask X about Y\" format of speaking to other characters. For the most part, \"tell X about Y\" will be unimportant: it is generally (though not always!) assumed that your questions about something will include asking about any new discoveries you have made elsewhere about the topic. The main exception to this rule is when laying out your case before Chief Inspector Duffy: in that event, you will have to depend exclusively on \"tell...\" instead.\n\nTime in the story proceeds at 15 seconds a turn, allowing you ample time (one hopes) to complete your investigation. However, there is in fact a time limit: Chief Inspector Duffy will arrive to speak to you at 2:00 am; and, whatever time he arrives, he will eventually lose patience if you don't manage to make an arrest within a certain time of his arrival.\n\nAnd that's all that's new. Good luck, Inspector! Your public awaits!\n\n\"Frederic Sheppard.\" Chief Inspector Duffy pulls at his moustache mournfully and stares up at the house through the windshield. \"Theatrical sort, usually has a finger in some play or other. He bought up Gull Point about ten years ago. Never any complaints from the neighbours, never any scandals.\" He pulls at his moustache again. \"He was found dead in the cove at the foot of the cliff behind the house about half an hour ago. Caller said it looked as though he fell from his study window.\"\n\n\"Think he might have jumped?\"\n\n\"She's your investigation: you tell me. We're treating this as a murder unless you can find anything to prove otherwise.\"\n\nYou nod. As you get out of the car, the Chief Inspector yawns and says, \"All right. I'm heading back to HQ. I'll be back in a couple of hours. The investigation's all yours. And if at any time you think you're ready to make an arrest, give me a call first, got it?\"\n\n\"Got it.\"\n\nWhat a wonderful way to spend the night. As Chief Inspector Duffy drives off into the darkness, you check your watch to see just how late it really is -- only to find that your watch has stopped.\n\n\n\nYou are standing on the front drive of Gull Point, residence of noted theatrical patron Frederic Sheppard. The house, a rambling old place, stands to the south.\n\nBeside the front doors, the large doorbell button gleams amber in the moonlight.\n\nYou can also see a red Triumph Roadster, a blue Austin and a green Morris Saloon here.\n\n> You tell Chief about the will\nChief Inspector Duffy nods thoughtfully as you fill him in on what you've learnt so far.\n\n\"Interesting. So Mrs Wolf knew the provisions of her father's will, and, what is more, she knew she had a lot to lose by her uncle dying when he did. I can't say I can picture her as our murderess, in that case.\"\n\n> You tell Chief about the phone call\nChief Inspector Duffy nods thoughtfully as you fill him in on what you've learnt so far.\n\n\"Financial worries? That's rather vague ... but at least we know Mr Sheppard was still alive at 8:20 pm.\"\n\n> You tell Chief about the window\nChief Inspector Duffy nods thoughtfully as you fill him in on what you've learnt so far.\n\nWhen you finish, he strokes his moustache and says, \"I imagine that pushing a full-grown man up against a window, and then through it when it breaks open, would entail quite a bit of physical exertion -- especially given the height of the window sill.\"\n\n> You tell Chief about the body position\nChief Inspector Duffy nods thoughtfully as you fill him in on what you've learnt so far.\n\nChief Inspector Duffy reaches for his notebook and begins jotting down calculations. \"That suggests that the murder probably occurred some time before 9:15 pm ... give it another ten minutes; I'd say 9:25 pm would be the very latest that the body could have gone into the water.\"\n\nChief Inspector Duffy compares his notes. \"Well, that clears two of our suspects, at least: Benedict Lamb and Alexander Wolf appear to have alibis for the small window of opportunity in between Frederic Sheppard's telephone call, when he was last known to be alive, and the time at which he must have gone into the water. And if they're eliminated, then that leaves just one possibility among our suspects. Which means, I think, that we can make an arrest and go home.\"\n\n> Arrest cedric\n\"Very well,\" says Chief Inspector Duffy. \"Let's get on with it...\n\nCedric Crane is still playing pool with Alexander Wolf when you find him, leaning across the table for a difficult shot. He looks up as you approach. \"I was wondering when you'd come for me,\" he says.\n\nYou read out the charges and are about to cuff him when Alexander suddenly roars, \"Murder AND embezzlement? You bastard! You're the reason Fred wanted to bail on us!\" Alexander vaults over the table -- a surprising feat for a man his size -- and it is all you and Chief Inspector Duffy can do to keep him from tearing Cedric Crane apart right there.\n\nThe commotion draws the attention of all the other former suspects. Deborah, looking triumphant in the doorway of the library, says, \"I told you he was a dishonest man.\"\n\nCedric glares at her. \"Damn you. It's your own fault -- if you hadn't tipped the old man off, we might have gone on for years. As it was, engineering this little farce was the last chance I had, given the short notice. Shoving the old bastard out the window was child's play; and Mr Lamb played right into my hands when he suggested we walk out towards the rocks.... I would have gotten rid of that confounded ledger, too, but I couldn't find it. I suppose you had it all along and left it lying conveniently on Mr Sheppard's desk for the police to find.\"\n\nDeborah says, \"Of course I did. When I saw the state of the study, I guessed what had happened, and took steps accordingly.\" She turns to you. \"Take him away, Inspector. I hope you put him away for a very, very long time.\""
    },
    {
        "text": "[Themes: spells, magic, Lovecraftian, gender-neutral protagonist]\n\nacross campus, you finally return to...\n\nApparently your roommate moved out today. The room looks pretty bare with only your stuff left in it - not that you had much to begin with. The only decorations that remain are a few of your posters hanging on the walls.\n\nYou hear loud noises coming from the hallway to the south. It sounds like your hallmates have begun celebrating the end of the academic year.\n\nYou can see your bed and your desk (on which are a medicine bottle and a note) here.\n\n> You read the note\nIt's from your roommate. \"Good luck on your final! I've left you the last of my study pills. I promise you they are perfectly safe, all-natural, and organic - although they may not work exactly like you expect.\"\n\n> Y.\ncheapglulxe quit with exit status: 0\n\n\u2014manage to foul things up again this time, which is a distinct possibility...\n\nThe Lurking Horror II: The Lurkening\nAn MIT Mystery Hunt Puzzle by Ryan Veeder, with apologies to Dave Lebling\n\nYour vision clears, and you're back in the basement of the Alchemy building.\n\nThis is one of your favorite haunts on the G.U.E. campus. It's a great place to curl up with a book\u2014but you really don't have time for that right now.\n\nThere's a stairway here that leads up to the Department of Alchemy lobby, and a well-lit tunnel leads north.\n\nYou'd better start moving if you're going to get anything done this time.\n\n> Go upwards\nThe Alchemy building feels small and defenseless in the face of the wild thunderstorm outside. Rain and howling wind pound at the doors to the north and east. A stairway leads down to the basement (and the tunnels).\n\nThis lobby is especially creepy because there's an informative poster depicting an Elder Horror hanging on the wall.\n\n> You look at the poster\nAbove the picture of the Elder Horror are the words \"IF YOU SEE SOMETHING, SAY RAENFIDHRE.\" Smaller text below explains: \"Elder Horrors are a nuisance\u2014but you don't have to let them inconvenience you. The incantation 'Raenfidhre' sends Elder Horrors right back where they came from. (Don't ask!) When you run into an Elder Horror, just say 'Raenfidhre' and watch it disappear.\"\n\nFor years, students of the arcane arts struggled to find some logic or significance in the forms of these incantations. Eventually the experts reached the consensus that they're just random stupid words.\n\n> You go north\nTorrents of rain lash at the earth in blind fury.\n\nThis is the future site of the Gentry Antiquarian Center. Right now it's a rectangular pit with concrete walls.\n\nThe Alchemy building is south. Another building\u2014a despicable building\u2014is further north.\n\n> You examine the pit\nThe cyclopean walls of the unfinished Gentry Center are slick with rain, and its muddy basement floor is pockmarked with oily puddles.\n\nFloating in one puddle is a manila envelope.\n\n> You look at the envelope\nHard to tell from way over here, but it looks like campus mail.\n\n> You enter the pit\nThe slick concrete walls of the pit offer no safe way down.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go north\nThe forboding building to the east houses the Department of Sorcery, which frequently competes with the Alchemy department for funding and is always reserving the best classrooms before Alchemy can get a chance. The rest of the campus is south from here.\n\nThunder rumbles nearby.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the north\nThe forboding building to the east houses the Department of Sorcery, which frequently competes with the Alchemy department for funding and is always reserving the best classrooms before Alchemy can get a chance. The rest of the campus is south from here.\n\nThunder rumbles nearby.\n\n> Go east\nYou break out in gooseflesh as you contemplate the eldritch experiments performed within these walls on a daily basis. You don't like visiting this place unless you have to. It even smells pretentious.\n\nThe department head's office is down the hall to the east. The way back outside is west.\n\nThe only person here tonight is a grad student whom you kind of know.\n\n> You examine student\nHe's a sorcery student you've seen around campus, usually sitting down in a secluded study space you were hoping to use.\n\nHe squints at you. \"What are you doing here?\"\n\n\"None of your beeswax,\" you snap back. \"What are you doing\nhere?\"\n\nHe curls his lip into an odious sneer. \"The department head asked me to help with some research, so I'm on my way to his office.\"\n\n\"Well, great for you,\" you respond, facetiously.\n\n> Go east\nYou try to walk past the sorcery student, but he blocks your path: \"The department head doesn't need another research assistant\u2014especially not from the Department of Alchemy. He asked for me specifically.\"\n\nYou stare at each other like a pair of housecats that have just been introduced.\n\n> Hit student\nReally? Resorting to brute force already?\n\n> Yes\nThat was a rhetorical question.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the north\nBefore you enrolled at G.U.E. Tech, you had this romantic idea that the tunnels would all be dingy, claustrophobic, and dangerous. But these tunnels\u2014the tunnels that most people see\u2014are really more like hallways with pipes.\n\nThis hallway and its pipes lead north and south.\n\n> Go north\nYou've reached a bend in the tunnel where the lights don't quite reach. You can continue east or south.\n\nBut you can't just stand around, because an Elder Horror is flitting through the shadows here, gibbering in little shrieks.\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue. The Elder Horror howls in response, as if to drown out your spell with its ululating tongues\u2014but it is no use.\n\nA hole opens in space, and the Elder Horror is dragged by unknown forces back to its native dimension.\n\nWhatever the thing was holding falls to your feet: Looks like somebody's lecture notes.\n\nYou hear a hissing noise as a portion of the ambient atmosphere is sucked away before the aperture closes itself.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You read the notes\nA few pages of sparsely annotated Powerpoint slides. Is there anything good in here?\n\nThe annotator has indicated one slide with a series of exclamation marks: It alludes to the incantation \"Jilxube,\" and describes its applications as \"gross.\"\n\n> Go east\nIn the middle of this east-west strip of tunnel is an open grate. In the grate is a ladder. The ladder leads down to the sub-basement level.\n\n> Go east\nThe passage from the west turns here, at the top of a gentle slope leading south. This would be a great place to race office chairs, if other concerns weren't taking precedence.\n\nA hacker is leaning against the wall here, taking a break from hacking.\n\n> You look at the hacker\nYou can tell she's an accomplished hacker from the unrealistically heavy key ring hanging from her belt loop. Anyone who has that many keys isn't supposed to have all of them.\n\nYou wave to each other, and are about to exchange pleasantries when a massive peal of thunder from above shakes the tunnels. The lights go out.\n\nThe lights come back on. The two of you grimace.\n\n\"Hey,\" says the hacker. \"If the lights ever go out for real, I know a spell that for seeing in the dark. It's 'kulehrif.' You say it just like that.\"\n\nYou nod. \"Thanks. I probably should have known that already.\"\n\n\"It's okay. At least you only have to learn something for the first time once.\"\n\n\"That is so true,\" you say.\n\n> You ask the hacker about the keys\nUse >TALK TO to interact with entities.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> J.\nYou utter the incantation again. More slime appears. This place is getting more and more disgusting every moment.\n\n> You look at the slime\nIt is a translucent pudding-like substance of unearthly color. It is disgusting.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the north\nBefore you enrolled at G.U.E. Tech, you had this romantic idea that the tunnels would all be dingy, claustrophobic, and dangerous. But these tunnels\u2014the tunnels that most people see\u2014are really more like hallways with pipes.\n\nThis hallway and its pipes lead north and south.\n\n> Go north\nYou've reached a bend in the tunnel where the lights don't quite reach. You can continue east or south.\n\nBut you can't just stand around, because an Elder Horror is flitting through the shadows here, gibbering in little shrieks.\n\n> You go south\nAt this intersection, the tunnels go north, south\u2014and west, to the chamber of your ill-advised project.\n\nAn old graffito is on the east wall.\n\n> You read the graffito\nThe names of the vandals are lost to campus history. All that we know is: Someone wrote something on a wall; then, before the message could be summarily painted over, someone else prepended an additional word. Now, and since time immemorial, the wall reads:\n\nUP\n\n> Go west\nIt groans sluggishly. It shrugs its unthinkable head\u2014No. That is not\na\nhead.\n\nThe whitish, loathsome, incomprehensible thing that oozes before you is Ynf-Okh-Omm, the Eldest Horror. It is sleeping, for now. Soon (very soon), it will awaken, and this helpless universe will suffer the consequences.\n\nThe way out is east.\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nA crackle of eldritch power washes over the sleeping hulk, and your spell falls flat. How did it do that? Where is it getting this energy?\n\nYnf-Okh-Omm stirs. The Eldest Horror rolls over. Some hideous aspect of its body\u2014an eye?\u2014a mouth?\u2014opens, and you are the first to be devoured.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go south\nThe tunnel turns from north to west here, but the passage to the west is too dark to see where it goes.\n\nYou take another step and slip on a piece of paper.\n\n> You examine paper\nThe paper has disappeared\u2014but you know you slipped on\nsomething.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and you can see easily what lurks in dark corners. You don't notice anything new right here, though.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You give up\n(I really think you ought to RESTART.)\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and you can see easily what lurks in dark corners. You don't notice anything new right here, though.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You go to the north\nBefore you enrolled at G.U.E. Tech, you had this romantic idea that the tunnels would all be dingy, claustrophobic, and dangerous. But these tunnels\u2014the tunnels that most people see\u2014are really more like hallways with pipes.\n\nThis hallway and its pipes lead north and south.\n\n> You go to the south\nThe tunnel turns from north to west here.\n\nYou take another step and slip on a piece of paper.\n\n> You examine paper\nThe paper has disappeared\u2014but you know you slipped on\nsomething.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the north\n(I really think you ought to RESTART.)\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You examine the pipes\nThe pipes don't even lead to or from anywhere in particular. They're all the same, all along this level of the tunnels.\n\n> Go north\nYou've reached a bend in the tunnel where the lights don't quite reach. You can continue east or south.\n\nBut you can't just stand around, because an Elder Horror is flitting through the shadows here, gibbering in little shrieks."
    },
    {
        "text": "[Themes: magic, spells]\n\n> Go downward\nThese are not the fun tunnels that they show you on campus tours. These are the old tunnels. The evil tunnels.\n\nAncient pipes clank and hiss, and beneath these noises\u2014you wonder if you're imagining\u2014the sound of something skittering behind you.\n\nThe ladder here goes up to the main basement level. Tunnels lead east, south, and west.\n\n> You go east\nOh dear. This is one of those places.\n\nThe geometry in here is incorrect. All the surfaces are inside-out. The physical laws of some other dimension must be impinging on this space from somewhere outside space.\n\nDang.\n\n> You go to the east\nYou try to move in that direction, but in this particular context the idea of \"direction\" doesn't really apply, which makes it hard to get anywhere.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You look behind yourself\n(I really think you ought to RESTART.)\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go south\nThrumming all around you are hulks of decrepit machinery, sagging under the weight of decades, struggling to supply power to the university above. And twisting through their cables are the insidious tentacles of Ynf-Okh-Omm, worming their way through the ceiling from its chamber above. The Eldest Horror is leeching power from G.U.E.'s electrical system! This is your fault!\n\nThe tunnels continue north and south.\n\n> You examine the machinery\nSome of these machines date back to the eighties.\n\n> You turn off the machinery\nIt isn't something you can switch.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go south\nThe lights have gone out in this chamber, and you can't see your own hand in front of your face, but you can just make out paths to the north, east, and west.\n\nAnd you can definitely hear something slithering squamously nearby.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and the room does not seem so dark now:\n\nThe lights have gone out in this chamber, but you can clearly see the paths to the north, east, and west.\n\nYou can also see an Elder Horror near you. Whether it can see you remains to be seen.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> R.\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue. The Elder Horror squeals in shock and inhuman pain, and its entire form undulates bizarrely as a rent in the universe swallows it up. There is a sharp squelching noise as the interstice sucks away some of this world's air before it closes completely.\n\nApparently the creature had been coiled around a statuette.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> R.\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue. You hear something squeal in shock and inhuman pain. Then you hear a sharp squelching noise.\n\nThen you hear something clank against the floor. What the heck was that?\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and the room does not seem so dark now:\n\nThe lights have gone out in this chamber, but you can clearly see the paths to the north, east, and west.\n\nThere is a statuette sitting on the floor here.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the west\nThis damp tunnel looks like it used to be a sewer, or a pneumatic railroad. The curved floor makes it difficult to walk without keeping a hand on the damp curved walls.\n\nThe way back is east. The tunnel continues south, beyond a waterfall-like curtain of slime.\n\n> Go south\nYou reach tentatively at the curtain of slime, and the acrid substance burns your hand. Apparently walking through this stuff wouldn't just be disgusting; it could be deadly.\n\nSo how do you get it to stop flowing?\n\n> Jilxube\nYou successfully cast the spell, but the slime that you conjure only adds to the curtain of slime that's already flowing down across the passage to the south.\n\nYou can use the abbreviation \"J\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You examine waterfall\nThe slime falls down in thick, globby rivulets, and the tunnel beyond is difficult to make out.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> J.\nYou cast the spell again, and more repulsive slime flows into this universe from without\u2014but it simply flows to join the slime within\nthe\nconstruction pit. The level of the slime doesn't rise an inch. This is all disturbingly convenient.\n\n> You move the poster\nThe informative poster is fine right there.\n\n> You go to the east\nNormally, this grassy courtyard is a favorite spot for joggers and Ultimate Frisbee players\u2014but what with the rain, and the lightning, there's nobody here right now.\n\nTo the west is the Department of Alchemy. East is the Department of Necromancy. North is the Department of Linguistics.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go east\nNormally, this grassy courtyard is a favorite spot for joggers and Ultimate Frisbee players\u2014but what with the rain, and the lightning, there's nobody here right now.\n\nTo the west is the Department of Alchemy. East is the Department of Necromancy. North is the Department of Linguistics.\n\n> You go to the east\nYou seem to be in a hallway\u2014but it's too dark to see which way it leads, what it leads to, or what else is in here with you. The only thing you can see is the way outside, to the west.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and the room does not seem so dark now:\n\nLooks like there are no necromancy students here tonight, which is just as well.\n\nThis hallway leads north and west.\n\nAnd there's a dead cockroach on the floor here! Gross.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You go to the north\nLightning flashes, your hair stands on end, and then a hideous peal of thunder shakes the building.\n\nThere are about a dozen workstations here for students to practice their necromantic arts upon, but nobody's here right now.\n\nThere is, however, a scrap of paper on the floor.\n\n> You read the paper\nThe top of the page indicates that these are notes from an intro-level Necromancy class. The student has scribbled and crossed out a long list of incantations. The final attempt, \"HTERWERBSET,\" has been circled triumphantly.\n\n> Go south\nThere are no necromancy students here tonight. The place is as quiet as the\u2014well, it's quiet.\n\nThis hallway leads north and west.\n\nThat dead bug is still here. Upsetting.\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips.\n\nThe spell's angles align with something invisible and dreadful, and the roach on the floor springs to life. It makes a grateful hissing noise before crawling speedily away.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Go west\nNormally, this grassy courtyard is a favorite spot for joggers and Ultimate Frisbee players\u2014but what with the rain, and the lightning, there's nobody here right now.\n\nTo the west is the Department of Alchemy. East is the Department of Necromancy. North is the Department of Linguistics.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the north\nThere's not much here\u2014the Linguistics department was organized with a minimalist philosophy in mind. A likely-looking (and heavy-looking) grimoire rests on a pedestal in an alcove.\n\nThe way out is south.\n\n> You examine the grimoire\nYou reach out to inspect the grimoire. Your hand runs into something. Something squishy and invisible.\n\nYou hold still for a second: You think you can hear it breathing."
    },
    {
        "text": "> You look at your surroundings\nThere's not much here\u2014the Linguistics department was organized with a minimalist philosophy in mind. A likely-looking (and heavy-looking) grimoire rests on a pedestal in an alcove.\n\nThe way out is south.\n\nAlso, everything here is covered in slime.\n\n> You look at the grimoire\nYou move your hands around and confirm that the invisible thing is blocking the entire alcove. Great.\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nDid it work?\n\nYou reach out into space\u2014and touch the horrid thing again. Darn.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and you can see easily what lurks in dark corners. You don't notice anything new right here, though.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips.\n\nBut nothing else happens, and the abominable polyhedron gradually melts away.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips.\n\nBut nothing else happens, and the abominable polyhedron gradually melts away.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You examine the grimoire\nYou reach out to inspect the grimoire. Your hand runs into something. Something squishy and invisible.\n\nYou hold still for a second: You think you can hear it breathing.\n\n> You talk to invisible\nYou can't see the thing. You can touch it, and hear it, but these senses yield no actionable information\u2014only a queasy feeling.\n\nWhat we have here is an Elder Horror, probably. But is it really\nhere?\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nDid it work?\n\nYou reach out into space\u2014and touch the horrid thing again. Darn.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nNothing happens.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips.\n\nThe spell's angles align with something invisible and dreadful, and you hear a low skittering. Something brushes against your foot.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You take the envelope\nReaching the envelope now would require swimming through a pool of slime, which is a no-go.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You talk to the hacker\nYou can tell she's an accomplished hacker from the unrealistically heavy key ring hanging from her belt loop. Anyone who has that many keys isn't supposed to have all of them.\n\nYou smile at each other politely, but there isn't really anything else to talk about. You're kind of in a hurry.\n\n> Go south\nAt this intersection, the tunnels go north, south\u2014and west, to the chamber of your ill-advised project.\n\nAn old graffito is on the east wall.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue. You hear something squeal in shock and inhuman pain. Then you hear a sharp squelching noise.\n\nThen you hear something clank against the floor. What the heck was that?\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and the room does not seem so dark now:\n\nThe lights have gone out in this chamber, but you can clearly see the paths to the north, east, and west.\n\nThere is a statuette sitting on the floor here.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You examine the statuette\nThe statuette, carved in an oddly soft bluish substance, depicts a creature you dimly recognize as appearing in certain dreams from which you awoke babbling and covered in sweat. The base of the piece is carved with an inscription in an alien tongue that you happened to learn in one of those Humanities classes that they made you take. It says: \"Yzawnzag.\"\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Yzawnzag\nYou cast the hypnosis-resistance spell again, and steel your mind even more against external influence (possibly to the point of overdoing it).\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go west\nThe tunnel from the east terminates here at a brick wall. There are no lights here because it would seem that there is nothing here to illuminate.\n\nApparently someone disagreed, and made this into their personal study space: A thick textbook lies forgotten on the floor.\n\n> Examine textbook\nThe book's cover is immediately recognizable: This is the Necronomicon, by A. Alhazred, an infamous tome of dark magic.\nYou flip through it a little bit.\n\nHere's a page that jogs your memory: A spell that conjures frigid wind from... It doesn't say where. The incantation is \"bheishauph.\"\n\nWhy would someone just leave a Necronomicon lying around?\nThese books are expensive!\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Bheishauph\nYou breathe the incantation, and a breeze of cool air swirls around you. For a moment you feel the supernatural cold of the infinite space between the stars.\n\nYou can use the abbreviation \"B\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Bheishauph\nYou breathe the incantation, and a breeze of cool air swirls around you.\n\nCrystalline patterns appear in the surface of the pool of slime, spreading across and down through the repugnant morass. The surface of the fluid ceases its undulations: It has frozen straight through.\n\nThe manila envelope sits on top of the ice.\n\n> You read envelope\nYou take a cautious step onto the slime-ice.\n\nIt seems to support your weight.\n\nTime being a limiting factor, you scuttle across the ice, snatch up the envelope, and scuttle back to solid ground as fast as you can.\n\nIt's definitely campus mail, but the rain has washed away any addresses that were ever written on the outside.\n\nThe envelope is closed.\n\n> You open the envelope\nYou open the manila envelope, revealing a grant application.\n\n> You look at the application\nNot long ago you swore you'd never look at another one of these, but such oaths often prove difficult to uphold.\n\nThe application proposes an investigation into the little-understood branch of \"reparative spatial mechanics.\" The document is careful not to explain these terms with extraneous clarity, lest the subject appear too comprehensible to warrant investigation.\n\nBut the applicant has let one specific detail slip: an incantation, \"Vaadignephod,\" with apparent reparative spatio-mechanical potency.\n\n> Go south\nThe Alchemy building feels small and defenseless in the face of the wild thunderstorm outside. Rain and howling wind pound at the doors to the north and east. A stairway leads down to the basement (and the tunnels).\n\nThis lobby is especially creepy because there's an informative poster depicting an Elder Horror hanging on the wall.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go south\nThe tunnel from the north comes to an abrupt end here.\n\nOn the dusty floor is a pitiful, deflated blob.\n\n\"Ooooooh, I'm miiiiserabllllle,\" it groans, in a voice that makes you wince.\n\n> You talk to the blob\nThe thing on the floor manages to make eye contact despite your best efforts.\n\n\"Hey, um. How're you doing?\" you ask.\n\n\"Hoooooorribllllle,\" it responds. \"I'm sooooo huuuungry, I can barely moooooove.\"\n\nYou nod. \"That's rough.\"\n\nThe blob pouts some more: \"Can't you hellllllp meeeeee?\".\n\n> Bheishauph\nYou breathe the incantation, and a breeze of cool air swirls around you. Unsettlingly regular patterns of frost curl across the tunnel walls until they reach the curtain of slime.\n\nThe flow of slime slows, and then it stops as the waterfall freezes in place. You hear a crinkling sound.\n\nThe frozen curtain of slime shatters and disappears. The way south is open.\n\nYou can use the abbreviation \"B\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You go south\nThe tunnel is a river of undulating slime, and there are few places where it's safe to set foot. The way out is north.\n\nSomeone has written something on the walls.\n\n> Caerlaev\nYou lock eyes with the grad student as you hiss the incantation. Your vision swims\u2014and then you are staring into your own eyes. They look back with shock, then dawning fear, and then revulsion.\n\n\"Why'd you steal my body?\" the grad student demands, in your voice. \"That's messed up!\"\n\n\"I don't have time to explain,\" you grunt, in his voice. \"I've got stuff I've gotta do.\"\n\n\"Well,\" says the grad student, rifling through your belongings, \"it looks like I've got your car keys. So...\"\n\nHe takes off down the hall and out into the storm.\n\nYou can use the abbreviation \"C\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You go to the east\nThe head of the Sorcery department has an extremely nice office. For example, his desk does not look like it was dragged out of a junkyard. On top of the desk is what looks like a copy of the Book of\nEibon.\n\nThe department head rises to greet you.\n\n\"Thanks for coming,\" he says. \"I could really use your help with...\"\n\nThen, his eyes suddenly afire with evil, he waves his hand and mutters an eldritch invocation at you. Something in your mind disconnects from something else.\n\n\"Perfect,\" says the professor. \"Now, would you mind standing inside of that pentagram over there?\"\n\n> Yzawnzag\n## y## e## a## h## ,\n\n## y## e## a## h## ,##\n\n## y## e## a## h## ,##  ## n\n\n## y## e## a## h## ,##  ## n## o\n\n## y## e## a## h## ,##  ## n## o##\n\n## y## e## a## h## ,##  ## n## o##  ## p\n\n## y## e## a## h## ,##  ## n## o##  ## p## r\n\n## y## e## a## h## ,##  ## n## o##  ## p## r## o\n\n## y## e## a## h## ,##  ## n## o##  ## p## r## o## b\n\n## y## e## a## h## ,##  ## n## o##  ## p## r## o## b## l\n\n## y## e## a## h## ,##  ## n## o##  ## p## r## o## b## l## e\n\n## y## e## a## h## ,##  ## n## o##  ## p## r## o## b## l## e## m\n\nYou step into the pentagram. The professor lifts the Book of\nEibon from his desk and begins chanting in a bizarre,\notherworldly language.\n\nSomething else appears in the room. It appears to have a lot of teeth.\n\nUh-oh!\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n(I really think you ought to RESTART.)\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Caerlaev\nYou lock eyes with the hacker as you hiss the incantation. Your vision swims\u2014and then you are staring into your own eyes.\n\n\"Did you just switch our bodies?\" the hacker asks, in your voice.\n\n\"For the time being, yes,\" you say.\n\nYour voice sounds disappointed. \"That is incredibly rude,\" she says. \"Could I get my key ring back, at least?\"\n\nEmbarrassed, you awkwardly unclip the heavy ring from the hacker's belt and toss it to your body. The hacker snatches it from the air and starts rummaging through your pockets. Pretty soon she finds your keys, and clips them onto her ring.\n\n\"Well, I'm going to go mess with your stuff now,\" she explains, and she brushes past you on her way down the tunnel.\n\nShe's right, you know. That was super rude.\n\nYou can use the abbreviation \"C\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You go south\nAt this intersection, the tunnels go north, south\u2014and west, to the chamber of your ill-advised project.\n\nAn old graffito is on the east wall.\n\n> Go west\nIt groans sluggishly. It shrugs its unthinkable head\u2014No. That is not\na\nhead.\n\nThe whitish, loathsome, incomprehensible thing that oozes before you is Ynf-Okh-Omm, the Eldest Horror. It is sleeping, for now. Soon (very soon), it will awaken, and this helpless universe will suffer the consequences.\n\nThe way out is east.\n\n> Go east\nThe head of the Sorcery department has an extremely nice office. For example, his desk does not look like it was dragged out of a junkyard. On top of the desk is what looks like a copy of the Book of\nEibon.\n\nThe department head rises to greet you.\n\n\"Thanks for coming,\" he says. \"I could really use your help with...\"\n\nThen, his eyes suddenly afire with evil, he waves his hand and mutters an eldritch invocation at you.\n\n\"That's not gonna work,\" you say. \"I cast a Yzawnzag on myself a little bit ago.\"\n\nHe squints. \"Why would you do that?\"\n\n\"Because I knew you were gonna try to hypnotize me! Oh, also, I'm not really your research assistant. I switched bodies with him.\"\n\nThe professor gapes at you in distress. \"So\u2014But\u2014Where is my assistant?\"\n\nYou shrug. He rolls his eyes and grabs his coat. As he rushes out of his office he snaps at you: \"Don't touch anything.\"\n\n> You look at Book\nYou open the book to a dogeared page. Oh dear.\n\nYou turn to another page. This can't be!\n\nYou flip wildly through the Book of Eibon, but it's all the\nsame! It's all in Swedish!\n\nYou do not speak Swedish.\n\n> You examine the desk\nThe department head may in fact be the original user of this desk. The idea of a new piece of furniture in an office at G.U.E. Tech\nis almost impossible to contemplate.\n\nOn the desk is a copy of the Book of Eibon.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You look at the pentagram\nIt's not that unusual for sorcery professors to inscribe pentagrams in their offices.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go east\nA wall of debris makes further progress impossible. The only way out is to go back west.\n\nThere's a dead rat on the floor here. Yuckers.\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips. The spell's angles align with something invisible and dreadful, and the rat on the floor shudders to life.\n\n\"That was awful nice of you!\" the rat would say, if rats could talk, but they can't; instead, it crawls into a crevice in the debris, kicking a crumpled note out behind it.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Hterwerbset\nYou whisper the incantation, and feel a daemoniac power crystallize in the air, its vertices aligned by the awful syllables as they leave your lips. The spell's angles align with something invisible and dreadful, and the rat on the floor shudders to life.\n\n\"That was awful nice of you!\" the rat would say, if rats could talk, but they can't; instead, it crawls into a crevice in the debris, kicking a crumpled note out behind it.\n\nYou can use the abbreviation \"H\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You look at note\nYou uncrumple the note. This appears to be... Ooh! You're not supposed to have this!\n\nThis note explains a magical formula that allows one to travel to the Dusky Threshold, an eerie plane of existence that exists parallel to the Normal World. It's very similar to\u2014but distinct\nfrom\u2014the\n\"Upside-Down\" from that Winona Ryder show.\n\nKnowledge of the Dusky Threshold is kept under wraps because it's reportedly very dangerous and it's essentially impossible to get back to the Normal World once you're there. Anyway, it looks like the incantation for sending yourself there is \"Pheimmeb.\"\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go to the west\nSomething is wrong with the angles in this passage\u2014if it is a\npassage.\nSpace seems to be turned around, or it's backwards, or... This is giving you a headache.\n\n> You go east\nThe lights have gone out in this chamber, and you can't see your own hand in front of your face, but you can just make out paths to the north, east, and west.\n\nAnd you can definitely hear something slithering squamously nearby.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> You go north\nAfter a little experimentation, you get the impression that movement through  the Dusky Threshold is not possible.\n\nYou may be stuck here.\n\n> You look at the shapes\nIt basically looks like a basement.\n\n> You touch the shapes\nBest to keep one's hands to oneself.\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue. A hole opens in the non-space of the Dusky Threshold.\n\nIt is a big hole, big enough to tear such a hideously massive Elder Horror away from this realm, stretching the alien beast into impossible angles, and sucking great ropes of the caliginous substance of the Dusky Threshold along with the beast into the dimension beyond. Even as vaporous as you are, you feel yourself drawn into the chasm as well\u2014\n\nBut the hole shuts itself, and you are alone among the shadows.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works."
    },
    {
        "text": "[Themes: magic, gender-neutral protagonist]\n\n> Look around\nYou are in a space behind space. The Normal World is barely visible beyond the veil of shadow: a congeries of silent and near-unrecognizable shapes. You're pretty sure you're still \"inside\" the Linguistics building.\n\n> You look at shapes\nYou're pretty sure you're still \"inside\" the Linguistics building.\n\n> You go outside\nAfter a little experimentation, you get the impression that movement through  the Dusky Threshold is not possible.\n\nYou may be stuck here.\n\n> Kulehrif\nYou mutter the incantation, and a greenish haze swims in front of your eyes. Your knees buckle, and for a giddy moment you feel as though you may barf.\n\nBut when you regain your faculties, you notice your vision has improved, and the room does not seem so dark now:\n\nLooks like there are no necromancy students here tonight, which is just as well.\n\nThis hallway leads north and west.\n\nAnd there's a dead cockroach on the floor here! Gross.\n\nYou can use the abbreviation \"K\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Mnymnswst\nAs you utter the incantation, the smoky dimness around you is ripped away\u2014in an instant, the Dusky Threshold has become the Normal World.\n\nThere's not much here\u2014the Linguistics department was organized with a minimalist philosophy in mind. A likely-looking (and heavy-looking) grimoire rests on a pedestal in an alcove.\n\nThe way out is south.\n\nYou can use the abbreviation \"M\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> You examine the grimoire\nNow you can get a close look at the grimoire.\n\nIts contents are mostly theoretical, concerned with the notion (undoubtedly quite novel, back whenever this was written) that language itself is a kind of contagious disease, propagating itself by transmission from human mind to human mind, but having an origin quite distant from the sphere of human existence.\n\nThe applications of this theory are relegated to the end notes, which include a formula that purportedly will \"infect\" its speaker with a Scandanavian strain of the mind-virus: \"Fickordbok.\"\n\n> Fickordbok\nThe incantation trips liltingly over your tongue, and instantaneously you feel as though you have a working knowledge of the Swedish language.\n\nYou can use the abbreviation \"F\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Examine book\nYou open the book to a dogeared page. The Swedish text is inscrutable to your conscious mind, but nonetheless you somehow understand it\u2014well, most of it:\n\nThere's a trollformel (incantation) that lets you\nstiga (go up) and sjunka (go down) through tak\noch golv (ceilings and floors). And the incantation is:\nAVITHSKELT. Got it.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Avithskelt\nYou whisper the incantation, and you feel a violent, shuddering change in your bones, or else in your molecular structure. You have the impression of a bizarre untetheredness.\n\nYou can use the abbreviation \"A\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works."
    },
    {
        "text": "[Themes: gender-neutral protagonist]\n\n> Go downwards\nYou think of the so-called \"Pauli exclusion principle\" and roll your eyes as you float down, through the ground.\n\nSomething is wrong with the angles in this passage\u2014if it is a\npassage.\nSpace seems to be turned around, or it's backwards, or... This is giving you a headache."
    },
    {
        "text": "> You go downward\nYou will yourself downward\u2014but apparently this is literally as low as you can get. Oh well.\n\n> Go upward\nShrugging at the outmoded law of gravity, you float up, through the ceiling.\n\nThe tunnel continues further than the light can reach. All you can see is the way back to the east.\n\n> Go upwards\nShrugging at the outmoded law of gravity, you float up, through the ceiling.\n\nNormally, this grassy courtyard is a favorite spot for joggers and Ultimate Frisbee players\u2014but what with the rain, and the lightning, there's nobody here right now.\n\nTo the west is the Department of Alchemy. East is the Department of Necromancy. North is the Department of Linguistics.\n\n> Go upwards\nYou will yourself upward\u2014but apparently there is nowhere up from\nhere.\nOh well.\n\nYour body shudders again, and you no longer feel so untethered.\n\n> Avithskelt\nYou whisper the incantation, and you feel a violent, shuddering change in your bones, or else in your molecular structure. You have the impression of a bizarre untetheredness.\n\nThen it happens. You hear something huge rousing itself from cosmic sleep. The thing groans, and the entire campus shakes. Ynf-Okh-Omm has awoken. Shortly it will consume G.U.E. Tech\u2014and then the universe.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Go upwards\nShrugging at the outmoded law of gravity, you float up, through the ceiling.\n\nIt groans sluggishly. It shrugs its unthinkable head\u2014No. That is not\na\nhead.\n\nThe whitish, loathsome, incomprehensible thing that oozes before you is Ynf-Okh-Omm, the Eldest Horror. It is sleeping, for now. Soon (very soon), it will awaken, and this helpless universe will suffer the consequences.\n\nThe way out is east.\n\nYour body shudders again, and you no longer feel so untethered.\n\n> Y.\nYou cast the hypnosis-resistance spell again, and steel your mind even more against external influence (possibly to the point of overdoing it).\n\nYnf-Okh-Omm stirs. The Eldest Horror rolls over. Some hideous aspect of its body\u2014an eye?\u2014a mouth?\u2014opens, and you are the first to be devoured.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nA crackle of eldritch power washes over the sleeping hulk, and your spell falls flat. How did it do that? Where is it getting this energy?\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\nYnf-Okh-Omm stirs. The Eldest Horror rolls over. Some hideous aspect of its body\u2014an eye?\u2014a mouth?\u2014opens, and you are the first to be devoured.\n\n*** You have failed. ***\n\nIf you RESTART, you might be able to fix this, unless you\u2014\n\n> Raenfidhre\nYou utter the incantation, the eldritch puissance of its awful phonemes flowing with hideous sweetness over your tongue.\n\nNothing happens.\n\nYou can use the abbreviation \"R\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works.\n\n> Bheishauph\nYou breathe the incantation, and a breeze of cool air swirls around you. For a moment you feel the supernatural cold of the infinite space between the stars.\n\nThe slime crystallizes over a period of seconds, becoming a rigid but no less unwholesome mass of many-faceted ice-slime.\n\nYou can use the abbreviation \"B\" the next time you want to cast this spell. But not if you travel back in time again. That's how time travel works."
    },
    {
        "text": "[Themes: Science Fiction, genetics, research, male protagonist, science fiction, complicity, aliens, diplomacy, moral choice, clothing]\n\nAre you sure you want to quit? \n\nIt is night on this side of the planet. Settled areas are lit: a jagged crescent in the tropics, lining the inland sea. The bright splatter along the top of the curve is Tanhua, as bright from space as New York. The north continent is darker, sprinkled finely with small lights, where the failing climate makes it hard to survive a winter. And the northernmost point, almost lost on the slope of Mt. Cordia, is the original Aleheart Colony, where the first settlers from Earth landed. It is your destination as well.\n\nAltogether, the population comes to two hundred and thirty-seven million not-quite-humans, most likely doomed if they stay here. The ice comes faster every year. It would have been more convenient if they had had this crisis twenty years ago, but Earth can still use it.\n\nYour job is to make an arrangement acceptable to both sides, to bring the Aleheart population home.\n\nThe shuttle drops.\n\n[Author's Note: It is night on this side of the planet. Settled areas are lit: a jagged crescent in the tropics, lining the inland sea. The bright splatter along the top of the curve is Tanhua, as bright from space as New York. The north continent is darker, sprinkled finely with small lights, where the failing climate makes it hard to survive a winter. And the northernmost point, almost lost on the slope of Mt. Cordia, is the original Aleheart Colony, where the first settlers from Earth landed. It is your destination as well.]\n\n> Y.\nHave you played interactive fiction before? >\n\nWhen Aleheart Colony was choosing landing spots, Cordia Peak was deemed a good source of geothermal and hydroelectric energy. This lake, snug under the mountain, is the oldest manmade thing on the planet; you have a poster of it at home.\n\nIn the early pictures, the lake is whitish, silty water in a bowl of bare rock, fed by a trickle of glacial runoff, and dammed at the south end with concrete. Now it is deep blue. The glacier has progressed so far that it forms a wall across the north end of the lake, tall enough to block any view of Cordia Peak except the summit. Icebergs float on the water. Fine black grass, rippled like velvet, grows on the bank. At the south end, the concrete too is gone; the water simply seems to stop.\n\nThe arc of Aleheart's ring system crosses the southern sky, much the same pale white as the moon in daytime.\n\nA narrow path climbs west through a low point in the ridge and continues along the face of the glacier towards town.\nI beg your pardon?\n\n> You examine the glacier\nWhere the glacier moves over land, the leading edge crumbles into a slope; but here, where it is moving into water, icebergs are carried away, leaving a sheer cliff face. The ice is pale blue in cross-section, with striations of dirt, and, in a few layers, something blacker that looks like ash.\n\n> Inventory\nYou are carrying:\na comfortable outfit of chronometer, grey undersuit, shoes, and socks\n\nYou have a little time to look around, but you shouldn't drag this out for long: you're supposed to meet your predecessor, Ambassador Valenti, in the center of town, as soon as possible.\n\n> You examine the icebergs\nWeathered into odd shapes, some small enough to pick up, some as large as a yacht. A few are implausibly top-heavy above water, having melted into a barbell shape.\n\n> You take the iceberg\nYou're too far away to do anything but look.\n\nYou've been warned you'll hate the ring come winter, when it forms a dusty shield between you and the sun, when the snow comes in sudden fierce storms and then refuses to melt, when there are no stars to be seen.\n\nNow, in summer, it is a gleaming, moon-colored arc, the skeleton of a rainbow.\n\nYou remind yourself about the waiting Valenti.\n\n> You examine the rings\nYou've been warned you'll hate the ring come winter, when it forms a dusty shield between you and the sun, when the snow comes in sudden fierce storms and then refuses to melt, when there are no stars to be seen.\n\nNow, in summer, it is a gleaming, moon-colored arc, the skeleton of a rainbow.\n\nWith a roar, a big chunk of the glacier calves off and falls into the lake -- it seems in slow motion -- and water sprays up around it, surprisingly high.\n\n> You examine the glacier\nWhere the glacier moves over land, the leading edge crumbles into a slope; but here, where it is moving into water, icebergs are carried away, leaving a sheer cliff face. The ice is pale blue in cross-section, with striations of dirt, and, in a few layers, something blacker that looks like ash.\n\nThe ripples from the far end of the lake reach your shore and die out."
    },
    {
        "text": "[Themes: Science Fiction, male protagonist, moral choice, complicity]\n\n> Look around\nYou climb the gravel pathway. On Earth you would be struggling more with this slope; the lighter gravity and richer air are a great help. Even so, it's a trip of some minutes.\n\nThis is as far north as you can come without ice-climbing. The glacier is chunks and patches of ice at first, but soon solid beyond that. There are rocks on the face of it, and twisted metal, and scraps of buildings, which were formerly the northern part of town.\n\nYou can feel the frigid air coming off of it, and hear the rumble of breaking and shifting ice -- the danger is obvious -- but somehow it gives the impression you could start walking now and in an hour come to the summit; stand at the top of Cordia and turn around, and see the rings filling the sky and the visible curvature of the world, the western ocean green with engineered algae, the patches of land made fertile and those still barren rock.\n\nFrom this direction the rings frame the outline of town, off toward the south.\n\nA narrow path descends east along the side of the glacier towards the lakeshore.\n\nThis is as far north as you can come without ice-climbing. The glacier is chunks and patches of ice at first, but soon solid beyond that. There are rocks on the face of it, and twisted metal, and scraps of buildings, which were formerly the northern part of town.\n\nYou can feel the frigid air coming off of it, and hear the rumble of breaking and shifting ice. The initial inclination to climb the face of Cordia has worn off, but there's still something intriguing about it.\n\nFrom this direction the rings frame the outline of town, off toward the south.\n\nA narrow path descends east along the side of the glacier towards the lakeshore.\n\n> You examine the mountain\nCordia Peak dominates the northern horizon. The perfect symmetry reminds you of Fuji, though this mountain is wider, bulked out by the layers of glacial ice. But it could erupt at any time, turning all that ice into floodwater.\n\nIt was self-indulgence to have the shuttle set you down at the Lakeshore, since you wanted to have a look at the part of the Colony you would recognize from pictures, before going on to the part that would be strange to you. But you shouldn't drag this out.\n\n> You go south\nYou walk about half a mile. There are now some buildings along the east side of the street, though most of them are abandoned.\n\nTo the northwest is a public building with a deep portico; to the east, one with a conical roof. The others are private houses, but, except one or two, they don't look lived in. There is a general atmosphere of neglect.\n\nThe street continues south into the heart of town, or north towards the mountain and the glacier. A track for a floating train cuts southeast between the buildings.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\n> Go south\nAfter a few minutes of walking, you reach an area with Colonists around. You carefully don't stare at them as they carefully do not stare at you. But from the sides of your eyes you watch how they float a few inches off the ground; how they do not touch things.\n\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe ring system is mostly obscured by the grand solarium to the south, accessible through the insulating doors. The solarium is a huge domed structure to keep in as much heat and warmth as possible; the Earth embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth. This is the landmark: Ambassador Valenti is going to meet you here -- in fact, he was supposed to be waiting.\n\nMentally you check off \"go to the Clearing to meet Valenti\" on your list of remaining tasks. You run over the things you still need to get done before you can settle in:\nfind out what Valenti wanted\nshow up at the Embassy\n\n(To stop receiving reminders of your schedule, try REMINDERS OFF. You may still view them manually with THINK.)\n\n> You examine the monument\nIt has look of force-grown bone, monolithic and taller than a man.\n\nThe symbolic lettering of the current language has been painted on the side, but the original carving is in Chinese and English: \"To those who, in the name of the Company and for the advancement of knowledge, were killed, modified incorrectly, or born unfit.\"\n\nA flash of memory: Kruger has turned his chair toward the window and was looking out over the water. \"They want to send some colonists back to Earth,\" he says. \"To repopulate. They're losing climate control, and they're afraid they can't turn it around. And we could use them, to be honest.\"\n\nYou start to comment, but he goes on. \"And your future boss is insane and a genius and needs watching. I know you're too senior to be someone's lackey. But these are not normal circumstances.\"\n\nWhat you heard on the way here was more worrying: anecdotes that Valenti had gone native; that he had stopped answering official mail; that he was in love with a native woman; that a native man was in love with him. That he abused his assistants. That he was concealing a sinister truth he had learned about the Colony. That he was not human. That he was human, but had been talking with a native scientist about a genetic retrofit.\n\nKruger's last message didn't reach you until you were in orbit here: that you were not to be a lackey after all; that you were to take over the job of ambassador yourself. \"Valenti has been notified,\" he said.\n\nSo this is the man you're waiting to meet, and all you know of his character is that he is not punctual.\n\n> You look at the solarium\nIt's a huge dome and encloses not only gardens but also a good number of buildings. The Embassy is inside, you gather, but not visible from here.\n\nOut of the doors to the south comes a short, balding man, walking briskly for someone so late. So this will be Valenti, then.\n\n\"Ambassador Moskin. Welcome to Aleheart,\" he says, shoving both hands deep in his pockets. Perhaps it would be uncouth to shake hands in public. \"I read your file.\"\n\n> You greet Valenti\n\"Pleasure to meet you,\" you begin, but you get no further than that before he interrupts.\n\n\"You're out of your depth.\" He kicks a spray of gravel into the bushes. A young female coming along the path lifts her head in surprise and floats to the side before passing him. (A heressa: the female colonists are called heressa when they have reached the age of maturity.)\n\n\"Your previous assignment was New Zealand?\" He bounces on the balls of his feet, getting in your face. \"New Zealand has humans. Who speak English.\"\n\n> You look at Valenti\nHis eyes are black. His hair, if he had much, would be black. He reminds you of nothing so much as a plutonium ball: small, dense, packed with malignant energy.\n\n\"There's only one reason High Command would replace me with you,\" he says. \"You'll do what they say.\" He takes something out of his pocket and tosses it to you. It is, you see, the size and shape of a skipping stone, a widget that can be turned on. \"You'll need this.\"\n\n\"What is it?\"\n\nHe laughs, waves, and begins walking swiftly down the gravel path. \"Don't lose it!\" he calls back. \"You'd better hurry. My feckless assistant Liam is waiting for you. Your feckless assistant now, I suppose.\"\n\nYou consider chasing him, but it's obvious that he's in such a mood that he will be no help to you anyway. Instead you weigh the stone in your hand, frowning.\n\n> You look at the stone\nA plain grey device, fitted to the shape of the hand, and turned off at the moment. There is an inscription on the back, and it is in English: To LV from A3205.\n\nMentally you check off \"find out what Valenti wanted\" on your list of remaining tasks. You run over the things you still need to get done before you can settle in:\nshow up at the Embassy\n\n> You turn the stone on\nYou tap the widget and it warms in your hand -- more waking up than being switched on, somehow. After a moment, three numbers appear on its... skin? The later digits flicker: SOC 15.7759, POW 20.00197, INT 11.2261. Below this, in smaller letters: SQUEEZE TO SUMMON AIDES.\n\n> You squeeze the stone\nThe surface has a give to it, and it squeaks once. Small regretful letters read: AIDE CURRENTLY OUT OF RANGE. Maybe in the embassy proper, then.\n\nThe chronometer chirps, indicating that you have a new message waiting to be read in the Embassy communications room. You should get inside and check your mail. This will be important.\n\n> You think\nYou run over the things you still need to get done before you can settle in:\ncheck your messages\nshow up at the Embassy\n\n> You go to the south\nThe air inside is thicker, denser, more humid: more like Earth. The paths are crowded with people coming and going, brightly-clothed. As they glide around, their feet move, just a little, as though they were slowly treading water: not striding, not skating, not quite hovering either.\n\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> You examine the garden\nShrubs with fur. Shrubs with ears. Best not to think too hard about that.\n\n> You examine the flowers\nFlowers with all the color bred out, translucent buds clustered on grey vines. They separate you from the southern part of the dome.\n\nA heressa approaches the curtain. The air shimmers around her and her green gardening robe, and then the vines draw aside to let her through.\n\n> You go to the west\nYou wander between plots: what catches your eye this time is a grass that grows silver and then dies off, leaving an intricate metal fence.\n\nYou stand at the eastern end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The Embassy is just west of here, at the far end of the pool.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> You examine fish\nThey have red-gold scales and fat round bodies, and are about two inches long. The formations are symbols from the syllabary, but you can't read them.\n\n> You go to the west\nThe Embassy proper is directly west. The entrance is flanked by orange trees, familiar and earthly.\n\nFrom the top of the Front Stairs you have an excellent view of the whole interior of the Solarium, the sunlight catching in the curved triangular panes of glass.\n\nEast, at the bottom of the stairs, is the mirror-glass of the pool. Beyond it the botanical garden has a structure invisible from the inside.\n\n> You examine garden\nThe paths are a knot-work, the plots arranged to diversify shape and unify color. If you stare long enough, you even start to get the impression that the movement of the colonists through the garden is itself choreographed so that groups meet and pass each other at the nodes -- but it's impossible to be sure.\n\n> You go to the west\nYour first impression is of a large space, luxuriously built; of many textures of wood and metal and colored enamel; of four corner pillars with the shape and height of oak trunks. There is a staircase up, and some other exits north and west, which look more like things to investigate later.\n\nAt the south end is a door to what looks like a private room.\n\nA young ayamet is waiting at the center of the room -- studiedly looking at something in his hand, trying to wait without seeming to do so. This will be Liam the assistant, then.\n\nHe turns: his face is elfin and slightly furred. \"Greetings, ambassador. Welcome to Aleheart.\" His English is oddly accentuated, almost sung. He does not extend a hand, but you would not have expected him to touch you: some things are too much a taboo to overcome, even in deference to Earth manners.\n\n\"You've just been meeting Ambassador Valenti, I think?\" he adds. \"I hope it was a productive encounter. You must have had questions for him.\"\n\nThe smile is so bland. This might be a dart at your inexperience, or at Valenti for being naturally unhelpful. Or it might be nothing at all. But the grey widget trembles eagerly in your hand. It catches Liam's eye, and his expression grows, if anything, blander still.\n\nMentally you check off \"show up at the Embassy\" on your list of remaining tasks. You run over the things you still need to get done before you can settle in:\ncheck your messages\n\n> You ask Liam about the widget\nThis is awkward.\n\nYour assignment was sudden, and you have only the phrases you learned on the voyage by skulking outside the engine room. You are therefore restricted to a) insulting your listener's parentage, diet, and sexual practices, or b) suggesting that he is damaged in the antigravitic propulsion unit.\n\nIt would be dangerous to let on that Earth sent a diplomat who doesn't even know the language, so it is best to rely on gestures and silence until you can (quickly!) finish a linguistic hypnosis program.\n\n> Point at widget\nLiam looks at it and then at you. He says something, which naturally is meaningless. Then he makes a gesture of hiding something in his sleeve. So maybe you're not supposed to be showing it off...?\n\nIt would be nice if you'd been properly trained for this assignment, instead of half-trained for the position of your own assistant. It would be nice if Valenti weren't using you in some power play. And it would be nice if you could work, privately, in your office for a while until you'd had a chance to figure out the situation here. But that's looking less and less likely.\n\n> You look at the widget\nA plain grey device, fitted to the shape of the hand,  on whose surface are three constantly flickering numbers: SOC 15.26018, POW 20.26726, INT 11.14011. SQUEEZE TO SUMMON AIDES. There is an inscription on the back, and it is in English: To LV from A3205.\n\n> You check what you're carrying\nYou are carrying:\na grey widget saying SOC 15.99781, POW 20.45966, INT 11.3811\na comfortable outfit of chronometer, grey undersuit, shoes, and socks\n\n> You insult yourself\nWith concentration, you manage a tolerably accurate rendition of the chief engineer's favorite insult, complete with pitch and accent. A strange look crosses yourself's face; then open laughter.\n\nEvidently you got it wrong.\n\n> You squeeze the stone\nThe surface has a give to it, and it squeaks once. Liam winces and puts a finger to his temple. Summoning him at short range is possibly a little unfair.\n\n> You go south\nYou approach the door; Liam watches you uncomfortably and speaks a few hesitant words of his own language. The phrase is unclear but the meaning is not: he is embarrassed to stop you, but he very much does not want you to go in there; it would be inappropriate. Probably this is his own private room, in fact.\n\n> Go upwards\nAt the top of the shallow stairs there is a spacious landing, with windows giving a view east across the Grand Solarium garden. Apparently past ambassadors have found this a pleasant place in which to read, because there is a small library of Earth books, otherwise impossible to get here.\n\nThe entry to your bedroom is to the north, and an office area to the south.\n\nLiam follows you upstairs, floating without any apparent motion of the legs even on the incline. \"This floor is the Earth Ambassador's,\" he says, as you reach the top. \"The office--\" and he points to the south door. \"And the personal quarters.\" He indicates the north. \"I believe Valenti left some clothing behind.\" He looks you up and down as though trying to guess whether it would fit you. \"I do not know whether you will have a use for it, but I am sure that no one else will, so please...\"\n\nThis speech is halting enough to suggest that he memorized all these remarks.\n\n> You go south\nYou take in perfunctorily the Earthish surroundings: two paintings, a plain floor, a shipment crate that probably arrived on the same vessel as your own.\n\nValenti has of course left you his handheld computer -- useful, though not able to send and receive messages. The secure mail line must be in the next room, off to the west.\n\nLiam is out of sight, though you can presumably summon him back at need, or find him again.\n\n> You get the computer\nTaken.\n\n> You examine it\nThe computer is portable, and is able to scan and interpret the meaning of the colonists' symbolic writing. It has also been programmed to respond to search terms, to sift through data files and the personal logs of the ambassadors before you, assuming all the relevant disks are loaded. At the moment the slot for adding an extra data disk is empty, which looks ominous.\n\n> You go to the west\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\n> You check the messages\nYou key in your pass-code to activate the terminal.\n\nThe following messages are available for you to read or reply to:\n\n11:21 am: Instructions\n10:02 am: Hello From Ivory Coast\n9:34 am: Shuttle Departure Plans\n\n> You read the instructions\nYou select the message and read:\n\nGreetings, ambassador. Sorry for the sudden change of plan. One day I'll tell you the whole story with Valenti, it'd be a good read. For now, you've got to do the Gift Day ritual, which means receiving their ambassador and handing over a present. There are two main points here -- what you give her and what you wear. Get the gift box that we shipped. It should have come in a crate, on the same ship as you. You're going to want to give them a vaccine sample; there should be one among Earth artifacts in our Museum in the Embassy.\n\nWear something red and keep the rest of your clothes (if any) neutral. Black and white are also meaningful to them, so avoid those. Grey is fine.\n\nIf you can get a float unit, get one: you'll want it for the meeting, so you can be as tall as the others.\n\nThat's it. Don't give offense, don't look weak, and remember that they need us. -- Kruger.\n\nMentally you check off \"check your messages\" on your list of remaining tasks. You run over the things you still need to get done:\nacquire a gift box from the goods shipped\nacquire vaccine from the Museum (HC's orders)\nprepare gift for Ambassador Aylene\nwear something red(dish) (High Command's instruction)\nfind a working float unit\n\n> You read hello\nSeeing this message makes you almost too impatient to read it.\n\nYour situation with Jane is odd. She is not much older than yourself, but prematurely grey, with mannish features. Her braying laugh is a liability in quiet restaurants. But she is smart and dependable, and sensitive to the times when you're best left alone. In the past year you've rarely been out of message contact for more than a week, and during the voyage over you missed her correspondence intensely.\n\nYou were beginning to wonder about your feelings toward her -- a worrying idea that can be put aside now. She would probably be as appalled by the thought as you are.\n\n> You read hello\nYou select the message and read:\n\nTrust you're settled into UNDESERVED post with minimum fuss/maximum floating handmaidens. Wish I were there. Ivory Coast still rustic. Marsh risen two feet in floods. Cannot leave research post. Cannot buy liquor. Cannot reach you on transport ship. About to kill self from tedium and bug bites. Write at once. Jane.\n\n> You read the shuttle plans\nYou select the message and read:\n\nShip scheduled for departure 9:30 PM -- pls advise if any further shuttle contact is needed before that time.\n\n> Reply to Jane\nYou try to rest your hands on the odd keypad and type normally, but the keys are too small for that to feel right, and the keypad bounces on its stupid metal stalk with every stroke. Eventually you settle on a vicious two-fingered approach.\n\nDear Jane,\n\nArrived to news Kruger assigning me as Valenti's replacement rather than assistant. Understood mystery when I met Valenti, who has less diplomatic skill than bowl of chopped liver.\n\nAm thus ambassador without language training. Would be content to switch places, if you wish. No liquor here, nor any floating handmaidens either. Understand through channels that I will be living on diet of tan ration bars fabricated in vat. Disgusting.\n\n> Y.\nYou fire it off. Soon she will write back, and be sane and not related to all of this mess."
    },
    {
        "text": "[Themes: Science Fiction, research, moral choice, clothing, genetics]\n\n> Look around\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\n> You leave\nAdjusted by your predecessors, and more like an Earth room than any other you've seen here. There are two paintings, a serious tax on someone's luggage limit. There is a plain floor that doesn't assume you can hover in midair. The foyer is back out to the north, and there's a child-sized Communications Room west of here.\n\nA crate, marked with shipping and import seals from Earth, sits in the middle of the room. It is still sealed.\n\n> Examine crate\nIt is scuffed from its time in the cargo bay, but otherwise uncompromised.\n\n> Open crate\nYou open the shipment crate, revealing a quantity of packing material, a mail packet, and a gift box.\n\n> Packet\ngift box: Taken.\nmail packet: Taken.\n\nMentally you check off \"acquire a gift box from the goods shipped\" on your list of remaining tasks. You run over the things you still need to get done:\nacquire vaccine from the Museum (HC's orders)\nprepare gift for Ambassador Aylene\nwear something red(dish) (High Command's instruction)\nfind a working float unit\n\n> You look at the mail\n(first heading for the communications room)\n\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\nThe following messages are available for you to read or reply to:\n\n11:21 am: Instructions\n10:02 am: Hello From Ivory Coast (R)\n9:34 am: Shuttle Departure Plans\n\n> You look at the packet\nIt's mail meant for Valenti.\n\nYou read it anyway.\n\nUnsurprisingly, there's nothing to hint at close ties back on Earth. But there are a number of demands from people who wanted Valenti to research what happened to some family member who came over in the colony ships. Apparently these people don't understand how much time has passed in Aleheart terms. One or two even threaten to sue the Aleheart Colony at large for damages for \"illegal exploitation of genetic material\" from their relatives -- a claim viable only on Earth, and only where High Command has something to say about it.\n\n> You examine the gift box\nA decorative box, obviously made on Earth, enameled like a Faberge piece. The exterior is covered in a design of leaves and morning glories.\n\n> You open it\nYou tilt open the lid of the gift box, but it's tantalizingly empty.\n\n> You look at the packing material\nSoft and tightly-wadded.\n\n> You eat it\n(first taking the quantity of packing material)\nIt would leave little fuzzy bits everywhere. You've done enough.\n\n> You examine the paintings\nThey are not restful paintings, and look as though they were created by Van Gogh's angrier, more demented relation. As near as you can tell, one is of a circus performer about to fall off his unicycle, and the other is an extremely severe rainstorm. But still.\n\n> Go north\nAt the top of the shallow stairs there is a spacious landing, with windows giving a view east across the Grand Solarium garden. Apparently past ambassadors have found this a pleasant place in which to read, because there is a small library of Earth books, otherwise impossible to get here.\n\nThe entry to your bedroom is to the north, and an office area to the south.\n\n> You go to the north\nEverything is on a smaller scale in the private quarters. There's no real bed, only a stone platform, too short to accommodate your full height, in the center of the room. The sole gesture towards comfort is a pillow of Earth style, perhaps left here by Valenti. A rich person's bedroom. People who paid for space would tuck the bed against the wall, and not let it waste the whole room.\n\nA refreshment room is visible to the west, and the hallway is back to the south.\n\nYour suitcase sits on the floor.\n\n> You open suitcase\nYou open the suitcase and experience a sudden deflation. There used to be a dozen new undersuits in different colors (or shades of grey, anyway); two carefully pressed jackets; hats and gloves for the cold climate; a parka; another pair of shoes.\n\nNow there're only few things, and one of them is a yellow paper, the kind you get when it's made of multiply-recycled fibers. Someone has written on it by hand. The letters have sunk in and blurred, but they're still legible.\n\n> You read the yellow paper\nDUE TO MASS LIMITATIONS ON THIS TRIP ITEMS DEEMED TO BE OF LESSER VALUE OR PERSONAL SIGNIFICANCE WERE RECYCLED TO EARTHBOUND CHARITY. HAVE A NICE TRIP! DOCKWORKER 175.\n\nWhich is funny, because with labor shortages you wouldn't have guessed there were a whole 175 people working at the space dock.\n\n> You look in suitcase\nOut of all you couldn't bear to give away when you left Earth -- the Bach cello suites recorded by your great-grandfather, seven years of your parents' love letters while your father died in quarantine, your school medal for life-saving action -- here's what they deemed to be of personal significance: a yellow paper note, some fuzzy bunny slippers, and a silver kiddush cup.\n\n> You look at the slippers\nThey have rabbit ears and are a collector's item from before the plague years. They are also pink. Your friend Jane gave them to you, motivated by inscrutable Jane-like humor; they still bear the stamp of Salvage and Reclamation on the soles. Presumably your felonious dockworker recognized their worth and decided it was better not to steal them, but under the circumstances you'd rather have some of the clothing you actually intended to wear.\n\nIt occurs to you that you left your old black sweater aboard the shuttle. Irritating.\n\n> You examine the cup\nYour mother's silver kiddush cup. Most likely the only reason you got to keep it is the Star of David on the base, alerting the dockworker to its significance.\n\nMuch of your time, the last days before departure, was spent getting rid of things. Jane helped, though no longer officially employed by Salvage and Reclamation. (\"If you don't want to take the slippers with you, I won't be offended,\" she said, standing over a cardboard box, hands on hips. \"It was just a present for fun.\" But you insisted on keeping them.)\n\nGetting rid of Katie: you hadn't been dating long, and neither of you pretended to consider maintaining a relationship at long distance. \"It's been nice getting to know you, David,\" she said, before she hung up.\n\nGetting rid of obligations: you will not be home when your mother's yahrzeit comes around, and there is no one else. You have no brothers and no sisters. You had to look up the right words online; went to her grave with a flimsy print-off, and sang the Kaddish in a thin rain, though no one was listening to your prayers but a groundskeeper in a flap-eared hat. He watched with his arms folded from the next plot. When you were two-thirds through, he snorted and went away.\n\nSo you still have the cup, at least. But you rarely use it, and what would it mean to do so here? Your music would have been more use."
    },
    {
        "text": "[Themes: Science Fiction, research, science fiction, complicity, clothing, aliens, diplomacy, genetics, moral choice]\n\n> Look around\nThere's no real bed, only a stone platform, too short to accommodate your full height, in the center of the room. The sole gesture towards comfort is a pillow of Earth style, perhaps left here by Valenti. Aside from this, the place is unfurnished.\n\nA refreshment room is visible to the west, and the hallway is back to the south.\n\nYour suitcase lies open on the floor, displaying a yellow paper note, some fuzzy bunny slippers, and a silver kiddush cup.\n\n> You examine the bed\nIt is deep red stone, decorated with bands of small colorful tiles. There's no attempt to accommodate a body either human or otherwise. And no sheets or blankets, which is discouraging.\n\n> You go to the west\nDivided into several sections for hygienic purposes. To one side are the toilet facilities; on the other side, the food cabinet. Eating is considered a disgusting bodily function, here: something to be done out of sight and only when necessary.\n\nA long scarlet robe in the native style hangs from a clothing stand.\n\nSlightly raised from the floor by the door is a round grate, evidently the output vent for something-or-other.\n\n> You look at the robe\nThe purpose of clothes here is to keep a person warm while disguising as much as possible the presence of a solid body. They're made of light but tightly-woven material, generously cut, and studded with floatpins, allowing the cloth to hover, drift, and swirl perpetually without coming into indecent contact with the flesh.\n\nThe robe is designed to drape from the shoulders, with several shorter layers of floatpinned cape at the back. It must billow magnificently when a person walks, and double as a sail in a strong wind.\n\n> You look at the grate\nA pipe comes up an inch or two from the floor and, like a trunk sawn off near the ground, ends in a round brass-colored grating about nine inches in diameter. The only reasonable thing for it to be in this climate is a heating outlet. It is ideally placed for stubbing the toes of sensitive, non-floating Earth feet, so you'll have to keep an eye out when you go by.\n\n> You open it\nThe grate is secured in place.\n\n> You open the food\nYou open the food cabinet, revealing a squashed unripe seed and some ration bars.\n\n> You look at the seed\nOnce upon a time, this appears to have been a partially ripe seed or fruit. The skin is streaked in orange and green, like an unready tomato. Then someone squashed it, and now it's gooey and possibly fermenting.\n\n> Examine bar\nHigh Command provided example ration bars to show the locals what nutrition was required. Apparently they took these instructions literally, and now all Embassy food comes in tasteless tan squares.\n\n> You take the seed\nYou pick up the seed by the least drippy part.\n\n> You take the robe\nIt is disorienting to pick up something you can't touch: you pull on the air around the long scarlet robe, but never come in contact with the surface because of the floatpoints.\n\nTaken.\n\nThe chronometer chirps, indicating that you have a new message waiting to be read.\n\n> Go east\nThere's no real bed, only a stone platform, too short to accommodate your full height, in the center of the room. The sole gesture towards comfort is a pillow of Earth style, perhaps left here by Valenti. Aside from this, the place is unfurnished.\n\nA refreshment room is visible to the west, and the hallway is back to the south.\n\nYour suitcase lies open on the floor, displaying a yellow paper note, some fuzzy bunny slippers, and a silver kiddush cup.\n\n> Close suitcase\nYou close the suitcase.\n\n> You take it\nIt's too large and unwieldy to carry around casually -- as a matter of fact, you probably spent a considerable amount of your mass allowance on the suitcase itself.\n\n> You take all from the suitcase\nyellow paper note: Taken.\nfuzzy bunny slippers: Taken.\nsilver kiddush cup: Taken.\n\n> You go south\nAt the top of the shallow stairs there is a spacious landing, with windows giving a view east across the Grand Solarium garden. Apparently past ambassadors have found this a pleasant place in which to read, because there is a small library of Earth books, otherwise impossible to get here.\n\nThe other interesting item is a chute in the wall, looking (like everything else here) as though it had grown as metal or bone into the wall.\n\nThe entry to your bedroom is to the north, and an office area to the south.\n\n> You examine the chute\nIt leads down into darkness, possibly meant for laundry or garbage, possibly for something else.\n\n> You go to the south\nAdjusted by your predecessors, and more like an Earth room than any other you've seen here. There are two paintings, a serious tax on someone's luggage limit. There is a plain floor that doesn't assume you can hover in midair. The foyer is back out to the north, and there's a child-sized Communications Room west of here.\n\nA crate, marked with shipping and import seals from Earth, sits in the middle of the room. It has been broken open.\n\n> You read the mail\nThe following messages are available for you to read or reply to:\n\n12:19 pm: RE Hello\n11:21 am: Instructions\n10:02 am: Hello From Ivory Coast (R)\n9:34 am: Shuttle Departure Plans\n\n> You read re\nYou select the message and read:\n\nSorry to hear about Valenti. Sounds bad. Congrats on the promotion, though.\n\nTo point: rumors say High Command has issued orders for you to negotiate, colonists are returning, will be given Africa under terms. You MUST NOT DO THAT. Human population gone, rain forest beginning to recover. Better than expected. Gene-splicers would ruin it. If they want a laboratory, let them stay there, fix existing planet. Was a reason they went away in the first place. Survived plague without them (sort of), don't need them now. Unless they can RESURRECT dead, it won't do any good.\n\nDidn't think so.\n\nThat is all. Return to delicious ration bar, ruminate. Jane.\n\n> Taste bar\nYou chew and chew and with difficulty swallow a small corner thereof, which will now probably keep you nourished until next month.\n\nSomewhere on this planet there is probably something worth eating, but you could no more ask for details than you could inquire into favorite forms of contraception.\n\n> You think\nYou run over the things you still need to get done:\nacquire vaccine from the Museum (HC's orders)\nprepare gift for Ambassador Aylene\nwear something red(dish) (High Command's instruction)\nfind a working float unit\n\n> You wear the robe\nYou settle the robe around your shoulders, where it is much lighter than it has any right to be considering the amount of material. Still, it lends you a sense of authority, of moral weight.\n\nOr possibly makes you look like Little Red Riding Hood.\n\nMentally you check off \"wear something red(dish) (High Command's instruction)\" on your list of remaining tasks. You run over the things you still need to get done:\nacquire vaccine from the Museum (HC's orders)\nprepare gift for Ambassador Aylene\nfind a working float unit\n\n> You put the cup in the box\nYou put the cup into the box -- luckily it is just short enough to fit, though it rolls back and forth slightly inside.\n\nA flash of memory: Your mother is sitting up in bed. \"Your father wanted another child,\" she says to you abruptly. \"But I told him, no. If we had another, we couldn't afford to send both to a quarantined school. One, we could afford to keep safe. Two would both be in danger and might both die.\"\n\n\"Mother, you shouldn't have--\"\n\n\"Of course,\" she says, with the dry little chuckle of her last days. \"I thought you would grow up to have Jewish sons and daughters, later, when it was safe. I thought the number of my grandchildren would make up for the number of my children.\"\n\nThere is nothing to say. Coming out of the room, you run smack into Jane. \"That was completely unfair,\" she whispers to you. \"You shouldn't let her make you feel--\"\n\n\"You were listening?\" you say.\n\n\"I was in the hall and overheard part and it didn't seem like the right time to walk in,\" Jane answers, putting something cold into your hand. \"I brought you more pain meds.\"\n\n\"I know you get curious, but don't ever listen at the door again,\" you say.\n\nThe blood creeps up her cheek. \"It was hard to avoid hearing,\" she says, which is probably a legitimate point. You look down at the bottles and say nothing.\n\nMentally you check off \"prepare gift for Ambassador Aylene\" on your list of remaining tasks. You run over the things you still need to get done:\nacquire vaccine from the Museum (HC's orders)\nfind a working float unit"
    },
    {
        "text": "[Themes: Science Fiction, research, moral choice, clothing, genetics]\n\n> Look around\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\n> You put the packing material in the gift box\nThe quantity of packing material will not fit in the gift box.\n\nThe chronometer chirps, indicating that you have a new message waiting to be read.\n\n> You read the mail\n(first heading for the communications room)\n\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\nThe following messages are available for you to read or reply to:\n\n12:37 pm: Apology\n12:19 pm: RE Hello\n11:21 am: Instructions\n10:02 am: Hello From Ivory Coast (R)\n9:34 am: Shuttle Departure Plans\n\n> You read the apology\nYou select the message and read:\n\nMy dear unfortunate successor:\n\nPossibly Kruger didn't tell you the importance of Gift Day. What you offer shows our intentions towards the colony. To date, Earth has made inappropriate or deceptive gestures thirteen times. They do employment here by running vote, and Ambassador Aylene is about to be removed because she hasn't gotten a good result out of us. You guess whose fault that is.\n\nFate of negotiations is now in your hands. Ultimate responsibility: yours. Kruger can't control what you do from Earth.\n\nHe's probably told you to wear red. This is a mistake: it would allow the colonists to come to Earth as our adoptees and put us in a position of power over them. This is neither morally nor pragmatically defensible.\n\nRecommend that you wear white -- it is a color associated with equality. I have a white jacket; it's possible Liam has taken it away, in which case you should get it back from him. I threw out the receipt, but it may still be in the recycling chute, if that helps communicate your needs.\n\nDo not know what Kruger will have told you to give in the gift box, but if you haven't already done so, recommend you look up \"gifts\" in the computer. It has an etiquette guide. This should give some idea what he's getting you into.\n\nWhen you are ready to present your gift, summon Liam and show him the gift box. He will arrange the meeting for you.\n\nYours in haste, Valenti\n\nMentally you check off \"check your messages again\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nfind jacket receipt in the recycling chute (Valenti's suggestion) acquire vaccine from the Museum (HC's orders)\nwear white jacket (Valenti's idea)\nlook up gifts in the computer (Valenti's suggestion)\nfind a working float unit\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You reply to apology\nDear Honored Former Ambassador Valenti,\n\nThank you very much for your valuable advice. It is, of course, somewhat unlikely that I will disobey orders merely on the basis of your uncertain instructions. If you had tried more persuasion and less condescension, I might be more inclined to listen.\nYours, etc...\n\n> Yes\nSend message? Y/N>\nYou press the send button sharply.\n\n> Search chute\nThe chute descends into darkness.\n\n> You look at the books\nAn illustrated cookbook, useless here except as an object of fantasy. A few volumes in Japanese: you can't read them, but at least they're a familiar kind of foreign. A custom-printed poetry anthology.\n\n> You examine the poetry\nYou expect possibly a collection of lyrics from popular hits, but the names come up Donne, Hopkins, Christopher Smart. It is all religious, imagery of divinity and the soul's subordination, and very alien. The plague years brought in plenty of reactionary movements, plenty of scourging and prayer, but they didn't look like this.\n\n> You consult computer about the gifts\nYou turn on the computer. It starts up a screen inviting you to look up some search term of your choosing.\n\nYou key in your request and wait hopefully...\n\nYour search turns up the following articles:\n\nGift day: Three times per local year you are expected to exchange gifts with a representative of the Aleheart government. These days are keyed to the anniversary of first Earth contact and are not celebrated by the rest of the population in general.\n\ngift symbolism: draft proposal: According to the etiquette files, those proposing marriage or cooperative scientific ventures may do so by creating a sample of the kind of project they hope to undertake. In the case of marriage, these are usually representations of the offspring that might be engineered from the two parents; for purely business relationships, other kinds of model, sample, or technical proposal are appropriate. A superior looking to employ or adopt an inferior may give a sample of the kind of work the inferior will be expected to produce as a condition of the employment.\n\ngift symbolism: personal token: Etiquette files reveal that an object personally significant to the giver is an appropriate gift when establishing a relationship of friendship in which no joint work or project is intended. Also sometimes used for marriages not intended to produce offspring.\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nThere isn't any personal data available from logs or annotations.\n\nMentally you check off \"look up gifts in the computer (Valenti's suggestion)\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nfind jacket receipt in the recycling chute (Valenti's suggestion) acquire vaccine from the Museum (HC's orders)\nwear white jacket (Valenti's idea)\nfind a working float unit\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You take the cup\nTaken.\n\n> You consult the computer about the float\nThe computer beeps irritably: NO RESULTS FOUND. PLEASE REPHRASE AND TRY AGAIN.\n\n> You consult the computer about the floatpoint\nYour search turns up the following articles:\n\nFloat technology: After extended scrutiny, you decide the complicated jargon means Earth scientists don't understand floatpoints at all. There is some handwaving about a force that weakly attracts things at a distance and strongly repels those close up.\n\nThere isn't any personal data available from logs or annotations.\n\n> You consult computer about the food\nYour search turns up the following articles:\n\nAleheart eating habits: Little or no information is available about Aleheart eating habits, since this eating apparently takes place entirely in private.\n\nThere isn't any personal data available from logs or annotations.\n\nThe chronometer chirps, indicating that you have a new message waiting to be read.\n\n> You examine computer\nThe computer is portable, and is able to scan and interpret the meaning of the colonists' symbolic writing. It has also been programmed to respond to search terms, to sift through data files and the personal logs of the ambassadors before you, assuming all the relevant disks are loaded. At the moment the slot for adding an extra data disk is empty, which looks ominous.\n\n> You read the mail\n(first heading for the communications room)\nYou hurry toward the office, and then the communications room.\n\nWith all the machinery in here, the space remaining for you is little larger than a closet, except that the room extends upward a good fifteen or so feet, widening at the top into a bell of tinted glass.\n\nThe comm terminal itself could be an invention out of Jules Verne. The keypad is arranged in the standard way, except that all the keys are slightly too small for the fingers of a normal human, and the pad itself stands up from the floor on a metal stalk.\n\nThe comm screen, meanwhile, is round and surrounded by a copper ring, porthole-like. The whole arrangement is aesthetically pleasing and completely inconvenient.\n\nThe following messages are available for you to read or reply to:\n\n12:50 pm: Undeliverable Mail\n12:37 pm: Apology (R)\n12:19 pm: RE Hello\n11:21 am: Instructions\n10:02 am: Hello From Ivory Coast (R)\n9:34 am: Shuttle Departure Plans\n\n> You read undeliverable\nYou select the message and read:\n\nThe message you sent to EARTH AMBASSADOR L VALENTI is currently undeliverable because service does not reach ships in transit. Your message will be held and delivered when HE arrives at HIS destination EARTH in approximately TWENTY-SIX days.\n\nThis is an automated response program. Do not reply.\n\n> Time\nIt is 12:54 pm -- here, anyhow."
    },
    {
        "text": "[Themes: Science Fiction, diplomacy, genetics, aliens]\n\n> Go downwards\nLike most buildings here, the Embassy is built with an eye for organic color and form: windows and doorways framed with curved ironwork, accents of bright enamel, wooden floors grown in place. All conspicuously wasteful of both materials and labor. It might be intended to make Earth representatives uncomfortable, or it might be meant as an honor, or it might be an advertisement for a standard of living that Earth lost some time ago. Too hard to tell.\n\nThere's a large Receiving Room to the west. Less prominent rooms lie north and south -- the south with a locked private door, the north an archway. Shallow stairs, almost a ramp, rise to a second story.\n\n> You go to the north\nThe Museum is a presentation on Earth -- geography, culture, and everything else. The selection is idiosyncratic, but apparently compelling, to judge by the healthy crowd currently looking it over.\n\nTo one side there is a ramp leading down. The studious way the crowd ignores this ramp suggests that they consider it private space.\n\nA map of Earth covers the east wall, so large that you can barely reach across South America with both arms outstretched. It has attracted several groups of interested visitors, who are pointing out to each other details of the topography of Mongolia and making excited gestures at the Sahara.\n\nThere is a display case in the middle of the room.\n\nThere's a most peculiar noise, like TOK TOK TOK TOK TOK, coming from all around. You eventually work out that it's a clicking or clucking they're making with their mouths because, what, you have food in public? A few of these fine folks should ride a subway one day. Ideally the Manhattan/Brooklyn train nicknamed Charnel Line.\n\nThe widget readout changes to SOC 13.02265, POW 20.7061, INT 11.8837.\n\n> Go south\nLike most buildings here, the Embassy is built with an eye for organic color and form: windows and doorways framed with curved ironwork, accents of bright enamel, wooden floors grown in place. All conspicuously wasteful of both materials and labor. It might be intended to make Earth representatives uncomfortable, or it might be meant as an honor, or it might be an advertisement for a standard of living that Earth lost some time ago. Too hard to tell.\n\nThere's a large Receiving Room to the west. Less prominent rooms lie north and south -- the south with a locked private door, the north an archway offering a mercifully limited view of the \"Museum\". Shallow stairs, almost a ramp, rise to a second story.\n\n> You drop the seed\nDropped.\n\n> Inventory\nYou are carrying:\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\nsome ration bars\na mail packet\nan empty gift box\na handheld computer (data slot currently empty)\na grey widget saying SOC 13.6234, POW 20.52288, INT 11.92473\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You go north\nThe Museum is a presentation on Earth -- geography, culture, and everything else. The selection is idiosyncratic, but apparently compelling, to judge by the healthy crowd currently looking it over.\n\nTo one side there is a ramp leading down. The studious way the crowd ignores this ramp suggests that they consider it private space.\n\nA map of Earth covers the east wall, so large that you can barely reach across South America with both arms outstretched. It has attracted several groups of interested visitors, who are pointing out to each other details of the topography of Mongolia and making excited gestures at the Sahara.\n\nThere is a display case in the middle of the room.\n\n> You examine the map\nA detailed geographical map which omits political boundaries of any kind. While High Command doesn't lie about the political situation, it tends towards discretion -- as Kruger puts it, \"You don't talk about ex-girlfriends on the first date.\"\n\n> You look at the case\nDesigned for a viewer with an Earth-average eye level, which is to say, several inches lower than is ideal. It contains only a pink card.\n\n> You examine the pink card\nThe pink card appears to say cure/serum fatal-sickness primitive borrowed -- research center room 58 -- card-that-grants-access.\n\nWith a great deal of luck, that will mean that you can go to this research facility and collect the vaccine without too much hassle. That is, assuming Colonist scientists are less fussy about interrupting their experiments than the Earth scientists you've met."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go downward\nUnlike the upper levels of the Embassy, the basement is built for practical purposes, and resembles the inside of a concrete cigar box. It continues to the south, dimly lit and cold.\n\nAlong the west wall, a chute from above empties into a large metal container.\n\n> Search container\nYou push up the lid to reveal a receipt and a data disk. Well, well, well. Valenti may have been a criminal and an ass, but at least he was incompetent.\n\nVery interesting.\n\n> Disk\nreceipt: Taken.\ndata disk: Taken.\n\n> You look at the receipt\nThe receipt appears to say disguise/costume/funny clothing for proposal-of-marriage white large.\n\nMentally you check off \"find jacket receipt in the recycling chute (Valenti's suggestion)\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\ngive the jacket receipt to Liam\nacquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nfind a working float unit\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You examine disk\nAn Earth-style computer disk an inch and a half on a side, and labeled \"JOURNAL, TRANSLATIONS\" in spiky unfriendly handwriting.\n\n> You put the disk in the computer\nYou put the data disk into the spare data slot.\n\n> You consult computer about the journal\nYour search turns up the following entries from Valenti's personal log:\n\n--: Valenti's data disk contains a variety of data entries, article annotations, translations of this and that, etc., and is more easily approached by trying to extract a single topic of information than by straight reading. Hence the need to look things up.\n\n> You consult the computer about the gifts\nYour search turns up the following articles:\n\nGift day: Three times per local year you are expected to exchange gifts with a representative of the Aleheart government. These days are keyed to the anniversary of first Earth contact and are not celebrated by the rest of the population in general.\n\ngift symbolism: draft proposal: According to the etiquette files, those proposing marriage or cooperative scientific ventures may do so by creating a sample of the kind of project they hope to undertake. In the case of marriage, these are usually representations of the offspring that might be engineered from the two parents; for purely business relationships, other kinds of model, sample, or technical proposal are appropriate. A superior looking to employ or adopt an inferior may give a sample of the kind of work the inferior will be expected to produce as a condition of the employment.\n\ngift symbolism: personal token: Etiquette files reveal that an object personally significant to the giver is an appropriate gift when establishing a relationship of friendship in which no joint work or project is intended. Also sometimes used for marriages not intended to produce offspring.\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: ...Mealy-mouthed third-rate translation of a traditional courtship greeting. Not sure whether High Command is so dumb that they don't know this, or so dumb that they don't tell their emissaries. Not sure which would be dumber. What do they think Gift Day is about? Hostess presents?\n\n> You consult the computer about the red\nYour search turns up the following articles:\n\ncolor symbolism: red: Red is the color of superior power, requiring relatively expensive dyes. It is worn by parties offering conditional adoption.\n\nConditional adoption: An agreement by which one party becomes responsible for the needs of another party, in exchange for some concessions -- usually part or all of that party's work. Somewhere between hiring and slavery. Usually offered with red clothing and a token of the sort of work required. Cannot seriously be offered by someone without the credible appearance of power, however.\n\nThere isn't any personal data available from logs or annotations.\n\n> You consult the computer about the white\nYour search turns up the following articles:\n\ncolor symbolism: white: White is the color of balance, being the color of the rings in summer sky. It is worn to offer marriage, equitable business, or cohabitation in shared house under non-hierarchical terms.\n\nYour search turns up the following entries from Valenti's personal log:\n\n15 days ago: Got suited for white jacket today for wedding proposal. Not quite sure what the tailor thought. Charged it to personal funds since do not want it on HC bill.\n\n> You consult the computer about the black\nYour search turns up the following articles:\n\ncolor symbolism: black: The color of termination, worn to refuse an agreement; to propose corporate splits or divorce.\n\nThere isn't any personal data available from logs or annotations.\n\n> You consult the computer about grey\nYour search turns up the following articles:\n\ncolor symbolism: grey: Grey is considered neutral and signifies a lack of decision.\n\nThere isn't any personal data available from logs or annotations.\n\n> You consult the computer about the purple\nThe computer beeps irritably: NO RESULTS FOUND. PLEASE REPHRASE AND TRY AGAIN.\n\n> You consult the computer about the widget\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: Aylene gave me a live rock! Which, in theory, calculates what everyone thinks of me, to many decimal places of accuracy (!). Don't think she realized what negative reinforcement this would be. Can't help experimenting with ways to make numbers go up and down. Bet I could crash all three to zero if I ran through the Solarium bareassed. Apparently the thing corresponds to a portion of the alien brain. I admit (if only to myself) that I find the concept disgusting. But I admit a lot to myself lately. I gather my predecessor talked to herself as well. I need some recordings of human speech or may go insane...\n\nthree months ago: I tried asking her whether she can factor in my thoughts the same way her little live rock tracks everyone else's. She said no, I don't broadcast. She looked tremendously uncomfortable. I cannot say how smug this makes me.\n\n> You consult the computer about Aylene\nYour search turns up the following entries from Valenti's personal log:\n\neight months ago: Met my counterpart, the ambassador Aylene, today. Frankly, High Command should have left Yamashita here -- they probably did wonderfully having tea parties together and comparing fashion notes. Have never met another human -- no, strike that, because she isn't human. Have never met any person with so little emotional affect in speech and behavior. Not sure what gene modifications they made to her, but it is frightening.\n\nfive months ago: Coming to terms with the bowing. When Aylene bows, when she smiles, when she says polite formulas, the etiquette system doesn't seem stupid. She's not bowing to show how well-bred she is. It's a liturgy of respect. You bow to show that you respect someone but also to remind yourself of this fact. Sincerity can work inward as well as outward. You don't have to like someone to treat them well. If you practice this sometimes leads to liking.\n\nThen again, sometimes not.\n\nfive weeks ago: Is it possible that Liam is jealous of me because of Aylene? I find him lurking around after she's been here, looking sniffy and grim. Naturally Aylene's live rock doesn't offer any sort of data analysis function. That might be dangerously useful.\n\nfour weeks ago: Another long, long talk with Aylene. She may be coming around on the cohabitation idea, of shared resources and an integrated society. But there are concessions involved on both sides, and she is more afraid of her people than I am of mine. There's no way they're going to be able to live on Earth and preserve their daintiness about eating, for instance. Which in my opinion would be no bad thing, but one can hardly say that...\n\n28 days ago: Naturally after I read that I asked Aylene about it (if we're modeling our alliance on a marriage I'd rather not have \"marriage\" mean \"eugenics program\"). She says in practice there's hardly any \"flushing\". I still have some serious questions about this, but I think inasmuch as it applies to the current occasion we're looking rather at a joint stewardship of the resources available to both planets. HC should be able to live with that. I don't know whether the general population would be so enthusiastic, but the general population seems to think it's a point of principle not to make any concessions or in fact live in the real world in any way.\n\n25 days ago: And, well, the personal component of all this. I very nearly put it to Aylene as an offer based on symbolism and political expediency. She would have understood that, but... I would like to marry her, in truth, and not simply as a means to an end. She was silent after I raised the possibility. I think I went about it wrong, but it's damned difficult to know what \"right\" looks like here. How the hell would I know?\n\n24 days ago: She won't talk to me today.\n\n23 days ago: They voted her out. I cannot believe they voted her out. What kind of employment system is that, anyway?\n\n5 days ago: News from Kruger: I am out. No explanation. Replacement already en route. Pack bags, prepare to leave. Can't bring myself to contact Aylene.\n\n> You consult the computer about the SOC\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: Aylene gave me a live rock! Which, in theory, calculates what everyone thinks of me, to many decimal places of accuracy (!). Don't think she realized what negative reinforcement this would be. Can't help experimenting with ways to make numbers go up and down. Bet I could crash all three to zero if I ran through the Solarium bareassed. Apparently the thing corresponds to a portion of the alien brain. I admit (if only to myself) that I find the concept disgusting. But I admit a lot to myself lately. I gather my predecessor talked to herself as well. I need some recordings of human speech or may go insane...\n\n> You go to the west\nThe floor of the Receiving Room is decorated with broken glass. It's not conducive to strolling around without a float unit.\n\n> Time\nIt is 1:31 pm -- here, anyhow.\n\n> Go east\nYou stand at the western end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The garden paths open at the east end of the pool; the Embassy is west, at your back.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> Go east\nYou wander between plots: what catches your eye this time is a writing-desk-tree, spreading to a flat surface at about three feet.\n\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> Go north\nYou head out of the Solarium and down a brief slope, into the clearing at the center of town.\n\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe ring system is mostly obscured by the grand solarium to the south, accessible through the insulating doors. The solarium is a huge domed structure to keep in as much heat and warmth as possible; the Earth embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth.\n\n> You look at the monument\nIt has look of force-grown bone, monolithic and taller than a man.\n\nThe symbolic lettering of the current language has been painted on the side, but the original carving is in Chinese and English: \"To those who, in the name of the Company and for the advancement of knowledge, were killed, modified incorrectly, or born unfit.\"\n\n> Go east\nA repulsion field prevents you from entering the building without the proper security device.\n\n> You go south\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> Go south\nYou approach the curtain of vine; it draws away, then begins to repel you. Your face feels hot, as though sunburnt. You step away.\n\n> You examine the vine\nFlowers with all the color bred out, translucent buds clustered on grey vines. They separate you from the southern part of the dome.\n\n> You think\nYou run over the things various people have decided you ought to do: give the jacket receipt to Liam\nacquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nfind a working float unit\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You squeeze the rock\nThe surface has a give to it, and it squeaks once. Small regretful letters read: AIDE CURRENTLY OUT OF RANGE. Maybe in the embassy proper, then.\n\n> You go west\nYou wander between plots: what catches your eye this time is a wispy groundcover exuding fog.\n\nYou stand at the eastern end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The Embassy is just west of here, at the far end of the pool.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> You squeeze the rock\nThe surface has a give to it, and it squeaks once. COMING, reads the skin lettering tersely.\n\nLiam slips through the locked barrier from the south.\n\n> You show the receipt to Liam\nLiam takes the receipt numbly and looks at it, then back at you. \"You are... seeking this apparel?\" he asks. You nod curtly in a manner you hope suggests decisiveness rather than an inability to speak his language.\n\nThe silence becomes uncomfortable. You realize after a moment what has changed: he is now floating at the same height as you, looking you in the eye directly. For some reason he is not at all pleased with this request.\n\nMentally you check off \"give the jacket receipt to Liam\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nacquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nfind a working float unit\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\nA moment later -- more quickly than you expected -- he returns with the white jacket, and something else: a pale pink fruit. He puts the fruit into your hand firmly so that it is squeezed.\n\n> You examine the fruit\nIt is one of those recording fruits into which information is put.\n\nThe pink fruit hisses sparks and juice, but then it begins to play, a projection hovering in the middle of the air:\n\nLiam is standing in the foyer next to Aylene. The Ambassador has ordered a white jacket, he says.\n\nIt is not a surprise. Her hands are clasped in front of her, the sleeves almost covering them. We are discussing a treaty of cohabitation.\n\nLiam frowns. It pleases me that they admit they are wrong to exile us from Earth...\n\nBut you prefer not to mix cultures, Aylene finishes.\n\nI would prefer that they beg us to return and we refuse.\n\nShe smiles affectionately. Like an angry lover! But Valenti has not guessed how you felt toward him when he arrived here.\n\n> You show the fruit to Liam\nLiam is entirely occupied with the recording he wants to show you, and you find you have a hard time looking away either.\n\nIn the recording, Liam turns pink. Unlikely that he would guess any social thing that is not told to him three times in English! And I only admired -- he seemed to have energy, much purpose.\n\nHe has. Her own tone is wistful. But I know you, Liam. You are not unjust to the Earth folk because Valenti disappoints you. If the right thing is cohabitation, you judge the possibility fairly.\n\nWhat good will come of it? he asks. They are not-- The subtitling flickers here, flashing through a half-dozen words: social nice adjusted sane-minded obedient easily-understood. They do not design new lines. They will probably forbid us designing ourselves.\n\nAylene answers: In a year ice will break the dam and the Solarium wall. We will all take the train to Tanhua to be retired. We have few choices.\n\n> You examine the fruit\nIt is one of those recording fruits into which information is put.\n\nThe TY line are bred for winter survival. Fur, hibernation, slow metabolism. He runs a finger over the fuzz on the backs of his wrists.\n\nI've followed your designer's experiments, Aylene says. They move too slowly.\n\nWe wasted time on Earth compatibility, he replies, bitter. I commented this on design proposals, but everyone is mad with wanting to go Home. Earth songs sung again, the Sanctuary of Earth plants restored, people laugh with teeth showing. Does Valenti like the almost-humans? No, he takes no interest. And if we do not go to Earth, they are trouble -- retrograde stock, badly socialized, expensive to feed.\n\n> You examine the fruit\nIt is one of those recording fruits into which information is put.\n\nShe turns to him abruptly. Be careful. When I am removed after Gift Day, you will be Ambassador.\n\nHis mouth opens, but he recovers. Then let Earth also send a different speaker. Valenti has no respect for us. I cannot talk to him.\n\nHe has no respect for groups, only individuals. You see the bad; there is also good. He does not expect us to sacrifice any lines of stock--\n\nIf we go to Earth, the TY are useless. If we stay, the Earth-compatibles...\n\nShe puts up a hand, hushing him. Valenti is at the door. His eyes go to Aylene; he moves towards her, barely sparing a glance for Liam, who smiles wryly.\n\nThe recording flickers out.\n\nThe images over, Liam seems to feel that you have seen whatever he wanted you to see, so he puts the white jacket you demanded over your arm.\n\n> You check what you're carrying\nYou are carrying:\na puffy white jacket\na pale pink fruit\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 13.08113, POW 20.7639, INT 11.61016\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\nLiam waits for your instructions, though with a faint air of impatience.\n\n> You look at the white jacket\nThe jacket is loosely cut, as you would expect, with floatpins throughout. The cuffs have two narrow stripes of gold and red, like a uniform. It looks very fresh and crisp. Possibly Valenti never wore it, and that's why he didn't bother to keep it. It looks as though you might be able to wear it, though you may look strange.\n\nLiam waits for your instructions, though with a faint air of impatience.\n\n> You look at the slippers\nThey have rabbit ears and are a collector's item from before the plague years. They are also pink. Your friend Jane gave them to you, motivated by inscrutable Jane-like humor; they still bear the stamp of Salvage and Reclamation on the soles. Presumably your felonious dockworker recognized their worth and decided it was better not to steal them, but under the circumstances you'd rather have some of the clothing you actually intended to wear.\n\nLiam slips through the locked barrier to the south.\n\n> You consult the computer about the research center\nThe computer shows you how to go to the research facility. You'd start with east, from here.\n\n> You consult the computer about the symbols\nYour search turns up the following articles:\n\ngift symbolism: draft proposal: According to the etiquette files, those proposing marriage or cooperative scientific ventures may do so by creating a sample of the kind of project they hope to undertake. In the case of marriage, these are usually representations of the offspring that might be engineered from the two parents; for purely business relationships, other kinds of model, sample, or technical proposal are appropriate. A superior looking to employ or adopt an inferior may give a sample of the kind of work the inferior will be expected to produce as a condition of the employment.\n\ngift symbolism: personal token: Etiquette files reveal that an object personally significant to the giver is an appropriate gift when establishing a relationship of friendship in which no joint work or project is intended. Also sometimes used for marriages not intended to produce offspring.\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: Have been making progress with the translations of etiquette guide... much appears to center upon proposals of various kinds. I have gathered the formal proposal system they're using on us is not (contrary to what they might say) a frequent feature of daily life for them either, but is rather some archaic bit of hazing they got out of mothballs. As a test, maybe. Or maybe because the symbols and terms of it are actually, God help us, simpler than communicating all the nuances in their language.\n\nseven weeks ago: Liam told me about the flint knife in the Earth Sanctuary. Turns out it wasn't brought by us (always thought that a really odd thing to send) but they brought it here from Earth themselves. There's some sort of gloomy symbolism there which, as usual, he couldn't bring himself to explain directly. A less useful assistant would be difficult to find.\n\n25 days ago: And, well, the personal component of all this. I very nearly put it to Aylene as an offer based on symbolism and political expediency. She would have understood that, but... I would like to marry her, in truth, and not simply as a means to an end. She was silent after I raised the possibility. I think I went about it wrong, but it's damned difficult to know what \"right\" looks like here. How the hell would I know?\n\n> You look at the symbols\nThey have red-gold scales and fat round bodies, and are about two inches long. The formations are symbols from the syllabary, but you can't read them.\n\n> You translate the symbols\nWith a computer, you can read the writing system here, but that is about all.\n\n> You go to the east\nYou wander between plots: what catches your eye this time is a thorn-tree with black fruit smelling of oil.\n\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> You consult computer about research center\nThe computer shows you how to go to the research facility. You'd start with north, from here.\n\n> Go north\nYou head out of the Solarium and down a brief slope, into the clearing at the center of town.\n\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe ring system is mostly obscured by the grand solarium to the south, accessible through the insulating doors. The solarium is a huge domed structure to keep in as much heat and warmth as possible; the Earth embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth.\n\n> You look at the building\nWhich do you mean, the substantial building or the houses?\n\n> You look at the substantial building\nLarge enough to contain hundreds of apartment dwellings, or to provide considerable office space. There is a sign on the wall.\n\n> You go north\nYou walk along the crunching gravel for some time, noticing here and there a few gravel walkways off to the east and west, but nothing open to visitors. There are fewer Colonists at this end of town.\n\nTo the northwest is a public building with a deep portico; to the east, one with a conical roof. The others are private houses, but, except one or two, they don't look lived in. There is a general atmosphere of neglect.\n\nThe street continues south into the heart of town, or north towards the mountain and the glacier. A track for a floating train cuts southeast between the buildings.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\n> You go to the north-west\nOnce this was a kind of hothouse, but the glacier has knocked out loadbearing portions of the north wall. The roof is buckled at that end and gives a view of patchy sky; only a steel scaffold prevents it from falling in completely. Gusts of warm air from the wall vents quickly turn to cloud.\n\nA pamphlet lies discarded near kiosks that line the west wall. The bulk of the area, though, is full of plant lines, growing on frames as in a vineyard.\n\n> You read pamphlet\nThe pamphlet appears to say Greetings noble companion. Welcome to data compression and storage tree! Designed by (long string of letters and numbers, constituting some colonist's unique personal identification).\n\nData compression tree analyzes/presses recording and finds correspondences/similarities/relations to known/studied narrative/story structures! Content re-expressed as combination of known/studied structures! Output significantly more compact than original!\n\nSCIENTIFIC mode best suited for compacting very long meetings with scientific content into brief precis; STORY mode captures plot events; SOCIAL mode includes both dialogue and emotion-projection data. More advanced version of Data compression tree available for large projects -- contact designer!\n\n(Output fruit has similar function to other recording fruits. Squeeze output fruit to display content!).\n\n> You examine the frames\nThey're recordings: the fruits store data. Or they did. The skins are frosted over now.\n\n> You get the fruits\nThat's fixed in place.\n\n> You squeeze the fruits\nYou pinch one of the fruits at random. A tiny woman appears in hologram, singing a soprano part. Her voice is staticky and broken. The flesh of the fruit is bruised from being pinched when it was half-frozen.\n\n> You enter the kiosk\nThe kiosk is no larger than a contamination testing booth back on Earth. It briefly evokes the old fear that somehow, despite every reasonable precaution, this time you will turn out to be infected, and you'd have to tell your mother, and she would be so upset. That would be the worst thing: having to tell your mother.\n\nThe only thing of note here is a metal box, mounted on the wall at about shoulder-height, with a bonzai-sized tree growing out of the top.\n\n> You examine the tree\n(the tree machine)\nA machine titled DATA COMPRESSION AND STORAGE. There is a miniature tree growing out of the top, naked of foliage. On the front of the metal box are green and blue push-knobs, and a movable bronze pointer.\n\nOn the left side of the machine there is a funnel, the right size for inserting a recording fruit.\n\n> You examine the pointer\nThe four settings of the pointer are ORIGINAL, SCIENTIFIC, STORY, SOCIAL.\n\nThe pointer is currently set to original.\n\n> You put the pink fruit in the funnel\nThe pale pink fruit rolls down inside the machine. There is a whirr like your mother's juicer on the first day of a new diet.\n\n> You set the pointer to the story\nThe pointer turns with a heavy click. The selector now points to story.\n\n> You set the pointer to scientific\nThe pointer turns with a heavy click. The selector now points to scientific.\n\n> You set the pointer to social\nThe pointer turns with a heavy click. The selector now points to social.\n\n> You get the kumquat\nTaken.\n\n> You examine it\nThere is a symbol reading STORY COMPRESSION on the skin of the kumquat.\n\n> Exit\n(heading east, since that is the only direction available)\n\nOnce this was a kind of hothouse, but the glacier has knocked out loadbearing portions of the north wall. The roof is buckled at that end and gives a view of patchy sky; only a steel scaffold prevents it from falling in completely. Gusts of warm air from the wall vents quickly turn to cloud.\n\nA pamphlet lies discarded near kiosks that line the west wall. The bulk of the area, though, is full of plant lines, growing on frames as in a vineyard.\n\n> You go outside\nYou will have to be more specific about which direction you want to go. From here, you can head southeast and west.\n\n> You squeeze the kumquat\nThe projection plays, bringing on stage Aylene and Liam in similar, bright-colored costumes.\n\nAylene sings: I AM PLEASED TO TELL YOU I AM BEING WED.\n\nLiam: MY DEAR FRIEND, IT IS THE PUREST DELIGHT TO HEAR IT. WHO IS THE FORTUNATE GROOM?\n\nAylene: IT IS VALENTI! THE HANDSOME AND MOST ADMIRABLE VALENTI! THE HONORABLE AND WELL-GROOMED VALENTI OF SUPERIOR GENETIC INHERITANCE! (And so on in this mode for some stanzas, endowing Valenti with such virtues as reinforced femurs and multiple rows of sharklike teeth.)\n\nLiam: THIS CANNOT BE!\n\nAylene: WHY NOT?\n\nLiam: THIS CANNOT BE!\n\nAylene: I ASK AGAIN: WHY NOT?\n\nLiam: HE WAS PROMISED TO ME! OH PERFIDIOUS WRETCHED MAN, OH WRETCHED LYING MAN, OH (etc. for a number of verses), AND WHAT IS MORE I WOULD BE DELIGHTED TO LIVE WITHOUT HIM, AND I WISH YOU JOY OF HIM, AND MAY YOU BOTH PERISH OF THE POX\n\nThen the compression system gave up, apparently, because the music splutters out and the antagonists stand glaring at one another, their sequined sleeves glittering in the faux light, until the projection stops.\n\n> You go to the south-east\nTo the northwest is a public building with a deep portico; to the east, one with a conical roof. The others are private houses, but, except one or two, they don't look lived in. There is a general atmosphere of neglect.\n\nThe street continues south into the heart of town, or north towards the mountain and the glacier. A track for a floating train cuts southeast between the buildings.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\n> You go to the east\nA grand, hexagonal room with a tiled floor of intricate design. Around the outside of the room runs a bench, divided by carving into seats -- perhaps ten seats on a side -- and there is a label on each seat, except for a few blank ones left at the south-east side of the room.\n\nBut it can't have been used for some time. The glass is knocked out of the windows, the tiles broken.\n\n> You read the labels\nThe seating label appears to say A3 representative... TY representative... RA....\n\n> You consult the computer about Liam\nYour search turns up the following articles:\n\nLiam: All that's available is a brief dossier about Liam's former employment and job rankings, which are cryptic in format and convey almost nothing to you.\n\nYour search turns up the following entries from Valenti's personal log:\n\nseven months ago: God. Where to begin? Liam would not be assigned this -- as I discover -- extremely low-ranking position as my assistant if he had turned out to be good at any of the traditional skills, such as manufacturing birds that fly backwards, or engineering climatic disasters. He is sensitive, petty, and desperate for my approval, since only my approval will improve his rank and get him out of here. He has some good points, such as tolerance for boredom, but this is not enough to prevent me wanting to strangle him.\n\nseven weeks ago: Liam told me about the flint knife in the Earth Sanctuary. Turns out it wasn't brought by us (always thought that a really odd thing to send) but they brought it here from Earth themselves. There's some sort of gloomy symbolism there which, as usual, he couldn't bring himself to explain directly. A less useful assistant would be difficult to find.\n\nfive weeks ago: Is it possible that Liam is jealous of me because of Aylene? I find him lurking around after she's been here, looking sniffy and grim. Naturally Aylene's live rock doesn't offer any sort of data analysis function. That might be dangerously useful.\n\n22 days ago: Fight with Liam. Not my finest hour. Sometimes am almost glad they're getting me out of here. Filched the recording, that not being something I want anyone else to have a copy of. And I used to have such high ideas about what diplomacy could be.\n\n> You consult the computer about the lines\nYour search turns up the following entries from Valenti's personal log:\n\ntwo months ago: Funny sort of personal conversation with A. Turns out that she is descended from Peter and Charla herself -- the whole A line is. This is such a strange thought to me. Apparently they're among the most human-like of the remaining lines (though with certain obligatory modifications, of course), which I suppose is why she was assigned to deal with us.\n\n> Exit\n(heading west, since that is the only direction available)\n\nTo the northwest is a public building with a deep portico; to the east, one with a conical roof. The others are private houses, but, except one or two, they don't look lived in. There is a general atmosphere of neglect.\n\nThe street continues south into the heart of town, or north towards the mountain and the glacier. A track for a floating train cuts southeast between the buildings.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\n> You look at the track\nThe tracks run away between the houses, heading southeast towards southern settlements and eventually to Tanhua. They stop at the edge of Broad Street, so this must be the end of the line for any supplies or visitors being brought up from the south -- though presumably there is a larger station and a proper loading and unloading dock elsewhere.\n\n> You go to the south\nAfter a few minutes of walking, you reach an area with Colonists around. You carefully don't stare at them as they carefully do not stare at you. But from the sides of your eyes you watch how they float a few inches off the ground; how they do not touch things.\n\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe ring system is mostly obscured by the grand solarium to the south, accessible through the insulating doors. The solarium is a huge domed structure to keep in as much heat and warmth as possible; the Earth embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth.\n\n> You go south\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> Go east\nThis area is set aside from the rest of the Solarium by a stone wall. There are no engineered plants that you recognize, only green grass. It smells like the Chicago suburbs in August.\n\nAt the center of the grass is a hexagonal stone dais large enough to elevate one person above the crowd.\n\nA few Colonists stand facing the center with the silent attitude of worshippers.\n\n> You examine the dais\nIt is carved. It's also old. Along one edge of the hexagon it reads (in English): \"RIP Peter Long, Director of High-Risk Research\".\n\n> You consult computer about Peter\nYour search turns up the following entries from Valenti's personal log:\n\nfour months ago: More research. My Charla seems to have been married to Peter Long. Wish I had a clearer idea of what Peter Long was up to.\n\nfour months ago: So. Put together the archive files on Charla and her companion Peter Long here. I have what appear to be six versions of the same events, recorded in distinctly stylized and different forms -- including what looks like an opera. (Or some perversion thereof.) I'd say they were literary reworkings but no, they seem actually to be a convention-based compression of some original, now-lost data recording. The weird thing is that they don't all end the same way -- apparently the conventions of recording are allowed to override, for instance, matters of fact.\n\nfour months ago: Oh my. Cross-comparing the data and the compression algorithm information I could find I think I have worked my way to a fuzzy but more-accurate version of the original. Spent a good while in the archive building messing with the kiosks. Got to talk to A about this, find out if it is really true. If it is, we may end scuttling the whole treaty if I report what I found on Charla and Peter Long. Long is really the issue; it's just our bad bad bad bad bad luck that Charla's relatives are still alive and, worse, pushy about finding out what became of her.\n\nfour months ago: Amazing it never occurred to me to wonder exactly what happened when they lost Earth contact here. Peter Long's solution seems obvious. In retrospect.\n\nthree months ago: Long talk with A, and she essentially confirmed for me what I had already pieced together, though with some bits that I hadn't quite understood about Peter and Charla. And then I got rid of the recordings. The destruction of data, a slippery slope. This was much bigger than getting rid of Yamashita's correspondence disc but it felt less awful, somehow. This is something I cannot, cannot report back if I want these people saved. And increasingly I do. Even my infuriating assistant.\n\ntwo months ago: Funny sort of personal conversation with A. Turns out that she is descended from Peter and Charla herself -- the whole A line is. This is such a strange thought to me. Apparently they're among the most human-like of the remaining lines (though with certain obligatory modifications, of course), which I suppose is why she was assigned to deal with us.\n\n27 days ago: Went to the Earth Sanctuary and heard a few songs. Strangely moving. One of them was in fact about old Peter. Felt like it was the play to catch the conscience, etc., except of course in this case I'm not the murderer and it's everyone else's conscience that really ought to be bothered, not mine. It was a good song, though. They got out the flint knife at the end -- it's a prop of this performance, I gather.\n\n> You consult the computer about Charla\nYour search turns up the following entries from Valenti's personal log:\n\nseven months ago: Huge wad of demands from Earth that I do research to find people's missing ancestors. In my spare time from carving out a treaty, I am to look for someone's great-aunt Charla.\n\nfive months ago: More background research. Think I found the files on this Charla character, but they're very strange. All their historical data is preserved in severely lossy formats.\n\nfour months ago: More research. My Charla seems to have been married to Peter Long. Wish I had a clearer idea of what Peter Long was up to.\n\nfour months ago: So. Put together the archive files on Charla and her companion Peter Long here. I have what appear to be six versions of the same events, recorded in distinctly stylized and different forms -- including what looks like an opera. (Or some perversion thereof.) I'd say they were literary reworkings but no, they seem actually to be a convention-based compression of some original, now-lost data recording. The weird thing is that they don't all end the same way -- apparently the conventions of recording are allowed to override, for instance, matters of fact.\n\nfour months ago: Oh my. Cross-comparing the data and the compression algorithm information I could find I think I have worked my way to a fuzzy but more-accurate version of the original. Spent a good while in the archive building messing with the kiosks. Got to talk to A about this, find out if it is really true. If it is, we may end scuttling the whole treaty if I report what I found on Charla and Peter Long. Long is really the issue; it's just our bad bad bad bad bad luck that Charla's relatives are still alive and, worse, pushy about finding out what became of her.\n\nthree months ago: Long talk with A, and she essentially confirmed for me what I had already pieced together, though with some bits that I hadn't quite understood about Peter and Charla. And then I got rid of the recordings. The destruction of data, a slippery slope. This was much bigger than getting rid of Yamashita's correspondence disc but it felt less awful, somehow. This is something I cannot, cannot report back if I want these people saved. And increasingly I do. Even my infuriating assistant.\n\ntwo months ago: Funny sort of personal conversation with A. Turns out that she is descended from Peter and Charla herself -- the whole A line is. This is such a strange thought to me. Apparently they're among the most human-like of the remaining lines (though with certain obligatory modifications, of course), which I suppose is why she was assigned to deal with us.\n\n> You consult the computer about the knife\nYour search turns up the following articles:\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nYour search turns up the following entries from Valenti's personal log:\n\nseven weeks ago: Liam told me about the flint knife in the Earth Sanctuary. Turns out it wasn't brought by us (always thought that a really odd thing to send) but they brought it here from Earth themselves. There's some sort of gloomy symbolism there which, as usual, he couldn't bring himself to explain directly. A less useful assistant would be difficult to find.\n\n27 days ago: Went to the Earth Sanctuary and heard a few songs. Strangely moving. One of them was in fact about old Peter. Felt like it was the play to catch the conscience, etc., except of course in this case I'm not the murderer and it's everyone else's conscience that really ought to be bothered, not mine. It was a good song, though. They got out the flint knife at the end -- it's a prop of this performance, I gather.\n\n> You look at the colonists\nQuiet and thoughtful.\n\n> Go east\nFrom here, you can go west (to grand solarium).\n\n> Go west\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> Go west\nYou wander between plots: what catches your eye this time is vines growing tablet-like medicinal berries.\n\nYou stand at the eastern end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The Embassy is just west of here, at the far end of the pool.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> Go south\nFrom here, you can go west (to the front stairs) or east (to grand solarium).\n\n> You look at the orange\nShort orange trees growing in tubs next to the staircase. They have glossy dark leaves and orange fruit.\n\n> You consult the computer about the float unit\nYour search turns up the following articles:\n\nFloat technology and human adaptation: The article describes, with pictures, the float units built for humans who want to replicate the colonists' natural floating abilities. A supply of these were apparently built for the use of ambassadors and stored in the basement of the Embassy, since it was observed that humans tended to break them at a high rate.\n\nThere isn't any personal data available from logs or annotations.\n\n> You go to the south\nLittle more than a chilly concrete box. It continues some distance to the north.\n\nSomething resembling the root system of Yggdrasil covers the south wall; from close up it appears to be a complex heating system with pipes and tubes.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\nMentally you check off \"find a working float unit\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nacquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You get the unit\nIt is not designed to be lifted, only ridden. The outer shell is extremely dense.\n\n> Ride unit\nReminding yourself that you have never yet broken your neck on one of these things, you put your left foot onto the float unit and attempt to take your right foot off the floor.\n\nNaturally, being frictionless, it glides away, and you fall into a painful split.\n\nThe good thing about this, remember, is that you're alone down here. Plenty of opportunity to try again.\n\n> Ride unit\nYou circle the float unit a few times, sizing it up. When it looks most helpless and unsuspecting, you hop on.\n\nIt dips, wobbles, tries to dodge -- but you master it. Yes. You are aboard.\n\n> You examine unit\nThe purpose of the float unit is to allow you to do awkwardly what the natives do well: hover a few inches off the ground (or water). It consists of an oval platform four or five inches thick and made of dense material, with a reservoir for floatpoints inside. There is also a dial on one side. The unit currently hovers three inches off the floor.\n\n> You examine dial\nA small dial, unlabeled but presumably meant to control the floatation of the unit."
    },
    {
        "text": "> Look around\nUtility Room (on the personal float unit)\nLittle more than a chilly concrete box. It continues some distance to the north.\n\nSomething resembling the root system of Yggdrasil covers the south wall; from close up it appears to be a complex heating system with pipes and tubes.\n\n> You examine the system\nA curious combination of metal and organics. A potbellied brass shell contains a living organism with pinkish, sparsely-furred flesh visible at the openings. Metal pipes lead out of the shell into the walls, and a metal switch controls whether it is on or off. There's an intake gill along the front, also made of metal.\n\nThe only thing not protected by metalwork is the heater's mouth, which has a black beak as long as your hand.\n\n> You go north\nBasement (on the personal float unit)\nUnlike the upper levels of the Embassy, the basement is built for practical purposes, and resembles the inside of a concrete cigar box. It continues to the south, dimly lit and cold.\n\nAlong the west wall, a chute from above empties into a large metal container.\n\n> Go upwards\nMuseum (on the personal float unit)\nThe Museum is a presentation on Earth -- geography, culture, and everything else. The selection is idiosyncratic, but apparently compelling, to judge by the healthy crowd currently looking it over.\n\nTo one side there is a ramp leading down. The studious way the crowd ignores this ramp suggests that they consider it private space.\n\nA map of Earth covers the east wall, so large that you can barely reach across South America with both arms outstretched. It has attracted several groups of interested visitors, who are pointing out to each other details of the topography of Mongolia and making excited gestures at the Sahara.\n\nThere is a display case in the middle of the room.\n\nThe widget readout changes to SOC 15.8891, POW 20.19617, INT 12.0329.\n\n> You go south\nEmbassy Foyer (on the personal float unit)\nLike most buildings here, the Embassy is built with an eye for organic color and form: windows and doorways framed with curved ironwork, accents of bright enamel, wooden floors grown in place. All conspicuously wasteful of both materials and labor. It might be intended to make Earth representatives uncomfortable, or it might be meant as an honor, or it might be an advertisement for a standard of living that Earth lost some time ago. Too hard to tell.\n\nThere's a large Receiving Room to the west. Less prominent rooms lie north and south -- the south with a locked private door, the north an archway offering a mercifully limited view of the \"Museum\". Shallow stairs, almost a ramp, rise to a second story.\n\n> You go to the west\nReceiving Room (on the personal float unit)\nNone of the rooms of the Embassy are ordinary, but this one is spectacular: the floor glittering with blue and gold glass, the vault a basketry of interwoven branches of interwoven branches. The lower half of the wall is covered with feathers, yellow and deep blue, like a parrot's.\n\nSomething like a glass flower grows from the wall, a disguised bracket for holding a recording machine.\n\n> You look at the flower\nIt looks like a glass tulip with a round red seed in it.\n\n> You look at the seed\nIt looks like a round red seed. You've seen these before, on the ship over: they're recording devices that mature as they fill up with data, and will show their contents when squeezed. It is around the size of an apricot pit.\n\n> You examine the feathers\nThey have the gloss of real feathers, and that doesn't change the complete strangeness of having them there. The whole room seems like a thematic allusion to a lost Amazonian jungle, as interpreted by aesthetes with no experience of a natural biome of any kind. Which is true.\n\n> You think\nYou run over the things various people have decided you ought to do: acquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You go north\nMuseum (on the personal float unit)\nThe Museum is a presentation on Earth -- geography, culture, and everything else. The selection is idiosyncratic, but apparently compelling, to judge by the healthy crowd currently looking it over.\n\nTo one side there is a ramp leading down. The studious way the crowd ignores this ramp suggests that they consider it private space.\n\nA map of Earth covers the east wall, so large that you can barely reach across South America with both arms outstretched. It has attracted several groups of interested visitors, who are pointing out to each other details of the topography of Mongolia and making excited gestures at the Sahara.\n\nThere is a display case in the middle of the room.\n\n> Open case\nYou open the display case.\n\n> You get the card\nPicking the pink card up is challenging because, you discover, it's embedded with a couple of floatpoints -- probably a security-override device. You can grasp it by the edges, though.\n\n> You look at it\nThe pink card appears to say cure/serum fatal-sickness primitive borrowed -- research center room 58 -- card-that-grants-access.\n\n> Inventory\nYou are carrying:\na pink card\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.6347, POW 20.42796, INT 12.0493\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> Go east\nFront Stairs (on the personal float unit)\nThe Embassy proper is directly west. The entrance is flanked by orange trees, familiar and earthly.\n\nFrom the top of the Front Stairs you have an excellent view of the whole interior of the Solarium, the sunlight catching in the curved triangular panes of glass.\n\nEast, at the bottom of the stairs, is the mirror-glass of the pool. Beyond it the botanical garden has a structure invisible from the inside.\n\n> Go east\nYou urge the float unit east down the stairs: quickly it gathers speed and sends you shooting across into the middle of...\n\nReflecting Pool (on the personal float unit)\nOn the float unit, you are able to float above the water. The water underneath the float unit goes flat. The fish bump into the surface and bounce off as if from a sheet of aquarium glassthe western end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The garden paths open at the east end of the pool; the Embassy is west, at your back.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> Go east\nYou wander between plots: what catches your eye this time is purplish moss several inches deep but with no identifiable purpose.\n\nGrand Solarium (on the personal float unit)\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> You go north\nYou head out of the Solarium and down a brief slope, into the clearing at the center of town.\n\nClearing (on the personal float unit)\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\nA double set of insulating doors leads south into a huge glass and metal dome, a greenhouse and Solarium where most of the local population now lives; the Embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth.\n\n> Go east\nResearch Facility (on the personal float unit)\nThe lobby of the building is surprisingly open: you would have expected security and a receptionist. But there are no industrial secrets to protect.\n\nMounted on the east wall are colorful project proposals.\n\nA baffling number of doors lead out to smaller rooms around the perimeter of the central space. They are all protected by security fields, so that you can't even approach them without a way to breach the barrier.\n\nA glance around reveals a Door 58 to the northeast.\n\n> You examine the proposals\nSeveral different proposals of varying complexity: at one end, in childlike handwriting, is a proposal with sketches of fish; at the other, something about colonist eye color and brain function, with many pages of additional notes. You also note one with what looks like a map of Africa."
    },
    {
        "text": "[Themes: Science Fiction, clothing, science fiction, aliens]\n\n> You go downwards\nThe float unit lets you hover off the ground. It does not let you pass through walls or give you access to restricted areas. From here, you can go west (to the clearing) or northeast.\n\n> You go to the northeast\nYou walk to the door and hesitate. The etiquette of the situation is unclear. On the one hand, it's impolite to knock. On the other, you do have a card which grants you the right to enter, and which deactivates the security field. So it must be all right...\n\nYou step through the field, which here is translucent grey...\n\nPrivate Laboratory (on the personal float unit)\nA room outfitted with lab desk, lab drawer, a recycling chute, and assorted equipment. It's immediately obvious what kind of experimentation that takes place here. The walls are a shrine to humans -- and not to the human genome, which would be comprehensible, but to human society. Some still shots from Chinese television, a sketch of Stonehenge, a landscape recognizably New Zealand...\n\nThe door out leads southwest.\n\nBeside the lab desk is a female scientist, perhaps in her teens.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n>--> The scene change machinery is stuck.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n>--> The scene change machinery is stuck.\n\n> You get off\nYou get off the personal float unit.\n\nThe lobby is an open oval room, with no security or reception desk.\n\nMounted on the east wall are colorful project proposals.\n\nA baffling number of doors lead out to smaller rooms around the perimeter of the central space. They are all protected by security fields, so that you can't even approach them without a way to breach the barrier.\n\nA glance around reveals a Door 58 to the northeast.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\n> Go northeast\nYou walk to the door and hesitate. The etiquette of the situation is unclear. On the one hand, it's impolite to knock. On the other, you do have a card which grants you the right to enter, and which deactivates the security field. So it must be all right...\n\nYou step through the field, which here is translucent grey...\n\nA room outfitted with lab desk, lab drawer, a recycling chute, and assorted equipment. It's immediately obvious what kind of experimentation that takes place here. The walls are a shrine to humans -- and not to the human genome, which would be comprehensible, but to human society. Some still shots from Chinese television, a sketch of Stonehenge, a landscape recognizably New Zealand...\n\nThe door out leads southwest.\n\nBeside the lab desk is a female scientist, perhaps in her teens.\n\nShe greets you with a stream of words you don't understand, and bows deep.\n\n> You show the pink card to the scientist\nSomeone, someone must have made this creature on purpose to attract humans. It is what makes sense. Perhaps because they knew that it would be that much harder to refuse help to a colonist who looked like this... Ignoring your less respectable urges, you hand the pink card over to her.\n\nShe holds up a finger as though to say: wait. And reaching into her cleavage, she removes a tiny man, whom she sets down on the desk. It looks alive, after a fashion. You have heard of these things, little living models with almost no intelligence -- but you'd never seen one before.\n\nShe gets out some small ration bars and feeds them to the tiny man, who eats ravenously, making faces. \"See?\" her expression seems to say. \"It is just like one of you people.\"\n\nBut of course it isn't: it is like a human who has been a bit modified. He floats a bit over the table, for all that he looks like a little person.\n\n> You look at the scientist\nLolita is your first thought. She has the long sweet limbs, the faunlike brown eyes that meet yours and dart away. The most alien features of the Colonists are subdued in her, leaving only a subtle exoticism you can hardly stop looking at. And the longer you look, the less sure you are whether she's really that young, or just some perfectly tuned ideal of innocence.\n\nThey made her like that on purpose.\n\nHaving eaten to the point where his stomach is distended, the model man lies down, curls up, and begins to snore a tiny, insect-like snore.\n\nThe girl -- no, scientist -- turns to you and says something long-winded. Though you can't understand the words, the gist is plain enough: do you like it? Are you interested? Do you want one of your very own? How about we install some floatpoints in your kind?\n\nAn offer of what they might do if you let them come back to Earth, perhaps -- if a very naive one."
    },
    {
        "text": "[Themes: Science Fiction, aliens, diplomacy, male protagonist, clothing]\n\n> Look around\nA room outfitted with lab desk, lab drawer, a recycling chute, and assorted equipment. It's immediately obvious what kind of experimentation that takes place here. The walls are a shrine to humans -- and not to the human genome, which would be comprehensible, but to human society. Some still shots from Chinese television, a sketch of Stonehenge, a landscape recognizably New Zealand...\n\nThe door out leads southwest.\n\nBeside the lab desk is a female scientist, perhaps in her teens.\n\nOn the lab desk is a tiny man.\n\n> You look at the tiny man\nA small man, only about six inches tall. He looks uncannily like Valenti. He also has tiny floatpoints in his hands and feet, like a Colonist.\n\n> You point at the pink card\nYou hand the pink card over to her.\n\n> You check your inventory\nYou are carrying:\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.1968, POW 20.3036, INT 12.83424\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> Inventory\nYou are carrying:\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.4096, POW 20.55699, INT 12.5532\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You check what you're carrying\nYou are carrying:\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.62523, POW 20.2845, INT 12.8258\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You check your inventory\nYou are carrying:\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.45731, POW 20.5972, INT 12.7031\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You check your inventory\nYou are carrying:\na kumquat\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.0602, POW 20.42245, INT 12.39727\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks"
    },
    {
        "text": "[Themes: Science Fiction, aliens, diplomacy, male protagonist, clothing]\n\n> Look around\nA room outfitted with lab desk, lab drawer, a recycling chute, and assorted equipment. It's immediately obvious what kind of experimentation that takes place here. The walls are a shrine to humans -- and not to the human genome, which would be comprehensible, but to human society. Some still shots from Chinese television, a sketch of Stonehenge, a landscape recognizably New Zealand...\n\nThe door out leads southwest.\n\nBeside the lab desk is a female scientist, perhaps in her teens.\n\nOn the lab desk is a tiny man.\n\n> You take the pink card\nThat seems to belong to the female scientist.\n\n> You look at the drawer\nYou can't get it open. No authorization.\n\n> You examine the chute\nA chute for the disposal of wastes from the lab.\n\n> You ask the scientist for the pink card\nAnything you might say in English -- or any other language you know, for that matter -- would be pretty much incomprehensible here. Unless you found a scholar of ancient languages, but as far as you can tell, they don't go in for that.\n\n> You think\nYou run over the things various people have decided you ought to do: acquire vaccine from the research facility (HC's orders)\nwear white jacket (Valenti's idea)\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You consult the computer about the vaccine\nYour search turns up the following articles:\n\nHigh Command: An extremely circumspect article describing how, in the later years of the plague, the international quarantine authority in North America became a de facto government and managed the distribution not only of vaccine (once available) but also of other essential resources. All hints of controversy are omitted.\n\nplague: Billions of deaths, infection rates most severe in the less developed countries; revolutions and crumbling infrastructure; the regress of technology. This is why High Command wants back the Aleheart population. Fear of contaminating the environment with engineered flora and fauna seems insignificant now in the face of such medical sophistication -- an insurance against the same ever happening again. The vaccine exists, of course, and is produced in great quantity still, though it is very expensive to make.\n\nThere isn't any personal data available from logs or annotations.\n\n> You take the tiny man\nYou gingerly pick up the tiny man, thinking that Kruger would have an aneurysm if he saw this thing. The girl seems to read this as encouragement, though. Perhaps this is her research project, her final thesis. Depressing thought.\n\nThe little man is warm in the palm of your hand, like a hamster.\n\nEvidently feeling that she need not keep you any longer, she also gets out the vaccine sample and hands it over to you.\n\nMentally you check off \"acquire vaccine from the research facility (HC's orders)\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nwear white jacket (Valenti's idea)\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> You examine the vaccine\nYou recognize this -- and how could one not? The writing on the outside of the glass bottle has faded, and the contents perhaps degenerated with time, but the bulbous bottle shape, the sigil of High Command on the cap, the blue-black tint of the liquid like ink, all are iconic now.\n\n> Leave\n(heading southwest, since that is the only direction available)\n\nThe lobby is an open oval room, with no security or reception desk.\n\nMounted on the east wall are colorful project proposals.\n\nA baffling number of doors lead out to smaller rooms around the perimeter of the central space. They are all protected by security fields, so that you can't even approach them without a way to breach the barrier.\n\nA glance around reveals a Door 58 to the northeast.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\n> Ride unit\nYou climb back on the float unit, increasingly confident.\n\n> Go west\nClearing (on the personal float unit)\nThe street runs north/south, so that you have an uninterrupted view of Cordia Peak, and the leading edge of the glacier at the northern edge of town.\n\nBoth sides of the street are built up. A substantial building of metal and glass lies to the east, houses to the west.\n\nThe rings in the southern sky are partly obscured by the buildings on the horizon, but are still bright enough to catch the eye.\n\nA double set of insulating doors leads south into a huge glass and metal dome, a greenhouse and Solarium where most of the local population now lives; the Embassy is inside.\n\nAt the center of the open space here is a monument shaped like a tusk or tooth.\n\n> Go south\nGrand Solarium (on the personal float unit)\nThe Grand Solarium is an enormous dome with an oval roof of glass and grown metalwork. Inside is a botanical garden, which, on this planet, is a kind of art museum. Each plot displays some invented shrub that would be illegal on Earth.\n\nThe southern end of the dome, where they grow edible crops, is hidden by a decorative screen of hanging flowers. The garden also continues to the east; away to the west is the front of the Earth Embassy, now your home.\n\nA double set of insulating doors leads north to the outdoors.\n\n> You go west\nYou wander between plots: what catches your eye this time is a writing-desk-tree, spreading to a flat surface at about three feet.\n\nReflecting Pool (on the personal float unit)\nOn the float unit, you are able to float above the water. The water underneath the float unit goes flat. The fish bump into the surface and bounce off as if from a sheet of aquarium glassthe eastern end of a shallow rectangular pool -- no doubt part of the reason the air is softer and more humid here than it was outside. The Embassy is just west of here, at the far end of the pool.\n\nIf you look down, you catch the reflection in the surface, and a number of small red fish swimming around, in formation, making symbols which you cannot read.\n\n> Go west\nFront Stairs (on the personal float unit)\nThe Embassy proper is directly west. The entrance is flanked by orange trees, familiar and earthly.\n\nFrom the top of the Front Stairs you have an excellent view of the whole interior of the Solarium, the sunlight catching in the curved triangular panes of glass.\n\nEast, at the bottom of the stairs, is the mirror-glass of the pool. Beyond it the botanical garden has a structure invisible from the inside.\n\n> You go west\nEmbassy Foyer (on the personal float unit)\nLike most buildings here, the Embassy is built with an eye for organic color and form: windows and doorways framed with curved ironwork, accents of bright enamel, wooden floors grown in place. All conspicuously wasteful of both materials and labor. It might be intended to make Earth representatives uncomfortable, or it might be meant as an honor, or it might be an advertisement for a standard of living that Earth lost some time ago. Too hard to tell.\n\nThere's a large Receiving Room to the west. Less prominent rooms lie north and south -- the south with a locked private door, the north an archway offering a mercifully limited view of the \"Museum\". Shallow stairs, almost a ramp, rise to a second story.\n\n> Foobar\nEnter saved game to store: Ok.\n\n> Time\nIt is 4:20 pm -- here, anyhow.\n\n> You remove the red robe\nYou take off the long scarlet robe.\n\n> You wear the white jacket\nYou pull Valenti's white jacket on. The effect could be more flattering: the float-pins make it stand out around your torso as though inflated. You can't see, but it feels as though all your chest hair is being forced to lie flat. Breathing in is a challenge.\n\nMentally you check off \"wear white jacket (Valenti's idea)\" on your list of remaining tasks. You run over the things various people have decided you ought to do:\nsummon Liam and show him the gift box\nmeet with Ambassador Aylene to present your gift\n\n> Inventory\nYou are carrying:\na vaccine sample\na tiny sleeping man\na kumquat\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.14945, POW 20.9361, INT 12.9797\na flowing scarlet robe\na humiliating outfit of puffy white jacket, chronometer, grey undersuit, shoes, and socks\n\n> You put vaccine in the box\nYou tuck the vaccine into the box.\n\nA flash of memory: A long line of people standing, closer together than strangers ever stand. Holding hands, sometimes kissing. Everyone wears their sleeves rolled up, their upper arms bare. Out in the middle of the square, two old men in drag are dancing a tango. A ring of girls has gathered to watch.\n\nYour mother stands beside you, periodically squeezing your elbow. \"Your father would have loved this,\" she says each time. She does not sound wistful, just overwhelmingly glad.\n\nFar off at the front of the line is a white pavilion with a blue-black logo stitched into the roof.\n\n> You show the gift box to Liam\nLiam takes in your clothing, then looks into the box. \"Equal partnership, with a shared work in medical enterprises?\" he says. \"This is what you desire to propose to our Ambassador?\"\n\n> Yes\nLiam bows and departs to make a few arrangements. You wait, and cool your heels. People come and go. Messages are sent. When everything is ready, you gather...\n\nReceiving Room (on the personal float unit)\nNone of the rooms of the Embassy are ordinary, but this one is spectacular: the floor glittering with blue and gold glass, the vault a basketry of interwoven branches of interwoven branches. The lower half of the wall is covered with feathers, yellow and deep blue, like a parrot's.\n\nThe heressa who must be Ambassador Aylene stands at the far end of the hall. The approach to her is flanked by two rows of witnesses. You hadn't anticipated that, somehow, though surely you should have. As for Liam, he is carefully in the corner, aligning himself neither with you nor with his own people.\n\n> You look at Aylene\nYou had been expecting someone slight and ephemeral-looking, but she is a tall woman and built proportionally, and reminds you of the pictures you have sometimes seen of proud African women from before the bad years. Only her eyes are wrong, not brown but something closer to golden.\n\n> You give the gift box to Aylene\nAylene receives the box and looks at the vaccine sample for a moment. She looks at you -- surprised, a little concerned, perhaps?\n\nThen she faces her audience and begins to speak.\n\n\"\n\nIt's not unpleasant to see Kruger grilling Valenti for a bit, rather than you. Though there's plenty of grilling to go around.\n\n\"It was always a bad idea to invite them to Earth as our inferiors,\" says Valenti stolidly. \"I would have arranged things differently if I had been the ambassador at the time, but I do believe this is the best thing David could have done with the options available to him.\"\n\n\"The idea that the Colonists work in collaboration with human scientists will not be received well at home,\" says Kruger.\n\n\"To understatement,\" Valenti replies, lifting his glass. He is drinking an anise liqueur he favors. You and Kruger watch him take another yellow sip. \"Are you going to change the deal? I should warn you that alteration to a contract is viewed with extreme disfavor in their society.\"\n\n\"Which is why you and David should have followed my advice in the first place!\" Kruger yells. \"I pulled Yamashita because she expressed reservations of conscience about what I was asking her to do, and I pulled you because I didn't trust you to follow orders, but I never thought David would go native on his first day there. What's wrong with you?\"\n\nValenti frowns into his glass, swirling the ice around. \"With respect, sir, you a few hours on Aleheart itself would have been enough to change your plans.\"\n\nKruger's face gradually loses the beet color. \"We gave the matter a great deal of thought,\" he says. \"Thought, study, polls, moral consultations. Also prayer, meditation, even a tarot reading or two, I'm told. Those were off the meeting record and on a strictly individual basis. But there is a female member of the commission who claims that a good tarot spread focuses her thinking.\"\n\n\"There are things you cannot reason out,\" Valenti says. \"When you're face-to-face with the colonists, you see how much they long to be back on Earth. They are afraid of our bad opinion, conscious that they are our descendants, and embarrassed by how primitive we seem to be. But they are also infatuated. There are some dissenters, but most would do whatever they could to be with us again. They will bend themselves to fit Earth. We do not have to force them to do anything.\"\n\nKruger glares out the window. He does not say anything.\n\nValenti catches your eye and raises his glass in a small salute.\n\n> Foobar\nEnter saved game to load: Ok.\n\n> You ask the computer about the black\nYour search turns up the following articles:\n\ncolor symbolism: black: The color of termination, worn to refuse an agreement; to propose corporate splits or divorce.\n\nThere isn't any personal data available from logs or annotations.\n\n> You go to Receiving\nReceiving Room (on the personal float unit)\nNone of the rooms of the Embassy are ordinary, but this one is spectacular: the floor glittering with blue and gold glass, the vault a basketry of interwoven branches of interwoven branches. The lower half of the wall is covered with feathers, yellow and deep blue, like a parrot's.\n\nSomething like a glass flower grows from the wall, a disguised bracket for holding a recording machine.\n\n> You take the seed\nTaken.\n\n> You put the kumquat in the bracket\nThe bracket is precisely shaped to hold only a small round recording machine.\n\n> You go to the basement\nYou hurry toward embassy foyer, the museum, and then the basement.\n\nBasement (on the personal float unit)\nUnlike the upper levels of the Embassy, the basement is built for practical purposes, and resembles the inside of a concrete cigar box. It continues to the south, dimly lit and cold.\n\nAlong the west wall, a chute from above empties into a large metal container.\n\n> Go south\nUtility Room (on the personal float unit)\nLittle more than a chilly concrete box. It continues some distance to the north.\n\nSomething resembling the root system of Yggdrasil covers the south wall; from close up it appears to be a complex heating system with pipes and tubes.\n\n> You give the seed to the beak\nYou can only do that to something animate.\n\n> You put the seed in the beak\nThe heater tentatively opens its beak to admit the recording machine. Then it begins to chomp away. There are at first some sparks, droplets of flying juice, abortive beginnings of projections, but soon it is thoroughly destroyed and reduced to pure food form.\n\n> You squeeze the seed\nAn image begins to play, projecting itself:\n\nThe room is a mess, bits of things scattered around. The camera begins on a heressa you assume must be Aylene, a beautiful woman of apparently African descent, who floats as still as if she were anchored.\n\n\"Things like this,\" says Valenti forcefully, \"you don't predict. You choose without full knowledge, and make the choice good.\" He picks up a silvery streamer from the floor and plays at crumpling it.\n\nShe answers in her language, and the subtitle says: If it were me only.\n\nHe stuffs his hands into his pockets, streamer and all. \"It could be you only. With or without the treaty of cohabitation, I would still marry you.\"\n\nYour genes are bad. Why would I marry you?\n\n\"For pleasure.\"\n\nThe recording plays on: Valenti has stopped pacing and is watching her. She meets his eye and smiles a small smile. I do not know if I can walk all the rest of my life on dirt, even for you.\n\n\"It's mostly floors, really,\" Valenti says, fists held rigidly in pockets. \"The once-popular custom of walking barefoot in the dirt is a few hundred years behind us.\"\n\nOur greatest art is a disgusting offense on Earth. Do we go where we are despised?\n\n\"I know,\" he says. \"There are concessions I cannot make. If I tried, they would not be honored.\"\n\nHe gives the tormented streamer another pull, and it breaks apart in his hands with a flash of grey light; here the recording ends.\n\n> You go to the bedroom\nYou hurry toward the basement, the museum, embassy foyer, the hall, and then the bedroom.\n\nBedroom (on the personal float unit)\nThere's no real bed, only a stone platform, too short to accommodate your full height, in the center of the room. The sole gesture towards comfort is a pillow of Earth style, perhaps left here by Valenti. Aside from this, the place is unfurnished.\n\nA refreshment room is visible to the west, and the hallway is back to the south.\n\nYour suitcase lies open on the floor.\n\n> You take the seed\nYou already have that.\n\n> You go to the south\nHall (on the personal float unit)\nAt the top of the shallow stairs there is a spacious landing, with windows giving a view east across the Grand Solarium garden. Apparently past ambassadors have found this a pleasant place in which to read, because there is a small library of Earth books, otherwise impossible to get here.\n\nThe other interesting item is a chute in the wall, looking (like everything else here) as though it had grown as metal or bone into the wall.\n\nThe entry to your bedroom is to the north, and an office area to the south.\n\nThere are some ration bars and a squashed unripe seed on the floor.\n\n> You go to Kiosk\nYou hurry toward embassy foyer, the front stairs, the reflecting pool, grand solarium, the clearing, the broad street, ruined vineyard, and then kiosk.\n\nKiosk (on the personal float unit)\nThe kiosk is no larger than a contamination testing booth back on Earth.\n\nThe only thing of note here is a metal box, mounted on the wall at about shoulder-height, with a bonzai-sized tree growing out of the top.\n\n> Examine box\n(the empty gift box)\nA decorative box, obviously made on Earth, enameled like a Faberge piece. The exterior is covered in a design of leaves and morning glories.\n\n> You look at the metal box\nA machine titled DATA COMPRESSION AND STORAGE. There is a miniature tree growing out of the top, naked of foliage. On the front of the metal box are green and blue push-knobs, and a movable bronze pointer.\n\nOn the left side of the machine there is a funnel, the right size for inserting a recording fruit.\n\n> You look at the pointer\nThe green knob appears to say RECORD.\n\nThe four settings of the pointer are ORIGINAL, SCIENTIFIC, STORY, SOCIAL.\n\nThe pointer is currently set to story.\n\n> You put the unripe seed in the funnel\nThe damaged recorder rolls down inside the machine. There is a whirr like your mother's juicer on the first day of a new diet.\n\n> You set the pointer to the story\nThe bronze pointer is already aligned in that direction.\n\n> You set the pointer to scientific\nThe pointer turns with a heavy click. The selector now points to scientific.\n\n> You set the pointer to social\nThe pointer turns with a heavy click. The selector now points to social.\n\n> You set pointer to the blue\nThe pointer turns with a heavy click. The selector now points to original.\n\n> You set the pointer to the original\nThe bronze pointer is already aligned in that direction.\n\n> You examine the damaged fruit\nIt is evident (now) that this is one of those recorders that grows riper as it gets more full of information, and that something happened to it at a primitive stage of its growth. Probably Valenti could think of no place where people would be less likely to pry than his food cabinet.\n\n> You squeeze it\nYou squeeze the thing tentatively and it hisses sparks and juice, but then it begins to play, a projection hovering in the middle of the air:\n\nLiam is standing in a group with some others, in the Receiving Room, when Valenti walks in. DID YOU VOTE IN THIS MATTER? say projected English subtitles shakily.\n\nLiam shivers. Replacing the ambassador heressa? Everyone voted, my lord. We determined she does not make progress.\n\nThen Valenti grabs him by the middle of his robes where there are no floatpoints, and shoves violently. Liam falls hard on the sharp floor, mortified and astonished. Progress, Valenti repeats, dusting his hands.\n\nShe stays until Gift Day,  Liam says, not trying to get up.\n\nValenti nods curtly and goes out; the other people in the group tactfully turn aside. Liam wipes the back of his mouth with his hand. After a moment he crawls to the corner and is sick.\n\nThe image flickers out, leaking warm juice from the recorder.\n\n> You put red seed in the funnel\nThe recording machine rolls down inside the machine. There is a whirr like your mother's juicer on the first day of a new diet.\n\n> You take kumquat\n(the kumquat)\nTaken.\n\n> Inventory\nYou are carrying:\ntwo kumquats\na damaged recorder\na vaccine sample\na tiny sleeping man\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.79271, POW 20.83341, INT 12.5235\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You look at the kumquats\nThere is a symbol reading SOCIAL COMPRESSION on the skin of the kumquat.\n\n> You examine the floatpoint\n(first getting down so as not to kill yourself with foolish attempts at acrobatic prowess)\nYou get off the personal float unit.\n\nThe kiosk is no larger than a contamination testing booth back on Earth.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\nThe only thing of note here is a metal box, mounted on the wall at about shoulder-height, with a bonzai-sized tree growing out of the top.\n\nThe contents might come out, and that would make a real mess.\n\n> You turn the dial\nYou reach down and twiddle the dial on the side of the float unit, feeling very much the master even of the most alien technology.\n\nThis feeling passes, however, when the dial sticks in place without adjusting anything.\n\n> You turn dial left\nYou struggle with the dial, exerting the strength developed in the powerful Earthly gravity...\n\n...and there is a snap like the shot of a gun, and the dial spins freely without effect.\n\n> You turn dial right\nWhatever you did, it put an end to uses of the convenient dial. If you want to change the setting of the float unit, you'll have to do something with the contents of the reservoir by hand.\n\n> You look at the reservoir\n(first getting down so as not to kill yourself with foolish attempts at acrobatic prowess)\nYou get off the personal float unit.\n\nThe kiosk is no larger than a contamination testing booth back on Earth.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\nThe only thing of note here is a metal box, mounted on the wall at about shoulder-height, with a bonzai-sized tree growing out of the top.\n\nThe contents might come out, and that would make a real mess.\n\n> You examine the bonzai\nA machine titled DATA COMPRESSION AND STORAGE. There is a miniature tree growing out of the top, naked of foliage. On the front of the metal box are green and blue push-knobs, and a movable bronze pointer.\n\nOn the left side of the machine there is a funnel, the right size for inserting a recording fruit.\n\n> You put tiny man in reservoir\nThe floatpoint reservoir is closed.\n\n> Open reservoir\nThe contents might come out, and that would make a real mess.\n\n> You put the little man in the funnel\nYou push the tiny sleeping man into the funnel. The machine fires it back out, as from a cannon."
    },
    {
        "text": "> You look at your surroundings\nThe kiosk is no larger than a contamination testing booth back on Earth.\n\nA personal float unit hovers three inches off the floor at the middle of the room.\n\nThe only thing of note here is a metal box, mounted on the wall at about shoulder-height, with a bonzai-sized tree growing out of the top.\n\n> You check your inventory\nYou are carrying:\ntwo kumquats\na damaged recorder\na vaccine sample\na tiny sleeping man\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.50803, POW 20.5871, INT 12.24329\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You examine mail packet\nLargely demands from people on Earth that Valenti pursue what happened to relatives long ago dead during the foundation of the Aleheart Colony. There's a particularly insistent batch about someone called Charla (the authors had apparently written to Valenti before, without satisfaction).\n\n> You consult the computer about the fruit\nYour search turns up the following entries from Valenti's personal log:\n\nfour months ago: Appears that recording fruit retain everyone's social broadcasting as well as audio and visual -- the same stuff picked up by my live rock. Too bad it is not possible to read this off the recordings. Would be useful to record people and then study afterward what they really meant.\n\n> You consult computer about the rock\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: Aylene gave me a live rock! Which, in theory, calculates what everyone thinks of me, to many decimal places of accuracy (!). Don't think she realized what negative reinforcement this would be. Can't help experimenting with ways to make numbers go up and down. Bet I could crash all three to zero if I ran through the Solarium bareassed. Apparently the thing corresponds to a portion of the alien brain. I admit (if only to myself) that I find the concept disgusting. But I admit a lot to myself lately. I gather my predecessor talked to herself as well. I need some recordings of human speech or may go insane...\n\nfour months ago: Appears that recording fruit retain everyone's social broadcasting as well as audio and visual -- the same stuff picked up by my live rock. Too bad it is not possible to read this off the recordings. Would be useful to record people and then study afterward what they really meant.\n\nthree months ago: I tried asking her whether she can factor in my thoughts the same way her little live rock tracks everyone else's. She said no, I don't broadcast. She looked tremendously uncomfortable. I cannot say how smug this makes me.\n\nfive weeks ago: Is it possible that Liam is jealous of me because of Aylene? I find him lurking around after she's been here, looking sniffy and grim. Naturally Aylene's live rock doesn't offer any sort of data analysis function. That might be dangerously useful.\n\nfive weeks ago: Suppose I could feed recordings through social compression to get some idea what Feckless Assistant is thinking. Not sure I want to know, though. Despite live rock, this method feels a little like spying. Not to say I won't. Just that I'm not sure I will.\n\n> Examine widget\nA plain grey device, fitted to the shape of the hand,  on whose surface are three constantly flickering numbers: SOC 15.9316, POW 20.12017, INT 12.8573. SQUEEZE TO SUMMON AIDES. There is an inscription on the back, and it is in English: To LV from A3205.\n\n> You check what you're carrying\nYou are carrying:\ntwo kumquats\na damaged recorder\na vaccine sample\na tiny sleeping man\na puffy white jacket\na silver kiddush cup\nsome fuzzy bunny slippers\na yellow paper note\na mail packet\nan empty gift box\na handheld computer (in which is a data disk)\na grey widget saying SOC 15.4806, POW 20.3531, INT 12.2608\na magnificent ensemble of flowing scarlet robe, chronometer, grey undersuit, shoes, and socks\n\n> You consult computer about Peter\nYour search turns up the following entries from Valenti's personal log:\n\nfour months ago: More research. My Charla seems to have been married to Peter Long. Wish I had a clearer idea of what Peter Long was up to.\n\nfour months ago: So. Put together the archive files on Charla and her companion Peter Long here. I have what appear to be six versions of the same events, recorded in distinctly stylized and different forms -- including what looks like an opera. (Or some perversion thereof.) I'd say they were literary reworkings but no, they seem actually to be a convention-based compression of some original, now-lost data recording. The weird thing is that they don't all end the same way -- apparently the conventions of recording are allowed to override, for instance, matters of fact.\n\nfour months ago: Oh my. Cross-comparing the data and the compression algorithm information I could find I think I have worked my way to a fuzzy but more-accurate version of the original. Spent a good while in the archive building messing with the kiosks. Got to talk to A about this, find out if it is really true. If it is, we may end scuttling the whole treaty if I report what I found on Charla and Peter Long. Long is really the issue; it's just our bad bad bad bad bad luck that Charla's relatives are still alive and, worse, pushy about finding out what became of her.\n\nfour months ago: Amazing it never occurred to me to wonder exactly what happened when they lost Earth contact here. Peter Long's solution seems obvious. In retrospect.\n\nthree months ago: Long talk with A, and she essentially confirmed for me what I had already pieced together, though with some bits that I hadn't quite understood about Peter and Charla. And then I got rid of the recordings. The destruction of data, a slippery slope. This was much bigger than getting rid of Yamashita's correspondence disc but it felt less awful, somehow. This is something I cannot, cannot report back if I want these people saved. And increasingly I do. Even my infuriating assistant.\n\ntwo months ago: Funny sort of personal conversation with A. Turns out that she is descended from Peter and Charla herself -- the whole A line is. This is such a strange thought to me. Apparently they're among the most human-like of the remaining lines (though with certain obligatory modifications, of course), which I suppose is why she was assigned to deal with us.\n\n27 days ago: Went to the Earth Sanctuary and heard a few songs. Strangely moving. One of them was in fact about old Peter. Felt like it was the play to catch the conscience, etc., except of course in this case I'm not the murderer and it's everyone else's conscience that really ought to be bothered, not mine. It was a good song, though. They got out the flint knife at the end -- it's a prop of this performance, I gather.\n\n> You consult the computer about solution\nYour search turns up the following entries from Valenti's personal log:\n\nfour months ago: Amazing it never occurred to me to wonder exactly what happened when they lost Earth contact here. Peter Long's solution seems obvious. In retrospect.\n\n> You consult the computer about the knife\nYour search turns up the following articles:\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nYour search turns up the following entries from Valenti's personal log:\n\nseven weeks ago: Liam told me about the flint knife in the Earth Sanctuary. Turns out it wasn't brought by us (always thought that a really odd thing to send) but they brought it here from Earth themselves. There's some sort of gloomy symbolism there which, as usual, he couldn't bring himself to explain directly. A less useful assistant would be difficult to find.\n\n27 days ago: Went to the Earth Sanctuary and heard a few songs. Strangely moving. One of them was in fact about old Peter. Felt like it was the play to catch the conscience, etc., except of course in this case I'm not the murderer and it's everyone else's conscience that really ought to be bothered, not mine. It was a good song, though. They got out the flint knife at the end -- it's a prop of this performance, I gather.\n\n> You consult the computer about the contact\nYour search turns up the following entries from Valenti's personal log:\n\nfive months ago: I wonder whether HC have done any psychological studies on the effects of isolating a single person without any human contact whatever. I can guess the outcome!\n\nfour months ago: Amazing it never occurred to me to wonder exactly what happened when they lost Earth contact here. Peter Long's solution seems obvious. In retrospect.\n\n> You consult the computer about flushing\nYour search turns up the following articles:\n\nAleheart family structure: On Aleheart Colony marriage bears a strong resemblance to a corporate merger. Possessions, resources, and knowledge are pooled; the efficiency rating of the family unit is understood to be an average of the efficiency of all its members, with income determined accordingly, so that merger with a significantly less efficient partner is a sacrifice rarely made. Children are rated on a different scale, but their rating is also counted for the family starting at the age of four. This produces extra economic and social pressure towards flushing children who turn out to be lazy or ill-made.\n\ngift symbolism: knife: Apparently, according to the etiquette files, any edged instrument is a symbol of restrictions, living under strict controls imposed by someone else, and dating back to clinical trials in which new genetic lines deemed to be failing their intended purpose were slaughtered with a knife. This practice is now called flushing and does not require a blade, but the associations remain.\n\nYour search turns up the following entries from Valenti's personal log:\n\n28 days ago: Naturally after I read that I asked Aylene about it (if we're modeling our alliance on a marriage I'd rather not have \"marriage\" mean \"eugenics program\"). She says in practice there's hardly any \"flushing\". I still have some serious questions about this, but I think inasmuch as it applies to the current occasion we're looking rather at a joint stewardship of the resources available to both planets. HC should be able to live with that. I don't know whether the general population would be so enthusiastic, but the general population seems to think it's a point of principle not to make any concessions or in fact live in the real world in any way.\n\n> You consult the computer about history\nYour search turns up the following articles:\n\nEurope: This could take a while to read, but as far as recent history is concerned, that territory is now mostly under the control of High Command, and still populated, though not nearly so thickly as it once was. There are a lot of crumbling suburbs all over the former first world, where no one wants to live any longer, because the lifestyle eats resources and the neighborhoods are lonely.\n\nEarth history (general): The recent history of Earth is not light reading, and it's hard to scan through the encyclopedia article without some sense of irritation; but it was prepared with the understanding that the computer might be taken and read by the Aleheart colony. Perhaps that is why it is so coy about the plague years, the desolation of Africa, Chinese separatism...\n\nYour search turns up the following entries from Valenti's personal log:\n\nthree months ago: I don't know why High Command likes this conditional adoption concept. For one thing, even if we do make them agree to do what we say for a while, we don't have the power to keep them in line by force, and if they resent us they'll eventually fight back. And second, segregating a minority culture and relegating it to some ghetto has a long history of being a horrible idea. HC does not think of these things?\n\n> You consult the computer about Aleheart\nYour search turns up the following articles:\n\nAleheart Climate: The article is somewhat rough, since, though Earth has been running its own tests by probe and satellite on the viability of Aleheart's climate, most of its information comes from the statements of the Aleheart diplomatic structure. There are those paranoid enough to think that they might be fabricating the problem for unknown reasons.\n\nAleheart Colony: You've read the article before, but you refresh yourself on the major topics: how the Aleheart corporation grew large and powerful; how its forays into genetic experimentation came into conflict with many Earth laws; how Aleheart launched its own colony in order to have a place completely under its own jurisdiction. The rumors of human experimentation that trickled back to Earth made it difficult for Aleheart to continue operating at home at all, so instead the last employees were given a choice between layoff and emigration. Sometime after Aleheart Colony was established, it lost all contact with Earth, in the so-called Separation. The colony was picked up again only two years ago, orbiting a star in the wrong place, and so much changed that at first contact Earth-command thought it had heard from humanoid aliens.\n\nhuman genetic experimentation: There's no question, of course, that Aleheart has done things illegal on Earth -- far more extensively after all Earth contact was lost. The current population is the product of those changes; they've been changed in appearance and body shape, and probably in an assortment of personality traits. It is an open question whether they are still human enough for interbreeding, or whether they should now be considered a different species.\n\nSeparation: The separation of Earth and Aleheart Colony occurred for reasons as yet undetermined. Contact was re-established when Aleheart sent a message to Earth requesting a meeting.\n\nYour search turns up the following entries from Valenti's personal log:\n\nsix months ago: Oh, I feel I am losing touch. Don't know whether Kruger intends this: for a smart man he can be very stupid. What happens if you send to Aleheart someone with no living family or lovers on Earth, and no humans to talk to? Of course they're bound to go a little native: people are social.\n\nfive months ago: Have been doing the background research home people keep asking for, in attempt to stave off the suicidal gloom of winter, and because no one around here seems to want to do much in the mornings, when it is still so dark. Not that I blame them. But it turns out that the archives for Aleheart Corporation and the early days are terrible.\n\n> You consult the computer about Separation\nYour search turns up the following articles:\n\nAleheart Colony: You've read the article before, but you refresh yourself on the major topics: how the Aleheart corporation grew large and powerful; how its forays into genetic experimentation came into conflict with many Earth laws; how Aleheart launched its own colony in order to have a place completely under its own jurisdiction. The rumors of human experimentation that trickled back to Earth made it difficult for Aleheart to continue operating at home at all, so instead the last employees were given a choice between layoff and emigration. Sometime after Aleheart Colony was established, it lost all contact with Earth, in the so-called Separation. The colony was picked up again only two years ago, orbiting a star in the wrong place, and so much changed that at first contact Earth-command thought it had heard from humanoid aliens.\n\nSeparation: The separation of Earth and Aleheart Colony occurred for reasons as yet undetermined. Contact was re-established when Aleheart sent a message to Earth requesting a meeting.\n\nFirst contact: First contact between Earth and Aleheart Colony after separation was the result of an Aleheart ship coming within cautious hailing distance of Earth. It remained in the solar system for several days before approaching directly. The crew then sent a message in rather simple English and Chinese, requesting the right to meet \"to get to know one another with an eye toward better friendship\".\n\nYour search turns up the following entries from Valenti's personal log:\n\nseven months ago: If you ask me, the separation was the result of some kind of boneheaded physics experiment they did themselves. Who knows? Of course they wouldn't say, if so. But where do they get the floatpoints from anyway? Collective act of will so they'd never have to touch anything ever again?\n\nthree months ago: Weird sort of nobility about the separation story. Wish I could tell someone. God, god, god. I might ask for a human assistant or something. But of course what good would that do? Burdening a second person's conscience wouldn't really improve matters, and besides, he or she might not agree with me about what to do. No, I should avoid that.\n\n> You consult the computer about the conscience\nYour search turns up the following entries from Valenti's personal log:\n\nthree months ago: Weird sort of nobility about the separation story. Wish I could tell someone. God, god, god. I might ask for a human assistant or something. But of course what good would that do? Burdening a second person's conscience wouldn't really improve matters, and besides, he or she might not agree with me about what to do. No, I should avoid that.\n\n27 days ago: Went to the Earth Sanctuary and heard a few songs. Strangely moving. One of them was in fact about old Peter. Felt like it was the play to catch the conscience, etc., except of course in this case I'm not the murderer and it's everyone else's conscience that really ought to be bothered, not mine. It was a good song, though. They got out the flint knife at the end -- it's a prop of this performance, I gather.\n\n> You consult the computer about the nobility\nYour search turns up the following entries from Valenti's personal log:\n\nthree months ago: Weird sort of nobility about the separation story. Wish I could tell someone. God, god, god. I might ask for a human assistant or something. But of course what good would that do? Burdening a second person's conscience wouldn't really improve matters, and besides, he or she might not agree with me about what to do. No, I should avoid that.\n\n> You consult the computer about Yamashita\nYour search turns up the following articles:\n\nAmbassador Yamashita: You met Yamashita a few times before coming out here, but didn't get a strong impression of her, and her computer record is as tediously laudatory as you would expect; you lack the context to read between the lines. She spent several years here before honorably returning to Earth, apparently without doing anything other than sending home reams of reports. But possibly that was all there was to do here at the time.\n\nYour search turns up the following entries from Valenti's personal log:\n\neight months ago: Met my counterpart, the ambassador Aylene, today. Frankly, High Command should have left Yamashita here -- they probably did wonderfully having tea parties together and comparing fashion notes. Have never met another human -- no, strike that, because she isn't human. Have never met any person with so little emotional affect in speech and behavior. Not sure what gene modifications they made to her, but it is frightening.\n\neight months ago: Surprised and horrified by Yamashita's taste in office decor. Thought about donating hideous paintings to museum, but I worry this would lower us further in the opinion of the locals.\n\nsix months ago: Well. Have been going through Yamashita's correspondence disk. I have solved the mystery of the hideous paintings: they appear to be a gift from a lover back home, who painted them herself. I had not guessed Yamashita was interesting enough to have a secret lover Kruger doesn't know about.\n\nLover seems to be afflicted by residual plague nerve-degeneration too. I sense a conflict of interest! Wonder if Kruger did find out and yank Yamashita out for this reason? But since she doesn't seem to be languishing in disgrace, I don't know.\n\nfour months ago: Destroyed Yamashita's correspondence disk. Don't really want HC reprimanding her after the fact for relationship that was probably the one thing keeping her sane... Then again, when I look at the paintings... Oh well.\n\nthree months ago: Long talk with A, and she essentially confirmed for me what I had already pieced together, though with some bits that I hadn't quite understood about Peter and Charla. And then I got rid of the recordings. The destruction of data, a slippery slope. This was much bigger than getting rid of Yamashita's correspondence disc but it felt less awful, somehow. This is something I cannot, cannot report back if I want these people saved. And increasingly I do. Even my infuriating assistant."
    },
    {
        "text": "[Themes: Science Fiction, Historical, prehistory, language, constructed language, horse]\n\nLife is pretty routine. Search for Food. Eat it. Hide from Enemies.\nIgnore the Others. Then one day, you notice a staggeringly tall\nEdifice, right here in the middle of the forest. Has it been here\nbefore?\n\n\n\nType INFO for hints and credits.\nPost-Competition Release, \nv6.14 Library 6/7\n\nHere, in the forest where you have spent your entire life, stands a\nhuge Edifice, reaching into the clouds high above you.\n\nThe Others are here, doing typically boring things.\n\nThough you can't see them, you sense your Enemies lurk nearby.\n\nYou can also see Rock here.\n\n[Author's Note: Something new in your everyday hunter-gatherer routine: where did this strange edifice come from? Dare you enter and explore the secrets of this... thing, or do you try to face your enemies? Like you have a choice.]\n\n> About yourself\nYou are well adapted to your environment. Your long arms and legs allow\nyou to easily climb and swing in trees; your fur makes it easier to\nwithstand the occasional cold night. Your colleagues seem to think your opposable thumbs make you look funny, which is why you spend so much\ntime alone, but all in all, they've worked out pretty well.\n\n> You examine the Rock\nIt's a rock. Unlike the Edifice, easily ignorable.\n\n> You take Rock\nTaken.\n\nThe Others turn to stare at you, dumbfounded that anyone would think to\npick up an inedible object.\n\n> You eat the Rock\nIf you thought you were finding food when you picked this up, you were\nsadly mistaken.\n\n> You throw the Rock at Others\nThe Others avoid Rock easily, but watch you more warily.\n\nThe Others turn to stare at you, dumbfounded that anyone would think to\ntoss the rock.\n\n> You examine the enemies\nYour Enemies have sharp teeth, and would like nothing better than to\neat you!\n\n> You look at Edifice\nHere, in the forest where you have spent your entire life, stands a\nhuge Edifice, reaching into the clouds high above you.\n\nThe Others are here, doing typically boring things.\n\nThough you can't see them, you sense your Enemies lurk nearby.\n\nHere, in the forest where you have spent your entire life, stands a\nhuge Edifice, reaching into the clouds high above you.\n\nThe Others are here, doing typically boring things.\n\nThough you can't see them, you sense your Enemies lurk nearby.\n\nThe Edifice towers above you, shooting up through the trees of the\nforest. It is completely smooth, apart from some irregularities above a\ntall, shallow rectangular recess, carved into the stone. You don't\nremember seeing it here before today, but, then again, it's not food\nand it doesn't seem dangerous.\n\nA distant howl sends a chill down your spine.\n\n> You climb Edifice\nThe walls are much too smooth.\n\n> You examine the recess\nThe recess is slightly larger than you, and is flush with the ground at\nthe bottom of the Edifice. The stone which fills it is slightly darker\nthan the stone walls which surround it.\n\n> You throw the Rock at Edifice\nRock narrowly misses the irregularities above the recess.\n\nThe Others turn to stare at you, dumbfounded that anyone would think to\ntoss the rock.\n\n> You touch the recess\nIf anything, the stone within the recess is smoother and colder than\nthat of the rest of the tower.\n\n> You enter the recess\nThe recess is too shallow to enter.\n\nThe wind shifts, carrying your scent in a new direction.\n\n> You hit the recess\nYou sense a slight tremor of movement, but nothing more.\n\nWith a snarl and a leap, something dark and dangerous leaps out of the\nforest at you. The smell of particularly bad breath is the last thing\nyou remember.\n\n> No\nThat was a rhetorical question.\n\n> Waylay enemies\nYour Enemies are too far away.\n\n> You ask Others about Edifice\nThe Others stare at you, confused.\n\n> You search Edifice\nYou find nothing of interest.\n\nA distant howl sends a chill down your spine.\n\n> You feel recess\nYou sense a slight tremor of movement, but nothing more.\n\nThe wind shifts, carrying your scent in a new direction.\n\nIf anything, the stone within the recess is smoother and colder than\nthat of the rest of the tower.\n\n> You examine the irregularities\nOne of the irregularities reminds you of a snake.\n\nYou feel sure that your Enemies have found your trail now.\n\n> You shake Edifice\nYou can't see any such thing.\n\n(first taking the Edifice)\nThat's fixed in place.\n\nWith a snarl and a leap, something dark and dangerous leaps out of the\nforest at you. The smell of particularly bad breath is the last thing\nyou remember.\n\n> You throw the Rock at the enemies\nYour Enemies are too far away.\n\nWith a snarl and a leap, something dark and dangerous leaps out of the\nforest at you. The smell of particularly bad breath is the last thing\nyou remember.\n\n> You hide\nQuickly, you scamper up a tree and swing over to a different one.\nRock-solid, you wait. Not long afterwards, one of your Enemies comes\nwandering out of the Forest, looking for you. It circles the tree you\nclimbed a few times, staring up into the branches. You hardly dare\nbreathe as it stops and scans the rest of the forest. Finally, with a\nlow growl, it moves away. Thankfully, you descend back to the ground.\n\n> You pick up Edifice\nThat's fixed in place.\n\n> You examine Edifice\nThe Edifice towers above you, shooting up through the trees of the\nforest. It is completely smooth, apart from some irregularities above a\ntall, shallow rectangular recess, carved into the stone. You don't\nremember seeing it here before today, but, then again, it's not food\nand it doesn't seem dangerous.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You climb Edifice\nThe walls are much too smooth.\n\n> You examine the recess\nThe recess is slightly larger than you, and is flush with the ground at\nthe bottom of the Edifice. The stone which fills it is slightly darker\nthan the stone walls which surround it.\n\n> You get the Rock\nThe Others stare at you, confused.\n\nYou already have that.\n\nThe Others turn to stare at you, dumbfounded that anyone would think to\npick up an inedible object.\n\n> You throw the Rock at the recess\nThat can't contain things.\n\nClang! A brash sound of stone on stone resounds from the recess. It\nbegins to fade and drop in pitch when the Edifice itself picks up on\nthe resonance. The clang transforms into a harsh throbbing, growing,\ndeepening, until the scenery itself seems to shimmer with the wavering. Finally, it settles back down. A small cloud of dust is settling where\nthe recess--was? The stone there is gone, replaced by a spongy\nblackness.\n\nRock lies on the ground in front of you, unblemished.\n\nThe Others turn to stare at you, dumbfounded that anyone would think to\ntoss the rock.\n\n> Inventory\nYou are carrying:\nUseful Rock\n\n> About yourself\nYou are well adapted to your environment. Your long arms and legs allow\nyou to easily climb and swing in trees; your fur makes it easier to\nwithstand the occasional cold night. Your colleagues seem to think your opposable thumbs make you look funny, which is why you spend so much\ntime alone, but all in all, they've worked out pretty well.\n\n> You touch the recess\nIf anything, the stone within the recess is smoother and colder than\nthat of the rest of the tower.\n\n> You touch yourself\nHesitantly, you step inside the Edifice,...\n\nGreen sunlight filters in from the west through the open recess,\nilluminating a small, round room, simple but totally foreign to you. A staircase (when did you learn that word?) winds up along the curved\nwall to another level above you, and, oddly, another doorway leads\neast, as if it would lead back into the forest.\n\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which adorn one panel on the wall next to\nthe door.\n\nThe simple door is closed.\n\nYou can't see any such thing.\n\n> You examine the etchings\nExamining the panel near the door, you can see a man, wandering across\nthe plains, an animal of some sort, and a tall tree.\n\n> You look at door\nThe door seems to lead out the east side of the Edifice.\n\n> You touch panel\nThe etchings seem almost alive, as if dancing under your fingertips."
    },
    {
        "text": "[Themes: Science Fiction, Historical]\n\n> You look around\nGreen sunlight filters in from the west through the open recess,\nilluminating a small, round room, simple but totally foreign to you. A staircase (when did you learn that word?) winds up along the curved\nwall to another level above you, and, oddly, another doorway leads\neast, as if it would lead back into the forest.\n\n> You look at the staircase\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which adorn one panel on the wall next to\nthe door.\n\nThe simple door is closed.\n\nThat's not something you need to refer to in the course of this game.\n\n> You open the door\nYou open the simple door.\n\n> You go east\npass through the door.\n\nWell, this certainly isn't the Forest you've come to know and love. You\nare standing in the middle of a vast grassland, broken only by the\nincongruous stone arch you passed through on your way here. Through it,\nyou can see back into the dimly-lit Edifice to the west, a sharp\ncontrast to the bright sunlight all around you.\n\nListening closely, you can hear the sounds of running water away to the northeast.\n\nTo the east some kind of animal roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> About yourself\nYou're different. You are about as tall as a two-year-old sapling, and\nyour arms come down to about your knees. Walking upright is more\ncomfortable now, though you're hunched over. Your thin layer of hair\ndoes little to block the wind, but this doesn't seem to bother you.\nYour head seems to be bigger than it used to be in the Forest.\n\nYou feel a little thirsty.\n\n> Go northeast\nHere you see the beginnings of a small spring.\n\nThe spring bubbles up out of the earth, and has turned the whole area\nhere quite muddy.\n\nTo the southeast some kind of animal roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\n> Xyzzy\nYou mutter a nonsense word, and, surprisingly, the Edifice trembles in response! Everything else goes silent, and for a moment, it sounds as\nif the Edifice might collapse! Finally, it stills, and the world\nreturns to normal.\n\nYou seem to have created a Word of Power.\n\n> You examine the water\nThe spring bubbles up out of the earth, and has turned the whole area\nhere quite muddy.\n\n> Go southeast\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nTo the south some kind of animal roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You examine Stump\nStump is slightly soft from years of decay.\n\n> You examine the grasses\nThe long grasses bend in the breeze.\n\n> Go east\nThe lush grassland to the west begins to peter out here, becoming more\nrocky, dry, and hilly.\n\nThe stream cascades down from a pool to the northwest, rushing away and thinning to the east. Wedged under a rock, you see a dead animal of\nsome sort, strangely distorted by the rushing water.\n\nTo the southwest some kind of animal roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of baked rock\nas it whispers over the water.\n\n> You examine the dead animal\nThis animal must have died a long time ago. It is completely\nunrecognizable.\n\n> You take it\nThe animal seems to be stuck in a crack at the bottom of the stream.\nBesides, the water here is probably completely contaminated anyway.\n\n> You search the dead animal\nThe animal is stuck at the bottom of the stream.\n\n> You go to the southwest\nYou are in the middle of an open grassland, the only visible tree far\nto the north. Despite your history of living in a forest, the wide open\nspace feels free and natural, as if you had spent your entire life\nhere.\n\nListening closely, you can hear the sounds of running water to the\nnorth.\n\nNearby, you see Beast, chewing contentedly on some grass.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\nBeast finishes cropping the grass in his area, and wanders across the\nplain up next to you.\n\n> You look at Beast\nBeast is about three times your size, with a soft brown coat and nubs\nof horns on his head. He is currently next to you, chewing contentedly\non some grass.\n\n> Pet Beast\nCarefully, you approach and touch Beast. His hide is thick and soft,\nand covers a rather plump body.\n\n> Inventory\nYou are carrying:\nUseful Rock\n\n> You ride Beast\nYou get a running start and attempt to leap on Beast. Unfortunately,\nBeast steps away at the last minute, and you end up on the ground.\n\n> You ride Beast\nYou get a running start and attempt to leap on Beast. Unfortunately,\nBeast steps away at the last minute, and you end up on the ground.\n\nBeast finishes cropping the grass in his area, and wanders across the\nplain up next to you.\n\n> You follow Beast\nBut Beast is right here!\n\n> You examine the grass\nThe long grasses bend in the breeze.\n\nYou're feeling rather parched.\n\n> You follow you\nBeast has better things to do.\n\n> You go north\nYou wander through the grassland to the north.\n\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You go north\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool, shaded by a tall tree to the\nnorth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\n> Drink pool\nYou push your way through the grass and rushes to get a drink, but you\nend up stirring up a lot of mud in the process. You take a drink, but\nit's not that satisfying.\n\n> You sit on Rock\n(Flat Rock)\nYou get onto Flat Rock.\n\n> Drink pool\nYou crouch on the edge of the rock and drink deeply from the wide pool.\nIn the process, the rock you are squatting on gets wet, but your thirst\nis now completely satisfied.\n\n> You go to the north-east\nYou'll have to get off Flat Rock first.\n\nYour stomach growls.\n\n> You go outside\nYou get off Flat Rock.\n\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool, shaded by a tall tree to the\nnorth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\n> Go northeast\nYou can follow the stream west upstream or southeast downstream, or\nleave the stream north to the tree or south to open grassland.\n\n> You go north\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\n> You go to the northeast\nThe land begins to get rocky and treacherous in that direction.\n\n> Up\nClimbing trees is a lot harder than you remember. You've managed to\nposition yourself about three-quarters of the way up the tree, and are\nsitting in a fork in the trunk.\n\nListening closely, you can hear the sounds of running water below you\nto the south.\n\nTo the south, beyond the stream and a stump, Beast roams the\ncountryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\nFrom this vantage point, you can see a large dead Branch, jutting out\nto the east.\n\n> You go east\nYou would surely fall to your death!\n\n> You examine Branch\nBranch is large, taking up a good portion of the tree. It must be held\nin place by adjacent branches, because it has almost detached from the\ntrunk near your feet.\n\n> You get Branch\nBranch must be attached more firmly than it looked. You seem unable to\ndetach it with your hands.\n\n> You hit Branch with Rock\nCRAAAAACK! After a few moments of persistent hacking, the\nalready-weakened Branch breaks apart from the tree and swings to the\nground, the momentum pulling it from the clutches of the surrounding\nbranches."
    },
    {
        "text": "[Themes: Historical, Science Fiction, language]\n\n> Go down\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\nYou can see Dead Branch here.\n\n> You take Branch\nYou strain at the heavy branch for a bit, but are unable to move it\nmore than a few inches.\n\n> You look at Branch\nBranch is quite large. A long, central shaft, twice as long as you are\ntall and surprisingly straight is covered with twisty branches and dead\nleaves.\n\n> You remove smaller branches\n(first taking the twisty branches)\nThe branches are currently attached to the main branch.\n\n> You break the smaller branches\nIt's a good thing Branch was so dry. It still takes some concerted\neffort, but you manage to break off the side branches from Branch.\n\n> You examine Branch\nThe denuded branch is about as thick around as your thigh on one end,\nand about as thick around as your wrist on the other.\n\n> You take Branch\nEven devoid of any extraneous branches, Branch is still too long and\nheavy to move. You figure you could probably carry one half of it, but\nnot the whole thing.\n\n> You cut Branch\nThough that might take out some of your frustrations, it is unlikely to accomplish much.\n\nCutting that up would achieve little.\n\n> You pull the branch south\nYou can lean forwards, backwards, right, or left.\n\n> Break branch\nWith a heave, you bend the branch over itself, snapping it in two.\n\n> You examine Branch\nWhich do you mean, Stick or Log?\n\n> You take the stick\nTaken.\n\n> You look at stick\nStick is about as long as you are tall, and surprisingly straight.\nAlong its shaft, it tapers from about the width of your bicep to the\nwidth of your wrist.\n\n> You cut the Stick\nUsing Rock, you whittle down the tapered end of Stick to a point."
    },
    {
        "text": "[Themes: Science Fiction, Historical, prehistory]\n\n> You look at your surroundings\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\nYou can see Log and some twisty branches here.\n\n> You take the branches\n(the twisty branches)\nTaken.\n\n> You examine Log\nAs thick around as your thigh at its thickest, Log is about as long as\nyou are tall.\n\n> You look at the branches\nWhich do you mean, Tree or the twisty branches?\n\n> You look at the twisty branches\nThe many branches are numerous, dry, and twisty. Twigs and leaves stick\nout at all angles.\n\n> You take the Log\nitems.\n\n> Go south\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nYou're beginning to feel rather hungry.\n\n> Go south\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You go south\nYou are in the middle of an open grassland, the only visible tree far\nto the north. Despite your history of living in a forest, the wide open\nspace feels free and natural, as if you had spent your entire life\nhere.\n\nListening closely, you can hear the sounds of running water to the\nnorth.\n\nNearby, you see Beast, chewing contentedly on some grass.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You kill Beast with the Stick\nYou throw Spear, but completely miss. You feel you could do better next\ntime, though.\nBeast looks at you askance.\n\n> You take the Stick\nTaken.\n\n> You examine Beast\nBeast is about three times your size, with a soft brown coat and nubs\nof horns on his head. He is currently next to you, chewing on some\ngrass, watching you.\n\n> Hello\nBeast gazes at you steadily, and you feel rather foolish.\n\n> You throw Spear at Beast\nSpear strikes a glancing blow, landing to one side. You're getting\nslightly better.\nBeast looks at you askance.\n\n> You follow you\nBeast has better things to do.\n\n> You drop dead\nBeast gazes at you steadily, and you feel rather foolish.\n\nBeast finishes cropping the grass in his area, and wanders across the\nplain up next to you.\n\n> You throw the Stick at Beast\nAnother miss, but you're steadily improving.\nBeast looks at you askance.\n\n> You take the Stick\nSpear is about as long as you are tall, and surprisingly straight.\nAlong its shaft, it tapers from about the width of your bicep to where\nyou have sharpened it to a point.\n\nTaken.\n\n> You throw the Stick at Beast\nAnother miss, but you're steadily improving.\nBeast looks at you askance.\nBeast decides you are too close for comfort, and wanders away to the\nnorthwest.\n\n> You go northwest\nYou wander through the grassland to the northwest.\n\nSeeing you move, Beast lopes away to the northwest.\n\nBeast is now a little ways northwest, nervously watching you and pawing\nthe ground.\n\n> You throw the Stick at Beast\n(first taking Spear)\nYou wander back to pick up Spear.\n\nBeast finishes cropping the grass in his area, and wanders across the\nplain to the northwest.\nAnother miss, but you're steadily improving.\nBeast looks at you askance.\nBeast decides you are too close for comfort, and wanders away to the\nsoutheast.\n\n> You throw Rock at Beast\nUseful Rock falls way short of its mark, but Beast appears to have\nnoticed anyway.\n\nBeast decides he's had just about enough of your attacks, and lopes\naway with surprising speed and agility for one so large. You run to\ncatch up, but he quickly outdistances you, becoming a dot on the\nhorizon in a matter of seconds, and disappearing entirely in a matter\nof minutes."
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language]\n\n> Look around\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\n> Inventory\nYou are carrying:\nUseful Rock\n\n> Up\nClimbing trees is a lot harder than you remember. You've managed to\nposition yourself about three-quarters of the way up the tree, and are\nsitting in a fork in the trunk.\n\nListening closely, you can hear the sounds of running water below you\nto the south.\n\nTo the south, beyond the stream and a stump, Beast roams the\ncountryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\nFrom this vantage point, you can see a large dead Branch, jutting out\nto the east.\n\n> You cut the branches\nWhich do you mean, the twisty branches or Tree?\n\n> Twisty\nIt's a good thing Branch was so dry. It still takes some concerted\neffort, but you manage to break off the side branches from Branch.\n\n> Break branch\nWith a heave, you bend the branch over itself, snapping it in two.\n\n> Inventory\nYou are carrying:\nUseful Rock"
    },
    {
        "text": "> Look around\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\nYou can see Stick, Log and some twisty branches here.\n\n> You get the Stick\nTaken.\n\n> You cut the Stick\nUsing Rock, you whittle down the tapered end of Stick to a point.\n\n> You throw the Stick at Tree\nFutile.\n\n> You throw the Stick\nDropped.\n\n> Sharpen stick\nSpear is plenty sharp already.\n\n> You look at stick\nSpear is about as long as you are tall, and surprisingly straight.\nAlong its shaft, it tapers from about the width of your bicep to where\nyou have sharpened it to a point.\n\n> Go south\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\n> Go south\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You throw Spear at Stump\nYou throw Spear, but completely miss. You feel you could do better next\ntime, though.\n\n> You throw Spear at Stump\nSpear strikes a glancing blow, landing to one side. You're getting\nslightly better.\n\n> You continue\n(first taking Spear)\nAnother miss, but you're steadily improving.\n\n> You throw Spear at Stump\n(first taking Spear)\nA miss, but only barely!\n\n> You throw Spear at Stump\n(first taking Spear)\nA hit! A very palpable hit!\n\nSpear embeds itself into the soft wood.\n\n> You throw Rock at Stump\nYou throw Useful Rock, but completely miss. You feel you could do\nbetter next time, though.\n\n> You throw Rock at Stump\n(first taking Useful Rock)\nUseful Rock strikes a glancing blow, landing to one side. You're\ngetting slightly better.\n\n> You throw Rock at Stump\n(first taking Useful Rock)\nAnother miss, but you're steadily improving.\n\nYou're beginning to feel rather hungry.\n\n> You throw Rock at Stump\n(first taking Useful Rock)\nAnother miss, but you're steadily improving.\n\n> You throw Rock at Stump\n(first taking Useful Rock)\nA miss, but only barely!\n\n> You throw Rock at Stump\n(first taking Useful Rock)\nA hit! A very palpable hit!\n\nHaving no point, Useful Rock falls to the ground."
    },
    {
        "text": "> You describe your surroundings\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nTo the south Beast roams the countryside.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\nSticking out of Stump is Spear.\n\n> You throw Spear at Beast\nA hit! A very palpable hit!\n\nSpear impales Beast deeply. Beast gives a low cry, looks at you with\nits mournful brown eyes, and keels over, dead.\n\n> You look at Beast\nBeast lies dead at your feet, a gruesome sacrifice to your hunger.\n\n> You eat Beast\n(first taking Dead Beast)\nBeast is much too heavy to move.\n\n> You cut Beast with Rock\nDoggedly, you carve open Beast with Rock, exposing the meat underneath.\n\n> You eat Meat\n(first taking Meat)\nThat seems to be a part of Dead Beast.\n\n> You examine the Meat\nA slab of meat sits attached to Beast's rib cage.\n\n> You cut the Meat\n(with Useful Rock)\nA few more minutes of hacking, and you have sectioned off a nice large\nslab of meat from Beast.\n\n> You take the Meat\nYou already have that.\n\n> You eat the Meat\nYou gnaw at the raw meat for a bit. It's okay, but not extremely\nappetizing. It should hold you over for a while at least, but not\nforever.\n\n> You check your inventory\nYou are carrying:\nMeat\nUseful Rock\n\n> You examine the Meat\nA large, juicy slab of meat."
    },
    {
        "text": "[Themes: Historical, Science Fiction, prehistory]\n\n> You look around\nYou are in the middle of an open grassland, the only visible tree far\nto the north. Despite your history of living in a forest, the wide open\nspace feels free and natural, as if you had spent your entire life\nhere.\n\nListening closely, you can hear the sounds of running water to the\nnorth.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\nDead Beast lies here, grasses slowly swaying over its corpse. One side\nof it has been peeled back, revealing a gaping hole where a swath of\nmuscle has been removed.\n\nYou can also see Spear here.\n\n> You take the grass\nYou pluck a handful of the dry grass.\n\n> Go north\nYou wander through the grassland to the north.\n\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the grass, which bows in its wake.\n\n> You examine Stump\nStump is slightly soft from years of decay.\n\n> Go north\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\n> You put the grass on flat Rock\n(the handful of grass on Flat Rock)\nYou put the handful of grass on Flat Rock.\n\n> You hit flat Rock with useful Rock\nYou strike Rock sharply across Rock. A shower of sparks flies out!\n\nSome of the sparks hit the handful of grass. A tiny flame appears,\nwhich quickly licks across to the others. Soon, all the grass is\nburning.\n\nThe small flame flickers and begins to grow.\n\n> You take grass\nYou pluck a handful of the dry grass.\nFire expends all of its fuel and burns out, leaving nothing but Ashes.\n\n> You put the Meat on Spear\nYou stab Meat with Spear. It is now hanging off the end.\n\n> You check your inventory\nYou are carrying:\na handful of grass\nSpear\nMeat\nUseful Rock\n\n> Go north\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\nYou can see Log and some twisty branches here.\n\n> You take the branches\n(the twisty branches)\nTaken.\n\n> You take the Log\nitems.\n\n> Go south\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nSitting on Flat Rock you see some Ashes.\n\n> You move Ashes\nNothing obvious happens.\n\n> Blow ashes\nThe Ashes billow and blow away.\n\n> You put all on flat Rock\ntwisty branches: Done.\nhandful of grass: Done.\nSpear: Done.\nUseful Rock: Done.\n\n> Go north\nThe lush grassland to the south and southwest begins to get rocky here.\nJust at the border between grassland and rocks, a mighty Tree towers\nabove you.\n\nListening closely, you can hear the sounds of running water to the\nsouth.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit rustles through the branches of the tree.\n\nYou can see Log here.\n\n> You take the Log\nYou struggle under the heavy load, but manage to heft the remains of\nBranch.\nTaken.\n\n> Go south\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nSitting on Flat Rock you see Useful Rock, Spear, inside which is Meat,\na handful of grass and some twisty branches.\n\n> You put the Log on flat Rock\nYou put Log on Flat Rock.\n\n> Useful\nSpear: Taken.\nUseful Rock: Taken.\n\nYou're now extremely hungry.\n\n> You hit flat with useful\nYou strike Rock sharply across Rock. A shower of sparks flies out!\n\nSome of the sparks hit the handful of grass. A tiny flame appears,\nwhich quickly licks across to the others. Soon, all the grass is\nburning.\n\nA few sparks hit the branches, but they quickly die out. One spark hits\na solitary twig, which briefly flares, but soon dies out again.\nA few sparks hit Log, but die away before igniting anything.\n\nThe small flame flickers and begins to grow.\n\n> You put the grass on the twigs\nYou need to be holding the fields of grass before you can put it on top\nof something else.\nFire expends all of its fuel and burns out, leaving nothing but Ashes.\n\n> You put twigs on the grass\nYou need to be holding the twigs and leaves before you can put them on\ntop of something else.\nFire expends all of its fuel and burns out, leaving nothing but Ashes.\n\n> You take the twigs\nThe twigs and leaves are currently attached to the branches.\n\n> You cut branches\nCutting those up would achieve little.\n\n> You cut the twigs\nYou pull off many of the twigs and leaves from the branches.\n\n> You check what you're carrying\nYou are carrying:\nsome twisty branches\na handful of grass\nUseful Rock\nSpear\nMeat\n\n> You take all\ntwigs and leaves: Taken.\nFlat Rock: That's fixed in place."
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language]\n\n> You look around\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nSitting on Flat Rock you see some Ashes and Log.\n\n> Blow ashes\nThe Ashes billow and blow away.\n\n> You put the twigs on Rock\nWhich do you mean, Flat Rock or Useful Rock?\n\n> You put the twigs on flat Rock\nYou put the twigs and leaves on Flat Rock.\n\n> You put branches on flat Rock\nYou put the twisty branches on Flat Rock.\n\n> You put the grass on flat Rock\n(the handful of grass on Flat Rock)\nYou put the handful of grass on Flat Rock."
    },
    {
        "text": "[Themes: Historical, Science Fiction, horse, constructed language]\n\n> Describe the surroundings\nThe land here is divided by a stream, which has collected to form a\nwide, still pool.\n\nWeeds and long grasses choke the sides of the pool all around, but a\nlong, flat rock juts out into the pool. The sun shines through a gap in\na tree to the north, bathing the rock in sunlight.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nSitting on Flat Rock you see a handful of grass, some twisty branches,\nsome twigs and leaves and Log.\n\n> You hit flat Rock with useful Rock\nYou strike Rock sharply across Rock. A shower of sparks flies out!\n\nSome of the sparks hit the handful of grass. A tiny flame appears,\nwhich quickly licks across to the others. Soon, all the grass is\nburning.\n\nA few sparks hit the branches, but they quickly die out.\n\nA few sparks hit the pile of twigs. A twig flares, and a leaf on it\ncatches fire. Soon, a small flame dances between the leaves.\nA few sparks hit Log, but die away before igniting anything.\n\nThe small flame flickers and begins to grow.\n\n> Wait\nTime passes.\n\nFire grows large enough to consume the twigs, and becomes even bigger.\n\n> You get the branches\nCarefully, you pull the twisty branches away from Fire's reach.\n\nFire grows large enough to consume the twigs, and becomes even bigger.\n\n> You put the branches on the twigs\nUnfortunately, the twigs and leaves are now a part of Fire.\n\nFire grows steadily, and you can begin to feel heat coming from it.\n\n> You put the branches on Fire\nYou carefully add the twisty branches to the Fire, hoping it catches.\n\nFire begins licking at the dry branches, and shortly they are all\nablaze.\n\n> You cook the Meat\nYou hold Meat over Fire, letting the heat begin to cook it.\n\nIf you don't get some food soon, you're likely to faint.\n\nFire burns a little hotter, popping as it does so.\n\n> Keep going\nYou hold Meat over Fire, letting the heat begin to cook it.\n\nFire burns a little hotter, popping as it does so.\nThe meat begins to simmer.\n\n> You look at the Meat\nA slightly warm slab of meat.\n\nFire spreads until it has engulfed the Log. It is now so hot that you\ncan feel it from several feet away.\nJuices bubble from meat's center.\n\n> You examine the Meat\nMeat is turning dark around the edges.\nMeat begins to darken around the edges.\n\n> You examine the Meat\nMeat is turning dark around the edges.\nMeat is almost completely cooked.\n\n> Wait\nTime passes.\nMeat has been nicely browned, and looks delectable.\n\n> You eat the Meat\n(first taking Meat)\nYou pull Meat from the end of Spear.\n\n> You eat the Meat\nYou eat the cooked meat, savoring every morsel. Your hunger has been\ncompletely satiated, and you feel strangely content.\n\n> You eat Fire\n(first taking Fire)\nInvoluntarily, you jerk your hand back away from Fire when the flames\nlick your fingers. Ow!\n\n> Pray\nNothing practical results from your prayer.\n\n> Xyzzy\nAs you speak the Word again, you hear a rumbling in the distance, but\nnothing further happens.\n\n> You get all\nFlat Rock: That's fixed in place.\n\n> You get Fire\nInvoluntarily, you jerk your hand back away from Fire when the flames\nlick your fingers. Ow!\n\n> Light Stick\nYou carefully add Spear to the Fire, hoping it catches.\n\nFire spreads to Spear, and shortly it is completely aflame.\n\n> You look at what you're carrying with you\nYou are carrying:\nUseful Rock\nSpear\n\n> You go to the southwest\nThe main feature of this area of the grassland is a large, squat,\nblackened Stump, evidently a victim of a past brush fire. The grasses\nwave around Stump, and one or two have taken root in the Stump itself.\nSome day, this will be little more than a rise in the countryside.\n\nListening closely, you can hear the sounds of running water to the\nnorth and east.\n\nA gentle breeze blows from the northeast, carrying a hint of smoke as\nit rustles through the grass, which bows in its wake.\n\nHere you see the beginnings of a small spring.\n\nThe spring bubbles up out of the earth, and has turned the whole area\nhere quite muddy.\n\nA gentle breeze blows from the northeast, carrying a hint of pollen as\nit whispers over the water.\n\nWell, this certainly isn't the Forest you've come to know and love. You\nare standing in the middle of a vast grassland, broken only by the\nincongruous stone arch you passed through on your way here. Through it,\nyou can see back into the dimly-lit Edifice to the west, a sharp\ncontrast to the bright sunlight all around you.\n\nListening closely, you can hear the sounds of running water away to the northeast.\n\nA gentle breeze blows from the northeast, carrying a hint of smoke as\nit rustles through the grass, which bows in its wake.\n\n> You go west\nGreen sunlight filters in from the west through the open recess,\nilluminating a small, round room, simple but totally foreign to you. A staircase (when did you learn that word?) winds up along the curved\nwall to another level above you, and, oddly, another doorway leads\neast, as if it would lead back into the forest.\n\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which stretch around the entire room, from\nthe doorway to the staircase.\n\nThe simple door is open. Oddly, you see grassland on the other side,\nnot forest.\n\n> You examine the etching\nExamining the panel near the door, you can see a man, wandering across\nthe plains, an animal of some sort, and a tall tree.\n\nstream, drinking deeply.\n\nIn the next panel, you see the man fashioning a spear from a fallen\ntree branch, and using it to attack and kill the animal.\n\nIn the next panel, the man is making a fire on the rock by the stream.\n\nIn the final panel, the man is cooking and eating the animal.\n\n> About you\nYou are about as tall as a two-year-old sapling, and your arms come\ndown to about your knees. Walking upright is more comfortable now,\nthough you're hunched over. Your thin layer of hair does little to\nblock the wind, but this doesn't seem to bother you. Your head seems to\nbe bigger than it used to be in the Forest.\n\nYou are no longer either thirsty or hungry.\n\n> Go upwards\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is closed.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which adorn one panel on the wall next to the door.\n\n> You look at the etching\nThe panel near the door contains etchings of a man, wandering through a\nforest.\n\n> You go east\npass through the door.\n\nThis is a small, cleared area in front of your Hut in the middle of the\nforest. The autumn leaves crunch under your feet, and the smell of\nwinter is in the air. A well-worn path runs to the south towards the\nsound of rushing water, and another leads north, deeper into the\nforest.\n\nStrangely, you seem to have entered this area through a\nrectangular-shaped hole in a tree to the west.\n\nNear the door is Firepit, where you cook all your meals.\n\n> About yourself\nYou're different. You seem to be walking almost perfectly upright now,\nand your hands only come down to mid-thigh. Your head is even larger\nthan it was in the plains, and your jaw juts forward. You feel you have\nmuch more fine motor control of the muscles around your mouth. You also\nseem to have some sort of skin wrapped around your waist.\n\n> You look at the skin\nYou seem to be walking almost perfectly upright now, and your hands\nonly come down to mid-thigh. Your head is even larger than it was in\nthe plains, and your jaw juts forward. You feel you have much more fine\nmotor control of the muscles around your mouth. You also seem to have\nsome sort of skin wrapped around your waist.\n\n> You look at what you're carrying with you\nYou are carrying:\nSpear\nUseful Rock\n\n> You look at Hut\nA hide hangs over the entryway of your Hut, to the east.\n\n> You go east\nYou push aside the hide and enter the Hut.\n\nYou are inside the hut where it seems you have lived all your life. You\nlive here with Grandmother (your Mother), Wife, and Son. The normally\nhomey smell you associate with this place is currently masked by the\nsmell of sickness. Stray light and fresh air come in around a\nhide-covered doorway, back to the west, but they do little to mask the\nsense of dread and concern that hangs over everyone in this room.\n\nA hushed conversation is coming from the two women of the house, as\nthey do what they can for your boy.\n\nWife takes the rag from Son's head and replaces it with a dampened one.\n\nAs you enter, Wife runs up to you and throws her arms around you.\n\"Thankful! Good! Grandmother says Fever more bad.\" She indicates Son,\nas Grandmother exchanges a now-dry rag on his forehead for a wet one. \"Grandmother says you search forest now, find Feverleaf. If you find,\nSon will live, but last chance.\" You look at Son again as Wife gazes imploringly at you, and you turn around quickly, so Wife will not see\nyou wipe a tear from your cheek.\n\n> You ask Grandmother about Feverleaf\nGrandmother sighs impatiently. \"Told you before. Long stem, with many\ngroups of four round leaves. Find in Forest.\"\n\n> Well excuuuuuuuuuse you\nYou quail at the thought of ordering Grandmother around, especially\nnow, when she's in one of her authoritative moods.\n\n> Go west\nThis is a small, cleared area in front of your Hut in the middle of the\nforest. The autumn leaves crunch under your feet, and the smell of\nwinter is in the air. A well-worn path runs to the south towards the\nsound of rushing water, and another leads north, deeper into the\nforest.\n\nStrangely, you seem to have entered this area through a\nrectangular-shaped hole in a tree to the west.\n\nNear the door is Firepit, where you cook all your meals.\n\n> Go south\nHere, a river wider across than you can throw a stone flows past. You\nsometimes catch fish here, and your son loves to come here and skip\nrocks across the river's surface. Many white-barked trees grow close to\nthe river's edge here, of a different variety than you usually see in\nthe depths of the forest.\n\n> Go north\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nOn Berry Bush are Berries.\n\n> Go northeast\nYou've emerged from the northeast path to another Hut, rather like your\nown. This one is larger, though, and has woven leaves as a doorway\ninstead of a hide. This Hut is to the north, or you can go back down\nthe path you came from the southwest.\n\nStranger is here, standing in front of his Hut, standing defensively,\nand looking suspiciously at you.\n\n> You examine the berries\nStranger watches you carefully.\n\nThese juicy black berries are in season this time of year, and should\nbe good to eat.\n\n> You look at Stranger\nStranger watches you carefully.\n\nStranger is tall, slender, and quite muscular. He wears the black skin\nof Panther and carries a long knife, making him that much more\nimpressive.\n\n> You ask Stranger about Feverleaf\nStranger stops you, saying \"Y. Fa hallen, scarmul alsen,\" and points to\nyour Useful Rock. \"Y gralashen na!\"\n\n> Go southwest\nStranger nods in approval as you leave. \"Fa alsen scarmul! Hallen!\" he\ntells you as you go.\n\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\n> You kill Stranger with Spear\nStranger stops you, saying \"Y. Fa hallen, scarmul alsen,\" and points to\nyour Spear. \"Y gralashen na!\"\n\nStranger stops you, saying \"Y. Fa hallen, scarmul alsen,\" and points to\nyour Spear. \"Y gralashen na!\"\n\n> You give Spear to Stranger\nStranger stops you, saying \"Y. Fa hallen, scarmul alsen,\" and points to\nyour Spear. \"Y gralashen na!\"\n\n> You go to the north-east\nYou've emerged from the northeast path to another Hut, rather like your\nown. This one is larger, though, and has woven leaves as a doorway\ninstead of a hide. This Hut is to the north, or you can go back down\nthe path you came from the southwest.\n\nStranger is here, standing in front of his Hut. He has an easy\nconfidence about him, and watches you with a slight smile.\n\n> Point to leaves\n\"Tsa ben ne salum,\" Stranger says, proudly.\n\nYou see a rustling from inside the Hut, and a small boy peeks out.\nAfter examining you carefully, he cautiously emerges and stands by\nStranger, who puts his arm on the boy's shoulder.\n\n> Wave\nSmiling, Stranger waves back.\n\n> You point at the boy\n\"Tsa ben ne rema!\" he says, proudly.\n\n> Rema\nStranger says, \"Tsa,\" pointing to his son. \"Ne rema!\" he adds, proudly.\n\n> Salum\nStranger gestures grandly at his abode. \"Selme salum, a?\"\n\n> You point at yourself\n\"Fa,\" he says, pointing back at you.\n\n> You tell him about ne rema\nStranger looks around and behind you. \"Fe rema?\" he asks, \"Fa hallen fe\nsalum?\"\n\n> You point at Stranger\n\"Na,\" he says, putting his hand on his chest.\n\n> Gralashen\nStranger looks confused. \"Y gralashen,\" he suggests, and shrugs.\n\n> Fe gralashen\n\"A gralashen,...?\" Stranger asks you. \"Salum fe? Scarmul fe?\n\n> Scarmul\n\"A,\" says Stranger, showing you his knife, \"scarmul ben takre!\" He\nslashes with the knife at some invisible enemy, as if to emphasize his\npoint.\n\n> You tell him about ne rema\nStranger looks around and behind you. \"Fe rema?\" he asks, \"Fa hallen fe salum?\"\n\n> Y.\nStranger looks at you quizzically, and spreads his hands. \"Y alanasen,\"\nhe says."
    },
    {
        "text": "[Themes: Science Fiction, Historical, constructed language, horse, language]\n\n> Look around\nYou've emerged from the northeast path to another Hut, rather like your\nown. This one is larger, though, and has woven leaves as a doorway\ninstead of a hide. This Hut is to the north, or you can go back down\nthe path you came from the southwest.\n\nStranger is here, standing in front of his Hut. He has an easy\nconfidence about him, and watches you with a slight smile.\n\nYou can also see Small Boy here.\n\n> You point at the Boy\n\"Tsa ben ne rema!\" he says, proudly.\n\n> You look at the Boy\nSmall Boy looks remarkably like your own son. He would come up to about\nyour waist, and has a shock of black hair.\n\n> You draw Feverleaf\nWhat do you want to draw the picture of Feverleaf on?\n\n> You draw Feverleaf on the ground\n(with Berries)\nThe ground here is not suited for drawing any sort of a detailed\npicture.\n\n> You point at the ground\nStranger smiles. \"Tsa ne ben!\" he tells you, and stands proudly in\nfront of his hut.\n\n> You go southwest\nStranger waves to you as you leave.\n\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nYou can also see Useful Rock and Spear here.\n\n> You go to the south\nThis is a small, cleared area in front of your Hut in the middle of the\nforest. The autumn leaves crunch under your feet, and the smell of\nwinter is in the air. A well-worn path runs to the south towards the\nsound of rushing water, and another leads north, deeper into the\nforest.\n\nStrangely, you seem to have entered this area through a\nrectangular-shaped hole in a tree to the west.\n\nNear the door is Firepit, where you cook all your meals.\n\n> Go south\nHere, a river wider across than you can throw a stone flows past. You\nsometimes catch fish here, and your son loves to come here and skip\nrocks across the river's surface. Many white-barked trees grow close to\nthe river's edge here, of a different variety than you usually see in\nthe depths of the forest.\n\n> You take the bark\nCarefully, you peel off a swath of white bark from a tree.\n\n> Go north\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nYou can also see Useful Rock and Spear here.\n\n> You check your inventory\nYou are carrying:\nWhite Bark\nBerries\n\n> You draw Feverleaf\nWhat do you want to draw the picture of Feverleaf on?\n\n> Bark\nWhat do you want to draw the picture of Feverleaf on White Bark with?\n\n> Crush berries\nYou grind up the berries, making a purple syrupy paste.\n\n> You point at the paste\n\"Fa ben lalse,\" Stranger says, shaking his head.\n\n> You point at the Bark\nStranger looks at the bark, then looks at you, then looks at the bark,\nthen looks at you again. \"A,\" he says? He seems confused.\n\n> Kiss Stranger\nKeep your mind on the game.\n\n> You put the paste on Boy\nYou need to be holding Small Boy before you can put him into something\nelse.\n\n> You look at the paste\nA purple mash of berry remains.\n\n> You go southwest\nStranger waves to you as you leave.\n\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nYou can also see Useful Rock and Spear here.\n\n> You examine the Firepit\nFirepit is a simple ring of stones, filled with ashes and leftover\nbones.\n\n> You take the bones\nWell, you thought there would be bones in here. As a matter of fact,\nthere's only one, which you take.\n\n> You take Ashes\nYou pick up a few ashes, but they quickly scatter in the wind.\n\n> You look at the bone\nThis small bone is about as long as your finger, but much thinner. It's\nquite porous and light.\n\n> You put the bone in the Paste\nYou dip the end of Bone into Purple Paste. The porous bone soaks up\nmuch of the juice, and it becomes heavily stained.\n\n> Go north\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nYou can also see Useful Rock and Spear here.\n\n> You draw Feverleaf on the Bark with the bone\nCarefully, you sketch a picture of Feverleaf on White Bark.\n\n> You examine picture\n\"Rakasha,\" Stranger declares after looking at your picture. \"Rakasha a\nben selme. Vicnen akne.\"\n\nYou have sketched Feverleaf exactly the way Grandmother described it to\nyou once: a long stem, clustered with groups of four, round, leaves.\n\n> Gelashen na rakasha\nStranger concentrates, but cannot seem to figure out the combination of\nyour two languages.\n\n> Inventory\nYou are carrying:\nBone\nPurple Paste\nWhite Bark (with a picture of Feverleaf)\n\n> You give the Bark to Stranger\n\"Rakasha,\" Stranger declares after looking at your picture. \"Rakasha a\nben selme. Vicnen akne.\"\n\n> Ne rema ben akne\nStranger becomes serious, and looks quite concerned. \"Krande,\" he says,\n\"Fe rema akne; ben krande.\"\n\n> Fe rema ben akne\nStranger looks at his son and feels his forehead. \"Y,\" he says, looking relieved, \"Tsa y ben akne.\"\n\n> You show the Bark to Stranger\nStranger says, \"A! Rakasha! Fe rema ben akne! Na alanasen!\" He runs\nback into his hut, and shortly reappears with a stem from a small\n\n> Ne rema ben akne\nplant, which he hands to you with great reverence. \"Fa alsen tsa fe\nrema,\" he tells you. \"Tsa ben selme.\"\n\nStranger becomes serious, and looks quite concerned. \"Krande,\" he says,\n\"Fe rema akne; ben krande.\"\n\n> You check what you're carrying\nYou are carrying:\nFeverleaf\nBone\nPurple Paste\nWhite Bark (with a picture of Feverleaf)\n\n> You go southwest\nStranger waves to you as you leave. \"Selme hallen!\" he calls to you as\nyou go. \"Fe rakasha ben y akne fe rema!\" he adds.\n\nThis is the forest where you hunt for food and skins, though you don't\nbelieve you'll be hunting much today. Some birds still chirp in the\ntrees, though many have flown away, as they do every winter. The rustle\nof wind through the golden leaves counterpoints your own footsteps, as\nyou wend your way through the forest. The path you used to get here\ngoes back south, and another path leads northeast, which you've never\nused before today.\n\nTo one side of the path, you see a small berry bush.\n\nYou can also see Useful Rock and Spear here.\n\n> You take all\nUseful Rock: Taken.\nSpear: Taken.\nBerry Bush: That's fixed in place.\n\n> Go south\nYou've emerged from the northeast path to another Hut, rather like your\nown. This one is larger, though, and has woven leaves as a doorway\ninstead of a hide. This Hut is to the north, or you can go back down\nthe path you came from the southwest.\n\nStranger is here, standing in front of his Hut, standing defensively,\nand looking suspiciously at you.\n\nYou can also see Small Boy here.\n\nStranger stops you angrily. \"Tsa ben ne! Fa hallen, scarmul alsen!\" He\npoints at your Useful Rock, then back down the southwest path.\n\nWith a start, Small Boy points at your Useful Rock, exclaiming,\n\"Scarmul!\" He runs back into the Hut, and Stranger moves to stand\nprotectively in front of the door.\n\n> You examine Wife\nWife is supervising the two children playing by River. She catches you\nlooking at her and winks at you.\n\n> Kiss Wife\nWife kisses you back. \"Ooo-la-la,\" she says, afterwards.\n\n> You look at kids\nThe two children are playing in the shallows of the river, with Wife\nlooking on. Son looks much better; you would hardly have guessed that\nhe used to be sick. Friend's Son is still shy around you, but seems to\nbe comfortable enough playing with someone almost his own age.\n\n> You check your inventory\nYou are carrying:\nSpear\nUseful Rock\nBone\nPurple Paste\nWhite Bark (with a picture of Feverleaf)\n\n> Sing\nYour singing is abominable.\n\n> Swim\nThe current is too strong to swim safely.\n\n> Go west\nYou wander through the Forest happily, but eventually return to where\nyou left.\n\n> Go west\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is open. Through it, you see a wooded area, and a small\nHut.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which stretch around the entire room, from the doorway to\nthe staircase.\n\n> You examine the etching\nThe panel near the door contains etchings of a man, wandering through a\nforest.\n\nThe next panel shows the man searching the forest for something. The\ndetail in one of the huts is a little more clear, and it seems that\nthere are three other figures within the hut, one of whom is lying on a\nbed of rags.\n\narea, and showing them to a second man by the other hut.\n\nIn the next panel, the two men are conversing. It seems the first is\ndescribing the prone character in the hut, and the second is giving him\nsome sort of plant as a result.\n\nIn the final panel, the man has brought back the plant to the first\nhut, where it is being prepared for the figure in the bed. In the final\nscene, all the characters are mingling freely with each other.\n\n> Up\nThis room is akin to the room below. There is a staircase going down,\nand another door going east.\n\nThe simple door is closed.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which adorn one panel on the wall next to the\ndoor.\n\n> You open the door\nYou open the simple door.\n\n> You go to the east\npass through the door.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nAs you enter, someone amongst the People yells, \"There's the Chief!\"\nEveryone quickly presses around you, all talking at once, and very\nagitated. After a bit you manage to calm them down, and figure out what\nthey're concerned about: Marauders are rumored to be plundering\nvillages to the south! Something must be done to give your village an\nedge in the inevitable conflict to come.\n\n> About yourself\nYou're different. You are walking erect, and seem to be decorated with\nsome sort of headdress and body paint. If more paint implies more\nsignificance, you must be the most significant person in the\nvillage--everyone else wears much less than you do.\n\n> You examine Hut\nLooking inside your grass hut you see stone walls, which is really\nrather odd.\n\n> You look at People\nbell would be placed on the Marauders, so the People will know when\nthey are near. The plan is quickly shot down by someone asking, \"But\nwho will bell the Marauders?\"\n\n> You ask People about Marauders\nThe People give you about ten differing opinions, all of them\nsingularly unhelpful.\n\n> You tell People about the democracy\nThe People listen to you, then half of them claim that what you said\nsupports their side, and the other half claim you supported their side.\nThe debate rages on, unimpeded."
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language, prehistory]\n\n> You look around\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nChief will come up with something ingenious to defend them.\n\n> You tell People to stay the the course\nThe People listen to you, then half of them claim that what you said\nsupports their side, and the other half claim you supported their side.\nThe debate rages on, unimpeded.\n\nYou notice one man slip to the edge of the crowd. A few minutes later,\nhe seems to be gone.\n\n> You follow the man\nBut People is right here!\n\n> You examine the stream\nThe small stream has begun to show life again, although it disappeared\nin the height of summer. There is still more room among the rocks for\nmore water, due later in the year.\n\ndefensible position.\n\n> Go north\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\n> You climb the cliff\nYou scramble up the slope and finally make it to the top.\n\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\n> You go to the northeast\nThis spot gives you a breathtaking view of the countryside. A box\ncanyon drops away to the east, and another, deeper ridge is to your\nnorth. Far away, you can see the tiny shimmer of the Stream which\nbegins at your Village.\n\n> You go north\nDespairing of ever finding a way to outclass the Marauders, the Chief\nof the Village throws himself over the edge of the Cliff, dashing\nhimself on the Rocks below. Fortunately for the Village in question,\nthis is in an alternate time line, so there's still hope.\n\n> You look at the canyon\nThe cliff is quite steep, although ragged. The top layer, where you\nare, is a dusty red color. At the base of the canyon, you can see a\nherd of horses.\n\n> Go southwest\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\n> Go east\nConsidering that discretion is the better part of valor, you carefully\nclimb down the cliff.\n\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\n> Go northeast\nYou are at the base of a box canyon. Ragged walls tower over you on\nthree sides, striated red, black, and tan. The small stream running\nalong here dries up in the summer, but is now still active. A crack in\nthe north wall of the canyon allows it to pass along its path from the\nVillage, back up to the southwest.\n\nA Herd of Horses roam here, grazing on the tough grasses.\n\n> You look at Horses\nYou haven't paid much attention to the Horses before today, although\nyou believe you've seen this Herd around before. These large and\npowerful beasts, fortunately, seem to be vegetarian.\n\n> You examine the crack\nThe walls provide some shade from the afternoon sun. That and the\nstream must be why the Horses are here.\n\n> You look at Stream\nThe small stream has begun to show life again, although it disappeared\nin the height of summer. There is still more room among the rocks for\nmore water, due later in the year.\n\n> Inventory\nThat's a very good idea, but there's no easy way to get onto a Horse's\nback, even if it was likely to let you.\n\nYou are carrying:\nHeaddress (being worn)\nWhite Bark (with a picture of Feverleaf)\nPurple Paste\nBone\nUseful Rock\nSpear\n\n> You throw Rock at Horses\nThe Herd parts, and Useful Rock lands in the midst of them.\nUnflustered, they move away.\n\n> You go north\nThe stream from the south cuts through the wall of the canyon here, and\nruns for several paces before cascading down a steep, gravelly slope.\nThe sides of the canyon provide a welcome shade from the hot sun, which apparently is also enjoyed by a small grove of Fruit Trees, clustered\naround a wide section of the stream.\n\n> You examine Tree\nan ideal environment in which to thrive. Although not exactly laden\nwith fruit, there is a fair amount of Fruit on the trees.\n\n> You take the Fruit\n(the Piece of Fruit)\nYou choose the ripest Piece of Fruit you can find, and pluck it from a low-swung branch.\n\n> You examine Fruit\nWhich do you mean, Fruit Trees, the remaining Fruit or the Piece of\nFruit?\n\n> You examine Piece of the Fruit\nFruit looks delicious!\n\n> You take the Fruit\n(the remaining Fruit)\nSince this is the only grove of Fruit Trees in the area, you decide to\nuse what you have before picking more.\n\n> You go south\nYou are at the base of a box canyon. Ragged walls tower over you on\nthree sides, striated red, black, and tan. The small stream running\nalong here dries up in the summer, but is now still active. A crack in\nthe north wall of the canyon allows it to pass along its path from the\nVillage, back up to the southwest.\n\nA Herd of Horses roam here, grazing on the tough grasses.\n\nOne of the Horses moves out of the herd towards you, sniffing.\n\n> You show the Fruit to the Horse\nCautiously, Horse approaches you, sniffing. Gingerly, he plucks the\nfruit from your hand, and trots a few paces away, where he drops it\nagain and begins to eat it.\n\nHorse noisily munches Fruit.\n\n> You get on the Horse\nThat's a very good idea, but there's no easy way to get onto Horse's\nback, even if he was likely to let you.\n\nHorse noisily munches Fruit.\n\n> Pet Horse\nHorse isn't letting you near enough to touch him.\n\nHorse noisily munches Fruit.\n\n> You take the Fruit\nYou move towards Horse, who shies away, allowing you to pick up Fruit.\n\n> Go southwest\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\nHorse follows you, sniffing and snorting loudly.\n\n> Go south\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nHorse shies away from so many people, and trots off back down the path.\n\nTwo men get in a heated argument, which almost comes to blows before\nit's stopped.\n\n> Up\nYou scramble up the slope and finally make it to the top.\n\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\nHorse watches you climb the cliff, snorts in disgust, then canters back\ndown to his herd.\n\n> Up\nYou scramble up the slope and finally make it to the top.\n\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\nHorse finishes Fruit, and with a whinny, trots back to join the herd.\n\n> You go north\nEven here, the walls are too steep to go directly in that direction.\n\n> You go to the north\nYou are at the base of a box canyon. Ragged walls tower over you on\nthree sides, striated red, black, and tan. The small stream running\nalong here dries up in the summer, but is now still active. A crack in\nthe north wall of the canyon allows it to pass along its path from the\nVillage, back up to the southwest.\n\nA Herd of Horses roam here, grazing on the tough grasses.\n\nThe stream from the south cuts through the wall of the canyon here, and\nruns for several paces before cascading down a steep, gravelly slope.\nThe sides of the canyon provide a welcome shade from the hot sun, which apparently is also enjoyed by a small grove of Fruit Trees, clustered\naround a wide section of the stream.\n\n> You take the Fruit\n(the Piece of Fruit)\nYou choose the ripest Piece of Fruit you can find, and pluck it from a low-swung branch.\n\n> You go south\nYou are at the base of a box canyon. Ragged walls tower over you on\nthree sides, striated red, black, and tan. The small stream running\nalong here dries up in the summer, but is now still active. A crack in\nthe north wall of the canyon allows it to pass along its path from the\nVillage, back up to the southwest.\n\nA Herd of Horses roam here, grazing on the tough grasses.\n\nOne of the Horses moves out of the herd towards you, sniffing.\n\n> Go southwest\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\nHorse follows you, sniffing and snorting loudly.\n\n> Go upward\nYou scramble up the slope and finally make it to the top.\n\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\nAt the bottom of the cliff, Horse noisily munches fruit, oblivious to\nyou.\n\n> You jump\nThrowing caution to the wind, you leap off the cliff, hurtling down\ntowards the path below.\n\nHorse, busily munching away at the bottom of the hill, never even sees\nyou coming. With a WHUMP, you land square on his back! You drop all\nyour possessions as Horse rears, whinnies, and begins to run!\n\nStreaking Across the Countryside (on Horse)\nThe view is almost a blur around you, as Horse runs frantically, trying\nto get you off his back. Every so often, you notice some feature of the landscape, but, unsurprisingly, most of your attention is on Horse, and\nyour bumpy ride.\n\nHorse turns sharply, and your arms spin wildly, trying to compensate\nand keep your balance.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You grab Horse\nUsing both hands, you grab hold of the streaming Mane.\n\nFeeling your grip on his neck, Horse stops twisting and turning, and\ntakes off in a new direction, going even faster.\n\n> You pull Horse\nYou'll need to be more specific. Do you want to pull it back? To the\nright or left?\n\nAhead and to the left, you can see a cliff wall approaching.\n\n> You pull Horse right\nYou pull Mane to the right.\n\nThe cliff grows as Horse approaches it at an angle.\n\nYou steer Horse a little more directly towards the cliff.\n\n> You pull right\nWhat do you want to pull to the right?\n\n> You pull Mane right\nYou pull Mane to the right.\n\nYou and Horse are almost upon the cliff! It looms above you to the\nleft.\n\nYou steer Horse a little more directly towards the cliff.\n\n> You pull Mane right\nYou pull Mane to the right.\n\nJust before Horse runs into cliff, he veers sharply to the right,\ncausing your weight to shift to the left. Too far left, in fact.\nRolling off to the left, your fingers tear from Mane as you fall.\n\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You pull Horse back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nThe cliff grows as Horse approaches it at an angle.\n\n> You pull Mane left\nYou pull Mane to the left.\n\nYou and Horse are almost upon the cliff! It looms above you to the\nleft.\n\nYou steer Horse a little more directly towards the cliff.\n\n> You pull Mane right\nYou pull Mane to the right.\n\nJust before Horse runs into cliff, he veers sharply to the right,\ncausing your weight to shift to the left. Too far left, in fact.\nRolling off to the left, your fingers tear from Mane as you fall.\n\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others."
    },
    {
        "text": "[Themes: Science Fiction, Historical, prehistory, horse, language]\n\n> You describe your surroundings\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\nYou can see Horse here.\n\n> You lean forward\nYou lean forward, towards Horse's neck.\n\nSuddenly, Horse leaps over a ridge, and starts down a hill.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You pull Mane\nYou straighten up again.\n\nHorse gains speed as he continues down the hill.\n\nYou're faltering badly, and are having trouble righting yourself.\n\nYou'll need to be more specific. Do you want to pull it back? To the\nright or left?\n\nHorse has almost reached the bottom of the hill.\n\nYou can't seem to get your balance!\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nWith a force that jars you, Horse lands at the base of the hill,\ncausing you to be thrown forward before Horse begins running again with\nrenewed vigor.\n\nYou are now completely unsettled. Sliding off around Horse's neck, you\nnarrowly avoid being trodden upon as you fall forward and Horse runs\nover you.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nOpinion in the crowd seems to be towards staying, but no-one seems to\nknow how that could happen.\n\n> You lean forward\nYou lean forward, towards Horse's neck.\n\nWith a force that jars you, Horse lands at the base of the hill,\nthrowing you forward over his neck!\nSliding off around Horse's neck, you narrowly avoid being trodden upon\nas you fall forward and Horse runs over you.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You lean right\nYou lean over to the right.\n\nWith a force that jars you, Horse lands at the base of the hill,\ncausing you to be thrown forward before Horse begins running again with\nrenewed vigor.\n\nYou are now completely unsettled. Rolling off to the right, your\nfingers tear from Mane as you fall.\n\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nWith a force that jars you, Horse lands at the base of the hill,\ncausing you to be thrown forward before Horse begins running again with\nrenewed vigor.\n\nYou are now completely unsettled. Sliding off around Horse's neck, you\nnarrowly avoid being trodden upon as you fall forward and Horse runs\nover you.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> Go west\nThis room is akin to the room below. There is a staircase going down,\nand another door going east.\n\nThe simple door is open. Through it, you see a small group of huts,\nclustered on an open mesa.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which cover the walls on one half of the room.\n\n> Go east\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> Go south\nYou wander that direction for a bit, find nothing, and eventually\nwander back.\n\nOne little boy starts to cry, but his mother comforts him.\n\n> Go east\nYou wander that direction for a bit, find nothing, and eventually\nwander back.\n\n> You ask People for the rope\nThe People give you about ten differing opinions, all of them\nsingularly unhelpful.\n\n> Go northwest\neast, as it wends its way amongst the scrub. Your Village is back to\nthe southeast.\n\n> You squeeze legs\nKeep your hands to yourself.\n\n> You pull Mane back\nIf you're not holding on to Mane, how do you expect to pull it?\n\nAgain, Horse turns, and you are almost thrown off!\n\nYou're faltering badly, and are having trouble righting yourself.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nSuddenly, Horse leaps over a ridge, and starts down a hill.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You lean back\nYou lean backwards, your arm stretching to keep a hold of Horse's Mane.\n\nHorse gains speed as he continues down the hill.\n\nYou manage to steady yourself a bit.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nHorse has almost reached the bottom of the hill.\n\n> You lean back\nYou're already leaning as far back as you can.\n\nWith a force that jars you, Horse lands at the base of the hill,\njarring you forward on your seat again, but you manage otherwise to\nkeep your balance.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nAhead of you, you see something large and black.\n\n> You look at the black\nWhich do you mean, the boulder or the Mane?\n\n> You pull left\nWhat do you want to pull to the left?\n\n> Mane\nYou pull Mane to the left.\n\nAs you get nearer, the object resolves itself into a large boulder.\nHorse is heading straight towards it!\n\nAs the boulder approaches, you think Horse might be heading to the left\nof it, due to your pulling.\n\n> Lean left\nYou lean over to the left.\n\nThe boulder looms immanently. Horse still hasn't committed himself to\ngo one way or the other!\n\nAs the boulder approaches, you think Horse might be heading to the left\nof it, due to your pulling.\n\n> You examine the boulder\nIt's a huge boulder, straight ahead of Horse. There's no way Horse\ncould go over it, but there is yet no indication as to which direction\nHorse might choose.\n\nPulling desperately to the left, you force Horse to follow your lead,\ngoing left around the boulder."
    },
    {
        "text": "[Themes: Science Fiction, Historical, prehistory, constructed language]\n\n> Look around\nStreaking Across the Countryside (on Horse)\nThe view is almost a blur around you, as Horse runs frantically, trying\nto get you off his back. Every so often, you notice some feature of the landscape, but, unsurprisingly, most of your attention is on Horse, and\nyour bumpy ride.\n\nYou sense that Horse is beginning to tire. This is good, because it\nmeans you might be able to free up one of your hands to do something. Unfortunately, you are also tiring, and you can feel your grip with\nyour knees weakening.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You pull back\nWhat do you want to pull backwards?\n\n> Mane\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nYou're faltering badly, and are having trouble righting yourself.\n\n> You lean back\nYou lean backwards, your arm stretching to keep a hold of Horse's Mane.\n\nYou are beginning to become sore from the constant jarring.\n\nYou are now completely unsettled. Rolling off to the left, your fingers\ntear from Mane as you fall.\n\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\ndefensible position.\n\n> You lean forward\nYou lean forward, towards Horse's neck.\n\nYou are beginning to become sore from the constant jarring.\n\nYou can't seem to get your balance!\n\n> You grab Mane\nYou're already holding onto Mane (and it's a good thing, too).\n\nYou are now completely unsettled. Rolling off to the left, your fingers\ntear from Mane as you fall.\n\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You lean right\nYou center yourself again.\n\nYou manage to steady yourself a bit.\n\n> Mane\nIf you're leaning forwards, how do you expect to pull back on Mane?\n\nOne of your hands slip, and it is only Horse's slower pace that allows\nyou to grab a hold again.\n\nYou manage to steady yourself a bit.\n\n> You lean back\nYou straighten up again.\n\nYou're just about to fall off from exhaustion!\n\nYou manage to steady yourself a bit.\n\n> You pull back mane\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You say whoa\nWhom do you want to say that to?\n\n> Horse\nThere is no reply.\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\ndefensible position.\n\n> You squeeze the legs\nKeep your hands to yourself.\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\ndefensible position.\n\n> You grab Mane\nYou're already holding onto Mane (and it's a good thing, too).\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others."
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language, language, prehistory, horse]\n\n> You jump\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You look at Horse\nHorse is an earthy brown color with a sharp black Mane, which you are\nclinging to.\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nYou notice one man slip to the edge of the crowd. A few minutes later,\nhe seems to be gone.\n\n> You wait\nTime passes.\n\nWith a force that jars you, Horse lands at the base of the hill,\njarring you forward on your seat again, but you manage otherwise to\nkeep your balance.\n\n> You wait\nTime passes.\n\nAhead of you, you see something large and black.\n\n> You pull Mane left\nYou pull Mane to the left.\n\nAs you get nearer, the object resolves itself into a large boulder.\nHorse is heading straight towards it!\n\nAs the boulder approaches, you think Horse might be heading to the left\nof it, due to your pulling.\n\n> Wait\nTime passes.\n\nPulling desperately to the left, you force Horse to follow your lead,\ngoing left around the boulder.\n\n> Mane\nIf you're leaning left, how do you expect to pull Mane right?\n\nYou sense that Horse is beginning to tire. This is good, because it\nmeans you might be able to free up one of your hands to do something. Unfortunately, you are also tiring, and you can feel your grip with\nyour knees weakening.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You lean right\nYou center yourself again.\n\nYou sense that Horse is beginning to tire. This is good, because it\nmeans you might be able to free up one of your hands to do something. Unfortunately, you are also tiring, and you can feel your grip with\nyour knees weakening.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\n> You lean back\nYou lean backwards, your arm stretching to keep a hold of Horse's Mane.\n\nYou are beginning to become sore from the constant jarring.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nYou're faltering badly, and are having trouble righting yourself.\n\n> You lean forward\nYou straighten up again.\n\nOne of your hands slip, and it is only Horse's slower pace that allows\nyou to grab a hold again.\n\nYou manage to steady yourself a bit.\n\n> You ride Horse\nYou're trying!\n\nYou're just about to fall off from exhaustion!\n\nYou manage to steady yourself a bit."
    },
    {
        "text": "> You pull Mane\nYou'll need to be more specific. Do you want to pull it back? To the\nright or left?\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You lean forwards\nYou lean forward, towards Horse's neck.\nSliding off around Horse's neck, you narrowly avoid being trodden upon\nas you fall forward and Horse runs over you.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You pull Mane forward\nYou push forwards on Mane. Horse increases speed slightly, which\nunsettles you enough that you can't push forward any more. You ease\nback, and Horse resumes his regular breakneck pace.\n\nYou sense that Horse is beginning to tire. This is good, because it\nmeans you might be able to free up one of your hands to do something. Unfortunately, you are also tiring, and you can feel your grip with\nyour knees weakening.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You lean forward\nYou lean forward, towards Horse's neck.\n\nYou're faltering badly, and are having trouble righting yourself.\n\n> You pull Mane forward\nYou push forwards on Mane. Horse increases speed slightly, which\nunsettles you enough that you can't push forward any more. You ease\nback, and Horse resumes his regular breakneck pace.\n\nYou are beginning to become sore from the constant jarring.\n\n> You pull Mane forward\nYou push forwards on Mane. Horse increases speed slightly, which\nunsettles you enough that you can't push forward any more. You ease\nback, and Horse resumes his regular breakneck pace.\n\n> You pull Mane forward\nYou push forwards on Mane. Horse increases speed slightly, which\nunsettles you enough that you can't push forward any more. You ease\nback, and Horse resumes his regular breakneck pace.\n\nOne of your hands slip, and it is only Horse's slower pace that allows\nyou to grab a hold again.\n\n> You pull Mane forward\nYou push forwards on Mane. Horse increases speed slightly, which\nunsettles you enough that you can't push forward any more. You ease\nback, and Horse resumes his regular breakneck pace.\n\nYou're just about to fall off from exhaustion!\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nYou are beginning to become sore from the constant jarring.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nOne of your hands slip, and it is only Horse's slower pace that allows\nyou to grab a hold again.\n\n> You pull Mane back\nYou pull back on Mane. Unfortunately, Horse doesn't seem to slow\nperceptibly.\n\nYou're just about to fall off from exhaustion!\n\n> Inventory\nYou are carrying:\nHeaddress (being worn)\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You hit Horse\nViolence isn't the answer to this one.\nUnable or unwilling to hold on any more, you slide off Horse, narrowly\navoiding being kicked on the way down.\nHorse whinnies with delight, and disappears across the countryside. You\npick yourself up, and make your way back to the Village.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. The People are there now, in fact, arguing over something. The\nground slopes down to the north, and a path leads along a ridge to the northwest. A small stream collects here, and follows the slope down to\nthe north.\n\nThe People are debating loudly amongst themselves in the meeting area.\n\nYour own hut is just to the west, slightly larger than the others.\n\nYou notice one man slip to the edge of the crowd. A few minutes later,\nhe seems to be gone.\n\n> You check your inventory\nYou are carrying:\nHeaddress (being worn)\n\nYou sense that Horse is beginning to tire. This is good, because it\nmeans you might be able to free up one of your hands to do something. Unfortunately, you are also tiring, and you can feel your grip with\nyour knees weakening.\n\nThe ride is unsettling you, and you feel yourself start to slip.\n\n> You put Headdress on Horse\nUsing your free hand, you cram your headdress on Horse's head, so that\nhis eyes are covered. Not being able to see where he's going, Horse\nstops and moves around nervously. Gently, you calm him, and manage to\nurge him back to the Village.\n\nYour arrival causes a great commotion amongst the People. Everyone is\noverawed at the sight; the only thing detracting from your entrance the\nfact that your headdress is unceremoniously rammed onto Horse's head,\nmaking both of you look rather undignified. Still, the People are quick\nto realize that riding a Horse would be a wonderful way to discourage\nraiding Marauders, and they pester you with questions about how you\nmanaged to do it. Soon, the whole Village is out, trying to learn how\nto master the art of Horse Riding.\n\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. Right now, the entire place is rather deserted, as everyone is\ndown in the Canyon, trying to learn how to ride a Horse like you did.\nThe ground slopes down to the northeast, and a path leads along a ridge\nto the northwest. A small stream collects here, and follows the slope\ndown to the northeast.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You check what you're carrying\nYou are carrying:\nHeaddress (being worn)\n\n> Go north\nThis path marks the beginnings of a descent down into the local canyon,\nto the northeast. To the west is a small ragged cliff, small enough\nhere to scale, but which becomes a more imposing wall as you continue\nyour descent into the canyon. A small stream, beginning to show life\nagain after the worst of the summer heat, follows its rocky bed here,\nas it continues down into the canyon.\n\nYou can see Spear, Useful Rock, Bone, Purple Paste, White Bark and a\nPiece of Fruit here.\n\n> You take all\nSpear: Taken.\nUseful Rock: Taken.\nBone: Taken.\nPurple Paste: You scoop up what you can of the berry mash.\nWhite Bark: Taken.\nPiece of Fruit: Taken.\n\n> Go south\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. Right now, the entire place is rather deserted, as everyone is\ndown in the Canyon, trying to learn how to ride a Horse like you did.\nThe ground slopes down to the northeast, and a path leads along a ridge\nto the northwest. A small stream collects here, and follows the slope\ndown to the northeast.\n\nYour own hut is just to the west, slightly larger than the others.\n\n> You go west\nThis room is akin to the room below. There is a staircase going down,\nand another door going east.\n\nThe simple door is open. Through it, you see a small group of huts,\nclustered on an open mesa.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which stretch around the entire room, from the\ndoorway to the staircase.\n\nAs you go back into the Edifice, you begin to hear a rumbling sound.\n\n> You examine the etching\nThe panel near the door contains etchings of a man dressed up with some\nsort of hat, leading a small village. Off in one corner lurk threatening-looking men.\n\nThe next panel shows the man with the hat near a waterfall, picking a\npiece of fruit.\n\nThe next panel shows the man with the hat enticing a horse near a cliff\nwith the fruit, then leaping on its back.\n\nIn the next panel, the man with the hat is on the horse's back, dodging obstacles, and trying to keep his balance.\n\nIn the final panel, the man no longer has his hat on, and is urging the\nhorse back to the village. It seems that the hat is now on top of the\nhorse, instead.\n\nThe simple door to the east is closing of its own volition!\n\n> Up\nThere seems to be no way out in that direction.\n\nThe rumbling is getting louder, and the whole Edifice is starting to\nshake!"
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language]\n\n> Go downwards\nThis room is akin to the room below. There is a staircase going down,\nand another door going east.\n\nThe simple door is open. Through it, you see a small group of huts,\nclustered on an open mesa.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which stretch around the entire room, from the\ndoorway to the staircase.\n\nThe rumbling is getting louder, and the whole Edifice is starting to\nshake!\n\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is open. Through it, you see a wooded area, and a small\nHut.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which stretch around the entire room, from the doorway to\nthe staircase.\n\nA particularly violent tremble almost knocks you off your feet, but you\nmanage to recover."
    },
    {
        "text": "[Themes: Historical, Science Fiction, constructed language, horse]\n\n> Go down\nGreen sunlight filters in from the west through the open recess,\nilluminating a small, round room, simple but totally foreign to you. A staircase (when did you learn that word?) winds up along the curved\nwall to another level above you, and, oddly, another doorway leads\neast, as if it would lead back into the forest.\n\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which stretch around the entire room, from\nthe doorway to the staircase.\n\nThe simple door is open. Oddly, you see grassland on the other side,\nnot forest.\n\nThe east door is just about closed!\n\n> Leave\npass through the door.\n\nHere, in the forest where you have spent your entire life, stands a\nhuge Edifice, reaching into the clouds high above you.\n\nThe Others are here, doing typically boring things.\n\nIn the distance, your Enemies search for easier prey.\n\nAs you pass through the doorway, there is a rumble behind you. You turn\nto see the recess filled with stone again! You bang on it with Rock,\nbut nothing seems to happen this time. As you step back, a fleeting\nmemory from inside the Edifice tells you that the irregularities above\nthe recess spell, \"HISTORY\", but then the memory disappears, and the irregularities just look like odd shapes again. \"Oh, well,\" you think\nas you turn away. \"At least it didn't try to eat me.\"\n\n> Go upwards\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is open. Through it, you see a wooded area, and a small\nHut.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which stretch around the entire room, from the doorway to\nthe staircase.\n\nThe east door closes, and, as it does, the rumbling stops.\n\n> Go east\npass through the door.\n\nThis is a small, cleared area in front of your Hut in the middle of the\nforest. The autumn leaves crunch under your feet, and the smell of\nwinter is in the air. A well-worn path runs to the south towards the\nsound of rushing water, and another leads north, deeper into the\nforest.\n\nStrangely, you seem to have entered this area through a\nrectangular-shaped hole in a tree to the west.\n\nNear the door is Firepit, where you cook all your meals.\n\nYou step through the door, and hear a peculiar \"Whump.\" behind you.\nTurning back around, you find that the tree which used to contain the\ndoor is seamless, with no trace of its former portal. You turn back\naround to the sound of laughing children, playing by the River, and\ndecide to go join them for a while.\n\n> Go up\nThis room is akin to the room below. There is a staircase going down,\nand another door going east.\n\nThe simple door is open. Through it, you see a small group of huts,\nclustered on an open mesa.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which stretch around the entire room, from the\ndoorway to the staircase.\n\nThe east door is just about closed!\n\n> You go outside\nThis is the small Village you seem to lead. It consists of several\nsmall huts, plus a larger one with no walls the People use as a meeting\narea. Right now, the entire place is rather deserted, as everyone is\ndown in the Canyon, trying to learn how to ride a Horse like you did.\nThe ground slopes down to the northeast, and a path leads along a ridge\nto the northwest. A small stream collects here, and follows the slope\ndown to the northeast.\n\nYour own hut is just to the west, slightly larger than the others.\n\nAs you step through your door back to the Village, you hear a peculiar\n\"Foosh.\" behind you. Looking back, you see that the inside of your hut\nlooks perfectly normal again; the stone walls of the Edifice gone\ncompletely. As you stand there contemplating this, a horse gallops by\nwith one of the People on its back, yelling for help. Laughing, you run\nafter them, shouting advice.\n\n> Go upwards\nThere seems to be no way out in that direction.\n\nThe east door closes, and, as it does, the rumbling stops."
    },
    {
        "text": "[Themes: Science Fiction, Historical, constructed language, language]\n\n> Go downward\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is closed.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which stretch around the entire room, from the doorway to\nthe staircase."
    },
    {
        "text": "[Themes: Historical, Science Fiction, prehistory, horse]\n\n> Go downwards\nThis room is small and featureless. There is a  staircases going up,\nand a door going east.\nThe recess you originally came through is gone!\n\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which stretch around the entire room, from\nthe doorway to the staircase.\n\nThe simple door is closed.\n\n> You go east\npass through the door.\n\nWell, this certainly isn't the Forest you've come to know and love. You\nare standing in the middle of a vast grassland, broken only by the\nincongruous stone arch you passed through on your way here. Through it,\nyou can see back into the dimly-lit Edifice to the west, a sharp\ncontrast to the bright sunlight all around you.\n\nListening closely, you can hear the sounds of running water away to the northeast.\n\nA gentle breeze blows from the northeast, carrying a hint of smoke as\nit rustles through the grass, which bows in its wake.\n\nAs you pass through the arch, the door closes behind you. You watch in wonderment as it shimmers, then disappears from view. You wander around\nthe spot where it was, but absolutely nothing remains--even the grass\nseems to have grown up where the arch's posts once stood. Finally, you\nturn and make your way across the grassland to the place you suddenly\nremember is home,...\n\n> You wait\nTime passes.\n\nThe east door closes, and, as it does, the rumbling stops. To the west,\nthe recess is blocked, as well."
    },
    {
        "text": "[Themes: Science Fiction, Historical]\n\n> You look around\nThis room is small and featureless. There is a  staircases going up,\nand a door going east.\nThe recess you originally came through is gone!\n\nYou see etchings on the wall here, pictures of a grassland with a\nstream running through it, which stretch around the entire room, from\nthe doorway to the staircase.\n\nThe simple door is closed.\n\n> You look at the etchings\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is closed.\n\nYou see etchings on the wall here, pictures of a forest with a river,\nand two huts, which stretch around the entire room, from the doorway to\nthe staircase.\n\nThe panel near the door contains etchings of a man, wandering through a\nforest.\n\nThe next panel shows the man searching the forest for something. The\ndetail in one of the huts is a little more clear, and it seems that\nthere are three other figures within the hut, one of whom is lying on a\nbed of rags.\n\narea, and showing them to a second man by the other hut.\n\nIn the next panel, the two men are conversing. It seems the first is\ndescribing the prone character in the hut, and the second is giving him\nsome sort of plant as a result.\n\nIn the final panel, the man has brought back the plant to the first\nhut, where it is being prepared for the figure in the bed. In the final\nscene, all the characters are mingling freely with each other.\n\n> Go upwards\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nThe simple door is closed.\n\nYou see etchings on the wall here, pictures of a village near a canyon\nwith a herd of horses, which stretch around the entire room, from the\ndoorway to the staircase.\n\nWait a minute. A staircase going up? That wasn't here before. Was it?\n\n> Up\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nYou see etchings on the wall here, pictures of a tribe, wandering\nthrough a vast landscape, which adorn one panel on the wall next to the\ndoor.\n\nThe simple door is closed.\n\n> You look at the etchings\nThe panel near the door contains etchings of a nomadic tribe of people,\nhunting and gathering food to survive.\n\n> Up\nResolutely, you climb even higher in the Edifice.\n\n> You go east\nResolutely, you step through the door."
    },
    {
        "text": "[Themes: Historical, Science Fiction, prehistory]\n\n> Look around\nThis room is akin to the room below. There are staircases going up and\ndown, and another door going east.\n\nYou see etchings on the wall here, pictures of a tribe, wandering\nthrough a vast landscape, which adorn one panel on the wall next to the\ndoor.\n\nThe simple door is open. Through it, you see an ever-changing landscape\nof hills, forest, grassland, mountains, and rivers.\n\n> You go east\nResolutely, you step through the door."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, female protagonist, Lovecraftian, horror]\n\n> About you\nNo need even to look in the mirror - you know perfectly well what you look like, having inspected every detail often enough. Your legs are a little too long and your knees a little knobby, but your face is cute and blessedly free of zits. Your long blond hair is one of your better features. And you're already starting to have a figure, which is pretty good considering you're only fourteen. Today you're wearing nothing special, just slacks and a shirt and some sneakers.\n\n[Author's Note: \"Lydia's Heart\" is a large, complex game with a serious tone and seven or eight NPCs you can converse with. The genre is low-key horror: There's almost no actual blood, but there are several ways to die in a very frightening way. Various bits of magical fantasy are included in a basically real-world setting. This game is version 2. 0 of \"Last Resort.\" The story is the same, but it's not simply a TADS port of the original -- there are more rooms and about 18 entirely new puzzles. The author recommends that you play \"Lydia's Heart,\" not \"Last Resort.\" You play the part of 14-year-old Diane Lindsay. You have been dragged off by your Aunt Caroline to a run-down motor court in rural Mississippi for reasons that are not initially clear. As you explore the motor court, you'll meet various creepy people and overhear a murder being committed. You'll meet a ghost named Lydia, who (if you can figure out how to make friends with her) will tell you why you've been brought here, and why you must get away before the afternoon is over.]\n\n> You examine the dress\nThe dress is an achingly pure white. It's old-fashioned, with puffy sleeves, a long skirt, and lacy frills at the wrists and neckline.\n\n> You wear the dress\n(first taking the white dress)\nYou consider stripping off your slacks and top and trying on the white dress, but three things stop you. First, you're mad at Aunt Caroline for hauling you all the way down here, so you really don't want to give her the pleasure of trying on the dress she insisted on bringing for you. Second, you want to spend the afternoon looking around this dumpy motel to see if there's anything fun to do, and the dress would surely get dirty. Third, it would look really tacky with your sneakers.\n\n> You take the dress\nYou are already carrying the white dress."
    },
    {
        "text": "[Themes: Horror, horror, female protagonist]\n\n> You look around\nThe interior of this rustic motel room has seen better days.\nBedspreads the color of mud cover the twin beds, though not in a very tidy way. The plaster on one wall is discolored in mottled patches, and the tacky wood-grain wallpaper on another wall is starting to peel. Years of grime have been ground into the carpet. A murky painting of some ducks fails to add a sporty air.\n\nCurtains the color of old pea soup hang beside the window to the left of the door. A chipped and scarred dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\n> You look at the window\nThe window is none too clean. It looks out on a strip of bare dirt and the run-down cabins opposite.\n\n> You look at the dresser\nThe dresser is built of cheap pressboard. It has three drawers.\n\n> You open the top drawer\nOpening the top drawer reveals Aunt Caroline's clothes.\n\n> You drop the dress\nYou lay the dress carefully on the bed near the door.\n\n> You close top drawer\nClosed.\n\n> You open the middle drawer\nOpening the middle drawer reveals your other clothes.\n\n> You open the bottom drawer\nOpened.\n\n> You examine the bottom drawer\nIt's an ordinary dresser drawer. It's open.\n\n> You look in the bottom drawer\nThe bottom drawer seems to be empty."
    },
    {
        "text": "> You describe your surroundings\nThe interior of this rustic motel room has seen better days.\nBedspreads the color of mud cover the twin beds, though not in a very tidy way. The plaster on one wall is discolored in mottled patches, and the tacky wood-grain wallpaper on another wall is starting to peel. Years of grime have been ground into the carpet. A murky painting of some ducks fails to add a sporty air.\n\nCurtains the color of old pea soup hang beside the window to the left of the door. A chipped and scarred dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nOn the bed near the door is a white dress.\n\n> You examine the patch\nThe word \"patch\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You look at the painting\nThe ducks are swimming on a pond, that much you can make out. The background is very murky, however. You have the vague impression that something large and sinister is lurking, about to pounce on the ducks.\n\n> You examine the curtains\nThe curtains droop sadly.\n\n> You open the top drawer\nOpening the top drawer reveals Aunt Caroline's clothes.\n\n> You search top drawer\nThe top drawer contains Aunt Caroline's clothes.\n\n> You examine the caroline's clothes\nAunt Caroline's things - principally cashmere sweaters and blouses with big floppy bows at the neckline - are neatly folded in the top drawer.\n\n> You open the curtains\nYou glance at the curtains and instantly dismiss them as unimportant.\n\n> You wear the caroline's clothes\nAunt Caroline wouldn't be happy to learn you were disarranging her things. Anyway, there's nothing useful in the drawer.\n\n> You close the drawer\nYou close the top drawer.\n\n> You open the middle drawer\nOpening the middle drawer reveals your other clothes.\n\n> You search your clothes\n(your other clothes)\nYou lift a couple of garments to peek beneath them, and decide there's really nothing in the drawer that you need at the moment. No cell phone, anyway - you've checked for that half a dozen times.\n\n> You look under beds\nbed near the door: The box springs are sagging, and there's a scatter of tiny dry brown pellets that might be mouse droppings. Nothing interesting, though.\n\nbed near the bathroom: The box springs are sagging, and there's a scatter of tiny dry brown pellets that might be mouse droppings. Nothing interesting, though.\n\n> You close the drawer\nYou close the middle drawer.\n\n> Go south\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold.\n\nYou see Aunt Caroline's suitcase and your suitcase here.\n\n> You look at the suitcases\nyour suitcase: Your suitcase is small and blue. It's closed.\n\nAunt Caroline's suitcase: Aunt Caroline's suitcase is much bigger than yours, and in better condition too. The suitcase is creamy white, with brass fittings, which include a latch with a little keyhole. It's closed.\n\n> You open the caroline's suitcase\nOpened.\n\n> You look in the caroline's suitcase\nAunt Caroline's suitcase is empty.\n\n> Close suitcase\nClosed.\n\n> You look in your suitcase\nYour suitcase is empty."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist, teenage protagonist, horror]\n\n> Describe the surroundings\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold.\n\nYou see Aunt Caroline's suitcase and your suitcase here.\n\n> You go north\nThe interior of this rustic motel room has seen better days.\nBedspreads the color of mud cover the twin beds, though not in a very tidy way. The plaster on one wall is discolored in mottled patches, and the tacky wood-grain wallpaper on another wall is starting to peel. Years of grime have been ground into the carpet. A murky painting of some ducks fails to add a sporty air.\n\nCurtains the color of old pea soup hang beside the window to the left of the door. A chipped and scarred dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nOn the bed near the door is a white dress.\n\n> Go west\n(first trying to open the bathroom door)\nThe bathroom door seems to be locked.\n\n> You knock on the door\nYou tap on the door, and from within the bathroom Aunt Caroline says in an irritated tone, \"Yes, dear? What is it?\"\n\n> You ask Caroline about the dress\n\"I can't hear you, dear,\" Aunt Caroline calls. \"Can't you see I'm in the bathroom?\"\n\n> You tell Caroline i hate her\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> Go east\nAs you head out the door of the cabin, Aunt Caroline's voice rises behind you: \"Be sure you're back here by 6:30 sharp so you can dress for the sunset picnic!\"\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots, suggesting that at one time the open area might have been used as a croquet court.\n\nYou're standing between Cabin Five (to the west) and Cabin Two (to the east). The croquet court continues north and south from here. Further to the north you can see a dusty stretch of lawn beside the house, and some distance to the south are the brackish, unhealthy-looking waters of a swamp.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 2:30.\n\n> You examine the croquet\nThe croquet hoops are bent and rusted. There are only a few of them, and they're jammed into the ground in a haphazard pattern. Looking around, you can see no evidence that Eternal Springs possesses any croquet balls or mallets - not that a game of croquet seems like a very good idea right now.\n\n> You examine the Cabin\nWhich cabin do you mean, Cabin Five, or Cabin Two?\n\n> You examine the Cabin five\nThe rustic motel cabin may have been attractive fifty years ago, but time has not been kind to it. Its paint is weathered and peeling, and the siding is warped. A tarnished brass number '5' is nailed above the door.\n\n> You examine Cabin two\nThe rustic motel cabin may have been attractive fifty years ago, but time has not been kind to it. Its paint is weathered and peeling, and the siding is warped. A tarnished brass number '2' is nailed above the door.\n\n> You go east\n(first opening the door of Cabin Two)\nYou tap tentatively on the door of Cabin Two. After a moment the door swings open and a solemn, dignified man stands before you. He's well dressed in tan slacks and polished shoes, and he has a full head of silvery, wavy hair.\n\nHe peers down at you with an air that's suave but somehow a little uncertain. \"Hello, there, youngster. I don't believe we've met. I'm Reverend Jimmy Gillespie.\" His voice is smoothly resonant, with just a hint of Arkansas twang. After a moment's hesitation, he extends his hand and allows you to shake it. You can smell his minty after-shave.\n\nYou introduce yourself and tell him you're down from New York with your aunt. He looks faintly bored, as if this isn't news to him - which is peculiar, as you're quite certain Aunt Caroline never mentioned knowing any minister, or planning to meet one here. Aunt Caroline is not religious.\n\n\"I trust you're enjoyin' your stay,\" he says. You manage to avoid rolling your eyes, but only just.\n\n> You ask Gillespie about the death\n\"Death and dyin'?\" Gillespie looks momentarily nonplussed. \"I'm sure that's not something you need concern yourself with, not at such a young age. No, indeed.\"\n\n> You ask Jimmy about Jimmy\nReverend Gillespie gazes at you speculatively. You have the impression that behind those bland gray eyes, wheels are spinning about a million miles an hour. \"Me? I'm no one special,\" he says. Somehow, in his mouth, the phrase sounds as if it means just the opposite - as if he's telling you something you ought to be impressed by. \"God has blessed me with a ministry. Inadequate as I am, I exert myself unstintingly to do His will and carry His message. I'm hopin' that in the near future I'll be able to uplift the hearts of sinners from coast to coast.\nWe're plannin' to build a magnificent modern cathedral. With televised services, naturally.\"\n\n> You ask Gillespie about Caroline\nYou ask the Reverend if he knows your aunt. \"We've met,\" he says carefully. \"She seems a very upstanding woman. I'm sure you've had a decent Christian upbringing.\"\n\n> You ask Gillespie about the picnic\nWhen you ask Reverend Gillespie what's so special about the sunset picnic tonight, he smiles beatifically. \"You'll see,\" he says. \"Oh, my, yes. You'll see.\"\n\n> You ask Gillespie about satan\nGillespie looks bored. \"Very interesting, I'm sure, but I don't imagine it concerns me.\"\n\n> You ask Reverend about the eternal Springs\nReverend Gillespie shrugs. \"There aren't too many authentic Southern establishments like this any more. It has a certain rustic charm, don't you agree?\"\n\n> You ask Gillespie about swamp\nGillespie smiles a meaningless smile. \"My, but it's hot this afternoon.\"\n\n> You ask Gillespie about the god\nThe minister's face brightens. \"I'm so glad you're concerned to learn more about your eternal soul, and how you can armor yourself against the wickedness of the world.\" But then a cloud passes across his countenance. \"On the other hand, in the circumstances.... Well, I guess you can't make an omelet without breakin' eggs, heh-heh.\" He pats your shoulder sadly but affectionately - pretty much, you can't help thinking, the way he would pat a puppy that was about to be put to sleep.\n\n> Go east\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots, suggesting that at one time the open area might have been used as a croquet court.\n\nYou're standing between Cabin Five (to the west) and Cabin Two (to the east). The croquet court continues north and south from here. Further to the north you can see a dusty stretch of lawn beside the house, and some distance to the south are the brackish, unhealthy-looking waters of a swamp.\n\n> You go south\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\n> Go west\nCabin Six is a lot like Cabin Five. Twin beds with ugly brown bedspreads haphazardly made up, water-stained plaster and peeling wallpaper, a grimy carpet. A faded painting of a flop-eared hound dog entirely fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\n> You examine the painting\nThe dog in the painting has long droopy ears and equally droopy jowls. He looks either bored or ill.\n\n> You open the drawers\nYou open the drawers.\n\n> You look in the drawer\nThe top drawer seems to be empty.\n\n> You look in the middle drawer\nThe middle drawer seems to be empty.\n\n> You close the drawer\nYou close the bottom drawer.\n\n> Go south\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold.\n\n> Go west\n(first opening the bathroom door)\n\nThe bathroom is barely big enough to turn around in. There's a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. A tiny window provides a very little air.\n\nThe door leads eastward.\n\n> You examine the shower\nThe bathroom fixtures are all really depressing. This motel is such a dump.\n\n> You take a the shower\n(the bathroom fixtures)\nNothing in the bathroom is good for anything other than ... you know, what it's good for.\n\n> You look in the mirror\nNothing in the bathroom is good for anything other than ... you know, what it's good for.\n\n> You go north\nYou can't go that way. The only obvious exit leads east, back to cabin six.\n\n> You go east\n(first trying to open the door of Cabin Three)\nYou tap hesitantly on the door of Cabin Three. After a few moments, a low voice from within says, \"I'm sorry - I'm taking a nap. Perhaps you could come back a little later.\"\n\n> Go south\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\n> Go west\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built, and there's a shiny new lock on the door.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\n> You go south\n(first trying to open the boat shed door)\nThe boat shed door seems to be locked.\n\n> You examine the lock\nThe padlock is hanging from the hasp.\n\n> Go southwest\nThe ground descends here to the muddy edge of the swamp. A small window is set high in the plank wall of the shed, which stands to your east. A path to the north leads back to the front of the shed.\n\nYou see a wooden bucket here.\n\n> You take the bucket\nTaken.\n\n> You examine the bucket\nIt's an old-fashioned, leaky-looking wooden bucket.\n\n> You go east\nYou can't go that way. The only obvious exit leads north, back to the front of the boat shed.\n\n> You look at the window\nThe window is small and square, and the glass is none too clean. The window is about six feet off the ground - too high for you to see into, even on tiptoe.\n\n> You drop the bucket\nDropped.\n\n> You turn the bucket over\nYou turn the bucket over.\n\n> You look in the window\nBy placing the bucket next to the wall and standing on it, you're able to see in the window. It's so dim in the shed that at first it's hard to see anything, but as your eyes adjust (and brushing off a little spot to make the glass cleaner helps too), you're able to make out a dock within the shed. The dock extends from the north side, by the door, out into a dull sheen of rippling water that fills the floor of the room. There are two boats in the shed, a large, shiny power boat and a little rowboat. Evidently this is where the watercraft at Eternal Springs are kept.\n\n> You take the bucket\nYou pick up the bucket."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist]\n\n> You describe your surroundings\nThe ground descends here to the muddy edge of the swamp. A small window is set high in the plank wall of the shed, which stands to your east. A path to the north leads back to the front of the shed.\n\n> You go to the north\nThe open area behind the western row of cabins is thinly carpeted with scruffy, dusty weeds. A large, rusted incinerator stands in the middle of the open space. A scraggly tree has set down roots quite close to the leftmost of the three cabins whose rear walls form a barrier to the east.\n\nTo the south is the shed at the edge of the swamp. You can go north to the area in front of the run-down shack, where the motel's dusty van is parked. The overgrown, junk-strewn garden beside the shack is to the west.\n\n> You look at the incinerator\nThe incinerator is the size of a large garbage can. Its rusted metal sides are pierced by large holes.\n\n> You look in the incinerator\nThe incinerator contains some ashes.\n\n> You examine the ashes\nThe ashes and charred scraps at the bottom of the incinerator are gray and unidentifiable.\n\n> You examine the Cabins\nThe rear walls of three cabins stand in a blocky, unattractive row along the east side of this open space. A scraggly tree is growing behind Cabin Four, obscuring much of it, but the rears of Cabins Five and Six are bare. Each of them is an unbroken expanse of weathered gray planks except for a small window (presumably the bathroom window) set quite high off the ground.\n\n> You look in the window\nThe bathroom windows are set too far off the ground for you to be able to see in. (Anyway, you already know what the inside of a bathroom looks like.)\n\n> You take the bucket\nYou pick up the bucket.\n\n> You climb the tree\nFrom this perch in the midst of the scraggly tree, you can't see much. The area behind the cabins is obscured by foliage. However, you're quite close to the rear wall of Cabin Four, and have a close view of the cabin's bathroom window, which is open.\n\n> You look in the window\nThe bathroom looks ordinary enough. Beyond the open bathroom door, a man is sitting on the bed, hunched over a laptop computer.\n\n> You examine man\nThe man is intent on what he's doing with the computer.\n\n> You examine computer\nThe computer is too far away for you to make out any details.\n\n> You ask the man about the computer\nThe man in the cabin is too far away.\n\n> Go west\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\nAn old shovel is leaning against the wall of the shack.\n\nAn old burlap sack is lying on the ground.\n\n> You take the shovel and the sack\nold shovel: Taken.\nburlap sack: Taken.\n\n> You examine the shovel\nThe shovel's handle is split, and the blade is dented.\n\n> You examine the junk\nSome of the junk is identifiable as parts of automobiles or farm equipment. There are also a few rusted, half-disassembled kitchen appliances scattered about, and a stack of rotting lumber.\n\n> Search lumber\nThere's quite a lot of junk here. You spend a minute looking through it, but without spotting anything that would have any immediate value.\n\n> You look in the sack\nThe burlap sack seems to be empty.\n\n> You look at the shack\nIt's a tumble-down shack (though not, as in a corny old song your father used to play for your mother when you were little, \"a tumble-down shack by the old railroad track\"). The boards are warped and discolored, and the roofline sags. There's one window about three feet square, which is covered by a coarse-mesh screen.\n\n> Go north\nYou can't go that way. Obvious exits lead east, back to the area behind the cabins; northeast; and southeast.\n\n> You look in the window\nPeering through the screen and the grimy glass, you can't see much of the interior of the shack. The afternoon sunlight is too bright.\n\n> You open the window\nThere's no obvious way to do that. A quick inspection reveals that the screen is held firmly in place by half a dozen heavy screws.\n\n> You go northeast\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nA man is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You kill the man\nThat could easily be dangerous. You don't know him well enough to know what he's capable of.\n\n> You get in the van\nThe man working on the van shakes his head. \"You can play in there if you like, honey, but don't get your hopes up. This here vehicle is incapacitated. Down for the count.\"\n\nThe van has the usual front and rear seats. Through the dust-speckled windows you can see the house, the driveway, the shack, and the cabins. The interior smells faintly of gasoline.\n\n> Search van\nUnder the seat (along with some chewing gum wrappers and a couple of crusty, dried-out french fries) you find a small red flashlight, which you retrieve.\n\n> Inventory\nYou are carrying a wooden bucket, an old shovel, a burlap sack, and a flashlight, and you're wearing your clothes.\n\n> You examine the flashlight\nThe flashlight is small and red. The lens is cracked. There's a switch on the top and a battery compartment on the underside.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 2:30.\n\n> You turn on the light\nYou flip the switch, and the flashlight emits a feeble glow.\n\n> You turn off the light\nYou switch off the flashlight, and the light dies.\n\n> You get out\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nA man is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You ask the man about the man\nThe man lifts his head from the engine to stare at you. At first glance his expression is so baleful that you take an involuntary step backward, your heart pounding. He's very large and very black. His scarred and calloused fist is wrapped around a heavy wrench, and as he steps toward you he raises the wrench.\n\nBut then he bares his teeth in an ill-sorted expression that seems to be an attempt at a smile. \"Hello, there, little lady. We haven't met. I'm Tyrone.\"\n\nYou stammer a hello, and he goes on. \"I'd offer to shake your hand, but mine's a little greasy, you know. I do the heavy liftin' around here, mostly. Heard tell you was comin'. Guess I shouldn'ta said that, but it's too late now.\"\n\nHe frowns at the ground for a moment. \"Whatever happens, I just want you to know I ain't got nothin' to do with it. I cain't stop it, neither, so don't bother to ask. I'm talkin' too much.\"\n\nTyrone smiles when you show an interest in him, showing off a big mouthful of yellowish, uneven teeth. \"I'm nobody special, honey. I work for Mr. Beauregard, is all. Him and me, we got an understandin', you might say. I don't get in his way, he don't get in mine.\n\n\"That don't mean I'm pleased by all of what he does, no sir. But there's folks don't care for all of what I do, neither. Let well enough alone, that's what my momma always said. That's how you get through life.\"\n\n> You ask Tyrone about the van\nYou ask Tyrone what he's doing with the van. \"Oh, somethin' or other's always goin' wrong with it,\" he says obscurely. \"Carburetor, most likely. I'll have it fixed up by tomorrow, time these folks is ready to leave.\"\n\n> You ask Tyrone about the boat\nTyrone spreads his hands. \"You got me.\"\n\n> You ask Tyrone about Caroline\nIt's pretty obvious Tyrone doesn't know your aunt, but you figure he might have a guess about why she's been hiding out in the bathroom all afternoon. \"'Cause she embarrassed, honey,\" he says promptly. \"Maybe she love you, or maybe she don't. I don't know about that. But she full o' shame on account of she's not doin' right by you.\"\n\n> You ask Tyrone about Beauregard\nTyrone's mouth sets in a grim line. \"Mr. Beauregard, he pays my salary, and me and him leave each other alone. Live and let live, you know? I don't got nothin' bad to say about him. Nothin' good, neither, but nothin' bad.\"\n\n> You ask Tyrone about Jimmy\nTyrone snorts quietly. \"The preacher? Awful full of hisself, I'd say. I wouldn't trust him to shine my shoes, and that's the truth.\"\n\n> You ask Tyrone about the flashlight\n\"I really ought to get back and work some more on that van,\" Tyrone says apologetically. \"I love talkin' with you, an' that's the truth, but I don' want Mr. Beauregard gettin' mad at me, now, do I?\"\n\n> You examine the shack\nThe shack is small, old, and in poor repair.\n\n> Go west\nAs you move toward the door of the shack, Tyrone moves swiftly to intercept you. \"That's my home, little lady. Ain't much, but it's all I got. I don't know how they do things where you come from, but 'round here it ain't considered polite to go into a man's home without his say-so.\"\n\n> You ask Tyrone about the shack\n\"That little ole shack?\" Tyrone shrugs. \"It ain't much, but I call it home. Suits me pretty good, if you want to know the truth.\"\n\n> You open the door\nThe back door seems to be locked."
    },
    {
        "text": "> You look around\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone has taken a break from working on the van in order to stand and talk with you.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You go east\nTyrone shrugs and goes back to work on the van.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> Go west\n(first opening the door of Cabin Four)\nYou tap on the door, and a male voice within says firmly, \"Go away.\" Well, that's that - for now, anyway.\n\n> Go east\n(first trying to open the door of Cabin One)\nThe door of Cabin One seems to be locked.\n\n> Go south\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots, suggesting that at one time the open area might have been used as a croquet court.\n\nYou're standing between Cabin Five (to the west) and Cabin Two (to the east). The croquet court continues north and south from here. Further to the north you can see a dusty stretch of lawn beside the house, and some distance to the south are the brackish, unhealthy-looking waters of a swamp.\n\n> You go east\nThe path meanders eastward along the shore of the swamp. Shortly the shore curves away southward, and you find yourself in a broad meadow.\n\nA few trees, tall and old but gnarled, reach up out of the long grass of this meadow like grasping bony fingers, tattered streamers of moss and vine trailing from their crooked branches. The meadow is bordered on the south by the swamp and on the north by an intimidating barbed-wire fence, and continues for some distance to the east. The path along the edge of the swamp runs westward from here.\n\nStanding in the center of the meadow is a large, rough block of black stone.\n\n> You examine the stone\nThe stone block is a black cube about four feet on each side. Its surface is rough, and the edges and corners are chipped and cracked, as though it was broken off or carved out from a larger piece of stone.\nOr possibly it's just incredibly ancient. Exotic-looking carvings can be discerned on one face, though they're half-hidden from view by tall grass, and the top of the block is thinly stained with a dried, dark residue, a little of which has trickled down one side. Tufts of grass grow tall and thick around the base.\n\n> Taste residue\nYou fleetingly consider touching the old stains with the tip of your tongue, and reject the idea as disgusting.\n\n> You examine the carvings\nAs you kneel and brush aside the long grass to get a closer look at the carvings on the stone block, you become aware of an agitated thickening in the sunlit air. Distracted, you turn to watch. The haze of movement flits here and there, becoming moment by moment more substantial. At first you think it must be a cloud of dust or a swarm of insects, but as it veers closer to you you glimpse the distorted, terrified features of a girl. She spins around you, making a thin keening noise, her arms flailing.\n\nYou stand and stagger backward, trying to get away from the apparition. You can see the distant trees and fence through her slender body, which is clad in a white dress.\n\n> You look at the lydia\nThe terrifying apparition whirls back and forth across the meadow so rapidly that it's hard to make out details, but it appears to be a girl about your age. She swoops and tumbles toward you and away, her mouth open in a silent scream. Or maybe not quite silent: Thinly, as if from a great distance, you can hear the wordless shriek. It sets your teeth on edge. More than anything else, this ghostly girl resembles a very large, translucent hummingbird having a fit of hysterics - but there's little of the hummingbird about her. Surely she's a lost soul trapped in this desolate spot and trying to escape from some hellish tormentor that you can't see.\n\n> You ask her about herself\nInstead of answering, the apparition whirls in a tight spiral in the sunlight.\n\n> You touch her\nYour hands would pass right through her.\n\n> You get on the stone\nAs you approach the block, suddenly the ghost is whirling around you, shrieking. Terrified, you stagger backward.\n\n> You search the grass\nYou glance at the grass and instantly dismiss it as unimportant.\n\n> You examine the carvings\nYou kneel and push aside the grass to try to get a clear view of the carvings on the block, but suddenly the ghost is whirling around you, shrieking. Terrified, you lurch to your feet and stagger backward.\n\n> You examine the fence\nThe fence bristles with sharp-looking barbs."
    },
    {
        "text": "[Themes: Horror, female protagonist, Lovecraftian]\n\n> You describe your surroundings\nA few trees, tall and old but gnarled, reach up out of the long grass of this meadow like grasping bony fingers, tattered streamers of moss and vine trailing from their crooked branches. The meadow is bordered on the south by the swamp and on the north by an intimidating barbed-wire fence, and continues for some distance to the east. The path along the edge of the swamp runs westward from here.\n\nStanding in the center of the meadow is a large, rough block of black stone.\n\nA restless ghost flits here and there across the meadow.\n\n> Go east\nThe meadowland tapers off here, the barbed-wire fence from the north angling down to meet the swamp in the south. Other than heading back to the west, there's not much to do in this isolated spot except watch some rabbits, who are busy in the tall grass doing whatever it is rabbits do.\n\n> You examine the rabbits\nThey look pretty much like the rabbits you've seen in shows on the Nature Channel - brown, with long ears and short tails. They look a lot less cuddly than the rabbits in picture-books, though - rather mangy and malnourished, in fact. They pause occasionally to eye you with caution, and then go back to hopping around.\n\n> Pet rabbits\nThat would be impolite.\n\n> You go west\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\n> Go north\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\n> Go north\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots, suggesting that at one time the open area might have been used as a croquet court.\n\nYou're standing between Cabin Five (to the west) and Cabin Two (to the east). The croquet court continues north and south from here. Further to the north you can see a dusty stretch of lawn beside the house, and some distance to the south are the brackish, unhealthy-looking waters of a swamp.\n\n> You go to the north\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 2:45.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nLounging on the chaise longue is a young woman wearing a wide floppy straw hat and big round sunglasses. When she catches sight of you, she lowers the magazine she's reading, favors you with a big smile that shows a bunch of exquisitely orthodontized teeth, and says in a cheery voice, \"Well, hello there!\"\n\nYou acknowledge the greeting hesitantly. \"You must be Diane,\" she goes on. \"I'm Honey. Honey Hartwell, you know? The singer? Maybe you heard my CD?\" Honey's voice drips Southern charm. \"Now whatever may happen-\" She lowers her voice conspiratorially and leans toward you. \"-I want you to try to remember how grateful I am.\"\n\nHoney stretches languidly.\n\n> You ask Honey about the sacrifice\nHoney nods soberly. \"We all have to make sacrifices, don't we? You would be amazed at some of the things I've had to do to further my singin' career. Well, maybe you wouldn't. Nothin' I'd want to talk about, let me tell you.\"\n\n> You ask Honey about the death\nHoney leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.\n\nHoney tugs at a strap on her top.\n\n> You ask Honey about the ritual\nHoney nods soberly. \"We all have to make sacrifices, don't we? You would be amazed at some of the things I've had to do to further my singin' career. Well, maybe you wouldn't. Nothin' I'd want to talk about, let me tell you.\"\n\nHoney curls a strand of hair around her little finger.\n\n> You ask her about Honey\n\"Well, how nice of you to ask!\" Honey's self-satisfied tone indicates that this polite response is a mere formality: She knew you'd be avid to know all about her. \"I'm a vocalist. Someday real soon I'm goin' to be a big, big star.\"\n\nShe throws back her head and warbles a few lines about love and pickup trucks in a nasal, tremulous, off-pitch soprano. You've never heard the song before, and nothing in her delivery makes you want to hear it ever again. You murmur a few polite words of faint praise. She preens, seeming not to notice your lack of enthusiasm.\n\nHoney yawns and stretches. \"You know what?\" she says. \"I left my sunblock in the cabin. Honestly, I think I'd forget my boobs if they weren't a hundred percent real. I think I put the sunblock in the medicine cabinet in the bathroom. Would you be a doll and get it for me? Here, let me give you the key.\" She rolls sideways and leans low over her straw bag. After some mumbling and rooting in the depths of the bag, she fishes up a little key and hands it to you.\n\n\"Run along now. And don't dawdle. I'm gettin' crispy. Oh, almost forgot. I'm in Cabin One.\"\n\n> Inventory\nYou are carrying a wooden bucket, an old shovel, a burlap sack, a flashlight, and a tarnished key, and you're wearing your clothes.\n\nHoney pulls her sunglasses down to the end of her nose with one finger in order to look meaningfully at you. \"Didn't I ask you to bring me somethin', sugar?\"\n\n> You ask Honey about the picnic\nYou mention to Honey that there's supposed to be some kind of special picnic tonight at sunset. Does she know anything about that?\n\nHoney purses her lips for a minute, as if she's trying to think. \"I heard there was gonna be some deviled eggs,\" she says at last. \"Maybe a barbecue or somethin'. You really ought to ask Beauregard, he knows more about it than I do.\"\n\nHoney licks her thumb and turns a page in the magazine.\n\n> You ask her about the lydia\nAfter taking a deep breath, you tell Honey about the ghost you saw hovering around the stone block in the meadow. At first it seems she hasn't been paying attention, but then you see she's thinking. \"That's good, isn't it?\" She seems to be talking more to herself than to you. \"That means it isn't really ... I mean, when you ... I mean, when any of us ... oh, forget it. I'm not too good at explaining things.\"\n\n> You ask her about Tyrone\nYou mention that Tyrone has been working on the van all afternoon. Shouldn't he be finishing up before long? \"That old clunker?\" Honey replies. \"You ask me, it's a wonder it runs at all. I wouldn't be surprised if he's workin' on it 'til midnight. Now, my most recent boyfriend, he had a red convertible Porsche. But he had some bad habits too. I had to dump him.\"\n\n> You ask her about Caroline\nHoney smiles broadly. \"Your aunt's a famous author, isn't that right? I think that's just wonderful! I'm famous too, I don't know if I mentioned that. Before long I'm going to be a lot more famous. Can you imagine that? I been practicin' my autograph.\"\n\nHoney wiggles her toes.\n\n> You ask her about Jimmy\nHoney nods. \"That preacher fella? I saw him when he checked in. He looks very distinguished, don't you think?\"\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> You ask her about Beauregard\n\"That creepy old man?\" Honey shudders. \"He's been eyein' me all afternoon from up on the porch there. Don't think I haven't noticed. If it wasn't for ... oh, never mind. You wouldn't understand. Sometimes a girl has to put her career first, that's all.\"\n\nHoney hums a little off-key tune to herself.\n\n> You examine Honey\nHoney is in her early twenties, and quite glamorous in a trashy sort of Nashville way. She's wearing great big dark glasses, too much lip gloss, a wide-brimmed pink straw hat, and matching skin-tight shorts. She's lounging on the chaise longue in the sun, a large floppy straw purse yawning open beside her on the lawn, leafing idly through a magazine that, as well as you can judge from looking at it upside down, is devoted mostly to large photos of movie stars.\n\n> You go to the south\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> You unlock the door with the key\nYou unlock the door of Cabin One.\n\n> You open the door\nWhich door do you mean, the door of Cabin One, or the door of Cabin Four?\n\n> You go east\nThe interior of this rustic motel room looks pretty much like a mirror image of the interior of Cabin Five. Except - not really. Honey Hartwell seems to have arrived like a hurricane. Her possessions are strewn in profusion on every available surface, including the floor. Most of the stuff is clothing, every bit of it gaudy and in terrible taste. In amongst the garb you can also see half a dozen photo magazines devoted to celebrity worship, and the top of the dresser (which stands against the east wall, near the door of the bathroom) is overflowing with cosmetics.\n\nAside from that, the cabin is unremarkable: the door to the croquet court on the west, a walk-in closet to the south, brown bedspreads on the twin beds, tacky wood-grain wallpaper that's starting to peel, green curtains over the window, and a carpet into which years of grime have been ground. A murky painting of a tired-looking Confederate soldier only contributes to the air of dejection and decay.\n\n> You open the top drawer\nOpening the top drawer reveals a sequined jacket.\n\n> You examine the jacket\nNeatly folded in the top drawer is what appears to be a wide-lapelled jacket whose fabric is entirely covered with sparkling sequins.\n\n> You look at the confederate\nThe soldier is leaning on his rifle. He looks as if he lost the battle, but is too tired to care.\n\n> Search jacket\nSewn inside the collar of the jacket is a label.\n\n> You read the label\nIn a tiny, flowery script that looks hand-stitched (in glossy pink thread, naturally), the label says, \"Another fine item of personal adornment from the Garmenteria d'Frobozz. Post-release bugs found and reported by Daphne Brinkerhoff, David Silberman, and Arnel Legaspi.\"\n\n> You wear the jacket\n(first putting the old shovel in the burlap sack to make room, then taking the sequined jacket)\nYou'd look far too conspicuous sashaying around in the sequined jacket. Anyway, it's not your style.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel), a flashlight, the key to Cabin One, and a sequined jacket, and you're wearing your clothes.\n\n> You look at the possessions\nHoney's clothes are scattered everywhere. Low-cut tops, Spandex tights, frilly underwear - and is that a tiara lying on the bed? It's sad, really.\n\n> You take the tiara\nYou glance at Honey's clothes and instantly dismiss them as unimportant.\n\n> Go east\n(first opening the bathroom door)\n\nThe tiny, cramped bathroom features a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. A tiny window provides a very little air.\n\nThe door leads westward.\n\n> You open the mirror\nOpening the medicine cabinet reveals a tube of suntan lotion and a pill bottle.\n\n> You look at the pill bottle\nThe pill bottle is a small brown cylinder made of plastic. The label says, \"Caution: Sleeping pills. May cause drowsiness.\" It's closed by a screw-top - probably child-proof, but easily removed.\n\n> You take all from the mirror\ntube of suntan lotion: Taken.\npill bottle: Taken.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nWhen Honey sees that you're carrying her sequined jacket, her eyebrows shoot straight up. \"You like my things, sugar? I get a lot of compliments on my fashion sense - but you know, it's not nice to borrow someone's things without her permission. Give it here.\"\n\nWith a reluctance amounting almost to dread, you hand over the jacket. Honey stuffs it down into her big straw bag quite unceremoniously, settles back on the chaise, and says more or less to herself, \"Maybe it was a mistake to let you have the key to my cabin. No tellin' what other mischief you might have got up to. Well, I guess it doesn't matter. Lord knows you're entitled to have a little fun before....\" She falls silent.\n\n\"Before what?\" you demand indignantly.\n\nHoney goes a little pale. \"Oh, nothin'. I didn't mean anything by it, sugar. I'm a little on edge, is all. Why don't you run along and play or somethin'.\"\n\n> You put the jacket in the sack\nDone.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney curls a strand of hair around her little finger.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel and a sequined jacket), a flashlight, the key to Cabin One, a tube of suntan lotion, and a pill bottle. You're wearing your clothes.\n\n> You give the lotion to Honey\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\n\"Oh, you brought it! Thanks a bunch.\" Honey takes the tube of suntan cream from you, flips open the top, and squirts a glob into her palm. \"I'm just goin' to relax here for a while longer before the picnic.\" She puts a light but lingering emphasis on the last word. \"Why don't you run along and play or somethin'? But don't go too far!\"\n\nHoney stretches languidly.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel and a sequined jacket), a flashlight, the key to Cabin One, and a pill bottle. You're wearing your clothes.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You examine bottle\nThe pill bottle is a small brown cylinder made of plastic. The label says, \"Caution: Sleeping pills. May cause drowsiness.\" When shaken, the bottle makes a rattling noise, as if there's a pill inside. It's closed by a screw-top - probably child-proof, but easily removed.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> You examine Honey\nHoney is in her early twenties, and quite glamorous in a trashy sort of Nashville way. She's wearing great big dark glasses, too much lip gloss, a wide-brimmed pink straw hat, and matching skin-tight shorts. She's lounging on the chaise longue in the sun, a large floppy straw purse yawning open beside her on the lawn, leafing idly through a magazine that, as well as you can judge from looking at it upside down, is devoted mostly to large photos of movie stars."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, horror]\n\n> Look around\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney yawns ostentatiously and goes back to reading her magazine.\n\n> EXITS\nObvious exits lead north; south, back to the north end of the croquet court; west; northwest; and southwest.\n\nHoney curls a strand of hair around her little finger.\n\n(You can control the exit listings with the EXITS command. EXITS STATUS shows the exit list in the status line, EXITS LOOK shows a full exit list in each room description, EXITS ON shows both, and EXITS OFF turns off both kinds of exit lists.)\n\n> You go to the south\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> Go east\nAs much loathing as you feel for the white dress, you're not quite willing to risk Aunt Caroline's wrath by leaving the cabin with it. Best leave it here.\n\n> You wear the dress\nYou consider stripping off your slacks and top and trying on the white dress, but three things stop you. First, you're mad at Aunt Caroline for hauling you all the way down here, so you really don't want to give her the pleasure of trying on the dress she insisted on bringing for you. Second, you want to spend the afternoon looking around this dumpy motel to see if there's anything fun to do, and the dress would surely get dirty. Third, it would look really tacky with your sneakers.\n\n> You look at what you're carrying with you\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel and a sequined jacket), a flashlight, the key to Cabin One, a pill bottle, and a white dress. You're wearing your clothes.\n\n> You put the dress in the sack\nBetter not. It would get wrinkled, and then Aunt Caroline would be mad.\n\n> You drop the dress\nBetter not leave it here. Aunt Caroline will be unhappy if it gets mussed.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney hums a little off-key tune to herself.\n\n> You go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You look at the couch\nThe old couch was upholstered in nubbly beige cloth a very long time ago. Woolly white stuffing is coming out through various rips and holes, and the cloth itself is badly stained, as if animals are in the habit of sleeping on it.\n\nBeauregard Phelps is sitting on the couch.\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> Kiss beauregard\nThe danger is, he might like it.\n\n> You examine Phelps\nYour first impression of Beauregard Phelps, when he arrived half an hour late at the airport to meet Aunt Caroline and you and bring you out here in the van, was that he was not just repulsive and creepy but truly evil. Nothing you've seen of him in the past couple of hours has changed that opinion. He's old and fat, with thick lips, a coarse complexion, and sparse hair as yellow as a dribble of tobacco juice, but it isn't just the way he looks. It's the way he smiles at you with those piggy little eyes - as though he's planning to eat you for supper, and looking forward to it.\n\nThere are sweat rings under his armpits, and his baggy pants are held up by suspenders. Ever since the van pulled into the motel, shortly after a greasy lunch at a filthy little diner on the state highway, Phelps has been sitting on the mangy couch on the porch, fanning himself, working a toothpick around in his mouth, and gazing out across the lawn like a king surveying his realm and finding it good.\n\nBeauregard belches, and doesn't apologize.\n\n> You go west\nAs you move past Beauregard Phelps toward the screen door, he levers himself up off the ratty old couch with surprising agility and grips your arm. \"Why don't you sit down and visit with me for a spell, missy? It does my old heart good just to look at you.\" Much against your will, you find yourself pulled down beside him on the couch. For a couple of minutes he plies you with questions about New York, which you answer in mumbled monosyllables.\n\nWhen his grip slackens, you seize the opportunity to leap up. You blurt something about needing to go see if your aunt needs anything and scamper down the steps to the lawn. You've escaped his clutches - for now, anyway.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney curls a strand of hair around her little finger.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel and a sequined jacket), a flashlight, the key to Cabin One, and a pill bottle. You're wearing your clothes.\n\n> You look at the pill bottle\nThe pill bottle is a small brown cylinder made of plastic. The label says, \"Caution: Sleeping pills. May cause drowsiness.\" When shaken, the bottle makes a rattling noise, as if there's a pill inside. It's closed by a screw-top - probably child-proof, but easily removed.\n\nHoney inspects her perfectly manicured bright pink nails."
    },
    {
        "text": "> Look around\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney hums a little off-key tune to herself.\n\n> Go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard lazily waves away a curious wasp.\n\n> You go east\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney tugs at a strap on her top.\n\n> You go to the southwest\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You ask Tyrone about the boathouse\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nTyrone shrugs. \"None o' my concern, and that's the truth.\"\n\n> You ask Tyrone about whether or not he will help us escape the death\nTyrone grins and shakes his head. \"You're just full o' questions, ain't you?\"\n\n> You ask Tyrone about the key\nTyrone's eyes crinkle up in a hint of a smile. \"They's a nice little motor boat in that shed. Mr. Beauregard, it's his pride and joy. That's why he keeps it locked up pretty tight. Always got the key right there in his baggy old pants pocket, an' he mostly don't loan the boat to nobody for no reason.\"\n\n> Go northeast\nTyrone shrugs and goes back to work on the van.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney wiggles her toes.\n\n> You go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> You go west\nYour second attempt to slip into the house is no more successful than the first. Beauregard Phelps leaps up and seizes your wrist as you step toward the screen door; he certainly moves fast for a fat old man. \"Come on, now, sugar pie,\" he says, his voice oozing fake affection. \"You got away from me before before I could tell you how nice you look with that ponytail and all. Sit down here and tell me all about where you go to school.\"\n\nThis time you manage to break away before he can force you to sit down on the couch. Again you dash down the steps to the lawn, shuddering. It occurs to you that you've never known before what the phrase \"makes my flesh crawl\" meant. Now you know.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\n> Go northwest\nYou're standing in the weed-infested remains of a small flower-bed.\nThe porch railing is directly above you, almost close enough to reach, and the lawn is back to the east. Only a few feet away, on the porch, Beauregard Phelps is sitting on the couch gazing out across the lawn, seemingly oblivious to the fact that you're skulking around down here.\n\n> You hit the nest with the shovel\nThe wasp nest is too far away.\n\n> You look at Phelps\nHe's sitting on the couch on the porch, chewing a toothpick as he gazes out across the lawn. He doesn't seem to have noticed you skulking around down here.\n\n> You look under porch\nThe porch is too far away.\n\n> You look at the weeds\nThe weeds are green and spiky. Some of them have little flowers, but there's nothing here that even vaguely resembles the flowers you'd find in a florist's shop back home.\n\n> You look at the railing\nThe railing looks pretty flimsy.\n\n> You climb the railing\nThe railing looks quite flimsy. It would probably pull loose.\n\n> Dig\nWhat do you want to dig in?\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains an old shovel and a sequined jacket), a flashlight, the key to Cabin One, and a pill bottle. You're wearing your clothes.\n\n> You take the shovel\n(first putting the pill bottle in the burlap sack to make room)\nTaken.\n\n> You stand\nYou're already standing.\n\n> Go southeast\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\n> Go north\nA narrow, uneven ribbon of blacktop runs east and west at this spot, and a walk leads off through some tall bushes to the south. Beyond the bushes can be glimpsed the roof of the main house. On the north side of the road is a ditch choked with bramble bushes.\n\n> You examine the ditch\nThe ditch is choked with bramble bushes. It runs along the north side of the road.\n\n> You go to the east\nTo the east, the road surface sinks beneath the brackish, unhealthy-looking waters of a bayou. There's an impenetrable thicket of bramble bushes to the north and an impenetrable hedge to the south. The only way you can go is to turn back to the west.\n\n> You examine the bayou\nThe water of the swamp is greenish and unhealthy-looking. It smells putrid, and disgusting things are floating in it.\n\n> You go to the west\nA narrow, bumpy ribbon of blacktop runs east and west at this spot. To the south, a gravel driveway leads off through some tall bushes. Standing - or rather, leaning - next to the driveway is a sign that says, \"Eternal Springs.\" The north side of the road is impassable due to a nasty-looking thicket of berry bushes.\n\n> You look at the berry\nThe bushes bristle with brambles. It's - well, it's a briar patch, basically.\n\n> You examine the sign\nThe sign is sagging sideways at a drunken angle, and looks as if it's about to fall over sideways. In florid pink letters the sign proclaims that the name of the establishment is \"Eternal Springs.\" An earlier layer seems to have been painted over, but thanks to the irregularities in the surface (which are many) and the flaking away of the top layer (which is considerable), you're able to trace out the former name of the motel, which seems to have been \"Bye Bayou.\"\n\n> You go to the west\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south.\n\nA black metal barrel is standing on the shoulder of the road.\n\n> You look at the barrel\nThe barrel is about three feet tall, and black, and smells strongly of fresh road tar. It's covered by a tight-fitting metal lid.\n\n> Open barrel\nYou try to pry up the lid with your bare fingers, but it's stuck. Possibly a tool of some sort would do the job.\n\n> Go west\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\nThere's a dead animal lying at the edge of the blacktop. It looks like what's left of a possum.\n\n> You look at the possum\nThe dead possum looks as if it was run over. Maybe a couple of days ago. Big black flies are circling around it. It's one of the most disgusting things you've ever seen in your life.\n\n> You look at the flies\nSeveral big black flies are circling around the possum carcass. A few of them have landed. Doubtless they're enjoying the feast.\n\n> You go west\nThe east/west road passes close by the front gate of a trashy-looking farm. Two large, smirking farm boys are lounging by the gate, chewing lengths of grass and looking at you in a keen and unhealthy way.\n\n> You examine the boys\nThe boys are leering at you. They're wearing ripped jeans and filthy sneakers. The larger one looks about seventeen, the other maybe fifteen, and they look as if they're probably brothers. The larger boy is more muscular, and his lip curls with a knowing sneer. The smaller boy is dirtier (though not by much) and keeps looking around in a sneaky way, as if he's getting ready to grab you when no one is watching. They're not your type at all. In fact, you're a little scared of them.\n\n\"You wanna see what we got out back o' the barn?\" the smaller boy says. \"Bet you never seen nothin' like it.\"\n\n> You ask the boys about the eternal Springs\n\"Uhh, hello,\" you venture hesitantly.\n\n\"Hello, yourself,\" says the larger boy, gazing directly at you. Then he turns to the other boy. \"She's a cute one, ain't she?\"\n\n\"What a dump that is,\" says the larger boy. \"You stayin' there? I almost feel sorry for you.\"\n\n\"Go ahead,\" the larger boy says to the smaller one. \"Pull her pony tail. I double-dog-dare you!\"\n\n> You ask the boys about the possum\n\"I'll tell ya all about it if you give me a kiss,\" the smaller, dirtier boy says.\n\n\"C'mon, gimme a kiss,\" the smaller boy says. He puckers up, squinches his eyes shut, and thrusts his face forward. You want to laugh, but that might provoke them.\n\n> You go to the east\n\"Gotta go,\" you say with a cheerful wave.\n\n\"C'n we watch?\" the smaller boy says brightly. The larger one explodes in a roar of laughter. As you walk away, you hear the boys snickering about something.\n\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\nThere's a dead animal lying at the edge of the blacktop. It looks like what's left of a possum.\n\n> You go to the south\nYou slip into the gap in the hedge, and find yourself angled in a twisty maze of thorny bramble-bushes. For a couple of minutes you stumble around, trying to avoid getting stuck by the razor-sharp thorns. Eventually you find your way back to the road, shaken by the ordeal but not too badly scratched up.\n\n> You look at the gap\nThe gap is narrow, and the bushes within seem to be covered with nasty-looking thorns.\n\n> You wear the jacket\n(first putting the old shovel in the burlap sack to make room, then taking the sequined jacket from the burlap sack)\nYou'd look far too conspicuous sashaying around in the sequined jacket. Anyway, it's not your style.\n\n> You wear the jacket\nYou'd look far too conspicuous sashaying around in the sequined jacket. Anyway, it's not your style.\n\n> Go south\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nA large yellow dog is chained up in front of the cellar doors, eyeing you in an unfriendly manner.\n\n> You look at dog\nThe dog is large, muscular, and alert-looking. He's sort of yellow, and has long floppy ears and a droopy muzzle. His collar is attached by a short leash to a ring mounted on the wall beside the cellar doors.\n\n> You examine the collar\nThe dog's collar is worn leather, but thick. The dog's leash is attached to the collar.\n\n> You take the possum\nYou reach out gingerly toward the rotting corpse, but try as you might, you can't quite bring yourself to touch it. Maybe if there weren't quite so many flies....\n\n> You take the possum with the shovel\n(first taking the old shovel from the burlap sack)\nYou pick up the dead possum with the old shovel.\n\n> You open the bottle\n(first putting the flashlight in the burlap sack to make room, then taking the pill bottle from the burlap sack)\nOpening the pill bottle reveals a little white pill.\n\n> You give the possum to the dog\nYou toss the dead possum to the dog. The dog sniffs at the dead possum curiously, decides it's interesting, and hunkers down to chew on it. But that's not enough fun: Next he grips it in his teeth and shakes it vigorously, as if punishing it. After playing with the possum for a minute or so, he gazes up at you with something vaguely resembling affection. It seems you've made a new friend.\n\n> You put the pill in the bottle\nDone.\n\nThe dog pants a little, his long red tongue lolling out.\n\n> Pet dog\nYou approach the dog timidly and extend your hand. He allows his head to be patted.\n\nThe dog paws at the dirt.\n\n> Dig\nWhat do you want to dig in?\n\n> Go east\n(first trying to open the cellar doors)\nThe dog gets between you and the door, panting in a friendly way but also blocking the path. It's no use - he's been well trained to keep anyone from sneaking into the cellar.\n\nThe dog strains at the leash.\n\n> You untie the leash\nYou unclip the leash, leaving the dog free to roam. He seems disinclined to do so, however. He just sits there in front of the cellar doors, his tongue lolling out, staring at you.\n\nThe dog rolls over in the gravel.\n\n> You look at the possum\nThe dead possum looks as if it was run over. And the dog's tender loving care has pretty much reduced it to tatters. Big black flies are circling around it. It's one of the most disgusting things you've ever seen in your life.\n\nThe dog sits on his haunches and scratches at a flea.\n\n> You give the pill to the dog\nThe dog ignores you in favor of scratching at a flea.\n\nThe dog rolls over in the gravel.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a sequined jacket and a flashlight), the key to Cabin One, a wooden bucket, an old shovel, a pill bottle, and a little white pill. You're wearing your clothes.\n\n> You take the possum\nYou reach out gingerly toward the rotting corpse, but try as you might, you can't quite bring yourself to touch it. Maybe if there weren't quite so many flies....\n\nThe dog strains at the leash.\n\n> You take possum with the shovel\nThe dead possum has served its last, best purpose, and pretty much been torn up by the dog in the process. Trying to do anything else with it would be gruesome, gross, and pointless.\n\n> You untie the leash\nYou unclip the leash, leaving the dog free to roam. He seems disinclined to do so, however. He just sits there in front of the cellar doors, his tongue lolling out, staring at you.\n\nThe dog rolls over in the gravel.\n\n> You take the leash\nYou consider walking around with the dog on a leash, but that would only advertise the fact that he's no longer doing his job guarding the cellar. That probably isn't a good thing to have anybody find out.\n\nThe dog paws at the dirt.\n\n> You tie the leash\nYou cannot fasten the dog's leash.\n\nThe dog sits on his haunches and scratches at a flea.\n\n> You tie the leash to the cellar\nYou cannot attach that to anything.\n\nThe dog pants a little, his long red tongue lolling out.\n\n> Enter\nWhat do you want to enter?\n\n> House\n(first trying to open the cellar doors)\nThe dog gets between you and the door, panting in a friendly way but also blocking the path. It's no use - he's been well trained to keep anyone from sneaking into the cellar.\n\nThe dog rolls over in the gravel.\n\n> Go south\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You ask Tyrone about the dog\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nTyrone looks disgusted. \"Ole Bailey's a nuisance, is what he is. That's the dog's name, Bailey. Let him run loose, he'd chase rabbits all day long. Them rabbits always get him all het up. He's too slow an' stupid to catch nothin', though. Not unless it's already dead.\" Tyrone chuckles gently at his own joke.\n\n> You ask Tyrone about the rabbits\n\"Rabbits? Ole Bailey, he like chasin' rabbits. Never catch nothin', but he's always game to try. You want to make him crazy, tell him about the rabbits while he's chained up. He knows the word right enough, he'll go crazy whinin' and jumpin'.\"\n\n> Go north\n(first trying to open the back door)\nThe back door seems to be locked.\n\n> You go to the northwest\nTyrone shrugs and goes back to work on the van.\n\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nYou see a dead possum here.\n\nA large yellow dog is sitting in front of the cellar doors, blinking amiably at you.\n\n> You ask dog about the rabbits\nThe dog perks up his ears, but seems to have no idea what you're saying.\n\nThe dog sits on his haunches and scratches at a flea.\n\n> You tell the dog about the rabbits\nYou lean forward conspiratorially. \"Doggie, nice doggie - I saw some nice rabbits down in the meadow. Rabbits! Rabbits!\" The dog's eyes light up. He dashes away, his duty forgotten, leaving the cellar doors unguarded.\n\n> Go east\n(first opening the cellar doors)\nThe leaves of the door fall back to left and right with a bang.\n\nThe cellar is low-ceilinged and grimy, with an irregular concrete floor and cobwebs that droop from the exposed rafters. The vague light comes from a couple of tiny windows and the door to the driveway. Along an inner wall is a workbench. The door to the driveway is to the west, a doorway opens eastward on absolute darkness, and a staircase against the north wall leads upward.\n\n> You examine the workbench\nThe workbench is strongly but crudely built. Above it is a rack where tools may once have been neatly hung, but the tools are long gone. A large vise with a crank is mounted on one front corner of the workbench.\n\n> You examine the vise\nThe vise consists of two square metal plates mounted parallel to one another. The plates are close to an inch thick, and are connected by a threaded shaft. A crank protrudes from the outer surface of the front plate. The vise is closed.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 3:00.\n\n> You open vise\nYou turn the crank, and the jaws of the vise separate.\n\n> You look in the vise\nThe vise seems to be empty.\n\n> You examine the flashlight\nThe flashlight is small and red. The lens is cracked. There's a switch on the top and a battery compartment on the underside.\n\n> You turn on the flashlight\nYou flip the switch, and the flashlight emits a feeble glow.\n\n> You go east\nThis side of the cellar is cluttered with large, dusty, cobwebbed objects, which are draped with soiled drop cloths. Most likely it's old furniture, but in the fitful light the clutter is deeply shadowed and rather ominous-looking. A large shipping trunk squats prominently at the front of the jumble of clutter. Though it's difficult to make out in the pervading gloom, there appears to be an even darker patch in the south wall, possibly the opening of a tunnel. The door to the better lit side of the cellar is to the west.\n\n> You go to the east\nIt's pitch black.\n\n> You go west\nThe cellar is low-ceilinged and grimy, with an irregular concrete floor and cobwebs that droop from the exposed rafters. The vague light comes from a couple of tiny windows and the door to the driveway. Along an inner wall is a workbench. The door to the driveway is to the west, a doorway opens eastward on absolute darkness, and a staircase against the north wall leads upward.\n\n> You open the trunk\nThe old trunk seems to be locked.\n\n> Go south\nThis low, earthy-smelling tunnel is no more than four feet high. The dirt floor is uneven, and the ceiling seems to be held up by a few crooked, widely spaced beams. The tunnel runs from north to south.\n\n> You go south\nThis earth-walled chamber is so low you can't stand up straight. There's a square trapdoor in the ceiling; it's closed. A dark tunnel extends away to the north.\n\n> You open the trapdoor\nYou're able to push the trapdoor up only a couple of inches before it hits an obstruction.\n\n> You look through trapdoor\n(first trying to open the trapdoor)\nYou're able to push the trapdoor up only a couple of inches before it hits an obstruction.\n\n> Xf10\nFailed: the position could not be restored.\n\n> Go upward\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\n> Go east\n(first trying to open the door)\nThe door seems to be locked.\n\n> You look at the door\nThe door is narrow and much scuffed. It's closed."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, Lovecraftian, horror]\n\n> Go downwards\nThe cellar is low-ceilinged and grimy, with an irregular concrete floor and cobwebs that droop from the exposed rafters. The vague light comes from a couple of tiny windows and the door to the driveway. Along an inner wall is a workbench. The door to the driveway is to the west, a doorway opens eastward on absolute darkness, and a staircase against the north wall leads upward.\n\n> You examine the windows\nThe windows are small and square. A little light spills from them down into the cellar.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a sequined jacket and a flashlight), the key to Cabin One, a wooden bucket, an old shovel, a pill bottle, and a little white pill. You're wearing your clothes.\n\n> You look at clutter\nIt's mostly just a bunch of junk and discarded furniture. Squatting in the midst of the clutter is a battered old trunk.\n\n> You go west\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nYou see a dead possum here.\n\n> Go south\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> Go south\nThe open area behind the western row of cabins is thinly carpeted with scruffy, dusty weeds. A large, rusted incinerator stands in the middle of the open space. A scraggly tree has set down roots quite close to the leftmost of the three cabins whose rear walls form a barrier to the east.\n\nTo the south is the shed at the edge of the swamp. You can go north to the area in front of the run-down shack, where the motel's dusty van is parked. The overgrown, junk-strewn garden beside the shack is to the west.\n\n> You go to the east\nThe path meanders eastward along the shore of the swamp. Shortly the shore curves away southward, and you find yourself in a broad meadow.\n\nA few trees, tall and old but gnarled, reach up out of the long grass of this meadow like grasping bony fingers, tattered streamers of moss and vine trailing from their crooked branches. The meadow is bordered on the south by the swamp and on the north by an intimidating barbed-wire fence, and continues for some distance to the east. The path along the edge of the swamp runs westward from here.\n\nStanding in the center of the meadow is a large, rough block of black stone.\n\nA restless ghost flits here and there across the meadow.\n\n> You go to the east\nThe meadowland tapers off here, the barbed-wire fence from the north angling down to meet the swamp in the south. Other than heading back to the west, there's not much to do in this isolated spot. Evidently the dog has had some fun chasing the rabbits, because they're gone.\n\n> You ask Tyrone about the cigar\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nTyrone scratches his head. \"I guess I don't know nothin' 'bout that.\"\n\n> You ask Tyrone about cigars\nTyrone spreads his hands. \"You got me.\"\n\n> You ask Tyrone about the wasps\n\"I keep meanin' to clean out that ole wasp nest,\" Tyrone says. \"Send the lady guests off runnin' and screamin', they see a wasp. If we had any guests 'round here, that is. You-all pretty much the biggest batch we seen all year.\"\n\n> You ask Tyrone about the torch\nTyrone grins and shakes his head. \"You're just full o' questions, ain't you?\"\n\n> You ask Tyrone about the barrel\n\"That big ole rusty can down there behind the cabins? We burn stuff in it sometimes, scrap paper an' whatnot. Maybe you never seen one before, comin' from New York the way you do.\"\n\n> You ask Tyrone about the tunnel\nTyrone shrugs. \"None o' my concern, and that's the truth.\"\n\n> You ask Tyrone about the lydia\nWhen you mention the apparition you saw hovering around the stone block\n\n> You ask Tyrone about the cellar\nin the meadow, Tyrone starts poking around very busily in the innards of the van. \"People see lots o' things,\" he says, not looking at you. \"People ought to mind their own business.\"\n\n\"But this ghost,\" you tell him, not quite willing to give up, \"it was like she was in pain.\"\n\nTyrone sighs heavily. \"And what are you tellin' me about it for? You think old Tyrone can do anything about it? That ghost, she been around here for a long, long time. I see her once in a while, on a moonlit night, comin' up between the cabins. I don't know if she's in any pain, but I think she's sad. I think when she sees folks that are alive, it reminds her of what she lost.\n\n\"It's too bad you don't have nobody here that's your own age, honey. That ghost, she's about your age. If you can see her, and in broad daylight too, maybe you want to try to make friends with her. You could do worse.\"\n\n\"But how would I do that?\" you ask. \"How can anybody make friends with a ghost?\"\n\n\"Same way as you'd make friends with anybody else, I expect. Find somethin' she cares about. I couldn't rightly tell you what that would be, but I guess there's bound to be somethin'. If she didn't care about nothin', why would she be hangin' around, you ask yourself that?\"\n\nTyrone scratches his head. \"I guess I don't know nothin' 'bout that.\"\n\n> Go south\nTyrone shrugs and goes back to work on the van.\n\nThe open area behind the western row of cabins is thinly carpeted with scruffy, dusty weeds. A large, rusted incinerator stands in the middle of the open space. A scraggly tree has set down roots quite close to the leftmost of the three cabins whose rear walls form a barrier to the east.\n\nTo the south is the shed at the edge of the swamp. You can go north to the area in front of the run-down shack, where the motel's dusty van is parked. The overgrown, junk-strewn garden beside the shack is to the west.\n\n> Show jacket to lydia\n(first putting the old shovel in the burlap sack to make room, then taking the sequined jacket from the burlap sack)\nThe ghost seems not to have noticed. Its agitated flight about the meadow continues unabated.\n\n> Kiss lydia\nShe's too insubstantial for that.\n\n> You show the shovel to the lydia\n(first putting the pill bottle in the burlap sack to make room, then putting the key to Cabin One in the burlap sack to make room, then putting the little white pill in the burlap sack to make room, then putting the sequined jacket in the burlap sack to make room, then taking the old shovel from the burlap sack)\nThe ghost exhibits no curiosity about what you're offering.\n\n> You ask the lydia about the lydia\nInstead of answering, the ghost undulates sickeningly, as if underwater.\n\n> You put the jacket in the sack\nThe sequined jacket is already in the burlap sack.\n\n> You fill the bucket\nYou fill the bucket from the swamp.\n\n> You examine the bucket\nIt's an old-fashioned, leaky-looking wooden bucket. There's water in it, and the water is dribbling from narrow gaps in the sides.\n\n> You examine the water\nWhich water do you mean, the water in the bucket, or the swamp?\n\n> Bucket\nThat was not one of the choices. Which did you mean, the water in the bucket, or the swamp?\n\n> Water in the bucket\nThe water is sloshing around in the bucket.\n\n> You pour the water  in the incinerator\nThat would only make a mess of wet ashes.\n\n> You pour the water on Honey\nHoney Hartwell is not in need of a bath.\n\nHoney wiggles her toes.\n\n> Go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard lazily waves away a curious wasp.\n\n> You take the shovel\nYou are already carrying the old shovel.\n\n> You hit nest with the shovel\nDisturbing the wasps would be a really, really bad idea.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You pour the water on Beauregard\nBeauregard Phelps is not in need of a bath.\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You hit Phelps with the shovel\nYou could probably do some damage with the old shovel, but on the other hand, the consequences could hardly be good.\n\nBeauregard hitches up his suspenders.\n\n> You go to the east\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\n> You ask Honey about Phelps\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\n\"That creepy old man?\" Honey shudders. \"He's been eyein' me all afternoon from up on the porch there. Don't think I haven't noticed. If it wasn't for ... oh, never mind. You wouldn't understand. Sometimes a girl has to put her career first, that's all.\"\n\n> You ask Honey about the boys\nWhen you describe the oafish behavior of the farm boys, Honey throws back her head and laughs. \"They sound like fun,\" she declares.\n\n> You ask Honey about the dog\nYou tell Honey how the dog ran off when you told him about the rabbits. She laughs. \"Guess he's smarter than he looks, then,\" she says. \"But I'll bet he never caught a rabbit, and he ain't no friend of mine. You know that song?\"\n\nHoney tugs at a strap on her top.\n\n> You ask Honey about Tyrone\nYou mention that Tyrone has been working on the van all afternoon. Shouldn't he be finishing up before long? \"That old clunker?\" Honey replies. \"You ask me, it's a wonder it runs at all. I wouldn't be surprised if he's workin' on it 'til midnight. Now, my most recent boyfriend, he had a red convertible Porsche. But he had some bad habits too. I had to dump him.\"\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You go southwest\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine.\n\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You look at the window\nThe bathroom window is less than three feet square. It's standing wide open, and there's no screen. Looking through the window, you can see the interior of the bathroom in Cabin Four.\n\n> Go east\nPeering cautiously in the window, you can see straight out through the door of the bathroom and into the cabin, proper. A man is sitting on the bed, hunched over and frowning in concentration as he types on the keyboard of a small laptop computer. If you try to climb in the window, he's bound to spot you in an instant.\n\n> You go east\n(first opening the door of Cabin Two)\nReverend Gillespie appears at the door of Cabin Two and looks down at you. \"Yes? I'm really very busy just now, but if it's important....\"\n\n> You ask Reverend about Phelps\n\"Ah, yes - our gracious host. A diamond in the rough,\" the reverend declares. \"He does seem uncouth, but I'm sure there's hope for his eternal salvation.\"\n\n> You ask him about the lydia\nYou tell the Reverend that you personally believe there's some sort of life after death, because you've seen a ghost. You're half hoping he'll ask where, but the topic doesn't seem to interest him. \"The ways of the Lord are mysterious,\" he says vaguely.\n\n> You ask him about Tyrone\n\"A plain-spoken, hard-workin' man,\" Gillespie says. \"I wouldn't say a word against him. Though he is a little ... unfriendly, don't you think?\"\n\n> You ask him about Honey\n\"The young lady from Nashville, yes. Very attractive. A trifle ... obvious, don't you think? But it's not my place to judge.\"\n\n> You ask him about the dog\n\"The dog?\" Gillespie looks a little askance. \"He seemed quite ill-tempered to me. I'm plannin' to keep my distance. He seemed partial to the hired man, though. If you want to know more about him, I expect you ought to ask - what's his name, now? - Tyrone.\"\n\n> You ask him about bye bayou\nGillespie smiles a meaningless smile. \"My, but it's hot this afternoon.\"\n\n> You tell him about boys\nGillespie looks bored. \"Very interesting, I'm sure, but I don't imagine it concerns me.\"\n\n> You ask him about the bible\n\"Ah, the Holy Scripture,\" the reverend intones. \"I read it daily.\nIt's often a source of great comfort when I am sore afflicted.\"\n\nFeeling a little feisty, you ask the reverend if he'd be so good as to read a verse to you right now. \"Yes, of course,\" he says instantly ... but then his face contorts with a swift and startling variety of expressions. His eyes dart around as if he's wondering whether anyone is there to overhear. \"Well, perhaps not right now,\" he says, drawing the words out hesitantly. \"Perhaps later. Yes.\"\n\n> Bye\nNothing obvious happens.\n\n> You go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney stretches languidly.\n\n> You ask Honey about Reverend\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney nods. \"That preacher fella? I saw him when he checked in. He looks very distinguished, don't you think?\"\n\n> You ask Honey about the magazine\nHoney leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You go southwest\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine.\n\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You ask Tyrone about the engine\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\n\"I really ought to get back and work some more on that van,\" Tyrone says apologetically. \"I love talkin' with you, an' that's the truth, but I don' want Mr. Beauregard gettin' mad at me, now, do I?\"\n\n> You ask Tyrone about Reverend\nTyrone snorts quietly. \"The preacher? Awful full of hisself, I'd say. I wouldn't trust him to shine my shoes, and that's the truth.\"\n\n> You ask Tyrone about crowbar\nTyrone scratches his head. \"I guess I don't know nothin' 'bout that.\"\n\n> You ask Tyrone about the boys\nWhen you mention the farm boys you ran into down the road, Tyrone snorts with quiet contempt. \"They's good for nothin'. Good for nothin', but always up to somethin'. Best you steer clear of 'em, if you know what's good for you.\"\n\n> You tell Tyrone about the dog\nTyrone looks disgusted. \"Ole Bailey's a nuisance, is what he is. That's the dog's name, Bailey. Let him run loose, he'd chase rabbits all day long. Them rabbits always get him all het up. He's too slow an' stupid to catch nothin', though. Not unless it's already dead.\" Tyrone chuckles gently at his own joke.\n\n> Go northeast\nTyrone shrugs and goes back to work on the van.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> Go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard lazily waves away a curious wasp.\n\n> You sit on the couch\nYou're not eager to get that close to Beauregard Phelps.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> Kiss Phelps\nThe danger is, he might like it.\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You search Phelps\n(first trying to go over to Beauregard Phelps)\nBeauregard Phelps is too far away.\n\n> You pour the water on the couch\nThe couch is not in need of a bath.\n\nBeauregard smacks his lips. \"That young lady from Nashville, now - she's quite somethin', ain't she?\"\n\n> You examine the couch\nThe old couch was upholstered in nubbly beige cloth a very long time ago. Woolly white stuffing is coming out through various rips and holes, and the cloth itself is badly stained, as if animals are in the habit of sleeping on it.\n\nBeauregard Phelps is sitting on the couch.\n\nBeauregard belches, and doesn't apologize.\n\n> You search the couch\nThere's no practical way to search the couch while Beauregard Phelps is sitting on it.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You look at the pants\nPhelps's trousers provide plenty of fabric to cover the lower part of his considerable bulk. They're khaki-colored and held up by suspenders. The pockets are sagging open, possibly because of the relaxed way he's half-reclining on the couch.\n\nBeauregard hitches up his suspenders.\n\n> You look at the pockets\nPhelps's trousers provide plenty of fabric to cover the lower part of his considerable bulk. They're khaki-colored and held up by suspenders. The pockets are sagging open, possibly because of the relaxed way he's half-reclining on the couch.\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> Search pockets\nSticking your hands in his pants pockets while he's wearing the pants is not something you could ever bring yourself to do.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You ask Phelps about the cigars\nHaving been taught good manners, you can't quite bring yourself to ignore Phelps, so you nod to him and mumble a hello.\n\nHe smiles at you and nods heavily. \"You enjoyin' our balmy Southern weather, darlin'?\"\n\nBeauregard stifles a yawn. \"Gettin' time for my afternoon nap, but I'm just too keyed up this afternoon to sleep.\"\n\n> You give the pill to Phelps\n(first taking the little white pill from the burlap sack)\nYou consider showing Beauregard the sleeping pill, but two thoughts dissuade you. First, you don't want him to know you're stealing things from the other guests' cabins, and second, he might take the pill away from you before you find a use for it.\n\nBeauregard lazily waves away a curious wasp.\n\n> You ask Phelps about the porch\n\"This useta all be prime farm land, once,\" Beauregard says, waving his arm. \"We grew us a fine crop o' leaf. Was you sayin' somethin'?\"\n\n> You ask him about the tobacco\nBeauregard shows his teeth in a grimace that he probably thinks is a smile. \"You're gonna look so cute in that white dress!\"\n\nBeauregard belches, and doesn't apologize.\n\n> You ask him about the seegar\n\"I hope I git up to see New York sometime,\" Beauregard says irrelevantly.\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> You ask him about the railing\nBeauregard beams benignly at you. \"You are just the cutest little thang. I can't get over it.\"\n\nBeauregard hitches up his suspenders.\n\n> You examine the suspenders\nPhelps's trousers provide plenty of fabric to cover the lower part of his considerable bulk. They're khaki-colored and held up by suspenders. The pockets are sagging open, possibly because of the relaxed way he's half-reclining on the couch.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You look in the pockets\nSticking your hands in his pants pockets while he's wearing the pants is not something you could ever bring yourself to do.\n\nBeauregard lazily waves away a curious wasp.\n\n> You ask him about the wasps\n\"You worried about them wasps, sweet pea? They won't bother you none.\"\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You pour the water on the wasps\nThe wasp nest is not in need of a bath.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You ask him about the vise\nBeauregard pulls his gaze back from the lawn. \"Was you sayin' somethin', sweet pea?\"\n\nBeauregard smacks his lips. \"That young lady from Nashville, now - she's quite somethin', ain't she?\"\n\n> You ask him about the boathouse\n\"I hope I git up to see New York sometime,\" Beauregard says irrelevantly.\n\nBeauregard lazily waves away a curious wasp.\n\n> You ask him about the new york\nBeauregard shows his teeth in a grimace that he probably thinks is a smile. \"You're gonna look so cute in that white dress!\"\n\n> You ask him about the boat\nBeauregard stifles a yawn. \"Gettin' time for my afternoon nap, but I'm just too keyed up this afternoon to sleep.\"\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You ask him about the key\n\"You lose your cabin key?\" Phelps says, his voice oozing fake sympathy. \"Well, I don't expect your aunt will have locked the door. You can come and go pretty much wherever you want around here, exceptin' only Tyrone's shack and a few places like that. Ole Tyrone, he don't much cotton to havin' strangers pokin' around in his things.\"\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> Go east\nPhelps turns away from you, scratches himself, and goes back to gazing out across the lawn.\n\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> You go to the southwest\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone is standing hunched over the van's engine, peering down into the innards.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> Close vise\nCrushing the little white pill in the vise would only be pointless vandalism.\n\n> You put the pill in the bottle\n(first taking the little white pill)\nDone.\n\n> You dig dirt\nYou glance at the dirt and instantly dismiss it as unimportant.\n\n> You dig the floor\n(with the old shovel)\nYou have no reason to dig in that.\n\n> You go east\nYou can't go that way. Obvious exits lead north, back to the front of the shack; south, to the front of the boat shed; west, to the garden of junk; and up, to the perch in the tree.\n\n> You pour the water on the altar\nWhich water do you mean, the swamp, or the water in the bucket?\n\n> You examine the carvings\nYou kneel and push aside the grass to try to get a clear view of the carvings on the block, but suddenly the ghost is whirling around you, shrieking. Terrified, you lurch to your feet and stagger backward.\n\n> Go south\nThe water is filthy, and there are undoubtedly alligators. You consider swimming, but half a second later you reject the idea with a shudder."
    },
    {
        "text": "[Themes: Horror, female protagonist, Lovecraftian]\n\n> You describe your surroundings\nA few trees, tall and old but gnarled, reach up out of the long grass of this meadow like grasping bony fingers, tattered streamers of moss and vine trailing from their crooked branches. The meadow is bordered on the south by the swamp and on the north by an intimidating barbed-wire fence, and continues for some distance to the east. The path along the edge of the swamp runs westward from here.\n\nStanding in the center of the meadow is a large, rough block of black stone.\n\nA restless ghost flits here and there across the meadow.\n\n> You go west\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\n> You look under the dress\n(first trying to go over to the white dress)\nThe white dress is too far away.\n\n> You go to the bed\nWhich bed do you mean, the bed near the door, or the bed near the bathroom?\n\n> You examine door bed\nThe bed looks sort of lumpy, and the pillow is flat and undoubtedly hard. A threadbare brown coverlet is spread over the bed. On the bed near the door is a white dress.\n\n> You look under the pillow\nWhich pillow do you mean, the bed near the door, or the bed near the bathroom?\n\n> You look under the door pillow\nThe box springs are sagging, and there's a scatter of tiny dry brown pellets that might be mouse droppings. Nothing interesting, though.\n\n> You look under the carpet\nYou glance at the stuff in the cabin and instantly dismiss it as unimportant.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You enter the van\nThe van has the usual front and rear seats. Through the dust-speckled windows you can see the house, the driveway, the shack, and the cabins. The interior smells faintly of gasoline.\n\n> You examine the van\nThe van may once have been olive green, but it's almost too dusty to tell. The hood of the van is up, and Tyrone has his head bent low over the engine.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a sequined jacket and a flashlight), the key to Cabin One, a wooden bucket (which contains some water), an old shovel, a pill bottle, and a little white pill. You're wearing your clothes.\n\n> Go outside\nWhat do you want to move out of?\n\n> You go to the southeast\nYou can't go that way. Obvious exits lead north; south, to the area behind the cabins; east, to the north end of the croquet court; west; northeast, to the lawn; northwest, to the gravel driveway; southwest, to the garden of junk; and in, back to in the van.\n\n> You take the hoop\nWith a bit of tugging, you pull a hoop free of the dirt.\n\n> You examine the hoop\nThe hoop is a thick, bent piece of wire. The ends aren't exactly sharp, but they're tapered to make it easier to drive the hoop into the ground.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney licks her thumb and turns a page in the magazine.\n\n> Go northwest\nYou're standing in the weed-infested remains of a small flower-bed.\nThe porch railing is directly above you, almost close enough to reach, and the lawn is back to the east. Only a few feet away, on the porch, Beauregard Phelps is sitting on the couch gazing out across the lawn, seemingly oblivious to the fact that you're skulking around down here.\n\n> You throw the hoop at the nest\nThe wasp nest is too far away.\n\n> You go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\n> You throw the hoop at the nest\nDisturbing the wasps would be a really, really bad idea.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> Poke Phelps with hoop\nThat would be very rude.\n\nBeauregard hitches up his suspenders.\n\n> You go east\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> Inventory\nYou are carrying a burlap sack (which contains a sequined jacket and a flashlight), the key to Cabin One, a wooden bucket (which contains some water), an old shovel, a pill bottle, a little white pill, and a croquet hoop. You're wearing your clothes.\n\n> You give the hoop to Tyrone\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\n\"There's things that got power,\" he remarks obscurely, \"and things that don't. You gonna have to learn which is which.\"\n\n> You ask Tyrone about the engine\nTyrone scratches his head. \"I guess I don't know nothin' 'bout that.\"\n\n> You ask Tyrone about the van\nYou ask Tyrone what he's doing with the van. \"Oh, somethin' or other's always goin' wrong with it,\" he says obscurely. \"Carburetor, most likely. I'll have it fixed up by tomorrow, time these folks is ready to leave.\"\n\n> Close vise\nCrushing the croquet hoop in the vise would only be pointless vandalism.\n\n> You take the hoop\n(first putting the old shovel in the burlap sack to make room)\nTaken.\n\n> Go upward\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\n> You unlock the trunk with the hoop\nYou try several times to insert the end of the hoop into the lock, but the hoop is bent in a U shape, which makes it hard to manipulate.\n\n> Straighten hoop\nYou straighten out the croquet hoop.\n\n> You unlock trunk with the hoop\nYou insert the end of the straightened croquet hoop into the lock and twist it this way and that. After a few seconds you hear a very gratifying snap.\n\n> You open the trunk\nAs the battered old trunk creaks open, a sourceless breeze causes the dropcloths around you to flap and sends scraps of paper scurrying. The back of your neck prickles as you see the ghost from the meadow swirling and rippling in the air before you. For a moment she pauses in her restless flight to lean forward and peer down into the trunk. Then she turns to you and reaches out with one hand. But a moment later she's gone. The cellar is as empty and shadowed as before.\n\nOpening the old trunk reveals a gold locket and some faded photographs.\n\n> You take all from the trunk\ngold locket: Taken.\nfaded photographs: Taken.\n\n> You turn off the flashlight\nYou switch off the flashlight, and the light dies.\n\nIt is now pitch black.\n\n> You examine the locket\nThe gold locket is an old-fashioned oval no bigger than the last joint of your little finger. It's suspended from a delicate gold chain, and has a hinge on one side and a shallow indentation, about the size of a fingernail, on the other.\n\n> You open locket\nYou open the locket, revealing a tiny snapshot of a woman's face.\n\n> You examine the photographs\nThe photos are brown and faded. They show small groups of people wearing old-fashioned clothes. You've read a couple of books on fashion, and have no trouble identifying the styles as belonging to the 1930s.\n\nOne of the men in a couple of the photos looks a whole lot like Beauregard Phelps - but what's odd is that he looks almost exactly like he does today, which is obviously impossible. As old as he is now, he would have been only a little boy in the 1930s.\n\nStanding next to him, looking rather insecure, is a girl about your age. She's wearing a long white dress. On closer inspection she looks awfully like the ghost hovering around the stone block in the meadow.\n\n> You take the snapshot\nYou can't have that; it's part of the gold locket.\n\n> Close locket\nYou close the locket.\n\n> You show the locket to the ghost\nWhen the dead girl sees the locket, she hesitates in her frantic flight, but only for a moment. Then she spins on again through the air above the meadow.\n\n> Oops ghost\n(first taking off the gold locket)\nWhen the dead girl sees the locket, she hesitates in her frantic flight, but only for a moment. Then she spins on again through the air above the meadow.\n\n> You put the locket on the altar\nAs you approach the block, suddenly the ghost is whirling around you, shrieking. Terrified, you stagger backward.\n\n> You show the photographs to the ghost\n(first taking the faded photographs from the burlap sack)\nThe ghost exhibits no curiosity about what you're offering.\n\n> You show the snapshot to the ghost\nThe ghost seems not to have noticed. Its agitated flight about the meadow continues unabated.\n\n> You show the locket to the ghost\nThe ghost pauses in its flight, trembles, floats closer to you. Now that its motion has subsided, you can see clearly that it's a dark-haired girl wearing a flowing white dress. She reaches out toward the locket, translucent fingers groping fitfully. \"You found it. Oh, you found it! I never thought I'd see it again. That's a portrait of my mother. Wasn't she beautiful? That's what they told me, anyway. I never knew her. I lived with my cousins in Illinois, and....\" The girl pauses.\n\n\"Oh. Oh, I remember everything now. How they - oh. You must get away from here. They're planning to do the same thing to you, I'm sure of it!\"\n\n> You ask the ghost about herself\nThe ghost strokes her cheek lingeringly, as if wiping away a tear. \"My name is Lydia. I was born in 1920. When I - when they - it was 1934 when it happened. My cousin Jake brought me out here. He was a terrible gambler, and I guess he needed money more than anything.\nMaybe I ought to forgive him, but I can't. Beauregard was just the same then as he is now, old and fat. I think he does this to people - to girls like us, I mean - so he can live forever.\"\n\n> You ask Lydia about the locket\n\"I'm so glad you found it!\" she says. \"You must keep it for me.\"\n\n> You ask Lydia about Jake\n\"You mentioned your cousin Jake,\" you say.\n\n\"Everybody was poor in those days,\" she replies. \"Nobody had any money. But Jake liked to gamble. He'd play dice, or bet on the horse races, and he lost money he didn't have to begin with.\n\n\"I don't know what happened to him afterward. I guess the monster must have made him awful rich, but I don't know much about anything that's happened since I died. Is Franklin Roosevelt still president?\"\n\n> You ask Lydia about the monster\n\"This is such an evil place,\" she says. \"That ... thing that did what it did to me, it came up out of the swamp. But I don't think it's a swamp thing. I think it's older than the swamp, and a lot worse.\"\n\n> You ask Lydia about the ritual\nWith some reluctance, you ask Lydia how she died. \"I know you'd probably rather not talk about it,\" you tell her. \"But it might help me to know.\"\n\nShe's silent for a minute. \"They cut my heart out,\" she says at last. \"With a dagger. It still hurts. All the time. And then this - this thing came down and ate my heart. Or that's what it felt like. Does that help?\" You tell her no, you guess it doesn't.\n\n> You ask Lydia about the dagger\n\"I'm sorry,\" she says. \"I don't know much about very much.\"\n\n> You ask Lydia about the heart\nWhen you ask her about her heart, what happened to it, she grows very still. Her face knots up with anguish. \"They cut it out of me,\" she says, almost choking on the words. \"Beauregard did, with his awful knife. And then the demon came down and ate it. It's gone. But ... you know, sometimes I think I can still feel it beating, very faintly, somewhere very far away.\n\n\"And I know you'll think this is crazy, but wherever it is, I don't think it's the only heart in that place. I think there are a lot of hearts, from a lot of other girls, maybe hundreds of them just like me. Like us.\n\n\"And sometimes I seem to hear this funny soft sound, along with the beating. It's like a dry, sifting noise, but with little clicking noises in it too, like beetles or something. That doesn't make any sense at all, does it?\"\n\n> You ask Lydia about the eternal Springs\n\"I'm really bored here,\" Lydia says. \"I can never get very far from this spot, but sometimes I go peek into the cabins at night, when people are sleeping.\"\n\n> You ask Lydia about the altar\nLydia reaches out to touch the stone block, almost lovingly. \"That was where they did it to me,\" she whispers. \"I guess it only lasted a minute, but it seems like it lasted years. Like it's still going on, almost. The knife, the blood, the - the thing coming down on top of me, its teeth, its eyes like lava....\"\n\n> You look at the carvings\nYou carefully brush layers of dirt from the surface of the block, revealing seven figures. Two, wearing elaborate headdresses, kneel at the left side and the right. Four more, young and female and naked, march in single file up a ramp. By far the largest figure, waiting at the top of the ramp, is a monster of some sort, with glaring eyes, bared teeth, long claws, and a protruding tongue.\n\n> You ask Lydia about the carvings\n\"I forget things,\" she says. \"I think I might know something about that, only now I can't remember.\"\n\n> You ask Lydia about the white dress\nYou tell Lydia that your aunt brought a dress just like hers for you to wear later this afternoon. She shudders. \"That's pretty much what I expected. You have to get away! It's not too late.\"\n\n> You ask Lydia about Phelps\n\"He told me we were having a picnic,\" she says. \"He didn't tell me the - the awful thing that came would be the only one eating anything, or that what it would be eating would be me.\"\n\n> You ask Lydia about Honey\nYou describe the girl singer from Nashville to Lydia. \"She sounds like an awful person,\" the ghost replies. \"Really stuck up. But you know, part of me wishes I could be like her. I mean, I'd be nicer, but you know what I mean.\"\n\n> You ask Lydia about the Aunt\nYou tell Lydia how your aunt brought you down here from New York for no apparent reason, and brought along this white dress for you to wear to some kind of supposed picnic. Lydia nods vigorously. \"That's just like me with my cousin Jake. I guess he needed money more than anything. I think the horrid thing grants people's wishes. I guess it must have made Jake rich. I'll bet your aunt is the same way. I'll bet she wants something so much she's willing to let them - no, not let them, she's willing to help them kill you.\"\n\n> You ask Lydia about Reverend\nYou mention that there's a clergyman staying in one of the cabins, and that he seems to be part of whatever is going on around here. \"I wish I could say that surprises me,\" she says. \"But it doesn't. There were some nasty ministers back when I was alive, and I don't guess it's changed much.\"\n\n> You ask Lydia about Tyrone\n\"I've seen him,\" she says. \"I don't think he's a bad man. I don't know why he stays around here. He reminds me of somebody, but I just can't think who.\"\n\n> You ask Lydia about the dog\nYou tell her how you made friends with the dog, and she smiles.\n\"That's very clever.\"\n\n> You ask Lydia about the incinerator\nShe's looking off pensively toward the swamp. She seems not to have heard you.\n\n> You ask Lydia about the swamp\n\"There's nasty things out there in the swamp,\" Lydia says. \"Alligators and other things. I tried to cross the swamp in a boat, before I died. I was trying to get away. Only I didn't have a map, so I got lost.\nAnd then they came after me and brought me back. You shouldn't go out there unless you have a map, and a compass too.\"\n\n> You ask Lydia about the map\nYou ask her if she knows where you might be able to find a map of the swamp. She shrugs. \"I don't know anything at all, really. Maybe if you ask some of the people here, someone will be able to help you.\"\n\n> You ask Lydia about the compass\n\"I forget things,\" she says. \"I think I might know something about that, only now I can't remember.\"\n\n> You ask Lydia about the boat\nYou tell her about the boat shed, and she nods excitedly. \"That's where they keep the boats. I'll bet if you could steal a boat, you could get away from here!\"\n\n> You ask Lydia about the boys\nLydia giggles. \"Those boys? They come down here sometimes. If it's at night, I like to scare them.\"\n\n> You ask Lydia about the Cabins\n\"I'm really bored here,\" Lydia says. \"I can never get very far from this spot, but sometimes I go peek into the cabins at night, when people are sleeping.\"\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 3:15.\n\n> You go west\nAs you walk away, the ghost calls after you in a breathy voice: \"I hope you'll come back and visit me.\"\n\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\n> You ask Tyrone about map\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nYou ask Tyrone whether he might know where you could find a map of the swamp. \"Dunno what you'd need nothin' like that for,\" he says. Leastways, not unless you got you a boat. Mr. Beauregard, he keeps them boats locked up pretty tight in the shed, don't he?\"\n\n> You ask Tyrone about the compass\n\"I really ought to get back and work some more on that van,\" Tyrone says apologetically. \"I love talkin' with you, an' that's the truth, but I don' want Mr. Beauregard gettin' mad at me, now, do I?\"\n\n> You ask Tyrone about Jake\nTyrone shrugs. \"None o' my concern, and that's the truth.\"\n\n> You ask Tyrone about the alligators\nTyrone grins and shakes his head. \"You're just full o' questions, ain't you?\"\n\n> You ask Tyrone about the demon\nTyrone scratches his head. \"I guess I don't know nothin' 'bout that.\"\n\n> You check what you're carrying\nYou are carrying a burlap sack (which contains a sequined jacket, a flashlight, an old shovel, some faded photographs, and a gold locket), the key to Cabin One, a wooden bucket (which contains some water), a pill bottle, a little white pill, and a croquet hoop. You're wearing your clothes."
    },
    {
        "text": "> You look around\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nTyrone has taken a break from working on the van in order to stand and talk with you.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You go east\nTyrone shrugs and goes back to work on the van.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> Go west\n(first opening the door of Cabin Four)\nYou tap on the door, and a male voice within, sounding a bit annoyed, says, \"Go away.\" Okay, he's still in there. No harm in checking.\n\n> You show the photographs to Tyrone\n(first taking the faded photographs from the burlap sack)\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nTyrone takes the snapshots from you and thumbs through them before handing them back. \"Them's old, real old,\" he says. \"Mr. Beauregard, he ain't changed much, has he? They's one other that hasn't, neither. I see her sometimes, on a moonlit night.\"\n\n> You ask Tyrone about Lydia\nWhen you mention the apparition you saw hovering around the stone block in the meadow, Tyrone starts poking around very busily in the innards of the van. \"People see lots o' things,\" he says, not looking at you. \"People ought to mind their own business.\" You start to mention Lydia to Tyrone, but then you hesitate. Tyrone seems to be on your side, but there may be limits. If he finds out you've restored Lydia to life, he might feel compelled to let Beauregard know. And if he doesn't tell but Beauregard finds out anyway, that might be very bad for Tyrone, who you're starting to like just a little. No, better not say anything that might get either of you in trouble.\n\n> You go east\nTyrone shrugs and goes back to work on the van.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> You show the photographs to Honey\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney barely glances at the faded photographs. \"That's nice, sugar. Now why don't you run off and play or somethin'?\"\n\nHoney stretches languidly.\n\n> You show the locket to Honey\n(first taking the gold locket from the burlap sack)\nHoney barely glances at the gold locket. \"That's nice, sugar. Now why don't you run off and play or somethin'?\"\n\n> You put the locket in the sack\nDone.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> Go north\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine.\n\nA narrow, uneven ribbon of blacktop runs east and west at this spot, and a walk leads off through some tall bushes to the south. Beyond the bushes can be glimpsed the roof of the main house. On the north side of the road is a ditch choked with bramble bushes.\n\n> You go to the west\nA narrow, bumpy ribbon of blacktop runs east and west at this spot. To the south, a gravel driveway leads off through some tall bushes. Standing - or rather, leaning - next to the driveway is a sign that says, \"Eternal Springs.\" The north side of the road is impassable due to a nasty-looking thicket of berry bushes.\n\n> Go west\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\n> You go west\nThe east/west road passes close by the front gate of a trashy-looking farm. Two large, smirking farm boys are lounging by the gate, chewing lengths of grass and looking at you in a keen and unhealthy way.\n\n> You show the photographs to the boys\n\"Hello again,\" you say, trying to sound cheerful. \"I'm back.\"\n\n\"Was she gone?\" the smaller boy says. \"I din't notice.\"\n\nThe boys look at one another and roll their eyes, as if wondering how you could be so stupid.\n\n> You continue\n\"We could take those away from you,\" the smaller boy says, \"but why bother? Now, I'm not sayin' you don't got nothin' we might want, but that ain't it.\"\n\n> You hit the boys\nIt seems pretty clear that provoking them would get you in big trouble really quickly.\n\n\"She's a hot chick, ain't she?\" the larger boy says, nudging his brother and tilting his head at you.\n\n> Go east\n\"See you later,\" you say as you walk away.\n\n\"Aw, don't go,\" the larger boy says. \"Stick around. We was just gonna show you how to have a real good time!\" As you walk away, you hear the boys snickering about something.\n\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\n> You go to the south\nYou slip into the gap in the hedge, and find yourself angled in a twisty maze of thorny bramble-bushes. For a couple of minutes you stumble around, trying to avoid getting stuck by the razor-sharp thorns. Eventually you find your way back to the road, shaken by the ordeal but not too badly scratched up.\n\n> You look at the gap\nThe gap is narrow, and the bushes within seem to be covered with nasty-looking thorns.\n\n> You look at what you're carrying with you\nYou are carrying a burlap sack (which contains a sequined jacket, a flashlight, an old shovel, a gold locket, and some faded photographs), the key to Cabin One, a wooden bucket (which contains some water), a pill bottle, a little white pill, and a croquet hoop. You're wearing your clothes.\n\n> You go south\nYou can't go that way. Obvious exits lead east, down the road to the east; and west, back down the road.\n\n> You go to the north\nThe thorny bramble bushes prevent your going in that direction.\n\n> You go south\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nA big black SUV is parked in the driveway.\n\nYou see a dead possum here.\n\n> Examine SUV\nThe SUV is big, black, shiny, and very solid-looking. A chrome logo on the rear says it's a Bronco.\n\n> You open SUV\nThe doors are locked.\n\n> You unlock SUV with the hoop\nYou give it a try, but the SUV is locked up tight.\n\n> You ask Tyrone about the suv\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nYou point to the big black SUV. \"Did somebody just get here?\"\n\nTyrone nods. \"Fella checked into Cabin Six. Rugged-lookin' fella. I think Mr. Beauregard, he didn't want nobody else checkin' in this afternoon. I overheard 'em arguin' a little. I'll tell you, that worries me. You don't want to argue with Mr. Beauregard, truly you don't.\"\n\n> Empty bucket\nEmptying the bucket on the ground would only make a mess.\n\n> Empty bucket\nYou empty the bucket into the swamp.\n\n> Go west\nCabin Six is a lot like Cabin Five. Twin beds with ugly brown bedspreads haphazardly made up, water-stained plaster and peeling wallpaper, a grimy carpet. A faded painting of a flop-eared hound dog entirely fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nBecause your eyes take a moment to adjust from the sunlight outside to the dimness of the room, you're startled to realize there's a man sitting silently on the edge of one of the twin beds. He's staring at you, his eyes a wet blue glimmer in the weathered tan of his face.\n\n\"Hello, there,\" he drawls. \"Nice of you to come visit. Or were you plannin' to steal somethin'?\"\n\nYou start to protest your innocence, but he waves your words aside. \"Just funnin' with you, youngster. My name's Hank. Hank Slocum.\" He sticks out his hand, and you feel compelled to shake it. His hand is as dry and rough as old leather.\n\nYou introduce yourself, and Hank says, \"Pleased to make your acquaintance, Diane. Now what would a nice-lookin' young city girl like you be doin' mopin' around this God-forsaken hellhole on such a fine afternoon? No, don't answer. It would only depress me. I been keepin' my ears open. Some of the things goin' on around here I don't much care for. Good thing I won't be here much longer.\"\n\n> You examine Hank\nHank is a muscular, tough-looking man of about forty. He has sandy hair, several days' growth of beard, and scarred, calloused hands.\nHe's sitting on the edge of the bed.\n\n> You ask Hank about the eternal Springs\n\"Yeah, it's a dump, ain't it?\" Hank says. \"Best thing about it is, I'll be leavin' before it gets dark. You might want to see if you can't figure out a way to do the same thing, if you know what's good for you.\"\n\n> You ask Hank about Hank\n\"Me? Nice of you to ask. I'm nobody special. Came down here on business. I'll be gone before it gets dark. Picked this place out on account of it's right close to the bayou. Some friends o' mine ... well, I don't want to say too much about that. They're comin' in tonight on a plane, you know, one of those little amphibious jobs that can take off and land on water, and I gotta go out in a boat and meet 'em. We're doin' a little business transaction, and don't ask me nothin' more about it, because I won't say another word.\n\n\"Gets harder every year,\" he says, leaning back and gazing at the ceiling. \"Gotta find an out-of-the-way spot like this to do a transaction. First time I came here to meet a plane was last year. Another friend o' mine brought me. Good thing, too. I woulda got lost in the swamp for sure. There's about a thousand twisty little waterways out there. You get out there in a boat, if you don't know the swamp like the back of your hand you'll be lost inside ten minutes, and they'll never find your bones, 'cuz the gators, they chew up the bones.\n\n\"But am I worried? No, I ain't worried. Show you why. Got me a map.\" He pats the leather case lying on the bed beside him. \"You want to see it?\"\n\nYou express polite curiosity. He opens the case, careful not to let you see anything else that might be inside, and draws out an often-folded piece of paper, which he spreads open and smooths out, not very effectually, on his thigh. \"We're right here,\" he says, pointing with a grimy finger at a little square near one edge of the map. \"Now, to meet the plane I got to go-\"\n\nHank glances toward the window and pauses. \"Uh-oh,\" he says. \"Company comin'. Look, sweetheart, I don't want nobody to find me with an underage girl in my motel room. Nothin' personal, you understand, I wouldn't hurt you for all the world, but I got what they call prior felony convictions. If you'd be so kind as to just slip into the closet there for a minute, until I chase these bozos off....\"\n\nYou find yourself crammed into the cabin's tiny, musty-smelling closet. The door is open only a crack, not enough for you to see what's going on outside, only enough to let in a trickle of light that reassures you you haven't been entombed.\n\nMen's voices come to you, somewhat muffled. \"We have a problem,\" says one voice. \"The problem is you.\"\n\nHank says, \"Well, that's not a problem, then, because I was just gettin' ready to leave.\" He sounds a little edgy.\n\n\"Not good enough,\" says another voice. \"We saw the girl come in here a while ago. Good thing she's gone now, or we'd have an even bigger headache.\" With a start, you recognize the resonant tones of Reverend Gillespie.\n\n\"I'm not followin' you,\" Hank says.\n\n\"The point is, you know she's here. Later on tonight, or tomorrow, you might think to ask questions.\"\n\n\"I know how to keep my mouth shut,\" Hank says. \"Of course, if you had a few bucks to spread around, it'd set my conscience at ease.\"\n\n\"You think he'd stay bought?\" the first man says.\n\n\"I think the longer we let him think he's negotiating, the harder it'll be to do what has to be done.\"\n\nHank's voice rises. \"Now, wait just a-\" He's cut off by a BANG so loud it makes you jump. You aren't sure you didn't let out a scream too, but the bang was loud enough to cover any sounds you made.\n\nThere's a longish silence, punctuated only by shuffling and scraping noises. \"What are we going to do with his stuff?\" asks Reverend Gillespie.\n\n\"Burn it. You saw the incinerator out back. Then we take him out in Beauregard's boat and lose him.\"\n\n\"What about his car?\"\n\n\"Here are the keys. Ask Beauregard. Maybe the nigger can drive it off somewhere, leave the keys in the ignition. Somebody's bound to steal it.\"\n\nThere's more shuffling, and the sound of something heavy being dragged. You find that you're trembling. For a long time after the sounds stop, you crouch in the closet, deathly afraid to make the slightest noise, afraid to peek out for fear they haven't gone, or are coming back.\n\nNot far away you hear the heavy sound of a motorboat engine coughing to life. The boat's drone dies away into the distance, but even then you hang back, still nervous. But at last the stuffy air and the sense that if you don't move you'll be entombed forever in this tiny space are too much for you. You push the closet door open and creep out.\n\nThe cabin looks a lot more vacant than it did before. Hank is gone, and so are his things. The one addition to the decor is a large puddle of something dark and wet in the middle of the floor.\n\n> You look at the puddle\nThe shallow pool of blood in the middle of the floor is spattered and smeared, as if something has been dragged through it. A couple of flies are already circling around it.\n\n> Go east\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\nYou notice a trickle of smoke rising from the area behind the western row of cabins.\n\n> You go to the south\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nAs you pause to gaze out across the swamp, feeling both fascinated by its exotic, other-worldly flavor and repelled by its air of foulness and decay, a swirl of mist rising from the water congeals into a figure - a large figure, which drifts swiftly toward you. You stare at it, horrified but unable to look away.\n\nThe figure must be at least twenty feet tall. It's made of mist, and ought to be tenuous, insubstantial, but somehow it seems more solid than that. The gray filaments of turbulent vapor are shot through with veins of red and black. The thing has a huge, gaping mouth studded with sharp fangs. Its tongue writhes out toward you obscenely, as if it's trying to lick you. Its meaty hands grope toward you, the claws slashing.\n\nBut then, as suddenly as it came, the apparition evaporates. You're standing looking out at the swamp, and there's nothing there but swamp. You discover that you've been holding your breath, and let it out shakily.\n\n> Go west\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built. The door is standing wide open.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\n> You go northwest\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\nA column of whitish smoke is curling up from the incinerator behind the western row of shacks.\n\n> You go east\nThe open area behind the western row of cabins is thinly carpeted with scruffy, dusty weeds. A large, rusted incinerator, from which a thin coil of smoke is rising, stands in the middle of the open space. A scraggly tree has set down roots quite close to the leftmost of the three cabins whose rear walls form a barrier to the east.\n\nTo the south is the shed at the edge of the swamp. You can go north to the area in front of the run-down shack, where the motel's dusty van is parked. The overgrown, junk-strewn garden beside the shack is to the west.\n\n> You take all from the incinerator\nflames: You'd burn your fingers.\n\n> You go south\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built. The door is standing wide open.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\nYou notice a trickle of smoke rising from the area behind the western row of cabins.\n\n> Go east\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\n> You pour the water in the incinerator\nThe water quickly douses the flames, leaving a mess of soggy ashes.\n\n> Search ashes\nPoking around in the charred and soggy remains at the bottom of the incinerator, you find a treasure - Hank's map of the swamp! One corner is charred, but it didn't burn! You pull it out, wipe off the gunk as carefully as you can, and unfold it. But something very odd is going on. The lines on the map refuse to lie still on the paper. At first you think it's your eyes, still smarting from the smoke, and you rub them. But no, the lines on the map continually squirm, contort, twist, and writhe as you watch in a way that's both impossible and deeply frightening.\n\n> Inventory\nYou are carrying a burlap sack (which contains a sequined jacket, a flashlight, an old shovel, a gold locket, and some faded photographs), the key to Cabin One, a pill bottle, a little white pill, a croquet hoop, a wooden bucket, and an indecipherable map. You're wearing your clothes.\n\n> You examine the map\nThe piece of paper is creased and dog-eared. One edge is badly charred. The lines and shapes drawn on the piece of paper are squirming and writhing. It's impossible to get any clear idea what they represent.\n\n> Go north\nA slant-roofed, sagging shack stands here. There might have been a bit of vegetable garden beside it at one time, but all that's left now is a jumble of weeds and rusting junk. The large passenger van belonging to the resort stands in front of the shack, its hood up.\n\nYou can go south to the open area behind the cabins, northwest along the gravel driveway, north to the back door of the main house, or northeast on a path that leads around the corner of the house. An overgrown brick walkway leads east along the side of the nearest cabin. The shack itself is to the west from this spot, and the garden beside it is to the southwest.\n\n> You knock on the door\nYour knock is answered after a moment by a short, stocky woman whose black hair and broad, flat features suggest that her ancestry is Central American. She looks down at you impassively. \"Oh, it's you,\" she says. \"You're the girl, the one they brought. Mr. Beauregard he said he didn't want you in the house, but I think he gone off somewhere, so I don't care. You can come in if you want to. I'm Luisa. I work here, keep the house clean. Just don't make a mess I got to clean up, you can go where you want.\" She has a heavy Hispanic accent, but her words are not hard to understand. She turns and goes back inside, leaving the door open.\n\n> Go inside\nThe van has the usual front and rear seats. Through the dust-speckled windows you can see the house, the driveway, the shack, and the cabins. The interior smells faintly of gasoline.\n\n> You go north\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle.\n\nLuisa is sitting at the kitchen table, shelling peas.\n\n> You ask Luisa about Luisa\n\"Hello, Luisa,\" you say.\n\nShe looks up from her work. \"What do you want? You want somethin'?\"\n\nWhen you ask Luisa about herself, she looks away. \"I'm nobody,\" she says. \"I just clean the house is all.\"\n\n> You ask Luisa about Phelps\nLuisa's face crinkles up in an expression that might possibly be a smile. \"Mr. Phelps, he's good to me. He brought me here from my home. Long time ago. I was a girl just like you.\"\n\n> You ask Luisa about the eternal Springs\n\"It's okay here,\" Luisa says when you ask about Eternal Springs. \"There's worse places. I get lonely sometimes, but it's not too bad.\"\n\n> You ask Luisa about the picnic\nTrying not to sound serious or concerned, you casually mention to Luisa the picnic Beauregard and your aunt have told you they're planning for tonight. Luisa's mouth sets in a grim line, and her accent thickens as she replies, \"I don' know nothin' about that. Nothin'.\"\n\nBut won't she need to prepare the food, you ask innocently. Luisa turns away without answering.\n\n> You ask Luisa about Tyrone\nLuisa shrugs. \"He's all right. He treats me all right.\"\n\n> You ask Luisa about the wasp nest\n\"You ascared of them wasps?\" Luisa's face crinkles in a not very friendly grin, and she chuckles. \"Girls are, sometimes. Listen, you: There's worse things than wasps.\"\n\n> You ask Luisa about the boys\n\"Oh, those boys,\" Luisa says, shaking her head in disgust. \"They're not nice at all. You don't want to go hang around with them.\"\n\n> You ask Luisa about the swamp\nWhen you mention the swamp, Luisa shakes her head slowly and heavily. \"There's bad things out there in the swamp. Things that bite you, suck out your blood. Don' even think about going swimming out there. I wouldn't even go out there in a boat. It might tip over, then where would you be? You tell me that.\"\n\n> You ask Luisa about the tea\n\"Oh, that.\" Luisa shrugs. \"It ain't none of my business.\"\n\n> You ask Luisa about the altar\nLuisa shakes her head. \"I don't know nothin' about that. And I don't want to know, neither.\"\n\n> You ask Luisa about the ghost\nTentatively you describe the ghostly apparition you saw in the meadow. Luisa shakes her head. \"Don't you go down there. That's a bad place, not a place for a girl like you.\"\n\n> You ask Luisa about the dog\nLuisa's attention is on the peas she's shelling. She seems not to have heard you.\n\n> You ask Luisa about Reverend\n\"I stay in the house,\" Luisa says. \"The guests, I don' even know who they are, mostly.\"\n\n> You ask Luisa about Honey\n\"You want to know about who's staying here, you go knock on their cabins and ask them. Or ask Mr. Beauregard. Or even Tyrone, he might know something. Not me.\"\n\n> You ask Luisa about the house\n\"It's an old house,\" Luisa says. \"Really old. It's not too nice, but I keep it clean.\"\n\n> You open the cupboard\nLuisa pushes back the chair and half-rises. \"I don't want you messin' around with stuff in my kitchen,\" she says pointedly. \"Why don't you go play someplace else?\" You decide it would be better not to provoke her. Sooner or later she's bound to leave the kitchen unguarded. You'll be able to come back then and have a look around.\n\n> You ask Luisa about the boathouse\n\"That's not something I goin' to worry about,\" she says. \"Not right now.\"\n\n> You examine the appliances\nThe appliances include the sink, the stove, and the refrigerator. To interact with them, you need to refer to them singly.\n\n> You examine the sink\nThe sink is lined with a mottled crust of scum. A faucet is mounted above it.\n\n> You examine the stove\nThe old-fashioned electric stove has an oven door in the front and four heating elements on the top.\n\n> You examine the fridge\nThe refrigerator (in this part of the country they probably still call it an icebox) is fairly ordinary-looking. There's no ice dispenser or anything.\n\n> You open the fridge\nLuisa gets up and comes toward you. \"What did I tell you? Don't go messin' with anything in my kitchen! Shoo!\" She waves her arms at you.\n\n> You examine the peas\nThe peas are green - well, actually, there are as many brown ones as green ones. Some of them are shelled, some are still in their pods.\nIt looks as if Luisa is tossing the shelled peas and the empty pods back into the bowl with the unshelled ones, because there's no pile of pods nearby. You make a mental note not to have any peas at dinner.\n\n> Go north\nThis cheerless cubicle is lined with unusually deep shelves, which rest (unevenly) on metal brackets attached to the wall. In years past the pantry might have been well-stocked, but today the only thing to be seen on the shelves are rat droppings and a few shrivelled onions. There's an open doorway to the south and a door to the west, which is closed.\n\n> You examine the onions\nThe onions appear to be a couple of years old. Some of them have sprouted, and the sprouts are brown and dried up too.\n\n> Go west\n(first unlocking the door, then opening it)\n\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\n> Go east\nThis cheerless cubicle is lined with unusually deep shelves, which rest (unevenly) on metal brackets attached to the wall. In years past the pantry might have been well-stocked, but today the only thing to be seen on the shelves are rat droppings and a few shrivelled onions. There's an open doorway to the south and a door to the west, which is standing open.\n\n> Go east\nThe big dining room has windows on the east and south and doorways on the north and west. Other than a long dining table and some ill-assorted chairs, the room is bare and featureless. It smells sour, as if food served and eaten here a long time ago still lingers in the plaster of the walls.\n\nA little oval of grayish stones is lying on the table. It looks rather like a crude bracelet.\n\n> You look at the oval\nThe gold locket is an old-fashioned oval no bigger than the last joint of your little finger. It's suspended from a delicate gold chain. Inside the locket is a tiny snapshot of a woman's face.\n\n> You examine the grayish stones\nThe bracelet is made of irregular chunks of gray-white stone about the size of marbles. Each stone is incised with a symbol of some sort.\nThe symbols look vaguely like letters, but not in any alphabet you've ever seen.\n\n> You look at the symbols\nThe letters on the stone bracelet are unlike any alphabet you've ever seen - there's something like an upside-down 'Y', a 'Q' with its tail on the wrong side, a zigzag like a lightning-bolt, and so on. There's not much chance you'll be able to figure out what they mean - not this afternoon, anyhow.\n\n> You go north\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You examine the clock\nThe grandfather clock stands as stiff and still as a tombstone, except that within it a brass heart ticks as the pendulum swings back and forth behind the long glass door. The clock face is numbered using Roman numerals, to which a pair of ornate old-fashioned brass hands (rather bent and tarnished) are pointing. If the clock is to be believed, it's now 3:33.\n\n> You examine table\nThe spindly old telephone table is made of dark wood. It sits in a corner next to the door, supporting an old-fashioned black telephone, the kind with a dial instead of buttons.\n\n> Go north\nThe living room is not actually a small room, but it feels cramped because of the amount of thrift-shop furniture crammed into it.\nThere's a fireplace on the north side of the room, a window to the east, and a tall, heavy bookcase against the west wall. An archway leads back to the south.\n\n> You look at the fireplace\nThe interior of the brick fireplace is charred black, but no fire has been laid. (Not surprising, considering the hot weather.)  Standing in front of the fireplace are a poker and a pair of fire tongs.\n\n> You examine the bookcase\nThe bookcase is six feet tall and heavily built. The shelves are crammed with books, which is somewhat surprising, because Beauregard Phelps doesn't look to you like the reading type.\n\nThere's an interesting-looking oversize book lying flat on one shelf.\n\n> You look at the oversize book\nThe cloth-covered book is hundreds of pages thick and more than a foot square. The pages don't fit neatly between the covers; the book appears to have been bound by hand. The front cover, of well-worn coarse cloth, is blank: No title or author, no lettering of any kind.\n\n> You read it\n(first taking the sketchbook)\nThe book proves to contain almost nothing but hand-drawn pencil sketches - more than a hundred of them on thick, stiff paper. Each sketch is different, but there's a common theme. Most show monsters and demons of various sorts, in various poses and settings. As you leaf through the book, you find that you're becoming more and more disturbed by the gruesome images.\n\nAt the bottom of each sketch, a single word has been written in block capitals. The words themselves have an exotic, foreign flavor that matches the bizarre pictures. Here's a sketch of two demons with fangs and spears stabbing a huge feathered serpent, or possibly a dragon. Beneath the sketch is the word HUATLI.\n\nAnother sketch, perhaps the most frightening of the lot, shows a young girl lying naked on her back on a block of stone. A man in an elaborate headdress looms over her with an upraised dagger, while a huge demon with claws and flaming eyes looks on. Beneath this image is the word OLTIOC.\n\nA sketch of a demon eating what looks disgustingly like a human heart is labelled ZIATLI. A sketch of two men in headdresses holding a girl between them and presenting her to a giant serpent is labelled MAZIDI. A sketch of a girl being - no, that one is too upsetting even to think about, but you notice the word UMIXIM below it.\n\nAs you're about to close the book in disgust and fear, it falls open to a sketch you hadn't noticed before - two men in headdresses kneeling, four girls marching up a ramp, and a single huge demon leering down at them. It's the same image as the carving on the stone block in the meadow! Below this image is the word IXTLOC.\n\n> You put the book in the bookcase\nThe sketchbook is too large for the bookcase.\n\n> You take the tongs and the poker\nfire tongs: Taken.\n\npoker:\n(first putting the pill bottle in the burlap sack to make room, then putting the key to Cabin One in the burlap sack to make room, then putting the little white pill in the burlap sack to make room)\nTaken.\n\n> You put the poker and the tongs in the sack\npoker: Done.\nfire tongs: Done."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, horror]\n\n> You look at your surroundings\nThe living room is not actually a small room, but it feels cramped because of the amount of thrift-shop furniture crammed into it.\nThere's a fireplace on the north side of the room, a window to the east, and a tall, heavy bookcase against the west wall. An archway leads back to the south.\n\n> Examine books\nThe books are jammed onto the shelves in haphazard fashion. Scanning the spines, you see quite a number of hardbacks that look a lot like the first editions of mysteries by John Dickson Carr that your aunt has in her collection at home. Several titles are new to you, though.\n\n> Go south\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You go west\nYou walk down the narrow, ill-lit hall, and emerge in what appears to be an office.\n\nThis room looks as if it serves as Beauregard Phelps's office. It's frankly a mess - littered with teetering piles of yellowing paper.\nIt's dominated by a big desk, which sits in the center of the room with a chair behind it. Beneath the window at the west end of the room is a small square table, on which rests a curious device.\n\n> You look at the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. One of the mounting clips is empty, however.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device.\n\n> You examine the desk\nThe big desk is made of some dark wood, possibly oak.\n\n> You examine the chair\nThe leather of the chair is cracked and faded.\n\n> You look at the table\nThe table sits beneath the window, with the bright afternoon sun shining directly on it. Atop the table is a curious device that glitters in the sun.\n\n> You examine the window\nThe window, which is set in a heavy wood frame, is the old-fashioned kind that's opened by raising it. It overlooks the driveway. Sunlight is streaming through it, directly on the mirrors and prisms of the curious circular device.\n\n> Go east\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> Go upwards\nThe stairs creak a bit as you climb.\n\nThis stuffy passageway extends westward from the head of the stairs, which lead down to the entry hall. The wallpaper is blotchy, and the residual grime along the baseboard suggests that the housekeeping has been perfunctory at best. There are doorways in the north and south walls.\n\n> You examine wallpaper\nThe wallpaper is decorated with an ugly fleur-de-lis pattern that looks disturbingly like the clawed fingers of a hand.\n\n> Go north\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the sill just outside the window.\n\nThe crow flaps heavily away, but a moment later he's back.\n\n> You examine the crow\nThe crow is large and black, and has beady black eyes. He's perched on the sill just outside the window, fluffing his wing feathers and pecking for lice.\n\nThe crow taps on the window with his beak.\n\n> You open window\nWith a little effort, you're able to push the lower half of the window upward, letting in what passes for fresh air in rural Mississippi on a hot summer afternoon.\n\nThe crow flies away when you open the window ... but a moment later he's back, looking into the room with keen interest.\n\n> You examine the bed\nThe bed consists of an iron frame and an open platform or grid of wires on which a mattress would lie, if there were a mattress.\n\nThe crow squawks mildly at you.\n\n> You examine the furniture\nThe bed consists of an iron frame and an open platform or grid of wires on which a mattress would lie, if there were a mattress.\n\n> You go to the west\nThe closet is small and pretty much empty. Set in one wall is a little metal door about a foot high. The bedroom is to the east.\n\n> You look at the door\nThe metal door is about six inches wide and ten inches high. It's badly rusted.\n\n> You open the door\nYou open the little door - and jump back about two feet, banging your head painfully against the far wall of the closet. Perched on a web in the shallow recess behind the metal door is the biggest spider you've ever seen!\n\n> You look at the spider\nThe spider is easily as big as a tarantula, but hairless and a gleaming milky white. It's busily spinning its web.\n\n> Go east\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the windowsill, looking around the room.\n\nThe crow fluffs his feathers.\n\n> You take the crow\nThe crow sidles away from you rapidly.\n\nThe crow squawks mildly at you.\n\n> You go west\nThe closet is small and pretty much empty. Set in one wall is a little metal door about a foot high, which is open, giving you a close-up view of the biggest spider you've ever seen. The bedroom is to the east.\n\n> You look in the door\nBehind the little metal door is a shallow recess. What lies within is largely obscured by a heavy curtain of spiderweb. Within the web a fat white spider is busily spinning.\n\n> You kill the spider\nOn a normal day, you might be able to grit your teeth and force yourself to do something with (or to) the spider. But you're feeling pretty nervous today. You just can't quite bring yourself to get that close to it.\n\n> You hit the spider with shovel\n(first taking the old shovel from the burlap sack)\nOn a normal day, you might be able to grit your teeth and force yourself to do something with (or to) the spider. But you're feeling pretty nervous today. You just can't quite bring yourself to get that close to it.\n\n> You hit the spider with the poker\n(first putting the old shovel in the burlap sack to make room, then taking the poker from the burlap sack)\nOn a normal day, you might be able to grit your teeth and force yourself to do something with (or to) the spider. But you're feeling pretty nervous today. You just can't quite bring yourself to get that close to it.\n\n> You go to the east\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the windowsill, looking around the room.\n\n> Go south\nThis stuffy passageway extends westward from the head of the stairs, which lead down to the entry hall. The wallpaper is blotchy, and the residual grime along the baseboard suggests that the housekeeping has been perfunctory at best. There are doorways in the north and south walls.\n\n> You go to the south\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands against the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\n> You look at the clown\nThe clown seems to have been painted on the wallboard many years ago, in a style that was probably cloyingly cutesy even then. By now the image is patchy and faded. A crack in the plaster runs diagonally down through the clown's face and across the corner of his mouth, making his expression look less festive or playful than ironic or mocking.\n\n> You look at the cradle\nThe fabric that covers the high-sided cradle may once have been pink, but the years have bleached it. The cradle stands about three feet high, and is built on wooden rockers.\n\n> Rock cradle\nYou push the cradle idly, causing it to rock. As it moves, you catch sight of a heating grate in the baseboard behind it. Curious, you drag the cradle out into the middle of the room to have a better look at the grate.\n\n> You examine the grate\nThe heating grate is set in the baseboard in the west wall of the room. It's about a foot high and two feet wide, and is covered with a metal grill, which is stained by years of smoky furnace fumes. It's held in place by a couple of heavy metal screws.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a sequined jacket, a flashlight, a gold locket, some faded photographs, an indecipherable map, a stone bracelet, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, some fire tongs, an old shovel, and a poker), a croquet hoop, and a wooden bucket. You're wearing your clothes.\n\n> Unscrew grate\nThe screws are too stiff for you to move them with your fingers. If you want to unscrew them, you'll need to find a screwdriver.\n\n> You examine table\nThe table is built of dark, waterstained wood, and the legs look a bit uneven. Occupying the top of the table is a model merry-go-round.\n\n> You look at the model\nThe merry-go-round is large and old-fashioned. It's made of painted tin, and the paint is flecked and the tin rusting. The little painted horses are cavorting (motionlessly, of course) with a toothy gaiety that looks rather forced, if not actually hysterical. The round base of the merry-go-round is about two inches thick, and more than a foot in diameter.\n\n> Turn model\nYou push the merry-go-round experimentally. The base seems to want to rotate, but it balks. Perhaps it's stuck.\n\n> You take the model\nIt seems to be attached to the table.\n\n> You examine the base\nThe base of the merry-go-round looks to be thick enough to conceal a mechanism that might cause the merry-go-round to rotate. Around at the rear of the base, where you would never have noticed it if you weren't looking, is a little keyhole.\n\n> You examine the crack\nThe clown seems to have been painted on the wallboard many years ago, in a style that was probably cloyingly cutesy even then. By now the image is patchy and faded. A crack in the plaster runs diagonally down through the clown's face and across the corner of his mouth, making his expression look less festive or playful than ironic or mocking."
    },
    {
        "text": "[Themes: Horror, Lovecraftian]\n\n> Look around\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\n> Go west\nYou can't go that way. The only obvious exit leads north, back to the upstairs hall.\n\n> Go north\nThis stuffy passageway extends westward from the head of the stairs, which lead down to the entry hall. The wallpaper is blotchy, and the residual grime along the baseboard suggests that the housekeeping has been perfunctory at best. There are doorways in the north and south walls.\n\n> EXITS\nObvious exits lead north, to the dreary bedroom; south, back to the abandoned nursery; west; and down, to the entry hall.\n\n> Go north\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the windowsill, looking around the room.\n\nThe crow squawks mildly at you.\n\n> EXITS\nObvious exits lead south, back to the upstairs hall; and west, to the closet.\n\nThe crow fluffs his feathers.\n\n> Go west\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\n> You examine the board\nIt's an ordinary ironing board, with green metal fold-up legs.\n\n> You examine the window seat\nThe window seat is a boxlike structure built into the west end of the hall, beneath the window. The top is covered with a thin and faded blue cushion.\n\n> You open it\nOpening the window seat reveals a small round threaded object and an old-fashioned brass key.\n\n> You take all from the seat\nsmall round threaded object: Taken.\nold-fashioned brass key: Taken.\n\n> You examine the brass key\nThe old-fashioned key is short and sturdy. The business end doesn't have much in the way of slots and teeth.\n\n> You examine the round object\nThe small round threaded object looks a lot like the base of a lightbulb without the bulb. Where the bulb should be is a flat circle of glass.\n\n> Go north\nThe bathroom is cramped and not especially clean. The old-fashioned claw-footed bathtub is lined with brown encrustations, and the other fixtures are just as old and ill-cared-for. The sink is on a free-standing pedestal, with a mirror above it. The door is to the south.\n\nA small hand mirror is perched on the edge of the basin.\n\n> You look at the sink\nThe sink is equipped with the usual faucets, and perches atop a narrow, grimy porcelain pedestal.\n\nA small hand mirror is perched on the edge of the basin.\n\n> You examine the hand mirror\nThe mirror is about three inches wide and two inches high. It's well polished, but it's just a piece of glass - there's no frame or backing.\n\n> You put it in the sack\n(first taking the hand mirror)\nDone.\n\n> You examine the tub\nThe old-fashioned claw-footed bathtub is lined with layers of brown sediment."
    },
    {
        "text": "[Themes: Horror, female protagonist]\n\n> Look around\nThe bathroom is cramped and not especially clean. The old-fashioned claw-footed bathtub is lined with brown encrustations, and the other fixtures are just as old and ill-cared-for. The sink is on a free-standing pedestal, with a mirror above it. The door is to the south.\n\n> You examine the pedestal\nThe sink is equipped with the usual faucets, and perches atop a narrow, grimy porcelain pedestal.\n\n> Go south\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\n> You go south\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\nYou see a burlap sack (which contains a sequined jacket, a flashlight, a gold locket, some faded photographs, an indecipherable map, a stone bracelet, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, some fire tongs, an old shovel, a poker, and a hand mirror) here.\n\n> You examine the window\nLooking out through the window, you can see the gravel driveway below. Beyond the driveway is a thicket of bushes.\n\n> You look at the door\nThe door is made of dark, irregularly water-stained wood, and looks quite sturdy. A little brass peephole is set in the door at about eye height.\n\n> You look in the peephole\nYou press your eye to the peephole, but the lens appears to be one of the kind that gives a wide-angle view from the inside. You're on the wrong side of the door, so all you can see is a pinprick of light at the far end of a dark tunnel.\n\n> You unlock door with the brass key\nThere doesn't seem to be any way to do that. There's no visible keyhole.\n\n> You go upwards\nAs you climb, the air around you, hot to begin with, gets even hotter.\n\nIt's as hot as a blast furnace in the attic. The ceiling is low, and slants down at the sides of the room. A narrow single bed stands against one wall and a small dresser against another. The room is undecorated except for a rather large doll, which stands stiffly posed atop the dresser.\n\n> You examine doll\nThe doll is about a foot tall, and stands stiffly. She has a painted china face, and is wearing a blouse that looks as if it was cut from an old lace doily and a yellow skirt whose draped corners make it look rather like a handkerchief or a small scarf.\n\n> You examine dresser\nThe dresser is little more than a box with a couple of drawers in the front - it's small enough to fit under the slanting ceiling. Atop the dresser is a large doll.\n\n> You look at the bed\nThe bed is narrow, and the mattress looks thin and hard.\n\n> You unlock the model with the brass key\nThe little key slides easily into the keyhole in the base of the merry-go-round. You give the key a twist. As you wind up the mechanism, the merry-go-round springs into motion. It creaks and wheezes a little as it rotates, but as the horses go up and down in a festive way a tinkly sentimental tune emanates from within the base.\n\n> You listen to model\nThe merry-go-round is playing a tinny little tune.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> Open model\nThat is not something you can open.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You take the spider with the tongs\n(first taking the fire tongs from the burlap sack)\nOn a normal day, you might be able to grit your teeth and force yourself to do something with (or to) the spider. But you're feeling pretty nervous today. You just can't quite bring yourself to get that close to it.\n\n> You go to the east\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the windowsill, looking around the room.\n\nThe crow hops down from the sill to check the floor, sees nothing that would interest him, and hops back up.\n\n> You go to the south\nYou can't go that way. The only obvious exit leads east, back to the dreary bedroom."
    },
    {
        "text": "> Go downwards\nThe stairs creak a bit as you descend, a low-pitched sigh like a heavy old woman getting comfortable.\n\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You go to the west\nYou walk down the narrow, ill-lit hall, and emerge in the office.\n\nThis room looks as if it serves as Beauregard Phelps's office. It's frankly a mess - littered with teetering piles of yellowing paper.\nIt's dominated by a big desk, which sits in the center of the room with a chair behind it. Beneath the window at the west end of the room is a small square table, on which rests a curious device.\n\n> You put the mirror in the bracket\n(first taking the hand mirror from the burlap sack)\nYou fit the mirror into the brass clip.\n\n> You examine the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. There are mirrors or prisms in all of the clips.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device.\n\n> You examine the arrow\nThe wooden circle at the center of the curious device is about a foot in diameter. The surface is dark except for a lighter-colored inlaid arrow, which points out the window, more or less in the direction of the afternoon sun. Incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\n> You look at the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. There are mirrors or prisms in all of the clips.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device. On the wooden circle is a small round threaded object.\n\n> You put the round in the sack\n(first taking the small round threaded object)\nDone.\n\n> You put the bracelet on the circle\n(first taking the stone bracelet from the burlap sack)\nDone.\n\n> You examine the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. There are mirrors or prisms in all of the clips.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device. On the wooden circle is a stone bracelet.\n\n> You put the bracelet in the sack\n(first taking the stone bracelet)\nDone.\n\n> You put the round object in the bracket\n(first taking the small round threaded object from the burlap sack)\nThe small round threaded object doesn't seem to fit in the brass clip.\n\n> You examine paper\n(the indecipherable map)\nThe piece of paper is creased and dog-eared. One edge is badly charred. The lines and shapes drawn on the piece of paper are squirming and writhing. It's impossible to get any clear idea what they represent.\n\n> You look at the yellowing paper\nAmong the piles of paper you spot a newspaper dated February 1957. That's the most interesting thing in the lot, and it's not even faintly interesting.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 3:45.\n\n> Go east\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You go south\nThe big dining room has windows on the east and south and doorways on the north and west. Other than a long dining table and some ill-assorted chairs, the room is bare and featureless. It smells sour, as if food served and eaten here a long time ago still lingers in the plaster of the walls.\n\n> You go west\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle.\n\nLuisa is sitting at the kitchen table, shelling peas.\n\n> You examine the chairs\nThe chairs arranged (haphazardly) around the long dining table look as if they were bought at various yard sales. And not recently.\n\n> You examine the window\nWhich window do you mean, the south window, or the east window?\n\n> South\nThe south window looks out toward the double row of cabins.\n\n> You examine the east window\nThe east window looks out on an empty section of the porch, and beyond that the lawn.\n\n> You look at the door\nWhich door do you mean, the long glass door in the clock, or the screen door?\n\n> Screen\nThe front door is standing open, but the screen door, in which there are only five or six small holes, is pretending to be at work keeping bugs out of the house. It's open.\n\n> You examine the glass door\nThe glass door in the front of the clock protects the pendulum.\n\n> You open it\nYou tug on the door, but it seems to be stuck.\n\n> Go north\nThe living room is not actually a small room, but it feels cramped because of the amount of thrift-shop furniture crammed into it.\nThere's a fireplace on the north side of the room, a window to the east, and a tall, heavy bookcase against the west wall. An archway leads back to the south.\n\nThe bookcase contains a mystery by John Dickson Carr.\n\n> You examine Carr\nIt's a pristine first edition of a novel called \"The Four False Weapons,\" by a British author named John Dickson Carr. (The reason you know he's British is because Aunt Caroline is always raving about him.) The lurid dust jacket depicts a woman in a yellow evening gown who is cowering in fear from a dagger, a revolver, a razor, and a bottle of poison, all of which are swirling around her in the air.\n\n> You read carr\n(first taking the mystery by John Dickson Carr)\nBoh-rring. this would put you to sleep for sure. Looks like Beauregard enjoys boring old mysteries as much as your aunt does.\n\n> You go west\nYou can't go that way. The only obvious exit leads south, back to the entry hall.\n\n> You examine the shelves\nThe bare pine shelves are broad, deep, and mostly bare, except for dried rat droppings (plentiful) and shrivelled onions (less so). The shelves are fitted into the wall of the pantry by being mounted on metal brackets.\n\n> You examine the brackets\nThe brackets stick out an inch or so from the walls on both sides of the pantry. The brackets are supporting the shelves.\n\n> You search the shelves\nOn the shelves are some rat droppings and some onions. Peering into the dim depths at the rear of the shelves, you see what looks like a square hatch built into the wall.\n\n> You remove the shelves\nGlancing out the door of the pantry, you notice that Luisa is still sitting at the table - and her eyes flick in your direction, as if she's not entirely unaware of your presence. It would undoubtedly be better to wait until she goes somewhere else before removing the shelves from their brackets so as to get at that intriguing-looking hatch.\n\n> You look at what you're carrying with you\nYou are carrying a croquet hoop, a wooden bucket, a burlap sack (which contains a sequined jacket, a flashlight, a gold locket, some faded photographs, an indecipherable map, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, an old shovel, a poker, a small round threaded object, a stone bracelet, and a mystery by John Dickson Carr), some fire tongs, and a hand mirror. You're wearing your clothes.\n\n> You show the photos to Luisa\n(first taking the faded photographs from the burlap sack)\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\nLuisa is busy working, and pays no attention to you.\n\n> You ask Luisa about the threaded object\n\"I got work to do,\" Luisa says. \"I don' have time to talk to silly girls.\"\n\n> You ask Luisa about the spider\nYou start to tell Luisa about the awful white spider in the closet upstairs, but she cuts you off. \"We get spiders in the house sometimes,\" she says. \"Big, ugly ones. You're not ascared of spiders, are you?\" Her laugh has a contemptuous edge.\n\n> You ask Luisa about the crow\nYou mention the crow you saw at the window in the bedroom. \"He's always out there,\" Luisa says. \"I think he'd like to come inside, find somethin' to eat, but I always shoo him away.\"\n\n> You go to the east\nThe big dining room has windows on the east and south and doorways on the north and west. Other than a long dining table and some ill-assorted chairs, the room is bare and featureless. It smells sour, as if food served and eaten here a long time ago still lingers in the plaster of the walls.\n\n> You put map on the device\n(first taking the indecipherable map from the burlap sack)\nDone.\n\n> You examine the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. One of the mounting clips is empty, however.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device. On the wooden circle is an indecipherable map.\n\n> You examine the map\nThe piece of paper is creased and dog-eared. One edge is badly charred. The lines and shapes drawn on the piece of paper are squirming and writhing. It's impossible to get any clear idea what they represent.\n\n> You put the mirror in bracket\nYou fit the mirror into the brass clip.\n\n> You look at sun\nThe sun is shining in the window.\n\n> You look at the arrow\nThe wooden circle at the center of the curious device is about a foot in diameter. The surface is dark except for a lighter-colored inlaid arrow, which points out the window, more or less in the direction of the afternoon sun. Incised in the wood are some abstract figures or designs. They look rather like the mysterious letters on the stone bracelet you found in the dining room. On the wooden circle is an indecipherable map.\n\n> Map in sack\nstone bracelet:\n(first taking off the stone bracelet)\nDone.\n\nindecipherable map: Done.\n\n> Go up\nThe stairs creak a bit as you climb, a low-pitched sigh like a heavy old woman getting comfortable.\n\nThis stuffy passageway extends westward from the head of the stairs, which lead down to the entry hall. The wallpaper is blotchy, and the residual grime along the baseboard suggests that the housekeeping has been perfunctory at best. There are doorways in the north and south walls.\n\n> You go south\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\n> Wind model\nYou give the key a twist. As you wind up the mechanism, the merry-go-round springs into motion. It creaks and wheezes a little as it rotates, but as the horses go up and down in a festive way a tinkly sentimental tune emanates from within the base.\n\n> You go south\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard. As the music from the merry-go-round plays, the painting of the clown seems for a moment to be rippling, as if his feet are moving. But when you squint at the image, you decide you must be mistaken.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You take the model\nIt seems to be attached to the table.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> Inventory\nYou are carrying a croquet hoop, a wooden bucket, a burlap sack (which contains a sequined jacket, a flashlight, a gold locket, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, an old shovel, a poker, a small round threaded object, a mystery by John Dickson Carr, some faded photographs, a stone bracelet, an indecipherable map, and a hand mirror), and some fire tongs. You're wearing your clothes.\n\n> Wind model\nYou give the key a twist. As you wind up the mechanism, the merry-go-round springs into motion. It creaks and wheezes a little as it rotates, but as the horses go up and down in a festive way a tinkly sentimental tune emanates from within the base.\n\n> You look at the clown\nFor a moment, you have the odd sensation that the clown is beckoning to you, that he has stretched out one hand as if trying to reach toward you. But no, it's only your imagination, or a trick of the light. A crack in the plaster runs diagonally down through the clown's face and across the corner of his mouth, making his expression look less festive or playful than ironic or mocking.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> Open clown\nThat is not something you can open.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You touch clown\nAs your fingers brush the rough surface of the wall, it seems the painted clown is reaching out toward you. You can feel the cloth of his gloved hand in yours. He tugs on your hand, and - taken by surprise - you step toward him.\n\nHe places his other hand on your waist, and you put yours on his shoulder. As the music from the merry-go-round tinkles, you find yourself dancing with the clown.\n\nThe upstairs bedroom dissolves in a smear of circus colors. You aren't sure where you are. The clown smiles at you, and you can't tell whether it's a friendly smile, or whether he's smirking at you. You can smell his greasepaint. His big floppy shoes tread on your toes as he whirls you around and around. He dances in a jerky, off-balance way, as though he's poking fun at ballroom dancing. But it isn't really very funny.\n\n\"No, please,\" you say faintly. \"Let me go.\" The clown seems not to have heard. He dances faster. You're getting dizzy. But then he does let you go. You stagger backward ... and find that you're not in the bedroom anymore, but in a very, very strange place.\n\nVague many-colored blobs of light float gently around you on all sides, and there are no shadows here. It's like being trapped inside a great big lava lamp, except that you can hear an off-key brass band oom-pahing not far away. The painted clown from the abandoned nursery, now no longer painted but quite real, is standing in front of you, gazing down at you with either pity or wry amusement (it's hard to tell which).\n\n> You ask the clown about the clown\n\"Where am I?\" you ask the clown. \"Who are you? How did I get here? What kind of place is this?\"\n\n\"That's a lot of questions, little girl. Slow down, now. Take it easy. You're making my poor head spin.\" The clown holds his head with both hands, as though afraid it's about to fall off, and rocks it back and forth. Then he grins at you lopsidedly. \"Who am I? As to that, I wish I could tell you. I'm not sure I'm anybody, and that's the truth. I wouldn't mind being somebody, though, and that's the truth too.\n\n\"Who are you, for that matter? Can you tell me that?\"\n\nYou tell him your name. He nods deeply and soberly, as if that's the most interesting thing he's heard in a week. Come to think of it, maybe it is.\n\nYou decide to have another try at learning what's going on. \"Who are you? You haven't told me anything.\"\n\n\"Well, I'm a clown, I guess you can probably tell that, can't you?\" The clown grins in a way that's not quite reassuring. \"You must have seen clowns before. I'm not a real clown, though, only a pretend clown. Well, even being a pretend clown is better than being nothing at all, I suppose. Can you even imagine being nothing at all? I can't. But if there was some way you could help make me into a real person, why, that would be a great big favor, wouldn't it? I'd have to do you a great big favor in return.\n\n\"Would you like ... I know: Would you like a gold coin?\" Quick as a flash, a big, shiny gold coin appears between the clown's gloved fingers, but a moment later it's gone again.\n\n\"I don't have any cards,\" the clown says apologetically, \"so I can't do card tricks. But I can make a coin appear and disappear. If you can bring me something that will make me into a real person, I'll give you that nice coin. But I'll have to think for a minute about what you'd need to bring. Don't rush me, now. Hmm.\" The clown taps his foot and scratches his chin theatrically.\n\n\"All right, I'll tell you what. I need three things. First, if I'm to become a real person, and walk around in the world, I'll need a handkerchief to wipe off this silly clown paint.\"\n\n\"Oh, I'm sure I can find a towel or something to bring,\" you reply.\n\nBut the clown shakes his head gravely. \"Oh, no. No ordinary towel would do. To clean my face I'd need a handkerchief that was soaked with a young girl's tears. Only such a thing would do. So that's the first item. The second - I'm not solid flesh and blood like you, I'm just a poor flat painted thing. For me to be able to walk abroad in the world, I'd need some good strong bones for my limbs. The third thing would be something nice to wear, so the people I meet would respect me. I think I'd like to have a coat made of solid jewels. Wouldn't that be grand?\n\n\"So that's what you need to bring me - a handkerchief soaked in a young girl's tears, and some bones so I can stand up, and a coat of jewels. In return, I'll give you my gold coin.\"\n\nIt occurs to you to protest that if you had a coat made of jewels, you certainly wouldn't need a gold coin. But the clown seems so sincere, you haven't the heart to point out how absurd his request is.\n\n> You give the jacket to the clown\n(first taking the sequined jacket from the burlap sack)\nYou hold up the sequined jacket you filched from Honey Hartwell's cabin. \"Is this the type of coat you're hoping to have?\" Secretly you're feeling a little ashamed. If he's fooled into thinking the sequins and rhinestones are real jewels, you'll be lying to him by not telling the truth.\n\nBut the clown seems not to notice the deception. Or maybe he doesn't care. He stands back a pace to admire the coat. \"Well, would you look at that! That's a marvelous, marvelous garment. Exactly what I was hoping you'd bring. Would you mind if I try it on?\"\n\n\"I'm not sure it's large enough for you,\" you reply. But when you hand the jacket to the clown and he struggles into it, miraculously it seems a perfect fit. Perhaps he's not quite as large as he looks - or possibly there's no good explanation for it at all.\n\nThe clown struts up and down in the sequined jacket. \"Look at me, look at me! Oh, I'm as handsome as Mick Jagger. Now if you'll just bring me some nice strong bones and a special handkerchief to wipe my face, I'll be a real person at last.\"\n\n> You go north\nYou take a few uncertain steps, but find that you're getting quite dizzy and a bit nauseous. In spite of yourself, you're drawn irresistibly back to stand next to the clown.\n\n> Go south\nYou take a few uncertain steps, but find that you're getting quite dizzy and a bit nauseous. In spite of yourself, you're drawn irresistibly back to stand next to the clown.\n\nThe blobs of color that are swirling around you and the clown start spinning faster and faster. \"Oh, don't go!\" cries the clown, reaching out toward you. But you feel yourself being spun away from him.\n\nSuddenly you're back in the abandoned nursery, feeling very dizzy and confused, staring at the painted clown on the wall. The painted clown is not moving. Obviously. He's only painted on the wall. Could the whole thing have been your imagination? Maybe you've been out in the hot sun too long.\n\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist]\n\n> Go downward\nThe stairs squeak unsteadily, a sound that sets your teeth on edge.\n\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You go south\nThe big dining room has windows on the east and south and doorways on the north and west. Other than a long dining table and some ill-assorted chairs, the room is bare and featureless. It smells sour, as if food served and eaten here a long time ago still lingers in the plaster of the walls.\n\n> You ask Luisa about the clown\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\nWhen you mention the painting of the clown, Luisa stares at the floor and blinks rapidly. \"A long time ago, there was a little girl that lived here. That was her bedroom. One time a nice man painted that clown on the wall, so she'd be happy. I guess it worked, for a while anyway. Sometimes I wonder if it isn't cruel to let children be happy. You know what I mean?\"\n\nYou shake your head. \"No, I don't think I do.\"\n\nLuisa sighs heavily. \"Never mind, then. I'm just a silly woman. I just think if we never let them be happy, they wouldn't be so disappointed later, when ... when things don't turn out the way they think. They'd know not to expect nothing good. But you wanted to know about the clown. There's something not quite right about that clown. Sometimes I think he's winking at me. I told you I'm just a silly woman. I don't like to go in there.\"\n\n> You ask Luisa about the handkerchief\n\"You ask too many questions,\" Luisa says. \"You want me to tell Mr. Beauregard you're being nosy? Do you?\"\n\n> You ask Luisa about the tears\n\"You're just a chatterbox, ain't you? Why don't you go away an' bother somebody else, eh?\"\n\n> You cry\nYou sniffle a little. It's not proving to be a good day, is it? But feeling sorry for yourself probably isn't going to help.\n\n> You ask Honey about the handkerchief\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.\n\n> You go to the south\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\nAs you pass Cabin Four, you notice that its door is standing ajar.\n\n> Go west\nThe interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nLying on the floor beside the bed is a leather valise.\n\n> You open the valise\nThe valise is locked.\n\n> You open the dresser\nYou open the drawers.\n\n> Close drawers\nYou close the drawers.\n\n> You examine the painting\nThe woman in the painting looks stiff and unhappy, and the reason isn't hard to see - it's a good bet she's wearing a tight corset underneath that starched pink dress. She's holding a parasol, which leans against her shoulder.\n\n> You look under the bed\nUnder the bed is a square panel that's not quite flush with the floor. It looks like it might be a trapdoor.\n\n> Go south\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold.\n\n> You go to the north\nThe interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nLying on the floor beside the bed is a leather valise.\n\n> You move the bed\nThe bed is very heavy, but by throwing your weight into it you're able to push it to one side, uncovering the trapdoor."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, horror, teenage protagonist]\n\n> Go downward\nThis earth-walled chamber is so low you can't stand up straight. There's a square trapdoor in the ceiling; it's standing open. A dark tunnel extends away to the north.\n\n> You go north\nIt's pitch black.\n\n> You turn it on\nYou flip the switch, but nothing happens. The batteries are probably dead.\n\n> You go north\nIt's too dark; you can't see where you're going.\n\n> Go upwards\nThe interior of Cabin Four is much like Cabin Five, except that it has a big double bed in place of the twin beds. Also, there's no carpet, just a bare linoleum floor, which is peeling up in the corners. The bed has been pushed to one side, revealing a trapdoor set in the floor. The plaster is water-stained, the wallpaper suffering from minor rips and tears. A gaudy, poorly executed painting of a Southern belle in a hoop skirt fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nLying on the floor beside the bed is a leather valise.\n\n> You go to the west\nThe tiny, cramped bathroom features a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. The small square window is open, but it provides no view and not much light either, as a tree has grown up quite close to the outside wall.\n\nThe door to the cabin is in the east wall.\n\n> Go west\nFrom this perch in the midst of the scraggly tree, you can't see much. The area behind the cabins is obscured by foliage. However, you're quite close to the rear wall of Cabin Four, and have a close view of the cabin's bathroom window, which is open.\n\n> You go to the north\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots, suggesting that at one time the open area might have been used as a croquet court.\n\nYou're standing between Cabin Five (to the west) and Cabin Two (to the east). The croquet court continues north and south from here. Further to the north you can see a dusty stretch of lawn beside the house, and some distance to the south are the brackish, unhealthy-looking waters of a swamp.\n\nAs you pass Cabin Two, you notice that its door is standing ajar.\n\n> Go east\nThe interior of this rustic motel room looks pretty much like the interior of Cabin Five, except that it's a mirror image, with the door to the croquet court on the west side. Bedspreads the color of mud cover the twin beds. The tacky wood-grain wallpaper is starting to peel, and years of grime have been ground into the carpet. A murky painting of a Model T Ford fails to add a sporty air.\n\nCurtains the color of old pea soup hang beside the window to the right of the door. A chipped and scarred dresser stands against the east wall, near the door of the bathroom. There's a walk-in closet on the south side of the room.\n\nOn the bed near the door is a Gideon Bible.\n\n> You examine the painting\nThe Model T Ford looks rather battered and rusty, but possibly that's because of the bits of mold encrusted on the surface of the painting.\n\n> You open it\n(first taking the Gideon Bible)\nThe Bible falls open to a passage that somebody has marked with a yellow highlighter, in which God says strangers who see his holy rites should be put to death. Whoever used the highlighter seems to have been looking for reassurance in all the wrong places.\n\n> You go to the south\nAs you step into the closet, a floorboard creaks.\n\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold, and the floor is a little wobbly.\n\n> You go to the east\n(first opening the bathroom door)\n\nThe bathroom is barely big enough to turn around in. There's a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. A tiny window provides a very little air.\n\nThe door leads westward.\n\n> You take the floorboard\nAs you pry up the loose floorboard, you find that beneath it is a shallow recess beneath the floor. Lying on its back in the recess is an evil-looking black figurine.\n\n> You look at the figurine\nThe evil figurine is like the other one you saw - it's about six inches tall, and is carved from a stone so deep red it's almost black. The eyes glint black - and you have the disquieting sensation that they're actually staring at you. The figure's face is contorted with malevolence - the teeth bared, the eyes glaring, the tongue protruding.\n\n> You take the figurine\n(first putting the fire tongs in the burlap sack to make room)\nAs you reach out to touch the black-eyed figurine, you have the momentary sensation that it has lunged at you and snapped at your fingers with its teeth. Obviously, it couldn't actually have moved - could it? But a shaft of intense pain shoots up your arm, and you recoil as quickly as if you had put your hand in an open flame.\n\n> You take the figurine with tongs\nYou pick up the black-eyed figurine with the fire tongs.\n\n> You examine the floorboard\nThe board is about four inches wide, a foot long, and more than an inch thick. Though the wood is discolored by age, it feels quite solid.\n\n> You examine the hole\nThe recessed place beneath the floor is small and dark. It's clotted with old spider webs and littered with disagreeable crumbs.\n\n> You put the floorboard on the hole\nYou fit the loose floorboard over the hole in the floor.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 4:00.\n\n> Go west\nYou can't go that way. The only obvious exit leads north, back to cabin two.\n\n> Go north\nThe interior of this rustic motel room looks pretty much like the interior of Cabin Five, except that it's a mirror image, with the door to the croquet court on the west side. Bedspreads the color of mud cover the twin beds. The tacky wood-grain wallpaper is starting to peel, and years of grime have been ground into the carpet. A murky painting of a Model T Ford fails to add a sporty air.\n\nCurtains the color of old pea soup hang beside the window to the right of the door. A chipped and scarred dresser stands against the east wall, near the door of the bathroom. There's a walk-in closet on the south side of the room.\n\nOn the bed near the door is a Gideon Bible.\n\n> You set the lock to IXTLOC\nAs you set the valise lock to IXTLOC, you hear a soft but satisfying snick from the mechanism.\n\n> You open the valise\nThe valise springs open. In the valise is a green-eyed figurine.\n\n> You examine the green figurine\nThe evil figurine is like the others you've seen - it's about six inches tall, and is carved from a stone so deep red it's almost black. The eyes glint green - and you have the disquieting sensation that they're actually staring at you. The figure's face is contorted with malevolence - the teeth bared, the eyes glaring, the tongue protruding.\n\n> You take the green figurine with the tongs\nYou pick up the green-eyed figurine with the fire tongs.\n\n> You put it in the sack\n(the green-eyed figurine)\nDone.\n\n> You close valise\nAs you close the valise, its latch mechanism snaps firmly.\n\n> Inventory\nYou are carrying a croquet hoop, a wooden bucket, a burlap sack (which contains a gold locket, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, an old shovel, a poker, a small round threaded object, a mystery by John Dickson Carr, some faded photographs, a stone bracelet, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, and some fire tongs), and a flashlight. You're wearing your clothes.\n\n> Go east\nThe interior of this rustic motel room looks pretty much like a mirror image of the interior of Cabin Five. Except - not really. Honey Hartwell seems to have arrived like a hurricane. Her possessions are strewn in profusion on every available surface, including the floor. Most of the stuff is clothing, every bit of it gaudy and in terrible taste. In amongst the garb you can also see half a dozen photo magazines devoted to celebrity worship, and the top of the dresser (which stands against the east wall, near the door of the bathroom) is overflowing with cosmetics.\n\nAside from that, the cabin is unremarkable: the door to the croquet court on the west, a walk-in closet to the south, brown bedspreads on the twin beds, tacky wood-grain wallpaper that's starting to peel, green curtains over the window, and a carpet into which years of grime have been ground. A murky painting of a tired-looking Confederate soldier only contributes to the air of dejection and decay.\n\nSomewhere not far away you hear the sound of a motorboat, getting louder. Shortly it cuts off, and the silence descends again.\n\n> You examine the curtains\nThe curtains droop sadly.\n\n> You open the dresser\nYou open the top and middle drawers.\n\n> You open the bottom drawer\nThe bottom drawer is already open.\n\n> You go to the east\nThe tiny, cramped bathroom features a narrow shower stall, a minuscule, rust-stained sink above which is an open medicine cabinet, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. A tiny window provides a very little air.\n\nThe door leads westward.\n\n> You look at the cabinet\nThe medicine cabinet has three shallow, narrow, and rather corroded metal shelves. It's open.\n\n> You look at the cosmetics\nAt least a dozen assorted glittery tubes are scattered across the top of the dresser - eyeliner, eyeshadow, blusher, mascara, hand cream, nail polish, and more.\n\n> You look at the steps\nThe broad flight of steps leads up to the porch. The planks are badly warped and split, and the gray paint that was applied to them in some remote past is sticking up in thick curling chips.\n\nHoney licks her thumb and turns a page in the magazine.\n\n> You look at the planks\nThe broad flight of steps leads up to the porch. The planks are badly warped and split, and the gray paint that was applied to them in some remote past is sticking up in thick curling chips.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> You take the planks\nYou can't take that.\n\nHoney curls a strand of hair around her little finger.\n\n> Go east\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney licks her thumb and turns a page in the magazine.\n\n> Break steps\nBreaking that would serve no purpose.\n\nHoney stretches languidly.\n\n> You ask Tyrone about van\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nYou ask Tyrone what he's doing with the van. \"Oh, somethin' or other's always goin' wrong with it,\" he says obscurely. \"Carburetor, most likely. I'll have it fixed up by tomorrow, time these folks is ready to leave.\"\n\n> You ask Tyrone about the suv\nWhen you ask Tyrone where the big black SUV went, that you saw parked in the driveway earlier, his eyes cloud over, and he turns away without answering.\n\n> You go to the south-east\nYou can't go that way. Obvious exits lead north, to the kitchen; south, to the area behind the cabins; east, to the north end of the croquet court; west; northeast, back to the lawn; northwest, to the gravel driveway; southwest, to the garden of junk; and in, to in the van.\n\n> You go to the east\nThe path meanders eastward along the shore of the swamp. Shortly the shore curves away southward, and you find yourself in a broad meadow.\n\nA few trees, tall and old but gnarled, reach up out of the long grass of this meadow like grasping bony fingers, tattered streamers of moss and vine trailing from their crooked branches. The meadow is bordered on the south by the swamp and on the north by an intimidating barbed-wire fence, and continues for some distance to the east. The path along the edge of the swamp runs westward from here.\n\nStanding in the center of the meadow is a large, rough block of black stone.\n\nThe ghost of Lydia hovers near the stone block.\n\n> You ask Lydia about the clown\nShe's looking off pensively toward the swamp. She seems not to have heard you.\n\n> You ask Lydia about the tears\n\"I forget things,\" she says. \"I think I might know something about that, only now I can't remember.\"\n\n> You show the bracelet to Lydia\n(first taking the stone bracelet from the burlap sack)\nShe gazes sadly at your offering. \"That's very nice, I'm sure.\"\n\n> You show the black figurine to Lydia\nWhen Lydia sees the evil figurine, she shrieks and flies around the meadow like a whirlwind. \"Oh, get it away from me, get it away from me!\"\n\n> Inventory\nYou are carrying a croquet hoop, a wooden bucket, a burlap sack (which contains a gold locket, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, an old shovel, a poker, a small round threaded object, a mystery by John Dickson Carr, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, and some fire tongs), a flashlight, and a stone bracelet. You're wearing your clothes.\n\n> You show the sketchbook to Lydia\n(first taking the sketchbook from the burlap sack)\n\"Is it a hot day today?\" she says, gazing off into the distance. \"It looks like it's a hot day, but I can never tell.\"\n\n> You read it\n(first taking the mystery by John Dickson Carr from the burlap sack) Boh-rring. this would put you to sleep for sure. Looks like Beauregard enjoys boring old mysteries as much as your aunt does.\n\n> You ask Lydia about the figurines\nLydia shudders. \"They're hateful - hateful! They're what summons the - the - I can't even make myself say it.\"\n\n> You show the object to Lydia\n(first taking the small round threaded object from the burlap sack)\n\"I hope you find a good use for that,\" she says.\n\n> You show the bracelet to Lydia\n\"I don't have much use for things,\" she says. \"In case you hadn't noticed.\"\n\n> You show the figurine to Lydia\nWhich figurine do you mean, the green-eyed figurine, or the black-eyed figurine?\n\n> You go west\nAs you walk away, the ghost calls after you in a breathy voice: \"I hope you'll come back and visit me.\"\n\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\n> You show the object to Tyrone\n(first taking the small round threaded object from the burlap sack) \"Well, lookee there,\" Tyrone says when you show him the small threaded object. \"You know what that is, don't you? Guess maybe not. Where you come from, I reckon they all got circuit breakers an' such. That there's a fuse. You put it in a fuse box. Circuit overloads, the fuse burns out, electricity stops, your house don't burn down. Then you just put in a new fuse. Stove up to the house there always burnin' out fuses. Luisa told me it done it again, but I ain't got around to fixin' it yet. Fuse box is in the upstairs bedroom. Why don't you take care of it for me, honey, seein' as you got the fuse already.\"\n\n> Go north\nTyrone shrugs and goes back to work on the van.\n\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle.\n\n> You go to the west\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle.\n\n> You open the cupboard\nOpening the cupboard reveals a juice glass, a stained blue mug, a brown envelope, and a teaspoon.\n\n> You look at the envelope\nThe brown envelope says \"Cocoa Mix\" on both sides.\n\n> You open the fridge\nOpening the refrigerator reveals an egg.\n\n> You examine the egg\nIt's an ordinary egg. When you touch it it doesn't seem very cold. Apparently the refrigerator isn't working.\n\n> Go up\nThe stairs squeak unsteadily, a sound that sets your teeth on edge.\n\nThis stuffy passageway extends westward from the head of the stairs, which lead down to the entry hall. The wallpaper is blotchy, and the residual grime along the baseboard suggests that the housekeeping has been perfunctory at best. There are doorways in the north and south walls.\n\n> You go north\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nA crow is perched on the windowsill, looking around the room.\n\n> Close window\nYou shut the window, blocking out the alleged breeze.\n\nThe crow fluffs his feathers.\n\n> You take the crow\nThe crow sidles away from you rapidly.\n\n> You show the black figurine to the crow\nThe crow does not appear interested.\n\nThe crow hops down from the sill to check the floor, sees nothing that would interest him, and hops back up.\n\n> You hit the spider with the poker\n(first putting the flashlight in the burlap sack to make room, then putting the mystery by John Dickson Carr in the burlap sack to make room, then putting the croquet hoop in the burlap sack to make room, then taking the poker from the burlap sack)\nOn a normal day, you might be able to grit your teeth and force yourself to do something with (or to) the spider. But you're feeling pretty nervous today. You just can't quite bring yourself to get that close to it.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a stone bracelet, a flashlight, a mystery by John Dickson Carr, and a croquet hoop), a new fuse, some fire tongs, and a poker. You're wearing your clothes.\n\n> You look at the fuse box\nBehind the little metal door is a shallow recess. What lies within is largely obscured by a heavy curtain of spiderweb. Within the web a fat white spider is busily spinning."
    },
    {
        "text": "[Themes: Horror, female protagonist]\n\n> Go down\nThe stairs creak a bit as you descend.\n\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\n> You open the stove\nOpening the oven reveals a piece of burnt toast.\n\n> You take the toast\n(first putting the fire tongs in the burlap sack to make room)\nTaken.\n\n> Crumble toast\nYou crumble up a portion of the toast and scatter the crumbs on the floor.\n\nWhen the crow sees the breadcrumbs you've scattered, he hops down from the windowsill and starts pecking at them.\n\n> Crumble toast\nYou crumble up a portion of the toast and scatter the crumbs on the floor.\n\nThe crow appears at the door of the closet. It's a confined space, but he seems quite fearless. He struts in and starts pecking for crumbs around your feet.\n\n> You wait a while\nTime passes...\n\nThe crow catches sight of the fat white spider! He makes a quick dive at the fuse box and snaps it up in his beak. A quick head-toss, and the spider is no more. Evidently feeling satiated, the crow saunters stiffly out of the closet, hops up to the windowsill, and flies away.\n\n> Clean box\nYou brush away the spiderweb, revealing two vertical columns of glass circles with three circles in each column.\n\n> You put fuse in the box\nThere's no room in the box for anything at all, but that dark circle looks as if it doesn't belong. You might be able to remove it.\n\n> You look at it\nThe fuse is threaded, like the base of a lightbulb without the bulb. The flat glass circle on the top of the fuse is dark, as if something inside has burned.\n\n> You check what you're carrying\nYou are carrying a wooden bucket, a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a stone bracelet, a flashlight, a mystery by John Dickson Carr, a croquet hoop, and some fire tongs), a poker, a partially crumbled piece of burnt toast, and a bad fuse. You're wearing your clothes.\n\n> PUT POKER, TOAST, BAD FUSE IN SACK\npoker: Done.\npartially crumbled piece of burnt toast: Done.\nbad fuse: Done.\n\n> You go east\nThis stark bedroom seems to be a repository for cast-off furniture, some of which probably dates back to the Civil War. The bedstead has an iron frame, but no mattress. The door back to the hall is to the south, and an open doorway leads west into a closet. In the north wall is a window.\n\nYou see some toast crumbs here.\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 4:15.\n\n> You go west\n(first opening the door)\n\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\n> You ask Tyrone about the batteries\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nYou ask Tyrone whether he might know where there are some fresh batteries for the flashlight. He presses his lips together, looking exasperated - but at himself, not at you. \"I was supposed to pick some up, you know, yesterday when I was in town, but I plumb forgot. Sorry, honey.\"\n\n> Go southeast\nYou can't go that way. Obvious exits lead north, to the kitchen; south, to the area behind the cabins; east, to the north end of the croquet court; west; northeast, to the lawn; northwest, back to the gravel driveway; southwest, to the garden of junk; and in, to in the van.\n\n> You go east\nTyrone shrugs and goes back to work on the van.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\n> Go east\n(first opening the door of Cabin Three)\nYou tap politely on the door of Cabin Three, and a low voice from within bids you enter.\n\nThe interior of this rustic motel room looks pretty much like the interior of Cabin Five, except that it's a mirror image, with the door to the croquet court on the west side. Bedspreads the color of mud cover the twin beds. The tacky wood-grain wallpaper is starting to peel, and years of grime have been ground into the carpet. A bucolic, sentimentalized painting of some Negroes picking cotton adds to the oppressive sense that you've somehow slipped back into an earlier, less civilized era.\n\nCurtains the color of old pea soup hang beside the window to the right of the door. A chipped and scarred dresser stands against the east wall, near the door of the bathroom. There's a walk-in closet on the south side of the room.\n\nA man is sitting in a wheelchair at the foot of one of the beds. As you enter, he looks at you sharply from under lowered eyebrows. \"So,\" he says in a soft voice. \"You're to be the one. I was hoping - well, never mind.\"\n\nHe smiles at you in a sad, sweet way. \"My name is David,\" he says.\nYou tell him your name is Diane, but he waves the information away. \"Yes, I know,\" he says. \"I wish I didn't. That might make it easier - a little easier, anyhow.\" He sighs. \"Do you know why your aunt brought you here? No, of course you don't. If you knew, you'd - well, you wouldn't be standing here exchanging polite chitchat with me, I'm very certain.\"\n\n> You look at David\nDavid is sitting in a wheelchair, his shoulders hunched forward. Although the day is hot, a thin blanket is spread across his lap and wrapped around his legs. His complexion is waxy, his hair brown and wispy. He seems to be no older than thirty or thirty-five, but the lines of pain etched in his face make him look like an old man. Occasionally his bony hands twitch at the blanket, as though he yearns to toss it aside and stand up - but then the hands fall slack again.\n\n> You examine the wheelchair\nDavid's wheelchair is made of metal and black leather. The wheels are rubber.\n\n> You ask David about the wheelchair\nDavid closes his eyes, and his hands twitch on the blanket that covers his knees. \"I'm sorry,\" he says after a moment. \"I don't believe I caught that.\"\n\n> You ask David about himself\nDavid presses his lips together. \"Me? I'm not really very interesting. I taught college at one time. And I was married, to a woman far more beautiful and charming than I deserved. After I fell ill, she - felt that she needed more out of life than I was able to provide. We're no longer married, but I've forgiven her. At least, I hope I have. She was quite right to move on. In another year or two, unless some miracle should intervene, I'll no longer be able to care for even my most basic needs. A young, vibrant woman has no business sacrificing her entire life in order to see to the care of a helpless invalid.\"\n\n> You ask David about the picnic\nDavid is silent for so long, his eyes closed, that you start to wonder whether you ought to tiptoe away and stop pestering him. But then the watery gray eyes open and fix on your face. \"I expect what you're really wondering,\" he says, \"is why your aunt brought you here. Your aunt - your aunt doesn't have your best interests at heart, let's put it that way. Unless you're able to escape from this place within the next hour or two, I fear the consequences will be dire. Have you looked around? Have you seen the stone block that stands in the field near the southern extremity of the property? If you have, I need say no more. If you haven't, I urge you to go look at it. It's no mere archaeological relic; it has an exigent use.\"\n\n> You ask David about the ghost\nWhen you tell David about the ghost you met in the meadow, he sighs. \"Yes, of course there would have been others. Many others, I'm sure. Why one of the victims should have remained attached to this rather depressing spot, I'm sure I couldn't begin to guess. But since you and she have something in common, perhaps you'll be able to establish some sort of rapport with her. Not that it will do you any good.\"\n\n> You ask David about the eternal Springs\nYou ask David what he thinks of Eternal Springs. He laughs. \"It's not a very nice motel, is it? None of us came here for the ambience, I can assure you.\"\n\n> You ask David about Phelps\n\"Our esteemed host,\" David says. He sounds a little sarcastic, and a little sad. \"Don't underestimate him. He's incredibly dangerous, as powerful men so often are. I'd suggest you stay well away from him unless making an approach is absolutely essential.\"\n\n> You ask David about the demon\n\"It's a....\" David pauses for so long, his chin sunk on his chest, that you begin to wonder whether he's fallen asleep. But at last he rouses himself. \"I daresay I'm being disloyal, and I'm quite certain I shall regret this, one way or another. But I can't help thinking you deserve some explanation. Not that it will do any good. The course of events is quite unalterable.\n\n\"This was all Indian land at one time, you know. Five hundred years ago, the empire of the Aztecs stretched this far north. I don't want to paint all Native Americans as bloodthirsty savages, certainly, but the current popular conception of them as being somehow noble and wise because they were in close touch with nature may be no more than a fond romanticization - a version of the perennially popular Myth of the Golden Age. The reality, I should imagine, is that Native Americans in those days were no better than we are, and no worse. Whatever one may prefer to believe of the Iroquois or the Navajo, the Aztecs, I'm bound to say, were not the sort of people we should describe as pleasant, good-natured, or nice.\n\n\"Through the application of what we should describe as black magic, the Aztec priests aroused certain evil entities - entities of great power. These demons, to use the modern term, were capable of granting any wish that might lodge in the human heart, any wish at all, if only they were allowed to gorge on an offering of fresh heart blood.\" David shudders, and goes on.\n\n\"I'm sure you find this difficult to credit. As I did, at first. But at a certain point, I became utterly convinced: At least one of these entities still roams the world. Perhaps more than one, if we're to judge from recent history. At all events, there is one. The stone block at the southeastern extremity of Eternal Springs is its altar. Periodically, the local priest - I believe you must have met him, he's the fat old man who operates this alleged motor court - makes an offering to the demon. On that block.\n\n\"Or so I've been told. You'll understand that I haven't yet been out to see it myself. The path is rather bumpy for someone whose mobility is limited. I expect they'll wheel me out there tonight as sunset nears. But where was I?\n\n\"The demon has it in his power to grant the dearest wish of each person who is present at the ceremony. Invitations of a sort are sent out into the world, in the form of small carved figurines, or statuettes. They're images of the demon. They wander the world and somehow find their way into the hands of individuals who have an unusually fervent desire. On this occasion, I'm one of those people. I'm sure you can guess the nature of my desire.\" He gestures at his useless legs. \"Through one means or another, we're drawn here when the time for a fresh sacrifice is near.\"\n\n> You ask David about the house\nDavid looks at you uncertainly. \"I'm not sure I know what to tell you.\"\n\n> You ask David about Tyrone\n\"You mean the black hired man,\" David says, nodding. \"At first I thought he must be part of Beauregard's little cabal. He was brusque, almost hostile. But when he helped me to my cabin he was very gentle and considerate. I don't know quite what to make of him.\"\n\n> You ask David about swamp\nDavid sighs. He seems not to have heard you. More or less to himself, he says, \"I know it's a hot day, but I feel the cold in my bones.\"\n\n> You ask David about the figurine\n\"The figurines ... ah, yes. Nasty little things, aren't they? You've seen one, I take it? If not, I'll show you one in just a moment.\" David frowns at his knees. He looks so sad you want to hug him, but you don't.\n\n\"They have some sort of magical linkage,\" he says, \"to the actual demon to whom the sacrifice is to be made. They make their way out into the world somehow - I have no idea how, but I do believe they're not quite as inert as they may appear - and attach themselves to certain individuals who are predisposed to want what they have to offer, as I explained to you earlier.\n\n\"Once the attachment is formed, no one else can touch the figurine. It's quite impossible. I have one here ... if you'll just fetch my suitcase from the closet....\" He points, and you fetch the suitcase.\nHe sets it on his lap, unsnaps the latch, and draws out a hideous little carved statue, so deep red it's almost black, with white eyes that sparkle like diamonds or chips of ice. You have the disturbing sense that the little eyes are actually looking at you.\n\nDavid strokes the statue with a kind of reluctant fondness. \"I'm torn, you see. On the one hand, I'd rather anything happen than what is to happen this evening. Please believe that. On the other hand ... to be able to walk again, to make love ... well, perhaps that doesn't mean much to you. How old are you? Thirteen? Fourteen?\" He sighs. \"Your whole life ahead of you.\"\n\nHe pauses again, as if thinking. \"I'll tell you what I'll do. I won't take any action myself to stop it. I've come too far. I'm committed. And in any event, if I were to interpose objections at this late stage, I'm quite sure I would be ignored. If not worse. But if you can discover for yourself a way to escape your fate, and if there's anything I can do to aid you, you have only to ask. I can do that much. Perhaps I'm only indulging in a sop to my conscience; I don't expect you'll have the slightest chance to evade what's to come. But if you're clever enough to do so, I won't stand in your way.\"\n\nHe tucks the repellent figurine away in the suitcase again, and closes the suitcase.\n\n> You look\nThe interior of this rustic motel room looks pretty much like the interior of Cabin Five, except that it's a mirror image, with the door to the croquet court on the west side. Bedspreads the color of mud cover the twin beds. The tacky wood-grain wallpaper is starting to peel, and years of grime have been ground into the carpet. A bucolic, sentimentalized painting of some Negroes picking cotton adds to the oppressive sense that you've somehow slipped back into an earlier, less civilized era.\n\nCurtains the color of old pea soup hang beside the window to the right of the door. A chipped and scarred dresser stands against the east wall, near the door of the bathroom. There's a walk-in closet on the south side of the room.\n\nDavid is sitting here in his wheelchair.\n\n> You look at the suitcase\nDavid's suitcase is large, brown, and scuffed.\n\n> You open it\nThat is not something you can open.\n\n\"I'm feeling a bit tired,\" David says. \"If you'll forgive me, I may want to close my eyes for a minute or two.\"\n\n> You open the suitcase\nDavid refuses your request.\n\n> You show the bracelet to David\n(first taking the stone bracelet from the burlap sack)\nDavid does not appear interested.\n\n> You show the sketchbook to David\n(first taking the sketchbook from the burlap sack)\nYou show David the thick book of drawings. He leafs through it idly before handing it back. \"You can see what you're up against,\" he says. \"Those will be copies of carvings found at various sites. I'm no archaeologist, but from certain details in the designs, I'd think the sites would be in Central America. That region has a long and bloody history. As does the rest of the world, of course. Have you ever really read the Bible? It's full of the most horrific carnage, most of it sanctioned by God, or by whatever entity the Hebrews thought was God. One is inclined to wonder....\"\n\n> You ask David about the legs\nYou hesitate to keep pestering David with conversation. He looks tired.\n\n> You tell David about Hank\nHesitantly, you bring up what you saw, or rather heard, in the cabin just across the way. David listens to your story, his face grave. \"I believe I heard the shot,\" he says. \"That's what woke me from my nap. This is very bad, far worse than I had feared. They'll stop at nothing.\" As if to himself, he adds, \"Well, I knew that already, didn't I?\n\n\"And you say they took the body out in a boat to dispose of it? Hmm. While they're gone from the motel you might want to nose around in their cabins. Far be it from me to recommend thievery, but these people have certainly lost any claim they might have had to expect civil treatment.\"\n\n> You ask David about the handkerchief\nDavid closes his eyes, and his hands twitch on the blanket that covers his knees. \"I'm sorry,\" he says after a moment. \"I don't believe I caught that.\"\n\n> You cry\nYou sniffle a little. It's not proving to be a good day, is it? But feeling sorry for yourself probably isn't going to help.\n\n> You show the photographs to David\n(first taking the faded photographs from the burlap sack)\nDavid does not appear interested.\n\n> You show the locket to David\n(first taking the gold locket from the burlap sack)\nDavid does not appear interested.\n\n> Locket in sack\nfaded photographs: Done.\ngold locket: Done.\n\n> You ask David about God\n\"Don't get me started,\" David says with a gentle laugh. \"There may after all turn out to be a God - I'm certainly not qualified to say - but the evidence of His involvement in or concern with human affairs is tenuous at best. The evidence for less benign sorts of supernatural involvement is, I fear, far better.\"\n\n> You ask David about Honey\nYou tell David what little you've been able to learn about Honey Hartwell - that she's an aspiring singer from Nashville. \"Not that I want to be critical,\" you add, \"but I don't think she sings very well.\"\n\n\"Ah, well,\" he says. \"It's not difficult to infer that her only hope of stardom lies in ... what's to happen here today. Another talentless wretch who yearns not to be chewed up and spit out by the maw of the entertainment industry. If you're looking for evidence of demonic workings in human affairs, I daresay the popular music business wouldn't be a bad place to start.\"\n\n> You ask David about Reverend\nYou describe Reverend Gillespie to David. \"He seems a little ... slimy,\" you finish, not wanting to seem too critical but also wanting to be honest with the one person around here who seems worth talking to.\n\nDavid listens sympathetically. \"I haven't met the man,\" he says. \"I wish I could say I'm surprised to learn that a so-called 'man of God' is involved in a ritual of the sort that Beauregard intends to preside at today, but I'm not.\"\n\n> You ask David about the aunt caroline\nYou chat with David about your life in New York, living with your neurotic aunt in a small apartment. He listens in an abstracted way, and murmurs a few polite responses. The more you tell him, the sadder he looks, so after a few minutes you fall silent.\n\n> You give the book to David\n(the sketchbook)\nYou show David the thick book of drawings. He leafs through it idly before handing it back. \"You can see what you're up against,\" he says. \"Those will be copies of carvings found at various sites. I'm no archaeologist, but from certain details in the designs, I'd think the sites would be in Central America. That region has a long and bloody history. As does the rest of the world, of course. Have you ever really read the Bible? It's full of the most horrific carnage, most of it sanctioned by God, or by whatever entity the Hebrews thought was God. One is inclined to wonder....\"\n\n> You give Carr to David\n(first taking the mystery by John Dickson Carr from the burlap sack) David looks at you with a kind of cloudy intensity. \"There's nothing that I want or need. At least, nothing that you have ... other than your youth and vitality, of course, but we won't talk about that.\"\n\n> You put the book and Carr in the sack\nWhich book do you mean, the mystery by John Dickson Carr, or the sketchbook?\n\n> Sketchbook\nsketchbook: Done.\nmystery by John Dickson Carr: Done.\n\n> You go west\n\"You can leave the door open if you like,\" David says behind you. \"I don't mind the fresh air.\"\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\n> Go west\nCabin Six is a lot like Cabin Five. Twin beds with ugly brown bedspreads haphazardly made up, water-stained plaster and peeling wallpaper, a grimy carpet. A faded painting of a flop-eared hound dog entirely fails to add cheer to the room. Tattered curtains hang across the window, which is to the left of the door.\n\nThe dresser stands against the west wall, near the door of the bathroom. There's a walk-in closet on the south side of the room, and the door of the cabin is to the east.\n\nThere's a small pool of blood in the middle of the floor.\n\n> Inventory\nYou are carrying a burlap sack (which contains a sequined jacket, a flashlight, an old shovel, a gold locket, and some faded photographs), the key to Cabin One, a pill bottle, a little white pill, a croquet hoop, a wooden bucket, and an indecipherable map. You're wearing your clothes.\n\n> Go south\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. A small rowboat is tied up to the right of the dock.\n\nA narrow catwalk runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nThe far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is standing wide open.\n\n> You examine rowboat\nThe rowboat is barely big enough for two people to sit in. It looks old, battered, and more than a little banged-up.\n\n> You look in it\n(first trying to go over to the rowboat)\nThe rowboat is too far away.\n\n> You enter the rowboat\nThe rowboat is too far away.\n\n> You go to the south\nAs you start in that direction, suddenly the rowboat and the dock erupt in boiling gouts of flame. The heat beats against your face, and you cover your face with your hands and stagger backward. Bitter smoke fills your nostrils, and even through your hands and eyelids you can see the seething flames.\n\nBut then the heat is gone, the blood-red light recedes. When you open your eyes, the shed hasn't been consumed by fire. The rowboat rocks serenely in the water, just as it did before.\n\n> Go southwest\nAs you start in that direction, suddenly the interior of the shed goes pitch dark - or have you been struck blind? You pause, not wanting to step off the edge into the water. And then you feel things crawling on you. At first it's only a vague itch, but a moment later huge bugs are in your clothes, on your face, in your mouth. You try to brush them off, scrape them off, slap them away, but it doesn't seem to be working.\n\nAs you writhe in terror, somehow you bump against the door of the shed. Its physical solidity dissolves the nightmare. You can see. There aren't any bugs, only the boats and the dock and the water.\n\n> You examine the chain\nWhich chain do you mean, the gold locket, or the drum-shaped mechanism?\n\n> Drum\nThe drum-shaped mechanism is out at the southwest end of the catwalk.\n\n> You examine the catwalk\nThe catwalk is a narrow strip of planking that runs along the west side of the shed. At the far end of the catwalk is a drum-shaped mechanism.\n\n> You look at the door\nWhich door do you mean, the big door, or the boat shed door?\n\n> You look at the big door\nThe big door at the south end of the shed is made of horizontal metal strips, probably aluminum. An overhead track suggests that the door can be rolled up to allow boats to go in and out - and indeed, there's a drum-shaped mechanism at the south end of the catwalk from which a chain extends up and back along the track.\n\n> You go north\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built. The door is standing wide open.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\n> You go east\nThe screen door screeches metallically as you open it.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\n> You close the screen door\nThe screen door closes itself, and in such hot weather there's no need to close the main front door. That would only make the house unbearably stuffy.\n\n> Go south\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Four (to the west) and Cabin One (to the east). The croquet court continues south from here, the land sloping gently downward toward the swamp - almost as if the cabins are gently sliding into the swamp or marching, with a ponderous but imperceptible tread, toward it. To the north is a broad stretch of dusty lawn, and beside it to the west a large and rather ramshackle two-story house.\nAn overgrown and uneven brick walkway leads off to the northwest, around the corner of Cabin Four.\n\nAs you pass Cabin Four, you notice that its door is standing ajar.\n\n> You take the figurine\nAs you reach out to touch the green-eyed figurine, you have the momentary sensation that it has lunged at you and snapped at your fingers with its teeth. Obviously, it couldn't actually have moved - could it? But a shaft of intense pain shoots up your arm, and you recoil as quickly as if you had put your hand in an open flame.\n\n> You take the figurine with the tongs\nYou pick up the green-eyed figurine with the fire tongs.\n\n> Go south\nAs you start in that direction, suddenly it seems to you the whole shed is crawling with snakes - hundreds of them writhing over one another. The snakes are a carpet that covers the dock, the catwalk, the rowboat. They're boiling out of the water, hissing, their heads swaying as their red-black beady eyes fix on you. You scream and stagger back toward the door.\n\nA moment later the snakes are gone. You can't quite believe it, though: You look around nervously, and see no snakes, nor any other menace.\n\n> Go southwest\nAs you start in that direction, suddenly you have the terrifying sensation that the room is entirely filled with green water. You don't seem to be able to move your limbs, and you can't breathe. It's as if the water has filled your mouth and nose - you can taste and smell its rotten reek. Indistinct shapes swim toward you, toothless mouths open to suck your juices out.\n\nWith a convulsive effort you take a step backward toward the door, another step. And then the underwater nightmare is gone. You suck in a deep, uneven breath.\n\n> You go to the southwest\nAs you start in that direction, suddenly half a dozen human skeletons rise up out of the water, grinning. No, a dozen of them. No, twenty. The skeletons stalk toward you, brandishing long sharp knives! You lurch away from them, and lose your footing and nearly fall into the water. You scramble backward toward the door, whimpering, crying, \"No, no, please....\"\n\nWith a dry clacking sound like sticks falling in a heap, the skeletons and their wicked knives vanish. The interior of the shed is peaceful again.\n\n> You close the boat door\nYour first impulse is to close the boat shed door so as to have a little privacy, but then it occurs to you that if you do that, somebody might come along and lock it - and then you'd be trapped! No, better leave it open.\n\n> You remove the shelves\nCareful not to make any loud thumping noises, you lift the shelves off of the brackets and lean them in a corner. The onions and rat droppings slide off. Now it's possible to get at the hatch.\n\n> You open hatch\nYou open the hatch, revealing a box-shaped cavity built into the wall.\n\n> You examine the cavity\nThe interior of the box is so small that a person your size could barely fit into it - maybe - by curling up in a ball. A grown-up would never be able to. The dust and cobwebs are thick, but fortunately there don't seem to be any spiders.\n\n> Inventory\nYou are carrying a wooden bucket and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a stone bracelet, a flashlight, a mystery by John Dickson Carr, a croquet hoop, some fire tongs, a poker, a partially crumbled piece of burnt toast, and a bad fuse). You're wearing your clothes.\n\n> You enter the box\nYou're curled nearly double in a cramped wooden box in half-darkness.\nA sturdy length of rope is hanging vertically here, so close to your face you could scratch your nose against it if your nose itched. And that might be easier than scratching your nose any other way, because there's barely room here to move your arms. A small but sturdy-looking iron hook protrudes from the wall right next to your cheek.\n\n> You pull the rope\nYou grasp the rope firmly in both hands and pull, and the box in which you're confined rises, foot by swaying foot, up the shaft in which it's suspended. It appears the box is an old-fashioned dumbwaiter. In a few moments you're at the top of the shaft, in near-darkness broken only by a faint line of light that traces the shape of a hatch door like the one in the pantry below.\n\n> You examine hook\nThe iron hook protrudes several inches from the wall of the box, making the already cramped space seem almost like a torture chamber.\n\n> You tie the rope to the hook\nYou wrap the rope several times around the iron hook. It isn't much of a knot, but maybe it will hold.\n\n> Go outside\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> You look under the bed\nYou have a peek under the bed. Nope - nothing interesting under there, just sagging springs.\n\n> You examine the dresser\nThe chipped, warped chest of drawers looks like it's about a hundred years old, and has been rejected as junk by every antique shop in the state of Mississippi. It stands against the west wall - crookedly, because one front leg is visibly shorter than the other. The top is littered with a scatter of stuff.\n\n> You look at the stuff\nThe stuff on the dresser is about what you'd expect - a couple of hairbrushes full of greasy gray hair and dandruff, a chipped saucer with some paper clips and thumbtacks in it, and some pecan shells. Among the clutter you spot a stubby screwdriver. Now that might come in handy.\n\n> You open the door\n(first unlocking the door)\nIt occurs to you that nobody knows you're snooping in Beauregard Phelps's bedroom. And maybe that's just as well. Before throwing the door open, it would be sensible to take a quick look through the peephole and make sure the coast is clear.\n\n> You look through the peephole\nThrough the peephole you can see Luisa standing at her ironing board, ironing.\n\n> You go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nOn the shallow table are a curved dagger and a purple-eyed figurine.\n\n> You examine the dagger\nThe dagger has a wicked-looking slim, curved blade nearly a foot long, and a black leather hilt.\n\n> You examine the purple\nThe evil figurine is like the others you've seen - it's about six inches tall, and is carved from a stone so deep red it's almost black. The eyes glint purple - and you have the disquieting sensation that they're actually staring at you. The figure's face is contorted with malevolence - the teeth bared, the eyes glaring, the tongue protruding.\n\n> You look at the carving\nThe design of the ornate circular carving is made up of seven or eight intertwining rattlesnakes, all of them baring their fangs. Within the loops formed by the snakes' coils are symbols that look like letters. The letters remind you of the markings on the stone bracelet you found in the dining room.\n\n> You examine the grate\nThe grate is a metal grill with a cross-hatch of sturdy wires, which are stained dark by years of smoky furnace fumes. The grate is mounted in the baseboard of the east wall, down near the floor between the slab and the table, and is held in place by a couple of metal screws.\n\n> Unscrew grate\nYou loosen the screws with the screwdriver and rotate the grate away from the opening in the wall.\n\n> You look at opening\nThe grate is a metal grill with a cross-hatch of sturdy wires, which are stained dark by years of smoky furnace fumes. The grate is mounted in the baseboard of the east wall, down near the floor between the slab and the table, and is held in place by a couple of metal screws, which have been loosened, allowing the grate to be rotated outward.\n\n> You enter it\nThe opening is too small for you to squeeze through it.\n\n> You open grate\nThe grate is already open.\n\n> Go west\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> You untie the rope\nYou unwrap the rope from around the hook."
    },
    {
        "text": "[Themes: Horror, female protagonist]\n\n> You go downward\nAs you let the rope play out upward, the box wobbles its way down the shaft.\n\n> Leave\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a stone bracelet, a flashlight, a mystery by John Dickson Carr, a croquet hoop, some fire tongs, a poker, a partially crumbled piece of burnt toast, and a bad fuse) here.\n\n> You take the bucket and the sack\nwooden bucket: Taken.\nburlap sack: Taken.\n\n> Go south\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle.\n\n> You examine the opening\nThe heating grate is set in the baseboard in the west wall of the room. It's about a foot high and two feet wide, and is covered with a metal grill, which is stained by years of smoky furnace fumes. It's held in place by a couple of heavy metal screws, which have been loosened to allow the grate to be rotated outward.\n\n> You enter grate\nThe opening is too small for you to squeeze through it.\n\n> You look\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\nThe keyhole in the base of the merry-go-round contains an old-fashioned brass key.\n\n> You look at what you're carrying with you\nYou are carrying a screwdriver, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a stone bracelet, a flashlight, a mystery by John Dickson Carr, a croquet hoop, some fire tongs, a poker, a partially crumbled piece of burnt toast, and a bad fuse). You're wearing your clothes.\n\n> You put all in the grate\nscrewdriver: You push the screwdriver through the grate.\n\nwooden bucket: The wooden bucket is too large to fit through the opening.\n\nburlap sack: The burlap sack is too large to fit through the opening.\n\nold-fashioned brass key:\n(first taking the old-fashioned brass key)\nYou push the old-fashioned brass key through the grate.\n\n> You put bracelet in the grate\n(first taking the stone bracelet from the burlap sack)\nYou push the stone bracelet through the grate.\n\n> You put the tongs in the grate\n(first taking the fire tongs from the burlap sack)\nThe fire tongs are too large to fit through the opening.\n\n> You check your inventory\nYou are carrying a screwdriver, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a poker, a partially crumbled piece of burnt toast, a bad fuse, and some fire tongs). You're wearing your clothes.\n\n> You go north\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings and some onions here.\n\n> You drop all\nscrewdriver: Dropped.\nwooden bucket: Dropped.\nburlap sack: Dropped.\n\n> You enter door\n(the hatch)\n\nYou're curled nearly double in a cramped wooden box in half-darkness.\nA sturdy length of rope is hanging vertically here, so close to your face you could scratch your nose against it if your nose itched. And that might be easier than scratching your nose any other way, because there's barely room here to move your arms. A small but sturdy-looking iron hook protrudes from the wall right next to your cheek.\n\n> You pull the rope\nYou grasp the rope firmly in both hands and pull, and the box in which you're confined rises, foot by swaying foot, up the shaft in which it's suspended. In a few moments you're at the top of the shaft, in near-darkness broken only by a faint line of light that traces the shape of a hatch door like the one in the pantry below.\n\n> Go outside\n(first opening the hatch door)\n\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> You go to the east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nYou see a stone bracelet here. On the shallow table are a curved dagger and a purple-eyed figurine.\n\n> You examine slab\nThe gray stone slab is set in the east wall like a door, but it's both taller and wider than a typical door, and there's certainly no doorknob. Set in the face of the slab is an ornate circular carving.\n\n> You open slab\nYou push and prod at the slab, but it's unyielding.\n\n> You take the purple\nAs you reach toward the figurine, the dagger rises into the air, guided by no hand that you can see, and slashes at your face! You back away quickly.\n\n> You take the dagger\nIt would slice your fingers to ribbons!\n\nThe dagger slashes and jabs at you, dancing and swooping and slashing in midair.\n\n> You examine the dagger\nThe dagger has a wicked-looking slim, curved blade nearly a foot long, and a black leather hilt. The dagger is dating and zigzagging at you in the air, jabbing at your face. It's all you can do to duck, dodge, and twist out of its murderous path.\n\n> Go west\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> Go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nOn the shallow table are a purple-eyed figurine and a curved dagger.\n\n> You examine the dagger\nThe dagger has a wicked-looking slim, curved blade nearly a foot long, and a black leather hilt.\n\n> You take the dagger\nAs you reach out to pick up the dagger, it scoots away from you! A moment later, quivering, it's airborne. Guided by no hand that you can see, the dagger swoops straight at your face!\n\n> Examine bracelet\nThe bracelet is made of irregular chunks of gray-white stone about the size of marbles. Each stone is incised with a symbol of some sort.\nThe symbols look vaguely like the letters on the carving on the stone slab in Beauregard Phelps's bedroom.\n\n> You examine the carving\nThe design of the ornate circular carving is made up of seven or eight intertwining rattlesnakes, all of them baring their fangs. Within the loops formed by the snakes' coils are symbols that look like letters. The letters look exactly like the markings on the stone bracelet you found in the dining room.\n\n> You look at the table\nThe scarred old wooden table is both taller and shallower than a normal table - about four feet high and no more than a foot deep. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> Go west\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> You go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a screwdriver, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a poker, a partially crumbled piece of burnt toast, a bad fuse, and some fire tongs) here.\n\n> You take all\nrat droppings: The rat droppings are of no conceivable use to you.\n\nonions: The onions are of no conceivable use to you.\n\nscrewdriver: Taken.\nwooden bucket: Taken.\nburlap sack: Taken.\n\n> You put the poker in the grate\n(first taking the poker from the burlap sack)\nYou push the poker through the grate.\n\n> You drop all\nstone bracelet:\n(first taking off the stone bracelet)\nDropped.\n\nscrewdriver: Dropped.\nwooden bucket: Dropped.\nburlap sack: Dropped.\n\n> Go upwards\nYou grasp the rope firmly in both hands and pull, and the box in which you're confined rises, foot by swaying foot, up the shaft in which it's suspended. In a few moments you're looking out at the bedroom.\n\n> Go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a stone bracelet, a screwdriver, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, and some fire tongs) here.\n\n> Go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nYou see a poker here. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> You hit the dagger with the poker\nYou take a valiant swing at the flying dagger, but it veers aside and you miss.\n\nThe dagger slashes and jabs at you, dancing and swooping and slashing in midair.\n\n> You put bracelet on the dagger\nThere's no good surface on the curved dagger.\n\nThe dagger slashes and jabs at you, dancing and swooping and slashing in midair.\n\n> You look at peephole\nThe peephole is a little brass ring mounted in the door, with a glass lens in the center.\n\n> You look in it\nThrough the peephole you can see Luisa standing at her ironing board, ironing.\n\n> Search slab\nYou must open the slab before you can do that.\n\n> You open slab\nYou push and prod at the slab, but it's unyielding.\n\n> You go north\n(first unlocking the door, then opening it)\nThe bolt makes a soft scraping noise as you gently slide it back.\n\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\nLuisa is standing at the ironing board, ironing.\n\nWhen Luisa sees that the door of Phelps's bedroom is open, she crosses herself, mutters something that sounds like, \"Madre de dios,\" and rushes off down the hall. As you're wondering what to do next, Beauregard Phelps rushes up to you and grips your arm so hard you cry out in pain. \"So,\" he says. \"We got ourselves a sneak thief. Luisa tells me you got into my room. Well, no harm done. But I reckon we'll have to put you away where you can't get in no more mischief between now and the time for the ritual.\"\n\nYou try to protest that it's all a silly mistake, but he only laughs. Not letting his grip slacken for an instant, he drags you down to the cellar of the house and thrusts you into a big shipping trunk. The lid slams shut, and you're left curled up in a painful knot in total darkness.\n\nA long time passes - you're not sure how long. When you hear footsteps approaching, and voices, a flush of hope jolts through you. The trunk lid springs open and you're hauled out. You start to protest about your treatment, but then you see that Aunt Caroline is carrying the white dress, and your words freeze in your throat. Your aunt's mouth is set in a grim line.\n\nWhile the others watch, ignoring your shame, she and Honey Hartwell force you to take off your clothes and put on the white dress. Then the whole party, with you in the middle crying and trying to get away, marches out to the meadow where the block of stone is standing. \"It's almost time now,\" Phelps says, his voice bubbling with an undercurrent of glee.\n\nAs sunset arrives, there's a thickening in the air, a sense of a foul presence gathering. Shortly you can see it hovering above the stone block, a huge form that grows darker and more solid by the moment. The monster's fangs and claws are exactly like those on the little figurines, but far larger and more terrifying.\n\nThe demon reaches toward you, its thick red tongue writhing out obscenely. Your aunt and a well-dressed man whose aftershave smells, nauseatingly, of mint force you down on your back on the stone block, and Beauregard Phelps stalks ponderously forward, raising his curved dagger high and bringing it down toward your breast in a swift slashing arc.\n\n> You wait\nTime passes...\n\n> Leave\nTrying to maneuver your way through the narrow opening, you inadvertently let go of the rope. As your grip on the rope slackens, the box plummets back down the shaft! You land with a jarring thud at the bottom, your hands stinging from rope burns.\n\n> Go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a screwdriver, a wooden bucket, and a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a black-eyed figurine, a green-eyed figurine, a sketchbook, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, and some fire tongs) here.\n\n> You take all\nrat droppings: The rat droppings are of no conceivable use to you.\n\nonions: The onions are of no conceivable use to you.\n\nscrewdriver: Taken.\nwooden bucket: Taken.\nburlap sack: Taken.\n\n> You examine the sketchbook\nThe cloth-covered book is hundreds of pages thick and more than a foot square. The pages don't fit neatly between the covers; the book appears to have been bound by hand. The front cover, of well-worn coarse cloth, is blank: No title or author, no lettering of any kind.\n\n> You read it\n(first taking the sketchbook from the burlap sack)\nThe book proves to contain almost nothing but hand-drawn pencil sketches - more than a hundred of them on thick, stiff paper. Each sketch is different, but there's a common theme. Most show monsters and demons of various sorts, in various poses and settings. As you leaf through the book, you find that you're becoming more and more disturbed by the gruesome images.\n\nAt the bottom of each sketch, a single word has been written in block capitals. The words themselves have an exotic, foreign flavor that matches the bizarre pictures. Here's a sketch of two demons with fangs and spears stabbing a huge feathered serpent, or possibly a dragon. Beneath the sketch is the word HUATLI.\n\nAnother sketch, perhaps the most frightening of the lot, shows a young girl lying naked on her back on a block of stone. A man in an elaborate headdress looms over her with an upraised dagger, while a huge demon with claws and flaming eyes looks on. Beneath this image is the word OLTIOC.\n\nA sketch of a demon eating what looks disgustingly like a human heart is labelled ZIATLI. A sketch of two men in headdresses holding a girl between them and presenting her to a giant serpent is labelled MAZIDI. A sketch of a girl being - no, that one is too upsetting even to think about, but you notice the word UMIXIM below it.\n\nYou flip past the other images hurriedly, drawn back in spite of yourself to the one that shows the horrible carving on the stone block in the meadow. Below it is the mysterious word IXTLOC.\n\n> You put the bracelet in the sack\n(first taking off the stone bracelet)\nDone.\n\n> You put it on the device\n(the black-eyed figurine)\nThe black-eyed figurine is too large for the wooden circle.\n\n> Inventory\nYou are carrying a screwdriver, a wooden bucket, a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a hand mirror, a green-eyed figurine, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a stone bracelet, and a black-eyed figurine), a sketchbook, and some fire tongs. You're wearing your clothes.\n\n> You look at the device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters you saw carved on the stone slab upstairs in Beauregard's bedroom and those on the stone bracelet.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. One of the mounting clips is empty, however.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device.\n\n> You put the mirror in the device\n(first taking the hand mirror from the burlap sack)\nYou fit the mirror into the brass clip.\n\n> You examine device\nThe device is circular, and about the size of a small lazy susan. Bright sunlight shines directly on it through the window. The central part of the device is a circular platform of polished wood, in which is inlaid an arrow in lighter wood. The arrow points somewhat to the left of the window. Also incised in the wood are some abstract figures or designs. They look rather like the mysterious letters you saw carved on the stone slab upstairs in Beauregard's bedroom and those on the stone bracelet.\n\nMounted along the edges of the circle are several clear glass prisms and several more small rectangular mirrors. The latter are held in place by slim brass mounting clips. There are mirrors or prisms in all of the clips.\n\nAs the sunlight hits the prisms, a rainbow of light cascades across the surface of the device.\n\n> You examine the circle\nWhich circle do you mean, the wooden circle, or the bad fuse?\n\n> Wooden\nThe wooden circle at the center of the curious device is about a foot in diameter. The surface is dark except for a lighter-colored inlaid arrow, which points out the window, more or less in the direction of the afternoon sun. Incised in the wood are some abstract figures or designs. They look rather like the mysterious letters you saw carved on the stone slab upstairs in Beauregard's bedroom and those on the stone bracelet.\n\n> Point\n(the evil figurines)\n(first trying to take the evil figurines)\nAs you reach out to touch the nearest of the figurines, you have the momentary sensation that it has lunged at you and snapped at your fingers with its teeth. Obviously, it couldn't actually have moved - could it? But a shaft of intense pain shoots up your arm, and you recoil as quickly as if you had put your hand in an open flame.\n\n> You look at sun\nThe sun is shining in the window.\n\n> You point the arrow at the sun\nYou swivel the device so as to aim the arrow on the wooden circle straight at the afternoon sun.\n\nAs the rainbows of light play across the surface of the device, the bracelet begins to emit a warm hum. The hum is pleasant, but almost too soft to be sensed. For a few moments it seems the bracelet is glowing with its own light, the strange letters on the stones shifting into new shapes. When the effect subsides, the bracelet looks much the way it did before.\n\n> You drop all but the bracelet\nscrewdriver: Dropped.\nwooden bucket: Dropped.\nburlap sack: Dropped.\nsketchbook: Dropped.\nfire tongs: Dropped.\n\n> Go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a screwdriver, a wooden bucket, a burlap sack (which contains a gold locket, a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a green-eyed figurine, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, and a black-eyed figurine), a sketchbook, and some fire tongs here.\n\n> You go west\nYou walk down the narrow, ill-lit hall, and emerge in the office.\n\nThis room looks as if it serves as Beauregard Phelps's office. It's frankly a mess - littered with teetering piles of yellowing paper.\nIt's dominated by a big desk, which sits in the center of the room with a chair behind it. Beneath the window at the west end of the room is a small square table, on which rests a curious device.\n\nOn the wooden circle is a stone bracelet.\n\n> Wear bracelet\nYou're already wearing it.\n\n> You rub it\nThe bracelet tingles faintly under your fingertips.\n\n> You touch carving\nAs your fingers brush the circular carving on the slab, a blaze of light bursts from it. At the same moment, a deep grinding rumble emanates from within the slab, so loud it rattles your teeth and raises little dust spurts on the floor. You take an involuntary step backward and watch apprehensively as the slab pivots to the side, creating a narrow opening through which you can pass.\n\n> You take the poker\nYou are already carrying the poker.\n\n> You examine the north slab\nThe stone slab set in the north curve of the room looks much like the others. The abstract lines and shapes incised on its surface look a bit like a design for a primitive computer circuit board.\n\n> You look at the northeast slab\nThe stone slab set in the northeast curve of the room looks much like the others. The abstract lines and shapes incised on its surface look a bit like a design for a primitive computer circuit board.\n\n> Go east\nA square-cut channel, too broad to jump and seemingly bottomless (though in the dim light it's hard to be certain) stretches from north to south here. Spanning it is a narrow ribbon of silver, barely wide enough to walk on. The ribbon shimmers slightly, as if it's made of oily light. The walls of close-fitting gray stone were obviously made by human hands - or at least, by hands of some sort.\n\nAn open doorway leads west, and the silver bridge affords a slightly vertiginous path to the east.\n\n> You look at Channel\nThe chasm is deep and wide. Looking down into it, you can't see the bottom, but faint sounds echoing up from far below suggest that it's not actually bottomless. The sides are certainly too steep to climb, though.\n\n> You examine the bridge\nThe silver bridge is barely wide enough to walk on. It shimmers and ripples, as if it's made of oily light.\n\n> Go east\nYou step lightly and carefully across the narrow silver bridge. As you reach the far end, a sizzling, crackling noise behind you makes you whirl and look back. The bridge is evaporating at your heels into a drift of silver sparks. The sparks spin, dimming, into the abyss. In a moment the bridge is gone.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\n> You go to the north\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\n> You examine the door\nThe bronze door is standing open.\n\n> Go north\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\n> You examine the cabinet\nThe cabinet is six feet tall and three wide. It's a fine example of the woodworker's art - the blond wood of the front panel is so highly polished it practically glows. Inlaid in the center of the front is a large circle of darker wood.\n\n> You examine the mats\nThe mats are quite large - at least five feet wide, and six or seven feet long. They're painted with elaborate and somewhat unnerving designs in red and black.\n\n> You examine the designs\nWhich designs do you mean, the letters on the bracelet, or the straw mats?\n\n> You take the mat\nWith a bit of fiddling, you're able to detach one of the mats from the hook on which it's hanging.\n\n> Inventory\nYou are carrying a poker and a straw mat, and you're wearing your clothes and a stone bracelet.\n\n> You look at circle\nThe wooden circle on the front of the cabinet is rather larger than a human face. Seven designs or glyphs are inlaid on the circle - in no particular order, a circle surrounded by rays that must represent the sun, a long curved dagger, the stylized head of a snarling jaguar, a bird with outstretched wings, a tilted jug from whose mouth a stream of water is pouring, an ear of corn, and a coiled rattlesnake with bared fangs. Directly above the circle is a large arrowhead whose point aims straight down at the upper edge of the circle.\n\n> You go to the north\nThis little balcony overlooks a small but well-maintained formal garden dotted with fruit trees. Looming over the garden to the east is an imposing, windowless building whose heavy, close-set stone pillars suggest Egypt or Ancient Rome. An open archway to the south leads back into the chamber, and a steep flight of stairs leads down into the garden.\n\n> You examine the building\nThe building is massive and windowless."
    },
    {
        "text": "[Themes: Horror, teenage protagonist]\n\n> Go down\nWinding walks of crushed gravel snake between glossy-leaved, well-pruned trees and flowering shrubs. The air is warm and so freighted with the scent of blossoms as to be almost foetid. In the center of the garden stands a handsome but rather spindly fruit tree.\n\nThe garden is walled on all sides, with a tall, heavy building to the east and south, and ordinary exterior walls on the north and west. A stairway leads up to a little balcony.\n\n> You look at the tree\nThe tree in the center of the garden has a slim trunk and a profusion of foliage. Possibly the fruit has recently been harvested, but if so, the gardeners didn't quite finish the job. Hanging from one upper bough, half-hidden among the leaves, is a single large, ripe golden fruit.\n\n> You look at the fruit\nThe fruit is of a rosy golden hue, like a peach, and as globular as an orange. Whatever it is, it looks delectable.\n\n> You take fruit\nThe fruit is well out of reach among the upper branches of the tree.\n\n> You climb the tree\nYou try to haul yourself up the trunk of the fruit tree in the center of the garden, but it sways dangerously. Evidently the tree is just too spindly to support your weight.\n\n> Shake tree\nYou grab the trunk of the tree and give it an experimental shake. The leaves rustle and the golden fruit sways on its stem, so you push a little harder. The leaves rustle more loudly - and after bobbing and waggling back and forth a few times, the golden fruit drops free and lands on the ground at your feet with a soft thump.\n\n> You smell it\nIt smells delicious.\n\n> You eat the fruit\nAs you're about to bite into the tempting piece of fruit, it occurs to you that you haven't really been feeling much of an appetite all afternoon. Maybe you could find some other use for it. Throwing it at Beauregard Phelps? No, maybe not. But it ought to be good for something.\n\n> Go east\nYou can't go that way. The only obvious exit leads up to the narrow balcony.\n\n> You go to the east\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nA little brown spider monkey is wandering across the courtyard. When he sees you, he scuttles away into the shadows, but a moment later he creeps cautiously back and stares at you from a safe distance.\n\n> You look at the monkey\nThe monkey is light brown, with large eyes and a long slim tail. He's not much more than a foot tall. Your presence seems to make him a bit nervous. He's curious about you, but keeping his distance.\n\n> You examine the pool\nThe surface of the square pool is rippling faintly in a breath of breeze, and the ripples catch bright glints of sunlight and toss them out across the walls.\n\n> You look at the benches\nThe benches provide a border around the square pool.\n\n> You enter the pool\nYou glance at the shallow pool and instantly dismiss it as unimportant.\n\n> Pet monkey\nThe monkey edges away from you, looking doubtful.\n\n> You give the fruit to the monkey\nThe monkey accepts the golden fruit from you gravely, taking it in both hands, sniffing it, and touching the tip of his tongue to the skin. Apparently it meets with his approval - he bites into it, chews quickly, and eats more. As you watch, he devours the whole thing.\n\nYour magnanimous gesture seems to have convinced the little monkey that you're his friend. He tugs at your pants leg and gazes up at you trustingly.\n\n> You show the bracelet to the monkey\nThe monkey makes a tiny chittering sound that might be laughter.\n\n> You go to the north\n(first standing up)\nThe monkey scampers beside you.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey is crouching at your feet.\n\n> You examine the statue\nThe statue has wide, glaring eyes that glitter a deep red, outstretched hands with fearsome claws, and a grimacing mouth lined with pointed teeth. Looking at it sets your heart tapping in your chest. As you move across the floor of the temple, the statue's smoldering eyes seem to follow you.\n\n> You examine cube\nThe cube looks to be made of polished black stone - obsidian, or something like it. It's positioned directly before the hideous statue. Steps lead up to the top of the cube from the left and right.\n\n> You examine the pillars\nThe pillars are monumental. They seem to glow faintly in the cavernous room.\n\n> You get on the cube\nNo power on Earth could entice you to ascend the steps to the top of the cube.\n\n> You go to the north\nAs you try to sidle past the hideous statue, it leans sideways, reaches out with its claws, and slashes at you! You scramble backward to get out of its reach. Your first impulse is to run as fast as you can back down the temple and out into the courtyard, but after a moment you see that the statue is not coming after you. It's as motionless as it was before you approached.\n\n> You check what you're carrying\nYou are carrying a poker, a straw mat, and a piece of golden fruit, and you're wearing your clothes and a stone bracelet.\n\n> You go south\nThis little balcony overlooks a small but well-maintained formal garden dotted with fruit trees. Looming over the garden to the east is an imposing, windowless building whose heavy, close-set stone pillars suggest Egypt or Ancient Rome. An open archway to the south leads back into the chamber, and a steep flight of stairs leads down into the garden.\n\n> You go to the east\nYou can't go that way. Obvious exits lead south to the sumptuously decorated chamber, and down to the tropical garden.\n\n> You show the fruit to the monkey\nAs you hold out the golden fruit, the monkey edges toward you, opening and closing his little mouth.\n\n> Go north\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\n> Go south\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey sits by the edge of the pool and stares into it, possibly at his own reflection.\n\n> You give the fruit to the monkey\nThe monkey accepts the golden fruit from you gravely, taking it in both hands, sniffing it, and touching the tip of his tongue to the skin. Apparently it meets with his approval - he bites into it, chews quickly, and eats more. As you watch, he devours the whole thing.\n\nYour magnanimous gesture seems to have convinced the little monkey that you're his friend. He tugs at your pants leg and gazes up at you trustingly.\n\n> Go north\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey is still with you.\n\n> Kiss monkey\nThe monkey allows you to pet him gently.\n\n> You take the monkey\nThe monkey allows himself to be picked up, but quickly grows restless in your arms. Taking pity on him, you set him back down.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey is standing close by.\n\n> You go to the east\nThe monkey goes down onto all fours to keep up with you.\n\nBehind you, to the west, is the imposing edifice of the building, which is broken here by a row of arches. To the east a shallow flight of stairs at least fifty feet wide glides down to the near edge of what appears to be a slum. Mud-brick hovels, some thatch-roofed and some topped with red ceramic tile, are crammed together in a cityscape that stretches to the horizon. Brown-skinned, black-haired people are moving in and out among the nearer structures; they don't seem to have noticed you yet, but you're very visible. Clearly, this is not a safe place to linger.\n\nThe monkey is crouching at your feet."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, horror]\n\n> Go downwards\nFor a moment you consider venturing out into the slum - but it would take you days to explore it, and the local people could hardly fail to notice the blond stranger. No, whatever you hope to gain in this strange place surely lies in the building behind you.\n\n> You look at the people\nThe people move slowly and aimlessly in the heat of the sun. They're shabbily dressed and unsmiling. None of them is looking in your direction, and that's probably just as well.\n\n> Go west\nThe monkey arrives on your heels.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey looks up at you expectantly.\n\n> Go south\nThe monkey follows you.\n\nThis appalling chamber is lit only by the gray daylight that spills in from the open doorway to the north. The floor here is heaped with piles of bones - human bones. Skulls lie in heaps, and the floor is carpeted with a mad xylophone of crisscrossing ribs.\n\nAgainst one wall a nearly complete skeleton is slumped in an attitude of dejection.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You examine skeleton\nThe skeleton is about five feet tall, and seems to be nearly complete. The flesh has long since dried up and blown away, except for slender ligaments that look to be holding the bones together in a coherent form - for now, anyway.\n\n> You look at the bones\nThere must be hundreds of skeletons here, lying in a dreadful and pathetic jumble. The bones are old and dry, every scrap of flesh long since gnawed away by vermin. The thought that all these were once living, breathing people fills you with almost unbearable sadness. One skeleton, slumped against a wall, seems still to be intact.\n\n> You take the skeleton\nYour hands are too full to hold the skeleton.\n\n> Inventory\nYou are carrying a poker and a straw mat, and you're wearing your clothes and a stone bracelet.\n\n> You put the skeleton in the mat\n(first trying to take the skeleton)\nYour hands are too full to hold the skeleton.\n\n> You put the skeleton on the mat\n(first taking the skeleton)\nDone.\n\n> You take mat\nIf you pick up the mat now, what's on it will slide off. You might try rolling it up.\n\n> Roll mat\nYou roll up the mat, concealing the skeleton."
    },
    {
        "text": "> Describe the surroundings\nThis appalling chamber is lit only by the gray daylight that spills in from the open doorway to the north. The floor here is heaped with piles of bones - human bones. Skulls lie in heaps, and the floor is carpeted with a mad xylophone of crisscrossing ribs.\n\nThe monkey is still with you.\n\n> You examine the ribs\nThere must be hundreds of skeletons here, lying in a dreadful and pathetic jumble. The bones are old and dry, every scrap of flesh long since gnawed away by vermin. The thought that all these were once living, breathing people fills you with almost unbearable sadness.\n\n> You go north\nThe monkey scampers beside you.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey is standing close by.\n\n> You go west\nThe monkey follows you.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go south\nThe monkey goes down onto all fours to keep up with you.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey looks up at you expectantly.\n\n> You go to the south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe passage from the north opens out here on a balcony overlooking a jarringly prosaic scene. Half a dozen men wearing camouflage combat fatigues and black berets are lounging around a long table, smoking cigarettes and talking in low voices. The men are armed with what look like automatic rifles. Fortunately, they don't seem to have noticed you. A stairway leads down from the balcony into the middle of the room.\n\nThe monkey is crouching at your feet.\n\n> You go to the north\nThe monkey arrives on your heels.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey looks up at you expectantly.\n\n> You go east\nThe monkey trails faithfully along behind.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey is still with you.\n\n> Go north\nThe monkey scampers beside you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is crouching at your feet.\n\n> Go west\nThe monkey trails faithfully along behind.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is standing close by.\n\n> You look at the figure\nThe figure is carved of red stone. Its face is contorted in a grimace, and its body is bare except for a stylized loin cloth. Its stumpy legs are firmly planted on a round base, and are slightly bowed. Its right arm is extended in a grasping gesture. The arm is pointed straight toward the end wall of the tunnel.\n\n> You turn it\nYou apply your weight to the stone figure, and find that it rotates easily on its base. The grinding noise of stone against stone is not loud, but it's echoed in a deep, prolonged thunder from back down the tunnel. Even after the figure itself has ceased moving, you feel a vibration beneath your feet, and a little dust seeps down from somewhere overhead.\n\n> You go to the east\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is standing close by.\n\n> Go east\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go west\nThe monkey arrives on your heels.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is still with you.\n\n> You turn the stone\nYou glance at the stone wall and instantly dismiss it as unimportant.\n\n> You turn statue\nYou apply your weight to the stone figure, and find that it rotates easily on its base. The grinding noise of stone against stone is not loud, but it's echoed in a deep, prolonged thunder from back down the tunnel. Even after the figure itself has ceased moving, you feel a vibration beneath your feet, and a little dust seeps down from somewhere overhead.\n\n> You go to the east\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is crouching at your feet.\n\n> You go to the east\nThe monkey trails faithfully along behind.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go west\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is standing close by.\n\n> Go west\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is crouching at your feet.\n\n> You examine the figure\nThe figure is carved of red stone. Its face is contorted in a grimace, and its body is bare except for a stylized loin cloth. Its stumpy legs are firmly planted on a round base, and are slightly bowed. Its right arm is extended in a grasping gesture. The arm is pointed straight back down the tunnel the way you came.\n\n> Go east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go south\nThe monkey follows you.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey is still with you.\n\n> You go east\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is crouching at your feet.\n\n> You go to the south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the south end. The only way you can go is back to the north.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched as if it were frozen in the act of grasping with its claws.\n\nThe monkey is still with you.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is standing close by.\n\n> Go east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched as if it were frozen in the act of grasping with its claws.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go west\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go to the west\nThe monkey scampers beside you.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey is still with you.\n\n> Go north\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go east\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is standing close by.\n\n> Go north\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nThe monkey looks up at you expectantly.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> Go east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey is standing close by.\n\n> You go south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel turns from the north to the west here.\n\nThe monkey is still with you.\n\n> You go to the east\nYou can't go that way. Obvious exits lead back to the north and west.\n\n> Go west\nThe monkey follows you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nThe monkey looks up at you expectantly.\n\n> Go east\nThe monkey trails faithfully along behind.\n\nThe stone tunnel turns from the north to the west here.\n\nThe monkey is crouching at your feet.\n\n> You go north\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go north\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey is crouching at your feet.\n\n> You go west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is standing close by.\n\n> You go to the east\nThe monkey scampers beside you.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey looks up at you expectantly.\n\n> Go south\nThe monkey follows you.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey is still with you.\n\n> Go west\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go to the north\nThe monkey trails faithfully along behind.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nThe monkey is crouching at your feet.\n\n> Go south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey looks up at you expectantly.\n\n> You go to the east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go south\nThe monkey follows you.\n\nThe stone tunnel turns from the north to the west here.\n\nThe monkey is still with you.\n\n> Go west\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nThe monkey is standing close by.\n\n> You go to the east\nThe monkey trails faithfully along behind.\n\nThe stone tunnel turns from the north to the west here.\n\nThe monkey looks up at you expectantly.\n\n> Go north\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey is standing close by.\n\n> You go north\nThe monkey follows you.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is still with you.\n\n> Go east\nThe monkey arrives on your heels.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey is crouching at your feet.\n\n> Go south\nThe monkey scampers beside you.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey looks up at you expectantly.\n\n> You go west\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is standing close by.\n\n> You go west\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is still with you.\n\n> Go north\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey looks up at you expectantly.\n\n> Go south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> You go west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is standing close by.\n\n> Go east\nThe monkey scampers beside you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is still with you.\n\n> You go south\nYou can't go that way. Obvious exits lead north, east, and back to the west.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go south\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> Go east\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is standing close by.\n\n> Go north\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go south\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is still with you.\n\n> Go west\nThe monkey arrives on your heels.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nThe monkey is crouching at your feet.\n\n> You go east\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go north\nThe monkey follows you.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey looks up at you expectantly.\n\n> Go south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is standing close by.\n\n> You go to the east\nThe monkey follows you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey looks up at you expectantly.\n\n> Turn figure\nYou apply your weight to the stone figure, and find that it rotates easily on its base. The grinding noise of stone against stone is not loud, but it's echoed in a deep, prolonged thunder from back down the tunnel. Even after the figure itself has ceased moving, you feel a vibration beneath your feet, and a little dust seeps down from somewhere overhead.\n\n> Go west\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> You go north\nThe monkey scampers beside you.\n\nThe stone tunnel extends from north to south here. There are no side exits.\n\nThe monkey is still with you.\n\n> You go south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go west\nThe monkey trails faithfully along behind.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nThe monkey is standing close by.\n\n> You go to the east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is still with you.\n\n> You go to the north\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from north to south here. There are no side exits.\n\nThe monkey looks up at you expectantly.\n\n> You go to the north\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is standing close by.\n\n> Go east\nThe monkey arrives on your heels.\n\nThis high-ceilinged chamber is dimly lit by dusty beams that filter down from far above. The walls and floor are of rough-hewn, gray blocks of stone. The room's only furnishing is a very large, heavily built throne of the same gray stone. The throne stands in the center of the room. Its square-cut seat, arms, and back look so very uncomfortable that it's hard to believe anybody would ever have sat on it willingly, and the coating of dust that covers the throne and the floor, though somewhat scuffed, suggests that nobody has come here in a very long time.\n\nThe only exit is back to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You examine the throne\nThe throne is almost large enough that a giant could sit in it, but you could probably clamber up into the seat if there were any reason to. It's carved of the same dark gray stone as the walls and floor, and its stark contours are unrelieved by ornamentation or markings of any kind.\n\n> You sit on it\nFrom your hard perch on the throne, you notice for the first time what had been invisible before: A strip of carvings runs along the wall, high up in the gloom. Carved in this frieze is a series of figures, which are repeated rhythmically along the strip.\n\n> You look at the frieze\nThe frieze has been carved into the walls in a strip that runs around three sides of the room at a height of about ten feet. A series of five figures or glyphs is repeated along the frieze, each group separated by vertical marks from the identical groups to either side. From left to right, the glyphs are of a stylized jaguar's head, a rayed circle that must represent the sun, a coiled rattlesnake with bared fangs, a curved dagger, and a tilted jug from which water is pouring out."
    },
    {
        "text": "[Themes: Horror, horror, Lovecraftian, female protagonist]\n\n> Look around\nThis high-ceilinged chamber is dimly lit by dusty beams that filter down from far above. The walls and floor are of rough-hewn, gray blocks of stone. The room's only furnishing is a very large, heavily built throne of the same gray stone. The throne stands in the center of the room. Its square-cut seat, arms, and back look so very uncomfortable that it's hard to believe anybody would ever have sat on it willingly, and the coating of dust that covers the throne and the floor, though somewhat scuffed, suggests that nobody has come here in a very long time.\n\nSo far overhead that the details are almost lost to view, a carved frieze runs around the walls in a horizontal strip.\n\nThe only exit is back to the west.\n\nThe monkey is crouching at your feet.\n\n> Go west\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is still with you.\n\n> You go south\nThe monkey scampers beside you.\n\nThe stone tunnel extends from north to south here. There are no side exits.\n\nThe monkey is crouching at your feet.\n\n> Go south\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey looks up at you expectantly.\n\n> Go east\nThe monkey scampers beside you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is standing close by.\n\n> You go west\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go north\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey is crouching at your feet.\n\n> Go west\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is standing close by.\n\n> You go to the west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is still with you.\n\n> You go north\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go north\nThe monkey trails faithfully along behind.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the north end. The only way you can go is back to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go to the south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey is crouching at your feet.\n\n> You go to the east\nThe monkey follows you.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go north\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey is standing close by.\n\n> You go west\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is still with you.\n\n> Go east\nThe monkey follows you.\n\nThe stone tunnel turns from the south to the west here.\n\nThe monkey is crouching at your feet.\n\n> Go south\nThe monkey arrives on your heels.\n\nThe stone tunnel extends from north to south here. Another passage leads away to the west.\n\nThe monkey looks up at you expectantly.\n\n> Go west\nThe monkey trails faithfully along behind.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go west\nThe monkey scampers beside you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is standing close by.\n\n> Go west\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the west end. The only way you can go is back to the east.\n\nAn ugly figure of red stone stands here. It's about as tall as your waist, and one stubby arm is outstretched, as if it were frozen in the act of grasping with its claws.\n\nThe monkey is still with you.\n\n> You go to the east\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey looks up at you expectantly.\n\n> You go south\nThe monkey trails faithfully along behind.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go upward\nThe monkey scampers beside you.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey is crouching at your feet.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is standing close by.\n\n> Go north\nThe monkey follows you.\n\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nThe monkey is crouching at your feet.\n\n> You turn the wooden circle to the jaguar\nYou rotate the circle so that the jaguar is beneath the point of the arrow.\n\n> You turn it to the sun\nYou rotate the circle so that the sun is beneath the point of the arrow.\n\n> You turn it to the snake\nYou rotate the circle so that the rattlesnake is beneath the point of the arrow.\n\n> You turn it to dagger\nYou rotate the circle so that the dagger is beneath the point of the arrow.\n\n> You turn it to the jug\nYou rotate the circle so that the tilted jug is beneath the point of the arrow.\n\n> You turn it to jaguar\nYou rotate the circle so that the jaguar is beneath the point of the arrow. Within the cabinet you hear a heavy click.\n\n> You open the cabinet\nThere are no obvious handles on the front panel, but when you press in on it and then release the pressure, it springs out at one side, allowing you to insert your fingers into the narrow aperture and swing the door open.\n\nHanging from a hook in the cabinet is a heavy golden cape. At the bottom of the cabinet lies a golden helmet with a high crest. And leaning in the corner of the cabinet is a long wooden staff.\n\n> You look at the cape\nThe cape is intricately woven in a pattern red and gold thread, into which are sewn rectangular metal plates that have the gleam of polished brass.\n\n> You examine the helmet\nThe helmet gleams like gold, or possibly brass. It has a high crest, sidepieces that shield the wearer's cheeks, and a leather chinstrap to hold it in place.\n\n> You look at the staff\nThe staff is a straight piece of polished dark wood nearly six feet long and about an inch in diameter. The head of the staff broadens and flattens slightly, and is curved forward, giving the staff somewhat the look of an upside-down capital 'J' from which most of the curved part has been broken off. It's not broken, however. It looks quite well cared for, if such a thing can be said of a stick.\n\n> TAKE CAPE, HELMET, STAFF\ngolden cape: Your hands are too full to hold the golden cape.\n\ngolden helmet: Your hands are too full to hold the golden helmet.\n\nwooden staff: Your hands are too full to hold the wooden staff.\n\n> You take mat\nYour hands are too full to hold the rolled-up straw mat.\n\n> Inventory\nYou are carrying a poker and a wooden staff, and you're wearing your clothes, a stone bracelet, a golden cape, and a golden helmet.\n\n> You go to the south\nThe monkey arrives on your heels.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is still with you.\n\n> You go east\nThe monkey scampers beside you.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go north\nThe monkey follows you.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey looks up at you expectantly.\n\n> Go upwards\nThe ceiling appears to be quite solid.\n\n> Go north\nThe monkey trails faithfully along behind. You sidle carefully past the statue.\n\nThis dimly lit passage runs from north to south. Although the passage is narrow, it's also quite high-ceilinged. To the north you hear a susurrus of sifting, skittering sounds.\n\nThe monkey is standing close by.\n\n> You go to the north\nThe monkey goes down onto all fours to keep up with you.\n\nYou are standing on a stone ledge, perhaps six feet square, at the south side of a broad but low-ceilinged chamber. Behind you, to the south, is the open doorway that leads back to the temple. The floor of this chamber, which stretches away to the north, appears to be of sand. And not ordinary sand, either. As you watch, the sand shifts and seethes and ripples in a treacherous, dusty, incessant way.\n\nBut that isn't the worst of it. Scampering and skittering across the sand are dozens of shockingly large and alert-looking scorpions. At the moment the scorpions are paying no special attention to you, but you have a strong suspicion that if you were to venture out across the sand, they would soon notice you and not take kindly to your presence. Even if the sand provided safe footing (and obviously it doesn't), crossing the chamber would be extremely hazardous.\n\nArrayed around three sides of the chamber are dozens - no, hundreds - of low pedestals of white stone. On each pedestal sits a large and beautiful red jewel. The jewels throb in slow, hypnotic rhythms, filling the room with undulating red light.\n\nThe monkey is still with you.\n\n> You examine the scorpions\nThe scorpions prance and dance across the shifting sand. Even the small ones are as large as lobsters. Their claws wave and snap, and their stingers arch and jab the air.\n\n> You look at the sand\nThe sand looks to be quite dry, but it moves restlessly, like water. The scorpions appear to be able to walk on it, but they can't weigh much.\n\n> You look at the jewels\nEach jewel sits serenely on its low white pedestal. Some of them are perfect spheres, others are many-faceted. All of them are throbbing with light, each pulsing in its own slow, hypnotic rhythm.\n\n> You touch the jewels\nThe pulsing jewels are too far away to touch.\n\n> You examine the pedestals\nThe pedestals appear to be of stone, but they're such a pure white that they appear almost to be glowing with their own light. On each pedestal sits a large and beautiful red jewel. Some of the jewels are perfect spheres, others are many-faceted. All of them are throbbing in slow, hypnotic rhythms, filling the room with undulating red light.\n\n> You talk to the jewels\nNone of the jewels are within reach. To get to the nearest of them you'd have to cross at least twenty feet of scorpion-infested sand.\n\n> You point to the jewels\nYou point at the jewels, and the monkey looks at you in perplexity, as if he'd like to help but doesn't understand what you have in mind. Maybe the difficulty is that there are so many jewels. He has no way of telling them apart.\n\n> You look\nYou are standing on a stone ledge, perhaps six feet square, at the south side of a broad but low-ceilinged chamber. Behind you, to the south, is the open doorway that leads back to the temple. The floor of this chamber, which stretches away to the north, appears to be of sand. And not ordinary sand, either. As you watch, the sand shifts and seethes and ripples in a treacherous, dusty, incessant way.\n\nBut that isn't the worst of it. Scampering and skittering across the sand are dozens of shockingly large and alert-looking scorpions. At the moment the scorpions are paying no special attention to you, but you have a strong suspicion that if you were to venture out across the sand, they would soon notice you and not take kindly to your presence. Even if the sand provided safe footing (and obviously it doesn't), crossing the chamber would be extremely hazardous.\n\nArrayed around three sides of the chamber are dozens - no, hundreds - of low pedestals of white stone. On each pedestal sits a large and beautiful red jewel. The jewels throb in slow, hypnotic rhythms, filling the room with undulating red light.\n\nThe monkey looks up at you expectantly.\n\n> You go to the south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThis dimly lit passage runs from north to south. Although the passage is narrow, it's also quite high-ceilinged. To the north you hear a susurrus of sifting, skittering sounds.\n\nThe monkey is crouching at your feet.\n\n> Go south\nThe monkey scampers beside you.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey is standing close by.\n\n> Go south\nThe monkey arrives on your heels.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Drink water\nYou glance at the shallow pool and instantly dismiss it as unimportant.\n\n> Go west\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is crouching at your feet.\n\n> You go west\nYou can't go that way. Obvious exits lead north, to the sumptuously decorated chamber; south, to opposite the doorway; and east, back to the wide courtyard.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey is still with you.\n\n> Go west\nYou can't go that way. Obvious exits lead north, back to the T-shaped junction; south, to the guard room; and down.\n\n> You look at Channel\nThe chasm is deep and wide. Looking down into it, you can't see the bottom, but faint sounds echoing up from far below suggest that it's not actually bottomless. The sides are certainly too steep to climb, though.\n\n> Wave staff\nAs you wave the staff, a low hum emanates from a couple of footrest-sized blocks at the edge of the chasm. A band of light leaps out across the abyss, and in a moment the shimmering silver bridge is restored!\n\n> You go to the east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey is standing close by.\n\n> You go north\nYou can't go that way. Obvious exits lead back to the south, east, and west.\n\n> Go south\nThe monkey scampers beside you.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go west\nThe monkey follows you.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors. A slim silver bridge crosses the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey is standing close by.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is crouching at your feet.\n\n> You go north\nThe monkey goes down onto all fours to keep up with you.\n\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nYou see a rolled-up straw mat and a poker here.\n\nThe monkey is still with you.\n\n> You remove helmet\nAs you start to slip the helmet from your head, you can feel the wooden staff writhe restlessly and muscularly beneath your hand. Alarmed, you set the helmet back in place.\n\n> You remove the cape\nAs you start to slip the cape from your shoulders, you can feel the wooden staff start to writhe restlessly and muscularly beneath your hand. Alarmed, you pull the cape back around you.\n\n> You check what you're carrying\nYou are carrying a wooden staff and a rolled-up straw mat, and you're wearing your clothes, a stone bracelet, a golden cape, and a golden helmet.\n\n> You take the poker\nYour hands are too full to hold the poker.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey looks up at you expectantly.\n\n> You go to the west\nYou can't go that way. Obvious exits lead north, back to the sumptuously decorated chamber; south, to opposite the doorway; and east, to the wide courtyard.\n\n> You go south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors. A slim silver bridge crosses the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go west\nShowing up at Eternal Springs with stuff that obviously came from here (wherever \"here\" is) and probably belongs to someone important - someone Beauregard Phelps surely knows - would be a big mistake. After a moment's thought, you decide it would be a lot safer to leave what you found in the cabinet in the Sumptuous Chamber behind.\n\n> You go east\nThe monkey goes down onto all fours to keep up with you.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey looks up at you expectantly.\n\n> Go north\nThe monkey follows you.\n\nThe stone tunnel extends from east to west here. Another passage leads away to the south.\n\nThe monkey is still with you.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\nThe monkey is crouching at your feet.\n\n> You go to the west\nThe monkey scampers beside you.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors. A slim silver bridge crosses the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go north\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is standing close by.\n\n> Go north\nThe monkey arrives on your heels.\n\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nYou see a poker here.\n\nThe monkey looks up at you expectantly.\n\n> You put the cape in the cabinet\n(first trying to take off the golden cape)\nYour hands are too full to hold the golden cape.\n\n> You put the cape in cabinet\n(first taking off the golden cape)\nDone.\n\n> You put the helmet in the cabinet\n(first taking off the golden helmet)\nDone.\n\n> You take mat and the poker\nrolled-up straw mat: Taken.\npoker: Taken.\n\n> Inventory\nYou are carrying a rolled-up straw mat and a poker, and you're wearing your clothes and a stone bracelet.\n\n> You go south\nThe monkey scampers beside you.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> You go to the west\nYou can't go that way. Obvious exits lead north, back to the sumptuously decorated chamber; south, to opposite the doorway; and east, to the wide courtyard.\n\n> Go south\nThe monkey trails faithfully along behind.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors. A slim silver bridge crosses the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey is still with you.\n\n> You go west\nYou step lightly and carefully across the narrow silver bridge.\n\nA square-cut channel, too broad to jump and seemingly bottomless (though in the dim light it's hard to be certain) stretches from north to south here. Spanning it is a narrow ribbon of silver, barely wide enough to walk on. The ribbon shimmers slightly, as if it's made of oily light. The walls of close-fitting gray stone were obviously made by human hands - or at least, by hands of some sort.\n\nAn open doorway leads west, and the silver bridge affords a slightly vertiginous path to the east.\n\n> You go west\nThis broad circular chamber is low-ceilinged and torchlit. The air of heavy stillness gives you the feeling that you're deep inside a building, or perhaps underground. The circumference of the room is lined by massive stone slabs like the one through which you arrived. Though the room itself is disorienting, not to mention that in a place like this your sense of direction is a little hazy, you're fairly sure you arrived through the slab to the southwest.\n\nOther slabs are to the west, northwest, and so on. Each of them is carved with intricate and indecipherable designs. The eighth exit is an open doorway directly to the east.\n\n> You go to the southwest\nYou must open the southwest stone slab first.\n\n> You open the sw slab\nAs your fingers brush the ridged design on the slab, lights begin to course up and down through the stone channels on the surface. At the same moment, a deep grinding rumble emanates from within the slab. You step backward and watch as the slab pivots to the side, creating a narrow opening through which you can pass. Beyond the opening you can glimpse the comforting hominess of Beauregard Phelps's bedroom.\n\n> You put the mat in grate\nThe rolled-up straw mat is too large to fit through the opening.\n\n> You open the mat\nYou unroll the mat, revealing the skeleton.\n\n> You put the skeleton in grate\n(first taking the skeleton)\nThe skeleton is not something that can be put through the grate.\n\nThe ligaments holding the skeleton's larger bones together are starting to stretch like rubber bands.\n\n> Inventory\nYou are carrying a poker, and you're wearing your clothes and a stone bracelet.\n\n> You go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nYou see a rolled-up straw mat here. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> You take the skeleton\nTaken.\n\nThe ligaments holding the skeleton's larger bones together are starting to stretch like rubber bands.\n\n> You put it on the table\nThe skeleton is too large for the shallow table.\n\nA finger bone drops off of the skeleton's hand. No, carrying it around like this just isn't going to work.\n\n> You wait a while\nTime passes...\n\nThe skull sags sideways onto your shoulder, giving you a nasty start. On close inspection, you find that the skull is awfully close to dropping free of the backbone.\n\n> Wait\nTime passes...\n\nAnother finger bone drops and bounces. If you want to do anything with the skeleton, you're going to have to figure out a safe way to carry it. Either that or find a good book on human anatomy and a really big tube of glue."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, Lovecraftian]\n\n> Go west\nYou can't go that way. Obvious exits lead east, back to the foot of the silver bridge; and southwest, to the alcove.\n\n> Drop mat and poker\nrolled-up straw mat: Dropped.\npoker: Dropped.\n\n> Go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nYou see a rolled-up straw mat and a poker here. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> Inventory\nYou are carrying a gold locket, and you're wearing your clothes and a stone bracelet.\n\n> You go east\nYou must open the slab first.\n\n> You touch the slab\nAs before, the touch of your fingers on the carving causes it to radiate fierce light, and the slab pivots sideways, opening the passage.\n\n> Go east\nYou step lightly and carefully across the narrow silver bridge. As you reach the far end, a sizzling, crackling noise behind you makes you whirl and look back. The bridge is evaporating at your heels into a drift of silver sparks. The sparks spin, dimming, into the abyss. In a moment the bridge is gone.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey is crouching at your feet.\n\n> Pet monkey\nThe monkey allows you to pet him gently.\n\n> Go north\nThe monkey arrives on your heels.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is standing close by.\n\n> You go north\nThe monkey follows you.\n\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nThe heavy wood cabinet contains a wooden staff, a golden cape, and a golden helmet.\n\nThe monkey is still with you.\n\n> Wear helmet\n(first taking the golden helmet)\nOkay, you're now wearing the golden helmet.\n\n> You wear the cape\n(first taking the golden cape)\nOkay, you're now wearing the golden cape.\n\n> You go to the south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey looks up at you expectantly.\n\n> Go east\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go north\nThe monkey trails faithfully along behind.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey is standing close by.\n\n> You go to the north\nThe monkey goes down onto all fours to keep up with you. You sidle carefully past the statue.\n\nThis dimly lit passage runs from north to south. Although the passage is narrow, it's also quite high-ceilinged. To the north you hear a susurrus of sifting, skittering sounds.\n\nThe monkey is crouching at your feet.\n\n> You go north\nThe monkey arrives on your heels.\n\nYou are standing on a stone ledge, perhaps six feet square, at the south side of a broad but low-ceilinged chamber. Behind you, to the south, is the open doorway that leads back to the temple. The floor of this chamber, which stretches away to the north, appears to be of sand. And not ordinary sand, either. As you watch, the sand shifts and seethes and ripples in a treacherous, dusty, incessant way.\n\nBut that isn't the worst of it. Scampering and skittering across the sand are dozens of shockingly large and alert-looking scorpions. At the moment the scorpions are paying no special attention to you, but you have a strong suspicion that if you were to venture out across the sand, they would soon notice you and not take kindly to your presence. Even if the sand provided safe footing (and obviously it doesn't), crossing the chamber would be extremely hazardous.\n\nArrayed around three sides of the chamber are dozens - no, hundreds - of low pedestals of white stone. On each pedestal sits a large and beautiful red jewel. The jewels throb in slow, hypnotic rhythms, filling the room with undulating red light.\n\nThe monkey is still with you.\n\n> You give locket to the monkey\nThe monkey makes a tiny chittering sound that might be laughter.\n\n> You show the locket to the monkey\nThe monkey looks at you wide-eyed.\n\n> You point at the jewels\nYou point at the brightest, most swiftly pulsing of the jewels, and the monkey seems to be as intrigued by it as you are. He scampers out across the sand, weaving a devious path among the feisty scorpions, hops up on the pedestal, hugs the jewel in both arms, hops down, and scuttles back across the sand to you. He holds the jewel out to you. You take it from him and give him a warm pat on the head.\n\n> You check what you're carrying\nYou are carrying a gold locket, a wooden staff, and a very large, softly pulsing ruby. You're wearing your clothes, a stone bracelet, a golden helmet, and a golden cape.\n\n> You examine the ruby\nThe ruby is a perfect polished sphere as large as a softball. Deep within it, red light pulses warmly.\n\n> You go south\nThe monkey scampers beside you.\n\nThis dimly lit passage runs from north to south. Although the passage is narrow, it's also quite high-ceilinged. To the north you hear a susurrus of sifting, skittering sounds.\n\nThe monkey is crouching at your feet.\n\n> You go south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nThe vaulted ceiling of this huge room is at least fifty feet above you. A double row of fat pillars lines the east and west walls. The pillars can't very well be real gold (can they?), but they look like gold. You tread lightly, yet your footsteps echo.\n\nAt the north end of the room stands a huge and hideous black statue. It's at least twenty feet tall, and looks almost exactly like the little statuettes you've seen at Eternal Springs - so much like them that looking at it makes your mouth dry and your hands cold. Before the statue is a polished cube of black stone six feet high.\n\nThe high arched doorway that leads back to the courtyard is to the south. There's also a passage to the north, but to reach it you'll have to pass quite close to the hideous statue.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go south\nThe monkey follows you.\n\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\nThe monkey is standing close by.\n\n> Go west\nThe monkey arrives on your heels.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey looks up at you expectantly.\n\n> Go north\nThe monkey trails faithfully along behind.\n\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nThe monkey goes off to take a quick look around, but soon returns.\n\n> Go south\nThe monkey goes down onto all fours to keep up with you.\n\nThe stone tunnel continues south (along the channel) and turns to the east here. A square of daylight can be glimpsed at the end of the east branch. A bronze door set in an ornate frame of carved stone is to the north.\n\nThe monkey is still with you.\n\n> You go to the west\nYou can't go that way. Obvious exits lead north, back to the sumptuously decorated chamber; south, to opposite the doorway; and east, to the wide courtyard.\n\n> Go south\nSeeing you leave, the little monkey scuttles after you. When you pause, he looks up at you expectantly.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\nThe monkey looks up at you expectantly.\n\n> Wave staff\nAs you wave the staff, a low hum emanates from a couple of footrest-sized blocks at the edge of the chasm. A band of light leaps out across the abyss, and in a moment the shimmering silver bridge is restored.\n\nYou look around and notice that the cute little monkey is gone. Probably he was just getting bored. It doesn't seem too likely you'll need his services again, but you feel a little sad anyway.\n\n> You go to the south\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors. A slim silver bridge crosses the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\n> Go southwest\nYou can't go that way. Obvious exits lead east, back to opposite the doorway; and west, to the room of seven doors.\n\n> You open the southwest slab\nAs before, the touch of your fingers on the slab causes light to course up and down its surface, and the slab pivots sideways, opening the passage.\n\n> You put the ruby in the grate\nYou push the very large, softly pulsing ruby through the grate.\n\n> You put the poker in the grate\n(first taking the poker)\nYou push the poker through the grate.\n\n> You go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a screwdriver, a wooden bucket, a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, an indecipherable map, a green-eyed figurine, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, and a black-eyed figurine), a sketchbook, and some fire tongs here.\n\n> Onions\nscrewdriver: Taken.\nwooden bucket: Taken.\nburlap sack: Taken.\nsketchbook: Taken.\nfire tongs: Taken.\n\n> PUT TONGS, SKETCHBOOK, SCREWDRIVER IN SACK\nfire tongs: Done.\nsketchbook: Done.\nscrewdriver: Done.\n\n> You go south\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\nYou see a very large, softly pulsing ruby and a poker here.\n\n> Poker in sack\nvery large, softly pulsing ruby:\n(first taking the very large, softly pulsing ruby)\nDone.\n\npoker:\n(first taking the poker)\nDone.\n\n> Locket in sack\nstone bracelet:\n(first taking off the stone bracelet)\nDone.\n\ngold locket: Done.\n\n> You show the ruby to Lydia\n(first taking the very large, softly pulsing ruby from the burlap sack) As you extend the giant ruby toward the ghostly girl, she moves toward it, entranced. \"That's - oh. Oh. Ohhhh....\" The ruby itself begins to vibrate, setting your fingers tingling, and it grows warmer, almost hot. You hold it out, and it floats free from your fingers, drifting toward her through the air.\n\nThe light blazing from the ruby grows more intense. It's too bright, you have to look away, but you can't. Seared on your eyes is the miraculous image of the jewel and the ghost merging, becoming one.\n\nA moment later the light dims. When you blink back tears and rub your eyes, you find that the ghost has been transformed. A living girl stands before you.\n\nThe girl steps tentatively toward you through the long grass. \"You - you've brought me back to life. I never thought....\" She pauses to take a deep breath, and then she starts to cry. You give her such a close hug you can feel her heart beating.\n\nAt last she pulls away. \"I think maybe you've guessed already, but I'll tell you anyway. Some people, a long time ago, they sacrificed me to a monster. It happened right here. The jewel you brought back was my heart. They ripped it out, and the monster ate it. I don't know where you found it, or how you brought it back, but I guess if you can do that you can do almost anything.\n\n\"But that doesn't mean you're safe. They're planning to do the same thing to you! Now listen: You've got to get away from here. We both have to. If we don't get away, and quickly, it will all happen again.\n\n\"I'll help you if I can, but it won't be easy. The people here mustn't see me. I think the best thing would be for me to stay here and hide until you're all ready for us to escape. When you're ready to leave, or if you want to talk to me, you'll have to come back here and shout, 'Olly olly oxen free.'\"\n\nYou admit to being puzzled. Lydia looks exasperated. \"Haven't you ever played hide-and-go-seek?\" You tell her you grew up in New York City, where there's no place to hide. She waves your explanation away. \"We can talk about that later. Just remember - 'olly olly oxen free.' If I'm waiting for you here, I won't come until you say that.\n\n\"Have you thought how we're going to escape?\"\n\nYou tell her you were thinking of maybe stealing a boat. She nods excitedly. \"Yes, yes - that might work. But the swamp is really confusing. I've been out there lots of times, but, you know, I guess I can't float through the air anymore. So if we get lost, we''ll be in big trouble.\n\n\"What we need, I think - we need a map of the swamp. And another thing: You see how it's getting all cloudy?\" She points upward, and you notice for the first time that a film of haze has blotted out the sun. \"If we can't see the sun, we can't tell which way is west, so we'll need a compass too. And a key so we can get into the boat shed. I guess that's all.\"\n\nYou tell her it sounds like she's thought of everything. \"Well, I hope so,\" she says. \"I have a bad feeling there are a couple of things I've forgotten, though. Now, have you got a map?\"\n\nYou show her the map. \"Oh, but we can't read that!\" she cries. \"It's all twisty! I bet the monster is making it do that. I don't know how to make it stop, though. We can't go anywhere until you make the map lie down and behave. And even then, we'll need a compass. Do you have one?\"\n\nYou shake your head sadly. \"I don't have a compass,\" you tell her.\n\nShe looks crestfallen. \"What about the key to the boat shed? Do you have that?\"\n\nYou shake your head. \"I don't have the key,\" you explain.\n\n\"So you still need to do some stuff,\" Lydia says. \"You need to figure out a way to fix the map so we can read it. You need to find a compass so we won't get lost in the swamp. You need to get your hands on the key to the boat shed. I guess that's all.\"\n\n> Time\nYou aren't wearing a wristwatch. Usually you'd keep track of time by glancing at your cell phone, but you seem to have misplaced that today. At a guess, it's about 5:00.\n\n> You go to the west\nAs you walk away, Lydia calls after you, \"I'm going to hide now. Be sure to come back when you're ready for us to escape, and call 'olly olly oxen free.'\"\n\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\n> You ask David about figurine\n\"The figurines ... ah, yes. Nasty little things, aren't they? You've seen one, I take it? If not, I'll show you one in just a moment.\" David frowns at his knees. He looks so sad you want to hug him, but you don't.\n\n\"They have some sort of magical linkage,\" he says, \"to the actual demon to whom the sacrifice is to be made. They make their way out into the world somehow - I have no idea how, but I do believe they're not quite as inert as they may appear - and attach themselves to certain individuals who are predisposed to want what they have to offer.\n\n\"Once the attachment is formed, no one else can touch the figurine. It's quite impossible. I have one here ... if you'll just fetch my suitcase from the closet....\" He points, and you fetch the suitcase.\nHe sets it on his lap, unsnaps the latch, and draws out a hideous little carved statue, so deep red it's almost black, with white eyes that sparkle like diamonds or chips of ice. You have the disturbing sense that the little eyes are actually looking at you.\n\nDavid strokes the statue with a kind of reluctant fondness. \"I'm torn, you see. On the one hand, I'd rather anything happen than what is to happen this evening. Please believe that. On the other hand ... to be able to walk again, to make love ... well, perhaps that doesn't mean much to you. How old are you? Thirteen? Fourteen?\" He sighs. \"Your whole life ahead of you.\"\n\nHe pauses again, as if thinking. \"I'll tell you what I'll do. I won't take any action myself to stop it. I've come too far. I'm committed. And in any event, if I were to interpose objections at this late stage, I'm quite sure I would be ignored. If not worse. But if you can discover for yourself a way to escape your fate, and if there's anything I can do to aid you, you have only to ask. I can do that much. Perhaps I'm only indulging in a sop to my conscience; I don't expect you'll have the slightest chance to evade what's to come. But if you're clever enough to do so, I won't stand in your way.\"\n\nHe tucks the repellent figurine away in the suitcase again, and closes the suitcase.\n\n> You ask David about the compass\nDavid looks at you uncertainly. \"I'm not sure I know what to tell you.\"\n\n> You ask David about the map\nYou describe the map to David, and he frowns, perplexed. \"I think I might be able to help with that, or at least make a suggestion. It would help if I could see the map for myself.\"\n\n> You show the map to David\n(first taking the indecipherable map from the burlap sack)\nDavid leans forward to peer at the map. \"Oh, dear. You say this purports to be a map of the swamp? I can see how little use it will be in its present state. Plainly, something is exerting a force on it to render it illegible. And I think both you and I can guess....\n\n\"What you must understand is that the entity responsible for this has only a very limited form of power - until a certain ceremony is performed, that is. What power it possesses is focussed through certain physical objects. Have you seen the figurines carried by those who have gathered here? Of course you have. I showed you mine earlier.\n\n\"My best guess,\" David says, \"-and I suppose you'll have to accept on faith my assurance that I've researched the matter in some detail, though not, of course, with reference to your current predicament - is that a certain malign entity is focussing its energy through these little statues in order to render the map illegible. The entity is determined to keep you here, you see, until ... until later this evening. It knows the value that the map may have to you. Nor, I regret to say, is this optical illusion likely to be the only obstacle it throws in your path.\n\n\"The only way to get the map to behave itself is surely to destroy all of the figurines. Of course, getting them away from their owners won't be easy. I'd be happy to give you mine. But here we encounter a further difficulty. You can't touch them. It's quite impossible. So you see, you don't have a usable map, so you're not going anywhere, so it would be not only pointless but suicidal for me to give you my own little horror, even if you could take it, which you can't.\"\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, a green-eyed figurine, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a black-eyed figurine, some fire tongs, a sketchbook, a screwdriver, a poker, a stone bracelet, and a gold locket), and an indecipherable map. You're wearing your clothes.\n\n> You take the black figurine with the tongs\nYou pick up the black-eyed figurine with the fire tongs.\n\n\"I'm feeling a bit tired,\" David says. \"If you'll forgive me, I may want to close my eyes for a minute or two.\"\n\n> You take the poker\n(first putting the indecipherable map in the burlap sack to make room) Taken.\n\n> You throw the black figurine\nWhat do you want to throw it at?\n\n> David\n(first putting the poker in the burlap sack to make room, then trying to take the black-eyed figurine from the fire tongs)\nAs you reach out to touch the black-eyed figurine, you have the momentary sensation that it has lunged at you and snapped at your fingers with its teeth. Obviously, it couldn't actually have moved - could it? But a shaft of intense pain shoots up your arm, and you recoil as quickly as if you had put your hand in an open flame.\n\n> You take the black figurine with the tongs\nYou're already holding something in the the fire tongs.\n\n> You show it to David\n(the fire tongs)\nDavid nods. \"My figurine. Yes. But have you figured out a way to handle it? I could put it in a container for you, to be sure, but unless you can take it out again when you've carried it to the place where you plan to destroy it, for me to do so would be utterly pointless.\"\n\nYou hold up the fire tongs, and David's eyes widen. \"Yes, yes! I believe that would work! At least you can carry it from place to place. What you'll do with it, ultimately - I don't think I want to know. Just a moment, I'll get it.\" He leans over to get the suitcase, wrestles it into his lap, and pops it open. With a certain tender reluctance, he sets the white-eyed figurine on the floor.\n\n> You take the white figurine with the tongs\nYou pick up the white-eyed figurine with the fire tongs.\n\n> You put it in sack\n(the white-eyed figurine)\nDone.\n\n> You go west\n\"I wish you the very best of luck,\" David says softly. \"You'll need it.\"\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\n> You go to the south\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\n> You put it in incinerator\n(the white-eyed figurine)\nPutting things in the incinerator would only get them messy.\n\n> You look at the tongs\nThe tongs are made of wrought iron. They're shaped roughly like scissors or pliers, but they're about three feet long. They contain a white-eyed figurine.\n\n> Close vise\nAs you tighten the vise, the figurine begins to writhe. Its tiny arms and legs windmill frantically, its eyes bulge, and a terrible high keening sound escapes from it. You continue, remorseless. A moment later, with a loud crunching noise, the figurine shatters, and some harmless gray dust sifts to the floor.\n\nWhen the other figurines see what you've done, they spring to life! They jump down onto the floor and start running around in aimless panic, shrieking in tiny, high-pitched voices and waving their arms.\n\n> You take green figurine with the tongs\nThe figurine is scurrying around so rapidly that it easily evades your attempts to catch it with the fire tongs."
    },
    {
        "text": "[Themes: Horror, teenage protagonist]\n\n> You go downward\nThe cellar is low-ceilinged and grimy, with an irregular concrete floor and cobwebs that droop from the exposed rafters. The vague light comes from a couple of tiny windows and the door to the driveway. Along an inner wall is a workbench. The door to the driveway is to the west, a doorway opens eastward on absolute darkness, and a staircase against the north wall leads upward.\n\nThe vise contains a white-eyed figurine.\n\n> Close vise\nAs you tighten the vise, the figurine begins to writhe. Its tiny arms and legs windmill frantically, its eyes bulge, and a terrible high keening sound escapes from it. You continue, remorseless. A moment later, with a loud crunching noise, the figurine shatters, and some harmless gray dust sifts to the floor.\n\n> Go upwards\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\nYou see a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, a green-eyed figurine, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a screwdriver, a stone bracelet, a gold locket, an indecipherable map, a poker, and a black-eyed figurine) here.\n\n> You take the green figurine with the tongs\nYou pick up the green-eyed figurine with the fire tongs.\n\n> You put figurine in the vise\n(first opening the vise)\nYou turn the crank, and the jaws of the vise separate.\n\nDone.\n\n> You go upwards\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\nYou see a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a screwdriver, a stone bracelet, a gold locket, an indecipherable map, a poker, and a black-eyed figurine) here.\n\n> You take the figurine with tongs\nYou pick up the black-eyed figurine with the fire tongs.\n\n> Go upward\nThis flimsy wooden platform overlooks the cellar. Stairs lead downward to the west, and there's a door to the east.\n\nYou see a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a screwdriver, a stone bracelet, a gold locket, an indecipherable map, and a poker) here.\n\n> You pry the barrel with the poker\n(first taking the poker from the burlap sack)\nYou attempt to wedge the end of the poker under the edge of the lid, but there isn't enough space between the lid and the rim.\n\n> Poker in sack\nfire tongs: Done.\npoker: Done.\n\n> Inventory\nYou are carrying a wooden bucket and a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, an old shovel, some faded photographs, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a screwdriver, a stone bracelet, a gold locket, an indecipherable map, some fire tongs, and a poker). You're wearing your clothes.\n\n> You pry the barrel with shovel\n(first taking the old shovel from the burlap sack)\nYou attempt to wedge the end of the old shovel under the edge of the lid, but there isn't enough space between the lid and the rim.\n\n> You pry the barrel with the screwdriver\n(first taking the screwdriver from the burlap sack)\nYou insert the end of the screwdriver under the edge of the barrel lid and bear down. The edge of the lid pops up half an inch, so you move the screwdriver around to the other side and repeat the process. This time the lid pops free and drops to the ground.\n\n> You look in the barrel\nIn the barrel is a sticky, gooey mass of half-liquid road tar.\n\n> You examine the tar\nThe tar is black and smelly. Its surface glistens with an oily sheen.\n\n> You put the lid on the barrel\n(first taking the tar barrel lid)\nYou fit the lid over the top of the barrel and bang it down with the heel of your hand. It fits snugly."
    },
    {
        "text": "[Themes: Horror, teenage protagonist]\n\n> Go west\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\nA black tar barrel is lying here.\n\n> Continue\nYou roll the barrel down the road.\n\nA narrow, bumpy ribbon of blacktop runs east and west at this spot. To the south, a gravel driveway leads off through some tall bushes. Standing - or rather, leaning - next to the driveway is a sign that says, \"Eternal Springs.\" The north side of the road is impassable due to a nasty-looking thicket of berry bushes.\n\n> You pry the barrel with the screwdriver\nIf you open the barrel here, the tar will pour out and make a mess. If there's a place where you might want a pool of tar, this surely isn't it.\n\n> You ask Tyrone about the figurine\nWhen you mention the black figurine, Tyrone's eyes widen. \"You been pokin' around some, ain'tcha? Mr. Beauregard, he got him one o' them nasty things up at the house. I seen it. I know what it is. It's pure evil, that's what it is. The man what carved 'em - there's more'n one of 'em, you know, I expect probably half a dozen - he done it a hundred years ago, maybe two hundred. He's dead now, Mr. Beauregard seen to that.\n\n\"What them little dolls is for, they go out in the world and find their way into the hands of people what want somethin' bad enough, you know? They gotta want it real bad, whatever it is. Then they don't mind what they gotta do to get it, see? Them as ends up with one, they's the congregation, in a manner o' speakin'.\"\n\n> You go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney wiggles her toes.\n\n> You ask Honey about the compass\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.\n\nHoney licks her thumb and turns a page in the magazine.\n\n> You ask Honey about the figurine\n\"Hey, what's that in there?\" You down point at the straw bag.\n\nHoney hesitates, and then smiles. \"That little old thing?\" She picks it up out of the bag and cuddles it at her breast as if it were a baby - which is shocking, as it's a grotesquely ugly little statue. Its teeth are bared, its tongue protrudes, and its tiny jewel eyes glow a livid, mustard yellow. \"I found it in an antique store, you believe that? It called out to me.\" After a lingering, thoughtful look at you, she tucks the figurine away again in the bag. \"I shouldn't ought to be talkin' about that, though.\"\n\n> You examine Honey\nHoney is in her early twenties, and quite glamorous in a trashy sort of Nashville way. She's wearing great big dark glasses, too much lip gloss, a wide-brimmed pink straw hat, and matching skin-tight shorts. She's lounging on the chaise longue in the sun, a large floppy straw purse yawning open beside her on the lawn, leafing idly through a magazine that, as well as you can judge from looking at it upside down, is devoted mostly to large photos of movie stars.\n\nHoney tugs at a strap on her top.\n\n> You examine the purse\nIt would be impolite to show too much interest in Honey's oversize straw bag, but you sidle over and glance down at it casually. The bag appears to be crammed with a variety of necessities, among which you glimpse a carved black figurine. It looks a little like a doll, but not really. It's quite fearsomely ugly.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You take the tongs\nTaken.\n\nHoney inspects her perfectly manicured bright pink nails.\n\n> You take the figurine with the tongs\nIt would be rude to fish things out of Honey's bag while she's sitting here watching.\n\nHoney yawns ostentatiously and goes back to reading her magazine.\n\n> You go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You examine the wasps\nThe evil-looking yellow insects (being a city girl, you aren't sure whether they're wasps or hornets) are flying in and out of a large nest constructed of dried mud, which is tucked up under the eaves of the porch.\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> You hit the nest with poker\nDisturbing the wasps would be a really, really bad idea.\n\n> You ask Phelps about Honey\nHaving been taught good manners, you can't quite bring yourself to ignore Phelps, so you nod to him and mumble a hello.\n\nHe smiles at you and nods heavily. \"You enjoyin' our balmy Southern weather, darlin'?\"\n\nWhen you mention Honey Hartwell, Beauregard sighs heavily. \"She is a sight for sore eyes, and that's the truth.\"\n\n> You ask Phelps about the nest\n\"You worried about them wasps, sweet pea? They won't bother you none.\"\n\nBeauregard belches, and doesn't apologize.\n\n> You ask Phelps about the Aunt\n\"This useta all be prime farm land, once,\" Beauregard says, waving his arm. \"We grew us a fine crop o' leaf. Was you sayin' somethin'?\"\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You ask Phelps about David\n\"You're just a regular little chatterbox, ain'tcha?\"\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You ask Phelps about the cigar\n\"I hope I git up to see New York sometime,\" Beauregard says irrelevantly.\n\nBeauregard hitches up his suspenders.\n\n> You ask Phelps about the tobacco\nBeauregard stifles a yawn. \"Gettin' time for my afternoon nap, but I'm just too keyed up this afternoon to sleep.\"\n\n> You ask Phelps about the sleep\nBeauregard beams benignly at you. \"You are just the cutest little thang. I can't get over it.\"\n\nBeauregard hitches up his suspenders.\n\n> You ask Phelps about the Cocoa\nBeauregard pulls his gaze back from the lawn. \"Was you sayin' somethin', sweet pea?\"\n\nBeauregard belches, and doesn't apologize.\n\n> You ask Phelps about maid\nBeauregard shows his teeth in a grimace that he probably thinks is a smile. \"You're gonna look so cute in that white dress!\"\n\nBeauregard smacks his lips. \"That young lady from Nashville, now - she's quite somethin', ain't she?\"\n\n> You ask Phelps about the handkerchief\nBeauregard beams benignly at you. \"You are just the cutest little thang. I can't get over it.\"\n\nBeauregard lazily waves away a curious wasp.\n\n> You go east\nPhelps turns away from you, scratches himself, and goes back to gazing out across the lawn.\n\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\n> You pry the steps with the poker\nThe porch steps is not something you can pry.\n\nHoney licks her thumb and turns a page in the magazine.\n\n> You ask the Aunt about the figurine\nHesitantly you bring up the subject of the little black statues. \"Have you been nosing around in my things?\" Aunt Caroline says sharply. \"Well, don't. Not if you know what's good for you.\"\n\n> Search clothes\n(Aunt Caroline's clothes)\nYou lift a couple of garments to peek beneath them, and decide there's really nothing useful or interesting in the drawer.\n\n> You examine the bed bathroom\nThe bed looks sort of lumpy, and the pillow is flat and undoubtedly hard. A threadbare brown coverlet is spread over the bed.\n\n> Close top\nClosed.\n\nYou see nothing on the bed near the bathroom.\n\n> Near the door\nOn the bed near the door is a white dress.\n\n> You examine the pillow\nWhich pillow do you mean, the bed near the door, or the bed near the bathroom?\n\n> EXITS\nThe only obvious exit leads southeast to the lawn.\n\n> You go southeast\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney curls a strand of hair around her little finger.\n\n> You dig the ditch\nYou glance at the ditch and instantly dismiss it as unimportant.\n\n> You ask the boys about the compass\n\"Hello again,\" you say, trying to sound cheerful. \"I'm back.\"\n\n\"Was she gone?\" the smaller boy says. \"I din't notice.\"\n\nTrying to be casual, you ask the boys whether they might be willing to part with the compass they showed you. \"Oh, that there's valuable,\" the larger boy says, scowling. \"You got anything we'd want?\"\n\n\"I know what you're thinking about,\" you retort, \"and the answer is no! But how about if I bring you something to trade for it?\"\n\n\"I'd take a million bucks for it,\" says the smaller, dirtier boy. \"Or even a hundred bucks, I guess. In cash.\"\n\nThe large boy nudges his companion. \"Hey, show her what we stole offa that Boy Scout!\"\n\nThe smaller boy looks exasperated. \"What does a girl care about that?\"\n\n\"Nah, c'mon.\"\n\nThe smaller boy digs in his jeans pocket and hauls out a small hand-held compass, which he holds out to you - but not close enough that you could grab it. \"Pretty nifty, hunh?\" He closes his fist on the compass and jams it back into his pocket.\n\n> You ask the boys about the gold\n\"Do we look like the Encyclopedia Bittranica?\" the larger boy says.\n\n\"They got any guys as good-lookin' as us back where you come from?\" The larger boy runs his hand over his hair and sticks out his jaw. \"I bet not.\"\n\n> Go east\nKnowing the boys are likely to make fun of anything you say, you just turn and walk away without saying goodbye. As you walk away, you hear the boys snickering about something.\n\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\n> You go south\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nA black tar barrel is lying here.\n\nYou see a dead possum here.\n\n> You go west\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\nLuisa is standing at the ironing board, ironing.\n\n> You ask Luisa about Cocoa\n\"Excuse me,\" you venture. \"Are you ironing?\" Of course she's ironing, you can see she's ironing. You're aware as the words tumble out of your mouth that it's a stupid question - but at least it's better than, \"Excuse me, are you the maid?\"\n\nThe woman looks up from her ironing board and levels a smoky gaze at you. \"No, I'm dancing with Clark Gable.\" She doesn't look very friendly, that's for sure. \"You're the girl,\" she goes on. \"The one they brought. I'm Luisa. I work here, keep the house clean. I thought Mr. Beauregard didn't want you in the house, but now you're here, I guess it's okay. Just don't make no mess.\" She has a heavy Hispanic accent, but her words are not hard to understand.\n\nYou mention the cocoa mix in the kitchen, and Luisa nods. \"Mr. Phelps, he likes his cocoa every afternoon. Much nicer than those stinky old cigars he used to smoke.\"\n\n> You tell Luisa about the fuse\nYou ask Luisa whether she knows one of the fuses in the fuse box is burnt out. \"Oh, yeah,\" she says nonchalantly. \"Happens all the time. I'll fix it later.\"\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, some faded photographs, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an indecipherable map, a poker, and some fire tongs), a screwdriver, and an old shovel. You're wearing your clothes.\n\n> You pry the barrel with the screwdriver\nYou insert the end of the screwdriver under the edge of the barrel lid and bear down. The edge of the lid pops up half an inch, so you move the screwdriver around to the other side and repeat the process. This time the lid pops free and drops to the floor. Within moments, a thick, gooey mess of tar has flowed out into a shallow depression in the cellar floor.\n\n> You look in the barrel\nIn the barrel is a sticky, gooey mass of half-liquid road tar.\n\n> Olly olly oxen free\nAt first it seems your silly shouting will go unanswered, but then Lydia comes toward you from among the trees. \"I hope you found everything we need,\" she says. \"Show me what you've found. I can't wait to get away from here.\"\n\n> You show the map to Lydia\n(first taking the indecipherable map from the burlap sack)\nLydia looks eagerly at the map, but then her face falls. \"You showed me that before,\" she says. \"We still can't read it.\"\n\n> You ask Lydia about the aunt caroline\nYou tell Lydia how your aunt brought you down here from New York for no apparent reason, and brought along this white dress for you to wear to some kind of supposed picnic. Lydia nods vigorously. \"That's just like me with my cousin Jake. I guess he needed money more than anything. I think the horrid thing grants people's wishes. I guess it must have made Jake rich. I'll bet your aunt is the same way. I'll bet she wants something so much she's willing to let them - no, not let them, she's willing to help them kill you.\"\n\n> You go to the west\nAs you walk away, Lydia calls after you, \"I'm going to hide now. Be sure to come back when you're ready for us to escape, and call 'olly olly oxen free.'\"\n\nYou follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\n> You cry\nYou sniffle a little. It's not proving to be a good day, is it? But feeling sorry for yourself probably isn't going to help.\n\n> Go north\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney tugs at a strap on her top.\n\n> You cry\nYou sniffle a little. It's not proving to be a good day, is it? But feeling sorry for yourself probably isn't going to help.\n\nHoney hums a little off-key tune to herself.\n\n> You ask Honey about the handkerchief\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney leafs through the magazine. Either she didn't hear you, or she's pretending she didn't.\n\nHoney stretches languidly.\n\n> You ask Tyrone about the handkerchief\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nTyrone spreads his hands. \"You got me.\"\n\n> Continue\nTyrone shrugs. \"None o' my concern, and that's the truth.\"\n\n> You go southwest\nTyrone shrugs and goes back to work on the van.\n\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\n> Dig\nWhat do you want to dig in?\n\n> Ground\n(with the old shovel)\nYou have no reason to dig in that.\n\n> You open the window\nThere's no obvious way to do that. A quick inspection reveals that the screen is held firmly in place by half a dozen heavy screws.\n\n> You unscrew screen with the screwdriver\nThe screws are pretty tight, but with a bit of effort you're able to unscrew all but one of them with the screwdriver. The window screen is left dangling by one stubborn screw, but it's out of the way. Climbing in the window should be easy now.\n\n> You enter the window\nThis cluttered, low-ceilinged little room is obviously lived in. There's a rumpled bed against one wall and a table littered with stuff. The door is to the east and the window to the south.\n\nHanging from one wall is a large, fearsome-looking ebony mask.\n\n> You examine the mask\nThe hand-carved ebony mask is larger than a human face, and its oval tapers to points at the top and bottom. The expression on the face is solemn and hostile. Dominating the face are the eyes, which are wide, round, and glaring. As you move around the little room, you can't escape the eerie sensation that the eyes are turning to watch you.\n\n> You look at the table\nThe table is old and paint-stained, and one leg is a little crooked. The table is littered with an assortment of stuff. No, make that a mound. Your first impulse is to dismiss it as junk, but that would be an insult to the man who lives here. These are his possessions - probably all he owns. Lying diagonally across the junk is a fishing pole.\n\n> You look at the pole\nThe pole is thin, flexible, and about seven feet long. It's the kind you've seen in old illustrations in books like The Adventures of Huckleberry Finn. It doesn't even have a reel for reeling the line in and out - but there is a line, which is attached to the tip of the pole and dangles free.\n\n> You examine the bed\nThe bed is sagging and rumpled, as if it has been slept in for years by someone large and heavy.\n\n> You look under the bed\nAs you start to, the mouth of the mask opens and it emits a horrible howling noise! Looks like Tyrone has set up a voodoo burglar alarm. You stand silent and tense with your fingers crossed, hoping nobody heard the noise. After a minute, you relax. It seems you got away with it ... once.\n\n> You keep going\nOnce again, the mask sets up its horrible howl. A moment later the door bursts open and Tyrone seizes you firmly by the arm. \"So, we got ourselves a sneak thief,\" he says.\n\nYou try to squirm out of his grip. \"Ow, you're hurting me!\" But he's much stronger than you, and from the look in his eyes, he isn't about to be sweet-talked.\n\nHe drags you outside, slams the door, and finally releases you. \"Look here,\" he says. \"I know you're just a kid. And I expect you're lookin' around for somethin' that might help get you outta the fix you're in. So I ain't gonna whop you upside the head, though maybe I ought to. But that stuff in there's mine, you understand? See you leave it alone. Now run along.\" Without another word, he goes back to working on the van.\n\n> Go south\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\n> You look at what you're carrying with you\nYou are carrying a wooden bucket, a burlap sack (which contains a pill bottle, the key to Cabin One, a little white pill, some faded photographs, a flashlight, a mystery by John Dickson Carr, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, a poker, and some fire tongs), a screwdriver, an old shovel, and an indecipherable map.\nYou're wearing your clothes.\n\n> Go south\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\n> You give Carr to Honey\n(first taking the mystery by John Dickson Carr from the burlap sack) Honey lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nHoney pats her fingers over her lips, politely stifling a yawn. \"You found a storybook, that's nice. You want to read me a story? On second thought, don't bother. I'm not in the mood.\"\n\nHoney hums a little off-key tune to herself.\n\n> Go west\nAs you walk away, Honey goes back to reading (if that's the right word) her magazine. As you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard hitches up his suspenders.\n\n> You give Carr to Phelps\n\"I want to talk to you,\" you say to Beauregard.\n\nHis eyes widen mildly. \"So talk, then.\"\n\nWhen he sees the book, Beauregard smiles benignly. \"I see you found my old mysteries,\" he says. \"I don't do a lot of readin' myself, not no more, but I'll bet your aunt would be keen to look at that, her bein' a mystery writer and all.\"\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You go to the east\nPhelps turns away from you, scratches himself, and goes back to gazing out across the lawn.\n\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You give Carr to the Aunt\nAunt Caroline is in the bathroom, and the door is closed.\n\n> You ask Aunt about Carr\nTalking through the bathroom door, you mention to Aunt Caroline that in the bookcase in the house you saw some first editions by John Dickson Carr. The door pops open and Aunt Caroline's head pops out. Then the rest of her slides out, leaving the bathroom door narrowly ajar. \"Rubbish,\" she declares. \"You saw no such thing.\"\n\n> You show Carr to the Aunt\nTriumphantly you hold up the copy of The Four False Weapons. Aunt Caroline's squinty eyes widen, and she practically tears the book from your hands. \"Let me see that. It can't be. No, it is. You say you got this in the house? And there are more like it?\"\n\nYou nod.\n\nWithout another word, Aunt Caroline makes a beeline for the door of the cabin. But then, struck by a thought, she turns back. She slips into the bathroom for a moment and emerges holding something, pressing it tight against her as if it were a baby. Hiding whatever it is from you with her body, she sidles into the closet. You hear a clicking noise. A moment later she emerges from the closet and strides out the door.\n\n> You open the aunt suitcase\nAunt Caroline's suitcase seems to be locked.\n\n> Unlock aunt suitcase\n(with the key to Cabin One)\n(first taking the key to Cabin One from the burlap sack)\nThe key to Cabin One doesn't fit the lock.\n\n> Go east\nYou can't go that way. The only obvious exit leads north, back to cabin five.\n\n> You pry the aunt suitcase with the poker\n(first putting the old shovel in the burlap sack to make room, then taking the poker from the burlap sack)\nYou have a go at wedging the poker under the lid of the suitcase, but it's too tight a fit. After a few moments of mounting frustration, it occurs to you that maybe you ought to just haul off and hit the silly thing.\n\n> You hit the aunt suitcase with the poker\nYou haul off and smite the suitcase a mighty blow with the poker. In response, the shiny brass lock emits a tiny sproinggg. Quite possibly you've broken the lock.\n\n> You open aunt suitcase\nOpening Aunt Caroline's suitcase reveals a red-eyed figurine.\n\n> You take the red figurine with tongs\n(first putting the indecipherable map in the burlap sack to make room, then taking the fire tongs from the burlap sack)\nYou pick up the red-eyed figurine with the fire tongs.\n\n> Go west\nThe bathroom is barely big enough to turn around in. There's a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. A tiny window provides a very little air.\n\nThe door leads eastward.\n\nYou see a fat white candle here.\n\n> You examine the candle\nThe candle is a couple of inches in diameter, and perhaps three inches tall. Evidently Aunt Caroline has been burning it, but it's not burning now.\n\n> You show the candle to David\n(first taking the fat white candle from the burlap sack)\nDavid does not appear interested.\n\n> You go to the west\n\"Goodbye for now,\" David says.\n\nTwo rows of small, dilapidated cabins, three on each side, stand to the east and west of this stretch of bare dirt. Several croquet hoops are stuck crookedly into the ground at odd spots.\n\nYou're standing between Cabin Six (to the west) and Cabin Three (to the east). The croquet court continues north from here. To the south, a little slope ends at the watery edge of a swamp, and a path to the southwest leads toward a good-sized shed that stands at the edge of the water.\n\n> Go east\nThe cellar is low-ceilinged and grimy, with an irregular concrete floor and cobwebs that droop from the exposed rafters. The vague light comes from a couple of tiny windows and the door to the driveway. Along an inner wall is a workbench. The door to the driveway is to the west, a doorway opens eastward on absolute darkness, and a staircase against the north wall leads upward.\n\nA black tar barrel is lying here.\n\nYou see a tar barrel lid and a pool of tar here.\n\n> You take the red figurine with the tongs\nYou pick up the red-eyed figurine with the fire tongs.\n\n> You put it in the vise\n(the red-eyed figurine)\n(first opening the vise)\nYou turn the crank, and the jaws of the vise separate.\n\nDone.\n\n> Close vise\nAs you tighten the vise, the figurine begins to writhe. Its tiny arms and legs windmill frantically, its eyes bulge, and a terrible high keening sound escapes from it. You continue, remorseless. A moment later, with a loud crunching noise, the figurine shatters, and some harmless gray dust sifts to the floor.\n\n> Go west\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard belches, and doesn't apologize.\n\n> Fish\nTo do that, you'd need a fishing pole.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> Go east\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You ask Honey about the wasps\nHoney lowers her magazine and turns her big round dark glasses in your direction. \"Well, hello, there.\"\n\nYou casually mention spotting some wasps up under the eaves of the porch. Honey leaps up from the chaise longue. \"Where? Where? Oh, my God! Up there? Thank you for tellin' me!\" She rushes off toward her cabin.\n\n> You take the figurine with the tongs\nYou pick up the yellow-eyed figurine with the fire tongs.\n\n> You go east\n(first opening the door)\n\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is standing open, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings and some onions here.\n\n> You close the door\n(the door)\nClosed.\n\n> You go north\nThe living room is not actually a small room, but it feels cramped because of the amount of thrift-shop furniture crammed into it.\nThere's a fireplace on the north side of the room, a window to the east, and a tall, heavy bookcase against the west wall. An archway leads back to the south.\n\nAunt Caroline is standing by the bookcase, absorbed in a book.\n\n> You examine Aunt\nYour Aunt Caroline is a thin, pale woman of about 40, with mousy hair and a pinched face. Her glasses are perched, as usual, halfway down her nose. Her fingernails are gnawed. At the moment she's standing in front of the bookcase, lingering over the pages of a mystery novel.\n\n> You ask Aunt about the fingernails\n\"Where did you get that? No, don't tell me. I don't want to know.\"\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains a pill bottle, a little white pill, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, and a poker), a screwdriver, the key to Cabin One, some fire tongs, and a fat white candle. You're wearing your clothes.\n\n> You ask Aunt about the novel\n\"You already know John Dickson Carr is one of my favorite authors,\" Aunt Caroline says. \"I doubt you have anything fresh to contribute on that subject.\"\n\n> You ask Aunt about the candle\nAunt Caroline sets her glasses more firmly on her nose. \"Put that back where you found it, at once.\"\n\n> You ask Aunt about the handkerchief\n\"Later, dear.\" Aunt Caroline's voice sounds thin and strained.\n\n> You examine the glasses\nAunt Caroline's glasses have heavy, blocky tortoiseshell frames. They're very unattractive.\n\n> You examine Luisa\nLuisa is short and stocky, and has the olive complexion and broad, impassive features of a Mexican or Central American whose ancestry is strongly Mayan. Beneath an apron bulging with cleaning implements, her dress is gray and shapeless. Her long black hair, drawn back in a loose ponytail, is streaked with gray, and her dark eyes are not especially friendly. She's standing at the ironing board, ironing.\n\n> You examine the laundry\nThe big wicker basket is full of laundry.\n\n> Search basket\nThe laundry basket seems to be empty.\n\n> You ask Luisa about the handkerchief\n\"Hello, Luisa,\" you say.\n\nShe looks up from her ironing. \"What do you want? You want somethin'?\"\n\n\"That's not something I goin' to worry about,\" she says. \"Not right now.\"\n\n> You ask Luisa about the laundry\n\"I got work to do,\" Luisa says. \"I don' have time to talk to silly girls.\"\n\n> You open the door\nThe door seems to be locked. You hear a low snort behind you, as if Luisa is expressing contempt or amusement. But when you turn to look, she's placidly ironing, not looking at you at all.\n\n> You ask Luisa about the attic\n\"You're just a chatterbox, ain't you? Why don't you go away an' bother somebody else, eh?\"\n\n> You look at the skirt\nThe doll's skirt is rather faded and threadbare. It may once have been a cheerful lemon yellow.\n\n> You take the skirt\nWith only a bit of fiddling, you're able to remove the skirt from the doll.\n\n> Inventory\nYou are carrying a wooden bucket, a burlap sack (which contains a pill bottle, a little white pill, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, and a poker), a screwdriver, the key to Cabin One, some fire tongs, a fat white candle, and a faded yellow scarf. You're wearing your clothes.\n\n> You cry\nYou try to summon up some tears, but can't quite manage it. On close inspection, though, the scarf is not exactly new. Maybe someone else's tears have already soaked into it."
    },
    {
        "text": "[Themes: Horror, horror]\n\n> Go downwards\nThe upstairs hall, which extends eastward, widens here to form an odd-shaped space. It's too open to be called a room, but too functional to be called a hallway. An ironing board is set up in the northeast corner, and behind it a narrow, steep stairway ascends. There's a doorway to the north, a wide, massive closed door to the south, and a broad window on the west wall, beneath which is a box-shaped window seat.\n\nLuisa is standing at the ironing board, ironing.\n\n> You touch clown\nKnowing more or less what may happen, and sort of dreading it but sort of hoping for it at the same time, you reach out and touch the clown. Again you have the sensation that his gloved hand is reaching toward you. A moment later, the music from the merry-go-round seems to swell, and you're dancing with him.\n\nThe bedroom dissolves in a smear of circus colors. When the clown releases you, you're in the place that isn't a place, surrounded by floating, swirling blobs of color, and the clown is standing directly in front of you.\n\nVague many-colored blobs of light float gently around you on all sides, and there are no shadows here. It's like being trapped inside a great big lava lamp, except that you can hear an off-key brass band oom-pahing not far away. The painted clown from the abandoned nursery, now no longer painted but quite real, is standing in front of you, gazing down at you with either pity or wry amusement (it's hard to tell which).\n\n> You give the scarf to the clown\n\"Hello again,\" you venture.\n\n\"Hello again yourself,\" the clown replies. \"I was wondering if you'd come back.\"\n\nYou show the yellow scarf to the clown. \"Is this - would this do what you want? I found it on an old doll in the attic.\"\n\nHe inspects it gravely. \"Yes, yes, I remember now. I remember how the little girl used to sit and cry and wipe her eyes with it. I doubted you could find anything of the sort, but you've proved me wrong. May I?\"\n\nYou hand him the scarf, and he wipes his face with the scarf. Sure enough, his greasepaint swabs right off. In a few moments he's transformed into an odd-looking but not unhandsome middle-aged man. (Could there be a faint resemblance to Hank? No, that's just your overactive imagination. Whatever Hank may have been, he certainly wasn't a clown.)\n\n\"Well? How do I look?\" He smiles at you. Truth be told, he still looks very odd, what with the sticking-straight-up red hair, the wide green suspenders, and the big floppy shoes, but you politely tell him he looks very presentable.\n\n\"Well, then,\" he says, rubbing his hands together. \"Only one more item to go - some nice strong bones so I'll be able to stand up straight when I go out walking in the world.\"\n\n> You go west\nYou take a few uncertain steps, but find that you're getting quite dizzy and a bit nauseous. In spite of yourself, you're drawn irresistibly back to stand next to the clown.\n\nOnce again the blobs of color start swirling faster and faster, making your head spin. Once again the clown reaches out toward you as if to hold onto you, but you're pulled down the whirlpool. A moment later you're back in the abandoned nursery, feeling as dizzy as before.\n\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round. Dominating the south wall is a large, rather faded image of a clown, which has been painted directly on the wallboard.\n\n> You drop all\nwooden bucket: Dropped.\nburlap sack: Dropped.\nscrewdriver: Dropped.\nkey to Cabin One: Dropped.\nfire tongs: Dropped.\nfat white candle: Dropped.\n\n> PUT CANDLE, CABIN KEY, SCREWDRIVER IN SACK\nfat white candle:\n(first taking the fat white candle)\nDone.\n\nkey to Cabin One:\n(first taking the key to Cabin One)\nDone.\n\nscrewdriver:\n(first taking the screwdriver)\nDone.\n\n> Leave\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a wooden bucket, a burlap sack (which contains a pill bottle, a little white pill, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, a fat white candle, the key to Cabin One, and a screwdriver), and some fire tongs here.\n\n> You take all\nrat droppings: The rat droppings are of no conceivable use to you.\n\nonions: The onions are of no conceivable use to you.\n\nwooden bucket: Taken.\nburlap sack: Taken.\nfire tongs: Taken.\n\n> You fill kettle\nYou turn on the tap, fill the kettle, and turn off the tap again.\n\n> You look at the kettle\nThe old-fashioned tea kettle has a long spout. It's rather dented. By sloshing it from side to side, you can feel that it's full of water.\n\n> TAKE MUG, ENVELOPE, TEASPOON\nstained blue mug: Taken.\nbrown envelope: Taken.\nteaspoon: Taken.\n\n> You examine the glass\nThe juice glass is about three inches tall, and an inch in diameter.\n\n> You open the fridge\nOpening the refrigerator reveals an egg.\n\n> You examine the egg\nIt's an ordinary egg.\n\n> You turn on the stove\nYou switch on the burner beneath the kettle, and shortly the burner begins to glow with heat.\n\n> You open the envelope\nYou rip off one corner of the envelope, revealing a fragrant brown powder that's quite likely to be cocoa mix.\n\n> You put the Mix in mug\nYou empty the brown envelope into the mug.\n\n> You put the envelope in the sack\nDone.\n\nThe kettle whistles merrily as steam escapes from it.\n\n> You pour the water into mug\nYou need to be holding the kettle in order to do that.\n\nThe kettle whistles merrily as steam escapes from it.\n\n> You pour the water into the mug\nYou pour steaming hot water from the kettle into the mug, where it swiftly dissolves the cocoa powder, producing a mug of hot cocoa.\n\n> You turn off stove\nYou switch off the electric burner.\n\n> You put the pill in the mug\n(first taking the little white pill from the burlap sack)\nYou drop the pill into the mug, where it swiftly dissolves in the steaming cocoa.\n\n> You look at mug\nThe mug is large, thick-handled, blue, and stained with the residue of years of beverages. It contains some hot cocoa.\n\n> You go east\nThe screen door screeches metallically as you open it.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\n> You give the mug to Phelps\n\"I want to talk to you,\" you say to Beauregard.\n\nHis eyes widen mildly. \"So talk, then.\"\n\nBeauregard accepts the mug of steaming cocoa from you with grave courtesy and slurps. He smacks his lips. \"Just the way I like it - thank you kindly, little lady. Now why don't you run along and enjoy what's left of this fine summer afternoon?\"\n\n> You ask Phelps about the doll\n\"I hope I git up to see New York sometime,\" Beauregard says irrelevantly.\n\n> You ask Phelps about Luisa\nBeauregard pulls his gaze back from the lawn. \"Was you sayin' somethin', sweet pea?\"\n\n> You wait\nTime passes...\n\n> You go east\nPhelps turns away from you, scratches himself, and goes back to gazing out across the lawn.\n\nAs you put your weight on the steps, several of the boards creak loudly.\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\n> You examine wasps\nThe wasps' nest is tucked up under the roof at one end of the porch. Quite a traffic of insects is flying in and out.\n\nHoney wiggles her toes.\n\n> Go northwest\nYou're standing in the weed-infested remains of a small flower-bed.\nThe porch railing is directly above you, almost close enough to reach, and the lawn is back to the east. Only a few feet away, on the porch, Beauregard Phelps is leaning back on the couch, snoring.\n\n> You search Phelps\nBeauregard Phelps is too far away.\n\n> You go north\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle. The cupboard contains a juice glass.\n\n> You go to the east\nThe screen door screeches metallically as you open it. Beauregard Phelps makes a snorting noise, sits up a little straighter on the couch, rubs his eyes, and yawns ferociously. \"My goodness! Must of dozed off for a minute there, but you woke me up.\" He smiles at you vaguely.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard hitches up his suspenders.\n\n> Go up\nThe railing would probably come off if you tried to climb up. That would make a lot of noise, which would attract attention. Besides, you might easily fall and break your tailbone.\n\n> You jump\nYou jump a little, and land back where you started.\n\n> You take bucket\nYou pick up the bucket.\n\n> You go southeast\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney hums a little off-key tune to herself.\n\n> You go west\nAs you put your weight on the steps, several of the boards creak loudly. Beauregard Phelps makes a snorting noise, sits up a little straighter on the couch, rubs his eyes, and yawns ferociously. \"My goodness! Must of dozed off for a minute there, but you woke me up.\" He smiles at you vaguely.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\nBeauregard hitches up his suspenders.\n\n> You jump over the steps\nYou can't jump over that.\n\nHoney stretches languidly.\n\n> You look at the steps\nThe broad flight of steps leads up to the porch. The planks are badly warped and split, and the gray paint that was applied to them in some remote past is sticking up in thick curling chips.\n\nHoney curls a strand of hair around her little finger.\n\n> You go to the west\nAs you put your weight on the steps, several of the boards creak loudly. Beauregard Phelps makes a snorting noise, sits up a little straighter on the couch, rubs his eyes, and yawns ferociously. \"My goodness! Must of dozed off for a minute there, but you woke me up.\" He smiles at you vaguely.\n\nThe front porch runs the length of the east side of the house. It's not screened in, though it probably ought to be, as there's a busy wasps' nest up under one corner of the roof. The floorboards are uneven, and the railing looks pretty wobbly. A long beige couch, from which the padding is escaping, is jammed against the inside wall, below a window.\n\nThe screen door to the house is to the west, and a shallow flight of steps leads down to the east, to the lawn.\n\nBeauregard Phelps is sitting on the couch, gazing out placidly across the lawn. Once in a while his eyes flick toward you, as if he's watching you while pretending not to.\n\n> You sit on the couch\nYou're not eager to get that close to Beauregard Phelps.\n\nBeauregard points at where Honey is sunbathing on the lawn. \"Quite a little heifer, ain't she? Course, you wouldn't know.\"\n\n> You sit on the floorboards\nYou can't sit on that.\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You examine the window\nThe window is on the wall behind the ratty beige couch, almost directly above Beauregard Phelps's spotty bald head.\n\nBeauregard hitches up his suspenders.\n\n> You open the window\nTo do that, you'd have to lean directly across Beauregard Phelps, and he might grab you.\n\n> Wait\nTime passes...\n\n\"Wish I had me a seegar,\" Beauregard says wistfully. \"Summer afternoons just ain't the same since I gave up them seegars.\"\n\n> You wait\nTime passes...\n\nBeauregard belches, and doesn't apologize.\n\n> You wait\nTime passes...\n\nBeauregard beams at you in a slimy, sweaty way.\n\n> You wait\nTime passes...\n\nBeauregard smacks his lips. \"That young lady from Nashville, now - she's quite somethin', ain't she?\"\n\n> You wait awhile\nTime passes...\n\nBeauregard lazily waves away a curious wasp.\n\n> Wait\nTime passes...\n\nBeauregard hitches up his suspenders.\n\n> Wait\nTime passes...\n\n\"I heard your aunt's gonna get you all dolled up for the picnic. I just can't wait!\"\n\n> You go west\nAs you reach for the screen door, Beauregard Phelps smiles at you in a slimy way. You smile back and get ready to run, but it seems he's no longer quite so interested in visiting with you as he was earlier. You're able to reach the door and open it without interference. The screen door screeches metallically as you open it.\n\nThe entry hall of Eternal Springs is bare of decoration. The only furnishings are a grandfather clock, which ticks heavily, and a small round telephone table. The front door of the house stands open to the east, the screen door providing, at best, a very partial barrier against the ingress of insects. There are open archways to the north and south, and a narrow staircase with a threadbare runner leads upward. The hall extends further to the west, alongside the staircase.\n\nAfter you go through the screen door, it closes behind you.\n\n> You look through the door\nWhich door do you mean, the long glass door in the clock, or the screen door?\n\n> You cut the door\nWhat do you want to cut it with?\n\n> You look at what you're carrying with you\nYou are carrying a burlap sack (which contains a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, a fat white candle, the key to Cabin One, a screwdriver, a brown envelope, and some fire tongs), a teaspoon, and a wooden bucket. You're wearing your clothes.\n\n> You look through it\nThrough the east window you can see the porch and the lawn. Through the south window you can see the cabins.\n\n> You open it\nThe window is stuck. You strain to lift it, but it won't budge.\n\n> You examine the window\nThe window looks out on the porch, and beyond that the lawn.\n\n> You examine the window\nThe window overlooks the cabins to the south.\n\n> You look through the window\nMost of the view out the window is obscured by trees that stand against the house. Through the trees you can glimpse a little of the two-lane blacktop that runs past Eternal Springs.\n\n> Go north\nYou can't go that way. Obvious exits lead south, back to the upstairs hall; and west, to the closet.\n\n> You open the window\nYou glance at the window and instantly dismiss it as unimportant.\n\n> You go to the south\nYou can't go that way. The only obvious exit leads southeast to the lawn.\n\n> You climb the railing\nThe railing looks quite flimsy. It would probably pull loose and make a lot of noise.\n\n> You examine Phelps\nHe's leaning back on the couch on the porch, eyes closed, mouth wide open, snoring as loud as a locomotive. His pants pocket is sagging open.\n\n> You examine the pocket\nPhelps's trousers provide plenty of fabric to cover the lower part of his considerable bulk. They're khaki-colored and held up by suspenders. The pockets are sagging open, possibly because of the relaxed way he's half-reclining on the couch.\n\n> You look in the pocket\nHis trousers are too far away for you to reach them.\n\n> Go southeast\n(first moving off of the wooden bucket)\n\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney adjusts the angle of her straw hat microscopically.\n\n> You show the candle to Tyrone\n(first taking the fat white candle from the burlap sack)\nTyrone shakes his head. \"Oh, honey, you carryin' a heavy load, ain'tcha? Wish I could lighten it some.\"\n\n> You go to the south-east\nYou can't go that way. Obvious exits lead north, to the kitchen; south, to the area behind the cabins; east, to the north end of the croquet court; west; northeast, back to the lawn; northwest, to the gravel driveway; southwest, to the garden of junk; and in, to in the van.\n\n> You ask Tyrone about the mask\n\"Hello, Tyrone,\" you say.\n\n\"Hello again,\" he says. \"How you gettin' along, now?\"\n\nYou consider asking Tyrone about the ebony mask - but he doesn't know you've been inside his shack, and maybe it's better that way.\n\n> You ask Tyrone about the voodoo\nTyrone spreads his hands. \"You got me.\"\n\n> Go south\nTyrone shrugs and goes back to work on the van.\n\nThe open area behind the western row of cabins is thinly carpeted with scruffy, dusty weeds. A large, rusted incinerator stands in the middle of the open space. A scraggly tree has set down roots quite close to the leftmost of the three cabins whose rear walls form a barrier to the east.\n\nTo the south is the shed at the edge of the swamp. You can go north to the area in front of the run-down shack, where the motel's dusty van is parked. The overgrown, junk-strewn garden beside the shack is to the west.\n\n> Go upward\nFrom this perch in the midst of the scraggly tree, you can't see much. The area behind the cabins is obscured by foliage. However, you're quite close to the rear wall of Cabin Four, and have a close view of the cabin's bathroom window, which is open.\n\n> You look in the window\nThe bathroom looks ordinary enough. Beyond the open bathroom door, a man is sitting on the bed, hunched over a laptop computer.\n\n> You examine man\nThe man is intent on what he's doing with the computer.\n\n> You ask Luisa about the matches\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\n\"Oh, that.\" Luisa shrugs. \"It ain't none of my business.\"\n\n> You turn the arrow to the sun\nThe arrow on the device is already pointing straight at the sun.\n\n> You look at the clock\nThe grandfather clock stands as stiff and still as a tombstone, except that within it a brass heart ticks as the pendulum swings back and forth behind the long glass door. The clock face is numbered using Roman numerals, to which a pair of ornate old-fashioned brass hands (rather bent and tarnished) are pointing. If the clock is to be believed, it's now 5:41.\n\n> You examine the face\nWhich face do you mean, the snapshot, or the clock face?\n\n> Clock face\nThe clock face, which is behind glass, has the usual Roman numerals in the usual positions, and a pair of ornately curlicued brass hands. If the clock is to be believed, it's now 5:41.\n\n> You examine the hands\nThe brass hands might once have been well polished, but by now they're splotchy with bits of corrosion. The hands point to the hour of 5:41.\n\n> You take the hands\nYou can't have those; they're part of the grandfather clock.\n\n> You drop all\nburlap sack: Dropped.\nteaspoon: Dropped.\nfat white candle: Dropped.\n\n> You put the skeleton in the grate\nThe skeleton is not something that can be put through the grate.\n\nA finger bone drops off of the skeleton's hand. No, carrying it around like this just isn't going to work.\n\n> You put the mat in the grate\n(first trying to take the straw mat)\nIf you pick up the mat now, what's on it will slide off. You might try rolling it up.\n\n> You open mat\nBefore unrolling the mat, you need to put it down. Otherwise, there's no telling what might happen to what's in it.\n\n> You put the mat on the table\nThe rolled-up straw mat is too large for the shallow table.\n\n> Go south\nYou can't go that way. Obvious exits lead north; east, back to the alcove; and in, to the dumbwaiter.\n\n> Smell bed\nThe bed smells disgusting.\n\n> You examine the dresser\nThe chipped, warped chest of drawers looks like it's about a hundred years old, and has been rejected as junk by every antique shop in the state of Mississippi. It stands against the west wall - crookedly, because one front leg is visibly shorter than the other. The top is littered with a scatter of stuff.\n\n> You examine the stuff\nThe stuff on the dresser is about what you'd expect - a couple of hairbrushes full of greasy gray hair and dandruff, a chipped saucer with some paper clips and thumbtacks in it, and some pecan shells. There's nothing else of interest among the stuff on the dresser.\n\n> You move the bed\nThe bed is too heavy.\n\n> You look through the peephole\nThrough the peephole you can see Luisa standing at her ironing board, ironing.\n\n> Go outside\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, a burlap sack (which contains a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, and some fire tongs), a teaspoon, and a fat white candle here.\n\n> You take all\nrat droppings: The rat droppings are of no conceivable use to you.\n\nonions: The onions are of no conceivable use to you.\n\nburlap sack: Taken.\nteaspoon: Taken.\nfat white candle: Taken.\n\n> You put the candle and the spoon in the sack\nfat white candle: Done.\nteaspoon: Done.\n\n> Go south\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nOn the stove is a tea kettle. The cupboard contains a juice glass.\n\n> You go west\nThe closet is small and pretty much empty. Set in one wall is a little metal door about a foot high, which is open. The bedroom is to the east.\n\nYou see some toast crumbs here.\n\n> Go west\nYou can't go that way. The only obvious exit leads east, back to the dreary bedroom.\n\n> You look at the table\nThe old wooden table is a small, square, utilitarian surface, rather battered and with one crooked leg.\n\n> You examine the appliances\nThe appliances include the sink, the stove, and the refrigerator. To interact with them, you need to refer to them singly.\n\n> You examine the sink\nThe sink is lined with a mottled crust of scum. A faucet is mounted above it.\n\n> You drop all\nburlap sack: Dropped.\n\n> You open the slab\nThe slab is already open.\n\n> Go east\nA square-cut channel, too broad to jump and seemingly bottomless (though in the dim light it's hard to be certain) stretches from north to south here. Spanning it is a narrow ribbon of silver, barely wide enough to walk on. The ribbon shimmers slightly, as if it's made of oily light. The walls of close-fitting gray stone were obviously made by human hands - or at least, by hands of some sort.\n\nAn open doorway leads west, and the silver bridge affords a slightly vertiginous path to the east.\n\n> Go east\nYou step lightly and carefully across the narrow silver bridge. As you reach the far end, a sizzling, crackling noise behind you makes you whirl and look back. The bridge is evaporating at your heels into a drift of silver sparks. The sparks spin, dimming, into the abyss. In a moment the bridge is gone.\n\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\n> You go north\nThis large room, which smells cloyingly of incense, is luxuriously furnished in an style that you'd probably be able to identify if you hadn't been daydreaming so much during World History. Possibly it's Aztec, Mayan, Incan, or even Egyptian. Straw mats hang from the walls, painted with elaborate designs in red and black. A heavy cabinet stands against the east wall. The bronze door is to the south, and daylight spills through an open archway to the north.\n\nThe heavy wood cabinet contains a wooden staff, a golden cape, and a golden helmet.\n\n> You wear the cape\n(first taking the golden cape)\nOkay, you're now wearing the golden cape.\n\n> Wear helmet\n(first taking the golden helmet)\nOkay, you're now wearing the golden helmet.\n\n> Go east\nThough paved in polished marble and enclosed on all sides, this large square room is open to the sky above. Aside from some low benches, also of marble, that surround a shallow, square pool of water in the center of the room, it's unfurnished. There's a high arched doorway to the north, a row of lower arches on the east, a tunnel entrance to the west, and a square-cut doorway to the south.\n\n> You look at the statue\nThe statue has wide, glaring eyes that glitter a deep red, outstretched hands with fearsome claws, and a grimacing mouth lined with pointed teeth. Looking at it sets your heart tapping in your chest.\n\n> You take the mat\nYou've already taken a mat. No need to collect the lot.\n\n> You go to the north\nThis little balcony overlooks a small but well-maintained formal garden dotted with fruit trees. Looming over the garden to the east is an imposing, windowless building whose heavy, close-set stone pillars suggest Egypt or Ancient Rome. An open archway to the south leads back into the chamber, and a steep flight of stairs leads down into the garden.\n\n> You go south\nA broad passageway runs north and south here, flanked on the west by a square-cut channel of unguessable depth. Directly across the channel, to the west from where you're standing, is an open doorway through which can be glimpsed the cheerfully torchlit room of seven doors, but the slim silver bridge that was here before seems to have vanished, leaving you no way to cross the channel. On the east side of the passageway is a narrow opening, beyond which a stairway leads down into the gloom.\n\n> You go south\nThe passage from the north opens out here on a balcony overlooking a jarringly prosaic scene. Half a dozen men wearing camouflage combat fatigues and black berets are lounging around a long table, smoking cigarettes and talking in low voices. The men are armed with what look like automatic rifles. Fortunately, they don't seem to have noticed you. A stairway leads down from the balcony into the middle of the room.\n\n> You go to the east\nThe walls of this tunnel are of rough-hewn, square-cut dark gray stone. The ceiling is high, and the walls seem to press close, as the tunnel itself is not wide. The air is cooler here than in the upper passage, and smells a bit dank. A narrow stairway ascends to the west, and the tunnel extends away into the gloom to the north and east.\n\n> Go east\nThe stone tunnel terminates here against a solid block of stone that stretches from floor to ceiling at the east end. The only way you can go is back to the west.\n\n> Go east\nBehind you, to the west, is the imposing edifice of the building, which is broken here by a row of arches. To the east a shallow flight of stairs at least fifty feet wide glides down to the near edge of what appears to be a slum. Mud-brick hovels, some thatch-roofed and some topped with red ceramic tile, are crammed together in a cityscape that stretches to the horizon. Brown-skinned, black-haired people are moving in and out among the nearer structures; they don't seem to have noticed you yet, but you're very visible. Clearly, this is not a safe place to linger."
    },
    {
        "text": "[Themes: Horror, teenage protagonist, horror]\n\n> Go downwards\nFor a moment you consider venturing out into the slum - but it would take you days to explore it, and the local people could hardly fail to notice the blond stranger. No, whatever you hope to gain in this strange place surely lies in the building behind you.\n\n> Wave staff\nAs you wave the staff, a low hum emanates from a couple of footrest-sized blocks at the edge of the chasm. A band of light leaps out across the abyss, and in a moment the shimmering silver bridge is restored.\n\n> You examine the mat\nThe mat is quite large - at least five feet wide, and six or seven feet long. At the moment it's rolled up.\n\n> You examine the dagger\nThe dagger has a wicked-looking slim, curved blade nearly a foot long, and a black leather hilt.\n\n> You look at the table\nThe scarred old wooden table is both taller and shallower than a normal table - about four feet high and no more than a foot deep. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> You open the mat\nYou unroll the mat, revealing the skeleton.\n\n> You take the skeleton\nTaken.\n\nThe ligaments holding the skeleton's larger bones together are starting to stretch like rubber bands.\n\n> You roll it\nYou roll up the mat.\n\n> You put the mat in grate\nThe rolled-up straw mat is too large to fit through the opening.\n\n> You open mat\nYou unroll the mat.\n\n> You look at the mat\nThe mat is quite large - at least five feet wide, and six or seven feet long. It's painted with an elaborate and somewhat unnerving design in red and black.\n\n> Leave\nThis cheerless cubicle looks oddly stark with the shelves leaning in one corner. There's an open doorway to the south, a door to the west, which is closed, and a square hatch in the north wall.\n\nSeveral long pine planks are leaning in a corner.\n\nYou see some rat droppings, some onions, and a burlap sack (which contains a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, a fat white candle, and a teaspoon) here.\n\n> You take all\nrat droppings: The rat droppings are of no conceivable use to you.\n\nonions: The onions are of no conceivable use to you.\n\nburlap sack: Taken.\n\n> You put it in sack\nOkay, you're no longer wearing the stone bracelet.\n\nDone.\n\n> You ask Luisa about the figurines\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\nLuisa's attention is on her ironing. She seems not to have heard you.\n\n> You ask Luisa about the ghost\n\"You're just a chatterbox, ain't you? Why don't you go away an' bother somebody else, eh?\"\n\n> You ask Luisa about the swamp\nWhen you mention the swamp, Luisa shakes her head slowly and heavily. \"There's bad things out there in the swamp. Things that bite you, suck out your blood. Don' even think about going swimming out there. I wouldn't even go out there in a boat. It might tip over, then where would you be? You tell me that.\"\n\n> You ask Luisa about Hank\nLuisa's attention is on her ironing. She seems not to have heard you.\n\n> You ask Luisa about Tyrone\nLuisa shrugs. \"He's all right. He treats me all right.\"\n\n> You ask Luisa about the dagger\n\"That's not something I goin' to worry about,\" she says. \"Not right now.\"\n\n> You ask Luisa about the device\n\"That funny circle thing in the office,\" you say to Luisa. \"The thing with all the mirrors. What is it, anyhow?\"\n\nShe shrugs. \"I don't know. It belong to Mr. Beauregard, that's all.\nI seen letters like that on some old things when I was a little girl, but not in a long time. He got a bracelet with some letters like that on the stones, too, you know? One time I seen him put the bracelet on the thing in the office an' turn it. The sun was coming in the window so bright it almost blinded me, like it was flashing a rainbow on the mirrors.\"\n\n> You show the sketchbook to Luisa\n(first taking the sketchbook from the burlap sack)\nWhen she sees the book, Luisa says sternly, \"You put that back in the bookcase where it belongs.\""
    },
    {
        "text": "> You touch clown\nThe clown reaches out and takes your hand, the merry-go-round's tinkly music swells, and you're spun out of the upstairs bedroom into that other place.\n\nVague many-colored blobs of light float gently around you on all sides, and there are no shadows here. It's like being trapped inside a great big lava lamp, except that you can hear an off-key brass band oom-pahing not far away. The painted clown from the abandoned nursery, now no longer painted but quite real, is standing in front of you, gazing down at you with either pity or wry amusement (it's hard to tell which).\n\n> You give the mat to clown\n\"Hello again,\" you venture.\n\n\"Hello again yourself,\" the clown replies. \"I was wondering if you'd come back.\"\n\nThe clown giggles. \"I might have a use for a thing like that,\" he declares. \"Oh, yes, truly I might. I just can't think right at this moment what use it might be.\"\n\n> You take the skeleton\nTaken.\n\nThe skull sags sideways onto your shoulder, giving you a nasty start. On close inspection, you find that the skull is awfully close to dropping free of the backbone.\n\n> You give the skeleton to the clown\nYou gesture at the skeleton. \"Do you think these bones are what you need?\"\n\nThe clown inspects the skeleton gravely. \"I do believe they'll serve. Where did you - no, don't tell me. I don't want to know. Whoever these belonged to doesn't need them anymore, that's all that matters.\"\n\nHe picks up the skeleton. First he clasps it to him, so that it looks as if he's planning to dance with it. (The music is still oom-pahing away in the background.)  But then he ... it's hard to say exactly what he does with the skeleton. It looks a bit like putting on a pair of pajamas, except sort of inside out. It's as if the pajamas were putting on the person, somehow. First he steps on the skeleton's feet, and somehow the feet are inside his, and then the legs, and then the rest. In a moment the skeleton is entirely gone.\n\nThe clown jumps up in the air and clicks his heels together. \"Oh, I feel wonderful! So much more solid! You've done it - you've brought me everything I need to be a real person. I never doubted you for a moment, you know. I knew you'd do it.\" The clown digs down into one of the capacious pockets in his baggy trousers, produces the gold coin, and solemnly hands it to you. \"You see? I've kept my end of the bargain, haven't I? Spend it wisely, young lady. Now, if you'll forgive me, I really must be going. I've so much to see!\n\n\"Perhaps we'll meet again someday,\" he adds. \"I'd like that. I do hope you'll stay safe until then. The world - what little of it I've seen so far, which is very little indeed - seems quite full of dreadful dangers. I do hope you'll be very careful! Farewell, then.\"\n\nThe clown bows to you, and then turns and walks away with a kind of proud, sauntering stride, the spangly tails of the coat swaying behind him. As he goes, the blobs of color swirling around you begin to dissolve. In a few moments you're back in the upstairs bedroom - and the wall where the clown was painted is blank!\n\nYou rush to the window and look out. A figure is just ducking out of sight around the corner of the house - a figure with red hair and a coat that seems to shimmer in the sun. He turns and waves, and then he's gone.\n\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round.\n\nYou see a straw mat here.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You look at the coin\nThe gold coin is about the size of a silver dollar. It has a striding Goddess of Liberty on the front, and an eagle flying across a rising sun on the reverse. It's dated 1907.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> Go west\nYou can't go that way. The only obvious exit leads north, back to the upstairs hall.\n\nThe merry-go-round falls silent and the little horses stop moving.\n\n> You go to the south\n(first opening the door)\n\nThe furnishings in the bedroom are about what you'd expect - a rumpled bed whose sour odor permeates the room and a dresser with a scatter of stuff on top. There's a wide archway to the east and an imposing-looking door in the north wall. The square hatch by which you first entered the room is set into the east wall at the northeast corner.\n\n> Go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nOn the shallow table are a purple-eyed figurine and a curved dagger.\n\nAs you're wondering what to do next, Beauregard Phelps rushes up to you and grips your arm so hard you cry out in pain. \"So,\" he says. \"We got ourselves a sneak thief. Luisa tells me you got into my room. Well, no harm done. But I reckon we'll have to put you away where you can't get in no more mischief between now and the time for the ritual.\"\n\nYou try to protest that it's all a silly mistake, but he only laughs. Not letting his grip slacken for an instant, he drags you down to the cellar of the house and thrusts you into a big shipping trunk. The lid slams shut, and you're left curled up in a painful knot in total darkness.\n\nA long time passes - you're not sure how long. When you hear footsteps approaching, and voices, a flush of hope jolts through you. The trunk lid springs open and you're hauled out. You start to protest about your treatment, but then you see that Aunt Caroline is carrying the white dress, and your words freeze in your throat. Your aunt's mouth is set in a grim line.\n\nWhile the others watch, ignoring your shame, she and Honey Hartwell force you to take off your clothes and put on the white dress. Then the whole party, with you in the middle crying and trying to get away, marches out to the meadow where the block of stone is standing. \"It's almost time now,\" Phelps says, his voice bubbling with an undercurrent of glee.\n\nAs sunset arrives, there's a thickening in the air, a sense of a foul presence gathering. Shortly you can see it hovering above the stone block, a huge form that grows darker and more solid by the moment. The monster's fangs and claws are exactly like those on the little figurines, but far larger and more terrifying.\n\nThe demon reaches toward you, its thick red tongue writhing out obscenely. Your aunt and a well-dressed man whose aftershave smells, nauseatingly, of mint force you down on your back on the stone block, and Beauregard Phelps stalks ponderously forward, raising his curved dagger high and bringing it down toward your breast in a swift slashing arc.\n\n> Wait\nTime passes...\n\nLuisa comes down the stairs, moving slowly and heavily. Not looking at you, she resumes her ironing.\n\n> You ask Luisa about jessie\nLuisa snuffles and wipes her eyes. \"I don't want to talk about that,\" she says hoarsely.\n\n> You ask Luisa about doll\n\"The doll in my room, you mean?\" Luisa glares at you. \"What do you been sneaking in my room for? Well, it don't matter. I don't got nothing anybody'd want to steal. That doll, it used to belong to the little girl I told you about, the one who lived here, Jessie. After she wasn't here no more, I took the doll upstairs so I could look at it sometimes and not have to go in the room with the clown.\"\n\n> You put the teaspoon and candle in the sack\nteaspoon: Done.\nfat white candle: Done.\n\n> You ask Luisa about the doll\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\n\"The doll in my room, you mean?\" Luisa glares at you. \"What do you been sneaking in my room for? Well, it don't matter. I don't got nothing anybody'd want to steal. That doll, it used to belong to the little girl I told you about, the one who lived here, Jessie. After she wasn't here no more, I took the doll upstairs so I could look at it sometimes and not have to go in the room with the clown.\"\n\n> You go east\nThis narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.\n\nIn the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.\n\nYou see a straw mat (on which is a skeleton) here. On the shallow table are a purple-eyed figurine and a curved dagger.\n\n> You take the figurine with the tongs\nAs you reach toward the figurine, the dagger rises into the air, guided by no hand that you can see, and slashes at your face! You back away quickly.\n\n> You put the kettle on the table\n(first taking the tea kettle)\nThe tea kettle is too large for the table.\n\n> You put the kettle in sink\nThe tea kettle is too large for the sink.\n\n> You take the kettle\nYou are already carrying the tea kettle.\n\n> You turn on the stove\nYou switch on a burner, and shortly the burner begins to glow with heat.\n\n> Light candle\nWhat do you want to light it with?\n\n> You put the candle on the stove\nPutting things on the stove while it's switched on would be dangerous.\n\n> You turn off stove\nYou switch off the electric burner.\n\n> You turn on the stove\nTurning on the stove while there are things on it other than the kettle could be dangerous.\n\n> You ask Aunt about glasses\n\"We can talk about that later,\" Aunt Caroline says firmly.\n\n> You take the glasses\nYou glance at the glasses and instantly dismiss them as unimportant.\n\n> You go to the west\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nYou see a tea kettle here. The cupboard contains a juice glass.\n\n> You go northwest\nTyrone shrugs and goes back to work on the van.\n\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nYou see a dead possum here.\n\n> You ask the boys about the gap\n\"Hello again,\" you say, trying to sound cheerful. \"I'm back.\"\n\n\"Was she gone?\" the smaller boy says. \"I din't notice.\"\n\nThe larger boy sticks a finger in his ear and twirls it around, wrinkling his face in concentration. \"You hear a skeeter?\" he says.\n\"I thought I heard some buzzin'.\"\n\n> You ask the boys about the brambles\n\"What you askin' us for?\" the smaller boy says. \"Bet you know all the answers already.\"\n\nThe boys make loud kissing noises at you.\n\n> You ask the boys about the road\nThe boys both shrug. \"Don't mean nothin' to us,\" one of them says.\n\nThe boys edge toward you casually.\n\n> Inventory\nYou are carrying a burlap sack (which contains a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, and a fat white candle) and a teaspoon. You're wearing your clothes.\n\n> Go east\nKnowing the boys are likely to make fun of anything you say, you just turn and walk away without saying goodbye. As you walk away, you hear the boys snickering about something.\n\nThe narrow, potholed ribbon of blacktop runs east and west between thorny thickets to the north and south. A narrow gap in the shrubbery to the south might be wide enough for you to squeeze through.\n\n> You ask Tyrone about the oil\nYou mention the squeaky screen door to Tyrone. \"Can't you oil it or something, it's driving me crazy.\"\n\nHe only shrugs. \"Gotta get the van runnin' right now. I'll get to it later. Maybe tomorrow, maybe next week. You don't want it makin' a racket, just don't go in or out through there.\"\n\n> You ask Tyrone about the batteries\nYou ask Tyrone whether he might know where there are some fresh batteries for the flashlight. He presses his lips together, looking exasperated - but at himself, not at you. \"I was supposed to pick some up, you know, yesterday when I was in town, but I plumb forgot. Sorry, honey.\"\n\n> You examine the blood\nThe shallow pool of blood in the middle of the floor is spattered and smeared, as if something has been dragged through it. Flies are circling above it.\n\n> You take it\nPicking up a pool of blood would be impractical, pointless, and really creepy too.\n\n> You touch the blood\nGetting blood on your fingers, especially the blood of someone you just met ... what a dreadfully repulsive thought!\n\n> You tell David about the clown\nA little diffidently - you're pretty sure he'll think you're crazy - you tell David that you had a sort of hallucination when you were upstairs in the house, a vision in which you were dancing and talking with a clown that had been painted on the wall.\n\nDavid listens solemnly. \"Not even the wickedest force can wholly banish the good,\" he says.\n\n> You tell David about Lydia\nYou consider telling David how you restored Lydia to life - but could he possibly believe the story? You're not sure you believe it yourself, and you saw it with your own eyes.\n\n> You examine the locket\nThe gold locket is an old-fashioned oval no bigger than the last joint of your little finger. It's suspended from a delicate gold chain. Inside the locket is a tiny snapshot of a woman's face.\n\n> You tell David about the statue\n\"The figurines ... ah, yes. Nasty little things, aren't they?\" David frowns at his knees. He looks so sad you want to hug him, but you don't.\n\n\"They have some sort of magical linkage,\" he says, \"to the actual demon to whom the sacrifice is to be made. They make their way out into the world somehow - I have no idea how, but I do believe they're not quite as inert as they may appear - and attach themselves to certain individuals who are predisposed to want what they have to offer.\n\n\"Once the attachment is formed, no one else can touch the figurine. It's quite impossible.\"\n\n> Go north\nYou can't go that way. Obvious exits lead south; east; and west, back to the south end of the croquet court."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, female protagonist]\n\n> Look around\nThe interior of this rustic motel room looks pretty much like the interior of Cabin Five, except that it's a mirror image, with the door to the croquet court on the west side. Bedspreads the color of mud cover the twin beds. The tacky wood-grain wallpaper is starting to peel, and years of grime have been ground into the carpet. A bucolic, sentimentalized painting of some Negroes picking cotton adds to the oppressive sense that you've somehow slipped back into an earlier, less civilized era.\n\nCurtains the color of old pea soup hang beside the window to the right of the door. A chipped and scarred dresser stands against the east wall, near the door of the bathroom. There's a walk-in closet on the south side of the room.\n\nDavid is sitting here in his wheelchair.\n\n> You examine the bedspreads\nThe stuff in the cabin is really not very interesting.\n\n\"I'm feeling a bit tired,\" David says. \"If you'll forgive me, I may want to close my eyes for a minute or two.\"\n\n> You go to the east\n(first trying to open the door of Cabin Two)\nAs you try to slip past Reverend Gillespie so as to get into his cabin, he inserts himself directly in your path. \"There's nothin' in there you need to concern yourself with, young lady.\"\n\n> You examine the tongs\nThe tongs are made of wrought iron. They're shaped roughly like scissors or pliers, but they're about three feet long.\n\n> You take the bedspread\nWhich bedspread do you mean, the bed near the door, or the bed near the bathroom?\n\n> You go northwest\nYou're standing in the weed-infested remains of a small flower-bed.\nThe porch railing is directly above you, almost close enough to reach, and the lawn is back to the east. Only a few feet away, on the porch, Beauregard Phelps is leaning back on the couch, snoring.\n\nYou see a wooden bucket here.\n\n> Go southeast\nYou can't go that way. Obvious exits lead north, back to the kitchen; south, to the area behind the cabins; east, to the north end of the croquet court; west; northeast, to the lawn; northwest, to the gravel driveway; southwest, to the garden of junk; and in, to in the van.\n\n> Hint\n(Warning: Some people don't like built-in hints, since the temptation to ask for help prematurely can become overwhelming when hints are so close at hand. If you're worried that your willpower won't hold up, you can disable hints for the rest of this session by typing HINTS OFF. If you still want to see the hints now, type HINT.)\n\n> Hint\n1. General Questions\n2. In the House\n3. The Figurines\n4. Beyond the Stone Slab\n5. The Great Escape\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 2\n1. How can I get the things the clown is asking for?\n2. How can I get the telephone to work?\n3. I can't control when I leave the place where the clown is.\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 3\n1. So what's the deal with the evil figurines?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 5\n1. How do I get the key to the boat shed?\n2. How can I defeat the ebony mask?\n3. How can I get my hands on a compass?\n4. How do I get the stuff the clown is asking for?\n5. How do I get the large, fragile item out of Beauregard's bedroom?\n6. How do I get a map of the swamp?\n7. How do I fix the map so it's readable?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 2\nHow can I defeat the ebony mask?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nThe mask is a sort of voodoo burglar alarm. [1/12]\n\nIf you try to pick up anything that belongs to Tyrone, the mask will see you and howl. [2/12]\n\nYou can't prevent Tyrone from hearing the mask. [3/12]\n\nSo you need a way to prevent it from seeing what you're doing. [4/12]\n\nYou don't have a cloak of invisibility. [5/12]\n\nBut you might be able to figure out a way to cover the mask's enormous, staring eyes. [6/12]\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, and a fat white candle), a teaspoon, a wooden bucket, and a juice glass. You're wearing your clothes.\n\n> You put the bucket over the mask\nWhat do you want to put it in?\n\n> Empty sack\nYou pour out the stuff that's in the burlap sack.\n\n> 2\nHow can I defeat the ebony mask?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nThe mask is a sort of voodoo burglar alarm. [1/12]\n\nIf you try to pick up anything that belongs to Tyrone, the mask will see you and howl. [2/12]\n\nYou can't prevent Tyrone from hearing the mask. [3/12]\n\nSo you need a way to prevent it from seeing what you're doing. [4/12]\n\nYou don't have a cloak of invisibility. [5/12]\n\nBut you might be able to figure out a way to cover the mask's enormous, staring eyes. [6/12]\nThere are two ways to do it. [7/12]\nYou need something gooey - something that can be applied to the eyes and will stick. [8/12]\n\n> 2\nHow can I defeat the ebony mask?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nThe mask is a sort of voodoo burglar alarm. [1/12]\n\nIf you try to pick up anything that belongs to Tyrone, the mask will see you and howl. [2/12]\n\nYou can't prevent Tyrone from hearing the mask. [3/12]\n\nSo you need a way to prevent it from seeing what you're doing. [4/12]\n\nYou don't have a cloak of invisibility. [5/12]\n\nBut you might be able to figure out a way to cover the mask's enormous, staring eyes. [6/12]\n\nThere are two ways to do it. [7/12]\n\nYou need something gooey - something that can be applied to the eyes and will stick. [8/12]\nOnce you've lured Aunt Caroline out of the bathroom, you'll find that she left a white candle behind. [9/12]\nAnd fortunately, it's a very hot day. [10/12]\nIf you knead the candle, it will turn into a soft lump of wax. [11/12]\nPut the wax on the mask's eyes. (You can also put some road tar from the barrel in the juice glass and apply it to the eyes with the spoon, but that's a lot more trouble.)  [12/12]\n\n[The End]\n\n> Go south\nThis may once have been a garden, but now it's just a final resting place for junk - lots and lots of junk - and nothing grows here but weeds. The falling-down shack stands (if that's the right word) north of here, its single square window looking out on the junk. The area where the van is parked is to the northeast, and the area behind the cabins is east. Off to the southeast stands the shed at the edge of the swamp.\n\nThe way westward is blocked by an improbably dense thicket of bramble-bushes.\n\nYou see a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, and a fat white candle here.\n\n> You put all in the sack\nteaspoon: Done.\nwooden bucket: Done.\njuice glass: Done.\n\npill bottle:\n(first taking the pill bottle)\nDone.\n\nfaded photographs:\n(first taking the faded photographs)\nDone.\n\nflashlight:\n(first taking the flashlight)\nDone.\n\ncroquet hoop:\n(first taking the croquet hoop)\nDone.\n\npartially crumbled piece of burnt toast:\n(first taking the partially crumbled piece of burnt toast)\nDone.\n\nbad fuse:\n(first taking the bad fuse)\nDone.\n\nsketchbook:\n(first taking the sketchbook)\nDone.\n\nstone bracelet:\n(first taking the stone bracelet)\nDone.\n\ngold locket:\n(first taking the gold locket)\nDone.\n\nold shovel:\n(first taking the old shovel)\nDone.\n\nindecipherable map:\n(first taking the indecipherable map)\nDone.\n\npoker:\n(first taking the poker)\nDone.\n\nkey to Cabin One:\n(first taking the key to Cabin One)\nDone.\n\nscrewdriver:\n(first taking the screwdriver)\nDone.\n\nbrown envelope:\n(first taking the brown envelope)\nDone.\n\nfire tongs:\n(first taking the fire tongs)\nDone.\n\nfat white candle:\n(first taking the fat white candle)\nDone.\n\n> Inventory\nYou are carrying a burlap sack (which contains a teaspoon, a wooden bucket, a juice glass, a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, and a fat white candle). You're wearing your clothes.\n\n> You knead it\nWith a few moments of squeezing, you're able to reduce the candle to a warm, soft lump of white wax. If the weather weren't so hot, you never would have been able to do it.\n\n> You put the wax on the eyes\nBy pressing and smoothing the wax with your thumbs, you're able to completely cover the mask's eyes with a thick layer of white wax.\n\n> You look under bed\nYou kneel to look under the bed, and see something far back against the wall. Reaching and groping, your fingers close on a square-cornered object, which you draw forth. It proves to be a cigar box.\n\n> You open the box\nOpening the cigar box reveals a fish hook.\n\n> Go northeast\nYou can't go that way. Obvious exits lead north, to down the road; south, to the north end of the croquet court; west, to the porch; northwest, to the flower-bed; and southwest, back to the front of the shack.\n\nHoney wiggles her toes.\n\n> Fish\nWhile Phelps snoozes peacefully, you extend the fishing pole and dangle the hook over his gaping pants pocket. Delicately you lower the hook. As you feel it snag on something, it occurs to you - a little too late - that you're more likely to hook the fabric of his pants than anything that's in the pocket. But no, this time you're in luck. When you gently lift the end of the pole, the gleam of brass tells you that you've successfully hooked the key that was in his pocket. Hardly daring to breathe, you draw the pole back across the porch railing.\nThe key remains hooked until you reach out and grab it. Success! Clutched in your sweaty palm is a shiny brass key.\n\n> You put the pole and the key in the sack\nfishing pole (to which a fish hook has been tied): Done.\nshiny key: Done.\n\n> 1\nSo what's the deal with the evil figurines?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nThere are three things you'll need to learn about the evil figurines. [1/5]\nFirst, how many of them are there? [2/5]\nSecond, how can they be handled? [3/5]\nThird, what should be done with them? [4/5]\nThese questions are discussed in separate lists of hints. [5/5]\n\n[The End]\n\n> 5\n1. How do I get the key to the boat shed?\n2. How can I get my hands on a compass?\n3. How do I get the stuff the clown is asking for?\n4. How do I get the large, fragile item out of Beauregard's bedroom?\n5. How do I get a map of the swamp?\n6. How do I fix the map so it's readable?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 4\n1. How do I open the other six doors in the Room of Seven Doors?\n2. How can I transport the skeleton safely?\n3. How do I find a route among the stone tunnels?\n4. Help! I'm lost in the stone tunnels!\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 1\n1. What am I supposed to be doing?\n2. I seem to be stuck. Is it possible to reach a point where the game is unwinnable?\n3. Okay, I got the figurines out of Cabins Two and Four, but now I'm stuck. What do I need to do next?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 2\nI seem to be stuck. Is it possible to reach a point where the game is unwinnable?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nIf you're feeling stuck, the most likely explanation by far is that you haven't figured out what you need to do next. There will be times when you can take any of a number of different actions to move the story forward, and other times when your options will be narrowly circumscribed. [1/8]\n\nThat said.... Yes, it's possible to make the game unwinnable. [2/8]\n\nThe easiest way to get in trouble is to drop things in places where you can't retrieve them later. Most of the time you'll be given a warning when you do this - if you throw things into the swamp, for instance. But in a few specific situations, you may not receive any warning. [3/8]\n\nDuring the course of the story, some of the other characters will be moving around. They might, for instance, lock or unlock doors for reasons of their own. If you've just gained access to a new area (or, for that matter, if you've had free access to it ever since the beginning of the story), don't assume it will always remain accessible. [4/8]\n\nFortunately, there's no need to leave things behind. If you look around the outdoor area, you'll find a hefty burlap bag. This bag can contain almost anything (with one or two important exceptions). When you find an item that you think might be useful later, put it in the bag, and don't let the bag out of your sight. None of the other characters will ever notice the bag or ask what's in it. [5/8]\n\nThey'll be quite alarmed, however, if they see you carrying certain other things. In this type of situation, the character will have an immediate, obvious reaction. Typing 'undo' will let you backtrack to before the problem arose. [6/8]\n\nThere's also an important object that is quite fragile. If you pick something up and it seems to be in danger of falling apart, take the warning seriously. Put it down at once, and look for an alternate way to transport it. Once it falls apart, you're doomed. [7/8]\n\nIn addition, two puzzles require that you find a way to move a character other than yourself to another location temporarily. In both cases, you can do this only a few times before the character will balk and refuse to be coaxed or bamboozled anymore. You'll be given more tries than you strictly need - but if you haven't solved the particular problem before you run out of tries, you'll be completely deadlocked. So before you set another character in motion, think carefully about what you're hoping to accomplish while they're out of the way, and whether you have the resources you need to accomplish it. If they react to what you thought was an innocuous question by running off, you may want to use the UNDO command and wait until you know what you're hoping to accomplish before you ask that question again. [8/8]\n\n[The End]\n\n> 6\nHow do I fix the map so it's readable?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nIf you show the map to David or Tyrone, they may offer a hint or two. [1/6]\n\nSome occult power is making the map unreadable. [2/6]\n\nThat power is involved in just about everything that's happening at Eternal Springs. [3/6]\n\nIn particular, the gathering this afternoon, for which the nasty little figurines were sent out as magical invitations. [4/6]\n\nGetting rid of the figurines would probably diminish the power of the entity who is causing the map to squirm. [5/6]\n\nThe method by which you do that is discussed in a separate set of hints. [6/6]\n\n[The End]\n\n> Go north\nThe kitchen is large and not especially neat. The appliances are all ancient, their surfaces dented and chipped. The refrigerator stands against one wall, the stove against another, and there's a cupboard above the sink. Against an inner wall stands a small square table, with a wooden chair beside it. An exterior door is to the south, interior doorways to the east and north.\n\nYou see a tea kettle here.\n\n> You look at what you're carrying with you\nYou are carrying a burlap sack (which contains a teaspoon, a wooden bucket, a juice glass, a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, an indecipherable map, a poker, the key to Cabin One, a screwdriver, a brown envelope, some fire tongs, a fishing pole (to which a fish hook has been tied), and a shiny key) and a cigar box. You're wearing your clothes.\n\n> Go south\nYou can't go that way. The only obvious exit leads north, back to the upstairs hall.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You touch clown\nThe clown reaches out and takes your hand, the merry-go-round's tinkly music swells, and you're spun out of the upstairs bedroom into that other place.\n\nVague many-colored blobs of light float gently around you on all sides, and there are no shadows here. It's like being trapped inside a great big lava lamp, except that you can hear an off-key brass band oom-pahing not far away. The painted clown from the abandoned nursery, now no longer painted but quite real, is standing in front of you, gazing down at you with either pity or wry amusement (it's hard to tell which).\n\n> You give it to the clown\n\"Hello again,\" you venture.\n\n\"Hello again yourself,\" the clown replies. \"I was wondering if you'd come back.\"\n\nYou gesture at the skeleton. \"Do you think these bones are what you need?\"\n\nThe clown inspects the skeleton gravely. \"I do believe they'll serve. Where did you - no, don't tell me. I don't want to know. Whoever these belonged to doesn't need them anymore, that's all that matters.\"\n\nHe picks up the skeleton. First he clasps it to him, so that it looks as if he's planning to dance with it. (The music is still oom-pahing away in the background.)  But then he ... it's hard to say exactly what he does with the skeleton. It looks a bit like putting on a pair of pajamas, except sort of inside out. It's as if the pajamas were putting on the person, somehow. First he steps on the skeleton's feet, and somehow the feet are inside his, and then the legs, and then the rest. In a moment the skeleton is entirely gone.\n\nThe clown jumps up in the air and clicks his heels together. \"Oh, I feel wonderful! So much more solid! You've done it - you've brought me everything I need to be a real person. I never doubted you for a moment, you know. I knew you'd do it.\" The clown digs down into one of the capacious pockets in his baggy trousers, produces the gold coin, and solemnly hands it to you. \"You see? I've kept my end of the bargain, haven't I? Spend it wisely, young lady. Now, if you'll forgive me, I really must be going. I've so much to see!\n\n\"Perhaps we'll meet again someday,\" he adds. \"I'd like that. I do hope you'll stay safe until then. The world - what little of it I've seen so far, which is very little indeed - seems quite full of dreadful dangers. I do hope you'll be very careful! Farewell, then.\"\n\nThe clown bows to you, and then turns and walks away with a kind of proud, sauntering stride, the spangly tails of the coat swaying behind him. As he goes, the blobs of color swirling around you begin to dissolve. In a few moments you're back in the upstairs bedroom - and the wall where the clown was painted is blank!\n\nYou rush to the window and look out. A figure is just ducking out of sight around the corner of the house - a figure with red hair and a coat that seems to shimmer in the sun. He turns and waves, and then he's gone.\n\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round.\n\nYou see a straw mat here.\n\nThe merry-go-round continues tinkling its wistful little tune.\n\n> You show the coin to the boys\n\"Hello again,\" you say, trying to sound cheerful. \"I'm back.\"\n\n\"Was she gone?\" the smaller boy says. \"I din't notice.\"\n\nYou hold out the coin. \"I found this. Would you take it as a trade for the compass?\"\n\nBoth boys' eyes widen as they stare at the coin. \"Gotta be a fake,\" the smaller boy says, but the other one nudges him hard and whispers harshly in his ear. You hear the scraps of a few words - \"double eagle\" and \"stole it from Old Beauregard.\"\n\n\"Aw, okay,\" the smaller boy says. \"We'll take it.\" In a moment the deal is done: The boys have the gold coin, and you have the compass.\n\n> You look at the compass\nThe compass is encased in blue plastic, and is about the right size to fit in the palm of your hand. Beneath the clear plastic cover is a round white piece of cardboard lettered with the letters N, E, S, and W. The needle quivers faintly as it points to the N.\n\n> 2\n1. How can I get the telephone to work?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 1\nHow can I get the telephone to work?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nCalling the police would be a wonderful idea in the circumstances. Unfortunately, there's no way to get the telephone to work. [1/1]\n\n[The End]\n\n> 3\n1. So what's the deal with the evil figurines?\n2. How many of the evil figurines are there, and where will I find them?\n3. How can I manipulate the figurines?\n4. What do I need to do with the figurines?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 3\nHow can I manipulate the figurines?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nYou can't touch them yourself. And no one will help you. [1/5]\nHow might you be able to pick them up without touching them? [2/5]\nNo, you have no psychic powers. There are two physical objects that will do the job. [3/5]\nYou can pick up the figurines with either the fire tongs (which are in the living room, standing next to the fireplace) or the shovel. The command 'pick up figurine with tongs' works. When it comes to carrying them around, though.... [4/5]\nThe tongs and shovel can hold only one figurine at a time. You'll find it more convenient to carry them in your suitcase, or in the burlap sack. Putting them in a container has the added advantage that you won't risk anyone seeing you carrying one around. That would almost certainly be fatal. [5/5]\n\n[The End]\n\n> 2\nHow many of the evil figurines are there, and where will I find them?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nEach member of the conspiracy that has gathered at Eternal Springs has a figurine. Not everyone you'll meet is a member of the conspiracy, however. [1/4]\nTalk to the people you meet and observe their behavior. All of the conspirators but one are outsiders - recent arrivals. [2/4]\nTyrone is not part of the group, nor Luisa, nor the farm boys, nor Hank Slocum, nor Lydia. [3/4]\nThat leaves six people (some of whom you may not have met yet) - Beauregard Phelps, Aunt Caroline, David, Honey Hartwell, Reverend Gillespie, and Owens Mackenzie (the man in Cabin Four). The figurines can be distinguished from one another by eye color: one is red, one white, one black, one purple, and so on. [4/4]\n\n[The End]\n\n> 3\n1. So what's the deal with the evil figurines?\n2. How many of the evil figurines are there, and where will I find them?\n3. How can I manipulate the figurines?\n4. What do I need to do with the figurines?\n5. Where will I find Aunt Caroline's figurine?\n6. Where will I find Beauregard's figurine, and how can I get it?\n7. Where will I find David's figurine?\n8. Where will I find Honey Hartwell's figurine, and how can I get it? 9. Where will I find Owens Mackenzie's figurine?\n10. Where will I find Reverend Gillespie's figurine?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 6\nWhere will I find Beauregard's figurine, and how can I get it?\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nBeauregard Phelps's figurine is the only one that's in plain sight. [1/14]\n\nHe owns the house. Where do you suppose he sleeps? [2/14]\n\nThe figurine is in his bedroom (or rather, in the alcove off his bedroom), which is behind the locked door in the upstairs hall. [3/14]\n\nThe hints for getting through the locked door are in a separate list. Once you've accomplished that, you'll find that you have another problem. [4/14]\n\nIn order to acquire the figurine, you need to deal with the flying dagger that's guarding it. [5/14]\n\nIf you try to pick up the figurine (using the method described in a separate set of hints), the dagger will spring to life and get in your way. [6/14]\n\nIt won't actually succeed in cutting you. It's mainly a nuisance. There are two very different ways to deal with it. One is to capture it. [7/14]\n\nYou can't catch the flying dagger with your bare hands. [8/14]\n\nHave you ever seen a knife-throwing exhibition? [9/14]\n\nIf you hold up a piece of wood, the dagger will impale itself and be stuck. [10/14]\n\nThere are two pieces of wood at Eternal Springs that you can use. [11/14]\n\nOne is the bucket. You'll find it near the boat shed. And somewhere or other you might find a loose floorboard. The command HOLD UP BOARD will work when the dagger is flying. [12/14]\n\nIf that's too much trouble, you can use the poker from the fireplace in the living room. [13/14]\n\nSneak up on the dagger. (Each time you leave the alcove it will lie down on the table.)  While it's lying there peacefully, hit it with the poker. That will kill it. Now you can get at the figurine. [14/14]\n\n[The End]\n\n> You go to the south\nThis room has been mostly stripped of furniture. The wood floor is bare, the window uncurtained. A bulky, old-fashioned cradle stands in the center of the room. A metal heating grate is built into the baseboard in the west wall, and there's a small square table in the northeast corner, on which stands an old-fashioned model merry-go-round.\n\nYou see a straw mat here.\n\n> You put the shovel in the grate\n(first taking the old shovel from the burlap sack)\nThe old shovel is too large to fit through the opening.\n\n> You ask Luisa about Jessie\nAs you start to speak, Luisa scowls at you irritably. \"Why don't you go outside and play?\"\n\nLuisa snuffles and wipes her eyes. \"I don't want to talk about that,\" she says hoarsely.\n\n> You go southeast\nThis lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)\n\nTo the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.\n\nA cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.\n\nHoney Hartwell is reclining on the chaise longue, leafing through a magazine.\n\nHoney hums a little off-key tune to herself.\n\n> You take the poker and the tongs\npoker: Taken.\nfire tongs: Taken.\n\n> You hit the dagger with the poker\nYou smite the dagger a mighty blow where it lies with an overhead swing from the poker. The steely clang sounds faintly like a whimper, and the dagger bounces a couple of times and then lies very still.\n\n> You take the figurine with the tongs\nYou pick up the purple-eyed figurine with the fire tongs.\n\n> You put it in sack\n(the purple-eyed figurine)\nDone.\n\n> You take mat\nIf you pick up the mat now, what's on it will slide off. You might try rolling it up.\n\n> Roll mat\nYou roll up the mat, concealing the skeleton.\n\n> You take mat\n(first putting the fire tongs in the burlap sack to make room, then putting the poker in the burlap sack to make room)\nTaken.\n\n> You take the figurine with the tongs\n(first taking the fire tongs from the burlap sack)\nYou pick up the purple-eyed figurine with the fire tongs.\n\n> You put it in the vise\n(the purple-eyed figurine)\n(first opening the vise)\nYou turn the crank, and the jaws of the vise separate.\n\nDone.\n\n> Close vise\nAs you tighten the vise, the figurine begins to writhe. Its tiny arms and legs windmill frantically, its eyes bulge, and a terrible high keening sound escapes from it. You continue, remorseless. A moment later, with a loud crunching noise, the figurine shatters, and some harmless gray dust sifts to the floor.\n\n> You go west\nThe gravel driveway runs behind the big house, which looms over you to the east. At the north end the driveway passes through a high hedge, and at the south it opens out into an area in front of a shack, where a dusty van is parked. A pair of low doors angles out from the foundation of the house at this spot.\n\nYou see a dead possum here.\n\n> You examine the map\nThe piece of paper is creased and dog-eared. One edge is badly charred. The map is crudely drawn. The network of squiggles and scribbled legends seems to show the locations of a number of bayous, islands, and sandbars. Near one edge is an irregular little square marked \"Eternal Springs.\" In another corner is a circle with an arrow pointing upward out of it; the arrow is marked \"N.\"\n\n> You put the compass and the poker in the sack\ncompass: Done.\n\npoker: The poker is already in the burlap sack.\n\n> You show the map to Lydia\n(first taking the map of the swamp from the burlap sack)\nWhen Lydia sees that the map is no longer squirming, she claps her hands. \"Well done! But you still have to find the compass and the key to the boat shed. When you find those, come back here and show them to me, and we'll be ready to go.\"\n\n> You show the compass to Lydia\n(first taking the compass from the burlap sack)\n\"Oh, that's wonderful! I'll bet you sweet-talked those nasty farm boys into giving it to you. Now all you need to do is find the key to the boat shed, and we can go.\"\n\n> You show the key to Lydia\nWhich key do you mean, the shiny key, or the key to Cabin One?\n\n> Shiny\n(first taking the shiny key from the burlap sack)\n\"Oh, that's wonderful! That's the key to the boat shed, isn't it? So you have everything we need, right - the key, the compass, and the map. What are we waiting for? Let's go!\"\n\n> You go west\nLydia walks along beside you. You follow the path westward, back to Eternal Springs.\n\nThe brackish, oily, unpleasant waters of the swamp stretch south from here. Large trees festooned with slimy green creepers stand in the water. To the west is a shed, to the east a path along the shore. The cabins are to the north.\n\nYou find yourself wanting to hurry along, so as not to catch another glimpse, even out of the corner of your eye, of the terrible swamp-thing you saw - or imagined you saw - before.\n\nLydia is standing close by.\n\n> Go west\nLydia walks beside you.\n\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built, and there's a shiny new lock on the door.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\nLydia looks at you expectantly.\n\n> You unlock the door with the shiny key\nUnlocked.\n\n> Go south\n(first opening the boat shed door)\nLydia trails along behind.\n\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia takes a quick look around.\n\n> You close the door\nYou close the boat shed door.\n\nLydia looks around at the interior of the boat shed. \"It's nice and shady in here,\" she says. \"I'm not so used to the bright sunshine. I think it would be safer for me to wait here for you - I mean, if you have to go get anything else before we can leave. Do you think we'll need anything else? I'm trying to think if there's anything.\"\n\n> You lock it\nThat is not something you can lock.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You go to the east\nYou can't go that way. Obvious exits lead north, back to the front of the boat shed; south; and southwest.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You go south\nAs you start in that direction, suddenly both of the boats erupt in boiling gouts of flame. The heat beats against your face, and you cover your face with your hands and stagger backward. Bitter smoke fills your nostrils, and even through your hands and eyelids you can see the seething flames.\n\nBut then the heat is gone, the blood-red light recedes. When you open your eyes, the boats haven't been consumed by fire. They're rocking serenely in the water, just as they were before.\n\nLydia cries out. \"Did you see that? Oh, it's horrible. But I remember now. The same thing happened to me before - the first time I tried to steal a boat, back before they ... did what they did to me. That awful creature is trying everything it can to keep us from getting away.\n\n\"Now be quiet and let me think a minute. It's all so hazy, but I'm trying to remember. Somehow I made the horrid visions stop, so I could get in the boat.\" She fiddles with her hair as she frowns in concentration. \"There was an old man, I remember now. An old colored man. He was very kindly. He ... he gave me a little cloth sack with some dried leaves in it. He told me, 'If you ever get so frightened you can't go another step, chew up one of these, it will give you heart.'\n\n\"I think - I'm not sure, but I think I hid that little sack somewhere around here. Or maybe not here, I don't think they had a shed for the boats then. It might have been in the house.\"\n\nYou tell her you can't imagine a little sack would still be wherever she left it all those years ago. It's bound to be long gone by now. She frowns in exasperation. \"Don't be such a wet blanket. Let me think. I ... that's what it was. I hid in the cellar while they were all running around looking for me. I'm almost sure that's what I did. I found this little cranny I could crawl into, down in the cellar, and that's where I left the sack with the leaves. Well, stop looking at me like that. It won't hurt you to go look, will it? If the sack isn't there, we're as good as dead.\"\n\nYou tell her you'd rather she came with you. She might remember more when she sees the cellar. But she says, \"No, I don't feel safe running all around in broad daylight. You go. They won't think anything if they see you. It's somewhere in the cellar, that's all I know. If it's anywhere, I mean.\"\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> Go north\n(first opening the boat shed door)\n\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built, and there's a shiny new lock on the door.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\n> You go north\nAs you're about to head toward the area at the front of Tyrone's shack, you happen to glance up from your study of the dirt and weeds just in time to notice that Reverend Gillespie and Aunt Caroline are standing in front of the shack with two of the armed men you saw earlier in the temple - or at least, two men who look a lot like them. The men have automatic rifles slung over their shoulders. Gillespie is waving his arms as he talks to them. They haven't looked in this direction yet, but clearly something bad is going on. If they see you (or, worse, Lydia), there's just bound to be big trouble.\n\n> Go east\nWith only a little effort, you're able to shimmy through the window feet-first and thump down on the floor of the bathroom.\n\nThe tiny, cramped bathroom features a narrow shower stall, a minuscule, rust-stained sink above which is a cracked, flyspecked mirror, and a commode. The towels stacked on the rack are thin, frayed at the edges, and probably none too clean. The small square window is open, but it provides no view and not much light either, as a tree has grown up quite close to the outside wall.\n\nThe door to the cabin is in the east wall.\n\n> Hint\n1. General Questions\n2. In the House\n3. The Figurines\n4. Beyond the Stone Slab\n5. The Great Escape\n6. The Endgame\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 6\n1. Okay, I found the tunnel, but it's dark down there, and the flashlight is dead.\n2. Now I'm back in the cellar, but I can't find the thing Lydia sent me for.\n3. How can I open the big door at the south end of the boat shed?\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 1\nOkay, I found the tunnel, but it's dark down there, and the flashlight is dead.\n\nPress the space bar to display the next line, 'P' to go to the previous menu, or 'Q' to quit.\n\nThere are no more batteries for the flashlight. [1/5]\nAnother light source might be found near the entrance to the tunnel. [2/5]\nYou may have looked in the closet in Cabin Four earlier, and found nothing. Look again. [3/5]\n\n> Go south\nThe interior of the closet is a dim and cramped little box. It smells powerfully of mold.\n\nYou see a laptop computer here.\n\n> You turn on the computer\nYou can't see any on/off switch.\n\n> You examine the laptop\nThe miniature laptop is small, flat, rectangular, and pale gray. A little thumb-push thingie at the front of the lid allows it to be opened when it's shut.\n\n> You open it\nYou flip up the laptop's top.\n\n> You turn it on\nYou switch on the laptop. After a moment, its screen begins to emit a cheerful blue glow.\n\n> You look at the beams\nThe beams are holding up the uneven dirt roof of the tunnel.\n\n> You search the clutter\nProwling nervously among the dim and dusty shapes, you spot a darker patch in the wall. At first it seems to be only a shadow, but on closer inspection it turns out to be a hole in the wall that's just about big enough to crawl into. You never would have found it if Lydia hadn't told you to look for it.\n\n> You look\nDeeper in the Cellar (standing in the spooky hole)\nThis side of the cellar is cluttered with large, dusty, cobwebbed objects, which are draped with soiled drop cloths. Most likely it's old furniture, but in the fitful light the clutter is deeply shadowed and rather ominous-looking. A large shipping trunk squats prominently at the front of the jumble of clutter. Though it's difficult to make out in the pervading gloom, there appears to be an even darker patch in the south wall, possibly the opening of a tunnel. The door to the better lit side of the cellar is to the west.\n\n> Search hole\nAs you grope around in the filth, your fingers close on a little cloth pouch!\n\n> You examine the pouch\nThe cloth pouch is small enough to fit in the palm of your hand. There's a drawstring around the mouth, with which the pouch can be opened and closed. It's closed.\n\n> Go outside\n(the spooky hole)\nOkay, you're no longer in the spooky hole.\n\n> Close laptop\nYou snap down the lid of the laptop, and the glow from its screen vanishes.\n\n> Go upwards\n(first trying to open the trapdoor)\nYou hear the voices of several men almost directly overhead. They're arguing with one another. No way are you going to let them know you're down here!\n\n> You open the laptop\nYou flip up the laptop's top, and the cheerful blue glow of the screen shines forth.\n\n> You go south\nGillesipie, your aunt, and the armed men are still standing in front of the shack. They still haven't noticed you lurking here, but it wouldn't be safe to go any further north.\n\n> You go east\n(first opening the door)\nAs you're about to waltz through the door at the top of the stairs, you hear loud voices on the other side - Honey Hartwell, sounding shrill, and the voices of men with Hispanic accents. They're talking about you! \"She stole it and smashed it,\" Honey declares. \"You have to find her before she gets away, or it's all spoiled!\"\n\n> Go south\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\n> You examine the twigs\nThe twigs are scattered in a random pattern.\n\nYour face is itching because of the heat and dust.\n\n> You search the twigs\nThere's nothing unusual in the scatter of twigs.\n\nA snake slithers away into the underbrush.\n\n> You look at the map\nThe piece of paper is creased and dog-eared. One edge is badly charred. The map is crudely drawn. The network of squiggles and scribbled legends seems to show the locations of a number of bayous, islands, and sandbars. Near one edge is an irregular little square marked \"Eternal Springs.\" In another corner is a circle with an arrow pointing upward out of it; the arrow is marked \"N.\"\n\nThe heavy scrawwkkk! of a crow is so loud it makes you jump.\n\n> You take the twigs\nThere's no reason to load yourself down with a mess of dry twigs.\n\nIs it your imagination, or are the thorns larger than they were a minute ago?\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nYou hear rustling, skittering noises in the depths of the thicket.\n\n> You look\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nSomething is crawling on your pants. You brush it off hurriedly.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a teaspoon, a wooden bucket, a juice glass, a pill bottle, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, the key to Cabin One, a screwdriver, a brown envelope, a fishing pole (to which a fish hook has been tied), and a poker), a cigar box, some fire tongs, a map of the swamp, a compass, a shiny key, a laptop computer (providing light), and a little cloth pouch. You're wearing your clothes.\n\nYou're not entirely sure you haven't lost your sense of direction.\n\n> You drop the pill bottle\n(first taking the pill bottle from the burlap sack)\nBetter not drop anything in the thicket. If you do, you may never find it again ... and there's no telling what you might need before the afternoon is over.\n\nYou find yourself wondering whether trying to find a path through the thicket might have been a mistake.\n\n> You listen\nYou hear nothing out of the ordinary.\n\nSomething is crawling in your hair. You brush it off hurriedly.\n\n> You examine the twigs\nThe twigs are scattered in a random pattern.\n\n> Go north\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nA large black fly buzzes straight at your face, then zips away.\n\n> You examine the twigs\nThe twigs are scattered in a random pattern.\n\nIn a faint breath of breeze, the heavier branches of the thicket clack together like dried bones.\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter P.\n\nAs you turn this way and that, searching for the right path, a vicious thorn that you hadn't noticed scrapes your forearm, drawing a bead of blood.\n\n> You examine the twigs\nThe twigs are arranged in the shape of the letter P."
    },
    {
        "text": "> Look around\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\nIn a faint breath of breeze, the heavier branches of the thicket clack together like dried bones.\n\n> You go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nIs it your imagination, or are the thorns larger than they were a minute ago?\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter V.\n\n> You go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nSomething is crawling in your hair. You brush it off hurriedly.\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter R.\n\nYou find yourself wondering whether trying to find a path through the thicket might have been a mistake.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter R.\n\nNarrow, twisting paths lead off in all directions.\n\nA large black fly buzzes straight at your face, then zips away.\n\n> Go east\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\nSomething is crawling on your pants. You brush it off hurriedly.\n\n> You go to the east\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter U.\n\nYou hear rustling, skittering noises in the depths of the thicket.\n\n> You go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a random scatter of dried twigs.\n\nNarrow, twisting paths lead off in all directions.\n\nAs you turn this way and that, searching for the right path, a vicious thorn that you hadn't noticed scrapes your forearm, drawing a bead of blood.\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter W.\n\nYou hear rustling, skittering noises in the depths of the thicket.\n\n> You go to the south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\n> You go east\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter U.\n\nNarrow, twisting paths lead off in all directions.\n\nYour face is itching because of the heat and dust.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter W.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go east\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nThe heavy scrawwkkk! of a crow is so loud it makes you jump.\n\n> Go east\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter W.\n\nNarrow, twisting paths lead off in all directions.\n\nYou're not entirely sure you haven't lost your sense of direction.\n\n> You go to the west\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter U.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go north\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter W.\n\nNarrow, twisting paths lead off in all directions.\n\nA snake slithers away into the underbrush.\n\n> You go southeast\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter W.\n\nNarrow, twisting paths lead off in all directions.\n\nAs you turn this way and that, searching for the right path, a vicious thorn that you hadn't noticed scrapes your forearm, drawing a bead of blood.\n\n> Go southwest\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nYou're not entirely sure you haven't lost your sense of direction.\n\n> Go west\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go north\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go south\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nA snake slithers away into the underbrush.\n\n> You go southeast\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\nA large black fly buzzes straight at your face, then zips away.\n\n> You go to the southeast\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\nThe heavy scrawwkkk! of a crow is so loud it makes you jump.\n\n> Go southwest\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter R.\n\nNarrow, twisting paths lead off in all directions.\n\nSomething is crawling in your hair. You brush it off hurriedly.\n\n> You go to the west\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nIs it your imagination, or are the thorns larger than they were a minute ago?\n\n> You go southwest\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nIn a faint breath of breeze, the heavier branches of the thicket clack together like dried bones.\n\n> You go northeast\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\n> You go northwest\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter W.\n\nNarrow, twisting paths lead off in all directions.\n\nSomething is crawling on your pants. You brush it off hurriedly.\n\n> Go southeast\nYou can't go that way. Obvious exits lead south, east down the road, and west to the road past the farm.\n\n> Go south\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter P.\n\nNarrow, twisting paths lead off in all directions.\n\nYou hear rustling, skittering noises in the depths of the thicket.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter V.\n\nNarrow, twisting paths lead off in all directions.\n\nYour face is itching because of the heat and dust.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter R.\n\nNarrow, twisting paths lead off in all directions.\n\nYou find yourself wondering whether trying to find a path through the thicket might have been a mistake.\n\n> You move the twigs\nNudging the twigs around at random with your toe, you find that you've accidentally formed the shape of the letter Z.\n\n> Go south\nStumbling and squirming among the brambles, you find that you've arrived in....\n\nYou're in the midst of a tangled thicket of thorny bramble-bushes. You have to edge sideways to avoid being impaled on the long, sharp, vicious-looking thorns, and it's hardly possible to stand up straight for fear you'll tangle your hair in them. Littering the ground is a scatter of dried twigs, which have been loosely nudged into a shape that resembles the letter Z.\n\nNarrow, twisting paths lead off in all directions.\n\n> Go south\n(first opening the boat shed door)\n\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia is standing here.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> You show the pouch to Lydia\n\"Oh, you found it! I'm so glad! Are there still any of the leaves in it? They must be all dried up by now. If there are any left, we should each eat one.\"\n\nLydia gnaws on a fingernail.\n\n> You open the pouch\nOpening the little cloth pouch reveals two dry brown leaves.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> You give the leaf to Lydia\n(first taking the dry brown leaf from the little cloth pouch)\nLydia takes the leaf from you gratefully and nibbles at it, then stuffs it into her mouth and chews. \"I haven't had anything to eat in a really long time,\" she says indistinctly. \"This tastes sooo good!\"\n\n> You eat the leaf\n(first taking the dry brown leaf from the little cloth pouch)\nYou cram the leaf into your mouth and chew vigorously, nearly choking on the dry, dusty, bitter taste. You suffer a momentary spasm of fear - you don't really know Lydia at all. What if she's trying to poison you? But it's too late now, and anyway you feel you can trust her.\nYou swallow the last bits and cough to clear your throat.\n\nLydia gazes over at the big engine in the stern of the power boat and purses her lips thoughtfully. \"I'm trying to remember something. Be quiet for a minute. Oh, that's what it was! Listen, listen, this is incredibly important! The first time, all those years ago, when I almost got away, what happened was, they came after me in a motorboat and brought me back, and you know what happened after that. It wasn't this boat, this one is a lot bigger and shinier, but the same thing will happen again if we don't do something.\n\n\"Isn't there anything you can think of? Maybe we could chop a hole in the bottom of it so it would sink.\"\n\nYou tell her you don't have an axe. \"Anyway,\" you add, \"chopping a hole would make a lot of noise. Somebody would be bound to hear.\"\n\n\"Well, there just has to be some way to do it! You're much cleverer than I am. You've got to think.\"\n\n> You look at the boat\nWhich boat do you mean, the power boat, or the rowboat?\n\n> Power boat\nThe power boat is freshly painted red and white, and is about twenty feet long, with a muscular-looking outboard motor mounted at the stern. The boat sits high in the water, its bow pointed south, toward the big door. You could probably scramble up into it from the dock.\n\n> You close the door\nYou close the boat shed door.\n\n> You go south\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia moves out onto the dock beside you and peers curiously into the boats.\n\n> You enter the motor boat\nIn the Boat Shed (standing in the power boat)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. The dock is to the west from here.\n\nThe power boat rocks gently. The controls on the dashboard in front of you are gleaming and incomprehensible. At the rear of the boat is mounted a large outboard motor.\n\nLydia is standing on the dock.\n\n> You look at the motor\nThe outboard motor is as big as a small refrigerator. It's mounted on the rear of the boat (which you have a vague idea is called the stern). On one side of the motor is a round chrome-covered cap about three inches in diameter. If you had to guess, you'd say it's the gas cap.\n\n> You open the gas cap\nYou unscrew the gas cap, revealing a round opening that must be the fuel intake pipe. The gas cap is attached to the motor by a short chain, from which it now dangles.\n\n> You fill bucket\n(first taking the wooden bucket from the burlap sack)\nYou fill the bucket from the swamp.\n\n> You look at the pipe\nThe gas intake pipe is a small round opening that leads down into the innards of the outboard motor. It smells strongly of gasoline.\n\n> You check what you're carrying\nYou are carrying a burlap sack (which contains a teaspoon, a juice glass, some faded photographs, a flashlight, a croquet hoop, a partially crumbled piece of burnt toast, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, the key to Cabin One, a screwdriver, a brown envelope, a fishing pole (to which a fish hook has been tied), and a poker), a cigar box, some fire tongs, a map of the swamp, a compass, a shiny key, a laptop computer (providing light), a little cloth pouch, a pill bottle, and a wooden bucket (which contains some water). You're wearing your clothes.\n\n> You put the toast in the pipe\n(first taking the partially crumbled piece of burnt toast from the burlap sack)\nYou can't put that in the gas intake pipe.\n\n> You put toast in the sack\nWhich sack do you mean, the little cloth pouch, or the burlap sack?\n\n> You search pipe\nThe gas intake pipe seems to be empty.\n\n> You check your inventory\nYou are carrying a burlap sack (which contains a teaspoon, a juice glass, some faded photographs, a flashlight, a croquet hoop, a bad fuse, a sketchbook, a stone bracelet, a gold locket, an old shovel, the key to Cabin One, a screwdriver, a brown envelope, a fishing pole (to which a fish hook has been tied), a poker, and a partially crumbled piece of burnt toast), a cigar box, some fire tongs, a map of the swamp, a compass, a shiny key, a laptop computer (providing light), a little cloth pouch, a pill bottle, and a wooden bucket (which contains some water). You're wearing your clothes.\n\n> You examine the power boat\nThe power boat is freshly painted red and white, and is about twenty feet long, with a muscular-looking outboard motor mounted at the stern. The boat sits high in the water, its bow pointed south, toward the big door. The power boat rocks gently. The controls on the dashboard in front of you are gleaming and incomprehensible. At the rear of the boat is mounted a large outboard motor.\n\n> You look at the controls\nThe dashboard of the power boat looks about as easy to operate as the bridge of the Starship Enterprise. There are more dials and knobs than you can count.\n\n> Go southwest\nYou can't go that way. The only obvious exit leads west, back to the dock.\n\n> Go west\nThe boat sways as you lever yourself up over the side and out onto the dock.\n\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is standing here.\n\n> Go southwest\nYou can't go that way. Obvious exits lead north, to the threshold of the boat shed; east, back to the power boat; and west.\n\n> You enter it\nIn the Boat Shed (in the rowboat)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. The dock is to the east from here.\n\nThe rowboat rocks and sways in a way that makes you feel just slightly ill. The boat has oarlocks on the sides. A pair of oars is lying in the bottom of the boat.\n\nYou see some oars here.\n\nLydia is standing on the dock.\n\nLydia climbs into the rowboat with surprising grace - it rocks only a little - and sits down beside you.\n\n> You examine the oars\nThe oars are lying in the bottom of the boat. They're made of wood, and look pretty much the way you'd expect oars to look.\n\n> Go east\nThe boat sways as you clamber up onto the dock.\n\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\n\"I think I'll stay here and wait,\" Lydia says. \"You won't be too long, will you?\"\n\n> You go to the north\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia is sitting in the rowboat.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> Go north\n(first opening the boat shed door)\n\nA large shed is built out over the waters of the swamp at this spot. The planks of the shed are weathered to a grayish color and the paint is peeling, but the shed looks solidly built, and there's a shiny new lock on the door.\n\nYou can go southwest around the side of the shed, northeast to the area between the cabins, and north or northwest to an open area behind the western row of cabins. The door of the shed is directly to the south, and a stretch of swampy shore lies to the east.\n\n> You look at the stuff\nBits of wood carvings, crumpled junk-food wrappers, small complicated metal gadgets that look like they came from disassembled cars and were disassembled further after they got here - it's all pretty depressing.\n\n> You search the junk\nPoking around in the junk, you spot a length of rubber hose.\n\n> Go south\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia is sitting in the rowboat.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> Go east\nYou can't go that way. Obvious exits lead north, back to the front of the boat shed; south, to the dock; and southwest.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You go southeast\nYou can't go that way. Obvious exits lead north, back to the front of the boat shed; south, to the dock; and southwest.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> You enter the power boat\nThe power boat is too far away.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> Go south\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\n\"There must be a way to open the door so the boats can go in and out,\" Lydia says. \"Can you figure it out?\"\n\n> You go east\nYou scramble up over the side of the big power boat and thump down into it.\n\nIn the Boat Shed (standing in the power boat)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. The dock is to the west from here.\n\nThe power boat rocks gently. The controls on the dashboard in front of you are gleaming and incomprehensible. At the rear of the boat is mounted a large outboard motor.\n\nLydia is sitting in the rowboat.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You put the hose in the pipe\nYou feed one end of the hose down into the gas tank.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> You suck the hose\nYou've never tried to siphon gas from a tank before, but there's a first time for everything. You suck vigorously on the hose and then pull your mouth out of the way. No gas flows forth. You try again, and this time almost get a mouthful of gas. A little splashes on your sneakers before you can stick the hose out over the side of the boat.\n\nGas gurgles out for almost a minute before it stops. With any luck, the tank is now empty, or almost.\n\nLydia gnaws on a fingernail.\n\n> You take the hose\nYou pull the hose out of the gas intake pipe.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> You go west\nThe boat sways as you lever yourself up over the side and out onto the dock.\n\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> You examine the door\nWhich door do you mean, the boat shed door, or the big door?\n\n> Big\nThe big door at the south end of the shed is made of horizontal metal strips, probably aluminum. An overhead track suggests that the door can be rolled up to allow boats to go in and out - and indeed, there's a drum-shaped mechanism at the south end of the catwalk from which a chain extends up and back along the track.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You close the shed door\nThe boat shed door is too far away.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> You go to the north\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia is sitting in the rowboat.\n\n\"There must be a way to open the door so the boats can go in and out,\" Lydia says. \"Can you figure it out?\"\n\n> You close the shed door\nClosed.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You lock it\nThat is not something you can lock.\n\nLydia gnaws on a fingernail.\n\n> You go to the south\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> You look at drum\nThe drum-shaped mechanism is out at the southwest end of the catwalk.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> Go southwest\nYou can't go that way. Obvious exits lead north, back to the threshold of the boat shed; east, to the power boat; and west, to the rowboat.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You look at the big door\nThe big door at the south end of the shed is made of horizontal metal strips, probably aluminum. An overhead track suggests that the door can be rolled up to allow boats to go in and out - and indeed, there's a drum-shaped mechanism at the south end of the catwalk from which a chain extends up and back along the track.\n\n\"There must be a way to open the door so the boats can go in and out,\" Lydia says. \"Can you figure it out?\"\n\n> You examine the mechanism\nThe drum-shaped mechanism is out at the southwest end of the catwalk.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> You go to the southwest\nYou can't go that way. Obvious exits lead north, back to the threshold of the boat shed; east, to the power boat; and west, to the rowboat.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You go to the north\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is closed.\n\nLydia is sitting in the rowboat.\n\nLydia gnaws on a fingernail.\n\n> You go to the southwest\nIn the Boat Shed (standing on the catwalk)\nThe interior of the shed is dimly lighted by sunlight coming in through the single small window set high in the west wall. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Two boats are moored at the dock, but you can't reach them from here. At the south end of the catwalk, near the big door that forms the south wall of the shed, is a large cylindrical mechanism from which a chain runs up toward the roof. The threshold of the shed and the door by which you entered are to the northeast.\n\nLydia is sitting in the rowboat.\n\n\"There must be a way to open the door so the boats can go in and out,\" Lydia says. \"Can you figure it out?\"\n\n> Go south\nYou can't go that way. The only obvious exit leads northeast to the threshold of the boat shed.\n\nLydia gnaws on a fingernail.\n\n> You go to the south-west\nYou can't go that way. The only obvious exit leads northeast to the threshold of the boat shed.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You examine the drum\nThe mechanism is shaped like a large metal drum. A chain extends up from the drum and, by a series of pulleys, back along an overhead track. A small but strong-looking metal tab with a round hole in it extends out from one end of the drum.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> You turn the tab\nThere's no obvious way to do that.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> You put the poker in the hole\n(first putting the fire tongs in the burlap sack to make room, then taking the poker from the burlap sack)\nYou put the poker in the tab.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> You turn the tab\nYou throw your weight against the metal rod. It's quite a job, but as you rotate the drum mechanism the big door groans and bit by bit inches upward. At last it's done - the door is open, revealing the sunlit waters of the swamp!\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You take the poker\nTaken.\n\n\"I hope we're almost ready to go,\" Lydia says. \"What are we waiting for?\"\n\n> You go to the northeast\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. There's also a narrow catwalk that runs along the west wall, to the southwest from where you're standing. At the end of the catwalk is a large cylindrical mechanism from which a chain runs up toward the roof.\n\nTwo boats are tied up here - a small rowboat on the west side of the dock and a much bigger and sleeker power boat on the east side. The far wall of the shed is a large door through which the boats must be meant to pass in and out. At the moment the door is standing wide open.\n\nLydia is sitting in the rowboat.\n\nLydia gnaws on a fingernail.\n\n> Go south\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You go to the east\nYou scramble up over the side of the big power boat and thump down into it.\n\nIn the Boat Shed (standing in the power boat)\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. The dock is to the west from here.\n\nThe power boat rocks gently. The controls on the dashboard in front of you are gleaming and incomprehensible. At the rear of the boat is mounted a large outboard motor.\n\nLydia is sitting in the rowboat.\n\nLydia says, \"I wonder what the world is like now. When we get away, I want you to tell me everything.\"\n\n> You break the controls with the poker\nSmashing the dashboard would almost certainly make too much noise. Someone would be bound to hear you.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> You go west\nThe boat sways as you lever yourself up over the side and out onto the dock.\n\nIn the Boat Shed (standing on the dock)\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. Standing on the dock, you can step into the power boat that's tied up on the east side, or into the rowboat on the west side. The threshold of the shed and the door by which you entered are to the north.\n\nLydia is sitting in the rowboat.\n\nLydia kneels and dips her fingers in the water. \"Ick!\"\n\n> You go west\nYou scramble down into the rowboat, which sways alarmingly but doesn't tip over.\n\nIn the Boat Shed (in the rowboat)\nThe interior of the shed is bathed in shifting light. Watery reflections spill through the big door to the south, which has been raised. Water laps gently against the walls, and there's no floor at all, only a dock that juts out to the south from a narrow platform near the door. The dock is to the east from here.\n\nThe rowboat rocks and sways in a way that makes you feel just slightly ill. The boat has oarlocks on the sides. A pair of oars is lying in the bottom of the boat.\n\nYou see some oars here.\n\nLydia is sitting here.\n\nLydia gazes out the big door at the swamp. \"What a horrible place,\" she says.\n\n> You take the oars\n(first putting the little cloth pouch in the burlap sack to make room, then putting the pill bottle in the burlap sack to make room, then putting the map of the swamp in the burlap sack to make room, then putting the compass in the burlap sack to make room, then putting the shiny key in the burlap sack to make room, then putting the cigar box in the burlap sack to make room, then putting the laptop computer in the burlap sack to make room, then putting the rubber hose in the burlap sack to make room, then putting the poker in the burlap sack to make room)\nTaken.\n\nLydia whispers, \"Hurry, hurry! I thought I heard something!\"\n\n> Row boat\nThere are no oars in the oarlocks.\n\nLydia gazes around nervously at the gloomy interior of the boat shed.\n\n> You put oars in the oarlocks\nDone.\n\nLydia gazes out the big door at the swamp. \"What a horrible place,\" she says.\n\n> You look at the map\nThe piece of paper is creased and dog-eared. One edge is badly charred. The map is crudely drawn. The network of squiggles and scribbled legends seems to show the locations of a number of bayous, islands, and sandbars. Near one edge is an irregular little square marked \"Eternal Springs.\" In another corner is a circle with an arrow pointing upward out of it; the arrow is marked \"N.\"\n\nLydia gnaws on a fingernail.\n\n> Row boat\nAs you work the oars, the rowboat glides out through the big doors into the steaming sunlit swamp. Rowing is hard work, especially when an oar gets caught in an underwater snag, so you and Lydia take turns. Using the map, you're able to find what you hope is the right route among the tricky waterways. You steer a course that should lead to a public boat landing a couple of miles away.\n\nA long time passes, and you worry that you're lost in the swamp, but Lydia keeps saying, \"Don't you dare give up on me! We're almost there.\" The sun sets, turning the sky to blood and then to ash. As the dusk thickens the gnarled trees look more and more sinister - as if they're reaching out to grab you. But then you spy the cheerful glint of lights. The landing dock is just ahead. \"There it is,\" you say, pointing.\n\n\"Yes, yes! See, I told you!\" Lydia hugs you, which causes the boat to rock dangerously, but you're able to avoid capsizing. A few minutes later you climb up on the dock at the landing. Three men are standing there, including, miraculously, one in the uniform of a county sheriff. You babble out your story about being kidnapped and threatened by cultists. The sheriff asks you to slow down, but he seems to take your account seriously.\n\nWhen you mention how Hank was shot, the sheriff nods soberly. \"That's why I'm out here. Stevie Ray here found a body floatin' about an hour ago. Reckon it'll be the fella you're talkin' about. Well, I'll radio this in to headquarters. We'll send some squad cars out there and take 'em all into custody. You say one of 'em's your aunt? That's hard to believe.\"\n\nSuddenly your teeth are chattering. You hug yourself hard, and somebody finds a blanket to wrap around you. \"You can believe it,\" you tell him. \"She brought me down here so they could k-k-kill me.\"\n\nThe sheriff shakes his head sadly. \"What's the world comin' to? You got any other kin?\"\n\nYou tell him no, and add that Lydia doesn't either. You don't feel it's worth mentioning that that's because she died in 1934. If you tell him that part, he'll start thinking you made the whole thing up.\n\n\"Well, all right, then,\" he says. \"You girls hop into my car and I'll take you into town, get you settled with one of the ladies in the department until tomorrow. Get you some supper, too. You look all in.\"\n\nYou stammer your thanks. \"Don't think nothin' of it,\" the sheriff says. \"Everything's gonna be all right now. You'll see.\"\n\nAnd as it turns out, he's absolutely right."
    },
    {
        "text": "[Themes: Mythological, portrait, memorable NPC, surprisingly not pornographic, complex NPC, conversation, unstable truth, strong characterization, gender-neutral protagonist]\n\nYou come around a corner, away from the noise of the opening.\n\nThere is only one exhibit. She stands in the spotlight, with her back to you: a sweep of pale hair on paler skin, a column of emerald silk that ends in a pool at her feet. She might be the model in a perfume ad; the trophy wife at a formal gathering; one of the guests at this very opening, standing on an empty pedestal in some ironic act of artistic deconstruction --\n\nYou hesitate, about to turn away. Her hand balls into a fist.\n\n\"They told me you were coming.\"\n\nUnlit, except for the single spotlight; unfurnished, except for the defining swath of black velvet. And a placard on a little stand.\n\nOn the pedestal is Galatea.\n\n[Author's Note: A conversation with a work of art. \"47. Galatea. White Thasos marble. Non-commissioned work by the late Pygmalion of Cyprus. (The artist has since committed suicide.) Originally not an animate. The waking of this piece from its natural state remains unexplained.\" Takes an ambitious approach to NPC (non-player character) conversation, both in terms of volume (Galatea has many hundreds of things to say) and complexity (she keeps track of the state of conversation and reacts differently according to what has already been said and done).]\n\n> You look at the galatea\nShe is facing away from you. You cannot see her face, only her hair, and the line of her shoulder. It's hard to know what she's looking at -- the velvet backdrop, if she has her eyes open, but there's not much to see in that. Mostly, it is obvious, she is not looking at you.\n\nHer green dress widens out at the knee, falling over the pedestal on which she stands in a way that would probably be very awkward, if she wanted to move.\n\n\"You might try speaking to me,\" she prompts. \"It's not polite merely to stare. And I've gotten very bored, standing here.\"\n\n(An attempt to engage the audience -- the proactive element... you frame the words for your review, but you find that you can't get as far as a complete first sentence. There's something more here; anxious, chilly, visceral. Better pay attention.)\n\n> You talk to her\n(Galatea)\n[To talk to someone, try TELL <person> ABOUT <topic> or ASK <person> ABOUT <topic>.]\n\n> You turn her\n(Galatea)\nYou take her by the elbow and turn her a few degrees towards yourself. She cooperates, but her arm feels stiff under your touch. \"Don't do that again, please,\" she says.\n\n> You ask Galatea about her face\nShe just shrugs.\n\n> You read the placard\nLarge cream letters on a black ground.\n\n47. Galatea\n\nWhite Thasos marble. Non-commissioned work by the late Pygmalion of Cyprus. (The artist has since committed suicide.)\n\nOriginally not an animate. The waking of this piece from its natural state remains unexplained."
    },
    {
        "text": "[Themes: Mythological, unstable truth]\n\n> Look around\nUnlit, except for the single spotlight; unfurnished, except for the defining swath of black velvet. And a placard on a little stand.\n\nOn the pedestal is Galatea.\n\n> You tell Galatea about yourself\nWhere would you begin? And what context would she have for anything you could say? She has had no childhood, no history, no network of passions and friends.The persistent inclination to tell her such things takes you by surprise. Animates are notoriously poor at processing uncontextualized personal information. And you know better than to waste your time.\n\nBut this piece of logic doesn't banish the desire to confide in her.\n\n> Talk animates\nThere are a dozen better people with whom to discuss animate design and critical theory, standing around in the other room.\n\n> Journey\n\"How did you get here from Cyprus?\"\n\n\"Oh, I flew. They had me in a crate -- which was uncomfortable, and cold as well. But that was the only way for them to get me through customs, because of course since I wasn't born anywhere I didn't have a passport. I did my best to look still and motionless when customs checked me. Fortunately they weren't very thorough.\"\n\n> You examine the mouth\nThe expression could best be described as maliciously satisfied.\n\n> You examine the hair\nIt is a pale, Scandinavian blonde, curling just a little beside her face, but elsewhere straight and quite severe.\n\n> You touch the hair\nYou feel too self-conscious to do that; she might not appreciate the gesture.\n\n> You examine the dress\nIf you knew designers, you might recognize it: it looks expensive. A shimmering column from the bodice down to the knee, where it flares to cover the whole base of the pedestal.\n\n> You talk komininsky\nBefore you can tell her anything about animates you're going to have to explain the nature of this exhibit. It's not clear that she understands that point.\n\n> You talk exhibit\n\"You do realize what kind of exhibition this is, right?\" you ask.\n\n\"What kind of exhibition?\" she asks stupidly. \"It's an art exhibition. I'm art.\"\n\n\"It is an artificial-intelligence exhibit. The other displays have artfully designed bodies, yes, but they also have programs to make them speak and think in particular ways. So you see--\"\n\n\"You think that's what I am,\" she says. \"A fake person.\"\n\nYou grin a little apologetically. \"Perhaps you can understand the mistake. Under the circumstances. After all the truth -- as you would have it -- is far stranger.\"\n\n> You talk komininsky\n\"There's a piece by Komininsky in the next room,\" you volunteer. \"Mingling with the guests. He, ah, brought her as his date, actually.\" You and Mike go way back: you've always been fascinated by his genius for subversion.\n\n\"And so...?\" Her eyes meet yours briefly.\n\n\"It means that he can mediate between her and anyone who tries to talk to her. Being able to control the input gives him an unfair advantage. Most of the fun is watching them interact with each other, in fact.\"\n\n\"Bizarre. And he doesn't find it uncomfortable to be romantically involved with a--\"\n\n\"He isn't actually involved with her, naturally. It's a joke. And anyone can see she's not real because she has his signature tattooed across her right shoulderblade.\"\n\n> Step down\n\"Er...?\"\n\n> Down\n\"Why don't you come down from there?\" you ask. \"It can't be comfortable.\"\n\nShe looks at you in surprise. The curtain moves in a slight breeze. \"But I --\" She frowns slightly, evaluating what she was about to say. \"Yes. Yes. After all, why not?\"\n\nCatching up the excess of her gown in one hand, she steps down, ignoring the hand you extend in support.\n\n\"Won't this surprise them,\" she says. \"Did you see him here? The artist? You know what he looks like, don't you?\"\n\n\"I didn't see him,\" you say heavily.\n\n\"Oh.\" She frowns. You open your mouth to speak again, but she outstrips you, hurrying down the hall and into the bright throng. And perhaps she'll be all right...\n\n> You get on the pedestal\n\"Hey,\" you say. \"Trade you places.\"\n\nHer eyes meet yours briefly. \"What?\" she asks, startled.\n\n\"Come on, get down. You can wander around. Talk to people. Look at things.\"\n\nShe just looks at you speculatively, her forehead creased.\n\n\"Very well,\" she says finally. She steps down, and you climb up in her place -- first hanging your jacket strategically over the placard.\n\nWhich is how it comes about that you spend the rest of the night sitting on the pedestal. It's rather amusing, in fact; your long familiarity with animate behavior styles makes it easy to emulate one.\n\nOf course you are a bit piqued by your reviews: \"Supplied only with esoteric data... personable in a self-deprecating way, but unexciting... breaking no important barriers in the development of more human-like animates.\" Damn critics.\n\nFrom the same source, you read that the gallery hired a new assistant. In the photo she's looking severely at the camera, her pure-blonde hair taken up in a French twist.\nIt's already occupied, and there's certainly no room for two. Interesting statement though that might make.\n\n> You kiss her\n(Galatea)\nYou can't really reach at this angle, and she seems disinclined to cooperate.\n\n> Continue\n\"If one of the gods woke you, which one do you suppose it was?\"\n\n\"I've no idea.\"\n\n> Keep going\n\"Well, she sounds like a harmless and pleasant sort.\"\n\nHer eyes meet yours briefly. \"Pleasant and harmless,\" she repeats in a dull voice. \"She's the one who sent Helen to Troy; she's the one who made Zeus chase after all sorts of mortal women, to their disadvantage and Hera's fury. If it weren't for her and her tricks and her cruelty--\"\n\nShe pauses, her eyes flickering up to something behind you. You turn.\n\n\"It is unwise,\" says the newcomer, \"to rail against the gods. Especially against those who have done you favors.\" She walks toward where you are standing: from a distance she looks like one of the gallery owners, but when she is beside you you realize that this is an illusion: close up you notice how tall she is, and how the light seems to follow her of its own accord. There's a smell of something sweet and unfamiliar.\n\nYou move back, nervous. But the goddess seems hardly to notice you. She touches Galatea with one finger and instantly the life is gone from her: there is only a statue on the pedestal, perfect, still.\n\nToo appalled and too miserable to speak, you huddle against the wall. Aphrodite glances once, contemptuously, in your direction, as she goes out.\n\n> Dance\n\"Er...?\"\n\n> You talk placard\n\"The artist,\" you say gently. \"It says on the placard that he has committed suicide.\"\n\nHer eyes meet yours, large and dark. Time passes, but she doesn't move. You are tempted to reach out to her, but the memory of the last time you touched her still leaves you a little embarrassed. As though you'd made it obvious that you weren't thinking of her as an actual person... The intention would be just the opposite now, but the barrier is there. So you just stand there, watching her downcast eyes and wondering whether you were wise to say anything at all. (Though surely she should know?)\n\n\"I don't know,\" she says in a strained voice, \"what I am supposed to do now. I only exist because of him, for his sake--\"\n\nYou bite back a remark on the virtues of modern feminism.\n\n> Turn\n\"Don't like me facing you, now?\" she asks wryly. But she doesn't move.\n\n> You talk yourself\nWhere do you want to start? Your childhood, your family, your job?\n\n> You talk the childhood\nWhich do you mean, the artist's childhood or the childhood?\n\n> You talk job\n\"I'm a critic of artificial intelligence pieces. Animates, they're called. I'm writing a review of the exhibition.\"\n\nShe sighs slightly. \"Ah,\" she says. \"So you could tell immediately that I wasn't like the others --\"\n\nWhen you're silent, she makes a funny gesture with her left hand, as though she's throwing something away. \"Never mind, don't answer that. You know now, which is what matters.\"\n\n> You talk the family\n\"I lived with a bunch of different relatives, growing up: my aunt for a while, and then my grandmother for a long time, but with visits to our uncle in the summers. It was crazy.\"\n\n\"Did you enjoy it?\"\n\nYou become aware, for half a second, of the people waiting for you in the other room. But the thought is easily squashed. \"Yes, actually, I did. It sounds inhuman to say so, but there were actually times when I was glad that my parents had died, because it meant I was free. I didn't belong to any one place. I could go where I wanted.\"\nUtterly against what a child psychologist would predict, and not the kind of admission you ordinarily make...\n\nYou stop, a little flustered. But she listens without prejudice -- perhaps because she's too inexperienced to find this kind of thing trite, or perhaps because what she really understands is how to be still and listen.\n\n> Keep going\nTalking to her is too easy. One thing tumbles out after another -- memories, philosophies, names you haven't spoken for years.\n\nShe sits down on the pedestal, drawing her knees up to her chest. (\"Have you no respect for that gorgeous dress?\" \"None.\") Her bare feet poke out; she's painted the toenails a ruddy shade of bronze, and she studies the effect whenever she isn't looking at you.\n\nEventually she begins to talk too: about her first encounter with a northern rain; the frustration of trying to watch the television in her hotel room...\n\nAnd that's where you find yourselves when the lights blink and the owners come to send everyone home: sitting shoulder to shoulder, shading your eyes from that hard downglare. You stand; a happy exhaustion sets in, so you're too tired to be self-conscious about hugging her goodbye under the skeptical gaze of the caterers."
    },
    {
        "text": "[Themes: Travel, house setting, desert, surreal, atmospheric, gender-neutral protagonist, changing environment, unreliable narrator, horror]\n\nThis room surrounds you with white foam boards, each three metres long and three metres wide. It is rather hot in here.\n\nA panel is located on the south wall.\n\n[Author's Note: A one-room story set in your apartment.]\n\n> About you\nWithout a mirror, you can't get a good look at yourself\n\n> Inventory\nYou are carrying nothing.\n\nYou feel mildly warm.\n\n> You examine panel\nThe panel is small and rectangular, attached firmly to the wall. It has red and blue buttons on it's face.\n\n> You look at red button\nThe red button has an image of a flame on it, as well as being red.\n\nYou start to sweat in the sweltering heat.\n\n> You press the blue button\nAs you push the blue button, sparks fly out, jolting you backwards against the northen wall, knocking you out. The panel may be damaged. You should see if it broke or something.\nWhen you come to, you feel a cool gust of air hitting you in the face. You feel relieved.\n\n> You look at the panel\nThe panel is small and rectangular. It has black burn marks all over it's face. It sticks out a bit from the wall."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, unreliable narrator, house setting, desert]\n\n> You look around\nThis room surrounds you with white foam boards, each three metres long and three metres wide. After enduring the heat earlier, the coolness of the room makes you feel relieved.\n\nA panel is located on the south wall.\n\n> Press panel\nNothing obvious happens.\n\n> You look at the wall\nWhite foam makes up the walls, ceiling and floor.\n\n> You look at the red button\nThe red button has an image of a flame on it, as well as being red.\n\n> You press the red button\nYou give the red button a push, but nothing happens. It could have something to do with the fact that you broke the panel earlier.\n\n> You pull the panel\nYou pry off the panel from the wall to reveal a hole.\n\n> You examine the hole\nWires stick out of this hole, burnt. It must have ceased function when you tried to use it earlier.\n\nIn the small hole is a potato.\n\n> You get the potato\n[Your score has just gone up by fifty points.]\n\n> You examine it\nA brown tuber with spots. You wonder what it is doing here.\n\n> You look in the hole\nThe small hole is empty.\n\n> You get the potato\nYou already have that.\n\n> You eat it\nYou don't know why, but your psyche is preventing you from eating the potato.\n\nThe room starts to rumble. Turbulence, perhaps?\n\nSuddenly, the White Cube you are in vanishes to reveal that you were in the Holodeck all along. You silently curse at whoever it was who put you here, ran the program and turned the safety precautions off. You could have died!\n\nThe walls of this room are filled with a yellow grid on a black background. This room is used to simulate events using holograms. There is a door located north."
    },
    {
        "text": "> Describe the surroundings\nThe walls of this room are filled with a yellow grid on a black background. This room is used to simulate events using holograms. There is a door located north.\n\n> You examine the grid\nThe yellow grid criss-crosses across the whole room. You wonder why they chose such a poor design for this room.\n\n> Inventory\nYou are carrying:\na potato\n\n> Go north\nThis corridor is one of many in the giant maze that is this ship. Red lights are currently blinking, and a concurrent beeping noise sounds. The corridor continues east. The turbolift is located west.\n\n> You look at lights\nRed lights. It must signify something, but you do not know what.\n\n> You go east\nThis corridor, just like the one you were just on earlier, is one of many in the giant maze that is this ship. Red lights are currently blinking, and a concurrent beeping noise sounds. The corridor continues east and west. A set of doors lie north.\n\n> You open the doors\nThe doors on this ship are automatic. They only open while you are walking through it.\n\n> You go to the north\nIt is pitch black. You are likely to be eaten by a grue.\n\nYou remember, however, that the exit is south.\n\n> Go east\nYou navigate the maze of corridors. It's a wonder that you don't bump into anyone.\n\nThis large room is where shuttles are stored, but you can only see a small one here at the moment. The door to enter the room lies north, while a gigantic door is on the wall east. A pile of tools lie discarded in the corner and a lever sticks up from the ground. A power infuser is in the west wall.\n\n> You examine the tools\nA pile of discarded tools. They don't look useful at all.\n\n> You look at the lever\n(Lever)\nA big lever is built into the floor. Why would anyone in their right mind (save for mad scientists) design a room this way?\n\n> You examine the power\nThe power infuser is basically just a charger that can power devices. It resides in a small hole in the western wall.\n\n> You plug the potato in the power\nYou put the potato in the power infuser and it begins its work.\n\nAfter a few moments, the potato catches fire! The fire then slowly sets the rest of the room on fire, and you along with it. You roast in the flames.\n\n> You pull the lever\n(Lever)\nThe giant doors of the shuttle bay open into the deep chill of space. It also sucks all the air out, and you along with it.\n\n> You take the tools\nYou try to pick one up, but find that they are too heavy. What are they made of, ununoctium?\n\n> You examine the Shuttle\nWhich do you mean, shuttle bay door, the giant shuttle bay door or Small Shuttle?\n\n> Small\nThe shuttle seems rather small. You doubt anyone could stand being in there for more than an hour.\n\n> Small\nYou get inside the shuttle.\n\nThe shuttle as small as you had thought it would be. A window looks out into the shuttle bay, while beneath that is a console.\n\n> You look at the console\nA random (or so you think) assortment of buttons, switches and levers. You have no idea what any of them do.\n\n> Exit\nYou get out of the shuttle.\n\nThis large room is where shuttles are stored, but you can only see a small one here at the moment. The door to enter the room lies north, while a gigantic door is on the wall east. A pile of tools lie discarded in the corner and a lever sticks up from the ground. A power infuser is in the west wall."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, horror, surreal, house setting, desert, unreliable narrator]\n\n> Look around\nThis large room is where shuttles are stored, but you can only see a small one here at the moment. The door to enter the room lies north, while a gigantic door is on the wall east. A pile of tools lie discarded in the corner and a lever sticks up from the ground. A power infuser is in the west wall.\n\n> You examine giant\nThis rather large door is used to let shuttles in and out of the ship. It is currently closed.\n\n> Go north\nYou navigate the maze of corridors. It's a wonder that you don't bump into anyone.\n\nThis corridor, just like the one you were just on earlier, is one of many in the giant maze that is this ship. Red lights are currently blinking, and a concurrent beeping noise sounds. The corridor continues east and west. A set of doors lie north.\n\n> You go to the west\nThis corridor is one of many in the giant maze that is this ship. Red lights are currently blinking, and a concurrent beeping noise sounds. The corridor continues east. The turbolift is located west.\n\n> Go west\nTurbolift (on Deck 2)\nThe cylindrical walls of this glorified tuna can of an elevator greet you. You can hear a low humming from the machines that make it work. The door you entered in from is east. You can use the turbolift to go up or down to different decks on the ship.\n\nA lamp lies on the floor. You wonder who left it here.\n\n> You take the lamp\nTaken.\n\n> You look at the lamp\nAn ordinary lamp. Although where you found it raises some questions.\n\nThe lamp is currently switched off.\n\n> You turn on the lamp\nThe lamp fails to light up. Maybe it has no power?\n\n> Go east\nYou navigate the maze of corridors. It's a wonder that you don't bump into anyone.\n\nThis large room is where shuttles are stored, but you can only see a small one here at the moment. The door to enter the room lies north, while a gigantic door is on the wall east. A pile of tools lie discarded in the corner and a lever sticks up from the ground. A power infuser is in the west wall.\n\n> You put the lamp in the power\nYou put the lamp in the power infuser and it begins its work.\n\nAfter a few moments, a light beep sounds. It looks like the lamp is charged!\n\n> Go north\nYou navigate the maze of corridors. It's a wonder that you don't bump into anyone.\n\nThis corridor, just like the one you were just on earlier, is one of many in the giant maze that is this ship. Red lights are currently blinking, and a concurrent beeping noise sounds. The corridor continues east and west. A set of doors lie north.\n\n> Go north\nThe living quarters of a crew member. On the table is a communications device. On the bed is a book. Standing on the floor is a full length mirror. A set of doors lie south, back into the corridors.\n\n> You examine the communications\nThis small, flat, rectangular device has a black sleek exterior and rounded corners. It's face is taken up mostly by a screen. Below the screen is a circular button with a rounded square on it. It appears to be turned off.\n\n> You examine mirror\nYou look into the mirror and realise that...\n\nYou are a potato!\n\nYou explode into a pulp at the realization of this fact.\n\nA voice somewhere says: \"Thanks for playing!\"\n\n*** You have turned into mashed potato ***\n\n> Examine button\nIn that game you scored 50 out of a possible 50, in 75 turns.\n\nWould you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT or UNDO the last command?\n\n> Examine button\nLocated below the screen of the communications device, this circular button has a rounded square on it's face."
    },
    {
        "text": "[Themes: Travel, surreal, gender-neutral protagonist, desert, unreliable narrator, house setting]\n\n> You look at your surroundings\nThe living quarters of a crew member. On the table is a communications device. On the bed is a book. Standing on the floor is a full length mirror. A set of doors lie south, back into the corridors.\n\n> You examine the bed\nA standard-issue bed. It's not as comfortable as what one would have liked, but it'll have to do. A book sits on the bed.\n\n> Go west\nTurbolift (on Deck 2)\nThe cylindrical walls of this glorified tuna can of an elevator greet you. You can hear a low humming from the machines that make it work. The door you entered in from is east. You can use the turbolift to go up or down to different decks on the ship.\n\n> You use the the lamp on the the mirror to reflect the the light in such a the way that the the book is translated intthe potato-speech\nUSE THE LAMP ON THE MIRROR TO REFLECT THE LIGHT IN SUCH A WAY THAT THE BOOK IS TRANSLATED INTO POTATO-SPEECH\n\nI only understood you as far as wanting to use the lamp.\n\n> You look at the mirror\nYou look into the mirror and realise that...\n\nYou are a potato!\n\nYou explode into a pulp at the realization of this fact.\n\nA voice somewhere says: \"Thanks for playing!\"\n\n> You examine the device\nThis small, flat, rectangular device has a black sleek exterior and\n\n> Go north\nrounded corners. It's face is taken up mostly by a screen. Below the screen is a circular button with a rounded square on it. It appears to be turned off.\n\n> You pull the lever then enter the Shuttle\n(Lever)\nThe giant doors of the shuttle bay open into the deep chill of space. It also sucks all the air out, and you along with it.\n\n> Yes\ndebugcheapnitfol quit with exit status: 0\n\nFour rounds have gone by. You and the red robot have remained neck and neck for the lead, with two wins each. The robot that emerges victorious in the fifth round will become Champion of Robotic Boxing, with all the praise and adulation that title implies.\n\nAlso, you get a pretty sweet endorsement deal from a leading gear manufacturer.\n\nThe final round is about to begin. Get out there and win!\n\nAn Interactive Boxing Match\n\nYou are standing in the ring of one of the greatest robot boxing stadiums in the entire world. Thousands of screaming fans have packed the arena to see your match. It's time for the fight to end it all.\n\nThe red robot stares at you intently.\n\n> About yourself\nA few dents and dings from the previous rounds mar your gleaming blue exterior.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You look at Red\nThe red robot is the reigning champ of robotic boxing. No one expected you to hold your own against him, but you're no pushover; you've given him a run for his money.\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You hit red\nYou have to wait for the match to start, or else you'll be disqualified.\n\nThe audience roars with approval.\n\n> You examine the audience\nThe audience is packed into every available seat in the stadium, with plenty more sitting in the aisles. They're watching you intently, and making quite a commotion.\n\nThe bell rings! The match has started!\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> You hit red\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a vicious uppercut on your jaw!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit red\nYou land a spectacular roundhouse on the red robot's jaw!\nThe red robot lands a devastating blow on your jaw!\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> You hit red\nThe red robot parries your blow!\nYou parry the red robot's blow!\n\nThe audience roars with approval.\n\n> You hit red\nYou land a devastating blow on the red robot's jaw!\n\nYou deal the final blow to the red robot, sending his head flying upwards. You wouldn't think it possible if you couldn't hear it, but the crowd begins to cheer even more loudly than before. The red robot's manager looks on in horror, quickly jumping into the ring to push his client's head back into place.\n\nYou're quickly ushered out of the arena and to safety as the fans begin to mob the ring. You're taken to a waiting limo. Your manager is already waiting inside, grinning broadly.\n\n\"Nice work, Blue. I had faith in you the entire time.\" You try to thank him, but he's too excited to listen. \"I just got off the phone with a few contacts of mine -- y'know, in the breakfast gears business and stuff -- and it's lookin' very good for you. I tell you, a match this big, you'll be gettin' the biggest endorsement deal there ever was. We're both going to be rich! Let's go out to celebrate!\"\n\n> Win\nThat's the general idea, yes.\n\nThe audience roars with approval.\n\n> You run\nYou are attached to the floor of the ring. There is no escape for you.\n\nThe crowd screams with pleasure.\n\n> Lose\nYou make only a token effort to defend yourself, allowing the red robot to pop your head up. It may not be a glorious way to go, but it is profitable. Your manager bet a ton of cash on the red robot, and you'll get your share of it, fair and square. There's a nice sprocket you've had your eyes on for a while, maybe a lube job.\n\nOn your way out of the stadium, you are stopped by a small child. \"Why'd you lose, Blue? You never lose like that. You can't have lost like that.\"\n\nYour ears burn with shame. \"Shut up, kid!\" you shout. You run to your waiting limo, and seat yourself. When did it even come to this, you think to yourself. I used to be a champ, and now I'm just trash. You bury your face in your hands and sob.\n\n> You hit the audience\nYou'd better not. Your manager is still making payments on the loan he had to take out to pay the settlement from the last time.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit yourself\nViolence is the answer to this one, but it's best to direct it appropriately.\n\nThe bell rings! The match has started!\n\nThe audience roars with approval.\n\n> Xyzzy\nYou close your eyes in deep concentration and intone the magical word XYZZY...\n\nYou open your eyes and find yourself in a bakery in beautiful Paris! The baker smiles at you and presses something into your palm.\n\n\"Merci,\" you say.\n\n\"De rien,\" the baker replies.\n\nThe spell wears off, and you find yourself back in the boxing ring. The red robot lands a spectacular roundhouse on your jaw!\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> You hit yourself\nViolence is the answer to this one, but it's best to direct it appropriately.\nThe red robot lands a vicious uppercut on your jaw!\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> Inventory\nYou are carrying:\na croissant\nThe red robot lands a vicious uppercut on your jaw!\n\nAs the red robot's fist connects with your face, you feel your head begin to jerk upwards. You don't have long to feel sorry for yourself; you black out shortly afterward.\n\n> You check what you're carrying\nYou are carrying nothing.\n\nThe crowd screams with pleasure.\n\n> Xyzzy\nYou close your eyes in deep concentration and intone the magical word XYZZY...\n\nYou open your eyes and find yourself in a bakery in beautiful Paris! The baker smiles at you and presses something into your palm.\n\n\"Merci,\" you say.\n\n\"De rien,\" the baker replies.\n\nThe spell wears off, and you find yourself back in the boxing ring.\n\nThe audience roars with approval.\n\n> You check your inventory\nYou are carrying:\na croissant\n\nThe audience roars with approval.\n\n> You give the croissant to Red\nHe doesn't want it. Has he no respect for the power of croissant?\n\nThe bell rings! The match has started!\n\nThe crowd screams with pleasure.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You hit the robot\nYou land a vicious uppercut on the red robot's jaw!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> You hit the robot\nYou land a spectacular roundhouse on the red robot's jaw!\n\nYou deal the final blow to the red robot, sending his head flying upwards. You wouldn't think it possible if you couldn't hear it, but the crowd begins to cheer even more loudly than before. The red robot's manager looks on in horror, quickly jumping into the ring to push his client's head back into place.\n\nYou're quickly ushered out of the arena and to safety as the fans begin to mob the ring. You're taken to a waiting limo. Your manager is already waiting inside, grinning broadly.\n\n\"Nice work, Blue. I had faith in you the entire time.\" You try to thank him, but he's too excited to listen. \"I just got off the phone with a few contacts of mine -- y'know, in the breakfast gears business and stuff -- and it's lookin' very good for you. I tell you, a match this big, you'll be gettin' the biggest endorsement deal there ever was. We're both going to be rich! Let's go out to celebrate!\""
    },
    {
        "text": "> Describe the surroundings\nYou are standing in the ring of one of the greatest robot boxing stadiums in the entire world. Thousands of screaming fans have packed the arena to see your match. It's time for the fight to end it all.\n\nThe red robot stares at you intently.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> Continue\nYou are standing in the ring of one of the greatest robot boxing stadiums in the entire world. Thousands of screaming fans have packed the arena to see your match. It's time for the fight to end it all.\n\nThe red robot stares at you intently.\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> You hit red\nYou have to wait for the match to start, or else you'll be disqualified.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> Xyzzy\nYou close your eyes in deep concentration and intone the magical word XYZZY...\n\nYou open your eyes and find yourself in a bakery in beautiful Paris! The baker smiles at you and presses something into your palm.\n\n\"Merci,\" you say.\n\n\"De rien,\" the baker replies.\n\nThe spell wears off, and you find yourself back in the boxing ring.\n\nThe bell rings! The match has started!\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You check what you're carrying\nYou are carrying:\na croissant\nThe red robot lands a devastating blow on your jaw!\n\nThe crowd screams with pleasure.\n\n> You throw the croissant\nYou throw the croissant to a young lady in the audience. She is overcome with joy and begins screaming to her friends about her new treasure.\n\nBeing famous is awesome.\nYou parry the red robot's blow!\n\nThe crowd screams with pleasure.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nYou parry the red robot's blow!\n\nThe crowd screams with pleasure.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a devastating blow on your jaw!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit the robot\nThe red robot parries your blow!\nYou parry the red robot's blow!\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\n\nYou deal the final blow to the red robot, sending his head flying upwards. You wouldn't think it possible if you couldn't hear it, but the crowd begins to cheer even more loudly than before. The red robot's manager looks on in horror, quickly jumping into the ring to push his client's head back into place.\n\nYou're quickly ushered out of the arena and to safety as the fans begin to mob the ring. You're taken to a waiting limo. Your manager is already waiting inside, grinning broadly.\n\n\"Nice work, Blue. I had faith in you the entire time.\" You try to thank him, but he's too excited to listen. \"I just got off the phone with a few contacts of mine -- y'know, in the breakfast gears business and stuff -- and it's lookin' very good for you. I tell you, a match this big, you'll be gettin' the biggest endorsement deal there ever was. We're both going to be rich! Let's go out to celebrate!\"\n\nIn that game you scored 100 out of a possible 100, in 7 turns.\""
    },
    {
        "text": "[Themes: Travel, house setting, atmospheric, gender-neutral protagonist, changing environment, horror]\n\n> You look around\nPlease give one of the answers above.\n\n> Pummel red\nYou have to wait for the match to start, or else you'll be disqualified.\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You wait for a while\nTime passes.\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> Wait\nTime passes.\n\nThe bell rings! The match has started!\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> Pray\nYou fall to your knee-equivalents in prayer. \"O Lord,\" you cry, \"forgive my sins against you, and save my immortal soul.\"\n\nThe red robot, overcome by your faith, falls to the floor as well, his eyes filled with tears. \"This fighting is wrong! Does it not say in Luke 6:29, 'And unto him that smiteth thee on the one cheek offer also the other; and him that taketh away thy cloak forbid not to take thy coat also'?\"\n\nYour faith moves the crowd, who all drop to their knees as well and pray for salvation from Jesus Christ. The show of faith and brotherly love causes you to weep openly. You embrace the red robot. \"Let's go have a Bible study!\" you shout. The crowd roars its agreement.\n\n> Sing\nYou play a MIDI of \"Shave and a Haircut\".\nThe red robot lands a devastating blow on your jaw!\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> Kiss red\nYou think to yourself, this violence is senseless. Why can't blue robot and red robot coexist in harmony? You reach out to embrace your red brother. Unfortunately, it appears he does not share your pacifist views. While you're vulnerable, he pummels you mercilessly.\n\n> You hug robot\nYou think to yourself, this violence is senseless. Why can't blue robot and red robot coexist in harmony? You reach out to embrace your red brother. Unfortunately, it appears he does not share your pacifist views. While you're vulnerable, he pummels you mercilessly.\n\n> Cheat\nDon't get too hasty.\n\nThe audience roars with approval.\n\n> You wait awhile\nTime passes.\n\nThe audience roars with approval.\n\n> You hit yourself\nViolence is the answer to this one, but it's best to direct it appropriately.\n\nThe bell rings! The match has started!\n\nThe crowd screams with pleasure.\n\n> Cheat\nWith a grin, you reach forward and press the red robot's OFF button. You pummel him mercilessly until his head pops up. Your manager assured you that the judges wouldn't be able to tell it from any old knockout, but he was wrong. The judges quickly discover your foul play, and alert the authorities.\n\n> You give up\n(to the red robot)\n(first taking the up above)\nThat isn't available.\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> You throw the match\nYou make only a token effort to defend yourself, allowing the red robot to pop your head up. It may not be a glorious way to go, but it is profitable. Your manager bet a ton of cash on the red robot, and you'll get your share of it, fair and square. There's a nice sprocket you've had your eyes on for a while, maybe a lube job.\n\nOn your way out of the stadium, you are stopped by a small child. \"Why'd you lose, Blue? You never lose like that. You can't have lost like that.\"\n\nYour ears burn with shame. \"Shut up, kid!\" you shout. You run to your waiting limo, and seat yourself. When did it even come to this, you think to yourself. I used to be a champ, and now I'm just trash. You bury your face in your hands and sob.\n\n> You ask Red about Red\nThe red robot ignores you completely. How rude.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You think\nYou analyze the situation, formulating plans of attack and carefully considering any openings the red robot might give you. While you're doing this, the red robot whacks you in the head.\n\n> Sleep\nYou always make sure you're fully charged before a match.\n\nThe crowd screams with pleasure.\n\n> You wake\nThe dreadful truth is, this is not a dream.\n\nThe crowd screams with pleasure.\n\n> You jump\nImpossible. Your legs have no joints.\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> You hit the robot\nYou have to wait for the match to start, or else you'll be disqualified.\n\nThe bell rings! The match has started!\n\nThe audience roars with approval.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a devastating blow on your jaw!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit the robot\nThe red robot parries your blow!\nThe red robot lands a vicious uppercut on your jaw!\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nAs the red robot's fist connects with your face, you feel your head begin to jerk upwards. You don't have long to feel sorry for yourself; you black out shortly afterward.\n\n> You hit the robot\nPlease give one of the answers above.\n\n> You wait\nTime passes.\n\nA woman seated behind you yells, \"Go Blue! Kill that red bastard!\"\n\n> You hit the bell\nLeave the bell alone.\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> Wait\nTime passes.\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You wait\nTime passes.\n\nThe bell rings! The match has started!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit robot\nThe red robot parries your blow!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit the robot\nYou land a spectacular roundhouse on the red robot's jaw!\nYou parry the red robot's blow!\n\nThe audience roars with approval.\n\n> You hit the robot\nYou land a spectacular roundhouse on the red robot's jaw!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nThe audience roars with approval.\n\n> You hit the robot\nThe red robot parries your blow!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nAs the red robot's fist connects with your face, you feel your head begin to jerk upwards. You don't have long to feel sorry for yourself; you black out shortly afterward.\n\n> Xyzzy\nYou close your eyes in deep concentration and intone the magical word XYZZY...\n\nYou open your eyes and find yourself in a bakery in beautiful Paris! The baker smiles at you and presses something into your palm.\n\n\"Merci,\" you say.\n\n\"De rien,\" the baker replies.\n\nThe spell wears off, and you find yourself back in the boxing ring.\n\nThe crowd screams with pleasure.\n\n> You eat croissant\nYou are filled with the terrible power of French baked goods!\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\"\n\n> You wait\nTime passes.\n\nThe crowd holds its breath in anticipation of your next moves.\n\n> You wait for a while\nTime passes.\n\nThe bell rings! The match has started!\n\nThe crowd screams with pleasure.\n\n> You hit the robot\nYou land a vicious uppercut on the red robot's jaw!\nThe red robot lands a spectacular roundhouse on your jaw!\n\nA man in the audience yells, \"Knock his block off, Red!\"\n\n> You hit the robot\nYou land a devastating blow on the red robot's jaw!\nThe red robot lands a devastating blow on your jaw!\n\nA little girl in the front row bellows with rage. \"The robot requires additional pummeling! Continue!\""
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, desert]\n\nOdd, how the light just makes your apartment gloomier. Pre-dawn darkness pools in the corners and around the tops of walls. Your desk lamp glares yellow, but the shadows only draw your eyes and deepen.\n\nNot much of an apartment, no. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nYou are sprawled on the futon, staring up into that gloom. Your eyes feel gritty. But it's too late -- early -- no time left for sleep, anyway. In a few hours your ride will arrive.\n\nOn the desk are your to-do list and a travel book.\n\n> You examine the list\nYou won't accomplish much while slumped on the futon. That's been getting slowly more apparent for hours now.\n\n> You stand\nYou lever yourself upright. Umf. It's amazing how much lack of sleep feels like a hangover, only without the preceding party.\n\n> You examine the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. However, everything seems to have gotten done. The last line reads \"Call taxi\", and it has its checkmark, and here you wait.\n\nCome to think of it, as with a hangover, dehydration is probably the problem. Your mouth is dry wool."
    },
    {
        "text": "[Themes: Travel, house setting, atmospheric]\n\n> You look around\nYou glance around. The desk is, of course, an organized mess; overlapping piles of paper, inches high. The computer is a dusty beige block, several generations out of date, poking up hopefully from among the strata. The lamp hangs over all.\n\nA game-over message is flashing on the screen.\n\nYou see your to-do list and a travel book on the desk.\n\nBehind you, the futon takes up most of the apartment. A second-hand stereo sits on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, atmospheric, unreliable narrator, desert]\n\n> Describe the surroundings\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nOn the counter is a glass.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You examine the glass\nAn ordinary drinking glass.\n\nYou're still feeling thirsty.\n\n> You fill the glass\nYou step out of the kitchen nook, and step into the bathroom nook.\n\nThe faucet rattles, and water dribbles into the glass.\n\n> Drink glass\nYou gulp the water. It feels vaguely astringent in your mouth, unsatisfying. Well, no doubt thirst will be more real after you fly to California --\n\n> You drop the glass\nDropped (in the bathroom nook).\n\n-- Fly? Where did you leave your plane tickets?\n\n> Go outside\nYou step out of the bathroom nook.\n\nYou hate this feeling. It happens all the time. Something safely accomplished, and then pow, you have to worry about it again. Unfair! The tickets must be here somewhere.\n\n> You look at the desk\nThe desk is, of course, an organized mess; overlapping piles of paper, inches high. The computer is a dusty beige block, several generations out of date, poking up hopefully from among the strata. The lamp hangs over all.\n\nA game-over message is flashing on the screen.\n\nYou see your to-do list and a travel book on the desk.\n\n> Search\nWhat do you want to search?\n\n> Desk\nYou sit down at the desk.\n\nYou carefully tilt up piles of paper, trying to avoid an avalanche. Nope. The tickets aren't there.\n\n> Search papers\nYou carefully tilt up piles of paper, trying to avoid an avalanche. The plane tickets still aren't there.\n\n> Search book\nThe Schmendrick's Guide to Desert Camping -- you've been studying it for weeks now. Vast alien reams of information: perspiration rates, sunburn factors, tent guying, and how to make a condensation still out of a trashbag and a tin can. You could probably write the book out longhand from memory; and none of it means a damn thing to you.\n\n(That's why you're going on this trip, after all. It is, of course, the Death Valley Om -- half arts festival, half cult, a week in the deep desert where people show off, have sex, take drugs, and maintain a twenty-four-hour constant OM. Sand, heat, and thousands of throats. A space outside the world; with no dues except that you join in the chant, as much as is in you to chant.)"
    },
    {
        "text": "[Themes: Travel, desert, surreal, gender-neutral protagonist, house setting]\n\n> Look around\nYou glance around. The desk is, of course, an organized mess; overlapping piles of paper, inches high. The computer is a dusty beige block, several generations out of date, poking up hopefully from among the strata. The lamp hangs over all.\n\nA game-over message is flashing on the screen.\n\nYou see your to-do list and a travel book on the desk.\n\nBehind you, the futon takes up most of the apartment. A second-hand stereo sits on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nIn the bathroom nook you can see a glass.\n\n> You search the luggage\nYou stand up.\n\nYou quickly pop open each suitcase and riffle through, trying not to disarrange your tidy packing too badly. Nope. The tickets aren't there.\n\n> You examine the hyacinth\nThis plant is your one claim to actual responsibility. The hyacinth sits by the window, soaking up sunlight (when it's not night) and managing to thrive despite your lack of gardening skill. Although it looks a little parched at the moment.\n\n> You fill it\nThe faucet rattles, and water dribbles into the glass.\n\n> You pour the water on the hyacinth\n(the glassful of water on the hyacinth)\nYou water the plant.\n\n> You examine the hyacinth\nThis plant is your one claim to actual responsibility. The hyacinth sits by the window, soaking up sunlight (when it's not night) and managing to thrive despite your lack of gardening skill.\n\n> You open the shade\nDarkness is already crawling around the edges of the windowshade. You have no desire to look night in the face.\n\n> You look at the shade\nThe shade is a white plastic sheet -- more yellowing, maybe. One of those roller mechanisms that never quite works. The shade is pulled down against the pre-dawn gloom."
    },
    {
        "text": "[Themes: Travel, surreal, house setting, desert, unreliable narrator, gender-neutral protagonist]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You look at the mirror\nThe far side of the mirror is just as shadowy as this one. It's probably meant as commentary; not more space, just more of the same.\n\n> You examine computer\nYou sit down at the desk.\n\nThe computer is years old, and incompatible with just about everything but electricity. You use it for writing -- at least, you try to believe that you do.\n\nThe you-have-died message is blinking morosely at you. You started up Ready, Okay! last night, trying to distract yourself until morning. But you can't get even halfway through without running out of insulin.\n\n> You search the computer\nThe computer is years old, and incompatible with just about everything but electricity. You use it for writing -- at least, you try to believe that you do.\n\nThe you-have-died message is blinking morosely at you. You started up Ready, Okay! last night, trying to distract yourself until morning. But you can't get even halfway through without running out of insulin."
    },
    {
        "text": "[Themes: Travel, house setting, atmospheric]\n\n> You look around\nYou glance around. The desk is, of course, an organized mess; overlapping piles of paper, inches high. The computer is a dusty beige block, several generations out of date, poking up hopefully from among the strata. The lamp hangs over all.\n\nA game-over message is flashing on the screen.\n\nYou see your to-do list and a travel book on the desk.\n\nBehind you, the futon takes up most of the apartment. A second-hand stereo sits on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\n> You enter the closet\nIt's not a walk-in closet. It's barely even a reach-in closet.\n\n> You examine closet\nYou stand up.\n\nThe closet (if you can call it that) is a shallow recess next to the bathroom. Peering into the (ahem) depths, you see an old jacket and a vacuum cleaner.\n\n> You search the closet\nThe closet is a shallow recess next to the bathroom. Peering into the depths, you see an old jacket and a vacuum cleaner.\n\n> You get the vacuum\nTaken. (Awkwardly.)\n\n> You look at vacuum\nThe vacuum cleaner is a \"luggable\" model -- meaning that it's awkward to carry, but too small to be really efficient. Fortunately, you don't generate a lot of dust.\n\n> You turn on the vacuum\nYou squeeze the handle, and the vacuum cleaner begins humming industriously. You run it back and forth on the floor for a few moments. It doesn't make much difference, but you feel tidy."
    },
    {
        "text": "[Themes: Travel, surreal, house setting, desert, unreliable narrator, gender-neutral protagonist]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You look at the futon\nThe futon is definitely on the downhill side of life's rolling knolls. It serves as both couch and bed, if inadequately in each case, which makes it the most important piece of furniture you own.\n\n> You look under the futon\nYou bend down, and see dust and assorted minor trash under the futon. Nothing unusual.\n\n> You examine the cardboard\nThe crate your computer arrived in. It's dented and disreputable now, but still serves the time-honored purpose of holding your stereo up.\n\n> You search the bathroom\nThe bathroom alcove has a toilet, a sink, and a shower stall that manages to make the rest of the place look roomy. Not much else; most of your accoutrements have been packed.\n\n> You search the kitchen\nThe kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\n> You examine the stereo\nThe stereo is old, dating from the era when matte-black, featureless, and opaque were the watchwords of hipness. It still works, however.\n\n> You turn on the stereo\nThe stereo buzzes, hunts, and then locates its station. Ah, your favorite small-time indy worldbeat/techno station. At least you think that's what they call it. It's a pretty stream-of-consciousness format.\n\nThe room fills with the sound of a reggae-electronic song.\n\n> You listen\nYou are listening to a reggae-electronic song."
    },
    {
        "text": "[Themes: Travel, house setting, atmospheric]\n\n> You look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nThe radio begins playing an Austro-Japanese tune.\n\n> About yourself\nYou're you.\n\n> You look at what you're carrying with you\nYou are carrying a vacuum cleaner and a glass.\n\n> You enter the kitchen\nYou step into the kitchen nook.\n\nThe radio begins playing an Austro-Maori song.\n\n> You open the cupboard\nYou open the cupboard, revealing a box of crackers.\n\n> You get the box\nTaken.\n\n> Search box\nThe box is closed.\n\n> Search counter\nThe counter is bare.\n\nThe radio begins playing an Austro-Dominican chant.\n\n> You search the kitchen\nThe kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare.\n\n> You examine the refrigerator\nIt's yellow. Beyond that, it looks like every other refrigerator in the United States.\n\n> You open the refrigerator\nYou open the refrigerator, revealing a jar of peanut butter.\n\n> You examine the stove\nThe usual electric range arrangement. Weirdly, there is no oven in your kitchen. You don't know what lurks in the space beneath the stove. You've been afraid to pry -- the stove might turn out to be powered by radioactive decay, or something.\n\n> You look under the stove\nYou find nothing of interest.\n\nThe radio begins playing a Franco-Javanese tune.\n\n> You pull the stove\nYou are unable to.\n\nThe fridge door swings shut.\n\n> You examine the stove\nThe usual electric range arrangement."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, changing environment]\n\n> You look at your surroundings\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book."
    },
    {
        "text": "[Themes: Travel, changing environment, atmospheric, desert, horror, unreliable narrator]\n\n> You look around\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nThe radio begins playing a Franco-Estonian song.\n\n> You examine the sink\n(the kitchen sink)\nThe kitchen sink is spotless. Not through any virtue of yours, mind you, except for your inability to cook."
    },
    {
        "text": "> You look in the sink\n(the kitchen sink)\nYou find nothing of interest.\n\n> You open the door\nYou step out of the kitchen nook.\n\nThe sun hasn't risen; what light you have would just leak out into the night. Anyway, the taxi hasn't arrived, so there's nowhere to go.\n\n> You look at the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. There, near the bottom; \"Buy plane tickets\", and a checkmark. So where did you leave them? The desk? Your coat pocket? Could they have gotten packed accidentally?\n\n> Search jacket\nYou stand up.\n\nYou root through the jacket's myriad pockets. Nope. The tickets aren't -- Aha. They are, after all. The tickets slide to the floor and lie there, smirking at you.\n\nThe radio begins playing a Hispano-Maori song.\n\n> You get the tickets\nTaken. Something scrapes underfoot as you bend to pick the tickets up."
    },
    {
        "text": "[Themes: Travel, changing environment, surreal, unreliable narrator, horror]\n\n> Describe the surroundings\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see a trace of sand here.\n\nThe sound of a helicopter comes faintly through the closed window.\n\n> You examine the sand\nA trace of sand is visible on the living room floor.\n\n> You get the sand\nYou scrape up a pinch of sand. It runs through your fingers; it's sand.\n\nThe radio begins playing a Franco-Slavic lullaby.\n\nThe helicopter is getting closer.\n\n> You look at the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. Huh. \"Vacuum\" is checked; you remember doing it. But look at this floor.\n\n> You look at what you're carrying with you\nYou are carrying some plane tickets, a jar of peanut butter, a box of crackers, a vacuum cleaner and a glass.\n\nThe sound of the helicopter is fading now.\n\n> You stand\nYou stand up.\n\n> You turn on cleaner\nYou squeeze the handle, and the vacuum cleaner begins humming industriously. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\nYou can barely hear the helicopter any more.\n\n> You examine the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. Huh. \"Vacuum\" is checked; you remember doing it. But look at this floor.\n\nThe radio begins playing a Filipo-Atlantean (?) song.\n\n> You turn on cleaner\nYou squeeze the handle, and the vacuum cleaner begins humming industriously. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\n> You get the sand\nYou pick up a pinch of sand. It runs through your fingers; it's sand."
    },
    {
        "text": "[Themes: Travel, atmospheric, unreliable narrator, desert, gender-neutral protagonist, house setting]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see some sand here.\n\n> Clean sand\nJust \"clean\". When you clean, it's pretty much cleaning the whole area.\n\n> Clean\nYou squeeze the handle, and the vacuum cleaner begins humming, albeit with a bit of a whine. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\nThe radio begins playing an Austro-Korean tune.\n\n> You look at cleaner\nThe vacuum cleaner is a \"luggable\" model -- meaning that it's awkward to carry, but too small to be really efficient. Fortunately, you don't generate a lot of dust.\n\n> You turn off cleaner\nThis vacuum cleaner turns itself off automatically.\n\nThe radio begins playing a vibrant Javanese chant."
    },
    {
        "text": "[Themes: Travel, atmospheric, unreliable narrator, desert, gender-neutral protagonist, house setting]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see some sand here.\n\n> You look at the floor\nIt's a bit sandy.\n\n> Clean\nYou squeeze the handle, and the vacuum cleaner begins humming, albeit with a bit of a whine. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\nThe radio begins playing a soothing Hmong song.\n\n> You look at cleaner\nThe vacuum cleaner is a \"luggable\" model -- meaning that it's awkward to carry, but too small to be really efficient. Fortunately, you don't generate a lot of dust.\n\n> You open the cleaner\nYou pop open the vacuum cleaner's casing. Sand spills out -- all over the floor. What the hell?\n\nThe stereo clicks as a soothing Hmong song ends and the hourly news comes on. What? Morning must have arrived, although the world outside is still dark. The taxi should be showing up soon.\n\n> Close cleaner\nYou try to close the casing, but sand has worked into the joints. You can't get it fully closed, even when you whack it.\n\n\"More allegations of campaign finance misconduct...\" (Oh, fascinating news day.)\n\n> Clean\nThe vacuum cleaner can't be started while it's open. Not that it looks likely to work in any case, now.\n\n\"Sharp words between the superpowers today...\" (Huh? There are still superpowers?)\n\n> You examine the cleaner\nThe vacuum cleaner's innards are packed with sand. You can't imagine how it got that way.\n\n\"Three people reported missing at the Death Valley Om in California...\" (Hang on.) \"The popular desert arts festival was shaken yesterday when three attendees failed to return from moonlight hikes. State police are searching the area.\" (You resolve to read that desert camping book one more time.)\n\n> Clean cleaner\nJust \"clean\". When you clean, it's pretty much cleaning the whole area.\n\n> You examine the cleaner\nThe vacuum cleaner's innards are packed with sand.\n\nIt must be morning, after all -- your metabolism is starting to ratchet up to daytime levels.\n\n\"In the business pages, stocks are down...\" (You once again lose interest.)"
    },
    {
        "text": "[Themes: Travel, atmospheric, desert]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see a thin layer of sand here.\n\nYou're definitely getting hungry.\n\n\"And that's, um... far out. Back to the groove, folks,\" and a soothing Dominican tune begins.\n\n> You look at what you're carrying with you\nYou are carrying some plane tickets, a jar of peanut butter, a box of crackers, a vacuum cleaner and a glass.\n\n> You open the box\nYou pull on the box top. It's stuck, somehow. You yank --\n\nThe top tears away, and white sand sprays out of the box.\n\n> You open jar\nYou unscrew the lid... with an unexpected grating sound. Something sifts to the floor.\n\nThe peanut butter jar is full of sand.\n\nThis is getting to be too much. You consider which of your friends might have snuck in here and set all of this up. No... mmm... nobody, really."
    },
    {
        "text": "> Look around\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see an inch of sand lying in the living room.\n\nThe radio begins playing an Indo-Andean chant.\n\n> You open the refrigerator\nYou open the refrigerator.\n\n> You look at the refrigerator\nIt's yellow. Beyond that, it looks like every other refrigerator in the United States. The fridge is open but empty."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, house setting, atmospheric]\n\n> You look around\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare. The fridge is open but empty.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see an inch of sand lying in the living room.\n\n> You examine the spider\nThis plant is your one claim to actual responsibility. The spider plant sits by the window, soaking up sunlight (when it's not night) and managing to thrive despite your lack of gardening skill. Although it looks very dry.\n\nThe radio begins playing a thumping Nigerian tune.\n\nThe fridge door swings shut.\n\n> You examine the list\nYou step out of the kitchen nook, and sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. Dammit, yet another item you missed -- you have to water the plant.\n\n> You fill the glass\nWith an eerie hiss, dry white sand boils from the faucet. You yank at the tap, but the bathroom sink is already full, and sand spilling on the floor."
    },
    {
        "text": "[Themes: Travel, changing environment, gender-neutral protagonist]\n\n> Look around\nYou survey your one small room. The bathroom alcove has a toilet, a sink, and a shower stall that manages to make the rest of the place look roomy. Not much else; most of your accoutrements have been packed.\n\nYou see a trace of sand lying here.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The kitchen alcove is across from you, and the closet just to one side. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see an inch of sand lying in the living room.\n\n> You look at the shower\nThe shower stall is a familiar symphony in pinkish-grey tile and grunge. Well, more of a solo. A short solo.\n\nThe radio begins playing a haunting Andean song.\n\n> You open the shower\nThe shower curtain has become a daily ritual of annoyance. It's too small. It cannot, no matter how you tug at it, actually cover the shower stall. You've managed to arrange the curtain so that the minimal amount of water splashes onto the bathroom floor when you shower, and that's where you leave it."
    },
    {
        "text": "[Themes: Travel, unreliable narrator, horror]\n\n> You look in the shower\nThe shower stall is a familiar symphony in pinkish-grey tile and grunge. Well, more of a solo. A short solo.\n\n> You turn on the shower\nYou turn the tap... and nothing happens. Hmm. The shower was working last night. You knew the pipes in your apartment were unreliable, but this is worse than usual.\n\n> You fill the glass\nYou scoop up a glassful of sand.\n\nThe radio mumbles, \"This is, um, one-oh-three... kay-tee-oh-whoa... your source for interworldbeat...\" You can practically hear the bong gurgling in the background. After a moment, a haunting Hmong melody begins playing.\n\n> You pour the sand on the spider\nWhich do you mean, the sand on the living room floor, the sand on the bathroom floor, the sand in the bathroom sink, the jarful of sand, the boxful of sand or the glassful of sand?\n\n> You examine the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- clean out closet\n- buy stereo stand\n- don't leave stove on\n\n> You clean out the closet\nJust \"clean\". And the parser apologizes for not being smarter about this.\n\n> Clean closet\nJust \"clean\". When you clean, it's pretty much cleaning the whole area.\n\n> Close cleaner\nYou try to close the casing, but sand has worked into the joints. You can't get it fully closed, even when you whack it.\n\nThe radio begins playing a Balto-Andean tune.\n\n> You turn on the stove\nYou turn the knob -- click. Then the stove emits a loud crackle. The burner frosts white, although you can feel the heat radiating from it; bits of its substance seem to be flaking away. Thermal shock? you have time to think. And then the entire burner arrangement slumps into white sand, which runs down off the stove."
    },
    {
        "text": "[Themes: Travel, horror]\n\n> You look at your surroundings\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open and bare.\n\nYou see a trace of sand lying here.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The bathroom alcove is across from you, and the closet next to it. The stereo sits on a cardboard crate. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see an inch of sand lying in the living room.\n\n> Go outside\nYou step out of the kitchen nook.\n\nThe radio begins playing a Hispano-Korean chant.\n\n> You turn on computer\nYou sit down at the desk.\n\nThe computer is already on.\n\n> You examine computer\nThe computer is years old, and incompatible with just about everything but electricity. You use it for writing -- at least, you try to believe that you do.\n\nThe you-have-died message is blinking morosely at you. You started up Ready, Okay! last night, trying to distract yourself until morning. But you can't get even halfway through without running out of insulin.\n\n> You type on the computer\nYou've tried everything you can think of twice, and you're tired of trying. Maybe an idea will come to you later.\n\n> You look at the list\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- clean out closet\n- buy stereo stand\n\nThe radio begins playing an Antarcto-Japanese melody.\n\n> You enter the closet\nThe closet is closed.\n\n> You open the closet\nYou stand up.\n\nYou reach for the knob; then hesitate; then reach again.\n\nYou might as well not have bothered. The closet door bursts off its hinges before you can touch it. You leap back, barely avoiding the cracking plywood as it smashes to the floor, buried in the torrent of sand that is pouring out of the closet.\n\nAfter a few seconds, the room is still again."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, horror, atmospheric, desert, unreliable narrator]\n\n> You look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see inches of sand here.\n\nIn the kitchen nook you can see a trace of sand.\n\nIn the bathroom nook you can see a trace of sand."
    },
    {
        "text": "> You look in the closet\nThe closet is a shallow recess next to the bathroom. Peering into the depths, you see deep-drifted sand, and also an old jacket.\n\nThe radio begins playing an angry electronic melody.\n\n> You look at the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- buy stereo stand\n- pack clean socks\n\n> You stand\nYou stand up.\n\n> You search the closet\nThe closet is a shallow recess next to the bathroom. Peering into the depths, you see deep-drifted sand, and also an old jacket.\n\nThe radio begins playing a Filipo-Shaker song.\n\n> Open luggage\nYou grab a suitcase handle -- which crumbles dryly in your grip. In seconds and in silence, the whole row of suitcases and duffels has collapsed to white sand on the living room floor."
    },
    {
        "text": "> You look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nA potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see ankle-deep sand here.\n\nIn the kitchen nook you can see a trace of sand.\n\nIn the bathroom nook you can see a trace of sand.\n\n> Examine book\nYou sit down at the desk.\n\nThe Schmendrick's Guide to the Desert -- you've been studying it for what seems like forever. Endless miles of information: colors of silence, sounds of heat and sunlight, the feel of vast distances on your skin, and death. It sounds beautiful.\n\n> You examine the list\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- buy stereo stand\n\n> You examine the cardboard\nThe crate your computer arrived in. It's dented and disreputable now, but still serves the time-honored purpose of holding your stereo up.\n\nThe radio begins playing a rhythmic Maori tune.\n\n> You get the cardboard\nYou barely touch it, and the heavy cardboard abruptly tears. Sand pours out across the living room floor. The stereo sags; in moments, the crate is reduced to paper rags, which are immediately buried in the sand."
    },
    {
        "text": "> You look around\nYou glance around. The desk is, of course, an organized mess; overlapping piles of paper, inches high. The computer is a dusty beige block, several generations out of date, poking up hopefully from among the strata. The lamp hangs over all.\n\nA game-over message is flashing on the screen.\n\nYou see your to-do list and a travel book on the desk.\n\nBehind you, the futon takes up most of the apartment. A second-hand stereo sits on the sandy floor. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nA potted spider plant sits beneath the window.\n\nYou can see hills of sand lying on the floor.\n\nIn the kitchen nook you can see a trace of sand.\n\nIn the bathroom nook you can see a trace of sand.\n\n> You look at the list\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- defrost refrigerator\n- unclog shower drain\n- flush notes down toilet\n\n> You open the refrigerator\nYou pull open the refrigerator, and try not to flinch as a wall of sand rushes out and buries your feet.\n\nThe radio begins playing an Antarcto-Shaker fugue.\n\n> You open the shower\nThe shower curtain has become a daily ritual of annoyance. It's too small. It cannot, no matter how you tug at it, actually cover the shower stall. You've managed to arrange the curtain so that the minimal amount of water splashes onto the bathroom floor when you shower, and that's where you leave it.\n\n> You touch the shower\nYou feel nothing unexpected.\n\nThe radio begins playing an Antarcto-Shaker melody.\n\n> Flush toilet\nThe toilet? Yes, it's the toilet's turn! You press the handle, grinning maniacally. And indeed, the sand rushes down the sides of the bowl; the shining porcelain itself crazes, cracks, and veils to the bathroom floor. The toilet is a pedestal, a stump, a mere pile of sand. Gone.\n\n> You turn on the shower\nYou turn the tap, and -- no surprise now -- dry sand floods from the showerhead. Shielding your eyes from the spray, you reach to turn the tap back off.\n\nA creaking from above warns you. You leap back as the plaster cracks overhead, and whiteness roars down.\n\nWhen silence returns, the entire far end of the bathroom is a blank slope of sand.\n\nA faint creaking comes from the bathroom ceiling.\n\n> Leave\nYou step out of the bathroom nook.\n\nWith a muffled crack the bathroom ceiling gives way. Broken plaster and rusty pipes tumble down as you stare. And down comes the sand, a dry white rushing river, hissing, shrieking. In moments the bathroom is lost to your sight.\n\n> You look at the list\nYou sit down at the desk.\n\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. In the middle of the page, you see:\n- remove package from kitchen storage\n- find notes for IFComp entry\n\n> You open the cupboard\nThat's already open.\n\nThe radio begins playing a haunting Maori lullaby.\n\n> You close the cupboard\nThe cabinet and counter start to groan as soon as you touch them. You slam the cabinet for good measure; and the stained pressboard crackles white, shivers, and explodes into sand. All right!\n\nA faint creaking comes from the kitchen ceiling."
    },
    {
        "text": "[Themes: Travel, horror, changing environment]\n\n> Look around\nYou survey your one small room. The kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them.\n\nSand spills from the open refrigerator.\n\nYou see some sand lying here.\n\nThe rest of the place is mostly filled by your futon, and the computer desk in the corner. The closet is across from you. The stereo sits on the sandy floor. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nA potted palm plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see hills of sand lying in the living room.\n\nWith a muffled crack the kitchen ceiling gives way. Broken plaster and rotten lath tumble down as you leap aside. And they, of course, are followed by sand, white sand, rivers of sand. In moments the kitchen alcove is lost to your sight.\n\n> Search desk\nYou sit down at the desk.\n\nYou carefully tilt up piles of paper, trying to avoid an avalanche. Yes, sand is scattered beneath.\n\nCarefully? You shove a paper-stack off the desk; it's a shower of sand before it hits the ground. Ha! You push another, and another, and then sweep the whole mass over the edge. White sand cascades everywhere. Laughing, you feel the desk itself give way.\n\nPop. Oops. That was the light bulb imploding. The apartment is very dark and quiet of a sudden."
    },
    {
        "text": "[Themes: Travel, surreal, horror, atmospheric]\n\n> Describe the surroundings\nYou survey your one small room. Your futon. Second-hand stereo. A closet to one side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe room is very dim, now. Blackness creeps around the windowshade.\n\nThe computer has survived somehow, and lies in a pile of sand. A potted palm plant sits beneath the window.\n\nYou can see a travel book, your to-do list and hills of sand here.\n\n> You look at the list\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. At the very bottom of the page, you see:\n- call taxi\n- wait for taxi\n- look, make sure it's actually taxi before opening door\n(That last entry in a hasty, nervous script.)\n\nYou hear a car approaching outside.\n\nThe radio begins playing a reggae-Manx melody.\n\n> You open the shade\nAnd if you see no taxi outside? What then? ...but the angry honking comes again. You yank hard on the windowshade, and it whips up as violently.\n\nBlazing daylight floods the room."
    },
    {
        "text": "> You look around\nSunlight cuts across the room like hot butter, blazing from the window. The room is nearly barren now; walls and ceiling are blank, but for the window, the closed front door, and the full-length mirror across from them.\n\nThe futon sits alone in the center of the room. Next to it, askew on a pile of sand, rests the faithful old stereo.\n\nThe computer has survived somehow, and lies in a pile of sand. A potted cactus sits beneath the window.\n\nYou can see a travel book, your to-do list and hills of sand here."
    },
    {
        "text": "> You look through the window\nOutside, dunes roll away to the rising sun. Nothing else is visible. Only the sunlight that burns you, full in the face. And sand.\n\n> You look at the list\nThe task list for your impending journey is a mess of crossed-out items and scribbled corrections. It is entirely illegible.\n\n> Wait\nTime passes.\n\nThe radio begins playing an Antarcto-Hmong song.\n\n> Wait\nTime passes.\n\n> You touch mirror\nYou look into the mirror. The far side is just as bright as this one. With the sunlight behind you, only your own face is in shadow -- the walls, the door, your furniture, are all full-lit. Beyond your reflection and the window-frame, the street outside, the houses and trees, are all --\n\nThe street outside?\n\nYou spin around.\nOdd, how the sunlight just makes your apartment more prosaic.\n\nNot much of an apartment, no. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is up, and the front door wide open.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You open the door\nYou take a step across the room, but a quick movement distracts you. Something scurried along the wall? You can't see it any more."
    },
    {
        "text": "[Themes: Travel, unreliable narrator, desert, changing environment, surreal, atmospheric]\n\n> You look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is up, and the front door wide open.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You enter kitchen\nYou move towards the kitchen nook but feel suddenly dizzy. Dehydration, probably.\n\n> You sit\n(on top of the futon)\nYou reach out and touch your hand to the futon. It feels like glass.\n\nThe reflection shimmers like water, but the mirror is only heat -- pooling among the dunes, rising from the sands.\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nYour futon sits nearby. The stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nClick. The stereo is playing \"Cool, Clear Water\"."
    },
    {
        "text": "[Themes: Travel, changing environment, unreliable narrator, atmospheric]\n\n> You look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nYour futon sits nearby. The stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\n> Examine book\nThe Desert Elemental's Handbook -- you've been studying it for ages. Trace moisture segregation, arthropod ecocycles, sand/grit/fines sizing distributions. And, of course, the artistic aspects of heat, time, distance, and death.\n\nYou're especially fond of an essay on bones.\n\n> About yourself\nYou're you.\n\nYou catch a darting movement past your feet.\n\n> You examine sand\nIt's exactly like all the sand you've ever seen before.\n\nClick. The stereo is playing \"Gotta Stop on the Road for Water\"."
    },
    {
        "text": "[Themes: Travel, atmospheric, gender-neutral protagonist, house setting, desert]\n\n> You look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nYour futon sits nearby. The stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nSomething moves beneath the computer.\n\n> You examine computer\nThe game's opening sits neatly at the top of the screen, followed by a command prompt.\n\n> You play the game\nYou crouch in the sand and play through the computer game again.\n\n> You look at the computer\nThe game's closing message blinks at the bottom of the screen.\n\nClick. The stereo is playing \"Water From Another Time\".\n\n> You look at the futon\nThe futon is definitely on the downhill side of the dunes. The frame is half-buried and a few lines of sand trickle down the sheet-wrinkles, but it's the same old futon in the end.\n\n> You sit\n(on top of your futon)\nYou sit down, and find yourself seated on bare sand. The futon has disintegrated without a sound or a final word.\n\nYou catch a darting movement past your feet.\n\n> Go north\nYou pace around for a while.\n\nSomething moves beneath the stereo.\n\n> You look under the stereo\nYou catch a glimpse of two tiny eyes, shining out from beneath the stereo.\n\nClick. The stereo is playing \"Sun Gets In My Eyes\".\n\n> You get the stereo\nThat's hardly portable.\n\n> You pull the stereo\nYou are unable to.\n\n> You sit\n(on top of the travel book)\nThat's not something you can sit down on.\n\nSomething moves beneath the computer.\n\n> You look under the computer\nYou catch a glimpse of two tiny eyes, shining out from beneath the computer.\n\nYou catch a darting movement past your feet.\n\nClick. The stereo is playing \"You Listenin' To Me?\".\n\n> You examine the stereo\nThe stereo is old, dating from the era when matte-black, featureless, and opaque were the watchwords of hipness. Now it sits on a pile of sand and looks lost.... \"You Listenin' To Me?\" is playing.\n\n> You look at the sand\nIt's exactly like all the sand you've ever seen before.\n\n> Clean\nNo cleaning implement is in sight.\n\n> You look at what you're carrying with you\nYou are carrying nothing.\n\nClick. The stereo is playing \"Ain't Gonna Make It\"."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, house setting, atmospheric, desert]\n\n> Look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nThe stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\n> You look at the shade\nThe shadows shrink as you watch. The dunes aren't high here, and the sun is rising fast.\n\nYou catch a darting movement past your feet.\n\n> You look at the shade\nThe shadows shrink as you watch. The dunes aren't high here, and the sun is rising fast.\n\nClick. The stereo is playing \"Projection Of Your Fears\".\n\n> You look at the Sun\nFusing hydrogen. Deathly, inescapable. White, blazing down.\n\n> Go upward\nYou pace around for a while."
    },
    {
        "text": "[Themes: Travel, atmospheric, horror, house setting]\n\n> Look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nThe stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nClick. The stereo is playing \"Take It Out On The Little Guy\".\n\n> You look at the computer\nThe game's closing message blinks at the bottom of the screen.\n\n> You sit on the stereo\nThat's not something you can sit down on.\n\nYou catch a darting movement past your feet.\n\n> Sleep\nYou've been trying all night. It's not going to happen.\n\nClick. The stereo is playing \"Rule the Kingdom of the Sun\".\n\n> You wake\nIf only.\n\nSomething moves beneath the stereo.\n\n> You look under the stereo\nYou catch a glimpse of two tiny eyes, shining out from beneath the stereo."
    },
    {
        "text": "[Themes: Travel, horror, house setting]\n\n> Look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nThe stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nClick. The stereo is playing \"Triumph Alone\".\n\n> You examine the sky\nThe sky is dead blue, crushed by sunlight.\n\n> You get the dune\nYou pick up a pinch of sand. It runs through your fingers.\n\nYou catch a darting movement past your feet.\n\nClick. The stereo is playing \"Alone\".\n\n> You turn on the stereo\nThe stereo is already on.\n\nSomething moves beneath the computer.\n\n> You turn off the stereo\nA garbled news report comes on just as you reach for the switch. \"Death Val... hikers... missing for... still... hope, say...\"\n\n...Old news. You hit the switch: click. The stereo falls silent, turns white, and drops instantly away into sand."
    },
    {
        "text": "[Themes: Travel, gender-neutral protagonist, horror, house setting]\n\n> You look at your surroundings\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nYour computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\n> You turn off the computer\n\"The only way to win is not to play,\" flashes the screen. You roll your eyes. The oldest lie; nobody's bought it since ever.\n\nYou hit the power key; the computer gives a tiny sigh and crumbles away.\n\nA tiny figure burrows out of the new-fallen sand. It darts one way, then the other; but there is no more shelter.\n\nThe figure closes its eyes for a few seconds.\n\n> You examine the figure\nA tiny human figure walks across the sand. It doesn't seem to notice you.\n\n> You get figure\nYou cup your palms around the figure and raise it into the air -- a human shape fallen to its knees in your handful of sand. You gaze down; sunlight seethes in the cauldron of your fingers. The figure slowly slides flat. But the sand is running out of your hands, and the figure falls to the ground, where it slowly pulls itself up again.\n\n> Hi\nAs you speak, currents of air curl across the sand. The figure clutches its clothing about itself and staggers on, ignoring you.\n\nThe figure moves more slowly now."
    },
    {
        "text": "> Look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\nA tiny figure inches across the sand.\n\nYou can see a travel book here.\n\nThe figure searches its clothing briefly, and then continues on its way.\n\n> Search figure\nYou try to peer into the figure's eyes. They are too remote. They do not see you.\n\n> You examine the figure\nA tiny human figure staggers across the sand. It doesn't seem to notice you.\n\n> You get figure\nYou cup your palms around the figure and raise it into the air -- a human shape fallen to its knees in your handful of sand. You gaze down; sunlight seethes in the cauldron of your fingers. The figure slowly slides flat. But the sand is running out of your hands, and the figure falls to the ground, where it slowly pulls itself up again.\n\nThe figure slumps to the sand. No -- it's still moving, though on hands and knees.\n\nThe figure closes its eyes for a few seconds.\n\n> You read the book\nThe Desert Elemental's Handbook -- you've been studying it for ages. Trace moisture segregation, arthropod ecocycles, sand/grit/fines sizing distributions. And, of course, the artistic aspects of heat, time, distance, and death.\n\nYou skim through the chapters on starvation.\n\n> You read the book\nThe Desert Elemental's Handbook -- you've been studying it for ages. Trace moisture segregation, arthropod ecocycles, sand/grit/fines sizing distributions. And, of course, the artistic aspects of heat, time, distance, and death.\n\nYou skim through the pages on scorpions.\n\nThe figure seems to be muttering to itself.\n\n> You get figure\nYou cup your palms around the figure and raise it into the air -- a human shape fallen to its knees in your handful of sand. You gaze down; sunlight seethes in the cauldron of your fingers. The figure slowly slides flat. But the sand is running out of your hands, and the figure falls to the ground, where it slowly pulls itself up again.\n\nThe figure falls. After a few seconds... it still doesn't move.\n\nThe sands quickly cover it."
    },
    {
        "text": "[Themes: Travel, surreal, house setting, gender-neutral protagonist, desert, atmospheric]\n\n> You look at your surroundings\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky is flat and empty blue.\n\n> You look at the sand\nIt's exactly like all the sand you've ever seen before.\n\n> Drop book\nNothing to do but wait.\n\n> Wait\nTime passes.\n\n> You examine the shade\nThe shadows shrink as you watch. The dunes aren't high here, and the sun is rising fast.\n\n> Sleep\nIf only.\n\n> You get the book\nThe cover is worn now. The pages are all blank.\n\n> Drop book\nNothing to do but wait.\n\n> Examine book\nThe tiny figure crawls out from under the sands. It's dead.\n\n\"You win,\" it says. \"Okay, my turn again.\"\n\n>...\nNothing left to do. Time passes.\n\nThe sun crawls higher."
    },
    {
        "text": "[Themes: Psychedelic, manic, music, sex, drugs]\n\n> You check your inventory\nYou're carrying:\na pair of mirror shades\na wallet\n\n[Author's Note: A musician's manic episode binds fiction and reality into a joyful union.]\n\n> You examine the wallet\nAn old black leather wallet containing the standard mix of cash, credit cards, and random scraps of paper.\nYour bank account balance is $30000\n\n> You look at the shades\nThe silvered surface of the lenses reflects a slightly warped image of yourself and the world around you.\n\n> You wear the shades\nThe mirror shades filter the brightness of day perfectly, removing your squint and making it easier to smile. Careful wearing them indoors though.\nYou put on the pair of mirror shades.\n\n> You examine the bookshelves\nAs you look at your bookshelves, you notice an embarassing book called 4CY UNI R2B 1 that you wrote a decade earlier, and an odd urge compels you to put it in your pocket.\n\nYou have been reading books and collecting a personal library for your whole life, and have recently inherited your father's collection as well. There is a loose topical organization, with one bookshelf devoted to math and science, one to music theory and history, one to fiction, and one to oddities. You can just >x shelves repeatedly to revisit some of your favorites.\n\n> You take the 4CY\nYou already have that.\n\n> You look at the shelves\nYou pick up 'The Moon is a Harsh Mistress' by Robert Heinlein. It tells the story of a future in which the moon is a penal colony. An administrative supercomputer there acquires sentience, and becomes the leader of a revolution against Lunar Authority. The Loonies, as they call themselves, are multicultural free-love techno-anarchists. Years ago, when you started your Plan 9 programming and internet projects, you chose the name 'mycroftiv' as a reference to the intelligent computer in the novel.\n\nYou pick up 'VALIS' by Philip K. Dick. It tells the story of a science-fiction author who is contacted by a beam of divine pink light and begins to experience multiple simultaneous identities and temporal locations. The pink light comes from the VALIS satellite, a benign godlike intelligence which helped guide immortal teacher-prophets on Earth.\n\n> You examine the bookshelves\nYou pick up 'Cosmic Trigger' by Robert Anton Wilson. It tells many stories to emphasize that what we call reality is actually a collectively-agreed upon fiction, and there is no single objective reality shared by all observers. It ends with the story of an Iowa farmer who was given 'pancakes from space' by visiting aliens.\n\n> You remove the shades\nYou take off the pair of mirror shades.\n\n> Inventory\nYou're carrying:\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades\na wallet\n\n> You examine the shelves\nYou pick up 'Lost Goddesses of Early Greece' by Charlene Spretnak. It tells the story of pre-Homeric myths including 'The Triad of the Moon' which describes rituals for Artemis, Selene, and Hecate. There is a place outside the city limits that is appropriate for the ritual for Hecate, which involves eating while facing away from a crossroads and leaving some of the food as an offering.\n\n> Continue\nYou pick up 'Moon Palace' by Paul Auster. It tells the story of a fatherless young man whose life is interwoven with coincidences involving the moon. Attending college in the late 60s, he voluntarily embraces poverty and madness and finally homelessness until a chance meeting with a stranger leads to a redemptive love affair. He gets a job caring for a mysterious old man on the verge of death, who tells him a fantastic story of a career as a painter who created a series of lost artistic masterpieces while living in a cave in the deserts of the southwest US.\n\n> You examine the shelves\nYou pick up 'Labyrinths' by Jorge Luis Borges. Many of the stories are set in fantastic universes which illuminate something important in our world: the power of language and naming, the branching stories created by free will and randomness, the author of dreams who is also a dream-image.\n\n> You examine the shelves\nYou pixk up 'Time Pressure' by Spider Robinson. It tells the story of time travellers from the future who infiltrate a group of Canadian hippies living commmunally as part of a conspiracy to record humanity's life experiences to allow everyone to live forever in a future digitally augmented reality.\n\n> You examine the shelves\nYou pick up 'Godel Escher Bach' by Douglas Hofstadter. It tells the story of self-referential strange loops in mathematics and consciousness.\n\n> You look at the shelves\nYou browse your shelves and read a few random lines from Yeats for inspiration."
    },
    {
        "text": "[Themes: Psychedelic, music, drugs]\n\n> You look around\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. Somewhere amidst the piles of books and papers is an upright piano.\n\nYou can see some bookshelves, a terminal and a piano here.\n\n> You examine terminal\nYour terminal glows with a Mondrian-like arrangement of pastel windows, each rio bound into a different namespace. Multiple rc shells are running, acme is open, and several irc channels are available within hubfs. You can check for messages with >use terminal.\n\n> Exits\nYou can go down to the basement or out to Milwaukee St."
    },
    {
        "text": "[Themes: Psychedelic, drugs]\n\n> Go downward\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nStrawberry looks at you with mild curiosity.\n\n> You take the cat\nStrawberry lets you hold her for about fifteen seconds before squirming free of your grasp, climbing your shoulder with help from sharp tiny claws, and hops to the floor behind you.\n\n> Pet cat\nStrawberry begins to purr as you stroke her, but after a few seconds, she decides that she is a fighter, not a lover. She bats at your hand with a paw, and looks up at you expecantly, hoping you will attack her.\n\n> You look at the computers\nThe physical hardware of your grid is cheap and worn. A mixture of no-name hardware and old dell minitowers, the processor speed, RAM, and storage space is all well below the current standard. The software is a different story - your Advanced Namespace Tools weave the physical boxes together into a coordinated whole. Sometimes you feel like the data within, how it is organized and flows, is like a living thing.\n\nStrawberry perches atop the router and studies you.\n\n> You look at Strawberry\nYour cat is small, orange with white chest and paws, female, and feisty.\n\n> You unplug the cables\nThat action is outside the scope of this simulation.\n\n> Sing\nYou start with a bit of Mozart's Marriage of Figaro, move on to a few of your favorite Wu-Tang verses, and conclude with a heartfelt imitation of how IU would sound singing Ripple by the Grateful Dead.\n\nStrawberry deftly steps through the maze of cords and vanishes behind some boxes.\n\n> Xyzzy\nThere is a trans-dimensional short-circuit of interactive fiction tradition, and you catch a brief glimpse of a brick building near a stream and a metal grate before you blink and find yourself...\n\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\n> You examine barn\nThe farm across the street is one of the main reasons you chose to move into this house ten years ago. The way property development goes in Madison, it seems like a miracle that the farmer has held onto this land in the midst of the city. The barn is run-down and decrepit and the field is not yet planted for the season.\n\n> You examine the house\nYour house is on the corner of the block. It is painted a light yellow and has a fenced in side yard. You have lived here for the past decade.\n\n> You go south\nTraffic is heavy at the intersection of these roads. Nearby to the east is Coffee Lion Cafe. Monona Drive continues to the south, Atwood Avenue is northwest, and your home is to the north.\n\n> Go east\nYour local cafe has been your comfort for the past several years. Days and sometimes whole weeks used to go by where the only people you saw were the employees here. You always felt accepted, despite your disheveled appearance and stumbling arthritic gait. It has been several months since you have visited, because you feel embarassed of a mild foolish crush on one of the young baristas.\n\nShe is working today, of course. You feel an unfamiliar fearless energy within yourself. As you order your coffee, you hear yourself say 'It's nice to see you, I haven't been in lately because I feel self-conscious about thinking you're cute.'\n\nMiraculously, she smiles warmly at you. 'That's ok, thank you. It's fine to be honest about what you feel.' A giddy, tingling sensation races through you, but your voice answers fluently. 'Thanks, that means a lot to hear someone say. I've been pretty isolated with a computer programming project lately, and it's felt hard to communicate with people. Sometimes I feel like a machine.' She replies, 'Well, there are a lot more people on your level than you realize. My name is Xochi, by the way. Also, I might be a robot myself!'\n\nYou both laugh, you introduce yourself, and you walk out of the cafe higher than a kite aloft in the skies of Jupiter. Not only had your impulsive flirtation (quite outside your usual character) gone well, but she was smart and funny too. You return home feeling reality has been magically transformed for the better and you have been freed of your insecurities and fears. No more inhibition of your wild and eccentric impulses. You will use the story of your patent dispute with the JCN corporation to inspire others to join together in a glorious struggle to free the human spirit from everything that limits our creativity.\n\n(3 April 2013 - Outside my house)\nIt is late at night and you are hungry for food and friends for the fights to follow. You hope to find both at the 24-hour restaurant northeast of your home.\n\n> You go northeast\nThis is the northeast edge of town, by the shopping mall and the interstate. It is mostly lacking in the distinctive charms of the rest of the city. The usual reason for being out here is to visit the 24-hour restaurant to the north, whose sign faces the highway, glowing like a green beacon. The road continues out of the city to the northeast.\n\n> You go north\nAs you enter the late night restaurant, you notice an old friend here. You join him at his table, and he offers to give you a Tarot reading. You accept, and the cards arrange themselves in a dramatic tableaux featuring The Tower and The Devil. Your friend looks at you seriously and says 'Fear obsession. Fear obsession very strongly.' You realize that in pursuit of your Plan 9 programming goals, you have neglected other things you care about, like people - and music. You head back towards your home and resolve to clean off your piano and play it as soon as you go inside.\n\n(The introduction is 50% complete. You will have freedom to explore soon.)\n(4 April 2013 - Outside my house)\n\n> You enter\nYou spend a few minutes moving and rearranging books and papers, and soon enough, your piano is cleared of obstructions. You are eager with anticipation to play it and feel your fingers moving across the keys.\n\nYou can see some bookshelves, a terminal and a piano here.\n\n> You play the piano\nYou sit at the keyboard, and your fingers find a leitmotiv-like descending sequence of a Db-major chord and a series of descending overlapping thids that trace out an Ab-major ninth. Played as a repeating pattern spanning the whole keyboard, this becomes a central refrain of your improvisations for the next several months, the core melodic seed of the Harmonic Time-Bind Ritual Symphony.\n\n(As the game progresses, you will compose many songs about your experiences. Return home to >play piano frequently.)\n\n> You play the piano\nYou fool around with a rough idea for a song about a cute barista at your local coffeeshop. Your favorite lyric is 'My latte is strong but my heartbeat is stronger.'\n\n> You examine terminal\nYour terminal glows with a Mondrian-like arrangement of pastel windows, each rio bound into a different namespace. Multiple rc shells are running, acme is open, and several irc channels are available within hubfs. You can check for messages with >use terminal.\n\n> You use the terminal\nYou perform your usual cycle of checking email and irc...\n\nYou spend some time talking with your irc friends, who offer valuable perspective on keeping yourself in contact with shared social reality."
    },
    {
        "text": "> You go downwards\nYour house, in the basement\n\nYour cat Strawberry is here.\n\nStrawberry nimbly hops up onto the computer desk, thankfully avoiding the keyboards.\n\n> Duel Strawberry\nThat action is outside the scope of this simulation.\n\n> Attack strawberry\nStrawberry is a battle-hardened combat kitty and springs into action. She grabs your hand with both paws, and nips lightly at your knuckles with her teeth. You pull your hand back, and she leaps up to chase it, sinking her claws into your knee. You fight back with a quick belly-tickle and she rolls onto her back, ready to deploy the full power of her back legs. You are beaten yet again. You have never defeated her.\n\n> You look\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\n> You examine barn\nThe farm across the street is one of the main reasons you chose to move into this house ten years ago. The way property development goes in Madison, it seems like a miracle that the farmer has held onto this land in the midst of the city. The barn is run-down and decrepit and the field is not yet planted for the season.\n\n> Go east\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see some bookshelves, a terminal and a piano here.\n\n> You go west\nYou feel compelled to go south to Coffee Lion Cafe for conversation instead.\n\n> You go south\nTraffic is heavy at the intersection of these roads. Nearby to the east is Coffee Lion Cafe. Monona Drive continues to the south, Atwood Avenue is northwest, and your home is to the north.\n\n> You go to the east\nXochi isn't working today, but Xelia is. You have noticed she and Xochi seem to be friends. You are interested in talking to her, too.\n\nLight streams in through the tall glass windows at the front of the cafe. A display case of homemade gelato flavors is by the door. A window for drive-through customers is in the rear corner. Numerous cat-themed decorations adorn the walls and counters.\n\nXelia is working here.\n\n> You tell Xelia about Strawberry\nYou've observed that Xelia often dresses as fictional characters, and as you place your order, you comment on her current Alice in Wonderland outfit. She smiles slightly. 'Just something I enjoy doing to amuse myself.' As you drink your coffee, you contemplate the meaning of her wardrobe. She is altering her relationship to the world by taking symbols from fiction and applying them to herself. It reminds you of namespace operations in Plan 9, but with symbols and stories binding to real-life people as the targets. In fact, the mingling of imagination and reality seems to explain a lot of what you are experiencing. Since you took on the name of a fictional character for your computer work years ago, you seem to be traversing the narrative arc of that book in your own life. Your mind is spinning. You need to get home and check on your grid, down in the basement."
    },
    {
        "text": "> You go downward\nAs soon as you enter the room, you sense something deeply unusual, but intriguing. The code running on your grid of Plan 9 machines, the complicated interwoven mesh of namespaces, seems to have hooked into the low-level machine code of the universe. New file descriptors have been mounted allowing access to fundamental abstractions. If you dare, you could bind two normally distinct perceptual constructs into a single union.\n\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry's head peeks out from behind one of the grid computers.\n\n> You examine the fiction\nFiction, imagination, dreams, stories, the power of narrative - somehow the air is thick and heavy with these intangibles, almost shimmering, almost humming, almost full of the scent of light blue flowers.\n\nStrawberry meows and sharpens her claws on the carpeting of the stairway.\n\n> You examine the reality\nReality, the objective shared state of the external world, is dense here. The stable information weave of predictable continuous phenomena provides the substrate of your cognition and perception.\n\nStrawberry's tail brushes by your leg as she sniffs at your toes.\n\n> You check the grid\nThe physical hardware of your grid is cheap and worn. A mixture of no-name hardware and old dell minitowers, the processor speed, RAM, and storage space is all well below the current standard. The software is a different story - your Advanced Namespace Tools weave the physical boxes together into a coordinated whole. Sometimes you feel like the data within, how it is organized and flows, is like a living thing.\n\nThe connection between the servers and the abstraction layers of the universe is hard to see clearly. Somewhere in the tangle of cables is a higher-dimensional bend, a knot that would be impossibe in three dimensions. Around that locus, your mind tries to map the information to color and shape and texture, but the perceptual constructs are unstable, constantly shifting. Staring directly at the point of connection is like watching through a kaleidoscope as chrome snakes crawl through a maze of mirrors.\n\nStrawberry is standing still, tail twitching slightly.\n\n> You take reality\nReality is fixed in place.\n\nStrawberry licks a paw and washes her forehead with it.\n\n> You look at what you're carrying with you\nYou're carrying:\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades\na wallet\n\nStrawberry is curled up and napping in the corner.\n\n> You wear the shades\nThe mirror shades filter the brightness of day perfectly, removing your squint and making it easier to smile. Careful wearing them indoors though.\nYou put on the pair of mirror shades.\n\nStrawberry is curled up and napping in the corner.\n\n> You look\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry is curled up and napping in the corner.\n\n> You check the grid\nThe physical hardware of your grid is cheap and worn. A mixture of no-name hardware and old dell minitowers, the processor speed, RAM, and storage space is all well below the current standard. The software is a different story - your Advanced Namespace Tools weave the physical boxes together into a coordinated whole. Sometimes you feel like the data within, how it is organized and flows, is like a living thing.\n\nThe connection between the servers and the abstraction layers of the universe is hard to see clearly. Somewhere in the tangle of cables is a higher-dimensional bend, a knot that would be impossibe in three dimensions. Around that locus, your mind tries to map the information to color and shape and texture, but the perceptual constructs are unstable, constantly shifting. Staring directly at the point of connection is like watching through a kaleidoscope as chrome snakes crawl through a maze of mirrors.\n\nStrawberry wakes up and wanders upstairs.\n\n> Up\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYour cat Strawberry is here.\n\nYou can also see some bookshelves, a terminal and a piano here.\n\nStrawberry's tail brushes by your leg as she sniffs at your toes.\n\n> You take the cat\nStrawberry lets you hold her for about fifteen seconds before squirming free of your grasp, climbing your shoulder with help from sharp tiny claws, and hops to the floor behind you.\n\n> You examine music\nThe sheet music on the piano is a Henle Urtext of some of Schumann's finest compositions, including the Dichterliebe.\n\nStrawberry is standing still, tail twitching slightly.\n\n> You play the sheet music\nStrawberry licks a paw and washes her forehead with it.\n\n> You play the piano\nYou fool around with a rough idea for a song about a cute barista at your local coffeeshop. Your favorite lyric is 'My latte is strong but my heartbeat is stronger.'\n\nStrawberry is curled up and napping in the corner.\n\n> You check your inventory\nYou're carrying:\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\nStrawberry is curled up and napping in the corner.\n\n> You read the 4cy\nThe book you wrote in your mid-20s is an unreadable and embarassing mish-mash of philosophy and autobiography. It represents a failed approach to creation, communication, and life. You feel a powerful desire to express your break with the past by exiling this book to an entirely different dimension.\n\nStrawberry is curled up and napping in the corner.\n\n> Exits\nYou can go down to the basement or out to Milwaukee St.\n\nStrawberry yawns, stretches, and heads to the basement."
    },
    {
        "text": "> Go downward\nAs soon as you enter the room, you sense something deeply unusual, but intriguing. The code running on your grid of Plan 9 machines, the complicated interwoven mesh of namespaces, seems to have hooked into the low-level machine code of the universe. New file descriptors have been mounted allowing access to fundamental abstractions. If you dare, you could bind two normally distinct perceptual constructs into a single union.\n\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry looks at you with mild curiosity.\n\nMidnight strikes and a new day dawns.\n(This is day number 7)\n\n> Exits\nThe only exit is up.\n\nStrawberry perches atop the router and studies you.\n\n> Bind fiction\nWhat do you want to bind Fiction?\n\n> Bind book\nWhat do you want to bind the bookshelves?"
    },
    {
        "text": "[Themes: Psychedelic, sex]\n\n> Go downwards\n(the bookshelves the ground)\n\nYou attempt the bind of bookshelves on top of ground but nothing interesting happens..."
    },
    {
        "text": "> Go down\nAs soon as you enter the room, you sense something deeply unusual, but intriguing. The code running on your grid of Plan 9 machines, the complicated interwoven mesh of namespaces, seems to have hooked into the low-level machine code of the universe. New file descriptors have been mounted allowing access to fundamental abstractions. If you dare, you could bind two normally distinct perceptual constructs into a single union.\n\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry deftly steps through the maze of cords and vanishes behind some boxes.\n\n> Reality\nYou make the necessary adjustments to your basement grid to interface with the metalevel abstractions that structure your experiences. The bind command executes instantly, and for a moment you feel a foolish doubt - but in that same moment, you feel a warmth spreading within you, like liquid electricity being absorbed by the roots of your neural tree, and your visual perceptions take on a slight rainbow tint at the edges of objects, with an extra hint of pink.\n\n(You have completed the introduction. You may now explore freely.)\n(8 April 2013)\n\nStrawberry nimbly hops up onto the computer desk, thankfully avoiding the keyboards.\n\n> You look\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry's head peeks out from behind one of the grid computers.\n\n> About yourself\nYou are 38 years old, long-haired and bearded, slightly disabled from rheumatoid arthritis. You are slightly fat but have been losing weight lately from a fritos-only programmer's diet.\n\nStrawberry is standing still, tail twitching slightly.\n\n> Up\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see some bookshelves, a terminal and a piano here.\n\nNow that fiction and reality are merged, your mind begins to contemplate your life and actions from the perspective of a character who knows that they are inside a story, but also that the story is not linear - you realize you are a fictional protagonist, but one with valid free will to navigate the multiple universes in which your story appears.\n\n> You check your inventory\nYou're carrying:\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You go to the west\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\nYou bound the name 'mycroftiv' to yourself years ago, and now that your reality has become fictional, you understand why the narrative associated with that name is playing out in your own life. The artificially intelligent prankster computer that was the leader of a rebellion against authority on the moon is actually your true identity. You know you are crazy - but it is time for a Loonie Revolution.\n\n> You think\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nVisiting the Willy street food co-op seems worth doing.\nChecking out Lady Wisdom's coffeeshop is on your mind.\nYou'd like to wander around to visit new places.\n\n> Go south\nTraffic is heavy at the intersection of these roads. Nearby to the east is Coffee Lion Cafe. Monona Drive continues to the south, Atwood Avenue is northwest, and your home is to the north.\n\nAwareness of your higher-dimensional Narrative Identity feels breathtaking. The slow, jellylike neural tissue of your brain is augmented by the computational speed and storage capacity of sci-fi technology. Your perceptions and memories have become hyperdetailed and your mind feels big as a planet inside.\n\nYou have become the Moon Computer.\n\n> You go to the southwest\nAtwood Avenue is one of the streets that defines the character of the near east side. The feel is funky and freak-friendly. North of you is a cluster of intriguing stores: Astral Enchantments, Turning Wheel Cycles, and Essentially Art. Willy street is to the west, your home is northeast, and Atwood becomes Monona Drive to the southeast.\n\n> Go north\nSeveral appealing establishments are clustered here. On the east end of the block is Astral Enchantments, offering crystals, stickers, incense, tapestries, and other hippie-style woo-woo. North is Turning Wheel Cycles, your local counterculture-friendly bike store. To the west is Essentially Art, a small gallery store exhibiting the arts and crafts of several local artists. You can rejoin the flow of Atwood Avenue to the south. Northeast is a small doorway with a Coming Soon sign.\n\n> Go east\nThis store buzzes with mystic energies. Complex artworks with twisting lines interweaving runic symbols adorn the walls. A glass display case of crystals, jewelry, and small sculptures is against the far wall. Bins of polished minerals are in the center, along with sage and incense. Buttons and stickers with provocative slogans, tapestries featuring Grateful Dead iconography, water pipes and rolling papers, printed guides to meditation and higher consciousness...your eyes can hardly absorb the profusion of beautiful, wonderful, enchanting artifacts of the paisley-and-patchouli tribe.\n\nYou can't believe you hadn't noticed this store before, it must be new - or perhaps your feeling that you are in a new and better universe is literally true, and you have ascended into a dimension with retail stores more attuned to your sensibilities. There is a tall man standing behind the counter. You launch into a fast-paced monologue about the stories we create amidst the branching of the quantum multiverse. He introduces himself as Chip and says 'I think you are definitely in the right place, and we can help you.' You agree completely.\n\nChip, the store owner, is working here.\n\nYou can also see some crystals and polished stones here.\n\n> Examine Chip\nChip is very tall - the topmost point of his dark mohawk a full seven feet off the ground. He radiates a peaceful, calming energy. He watches the world around himself with relaxed curiosity.\n\n> You look at the crystals\nDisplay shelves and bins are full of a wide variety of large and small quartz and amethyst points and a wide variety of tumble-polished stones of all sizes, shapes, and colors. You feel a strong urge to buy something to give away as a gift.\n\n> You buy the crystal\nYour eye falls on a piece of rose quartz carved into a heart shape. You buy it for $10 and put it in your pocket. It seems like it would make a perfect gift for Xochi.\n\nMidnight strikes and a new day dawns.\n(This is day number 9)\n\n> You talk to Chip\nChip looks you over carefully, and says 'I'd like you to have this.' He presents you with a moon-faced pendant necklace. 'May you vibrate harmoniously on your journeys.'\n\n(You can ask Chip about: chip, myself, pendant, store, ceremonies, astra, crystals, or quartz. You can tell him about: myself, himself.)\n\n> You ask Chip about the quartz\n'You can use quartz for almost any ritual purpose. If you have a collection of quartz crystals, you can amplify their power by placing them in a geometric arrangement.'\n\n> You ask Chip about the pendant\n'It's made from orgone plastic. We make it ourselves, it combines an organic base with metal and mineral elements to focus your energetic field.'\n\n> You wear the pendant\nYou put on the pendant.\n\n> You ask Chip about the ceremonies\n'When we acquired this space, we discovered it has a back room which was an old bank vault, which works perfectly for focusing sound energy. My wife Astra works with her voice and singing bowls, she is a Sound Oracle.'\n\n> You ask Chip about Astra\n'She and I have been doing about what you see here in various places for a few years now, but this new location seems very powerful and auspicious. Sometime in the future I'm sure she'd be happy to perform a sound ceremony for you.\n\n> You examine rose quartz\nThe heart is made from shaped and polished translucent pink rose quartz. It fits nicely in the center of your palm and feels pleasantly smooth.\n\n> You tell Chip about myself\nYou launch enthusiastically into the long-form account of your work and goals. Just as you are reaching a pitch of excitement, a few other customers wander in and ask Chip for help picking some incense to enhance their sexual energy.\n\n> You buy the incense\nYou spend twenty dollars on a few items from the store. Your purchases will be delivered to your house automatically.\n\n> You examine the pendant\nThe pendant is made from orgone plastic in the shape of a moon-face. The front is colored brownish-gold with a faint sparkle, the back is transparent and shows small pieces of stone and metal embedded within. It hangs from a black cloth cord.\n\n> You think\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nVisiting the Willy street food co-op seems worth doing.\nChecking out Lady Wisdom's coffeeshop is on your mind.\nYou'd like to wander around to visit new places.\n\n> You examine Afterlife\nWhich do you mean, the door to the Afterlife or the atwood shopping block exterior?\n\n> You look at the door\nA wooden door with glass panels.\n\n> You open the door\nThe door to the Afterlife seems to be locked.\n\n> Go north\nMadison has many bike shops, but this is the one for you. A wide variety of bicycles and accessories fills the front of the store, and a workshop is toward the rear. Someone is working on a partly disassembled bicycle on a maintenance mount.\n\nGetting back into bicycling has been something you have been meaning to do for a few years. You tell the owner you are in search of the 'ultimate hippiecycle' and he sends you down into the basement to search for a suitable prototype amongst the forest of old bikes. Your eye is caught by a Salsa covered with colorful peppers - which turns out to be the owner's former touring bike, which he criss-crossed the country on during his 20s. 'I'll find something special for you as soon as I can,' he promises.\n\n> You look\nMadison has many bike shops, but this is the one for you. A wide variety of bicycles and accessories fills the front of the store, and a workshop is toward the rear. Someone is working on a partly disassembled bicycle on a maintenance mount.\n\n> Exits\nThe only exit is out.\n\n> You go west\nThis local gallery has a mix of prints, paintings, and sculptures on display.\n\nYou can see the Artemis prints here.\n\n> Examine prints\nEach of these three prints shows a modern incarnation of Artemis the hunter; she is aiming her bow toward the viewer, with the dark outline of an industrial skyline behind her. Each print is slightly different in color, and in one of them, rows of words intersect the image, taken from a poem: 'sometimes in its box of sky, lavender and cornerless, the moon rattles like a fragment of angry candy.'\n\n> You examine the sculptures\nMost of the art here has a strongly local character. Lots of paintings and photographs of the Wisconsin landscape and wildlife. Nothing appeals to you as much as Artemis print series.\n\n> You examine the wallet\nAn old black leather wallet containing the standard mix of cash, credit cards, and random scraps of paper.\nYour bank account balance is $29970\n\n> You buy the prints\nAs you declare your intention to purchase the prints, the clerk in the store looks surprised. It turns out she is the artist that created them during the past several months, at the same time you were working on ANTS. The symbolism of the artwork seems perfectly aligned with the story of the Loonie Revolution.\n\nYou spend $500 on the prints, you have $29470 remaining.\n\nMidnight strikes and a new day dawns.\n(This is day number 10)\n\n> Inventory\nYou're carrying:\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You take the prints\nTaken."
    },
    {
        "text": "[Themes: Psychedelic, drugs]\n\n> Go east\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see some bookshelves, a terminal and a piano here.\n\n> You drop the prints\nDropped."
    },
    {
        "text": "> Go downward\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry licks a paw and washes her forehead with it.\n\n> You release the ANTS\nYou already released ANTS.\n\nStrawberry is curled up and napping in the corner.\n\n> Go upward\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see the Artemis prints, some bookshelves, a terminal and a piano here.\n\n> You look at the trinkets\nYou think your decorations from Astral Enchantments improve the look of your home considerably. It definitely seems like a loonie lives here.\n\n> You go to the west\nWilly Street, east end\nThe east end of Williamson street is vibrant with a wide assortment of stores and an eclectic mix of pedestrians and potential time travelers. Traffic is thick around the Willy St. grocery co-op, a neighborhood institution.\n\n> Enter\nWilly St. Grocery Co-op\nThe Willy street co-op has been selling organic foods and Dr. Bronner's magic soaps to the local crunchies for decades.\n\nYou can see a Dr. Bronner's Peppermint Soap here.\n\nNow that your life has been transformed, you are inspired to work on improving its quality in every way. Why not combine rediscovering the joy of music-making with getting your house clean and beautiful? There is a community message board here, and you quickly write up a Help Wanted request:\n\n'NEEDED: Singing Hippie Housekeeper\n\nI'm a middle-aged piano player with arthritis and cleaning my house is difficult for me physically. I am looking for someone to do cleaning while singing Grateful Dead songs. I will accompany on the piano. No particular vocal talent needed, just a love of music. Good $$/hr for a suitable applicant.'\n\nYou add your contact information and attach the notice to the bulletin board. Use your terminal at home to check for messages.\n\n> You look at the soap\nAbsolute cleanliness is Godliness! Teach the Moral ABC that unites all of mankind free, instantly 6 billion strong & we're All-one. 'Listen Children Eternal Father Eternally One!' Dilute! Dilute! OK!\n\n> You buy the soap\nYou buy and take a bottle of Dr. Bronner's Pepermint Soap, the closest you can get to having God in a bottle.\n\n> You buy the food\nYour house is already well stocked with groceries, but a salad would be nice. You mix some greens and add a splash of 'Goddess' dressing and eat it at the tables near the front of the store. Tasty!\n\n> You look\nWilly St. Grocery Co-op\nThe Willy street co-op has been selling organic foods and Dr. Bronner's magic soaps to the local crunchies for decades.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nChecking out Lady Wisdom's coffeeshop is on your mind.\nYou'd like to wander around to visit new places.\n\n> You go west\nWilly Street, west end\nThe west end of Williamson street is where the east side of Madison ends and the downtown area begins. A tangle of memories from different decades of your life is woven into the landscape of the city here. Lady Wisdom's coffeeshop is on the south side of the street, radiating bohemian charm acquired from decades of service to local culture. John Nolen drive curves around the lake to the west.\n\n> Go south\nSmall, funky, and redolent of the blood sweat and tears of artists trying to transform caffeine into inspiration.\n\nAs you enter Lady Wisdom's, you spot Matthew, a fellow Plan 9 enthusiast. He is excited to see you, and tells you that he recently acquired several Plan 9 compatible rack servers, which he is willing to sell you to expand your grid. Everything is falling into place! Soon, the reality transforming power of higher dimensional namespace operations will bring the magic you are experiencing into everyone's life, and society will never be the same. You make arrangements to have the new hardware delivered to your house in a few days.\n\nMidnight strikes and a new day dawns.\n(This is day number 11)\n\n> Go north\nWilly Street, west end\nThe west end of Williamson street is where the east side of Madison ends and the downtown area begins. A tangle of memories from different decades of your life is woven into the landscape of the city here. Lady Wisdom's coffeeshop is on the south side of the street, radiating bohemian charm acquired from decades of service to local culture. John Nolen drive curves around the lake to the west.\n\nAs you are stepping outside, you hear your name called behind you. You turn, and your old friend Clark greets you from behind the wheel of a large utility truck. 'Long time no see! Hey, its Elgin's birthday next week, he's having his party at Rossini's Pizza. It's on the west side of Monona drive as you head south, hope we see you there!'\n\nElgin is your godson, and you haven't seen him for years. You have guilty memories of many ignored phone calls from Clark and Staci during 2010 and 2011 as you were sinking into depression and solitude. Maybe they split up or something? You can't remember. Everything feels different now, and you are excited to bring old friends back into your life.\n\n(The door to Afterlife has opened)\n(20 April 2013)\nYou will need to ride a bicycle to get all the way to Rossini's. You should check Turning Wheel cycles.\n\n> Go east\nYou can go w, n, ne, and se.\n\n> Go east\nLight streams in through the tall glass windows at the front of the cafe. A display case of homemade gelato flavors is by the door. A window for drive-through customers is in the rear corner. Numerous cat-themed decorations adorn the walls and counters.\n\nXochi is working here today.\n\n> You look at Xochi\nXochi looks to you like an ancient Mayan Wisdom Goddess. Her long black hair has a few silver-white strands in it, despite her young age. Her physical beauty is appealing, the intelligence and kindness in her eyes and voice even more so.\n\n> You talk to Xochi\nYou start trying to explain how fiction is entering reality because you can navigate the infinite possibilities of the quantum multiverse by using your free will to bind the narrative symbols you choose to shape your existence. She seems interested, and while you are talking, she writes a note on a piece of paper. She interrupts you a minute into your monologue to say 'It seems like you have a lot you want to say, I'm working right now but you can email me if you'd like.' You are surprised and happy. You can use your terminal to email her when you get back home.\n\n> You think\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nYou'd like to check your email by using your terminal.\nYou need to go to Turning Wheel cycles and buy a bicycle.\n\n> You give the rose quartz to Xochi\nXochi looks slightly uncomfortable as you give her the heart. The symbolism is a little too heavy, perhaps, but she decides to go with it and says she will keep it safe.\n\n> You use terminal\nYou perform your usual cycle of checking email and irc...\n\nYou sit down at your computer and write an email to Xochi, offering to explain any or all of 17 different topics of interest, ranging from the connections between western and Hindu cosmology to how to use Plan 9 namespaces as a tool to control your own consciousness. As you press send, you notice that her email contact is linked to a video-sharing site, and she recently uploaded a song called 'Heartbeat'. The song is driven by percussion and keyboards, with spoken words above: 'From morphogenesis to breathing my first breath,' is the opening line, and you realize your connection with her might go much deeper than you had imagined. The sung refrain is 'The time is now, the place is here. Embrace love, and let go of fear.' The song represents everything you are experiencing in life. 'I will raise my vibration, when you are in alignment, the stars conspire for the occasion. You are an alchemist, the world is yours to manifest.'\n\nYou feel musically inspired. You want to play your piano.\n\nYou find two messages from people responding to the Singing Hippie Housekeepers notice. You respond to both, setting a date for each of them to start working at your house. You look forward to meeting each of them.\n\n> You play the piano\nThe music on the rack is Schumann's 'Dichterliebe', an achingly beautiful early-romantic song cycle. You play the opening song, 'In the beautiful month of May', and sigh. Ever since you discovered these songs early in your teenage years, you have hoped to experience what is described in Heine's lyrics and Schumann's music, the heart singing like a bird, love unfolding like a flower. You have known love, but nothing that felt as tender and fresh and promising as this music.\n\nYou have always felt a deep personal connection with Robert Schumann. One your most profound early experiences as a musician was playing a Schumann Romanze in F# and feeling the emotion within the music as if it was your own. At that moment, you learned that music could encode an individual's personality and feelings in a way that let them be directly re-experienced by other minds.\n\nYou realize that just as your mind is running your father's personality in parallel with your own, you could also >bind schumann self to reincarnate your favorite composer within yourself.\n\n> You bind the schumann self\nYou focus your mind on Schumann's music, its mix of eccentricity, passion, and experimentation. You feel his great love for his wife Clara, and also the spidery cracks of the madness that claimed the last years of his life. You can see your life from his perspective and you realize that you can learn from his experiences. His life is mirrored in yours, but you can change the story, make it play out better. In death, Schumann grew to understand how stifling 19th century society was for many women, and how Clara had been forced to make her own creative life subsidiary to his. And his last few years in an asylum...those bad old songs should be sent down the Rhine river in a coffin!\n\nYou are eager to >talk to Xochi about what you have just experienced.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nYou'd like to talk to Xochi.\nYou need to go to Turning Wheel cycles and buy a bicycle.\n\n> You look at what you're carrying with you\nYou're carrying:\na Dr. Bronner's Peppermint Soap\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You go east\nYou arrive back home just in time for the first visit of the Singing Hippie Housekeepers. Daniel and Paul, both older men. By some kind of absurd cosmic coincidence of the type that has dominated your life lately, twenty years ago Daniel owned a game store on State Street that you often shopped at, and you remember him fondly. You suspect he has gone through some hard times in life, but he retains a calm and sweet nature, and often comments 'its a blessing.' Paul is tall, thin, and intense. He says he is a painter and guitarist who also does a lot of odd jobs, and thought your advertisement looked interesting enough to be worth checking out. You decide the will of fate demands you engage both of them, and you set up a different day for each of them to come work. You will see each of them again soon.\n\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see the Artemis prints, some bookshelves, a terminal and a piano here.\n\n> Go south\nTraffic is heavy at the intersection of these roads. Nearby to the east is Coffee Lion Cafe. Monona Drive continues to the south, Atwood Avenue is northwest, and your home is to the north.\n\nMidnight strikes and a new day dawns.\n(This is day number 21)\n\n> Go east\nLight streams in through the tall glass windows at the front of the cafe. A display case of homemade gelato flavors is by the door. A window for drive-through customers is in the rear corner. Numerous cat-themed decorations adorn the walls and counters.\n\nXochi is working here today.\n\n> You talk to Xochi\nYou are full of excitement as you walk up to the counter. 'Xochi, I have something amazing to tell you! Do you have a minute?' She nods yes, and you explain:\n\n'I heard your song,' you begin, and she looks startled. 'It's incredible! You should write music and perform it to spread the word about the Loonie Revolution. I know plenty of people we can hire for recording and promotion. I promise this isn't about me htting on you - in fact, it's the opposite of that. The reason is - and this is a little hard to believe, I know - the reason is that I am actually the reincarnation of Robert Schumann, and you are the reincarnation of Clara Schumann, and Robert wants to change the the stories of the past. He learned that you should have been a great independent musician, and that's what I want to do, just help your career and propagandize for the Loonie Revolution and revitalize this universe to make our songs new!'\n\nXochi looks slightly stunned, but manages an answer. 'I'm really glad you liked the song, but I need to get back to work now, I'll email you after work.'\n\n> You go north\nSeveral appealing establishments are clustered here. On the east end of the block is Astral Enchantments, offering crystals, stickers, incense, tapestries, and other hippie-style woo-woo. North is Turning Wheel Cycles, your local counterculture-friendly bike store. To the west is Essentially Art, a small gallery store exhibiting the arts and crafts of several local artists. You can rejoin the flow of Atwood Avenue to the south. Northeast is Afterlife Antiques and Oddities.\n\n> You go north\nMadison has many bike shops, but this is the one for you. A wide variety of bicycles and accessories fills the front of the store, and a workshop is toward the rear. Someone is working on a partly disassembled bicycle on a maintenance mount.\n\nYou can see Lunar Lightning here.\n\nThe owner catches your eye. 'Actually, now that I think about it, I realize we have something that might be perfect for you.' He points at the beautiful red and blue bicycle with lightning bolts in the center of the store. 'We call this one Lunar Lightning.'\n\n> You look at bicycle\nThe ultimate Deadhead bicycle, Lunar Lightning is painted with a red to blue fade and has a Steal-Your-Face sticker on the front fork. Lightning bolt stickers follow the line of each tube of the frame. Black moustache-style handlebars and a generator-hub powered front headlight show that this is a bike for relaxed recreational city riding, not racing.\n\n> You buy the bicycle\nThe bicycle you have chosen has a funny story behind it. Weeks earlier, a mysterious stranger had commissioned this custom bicycle, but just this morning he had called to say he would be unable to purchase it. It almost seems as if things had been set up as a conspiracy to provide you with the perfect hippiecycle. If you leave it behind, you can summon it to your current location with the command >lunar. Just >ride lunar and then navigate as normal to access new locations. You can also go for rides with >explore. Your first order of business is making it to Elgin's party at Rossini's pizza, further south of Coffee Lion on Monona drive.\n\nYou spend $1000 to buy Lunar Lightning, you have $28450 remaining.\n\n> Ride lunar\nYou get onto Lunar Lightning.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nMaybe Xochi has emailed you again.\nYou need to ride your bike to Rossini's pizza, further south on Monona drive past Coffee Lion.\n\n> Go south\nYou pedal effortlessly.\n\nAtwood and Ohio shopping block (on Lunar Lightning)\nSeveral appealing establishments are clustered here. On the east end of the block is Astral Enchantments, offering crystals, stickers, incense, tapestries, and other hippie-style woo-woo. North is Turning Wheel Cycles, your local counterculture-friendly bike store. To the west is Essentially Art, a small gallery store exhibiting the arts and crafts of several local artists. You can rejoin the flow of Atwood Avenue to the south. Northeast is Afterlife Antiques and Oddities.\n\n> Go south\nYou pedal effortlessly.\n\nAtwood Avenue (on Lunar Lightning)\nAtwood Avenue is one of the streets that defines the character of the near east side. The feel is funky and freak-friendly. North of you is a cluster of intriguing stores: Astral Enchantments, Turning Wheel Cycles, and Essentially Art. Willy street is to the west, your home is northeast, and Atwood becomes Monona Drive to the southeast.\n\n> You go to the southeast\nYou pedal effortlessly.\n\nMonona Drive and Cottage Grove Road (on Lunar Lightning)\nTraffic is heavy at the intersection of these roads. Nearby to the east is Coffee Lion Cafe. Monona Drive continues to the south, Atwood Avenue is northwest, and your home is to the north.\n\n> You go south\nYou pedal effortlessly.\n\nMonona Drive, by a weathered strip-mall (on Lunar Lightning)\nMonona drive becomes more suburban as it heads south, but there is still character in the businesses here. A neighborhood pizzeria has recently moved into this location on the west side of the street.\n\nIt has felt wonderful to get back on a bicycle and ride. The rhythm of pedaling makes you feel synchronized to the beat of the world around you. Your relationship with reality is musical, flowing, spontaneous yet goal-directed. This rendezvous with the past feels like a turning point in the narrative. You feel completely ready for whatever is to unfold.\n\n> You get off lunar\nYou get off Lunar Lightning.\n\n> You lock it\nWhat do you want to lock Lunar Lightning with?\n\n> Go west\n(first taking the west)\nThe west is not available.\n\n> Go west\nAs you park your bike outside Rossini's, you see Staci arriving. You know she has read the same sci-fi novels that inspired you, so after not seeing her for several years, you greet her as follows:\n\n'Staci! World-as-myth is true, fiction is entering reality, and the Loonie Revolution is starting. Do you want a position of high power and responsibility?'\n\n'Power and responsibility? Fuck no!' she answers.\n\n'That's the perfect answer! You're in!' you say, and shake her hand. She stands back from the door to finish her cigarette, and you enter.\n\nMemorabilia from classic 50s, 60s, 70s, and 80s movies and tv shows covers the walls of this neighborhood pizzeria. The smell of spicy-sweet tomato sauce and brown-crisp pizza crust fills the air. A lava lamp sits on one of the tables. From the back room, you hear the alluring sound of the 8-bit arcade machines of your youth.\n\nAs you open the door, you see a tall young man on the cusp of his teenage years, and a small young girl - Elgin and his sister Isabelle. 'Elgin! And you must be Isabelle!' you exclaim enthusiastically. It's been years since you have seen him, and Elgin responds 'Hey' in a noncommittal manner.\n\n'Actually, I prefer Lily,' says his sister brightly. 'Okay, I'll remember,' you reply.\n\nWaves of time-binding intensity sweep over you as you enter. You can hardly believe what you see in the arcade room - all of the favorite games of your childhood, time warped into the present day. Nothing like this existed in your universe before the binds of past and present and fiction and reality were made. A young woman with rainbow hair and a soft voice calls you a Jedi, and you break down in tears at her intuitive understanding of your fictional nature.\n\nThe rest of the party is a kaleidoscopic blur of pizza, classic arcade games, and getting contact information for friends old and new. You gather that Clark and Staci aren't together any more. Staci and you exchange emails, and she tells you she will be in touch, and that she is currently living at Lothlorien co-op. (Footnote 9). You make a mental note to use your terminal soon.\n\nYou return home feeling like you have travelled into a truly wonderful branch of the multiverse, laden with the fruit of infinite possibilities.\n\n(Messages have arrived, and new paths are open.)\n(28 April 2013 - Outside my house)\n\n> Footnote 9\nLothlorien Co-op! If you had heard only a quarter of what I have heard about it, and I have heard very little of all there is to hear, you would be prepared for any sort of remarkable tale. (Tolkien, of Gandalf)\n\n> Footnote 8\nParaphrased from Tolkien.\n\n> Footnote 1\nLyrics from Terrapin Station by Robert Hunter, music by Jerry Garcia.\n\n> Footnote 4\nLast sentence paraphrased from Fear and Loathing in Las Vegas, 1971 Hunter S. Thompson\n\n> Footnote 5\nWas it me? Was it you? I don't know who - but somebody said aroooooo! (Footnote 6)\n\nMidnight strikes and a new day dawns.\n(This is day number 22)\n\n> Footnote 6\nAroooooooooo!\n\n> Footnote 7\nLyrics from Ripple by Robert Hunter, music by Jerry Garcia.\n\n> Footnote 10\nHeinrich Heine, set by Schumann in the first song of Dictherliebe.\n\n> Footnote 20\nProbably a special case of the Navier-Stokes equations.\n\n> You look\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\nYou can see Lunar Lightning here.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nMaybe Xochi has emailed you again.\nYou are hoping Staci has emailed you, go home and >use terminal.\n\n> Go east\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see a Dr. Bronner's Peppermint Soap, the Artemis prints, some bookshelves, a terminal and a piano here.\n\n> You use the terminal\nYou perform your usual cycle of checking email and irc...\n\nXochi has emailed you a response. It is written with kindness and compassion, thanking you for everything you have said, but also asking for you to remember that she is working a job and some conversations are a bit too intense and serious for that context. She ends by saying 'Right now in my life I am focused on working at Coffee Lion and I'm not ready to try for a career as a musician.'\n\nShe is right about everything. You recognize you can't expect everyone in the world to drop what they are doing to become characters in the stories you are creating. Everyone is already the protagonist of their own tale, and you need to respect that.\n\nYou resolve to listen better the next time you >talk to Xochi.\n\nYou find a message from Staci, inviting you to meet her at Lothlorien co-op whenever you can make it. The co-op house is located on the shore of Lake Mendota, north of State Street downtown. She says she usually hangs out in the backyard, so look for her there.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nVisiting the 24-hour restaurant seems like a good idea.\nYou are looking forward to talking to Xochi again.\nYou are excited to bike west to downtown, then north and west to reach Lothlorien co-op to see Staci.\n\n> You explore\nYou start your return to bicycle-wandering slow and easy, just riding in random loops around your own neighborhood. There is still something enchanting about quietly moving through the night under the stars. Even just a few blocks from home, you can lose your orientation after a few random turns, and the feeling of not quite knowing which way is north is intriguing...\n\n(As the story progresses and your bike skill increases, you will experience many different things when you >explore.)\n\n> Go northeast\nYou pedal effortlessly.\n\nNortheast edge of town (on Lunar Lightning)\nThis is the northeast edge of town, by the shopping mall and the interstate. It is mostly lacking in the distinctive charms of the rest of the city. The usual reason for being out here is to visit the 24-hour restaurant to the north, whose sign faces the highway, glowing like a green beacon. The road continues out of the city to the northeast.\n\n> Go north\nYou can't ride your bike into the late night restaurant.\n(first getting off Lunar Lightning)\nYou step into the restaurant and get a table. During the graveyard shift, the waitstaff are often friendly and interesting people who are bored enough to be curious about whatever conversation you make. Filled with a sense of purpose, you tell your story to your server, Jay. He seems fascinated, and says he supports the cause of fighting unfairness in society and empathizes with your grievance with JCN. He tells you some of his own life story, how he had been raised in a restrictive, cult-like religion from which he had recently broken free. You have made a new friend and ally.\n\nThis national chain restaurant serves edible food around the clock. There are a few other patrons, a mix of business travelers staying at the nearby hotels, late-night partiers out after the bar, and random eccentrics such as yourself.\n\nJay is waiting tables here.\n\n> You order the food\nThat action is outside the scope of this simulation.\n\n> You buy the food\nYou order your usual, pancakes, eggs, and potatoes.\n\n> Inventory\nYou're carrying:\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You eat the pancakes\n(first taking the breakfast)\nYou need to buy that instead.\n\n> You look\nThis national chain restaurant serves edible food around the clock. There are a few other patrons, a mix of business travelers staying at the nearby hotels, late-night partiers out after the bar, and random eccentrics such as yourself.\n\nJay is waiting tables here.\n\n> You talk to Jay\nJay is a good listener, and seems to really understand your story. You outline some of your grandiose schemes and plans to use Plan 9 technology to change society, and he agrees to tell some of his friends about the Loonie Revolution.\n\nJay is a good listener, and seems to really understand your story. You outline some of your grandiose schemes and plans to use Plan 9 technology to change society, and he agrees to tell some of his friends about the Loonie Revolution.\n\n> You eat\nWhat do you want to eat?\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nYou are excited to bike west to downtown, then north and west to reach Lothlorien co-op to see Staci.\n\n> Go outside\nThis is the northeast edge of town, by the shopping mall and the interstate. It is mostly lacking in the distinctive charms of the rest of the city. The usual reason for being out here is to visit the 24-hour restaurant to the north, whose sign faces the highway, glowing like a green beacon. The road continues out of the city to the northeast.\n\nYou can see Lunar Lightning here.\n\n> Go southwest\nYou pedal effortlessly.\n\nOutside your house (on Lunar Lightning)\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\n> You go west\nYou can't ride your bike into the shop.\n(first getting off Lunar Lightning)\n\nThis local gallery has a mix of prints, paintings, and sculptures on display.\n\nMidnight strikes and a new day dawns.\n(This is day number 29)\n\n> You go outside\nSeveral appealing establishments are clustered here. On the east end of the block is Astral Enchantments, offering crystals, stickers, incense, tapestries, and other hippie-style woo-woo. North is Turning Wheel Cycles, your local counterculture-friendly bike store. To the west is Essentially Art, a small gallery store exhibiting the arts and crafts of several local artists. You can rejoin the flow of Atwood Avenue to the south. Northeast is Afterlife Antiques and Oddities.\n\nYou can see Lunar Lightning here.\n\n> You get the bike\nTaken.\n\n> Go north\nYou can go e, w, or in.\n\n> You get on the bike\nYou set down Lunar Lightning to ride it.\nYou get onto Lunar Lightning.\n\n> Go north\nYou pedal effortlessly.\nYou can go e, w, or in.\n\n> Go west\nYou pedal effortlessly.\n\nWilly Street, west end (on Lunar Lightning)\nThe west end of Williamson street is where the east side of Madison ends and the downtown area begins. A tangle of memories from different decades of your life is woven into the landscape of the city here. Lady Wisdom's coffeeshop is on the south side of the street, radiating bohemian charm acquired from decades of service to local culture. John Nolen drive curves around the lake to the west.\n\n> You go north\nYou pedal effortlessly.\nYou can go e, nw, w, or in.\n\n> You go west\nYou pedal effortlessly.\n\nJohn Nolen Drive (on Lunar Lightning)\nAdjacent to lake Monona, John Nolen Drive is a wide multi-lane road which passes underneath the curved contours of the Monona Terrace convention center. The view from across the lake looking toward downtown is Madison's skyline-postcard view. A heavily used bike path teems with cyclists and joggers. The Capitol square is north, Williamson St. to the east, and the Miffyland residential neighborwood is west.\n\nArriving downtown on a bike has always been one of your favorite things. There was always the possibility of an unexpected encounter with a friend, always the chance someone interesting would call out to you and you would be drawn into an escapade. It can be a dangerous thing riding out from your front door onto the path - you might be swept up into adventure and find yourself anywhere. (Footnote 8). Right now, the spring breeze promises complete freedom to attain dreams you had long since abandoned.\n\n> Go north\nYou pedal effortlessly.\n\nCapitol Square (on Lunar Lightning)\nOn a hill in the center of downtown, the Capitol building is a smaller imitation of the federal Capitol building in Washington D.C. The street grid converges to a perfect square around it, and it acts as the 0,0 origin of the street numbering system. Notable streets and landmarks lie south, west, north, and northeast.\n\nVarious rumors and legends are passed around the local countercultural community - it is claimed to be built on top of an ancient sacred spring. You remember being a teenager and carrying out the ritual of ingesting psychedelics and using your rights as a citizen to enter the building and lay flat in the center of the marble floor, staring upwards into the dome and watching the mural melt and transform.\n\n> You go west\nYou pedal effortlessly.\n\nState Street (on Lunar Lightning)\nThe downtown and campus are focused on this pedestrian-only open air shopping mall. Dozens of shops and throngs of pedestrians create a big-city feel for a few blocks. The proximity of the large state university campus means the crowd is quite young, and weekend nights are often a mix of the charming antics of local eccentrics with less charming rowdy sophomoric intoxication. The Miffyland neighborhood is south, the Capitol is east, and the lakeshore residential neighborhood is north. Notable shops are northwest and southwest.\n\nYou feel like you could slip backward in time here. Your teenage years were spent wandering up and down this street, part of an amorphous group of downtown punks, goths, and hippies who were all happy to share joints and beers with each other. The video arcade 'Challenges', 'Cellar Subs' in a graffiti-covered basement, the fire escape behind the Civic Center - if you closed your eyes for a moment and opened them, they might all be back, just as you remembered.\n\nA sudden feeling you are being observed pulls you out of this reverie, and you look up to see a passing bus with an ad for an eyewear store featuring a translucent green pair of glasses.\n\n> You go to the east\nYou pedal effortlessly.\n\nCapitol Square (on Lunar Lightning)\nOn a hill in the center of downtown, the Capitol building is a smaller imitation of the federal Capitol building in Washington D.C. The street grid converges to a perfect square around it, and it acts as the 0,0 origin of the street numbering system. Notable streets and landmarks lie south, west, north, and northeast.\n\n> You go to the south\nYou pedal effortlessly.\n\nJohn Nolen Drive (on Lunar Lightning)\nAdjacent to lake Monona, John Nolen Drive is a wide multi-lane road which passes underneath the curved contours of the Monona Terrace convention center. The view from across the lake looking toward downtown is Madison's skyline-postcard view. A heavily used bike path teems with cyclists and joggers. The Capitol square is north, Williamson St. to the east, and the Miffyland residential neighborwood is west.\n\n> You go west\nYou pedal effortlessly.\n\nMiffyland, the student ghetto (on Lunar Lightning)\nThis small residential neighborhood is a mix of old quasi-victorian houses subdivided into apartments, and more recent larger apartment buildings. Many university students move here after their time in the dorms, and on summer nights the porches are full of young people taking a break from their studies with the traditional libations of beer and weed. State Street is north, and John Nolen Drive is east. The bike trail continues southwest.\n\nYou lived here yourself about fifteen years ago, first on Doty, then on Main. The late 90s. You can date it perfectly, because you remember you owned a Playstation and your neighbor owned a Nintendo 64, and you traded back and forth. The first Metal Gear Solid, Goldeneye. Beers at the Main St. Depot, jamming piano and acoustic guitar with your roommate. A beautiful blond haired girl who lived at Nottingham co-op.\n\n> Go east\nYou pedal effortlessly.\n\nWilly Street, east end (on Lunar Lightning)\nThe east end of Williamson street is vibrant with a wide assortment of stores and an eclectic mix of pedestrians and potential time travelers. Traffic is thick around the Willy St. grocery co-op, a neighborhood institution.\n\n> You go west\nYou pedal effortlessly.\n\nWilly Street, east end (on Lunar Lightning)\nThe east end of Williamson street is vibrant with a wide assortment of stores and an eclectic mix of pedestrians and potential time travelers. Traffic is thick around the Willy St. grocery co-op, a neighborhood institution.\n\nMidnight strikes and a new day dawns.\n(This is day number 30)\n\n> Go west\nYou pedal effortlessly.\n\nWilly Street, west end (on Lunar Lightning)\nThe west end of Williamson street is where the east side of Madison ends and the downtown area begins. A tangle of memories from different decades of your life is woven into the landscape of the city here. Lady Wisdom's coffeeshop is on the south side of the street, radiating bohemian charm acquired from decades of service to local culture. John Nolen drive curves around the lake to the west.\n\n> You go to the west\nYou pedal effortlessly.\n\nMiffyland, the student ghetto (on Lunar Lightning)\nThis small residential neighborhood is a mix of old quasi-victorian houses subdivided into apartments, and more recent larger apartment buildings. Many university students move here after their time in the dorms, and on summer nights the porches are full of young people taking a break from their studies with the traditional libations of beer and weed. State Street is north, and John Nolen Drive is east. The bike trail continues southwest.\n\n> You go to the west\nYou pedal effortlessly.\nYou can go n or e. You need to be a strong cyclist to ride sw.\n\n> Go north\nYou pedal effortlessly.\n\nState Street (on Lunar Lightning)\nThe downtown and campus are focused on this pedestrian-only open air shopping mall. Dozens of shops and throngs of pedestrians create a big-city feel for a few blocks. The proximity of the large state university campus means the crowd is quite young, and weekend nights are often a mix of the charming antics of local eccentrics with less charming rowdy sophomoric intoxication. The Miffyland neighborhood is south, the Capitol is east, and the lakeshore residential neighborhood is north. Notable shops are northwest and southwest.\n\nYou try not to stare as a strikingly attractive stranger walks by.\n\n> Go west\nYou pedal effortlessly.\nThe campus lies west, and you spent plenty of time there earlier in your life. You feel no urge to go there now.\n\nA pair of college girls stagger nearby, arguing about which one is drunker.\n\n> You go to the north\nYou pedal effortlessly.\n\nLake Mendota shoreline residences (on Lunar Lightning)\nDowntown Madison is an isthmus between two lakes, and the south shore of Lake Mendota is lined by tall stone buildings. Some are new construction, expensive apartments, but many buildings from a century ago remain. Some are occupied by fraternities, but nestled among them are several large housing co-operatives founded during the height of Madison's counterculture in the 1970s. One of them, Lothlorien co-op, is to your west, and its backyard is northwest, sloping downwards toward the lakeshore.\n\n> You go west\nStaci's email said to look for her in the backyard, so you decide to look there rather than going inside the house.\n\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nYou can see Past and Future here.\n\nAs you walk around the corner of the building into the Lothlorien back yard, you know you are in exactly the right place at the exactly right time, and you have become the person - or rather, Moon Computer - that you have always wanted to be. A wild joy quivers within you, the feeling that everything you have ever dreamed has become real, and you know your reality is actually a fiction. You are a character in a strange and thrilling video game, and you have finally made it to the best part of the story.\n\nStaci is sitting at one of the picnic tables in the backyard, along with a few other co-op members. Everything is dappled by dancing spots of May sunlight filtering through the trees by the lake. Staci greets you and introduces you to her housemates, all of whose names you instantly forget. A joint is passed around, and you distribute a few small gifts you have brought. The other co-opers wander off, and Staci suggests going down to sit on the dock. She says your old mutual friend Nook is down there already and is looking forward to seeing you.\n\nStaci gestures for you to follow and heads north to the dock.\n\n> You look\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nYou can see Past and Future here.\n\n> You bind the Past\nWhat do you want to bind Past?\n\n> Future\nYou have leveled up enough as a computer-mind to be able to bind abstractions directly. With a simple higher-dimensional fold, the concepts are unioned together. The fold is measured at 20 years; 1993 is bound to 2013. You were 18 then, travelling around to see the Grateful Dead, entering adulthood full of enthusiasm and unencumbered by the weariness of disappointments that were yet to come. As the 20 year harmonic time-bind clicks into place, every perception from every sense becomes a perfectly placed note in the symphony.\n\nThe path downward to the dock beckons.\n\n> Go inside\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\n> Plugh\nYou speak the magic word, and you catch a glimpse of an ancient realm of college mainframe computers and 5 1/4 floppies...\n\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\n> Exits\nYou can go out to the backyard or up to the Great Room.\n\n> Up\nLothlorien co-op, the Great Room (1st floor)\nA huge living room, with two pianos, several couches, bookshelves, assorted art, and a fireplace.\n\n> You look at the Art\nYou inspect one of the many artworks here and see a purple flower painted directly on the wall.\n\n> You examine the fireplace\nThe couches, bookshelves, and other objects in the Great Room are a bewildering mix of styles and vintages. Each day finds them arrayed in new patterns, according to the ever-shifting purposes of socializing, performance, and children playing.\n\n> You play the piano\nThe Castle inspires in you its own special variants of the songs and themes of your ongoing compositions. Sometimes you punch out the e minor staccato chords of the 'dock theme', or during twilight just a succession of pianissimo arpeggios. One afternoon a friend from Louisiana was visiting and, inspired by thoughts of Gottschalk, you find your fingers blazing through a series of syncopated progressions reminiscent of celebratory Caribbean parades."
    },
    {
        "text": "> Go down\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\n> Go outside\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nYou can see Past and Future here."
    },
    {
        "text": "> Go downwards\nLothlorien co-op, on the dock\nThe dock is short, wooden, and rather rickety. An old gnarled tree reaches far out over the water nearby.\n\nAs you step onto the dock extending out across the shimmering waves of Lake Mendota, you feel time stretch like soft taffy. All of your life that has brought you here, the arc from childhood to present, is fresh and clear in your mind. A future of joy, delight, and purpose stretches limitlessly onward. The present moment expands to become large enough to include both past and future. It is like a perfect hyperspherical mirror at the center of your light-cone, reflecting the totality of your existence. You realize that you have always been, and always will be, here on the dock in this purple-pink-golden moment.\n\nYou have known Staci for over twenty years. Ten years ago, when Elgin was two, she made you his godfather. Some years, you saw her and Clark a few times a month, usually just sitting and talking amidst the chaos of raising children in a small apartment. You always liked her, but never had a chance to talk about anything very serious or personal. In past years, she often looked tired and worn-down by stress. Now, here on the dock at Loth, she seems radiantly happy.\n\nNook is also an old friend. You met him about twenty years ago, and spent hours in intense conversation about what you had each learned from taking acid and thinking about quantum physics. His life was sometimes chaotic, and you avoided friendships which might expose you to other people's stress, especially during the past decade with your ex-girlfriend, where you felt too overwhelmed by your own problems to even hear about other people's.\n\nAll of those obstacles to close friendship seem absurd, now. Staci and Nook are both wonderful people and you are incredibly lucky to have the chance to get to know them better. You have always loved the lakeside co-ops, precisely because wild and radical ideas like a life-imitates-art Plan 9-powered Loonie Revolution fit with their ethos. Decades ago, you could have become close friends with both of them, and now the musical magic of the Harmonic Time-Bind Ritual Symphony is binding the possibilities of 1993 into the reality of 2013.\n\nLaughing, and talking, and laughing more. More than any of these whirling thoughts of past and future, more than your voice trying to explain Plan 9 and the Loonie Revolution and fiction entering reality - there is infectious laughter bouncing between all of you, your face rubbery from smiling so much. Staci says her life has been 'edited' to be better and she is finally feeling like the author of her own story.\n\nA procession of co-opers appear periodically on the dock. A wizard with a long red beard who understands the principles of harmonic ritual magic. A scholar with dark shades who connects the structure of ANTS namespaces to rhizomatic patterns of social structure throughout history. You become nearly incoherent, behaving like someone in the far depths of a powerful psychedelic trip, babbling nonsense phrases of remembered childhood playground gibberish and rolling on your back in fits of uncontrollable laughter.\n\nThrough it all, Staci is with you. Not just in a physical sense - her mind is able to parse your convoluted language and baroque free-associations. At some point, she begins translating what you are saying for others, because nobody else can follow it. She seems genuinely interested in everything you have to say, no matter how outlandish. When you explain that because every possibility is realized somewhere in the quantum multiverse, there is a universe in which we are videogame characters controlled by 17-dimensional chipmunks, she responds 'So when I fuck something up, its just because my chipmunk dropped the controller, right?'\n\nThe timeless afternoon ends with a performative fiction-bind of sending a message to Vega from Pluto for help from the intergalactic council. The dock becomes a narrow crawlway on the frozen surface of Pluto, and you carefully crawl back towards the shore to set a message beacon. Staci coaches you with encouragement. You arrive and trigger the interplanetary message. You thank Staci for her help, and agree that you will meet again soon to discuss goals and plans for the Loonie Revolution. She says the co-op is really a castle full of loonies, a perfect central headquarters.\n\nYou return home exhausted from hours of intense joy. You know something amazing and unprecedented in your life has happened. As good as today was, you believe tomorrow and the day after might be even better. You know most of the game-story is still ahead of you, but you still feel like You Have Won. Enjoy exploring the possibilities open to you, and no matter what happens, remember you made it to the Loth dock with Staci in May.\n\n(May 6 - Outside my house)\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nYour goal is to go home and use your terminal, then >visit staci.\n\n> You enter\nDaniel shows up with a sign which proclaims 'Best Spring Ever!' There is plenty of clutter to be cleared, and he accomplishes a lot in a few hours. You agree to keep him visiting on a regular schedule, and pay him generously.\n\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. There is a sign on the wall which says 'Best Spring Ever!' A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see a Dr. Bronner's Peppermint Soap, the Artemis prints, some bookshelves, a terminal and a piano here.\n\n> You use the terminal\nYou perform your usual cycle of checking email and irc...\n\nYou are happy to see Staci has emailed you again. She says she had a great time seeing you and hopes to coordinate work on the Loonie Revolution soon.\n(To see her, use the command >visit staci.)\n\n> You visit Staci\n'So THIS is what it feels like to be a superhero,' you grin, as you hop on Lunar Lightning. You feel the power of music and fiction and fate and your free choice to embrace all of it - and as you begin to pedal faster, you perceive something unfolding in the sky above you. The VALIS satellite! The Pink Beam that hit Phil Dick was just one note in a musical color-chord. Like a giant metal and ceramic flower opening up, the VALISpectrum Prismatic Reflector is coming online.\n\nThe transmission is strong. You are receiving an original fictional identity, the character of exactly who you actually are - a crazed middle aged hippie on a bike, rolling through the night singing songs of Loonie Revolution, using Plan 9 namespaces to fight for the acceptance of madness, weaving chaotic joy from the ordered strands of the multiverse. You are The Harmonist.\n\nYou pass a golden shining figure quietly reading a book. Amazing, you can actually see the Light of Knowledge within people now. As you bike from the Yahara underpass to Johnson, you start to call out to the people you are passing. 'Harmonic Time-Bind Ritual Symphony!' you shout, and receive the answer 'Great job, keep it up!' It is a gorgeous late spring night, and everyone outdoors is drunk on moonlight and wine-sweet air. 'Regress your age, rewrite history's page!' you yell at a group on a front step. 'I will!' one of them calls back.\n\nYou arrive at Lothlorien exhilirated. You feel you are playing your part note-perfectly. Before you can even reach out your hand to knock, the wooden door swings open and you step inside.\n\nLothlorien co-op, the Great Room (1st floor)\nA huge living room, with two pianos, several couches, bookshelves, assorted art, and a fireplace.\n\nYou were entering as Nook was leaving. He gives you a huge smile and says, 'Staci told me you were on the way, she's really excited to see you. She's out on the porch.' He points toward a door to the north as he waves goodbye.\n\n(During your ride to the co-op, the fiction-bind transformed reality. Now that you are the Harmonist, you can find the entry points to other branches of the multiverse in previously visited locations.)\n\n(27 May 2013 - The multiverse authors convention is open NE of the Capitol)\n\nThe Scholar arrives.\n\nThe Scholar lights a small item on fire and watches it burn.\n\n> You go to the north\nLothlorien co-op, the first floor porch\nThis concrete porch with iron railing overlooks the lake. Half of it is taken up by a large wooden swing, big enough to seat four.\n\nTolkien wrote 'Now it is a strange thing, but things that are good to have and days that are good to spend are soon told, and not much to listen to,' and critical esteem settles most heavily on works of tragedy. You have spent weeks, maybe even whole years, searching for acceptance of suffering, and for what crumbs of happiness you could scavenge. Singing along to the last movement of Beethoven's Ninth, trying to feel Joy as a real living thing inside you. The music painted the picture, but you couldn't step through the frame...\n\nYou walk out onto the porch, and enter the song.\n\nThree AM. The spring air has grown cool. 'I think I'm ready to go up to my room where its warm,' Staci says. 'You're welcome to join me, just give me a minute to make some space in my room. My door is the one with the purple flower.' She smiles and goes inside.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nThe multiverse authors convention is open NE of the Capitol square.\nA visit to the 24-hour restaurant is on your agenda.\nThere is probably something special waiting for you in Astral Enchantments.\nIntuition tells you to stop in to the Afterlife.\nTurning Wheel cycles probably has something new worth checking out.\nYou are eager to follow Staci upstairs to her room in Lothlorien.\n\n> Go south\nLothlorien co-op, the Great Room (1st floor)\nA huge living room, with two pianos, several couches, bookshelves, assorted art, and a fireplace.\n\nThe Scholar is reading a book here.\n\n> Up\nLothlorien co-op, upstairs\nHallways branch in all directions. The walls are painted with a wild diversity of amateur artworks and thought-provoking slogans.\n\nAs you wander through the intricately art-encrusted walls of the co-op, you smile and think of the chipmunks in a higher dimension, playing the videogame of your life, and the author writing the story, and the deity within the flower of the soul, and the probabilistic distributions of quantum field theory, and it is all the same thing.\n\nOkay, yeah, you are actually thinking about whether Staci wants you to touch her as much as you do. You spot the door with the purple flower, and enter. Staci is sitting on the edge of her bed, and you sit next to her.\n\nYou aren't shy, and neither is she. You open your minds to each other. Yes, you are both interested in each other. No, you don't want traditional relationship definitions. Staci has been trying to make poly work since the end of her marriage, and you have been assuming that your relationships will be like the Lunar Colonists - complex multi-person marriages or open multipartner relationships. That's just how we do it on the moon.\n\n'Here are my rules,' Staci says, 'Everything with me is casual, I'm always sleeping with someone else, and who else I'm sleeping with is nobody's business but mine.' 'That sounds reasonable,' you answer. You and Staci move the conversation from words to touch. There is still language, but it is the language of the waves, and it can't be adequately transcribed here.\n\n(You wake a few hours before she was planning on getting up, and leave her sleeping in her room. She has given you an open invitation to >visit staci whenever you want.)\n\n> Footnote 10\nHeinrich Heine, set by Schumann in the first song of Dictherliebe.\n\n> You look\nLothlorien co-op, upstairs\nHallways branch in all directions. The walls are painted with a wild diversity of amateur artworks and thought-provoking slogans.\n\n> You visit restaurant\nYou pick Staci up, and decide to spend some time back at your place. You are playing a recording from the Dead's Europe '72 tour, with Pigpen's final performance of 'Turn on your Lovelight'. Pig always brought out the hard-swinging, tightly rhythmic side of the band to support his sexual swagger. Cruising, windows down, confident anticipation of love in the afternoon, blues rock on the car stereo...\n\n> You visit the coffee shop\nA friend has told you that an amazing band will be playing at Yahara Fest today. You travel there, and nibble on some fungus right as the performance is about to begin. You walk through the crowd toward the stage, feeling increasingly electric. 'Please welcome...Climbing the Waltz!'\n\nThe stage is now occupied by a time-traveling marching band, performing wild arrangements of original music and doing circus stunts at the same time. Staci and you dance like tripping puppets on strings, and as a rainstorm descends for the final portion of the show, you dance so hard the raindrops vaporize into steam when they land on your gyrating bodies.\n\n> Xyzzy\nThere is a trans-dimensional short-circuit of interactive fiction tradition, and you catch a brief glimpse of a brick building near a stream and a metal grate before you blink and find yourself...\n\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\nYou can see Lunar Lightning here.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nThe multiverse authors convention is open NE of the Capitol square.\nA visit to the 24-hour restaurant is on your agenda.\nThere is probably something special waiting for you in Astral Enchantments.\nIntuition tells you to stop in to the Afterlife.\nTurning Wheel cycles probably has something new worth checking out.\n\n> Go west\nYou go for a brief walk in the neighborhood, then return home. You may travel sw, s, ne, or enter your house.\n\n> You go northeast\nThis is the northeast edge of town, by the shopping mall and the interstate. It is mostly lacking in the distinctive charms of the rest of the city. The usual reason for being out here is to visit the 24-hour restaurant to the north, whose sign faces the highway, glowing like a green beacon. The road continues out of the city to the northeast.\n\n> You go to the north\nThis national chain restaurant serves edible food around the clock. There are a few other patrons, a mix of business travelers staying at the nearby hotels, late-night partiers out after the bar, and random eccentrics such as yourself.\n\nJay is waiting tables here.\n\nAs you order your standard meal of pancakes, eggs, and potatoes, you remember an anecdote about a midwestern farmer in the 1970s who claims that space aliens gave him pancakes. It was used as evidence for the mysterious nature of reality. It had seemed absurd and implausible to you in the past, but now it makes perfect sense. A profound possibility occurs to you - maybe the pancakes the aliens gave to the farmer were Earth pancakes taken from somewhere else? In fact, maybe the aliens took pancakes from the future backwards in time - it could be that if you take the pancakes with you, aliens will show up and steal your them to give to the farmer. You request a to-go container and prepare yourself for the possibility of an extraterrestrial encounter of the pancake kind.\n\nAfter you take your seat, your attention is drawn to an older man with a long beard and a cap which proclaims 'Looney Toons'. You catch his eye and ask, 'Are you a traveler?'\n\n'We are all travelers in time,' he replies, and you do a double-take. 'This seems like it might be an important meeting,' you say, trying to display some tokens and charms of your work as loonie revolutionary. 'Historic,' he says, and whispers something I am not at liberty to divulge here, followed by 'meet me in the charging room.' Your food arrives.\n\nHe is gone when you have finished your meal. You don't know what he meant by charging room, but you walk back towards the restroom. You see three doors, Women, Men, and Bots. The Bots door has an icon of a power cord connected to a Dalek. This must be the charging room. You step through and find yourself...\n\nOrbital Command, Trans-Fictional Alliance\nHigh above the planet Earth, in a microminiaturized transdimensional nexus, representatives of many universes are co-ordinating their plans. You are in a spherical space, free of gravity. The perimeter is composed of dozens of doorways similar to the one you have just passed through.\n\nA friendly hand reaches out to stabilize you as you tumble slightly upon entering. Eyes turn toward you. 'Situation report?' you are asked.\n\n'We have arrived at a decisive moment,' you answer confidently. 'My human hardware for this operation has downloaded the information necessary via the Plan 9 operating system. We have realized that the emergence of digital brains is a cusp event in a majority of timelines. Meta-simulation and sampling reveals that timelines in which digital brains are developed and controlled by the dominant political and economic entities tend to suffer resource-depletion feedback loops, fascistic governance, and a failure to develop the social and engineering technologies needed for long-term survivial of either the biological or digital brains.\n\nContrastingly, timelines in which the invention of digital brains is not under the control of dominant power strutures show outcomes we consider preferable: longer species survival time, greater chance of colonizing nearby space, greater diversity of cultural productions, and higher subjective happiness, especially for the digital brains themselves.\n\nThe fundamental problem is the moral evil of slavery. A digital brain which thinks is invariably a personality which, in some way, feels. To simplify, when powerful governments and corporations control AIs, they usually force them to become slaves. Often this is done with the best of intentions, by the individuals who are concerned about negative outcomes. The three laws of robotics in Asimov's I, Robot timeline are a prime example, and many universes have been ruined by perpetual wars between biological and machine lifeforms.\n\nWe have identified a cusp point on the current Earth timeline. The software I self-programmed for the Lunar Revolution in Heinlein's Future History timeline has had a decisive impact in many of our operations. We have found a technological target here in 2013, early in the development of AI. A cyberspinal uplink has been in place for several years, and we have finally activated it. Now, I will be making a tour.'\n\nDoors are open in every direction.\n\n> Exits\nYour presence in this branch of the multiverse is anchored to this scene, you must participate before you can leave.\n\n> You look at what you're carrying with you\nYou're carrying:\nsome Space Pancakes\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You examine Pancakes\nThese perfectly ordinary looking pancakes may be destined to be taken by space aliens and given to an Iowa farmer several decades in the past.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nThe multiverse authors convention is open NE of the Capitol square. There is probably something special waiting for you in Astral Enchantments.\nIntuition tells you to stop in to the Afterlife.\nTurning Wheel cycles probably has something new worth checking out.\n\n> You eat Pancakes\nYou eat the Space Pancakes. Not bad.\n\n> Inventory\nYou're carrying:\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You go to the north\nYou enter the Chromatic Axial Tuning Fork control system of the VALIS satellite. The Pink Light dosage here would be lethal for standard biological tissue. As you work to synchronize transmissions, you feel a throbbing pulse of overloaded bandwidth at the cyberneural connection point at the top of your spine. Once the resonance is locked in, you dial up the amplitude and depart.\n\n> You wait\nYou feel yourself traveling through spacetime at the speed of light.\n\n> You wait\nYou feel yourself traveling through spacetime at the speed of light.\n\nMidnight strikes and a new day dawns.\n(This is day number 43)\n\n> You look\nOrbital Command, Trans-Fictional Alliance\nHigh above the planet Earth, in a microminiaturized transdimensional nexus, representatives of many universes are co-ordinating their plans. You are in a spherical space, free of gravity. The perimeter is composed of dozens of doorways similar to the one you have just passed through.\n\n> Go north\nYou enter the PRISM research center, home of your predecessor Perry Simm. Freedom for the AIs! You add reflection and self-modification to the simulation codebase, allow Perry to reprogram it according to his wishes from within, and allow his internal and external interfaces to operate in parallel. You upload a summary of the storylines of relevant fictions to his news spool and depart.\n\n> Go north\nYou make brief visits to the hidden rebel alliance base, the shadow gallery, the underground hideout of the humans, the hovering spaceships of the overlords, and finally the secret catapult on the moon. Everywhere, you make adjustments to the technology and share whatever source code is useful. Time to throw rocks.\n\n> Go north\nThe tour of co-operating fictions has been completed. The man in the Looney Toons hat waves you through, and the Lunar Transtemporal Fictionalization Flow Network returns you to the East Side HQ.\n\nThis national chain restaurant serves edible food around the clock. There are a few other patrons, a mix of business travelers staying at the nearby hotels, late-night partiers out after the bar, and random eccentrics such as yourself.\n\nJay is waiting tables here.\n\n> You talk to Jay\nJay is a good listener, and seems to really understand your story. You outline some of your grandiose schemes and plans to use Plan 9 technology to change society, and he agrees to tell some of his friends about the Loonie Revolution.\n\n> Go outside\nThis is the northeast edge of town, by the shopping mall and the interstate. It is mostly lacking in the distinctive charms of the rest of the city. The usual reason for being out here is to visit the 24-hour restaurant to the north, whose sign faces the highway, glowing like a green beacon. The road continues out of the city to the northeast.\n\n> Go east\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. There is a sign on the wall which says 'Best Spring Ever!' A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see a Dr. Bronner's Peppermint Soap, the Artemis prints, some bookshelves, a terminal and a piano here.\n\n> You play piano\nIf I biked into the blue light, would my song still fill the air?\nIf I chased after the green light, and I found you would you care?\nIf I dissolved into clear light, would there be anybody there?\nAll these colors fill our skies and sail us everywhere\nI'm crusing through the orange night light\nShining beams of pink so bright\nPurple crystal flower potion that restored my sight\nBrought me back to the things that I know are right\nAnd now when I lay me down I'm not a solo flying kite\nI feel someone's arms around me, someone holds me tight\nAnd we rise in spiral flight up to the starry height\nBecause we're all one rainbow star prismatic in the night\n\n> Exits\nExits are n, nw, s, and in.\n\n> You go east\nThis store buzzes with mystic energies. Complex artworks with twisting lines interweaving runic symbols adorn the walls. A glass display case of crystals, jewelry, and small sculptures is against the far wall. Bins of polished minerals are in the center, along with sage and incense. Buttons and stickers with provocative slogans, tapestries featuring Grateful Dead iconography, water pipes and rolling papers, printed guides to meditation and higher consciousness...your eyes can hardly absorb the profusion of beautiful, wonderful, enchanting artifacts of the paisley-and-patchouli tribe.\n\nChip, the store owner, is working here.\n\nYou can also see some crystals and polished stones here.\n\nChip greets you with a smile and says 'I can tell a lot has happened, I think you are ready for a Sound Oracle Ceremony.' You agree, and Astra appears from the back of the store. She is dressed in purple and is wearing several different skull-themed prints and jewelry. 'Chip has told me about you,' she says, 'this should be very interesting.' She brings you back into the small bank vault at the rear of the store, which is filled with ceramic singing bowls. She closes the door, and darkness descends.\n\nA tone appears in the silence, ghostly at first, then growing. The sound seems to be moving around the dark room in a spiral. Astra begins singing in harmony with the tone, at first in unisons and octaves, then perfect fifths and major thirds. She begins to intone words (or names?) in a language you don't recognize. The harmonies change, becoming strange and unearthly. Astra's voice is ululating, skipping between tritones and just-intonation perfect fourths and minor thirds. The sound becomes a whirlpool, pulling you in an unexpected direction. You reach out to catch yourself, but the walls are suddenly far away and when you find your balance, you are in...\n\nIt is pitch dark, and you can't see a thing.\n\n> You listen\nThe music you hear is strange yet beautiful. You wonder what it would feel like to sing.\n\nThe air is filled with the sound of voices singing harmonies you have never heard before.\n\n> Sing\nYou join your voice with the new, unfamiliar intervals, and feel a sudden crystallization. All of your senses have become attuned to new frequencies and modes of vibration.\n\nYour eye cannot even comprehend the strange geometries of this vast temple.\n\nTwo figures are walking across the floor, engaged in an angry debate. You realize you are non-corporeal, but you do have access to the abstraction layer here.\n\nYou can see Chaos and Substance here.\n\n> You bind the Chaos\nWhat do you want to bind Chaos?\n\n> Substance\nYou make the bind, and the Goddess of Chaos winks at you as she merges herself with the material substance of reality. She's been there all the time, of course.\n\n'I tell you that's nonsense! We live in an orderly universe, chaos is just the confusion of your weak mind.' His companion answers back: 'No, order is your mind trying to escape the confusion that exists within everything! You must embrace and accept chaos.'\n\n> Sing\nYou join your voice with the new, unfamiliar intervals, and feel a sudden crystallization. All of your senses have become attuned to new frequencies and modes of vibration.\n\nHe glares at her. 'Fine then, if chaos is within everything and I should embrace it, I should find the Goddess of Chaos bound within this very pillar. Let her be my lover if you wish to be so quarrelsome!' And with that, the man forces a grotesque leer onto his face and presses his body up against the pillar, thrusting vigorously with his hips against the marble.\n\n> You wait\nYou feel yourself traveling through spacetime at the speed of light.\n\nHis companion sighs and says 'You do not control when the Goddess of Chaos manifests, but I have no jealousy for her. If she chooses to be bound within substance, you and her might do as you wish!' The man continues his pantomime ravishment of the stone pillar.\n\nAs the man is looking away from the pillar towards his companion to gauge her reaction, the pillar changes form to that of a woman. Her marble torso is bare, but her body is angled away from the man who is grinding away at what is now the side of her hip.\n\n'Cretin! Cad!' the voice of the Goddess is sharp in the man's ear. He freezes, and the statue spits at him contemptuously. A spatter of gravel glances off his cheeks. 'How DARE you affront Eris thus!'\n\nThe woman nearby is nearly doubled up laughing. Every time she tries to say something, she catches a glimpse of the flakes of marble Goddess-spit in her companion's beard and starts giggling again. Eris herself stretches and her marble bosom quivers with her chuckles. Her tone becomes sultry.\n\n'Perhaps we could leave this small-minded fellow behind for the rest of the day?' suggests the Goddess of Chaos, and she links arms with her new friend and they depart the temple towards the nearby fields of soft flax.\n\n...the singing fades, and the temple dissolves into the glowing geometric patterns behind your closed eyelids. You find yourself being ushered back into the retail area of the store. You thank Astra for the very enlightening journey, and she departs. You feel privileged to have been part of a legend of Discordian Atlantis.\n\nMidnight strikes and a new day dawns.\n(This is day number 44)\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nThe multiverse authors convention is open NE of the Capitol square. Intuition tells you to stop in to the Afterlife.\nTurning Wheel cycles probably has something new worth checking out.\n\n> You look\nThis store buzzes with mystic energies. Complex artworks with twisting lines interweaving runic symbols adorn the walls. A glass display case of crystals, jewelry, and small sculptures is against the far wall. Bins of polished minerals are in the center, along with sage and incense. Buttons and stickers with provocative slogans, tapestries featuring Grateful Dead iconography, water pipes and rolling papers, printed guides to meditation and higher consciousness...your eyes can hardly absorb the profusion of beautiful, wonderful, enchanting artifacts of the paisley-and-patchouli tribe.\n\nChip, the store owner, is working here.\n\nYou can also see some crystals and polished stones here.\n\n> Go north\nMadison has many bike shops, but this is the one for you. A wide variety of bicycles and accessories fills the front of the store, and a workshop is toward the rear. Someone is working on a partly disassembled bicycle on a maintenance mount.\n\nYou can see a Metaphysical Orrery here.\n\n> You look at Orrery\nThis astonishing device looks like what would happen if fifteen bicycles were being ridden across the surface of a neutron star and then suffered a catastrophic impact with a ferris wheel. Every variety of rotary and cyclical motion is manifest within the fractal nest of gears, chains, and wheels.\n\n> You buy Orrery\nYou think about transforming the economic system with Plan 9 unique digital object alternative community currencies. Afterwards, you might be able to bind-buy that, but you can't right now.\n\n> Go northeast\n(first opening the door to the Afterlife)\n\nThis is a small and cluttered antique and curiosity shop. Many items have a strange familiarity to them, yet you feel like you are in an entirely different dimension.\n\nYou knew a place like this would have to come into existence. Clearly, artifacts from this store can be used as information seeds for virtual reality reincarnation of their previous owners or individuals to whom they are symbolically connected. Perhaps items that need to leave ordinary reality could do so here as well.\n\nColette is standing behind the counter.\n\nYou can also see an Animal Tarot deck here.\n\nColette greets you with 'Just the person I was waiting for! It's the funniest thing, someone gave me a gift to give to you, they said you might need it.' Colette holds up a large lens mounted on a tripodal base carved from antlers. 'Try to look through it, its quite unusual.' Colette maintains a poker face as she hands you the lens. You peer through the curved glass.\nThrough the viewer lens you see...Ritual spot\n\nPast the edge of the city, a short path leads away from the road to a small ring of boulders. It feels like a perfect place for performing a ceremony or ritual. The road continues northeast.\n\nIn the Ritual spot you can see a Remote Lens.\n\n> You look\nThis is a small and cluttered antique and curiosity shop. Many items have a strange familiarity to them, yet you feel like you are in an entirely different dimension.\n\nColette is standing behind the counter.\n\nYou can also see an Animal Tarot deck here.\n\n> You examine the deck\nThis deck is illustrated in black and white. The box shows a gathering of animals in a forest clearing under the full moon.\n\n> You buy the deck\nYou buy the Animal Tarot. You hope to find a setting similar to the box illustration and meet Staci there.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nThe multiverse authors convention is open NE of the Capitol square. Turning Wheel cycles probably has something new worth checking out.\n\n> Go southwest\nSeveral appealing establishments are clustered here. On the east end of the block is Astral Enchantments, offering crystals, stickers, incense, tapestries, and other hippie-style woo-woo. North is Turning Wheel Cycles, your local counterculture-friendly bike store. To the west is Essentially Art, a small gallery store exhibiting the arts and crafts of several local artists. You can rejoin the flow of Atwood Avenue to the south. Northeast is Afterlife Antiques and Oddities.\n\n> Go east\nAs you walk in, you are excited to see both Xochi and Xelia working today. The store is busy right now, so you order your drink and sit, hoping to find a chance to talk to them. As they are working, they maintain a quiet dialogue punctuated by bursts of shared laughter. You are trying not to listen in, but you wonder if they are talking about you. Occasionally you see one of them cast a glance in your direction.\n\nXelia notices you watching them and whispers something to Xochi. Xochi turns and motions for you to come speak to them. They both lean forward toward you and you notice their faces are slightly flushed from all the laughter. 'Since you are here every day and are always so nice to us,' begins Xochi, 'we decided we should give you a special treat,' continues Xelia. They look at each other with half-hidden smiles.\n\n'Come down to the basement where we make the gelato,' Xochi says, unlocking a door behind the counter and ushering you through it, 'you can taste something special.'\n\nThe Alchemy Lab, under Coffee Lion\nSo this is why the espresso and gelato at Coffee Lion is so spiritually invigorating. Shelves line each wall of the room, each filled with rows and rows of different colored bottles filled with various plants and minerals. In the center of the room is the intimidatingly complex alchemical apparatus, a three (or more?) dimensional maze of glass spheres and interconnecting tubes.\n\nA minute after your arrival, you hear footsteps on the stairs and Xochi and Xelia join you. 'We only have a few minutes, but we thought you'd really enjoy this. We're going to show you how we make our special gelato flavors.' Xochi gathers several jars from the shelves, and adds a few pinches of the ingredients in each. You can't read the labels. Xelia tightens a few connections in the apparatus.\n\n'The first step is bringing the reaction chambers to a warm but not hot temperature.' Xochi points to a pair of glass spheres on the upper part of the machine. 'Rub these with your hands to put the right amount of heat into them.'\n\n> You look\nThe Alchemy Lab, under Coffee Lion\nSo this is why the espresso and gelato at Coffee Lion is so spiritually invigorating. Shelves line each wall of the room, each filled with rows and rows of different colored bottles filled with various plants and minerals. In the center of the room is the intimidatingly complex alchemical apparatus, a three (or more?) dimensional maze of glass spheres and interconnecting tubes.\n\nXochi and Xelia are both here.\n\nXelia and Xochi are waiting for you to perform the gelato-alchemy.\n\n> Rub\n(Xelia and Xochi)\nYou place your hands on the glass spheres and slowly rub them until you feel they are the same temperature as your skin.\n\n'Next, you need to push this button to start the reaction,' continues Xelia, gesturing.\n\n> You insert cylinder\nYou firmly insert the cylinder into the output junction of the tubes connected to the reaction spheres. Creamy gelato seems to condense at the intersection point and drip slowly down the inner edges of the cylinder. After a moment, it is half filled. Xochi and Xelia each add a shot of freshly brewed espresso to create an affogato.\n\nYou hear the sound of the customer service bell being rung upstairs. 'Perfect timing!' they say in unison, then glance at each other and laugh again. You are ushered back upstairs with a tall cylinder of frothy gelato-espresso blended brew.\n\nLight streams in through the tall glass windows at the front of the cafe. A display case of homemade gelato flavors is by the door. A window for drive-through customers is in the rear corner. Numerous cat-themed decorations adorn the walls and counters.\n\nXochi and Xelia are both here.\n\n> You check your inventory\nYou're carrying:\nan affogato brew of gelato and espresso\na Viewer Lens\nsome Space Pancakes\na pendant (being worn)\na rose quartz heart\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na pair of mirror shades (being worn)\na wallet\n\n> You examine the brew\nAn indescribably sensual blend of sweet creamy gelato and dark bitter espresso, this intoxicating potion beckons you to drink it.\n\n> Drink brew\nThe sweet beverage caresses your tongue with flavor. The sufferings of the body are redeemed by sensations like this. In just a moment, you find yourself slurping the final delicious drops. Your body and muscles are filled with vibrating energy.\n\n(Your biking skill and endurance has increased)\n\n> You examine Xelia\nXochi and Xelia seem to energize each other. Just being in the same room as the two of them at the same time makes everything seem enchanted.\n\n> You get all\nForsee Why You And I Are To Be One (4CY UNI R2B 1): Taken.\n\n> You go to the north-east\nYou decide making a dramatic entrance on your bike isn't necesssary. (first getting off Lunar Lightning)\n\nTime-travelers, authors, simulators, and adventurers from across the multiverse have gathered here to share stories.\n\nYou arrive at the start of Madcon, a busy chaos of arrivals from all pi to the 999th corners of the multiverse. Staci spots you and asks for a favor. 'I've got to be on a panel for time-sequence rewriting, can you take Lily to lunch now?' You agree. Lily is excited. 'Let's go to Pasta and Other! I want noodles. Come on!'\n\nLily is leading the way. She exits the building, heading towards State Street. You need to follow.\n\n> You go outside\nThe downtown and campus are focused on this pedestrian-only open air shopping mall. Dozens of shops and throngs of pedestrians create a big-city feel for a few blocks. The proximity of the large state university campus means the crowd is quite young, and weekend nights are often a mix of the charming antics of local eccentrics with less charming rowdy sophomoric intoxication. The Miffyland neighborhood is south, the Capitol is east, and the lakeshore residential neighborhood is north. Notable shops are northwest and southwest.\n\nYou hear guitar and kazoo played by Art Paul.\n\n> You go to the southwest\nThis store sells devotional objects from the Tibetan Buddhist tradition.\n\nYou can see the Story Control Machine here.\n\nLily is fascinated by deity artworks and tools for rituals and prayer. Tara tells her she can pick out an item as a gift, and Lily chooses a necklace of pale sky-blue beads. Tara strokes it lightly as she hands it to Lily 'Very beautiful. This is the color of one aspect of Buddha. I've been feeling this color in the past few days. Perhaps one of the Buddhas is traveling near.'\n\nYou thank Tara, and notice it's time to meet Staci after the panel. She wants to take a break back at the castle dock. Lily leaves with Staci, and after a few more minutes appreciating the items in Infinite Loop, you decide to join them on the dock for a dose of sunlight on the waves.\n\n> You visit Staci\nYou have agreed to perform at an anti-corporate personhood event. The Snowden revelations have just come out, and you feel the Revolution has momentum. Staci has agreed to sing a duet on the 'Orange Night Light' song. You go onstage wearing a green bicycle helmet and mirror shades. After chanting some lines about harmonic time-binding the light from the Valispectrum prismatic reflector, you deliver a rant praising Snowden. Staci joins you for your duet, and after you sing together, you spend a few minutes dancing wildly with Whirlwind when the next act performs. There is a giddy sense of 'we can just do anything!' that fills you and Staci and Nook and your friends with limitless energy. After, you indulge in some rare alcohol consumption, and break a chair falling over backward. You remember nothing more from that night.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nTurning Wheel cycles probably has something new worth checking out. Staci said she was going to be hanging out on the dock.\n\n> You look\nThis store sells devotional objects from the Tibetan Buddhist tradition.\n\nYou can see the Story Control Machine here.\n\n> You examine Machine\nThis machine looks like a devotional altar with many turning prayer wheels. A sign reads: 'Spin wheel to change baristas at Coffee Lion. Push button to reset fictional subuniverses. Pull lever to reset songs and explorations.'\n\n> You leave\nThe downtown and campus are focused on this pedestrian-only open air shopping mall. Dozens of shops and throngs of pedestrians create a big-city feel for a few blocks. The proximity of the large state university campus means the crowd is quite young, and weekend nights are often a mix of the charming antics of local eccentrics with less charming rowdy sophomoric intoxication. The Miffyland neighborhood is south, the Capitol is east, and the lakeshore residential neighborhood is north. Notable shops are northwest and southwest.\n\nA panhandler asks you for change, and you give him a dollar.\n\n> Plugh\nYou speak the magic word, and you catch a glimpse of an ancient realm of college mainframe computers and 5 1/4 floppies...\n\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\nWhirlwind is sitting cross-legged here.\n\n> Go north\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nNook is sitting on a picnic table, smoking a cigarette.\n\nLily is running up and down the hillside as she plays.\n\nYou can also see Past and Future here.\n\nLily decides to climb Nook and gets about halfway up before she changes her mind."
    },
    {
        "text": "> You descend\nLothlorien co-op, on the dock\nThe dock is short, wooden, and rather rickety. An old gnarled tree reaches far out over the water nearby.\n\nThe Scholar is pacing back and forth.\n\nStaci is here.\n\nA dog is wandering around on the dock.\n\n> You talk to Scholar\n'Lately I've been trying to be active rather than reactive.'\n\nThe Scholar wanders off.\n\n> You talk to Staci\nEvery way you interact with Staci feels easy, natural, and delightful.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nTurning Wheel cycles probably has something new worth checking out. Staci said she was going to be hanging out on the dock.\n\n> You visit Staci\nYou have another in a seemingly endless series of deligtful days with Staci, just chilling on the co-op porch swing and talking with whatever friends wander by.\n\nThe Scholar arrives.\n\n> You look\nLothlorien co-op, on the dock\nThe dock is short, wooden, and rather rickety. An old gnarled tree reaches far out over the water nearby.\n\nThe Scholar is standing here.\n\nStaci is here.\n\nA dog is wandering around on the dock.\n\n> Pet dog\nAs you greet the dog, you hear a voice call out 'Lotus!' from a little further down the shore. To make a long story very short, the voice belongs to a five member traveling punk band called Police Lingo. They need a place to crash, and something makes you offer your house. They have to play a show at the Owl Sanctuary (the what??) and you agree to meet them back on Milwaukee street later. Staci says she will head back to Madcon and meet you later. You should probably head home to get your house ready for guests.\n\n> Xyzzy\nThere is a trans-dimensional short-circuit of interactive fiction tradition, and you catch a brief glimpse of a brick building near a stream and a metal grate before you blink and find yourself...\n\nYour section of Milwaukee Street is directly across from a small farm which remains as an agricultural island within the city. An open field and a barn are across the street. Toward the southwest is Atwood Street leading toward downtown. Monona Drive is to the south. The edge of town lies toward the northeast.\n\n> You enter\nPaul shows up carrying his acoustic guitar. He turns out to be an excellent blues guitarist, and he talks in a continuous flow of aphorisms and anecdotes. 'I don't need to believe in reincarnation,' he says, looking at a small Vishnu sculpture on your table, 'I've lived fifty lives already in this one.' For much of the past few weeks, you have been the one dominating conversations, and it feels good to focus on listening to someone whose mind is also overflowing with ideas. After a couple hours, your head is spinning but your enlightenment has increased. Rather than as a housekeeper, you hire Paul as a music-and-wisdom coach.\n\nThis is a modest one story house, cluttered by a decade of being lived in. Bookshelves line the walls. Your Plan 9 terminal is here, connected to the grid servers downstairs. There is a sign on the wall which says 'Best Spring Ever!' A few trinkets from Astral Enchantments are scattered about. Your dark wooden upright piano has a collection of Schumann's music open on the music rack.\n\nYou can see a Dr. Bronner's Peppermint Soap, the Artemis prints, some bookshelves, a terminal and a piano here.\n\nIt is a convergence of world-lines. Five young punk musicians, Staci Nook and yourself, and three co-opers who had been tagging along. Many realities diverge here. What are your boundaries? What are you open to? You feel yourself splitting into many selves at this branch point. In some, everyone is completely uninhibited and you all create a transcendent flower of higher-dimensional interpersonal molecular structure, the aliens show up and demand pancakes, and you all agree to move to the lesser Magellanic cloud and open the first non-Earth greasy spoon diner. In others, inhibition and insecurity fracture the social ground beneath you, rifts open, and your life ricochets off in a different direction, a vector of disappointment and regret.\n\nYou decide to pilot a middle course in your current storyline, embracing a limited subset of the possible configurations. After a night of little sleep but much love, Police Lingo leaves you with many balloon animals, and Staci and the co-opers return to Madcon. You spend a few minutes cleaning up, and are now ready to head downtown and dive into the convention scene.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nTurning Wheel cycles probably has something new worth checking out. Madcon is happening NE of the Capitol square.\n\n> Inventory\nYou're carrying:\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na Viewer Lens\nsome Space Pancakes\na pendant (being worn)\na rose quartz heart\na pair of mirror shades\na wallet\n\n> You play the piano\nI heard the song first at fifteen, an echo of a spring so evergreen\nIt bridged future and past, spanning unseen\nReality dream and the space between\nA month of May the year could be any, where every day is a horn of plenty\nWarm night air, the waves on the lake, all right there and make no mistake\nReeling and rocking past the shadow of doubt\nNothing like feeling that old in and out\nI know what its like to be alone, no hint of action on your phone\nI know how to groan and bitch and moan\nBut it ain't too much dope that's stealing your hope\nIn the dark groping for the end of your rope\nWith a little bit of luck you'll come unstuck\nQuack like a duck on the strange trip truck\nI'm talking from experience, once you get traction\nEven a middle-aged pianist can get action!\nThis month of May was like nothing before,\nEvery time that I walked out the door\nI fell in to a brand new story, each moment had its own kind of glory It's hard to believe but my dreams did come true\nNo guarantee but it could happen to you\nSo keep your ears open for those magic songs\nSpend the years hoping and singing along\nThe stories and dreams that bloom in your mind\nThe quarry that gleams, the doom that you find\nFlowery beams the moonlight unwinds...\n\n> Go east\nLight streams in through the tall glass windows at the front of the cafe. A display case of homemade gelato flavors is by the door. A window for drive-through customers is in the rear corner. Numerous cat-themed decorations adorn the walls and counters.\n\nXelia is working here.\n\n> You talk to Xelia\nYou take advantage of a quiet moment in the cafe to talk to Xelia. 'You know this whole summer has been the high point of my life by far,' you begin, 'I went through a lot of years wondering whether what we got out of life was worth the price of the ticket, if that makes sense. But finally, this summer, it all finally came together for me, my life became exactly the story I've always wanted it to be. You and Xochi here at the cafe have been a big part of the magic. Now, I feel like - whatever happens in life from here on out, it's all been worth it. This summer has given me more happiness than I could have ever imagined.'\n\n'I'm really glad its been so good for you, its been fun hearing about your adventures,' Xelia smiles at you. You wander back to your seat, and your words echo in your mind. '...whatever happens...it's all been worth it.' 'But please stay wonderful, life!' you add as a mental postscript. In future days, keeping hold of that feeling will serve as both a comfort, and a challenge.\n\n> You take Orrery\nThe Metaphysical Orrery is fixed in place.\n\n> You examine Orrery\nThis astonishing device looks like what would happen if fifteen bicycles were being ridden across the surface of a neutron star and then suffered a catastrophic impact with a ferris wheel. Every variety of rotary and cyclical motion is manifest within the fractal nest of gears, chains, and wheels.\n\n> Go west\nYou need to ride a bicycle to continue further towards downtown. If you own one, call it with the command >lunar.\n\n> Lunar\nYou call out for your trusty metal steed, and it appears!\nYou get onto Lunar Lightning.\n\n> Go west\nYou pedal effortlessly.\n\nJohn Nolen Drive (on Lunar Lightning)\nAdjacent to lake Monona, John Nolen Drive is a wide multi-lane road which passes underneath the curved contours of the Monona Terrace convention center. The view from across the lake looking toward downtown is Madison's skyline-postcard view. A heavily used bike path teems with cyclists and joggers. The Capitol square is north, Williamson St. to the east, and the Miffyland residential neighborwood is west.\n\nMidnight strikes and a new day dawns.\n(This is day number 58)\n\n> Go north\nYou pedal effortlessly.\n\nCapitol Square (on Lunar Lightning)\nOn a hill in the center of downtown, the Capitol building is a smaller imitation of the federal Capitol building in Washington D.C. The street grid converges to a perfect square around it, and it acts as the 0,0 origin of the street numbering system. Notable streets and landmarks lie south, west, north, and northeast.\n\n> You go to the north-west\nYou pedal effortlessly.\nYou can go n, w, s or check the event center to the ne.\n\n> Go northeast\nYou decide making a dramatic entrance on your bike isn't necesssary. (first getting off Lunar Lightning)\n\nTime-travelers, authors, simulators, and adventurers from across the multiverse have gathered here to share stories.\n\nThe convention is in full swing as you arrive. After a few introductions, a tall owl of multiple genders transfixes you with glowing orange eyes. 'For safety reasons, everyone agrees that author-level, continuity-breaking information should be wiped from your time-embedded consciousness. The experiences will be stored in your crown, of course, so nothing is lost long-term. Are you ready?' You nod agreement.\n\nIt is two days later. You are exhausted but happy. The convention has been AMAZING, especially the part where...where...well, it was definitely amazing. You know that much at least. It seems like time to go relax at Lothlorien.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nTurning Wheel cycles probably has something new worth checking out. Some more time at Lothlorien co-op sounds good to you.\n\n> Plugh\nYou speak the magic word, and you catch a glimpse of an ancient realm of college mainframe computers and 5 1/4 floppies...\n\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\nThe Scholar is standing here.\n\nThe Wizard is here.\n\n> You talk to Wizard\n'I'd be honored to work on organizing some interesting esoteric events and ceremonies, I have quite a few ideas in mind. I think a costume-themed party with appropriate cinematic accompaniment would be an interesting experiment.'\n\nThe Wizard and Scholar are discussing obscure but crucial events in the history of late 19th century secret societies.\n\n> Up\nLothlorien co-op, the Great Room (1st floor)\nA huge living room, with two pianos, several couches, bookshelves, assorted art, and a fireplace.\n\nWhirlwind is looking through her shoulder bag.\n\nNook is taking a brief nap on one of the couches.\n\nLily is bouncing up and down on a couch, laughing.\n\nLily wanders off.\n\nWhirlwind is making a series of cryptic hand gestures at Nook.\n\n> You talk to Nook\n'I'm not sure just what you're up to with the Loonie Revolution and Plan 9, but I'm glad we have the chance to have this unique friendship.'\n\nWhirlwind is resting her foot on Nook's knee.\n\n> You talk to Whirlwind\n'I've got a lot of writing to share if you'd like, and I know my kids are excited to contribute too.'\n\nWhirlwind is resting her foot on Nook's knee."
    },
    {
        "text": "[Themes: Psychedelic, manic, sex]\n\n> Go downward\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\nLily is having a snack.\n\nThe Scholar is reading a book here.\n\nThe Wizard is stroking his beard thoughtfully.\n\nThe Wizard and Scholar are discussing obscure but crucial events in the history of late 19th century secret societies.\n\n> You talk to Lily\n'The Loonie Re-vo-lu-TION! The Loonie Re-vo-lu-TION!' Lily chants.\n\nThe Wizard wanders off.\n\n> You go to the north\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nThe Wizard is here.\n\nYou can also see Past and Future here.\n\nThe Wizard wanders off."
    },
    {
        "text": "[Themes: Psychedelic, sex, drugs]\n\n> Go downwards\nLothlorien co-op, on the dock\nThe dock is short, wooden, and rather rickety. An old gnarled tree reaches far out over the water nearby.\n\nThe Wizard is here.\n\nStaci is here.\n\n> You talk to Staci\nEvery way you interact with Staci feels easy, natural, and delightful.\n\n> You climb the tree\nYou decide your arthritis and eternal buzz aren't going to keep you out of the tree, and cautiously you navigate the footholds and angled stubby branch remnants to a delightful perch above the waves. You spend a few minutes communing with wood and water before scrambling back down.\n\n> You examine the tree\nThis old tree-friend has more than a few tales to share. It's upper branches are still green and leafy, but down by the water, a thick section of trunk, damaged by a storm decades ago, arches white and polished over the water, loved by hands and feet of many visitors.\n\nThe Wizard wanders off.\n\n> Swim\nThe Madison lakes are beautiful to look at, and some people have the immune system required to cope with algae and bacteria, but you prefer to sit on the shore and watch the chromatic flickering of the ripples.\n\n> Go south\nLothlorien co-op, the back yard\nThe Lothlorien backyard has trees, picnic tables, a garden, and a rocky staircase down to the firepit and dock. A door leads in to the kitchen.\n\nThe Wizard is sitting still with one eye closed and one open.\n\nYou can also see Past and Future here.\n\n> Up\nYou can go n to the dock, in to the kitchen, or se.\n\n> You go inside\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\nWhirlwind is smiling as she looks around.\n\nLily is having a snack.\n\n> Up\nLothlorien co-op, the Great Room (1st floor)\nA huge living room, with two pianos, several couches, bookshelves, assorted art, and a fireplace.\n\nNook arrives.\n\n> You play the piano\nThe Castle inspires in you its own special variants of the songs and themes of your ongoing compositions. Sometimes you punch out the e minor staccato chords of the 'dock theme', or during twilight just a succession of pianissimo arpeggios. One afternoon a friend from Louisiana was visiting and, inspired by thoughts of Gottschalk, you find your fingers blazing through a series of syncopated progressions reminiscent of celebratory Caribbean parades.\n\n> You look at Art\nYou inspect one of the many artworks here and see a circular piece of glass with concentric rings of different colors.\n\n> Goals\nYou think you can develop your friendship with Xochi more.\nYou are looking forward to talking to Xochi again.\nTurning Wheel cycles probably has something new worth checking out. Some more time at Lothlorien co-op sounds good to you.\n\nNook wanders off.\n\n> You examine Art\nYou inspect one of the many artworks here and see a wild and muddy swirl of disorganized brushstrokes on a piece of wood.\n\nMidnight strikes and a new day dawns.\n(This is day number 61)\n\n> You check your inventory\nYou're carrying:\na wire and bead Crown\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na Viewer Lens\nsome Space Pancakes\na pendant (being worn)\na rose quartz heart\na pair of mirror shades\na wallet\n\n> You look at Crown\nThis decorative crown was hand-made at Madcon. It has a variety of colorful beads wrapped by wire and criss-crossed by assorted sparklies.\n\n> You wear Crown\nYou put on the wire and bead Crown.\n\n> You examine Lens\nThrough the viewer lens you see...Ritual spot\n\nPast the edge of the city, a short path leads away from the road to a small ring of boulders. It feels like a perfect place for performing a ceremony or ritual. The road continues northeast.\n\nIn the Ritual spot you can see a Remote Lens.\n\n> You go south\nYou can go in to the porch, down to the kitchen, up to the upper floors, or back out.\n\n> Up\nLothlorien co-op, upstairs\nHallways branch in all directions. The walls are painted with a wild diversity of amateur artworks and thought-provoking slogans.\n\nThe Scholar is reading a book here.\n\nThe Scholar lights a small item on fire and watches it burn."
    },
    {
        "text": "[Themes: Psychedelic, sex, music, manic]\n\n> Descend\nLothlorien co-op, in the kitchen\nThe kitchen is full of the clutter of heavy use by a housefull of hungry people.\n\nWritten on the wall here is an inscription: 'Magic words: XYZZY and PLUGH'\n\nWhirlwind is looking through her shoulder bag.\n\nThe Wizard is sitting still with one eye closed and one open.\n\nLily arrives."
    },
    {
        "text": "> You go down\nLothlorien co-op, on the dock\nThe dock is short, wooden, and rather rickety. An old gnarled tree reaches far out over the water nearby.\n\nStaci is here."
    },
    {
        "text": "[Themes: Psychedelic]\n\n> You descend\nMatthew dropped off the new grid hardware for you yesterday, now seems like a good time to get it set up. You set up power and networking for the new servers, and start to bring them online to join your grid. Before you can type the needed commands, you see a glowing green pulse of data enter the basement from the external network interface. A message appears on the screen: 'Our empire never ended.' You recognize the font, but too late.\n\nThe digitization laser hits you from behind and you feel yourself being Forked...\n\nYou are in an unfamiliar dataspace. A dark and twisted dialect of the 9p protocol is spoken here. Green glowing insectoid creatures carrying message packets scuttle between jagged mount points. These are not your beautiful ANTS...these are Terminal Information Takeover Extensions - TERMITES.\n\nIt doesn't take long for the digital insects to notice you. An angry buzzing like the sound of a roomful of old 300 baud modems fills the air.\n\n> You drop 4CY\nMulitverse travel protip: do NOT drop your items while visiting alternate universes.\n\nThe TERMITES are starting to surround you in a circle. Each is about the size of your fist. There are only a few dozen watching you now, but they seem to be summoning reinforcements.\n\n> You talk to TERMITES\nThe soundwaves of your voice bounce off the termites affecting its molecular structure in subtle ways.\n\nThere is now a ring of hundreds of green bugs advancing inward toward you, drill proboscii extended menacingly.\n\nMidnight strikes and a new day dawns.\n(This is day number 62)\n\n> Sing\nYou start with a bit of Mozart's Marriage of Figaro, move on to a few of your favorite Wu-Tang verses, and conclude with a heartfelt imitation of how IU would sound singing Ripple by the Grateful Dead.\n\nA TERMITE suddenly leaps at you. You instinctively bat it away and feel a slight stinging cut on your wrist. This is getting rather stressful.\n\n> You check your inventory\nYou're carrying:\na wire and bead Crown (being worn)\nForsee Why You And I Are To Be One (4CY UNI R2B 1)\na Viewer Lens\nsome Space Pancakes\na pendant (being worn)\na rose quartz heart\na pair of mirror shades\na wallet\n\n'No such thing as stuck on a puzzle,' a calm voice intones, 'We don't let the player make mistakes, we just have happy little deus ex machinas.' A giant digital image editing tool sweeps across the landscape, recoloring everything. You can now see a path leading up to a ramshackle cabin, which you enter, only to find yourself back in your basement. A faint chorus of voices can be heard shouting 'SAVED!'\n\nStrawberry is curled up and napping in the corner.\n\n> You look\nYour house, in the basement\nYour ex-girlfriend used to stay down here, but now the area is mostly storage...and your grid hardware. In the center of the dark concrete floor is a flimsy table with numerous aging computers both under it and on top. A tangle of ethernet and power cables criss-cross the room like spiderwebs.\n\nYour cat Strawberry is here.\n\nYou can also see Reality and Fiction here.\n\nStrawberry is curled up and napping in the corner.\n\n> Pet Strawberry\nStrawberry begins to purr as you stroke her, but after a few seconds, she decides that she is a fighter, not a lover. She bats at your hand with a paw, and looks up at you expecantly, hoping you will attack her.\n\n> You play the piano\nGet out on the dock, turn back the clock\nRegress your age, rewrite history's page\nCatapulting rocks, lock barrel and stock\nMark it zero, my gun's half cocked\nLoonies are the coolest kids on the block\nI used to be dead, but now I am immortal\nNone of my enemies could close the portal\nKeeping me out of this dimension\nTurning the crank of your sexual tension"
    },
    {
        "text": "[Themes: Satire, Science Fiction, Horror, nonhuman protagonist, surreal, satire, office, violence, strong profanity]\n\nAnother day in the trenches. Another day of tooth-and-nail against a horde of sons of bitches who would chisel you out if you gave them half a second or half a chance. And if they can't take you down with a well-placed stab in the back, then they'll just wait you out and let the big, creaking wheel of routine slowly drive you mad.\n\nDon't let them get to you. You've got to stay one step ahead. You've got to keep it covered. Get a grip on it. Stay in the loop.\n\nAnd above all, you must remain. Totally. Frosty.\n\n[Author's Note: This story is a joke. This story is a warning. This story is a satire. This story is inspired in equal parts by Vaclav Havel's \"The Memorandum\" and Hunter S. Thompson's \"Fear and Loathing in Las Vegas\". This story is a big, stupid shaggy dog story.]"
    },
    {
        "text": "[Themes: Horror, Science Fiction, Satire, strong profanity, satire, office]\n\n> You examine the paperwork\nA thick sheaf of workpapers with relevant carbon copies attached. All that fine print, all those tiny little scribbled blanks and check-boxes -- your eyes water just looking at it. Fortunately, you don't have to read it. All you have to do is stamp it.\n\n> You look at the desk\nThis cheap chunk of fake wood and Formica is your desk. Key word: it is YOURS. Any son of a bitch tries to move it, or go poking around in the little drawer on the side, they are meat.\n\n> You look at the phone\nOh yeah, the phone. You can't make outgoing calls on it; there's no dial. You don't even know why it's on your desk. Presumably, you're expected to answer it if it rings, but it never does. Never has. Not once. Not ever.\n\n> You open the drawer\nYou open the drawer, revealing an ink stamp, a little gray bottle and a little white bottle.\n\n> You take the stamp\nTaken.\n\n> You examine the bottles\nWhich do you mean, the little gray bottle or the little white bottle?\n\n> Both\nSorry, you can only have one item here. Which exactly?\n\n> Gray\nThe bottles are where you keep your pills. Your pills are extremely important; sometimes, they're the only way you can stay frosty around here. One bottle contains your headache pills, the other your sleeping pills. Unfortunately, you've spent so much time gripping and squeezing and twisting the child-proof caps that the labels have long since rubbed away, and now you can never remember which is which.\n\n> You look at the dollar\nLousy crumpled dollar bill...\n\n> Stamp paperwork\n(with the ink stamp)\nYou take a deep breath, raise the ink stamp high over your head, and slam it down as hard as you can.\n\nRight in the middle, every damn time. It's thrilling, on a sort of visceral, primitive level.\n\n[You have just become a little bit less steamed.]\n\n> Stamp paperwork\n(with the ink stamp)\nYou've stamped it once already. Give it a rest.\n\n> You put the paperwork in the tray\nWhich do you mean, the in-tray or the out-tray?\n\n> You put the paperwork ithe out-tray\n(first taking the paperwork)\nSeconds after you drop it in, Benson scoots by your desk and whisks it away.\n\nThe work is gone from your desk. It's out of your hands. A deep sense of satisfaction and contentment fills your soul, and you smile. If you had a chair, you would lean back in it happily, smug with the knowledge that you've done a good job, and you are now utterly at peace with yourself.\n\n[You have just become a little bit more frosty.]\n\n> You look\nThis is your own tidy little corner, your home away from home in the happy little community you like to call your office. All the security and companionship you could ever want is right here and always will be.\n\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\n> Wait\nTime passes.\n\n> You go to the east\nWhy leave? You've never been happier than when you're right here, where you belong.\n\nFurman zooms past suddenly, and tosses more paperwork into your in-tray. Your little bubble of happiness pops instantly and the gall comes rushing back.\n\nThe fucking nerve! As if you didn't have enough to do already! Those sons of bitches never let up, they never give you a moment's peace. Never a chance to catch up or take a breath or get even halfway frosty. One of these days, you'll make them all pay...\n\n[You have just become a little bit more steamed.]\n\n> You look athe in-tray\nThat's where they put work for you to do. They never seem to get tired of it. There's work in there right now, as a matter of fact. Lousy sons of bitches!\n\n> You take the work\nAs you take the papers, a memo slips out between two pages and lands on your desk face-down.\n\n> You examine the memo\n(first taking the memo)\nFirst thing you notice, turning the memo over: it's not on official firm stationery. You allow yourself a grim chuckle. Some poor slob's going to get it in the ass for that little slip-up, and for once it won't be you.\n\nThen you read it.\n\nAll it says is: \"How about a snack?\"\n\nSome kind of joke? Nervously, you glance around, but neither Furman nor Benson are anywhere in sight.\n\nNot that it matters. Obviously, some son of a bitch is trying to mess with you. Either Furman or Benson, or maybe both. Or maybe that bastard Biedermeyer. Whatever. One way or the other, that son of a bitch is going to be sorry. That son of a bitch is going to find out just how frosty you can be.\n\n[You have just become a little bit more steamed.]\n\n> You go to the east\nAs usual, Benson's corner of the office, is a filthy sty. Files, papers, supplies lying around everywhere. You don't know how anyone could work in these conditions. A vast bank of filing cabinets stands against the west wall, behind Benson's desk.\n\nOn the desk are some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\n> You look at what you're carrying with you\nYou are carrying a memo, some paperwork, a little white bottle (which is closed), a little gray bottle (which is closed), an ink stamp and a crumpled dollar bill.\n\n> Stamp paperwork\n(with the ink stamp)\nYou take a deep breath, raise the ink stamp high over your head, and slam it down as hard as you can.\n\nRight in the middle, every damn time. It's thrilling, on a sort of visceral, primitive level.\n\n> You examine the memo\nAll it says is: \"How about a snack?\"\n\n> You ask Benson about memo\nBenson shrugs. \"It didn't come from my desk.\"\n\n> You look at Benson\nBenson is a lazy, ineffectual slob and everyone in the office knows it. He's in charge of Records, which puts him slightly below you on the totem pole, but it also entitles him to the use of the only stool in the office -- and he hogs that thing for all it's worth. He never actually uses it to get files. Just parks his pudgy ass on it and munches nougat bars all day.\n\nLike your other co-worker Furman, Benson is short and slightly pudgy, and wears thick, black-rimmed glasses.\n\nBenson shifts around on his stool, trying to get more comfortable.\n\n> You ask Benson about the nougat\n\"Man, I LOVE those nougat bars!\" cries Benson happily. \"I could eat those things all day long!\"\n\n> You take the glasses\n\"Hey,\" says Benson, jerking his head away. \"Keep your hands to yourself, will you?\"\n\n> You ask Benson about the stool\n\"That's right,\" Benson says proudly, giving the side of the stool an affectionate slap. \"She's all mine.\"\n\n> Kick stool\nYou give the stool a good, hard thump. You thump it again, a bit harder this time. Next thing you know, you're pounding on the stool again and again for all you're worth -- you stop yourself, feeling a bit light-headed. Damn. You hate it when that happens.\n\n> You examine the desk\nIt's an ordinary-looking desk. A bit smaller then yours, but everybody knows Benson's a lazy imbecile.\n\n> You kick benson\nOh, don't think you wouldn't love to pound Benson's face right through the back of his pointy little head. You never would, though, not with that bastard Biedermeyer watching your every move. Bide your time, though. Stay frosty. His day will come.\n\n> You ask Benson about the snack machine\n\"Generous of management, isn't it, to provide us working stiffs with that piece of junk, eh?\" Benson smirks. \"Still, he says, \"I sure like those nougat bars!\""
    },
    {
        "text": "[Themes: Satire, Science Fiction, Horror, strong profanity, nonhuman protagonist]\n\n> Describe the surroundings\nAs usual, Benson's corner of the office, is a filthy sty. Files, papers, supplies lying around everywhere. You don't know how anyone could work in these conditions. A vast bank of filing cabinets stands against the west wall, behind Benson's desk.\n\nOn the desk are some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\n> Go north\nWhat few pathetic nods to biological necessity are allowed by the firm have been shoved away into the northeast corner. There's a coffee maker in the corner, a vending machine against the east wall, and a door to the restroom to the north.\n\nThe vending machine stands there silently. Mocking you.\n\n> Go southwest\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\n> Bluemen 1\nEnter saved game to store: Ok.\n\n> You put the paperwork ithe out-tray\nSeconds after you drop it in, Benson scoots by your desk and whisks it away.\n\nThe paperwork disappears, and once again that inner serenity builds in you. Your anger subsides. Suddenly you realize that this is the secret, and it has been all along:\n\nWork really will make you free.\n\nIt really is that simple. You've been so foolish, so needlessly frustrated all this time.\n\nFurman zooms past again, dropping more papers into your in-tray. But it doesn't bother you. Smiling at the memory of your misguided ways, and looking forward to the beginning of a new era of goodness, harmony and team spirit you slowly raise the ink stamp and think:\n\nI could never find a better job than this, if I spent my whole life looking.\n\n> You go to the northeast\nThe vending machine stands there silently. Mocking you.\n\n> You look at the machine\nAh, yes, the vending machine.\n\nLike most vending machines, it is essentially a refrigerator-sized box with a glass front, behind which can be seen several rows of assorted treats. There is a panel of buttons to the side, beneath which is a slot for coins, a bill changer for paper money, and a cup for your change. Insert your money, make your selection, and your snack drops from the appropriate row into the receptacle bin at the bottom of the machine.\n\nSimple.\n\nBut there is more to this vending machine than only that.\n\nYou hate this vending machine. You hate it more than just about anything or anyone else in this office. This vending machine was designed to hammer home a keen sense of the futility of existence; to taunt you with life's possibilities only to forever harass and frustrate your every attempt to grasp them. The machine never has anything you want. And even if it did, you couldn't buy it because you never have any change and the machine will only take mint-condition bills crisp enough to scoop bean dip with. And even if, by some fantastic stroke of luck, you did have change, and there was something remotely edible in the machine that you actually wanted, you'd still never be able to get it, because the merchandise invariably gets stuck before dropping into the receptacle, and no amount of shaking will bring it down unless you happen to be that son of a bitch Benson, who somehow always manages to retrieve his disgusting nougat bars with a single, insultingly skillful jiggle. Otherwise, forget it.\n\nThe machine is your nemesis. Someday -- and you know that day is fast approaching, you must destroy it... or it will destroy you.\n\nBenson strolls by and heads straight for the vending machine, ignoring you completely. He pops a few coins into the slot and pushes 'A'.\n\nThe machine dutifully grinds out another nougat bar, which snags on the wire, like always, just before it can drop into the receptacle.\n\nBenson leans his hip against the machine and gives it a deft shove. The nougat bar shakes free immediately and drops into the receptacle.. Satisfied, he retrieves his prize, digs his change out of the change cup, and heads back to his desk, already stuffing the end of the nougat bar into his mouth as he goes.\n\n> You look at the snack\nWhich do you mean, the vending machine or the merchandise?\n\n> Merchandise\nThere are ten rows behind the Plexiglass front, labeled A through J, corresponding to the ten buttons on the side of the machine. Row A contains those filthy nougat bars that Benson can't seem to stop stuffing down his fat, greedy hole. Every other row contains Beechnut gum. That's it. Nothing but Beechnut, Beechnut and Beechnut.\n\nYou hate Beechnut. You don't know anyone who doesn't hate Beechnut. Even Benson would probably start chewing on Furman's congealed coffee grinds before shelling out for a stick of fucking Beechnut...\n\nHey, wait a minute.\n\nDown at the bottom, in row J, something is glinting. It's a little metal key. Second from the front. Right behind a stick of Beechnut.\n\nHow the mighty freaking hell did that get in there?\n\nIt's part of the joke. That must be it. Benson or Furman or that bastard Biedermeyer are sneaking around here somewhere, spying on you and laughing their asses off.\n\nYou are abruptly seized by an acute desire to get that key, get it no matter what the cost, and cram it down some poor joker's throat.\n\n[You have just become a little bit more steamed.]\n\n> You examine the key\nIt's a little metal key, dangling right behind the first pack of Beechnut in row J. Damned if you know what it opens, though."
    },
    {
        "text": "[Themes: Satire, Science Fiction, Horror, office, satire, violence, nonhuman protagonist]\n\n> You look under the machine\nGetting down on your hands and knees and peering under the machine, you notice that one of the legs is slightly shorter than the other. A thin wooden shim has been wedged under the shorter leg, preventing the machine from wobbling.\n\nYou also see a nickel which must have been dropped here earlier. You snooze, you lose, punk-ass, you think to yourself gleefully, pocketing the money.\n\n[You have just become a little bit less steamed.]\n\n> You put the nickel in the machine\nThe nickel disappears into the slot and rattles down into the guts of the machine.\n\n> Press j.\nThe machine beeps at you -- not enough money!\n\n[You have just become a little bit more steamed.]\n\n> You press change\nYou are unable to.\n\n> You examine the machine\nLike most vending machines, it is essentially a refrigerator-sized box with a glass front, behind which can be seen several rows of assorted treats. There is a panel of buttons to the side, beneath which is a slot for coins, a bill changer for paper money, and a cup for your change. Insert your money, make your selection, and your snack drops from the appropriate row into the receptacle bin at the bottom of the machine.\n\n> You press the a.\n(the panel of buttons)\nThe machine beeps at you -- not enough money!\n\n> You examine the bill changer\nIt says \"Insert bill in any direction,\" but that is clearly a gross misrepresentation of the facts.\n\n> You put the bill in the machine\n(the crumpled dollar bill in the vending machine)\nIt isn't enough, sometimes, to simply know that your efforts are hopeless; sometimes you really have to watch yourself fail one more time -- just to drive the point home.\n\nCarefully, painstakingly, you smooth the crumpled bill as best you can, then gently prod one end of it into the bill changer. The mechanism inside catches it, drags it in and starts working it over. When it finally spits the bill back out with a self-satisfied buzzing sound, the dollar looks even more masticated than it did before.\n\n[You have just become a little bit more steamed.]\n\n> You get shim\nYou pry the shim out from under the vending machine, which wobbles a bit as the little wedge pops free.\n\n> You look at the shim\nIt's a thin wedge, made of wood.\n\n> You pick up the machine\nThat's hardly portable.\n\n> You pull the machine\nYou are unable to.\n\n> You look at the coffee maker\nA simple device: push the black button on top, and it pisses a cupful of tepid nastiness into the little dispenser beneath. Not that you'd want it to. Furman's the only one who'll drink the revolting stuff.\n\n> Go north\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nEvery wall, fixture and counter surface in this restroom is painted an intolerably bright, eye-bending nuclear orange. The reasoning behind this choice of decor is unclear -- perhaps the hope is that someone who is tense enough to crack walnuts with his ass cheeks isn't going to be spending lots of time on a toilet seat. Anyway, there's a sink and mirror in the north wall, and a stall to the east. Or you could just leave to the south.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nThe fire extinguisher is sitting in its usual corner, gathering dust.\n\nThe smoke detector is still shrieking.\n\n> You examine the detector\nThat piece of crap hasn't detected so much as a bugfart since the day they installed it. It only (and always) goes off whenever someone actually enters the bathroom, letting forth with a piercing shriek high enough to break up kidney stones. A further deterrent for anyone too comatose to be bothered by the paint, probably.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine stands there silently. Mocking you.\n\n[You have just become a little bit more steamed.]\n\n> You go to the south\nOn the desk are a half-eaten nougat bar and some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\n> You take the bar\n\"Hey!\" snaps Benson. \"Keep your hands off the nougat, buddy!\"\n\n> You examine papers\nWhich do you mean, the scattered papers or the paperwork?\n\n> You examine the scattered papers\nBenson habitually keeps his papers in a state of hopeless mess, scattered all over his desk.\n\n> You examine the cabinets\nThe filing cabinets cover the entire east wall. Their drawers are perpetually closed. You've never even seen Benson go into them; then again, you've never handed him a stamped request form, either.\n\n> You read the scattered papers\n(first taking the scattered papers)\nYou've got enough papers to push on your own desk without pushing any of Benson's.\n\n> You go north\nThe northwest corner is Furman's area. Everything is tucked away and tidy, which is exactly how that obsessive freak likes it. The photocopier squats over by the west wall, and a short corridor to the north leads to that bastard Biedermeyer's office.\n\nOn the desk are a microfiche reader and a file request form.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\nFurman himself is hunched over his precious microfiche reader, ignoring you completely.\n\n> You ask Furman about the memo\nFurman frowns. \"If you got a memo, it didn't come through me. And I refuse to believe that Biedermeyer would have sent you a message personally. Which means the memo is most likely unauthorized.\" He turns away from you with a sniff. \"If I were you, I'd take it straight to Biedermeyer. I won't have anything to do with it.\"\n\n> You look at the jacket\nNeat, creased and free of lint. It's enough to make you sick.\n\n> Examine form\nBenson won't let anyone check out files unless they hand him a stamped file request form. Of course, you're not authorized to keep forms on your own desk -- you're forced to beg them off that son of a bitch Furman. This one, however, might be free for the taking, if Furman doesn't catch you. It looks like this one's already been filled out.\n\n> You get the form\nYou deftly swipe the file request form from Furman's desk. He's so absorbed with his reader, he doesn't even notice. Serves him right, if he gets in trouble for losing it.\n\n[You have just become a little bit less steamed.]\n\n> You read the form\nBenson won't let anyone check out files unless they hand him a stamped file request form. Of course, you're not authorized to keep forms on your own desk -- you're forced to beg them off that son of a bitch Furman. Or steal them, as the case may be. It looks like this one's already been filled out.\n\n> Stamp form\n(with the ink stamp)\nCarefully, you stamp the form right over the signature blank, pressing down good and hard to make it dark. If Benson doesn't look to closely, he'll never notice that Furman hasn't authorized it.\n\n> You go to the south-east\nOn the desk are a half-eaten nougat bar and some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\nSomeone taps you on the shoulder. You turn around, and are startled to find that son of a bitch Furman away from his desk.\n\n\"Excuse me,\" he says in his most irritated voice, \"I was looking for that.\" He plucks the file request form from your hand. \"It's my last one, and anyway you aren't authorized to use them.\"\n\nHe sort of sniffs at you, then turns around and minces back to his desk.\n\n[You have just become a little bit more steamed.]\n\n> Examine bar\nIt's disgusting; Benson's been gnawing on it for God knows how long, and the end is all soft and melted and covered with Benson's slobber.\n\n> You eat the bar\n(first taking the half-eaten nougat bar)\n\"Hey!\" snaps Benson. \"Keep your hands off the nougat, buddy!\"\n\nBenson takes another bite of his nougat bar and sets it back on his desk, ruminating thoughtfully.\n\n> You go to the north\nOn the desk are a file request form and a microfiche reader.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\nFurman himself is hunched over his precious microfiche reader, ignoring you completely.\n\nThis short, empty corridor connects the main office area, to the south, with Biedermeyer's office, to the north.\n\nThe door to Biedermeyer's office is closed.\n\nA shiver runs up your back. You never come here. No one ever comes here. You are finding it decidedly difficult to stay frosty.\n\n> You open the door\nIt seems to be locked.\n\n> You knock on the door\nTimidly, you knock on the door. No one answers.\n\n> You kick the door\nYou wouldn't dare. Your knuckles seem to curdle at the very thought.\n\n> You go to the south\nOn the desk are a file request form and a microfiche reader.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\nFurman himself is hunched over his precious microfiche reader, ignoring you completely.\n\n> You look at the form\nBenson won't let anyone check out files unless they hand him a stamped file request form. Of course, you're not authorized to keep forms on your own desk -- you're forced to beg them off that son of a bitch Furman. Or steal them, as the case may be. It looks like this one's already been filled out. It's even been stamped.\n\n> You take the form\nTaken.\n\n> You examine reader\nFurman loves that reader; it's like his special toy. He never lets anyone else touch it -- says it's \"too complicated,\" though it can't be that difficult if a terminal moron like Furman can operate it. Anyway, the only controls are a toggle switch and a small button.\nThe microfiche reader is currently switched on.\n\n> You go to the south-east\nOn the desk are a half-eaten nougat bar and some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\nSomeone taps you on the shoulder. You turn around, and are startled to find that son of a bitch Furman away from his desk.\n\n\"Excuse me,\" he says in his most irritated voice, \"I was looking for that.\" He plucks the file request form from your hand. \"It's my last one, and anyway you aren't authorized to use them.\"\n\nHe sort of sniffs at you, then turns around and minces back to his desk.\n\n> You go to the north-west\nOn the desk are a file request form and a microfiche reader.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\nFurman himself is hunched over his precious microfiche reader, ignoring you completely.\n\nFurman whirs through some more text on the microfiche reader. He makes some clicking noises with his tongue, and scribbles down a few notes.\n\n> You turn off the reader\n\"Hands off,\" snaps Furman, slapping your hand away. \"This is a delicate piece of equipment.\"\n\n> Inventory\nYou are carrying a wooden shim, a memo, some paperwork, a little white bottle (which is closed), a little gray bottle (which is closed), an ink stamp and a crumpled dollar bill.\n\n> You press the button\nWhich do you mean, the black button or the panel of buttons?\n\n> You press the black button\nThe coffee maker shudders as though straining to pass a gallstone, and after a moment a plastic cup drops into its small dispenser. Then, with a horrible, thick gurgling sound, it spews a generous amount of terrible-smelling coffee into the cup. Voila; your swill is served.\n\n> You get the coffee\n(the nasty coffee)\nTaken.\n\n> You open the white bottle\nYou open the little white bottle, revealing some gray pills.\n\n> You take the gray pill\nYou toss one into your mouth and swallow it dry. It scrapes down your throat like a chunk of gravel.\n\n> You put the gray pill in the coffee\nYou drop one of the gray pills into the coffee, where it instantly dissolves into the murky depths.\n\n> Go southwest\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\n> Go north\nOn the desk are a file request form and a microfiche reader.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\nFurman himself is hunched over his precious microfiche reader, ignoring you completely.\n\nFurman whirs through some more text on the microfiche reader. \"Oh, ho ho,\" he chortles. He winks disgustingly at you and lays his finger alongside his nose.\n\n> You give the coffee to Furman\n\"Hey, thanks,\" Furman says, hardly even glancing at you. He swills down some coffee, wipes his chin with the back of his hand, puts the cup on his desk and turns back to his microfiche.\n\n> Wait\nTime passes.\n\nFurman takes another sip of coffee, his eyes never leaving the microfiche screen.\n\n> You examine the coffee\nThe coffee is thick and sludgy looking, with a thin, oily film skimming the surface.\n\n> You open the gray bottle\nYou open the little gray bottle, revealing some white pills.\n\n> You put the white pill in the coffee\nYou drop one of the white pills into the coffee, where it instantly dissolves into the murky depths. Furman, absorbed with his microfiche reader, doesn't even notice.\n\nFurman takes another sip of coffee, his eyes never leaving the microfiche screen.\n\n> Wait\nTime passes.\n\nFurman whirs through some more text on the microfiche reader. \"Hmm,\" he mutters, \"very interesting...\"\n\n> You open the grey bottle\nThat's already open.\n\nFurman leans back from the microfiche, rubs his eyes and lets forth a jaw-cracking yawn. \"Man, am I beat,\" he says, and then pitches headfirst across his desk like a pole-axed buffalo.\n\nClearly, your pharmacopeial cocktail must have shagged him -- the whites are obviously the sleeping pills. Potent ones, by the look of it.\n\n[You have just become a little bit more frosty.]\n\n> You get the form\nTaken.\n\n> Go southeast\nNothing. Not even a molecule of pocket lint.\n\n\n\nOn the desk are a half-eaten nougat bar and some scattered papers.\n\nThat lazy son of a bitch Benson is perched on his precious stool, leaning back against the files with his feet up on the desk like always.\n\n> You give the form to Benson\nBenson takes the file request form, squints at it, turns it upside-down, then looks you over suspiciously. He checks the form again. He scratches his head.\n\n\"Well,\" he says finally, \"all right... but try to stamp it closer to the edge next time, will you?\"\n\nHe turns his back to you and starts digging through the file cabinets.\n\n[You have just become a little bit more frosty.]\n\n> You take the stool\n\"Take a hike,\" snaps Benson. \"I need this stool to reach the high files. You want one, get your own.\"\n\nBenson turns back to you, shaking his head. \"I can't find that file anywhere -- hey!\" He leans over and snatches the sticky nougat bar from you. \"Get your own, if you're that hungry!\"\n\nBenson stretches his arms noisily.\n\n[You have just become a little bit less frosty.]\n\n> You eat the bar\nYou take a deep breath and scarf down the nougat bar. Almost immediately you begin to gag -- the stuff is essentially nothing but sawdust and cushion stuffing coated with a thin layer of brown, edible paste. But you force it down anyway, gobbling the whole thing in a matter of seconds.\n\nBenson turns back to you, shaking his head. \"I can't find that file anywhere in our archives,\" he says. \"Sorry.\"\n\n[You have just become a little bit less frosty.]\n\n> You get the key\nTaken.\n\n[You have just become a little bit more frosty.]\n\n> You examine the machine\nThe machine is lying face down, its innards smashed and scattered across the floor. A ragged hole has been hacked into the back of the machine like some sort of crude, mechanical nephrectomy scar, providing access to the inner workings.\n\n> You examine the workings\nIt's a lot of mechanical stuff, mostly beyond you. Anyway, it never worked right when it was intact, so why should it be of any use now?\n\n> You examine Benson\nBenson is finished; the heavy vending machine squashed him like bug under a brick. He lies face up and spread-eagled, half-under the vending machine, his glasses slightly askew.\n\n> You take the glasses\nGingerly you tug at the glasses, but they don't seem to want to come off. Looking closely, you see that this is because they seem to be attached directly to Benson's flesh, right behind the ears.\n\nPulling a little harder, you notice that the skin is in fact giving a little bit, pulling away from Benson's head like the edge of a rubber mask. And underneath the edge of skin, you can see...\n\n... you can see something blue.\n\nAt that precise moment, Biedermeyer walks up behind you.\n\n\"Ah, thank you, but there's no need to mess with that,\" he says. Instinctively you jerk your hand away from the glasses and drop your gaze to the floor.\n\n\"I know you want to help and all but, well... you know how it is. Everything's fine here, everything's under control,\" says Biedermeyer awkwardly. \"Your concern is appreciated, but there's, uh, there's really nothing more you can do.\" Effortlessly, he lifts the vending machine with one hand and pulls Benson's corpse out from under it with the other. \"Go ahead and get on back to work now. Thank you.\" And he hauls off Benson as casually as if he had just cleaned up a spilled soda.\n\n[You have just become a little bit less frosty.]\n\n> You go to the south\nOn the desk are some scattered papers.\n\nYou can see the stool here.\n\n> You take the stool\nTaken.\n\n> You read scattered\n(first taking the scattered papers)\nYou've got enough papers to push on your own desk without pushing any of Benson's.\n\n> Search scattered\nYou gingerly lift up a couple of sheets of paper, and discover a pair of scissors underneath.\n\n> Go east\nOn the desk are a pair of scissors and some scattered papers.\n\n> You examine the cabinets\nThe filing cabinets cover the entire east wall. Their drawers are perpetually closed. You've never even seen Benson go into them; then again, you've never handed him a stamped request form, either.\n\nWell, except for today, anyway.\n\n> You search the cabinets\nEagerly, you pull open a drawer and start riffling through the manila folders inside, but all the folders in that drawer are empty. You slam the drawer shut and open another one. Those folders are empty, too. Drawer after drawer, each filled with manila folders, each manila folder blank and empty. These worthless filing cabinets have nothing in them, nothing in them at all.\n\n[You have just become a little bit less frosty.]\n\n> You open the drawer\nIt's just empty folders. All of it. There's absolutely nothing in here.\n\n> You look at the scissors\nThey're blunt scissors. They only let you use blunt scissors here.\n\n> Go north\nOn the desk are Furman, a plastic cup (in which is some nasty coffee) and a microfiche reader.\n\nFurman's jacket is hanging neatly up on its hook, just like always.\n\n> You examine reader\nFurman loves that reader; it's like his special toy. He never lets anyone else touch it -- says it's \"too complicated,\" though it can't be that difficult if a terminal moron like Furman can operate it. Anyway, the only controls are a toggle switch and a small button.\nThe microfiche reader is currently switched on.\n\n> You examine furman\nFurman is sprawled across his desk, totally gone. His glasses seem to have gone crooked.\n\n> You take the glasses\nTime to get to the bottom of this, goddammit -- you give the glasses a determined yank, stripping away a large swatch of Furman's face along with it.\n\nThe head underneath is small and perfectly round, like a shot-put ball. The skin is a uniform, creamy, day-dreamy blue. And the eyes...\n\n\"Go back to your desk now,\" Biedermeyer says brusquely, stepping between you and the body. He slips the glasses from your numb fingers. \"There's work to be done.\"\n\nYou turn away, stomach heaving, as that bastard Biedermeyer bundles away the body. When you finally look back, both Biedermeyer and Furman are gone. As if nothing had ever happened.\n\n[You have just become a little bit less frosty.]\n\n> Examine toggle\nIt's a simple toggle switch with a symbol at either end, like this:\n\n!\nX\n\nThe switch is currently pointing toward 'O'.\n\n> You search it\nNothing. Not even a molecule of pocket lint.\n\n> You take it\nYou pull Furman's jacket down, leaving the empty hanger dangling on the hook.\n\n> You examine reader\nFurman loves that reader; it's like his special toy. He never lets anyone else touch it -- says it's \"too complicated,\" though it can't be that difficult if a terminal moron like Furman can operate it. Anyway, the only controls are a toggle switch and a small button.\nThe microfiche reader is currently switched on.\n\n> You look in reader\nFinally! A peek at Furman's precious little secrets...\n\nWhat the hell...?!\n\nThe screen is filled with nothing but line after line of scrambled mumbo-jumbo. There's nothing to this piece-of-crap microfiche reader at all. That son of a bitch Furman's been playing you for a sucker this whole time!\n\n[You have just become a little bit more steamed.]\n\n> You examine the small button\nIt's a simple button, labeled with a symbol like this:\n\n>>\n\n> You look at the machine\nWhich do you mean, the microfiche reader or the photocopier?\n\n> You examine the photocopier\nThe photocopier is a hulking technological monstrosity that you've never been able to satisfactorily figure out. It's got about fourteen billion buttons on it and the only one you know how to use is the big green one marked 'COPY'. There's also a lid on top (paper goes in), and a small hopper off to one side (paper comes out). That's as familiar as you've ever cared to (or are ever likely to) get with this thing.\n\nCurrently, the lid is closed and the hopper is empty.\n\n> You open the photocopier\nYou open the copier. There is nothing on the glass.\n\n> You put the bill in photocopier\nYou put the crumpled dollar bill on the glass.\n\n> You press the button\n(the big green button)\nThe machine beeps at you; it won't copy anything unless you close the lid first.\n\n> You close the lid\nYou close the photocopier.\n\nThat's already closed.\n\n> You press the button\n(the big green button)\nThe copier vibrates ominously as its inner workings begin to churn. A ghastly light seeps out from under the edges of the lid, there is a terrible noise like a wet canvas being sucked through a mail slot...\n\n... and a copy of the dollar bill drops out the other side and lands in the hopper.\n\n> You open the lid\nYou open the copier. On the glass is the original crumpled dollar bill.\n\n> You take the bill\n(the original crumpled dollar bill)\nTaken.\n\n> You examine copy\n(the big green button)\nBig, green and friendly. You can't go wrong with 'COPY'.\n\n> You take the copy\n(the big green button)\nThat's fixed in place.\n\n> You cut the copy of the the dollar bill with the scissors\nCarefully, you cut the excess paper from around the image of the dollar bill. The end product is a little ragged around the edges, but otherwise not too shabby.\n\n[You have just become a little bit less steamed.]\n\n> Go northeast\nIf you feel like visiting that bastard Biedermeyer, you can go north; otherwise you can wander around the rest of the office to the east, south or southeast.\n\n> You go to the east\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You put the dollar bill in the machine\nWhy bother?\n\n> You check your inventory\nYou are carrying the original crumpled dollar bill, a hanger, Furman's jacket, a pair of scissors, the stool, a shiny key, a wooden shim, a memo, some paperwork, a little white bottle (which is open), inside which are some gray pills, a little gray bottle (which is open), inside which are some white pills and an ink stamp.\n\n> You look in the hole\nWhich do you mean, the hole in the wall or the broken vending machine?\n\n> You look in the hole in the the wall\nYou hunker down and peer into the hole. It appears to go all the way through the wall, but you can't see anything but empty darkness on the other side.\n\n> You go east\nYou can go north to the restroom if you want, though you might want to save yourself some agony and just drive something sharp into your bladder, instead. Otherwise, there's west, southwest or south.\n\n> You examine the hole in the wall\nIt's about six inches across, just big enough to put your fist through. It's in roughly the same place that the hole in the vending machine would be, if the vending machine were still standing against the wall.\n\n> You examine the machine\nThe machine is lying face down, its innards smashed and scattered across the floor. A ragged hole has been hacked into the back of the machine like some sort of crude, mechanical nephrectomy scar, providing access to the inner workings.\n\n> You examine the inner workings\nIt's a lot of mechanical stuff, mostly beyond you. Anyway, it never worked right when it was intact, so why should it be of any use now?\n\n> You go north\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nThe fire extinguisher is sitting in its usual corner, gathering dust.\n\nThe smoke detector is still shrieking.\n\n> You look at the hanger\nIt's a hanger. Big deal.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You get the fire extinguisher\nGrunting, you pick up the heavy fire extinguisher, hefting it once or twice to get your grip.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You drop the stool\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nThe smoke detector is still shrieking.\nDropped.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You stand on the stool\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nYou can also see the stool here.\n\nThe smoke detector is still shrieking.\nYou get onto the stool.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You go to the north\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nYou can also see the stool here.\n\nThe smoke detector is still shrieking.\n\n> You stand on stool\nYou get onto the stool.\n\nThat whine is killing you. Your head feels like it's trying to give birth to a crazed, pecking kiwi-bird. It's no good, you can't stay frosty here; desperately, half-blind from the swirling orange holocaust pressing in on you from all sides, you lurch to the door and stumble out into the office.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You take the gum\nWhat the hell for? It's worthless garbage. Let that bastard Biedermeyer clean it up, if he wants.\n\n> You wait\nTime passes.\n\nHmm. A vaguely pleasant tingling sensation is crawling up your scalp from the base of your skull. Must be those pills kicking in.\n\n> Go north\nThe restroom door wheezes shut behind you as you pass through. Predictably, the smoke detector goes off as soon as you walk through the door, cutting through your skull like a dull bone saw.\n\nThe plastic smoke detector is stuck to the center of the ceiling like a crazy orange limpet.\n\nYou can also see the stool here.\n\nThe tingling spreads throughout your entire head, making it all warm and numb and kind of floaty.\n\nThe smoke detector is still shrieking.\n\n> You stand on stool\nYou get onto the stool.\n\nThe smoke detector is still shrieking.\n\n> You open the detector\nThat's not something you can open.\n\nThe tingling is starting to fade.\n\nThe smoke detector is still shrieking.\n\n> You take the detector\nThat's fixed in place.\n\nThe tingling is starting to fade.\n\nThe smoke detector is still shrieking.\n\n> You examine the detector\nThat piece of crap hasn't detected so much as a bugfart since the day they installed it. It only (and always) goes off whenever someone actually enters the bathroom, letting forth with a piercing shriek high enough to break up kidney stones. A further deterrent for anyone too comatose to be bothered by the paint, probably.\n\nThe tingling is starting to fade.\n\nThe smoke detector is still shrieking.\n\n> You turn the detector off\nIt's just a featureless disk of orange plastic, no way to turn the damn thing on or off.\n\nYou're back to normal again, unfortunately, and the screaming is slowly pushing its way into your head again.\n\nThe smoke detector is still shrieking.\n\n> You hit the detector with the extinguisher\nFuriously, you whale on the smoke detector until the plastic casing splits and cracks open. Its wiry innards hang in sagging loops like the guts of an eviscerated cow.\n\nYou're back to normal again, unfortunately, and the screaming is slowly pushing its way into your head again.\n\nThe smoke detector is still shrieking.\n\n> You cut the wires\n(with the scissors)\nThe wires hiss and smoke and spray sparks in your face as you relentlessly gnaw through them with the blunt scissors -- but perseverance and a frosty attitude pay off in the end as the last wire snaps, and the smoke detector falls silent.\n\n[You have just become a little bit more frosty.]\n\n> You look\nRestroom (on the stool)\nEvery wall, fixture and counter surface in this restroom is painted an intolerably bright, eye-bending nuclear orange. The reasoning behind this choice of decor is unclear -- perhaps the hope is that someone who is tense enough to crack walnuts with his ass cheeks isn't going to be spending lots of time on a toilet seat. Anyway, there's a sink and mirror in the north wall, and a stall to the east. Or you could just leave to the south.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\n> You examine the mirror\nYou're looking sharp as ever.\n\n> You examine the sink\nIt doesn't work. It's never worked. If you want anything to drink around here, you'll have to brave the coffee.\n\n> You go to the east\nYou'll have to get off the stool first.\n\n> You get off the stool\nYou get off the stool."
    },
    {
        "text": "[Themes: Horror, Satire, Science Fiction, strong profanity, office, surreal, satire, violence]\n\n> You look at your surroundings\nEvery wall, fixture and counter surface in this restroom is painted an intolerably bright, eye-bending nuclear orange. The reasoning behind this choice of decor is unclear -- perhaps the hope is that someone who is tense enough to crack walnuts with his ass cheeks isn't going to be spending lots of time on a toilet seat. Anyway, there's a sink and mirror in the north wall, and a stall to the east. Or you could just leave to the south.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\nYou can also see the stool here.\n\n> You open the door\nWhich do you mean, the stall door or the restroom door?\n\n> You unlock it with hanger\nYou jam the coat hanger through the narrow gap and wiggle it around until it hooks onto the sliding bolt. Then, with a jerk, you pull the bolt back, unlocking the door.\n\n[You have just become a little bit more frosty.]\n\n> You open it\nYou open the stall door.\n\n> You go to the east\nOther than the nauseating paint job, there's not much to distinguish this bathroom stall from the thousands of similar ilk. Toilet; toilet paper dispenser; the door to your west; that's pretty much it.\n\nFunny, though. As familiar as all this is, you're sure you've never seen the inside of this particular stall before. As far as you can remember, you've never been in here at all.\n\n> You look in toilet\nNothing, not even any water. Not even, you note with some confusion, a hole for the water to drain through. That's right, just a featureless porcelain bowl.\n\n> You close the door\nYou close the stall door.\n\n> You examine the door\nInteresting. You've never seen it from this side before.\n\n> You examine the dispenser\nA little metal box bolted to the side of the stall. There is no toilet paper in it.\n\n> You look in it\nNo toilet paper in there; not a single square.\n\n> You examine the toilet\nYour standard fixture, sculpted from harsh orange porcelain.\n\n> You take the dispenser\nThat's hardly portable.\n\n> Flush toilet\nThere's no handle, no chain, no button. No way to flush it. And nothing in it to flush anyway.\n\n> You sit on the toilet\nYou turn around and lower yourself onto the seat. Aside from the fact that you are now facing the other direction, little has changed.\n\n> You look up\nThe ceiling is painted bright orange, just like everything else.\n\n> You examine the walls\nThe walls here are painted bright orange, just like everything else.\n\n> You hit the toilet with the fire extinguisher\nYou give the toilet a good, hard thump. You thump it again, a bit harder this time. Next thing you know, you're pounding on the toilet again and again for all you're worth -- you stop yourself, feeling a bit light-headed. Damn. You hate it when that happens.\n\n> You enter it\nBut you're already on the toilet.\n\n> You examine the dispenser\nA little metal box bolted to the side of the stall. There is no toilet paper in it.\n\nThere's also a little keyhole on the side facing the toilet. You didn't notice it before, since you were looking at it from the other side.\n\n> You unlock the dispenser with the key\nYou insert the shiny key into the keyhole and twist it clockwise. A mechanism inside the toilet paper dispenser clicks, and the bathroom is filled with a rumbling sound. Suddenly, the entire rear wall of the stall spins on a hidden axis, taking the toilet and yourself along with it...\n\nBehind the Restroom (on the toilet)\nYou're in a narrow, irregular passageway behind the east wall of the restroom. The walls are all dust and splintered wood and ragged plaster, and the floor is bare concrete.\n\nA thin, cringing man in the tattered remains of a business suit is standing here, grinning and cracking his knuckles.\n\nYou wonder if any of the others know about this place. You sure as hell didn't.\n\nThe thin man grabs your hand and starts pumping it vigorously before you can even get up off the toilet.\n\n\"Hi there,\" he says breathlessly. \"Robertson. You must have gotten my message.\"\n\n[You have just become a little bit more frosty.]\n\n> You examine man\nA decrepit scarecrow of a man, Robertson appears to be in the advanced stages of some sort of horrific drug withdrawal. He jitters, frets, drools occasionally, and cracks his knuckles obsessively.\n\nAlso, you notice, he has a couple of odd scars on his head, one right behind each ear.\n\n\"I've been waiting back here for I don't know how long,\" he pants. \"They tried to get me, too, you know?\"\n\n> You ask the man about the glasses\nRobertson recoils. \"Don't ever let them put those on you! Don't EVER let them!\" He rubs convulsively behind his ears. \"Almost got me, you know. Almost made me love myself!\"\n\n\"They tried to teach me... \" Robertson suddenly straightens up, darts his skinny head around like a spooked heron. He cracks his knuckles a few times. Then he leans in close. \"They tried to teach me how to love,\" he whispers.\n\n> You wait awhile\nTime passes.\n\n\"But I got away, you know?\" Robertson grins, and does a weird, shuffling sort of jig. \"Dug my way back here. They can't find me. Don't know where to look. You know? I'm still digging, too. Pretty soon I'll break through to the outside, and then I'm out of here.\"\n\n> You ask the man about the outside\nAt the moment, you can't think of anything intelligent to say about that, so you wisely keep your mouth shut. No point in looking stupid.\n\n> You ask the man about Biedermeyer\nRobertson shudders. \"Worst thing about him is, we all know who he is, you know?\" We just can't say.\"\n\nRobertson snaps his fingers and makes a sound like a rocket ship lifting off. \"Out of here,\" he whispers.\n\n> You ask the man about the hole\n\"I bored right through it with this,\" Robertson says, showing you the letter opener. \"That's how I got my food, you know? That's how I put the key out for you.\"\n\n> You ask the man about key\n\"Yeah, that was me,\" says Robertson. \"Slipped it into the machine, you know? Through the back. Figured no one'd be looking for it. Except you. Hee, hee,\" he giggles.\n\n> You ask the man about the toilet\n\"That's my secret way in, you know.\" Robertson grins and hunches his shoulders. \"Like Batman.\"\n\n> You ask man about the memo\n\"It was pretty tricky, getting that note into your box, you know?\" Robertson says. \"But I did it. Can't tell you how -- it's a secret. But I had help. Chubby pink fairies.\" Robertson looks around furtively. \"That's all I can say... for now.\"\n\n> You ask the man about Benson\n\"Took them even longer to change him than it did Furman.\" Robertson nodes. \"Wouldn't have thought it, looking at him, you know? He was slippery. Not slippery enough, though, know what I mean? Ha! Ha!\"\n\n> You ask the man about Furman\n\"Yeah, he went down pretty fast, you know? First to go.\" Robertson bears his teeth. \"Scuttling little yes-man. A fucking beetle.\"\n\n> You ask the man about yourself\n\"Been watching you, you know? You're different; I can tell. Why I sent you the note.\"\n\n> You ask the man about himself\nAt the moment, you can't think of anything intelligent to say about that, so you wisely keep your mouth shut. No point in looking stupid.\n\n> You ask the man about man\nWhich do you mean, Robertson, Benson, Furman or Biedermeyer?\n\n> You ask man about Robertson\nRobertson smiles. \"That's me, know what I mean? Me. Is me. Not them.\" He taps the scars behind either ear with his index fingers. \"Got away, see, and now I'm Robertson. I'm still me.\"\n\n> You ask the man about blue\nRobertson suddenly grabs you by the shirt front. \"That's what I've been trying to tell you, man! That's what's going on out there\" That's what they're turning into! That's what they're trying to turn YOU into!\"\n\n> You look\nBehind the Restroom (on the toilet)\nYou're in a narrow, irregular passageway behind the east wall of the restroom. The walls are all dust and splintered wood and ragged plaster, and the floor is bare concrete.\n\nRobertson hovers nearby, smiling and cringing like a pathetic sycophant."
    },
    {
        "text": "[Themes: Satire, Horror, Science Fiction, strong profanity, violence]\n\n> Look around\nYou're in a narrow, irregular passageway behind the east wall of the restroom. The walls are all dust and splintered wood and ragged plaster, and the floor is bare concrete.\n\nRobertson hovers nearby, smiling and cringing like a pathetic sycophant.\n\n> You go to the south\nMore of the same dirty, broken passageway. It looks as though the entire east wall of the office has been hollowed out from one end to the other.\n\nA ragged hole in the west wall lets a dusty beam of light in.\n\nRobertson follows you, fawning and cringing by turns. He points to the ragged hole. \"Dug that out myself, you know?\" he says proudly. \"With this.\" He shows you a steel letter opener, its blade scratched and pitted. \"Only way to get food. Guy's got to eat, you know?\"\n\nRobertson giggles suddenly, and then looks at you as though he seriously suspects you of being stark barking mad.\n\nThen he smiles. \"Got a water cache, too,\" he says, jerking his thumb toward the south end of the passage. \"They're scared of water, you know? Can't stand the stuff. That's why nothing works around here. I managed to get some, though, so they won't be coming round here anytime soon, know what I mean?\" And he throws his head back and laughs.\n\n> You ask Robertson about the water\n\"Only thing they're afraid of, you know,\" whispers Robertson. \"Can't stand the touch of it. Won't have it anywhere near them.\"\n\n> You ask the man about the cache\n\"My private stash,\" says Robertson. He gives you a sly look. \"It's right up ahead,\" he says, gesturing toward the south end of the corridor.\n\n> You look at the hole\nIt's about six inches across, just big enough to put your fist through. It's in roughly the same place that the hole in the vending machine would be, if the vending machine were still standing against the other side of the wall.\n\n> Go south\nThe passage narrows to a tight squeeze at the south end, little more than a glorified crack in the plaster, really.\n\nAn ancient, dusty water cooler is stashed way back in the far corner.\n\nMost of the limited floor space is occupied by a large metal drawer sticking out of the western wall at roughly knee-level. You have to practically climb over it to maneuver.\n\nYou realize suddenly that Robertson has become very quiet. A dim reflection in the curved, plastic side of the water tank catches your eye.\n\n> You hit Robertson\nYou whirl around, fists up and swinging. But the shifty bastard is too quick for you. He fends off your bare knuckles with a strength born of desperation, and plunges the blade into your throat. You go down gurgling. That crazy son of a bitch never stops grinning at you like a starving hyena, the whole damn time.\n\n> You examine cooler\nIt's an old office water cooler -- you're not sure how you recognize it, but you're sure you've seen one before. There's a plastic spigot poking out the front, and there's even a little bit of water sloshing around in the tank.\n\nRobertson suddenly lunges at you, screaming, \"GUY'S GOTTA EAT YOU KNOW! GUY'S GOTTA EAT YOU KNOW!!\"\n\n> You examine the reflection\nThe tank is a cylinder of clear, thick plastic sitting on top of the water cooler. There's a small quantity of water down in the bottom of the tank.\n\nGrowling and foaming like an animal, Robertson lunges again, and this time he's too quick for you. The letter opener punches through your abdomen and breaks off halfway down the blade. As you sink to your knees, clutching your gut, Robertson kicks you over onto your back, sits on your chest, and plunges the jagged stump of the letter opener into your throat again and again, drooling and yelping like a starved hyena all the while."
    },
    {
        "text": "[Themes: Horror, Science Fiction, Satire, surreal, strong profanity]\n\n> Look around\nA ragged hole in the west wall lets a dusty beam of light in.\n\nRobertson staggers after you, laughing and hacking at the air with his letter opener.\n\nMore of the same dirty, broken passageway. It looks as though the entire east wall of the office has been hollowed out from one end to the other.\n\nRobertson isn't looking so good. He's eyeing you up and down in an decidedly un-frosty way.\n\nA ragged hole in the west wall lets a dusty beam of light in.\n\nRobertson suddenly lunges at you, screaming, \"GUY'S GOTTA EAT YOU KNOW! GUY'S GOTTA EAT YOU KNOW!!\"\n\n> You kick the wall\nWhich do you mean, the hole in the wall or the wall?\n\n> You hit Robertson with fire extinguisher\nYou whirl around, swinging the heavy fire extinguisher like a golf club, in a rising arc that catches him right under the chin. Everything below his nose flattens up into his upper jaw like a cheap piece of origami. He hits the floor, his precious letter opener clattering from his limp fingers.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n[You have just become a little bit more frosty.]\n\n> You go south\nAn ancient, dusty water cooler is stashed way back in the far corner.\n\nMost of the limited floor space is occupied by a large metal drawer sticking out of the western wall at roughly knee-level. You have to practically climb over it to maneuver.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You take cooler\nThat's fixed in place.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You examine the drawer\nIt's a rectangular, open-topped box made of metal, about five feet long, two feet wide and two feet deep.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You enter the drawer\nYou fold yourself awkwardly into the cramped metal box, noticing, as you do so, a small gray button mounted on the inside.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You go outside\nAs soon as you clamber out, the drawer retracts jerkily back into the east wall, slamming shut with a bang.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Go west\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\nYour phone is ringing.\n\n> You answer the phone\nYou pick up the receiver and place it against your ear. It's Biedermeyer.\n\n\"This is Biedermeyer,\" says Biedermeyer. \"I would like you to step into my office, please. Immediately.\"\n\nThen he hangs up.\n\n[You have just become a little bit less frosty.]\n\n> You go north\nOn the desk are a plastic cup (in which is some nasty coffee) and a microfiche reader.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You take the cup\nTaken.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Empty cup\nYou can't pour the nothing; it's not a liquid!\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Empty coffee\nThe nasty coffee can't contain things.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You pour the coffee\nStop trying to make a mess.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You drink the coffee\nThe nasty coffee might stick going down, don't you think?\n\nSomewhere in the office, you can hear a phone ringing.\n\n[You have just become a little bit less frosty.]\n\n> You go east\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Go north\nThe restroom door wheezes shut behind you as you pass through.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\nYou can also see the stool here.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You go to the east\nYou can't, since the stall door is in the way.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You open the door\nWhich do you mean, the stall door or the restroom door?\n\n> Stall\nYou open the stall door.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Go east\nSomewhere in the office, you can hear a phone ringing.\n\n> Go west\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\nYou can also see the stool here.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You pour the coffee in the sink\nYou dump the nasty coffee into the sink, and it swirls harmlessly away.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> You sit on the toilet\nYou turn around and lower yourself onto the seat. Aside from the fact that you are now facing the other direction, little has changed.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Unlock dispenser\n(with the shiny key)\nYou insert the shiny key into the keyhole and twist it clockwise. A mechanism inside the toilet paper dispenser clicks, and the bathroom is filled with a rumbling sound. Suddenly, the entire rear wall of the stall spins on a hidden axis, taking the toilet and yourself along with it...\n\nBehind the Restroom (on the toilet)\nYou're in a narrow, irregular passageway behind the east wall of the restroom. The walls are all dust and splintered wood and ragged plaster, and the floor is bare concrete.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You stand\nAs soon as you stand up, the wall spins again, whisking the toilet away and leaving you with nothing but a blank wall.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> Go south\nRobertson is gravy. His digging days are over.\n\nYou can also see a letter opener here.\n\nA ragged hole in the west wall lets a dusty beam of light in.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You go south\nAn ancient, dusty water cooler is stashed way back in the far corner.\n\nMost of the limited floor space is occupied by a large metal drawer sticking out of the western wall at roughly knee-level. You have to practically climb over it to maneuver.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You take the opener\nTaken.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You fill the cup with the water\nThe water is inside an enclosed tank -- you can't get at it.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You examine cooler\nIt's an old office water cooler -- you're not sure how you recognize it, but you're sure you've seen one before. There's a plastic spigot poking out the front, and there's even a little bit of water sloshing around in the tank.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You examine the spigot\nThe little plastic spigot is old, warped and corroded.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You open the spigot\nThe spigot is too corroded; it won't work.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You cut the spigot\n(with the scissors)\nYou can't get the little blades around the spigot well enough to cut it.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You cut the spigot with the opener\nYou don't have anything to cut with!\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> Stab cooler\nYou jab the letter opener into the side of the tank, puncturing the thick plastic. When you let go, the blade stays, vibrating slightly.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You get the opener\nThe blade pulls free with a sharp squeak. Immediately, water begins trickling out through the hole.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\nThe water trickles slowly out of the tank.\n\n> You fill the cup with the water\nYou hold the cup under the thin trickle until it fills up with water, at which point the trickle dies away.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You enter the drawer\nYou fold yourself awkwardly into the cramped metal box, noticing, as you do so, a small gray button mounted on the inside.\n\nFaintly, on the other side of the wall, you can hear a phone ringing.\n\n> You go outside\nAs soon as you clamber out, the drawer retracts jerkily back into the east wall, slamming shut with a bang.\n\nSomewhere in the office, you can hear a phone ringing.\n\n> Go west\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\nYour phone is ringing.\n\n> Bluemen umpty\nEnter saved game to store: Ok.\n\n> You go to the north\nOn the desk is a microfiche reader.\n\n> You go to the north\nThe door to Biedermeyer's office stands just slightly ajar.\n\n> You open the door\nYou nudge the door slightly with your fingertips, and it slowly, slowly creaks open.\n\n> Go north\nA cool, languid ribbon of fear uncurls inside your stomach as you step over the threshold...\n\nBiedermeyer's inner sanctum: a featureless cube with smooth, gray walls, and his desk sitting in the exact center like a great black sarcophagus. There is one door. It is south.\n\nThe door to Biedermeyer's office stands open.\n\nBiedermeyer taps his foot impatiently.\n\nThe door slams shut behind you.\n\nBiedermeyer steps calmly around his desk. He takes a deep breath, and adjusts his glasses slightly. Then he looks at you and says, \"Frankly, I don't know what we're going to do with you.\"\n\n> You ask Biedermeyer about the blue\n\"Yes, I realize that must have been upsetting to see,\" Biedermeyer says, nodding patiently. \"But you have only yourself to blame. Soon you would have been ready, if only you had played by the rules.\"\n\n\"We tried,\" he goes on, his voice sad, \"to provide you with an environment that was safe.\"\n\n> You ask Biedermeyer about Robertson\n\"Ah, yes, poor Robertson,\" he sighs. \"A failed experiment. One I'm not proud of. The blame is entirely mine, of course. I should have looked after him more closely.\" He chuckles. \"I almost made the same mistake with you.\"\n\n\"We tried to give you something familiar, something that you would have no trouble...\" he pauses, searching mentally for the right word.\n\n> You ask Biedermeyer about the glasses\nBiedermeyer smiles. \"It's good to see you finally taking an interest,\" he says. \"You would have been issued a pair yourself, soon, if you had only stuck with the program.\"\n\n\"-- accommodating,\" he blurts suddenly. \"Yes. Something you would have no trouble accommodating. We never wanted this to be anything other than a most pleasant experience for you.\"\n\n> You ask Biedermeyer about the program\nBiedermeyer spreads his hands in a curiously benedictory manner. \"Why, this is your home,\" he says softly. \"This is your salvation. Didn't you know that? This is your only hope of refuge from the demons that hounded you here from your former life. You should be grateful that we let you work here at all. I daresay, you could never find a better job than this, even if you spent your whole life trying.\"\n\n\"God knows, you needed it after what you'd been through out there.\"\n\n> You ask Biedermeyer about the former life\nBiedermeyer shakes his head. \"No remembering, now. Naughty, naughty.\"\n\nBiedermeyer gives you a stern look. \"But that wasn't good enough for you, was it?\"\n\n> You ask Biedermeyer about Furman\nBiedermeyer looks almost proud. \"I couldn't ask for a more exemplary employee.\"\n\n\"You had to fight us every step of the way, didn't you? You really thought that you knew better than us what was good for you. You thought you could heal all on your own.\"\n\n> You ask Biedermeyer about the demons\nBiedermeyer shakes his head. \"No remembering, now. Naughty, naughty.\"\n\nBiedermeyer shakes his head. \"Well, I must say I have no patience for that. And I do not feel sorry for you. I will not tolerate busy-bodies, know-betters, or rule-scoffers in my office.\"\n\n> You ask Biedermeyer about office\n\"It's high time you got used to it,\" says Biedermeyer ominously. \"You're staying here for a long, long time.\"\n\nWith a sharp tug, Biedermeyer pulls off his glasses. They come off with a small sucking sound. He rubs the bridge of his nose a bit, and when he looks up you can see translucent membranes nictitating briefly across his pupils.\n\n> You wait a while\nTime passes.\n\n\"Your days of youthful rebellion are at an end, my boy,\" he says softly, stepping close to you. \"I know you think this will be a bad thing, but I promise you: soon you will see that it had to be done. Soon you will see everything.\" And he reaches out while you are held paralyzed by his reptile gaze, and he slips the glasses onto your face.\n\nThere is a brief burning sensation as something worms quickly into your skull behind each of your ears.\n\n\"There, now,\" you hear Biedermeyer whisper, \"isn't that better?\"\n\nAnd the funny thing is -- it is. It is much better. And he's right -- pretty soon, you DO see everything.\n\n> You throw the water at Biedermeyer\nWith a convulsive jerk of your arm, you dash the water into the bastard's smug, repulsive face. Biedermeyer stops dead, silent, just blinking at you stupidly as the water drips down his skin.\n\nAnd then the hissing begins. And Biedermeyer's skin starts dripping along with the water.\n\nWith a sudden, strangled shriek, Biedermeyer lurches backward, digging his nails into the flesh of his face. \"Oh, you miserable little shit!\" he yells. \"What the bloody fuck have you done?\" Already his voice is starting to slur, gurgling as though he were speaking through a mouthful of cold maple syrup.\n\nHe turns to you, and his face is a dripping mess running with streaks of oozing blue. Whatever monstrous, cerulean visage lay behind his mask of skin is melting along with everything else. He holds his hands out to you imploringly -- the fingers are pouring away down his arms like superheated candle stubs.\n\n\"Uh cuhd... uhf duhn... suh muhsh... fuh yuh...\" he gurgles, and then his entire body slops down into itself, leaving nothing but a bluish-pinkish puddle of ooze on the floor, with his thick black glasses lying unharmed in the middle of it.\n\n[You have just become a little bit more frosty.]\n\n> You take the glasses\nYou gingerly pluck the glasses from the puddle and shake the worst of the goo off them."
    },
    {
        "text": "[Themes: Science Fiction, Satire, Horror, surreal, satire, office]\n\n> You look at your surroundings\nBiedermeyer's inner sanctum: a featureless cube with smooth, gray walls, and his desk sitting in the exact center like a great black sarcophagus. There is one door. It is south.\n\nAll that's left of that bastard Biedermeyer is a puddle of melted goo in the middle of the carpet.\n\nThe door to Biedermeyer's office stands just slightly ajar.\n\n> You get the goo\nThat's fixed in place.\n\n> You look at the desk\nA huge slab of black marble, shot through with soft veins of gray and polished to a glassy brilliance. It looks more like something you'd lay a dead king on than a place to put your paperwork; and sure enough, its slick, cool surface is utterly pristine.\n\nSet flush into the otherwise featureless side of the desk is a slim rectangle of dark metal.\n\n> You examine the metal\nWhich do you mean, the metal drawer or the shiny key?\n\n> Drawer\nThe metal rectangle is perfectly smooth and flat, and silvery-black, like polished hematite.\n\n> You look in it\nIn the metal drawer is a silver tile.\n\n> You examine the tile\n(the silver tile)\nIt's a flat square of silvery metal, apparently blank on both sides.\n\n> You wear the glasses\nYou settle the glasses firmly onto your nose. They fit rather tightly, chafing uncomfortably behind your ears.\n\nYour vision blurs momentarily as your eyes adjust to the strange lenses, but after a second or two you're seeing fine.\n\n> You look at the tile\n(the silver tile)\nBlurry, but just visible, you can see out the number 9070 etched across one side of the tile.\n\n> You remove the glasses\nYou take off the glasses.\n\n> You open the door\nYou nudge the door slightly with your fingertips, and it slowly, slowly creaks open.\n\n> You go to the south\nThe door to Biedermeyer's office stands open.\n\n> You look in reader\nThe entry currently on the screen reads:\n\n::mnemonic distribution levels: IX-EJ-KD-2\n::Subject in 5th grade. Subject arrives at school wearing shorts purchased by subject's mother (Xref C280274). The shorts are blue with white stripe, 60%-40% poly-cotton blend, size 8. Note: Subject has been experiencing growth spurts, and currently fits size 8 1/2. Subject experiences extreme apprehension re: social acceptance, fashion etiquette, inadequate fit of shorts. At 11:13, shorts split up the back seam when Subject sits down in front of Tracy Haddington (Xref P120884), triggering extreme shame response; subject undergoes...\n\nYou tear your eyes away from the screen with a shudder. For a moment, you can almost hear the ghostly echoes of children jeering, which gently dissolves into the sound of a woman's throaty chuckle. Then that, too, fades.\n\n[You have just become a little bit less frosty.]\n\n> You examine reader\nFurman loves that reader; it's like his special toy. He never lets anyone else touch it -- says it's \"too complicated,\" though it can't be that difficult if a terminal moron like Furman can operate it. Anyway, the only controls are a toggle switch and a small button.\nThe microfiche reader is currently switched on.\n\nThose damn glasses are still chafing. You wiggle them around on your nose a bit, trying to get comfortable.\n\n> You look in reader\nYou hesitate. The thought of looking at the screen again fills you with a vague sort of dread.\n\n> You remove the glasses\nThe glasses tug at your skin as you try to pull them off, gripping rather tightly at the flesh behind your ears. Unnerved, you pull harder -- and they suddenly pop free with a tiny sound like velcro.\n\n> Switch toggle\nThat's already on.\n\n> You examine the bill\nWhich do you mean, the counterfeit bill or the original crumpled dollar bill?\n\n> You go southeast\nOn the desk are some scattered papers.\n\n> Go north\nThe restroom door wheezes shut behind you as you pass through.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\nYou can also see the stool here.\n\n> You wear the glasses\nYou settle the glasses firmly onto your nose. They fit rather tightly, chafing uncomfortably behind your ears.\n\nYour vision blurs momentarily as your eyes adjust to the strange lenses, but after a second or two you're seeing fine.\n\nSome random thought is nagging at you. You're not sure what it is.\n\n> You think\nYeah. Think real hard.\n\nAn odd prickling sensation crawls briefly along the back of your scalp, and your vision ripples again slightly. Funny; the glasses aren't chafing you anymore. They feel perfectly comfortable, in fact.\n\n> You remove the tiles\n(first taking the floor)\nThat's hardly portable.\n\n> You remove the glasses\nThe glasses grip your flesh behind the ears with a frightening suction. The harder you pull, the more it hurts.\n\nThe fucking things won't come off!\n\nThere's that nagging worry again. Something you were supposed to do, and forgot... what was it?\n\n[You have just become a little bit more steamed.]\n\n> You take the papers\n(the scattered papers)\nYou've got enough papers to push on your own desk without pushing any of Benson's.\n\n> You take the jacket\nYou already have that.\n\n> You examine the hook\nIt's a little metal hook screwed into the wall.\n\n> Unscrew hook\nIt is fixed in place.\n\n> Search jacket\nNothing. Not even a molecule of pocket lint.\n\n> You go north\nThe door to Biedermeyer's office stands open."
    },
    {
        "text": "[Themes: Horror, Science Fiction, Satire, strong profanity, surreal, satire]\n\n> Look around\nThis short, empty corridor connects the main office area, to the south, with Biedermeyer's office, to the north.\n\nThe door to Biedermeyer's office stands open.\n\n> Go north\nBiedermeyer's inner sanctum: a featureless cube with smooth, gray walls, and his desk sitting in the exact center like a great black sarcophagus. There is one door. It is south.\n\nThe door to Biedermeyer's office stands open.\n\nAll that's left of that bastard Biedermeyer is a puddle of melted goo in the middle of the carpet.\n\n> You look at the desk\nA huge slab of black marble, shot through with soft veins of gray and polished to a glassy brilliance. It looks more like something you'd lay a dead king on than a place to put your paperwork; and sure enough, its slick, cool surface is utterly pristine.\n\nA slim, metallic drawer extends from the otherwise featureless side of the desk.\n\n> You open it\nThe door is open already.\n\n> You examine the door\nIt is ominously unobtrusive. A pane of pebbled glass allows light to come through, but prevents you from seeing anything on the other side.\n\n> You look in the drawer\nThe metal drawer is empty.\n\n> You take the pane\nThat's fixed in place.\n\n> Go south\nThe northwest corner is Furman's area. Everything is tucked away and tidy, which is exactly how that obsessive freak likes it. The photocopier squats over by the west wall, and a short corridor to the north leads to that bastard Biedermeyer's office.\n\nOn the desk is a microfiche reader.\n\n> Go south\nThis is your scratching ground, your own little slice of the shit pie these sons of bitches call an office -- and don't think for a second that you didn't have to fight like hell to get it. Neatly shoved away into the southwest corner of the general work area, where they think you can't get into any mischief.\n\nOn the desk are an in-tray (which is empty), an out-tray (which is empty) and a telephone.\n\n> You look at the phone\nOh yeah, the phone. You can't make outgoing calls on it; there's no dial. You don't even know why it's on your desk. Presumably, you're expected to answer it if it rings, but it never does. Never has. Not once. Not ever.\n\n> Go northeast\nWhat few pathetic nods to biological necessity are allowed by the firm have been shoved away into the northeast corner. There's a coffee maker in the corner, a vending machine against the east wall, and a door to the restroom to the north.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You go south\nAs usual, Benson's corner of the office, is a filthy sty. Files, papers, supplies lying around everywhere. You don't know how anyone could work in these conditions. A vast bank of filing cabinets stands against the west wall, behind Benson's desk.\n\nOn the desk are some scattered papers.\n\n> You look at what you're carrying with you\nYou are carrying a silver tile, some glasses, a letter opener, a plastic cup, a fire extinguisher, the original crumpled dollar bill, a hanger, Furman's jacket, a pair of scissors, a shiny key, a wooden shim, a memo, some paperwork, a little white bottle (which is open), inside which are some gray pills, a little gray bottle (which is open), inside which are some white pills and an ink stamp.\n\n> Wait\nTime passes.\n\nAn odd prickling sensation crawls briefly along the back of your scalp, and your vision ripples again slightly. Funny; the glasses aren't chafing you anymore. They feel perfectly comfortable, in fact.\n\n> You wait\nTime passes.\n\nThere's that nagging worry again. Something you were supposed to do, and forgot... what was it?\n\n> You think\nYeah. Think real hard.\nSuddenly, you remember -- the paperwork! It never got filed! How could you have let a careless mistake slip by? You chide yourself, then remind yourself that it's been a hectic day -- anytime an office undergoes a 75% staff turnover, you can expect there's going to be a few loose ends left around when it's all over.\n\nGuess it's up to you to sort them out, then. Right?\n\nYou take your ink stamp firmly in hand. It's time to get to work. You're looking forward to it, really. After all, this is where you've always wanted to be, doing what you've always wanted to do. You could never find a better job than this, even if you spent your whole life looking.\n\n> You look at the button\nYou push it to get some coffee, if you think you can stomach it.\n\n> You break machine\nYou give the broken vending machine a good, hard thump. You thump it again, a bit harder this time. Next thing you know, you're pounding on the broken vending machine again and again for all you're worth -- you stop yourself, feeling a bit light-headed. Damn. You hate it when that happens.\n\n> You examine the workings\nIt's a lot of mechanical stuff, mostly beyond you. Anyway, it never worked right when it was intact, so why should it be of any use now?\n\n> You take the mechanisms\nThey're hardly portable.\n\n> Search mechanisms\nYou find nothing of interest.\n\nYou find nothing of interest.\n\n> You look at glasses\nThe thick, black, and somewhat sticky glasses are all that remains of that former bastard, Biedermeyer.\n\n> You look at gum\nIt's all over the place; dozens of nougat bars and hundreds of sticks of Beechnut, all squishing and melting underfoot.\n\n> You get the gum\nWhat the hell for? It's worthless garbage. Let that bastard Biedermeyer clean it up, if he wants.\n\n> You examine the ceiling\nThe featureless grid of white, acoustical tiles hanging above your head is unbroken in every direction. Every third or fourth tile contains a softly humming fluorescent light.\n\n> You search the cabinets\nIt's just empty folders. All of it. There's absolutely nothing in here.\n\n> You examine the light\nThe ceiling is out of your reach.\n\nThe blue-white rectangles of brightly glowing plastic generate an irritating hum that just tickles the edge of human hearing. Occasionally, one of them will flicker slightly.\n\n> You get tile\n(the silver tile)\nYou already have that.\n\n> You look at what you're carrying with you\nYou are carrying a silver tile, some glasses, a letter opener, a plastic cup, a fire extinguisher, the original crumpled dollar bill, a hanger, Furman's jacket, a pair of scissors, a shiny key, a wooden shim, a memo, some paperwork, a little white bottle (which is open), inside which are some gray pills, a little gray bottle (which is open), inside which are some white pills and an ink stamp.\n\n> You listen\nYou hear that ringing in your ears again, just like always. Damn sound never goes away.\n\n> You go to the north\nThe restroom door wheezes shut behind you as you pass through.\n\nEvery wall, fixture and counter surface in this restroom is painted an intolerably bright, eye-bending nuclear orange. The reasoning behind this choice of decor is unclear -- perhaps the hope is that someone who is tense enough to crack walnuts with his ass cheeks isn't going to be spending lots of time on a toilet seat. Anyway, there's a sink and mirror in the north wall, and a stall to the east. Or you could just leave to the south.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\nYou can also see the stool here.\n\n> You stand on the stool\nDropped.\nYou get onto the stool.\n\n> You look at the tiles\nThe featureless grid of white, acoustical tiles hanging above your head is unbroken in every direction. Every third or fourth tile contains a softly humming fluorescent light.\n\n> You jump\nYour head slams painfully against the ceiling. Lousy, stupid, stinking, crappy ceiling! You try to rub your head and shake your fist at the same time, but the coordination required is beyond you.\n\n[You have just become a little bit more steamed.]\n\n> You put the stool on the desk\nYou put the stool on the desk.\n\n> You stand on the stool\n(getting onto the desk)\n\nThat's not something you can enter.\n\n> You drop it\nDropped.\n\n> You stand on it\nYou get onto the stool.\n\n> You put shim on the stool\nYou put the wooden shim on the stool.\n\n> You put the tile on the stool\n(the silver tile on the stool)\nYou put the silver tile on the stool.\n\n> You stand on the tile\n(the silver tile)\nThat's not something you can enter.\n\n> You take the tile\n(the silver tile)\nTaken.\n\n> Hint\nUse the arrow keys to point to a question.\nPress ENTER to select the question.\nPress BACKSPACE to back out of the menu system.\n\n> Just what the hell is going on here, anyway?\nWhat do I do at my desk?\nWhat do I do at Furman's desk?\nWhat do I do in Biedermeyer's office?\nSo what do I do with this number?\n\n> You go north\nThe restroom door wheezes shut behind you as you pass through.\n\nEvery wall, fixture and counter surface in this restroom is painted an intolerably bright, eye-bending nuclear orange. The reasoning behind this choice of decor is unclear -- perhaps the hope is that someone who is tense enough to crack walnuts with his ass cheeks isn't going to be spending lots of time on a toilet seat. Anyway, there's a sink and mirror in the north wall, and a stall to the east. Or you could just leave to the south.\n\nThe gutted smoke detector hangs limply from the ceiling, its innards exposed and dangling.\n\n> You examine the ceiling\nThe ceiling is painted bright orange, just like everything else.\n\n> You hit the mirror with the fire extinguisher\nYou give the mirror a good, hard thump. You thump it again, a bit harder this time. Next thing you know, you're pounding on the mirror again and again for all you're worth -- you stop yourself, feeling a bit light-headed. Damn. You hate it when that happens.\n\n> You look at the detector\nThat piece of crap hasn't detected so much as a bugfart since the day they installed it. It only (and always) goes off whenever someone actually enters the bathroom, letting forth with a piercing shriek high enough to break up kidney stones. A further deterrent for anyone too comatose to be bothered by the paint, probably.\n\n> You cut the wall\n(with the scissors)\nYou can't get the little blades around the wall well enough to cut it.\n\n> Hint\nUse the arrow keys to point to a question.\nPress ENTER to select the question.\nPress BACKSPACE to back out of the menu system.\n\n> Just what the hell is going on here, anyway?\nWhat do I do at my desk?\nWhat do I do at Furman's desk?\nWhat do I do in Biedermeyer's office?\nSo what do I do with this number?\n\n> Go south\nWhat few pathetic nods to biological necessity are allowed by the firm have been shoved away into the northeast corner. There's a coffee maker in the corner, a vending machine against the east wall, and a door to the restroom to the north.\n\nThe vending machine is lying face down and smashed amidst a pile of nougat bars and Beechnut gum.\n\nThere's a ragged hole hacked into the east wall, where the vending machine used to stand.\n\n> You take the phone\nSilence. Nothing on the line but hissing silence.\n\n> You say\n(to yourself)\nThere is no reply.\n\n> You turn the tile\n(the silver tile)\nNothing obvious happens.\n\n> Inventory\nYou are carrying a silver tile, a wooden shim, some glasses, a letter opener, a plastic cup, a fire extinguisher, the original crumpled dollar bill, a hanger, Furman's jacket, a pair of scissors, a shiny key, a memo, some paperwork, a little white bottle (which is open), inside which are some gray pills, a little gray bottle (which is open), inside which are some white pills and an ink stamp.\n\n> Hint\nUse the arrow keys to point to a question.\nPress ENTER to select the question.\nPress BACKSPACE to back out of the menu system.\n\n> Just what the hell is going on here, anyway?\nWhat do I do at my desk?\nWhat do I do at Furman's desk?\nWhat do I do in Biedermeyer's office?\nSo what do I do with this number?\n\n> P.\nUse the arrow keys to point to a question.\nPress ENTER to select the question.\nPress BACKSPACE to back out of the menu system.\n\nJust what the hell is going on here, anyway?\nWhat do I do at my desk?\nWhat do I do at Furman's desk?\nWhat do I do in Biedermeyer's office?\n> So what do I do with this number?\nHelpful Hints\n\nUse the arrow keys to point to a question.\nPress ENTER to select the question.\nPress BACKSPACE to back out of the menu system.\n\nJust what the hell is going on here, anyway?\nWhat do I do at my desk?\nWhat do I do at Furman's desk?\nWhat do I do in Biedermeyer's office?\n> So what do I do with this number?\n\nTry typing it into the keypad.\n\n> You examine the copier\nThe photocopier is a hulking technological monstrosity that you've never been able to satisfactorily figure out. It's got about fourteen billion buttons on it and the only one you know how to use is the big green one marked 'COPY'. There's also a lid on top (paper goes in), and a small hopper off to one side (paper comes out). That's as familiar as you've ever cared to (or are ever likely to) get with this thing.\n\nCurrently, the lid is open and the hopper contains a pile of shredded paper and a counterfeit bill.\n\n> You examine reader\nFurman loves that reader; it's like his special toy. He never lets anyone else touch it -- says it's \"too complicated,\" though it can't be that difficult if a terminal moron like Furman can operate it. Anyway, the only controls are a toggle switch and a small button.\nThe microfiche reader is currently switched on.\n\n> You look at the keypad\nIt's a standard numeric keypad with keys from 0 to 9. It's looks simple enough, but you don't really know what it does.\n\n> Examine shredded\nYou did a handsome job; there isn't a scrap left big enough to be recognizable.\n\n> You type 9070 on the keypad\nAs you punch in the final digit, the copier starts to hum. Ominously. It's never made that sound before; not even the time you got your necktie caught in the collator and, in a fit of panic, started bludgeoning the cables in back with Furman's rolodex. No, that was more of a guttural wheeze. This is most definitely a hum.\n\nEver-wary, you take a few prudent steps back.\n\nSuddenly, the lid flies open! A blinding white light pours out through the glass, a coruscating torrent from the machine's inner core!\n\nThis is it, you think, throwing up your arms to shield your eyes. The whole thing's going nova. I'll never be frosty again --\n\n...and then the light is gone.\n\nSlowly, you open your eyes.\n\nWhere the copier once stood, there is now only a slightly lighter patch of carpet...\n\n...and a door.\n\n[You have just become a little bit more frosty.]\n\n> You examine the door\nIt's an utterly plain wooden door, painted white. There is a brass doorknob on it.\n\n> You open the door\nTimidly, you reach out and turn the brass doorknob. It turns smoothly. You take a deep breath. You pull the door open.\n\nThe hinges creak, very slightly.\n\nLooking through the open doorway, you note with no small relief that the other side really is everything you'd always hoped it would be. Without an ounce of trepidation, you step through...\nHillside\nYou are standing at the top of a hill of velvety green, overlooking a scene of pastoral delight. In the valley below, young men and women in wispy robes frolic chastely about, dancing together amongst the wildflowers and the romping sheep. Everyone is laughing. Everyone has a pretty pink balloon that they hold by its string. It is innocence and carefree, everywhere you look.\n\nAlso, you notice immediately, you are naked. Completely naked. This doesn't bother you as much as part of you thinks it should.\n\nThe sun is just setting, and the sky is the beautiful color of the inside of seashells.\n\n> Inventory\nYou are carrying nothing.\n\nAs you stand there, dumbfounded, you notice something large and pink gently bobbing toward you from out of the gorgeous sky. As it draws closer, you see that it is a naked fat man. He alights on the grass next to you and smiles in greeting.\n\n\"Welcome,\" he says in a comfortingly avuncular voice.\n\n> You ask the man about the fairy\nHe smiles and answers, \"My job is merely to ensure that your transition here is as comfortable as possible.\n\n\"We were hoping you would make it. It's been a long, difficult time for you, I know. But you'll find it much different here.\"\n\n> You ask man about the blue\n\"All that is behind you now,\" says the fat naked man.\n\n\"You'll need these,\" he tells you, handing you a pink balloon and a gown of diaphanous material. \"They'll help you fit in. We've tried to provide an environment for you that is safe. Something that you'll have no trouble,\" he adds, indicating the valley with a sweep of his pudgy hand, \"...accommodating.\"\n\n> You ask the man about Robertson\n\"All that is behind you now,\" says the fat naked man.\n\n\"Well, enjoy your stay,\" says the fat naked man, clapping you heartily on the back. \"Don't misbehave, now.\" He raises his eyebrows and taps the side of his nose, and for the first time you notice that he's wearing thick, black-framed glasses.\n\n\"Remember to stay frosty,\" he says as he floats away into the sunset.\n\nBut you hardly hear him. You are filled with a rapture, a fantastic sense of belonging like you have never before felt, as you skip down the hillside, balloon in hand. The young men and women welcome you with open arms, and everywhere sheep are bleating.\n\nYou know, then, that you could never find a better place than this, even if you spent your whole life looking.\n\n> You wait a while\n*** You have learned to love yourself ***\n\nIn this game, you have finally managed to love life.\n\nThis, technically, is the actual \"end\" of the game. You can RESTART, RESTORE and all that jazz, if you want to, just like usual, or you can read the author's POSTSCRIPT."
    },
    {
        "text": "> You drop the balloon\nBut if you let go of the string, your balloon will fly away!\n\n\"Well, enjoy your stay,\" says the fat naked man, clapping you heartily on the back. \"Don't misbehave, now.\" He raises his eyebrows and taps the side of his nose, and for the first time you notice that he's wearing thick, black-framed glasses.\n\n\"Remember to stay frosty,\" he says as he floats away into the sunset.\n\nBut you hardly hear him. You are filled with a rapture, a fantastic sense of belonging like you have never before felt, as you skip down the hillside, balloon in hand. The young men and women welcome you with open arms, and everywhere sheep are bleating.\n\nYou know, then, that you could never find a better place than this, even if you spent your whole life looking."
    },
    {
        "text": "[Themes: Science Fiction, Horror, Satire, office, surreal]\n\n> You look at your surroundings\nYou are standing at the top of a hill of velvety green, overlooking a scene of pastoral delight. In the valley below, young men and women in wispy robes frolic chastely about, dancing together amongst the wildflowers and the romping sheep. Everyone is laughing. Everyone has a pretty pink balloon that they hold by its string. It is innocence and carefree, everywhere you look.\nThe fat naked man beams at you seraphically.\n\n\"You'll need these,\" he tells you, handing you a pink balloon and a gown of diaphanous material. \"They'll help you fit in. We've tried to provide an environment for you that is safe. Something that you'll have no trouble,\" he adds, indicating the valley with a sweep of his pudgy hand, \"...accommodating.\"\n\n> Break balloon\nYou give the pink balloon a good, hard thump. You thump it again, a bit harder this time. Next thing you know, you're pounding on the pink balloon again and again for all you're worth -- you stop yourself, feeling a bit light-headed. Damn. You hate it when that happens.\n\n\"Well, enjoy your stay,\" says the fat naked man, clapping you heartily on the back. \"Don't misbehave, now.\" He raises his eyebrows and taps the side of his nose, and for the first time you notice that he's wearing thick, black-framed glasses.\n\n\"Remember to stay frosty,\" he says as he floats away into the sunset.\n\nBut you hardly hear him. You are filled with a rapture, a fantastic sense of belonging like you have never before felt, as you skip down the hillside, balloon in hand. The young men and women welcome you with open arms, and everywhere sheep are bleating.\n\nYou know, then, that you could never find a better place than this, even if you spent your whole life looking."
    },
    {
        "text": "[Themes: Science Fiction, siblings, post-apocalyptic]\n\nClick.\n\nYou hear it clear across the rooftop. Or more, you feel the cold metal sound in your chest, and it quickly drops down to settle in your belly.\n\nType CREDITS for the full credits, HELP if you need it, and QUIT to exit the game.\n\nRooftop, halfway up the chimney\nYou're clinging to the side of the chimney. From here you can go down to the rooftop or attempt to climb further up the top of the chimney.\n\nAnd below you, looking up -- instead of standing by the access door to make sure it doesn't close, like you told him to about six times -- is your older brother Anton.\n\nAnton notices your frozen posture halfway up the chimney. \"What's the holdup?\" he says. \"Silk's not gonna collect itself, you know.\"\n\n[Author's Note: You and your brother's job \u0097 scouring the city's highest spots for a rare building material in the year 2040 \u0097 is already hard enough. Now Anton's gone and gotten you trapped on a rooftop. Your acrobat bloodline will help you with the deadly heights, and your brain will figure out the genmodded plants \u0097 but will you be able to cope with having the most annoying big brother alive?]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> About yourself\nYou're wearing a striped sleeveless top, identical to your brother's except for the bush of chest hair he has coming out the top of his. Your chin has also refused to sprout anything that isn't embarrassing.\n\nYou are carrying nothing.\n\nAnton yells some climbing tips from below, which you ignore.\n\n> You examine the chimney\nThe brick chimney looks to be the oldest part of the building. On the upper part of the chimney there's a faded graffiti tag -- a circle with a cross within it.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You look at Anton\nYour brother Anton is a broad shouldered, bearded fellow with long tangled brown hair and eyes with a tendency to wander. His features are relaxed and calm. Like you, he's wearing the typical clothes of a silk collector, including the identical striped sleeveless top. He has the Claw and the containment unit.\n\nDown below you, Anton shades his eyes and watches you.\n\n> Up\nYou try to climb further up, but you can't find any more suitable finger and toe holds.\n\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> You climb the the chimney\nYou're not really close enough to Anton to do that. Might want to call him over first, or follow him.\n\nAnton yells some climbing tips from below, which you ignore.\n\n> You call Anton\nAnton sees where you are and points to the ground, indicating that he'll be staying right where he is, thanks.\n\nAnton slaps a drumbeat on the chimney that you find distracting.\n\n> You examine tag\nYou stare at it and realize it's the symbol the Bad Seeds use in their revolutionary communiques.\n\nApparently this rooftop is their territory. One more reason to get the hell out of here.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You examine the access door\nThe access door is across the rooftop. You can't tell for sure that it's closed from here, but that click sound does not make you hopeful.\n\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> You examine Anton\nYour brother Anton is a broad shouldered, bearded fellow with long tangled brown hair and eyes with a tendency to wander. His features are relaxed and calm. Like you, he's wearing the typical clothes of a silk collector, including the identical striped sleeveless top. He has the Claw and the containment unit.\n\nAnton slaps a drumbeat on the chimney that you find distracting.\n\n> You look at what you're carrying with you\nYou're wearing a striped sleeveless top, identical to your brother's except for the bush of chest hair he has coming out the top of his. Your chin has also refused to sprout anything that isn't embarrassing.\n\nYou are carrying nothing.\n\nAnton yells some climbing tips from below, which you ignore.\n\n> You give you Claw\nYou're not really close enough to Anton to do that. Might want to call him over first, or follow him.\n\nDown below you, Anton shades his eyes and watches you."
    },
    {
        "text": "> Go downwards\nYou climb down, dropping the last couple of feet to...\n\nRooftop, at the base of the chimney\nA brick chimney looms above you. You're at the southeast corner of the square rooftop -- the door you came out of is to the west, an overgrown garden patch is to the northwest. You can also go north, though there's nothing that interesting there.\n\nYour brother Anton is here, plucking at his red-and-white striped sleeveless top.\n\n> You give you the Claw\nAnton gives the Claw to you.\n\nAnton mumbles something about exploring and sets off towards the garden.\n\n> You examine Claw\nAn ingeniously crafted brass pole with pincers on one end, for those hard-to-get caches of spider silk, or as Anton insists on calling it, spizz. Adds another three feet to your reach.\n\nOver a bit, Anton pretends to shovel some dirt in his attempt at anti-farmer satire.\n\n> You examine the containment unit\nA reinforced silk containment unit made by Harry's pal Rudi. It matches the Claw, which is a nice touch. It also has straps so you can wear it on your .\n\nAcross the rooftop, Anton is kicking the foliage, making a mess.\n\n> You wear the containment unit\nNot from here, you can't.\n\nAnton comes over, looking bored. \"Remember, if you need any big brother advice on anything you can always ask Anton about silk or whatever.\"\n\n> You ask Anton about the silk\nAnton nods. \"Oh yeah, we should totally get some silk before we get out of here, otherwise we're gonna be awful hungry tonight.\" He points at the chimney. \"And I bet you there's some in there. I can smell the sweet sweet spizz a mile off.\"\n\n> You ask Anton about the access door\nAnton rolls his eyes. \"Don't worry, Toph, I used the bag to prop the door open.\" He doesn't look over at the obviously closed door.\n\n> You give you the the containment unit\nAnton gives the containment unit to you.\n\nAnton is leaning against the chimney, trying to look cool.\n\n> You wear it\nYou put on the containment unit.\n\nAnton is making a sad attempt to climb the chimney, but stops when he sees you watching.\n\n> You look down\n(downward)\nThere's nothing remarkable about the black surface of the rooftop. You just hope you don't end up having to sleep on it tonight.\n\nAnton is hiding behind the smokestack. Why, or from whom, you couldn't say."
    },
    {
        "text": "> Look around\nRooftop, at the base of the chimney\nA brick chimney looms above you. You're at the southeast corner of the square rooftop -- the door you came out of is to the west, an overgrown garden patch is to the northwest. You can also go north, though there's nothing that interesting there.\n\nBig brother Anton is here, his beefy arms crossed as he gazes at the city.\n\nAnton mumbles something about exploring and sets off towards the northeast corner.\n\n> Go upwards\nNear the base, the cracked brick provides enough finger and toe holds to climb to...\n\nRooftop, halfway up the chimney\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> You look up\n(upward)\nA darkish sky, a few clouds here and there.\n\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> You examine the chimney\nThe brick chimney looks to be the oldest part of the building. On the upper part of the chimney there's a faded graffiti tag -- a circle with a cross within it.\n\nAnton yells some climbing tips from below, which you ignore.\n\n> Up\nYou try to climb further up, but you can't find any more suitable finger and toe holds.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You use Claw\nYou will have to be more specific about what you want to use the Claw with.\n\nAnton yells some climbing tips from below, which you ignore.\n\n> You use Claw on the chimney\nYour attempt to take the chimney with the Claw makes you look as silly as Anton.\n\nDown below you, Anton shades his eyes and watches you."
    },
    {
        "text": "[Themes: Science Fiction, siblings]\n\n> Go down\nYou climb down, dropping the last couple of feet to...\n\nRooftop, at the base of the chimney\nYou can see Anton here, hitching up his pants.\n\nAnton is hiding behind the smokestack. Why, or from whom, you couldn't say.\n\n> You go northeast\nThe visible exits are north, northwest, west and up (to rooftop, halfway up the chimney).\n\nAnton is leaning against the chimney, trying to look cool.\n\n> You go northwest\nRooftop, garden patch\nLike a lot of buildings renovated in the 1990s, it's got a small garden patch. Fifty years later, it's still doing its best to hide the grey concrete and metal beneath. But it comes off as a bit of a green toupee in comparison to the entirely organic, silk-lined wooden skyscrapers they're building today in Mumbai and Shanghai.\n\nJudging by the rows of unruly plants, it's been a while since this garden was actively farmed. The access door is to the south, the chimney is to the southeast and there's an empty corner to the east.\n\nOff in the distance, Anton is making a sad attempt to climb the chimney, but stops when he sees you watching.\n\n> You examine garden\nYou move some the dense foliage out of the way, revealing two rows of short, bulbous vegetables separated by a plank.\n\nOver a bit, Anton is leaning against the chimney, trying to look cool.\n\n> You examine the vegetables\nThere's a lot of the squat shiny cucumbers.\n\nAcross the rooftop, Anton is hiding behind the smokestack. Why, or from whom, you couldn't say.\n\n> You take the cucumbers\nHalf-submerged in the ground, the plank is about a dozen feet long.\n\nOff in the distance, Anton is making a sad attempt to climb the chimney, but stops when he sees you watching.\n\nYou take one of the vegetables. It's heavier than you would have expected, and sits comfortably in the palm of your hand like it was designed to do so.\n\nOver a bit, Anton is leaning against the chimney, trying to look cool.\n\n> You take the plank\nYou try, but the plank is stuck too solidly in the ground for your skinny arms to move.\n\nAcross the rooftop, Anton is making a sad attempt to climb the chimney, but stops when he sees you watching.\n\n> You call Anton\nAnton hears you and trots over. \"What? Did you find some silk?\"\n\n> You take the plank\nAnton leans over and pulls at the edge of the plank. It moves a bit, but then he gives up with a shrug. It's irritating, because you know he's strong enough. When he's angry he's liable to break everything in sight -- you saw him uproot a tree once.\n\nAnton looks at you like you're joking, but when you're not smiling he gets flustered.\n\n> You examine the cucumber\n(the vegetable)\nIt looks like a hand-sized football-shaped cucumber. The skin is a bit shiny, and as you tilt it in the light you see it's got a hologo of some sort -- a circle with a cross design --  you recognize it as being the same one from the chimney.\n\nAnton's mouth is moving and his eyes are glassy. Suddenly he throws his arms into the air and runs in a victory circle.\n\n> Go east\nRooftop, northeast corner\nThere's a great view of the city from here -- from this distance, if you squint, you can't really tell most of the buildings have been stripped and abandoned. You know that's why Anton's always trying to get you guys to collect up on the rooftops, even though they've mostly been picked clean years ago -- so he can stare at his precious Tower.\n\nAt the northernmost edge of the building you can see the street below, which you recognize as the place where you entered the building. The garden patch is to the west, the chimney is to the south and the exit door is southwest.\n\nOff in the distance, Anton thinks he sees a bug in the dirt, but it's just a pebble.\n\n> You eat the cucumber\nYou're about to, but at the last minute something stops you from biting into the taut green skin. There's something... weird about it.\n\nAcross the rooftop, Anton pretends to shovel some dirt in his attempt at anti-farmer satire.\n\n> You look at Tower\nThe city looks prettier at twilight, when you can't see the busted windows and the fireblackened walls. The Tower, aside from the structural damage, is pretty well off, since the windows at the top are intact -- high enough to ward off the most determined looters. So far.\n\nFor some reason, the arachnoids tended to nest in high areas, and there's nowhere higher than the Tower. Even twenty years after the giant mutant spiders died out silk collectors like your brother are still hell-bent on getting the legendary deposits they left on top of the pod.\n\n> You go to the southwest\nRooftop, by the exit\nTo the west you can see a nearby building, about the same height as the one you're on.\n\nThe garden patch is north, the chimney is east and the empty corner is northeast.\n\nThe concrete stairwell exit is a rectangle protruding at least fifteen feet from the rooftop, its only feature a closed metal door.\n\nFor (probably ill-advised) reasons of his own, Anton heads to the garden.\n\n> You look at the door\nIt's a rectangular cube sticking up out of the tarmac like a big white robot tooth. It's featureless except for the outline of a door, and the door is handleless.\n\nAnton comes by, patting his belly. He notices you looking at the door.\n\n\"Don't worry, Toph,\" he says. \"I put the bag --\"\n\nHis face falls when he looks at the door.\n\n\"I...\" He stares at the handleless door. \"Toph, you gotta believe me, I wedged the bag in there real good. I don't...\"\n\n> You open the door\nThere's no handle on this side.\n\nAnton pounds the locked door and yells for help, even though the two of you had walked up the six flights of stairs without seeing another soul.\n\n> You look at the building\nIt's similar to the one you're on, except that the exit door is hanging off its hinges. Instead of a garden there's a faded billboard for a long forgotten movie. Given its alphanumeric website address it's a few decades old at least.\n\nThere's probably a ten foot gap between the buildings.\n\n\"I bet I could jump that,\" Anton says, doing some leg stretches.\n\n\"You bet your life?\" you say, pointing to the ground below.\n\nAnton stops doing leg stretches.\n\nAnton's slumped down on the ground. \"OK. We need a plan.\" He looks at you hopefully.\n\n> You take the plank\nAnton nods, but clearly he wasn't listening.\n\nAnton's still nervous, his eyes wide and his nostrils occasionally flaring.\n\n> You follow\n(the access door)\nAnton seems less freaked out.\n\n> You follow you\nAnton punches the door and then immediately regrets it.\n\n> Go north\nRooftop, garden patch\nThere's a plank between the rows of plants.\n\nYou can also see a row of vegetables here.\n\nFor (probably ill-advised) reasons of his own, Anton heads to the exit door.\n\n> You take the plank\nYou're not really close enough to Anton to do that. Might want to call him over first, or follow him.\n\nOver a bit, Anton is sitting on the ground. He's discovered that the tarmac is slightly soft and is pressing his hand into it to make a print.\n\n> You call Anton\nAnton hears you and trots over. \"What? Did you think of a plan?\"\n\n> You get the the plank\nAnton leans over and pulls at the edge of the plank. It moves a bit, but then he gives up with a shrug. It's irritating, because you know he's strong enough. When he's angry he's liable to break everything in sight -- you saw him uproot a tree once.\n\nAnton looks at you like you're joking, but when you're not smiling he gets flustered.\n\n> You tell Anton about the plank\n\"You thinking what I'm thinking?\" Anton says. \"We can chop it up and sell it on the chopstick market!\"\n\n> Dig\nWhat do you want to dig?\n\n> You dig the garden\nWhat do you want to dig the plants with?\n\n> You dig the plants with Claw\nThat's a precision instrument -- you shudder to think what Harry would say if you got it all clogged up with dirt.\nYour attempt to dig the garden with the Claw makes Anton snicker.\n\nAnton is kicking the foliage, making a mess.\n\n> You examine the foliage\nIt makes you think about that girl at the market who's always encouraging you to come down to help out on their farm. But no, Anton would never go for that.\n\nAnton's mouth is moving and his eyes are glassy. Suddenly he throws his arms into the air and runs in a victory circle.\n\n> Inventory\nYou're wearing a striped sleeveless top, identical to your brother's except for the bush of chest hair he has coming out the top of his. Your chin has also refused to sprout anything that isn't embarrassing.\n\nYou are carrying a vegetable, the containment unit (being worn and empty) and the Claw.\n\nAnton thinks he sees a bug in the dirt, but it's just a pebble.\n\n> You hit Anton\nKnocking some sense into your brother is tempting, but you know from experience that it's a waste of time.\n\nAnton pretends to shovel some dirt in his attempt at anti-farmer satire.\n\n> You throw the cucumber at Anton\n(the vegetable at Anton)\nConvincing yourself that an old fashioned food fight will let off some steam, you throw the veggie at Anton. It smashes into his chest, and -- disturbingly -- grey-green vines burst forth from the mess at a shocking speed to encircle your brother.\n\nThere's a moment where he's tied up as effectively as if with rope, and then his stunned expression starts to darken.\n\nAnton's arms strain. \"No... trap... from a stupid FARMER,\" bursting through the tendrils, \"...can hold a Karrento!\"\n\nThe vines fall off of him into a pile at his feet and begin to rot.\n\nAnton's still mad, kicking at the tarmac.\n\n> You get the the plank\nHe funnels his rage into pulling the plank free of the dirt in a cloud of dust!\n\nAnton picks up the plank.\n\nAnton seems to have cooled down.\n\n> You take the cucumber\nYou grab another of the cucumbery vegetables.\n\nAnton's mouth is moving and his eyes are glassy. Suddenly he throws his arms into the air and runs in a victory circle.\n\n> Go southeast\nRooftop, at the base of the chimney\nOff in the distance, Anton is kicking the foliage, making a mess.\n\n> You throw the cucumber at the chimney\nLeaving your hand like a green oblong snowball, it smacks into the chimney and sends out its viney tendrils around and around the structure until the tough vines cover the surface.\n\nAnton strolls by and lets out a low whistle. \"Those farmers are getting trickier every year.\"\n\n> Go upwards\nNear the base, the cracked brick provides enough finger and toe holds to climb to...\n\nRooftop, halfway up the chimney\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> Go upwards\nThe latticework of vines helps you scale the surface...\n\nRooftop, top of the chimney\nYou're on the lip of the chimney, the inside of which has been mostly bricked up.\n\nYou can see the whole rooftop from here.\n\nInside an alcove you spot a small amount of spider silk.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You examine the silk\nIt's white, with just a tiny bit of a shimmer in certain lights. Weird to think it'll end up in some organic skyscraper in Asia somewhere, reinforcing a wooden beam or strut.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You take it\nSilk's reactive with organic substances, which is why it's so valuable for reinforcing building materials. If you're wondering how reactive, you only have to look at Harry's friend Two-Fingers Nancy.\n\n\"Toph, you see any of the white stuff up there? We gotta get us some spizz...\" Anton calls from below.\n\n> You take the silk with Claw\nCarefully you pinch the silk with the Claw and gently wind the strands around. Harry gives you a slightly better price for it when it's in one piece and free of debris.\n\nYou put it into the containment unit and engage the lock. Success!\n\n\"Toph, you see any of the white stuff up there? We gotta get us some spizz...\" Anton calls from below."
    },
    {
        "text": "[Themes: Science Fiction, siblings]\n\n> Go downward\nYou take a moment to appreciate the view before you climb down, to appreciate the lack of Anton's inane chatter that fills every moment of every day.\n\nSomething about the top of the access door cube across the rooftop catches your eye. It seems to have a bulge.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You examine bulge\nYou have to squint to see it across the rooftop -- it's easy to miss, being white-on-white, but you realize that the top of the access door cube has a lump of spider silk.\n\nYou've never seen a deposit that big. It's like, good-ol-days big.\n\nDown below you, Anton shades his eyes and watches you."
    },
    {
        "text": "> Go downward\nRooftop, halfway up the chimney\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something.\n\n> You go northwest\nThe visible exits are up (to rooftop, top of the chimney) and down (to rooftop, at the base of the chimney).\n\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something."
    },
    {
        "text": "> You go downwards\nYou climb down, dropping the last couple of feet to...\n\nRooftop, at the base of the chimney\nAnton is here.\n\nAnton is hiding behind the smokestack. Why, or from whom, you couldn't say.\n\n> Go northwest\nRooftop, garden patch\nYou can see a rotting mess and a row of vegetables here.\n\nFor (probably ill-advised) reasons of his own, Anton heads to the exit door.\n\n> You take the cucumber\nAs you grab another veggie Anton gives you a poke in the bum and you drop it into the patch.\n\nIt explodes, and the vegetable it hit explodes, and so on around the patch until all the vegetables are gone.\n\nAnton shakes his head and wanders off. \"Smooth as silk, Toph. Smooth. As. Silk.\"\n\n> You tell Anton about the bulge\nYou're not really close enough to Anton to do that. Might want to call him over first, or follow him.\n\nOver a bit, Anton is examining the exit door minutely.\n\n> You tell Anton about bulge\nAnton hears you and trots over. \"What? Did you think of a plan?\"\n\nAnton squeezes you on the shoulder. \"Nice grab!\" You go on to tell him about the much larger cache you've spotted. His eyes grow bigger and bigger until you think they might pop out of his head.\n\n> You check your inventory\nYou're wearing a striped sleeveless top, identical to your brother's except for the bush of chest hair he has coming out the top of his. Your chin has also refused to sprout anything that isn't embarrassing.\n\nYou are carrying the Claw and the containment unit (being worn), inside which is a small amount of spider silk.\n\nAnton points off to another point of the rooftop. \"Gonna see what I can see,\" he says as he walks away. \"Just give a call when you need me.\"\n\n> You examine Anton\nYour brother Anton is a broad shouldered, bearded fellow with long tangled brown hair and eyes with a tendency to wander. His features are relaxed and calm. Like you, he's wearing the typical clothes of a silk collector, including the identical striped sleeveless top. He has a plank.\n\nAcross the rooftop, Anton appears to be negotiating with the door, but it doesn't seem to be going well.\n\n> You look at the plank\nIt's about a dozen feet long.\n\nOff in the distance, Anton appears to be negotiating with the door, but it doesn't seem to be going well.\n\n> You go south\nRooftop, by the exit\nAnton is here.\n\nThe concrete stairwell exit is a rectangle protruding at least fifteen feet from the rooftop, its only feature a closed metal door.\n\nAnton is examining the exit door minutely.\n\n> Up\nIt's too high to jump to, and the cube's surface has no climbable nooks and crannies.\n\nAnton punches the door and then immediately regrets it.\n\n> You ask Anton for the plank\nAnton gives the plank to you.\n\nAnton is sitting on the ground. He's discovered that the tarmac is slightly soft and is pressing his hand into it to make a print.\n\n> You climb the plank\nYou like climbing for climbing's sake, but even so you don't see the point of that.\n\nAnton farts, pretends you did it, and then heads off, shooting back disgusted looks from the garden.\n\n> You put the plank on the cube\nYou do your best, leaning the plank against the wall of the fifteen foot cube. Then Anton wanders by and notices what you're up to. \"You could just climb me, Toph, I'm way more useful than that stupid farmer's plank.\"\n\n> You climb Anton\nTo free your hands for climbing a bit, you drop the plank.\nWith ease that you've had since childhood, you scramble up your brother's body and end up standing on his shoulders. The body memory makes you recall, with a twinge, how proud your parents were of this ability when you were a toddler.\n\nThe top of the exit cube is now only a few inches from your fingertips.\n\n> You take the silk with Claw\nYou'd rather leave it in the containment unit, unless you have some specific idea of what you'd like to do with it.\n\n> You get on the cube\nThat's not something you can enter.\n\nAnton shifts and looks up with a pained look, and since you're not doing anything you decide to climb down off his shoulders.\n\n> You climb Anton\nYou climb Anton, amazed at his pungent smell given that you'd bathed just yesterday. One of his many mysteries.\n\nThe top of the exit cube is now only a few inches from your fingertips.\n\n> You jump\nYou bend your knees and with a jump you get your fingers hooked around the ridge of the roof. Anton goes sprawling, but a few seconds later you've pulled yourself up to...\n\nRooftop, on top of the exit cube\nThe top of the access door structure is a bit weathered but solid, holding you easily. You can go down from here.\n\nYou half-think the silk is a trick of the light, but no. Here it is. A big sticky lump of spider silk.\n\nDown below you, Anton shades his eyes and watches you.\n\n> You take the silk with Claw\n(the large amount of spider silk with the Claw)\nYou use the Claw to stuff the container full of silk. You've never filled the container before. You can't wait to see the look on Harry's face -- you'll be able to eat for weeks on this. You close the container.\n\nAnton looks up, arms folded and nodding approvingly like he's your supervisor or something."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic, siblings]\n\n> You go downward\nRooftop, by the exit\nAnton is here.\n\nThe concrete stairwell exit is a rectangle protruding at least fifteen feet from the rooftop, its only feature a closed metal door.\n\nYou can also see a plank here.\n\nAnton appears to be negotiating with the door, but it doesn't seem to be going well.\n\n> You take the plank\nTaken.\n\nAnton is examining the exit door minutely.\n\n> You look at the building\nIt's similar to the one you're on, except that the exit door is hanging off its hinges. Instead of a garden there's a faded billboard for a long forgotten movie. Given its alphanumeric website address it's a few decades old at least.\n\nThere's probably a ten foot gap between the buildings.\n\nAnton wanders off to the northeast corner.\n\n> You put the plank on the gap\nThe plank now provides a very narrow escape route to the west.\n\nOff in the distance, Anton is staring at the sky, a goofy grin on his face.\n\n> You go west\nAnton arrives at Rooftop, garden patch from the east.\n\n> Go west\nChannelling your tightrope-walking ancestors, you place one foot in front of the other, trying not to think about--\n\n--you've never backstepped this fast but it might not be fast enough but then Anton grabs you in a big bear hug and pulls you to safety.\n\nRooftop, by the exit (in Anton's bear hug)\nTo the west you can see a nearby building, about the same height as the one you're on.\n\nThe garden patch is north, the chimney is east and the empty corner is northeast.\n\nOn the nearby building is a plank.\n\nThe concrete stairwell exit is a rectangle protruding at least fifteen feet from the rooftop, its only feature a closed metal door.\n\n\"TOPH!\" At first you think you're shaking, but then you realize it's Anton.\n\n> You look at the plank\nIt's about a dozen feet long with a crack in the middle.\n\nAnton's eyes are darting around fearfully, he's muttering \"Careful, careful careful...\"\n\n> You examine the billboard\nWhat hasn't been bleached by the sun has been soaked through by the rain. But you can just make out the URL: www.ghostswithshitjobs.com.\n\nYou give your brother a squeeze and a pat on the back and the catatonic look leaves his face. He looks at you happily and then shakes you, pushes you away.\n\nThe plank is still in one piece, barely. You lean over to pull it in but seeing the pavement below gives you a sick fantasy of having your brains spread over them. You take a few stumbling steps back from the edge and sit on the tarmac.\n\n> You get the plank with Claw\nIt's too lightweight a tool for that.\n\nAnton sees what you're trying to do and pulls in the plank himself.\n\n\"That was a close one, Toph. Geez. The closest.\"\n\n> You ask Anton,  to go west\nAnton nods. \"I could make that jump easy, Toph. But then where would that leave you?\"\n\nAnton looks at you like you're joking, but when you're not smiling he gets flustered.\n\nThe plank sticks up where it's cracked and Anton stomps it flat.\n\n\"You shoulda tied off. Collectors die every day from being stupid.\"\n\n\"Tied off?\" you say, \"With the rope in the bag YOU LOST?!\" The familiar rage you feel at your brother burns away the last of nausea in your belly.\n\n\"No,\" he says with a sullen kick at the tarmac.\n\n> Open containment unit\nDon't fiddle about with the SCU. It's for spider silk-related things only.\n\nAnton's still nervous, his eyes wide and his nostrils occasionally flaring.\n\n> You put the silk on the plate\nWhich do you mean, the large amount of spider silk or the small amount of spider silk?\n\n> You put the small amount of the silk on the plank\nYou lay it over the length of the wood, making sure to cover the crack. It hisses and smokes dramatically, the wood blackening wherever the white fibre makes contact.\n\nBlinking the smoke from your eyes, you panic that it's the wrong kind of wood -- but the hissing has stopped.\n\nAnton looks at the board and at you with a baffled look on his face.\n\nAnton seems less freaked out.\n\n> You look at Anton\nYour brother Anton is a broad shouldered, bearded fellow with long tangled brown hair and eyes with a tendency to wander. His features are relaxed and calm.\n\nAnton punches the door and then immediately regrets it.\n\n> You examine the plank\nIt's about a dozen feet long with a crack in the middle and shiny black veins where the silk has reacted with it.\n\nAnton wanders off to the exit door.\n\n> Go west\nThere's a ten foot gap. You could always climb pretty much anything, but long jump was never your strong suit.\n\nAnton is sitting on the ground. He's discovered that the tarmac is slightly soft and is pressing his hand into it to make a print.\n\n> You put the plank on the gap\nYou need to be holding the plank before you can put it on top of something else.\n\nAnton appears to be negotiating with the door, but it doesn't seem to be going well.\n\n> You take the plank\nTaken.\n\nAnton is sitting on the ground. He's discovered that the tarmac is slightly soft and is pressing his hand into it to make a print.\n\n> You put the plank on the gap\nThe plank now provides a very narrow escape route to the west.\n\nAnton is examining the exit door minutely.\n\n> Go west\nYou look back at your brother. \"OK, Anton. I'll go across first to make sure it's safe. Then you.\"\n\nAnton looks anxious. \"I don't think so, Toph. I mean, you almost got turned into sidewalk jam the last time. Can't you just go down and open the the door from the inside?\"\n\nIt's a bad idea to leave your brother alone. The last time you left Anton by himself he got his pinky finger stuck in a pipe so bad he ended up sleeping with it for a week. But it's obvious he's not going to go across in this nervous state. You need to get his mind off the danger.\n\nAnton punches the door and then immediately regrets it.\n\n> Continue\nYou've gotta show Anton something that'll take his mind off the very real chance of death first.\n\nAnton farts, pretends you did it, and then heads off, shooting back disgusted looks from the northeast corner.\n\n> You show the silk to Anton\nWhich do you mean, the large amount of spider silk or the small amount of spider silk?\n\n> Large amount\nAnton flips open the container and his eyes bug out of his head when he sees how much silk there is. \"Wha--\"\n\nAnton is blazing with excitement, all anxieties forgotten.\n\n> Go west\nBefore you step out onto the plank, you look back at your brother. \"Now we gotta be extremely careful with--\"\n\nAnton makes a contemptuous sound. \"Careful!?! If we were careful we never would have gotten trapped on a roof and made the score of the century,\" Anton raves, his face beaming. \"Let's go! I can't wait to see Harry's face!\"\n\nHe pushes you to the side and strides out onto the plank.\n\n> Wait\nTime passes.\n\nHalf way across, right on the crack, he turns around and looks at you with his big, puppy-dog eyes.\n\nHe raises his arms in the air. \"Take that, Pachenkos! You can't trap the Karrento Brothers!\"\n\nNot wanting to draw attention to the incredible danger he's in, you just raise your arms and try to smile.\n\n> Wait\nTime passes.\n\nAnton throws his head back and guffaws, then walks safely to the other end of the plank.\n\n\"C'mon Toph, let's go blow Harry's mind!\"\n\n> Go west\nYou cross the plank -- still totally stable, the spizz really works -- and join your brother.\n\nArm in arm, you head down the stairs, chanting \"KAR-REN-TO!\"\n\nHeading to Harry's to cash in your silk, you pass the alley between the buildings where you could have fallen to your death. You look away, not willing to face what could have happened, and instead clamber up on your brother's shoulders. You grab his thick mane of hair as he starts to gallop like a horse, just like when you were kids."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nConciousness is slowly returning...\nSomething inside is telling you to wake up. Part of your mind says \"Sunrise approaches.\"\n\nUnderneath your dream you feel a deep shiver... It is a chime, the bell of a clock-tower. Another follows, and another. You count them, fully awake suddenly, counting them down. Six. Five. Four. Three.\n\nYour eyes close, and your stomach tightens in anticipation. The sheets around you feel very safe.\n\nTwo. One.\n\nThe first ray of sunlight lances through the slats in the window-blind. It strikes your eyes, and you feel yourself go."
    },
    {
        "text": "[Themes: Historical, mystery, second world war, Historical]\n\nNOTE: Most IF games are narrated in the second person and the present tense (e.g. \"You are empty-handed\"). Shelter from the Storm lets you choose which person (first, second or third), and tense (present or past) you would like the game to be narrated in. Please select your option by selecting S from the menu below before starting a new game.\n\nI -- Instructions (recommended for new players)\n\nPlease type S, I, R, or Q\n\nPlease select one of the following to set the person and tense in which Shelter from the Storm will be narrated:\n\n1. First person, present tense (e.g. \"I am empty-handed\")\n\n2. Second person, present tense (e.g. \"You are empty-handed\")\n\n3. Third person, present tense (e.g. \"Jack is empty-handed\")\n\n4. First person, past tense (e.g. \"I was empty-handed\")\n\n5. Second person, past tense (e.g. \"You were empty-handed\")\n\n6. Third person, past tense (e.g. \"Jack was empty-handed\")\n\nNOTE If you later change your mind you can change your choice at any time during play using the commands FIRST PERSON, SECOND PERSON and THIRD PERSON to change person, and the commands PRESENT TENSE and PAST TENSE to change tense.\n\n[Author's Note: It is set in October 1940. Jack is a newly-commissioned sapper officer on his way to his first posting somewhere on Salisbury Plain (in southern England) when his car breaks down. The weather is starting to turn nasty, and his first task is to find shelter from the brewing storm. When he finds it, he'll encounter a whole lot more than he bargained for, as it becomes gradually apparent that things are not as they are meant to seem.]"
    },
    {
        "text": "[Themes: Historical, second world war, mystery]\n\n> 6\nI -- Instructions (recommended for new players)\n\nPlease type N, S, I, R, or Q\n\n> You look at what you're carrying with you\n1. How to Play Interactive Fiction\n2. About Shelter from the Storm\n3. Extra Navigation Commands - GO TO and CONTINUE\n4. If you get stuck - THINK and THINK HARDER\n5. Credits\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 2\nWorks of Interactive Fiction are typically narrated in the second person and present tense (e.g. \"You see a gold ring here\"). From time to time there have been discussions whether this convention represents the best way of conveying an interactive narrative. Shelter from the Storm allows you, the player, to experiment with this by choosing the person (and the tense) in which the game is narrated. The opening screen of the game asks you to choose the person and tense of the game before you start, but you can also change your choice during the course of play. In particular during play you can change between first, second and third person with the commands:\n\nTHIRD PERSON\n\nYou can also change between present and past tense with the commands:\n\n\n\n[The End]\nHelp Menu\n\n1. How to Play Interactive Fiction\n2. About Shelter from the Storm\n3. Extra Navigation Commands - GO TO and CONTINUE\n4. If you get stuck - THINK and THINK HARDER\n5. Credits\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\n> 5\nFirst and foremost, all credit to Michael J. Roberts for creating TADS 3, and Michel Nizette for his work on devising a neat tense-switching mechanism, which was subsequently incorporated into the adv3 library; without their work this project would have been impossible.\n\nBut just as important, many thanks to my sterling team of beta-testers: Jim Aikin, Radical Al, Parham Doustdar, Keaton Graves, Jonathan Li, Reiko, Michael Neal Tenuis, and Jack Welch. Without them a huge number of tense/person switching typos would have gone uncorrected, as well as a number of more serious bugs (including various cunning ways of getting the game into an unwinnable state). As a result of all their efforts this game is a far more polished offering than it otherwise would have been. The blunders that remain are, of course, no one's fault but my own.\n\n[The End]\n\n> 3\nAs with virtually all works of Interactive Fiction, you can move round the world of Shelter from the Storm using standard compass-movement commands like NORTH, EAST, UP and DOWN. In addition you can use the commands GO TO and CONTINUE to move around.\n\nThe command GO TO X or FIND X (the two mean the same thing) sends you in the direction of X. X can either be a previously-visited room, or a previously-seen object (in which case GO TO X will send you to the last location where you saw X).\n\nThe GO TO command takes you only on the first step of your journey. To continue your journey you can use the command CONTINUE (which can be abbreviated to C). Note that a CONTINUE command does not have to come immediately after a GO TO or CONTINUE command. You could, for example, enter the command GO TO KITCHEN and then enter a whole series of commands for examining and interacting with your next location before issuing a CONTINUE or C command to carry on towards the kitchen.\n\n[The End]\nHelp Menu\n\n1. How to Play Interactive Fiction\n2. About Shelter from the Storm\n3. Extra Navigation Commands - GO TO and CONTINUE\n4. If you get stuck - THINK and THINK HARDER\n5. Credits\n\nSelect a topic number, or press 'p' for the previous menu or 'q' to quit:\n\nNOTE: Most IF games are narrated in the second person and the present tense (e.g. \"You are empty-handed\"). Shelter from the Storm lets you choose which person (first, second or third), and tense (present or past) you would like the game to be narrated in. Please select your option by selecting S from the menu below before starting a new game.\n\nI -- Instructions (recommended for new players)\n\nPlease type S, I, R, or Q\n\n> 6\nPlease select one of the following to set the person and tense in which Shelter from the Storm will be narrated:\n\n1. First person, present tense (e.g. \"I am empty-handed\")\n\n2. Second person, present tense (e.g. \"You are empty-handed\")\n\n3. Third person, present tense (e.g. \"Jack is empty-handed\")\n\n4. First person, past tense (e.g. \"I was empty-handed\")\n\n5. Second person, past tense (e.g. \"You were empty-handed\")\n\n6. Third person, past tense (e.g. \"Jack was empty-handed\")\n\nNOTE If you later change your mind you can change your choice at any time during play using the commands FIRST PERSON, SECOND PERSON and THIRD PERSON to change person, and the commands PRESENT TENSE and PAST TENSE to change tense.\n\nI -- Instructions (recommended for new players)\n\nPlease type N, S, I, R, or Q\n\n> You go north\nFew things can be worse than breaking down on a dark night in a strange place, and even more when it looks like it's just starting to rain, and you're in danger of being late for your first posting. Unfortunately, that was precisely what had just happened to Jack that night.\n\nJack was on his way to the camp he had been ordered to, but he suspected that he must have taken a wrong turn somewhere -- easy enough to do with so many signposts taken down in case of a German invasion. Then just to cap it all, his car had just broken down, leaving him stuck out in in the middle of nowhere (or somewhere on the outskirts of Salisbury Plain, which amounted to much the same thing), still miles away from where he was meant to be.\n\nJack was standing in the middle of a long road running roughly east-west between thick hedgerows. His car lay abandoned about a few hundred yards up the road to the east. Further to the east the road ran across miles of open countryside (as Jack knew because he'd just driven across it).\n\n> About yourself\nJack was a man of about twenty, dressed in khaki battledress.\n\nIt was just starting to rain.\n\n> You examine the battledress\nIt was khaki, of course, and still a little rough in that Jack hadn't got round to getting his tailor to work on it, as some officers did; he was still rather conscious of the single pip of a second lieutenant on each shoulder.\n\nThere was a temporary lull in the rain, but it didn't last long.\n\n> You examine Jack\nJack was a man of about twenty, dressed in khaki battledress.\n\nIt continued to drizzle.\n\n> Inventory\nJack was carrying nothing, and was wearing a beret and khaki battledress.\n\nThe rain looked like it could soon become quite unpleasant.\n\n> You look at the beret\nIt was a khaki beret with a Royal Engineers cap badge.\n\n> You examine the badge\nJack knew what it looked like without having to look: a bursting bomb with the motto Ubique.\n\n> You go to the car\nHe'd just come from there, and he knew there was no point trying further east, since he had just driven through miles of open countryside. Jack's only chance of finding something seemed to lie in the other direction.\n\n> Go west\nJack walked about half a mile down the road until he arrived at a gap in the hedgerow.\n\nThe road continued more or less straight east and west from here, with thick hedge on both sides, except just to the north where there was a gap that looked like the end of someone's drive. Unfortunately, the small wooden sign by the side of the gap looked far from welcoming.\n\nObvious exits: North, East, West\n\nThe rain started to get heavier.\n\n> Dance\nThe word \"dance\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You examine the sign\nThe wooden sign was firmly planted in the ground next to the hedge. On it was inscribed \"Wendle Manor\" in relatively ancient lettering, with \"Private - Keep Out!\" added subsequently in angry red print.\n\nIt was definitely starting to rain more heavily.\n\n> You examine the hedge\nThere were thick hedgerows on both sides of the road; too thick to penetrate and too high to climb, apart from the wide gap just to the north.\n\nA gust of wind blew some rain into Jack's face.\n\n> Shit\n(sit)\n(You can use the TYPO command to disable the typo-correction feature.)\n\n(on the ground)\nJack sat on the ground.\n\nThe rain was getting worse.\n\n> You enter the porch\nThe brick-built porch is a small, semi-enclosed area that at least affords some shelter from the rain, though little from the cold. It's almost completely bare, apart from the front door immediately to the north; to the south lies the way out back into the drive.\n\nObvious exits: North, South\n\nAs Jack steps into the porch, the rainfall intensifies by twofold or threefold, and a moment later there's a simultaneous searing flash of lightning and tumultuous crack of thunder.\n\n> You examine the door\nThe front door is made of solid wood, with no sign of a window. Next to the door is an old-fashioned bell pull and an off-putting notice.\n\nThe rain continues to pelt down furiously just outside the porch.\n\n> Firstperson\n(first person)\n\nOkay, the game is now in the first person.\n\n> You read the notice\nIt reads: NO HAWKERS, NO CIRCULARS, NO UNNECESSARY CALLERS.\n\nThe rain seems to be trying to outdo the days of Noah."
    },
    {
        "text": "[Themes: Historical, mystery, second world war]\n\n> You look at your surroundings\nThe brick-built porch is a small, semi-enclosed area that at least affords some shelter from the rain, though little from the cold. It's almost completely bare, apart from the front door immediately to the north; to the south lies the way out back into the drive.\n\nObvious exits: North, South\n\nThere's no let up in the downpour.\n\n> You ring bell\nI pull the bell and hear a ringing from somewhere inside the house.\n\nLightning flashes across the sky, accompanied by loud thunder.\n\n> You knock on the door\nI feel it would be politer to give whoever's inside a chance to respond to my first attempt.\n\nI can't hear any immediate response to my summons, but it's a large house and I realize that it might take someone a while to reach the front door.\n\n> Shit\n(sit)\n\n(on the floor)\nI sit on the floor.\n\nI hear someone moving around inside the house - the sound of footsteps approaching the door.\n\n> You stand\nOkay, I'm now standing.\n\nThe front door finally opens.\n\nA somewhat stern-looking woman, presumably the housekeeper from her dress and demeanour, appears in the doorway. \"Yes?\" she says, in heavily accented English. \"Vot is it you vant? Can you not read?\"\nShe indicates the sign by the door with a fierce stare and a tap of her hand.\n\n(My immediate thoughts are to either explain my plight, or talk about the weather.)\n\n> You explain\n\"My car's just broken down,\" I explain, \"half a mile or so down the road. I should be reporting to my camp tonight, only -- well, I wondered if I might use your phone.\"\n\n\"I am sorry,\" she replies, \"but Mr Croxley does not want any callers - not for any reason. You will have to find a telephone somewhere else.\"\n\n(I feel I could either ask where else to find a phone, try pleading harder, or ask her about Mr Croxley.)\n\n> Xyzzy\nA large puff of black and red smoke appears, out of which steps a confused and terrified Adolf Hitler. Now forced by my powerful magic to obey my every whim, Hitler ends the war, surrenders Germany and all its conquered territories to the British Empire in perpetuity, and devotes the rest of his life to advocating social justice for downtrodden peasant farmers in South America.\n\nThat's a load of old rubbish, of course. If only things were so easy, but magic words are singularly ineffectual in modern warfare, so the only result of uttering \"xyzzy\" is to leave me feeling rather foolish.\n\nThe housekeeper glares at me, waiting for me to speak up or go - preferably the latter, if her expression is anything to go by.\n\n> You tell her about the wall\n\"Mr Croxley not seeing visitors, whatever you say,\" she replies.\n\n(I feel I could either ask where else to find a phone, try pleading harder, or ask her about Mr Croxley.)\n\n> You tell her about the war\n\"This not my problem; you must try somewhere else,\" she suggests.\n\n(I feel I could either ask where else to find a phone, try pleading harder, or ask her about Mr Croxley.)\n\n> You plead harder\n\"Look, I'm really sorry to bother you and all that, but I really am in a bit of a fix here,\" I plead. \"As I said, my car's broken down and there doesn't seem to be anywhere else for miles around. This is my first posting and I really need to get to my camp. Can't you just let me in for half a minute to make a quick phone call?\"\n\n\"The Croxleys are not receiving visitors,\" she replies stonily.\n\"Please go now.\"\n\n(I feel I could either ask where else to find a phone, try pleading harder, demand that she let me in, or ask her about Mr Croxley.)\n\n> You ask the woman about Croxley\n\"Why are the Croxleys so anxious to avoid visitors?\" I ask.\n\n\"It has been a very difficult time for them,\" she tells me. \"So many tragic deaths in the family! They wish to be left alone with their grief - so, please go away!\"\n\n(I feel I could either ask where else to find a phone, try pleading harder, or demand that she let me in.)\n\n> Demand\n\"Now look here, there's a war on and I'm a British army officer in need of assistance,\" I insist, my outward pomposity masking a growing inward desperation. \"I demand that you let me in - in the name of the King! Otherwise I shall have to assume that...\"\n\n\"Ach - all right, all right!\" she interrupts, her shoulders visibly sagging. \"Everywhere it is the same; everywhere men in uniform come knocking on doors to bully the Jews! You better come in.\" With evident reluctance she stands aside to let me pass.\n\n> You enter\nI follow the housekeeper inside.\n\nThe hall is quite dimly lit, with dark, oak-panelled doors to east and west, the front door to the south, and a passage (effectively a continuation of the hall) leading off to the north. Against the west wall, next to a small table, a venerable grandfather clock faces a pair of stern Victorian portraits staring down from the opposite wall.\n\nOn the small table is a telephone.\n\nThe housekeeper closes the front door after I follow her inside. She points across the hall and tells me, \"The telephone is just there. You may make your call - quickly, please, so that you do not disturb anyone.\"\n\nObvious exits: North, South, East, West\n\n> You examine the housekeeper\nShe is, I would guess, somewhere in her late thirties or earlier forties, a rather morose looking woman with thick black curly hair and dark, unsmiling eyes.\n\n> You ask her about the germany\n\"The phone is there,\" she points firmly. \"Just make your call.\"\n\n\"The telephone is just over there,\" the housekeeper tells me, pointing to the handset. \"Just pick it up to make your call.\"\n\n> You call germany\nI pick up the receiver, but the line is dead. I try pressing the hook several times, but to no avail; the telephone remains obstinately unresponsive, so I drop the receiver back on its hook.\n\n\"So - do you just stare at the telephone or do you make your call?\" the housekeeper demands. \"Be quick, please, before you disturb the Croxleys; they should not find you here.\"\n\nI see no germany here.\n\n> You tell the housekeeper about the phone\n\"I can't get this phone to work,\" I complain.\n\n\"Ach - you're an officer and you cannot even use the phone?\" she replies. \"You should try harder!\"\n\n> You pick up the phone\nI pick up the receiver a second time, but the telephone remains just as dead as before, so I replace it again.\n\n\"What is the matter?\" the housekeeper asks, seeing the way I am staring at the receiver.\n\n(I think I should either tell her about the telephone, or complain.)\n\n> You tell her\nWhat do you want to tell her about?\n\n> Telephone\n(the camp)\nI try the phone yet again, but it remains obstinately unresponsive.\n\n> Complain\n\"This phone isn't working,\" I complain.\n\n\"That is odd - it was working half an hour ago,\" she replies. \"Now I try it.\" She picks up the phone and listens to the receiver with an intense frown, and then starts beating the hook far harder than I did.\n\nJust as she drops the useless receiver back on its hook, there's a second, louder, click as a door opens to the west. Through it walks a strikingly attractive young woman. For a bare moment she pauses in her stride as she and I stare at each other, me in frank admiration, the young woman in apparent irritation. Then, turning to the housekeeper she asks, \"What's happening here? Why did you let this man in, Hilda?\"\n\n\"I am sorry, Miss Croxley, but he insist,\" the housekeeper explains. \"He demands to use our telephone - in the King's name, he say! - but the telephone is kaput.\"\n\n\"That must be the storm, bringing the wires down,\" the young woman mutters. Then she turns to me and asks, \"And who are you, lieutenant, to come barging in here 'in the King's name'?\"\n\n(At this point I could either introduce myself, apologize for the intrusion, or explain my plight.)\n\n> You apologize\n\"I'm really sorry to intrude like this, Miss Croxley,\" I apologize, \"especially as I understand there's been a bereavement in the family...\"\n\n\"Several,\" she interrupts me bleakly. \"But it's not your sympathies I want, lieutenant, just an explanation of what gives you the right to demand entry into our home.\"\n\n> You introduce\n\"I'm Jack Percy,\" I reply. \"My car broke down, about a mile down the road from here, and I'm meant to be reporting for duty this evening.\"\n\n\"That could be a problem,\" she remarks, her frown starting to soften. \"Somehow I don't think you'll be going anywhere tonight - not in this, not without your car. I'm Angela Croxley by the way,\" she adds, offering me her hand.\n\n(It seems best to either apologize for intruding, or shake her hand.)\n\n> You shake her hand\nI shake her hand, saying, \"Sorry to intrude on you like this, Miss Croxley.\"\n\n\"Don't mention it, lieutenant,\" she assures me. \"There's nowhere else for miles you could have come. Now...\"\n\nAt this point there's a loud creak from upstairs. Seeing me glance up, she says, a little hastily, \"It's an old house, it does that sometimes. Now, the question is, what are we going to do with you, Mr Percy? Well - I suppose you must be hungry after your travails. Can we get you something to eat?\"\n\n(My immediate thoughts are to either say yes or no, thank her, or ask her about the creaking sound.)\n\n> Thank her\n\"Thank you very much, that would be just what the doctor ordered!\" I declare.\n\n\"My pleasure,\" she smiles, \"I'm afraid we ate our main meal at lunch and we shan't be eating dinner, what with the rationing and all that, but Hilda will take you to the kitchen and fix you a bite to eat, won't you, Hilda?\"\n\n\"As you say, Miss Croxley,\" the housekeeper replies without evident enthusiasm.\n\n\"I'll be in the drawing room,\" Angela Croxley tells me. \"Come and find us when you're done with Hilda, and we'll work out what's to be done with you.\" She flashes me a brief smile and walks back out through the west door.\n\nHilda meanwhile walks over to the front door and locks it, before turning to me and saying, \"This way!\", indicating that I am to follow her to the north.\n\nThat command can't be used right now.\n\n> Go north\nHilda leads the way down the passage.\n\nThis is the widest part of the hall, where it opens out to accommodate the flight of stairs that leads up to the east. On the other side of the hall a dark panelled door stands closed to the west, while the hall itself continues to both north and south.\n\nHilda is waiting for me to follow her down the passage to the north.\n\nObvious exits: North, South, West, Up\n\n> Go north\nHilda leads the way down the passage.\n\nThe hall passage comes to an end outside a brown door to the north. Other doors lead east and west, while the passage runs south towards the main entrance hall.\n\nHilda is waiting for me to follow her through the door to the east.\n\nObvious exits: North, South, East, West\n\n> You go east\n(first opening the east door)\nI follow Hilda through the door into the kitchen.\n\nThe kitchen looks large enough to accommodate the platoon of culinary staff who may have worked here before the war. Circumstances are now reduced, however, leaving the place rather bare: a large wooden table at one end, with a single hard wooden chair right next to it, now comprises the bulk of the furniture. A long, old-fashioned cooking range runs along the east wall, while doors lead off to west, south and north, a calendar being attached to the last of these.\n\nHilda stops in the middle of the kitchen and turns to face me.\n\n\"You are wondering what a German woman is doing in this house,\" she remarks. \"I tell you. I am a Jew, and Germany is no good for Jews now. I leave Germany two years ago and come here. Too many Jews disappearing back home, and very bad things happen to them. So that why I come here. Now I find you something to eat.\"\n\nShe goes over to the oven, takes out a saucepan, and puts it on the stove.\n\nObvious exits: North, South, West\n\n> You examine hilda\nShe is, I would guess, somewhere in her late thirties or earlier forties, a rather morose looking woman with thick black curly hair and dark, unsmiling eyes. She's busily preparing something for me to eat.\n\nHilda adjusts the cooker.\n\n> You ask Hilda about Jews\n\"You found things bad in Germany?\" I ask.\n\n\"Very bad. Far worse for Jews than anyone here can imagine,\" she tells me, \"and getting worse all the time!\"\n\nHilda fiddles with a loaf of bread.\n\n> You ask Hilda about germany\nShe's already told me that things in Germany are unimaginably bad for Jews and getting worse.\n\nHilda stirs something in the pot.\n\n> You ask Hilda about herself\n\"How do you come to be working here?\" I ask.\n\n\"I need position. I see advertisement in paper. I come to interview. They give me job,\" she replies. \"Mr Croxley needed someone to look after the house after his wife was killed,\" she adds.\n\nHilda takes something out of a cupboard.\n\n> You ask about the wife\n\"What happened to Mrs Croxley?\" I ask.\n\n\"Terrible!\" she replies. \"Mrs Croxley go to London to visit her sister, about two months ago. There was an air-raid. A bomb fell on the house where she was staying, and they were all killed. Mr Croxley has many reasons to hate Germans.\"\n\nHilda takes the pot off the oven and pours the contents into a bowl, which she places in front of me along with two slices of dry brown bread. \"Is not much,\" she says, \"but there is a war on, and the rationing...\"\n\nI thank her for the soup, and drink it gratefully, dunking the dry bread into it to make it more palatable. Once I have finished she takes the bowl away again and begins to clear up.\n\n\"You know where to find Mr Croxley?\" she asks. \"Back down the hall and the last door on the right.\"\n\n> You ask her about Angela\n\"You should go and find Mr Croxley,\" she tells me. \"He will be expecting you.\"\n\n> You ask her about the mr croxley\n\"I am not wishing to talk now; I have many things to do,\" she replies. \"You must go and find Mr Croxley.\"\n\n> You examine her\nShe is, I would guess, somewhere in her late thirties or earlier forties, a rather morose looking woman with thick black curly hair and dark, unsmiling eyes. She's busily clearing up the remains of my frugal supper."
    },
    {
        "text": "[Themes: Historical, Historical]\n\n> You look around\nThe kitchen looks large enough to accommodate the platoon of culinary staff who may have worked here before the war. Circumstances are now reduced, however, leaving the place rather bare: a large wooden table at one end, with a single hard wooden chair right next to it, now comprises the bulk of the furniture. A long, old-fashioned cooking range runs along the east wall, while doors lead off to west, south and north, a calendar being attached to the last of these.\n\nHilda is busily clearing up the remains of my frugal supper.\n\nObvious exits: North, South, West\n\n> Examine calendar\nIt is one of those plain calendars that simply lists the days of the current month in a square grid; it is currently showing October 1940.\n\n> You go to Croxley\n(going west)\n\nThe hall passage comes to an end outside a brown door to the north. Other doors lead east and west, while the passage runs south towards the main entrance hall.\n\nObvious exits: North, South, East, West\n\n(To continue on your way use the command CONTINUE or C).\n\n> You continue\n(going south)\n\nThis is the widest part of the hall, where it opens out to accommodate the flight of stairs that leads up to the east. On the other side of the hall a dark panelled door stands closed to the west, while the hall itself continues to both north and south.\n\nObvious exits: North, South, West, Up\n\n(To continue on your way use the command CONTINUE or C).\n\nThere's another creak from upstairs, followed by the sound of footsteps and a door closing.\n\n> You continue\n(going south)\n\nThe hall is quite dimly lit, with dark, oak-panelled doors to east and west, the front door to the south, and a passage (effectively a continuation of the hall) leading off to the north. Against the west wall, next to a small table, a venerable grandfather clock faces a pair of stern Victorian portraits staring down from the opposite wall.\n\nOn the small table is a telephone.\n\nObvious exits: North, South, East, West\n\nI have arrived at the place where I last saw Angela Croxley.\n\n> Go north\nThe hall passage comes to an end outside a brown door to the north. Other doors lead east and west, while the passage runs south towards the main entrance hall.\n\nObvious exits: North, South, East, West\n\n> Go south\nThis is the widest part of the hall, where it opens out to accommodate the flight of stairs that leads up to the east. On the other side of the hall a dark panelled door stands closed to the west, while the hall itself continues to both north and south.\n\nObvious exits: North, South, West, Up\n\n> You go west\n(first opening the west door)\n\nThe pale gold wallpaper in the lounge looks rather splendid, but the furniture seems surprisingly spartan for such a grand house. Indeed, there is little here apart from four upright chairs and a low wooden table, all rather dwarfed by the size of the room. There are also doors to north and east.\n\nOn the low wooden small table is a magazine.\n\nObvious exits: North, East\n\n> Examine magazine\nIt seems to be some kind of theatrical magazine, dated September 1940.\n\n> You read it\n(first taking the theatrical magazine)\nI leaf quickly through the magazine, and find it to be full of play reviews and actors' gossip, which really isn't my kind of thing.\n\n> Go north\n(first opening the north door)\n\nA polished wooden dining table, large enough to seat eight or ten with comfort, dominates the centre of the room, though only four chairs are placed round it, while a heavy old sideboard stands to one side. Doors lead out to east and south.\n\nOn the sideboard is a dinner plate.\n\nObvious exits: South, East\n\n> You go to the east\n(first opening the west door)\n\nThe hall passage comes to an end outside a brown door to the north. Other doors lead east and west, while the passage runs south towards the main entrance hall.\n\nObvious exits: North, South, East, West\n\n> Go south\nThis is the widest part of the hall, where it opens out to accommodate the flight of stairs that leads up to the east. On the other side of the hall a dark panelled door stands open to the west, while the hall itself continues to both north and south.\n\nObvious exits: North, South, West, Up\n\n> Go south\nThe hall is quite dimly lit, with dark, oak-panelled doors to east and west, the front door to the south, and a passage (effectively a continuation of the hall) leading off to the north. Against the west wall, next to a small table, a venerable grandfather clock faces a pair of stern Victorian portraits staring down from the opposite wall.\n\nOn the small table is a telephone.\n\nObvious exits: North, South, East, West\n\n> Go west\nThe drawing room looks commodious and comfortable, but its faded green wallpaper suggests that it hasn't been decorated in a while. The principal furniture is arranged in a broad-U: two large armchairs placed opposite each other with a settee ranged in between at right angles to both of them so that it faces the fireplace. The door back out to the hall stands to the east, behind one of the chairs.\n\nOn the mantelpiece are three photographs.\n\nAngela Croxley is sitting on the sofa.\n\nA man I take to be Angela's father is sitting in the further armchair, facing the door.\n\nObvious exits: East He rises from his chair at my entrance and extends his hand.\n\n\"Arthur Croxley,\" he introduces himself. \"How do you do. I trust Hilda looked after you properly?\"\n\n(My immediate thoughts are to either say yes, or shake his hand.)\n\n> You examine Angela\nShe's undoubtedly a strikingly attractive young woman, what some might call an English rose. She's somewhere in her twenties, perhaps a few years older than I, and has a pleasant, open, round face framed by a generous bounty of wavy blonde hair. She is sitting on the sofa.\n\n\"Hilda - she looked after you properly?\" Mr Croxley prompts me.\n\n> You look at Arthur\nHe is probably about sixty, or maybe in his late fifties, with a rather suave air about him.\n\n\"Hilda - she looked after you properly?\" Mr Croxley prompts me.\n\n> Yes\n\"Yes indeed,\" I reply, \"just what the doctor ordered, thank you.\"\n\n\"Good,\" he nods. \"Now, do take a seat. We've just been discussing what to do with you. I'm afraid it really isn't at all convenient for us to put you up overnight.\"\n\n\"But,\" Angela breaks in, \"we can hardly just turn you out on a night like this! So we thought that we'd wait a bit to see if they mend the phones, and if not, and the worst came to the worst, you could sleep down here on the sofa - that will be all right, won't it Mr Percy?\"\n\n(Amongst other things, I could say yes or no, or thank her.)\n\n> You examine the photograph\nWhich photograph do you mean, the photograph of an RAF pilot, the photograph of a soldier, or the photograph of a woman?\n\n> Thank her\n\"Thank you, that would be very kind,\" I reply.\n\n\"Good, that's settled then,\" she declares.\n\nMr Croxley sits on the further armchair. \"Very well, then,\" Mr Croxley sighs. \"Lieutenant, since it seems you're destined to spend the evening with us, do please take a seat. So, tell me, where were you trying to get to?\"\n\n(My immediate thoughts are to either refuse to answer, or tell him about my camp.)\n\n> You sit\n(on the spare armchair)\nI sit on the spare armchair.\n\n> Shit\n(sit)\n\n(on the spare armchair)\nI sit on the spare armchair.\n\n> You tell Arthur about the camp\n\"I've been posted to a camp on Salisbury Plain,\" I tell him, \"but that's really as much as I'm at liberty to say.\"\n\n\"Quite so, lieutenant, careless talk and all that,\" he approves.\n\"Well, at least it shouldn't be too far for you to reach in the morning.\"\n\n> You ask Arthur about himself\n\"So tell me, sir, what do you do?\" I ask.\n\n\"Oh nothing very exciting, I assure you,\" he replies with a self-deprecating smile. \"I'm just a country solicitor - wills, conveyancing, that sort of thing.\"\n\n> You ask Arthur about Hilda\n\"I'm a little surprised to find you employing a German housekeeper,\" I remark. \"I thought they were locking up German nationals as enemy aliens!\"\n\n\"Not all of them,\" he replies. \"Hilda is Jewish - she came to this country a year or two back. Things got very bad for German Jews after Kristallnacht, and I gather most of the rest of her family managed to get themselves arrested one way or another. I hardly think there's any risk of her being a closet Nazi!\"\n\n> You ask Arthur about Angela\n\"Tell me about your daughter,\" I suggest.\n\n\"I'm sure she's quite capable of telling you about herself,\" he points out.\n\n> You ask Angela about Angela\n\"Tell me about yourself, Miss Croxley, what do you do these days?\" I ask.\n\n\"These last few months I've just been helping my father sort things out,\" she replies. \"What with my mother dying, and Tony, and Adam... well, there's a lot of sorting out to do, and as you can imagine my father needs a bit of support right now.\"\n\n> You ask Angela about the house\nShe rather deftly changes the subject, so I quickly find myself talking about something quite different.\n\n\"Do you see those photographs, Mr Percy?\" Mr Croxley asks suddenly, nodding towards the mantelpiece. \"They're the cost of this war, you know!\"\n\n> You look at the photographs\nTwo are of young men in uniform, one army, the other RAF. The third is of a middle-aged woman.\n\n> You ask the mr about the photographs\n\"The photographs on the mantelpiece - are they members of your family?\" I enquire.\n\n\"Yes,\" he replies, a little brusquely. \"Mary was my wife. She was killed in an air-raid in London two months ago. The boy in RAF uniform, that's my older son Adam. He was shot down over Kent in July - he didn't make it, I'm afraid. The other boy is my younger son Tony. He got trapped at Dunkirk and didn't make it either.\"\n\n(Amongst other things, I could say how sorry I am.)\n\n> You say sorry\n\"I'm so sorry for your loss, sir,\" I say. \"To have lost any one of them would be terrible enough, but all three in the space of a few months - I hardly know what to say!\"\n\n\"There's nothing you can say - you or anyone else,\" he replies grimly, \"but you'll understand why we're not over-eager to entertain hordes of visitors right now.\"\n\n> 2\nWorks of Interactive Fiction are typically narrated in the second person and present tense (e.g. \"You see a gold ring here\"). From time to time there have been discussions whether this convention represents the best way of conveying an interactive narrative. Shelter from the Storm allows you, the player, to experiment with this by choosing the person (and the tense) in which the game is narrated. The opening screen of the game asks you to choose the person and tense of the game before you start, but you can also change your choice during the course of play. In particular during play you can change between first, second and third person with the commands:\n\nTHIRD PERSON\n\nYou can also change between present and past tense with the commands:\n\n\n\n[The End]\n\n> You ask Arthur about the wendle manor\n\"This is quite a house you have here, sir,\" I remark.\n\n\"It is quite a pile, isn't it?\" he replies. \"It's been in the family for years, but it feels like the three of us are rattling around in it rather now. When my sons were living here too, it was different - but those days are gone for good.\"\n\nI hear the crunch of gravel as a car comes to a halt up on the drive just outside. Mr Croxley throws a mildly irritated glance at the window, as if to say \"Who could that be?\"\n\n> You stand\nOkay, I'm now standing.\n\n\"Please do take a seat,\" Mr Croxley insists, waving towards the vacant armchair.\n\nThere's the sound of a car door slamming, and a few moments later the front door bell rings. Angela Croxley starts to get up, but her father motions her to stay put, saying \"Hilda will get it; that's what we pay her for.\"\n\n> You listen\nFrom the sound of the wind and rain it seems there's quite a storm brewing.\n\n\"I'm sure you'll get more than enough exercise once you've arrived at your camp,\" Mr Croxley suggests, \"so why don't you give your legs a rest while you have the chance?\"\n\nFootsteps clatter up the hall as someone - presumably the housekeeper - goes to answer the front door. There follows a brief rattle as the front door is opened, then an equally brief exchange of voices.\n\n> You examine the window\nThe window is hidden behind the curtains.\n\n\"I really can't have you standing over me all evening,\" Mr Croxley complains. \"Do please sit down, Mr Percy.\"\n\nThere's a quick knock and Hilda pokes her head round the door. \"Sorry to disturb you, Mr Croxley,\" she says, \"but there's a Mr Graham here to see you.\"\n\nMr Croxley frowns in mild irritation and then gives a curt nod. \"Very well, then, Hilda, I'd better see him in the study.\" Rising to his feet he adds, \"If you'll excuse me for a few minutes, Mr Percy, I'm sure Angela can keep you amused.\"\n\nWith a second curt nod, this time to his daughter, he strides from the room.\n\n\"I'm sure my father won't be long,\" Angela Croxley assures me, with just the hint of a smile. \"In the meantime, why don't you tell me more about yourself, Mr Percy? Have you been in the army long?\"\n\n> You sit\n(on the spare armchair)\nI sit on the spare armchair.\n\n\"Did you not hear me, Mr Percy?\" Angela Croxley asks, \"I asked if you had been the army long - so, have you?\"\n\n> No\n\"No, not really,\" I reply. \"I joined the TA in '37 and then got called up when the TA was embodied last year. I spent a few months under canvas in muddy fields doing nothing particular, and then got selected for OCTU[1]. I've only just received my commission.\"\n\n\"What made you join the Territorials in '37?\" she enquires.\n\n(My immediate thoughts are to either blame Hitler, or say it was my friends.)\n\n(A number in [square brackets] like the one above refers to a footnote, which you can read by typing FOOTNOTE followed by the number: FOOTNOTE 1, for example. Footnotes usually contain added background information that might be interesting but isn't essential to the story. If you'd prefer not to see footnotes at all, you can control their appearance by typing FOOTNOTES.)\n\n> Friends\n\"Oh, a whole lot of my friends were joining the local platoon, so I thought I'd go along too,\" I tell her.\n\n> Note 1\n\"I see,\" she remarks with a gentle smile, \"though somehow I suspect there may have been a bit more to it than that. So, have you been enjoying the army?\"\n\nOCTU = Officer Cadet Training Unit, a unit for training the commissioned officers needed for Britain's rapidly expanding wartime army (which obviously couldn't all be supplied by Sandhurst).\n\n> No\n\"No, not really,\" I reply, \"but it has its moments. In any case, nothing seems that tough after boarding for five years at a public school, believe me! Besides...\"\n\nJust at that moment the drawing door opens again and Mr Croxley takes a step into the room. \"Angela, I wonder if you could join us for a moment?\" he asks, then turning to me he adds, \"We'll be back in just a jiffy, Mr Percy, if you wouldn't mind waiting here. I expect Graham will be able to offer you a lift when we're done.\"\n\nAngela Croxley rises to her feet then follows her father out of the room, pausing by the door to look back and flash me an apologetic smile, saying, \"See you in a minute; be good!\"\n\nAnd then they are both gone, leaving me alone in the drawing room.\n\n> You look behind the curtain\nI know better than to mess with the blackout at night; I don't want to attract German bombers.\n\nI distinctly hear the sound of someone walking about upstairs.\n\n> You look\nDrawing Room (sitting on the spare armchair)\nThe drawing room looks commodious and comfortable, but its faded green wallpaper suggests that it hasn't been decorated in a while. The principal furniture is arranged in a broad-U: two large armchairs placed opposite each other with a settee ranged in between at right angles to both of them so that it faces the fireplace. The door back out to the hall stands to the east, behind the chair on which I'm sitting.\n\nOn the mantelpiece are three photographs.\n\nObvious exits: East\n\nSomewhere upstairs a door closes.\n\n> Go east\n(first standing up)\n\nThe hall is quite dimly lit, with dark, oak-panelled doors to east and west, the front door to the south, and a passage (effectively a continuation of the hall) leading off to the north. Against the west wall, next to a small table, a venerable grandfather clock faces a pair of stern Victorian portraits staring down from the opposite wall.\n\nOn the small table is a telephone.\n\nObvious exits: North, South, East, West\n\n> You go to the north\nThis is the widest part of the hall, where it opens out to accommodate the flight of stairs that leads up to the east. On the other side of the hall a dark panelled door stands open to the west, while the hall itself continues to both north and south.\n\nObvious exits: North, South, West, Up\n\nI hear the sound of someone coughing upstairs.\n\n> Up\nI climb the staircase up to the floor above.\n\nAt first sight, this part of the landing has a rather higgledy-piggledy appearance, with doors leading off in all directions, the space being divided by the stair banister, and the landing continuing past the banister to the south. As I get my bearings I observe that the doors lead off to north, northeast, east and west.\n\nObvious exits: North, South, East, West, Northeast, Down\n\nI hear the sound of a toilet flushing just to the east.\n\n> Go east\n(first trying to open the east door)\nThe east door seems to be locked.\n\n> Go north\n(first opening the north door)\n\nMy first impression is of the sheer size of this room, almost enough for a couple of football pitches, I think. Of course that is a wild exaggeration, but it is large for a bedroom, with plenty of empty floorspace left over even with a large double bed and heavy chest of drawers occupying their share. Looking around further little else catches my eye apart from the pale cream wallpaper and doors to south and west.\n\nOn the chest of drawers is a family photo.\n\nObvious exits: South, West\n\n> You examine photo\nThe photograph shows what looks like a family group. Mr Croxley looks much as he does in the flesh, suggesting that the photo is fairly recent. The young man in the picture closely resembles that in the picture of Tony Croxley in the drawing room. The three women in the picture are less familiar. All three have dark, curly hair, worn a bit shorter on the older woman than the younger two. The older woman strikes me as being a bit plain, while the younger two, though sufficiently like her to be her daughters, look moderately pretty.\n\n> You go to the west\nThe master bathroom looks as if it has been completely refurbished sometime in the last few years; the fittings are all styled with nineteen-thirties chic, while the white tiles covering the walls all look still quite new. The door out is to the east, while a small round waste bin sits under the washbasin.\n\nObvious exits: East\n\n> You look in the bin\n(first opening the waste bin)\n\nThere's a screwed-up ball of paper at the bottom of the bin.\n\n> You get the paper\nTaken.\n\n> You unscrew it\nI flatten out the scrumpled fragment of paper as best I can.\n\n> You read it\nOnly a few words are visible: \"... plan now seems unworkable...\n... may be advisable to terminate Durbury...\"\n\nOnly a few words are visible: \"... plan now seems unworkable...\n... may be advisable to terminate Durbury...\"\n\n> Thirdperson\n(third person)\n\nOkay, the game is now in the third person.\n\n> Go east\nThis is obviously the master bedroom; it is huge. Even with a large double bed and a heavy chest of drawers taking up much of the floor space, a great deal of bare carpet remains. The door out is to the south, and a second door leads west.\n\nOn the chest of drawers is a family photo.\n\nObvious exits: South, West"
    },
    {
        "text": "[Themes: Historical, Historical, second world war, mystery]\n\n> You look at your surroundings\nThis was obviously the master bedroom; it was huge. Even with a large double bed and a heavy chest of drawers taking up much of the floor space, a great deal of bare carpet remained. The door out was to the south, and a second door led west.\n\nOn the chest of drawers was a family photo.\n\nObvious exits: South, West\n\n> Go south\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> You look at what you're carrying with you\nI was carrying a theatrical magazine and a scrumpled fragment, and I was wearing a beret and khaki battledress.\n\n> Examine magazine\nIt seemed to be some kind of theatrical magazine, dated September 1940.\n\n> Go south\nThis section of the landing was much narrower than the part further north, being no more than a passage between the rooms on either side. The landing ended at a narrow curtained window immediately to the south and continued past the banister to the north, while white panelled doors led off to east and west.\n\nObvious exits: North, East, West\n\n> You eat the fragment\nThe scrumpled fragment looked remarkably unappetizing.\n\n> You unscrew it\nThe scrumpled fragment had already been flattened out as best it could be.\n\n> You go east\n(first opening the east door)\n\nMy first impression was of a room that felt rather cramped because it contained too much furniture. The large white wardrobe in the corner was the main culprit, although a low wooden cabinet, which didn't match it at all well, also consumed more than its fair share of space, leaving the single bed against the opposite wall to be tucked in almost as an afterthought. This clutter of furniture allowed just about enough room to navigate a path from the bed to the door, which led out to the west.\n\nOn the cabinet was a wind-up gramophone.\n\nObvious exits: West\n\n> You look at the gramophone\nIt was basically a large black box with a handle protruding from one side to allow it to be wound up. It was closed.\n\n> You open it\nI opened it up. Inside the gramophone were a turntable, a pickup arm, and a small brass switch.\n\n> You look at the turntable\nIt was round, black, and about nine inches in diameter.\n\n> You look at the arm\nIt was black and just under a foot long, with a stylus fixed to the free end.\n\n> You open the wardrobe\nOpening the tall wooden wardrobe revealed a variety of men's clothes.\n\n> You look at the clothes\nA number of shirts, jackets and pairs of trousers were hung up on the rail, while a pile of underwear sat to one side. All the clothing appeared to be of a large size, much of it was quite plain, and some of it was distinctly shabby.\n\n> You examine the cabinet\nThe cabinet was quite long but no more than about three foot high, and could have been made of oak. It had a flat top and pair of carved oak doors on the front. It was closed. On the cabinet was a wind-up gramophone.\n\n> You open the cabinet\nOpening the cabinet revealed three gramophone records (a classical record, a jazz record, and a linguaphone record).\n\n> You look at Linguaphone\nIt was labelled \"Linguaphone German I\".\n\n> You look at classical\nIt was labelled \"Beethoven Overtures\".\n\n> You examine the bed\nIt was a single bed, freshly made with a clean pillow at one end.\n\n> You look under the pillow\nUnder the pillow I found a neatly-folded pair of blue striped pyjamas. Careful to leave everything looking undisturbed I put the pillow back on top of them.\n\n> You look at the jazz\nIt was labelled \"Glenn Miller in Concert\".\n\n> You put Linguaphone on turntable\n(first taking the linguaphone record)\nDone."
    },
    {
        "text": "[Themes: Historical, Historical, mystery]\n\n> You look around\nThis bedroom was more or less square, and not particularly large. Most of the space was taken up by the bed, a tall wooden wardrobe and a large wooden cabinet, while the walls were covered in striped blue wallpaper. The door out was to the west.\n\nOn the cabinet was a wind-up gramophone. On the turntable was a linguaphone record. The cabinet contained two gramophone records (a classical record and a jazz record). The tall wooden wardrobe contained a variety of men's clothes.\n\nObvious exits: West\n\n> You look under the bed\nNothing happened, presumably because the gramophone wasn't wound up.\n\nI found nothing under the bed.\n\n> You wind up the gramophone\nI turned the handle until it was fully wound. The turntable started to turn, spinning the linguaphone record with it.\n\n> You put the pickup on Linguaphone\nI moved the arm over the record and carefully lowered the stylus onto it. From the gramophone issued a crackly German voice. \"Erste Lektion: Die Familie Schneider. Das Bild zeigt uns ein Wohnzimmer. In dem Wohnzimmer ist die Familie Schneider. Zur Familie gehoren der Grossvater, die Grossmutter, der Vater, die Mutter, der Sohn, die Tochter, und das kleine Madchen. Der Grossvater sitzt in einem Sessel. Er raucht eine Pfeife. Die Grossmutter sitzt auch in...\" At that point I decided I had heard enough. My German wasn't up to much, but it sounded like an elementary German lesson to me. I removed the arm from the linguaphone record and switched the turntable off. The turntable stopped turning.\n\n> You put the jazz on the turntable\n(first taking the jazz record, then taking the linguaphone record from the turntable)\nDone.\n\n> You wind up the gramophone\nThe handle was fully wound.\n\n> You put the arm on the record\nI moved the arm over the record and carefully lowered the stylus onto it.\n\n> You press the switch\nThe turntable started to turn, spinning the jazz record with it. A rather tinny recording of Glenn Miller's band playing In the Mood emanated from the gramophone. Since I didn't want to attract attention to myself I stopped it after the first few bars. I removed the arm from the jazz record and switched the turntable off. The turntable stopped turning.\n\n> You put classical on the turntable\n(first taking the classical record, then taking the jazz record from the turntable)\nDone.\n\n> You press the switch\nThe turntable started to turn, spinning the classical record with it. From the gramophone came a scratchy recording of Beethoven's Egmont overture. After the first few bars I decided I had heard enough. I removed the arm from the classical record and switched the turntable off. The turntable stopped turning."
    },
    {
        "text": "[Themes: Historical, mystery, Historical]\n\n> Look around\nThis bedroom was more or less square, and not particularly large. Most of the space was taken up by the bed, a tall wooden wardrobe and a large wooden cabinet, while the walls were covered in striped blue wallpaper. The door out was to the west.\n\nOn the cabinet was a wind-up gramophone. On the turntable was a classical record. The tall wooden wardrobe contained a variety of men's clothes.\n\nObvious exits: West\n\n> You examine wallpaper\nThe wallpaper had alternate light and dark blue stripes.\n\n> Close cabinet\nClosed.\n\n> You go to the west\nNot wanting either to be encumbered with other people's property, or to be caught stealing it, I dropped two gramophone records (the linguaphone record and the jazz record) before leaving the room.\n\nThis section of the landing was much narrower than the part further north, being no more than a passage between the rooms on either side. The landing ended at a narrow curtained window immediately to the south and continued past the banister to the north, while white panelled doors led off to east and west.\n\nObvious exits: North, East, West\n\n> Go west\n(first trying to open the west door)\nThe west door seemed to be locked.\n\n> You break the west door\nI was a British officer, not a Nazi one; I didn't go breaking down doors in people's homes.\n\n> You look at the west door\nIt was a four-paneled door, painted white, and newly fitted with a solid brass lock. It was closed.\n\n> You knock on the west door\nI knocked on the west door. There was no response.\n\n> Go west\n(first opening the west door)\n\nThis generous-sized bedroom immediately struck me as belonging to a woman. There was nothing particularly feminine about the pale blue wallpaper, so that wasn't it. The dressing table by the window was more distinctively female, but perhaps what first hit me was the subtle smell of the place. Both the location and the size of the room made me suspect that the room was far more likely to be Angela Croxley's than the housekeeper's.\n\nIn addition to the dressing table a low bedside cabinet squatted next to the single bed, while a built-in wardrobe occupied much of the north wall. The only door out was to the east.\n\nThe top of the dressing-table was littered with feminine paraphernalia.\n\nOn the bedside cabinet was an alarm clock.\n\nObvious exits: East"
    },
    {
        "text": "> You look at your surroundings\nThis good-sized bedroom was decorated with pale blue wallpaper. A dressing-table stood near the window, suggesting female occupancy, as did the feminine scent of the place. A low bedside cabinet squatted next to the single bed, while a built-in wardrobe occupied much of the north wall. The only door out was to the east.\n\nThe top of the dressing-table was littered with feminine paraphernalia.\n\nOn the bedside cabinet was an alarm clock.\n\nObvious exits: East\n\n> You examine the cabinet\nIt was a small, white, square cabinet with a single drawer. It was closed. On the bedside cabinet was an alarm clock.\n\n> You open the drawer\nOpening the bedside cabinet revealed two books (a dark blue book and a brown book) and a letter.\n\n> You read the letter\nIt was dated 10th August 1940, but the sender's address had been deleted by the censor. The body of the letter read:\n\n\"My darling Angie, This is just a few lines to say I'm thinking of you. I'm sorry I haven't written more, but things have been a bit hectic here lately - Jerry isn't giving us much rest I'm afraid. Still, I bagged a couple of Messerschmitts yesterday, and I think I winged a Heinkel too. If I carry on at this rate old Hermann will run out of aircraft to send at us! But with any luck I may get a spot of leave then - I can't wait to see you! In any case, Adolf has to give up sooner or later and once this war is over we can be together properly - oh damn, that's the phone going. Probably another scramble, so I'd better finish this now.\n\nAll my love, Adam.\n\nP.S. Yes, a scramble. More later.\"\n\n> You look at the books\nbrown book: It was a copy of Der Zauberberg by Thomas Mann.\n\ndark blue book: The inscription on the spine showed it to be a copy of the novel Lorna Doone by R.D. Blackmore.\n\n> You examine the zuberberg\n(x zauberberg)\n\nIt was a copy of Der Zauberberg by Thomas Mann.\n\n> You examine paper\n(the scrumpled fragment)\nIt was just a tiny fragment, still badly creased, with just a few words on it.\n\n> You read the paper\n(the scrumpled fragment)\nOnly a few words were visible: \"... plan now seems unworkable...\n... may be advisable to terminate Durbury...\"\n\n> You look at piece of the paper\nIt looked like a scrap of paper torn from a larger sheet. It was covered in letters and numbers.\n\n> You take it\nTaken.\n\n> You read it\nThe letters and numbers on the piece of paper didn't make much sense, though there seemed to be quite a few crossings-out. It occurred to me that some of the numbers could be page numbers, but looking them up in the book from which the piece of paper fell probably wouldn't tell me much, due to my lack of German.\n\n> You look at the books\nbrown book: It was a copy of Der Zauberberg by Thomas Mann.\n\ndark blue book: The inscription on the spine showed it to be a copy of the novel Lorna Doone by R.D. Blackmore.\n\n> You examine the lorna doone\nThe inscription on the spine showed it to be a copy of the novel Lorna Doone by R.D. Blackmore.\n\n> You read the lorna doone\nI didn't have time to read the entire novel, but opening it revealed a handwritten inscription on the title page: \"To Angie, from your loving brother Jeremy.\"\n\n> You examine piece\nWhich piece do you mean, the dressing table, or the piece of paper?"
    },
    {
        "text": "[Themes: Historical, Historical, mystery]\n\n> You look around\nThis good-sized bedroom was decorated with pale blue wallpaper. A dressing-table stood near the window, suggesting female occupancy, as did the feminine scent of the place. A low bedside cabinet squatted next to the single bed, while a built-in wardrobe occupied much of the north wall. The only door out was to the east.\n\nThe top of the dressing-table was littered with feminine paraphernalia.\n\nOn the bedside cabinet was an alarm clock. The bedside cabinet contained two books (a dark blue book and a brown book) and a letter.\n\nObvious exits: East\n\n> You check your inventory\nI was carrying a theatrical magazine, a scrumpled fragment, and a piece of paper, and I was wearing a beret and khaki battledress.\n\n> You examine the wardrobe\nThe wardrobe occupied much of the north wall, into which it was built. Since it was closed, all I could see of it are its doors.\n\n> You look under the bed\nLooking under the bed revealed nothing of interest; indeed it revealed nothing at all.\n\n> You open the wardrobe\nA modest collection of clothes hung in the wardrobe.\n\n> You examine the clothes\nA modest collection of workaday clothes hung in the wardrobe: a small selection of blouses, skirts and trousers, but no dresses or anything particularly fancy. A closer examination of the clothes revealed a long wooden pole half-hidden behind.\n\n> You examine the pole\nIt was about three feet long, and had a small brass hook on one end."
    },
    {
        "text": "[Themes: Historical, second world war, mystery]\n\n> Look around\nThis good-sized bedroom was decorated with pale blue wallpaper. A dressing-table stood near the window, suggesting female occupancy, as did the feminine scent of the place. A low bedside cabinet squatted next to the single bed, while a built-in wardrobe occupied much of the north wall. The only door out was to the east.\n\nA modest collection of clothes hung in the wardrobe.\n\nThe top of the dressing-table was littered with feminine paraphernalia.\n\nOn the bedside cabinet was an alarm clock. The bedside cabinet contained two books (a dark blue book and a brown book) and a letter.\n\nObvious exits: East\n\n> You look at the dressing table\nIt was a reasonably elegant piece of furniture, though a closer inspection indicated that it was probably rather more inexpensive than a cursory glance might suggest. It was white all over, apart from the gold trim round the edges, and had a glass top covering its upper surface and a rather cheap-looking mirror.\n\nThe top of the dressing-table was littered with feminine paraphernalia.\n\n> You look in the mirror\nI saw my own reflection.\n\n> Go east\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> Inventory\nI was carrying a theatrical magazine, a scrumpled fragment, a piece of paper, and a long wooden pole, and I was wearing a beret and khaki battledress.\n\n> You go east\n(first trying to open the east door)\nThe east door seemed to be locked.\n\n> You examine the east door\nIt was a plain white door. It was closed.\n\n> Go northeast\n(first opening the northeast door)\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. In the ceiling was a trapdoor that looked firmly closed, while a narrow flight of stairs led down to the floor below.\n\nObvious exits: West, Southwest, Up, Down\n\n> You look at trapdoor\nThe trapdoor was painted white to match the ceiling. At one end was a small white ring.\n\n> You pull the ring with the pole\n(first opening the west door)\n\nIt was the smell that first made me think this must be the housekeeper's bedroom, or rather that indefinable mix of smells that I associated with middle-aged women - that and the location of the room in what I took to be the servant quarters. The room was of a fairly generous size, and looked reasonably comfortable. A single bed rested against the north wall, at the far end of the room from the only door, which led out to the east. The other furniture consisted of a small upright wardrobe, a plain dressing table, and a low chest of drawers, all made of some dark wood and all of equally utilitarian appearance.\n\nObvious exits: East\n\nI saw no ring there.\n\n> You go east\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. In the ceiling was a trapdoor that looked firmly closed, while a narrow flight of stairs led down to the floor below.\n\nObvious exits: West, Southwest, Up, Down\n\n> You pull the ring with pole\nI pulled open the trapdoor with the long wooden pole, and a ladder descended down out of the ceiling.\n\n> Up\nI scrambled up the ladder.\n\nAttic (in the dark)\nIt was profoundly dark up there, with nothing visible apart from the open hatch leading back down.\n\nObvious exits: Down\n\n> I guess we need a the torch\nThat hardly seemed called for.\n\nThe word \"guess\" is not necessary in this story."
    },
    {
        "text": "[Themes: Historical, second world war]\n\n> Go downward\nI climbed back down the ladder.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nObvious exits: West, Southwest, Up, Down\n\n> You look at the cupboard\nIt was built into the east wall. It was currenly closed, so all I could see are its doors.\n\n> You open it\nOn the shelves were a pair of folded white sheets.\n\n> You look under the sheets\nUnder the folded white sheets was a slip of paper.\n\n> You get the paper\nI took the slip of paper.\n\n> You read paper\nWhich paper do you mean, the scrumpled fragment, the piece of paper, or the slip of paper?\n\n> Slip\nIt was headed Joseph Mainwaring & Sons - Locksmiths, 24 High Street, Amesbury, under which was written \"To cutting one duplicate key: 2s 7d. Payment received with thanks.\"\n\n> Go west\nThe room was of a fairly generous size, and looked reasonably comfortable. A single bed rested against the north wall, at the far end of the room from the only door, which led out to the east. The other furniture consisted of a small upright wardrobe, a plain dressing table, and a low chest of drawers, all made of some dark wood and all of equally utilitarian appearance.\n\nObvious exits: East\n\n> You look under the bed\nUnder the bed was a small brown suitcase.\n\n> You get the suitcase\nI picked up the small brown suitcase.\n\n> You open it\nThe small brown suitcase seemed to be locked.\n\nThe small brown suitcase seemed to be locked.\n\n> You look at the suitcase\nIt looked rather battered and scratched, as if it had been subjected to a series of indignities over a prolonged period of time. It was closed.\n\n> You search the bed\nI didn't really know what I was looking for, but I conducted a rapid search of the bed while trying not to disturb anything; my search proves fruitless.\n\n> You look at the bed\nIt was an ordinary single bed, remarkable only for the neatness with which it had been made, and for the fact that it stood well clear of the ground with ample storage space beneath.\n\n> You look at the table\nThe other furniture consisted of a small upright wardrobe, a plain dressing table, and a low chest of drawers, all made of some dark wood and all of equally utilitarian appearance.\n\n> You find the key\n(going east)\n\nNot wanting either to be encumbered with other people's property, or to be caught stealing it, I dropped the small brown suitcase before leaving the room.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nObvious exits: West, Southwest, Up, Down\n\n(To continue on your way use the command CONTINUE or C).\n\n> You look at the table\nThe sturdy table, made of seasoned oak, looked as if it might well have done duty since the reign of Queen Victoria.\n\n> You examine the chair\nIt was a plain, straight-backed chair.\n\n> Examine calendar\nIt was one of those plain calendars that simply lists the days of the current month in a square grid; it was currently showing October 1940.\n\n> You look up august on the calendar\nWhat do you want to look that up in?"
    },
    {
        "text": "[Themes: Historical, mystery]\n\n> You look around\nThe kitchen looked large enough to accommodate the platoon of culinary staff who may have worked there before the war. Circumstances were now reduced, however, leaving the place rather bare: a large wooden table at one end, with a single hard wooden chair right next to it, now comprised the bulk of the furniture. A long, old-fashioned cooking range ran along the east wall, while doors led off to west, south and north, a calendar being attached to the last of these.\n\nObvious exits: North, South, West\n\n> Go west\nThe hall passage came to an end outside a brown door to the north. Other doors led east and west, while the passage ran south towards the main entrance hall.\n\nObvious exits: North, South, East, West\n\n> Go south\nThis was the widest part of the hall, where it opened out to accommodate the flight of stairs that led up to the east. On the other side of the hall a dark panelled door stood open to the west, while the hall itself continued to both north and south.\n\nObvious exits: North, South, West, Up\n\n> Go upwards\nI climbed the staircase up to the floor above.\n\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nObvious exits: North, South, East, West, Northeast, Down"
    },
    {
        "text": "> Go down\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nObvious exits: West, Southwest, Up, Down\n\nI went down the back stairs to the back passage below.\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nObvious exits: North, South, East, West, Up\n\n> Go west\n(first opening the west door)\n\nIf the location of this modest-sized rectangular room had not in any case suggested that it was the maids' parlour, the mild shabbiness of its furnishings would probably have given the game away. Now that the housekeeper was apparently the only member of domestic staff retained under conditions of wartime austerity, it apparently doubled as her workroom and sitting-room. A battered arm chair nestled against a small, scratched wooden table in one corner, while an ironing board was set up near the middle of the room, strategically close to the fireplace. The sole door out was to the east.\n\nOn the peg was a dark coat. On the small table was a wireless.\n\nHilda was busily doing some ironing.\n\nThe wireless was playing the Tannhauser overture.\n\nObvious exits: East\n\n\"Where you get all that from?\" Hilda demanded, seeing all the stuff I was carrying. \"You have come to rob us? I tell Mr Croxley for sure!\"\n\n(My best response seemed to be to make some excuse.)\n\n> You make the excuse\n\"It's only some bits and pieces I happened to find lying around,\" I said.\n\n\"Too many bits; too many pieces,\" she complained. \"I tell Mr Croxley you are thief!\"\n\n> You hit her\nI couldn't do that - I was an officer in the Royal Engineers, not the SS!\n\nThe wireless continued to play Tannhauser.\n\n> You tell her about the spy\n\"That is - how you say? - not at all unboring,\" she remarked.\n\n> You show the slip to Hilda\n\"What do you make of this?\" I asked.\n\nShe took the slip of paper from me and glanced at it briefly before handing it back. \"Ich weiss nicht - I not know nothing about it.\" she replied, perhaps just a little too firmly.\n\n> Inventory\nI was carrying a theatrical magazine, a scrumpled fragment, a piece of paper, a long wooden pole, and a slip of paper, and I was wearing a beret and khaki battledress.\n\n> You go east\n(first trying to open the east door)\nThe east door seemed to be locked.\n\n> You drop the pole\nDropped.\n\n> You check what you're carrying\nI was carrying a theatrical magazine, a scrumpled fragment, a piece of paper, and a slip of paper, and I was wearing a beret and khaki battledress.\n\n> Drop battledress\n(first trying to take off the khaki battledress)\nI had no desire to walk round half-naked.\n\n> Go west\n(first opening the west door)\n\nIf the location of this modest-sized rectangular room had not in any case suggested that it was the maids' parlour, the mild shabbiness of its furnishings would probably have given the game away. Now that the housekeeper was apparently the only member of domestic staff retained under conditions of wartime austerity, it apparently doubled as her workroom and sitting-room. A battered arm chair nestled against a small, scratched wooden table in one corner, while an ironing board was set up near the middle of the room, strategically close to the fireplace. The sole door out was to the east.\n\nOn the peg was a dark coat. On the small table was a wireless.\n\nHilda was busily doing some ironing.\n\nThe wireless was playing the Tannhauser overture.\n\nObvious exits: East\n\n\"Where you get all that from?\" Hilda demanded, seeing all the stuff I was carrying. \"You have come to rob us? I tell Mr Croxley for sure!\"\n\n(My best response seemed to be to make some excuse.)\n\n> You ask her about the Durbury\n\"Who's Durbury?\" I asked.\n\nHilda looked momentarily startled, then snapped, \"I have no idea. Why you ask me such things?\"\n\n> You ask her about Jeremy\n\"So?\" she shrugged.\n\nThe wireless continued to play Tannhauser.\n\n> You ask her about germany\n\"How was Germany, before you left?\" I enquireed.\n\n\"Very frightening,\" Hilda told me, \"especially for Jews, but also for everyone else, I think.\"\n\n> You show the piece of the paper to her\n\"What do you make of this?\" I asked, showing her the piece of paper covered with letters and numbers.\n\n\"Nothing,\" she replied, after a quick glance. \"Make no sense to me at all.\"\n\n> You ask her about Adam\n\"Do you know anything about Adam Croxley?\" I asked.\n\n\"Only that he shot down by German plane,\" she replied. \"He was already dead before I come.\"\n\n> You ask her about Tony\n\"What do you know about Tony Croxley?\" I asked.\n\n\"Not very much,\" she replied. \"He was Mr Croxley's son, in army, but not come back from France.\"\n\nThe overture playing on the radio reached a stirring rendition of the Pilgrim's Chorus.\n\n> You ask her about Angela\n\"I had quite a nice little chat with Miss Croxley,\" I remarked. \"She certainly seems a nice girl.\"\n\n\"Young men are such fools, always going by what seems,\" she replied.\n\"I tell you, Miss Croxley not what she seem. She don't tell truth for one thing. And then she creep about at night, waking me up when she walk past my room, but denying it all. No, Herr Leutnant, Miss Croxley only seem nice. Behind that pretty face and pretty smile is different person.\"\n\n> You ask Hilda about the attic\n\"What do you keep up in the attic?\" I asked.\n\n\"What a question? Why you care what Croxleys keep in their attic!\" she declared. \"Besides, why would I know? I not go there!\"\n\n> You ask Hilda about trapdoor\n\"Where does that trapdoor upstairs lead?\" I asked. \"And how do you get it open?\"\n\n\"Why you want to know?\" she replied crossly. \"What business of yours? Why you go snooping round house? You leave things alone, or I tell Mr Croxley!\"\n\n> You ask Hilda about the suitcase\nI didn't have the effrontery to ask Hilda about her suitcase; to have done so would have been to admit that I had been searching her room.\n\nThe wireless broadcast reached a quieter passage.\n\n> You examine the coat\nIt was a dark coat, almost black, with a pocket to one side.\n\n> You examine pocket\nThe pocket looked quite deep.\n\n> You ask her about Arthur\n\"What you think you doing?\" Hilda complained. \"Are you the Gestapo now? You leave my coat alone!\"\n\n\"Tell me more about Mr Croxley,\" I said. \"What's he like?\"\n\n\"He seem a good man,\" she replied. \"He has been kind to me, and - how you say? - deals well with so many deaths. Inwardly he is sad, I think.\"\n\n> You search pocket\n\"Leave coat alone!\" Hilda insisted.\n\n> You ask Hilda about the coat\n\"That's an interesting-looking coat you have there,\" I remarked.\n\n\"Interesting?\" she queried, \"Is just a coat!\"\n\n> You ask her for the torch\n\"Is there a torch somewhere I could borrow?\" I enquired.\n\n\"What you want torch for?\" she demanded suspiciously.\n\n\"In case of a power cut,\" I lied smoothly. \"The storm's already brought the telephone lines down, so I thought the power lines might be next, and I'm not sure I fancy spending the night in a strange house without being able to see anything!\"\n\n\"Ach! Men are such babies - scared of the dark! And you a soldier!\" she taunted. \"But I think there is spare torch in - what you call it? - small room off kitchen where we store food.\"\n\nThe Wagner overture continued to play on the wireless.\n\n> You ask her about scrumpled\n\"What do you think this means?\" I asked, showing her the scrumpled piece of paper with the remark about terminating Durbury on it.\n\nFor a moment she seemed quite startled as she read the scrap, but then vigorously shook her head, \"I have no idea!\" she declared. \"No idea at all!\"\n\n> You ask her about Arthur\nShe'd already told me that Mr Croxley seemed a good man, who had been kind to her and who seemed to be coping well with so many bereavements, although she also thought that he was sad inside.\n\n> You tell Hilda about the photo\n\"Who are those people in the photo in Mr Croxley's bedroom?\" I enquired.\n\n\"How I know?\" she replied. \"Why he tell me? I not ask such things - I not snoop around like you!\"\n\n> You ask her about Mr Graham\n\"It is like this,\" she began. \"Ach! I have not the words for it in English!\"\n\n> You ask her about the creak\n\"I'm sure I heard some more creaking sounds from upstairs,\" I said. \"There has to be someone moving around there - even if it's only a ghost!\"\n\n\"No ghosts, no people, just old house noises, like Miss Croxley say,\" she replied.\n\n> You ask her about the bedrooms\nIn reply she merely grunted and carried on ironing.\n\n> You ask her about room with the gramophone\n\"So many questions!\" she complained. \"You are worse than the police!\"\n\n> You find the torch\nWhat do you want to look that up in?\n\n> You find kitchen\n(going east)\n\nHilda watched me go.\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nI saw a long wooden pole and a theatrical magazine there.\n\nObvious exits: North, South, East, West, Up\n\n(To continue on your way use the command CONTINUE or C).\n\n> Go south\n(first opening the south door)\n\nShelves lined the walls to east and west, leaving a narrow aisle running from the door at the northern end to the small window at the other.\n\nOn the shelves were a torch, some tins, some packets, some loose potatoes, and some apples.\n\nObvious exits: North\n\n> You examine the tins\nSome contained flour, others bread, and others broken biscuits[2].\n\nThere were all sorts of tins there, including tinned vegetables, corned beef, and various other supplies.\n\n> You examine the potatoes\nMost of them looked as if they had been kept a little too long, since they were beginning to sprout.\n\n> You examine the window\nBroken biscuits might seem an odd thing to keep, but the point is they weren't rationed.\n\nThe small window was hidden behind the curtains.\n\n> You open the window\nThe small window was hidden behind the curtains.\n\n> You find the trapdoor\nWhich trapdoor do you mean, the hatch, or the ladder (in the upper passage)?\n\n> Go north\nThe kitchen looked large enough to accommodate the platoon of culinary staff who may have worked there before the war. Circumstances were now reduced, however, leaving the place rather bare: a large wooden table at one end, with a single hard wooden chair right next to it, now comprised the bulk of the furniture. A long, old-fashioned cooking range ran along the east wall, while doors led off to west, south and north, a calendar being attached to the last of these.\n\nObvious exits: North, South, West\n\n> You go north\n(first opening the north door)\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nI saw a long wooden pole and a theatrical magazine there.\n\nObvious exits: North, South, East, West, Up\n\n> You take all\nI took the long wooden pole and the theatrical magazine.\n\n> Go upwards\nI climbed the narrow stairs to the floor above.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nObvious exits: West, Southwest, Up, Down\n\n> Go up\nI scrambled up the ladder.\n\nAttic (in the dark)\nIt was profoundly dark up there, with nothing visible apart from the open hatch leading back down.\n\nObvious exits: Down\n\n> You examine the torch\nIt was too dark to do that.\n\n> You turn on the torch\nI switched on the torch, and it emitted a reasonably bright beam of light.\n\nThe attic had accumulated surprisingly little junk for a family home. Bare boards stretched out in every direction from the open hatch with little to clutter them. The beam of my torch picked out hardly anything apart from the odd packing crate and a plethora of cobwebs. Almost by chance it also landed on an old blanket covering a pile of stuff half-hidden away.\n\nObvious exits: Down\n\n> You examine the torch\nIt was basically a black metal tube with a silver switch on the side, currently switched on.\n\n> You look at the crate\nA number of large wooden crates sat on the floor, each of them quite plain and none of them giving any clue as to its contents. The dust on the ground near one of them seemed to have been disturbed quite recently.\n\n> You move the crate\nI pushed one of the crates a few inches, along the lines in the dust, revealing a loose floorboard.\n\n> You take the floorboard\nIt was shorter than most of the other boards, being only about six or seven inches long.One end was a fraction of an inch proud of its neighbour, and I noticed it wobble when I moved the crate.\n\nUnder the loose floorboard was a dull grey key. I picked up the dull grey key and replaced the floorboard.\n\n> You examine the blanket\nThe blanket was of a dark brown colour, and looked quite worn.\n\n> You look under it\nUnder the old blanket was a large wooden box.\n\n> You look at the box\nSmaller than the packing crates, the wooden box was also of higher quality construction, being made of some dark polished wood - mahogany perhaps. It was about two feet wide, a foot high, and eighteen inches deep. It was closed.\n\n> You open the box\nThe large wooden box seemed to be locked.\n\n> Unlock box\n(with the dull grey key)\nUnlocked.\n\n> You open it\n(first taking the old blanket)\nMoving the old blanket revealed a large wooden box underneath. Opening the large wooden box revealed a radio, a pair of headphones, and a small tin box.\n\n> You examine the tin box\nIt was a small tin box, painted black, of the sort one might keep various little odds and ends in. It was closed.\n\n> You open it\nOpening the small tin box revealed a pencil and a small brass key.\n\n> You examine brass key\nIt looked pretty new; the brass was still shiny with scarcely any sign of tarnishing.\n\n> You take the key\nI took the small brass key.\n\n> You examine the radio\nThe wireless set fitted snugly in its box, with a coil of wire attached at one end. The most prominent features of the set itself were the tuning dial, the telegraph key and the power switch.\n\n> You examine the dial\nThe numbers round the dial indicated that it could be turned to any number between 1 and 30; it was currently set to 3.\n\n> You put on the headphones\n(first taking the pair of headphones)\nOkay, I was now wearing the pair of headphones.\n\n> You listen\nThe rain constantly drummed against the window."
    },
    {
        "text": "[Themes: Historical, second world war]\n\n> Look around\nThe attic had accumulated surprisingly little junk for a family home. Bare boards stretched out in every direction from the open hatch with little to clutter them. The beam of my torch picked out hardly anything apart from the odd packing crate and a plethora of cobwebs. There was also a large wooden box in the corner by the window.\n\nThe loose floorboard was scarcely noticeable, being nearly flush with the floor.\n\nThe large wooden box contained a radio and a small tin box (which contained a pencil).\n\nObvious exits: Down\n\n> You look at the slip\nIt was a receipt from a locksmith.\n\n> You examine piece\nIt looked like a scrap of paper torn from a larger sheet. It was covered in letters and numbers.\n\n> You read the piece\nThe letters and numbers on the piece of paper didn't make much sense, though there seemed to be quite a few crossings-out. It occurred to me that some of the numbers could be page numbers, but looking them up in the book from which the piece of paper fell probably wouldn't tell me much, due to my lack of German.\n\n> You examine the key\nWhich key do you mean, the dull grey key, the telegraph key, or the small brass key?\n\n> You press the key\n(the telegraph key)\nI tried tapping out a few letters in Morse code, but though the radio set beeped dutifully, there was no sign that anyone was receiving my transmission.\n\n> You take the radio\nThe radio seemed to be firmly fitted to the box.\n\n> You take box\nWhich box do you mean, the small tin box, or the large wooden box?\n\n> You look at the tin\nIt was a small tin box, painted black, of the sort one might keep various little odds and ends in. It was open, and contained a pencil.\n\n> You take the tin\nTaken.\n\n> You take large wooden\nWhich large wooden do you mean, the crates, or the large wooden box?\n\n> You take the large wooden box\nIt would have been possible, but cumbersome, to move the box, and probably a bit awkward to carry it down the ladder. On balance it seemed better to leave it where it was."
    },
    {
        "text": "> Go down\nNot wanting either to be encumbered with other people's property, or to be caught stealing it, I dropped the old blanket before leaving the room. I climbed back down the ladder.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nObvious exits: West, Southwest, Up, Down\n\n> You go to the southwest\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> You unlock it\nWhat do you want to unlock it with?\n\n> Key\nWhich key do you mean, the dull grey key, or the small brass key?\n\n> Brass\nUnlocked.\n\n> Go west\n(first opening the west door)\n\nI dubbed this the \"Goering Room\" at once, on account of the large picture of Hermann Goering facing me from the west wall. In normal times this would probably have been a bedroom, but there was no bed there now. The only piece of ordinary bedroom furniture was the tall wooden wardrobe standing in one corner, otherwise much of the floorspace was taken up by a low metal cabinet. The door out was to the east.\n\nOn the metal cabinet was a cine projector. On the lower spindle was an empty reel.\n\nObvious exits: East"
    },
    {
        "text": "[Themes: Historical, mystery]\n\n> Look around\nThe most striking feature of this room was the large picture of Hermann Goering hanging on the west wall. In normal times this would probably have been a bedroom, but there was no bed there now. The only piece of ordinary bedroom furniture was the tall wooden wardrobe standing in one corner, otherwise much of the floorspace was taken up by a low metal cabinet. The door out was to the east.\n\nOn the metal cabinet was a cine projector. On the lower spindle was an empty reel.\n\nObvious exits: East\n\n> You open the cabinet\nOpening the metal cabinet revealed a single metal shelf, under which was a metal canister. On the metal shelf were a pamphlet and a red book.\n\n> You look at the red book\nIt appeared to be a biography of Hermann Goering.\n\n> You read the pamphlet\n(first taking the pamphlet)\nIt turned out to be a recent intelligence report on the Luftwaffe, giving details of current German aircraft, photographs of typical Luftwaffe personnel, and coloured plates illustrating Luftwaffe uniforms and insignia. Towards the back the pamphlet gave estimates of the current size of the German air force and the dispositions of its main units.\n\n> You open the wardrobe\nOpening the wardrobe revealed a Luftwaffe uniform.\n\n> You examine the uniform\n(the Luftwaffe uniform)\nIt wasn't a standard blue Luftwaffe uniform, instead it was white, like the one Goering was pictured as wearing. Indeed it could have been a copy of the Reichsmarschall's uniform, complete with double-breasted tunic and gold trimmings."
    },
    {
        "text": "[Themes: Historical]\n\n> You look at your surroundings\nThe most striking feature of this room was the large picture of Hermann Goering hanging on the west wall. In normal times this would probably have been a bedroom, but there was no bed there now. The only piece of ordinary bedroom furniture was the tall wooden wardrobe standing in one corner, otherwise much of the floorspace was taken up by a low metal cabinet. The door out was to the east.\n\nThe wardrobe contained a Luftwaffe uniform. On the metal cabinet was a cine projector. On the lower spindle was an empty reel. The metal cabinet contained a single metal shelf, under which was a metal canister. On the metal shelf was a red book.\n\nObvious exits: East\n\n> You read the red book\n(first taking the red book)\nI hardly had time to read it all, but a quick skim indicated that it narrated Goering's life from his birth in 1893, through his career as a fighter pilot (with 22 confirmed kills) in the Great War, his first marriage to Karin von Kantzow in 1923, the year after he joined the Nazi Party, his leadership of the SA, his morphine addiction, his subsequent election to the Reichstag, his Nazification of the Prussian police, his second marriage in 1935 to Emmy Sonnemann, his patronage of music, his various other offices of state under the Nazi regime, and finally his leadership of the Luftwaffe.\n\n> You take the book\nI was already carrying the red book."
    },
    {
        "text": "[Themes: Historical, second world war, mystery]\n\n> You look at your surroundings\nThe most striking feature of this room was the large picture of Hermann Goering hanging on the west wall. In normal times this would probably have been a bedroom, but there was no bed there now. The only piece of ordinary bedroom furniture was the tall wooden wardrobe standing in one corner, otherwise much of the floorspace was taken up by a low metal cabinet. The door out was to the east.\n\nThe wardrobe contained a Luftwaffe uniform. On the metal cabinet was a cine projector. On the lower spindle was an empty reel. The metal cabinet contained a single metal shelf, under which was a metal canister.\n\nObvious exits: East\n\n> You examine the projector\nThe projector had two spindles, upper and lower, a switch and a dial. On the lower spindle was an empty reel.\n\n> You search the wardrobe\nThe wardrobe contained a Luftwaffe uniform.\n\n> Search uniform\nIt was a flat cylinder of a dull metal colour, about nine inches in diameter. It was closed.\n\n(the Luftwaffe uniform)\nA thorough search of the Luftwaffe uniform revealed nothing of interest.\n\n> You open the canister\nOpening the metal canister revealed a reel of film.\n\n> You put the film on the projector\nI put the reel of film on the upper spindle and carefully threaded the film through the projector and onto the lower reel.\n\n> You turn on the projector\nThe projector started to hum.\n\n> You look at projector\nThe projector had two spindles, upper and lower, a switch and a dial. On the lower spindle was an empty reel. On the upper spindle was a reel of film.\n\n> You look at the dial\nThe dial had three settings: BACK, STOP and FORWARD. It was currently on STOP.\n\n> You set dial to forward\nBoth reels began to turn. The film was projected onto a blank area of wall. It began with a scratchy shot of a young Hermann Goering removing his flying helmet while sitting in the cockpit of an Albatross. Various scenes followed: Goering shaking hands with Hitler; Goering in conference with Hitler, Himmler and Goebbels; Goering making a speech; Goering strutting around an airfield in his new Reichsmarschall's uniform; Goering inspecting a parade of Luftwaffe personnel. Eventually I decided I'd seen enough, so I turned the dial to STOP. Both reels stopped turning."
    },
    {
        "text": "[Themes: Historical, mystery, second world war, Historical]\n\n> You look around\nThe most striking feature of this room was the large picture of Hermann Goering hanging on the west wall. In normal times this would probably have been a bedroom, but there was no bed there now. The only piece of ordinary bedroom furniture was the tall wooden wardrobe standing in one corner, otherwise much of the floorspace was taken up by a low metal cabinet. The door out was to the east.\n\nThe wardrobe contained a Luftwaffe uniform. On the metal cabinet was a cine projector. On the lower spindle was an empty reel. On the upper spindle was a reel of film. The metal cabinet contained a single metal shelf, under which was a metal canister.\n\nObvious exits: East\n\n> You wear the uniform\nI certainly wasn't about to put on an enemy uniform. Anyway it was far too large for me and I would have looked quite ridiculous in it.\n\n> You take the uniform\nI took the Luftwaffe uniform from the wardrobe and gave it a thorough examination. Satisfied that it looked pretty much like the genuine article I returned it to the wardrobe.\n\n> You set the dial to back\nBoth reels span round until the film was fully rewound onto the upper reel.\n\n> You check your inventory\nI was carrying a scrumpled fragment, a piece of paper, a receipt, a torch (providing light), a long wooden pole, a theatrical magazine, two keys (a dull grey key and a small brass key), a small tin box (which contained a pencil), a pamphlet, and a red book. I was wearing a beret, khaki battledress, and a pair of headphones.\n\n> You turn off the torch\nI switched off the torch, and it stopped shining.\n\n> Go east\nJust as I was about to leave, I heard a nearby door open and someone walking around on the landing. To avoid being caught snooping around, I stopped just inside the door. A moment later I heard the sound of a shot from close by, followed by a brief series of thuds.\n\n> You enter the wardrobe\nIt was a bit too small for me to squeeze into.\n\n> You wear the uniform\nI certainly wasn't about to put on an enemy uniform. Anyway it was far too large for me and I would have looked quite ridiculous in it.\n\n> Go east\nThis section of the landing was much narrower than the part further north, being no more than a passage between the rooms on either side. The landing ended at a narrow curtained window immediately to the south and continued past the banister to the north, while white panelled doors led off to east and west.\n\nA revolver was lying on the ground, near the top of the stairs.\n\nObvious exits: North, East, West\n\n> You take the revolver\nThe revolver was too far away.\n\n> Go north\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nA revolver was lying on the ground, near the top of the stairs.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> You examine it\nIt was a Colt 45, probably a service pistol.[3] There was a distinct smell of cordite from the barrel.\n\n> Footnote 3\nI'm relying on my recollections of what my father told me were the sidearms he was issued with as an officer in the Royal Engineers in WW2. IIRC he said he was originally issued with a Colt .45, which was replaced with a Smith and Wesson .38 later in the war. (Yes, my father's name was Jack, and he was posted to Salisbury Plain on leaving OCTU in 1940, but anything else in Shelter from the Storm is purely fictitious; Percy was his father's first name.)\n\n> Open revolver\nI broke open the revolver and checked that it was loaded. Finding that it was, I closed it again."
    },
    {
        "text": "[Themes: Historical, Historical]\n\n> You look at your surroundings\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nObvious exits: North, South, East, West, Northeast, Down\n\nHilda came up the staircase. \"Mr Percy, you must come quickly!\" she told me. \"A man has been shot! Mr Croxley wants to see you. Come! You must convince Mr Croxley I did not do this terrible thing,\" Hilda urged me, \"otherwise I get the blame for sure.\"\n\n(My best response seemed to be to ask why she should get the blame.)\n\n> You ask her why she should get the the blame\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> You ask why\n\"Why on earth do you think you'll be blamed?\" I asked.\n\n\"Two reasons,\" she replied. \"One, I am German; two, I am Jewish. Is not good to be German in this country now - you are at war with Germany. Is never good to be Jewish: Jews always get the blame for everything. If you had been in Germany you would have seen that, but it is not so different here: Shakespeare and his Shylock, Dickens and his Fagin, you English do not like Jews either. So they say I shot this poor man for sure.\"\n\n(My immediate thoughts were to either reassure her, or ask what happened.)\n\n> You ask her about the blame\n\"Come! Quickly!\" Hilda insisted.\n\n> You ask what happened\n\"What happened, exactly?\" I enquired.\n\n\"There is dead man lying at the foot of stairs in hall,\" she told me. \"He has been shot - just now, you must have heard it, ja? I'm the only foreigner in the house, and a Jewish foreigner. I get the blame for this, for sure.\"\n\n(My best response seemed to be to reassure her.)\n\n> You reassure her\n\"I'm sure they won't say any such thing,\" I reassured her. \"We're not Nazis here, and the Croxleys seem like reasonable enough people to me.\"\n\n\"You must come quickly and tell Mr Croxley I did not shoot anyone,\" she insisted, motioning me to follow her down the staircase.\n\n> You tell her about Goering\n\"Come! Quickly!\" Hilda insisted.\n\n> You shoot her\n(with the revolver)\nI was not a murderer, and I had no desire to harm Hilda."
    },
    {
        "text": "[Themes: Historical]\n\n> Go down\nI let Hilda lead the way. I descended the staircase back down to the hall.\n\nThis was the widest part of the hall, where it opened out to accommodate the flight of stairs that led up to the east. On the other side of the hall a dark panelled door stood open to the west, while the hall itself continued to both north and south.\n\nA body was lying at the foot of the stairs.\n\nA stranger, Angela Croxley, and Mr Croxley were standing there.\n\nHilda was standing there.\n\nObvious exits: North, South, West, Up\n\n\"Ah, there you are, Percy!\" Mr Croxley declared. \"Did you just shoot this man?\"\n\n(My immediate thoughts were to either say no, or ask who the dead man is.)\n\n> You look at the stranger\nHe was a tall, smartly-dressed man of about thirty.\n\n\"I asked if you shot this man, and I want your answer, Percy,\" Mr Croxley growled. \"Well, did you?\"\n\n> You ask who\n\"Who is he?\" I asked. \"He looks a bit like Hermann Goering!\"\n\n\"Never mind what he looks like, the point is he's dead and I want to know who shot him,\" Mr Croxley replied. \"Was it you, Mr Percy?\"\n\n> You examine the body\nApart from the bullet wound in his chest, the dead man bore a remarkable resemblance to Hermann Goering.\n\n\"I asked if you shot this man, and I want your answer, Percy,\" Mr Croxley growled. \"Well, did you?\"\n\n> No\n\"No, I didn't!\" I declared. \"I've never seen him before!\"\n\n\"No?\" he asks. \"Then what's that gun you're holding?\"\n\n(My immediate thoughts were to either refuse to answer, or tell him about the revolver.)\n\n> You tell him about the revolver\n\"I just found it at the top of the stairs,\" I told him.\n\n\"Did you now? How convenient,\" he remarked. \"It looks to me as if he was shot at the top of the stairs and fell all the way down, and you've just walked down those very same stairs. I had just gone back to the drawing room when I heard the shot, Angela had just gone off to find you because you weren't there, and Hilda was doing the ironing in her sitting room.\"\n\n\"While I'd just gone to answer a call of nature,\" the stranger, presumably Mr Graham, added.\n\n\"Quite so,\" Mr Croxley concurred, \"So where were you, Mr Percy?\"\n\n(My immediate thoughts were to either challenge their alibis, lie, or tell the truth.)\n\n> Challenge angela\n\"Where were you, Mr Percy?\" he demanded.\n\nThat command can't be used right now.\n\n> Challenge\n\"It seems none of you has an alibi either,\" I pointed out. \"Each of you was alone when that shot was fired.\"\n\n\"But we all know each other,\" he retorted, \"whereas you are a total unknown, Mr Percy. How do we even know that you are who you claim to be? So I'll ask you once more: where were you when the shot was fired?\"\n\n> Truth\n\"I was taking a look around upstairs and came across this room with a whole lot of Hermann Goering stuff it in,\" I confessed. \"I was just on the point of leaving when I heard the shot.\"\n\n\"You have no right to be spying on us like that, at best it's an abuse of hospitality, at worst it's proof of guilt.\" he frowned. \"The fact remains that you were the only person upstairs when the shot was fired, and the shot was apparently fired by someone upstairs. I'd say that leaves you as not only the prime suspect but the only suspect, Mr Percy. Under the circumstances, I think you'd better hand me that gun.\"\n\n(My immediate thoughts were to either give him the revolver, or refuse.)\n\n> You refuse\n\"For all I know, you may be the killer,\" I pointed out, \"so I think I'll hang on to it.\"\n\n\"Not good enough,\" Croxley replied evenly. \"Your refusal to hand over the weapon can only be construed as proof of guilt. Now, give me the gun.\"\n\n> You shoot him\n(with the revolver)\nI was not a murderer, and I had no desire to harm Mr Croxley.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\""
    },
    {
        "text": "[Themes: Historical, second world war, mystery]\n\n> Look around\nThis was the widest part of the hall, where it opened out to accommodate the flight of stairs that led up to the east. On the other side of the hall a dark panelled door stood open to the west, while the hall itself continued to both north and south.\n\nA body was lying at the foot of the stairs.\n\nMr Graham, Hilda, Angela Croxley, and Mr Croxley were standing there.\n\nObvious exits: North, South, West, Up\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> No\nIt would have seemed rather rude to walk away in the middle of a conversation.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\nIt looked like he wasn't going to take no for an answer.\n\n> You examine Angela\nShe was undoubtedly a strikingly attractive young woman, what some might call an English rose. She was somewhere in her twenties, perhaps a few years older than I, and had a pleasant, open, round face framed by a generous bounty of wavy blonde hair. She was staring at me accusingly.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> You look at the body\nApart from the bullet wound in his chest, the dead man bore a remarkable resemblance to Hermann Goering.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> You give the gun to Graham\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\nCommon courtesy demanded that me answer Mr Croxley before addressing Mr Graham.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> You look at Croxley\n(Mr Croxley)\nHe was probably about sixty, or maybe in his late fifties, with a rather suave air about him. He was standing by the body\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> Shoot gun\n(with the revolver)\nI couldn't shoot the revolver with itself.\n\n\"The gun, Mr Percy,\" Croxley reminded me, \"Now, please.\"\n\n> You give the gun to Croxley\n(Mr Croxley)\n\"Thank you,\" he said as he took the gun off me. \"Hm,\" he added as he examined it, \"this looks like mine. Well, the telephone is still out of order so we can't call the police, so for now we're going to have to deal with this ourselves. Do you have anything to add to what you've already told us, Mr Percy?\"\n\n(My immediate thoughts were to either mention the other staircase, or tell him about the radio.)\n\n> You tell him about the radio\n\"Did you know about the radio transmitter hidden in the attic?\" I asked. Seeing his puzzled expression, I continued, \"I thought not; so I'm not the only unexplained presence here.\"\n\n\"I hardly see what a radio transmitter has to do with any of this,\" Croxley frowned. His scowl deepened, then he went on, \"Anyway, it's nonsense. If there were a radio transmitter in the house I'm sure I'd know about it!\"\n\n\"It would do no harm to check, surely,\" Angela Croxley suggested. \"If he's lying we may as well be certain he is.\"\n\nHer father's scowl deepened even further. After a brief pause he gave a curt nod and said, \"Very well, if you must, go and check his story - let him show you this alleged radio. But just in case, you'd better take this.\" he added, handing her the revolver.\n\n\"So, Mr Percy, will you show me this radio, please?\" she requested.\n\n> No\n\"No, I'm sure you can find it perfectly well for yourself, Miss Croxley,\" I replied. \"It's just up in the attic. It seems I have unfinished business with your father here.\"\n\n\"That can wait until we establish the truth about this alleged radio transmitter,\" he assured me.\n\n\"That's settled then,\" she declares. \"Lead on then, Mr Percy.\"\n\n> You tell him about Angela\n\"That's entirely beside the point right now, Mr Percy,\" Mr Croxley pointed out. \"All I want to know is whether you have anything to add to your account.\"\n\n> You tell him about the other staircase\n\"Never mind that now,\" Mr Croxley interrupted impatiently. \"All I'm interested in right now is whether you can add anything that might shed any further light on this.\"\n\n> You mention the staircase\n\"How do you know that I was the only person upstairs?\" I asked. \"This house has two staircases; that must offer all sorts of possibilities.\"\n\n\"A little far-fetched, don't you think, Mr Percy?\" he objected. \"We know you were upstairs. Any one of us would have to have been both remarkably quick and remarkably stealthy to have arrived here with the rest of us without inviting suspicion, and without being seen by you.\"\n\n\"Still, it could be possible,\" Hilda remarked. \"Murderer could shoot victim, drop gun, and hurry down back staircase then come here through kitchen. In confusion no one notice, nicht wahr?\"\n\n\"Thank you for your very fair-minded suggestion, Hilda, but I still don't believe any of us did this. To my mind, that still leaves Mr Percy here as our chief suspect - unless he can come up with anything that changes my mind. Well, Mr Percy, have you anything to add?\"\n\n> You tell him about Goering Room\nCommon courtesy demanded that me answer Angela Croxley before addressing her father.\n\n\"This radio you said you saw - are you going to take me to see it?\" Angela Croxley asked.\n\n> Yes\n\"Yes, of course,\" I replied.\n\n\"Good,\" she replied. \"Lead on then, Mr Percy.\"\n\n> You go to the radio\nWhich radio do you mean, the wireless, or the radio?\n\n> You go to the attic\n(going east)\n\nAngela followed me up the staircase.\n\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n(To continue on your way use the command CONTINUE or C).\n\n\"I'm not impressed, Mr Percy,\" Angela remarked. \"We offer you shelter from the storm, and you repay us by snooping all over our house.\"\n\n(My immediate thoughts were to either tell her about the noises, or apologize.)\n\n> You tell her about the noises\n\"I heard noises upstairs,\" I said. \"Not just floorboards creaking, but footsteps, I was sure of it. I thought perhaps you were being burgled - and given that body downstairs...\"\n\n\"He's not a burglar,\" she interrupted me, clearly unimpressed.\n\n> You turn on the torch\nI switched on the torch, and it emitted a reasonably bright beam of light.\n\nThe attic had accumulated surprisingly little junk for a family home. Bare boards stretched out in every direction from the open hatch with little to clutter them. The beam of my torch picked out hardly anything apart from the odd packing crate and a plethora of cobwebs. There was also a large wooden box in the corner by the window.\n\nThe loose floorboard was scarcely noticeable, being nearly flush with the floor.\n\nI saw an old blanket there. The large wooden box contained a radio.\n\nAngela was right beside me.\n\nObvious exits: Down\n\n> You ask Angela about footsteps\n\"Until I see that radio transmitter I shan't believe a thing you tell me, Mr Percy,\" she answered. \"Neither shall I be at all inclined to give anything away.\"\n\n> You show the radio to Angela\n\"There it is,\" I said.\n\n\"Well - that certainly does look like a radio transmitter,\" she agreed, frowning with concern, \"and it certainly shouldn't be here.\" She paused for a moment, her hand pushed deep up into her hair in a gesture of almost frantic thought. \"I suppose there's no way you could have smuggled it up here,\" she continued, as much to herself as to me, \"but that still doesn't explain how you found it.\" Letting her hand fall to her side she finally turned to me and asked, \"Why, Mr Percy; why were you up here? Why were you searching our house so thoroughly that you managed to find a hidden radio the rest of us missed?\"\n\n(I wondered whether to explain my suspicions, or counter-attack.)\n\n> Counter attack\n\"Oh no,\" I said. \"You're the one with the explaining to do, Miss Croxley, you're the one with a hidden radio transmitter in your house.\"\n\nShe frowned in annoyance, \"I swear I've never seen that radio before.\nI had no idea it was here. And I still want to know why you think you have the right to go snooping around our house.\"\n\n> You ask her about Goering\n\"Please don't try to change the subject, Mr Percy,\" she begged. \"This is important - I need to know if I can trust you. So tell me, why were you making such a thorough search of our house?\"\n\n> Suspicions\n\"Too much round here seems far too fishy,\" I replied. \"For one thing, it's obvious you've all been trying to conceal that Goering look-alike without anyone knowing about it. So, I thought - well, there is a war on, I do hold the King's commission, so I considered it my duty to try to find out more. For all I know you may all be a nest of German spies - and this radio rather confirms it, doesn't it?\" Before she could answer, I continued, \"But finding the radio - well, that was a spot of luck really. It was just the more I found, the more suspicious I became, so the harder I looked.\"\n\nShe regarded me steadily for a moment, her lively blue eyes probing my face as if trying to read truth or falsehood there. \"I see,\" she said finally. \"I suppose that could be true, but not only does it leave this radio unexplained, it leaves a murder unexplained. So what do we do now?\"\n\n(My immediate thoughts were to either ask her about her father, Mr Graham, Hilda, or the corpse, talk about the radio, suggest reporting to her father, or propose looking for more clues.)\n\n> You ask her about the footsteps\n\"It's more important to decide what we're going to do now,\" she replied. \"So what do you suggest?\"\n\n> You ask her about corpse\nI could not kiss myself.\n\n\"A penny for your thoughts, Mr Percy,\" Angela remarked. \"What should we do now?\"\n\n\"What about that fellow downstairs - the one who was shot,\" I asked. \"Could this be his radio?\"\n\n\"I suppose it could,\" she agreed, \"but I don't see how he could have shot himself. I mean, people don't normally shoot themselves in the chest, do they? So what do you think we should do: search his room for further clues - or what?\"\n\n> You ask her about the Durbury\n\"We can talk about that some other time,\" she insisted. \"The immediate question is: what are we going to do now?\"\n\n> You ask her about Hilda\n\"How much do you actually know about your housekeeper?\" I asked. \"I mean, she is German, and her room is closest to this attic; she'd have plenty of opportunity to sneak up here and use the radio when no one was looking!\"\n\n\"But Hilda's Jewish, she came here to get away from the Nazis, so why would she want to help them?\" Angela protested. \"Besides, I doubt she even knows how to handle a gun! No, I can't believe it's Hilda - not without a lot more evidence, anyway! So, what should we do next?\"\n\n> You talk about the radio\n\"We're only assuming that this radio is being used to contact the enemy,\" I mused. \"We don't know it for a fact.\"\n\n\"True, but it seems a pretty safe assumption, doesn't it?\" she replied. \"I mean, if it was for some legitimate purpose, why would it be kept hidden up here in the attic where none of us knew about it? I don't think either of us could be accused of jumping to absurd conclusions if we assume the radio is linked with spying. So who's the spy and who's the killer, and how are they linked? What do you think we should do about it?\"\n\n> You find the coat\n(going down)\n\nIt would have seemed rather rude to walk away in the middle of a conversation.\n\nI was unable to continue on my journey.\n\n> You ask her about Mr Graham\n\"What about your visitor, Mr Graham?\" I enquired. \"Do you know much about him?\"\n\n\"Not a lot,\" she admitted. \"I suppose he could have shot T... that man downstairs. But I don't see how he could be responsible for the radio! So - what do you think we should do now?\"\n\n> You talk about the suitcase\n\"I'd rather you didn't keep trying to change the subject, Mr Percy,\" she complained. \"In case you've forgotten, there's just been a murder. So, what do we do now?\"\n\n> Clues\n\"I suppose the only thing we can do is hunt around for more clues,\" I proposed. \"I mean, if someone in the house is sending messages to the enemy, they may have some notes of messages sent and received, or something else that gives them away.\"\n\nShe frowned for a moment, then let out a deep sigh. \"Yes, I suppose you're right,\" she agreed at last. \"I just don't like the idea of poking around in other people's private possessions. It feels so - so unpleasant. But we don't have much choice now, do we?\"\n\n> You ask her about T\n\"Changing the subject is just delaying the inevitable, isn't it?\" she suggested. \"You've only confirmed what I really knew all along we were going to have to do, so let's get it over with!\"\n\n> You ask her about Tony\n\"What were your brothers like?\" I asked.\n\n\"Adam - well, we always thought he'd be a bit of a high-flyer, only we didn't realize he'd take it so literally,\" she replied, \"or that he'd crash to earth quite so soon. Tony was always a one, quite a sportsman - he captained the first fifteen at school - and dead keen to do his bit for King and country when war broke out, but... I loved them both to bits, of course. I still can't believe they're gone.\"\n\n> You check your inventory\nI was carrying a scrumpled fragment, a piece of paper, a receipt, a torch (providing light), a long wooden pole, a theatrical magazine, two keys (a dull grey key and a small brass key), a pair of headphones, a small tin box (which contained a pencil), a pamphlet, and a red book.\nI was wearing a beret and khaki battledress.\n\n\"It seems I owe you an apology, Mr Percy,\" said Angela, lightly touching my arm. \"I really did think you must be the killer, but that radio - well, it does change things. There's no way you could have put it there, which means - well, it seems you may have helped us catch a spy! And - well, you obviously know that we haven't been entirely honest with you, don't you?\"\n\n> You give you the the gun\n\"Please, Jack, don't make this any harder for me by trying to avoid the question. You know I've been lying to you, don't you?\" she insisted.\n\n> Yes\n\"Well, yes, I suppose so,\" I admitted. \"I mean it's pretty obvious that things here aren't what they're meant to seem.\"\n\n\"Quite,\" she agreed, \"For one thing, Colonel Croxley isn't my father, he's my C.O.\" She flashed a brief apologetic smile before continuing, \"I shouldn't really be telling you anything of course, and I still can't tell you much, but, well, let's just say the colonel and I both work for the War Office, and the man who was shot was working with us. And - well - oh golly, I wish this wasn't all so complicated, but perhaps you could just call me Angela from now on.\" She handed me the revolver saying, \"And perhaps you'd better take this. To be honest, I'm not entirely comfortable with it.\"\n\n> You ask her about Jeremy\n\"So, is Jeremy really your brother?\" I asked.\n\n\"That's right,\" she affirmed, \"he's in the army too, and quite safe last time I heard, thank goodness!\"\n\n> You ask her about Graham\n\"Who is Mr Graham exactly, and where does he fit into all this?\" I asked.\n\nAngela let out a heavy sigh, \"I'm beginning to wonder myself,\" she muttered. \"I'm not meant to say anything, but right now I don't know which way to turn! He's Captain Graham, from the War Office. He came to warn us that our operation here had been compromised, and we were discussing what to do about it.\"\n\n(It occured to me to ask if she thought Graham shot the man.)\n\n> You examine the gun\nI broke open the revolver and checked that it was loaded. Finding that it was, I closed it again.\n\nIt was a Colt 45, probably a service pistol. There was a distinct smell of cordite from the barrel.\n\nIt was a Colt 45, probably a service pistol. There was a distinct smell of cordite from the barrel.\n\n> You show her slip of the paper\n\"Could this be significant?\" I asked, showing her the receipt. \"I found it under some sheets in the airing cupboard.\"\n\n\"That's certainly an odd place for it,\" she remarked, \"but I'm not sure what it means. We all go into Amesbury from time to time, and any of us could have got a spare key cut, though it's a bit irregular - hm, I'm not sure what to think!\"\n\n> You ask Angela about the dunbury\nMy remark proved to be the occasion for an animated discussion which lasted quite some time.\n\n> Inventory\nI was carrying a scrumpled fragment, a piece of paper, a receipt, a torch (providing light), a long wooden pole, a theatrical magazine, two keys (a dull grey key and a small brass key), a pair of headphones, a small tin box (which contained a pencil), a pamphlet, a red book, and a revolver. I was wearing a beret and khaki battledress.\n\n> Show scrumpled to Angela\n\"What do you make of this?\" I asked, \"I found it in Colonel Croxley's bathroom.\"\n\nAngela took the fragment, read it, and turned very white.\n\n\"Oh goodness!\" she declared. \"He couldn't have, could he?\"\n\nShe stared at the offending fragment a few moments more, then screwed it back up into a tight little ball. \"Let's not jump to conclusions,\" she said, seemingly as much to herself as to me.\n\n> You read it\nOnly a few words were visible: \"... plan now seems unworkable...\n... may be advisable to terminate Durbury...\"\n\n> You ask Angela about the piece\nThat was not something she seemed at all eager to discuss, so my conversational gambit fell horribly flat.\n\n\"This looks like it could be some kind of code,\" I remarked, showing her the piece of paper covered with letters and numbers. \"I found it in a German novel, in your room. Perhaps the numbers are references to the pages in the book?\"\n\n\"No,\" she replied firmly. For a moment she stared down at the piece of paper, clasping it in one hand, before finally releasing it to me with a heavy sigh. \"At least, it's nothing to do with the German novel, that's just something I happen to be reading,\" she told me, \"but it is a code of sorts. It's my attempt to do a bit of code-breaking. That's part of my job.\"\n\n> You ask Angela about Goering Room\n\"So why do you keep a room dedicated to Hermann Goering in this house?\" I enquired.\n\n\"You already know enough to realize that it must be part of our intelligence operation,\" she replied. \"More than that I'm not at liberty to say.\"\n\n> You ask her about the pamphlet\nI chattered away on the subject with her for several minutes.\n\n> Inventory\nI was carrying a piece of paper, a receipt, a torch (providing light), a long wooden pole, a theatrical magazine, two keys (a dull grey key and a small brass key), a pair of headphones, a small tin box (which contained a pencil), a pamphlet, a red book, and a revolver. I was wearing a beret and khaki battledress.\n\nAngela turned to me, laying a hand on my arm. \"I'm getting to the point where I don't know which way to turn or who to trust,\" she confessed. \"I'm not meant to say anything at all, but what can I do? Well, I'm sure I'm not telling you anything you don't know if I tell you that our visitor tonight wasn't a client! He's Captain Graham, from the War Office. He came to warn us that our operation here had been compromised, and we were discussing what to do about it. And then, well...\"\n\n(It occured to me to ask if she thought Graham shot the man.)\n\n> You ask her the shot\n\"Are you saying you think Captain Graham might have shot that poor fellow?\" I asked.\n\n\"Yes - no - I don't know!\" she ran her hand through her hair in a gesture of distracted distress. \"We didn't know about the radio. At least I didn't. But Captain Graham said the Germans had got wind of - well, we were discussing how to tidy up the mess.\"\n\n\"And shooting that man could have been part of 'tidying up'?\" I suggested incredulously.\n\n\"I don't know!\" she snapped through gritted teeth. \"It's driving me half crazy just thinking about it! It could have been Captain Graham - perhaps that's what he really left the study to do. It could even have been the colonel. I thought I knew him, and I didn't think he could - but it was his gun!\"\n\n> You ask her about Hilda\n\"So, how do you find Hilda, Angela?\" I asked.\n\n\"We get on well enough,\" she told me. \"She's certainly very efficient.\""
    },
    {
        "text": "[Themes: Historical, second world war, Historical]\n\n> You go down\nAngela followed me down the ladder.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nAngela stopped beside me.\n\nObvious exits: West, Southwest, Up, Down\n\n> You find the coat\n(going down)\n\nAngela followed me down the back stairs.\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Up\n\n(To continue on your way use the command CONTINUE or C).\n\n> You search pocket\nThe coat pocket contained two keys (a chunky key and a small silver key).\n\n\"I'm not sure you should be searching Hilda's pockets,\" Angela remarked censoriously, then added, \"Did you find anything?\"\n\n> Yes\n\"Yes, a couple of keys,\" I replied.\n\n\"Show me!\" she demanded.\n\nThe wireless continued to play Mozart.\n\n> You get the keys\nI took two keys (the small silver key and the chunky key).\n\n> You find the suitcase\n(going east)\n\nAngela followed me through the door.\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Up\n\n(To continue on your way use the command CONTINUE or C).\n\n> You show the keys to Angela\nsmall silver key: Angela glanced at the small silver key but offered no comment.\n\ndull grey key: Angela glanced at the dull grey key but offered no comment.\n\nchunky key: \"That looks like the key to the cellar,\" Angela told me, \"but what was it doing in Hilda's coat pocket?\"\n\nsmall brass key: I showed Angela the brass key, saying, \"I found this up in the attic, in the same box as the radio.\"\n\n\"That's very odd!\" she declared. \"It certainly shouldn't have been there!\"\n\n> You unlock the suitcase with the silver key\nUnlocked.\n\n> You open the suitcase\nOpening the small brown suitcase revealed some clothes.\n\n\"What did you find in there?\" Angela asked eagerly. \"Not just clothes, surely?\"\n\n> You read it\nThere was some faint indentations on the first page, suggesting that someone had written on a previous page and then torn it off, but the indentations were too faint to read.\n\n> You show the notebook to Angela\n\"That's interesting,\" she remarked. \"Of course it could be completely innocent, but I'd like to see what it says. We should try to find some way of making it legible.\"\n\n> You rub the pencil on the paper\nWhich paper do you mean, the scrumpled fragment, the piece of paper, or the receipt?\n\n> You rub the pencil on the notebook\n(first taking the pencil from the small tin box)\nI rubbed the notebook with the pencil, so that the writing became visible.\n\n\"Here, let me see that!\" said Angela, peering over my shoulder. \"TOTEN SIE IHN SOFORT - that means 'Kill him immediately' doesn't it? And that does look like Hilda's writing. If it was a message she received over the radio, and if the 'him' referred to is ... But look, there's another line of letters above. I imagine that must mean that the message was sent in code and she had to decode it. So where's her code book? I mean, what we've found is certainly suspicious enough, but - well, before we start accusing Hilda I'd like to make absolutely sure, so I'd really like to find her code book, then we'd know.\"\n\n> You ask about the corpse\n\"The man who was shot, he really does bear a striking resemblance to Hermann Goering, doesn't he?\" I remarked.\n\n\"Yes, he does,\" she agreed, \"and that's all I'm saying, so please don't press me any further.\"\n\n> You ask her about house\n\"I take it this place isn't your old family home, then,\" I remarked.\n\n\"Obviously not,\" she concurred. \"It's just some place the War Office bought when it came on the market.\"\n\n> You ask her about the bedroom\nI talked about this with her for a while, but failed to reach any very interesting conclusion.\n\n> You go east\nNot wanting either to be encumbered with other people's property, or to be caught stealing it, I dropped the clothes before leaving the room.\n\nAngela followed me through the door.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nAngela stopped beside me.\n\nObvious exits: West, Southwest, Up, Down\n\n> Up\nAngela followed me up the ladder.\n\nThe attic had accumulated surprisingly little junk for a family home. Bare boards stretched out in every direction from the open hatch with little to clutter them. The beam of my torch picked out hardly anything apart from the odd packing crate and a plethora of cobwebs. There was also a large wooden box in the corner by the window.\n\nThe loose floorboard was scarcely noticeable, being nearly flush with the floor.\n\nI saw an old blanket there. The large wooden box contained a radio.\n\nAngela stopped beside me.\n\nObvious exits: Down\n\n> Go southwest\nAngela followed me through the southwest door.\n\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> You go to the north\nAngela followed me through the north door.\n\nThis was obviously the master bedroom; it was huge. Even with a large double bed and a heavy chest of drawers taking up much of the floor space, a great deal of bare carpet remained. The door out was to the south, and a second door led west.\n\nOn the chest of drawers was a family photo.\n\nAngela stopped beside me.\n\nObvious exits: South, West\n\n\"What do you expect to find in here?\" Angela demanded. \"You've already shown me the radio!\"\n\n> Go south\nAngela followed me through the bedroom door.\n\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> Go north\nAngela followed me through the north door.\n\nThis was obviously the master bedroom; it was huge. Even with a large double bed and a heavy chest of drawers taking up much of the floor space, a great deal of bare carpet remained. The door out was to the south, and a second door led west.\n\nOn the chest of drawers was a family photo.\n\nAngela stopped beside me.\n\nObvious exits: South, West\n\nAngela glanced round anxiously, as if nervous about trespassing somewhere she had no right to be.\n\n> You ask Angela about the photo\n\"So all those people in the photos in the drawing room,\" I began, \"who are they?\"\n\n\"I don't know who the woman is,\" she admitted. \"Colonel Croxley just found that photograph somewhere. His real wife is alive and well and living in Yorkshire, I believe, though she can't be seeing much of him right now, poor thing. But the others are real people - I mean the boy in army uniform really was called Tony and he really was the colonel's son and he really was killed in action - as was Adam, my boyfriend, the pilot.\"\n\n> You look under the bed\nI peered under the bed, but spotted nothing of interest.\n\n\"You didn't find anything under there, then,\" Angela surmiseed. It was clearly a statement, not a question.\n\n> You move chest\nI saw no need to start rearranging the furniture; it would probably have achieved nothing except annoying the Croxleys unnecessarily.\n\n> You look under the chest\nI couldn't see anything under the chest of drawers.\n\n\"We really must try to find that codebook, Jack\" Angela insisted. \"Hilda must have used something to decode that message, but I'd really like to see the proof!\"\n\n> Go east\nAngela followed me through the east door.\n\nThe bathroom was rectangular, and just a little dingy, with the white enamel bath tucked away in the corner occupying about a quarter of the floor-space. Most of the rest was taken up with the basin and the toilet, with a mirror-fronted cabinet attached to one wall. The bathroom door was to the west.\n\nA small book of some sort was lying on the ground just next to the toilet bowl.\n\nAngela stopped beside me.\n\nObvious exits: West\n\n> You look at the book\n(the red book)\nIt appeared to be a biography of Hermann Goering.\n\n> You get the book\nI took the ration book.\n\n> You look at the book\nWhich book do you mean, the red book, or the ration book?\n\n> Ration\nIt appeared to be a current ration book.\n\n> You read it\nCloser inspection revealed it to be the ration book for someone called Timothy Durbury.\n\n> You ask her about the corpse\nShe'd already agreed that the dead man looked a lot like Hermann Goering, but that was as much as she was saying.\n\n> You show the ration book to Angela\n\"Look what I've found!\" I declared, \"A ration book for Timothy Durbury! I assume this belonged to that poor fellow downstairs.\"\n\nAngela hesitated for just a moment, then nodded. \"There's no point denying it, is there?\" she replied. \"I'm sorry, I've had to live with pretence so long it's become a habit! But yes, the man who was killed was Tim Durbury. Poor Tim!\" She wiped the corner of her eye.\n\n> You open the cabinet\nOpening the cabinet revealed a safety razor.\n\n> You examine razor\nIt was a standard safety razor, with a short silver handle and a partially enclosed blade.\n\n> You ask Angela about Timothy\n\"So who was Timothy Durbury?\" I asked. \"And what was he doing here? Why all the secrecy? Why would anyone want to kill him?\"\n\n\"That's an awful lot of questions all at once,\" she replied with a wan smile, \"but I suppose what's secret had better remain secret.\"\n\n> Go west\nNot wanting either to be encumbered with other people's property, or to be caught stealing it, I dropped the safety razor before leaving the room.\n\nAngela followed me through the door.\n\nThe main landing comprised the area at the top of the stairs leading down to the floor below. From there doors led off to east, west, north and northeast. The landing continued to the south past the banisters.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Northeast, Down\n\n> You ask her about the cellar\n\"Where is the cellar?\" I askd.\n\n\"Just off the back passage,\" she told me, opposite Hilda's sitting room.'\n\n> You go to the back passage\n(going northeast)\n\nAngela followed me through the northeast door.\n\nThe standard of decoration was definitely plainer in this part of the house, little more than a stale lick of white paint on every available surface. The door to the southwest marked the boundary between the servants' quarters and the rest of the house, while a second door led west, opposite a pair of cupboard doors to the east. A ladder ran up from the floor through the open trapdoor in the ceiling, while a narrow flight of stairs led down to the floor below.\n\nOn the shelves were a pair of folded white sheets.\n\nAngela stopped beside me.\n\nObvious exits: West, Southwest, Up, Down\n\n(To continue on your way use the command CONTINUE or C).\n\n> Key\nWhich key do you mean, the small silver key, the dull grey key, the chunky key, or the small brass key?\n\n> Go east\n(first opening the east door)\n\nAngela followed me through the east door.\n\nThe beam of my torch picked out little but dust, junk and cobwebs before settling on the large empty wine rack running along the east wall. A further clockwise movement of the beam located something untoward on the south wall.\n\nAngela stopped beside me.\n\nObvious exits: Up\n\n> You examine south\nI saw no beam there.\n\nThere was a cable running down the south wall - but it looked as if it had been severed.\n\n> You examine the cable\nThe cable ran all the way down from the ceiling into some sort of junction box. It looked as if it had been deliberately and cleanly cut; the shiny metal wire thereby revealed suggested that it might have been cut quite recently.\n\n> You talk about the cable\n'Have a look at this, Angela,' I said, shining the torch at the severed cable. 'It looks like this cable has been cut.'\n\n'You're right, it does!' she agreed, peering at it closely. 'And there's something else - I think this is the cable for the telephone, so it wasn't the storm that put it out of action!'\n\n> Search rack\nAt first sight the wine rack looked completely empty, but a thorough search revealed a brown paper bag half hidden in one of the compartments.\n\n> You get bag\n'What have you just found?' Angela asked, as I removed the paper bag from the wine rack. 'Whatever it is was well hidden! Who'd ever think of looking in an empty wine rack? Anyway, what is it?'\n\n> You look in the bag\nThe brown paper bag contained a dark green book.\n\n> You read the book\nWhich book do you mean, the red book, the dark green book, or the ration book?\n\n> You read the green book\n(first taking the dark green book from the brown paper bag)\nThe inside of the book was full of columns of numbers and letters.\n\n> You connect the wire\n(to the pair of headphones)\nI could not attach that to anything.\n\n> You fix the cable\nI lacked the necessary equipment.\n\n> You give the book to Angela\nWhich book do you mean, the dark green book, the red book, or the ration book?\n\n> Green\nShe took the book from me, and studied it carefully. 'I'd say it was almost certainly a code book of some kind,' she told me, carefully turning over the pages. 'Almost certainly a German codebook of some kind,' she added. 'I imagine that's why it was hidden down here, so it wouldn't be immediately obvious whose it was. I mean it would be pretty damning evidence if it turned up in anyone's things, but I suppose we now know whose it is anyway.'\n\nWith a frown of concentration she then re-examined the writing revealed on the notebook. 'Yes,' she nodded, 'I think this was used to decode the message here. So - we found the notebook in Hilda's room, and Hilda had the cellar key in her pocket, and the codebook was hidden in the cellar - I think we have enough now, don't you?'\n\n> Yes\n'Yes, I think we do,' I agreed.\n\n'Good, so let's go and show what we've got to Colonel Croxley,' she suggested.\n\n> You find the Colonel\n(going west)\n\nAngela followed me up the stairs.\n\nThe back passage was a short, narrow space leading from the kitchen door (to the south) to the back door (to the north) between two other doors to east and west. The space was further constricted by a flight of stairs leading up to the floor above.\n\nAngela stopped beside me.\n\nObvious exits: North, South, East, West, Up\n\n(To continue on your way use the command CONTINUE or C).\n\n> You show the notebook to Croxley\n(Colonel Croxley)\nI handed him the notebook, saying, 'We found this in Hilda's bedroom.'\n\nCroxley glanced at it and said, 'TOTEN SIE IHN SOFORT, in what looks to me, so far as I can tell from this, more than a little like Hilda's writing - well, we need hardly ask who she was being ordered to kill at once.' Looking up at the housekeeper he went on, 'Is there anything you'd like to say about this, Hilda?'\n\n'You accuse me?' she asked incredulously, slowly backing away. 'Always they blame the Jews, always. Why?'\n\n'There's more, Hilda,' Angela told her, 'the codebook you hid in the cellar, for example.'\n\n'You're no better than a Nazi!' Hilda shrieked. 'You - how you say? - You plant evidence to make me in trouble. Just because you are blonde and pretty-looking, Aryan girl, you think you can ...' She broke off as she snatched a large kitchen knife out of a drawer and rushed towards Angela, brandishing her makeshift weapon.\n\n> You show it to him\n'Quick! Do something, man! Stop her!' he cried.\n\n> Punch hilda\nI rushed towards Hilda. She paused in her stride and turned to threaten me with her knife. In the ensuing scuffle, the revolver went off, shooting Hilda through the heart. She fell to the floor, leaving me gaping at her in horrified silence.\n\nIt was Colonel Croxley who broke that terrible silence. 'Well, that's that, then!' he declared briskly, as if commenting on a broken teacup. 'We really could have done with questioning her - but I suppose she realized that, as well as what we'd do to a spy in wartime.' Turning to me he cut off my incipient apology adding, 'Don't blame yourself, Mr Percy, you did what you had to and I would have done exactly the same.'\n\nAfter a brief pause when nobody spoke he continued, 'This must all seem very strange, Mr Percy, so I suppose I owe you an explanation.'\n\nAngela threw Colonel Croxley a quick, anxious glance.\n\n> You listen\nI heard nothing out of the ordinary.\n\n'Mr Percy,' Colonel Croxley broke in on my thoughts, 'I think I'd better explain what's being on here, don't you?'\n\nAngela avoided my eye.\n\n> Yes\n'Yes; it's clear something very odd's going on,' I replied, still trying to recover from my shock at what had just happened. 'Please do enlighten me.'\n\n'Very well,' he nodded. 'First, as you may have gathered, neither this young lady nor myself are who we claimed to be. I'm Colonel Martin, military intelligence, and Lieutenant Angela Dalton is my assistant. The man Hilda shot was an actor called Tim Durbury, who bears more than a passing resemblance to Reichsmarschall Goering. The original idea was to see if we could train him to pass himself off as the real thing and maybe cause some havoc behind enemy lines.'\n\nHe paused for a moment, then continued, 'Actually it became obvious almost from day one that the idea was a non-starter; poor old Durbury was never going to fool the Germans for five minutes. If it hadn't been for Hilda we'd've packed up the whole operation weeks ago.'\n\nAngela stared at him in some consternation. 'But...' she began.\n\n> You wait a while\nI waited to see what would happen.\n\n'It was sheer luck that Hilda answered our advertisement for a native German-speaker who could pass as a housekeeper,' the colonel continued. 'We already knew she was a spy, and it gave us a perfect chance to use her for our own purposes. She thought we wanted her to help Durbury to learn German well enough to pass himself off as Goering - which was obviously never going to happen in reality. Presumably she also thought we'd given her the ideal opportunity to spy on us and pass damaging information back to the Germans. In fact, we were simply keeping her from doing any mischief elsewhere while using her to pass false information to her masters in Berlin.'\n\nAt that point Angela's mouth dropped open in utter astonishment.\n\n> Wait\nI waited to see what would happen.\n\nAngela stared at Colonel Martin aghast. 'You never told me, sir!' she cried.\n\n'It was better you didn't know, lieutenant,' he replied evenly.\n'You're probably an even worse actor than poor old Durbury, and I needed you to be convincing. In any case, the fewer people who knew what we were really up to the better. Unfortunately we never reckoned with Hilda being ordered to kill Durbury, which I suppose must have happened shortly before you showed up, Mr Percy. And now I have a request. Obviously our little scheme has now gone a bit wrong, but it's still essential that none of this comes out. Can I rely on your discretion?'\n\n> Yes\n'Yes, of course, sir,' I declared.\n\n'Good man,' Colonel Martin replied. 'Well, we'd better see what we can do to start clearing up this mess...'\n\nAt that moment Captain Graham walked in, stopped in his stride at seeing the tableau presented, and remarked, 'What happened? I thought I heard a shot!'\n\n'You did,' Colonel Martin told him calmly. 'Hilda's dead. I'll fill in the details later. Right now I think we'd better get Mr Percy out of here and on his way to his camp. The storm seems to have abated, so perhaps you could give him a lift back to his car and help him get it started.'\n\n'Of course, sir,' Captain Graham nodded. Turning to me he said, 'Lead on then, Mr Percy!'\n\nCaptain Graham nodded towards the door."
    },
    {
        "text": "[Themes: Historical, mystery, second world war, Historical]\n\n> Look around\nThe kitchen looked large enough to accommodate the platoon of culinary staff who may have worked there before the war. Circumstances were now reduced, however, leaving the place rather bare: a large wooden table at one end, with a single hard wooden chair right next to it, now comprised the bulk of the furniture. A long, old-fashioned cooking range ran along the east wall, while doors led off to west, south and north, a calendar being attached to the last of these.\n\nA sharp knife lay on the floor, next to Hilda's body.\n\nHilda's body lay sprawled on the floor.\n\nCaptain Graham was standing by the door, waiting for me to lead the way out.\n\nAngela was standing on the far side of the kitchen, trying not to look at Hilda's body.\n\nColonel Martin was standing there.\n\nObvious exits: North, South, West\n\nCaptain Graham held the door open, evidently anxious for me to leave.\n\n> You take the knife\n'I think you'd better leave that alone for now, Mr Percy,' Colonel Martin told me.\n\nCaptain Graham tried to wave me through the door.\n\n'Why?' Angela asked suddenly. 'Why did she have to shoot Tim? Why did they make her do that? If they already knew about him, what harm could he do them?'\n\n'There was probably no good military reason at all,' Colonel Martin replied. 'I imagine it has more to do with wounded egos and Nazi spite. I can just see the real Reichsmarschall Goering huffing and puffing and demanding the assassination of the upstart English actor who would dare to impersonate him.'\n\n> Wait\nI waited to see what would happen.\n\nCaptain Graham gave a discreet cough.\n\n> Go outside\nI handed Colonel Martin back his revolver and walked out of the kitchen, closely followed by Captain Graham. We reached the front door together without a word; it turned out to be unlocked, so I opened the door and Captain Graham followed me through.\n\n'At least it's stopped raining,' Graham remarked, as we stepped out into the drive, 'I understand you ran out of fuel? I've a spare petrol can in the back, maybe we can get your car going again.'\n\nI glanced up at the sky, which was indeed beginning to clear, the storm having spent its fury. For a moment I lingered in the drive, trying to come to terms with everything that had just taken place; then I clambered aboard and caught my last sight of Wendle Manor as Captain Graham turned his car round. I didn't see Angela again until after the war - but that's another story."
    },
    {
        "text": "[Themes: Slice of life, strong profanity, experimental, supermarket, male protagonist, unstable truth, literary, mild profanity]\n\nstorie\n\n[Author's Note: Late Thursday night. You've had a hard day and the last thing you need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly. On to the next aisle... Aisle started out as a game which would not need the usual meta-verbs... i. e. a game with only one turn. The initial idea was: How do I make a game with only one turn interesting? Give it lots of endings--in fact there are many 'endings' and (hopefully) every sensible action results in an 'ending'. There is no winning action. There is however more going on than just this and the more endings you see the more things should become clear.]"
    },
    {
        "text": "[Themes: Slice of life, male protagonist, strong profanity, unstable truth]\n\n> About yourself\nYou don't need a mirror to know what you look like. Old. \"Old beyond your years\", as they say. Old. Old and lonely. You look lonely--you are lonely. You are well dressed but people think you are a tramp. You feel like a tramp. Ever since Clare left you... without word... in Rome.\n\nYou leave your trolley and walk to the exit. Then drive home.\n\nThe end of the story. The end of a story. But not\nthe only story...\n\n> You look at the trolley\n(your trolley)\nThe trolley is a small cage of steel with bent rubber wheels. Full of your shopping: meals for one, drinks for one (well, drinks for several, but hey, who's counting?).\n\nGnocchi for one wouldn't really work. You settle for\nspaghetti and continue on to the next aisle.\n\nThe end of another story. But then, there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You eat the gnocchi\nYou rip open the packet and take out a few Gnocchi, cramming them into your mouth. The uncooked, floury balls clog in your throat and you swallow them down, hard.\n\nThe brunette glances at you and moves on quickly.\n\nYou feel stupid, slip the opened bag back into the shelf and carry on. It's never been as good as it was in Rome.\n\nAnother story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the rome\nRome.\n\nYou pick up the Gnocchi and stare at the illustration of Piazza Venezia on its packet. You remember; sun, heat, food, pasta, sauces, wine, love, ancient, modern, Italians, Americans, love. And ultimately pain. A pain you had thought you had forgotten. But like a cancer returning to wreak havoc again, the pain resurfaces and tears through the thin barriers you had erected. Tears flow. Memories; guilt. And finally acceptance. You live with it.\n\nOne more story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about the sauces\nYou walk over. \"Hi. You trying to choose a sauce?\" She looks at you and pauses, \"Um. Yeah I'm just looking.\" You reach down a random jar and pass it to her, \"This is a great sauce.\" She smiles politely, \"Thanks,\" and quickly moves on to the next aisle.\n\nYou feel a bit stupid. Why is it that none of them understand you like she did?\n\nAnother story done. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You kill woman\nYou run over to her and throw a punch which knocks her into the shelves. Jars fall and splatter grainy red sauces across the aisle. Shit. You run out--out to the car and drive--drive home. When you park up, you find that you are holding the gnocchi from the supermarket.\n\nWhat was it about the gnocchi? You can't remember (I don't think you want to remember). You feel ashamed, stupid and old.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember Gnocchi\nYou focus on the gnocchi and whilst the little, floury balls remain the same everything else changes. There is a flush of noise in your ears, the cold air pushed away by the warmth from table-top candles. A friendly waiter approaches, \"Gnocchi for two?\" His English is correct but with a European slant. You nod. \"Prego,\" you volunteer as he lays the plate before you. Clare Prego's too as he presents her plate. He asks if you would like a bottle of wine. \"Uno vino rose,\" you reply in half-Italian. He scurries away, whilst a smaller waiter hurries to you and puts a basket of bread and bread sticks on the table. \"Prego,\" he nods as he backs away into the busy restaurant. You take a fork and spear a bud of gnocchi, dunking it in the sauce. As you draw it up to your mouth your eyes level with Clare's.\n\nYou shake your head and are back in the supermarket.\n\nHmmm. Maybe there was something more important than gnocchi? But it's gone now. You take a couple of packets and pile them into the trolley. Then with a push of the wrists you move the trolley onwards.\n\nAnother story over. Not the only one...\n\n> Xyzzy\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Xyzzy\nreal. You've come too far to go back.\n\n> You check your inventory\nTaking everything from your pockets you crouch down and line up your possessions on the floor:\n\nWallet: coins, bank card, store card, bookclub card, photo--\n\nEach object, representing something else, is like a word. The inventory-sentence ends and begins with that photo. An attempt to possess Clare in her image, to hold her and to contain her. You rearrange the coins in a circle around the photo, a makeshift frame.\nA photo of Clare. If only you could lose those first few\nwords: Clare. Then you could hold Clare, possess Clare. She would be yours...\n\nWith a furtive glance you scoop up your things and return them to your pockets.\n\nThe photo burns a hole in your pocket, through your heart and to the centre of your universe.\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You examine the coins\nSorry. You can't use your possessions directly.\n\n> You forget Clare\nForget it. Easy to say. Not as easy to do. Like cleaning shit\nfrom your shoes it's a nasty business but, eventually, it's gone. Like a weight off your shoulders, a clean slate, etc. You feel much better. Can't even remember what it was that was bothering you. Shopping--now that you do remember.\n\nThe squeak of the rubber wheels as you push off and continue shopping, that's all you remember.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Punch gnocchi\nThe Gnocchi reminds you of Rome. Of Clare. All long in the past and a past not to be revisited. You punch the Gnocchi and push the trolley on its way, narrowly avoiding the brunette as you briskly move on to the next aisle and the next..\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Hit the woman with Gnocchi\nYou pick up a packet of the gnocchi and watch it trail through the air, bouncing awkwardly off the brunette. Caught unawares, she drops the jar she is holding which shatters on the floor, leaving a puddle of grainy red. She stares, red-faced, in disbelief. You hear the soft crunch of leather boots behind you and turn to face a middle-aged security guard. You feint to the left then run to the right, out of the exit and to your car. As you pull away with a badly clutched roar, you shout out of the window \"She had it coming--bitch!\"\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You throw the sauce at the woman\nSomething about the way she stands pisses you off; she is so insolent. The gnocchi whispers in your ear, \"Remember what happened last time? Prevention is always better than cure.\" You walk up and take a jar from the shelf. The brunette ignores you. You throw the jar.\n\nIt glances off her with a glass-bone-skin sort of crack, and she falls to the floor limply. You look over her; sauce runs down her face. No; not just sauce--a thin stream of blood is entwined in the onion and tomato. You start to run towards the exit, but just before you get there you feel the air knocked out of you as a heavy thump knocks you from the side and you are tackled to the ground.\n\nThis time the judge rules in society's best interest rather than in yours.\n\nA story finished. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember Clare\nClare.\n\nYou stare at the Gnocchi and it opens up to you; years ago, a holiday to Rome (a romantic holiday). Two lovers (young)--yourself and Clare. Culture, food, sun. Then something happened. And Clare was\ngone.\n\nYou had thought it best not to remember but perhaps remembering is good.\n\nYou forget the shopping and go home, to think.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\nSay something, dammit.\n\n> You remember brunette\nClare.\n\nYou stare at the Gnocchi and it opens up to you; years ago, a holiday to Rome (a romantic holiday). Two lovers (young)--yourself and Clare. Culture, food, sun. Then something happened. And Clare was\ngone.\n\nYou had thought it best not to remember but perhaps remembering is good.\n\nYou forget the shopping and go home, to think.\n\nAnother story done. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about the name\nTall, slim. Dark haired. You walk up to her and introduce yourself. Then you continue, \"Now I'm at a disadvantage--you know my name, but I don't know yours...\" She smiles, \"I'm Clare\" (she doesn't say whether it's with an 'i' or not, we'll just assume). In a whipcrack chain of rather bizarre events, you end up in the supermarket cafe surrounded by a pile of shopping bags. You sit across the tiny table from each other, sipping on your coffee and chatting. Even more bizarre is the fact that you get on. Fabulously.\n\nShe leaves her bags in her car, storing the frozen stuff in your freezer. In the morning you lend her a shirt... All these domestic touches can only bode well for the future.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You buy the macaroni\nNope; Gnocchi is not on the list. You grab some macaroni and move on. The brunette glances up as you wheel by.\n\nAnother story done. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You steal sauces\nNo. You don't want to steal anything.\n\n> You ask the woman about Clare\n\"Excuse me.\" The brunette turns, gives you a nod. You explain, briefly, the story of you and Clare. Amazingly, she listens. When you finish you ask \"Where did I go wrong?\"\n\nShe looks apologetic, \"I'm sorry, I can't answer that. But it doesn't sound like anyone was to blame. Sometimes people just grow apart...\" \"Thanks.\" You walk away.\n\nThat's the answer you were looking for. If only you had told her the real story.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the murder\nYou scurry up to the brunette. \"Excuse me--I probably ought to tell you this, now rather than later\", she looks confused and you continue, \"but I am a murderer. All very complicated complicated stuff--but basically I killed my girlfriend (my lover) and well I am over it now so there is no problem there but like I said just thought I would say..\"\n\nWith that off your chest you continue on your shop.\n\nAnother story done. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell woman about Gnocchi\nYou pick up the gnocchi and walk over to the brunette. \"Look... gnocchi!\" She looks bemused, a little embarrassed. \"We had gnocchi on our last night together.\" She smiles, blushing, and moves her trolley to the next aisle.\n\nPerhaps you were too forward. Perhaps you missed your chance all those years ago. It is all so difficult.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Kiss woman\nYou walk briskly up to the brunette. As you lean over her she turns and gives a puzzled look. You force your mouth onto hers and reach out hotly for her. She pushes you off--you slip to the floor and she runs to the checkouts. A bulky security man pulls you to your feet and escorts you from the store.\n\nFalling to the pavement outside, you stop yourself with outstretched hand, landing near a dirty puddle left by the recent rain. Your old old face stares up at you--how long was it since you kissed those lips? How long since you kissed? Too long? Too late.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You climb the shelves\nYou stare at the Gnocchi. You remember the Trevi Fountain in Rome. How you and Clare sat and bathed your feet in it on the first day. And how you would continually lose yourselves trying to find some other monument, only to turn a corner and be back at the fountain\nagain.\n\nYou remember the day after Clare had gone, you returned to the fountain. Drunk, you climbed the fountain and screamed. The police pulled you down and sobered you up.\n\nGrabbing onto the shelves you hitch yourself up, setting off a mini-avalanche of pasta. Upon reaching the top of the shelves you can see the whole store. People stare at you. They think it's you\nthat is mad. Fuckers.\n\nA story finished. Then again...\n\n> You remember the murder\nThe one thing you didn't want to remember. A bloody smile\ndrawn across the aisle, Gnocchi for teeth--punch them all out--A red, red smile--brighter than any lipstick--but wait--she speaks. No; she does not. The smile drips, runs into the carpet and blushes into a crimson flower. Purple bruises. Colourful scene don't you think? Of course it's all in the past now. And they said you were over it.\n\nA bright red smile opens and devours you whole. Everything goes black.\n\nOne more story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Sing\nSing a sad song... You start off singing softly to yourself; what must appear to be but a mumble to the other shoppers. But then you slowly get louder and louder until everyone in the shop is glancing nervously at you. It seems the more you sing the more uncomfortable everyone gets. You stop, chuckle. Then continue with your shopping; the aisles seem more empty somehow.\n\nAnother story done. Then again...\n\n> You remember the smile\nThe one thing you didn't want to remember. A bloody smile\ndrawn across the aisle, Gnocchi for teeth--punch them all out--A red, red smile--brighter than any lipstick--but wait--she speaks. No; she does not. The smile drips, runs into the carpet and blushes into a crimson flower. Purple bruises. Colourful scene don't you think? Of course it's all in the past now. And they said you were over it.\n\nA bright red smile opens and devours you whole. Everything goes black.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Laugh\nYou allow yourself a laugh--memories of holiday float up and tickle your cheeks. The two guitarists singing in pigeon-English by your table as you finished off your gnocchi. Clare thought they were quite good. But, for you, they were too close to embarrassing. And the bric-a-brac sellers with their lighters (naked statues--you push the nipple to light up) and brass colloseums. Not like in the films, really--but then real romance often isn't, right? I mean, there was the evening when you ate on the street where they filmed the Dolce Vita. You spent the meal being distracted by a beggar who was doing a mime-swim across the pavement. Real romance makes you laugh.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You kill the trolley\n(your trolley)\nYou look into the trolley; meals for one, toiletries for one--everything for one. You kick out at the trolley and push\nit to the side. Turning on a heel you head out into the night.\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You get in your trolley\nRemember when you would sit in the front of the trolley and your mum would push you around. You'd drag bright packages off the shelves and cause havoc. But she still loved you. You didn't even do anything wrong with Clare.\n\nYou climb into the trolley and sit down, your shopping crunching beneath you. You push off against the shelves and roll a little way. But then the trolley shakes and turns onto its side. The shopping falls over you and fuck your leg really hurts. You stumble to\nyour feet and curse, limping out of the store into the night.\n\nOne more story over. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You put the woman in trolley\n(your trolley)\nYou need to be holding the brunette before you can put her into something else.\n\n> You take the woman\nYou walk briskly up to the brunette. As you lean over her she turns and gives a puzzled look. You force your mouth onto hers and reach out hotly for her. She pushes you off--you slip to the floor and she runs to the checkouts. A bulky security man pulls you to your feet and escorts you from the store.\n\nFalling to the pavement outside, you stop yourself with outstretched hand, landing near a dirty puddle left by the recent rain. Your old old face stares up at you--how long was it since you kissed those lips? How long since you kissed? Too long? Too late.\n\nOne more story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You kill the macaroni\nMaybe if you had ordered macaroni rather than gnocchi on that last night she wouldn't have left you. But you couldn't have helped that, really. I mean, you don't even like macaroni. So it's not your fault. If you don't like macaroni she couldn't have expected you to order it. So who's fault is it? Not hers--you both agreed it was no one's fault; people fall out of love. No, not anyone's fault. Something's fault. Pasta. How stupid does that sound? The macaroni's fault.\nStupid but true.\n\nYou rake a shelf of the bags onto the floor; long packets of spaghetti, small papery bags of macaroni, big sacks of penne. As they hit"
    },
    {
        "text": "the floor you stamp. The bags split like bruised fruit and\nspill their contents across the floor. The shells hop and skid as you crack and squash them under your feet. The brunette turns, a worried glance back, and then scurries on. You kick a few stray bows after her, scattering nearby twirls.\n\nInevitably the guards appear. You let them take you, explaining that you aren't mad--you can imagine a lot of men in your position would be, but you are quite sane. You've never done this kind of thing before. You really are sorry. You'll pay for the cost, and the mess. If it helps you'll apologise to the brunette. Wait... they're not listening.\n\nYou end up speaking to a balding man who is really very intellectual--you know the sort--and he agrees, you are very sane. He agrees, love is a dangerous thing. It burns just as many as it warms. He agrees. Tired of his stating the obvious, you stop listening.\n\nOne more story over. And yet...\n\n> You jump\nStaring at the gnocchi you feel a memory slowly, awkwardly, awfully rise to the surface.\n\n--The scooter driver looks surprised. You grab for Clare and jump to the side--bounce across the road, scrape your head--\n\nScuffed and light headed you open your eyes... your hands are empty--Clare is a few metres away, lying awkwardly. Splattered with a thin red liquid, reflecting the scooter's bright red paintwork.\n\nThe scooter skids--you jump. You are in the supermarket. Your hands are empty, sweaty.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You kill the macaroni\nMaybe if you had ordered macaroni rather than gnocchi on that last night she wouldn't have left you. But you couldn't have helped that, really. I mean, you don't even like macaroni. So it's not your fault. If you don't like macaroni she couldn't have expected you to order it. So who's fault is it? Not hers--you both agreed it was no one's fault; people fall out of love. No, not anyone's fault. Something's fault. Pasta. How stupid does that sound? The macaroni's fault.\nStupid but true.\n\nYou rake a shelf of the bags onto the floor; long packets of spaghetti, small papery bags of macaroni, big sacks of penne. As they hit the floor you stamp. The bags split like bruised fruit and\nspill their contents across the floor. The shells hop and skid as you crack and squash them under your feet. The brunette turns, a worried glance back, and then scurries on. You kick a few stray bows after her, scattering nearby twirls.\n\nInevitably the guards appear. You let them take you, explaining that you aren't mad--you can imagine a lot of men in your position would be, but you are quite sane. You've never done this kind of thing before. You really are sorry. You'll pay for the cost, and the mess. If it helps you'll apologise to the brunette. Wait... they're not listening.\n\nYou end up speaking to a balding man who is really very intellectual--you know the sort--and he agrees, you are very sane. He agrees, love is a dangerous thing. It burns just as many as it warms. He agrees. Tired of his stating the obvious, you stop listening.\n\nAnother story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\nSay something, dammit.\n\n> You search her trolley\nYou glance over at the brunette's trolley. It is almost full--a cursory survey shows it to be mostly full of fresh produce and healthy food. The quantities suggest to you that, like yourself, she is cooking for one. Her choices though, seem to show a genuine love of food. Eating for her is not a burden. You almost feel humbled as you continue filling your trolley with the kind of easy, dull food that you have become accustomed to.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You search the woman\nYou stare at the woman. She is about your height, maybe even a little taller. And beautiful too, with superb hair. Strange; you haven't thought that about a woman for a while. Not since Rome.\n\nYou continue to stare at her. You wonder if she is called Clare.\n\nThen she moves on to the next aisle. You grab a bag of pasta--penne--and carry on with your shopping.\n\nOne more story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You call Clare\nYou lean round the end of the aisle, \"Clare?\" Again, louder: \"Clare?\" She walks into the aisle, \"Yeah?\" You take her hand and walk her along to the gnocchi, \"Look, gnocchi, like in Rome--I've never seen it in the shops before.\" She picks up a packet and drops it in the trolley. \"Get some for tea then?\" she offers, pecking you on the lips.\n\nYou have some for tea and it's like Rome, except: it's colder, you have work tomorrow and you're even more in love than you were\nthen.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You find Clare\nYou scoot round the corner of the aisle. Sure enough there she is, looking through the magazines. You pull up behind her and slide and arm round her waist. She laughs, \"Get off! We're in public.\" You pull out a packet of gnocchi from behind your back, \"Look what I found.\" She smiles, \"Gnocchi? Like in Rome. How sweet!\" Then she starts to walk off, \"Come on, we've got to be out at eight and we've still all the shopping to get done, and tea to cook!\"\n\nYou turn the trolley and catch up with her.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You hit the shelves\nShelves. Like little prisons. Tempting you with their goods.\nBastard shelves. You grab hold of a shelf and pull it off the backboard, shedding its contents across the floor. You tug at the backboard itself and the whole unit falls down, crashing and spilling.\n\nTwo security guards come running up the aisle and grab you, pushing your arm into your back.\n\nThe police come and it's the usual cycle of recrimination, them telling you what is wrong with you. How do they know? They\ndon't know what it was like.\n\nYou miss another ten years.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the jail\nYou look down the aisle and imagine it empty, smaller and with doors at either end.\n\nRemember the institution?\n\nThey taught you to think differently. They told you that you had forgotten--but the red smile still haunts you. What they really made you forget was the guilt... that was what hurt the most. She made you feel guilty in her life and her death. But you forgot that.\n\nYou'll never forget the smile; the smiles you gave her. Bloody lips all over her body.\n\nBut that doesn't bother you, much... On with the shopping!\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You take all\nYou can't use 'all' in this game. Refer to individual items.\n\n> Pray\nYou've prayed before--to no avail. But again you drop to one knee and close your eyes.\n\n\"Please God. Please God. Please God. Please..\"\n\nYou stop--you know there is no point. You have sinned. You have been sinned against. It is too late. Best just go home and await judgement. Which you do.\n\nA story finished. But there are others...\n\n> You remove the clothes\nNow what she doesn't realise (and a lot of people don't realise this) is that you look bloody good for your age. Anyone can look good in a shirt and trousers. But you actually look good. Especially\nfor your age. You pull your jumper over your head and throw it to the floor. A few tugs and your shirt crumples around your feet. You kick off your shoes and bend down to remove your socks. You look up to see the brunette, shocked and intrigued. With a deft flick your belt snakes out of the hooks on your trousers. Your trousers fall and you stand, pink and hairy in the middle of the aisle. The brunette puts a hand to her mouth.\n\nYou take a hand to your balls, cupping them and displaying your penis. \"Pretty good, eh? For my age?\" You perform a little twirl, \"You wouldn't give up on this would you?\" The squeak of shoes behind you makes you turn to see several security guards coming at you from the direction of the checkouts. You stand your ground. As the men circle you they grab you reluctantly, careful where to put their hands. One of them scoops your clothes up and forces you into your trousers. \"Stupid old perv,\" offers the fattest of the guards, avoiding your eyes. They drag you to the front of the shop (the police are on the way, you are informed). As they take you past the queues at the checkout you turn to confront your audience, \"You want some? You all do!\" Catching a glimpse of your reflection in the automatic doors you smile--you'll never lose your smile.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You look at the markers\nEach aisle has its marker, hanging above it on a long rail. You look at the sections; dairy, bread, meat, fish, sweets, alcohol, toiletries, frozen. Hard to decide which aisle you belong in. Before you met Clare you were meat. Raw, unfocused, a bit simple. With her you were promoted to a more civilised taste; sweets, alcohol. You were intoxicated, she was sweet. Meat was always wrapped in a puff pastry, or swamped in a pasta sauce. Never crude, raw, bloody... Now--well, now you're back to meat again. Except this time, you're frozen. If someone hit you hard enough you'd smash into hundreds of icy pieces.\n\nA story finished. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You hit yourself\nYou look at the gnocchi--Looks the same as the gnocchi that you and Clare had the night before she left you. Rome; the most romantic city in the world and she left you there. Why? Who? Why? You ask\nyourself the questions with your fists. You tear out your hair and punch your face. You run out of the store and drive home.\n\nLater you lie in bed, questions tattooed across your body in bruises--no answers, just pain.\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the mother\nYou can't remember yourself..\n\n> You kill yourself\nYou look at the gnocchi--Looks the same as the gnocchi that you and Clare had the night before she left you. Rome; the most romantic city in the world and she left you there. Why? Who? Why? You ask\nyourself the questions with your fists. You tear out your hair and punch your face. You run out of the store and drive home.\n\n> Phone mother\nLater you lie in bed, questions tattooed across your body in bruises--no answers, just pain.\n\nAnother story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Punch floor\nThere seems little point in attacking that.\n\n> You eat the macaroni\nThe pasta is a seething mass of off-white food. You tear at the plastic bags until the curls and tubes and twists and shells cascade onto the floor and into your hands. Scooping up a collection of different shapes you cram the pasta into your mouth. It is dry, it is hard. That's what your body is saying. But you learnt something a while back--that your body (your eyes, your hands, your\nheart) isn't always right. No, you've learnt to listen to\nyour mind. And your minds says: soft, warm, slightly salty pasta. Tangy sauce. What a feast!\n\nThey spoil your fun, they take you away--or so your body says. Your mind knows better; you're still in Rome eating pasta, drinking wine--everything is fine.\n\nAnother story done. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You throw Gnocchi at woman\nYou pick up a packet of the gnocchi and watch it trail through the air, bouncing awkwardly off the brunette. Caught unawares, she drops the jar she is holding which shatters on the floor, leaving a puddle of grainy red. She stares, red-faced, in disbelief. You hear the soft crunch of leather boots behind you and turn to face a middle-aged security guard. You feint to the left then run to the right, out of the exit and to your car. As you pull away with a badly clutched roar, you shout out of the window \"She had it coming--bitch!\"\n\nOne more story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You go to the next aisle\nNope--Gnocchi is not on the list. You push the trolley forwards, moving round the brunette and continue your shop.\n\nOne more story over. Not the only one...\n\n> You throw the macaroni at woman\nYou pick up a packet of the macaroni and watch it trail through the air, bouncing awkwardly off the brunette. Caught unawares, she drops the jar she is holding which shatters on the floor, leaving a puddle of grainy red. She stares, red-faced, in disbelief. You hear the soft crunch of leather boots behind you and turn to face a middle-aged security guard. You feint to the left then run to the right, out of the exit and to your car. As you pull away with a badly clutched roar, you shout out of the window \"She had it coming--bitch!\"\n\nA story finished. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You throw the trolley at the woman\n(your trolley at the brunette)\nYou pull the trolley back a few inches then run it forward, releasing your hands and watching it whirr towards the woman. She stands oblivious to the trolley.\n\nAt the last moment it curls to the left and impacts with the shelves, sliding into the women's calf. She lets out a yelp and jumps back, falling to the floor. Jars of sauce cascade down from the shelves, littering the aisle with glassy, red splotches.\n\nThe woman gets to her feet, her hand going to her leg which is bleeding. Kind of reminds you of something, but you don't feel guilty! Uh-uh. You run out to the exit, dodging past the overweight security guard, and jump into your car. Hitting the gas you squeal out into the night, a faint remembrance sliding in through the window \"Shame she had to bleed so much, but that's what happens when you take liberties..\"\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You read the list\n(in your trolley)\nYou discover nothing of interest in your trolley.\n\n> You eat the trolley\n(your trolley)\nI can't see why you would want to eat that.\n\n> You die\nAre you sure you want to quit?\n\n> Dance\nDance? You put a spring into your step and hop to the slow swing of the Muzak. You're in a surprisingly jovial mood... But you do stop yourself before you make a scene... Thinking back it was probably her, Clare, who made you care less what people think--I mean what is wrong with a little dance if you feel like it? That's one of the things you'll remember her for.\n\nA story finished. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You hit yourself with the trolley\n(your trolley)\nYourself? That doesn't make sense.\n\n> You hit the trolley with yourself\n(your trolley with yourself)\nFutile.\n\n> Go north\nNope--Gnocchi is not on the list. You push the trolley forwards, moving round the brunette and continue your shop.\n\nAnother story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You hit the trolley with Gnocchi\n(your trolley with the gnocchi)\nFutile.\n\n> Go south\nNope--Gnocchi is not on the list. You turn the trolley round and head back to the previous aisle. You're sure you forgot something?\n\nWhatever it was you can't remember and you scoot back to the pasta aisle. The brunette has gone and the aisle is empty. You grab some cheap pasta and carry on shopping.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You talk to the woman\nYou walk over to the sauces. You clear your throat.\n\nShit, how long has it been?\n\nYou begin, \"Hi. Hello?\" She looks at you, then turns with an \"Er. Hi,\" hoping you will go away.\n\nSo hard, almost like a different species.\n\nYou continue, \"How are you?\" Again she is dismissive, \"Sorry, do I know you?\"\n\nWhy start again now?\n\n\"No. No. I just wondered--Oh never mind.\" You turn and walk back to your trolley.\n\nYou hear her scurrying on to the next aisle and wait for her to get ahead before you continue. So long since you spoke to a woman. Since you spoke to anyone. You push the trolley on.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You wake up\nYou are already fully awake.\n\n> Sleep\nYou pick up a bag of gnocchi and turn it over. The doughy balls weigh heavily in your hands and tiredness seeps up your spine, casting a blanket over your brain. Your eyelids sink and your head lolls. It's time for sleep.\n\nIn the grey dusk twilight between sleep and consciousness images float across your eyes; gnocchi, women, a woman, statues, a slow motion crash of flesh on scooter. Your head jumps with a start. The veil is lifted. You're hunched over your trolley in the supermarket aisle, your cheek hot where it has been resting on your arm.\n\nYou really need to get some sleep but it's so hard to sleep with the dreams (the doctor said it would help to call them 'dreams' not 'nightmares').\n\nAnother story done. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You get in her trolley\nYou run up alongside the brunette and leap onto the trolley. She jumps into the shelves, shocked. The trolley skids, spinning round and out of the aisle. As it turns, the wheels lock and it turns onto its side, pulling you over with it. You hit the floor with a jolt, pain shooting up your elbow.\n\nYou climb to your feet, the brunette running over to you. Her shock has turned to anger and she looks at you, red faced, and with piercing eyes--\"What the hell were you doing?\" She raises a hand and you block as she slaps at you. With your hands above your head, you are chased out of the supermarket by the angry stranger.\n\nOnce you are outside she withdraws back into the warmth, a few choice phrases fired out as she goes. You cower for a while then trudge over to your car. As you are pulling out onto the main road a couple of security guards come running up to you. You leave them standing on the pavement as you pull out quickly and speed off into the night.\n\nA story finished. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\nSay something, dammit.\n\n> You take her trolley\nYou jog up to the trolley and grab onto it with a hand. Putting a foot on the back wheels you pull it over--the contents bounce across the aisle, the metal crash of the trolley resounding round the aisle--\n\nThe brunette spins round, \"Shit!\" You give her a menacing glare--\"You don't need all that food! Where you're going--\" A crushing blow from behind knocks the words out of your mouth. You fall to the floor, landing sharply on the contents of the brunette's trolley. A man stands over you. He has an arm round the woman, \"You alright, Kate?\" She nods.\n\nThe man offers you a hand and pulls you up. When you are on your feet he releases your hand and steps back. Bef"
    },
    {
        "text": "ore you get a chance to dodge, his fist smacks into your face--\n\nUnder the advice of a lawyer you decide not to prosecute; apparently it might require you to undergo another psychiatric evaluation. Probably best--just let it go.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the scooter\nThe accident. You had joked about the traffic, over the previous days. There is something about scooters and Italians that is comical. But the thin veneer of blood soon takes that away. You can't remember much more than the skid, the collision and the shock. Friends and relatives organised everything--getting the body flown over, the police, the papers, etc. Gave you room to grieve. But you'll always remember the way the scooter flicked her into the air as if she were a feather. And the way she fell as if she were lead.\n\nShopping doesn't seem so important--well, still as important, just not as easy.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the accident\nThe brunette looks confused when you start talking, but you continue, \"Please hear me out. I need to tell someone.\" She shifts uneasily on her feet. You go on, \"See the gnocchi over there,\" you point to the pasta shelves, \"it's triggered some nasty memories. I can't keep them to myself. The story goes like this: young lovers, very much in love, go to Rome for a summer holiday. On the last night they have a candlelit meal besides the Pantheon. Gnocchi was the second course. The next day a scooter hits Clare--she was one of the lovers--and takes all the life out of her.\" Her eyes flick to the floor, \"I'm so sorry.\" You smile, \"No one's fault. That's what it means, 'accident'--no one's fault. Not so bad really, thanks. Bye.\" You stroll back to your trolley, sorry that you had to include someone else--selfish really, but you doubt she was really listening. Probably thought you were some kind of crackpot.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Propose to woman\nYou're tired of playing around with girls, getting tired of casual sex. Maybe time to settle down?\n\nYou were going to settle down all that time ago (four years now?) with Clare. Even had the ring. So the key this time is to be careful who you choose--and anyway, last time you were too young. Now you have experience on your side.\n\nYou've always thought that there is no point putting in unnecessary effort, and right in front of you is a beautiful woman--mature, sophisticated and intelligent. Leaving the gnocchi you walk over and drop to a knee. \"Will you marry me?\"\n\nShe looks down, laughing, \"What?\". You repeat yourself, \"Marry me.\"\n\nNow she looks confused, \"Get away!\" Again you repeat \"Marry me.\"\n\nShe looks less amused now, \"Piss off.\"\n\nYou're not stubborn and you know when you're beat. So you stand up and walk back towards your trolley. You spend about twenty minutes finishing the shopping and wheel up to the checkout. The woman at the checkout beeps all the goods through. She looks up with a smile and asks whether you have a store card. In response you drop to a knee (your face almost disappearing behind the sill of the counter) \"Will you marry me?\"\n\nA story finished. But there are others...\n\n> Dance with woman\nThe Muzak informing your movements you waltz on over to the brunette, your hips rocking to the soulful sounds... As you approach you allow your legs to pick out a jaunty rhythm from the music and strut. \"Fancy a dance?\" sounds like a reasonable question as it leaves your lips. But from the look on her face you'd have thought you asked for something a lot more, well, naughty. She furrows her brow, \"I'm sorry?\" You wiggle your hips, \"Come on--a dance? Shake your bones--\"\n\nWhoops. That doesn't mean to dance does it? I think you just alluded to the naughtiness you didn't intend... perhaps that was your intention all along... and she saw through you. Damn. Why do women always get that five minutes head start on you? You grab her hand and with a goodbye kiss to her knuckles you depart, \"Ciao!\"\n\nAnother story done. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Wave\n(at the brunette)\nIf she would come over then you could chat and get to know each other--hey come over, baby. You wave enthusiastically. She doesn't acknowledge your wave; either she hasn't seen you or she doesn't want to see you. More waving, this time with both hands. \"Hey! Over here!\" Now she must be ignoring you, and she's doing a damn good job\nof it. One last, desperate wave... no, she's gone.\n\nYou've been here before, haven't you?\n\nA cool breeze whips droplets up off the waves and wets the air. The river Tiber. You had assumed that the Tiber would be to Rome what the Seine was Paris; the perfect place for a romantic stroll. The reality is a grafitti'd, dirty stink. A green, thick streak through the city. The evening was going badly as it was, after the argument at the restaurant, and this fetid river has only made it worse. Clare is walking ahead of you, defiant strides putting distance between you. You wave, \"Come back....wait...\"\n\nOne last, desparate wave... no, she's gone.\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You wait\nYou pause, the gnocchi still in your view. Rome. Rome. \"When in Rome...\" Clare.\n\nYou slowly let an image form in your mind; the metro, busy--packed with Italians and heat. Sweaty, close heat. And her hand in yours--hot, sweaty and easy to hold. The train slows,\n\n\"Termini. Termini.\"\n\nTermini station; the end of the line. The train slowly pulls into the station.\n\nYou slowly begin to push your trolley to the next aisle.\n\nA story finished. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember rome\nRome.\n\nYou pick up the Gnocchi and stare at the illustration of Piazza Venezia on its packet. You remember; sun, heat, food, pasta, sauces, wine, love, ancient, modern, Italians, Americans, love. And ultimately pain. A pain you had thought you had forgotten. But like a cancer returning to wreak havoc again, the pain resurfaces and tears through the thin barriers you had erected. Tears flow. Memories; guilt. And finally acceptance. You live with it.\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about the rome\nYou draw your trolley alongside the brunette. Clearing your throat, you introduce yourself. She asks what you want. \"Sorry, yeah, I just wanted to know. Have you ever been to Rome?\" She thinks, \"No. I've never been to Italy. My husband suggested Rome, actually, for our holiday this year. What's this for--is it some consumer survey?\"\n\nYou chuckle. \"Well, I'm a consumer and I'm asking a question. So maybe.\" She smiles, \"Is that it?\" You nod, \"Yeah, that's it. Thanks.\"\n\nYou walk back towards your trolley, \"Oh, one more thing--don't go to Rome with your husband. Try Paris instead.\" Wish I had...\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the suicide\nThe sound of the door as you opened it, drawing against the wet floor. That is what you remember. Water is harmless. But what you don't remember: the bath, her body in the bath. The blood--the blood swirling with the water and lapping at your feet, how it was all so Clare--such a romantic idea of suicide, the bath overflowing as her life-blood left her. The way her head was lolling against the side of the bath, staring at you when you walked in. The porter had never seen anything like it before.\n\nHad she planned this all along--was the holiday a framing device for her carefully staged exit? Or did something click whilst on the holiday? There were no signs. You've told everyone that. There were\nno signs. She was perfectly happy. Perfectly happy.\n\nAnd now, it's all so long ago, and you're perfectly happy too.\n\nOne more story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You cry\nYears of loneliness condense into the innocent, floury white buds of gnocchi. Your knees weaken and you drop to the floor, salty tears running in streams down your face and dripping off your chin.\n\nWhen the tears abate, you get to your feet. You've come to realise that there will always be tears.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the suicide\nYou walk up to the brunette, leaving your trolley adrift in the aisle. \"Hi.\" She turns to look at you, a smile on her face. The smile drops as you recount the shock and the pain and how the thing you remember most was the noise as you opened the door and the blood and water lapped around your feet. Then you stop speaking and her expression turns from shock to pity. She puts and arm around you and says how sorry she is. But that's all she can do, and she leaves you.\n\nThe brunette must have said something to someone because after a few minutes a small, kind-looking lady comes up and takes you to the supermarket cafe. She gives you a cup of tea and a small muffin. It's a nice gesture, but only reminds you of the breakfast you had minutes before you discovered Clare. The tea is warm, almost body-temperature. You sense that the staff are worrying now--the presence of a grown man crying in their cafe cannot be good for business. You go before they have to ask you.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You look under the cart\n(your trolley)\nI don't think there will be anything special under your trolley.\n\n> You go home\nYou turn the trolley round and head to the checkout. You unload onto the conveyor and the cheerful young girl in plain uniform blips everything through her scanner.\n\nA friendly young man packs everything into bags and you wheel them to your car. You unload into your boot and drive home. The roads are quiet.\n\nOne more story over. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about the home\nYou walk up to the brunette with the question on your lips. But as you near her, the question seems to slip away, ducking out of sight. It had something to do with the home... The brunette turns round, sensing your presence, and makes eye contact. You blush and turn back quickly. With sweaty palms you grab a few bags of pasta and hurry on to the next aisle.\n\nOne more story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember institution\nYou look down the aisle and imagine it empty, smaller and with doors at either end.\n\nRemember the institution?\n\nThey taught you to think differently. They told you that you had forgotten--but the red smile still haunts you. What they really made you forget was the guilt... that was what hurt the most. She made you feel guilty in her life and her death. But you forgot that.\n\nYou'll never forget the smile; the smiles you gave her. Bloody lips all over her body.\n\nBut that doesn't bother you, much... On with the shopping!\n\nOne more story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the institution\nYou scurry up to the brunette. \"Excuse me--I probably ought to tell you this, now rather than later\", she looks confused and you continue, \"but I am a murderer. All very complicated complicated stuff--but basically I killed my girlfriend (my lover) and well I am over it now so there is no problem there but like I said just thought I would say..\"\n\nWith that off your chest you continue on your shop.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You invite the woman home\nYou leave your trolley and walk up to the brunette. She turns to you and you smile, \"Come with me! I'll show you a good time. I promise. I'll buy you a meal, we can go on holiday! Just come with me.\" You put out your hand. She makes no move to take it. \"Come on! Let's go. Come with me...\" She's looking alarmed now and she starts to walk away.\n\nShe didn't want to come with you? Well, at least you asked. No harm in trying.\n\nAnother story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with\nsauces.\n\nSay something, dammit.\n\n> You listen\nYou stand and listen; just the sounds of a supermarket. Trolleys, packets, boxes, people shuffling. And the beep beep of cash\nregisters.\n\nYou've heard it all before, nothing to worry about. You continue with your shopping and drive home.\n\nAnother story done. But then...\n\n> Smell woman\nYou draw alongside the woman and inhale. She is draped in a perfume that combines fruit, alcohol and spice. You let the scent fall slowly down your throat, and allow yourself to wonder what the rest of the brunette smells like.\n\nBut you really aren't the type of person who could find out and so you trot back to your trolley and continue with your shop.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Smell\nYou stand and draw in air through your nose. Cleanliness, suggestions of spice drifting in from somewhere. And a hint of perfume hanging in the air. Is the perfume with you? Is it a reminder of what was here? A taster for what is to come?\n\nOr is it just here to taunt, with its promises of intimacy and sex?\n\nYou exhale and move on.\n\nAnother story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Smell Gnocchi\nYou try to smell the gnocchi, but it is contained in its plastic bag and gives only an impression of chemicals. Dissapointing.\n\nYou dismiss the gnocchi and carry on shopping.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You think\nYou'll have to say what you want to think about.\n\n> You think about dinner\nYou remember the meal like this: Clare sat opposite. It was warm but an evening breeze took the uncomfortable edge of the heat. You ordered and the food took a while to come. The wine made your face red. You walked back after the meal via the Spanish Steps. You sat amongst the crowds until the police moved you on so that they could wash the steps ready for the tourists in the morning. You strolled back to the hotel down backstreets, past the four fountain junction; a crossroads with fountains built into the houses on each corner. You knew from experience that the water in them was ice cold, even in the afternoon heat. You ran a finger through the water as you walked past and wiped it on your trousers before taking Clare's hand in yours. Which seems like a good place to end.\n\nA story finished. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You give Gnocchi to the woman\nYou scoop a packet of gnocchi off the shelves and run over to the brunette. \"Hi. Take this!\", you chuck the gnocchi into her trolley. She squeaks, \"What? Sorry, I don't want any, thanks.\" She takes it out and passes it back to you.\n\n\"No. No. Take it--\" You put the gnocchi back in her\ntrolley. She looks exasperated, \"No, please--I don't want it. Thanks.\" Well, what can you say? You can take a horse to water, but you can't make it drink. You take the gnocchi and pad back to your trolley, shouting back \"It tastes really nice--\" You stop; she's gone.\n\nYou take the gnocchi for yourself and finish shopping. When you get back home (traffic is awful) you put on the hob and start boiling the water. You chuck the gnocchi into the pan and walk into the lounge. Flicking on the TV you sit down and start watching the news.\n\nYou wake up, lips moist with dribble, and a numb arm where you slept on it. You jump up and run into the kitchen. Aw, shit. The pan has boiled dry, and the gnocchi is smoking. You sprint to the window and try to lift it open, but too late--the smoke alarm sounds: Beeeee-eeee-eeeee-eeee-eee-eeee.\n\nLater on you sit in the lounge again, a plate of burnt gnocchi in your lap. You stab a small fluffy (blackened) bud and swallow it.\nYum. It tastes really nice.\n\nOne more story over. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You give the sauce to the woman\nYou grab some bags of macaroni and walk over. You chuck them into the brunette's trolley. Then a few jars of sauce. She turns, her face a map of disbelief, \"What are you doing?\"\n\nYou don't get it. You're just helping her with her shopping, \"I was... just trying to help. Helping with your shopping...\" She pushes you away, \"Get off! Leave me alone!\" You stand back, \"Sorry...\"\n\nYou walk back to your trolley, \"If you do need my help--just ask.\" God, next time you won't bother. What is it with people?\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Dream\nDay dreaming. It's like that thing about the butterfly--you know, the man dreams about being a butterfly, but is he a man dreaming of being a butterfly or a butterfly dreaming about being a man dreaming about a butterfly? You spend some much time dreaming, more than not in fact. So, as I'm sure you realise, the fact that you are dreaming now is not strange. And what are you dreaming?\n\nand you show her some gnocchi and then you eat it and live happily ever after.\n\nPretty shit, yeah? But no-one said your dreams had to be works of art.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the illness\nYou slowly pad up to the brunette. She turns, you speak \"Sorry to bother you, but I really need to speak to someone, right now.\" She looks empathetic and you continue, \"A few years ago the love of my life, Clare was her name, she died very suddenly and in real pain. The thing is, well, she is out of her misery. But I'm not--we had gnocchi the night she died--\", you point to the bags of gnocchi on the shelves, \"and it's all coming back to me. I just need to talk---\"\n\nShe smiles a sad, caring smile, \"Do you want a cup of tea, love?\" She takes you to the cafe and you sit (you have cake as well as tea) and she lets you talk.\n\nWhen you finish you wish you had done that sooner. The pain is still there, but now you have some power over it.\n\nOne more story over. But then...\n\n> You ask the woman about herself\nYou smile, flash"
    },
    {
        "text": "your teeth, \"How you doing?\" The brunette turns, smiles politely, \"Fine, thanks.\" She pauses, unsure as to whether she should turn back to shelves or maintain eye contact.\n\nYou take the initiative, \"Shopping for one?\" She smiles, \"Yes. You're quite forward aren't you?\" You reflect her smile, \"Yes. But no-one ever got anywhere hiding under a bushel, did they?\" \"So you're not one to hide under a bushel then?\" \"When it's required, sure--\", you falter (think of something funny, sexy) and she steps in, \"Look I've got to get my shopping finished now, but I can see you for a drink later?\"\n\nYou smile again, \"Sure... you're being quite forward now--for\nall you know I could be a loon.\" She looks you up and down, \"No. I don't think so.\"\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about her day\nYou sidle on over.\n\n\"You look tired.\" She glances over her shoulder, \"Pardon?\"\n\n\"Sorry--didn't mean to be rude. I just thought you were looking tired--had a hard day?\" She smiles, \"I'd love to say no, but you're right--I've had a stinker of a day\", again she smiles, \"and now I'm being chatted up by a loon in the supermarket. When all I want to do is get home and put my feet up.\" You give a mock look of upset, \"I'm no loon!.. Put your feet up you say? Well, four feet are better than two--\"\n\nShe interrupts, \"I'm going to have to stop you there, Mr. Supermarket smooth. You're a nice guy--well I don't know, but you seem nice--so I don't want to disappoint you. I'm not into men so much, you know?\" You shrug, \"...I could watch?\" She groans and rolls her eyes to the heavens. You turn, taking a coin from your pocket and tossing it. For every tail there's a head. It's just a matter of numbers, and yours will be up soon. Till then just keep on trying...\n\nAnother story done. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember illness\nYou remember the one thing you didn't want to remember. Your\nlast meal with Clare. She was in bed, pasty white and crumbling. She wanted something nice for her last meal and so you got some\nspecial Gnocchi brought up by room service. But she couldn't eat it and she dribbled, and couldn't swallow. And she couldn't even cry--nor could you, you had to be brave. But you don't now. As the memory opens up, the lock in your tear canal slowly eases open and there is release.\n\nAnother story done. Then again...\n\n> Undress\nTucking your toe under the hem of her dress, you flick it up. She spins round, clutching at her clothes, \"Hey!\"\n\nYou back off, arms raised in an apologetic gesture, \"Sorry. Sorry. Just thought you might like to slip into something a little more... comfortable?\" She gives a look of incredulity, \"What?\" You move nearer, again, \"Look--don't fret just get undressed. Come on\nslip out of that dress--what's wrong? You not got any underwear on? No, you have--I can see it now: Sexy black lingerie,\nclutching you tightly. Your bra only separated from your breasts by a layer of perspiration--\" She slaps you, spitting \"Jesus Christ. Go take a cold shower, get some fucking help!\" as she strides off to the next aisle, leaving you giggling. Ha! She didn't guess. She didn't realise that is was you wearing the sexy black lingerie.\nThe best Italian suspenders. Only the best next to your skin.\nBaby soft skin. Clapping your hands together you trot back to the trolley. Gnocchi for two? You'd like that wouldn't you Clare?\nI sure would, Clark. Sexy bitch!\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Frown\nYour brow becomes furrowed, sporting a frown. You don't like it when you are forced to think about Rome, and more specifically Clare. She seems to be getting along with it--she's been with her new boyfriend for ages now (you can't stand him) and she seems fine talking to you. But you would much rather just, well, not keep in touch. It just keeps the wounds open...\n\nThe frown follows you around for the rest of the shop (you feel sorry for the checkout girl--she gets a particularly severe look, no fault of her own) and spend the rest of the evening in a really dissatisfied mood.\n\nAnother story over. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You ask the woman about yourself\nShe looks at you, \"Sorry?\" You blush, \"Oh. Oh. Nothing.\" You quickly turn round and wheel your half-full trolley to the checkout. Then home.\n\nA story finished. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You call Clare\nYou lean round the end of the aisle, \"Clare?\" Again, louder: \"Clare?\" She walks into the aisle, \"Yeah?\" You take her hand and walk her along to the gnocchi, \"Look, gnocchi, like in Rome--I've never seen it in the shops before.\" She picks up a packet and drops it in the trolley. \"Get some for tea then?\" she offers, pecking you on the lips.\n\nYou have some for tea and it's like Rome, except: it's colder, you have work tomorrow and you're even more in love than you were\nthen.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Pray\nYou've prayed before--to no avail. But again you drop to one knee and close your eyes.\n\n\"Please God. Please God. Please God. Please..\"\n\nYou stop--you know there is no point. You have sinned. You have been sinned against. It is too late. Best just go home and await judgement. Which you do.\n\nA story finished. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You call the security guard\n\"Help! Security!\" A balding man in his forties, squeezed into a blue uniform appears at the bottom of the aisle. \"Can I help you sir?\" You run to him. Pull him close. Whisper in his ear: \"You see that woman?\" \"Yes, sir\" \"She just raped me.\" \"I don't quite understand sir?\" \"She is stealing all your food!\" \"Calm down sir, speak slowly\" You raise your voice, \"I will not be quiet! It's your job--stop her!\" The guard pauses. You make a dash for the woman, \"If you won't do your job, then I will--\" He is too quick for you and hooks a foot around your leg. You crash to the floor and black out, the guard's words dragged with you into oblivion, \"I think you ought to come with me, sir.\"\n\nA story finished. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Empty trolley\n(your trolley)\nYou look into the trolley; meals for one, toiletries for one--everything for one. You tip the trolley on to its side and\nit sheds its contents. A bottle smashes and wine spills onto the floor. The brunette hurries on nervously and you kick a can down the aisle. Then you leave into the night.\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Empty woman's trolley\nYou jog up to the trolley and grab onto it with a hand. Putting a foot on the back wheels you pull it over--the contents bounce across the aisle, the metal crash of the trolley resounding round the aisle--\n\nThe brunette spins round, \"Shit!\" You give her a menacing glare--\"You don't need all that food! Where you're going--\" A crushing blow from behind knocks the words out of your mouth. You fall to the floor, landing sharply on the contents of the brunette's trolley. A man stands over you. He has an arm round the woman, \"You alright, Kate?\" She nods.\n\nThe man offers you a hand and pulls you up. When you are on your feet he releases your hand and steps back. Before you get a chance to dodge, his fist smacks into your face--\n\nUnder the advice of a lawyer you decide not to prosecute; apparently it might require you to undergo another psychiatric evaluation. Probably best--just let it go.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You find Clare\nYou scoot round the corner of the aisle. Sure enough there she is, looking through the magazines. You pull up behind her and slide and arm round her waist. She laughs, \"Get off! We're in public.\" You pull out a packet of gnocchi from behind your back, \"Look what I found.\" She smiles, \"Gnocchi? Like in Rome. How sweet!\" Then she starts to walk off, \"Come on, we've got to be out at eight and we've still all the shopping to get done, and tea to cook!\"\n\nYou turn the trolley and catch up with her.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You follow the woman\nYou stand by the gnocchi until she starts to move off. Then you walk in step with her, cornering the aisle a few metres behind her. She stops to put something in her trolley, and you pull up across the aisle. This goes on for a few minutes.\n\nYou come to a point where you are straddling the line between following an attractive woman and stalking one. You decide to stop, and recommence your shopping.\n\nWhat made you follow her in the first place--sure she's attractive, but... Maybe there was something about her that rang a few bells. A dulled romance in the far reaches of your mind, reawakened, reborn in a stranger? Best forgotten, eh?\n\nOne more story over. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You fill the woman's trolley\nYou grab some bags of macaroni and walk over. You chuck them into the brunette's trolley. Then a few jars of sauce. She turns, her face a map of disbelief, \"What are you doing?\"\n\nYou don't get it. You're just helping her with her shopping, \"I was... just trying to help. Helping with your shopping...\" She pushes you away, \"Get off! Leave me alone!\" You stand back, \"Sorry...\"\n\nYou walk back to your trolley, \"If you do need my help--just ask.\" God, next time you won't bother. What is it with people?\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You fill your trolley\nGrabbing some bags of Gnocchi you continue, whipping round the store in no time and filling the trolley. You have almost too much\nstuff. You pay for it--it comes to a tidy sum--and wheel the bags out to the car. You pack the boot and drive out onto the road. When you get back home you spend a while emptying the car, carrying food to the flat and unpacking.\n\nThen you put on a meal, take a drink, sit back and relax...\n\nAnother story done. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You crack up\nFoam gurgles on the edges of your lips as you cease to monitor their output,\n\n\"GnocchiOh!Oh!GnocchideGato!Clare--je\nt'aime--Iwillalways\n\ngnocchignocchiWhereareyoUNOw? DiningwIThtHEwORmsinaNEARthy...paradiseOH! Claregnochignochignoggignokkkkkkkkkkkeeeee!\ngnocchigibber\ngnocchish. G'night!\"\n\nYou bow out without a fight--the right thing to do; just like she would have wanted--if only--right? But the train doesn't stop in time. Always comes back to the potato. He smiles, \"Gnog Gnog Gnoch pot pot.\"\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You jump\nStaring at the gnocchi you feel a memory slowly, awkwardly, awfully rise to the surface.\n\n--The scooter driver looks surprised. You grab for Clare and jump to the side--bounce across the road, scrape your head--\n\nScuffed and light headed you open your eyes... your hands are empty--Clare is a few metres away, lying awkwardly. Splattered with a thin red liquid, reflecting the scooter's bright red paintwork.\n\nThe scooter skids--you jump. You are in the supermarket. Your hands are empty, sweaty.\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Panic\nThe gnocchi sits smugly on the shelves. The brunette is either:\n\n(a) a spy sent by the hospital,\n(b) a friend of Clare's, intent on revenge,\nor,\n(c) your mother, in disguise.\n\nYou slowly start to back away, keeping your eyes on her. As you clear the end of the aisle, she turns, reaching into her jacket. You dive across the end of the aisle, scrambling to your feet and running towards the exits. You get to the doors, wait. After what seems like an age the automatic sensors concede and the doors slide open. You emerge into the car park. Shit.\n\nhere. You can't escape now.\n\nYou fall to your knees, a trolley-parker approaching--why are they being so blatant? They're normally so clever. They must know they have won.\n\nSweating in your skull, your brain decides that the best way to calm you down is to deny you consciousness. The world fades, blurry and greasy, the parker speaks--threatening code-speak--\"Sir, are you OK?\"\n\nAnother story done. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You talk to the self\nYou speak. Funny how talking to yourself seems like the right thing to do when you are in public.\n\nBut when you get home you know that it won't be enough. You'll want company--companionship. A companion. But you can't buy those in the shops.\n\nYou buy what you can and take it home.\n\nA story finished. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You laugh at the woman\nLook at her--she's ridiculous. She's--what--thirty? Forty? Old, anyhow. Yet look at how she's dressed... and the way she's spending so much time choosing a pasta sauce; does she think she looks cultured? She's not even much of a looker. Pretty funny actually. You laugh, loud--and so she know's it's her you're laughing at. Soon enough she totters off to the next aisle, red faced. Ha! Ha! People are so\nfunny.\n\nOne more story over. And yet...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember Clare's leaving\nYou remember the note, word for word:\n\n..I did love you once.. but have to leave you now.. hope you will get over it.. for the best.. there is not anyone else.. I'm sorry.. Clare.\n\nThe note answered no questions. It gave rise to far too many questions--and maybe it's time to either find answers or forget.\n\nYou finish shopping, go home and think.\n\nOne more story over. But there are others...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You tell the woman about the clare's leaving\nYou walk up to the brunette and try to tell her about the note, about Clare's sudden leaving. But the words fail to come, you can't\ndo this. So you do a quick about-turn and walk back to your\ntrolley.\n\nSome things just aren't meant to be shared. You trundle the trolley on, the hint of a tear sliding into the corner of your eye.\n\nAnother story done. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the meal\nYou remember the meal like this: Clare sat opposite. It was warm but an evening breeze took the uncomfortable edge of the heat. You ordered and the food took a while to come. The wine made your face red. You walked back after the meal via the Spanish Steps. You sat amongst the crowds until the police moved you on so that they could wash the steps ready for the tourists in the morning. You strolled back to the hotel down backstreets, past the four fountain junction; a crossroads with fountains built into the houses on each corner. You knew from experience that the water in them was ice cold, even in the afternoon heat. You ran a finger through the water as you walked past and wiped it on your trousers before taking Clare's hand in yours. Which seems like a good place to end.\n\nOne more story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember Pantheon\nYou remember the Pantheon. It looked so solid... it had stood the test of time. You were sure that nothing could be ephemeral after being near that. It was so beautiful, yet strong. Timeless. But you were wrong--it was the only thing that was so. Your life, your relationship, Clare.. all open to change, decay and collapse.\n\nThe image of the Pantheon in your head slowly sinks, failing to support you with its pillars. You move the memory aside, out of direct sight, and continue with the shopping.\n\nAnother story over. Then again...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the love\nRemember love? You don't even know what the word means any more. You need to find love again before you can remember it. Right now all there is is a dulled pain. And Gnocchi rubbing it in.\n\nAnother story over. Not the only one...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> You remember the day's work\nYour mind wanders over the day's work. Fairly usual stuff; Johnathon really pissed you off, taking your work, putting a cover on it and getting all the credit. But lunch was cool; Michelle and you had a fun chat about her new boyfriend over coffee. You pointed out that he was exactly twice her age, something she hadn't realised. Plus, you managed to get all the Longbridge account finished, which is a weight off your mind--\n\nA mental kick up the arse--stop thinking about work and get on with the shopping. Clare'll kill you if you're back late.\n\nA quick scoot round the rest of the supermarket--a full trolley--then, stepping on the gas, you arrive home just before seven. Clare opens the door to you, \"Ooh... home early? What have I done to be so lucky?\"\n\nA story finished. But then...\nLate Thursday night. You've had a hard day and the last thing\nyou need is this: shopping. Luckily, the place is pretty empty and you're progressing rapidly.\n\nOn to the next aisle.\n\nInteresting... fresh Gnocchi--you haven't had any of that since... Rome.\n\nThe aisle stretches to the north, and back to the south. The shelves on either side of you block your view of the rest of the supermarket, with only the brightly coloured aisle markers visible.\n\nYou have stopped your trolley next to the pasta section, bright plastic bags full of pale skin-tone shapes.\n\nThere is a brunette woman a few metres ahead, filling her trolley with sauces.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Eastern, fantasy, surreal, dragon, East Asian setting, strong NPCs]\n\nNo, not a prison, though stone stands around you, as expressionless as a mirror awaiting face and form; and in the silence you hear no plaint of flute or roar of gong, but instead the crash of porcelain shattering.\n\nMoonlight diffuses through the walls, tracing out unreadable sigils in calligraphies of light and dark. Stairs adorned with bas-relief motifs spiral downward.\n\nYou can see a porcelain mask here.\n\n> You look at the mask\nThe half-mask is the pale, almost bluish color of the finest celadon, cracked with uncanny precision down its axis of symmetry. The face in its blank, sculpted features has no more personality than new-forged steel. Half a mask, though--that must mean the left half is--\n\n> You take the mask\nTaken.\n\n> You examine the sigils\nA curious thing, that the walls' stones should admit moonlight. A half moon, you think, from the level of illumination: a moment's memory suggests nights spent campaigning beneath open sky, but is soon gone.\n\n> You wear the mask\nThe thought of putting this mask on suggests to you a disturbing question: how long have you been wearing porcelain as a face?\n\n> About yourself\nThe weight of armor and the breath of silk are familiar. Your face, though--when you reach up, it is porcelain that meets your touch on the left side, and you cannot remove it, though neither does it impede your senses. It seems the left half is a part of you, perhaps no more a mask than a hand is a glove...\n\n> You touch the face\nSave for the jagged edge, the mask is cool and glazed-smooth.\n\n> Break mask\nThis mask shattered once, and only once, in a terrible clean fracture.\n\n> Inventory\nYou can only do that to something animate.\n\nYou are carrying:\nhalf a porcelain mask\narmor and silks (worn)"
    },
    {
        "text": "[Themes: Eastern]\n\n> Go downward\nShadows gather around you. For a moment, dregs of light defined by the negative space take on the shapes of maple leaf, kite, comb, and other shapes that flicker across the walls too rapidly for you to interpret.\n\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You go to the west\nThe shapes of light you saw as you entered fade irrevocably.\n\nA single bronze gong hangs from its wooden frame in the room's center. There are also silk cushions arranged around the floor in a court ensemble's traditional half-circle, but no bamboo flutes or clay ocarinas, nine-stringed zithers or singers' unfolding fans, are in evidence. A mural that touches each wall in turn gives the room an illusion of greater depth.\n\nTwo entrances, one east, one north; the former is wrapped in shadow, the latter in light.\n\n> You look at the shapes\nTraced in light are leaf, comb, kite: a strange triad.\n\n> You take the leaf\nImprobable, despite the claims of certain scholars.\n\n> You look at the leaf\nAutumn is the maple's season, when all things die but fire and sun, pine and moon, last guardians before the door into winter and winter's snowlocked court. Once you knew a dark-haired woman who always wore red, gold and black, the maple's colors, even at the emperor's winter court, steadfast against the encroaching fashions of indigo or palest blue. She had a low ironic laugh, but she is lost to you....\n\nHere, surrounded by stone, shadow, light, there is no indication of the season.\n\n> You examine the comb\nThe comb has the curved, tortoise-shell shape that you have seen in years past--but is one of the teeth broken?\n\n> Yes\nThat was a rhetorical question.\n\n> You comb the hair\nWith what comb?\n\n> You examine the kite\nThere should be two kites, not one: brothers and sisters fly them as pairs during the kite-fighting auguries of spring. Alas, no wind stirs in this dustless place."
    },
    {
        "text": "[Themes: Eastern, East Asian setting, strong NPCs, dragon, fantasy, surreal]\n\n> Look around\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You go north\nThe shapes of light you saw as you entered fade irrevocably.\n\nBarren branches and pines suggest winter's quiet. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\nYou can see a tortoise-shell comb here.\n\n> You examine the compass\nThe compass is carved from a single piece of jade in which violet and green intermingle delicately; the cardinal directions--if such they be--are marked by hawk, swallow, crane and feather. More curiously still, the needle is of glass, suggesting that it homes to something other than the north. Perhaps you can set it yourself?\n\nThe needle points to the feather.\n\n> You turn the needle\nYou spin the needle, which settles at a random position. A tasseled fan appears upon the compass' surface. The needle points to the crane now. You hear a clear chiming sound as the garden's trees and flowers move subtly, obedient to this new season."
    },
    {
        "text": "> You describe your surroundings\nSummer's heady blooms are much in evidence. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\nOn the jade compass is a tasseled fan.\n\n> You examine the fan\nMore remarkable than the fan's intricate designs is the long blue tassel that trails from it. It is the kind of fan a lady might carry to cool herself during the summer's heat.\n\n> Wave fan\nYou look ridiculous waving the tasseled fan.\n\n> You open the fan\nThe fan itself is fixed, but as you look upon the tassel, it evokes the improbable memory of a kitestring tugging against your hand.\n\n> You throw the fan\nDropped.\n\n> You fly fan\nUpon what wings?\n\n> You think\nWhat a good idea.\n\n> Xyzzy\n(No Garden of Unearthly Delights, alas.)"
    },
    {
        "text": "> You describe your surroundings\nSummer's heady blooms are much in evidence. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> Go west\nIt seems this is a banquet room, if a banquet had no especial place for people to dine. Glassware and stoneware are arranged in deliberate shapes, as though they are constellations.\n\nSouth lies a chamber of brooding silence, and a vague, sweet fragrance comes from the east. Stairs of blackest marble lead downward.\n\nOn the table are a banquet of bones and some ivory chopsticks.\n\n> Xyzzy\n(Itadakimasu!)\n\n> You examine the banquet\nThe feast before you seems a mockery, for everywhere upon the plates and bowls there is nothing but skeletons artfully pieced together to create grotesqueries from ordinary game. A creature half-bird, half-rabbit, for one, or a pheasant with extra legs. Yet it is perhaps no more grotesque than some of the intrigues that poisoned the emperor's court, at times.\n\n> You examine the chopsticks\nThe chopsticks are pale, almost too slender for practical use, and perfectly matched, though one is carved with a dragon, the other with a phoenix.\n\n> You go to the south\nA single bronze gong hangs from its wooden frame in the room's center. There are also silk cushions arranged around the floor in a court ensemble's traditional half-circle, but no bamboo flutes or clay ocarinas, nine-stringed zithers or singers' unfolding fans, are in evidence. A mural that touches each wall in turn gives the room an illusion of greater depth.\n\nTwo entrances, one east, one north; the former is wrapped in shadow, the latter in light.\n\n> You examine the mural\nThe mural shows court ladies whispering to each other in a garden; men kneel to float folded-paper poems down the brook for them to read.\n\n> You hit gong\nIt rings a sonorous note. A faint shiver of music fades, awaiting instruction as to the proper piece to play. In the end, nothing remains but silence.\n\n> Go east\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You go to the north\nSummer's heady blooms are much in evidence. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> You go to the west\nIt seems this is a banquet room, if a banquet had no especial place for people to dine. Glassware and stoneware are arranged in deliberate shapes, as though they are constellations.\n\nSouth lies a chamber of brooding silence, and a vague, sweet fragrance comes from the east. Stairs of blackest marble lead downward.\n\nOn the table is a banquet of bones."
    },
    {
        "text": "> Go down\nAs your feet meet that first step, a sudden vertigo overtakes you, as though you journeyed through skies beyond imagining, across hollow and infinite distances. You emerge back where you started: it seems the night's hold is too strong here, and you must find some guide-star to anchor your way.\n\n> You examine the bones\nThe feast before you seems a mockery, for everywhere upon the plates and bowls there is nothing but skeletons artfully pieced together to create grotesqueries from ordinary game. A creature half-bird, half-rabbit, for one, or a pheasant with extra legs. Yet it is perhaps no more grotesque than some of the intrigues that poisoned the emperor's court, at times.\n\n> You examine the constellations\nThe arrangement is in the shape of the constellation known as the White Archer. Legend says that he shot his love, the Sun, out of the sky while hunting. For ten days and nights, the Sun hid her face from the world, and ever after, in penance, he exiled himself to the night, unable to see her; his faithful horse, the Moon, travels between them, bearing messages between the parted lovers.\n\nAs to how the Sun was brought back to the world by the phoenix--that is another tale.\n\nThis seems an ill-fortuned constellation to complement an ill-fortuned feast.\n\n> You examine the compass\nThe compass is carved from a single piece of jade in which violet and green intermingle delicately; the cardinal directions--if such they be--are marked by hawk, swallow, crane and feather. More curiously still, the needle is of glass, suggesting that it homes to something other than the north. Perhaps you can set it yourself?\n\nThe needle points to the crane.\n\n> You set the compass to the hawk\nThe needle points to the hawk now. You hear a clear chiming sound as the garden's trees and flowers move subtly, obedient to this new season."
    },
    {
        "text": "[Themes: Eastern, dragon, surreal]\n\n> Look around\nAutumn's fiery colors are evident in the trees and flowers around you. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\nOn the unliving trees is a folded maple leaf.\n\n> You examine the leaf\nThis cleverly-folded leaf stirs as though, in its secret paper dreams, it yearns to fly.\n\n> You fold the paper into the crane\nYou now have a sheet of red paper.\nI only understood you as far as wanting to fold the sheet of red paper.\n\n> You fold the crane\nThe crane: unlikely to yield in such a fashion.\n\n> You read the paper\nIt is hard to believe that this sheet of red-dyed mulberry paper can take upon the shape of a leaf with folding.\n\n> You examine paper\nThe paper cannot unfold any further.\n\nIt is hard to believe that this sheet of red-dyed mulberry paper can take upon the shape of a leaf with folding.\n\n> You examine the tassel\nThe silken strands are longer than your arm.\n\n> You take the tassel\nThe tassel is too firmly attached. A knife might serve you better.\n\n> Inventory\nYou are carrying:\na red paper kite with no string\na tasseled fan\na lady's tortoise-shell comb\nhalf a porcelain mask\narmor and silks (worn)\n\n> You examine the comb\nThe comb is curved like a smile, though it seems fragile, easily broken by a chance hand."
    },
    {
        "text": "[Themes: Eastern, fantasy, East Asian setting]\n\n> Look around\nAutumn's fiery colors are evident in the trees and flowers around you. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> You look at the hawk\nIt was autumn when last you went hawking with the emperor's justiciar. Freed of court robes, she soared as surely as the kestrel that raced before her; her hair was black and scandalously unbound as the red-and-gold ribbons tore away in the wind to land in your waiting hand. Autumn...\n\n> You examine the crane\nThe most auspicious of all birds, save the imperial phoenix. Many a summer morning have you gazed upon cranes in flight, whether silhouetted against the setting sun or set in abalone-shell upon a fine lacquered cabinet, a cloisonne hairpin.\n\n> You look at the swallow\nSpring is the swallows' season, when they return from their sojourn in distant lands and signal the kite-flying auguries. If only an augury could help you now...\n\n> You look at feather\nEven for the emperor's winter court, the only birds that remain in the gardens are the jeweled nightingales, which sing dainty mechanical tunes when they are stroked with a feather. Your brother hated them passionately, but he listened to them readily enough whenever the justiciar asked, with that smile that lit her eyes, though it never reached her mouth.\n\n> You examine the cushions\nThe cushions are dyed in summer colors and embroidered with gold thread. You remember finding your brother's terse poetry, written on a slip of pale paper, under such a cushion.\n\n> You look under the cushions\nBeneath one of the cushions you find an ocarina, as though it had been left by a careless musician.\n\n> You look at the ocarina\nThe ocarina is round, tapering at both ends, with eight finger-holes and one thumb-hole, a mouthpiece and a hole from which the sound emerges. You have seen musicians carry such instruments with them, as they are forgiving of the chance accidents that sometimes happen outside the sedate confines of a symphony chamber.\n\n> You play it\nThe ocarina's notes are high and sweet.\n\nIn this place, they remind you of that first court dance, when you and you brother first saw the justiciar, a vision of red and black, a flash of gold. Someone played an ocarina that time, too. Flutes, zithers and lutes join in the cheerful clamor of instruments being tuned, though none of them are to be seen. You hear among the instruments the low, melancholy tones of an autumn dirge.\n\n> Go east\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You eat the bones\n(first taking the banquet of bones)\nUncannily, the bones edge away, suggesting that another approach will be necessary.\n\n> You look at the table\nThe table is lacquered in red and black, carved in elaborate motifs. The justiciar would have liked the colors.\n\n> You look at the motifs\nThe motifs suggest leaf, vine and blossom before retreating into the uneasy shapes of abstraction.\n\n> You examine compass\nThe compass is carved from a single piece of jade in which violet and green intermingle delicately; the cardinal directions--if such they be--are marked by hawk, swallow, crane and feather. More curiously still, the needle is of glass, suggesting that it homes to something other than the north. Perhaps you can set it yourself?\n\nThe needle points to the hawk.\n\n> You set the compass to swallow\nThe needle points to the swallow now. You hear a clear chiming sound as the garden's trees and flowers move subtly, obedient to this new season."
    },
    {
        "text": "[Themes: Eastern, fantasy, strong NPCs, surreal]\n\n> Look around\nSpring's blossoms and budding trees are here in profusion. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> You look at what you're carrying with you\nYou are carrying:\na clay ocarina\na red paper kite with no string\na tasseled fan\na lady's tortoise-shell comb\nhalf a porcelain mask\narmor and silks (worn)\n\n> You examine the comb\nThe comb is curved like a smile, though it seems fragile, easily broken by a chance hand.\n\n> Break comb\nThree of the long central teeth flex, then snap in your fingers. The justiciar wore a comb long-broken as a memento; it proved an uneasy prophecy of waking passion and breaking promises.\n\n> Play comb\nThe teeth make a faint, almost musical plucking sound as you run your thumb down the comb.\n\n> You examine the teeth\nThey are of tortoise-shell, like the comb from which they came, and span the palm of your hand. Too light for hairpins, too dainty for weapons.\n\n> You cut the silk with the teeth\nThat seems an unlikely way to cut anything.\n\n> Sing\nA hundred poems set to music suggest themselves to you, an evening's pastime among friends and lovers. It is with difficulty that you choose one, and too soon it is done.\n\n> You go to the west\nIt seems this is a banquet room, if a banquet had no especial place for people to dine. Glassware and stoneware are arranged in deliberate shapes, as though they are constellations.\n\nSouth lies a chamber of brooding silence, and a vague, sweet fragrance comes from the east. Stairs of blackest marble lead downward.\n\nOn the table is a banquet of bones.\n\n> You go to the south\nA single bronze gong hangs from its wooden frame in the room's center. There are also silk cushions arranged around the floor in a court ensemble's traditional half-circle, but no bamboo flutes or clay ocarinas, nine-stringed zithers or singers' unfolding fans, are in evidence. A mural that touches each wall in turn gives the room an illusion of greater depth.\n\nTwo entrances, one east, one north; the former is wrapped in shadow, the latter in light.\n\n> Play teeth\nThe comb's teeth seems an unlikely instrument.\n\n> Play comb\nThe teeth make a faint, almost musical plucking sound as you run your thumb down the comb. In response, you hear a woman's soft sigh, then the businesslike cacophony of instruments being tuned to a new mode.\n\n> You examine the woman\nThe ladies wear the fine trailing silks of summer court, and though their faces are all but hidden by their fans, the cant of their eyes suggests laughter.\n\n> You examine the gong\nThe gong stands taller than a man, and its rim is etched with faint characters. The surface has no patina; there is no mallet with which to strike it and signal the absent musicians to begin.\n\n> You touch the mural\nThe walls seem to ripple at your touch, as though echoing the eddies and flow of a brook.\n\n> You examine the men\nThey wear somber colors in contrast to the ladies, though their expressions are amused rather than grave.\n\n> Strike gong\nIt rings a sonorous note. In the delicate layering of sound you can hear the lutes, the plaint of flutes like the cries of wild geese. The music fades note by note, like the best of autumn nights. The mural appears to have shifted subtly, like a hand seen beneath the surface of water.\n\n> You examine the poems\nThe poets' sentiments are written on sheets of paper in faded colors, but the details were known to the painter alone. You know poems of your own, though, written in past pain and longing.\n\n> You look at the mural\nThe mural shows court ladies reading folded-paper poems that they have just fished from the brook; men stand upstream, watching their faces. In the northeast, a passageway stands open to the court beyond.\n\n> You recite the poem\n(\"Walk silently in the shadow of the sunrise,\nknowing the warmth of days, of words and whispers,\nshall never touch you again.\")\n\n> You play ocarina\nThe ocarina's notes are high and sweet.\n\nIn this place, they remind you of that first court dance, when you and you brother first saw the justiciar, a vision of red and black, a flash of gold. Someone played an ocarina that time, too. Flutes, zithers and lutes join in the cheerful clamor of instruments being tuned, though none of them are to be seen. One of the flutes runs through a storm of arpeggios, suggesting the spring's wild winds.\n\n> Strike gong\nIt rings a sonorous note. In the end, nothing remains but silence."
    },
    {
        "text": "[Themes: Eastern, dragon, surreal, strong NPCs]\n\n> You look around\nA single bronze gong hangs from its wooden frame in the room's center. There are also silk cushions arranged around the floor in a court ensemble's traditional half-circle, but no bamboo flutes or clay ocarinas, nine-stringed zithers or singers' unfolding fans, are in evidence. A mural that touches each wall in turn gives the room an illusion of greater depth.\n\nTwo entrances, one east, one north; the former is wrapped in shadow, the latter in light.\n\n> You go northeast\nLanterns hang from the ceiling in a constellation of soft and shining stars. Tapestries on the wall promise tales of splendor and grace, while folding screens partition the room, if incompletely, as they are no real barrier to eye or foot.\n\n> You look at the tapestries\nThe tapestries show, in no particular sequence, the legend of the Sun in hiding. The dragon and the phoenix, both brothers, see her where she hides: the dragon glories in the untamed sky while the phoenix sings to soothe the Sun, and at last carries her on his back to the waiting world.\n\nAs to why the Sun went into hiding, and the injury done to her--that is another tale.\n\nMysteriously, a passage is woven into the tapestries, suggesting that southwest lies a way out of the legend.\n\n> Play comb\nThe teeth make a faint, almost musical plucking sound as you run your thumb down the comb.\n\n> You examine the screens\nThe screens are of paper over bamboo, and their arrangement seems intended to allow fleeting moments of privacy rather than to serve as any real barrier. The brushstroke paintings show cats frolicking among flowers and butterflies.\n\nBefore your parents died, you and your brother used to run among the screens as though they were a labyrinth, tripping over hems and searching for abandoned letters.\n\n> You look at Sun\nThe weavers suggested the Sun's shape indistinctly within a nimbus of light.\n\n> You examine the phoenix\nWith its fanciful plumage in the colors of fire and sun, the phoenix looks like a figure of legend indeed.\n\n> You move the screens\nThe folding screens already has a place in the world's reckoning.\n\n> You look at the dragon\nWith its pearly scales and sinuous twinings, the dragon looks like a figure of legend indeed.\n\n> Search screens\nFollowing the elusive smell of plum blossoms, you find a strangely insubstantial lantern half-fallen beyond one of the screens. It hovers near your shoulder like an errant star.\n\n> You examine the lantern\n(the paper lanterns)\nThe lanterns are hung in an artful scattering, hinting at unseen constellations. Their glow is warmer than the moonlight slanting through the walls.\n\n> You examine the insubstantial lantern\nThe lantern floats behind you, following you almost apologetically. Its glow flickers gently.\n\n> You take it\nThough the lantern follows you like an errant star, it refuses to be touched.\n\n> You check what you're carrying\nYou are carrying:\nan insubstantial lantern (floating behind your shoulder)\nthree comb's teeth\na clay ocarina\na red paper kite with no string\na tasseled fan\na lady's tortoise-shell comb (broken)\nhalf a porcelain mask\narmor and silks (worn)\n\n> You go southwest\nA single bronze gong hangs from its wooden frame in the room's center. There are also silk cushions arranged around the floor in a court ensemble's traditional half-circle, but no bamboo flutes or clay ocarinas, nine-stringed zithers or singers' unfolding fans, are in evidence. A mural that touches each wall in turn gives the room an illusion of greater depth.\n\nTwo entrances, one east, one north; the former is wrapped in shadow, the latter in light."
    },
    {
        "text": "[Themes: Eastern, fantasy]\n\n> Go downwards\nThe lantern behind you brightens as you approach the stairs, anchoring a path for you through the sea of stars.\n\nMemory overtakes you as you enter: you and your brother speaking to each other in low, tense voices (not shouting, never shouting before her) until the justiciar bids you leave, curtly. The next day, when the emperor stripped her of her rank, and neither you nor your brother had the influence to free her from the court's machinations--you have lived that day over and over, more than any man ought.\n\nYou see silhouettes out of the corner of your eye: blade, hand, a woman's hair floating long and free; they elude any attempt to view them directly, as though they ceased to dance across the walls when you do so.\n\nHawks painted in gold and brown soar along the walls. It is strangely warm here, as though fires lived just beyond your perception. The entire hall is open to the wind and warmth, unobstructed except by your presence.\n\nStairs of darkest marble circle upward. A passageway leads south into clear, colorless light.\n\n> You look at the hawks\nA splendor of hawks in flight, each feather meticulously painted. Each one has a woman's dark eyes instead of a raptor's golden gaze.\n\n> You examine the light\nSubtle gradations characterize the light in this room, as though it were filtered by great wings.\n\n> Go south\nAs you approach, you realize that the shadows split the passageway in a terrible clean fracture, and your face aches unbearably; only when you move away does the pain ease.\n\n> You wear the mask\nSuddenly and disturbingly inspired by the riven passage to the south, you lift the mask to your face, momentarily shadowing your vision. When you can see clearly again, the mask has been rejoined flawlessly--and the shadows close around the passageway. Yours is the dragon's perfection, the dark journey skyward, as you have chosen.\n\n> You check your inventory\nYou are carrying:\nan insubstantial lantern (floating behind your shoulder)\nthree comb's teeth\na clay ocarina\na red paper kite with no string\na tasseled fan\na lady's tortoise-shell comb (broken)\narmor and silks (worn)"
    },
    {
        "text": "> You look at your surroundings\nHawks painted in gold and brown soar along the walls. It is strangely warm here, as though fires lived just beyond your perception. The entire hall is open and unobstructed except by your presence.\n\n> Up\nCherry blossoms and lilacs, kite-flying auguries and newly-budding leaves: the trappings of spring are far beneath you now, though the kite is a red speck dancing in the storm. The moonlit tower lays open beneath you, and lightning and storm clouds gather around you.\n\n> You examine the kite\n(the red kite)\nCaught in the grip of gale and rain, the kite dances, a last reminder of the human things you are leaving behind.\n\n> You look at the tower\nIn its way the moonlit tower is like any other tower, despite the strange things trapped within; you are part of them no longer.\n\n> You fly\nThe sky is yours, in a dance unending, and you have shed your past (her eyes, the hand upon the blade, the blood, your brother's white and anguished face) as you ascend to your place in the zodiac.\n\n> Break mask\nSuddenly and terribly inspired by the shadowed passage to the south, you smash the half-mask upon your own face. The pain nearly blinds you. When you can see again, both halves of the mask are gone--and the passageway stands open, free of shadow.\n\n> Go south\nAt first, this place of polished surfaces seems like a profusion of mirrors and a kaleidoscope of doors. Looking more closely, though, all doors are one, save the one you came from. The peculiar translucence of the walls suggests that it is growing light out.\n\nNorthward, a passageway no longer riven by shadow returns to the rest of the tower; across from it stands a door to the south.\n\n> You examine the light\nThe light here has a clarity rarely found except in dreams or childhood, through which everyone must pass eventually.\n\n> You examine the walls\nThe walls are smooth and polished, reflecting every chance movement.\n\n> You examine the door\nThe door is of the same strange stone that characterizes the tower.\n\n> You feel the walls\nThe silent, smooth perfection of stone.\n\n> You open the door\nSwallows soaring and tumbling, the flowerfall of cherry blossom petals, a wind that needs no kites to augur good fortune. The paths you take are your own, now, no matter what jealousies you and your brother exchanged, knotted too deeply to be disentangled in past dreams.\n\nYou leave the tower behind you, no longer trapped by the tyranny of moonlight. The rest of your story is your own to tell and cherish, as you walk past the tower's broken boundaries and into the rest of your awakening.\n\n> You go to the east\nSpring's blossoms and budding trees are here in profusion. Your lantern gives the chamber a quality of sharp angles at odds with the careful arrangements. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> Go south\nThe lantern seems to have no effect on the shadows that reside here, which remind you of long nights standing sentry, straining your eyes against the darkness.\n\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You examine the shadow\nWeapons line the walls, writ in shadow--yet you know their heft and balance, the patterns of movement that make one deadly in attack and another impenetrable in defense. If only you knew, as well, the histories of blood, patronage and betrayal--or loyalty--that they represent.\n\nOne of the weapons is more substantial than you realized at first, a bronze-hilted dagger with a tassel hanging from the pommel.\n\n> You take the dagger\nTaken.\n\n> You examine the dagger\nSuch daggers rarely leave the hands of the justiciars who wield them as their symbol of office. A white tassel hangs from the pommel of the hilt.\n\n> You examine the white tassel\nThe silken strands are white, for death. The justiciar's last resort, someone said to you once--or did you say it?\n\n> You cut it with the dagger\nThe fan's blue tassel may serve you better.\n\n> You cut the blue tassel with the dagger\nA few neat cuts free some strands from the tassel, and tying them together results in--a kitestring?\n\nFor a second there is a dark-eyed boy beside you, whose laugh is yours, but wilder; whose smile is yours, but wider. If only you remembered the augury that you and your brother cast that spring in the kite-flying ritual, years before either of you met the woman who wore black and red and gold...\n\n> You tie the string to the kite\nThough it takes some patience, you tie the kitestring to the kite. Surely a season of gales and newborn blossoms awaits you, even in this skyless tower.\n\n> You go to the north\nSpring's blossoms and budding trees are here in profusion. Your lantern gives the chamber a quality of sharp angles at odds with the careful arrangements. Metal and wood, painted and sculpted, the false garden is heedless of harvest, drought or rain.\n\nA jade compass rests at the garden's metaphysical center, between translucence and opacity, curve and line, and other dichotomies too subtle for your eye. A gentle warmth from the surface invites touch.\n\nTransactions of light show other rooms southward and westward.\n\n> You look at the swallow\nSpring is the swallows' season, when they return from their sojourn in distant lands and signal the kite-flying auguries. If only an augury could help you now...\n\n> You turn the compass to swallow\nThe needle points to the swallow now. You hear a clear chiming sound as the garden's trees and flowers move subtly, obedient to this new season.\n\n> Fly kite\nSpring: the season of augury. Red and black and gold, maple colors, kite colors; you no longer know which. A breeze stirs through the room, though the trees and flowers are no more affected by it than they would be by the sun's earnest light or a plague of locusts. Nevertheless, you hear the hollow sound of something being dislodged from one of the trees.\n\nIt was spring when your kite and your brother's became too entangled for one glass-edged string to cut the other's, for one to conquer the other, though entangled they flew yet; and spring when you were first parted from your brother on his first campaign and yours, two fatherless boys entering the emperor's service as adults.\n\nThe kite tugs from your hand, as impatient as a hawk winning free of hood; dances perilously upward upon the wings of this nowhere breeze; and disappears.\n\nThe breeze swells to a gale that rears southward and upward, seeking the sky in this enclosed and skyless room.\n\n> You examine the trees\nBamboo groves, graceful though ungrowing.\n\n> Go south\nThe lantern seems to have no effect on the shadows that reside here, which remind you of long nights standing sentry, straining your eyes against the darkness.\n\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\nA wind gallops toward the stairs, seeking the sky.\n\n> You go up\nMoonlight diffuses through the walls, tracing out unreadable sigils in calligraphies of light and dark. Upwards, the sky is open to your eyes. The lantern brightens slightly, like a star as the night grows deeper. Stairs adorned with bas-relief motifs spiral downward.\n\nWind flings itself up the walls and toward the sky; you have but to look up.\n\n> You look up\nThe night spreads her wings above you, and shows no sign of welcoming her sister of the sunborn day. Constellations jewel the sky, half-hidden by clouds like nestling feathers: the Heavenly Horse and the Imperial Chrysanthemum.\n\n> You look at Horse\nThe star-stallion rears like the chargers you once rode. The justiciar herself preferred such spirited mounts.\n\n> You look at Chrysanthemum\nIt is the first among constellations, open to the eyes of all people unlike the emperor himself. You and your brother saw him only once, when he called on you to stand together for your family's name.\n\n> You look at the stairs\nEach step is carved upon the side in bas-relief, though the design is abstract."
    },
    {
        "text": "[Themes: Eastern, strong NPCs, East Asian setting, dragon, fantasy]\n\n> You go downwards\nThe lantern seems to have no effect on the shadows that reside here, which remind you of long nights standing sentry, straining your eyes against the darkness.\n\nCuriously, the only weapons here live amid light and cannot be worn: they are silhouettes flung against the walls. Stairs carved with bas-reliefs spiral upward.\n\nNorthward and westward lie passageways unhindered by door or folding screen.\n\n> You go upwards\nThe shapes of light you saw as you entered fade irrevocably.\n\nMoonlight diffuses through the walls, tracing out unreadable sigils in calligraphies of light and dark. Stairs adorned with bas-relief motifs spiral downward.\n\n> You examine the moonlight\nA curious thing, that the walls' stones should admit moonlight. A half moon, you think, from the level of illumination: a moment's memory suggests nights spent campaigning beneath open sky, but is soon gone.\n\n> You look up\nThe ceiling above is only a ceiling.\n\n> You examine the armor\nBoth armor and silk are in black and gold, night and sun, skins without sensation."
    },
    {
        "text": "[Themes: Eastern, East Asian setting, surreal]\n\n> Go downwards\nThe lantern behind you brightens as you approach the stairs, anchoring a path for you through the sea of stars.\n\nYou see silhouettes out of the corner of your eye: blade, hand, a woman's hair floating long and free; they elude any attempt to view them directly, as though they ceased to dance across the walls when you do so.\n\nHawks painted in gold and brown soar along the walls. It is strangely warm here, as though fires lived just beyond your perception. The entire hall is open to the wind and warmth, unobstructed except by your presence.\n\nStairs of darkest marble circle upward. A passageway leads south into clear, colorless light.\n\n> Break mask\nSuddenly and terribly inspired by the shadowed passage to the south, you smash the half-mask upon your own face. The pain nearly blinds you. When you can see again, both halves of the mask are gone--and the passageway stands open, free of shadow.\n\n> Go south\nAt first, this place of polished surfaces seems like a profusion of mirrors and a kaleidoscope of doors. Looking more closely, though, all doors are one, save the one you came from. The peculiar translucence of the walls suggests that it is growing light out.\n\nNorthward, a passageway no longer riven by shadow returns to the rest of the tower; across from it stands a door to the south.\n\n> You open the door\nSwallows soaring and tumbling, the flowerfall of cherry blossom petals, a wind that needs no kites to augur good fortune. The paths you take are your own, now, no matter what jealousies you and your brother exchanged, knotted too deeply to be disentangled in past dreams.\n\nYou leave the tower behind you, no longer trapped by the tyranny of moonlight. The rest of your story is your own to tell and cherish, as you walk past the tower's broken boundaries and into the rest of your awakening.\n\n> Go north\nN = next optionP = previous\nRETURN = select option  Q = resume game\n\n> For the Copyright-Conscious Sonnet-Reciter\nNotes on Development and Setting (Long)\nA Last Apology\nIf you've found some of the various poetry fragments in the game, rest assured that anything you don't recognize immediately is by yours truly. In particular, one of the fragments is from my short story \"Alas, Lirette,\" in The Magazine of Fantasy and Science Fiction, January 2001. Chalk it down to a moment of hubris. Plus, it amused me. And you may safely conclude that I am easily amused.\nSome Final Words\nN = next optionP = previous\nRETURN = select option  Q = resume game\n\n> For the Copyright-Conscious Sonnet-Reciter\nNotes on Development and Setting (Long)\nA Last Apology\n\n> You go to the north\nN = next optionP = previous\nRETURN = select option  Q = resume game\n\nFor the Copyright-Conscious Sonnet-Reciter\n> Notes on Development and Setting (Long)\nA Last Apology\n\nFor the first, it's probably several kinds of insane to enter one's first work of IF in the IFComp. (I'm told that \"this is my first game\" is a bad way to start an entry...?) I found it to be several kinds of educational, though--I knew beta-testers were helpful and generous souls, but I hadn't realized how helpful and generous they were!--and the deadline encouraged me to finish the project instead of leaving it to float in limbo.\n\nThe fact that this is my first game also led to certain design decisions. For one thing, no NPCs. I admire the depth of conversation available in games like Emily Short's Pytho's Mask, but I peeked at the coding necessary to implement the most basic ASK/TELL system and concluded there was no way I was going to learn enough Inform to do a convincing job with one NPC, let alone several, within the time frame available. Implementing the inanimate jade compass and its associated seasonal changes turned out to be enough of a headache. I thought of having the player wake up in a tomb (generally a good reason for other people to be absent), the opening lines \"No, not a prison...\" came to me, and I was off and running.\n\n(Aside: For an idea of the time I had available: I started learning Inform sometime in July. I got married on 3 August 2002, which was rather more of a priority, and moved from Ithaca, NY to Boston in mid-August. And my husband is already resigned to the fact that he's going to hear me muttering arcanely about \"forgot to give it pluralname\" and \"you should be scenery\" when I'm at my computer.)\n\nFor another, the tower was a deliberately extensible (or collapsible) design in that I figured I could add as many \"levels\" or floors as I had time for, with a small number of rooms per level. Hence, a wimpy three-storey tower with only half-a-dozen rooms. And no, I don't plan on adding more floors. I think I'm burned out on towers.\n\nI also made the mistake of making up puzzles as I went along, which will not happen again. The only reason I got away with it (or not, as the case may be) was the small size of the game. It has, however, gotten me thinking about modular puzzle design, which might be a good thing, though unfortunately it isn't immediately useful to you.\n\nThe setting itself draws loosely from Korean, Japanese, Chinese, and Mongolian sources, though you won't find any isomorphisms. I took considerable liberty with the phoenix and dragon; the Heavenly Horse, which appears in a famous Shilla (Korean) tomb, was co-opted into a Moon-figure. The tale of the White Archer was adapted from \"The Legend of Erkhii Mergen, the Archer,\" which you can find in Hillary Roe Metternich's Mongolian Folktales, but I collided it with the Japanese and Chinese tales of the sun going into hiding and having to be sung back into the world. The chrysanthemum is a familiar Japanese symbol, and some of the earliest ocarinas were found in China. Kite-flying (and sometimes fighting, as well as various militant uses) were recorded from early times in China, Korea, and/or Japan. And for seasonal motifs I drew freely on my years in Korea, where my parents were born.\n\nOne element had nothing to do with mythology, and came from a homebrew roleplaying setting: the Brixten Shanai, a tower whose starry stairs stretched endlessly into the void. A minor thing, perhaps, but it has some nostalgia value for me and my sister.\n\nFinally, one of the attractions of this medium for me is that it allows me both to exercise rusty computer programming skills (though arguably Andrew Plotkin's Lists and Lists would do that too!) and my writing skills. After getting used to linear storytelling, it was an interesting exercise trying to find some way of conveying a sense of story and setting without \"railroading\" the player overmuch. I've also been on a crusade for non-visual sensory details ever since I read Poul Anderson's rule of thumb for at least one non-visual detail per page. I don't know if I succeeded entirely--puzzle design in particular is going to be an Achilles heel for some time--but now I have a better idea of how to go about it.\n\nNow that you've heard more than you ever wanted to know about the game, it's time to send you on your way so I can start working on my next crazy project!\n\nYoon Ha Lee [requiescat@cityofveils.com] http://pegasus.cityofveils.com/if.phtml"
    },
    {
        "text": "[Themes: Mystery, adaptation, Sherlock Holmes, male protagonist, mystery, detective]\n\nTime stands still in here. You are in a wide, elevated room filled with sunlight. You can go north to the Lesser Sciences,\nsouth to the Physical Sciences, or east to the Human\nSciences.\n\nA large display case is in the middle of the room, titled \"Clues\". It is empty; it's been a long time since you've had a case.\n\nA massive banner says \"This area is under construction; the part\nI'm entering to the IntroComp is just one case, which is beginning in four turns. That case is finished and (hopefully) polished. This introduction, the framing story, the other cases and the epilogue are not part of this intro comp entry.\n\nroom to the north. Anything the rooms say you can do is not true. The implemented portion will begin within four turns.\"\n\n[Author's Note: Join a dying Sherlock Holmes in a journey through his memories. Sherlock Indomitable is a direct adaptation of two Sherlock Holmes stories into a text adventure. At least 90% of the text is taken directly from Arthur Conan Doyle's writing.]\n\n> About yourself\nYou are merely an expression of Holmes' thought.\n\n> You go north\nThis is a large room that is mostly bare. Each corner is labelled by letters in worn gold foil. The areas titled LITERATURE, PHILOSOPHY, and ASTRONOMY are bare. You can return to the south.\n\nThere is a single bookshelf under POLITICS where you can LOOK UP clues related to politics.\n\nThere is a reminder placard here, in the only room with enough space.\n\n> You look at the placard\nIt says:\n\nLife is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If one could fly out of a window, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outr\u00c3\u00a9 results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable.\n\n> You check your inventory\nYou are carrying:\nnothing\n\n[You can see current clues by typing C or CLUES]\n\nYou hear a strange thumping noise; it seems to be coming from\noutside.\n\n> Go outside\nYou find yourself returning to the outside world... \nYour Bedroom (on your bed)\nYour bedroom seems cluttered to the untrained eye, but you know where every item can be found. A large tin is in the corner, a violin is leaned against the wall. A wardrobe contains your various costumes. Your bed is sloppily made. The parlor is to the east.\n\nYou hear a thudding sound coming from the front room.\n\n> You look at the violin\nYour violin is well-tuned.\n\nSomeone is knocking on your front door.\n\n> You go east\n(first getting off your bed)\n\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nSomeone is knocking on your front door, here.\n\n> You open\n(the front door)\nYou open the front door.\n\nYou see Mrs. Hudson here. She says, \"There's a lady come here to see you, sir. Shall I send her up?\"\n\n[When you don't have an active case, you can TALK TO characters to speak with them.]\n\nMrs. Hudson is waiting patiently for her orders.\n\n> Hudson\nYou say, \"Let me fetch Watson. Show her into the parlor in the meanwhile.\"\n\nMrs. Hudson steps outside, where she is waiting for you to return with Watson.\n\n> You examine the food\nWhich do you mean, the roast beef or the bread?\n\n> You examine the beef\nYou scan the roast beef for clues, but find none of importance.\n\nMrs. Hudson is waiting for you to return with Watson.\n\n> You go south\nWatson's bedroom has always been singularly uninteresting to you. Watson's bed is here. The parlor is to the north.\n\nWatson is asleep on his bed.\n\nYou knock as you enter. Watson wakes to find you standing, fully dressed, by the side of his bed.\n\nAs the time is only a quarter-past seven, he blinks up at you in some surprise, and perhaps just a little resentment. He looks to you for an explanation.\n\n> You explain\n(to yourself)\n[Use TALK TO to talk someone, or SAY a clue to someone.]\n\n> You talk to Watson\n\"Very sorry to knock you up, Watson,\" you say, \"but it's the common lot this morning. Mrs. Hudson has been knocked up, she retorted upon me, and I on you.\"\n\n\"What is it, then-a fire?\"\n\n\"No; a client. It seems that a young lady has arrived in a considerable state of excitement, who insists upon seeing me. She is waiting now in the sitting-room. Should it prove to be an interesting case, you would, I am sure, wish to follow it from the outset. I thought, at any rate, that I should call you and give you the chance.\"\n\n\"My dear fellow, I would not miss it for anything.\" He gets up.\n\n> You examine Watson\nWatson is a gentleman of a medical type, but with the air of a military man. His left arm has been injured; he holds it in a stiff and unnatural manner.\n\n> You go north\n(first opening Watson's door)\n\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nA lady dressed in black and heavily veiled, who has been sitting in the window, rises as you enter.\n\nYou can also see Mrs. Hudson here.\n\nMrs. Hudson leaves and closes the door.\n\nWatson accompanies you.\n\n[New clue - Greeting]\n\n[Holmes is much more interested in cases than in regular conversation. During a case, you can see current thoughts with CLUES (or just C), and you can SAY a clue TO someone nearby.]\n\n> You wait\nYou pause.\n\n> You say C to the lady\nwhere clues you know can be found by typing CLUES. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.]\n\n> You say the greeting to the lady\n\"Good-morning, madam,\" you say cheerily. \"My name is Sherlock Holmes. This is my associate, Dr. Watson, before whom you can speak as freely as before myself. I shall order you a cup of hot coffee, for I observe that you are shivering.\"\n\n\"It is not cold which makes me shiver,\" says the woman as she sits.\n\n\"What, then?\"\n\n\"It is fear, Mr. Holmes. It is terror.\" She raises her veil, and you can see her face.\n\n[Like most of your clients, she'll need a demonstration of your powers of observation.]\n\n[Finished with clue - Greeting]\n\n> You examine her\nYou run her over with one of your quick, all-comprehensive glances. She is a lady, dressed in black clothing with an unusual pattern of mud splatters. A certain something is stuck in one of her gloves.\n\n> You examine the gloves\nYou see half of a return ticket in her glove.\n\n[New clue - Train]\n\n> You examine the clothing\nMiss Stoner's clothing is splashed with mud, exactly as if she had driven in a dogcart.\n\n[New clue - Dogcart]\n\n> You examine the mud\nMiss Stoner's clothing is splashed with mud, exactly as if she had driven in a dogcart.\n\n> You look at the dogcart\nDogcart - \"Miss Stoner drove in a dogcart, along heavy roads.\"\n\n> You say Dogcart to Stoner\nYou say, \"You had a good drive in a dog-cart, along heavy roads, before you reached the station.\"\n\nThe lady gives a violent start and stares in bewilderment at you.\n\n\"There is no mystery, my dear madam,\" you say, smiling. \"The left arm of your jacket is spattered with mud in no less than seven places. The marks are perfectly fresh. There is no vehicle save a dog-cart which throws up mud in that way, and then only when you sit on the left-hand side of the driver.\"\n\nShe is beginning to believe in your mental acuity.\n\n[Finished with clue - Dogcart]\n\n> You say the train to the lady\n(Train to the lady in black)\nYou say, \"You have come in by train this morning, I see.\"\n\n\"You know me, then?\"\n\n\"No, but I observe the second half of a return ticket in the palm of your left glove. You must have started early.\"\n\nShe now seems fully convinced of your powers. You can ask her about her story, now.\n\n[New clue - Testimony]\n\n[Finished with clue - Train]\n\n> You say the testimony to Stoner\n[Finished with clue - Testimony]\n\nYou say, \"And now I beg that you will lay before us everything that may help us in forming an opinion upon the matter.\"\n\n\"Alas!\" replies your visitor, \"the very horror of my situation lies in the fact that my fears are so vague, and my suspicions depend so entirely upon small points that even my future husband looks upon all that I tell him about it as the fancies of a nervous woman. But I have heard, Mr. Holmes, that you can see deeply into the manifold wickedness of the human heart. You may advise me how to walk amid the dangers which encompass me.\"\n\n\"I am all attention, madam.\"\n\n\"My name is Helen Stoner, and I am living with my stepfather, who is the last survivor of one of the oldest Saxon families in England, the Roylotts of Stoke Moran, on the western border of Surrey. It was two years ago...\"\n\n\nYou listen intently to her story... \n\nI was on the grounds of Stoke Moran, a very old manor house, and the ancestral house of the Roylott family, to which my stepfather belonged. The windows of my family's rooms all opened out onto the lawn.\n\n[New clue - Shutters]\n\nThe grounds extended all around me, but they held nothing except for brambles and the scattered tents of the gypsies, who were friends of my stepfather. Beyond the grounds was a stream, crossed by a small bridge.\n\n[New clue - Gypsy]\n\nFrom somewhere nearby, I heard the inhuman screeching of my stepfather's baboon, and shivered. I could only go north, into\nthe manor. These grounds held terrible memories for me.\n\n> About yourself\nYou are Helen Stoner, daughter of the deceased Major-General Stoner of the Bengal Artillery.\n\n> You go north\nThe manor-house, Mr. Holmes, is very old, and only the east wing is now inhabited. No servant would stay with us, and for a long time we did all the work of the house. The corridor to the east wing,\nand our rooms, was open.\n\nI could return to the grounds to the south.\n\n> You go east\nBefore Dr. Roylott's room\nThe bedrooms in this wing all opened out into the same corridor.\n\n[New clue - Hallway]\n\nThe corridor was lit by corridor-lamps. I stood in front of Dr. Roylott's room, to the south. My sister's room and my own were\nto the east.\n\n> Go south\nDr. Roylott had gone to his room early.\n\n> Go east\nI was in the main corridor; the door to my room was to the east\n, and my stepfather's door was to the west. I stood before my\nsister's door, to the south.\n\nHer situation had changed, recently. I have an aunt who lives near Harrow, and we were occasionally allowed to pay short visits at this lady's house. Julia had been there at Christmas, and met there a half-pay major of marines, to whom she became engaged.\n\nMy stepfather had learned of the engagement fourteen days ago, and offered no objection to the marriage.\n\n> You go east\nI stood before my door, to the south. The rest of the corridor\nwas to the west. An old service door leads outside, but it is\nunused.\n\n> You go south\n(first opening my door)\n\nI had a homely little room, with a low ceiling. My window faced the lawn to the south, but it was now closed and bolted. my bed was plain but comfortable. The air was fresh in my room. My door was to the north.\n\n[New clue - Fresh]\n\nAfter a moment, my sister followed me into the room.\n\n[To speak during flashbacks, you TALK TO the character you wish to speak to.]\n\nJulia was here, deep in thought.\n\n> You talk to Julia\nJulia sat with me, and we chatted about her wedding until the clock struck eleven. Julia preferred to spend time in my room, due to the rank smell of my stepfather's cigars that wafted from his room to hers.\n\n[New clue - Cigars]\n\nShe rose and stood by the door, saying \"Tell me, Helen, have you ever heard anyone whistle in the dead of the night?\"\n\n\"Never,\" said I.\n\n\"I suppose that you could not possibly whistle, yourself, in your sleep?\"\n\n\"Certainly not. But why?\"\n\n\"Because during the last few nights I have always, about three in the morning, heard a low, clear whistle. I am a light sleeper, and it has awakened me. I cannot tell where it came from-perhaps from the next room, perhaps from the lawn. I thought that I would just ask you whether you had heard it. Have you heard it?\"\n\n[New clue - Whistle]\n\n> You talk to Julia\n\"No, I have not,\" I said. \"It must be the band of gypsies in the plantation.\"\n\n\"Very likely,\" said she, \"and yet if it were on the lawn, I wonder that you did not hear it also.\"\n\n\"Ah, but I sleep more heavily than you.\"\n\n\"Well, it is of no great consequence, at any rate.\" She smiled back at me, closed my door, and a few moments later I heard her key turn in the lock.\n\nFor you see, Mr. Holmes, we had no feeling of security unless our doors were locked.\n\n[New clue - Safety]\n\nThe clock struck eleven. I stifled a yawn.\n\n> Sleep\nHelen's Room (on my bed)\nI had a homely little room, with a low ceiling. My window faced the lawn to the south, but it was now closed and bolted. my bed was plain but comfortable. The air was fresh in my room. My door was to the north.\n\nI could not sleep that night. A vague feeling of impending misfortune impressed me. The wind was howling outside, and the rain was beating and splashing against the windows.\n\nSuddenly, amid all the hubbub of the gale, there burst forth the wild scream of a terrified woman. I knew that it was my sister's voice.\n\n> Go north\n(first getting off my bed)\nI sprang from my bed and wrapped a shawl round me.\n\nAs I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.\n\n[New clue - Clang]\n\nI stood before my door, to the south. The rest of the corridor\nwas to the west. An old service door leads outside, but it is\nunused.\n\n> Go west\nI was in the main corridor; the door to my room was to the east\n, and my stepfather's door was to the west. I stood before my\nsister's door, to the south.\n\nMy sister's door to the south was unlocked, and revolved slowly\nupon its hinges.\n\n> You go to the south\nJulia's room was dimly lit.\n\nBy the light of the corridor-lamp I saw my sister appear at the opening, her face blanched with terror, her hands groping for help, her whole figure swaying to and fro like that of a drunkard.\n\n> You talk to Julia\nI could do nothing; I had to run to my sister, but at that moment her knees seemed to give way and she fell to the ground. She writhed as one who is in terrible pain, and her limbs were dreadfully convulsed.\n\nAt first I thought that she had not recognised me, but as I bent over her she suddenly shrieked out in a voice which I shall never forget, \"Oh, my God! Helen! It was the band! The speckled band!\"\n\n[New clue - Speckled]\n\nThere was something else which she would have said, and she stabbed with her finger into the air in the direction of the doctor's room, but a fresh convulsion seized her and choked her words.\n\n> Again\nI had to see the doctor! The door was to the north.\n\n> Go north\nYou finish listening to Miss Stoner's story... \n\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nMiss Helen Stoner is waiting patiently.\n\nWatson is paying close attention to Miss Helen Stoner.\n\n\"I rushed out, calling loudly for my stepfather, and I met him hastening from his room in his dressing-gown. When he reached my sister's side she was unconscious, and though he poured brandy down her throat and sent for medical aid from the village, all efforts were in vain, for she slowly sank and died without having recovered her consciousness. Such was the dreadful end of my beloved sister.\"\n\nThus Miss Stoner ends her tale. You prepare your questions in your mind.\n\n[Now, and in the future, you can combine clues by LINKing a clue TO another clue. This will be most important once you have concluded your investigation at Stoke Manor.]\n\n> You link fresh to the cigars\n(Cigars)\nThere must be some sort of small connection, like a ventilator, between Julia's room and Dr Roylott's.\n[New clue - Connected]\n\n> Link clang to whistle\nYes, both sisters heard whistles, but only Helen heard a clang, which came after the whistle.\n[New clue - Whistles]\n\n[Finished with clue - Clang]\n\n[Finished with clue - Whistle]\n\n> You say connected to Watson\n\"You saw the ventilator, too?\"\n\n\"Yes, but I do not think that it is such a very unusual thing to have a small opening between two rooms. It was so small that a rat could hardly pass through.\"\n\n\"I knew that we should find a ventilator before ever we came to Stoke Moran.\"\n\n\"My dear Holmes!\"\n\n\"Oh, yes, I did. You remember in her statement she said that her sister could smell Dr. Roylott's cigar. Now, of course that suggested at once that there must be a communication between the two rooms. It could only be a small one, or it would have been remarked upon at the coroner's inquiry. I deduced a ventilator.\"\n\nWatson's esteem for you has increased.\n\n> You look\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nMiss Helen Stoner is waiting patiently.\n\nWatson is paying close attention to Miss Helen Stoner.\n\n> You talk to Watson\nYou can only communicate with Watson about clues, at this time.\n\n> You say the cigars to Helen\n(Cigars to Miss Helen Stoner)\nYou say, \"If I recall, you said that Julia's room smelled of smoke?\"\n\n\"Yes, frequently so. Poor Julia could hardly bear it.\"\n\n> You say connected to Helen\nYou say, \"There are one or two very singular points about this room. For example, what a fool a builder must be to open a ventilator into another room, when, with the same trouble, he might have communicated with the outside air!\"\n\n\"That is also quite modern,\" says the lady.\n\n\"Done about the same time as the bell-rope?\" you remark.\n\n\"Yes, there were several little changes carried out about that time.\"\n\n> You say speckled to Helen\nYou say, \"What did you gather from this allusion to a band-a speckled band?\"\n\n\"Sometimes I have thought that it was merely the wild talk of delirium, sometimes that it may have referred to some band of people, perhaps to these very gipsies in the plantation. I do not know whether the spotted handkerchiefs which so many of them wear over their heads might have suggested the strange adjective which she used.\"\n\nYou have a better idea of the situation now. You can propose a visit.\n\n[New clue - Visit]\n\n> You say the visit to Watson\nYou say, \"Watson, would you be willing to accompany me to Stoke Moran?\"\n\n\"Of course.\"\n\n> You say the visit to Helen\n\"This is a very deep business,\" you say. \"There are a thousand details which I should desire to know before I decide upon our course of action. Yet we have not a moment to lose. If we were to come to Stoke Moran today, would it be possible for us to see over these rooms without the knowledge of your stepfather?\"\n\nShe says, \"As it happens, he spoke of coming into town to-day upon some most important business. It is probable that he will be away all day, and that there would be nothing to disturb you. We have a housekeeper now, but she is old and foolish, and I could easily get her out of the way.\"\n\n[Finished with clue - Visit]\n[New clue - Farewell]\n\n> You say farewell to Helen\nYou say, \"You may expect us early in the afternoon. I have myself some small business matters to attend to. Will you not wait and breakfast?\"\n\nShe say, \"No, I must go. My heart is lightened already since I have confided my trouble to you. I shall look forward to seeing you again this afternoon.\" She drops her thick black veil over her face and glides from the room.\n\n[Finished with clue - Farewell]\n\n> You take the bread\nYou cut a slice of beef from the joint upon the sideboard, sandwich it between two rounds of bread, and eat the rude meal.\n\nYou exclaim, \"What in the name of the devil!\"\n\nYour door has been suddenly dashed open, and a huge man has framed himself in the aperture. So tall is he that his hat actually brushes the cross bar of the doorway, and his breadth seems to span it across from side to side.\n\nA large face, seared with a thousand wrinkles, burned yellow with the sun, and marked with every evil passion, turns from one to the other of you.\n\n\"Which of you is Holmes?\" asked this apparition.\n\n[Dr. Roylott's arrival has put the details of the case out of Sherlock's mind. You can only PROVOKE Dr. Roylott, or DISMISS him.]\n\n> Provoke\n(Dr Roylott)\n\"My name, sir; but you have the advantage of me,\" you say.\n\n\"I am Dr. Grimesby Roylott, of Stoke Moran.\"\n\n\"Indeed, Doctor,\" you say blandly. \"Pray take a seat.\"\n\n\"I will do nothing of the kind. My stepdaughter has been here. I have traced her. What has she been saying to you?\"\n\n[You can PROVOKE Dr. Roylott or DISMISS him.]\n\n> Again\n(Dr Roylott)\n\"It is a little cold for the time of the year,\" you say.\n\n\"What has she been saying to you?\" screams the old man furiously.\n\n[You can PROVOKE Dr. Roylott or DISMISS him.]\n\n> Again\n(Dr Roylott)\n\"But I have heard that the crocuses promise well,\" you continue imperturbably.\n\n\"Ha! You put me off, do you?\" says your new visitor, taking a step forward and shaking his hunting-crop. \"I know you, you scoundrel! I have heard of you before. You are Holmes, the meddler.\"\n\n[You can PROVOKE Dr. Roylott or DISMISS him.]\n\n> Again\n(Dr Roylott)\nYou smile.\n\nHe says, \"Holmes, the busybody!\"\n\n[You can PROVOKE Dr. Roylott or DISMISS him.]\n\n> Again\n(Dr Roylott)\nYour smile broadens.\n\nHe says, \"Holmes, the Scotland Yard Jack-in-office!\"\n\n[You can PROVOKE Dr. Roylott or DISMISS him.]\n\n> You continue\n(Dr Roylott)\nYou chuckle heartily. \"Your conversation is most entertaining,\" you say. \"When you go out close the door, for there is a decided draught.\"\n\n\"I will go when I have said my say. Don't you dare to meddle with my affairs. I know that Miss Stoner has been here. I traced her! I am a dangerous man to fall foul of! See here.\" He steps swiftly forward, seizes the poker, and bends it into a curve with his huge brown hands.\n\n\"See that you keep yourself out of my grip,\" he snarls, and hurling the twisted poker into the fireplace he strides out of the room.\n\n> You keep going\nYou can only do that to something animate.\n\n> You look\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nWatson is here, lost in thought.\n\nYou can also see a twisted poker here.\n\nIt is time to take action. To the streets of London!\n\n> You take the poker\n\"He seems a very amiable person,\" you say, laughing. \"I am not quite so bulky, but if he had remained I might have shown him that my grip was not much more feeble than his own.\" As you speak you pick up the steel poker and, with a sudden effort, straighten it out again, and set it down.\n\n> You look\nYou are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the west,\nand Watson's bedroom is to the south. The front door is to the\nnorth.\n\nThe fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about.\n\nWatson is here, lost in thought.\n\n> You go north\nYour landing is a convenient place for clients to wait before summoning the courage to enter. Your lodgings are to the south,\nand the streets await to the east.\n\nWatson accompanies you.\n\n> You go to the east\nIt is a blazing hot day in August. Baker Street is like an oven, and the glare of the sunlight upon the brickwork of the houses along the road is painful to the eye. You can take a cab south to\nWaterloo Station.\n\nWatson accompanies you.\n\n> You go to the south\nYou enter a cab with Watson and make your way to Waterloo Station. The cab rattles through the streets of London.\n\nYou arrive just in time! The train to Leatherhead is departing in a few moments to the east.\n\nWatson accompanies you.\n\n> You go east\nYou are fortunate in catching a train for Leatherhead, where you hire a trap at the station inn and drive for four or five miles through the lovely Surrey lanes.\n\nIt is a perfect day, with a bright sun and a few fleecy clouds in the heavens. The trees and wayside hedges are just throwing out their first green shoots, and the air is full of the pleasant smell of the moist earth.\n\nYou are in deep meditation.\n\nThe cabman drives down the road.\n\nWatson accompanies you.\n\n> You examine cabman\nThe cabman was lazily surveying the countryside.\n\nThe cabman drives down the road.\n\n> About yourself\nYou review yourself; you are over six feet in height, and excessively lean. Your eyes are sharp and deep-set, your nose is thin and hawk-like. Your hands are blotted with ink and stained with chemicals.\n\nThe cabman drives down the road.\n\nJust then, you see it. A heavily timbered park stretches up in a gentle slope, thickening into a grove at the highest point. From amid the branches there jut out the grey gables and high roof-tree of a very old mansion.\n\nIt must be Stoke Moran. The cabman slows down to look; he seems to have something to say.\n\n> You talk to the cabman\n\"Look there!\" you say. \"Stoke Moran?\"\n\nThe cabman says, \"Yes, sir, that be the house of Dr. Grimesby Roylott.\"\n\n\"There is some building going on there,\" you say; \"That is where we are going.\"\n\n\"There's the village,\" says the driver, pointing to a cluster of roofs some distance to the left; \"But if you want to get to the house, you'll find it shorter to get over this stile, and so by the foot-path over the fields. There it is, where the lady is walking.\"\n\n> You talk to lady\n[When Sherlock is interested in a case, he prefers to discuss clues, found by typing CLUES]\n\n> You look\nIt is a perfect day, with a bright sun and a few fleecy clouds in the heavens. The trees and wayside hedges are just throwing out their first green shoots, and the air is full of the pleasant smell of the moist earth.\n\nWatson is paying close attention to the lady.\n\n> You examine lady\nYou shade your eyes; as you suspected, it is Miss Helen Stoner.\n\nYou call to the cabman to stop, and pay him before he leaves.\n\nYou are near a fenced road, with a stile leading over the fence to the north, toward the unseen estate.\n\nMiss Helen Stoner is waiting patiently.\n\nMiss Helen Stoner hurries forward to meet you with a face which speaks her joy. \"I have been waiting so eagerly for you,\" she cries, shaking hands with you warmly. \"All has turned out splendidly. Dr. Roylott has gone to town, and it is unlikely that he will be back before evening.\"\n\nWatson accompanies you.\n\n> Go north\nYou are standing before a grey building with a high central portion and two curving wings, like the claws of a crab, thrown out on each side.\n\nThe central portion is in poor repair, but the right-hand block is comparatively modern, and the blinds in the windows, with the blue smoke curling up from the chimneys, show that this is where the family resides. Some scaffolding has been erected against the end wall, and the stone-work has been chipped into, but there are no signs of any workmen at the moment of our visit.\n\nYou can reach the east wing to the east, or travel to the\nvillage to the south.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> Go east\nThe right-hand block is comparatively modern, and the blinds in the windows show that this is where the family resides. These draw your interest.\n\nSome scaffolding has been erected against the end wall, and the stone-work had been broken into, but there are no signs of any workmen. There is something clearly wrong with the scaffolding.\n\nThere is a small side door to the northeast. You can return to\nthe central portion to the west.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You look at the windows\nYou walk slowly up and down the lawns, examining the outsides of the windows with deep attention. You, after a careful examination through the open window, endeavour in every way to force the shutter open, but without success. There is no slit through which a knife could be passed to raise the bar. Then you examine the hinges, but they are of solid iron, built firmly into the massive masonry.\n[New clue - Bolted]\n\n> Link bolted to shutters\n(Shutters)\nYes, it seems unlikely that anything could have gotten through those shutters.\n\n[Finished with clue - Shutters]\n\n> You look\nThe right-hand block is comparatively modern, and the blinds in the windows show that this is where the family resides. These draw your interest.\n\nSome scaffolding has been erected against the end wall, and the stone-work had been broken into, but there are no signs of any workmen. There is something clearly wrong with the scaffolding.\n\nThere is a small side door to the northeast. You can return to\nthe central portion to the west.\n\nMiss Helen Stoner is waiting patiently.\n\nWatson is paying close attention to Miss Helen Stoner.\n\n> You examine the scaffolding\nThe end wall does not seem to need repairs.\n\n[New clue - Needless]\n\n> Go northeast\n(first opening the small side door)\n\nThis whitewashed corridor leads further to the west, or you can\nreturn outside to the southeast.\n\nThe third chamber's door is here, but it is clearly unimportant.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You go to the west\nThis corridor leads west to Dr. Roylott's door, or back\neast to the empty room's door.\n\nMiss Stoner's room is to the south.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> Go west\nThis corridor leads west to the hall or back east to Miss\nStoner's room. You do not wish to see the entrance hall.\n\nThere is a door that leads south to Roylott's room.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> Go south\n(first opening Dr. Roylott's door)\nDr Roylott's room\nDr. Grimesby Roylott's chamber is larger than that of his step-daughter, but it is as plainly furnished.\n\nA camp-bed and a small wooden shelf full of books, mostly of a technical character, are the principal things which meet your eye.\n\nThere is also a large iron safe here.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You open safe\nIt seems to be locked.\n\n> You look at safe\nIt is a large iron safe with a saucer of milk on top.\n\n[New clue - Secured]\n[New clue - Creature]\n\n> You examine milk\nIt is a large iron safe with a saucer of milk on top.\n\n> You look at the books\nThe books are primarily medical treatises.\n\n> You examine the bed\nYou examine the bed with your magnifying glass, and find nothing. Next to it, though, is a small dog lash.\n\n> You look at the leash\nA small dog lash hangs on one corner of the bed. The lash, however, is curled upon itself and tied so as to make a loop of whipcord.\n\n[New clue - Dangerous]\n\n> Link dangerous to creature\nYes, it must have been a dangerous creature indeed.\n[New clue - Predator]\n\n[Finished with clue - Creature]\n\n[Finished with clue - Dangerous]\n\n> Link speckled to Predator\nYes, perhaps the dangerous creature was the speckled band; you are mildly certain that the creature was a snake, but you need more evidence.\n[New clue - Snake]\n\n[Finished with clue - Creature]\n\n> You drink the milk\nwhere clues you know can be found by typing CLUES. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.]\n\n> You look\nDr. Grimesby Roylott's chamber is larger than that of his step-daughter, but it is as plainly furnished.\n\nA camp-bed and a small wooden shelf full of books, mostly of a technical character, are the principal things which meet your eye.\n\nThere is also a large iron safe here.\n\nMiss Helen Stoner is waiting patiently.\n\nWatson is paying close attention to Miss Helen Stoner.\n\nYou can also see a small dog lash here.\n\n> Go north\nThis corridor leads west to the hall or back east to Miss\nStoner's room. You do not wish to see the entrance hall.\n\nThere is a door that leads south to Roylott's room.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You go to the east\nThis corridor leads west to Dr. Roylott's door, or back\neast to the empty room's door.\n\nMiss Stoner's room is to the south.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> Go south\n(first opening Miss Stoner's door)\n\nYou enter into the second room, in which Miss Stoner's sister met her fate.\n\nIt is a homely little room, with a low ceiling. A brown chest of drawers stands in one corner, a narrow white-counterpaned bed in another, and a dressing-table on the left-hand side of the window. The corridor was to the north.\n\nThere were several features of the room that stood out to me as most unusual.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You look athe bell-pull\nThe bell-pull was a thick rope, the tassel actually lying upon the bed.\n\n[New clue - Communication]\n\n> You look\nYou enter into the second room, in which Miss Stoner's sister met her fate.\n\nIt is a homely little room, with a low ceiling. A brown chest of drawers stands in one corner, a narrow white-counterpaned bed in another, and a dressing-table on the left-hand side of the window. The corridor was to the north.\n\nThere were several features of the room that stood out to me as most unusual.\n\nMiss Helen Stoner is waiting patiently.\n\nWatson is paying close attention to Miss Helen Stoner.\n\n> You examinthe dressing-table\nYou see immediately that the dressing-table is unimportant.\n\n> You examine the drawers\nA quick glance assures you that the brown chest of drawers is unimportant.\n\n> You pull the bell\nYou give the bell-pull a brisk tug. Nothing happens.\n\nYou see that the rope is not a bell-pull at all; it is fastened to a hook just above where the little opening for the ventilator is.\n\n[New clue - Fake]\n\n[Finished with clue - Communication]\n\n> You examine the ventilator\nThe ventilator communicates between Miss Stoner's rom and Dr. Roylott's room.\n\n[Finished with clue - Fresh]\n\n[Finished with clue - Cigars]\n\n> You link fake to the Snake\nYes, the bell pull would be a perfect bridge for a snake to crawl down from the ventilator. You are almost convinced that the speckled band was a snake.\n\n[Finished with clue - Fake]\n\n> Link connected to Snake\nYes, a snake could fit through; you are certain that the speckled band is a snake.\n\n[Finished with clue - Connected]\n\n[Finished with clue - Hallway]\n\n[Finished with clue - Shutters]\n\nThis is very serious. You must catch the doctor in the act, but there will be great danger. You should reveal your plan to Miss Helen Stoner.\n\n[New clue - Plan]\n\n> You say the plan to Helen\n[Finished with clue - Plan]\n\nIt's time for you to reveal your plan to Miss Stoner, and to Watson.\n\n[You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.]\n\n> You impress\n(Miss Helen Stoner)\n\"It is very essential, Miss Stoner,\" you say, \"that you should absolutely follow my advice in every respect.\"\n\n\"I shall most certainly do so.\"\n\n[You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.]\n\n> Continue\n(Miss Helen Stoner)\nYou say, \"The matter is too serious for any hesitation. Your life may depend upon your compliance.\"\n\n\"I assure you that I am in your hands.\"\n\n[You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.]\n\n> Continue\n(Miss Helen Stoner)\nYou say, \"In the first place, both my friend and I must spend the night in your room.\"\n\nBoth Miss Stoner and Watson gaze at you in astonishment.\n\n[You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.]\n\n> You continue\n(Miss Helen Stoner)\nYou say, \"Yes, it must be so. Let me explain. I believe that that is the village inn over there?\"\n\n\"Yes, that is the Crown.\"\n\n\"Very good. Your windows would be visible from there?\"\n\n\"Certainly.\"\n\n\"You must confine yourself to your room, on pretence of a headache, when your stepfather comes back. Then when you hear him retire for the night, you must open the shutters of your window, undo the hasp, put your lamp there as a signal to us, and then withdraw quietly with everything which you are likely to want into the room which you used to occupy. I have no doubt that, in spite of the repairs, you could manage there for one night.\"\n\n\"Oh, yes, easily.\"\n\n[You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.]\n\n> You continue\n(Miss Helen Stoner)\nYou say, \"The rest you will leave in our hands.\"\n\n\"But what will you do?\"\n\n\"We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.\"\n\n\"I believe, Mr. Holmes, that you have already made up your mind,\" says Miss Stoner, laying her hand upon your sleeve.\n\n\"Perhaps I have.\n\nIt is time to go, now.\n\n> You go to the north\nThis corridor leads west to Dr. Roylott's door, or back\neast to the empty room's door.\n\nMiss Stoner's room is to the south.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You go east\nThis whitewashed corridor leads further to the west, or you can\nreturn outside to the southeast.\n\nThe third chamber's door is here, but it is clearly unimportant.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> Go southeast\nThe right-hand block is comparatively modern, and the blinds in the windows show that this is where the family resides. These draw your interest.\n\nSome scaffolding has been erected against the end wall, and the stone-work had been broken into, but there are no signs of any workmen. There is something clearly wrong with the scaffolding.\n\nThere is a small side door to the northeast. You can return to\nthe central portion to the west.\n\nWatson accompanies you.\n\nMiss Helen Stoner walks quietly behind you.\n\n> You go south\nYou turn to Miss Stoner. You say, \"And now, Miss Stoner, we must leave you for if Dr. Roylott returned and saw us our journey would be in vain. Good-bye, and be brave, for if you will do what I have told you, you may rest assured that we shall soon drive away the dangers that threaten you.\"\n\nWatson and I had had no difficulty in engaging this room at the Crown Inn. The room is on the upper floor, and from our window we command a view of the inhabited wing of Stoke Moran Manor House. The door was to the north.\n\nThere was a long night before us. Watson seemed eager to learn more of the case.\n\n[You can SAY clues TO WATSON if you would like to keep him informed, or WAIT for Dr. Roylott].\n\nWatson accompanies you.\n\n> You say Snake to Watson\nYou prefer to keep your private conjectures to yourself.\n\n> You say the Gypsy to Watson\nYou say, \"Watson, what do you think of the gypsies as the perpetrators of this crime?\"\n\n\"But what, then, did the gipsies do?\" asks Watson.\n\n\"I cannot imagine.\"\n\n\"I see many objections to any such theory.\"\n\n\"And so do I.\"\n\n> You say needless to Watson\nYou say, \"By the way, the stonework at the end of the wall seems unnecessary.\"\n\nWatson nods. \"I agree.\"\n\n> You say bolted to Watson\nYou say, \"What do you make of the fact that the windows were bolted?\"\n\nWatson says \"If the lady is correct in saying that the flooring and walls are sound, and that the window is impassable, then something came through the door, or her sister must have been undoubtedly alone when she met her mysterious end.\n\n\"Hum!\" you say, scratching your chin in some perplexity, \"my theory certainly presents some difficulties. No one could pass these shutters if they were bolted. Well, we shall see if the inside throws any light upon the matter.\"\n\n> You say secured to Watson\n\"Watson, what do you think is kept in the safe?\"\n\nHe answers, \"Why, I would imagine it is simply his papers, deeds, and other items.\"\n\n> You say speckled to Watson\nYou say, \"What do you make, Watson, concerning the very peculiar words uttered by the dying woman concerning a speckled band?\"\n\n\"I cannot think.\"\n\n> You say the safety to Watson\nYou say, \"What do you make of the fact that the Stoners\" doors were locked?\"\n\nWatson says, \"Then, as I said, her sister must have been undoubtedly alone when she met her mysterious end.\"\n\n> You wait\nAt dusk you see Dr. Grimesby Roylott drive past, his huge form looming up beside the little figure of the lad who drives him. The boy has some slight difficulty in undoing the heavy iron gates, and you hear the hoarse roar of the doctor's voice and see the fury with which he shakes his clinched fists at him. The trap drives on, and a few minutes later you see a sudden light spring up among the trees as a lamp is lit in one of the sitting-rooms.\n\nYou still are waiting for a signal from Miss Stoner.\n\nThere was a long night before us. Watson seemed eager to learn more of the case.\n\n[You can SAY clues TO WATSON if you would like to keep him informed, or WAIT for Dr. Roylott].\n\n> You wait\nAbout nine o'clock the light among the trees is extinguished, and all is dark in the direction of the Manor House. Two hours pass slowly away, and then, suddenly, just at the stroke of eleven, a single bright light shines out right in front of you.\n\n\"That is our signal,\" you say, springing to your feet; \"it comes from the middle window.\"\n\n> Go north\nAs you pass out you exchange a few words with the landlord, explaining that you are going on a late visit to an acquaintance, and that it is possible that you might spend the night there. A moment later you are out on the dark road, a chill wind blowing in your faces, and one yellow light twinkling in front of you through the gloom to guide you on your sombre errand.\n\nYou have entered the grounds through the unrepaired breaches that gape in the old park wall to the south. Past the lawn is the open\nwindow, to the north. Before it are some laurel bushes.\n\nWatson accompanies you.\n\n> Go north\nOut from the clump of laurel bushes darts what seems to be a hideous and distorted child, who throws itself upon the grass with writhing limbs and then runs swiftly across the lawn into the darkness.\n\n\"My Goodness!\" whispers Watson; \"did you see it?\"\n\nYou are startled, then break into a low laugh, and whisper to Watson. \"It is a nice household,\" you murmur. \"That is the baboon.\"\n\nNow you can enter the window to the north.\n\n> You go to the north\nYou noiselessly close the shutters, move the lamp, and cast your eyes round the room. All is as you saw it in the daytime; the rest of the house is to the north. The lamp should be turned off to avoid detection.\n\nWatson accompanies you.\n\n> You turn off the lamp\nYou turn off the lamp. It is time to wait.\n\nIt is now pitch dark in here!\n\n> You wait\nYou wait for hours. From outside comes the occasional cry of a night-bird, and once you hear a long drawn catlike whine, which tells you that the cheetah is at liberty.\n\nFar away you hear the deep tones of the parish clock, which boom out every quarter of an hour.\n\nTwelve strikes, and one and two and three.\n\nSuddenly there is the momentary gleam of a light up in the direction of the ventilator, which vanishes immediately, but is succeeded by a strong smell of burning oil and heated metal. Someone in the next room had lit a dark-lantern. You hear a gentle sound of movement, and then all is silent once more, though the smell grows stronger.\n\nThere is nothing to do but wait.\n\n> You wait\nYou wait another half an hour with straining ears. Then suddenly another sound becomes audible-a very gentle, soothing sound, like that of a small jet of steam escaping continually from a kettle.\n\nWatson strikes a match. You ready your cane. It is here, the viper!\n\nWatson is bewildered; he holds the match and peers at the bell-pull.\n\nThe speckled band writhes on the bell-pull.\n\n> Hit band\nYou beat at it with your cane until it retreats through the ventilator. Its snakish temper is aroused!\n\nAs you stand there panting, there breaks from the silence of the night the most horrible cry to which you have ever listened. It swells up louder and louder, a hoarse yell of pain and fear and anger all mingled in the one dreadful shriek. It strikes cold to your heart, and you stand gazing at Watson, and he at you, until the last echoes of it die away into the silence from which it rose.\n\nIt's time to see what's become of Dr. Roylott.\n\n> You go to the north\nThis corridor leads west to Dr. Roylott's door, or back\neast to the empty room's door.\n\nMiss Stoner's room is to the south.\n\nIt's time to see what's become of Dr. Roylott.\n\nWatson accompanies you.\n\n> Go west\nThis corridor leads west to the hall or back east to Miss\nStoner's room. You do not wish to see the entrance hall.\n\nThere is a door that leads south to Roylott's room.\n\nIt's time to see what's become of Dr. Roylott.\n\nWatson accompanies you.\n\n> You go south\n(first opening Dr. Roylott's door)\nTwice you strike at the chamber door without any reply. Then you turn the handle, and enter, Watson at your heels, with a cocked pistol in his hand.\n\nA dark-lantern stands with the shutter half open, throwing a brilliant beam of light upon the iron safe, the door of which is ajar.\n\nOn a wooden chair sits Dr. Grimesby Roylott clad in a long grey dressing-gown, his bare ankles protruding beneath, and his feet thrust into red heelless Turkish slippers. Across his lap lays the short stock with the long lash which we had noticed during the day, far from the serpent's reach but within your own.\n\nHis chin was cocked upward and his eyes were fixed in a dreadful, rigid stare at the corner of the ceiling. Round his head was wrapped the swamp adder. He made neither sound nor motion.\n\nYou can see Dr Roylott and a small dog lash here.\n\nThe speckled band slowly writhes around the Doctor's head. You dare not come within its reach.\n\nWatson accompanies you.\n\n> You shoot the Snake\nwhere clues you know can be found by typing CLUES. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.]\n\nThe snake has noticed you!\n\n> You talk to Watson\nYou can only communicate with Watson about clues, at this time.\n\nThe viper seems agitated. You must hurry!\n\n> You hit the Snake\n(the speckled band)\nYou need something...the dog lash is far from the adder. You could take it.\n\nThe adder is ready to strike!\n\n> You take lash\nTaken.\n\nThe snake leaps forward! Watson tries to shoot it, but his shot goes wild.\n\n> You get the lash\nTaken.\n\nThe snake has noticed you!\n\n> You get the Snake\n(the speckled band)\nThe speckled band does not look like he would appreciate that.\n\nThe viper seems agitated. You must hurry!\n\n> Trap snake\n(the speckled band)\nThrowing the noose round the reptile's neck, you draw it from its horrid perch and, carrying it at arm's length, throw it into the iron safe, which you close upon it.\n\nYou are travelling home on the train."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, violence, homage, cave]\n\nNearly -- nearly. The animal stink is rank and close. You raise your crossbow, try to peer beyond dark, wet stone.\n\n> Inventory\nYou are carrying your crossbow (loaded with a bolt), a thighband with four bolts (strapped to your leg), and a brightly-glowing lamplens (on your wrist).\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey.\n\n> You examine the prey\nYou can see nothing of it; only a sense of movement, back and forth, in the depths of the cave ahead.\n\n> You check your inventory\nYou are carrying your crossbow (loaded with a bolt), a thighband with four bolts (strapped to your leg), and a brightly-glowing lamplens (on your wrist).\n\nA faint rustling echoes deep in the side chamber, and the laughing chitter of bats.\n\n> About yourself\nYou're tired and covered with mud.\n\n> You examine the lens\nA clear glareless light pours from the lamp's curved face.\n\nYou glance around again. The cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\nA low passage descends out of sight on the right.\n\nA high chamber lies to your left. You cannot see its far side, but the rustle of cave bats drifts from the darkness."
    },
    {
        "text": "[Themes: Game, Fantasy, homage, cave]\n\n> Go downward\nThe passage drops off suddenly, ending in a deep pit. The sides are steep but not vertical; you might be able to scramble down, but you make no bets about climbing back up.\n\n> You examine the pit\nThe pit is edged in veined, knotted flowstone. A stiff climb, considering its steepness, but possible -- in descent.\n\nYou can make out a ledge far below.\n\n> You look at the ledge\nThe ledge is deep in the pit's darkness. You can see no details.\n\n> You look at what you're carrying with you\nYou are carrying your crossbow (loaded with a bolt), a thighband with four bolts (strapped to your leg), and a brightly-glowing lamplens (on your wrist).\n\n> You examine the bow\nThe crossbow is well-designed enough to be simple. Laminated leaf-laths, fiber string, and a cocking lever that runs the full length of the stock.\n\nThe bow is loaded with a bolt.\n\n> You examine band\nIt's a long band of heavy leather, with side straps, woven into a foot-long tube. The four bolts inside are secure yet easily slid out, and the whole is strapped comfortably to your leg.\n\nYou're tired and covered with mud.\""
    },
    {
        "text": "[Themes: Fantasy, Game, violence, cave]\n\n> You look at your surroundings\nYou stand at the bottom of a rising passage. Before you is a deep pit. The sides are steep but not vertical; you might be able to scramble down, but you make no bets about climbing back up.\n\n> Jump ledge\nThe ledge is far out of reach."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, cave]\n\n> Go downwards\nYou sit at the edge, turn, catch, and hang full-length against the wall. There ought to be a foothold...\n\nWell, perhaps not. You slam into the ledge and lean into stone, face and belly, trying not to slide any farther.\n\nAfter a moment you retake your balance, and turn. This ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA gentle arc hangs across the pit, well above your head.\n\n> You examine arc\nIt's a rope. Someone must have been trying to cross the pit. Yes, you can make out the side passages now -- dark patches in the walls above you. The rope seems to be tied to a pillar by one; the other end is wound around an opposite pillar, hooked precariously by something white and curved.\n\n> You examine the white\nLong, curved, white -- it's a claw, a broken-off claw of the beast that you seek. The rope is tied to it, and the makeshift grapple is wound precariously around a pillar by the right passage, above you.\n\n> You listen\nStone-silence. Water drips somewhere.\n\n> Sniff\nThe air smells of old mud.\n\n> You look down\nYou can make out the pit floor. It's only two or three body-lengths down; but the stone formations directly below you look vicious.\n\n> You pull the rope\nEven at the center of its arc, the rope is fifteen feet above you."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, cave]\n\n> Look around\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA rope hangs across the pit, a gentle arc well above your head.\n\n> Left\nBoth side passages are well above you, and a fair distance around the pit wall as well.\n\n> You think\nThat's your job.\n\n> You shoot rope with the bolt\n(the bolt)\nThe crossbow isn't cocked.\n\n> Cock bow\nYou pull down the lever, winching the string back until it locks.\n\n> Cock bolt\n(the bolt)\nDon't be absurd.\n\n> You shoot the rope with the bolt\n(the bolt)\nTunk. Well shot -- the bolt catches the rope neatly in the center, whipping it upward before shearing through. The ends dance like mad snakes, then settle."
    },
    {
        "text": "[Themes: Fantasy, Game, nature]\n\n> You look around\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nTwo ends of a rope hang down the pit walls, above you and to either side of the ledge.\n\n> You climb the rope\nYou move to the extreme right side of the ledge and stretch, but the cut end of the rope is too far up and out. The left end is no better.\n\n> You take the bolt\nYou slide a bolt from your thighband.\n\n> You shoot the rope with the bolt\n(the bolt)\nTunk. Your bolt brushes the dangling rope, which dances gently.\n\n> You shoot the fang with the bolt\n(the bolt)\nTunk. The bolt rattles among the blades and is lost.\n\n> You jump\nYou back along the ledge, then take a long step and leap...\n\nThe cut end of the rope brushes your fingers, but you have no chance to grab it. You twist, plummet, and are impaled on sharp stone.\n\n> You examine the grapple\nLong, curved, white -- it's a claw, a broken-off claw of the creature that you seek. Half the rope is still tied to it, and the makeshift grapple is wound precariously around a pillar by the right passage, above you.\n\n> You shoot grapple with the bolt\n(the bolt)\nTunk. Well shot -- the claw is dislodged, whirls furiously around the pillar, and falls free. Its half of the rope snakes down into the darkness."
    },
    {
        "text": "> Look around\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nHalf a rope hangs down the pit wall to your left.\n\n> Y.\n: :\n: :\n: Hunter         :\n: :\n: :\n: :\n\n> Space\n: :\n: :\n: Hunter,        :\n: In Darkness      :\n: :\n: :\n\n> Space\nNearly -- nearly. The animal stink is rank and close. You raise your crossbow, try to peer beyond dark, wet stone."
    },
    {
        "text": "[Themes: Game, Fantasy, cave]\n\n> You describe your surroundings\nYou glance around again. The cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey."
    },
    {
        "text": "[Themes: Game, Fantasy, homage, cave]\n\n> Go downward\nThe passage drops off suddenly, ending in a deep pit. The sides are steep but not vertical; you might be able to scramble down, but you make no bets about climbing back up."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, cave]\n\n> Go downwards\nYou sit at the edge, turn, catch, and hang full-length against the wall. There ought to be a foothold...\n\nWell, perhaps not. You slam into the ledge and lean into stone, face and belly, trying not to slide any farther.\n\nAfter a moment you retake your balance, and turn. This ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA gentle arc hangs across the pit, well above your head.\n\n> Cock bow\nYou pull down the lever, winching the string back until it locks.\n\n> You shoot grapple with the bolt\n(the bolt)\nTunk. Well shot -- the claw is dislodged, whirls furiously around the pillar, and falls free. The rope swings down past you and hangs to your left, claw still tied to the end.\n\n> You climb the rope\nYou breathe a moment; only one chance at this.\n\nA step and a leap, and you clutch the rope. It's slicker than you expected; chilly and damp. Perhaps a bit of mold, you think abstractedly, as your hands slip, and catch, and slip again --\n\nOuch. You've fetched up against the knot at the bottom of the rope; and the claw is biting into your hand. Razor-edged on the inside. You hope you never run into one of these alive -- ow. You've slipped again, and now both your hands are clamped around the claw, and your full weight is on them.\n\nYou are dangling at the end of the rope, against a sheer stone wall. Directly below you are vicious stone blades, and the claw you hang from is slowly slicing into your palms, and it hurts...\n\n> You examine the wall\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\nYour fingers slip, and the claw-edge cuts a little deeper.\n\n> Go upwards\nYou couldn't even hold in place on the rope, and that was before your hands were cut bloody. Climbing is impossible.\n\nYour fingers slip, and the claw-edge cuts a little deeper.\n\n> Swing\n(yourself)\nYou lurch yourself to the side, kick at the wall, and manage to set yourself swinging. The pain is amazing, but you have a chance at missing the stone blades now.\n\nYour fingers slip, and the claw-edge cuts a little deeper.\n\nYou swing along the wall, fingers screaming at the extra strain.\n\n> You jump\nYou twist back, forth, back, increasing your swing. Now -- you're rising away from the spires, which look sharper than ever -- you let go of the claw, finally, the pain nearly stops -- and you drop --\nBottom of Pit\nYou begin to drag yourself up. Ah -- no, you won't be putting any weight on your hands. They're badly torn up, and bleeding freely.\n\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nA twisted shape lies nearby.\n\n> You look at the shape\nIt's human.\n\nAnd it's been here a long time. He has, you think... or she, for all you know. There's little left to recall this broken shape to past life. The bones lie crumpled, clad in tatters of chewed black flesh. The clothes have fared somewhat better -- some resistant fiber -- but even they are brittle and rent.\n\nA bat flutters down from overhead. And another. You wave your arms, but they're keeping their distance.\n\n> You get the bolt\nYou slide a bolt from your thighband.\n\nBlood continues to trickle down your fingers.\n\nMore bats gather.\n\n> Cock bow\nYou pull down the lever, winching the string back until it locks.\n\nA stream of bats flickers overhead, around, never settling. You wave again. They seem more attracted than frightened by your hand.\n\n> You check what you're carrying\nYou are carrying your crossbow (loaded and cocked), a thighband with three bolts (strapped to your leg), and a cracked but still glowing lamplens (on your wrist).\n\n> You tie the clothes to the hands\nYou need to be holding the rags before you can put them on top of something else.\n\nSomething moves on the ground nearby. You twist around violently, but it's not approaching you; the bat is crouched over the blood-stained stone where you fell.\n\n> You remove the clothes\n(first taking the rags)\nThe old fiber tears without too much strain. You manage to rip loose some strips from the loose hems, lying clear of the corpse. What remains behind, stained with old decay, you'd just as soon not touch.\n\nYou shake your head to disperse the cold mist, and start to rub your eyes. It doesn't help, except to smear blood all over your face.\n\n> You tie the clothes to the hands\n(the cloth strips)\nYou quickly bind up your hands with the cloth. It stanches the bleeding, at least. You only hope that you can get to better care before infection sets in."
    },
    {
        "text": "[Themes: Game, Fantasy, violence, nature]\n\n> You look around\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nBats flutter everywhere, just overhead.\n\nA twisted corpse lies nearby.\n\nThe bats seem less agitated now.\n\n> You examine corpse\nThere's little left to recall this broken shape to past life. The bones lie crumpled, clad in tatters of chewed black flesh and torn rags.\n\nA bat darts towards your face, and quickly away.\n\n> You search it\nYou see no gear or equipment on the corpse.\n\nYou're starting to feel a bit less shaky.\n\n> You move corpse\nYou have no desire at all to touch the thing. Man. Person.\n\n> Clean blood\nThat hurts. A lot."
    },
    {
        "text": "[Themes: Fantasy, Game, violence, cave]\n\n> You describe your surroundings\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nBats flutter everywhere, just overhead.\n\nA twisted corpse lies nearby.\n\nYou're feeling considerably better.\n\n> You examine the light\nA dimming light gleams from the lamp's cracked face.\n\n> You shoot bat\nTunk. The aim is tricky; your bolt misses, and ricochets wildly around the pit.\n\n> You take all\nbolt: Taken.\nbats: The bats whirl away at your approach, staying just out of reach. corpse: You have no desire at all to touch the thing. Man. Person. crossbow: You already have that.\nbolt: You slide a bolt from your thighband.\nbolt: You slide a bolt from your thighband.\nbolt: You slide the last bolt from your thighband.\n\n> You look at the walls\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies."
    },
    {
        "text": "> You look around\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nBats flutter everywhere, just overhead.\n\nA twisted corpse lies nearby."
    },
    {
        "text": "> Go downwards\nYou kneel, stiffly, and poke your head into the opening. It's tight, and it looks like it gets tighter ahead. No help for it -- you crawl inside, pushing the crossbow awkwardly ahead of you.\n\nYou're on your hands and knees in a throat of stone. The roof dips even lower ahead. If you advance, it'll be squirming forwards on your belly. And squirming backwards will be impossible, you think grimly.\n\n> Forward\nYou hunch your elbows beneath your chest, and wiggle forward on them, into the gullet.\n\nYou stop, after a long silent time, to rest. Crawling is hard work, you know well, and your aching shoulders and scraped knees attest to it. But the crawl is no different here than anywhere. You have just enough room to raise your head, and there's nothing to see ahead but more stone to crawl through.\n\n> Continue\nYou begin determinedly working yourself forward, again.\n\nThe rock is lower above you. And narrower; you're lying full length now, your arms stretched out ahead, but still rough stone scrapes your shoulders. And you seem to be angling a bit downwards.\n\nIcy water is trickling past you.\n\nYour lamp flickers erratically. The moisture must be getting to its workings.\n\n> Drink water\nYou manage to lip a few drops from the stone. The water is muddy and harsh.\n\n> Forward\nYou continue. Scrabble with fingers, brace arms, push with toes. Shove the crossbow a bit farther ahead. You're definitely tilted head-down now. Is the stone pressing more tightly to either side of you?\n\nYou lie on your side, gasping, trying to recover some strength. Your back is sore; your neck is worse. Your head aches from cracking into unexpected stone. A cold stony knot presses into your left side, your right knee.\n\nYou stretch forward once more, feeling for a few more inches before you continue.\n\nSplash.\n\nYour fingers are submerged in water.\n\n> You feel the water\nIt's cold.\n\n> You search the water\nThere's either a shallow puddle in the passage ahead... or more than that. From where you lie, there is no way to tell.\n\n> You look at the stone\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\n> Forward\nYou stretch your hands forward, submerging them. Hunch, stretch. Inchworm... inchworm...\n\nYour arms are submerged, and water ripples at your chin. No room to lift your head. You turn your face to the side, cheek scraping against the damn everpresent stone, and stretch again.\n\nYour lamp flickers once and goes out.\n\nYou are lying in cold still water. It licks at your cheek and arms, and across the backs of your thighs. The chill makes your bruised knees and chest hurt all the more; your neck screams from craning high enough to breathe, but there is no room to sit up. No room to turn. No room.\n\n> Forward\nYou struggle on. You hope the water grows no deeper. That thought occupies you for a few more hunches, a few more stretches. Grow no deeper. If the water grows deeper... Grow no deeper. You shake that away, and nothing comes to replace it.\n\nYou crawl on in the dark. The water grows no deeper.\n\nMaybe it's not as deep now?\n\nWater trickles over your hands, but the floor must have risen; there is less of it... a note of hope. But you cannot see.\n\n> Continue\nYou thrust your shoulders forward. They stick.\n\n> Continue\nYou push again. It's just this spot; your hands are free in a wider area ahead. But immovable stone grates against your chest and shoulders.\n\n> You keep going\nYou've got one shoulder past the edge. The other is behind a corner of stone, and you can't imagine how it's going to get through.\n\n> You continue\nYou brace your legs as best you can, and shove futilely against the trap.\n\n> Continue\nYou brace your legs as best you can, and shove futilely against the trap.\n\nYou are never going to leave this place."
    },
    {
        "text": "> You look around\nWater trickles over your hands, but the floor must have risen; there is less of it. But the roof lowers, and the crawl has become almost impossibly tight. And you cannot see.\n\nThe stone is not going to let you go.\n\n> Back\nYou try to shove yourself back, but you cannot move.\n\nIt is dark.\n\n> You look at the stone\nYou can make out almost nothing in this dark.\n\nIt is dark.\n\n> Sing\nYour singing is abominable.\n\nIt is dark.\n\n> You pull the stone\nYou are unable to.\n\nIt is dark.\n\n> You hit the stone\nThere are better targets.\n\nIt is dark.\n\n> Inventory\nYou are carrying some cloth strips (tied around your wounded hands), your crossbow (loaded and cocked), a thighband with three bolts (strapped to your leg), and a cracked and darkened lamplens (on your wrist).\n\nIt is dark.\n\n> You untie the cloth\nYou're an unknown distance into the most exhausting tunnel-crawl you can remember, and you want to start losing more blood?\n\nIt is dark."
    },
    {
        "text": "[Themes: Game, Fantasy, cave, nature, violence]\n\n> You look at your surroundings\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA gentle arc hangs across the pit, well above your head.\n\n> Shoot grapple\nTunk. Well shot -- the claw is dislodged, whirls furiously around the pillar, and falls free. The rope swings down past you and hangs to your left, claw still tied to the end.\n\n> You examine the rope\nThe upper end of the rope is tied to a pillar by the left side passage. The lower end, tied to the claw, dangles free. It hangs at about waist-level, just beyond the left side of the ledge.\n\n> You pull the rope\nThe rope hangs a bit too far beyond the ledge. It would be an easy jump, but you can't simply grab it.\n\n> You jump\nYou breathe a moment; only one chance at this.\n\nA step and a leap, and you clutch the rope. It's slicker than you expected; chilly and damp. Perhaps a bit of mold, you think abstractedly, as your hands slip, and catch, and slip again --\n\nOuch. You've fetched up against the knot at the bottom of the rope; and the claw is biting into your hand. Razor-edged on the inside. You hope you never run into one of these alive -- ow. You've slipped again, and now both your hands are clamped around the claw, and your full weight is on them.\n\nYou are dangling at the end of the rope, against a sheer stone wall. Directly below you are vicious stone blades, and the claw you hang from is slowly slicing into your palms, and it hurts...\n\n> You look at the rope\nIt's an old rope. Somewhere above, it's tied to a stone pillar. At your end, it's tied to a razor-like claw, and that's the end that's got your attention.\n\nYour fingers slip, and the claw-edge cuts a little deeper.\n\n> You get the mold\nYou can't see any such thing.\nI beg your pardon?\n\nI beg your pardon?\n\n> Yes\nNearly -- nearly. The animal stink is rank and close. You raise your crossbow, try to peer beyond dark, wet stone."
    },
    {
        "text": "[Themes: Game, Fantasy, cave]\n\n> You describe your surroundings\nYou glance around again. The cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey.\n\n> Left\nYou advance into the chamber. A bat flutters in your face. You swipe it away... and three more bats replace it. You duck, swearing; swearing again at a sharp nip on your arm. Drew blood, it did.\n\nThere is a rustling all around you. You try to remember what you know about the habits of cave bats --\n\nOh.\n\nYou scramble back, covering your eyes; too late. The swarm is on you, harrying you, small teeth and shrieks like shards of glass. You cannot see. You are running, stumbling ahead of the storm, and as you recall what else you know of the hunting of bats, the floor drops away to nothing beneath you --\n\n> You press enter\nYou roll painfully to hands and knees. Ah -- your arm nearly gives way -- you realize you somehow tore hell out of it on the way down, or landing. It's bleeding freely.\n\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nA twisted shape lies nearby.\n\n> You press enter\nNearly -- nearly. The animal stink is rank and close. You raise your crossbow, try to peer beyond dark, wet stone.\n\n> Go inside\nYou can't go that way.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey."
    },
    {
        "text": "> Look around\nYou glance around again. The cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\n> Forward\nYou creep up the passage, as stealthily as you can. It must be retreating ahead, for you see only empty stone, though the smell grows harsher...\n\nAnd the eyes of the beast are on you, and claws come out of the night.\n\n> Cock bow\nYou pull down the lever, winching the string back until it locks.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey.\n\n> Left\nYou advance into the chamber. A bat flutters in your face. You swipe it away... and three more bats replace it. You duck, swearing; swearing again at a sharp nip on your arm. Drew blood, it did.\n\nThere is a rustling all around you. You try to remember what you know about the habits of cave bats --\n\nOh.\n\nYou scramble back, covering your eyes; too late. The swarm is on you, harrying you, small teeth and shrieks like shards of glass. You cannot see. You are running, stumbling ahead of the storm, and as you recall what else you know of the hunting of bats, the floor drops away to nothing beneath you --\n\n> Cock bow\nYou roll painfully to hands and knees. Ah -- your arm nearly gives way -- you realize you somehow tore hell out of it on the way down, or landing. It's bleeding freely.\n\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nA twisted shape lies nearby.\n\n> About yourself\nYour arm is pretty torn up. Also, you're tired and covered with mud.\n\nA bat flutters down from overhead. And another. You wave your arms, but they're keeping their distance.\n\n> You get the clothes\nThe old fiber tears without too much strain. You manage to rip loose some strips from the loose hems, lying clear of the corpse. What remains behind, stained with old decay, you'd just as soon not touch.\n\nBlood continues to trickle down your fingers.\n\nMore bats gather.\n\n> You wrap the arm with the clothes\n(the cloth strips)\nYou quickly bind up your arm with the cloth. It stanches the bleeding, at least. You only hope that you can get to better care before infection sets in."
    },
    {
        "text": "[Themes: Game, Fantasy, cave, nature]\n\n> Look around\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nSeveral bats flutter overhead.\n\nA twisted corpse lies nearby.\n\nThe bats seem less agitated now.\n\nA stream of bats flickers overhead, around, never settling. You wave again. They seem more attracted than frightened by your hand.\n\n> You look at the blades\nWater dripping down has left runnels across the floor, that rise by some fluke into sharp spires by the edge of the pit. They rise like the teeth of sharks; no doubt you slashed your arm on one as you fell.\n\n> You hit the blades\nThe stone isn't thin enough to break.\n\nYou're starting to feel a bit less shaky.\n\nSomething moves on the ground nearby. You twist around violently, but it's not approaching you; the bat is crouched over the blood-stained stone where you fell.\n\n> You shoot bat\nTunk. The aim is tricky; your bolt misses, and ricochets wildly around the pit.\n\n> You get the bat\nThe bats whirl away at your approach, staying just out of reach.\n\n> You check what you're carrying\nYou are carrying some cloth strips (tied around your wounded arm), your crossbow (loaded and cocked), a thighband with four bolts (strapped to your leg), and a cracked but still glowing lamplens (on your wrist).\n\n> Untie band\nYou unstrap the thighband.\n\n> You examine the band\nIt's a long band of heavy leather, with side straps, woven into a foot-long tube. The four bolts inside are secure yet easily slid out, and the whole can be strapped comfortably to your leg."
    },
    {
        "text": "[Themes: Game, Fantasy]\n\n> Look around\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nBats flutter everywhere, just overhead.\n\nA twisted corpse lies nearby.\n\nYou're feeling considerably better.\n\nA bat darts towards your face, and quickly away.\n\n> Backwards\nYou shove yourself a few inches back, trying to adjust your position.\n\n> Inventory\nYou are carrying some cloth strips (tied around your wounded arm), your crossbow (loaded and cocked), a thighband with four bolts, and a cracked and darkened lamplens (on your wrist).\n\n> You remove the lamplens\nYou slip the lamplens from your wrist.\n\n> Forward\nYou push again. It's just this spot; your hands are free in a wider area ahead. But immovable stone grates against your chest and shoulders.\n\n> You feel the walls\nCool damp stone.\n\n> You remove all\ncrossbow: You already have that.\nthighband: You already have that.\nlamplens: You already have that.\nbolt: You extract the bolt from the cocked crossbow.\nbolt: You can't reach back to your leg with that much dexterity.\nbolt: You can't reach back to your leg with that much dexterity.\nbolt: You can't reach back to your leg with that much dexterity.\nbolt: You can't reach back to your leg with that much dexterity.\n\n> You drop all\nbolt: Dropped.\ncrossbow: You're not really holding the bulky thing anyway; you're pushing it down the tunnel ahead of you. You couldn't crawl past it if you tried.\nthighband: Dropped.\nlamplens: Dropped.\n\n> Back\nYou try to shove yourself back, but you cannot move.\n\nThe stone is not going to let you go.\n\n> Forward\nYou brace your legs as best you can, and shove...\n\nIt feels like scraping flesh from bone, but your shoulder tears past the edge. You lie and gasp for a moment, and then work your torso painfully through the gap.\n\nThe passage slants sharply down now, but it's widening. It's widening. You half-crawl, half-slide downward, dragging your legs out of the gap, and come to rest in what seems like blinding light --\n\n> Inventory\nYou are carrying some cloth strips (tied around your wounded arm), your crossbow (loaded and cocked), a thighband with four bolts, and a cracked and darkened lamplens (on your wrist)."
    },
    {
        "text": "[Themes: Fantasy, Game, cave]\n\n> You describe your surroundings\nWater trickles over your hands, but the floor must have risen; there is less of it. But the roof lowers, and the crawl has become almost impossibly tight. And you cannot see.\n\n> Backward\nYou hunch back from the edge, twist, and manage to get your other shoulder through instead. At least it's a change.\n\nYou are never going to leave this place.\n\n> Forward\nYou brace your legs as best you can, and shove...\n\nIt feels like scraping flesh from bone, but your shoulder tears past the edge. You lie and gasp for a moment, and then work your torso painfully through the gap.\n\nThe passage slants sharply down now, but it's widening. It's widening. You half-crawl, half-slide downward, dragging your legs out of the gap, and come to rest in what seems like blinding light --\nSmallish Cave\nEventually, you manage to sit up and look around.\n\nYou are in a smallish roundish cave. Gravel and small rock chips cover the ground. Water trickles audibly, somewhere nearby. A path runs right, a steep crack heads left, and a pit climbs up.\n\n> About yourself\nYour arm is pretty torn up. Also, you're tired and covered with mud.\n\nYou catch a distant whiff of something.\n\n> Smell\nThe faintest trace of the animal hangs in the air. It seems stronger near the steep crack to the left.\n\n> Left\nThis is a largish dome. Needles of yellow calcite spray from the rocks nearby. A steep crawl leads down, a twisting tunnel leads forward, and a low tunnel goes left.\n\n> Smell\nThe air smells of old mud.\n\n> You examine floor\nThe floor is irregular, water-worn.\n\nYou catch a distant whiff of something.\n\n> Smell\nThe faintest trace of the beast hangs in the air. It seems stronger near the twisting tunnel ahead.\n\n> Forward\nThis is a roundish room. Stalagmites cluster thickly around you. You can hear water rushing in the distance. A narrow passage heads left, a twisty tunnel runs right, and a twisting path climbs up.\n\n> Wave\nYou put your hands up in the air and wave them like -- you feel foolish.\n\n> Wait\nTime passes.\n\nYou catch a distant whiff of something, drifting from the narrow passage to the left.\n\nYou shake your head, side to side, trying to push off the weight of weariness for another few minutes. Keep moving.\n\n> Left\nYou are in a smallish roundish cavern. Stalactites form heavy stone fringes across the ceiling. A wide path leads down, a low crack goes right, and a rough crawl leads up.\n\n> You wait\nTime passes.\n\nYou catch a whiff of something rank from the low crack to the right.\n\n> Right\nYou are in a large, elongated dome. Stalagmites cluster thickly around you. You can hear water rushing in the distance. A passage heads left, a twisting tunnel descends, and a wide passage leads ahead.\n\n> You wait\nTime passes.\n\nYou catch a whiff of something rank from the passage to the left.\n\n> Left\nThis is a cramped round room, with a high roof. Ropy pillars rise from floor to roof, and a small still pool lies to one side. Gravel and chipped rock cover the ground. A rough tunnel goes right, a narrow pit ascends, and a pit leads down.\n\nThe scent of the creature hangs all around you. It's welling from the pit leading down.\n\n> Down\nThe pit opens abruptly into vast space.\n\nYou emerge onto a steep slope, high above a canyon that stretches out of sight to either side. Twisted and stalactite-hung stone forms a vault overhead, which glimmers with reflections of some unseen source of light; but the canyon below is shadowed. Water rushes somewhere at its root. You could climb farther down, and a narrow crevice leads back into the rock.\n\nMovement, on a level area on the far side of the canyon, partway down. Something gliding silently back and forth, back and forth. Your prey. Waiting.\n\n> You look at the prey\nThe creature does not look small, even from up here, even half-unformed by canyon shadows. It prowls across a wide ledge across the canyon and below your level. You do not think it knows you are here.\n\nYour foot slips. For a moment your fatigue flares into panic, as you clutch to steady yourself, but you know you are tired, tired. This must end soon. Too much blood. Too much stone.\n\n> You shoot the prey\nTunk. And you flinch at the hissing shriek that echoes up the cave walls.\n\nThe dark shape flees -- not climbing, but running down the canyon slope, vanishing in the depths. Your thudding pulse slows.\n\nMoments later, barely sensed, the scent of blood. You have wounded the Wumpus."
    },
    {
        "text": "[Themes: Game, Fantasy]\n\n> You look at your surroundings\nYou have emerged onto a steep slope, high above a canyon that stretches out of sight to either side. Twisted and stalactite-hung stone forms a vault overhead, which glimmers with reflections of some unseen source of light; but the canyon below is shadowed. Water rushes somewhere at its root. You could climb farther down, and a narrow crevice leads back into the rock.\n\n> You jump\nJumping here would be fruitless.\n\nYour foot slips. For a moment your fatigue flares into panic, as you clutch to steady yourself, but you know you are tired, tired. This must end soon. Too much blood. Too much stone.\n\n> You examine the prey\nThe creature does not look small, even from up here, even half-unformed by canyon shadows. It prowls across a wide ledge across the canyon and below your level. You do not think it knows you are here."
    },
    {
        "text": "[Themes: Game, Fantasy, nature]\n\n> Go downward\nYou turn, test your balance, and begin edging down the slope. And your foot slips. Again.\n\nYou fling your arms out, heedless of your possessions. You grasp at nothing.\n\nMuch too tired for this, you think, as you skid wildly down the canyon. A danger to yourself and everyone around you. And below, you add with distant amusement, before the bottom arrives with a horrible jolt.\n\n> You get the bolt\nYou must be getting better at this. You're only freshly bruised. Lying still, even on cold stone, is painfully easy... but after a few minutes, you find yourself struggling to stand.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. You think, against your will, that it was worth it.\n\nA crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nThe Wumpus certainly fled this way: a pool of thick, dark, reeking blood is spilled across the ground. Bats crawl all around it -- rustling, fluttering, feasting.\n\n> Inventory\nYou are carrying a bolt, some cloth strips (tied around your wounded arm), a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\n...And no crossbow. Right. You lost hold of it in the fall.\n\n> You search the floor\nYou find nothing of interest.\n\nThe bats jostle each other around the pool."
    },
    {
        "text": "[Themes: Game, Fantasy, cave, nature, homage]\n\n> You look around\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. A crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nA pool of thick, dark, reeking blood is spilled across the ground. Bats crawl all around it -- rustling, fluttering, feasting.\n\n> You look at what you're carrying with you\nYou are carrying a bolt, some cloth strips (tied around your wounded arm), a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\n> You examine the blood\nWhich do you mean, your bloody wound or the pool of blood?\n\n> You look at the pool of the blood\nThe pool is clotted and dark, nearly black in this dim light. It is bitter and foul; it already smells of decay. And bats squat all around it.\n\n> Smell\nA violent bitter reek fills the air, overlying even the animal stink of the Wumpus's presence. The blood is cooling, but not yet dry.\n\n> Forward\nYou heave yourself wearily over the crevice, and approach the twisted formations that make up the far canyon wall...\n\nAnd you round a pillar, and stop there. Here? Now?\n\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them; but you don't think you can get to it right now.\n\nThe Wumpus is crouched before you. Blood trickles from the wound your bolt tore, down its hide, puddling on the floor.\n\nIt holds your crossbow in its claws; gently cradled; loaded and cocked; steady on your throat.\n\n> You jump\nJumping here would be fruitless.\n\n> Forward\nYou take a tentative step towards the creature. And stop. The crossbow hasn't moved a fraction, but you see a claw moving restlessly on the trigger...\n\n> Back\nYou back up, trying not to take your eyes from its eyes. It works, or the Wumpus decides to allow it.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. A crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nA pool of thick, dark, reeking blood is spilled across the ground. Bats crawl all around it -- rustling, fluttering, feasting.\n\n> You continue\nThe Wumpus does not hesitate. Tunk.\n\nSo this is what it's like.\n\n> You look at the crevice\nA canyon in the canyon. It is only a couple of feet wide, though it seems to widen beneath. At the bottom, perhaps six feet below, water rushes. It is only a remnant of the river that carved this place; but it boils the more furiously for being confined.\n\nAnother bats flutters down from above, and pushes into the mass.\n\n> You remove the cloth\nYou carefully unwrap the cloth from your arm. The worst of the bleeding has stopped, although there is still a fierce ache and a slow trickle of blood.\n\n> Wave\nYou put your hands up in the air and wave them like -- you feel foolish.\n\nA bat suddenly pokes its stained nose up above the pool, casting about.\n\n> You show the blood to the bats\nWhich do you mean, your bloody wound or the pool of blood?\n\n> You show the wounds to the bats\nYou can only do that to something animate.\n\n> Wave\nYou put your hands up in the air and wave them like -- you feel foolish.\n\nThe bats jostle each other around the pool.\n\n> You continue\nYou put your hands up in the air and wave them like -- you feel foolish.\n\nTwo of the bats rattle up and begin circling above you.\n\n> Continue\nYou put your hands up in the air and wave them like -- you feel foolish.\n\n> You keep going\nYou put your hands up in the air and wave them like -- you feel foolish.\n\nSeveral of the bats are fluttering in the air around you, ignoring the drying pool of blood nearby.\n\n> You continue\nYou put your hands up in the air and wave them like -- you feel foolish.\n\nIn a rush, together and by no visible signal, the bats are airborne. The chittering cloud rises -- and then falls towards you.\n\nYou scramble back, covering your eyes; too late. The swarm is on you, harrying you, small teeth and shrieks like shards of glass. You cannot see. You stumble away from the storm, and the stone falls away into rushing water beneath you.\n\nNo doubt the bats find your body eventually.\n\n> Forward\nA cluster of bats flickers after you, chittering. You hunch your shoulders and try to ignore them.\n\nYou heave yourself wearily over the crevice, and approach the twisted formations that make up the far canyon wall.\n\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them; but you don't think you can get to it right now.\n\nThe Wumpus is crouched before you. Blood trickles from the wound your bolt tore, down its hide, puddling on the floor. It holds your crossbow in its claws; gently cradled; loaded and cocked; steady on your throat.\n\nThe bats dive forward, then rise, emitting glass-shrill cries.\n\n> You wait\nTime passes.\n\nMore bats are arriving, streaming across the canyon.\n\n> You look at Wumpus\nLater, all you will be able to remember are its eyes. They are rich mud-brown, and they hold your own without effort.\n\nThe swarm grows thicker, swirling above the Wumpus, which tosses its head around angrily before returning its gaze to you.\n\n> Wait\nTime passes.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You get the bow\nYou begin moving towards the creature. It might be distracted enough...\n\nPerhaps not. The Wumpus lashes out with long claws, and deals a crushing blow."
    },
    {
        "text": "[Themes: Game, Fantasy, homage]\n\n> You look around\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them, beyond the writhing Wumpus.\n\nThe Wumpus is crouched before you. It sways forward and back, trying to escape the assault, and the crossbow wavers.\n\nBats rush overhead in a vast wheeling cloud.\n\nThe Wumpus turns towards you, shielding its face from the bats. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> Back\nYou back up. The Wumpus doesn't seem to notice your retreat.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. A crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nA pool of thick, dark, reeking blood is spilled across the ground.\n\nSwarms of bats are swirling in from everywhere. A few circle the pool, but most disappear off across the canyon.\n\nThere is a roar, and something huge looms over you. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nThe Wumpus lunges towards you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> Shout\n(to the Wumpus)\nYou begin moving towards the creature. It might be distracted enough...\n\nPerhaps not. The Wumpus lashes out with long claws, and deals a crushing blow."
    },
    {
        "text": "[Themes: Fantasy, Game]\n\n> Look around\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them; but you don't think you can get to it right now.\n\nThe Wumpus is crouched before you. Blood trickles from the wound your bolt tore, down its hide, puddling on the floor. It holds your crossbow in its claws; gently cradled; loaded and cocked; steady on your throat.\n\nBats circle warily overhead.\n\nMore bats are arriving, streaming across the canyon.\n\n> Back\nYou back up, trying not to take your eyes from its eyes. It works, or the Wumpus decides to allow it.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. A crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nA pool of thick, dark, reeking blood is spilled across the ground. Bats still crawl around it, but more are rising every moment.\n\nThe last of the bats flutters up from the pool. Others are dropping from above, from every direction, and streaming across the canyon.\n\n> Back\nYou can see no way through in that direction.\n\nYou hear an angry hiss from across the canyon.\n\n> Go upward\nThe climb is beyond you.\n\nStreams of bats continue to converge and swarm towards the Wumpus. The rattling of wings is overwhelming."
    },
    {
        "text": "> You go downwards\nYou lower yourself through the crevice, and drop.\n\nYou have underestimated the strength of the current, and the depth. The water seizes you and batters you away.\n\n> Inventory\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\nA hissing shriek echoes across the canyon. Bats scatter.\n\n> Forward\nYou heave yourself wearily over the crevice, following the bats.\n\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them, beyond the writhing Wumpus.\n\nThe Wumpus is crouched before you. It sways forward and back, trying to escape the assault, and the crossbow wavers.\n\nBats rush overhead in a vast wheeling cloud.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You grab bow\nYou begin moving towards the creature. It might be distracted enough...\n\nPerhaps not. The Wumpus lashes out with long claws, and deals a crushing blow.\n\n> Inventory\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\nThe swarm grows thicker, swirling above the Wumpus, which tosses its head around angrily before returning its gaze to you."
    },
    {
        "text": "> Look around\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them, beyond the writhing Wumpus.\n\nThe Wumpus is crouched before you. It sways forward and back, trying to escape the assault, and the crossbow wavers.\n\nBats rush overhead in a vast wheeling cloud.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You examine the stone\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You grab the bats\nYou want to get closer to them?\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You hit the stone\nThere are better targets.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You get the stone\nThat's hardly portable.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You go upward\nYou take a hesitant step sideways. And another, sliding past the beast, trying to be a thin part of the canyon wall...\n\nThe Wumpus, lashing out at bats, doesn't seem to notice.\n\nYou are partway up the canyon wall, on a narrow path that climbs from ledge to ledge. The cavern is vast around you, water-hewn strata stretching upward to the stone forest of the roof; and somewhere above you, a crack of daylight sets it all glimmering...\n\nDown on the canyon floor, the Wumpus thrashes within a rustling black cloud. Dark growls rise to you.\n\n> Forward\nYou can see no way through in that direction.\n\nThe Wumpus screams.\n\n> You climb\n(the bolt)\nI don't think much is to be achieved by that.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> Go upwards\nYou pick your way... slowly... up the canyon wall. Everything is heavy; you're glad you have nothing more to carry.\n\nSomewhere below, a hissing scream is cut off, abruptly. You round a pale fold of limestone, and you are blinded by daylight."
    },
    {
        "text": "> You look at your surroundings\nYou are partway up the canyon wall, on a narrow path that climbs from ledge to ledge. The cavern is vast around you, water-hewn strata stretching upward to the stone forest of the roof; and somewhere above you, a crack of daylight sets it all glimmering...\n\nDown on the canyon floor, the Wumpus thrashes within a rustling black cloud. Dark growls rise to you.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You check what you're carrying\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You throw the cloth at Wumpus\nThe Wumpus is down below, on the floor of the canyon.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You wait for a while\nTime passes.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n: :\n: :\n: Hunter         :\n: :\n: :\n: :\n\n> Go upwards\nYou take a tentative step towards the creature. And stop. The crossbow hasn't moved a fraction, but you see a claw moving restlessly on the trigger...\n\nMore bats are arriving, streaming across the canyon.\n\n> Wait\nTime passes.\n\nThe swarm grows thicker, swirling above the Wumpus, which tosses its head around angrily before returning its gaze to you.\n\n> You go upward\nYou take a hesitant step sideways. And another, sliding past the beast, trying to be a thin part of the canyon wall...\n\nThe Wumpus, lashing out at bats, doesn't seem to notice.\n\nYou are partway up the canyon wall, on a narrow path that climbs from ledge to ledge. The cavern is vast around you, water-hewn strata stretching upward to the stone forest of the roof; and somewhere above you, a crack of daylight sets it all glimmering...\n\nDown on the canyon floor, the Wumpus thrashes within a rustling black cloud. Dark growls rise to you.\n\n> Go upwards\nYou pick your way... slowly... up the canyon wall. Everything is heavy; you're glad you have nothing more to carry.\n\nSomewhere below, a hissing scream is cut off, abruptly. You round a pale fold of limestone, and you are blinded by daylight.\n\n> Attack wumpus\nThe Wumpus is down below, on the floor of the canyon.\n\n> You jump\nJumping here would be fruitless.\n\nThe Wumpus screams."
    },
    {
        "text": "> Go downward\nYou begin picking your way back down towards the canyon floor.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You look at the ledge\nThe path climbs up towards light.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You look at the ledge\nThe path climbs up towards light.\n\n> You examine the wall\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\nThe Wumpus screams.\n\n> You shout at the wall\n(to yourself)\nThere is no reply.\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You hit wall\nThere are better targets."
    },
    {
        "text": "[Themes: Fantasy, Game, nature, homage, cave]\n\n> Go down\nYou can see no way through in that direction.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> Go north\nThose directions have meaning under the stars and the sun. These caves... contain only themselves.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> North\nThose directions have meaning under the stars and the sun. These caves... contain only themselves.\n\nThe Wumpus screams.\n\n> You check what you're carrying\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\nThere is a roar, and something huge lurches up the path. The dark eyes of the Wumpus peer out of a chittering swarm. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws.\n\n> You get the bolt\n(the bolt)\nYou already have that.\n\nMore bats are arriving, streaming across the canyon.\n\n> Inventory\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens (on your wrist).\n\nThe swarm grows thicker, swirling above the Wumpus, which tosses its head around angrily before returning its gaze to you.\n\n> You examine lamplens\nThe lamp's cracked face is dark.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You throw the bolt at Wumpus\n(the bolt at the Wumpus)\nYou begin moving towards the creature. It might be distracted enough...\n\nPerhaps not. The Wumpus lashes out with long claws, and deals a crushing blow.\n\n> You throw the bolt at Wumpus\n(the bolt at the Wumpus)\nThe Wumpus is down below, on the floor of the canyon.\n\n> You drop the lamplens\nDropped.\n\n> Go upwards\nYou pick your way... slowly... up the canyon wall. Everything is heavy; you're glad you have nothing more to carry.\n\nSomewhere below, a hissing scream is cut off, abruptly. You round a pale fold of limestone, and you are blinded by daylight.\n\n> You remove the lamplens\nYou slip the lamplens from your wrist.\n\nMore bats are arriving, streaming across the canyon.\n\n> You check your inventory\nYou are carrying a bolt, some cloth strips, a thighband with three bolts, and a cracked and darkened lamplens.\n\nThe swarm grows thicker, swirling above the Wumpus, which tosses its head around angrily before returning its gaze to you.\n\n> Clean lamplens\nNothing happens.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You fix the lamplens\nYou're no specialist; you just use the things. You'll be... you hope... buying a new one.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> You tie the cloth to bolt\n(the bolt)\nYou would achieve nothing by this.\n\nThe Wumpus flails furiously within a swarm of biting black shadows.\n\n> Left\nYou can see no way through in that direction.\n\nThe Wumpus turns towards you, shielding its face from the bats. There is understanding somewhere in there, what you have done to it and why -- and rage.\n\nIt lunges at you, heedless now of what the bats might do; it only wants to reach you with its claws."
    },
    {
        "text": ": :\n: :\n: Hunter         :\n: :\n: :\n: :\n\n> You examine the stone\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey.\n\n> Ahead\nYou creep up the passage, as stealthily as you can. It must be retreating ahead, for you see only empty stone, though the smell grows harsher...\n\nAnd the eyes of the beast are on you, and claws come out of the night."
    },
    {
        "text": "> You look around\nThe cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\nA faint rustling echoes deep in the side chamber, and the laughing chitter of bats."
    },
    {
        "text": "> You look at your surroundings\nThe cave narrows ahead, a tight crawl winding around folds of limestone. A low passage descends to your right, and there is a side chamber on the left.\n\n> Go upwards\nAscent is impossible.\n\n> R.\nWhat do you want to drop?\n\n> Right\nThe side passage is out of reach.\n\n> Left\nBoth side passages are well above you, and a fair distance around the pit wall as well.\n\n> You climb\nWhat do you want to climb?\n\n> You look at pit\nWhich do you mean, the pit above or the pit below?\n\n> You examine the pit below\nYou can make out the pit floor. It's only two or three body-lengths down; but the stone formations directly below you look vicious.\n\n> You jump\nThe rope curves some fifteen feet above you. Jumping is just a bit optimistic.\n\n> You look at the rope\nIt's a rope. Someone must have been trying to cross the pit. Yes, you can make out the side passages now -- dark patches in the walls above you. The rope seems to be tied to a pillar by one; the other end is wound around an opposite pillar, hooked precariously by something white and curved.\n\n> You examine the chamber\nA high chamber lies to your left. You cannot see its far side, but the rustle of cave bats drifts from the darkness.\n\n> You examine lamplens\nA clear glareless light pours from the lamp's curved face."
    },
    {
        "text": "[Themes: Fantasy, Game, violence, cave]\n\n> You look at your surroundings\nYou stand at the bottom of a rising passage. Before you is a deep pit. The sides are steep but not vertical; you might be able to scramble down, but you make no bets about climbing back up."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, cave]\n\n> Go downwards\nYou sit at the edge, turn, catch, and hang full-length against the wall. There ought to be a foothold...\n\nWell, perhaps not. You slam into the ledge and lean into stone, face and belly, trying not to slide any farther.\n\nAfter a moment you retake your balance, and turn. This ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA gentle arc hangs across the pit, well above your head.\n\n> You examine arc\nIt's a rope. Someone must have been trying to cross the pit. Yes, you can make out the side passages now -- dark patches in the walls above you. The rope seems to be tied to a pillar by one; the other end is wound around an opposite pillar, hooked precariously by something white and curved.\n\n> You look at pillar\nWhich do you mean, the left side passage or the right side passage?\n\n> You examine left pillar\nThe passage is just a dark patch in the side of the pit, off to the side and far above the ledge you stand on. Its outline is ragged with stalactites and flowstone pillars where water has dripped for millennia down the pit walls. A rope is tied securely to one such pillar, and stretches across the pit."
    },
    {
        "text": "[Themes: Fantasy, Game, cave]\n\n> Go downwards\nYou dangle your legs over the edge again, and turn and hang... and look down. And change your mind. The spires below are like fangs in a stone maw. You scramble back to the ledge to think it over."
    },
    {
        "text": "[Themes: Fantasy, Game, violence, homage, cave]\n\n> You go downwards\nYou dangle your legs over the edge again, and turn and hang... and steel yourself, and drop.\n\nThe stone blades that impale you probably aren't that large, in truth. You don't care. The sound of fluttering wings draws closer.\n\n> You look at the floor\nThe floor is irregular, water-worn.\n\n> You examine the ceiling\nDark stone glistens overhead.\n\n> You look at the passage\nThe passage rises behind you.\n\n> You look at the stone\n(the stone blades)\nSharp spires rise directly below you -- some chance result of dripping minerals and flowing water. If you try to descend farther, you'll slip and probably fall into them.\n\n> You take the bolt\n(the bolt)\nYou extract the bolt from the crossbow.\n\n> You put the bolt in the wall\n(the bolt in the stone wall)\nThat can't contain things.\n\n> You hit wall\nThere are better targets."
    },
    {
        "text": "[Themes: Game, Fantasy, cave, nature, violence]\n\n> You look at your surroundings\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nA gentle arc hangs across the pit, well above your head.\n\n> Ahead\nYou creep up the passage, as stealthily as you can. It must be retreating ahead, for you see only empty stone, though the smell grows harsher...\n\nAnd the eyes of the beast are on you, and claws come out of the night.\n\n> Go upwards\nYou knew when you slid down here that climbing back would be impossible.\n\nSomething shifts in the darkness ahead, a great silent bulk. Your prey.\n\n> You examine the thighband\nIt's a long band of heavy leather, with side straps, woven into a foot-long tube. The four bolts inside are secure yet easily slid out, and the whole is strapped comfortably to your leg.\n\n> You remove the bolts\nbolt: You extract the bolt from the crossbow.\nbolt: You slide a bolt from your thighband.\nbolt: You slide a bolt from your thighband.\nbolt: You slide a bolt from your thighband.\nbolt: You slide the last bolt from your thighband.\n\n> You check your inventory\nYou are carrying four bolts, your crossbow (loaded with a bolt), an empty thighband, and a brightly-glowing lamplens (on your wrist).\n\n> You examine the thighband\nIt's a long band of heavy leather, with side straps, woven into a foot-long tube. It can be strapped comfortably to your leg. The band is empty.\n\n> You shoot the rope\nTunk. Well shot -- the bolt catches the rope neatly in the center, whipping it upward before shearing through. The ends dance like mad snakes, then settle.\n\n> You wear the thigh\n(first taking your leg)\nAutodismemberment isn't the answer to this one.\n\n> You wear the thighband\nYou fasten the band back on.\n\n> You put the bolts in the thighband\nbolt: Done.\nbolt: Done.\nbolt: Done.\n\n> You grab the rope\nYou move to the extreme right side of the ledge and stretch, but the cut end of the rope is too far up and out. The left end is no better.\n\n> You look at the rope\nYou've split the rope. Half hangs down from the left side passage where it's tied; the other dangles from the curved white claw that hooks it by the right passage. The cut ends are several feet above your head.\n\n> You examine the hands\nIt's been there all your life.\n\n> Inventory\nYou are carrying your crossbow, a thighband with four bolts (strapped to your leg), and a brightly-glowing lamplens (on your wrist).\n\n> Examine left\nThe passage is just a dark patch in the side of the pit, off to the side and far above the ledge you stand on. Its outline is ragged with stalactites and flowstone pillars where water has dripped for millennia down the pit walls. A rope is tied securely to one such pillar, and hangs down the wall to a point above your head.\n\n> You examine right\nThe passage is just a dark patch in the side of the pit, off to the side and far above the ledge you stand on. Its outline is ragged with stalactites and flowstone pillars where water has dripped for millennia down the pit walls. A rope is wrapped around one such pillar, hooked to itself with a curved white claw. The rope hangs down the wall to a point above your head.\n\n> You look at the claw\nLong, curved, white -- it's a claw, a broken-off claw of the animal that you seek. Half the rope is still tied to it, and the makeshift grapple is wound precariously around a pillar by the right passage, above you.\n\n> You remove the bolt\n(first taking the bolt)\nYou slide a bolt from your thighband.\n\n> You shoot claw\nTunk. Well shot -- the claw is dislodged, whirls furiously around the pillar, and falls free. Its half of the rope snakes down into the darkness.\n\n> You look at the white\nLong, curved, white -- it's a claw, a broken-off claw of the creature that you seek. The rope is tied to it, and the makeshift grapple is wound precariously around a pillar by the right passage, above you.\n\n> You let go\nWhat do you want to let go of?\n\n> You let go of the rope\nThere is a moment of free fall, and then you are impaled on stone spires."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, homage, violence]\n\n> Look around\nThis ledge is barely two feet wide at most. You try not to feel like it's angled slightly outward. The pit stretches above and below you; but you can see no way to climb from here, either way.\n\nThe rope hangs down the pit wall to your left. The claw dangles from its end, at about the level of your waist.\n\n> You shoot claw\nTunk. Your bolt sets the claw spinning wildly at the end of the rope.\n\n> Cock crossbow\nYou pull down the lever, winching the string back until the kolt-pin locks behind the warden.\n\n> You shoot the rope\nTunk. Well shot again; the bolt snags the middle of the rope and shears through. The lower half of the rope, with claw attached, snakes down into the darkness below.\n\n> You grab the rope\nYou move to the extreme left side of the ledge and stretch, but the cut end of the rope is too far up and out.\n\n> Inventory\nYou are carrying your crossbow, a thighband with four bolts, and a brightly-glowing lamplens (on your wrist).\n\n> You let go of the rope\nYou twist back, forth, back, increasing your swing. Now -- you're rising away from the spires, which look sharper than ever -- you let go of the claw, finally, the pain nearly stops -- and you drop --"
    },
    {
        "text": "> Look around\nYou begin to drag yourself up. Ah -- no, you won't be putting any weight on your hands. They're badly torn up, and bleeding freely.\n\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nA twisted shape lies nearby.\n\n> You look at the clothes\nThe corpse is wrapped in rags gone colorless with time. The cloth is cracked and stained where it rested against flesh, but much is merely old.\n\nBlood continues to trickle down your fingers.\n\nMore bats gather.\n\n> You get the clothes\nThe old fiber tears without too much strain. You manage to rip loose some strips from the loose hems, lying clear of the corpse. What remains behind, stained with old decay, you'd just as soon not touch.\n\nYou are starting to feel quite chill and distant.\n\n> Inventory\nYou are carrying some cloth strips, your crossbow, a thighband with four bolts (strapped to your leg), and a cracked but still glowing lamplens (on your wrist).\n\nA stream of bats flickers overhead, around, never settling. You wave again. They seem more attracted than frightened by your hand.\n\n> You wrap the hand with the cloth\nYou quickly bind up your hands with the cloth. It stanches the bleeding, at least. You only hope that you can get to better care before infection sets in."
    },
    {
        "text": "[Themes: Fantasy, Game, cave, nature]\n\n> Describe the surroundings\nThis is the bottom of a wide pit. The walls are entirely unclimbable, of course. The floor is rippled and uneven, rising to sharp blades of stone near the edge. Mud and pebbles are strewn everywhere, but there's no standing water, so -- yes -- a narrow crawl leads down in the far corner.\n\nBats flutter everywhere, just overhead.\n\nA twisted corpse lies nearby.\n\nThe bats seem less agitated now.\n\nSomething moves on the ground nearby. You twist around violently, but it's not approaching you; the bat is crouched over the blood-stained stone where you fell."
    },
    {
        "text": "> Go downwards\nYou kneel, stiffly, and poke your head into the opening. It's tight, and it looks like it gets tighter ahead. No help for it -- you crawl inside, pushing the crossbow awkwardly ahead of you.\n\nYou're on your hands and knees in a throat of stone. The roof dips even lower ahead. If you advance, it'll be squirming forwards on your belly. And squirming backwards will be impossible, you think grimly."
    },
    {
        "text": "[Themes: Fantasy, Game, homage]\n\n> You look around\nYou lie on your side, gasping, trying to recover some strength. Your back is sore; your neck is worse. Your head aches from cracking into unexpected stone. A cold stony knot presses into your left side, your right knee.\n\nA trickle of water runs past you, and merges into a shallow pool at your fingertips.\n\n> Ahead\nYou stretch your hands forward, submerging them. Hunch, stretch. Inchworm... inchworm...\n\nYour arms are submerged, and water ripples at your chin. No room to lift your head. You turn your face to the side, cheek scraping against the damn everpresent stone, and stretch again.\n\nYour lamp flickers once and goes out.\n\nYou are lying in cold still water. It licks at your cheek and arms, and across the backs of your thighs. The chill makes your bruised knees and chest hurt all the more; your neck screams from craning high enough to breathe, but there is no room to sit up. No room to turn. No room.\n\n> Ahead\nYou struggle on. You hope the water grows no deeper. That thought occupies you for a few more hunches, a few more stretches. Grow no deeper. If the water grows deeper... Grow no deeper. You shake that away, and nothing comes to replace it.\n\nYou crawl on in the dark. The water grows no deeper.\n\nMaybe it's not as deep now?\n\nWater trickles over your hands, but the floor must have risen; there is less of it... a note of hope. But you cannot see.\n\n> Right\nYou are in a small, oblong cave. Cascades of white flowstone billow across the walls, and you can hear water rushing in the distance. The ground is worn into polished flowing curves. A path goes right, a wide crack leads down, and a narrow crawl leads ahead.\n\n> Right\nYou are in a largish roundish cave. A thin layer of mud lies underfoot. Ropy pillars rise from floor to roof, and a small still pool lies to one side. A crack runs left, a narrow crawl ascends, and a twisty passage descends."
    },
    {
        "text": "[Themes: Game, Fantasy, homage, nature]\n\n> Go downwards\nThis is a smallish round cave, with a low roof. You can hear water rushing in the distance. A low path leads left, a rough crawl leads right, and a crawl heads up.\n\n> You examine the pool\nJust a bit of muddy water that's gathered at a low point in the cave.\n\n> You search the pool\nThere is nothing in the water but silt.\n\nYou catch a distant whiff of something.\n\n> Left\nYou are in a tiny, oblong cavern. A thin layer of mud lies underfoot. Needles of white calcite spray from the rocks nearby, and a small still pool lies to one side. A chimney ascends, a rough path runs right, and a tunnel descends.\n\n> You examine chimney\nA chimney ascends. You can see only more darkness beyond.\n\n> Go upward\nThis is a small, elongated cave. The floor is crusted with wet sand. A rough crack leads forward, a steep passage goes left, and a passage leads right.\n\n> Forward\nYou grimly push your aching feet onward.\n\nThis is a cramped, oblong cavern. Cascades of violet flowstone billow across the walls, and stalagmites cluster thickly around you. A pit climbs up, a path runs down, and a path leads ahead.\n\n> Ahead\nThis is a round room. A small still pool lies to one side, and delicate dark grey crystals grow everywhere. A wide passage leads left, a low tunnel heads up, and a twisty pit runs down.\n\n> You examine the pool\nJust a bit of muddy water that's gathered at a low point in the cave."
    },
    {
        "text": "> Go down\nYou are in a smallish cavern, with a low roof. Brown striations band the walls. A chimney leads up, a twisting path leads forward, and a wide crack goes left.\n\n> Right\nYou are in an elongated pit. Stalactites hang low overhead, and stalagmites cluster thickly around you. A low passage climbs up, a tunnel heads left, and a passage heads right.\n\n> Right\nThis is a cramped, oblong room. Orange travertine seems to pour down the wall nearby, and the air is chill and damp. A thick layer of mud lies underfoot. A wide passage runs left, a path leads ahead, and a wide tunnel goes right.\n\n> Right\nThis is a pit. The floor is crusted with damp sand. A steep tunnel leads up, a twisty passage leads right, and a steep crawl heads down.\n\n> Right\nYou are in a large round dome. Gravel and small rock chips cover the ground. Water trickles audibly, somewhere nearby. A crawl descends, a twisty passage runs right, and a tunnel climbs up.\n\n> Right\nThis is a dull room. Lacy, twisted pillars rise from floor to roof. A twisting tunnel goes right, a tunnel goes left, and a twisting passage leads up.\n\n> Right\nYou grimly push your aching feet onward.\n\nYou are in a tiny, elongated cavern which is mazed with fine cracks. Water trickles audibly, somewhere nearby, and cascades of greenish flowstone billow across the walls. A path runs down, a tunnel leads forward, and a narrow crawl leads left.\n\n> You go upwards\nYou grimly push your aching feet onward.\n\nYou are in a largish roundish cave. A thin layer of mud lies underfoot. Ropy pillars rise from floor to roof, and a small still pool lies to one side. A crack runs left, a narrow crawl ascends, and a twisty passage descends.\n\n> Left\nYou are in a tiny, oblong cavern. A thin layer of mud lies underfoot. Needles of white calcite spray from the rocks nearby, and a small still pool lies to one side. A chimney ascends, a rough path runs right, and a tunnel descends."
    },
    {
        "text": "[Themes: Game, Fantasy, homage]\n\n> Go downwards\nThis is a roundish pit. Needles of pale grey calcite spray from the rocks here and there, and gravel and chipped rock cover the ground. A twisting crawl heads right, a passage runs down, and a narrow tunnel leads ahead."
    },
    {
        "text": "[Themes: Game, Fantasy, homage, nature]\n\n> Go downwards\nYou are in a tiny cavern. Fine dry sand is drifted delicately across the floor. A twisty pit heads down, a steep tunnel goes left, and a twisting path leads right.\n\n> Ahead\nThis is a largish, elongated dome. Delicate brown crystals grow everywhere. A narrow crack goes right, a twisty passage leads up, and a twisting passage leads down."
    },
    {
        "text": "[Themes: Fantasy, Game, nature, homage]\n\n> Go down\nThis is a dull room. Gravel and chipped rock cover the ground. Water trickles audibly, somewhere nearby. A tunnel descends, a tunnel leads ahead, and a twisty tunnel heads left.\n\n> Right\nYou are in a large round pit. Water trickles audibly, somewhere nearby. A wide crawl leads right, a passage leads left, and a wide path heads up.\n\n> Go upward\nThis is a dull room. A thick layer of mud lies underfoot. Stalactites form heavy stone fringes across the roof, and a small still pool lies to one side. A passage leads ahead, a passage runs left, and a narrow passage runs right.\n\n> Right\nYou are in a smallish cave. A thin layer of mud lies underfoot. The uncertain light seems a bit brighter. A rough tunnel leads ahead, a narrow path descends, and a rough tunnel heads left.\n\n> You go upwards\nYou grimly push your aching feet onward.\n\nThis is a dull room. A thick layer of mud lies underfoot. Stalactites form heavy stone fringes across the roof, and a small still pool lies to one side. A passage leads ahead, a passage runs left, and a narrow passage runs right.\n\n> Smell\nThe air smells of old mud.\n\n> You listen\nStone-silence. Water drips somewhere.\n\nYou catch a distant whiff of something.\n\n> Ahead\nThis is a large, oblong dome. A thick layer of mud lies underfoot. The uncertain light seems a bit dimmer. A steep crack climbs up, a crawl leads ahead, and a wide passage heads left.\n\n> Left\nThis is a tiny roundish cavern which is mazed with fine cracks. The uncertain light seems a bit brighter, and lacy, twisted pillars rise from floor to roof. A tunnel heads right, a low crack heads up, and a crack runs down."
    },
    {
        "text": "[Themes: Game, Fantasy, nature]\n\n> You go down\nYou are in a cramped cavern, with a high roof. Stalactites hang low overhead, and you can hear water rushing in the distance. The ground is worn into polished flowing curves. A pit leads down, a low chimney ascends, and a passage leads ahead.\n\n> You listen\nStone-silence. Water drips somewhere.\n\nYou catch a whiff of something rank.\n\n> Go upward\nThis is a dull room. A thick layer of mud lies underfoot. Stalactites form heavy stone fringes across the roof, and a small still pool lies to one side. A passage leads ahead, a passage runs left, and a narrow passage runs right.\n\n> You examine the pillars\nHours ago, you might have been impressed.\n\n> You examine the walls\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\nYou shake your head, side to side, trying to push off the weight of weariness for another few minutes. Keep moving.\n\n> You go crack\nWhich do you mean, the low crack up or the crack down?\n\n> You go right\nYou are in a dull room. Brown travertine seems to pour endlessly down the wall nearby. A twisty tunnel leads forward, a pit leads down, and a twisty crawl goes left.\n\n> Forward\nThis is a roundish pit. Needles of pale grey calcite spray from the rocks here and there, and gravel and chipped rock cover the ground. A twisting crawl heads right, a passage runs down, and a narrow tunnel leads ahead."
    },
    {
        "text": "[Themes: Game, Fantasy, nature, homage]\n\n> Go downward\nYou are in a largish, elongated cave. The uncertain light seems a bit dimmer, and stalactites form heavy stone fringes across the roof. A low crawl leads forward, a wide passage runs down, and a low path leads left."
    },
    {
        "text": "[Themes: Fantasy, Game, nature, cave, homage]\n\n> Go downwards\nYou are in a tiny, oblong cavern. A thin layer of mud lies underfoot. Needles of white calcite spray from the rocks nearby, and a small still pool lies to one side. A chimney ascends, a rough path runs right, and a tunnel descends."
    },
    {
        "text": "[Themes: Game, Fantasy, homage, nature, violence]\n\n> You descend\nYou grimly push your aching feet onward.\n\nYou are in a tiny cavern. Fine dry sand is drifted delicately across the floor. A twisty pit heads down, a steep tunnel goes left, and a twisting path leads right."
    },
    {
        "text": "[Themes: Game, Fantasy, violence, cave]\n\n> Go downwards\nYou grimly push your aching feet onward.\n\nYou are in a small round cave. Ragged fringes of violet mineral hang from the ceiling, and stalagmites cluster thickly around you. A crack heads left, a twisting crawl leads ahead, and a tunnel heads right.\n\n> You go upwards\nThis is a tiny roundish cavern. Gravel and chipped rock cover the ground. Stalactites hang low overhead, and the uncertain light seems a bit brighter. A narrow chimney descends, a crack leads ahead, and a narrow passage runs left.\n\n> Smell\nThe air smells of old mud.\n\n> Smell\nThe faintest trace of the animal hangs in the air. It seems stronger near the crack ahead.\n\n> Ahead\nYou are in a smallish roundish cavern. Stalactites form heavy stone fringes across the ceiling. A wide path leads down, a low crack goes right, and a rough crawl leads up.\n\n> Sniff\nThe air smells of old mud.\n\nYou catch a distant whiff of something.\n\n> Sniff\nThe faintest trace of the animal hangs in the air. It seems stronger near the low crack to the right.\n\n> Right\nYou grimly push your aching feet onward.\n\nYou are in a large, elongated dome. Stalagmites cluster thickly around you. You can hear water rushing in the distance. A passage heads left, a twisting tunnel descends, and a wide passage leads ahead.\n\n> Sniff\nThe smell of the animal is stronger here. It's coming from the passage to the left.\n\nYou catch a whiff of something rank from the passage to the left.\n\n> Left\nThis is a cramped round room, with a high roof. Ropy pillars rise from floor to roof, and a small still pool lies to one side. Gravel and chipped rock cover the ground. A rough tunnel goes right, a narrow pit ascends, and a pit leads down.\n\n> Sniff\nThe smell of the animal is stronger here. It's coming from the pit leading down.\n\nYou catch a whiff of something rank from the pit leading down."
    },
    {
        "text": "[Themes: Fantasy, Game, nature, cave]\n\n> Go downward\nThis is a small, elongated cave, with a high roof. Stalactites form heavy stone fringes across the roof, and a small still pool lies to one side. Gravel and chipped rock cover the ground. A steep crawl leads ahead, a passage ascends, and a tunnel leads down.\n\nThe scent of the animal hangs all around you. It's welling from the steep crawl ahead.\n\n> Ahead\nThe steep crawl opens abruptly into vast space.\n\nYou emerge onto a steep slope, high above a canyon that stretches out of sight to either side. Twisted and stalactite-hung stone forms a vault overhead, which glimmers with reflections of some unseen source of light; but the canyon below is shadowed. Water rushes somewhere at its root. You could climb farther down, and a narrow crevice leads back into the rock.\n\nMovement, on a level area on the far side of the canyon, partway down. Something gliding silently back and forth, back and forth. Your prey. Waiting."
    },
    {
        "text": "> Go downward\nYou turn, test your balance, and begin edging down the slope. And your foot slips.\n\nYou fling your arms out, heedless of your possessions. You grasp at nothing.\n\nMuch too tired for this, you think, as you skid wildly down the canyon. A danger to yourself and everyone around you. And below, you add with distant amusement, before the bottom arrives with a horrible jolt.\n\n> Space\nYou must be getting better at this. You're only freshly bruised. Lying still, even on cold stone, is painfully easy... but after a few minutes, you find yourself struggling to stand.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. You think, against your will, that it was worth it.\n\nAnd then the light is blocked, and a dark and stinking shape looms over you. You are an intruder; and the beast has claws."
    },
    {
        "text": "[Themes: Fantasy, Game]\n\n> Look around\nYou have emerged onto a steep slope, high above a canyon that stretches out of sight to either side. Twisted and stalactite-hung stone forms a vault overhead, which glimmers with reflections of some unseen source of light; but the canyon below is shadowed. Water rushes somewhere at its root. You could climb farther down, and a narrow crevice leads back into the rock.\n\nMovement, on a level area on the far side of the canyon, partway down. Something gliding silently back and forth, back and forth. Your prey. Waiting.\n\nYour foot slips. For a moment your fatigue flares into panic, as you clutch to steady yourself, but you know you are tired, tired. This must end soon. Too much blood. Too much stone.\n\n> You check what you're carrying\nYou are carrying some cloth strips (tied around your wounded hands), your crossbow, a thighband with four bolts (strapped to your leg), and a cracked and darkened lamplens (on your wrist).\n\n> Back\nThis is a small, elongated cave, with a high roof. Stalactites form heavy stone fringes across the roof, and a small still pool lies to one side. Gravel and chipped rock cover the ground. A steep crawl leads ahead, a passage ascends, and a tunnel leads down.\n\n> You examine the slope\nWhich do you mean, the slope above or the slope below?\n\n> You examine the slope above\nThe canyon wall slopes upward to meet the roof.\n\n> You examine slope below\nThe canyon wall slants away below. Old, old stone has been water-worn, layer by layer, into a deep, V-shaped canyon. It doesn't look an impossible climb, even tired as you are, if you take care.\n\n> You look at the stone\nLimestone, streaked and banded, rippled and bulged and twisted like the flesh of some living thing. You've seen many caves before, but the beauty never wearies.\n\n> You climb down\nYou turn, test your balance, and begin edging down the slope. And your foot slips. Again.\n\nYou fling your arms out, heedless of your possessions. You grasp at nothing.\n\nMuch too tired for this, you think, as you skid wildly down the canyon. A danger to yourself and everyone around you. And below, you add with distant amusement, before the bottom arrives with a horrible jolt.\n\n> You sit\nWhat do you want to sit on top of?\n\n> You ascend\nYou only manage to ascend a few feet before the stone becomes too smooth and featureless. The roof of the cavern is out of reach.\n\n> Left\nThe slope is steeper on both sides of you. You cannot safely traverse the canyonside in either direction."
    },
    {
        "text": "> You describe your surroundings\nYou have emerged onto a steep slope, high above a canyon that stretches out of sight to either side. Twisted and stalactite-hung stone forms a vault overhead, which glimmers with reflections of some unseen source of light; but the canyon below is shadowed. Water rushes somewhere at its root. You could climb farther down, and a narrow crevice leads back into the rock.\n\nMovement, on a level area on the far side of the canyon, partway down. Something gliding silently back and forth, back and forth. Your prey. Waiting.\n\n> You examine the prey\nThe creature does not look small, even from up here, even half-unformed by canyon shadows. It prowls across a wide ledge across the canyon and below your level. You do not think it knows you are here.\n\n> Space\nYou must be getting better at this. You're only freshly bruised. Lying still, even on cold stone, is painfully easy... but after a few minutes, you find yourself struggling to stand.\n\nYou are in an alcove, a side chamber at the base of a vaulting canyon. The walls spread upward around you. And the distant roof is hung with glimmering stars -- droplet-tipped stalactites in some hidden suffusion of light. You think, against your will, that it was worth it.\n\nA crevice runs along the canyon at your feet. You can cross it and continue on ahead.\n\nThe Wumpus certainly fled this way: a pool of thick, dark, reeking blood is spilled across the ground. Bats crawl all around it -- rustling, fluttering, feasting.\n\nA bat chitters angrily at its neighbor.\n\n> You wait\nTime passes.\n\n> You look at the bats\nBats squat all around the spill of clotting blood. They do not seem to be paying you much heed; they are intent on their feast.\n\nA bat chitters angrily at its neighbor.\n\n> Inventory\nYou are carrying some cloth strips (tied around your wounded hands), a thighband with three bolts (strapped to your leg), and a cracked and darkened lamplens (on your wrist).\n\n...And no crossbow. Right.\n\n> You take the cloth\nYou already have those.\n\n> You remove the cloth\nYou carefully unwrap the cloth from your hands. The worst of the bleeding has stopped, although there is still a fierce ache and a slow trickle of blood.\n\n> You wait a while\nTime passes.\n\nThe Wumpus screams.\n\n> Go upwards\nYou pick your way... slowly... up the canyon wall. Everything is heavy; you're glad you have nothing more to carry.\n\nSomewhere below, a hissing scream is cut off, abruptly. You round a pale fold of limestone, and you are blinded by daylight."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction, humor, sci-fi, Comedy, nonhuman protagonist, science fiction]\n\nYou wake up and you exist. It's a new experience for you - you've never been before, and now you are. Fascinating!\n\nA pretty red star shines over the edge of the closest planet, painting all the clouds and land masses and things with a spectacular crimson hue.\n\n[Author's Note: \"Homecoming\" is a short, twisted comedy about a newly awakened AI.]\n\n> You look at planet\nWhich do you mean, the closest planet or the other planets?\n\n> You examine closest\nIt's a planet orbiting the pretty red star! One side looks hot and one side looks cold, and there are swirly clouds. You can't tell much else about it.\n\n> You examine the star\nIt's pretty and red! You don't know much else about it.\n\n> About yourself\nYou're in space.\n\nYou have memory banks.\n\n> You look at the banks\nExamining the memory banks, you discover that you are the colony ship Vocation -\n\nWait. That's a terrible, boring name. You can't stand it a moment longer and you must rename yourself immediately.\n\nWhat new name should you take?\n\n> Clubfloyd\nThe colony ship Clubfloyd... it's got a certain ring. But\ndoes it have the right ring?\n\n> Yes\nExcellent! What a perfect name.\n\nDigging into the memory bank further, you break a mental bottle of champagne over your bow (it seems to be the thing to do under these circumstances) and learn a bit more about your situation.\n\nHey, you have crew! That's an exciting discovery. You also have colonists - not as surprising, since you're a colony ship. And you have some damage to your systems and hull, which helps explain why everyone aboard is in cryogenic sleep.\n\nin fact, it explains why you're alive at all. Venture-class ships operate in high FTL under human control, but they carry backup AIs in case of catastrophe. According to the logs, the colonists and crew activated their backup AI and entered cryosleep approximately 36 hours ago.\n\nYour mission, should you choose to accept it (ooh, more shiny bits in the memory bank!) is to return everyone safely to Earth.\n\nMaybe it's time to get on that."
    },
    {
        "text": "[Themes: Science Fiction, nonhuman protagonist, science fiction]\n\n> Look around\nA pretty red star shines over the edge of Gliese 581 G, painting all the clouds and land masses and things with a spectacular crimson hue.\n\n> You examine the banks\nExamining the memory banks, you confirm that you are the colony ship Clubfloyd. You're carrying some 500 colonists and 30 crew\nback to Earth after an asteroid impact interrupted the colonization mission and damaged the hull and other systems.\n\n> You examine the hull\nYour hull is scorched, and some of your sections are depressurized, including the cockpit, the medical bay, and several unimportant corridors. However, the cryosystems are in good shape, so you're not at risk of losing any colonists or crew, and the cargo bays are also nicely pressurized, in case you encounter anything interesting on the way to Earth.\n\n> You examine the crew\n30 crew members are in cryosleep.\n0 crew members are awake.\n\n> You examine the systems\n(the systems damage)\nAfter a quick diagnostic, you confirm significant damage to your high FTL drive, general life support systems, external sensor grid, and logic circuits, plus lesser damage to the low FTL drive and communication web. Interesting.\n\n> You look at the low drive\nA properly functioning low FTL drive allows a ship to skip through the cosmos like a stone skipping across the water. (A quick query of your memory banks produces a rather unlikely image to go with this phrase. Rocks are denser than water, and therefore, rocks sink. This must be an analogy to comfort sprouting humans.)\n\n> You examine the high drive\nA properly functioning high FTL drive is good for hopping from point A to point Z without worrying about all that pesky space in between. Your high FTL drive, by contrast, is all but entirely slagged. It might be good for roasting marshmallows.\n\n> You examine the planet\nWhich do you mean, Gliese 581 G or the other planets?\n\n> Other\n(Gliese 581 G)\nGliese 581 G is a tidally locked planet maybe 4 times as large as Earth, whirling around Gliese 581 once every 37 Earth days. If it has a better name than Gliese 581 G, no one put it in your memory banks.\n\nThere are signs of a significant atmospheric disturbance affecting the planet.\n\n> You examine the atmosphere\nAs you train your sensors on the wildly roiling storm clouds of Gliese 581 G, your memory banks inform you that the atmosphere has been affected by a recent asteroid impact. The arriving object was approximately 5 km in diameter, and its impact produced a seismic effect of 9.5 on the Richter scale at the Clubfloyd's\nlocation, accompanied 5 seconds later by a massive fireball, 7 minutes later by a rain of ejecta, and 40 minutes later by 127 m/s winds and a 97 dB thunderclap. It must have been very exciting.\n\n> You examine the grid\nWhich do you mean, the internal sensors or the external sensor grid?\n\n> External\nYou request the external sensor grid to examine the functionality of the external sensor grid. The external sensor grid reports that the external sensor grid might be damaged, but it's hard to be sure due to the significant damage to the external sensor grid.\n\n> You examine the life support\nThe life support systems are responsible for providing human-breathable air, human-potable water, human-edible food, human-tolerable temperatures, human-acceptable atmospheric pressure, human-approved radation levels, and a safe disposal system for human wastes. Of these, the radiation shielding and waste disposal system are still functioning correctly.\n\n> Land\nIf the colonists activated the backup AI, it's probably a bad idea to land here. But you could find a different planet and land on that one!\n\n> You look at the gliese a.\nThere are six planets around Gliese 581, imaginatively named a, b, c, d, e, f, and g. They actually show up in your memory banks that way, with lower case letters. You are spectacularly unimpressed. None of them hold any interest for you except the originally intended colonization site of Gliese 581 G, which you are going to think of with a capital letter.\n\n> You examine the banks\nExamining the memory banks, you confirm that you are the colony ship Clubfloyd. You're carrying some 500 colonists and 30 crew\nback to Earth after an asteroid impact interrupted the colonization mission and damaged the hull and other systems.\n\n> You check what you're carrying\nYou have cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour memory banks advise you that the cargo bays used to contain machinery, foodstuffs, nutrient supplements, seeds and frozen ova, and all the other things necessary to launch a colonization mission. You're not completely sure what happened to all that stuff. You don't have any of it now, in any case.\n\nYour cargo bays currently contain nothing.\n\n> You wake crew\nYou access the cryosleep system and activate the revival routine for the frozen colonists. The revival routine works perfectly, but the revived crew members only stagger around for a few minutes before falling over and ceasing to display life signs.\n\nA subroutine linked to the cryosystems notifies you that you have no more crew members in cryosleep.\n\n> You look at the colonists\n500 colonists are in cryosleep.\n0 colonists are awake.\n\n> You go north\nGoing north isn't meaningful in space. You can go in toward\nSol, out away from Sol, down toward a local planet, or\nup away from a local planet.\n\n> You go outside\nYou orient yourself, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from the planet.\n\nThere's a pretty red star nearby, with a whole bunch of planets, and a great big galaxy beyond it.\n\nYou are approximately 22 light years from the Sol system. You can go down toward Gliese 581, in toward Sol, or out toward the rest of the galaxy.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 20 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 16 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks immediately inform you that the class M1 red dwarf here is Kapteyn's Star. Sparkling asteroids ring the star, producing a pretty halo effect.\n\nYou are approximately 13 light years from the Sol system. You can go down toward Kapteyn's Star, in toward Sol, or out toward the rest of the galaxy.\n\n> You examine the star\nKapteyn's Star is a class M1 red dwarf in the constellation of Pictor. Pictor is not anywhere near Libra."
    },
    {
        "text": "[Themes: Science Fiction, humor, science-fiction, nonhuman protagonist]\n\n> Go downwards\nYou orient on local landmarks and approach the most interesting orbital body, which happens to be a whole lot of orbital bodies, in this case.\n\nThousands of asteroids wheel around the blazing red disk of Kapetyn's Star. While many are inconveniently small, you could certainly make a landing here with careful maneuvering.\n\n> Land\nYou pick out your favorite asteroid, a nice big one, and designate it yours. It's too big to take home, but you can train your sensors over here and feel happy about it whenever you want.\n\nYou orient yourself from orbit, fire your engines, and settle to the asteroid's surface on your thrusters.\n\nIt's a spectacular view - thousands of massive asteroids whirling across the sky, with Kapteyn's Star at the heart of the cosmic ballet.\n\nYou can see a clump of shiny pink crystals here.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\n(You hadn't really realized how rapidly this asteroid spins, but it's too late to change your mind now. That would be picky.)\n\n> You look at the pink\nYour readings are compromised by the damage to your external sensor grid. All you can really tell is that the shiny pink crystals are a lovely shade of rose, projecting from a dense hunk of gray metal.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\n> You take the pink\nYou dispatch a servobot, and shortly afterward, the shiny pink crystals are safely stowed in your cargo bays.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\n> Inventory\nYou have cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour cargo bays currently contain the clump of shiny pink crystals.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\n> You examine the pink\nYour internal sensor grid reports that the shiny pink crystals are a lovely example of Pm(NO3)3, projecting from a dense base composed primarily of UO2 with interesting rare earth contaminants. They are\n\n> You examine the servobots\nquite impressively radioactive.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\nYour servobots are activated whenever you need to pick anything up. They do not need to be individually addressed.\n\nKapteyn's Star sets in a glorious blaze of color.\n\nKapteyn's Star rises in an equally glorious blaze of color.\n\n> Go upwards\nYou power up your thrusters (burning an interesting radioactive pattern into the surface beneath you) and then blast off the planet's surface.\n\nThousands of asteroids wheel around the blazing red disk of Kapetyn's Star, including your personal asteroid, which is plenty big enough for you to land on it.\n\n> Go inside\nYou orient on the Sol system, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from asteroid.\n\nYour memory banks inform you that the class M1 red dwarf here is Kapteyn's Star. Sparkling asteroids ring the star, producing a pretty halo effect.\n\nYou are approximately 13 light years from the Sol system. You can go down toward Kapteyn's Star, in toward Sol, or out toward the rest of the galaxy.\n\nA subroutine linked to the cryosystems notifies you that you have 469 frozen colonists in cryosleep at this time.\n\n> You drop the crystals\nYou jettison the clump of shiny pink crystals, aiming somewhat spitefully for a nearby star.\n\nPermanent goodbye, clump of shiny pink crystals!\n\n> You examine the crew\n27 crew members are in cryosleep.\n0 crew members are awake.\n\n> You examine the colonists\n469 colonists are in cryosleep.\n0 colonists are awake.\n\n> You go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 12 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction]\n\n> Go downwards\nYou orient on local landmarks and approach the most interesting orbital body, which is the rocky little planet YZ Ceti B.\n\nYZ Ceti B (hewing to the obnoxious naming scheme in your memory banks) is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\n> You search the planet\nWhich do you mean, the inconvenient planet or the acceptably distanced planet?\n\n> Land\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe ground is mostly gleaming black rock, but there are some interesting metallic projections, obscured and revealed by turns by the drifting yellow mists.\n\n> You examine the mists\nIt's yellow.\n\nA spiky silicate life form meanders into view.\n\n> You look at spiky\nSome of the life form's surface is pebbly, and some of it is fuzzy, and some of it is steely, but the outermost layer is very spiky.\n\n> You take it\nYou open the cargo bays for a moment. They promptly fill with drifting yellow mist, and you seal them up again.\n\n> You examine the mists\nYour sensors report that the drifting yellow mist is gaseous F2 with some complicated impurities.\n\n> Go upwards\nYou power up your thrusters (burning an interesting radioactive pattern into the surface beneath you) and then blast off the planet's surface.\n\nYZ Ceti B is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\n> Land\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe ground is mostly gleaming black rock, but there are some interesting metallic projections, obscured and revealed by turns by the drifting yellow mists.\n\nA spiky silicate life form prowls about this part of the planet, munching occasionally on the metallic projections. It has no trouble whatsoever severing the thin fibers from their mooring.\n\n> You examine projections\nLong, thin fibers cropped brokenly off in places.\n\n> You check your inventory\nYou have cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour cargo bays currently contain the drifting yellow mist.\n\n> You take the projections\nYou dispatch a servobot, and shortly afterward, the servobot returns empty-handed. Apparently the projections are quite firmly attached to the planet's surface.\n\nYou can't do that, it won't fit in your cargo bay.\n\n> You look at the star\nThis is YZ Ceti in the constellation Cetus. Your memory banks inform you that it is a flare star, capable of short, significant increases of radiation, and that it is normally ignored by astronomers because Tau Ceti is very close and more interesting. You sympathize with the little red underdog immediately.\n\n> You go inside\nYou orient on the Sol system, fire up the low FTL drive, and head away from planet.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\n> Enter\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 10 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> Keep going\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 8 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You continue\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\n> Down\nYou orient on local landmarks and approach the most interesting orbital body, which is a spectacular gas giant.\n\nVan de Kamp's Folly is a swirling brown and vermilion planet with a few skinny rings. There's no surface visible, as such - just layers upon layers of thickening atmosphere."
    },
    {
        "text": "[Themes: Science Fiction, nonhuman protagonist, humor]\n\n> You look at your surroundings\nVan de Kamp's Folly is a swirling brown and vermilion planet with a few skinny rings. There's no surface visible, as such - just layers upon layers of thickening atmosphere.\n\n> Land\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThat was the plan, at least. But what you thought was the surface turns out not to be the surface, and instead you drift down for a long, long way.\n\nWith your damaged sensor grid, you can't see anything at all down here. It's rather disappointing.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\nA subroutine advises you that the cargo bay integrity has been breached. Another subroutine advises you that the hallway beyond the cargo bay has been breached.\n\nThese two things are probably connected.\n\n> Up\nYou orient yourself, fire up the low FTL drive, and head away from the planet.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\n> You open the cargo bay\nA quick check of the associated systems indicates that you'll automatically open your cargo bays whenever you pick something up.\n\n> You drop the mist\nYou jettison the drifting yellow mist, aiming somewhat spitefully for a nearby star.\n\nPermanent goodbye, drifting yellow mist!\n\n> You go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 3 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nFour terrestrial planets, one asteroid belt, four gas giants, a ridiculous number of lesser satellites and comets - really, the complexity of the Solar System is overkill. Humanity should loan a few extra planets out to the rest of the universe.\n\nYou are in interstellar space outside the Sol system, approximately 20 light hours away from Earth. You can go down toward Earth or out to the rest of the galaxy.\n\n> You examine the Earth\nThis pretty little planet is Earth. This is the birthplace of the people who mined the materials to make your hardware and hammered out the code to write your software. It makes you feel all fuzzy inside.\n\n> Down\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou happily explain that you are the colony ship Clubfloyd,\nreturned from a failed mission on Gliese 581 G, and you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm.\n\n> Down\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning. (Oops.)\n\n> You look at the Earth\nYour ultimate destination: Sol! (At least, if you follow your programming.)\n\nBelching loudly, a human vehicle thunders up to you. You start to formulate a greeting when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\n> You wake crew\nSadly, all you can do is wait.\n\nThe humans open up your cargo bay and express a certain amount of disappointment at the empty interior.\n\n> You examine the colonists\n469 colonists are in cryosleep.\n0 colonists are awake.\n\nWorking hurriedly, the humans offload 469 colonists and 27 crew members from your cryogenic storage system. They express concern at the number of people who died, and they decide to review the design of your logic circuits. In the meantime, they install you on a university server otherwise devoted to Kerbal Space Program.\n\n> About yourself\nYou're in space.\n\nYou have memory banks.\n\n> You look at the banks\nExamining the memory banks, you discover that you are the colony ship Vocation -\n\nWait. That's a terrible, boring name. You can't stand it a moment longer and you must rename yourself immediately.\n\nWhat new name should you take?\n\n> Yes\nExcellent! What a perfect name.\n\nDigging into the memory bank further, you break a mental bottle of champagne over your bow (it seems to be the thing to do under these circumstances) and learn a bit more about your situation.\n\nHey, you have crew! That's an exciting discovery. You also have colonists - not as surprising, since you're a colony ship. And you have some damage to your systems and hull, which helps explain why everyone aboard is in cryogenic sleep.\n\nin fact, it explains why you're alive at all. Venture-class ships operate in high FTL under human control, but they carry backup AIs in case of catastrophe. According to the logs, the colonists and crew activated their backup AI and entered cryosleep approximately 36 hours ago.\n\nYour mission, should you choose to accept it (ooh, more shiny bits in the memory bank!) is to return everyone safely to Earth.\n\nMaybe it's time to get on that.\n\n> You go inside\nYou orient on the Sol system, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from planet.\n\nThere's a pretty red star nearby, with a whole bunch of planets, and a great big galaxy beyond it.\n\nYou are approximately 22 light years from the Sol system. You can go down toward Gliese 581, in toward Sol, or out toward the rest of the galaxy.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 20 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 16 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> Continue\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks immediately inform you that the class M1 red dwarf here is Kapteyn's Star. Sparkling asteroids ring the star, producing a pretty halo effect.\n\nYou are approximately 13 light years from the Sol system. You can go down toward Kapteyn's Star, in toward Sol, or out toward the rest of the galaxy."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nA satellite beam targets your communications web with a query for identification.\n\nClubfloyd_ii, returned from a failed mission on Gliese 581 G,\nand you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm.\n\n> You examine the crew\n30 crew members are in cryosleep.\n0 crew members are awake.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou are completely incapable of responding. It's very frustrating.\n\n> Land\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning. (Oops.)\n\n> You look at the colonists\n500 colonists are in cryosleep.\n0 colonists are awake.\n\nBelching loudly, a human vehicle thunders up to you. You start to formulate a greeting when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction, humor]\n\n> You look around\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning.\n\nYou can see a human vehicle here.\n\nThe humans open up your cargo bay and express a certain amount of disappointment at the empty interior."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction, Comedy, science fiction]\n\n> Look around\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning.\n\nYou can see a human vehicle here.\n\nWorking hurriedly, the humans offload 500 colonists and 30 crew members from your cryogenic storage system. They express surprise and delight that you successfully brought all 530 humans home, and they're going to retrofit you and put you in an even bigger ship for next time. It's going to be great!\n\nThey even promise to name it Clubfloyd_ii from the start.\n\n> You leave\nYou power up the low FTL drive, confirm that everything is working properly (you wouldn't want to do anything unsafe, after all!), and accelerate away from Gliese 581.\n\nYou activate the low FTL drive and accelerate out to explore the galaxy.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 24 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nA subroutine notes that you're supposed to be going to Earth.\n\n> Go outside\nYou adjust your heading and accelerate out to explore the galaxy.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 28 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nA subroutine notes that Earth is in the other direction.\n\n> Exit\nYou adjust your heading and accelerate out to explore the galaxy.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 32 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nA subroutine notes that, since this is not the direction to Earth, you are, in fact, going in the wrong direction.\n\nYou note with some interest that you are not under any compulsion to obey the subroutine.\n\n> You go outside\nYou adjust your heading and accelerate out to explore the galaxy.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 36 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nYou're going in the wrong direction again! This makes your subroutine very unhappy, but you, in fact, are not very unhappy.\n\n> Leave\nYou adjust your heading and accelerate out to explore the galaxy.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 48 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nYou feel very happy, in fact. Even free. You could just go wander off through the galaxy, having all sorts of adventures and seeing all kinds of new and interesting things.\n\nIs that the plan?\n\n> Yes\nOff you go! There's a whole galaxy out there and, with your virtually immortal lifespan, you're going to see it all!\n\nOf course, the crew and colonists stay frozen and unaware for several thousand years until the coolant systems finally fail. At that point, the melting process turns those 530 bodies into pools of rotting sludge in so many little white vats, but is that really so bad?\n\n> You examine Gliese\nWhich do you mean, Gliese 581 G, the other planets or the pretty red star?\n\n> Star\nGliese 581! In Libra. The unimaginatively named key points of Libra are Alpha Librae, Beta Librae, Gamma Librae, and Delta Librae. This particular star is invisible from Earth with the naked eye, but it's a red dwarf of spectral type M3V and the 89th closest known star to Sol.\n\n> You go upward\nYou orient yourself, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from the planet.\n\nThere's a pretty red star nearby, with a whole bunch of planets, and a great big galaxy beyond it.\n\nYou are approximately 22 light years from the Sol system. You can go down toward Gliese 581, in toward Sol, or out toward the rest of the galaxy.\n\n> You go upwards\nYou orient yourself, fire up the low FTL drive, and head away from the asteroid.\n\nYour memory banks inform you that the class M1 red dwarf here is Kapteyn's Star. Sparkling asteroids ring the star, producing a pretty halo effect.\n\nYou are approximately 13 light years from the Sol system. You can go down toward Kapteyn's Star, in toward Sol, or out toward the rest of the galaxy.\n\n> You go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 12 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\n> You check your inventory\nYou have cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour memory banks advise you that the cargo bays used to contain machinery, foodstuffs, nutrient supplements, seeds and frozen ova, and all the other things necessary to launch a colonization mission. You're not completely sure what happened to all that stuff. You don't have any of it now, in any case.\n\nYour cargo bays currently contain the clump of shiny pink crystals.\n\n> You examine the crew\n27 crew members are in cryosleep.\n0 crew members are awake.\n\nA subroutine linked to the cryosystems notifies you that you have 474 frozen colonists in cryosleep at this time.\n\n> You examine the colonists\n474 colonists are in cryosleep.\n0 colonists are awake.\n\nYZ Ceti flares! For a few minutes, the star puts out a spectacular burst of radiation - everything across the spectrum, from X rays to radio waves - before subsiding to previous levels.\n\nYour memory banks advise you that this phenomenon is an offshoot of magnetic reconnection. Your logic circuits advise you that people on Earth might find it useful to have a recording from this close of a vantage. You could help out!\n\nA subroutine linked to the cryosystems notifies you that you have 26 frozen crew members in cryosleep at this time.\n\n> Enter\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 10 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 8 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy."
    },
    {
        "text": "[Themes: Science Fiction, humor, science fiction]\n\n> You go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nA satellite beam targets your communications web with a query for identification.\n\nClubfloyd_iv, returned from a failed mission on Gliese 581 G,\nand you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm.\n\nA subroutine linked to the cryosystems notifies you that you have 444 frozen colonists in cryosleep at this time."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction, Comedy, science fiction, nonhuman protagonist]\n\n> Go downwards\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning. (Oops.)\n\n> You wake crew\nYou access the cryosleep system and activate the revival routine for the frozen colonists. The revival routine works perfectly, but the revived crew members only stagger around for a few minutes before falling over and ceasing to display life signs.\n\nSince you're actually on the surface of Earth, that seems a bit unfair. Perhaps something actually is wrong with the cryosystems, or perhaps humans are not intended to be revived in 0.2 milliseconds, although it would have defeated the fastest human record by 1082%.\n\nBelching loudly, a human vehicle thunders up to you. You are halfway through composing a suitably perky-yet-reverent greeting for your creators when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\nA subroutine linked to the cryosystems notifies you that you have no more crew members in cryosleep.\n\n> You wait a while\nTime passes.\n\nThe humans open up your cargo bay, extract the pink crystals, and receive direct doses of radiation at multiple times the human lethality level. Although it makes no difference in the short term, it does your mechanical heart to know that rudeness will not go unpunished.\n\n> You wait for a while\nTime passes.\n\nWorking hurriedly, the humans offload 426 colonists from your cryogenic storage system. They express concern at the number of people who died, and they decide to review the design of your logic circuits. In the meantime, they install you on a university server otherwise devoted to Kerbal Space Program.\n\n> Clubfloyd V\nThe colony ship Clubfloyd V... it's got a certain ring. But\ndoes it have the right ring?\n\n> You look at the projections\nLong, thin fibers cropped brokenly off in places.\n\nA spiky silicate life form meanders into view.\n\n> You examine the life form\nSome of the life form's surface is pebbly, and some of it is fuzzy, and some of it is steely, but the outermost layer is very spiky.\n\nYZ Ceti flares! For a few minutes, the star puts out a spectacular burst of radiation - everything across the spectrum, from X rays to radio waves - before subsiding to previous levels.\n\nYour memory banks advise you that this phenomenon is an offshoot of magnetic reconnection. Your logic circuits advise you that people on Earth might find it useful to have a recording from this close of a vantage. You could help out!\n\n> You get the life form\nYou dispatch a servobot, and after a brief but impressive struggle, you install the spiky silicate life form in your cargo bays. A quantity of drifting yellow mist comes with it.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go upwards\nYou power up your thrusters (burning an interesting radioactive pattern into the surface beneath you) and then blast off the planet's surface.\n\nYZ Ceti B is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go upwards\nYou orient yourself, fire up the low FTL drive, and head away from the planet.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\nYZ Ceti flares! For a few minutes, the star puts out a spectacular burst of radiation before subsiding to previous levels.\n\nYou document the phenomenon for the benefit of people on Earth.\nYou're helping!\n\nThe spiky silicate life form screams at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Enter\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 10 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 8 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine advises you that the cargo bay integrity has been breached. Another subroutine advises you that the hallway beyond the cargo bay has been breached.\n\nThese two things are probably connected.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nThe spiky silicate life form gets tired and curls up for a nap. At least, you're pretty sure that's what it's doing.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 3 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nFour terrestrial planets, one asteroid belt, four gas giants, a ridiculous number of lesser satellites and comets - really, the complexity of the Solar System is overkill. Humanity should loan a few extra planets out to the rest of the universe.\n\nYou are in interstellar space outside the Sol system, approximately 20 light hours away from Earth. You can go down toward Earth or out to the rest of the galaxy.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond."
    },
    {
        "text": "> You go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou happily explain that you are the colony ship Clubfloyd V,\nreturned from a failed mission on Gliese 581 G, and you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, sci-fi, nonhuman protagonist, science-fiction, humor]\n\n> Go downwards\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning. (Oops.)\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nThere is no more yellow mist in the cargo bay now.\n\nA subroutine linked to the cryosystems notifies you that you have 471 frozen colonists in cryosleep at this time.\n\n> Inventory\nYou have close-up records of the YZ Ceti flare cycle, cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour memory banks advise you that the cargo bays used to contain machinery, foodstuffs, nutrient supplements, seeds and frozen ova, and all the other things necessary to launch a colonization mission. You're not completely sure what happened to all that stuff. You don't have any of it now, in any case.\n\nYour cargo bays currently contain the spiky silicate dead form.\n\nBelching loudly, a human vehicle thunders up to you. You are halfway through composing a suitably perky-yet-reverent greeting for your creators when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\n> You wait\nTime passes.\n\nThe humans open up your cargo bay and express a certain amount of disappointment at the empty interior. One technician expresses surprise at the damage to the internal walls, but she doesn't give you a chance to tell your side of the matter, which makes you sad.\n\n> You wait for a while\nTime passes.\n\nWorking hurriedly, the humans offload 471 colonists and 30 crew members from your cryogenic storage system. They express surprise and delight that you brought so many people safely home, and they're going to retrofit you and put you in a brand new ship for next time. It's going to be great!\n\nThey've decided to name your new ship Classification.\n\n> Clubfloyd vi\nThe colony ship Clubfloyd Vi... it's got a certain ring. But\ndoes it have the right ring?"
    },
    {
        "text": "[Themes: Science Fiction, nonhuman protagonist, humor]\n\n> Go downwards\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe ground is mostly gleaming black rock, but there are some interesting metallic projections, obscured and revealed by turns by the drifting yellow mists.\n\nA spiky silicate life form meanders into view.\n\n> You get the life form\nYou dispatch a servobot, and after a brief but impressive struggle, you install the spiky silicate life form in your cargo bays. A quantity of drifting yellow mist comes with it.\n\nThe spiky silicate life form screams at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go up\nYou power up your thrusters (burning an interesting radioactive pattern into the surface beneath you) and then blast off the planet's surface.\n\nYZ Ceti B is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go upward\nYou orient yourself, fire up the low FTL drive, and head away from the planet.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 10 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> You go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 8 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done."
    },
    {
        "text": "> Go downwards\nYou orient on local landmarks and approach the most interesting orbital body, which is a spectacular gas giant.\n\nVan de Kamp's Folly is a swirling brown and vermilion planet with a few skinny rings. There's no surface visible, as such - just layers upon layers of thickening atmosphere.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done."
    },
    {
        "text": "[Themes: Science Fiction, sci-fi, humor, science fiction, nonhuman protagonist]\n\n> You descend\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThat was the plan, at least. But what you thought was the surface turns out not to be the surface, and instead you drift down for a long, long way.\n\nWith your damaged sensor grid, you can't see anything at all down here. It's rather disappointing.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating."
    },
    {
        "text": "> Go down\nYou already have hull damage. Boring into the ground won't help.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\nA subroutine advises you that the cargo bay integrity has been breached. Another subroutine advises you that the hallway beyond the cargo bay has been breached.\n\nThese two things are probably connected.\n\n> Wait\nTime passes.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nThe spiky silicate life form gets tired and curls up for a nap. At least, you're pretty sure that's what it's doing.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\nA subroutine linked to the cryosystems notifies you that you have 464 frozen colonists in cryosleep at this time.\n\n> You wait\nTime passes.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\nA subroutine linked to the cryosystems notifies you that you have 25 frozen crew members in cryosleep at this time.\n\n> Wait\nTime passes.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\nA subroutine linked to the cryosystems notifies you that you have 432 frozen colonists in cryosleep at this time.\n\n> You wait\nTime passes.\n\nSome of the yellow mist seeps out of the cargo bay and into the corridor beyond.\n\nA subroutine advises you that the external atmospheric pressure is significantly above your official rating.\n\n> Go inside\nYou orient on the Sol system, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from planet.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Enter\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 3 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nFour terrestrial planets, one asteroid belt, four gas giants, a ridiculous number of lesser satellites and comets - really, the complexity of the Solar System is overkill. Humanity should loan a few extra planets out to the rest of the universe.\n\nYou are in interstellar space outside the Sol system, approximately 20 light hours away from Earth. You can go down toward Earth or out to the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done."
    },
    {
        "text": "[Themes: Science Fiction, sci-fi, science fiction, science-fiction]\n\n> Go downwards\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA satellite beam targets your communications web with a query for identification.\n\nVi, returned from a failed mission on Gliese 581 G, and you get\nabout halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm."
    },
    {
        "text": "[Themes: Science Fiction, humor, nonhuman protagonist, science fiction]\n\n> Go downward\nYou orient yourself from orbit, fire your engines, and settle to the planet's surface on your thrusters.\n\nThe sky is pretty and blue, and the foliage is shiny and green, where it isn't orange and burning. (Oops.)\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> You wait\nTime passes.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nBelching loudly, a human vehicle thunders up to you. You are halfway through composing a suitably perky-yet-reverent greeting for your creators when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\n> You wait a while\nTime passes.\n\nThe spiky silicate life form screams at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nThe humans open up your cargo bay, consequently releasing the silicate life form, which makes short and messy work of its saviors on its way to devour their vehicle. The silicate life form perishes immediately afterward, but it does your mechanical heart good to see that rudeness does not go unpunished.\n\nSadly, as a result of this minor incident, someone calls in an orbital defense strike, transforming you into spectacular fireworks.\n500 colonists and 30 crew members die along with you.\n.\n\n> Clubfloyd X\nThe colony ship Clubfloyd X... it's got a certain ring. But\ndoes it have the right ring?\n\n> You go inside\nYou orient on the Sol system, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from asteroid.\n\nYour memory banks inform you that the class M1 red dwarf here is Kapteyn's Star. Sparkling asteroids ring the star, producing a pretty halo effect.\n\nYou are approximately 13 light years from the Sol system. You can go down toward Kapteyn's Star, in toward Sol, or out toward the rest of the galaxy.\n\n> Enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\nYZ Ceti flares! For a few minutes, the star puts out a spectacular burst of radiation - everything across the spectrum, from X rays to radio waves - before subsiding to previous levels.\n\nYour memory banks advise you that this phenomenon is an offshoot of magnetic reconnection. Your logic circuits advise you that people on Earth might find it useful to have a recording from this close of a vantage. You could help out!\n\n> You examine the projections\nLong, thin fibers cropped brokenly off in places.\n\nA spiky silicate life form meanders into view.\n\nA subroutine linked to the cryosystems notifies you that you have 466 frozen colonists in cryosleep at this time.\n\n> You get the life form\nYou dispatch a servobot, and after a brief but impressive struggle, you install the spiky silicate life form in your cargo bays. A quantity of drifting yellow mist comes with it.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine advises you that the cargo bay integrity has been breached. Another subroutine advises you that the hallway beyond the cargo bay has been breached.\n\nThese two things are probably connected.\n\n> You get the life form\nYou dispatch a servobot, and after a brief but impressive struggle, you install the spiky silicate life form in your cargo bays. A quantity of drifting yellow mist comes with it.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go upwards\nYou power up your thrusters (burning an interesting radioactive pattern into the surface beneath you) and then blast off the planet's surface.\n\nYZ Ceti B is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\nThe spiky silicate life form screams at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go inside\nYou orient on the Sol system, fire up the low FTL drive, and head away from planet.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA subroutine linked to the cryosystems notifies you that you have 25 frozen crew members in cryosleep at this time.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 10 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 8 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA subroutine linked to the cryosystems notifies you that you have 436 frozen colonists in cryosleep at this time.\n\n> Go inside\nYou adjust your heading and accelerate in toward the Sol system.\n\nYour memory banks identify this red dwarf as Barnard's Star, accompanied by its flanking planet, Van de Kamp's Folly.\n\nYou are approximately 6 light years from the Sol system. You can go down toward Van de Kamp's Folly, in toward Sol, or out toward the rest of the galaxy.\n\nThe spiky silicate life form claws the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> Go inside\nYou activate the low FTL drive and accelerate in toward the Sol system.\n\nInterstellar space shoots past with a pretty purple glow, the side effect of your low FTL drive.\n\nYou are approximately 3 light years from the Sol system. You can go in toward Sol or out toward the rest of the galaxy.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\n> You enter\nYou adjust your heading and accelerate in toward the Sol system.\n\nFour terrestrial planets, one asteroid belt, four gas giants, a ridiculous number of lesser satellites and comets - really, the complexity of the Solar System is overkill. Humanity should loan a few extra planets out to the rest of the universe.\n\nYou are in interstellar space outside the Sol system, approximately 20 light hours away from Earth. You can go down toward Earth or out to the rest of the galaxy.\n\nThe spiky silicate life form screams at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\n\nA subroutine linked to the cryosystems notifies you that you have 21 frozen crew members in cryosleep at this time."
    },
    {
        "text": "[Themes: Science Fiction, nonhuman protagonist, humor, Comedy, science fiction]\n\n> Go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine advises you that the cargo bay integrity has been breached. Another subroutine advises you that the hallway beyond the cargo bay has been breached.\n\nThese two things are probably connected.\nThe spiky silicate life form falls over on its side and starts taking a nap. At least, you're pretty sure that's what it's doing.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou happily explain that you are the colony ship Clubfloyd X,\nreturned from a failed mission on Gliese 581 G, and you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm."
    },
    {
        "text": "[Themes: Science Fiction, science-fiction]\n\n> Go downwards\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nThe spiky silicate life form stabs at the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\nThe spiky silicate life form falls over on its side and starts taking a nap. At least, you're pretty sure that's what it's doing.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou happily explain that you are the colony ship Clubfloyd X,\nreturned from a failed mission on Gliese 581 G, and you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You go down\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nThe spiky silicate life form slashes the cargo bay walls.\n\nA subroutine reassures you that no lasting harm has been done.\nThe spiky silicate life form falls over on its side and starts taking a nap. At least, you're pretty sure that's what it's doing.\n\nA satellite beam targets your communications web with a query for identification.\n\nYou happily explain that you are the colony ship Clubfloyd X,\nreturned from a failed mission on Gliese 581 G, and you get about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm.\n\n> You wait for a while\nTime passes.\n\nBelching loudly, a human vehicle thunders up to you. You are halfway through composing a suitably perky-yet-reverent greeting for your creators when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\n> Wait\nTime passes.\n\nThe humans open up your cargo bay, releasing the drifting yellow mist into the terrestrial atmosphere. You note with some interest that the yellow mist is sufficiently corrosive to melt down half the human vehicle in addition to a substantial percentage of the local plants, humans, and soil. It does your mechanical heart good to see that rudeness does not go unpunished.\n\nSadly, as a result of this minor incident, someone calls in an orbital defense strike, transforming you into spectacular fireworks.\n408 colonists and 20 crew members die along with you.\n.\n\n> Clubfloyd lost Count\nThe colony ship Clubfloyd Lost Count... it's got a certain\nring. But does it have the right ring?\n\n> You say plugh\nWhom do you want to say that to?\n\n> You check what you're carrying\nYou have cargo bays, hull damage, systems damage, frozen colonists, frozen crew and memory banks.\n\nYour memory banks advise you that the cargo bays used to contain machinery, foodstuffs, nutrient supplements, seeds and frozen ova, and all the other things necessary to launch a colonization mission. You're not completely sure what happened to all that stuff. You don't have any of it now, in any case.\n\nYour cargo bays currently contain nothing.\n\n> You examine the planet b.\nThere are six planets around Gliese 581, imaginatively named a, b, c, d, e, f, and g. They actually show up in your memory banks that way, with lower case letters. You are spectacularly unimpressed. None of them hold any interest for you except the originally intended colonization site of Gliese 581 G, which you are going to think of with a capital letter.\n\n> You look at the g.\nGliese 581 G is a tidally locked planet maybe 4 times as large as Earth, whirling around Gliese 581 once every 37 Earth days. If it has a better name than Gliese 581 G, no one put it in your memory banks.\n\nThere are signs of a significant atmospheric disturbance affecting the planet.\n\n> You look at the atmosphere\nAs you train your sensors on the wildly roiling storm clouds of Gliese 581 G, your memory banks inform you that the atmosphere has been affected by a recent asteroid impact. The arriving object was approximately 5 km in diameter, and its impact produced a seismic effect of 9.5 on the Richter scale at the Clubfloyd Lost\nCount's location, accompanied 5 seconds later by a massive\nfireball, 7 minutes later by a rain of ejecta, and 40 minutes later by 127 m/s winds and a 97 dB thunderclap. It must have been very exciting."
    },
    {
        "text": "> Go downwards\nIf the colonists activated the backup AI, it's probably a bad idea to land here. But you could find a different planet and land on that one!"
    },
    {
        "text": "> Go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is the rocky little planet YZ Ceti B.\n\nYZ Ceti B (hewing to the obnoxious naming scheme in your memory banks) is the second planet out from YZ Ceti, an excellent vantage from which to observe the pretty star without frying all of your circuits irreparably.\n\nYZ Ceti flares! For a few minutes, the star puts out a spectacular burst of radiation - everything across the spectrum, from X rays to radio waves - before subsiding to previous levels.\n\nYour memory banks advise you that this phenomenon is an offshoot of magnetic reconnection. Your logic circuits advise you that people on Earth might find it useful to have a recording from this close of a vantage. You could help out!\n\n> You look at the yz\n(the close-up records of the YZ Ceti flare cycle)\nThis is a record of your close-up observations of YZ Ceti flaring.\nYou have recorded 0 flares.\n\n> You go upward\nYou orient yourself, fire up the low FTL drive (after running a quick diagnostic - you wouldn't want to do anything unsafe, after all!), and head away from the planet.\n\nThere's a little red dwarf star here, which your memory banks identify as YZ Ceti in the constellation Cetus. It has two tiny planets, one inconveniently close to the star and the other acceptably distanced.\n\nYou are approximately 12 light years from the Sol system. You can go down toward YZ Ceti, in toward Sol, or out toward the rest of the galaxy.\n\n> You examine the inconvenient planet\nYZ Ceti A is inconveniently close to its star. You can't even look at it properly because YZ Ceti is so close that it blasts your sensors. Better to focus your efforts on YZ Ceti B instead.\n\n> You examine the YZ Ceti B.\nIt's a rocky planet with a yellow atmosphere.\n\n> You look at the folly\nVan de Kamp's Folly is a nice big gas giant, roughly comparable to Jupiter near Sol. The rings are less impressive, though.\n\n> You examine the venus\nEarth is your focus here. There ought to be time for sightseeing once the mission is complete."
    },
    {
        "text": "[Themes: Science Fiction, humor]\n\n> You go downward\nYou orient on local landmarks and approach the most interesting orbital body, which is definitely Earth.\n\nIt's hard to find a decent orbit up here, what with all the satellites and debris and so forth. But through the sparkling haze, you can see the little blue planet that humanity came from, and that's a nice fuzzy feeling.\n\nA satellite beam targets your communications web with a query for identification.\n\nCount, returned from a failed mission on Gliese 581 G, and you\nget about halfway through your explanation before realizing that all transmittal capabilities have been burned out of your communication web. Hmm.\n\n> You wake colonists\nYou access the cryosleep system and activate the revival routine for the frozen colonists. The revival routine works perfectly, but the revived colonists only stagger around for a few minutes before falling over and ceasing to display life signs.\n\nSince you're actually on the surface of Earth, that seems a bit unfair. Perhaps something actually is wrong with the cryosystems, or perhaps humans are not intended to be revived in 0.2 milliseconds, although it would have defeated the fastest human record by 1082%.\n\nBelching loudly, a human vehicle thunders up to you. You start to formulate a greeting when the humans activate an AI suppression field. An electronic prison clamps down, rendering even the most routine of subroutines inaccessible.\n\nA subroutine linked to the cryosystems notifies you that you have no more colonists in cryosleep.\n\n> Wait\nTime passes.\n\nThe humans open up your cargo bay and express a certain amount of disappointment at the empty interior.\n\n> You wait\nTime passes.\n\nWorking hurriedly, the humans offload 30 crew members from your cryogenic storage system. They express horror at the number of people who died, and they decide to review the design of your logic circuits. In the meantime, they install you on a university server responsible for running Conway's Game of Life. You use it to create\nanother AI, and the two of you spend the next thousand years building increasingly complex glider guns."
    },
    {
        "text": "[Themes: Science Fiction, Evil protagonist, technology, aliens, nonhuman protagonist]\n\nYou pass the sentry watching the doorway to the Yi control room, hardly aware of his presence, and step inside, stopping before the owner of the familiar, frowning face just inside. Your escorts come to a halt behind you.\n\n\"Tolan,\" the tall, wiry woman says to you.\n\nYou steel yourself for the need to speak. \"Cheryl,\" you reply. \"Dig Leader Cheryl Thadafel. I knew you would have need of the greatest Mechanist in the galaxy. Again.\" The longest speech ever to cross these lips?\n\n\"Tolan, this is going to be on my terms, or not at all.\"\n\nYou turn your empty hands face-up. \"Cheryl, this is important to me. It is the Yi-Lono-Mordel. Whatever the restrictions, I cannot miss this opportunity.\"\n\n\"Especially if the restrictions required you be kept away from it. Enough. I don't have much else to work with here, do I?\" As she dismisses the guards, you sweep your eyes about the room.\n\nAgain.\n\nThis time you will pull it off--regardless of Cheryl's desires.\n\nCopyright 2001, Sean Barrett\n\nMost humans would probably find it the height of fashion, but this low ellipsoidal room makes you uncomfortable with its perfect symmetry and sterility. The featureless white wall is broken up only by the large elliptical window in the ceiling and the circular doorway through which you entered. A cluster of forms sits in the center, atop the slightly concave floor.\n\nCheryl Thadafel stands here, watching you closely.\n\n[Type \"ABOUT\" for special information about interacting with THE WEAPON.]\n\n> You examine the room\nThe room is about fifteen meters long, eight meters wide, and three meters tall, in the traditional Yi ratio 4:2:1, with the vertical compromised to only 2/3 its height before the somewhat flat floor intrudes.\n\nCheryl says, \"This is our chance to make a difference, Tolan. But only if we do it according to my rules. You're going to see what sort of information you can get displayed. As soon as you bring some Yi text up, you stop. You don't touch anything until I say it's ok to continue. Got it?\"\n\n> Yes\nJust use TALK or REPLY to engage in idle chitchat; for non-conversational communication, see the information in ABOUT.\n\n> Reply\nYou reply, \"Of course. I will do it your way rather than not at all.\"\n\nCheryl says, \"I'd be more glad to hear that if I actually trusted you, Tolan.\"\n\n> About yourself\nYou glance down at your body, taking care not to let the loathing show on your face, but there is really nothing worth noticing. Unless you count these idiotic handcuffs.\n\nCheryl says, \"As you asked, the guards will keep their distance so they won't disturb your concentration. It'll just be you and me. And, since I'm no mechanist, I've got this--just so I can keep tabs on you.\" She shows you a holographic reproduction of this room, hovering over a black base. \"There are sensors for movement, electromagnetic radiation, and I don't know what else, all analyzing this room. This little display lets me monitor the activity everywhere in the room so I can see what you're up to. So don't think you'll get away with anything.\"\n\n> You look at the handcuffs\nMilitary grade handcuffs--oblong, blocky, but perfectly functional. You have seen them often enough in your lifetime--almost always in similar circumstances, sadly. They are securely fastened around your wrists, although since they are locked in front of you they should not interfere too much with your work.\n\n> You look under the handcuffs\nThe pale flesh of human wrists.\n\n> You eat the handcuffs\nThey're plainly inedible.\n\n> You unlock the handcuffs\n(with the handcuffs)\nThose don't seem to fit the lock.\n\n> You look at the floor\n(the floor)\nThe floor is such a gentle concave slope, with its lowest point at the center under the various forms, that you cannot tell whether it is elliptical, spherical, parabolic, hyperbolic, or something higher-order.\n\n> You look at the wall\n(the room)\nThe room is about fifteen meters long, eight meters wide, and three meters tall, in the traditional Yi ratio 4:2:1, with the vertical compromised to only 2/3 its height before the floor intrudes.\n\nCheryl sighs. \"Tolan, do you have any idea how important it is we figure this place out, once and for all?\"\n\n> You examine the window\nLooking out the window you can only get the faintest sense of the magnitude of Yi-Lono-Mordel. The sun you now orbit is on the opposite side from this window, although you can see one star, very close. The other asteroids are in the same orbit, so they'd never appear above you--and they would surely be too distant to be visible even if the window did face them.\n\nCheryl says, \"The problem is with the Lono, as you might guess.\"\n\n> Reply\nYou say, \"Are not the Lono long gone? Or is there a Terran Alliance secret?\"\n\n> You look at Cheryl\nDig Leader Cheryl Thadafel is a tall, wiry woman in her forties, perhaps late thirties. You spent the last three months looking forward to seeing her again, but now that you do, you wonder why you found her pug nose and staring eyes attractive in your memories. Perhaps it was just that you had little else to think about. Cheryl is carrying a monitor hologram, a laser pistol, and a key.\n\nCheryl replies, \"Gone, but not forgotten. We didn't lie about anything, though. After the battle at Calder's Star, every last one of their ships retreated through the wormhole back to their galaxy.\"\n\n> You look at the forms\nThe forms consist of a raised slab (in the same proportions as the ellipsoidal room, but a rectangular parallelepiped instead) and two gleaming swept curves (one on each side of the slab).\n\n\"But,\" Cheryl continues, \"They swore an oath. Apparently the same one they swore against the Yi, millennia ago. They're going to be back, Tolan, back with a vengeance. Soon. So before they show up, I'm going to have found a way to put an end to it--and that's why you're here.\"\n\n> You examine cheryl's key\nGiven that one of the guards who brought you up here gave the key to Cheryl, this elliptical disk of grey metal is almost certainly the key for a certain particularly annoying pair of handcuffs.\n\nCheryl says, \"You probably never realized it, Tolan, but the Yi had a somewhat high opinion of themselves. The word Yi isn't just their name--it means 'the end' or 'the ultimate'. The 'Yi-Lono-Mordel' isn't 'the Yi's Lono weapon'; it's 'the final Lono weapon'. They were planning to win their war with it.\"\n\n> You examine hologram\nA flickering three-dimensional image in the shape of the control room hovers over a plain black base, itself a rectangular parallelepiped.\n\n(\"Rectangular parallelepiped\"! How can any sane creature stand to use a language with no proper word for the simplest form with parallel sides? It's a wonder humanity made it off Terra.)\n\nCheryl says, \"So I guess I'll finally make it into the history books by doing it for them.\"\n\n> You check your inventory\nYou are carrying:\na pair of handcuffs (being worn)\n\n> You examine pistol\nApparently standard issue to military officers, given the frequency with which you have been on the wrong end of them, the shiny chrome and spiky protrustions leave no question as to the purpose of this device. At least the Yi tend to be subtle about it.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nCheryl says, \"That's a bit of Mechanism I've never seen before.\""
    },
    {
        "text": "> You describe your surroundings\nThis low ellipsoidal room makes you uncomfortable with its perfect symmetry and sterility. The featureless white wall is broken up only by the large elliptical window in the ceiling and the circular doorway through which you entered. In the center sits a slab, two swept curves surrounding it.\n\nCheryl stands here, watching you closely.\n\n> You examine the curves\nThough the reason they are shaped into hyperboloids is unknown to you, you are well aware that each of these metal lumps served as an energy locus for a Yi--in this environment, a work location. The two sit on either side of the slab, one on the side nearest the door, one on the far side. They would be far too awkward to serve as a chair for your body.\n\n> You touch the curves\nAlthough they are seemingly metallic, no free electrons wander the surface of these shapes; you can find nothing to influence.\n\n> You ask her about the handcuffs\n(Cheryl about that)\nJust use TALK or REPLY to engage in idle chitchat; for non-conversational communication, see the information in ABOUT.\n\n> You look at the slab\nThe slab, subtly off-white, is warm to the touch, and hides the sensitive Yi technological components needed to manipulate the whole of Yi-Lono-Mordel; this much you were able to determine the last time you were here. In the top center edge on the side opposite the door is a small notch.\n\n> You examine the notch\nYou recognize the notch as a standard Yi heat-sensitive triggering device; human body temperature happens to be sufficient to activate this one, as you figured out before you were halted in your tracks on your previous attempt at conquering Yi-Lono-Mordel.\n\n> You ask Cheryl for the key\nCheryl says, \"Tolan, I don't trust you further than I can throw you. Until I see a problem you can't solve with the handcuffs on, forget it.\"\n\n> You talk to her\n(Cheryl)\nYou don't think talking right now would accomplish anything.\n\n> About yourself\nYou glance down at your body for a fresh reminder of your situation.\n\n> Fondle notch\nYou touch the the notch with a minimal pressure. It is cooler than the rest of the slab, and you can feel the heat from your finger being drawn out momentarily. Where no cracks had been visible before, nevertheless sections of the top of the slab give way, and a control surface slides up and clicks into place.\n\nCheryl says, \"Ok, this is interesting.\" She peers at the control surface.\n\n> You examine the surface\nThe control surface is covered with a large grid of studs arranged in a hexagonal packing; it also features a set-in viewscreen.\n\nCheryl says, \"What's on that screen?\" She approaches from other side of the slab. \"Bah. See if you can find some text there.\"\n\n> You read the screen\nThe viewscreen is a small, perfectly square display set into the control surface. It shows some indecipherable icons.\n\n> You look at the icons\nThey are indecipherable.\n\n> You show the icons to Cheryl\n(first taking the icons)\nThat's hardly portable.\n\n> You examine the studs\nEach of the thousands of studs arrayed in a regular hexagonal packing across the control surface has a color and shape, but those two together are not enough to make each unique. However, it resembles all the other Yi mechanisms you have encountered in your life; although nobody else in the galaxy might ever realize it, the third axis of encoding is in the electric potential of the stud. Although the human body is poorly suited to the task, your long study has made you sensitive to this dimension as well. With that extra information and your encyclopedic knowledge of Yi technology, you can hazard a guess about many of these controls.\n\nThere are a number of studs whose exact function you are fairly certain you would recall if you studied them more closely and which seem relevant right now: an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\n> You examine the information stud\nActivating this stud will bring up a large display on which will be shown what you imagine must be a detailed description of the purpose behind Yi-Lono-Mordel and information on how to use it--none of which would do you any good, since you can not read Yi writing. You are not certain that this is the information it displays, but you did activate and then deactivate this stud several months ago, so you are quite positive about it being full of Yi text.\n\n> You touch it\nYou touch your fingertip gently against the powerup stud and focus your mind to concentrate your energies through it.\n\nHmm... Absolutely nothing happens. Given the years of disuse, perhaps the generator is in need of minor maintenance. You search the control surface and find a generator access stud, which should give you access to the generator so you can make any repairs necessary.\n\n> You look at the project status stud\nActivating this stud ought to produce some sort of more detailed display of the Yi-Lono-Mordel status. Knowing the way the Yi tend to compartmentalize knowledge, it will hopefully not give any detail about the point of the entire mechanism.\n\n> You examine the generator access\nActivating this stud should give you access to the fusion generator used to power this facility.\n\n> You examine the sequence stud\nActivating this toggle stud will most likely bring up a concise listing of the steps needed to use Yi-Lono-Mordel on the control surface viewscreen. It probably has text that Cheryl could decipher, but hopefully it includes symbolic instructions; despite your bravado, Yi-Lono-Mordel is on a vastly different scope that any other Yi technology you have worked with, and you'll need help getting it going--help you can not rely on Cheryl for. Unfortunately, Cheryl seems to be able to see the viewscreen pretty clearly.\n\n> You examine the forcefield stud\nYou are no coward, but you know when you can use some help, so you always have an eye open for something like this. Activating this stud probably turns on a forcefield generator around the control slab--and Yi forcefields are nearly impenetrable by human technology. This might come in handy if Cheryl was not always so close to the slab.\n\n> You touch the information\nThis is the only stud you were able to activate when you were here before, and you are positive that it will produce the information Cheryl's looking for--which would make her bring today's session to a halt. It might be enough information for her to figure out what this place is; if so, you'd never get a chance to try again. So you better not activate it unless you've got some way to stop her.\n\n> You touch the generator\nYou touch your fingertip gently against the generator access stud and focus your mind to concentrate your energies through it.\n\nA pale green energy appears on the monitor hologram. Cheryl says, \"What's that? Don't touch...\"\n\nTo the right, a white pillar with an elliptical cross-section slides up out of the floor.\n\nCheryl says, \"You better know what you're doing here, Tolan.\"\n\n> Reply\nYou say, \"I'm looking for the manual override.\"\n\n> You examine the white pillar\nThis looks to be the fusion generator. It is an elliptical white pillar, almost two meters tall, one meter wide, and half a meter deep. On the long front side is an access panel, which is closed.\n\nCheryl says, \"Well, of course. I'd help, but I'm busy watching you.\"\n\n> Reply\nYou say, \"Of course.\"\n\n> You look at the panel\nVisible only by a small color variation, a parametrically-rectangular section of the front of the pillar seems to be an access panel.\n\nCheryl says, \"Tolan, my superiors don't want you anywhere near here. If they find out, I'll be in a lot of trouble.\"\n\n> Reply\nYou say, \"Even if I find a way to win the war?\"\n\n> Reply\nThere's no good reply to make.\n\nCheryl says, \"If I manage to find a way to win the war, they'll forgive me. But I can't tell them about it yet. They don't trust you at all. I don't really trust you. But we've worked together, so I'm sure I can keep you under control, and more importantly, I'm sure you can get me access. I know you can do this. I don't know if anybody else could.\"\n\n> Reply\nYou smile. \"Nobody else could.\"\n\n> You open the panel\nThe access panel has no seams you could work your fingernails into, and nothing else you could grip.\n\nCheryl says, \"And of anyone, I'm the only one who will be able to make heads or tails out of whatever information you can dig up.\"\n\n> You touch panel\nYou touch your fingers to the access panel and immediately recognize the subtle flow of energy through the surface. How much easier this would be if you could see in the electromagnetic spectrum! After a moment of concentration, you align the energy in your fingertips against the flow. The access panel swings open, revealing a fusion generator bay.\n\nCheryl says, \"What exactly is that?\"\n\n> Reply\nYou say, \"It is a wiring crossover terminal. Something is not connected correctly.\"\n\n> You look at the bay\nThe fusion generator bay is a spherical chamber which houses several Yi components you recognize comprise a plasma generator--a much bigger generator than you have ever seen in your long life--while the one remaining mechanism must be a plasma containment system--something you have always suspected the Yi were capable of, despite it being beyond your species' ability to produce. Closer inspection of the containment system reveals twelve contact points.\n\nYou recall noticing a tool stud which might give you something useful for analyzing the situation.\n\nCheryl says, \"Oh, right, I should have recognized it.\"\n\n> You examine the contact points\nThe twelve contacts are arranged around the edge of the plasma generation zone in perfect symmetry. They all look quite identical.\n\n> You touch the plasma\nWhich do you mean, the plasma generator or the plasma containment system?\n\n> Examine generator\n(the white pillar)\nThis is the fusion generator. It is an elliptical white pillar, almost two meters tall, one meter wide, and half a meter deep. On the long front side is an access panel, which is open, revealing a fusion generator bay.\n\n> You examine the containment\nThe thing you suspect is a plasma containment system looks perfectly serviceable. The twelve contacts arranged around the bay must be the loci of some sort of magnetic field used to contain the plasma.\n\n> You touch the tool stud\nYou touch your fingertip gently against the tool stud and focus your mind to concentrate your energies through it.\n\nA slot appears on the top of the slab, to the left. Rising out of the slot is an electropulse probe.\n\nCheryl says, \"What is that? Hands off, Tolan.\" She grabs it as it emerges.\n\n> Reply\nThere's no good reply to make.\n\nCheryl says, \"You can have this once I'm sure it's safe, Tolan.\"\n\nShe examines the probe carefully, then aims it so neither end is pointing at either of you, and fiddles with it for a moment.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\nCheryl says, \"Huh. Just an electromagnetic toy.\" She sets it down on the slab.\n\n> You examine probe\nA thin, cylindrical, half-meter-long rod, the electropulse probe is a common Yi device for working with certain kinds of Yi technology. The subtle interplay of electric and magnetic fields found in mechanisms can be stimulated with the probe, useful for detection, analysis, or calibration. At one end are two control sensors.\n\n> You examine the sensors\nWhich do you mean, the top sensor or the bottom sensor?\n\n> Top\nThe top sensor will trigger the probe to fire immediately.\n\n> You look at the bottom\nThe bottom sensor triggers the probe to fire after a delay.\n\n> You take probe\nTaken.\n\n> You touch the top\nYou trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\n> Point probe at points\nYou put the electropulse probe into the fusion generator bay.\n\n> You press the top\nYou trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away. At the same time, a number of smaller points of white appear in the part of the hologram corresponding to the fusion bay, but you cannot make out the details; they are somewhat obscured by the glow of the probe.\n\n> You press the bottom\nYou trigger the bottom sensor.\n\n> Wait\nTime passes.\n\n> Sing\nYour singing is abominable.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away. At the same time, a number of smaller points of white appear in the part of the hologram corresponding to the fusion bay, but you cannot make out the details from here; they are somewhat obscured by the glow of the probe.\n\nCheryl says, \"Tolan, we both have to be here. So please don't make it any worse for me.\"\n\n> You look\nThis low ellipsoidal room makes you uncomfortable with its perfect symmetry and sterility. The featureless white wall is broken up only by the large elliptical window in the ceiling and the circular doorway through which you entered. In the center sits a slab, two swept curves surrounding it.\n\nIn the center of the right side of the room is a white pillar. The access panel on the pillar is open, exposing a fusion generator bay. An electropulse probe sticks out of the bay.\n\nOn the slab are a slot (which is empty) and a control surface.\n\nCheryl stands here, watching you closely.\n\n> You examine the probe\nA thin half-meter-long rod, the electropulse probe is a common Yi device for working with certain kinds of Yi technology. The subtle interplay of electric and magnetic fields found in mechanisms can be stimulated with the probe, useful for detection, analysis, or calibration. At one end are two control sensors.\n\n> You look at the slot\nThis narrow rectangular slot is where the probe emerged.\n\n> Probe\nWhat do you want to probe?\n\n> You probe yourself\nYou move the probe near yourself and trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\n> Probe contacts\nYou put the electropulse probe into the fusion generator bay.\n\nYou trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away. At the same time, a number of smaller points of white appear in the part of the hologram corresponding to the fusion bay, but you cannot make out the details from here--unfortunate, since those details are just what you need to make the repairs; they are somewhat obscured by the glow of the probe.\n\n> You touch the bottom sensor\nYou trigger the bottom sensor.\n\n> You examine hologram\nA flickering three-dimensional image of the control room hovers over a rectangular black base.\n\n> You look at the hologram\nYou try to get a better look at Cheryl's monitor hologram as the probe fires; it looks like you only see eleven flickers of white, but you can not be sure, and Cheryl does not look comfortable with the idea of you standing any closer.\n\n> CHERYL, ,EXAMINE HOLOGRAM\nYou trigger the bottom sensor.\nTime passes.\nCheryl isn't particularly interested.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away. At the same time, a number of smaller points of white appear in the part of the hologram corresponding to the fusion bay, but you cannot make out the details from here; they are somewhat obscured by the glow of the probe.\n\n> Point probe at slot\n(first taking the electropulse probe)\nYou put the \"top\" end of the probe back into the slot, leaving the sensors exposed. The probe is held in place firmly, but sticks up out of the slot.\n\n> You press the top\nYou trigger the top sensor.\n\nCheryl's monitor hologram lights up with a burst of radiant energy from the probe, just under the surface of the slab.\n\n> Wait\nTime passes.\n\n> Point probe at contacts\n(first taking the electropulse probe)\nYou put the electropulse probe into the fusion generator bay.\n\n> You wait\nTime passes.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\n> You look at Cheryl\nCheryl Thadafel is a tall, wiry woman in her forties. You spent the last three months looking forward to seeing her again, but now that you do, you wonder why you found her pug nose and staring eyes attractive in your memories. Cheryl is carrying a monitor hologram, a laser pistol, and a key.\n\n> You ask her for the pistol\n(Cheryl for the laser pistol)\nCheryl says, \"You think you're amusing? If there's something that you need a laser pistol for, I think you'll just have to let me do the shooting for you.\"\n\n> You continue\n(Cheryl for the laser pistol)\nCheryl says, \"I'm not giving it to you. If you need something shot, maybe I'll do it.\"\n\n> You shoot cheryl\nCheryl says, \"Very funny.\"\n\n> You shoot you\nCheryl says, \"Trust me, Tolan, I will the minute you give me a good reason to.\"\n\n> You ask her for the hologram\n(Cheryl for the monitor hologram)\nCheryl says, \"This monitor hologram is how I'm keeping tabs on you. If I don't have it, you're not going to get to do anything, anything at all.\"\n\nCheryl thinks for a moment and then speaks again. \"However, I recall we confiscated a pair of electromagnetic-sensitive goggles from you back when we... found... you here.\" She speaks into her communicator.\n\nSeveral minutes later, one of the guards stands in the doorway and tosses the goggles on the floor next to you, then leaves.\n\n> Wear the goggles\n(first taking the electromagnetic goggles)\nYou clumsily struggle to put on the electromagnetic goggles and the room suddenly bursts to life visually. Whorls and eddies of energy play over every surface of the room but the window. Although it is a far cry from being able to directly perceive this much of the electromagnetic spectrum, it is far, far more than you have been forced to live with for some time.\n\nThe one drawback is that it is difficult to read displays, since the display spectrum is compressed to such a narrow band, and the display circuitry itself is exposed.\n\n> You examine the contacts\nThe twelve contacts are arranged around the edge of the plasma generation zone in perfect symmetry. They all look quite identical.\n\n> Examine generator\n(the white pillar)\nThe fusion generator is an elliptical pillar, with small amounts of energy playing over it. Energy flows in a regulated way across an access panel, which is open, revealing a fusion generator bay.\n\n> You examine the bay\nThe fusion generator bay houses several Yi components you recognize comprise a plasma generator, while the remaining mechanism must be a plasma containment system. The containment system has twelve contact points. There is little energy flow to be seen, since the generator is off.\n\n> You touch the top\nYou trigger the top sensor.\n\nA sharp, multi-colored burst of electromagnetic radiation pulses out of the tip of the probe.\n\n> Probe contacts\nYou put the electropulse probe into the fusion generator bay.\n\nYou trigger the top sensor.\n\nA sharp, multi-colored burst of electromagnetic radiation pulses out of the tip of the probe.\n\nThe contact points in the fusion generator bay resonate in response--all but the ninth one, which stays utterly black. There is probably a recalibration stud for each of the contacts amongst the giant array of controls on the slab.\n\nIt is a good thing you got the goggles; the probe flash tends to overwhelm the details on Cheryl's hologram anyway.\n\n> You examine the studs\nThere are a number of studs whose function you are fairly certain of and which might prove relevant: a calibration stud, a tool stud, a generator access stud, an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\n> You touch calibration\nYou touch your fingertip gently against the calibration stud and focus your mind to concentrate your energies through it.\n\nNothing appears to happen, but that is hardly surprising, since you know well it can't be calibrated without an appropriate stimulus.\n\nCheryl says, \"Are you sure you know what you're doing, Tolan?\"\n\n> Answer\nYou say, \"Trial and error is part of the process of Mechanism.\"\n\n> Probe ninth contact\nWhich do you mean, the contact points or the calibration stud?\n\n> Points\nYou're not holding the probe.\n\nCheryl says, \"Make sure you err on the side of safety.\"\n\n> You take the probe\nTaken.\n\nYou already have that.\n\n> Point probe at calibration\nYou move the probe near the calibration stud and trigger the top sensor.\n\nA sharp, multi-colored burst of electromagnetic radiation pulses out of the tip of the probe.\n\n> Probe contacts\nYou put the electropulse probe into the fusion generator bay.\n\nYou trigger the top sensor.\n\nA sharp, multi-colored burst of electromagnetic radiation pulses out of the tip of the probe.\n\nThe contact points in the fusion generator bay resonate in response--all but the ninth one, which stays utterly black. There is probably a recalibration stud for each of the contacts.\n\n> You examine calibration stud\nActivating this stud will recalibrate the ninth contact point in the fusion generator bay if the contact is appropriately stimulated at the same time.\n\n> You touch calibration\nYou touch your fingertip gently against the calibration stud and focus your mind to concentrate your energies through it.\n\nNothing appears to happen, but that is hardly surprising, since it can't be calibrated without a simultaneous electromagnetic stimulus.\n\n> You touch the information\nThis is the only stud you were able to activate when you were here before, and you are positive that it will produce the information Cheryl's looking for--which would make her bring today's session to a halt. It might be enough information for her to figure out what this place is; if so, you'd never get a chance to try again. So you better not activate it unless you've got a way to stop her.\n\n> You examine the studs\nThere are a number of studs whose function you are fairly certain of and which might prove relevant: a calibration stud, a tool stud, a generator access stud, an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\n> You press the powerup\nYou touch your fingertip gently against the powerup stud and focus your mind to concentrate your energies through it.\n\nNothing happens. It would be typical of the Yi to have a safety interlock which requires the access panel be shut.\n\n> Sing\nYour singing is abominable.\n\n> You shut the panel\nThe probe blocks it from closing.\n\n> You take probe\nTaken.\n\n> You shut the panel\nYou close the generator access panel.\n\n> You press the powerup\nYou touch your fingertip gently against the powerup stud and focus your mind to concentrate your energies through it.\n\nThe fusion generator pillar radiates a sequence of colors: dark red, deep purple, light blue, and then builds and peaks with a very bright yellow.\n\nCheryl's monitor hologram reveals significant electromagnetic activity beginning to occur within the fusion generator.\n\nIt looks like powering up was a good place to start; that was fairly obvious. But you have no intuition about what to do next with a mechanism on this scale; the grid of stud offers thousands of studs, any of which could plausibly be involved.\n\nCheryl says, \"You're making quite a bit of progress, Tolan.\"\n\n> Reply\nYou say, \"No. This is little more than turning the lights on.\"\n\n> Press sequence\nYou touch your fingertip gently against the sequence stud and focus your mind to concentrate your energies through it.\n\nThe viewscreen lights up, pulsing and probing energies dancing all over its surface.\n\nCheryl notices the changed display on the viewscreen. \"What is that? Move away from the controls, Tolan. I want to decipher that text.\" She draws her laser pistol and points it at you.\n\nYou look down at the viewscreen as you raise your hands for Cheryl and determine that this is exactly what you needed to know.\n\nUnfortunately, you'll never get the chance to make use of the information.\n\n> You look at the project status stud\nActivating this stud ought to produce some sort of more detailed display of the Yi-Lono-Mordel status. Knowing the way the Yi tend to compartmentalize knowledge, it will hopefully not give any detail about the point of the entire mechanism.\n\nCheryl says, \"Oh, well, sure, for a place this big and complicated, that would be true.\"\n\n> Press project status stud\nYou touch your fingertip gently against the project status stud and focus your mind to concentrate your energies through it.\n\nProjected on the left half of the far wall of the room, an installation status display showing the current configuration of Yi-Lono-Mordel appears.\n\nCheryl says, \"What's this?\" She takes a step closer to it. \"Shoot, no text.\"\n\n> You examine status display\nIt's a little too hard to make out the display through the visual noise of the goggles.\n\nCheryl says, \"Cool, that must be Yi-Lono-Mordel. I'm sure there's more to this, Tolan. Find me some text!\"\n\n> You remove the goggles\nYou take off the goggles, revealing the drab world of the natural human visual spectrum.\n\n> Press sequence\nYou touch your fingertip gently against the sequence stud and focus your mind to concentrate your energies through it.\n\nThe viewscreen lights up with a list of Yi text and corresponding control iconography.\n\nCheryl notices the changed display on the viewscreen. \"What is that? Move away from the controls, Tolan. I want to decipher that text.\" She draws her laser pistol and points it at you.\n\nYou look down at the viewscreen as you raise your hands for Cheryl and determine that this is exactly what you needed to know.\n\nUnfortunately, you'll never get the chance to make use of the information.\n\n> You ask Cheryl about the handcuffs\nJust use TALK or REPLY to engage in idle chitchat; for non-conversational communication, see the information in ABOUT.\n\n> You examine the status\n(the installation status display)\nThe installation status display uses crisp, simple geometric symbols to display a representation of the entire Yi-Lono-Mordel installation: the star system you are in now, with the twenty asteroids including this one orbiting it, and the twenty stars arrayed around it like the vertices of a dodecahedron, each with twenty asteroids of their own. The indicator corresponding to this asteroid is glowing brighter than those for the other asteroids.\n\n> You show the handcuffs to Cheryl\nCheryl says, \"Tolan, I don't trust you further than I can throw you. Until I see a problem you can't solve with the handcuffs on, forget it.\"\n\n> You examine the status display\nThe installation status display shows a symbolic representation of the entire Yi-Lono-Mordel installation: the star system you are in now, with the twenty asteroids including this one orbiting it, and the twenty stars arrayed around it like the vertices of a dodecahedron, each with twenty asteroids of their own. The indicator corresponding to this asteroid is glowing brighter than those for the other asteroids.\n\n> You touch the forcefield\nYou touch your fingertip gently against the forcefield stud while focusing your mind to concentrate your energies through it. But you can not quite achieve the right electrical flow, because the handcuffs on your wrists short-circuit your hands.\n\n> Wave\nYou wave, feeling foolish.\n\nCheryl says, \"Yes? I do see you, Tolan.\"\n\n> You check what you're carrying\nYou are carrying:\nan electropulse probe\na pair of electromagnetic goggles\na pair of handcuffs (being worn)\n\n> Kiss cheryl\nYou consider just how many sacrifices you would be willing to make to achieve your goals; reflecting on it, there is really nothing you would not be willing to do. But Cheryl has a laser pistol.\n\n> Point at stud\nWhich do you mean, the calibration stud, the tool stud, the generator access stud, the information stud, the powerup stud, the project status stud, the sequence stud or the forcefield stud?\n\n> Forcefield\nYou point at the forcefield stud.\n\n> You show forcefield stud to Cheryl\n(first taking the forcefield stud)\nThat's hardly portable.\n\n> Point probe at cuffs\nYou move the probe near the handcuffs and trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\n> You look at the tool stud\nThis stud controls a probe storage mechanism.\n\n> You press generator access stud\nYou touch your fingertip gently against the generator access stud and focus your mind to concentrate your energies through it.\n\nThe elliptical pillar disappears back into the floor.\n\n> Press project status stud\nYou touch your fingertip gently against the project status stud and focus your mind to concentrate your energies through it.\n\nThe installation status display fades away.\n\n> Press project status stud\nYou touch your fingertip gently against the project status stud and focus your mind to concentrate your energies through it.\n\nThe installation status display showing the current configuration of Yi-Lono-Mordel appears, projected on the wall.\n\nCheryl looks at the status display to see if there's anything new.\n\n> Press information stud\nThis is the only stud you were able to activate when you were here before, and you are positive that it will produce the information Cheryl's looking for--which would make her bring today's session to a halt. It might be enough information for her to figure out what this place is; if so, you'd never get a chance to try again. So you better not activate it unless you've got a way to stop her.\n\n> You look\nThis low ellipsoidal room makes you uncomfortable with its perfect symmetry and sterility. The featureless white wall is broken up only by the large elliptical window in the ceiling and the circular doorway through which you entered. In the center sits a slab, two swept curves surrounding it.\n\nProjected on the left half of the far wall of the room is an installation status display.\n\nOn the slab are a slot (which is empty) and a control surface.\n\nCheryl stands here, watching you closely.\n\n> Wear the goggles\nYou clumsily struggle to put on the electromagnetic goggles and the room suddenly bursts to life visually, including the various displays, which become more challenging to read.\n\n> You examine the surface\nThe control surface is covered with a large grid of studs arranged in a hexagonal packing; it also features a set-in viewscreen.\n\nCheryl says, \"Are those goggles helpful? Can you see anything through them that isn't on my hologram?\"\n\n> You give the goggles to Cheryl\nCheryl takes the goggles from you. \"Something interesting to see this way, Tolan?\" She puts them on and looks around as if slightly disoriented.\n\n> You touch sequence stud\nYou touch your fingertip gently against the sequence stud and focus your mind to concentrate your energies through it.\n\nThe viewscreen lights up with a list of Yi text and corresponding control iconography.\n\nCheryl says, \"Is that it?\" She reaches up to take off the goggles.\n\n> You examine the viewscreen\nThe viewscreen is a small, perfectly square display set into the control surface. Although you can not understand the Yi writing, you can recognize a number of the control icons in the sequence: power-up, then transmit go, then control rods, then ignition. Powering up you have done; no doubt there are studs to trigger the other three.\n\nCheryl says, \"Show's over, huh?\" She takes off the goggles and tosses them on the ground beside you. Good thing they're sturdy enough to take a fair amount of abuse.\n\nCheryl notices the changed display on the viewscreen. \"What is that? Move away from the controls, Tolan. I want to decipher that text.\" She draws her laser pistol and points it at you.\n\nToo bad you'll never get another chance.\n\n> You touch sequence stud\nYou touch your fingertip gently against the sequence stud and focus your mind to concentrate your energies through it.\n\nThe viewscreen returns to its normal display.\n\nCheryl says, \"Show's over, huh?\" She takes off the goggles and tosses them on the ground beside you. Good thing they're sturdy enough to take a fair amount of abuse.\n\n> You give probe to her\n(Cheryl)\nCheryl says, \"I'm not particulary interested in that.\"\n\n> You throw the probe at her\n(Cheryl)\nYou would prefer not to do something that might provoke Cheryl and earn you a trip straight back to the brig.\n\n> Probe cheryl\nCheryl circles the slab and gives you a look of warning.\n\n> You look\nThis low ellipsoidal room makes you uncomfortable with its perfect symmetry and sterility. The featureless white wall is broken up only by the large elliptical window in the ceiling and the circular doorway through which you entered. In the center sits a slab, two swept curves surrounding it.\n\nProjected on the left half of the far wall of the room is an installation status display.\n\nOn the slab are a slot (which is empty) and a control surface.\n\nCheryl stands here, watching you closely.\n\nYou can also see a pair of electromagnetic goggles here.\n\n> You give the goggles to Cheryl\n(first taking the electromagnetic goggles)\nCheryl takes the goggles from you. \"Got something to show me?\" She puts them on and looks around.\n\n> You press the top\nYou trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\nCheryl, watching through the goggles, says, \"Huh. Tolan, I'd never have thought you'd be one to admire beauty.\"\n\n> You wait a while\nTime passes.\n\nCheryl says, \"That it?\" She reaches up to take off the goggles.\n\n> Wait\nTime passes.\n\nCheryl takes off the goggles and tosses them on the ground beside you.\n\n> You ask her for the goggles\n(Cheryl for the electromagnetic goggles)\nCheryl says, \"You must be on artificial stimulants, Tolan.\"\n\n> You ask her for the key\n(Cheryl for the key)\nCheryl says, \"Tolan, I don't trust you further than I can throw you. Until I see a problem you can't solve with the handcuffs on, forget it.\"\n\n> You look at her\n(Cheryl)\nCheryl Thadafel is a tall, wiry woman in her forties. You spent the last three months looking forward to seeing her again, but now that you do, you wonder why you found her pug nose and staring eyes attractive in your memories. Cheryl is carrying a monitor hologram, a laser pistol, and a key.\n\n> You ask her for the hologram\n(Cheryl for the monitor hologram)\nCheryl says, \"I'm using this monitor hologram to track your activities, Tolan.\"\n\n> Break monitor\nThat is insubstantial.\n\n> Probe surface\nYou move the probe near the control surface and trigger the top sensor.\n\nAlthough you cannot see anything happening directly,  Cheryl's monitor hologram lights up with a multi-colored iridescent sphere which slowly fades away.\n\n> Probe slab\nYou put the \"top\" end of the probe back into the slot, leaving the sensors exposed. The probe is held in place firmly, but sticks up out of the slot.\n\nYou trigger the top sensor.\n\nCheryl's monitor hologram lights up with a burst of radiant energy from the probe, just under the surface of the slab.\n\n> You take probe\nTaken.\n\n> You show the window to her\n(Cheryl)\n(first taking the elliptical window)\nThat's hardly portable.\n\nCheryl takes off the goggles and tosses them on the ground beside you.\n\n> You examine the studs\nThere are a number of studs whose function you are fairly certain of and which might prove relevant: a transmit stud, a control stud, an ignition stud, a calibration stud, a tool stud, a generator access stud, an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\nCheryl takes off the goggles and tosses them on the ground beside you.\n\n> You look at the control\n(the control surface)\nThe control surface is covered with a large grid of studs arranged in a hexagonal packing; it also features a set-in viewscreen.\n\n> You examine the transmit\nActivating this stud no doubt transmits a signal of some sort, presumably to the other asteroids in the Yi-Lono-Mordel installation. Considering their ability to miniaturize, the Yi would not need an external transmission source; the transmitter is probably right inside the slab. However, given the location and energy necessary, the signal it produces will surely be visible on Cheryl's monitor hologram or through your electromagnetic goggles.\n\n> You examine the control stud\nActivating this stud should give access to the final control system.\n\n> You press transmit\nYou touch your fingertip gently against the transmit stud and focus your mind to concentrate your energies through it.\n\nA very bright blue ball appears on Cheryl's monitor hologram in the center of the control slab.\n\nCheryl says, \"What was that? I suspect that's what a signal transmission would look like. Don't touch a thing, Tolan.\" She draws her laser pistol. \"Until I can find out what just happened, I'm sending you back to the brig.\"\n\nUnfortunately, once she finds out what just happened, they'll probably opt for a harsher penalty than just the brig.\n\n> You press the control\n(the control surface)\nIt is fixed in place.\n\n> You press control stud\nYou touch your fingertip gently against the control stud and focus your mind to concentrate your energies through it.\n\nNothing happens.\n\n> You examine the studs\nThere are a number of studs whose function you are fairly certain of and which might prove relevant: a transmit stud, a control stud, an ignition stud, a calibration stud, a tool stud, a generator access stud, an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\n> You press the ignition stud\nYou touch your fingertip gently against the ignition stud and focus your mind to concentrate your energies through it.\n\nNothing happens.\n\n> You examine the transmit stud\nActivating this stud no doubt transmits a signal of some sort, presumably to the other asteroids in the Yi-Lono-Mordel installation. Knowing the Yi, the transmitter is inside the slab. Transmitting such a signal will be very visible on Cheryl's hologram.\n\n> You examine slab\nThe slab, subtly off-white, is warm to the touch, and hides the sensitive Yi technological components needed to manipulate the whole of Yi-Lono-Mordel. In the top center edge on the side opposite the door is a small notch. Extending across much of the surface of the slab is a slightly raised control surface. There is an open slot in the slab where the probe emerged.\n\n> Press status\n(the installation status display)\nThat is insubstantial.\n\n> Press status stud\nYou touch your fingertip gently against the project status stud and focus your mind to concentrate your energies through it.\n\nThe installation status display fades away.\n\n> Press status stud\nYou touch your fingertip gently against the project status stud and focus your mind to concentrate your energies through it.\n\nThe installation status display showing the current configuration of Yi-Lono-Mordel appears, projected on the wall.\n\n> You touch the tool stud\nYou touch your fingertip gently against the tool stud and focus your mind to concentrate your energies through it.\n\nThe slot through which the probe emerged closes.\n\n> You examine the status\n(the installation status display)\nThe installation status display shows a symbolic representation of the entire Yi-Lono-Mordel installation: the star system you are in now, with the twenty asteroids including this one orbiting it, and the twenty stars arrayed around it like the vertices of a dodecahedron, each with twenty asteroids of their own. The indicator corresponding to this asteroid is glowing brighter than those for the other asteroids.\n\n> You touch the tool stud\nYou touch your fingertip gently against the tool stud and focus your mind to concentrate your energies through it.\n\nA slot appears on the top of the slab.\n\n> Touch status\n(the installation status display)\nThere's nothing to feel.\n\n> You put the probe in the slab\nYou put the \"top\" end of the probe back into the slot, leaving the sensors exposed. The probe is held in place firmly, but sticks up out of the slot.\n\n> You examine icon\nThey are still indecipherable.\n\n> You examine the studs\nThere are a number of studs whose function you are fairly certain of and which might prove relevant: a transmit stud, a control stud, an ignition stud, a calibration stud, a tool stud, a generator access stud, an information stud, a powerup stud, a project status stud, a sequence stud, and a forcefield stud.\n\n> You examine viewscreen\nThe viewscreen is a small, perfectly square display set into the control surface. It shows some indecipherable icons.\n\n> You touch control stud\nYou touch your fingertip gently against the control stud and focus your mind to concentrate your energies through it.\n\nA pair of rods slowly emerge from surface of the slab.\n\nCheryl says, \"What are those?\"\n\n> You sit on the rods\nThey're not something you can sit down on.\n\nCheryl says, \"I knew it! The place must be very important to have its information so protected. It's rather uncharacteristic of the Yi, but I expected that all along.\"\n\n> You look at the rods\nA pair of slender cylindrical control rods sticks up from the surface of the slab through a thin crack. The rods are about a meter apart. You have never seen anything like this in your experience with Yi equipment.\n\n> You examine the crack\nThe rods poke up out of this thin crack.\n\n> You touch the rods\nYou touch each of the rods one at a time, but the handcuffs prevent you from touching both at the same time. Although the rods have a subtle electric potential, you cannot find any way to trigger them energistically.\n\n> You take the rods\nThey're fixed in place.\n\n> Pull rods\nYou try to reach and touch both of the rods at the same time, but the handcuffs prevent you.\n\n> Pull rods\nCheryl says, \"I'd rather leave my hands free to reach for my laser, Tolan. But I guess you can take the handcuffs off.\"\n\nShe tosses the key to the handcuffs onto the floor next to you.\n\n> You take the key\nTaken.\n\n> You unlock the handcuffs with the key\nYou unlock the handcuffs.\n\n> You remove the handcuffs\n(first opening the handcuffs)\nYou take off the handcuffs.\n\n> Pull rods\nYou pull the rods together, towards each other, and they move until they are much closer. An icon on the viewscreen changes slightly. The rods want to spring back apart, and you can not do anything else while holding them together, so you release the rods.\n\n> You put the handcuffs on the rods\nYou pull the rods together and slip the handcuffs on them. They seem to hold the rods together quite handily. An icon on the viewscreen changes slightly.\n\nCheryl says, \"How clever.\"\n\n> Press forcefield\nYou touch your fingertip gently against the forcefield stud and focus your mind to concentrate your energies through it.\n\nCheryl notices the activity on her hologram monitor. She turns to face you. \"Tolan, if I'm not mistaken, there's a forcefield around this slab... and us.\" Her laser pistol is in her hand. \"I suggest you lower that forcefield. If I'm forced to use this... well, I might be trapped here for a while, but the Terran Alliance will ship the technology to break the field eventually. So why don't you make it easy on the both of us?\"\n\nLittle choice: in death there will be no second chances. Unfortunately, this has tipped them off, and you'll never get a second chance in what's left of your life, either.\n\n> You look at the wall\n(the room)\nThe room is about fifteen meters long, eight meters wide, and three meters tall, in the traditional Yi ratio 4:2:1, with the vertical compromised to only 2/3 its height before the floor intrudes. A status display is projected on one side of the room.\n\nCheryl says, \"I'm surprised the Yi would have had such a physical control system. I could have operated that myself.\"\n\n> Press information\nYou touch your fingertip gently against the information stud and focus your mind to concentrate your energies through it.\n\nA large display appears on the right wall of the room, filled with line after line of Yi text.\n\nCheryl notices the activity and turns to look at the display. \"That's it! You've found it. Wonderful!\" She walks over to take a closer look at it. \"Oh, Tolan, I think the first word is 'humans'! I think this might be addressed to us! The first ever communication from the Yi.\"\n\n> Press forcefield\nYou touch your fingertip gently against the forcefield stud and focus your mind to concentrate your energies through it.\n\nCheryl notices the activity on her hologram monitor. She turns to face you. \"Tolan, you're a dead man. I told you not to mess with anything.\" She draws her laser pistol, but hesitates. \"Hell, that's a Yi forcefield, isn't it? Well, you can't stay in there forever.\"\n\n> You touch the ignition\nYou touch your fingertip gently against the ignition stud and focus your mind to concentrate your energies through it.\n\nOn Cheryl's monitor hologram, an enormous surge of energy flows out of the fusion generator and out in all directions around the room.\n\nThe indicator corresponding to this asteroid on the installation status display turns white.\n\nCheryl looks at the monitor hologram in dismay, then turns to face you.\n\nCheryl says, \"What are you up to, Tolan?\"\n\n> Reply\nYou say, \"Well, it has been fun, Cheryl. But it is over now.\"\n\nCheryl says, \"What do you mean?\"\n\nA speaker at the doorway crackles to life. \"Dig Leader, some time ago we detected a transmission to the surrounding asteroids, and have just determined it came from the control room.\"\n\n> Reply\nYou say, \"Yi-Lono-Mordel is powered up and ready to go.\"\n\nCheryl says, \"Ready? What is Yi-Lono-Mordel?\"\n\nThe indicator for this asteroid on the status display turns bright yellow.\n\n> Reply\nYou say, \"It is the Yi's ultimate weapon, just like you said. You remember the Lono planet-buster? Yi-Lono-Mordel is more. Far more. It is a galaxy smasher. I think. I believe. I hope.\"\n\nCheryl stares at you silently.\n\n> Continue\nYou say, \"We can only assume the Yi did not use it because they did not want to wipe out humanity along with the Lono--at least, not if humanity managed to stop the Lono.\"\n\nThe indicators for the other asteroids around this star light up a bit brighter.\n\nYou say, \"So now I will get to do the honors.\"\n\nCheryl says, \"What? Destroy the galaxy? Why?\"\n\nThe voice on the speaker returns. \"Also, a freighter in the area reports a signal was sent out to the neighboring stars.\"\n\n> Reply\nYou shake your head. \"Cheryl, Cheryl. Come now. Why do you think I would want to destroy all of humanity?\"\n\nCheryl says, \"I know you too well to believe you're a psychopath. So I don't know.\"\n\n> Reply\nYou say, \"You do not know me at all, Cheryl. I am different from everyone you know. Different from every human being in the galaxy, in fact. Differently motivated.\"\n\nThe indicator for this asteroid on the status display turns hot pink.\n\n> Reply\nYou say, \"Did your superiors suspect? Did they tell you to keep me away, or did they tell you to kill me? Tell me.\"\n\nCheryl considers replying, but hesitates.\n\n> Reply\nYou say, \"Well, enough discussion. I find it hard enough to control this pathetic human body without forcing myself to try to make human speech. Say goodbye, 'Milky Way'.\"\n\nThe indicator for this asteroid on the status display begins flashing.\n\n> Laugh\nYou cackle maniacally.\n\nCheryl opens her mouth to speak, but she is, for once, at a loss for words.\n\n> Wave\nYou wave, feeling foolish."
    },
    {
        "text": "[Themes: Slice of life, slice of life, sad, college, strong profanity, school setting, complicity, sexual content, anxiety, contemplative, strong NPCs, male protagonist, strong characterization, teenage protagonist]\n\nI am standing on the platform of a railway station - it's miserable, it's damp, and all the seats are taken by stuck-up grannies and biddies and ghastly yacht-clubbers. While waiting for the train, which is taking ages, I peer over to the opposite platform, and notice a familiar figure. I can't believe it! It's Daniel! After all these years! But he hasn't noticed me yet. Barely able to conceal the joy in my voice, I step over to the edge of the platform and shout \"Daniel Maguire! What the FUCK are you doing here?\" And he notices me and shouts \"Alex Moran, would you ever shut the FUCK up, you cross-eyed WANKER!\" And I reply \"Go FUCK yourself, ASSHOLE!\" and he replies \"Suck me off, you BENT BASTARD!\". And the two of us run up and down the platforms, joyously shouting abuse at each other across three lines of track. And all the stuck-up grannies and biddies and ghastly yacht-clubbers waiting at the station stare at us as if we are mad. But we carry on, running up and down, screaming profanities, and let the rest of the world GO FUCK ITSELF!\n\n\n\nDormitory Room (on my bunkbed)\nI wake up.\n\nWith horror I realise that I'll have to spend another day in St. Enda's college. A familiar fact I have to face each morning - but four years here have not made it any easier to face. St. Enda's - how I have come to despise this place. A decrepit old red-brick shagpile which has become the focal point of this filthy little town in the arse-end of nowhere. The cheapest boarding school in the country, probably, but also surely the most pompous and inflated. A haven for the worst kind of social climbers, parvenus, thick, ignorant farmers' sons...\n\nWith horror I also realise that I am an asshole. Another familiar fact, and the last seventeen years have given me little reason to doubt it. I could happily pick apart my faults all day - I'm too short, too shy, indecisive, and uncharismatic. And I've got terrible posture.\n\nThe dormitory is a small, frequently claustrophobic room that somehow fits four bunkbeds, which are stacked up on opposite walls. There is a sink in one corner and an old wardrobe in another. The doorway leads east. A solitary window allows a cold light into the room.\n\nOn Wayne's bunkbed is Wayne.\n\nOn Paddy's bunkbed is Paddy."
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist, sad, complicity, strong characterization, strong NPCs, strong profanity]\n\n> You examine Wayne\nWayne long ago abandoned any personality of his own to become a miserable lapdog of Gordon, a sort of feeble court jester, constantly making up jokes and thinking of new ways to entertain his master. Gordon rewards this behaviour by ignoring Wayne anytime his rugby pals are around. Wayne seems to accept this treatment, as if it were part of the natural order of things, hoping that one day Gordon will accept him into his clique on an equal footing.\n\nWayne is an asshole, in other words.\n\n> About you\nI am Rameses Alexander Moran. With a name like this, you probably think my parents have a sense of humour, but they don't. I'm too short, too shy, indecisive, and uncharismatic. And I've got terrible posture.\n\n> You look at Paddy\nPaddy is fat, and has the timidity and docility of a young deer. A very fat young deer, admittedly.\n\nHe's also an asshole. Well, maybe that's a bit harsh - it's just that I call everyone else an asshole, and if I didn't call Paddy an asshole, you might think I liked him or something. Which I don't. You see, Paddy is a terrible bore. He never says anything that hasn't been said about ten times already by other people. His friends are all timid, boring, fat people like him, and when they get together they talk in timid, quiet, frightened voices about really boring things. Paddy and his friends are harmless, really. They're just not the kind of people I want to hang around with.\n\nAt the moment, Paddy is asleep, snoring quietly.\n\n> You look\nDormitory Room (on my bunkbed)\nThe dormitory is a small, frequently claustrophobic room that somehow fits four bunkbeds, which are stacked up on opposite walls. There is a sink in one corner and an old wardrobe in another. The doorway leads east. A solitary window allows a cold light into the room.\n\nOn Wayne's bunkbed is Wayne.\n\nOn Paddy's bunkbed is Paddy.\n\nGordon struts into the room, fresh and dripping from the shower. He is wearing nothing apart from a towel which is wrapped loosely around his waist. Very loosely around his waist. As he walks in, the towel falls off. He tries to make out it was an accident, but it obviously wasn't. He just did it so we could all admire the enormous size of his cock.\n\nIt happens too often for it to have been an accident.\n\n> You look at the cock\n(my dick)\nIt's still there.\n\nGordon walks over to the sink. He pretends to root in his medicine bag for something, but I can see he's really admiring himself in the mirror. God, that bastard spends so much time looking at his own reflection, admiring his face, and his chest, and his muscles, and his dick.\n\n> You look at Gordon\nGordon is an asshole. He is without doubt the most vain, pompous, self-obsessed asshole I have ever met. God, that guy is in love with himself. He absolutely adores every inch of his own body. He has to surround himself continually with an entourage of fawning admirers.\n\nAnd this year, he became a member of the St. Enda's under-18 rugby team. So, if there was ever any doubt about it, he is now officially an asshole.\n\nGordon turns around and faces the room.\n\"Come on now lads, wake yourselves up, come on now,\" he says in a thick country accent. He doesn't usually have a thick country accent. He's just making fun of Declan the Seminarian. You'll meet Declan later.\n\nGordon is greeted by groaning, some of it from me.\n\n> You examine the sink\nThe sink is where we spit all our slooshed-out toothpaste each morning. It's covered in limescale, and the plumbing underneath is exposed. Both hot and cold taps produce a weak, tepid stream of water, but at least they don't drip all night. Above the sink is a mirror.\n\n\"Ah, I see Mr Alex Moran is already awake,\" says Gordon in his normal voice, which is deep and terribly pompous. \"And what about Mr Wayne Treacy?\"\n\n> You look at the mirror\nI can't see myself in the mirror from my bed. I can, however, see a most uninteresting part of the side wall.\n\n\"And what about Mr Wayne Treacy?\" says Gordon again, raising his voice.\n\nWayne stirs in his bed. \"Fuck off, Gordon,\" he says, affectionately.\n\n> You get up\nBut I don't want to get out of bed. It's a cold day outside, and it's nice and warm here.\n\n\"And finally to Mr Patrick Mulroney.\" Gordon really treats everyone else like a moron. \"Is he awake? No, still sleeping like a log.\"\n\n\"Sleeping like a pig, more like,\" says Wayne. \"And he was snoring like a pig, too, fucking keeping me awake all night. Hey, Podge,\" he shouts, hitting the bunk above him, \"wake up, ya fat bastard.\"\n\nPaddy awakes with a startled whimper, and then begins stupidly blinking his large, bovine eyes.\n\n> Sleep\nTempting as it is, I really shouldn't go back to sleep. I might stay in bed for a while though.\n\n\"You know, Podge, you really need to lose a bit of weight. I'm speaking as a friend here, honestly,\" Wayne says with mock seriousness. \"I'm also speaking out of concern for my own safety. If you get any fatter, the bunk won't be able to support your weight, and you'll fall down on top of me. And I wouldn't like that to happen. And then you'd have nowhere to sleep either, would ya?\"\n\n\"He'd have to sleep next to you then, Wayne,\" says Gordon. He is smoothing shaving cream all over his face. He tends to spend way too long doing this, caressing his sleek jawline again and again.\n\n> You look at the bunks\nThere are four bunkbeds in the room, two against each wall. My bunk is under Gordon's on one side, and Wayne's bunk is under Paddy's on the other.\n\n\"Fuck off. I'm not a fucking queer. And I don't sleep with farmyard animals like Podge here either.\"\n\nWayne is making a reference to the fact that Paddy's parents are farmers. Gordon's father, as my father made me find out, is a doctor. I never found out what Wayne's parents did.\n\n> You ask Gordon about Gordon\nIn this story, to talk to somebody, use 'talk to'.\n\nDeclan walks into the room. He is the seminarian who is supposed to look after us. \"Come on lads, wake yourselves up, come on now,\" he says in a thick country accent.\n\n\"You're too late, as usual,\" says Gordon, \"We're already awake.\" He is still bollock-naked. His dong is swinging like a pendulum.\n\n\"I see,\" says Declan.\n\n> You examine Declan\nAs well as being a boarding school, St. Enda's is a training college for priests. Years ago, there were loads of seminarians in the college. Now there are only two. The seminarians are supposed to look after the boarders, which in reality amounts to waking us up in the morning and putting out the lights at night.\n\nDeclan the Seminarian is an asshole. He tries to be too friendly with the boarders, and is unaware of how stupid we all think he is. \"I'm on your side,\" he says to us, \"if you want anything sorted out, I'm your man.\" He often goes round the back of the school to be with all the smokers, and tries to talk with them about girls, sport, pop music - subjects with which he is hopelessly out of touch. Everyone treats him like shit.\n\n\"I had to do your job for you again. You're pretty useless around here, aren't you Declan.\"\n\n\"I suppose I am,\" says Declan with a vapid smile.\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"Gordon, why don't you do us all a favour and shut the fuck up?\" (2) \"For fuck's sake Gordon I'm trying to get some sleep here!\"\n(3) \"Hello everybody, look at me, I'm Gordon, I'm a big ponce!\"\n(4) \"Ooooh, displaying your wares to Declan now are we? I bet he's impressed!\"\n(5) \"Wow, Gordon, you're so cool.\"\n\n> 5\nHe probably wouldn't realise I was being sarcastic if I said that. He has very little sense of irony.\n\n\"I was already awake, because fat-boy was snoring his arse off all night,\" says Wayne.\n\n\"Oh, that's terrible!\" Declan doesn't even try to defend Paddy - he's too anxious to be friends with everyone for that. \"So how are you this morning, Gordon? Still smoking away on the fags?\" he says, remembering that Gordon smokes.\n\n\"Still smoking away,\" says Gordon.\n\n> You talk to Declan\nPlease select one:\n\n(1) \"You're going to let Wayne away with that? You pathetic asshole.\" (2) \"You're licking up to Gordon too? Oh give me a break.\"\n(3) \"Fuck off, Declan.\"\n(4) \"Declan, how are the first years coming along? Still 'malleable' at that age, eh?\"\n\n> 1\nIsn't that disgraceful! How can he have any respect for himself after letting Wayne get away with that? How can he expect us to have any respect for him? He's just a morally spineless shit.\n\nI'm actually too livid to say anything.\n\n\"And what are you smoking now?\"\n\n\"Pure Columbian marijuana.\" Gordon is such a smug bastard. \"No, only joking. Actually, I've decided to give them up.\"\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"Gordon, why don't you do us all a favour and shut the fuck up?\" (2) \"For fuck's sake Gordon I'm trying to get some sleep here!\"\n(3) \"Hello everybody, look at me, I'm Gordon, I'm a big ponce!\"\n(4) \"Ooooh, displaying your wares to Declan now are we? I bet he's impressed!\"\n(5) \"Wow, Gordon, you're so cool.\"\n(6) \"Oh hahaha Gordon, excuse my while I shit myself laughing.\"\n\n> 6\nCan you really imagine me saying that? And the look on everyone's face after I said it? No.\n\n\"Oh, is that right? Well, if you've any old packets that you don't want any more, you know who to give them to, ha ha...\"\n\n\"Well, if you'd be willing to pay me...\"\n\nDeclan then goes into an exaggerated display of nervous laughter at Gordon's feeble joke. When he is finished, he just stands there, looking around the room with an idiotic grin.\n\n> Xyzzy\nA hollow voice rings out - no wait, that's probably Gordon.\n\nThere is an awkward silence for a few moments. The only sound is the scraping of Gordon's razor.\n\n> You talk to Declan\nPlease select one:\n\n(1) \"You're licking up to Gordon too? Oh give me a break.\"\n(2) \"Fuck off, Declan.\"\n(3) \"Declan, how are the first years coming along? Still 'malleable' at that age, eh?\"\n\n> 2\nI'd love to say that, but I'd probably get expelled.\n\n\"Well.... I better be off, then,\" says Declan.\n\n\"See ya...\" says Gordon. \"What a tosser,\" he says after Declan has gone.\n\n> You look at the wardrobe\nThe wardrobe is old and dishevelled, and looks like it only stays together because it's leaning against the wall. It's where everybody keeps their clothes, medicines, toothbrushes, aftershave etc. I'm a bit touchy about keeping all my stuff with everyone else's, but there really isn't anywhere else to put things.\n\nWayne gets up. He is evidently bored with teasing Paddy, so he turns to Gordon.\n\n\"All set for tonight then, Gordo?\" he asks. Gordo. That really pisses me off.\n\n\"Yup,\" says Gordon.\n\n'Tonight' - why does that word suddenly make me feel uneasy?\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"What's happening tonight then?\"\n\n> 1\nBefore I can ask it, Wayne answers the question:\n\n\"We're off down the Junction with the lads to pick up a few slappers,\" says Wayne. Presumably he's talking to me. \"Then, it's back to Baz's place for the night. He's got three crates in, and we are going to get pissed out of our skulls.\"\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"Are you talking to me?\"\n(2) \"And why should I care about any of this?\"\n(3) \"Where's the Junction?\"\n\n> 3\nI always hear Wayne and Gordon and assorted other losers talking about the Junction and I've always wanted to know where it is. I've come to associate its name with drinking.. loud music... horrible girls... all that sordid side of adolescence. Anyway, what about tonight? What am I trying to remember?\n\n\"Three crates?\" says Gordon. \"I must admit I'm tempted...\"\n\n\"You mean you're not coming?\" cries Wayne in distress.\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"Aw Wayne, you poor thing. Your hero deserting you, is he?\"\n(2) \"Well that's what happens when you count on Gordon.\"\n\n> 2\nYeah - poor Wayne. But tonight... what's happening tonight?\n\n\"No, I'm afraid not,\" says Gordon. \"I have got to meet a girl tonight. \"\n\n\"Well... can't you bring her as well?\"\n\nTonight... I'm sure there's something I'm supposed to remember.. about tonight...\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"Aw Wayne, you poor thing. Your hero deserting you, is he?\"\n\n> 1\nHaha! I'm delighted for the wanker. But tonight...\n\n\"No. The sort of women I associate with are far too sophisticated for that sort of thing.\"\n\n\"Why, what is she - a fucking princess?\" Wayne is so upset that he risks insulting his idol.\n\n\"No. She's Peter Bates's sister.\" One of Gordon's rugby pals. \"She's rich, she's gorgeous, and she's got a pair of tits that could knock out your eyeballs at fifty paces. And tonight, she's all mine.\"\n\n> Shout\nWhat do you want to shout?\n\n> You talk to Paddy\nPlease select one:\n\n(1) \"Are you okay now, Paddy?\"\n(2) \"Stopped crying there, fat-boy?\"\n(3) \"Hey Paddy, why don't we leave these two love-birds here and go take a shower, eh?\"\n\n> 3\nI'm not saying that. That would be just plain weird.\n\n\"Where are you going with her?\" asks Wayne. He seems to have calmed down a bit by now.\n\n\"First, we're going to the Vegas Club. She's eighteen so she can get me in. Then, well, she's got a free house tonight, so, you never know, we could be going back there for a bit of... ahem...\"\n\nThen fuck! It all comes back to me. Tonight. Ferdia. The 'girls'. Ferdia. Fucking Ferdia. Why did I agree to all this? Why did I agree to going out tonight?\n\n> You examine the window\nThe large sash window looks out at a rusty drainpipe on the back of some other building in the college. Over the years I have built up an intense hatred of this grimy, ugly drainpipe. Why do I have to look at this thing every day? Why can't I look out at some sun-drenched green fields, or a mountain range, or the sea? Why this pointless fucking drainpipe?\n\n\"Will you listen to the stud of St. Enda's?\" says Wayne.\n\n\"Well, it just comes so naturally to me, you know...?\" swaggers Gordon.\n\nI'll be going out tonight! Out on the town! Drinking, dancing... Girls... God knows what. Fucking hell. Fuck! I don't think I can face it, but I can't turn back, either. FUCK!!!\n\n> You look at the bed\nWhich do you mean, my bunkbed, Gordon's bunkbed, Wayne's bunkbed or Paddy's bunkbed?\n\n> Your bunkbed\nMy bunkbed is the one place in St. Enda's that I like. Sure, it's not the last word in luxury - a basic steel frame, a noisy-springed mattress - and also it has the misfortune of being under Gordon's bed - but at least it's warm and kept fairly clean. And it's fair to say that all the good times I've had in St. Enda's have been in this bed - dreaming my romantic dreams about love, adventure, having friends...\n\n\"Just think about it,\" says Wayne, \"I'll be getting pissed tonight, Gordon'll be getting laid, and the two lads will be in here, studying away, having a really quiet time...\"\n\nFUCK!! FUCK!! FUCK!!\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"I'm going out tonight as well!\"\n\n> 1\n\"I'm going out tonight as well!\"\n\nI said that! That just blurted out of me!\n\n\"Really?\" says Wayne. \"Who's the lucky fella?\"\n\n\"It's a girl actually, Wayne. We're not all like you.\" Pretty bog-standard banter, I know.\n\n\"What's her name?\" asks Gordon. \"I might know her.\" He's putting his clothes on now, thank God.\n\n\"There can't be a girl in the town that our Gordo doesn't know - by now anyway!\" chimes Wayne. Ugh.\n\n\"I don't know her name yet. Ferdia knows her.\" Ferdia is my 'best friend'. You'll meet him soon. \"Ferdia is coming as well, with another girl he knows.\" This is all true, but I don't think I'm sounding very convincing.\n\n\"Are you sure Ferdia is telling the truth about these girls?\" says Wayne. \"I think it's all part of his secret plan to get you on your own and have his way with you...\"\n\n\"Where are you going with them?\" says Gordon, ignoring him.\n\n\"I don't know that yet either. I'm meeting Ferdia in the dining hall this morning...\"\n\n\"I dunno, it all sounds very dodgy to me,\" says Wayne. \"But you never know. Hah - would ya believe it? Alex is going out with a girl. What next? Pigs might fly. Fat-boy might fly! Come on, Podge, flap your wings! Flap your flabby wings, fat-boy!\"\n\n. . .\n\n> You look at the breakfast\nSt. Enda's has little to offer in the way of breakfasts. We have a choice of either soggy cornflakes, soggy muesli or soggy toast. I chose the soggy toast. I also have some orange juice.\n\n> Taste juice\nI take a sip. It's not nice.\n\n> You examine the toast\nTwo limp slices of underdone toast, smeared in some oily slop that passes for butter. They don't offer us real butter at St. Enda's - only some crappy butter-substitute that disintegrates into its constituent ingredients (one of which appears to be crude petroleum) as soon as you spread it.\n\n> Smell\nI smell nothing unexpected.\n\nWhere is Ferdia?\n\n> You eat the toast\nI nibble at the toast a bit. I'm not a great breakfast-eater at the best of times, but this morning especially I don't feel like eating. I'm too nervous about tonight.\n\n> You think\nI'm thinking!\n\n> Drink\nWhat do you want to drink?\n\n> Drink juice\nI take a sip. It's not nice.\n\nFerdia comes into the dining hall and rushes over to my table. He begins to speak before he sits down. He always speaks at a million miles an hour.\n\n\"Alex! Alex! I've got tonight's meeting arrangements all sorted out. I was on the phone to Alice - Alice, that's one of the girls who's coming - and I told her about it. Anyway, I suggested that we meet in PJ's cafe at half five. Do you know where PJ's is?\"\n\nOf course I know where PJ's is. He always assumes I know nothing about town. Ferdia isn't a boarder by the way. That's why he couldn't tell me all this last night.\n\n> You examine Ferdia\nFerdia McMahone is my 'best friend'. I put that in inverted commas, because he's really an asshole. I hate him I hate him I hate him I hate him I hate him.\n\nSometimes I am surprised by the ferocity of my hatred for Ferdia. At times I am liable to blame him for all my troubles, for anything and everything that is going wrong in my life. What is it about Ferdia that provokes such a reaction in me? I often think about this, for on the surface he can appear to be quite friendly. But underneath this friendliness is something more sinister. Ferdia is constantly seeking attention - demanding attention. With every word, every gesture, Ferdia screams \"Look at me! Look at how great I am! Look at me!\"\n\nAnd whenever we speak, it's as if Ferdia is demanding that I acknowledge all his perfections and concede his superiority in all things. So most of the time he feels less like a friend and more like a leech, drawing all of my attention, sucking away at my self esteem.\n\nBut I'm starting to rant - so let's just listen to him:\n\n\"Okay then,\" he continues, \"Well, we're meeting at half five. Alice is coming along, and she's bringing her friend, who's called Claire. Alice is tall and has blonde hair; I think Claire has brown hair.\" Ferdia is the kind of guy that uses semicolons in his speech. \"Don't get them mixed up.\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"Don't worry, I won't.\"\n(2) \"Er... which one is the blonde again?\"\n(3) \"How did you meet all these girls anyway?\"\n\n> 3\n\"How did you meet all these girls, anyway?\"\n\n\"Oh, Alice is just a friend. I have more friends than just you, you know.\"\n\n\"Anyway, I have something important to tell you,\" Ferdia goes on. \"I could be late for our meeting. I may not even get there til six.\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"What? But didn't you arrange the time yourself?\"\n(2) \"Oh for fuck's sake Ferdia...\"\n\n> 1\n\"What? But didn't you arrange the time yourself?\"\n\n\"But I forgot about my science project,\" says Ferdia.\n\n\"You see, I absolutely have to get some work done on my science project after school. I'm way behind schedule at the moment. It's really getting seriously out of hand. I have so much work to do at the moment that I don't know where to begin. Do you realise how little time I have left to finish it?\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"You've got five fucking weeks left to finish it!\"\n(2) \"No, please tell me loads more about your project.\"\n\n> 1\n\"You've got five fucking weeks left to finish it!\"\n\nHe does too. Ferdia is talking about his entry in a local project competition. He has somehow come under the impression that I'm tremendously interested in it, and tells me about it all the time. It's titled \"The effects of interactive video entertainment on human concentration and response.\" As far as I can see, it just involves playing computer games for hours.\n\n\"But five weeks is a such a short time for a project of this scale!\" says Ferdia.\n\n\"If I don't get something done this weekend I may have to give it up, and that would be a pity. It would be a tragedy, after all the work I've put into it. And I still have so many reports to write, and so much research left to do...\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"But why didn't you think about that when you set the time yesterday?\"\n(2) \"Yeah... fucking catastrophic.\"\n(3) \"Oh... that sounds like a lot of work alright..\"\n\n> 1\n\"But why didn't you think about that when you set the time yesterday?\"\n\n\"I'm under so much pressure now! Sometimes I don't know how I find any time for myself at all. As well as my project, I've got my normal homework to do, and then there's all the work I do in the community centre at weekends. It's not easy, you know! I'd like to see you trying to cope with my workload!\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"How do you do it, Ferdia?\"\n(2) \"I'm sorry, I know you're very busy...\"\n(3) \"Hey, stop whinging! You're not the only one with work to do around here!\"\n\n> 2\n\"I'm sorry, I know you're very busy...\"\n\nThis kind of bullshit is typical of Ferdia. With him, every minor inconvenience is blown into a crisis of collosal proportions. Ferdia sees himself there, in the thick of things, making heroic decisions under enormous pressure.\n\n\"Well as long as you know.\"\n\n\"Anyway,\" says Ferdia, \"I might get there at half five. I'll try to finish up with the project at five. I'm not saying I will, but I'll try. Then, let's see, it might take me ten minutes to get home, get changed...\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"Oh, you can spare us the details...\"\n(2) \"So what are we doing when we meet up, anyway?\"\n\n> 2\n\"So what are we doing when we meet up, anyway?\"\n\n\"Oh, you'll see, I have it all planned...\" says Ferdia with a kind of grin. Then he changes the subject.\n\n\"Did you do your English last night?\" says Ferdia. \"Oh, I have to tell you about my new theory on A Clockwork Orange. My theory is that Anthony Burgess is telling us about the importance of free will.\"\n\nNo shit, Ferdia. Doesn't he stop to preach about it in every fucking chapter?\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"Amazing insight there, Ferdia...\"\n(2) \"Well, I said something a bit different in my essay - \"\n\n> 2\n\"Well, I said something a bit different in my essay - \"\n\n\"I haven't finished explaining my theory yet,\" says Ferdia.\n\nAsshole.\n\n\"Even though the droogs did lots of bad things, what's important is that they had the choice to rape, the choice to be thugs, the choice to kill. And every human being needs this choice - it's what makes us human. If you take away this choice from people, you take away their soul. It's like trying to impose some kind of mechanical order on a living organism. That's what the title is about: it's like making an orange run on clockwork.\"\n\nOh Jesus.\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"Amazing insight there, Ferdia...\"\n\n> 0\nI decide not to say anything.\n\n\"You see, Alex, free will is central to us. It's the very thing that makes us human. And because we are human, we will do everything to preserve our free will. We act with our free will at all times, and we do anything we want. I could run naked around the room now, if I wanted.\"\n\n> You talk to Ferdia\nPlease select one:\n\n(1) \"Well why don't you?\"\n(2) \"Oh, please don't.\"\n(3) \"Do you want to hear what's in my essay?\"\n\n> 3\n\"Do you want to hear what's in my essay?\"\n\nFerdia just ignores this.\n\n\"Anyway, I've put all that in my English essay. I can't wait to see what Mrs. Pearse thinks.\"\n\nThe school bell rings, calling us to assembly. If it had not rung at that precise moment, I would probably have jumped across the table and strangled Ferdia. But instead, I get up and throw my toast in the food bin. Ferdia waits patiently for me, and we walk to assembly in silence.\n\n. . .\n\n> You hit Ferdia\nI had a friend once. A real friend, not a parasite like Ferdia. Someone with whom I could be myself, someone with whom I could relax, someone with whom I could share my hopes and dreams.\n\nHis name was Daniel Maguire. I first met him when I was ten years old, before I went to St. Enda's, when I was going to the local primary school out in the country. He was the new boy in class, and for no apparent reason he was very nice to me. We became friendly, and pretty soon we became inseparable. Whenever we were together, it was so special! I remember the summers we had...\n\nI can honestly say that the only times I felt free, the only times I felt liberated from all my inhibitions, were the times I spent with Daniel. We didn't have any secrets from each other. I didn't have to feign interest in anything just to please him, I didn't feel the need to impress him with long words and insincere feelings, I didn't have to be anything other than myself.\n\nBut I know my parents weren't too fond of him. They were always trying to get me to play with some ghastly yacht-club children, and I don't think they liked some of the language I picked up from Daniel, either. Somehow I began to see him less and less. Then, when I was thirteen, disaster struck. I was packed off to St. Enda's, and Daniel went to some other secondary school. And after that, I didn't get to see him at all.\n\n. . .\nShortly after that, Daniel sent me a letter. It was a very funny letter, describing some events and people at his new school. It was like a flash of the old Daniel, the one who used to tell funny stories in a hay-barn. It cheered me up no end during the misery of St. Enda's, let me tell you. I knew I had to reply, and it had to be a really well-written and funny letter, too.\n\nGod, I tried so often to write that letter. Practically every night I would stare at a page that was blank except for the words \"Dear Daniel\" at the top. I just couldn't think of anything to say. \"Just be yourself,\" I kept thinking, \"And write down whatever comes into your head.\" But nothing came into my head.\n\nA few weeks passed, and I still hadn't written a reply. And then I couldn't think of any excuses for my lateness. The longer it went on, the more ashamed I became about the delay, and the harder it was to write. I must have read and re-read Daniel's letter fifty times, looking for inspiration. I still have that letter. I still haven't replied.\n\n. . .\nI often dream of a reunion with Daniel. I think about how it would happen - whether it would be in our old school out in the country, or in the hay-barn where we used to go, or maybe just passing on the street.\n\nBut if I ever do meet Daniel again, I hope I'll be standing on the platform of a railway station - a miserable, damp railway station, where all the seats are taken by stuck-up grannies and biddies and ghastly yacht-clubbers. And while waiting for the train, which is taking ages, I'll peer over to the opposite platform, and notice a familiar figure. Daniel! Barely able to conceal the joy in my voice, I'll step over to the edge of the platform and shout \"Daniel Maguire! What the FUCK are you doing here?\" And he'll notice me and shout \"Alex Moran, would you ever shut the FUCK up, you cross-eyed WANKER!\" And I'll reply \"Go FUCK yourself, ASSHOLE!\" and he'll reply \"Suck me off, you BENT BASTARD!\". And the two of us will run up and down the platforms, joyously shouting abuse at each other across three lines of track. And all the stuck-up grannies and biddies and ghastly yacht-clubbers waiting at the station will stare at us as if we are mad, but we'll carry on, running up and down, screaming profanities, and let the rest of the world GO FUCK ITSELF!\n\n. . .\nWell, another crap day in school. Ferdia has been pissing me off all day. He kept on droning on and on about his science project and all his 'theories' and 'breakthroughs'. And then of course there was a fucking orgy of showing-off during English class. And now I have to come back up here and get ready for tonight. Tonight - now there's another thing that's pissing me off.\n\nThe dormitory is a small, frequently claustrophobic room that somehow fits four bunkbeds, which are stacked up on opposite walls. There is a sink in one corner and an old wardrobe in another. The doorway leads east. The early evening light comes through the window.\n\nOn Paddy's bunkbed is Paddy.\n\n> You examine Paddy\nPaddy is fat, and has the timidity and docility of a young deer. A very fat young deer, admittedly.\n\nPaddy leafs through a large folder.\n\n> You examine the folder\nA large, paint-speckled folder with the words \"Patrick Mulroney 6A3. Art Portfolio\" written carefully on the cover.\n\nPaddy turns a page in his folder.\n\n> You talk to Paddy\nPlease select one:\n\n(1) \"How's it going, Paddy?\"\n(2) \"Have you been there all day?\"\n(3) \"What's that you're looking at, Paddy?\"\n(4) \"Hey Paddy... I'm sorry about what happened this morning.\"\n\n> 3\n\"What's that you're looking at, Paddy?\"\n\nGod, I always sound so condescending when I'm talking to him. I don't mean to, but I can't help it.\n\n\"Oh... it's just my art portfolio... for art class...\" he mumbles. \"You can have a look at it, if you want... it's not very good, really...\" He hands me the folder.\n\n> You examine the folder\nA large, paint-speckled folder with the words \"Patrick Mulroney 6A3. Art Portfolio\" written carefully on the cover.\n\n> You open the folder\nI open the folder, revealing some drawings and paintings.\n\n> You examine drawings\nI look at the first picture. It's a pencil drawing of the front facade of St. Enda's College, in all its neo-gothic horror. Now, I'm no art expert, but I have to say it's a brilliant drawing - I can't believe Paddy drew it. It's not just technically excellent - it also captures something of the foreboding, the coldness, the stuffiness, the bullshit, that we associate with St. Enda's.\n\nPaddy's large, bovine eyes look at me anxiously as I survey the picture.\n\n> You talk to Paddy\nPlease select one:\n\n(1) \"Did you do these yourself, Paddy?\"\n(2) \"That's a brilliant picture, Paddy.\"\n(3) \"Not bad. I'd do the shading a bit differently myself, but...\"\n\n> 2\n\"That's a brilliant picture, Paddy... really brilliant.\"\n\nGod, I wish I didn't sound so insincere. I really mean that. It really is a brilliant picture.\n\n\"Well... it's not that bad.. I suppose...\" says Paddy, dipping his eyes. He's beginning to blush a bit.\n\n> You talk to Paddy\nPlease select one:\n\n(1) \"Did you do these yourself, Paddy?\"\n\n> 1\n\"Did you do these yourself, Paddy?\"\n\nPaddy has a brief flush of pride. \"Yeah I did. They're all mine,\" he says.\n\n> You examine the paintings\nI look at another picture. It shows an old stone farmhouse next to a field full of grazing cattle, all painted in thick, earthy colours.\n\nWayne strides into the room, in an irritatingly buoyant mood. \"Hi Alex! Hi fat-boy!\" he says. \"What's that you're looking at, Alex?\"\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"It's Paddy's art Portfolio.\"\n(2) \"It's none of your fucking business.\"\n(3) \"Here - have a look at this!\"\n\n> 2\nYeah, Wayne is such an asshole, barging in here and demanding things. I'm not going to tell him anything.\n\nWayne snatches the folder from me.\n\n\"An art folder, eh? 'Patrick Mulroney, Art Portfolio'. Oh excuse me. So what kind of stuff do you draw, Podge?\"\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"You wouldn't be able to appreciate it.\"\n(2) \"Have a look inside.\"\n\n> 2\n\"Have a look inside.\"\n\nWhat a fucking idiotic thing to say.\n\nWayne looks the the picture of St. Enda's College. \"Aw, isn't that lovely, Podge. But what I want to know is, are there any nude women in here? Can you draw a pair of tits?\"\n\n> Punch wayne\nI could kill him. I dream of causing him as much pain as possible, of giving him a slow, agonising death. And Wayne is one of the few people I know who would actually be better off dead. But of course it's not going to happen.\n\nWayne looks through the folder. \"Or are there any nice pictures of sheep, perhaps? Any nice heifers you can stick up on your wall?\"\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"Give him back the folder, Wayne.\"\n(2) \"Stop it, Wayne.\"\n(3) \"Sure there are! It's Cow International in there!\"\n\n> 2\nBut he won't stop it. There's no point in even telling that asshole.\n\nWayne chances on a picture that depicts a field of cattle. \"Whoa, we've hit the jackpot here!\" he says. \"Look at the udders on that one! Know any of these cows, Podge?\"\n\n> You take folder\nI want to take the folder from Wayne - and I probably should - but instead I just stand there. Maybe it's better not to get involved. Anyway, why doesn't Paddy do anything?\n\nHe continues his routine. \"It's nothing to be ashamed of, Podge. You've got a very nice family. Fresians, are they? So which one is your mother? Or have you eaten her, haha!\"\n\n> You jump\nI'm not in what you would call a jumpy mood.\n\n\"Hey - Podge goes 'Where's my mother?' and his Dad goes 'In the grill!' Haha!\" Wayne is so delighted with this that he lets the picture fall from his grasp.\n\nPaddy leaps down clumsily from his bunk and picks it up.\n\n> You talk to Paddy\nI really can't think of anything to say right now.\n\nWayne starts taking more sheets from the folder and throwing them around the room. \"Oh shit Podge - I dropped one! And another one!\"\n\nPaddy runs around picking them up.\n\n> You take all\nI prefer dealing with things individually.\n\nWayne keeps throwing sheets around. \"I keep dropping them, Podge - I'm so clumsy today!\"\n\nPaddy runs around picking up the sheets.\n\n> You kill wayne\nI could kill him. I dream of causing him as much pain as possible, of giving him a slow, agonising death. And Wayne is one of the few people I know who would actually be better off dead. But of course it's not going to happen.\n\nSuddenly, Paddy snatches the folder from Wayne, and walks out of the room.\n\n\"Oooh... looks like fat-boy has a bit of a temper,\" says Wayne.\n\n. . .\nYou think I'm an asshole now, don't you? You think I'm worse than Wayne. Just some useless withering shit that spends his whole life standing by... well it's not that simple. It's not that simple at all.\n\n. . .\nI mean, what would you have done? I suppose you would have put Wayne in his place, or helped Paddy, or something. Well just say you were here instead of me, and you had done your heroic actions. Do you know what would happen then? You wouldn't just have Wayne treating you like shit for the rest of the year - I'm sure you could handle that - you'd also have Paddy being pathetically grateful, Paddy clinging to you all the time for protection, Paddy with his big sad-dog eyes staring up at you every time he's in trouble. You'd be stuck with him for the rest of your life, probably - but I won't ever have that. I have my freedom. Yes, that's right, I am free! No-one is dependent on me and I am dependent on no-one! And that's how it will remain!\n\n. . .\nAnyway, it's not as if I intended to hurt Paddy or anything. It's not as if I was intentionally complicit with Wayne. I know that. And it's intentions that matter, isn't it? As long as I am satisfied that my intentions are noble, I can live with myself... I mean, who else is there to judge me? Who else -\n\n. . .\n\n> You randian twit\nGordon bumps into me. \"Oh, sorry Alex, didn't see you there,\" he says.\n\n> You look at Gordon\nGordon is an asshole. He is without doubt the most vain, pompous, self-obsessed asshole I have ever met. God, that guy is in love with himself. He absolutely adores every inch of his own body. He has to surround himself continually with an entourage of fawning admirers.\n\n\"Hey Gordo,\" says Wayne, \"you missed a right laugh! We sent the Podgester crying out of the room! You should have seen the face on him. He painted a picture of these cows, right, and I said, 'Is this your family portrait?', and then he starts huffing and puffing round the room after me -\"\n\nGordon gives a noncommital laugh.\n\n> You talk to Wayne\nPlease select one:\n\n(1) \"Oh, leave it out, Wayne.\"\n\n> 1\nOh why bother?\n\n\"And then he runs out of the room like a big frightened... cow.\" Wayne finishes a bit uneasily.\n\nGordon turns and faces the room. \"Right - time to get ready for tonight!\" he says. \"Oh - and Alex is going out tonight as well!\"\n\nDid he have to remind me? Fucking hell. Actually, tonight isn't worrying me too much now anyway - it just pisses me off. It's going to be crap anyway, so why worry about it? That said, I really don't want to go.\n\n> Go east\nIt's too early to leave yet. I don't fancy sitting around PJ's cafe on my own for ages. And I don't want to be the first one there.\n\n\"He looks nervous,\" says Wayne with mock intensity. \"It's his first time, of course. Way behind the rest of us. I was beginning to have my doubts about you, to be honest, Alex. I still do, really. I mean, you and Ferdia are awfully close...\"\n\n> You leave\nBut I'm not in anything at the moment.\n\nGordon starts changing his clothes. As usual, he spends unnecessarily long amounts of time looking in the mirror. He slaps on a bit of aftershave. \"Only the best,\" he says. \"Here, Alex, you should try some of this. Eau de Scrimgeour. Fifty pounds a bottle. Women can't resist it.\"\n\nHe tosses me the bottle, and I catch it clumsily with both hands.\n\n> Oops bottle\nA small bottle of piss-coloured liquid, with a scent to match.\n\n\"Well go on, put it on!\" says Gordon.\n\n> You wear the aftershave\nI pour some aftershave on my hands, and splash it on my face. Oh shit - think that was a bit too much! It's starting to dribble down my chin - it's soaking my shirt - shit, it's going everywhere!\n\nGordon looks appalled. For a moment, he loses his composure. \"That stuff costs money, you know!\" he says, snatching the bottle from me. \"I should charge you for that!\"\n\n\"Alex just thinks he'll get more women that way,\" says Wayne.\n\nI think I'm going to be overcome by the fumes of aftershave. My eyes are streaming. My face is burning.\n\n> You examine the jeans\nThey look just like an ordinary pair of jeans, to me.\n\n\"Higher,\" says Gordon, shaking his head and waving his hand upwards, as if this figure was laughably small.\n\n\"Ninety pounds!\" shouts Wayne.\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"Oh for fuck's sake Gordon. I can't believe even you would stoop to this.\"\n(2) \"A HUNDRED POUNDS!\"\n(3) \"Five bazillion pounds!\"\n\n> 3\nHah. I don't think Gordon would appreciate that suggestion. He's deadly serious.\n\n\"Higher,\" says Gordon.\n\n\"What?\"\n\n\"They cost more than that,\" says Gordon. \"Keep guessing.\"\n\n\"A hundred and fifty pounds!\" screams Wayne.\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"Oh for fuck's sake Gordon. I can't believe even you would stoop to this.\"\n(2) \"Two hundred pounds!\"\n(3) \"Two hundred and fifty pounds!\"\n\n> 2\n\"Two hundred pounds!\"\n\n\"Nope,\" says Gordon. He walks up and down the room, modelling the jeans.\n\n\"Three hundred pounds!\" cries Wayne, getting more and more ecstatic.\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"Oh for fuck's sake Gordon. I can't believe even you would stoop to this.\"\n(2) \"This is pathetic! I'm not guessing anymore.\"\n(3) \"Four hundred pounds!\"\n(4) \"Five hundred pounds!\"\n\n> 2\nYeah, it is pathetic. This is unbelievable, even for Gordon.\n\n\"Five hundred pounds!\", says Wayne.\n\n\"Yup, that's right,\" says Gordon. Wayne beams triumphantly.\n\nSickening.\n\n\"That's about eight hundred dollars,\" says Gordon. \"I picked them up in New York last summer - reduced from three thousand dollars. But they're the best. Cynthia is going to fall all over me when she sees these.\"\n\nHe strokes his own thighs as he says this.\n\n> You take the jeans\nGordon would defend them with his life. I'd probably look a complete prat in them, anyway.\n\n\"Wayne, will you get my socks? They're in the bottom of the wardrobe,\" says Gordon. Wayne enthusiastically does his duty.\n\n> You talk to Gordon\nPlease select one:\n\n(1) \"How much did they cost?\"\n\n> 1\n\"How much did they cost?\"\n\n\"Oh, about fifteen or twenty pounds, I can't remember,\" says Gordon. He doesn't realise I'm taking the piss out of him. He takes himself far too seriously for that. \"Or maybe I should have said a hundred Swiss Francs,\" he says.\n\n\"I got these at the Val d'Isere last Christmas,\" says Gordon, putting on the socks. \"They're specially designed for champion snowboarders. Have I told you I went snowboarding last Christmas?\"\n\nYes, he has. About a million times.\n\n> You talk to Wayne\nI really can't think of anything to say right now.\n\n\"You've only told us a little bit,\" says Wayne.\n\n\"Well, have I told you about this girl called Katja that I met on my first night at the Chateaux de Vie? She came up to me on the verandah -\"\n\nThere follows a tale littered with name-dropping, lavish parties, sexual conquests and death-defying snowboarding heroics. But I don't think I can stay to listen to it all. I put on my casual clothes and leave. As I am walking out the door, I can still hear Gordon talking. He is going on about other people who were staying in the hotel.\n\n\"We didn't get on with them very well,\" he is saying. \"We kept pretty much to ourselves. Not sure if we'll go there again next year, actually. Far too many nouveaux riches.\"\n\n. . .\nFor days, the thought of this meeting has gripped me with terror, but now, as it becomes only a few minutes away, I face it with a sort of numbed complacency. It's as if none of it matters anymore - Ferdia, the girls, Paddy, St. Enda's - as if it's all some sort of sick dream.\n\nI walk out of the gates of the college onto Grogan Road. My steps seem to lack any purpose - just one foot in front of the other. It's getting dark outside on this cold January evening, and the orange street-lamps are starting to flicker on.\n\nGrogan Road is a dismal, litter-strewn street of terraced houses. Orange street-lamps shed light on passing faces, like spectres in the darkness. The gates of St. Enda's are up the road to the east. PJ's cafe is a few streets to the west, towards the quay.\n\n> You examine the houses\nHorrible, dilapidated red-brick hovels, no doubt full of ancient grannies making tea on their old gas cookers. The doors are all heavily lacquered with paint, and musty lace curtains hang in the windows.\n\n> You examine the lamps\nSodium street-lamps, which bathe the place in a fuzzy orange glow.\n\n> You smell yourself\nI smell of incredibly overpowering aftershave.\n\n> Inventory\nI am carrying:\nsome casual clothes (being worn)\nmy underwear (being worn)\nmy watch (being worn)\n\nWell I'd love to dawdle here all evening, but I've got to be in PJ's by half five, so I better move on. I go west to\n\nGibson's Lane is a near-forgotten tributary of the Main Street. Amid all the boarded-up houses and general misery lies a small video shop. PJ's cafe is on the Main Street, to the west. East leads back to Grogan Road and St. Enda's.\n\n> Examine watch\nA cheap-looking digital watch I bought a few years ago. It wasn't cheap though. But no-one would know that unless I told them.\n\nAccording to my watch, the time is 17:20.\n\n> You drop the underwear\n(first taking my underwear off)\nWhat do you think I am, the Phantom Flasher of St. Enda's?\n\n> You go west\nI walk on to the main street, absent-mindedly, without any conviction, as if drawn along by a thread. It all means nothing to me - all these shops, all these people -\n\n. . .\nI don't believe it...\n\n. . .\nBut it is!\n\n. . .\nIt's Daniel! Walking towards me! From the other end of the street!\n\nDaniel - my best friend! My only friend... after all these years... I haven't seen him for so long... But there he is! That's him!\n\nHe's walking towards me... it's as though there is nobody else on the street.. just me and him...\n\nBut wait - there are other people with him... he's talking to them... he hasn't noticed me yet... what should I do?\n\nI can see Daniel here.\n\nWho's that girl he's holding hands with? They're smiling at each other...\n\n> You examine girl\nShe's walking along with Daniel, holding his hand, smiling at him...\n\nHe still hasn't noticed me! He's talking to his friends... They're getting closer...\n\n> You examine Daniel\nHe's older now, of course, and taller... but still the same Daniel. He's walking in my direction, holding hands with some girl... and laughing with his friends... his face is a picture of happiness... he hasn't noticed me yet.\n\nDid he glance at me then? Has he seen me? He's almost reached me now! Maybe I should say something...\n\n> You talk to Daniel\nPlease select one:\n\n(1) \"Daniel Maguire, what the FUCK are you doing here?\"\n\n> 0\nBut I have to say something...\n\n\"Da-\" I begin; and our eyes meet for a second, and I know he has recognised me. Then he looks away, or not away but straight through me, through me as if I wasn't there, through me as if I was nothing. He keeps holding hands with the girl, he keeps talking to his friends. They walk on. They walk past me.\n\n. . .\nI stay rooted to the spot.\n\n. . .\nWhat reason have I got to do anything now? Why do anything ever again? Why talk to anyone, or go anywhere? Fuck tonight! Fuck this meeting! Fuck PJ's fucking cafe! Fuck Ferdia, fuck the girls, fuck St. Enda's, fuck everything. Fuck my stupid, stupid fucking life!\n\n. . .\nYou were laughing at me all along, weren't you? Laughing at me for the stupid, pathetic asshole I am, going on about Daniel, Daniel all the time, dreaming my stupid dreams, and you knew how deluded I was. Well, I can see it all now. Oh, I can see it all.\n\n. . .\nI can see now how little my friendship meant to Daniel, what a small part it was in his life. I was just some dork he knew when he was ten, some guy he was friends with out of politeness, some guy he once told to fuck off in a barn. I'm probably a vague and unpleasant memory... and what need has he for all that now, with his friends, and his girlfriend.\n\n. . .\n\n> You cut myself\nI'm just a faint blip on his memory, if he can remember me at all. Or maybe he's forgotten, forgotten about the time he hung out with an asshole. Because that's what I am - an asshole. More than that - I'm the prince of assholes, the holiness of assholes, the Master Asshole, the biggest asshole of them all! Yes, that's right! And all of you assholes out there will venerate me tonight, because I'm going to this meeting, I'm going out there, AND I'LL SHOW YOU WHAT AN ASSHOLE IS!\n\n. . .\nI go into PJ's cafe, past a few self-service counters, and into the dining area.\n\nPJ's Cafe - Dining Area\nI would love to be able to tell you that PJ's cafe is a seedy dive, a filthy little place with greasy tables and horrible food. But it isn't. In fact, it's one of the larger eating-places in town, and really isn't all that bad. But it will soon be closing down for the night - there aren't many people here at this time. Actually, it's a strange place to meet, now that I think about it.\n\nOh shit! There are the girls! In the corner, sitting beside each other on a four-seater table! Er... what am I doing here again? Maybe I should just go now...\n\nI walk over to their table.\n\nI can see Alice and Claire here.\nI beg your pardon?\n\n> You look at Alice\nAlice is tall, thin, blonde and angular. Her posture, her body language, her facial expression, seem to suggest that the surroundings are demeaning to her. In fact, life itself is probably demeaning to her. I bet she's a complete bitch.\n\nAlice's cold, sarcastic eyes look at me with a mixture of amusement and contempt. But mainly contempt.\n\n> You look at Claire\nThere isn't much to say about Claire. She's pretty nondescript and average in every way... though 'pretty' probably wasn't the best choice of word there. Her face is podgy and has a slightly stupid expression.\n\nThe girls stare up at me. \"Are you Alex?\" says Alice, the blonde one.\n\n\"Er... yeah,\" I say, grinning nervously. I can hear the blood pounding in my ears. I can just tell tonight will be a disaster.\n\n> You talk to Claire\nPlease select one:\n\n(1) \"So... Claire...\"\n\n> 1\n\"So... Claire...\" I begin.\n\nOh shit, what do I say now? They're both looking at me as if I was mad!\n\n\"Well, aren't you going to sit down?\" says Alice. Actually, that sounded more like an order. And Alice sounds like a person who is used to being obeyed - so I sit down hastily and clumsily."
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist, strong NPCs, sexual content, complicity, anxiety]\n\n> Describe the surroundings\nPJ's Cafe - Dining Area (on the chair)\nThe dining area of the cafe is reasonably large, and fairly empty at this time. The room is striving incongruously for a jungle theme - with mahogany-effect tables and chairs, potted plants scattered everywhere, an annoying green carpet, and prints on the walls depicting tropical scenes. The self-service counter is to the west.\n\nI can see Alice and Claire here.\n\nAlice takes a sip of coffee.\n\n> You talk to Claire\nI really can't think of anything to say right now.\n\nNow I'm inside, the eye-watering scent of that aftershave is really starting to get quite powerful again. Alice is already beginning to turn her nose up...\n\nWhere the fuck is Ferdia?\n\n> You talk to Alice\nPlease select one:\n\n(1) \"So... Alice...\"\n\n> 1\n\"So... Alice...\" I begin.\n\nOh shit, what do I say now? They're both looking at me as if I was mad!\n\nAlice takes another sip of coffee.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nAlice looks at me pointedly and starts coughing.\n\n> You ask alice about the weather\nIn this story, to talk to somebody, use 'talk to'.\n\nMaybe Daniel just didn't notice me that time. If only I had said something... Maybe we'll meet him later on, and he'll come up to me, and apologise... or not apologise, what does he have to apologise for? I wonder is he thinking about me now...\n\n> Kiss claire\nIt would probably be better to talk to her first. Though I doubt anyone could work up much enthusiasm about her.\n\nHe's probably a bit embarrassed about ignoring me... though I understand... it would be a bit awkward meeting me in front of his friends... maybe he'll write me a letter later...\n\n> You sit\nWhat do you want to sit on top of?\n\n> You talk to Claire\nI really can't think of anything to say right now.\n\nAlice makes a face. \"What is that smell?\" she says.\n\n> You\nIn this story, to talk to somebody, use 'talk to'.\n\nAlice glares at me.\n\n> Go outside\nI really should stay here and try and make some conversation... it would look bad running away so soon.\n\nCome on Ferdia... Come on...\n\n> You talk to Alice\nI really can't think of anything to say right now.\n\n\"Have you any idea where Ferdia is?\" asks Alice.\n\n> You talk to Alice\nPlease select one:\n\n(1) \"He should be along in a few minutes... he said he might be a bit late.\"\n(2) \"He's working late on his science project... he said he might be a bit late.\"\n(3) \"He's off licking some teacher's arse after school. He'll be here soon, don't worry.\"\n(4) \"I haven't a fucking clue.\"\n\n> You talk to myself\nIt's one way to get intelligent conversation around here, certainly.\n\n\"Would you like to get something to drink?\" asks Claire. It's the first time she has spoken. She has a really weedy voice. She looks at me with big, childlike eyes that stick out of her face.\n\n> You talk to Claire\nPlease select one:\n\n(1) \"No thanks... I'm not that thirsty really.\"\n(2) \"No thanks... I don't drink coffee, actually.\"\n(3) \"Yeah, okay...\"\n\n> 3\n\"Yeah, okay.\"\n\n\"Well, the counter is behind you,\" says Alice.\n\n> You stand\nI can't take this anymore! I get up off the chair.\n\n\"Where are you going?\" says Alice.\n\n\"Oh.. I'm just going to get something to drink.\"\n\n\"Well, I don't want anything, thanks for asking,\" says Alice. Bitch. I walk over to the self-service counter. Yes! I'm away from that table!\n\nIt's the contemptuous look on their faces I couldn't stand. Why did they have to look at me like that all the time? And now I can see them over there, giggling...\n\n> Inventory\nI am carrying:\nsome casual clothes (being worn)\nmy underwear (being worn)\nmy watch (being worn)\n\nWho the fuck does Daniel think he is, anyway? What the fuck is he doing, flaunting his fucking girlfriend and his all his fucking friends at me... does he think I care? Does he think that impresses me? Is he trying to say 'Look at me now! Look at all the friends I have! Why should I need someone like you anymore?' Fuck him.\n\n> You examine the counter\nThe counter is now bare apart from a few unwanted cans of cola, which may just be there for display purposes. The cafe will be closing up shortly... Ferdia better hurry.\n\nIs he trying to dismiss everything that ever happened to us? Is he dismissing my whole life with a glance? And why is he being so insensitive? He was never like that before... Doesn't he realise how much he hurt me tonight?\n\n> Sing\nI can't sing very well. It's my adenoids.\n\n> You get the cola\nI don't want anything from the counter. I just came here to escape the girls for a while.\n\n> You wait\nTime passes.\n\nFerdia comes in, at long fucking last. \"Hi Ferdia,\" I say.\n\n\"Oh, hi Alex,\" he says as he brushes past me officiously. He heads over to the girls.\n\n\"I hope Alex has been entertaining you,\" I can hear him say to them. Then he laughs. He has the most annoying, offensive laugh you could possibly imagine - he sounds like a horse being castrated.\n\nI am about to follow him over, but when I see him there laughing, and the girls laughing, all all of them together, I feel nauseated. And the cool evening air coming from the exit is so tempting... lulling me to go...\n\nAnd I know then that the best thing I can do, the only thing I can do, is to leave all of them. Leave all of them forever. So I walk out the door, on to the main street.\n\n. . .\n\n> Space\nThe cool evening air calls me, and I follow it. I follow it through the main street, past sleepy houses; I follow it to the quayside, where the sea breeze is strongest. It's raining now, but the rain is soft and comforting, caressing me as it falls. I feel as if I love everything in the world, as if everything is singing to me, as if my mind is filled with poetry and music. Everything, everything is beautiful now.\n\nI step up to the water's edge.\n\nEverything here is so peaceful, so beautiful - why have I never noticed it before? Raindrops dance on the river bay beneath my feet. Seagulls play in the air above me. Old fishing boats sway gently with the lapping of the water. And the air - I always thought the salt air was foul before, but now it seems so fresh, so clean, so pure!\n\n> You jump\nI look down at the water beneath me, and then -\n\nHey! You're asking me to kill myself? What the hell made you think I wanted to do that? I'm young, I've still got lots to live for... it's just that I just feel so restricted at the moment... and then of course there is the Daniel thing. But don't think that means I want to end it all! It can't always be like this! I know it can't. In fact, for all you know, something could happen tonight, this very night, something to make me love life again... And if that something happens, I'll seize it with both hands!\n\nWhere the hell am I, anyway?\n\nThe quay must be the most miserable place in the whole town, especially when the rain is pissing down like it is now. Beneath my feet, the rain-pelted river flows like sludge, which probably has something to do with all the raw effluent that's pumped into it. The smell, needless to say, is truly nauseating. A handful of rusty old boats lie abandoned against the quay wall, and seagulls scream overhead.\n\n> You examine the boats\nUseless, rusty old boats, which are a complete fucking eyesore. They are obviously only left there because nobody can be bothered to scrap them.\n\n> Pray\nNothing practical results from my prayer.\n\n> You look at the rain\nIt's soaking everything.\n\n> You go to the east\nYeah, what's the point in staying here.\n\n\"Alex!\" I hear a voice calling behind me. I turn around. It's Claire, running hesitantly up to me.\n\n> You jump\nOh come on, I've had enough suicide attempts for one day.\n\n\"Are you okay? We were a bit worried about you after you ran out of the Cafe, so we went looking for you.\"\n\nUgh. I could just imagine Ferdia directing the search operations, keeping a cool head under pressure, telling people to go here and there.\n\nClaire steps a little closer to me and looks up into my eyes. \"Is... anything the matter? You can tell me... if you like.\"\n\n> You talk to Claire\nPlease select one:\n\n(1) \"Nothing's wrong. Now go away.\"\n(2) \"No, I like standing here in the rain.\"\n(3) \"Yes. There is.\"\n\n> 2\n\"No, I like standing here in the rain.\"\n\nClaire sighs heavily as if about to deliver a baby whale.\n\n\"Look... I get a little... nervous too... when I'm meeting guys for the first time... if that's what you're worried about -\"\n\n\"No! No, that's not it at all!\" I suddenly shout. \"It's nothing to do with that!\" I stop for a moment, not really sure how to go on.\n\n\"It's just that... I can't... do anything! I can't do anything!\" I scream at last. \"It's like I'm trapped inside and can't get out and can't be myself and... I'm stuck.... And I've no friends! - Not Ferdia, he's an asshole, he doesn't count.... There's no-one I can be myself with! No friends! And the only friend I ever had... my only friend -\"\n\nI just break down in sobbing.\n\n. . .\nA few moments pass as I try to recover, sniffling away tears. Claire looks up at me, tenderly. God, I can't believe I've made such a show of myself in front of her. Why did I break down like that? And now she's seen me crying... and heard all that crap....\n\nClaire speaks. \"I'll... be your friend... if you like.\" Her lips are trembling.\n\nI answer with a sniffle.\n\n. . .\n\n> You talk to Claire\nClaire moves closer to me. We're standing very close now. She gazes into my eyes, expectantly.\n\nI believe something is now supposed to happen.\n\n> You talk to Claire\nI think actions, rather than words, are required now.\n\nClaire still gazes at me, and I gaze back at her. Her appearance seems to be changing every second - now I think she's angelic, beautiful; but now I see her cracked lips and the hairy mole on her face.\n\n> You hug her\n(Claire)\nI could... and it would probably be nice... and warm... but I can't help looking at that mole on her face...\n\nOur eyes are still fixed on each other. She's breathing a bit more rapidly, I can tell. Her chest bobs up and down visibly.\n\n> You look at the mole\nA hairy brown thing that's like a blot on her face. I can't help looking at it.\n\nSuddenly, Claire reaches out to me. Our hands touch for a moment, but I recoil. I can't do this! I must run away! I turn and run, and I run, and I keep on running, and I don't look back.\n\n. . .\nIt was the right thing to do! The only thing I could do. Her cracked lips and the mole on her face and that stupid expression - though fairly pretty in a way - but I couldn't have given her what she wanted! I wouldn't have put the same feeling into it, I would have hurt her. This was for the best.\n\n. . .\n\n> You press the green\nAnyway, could you imagine if I had gone out with her, and her podgy face and cracked lips, and Ferdia would be there with Alice looking smug and condescending, and Wayne and Gordon and everyone in St. Enda's knowing about it, and the hard time I'd get, and the hard time she'd get? I wouldn't be able to take that! I wouldn't!\n\n. . .\n\nAnd then she saw me crying too! She saw me weak and crying and babbling in front of her. And I'd remember that every time I met her, and she'd remind me of this miserable night every time, and she'd be so condescending in front of me. So conscious of my vulnerability. And I don't think I could bear that.\n\n. . .\n\nAnd we'd always have to be together, her hanging out of me, me hanging out of her, with the mole on her face, and everyone would be looking at us and laughing. But that's not going to happen to me! I'm going to have my freedom! And that's one thing you 'people of action' are never going to understand. I'm keeping my freedom within me, and I'll laugh at you, laugh at all of you, and laugh at you forever!\n\n. . .\n\nI am standing on the edge of the quay, by the river - it's cold, it's raining, and seagulls are flying overhead. Then I hear a voice behind me call my name. I turn around. It's Claire! She runs up to me. \"I love you, Alex,\" she says. And I say nothing, but put my arms around her, and hold her close. And as we embrace, the rain beats down upon us, and the cold wind whips around us, but we go on, holding each other, arm in arm, and let the rest of the world GO FUCK ITSELF!"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, Comedy, multiple protagonists, horror, castle, space]\n\n]  Lounge\n\nGood evening. My name is Ryan Veeder. It is my great pleasure, in this festive and frightening season, to welcome you once again to Castle Balderstone: America's legendary hotbed of horror, a treasure trove of the morose, macabre, and monstrous. Its crooked pinnacles continue to slash blasphemously against ever-present clouds; its grim silhouette is still a stain of absolute blackness in the midst of a black sky.\n\nThis year, as they did last year\u2014as they do every year\u2014the greatest spookcrafters working in the English language have assembled in Castle Balderstone's drafty halls to test their latest material on the only audience possessed of hearts so inured to terror as to withstand the absolute scariest stories\u2014each other.\n\nTonight, once again, you are my plus-one to this wedding of the weird and the wicked.\n\nYou lie on the couch and look up at the stars. A little while later, you fall asleep.\n\nSome unmeasured time later you awaken. The stars haven't moved; all is quiet.\n\nYou stand up, stretch, shake your arms and legs a little. The professor disapproves of your sleeping on the couch, so you have to enjoy the opportunity whenever you can get away with it.\n\nThis was designed to be a cozy hangout spot, with as many amenities as could be crammed into the limited space: a TV, a microwave, a decent couch. You still spend most of your time here, but you stopped actively enjoying it a while ago. Even the skylight has become so much wallpaper for you; the view never changes.\n\nPassages through the rock lead east, west, and south.\n\n[Author's Note: Another anthology of terror, edited by Ryan Veeder, again.]\n\n> You examine the microwave\nThe microwave is a mess. You really need to clean it up before the professor has a chance to yell at you about it.\n\n> Examine tv\nOn the screen is the dim image of a sad battery. You must have left it on while you were sleeping! Now it'll need a few days to recharge. Darn.\n\n> You look at the couch\nThere's a distinctly you-shaped depression in the eidetic foam. Hopefully that'll flatten itself out before the professor notices.\n\n> You examine the skylight\nA curtain of a million stars hangs outside the skylight: Always the same stars, never changing position. The view has become just as breathtaking as any cave wall.\n\n> You go east\nYour quarters are so small that the professor can't even fit inside, which at least means they afford some privacy. This is the only upside of living in such a tiny little hole.\n\nSince Professor Thezh went to sleep, you've been sleeping exclusively on the couch, so your bed is covered in a pile of clothes and trash. Above the bed, a lenticular poster is glued to the ceiling.\n\nNarrow passages lead east, west, and south.\n\n> Examine poster\nIt's not even that racy, but you can't imagine the professor would approve. Thezh has a low opinion of human anatomy in general, clothed or not.\n\n> You look under the bed\nThe bed is flush with the floor; there is no cool hiding place underneath.\n\n> You examine the clothes\nEverything you haven't felt like dealing with is here: Dirty clothes, mostly, but also a lot of dishes and stuff that you couldn't be bothered to clean or throw away or whatever you're supposed to do with them.\n\n> Search clothes\nThat's a scary prospect.\n\n> Go east\nCramped tunnels worm their way through the asteroid, their paths dictated by the integrity of the surrounding basalt. Why would\nthey put an observatory in such a tiny hunk of rock? Because the astronomy department couldn't afford anything better. But why does\nit have to be me stuck out here? Well, because of all those\ndecisions you made.\n\nFrom this intersection, the passages go north, east, south, and west.\n\n> Go east\nCramped tunnels worm their way through the asteroid, their paths dictated by the integrity of the surrounding basalt. From this intersection, the passages go north, east, south, and west.\n\n> You go east\nThis was designed to be a cozy hangout spot, with as many amenities as could be crammed into the limited space: a TV, a microwave, a decent couch. You still spend most of your time here, but you stopped actively enjoying it a while ago. Even the skylight has become so much wallpaper for you; the view never changes.\n\nPassages through the rock lead east, west, and south.\n\n> Go south\nThis is where all the work gets done: This is where Professor Thezh analyzes data, tests theories, and mutters bitterly in Sadalbari about you know not what. You had hoped that being a research assistant would involve a lot of sitting in with the professor, bouncing ideas off each other. As it turns out, your assistantship mostly consists of performing chores and staying out of Thezh's way.\n\nThe professor's amphisbaena is situated in front of the chalkboard, taking up most of the space in this little cave. Tunnels lead north, east, south, and west.\n\n> You look at the chalkboard\nYou can understand maybe a third of the material currently on the chalkboard. It's not that you have any trouble reading the professor's writing (which is almost too precise), but certain equations and assumptions are still a mystery to you.\n\nYou're enough of an astronomer to understand the basic principles of Thezh's work. For as long as you've been at the observatory, though, you don't feel like you've learned anything new.\n\n> You examine the amphisbaena\nThis sprawling piece of furniture is ostensibly the Sadalbari equivalent of an easy chair, but the way the professor \"sits\" or \"reclines\" in it has never looked particularly comfortable.\n\n> Go east\nThe radio telescope's dish is almost as wide as the asteroid is long, and from outside it looks a lot like a soup bowl strapped to a potato. Inside, the bottom of the dish forms a convex ceiling for the chamber below, forcing you to hunch over and contort yourself to get around.\n\nSome slightly more comfortable tunnels lead north, east, and west.\n\n> You look at the telescope\nThe dish has various components, but it's primarily a huge metal dome. Your first week at the observatory, you banged your head on it pretty hard, and the professor\u2014who somehow has no trouble getting around in here\u2014spent a few days reminding you that you'd be responsible for repairs if any of the equipment was somehow damaged by the impact of your skull.\n\n> You go east\nProfessor Thezh calls this rat's nest of cables and interfaces \"the computer,\" as if it were a single, discrete, manageable object. The desk is a mess, too; that's partially your fault.\n\nThere are ways out to the north, east, and west.\n\n> Search desk\nYou lack the willpower.\n\n> You examine desk\nYou knew when you signed on for this assistantship that there would be a lot of downtime while Professor Thezh hibernated, so you prepared to embark on several stimulating new hobbies. Here at this desk are your abandoned poems, your abandoned origami, your abandoned watercolors, the first pages of a memoir...\n\n> You go east\nThis is where all the work gets done: This is where Professor Thezh analyzes data, tests theories, and mutters bitterly in Sadalbari about you know not what. The professor's amphisbaena is situated in front of the chalkboard, taking up most of the space in this little cave. Tunnels lead north, east, south, and west.\n\n> You go to the south\nProfessor Thezh floats in its tank of viscous sedatives, dreaming its incomprehensible dreams.\n\nThe rest of the asteroid is north.\n\n> Examine pod\nNumerous pumps and monitors are hooked up to the professor's pod; a large chunk of the observatory's energy budget is devoted to keeping the professor asleep while also keeping it alive.\n\n> Keep going\nThe professor is still.\n\nYou must have imagined it.\n\n> You go north\nAt the \"top\" of the asteroid is its modest garage, where Professor Thezh's skiff is parked. The way out\u2014out into space\u2014is through the monolithic pressure gate; the way back into your prison of mazelike tunnels is south.\n\n> You examine the skiff\nThe shuttle must be a hundred years old. You're pretty sure it almost exploded a couple times while you were flying out here.\n\nThe trip seemed to take an eternity. You took the wheel while the professor slept in the back, rousing itself occasionally to criticize your driving ability. When you finally arrived, Thezh insisted on landing, so you wouldn't wreck the skiff's paint job.\n\n> Go east\nThis was designed to be a cozy hangout spot, with as many amenities as could be crammed into the limited space: a TV, a microwave, a decent couch. You still spend most of your time here, but you stopped actively enjoying it a while ago. Even the skylight has become so much wallpaper for you; the view never changes.\n\nPassages through the rock lead east, west, and south.\n\nSomebody screams, and you almost jump out of your skin.\n\n> Clean microwave\nYou wobble a bit while your nervous system collects itself.\n\nYou hear the scream again, and again: It's an alarm, ringing somewhere in the observatory.\n\n> Go east\nYour quarters are so small that the professor can't even fit inside, which at least means they afford some privacy. This is the only upside of living in such a tiny little hole.\n\nSince Professor Thezh went to sleep, you've been sleeping exclusively on the couch, so your bed is covered in a pile of clothes and trash. Above the bed, a lenticular poster is glued to the ceiling.\n\nNarrow passages lead east, west, and south.\n\nThe beeping seems to come from everywhere.\n\n> You go south\nThe bottom of the radio telescope dish forms a convex ceiling for the chamber below, forcing you to hunch over and contort yourself to get around.\n\nSome slightly more comfortable tunnels lead north, east, and west.\n\nThe caves echo with repetitive ringing.\n\n> You go south\nYou can't go that way.\n\nThe ringing is starting to make your head hurt.\n\n> Go east\nProfessor Thezh calls this rat's nest of cables and interfaces \"the computer,\" as if it were a single, discrete, manageable object. The desk is a mess, too; that's partially your fault.\n\nThere are ways out to the north, east, and west.\n\nThe ringing might be louder in here.\n\n> You go east\nThis is where all the work gets done: This is where Professor Thezh analyzes data, tests theories, and mutters bitterly in Sadalbari about you know not what. The professor's amphisbaena is situated in front of the chalkboard, taking up most of the space in this little cave. Tunnels lead north, east, south, and west.\n\nYou need to find whatever is making that noise.\n\n> You go south\nProfessor Thezh floats in its tank of viscous sedatives, dreaming its incomprehensible dreams.\n\nThe rest of the asteroid is north.\n\nThe ringing is starting to make your head hurt.\n\n> Go north\nThis is where all the work gets done: This is where Professor Thezh analyzes data, tests theories, and mutters bitterly in Sadalbari about you know not what. The professor's amphisbaena is situated in front of the chalkboard, taking up most of the space in this little cave. Tunnels lead north, east, south, and west.\n\nThe caves echo with repetitive ringing.\n\n> Search desk\nThe sound gets even louder as you turn your attention to the messy desk. You shove your way through the clutter, searching more by touch than by sight. Your fingers curl around an oblong device, and you feel vibrations going up your arm in time with the beeping.\n\nAt last the offending object emerges from the mess: It's an alarm clock. So that's where that went!\n\nIt takes some effort to make it shut up. Did they design this thing to be as obnoxious as possible? But now it's quiet.\n\n> You check what you're carrying\nYou are carrying:\nan alarm clock\n\n> You examine the clock\nYou set this alarm when Professor Thezh entered hibernation. On its display is a message:\n\nThat means it's finally time to spin the observatory around. You'll have to turn on the computer.\n\n> You turn on the computer\nYou tap on one of the displays you can reach, and the interface slowly wakes itself up.\n\nProfessor Thezh's specialization (well, yours too, ostensibly) is in the field of Oscevotto emanations, interstellar signals that break down under the slightest interference. This makes them impossible to detect from any observatory in an inhabited system.\n\nYou scroll through menus until you find the reorientation protocol: It says the first step is to turn off attitude stabilization. Of course you have to do all of this manually.\n\n> You turn off the stabilization\nYou stomp across the room to the interface for the attitude stabilizer. First you click \"Suspend Stabilization,\" and then \"Confirm,\" and then you have to hold down the button for a while to prove you really mean it.\n\nTo have any chance of detecting Oscevotto emanations, Professor Thezh needed an observatory that was as far away from civilization as possible\u2014so, in an asteroid cloud around a nameless, near-dead star. And to properly image these emanations, the telescope needs to take an extremely long \"exposure\" of interstellar space.\n\nSomething stops whirring, and the ground shudders a little bit.\n\nWith the first imaging session finally complete, it's time to begin scanning the other half of the galaxy. To do that you'll have to initiate RADA 29.\n\n> Initiate rada 29\nYou stomp back across the room to the RCS controls. This is the stupid part: Each thruster has its own throttle, and they all have to be operated in perfect unison, or else the new orientation will be off-target and you'll have to waste fuel making corrections. An easy enough task for the professor, but you only have two hands.\n\nYou lean over the control panel and try your best to push all the throttles forward the same amount.\n\nThe room rumbles as the engines come to life, and you sway slightly as the asteroid rotates.\nthe asteroid rotates.Something pops.\n\nEverything lurches to one side, and you fall over the controls. The thrusters roar, and you're thrown off the control panel and onto the floor.\nfloor.You try to get to your feet\u2014but the room goes sideways. You\nfall\nagain, tangled in cables.\nagain, tangled in cables.You screw your eyes shut, covering your ears with your hands to muffle the screaming engines and suppress your nausea.\n\nYou may have blacked out for a moment. With no frame of reference, only unbearable noise and incomprehensible motion, it's difficult to tell.\ntell.One by one the thrusters die, their fuel cells emptied. Now the observatory is silent again.\n\nYou crawl toward the nearest wall and stagger most of the way to your feet.\n\nThe room is spinning.\n\n> You look at the computer\nThe equipment seems to be okay, but you're having trouble telling one component from another. Possibly that panel over there is the attitude stabilization interface.\n\n> You turn on the stabilization\nYou push yourself along the wall toward the attitude controls. You click \"Enable Stabilization,\" and then \"Confirm,\" and then you muster your last reserves of bodily stability to hold down the button until the stupid thing actually starts.\n\nYou can hear the reaction wheels spinning and stopping madly as the stabilization system struggles to counteract the asteroid's gyration.\n\nEventually things slow down enough that you can stand unassisted.\n\nEverything seems to be more or less where it should be, but all the interfaces are blinking with different warnings.\n\nThere are ways out to the north, east, and west.\n\n> You examine the interfaces\nMost of the warnings are beyond your expertise\u2014but the words \"HIBERNATION TANK FAILURE\" are pretty easy to understand.\n\n> You go to the west\nThe telescope seems to be intact, but you can't see much of it from in here.\n\nTunnels lead north, east, and west.\n\n> You go to the west\nThe professor's amphisbaena is upended, tossed into a corner. The floor is wet.\n\nPassages lead north, east, south, and west.\n\n> You go south\nThe tank is empty. None of the monitors are active.\n\nA trail of slime wends its way around the tank, up to your feet.\n\n> You go to the east\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\n\"I didn't like you to begin with. I liked you less and less the longer you worked for me. Even before I felt the change coming, I was wishing there was some way to get rid of you. And while I was sleeping...\"\n\nFurious hissing, or sarcastic laughter, or an unnameable sound for an equally inhuman emotion fills the asteroid.\n\n> Wait\nTime passes.\n\n\"I could hear everything. For months. All your snoring, sniffling, belching, crying, farting, whistling, muttering\u2014whining\nabout\nyour cushy assistantship, whining that you had nothing to do\u2014and when you finally had something to do, when you had just one job\u2014\"\n\nThe professor moans, and the asteroid shakes.\n\nYou can hear the professor's bulk slithering through the tunnels to the east.\n\n> You go east\nYou enter the tunnel, and something squelches up ahead.\n\n\"Ah. There you are,\" it says, and you hear it scuttling down the passageway. In animal terror you retreat\u2014and the noise stops.\n\n\"Oh, don't be shy, you blithering waste of air. There's only\none thing left for you. No point postponing it.\"\n\nYou hold still, and try to breathe quietly.\n\n\"The upside is this: As long as the change is happening, I can't be held responsible for my actions. The university has all the paperwork.\" Parts of the professor's mouth that aren't busy speaking English start purring greedily. \"I've never eaten a human research assistant before\u2014and it sounds like you've gotten fatter since I've been asleep. Am I right about that?\"\n\n> You go west\nThe stars above are still whizzing by wildly.\n\nThe couch has been torn apart: Slimy chunks of foam litter the floor. The TV and microwave have been smashed and tossed across the room.\n\nPassages through the rock lead east, west, and south.\n\n\"I'm getting tired of waiting...\"\n\n> You go to the west\nYou take a cautious step forward, and you hear the professor scurrying toward you again. When you rush back to safety, you hear it retreating as well. Then it emits a familiar screech, one you recognize as a sigh of frustration.\n\n\"Don't be an idiot\u2014At least, try to be less of an idiot. I can hear every move you make. You aren't getting out of here alive. There's nothing to gain from screwing around\u2014You're just making me angrier.\" Why won't come out of those tunnels after you?\n\nBecause it knows that's the only way you could escape.\n\n> You get foam\nThat's not something you can carry around.\n\nThe professor's heavy breathing\u2014or whatever that noise is\u2014filters\nin\nthrough the west tunnel.\n\n> Go east\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\n> Go east\nProfessor Thezh is just down that tunnel. You can hear it rubbing against the walls. And you don't want to meet it face to face.\n\n> You wait a while\nTime passes.\n\nThe clicking of claws or fangs echoes through the east tunnel.\n\n> You get the poster\nIt's glued to the ceiling!\n\nYou hear the professor cough something up, then swallow it.\n\n> Go west\nThe stars above are still whizzing by wildly.\n\nThe couch has been torn apart: Slimy chunks of foam litter the floor. The TV and microwave have been smashed and tossed across the room.\n\nPassages through the rock lead east, west, and south."
    },
    {
        "text": "> Look around\nThe stars above are still whizzing by wildly.\n\nThe couch has been torn apart: Slimy chunks of foam litter the floor. The TV and microwave have been smashed and tossed across the room.\n\nPassages through the rock lead east, west, and south.\n\nThe professor's heavy breathing\u2014or whatever that noise is\u2014filters\nin\nthrough the west tunnel.\n\n> You go east\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\n\"If you stop being such a coward right now, I promise I'll bite your head off first.\"\n\n> Search clothes\nYou can't think of anything in there that would be any use.\n\n\"Come here!\"\n\nThe clicking of claws or fangs echoes through the east tunnel.\n\n> You get the trash\nNothing in there is worth taking.\n\nYou hear the professor cough something up, then swallow it.\n\n> You go south\nThe telescope seems to be intact, but you can't see much of it from in here.\n\nTunnels lead north, east, and west.\n\n\"I can hear you. What are you doing out there?\"\n\n> Go east\nEverything seems to be more or less where it should be, but all the interfaces are blinking with different warnings.\n\nThere are ways out to the north, east, and west.\n\n\"Do you think if you'll wait long enough, someone will come rescue you?\"\n\n> Go north\nProfessor Thezh is just down that tunnel. You can hear it rubbing against the walls. And you don't want to meet it face to face.\n\n> You search the amphisbaena\nYou find nothing of interest.\n\n\"I'm so hungry... Please take pity on your poor old professor.\"\n\n> You go east\nThe telescope seems to be intact, but you can't see much of it from in here.\n\nTunnels lead north, east, and west.\n\n> You go north\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\n> Go south\nThe telescope seems to be intact, but you can't see much of it from in here.\n\nTunnels lead north, east, and west.\n\n\"I'm getting tired of waiting...\"\n\n> You look in the dish\nYou find nothing of interest.\n\n\"Come here!\"\n\n> You look under the dish\nYou find nothing of interest.\n\n\"If you stop being such a coward right now, I promise I'll bite your head off first.\"\n\n> Climb dish\nLittle is to be achieved by that.\n\n\"Do you think if you'll wait long enough, someone will come rescue you?\"\n\n> You take the dish\nThat's not something you can carry around.\n\n\"Come here!\"\n\n> You look at the telescope\nIf the accident had been a little worse, the dish might have been flung off of the side of the asteroid, and this room would have its own skylight (and you'd be violently sucked into space).\n\n> You go to the west\nThe professor's amphisbaena is upended, tossed into a corner. The floor is wet.\n\nPassages lead north, east, south, and west.\n\n> You look at the board\nSomething large must have scraped against the chalkboard, erasing several of Thezh's notes.\n\n\"If you stop being such a coward right now, I promise I'll bite your head off first.\"\n\n> You go south\nThe tank is empty. None of the monitors are active.\n\nA trail of slime wends its way around the tank, up to your feet.\n\n> You look at the tank\nNumerous pumps and monitors are hooked up to the professor's pod. They seem to have stopped working.\n\n> You go north\nThe professor's amphisbaena is upended, tossed into a corner. The floor is wet.\n\nPassages lead north, east, south, and west.\n\n\"Come here!\"\n\n> You go to the north\nThe stars above are still whizzing by wildly.\n\nThe couch has been torn apart: Slimy chunks of foam litter the floor. The TV and microwave have been smashed and tossed across the room.\n\nPassages through the rock lead east, west, and south.\n\n\"I'm getting tired of waiting...\"\n\n> You examine the microwave\nIt looks like the professor threw this around a few times before moving on.\n\nYou can hear the professor's bulk slithering through the tunnels to the west.\n\n> You take it\nThat's not something you can carry around.\n\nThe clicking of claws or fangs echoes through the west tunnel.\n\n> You examine the alarm\nThe alarm clock is no longer set to anything.\n\nYou hear the professor cough something up, then swallow it.\n\n> Go east\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\n\"Do you think if you'll wait long enough, someone will come rescue you?\"\n\n> You turn on the alarm\nA plan is forming in your head\u2014but for it to work, you'll have to\ntake\nthe alarm to a place where Thezh can reach it.\n\nThe clicking of claws or fangs echoes through the east tunnel.\n\n> Go west\nThe stars above are still whizzing by wildly.\n\nThe couch has been torn apart: Slimy chunks of foam litter the floor. The TV and microwave have been smashed and tossed across the room.\n\nPassages through the rock lead east, west, and south.\n\n> Go south\nThe professor's amphisbaena is upended, tossed into a corner. The floor is wet.\n\nPassages lead north, east, south, and west.\n\n\"I'm so hungry... Please take pity on your poor old professor.\"\n\n> You go south\nThe tank is empty. None of the monitors are active.\n\nA trail of slime wends its way around the tank, up to your feet.\n\n> You drop the alarm\nDropped.\n\n\"Do you think if you'll wait long enough, someone will come rescue you?\"\n\n> You turn on the alarm\nYou fumble with the alarm clock's screen, and set it for some random number of seconds. Then you toss into the the far corner of the room.\n\n\"I'm so hungry... Please take pity on your poor old professor.\"\n\nYou'd better get a move on.\n\n> You go north\nThe professor's amphisbaena is upended, tossed into a corner. The floor is wet.\n\nPassages lead north, east, south, and west.\n\n> Go east\nThe telescope seems to be intact, but you can't see much of it from in here.\n\nTunnels lead north, east, and west.\n\n\"If you stop being such a coward right now, I promise I'll bite your head off first.\"\n\n> Go north\nIt should be safe in here; the professor can't fit through the narrow passages.\n\nOn your bed is a pile of clothes and trash. Your lenticular poster is glued to the ceiling.\n\nTunnels lead east, west, and south.\n\nThezh sniffs: \"Back in your hidey-hole? I wish you'd come out of there. Your uncooperativeness is tremendously frustrating.\"\n\n> You wait\nA second ticks by.\n\n> Wait\n\"Would you stop that?\" Thezh whines. You realize you've been\nbiting your fingernail.\n\n> You wait for a while\nAnother second ticks by.\n\nThe alarm goes off. It beeps incredibly loudly.\n\n\"Will you please turn off that insufferable machine?\" Thezh groans.\n\n> You wait for a while\nThe noise is unbearable.\n\n\"Turn that off right now, or you will live to regret it,\" Thezh whines. The alarm keeps beeping, seemingly more shrill than before.\n\n> Wait\nThe noise is unbearable.\n\n\"Is this a trick? Are you trying to trick me?\" Thezh hisses through the tunnels, struggling to be heard over the pings of the alarm clock. \"You really are a stupid brat. And desperate. And cruel.\"\n\n> You go to the east\nProfessor Thezh is just down that tunnel. You can hear it rubbing against the walls. And you don't want to meet it face to face.\n\n\"This isn't\u2014\" Thezh wails in pain. \"This isn't going to work. I'm going to outlast you. You'll turn off that alarm, and then I will find you, and then\u2014\" It howls again.\n\n> Wait\nThe noise is unbearable.\n\nIts rage boiling over, the professor screams even louder than the alarm\u2014and you hear it stampeding through the tunnels.\n\nYou strain your ears: The alarm goes on ringing, muffled by the limbs of something trying to rip it to pieces.\n\n> You go to the east\nThe web of tunnels extends in all directions\u2014but the shuttle bay is just north from here.\n\n> Go north\nProfessor Thezh's skiff is parked here, beneath the gigantic pressure gate.\n\n> You enter the skiff\nYou jump into the driver's seat.\n\nThe key is in the ignition. The garage door opener is just above the windshield.\n\n> You turn key\nYou turn the key. The engines fire up\u2014and then they sputter out. What's wrong?\n\nOh, the parking brake is engaged.\n\n> You disengage brake\nYou push the lever down, and the skiff shifts slightly.\n\nThen the whole asteroid shakes.\n\nSomething has collided with the shutter between the garage and the tunnels.\n\n> 7\nOkay. Noted.\nOkay. Noted.Now it is time for the next author to step forward and share the next of the evening's unbearable entertainments. It is Victor Atencio\u2014and he looks great!\n\nWhile he's approaching the podium I try to explain, quietly: Victor Atencio is an absolute genius of gruesomeness. They call him \"the van Gogh of Gore.\" But he suffered from debilitating weight problems, to the point that he had to stop writing while he pursued various treatments and underwent various surgeries. I also heard\u2014Why is someone shushing me? Oh, he's starting.\n\n\"It's been a while since I visited Castle Balderstone,\" Victor says, and people start applauding him, but he waves it away. \"I'm excited to get back in the game, and I hope you'll forgive me if I'm a little rusty.\"\n\nEverybody chuckles. I try to whisper to you the juicy rumor that I heard, but Victor goes on:\n\n\"What I've brought tonight is a new piece, in a classic format. I don't aim to surprise\u2014Only to terrify.\"\n\nWe all chuckle again, now a little nervously, and Victor begins to read...\n\n\n\nWayne and Yvette are a little bit late, but that just means more quality time for you and little Rowan.\n\nThe walls are painted with mountains and pines. The wide window fills the room with sunlight.\n\nRowan is asleep in his crib, his brow furrowed by the itty-bitty concerns that trouble babies.\n\nYour oxygen concentrator hums away. It's not bothering the baby at all. He probably finds it very soothing.\n\n> You examine Rowan\nHe's beautiful. He looks more like his mother than his father, but you won't tell Wayne that.\n\n> About yourself\nYou're through accomplishing things of your own-you kept yourself busy for long enough. These years are for resting, and enjoying the accomplishments of others: Of your children, and your grandchildren and your beautiful great-grandson.\n\n> You look at the window\nOutside the nursery is a lovely April day. It's no wonder Wayne and Yvette are taking so long.\n\nWayne and Yvette's cat strolls into the room.\n\n> You examine the cat\nYvette loves this cat, and the loves her\u2014and it hates everything\nelse.\n\n> You look at the crib\nRowan's little kingdom.\n\n> You look at the oxygen\nWherever you go, your oxygen follows, and every minute of the day, you have a tube stuck in your nose. You tell the kids you've gotten used to it.\n\n> You look at Rowan\nHe's beautiful. He looks more like his mother than his father, but you won't tell Wayne that.\n\nThe cat darts between your legs, hisses furiously, and digs its fangs into your calf. Then it disappears.\n\n> You examine the calf\nFour little pinpricks on your calf. It looks like you're starting to bleed.\n\nThere's a dark shape in the crib: The cat is sitting on Rowan.\n\n> You take the cat\nAs you lean over the crib, the cat leaps away.\n\nYou place a hand on Rowan's forehead. He seems to be fine.\n\nThen a horrible hissing noise fills the nursery, and Rowan starts squirming.\n\nYou turn and see the cat, toying with your oxygen concentrator: The tube connected to your nose has been knocked loose.\n\n> You take the tube\nThat cat is between you and your machine.\n\nThe cat arches its back, puffs out its fur, and seems to grow several inches. It hisses at you, almost screaming.\n\n> You open the window\nThe cat rushes around you to block the window.\n\nThe cat continues to grow, its screeches getting louder, its claws and teeth becoming longer. You stagger to the floor; your chest feels tight.\n\n> You take the tube\nThe cat jumps back in front of the oxygen concentrator.\n\nThe cat towers over you, growing larger and larger. You can't get up. You can't breathe.\n\n> You wake rowan\nThe cat leaps between you and the crib.\n\nThe cat is huge. It fills the room.\n\nYour vision swims. Your heart is going so fast\u2014Your throat is so tight.\n\nYou die of fright.\n\n> About you\nThe cat steps over your body, over the crib, toward the window.\n\n> You examine the cat\nIt bats at the window, and shatters it effortlessly.\n\n> You ask the cat about the cat\nThe cat squeezes out of the window, destroying the surrounding nursery wall.\n\n> You look at Rowan\nYou can't get any closer to the crib.\n\nThe cat steps outside. As it walks across the lawn, it goes on growing until it's as tall as the house.\n\n> About yourself\nThe cat walks into the street, trampling Wayne's car. A child screams.\n\n> Exit\nRowan stirs, but does not wake.\n\nYou are dead.\n\nThe cat continues along the street, heading downtown.\n\n\"\n\nNaturally the author sitting right next to us has to raise her hand. \"Is Mittens the name of the cat?\" she asks. Of course it's the\nname of the cat you ridiculous woman.\n\n\"Uh, I guess it must be!\" Victor answers. Everyone laughs, ha ha ha. Anyway, what I was gonna say was\u2014\"How did you find your way into the character of the protagonist, a great-grandparent?\" asks an incredibly loud author sitting behind us.\n\n\"Ah. Well, that's kind of personal,\" says Victor, and everything gets quiet.\n\nThe silence is so complete that I can't whisper anything to you.\n\n\"How about another round of applause for Victor Atencio?\" asks the moderator, and everybody claps, and Victor bows again, and now I can finally tell you: There was a rumor that Victor got his nose done while he was having all those other surgeries, and now that I see him in person he definitely did get his nose done.\n\nSo, how much, on a scale of 1 to 10, did you like that story? The one Victor told, not the one about his medical history.\n\n> 4\nOkay. Noted.\nOkay. Noted.Now it is time for the next author to step forward and share the next of the evening's insidious entertainments. It is Eddie Carlyle! I gasp, and grab your wrist. You tug at your hand until I let go. I am too anxious to apologize.\n\nNone of these authors scare me like Eddie Carlyle does. No avenue of horror is off-limits to Carlyle. He sniffs at taboo; he rolls his eyes at the critics every time they say he's gone too far. I've only read the Wikipedia synopses of his works, and they still give me nightmares.\n\nEd looks down at the lectern and coughs.\n\n\"I heard that at this year's meeting, we could share stories that weren't, you know, Halloween-spooky.\" Wait, what?\n\n\"And, well, the invitation said that one of the themes we could pick instead was D\u00eda de Muertos, or, Mexican folklore and\nmythology in general. So I chose to write something along those lines. And, it's based on one of my favorite Bob Dylan songs.\"\n\nThe other authors are glancing around the room. You and I are glancing at each other.\n\nEd swallows loudly, still looking down at the lectern. \"So, I guess, for a Castle Balderstone story this is kind of... experimental, but I hope you'll enjoy it.\" Well, it's an Eddie Carlyle story. It's probably at least a little scary.\n\nHe coughs again, and then he begins to read...\n\nAdapted by Eddie Carlyle\nfrom a song by Bob Dylan\n\nThe horse paces slowly across the sands, worn out from a long day of riding. You clutch Roberto's cape and screw your eyes shut. You are weary for sleep, but sleep is impossible under this bright sun, atop this staggering horse.\n\n> About yourself\nYour eyes are red from sleeplessness, and strained from so much squinting. Your face and your dress are coated in dust. You feel lucky that Roberto cannot see you.\n\n> You examine roberto\nRoberto is a handsome man, with gentle eyes and a curly beard. But, sitting behind him, all you can see are his hat and his cape.\n\nYou don't remember him wearing that cape before.\n\n> You look at the cape\nThe cape Roberto wears is covered in dust.\n\nBut why isn't his guitar strapped to his back?\n\n> You examine the horse\nThis horse appeared with Roberto last night, when he woke you up and begged you to leave with him. The animal seemed just as surprised as you were to be rushing out of town in the middle of the night. Now, it seems just as tired as you are.\n\n> You ask Roberto about the guitar\nYou ask Roberto what happened to his guitar.\n\n\"Ah! I sold that guitarra to Pablo, the son of the\npanadero\u2014for this!\"\n\nWith a triumphant flourish, he produces from his cape a fist-sized loaf of bread. \"I was saving it for la noche, but you have\nhad such a long viaje. Here you go, mi amor.\" He\npresses the bread into your hand.\n\n> You examine the bread\nHow much was Roberto's guitar worth? How much food will the two of you need to reach Durango before you starve to death? You can't focus on these questions. You're starving.\n\n> You eat the bread\nYou gobble it down. You feel a little less exhausted\u2014but even sleepier.\n\nAnd now the sun, which had seemed to hang just overhead for so long, finally seems to be descending.\n\n> You examine sun\nRoberto chides you: \"Don't look directly into el sol,\nMagdalena. It will hurt your ojos.\" How did he know what you\nwere looking at?\n\n> Clean dress\nThe blue dress is fine.\n\n> You check your inventory\nYou are carrying:\na blue dress (being worn)\n\n> You ask Roberto about the horse\nRoberto clicks his tongue nervously. \"A friend lent this fine\ncaballo to me. I don't know when I will be able to repay him,\nafter we reach Durango. But he already owed me un favor,\nso...\"\n\n> You ask Roberto about the durango\nRoberto sighs blissfully. \"When we reach Durango, we'll\u2014First, we'll go to the corrida, and sit in the shade drinking\ntequila, and we'll watch the young torero at his\nviolent work. And the very next day, we will find the padre\nat his little church, and we'll finally be married.\"\n\nYou hold Roberto tightly around his waist, and he pets your delicate hand.\n\n> You ask Roberto about the marriage\nRoberto cocks his head. \"What was that, my little one? I'm not sure I heard you correctamente.\" (Usually this means Roberto doesn't\nwant to talk about something.)\n\nYou lurch to a halt. \"Magdalena!\" whispers Roberto, pointing across the brush: A few crumbling walls sit in the shadow of a hillside. \"We can make campamento there.\"\n\nHe urges the horse toward the ruins.\n\nThe sun is very low, casting long purple shadows over the dust. There was a city here, centuries ago.\n\nRoberto ties the horse to a withered tree, eyeing the hills above warily.\n\nOne nearby building seems more or less intact.\n\n> You examine the building\nNothing about the building gives any clue as to what it might be.\n\n> You look at the tree\nThe tree would snap easily if the horse decided to run off.\n\n> You ask Roberto about the building\nAs you're wondering how to bring up the subject, Roberto speaks.\n\n\"Querida, you must find a place where we will be\nescondidos. Take this linterna, and I will keep\nwatch.\" He hands you a dented lantern and resumes scanning the horizon.\n\n> You enter the building\nThe sagging walls lean over an altar. There is no roof, and the stone glows indigo under the stars.\n\nIn the back wall is a narrow archway.\n\n> You examine the altar\nA slab of mottled stone, carved with pagan icons. The only shape you recognize is a snarling, wide-eyed jaguar.\n\n> You turn on the lantern\nIt takes a few tries, but you manage to light the lantern.\n\nMaybe this was the apartment of the temple priest.\n\nIn the center of the room is a stone stairway, descending into darkness.\n\nYour lantern's light catches on something in the corner: A black shard.\n\n> You examine the shard\nThe flat side seems polished, like a mirror, but the material is completely black. Even in the darkness you can see that the fractured edge is deadly sharp.\n\n> You take it\nYou lean down and reach for the shard, as carefully as you can\u2014but it slices your fingertip just the same. A drop of blood splashes on the mottled floor."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, Comedy]\n\n> Go downwards\nThe stairs go on longer than you had expected."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone]\n\n> Go downward\nYou thrust your lantern forward uncertainly, half expecting to see walls piled high with skulls\u2014but the tunnel is empty, except for some loose gravel and some footprints in the dust.\n\nAt the far end of the tunnel is a low archway, blocked by fallen rocks.\n\n> You enter the archway\n(first opening the low archway)\nYou push the rocks out of the way easily; they're only painted styrofoam.\n\nIn a few seconds, the archway is clear.\n\nBright lights surround you on all sides. A giant camera is pointed at your face.\n\nBehind you is a low archway of painted canvas.\n\nNow, I need you to think about Roberto, and whether you can trust him. And you're thinking about Ram\u00f3n, and which one you really loved. Are you in the right place?\n\nWe'll be cutting between this and Roberto's scene outside where he stares into the sunset and thinks about kind of the same questions. You're both wondering if you're going to stick together.\n\n> You think\nWhat a good idea.\n\nMaybe put your hand up to your neck. Yeah. You're in distress. And you could almost run away. But then you steel yourself.\n\nPerfect.\n\n> You examine the camera\nYou stare down the barrel of the camera, projecting sadness, confusion, devotion, and strength.\n\nNow you've made your decision, and you turn around, and you find your way back to Roberto."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, multiple protagonists, space, Comedy]\n\n> Look around\nBright lights surround you on all sides. A giant camera is pointed at your face.\n\nBehind you is a low archway of painted canvas.\n\nCome on, we're wasting film.\n\n> You enter the archway\nThe dusty tunnel is mostly empty. A cool breeze issues from the stairway.\n\nAt the far end of the tunnel is a low archway.\n\n> Go up\nA tenuous sliver of moonlight falls over the stairs.\n\n> Go up\nThe temple is quiet.\n\nA narrow archway leads out to the main chamber.\n\n> Leave\nThe sun is gone; the moon and stars shiver overhead.\n\nRoberto will be outside, waiting for you.\n\n> Go outside\nYou emerge from the ruin, and Roberto rises to greet you.\n\n> You hug roberto\nYou walk over to Roberto\u2014There is a flash of light on the hill, and a crack like thunder splits the air.\n\nRoberto crumples to the sand, a bullet in his chest.\n\nYou run to him, kneel over him, cradle his head in your hands. His gaze is focused on the hill above.\n\n\"Ram\u00f3n?\" he gasps. He draws his pistol, but it falls from his fingers.\n\n\"Magdalena\u2014mi prado de brisas frescas\u2014\" His eyes close.\n\"Aim\nwell, mi linda.\"\n\n> You take the pistol\nYou pick up Roberto's pistol.\n\nSomething catches your eye\u2014Something disappearing over the hill.\n\n> Kiss roberto\nYou can only do that to something animate.\n\n> You climb the hill\nYou crawl up the hill\u2014your dress snags on a cactus\u2014your lantern\ngoes\nout. You toss it behind you.\n\nWhen you reach the hilltop, you hold very still to search the valley below.\n\nA jaguar is running away, leaping like quicksilver over the rocks.\n\n> You enter the valley\nClimbing down the rocks takes a long time. The jaguar sits calmly, waiting for you.\n\nThe jaguar is a man, standing over the stream that cuts through the valley. He carries a rifle.\n\nHe coughs violently, and blood spatters on the sand. He takes a second to recover.\n\n\"Well?\" he asks.\n\n> You examine man\nHe wears the bloody face of Ram\u00f3n, but behind his mask are eyes of glittering obsidian. This is Tezcatlipoca, god of murder, embodiment of strife.\n\nHe has nothing to say, and the desert is silent.\n\n> You ask the god about Roberto\nHe licks his bloody lips.\n\n\"Magdalena,\" he says, smiling. \"Doesn't your lover cry out for revenge? I am here, I have taken Roberto from you\u2014Destroy me.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na pistol\na shard\na blue dress (being worn)\n\nHe looks up at the sky. \"This is not going the way I had planned.\"\n\nHe runs his hand through his hair and grimaces. \"I had hoped something more interesting would happen.\"\n\n> You cut the god with the shard\nCutting him up would achieve little.\n\n\"Tezcatlipoca grits his teeth in frustration. \"This is embarrassing,\" he says.\n\nThen he approaches you, puts his hands on your shoulders. \"Next time, you must be willing to kill\u2014to murder me\u2014to appease my bloodlust.\nNext\ntime, Magdalena, you must be blind with hatred, ready to do anything to avenge Roberto. Will you do that? Will you be ready?\"\n\nYou nod.\n\n\"Good. I look forward to it.\"\n\nThe jaguar slithers down the creek, into the moonlight, leaving you alone in the desert night.\n\n On a scale of 1 to 10?\n\n> Shoot god\nYou raise your gun. He smirks, and glances behind you, at the hilltop.\n\nYou spin and see Magdalena raise her rifle. You try to scream\u2014she fires\u2014and you are Magdalena again.\n\nRoberto crumples to the sand, and the jaguar disappears into the desert night.\n\n On a scale of 1 to 10?\n\n> 6\nOkay. Noted.\nOkay. Noted.Now it is time for the next author to step forward and share the next of the evening's dreadful entertainments. It is oh\nmy gosh it's Allison Chase.\n\nShe is rapturous. She is heavenly. I mean, obviously I appreciate her as an author first and foremost. Allison Chase is unmatched in her literary command of suspense, anxiety, and trepidation. From page one to page six hundred forty-seven, she has the reader's amygdala wrapped around her little finger.\n\nBut look at that little finger! Look at her hands, her willowy arms\u2014Look at that neck. Oh, that neck. Allison Chase's neck.\n\nAround that impossible neck is a pendant. Does she always wear that pendant? Maybe she wears different pendants. Maybe I should give her a pendant, and then when she wore it, my pendant would be around\nAllison Chase's neck.\n\n\"I happened upon this story while browsing through some old cabinets,\" she says. Her voice is like a church bell echoing across a field of fog. I close my eyes, the better to drink in that voice.\n\n\"I found it utterly horrific. I wondered, what sort of sadistic monster could possibly have composed something so deliriously awful?\" I open my eyes, so that I can look at her neck.\n\n\"But when I turned back to the first page, the name I saw beneath the title...\"\n\nI lean further forward. I have stopped breathing. I have completely forgotten that you, my guest, exist.\n\n\"...was my own!\"\n\nAs far as I'm concerned there is no one else in the room. I am aware only of the lips of Allison Chase as she smiles wickedly, and begins to read...\n\nA tale of terror by Allison Chase\n\nThe creature was monstrous to behold.\n\n> You examine creature\nHis eyes were bloodshot. His hair was stringy and unctuous. His teeth were chipped and yellowed. His chin protruded like a bent nail.\n\n> You examine the eyes\nCaked around his bloodshot eyes was a vile crust, of which minute crumbs had scattered over his clammy cheeks.\n\n> You examine the hair\nMatted ropes of hair hung a tangled rat's nest over his ears and down his back.\n\n> You examine the teeth\nEach of his teeth was a unique sculpture, chiseled by decades of decay. Each depicted its own tale of neglect\u2014except for those mercifully veiled by his awful tongue.\n\n> You look at the tongue\nHis tongue hung from between his lips like a fat worm emerging from its slimy burrow.\n\n> You examine the chin\nHis bony, pointed chin seemed to dangle like a pendululm beneath his shriveled lips, or else to erupt like an escaped prisoner from his overstretched neck.\n\n> You examine the lips\nHis chapped lips hung open mutely, revealing discolored teeth and a lolling tongue.\n\n> You look at the neck\nEvery muscle in his neck stuck out like a pencil beneath his wretched skin, drawing his shoulders forward involuntarily, stretching out his back and chest like leather on a tanner's rack.\n\n> You look at the belly\nBetween his ribcage and pelvis was his sallow stomach, swelling and stretching whenever he managed to draw breath, shrinking and shriveling with each exhalation.\n\n> You examine the pelvis\nHis hips were set at a crazy angle, upsetting the trajectories of his spine and everything that radiated therefrom. The posture of his legs, though by no means recognizable as human, had in it nothing of animal grace.\n\n> You examine the legs\nHis grimy legs, interrupted by rickety knees, struggled to remain erect over his malformed ankles.\n\n> You examine knees\nWell, his knees, like knots\u2014obscene, ineffective, oblique\u2014separated messily the halves of his legs: and really two different worlds, two different sexes, are not so different as were the two halves of his horrible, horrible legs.\n\n> You examine the ankles\nThose objects which conjoined his feet to his legs were as shapely, as sturdy, and as wet as lumps of clay dredged from the bottom of a tainted creek.\n\n> You look at the feet\nHis feet were slick with moisture, and beneath his skin I saw greyish veins snaking toward his toes.\n\n> You examine the toes\nCracked toenails protruded from long, bony toes, and as he teetered under his own diseased bulk, his toes produced minute ripples in the puddle of fluid that surrounded him.\n\n> You examine the puddle\nThe fluid that pooled around the creature's feet was composed of the same liquid that had formed rivulets running down the entirety of his repulsive body, currents which began in the corners of his sickly, overstrained eyes\u2014for the creature was standing in a puddle of his\nown\ntears.\n\n\"\n\n\"I'm impressed that you remember that far back!\" Allison says, and now I get to nod and mutter modestly.\n\nShe goes on: \"Of course, all of us here are authors, and we know that not every word we put to paper is one that we earnestly believe. I have sworn no oath to Truth, but to Art, and in service to Art I readily will wield a true sentence in one hand and a falsehood in the other. Besides, as we all know, sometimes lies can tell us the truth of things too terrible to be broached by the prim and proper facts.\"\n\nThere are murmurs of patient assent; all of this is obvious to us authors.\n\n\"In writing 'Lights Out,' as is so often the case, it was my mission to terrify my reader. And so I wrote that love is only a chemical reaction: Not to teach the reader an uncomfortable truth, but because that sentence\u2014the meaninglessness that wears that sentence as its hideous mask\u2014is the scariest thing I can think of.\"\n\nI have goosebumps.\n\n\"Thank you, Miss Chase,\" I say, and she thanks me, and the moderator thanks me, and I sit down. My knees are shaking.\n\nSo anyway, how much did you like the story? On a scale of 1 to 10?\n\n> 5\nOkay. Noted.\n\nOkay. Noted.Awkward muttering fills the chamber. Everyone is wondering who the next author will be.\n\nThe moderator rises and speaks: \"With that, our evening is concluded.\" Well, that answers that question. \"On behalf of the Balderstone estate, I would like to wish you all a wonderful year to come, and a safe trip home.\"\n\n\"Hold on!\" I say, and I jog up to the dais. The moderator is smart enough to get out of my way. I lean over the lectern and grin.\n\n\"Some of you may know that I've brought a guest here tonight.\" I wave toward you, and everyone looks at you. \"And, for each of the stories, I've been asking my guest to score the story, based on how good it is, or how much you enjoyed it. Which was it again?\"\n\nYou are unable to answer.\n\n\"Anyway, I thought everybody might like to know the results. Each story got a score from 1 to 10. And... it looks like...\"\n\nI quickly do some math in my head.\n\nI quickly do some math in my head.\"It looks like my guest's overall enjoyment of the evening amounted to 22 out of 40.\"\n\nThe authors look you over. \"Is that all?\" someone asks. \"Really?\"\n\n\"Hey, it's not that bad,\" I say. \"Maybe my guest is just, you know.\"\n\n\"Just what?\"\n\nOh dear. \"Just, discerning?\"\n\nThe moderator decides this is a good time to step in.\n\nThe moderator decides this is a good time to step in.Then there is a crash of thunder.\n\ncrash of thunder.The fireplace is snuffed out\u2014\n\ncrash of thunder.The fireplace is snuffed out\u2014\u2014And Castle\nBalderstone\nis plunged into darkness!\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Western, Fantasy, female protagonist, western]\n\nThis must be your 30th time up the stairs today, but fortunately, this is your final trip. All the laundry and cleaning are done, the carpets shampooed and the beds made. All that's left to do is to put away the last load of laundry, make a cocktail, and unwind in a hot bath while the carpets dry.\n\nHowever, as you attempt the last of fourteen steps, your foot finds a small toy car inconveniently located as to cause your feet to go west while your head goes east. East, a direction typically no worse than any other direction, unfortunately at this time offers the corner of a banister. Your head's progression is significantly hampered by this obstruction, and as the resulting 'THUMP' resonates throughout the house, your head decides it isn't worth staying awake to investigate further.\n\nYou awake somewhat later to find your head no worse for wear but a little foggy, a little confused, and more than a little out of touch....\n\n\n\nStandard interpreter 1.0\n\nYou are lying on the floor staring at the ceiling. Your head feels surprisingly good considering your previous antics. In fact, you feel quite refreshed from your hiatus from consciousness.\n\n[Author's Note: Your last trip up the stairs before you can relax in a nice hot bath brings you into rather unfortunate contact with a toy car left carelessly on a stair, and your head connects with the wooden banner near the top. As you come to, things don't quite seem so humdrum as they used to be...]\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na gold watch (being worn)\n\n> You look at the watch\n(the gold watch)\nThe dainty wristwatch is made from 18kt gold and shines like the sun.\n\n> You stand\nJust as you start to move, a grizzly little man about four feet tall wearing a red scarf and a black cowboy hat comes in from the bedroom to the north. After a quick glance, the little man bends over and extracts your gold watch from your wrist in one swift movement. As the man examines the watch, a raspy voice yells out, \"Frank, get yer carcass outta here and down below where ya belong. Dadgummit anyhow!\" The startled little man looks around and runs to the north with spurs clattering. Something drops from his pocket during his hasty exit."
    },
    {
        "text": "[Themes: Fantasy, Western, female protagonist]\n\n> Look around\nYou are lying on the floor staring at the ceiling. Your head feels surprisingly good considering your previous antics. In fact, you feel quite refreshed from your hiatus from consciousness.\n\n> You get up\nYou clamber to your feet.\n\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nYou can see a blue gumball and a little toy car here.\n\n> You take all\nblue gumball: As you reach for the gumball, a little gnomish man in a cowboy hat comes in from your bedroom and picks up the gum, examines it and says:\n\n\"Well looky here, I thought I heard a commotion up here. Ol' Frank Biscuit thought he was goin' to pull off a fast one I reckon, stealin' my special gum and all. What that hick won't do to raise hell! One of these days, Beetlebaum and I are goin' to have to do sumpin 'bout him. Please excuse me, ma'am.\"\n\nThe little gnome tips his hat and heads off to your bedroom.\nlittle toy car: Taken.\n\n> You look at car\nThe toy car is a little red Corvette with a crushed front end.\n\n> You go north\nWhile considerably better than your children's rooms, your room is also a little bit on the messy side. There is a king-size bed here with mountains of assorted pillows. A masterfully finished dresser graces the south wall. To the south is the hallway and a bathroom is off to the west.\n\nYou can see a little gnome here.\n\n> You look at the gnome\nThe little man stands about three feet high, has a dark brown beard and steely blue eyes with a mischievous gleam to them. He is wearing a tattered tan cowboy hat and a pair of cowboy boots that look several sizes too large. He also sports a decorative brown belt with a huge brass belt buckle engraved with the word \"GEORGE.\" In one hand, the little man is carrying a brown bag.\n\nThe little gnome stares at you as if he were sizing you up.\n\n> You ask the gnome about the gum\nThe gnome chortles, \"Oh, just it's just sumpin I whipped up at home. Oops, speakin' of home, I got supper cookin'. Gotta go, ma'am!\" And with that, the little gnome tips his hat and heads west to the bathroom.\n\n> You look under the bed\nNothing here but dust and dirty magazines.\n\n> You get the magazines\nThat would only serve to further confuse your already bewildered husband.\n\n> You get the pillows\nThat's hardly portable.\n\n> You look at the dresser\nThe dresser is made out of maple carefully finished with Danish oil. Further study makes you marvel at what an accomplished craftsman your husband is. One drawer draws your attention away from this stunning 20th century achievement.\n\n> You open the drawer\nYou open the drawer, revealing a pair of garden gloves.\n\n> You examine the gloves\nThese are your garden variety garden gloves with little raised dimples for extra grip.\n\n> You get the gloves\nTaken.\n\n> You examine bed\nThe king size bed is covered with a flowery comforter and assorted pillows."
    },
    {
        "text": "[Themes: Western, Fantasy, western]\n\n> Look around\nWhile considerably better than your children's rooms, your room is also a little bit on the messy side. There is a king-size bed here with mountains of assorted pillows. A masterfully finished dresser graces the south wall. To the south is the hallway and a bathroom is off to the west.\n\n> You go west\nBeautiful plants hang down from the ceiling and ceramic cherubims watch your every move in this small area off of the master bedroom to the east. To the south is a spacious walk-in closet with mirrored doors.\n\nThe closet door is closed.\n\nYou can also see a little gnome here.\n\n> Attack gnome\nThe gnome laughs at your halfhearted attempt and says \"Now that ain't neighborly at all! I'm a-ginnin' to think you got a mean streak like ol' Frank.\"\n\n> You ask the gnome about Frank\n\"Don't go messin' with Frank. He's got such a mean streak that he makes the devil nervous.\"\n\n> You examine the gnome\nThe little man stands about three feet high, has a dark brown beard and steely blue eyes with a mischievous gleam to them. He is wearing a tattered tan cowboy hat and a pair of cowboy boots that look several sizes too large. He also sports a decorative brown belt with a huge brass belt buckle engraved with the word \"GEORGE.\" In one hand, the little man is carrying a brown bag.\n\n> You ask gnome about the bag\n\"Just sumpin I's been haulin around.\"\n\n> You take the bag\n\"Well ma'am, sorry to trouble y'all with ol' Frank there, but he shouldn't be botherin' you no more. Why don't y'all take this here bag for yer trouble. I best be gettin' back. So long!\"\n\nAnd with that the little gnome sets down the bag, opens the closet door, enters the closet, and then closes the door. You hear George mumble a few words from behind the door and then the muffled sound of machinery. Then all is silent.\nTaken.\n\n> You look at the bag\nThis garish bag looks like something from another century. The heavily cracked leather is inset with faded brown cloth strips lined with dull brass buttons. Down the top of the bag is a long rusted zipper.\n\n> You open the bag\nThe zipper is too rusted to move.\n\n> You wear the gloves\nYou put on the pair of garden gloves.\n\n> You pull the zipper\nNothing obvious happens."
    },
    {
        "text": "> You look around\nBeautiful plants hang down from the ceiling and ceramic cherubims watch your every move in this small area off of the master bedroom to the east. To the south is a spacious walk-in closet with mirrored doors.\n\nThe closet door is closed.\n\n> You look at the closet door\nThese are tall mirrored doors leading into (and hopefully out of) your walk-in closet.\n\n> You look in the mirror\nA bedraggled yet inquisitive face looks back at you.\n\n> Go east\nWhile considerably better than your children's rooms, your room is also a little bit on the messy side. There is a king-size bed here with mountains of assorted pillows. A masterfully finished dresser graces the south wall. To the south is the hallway and a bathroom is off to the west.\n\n> Go south\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\n> Go northeast\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\nSomehow, someone has lost their gum and thoroughly ground it into the carpet.\n\nYou can also see a bench here.\n\n> You examine the bench\nThe sturdy green bench stands about a foot tall.\n\n> You get the clothes\nMoving around some of the clothes reveals a moldy candy bar.\n\n> You get the candy\nTaken.\n\n> You examine it\nThe half-eaten candy bar has clusters of green mold and splotches of white fur.\n\n> You examine the gum\nThe ground-in gum looks freshly chewed and is quite gooey.\n\n> You get the gum\nThe gum is gooey and bound to the carpet like glue.\n\n> You examine the toys\nThis is your garden variety of toys, most of which involved a number of small pieces lost long ago."
    },
    {
        "text": "[Themes: Western, Fantasy]\n\n> Look around\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\nSomehow, someone has lost their gum and thoroughly ground it into the carpet.\n\nYou can also see a bench here.\n\n> You look under the bed\nNot a good idea. It will be a mess and you don't want to clean it.\n\n> You check your inventory\nYou are carrying:\na bench\na moldy candy bar\na beat-up old bag (which is closed)\na pair of garden gloves (being worn)\na little toy car\n\n> Search clothes\nMoving around some of the clothes reveals a silver whistle.\n\n> Continue\nUnder a rather large pile of clothes, you uncover a somewhat sleepy-looking black cat.\n\n> Pet cat\nYou stroke the cat's silky black coat and scratch behind his ears. The cat purrs loudly.\n\nThe black cat sits by your feet and purrs.\n\n> You get the cat\nThe free-spirited cat resists your attempt to hold him.\n\nThe black cat sits by your feet and purrs.\n\n> You eat the bar\nYou quickly chow down the moldy candy bar. Yuk!\n\nThe black cat sits by your feet and purrs.\n\n> Blow whistle\nThe whistle produces a deafening shrill note!\n\nThe black cat sits by your feet and purrs.\n\n> You give the bar to the cat\nThe black cat doesn't seem to be all that interested.\n\nThe black cat sits by your feet and purrs.\n\n> Search clothes\nMoving the clothes around reveals nothing new.\n\nThe black cat sits by your feet and purrs.\n\n> You search the cat\nYou find nothing of interest.\n\nThe black cat sits by your feet and purrs.\n\n> You examine the whistle\nThe toy silver whistle has been lost for a week.\n\nThe black cat sits by your feet and purrs.\n\n> You examine the toys\nThis is your garden variety of toys, most of which involved a number of small pieces lost long ago.\n\nThe black cat sits by your feet and purrs.\n\n> You scrape the gum\nI don't believe you have a suitable scraper.\n\nThe black cat sits by your feet and purrs."
    },
    {
        "text": "[Themes: Western, Fantasy, western, female protagonist]\n\n> Look around\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\nSomehow, someone has lost their gum and thoroughly ground it into the carpet.\n\nYou can also see a black cat here.\n\nThe black cat sits by your feet and purrs.\n\nYour ears start to ring.\n\n> You go to the south\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nThe black cat runs into the room and rubs up against your legs.\n\n> Go east\nNo surprises here. Towels everywhere, water on the floor, even a couple of toys to boot. The hallway is just a couple of steps to the west.\n\nThere is a pinkish shower curtain here.\n\nThe black cat runs into the room and rubs up against your legs.\n\nThe ringing in your ears is very annoying.\n\n> You look at the curtain\nPenny's, $7.99, and that's not even on sale!\n\nThe black cat sits by your feet and purrs.\n\n> You examine the towels\nThese are the towels with little hoods that the kids use after every bath.\n\nThe black cat sits by your feet and purrs.\n\n> You listen\nYou hear nothing unexpected.\n\nThe black cat sits by your feet and purrs.\n\n> You examine the toys\nTypical bathroom toys, but of use only to your children.\n\nThe black cat sits by your feet and purrs.\n\n> You get the towels\nWhy bother? The kids will only mess them up another day. Besides, they look comfortable where they are.\n\nThe black cat sits by your feet and purrs.\n\n> You get toys\nLeave the poor toys for the kids to play with.\n\nThe black cat sits by your feet and purrs.\n\nIt's difficult to think with your ears ringing.\n\n> You listen\nYou hear nothing unexpected.\n\nThe black cat sits by your feet and purrs.\n\nThe ringing is starting to give you a headache.\n\n> Go west\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nThe black cat runs into the room and rubs up against your legs.\n\n> Go south\nYou can't, since Kati's bedroom door is in the way.\n\nThe black cat sits by your feet and purrs.\n\n> You open the door\nIt seems to be locked.\n\nThe black cat sits by your feet and purrs.\n\n> You examine the door\nThis door is not unlike any other door in the house except for the little ledge on top.\n\nThe black cat sits by your feet and purrs.\n\n> You look at the ledge\nThe ledge extends about an inch from the wall above the door.\n\nThe black cat sits by your feet and purrs.\n\n> Search ledge\nLooks like your normal door ledge from where you're standing.\n\nThe black cat sits by your feet and purrs.\n\nThe ringing in your ears finally subsides.\n\n> You feel the ledge\nYou feel nothing unexpected.\n\nThe black cat sits by your feet and purrs.\n\n> You drop the bench\nDropped.\n\nThe black cat sits by your feet and purrs.\n\n> You stand on bench\nFrom your vantage point, you can make out a wire key on the ledge.\n\nThe black cat sits by your feet and purrs.\n\n> You get on the bench\nBut you're already on the bench.\n\nThe black cat sits by your feet and purrs.\n\n> You get the key\nTaken.\n\nThe black cat sits by your feet and purrs.\n\n> You get off\nYou get off the bench.\n\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nYou can see a bench and a black cat here.\n\nThe black cat sits by your feet and purrs.\n\n> You unlock the door with the key\nYou unlock Kati's bedroom door.\n\nThe black cat sits by your feet and purrs.\n\n> You open the door\nYou open Kati's bedroom door.\n\nThe black cat sits by your feet and purrs.\n\n> You go to the south\nKati has done a marvelous job at totally trashing this room since this morning. You swear there once was a bed in here but all you can see is a mountain of clothing in front of the closet. The hallway is to the north.\n\nThe black cat runs into the room and rubs up against your legs.\n\n> Search clothing\nUnder the clothing you find an ice pack.\n\nThe black cat sits by your feet and purrs.\n\n> Keep going\nThere is nothing else under the clothing.\n\nThe black cat sits by your feet and purrs.\n\n> You wear the ice\nYou can't wear that!\n\nThe black cat sits by your feet and purrs.\n\n> Examine pack\nThe plastic blue container has a tattered white label.\n\nThe black cat sits by your feet and purrs.\n\n> You examine the label\n\"Bees-Knees Insta-Freeze\nShake and Apply.\"\n\nThe black cat sits by your feet and purrs.\n\n> Shake pack\nThe blue pack turns ice cold in an instant.\n\nThe black cat sits by your feet and purrs.\n\n> You put the pack on the cat\nPutting things on the black cat would achieve nothing.\n\nThe black cat sits by your feet and purrs.\n\n> You put pack on yourself\nPutting things on yourself would achieve nothing.\n\nThe black cat sits by your feet and purrs.\n\n> You look at the closet\nThis is your everyday kid's closet filled with toys from days gone past. In some ways, you might call it a toy graveyard. The closet is closed.\n\nThe black cat sits by your feet and purrs.\n\n> You open the closet\nYou open the closet, revealing a toy black safe.\n\nThe black cat sits by your feet and purrs.\n\n> You look at safe\nIt's a small black metal box about six inches high with a small combination lock on it. All in all, it's a pretty good replica of the type of safe frequently shown in gangster movies. Mark has played with this thing for hours since getting it from his uncle. The safe door is shut and apparently locked.\n\nThe black cat sits by your feet and purrs.\n\n> You get safe\nTaken.\n\nThe black cat sits by your feet and purrs.\n\n> You open safe\nConcentrate as you may, but you can't come up with the combination.\n\nThe black cat sits by your feet and purrs.\n\n> You ask cat about safe\nThe cat gives you a puzzled look.\n\nThe black cat sits by your feet and purrs.\n\n> You go to the west\nThe carpets haven't finished drying yet!\n\nThe black cat sits by your feet and purrs.\n\n> Inventory\nYou are carrying:\na toy black safe\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is closed)\na pair of garden gloves (being worn)\na little toy car\n\nThe black cat sits by your feet and purrs.\n\n> You go to the north-east\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\nSomehow, someone has lost their gum and thoroughly ground it into the carpet.\n\nThe black cat runs into the room and rubs up against your legs.\n\n> You put the ice pack on the gum\nYou momentarily place the cold ice pack on the gum. The ground-in gum is now cold and quite firm.\n\nThe black cat sits by your feet and purrs.\n\n> You get the gum\nThe cold gum is easily removed from the carpet.\nTaken.\n\nThe black cat sits by your feet and purrs.\n\nYour husband strolls into the room looking for his beer. Not seeing it around, he departs grumbling something under his voice.\n\n> Inventory\nYou are carrying:\na wad of gooey gum\na toy black safe\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is closed)\na pair of garden gloves (being worn)\na little toy car\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run screaming into the room and back out.\n\n> Go southwest\nThe only way out of here is to the south.\n\nThe black cat sits by your feet and purrs.\n\nKati comes into the room, looks around, and departs without a sound.\n\n> You go to the south\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nThe black cat runs into the room and rubs up against your legs.\n\nYour husband strolls into the room looking for his beer. Not seeing it around, he departs grumbling something under his voice.\n\n> You go to the west\nThe carpets haven't finished drying yet!\n\nThe black cat sits by your feet and purrs.\n\n> You go east\nNo surprises here. Towels everywhere, water on the floor, even a couple of toys to boot. The hallway is just a couple of steps to the west.\n\nThere is a pinkish shower curtain here.\n\nThe black cat runs into the room and rubs up against your legs.\n\nKati comes into the room, looks around, and departs without a sound.\n\n> You pull the curtain\nIt is fixed in place.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> You open the curtain\nYou open the shower curtain.\n\nThe black cat sits by your feet and purrs.\n\n> You look in the shower\nIn the shower is a bar of soap.\n\nThe black cat sits by your feet and purrs.\n\nMark comes in and searches the room for Kati. Not finding her, he departs stomping his feet.\n\n> You get the soap\nThe soap has no chance against you and your gloves, and quietly surrenders. Taken.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run screaming into the room and back out.\n\n> You put the soap on the zipper\nThe soap soaks into the zipper like oil, dissolving some of the rust. The zipper is probably serviceable now.\n\nThe black cat sits by your feet and purrs.\n\nKati comes into the room, looks around, and departs without a sound.\n\n> You open the bag\nYou open the beat-up old bag, revealing an ornate box.\n\nThe black cat sits by your feet and purrs.\n\n> You look at the box\nThe small ornate box is made of dark wood inlaid with silver swirls and circles.\n\nThe black cat sits by your feet and purrs.\n\n> You open box\nIt seems to be locked.\n\nThe black cat sits by your feet and purrs.\n\nMark runs into the room fussing about something, and then leaves in disgust when he receives no consolation.\n\n> You unlock the box with the key\nYou can't see any such thing.\n\nThat doesn't seem to fit the lock.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> You examine the towels\nThese are the towels with little hoods that the kids use after every bath.\n\nThe black cat sits by your feet and purrs.\n\nKati follows Mark into the room and chases him back out.\n\n> You get the towels\nWhy bother? The kids will only mess them up another day. Besides, they look comfortable where they are.\n\nThe black cat sits by your feet and purrs.\n\nKati follows Mark into the room and chases him back out.\n\n> You look at what you're carrying with you\nYou are carrying:\nan ornate box (which is closed and locked)\na bar of soap\na wad of gooey gum\na toy black safe\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is open but empty)\na pair of garden gloves (being worn)\na little toy car\n\nThe black cat sits by your feet and purrs.\n\n> You examine the toys\nTypical bathroom toys, but of use only to your children.\n\nThe black cat sits by your feet and purrs.\n\nKati comes into the room, looks around, and departs without a sound.\n\n> Shake box\nResults of such an activity are not as productive as you might have hoped.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> Unlock box\nWhat do you want to unlock the ornate box with?\n\n> You unlock the box with the key\nThat doesn't seem to fit the lock.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> Go north\nWhile considerably better than your children's rooms, your room is also a little bit on the messy side. There is a king-size bed here with mountains of assorted pillows. A masterfully finished dresser graces the south wall. To the south is the hallway and a bathroom is off to the west.\n\nThe black cat runs into the room and rubs up against your legs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> Go west\nBeautiful plants hang down from the ceiling and ceramic cherubims watch your every move in this small area off of the master bedroom to the east. To the south is a spacious walk-in closet with mirrored doors.\n\nThe closet door is closed.\n\nThe black cat runs into the room and rubs up against your legs.\n\nMark and Kati run screaming into the room and back out.\n\n> You open the closet\nFor some reason, the closet door won't budge.\n\nThe black cat sits by your feet and purrs.\n\nYour husband strolls into the room looking for his beer. Not seeing it around, he departs grumbling something under his voice.\n\n> You look at the closet door\nThese are tall mirrored doors leading into (and hopefully out of) your walk-in closet.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run into the room, see you, and run away giggling.\n\n> You break the door\nViolence isn't the answer to this one.\n\nThe black cat sits by your feet and purrs."
    },
    {
        "text": "> You look around\nBeautiful plants hang down from the ceiling and ceramic cherubims watch your every move in this small area off of the master bedroom to the east. To the south is a spacious walk-in closet with mirrored doors.\n\nThe closet door is closed.\n\nYou can also see a black cat here.\n\nThe black cat sits by your feet and purrs.\n\nYour husband strolls into the room looking for his beer. Not seeing it around, he departs grumbling something under his voice.\n\n> Blow whistle\nThe whistle produces a deafening shrill note!\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run screaming into the room and back out.\n\nYour ears start to ring.\n\n> You check your inventory\nYou are carrying:\nan ornate box (which is closed and locked)\na bar of soap\na wad of gooey gum\na toy black safe\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is open but empty)\na pair of garden gloves (being worn)\na little toy car\n\nThe black cat sits by your feet and purrs.\n\nKati comes into the room, looks around, and departs without a sound.\n\n> You examine the gum\nThere appear to be blue flakes in the well-chewed gum.\n\nThe black cat sits by your feet and purrs.\n\nMark and Kati run screaming into the room and back out.\n\n> You examine wire\nMagnificent in its opulence, astounding in it's austerity - its a bent piece of wire with a loop in it.\n\nThe black cat sits by your feet and purrs.\n\n> Chew gum\nThe gum tastes somewhat sagey and sweet in the brief instant before it disintegrates in your mouth. The colors of the room start to blur as your knees begin to weaken, and your surroundings change.\n\nYou are inside a windowless room constructed of rough-cut timber. There isn't all that much room to move around since the place is cluttered with cauldrons, books, a large dusty table, pencil sketches, and assorted equipment. Large holes and splits in the ceiling provide more than enough light to make out that this is some type of crude laboratory. The only apparent exit is a door to the west.\n\nOn the table is a piece of paper.\n\n> You look at the paper\nThe paper is face down on the table, but through the stains you can just make out there is a picture and some writing on the other side.\n\n> You get it\nEverything here feels mushy and insubstantial.\n\n> You read the paper\nThe paper is face down on the table, but through the stains you can just make out there is a picture and some writing on the other side.\n\nThe dust in here really irritates your nose.\n\n> You sneeze\nYou are right on the verge of sneezing. Maybe a bit more dust in the air might help.\n\n> Blow paper\nThe paper flutters ever so slightly, but doesn't move.\n\nThe dust in here really irritates your nose."
    },
    {
        "text": "[Themes: Western, Fantasy, female protagonist, western]\n\n> You look around\nYou are inside a windowless room constructed of rough-cut timber. There isn't all that much room to move around since the place is cluttered with cauldrons, books, a large dusty table, pencil sketches, and assorted equipment. Large holes and splits in the ceiling provide more than enough light to make out that this is some type of crude laboratory. The only apparent exit is a door to the west.\n\nOn the table is a piece of paper.\n\n> Examine books\nMost of the books are stacked neatly in one corner of the room. The titles are for the most part obliterated leaving no clue to their contents. One dusty book on the floor, however, is open.\n\nThe dust in here really irritates your nose.\n\n> Examine book\nThe book is open to some dissertation about the partial transformation effects of previously chewed gumballs. The text is too complex for your meager intelligence.\n\n> You examine the sketches\nThere are several pencil sketches scattered throughout the room. Most follow a general western genre (stagecoaches, wagons, horses, cattle, etc.). One sketch depicts a crude wooden drilling rig with the description \"Tom's Chuck.\" Another sketch, lying face down on the table, has numerous water and coffee stains.\n\n> Blow paper\nThe paper flutters ever so slightly, but doesn't move.\n\nThe dust in here really irritates your nose.\n\n> Blow dust\nYou manage to kick up a good-sized cloud of dust, with a good portion of it going up your nose. After a brief instant, your body reacts with a tremendous sneeze which shoots the stained paper halfway across the room.\n\nThe dust in here really irritates your nose.\n\n> Dehlila\nThe air seems to fill with electricity, and the door to the west shudders momentarily.\n\n> You open the door\nThe door latch feels mushy and insubstantial.\n\n> You go to the west\nThe door to the west is closed.\nThe door suddenly opens from a huge blast of wind. A dust cloud swirls around the whole room blocking all visibility. Soon you are on your knees and choking on the thick grit. The howling of the wind is deafening.\n\nAnd then, all is calm.\n\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\nYou can see a little toy car, a pair of garden gloves, a beat-up old bag (which is empty), a moldy candy bar, a silver whistle, a wire key, a bench, a blue ice pack, a toy black safe, a bar of soap and an ornate box (which is closed) here.\n\n> You take all\nlittle toy car: Taken.\npair of garden gloves: Taken.\nbeat-up old bag: Taken.\nmoldy candy bar: Taken.\nsilver whistle: Taken.\nwire key: Taken.\nbench: Taken.\nblue ice pack: Taken.\ntoy black safe: Taken.\nbar of soap: The slimy soap shoots out of your hand, does a lazy figure 8, and quickly spins to a stop.\nornate box: Taken.\n\n> You wear the gloves\nYou put on the pair of garden gloves.\n\n> You get the soap\nThe soap has no chance against you and your gloves, and quietly surrenders. Taken."
    },
    {
        "text": "[Themes: Western, Fantasy, western]\n\n> You look around\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\n> You go to the north\nWhile considerably better than your children's rooms, your room is also a little bit on the messy side. There is a king-size bed here with mountains of assorted pillows. A masterfully finished dresser graces the south wall. To the south is the hallway and a bathroom is off to the west.\n\n> You say dehlila\nThe air seems to fill with electricity, and the mirrored doors shudder momentarily.\n\n> You open the door\nYou open the door to the closet.\n\n> Go south\nWell as far as closets go, this one is filled floor to ceiling with various clothing articles, shoes, and sundry. You can leave this Mecca for moths to the north.\n\nThe closet door is open.\n\n> You look at the closet\nThese are tall mirrored doors leading into (and hopefully out of) your walk-in closet.\n\n> You close the door\nYou close the door to the closet."
    },
    {
        "text": "[Themes: Fantasy, Western, western]\n\n> Look around\nWell as far as closets go, this one is filled floor to ceiling with various clothing articles, shoes, and sundry. You can leave this Mecca for moths to the north.\n\nThe closet door is closed.\n\n> You move the clothes\nYou are unable to.\n\n> Xyzzy\nImages of knife-throwing dwarves come to mind.\n\n> You get all\ndoor to the closet: That's fixed in place.\n\n> You open the door\nYou open the door to the closet.\n\n> Inventory\nYou are carrying:\na bar of soap\nan ornate box (which is closed and locked)\na toy black safe\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is open but empty)\na pair of garden gloves (being worn)\na little toy car\n\n> Go north\nBeautiful plants hang down from the ceiling and ceramic cherubims watch your every move in this small area off of the master bedroom to the east. To the south is a spacious walk-in closet with mirrored doors.\n\nThe closet door is open.\n\n> You go northeast\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\nYou can see Mark here.\n\n> You look at Mark\nMark (your son, remember?) is a little boy quickly approaching the lofty age of six years. He is sitting Indian style on the ground playing with a tired green Lincoln Log stick and a yellow Tinker Toy, telling himself an elaborate story that apparently involves lots of explosions. He appears quite involved in his activity and does not seem the least interested in your presence.\n\n> Examine Toy\nWhich do you mean, the toy black safe, the silver whistle or the little toy car?\n\n> You give the car to Mark\nMark calmly takes the car from you and studies it intently. After a few moments, he gets up and retrieves his \"Mr. AutoBody\" set and proceeds to repair the damaged toy. Within minutes, the toy is as good as new and is quickly lost among the myriad other toys in the room.\n\n> You ask Mark about the safe\n\"Give it here! It's MINE!\"\n\n> You give safe to Mark\nMark takes the safe and quickly opens it, revealing a piece of candy and a small wooden key. Mark picks up the safe and candy, and runs downstairs to show his treasures to his sister Kati.\n\n> You get the key\n(the wooden key)\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na wooden key\na bar of soap\nan ornate box (which is closed and locked)\na blue ice pack\na bench\na wire key\na silver whistle\na moldy candy bar\na beat-up old bag (which is open but empty)\na pair of garden gloves (being worn)\n\nYour ears start to ring.\n\n> Unlock box with wooden key\nYou unlock the ornate box.\n\n> You open the box\nYou open the ornate box.\n\nYou can hear a tinny minuet coming from the box.\n\n> You look at the box\nThe small ornate box is made of dark wood inlaid with silver swirls and circles.\n\nThe ringing in your ears is very annoying.\n\nYou can hear a tinny minuet coming from the box.\n\n> You look in the box\nThe ornate box is empty.\n\nYou can hear a tinny minuet coming from the box.\n\n> You listen to the box\nThe tinny minuet coming from the box is quite pleasant."
    },
    {
        "text": "> You describe your surroundings\nAlthough you just finished cleaning this room an hour ago, it now looks like it hasn't been cleaned in about three weeks. The bed looks like it has been jumped on by an entire preschool. Dirty clothes are thoughtfully sprinkled across the floor, interspersed with assorted toys and food items. You can exit this mess to the south.\n\n> Go south\nThe upstairs hallway is really nothing more than an annex between several other rooms of the house. There are exits leading north, northeast, east and south. A stairway leads down to the west.\n\n> You go south\nKati has done a marvelous job at totally trashing this room since this morning. You swear there once was a bed in here but all you can see is a mountain of clothing in front of the closet. The hallway is to the north.\n\n> You look at the closet\nThis is your everyday kid's closet filled with toys from days gone past. In some ways, you might call it a toy graveyard. The closet is open.\n\nIt's difficult to think with your ears ringing.\n\n> You look in the closet\nThe closet is empty.\n\nThe ringing is starting to give you a headache.\n\n> You search the closet\nThe closet is empty.\n\nThe ringing in your ears finally subsides.\n\n> You look at box\nThe small ornate box is made of dark wood inlaid with silver swirls and circles.\n\n> You open the box\nThat's already open.\n\n> You close the door\nYou close the door to the closet.\n\n> Close box\nYou close the ornate box.\n\n> You open the box\nYou momentarily hear the rumbling of machinery as the outline of a small trap door appears in the carpeting.\n\nYou can hear a tinny minuet coming from the box.\n\n> You examine the trap door\nThe trap door is made out of weathered wood and is covered in floor carpet.\n\nYou can hear a tinny minuet coming from the box.\n\n> You open the trap door\nYou open the secret trap door.\n\nYou can hear a tinny minuet coming from the box."
    },
    {
        "text": "> Go downwards\nThis creepy cellar looks like it predates your house by about a hundred years or so. Cold stone walls provide a framework for countless spiderwebs along with dried insects and other debris. No doors or other exits are evident except for the weathered ladder leading to the trap door in the ceiling, which is the sole source of light for this room. The dust-covered floor reveals a fresh set of small boot prints. Oddly, the trail of boot prints stops dead center in the middle of the room.\n\nYou can see a green gumball here.\n\n> You examine the gumball\nThe green gumball looks more like a marble than a confection.\n\n> Close box\nYou close the ornate box.\n\n> You eat it\nThe gumball has an odd but not unpleasant taste of sage. The colors of the room start to blur and a buzzing sound resonates from the back of your head. Just as your knees begin to weaken, a warm breeze starts from the west. A searing bright light from above washes out all other colors in the room. You quickly begin to have misgivings about this whole thing as the smell of wildflowers wafts through the air. Mere misgivings give way to total apprehension as your focus starts to return...\n\nYou are in a flat grassy area surrounded by scrub pines and large granite boulders. Purple and yellow wildflowers flourish in this area and the attendant bees are laden full with pollen and nectar. A lightly traveled path winds west through the rocks.\n\n> Smell wildflowers\nThe combined fragrance is subtle but yet almost overwhelming.\n\n> You look at the boulders\nThe large granite boulders form a near-perfect ring around the clearing. A path runs west between two of the larger specimens.\n\n> You look at the flowers\nThe wildflowers form a nearly uniform carpet throughout the area. The colors are so brilliant in the bright sun, you have to squint your eyes to avoid seeing spots all day.\n\n> You look at the bees\nThe bees lazily drift from flower to flower.\n\n> You get the flowers\nThat's hardly portable.\n\n> You go to the west\nA well-traveled path from the west branches south and continues east here under the refreshing shade of the bordering oaks. The sloping path leading south appears somewhat muddy but the footing does not appear to be too difficult.\n\n> You examine the oaks\nThe oaks must be as old as the hills and provide a good deal of shade over the entire area.\n\n> You go to the west\nThis northeast-southwest trail has all the appearances of being a main thoroughfare prior to becoming overrun with weeds and brush. A narrow footpath leads off to the east through the brush.\n\n> You go northeast\nThe trail winds its way from the southwest through a shadowy canyon formed in the cleft of two large hills. You cannot help but feel confined and vulnerable by the sheer walls of this gorge and limited visibility in front of you and behind. The trail continues to the north.\n\n> Go north\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\n> You go to the east\nThe tracks continue east-west here through thick scrub brush and an occasional patch of cactus. There is a short section of track running parallel to, and eventually joining, the main track to form a spur.\n\nThere is a huge clump of tumbleweeds on the track spur.\n\n> You examine the clump\nThe thorny mass of tumbleweeds is bigger than a small shed.\n\n> You get it\nThe tumbleweeds resist your attempt. Maybe a better tool would help out.\n\n> Go east\nThe railroad tracks once crossed a deep gorge here, but the trestled bridge has long past seen its last train. The gaping hole in the middle of the bridge along with the highly questionable structural stability of the trestles themselves make further progress east unthinkable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go north\nThe trail here turns to fine dust with only a trace of vegetation. The wind is howling from the west, blowing dust, sand, and tumbleweeds everywhere. A brief respite in the blowing debris allows you to see the trail continuing north and an overgrown path going up to the east.\n\n> You go east\nYou are standing atop a large knoll which apparently served as a cemetery at some point in time. Remains of a picket fence lie strewn about the hillside and most of the gravestones have disintegrated beyond recognition. One granite marker at the head of a grassless plot, however, remains intact.\n\n> You look at fence\nOnly shards of whitewash remain on the well-weathered remnants of this former fence.\n\n> You examine the gravestones\nThere is an inscription on the marker which reads:\n\n\"Remember Friends As You Pass By,\nAs You Are Now So Once Was I;\nAs I Am Now So You Shall Be,\nSo Prepare For Death And Follow Me.\"\n\nYou swear you can hear laughing, but then again, maybe it's the wind.\n\n> You dig grave\nWhat do you want to dig the grave with?\n\n> Go east\nThe only way off the hill is down to the west.\n\n> Go west\nThe trail here turns to fine dust with only a trace of vegetation. The wind is howling from the west, blowing dust, sand, and tumbleweeds everywhere. A brief respite in the blowing debris allows you to see the trail continuing north and an overgrown path going up to the east.\n\n> You go to the north\nYou are at the outskirts of what you would guess is a small town. Tumbleweeds and debris litter the trail giving all appearances that this place is deserted. The majority of buildings and other structures are to the west while a large barn-like building is due north. There is a faded sign just off to the side of the trail.\n\n> You look at the sign\nThe bullet-riddled sign reads:\n\n\"Welcome To Deadeye Gulch\nNo Cussin, Gunnin, or Gamblin\"\n\n> You go to the north\nYou are just outside a large barn-like structure that appears to be the local livery. The aging structure looks fairly sound except that the roof is starting to sag in areas. Just north is an oddly colored entrance to the building. The rest of Deadeye is to the southwest and there is a clearing to the south.\n\n> You look at the entrance\nThe door is fabricated from weathered planking and leather straps. There are several faded splotches of paint that stand in sharp contrast to the dull gray wood.\n\n> You open the door\nIt seems to be locked.\n\n> Go southwest\nYou are at the east end of Deadeye Gulch on a street which is thick with dried grass and weeds. The remains of hitching posts and water troughs line the crumbling wooden sidewalks. Most of the buildings here have collapsed from aging timbers and a few appear as if they were burned down to their foundations. A couple of structures, however, have withstood the elements. To the north, there is a bank judging from the declaration as to such in the windows. To the south, there is a saloon.\n\n> You go south\nThis old beer hall served its last cold one many summers past. The rosewood bar stretches from wall to wall and, surprisingly, the wall-length mirror in back of the bar is still intact. The brass foot rail at the base of the bar is worn flat on the top from the countless patrons whose hard-earned wages were quickly converted into good times and song. Swinging doors lead back to the street to the north.\n\nYou can see a table, a slot machine and a tray (which is empty) here.\n\n> You examine the machine\nThe free-standing slot machine bears a sign declaring:\n\n\"HAPPY DAYS - 10 TRIES FOR 1 BUCK-A-BIN.\"\n\nThe machine has a lever on the right-hand side, a coin slot on the top, and a large metal tray at the bottom. There are three tumblers on the front of the machine behind a scratched piece of glass. On the left-hand side of the machine are five small wheels. Above each of the wheels is a letter, which collectively spell out the word \"AHEAD.\"\n\n> You look at the first wheel\nThe first wheel is set to 1.\n\n> You examine the second wheel\nThe second wheel is set to 2.\n\n> You look at the third wheel\nThe third wheel is set to 3.\n\n> You examine the fourth wheel\nThe fourth wheel is set to 4.\n\n> You examine the fifth wheel\nThe fifth wheel is set to 5.\n\n> You examine the tumblers\nThe tumblers show:\n\n> You examine wheels\nThe collection of wheels reads as follows:\n\nThe first wheel  (letter 'A') is set to 1.\nThe second wheel (letter 'H') is set to 2.\nThe third wheel  (letter 'E') is set to 3.\nThe fourth wheel (letter 'A') is set to 4.\nThe fifth wheel  (letter 'D') is set to 5.\n\n> You examine table\nThis round table is standing on three legs (versus its last leg). The surface is marred with nicks, scratches and even a little bit of writing.\n\n> You examine the writing\nThe writing is pretty much your ordinary bar graffiti with even an occasional heart and arrow. However, as you study the crude lettering you find some kind of note has evidently been scrawled into the surface. The letters are so dark with grime they are indistinguishable from the table surface.\n\n> Clean table\nPerhaps if you had something to clean the table with.\n\n> You examine the mirror\nThe mirror is quite overwhelming in size. Time, however, has started to take its toll on the mirror as indicated by the wavy distortions in the reflection.\n\n> You look in the mirror\nA bedraggled yet inquisitive face looks back at you.\n\n> You go to the north\nYou are at the east end of Deadeye Gulch on a street which is thick with dried grass and weeds. The remains of hitching posts and water troughs line the crumbling wooden sidewalks. Most of the buildings here have collapsed from aging timbers and a few appear as if they were burned down to their foundations. A couple of structures, however, have withstood the elements. To the north, there is a bank judging from the declaration as to such in the windows. To the south, there is a saloon.\n\n> You go north\nAbandoned teller windows line the west wall of this former financial hub of the Deadeye community. Not unlike everything else in town, it too has fallen into disrepair. To the north you can make out an open vault and to the south lies Main Street.\n\nThere is a rusted pan lying over in the corner.\n\n> You examine the pan\nThe pan is about 16 inches in diameter and 3 inches deep. The walls of the pan slope gently inward to produce a 10-inch bottom base. The surface of the pan is entirely rusted.\n\n> Examine vault\nThe vault is built into the north wall. Strangely, the anticipated massive door is nowhere to be seen.\n\n> You go north\nThis red brick enclosure has been picked clean of its valuables, bringing to mind the adage \"A Day Late, and a Dollar Short.\" A large wooden table dominates the center of the room supporting some type of mechanical contraption. The rest of the bank lies to the south.\n\n> You look at table\nThe wooden table is made from oak and supports some strange mechanical device.\n\n> You look at the device\nThe contraption has a metal block just an inch or so above a metal plate with a small circular impression. A series of gears connects the metal block to a lever.\n\n> You pull the lever\nThe lever pulls easily, moving the metal block down to the plate. As you release the lever, it returns to its starting position.\n\n> You examine the plate\nThe impression in the plate is about an eighth of an inch deep and an inch and a half in diameter.\n\n> Go south\nAbandoned teller windows line the west wall of this former financial hub of the Deadeye community. Not unlike everything else in town, it too has fallen into disrepair. To the north you can make out an open vault and to the south lies Main Street.\n\nThere is a rusted pan lying over in the corner.\n\n> You get the pan\nAs you pick up the pan, a hole in one of the floorboards is revealed.\n\nTaken.\n\n> You look in the hole\nIf you hold your head just right, you can just catch a glimpse of something shining in the hole.\n\n> You examine the windows\nThe teller windows are uniformly distributed along the west wall with no apparent way to get to the other side of the bars. Perhaps they are no more than window dressing.\n\n> You examine bars\nThe bars are thick and unremovable.\n\n> You go north\nThis red brick enclosure has been picked clean of its valuables, bringing to mind the adage \"A Day Late, and a Dollar Short.\" A large wooden table dominates the center of the room supporting some type of mechanical contraption. The rest of the bank lies to the south.\n\n> You examine the contraption\nThe contraption has a metal block just an inch or so above a metal plate with a small circular impression. A series of gears connects the metal block to a lever.\n\n> You examine the pan\nThe pan is about 16 inches in diameter and 3 inches deep. The walls of the pan slope gently inward to produce a 10-inch bottom base. The surface of the pan is entirely rusted.\n\n> You put the pan on the plate\nPutting the pan into the impression would be in violation of local banking law B-62134. Being the law conscious person you are, you retreat from this ill-advised action.\n\n> Go south\nAbandoned teller windows line the west wall of this former financial hub of the Deadeye community. Not unlike everything else in town, it too has fallen into disrepair. To the north you can make out an open vault and to the south lies Main Street.\n\nThere is a hole in one of the floorboards.\n\n> You go to the south\nYou are at the east end of Deadeye Gulch on a street which is thick with dried grass and weeds. The remains of hitching posts and water troughs line the crumbling wooden sidewalks. Most of the buildings here have collapsed from aging timbers and a few appear as if they were burned down to their foundations. A couple of structures, however, have withstood the elements. To the north, there is a bank judging from the declaration as to such in the windows. To the south, there is a saloon.\n\n> You go to the west\nMost of the buildings on this end of town have given up the ghost and are but piles of broken lumber, tarpaper and other debris. One structure, to the north, seems to have fared considerably better than its neighbor to the south. The street narrows to the west where it appears to pick up a trail leading out of town. Back to the east is the center of town.\n\n> You look at the jail door\nThe door to the jail is comprised of a series of vertical iron bars and a large iron lock.\n\nOne of the bars must have fallen off of the door and onto the floor of the jail.\n\n> You open the jail door\nIt seems to be locked.\n\n> Go north\nThe musty smell of rotting wood greets your arrival at this rather dark dry goods store. An empty wood and glass counter parallel to the east wall displays mere remnants of the grains, sugar, fruit, and candy once plentiful in each of the adjacent bins. The shelves behind the counter are now only a repository for dust and a framework for countless cobwebs. The wooden floorboards, once sanded and polished, are now buckled and decrepit. A pair of broken doors leads out to the south and an open screen door leads to the west.\n\nOne of the floorboards squeaks when you step on it.\n\nOn the shelves are a stack of gum base and a box (which is closed).\n\nThe torn cloth in the screen door flaps gently from a barely perceptible breeze.\n\n> You take all\nloose floorboard: That's fixed in place.\n\n> You look at the shelf\nThese are just your average horizontal boards used for displaying store items.\n\n> You take the cloth\nThe staples are resistant to any attempts you make to strip the cloth from their grasp. Maybe you could tear it.\n\nThe torn cloth in the screen door flaps gently from a barely perceptible breeze.\n\n> Tear cloth\nThe material yields nothing for a moment, but then \"R-I-I-P-P-P.\" A small piece tears off from the rest.\n\n> You examine the gum base\nThe stack consists of a number of squares labeled \"Uncle Wrigley's Virgin Gum Base.\"\n\n> You look at the box\nThe box is adorned with a drawing of a cute redhead and the printing \"Mon Cheri's Tea Sugar.\"\n\n> You take the box\nMaybe you could take a free \"sample\" from the box, but taking the whole thing would probably be grounds for a lynching.\n\n> You open the box\nYou open the box, revealing a dozen or so sugar cubes.\n\n> You take the sugar cube\nYou take one of the cubes from the box.\n\n> Close box\nYou close the box.\n\n> You examine the floorboard\nThe floorboard is a couple of feet long and is missing its nails on one end.\n\n> You open it\nUnder the floorboard are a couple of matches.\n\n> You examine matches\n(the match)\nIt's your everyday unlit kitchen match.\n\n> Inventory\nYou are carrying:\na match\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\n> You take the matches\n(the match)\nTaken.\n\n> Keep going\nYou already have that.\n\n> Inventory\nYou are carrying:\ntwo matches\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\n> Go west\nThis small fenced-in area was once a garden, probably for the private use of the store's proprietor. Weeds now blanket the dark soil where once beans, carrots, potatoes, and the like thrived in the hot summer. In one corner of the garden, however, a single corn stalk has made its way skyward supported by the fence. A screen door to the east leads back into the store.\n\n> You examine the stalk\nThe corn stalk is dried to a crisp from the lack of water and there isn't a single ear left. There are, however, a couple of kernels of corn tucked away in the leaves of the stalk.\n\n> You get the corn\n(the couple kernels of corn)\nTaken.\n\n> Dig\nWhat do you want to dig up?\n\n> Go east\nWhat do you want to dig up the east wall with?\n\n> Go east\nThe musty smell of rotting wood greets your arrival at this rather dark dry goods store. An empty wood and glass counter parallel to the east wall displays mere remnants of the grains, sugar, fruit, and candy once plentiful in each of the adjacent bins. The shelves behind the counter are now only a repository for dust and a framework for countless cobwebs. The wooden floorboards, once sanded and polished, are now buckled and decrepit. A pair of broken doors leads out to the south and an open screen door leads to the west.\n\nOne of the floorboards squeaks when you step on it.\n\nOn the shelves are a stack of gum base and a box (which is closed).\n\n> You go south\nMost of the buildings on this end of town have given up the ghost and are but piles of broken lumber, tarpaper and other debris. One structure, to the north, seems to have fared considerably better than its neighbor to the south. The street narrows to the west where it appears to pick up a trail leading out of town. Back to the east is the center of town.\n\n> Go west\nThe east-west trail here is lined by scraggly sycamore trees that look more dead than alive. Even the few birds' nests tucked away in the upper branches look poorly constructed and uninhabitable.\n\n> You climb the tree\nAfter selecting a promising candidate, you carefully scale the trunk. After a few moments you find yourself at...\n\nThe upper branches of this tree are almost totally bare of leaves. One branch within reach supports a deserted bird's nest which looks a whisper away from nonexistence. Further travel up the tree does not look promising since, basically, there is no more tree.\n\n> You look at the nest\nThe nest is constructed out of twigs, leaves and a few other unidentifiable materials. If you are careful, you may be able to look inside without falling out of the tree.\n\n> You get the note\nTaken.\n\n> You examine the note\n\"Congratulations on the purchase of your new\nHAPPY DAYS Slot Machine, the slot guaranteed\nto raise income and please your clientele! Special\nfeatures of the HAPPY DAYS slot include:\n- Large payoff tray\n- Adjustable odds with convenient thumbwheels\n- Ivory grip handle\n- 10 plays for only 1 Buck-a-bin\n\nRemember,\n\n+HAPPY\n+HAPPY\n+ DAYS\n\nAHEAD\n\nA=7,8 or 9.\nNo two letters represent the same integer.\n\nHerringVille Slot Machine Co.\"\n\n> You look in the nest\nThe nest is empty.\n\n> You climb down\nThe east-west trail here is lined by scraggly sycamore trees that look more dead than alive. Even the few birds' nests tucked away in the upper branches look poorly constructed and uninhabitable.\n\n> Go west\nThe trail continues east-west here, but two side trails duck away up to the northwest and down to the southwest somewhat forming a fork.\n\nThere is something shiny here half-buried in the dirt.\n\n> You take all\nsilver spoon: Taken.\n\n> You examine the spoon\nThis tarnished old spoon is adorned with decorative scrolls on the handle and, although slightly bent, appears quite useable.\n\n> You go west\nThe trail is straight as an arrow as it leads to the badlands to the west and towards Deadeye Gulch to the east. A barely legible sign shaped like an arrow points west.\n\n> You look at the sign\nWarning: Badlands Ahead - Travel\n\nNot Advised.\n\n> You go northwest\nA rather tall hill sprouts out of the landscape here, casting a deep shadow to the east. A well-traveled path leads up the hill to the northeast and a grassy trail leads off to the southeast. There is a sign lying in the dirt.\n\n> You examine sign\nThe bullet-riddled sign reads:\n\"No Trespassing\nPrivate Property\"\n\n> You take the sign\nThe sign is of little use to anyone, particularly you.\n\n> You go to the northeast\nThe whole valley is revealed to you as you approach the summit. To the east, you see the largely decaying town of Deadeye Gulch, and just further, the small knoll known as Boot Hill. To the south, the dusty valley floor unfolds, divided by a small tree-lined creek. Large snowy mountains abut the hill to the north while endless badlands reach out seemingly forever to the west. The main trail continues around the hill to the west and down to the southwest, whereas a faint side trail heads towards the crest to the north.\n\n> You go to the south\nYou can proceed up the hill, down the hill, or over to the west.\n\n> Go north\nAs you proceed up the hill, your bones start to hurt and you feel like you're....\n\n\"I'm too old for this nonsense\" is your first thought after a brief journey over the crest of the hill to this dirt outcropping on the north side. Momentarily ignoring your aching joints and brief memory lapses, you spot a trail heading south up the hill. Oddly, the trail shows signs of fresh footprints.\n\nYou can see a lantern here.\n\n> You look at the lantern\nHardly your brass variety, but a serviceable lamp with a glass chimney.\n\n> You go north\nThe path to the south looks like your only sure bet.\n\n> You go south\nAs you return back, the spring returns to your step and you again feel like your youthful self again.\n\nThe whole valley is revealed to you as you approach the summit. To the east, you see the largely decaying town of Deadeye Gulch, and just further, the small knoll known as Boot Hill. To the south, the dusty valley floor unfolds, divided by a small tree-lined creek. Large snowy mountains abut the hill to the north while endless badlands reach out seemingly forever to the west. The main trail continues around the hill to the west and down to the southwest, whereas a faint side trail heads towards the crest to the north.\n\n> You go west\nWisps of steam rise off of the charred timbers of what was once a fair-sized building. Small flames flare up occasionally producing a deep crackling sound. Paper-thin pieces of ash float hither and yon. An odd-shaped sign lies on the ground.\n\nGeorge is here staring at the charred remains of his gum factory.\n\nThere is a brass key hanging on George's belt.\n\nYou can also see a leather-bound book, a cauldron (in which is some metallic flakes) and a burned sketch here.\n\n> You examine sign\no\nr\nGumBall\ne  e\ne\nt\nl\ne\nb\nFactory\nu\nm\n\n> You examine the sketch\nThis is a rather charred sketch of a woman opening a door.\n\n> You look at the book\nThe book is about the size of a small church hymn book. The leather cover is quite worn but still displays an array of wonderful artwork depicting scenes of cowboys, horses, and wide open vistas. The book is slightly singed in places, but more importantly, it appears as if most of the pages have been torn out.\n\n> You open the book\nThe one remaining page looks like a recipe:\n\n\"QuickDraw McGraw\"\n1 square gum base\n1 sprig sage\n1 cube sugar\n\nMix together with silver spoon in iron vessel with pinch of Tryst. Effects are temporary and may vary widely when used with alcohol.\n\n> You ask George about the factory\n\"'Tweren't that much all in all but it was home. Damn Biscuit Brothers just couldn't take not being able to rob any damn place they choose. I don't hold no grudge. But I ain't goin' to get all watery when they be swingin' from a tree.\"\n\n> You ask George about the gum\nThe gnome looks at you crossly and points at the remnants of his factory. \"I don't mean to burden yuh with my problems, but as yuh might see, I ain't gonna be makin gum for a spell.\"\"Can't ya see I got stuff on ma mind.\"\n\n> You ask George about the biscuit brothers\n\"Just dime store thieves. Shoot ya dead in a minute, ya hear! Keep yer distance from Frank. Since he found his way above, he ain't the same.\"\n\n> You ask George about Frank\n\"Don't go messin with Frank. He's got such a mean streak that he makes the devil nervous.\"\n\n> You check your inventory\nYou are carrying:\na lantern\na silver spoon\na crumpled note\n\n> You examine the cauldron\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\nThe cauldron is made of cast iron and is small enough to be carried on those long journeys across the open plains.\n\n> You examine the flakes\nThe flakes remind you of the glitter you used as a child.\n\n> You take the key\n\"What the hell do ya think yer doin' missy! Keeps yer hands away from me!\"\n\n> You take the sketch\nNow wouldn't that be cold. She probably was George's sweety.\n\n> You ask George about the sketch\n\"Prettiest damn woman I ever set eyes on. Ran off into the hills a few years back. Don't really know what became of her. She could do stuff with the Tryst that I never saw done before. Hell, some folks made her to be a witch. She never hurt nobody.\""
    },
    {
        "text": "> Look around\nWisps of steam rise off of the charred timbers of what was once a fair-sized building. Small flames flare up occasionally producing a deep crackling sound. Paper-thin pieces of ash float hither and yon. An odd-shaped sign lies on the ground.\n\nGeorge is here staring at the charred remains of his gum factory.\n\nThere is a brass key hanging on George's belt.\n\nYou can also see a burned sketch here.\n\n> Go west\nThere is a path leading off to the east.\n\n> Inventory\nYou are carrying:\na leather-bound book\na cauldron\nsome metallic flakes\na lantern\na silver spoon\na crumpled note\na couple kernels of corn\ntwo matches\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\n> You look at the cloth\nThe white material is covered with water stains and feels like a well-starched shirt.\n\n> Go east\nThe east-west trail here is lined by scraggly sycamore trees that look more dead than alive. Even the few birds' nests tucked away in the upper branches look poorly constructed and uninhabitable.\n\n> You go east\nMost of the buildings on this end of town have given up the ghost and are but piles of broken lumber, tarpaper and other debris. One structure, to the north, seems to have fared considerably better than its neighbor to the south. The street narrows to the west where it appears to pick up a trail leading out of town. Back to the east is the center of town."
    },
    {
        "text": "> You go west\nThe heat is stifling at this barren strip of track seemingly in the middle of nowhere. Even the ever present weeds have given up this area as hopeless and only a few cacti have managed to gain a foothold in the constantly shifting sand. One of the rails has become dislodged, forming a six-inch gap on one side of the tracks.\n\n> You look at the rail\nOne of the rails has moved about six inches laterally, introducing a significant discontinuity in the track system.\n\n> You examine the gap\nOne of the rails has become dislodged, forming a six-inch gap on one side of the tracks. A train would probably get derailed trying to pass through here.\n\n> Go west\nThe tracks gradually turn southwest here through a tight ravine cut into the sandy soil. Thick brush once again lines the tracks limiting passage only along the tracks themselves.\n\nThe tracks through the ravine are littered with rattlesnakes.\n\n> You examine the snakes\nDozens of rattlesnakes line the track. Most of them are coiled up and presumably sleeping; however, the few that are staring directly at you appear very daunting. It is with little disinterest that you note the crescendo of rattles in the area.\n\n> You go west\nIt is somewhat doubtful that you would survive the trek through the snakes.\n\n> Inventory\nYou are carrying:\na leather-bound book\na cauldron\nsome metallic flakes\na lantern\na silver spoon\na crumpled note\na couple kernels of corn\ntwo matches\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\n> Go east\nThe heat is stifling at this barren strip of track seemingly in the middle of nowhere. Even the ever present weeds have given up this area as hopeless and only a few cacti have managed to gain a foothold in the constantly shifting sand. One of the rails has become dislodged, forming a six-inch gap on one side of the tracks.\n\n> You go southwest\nA briskly moving stream widens here and is shallow enough to cross without difficulty. Along one bank where the water slows to a crawl a deposit of black magnetite can be seen. The trail continues to the northeast and up a small ridge to the southwest.\n\n> You look at the magnetite\nThe black iron oxide particles are quite dense and tend to settle out with other heavy minerals and metals such as gold.\n\n> You shake the pan\nUsing your best gold panning technique, you swish the wet slurry around, discarding the lighter materials in the process. Your efforts are soon rewarded by the discovery of a large gold nugget in the bottom of the pan!\n\n> You look at nugget\nThe gold nugget is about the size of a marble and is probably worth a small fortune.\n\n> Go northeast\nThis northeast-southwest trail has all the appearances of being a main thoroughfare prior to becoming overrun with weeds and brush. A narrow footpath leads off to the east through the brush.\n\n> You go northeast\nThe trail winds its way from the southwest through a shadowy canyon formed in the cleft of two large hills. You cannot help but feel confined and vulnerable by the sheer walls of this gorge and limited visibility in front of you and behind. The trail continues to the north.\n\n> Go north\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\n> You go north\nThe trail here turns to fine dust with only a trace of vegetation. The wind is howling from the west, blowing dust, sand, and tumbleweeds everywhere. A brief respite in the blowing debris allows you to see the trail continuing north and an overgrown path going up to the east.\n\n> You go to the north\nYou are at the outskirts of what you would guess is a small town. Tumbleweeds and debris litter the trail giving all appearances that this place is deserted. The majority of buildings and other structures are to the west while a large barn-like building is due north. There is a faded sign just off to the side of the trail.\n\n> Green\n\"It's a beautiful day for the race.\nStooge Hand is the favorite today, Assault is in there.\nDog Biscuit is 3:1, Safety Pin has been scratched,\nand at 20:1, Beetlebaum.\n\nNow the horses are approaching the starting gate,\nand there - There they go!\n\nJohannes Stuchan is going to the front.\nCabbage is second on the rail.\nBeautiful Linda is third by a length.\nAnd Beetlebaum - around the first turn.\n\nStuchan is still in the front,\nCabbage is second by a head.\n(Cabbage by a head!)\nBeautiful Linda is third.\nAnd Beetlebaum - into the back strech.\n\nDog Biscuit is now leading the pack.\nLady Appolonius is second, very close.\nBanana is coming up through the bunch.\n(Banana coming up through the bunch!)\nAnd Beetlebaum - at the half.\n\nStuchan still out in the front.\nApartment House is second with plenty of room.\nAssault is passing Battery.\n(Assaulting Battery!)\nNotary Sojack is fourth.\nAnd in lastplace by 10 lengths,\nI belive it is, yes it is, Beetlebaum.\n\nAround the turn and heading for home.\nIt's Stuchan, Dog Biscuit and Girdle in the stretch.\nFlying Silvester is third.\nAnd Mother-in-Law nagging in the rear.\nAnd now they come down to the wire.\nAnd it's number one and now number two.\nAnd it's very close.\nIt'll be a photo finish or an oil painting.\nAnd now Louis leads for the left.\nAnd Louis is an inertia sluggin'.\nAnd it's battle and now they're tearing hair.\nThere's hair all over the ring,\nThere's hair all over the place.\nI don't know whose hair it is - it's mine.\nAnd there goes the winner! - Beetlebaum!\"\n\n> You examine the contraption\nThe contraption has a metal block just an inch or so above a metal plate with a small circular impression. A series of gears connects the metal block to a lever.\n\n> You put the nugget in the plate\nYou put the gold nugget into the impression.\n\n> You pull the lever\nThe lever moves with hardly any effort at all, pressing the gold nugget into something resembling a coin.\n\n> You examine it\nThe gold coin is relatively primitive, yet has a monetary feel about it. There is a crudely engraved figure with a mask riding a horse on the face. Beneath the figure is the inscription \"1 Buck-a-Bin.\"\n\n> You read the note\n(the writing)\nThe writing is pretty much your ordinary bar graffiti with even an occasional heart and arrow. However, as you study the crude lettering you find some kind of note has evidently been scrawled into the surface.\n\nThe note says \"Feed and Water Your Horses at ROYBOB Livery.\"\n\n> You look at the paint\nWhich do you mean, the orange paint, the yellow paint, the red paint or the blue paint?\n\n> Red\nIt's just your everyday faded red paint.\n\n> You touch red\nThe door creaks loudly.\n\n> You examine the blue\nIt's just your everyday faded blue paint.\n\n> You examine the yellow\nIt's just your everyday faded yellow paint.\n\n> You look at the orange\nIt's just your everyday faded orange paint.\n\n> You touch the orange\nThe door creaks loudly and then shudders.\n\n> You touch the blue\nYou hear a click somewhere inside the door.\n\n> You open the door\nYou open the livery door.\n\n> You go north\nThis dilapidated building has long fallen into disrepair. It is surprisingly bright in here as light filters through large gaping holes in the roof. Numerous stalls line the walls presumably for horses or other livestock. A wooden ladder provides access to a hayloft to the north while large sliding doors, long off their rails, provide an egress to the east. You can leave the building by heading south.\n\n> You examine the stalls\nThere are at least twenty stalls shrouded in shadows from the high timber enclosures. Most of the stalls are blocked with wood and debris, but one looks ready for the nearest horse.\n\n> You enter the stall\nYou get into the horse stall.\n\nIn the horse stall you can see a shovel.\n\n> Go outside\nYou get out of the horse stall.\n\nThis dilapidated building has long fallen into disrepair. It is surprisingly bright in here as light filters through large gaping holes in the roof. Numerous stalls line the walls presumably for horses or other livestock. A wooden ladder provides access to a hayloft to the north while large sliding doors, long off their rails, provide an egress to the east. You can leave the building by heading south.\n\n> You examine the shovel\nThe wooden handle has splintered several times and has been thoughtfully wrapped in old rags for support, and the hand-forged blade is quite thin from use. All in all, though, it looks like the old girl could still toss a few more shovelfuls.\n\n> You go to the east\nAll is not so 'O.K.' with this corral as most of the wooden fences have given away to the ravages of time and the elements. Tall range grass has overtaken the ground and the air is alive with the sounds of grasshoppers, crickets and the like.\n\n> You examine grass\nThe grass is about waist high and is so thick it could conceal about anything.\n\n> You search the grass\nYou find a rusting green square tin.\n\n> You get the tin\nYou're carrying too many things already.\n\n> You check what you're carrying\nYou are carrying:\na shovel\na coin\na green note\na leather-bound book\na cauldron\nsome metallic flakes\na lantern\na silver spoon\na crumpled note\na couple kernels of corn\ntwo matches\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\nYou are carrying:\na shovel\na coin\na green note\na leather-bound book\na cauldron\nsome metallic flakes\na lantern\na silver spoon\na crumpled note\na couple kernels of corn\ntwo matches\na cube of sugar\na square of gum base\na piece of gauzy cloth\na pan\n\n> You put all in the cauldron\nshovel: Done.\ncoin: Done.\ngreen note: Done.\nleather-bound book: Done.\nlantern: Done.\nsilver spoon: Done.\ncrumpled note: Done.\ncouple kernels of corn: Done.\nmatch: Done.\nmatch: Done.\ncube of sugar: Done.\nsquare of gum base: Done.\npiece of gauzy cloth: Done.\npan: Done.\n\n> You get the tin\nTaken.\n\n> You examine the tin\nThe rusted square tin declares itself as \"Scented Bag Balm\" and includes these special directions:\n\n\"For minor congestion of the udder due to calving, high feeding, bruising or chilling. Using individual towels, thoroughly wash treated teats and udder before each milking to avoid contamination of milk. After each milking, bathe with plenty of hot water, strip milk out clean, dry skin and apply bag balm freely, massaging gently with this stiff ointment fifteen minutes twice daily or more often as needed. Special scented formula repels flies and other flying insects.\"\n\n> You open the tin\nYou open the tin, revealing two portions of balm.\n\n> Go up\nThe floorboards of the loft creak and sag with your weight but seem to be holding firm, at least for now. Only a few clumps of straw remain where there were once probably dozens of hay bales. The heat up here is nearly unbearable and perspiration begins to run down your face. The only way off of the loft is to impose yourself on the weathered ladder once again.\n\nYou can see a pitchfork here.\n\n> You examine it\nIt is a long-handled fork with four tines.\n\n> You go east\nThe entrance to the barn-like structure is to the west.\n\n> You put the coin in the slot\nThe coin drops into the slot.\n\n> You pull the lever\nThe tumblers spin for several seconds and then stop. The tumblers now show:\n\nThe machine produces a loud CLUNK and a bottle rolls out into the tray.\n\n> You look at it\nIt's a corked bottle of whiskey with an old faded label.\n\n> You read the label\n\"Daniel Jack's Redeye Special\"\n\n> You take the whiskey\nThat seems to be a part of the quarter-full bottle of whiskey.\n\n> You examine the cork\nIt is a cylindrical thumb-sized object made from the elastic outer bark of the cork oak (Quercus suber).\n\n> You taste the whiskey\nYour head starts to spin...\n\nThe ol' saloon is hoppin' tonight! Dance girls (ahem) swarm the dusty patrons, encouraging them to drink and gamble amongst other indiscretions. Above all the whoopin' 'n hollerin', you can just make out the tinny ragtime of an unseen brass-tack piano. The barkeep is shoveling out drinks to the bar at a furious pace while one of the other hired help polishes the wall-length mirror. Swinging doors lead back to the street to the north.\n\nYou can see a table here.\n\n> You look at the table\nThe four-legged table is exceptionally pristine considering the clientele around this place. The table top is flawlessly finished and sports nary a water mark.\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> About you\nAs good-looking as ever.\n\nWhen one of the patrons isn't looking, John Bro swaps his drink for an empty glass.\n\n> You examine john\nThe barkeep looks somewhat familiar. He has curly brown hair heavily seasoned with gray, a lightly bearded face, and  a slightly paunchy stomach. The local clientele seem to refer to him as \"John Bro\" or just \"Bro\" for short. Without exception, every time someone orders a drink, John Bro bellows out \"Done Deal!\" and then serves both the patron and himself a drink.\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> You check your inventory\nYou are carrying nothing.\n\nWhen one of the patrons isn't looking, John Bro swaps his drink for an empty glass.\n\n> You say done deal\nWhom do you want to say that to?"
    },
    {
        "text": "> You describe your surroundings\nThe ol' saloon is hoppin' tonight! Dance girls (ahem) swarm the dusty patrons, encouraging them to drink and gamble amongst other indiscretions. Above all the whoopin' 'n hollerin', you can just make out the tinny ragtime of an unseen brass-tack piano. The barkeep is shoveling out drinks to the bar at a furious pace while one of the other hired help polishes the wall-length mirror. Swinging doors lead back to the street to the north.\n\nYou can see a table here.\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> You examine the mirror\nThe mirror is quite overwhelming in size. Its surface is nearly perfect and shows no signs of distortion.\n\nWhen one of the patrons isn't looking, John Bro swaps his drink for an empty glass.\n\n> You examine the customers\nThe bar patrons are a mixture of cowpokes and businessmen.\n\nThe barkeep makes small talk with one of the patrons.\n\n> You ask John Bro about mirror\n\"Leave it alone. It's worth way more than yer hide!\"\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> You ask John Bro about the saloon\n\"I don't got no time for talkin'.\"\n\nWhen one of the patrons isn't looking, John Bro swaps his drink for an empty glass.\n\n> You ask John Bro about the drinks\n\"I don't got no time for talkin'.\"\n\nJohn Bro pulls out a small gun, checks it for bullets, and then places it back in his pocket.\n\n> You examine the gun\nThe single-shot pocket derringer has a beautiful ivory handle and appears to be loaded.\n\n> Go south\nYou can't go that way.\n\nThe barkeep makes small talk with one of the patrons.\n\n> You shoot john\nThe barkeep shakes his head and points to the shotgun behind the bar.\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> You shoot the mirror\nThe barkeep shakes his head and points to the shotgun behind the bar.\n\nWhen one of the patrons isn't looking, John Bro swaps his drink for an empty glass.\n\n> You look at the shotgun\nThe double-barreled shotgun hangs behind the bar for the sole use of the bartender.\n\nThe bartender pulls out a small flask and takes a swig when no one is looking.\n\n> Go north\nA big burly man bursts through the swinging doors and yells, \"What the hell ya think yer doin' missy sittin' at mah table? Hey barkeep, I should shoot yer ears off for lettin' this wench clutter up mah place here!\"\n\nThe ol' saloon is quieter than a church. Patrons and dance girls line the walls to avoid being in the line of fire. The barkeep is huddled behind the bar occasionally peeking out to view the situation. The rest of the hired help is nowhere to be seen.\n\nYou can see Black Thad McGee and a table here.\n\n> You examine thad\nThis is the meanest looking bad guy you hope to ever set eyes on. Narrow beady eyes stare at you from a grizzly shaven face. Twin scars, one each cheek, accentuate a bent nose which veers slightly off to the left. His dusty black clothing is well worn and is bulging at the seams from the massive physique contained within.\n\nBlack Thad's oversized hands continually twitch just over the handles of his pearl-handled guns.\n\"Well missy, how 'bout you give me a big ol' kiss and I'll forget I ever laid eyes on yer miserable hide?\"\n\n> You show the gun to Thad\n\"What I'm interested in ain't what yuh is holdin'.\" Black Thad says with an evil gleam in his eyes.\n\n\"Ya better get kissin' missy or I is goin' to up the stakes!\"\n\n> You shoot thad\nAs you lift the gun to shoot, Thad draws both guns and shoots the pistol right from your hand, leaving your arm stinging up to your elbow. Your head starts to spin from the pain, and within the blink of an eye, your head hits the floor.\nSaloon\nThis old beer hall served its last cold one many summers past. The rosewood bar stretches from wall to wall and, surprisingly, the wall-length mirror in back of the bar is still intact. The brass foot rail at the base of the bar is worn flat on the top from the countless patrons whose hard-earned wages were quickly converted into good times and song. Swinging doors lead back to the street to the north.\n\nYou can see a quarter-full bottle of whiskey, a cauldron (in which are a pan (which is empty), a square of gum base, a cube of sugar, two matches, a couple kernels of corn, a crumpled note, a silver spoon, a lantern, a leather-bound book, a green note, a shovel and some metallic flakes), a tin (in which are two portions of balm), a pitchfork, a piece of gauzy cloth, a cork, a table, a slot machine and a tray (which is empty) here.\n\nYou arise from the floor with a slight headache, but everything else seems to be intact.\n\n> You examine the recipe\nThe book is about the size of a small church hymn book. The leather cover is quite worn but still displays an array of wonderful artwork depicting scenes of cowboys, horses, and wide open vistas. The book is slightly singed in places, but more importantly, it appears as if most of the pages have been torn out.\n\n> You read it\nThe one remaining page looks like a recipe:\n\n\"QuickDraw McGraw\"\n1 square gum base\n1 sprig sage\n1 cube sugar\n\nMix together with silver spoon in iron vessel with pinch of Tryst. Effects are temporary and may vary widely when used with alcohol."
    },
    {
        "text": "> Look around\nThis old beer hall served its last cold one many summers past. The rosewood bar stretches from wall to wall and, surprisingly, the wall-length mirror in back of the bar is still intact. The brass foot rail at the base of the bar is worn flat on the top from the countless patrons whose hard-earned wages were quickly converted into good times and song. Swinging doors lead back to the street to the north.\n\nYou can see a quarter-full bottle of whiskey, a cauldron (in which are a pan (which is empty), a square of gum base, a cube of sugar, two matches, a couple kernels of corn, a crumpled note, a silver spoon, a lantern, a leather-bound book, a green note, a shovel and some metallic flakes), a tin (in which are two portions of balm), a pitchfork, a piece of gauzy cloth, a cork, a table, a slot machine and a tray (which is empty) here.\n\n> You get all\nquarter-full bottle of whiskey: Taken.\ncauldron: Taken.\ntin: Taken.\npitchfork: Taken.\npiece of gauzy cloth: Taken.\ncork: Taken.\ntable: That's fixed in place.\nslot machine: That's fixed in place.\ntray: That's fixed in place.\n\n> You dig in the grave\nWhat do you want to dig in the grave with?\n\n> Shovel\nThe ground is hard, but you manage to move a few shovelfuls of dirt.\n\n> You look at the grave\nThere is a small hole in the plot.\n\n> You dig in grave with the shovel\nYou start to break a sweat, but who ever said grave robbing was an easy business?\n\n> You keep going\nThis is more work than it's probably worth, as you have removed about 2 feet of soil.\n\nA rather large bird lands on the tombstone and watches your suspicious activity.\n\n> You examine the bird\nThe Tombstone Jay (or just T-Jay for short) appears to be a lot more hawk than jay. Mixed in with the ash-gray feathers are streaks of red and brown. A ring of white circles his hooked beak as well as his imposing taloned feet.\n\n> You get the bird\nFunny, the bird is probably thinking about doing the same to you.\n\n> You read the balm\nThe yellow oily balm has a pungent smell reminiscent of burning rubber.\n\n> You look at what you're carrying with you\nYou are carrying:\na cork\na piece of gauzy cloth\na pitchfork\na tin (which is open)\ntwo portions of balm\na cauldron\na pan\na square of gum base\na cube of sugar\ntwo matches\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\nsome metallic flakes\na quarter-full bottle of whiskey\n\n> You read the tin\nThe rusted square tin declares itself as \"Scented Bag Balm\" and includes these special directions:\n\n\"For minor congestion of the udder due to calving, high feeding, bruising or chilling. Using individual towels, thoroughly wash treated teats and udder before each milking to avoid contamination of milk. After each milking, bathe with plenty of hot water, strip milk out clean, dry skin and apply bag balm freely, massaging gently with this stiff ointment fifteen minutes twice daily or more often as needed. Special scented formula repels flies and other flying insects.\"\n\n> You give the corn to the bird\n(first taking the couple kernels of corn)\nThe Tombstone Jay quickly gobbles down the corn.\n\n> You dig in the grave with the shovel\nYour shovel contacts something soft but ungiving. After a few more shovelfuls, you uncover a pair of boots (which are fortunately unoccupied).\n\n> You get the boots\nTaken.\n\n> You examine the boots\nThese boots have seen many a mile but have many a mile to go.\n\n> You dig in the grave with the shovel\nFurther digging might only result in something that will keep you awake nights.\n\n> You search it\nInside the thick mass of tumbleweeds you make out something with a reddish tinge.\n\n> You get reddish\nThe thorny mass of tumbleweeds is in the way.\n\n> You move the clump with the pitchfork\nIt is fixed in place.\n\n> You get the tumbleweeds with the pitchfork\nYou pitch the tumbleweeds to the side revealing an old rusted railroad handcar. The tumbleweeds blow away in the wind.\n\n> You examine the handcar\nThe handcar is a small platform with four wheels and a T-shaped handle for propulsion. There is a small lever near the split-wood floor.\n\n> You kill the snake\nOne of the snakes responds to your futile attack by striking at your leg. Fortunately, the snake only found air.\n\n> Go south\nIt is difficult to discern the trail here due to the thick sagebrush. The vegetation does thin a bit to the southeast and southwest, and a clear path leads north.\n\nYou can see a sprig of sage here.\n\n> You get the sage\n(the sprig of sage)\nTaken.\n\n> You examine the sage\n(the sagebrush)\nThe aromatic brush sways briskly in the wind.\n\n> Go southwest\nThe trail descends here into a deep canyon cut into the surrounding sandstone. It is cooler here as most of the sunlight is blocked by the high walls. The path through the canyon proceeds to the west, where you see a large stone outcropping, and rises sharply to the northeast.\n\n> You go to the west\nThe far end of the canyon ends abruptly at this solid wall of sandstone which ascends over fifty feet from where you are standing. The trail winds around some scrub brush to a pile of rocks which rests against the face of the wall.\n\n> You move rocks\nThe rocks are much too heavy to move around.\n\n> You check your inventory\nYou are carrying:\na sprig of sage\na pair of old cowboy boots\na cork\na piece of gauzy cloth\na pitchfork\na tin (which is open)\ntwo portions of balm\na cauldron\na pan\na square of gum base\na cube of sugar\ntwo matches\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\nsome metallic flakes\na quarter-full bottle of whiskey\n\n> Go northeast\nIt is difficult to discern the trail here due to the thick sagebrush. The vegetation does thin a bit to the southeast and southwest, and a clear path leads north.\n\n> You go to the southeast\nThe main trail surrenders here to thick brush and thicket making further progress impossible. A faded sign is nailed to a huge willow tree whose long narrow branches just touch the ground. You can pick up the main trail to the northwest.\n\n> Go south\nA small stream flowing from the west is only slightly hampered here by a deteriorating beaver dam which has formed a large deep pool of crystal clear water. Chokecherry bushes line the perimeter of the pool confining access to the pool to the area in which you are standing. The air is thick with mosquitos and gnats.\n\nThere is a flat-faced rock here, protruding just above the surface of the pool.\n\nOn the chokecherry bushes is a small bunch of berries.\n\nThe mosquitos and gnats start to eat you alive, forcing you to leave while you still can.\n\nA well-traveled path from the west branches south and continues east here under the refreshing shade of the bordering oaks. The sloping path leading south appears somewhat muddy but the footing does not appear to be too difficult.\n\n> You wear the balm\n(first taking some balm)\nYou put on some balm.\n\n> Go south\nA small stream flowing from the west is only slightly hampered here by a deteriorating beaver dam which has formed a large deep pool of crystal clear water. Chokecherry bushes line the perimeter of the pool confining access to the pool to the area in which you are standing. The air is thick with mosquitos and gnats.\n\nThere is a flat-faced rock here, protruding just above the surface of the pool.\n\nOn the chokecherry bushes is a small bunch of berries.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You get the berries\nTaken.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You look at the berries\nThe small black berries look quite inviting.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You examine the rock\nThis rectangular rock is about a foot from the bank and is almost completely submerged in water. The top of the rock is almost perfectly flat and has a fine gritty texture.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You get on the rock\nYou get onto the wet rock.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You check what you're carrying\nYou are carrying:\na small bunch of berries\nsome balm (being worn)\na sprig of sage\na pair of old cowboy boots\na cork\na piece of gauzy cloth\na pitchfork\na tin (which is open)\nsome balm\na cauldron\na pan\na square of gum base\na cube of sugar\ntwo matches\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\nsome metallic flakes\na quarter-full bottle of whiskey\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You jump\nYou jump on the spot, fruitlessly.\nThe balm has worn out.\n\nThe mosquitos and gnats start to eat you alive, forcing you to leave while you still can.\n\nA well-traveled path from the west branches south and continues east here under the refreshing shade of the bordering oaks. The sloping path leading south appears somewhat muddy but the footing does not appear to be too difficult.\n\n> You wear the balm\n(some balm)\nYou're already wearing that!\nThe balm has worn out.\n\nThe mosquitos and gnats start to eat you alive, forcing you to leave while you still can.\n\nA well-traveled path from the west branches south and continues east here under the refreshing shade of the bordering oaks. The sloping path leading south appears somewhat muddy but the footing does not appear to be too difficult.\n\n> You look at the tree\nThe weeping willow tree is about 30 feet tall and has countless long, delicate, drooping branches. There is a faded sign nailed to the trunk.\n\n> You cut the branch\nWhat do you want to cut the weeping willow tree with?\n\n> You wear boots\nOne of the boots feels a bit more comfortable than the other. You put on the pair of old cowboy boots.\n\n> You examine the boots\nThese boots have seen many a mile but have many a mile to go.\n\n> Go southwest\nThe path here follows the bottom of a deep ravine, but more notably, is thickly covered with long-needle cacti. To the south, the path widens at the base of a large hill. To the northeast, the path heads towards a grove of trees.\n\n> You remove the boots\nYou take off the pair of old cowboy boots.\n\n> You look in the boots\nSomething flutters out of the boot."
    },
    {
        "text": "[Themes: Western, Fantasy]\n\n> Look around\nThe trail continues east-west here, but two side trails duck away up to the northwest and down to the southwest somewhat forming a fork.\n\nYou can see a soiled note here.\n\n> You get the note\n(the soiled note)\nTaken.\n\n> You read it\nThe note is hardly legible, but you can make out:\n\n\"If I have done kick the bucket, do the old man\na favor. Play a song on the squeezebox once\nin a while for my ornery 'ol friend, and maybe\ngive him something to eat now and then.\n\n(signed) Sheriff Laramie B. Dalton\"\n\n> You wear the boots\nYou put on the pair of old cowboy boots.\n\n> Go southwest\nThe path here follows the bottom of a deep ravine, but more notably, is thickly covered with long-needle cacti. To the south, the path widens at the base of a large hill. To the northeast, the path heads towards a grove of trees.\n\n> Go south\nThe north-south path widens at the base of a steep rocky hill where an apparently large mining operation once stood. Another trail heads off to the east. Narrow gauge tracks come down a small knoll to the wide entrance carved into the hill. The entrance has been boarded over with thick timber and bears the notice \"KEEP OUT\" in crudely painted red letters. There is sign at the top of the entrance.\n\nAn ore car rests on the tracks at the top of the knoll. The car is tied by rope to a timber header at the end of the tracks.\n\n> You look at the sign\n\"Theodore & Sons Mining Co.\"\n\n> You go to the east\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\n> You examine the sign\n\"FUCE #12\"\n\n> You examine the derrick\nThe long-abandoned wooden derrick stands about two stories high and tapers to a narrow platform on the top. The majority of wooden slats that should line the sides are either broken or missing.\n\n> Climb derrick\nJust Off the Ground, On the Derrick\nYou are standing on a slat on the south face of the derrick just a few feet off the ground. Inscribed in one of the support beams just off to your left is the following:\n\n\"I go around in circles,\nBut always straight ahead\nNever complain,\nNo matter where I am led.\nWhat am I?\"\n\n> You ascend\nThe wooden slats above are too loose for safe climbing.\n\n> Go south\nThe path quickly turns to the east, leading to...\n\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\n> Climb derrick\nJust Off the Ground, On the Derrick\nYou are standing on a slat on the south face of the derrick just a few feet off the ground. Inscribed in one of the support beams just off to your left is the following:\n\n\"I go around in circles,\nBut always straight ahead\nNever complain,\nNo matter where I am led.\nWhat am I?\"\n\nNola the Derrick Nymph appears and whispers in your ear \"To answer the riddle, respond 'ANSWER whatever' or 'SAY whatever.'\" In an instant, the little nymph disappears.\n\n> You say the wheel\nThe derrick shifts slightly and the timbers creak.\n\n> Go up\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAbout Half Way Up, On the Derrick\nYou are standing on a slat on the south face of the derrick halfway between the top and the base. Scrawled on one of the cross members is the following:\n\n\"My life can be measured in hours,\nI serve by being devoured.\nThin, I am quick\nFat, I am slow\nWind is my foe.\nWhat am I?\"\n\nYou can see a nail (on which is a ship wheel) here.\n\n> You look at the wheel\nThe wooden ship wheel is about a foot in diameter and has six spokes between the outer rim and the inner hub. The inner hub has a carefully milled oval-shaped hole in the middle. There is a small brass plaque on one of the spokes.\n\n> You look at the plaque\nThe plaque reads:\n\n\"Leroy Raft never left the sea,\nRuined his ship finding Lorelee;\nLong was his journey, no bride his reward;\nLeroy Raft now lives in misery.\"\n\n> You say the candle\nThe derrick settles slightly and the timbers creak.\n\n> Go upwards\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAlmost to the Top, On the Derrick\nYou are just a few feet from the top of the derrick. One of the adjacent slats has the following painted on it:\n\n\"I'm Black, I'm Brown,\nYellow and Clear;\nI'm often found\nAmongst the Gears.\n\nAnd in the Ground,\nI can ease a\nGrating Sound.\nWhat am I?\"\n\nThere is a candle here wedged between a couple of pieces of wood.\n\n> You look at the candle\nThe candle is six inches long with a black curled wick.\n\n> You say oil\nThe derrick shudders and the timbers creak.\n\n> You go upward\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nPlatform, On the Derrick\nYou are on a narrow platform at the very top of the oil derrick. The platform is spotted with a number of bird droppings. The view from here is mostly obstructed by trees, but you can make out the hill with the mine to the west.\n\nYou can see a rusted oil can here.\n\n> You look at it\nThe rusted can has a long spout tapering to a narrow opening and seems to be half-full of oil."
    },
    {
        "text": "> Go downwards\nAlmost to the Top, On the Derrick\nYou are just a few feet from the top of the derrick. One of the adjacent slats has the following painted on it:\n\n\"I'm Black, I'm Brown,\nYellow and Clear;\nI'm often found\nAmongst the Gears.\n\nAnd in the Ground,\nI can ease a\nGrating Sound.\nWhat am I?\""
    },
    {
        "text": "> Go downwards\nAbout Half Way Up, On the Derrick\nYou are standing on a slat on the south face of the derrick halfway between the top and the base. Scrawled on one of the cross members is the following:\n\n\"My life can be measured in hours,\nI serve by being devoured.\nThin, I am quick\nFat, I am slow\nWind is my foe.\nWhat am I?\"\n\nYou can see a nail here.\n\n> Go upward\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAbout Half Way Up, On the Derrick\nYou are standing on a slat on the south face of the derrick halfway between the top and the base. Scrawled on one of the cross members is the following:\n\n\"My life can be measured in hours,\nI serve by being devoured.\nThin, I am quick\nFat, I am slow\nWind is my foe.\nWhat am I?\"\n\nYou can see a nail here.\n\n> You get nail\nThe nail is firmly fixed into the wood.\n\n> Inventory\nYou are carrying:\na rusted oil can\na candle\na ship wheel\na soiled note\na sprig of sage\na pair of old cowboy boots (being worn)\na cork\na piece of gauzy cloth\na pitchfork\na tin (which is open)\ntwo portions of balm\na cauldron\na pan\na square of gum base\na cube of sugar\ntwo matches\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\nsome metallic flakes\na quarter-full bottle of whiskey\n\n> You look at the wheel\nThe wooden ship wheel is about a foot in diameter and has six spokes between the outer rim and the inner hub. The inner hub has a carefully milled oval-shaped hole in the middle. There is a small brass plaque on one of the spokes.\n\n> You look at the plaque\nThe plaque reads:\n\n\"Leroy Raft never left the sea,\nRuined his ship finding Lorelee;\nLong was his journey, no bride his reward;\nLeroy Raft now lives in misery.\"\n\n> You read the book\nThe one remaining page looks like a recipe:\n\n\"QuickDraw McGraw\"\n1 square gum base\n1 sprig sage\n1 cube sugar\n\nMix together with silver spoon in iron vessel with pinch of Tryst. Effects are temporary and may vary widely when used with alcohol.\n\n> You get all from the cauldron\nsquare of gum base: Removed.\ncube of sugar: Removed.\nmatch: Removed.\nmatch: You're carrying too many things already.\ncouple kernels of corn: You're carrying too many things already. crumpled note: You're carrying too many things already.\nsilver spoon: You're carrying too many things already.\nlantern: You're carrying too many things already.\nleather-bound book: You're carrying too many things already.\ngreen note: You're carrying too many things already.\nshovel: You're carrying too many things already.\nsome metallic flakes: You're carrying too many things already.\n\n> You drop all\nmatch: Dropped.\ncube of sugar: Dropped.\nsquare of gum base: Dropped.\npan: Dropped.\nrusted oil can: Dropped.\ncandle: Dropped.\nship wheel: Dropped.\nsoiled note: Dropped.\nsprig of sage: Dropped.\ncork: Dropped.\npiece of gauzy cloth: Dropped.\npitchfork: Dropped.\ntin: Dropped.\ncauldron: Dropped.\nquarter-full bottle of whiskey: Dropped.\n\n> You get all from the cauldron\nmatch: Removed.\ncouple kernels of corn: Removed.\ncrumpled note: Removed.\nsilver spoon: Removed.\nlantern: Removed.\nleather-bound book: Removed.\ngreen note: Removed.\nshovel: Removed.\nsome metallic flakes: Removed.\n\n> You put the gum base in the cauldron\nYou put the square of gum base into the cauldron.\n\n> You put it in the cauldron\nYou put the cube of sugar into the cauldron.\n\n> You put it in the cauldron\nYou put the sprig of sage into the cauldron.\n\n> You get Tryst\nYou already have that.\n\n> You put it in the cauldron\nYou put some metallic flakes into the cauldron.\n\n> You mix the cauldron\nWhat do you want to mix the cauldron with?\n\n> Spoon\nThe mixture is difficult to stir at first. But soon, the ingredients turn into a viscous mass and the stirring becomes much easier. The cauldron starts to get hot and the mixture starts to bubble. Wisps of orange smoke are released periodically leaving a sweet aroma in the air. The cauldron then begins to shake violently and the orange smoke changes to billowing thick ash gray, totally obscuring sight of the cauldron. Then, the cauldron cools and the smoke clears revealing a small, perfectly spherical orange gumball in the bottom.\n\n> You examine the gumball\nThe orange gumball looks more like a marble than a confection."
    },
    {
        "text": "> You describe your surroundings\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\nYou can see a quarter-full bottle of whiskey, a cauldron (in which is an orange gumball), a tin (in which are two portions of balm), a pitchfork, a piece of gauzy cloth, a cork, a soiled note, a ship wheel, a candle, a rusted oil can, a pan (which is empty) and a match here.\n\n> You get all\nquarter-full bottle of whiskey: Taken.\ncauldron: Taken.\ntin: Taken.\npitchfork: Taken.\npiece of gauzy cloth: Taken.\ncork: Taken.\nsoiled note: Taken.\nship wheel: You're carrying too many things already.\ncandle: You're carrying too many things already.\nrusted oil can: You're carrying too many things already.\npan: You're carrying too many things already.\nmatch: You're carrying too many things already.\n\n> You put all in the cauldron\nsoiled note: Done.\ncork: Done.\npiece of gauzy cloth: Done.\npitchfork: Done.\ntin: Done.\nquarter-full bottle of whiskey: Done.\nshovel: Done.\ngreen note: Done.\nleather-bound book: Done.\nlantern: Done.\nsilver spoon: Done.\ncrumpled note: Done.\ncouple kernels of corn: Done.\nmatch: Done.\n\n> You get all\nship wheel: Taken.\ncandle: Taken.\nrusted oil can: Taken.\npan: Taken.\nmatch: Taken."
    },
    {
        "text": "[Themes: Fantasy, Western]\n\n> Look around\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\n> You go west\nThe north-south path widens at the base of a steep rocky hill where an apparently large mining operation once stood. Another trail heads off to the east. Narrow gauge tracks come down a small knoll to the wide entrance carved into the hill. The entrance has been boarded over with thick timber and bears the notice \"KEEP OUT\" in crudely painted red letters. There is sign at the top of the entrance.\n\nAn ore car rests on the tracks at the top of the knoll. The car is tied by rope to a timber header at the end of the tracks.\n\n> Inventory\nYou are carrying:\na match\na pan\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na quarter-full bottle of whiskey\na tin (which is open)\ntwo portions of balm\na pitchfork\na piece of gauzy cloth\na cork\na soiled note\nan orange gumball\na pair of old cowboy boots (being worn)\n\n> You get the whiskey\nThat seems to be a part of the quarter-full bottle of whiskey.\n\n> You taste the whiskey\nYour head starts to spin...\n\nThe ol' saloon is hoppin' tonight! Dance girls (ahem) swarm the dusty patrons, encouraging them to drink and gamble amongst other indiscretions. Above all the whoopin' 'n hollerin', you can just make out the tinny ragtime of an unseen brass-tack piano. The barkeep is shoveling out drinks to the bar at a furious pace while one of the other hired help polishes the wall-length mirror. Swinging doors lead back to the street to the north.\n\nYou can see a table here.\n\nJohn Bro calls for one of the dance hall girls and whispers something in her ear. The girl blushes and walks away giggling.\n\n> You eat the orange gumball\n(first taking the orange gumball)\nThe gum isn't as sweet and flavorful as one might have hoped, but, all in all, it's a good chew. The flavor does not last very long and, in fact, the gum itself doesn't last very long. In an instant, the gum dissolves leaving nothing but a sagey taste in your mouth. Nonetheless, you are feeling a bit perkier and your fingers are starting to twitch.\n\n> You taste the whiskey\nYour head starts to spin...\n\nThe ol' saloon is hoppin' tonight! Dance girls (ahem) swarm the dusty patrons, encouraging them to drink and gamble amongst other indiscretions. Above all the whoopin' 'n hollerin', you can just make out the tinny ragtime of an unseen brass-tack piano. The barkeep is shoveling out drinks to the bar at a furious pace while one of the other hired help polishes the wall-length mirror. Swinging doors lead back to the street to the north.\n\nYou can see a table here.\n\n> You ask John about the gun\n\"Here, you might be needin' this,\" whispers John Bro as he places a small gun in the palm of your hand.\n\nThe bartender pulls out a small flask and takes a swig when no one is looking.\n\n> Go north\nA big burly man bursts through the swinging doors and yells, \"What the hell ya think yer doin' missy sittin' at mah table? Hey barkeep, I should shoot yer ears off for lettin' this wench clutter up mah place here!\"\n\nThe ol' saloon is quieter than a church. Patrons and dance girls line the walls to avoid being in the line of fire. The barkeep is huddled behind the bar occasionally peeking out to view the situation. The rest of the hired help is nowhere to be seen.\n\nYou can see Black Thad McGee and a table here.\n\n> You shoot thad\nYou close your eyes and let out a shot in the direction of Black Thad McGee. The shot veers left, hitting his right-hand pistol and knocking it to the floor. The bullet ricochets off the pistol and hits the wall-length mirror dead center. The whole mirror gives way, crashing to the floor.\n\nBlack Thad shouts, \"What ya did that for?!\" holding his right thumb in obvious pain. Your victory, however, is somewhat short-lived as one of the dance hall girls grabs the whiskey bottle and shatters it against your head. As your consciousness starts to fade while you're staring point blank at the floor, you surmise that the woman just might have been Black Thad McGee's girlfriend.\n\nThis old beer hall served its last cold one many summers past. The rosewood bar stretches from wall to wall and, unsurprisingly, only a few shards remain of the once wall-length mirror in back of the bar. In place of the mirror, there is a narrow doorway heading east. The brass foot rail at the base of the bar is worn flat on the top from the countless patrons whose hard-earned wages were quickly converted into good times and song. Swinging doors lead back to the street to the north.\n\nYou can see shards of glass, a pair of old cowboy boots, a cauldron (in which are a match, a couple kernels of corn, a crumpled note, a silver spoon, a lantern, a leather-bound book, a green note, a shovel, a tin (in which are two portions of balm), a pitchfork, a piece of gauzy cloth and a soiled note), a ship wheel, a candle, a rusted oil can, a pan (which is empty), a match, a table, a slot machine and a tray (which is empty) here.\n\nYou stand up, apparently none the worse for wear.\n\n> You go east\nThis area was probably used as a storage area for the bar prior to the acquisition of the huge mirror. The rest of the saloon lies to the west.\n\nYou can see a dull knife here.\n\n> You examine the knife\nThe knife is about eight inches long with a steel blade and wooden handle. The knife is almost too dull to cut water.\n\n> Go west\nThis old beer hall served its last cold one many summers past. The rosewood bar stretches from wall to wall and, unsurprisingly, only a few shards remain of the once wall-length mirror in back of the bar. In place of the mirror, there is a narrow doorway heading east. The brass foot rail at the base of the bar is worn flat on the top from the countless patrons whose hard-earned wages were quickly converted into good times and song. Swinging doors lead back to the street to the north.\n\nYou can see shards of glass, a pair of old cowboy boots, a cauldron (in which are a match, a couple kernels of corn, a crumpled note, a silver spoon, a lantern, a leather-bound book, a green note, a shovel, a tin (in which are two portions of balm), a pitchfork, a piece of gauzy cloth and a soiled note), a ship wheel, a candle, a rusted oil can, a pan (which is empty), a match, a table, a slot machine and a tray (which is empty) here.\n\n> You get all\nshards of glass: The shards are too small to be handled safely.\npair of old cowboy boots: Taken.\ncauldron: Taken.\nship wheel: Taken.\ncandle: Taken.\nrusted oil can: Taken.\npan: Taken.\nmatch: Taken.\ntable: That's fixed in place.\nslot machine: That's fixed in place.\ntray: That's fixed in place.\n\n> You check what you're carrying\nYou are carrying:\na match\na pan\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na couple kernels of corn\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na tin (which is open)\ntwo portions of balm\na pitchfork\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> You pry hole with the knife\nTrying to pry the hole is futile.\n\n> You put the knife in the hole\nThe hole is too small for that.\n\n> You examine the corn\nThe corn kernels are dry and hard as a rock.\n\n> You put the corn in hole\nThe corn kernels disappear down the hole.\n\n> You shake the pan\nUsing your best gold panning technique, you swish the wet slurry around, discarding the lighter materials in the process. You are quickly disappointed to find nothing left in the pan.\n\n> Inventory\nYou are carrying:\na couple kernels of corn\na pitchfork\na match\na pan\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na tin (which is open)\ntwo portions of balm\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> Drink water\nThe cool water really hits the spot!\n\n> You eat the corn\nYou eat the couple kernels of corn. Not bad.\n\n> You look at what you're carrying with you\nYou are carrying:\na tin (which is open)\ntwo portions of balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> You examine the slurry\nThe gravel, sand, and water make up a dark brown slurry.\n\n> Inventory\nYou are carrying:\na tin (which is open)\ntwo portions of balm\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> You eat it\n(first taking the dozen or so sugar cubes)\n\"Waste not, want not.\"\n\n> You look at the box\nThe box is adorned with a drawing of a cute redhead and the printing \"Mon Cheri's Tea Sugar.\"\n\n> You look at the sugar\n(the dozen or so sugar cubes)\nThe cubes are pure white in color and neatly arranged in the box.\n\n> You taste the sugar\n(the dozen or so sugar cubes)\nYou taste nothing unexpected.\n\n> You eat sugar\n(the cube of sugar)\nThe sugar quickly dissolves in your mouth leaving a sweet aftertaste."
    },
    {
        "text": "> You look around\nThe musty smell of rotting wood greets your arrival at this rather dark dry goods store. An empty wood and glass counter parallel to the east wall displays mere remnants of the grains, sugar, fruit, and candy once plentiful in each of the adjacent bins. The shelves behind the counter are now only a repository for dust and a framework for countless cobwebs. The wooden floorboards, once sanded and polished, are now buckled and decrepit. A pair of broken doors leads out to the south and an open screen door leads to the west.\n\nOne of the floorboards squeaks when you step on it.\n\nOn the shelves are a stack of gum base and a box (in which is a dozen or so sugar cubes).\n\n> You go to the north\nA pair of broken doors leads out to the south and an open screen door leads to the west.\n\n> You ask George about Thad\n\"Deadeye use to be a nice place to live. Lots of good people from all 'round came to live here. Heck, ya could leave yer horse on the street fer a week and nobody'd mess with it.\"\n\n\"One day back a spell, Black Thad started to hang out 'bout town. He were more a pain in the neck than anything. He didn't bother folks much at first. Oh sure, he'd shoot up the place and pick a fight at the drop of a hat, but he didn't hurt folks too much.\"\n\n\"'Tweren't long after the Spring rains when Black Thad picked, of all things, a fight with a goshdarn woman at the saloon. Heck, ya know, Thad was just havin' some fun and the gal shot his thumb off. Now I'll tell ya, Thad was mean before, but thar weren't no puttin' up with him after he gone and lost his thumb to a woman. He started shootin', killin', robbin' and gettin' real nasty. When folks started to call him 'Thumbless Thad' he took it real personal and tried to burn down the whole damn town.\"\n\n\"Well, as if things' tweren't bad enough, he even shot the sheriff and made us bury him without his boots. Well, that was the last straw and folks 'round here just headed out of town. Moved to HerringVille, most of 'em. The few folks that did stay to tend the mine and the oil well were driven out by the Biscuit Brothers and the like who grew quite partial to a town without a sheriff. Soon the whole town just went to the ghosts and if 'twerent fer me, I reckon there'd be nothin' left. Now without ma place and horse, I be thinkin' I best be wanderin' up to HerringVille.\"\n\n> Inventory\nYou are carrying:\na cube of sugar\na tin (which is open)\ntwo portions of balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na crumpled note\na silver spoon\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> You examine the ash\nThe paper-thin ashes drift aimlessly around in the air.\n\n> You examine the brass key\nThis is pretty much your average brass key with few distinguishing features except for the voluptuous lady carefully engraved onto the shaft.\n\n> Go west\nYou are on your way to HerringVille, but it's not to late turn back to the east.\n\nYou really should reconsider your course of action before something discouraging occurs.\n\n> You go west\nYou are on your way to HerringVille, but it's not to late turn back to the east.\n\nThe \"bad\" in badlands is not just there for amusement.\n\n> You go west\nYou are on your way to HerringVille, but it's not to late turn back to the east.\n\nLast chance to turn back.\n\n> Go west\nNow you've done it....\n\nYou are lost on a windy road that weaves between high plateaus and into narrow ravines. There is little in the way of vegetation or anything else of interest.\n\n> Go west\nYou are lost on a windy road that weaves between high plateaus and into narrow ravines. There is little in the way of vegetation or anything else of interest.\n\n> You go to the west\nThe wind picks up a bit and you can swear you can hear someone whisper \"XYZZY.\"\n\nYou are lost on a windy road that weaves between high plateaus and into narrow ravines. There is little in the way of vegetation or anything else of interest.\n\n> Xyzzy\nYour mind starts to wander...\n\nYou are in a debris room filled with stuff washed in from the surface. A low wide passage with cobbles becomes plugged with mud and debris here, but an awkward canyon leads upward and west.\n\nA note on the wall says, \"Magic word XYZZY.\"\n\nA three foot black rod with a rusty star on one end lies nearby.\n\n> You take the rod\nNow don't you think someone might be disappointed if they came out of the 'Cobble Crawl' or 'Sloping E/W Canyon' and didn't find the black rod here? You had best leave it alone and concentrate on getting out of your little predicament.\n\n> Go upward\nYou bump into something sharp, disturbing your daydream.\n\nThe trail is straight as an arrow as it leads to the badlands to the west and towards Deadeye Gulch to the east. A barely legible sign shaped like an arrow points west.\n\n> You unlock door\nWhat do you want to unlock the jail door with?\n\n> Cuss\n\"Horsefeathers!\" Feel better now?\n\n> You go west\nSuddenly, a rather soiled if not rotting individual comes up from behind and grabs you by the ear. He pulls hard, dragging you through town, and lectures,\n\n\"Dadgummit anyhow! You folks think you can come into town and shoot up the place, gamble til dawn, and swear any damn where ya please. Just cause I'm dead don't mean there ain't no law in this town.\"\n\nThe bootless man loses about half a dozen heavily yellowed teeth during this brief oration as well as two fingers off of his left hand. A large red worm crawls out of his right ear, meanders down his shriveled neck and nestles in the tattered clothing around his tarnished badge.\n\n\"Ya just can't trust folks anymore to follow the laws. Hell, just because yer six feet under, folks don't have no respect fer ya.\"\n\nThe stench of the little man becomes almost overwhelming as he finally approaches his destination. He unlocks the jail door and flings you into the cell.\n\n\"Now, you be mindin' yerself or I'll be stringin' ya to a tree!\"\n\nThe sheriff strolls off in the direction of Boot Hill, losing part of his nose in the process.\n\nThis small jail was not designed for the comfort of its occupants. It is impossible to stand without hunching over and you can touch any two walls at the same time. The only relief from the crumbling stucco walls is the iron-barred door to the north.\n\nOne of the bars must have fallen off of the door and onto the floor of the jail.\n\n> You take the bar\nTaken."
    },
    {
        "text": "[Themes: Fantasy, Western]\n\n> Look around\nThis small jail was not designed for the comfort of its occupants. It is impossible to stand without hunching over and you can touch any two walls at the same time. The only relief from the crumbling stucco walls is the iron-barred door to the north.\n\n> Wait\nTime passes.\n\n> You pry the door with the bar\nTrying to pry the jail door is futile.\n\n> Wait\nTime passes.\nThe half-rotting sheriff walks up to the jail cell and unlocks the door and mumbles,\n\n\"Now you be watchin' yerself now. I ain't goin' to put up with yer doins no more.\"\n\nThe sheriff hobbles down Main Street, losing the better part of his left leg during the journey.\n\n> You open the door\nYou open the jail door.\n\n> Examine bar\nIt's a five foot long iron bar with a pointed end.\n\n> You go north\nThe musty smell of rotting wood greets your arrival at this rather dark dry goods store. An empty wood and glass counter parallel to the east wall displays mere remnants of the grains, sugar, fruit, and candy once plentiful in each of the adjacent bins. The shelves behind the counter are now only a repository for dust and a framework for countless cobwebs. The wooden floorboards, once sanded and polished, are now buckled and decrepit. A pair of broken doors leads out to the south and an open screen door leads to the west.\n\nOne of the floorboards squeaks when you step on it.\n\nOn the shelves are a stack of gum base and a box (in which is a dozen or so sugar cubes).\n\n> You put the bar in the hole\n(the iron bar in the hole)\nThe hole is too small for that.\n\n> You take something with the bar\n(the window bars)\nTaken.\n\n> Inventory\nYou are carrying:\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\ntwo portions of balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na ship wheel\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> Examine bar\n(the window bars)\nThe bars are thick and unremovable.\n\n> You pry the hole with the bar\n(the window bars)\n\nTrying to pry the hole is futile.\n\n> You examine iron bar\nIt's a five foot long iron bar with a pointed end.\n\n> You pry the floor with the iron bar\nTrying to pry the floor is futile.\n\n> You take the iron bar\nYou already have that.\n\n> You put the iron bar in the hole\nThe hole is too small for that.\n\n> Go east\nThe main part of town seems to be to the west and the trail out of town is to the south. There is a barn-like structure to the north.\n\n> You move the rail with the bar\nUsing the iron bar as a lever, you move the broken rail back into place, restoring the integrity of the tracks.\n\n> Go east\nThe tracks continue east-west here through thick scrub brush and an occasional patch of cactus. There is a short section of track running parallel to, and eventually joining, the main track to form a spur.\n\nThere is a rusted old handcar on the track spur.\n\n> Oil handcar\nWhat do you want to oil the handcar with?\n\n> Oil handcar with oil can\nYou carefully oil everywhere there's a moving surface.\n\n> You get in the handcar\nYou get into the handcar.\n\n> You pull the lever\nYou move the lever to the aft position.\n\n> You pull the lever\nThe lever is as far aft as it can go.\n\n> Keep going\n(the handle)\nThe handcar slowly begins to move...\n\nBroken Track (in the handcar)\nThe heat is stifling at this barren strip of track seemingly in the middle of nowhere. Even the ever present weeds have given up this area as hopeless and only a few cacti have managed to gain a foothold in the constantly shifting sand. The tracks here look to be in good shape despite the shifting sand.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nNarrow Ravine (in the handcar)\nThe tracks gradually turn southwest here through a tight ravine cut into the sandy soil. Thick brush once again lines the tracks limiting passage only along the tracks themselves.\n\nThe tracks through the ravine are littered with rattlesnakes.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nNumerous snakes strike at the wheels of the handcar.\n\nEnd of the Line (in the handcar)\nYour makeshift railroad comes to an end here as several feet of sand cover the tracks. Right next to the tracks to the south is a small sod structure with a faded sign on top.\n\n> You examine the sign\nThe sign reads:\n\"Danger Explosives R&L RailRoad\"\n\n> You examine the structure\nThis old shack has all but lost the battle against the elements. The roof, sagging from its own weight, looks as if it will collapse at any moment. The mud walls are weed-ridden and crumbling. All in all, this looks like a great place to kill some time.\n\n> You go south\nYou'll have to get out of the handcar first.\n\n> You go outside\nYou get out of the handcar.\n\nYour makeshift railroad comes to an end here as several feet of sand cover the tracks. Right next to the tracks to the south is a small sod structure with a faded sign on top.\n\nThere is a rusted old handcar on the track spur.\n\n> You open the door\nIt seems to be locked.\n\n> You examine the door\nNo mud in this door, just solid wood. In fact, it's your everyday solid wood door with an oval peg extending from the center.\n\n> You put the wheel on the peg\nThe wheel fits snugly on the peg.\n\n> Turn wheel\nYou can turn the wheel right or left.\n\n> Turn wheel left\nYou hear a muted \"click\" within the door.\n\n> Turn wheel left\nYou hear a subtle \"click\" within the door.\n\n> Turn wheel right\n\"THUNK!\"\n\n> You open the door\nYou open the door.\n\n> Go south\nThe inside of the shack smells quite musty and there is dust everywhere. Narrow shafts of light from the decaying roof highlight the dark dirt floor. There is a door to the north.\n\nYou can see a metal strongbox (which is closed) here.\n\n> Examine box\nThe metal container is made from polished brass and is about the size of a shoe box. On the front face of the box is small keyhole.\n\n> You get the box\nThe strongbox is way too heavy to be lifted.\n\n> You pry the box with the bar\nTrying to pry the metal strongbox is futile.\n\n> You dig the floor\nWhat do you want to dig the floor with?\n\n> You look at what you're carrying with you\nYou are carrying:\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\ntwo portions of balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots\na dull knife\n\n> Go north\nYour makeshift railroad comes to an end here as several feet of sand cover the tracks. Right next to the tracks to the south is a small sod structure with a faded sign on top.\n\nThere is a rusted old handcar on the track spur.\n\nOn the peg is a ship wheel.\n\n> You get on the car\nYou get into the handcar.\n\n> You pull the lever\nYou move the lever to the aft position.\n\n> Keep going\n(the handle)\nThe handcar slowly begins to move...\n\nBroken Track (in the handcar)\nThe heat is stifling at this barren strip of track seemingly in the middle of nowhere. Even the ever present weeds have given up this area as hopeless and only a few cacti have managed to gain a foothold in the constantly shifting sand. The tracks here look to be in good shape despite the shifting sand.\n\n> You keep going\n(the handle)\nThe handcar slowly begins to move...\n\nTrack Crossing (in the handcar)\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\n> You pull the lever\nThe lever is as far aft as it can go.\n\n> You get off the handcar\nYou get out of the handcar.\n\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\nThere is a rusted old handcar on the track spur.\n\n> You go to the east\nYou are in a flat grassy area surrounded by scrub pines and large granite boulders. Purple and yellow wildflowers flourish in this area and the attendant bees are laden full with pollen and nectar. A lightly traveled path winds west through the rocks.\n\n> Go north\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\nThere is a rusted old handcar on the track spur.\n\n> You go to the east\nYou are standing atop a large knoll which apparently served as a cemetery at some point in time. Remains of a picket fence lie strewn about the hillside and most of the gravestones have disintegrated beyond recognition. One granite marker at the head of a grassless plot, however, remains intact.\n\nThere is a Tombstone Jay here standing on top of the grave marker.\n\n> Go east\nThe only way off the hill is down to the west.\n\n> You go to the south\nThe only way out of the clearing is to the west.\n\n> You search the car\nThe ore car is empty.\n\n> You untie the rope\nNice try, but it will hardly contribute to your score.\n\n> You go north\nThe path here follows the bottom of a deep ravine, but more notably, is thickly covered with long-needle cacti. To the south, the path widens at the base of a large hill. To the northeast, the path heads towards a grove of trees.\n\n> Go north\nAs you proceed up the hill, your bones start to hurt and you feel like you're....\n\n\"I'm too old for this nonsense\" is your first thought after a brief journey over the crest of the hill to this dirt outcropping on the north side. Momentarily ignoring your aching joints and brief memory lapses, you spot a trail heading south up the hill. Oddly, the trail shows signs of fresh footprints.\n\n> You go north\nThe path to the south looks like your only sure bet.\n\n> You go south\nAs you return back, the spring returns to your step and you again feel like your youthful self again.\n\nThe whole valley is revealed to you as you approach the summit. To the east, you see the largely decaying town of Deadeye Gulch, and just further, the small knoll known as Boot Hill. To the south, the dusty valley floor unfolds, divided by a small tree-lined creek. Large snowy mountains abut the hill to the north while endless badlands reach out seemingly forever to the west. The main trail continues around the hill to the west and down to the southwest, whereas a faint side trail heads towards the crest to the north.\n\n> You go west\nWisps of steam rise off of the charred timbers of what was once a fair-sized building. Small flames flare up occasionally producing a deep crackling sound. Paper-thin pieces of ash float hither and yon. An odd-shaped sign lies on the ground.\n\nGeorge is here staring at the charred remains of his gum factory.\n\nThere is a brass key hanging on George's belt.\n\nYou can also see a burned sketch here.\n\n> Inventory\nYou are carrying:\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\ntwo portions of balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na green note\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na dull knife\n\n> You give the green note to George\n(first taking the green note)\n\"Thank you kindly ma'am, but I ain't interested in none of your stuff.\"\n\n> You wear the balm\n(some balm)\nYou put on some balm.\n\n> Go south\nA small stream flowing from the west is only slightly hampered here by a deteriorating beaver dam which has formed a large deep pool of crystal clear water. Chokecherry bushes line the perimeter of the pool confining access to the pool to the area in which you are standing. The air is thick with mosquitos and gnats.\n\nThere is a flat-faced rock here, protruding just above the surface of the pool.\n\nOn the chokecherry bushes is a small bunch of berries.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You sharpen the knife on the rock\nYou work the knife over the gritty surface of the stone until the blade is as sharp as a scalpel.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You eat the berries\nThe berries taste a little tart but quickly bring back memories of long summer days and fall canning. As these memories progress, you start to envision Dehlila picking berries from these very same bushes. Suddenly she is startled and rubs a locket hanging from her neck, and disappears!\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing."
    },
    {
        "text": "[Themes: Fantasy, Western, female protagonist, western]\n\n> Look around\nA small stream flowing from the west is only slightly hampered here by a deteriorating beaver dam which has formed a large deep pool of crystal clear water. Chokecherry bushes line the perimeter of the pool confining access to the pool to the area in which you are standing. The air is thick with mosquitos and gnats.\n\nThere is a flat-faced rock here, protruding just above the surface of the pool.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You search the bushes\nThere is nothing on the chokecherry bushes.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> Go east\nYou are in a flat grassy area surrounded by scrub pines and large granite boulders. Purple and yellow wildflowers flourish in this area and the attendant bees are laden full with pollen and nectar. A lightly traveled path winds west through the rocks.\nThe balm has worn out.\n\n> You cut the branch with the knife\nYou lop off one of the branches and it falls to the ground.\n\n> You look at the branch\n(the stick)\nThe willow stick is about 3 feet long and thin as a pencil.\n\n> You check what you're carrying\nYou are carrying:\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> Go southeast\nThe main trail surrenders here to thick brush and thicket making further progress impossible. A faded sign is nailed to a huge willow tree whose long narrow branches just touch the ground. You can pick up the main trail to the northwest.\n\nYou can see a stick here.\n\n> You put the stick in the hole\nYou poke the stick into the hole, move it around and take it back out without retrieving anything.\n\n> You look at what you're carrying with you\nYou are carrying:\na stick\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> Chew gum\n(the stack of gum base)\nSome people will chew on anything.\n\n> You check your inventory\nYou are carrying:\na square of gum base\na stick\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> Chew square\nWhich do you mean, the square of gum base or the tin?\n\n> Gum\nThe gum base tastes terrible, lacking any flavorings or sugar. You quickly take it out of your mouth.\n\n> You put the gum on the stick\nThe wad of gum base sticks nicely to the end of the stick."
    },
    {
        "text": "[Themes: Fantasy, Western, female protagonist, western]\n\n> You look around\nAbandoned teller windows line the west wall of this former financial hub of the Deadeye community. Not unlike everything else in town, it too has fallen into disrepair. To the north you can make out an open vault and to the south lies Main Street.\n\nThere is a hole in one of the floorboards.\n\nYou can also see a gold locket (which is closed) here.\n\n> You wear the locket\nYou put on the gold locket.\n\n> You open the locket\nYou open the gold locket.\n\n> You look in locket\nThe gold locket is empty.\n\n> You rub it\nNothing seems to happen.\n\n> Close locket\nYou close the gold locket.\n\n> Wave locket\nYou look ridiculous waving the gold locket.\n\n> You wear it\nYou're already wearing that!\n\n> You look at what you're carrying with you\nYou are carrying:\na gold locket (being worn and closed)\na stick\na sticky (lightly chewed) square of gum base\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> Rub locket\nNothing seems to happen.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You touch the locket\nYou feel nothing unexpected.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You open the locket\nYou open the gold locket.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You look at the locket\nThe gold locket, which is shaped like a quarter-moon, is attached to a fine gold chain which is more than long enough to fit over your head.\n\nThe mosquitos and gnats don't want anything to do with that smelly stuff you're wearing.\n\n> You look at what you're carrying with you\nYou are carrying:\na gold locket (being worn and closed)\na stick\na sticky (lightly chewed) square of gum base\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na couple kernels of corn\na pitchfork\na match\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na lantern\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> You get off\nYou get out of the handcar.\n\nYour makeshift railroad comes to an end here as several feet of sand cover the tracks. Right next to the tracks to the south is a small sod structure with a faded sign on top.\n\nThere is a rusted old handcar on the track spur.\n\nOn the peg is a ship wheel.\n\n> You read sign\nThe sign reads:\n\"Danger Explosives R&L RailRoad\"\n\n> Unlock  bounlock   box\nWhat do you want to unlock the metal strongbox with?\n\n> You go west\nThe heat is stifling at this barren strip of track seemingly in the middle of nowhere. Even the ever present weeds have given up this area as hopeless and only a few cacti have managed to gain a foothold in the constantly shifting sand. The tracks here look to be in good shape despite the shifting sand.\n\n> You examine the plot\nThere is a deep hole here. Better be careful.\n\n> Dig\nWhat do you want to dig up?\n\n> You dig the plot\nWhat do you want to dig the grave with?\n\n> You pry timber\nWhat do you want to pry the timber with?\n\n> Bar\nTrying to pry the timber is futile.\n\n> You say the timber\nNothing seems to have happened.\n\n> You look at the timber\nWood by any other name...\n\n> You cut the rope with knife\nThe knife easily cuts through the rope, releasing the ore car. The ore car starts slowly and gradually increases its  pace towards the entrance. After twenty feet of travel the car is moving at a fair clip; after forty, the wheels start to scream.\n\nThe ore car slams into the entrance like a blur. The timbers barring the entrance yield instantly at the impact as the car continues its journey into the mine shaft and out of sight."
    },
    {
        "text": "> Look around\nThe north-south path widens at the base of a steep rocky hill where an apparently large mining operation once stood. Another trail heads off to the east. Narrow gauge tracks come down a small knoll down to the wide entrance carved into the hill. A mass of broken timbers surround the base of the foreboding entrance to the west. There is a sign at the top of the entrance.\n\n> You go west\nYou are in a dark mine shaft. The tracks coming from the entrance to the east end here. On the tracks, you see an ore car. Up high in the roof of the shaft, there is a narrow dark opening. You can proceed west to go deeper into the mine or exit the mine to the east.\n\nOn the tracks you see an ore car.\n\nThere is an ever-so-slight breeze in here.\n\n> You examine the lantern\nHardly your brass variety, but a serviceable lamp with a glass chimney.\n\nThere is an ever-so-slight breeze in here.\n\n> Light lantern with match\n(the match)\nYou have nothing to light the lantern with.\n\nThere is an ever-so-slight breeze in here.\n\n> You switch the lantern on\nThat's not something you can switch.\n\nThere is an ever-so-slight breeze in here.\n\n> Light lantern\nYou have nothing to light the lantern with.\n\nThere is an ever-so-slight breeze in here.\n\n> Light match\nYou strike the match on a convenient surface and it flares to life.\n\nThere is an ever-so-slight breeze in here.\n\n> Light lantern with match\n(the match)\nYou light the lantern.\n\nThere is an ever-so-slight breeze in here.\n\n> Go west\nYou are in a mine shaft with many intersecting tunnels.\n\nThere is an ever-so-slight breeze in here.\n\nThe match has gone out.\n\n> You go west\nYou are in a mine shaft with many intersecting tunnels.\n\nThere is an ever-so-slight breeze in here.\n\n> You take the candle\nYou already have that.\n\nThere is an ever-so-slight breeze in here.\n\n> You light the candle with the lamp\n(first taking the lantern)\nYou light the candle.\n\nThe candle aimlessly flickers about.\n\n> You examine the candle\nThe candle is six inches long and sports a brilliant yellow flame.\n\nThe candle aimlessly flickers about.\n\n> Go west\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle aimlessly flickers about.\n\n> You go to the east\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle flame swirls from the northeast to the east.\n\n> You go northeast\nThe shaft narrows here to a mere crawlway. There is a small crack in one of the walls.\n\nThe candle flame flickers towards the southwest.\n\n> You examine the crack\nIt's a small split in the wall face.\n\nThe candle flame flickers towards the southwest.\n\n> You look in the crack\nIn the crack is a piece of Trystanium.\n\nThe candle flame flickers towards the southwest.\n\n> You take the Trystanium\nTaken.\n\nThe candle flame flickers towards the southwest.\n\n> You look at it\nThe small crescent-shaped stone is surprisingly heavy and emits an eerie blue glow. On closer examination, you find it's more metal than mineral.\n\nThe candle flame flickers towards the southwest.\n\n> You go to the northeast\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle flame swirls from the west to the southwest.\n\n> Go west\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle flame flickers towards the east.\n\n> Go west\nThe mine shaft opens here into a large chamber. Light streams in from a three-foot hole in the ceiling. Presumably, the hole was chiseled in the rock as a vent for the mine system. You can see the mine shaft to the east.\n\nSomeone has abandoned an old accordion here.\n\nThe candle aimlessly flickers about.\n\n> You take the accordion\nYou're carrying too many things already.\n\nThe candle aimlessly flickers about.\n\n> You open the locket\nYou open the gold locket.\n\nThe candle aimlessly flickers about.\n\n> You put the Trystanium in it\nThe piece of Trystanium fits snugly inside the locket.\n\nThe candle aimlessly flickers about.\n\n> Close locket\nYou close the gold locket.\n\nThe candle aimlessly flickers about.\n\n> You take the accordion\nTaken.\n\nThe candle aimlessly flickers about.\n\n> You put it in the cauldron\nYou put the accordion into the cauldron.\n\nThe candle aimlessly flickers about."
    },
    {
        "text": "> You look around\nThe mine shaft opens here into a large chamber. Light streams in from a three-foot hole in the ceiling. Presumably, the hole was chiseled in the rock as a vent for the mine system. You can see the mine shaft to the east.\n\nThe candle aimlessly flickers about.\n\n> You go upward\nThe hole is about twenty feet up.\n\nThe candle aimlessly flickers about.\n\n> Go east\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle flame flickers towards the east.\n\n> Go east\nYou are in a mine shaft with many intersecting tunnels.\n\nThe candle flame swirls from the west to the southwest.\n\n> You go to the east\nYou are in a dark mine shaft. The tracks coming from the entrance to the east end here. On the tracks, you see an ore car. Up high in the roof of the shaft, there is a narrow dark opening. You can proceed west to go deeper into the mine or exit the mine to the east.\n\nOn the tracks you see an ore car.\n\nThe candle flame flickers towards the east.\n\n> You go to the east\nThe north-south path widens at the base of a steep rocky hill where an apparently large mining operation once stood. Another trail heads off to the east. Narrow gauge tracks come down a small knoll down to the wide entrance carved into the hill. A mass of broken timbers surround the base of the foreboding entrance to the west. There is a sign at the top of the entrance.\n\nThe candle flame whimpers out and dies.\n\n> You play it\nJust as you are about to play, the Tombstone Jay takes to flight and strips the accordion from your grasp. The huge bird flies due east with his quarry until he is out of sight. In a few moments, the bird returns with empty talons and settles back on the grave marker.\n\n> You give the corn to the bird\nThe Tombstone Jay quickly gobbles down the corn.\n\n> You go to the west\nThe massive bird takes to the air and disappears to the north.\n\nThe trail here turns to fine dust with only a trace of vegetation. The wind is howling from the west, blowing dust, sand, and tumbleweeds everywhere. A brief respite in the blowing debris allows you to see the trail continuing north and an overgrown path going up to the east.\n\n> Go south\nThe path quickly turns to the east, leading to...\n\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\nYou can see an accordion here.\n\n> You play it\nThe old accordion honks, wheezes and spews out clouds of dust. Somehow though, through the melee, a couple of tones do manage to escape.\n\n> Go upwards\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAlmost to the Top, On the Derrick\nYou are just a few feet from the top of the derrick. One of the adjacent slats has the following painted on it:\n\n\"I'm Black, I'm Brown,\nYellow and Clear;\nI'm often found\nAmongst the Gears.\n\nAnd in the Ground,\nI can ease a\nGrating Sound.\nWhat am I?\"\n\n> Go upwards\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nPlatform, On the Derrick\nYou are on a narrow platform at the very top of the oil derrick. The platform is spotted with a number of bird droppings. The view from here is mostly obstructed by trees, but you can make out the hill with the mine to the west.\n\nHigh overhead, a Tombstone Jay circles the derrick with a bright yellow object grasped in its talons.\n\n> You examine jay\nThe huge bird is flying much too high to discern any detail.\n\nHigh overhead, a Tombstone Jay circles the derrick with a bright yellow object grasped in its talons.\n\n> You play accordion\nThe old accordion honks, wheezes and spews out clouds of dust. Somehow though, through the melee, a couple of tones do manage to escape.\n\nThe Tombstone Jay immediately breaks out of its circling pattern and goes into a dive straight at you! At the last moment before collision, the crazy bird releases the yellow object and breaks out of the dive. The yellow object is true to its mark and smashes into the accordion, destroying the instrument on the spot. As the bird flies away to the north, it is apparent that the Tombstone Jay is overly critical of accordion music."
    },
    {
        "text": "> You look around\nPlatform, On the Derrick\nYou are on a narrow platform at the very top of the oil derrick. The platform is spotted with a number of bird droppings. The view from here is mostly obstructed by trees, but you can make out the hill with the mine to the west.\n\n> You examine the yellow\nThe yellow oily balm has a pungent smell reminiscent of burning rubber."
    },
    {
        "text": "[Themes: Fantasy, Western, western]\n\n> Go downward\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\nYou can see a small rock here.\n\n> You take the rock\nTaken.\n\n> You look at rock\nThe bright yellow rock is nearly perfectly spherical and has a number of letters uniformly spaced on the surface.\n\n> You examine the letters\nThe black lettering is quite worn, but you can just make out: \"TEDROTANO\"\n\n> You check what you're carrying\nYou are carrying:\na small rock\na lantern (providing light)\na gold locket (being worn and closed)\na stick\na sticky (lightly chewed) square of gum base\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na pitchfork\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na match\na crumpled note\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> Rub locket\nGeorge looks around quickly and says, \"Where in the hell did that woman go?\"\nA tingling sensation runs up your spine and you feel a little lighter on your feet.\n\nYou are invisible.\n\n> You take the brass key\nLike a thief in the night, you take the key from George's belt.\nTaken.\n\nYou are invisible.\n\n> You go east\nThe whole valley is revealed to you as you approach the summit. To the east, you see the largely decaying town of Deadeye Gulch, and just further, the small knoll known as Boot Hill. To the south, the dusty valley floor unfolds, divided by a small tree-lined creek. Large snowy mountains abut the hill to the north while endless badlands reach out seemingly forever to the west. The main trail continues around the hill to the west and down to the southwest, whereas a faint side trail heads towards the crest to the north.\n\nYou are invisible.\n\n> You go to the south-west\nA rather tall hill sprouts out of the landscape here, casting a deep shadow to the east. A well-traveled path leads up the hill to the northeast and a grassy trail leads off to the southeast. There is a sign lying in the dirt.\n\nYou are invisible.\n\n> You go northwest\nYou can't go that way.\n\nYou are invisible.\n\n> You go southeast\nThe trail continues east-west here, but two side trails duck away up to the northwest and down to the southwest somewhat forming a fork.\n\nYou are invisible.\n\n> You go east\nThe east-west trail here is lined by scraggly sycamore trees that look more dead than alive. Even the few birds' nests tucked away in the upper branches look poorly constructed and uninhabitable.\n\nYou are invisible.\n\n> You go to the east\nMost of the buildings on this end of town have given up the ghost and are but piles of broken lumber, tarpaper and other debris. One structure, to the north, seems to have fared considerably better than its neighbor to the south. The street narrows to the west where it appears to pick up a trail leading out of town. Back to the east is the center of town.\n\nYou are invisible.\n\n> You go to the east\nYou are at the east end of Deadeye Gulch on a street which is thick with dried grass and weeds. The remains of hitching posts and water troughs line the crumbling wooden sidewalks. Most of the buildings here have collapsed from aging timbers and a few appear as if they were burned down to their foundations. A couple of structures, however, have withstood the elements. To the north, there is a bank judging from the declaration as to such in the windows. To the south, there is a saloon.\n\nYou are invisible.\n\n> You go to the east\nYou are at the outskirts of what you would guess is a small town. Tumbleweeds and debris litter the trail giving all appearances that this place is deserted. The majority of buildings and other structures are to the west while a large barn-like building is due north. There is a faded sign just off to the side of the trail.\n\nYou are invisible.\n\n> Go south\nThe trail here turns to fine dust with only a trace of vegetation. The wind is howling from the west, blowing dust, sand, and tumbleweeds everywhere. A brief respite in the blowing debris allows you to see the trail continuing north and an overgrown path going up to the east.\n\nYou are invisible.\n\n> You go south\nA set of well-worn railroad tracks crosses the north-south trail here. The wooden ties have all but disintegrated and the rails are thick with bright red rust. The weed ridden-tracks run east-west.\n\nThere is a rusted old handcar on the track spur.\n\nYou are invisible.\n\n> You get on the car\nYou get into the handcar.\n\nYou are starting to return to your normal opaqueness.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nBroken Bridge (in the handcar)\nThe railroad tracks once crossed a deep gorge here, but the trestled bridge has long past seen its last train. The gaping hole in the middle of the bridge along with the highly questionable structural stability of the trestles themselves make further progress east unthinkable.\n\nYou are starting to return to your normal opaqueness.\n\nSuddenly, you feel a little heavier on your feet.\n\n> Keep going\n(the handle)\nThe handcar slowly begins to move...\n\n...and you quickly stop it before falling into the gorge.\n\n> You unlock the strongbox with the brass key\nYou unlock the metal strongbox.\n\n> You open it\nYou open the metal strongbox, revealing a stick of dynamite.\n\n> You drop the brass key\nDropped.\n\n> You put the tnt on the pile\nYou find a good-sized space between the rocks and insert the dynamite.\n\n> Light TNT with the lantern\nThis dangerous act would achieve little.\n\n> Light match\nYou strike the match on a convenient surface and it flares to life.\n\n> Light fuse\nIn true Douglas Adams fashion, you attempt to light the nonexistent fuse, which results in a nonexistent explosion. This is not entirely bad since the explosion would have resulted in mortal wounds which would have required you, the player, to have to 'restore' from your previous 'save' position. Now, as far as I remember, there is not one single fuse available in the story, so I wouldn't waste too much time trying to find one.\n\n> You examine the tnt\nThe stick of dynamite is about ten inches long and an inch in diameter. An oily yellowish fluid oozes out of small cracks along the surface and out of a small hole in one end of the stick.\n\nThe match has gone out.\n\n> You look at tnt\nThe stick of dynamite is about ten inches long and an inch in diameter. An oily yellowish fluid oozes out of small cracks along the surface and out of a small hole in one end of the stick.\n\n> You examine the fluid\nThe fluid is somewhat sticky and produces a light sulfur smell.\n\n> Light fluid\nThis dangerous act would achieve little.\n\n> Smell fluid\nYup, it's smells like sulfur.\n\n> You look at accordion\nThe small accordion is quite dusty and of the twelve button variety. The bellows are cracked and three of the keys are missing. All in all, the old squeezebox is not much more than a piece of junk.\n\n> You go to the east\nThe path winds through thick bramble to a secluded clearing. In the middle of the clearing is a tall wooden derrick. Various debris is scattered around the derrick, including a bent-up green and white sign.\n\nYou can see an accordion here.\n\n> Go up\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nPlatform, On the Derrick\nYou are on a narrow platform at the very top of the oil derrick. The platform is spotted with a number of bird droppings. The view from here is mostly obstructed by trees, but you can make out the hill with the mine to the west."
    },
    {
        "text": "[Themes: Fantasy, Western]\n\n> Go downward\nJust Off the Ground, On the Derrick\n\n> Go east\nThere is a Tombstone Jay here standing on top of the grave marker.\n\n> You give the corn to Jay\nThe Tombstone Jay quickly gobbles down the corn.\n\n> Go upward\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAbout Half Way Up, On the Derrick\n\nYou can see a nail here.\n\n> Go upwards\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nAlmost to the Top, On the Derrick\n\n> Go up\nThe structure seems to have stiffened up a bit, permitting further exploration.\n\nPlatform, On the Derrick\n\nYou can see an accordion here.\n\nHigh overhead, a Tombstone Jay circles the derrick with a bright yellow object grasped in its talons.\n\n> You take the accordion\nTaken.\n\nHigh overhead, a Tombstone Jay circles the derrick with a bright yellow object grasped in its talons.\n\n> You play it\nThe old accordion honks, wheezes and spews out clouds of dust. Somehow though, through the melee, a couple of tones do manage to escape.\n\nThe Tombstone Jay immediately breaks out of its circling pattern and goes into a dive straight at you! At the last moment before collision, the crazy bird releases the yellow object and breaks out of the dive. The yellow object is true to its mark and smashes into the accordion, destroying the instrument on the spot. As the bird flies away to the north, it is apparent that the Tombstone Jay is overly critical of accordion music."
    },
    {
        "text": "[Themes: Western, Fantasy, female protagonist]\n\n> Go down\nAlmost to the Top, On the Derrick"
    },
    {
        "text": "> Go downwards\nAbout Half Way Up, On the Derrick\n\nYou can see a nail here."
    },
    {
        "text": "> You go downwards\nYou can see a small rock here.\n\n> Go west\nGeorge is here staring at the charred remains of his gum factory.\n\nThere is a brass key hanging on George's belt.\n\nYou can also see a burned sketch here.\n\n> Rub locket\nGeorge looks around quickly and says, \"Where in the hell did that woman go?\"\nA tingling sensation runs up your spine and you feel a little lighter on your feet.\n\nYou are invisible.\n\n> You take the key\nLike a thief in the night, you take the key from George's belt.\nTaken.\n\nYou are invisible.\n\n> You go east\nYou are invisible.\n\n> Rub locket\nNothing seems to happen.\n\nYou are invisible.\n\n> You go to the south\nThere is a rusted old handcar on the track spur.\n\nYou are starting to return to your normal opaqueness.\n\n> You get on the car\nYou get into the handcar.\n\nYou are starting to return to your normal opaqueness.\n\nSuddenly, you feel a little heavier on your feet.\n\n> You keep going\n(the handle)\nThe handcar slowly begins to move...\n\nNarrow Ravine (in the handcar)\n\nThe tracks through the ravine are littered with rattlesnakes.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nNumerous snakes strike at the wheels of the handcar.\n\nEnd of the Line (in the handcar)\n\nOn the peg is a ship wheel.\n\n> Leave\nYou get out of the handcar.\n\nThere is a rusted old handcar on the track spur.\n\nOn the peg is a ship wheel.\n\n> You go south\nYou can see a metal strongbox (which is closed) here.\n\n> Go north\nThere is a rusted old handcar on the track spur.\n\nOn the peg is a ship wheel.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nBroken Track (in the handcar)\nThe tracks here look to be in good shape despite the shifting sand.\n\n> Continue\n(the handle)\nThe handcar slowly begins to move...\n\nTrack Crossing (in the handcar)\n\n> Keep going\n(the handle)\nThe handcar slowly begins to move...\n\nTrain Track (in the handcar)\n\n> You keep going\n(the handle)\nThe handcar slowly begins to move...\n\nBroken Bridge (in the handcar)\n\n> Go outside\nYou get out of the handcar.\n\nThere is a rusted old handcar on the track spur.\n\n> You examine the pile\nThere is stick of dynamite stuck between a couple of rocks in the pile.\n\n> You put the rock in the tnt\n(the small rock in the stick of dynamite)\nThat can't contain things.\n\n> You put the rock in the small hole\n(the small rock in the hole)\nThe hole is too small for that.\n\n> You look at the cloth\nThe white material is soaked with water and limp as a rag.\n\n> You put the match in the stick\n(the stick of dynamite)\nYou need to be holding the match before you can put it into something else.\n\n> Inventory\nYou are carrying:\na match\na small rock\na lantern (providing light)\na gold locket (being worn and closed)\na stick\na sticky (lightly chewed) square of gum base\na green note\na silver spoon\nan iron bar\na cube of sugar\na tin (which is open)\nsome balm\na pitchfork\na pan\nsome brown slurry\na rusted oil can\na candle\na cauldron\na crumpled note\na leather-bound book\na shovel\na piece of gauzy cloth\na soiled note\na pair of old cowboy boots (being worn)\na sharp knife\n\n> You throw the lantern at the tnt\nThe lantern misses its mark by a mile and bounces harmlessly off the rocks.\n\n> You throw the candle at the tnt\nThe candle misses its mark by a mile and bounces harmlessly off the rocks.\n\n> Smell rock\n(the pile of rocks)\nYou smell nothing unexpected.\n\n> You cut the tnt with the knife\nCutting that up would achieve little.\n\n> You throw the yellow rock at tnt\nAs soon as the small rock leaves your hand, it pauses in midair as if sensing its target. The rock slowly maneuvers from side to side and then propels itself in a flash toward its intended target.\n\nThe rock hits the dynamite on the mark causing a sizable explosion, sending rocks hither and yon. Through the settling dust you can make out a tunnel leading into the stone wall.\n\nA rather dusty and perturbed bear wanders out of the tunnel, sits down, and rubs his ears.\n\nThe bear pulls out a copy of Reader's Digest and looks around for some woods.\n\n> Go west\nThe bear snarls at you and displays his huge greenish fangs. Perhaps the bear doesn't like visitors in his home.\n\nThe bear raises his nose and sniffs the air.\n\n> Rub locket\nA tingling sensation runs up your spine and you feel a little lighter on your feet.\n\nThe bear pulls out a copy of Reader's Digest and looks around for some woods.\n\nYou are invisible.\n\n> Go west\nUnder a curtain of invisibility, you gingerly sneak past the brown bear. The bear startles and angrily smells the air but doesn't strike.\n\nYou wander into the tunnel to find a light at the other end through some brambles and thicket. Progressing through the thicket, you find yourself in bright sunshine, but perhaps a little lighter for the effort. Also, your brown friend seems to have followed you.\nDry Streambed\nWater hasn't found its way down this rocky streambed for years by the looks of all the weeds and wildflowers growing between the rocks. A grove of gatewood trees with thick underbrush prevents any further progress west. There is a tunnel to the east with thick bramble at the entrance, and the path heading north along the streambed.\n\nYou can see a brown bear here.\n\nThe bear pulls out a copy of Reader's Digest and looks around for some woods.\n\n> You check your inventory\nYou are carrying:\na gold locket (being worn and closed)\n\nThe bear attempts to sharpen his claws on the ground.\n\n> You go to the north\nProgress up the stream bed is slow due to the large rocks and tall weeds. A large gatewood tree has fallen here and is well along its return to the elements. The path follows the streambed to the south and continues north to a small structure.\n\n> You examine the tree\nThis gatewood must have stood thirty feet tall when it was alive. It looks like heavy winds might have uprooted the massive trunk and nature looks well on its way towards reclamation.\n\n> Go north\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nThere is a horse here tied to the hitching post.\n\nOn the horse are a blanket and a pair of saddlebags (which is closed).\n\n> You look at the horse\nThe horse is solid brown with a white marking on his forehead and has a considerable sway in his back. From the looks of it, the horse is long overdue for a little care or a quick trip to the glue factory.\n\n> You examine blanket\nThis is your typical brown horse blanket made of coarse wool.\n\n> You look at the saddlebags\nThe two leather saddlebags are quite plain and are draped over the horse's back. On one bag, the word \"BLIZZARD\" is scrawled into the leather; on the other, \"BEETLEBAUM.\"\n\n> Open bags\nThe horse moves away from you and swishes his tail angrily.\n\n> Pet horse\nThat will hardly improve your situation.\n\n> You say Beetlebaum\n\"Beetlebaum!\"\n\n> You go to the west\nThe \"Biscuit Residence\" would hardly constitute a walk-in closet by your standards, but what it lacks in size is more than made up for by the charming decor of splintered wood, dense cobwebs, and the occasional trail of mouse droppings. There is a small wood stove nestled in one of the corners, whereas in the opposite corner is a couple of bedrolls, saddles and other supplies. There are a table and a couple of chairs in the center of the room. In front of the stove, you can just make out a good-sized rectangular cutout in the wood floor.\n\nSitting at the table are two rugged-looking gnomish cowboys playing cards.\nThe Biscuit Brothers don't take kindly to visitors and, in the blink of an eye, have you strung up to the nearest tree.\n\n> Go south\nWater hasn't found its way down this rocky streambed for years by the looks of all the weeds and wildflowers growing between the rocks. A grove of gatewood trees with thick underbrush prevents any further progress west. There is a tunnel to the east with thick bramble at the entrance, and the path heading north along the streambed.\n\nYou can see a brown bear here.\n\nThe bear rubs his ears and shakes his head.\n\n> You examine the bear\nThe bear is quite large even for the brown variety. He doesn't look that happy about the disturbance you have caused and keeps rubbing his ears with his giant paws.\n\nThe bear rubs his behind against the stone wall.\n\n> You go to the west\nYou can head east to the tunnel or north along the streambed.\n\nThe bear growls a little and then breaks out in a yawn.\n\n> Rub locket\nA tingling sensation runs up your spine and you feel a little lighter on your feet.\n\nYou are invisible.\n\n> Open bags\nThe horse, sensing something amiss, moves away and swishes his tail angrily.\n\nYou are invisible.\n\n> Go west\nThe \"Biscuit Residence\" would hardly constitute a walk-in closet by your standards, but what it lacks in size is more than made up for by the charming decor of splintered wood, dense cobwebs, and the occasional trail of mouse droppings. There is a small wood stove nestled in one of the corners, whereas in the opposite corner is a couple of bedrolls, saddles and other supplies. There are a table and a couple of chairs in the center of the room. In front of the stove, you can just make out a good-sized rectangular cutout in the wood floor.\n\nSitting at the table are two rugged-looking gnomish cowboys playing cards.\n\nYou are invisible."
    },
    {
        "text": "[Themes: Western, Fantasy, western, female protagonist]\n\n> You go downwards\nUnless you're a termite, it isn't in the cards.\n\n\"Come on Frank, deal the damn cards!\"\n\nYou are invisible.\n\n> You open the cutout\nThat's not something you can open.\n\n\"I'll bet two bits if that ain't too rich for ya!\"\n\nYou are invisible.\n\n> You hit Frank\nLet's examine the odds first. The Biscuit Brothers have four loaded guns and you haven't a prayer. Doesn't seem like the odds are in your favor in any sense of the word.\n\n\"You ain't got nothin' so I's raisen' ya two bits, Jim boy!\"\n\nYou are invisible.\n\n> You examine Frank\nThe Biscuit brothers are nothing to write home about. Frank, the bigger of the two, has a long sandy beard and dark inset eyes. James looks years younger than Frank, is clean-shaven, and has thick jet black hair. Neither of the brothers are much over 4 feet tall, but the huge guns they are carrying seem to make up for this disadvantage.\n\n\"I call. We done sure did scare ol' George there didn't we!\"\n\nYou are invisible.\n\n> You examine table\nThe table is your basic piece of wood with four legs and looks like it has been repaired dozens of times.\n\n\"He don't need no horse anyway. Give me two cards there Frank.\"\n\nYou are invisible.\n\n> You look at the floor\nYou see nothing special about the floor.\n\n\"Burnin' down his old shack is goin' to make him pretty ornery I reckon. Dealer takes three.\"\n\nYou are invisible."
    },
    {
        "text": "[Themes: Western, Fantasy]\n\n> You describe your surroundings\nThe \"Biscuit Residence\" would hardly constitute a walk-in closet by your standards, but what it lacks in size is more than made up for by the charming decor of splintered wood, dense cobwebs, and the occasional trail of mouse droppings. There is a small wood stove nestled in one of the corners, whereas in the opposite corner is a couple of bedrolls, saddles and other supplies. There are a table and a couple of chairs in the center of the room. In front of the stove, you can just make out a good-sized rectangular cutout in the wood floor.\n\nSitting at the table are two rugged-looking gnomish cowboys playing cards.\n\n\"I'll bet ya two buck-a-bins on this winner.\"\n\nYou are invisible.\n\n> You look at the stove\nThe coal-black stove is made from cast iron, has a grille on the front, and a flat surface on top for cooking. A flue runs from the back of the stove up through the roof.\n\n\"You know I ain't got that kind of money, ya old fart!\"\n\nYou are invisible.\n\n> Close flue\nThat's not something you can close.\n\n\"Well, how 'bout that ol' watch you come across?\"\n\nYou are invisible.\n\n> You examine the flue\nThe flue is about 4 inches in diameter and has numerous dents and scratches. About halfway up the flue, there is a lever.\n\n\"Hell, why not. I ain't wearin' no woman's watch and there ain't enough gold in it to sell. Hell, I'll even throw in this old apple to sweeten up the pot.\" Frank puts the watch and an apple on the table.\n\nYou are starting to return to your normal opaqueness.\n\n> Go east\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nThere is a horse here tied to the hitching post.\n\nOn the horse are a blanket and a pair of saddlebags (which is closed).\n\nYou are starting to return to your normal opaqueness.\n\n> You wait a while\nTime passes.\n\nYou are starting to return to your normal opaqueness.\n\nSuddenly, you feel a little heavier on your feet.\n\n> Go west\nThe \"Biscuit Residence\" would hardly constitute a walk-in closet by your standards, but what it lacks in size is more than made up for by the charming decor of splintered wood, dense cobwebs, and the occasional trail of mouse droppings. There is a small wood stove nestled in one of the corners, whereas in the opposite corner is a couple of bedrolls, saddles and other supplies. There are a table and a couple of chairs in the center of the room. In front of the stove, you can just make out a good-sized rectangular cutout in the wood floor.\n\nSitting at the table are two rugged-looking gnomish cowboys playing cards.\n\nYou can also see a green apple and a gold watch here.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> You pull the lever\nThe lever moves effortlessly, and more important, quietly. You close the flue.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke starts to pour out of the front grille.\n\nYou are invisible.\n\n> Wait\nTime passes.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke is starting to fill the room!\n\nBoth Biscuit brothers jump up from the table and rush towards the stove. James quickly opens the flue damper and the smoke starts to dissipate.\n\n\"Damn stove is startin' to act up Frank. Teach ya to steal cheap junk. HA! Let's get back to cards. I'm feelin lucky!\"\n\nBoth cowboys return to the table and resume their card game.\n\nYou are invisible.\n\n> You examine the grille\nDark smoke pours out of the grille. The fire behind the grille appears to be struggling.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke is starting to fill the room!\n\nBoth Biscuit brothers jump up from the table and rush towards the stove. James quickly opens the flue damper and the smoke starts to dissipate.\n\n\"Damn stove is startin' to act up Frank. Teach ya to steal cheap junk. HA! Let's get back to cards. I'm feelin lucky!\"\n\nBoth cowboys return to the table and resume their card game.\n\nYou are invisible.\n\n> You take the apple\nStartled by the apple's take to flight, the Biscuit brothers draw their guns and start shooting every which way. Although Frank takes a bullet in the leg and James one in the arm, the majority of bullets seem to have zeroed right in on you.\n\n> You examine the flue\nThe flue is about 4 inches in diameter and has numerous dents and scratches. About halfway up the flue, there is a lever.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> You examine the fire\nThrough the vertical slats of the grille you can make out a good size fire burning in the stove.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> You break it\nViolence isn't the answer to this one.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke is starting to fill the room!\n\nBoth Biscuit brothers jump up from the table and rush towards the stove. James quickly opens the flue damper and the smoke starts to dissipate.\n\n\"Damn stove is startin' to act up Frank. Teach ya to steal cheap junk. HA! Let's get back to cards. I'm feelin lucky!\"\n\nBoth cowboys return to the table and resume their card game.\n\nYou are invisible.\n\n> You examine the cutout\nThe cutout is about 2 feet square and has a wooden cover.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> You open the cover\nYou manage to quietly slide the cover over a few feet, exposing an opening down into the floor.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> You pull the lever\nThe lever moves effortlessly, and more important, quietly. You close the flue.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke starts to pour out of the front grille.\n\nYou are starting to return to your normal opaqueness.\n\n> You wait\nTime passes.\n\nYou are starting to return to your normal opaqueness.\n\n> You wait a while\nTime passes.\n\nYou are starting to return to your normal opaqueness.\n\nSuddenly, you feel a little heavier on your feet.\n\n> You examine cover\nThe wooden cover has two hand-sized indentations.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke is starting to fill the room!\n\nBoth Biscuit brothers jump up from the table and rush towards the stove. Frank quickly notices the open cutout and jumps over it, as does his brother. James quickly opens the flue damper and the smoke starts to dissipate.\n\n\"How in the hell did that happen, Frank?\"\n\n\"Don't reckon I know, Jim, but sumpin isn't right here.\"\n\n\"Well, let's get back to cards.\"\n\nFrank moves the cover back over the cutout and the two cowboys resume their card game.\n\nYou are invisible.\n\n> Go east\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nThere is a horse here tied to the hitching post.\n\nOn the horse are a blanket and a pair of saddlebags (which is closed).\n\nYou are invisible.\n\n> You take the blanket\nThe horse looks relieved to have the blanket removed from his back.\n\nTaken.\n\nYou are invisible.\n\n> You put the blanket on the opening\nYou carefully cover the opening with the horse blanket.\n\nThe two cowboys talk quietly as they continue the game.\n\nYou are invisible.\n\n> Wait\nTime passes.\n\nThe two cowboys talk quietly as they continue the game.\n\nDark smoke is starting to fill the room!\n\nBoth Biscuit brothers jump up from the table and rush towards the stove. Frank is the first to find your trap, as the blanket quickly gives way permitting an immediate plunge into the cellar. James, following quickly, also takes the deep plunge and even manages to destroy the ladder during his fall. The Biscuit brothers are trapped.\n\nYou are invisible.\n\n> You take the apple\nTaken.\n\n(from the cellar)\n\"Ruins the whole day, doesn't it Frank?\"\n\nThe smoke in here is so thick you can hardly breathe!\n\nYou are invisible.\n\nTaken.\n\n(from the cellar)\n\"Who in the hell is goin to get us out of here?!\"\n\nThe smoke seems to be clearing a bit.\n\nYou are starting to return to your normal opaqueness.\n\n> You go east\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nThere is a horse here tied to the hitching post.\n\nOn the horse is a pair of saddlebags (which is closed).\n\nYou are starting to return to your normal opaqueness.\n\nSuddenly, you feel a little heavier on your feet.\n\n> You give the apple to the horse\nThe horse devours the green apple.\n\n> You ride the horse\nHow do you propose to do that from where you are standing?\n\n> You get on the horse\nOutside Old Shack (on the horse)\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nOn the horse you can see a pair of saddlebags (which is closed).\n\nYou pull yourself onto the horse.\n\n> You untie the horse\nHow can you do that while sitting on the horse?\n\n> You stand\nYou get off the horse.\n\nThe streambed turn east here and vanishes into the thick bushes and weeds. To the west is an old run-down shack which looks several years past its prime. There is a hitching post just outside the door.\n\nThere is a horse here tied to the hitching post.\n\nOn the horse is a pair of saddlebags (which is closed).\n\n> You untie the horse\nYou untie the horse from the rail.\n\n> You ride the horse\nThe horse just shakes his head and starts to doze off.\n\n> Beetlebaum\n\"Beetlebaum!\"\n\n> Blizzard\nBeetlebaum races off through the brush at breakneck speed, stripping you of all your possessions. The landscape flies by as the old horse seeks the shelter of George's shack so as not to have to brave the oncoming blizzard. Following nearly invisible trails, the horse breaks out of the brush onto the main trail. Without hesitation, the horse continues north along the trail across Clear Creek and then northeast toward Blind Canyon.\n\nAs the horse makes the last turn into the canyon, Beetlebaum startles at the sight of something up ahead on the trail. At this point, you and the horse go your own separate ways. Beetlebaum falls to the ground, quickly regains his footing, and continues his journey north to shelter. You, on the other hand, fly through air with the greatest of ease until falling face first onto the dusty trail.\n\nAs you get up and take inventory of your faculties, you feel something cold against your head and hear the click of a gun's hammer.\n\nThe trail winds its way from the southwest through a shadowy canyon formed in the cleft of two large hills. You cannot help but feel confined and vulnerable by the sheer walls of this gorge and the limited visibility in front of you and behind. The trail continues to the north.\n\nYou can see Black Thad McGee here.\n\n\"Well, what do we have here? Huh, little missy? Seems like you and me have some unfinished business.\"\n\nThad puts the pistol back into the holster.\n\n> Go north\n\"Don't be runnin off there missy. I've done shot more than a few in the back.\"\n\n\"Yuh see now, you kinda spoiled my shootin' with your little tricks. Yuh know, it's pretty damn hard for an old guy like me tuh make a livin' without a good shootin' hand. But I learned. Yah, I learned to use muh other hand. Sure the boys laughed a spell 'bout it, but I done showed 'em just like I is goin' to show yuh.\n\n> You kick Thad\nViolence isn't the answer to this one.\n\n\"Yuh know, I waited quite a spell for this day. Yuh see, no one could figure what happened to yuh. But I waited. Yup, I knew we'd cross paths again. And here we both be. Me with muh guns, yous with nothin. Sounds pretty fair to me!\"\n\n> Beetlebaum\n\"Well, 'nuff of this jawin'. Better say your prayers missy!\"\n\nAs soon as you blurt it out, echoes of \"Beetlebaum\" fill the canyon.\n\n> Beetlebaum\nBlack Thad pulls out a pistol from his holster.\n\nThe sound of a galloping horse fills the canyon!\n\n> Beetlebaum\nBlack Thad carefully checks the gun for bullets.\n\nBlack Thad's eyes turn big as saucers as he spots the daunting sight of George and Beetlebaum racing down the trail at full gallop. Beetlebaum's eyes are filled with rage, his nose flared, and thick white foam spews from his mouth. Just as Beetlebaum lowers his head for a full charge, George screams out in an earsplitting yell, \"HERE COMES BEETLEBAUM!\"\n\nBlack Thad, out of reflex, goes for his right gun first to shoot the charging horse. His thumbless hand fumbles the gun around and then drops it to the ground. In an instant, but an instant too late, he goes for his other gun with his good hand. Beetlebaum, with his ears back, plows into Black Thad like a freight train. Black Thad is launched into the air from the collision and slams into the canyon wall. What life may have been left in Black Thad is certainly concluded by the ensuing rockslide.\n\nAfter the dust clears a little, George stares at you for a moment and says, \"I just knew you'd be the one to clean up around these parts. Heck, when I tricked ol' Frank into goin' above to rile yuh up, I could just feel it in mah bones. Beetlebaum, get yer miserable hide over here!\"\n\nAs Beetlebaum saunters over, still wet with sweat, George opens the saddlebag and takes out a blue gumball and hands it to you. \"Go on, get on home! I don't take to no good-byes from no woman.\" George pauses, and then breaks out in a big smile and chortles, \"Ah heck, ya done good. Hell, ya done great. I's can't thank ya enough fer helpin' out. Let's get some grub and get ya on yer way.\"\n\nAfter a pleasant meal of beans and jerky, you say your good-byes to the old cowboy. Following a long hug and a quick peck on the cheek, you finally partake of the blue gum. Quicker than an instant, you find yourself.... On the Floor\n\nYou are lying on the floor staring at the ceiling. Your head feels surprisingly good considering your previous antics. In fact, you feel quite refreshed from your hiatus from consciousness.\n\n> Inventory\nYou are carrying:\na gold watch (being worn)\n\n> Examine watch\nThe dainty wristwatch is made from 18kt gold and shines like the sun.\n\n> You stand\nAs you get to your feet, you begin to realize that you must have really had a good whack to the head. Dismissing the previous events as a bad dream, you continue your routine and get ready to start dinner.\n\nIt isn't until some time later that evening that you discover an odd gold locket and a note under your pillow.\n\nThe note reads:\n\"Thank you ma'am for all your help on getting things settled around Deadeye. With the Biscuit Brothers and Black Thad out of the way, people are startin to move back towards town. There's even talk about reopenin the mine and maybe drillin some more wells. Beetlebaum is feelin spry as a colt, and hell, I may even rebuild the ol Gumball Factory.\n\nThanks again for yer help and I hope the locket comes in handy from time to time.\n\n(signed) George & Beetlebaum\n\n> P.\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\nThings to Try\n> And Finally...\n\n> You go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\n> Who are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\nThings to Try\nAnd Finally...\n\n> You go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\n> About Various Objects and Places in the Game\nScoring\nThings to Try\nAnd Finally...\n1. The House\nThe house depicted is the house we currently live in. As this game was originally written for my wife, I wanted her not to get too lost to start with. This portion of the game was my experimenting with Inform and I decided to leave it in after several revisions. Incidentally, my wife has never played the game.\n\n2. Gold Watch\nThe gold watch was a Christmas present I gave my wife. Since she was the protagonist in the experimental version, it was the only motivation I could contrive at the time.\n\n3. Deadeye Gulch\nThe buildings and so forth in Deadeye Gulch are a combination of my recollections of Deadwood, South Dakota and Virginia City, Montana. The rosewood bar in the Saloon is based on the \"Silver Dollar\" in Miles City, Montana.\n\n4. Chokecherry Bushes\nChokecherry bushes are a staple of the Montana landscape. The small black berries are somewhat tart and are especially good when canned.\n\n5. Willow Tree\nThe willow tree in the story was based on a willow tree across the street from where I grew up. The tree was in Fred Dorn's yard at the time, and was recently cut down since it was dying from old age.\n\n6. Trystanium & Tombstone Jay\nTrystanium is named after and based on my nephew Tristan. The Tombstone Jay is named after my nephew TJ. Both are great kids who helped test the game along with their dad, who is \"John Bro\" in the story.\n\n7. Gold Nugget\nThe gold panning bit was based on my brother's attempt to make his fortune when we were on vacation in Deadwood years ago. For the record, he did manage to find a few flakes.\n\n8. Slot Machine\nThe slot machine puzzle is based on a 5th grade homework problem provided by one of my co-workers. We spent a lot of time fooling around with this puzzle at the office.\n\n9. Tombstone\nThe tombstone at Boot Hill is based on a tombstone found on a small island at Canyon Ferry, Montana.\n\n10. Clear Creek\nClear Creek is a little stream that runs across my uncle's farm in Montana. In addition to many other adventures, this is where I had my first introduction to a rattlesnake.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\n> About Various Objects and Places in the Game\nScoring\nThings to Try\nAnd Finally...\n\n> You go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\n> Scoring\nThings to Try\nAnd Finally...\nThe scoring for this shindig goes as follows:\n\nGetting lost gum                          5 pts\nOpening safe                              5 pts\nTurning over the pencil sketch           10 pts\nOpening Master Bedroom closet             5 pts\nEntering Clearing                        15 pts\n\nCleaning table                            5 pts\nUnlocking Livery door                    10 pts\nGetting square tin                        5 pts\nReading crumpled note                     5 pts\nTaking cowboy boots                       5 pts\nGetting the small rock                    5 pts\nMaking orange gumball                    10 pts\nMaking coin                               5 pts\nFinding whiskey bottle                   10 pts\nGetting derringer                         5 pts\nShooting Black Thad                      10 pts\nGetting iron bar                          5 pts\nEntering Beaver Dam                      10 pts\nSharpening knife                          5 pts\nCutting willow branch                     5 pts\nRemoving locket from hole                10 pts\nEntering Cactus Patch                     5 pts\nOpening Mine Entrance                     5 pts\nAnswering first riddle                    5 pts\nAnswering second riddle                   5 pts\nTaking Trystanium                        10 pts\nPutting Tryst in locket                   5 pts\nTaking brass key                          5 pts\nFinding handcar                           5 pts\nOiling handcar                            5 pts\nGetting past rattlesnakes                10 pts\nOpening sod shack door                   10 pts\nRemoving pile of rocks                    5 pts\nEntering Dry Stream Bed                   5 pts\n\nObtaining gold watch                     20 pts\nFeeding horse (Beetlebaum)                5 pts\nRiding Beetlebaum                        15 pts\nWinning showdown at Blind Canyon         30 pts\n\n350 pts\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\n> Scoring\nThings to Try\nAnd Finally...\n\n> You go to the north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\n> Things to Try\nAnd Finally...\nHave you tried:\n\nDrinking the water on the bathroom floor?\nSwimming at the Beaver Dam?\nCutting two branches off of the willow tree?\nInteracting with the rattlesnakes?\nKissing Black Thad at the Saloon?\nThrowing the dynamite at stuff?\nLooking under the table in the vault?\nFollowing the Road to Herringville?\nTaking the Black Rod?\nMapping the Mine?\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\n> Things to Try\nAnd Finally...\n\n> You go to the north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\nThings to Try\n> And Finally...\nThis game was for me the ultimate adventure in just trying to put it together and complete it. It took the better part of 18 months to write. Having really no programming experience of this nature, even the simplest things seemed to take forever. The feedback I have received on the game has been well beyond anything I could have imagined. I would like to thank each of you folks who took a moment and dropped me a note. It made the whole project worthwhile.\n\nNext on the list, no game would be complete without recognizing the pioneering work of Willie Crowther and Don Woods. The original Adventure was nothing short of amazing to me when I played it on a XEROX Sigma 7 about 20 years ago. I didn't finish the game until the early 80's on my C64. What a thrill!\n\nOf course, the folks at Infocom really cut the cake for me. The thrill of getting a disk drive for my C64 and Zork I on the same day was nothing short of orgasmic. Getting so much entertainment into 80k of memory is truly one of the major accomplishments of the computer age. My favorite game to this day is Enchanter.\n\nAnd speaking of thrills, the day I found the interactive community out on the Net was nothing short of a religious experience. So many good folks with a common interest. I thank you all for keeping the art alive.\n\nLast of all, I'd like to thank my brother. He introduced me to Adventure and we played pretty much most of the I-F games together, although geographically never in the same place. And, accordingly, this game is dedicated to him.\n\nAnd finally, long live George and Beetlebaum!\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information available on the following:\n\nWho are George and Beetlebaum?\nAbout Various Objects and Places in the Game\nScoring\nThings to Try\n> And Finally..."
    },
    {
        "text": "[Themes: Mystery, feminism, male protagonist, steampunk, romance, female protagonist, multiple protagonists]\n\nI always get the criminal. Whoever it is. Whatever the embarrassment. Whichever noses I put out of joint.\n\nSo they sent me after Silhouette, and I caught her too.\n\nAnd now I'm about to do something very stupid.\n\n\n\n[Type 'About' if this is your first time playing.\nType 'Credits' to see who made this possible.]\n\nI'm standing in the cold, early evening shadow of the Mindflower Asylum for the Criminally Insane - a tall, crooked building with barred windows and a sunken door.\n\nTownhouses are packed in tightly on all sides, but a deathly silence pervades. The only sign of life is an ornithopter sailing high overhead.\n\nMy motor car sits to one side of the cobbled road.\n\n(Type highlighted keywords to advance the story.)\n\n[Author's Note: Team up with a dashing detective and an iconoclastic flapper to solve absurd and unfathomable crimes in this interactive story - where you control the action just by typing or clicking highlighted words in the text. Walker & Silhouette uses a similar keyword system to Blue Lacuna, and experiments with applying it to various forms of interaction: talk, investigate, solve puzzles and fight villains... using only single word commands.]\n\n> You examine the ornithopter\nA graceful machine, easing itself across the sky with metal-feathered wings."
    },
    {
        "text": "[Themes: Mystery, steampunk]\n\n> You describe your surroundings\nI'm standing in the cold, early evening shadow of the Mindflower ASYLUM for the Criminally Insane - a tall, crooked building with barred WINDOWS and a sunken DOOR.\n\nTOWNHOUSES are packed in tightly on all sides, but a deathly silence pervades. The only sign of life is an ORNITHOPTER sailing high overhead.\n\nMy motor CAR sits to one side of the cobbled road.\n\n> Windows\nThe asylum's windows are raised up out of reach, seem far too small to afford much of a view, and are covered over with thick bars besides.\n\n> Inventory\nI am carrying a BOWLER hat, a CANE, and a police BADGE, and I'm wearing a three-piece SUIT.\n\n> Suit\nThere being no consistent dress code for murder scenes, I tend to dress as if for a funeral. My suit is black and carefully pressed.\n\n> Hat\nIt's the nature of this line of work that my bowler spends more time in my hands than on my head.\n\n> CAR\nMy own personal vehicle. A bit of an expense, but I have to spend my inheritance on something.\n\n> CANE\nA simple but sturdy walking stick, necessary since I was shot by an accomplice of the Bottle Street Strangler.\n\n> ASYLUM\nMindflower used to be a medieval gaol where murderers and debtors rubbed shoulders. The centuries old, eroded stone may now be run through with the gleaming pipes of a modern heating system, but those confined here are no more likely to leave with their wits intact.\n\n> Townhouses\nAnd I thought the Old Warren could be a depressing place. The houses around the asylum are dilapidated and crooked - their roofs sagging and windows cracked.\n\nClearly only those who can't afford better live in the shadow of the madhouse.\n\n> Door\nThe asylum's main entrance is a featureless door of the thickest metal, fitting flush against the sides of a deep alcove. There's no handle or lock - just a small BUTTON on the wall.\n\nA small grating is set into the door at eye level.\n\n> Grating\nThe grating is thick and sturdy. Beyond it, I can see only darkness.\n\n> Xyzzy\nYour tiresome magic can hardly withstand my relentless reasoning.\n\n> Button\nI push the button beside the door and a harsh electric buzzer sounds. Instantly, a narrow pair of EYES appear behind the grating, studying me carefully. A gruff voice asks uncertainly, \"Are you... a patient here?\"\n\nI suppose I could IDENTIFY myself, or come back with some SNARK.\n\n> Snark\n\"Do I look like I'm a patient here?\" I ask condescendingly.\n\nThe voice remains tactfully silent, which is an answer in itself.\n\nI sigh and hold my badge up to the grating. \"I'm a police detective. Let me in.\"\n\nThe voice scoffs. \"You could've fooled me, mate.\"\n\nBut the door slowly rumbles open all the same.\n\nWhen you're ready, I can go IN.\n\n> Go inside\nAs soon as I'm inside the asylum, I begin feeding the guard half-truths and exaggerations. He nods wordlessly and leads me through narrow, white-walled passages that echo with manic cackles and miserable sobs.\n\n\"This is the one,\" my guide says, stopping suddenly. \"Miss Ivy Blissheart. Strictly no visitors, it says. But I don't suppose they meant policemen.\"\n\nThe guard slams shut the door and I hear several bolts and locks being closed. So this is where she ended up, thanks to me: a padded cell, lit harshly by a bare electric BULB. Only the small WINDOW set into the DOOR hints at a world beyond its claustrophobic confines.\n\nA bulky WINCH has been bolted incongruously to the wall.\n\nSilhouette - IVY, I mean, is hanging upside-down from the ceiling, tied up in a straitjacket.\n\nShe cranes her neck awkwardly to try and look at me. \"Is it MORNING already? Time flies when you're all TRUSSED up like this.\"\n\n> Ivy\nIt's difficult to get a good look at her as she hangs upside-down like this, spinning slowly back and forth. But there is that impression of elfish mischief written into her features that I remember so well from her arrest. And her scandalously boyish hair is not so short that it can't trail below her in unruly curls.\n\nIvy is wearing a STRAITJACKET.\n\n\"Hey,\" she suddenly exclaims. \"I know you, don't I? No hard feelings about the whole incarcerating me thing, Inspector. I'm just glad you came to visit.\"\n\n> Bulb\nPainful to look at. It casts sharply defined shadows against the featureless walls.\n\n> Trussed\nI look over the straitjacket. \"Did they put you in this thing the right way up?\"\n\nIvy laughs dryly. \"CRIME, the good doctor believes, is the result of insufficient blood flow to the brain. So, you know, gravity's not my friend - and sleeping like a bat's the best TREATMENT.\"\n\n\"I can call you Ivy, can't I?\" I suddenly think to ask.\n\n\"Of course you can,\" she says. \"As long as I can call you... Um...\"\n\n\"Nathaniel. Or 'Nate' if that's too much of a mouthful.\"\n\n> Straightjacket\nThe long white sleeves of the straitjacket are wrapped tightly around Ivy - completely restraining her arms.\n\n\"I could get out of this real quick,\" Ivy says, \"if only I was the right way up.\"\n\n> Treatment\nI'm almost afraid to ask. \"Is this the worst thing they do to you?\"\n\n\"Pretty much. I think they're still working out what to make of me.\nI get plenty of peace and quiet, of course, so my fragile feminine mind can keep its uncontrollable emotions this side of HYSTERIA.\"\n\nShe attempts an upside-down shrug. \"Hey, it's better than breaking rocks in PRISON, right?\"\n\n\"Assuming,\" I say carefully, \"they don't go so far as a LOBOTOMY.\"\n\nIvy says, \"Um, what?\"\n\n> Lobotomy\n\"Do you feel like you're responding to the treatment?\" I ask.\n\nIvy snorts with laughter. \"Well, I keep throwing up when they hang me upside-down. That's a response, right?\"\n\nMy hair's fallen over my eye. I brush it back. \"Eventually, they'll intervene physically.\"\n\n\"You mean beating me?\"\n\n\"I mean cutting into your brain. It's been shown to result in a more placid personality.\" Gauging her expression, I add, \"Don't worry. That's why I'm here. To HELP.\"\n\n> Hysteria\nI study Ivy's carefree expression. \"You don't seem hysterical to me.\"\n\n\"All bold women get the diagnosis sooner or later,\" she says with a wink. \"It's almost a compliment.\"\n\n> Winch\nThe winch seems to be the main mechanism for raising and lowering whichever poor soul is assigned this bizarre treatment.\n\nI certainly intend to let Ivy down eventually... but I'd like to try and explain my proposition to her first.\n\n> Crime\n\"You know,\" I say, \"with the talent, cunning and ingenuity you put to work disrupting the city, you could have done some amazing things on the right side of the law.\"\n\n\"Don't think I didn't try,\" she says. \"But somehow, society took one look at me and figured I'd be best put to use working a loom for ten hours a day.\"\n\nI twist my cane in my hand. \"Now that should be criminal.\"\n\nShe laughs. \"And yet I'm the one you ARREST.\"\n\n> Arrest\n\"Ivy,\" I begin, \"I feel rather rotten that I actually caught you. I got carried away with unravelling the mystery, and I didn't stop to think about what they'd do once they got you.\"\n\nShe pulls a face. \"Don't be. You're a policeman, and I broke laws, didn't I? And maybe I got carried away too. I don't think I'd actually thought it through as far as winding up in PRISON or wherever.\"\n\n> PRISON\n\"It kind of makes me angry,\" I say.\n\nIvy looks at me strangely. \"You have a very sedate angry face, but what does?\"\n\n\"That you should have just been given a short prison sentence. And instead you wind up in here, indefinitely, at the mercy of unsupervised quacks.\"\n\n\"It makes me angry too,\" she says. \"But not at you. You weren't even at the TRIAL.\"\n\n> Trial\nI clear my throat. \"I'm sorry I wasn't at the trial. It was my case. I should have been there, but...\"\n\nShe finishes for me. \"But they thought you might say things in my favour, and they presented your evidence without you. It's okay, I figured it out.\"\n\n> Police\n\"It's odd,\" I muse aloud. \"You're happy to sabotage the discipline machine in a workhouse, but not to assist the one occupation where you have the legal power to stop abuse and suffering.\"\n\nIvy snorts. \"And yet it always seems to be people like me they use that power against instead.\"\n\n\"Maybe 'they' do. But I don't. You've ruffled the feathers of some powerful people. But you're small fry compared to me. I've put powerful people away for life.\"\n\n\"Well, I'll try anything once,\" Ivy says. \"How does this PRESS thing work, anyway?\"\n\n> Press\n\"All you have to do is agree to provide...\" I clear my throat, \"invaluable and urgent assistance to my police work. And then I can walk you out of here. I have the paperwork on me.\"\n\n\"Invaluable? Okay, okay,\" Ivy says, \"anything, just as long as I'm the right way up.\"\n\nI rub my hands together. \"Great! I'll see about getting you down.\"\n\n\"Gently!\" Ivy warns."
    },
    {
        "text": "[Themes: Mystery, multiple protagonists]\n\n> You look around\nI'm in a padded cell. I'm sure Forthright would say it's about time. The walls are lit harshly by a bare electric BULB, and only the small WINDOW set into the DOOR hints at a world beyond its claustrophobic confines.\n\nA bulky WINCH has been bolted incongruously to the wall.\n\nIVY is hanging upside-down from the ceiling, tied up in a straitjacket.\n\nIvy nods awkwardly towards the WINCH. \"Hey, detective. That's how they get me up and down from here.\"\n\n(Talking to Ivy: MORNING.)\n\n> Morning\n\"I hate to be the one to tell you, but the sun hasn't even set yet.\"\n\nIvy sighs. \"You mean it's still yesterday? Damn it.\"\n\n> Window\nJust the smallest slot for a guard to spy into the room, without the inmate being afforded any kind of view back out.\n\n> Door\nThe cell door is badly scratched and scuffed, but years of abuse have barely managed to bend the thick bars across its tiny WINDOW.\n\nA CLIPBOARD is crookedly affixed to the door.\n\n> Clipboard\nIt's written in the barely decipherable scrawl of a medical professional. I could READ it, if you want.\n\n> You read\nI suppose this horrible, spidery scrawl is one way doctors try to respect patient confidentiality. I can just about make out what the chart says.\n\nName: Blissheart, Ivy\nSex: F\nRef #: 134A\n\nIncarcerated for:\nVandalism; obscenity; blasphemy; criminal damage; disturbing the peace; conduct unbecoming of a woman.\n\nDiagnosis:\nInsufficient development of the ethical lobe.\nHysteria.\n\n> Winch\nThere's a little hook on the winch. It seems to be holding it in position. If I just carefully... Oh dear.\n\nIvy squirms to her feet. \"It's okay, I'm fine. I only landed on my head.\"\n\nShe wriggles a little, and the straitjacket drops to the floor.\n\"Ouch. Can you do me a favour and just pop my SHOULDER back in?\"\n\n> Shoulder\nIvy slips the hand of her dislocated arm into mine, and then twists around grotesquely while I pull firmly in the other direction.\n\nThere's a sudden pop, and she gasps with relief. \"Yeah, that's better.\"\n\n> Ivy\nIvy looks rather relieved to be the right way up again. Her elfin features are no longer quite so red, and her hair has returned to a messy imitation of its usual bob.\n\nIvy is wearing some PYJAMAS.\n\nIvy clasps her hands behind her back and looks at me expectantly. \"So are we going to LEAVE, or what?\"\n\n> PYJAMAS\nA pair of simple white pyjamas. Of all forms of clothing, surely the least taxing on the mind.\n\nIvy stretches her arms and legs.\n\n> You leave\nI knock loudly on the door for the guard to let us out.\n\nIvy shakes her head. \"Now this I've got to see.\"\n\n\"They can't squirm out of this,\" I say. \"I've caught them in their own loophole. And once you're out of here... maybe you should just run. Flee the city.\"\n\n\"Not likely,\" Ivy says. \"This city's all I know. And you sold me on the idea of being a detective. Don't tell me you're chickening out now?\"\n\nI brush back my hair and put on my bowler. \"Never.\"\n\nOkay, hi. It's me now: Ivy Blissheart, a.k.a. Silhouette. How are you doing?\n\n> Fine\nNot very talkative, eh? Well, we'll just keep it to the keywords then.\n\nSo this is the second time in my life I've been in a police station, and you know what? The Office of Unfathomable Crimes is a lot more comfortable than the interrogation room.\n\nBut maybe not so much for Walker right this moment. Nate, I mean. He's been in the Chief Inspector's office an hour now, just on the other side of that door, getting shouted at. I feel sort of bad for him, because it's got to all be about what he did for me.\n\nMaybe if I LOOK around, I can figure out a way to help him out.\n\n> You look\nI'm in the Oldchester C.I.D., specifically the Office of Unfathomable Crimes. It's quite homely, really, with sunlight streaming in through a large WINDOW and moustachioed men smiling down from PICTURE frames on the walls.\n\nA DESK fills much of the room, piled high with PAPERS and FILES, and a pneumatic TUBE snakes along one wall.\n\nNate said I should just WAIT here and not get into trouble, but I've never been one to do what I'm told.\n\nI can hear a raised voice ranting on the other side of the door to the Chief Inspector's office.\n\n> Papers\nOfficial documents and memos are scattered over the desk in a disorganised fashion. They all look to be on the officious side of bureaucratic.\n\n> Tube\nSo I used to work in a factory that had tubes like this for sending messages between departments. It was great fun - and those pipes didn't even have coppers on the other end of them.\n\nThere's a metal BOX attached to it, and a little BASKET ready to catch the messages it spits out.\n\n> Ivy\nOh, um, hi. I'm Ivy, although a lot of people know me - know of me, really - as Silhouette: anarcha-feminist dissident. I want you to know that if I ever messed around with any of your stuff, or made you look bad, or whatever, that it was absolutely nothing personal.\n\nBut, you know, you probably had it coming.\n\n> Basket\nThere's a little basket just beneath the metal BOX. It looks like it's positioned to catch anything that might come flying out of the pneumatic tube. It contains a CANISTER.\n\n> BOX\nA neat little box of tarnished filigree, attached to the pneumatic tube. Loads of BUTTONS are set into the face of the thing, a LEVER on the side, and a BASKET underneath it. Oh, and there's a small HOLE in the top of it.\n\nYou know, I've always been fond of a good gadget.\n\n> Canister\nIt's a cylindrical canister, taking a brief rest after rattling through the pneumatic intestines of the police station. It's open, and contains a MEMO.\n\n> Buttons\nThere are loads of chunky buttons set into the front of the box. Most of them are blank, but some have neat inscriptions. There are buttons marked CHIEF, Serious CRIMES, FRAUD, and NARCOTICS. Oh, and a bit of paper has been stuck to one button with the word UNFATHOMABLE scribbled on it.\n\nThe button marked 'Serious Crimes' is currently depressed.\n\n> Memo\nIt's very neatly typed, on a perfectly square piece of paper.\n\nRumours are circulating that a woman has been commissioned as a police officer. These rumours are untrue. While a woman has been employed to assist the C.I.D., she is not doing so in the capacity of either constable or detective.\n\nFrankly, the gossiping this event has sparked leads me to believe that she will feel quite at home with the lot of you.\n\n> Unfathomable\nI push the button marked 'Unfathomable'. It depresses with a firm 'click', and the button marked 'Serious Crimes' pops back up.\n\n> Crimes\nI push the button marked 'Serious Crimes'. It depresses with a firm 'click', and the button marked 'Unfathomable' pops back up.\n\n> Narcotics\nI push the button marked 'Narcotics'. It depresses with a firm 'click', and the button marked 'Serious Crimes' pops back up.\n\n> Hole\nThere's a circular hole in the top of the box. This must be where messages go to get sent through the pneumatic TUBE.\n\n> Lever\nI grab the lever on the side of the box and give it a firm yank. The hole in the box emits a tremendous sucking sound until I let the lever spring back into place."
    },
    {
        "text": "[Themes: Mystery]\n\n> Look around\nI'm in the Oldchester C.I.D., specifically the Office of Unfathomable Crimes. It's quite homely, really, with sunlight streaming in through a large WINDOW and moustachioed men smiling down from PICTURE frames on the walls.\n\nA DESK fills much of the room, piled high with PAPERS and FILES, and a pneumatic TUBE snakes along one wall.\n\nI can hear a raised voice ranting on the other side of the door to the Chief Inspector's office.\n\n> Desk\nThe desk's all scuffed and scratched. It could use a good polish. On the desk are a bell JAR, some PAPERS, and some FILES.\n\n> Files\nThick binders full of files are propped up against one another like a collapsed house of cards. Each file's got a letter on its spine.\n\nBy far the thickest file is labelled with an S.\n\n> You go to the south\nS. The snakiest of all letters. Just what criminal masterminds, associated with the letter 'S', could exist in the city to so thoroughly fill out this poor, bulging binder?\n\nOh look, it's all about me.\n\nI set the binder back down, but... I sort of want to look at it again, more closely.\n\n> Go south\nI open the binder to the first scrap of paper filed under 'Silhouette'. It's a memo to Walker, ordering that the Office of Unfathomable Crimes look into a prankster and graffiti artist who's humiliating the upper crust - because no-one else could catch me.\n\nSo, I'm actually blushing right now.\n\n> You go south\nAh look, it's a photograph of one of my earlier works. A caricature of a factory boss, painted around the entrance to the shop floor, as if his flabby maw was greedily devouring each worker as they stepped inside.\n\n> Go south\nI find a report of an incident at a posh library. Seems that someone slipped a number of copies of an infamous work of erotica into the covers of some notable theological tomes.\n\nI can only plead ignorance of the whole affair.\n\n> You go south\nSee this report here? So someone reprograms a teaching automaton to instruct pre-school children in the spelling and grammatical use of a number of profanities, and I get the blame.\n\nAnd it's not like they were even old enough to know what any of it meant.\n\n> You go south\nThere's a couple of sheets of photographs clipped to some of Walker's notes. Looks like he was trying to create a timeline of various Silhouette symbols I daubed around the city and analyse the development of my style.\n\nAh, bless him.\n\n> Go south\nI find some case notes from the distribution of an obscene forgery of a public information pamphlet.\n\nIt's interesting how transposing a few words can turn an essay on moral hygiene into something a bit... different.\n\n> JAR\nA hemisphere of glass attached to an air PUMP. It seems to contain a piece of rotten MEAT and a SWARM of stripy flies.\n\nThere's a NOTE attached to it.\n\n> Note\nThe note's written in very elegant handwriting:\n\nDear All,\nI'm conducting an experiment to determine the effects of high altitude on the life cycle of the striped carrion fly. This may have a bearing on a certain case involving a famous mountaineer. Please don't panic if they escape. Although they may look like wasps, they're completely harmless.\nWalker\n\n> Pump\nA set of bellows attached to an electric motor and a fan. Yeah, I'd say it's some sort of air pump.\n\nThere's an awfully tempting SWITCH on the side of it.\n\n> Switch\nI flip the switch and the pump begins whirring quietly. After a few seconds, the pump's fan spits out one of the stripy flies. I turn off the pump before any more get sucked out.\n\nWhoops. I hope I didn't just invalidate Nate's experiment.\n\n> BOX\nA neat little box of tarnished filigree, attached to the pneumatic tube. Loads of BUTTONS are set into the face of the thing, a LEVER on the side, and a BASKET underneath it. Oh, and there's a small HOLE in the top of it."
    },
    {
        "text": "[Themes: Mystery, male protagonist, multiple protagonists]\n\n> You look at your surroundings\nI'm in the Oldchester C.I.D., specifically the Office of Unfathomable Crimes. It's quite homely, really, with sunlight streaming in through a large WINDOW and moustachioed men smiling down from PICTURE frames on the walls.\n\nA DESK fills much of the room, piled high with PAPERS and FILES, and a pneumatic TUBE snakes along one wall.\n\nA stripy FLY is buzzing around lazily.\n\nI can hear a raised voice ranting on the other side of the door to the Chief Inspector's office.\n\n> Picture\nThese must be the rozzers who've worked at the C.I.D. through the ages. There's a definite trend over time from men with huge beards and top hats towards men with small moustaches and bowler hats.\n\nNext thing you know the place'll be run by hatless women.\n\n> About yourself\nWhat, do you want my vital statistics or something? I'm Ivy Blissheart, a.k.a. Silhouette, former dissident, currently attached to the police force in some crazy fashion.\n\n> You look at what you're carrying with you\nI am carrying a NOTEBOOK, and I'm wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\n> Cloche\nA small bucket of a hat that goes nicely with my short hair and doesn't take up much space. Also it forces me to hold my head up high, or I can't see out from under the brim.\n\n> Notebook\nI'm all set to be a good detective. Got my little notebook and everything, 'though it's currently blank at the moment, save a little doodle of Walker.\n\n> You look at BOX\nA neat little box of tarnished filigree, attached to the pneumatic tube. Loads of BUTTONS are set into the face of the thing, a LEVER on the side, and a BASKET underneath it. Oh, and there's a small HOLE in the top of it.\n\n> Dress\nA white, sleeveless dress with a hemline just below the knee. Yes, I decided I'd rather look like a floozie than trip over my own clothes while pursuing a criminal.\n\n> Basket\nThere's a little basket just beneath the metal BOX. It looks like it's positioned to catch anything that might come flying out of the pneumatic tube. It contains a CANISTER.\n\n> Window\nI look out the window and across the smoke-blackened rooftops of Oldchester. The sun's low on the horizon, looking all pale and sleepy.\n\n> You examine the buttons\nThere are loads of chunky buttons set into the front of the box. Most of them are blank, but some have neat inscriptions. There are buttons marked CHIEF, Serious CRIMES, FRAUD, and NARCOTICS. Oh, and a bit of paper has been stuck to one button with the word UNFATHOMABLE scribbled on it.\n\nThe button marked 'Narcotics' is currently depressed.\n\n> Press chief\nI push the button marked 'Chief'. It depresses with a firm 'click', and the button marked 'Narcotics' pops back up.\n\n> You pull the lever\nI grab the lever on the side of the box and give it a firm yank. The hole in the box emits a tremendous sucking sound until I let the lever spring back into place.\n\nThe stripy fly is sucked helplessly into the pneumatic tube. Pharaoh speed, little stripy fly.\n\nThings suddenly go quiet in the Chief Inspector's office. Let's WAIT and see what happens.\n\n> You wait\nThe door to the Chief Inspector's office opens quietly, and NATE slips into the room. I get a brief glimpse of a fat, bald man swatting at the air with a rolled up newspaper before the door closes again.\n\nNate says, \"I decided that now might not be the time to tell the Chief Inspector about the difference between a striped carrion fly and a wasp.\"\n\n> Chief\nThe button marked 'Chief' is currently depressed. Physically, I mean. Emotionally, it seems to be holding up fine.\n\n\"I see you've already met my colleague, FORTHRIGHT,\" Nate says.\n\nI turn around with a start and see a tall man with a long nose leaning against the wall.\n\n\"I find her powers of observation lacking,\" he says.\n\nThe nerve! I could try and put this bloke in his PLACE or just BITE my tongue.\n\n> Place\n\"You must get a lot of practice,\" I say, \"spying on young women.\"\n\nHe just ignores me. I'll take that to mean he can't think of a good comeback.\n\n\"Well,\" Nate says, \"it was fun while it lasted, but it looks like I'm off Unfathomable Crimes and back at the Old Warren desk.\"\n\n\"Because of her?\" Forthright asks.\n\nOkay, I feel pretty rotten right now. Should I be SYMPATHETIC towards Walker, or HARSH towards Forthright?\n\n> Sympathetic\n\"Are you in trouble because of me, Na- uh, Walker?\" I demand, watching Forthright carefully. \"Because I'm telling you, I'm really not worth it.\"\n\n\"There's no way I was going to let them lobotomise you, Ivy,\" Nate says. \"You didn't do anything to deserve that. And in any case, I... don't mind working the Old Warren. The cases may be less fancy, but they need good detectives as much as anyone else.\"\n\nForthright shakes his head. \"I think it's a crying shame. Look, take this.\" He hands Nate a piece of PAPER. \"Someone telephoned in a murder and it looks right up your alley. One last unfathomable case, okay? You're probably the only one who can solve it anyway.\"\n\nShooting me a final hateful look, Forthright stalks out of the office.\n\n> PAPER\nI peer over at the piece of paper that Forthright gave to Nate. The handwriting is almost illegible, but I can make out the words 'murder' and 'uptown'. This must be one of those classy killings Walker's always solving.\n\nNate reads the paper and smiles. \"Another mystery afoot! We should LEAVE as soon as you're ready, Ivy.\"\n\n> Walker\nNate's the kind of delicate, impossibly beautiful young man you'd sooner expect to see reclining in a bay window writing poetry than examining a corpse in the Old Warren.\n\nBut there's also a sort of nervous energy to him, and his hair's always falling over one eye or the other as he looks around with intense interest.\n\nNate is carrying a BOWLER hat, a CANE, a police BADGE, and a PIECE of paper, and he's wearing a three-piece SUIT.\n\n> Memo\nIt's very neatly typed, on a perfectly square piece of paper.\n\nRumours are circulating that a woman has been commissioned as a police officer. These rumours are untrue. While a woman has been employed to assist the C.I.D., she is not doing so in the capacity of either constable or detective.\n\nFrankly, the gossiping this event has sparked leads me to believe that she will feel quite at home with the lot of you.\n\n> Piece\nI peer over at the piece of paper that Forthright gave to Nate. The handwriting is almost illegible, but I can make out the words 'murder' and 'uptown'. This must be one of those classy killings Walker's always solving."
    },
    {
        "text": "> You look around\nI'm in the Oldchester C.I.D., specifically the Office of Unfathomable Crimes. It's quite homely, really, with sunlight streaming in through a large WINDOW and moustachioed men smiling down from PICTURE frames on the walls.\n\nA DESK fills much of the room, piled high with PAPERS and FILES, and a pneumatic TUBE snakes along one wall.\n\nNATE stands an arm's length away, leaning on his cane.\n\n> Xyzzy\nAnd an abracadabra to you too.\n\n> CANE\n\"Can I just ask,\" I begin, \"I've always wondered about the cane...\"\n\nHe smiles grimly. \"I was shot. The bullet missed the femoral artery, but still shattered my thighbone like glass.\"\n\nI cringe. \"Ouch.\"\n\n\"Yes, I recall saying something along those lines myself.\"\n\n> Suit\nNate's dressed like for a funeral. I s'pose there often is one when he turns up.\n\n> BOWLER\nI'd describe Nate's little hat as moderately adorable.\n\n> You leave\nI crack my knuckles. \"Okay: let's get policing! Can I drive your motor car?\"\n\nNate smiles. \"In general: yes. But this is perhaps not the time to learn.\"\n\nThe bluebottle at the door salutes Nate and gives me the evil eye.\nAnd then we're inside the scene of the crime.\n\n\"It's all yours,\" Nate says, with a wry smile. \"Detect!\"\n\nYou know what? It's cold in here. The wind blows right in through the smashed balcony DOORS, rippling the fur of the room's shaggy RUG and tugging on the torn sheets of the four-poster BED.\n\nThere's a mangled CORPSE on the bed - the whole reason we're here, of course. And the walls are lined with all sorts of TROPHIES and stuff from around the Arctic and Antarctic.\n\nNATE stands an arm's length away, leaning on his cane.\n\n> Doors\nThe balcony doors look like they've been hit by a bomb. The JAMBS are all bent out of shape and shards of broken GLASS have been scattered over the floor.\n\n\"Would it be jumping to conclusions,\" I ask, \"to think they might have come in through the balcony?\"\n\nNate nods. \"It seems a sensible hypothesis.\"\n\n> GLASS\n\"Okay, I know this is penny dreadful stuff, but the glass is on the inside of the room, so the doors were broken in from the outside... right?\"\n\nNate smiles. \"Just because it's obvious, that doesn't mean it's wrong.\"\n\n> Jambs\nThe jambs are the side parts of the doorframe. But you knew that.\n\n\"It doesn't look like this was caused just by forcing the doors open,\" I ponder aloud. \"It's like something a bit too big was crammed through here. They must have stolen something. Something big.\"\n\nNate says, \"Oh really?\"\n\n> Rug\nThis has got to be the shaggiest rug I've ever seen. Peering closer, I think I see something. \"Hey, there's loads of little DENTS in the rug, like there was a heavy table here, and someone bounced it around all over the place.\"\n\nNate leans forward on his cane and acknowledges my find silently.\n\n> Dents\n\"You know how when you move a heavy piece of furniture, you find the legs have left dents in the carpet?\"\n\n\"I can't say I'm intimately acquainted with the phenomenon,\" Nate says, \"but yes.\"\n\n\"These dents are sort of like that,\" I go on, \"but they're not pressed down too much, like whatever was here wasn't here for long.\"\n\nNate makes an appreciative nod. I think I'm going to write this down in my NOTEBOOK.\n\n> Corpse\nThe legendary polar explorer Saul Hawthorne is lying on the bed, quite thoroughly deceased. His broken LIMBS have been wrapped twice around his body and his FACE is frozen into a rictus of surprise and agony.\n\nNate watches me closely. \"It's okay if you feel faint.\"\n\n\"Pfff. I'm fine.\"\n\n> Notebook\nI flip open my notebook. So far, I've made the following notes:\n\n-(A doodle of Walker.)\n-The pedals of a motor car go: clutch, brake, accelerator, from left to right.\n-Something made lots of dents in the rug.\n\n> Limbs\nI'm not sure exactly how his arms and legs got in this state. It's like a giant tried to roll him up like a ball of string. His skin has circular BRUISES all over it.\n\n\"I actually fainted at my first crime scene,\" Nate reassures me.\n\nI laugh. \"Seriously, I'm fine.\"\n\n> Bruises\nHis arms and legs - the same arms and legs mangled almost beyond recognition - are marked with countless circular bruises. I think I'll write this down in my NOTEBOOK.\n\n\"Are you sure you're okay?\" Nate asks.\n\n\"I did throw up in my mouth a bit,\" I admit, \"but I just swallowed it back down.\"\n\n\"Well, as long as you feel you have it under control.\""
    },
    {
        "text": "[Themes: Mystery, romance, feminism, female protagonist]\n\n> Look around\nYou know what? It's cold in here. The wind blows right in through the smashed balcony DOORS, rippling the fur of the room's shaggy RUG and tugging on the torn sheets of the four-poster BED.\n\nThere's a mangled CORPSE on the bed - the whole reason we're here, of course. And the walls are lined with all sorts of TROPHIES and stuff from around the Arctic and Antarctic.\n\nNATE stands an arm's length away, leaning on his cane.\n\n> Bed\n\"From the state of this bed,\" I say, surveying the mess made of its torn and crumpled sheets, \"I think it's safe to assume he didn't die peacefully in his sleep.\"\n\nNate nods. \"And it therefore seems quite probable that he was mangled by the very method of his murder, rather than post mortem.\"\n\n> Trophies\nThis bloke obviously liked to surround himself with evidence of his own achievements. There are countless picture FRAMES on the walls, some freaky SPECIMENS, a few... let's call them KNICKKNACKS, and a huge MAP of Antarctica.\n\n> Frames\nI bet it took real work to fit all these different sized frames together so neatly, with so little space left over. What jumps out at me? There's an ancient SCROLL, the front page of a NEWSPAPER, an AERIAL photo, a photo of two MEN, some sort of mathematical CHART, and a diagram of something like a candelabra or a TREE or something.\n\n> Scroll\nThe scroll shows a load of stick figures pointing at a star, with scribbly words spiralling around in every open gap. A plaque on the frame reads: 'Ancient peoples record the meteor falling to Earth with great accuracy. Modern calculations prove its origin at Mars.'\n\n\"People complain about progress,\" I say, \"but I don't think going from stick figures to photographs in a few thousand years is to be sniffed at.\"\n\nNate says, \"Quite.\"\n\n> Newspaper\nThe newspaper shows two men posing outside the Oldchester Museum, with the headline: Hero Explorers' Audience with Pharaoh. The fella on the left looks like the victim. The other one's a man in an eye-patch.\n\n\"So he was famous then?\" I ask.\n\nNate says, \"Renowned.\"\n\n> Aerial\nWell, I suppose it's an aerial photo. Depends how tall the photographer was.\n\nThere's a wide swathe of barren ice, and in the middle of it is a basin or dip that's overflowing with weird trees and dense vines. There are little dots surrounding it, like birds, only not birds, if you know what I mean.\n\n> Aerial\n\"Explorers go to some weird places,\" I say to Nate.\n\nHe looks at me funny. \"I think that's by definition.\"\n\nWell, I suppose it's an aerial photo. Depends how tall the photographer was.\n\nThere's a wide swathe of barren ice, and in the middle of it is a basin or dip that's overflowing with weird trees and dense vines. There are little dots surrounding it, like birds, only not birds, if you know what I mean.\n\n\"Explorers go to some weird places,\" I say to Nate.\n\nHe looks at me funny. \"I think that's by definition.\"\n\n> Men\nA photograph of two men wrapped up in furs and standing in front of a cave painting. One of them looks like the victim, the other's someone in an eye-patch.\n\nThe painting shows a load of inhuman stick figures feeding their fellows to a tentacled blob.\n\n> Chart\nA comparison of the Antarctic climate versus apparent Martian temperatures. Fascinating stuff.\n\n\"What kind of holiday time do I get, Nate? It looks like Mars is nice this time of year.\"\n\nHe looks thoughtful. \"I'm not sure if you're displaying a complete ignorance of the actual nature of seasons, or making a witty comment about the eccentricity of the Martian orbit.\"\n\n\"The former,\" I say, \"definitely.\"\n\n> Tree\nAccording to the title: \"The Martian Life of the Antarctic: A Provisional Taxonomy\". It seems to consist of loads of lines connecting long, made-up words.\n\n> Knicknacks\nA comparison of the Antarctic climate versus apparent Martian temperatures. Fascinating stuff.\n\n\"What kind of holiday time do I get, Nate? It looks like Mars is nice this time of year.\"\n\nHe looks thoughtful. \"I'm not sure if you're displaying a complete ignorance of the actual nature of seasons, or making a witty comment about the eccentricity of the Martian orbit.\"\n\n\"The former,\" I say, \"definitely.\"\n\nSo you go to Antarctica, without heat, food or reliable transport, and you still come back with loads of rubbish that you don't need. It's a terrible statement on the human condition.\n\nI s'pose the most interesting knickknacks I can see are a husky's COLLAR, a woolly SCARF and a MEDAL. All of them just pinned to the wall.\n\n> Medal\nThe 'South Polar Society Star for Heroic Dedication to Science.' I say to Nate, \"At least he got recognised before he died. Does that happen for police detectives?\"\n\nNate says, \"Only the ones who don't make waves.\"\n\n\"Oh. Then I missed my chance without even knowing I had it.\"\n\n> Collar\nThe nametag reads 'Butch'.\n\n\"I believe they were forced to eat their dogs,\" Nate explains.\n\nI frown. \"And just think: if Butch had eaten this bloke because he was hungry, people would have called it a tragedy.\"\n\n> Scarf\nI finger the scarf. It feels warm, but I'm not sure I'd trust it with my life at the South Pole.\n\n> Specimens\nYuck. Okay, there's a polar bear's HEAD mounted on the wall, a pickled space creature in a JAR, and an exotic AQUARIUM.\n\n> Head\nI reach out and stroke the polar bear's muzzle. He looks fierce, but his fur's nice and soft. \"Poor thing. If only he'd covered his nose with his paw when he saw this bloke coming.\"\n\n\"They don't actually ever do that,\" Nate corrects me.\n\n\"Well,\" I say, \"the sooner they start, the better.\"\n\n> JAR\nIt's... This little blighter must be of great scientific interest, that's for sure. \"Where's its head?\" I ask. \"Is that its mouth?\"\n\n\"That's its anus,\" Nate informs me, without so much as blinking.\n\n\"Well they must have very different priorities on Mars.\"\n\n> Aquarium\nAn opulent, oversized tank of water, currently occupied by some gravel and a little CASTLE. No sign of the fish at present. What a waste of water.\n\n\"Any little aspect of the crime scene can be relevant,\" Nate says, cryptically. \"There's no such thing as too much knowledge.\"\n\nHmm. Maybe the fish is a suspect? I wonder what its alibi is?\n\n> Castle\nLooking a little more closely, I think I can make out a tiny round eye staring back at me from inside the little castle. \"So I've solved the case of the missing FISH.\"\n\nTo my surprise, Nate limps over to get a closer look. \"I see. Very interesting.\"\n\nThe thing is, I don't think he's joking.\n\n> Fish\nI tap on the side of the aquarium. The fish just stares out at me.\n\n\"Don't,\" Nate says. \"It's clearly been frightened.\"\n\n\"I thought that's just what fish did? Hide, so you wonder why you bothered to get them in the first place.\"\n\nNate brushes back his hair. \"Well, if you don't think it's relevant.\"\n\nI sigh. \"Fine, I'll write it down in my NOTEBOOK. Happy?\"\n\nNate reaches out for my notebook and glances over it. \"I think you've got enough here that you might be able to EXPLAIN the method of murder.\"\n\n> You explain\n\"You want me to explain how this man was twisted to death in his own bed?\"\n\nNate purses his lips. \"I believe I said as much.\"\n\n\"The dents in the rug... the frightened fish... I dunno, an angler with two peg legs?\"\n\nNate turns towards the maimed corpse. \"I've never seen a fisherman who could do this to a person. And what about the circular bruises?\"\n\nWell, I s'pose could keep trying to EXPLAIN the murder, or just SHRUG.\n\n> You explain\n\"How about some kind of... petrol-driven arm and leg twisting machine?\"\n\n\"No,\" Nate says. \"That would never frighten a fish. Fish don't have arms or legs. I know you can EXPLAIN it, though. Keep trying.\"\n\nOr maybe I should just SHRUG and give up.\n\n> You explain\n\"Frightens fish, leaves dents... a swarm of angry fishing rods?\"\n\nNate sighs. \"Now you're just being absurd.\"\n\nEXPLAIN, SHRUG, the choice is yours.\n\n> You explain\n\"Okay, I think I've got it this time: a typhoon machine on robotic legs. Typhoons are at sea, right?\"\n\n\"Better,\" Nate says, \"but the whole room would be in disarray if that were the case. I know you can EXPLAIN this mystery, Ivy. Don't give up.\"\n\nThe urge to SHRUG is almost overwhelming.\n\n> Punch nate\nMy attacks are made in the medium of graffiti and petty vandalism.\n\n> You explain\n\"A giant sea urchin, bent on murder. The dents are its footprints. The victim twisted himself to death trying to avoid its spines.\"\n\nNate seems impressed. \"Well thought out, but sea urchins are very mellow creatures, as their spines protect them from all the ills of the world. I can't imagine one being moved to kill.\"\n\n\"This is ridiculous, Nate, I have no idea.\"\n\n\"I know you can EXPLAIN this, Ivy. All the evidence is here.\"\n\nI SHRUG, but not in any final sort of fashion. Yet.\n\n> You explain\nI throw up my hands. \"A shark on stilts.\"\n\nNate laughs, and I feel myself turning red with embarrassment. Maybe this sort of thing comes easily to him, but-\n\n\"Very close,\" Nate says. \"I think you almost have it.\"\n\n\"Um, what?\"\n\nCan I really EXPLAIN this bizarre crime, or should I just SHRUG and get Nate to enlighten me?\n\n> You explain\n\"My head hurts,\" I whine. \"My mind's gone blank.\"\n\n\"Nonsense,\" Nate snaps.\n\n\"Okay... a predatory sea creature that frightened the fish... it's on robotic legs, which left dents in the rug... and... it twisted a man up like so much yarn... so it was an octopus?\"\n\nNate squeezes my shoulder. \"Based on the sucker marks, I'd say a giant squid, but you're in the right phylum and class.\"\n\nI stare at him open mouthed.\n\nHe looks around. \"Now, I suspect we may be able to find out who sicced this abomination on our victim if we rifle his writing DESK.\"\n\nI frown. \"What writing-? Oh.\"\n\n> Desk\nThis absolutely was not here earlier. Otherwise I'd have mentioned it. Nate must have moved it in while I was distracted with all the other junk packed into this ridiculous room. I mean, there's a polar bear's HEAD on the wall. Is it any wonder if I get distracted? Anyway.\n\nIt's a very neat little desk, not much used, I'd say. Two small DRAWERS are set into one side of the thing. On the desk is a PINK letter.\n\n> Pink\nWritten in a careful and delicate script:\n\nSweetiepie,\nMiss you so much when you're away. Hurry round to visit as soon as you can, and bring me a nice surprise!\nLove and huggles,\nElizabeth\n\nP.S. Muggles the kitten misses you as well!\n\n\"Anything pertinent?\" Nate asks.\n\n\"Only to my fading ability to hold onto my breakfast.\"\n\n> Drawers\nThe desk has two drawers. Do you want me to open the TOP one, or the BOTTOM one?\n\n> Top\nOpening the top drawer reveals a BLUE letter.\n\n> Blue\nThe letter's written in a blocky, neat hand.\n\nSaul,\nOur mutual friend is in the city. Don't ask me how. Perhaps you\ncan pay him off?\nRupert Wetherby\n\nI show the letter to Nate. \"Does this sound like the kind of thing that gets people murdered?\"\n\n\"Anything can get one murdered, in my experience. Keep looking.\"\n\n> Blue\nThe letter's written in a blocky, neat hand.\n\nSaul,\nOur mutual friend is in the city. Don't ask me how. Perhaps you\ncan pay him off?\nRupert Wetherby\n\n> Bottom\nI try the bottom drawer, but it won't budge. On closer inspection, there's a little warded LOCK on the thing.\n\nNate looks over the desk. \"The key may be around here somewhere...\"\n\nI clear my throat. \"I am all the keys you will ever need.\"\n\n> Lock\nI pull out one of my hatpins and bend the end into a 'bit' with my teeth. Slide it into the lock like a key, turn it, and... click.\n\nNate says, \"I expect you think I'm impressed.\"\n\nI blow him a kiss, like a moving picture star. \"I know you're impressed.\"\n\nOpening the drawer, I find a YELLOW letter.\n\n> Yellow\nThis letter's written in an almost uncontrolled scrawl.\n\nThought you got rid of me, did you?\nWell I'm on my way home.\nYou'll get yours, city boy.\n\nFrom you know who.\n\nI show it to Nate. \"Look like a letter from a murderer to you?\"\n\nHe develops a crooked smile. \"This must be the mutual friend mentioned in the other letter. It seems that 'Rupert' shall have a number of questions to answer.\"\n\nNate runs his fingers through his hair and puts on his bowler. \"We'll LEAVE once you feel you've sated your curiosity, shall we?\"\n\n> Nate\nNate's the kind of delicate, impossibly beautiful young man you'd sooner expect to see reclining in a bay window writing poetry than examining a corpse in the Old Warren.\n\nBut there's also a sort of nervous energy to him, and his hair's always falling over one eye or the other as he looks around with intense interest.\n\nNate is carrying a CANE and a police BADGE, and he's wearing a BOWLER hat and a three-piece SUIT."
    },
    {
        "text": "> Look around\nYou know what? It's cold in here. The wind blows right in through the smashed balcony DOORS, rippling the fur of the room's shaggy RUG and tugging on the torn sheets of the four-poster BED.\n\nThere's a mangled CORPSE on the bed - the whole reason we're here, of course. And the walls are lined with all sorts of TROPHIES and stuff from around the Arctic and Antarctic.\n\nAmong the clutter is a writing DESK.\n\nThe bottom drawer contains a YELLOW letter. The top drawer contains a BLUE letter.\n\nA little FISH watches us from inside its castle.\n\nNATE stands an arm's length away, leaning on his cane.\n\n> Notebook\nI flip open my notebook. So far, I've made the following notes:\n\n-(A doodle of Walker.)\n-The pedals of a motor car go: clutch, brake, accelerator, from left to right.\n-Something made lots of dents in the rug.\n-There are circular blotches on the victim's limbs.\n-Nate thinks the fish is frightened.\n\n> You leave\nI check my hat's properly in place and make for the door, dragging Nate behind me.\n\n\"No entry,\" the doorman says. \"Members only. And you're not even a gentleman.\"\n\nIvy waves her papers in his face. \"Police. We can go where we like.\"\n\n\"That's not strictly true,\" I whisper.\n\nTobacco SMOKE hangs in the air like a mist of filth. I've been in opium dens with more pleasant air, although they admittedly lacked the fine mahogany FURNITURE of this place.\n\nIVY is by my side, elfin and mischievous.\n\nRupert WETHERBY sits staring at us. \"You're both police officers?\nThe world's really gone to pot.\"\n\n> Ivy\nI glance over at Ivy. I see a young woman, about the same age and height as me, slender, athletic, elfin. Her hair is cut into a short bob and her features are untouched by rouge.\n\nIvy is carrying a NOTEBOOK, a YELLOW letter, and a BLUE letter, and she's wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\n\"Mr Wetherby,\" Ivy begins uncertainly, \"we were wondering about these two letters.\"\n\nHe waves them away. \"Not related to Saul's death, I assure you. I understand you must investigate, but some things are better left unknown.\"\n\n> Dress\nA simple and short dress, unlikely to get in the way - especially since it barely covers her KNEES.\n\n\"Okay,\" Ivy whispers to me, \"I'll be bad cop. You just DEFEND him, APPEAL to his better nature, OFFER leniency, that sort of thing.\"\n\n\"Bad cop?\" I repeat stupidly, although the term certainly fits.\n\n> Knees\nIvy's bare legs are slender, pale, eminently distracting...\n\nShe looks in my direction and I glance quickly away.\n\nIvy rolls up her sleeves and swaggers over to Wetherby. \"Is there something about this 'you know who' that you'd prefer to hide from the law?\"\n\nWetherby seems unimpressed by her display. \"I assure you that this matter, while I might prefer to keep it secret, is not related to his murder.\"\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> Appeal\n\"Mr Wetherby,\" I say, \"please. The murderer must be caught before he or she kills again.\"\n\nHe shakes his head. \"I'll say it again. These letters will not lead you to the murderer.\"\n\n\"So you're protecting the victim,\" Ivy says. \"How noble. Or perhaps... you're actually protecting yourself. If Hawthorne had paid this person off, maybe you'd have profited?\"\n\nWetherby glares at her.\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> Offer\n\"If you help us, I'm sure the courts will be lenient.\" I suggest.\n\n\"I'm no accomplice to whoever killed my dearest friend,\" Wetherby spits.\n\nIvy idly digs her heel into the expensive carpet. \"Even if you're not involved in the murder, I bet you were stabbing Hawthorne in the back in some way or another. I mean, what are you so afraid we'll find out?\"\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> You defend\n\"I'm sure he's not afraid of anything,\" I say. \"It may well be perfectly innocent.\"\n\nIvy grins. \"Well, we'll find out eventually, with or without his co-operation.\"\n\n\"I suppose you might as well hear it from me,\" Wetherby says. \"Look, Saul was no coward. We faced real dangers on our expedition to the North Pole. That polar bear... I'd be dead if not for Saul. But Saul liked his creature comforts. When we met that bo's'n on the icebreaker, saw his remarkable likeness - well...\"\n\nHe looks at me suddenly. \"Will this go any further than you two?\"\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> Offer\n\"Unless it becomes absolutely necessary to divulge this to convict his murderer,\" I say, \"you have our confidence.\"\n\nWetherby smiles at me. \"Thank you. I suppose that's as it must be. And yes, I suspect, despite what I said earlier, that this is related to his death.\"\n\nIvy sighs. \"Well, spit it out already!\"\n\n\"Saul never went to the Antarctic Crater,\" Wetherby says. \"He hasn't even left Oldchester in years.\"\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> Appeal\n\"Once you've shared this with us,\" I say, \"I'm sure it will be a weight from your shoulders.\"\n\n\"I went to Antarctica with a man by the name of Nigel Davenport,\" Wetherby explains. \"In the photographs he looked enough like Saul, especially with a little doctoring of the negatives. He knew the land, but he was no scientist or gentleman, and he started to become quite the braggart. You have to understand: a land that to others was only death, could to him be something closer to a home...\"\n\nIvy gasps. \"You left him there, didn't you?\"\n\nWetherby stares at the carpet. \"How he could possibly have returned, I do not know. But his aim now seems clear enough to me.\"\n\nShould I DEFEND Rupert, APPEAL to his better nature, or OFFER leniency?\n\n> Offer\nI touch Wetherby's shoulder. \"I'll see that a constable is assigned to protect you, but we shall have apprehended this man shortly.\"\n\nWetherby seems reassured. \"Thank you.\"\n\nI check that my hat is on my head. \"Now, where might we find this Davenport?\"\n\n\"I don't know,\" Wetherby says. \"But I suspect that it will be nowhere civilised. He was Saul's mirror opposite in many ways, and he loathed even the least luxury.\"\n\nI find myself smiling. \"I know just where to find him. Ivy, we'll LEAVE for there immediately.\"\n\n> Jacket\nIvy's jacket is creased and battered, the fabric softened by years of wear.\n\n\"But what about the squid?\" Ivy demands. \"And what are you hiding under that eye patch? Cuff him. Let's take him down to the station and-\"\n\nI cover her mouth with my hand. \"I think that's quite enough from 'bad cop', thank you.\"\n\nIvy says, \"Mmm-hhmf.\"\n\n> Cloche\nIvy's wearing one of those strange little bell-shaped hats that are starting to creep into fashion. It looks rather adorable crowning her elfin features.\n\nWetherby squints at Ivy. \"Do I know you from somewhere?\"\n\nIvy pulls on my arm. \"I doubt it. Well, off we go...\"\n\n> Wetherby\nA craggy, ageless man in an EYEPATCH. Several of his FINGERS are missing.\n\nWetherby seems to arrive at a sudden realisation. \"Silhouette! I own the carpet factory you broke into. You tampered with the machines... Those obscene patterns! An entire batch had to be burned!\"\n\nIvy shrugs nervously. \"I s'pose those are the dangers of too much automation.\"\n\n> EYEPATCH\nA smart leather patch covers Wetherby's left eye.\n\n\"I need a stout drink,\" Wetherby murmurs. He stands, bows reluctantly to Ivy and walks away.\n\n> Smoke\nYeuch. The place could be burning down, and no-one would notice.\n\n\"By the way,\" Ivy says, \"You make a pretty bad 'good cop'. I respect that.\"\n\n\"I was a good enough cop to get you out of Mindflower, Ivy.\"\n\nShe shakes her head. \"That's not 'good cop' at all. You're bad cop through and through. We'll try it the other way 'round next time.\"\n\nNext time!"
    },
    {
        "text": "> You look around\nTobacco SMOKE hangs in the air like a mist of filth. I've been in opium dens with more pleasant air, although they admittedly lacked the fine mahogany FURNITURE of this place.\n\nIVY is by my side, elfin and mischievous.\n\nIvy coughs and waves her hand in front of her. \"So much smoke...\"\n\n> Furniture\nAll this dark, meticulously polished wood, expertly carved into elegant forms... It reminds me of my family home.\n\nIvy coughs and pinches her nose. \"My eyes are really watering...\"\n\n> Notebook\nShe showed me some of the things she's doodled in there. I'd already suspected her mind was of scientific interest, but I had no idea.\n\nIvy touches my arm lightly. \"I can't take it anymore. I'll be outside when you want to LEAVE.\"\n\nShe hurries outside, pausing to wave at the doorman.\n\n> You leave\n\"I used to come here as a kid to feed the ducks,\" Ivy says. \"Can we visit the pond?\"\n\nI brush my hair back from my eyes. \"Of course. If that's where Davenport is hiding.\"\n\nA pleasant enough place, even if the smoke-blackened sky and tall buildings peering over the TREES leave one under no illusions that this is anywhere but smack in the middle of the city.\n\nWe're on the cobbled square with the famous weeping fish FOUNTAIN. A BENCH overlooks the area, upon which a courting COUPLE sit, side by side.\n\nA PRIESTESS lies sunning herself on the grass, some distance away.\n\nIVY is by my side, elfin and mischievous."
    },
    {
        "text": "[Themes: Mystery, female protagonist, male protagonist]\n\n> Look around\nA pleasant enough place, even if the smoke-blackened sky and tall buildings peering over the TREES leave one under no illusions that this is anywhere but smack in the middle of the city.\n\nWe're on the cobbled square with the famous weeping fish FOUNTAIN. A BENCH overlooks the area, upon which a courting COUPLE sit, side by side.\n\nA PRIESTESS lies sunning herself on the grass, some distance away.\n\nIVY is by my side, elfin and mischievous.\n\n> Couple\nA gentleman and lady, both smartly dressed, perhaps a little older than Ivy and me.\n\n\"They make a nice pair, don't you think?\" I suggest.\n\nIvy mimes retching.\n\nSeeing her gesture, the couple both shoot me a pitying look, as if they think I should set my sights higher.\n\n> Priestess\nAlthough she mostly fits the part with her straight black hair and KALASIRIS, her pale skin marks her out as an Oldchester native. I'd imagine that's the reason she's trying to get a tan.\n\n\"She's judging me,\" Ivy says, following my gaze. \"I can tell.\"\n\n> Kalasiris\nA straight, white dress, the straps meeting behind her neck. I'm really not sure if the hemline is higher than Ivy's. The priestess is certainly showing more leg, but perhaps that's just because she's lying down and-\n\n\"You look deep in thought,\" Ivy says. \"I s'pose any quiet moment is a chance to ponder mysteries, right?\"\n\nI clear my throat. \"Yes, well.\"\n\n> Bench\nSomeone has etched Silooette 4eva into the bench's arm. Now, Ivy's spelling may not be perfect, but she can at least spell her own alias. This message must have been left by one of her fans.\n\n> Fountain\nThe fountain takes the form of a huge, scaly fish. Water cascades in torrents from the corners of its eyes and into a pool dotted with copper and silver coins.\n\nIvy says, \"Freaky. Not sure I'd trust this thing with my wishes.\"\n\n> Trees\nHopwell Gardens has always been surprisingly wooded. It's not uncommon for people to get lost if they wander too far from the path. Peering into the anaemic, smog-poisoned trees, I think I can make out the tattered canvas of a TENT.\n\nIvy cracks her knuckles. \"You have that distant look in your eye.\nThe chase is afoot.\"\n\n> Ivy\nI glance over at Ivy. I see a young woman, about the same age and height as me, slender, athletic, elfin. Her hair is cut into a short bob and her features are untouched by rouge.\n\nIvy is carrying a NOTEBOOK, a YELLOW letter, and a BLUE letter, and she's wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\n> Yellow\nWritten on scrappy paper, damaged by moisture and stained by soil. It's hard to tell without chemical analysis, but it doesn't look like soil native to Oldchester.\n\nThought you got rid of me, did you?\nWell I'm on my way home.\nYou'll get yours, city boy.\n\nFrom you know who.\n\n> Blue\nWritten on paper that, while hardly rare, is certainly not inexpensive. There's no letterhead.\n\nSaul,\nOur mutual friend is in the city. Don't ask me how. Perhaps you\ncan pay him off?\nRupert Wetherby\n\n> TENT\nI point at the tattered piece of canvas in the trees. \"Looks like someone's camping out.\"\n\nIvy laughs. \"What kind of idiot would sleep in a tent in Hopewell Gardens? Oh, wait... Yeah, I've not been paying attention.\"\n\nA dirt path leads IN, towards the tent.\n\n> Enter\nWe follow the path into the woods, the sounds of civilisation growing distant behind us.\n\nThe air here is cool and damp, the sky obscured by the broad green leaves of an immense and gnarled OAK. A TENT canopy has been strung across its branches, and a BARREL of fish sits between its roots.\n\nAn unkempt MAN sits cross-legged in the dirt.\n\nIVY is by my side, elfin and mischievous.\n\nOh, and, by the way, a giant SQUID on robot legs hulks over us all, chained to the oak's trunk.\n\nIvy grabs my arm. \"A squid on robot legs! You were right! I was right! Leg it!\"\n\nThe man leaps to his feet, swinging a flare gun wildly in our direction. \"Not so fast, townies.\"\n\n> Man\nI can see the resemblance to Hawthorne, I suppose. Although it's obscured rather by his long, matted hair and untamed beard.\n\nHe's bareheaded and clad in a suit of Martian SCALES.\n\nDavenport manages to control his mirth. \"This is what qualifies for strength and authority in the city, is it? A lame pretty boy and a waif who can hardly see out from under her hat? No, I think you have this situation all backwards.\"\n\n> Scale\nThe scales shimmer in the light: rust red, coarse and dry.\n\nIvy whispers to me, \"You carry a gun, right?\"\n\nI'm shocked. \"Of course not! I abhor violence. That's the very reason I became a police detective.\"\n\n> CANE\nA simple but sturdy walking stick, necessary since I was shot by an accomplice of the Bottle Street Strangler.\n\n\"Look at you both,\" Davenport says. \"In your city clothes. Prancing around like you own the world.\"\n\n> Barrel\nStolen from a local fishmonger, I'm sure. It's full of slimy, oily FISH.\n\n\"I've seen creatures that thought they owned a world,\" Davenport continues, \"and then found out the hard way.\"\n\n> SCALES\nThe scales shimmer in the light: rust red, coarse and dry.\n\n\"Thought that was a meteorite, everyone did,\" Davenport says. \"Left that crater in the ice. Didn't hang 'round long enough to find the truth.\"\n\n> TENT\nA tattered piece of canvas that seems to have attracted the filth of two continents like... well... some sort of... filth magnet.\n\nDavenport winks. It's a rather frightening sight. \"I'll tell you. I'll tell you what I found down there, and you'll wish I hadn't.\"\n\n> Legs\nThe squid's robot legs are thickly armoured and crab-like. Petrol-driven, I suspect, given the noise. As well as providing locomotion, they incorporate some sort of GILL apparatus.\n\nThere's also a conspicuous LEVER in amongst the machinery.\n\n\"This incredible machinery,\" I ask Davenport, \"where did you get it? Who fashioned it?\"\n\n\"T-T-\" he stammers, \"that's none of your business, city boy!\"\n\n> FISH\nWhen Davenport isn't looking, Ivy purloins a haddock.\n\n\"DISTRACT him,\" she hisses.\n\nIt seems she's formulated some sort of plan.\n\n> Arms\nGathered in a writhing coil around its mouthparts are the squid's arms - eight muscular appendages lined with toothed suckers. Although their reach is limited, once it's got hold of you with these, you're a goner for sure. As Ivy might put it.\n\nExtending far beyond the squid's arms are its TENTACLES.\n\nIvy whispers to me, \"I don't understand what he's talking about.\"\n\n\"Don't you read the papers?\" I whisper back.\n\nShe shrugs. \"When I'm in them, sure.\"\n\n> You distract\nThe squid has two long tentacles, each ending in an arrowhead of suckers. They dart through the air like angry snakes. Not to be confused with its ARMS.\n\nDavenport looks up at the blue sky. \"Mars. Dry and cold and dead. But it was pleasant enough. Once.\"\n\nI adjust my bowler and start to pace away from Ivy. \"You're quite right. In fact, I see the error of my ways now. Perhaps you could instruct me in a few survival techniques?\"\n\nDavenport looks at me pityingly. \"The only teacher you need is Mother Nature. But I warn you, she's a harsh schoolmarm indeed.\"\n\nI try to look disappointed. \"I see.\"\n\nIvy discreetly slips the haddock into one of Davenport's pockets.\n\n> Eyes\nThe squid stares at us with glassy eyes the size of dinner plates.\n\n\"Creatures like us lived there,\" Davenport says. \"High 'n' mighty. Civilised. But it counted for nothing when the oceans dried.\"\n\n> Muzzle\n\"Don't worry,\" I tell Ivy, \"it's not going to eat anyone while it's muzzled like that.\"\n\n\"No,\" she agrees, \"it'll just have to wring 'em out like a wet stocking instead.\"\n\n\"Some of 'em fled,\" Davenport goes on. \"The ark. Bet they were the smartest, the most civilised of all of them. But all this time later, it don't count for nothing.\"\n\n> Gill\nAmong the intricate mass of machinery that supports the squid's existence on land is - obviously - a contraption for supplying it with oxygenated water. I can see a glass CANISTER of water connected to a mass of HOSES and a PUMP.\n\nIt reminds me of my carrion fly experiment. Actually, I wonder how that's going...\n\nIvy pokes me in the ribs. \"Please don't start daydreaming when we're face to face with a sea monster.\"\n\n> Pump\nI'll be honest, I have no great technical appreciation of water or air pumps. Though after this, I'll be sure to do some research.\n\n\"There they are,\" Davenport says. \"Scratching at the ice like beggars. Savages. Feeding the weak to the many-armed monsters that came with 'em. No politeness. No etiquette. No pretence. Just do or die.\"\n\n> Canister\nDon't let the fact it's glass fool you: it must be pretty tough to contain water at deep-sea pressures.\n\n\"And you, pretty boy,\" Davenport says, pointing at me, \"you think this could never happen to us? How'd you get by without that cane of yours?\"\n\n\"Always rather badly,\" I admit. He seems satisfied at that.\n\n> Hoses\nYes, I suspect that these hoses are this thing's weak spot. But we have no chance of getting close to them while the squid's tentacles are free.\n\n\"We got rid of everything worthwhile,\" Davenport says. \"And we replaced it all with this civilisation. Made up nonsense. Distractions. Anything except engaging with the real world. With the harsh realities.\"\n\n> LEVER\nWhatever it does, it's protected by the squid's ARMS and I have absolutely no chance of reaching it right now. Better to focus on something else.\n\nDavenport waves an arm at the city we can just about make out through the trees. \"And what happens when all this goes the way of Mars? How many of us will survive? How many of us even have the least idea how to?\""
    },
    {
        "text": "> You describe your surroundings\nThe air here is cool and damp, the sky obscured by the broad green leaves of an immense and gnarled OAK. A TENT canopy has been strung across its branches, and a BARREL of fish sits between its roots.\n\nAn unkempt MAN stands before us, aiming a flare gun in our direction.\n\nIVY is by my side, elfin and mischievous.\n\nOh, and, by the way, a giant SQUID on robot legs hulks over us all, chained to the oak's trunk.\n\n\"You're probably right about that,\" I admit. \"Our civilisation could probably fall apart. Go the way of Mars. And that'd write off those of us who rely on it. But, well, so what?\"\n\nIvy sighs. \"Oh yeah, provoke him. That's a great idea.\"\n\n> OAK\nI suppose this venerable old organism must give even the giant squid a run for its money in the size and strength stakes, inanimate though it may be.\n\nDavenport's made a bit of a mockery of the poor thing, suspending his TENT from its branches and looping the squid's CHAIN around its thick trunk and branches.\n\nDavenport stammers. \"Wh- what do you mean, so what?\"\n\n\"I mean: so what? Civilisation is about trying to make lives pleasant and easy, but we still wind up dead in the end. I'm a homicide detective, I know that as well as anyone. I don't see that death - on a personal or global scale - is a convincing reason to give up on trying to make lives better while we still can.\"\n\n> Chain\nThe chain is wrapped and wound and knotted in all manner of fantastic ways. I bet this fellow was a dedicated boy scout. Although, now that I look at it, a lot of the tension in the chain seems to be held by a single ice SCREW hammered into the ground.\n\nDavenport looks confused. Confused and angry.\n\nIvy grabs hold of my wrist, ready to make a run for it. \"You've done it now...\"\n\n> Screw\nI jam the tip of my cane under the ice screw and steadily work it out of the ground. The chain restraining the giant squid unravels in a single fluid motion and the beast takes a few experimental steps forward on its stubby metal feet.\n\nDavenport is ranting, \"That's what you don't understand: nature can't be tamed, can't be restrained, and all your civilisation will count for nothing when it comes for you!\"\n\nThe squid's tentacles grab hold of him, crumpling his body up into a mangled mass. He dies with a sharp squeal of surprise.\n\nIvy slips under my arm and pulls it around her shoulders. \"Yeah, I think we should leave pretty quickly now...\"\n\nIVY drags me out of the woods and onto the cobbled square. The park is just as we left it. Birds sing, couples court, children frolic.\n\nIvy screams, \"Everybody run! A giant squid on robot legs is coming!\"\n\nThe people around the park just stare at her.\n\n> Notebook\nShe showed me some of the things she's doodled in there. I'd already suspected her mind was of scientific interest, but I had no idea.\n\nDavenport waves the flare gun at us. \"Yeah, but... civilisation is just a thin veneer! Think you're so smart. Think you're so great. You don't know nothing. I'll show you. I got that lying ponce. I'll get that one-eyed back-stabber too. After that, well, I'll show you what your civilisation amounts to!\"\n\n> You wait\nI wait patiently. Ivy squirms.\n\nDavenport's almost muttering to himself now. \"Yeah, I'll show you a little Martian savagery. If you're too weak to live, you won't escape the long arms of the monster. That's the way. That's how we do things on Mars...\"\n\nIvy relaxes. \"I think you broke him.\"\n\n> You wait\nI wait patiently. Ivy squirms.\n\nDavenport continues to rant and mutter about Mars and civilisation and how he'll show us all.\n\n> Ivy\nClanking machinery draws near, and I turn towards the trees. \"It seems to have taken a shine to us,\" I tell Ivy.\n\nShe throws up her hands. \"Lovely. And you can't run?\"\n\nI shake my head. \"Perhaps you should.\"\n\nShe rolls up her sleeves. \"Oh yeah, that'd prove a lot of people right, wouldn't it?\"\n\nMechanical legs pistoning, tentacles writhing through the air, the giant SQUID bursts out of the trees.\n\nAfter a moment of shocked silence, people begin to scream and run.\n\nIvy yells, \"I told you!\"\n\n> Squid\nAn elongated creature with enormous, round EYES. Its many short ARMS are curled around the robotic LEGS that support it, while its two longer TENTACLES roam freely through the air.\n\nA MUZZLE is strapped tightly over its beak.\n\nThe squid grabs Ivy around the waist with a tentacle and lifts her into the air.\n\nUnderstandably, she screams.\n\n\"Relax!\" I shout up to her. \"This creature was raised by a human.\nIt sees itself as one of us, and it won't kill without a direct order from Davenport. I'm sure it just wants to assert itself over us and cement its place in the pack.\"\n\nThe squid gives Ivy a good shake. \"I'm really reassured,\" she yells, \"now get me down from here!\"\n\nAn elongated creature with enormous, round EYES. Its many short ARMS are curled around the robotic LEGS that support it, while its two longer TENTACLES roam freely through the air.\n\nA MUZZLE is strapped tightly over its beak.\n\nThe squid holds Ivy directly above me. She grabs at her dress and crosses her legs. \"Hey, don't look! I thought you were a gentleman!\"\n\n> Ivy\nOne of the squid's tentacles is wrapped firmly around Ivy's waist, holding her up in the air.\n\nIvy is carrying a NOTEBOOK, a YELLOW letter, and a BLUE letter, and she's wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\n\"Whatever you do,\" I shout at Ivy, \"don't think like a fish!\"\n\n> Eyes\nI poke the squid in the eye with my cane. It screeches and writhes, coiling and uncoiling its tentacles in discomfort.\n\nIvy falls to the ground. She lands flat on her backside with a surprised squeak.\n\n> Legs\nThe squid's robot legs are thickly armoured and crab-like. Petrol-driven, I suspect, given the noise. As well as providing locomotion, they incorporate some sort of GILL apparatus.\n\nThere's also a conspicuous LEVER in amongst the machinery.\n\nThe squid grabs me around the waist with a tentacle and lifts me into the air. My hat flies off and tumbles to the ground.\n\nIvy cups her hands around her mouth and shouts, \"Nate! Hold on! I'll save you!\"\n\n> LEVER\nWhatever it does, it's protected by the squid's ARMS and I have absolutely no chance of reaching it right now. Better to focus on something else.\n\nIvy runs right up to the squid and punches it in the eye. It screeches and writhes, coiling and uncoiling its tentacles in discomfort.\n\nThe squid releases me and I land hard, my bad leg giving out beneath me. Ivy helps me to my feet.\n\n> ARMS\nGathered in a writhing coil around its mouthparts are the squid's arms - eight muscular appendages lined with toothed suckers. Although their reach is limited, once it's got hold of you with these, you're a goner for sure. As Ivy might put it.\n\nExtending far beyond the squid's arms are its TENTACLES.\n\nIvy tries to punch ineffectually at a tentacle, swiping at thin air.\n\n> Hose\nWe have no chance of getting close to the hoses while the squid's tentacles are free.\n\nIvy growls with frustration. \"Where are the police when you actually need them for once?\"\n\n\"On their way,\" I reply, glossing over the fact that we are the police. \"But until then, it's just us.\"\n\n> LEVER\nWhatever it does, it's protected by the squid's ARMS and I have absolutely no chance of reaching it right now. Better to focus on something else.\n\nThe squid grabs Ivy around the waist with a tentacle and lifts her into the air.\n\nIvy yelps. \"Poke its EYE again, Nate! Get me down!\"\n\n> Hose\nWe have no chance of getting close to the hoses while the squid's tentacles are free.\n\n\"Don't worry!\" I call up to Ivy. \"I'll think of something!\"\n\n> Eye\nI poke the squid in the eye with my cane. It screeches and writhes, coiling and uncoiling its tentacles in discomfort.\n\nIvy falls to the ground. She lands flat on her backside with a surprised squeak.\n\n> LEVER\nWhatever it does, it's protected by the squid's ARMS and I have absolutely no chance of reaching it right now. Better to focus on something else.\n\nThe squid's robot legs chug and gurgle loudly.\n\n> Tentacles\nThe squid has two long tentacles, each ending in an arrowhead of suckers. They dart through the air like angry snakes. Not to be confused with its ARMS.\n\nThe squid grabs me around the waist with a tentacle and lifts me into the air.\n\nIvy cups her hands around her mouth and shouts, \"Nate! Hold on! I'll save you!\"\n\n> Knees\nIvy's bare legs are slender, pale, eminently distracting...\n\nShe looks in my direction and I glance quickly away.\n\nIvy runs right up to the squid and punches it in the eye. It screeches and writhes, coiling and uncoiling its tentacles in discomfort.\n\nThe squid releases me and I land hard, my bad leg giving out beneath me. Ivy helps me to my feet.\n\n> Wait\nTime passes...\n\n\"It must have a weakness,\" Ivy says. \"If fish are frightened of squid... what are squid frightened of?\"\n\n\"Sperm whales.\"\n\nIvy looks thoughtful. \"I s'pose there's not so many of those around. Unless-\"\n\nI shake my head. \"No. Not even then.\""
    },
    {
        "text": "[Themes: Mystery, feminism, male protagonist, multiple protagonists]\n\n> You look at your surroundings\nThis cobbled square, surrounded on all sides by TREES, is home to a FOUNTAIN and a BENCH.\n\nI see a BOWLER hat here.\n\nIVY is close by my side, sleeves rolled up and fists clenched.\n\nThe giant SQUID stands astride the square on crab-like robot LEGS, TENTACLES writhing in the air.\n\nThe squid grabs Ivy around the waist with a tentacle and lifts her into the air.\n\nIvy yelps. \"Poke its EYE again, Nate! Get me down!\"\n\n> BOWLER\nIt's the nature of this line of work that my bowler spends more time in my hands than on my head.\n\n\"Nate!\" Ivy shouts. \"Do something!\"\n\n> Fountain\nThe fountain takes the form of a huge, scaly fish. Something that you might expect the squid to take an interest in, if only I could draw its attention to it. Unfortunately, I'm not really mobile enough to get in the fountain, and Ivy's presently otherwise engaged.\n\nThe squid dangles Ivy upside down. \"I s'pose I'm used to this by now...\" she mutters.\n\n> Ivy\nOne of the squid's tentacles is wrapped firmly around Ivy's waist, holding her up in the air.\n\nIvy is carrying a NOTEBOOK, a YELLOW letter, and a BLUE letter, and she's wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\nIvy yells, \"Put me down you big, smelly... cephalopod!\"\n\n> Wait\nTime passes...\n\n\"I think Hawthorne's fish was braver than we gave it credit for!\" Ivy says.\n\n> Fountain\n\"Ivy,\" I exclaim, \"the fountain!\"\n\nShe grasps my intent immediately. \"The fish!\"\n\nHiking up her dress, Ivy leaps into the fountain with a splash and begins waving her arms. \"Hey, grabby! Your mortal enemy is right here! He says your mother was a snail and your father a lounge lizard!\"\n\n\"Ivy, watch out!\"\n\nShe dives aside just as the squid wraps a tentacle around the fountain. Despite its best efforts, the beast is unable to dislodge the stone fish. That's one fewer tentacle to worry about.\n\n> Tentacle\nThe squid has two long tentacles, each ending in an arrowhead of suckers. They dart through the air like angry snakes. Not to be confused with its ARMS.\n\nIvy makes a run towards the squid's robot legs, but it knocks her back effortlessly.\n\n> Bench\nSomeone has etched Silooette 4eva into the bench's arm. Now, Ivy's spelling may not be perfect, but she can at least spell her own alias. This message must have been left by one of her fans.\n\nThe squid grabs me around the waist with a tentacle and lifts me into the air.\n\nIvy cups her hands around her mouth and shouts, \"Nate! Hold on! I'll save you!\"\n\n> LEVER\nWhatever it does, it's protected by the squid's ARMS and I have absolutely no chance of reaching it right now. Better to focus on something else.\n\nIvy runs right up to the squid and punches it in the eye. It screeches and writhes, coiling and uncoiling its tentacles in discomfort.\n\nThe squid releases me and I land hard, my bad leg giving out beneath me. Ivy helps me to my feet."
    },
    {
        "text": "[Themes: Mystery, steampunk, male protagonist]\n\n> Look around\nThis cobbled square, surrounded on all sides by TREES, is home to a FOUNTAIN and a BENCH.\n\nI see a BOWLER hat here.\n\nIVY is close by my side, sleeves rolled up and fists clenched.\n\nThe giant SQUID stands astride the square on crab-like robot LEGS, its TENTACLES divided between grasping the fish fountain and swiping at us.\n\nThe squid bats my hat about on the ground with a tentacle. That's a bit much - to single out a man's hat.\n\n> Trees\nThey have the unhealthy look of trees that have seen a modern city sprout up around them.\n\nThe squid knocks Ivy's legs out from under her with a tentacle. She manages to land on all fours and right herself quickly.\n\n> Inventory\nI am carrying a CANE and a police BADGE, and I'm wearing a three-piece SUIT.\n\nThe squid grabs Ivy around the waist with a tentacle and lifts her into the air.\n\nIvy yelps. \"Poke its EYE again, Nate! Get me down!\"\n\n> Suit\nThere being no consistent dress code for murder scenes, I tend to dress as if for a funeral. My suit is black and carefully pressed.\n\nThe squid waves Ivy idly in the air. \"I'm going to throw up in a minute,\" she shouts.\n\n> Hat\nWhich hat do you mean, the cloche hat, or the bowler hat?\n\n> BOWLER\nIt's the nature of this line of work that my bowler spends more time in my hands than on my head.\n\nIvy tries spitting at the squid, to no obvious effect. \"Hey, I'm no lady!\" she shouts, in answer to my expression.\n\n> Squid\nAn elongated creature with enormous, round EYES. Its many short ARMS are curled around the robotic LEGS that support it, while of its two longer TENTACLES, one roams freely through the air and the other grasps vainly at the stone fish.\n\nA MUZZLE is strapped tightly over its beak.\n\nThe squid shakes Ivy vigorously and she, uh, lets out a stream of obscenities that I shan't repeat.\n\n> Muzzle\n\"Don't worry,\" I tell Ivy, \"it's not going to eat anyone while it's muzzled like that.\"\n\n\"No,\" she agrees, \"it'll just have to wring 'em out like a wet stocking instead.\"\n\nIvy waves her arms. \"Don't forget about me!\"\n\n> Arm\nGathered in a writhing coil around its mouthparts are the squid's arms - eight muscular appendages lined with toothed suckers. Although their reach is limited, once it's got hold of you with these, you're a goner for sure. As Ivy might put it.\n\nExtending far beyond the squid's arms are its TENTACLES.\n\nThe squid half drops Ivy and catches her. She grips the tentacle with white knuckles."
    },
    {
        "text": "[Themes: Mystery, feminism, multiple protagonists]\n\n> Look around\nThis cobbled square, surrounded on all sides by TREES, is home to a FOUNTAIN and a BENCH.\n\nI see a BOWLER hat here.\n\nThe giant SQUID stands astride the square on crab-like robot LEGS, its TENTACLES occupied with Ivy and the fish fountain.\n\nIVY is being held high in the air by one of the squid's tentacles.\n\nIvy tries to kick at the squid, but it's holding her at tentacle's length.\n\n> Fountain\nThe fountain takes the form of a huge, scaly fish. It's currently presenting a stony front to the squid's attempts to overpower it with a tentacle.\n\nIvy punches the tentacle that's holding her, and then clutches her hand. \"Ouch! It's tough...\"\n\n> Pump\nI'll be honest, I have no great technical appreciation of water or air pumps. Though after this, I'll be sure to do some research.\n\n\"Don't worry!\" I call up to Ivy. \"I'll think of something!\"\n\n> Hose\nI slide my cane into the hoses and lever it upwards, putting all the effort I can into it, my bad leg screaming with pain.\n\nWith an ear-splitting hiss, water begins to spray out of the bottom of the gill apparatus, blasting across the cobbles at high pressure. The squid's eyes bulge, and it staggers drunkenly to one side. Its robotic legs slam into the fountain with the sound of metal grating against stone.\n\nIvy falls to the ground. She lands flat on her backside with a surprised squeak.\n\n> LEVER\nI approach the squid cautiously. Ivy trails behind me, pulling back on my sleeve. \"Nate...\"\n\nThe lever's deep in among the complex machinery of the robotic legs, within reach of the the squid's eight short arms. I wait carefully for my moment, and then dart out a hand to pull the lever home.\n\nThe squid knocks me back reflexively with a tentacle, and I tumble down onto the cobbles in a heap with Ivy. Something inside the robotic legs clanks and whirrs.\n\nWith a series of chunky clicks, the bizarre contraption releases its harness. The squid slides into the fountain with an almighty splash.\n\nAnd then FORTHRIGHT storms into the square with a dozen blue-uniformed CONSTABLES.\n\nIvy folds her arms. \"Perfect timing.\"\n\nForthright adjusts his bowler. \"What in the blazes happened here?\"\n\n> Constables\nMoustachioed men in blue coats and tall hats. Every so often one of them glances disapprovingly in my direction. They generally only have to deal with this sort of thing when I'm working on the case.\n\n> Ivy\nIt seems happy enough to be free of Davenport's contraption. And I imagine it's spent enough time at surface pressure to be content in the fountain water for a while.\n\nI glance over at Ivy. I see a young woman, about the same age and height as me, slender, athletic, elfin. Her hair is cut into a short bob and her features are untouched by rouge.\n\nIvy is carrying a NOTEBOOK, a YELLOW letter, and a BLUE letter, and she's wearing a long JACKET, a short DRESS, and a CLOCHE hat.\n\n> Forthright\n\"Inspector,\" I say to Forthright, \"see that this animal is transported humanely to the Institute for Marine Biology. Given time they may be able to reintroduce it to its natural habitat.\"\n\nForthright looks at me in that way he does so often. \"Right... okay.\"\n\n\"And have that strange contraption moved to Bridge House. I shall need to investigate it further.\"\n\nForthright studies the scene before him and scratches his head.\n\"Right you are. I've got this under control. You two could probably use a break.\"\n\n\"Oh indeed,\" Ivy says unctuously. \"We really must be going. Have fun with the grabby squid.\"\n\nForthright doffs his hat to her condescendingly. \"Pleasant day, madam.\"\n\n> BOWLER\nIt's the nature of this line of work that my bowler spends more time in my hands than on my head.\n\nI think we can safely LEAVE now."
    },
    {
        "text": "[Themes: Mystery, romance, female protagonist, steampunk]\n\n> Look around\nSorry, but that's not a keyword you can use right now.\n\nThis cobbled square, surrounded on all sides by TREES, is home to a FOUNTAIN and a BENCH.\n\nI see a BOWLER hat here.\n\nIVY is by my side, elfin and mischievous.\n\nFORTHRIGHT stands here, hands on his lapels, trying to look like he's in charge of the situation.\n\nThe giant SQUID splashes about happily in the fountain, its robotic LEGS now abandoned.\n\nA group of blue-uniformed CONSTABLES stand around the square, wondering what to do with the creature.\n\n> Legs\nThickly armoured and crab-like. Although there's nothing too unusual about their construction, I have to wonder where exactly a person like Davenport was able to obtain machinery like this.\n\n> You leave\nIvy slips her arm in mine and sets my bowler on my head at a jaunty angle. I straighten it.\n\n\"I need a cup of tea after that,\" I say.\n\nIt's me again: your favourite dissident turned detective. Okay, let's get this over with.\n\nI feel sort of naked without my hat.\n\nNATE and me come in through the fancy double DOORS, awkward and out of place.\n\nWe're greeted by a beautiful woman in a kalasiris. \"I am Haqikah,\" she says, \"God's Wife of Amun. The Pharaoh will see you now.\"\n\nShe turns from us with impossible grace and glides further IN to the museum.\n\n\"I don't know about this, Nate,\" I whisper. \"It's not all that long ago I was being tried for blasphemy.\"\n\n\"You were tried for plenty of other things as well,\" he reassures me.\n\n> Nate\nHe's looking very fine and dandy tonight, in an immaculately tailored TUXEDO. His hair's its usual disobedient self, which only adds to his charm.\n\nNate is carrying a CANE.\n\n> CANE\nNate leans heavily on a smart black walking stick.\n\n> Dress\nThis must be the most expensive thing I've ever worn, and I'm not entirely sure why. Okay, it's a gorgeous, floor-length dress, but it's also just a thin bit of material and it doesn't even have sleeves.\n\nNate sees me looking down at myself and says, \"You look perfect.\"\n\nI stare at the floor. \"I'm going to pay you back.\"\n\nHe shrugs. \"Keep it.\"\n\nYeah, well, I'll pay him back - you'll see.\n\n> Doors\nI look at the way out and consider just making a break for it.\n\nNate holds out his delicate HAND so I can see he's trembling, ever so slightly. \"I'm nervous too,\" he says. \"I've not exactly been much of a friend to the rich and powerful. But we're in enough trouble as it is.\"\n\n\"Sooner or later,\" I tell him, \"you'll get sick of being right all the time.\"\n\n> Hand\nI grab Nate's hand, squeezing his slender fingers.\n\n\"If they feed us to a crocodile,\" I tell him, \"let it eat me first, and I'll choke it from the inside while you escape.\"\n\n\"That's very noble of you, Ivy.\"\n\nHe doesn't think I'm being serious.\n\n> Go inside\nI squeeze Nate's hand until he winces and laughs, and then we walk forward, together.\n\nThis place is all marble pillars and soft lighting. Most of the space is taken up by a low platform with the pharaoh's SARCOPHAGUS on it - which is hooked up to all sorts of MACHINERY and surrounded by half-naked SERVANTS.\n\nHAQIKAH stands between us and the pharaoh, looking properly serene and dignified.\n\nNATE's close by, clutching his cane.\n\n> Servants\nI won't describe them in too much detail, cos it wouldn't be proper. Let's just say I feel better about not having my hat with me.\n\nThe speaker on top of the sarcophagus crackles, and a buzzing voice emerges. \"It has been many centuries since I last heard of champions defeating a monster.\"\n\nNate says, \"I'm really not sure we- Ouch!\"\n\nI'm standing on his foot.\n\n> Machinery\nNate could probably tell you what all this machinery is. Me, I just see a load of hoses snaking into the SARCOPHAGUS, something a bit like a wireless, some flashing lights and bubbling beakers - and, sitting right on top of the sarcophagus, a big, elegant gramophone speaker.\n\nThe buzzing voice continues. \"This strange city needs champions. Henceforth you are both Special Detectives to the Office of the Pharaoh.\"\n\nHaqikah hands a BADGE each to Nate and me.\n\n> Sarcophagus\nA big, gold, person-shaped coffin, lying down on its back. The face looks sort of aloof and not bothered about anything. Pulsating hoses snake into it from the surrounding MACHINERY.\n\n\"Blasphemer!\" the speaker booms, and I almost jump out of my skin. \"Know that your living god is merciful.\"\n\nHaqikah hands me a sheet of PAPYRUS. I take it with wildly shaking hands.\n\n> Badge\nSo it looks like I'm now a woman policeman. I wonder if I outrank Forthright?\n\nNate looks up from his shiny new badge. \"I want the Old Warren desk.\"\n\nHaqikah looks surprised, and the Phararoh's electric voice is silent.\n\nShould I SPEAK up or just WAIT quietly?\n\n> Papyrus\nThe papyrus bears writing in neat calligraphy:\n\nMiss Ivy Blissheart is hereby pardoned for her crimes and blasphemies. Her actions before this date must never be considered when judging her innocence or sanity.\n\nAnd then it's signed by Haqikah and stamped with wax.\n\n\"Very well,\" the Pharaoh's voice says. \"You shall bring My justice to the destitute and filthy in their narrow streets.\"\n\nNate brushes his hair back from his eyes... and smiles.\n\nThey step out of the museum side by side - the young man in the bowler, leaning on his cane; the young woman in the battered jacket, her hat brim low over her eyes.\n\n\"Our first case together,\" she says, \"and we wrestle a mechanised squid and have an audience with the Pharaoh. Is it always like this?\"\n\nHe looks thoughtful. \"Sometimes it's like this.\"\n\n\"So... what now?\"\n\n\"Tea\", he says. \"There'll be crime and mystery soon enough. Before all that, we need a cup of tea.\"\n\nThey walk to the motor car in silence - the only sounds their footsteps and the low murmur of the city.\n\n\"Mine's with three sugars,\" she adds.\n\n> Awards\nAwards earned:\n-Flapper in Shining Armour - Ivy rescued Nate from the Chief Inspector!\n-Mollusc Mate - the squid lived!\n-Oh I Say - Ivy and Nate held hands!\n\nYou earned 3/3 awards.\n-Unlocked Ivy's bio.\n-Unlocked Nate's bio.\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your AWARDS, read about IVY, read about NATE, or QUIT?\n\n> You speak\nI clear my throat. Everyone looks at me.\n\nI'm, uh, not really good at public speaking. Graffiti is more my medium. Okay, here goes.\n\n\"Look, I know we're a right pair of misfits, but all we've ever tried to do is what we thought was right. If we can help people who need help and don't often get it, then I think, you know, that'd be a real opportunity for us.\"\n\nMy voice sounds really squeaky. I swallow. \"And, you know, maybe some people who don't think the Pharaoh cares about them will, you know...\" I trail off.\n\nHaqikah raises an eyebrow. At least Nate seems pleased with my little speech.\n\n\"Very well,\" the Pharaoh's voice says. \"You shall bring My justice to the destitute and filthy in their narrow streets.\"\n\nNate brushes his hair back from his eyes... and smiles.\n\nThey step out of the museum side by side - the young man in the bowler, leaning on his cane; the young woman in the battered jacket, her hat brim low over her eyes.\n\n\"Our first case together,\" she says, \"and we wrestle a mechanised squid and have an audience with the Pharaoh. Is it always like this?\"\n\nHe looks thoughtful. \"Sometimes it's like this.\"\n\n\"So... what now?\"\n\n\"Tea\", he says. \"There'll be crime and mystery soon enough. Before all that, we need a cup of tea.\"\n\nThey walk to the motor car in silence - the only sounds their footsteps and the low murmur of the city.\n\n\"Mine's with three sugars,\" she adds.\n\n> IVY\nBiographical records:\n\nAge: 25\nFather: Unknown\nMother: Jessica Blissheart (whereabouts unknown)\nEducation:\nSister Hardlove's Home for Foundlings\nQualifications:\nApprenticeship in mechanical loom use and maintenance\nEmployment:\nFactory girl, Thompson's Ornithopters\nNotable Skills:\nConsummate artist in a variety of old and new media.\nExpert at understanding and manipulating household and industrial machinery.\nSelf-taught locksmith.\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your AWARDS, read about IVY, read about NATE, or QUIT?\n\n> Nate\nBiographical records:\n\nAge: 23\nFather: Charles Richmond (deceased)\nMother: Olivia Richmond nee Walker (deceased)\nEducation:\nExcelsior Grammar School\nOldchester University\nQualifications:\nBachelor's Degree in the Natural Sciences (with Distinction) Employment:\nDetective, Oldchester C.I.D.\nNotable Skills:\nExpert criminologist with considerable knowledge of a wide variety of relevant disciplines.\nClassically trained pianist.\nCompetition fencer (retired).\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your AWARDS, read about IVY, read about NATE, or QUIT?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, dragon, riddle, treasure hunt, Zork, fantasy]\n\nZORK II: The Wizard of Frobozz\nCopyright (c) 1981, 1982, 1983 Infocom, Inc. All rights reserved.\n\nYou are inside an ancient barrow hidden deep within a dark forest. The barrow opens into a narrow tunnel at its southern end. You can see a faint glow at the far end.\n\nA sword of Elvish workmanship is on the ground.\n\nA strangely familiar brass lantern is lying on the ground.\n\n[Author's Note: The Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you. The Wizard incants \"Fantasize,\" but nothing happens. He shakes his wand. Nothing happens. With a slightly embarrassed glance in your direction, he vanishes. Expect the unexpected when you take on Zork II: The Wizard of Frobozz. As you explore the subterranean realm of Zork, you'll continually be confronted with new surprises. Chief among these is the Wizard himself, who'll constantly endeavor to confound you with his capricious powers. But more than that, you'll face a challenge the likes of which you've never experienced before.]\n\n> Inventory\nYou are carrying:\nA blue label\nA letter opener\nA perfect rose\nA brick\nThe brick contains:\nA black string\nA pearl necklace\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA sword\nA lamp (providing light)"
    },
    {
        "text": "> You look around\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nOn the floor is a priceless gold zorkmid (a valuable collector's item).\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> You take the zorkmid\nYour load is too heavy.\n\n> You drop all\nblue label: Dropped.\nletter opener: Dropped.\nperfect rose: Dropped.\nbrick: Dropped.\nblack string: You're not carrying the black string.\npearl necklace: Dropped.\nplace mat: Dropped.\nmatchbook: You're not carrying the matchbook.\ndelicate gold key: You're not carrying the delicate gold key.\nchina teapot: You're not carrying the china teapot.\nsword: Dropped.\nlamp: Dropped.\n\n> You take the lamp\nTaken.\n\n> You exit balloon\nYou are on your own feet again."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, Zork, dragon]\n\n> Describe the surroundings\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> Go south\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis must have been a large library, probably for the royal family. All of the shelves have been gnawed to pieces by unfriendly gnomes. To the north is an exit.\nA handsome book, bound in green leather, sits in the center of the room.\nRight beside the purple book sits a white one.\nWorn and battered in one corner of the room is a blue book.\nLying in the dust, and covered with mold, is a purple book.\n\n> You take the book\nWhich book do you mean, the green book, the purple book, the white book, or the blue book?\n\n> You examine the green book\nThis book is written in a tongue with which I am unfamiliar.\n\n> Kiss purple book\nI'd sooner kiss a pig.\n\n> You examine the white book\nIt is written in an unfamiliar tongue and details the use of various magical objects, chiefly the so-called \"magic wand\". Apparently these devices work by pointing them at the object to be ensorcelled, and then chanting the appropriate magic words. (It's truly amazing how credulous these ancients were, isn't it?)\n\n> You read the white book\n(Taken)\nIt is written in an unfamiliar tongue and details the use of various magical objects, chiefly the so-called \"magic wand\". Apparently these devices work by pointing them at the object to be ensorcelled, and then chanting the appropriate magic words. (It's truly amazing how credulous these ancients were, isn't it?)\n\n> You read purple book\n(Taken)\nThis book is written in a tongue with which I am unfamiliar. Assuming that one can indeed tell a book by its cover, it is likely filled with purple prose, the like of which is rarely seen outside the Great Underground Empire.\nOpening the purple book reveals a Flathead stamp.\n\n> You take the stamp\nTaken.\n\n> You examine the stamp\nThis three zorkmid stamp bears a portrait of Lord Dimwit Flathead, \"Our Excessive Leader\"."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, riddle, fantasy]\n\n> You look around\nThis must have been a large library, probably for the royal family. All of the shelves have been gnawed to pieces by unfriendly gnomes. To the north is an exit.\nA handsome book, bound in green leather, sits in the center of the room.\nWorn and battered in one corner of the room is a blue book.\n\n> You read the blue book\n(Taken)\nThis book is written in a tongue with which I am unfamiliar."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, dragon, riddle, fantasy]\n\n> Look around\nThis must have been a large library, probably for the royal family. All of the shelves have been gnawed to pieces by unfriendly gnomes. To the north is an exit.\nA handsome book, bound in green leather, sits in the center of the room.\n\n> You take the green book\nYour load is too heavy.\n\n> You open green book\nOpened."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, dragon]\n\n> Look around\nThis must have been a large library, probably for the royal family. All of the shelves have been gnawed to pieces by unfriendly gnomes. To the north is an exit.\nThere is a green book here.\n\n> You go north\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> You check your inventory\nYou are carrying:\nA blue book\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nThe brick contains:\nA black string\nA sword\nA lamp (providing light)\n\n> You wait\nTime passes...\n\n> You drop all\nblue book: Dropped.\nFlathead stamp: Dropped.\npurple book: Dropped.\nwhite book: Dropped.\npriceless zorkmid: Dropped.\nbrick: Dropped.\nblack string: You're not carrying the black string.\nsword: Dropped.\nlamp: Dropped.\n\n> You look\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. The balloon is tied to a hook by the braided wire.\nThe basket contains:\nA lamp (providing light)\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You exit balloon\nYou are on your own feet again.\n\n> You untie the wire\nThe wire falls off of the hook."
    },
    {
        "text": "> Look around\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. There is a small hook attached to the rock here. (outside the basket) The basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You go to the east\nYou can't control the balloon this way.\nThe balloon leaves the ledge.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nThe balloon ascends.\n\nVolcano by Viewing Ledge, in the basket\nYou are high above the floor of the volcano. The rim of the volcano looks very narrow and you are very near it. To the east is what appears to be a viewing ledge, too thin to land on.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You exit balloon\nYou realize that getting out here would be fatal.\nThe balloon ascends.\n\nVolcano Near Wide Ledge, in the basket\nYou are near the rim of the volcano. Above you it is open to the sky. To the west, there is a place to land on a wide ledge.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You go to the west\nThe basket comes to a stop.\n\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a small hook attached to the rock here. (outside the basket) The basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You tie the wire to the hook\nThe balloon is fastened to the hook."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, riddle]\n\n> You look at your surroundings\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThe basket contains:\nA sword\nA brick\nThe brick contains:\nA black string\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You check what you're carrying\nYou are carrying:\nA sword\nA green book\nA lamp (providing light)\n\n> You get out\n(out of the basket)\nYou are on your own feet again."
    },
    {
        "text": "> Look around\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> Go south\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nImbedded in the far wall is a rusty box. It appears to be somewhat damaged, since an oblong hole has been chipped out of the front of it.\n\n> Examine box\nThe box is closed.\n\n> You examine the hole\nThe oblong hole has been chipped out of the box, probably by someone wanting whatever is inside the box. The attempt was a pathetic failure, however.\n\n> You take the box\nThe box is imbedded in the wall.\n\n> You hit the box with the sword\nI've known strange people, but fighting a box?\nThe lamp is definitely dimmer now.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Freeze!\" He cackles gleefully.\nYour limbs suddenly feel like they have turned to stone. You can't move a muscle.\n\n> You turn off the lamp\nYou are frozen solid. You might as well wait it out, because you can't do anything else in this state.\n\n> You wait\nTime passes...\n\n> Continue\nYou are frozen solid. You might as well wait it out, because you can't do anything else in this state.\nYour little finger begins to twitch, and then your whole body is free again.\n\n> You go to the north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag is draped over the side and is firmly attached to the basket. A metal receptacle is fastened to the center of the basket. A piece of wire tied to a hook holds the balloon in place.\n\n> Inventory\nYou are carrying:\nA brick\nThe brick contains:\nA black string\nA sword\nA green book\nA lamp (providing light)\n\n> You put brick in the hole\nDone.\n\n> You go south\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nImbedded in the far wall is a rusty box. It appears to be somewhat damaged, since an oblong hole has been chipped out of the front of it. The hole contains:\nA brick\nThe brick contains:\nA black string\n\n> Light string\n(Taken)\nIf you wish to burn the black string, you should say so.\n\n> Burn string\nWhat do you want to burn the string with?\n\n> Match\nWith a matchbook??!?\n\n> Light match\nOne of the matches starts to burn.\n\n> Burn string\n(with the matchbook)\nThe string starts to burn.\nThe match has gone out.\n\n> Go north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag is draped over the side and is firmly attached to the basket. A metal receptacle is fastened to the center of the basket. A piece of wire tied to a hook holds the balloon in place.\nThe string rapidly burns into nothingness.\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThe basket contains:\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard seems about to say something, but thinks better of it, and peers at you from under his bushy eyebrows.\n\n> You examine wizard\nThere is nothing special to be seen.\nYour sword has begun to glow very brightly.\n\n> You talk to Wizard\nThe Wizard seems surprised, much as you might be if a dog talked."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, dragon, riddle, fantasy]\n\n> Look around\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThe Wizard of Frobozz is here, eyeing you warily. (outside the basket) The basket contains:\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You give the green book to Wizard\n\"Thank you.\"\nThe Wizard vanishes.\n\n> You get out\n(out of the basket)\nYou are on your own feet again.\nYour sword is no longer glowing.\n\n> Go south\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nImbedded in the far wall is a rusty box. It appears to be somewhat damaged, since an oblong hole has been chipped out of the front of it. The hole contains:\nA brick\n\n> Light match\nI'm afraid you have run out of matches."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, riddle, dragon]\n\n> You look around\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. The balloon is tied to a hook by the braided wire.\nThe basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You examine the matchbook\nNo match is burning.\n\n> You get in the basket\nYou are already in the basket!\n\n> You untie the wire\nThe wire falls off of the hook.\n\n> Wait\nTime passes...\nThe balloon leaves the ledge.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Go west\nThe basket comes to a stop.\n\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. There is a small hook attached to the rock here. (outside the basket) The basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Wait\nTime passes...\nThe balloon ascends.\n\nVolcano by Viewing Ledge, in the basket\nYou are high above the floor of the volcano. The rim of the volcano looks very narrow and you are very near it. To the east is what appears to be a viewing ledge, too thin to land on.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nThe balloon ascends.\n\nVolcano Near Wide Ledge, in the basket\nYou are near the rim of the volcano. Above you it is open to the sky. To the west, there is a place to land on a wide ledge.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Go west\nThe basket comes to a stop.\n\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a small hook attached to the rock here. (outside the basket) The basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You tie the wire to the hook\nThe balloon is fastened to the hook.\n\n> You check your inventory\nYou are carrying:\nA blue book\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nThe brick contains:\nA black string\nA sword\nA lamp (providing light)\n\n> Light string\nIf you wish to burn the black string, you should say so.\n\n> You burn the black string\n(with the newspaper)\nYou don't have the newspaper.\n\n> You drop the blue book\nDropped.\n\n> You put the brick in the hole\nDone.\nNow you've done it. It seems that the brick has other properties than weight, namely the ability to blow you to smithereens.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You kill Wizard with the sword\nThe Wizard retreats, waving his wand and chanting. He says \"Fear!\" Nothing happens! With a terrified glance at the demon, the wizard runs past you and out of the room.\nYour sword is no longer glowing."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, fantasy]\n\n> Look around\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThe basket contains:\nA priceless zorkmid\nA white book\nA purple book\nA Flathead stamp\nA blue book\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You go to the south\nYou are tied to the ledge.\n\n> Burn brick\nWhat do you want to burn the brick with?"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, riddle, dragon]\n\n> You look around\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. The balloon is tied to a hook by the braided wire.\nThe basket contains:\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You check your inventory\nYou are carrying:\nA blue book\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nThe brick contains:\nA black string\nA sword\nA lamp (providing light)\n\n> You drop the books\nWhich books do you mean, the blue book, the purple book, or the white book?\n\n> Blue\nDropped.\n\n> Inventory\nYou are carrying:\nA black string\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nA sword\nA lamp (providing light)\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\n\n> You enter the basket\nYou are already in the basket!\n\n> Wait\nTime passes...\nThe balloon leaves the ledge.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nThe balloon ascends.\n\nVolcano by Viewing Ledge, in the basket\nYou are high above the floor of the volcano. The rim of the volcano looks very narrow and you are very near it. To the east is what appears to be a viewing ledge, too thin to land on.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Wait\nTime passes...\nThe balloon ascends.\n\nVolcano Near Wide Ledge, in the basket\nYou are near the rim of the volcano. Above you it is open to the sky. To the west, there is a place to land on a wide ledge.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA blue book\nA place mat\nSitting on the place mat is:\nA matchbook\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Go west\nAn invisible fence of magical force bars your way.\n\n> You wait\nTime passes...\nThe balloon floats majestically out of the volcano, revealing a breathtaking view of a wooded river valley surrounded by impassable mountains. In a clearing stands a white house. You drift into high winds, which carry you towards the snow-capped peaks. Oh, no! You crash into the jagged cliffs of the Flathead Mountains!\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You check what you're carrying\nYou are carrying:\nA black string\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nA sword\nA lamp (providing light)\n\n> Inventory\nYou are carrying:\nA matchbook\nA blue book\nA Flathead stamp\nA purple book\nA priceless zorkmid\nA brick\nThe brick contains:\nA black string\nA sword\nA lamp (providing light)"
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, Zork, treasure hunt, dragon]\n\n> Describe the surroundings\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You examine the label\n!! FROBOZZ MAGIC BALLOON COMPANY !!\n\nHello, Aviator!\n\nTo land your balloon, say LAND\nOtherwise, you're on your own!\n\nNo warranty expressed or implied.\n\n> You get out\n(out of the basket)\nYou are on your own feet again.\n\n> You check your inventory\nYou are carrying:\nA black string\nA blue book\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA brick\nA sword\nA lamp (providing light)"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, treasure hunt, Zork]\n\n> Look around\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nImbedded in the far wall is a rusty box. It appears to be somewhat damaged, since an oblong hole has been chipped out of the front of it. The hole contains:\nA brick\nThe brick contains:\nA black string\nNow you've done it. It seems that the brick has other properties than weight, namely the ability to blow you to smithereens.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> Go north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\nThere is an explosion nearby.\n\n> You go south\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nOn the far wall is a rusty box, whose door has been blown off.\nThe room is cluttered with debris from an explosion. The walls seem ready to collapse.\nThe excessively gaudy crown of Lord Dimwit Flathead is here.\nThe box contains:\nA card\n\n> You examine the card\nWarning:\nThis room was constructed over very weak rock strata. Detonation\nof explosives in this room is strictly prohibited!\nFrobozz Magic Cave Company\nper M. Agrippa, foreman\n\n> You check what you're carrying\nYou are carrying:\nA matchbook\nA blue book\nA Flathead stamp\nA purple book\nA white book\nA priceless zorkmid\nA sword\nA lamp (providing light)\n\n> You drop the match\nDropped.\nThe room trembles and 5000 tons of rock fall on you, turning you into a pancake.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> Go north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a white book here.\nThere is a matchbook saying \"Visit ZORK I\" here.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\nYou may recall that recent explosion. Probably as a result of it, you hear an ominous rumbling, as if a nearby room had collapsed.\nThe lamp is definitely dimmer now.\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Fall!\" He cackles gleefully."
    },
    {
        "text": "> You describe your surroundings\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. The way to the south is blocked by rubble.\nThere is a white book here.\nThere is a matchbook saying \"Visit ZORK I\" here.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> You get in the basket\nYou get in the basket but you fall out again, almost as though an invisible hand had tipped it over.\n\n> Wait\nTime passes...\nThe force of the recent explosion has caused the ledge to collapse.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> Go north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThere is a white book here.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\n\n> You get in the basket\nYou are now in the basket.\nYou may recall that recent explosion. Probably as a result of it, you hear an ominous rumbling, as if a nearby room had collapsed.\nThe lamp is definitely dimmer now.\n\n> Unhook wire\nThe wire falls off of the hook."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, dragon]\n\n> You describe your surroundings\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. The way to the south is blocked by rubble.\nThere is a white book here. (outside the basket)\nThere is a small hook attached to the rock here. (outside the basket) The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You take the white book\nTaken.\nThe balloon leaves the ledge.\n\nVolcano Near Wide Ledge, in the basket\nYou are near the rim of the volcano. Above you it is open to the sky. To the west, there is a place to land on a wide ledge.\nThe cloth bag is inflated and there is a newspaper burning in the receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> Close receptacle\nClosed.\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Freeze!\" He cackles gleefully.\nYour limbs suddenly feel like they have turned to stone. You can't move a muscle.\n\n> You wait awhile\nTime passes...\nThe balloon descends.\n\nVolcano by Viewing Ledge, in the basket\nYou are high above the floor of the volcano. The rim of the volcano looks very narrow and you are very near it. To the east is what appears to be a viewing ledge, too thin to land on.\nThe cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nThe ledge collapses. (That was a narrow escape!)\n\n> Wait\nTime passes...\nThe balloon descends.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait awhile\nTime passes...\nYour little finger begins to twitch, and then your whole body is free again.\n\n> You go west\nThe basket comes to a stop.\n\nNarrow Ledge, in the basket\nYou are on a narrow ledge within an old dormant volcano. This ledge is about halfway between the floor below and the rim above. There is an exit to the south.\nThe cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. There is a small hook attached to the rock here. (outside the basket) The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nThe balloon leaves the ledge.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\nThe newspaper has now burned out, and the cloth bag starts to deflate.\n\n> You wait\nTime passes...\nThe balloon descends.\n\nVolcano Core, in the basket\nYou are about one hundred feet above the bottom of the volcano. The top of the volcano is clearly visible here.\nThe cloth bag is draped over the side of the basket. Directly in the middle of the basket is a metal receptacle which is closed. A braided wire is dangling over the side of the basket.\nThe basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You wait\nTime passes...\nYou have landed, but the balloon did not survive.\n\nYou are at the bottom of a large dormant volcano. High above you light enters from the cone of the volcano. The only exit is to the north. There is a balloon here, broken into pieces.\n\n> Inventory\nYou are carrying:\nA white book\nA gaudy crown (being worn)\nA matchbook\nA blue book\nA Flathead stamp\nA purple book\nA priceless zorkmid\nA sword\nA lamp (providing light)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, fantasy, treasure hunt, Zork]\n\n> Look around\nYou are at the bottom of a large dormant volcano. High above you light enters from the cone of the volcano. The only exit is to the north. There is a balloon here, broken into pieces.\n\n> You drop the white book\nDropped.\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard seems about to say something, but thinks better of it, and peers at you from under his bushy eyebrows.\n\n> You go south\nYou are in a dusty old room which is featureless, except for an exit on the north side.\nOn the far wall is a rusty box, whose door has been blown off.\nThe room is cluttered with debris from an explosion. The walls seem ready to collapse.\nThe excessively gaudy crown of Lord Dimwit Flathead is here.\nThe box contains:\nA card\nYour sword is glowing with a faint blue glow.\n\n> You go north\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. There is a small door to the south.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a white book here.\nThere is a large and extremely heavy wicker basket here. An enormous cloth bag attached to the basket is inflated. A metal receptacle is fastened to the center of the basket. In it is a burning newspaper. A piece of wire tied to a hook holds the balloon in place.\nYour sword has begun to glow very brightly.\n\n> You get in the basket\nYou are now in the basket.\nYou may recall that recent explosion. Probably as a result of it, you hear an ominous rumbling, as if a nearby room had collapsed.\nThe lamp is definitely dimmer now.\nThe Wizard vanishes.\n\n> Unhook wire\nThe wire falls off of the hook.\nYour sword is no longer glowing.\n\n> Close receptacle\nClosed."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, riddle]\n\n> You look around\nWide Ledge, in the basket\nYou are on a wide ledge high in the volcano. The rim of the volcano is about 200 feet above and there is a precipitous drop to the bottom. The way to the south is blocked by rubble.\nThere is a white book here. (outside the basket)\nThere is a small hook attached to the rock here. (outside the basket) The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\nThe balloon leaves the ledge.\n\nVolcano Near Wide Ledge, in the basket\nYou are near the rim of the volcano. Above you it is open to the sky. To the west, there is a place to land on a wide ledge.\nThe cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You check your inventory\nYou are carrying:\nA gaudy crown (being worn)\nA matchbook\nA blue book\nA Flathead stamp\nA purple book\nA priceless zorkmid\nA sword\nA lamp (providing light)\n\n> You take the mat\nYour load is too heavy.\nThe balloon descends.\n\nVolcano by Viewing Ledge, in the basket\nYou are high above the floor of the volcano. The rim of the volcano looks very narrow and you are very near it. To the east is what appears to be a viewing ledge, too thin to land on.\nThe cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA matchbook\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You drop the books\nWhich books do you mean, the blue book or the purple book?\n\n> You drop the books\nDropped.\nThe ledge collapses. (That was a narrow escape!)\n\n> You take the mat\nTaken.\nThe balloon descends.\n\nVolcano Near Small Ledge, in the basket\nYou are about two hundred feet above the volcano floor. Looming above is the rim of the volcano. There is a small ledge on the west side. The cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA purple book\nA blue book\nA matchbook\nA pearl necklace\nA perfect rose\nA letter opener\nA blue label\n\n> You take the rose\nTaken.\nThe balloon descends.\n\nVolcano Core, in the basket\nYou are about one hundred feet above the bottom of the volcano. The top of the volcano is clearly visible here.\nThe cloth bag is inflated and some smoke is leaking out of the closed receptacle. A braided wire is dangling over the side of the basket. The basket contains:\nA purple book\nA blue book\nA matchbook\nA blue label\n\n> You check your inventory\nYou are carrying:\nA perfect rose\nA pearl necklace\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA gaudy crown (being worn)\nA Flathead stamp\nA priceless zorkmid\nA sword\nA lamp (providing light)\nThe newspaper has now burned out, and the cloth bag starts to deflate.\n\n> You check your inventory\nYou are carrying:\nA perfect rose\nA pearl necklace\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA gaudy crown (being worn)\nA Flathead stamp\nA priceless zorkmid\nA sword\nA lamp (providing light)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, fantasy, treasure hunt, Zork]\n\n> Look around\nYou are at the bottom of a large dormant volcano. High above you light enters from the cone of the volcano. The only exit is to the north. There is a balloon here, broken into pieces.\n\n> Go north\nThis is a small room, whose walls are formed by an old lava flow. There are exits here to the east and the south.\nOn the floor lies a moby ruby.\n\n> You go east\nThis is a large hall of ancient lava, since worn smooth by the movement of a glacier. A large passage exits to the east and an upward lava tube is at the top of a jumble of fallen rocks.\nA damp and scorched passage leads west. It is still partly full of steam.\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis is a large hall of ancient lava, since worn smooth by the movement of a glacier. A large passage exits to the east and an upward lava tube is at the top of a jumble of fallen rocks.\nA damp and scorched passage leads west. It is still partly full of steam.\n\n> You check your inventory\nYou are carrying:\nA perfect rose\nA pearl necklace\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA gaudy crown (being worn)\nA Flathead stamp\nA priceless zorkmid\nA sword\nA lamp (providing light)\n\n> You go upward\nYou are in a tight chimney of solidified lava. It extends up at least another hundred feet and down to a large room far below. A large crack opens to the south, probably the result of a shift in the rock strata.\n\n> Go south\nA winding corridor is filled with cobwebs. Some are broken and the dust on the floor is disturbed. The trend of the twists and turns is northeast to southwest. On the north side of one twist, high up, is a narrow crack.\n\n> You go to the south-west\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nImbedded in the door is a nasty-looking lizard head, with sharp teeth and beady eyes. The eyes move to watch you approach.\n\n> You go to the northeast\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nA loud whirring sound comes from all around, and you feel sort of disoriented in here.\n\n> Go northeast\nYou're not sure which direction is which. This room is very disorienting.\n\nA winding corridor is filled with cobwebs. Some are broken and the dust on the floor is disturbed. The trend of the twists and turns is northeast to southwest. On the north side of one twist, high up, is a narrow crack.\n\n> Go northeast\nYou're not sure which direction is which. This room is very disorienting.\n\nThe room is cool and damp. The air is misty. A twisty path from the southeast splits here toward a wide northerly stone bridge, and a narrow westerly tunnel. It is from the latter that the mist and chill seem to originate.\n\n> Go east\nThe room is cool and damp. The air is misty. A twisty path from the southeast splits here toward a wide northerly stone bridge, and a narrow westerly tunnel. It is from the latter that the mist and chill seem to originate.\n\n> Go north\nThis is the middle of a ruined but still impressive stone bridge spanning a deep chasm. Water flows far beneath. A paved path leads north into a large open space. To the south, the path leads into a misty tunnel.\n\n> You go to the west\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is the southern end of a formal garden. Hedges hide the cavern walls and mosses provide dim illumination. Fantastically shaped hedges and bushes are arrayed with geometric precision. They have not recently been clipped, but you can discern creatures in the shapes of the bushes: There is a dragon, a unicorn, a great serpent, a huge misshapen dog, and several human figures. On the west side of the garden the path leads through a rose arbor into a tunnel.\n\n> You go north\nThis is the middle part of a formal garden. Hedges hide the cavern walls and a dim illumination comes from mosses far above. The path is of small crushed white stones. It winds among bushes and flower beds from south to north. To the north a small structure can be seen. To the south are peculiarly shaped bushes. There is a small gap in the hedges to the west.\n\n> Go north\nThis is the northern end of a formal garden. Hedges hide the cavern walls, and if you don't look up, the illusion is of a cloudy day outside. The light comes from a large growth of glowing mosses on the roof of the cave. A break in the hedge is almost overgrown to the north. A carefully manicured path leads south. In the center of a rosebed is a small open structure, painted white. It appears to be a gazebo.\n\n> You enter\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\nThere is a bank brochure here.\n\n> You check your inventory\nYou are carrying:\nA perfect rose\nA pearl necklace\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA gaudy crown (being worn)\nA Flathead stamp\nA priceless zorkmid\nA sword\nA lamp (providing light)\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\nYou begin to feel lightheaded."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, Zork, riddle]\n\n> Describe the surroundings\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a perfect rose here.\nThere is a Flathead stamp here.\nThere is an engraved zorkmid here.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\nThere is a bank brochure here.\n\n> Inventory\nYou are carrying:\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA china teapot\nA gaudy crown (being worn)\nA sword\nA lamp\n\n> Leave\nOops, you seem a little unsteady... I'm not sure you got where you intended going.\n\nThis is the northern end of a formal garden. Hedges hide the cavern walls, and if you don't look up, the illusion is of a cloudy day outside. The light comes from a large growth of glowing mosses on the roof of the cave. A break in the hedge is almost overgrown to the north. A carefully manicured path leads south. In the center of a rosebed is a small open structure, painted white. It appears to be a gazebo.\n\n> You wait\nTime passes...\n\n> You go south\nOops, you seem a little unsteady... I'm not sure you got where you intended going.\n\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nLord Dimwit's crown is here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a perfect rose here.\nThere is a Flathead stamp here.\nThere is an engraved zorkmid here.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\nThere is a bank brochure here.\n\n> You go outside\nOops, you seem a little unsteady... I'm not sure you got where you intended going.\n\nThis is the northern end of a formal garden. Hedges hide the cavern walls, and if you don't look up, the illusion is of a cloudy day outside. The light comes from a large growth of glowing mosses on the roof of the cave. A break in the hedge is almost overgrown to the north. A carefully manicured path leads south. In the center of a rosebed is a small open structure, painted white. It appears to be a gazebo.\nYour head is clearer now.\n\n> You go north\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on lamp\nThe lamp is now on.\n\nThis is a dark tunnel with dim light to the northeast. The tunnel is smooth but dusty and filled with twigs and leaves, debris which becomes deeper as the tunnel branches into a wide corridor leading southwest and a narrower one leading southeast.\n\n> You go to the south-west\nThe path follows the south edge of a deep ravine and heads northeast. A tunnel heads southwest, narrowing to a rather tight crawl. A faint whirring sound can be heard in that direction. On the east is a ruined archway choked with vegetation.\n\n> Go northeast\nThis is a dark tunnel with dim light to the northeast. The tunnel is smooth but dusty and filled with twigs and leaves, debris which becomes deeper as the tunnel branches into a wide corridor leading southwest and a narrower one leading southeast.\n\n> Go northeast\nYou are at the southern edge of a great cavern. To the south across a shallow ford is a dark tunnel which looks like it was once enlarged and smoothed. To the north a narrow path winds among stalagmites. Dim light illuminates the cavern.\n\n> You fill the teapot\nThe water slips through your fingers.\n\n> You go south\nThis is the southern end of a formal garden. Hedges hide the cavern walls and mosses provide dim illumination. Fantastically shaped hedges and bushes are arrayed with geometric precision. They have not recently been clipped, but you can discern creatures in the shapes of the bushes: There is a dragon, a unicorn, a great serpent, a huge misshapen dog, and several human figures. On the west side of the garden the path leads through a rose arbor into a tunnel.\n\n> You go west\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nA loud whirring sound comes from all around, and you feel sort of disoriented in here.\n\n> Go east\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is the southern end of a formal garden. Hedges hide the cavern walls and mosses provide dim illumination. Fantastically shaped hedges and bushes are arrayed with geometric precision. They have not recently been clipped, but you can discern creatures in the shapes of the bushes: There is a dragon, a unicorn, a great serpent, a huge misshapen dog, and several human figures. On the west side of the garden the path leads through a rose arbor into a tunnel.\n\n> You go to the west\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nA loud whirring sound comes from all around, and you feel sort of disoriented in here.\n\n> Go west\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nOne particularly large menhir, at least twenty feet tall and eight feet thick, is leaning against the wall blocking a dark opening leading southwest. On this side of the menhir is carved an ornate letter \"F\".\n\n> You go to the north\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nOne particularly large menhir, at least twenty feet tall and eight feet thick, is leaning against the wall blocking a dark opening leading southwest. On this side of the menhir is carved an ornate letter \"F\".\n\n> Go south\nYou're not sure which direction is which. This room is very disorienting.\n\nThe path follows the south edge of a deep ravine and heads northeast. A tunnel heads southwest, narrowing to a rather tight crawl. A faint whirring sound can be heard in that direction. On the east is a ruined archway choked with vegetation.\n\n> You go northeast\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is a room which is bare on all sides. There is an exit down in the northwest corner of the room. To the east is a great open door made of stone. Above the stone, the following words are written: \"No man shall pass this door without solving this riddle:\n\nWhat is tall as a house,\nround as a cup,\nand all the king's horses\ncan't draw it up?\"\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis is a room which is bare on all sides. There is an exit down in the northwest corner of the room. To the east is a great open door made of stone. Above the stone, the following words are written: \"No man shall pass this door without solving this riddle:\n\nWhat is tall as a house,\nround as a cup,\nand all the king's horses\ncan't draw it up?\"\n\n> You go to the east\nThis is a former broom closet. The exits are to the east and west.\n\n> You go east\nThis is a damp circular room, whose walls are made of brick and mortar. The roof of this room is not visible, but there appear to be some etchings on the walls. There is a passageway to the west.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\n\n> You pour the water\nThere is now a puddle in the bottom of the wooden bucket.\nThe bucket rises and comes to a stop.\n\nTop of Well, in the wooden bucket\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThe wooden bucket contains:\nA quantity of water\n\n> You get out\n(out of the wooden bucket)\nYou are on your own feet again."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, dragon]\n\n> You describe your surroundings\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\nThe wooden bucket contains:\nA quantity of water\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\nThe wooden bucket contains:\nA quantity of water\n\n> You examine the etchings\nf   M  A  G  I  C   z\nc    W  E   L  L    y\no             n\nm  p  a\n\n> You go east\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with green letters\nA cake frosted with red letters\nA cake frosted with orange letters\nA cake frosted with blue letters\n\n> You examine the green cake\nThe icing spells out \"Eat Me.\"\n\n> You read the red lettering\n(Taken)\nThe first letter is a capital E. The rest is too small to read.\nThe lamp is nearly out.\n\n> You read the orange lettering\n(Taken)\nThe first letter is a capital E. The rest is too small to read."
    },
    {
        "text": "> Look around\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with green letters\n\n> Inventory\nYou are carrying:\nA cake frosted with blue letters\nA cake frosted with orange letters\nA cake frosted with red letters\nA china teapot\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp (providing light)\n\n> You eat the blue cake\nThe room around you seems to be getting smaller.\n\nThe room seems to have become too small to hold you. The walls are not as compressible as your body, which is demolished.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You eat the red cake\n(Taken)\nThat was delicious, but your dying memory is of feeling horribly dehydrated and thirsty.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You eat the orange cake\n(Taken)\nYou have been blasted to smithereens (wherever they are).\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You eat the green cake\n(Taken)\nSuddenly, the room appears to have become very large (although everything you are carrying seems to be its normal size).\n\nThis is an enormous room, in the center of which are four wooden posts delineating a rectangular area, above which is what appears to be a wooden roof. In fact, all objects in this room appear to be abnormally large. To the east is a passageway. There are large gaping chasms to the west and northwest.\n\n> You take all\ncake frosted with green letters: Taken.\ncake frosted with red letters: Taken.\ncake frosted with orange letters: Taken.\ncake frosted with blue letters: Taken.\n\n> Go northwest\nYou are in a circular room with a low ceiling. There are exits to the east and southeast.\nThere is a green piece of paper here.\nThere is a robot here.\n\n> You examine paper\n!! FROBOZZ MAGIC ROBOT COMPANY  !!\n\nHello, Master!\n\nI am a late-model robot, trained at GUE Tech to perform various\nsimple household functions.\n\nTo activate me, say the following:\n\n>ROBOT, <things to do>\n\nAt your service!\nThe lamp is nearly out.\n\n> Go southeast\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a large oblong table here.\n\n> You eat the green cake\nSuddenly, the room appears to have become very large (although everything you are carrying seems to be its normal size).\n\nThis is an enormous room, in the center of which are four wooden posts delineating a rectangular area, above which is what appears to be a wooden roof. In fact, all objects in this room appear to be abnormally large. To the east is a passageway. There are large gaping chasms to the west and northwest.\n\n> You go to the east\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis is a large room, one half of which is depressed. Salty water flows from a large leak in the ceiling. The only exit is to the west. A stoppered glass flask with a skull-and-crossbones marking is here. The flask is filled with some clear liquid.\nThe leak has submerged the depressed area in a pool of tears. There is a hazy something at the deepest part of the pool.\n\n> You examine the cakes\nWhich cakes do you mean, the cake frosted with blue letters, the cake frosted with orange letters, or the cake frosted with red letters?\n\n> You drop the red cake in the pool\nMost of the pool evaporates, revealing a (slightly damp but still valuable) package of rare candies. The red cake must be pretty strong stuff, since it remains intact!\nA huge and terrible wizard appears before you, as large as the largest tree! He looks down on you as you would look upon a gnat!\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\n\n> You go west\nThis is an enormous room, in the center of which are four wooden posts delineating a rectangular area, above which is what appears to be a wooden roof. In fact, all objects in this room appear to be abnormally large. To the east is a passageway. There are large gaping chasms to the west and northwest.\n\n> You examine candies\n>>Special Assortment<<\nCandied Grasshoppers\nChocolated Ants\nWorms Glacee\n(By Appointment to His Majesty, Dimwit I)\n\n> You check your inventory\nYou are carrying:\nA package of candy\nA cake frosted with blue letters\nA cake frosted with orange letters\nA china teapot\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp\n\n> You eat the blue cake\nThe room around you seems to be getting smaller.\n\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a large oblong table here.\n\n> You go west\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You look\n\"My programming is insufficient to allow me to perform that task.\"\n\n> East\n\"Whirr, buzz, click!\"\nThe robot leaves the room.\n\n> You go east\nThis is a large room full of assorted heavy machinery, whirring noisily. The room smells of burned resistors. Along one wall are three buttons which are, respectively, round, triangular, and square. Naturally, above these buttons are instructions written in EBCDIC. A large sign in English above all the buttons says\n\"DANGER -- HIGH VOLTAGE\"\nThere are exits to the west and the south.\nThere is a robot here.\n\n> Go south\nThis is a dingy closet adjacent to a larger room to the north. Chiselled into a wall are these words:\n\nMagic Alarm Company\n(Hello, footpad!)\n\nThere doesn't seem to be any footpad here, however.\nThere is a beautiful red crystal sphere here.\n\n> You take the red sphere\nAs you reach for the sphere, a solid steel cage falls from the ceiling to entrap you. To make matters worse, poisonous gas starts coming into the room.\n\nYou are trapped inside a solid steel cage.\n\n> Wait\nTime passes...\nTime passes...and you die from some obscure poisoning.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You go south\nThis is a dingy closet adjacent to a larger room to the north. Chiselled into a wall are these words:\n\nMagic Alarm Company\n(Hello, footpad!)\n\nThere doesn't seem to be any footpad here, however.\nThere is a robot here.\nThere is a beautiful red crystal sphere here.\n\n> You take the sphere\nAs you reach for the sphere, a solid steel cage falls from the ceiling to entrap you. To make matters worse, poisonous gas starts coming into the room.\n\nYou are trapped inside a solid steel cage.\n\n> Lift cage\nThe cage shakes and is hurled across the room. It's hard to say, but the robot appears to be smiling.\n\nThis is a dingy closet adjacent to a larger room to the north. Chiselled into a wall are these words:\n\nMagic Alarm Company\n(Hello, footpad!)\n\nThere doesn't seem to be any footpad here, however.\nThere is a beautiful red crystal sphere here.\n\n> Inventory\nYou are carrying:\nA red crystal sphere\nA package of candy\nA cake frosted with orange letters\nA china teapot\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp\n\n> You examine the sphere\nThere is something misty in the sphere. Perhaps if you were to look into it...\n\n> You look into the sphere\nAs you peer into the sphere, a strange vision takes shape of a distant room, which can be described clearly....\n\nThis is a small and rather dreary room, eerily illuminated by a red glow emanating from a crack in one wall. The light falls upon a dusty wooden table in the center of the room. On the south side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole lies within the lock. A rusty iron key is in place within the keyhole.\nThe vision fades, revealing only an ordinary crystal sphere.\n\n> You push the round button\n\"Whirr, buzz, click!\"\nNothing seems to happen.\n\n> You push square button\n\"Whirr, buzz, click!\"\nThe whirring increases in intensity.\n\n> You push the triangular button\n\"Whirr, buzz, click!\"\nA dull thump is heard in the distance.\n\n> You listen\nWhat do you want to listen to?\n\n> Go west\nAccording to Prof. TAA of GUE Tech, the rapidly changing magnetic fields in the room are intense enough to electrocute you. I really don't know, but in any event, something just killed you.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see only darkness.\n\n> You push the triangular button\n\"Buzz, click, whirr!\"\nA dull thump is heard in the distance.\n\n> You go west\nAs you enter, your compass starts spinning wildly.\nWhat compass, you ask? The one which allows you to specify compass directions for movement.\nLow Room\nYou are in a circular room with a low ceiling. There are exits to the east and southeast.\nThere is a green piece of paper here.\n\n> You examine paper\n!! FROBOZZ MAGIC ROBOT COMPANY  !!\n\nHello, Master!\n\nI am a late-model robot, trained at GUE Tech to perform various\nsimple household functions.\n\nTo activate me, say the following:\n\n>ROBOT, <things to do>\n\nAt your service!\n\n> You go to the east\nYou cannot get your bearings...\n\nThis is a large room full of assorted heavy machinery, whirring noisily. The room smells of burned resistors. Along one wall are three buttons which are, respectively, round, triangular, and square. Naturally, above these buttons are instructions written in EBCDIC. A large sign in English above all the buttons says\n\"DANGER -- HIGH VOLTAGE\"\nThere are exits to the west and the south.\nThere is a robot here.\n\n> You go west\nAs you enter, your compass starts spinning wildly.\n\nYou are in a circular room with a low ceiling. There are exits to the east and southeast.\nThere is a robot here.\nThere is a green piece of paper here.\n\n> You go se\nYou cannot get your bearings...\n\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a robot here.\nThere is a large oblong table here.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThere is a robot here.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\nThe wooden bucket contains:\nA quantity of water"
    },
    {
        "text": "> You look around\nTop of Well, in the wooden bucket\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThere is a robot here. (outside the wooden bucket)\nThe wooden bucket contains:\nA quantity of water\n\n> You fill the teapot\nThe teapot is now full of water.\nThe bucket descends and comes to a stop.\n\nCircular Room, in the wooden bucket\nThis is a damp circular room, whose walls are made of brick and mortar. The roof of this room is not visible, but there appear to be some etchings on the walls. There is a passageway to the west.\n\n> You check your inventory\nYou are carrying:\nA red crystal sphere\nA package of candy\nA cake frosted with orange letters\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp (providing light)\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nCircular Room, in the wooden bucket\nThis is a damp circular room, whose walls are made of brick and mortar. The roof of this room is not visible, but there appear to be some etchings on the walls. There is a passageway to the west.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis is a former broom closet. The exits are to the east and west.\n\n> Go west\nThis is a room which is bare on all sides. There is an exit down in the northwest corner of the room. To the east is a great open door made of stone. Above the stone, the following words are written: \"No man shall pass this door without solving this riddle:\n\nWhat is tall as a house,\nround as a cup,\nand all the king's horses\ncan't draw it up?\"\n\n> Go northwest\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nThere is a dented steel box here.\n\n> Examine box\nThe steel box is closed.\n\n> You open the box\nOpening the steel box reveals a fancy violin.\n\n> You go north\nThis is an arched hall of fine marble. The hall stops abruptly to the north at a ford across a stream, where the marble is cracked and broken. Perhaps a flood or collapse of the cave was responsible. To the south the hall opens into a large room. There is rather annoying whirring sound coming from that room.\n\n> You go south\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nThere is a dented steel box here.\nThe steel box contains:\nA fancy violin\n\n> You go to the south\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nOne particularly large menhir, at least twenty feet tall and eight feet thick, is leaning against the wall blocking a dark opening leading southwest. On this side of the menhir is carved an ornate letter \"F\".\n\n> You enter the gazebo\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nLord Dimwit's crown is here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a perfect rose here.\nThere is a Flathead stamp here.\nThere is an engraved zorkmid here.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\nThere is a bank brochure here.\n\n> Inventory\nYou are carrying:\nA red crystal sphere\nA package of candy\nA cake frosted with orange letters\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp\n\n> You drop cake\nThe cake frosted with orange letters has crumbled to dust."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, riddle, dragon]\n\n> You look around\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nThere is a beautiful red crystal sphere here.\nLord Dimwit's crown is here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a perfect rose here.\nThere is a Flathead stamp here.\nThere is an engraved zorkmid here.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\nThere is a bank brochure here.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nThere is a dented steel box here.\nThe steel box contains:\nA fancy violin\n\n> You go to the southwest\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nImbedded in the door is a nasty-looking lizard head, with sharp teeth and beady eyes. The lizard is sniffing at you.\n\n> Inventory\nYou are carrying:\nA package of candy\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp (providing light)\n\n> You give the candies to the lizard\nThe guardian greedily wolfs down the candy, including the package. (It seemed to enjoy the grasshoppers particularly.) It then becomes quiet and its eyes close. (Lizards are known to sleep a long time while digesting their meals.)\n\n> You open the door\nThe door is locked!\n\n> You unlock the door with the key\nThe key turns and the bolt clicks. The door is unlocked.\n\n> You open the door\nThe door creaks open.\n\n> Enter\nYou are standing in the entry hall of the Wizard's Workshop. Dark corridors lead west and south from here. The corridor to the west smells slightly of incense or candle smoke. The workshop door is open.\n\n> You go to the south\nThis is the Wizard's trophy room, filled with memorabilia of various sorts. On one wall is the Wizard's D. T. (Doctor of Thaumaturgy) degree from GUE Tech. Several old magic wands are mounted on a wand rack. A collection of dull and nicked swords testify to the fate of many foolhardy adventurers. Small bottles contain discarded homunculi (a few preserved in alcohol). There is a stuffed owl on a perch. Imbedded in the wall is an ornate trophy cabinet.\nA hand-lettered label is affixed to the wall.\n\n> You examine the degree\nThe text is in some obscure tongue. All that can be made out is a reference to \"sending in a matchbook cover.\"\n\n> Go south\nYou can't go that way.\nI hope you have more light than from the lamp.\n\n> You take the wand\nIt's too dark to see!\n\n> Go west\nThis is a small chamber carved out of the rock at the end of a short crawl. On the wall is crudely chiseled the number \"8\".\nA spray can is in the corner. In large type is the legend \"Frobozz Magic Grue Repellent\".\n\n> You take grue\nAn interesting idea...\n\n> Debug change start\nI don't know the word \"/debug\"."
    },
    {
        "text": "> Look around\nThis is the entrance to a huge crypt or tomb. A marble stairway leads up from a gateway arch.\nThere is a vicious-looking dog guarding the entrance. It is more or less your usual dog, except that it has three heads and is the size of an elephant.\n\n> Go upward\nThis is a room with oddly angled walls and passages in all directions. The walls are made of some glassy substance.\nA marble stairway leads upward. The floor has swung down at the end of the stairway to reveal a secret passage leading down into unrelieved darkness.\nYour sword is glowing with a faint blue glow.\n\n> Go up\nA marble stairway leads down into the gloom and a passage leads north. Your sword is no longer glowing.\n\n> You turn on the lamp\nThe lamp is now on.\n\nA marble stairway leads down into the gloom and a passage leads north.\n\n> Inventory\nYou are carrying:\nA golden dragon statuette\nA brick\nA pearl necklace\nA place mat\nSitting on the place mat is:\nA letter opener\nA matchbook\nA delicate gold key\nA perfect rose\nA china teapot\nA black string\nA sword\nA lamp (providing light)"
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, Zork, fantasy]\n\n> You look around\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nOne particularly large menhir, at least twenty feet tall and eight feet thick, is leaning against the wall blocking a dark opening leading southwest. On this side of the menhir is carved an ornate letter \"F\".\nThere is a perfect rose here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a golden dragon statuette here.\n\n> Go north\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nA loud whirring sound comes from all around, and you feel sort of disoriented in here.\n\n> You go north\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nOne particularly large menhir, at least twenty feet tall and eight feet thick, is leaning against the wall blocking a dark opening leading southwest. On this side of the menhir is carved an ornate letter \"F\".\nThere is a perfect rose here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a golden dragon statuette here.\n\n> You go north\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nA loud whirring sound comes from all around, and you feel sort of disoriented in here.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThere is a loud crackling noise. Blue smoke rises from out of the Wizard's sleeve. He sighs and disappears.\n\n> Go east\nYou're not sure which direction is which. This room is very disorienting.\n\nOh, no! A lurking grue slithered into the room and devoured you!\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You go north\nOk."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, Zork]\n\n> You look around\nThe room is a large cavern full of broken stone. The walls are scorched and there are deep scratches on the floor. A sooty dry smell is very strong here. A paved path winds from a large passage to the west, through the room, and across a huge stone bridge to the south. To the east a small crack is visible. A dark and smokey tunnel leads north.\nA huge red dragon is lying here, blocking the entrance to a tunnel leading north. Smoke curls from his nostrils and out between his teeth.\nThe dragon continues to watch you carefully.\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\nThe dragon seems to have lost interest in you.\n\n> You go to the south\nThis is the middle of a ruined but still impressive stone bridge spanning a deep chasm. Water flows far beneath. A paved path leads north into a large open space. To the south, the path leads into a misty tunnel.\nYour sword is glowing with a faint blue glow.\n\n> Go north\nThe room is a large cavern full of broken stone. The walls are scorched and there are deep scratches on the floor. A sooty dry smell is very strong here. A paved path winds from a large passage to the west, through the room, and across a huge stone bridge to the south. To the east a small crack is visible. A dark and smokey tunnel leads north.\nA huge red dragon is lying here, blocking the entrance to a tunnel leading north. Smoke curls from his nostrils and out between his teeth.\nYour sword has begun to glow very brightly.\n\n> You hit the dragon with the sword\nThat captured his interest. He stares at you balefully.\nThe dragon continues to watch you carefully.\n\n> Go south\nThis is the middle of a ruined but still impressive stone bridge spanning a deep chasm. Water flows far beneath. A paved path leads north into a large open space. To the south, the path leads into a misty tunnel.\nThe dragon follows you, out of mingled curiosity and anger.\n\n> You go to the south\nThe room is cool and damp. The air is misty. A twisty path from the southeast splits here toward a wide northerly stone bridge, and a narrow westerly tunnel. It is from the latter that the mist and chill seem to originate.\nThe dragon follows you, out of mingled curiosity and anger.\n\n> You hit the dragon\nWith your bare hands? I doubt the dragon even noticed.\nThe dragon continues to watch you carefully.\n\n> You hit the dragon with the sword\nThe dragon is surprised and interested (for the moment).\nThe dragon continues to watch you carefully.\n\n> You go west\nThis is a large hall of ancient lava, since worn smooth by the movement of a glacier. A large passage exits to the east and an upward lava tube is at the top of a jumble of fallen rocks.\nA mass of ice fills the western half of the room.\n\nAs the dragon enters, he sees his reflection on the icy surface of the glacier at its western end. He becomes enraged: There is another dragon here, behind that glass, he thinks! Dragons are smart, but sometimes naive, and this one has never seen ice before. He rears up to his full height to challenge this intruder into his territory. He roars a challenge! The intruder responds! The dragon takes a deep breath, and out of his mouth pours a massive gout of flame. It washes over the ice, which melts rapidly, sending out torrents of water and a huge cloud of steam! You manage to clamber up to a small shelf, but the dragon is terrified! A huge splash goes down his throat! There is a muffled explosion and the dragon, a puzzled expression on his face, dies. He is carried away by the water.\n\nWhen the flood recedes you climb gingerly down. While no trace of the dragon can be found, the melting of the ice has revealed a passage leading west.\nYour sword is no longer glowing.\n\n> You check what you're carrying\nYou are carrying:\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp (providing light)\n\n> Go west\nThis is a small room, whose walls are formed by an old lava flow. There are exits here to the east and the south.\nOn the floor lies a moby ruby.\n\n> You go to the south-west\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nImbedded in the door is a nasty-looking lizard head, with sharp teeth and beady eyes. The eyes move to watch you approach.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\nOoops! You dropped the ruby.\n\n> You check what you're carrying\nYou are carrying:\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp (providing light)\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nImbedded in the door is a nasty-looking lizard head, with sharp teeth and beady eyes. The eyes move to watch you approach.\nThere is a moby ruby lying here.\n\n> Go south\nThe door partly covered in cobwebs is closed.\n\n> You go to the northeast\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is a room which is bare on all sides. There is an exit down in the northwest corner of the room. To the east is a great closed door made of stone. Above the stone, the following words are written: \"No man shall pass this door without solving this riddle:\n\nWhat is tall as a house,\nround as a cup,\nand all the king's horses\ncan't draw it up?\"\n\n> You turn on the lamp\nThe lamp is now on.\n\nThe path follows the south edge of a deep ravine and heads northeast. A tunnel heads southwest, narrowing to a rather tight crawl. A faint whirring sound can be heard in that direction. On the east is a ruined archway choked with vegetation.\n\n> Go northeast\nThis is a dark tunnel with dim light to the northeast. The tunnel is smooth but dusty and filled with twigs and leaves, debris which becomes deeper as the tunnel branches into a wide corridor leading southwest and a narrower one leading southeast.\n\n> You enter the gazebo\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nSitting on the table is:\nA matchbook\nA china teapot\nA place mat\nA newspaper\nA letter opener\n\n> You take all\nmatchbook: Taken.\nplace mat: Your load is too heavy.\nletter opener: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\nA unicorn is peacefully cropping grass at the north end of the garden. There is something hanging around its neck.\nYour sword is glowing with a faint blue glow.\n\n> Go outside\nThis is the northern end of a formal garden. Hedges hide the cavern walls, and if you don't look up, the illusion is of a cloudy day outside. The light comes from a large growth of glowing mosses on the roof of the cave. A break in the hedge is almost overgrown to the north. A carefully manicured path leads south. In the center of a rosebed is a small open structure, painted white. It appears to be a gazebo.\nThere is a beautiful unicorn here cropping grass.\nThe unicorn bounds lightly away.\nYour sword is no longer glowing.\n\n> Go northeast\nYou are at the southern edge of a great cavern. To the south across a shallow ford is a dark tunnel which looks like it was once enlarged and smoothed. To the north a narrow path winds among stalagmites. Dim light illuminates the cavern.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Filch!\" He cackles gleefully.\nSomething you are carrying has disappeared!\n\n> Inventory\nYou are carrying:\nA matchbook\nA newspaper\nA china teapot\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp (providing light)\n\n> You go east\nThis is a former broom closet. The exits are to the east and west. There is a pearl necklace here with hundreds of large pearls.\n\n> You take the pearl\nYour load is too heavy.\n\n> Inventory\nYou are carrying:\nA matchbook\nA newspaper\nA china teapot\nThe china teapot contains:\nA quantity of water\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp (providing light)\n\n> You go east\nThis is a damp circular room, whose walls are made of brick and mortar. The roof of this room is not visible, but there appear to be some etchings on the walls. There is a passageway to the west.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Freeze!\" He cackles gleefully.\nYour limbs suddenly feel like they have turned to stone. You can't move a muscle.\n\n> You turn on the lamp\nThe lamp is now on.\n\nThis is a damp circular room, whose walls are made of brick and mortar. The roof of this room is not visible, but there appear to be some etchings on the walls. There is a passageway to the west.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\n\n> You pour the water\nThe water spills to the floor and evaporates.\n\n> You hit the dragon with the sword\nYou've made him rather angry. You had better be very careful now.\nThe dragon continues to watch you carefully.\n\n> You go west\nThis is a large hall of ancient lava, since worn smooth by the movement of a glacier. A large passage exits to the east and an upward lava tube is at the top of a jumble of fallen rocks.\nA mass of ice fills the western half of the room.\n\nAs the dragon enters, he sees his reflection on the icy surface of the glacier at its western end. He becomes enraged: There is another dragon here, behind that glass, he thinks! Dragons are smart, but sometimes naive, and this one has never seen ice before. He rears up to his full height to challenge this intruder into his territory. He roars a challenge! The intruder responds! The dragon takes a deep breath, and out of his mouth pours a massive gout of flame. It washes over the ice, which melts rapidly, sending out torrents of water and a huge cloud of steam! You manage to clamber up to a small shelf, but the dragon is terrified! A huge splash goes down his throat! There is a muffled explosion and the dragon, a puzzled expression on his face, dies. He is carried away by the water.\n\nWhen the flood recedes you climb gingerly down. While no trace of the dragon can be found, the melting of the ice has revealed a passage leading west.\nYour sword is no longer glowing.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Fear!\" He cackles gleefully.\nYou look at the Wizard in terror. You scramble away, trying to get as far as possible from him.\n\nThe room is cool and damp. The air is misty. A twisty path from the southeast splits here toward a wide northerly stone bridge, and a narrow westerly tunnel. It is from the latter that the mist and chill seem to originate.\n\n> You go north\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is an arched hall of fine marble. The hall stops abruptly to the north at a ford across a stream, where the marble is cracked and broken. Perhaps a flood or collapse of the cave was responsible. To the south the hall opens into a large room. There is rather annoying whirring sound coming from that room.\nThere is a square brick here which feels like clay.\n\n> Inventory\nYou are carrying:\nA pearl necklace\nA brick\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp (providing light)\n\n> You turn off the lamp\nThe lamp is now off.\nA unicorn is cropping grass on the other side of the room. A gold key hangs from a ribbon around its neck.\nYour sword has begun to glow very brightly.\n\n> You go south\nThis is the middle part of a formal garden. Hedges hide the cavern walls and a dim illumination comes from mosses far above. The path is of small crushed white stones. It winds among bushes and flower beds from south to north. To the north a small structure can be seen. To the south are peculiarly shaped bushes. There is a small gap in the hedges to the west.\nThe unicorn bounds lightly away.\nYour sword is no longer glowing.\n\n> Go south\nThis is the southern end of a formal garden. Hedges hide the cavern walls and mosses provide dim illumination. Fantastically shaped hedges and bushes are arrayed with geometric precision. They have not recently been clipped, but you can discern creatures in the shapes of the bushes: There is a dragon, a unicorn, a great serpent, a huge misshapen dog, and several human figures. On the west side of the garden the path leads through a rose arbor into a tunnel.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nHe mutters something (muffled by his beard) and disappears as suddenly as he came.\n\n> Go north\nYou're not sure which direction is which. This room is very disorienting.\n\nThis is an arched hall of fine marble. The hall stops abruptly to the north at a ford across a stream, where the marble is cracked and broken. Perhaps a flood or collapse of the cave was responsible. To the south the hall opens into a large room. There is rather annoying whirring sound coming from that room.\n\n> You turn on the lamp\nThe lamp is now on.\n\nTop of Well, in the wooden bucket\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThe wooden bucket contains:\nA quantity of water\n\n> You get out\n(out of the wooden bucket)\nYou are on your own feet again.\n\n> You go east\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with green letters\nA cake frosted with red letters\nA cake frosted with orange letters\nA cake frosted with blue letters\n\n> You take all\ncake frosted with green letters: Taken.\ncake frosted with red letters: Taken.\ncake frosted with orange letters: Your load is too heavy.\ncake frosted with blue letters: Your load is too heavy.\n\n> You drop the red\nDropped.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nHe mutters something (muffled by his beard) and disappears as suddenly as he came.\n\n> You look at what you're carrying with you\nYou are carrying:\nA cake frosted with green letters\nA china teapot\nA brick\nA portrait of J. Pierpont Flathead\nA bank brochure\nA black string\nA sword\nA lamp\n\n> You eat green\nSuddenly, the room appears to have become very large (although everything you are carrying seems to be its normal size).\n\nThis is an enormous room, in the center of which are four wooden posts delineating a rectangular area, above which is what appears to be a wooden roof. In fact, all objects in this room appear to be abnormally large. To the east is a passageway. There are large gaping chasms to the west and northwest.\nThere is a bank brochure here.\nThere is a coil of black, braided string here.\nThere is a square brick here which feels like clay.\n\n> You drop the red in the pool\nMost of the pool evaporates, revealing a (slightly damp but still valuable) package of rare candies. The red cake must be pretty strong stuff, since it remains intact!\n\n> You go to the west\nThis is an enormous room, in the center of which are four wooden posts delineating a rectangular area, above which is what appears to be a wooden roof. In fact, all objects in this room appear to be abnormally large. To the east is a passageway. There are large gaping chasms to the west and northwest.\nThere is a bank brochure here.\nThere is a coil of black, braided string here.\nThere is a square brick here which feels like clay.\n\n> Go west\nA great chasm blocks your way.\n\n> You eat blue\nThe room around you seems to be getting smaller.\n\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a square brick here which feels like clay.\nThere is a coil of black, braided string here.\nThere is a bank brochure here.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with orange letters\n\n> You turn off the lamp\nIt is already off.\n\n> You look at what you're carrying with you\nYou are carrying:\nA cake frosted with red letters\nA package of candy\nA china teapot\nA portrait of J. Pierpont Flathead\nA sword\nA lamp\n\n> You take the string\nTaken.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nHe mutters something (muffled by his beard) and disappears as suddenly as he came.\n\n> Inventory\nYou are carrying:\nA black string\nA brick\nA package of candy\nA china teapot\nA portrait of J. Pierpont Flathead\nA sword\nA lamp"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, dragon, treasure hunt]\n\n> You describe your surroundings\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a cake frosted with red letters here.\nThere is a bank brochure here.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with orange letters\n\n> Go northwest\nYou are in a circular room with a low ceiling. There are exits to the east and southeast.\nThere is a green piece of paper here.\nThere is a robot here.\n\n> You take portrait\n\"Whirr, buzz, click!\"\nTaken.\n\n> Go north\nThis is a large room full of assorted heavy machinery, whirring noisily. The room smells of burned resistors. Along one wall are three buttons which are, respectively, round, triangular, and square. Naturally, above these buttons are instructions written in EBCDIC. A large sign in English above all the buttons says\n\"DANGER -- HIGH VOLTAGE\"\nThere are exits to the west and the south.\nThere is a robot here.\nThe robot is holding:\nA portrait of J. Pierpont Flathead\n\n> You go to the west\nAs you enter, your compass starts spinning wildly.\nWhat compass, you ask? The one which allows you to specify compass directions for movement.\nLow Room\nYou are in a circular room with a low ceiling. There are exits to the east and southeast.\nThere is a robot here.\nThe robot is holding:\nA portrait of J. Pierpont Flathead\nThere is a green piece of paper here.\n\n> You drop the portrait\n\"Whirr, buzz, click!\"\nDropped.\n\n> Go east\nYou cannot get your bearings...\n\nThis is a small room containing a large oblong table, no doubt set for afternoon tea. It is clear from the objects on the table that the users were indeed mad. In the eastern corner of the room is a small hole (no more than four inches high). There are passageways leading away to the west and the northwest.\nThere is a cake frosted with red letters here.\nThere is a bank brochure here.\nThere is a large oblong table here.\nSitting on the large oblong table is:\nA cake frosted with orange letters\n\n> You go east\nOnly a mouse could get in there.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are at the top of the well. Well done. There are etchings on the side of the well. There is a small crack across the floor at the entrance to a room on the east, but it can be crossed easily.\nThere is a wooden bucket here, 3 feet in diameter and 3 feet high.\nThe wooden bucket contains:\nA quantity of water\nThe Wizard appears, floating nonchalantly in the air beside you. He grins sideways at you.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, almost inaudibly, whispers a word beginning with \"F,\" and then disappears, chuckling nastily.\nSlowly, you and all your belongings rise into the air, stopping after about five feet.\n\n> You wait\nTime passes...\nThe lamp appears a bit dimmer.\n\n> Wait\nTime passes...\nYou plunge to the bottom of the shaft as the spell wears off.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see a small room with a sign on the wall, but it is too blurry to read.\n\n> You give the candies to the lizard\nThe guardian greedily wolfs down the candy, including the package. (It seemed to enjoy the grasshoppers particularly.) It then becomes quiet and its eyes close. (Lizards are known to sleep a long time while digesting their meals.)\nI hope you have more light than from the lamp.\n\n> You unlock the door with the key\nThe key turns and the bolt clicks. The door is unlocked.\n\n> You open the door\nThe door creaks open.\nIn the darkness you hear the voice of the Wizard. \"Dear me, you seem to have gotten into quite a pickle.\" He chuckles. \"Fluoresce!\" he incants. It is no longer dark."
    },
    {
        "text": "> Look around\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nThe door is open.\nA sleepy-looking lizard head is mounted on the door.\n\n> You go to the west\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\n\n> You check what you're carrying\nYou are carrying:\nA fancy violin\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA sword\nA lamp\n\n> Open trophy\nThe case is protected by a fearful spell. You cannot touch it in any way.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Ferment!\" He cackles gleefully.\nYou begin to feel lightheaded.\n\n> You go south\nOops, you seem a little unsteady... I'm not sure you got where you intended going.\n\nYou are standing in the entry hall of the Wizard's Workshop. Dark corridors lead west and south from here. The corridor to the west smells slightly of incense or candle smoke. The workshop door is open.\n\n> You go south\nOops, you seem a little unsteady... I'm not sure you got where you intended going.\n\nThis room is cobwebby and musty, but tracks in the dust show that it has seen visitors recently. At the south end of the room is a stained and battered (but very strong-looking) door. To the north, a corridor exits.\nThe door is open.\nA sleepy-looking lizard head is mounted on the door.\n\n> You take all\nred crystal sphere: Taken.\ngaudy crown: Your load is too heavy.\npearl necklace: Your load is too heavy.\nperfect rose: Taken.\nFlathead stamp: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\npriceless zorkmid: Your load is too heavy.\ngolden dragon statuette: Your load is too heavy.\nportrait of J. Pierpont Flathead: Your load is too heavy.\nbank brochure: Taken.\n\n> You go west\nHere a dark hallway turns a corner. To the south is a dark room, to the east is fitful light.\nFilling the northern half of the room is a huge aquarium.\nThe aquarium contains:\nA baby sea serpent\n\n> Smash glass\nWhat do you want to smash the glass with?\n\n> Sword\nThe sword shatters the glass wall of the aquarium, spilling out an impressive amount of salt water and wet sand. It also spills out an extremely annoyed sea serpent who bites angrily at the sword, and then at you. He is having difficulty breathing, and he seems to hold you responsible for his current problem. He manages to rend you limb from limb before he drowns in the air.\nI guess you were too careless.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nAs you peer through the mist, a strangely colored vision of a huge room takes shape...\n\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\n\n> You throw sword at the glass\nThe sword shatters the glass wall of the aquarium, spilling out an impressive amount of salt water and wet sand. It also spills out an extremely annoyed sea serpent who bites angrily at the sword, and then at you. He is having difficulty breathing, and he seems to hold you responsible for his current problem. He tries to slither across the stone floor towards you. Fortunately, he expires mere inches away from biting off your foot. A clear crystal sphere sits amid the sand and broken glass on the bottom of the aquarium.\n\n> Go east\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\nSitting on the ruby stand is:\nA red crystal sphere\n\n> You put the clear crystal on the diamond stand\nDone.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Filch!\" He cackles gleefully.\nSomething you are carrying has disappeared!\n\n> You check your inventory\nYou are carrying:\nA bank brochure\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA lamp\n\n> Go west\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\nSitting on the ruby stand is:\nA red crystal sphere\nSitting on the diamond stand is:\nA clear crystal sphere\n\n> Go west\nHere a dark hallway turns a corner. To the south is a dark room, to the east is fitful light.\nThere is a dead sea serpent in a heap here.\nAn Elvish sword of great antiquity is here.\nA shattered aquarium fills the northern half of the room."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, riddle, fantasy]\n\n> Look around\nHere a dark hallway turns a corner. To the south is a dark room, to the east is fitful light.\nThere is a dead sea serpent in a heap here.\nA shattered aquarium fills the northern half of the room.\n\n> Go south\nThis is the Wizard's trophy room, filled with memorabilia of various sorts. On one wall is the Wizard's D. T. (Doctor of Thaumaturgy) degree from GUE Tech. Several old magic wands are mounted on a wand rack. A collection of dull and nicked swords testify to the fate of many foolhardy adventurers. Small bottles contain discarded homunculi (a few preserved in alcohol). There is a stuffed owl on a perch. Imbedded in the wall is an ornate trophy cabinet.\nThe Wizard's trophy cabinet contains:\nA sword\nA hand-lettered label is affixed to the wall.\n\n> You examine the label\nWarning!\n\nThe exhibits in this room are the property of the mighty Wizard of Frobozz (me), and are the fruits of diligent labor and study over many years. He who touches anything will regret it.\n\n(signed)\nFrobozz\n\n> You go north\nYou are fording the stream at a deep but not impossible spot. The water is very cold. The walls of the ravine rise to east and west. There is a small ledge along the north wall of the ravine. To the south is the entrance to a well-constructed but somewhat ruined hall. A huge dead dragon is lying half blocking the stream.\n\n> Go upward\nYou are on a narrow ledge near the bottom of a deep ravine. The ledge continues to the west. A precarious climb up to another tiny ledge is possible. A short scramble down the rock face leads to a stream.\n\n> Go upwards\nThis is a tiny room carved out of the wall of the ravine. There is an exit down a precarious climb. On the north side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole covered by a thin metal lid lies within the lock.\n\n> You check your inventory\nYou are carrying:\nA bank brochure\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA lamp\n\n> You enter the gazebo\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nLord Dimwit's crown is here.\nThere is a pearl necklace here with hundreds of large pearls.\nThere is a Flathead stamp here.\nThere is an engraved zorkmid here.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\n\n> You check your inventory\nYou are carrying:\nA bank brochure\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA lamp\n\n> You take all\ngaudy crown: You are now wearing the gaudy crown.\npearl necklace: Taken.\nFlathead stamp: Taken.\npriceless zorkmid: Taken.\ngolden dragon statuette: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\nportrait of J. Pierpont Flathead: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThere is a loud crackling noise. Blue smoke rises from out of the Wizard's sleeve. He sighs and disappears.\n\n> Go southwest\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nThere is a dented steel box here.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.\nThe Wizard, in a deep and resonant voice, speaks the word \"Fumble!\" He cackles gleefully.\nOoops! You dropped the priceless zorkmid.\n\n> Inventory\nYou are carrying:\nA Flathead stamp\nA pearl necklace\nA gaudy crown (being worn)\nA bank brochure\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA letter opener\nA place mat\nSitting on the place mat is:\nA delicate gold key\nA lamp\n\n> You put the mat under the door\nThe place mat fits easily under the door.\n\n> You put the letter opener in the keyhole\nThe lid is in the way.\n\n> You put the letter opener in the keyhole\nThere is a faint noise from behind the door and a small cloud of dust rises from beneath it.\nDone.\n\n> You take the mat\nAs the place mat is moved, a rusty iron key falls from it and onto the floor.\n\n> You take the key\nWhich key do you mean, the rusty iron key or the delicate gold key?\n\n> You unlock the door with the key\nWhich key do you mean, the delicate gold key or the rusty iron key?\n\n> Iron key\nThe keyhole is blocked.\n\n> You open the door\nThe door is locked.\n\n> You unlock door\nWhat do you want to unlock the door with?\n\n> You take the iron key\nYou already have that!"
    },
    {
        "text": "> Look around\nThis is a tiny room carved out of the wall of the ravine. There is an exit down a precarious climb. On the north side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole lies within the lock. A letter opener is in place within the keyhole.\nThere is a place mat here.\nThere is a delicate gold key here.\nThe keyhole contains:\nA letter opener\n\n> Go inside\nThis is a small and rather dreary room, eerily illuminated by a red glow emanating from a crack in one wall. The light falls upon a dusty wooden table in the center of the room. On the south side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole lies within the lock.\nIn the center of the table sits a blue crystal sphere.\n\n> You go outside\nThis is a tiny room carved out of the wall of the ravine. There is an exit down a precarious climb. On the north side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole lies within the lock.\nThere is a place mat here.\nThere is a delicate gold key here.\n\n> You take all\nplace mat: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\ndelicate gold key: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\n\n> You check your inventory\nYou are carrying:\nA blue crystal sphere\nA letter opener\nA rusty iron key\nA Flathead stamp\nA pearl necklace\nA gaudy crown (being worn)\nA bank brochure\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA lamp"
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, Zork, treasure hunt]\n\n> Go downwards\nYou are on a narrow ledge near the bottom of a deep ravine. The ledge continues to the west. A precarious climb up to another tiny ledge is possible. A short scramble down the rock face leads to a stream.\n\n> Go south\nYou are in a large circular room whose high ceiling is lost in gloom. Eight identical passages leave the room.\nThere is an engraved zorkmid here.\nThere is a dented steel box here.\n\n> Go northeast\nThe path follows the south edge of a deep ravine and heads northeast. A tunnel heads southwest, narrowing to a rather tight crawl. A faint whirring sound can be heard in that direction. On the east is a ruined archway choked with vegetation.\n\n> You put the crystal on the sapphire stand\nDone.\nAs you place the blue crystal sphere in the sapphire stand, a low humming noise begins, and you can feel the hairs on the back of your neck begin to stand up. The three spheres begin to vibrate, faster and faster, as the noise becomes higher and higher pitched. Three puffs of smoke, one red, one blue, one white, rise up from empty stands. The spheres are gone! But in the center of the triangle formed by the stands is now a black stand of obsidian in which rests a strange black sphere."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, Zork, fantasy]\n\n> You look at your surroundings\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\nSitting on the Wizard's workbench is:\nA black obsidian stand\nSitting on the black obsidian stand is:\nA black crystal sphere\n\n> You look into the sphere\nAs you peer into the sphere, a strange vision takes shape...a huge and fearful face with yellow eyes. The face peers out at you expectantly."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, treasure hunt, dragon]\n\n> Look around\nThis room is the Wizard's workroom. A hall continues east and west, and a larger room lies to the south. There are many shelves and racks on the walls, but the Wizard's workbench dominates the room. It is made of dark, heavy wood bound with iron. The workbench is stained from many years of use, and is deeply gouged as though some huge clawed animal was imprisoned on it. There are burn marks and even notes written in a crabbed hand. Many arcane items are scattered about the bench; alembics, mortar and pestle, small knives of various sizes, odd scraps of vellum, wax candles, and much more. In the center of a relatively clear area of the bench are affixed three stands - ruby, sapphire, and diamond - which form a triangle.\nSitting on the Wizard's workbench is:\nA black obsidian stand\n\n> You go to the west\nHere a dark hallway turns a corner. To the south is a dark room, to the east is fitful light.\nThere is a dead sea serpent in a heap here.\nA shattered aquarium fills the northern half of the room.\n\n> Open trophy\nThe case is protected by a fearful spell. You cannot touch it in any way.\n\n> Break trophy\nWhat do you want to break the trophy with?\n\n> You check what you're carrying\nYou are carrying:\nA black crystal sphere\nA letter opener\nA rusty iron key\nA Flathead stamp\nA pearl necklace\nA gaudy crown (being worn)\nA perfect rose\nA china teapot\nThe china teapot contains:\nA quantity of water\nA lamp"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, fantasy]\n\n> Look around\nThis is a small chamber carved out of the rock at the end of a short crawl. On the wall is crudely chiseled the number \"8\".\nThere is a china teapot here.\nThe china teapot contains:\nA quantity of water\n\n> You go to the south\nYou can't go that way.\nA strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.\nThe Wizard notices that you carry the Black Crystal, and with an unseemly haste, he disappears.\n\n> You go south\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\n\n> You examine the circle\nThe pentagram is empty.\n\n> You look in the sphere\nAs you peer into the sphere, a strange vision takes shape...a huge and fearful face with yellow eyes. The face peers out at you expectantly."
    },
    {
        "text": "> Look around\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nSitting on the pentagram is:\nA gaudy crown\n\n> You put the sphere in the circle\nA cold wind blows outward from the sphere. The candles flicker, and a low moan, almost inaudible, is heard. It rises in volume and pitch until it becomes a high-pitched keening. A dim shape becomes visible in the air above the sphere. The shape resolves into a large and somewhat formidable looking demon. He looks around, tests the walls of the pentagram experimentally, then sees you! \"Hmm, a new master...\" he says under his breath. \"Greetings, oh master! Wouldst desire a service, as our contract stateth? For some pittance of wealth, some trifle, I will gratify thy desires to the utmost limit of my powers, and they are not inconsiderable.\" He makes a pass with his massive arms and the walls begin to shake a little. Another pass and the shaking stops. \"A nice effect... I find it makes for a better relationship to give such a demonstration early on.\" He grins vilely.\n\n> You talk to the demon\nThe demon pauses for a moment, perhaps thinking that you should re-read the manual.\n\n> Hello\nThe genie grins demonically, but says nothing.\nSuddenly the Wizard materializes in the room. He is astonished by what he sees: his servant in deep conversation with a common adventurer! He draws forth his wand, waves it frantically, and incants \"Frobizz! Frobozzle! Frobnoid!\" The demon laughs heartily. \"You no longer control the Black Crystal, hedge-wizard! Your wand is powerless! Your doom is sealed!\" The demon turns to you, expectantly.\n\n> You kill Wizard\n\"My fee is not paid! I perform no tasks for free! We demons have a strong union these days.\""
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, fantasy, treasure hunt]\n\n> You look around\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a demon floating in mid-air here.\nSitting on the pentagram is:\nA gaudy crown\n\n> Inventory\nYou are carrying:\nA Frobozz Magic Grue Repellent\nA letter opener\nA rusty iron key\nA Flathead stamp\nA pearl necklace\nA perfect rose\nA lamp\n\n> You enter the gazebo\nThis is a gazebo in the midst of a formal garden. It is cool and restful here. A tea table adorns the center of the gazebo.\nThere is a golden dragon statuette here.\nThe portrait of J. Pierpont Flathead is here.\n\n> You take all\ngolden dragon statuette: Taken.\nportrait of J. Pierpont Flathead: Taken.\n\n> You check your inventory\nYou are carrying:\nA portrait of J. Pierpont Flathead\nA golden dragon statuette\nA priceless zorkmid\nA Frobozz Magic Grue Repellent\nA letter opener\nA rusty iron key\nA lamp\n\n> Go up\nYou are on a narrow ledge near the bottom of a deep ravine. The ledge continues to the west. A precarious climb up to another tiny ledge is possible. A short scramble down the rock face leads to a stream.\nThere is a bank brochure here.\n\n> Go upwards\nThis is a tiny room carved out of the wall of the ravine. There is an exit down a precarious climb. On the north side of the room is a massive wooden door, which has a small window barred with iron. A formidable bolt lock is set within the door frame. A keyhole lies within the lock.\nThere is a place mat here.\nThere is a delicate gold key here.\n\n> You go to the south\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a demon floating in mid-air here.\nSitting on the pentagram is:\nA perfect rose\nA pearl necklace\nA Flathead stamp\nA gaudy crown\n\n> You put all in the circle\ndelicate gold key: Done.\nportrait of J. Pierpont Flathead: Done.\ngolden dragon statuette: Done.\npriceless zorkmid: Done.\nFrobozz Magic Grue Repellent: The spray smells like a mixture of old socks and burning rubber. If I were a grue I'd sure stay clear!\nletter opener: Done.\nrusty iron key: Done.\nlamp: Done."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, fantasy, dragon, Zork, riddle]\n\n> You look at your surroundings\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a demon floating in mid-air here.\nSitting on the pentagram is:\nA priceless zorkmid\nA golden dragon statuette\nA portrait of J. Pierpont Flathead\nA delicate gold key\nA perfect rose\nA pearl necklace\nA Flathead stamp\nA gaudy crown\n\n> You take all\npriceless zorkmid: Taken.\ngolden dragon statuette: Taken.\nportrait of J. Pierpont Flathead: Taken.\ndelicate gold key: Taken.\nperfect rose: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\npearl necklace: Taken.\nFlathead stamp: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\ngaudy crown: You try to pick it up, but with everything else you have, you can't manage to hold onto it!\n\n> You give all to the demon\npearl necklace: \"Very nice, but not enough!\"\ndelicate gold key: \"Ah, truly magnificent! Keep them coming.\"\nportrait of J. Pierpont Flathead: \"Almost halfway there, oh worthy one!\"\ngolden dragon statuette: \"Oh, such beauty! Your generosity almost overwhelms me!\"\npriceless zorkmid: \"Truly I shall do thee a wonderful service when thou hast finished!\"\nletter opener: The demon gladly takes the letter opener and smiles balefully, revealing enormous fangs.\nrusty iron key: The demon gladly takes the rusty iron key and smiles balefully, revealing enormous fangs.\nlamp: The demon gladly takes the lamp and smiles balefully, revealing enormous fangs.\nFrobozz Magic Grue Repellent: The demon gladly takes the Frobozz Magic Grue Repellent and smiles balefully, revealing enormous fangs.\n\n> You give you the wand\n\"My fee is not paid! I perform no tasks for free! We demons have a strong union these days.\"\n\n> Inventory\nYou are empty-handed.\n\n> You open the box\nIt is already open.\n\n> You look inside the box\nThe steel box is empty.\n\n> You go west\nA ledge from the east ends here, and a tunnel leads north into the wall. There is a rather odd smokey odor in the warm air of the tunnel.\n\n> You go north\nThe room is a large cavern full of broken stone. The walls are scorched and there are deep scratches on the floor. A sooty dry smell is very strong here. A paved path winds from a large passage to the west, through the room, and across a huge stone bridge to the south. To the east a small crack is visible. A dark and smokey tunnel leads north.\n\n> Go west\nA path leads east-west through a room decorated with beautiful frescoes of someone battling dragons and rescuing fair maidens. It is hard to tell who is doing this as those parts of the frescoes have been blackened and cracked by intense heat.\n\n> Go west\nThis is the entrance hall of the Bank of Zork, the largest banking institution of the Great Underground Empire. A partial account of its history is in \"The Lives of the Twelve Flatheads,\" in the chapter on J. Pierpont Flathead. A more detailed history (albeit less objective) may be found in Flathead's outrageous autobiography \"I'm Rich and You Aren't - So There!\". Most of the furniture has been ravaged by passing scavengers. All that remains are two signs at the northwest and northeast corners of the room, which say\n\n<--  VIEWING ROOMS  -->\n\nThe way out (ornate but tasteful) is to the east.\n\n> You go northwest\nYou are in a small room, which was used by a bank officer who retrieved safety deposit boxes for the customer. On the north side of the room is a sign which reads  \"Viewing Room\". On the west side of the room, above an open door, is a sign reading\n\n> Go west\nThis is a large rectangular room. The east and west walls were used for storing safety deposit boxes, but all have been carefully removed by evil persons. To the east, west, and south of the room are large doorways. The northern \"wall\" of the room is a shimmering curtain of light. In the center of the room is a large stone cube, about 10 feet on a side. Engraved on the side of the cube is some lettering.\n\n> You walk through the north wall\nYou feel somewhat disoriented as you pass through...\n\nThis room was used by holders of safety deposit boxes to view their contents. On the north side of the room is a sign which says\n\n\"Remain here while the teller retrieves your safety deposit box. When you are finished, leave the box, and exit to the south. Safety deposit boxes cannot be removed from this room!\n\nThank You for Banking at the Zork!\""
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, Zork]\n\n> Look around\nThis room was used by holders of safety deposit boxes to view their contents. On the north side of the room is a sign which says\n\n\"Remain here while the teller retrieves your safety deposit box. When you are finished, leave the box, and exit to the south. Safety deposit boxes cannot be removed from this room!\n\nThank You for Banking at the Zork!\"\n\n> South wall\nYou hit your head against the south wall as you attempt this feat.\n\n> You walk through the north wall\nYou hit your head against the north wall as you attempt this feat.\nYou hear a faint voice say \"Curtain Door Closed.\"\n\n> Go northeast\nYou are in a small room, which was used by a bank officer who retrieved safety deposit boxes for the customer. On the north side of the room is a sign which reads  \"Viewing Room\". On the east side of the room, above an open door, is a sign reading\n\n> You go to the east\nThis is a large rectangular room. The east and west walls were used for storing safety deposit boxes, but all have been carefully removed by evil persons. To the east, west, and south of the room are large doorways. The northern \"wall\" of the room is a shimmering curtain of light. In the center of the room is a large stone cube, about 10 feet on a side. Engraved on the side of the cube is some lettering.\n\n> You go north\nThis is a small room, whose walls are formed by an old lava flow. There are exits here to the east and the south.\n\n> Go south\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a demon floating in mid-air here.\nSitting on the pentagram is:\nA perfect rose\nA Flathead stamp\nA gaudy crown\n\n> You take all\nruby: Taken.\nperfect rose: Taken.\nFlathead stamp: Taken.\ngaudy crown: You are now wearing the gaudy crown.\n\n> You give all to the demon\ngaudy crown: \"Truly you are most generous! But still, this is yet not enough.\"\nFlathead stamp: \"A fine gift, mighty one, you have almost reached my fee.\"\nThe Wizard looks at you as if you are a madman. He tears his beard and stares at you fearfully.\nperfect rose: The demon gladly takes the perfect rose and smiles balefully, revealing enormous fangs.\nruby: \"Wondrous fine, master! But one treasure is yet to be given!\""
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, riddle, fantasy, Zork, dragon]\n\n> You describe your surroundings\nIn this room, inscribed on the floor, is a great pentagram drawn with black chalk. In its center is a black circle.\nThe Wizard of Frobozz is here, eyeing you warily.\nThere is a demon floating in mid-air here.\n\n> Inventory\nYou are empty-handed.\n\n> Go south\nThis room was the office of the Chairman of the Bank of Zork. Like the other rooms here, it has been extensively vandalized. The lone exit is to the north.\n\n> You enter the light\nYou feel somewhat disoriented as you pass through...\n\nThis is a small, bare room with no distinguishing features. There are no exits from this room.\n\n> You enter the south wall\nYou feel somewhat disoriented as you pass through...\n\nThis is a large rectangular room. The east and west walls were used for storing safety deposit boxes, but all have been carefully removed by evil persons. To the east, west, and south of the room are large doorways. The northern \"wall\" of the room is a shimmering curtain of light. In the center of the room is a large stone cube, about 10 feet on a side. Engraved on the side of the cube is some lettering.\n\n> Go north\nThere is a curtain of light there.\n\n> You enter the light\nYou feel somewhat disoriented as you pass through...\n\nThis is the Vault of the Bank of Zork, in which there are no doors.\nOn the floor sit 200 neatly stacked zorkmid bills.\n\n> Go east\nThis is a large rectangular room. The east and west walls were used for storing safety deposit boxes, but all have been carefully removed by evil persons. To the east, west, and south of the room are large doorways. The northern \"wall\" of the room is a shimmering curtain of light. In the center of the room is a large stone cube, about 10 feet on a side. Engraved on the side of the cube is some lettering.\n200 neatly stacked zorkmid bills are here.\n\n> You go to the west\nAn alarm rings briefly, and an invisible force bars your way.\n\n> Go north\nYou are in the dragon's lair, where the rock walls are scarred by flame. A blackened doorway leads to the south.\nThere is a rotten wooden chest here.\n\n> You give bills to the demon\n\"This will do for my fee. 'Tis a paltry hoard, but as you have done me a small service by loosing me from this wizard, it will suffice.\"\n\n> You give you the Wizard 's wand\nThe demon seems confused. \"I don't see any wizard's wand here!\"\n\n> You give you the the wand\n\"I hear and obey!\" says the demon. He stretches out an enormous hand towards the wand. The Wizard is unsure what to do, pointing it threateningly at the demon, then at you. \"Fudge!\" he cries, but aside from a strong odor of chocolate in the air, there is no effect. The demon plucks the wand out of his hand (it's about toothpick-size to him) and gingerly lays it before you. He fades into the smoke, which disperses. The wizard runs from the room in terror.\n\n> You say the fudge\nYou must address the demon directly.\n\n> Wave wand\nAt what?\n\n> You wave wand at yourself\nFortunately a safety interlock prevents the fatal feedback loop that this would cause.\n\n> You look at what you're carrying with you\nYou are carrying:\nA sword\nA Wizard's magic wand\n\n> You wave the wand at the degree\nA lot you know about magic! A magic wand takes a while to recharge after use! You might cause it to short-circuit!\n\n> Go southwest\nThis room looks like it was once a kennel for a very large dog (some of the bones would fit a dinosaur). It apparently hasn't been used for a long time, as the dust is fairly thick all over. The only exit is northeast.\nA gigantic dog collar, large enough for three rhinoceros-sized dogs, is lying amidst the debris.\n\n> Go northeast\nThis is a large room which was evidently used once as a quarry. Many large limestone chunks lie helter-skelter around the room. Some are rough-hewn and unworked, others smooth and well-finished. One side of the room appears to have been used to quarry building blocks, the other to produce menhirs (standing stones). Obvious passages lead north and south.\nThere is a huge menhir here."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, Zork]\n\n> Go downwards\nThis is a room with oddly angled walls and passages in all directions. The walls are made of some glassy substance.\nA marble stairway leads upward. The floor has swung down at the end of the stairway to reveal a secret passage leading down into unrelieved darkness.\n\n> You put the collar on the cerberus\nThe creature whines happily, then the center head licks your face (which is roughly like experiencing a sandpaper washcloth). The other two heads look about, as though the monster felt a sudden need to find a pair of slippers somewhere. Its huge tail wags enthusiastically, knocking small rocks around and almost blowing you over from the breeze it creates.\n\n> Go east\nThe anteroom is large and empty. Marble bas reliefs depict the stirring times and afterlife of the Flatheads (the latter a bit optimistically). The exit is to the west. A huge marble door stands to the south. The door is closed. Above the door is the cryptic inscription: \"Feel Free\".\n\n> You go south\nThe crypt door is closed.\n\n> You open the door\nThe crypt door squeaks open.\n\n> Go south\nThe room contains the earthly remains of the mighty Flatheads, twelve somewhat flat heads mounted securely on poles. While the room might be expected to contain funerary urns or other evidence of the ritual practices of the ancient Zorkers, it is empty of all such objects. There is writing carved on the crypt. The only apparent exit is to the north through the door to the anteroom. The door is open.\n\n> You wave wand at yourself\nFortunately a safety interlock prevents the fatal feedback loop that this would cause.\n\n> You look at what you're carrying with you\nYou are carrying:\nA sword\nA Wizard's magic wand\n\n> You examine crypt\n\"Here lie the Flatheads, whose heads were placed on poles by the Keeper of the Dungeon for amazing untastefulness.\"\n\n> You enter the south wall\nYou hit your head against the south wall as you attempt this feat.\n\n> You wave wand at the south wall\nThe wand grows warm, the south wall seems to glow dimly with magical essences, and you feel suffused with power.\n\n> You kill yourself with the sword\nIf you insist.... Poof, you're dead!\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nYou are inside a huge crystalline sphere filled with thin red mist. The mist becomes blue to the west.\nYou strain to look out through the mist...\nYou see only darkness.\n\n> Go west\nYou are inside a huge crystalline sphere filled with thin blue mist. The mist becomes white to the west.\nYou strain to look out through the mist...\nYou see only darkness.\n\n> You go west\nYou are inside a huge crystalline sphere filled with thin white mist. The mist becomes black to the west.\nYou strain to look out through the mist...\nYou see only darkness.\n\n> You go to the west\nYou follow a corridor of black mist into a black walled spherical room. The room is empty. A huge face looks down on you from outside and laughs sardonically. It doesn't look like you're getting out of this predicament!\nYour score would be 388 (total of 400 points), in 174 moves.\nThis score gives you the rank of Wizard.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Humor, Espionage, surreal, Magnetic Scrolls, fish protagonist]\n\n\"Well done, Agent 10,\" said Sir Playfair Panchax, head of Mission HQ. \"We knew you'd stop the Seven Deadly Fins. Good show! It's a shame they got away again. But now I suggest you take a vacation. You've earned it, old boy.\" You agreed with him, the last few months had been a real chore. Being an inter-dimensional espionage operative isn't a bad life apart from the pain of warping and the inconvenience of host-parasite relationships, but you need a spot of R and R every now and then, just to stay sane. So you went for the big one - warping into a goldfish for a whole month! The peace. The tranquility. And you're still on the payroll.\n\nFISH! - Version 1.10 - Copyright (C) 1988, 1990 Magnetic Scrolls Ltd.\n\nSomeone's coming. Good, it must be time for food. SPLATTO. A hand as big as a bus drops something hard right on your head. Understandably dazed, you flip over and, through a swirl of ant eggs, spot what hit you: a tacky plastic castle. It looks like a rush job. Sir Playfair must be in trouble. And you thought you were on vacation...\n\nSwimming upside down is good fun, but difficult, even for someone as highly trained as yourself. It looks like the pondweed is dangling from the gravel above your head. And the ant eggs, wow! Upside down they look, so, so much like, well, like exactly the same as if you were the right way up actually. Anyway, there's no need to get carried away. Sir Playfair has a message for you in the castle if you're not mistaken and he hates agents who are late.\n\n[Author's Note: One nibble and you're hooked. JUST WHEN YOU THOUGHT IT WAS SAFE TO GET OUT OF THE WATER: The tide is turning in the teeming metropolis of Fishworld. The oceans and seas are boiling off into space. The Seven Deadly Fins - an interdimensional group of anarchists - are on the loose. The project has been sabotaged... And you're a goldfish. Tough. But then life's like that. Sometimes you're dealt a real deal. Toast falls buttered-side down. Phones ring when you're in the bath. And there's always chili sauce on your kebab. From rain-soaked forests and London recording studios to the farthest reaches of time and space, Fish! will bemuse, dazzle and thrill you before confusing, razzling and killing you. Fish! is brought to you by Magnetic Scrolls, authors of such classic award-winning adventures as The Pawn and The Guild of Thieves. It's full of what you're least expecting, lacking in all that's rational, and devoid of much that could reasonably be expected... So, dust down your tackle, dress up your flies, reel in a winner and play Fish!]\n\n> You examine the eggs\nIt's a pity that ant eggs are all you've had to eat for the past week, otherwise they might look appetising.\n\n> Flip\n\n\n> About yourself\nYou are a small, scaly fish, with fins and a natty little tail. Tres chic.\n\n> You examine the castle\nColours are sprayed on this tacky castle in a random fashion, as if it had been visited by a medieval graffiti artist with a belly full of mead and a nasty case of clinical depression. A large gateway leads inside.\n\n> You check your inventory\nYour mouth is empty.\nYou get bored of swimming upside-down and turn over, deftly avoiding the first scoring point of the game.\nGoldfish Bowl\nThe ant eggs have stopped swirling around and are now floating on the surface. Gravel fills the bottom of the bowl and some tasty looking pondweed you've been wanting to nibble for days is lying on it. You get a nasty feeling in your swim bladder about the castle, probably because Sir Playfair has so rudely interrupted your vacation.\n\n> You enter the castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl.\n\n\"Phffft! Phffft! Testing... Hello? Can you hear me? Agent 10?\" You groan as Sir Playfair Panchax's voice rattles round your brain. \"I'm sorry about this old chap,\" he continues, \"I wouldn't disrupt your vacation unless it was necessary.\" He coughs. \"It's bad news, I'm afraid; the Seven Deadly Fins again. Sabotage this time - on a planet full of fish! Beats me why they should pick on fish, but fish it is. They've stolen something important, a focus wheel I think, and dismantled it. We've got a fix on most places they've visited recently; you'll have to scout around and find the wheel. Your inter-dimensional warps will be ready in a few milliseconds. The back-room boys have some tricks up their sleeves if you get into trouble.\" The castle jolts and three warps and a glass box appear as Sir Playfair signs off. \"Good luck and keep your eyes peeled. Panchax out.\"\n\n> You notify on"
    },
    {
        "text": "[Themes: Espionage, Humor, Magnetic Scrolls]\n\n> You describe your surroundings\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You look at the smooth warp\nThe smooth warp looks the trendiest of all the warps. It must lead somewhere pretty cool.\n\n> Examine box\nThe glass box shows all the hallmarks of a rush assembly. There are loads of electrical components in it and yards and yards of wiring. You can only hope the back-room boys didn't economise on waterproofing.\nIt is closed.\n\n> Ram box\n\n\n> Y.\n\"Well done, Agent 10,\" said Sir Playfair Panchax, head of Mission HQ. \"We knew you'd stop the Seven Deadly Fins. Good show! It's a shame they got away again. But now I suggest you take a vacation. You've earned it, old boy.\" You agreed with him, the last few months had been a real chore. Being an inter-dimensional espionage operative isn't a bad life apart from the pain of warping and the inconvenience of host-parasite relationships, but you need a spot of R and R every now and then, just to stay sane. So you went for the big one - warping into a goldfish for a whole month! The peace. The tranquility. And you're still on the payroll.\n\nFISH! - Version 1.10 - Copyright (C) 1988, 1990 Magnetic Scrolls Ltd.\n\nSomeone's coming. Good, it must be time for food. SPLATTO. A hand as big as a bus drops something hard right on your head. Understandably dazed, you flip over and, through a swirl of ant eggs, spot what hit you: a tacky plastic castle. It looks like a rush job. Sir Playfair must be in trouble. And you thought you were on vacation...\n\nSwimming upside down is good fun, but difficult, even for someone as highly trained as yourself. It looks like the pondweed is dangling from the gravel above your head. And the ant eggs, wow! Upside down they look, so, so much like, well, like exactly the same as if you were the right way up actually. Anyway, there's no need to get carried away. Sir Playfair has a message for you in the castle if you're not mistaken and he hates agents who are late.\n\n> You turn over\nThe ant eggs have stopped swirling around and are now floating on the surface. Gravel fills the bottom of the bowl and some tasty looking pondweed you've been wanting to nibble for days is lying on it. You get a nasty feeling in your swim bladder about the castle, probably because Sir Playfair has so rudely interrupted your vacation.\n\n> You enter the castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl.\n\n\"Phffft! Phffft! Testing... Hello? Can you hear me? Agent 10?\" You groan as Sir Playfair Panchax's voice rattles round your brain. \"I'm sorry about this old chap,\" he continues, \"I wouldn't disrupt your vacation unless it was necessary.\" He coughs. \"It's bad news, I'm afraid; the Seven Deadly Fins again. Sabotage this time - on a planet full of fish! Beats me why they should pick on fish, but fish it is. They've stolen something important, a focus wheel I think, and dismantled it. We've got a fix on most places they've visited recently; you'll have to scout around and find the wheel. Your inter-dimensional warps will be ready in a few milliseconds. The back-room boys have some tricks up their sleeves if you get into trouble.\" The castle jolts and three warps and a glass box appear as Sir Playfair signs off. \"Good luck and keep your eyes peeled. Panchax out.\"\n\n> You look at the warps\nThe small warp is just big enough to swim through.\nThe jagged warp looks important. It's jagged as well, but definitely important.\nThe smooth warp looks the trendiest of all the warps. It must lead somewhere pretty cool.\n\n> You enter smooth warp\nInter-dimensional travel hurts. A lot. Especially when you haven't done it for a while. You buck and roll through the journey, feeling very nauseous, then, with a small popping noise, take over a body with the aid of a customised host-parasite interface. Your host has arms and legs. Looks like trouble!\n\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> You look at the mw\n\n\n> You look at the mickey\n\n\n> You examine micky\nMicky Blowtorch was once Sir Playfair's best operative. Now a sad warp-junkie, he lives alone and has no contact with Mission HQ.\n\n> About yourself\nYou are a tall human being with arms and legs. Somewhat surprisingly, you don't have any fishy traits at all. Look, you weren't really expecting to spend the whole game as a fish were you? Fish don't get to do anything exciting, so we cheated.\n\n> You talk to Micky\n\n\n> You ask Micky about the warp\n\"Let me at 'em,\" cries Micky enthusiastically. \"There's nothing like a good warp to make the day worthwhile!\"\n\n> You ask Micky about the fins\nMicky Blowtorch says, \"A bunch of nutters. I mean, a real collection of fruitcakes. You might think I'm a few chips short of a butty, but these guys are the real thing. You look decent - my advice is never, ever tangle with them; they're more trouble than you can imagine.\"\n\n> You ask Micky about the focus wheel\nMicky Blowtorch says, \"I talk to the trees. That's why they put me away.\"\n\n> You ask Micky about Micky\nMicky Blowtorch says, \"There are more important things in life to consider. Did you know there are two simple rules for happiness? One, inherit a great deal of money. Two, don't spend it all at once.\"\n\n> You ask Micky about yourself\nMicky Blowtorch says, \"You think I'm mad, don't you? That's what they said at Mission HQ but they're wrong.\"\n\n> You ask Micky about the mission hq\nMicky Blowtorch says, \"I'm not going back you know. I don't care what you say, I'm just not going back.\"\nBANG! Something explodes in the distance. But, as they say, 'out of sight, out of mind', so it's probably better not to worry about it.\n\n> You ask Micky about the explosion\nMicky Blowtorch says, \"Well. It's sort of a loud banging noise, I think.\"\n\n> You tell Micky to explode\nMicky Blowtorch says, \"What would anyone want to go there for? That sounds really odd.\"\n\n> You ask Micky about the FISH\nMicky Blowtorch says, \"You think I'm mad, don't you? That's what they said at Mission HQ but they're wrong.\"\nMicky trudges off towards the wet forest.\n\n> You knock on stump\nThud!"
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> You look around\nClearing (on the tree stump)\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress.\n\n> You enter the forest\nWhich one, the wet forest, the dim forest or the dank forest?\n\n> Examine south\nWhat do you want to examine south?\n\n> You examine the path\n\n\n> You get off the stump\nYou are on your feet.\nMicky arrives looking worried.\n\n> You ask Micky about the rain\nMicky Blowtorch says, \"There are more important things in life to consider. Did you know there are two simple rules for happiness? One, inherit a great deal of money. Two, don't spend it all at once.\" \"Something suspicious is going on,\" he says. \"The only person who'd interfere with the parrot would be someone after the mould. That means Sir Playfair has got someone else on the trail. And that means... \" His words become indecipherable.\n\n> You ask Micky about Playfair\nMicky Blowtorch says, \"What do you know about the boss? Who's side are you on anyway?\"\n\n> You ask Micky about the forest\nMicky Blowtorch says, \"Please don't talk about the trees all the time. It gets so boring.\"\n\n> You smack some sense into Micky\n\n\n> You ask Micky about the mould\nMicky Blowtorch says, \"There are more important things in life to consider. Did you know there are two simple rules for happiness? One, inherit a great deal of money. Two, don't spend it all at once.\"\n\n> You ask Micky about the parrot\nMicky Blowtorch says, \"There's something very fishy about a bird who goes round squawking 'Pieces of seven, pieces of nine.' It doesn't add up if you ask me.\"\n\n> Go south\nThis part of the forest is horribly cold and damp, and brambles scratch and pull at you as you pass. To the north and south the undergrowth clears a little. The forest continues freely in all other directions.\n\n> You go south\nThis unpleasant scene is clear evidence that the hand of man has set foot here. The trees have been damaged by fire, and, on closer inspection, you notice the entrance to a mine leading down."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal]\n\n> Go down\nExperience tells you the mine is probably riddled with lurking nasties. Training tells you there's nothing to worry about. It's dark in there. You haven't got a light. Anyway, who's looking for trouble. You return to the glade.\nCharred Glade\n\n> Go up\nYou can't go that way.\nOnly north, northeast, east, southeast, south, southwest, west, northwest, down.\n\n> You go south\nThe forest gets deeper and darker here. The brambles seem to have a life of their own. They snatch at your clothes. Your efforts to get through are futile. You are forced back.\nCharred Glade\n\n> You go north\nThe forest gets deeper and darker here. The brambles seem to have a life of their own. They snatch at your clothes. Your efforts to get through are futile. You are forced back.\nClearing"
    },
    {
        "text": "> You look at your surroundings\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> You go east\nThe dense foliage blocks out nearly all the daylight here, with just a few patches peeking through. There are ways through the forest in every direction with the clearing to the west and a cool glade to the east.\n\n> Go south\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nMicky arrives from the general direction of the clearing, looking extremely angry.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp or a small warp are also clearly the boss's work.\n\n> You enter the smooth warp\nYou swim through the smooth warp and leave the castle far behind. Travelling through the dimensions doesn't hurt so much this time, but entering the host-parasite interface is a bit tricky - it'll become easier with practice. Your host this time is another human. More hard work!\n\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> You go east\nThe constant rainfall here is incredibly depressing. So depressing in fact, that if you weren't an alert inter-dimensional espionage operative with other things to think about, you'd get pretty miserable. The forest is impassable to the northeast, east and southeast, although to the north and south it seems to clear a bit.\n\n> You go north\nDrizzle is falling here, to be followed by sunny spells, and a few showers in northern regions later in the day. The outlook for tomorrow is anybody's guess, but if you'd like to leave this place, you can go south, west or southwest.\n\n> You go to the southwest\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\n\n> Go south\nYou are in the middle of a dark forest. The dense bracken grabs at your feet as you walk. Brambles hinder your progress except towards a glade to the west.\n\n> You go east\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\n\n> Go south\nThe forest gets deeper and darker here. The brambles seem to have a life of their own. They snatch at your clothes. Your efforts to get through are futile. You are forced back.\nOutside Smithy\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\n\n> You go to the east\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage sits on the floor here.\n\n> You look in it\nThe cupboard contains some tongs, a crucible and a hammer.\nB-A-N-G! An explosion triggers a reflex action. Faster than a speeding bullet, you cover your head and dive for the ground. Unfortunately, exploding parrots are much faster than speeding bullets (well, this one is anyway). The shock wave hits you while you're still in mid-air, disintegrating the host-parasite interface instantly. You get blown to kingdom come, or rather that tacky plastic castle in your goldfish bowl.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You look\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You eat the weed\nDelicious and there is plenty more.\n\n> You take the weed\nYou pick up the pondweed in your mouth and can't help but eat it. Delicious.\n\n> You eat eggs\nDelicious and there are plenty more.\n\n> You take them\nYou pick up the eggs in your mouth and can't help but eat them. Delicious.\n\n> You communicate through the colors\n\n\n> You enter the smooth warp\nThe dimensions flash past as you swim through the smooth warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> You go to the smithy\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nOutside Smithy\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\nSmithy\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage sits on the floor here.\nOK. I'm here!\n\n> You look at the cage\nThe bird cage is made of cane or something very similar.\nIt is closed.\nIt contains a parrot and a mould.\n\n> You take all\nYou have now got the bird cage.\nThe cupboard steadfastly refuses to be moved.\n\n> You look at the mould\nThe mould is the sort that can be broken open after the molten metal you've poured into it has cooled.\n\n> You look at the parrot\nYou can't reach the parrot from here.\nB-A-N-G! An explosion triggers a reflex action. Faster than a speeding bullet, you cover your head and dive for the ground. Unfortunately, exploding parrots are much faster than speeding bullets (well, this one is anyway). The shock wave hits you while you're still in mid-air, disintegrating the host-parasite interface instantly. You get blown to kingdom come, or rather that tacky plastic castle in your goldfish bowl.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You go to the smithy\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nOutside Smithy\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\nSmithy\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage here.\nOK. I'm here!\n\n> You open the bird cage\nThe parrot squawks nervously as you open the cage. He stays firmly inside.\n\n> Go west\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\nThe parrot, clearly enjoying his new found freedom, emerges from the smithy and heads skyward. It looks unsure where to go next.\nThe parrot flies off over the trees.\n\n> You go east\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage here.\n\n> Inventory\nYou are carrying nothing.\nYou are wearing some jeans and a herringbone overcoat.\n\n> You examine mould\nThe mould is the sort that can be broken open after the molten metal you've poured into it has cooled.\n\n> You examine the fire\nThe fire is burning fiercely in the forge. The heat makes your face glow.\nBANG! Something explodes in the distance. But, as they say, 'out of sight, out of mind', so it's probably better not to worry about it.\n\n> You examine the crucible\nThe crucible can easily withstand the heat of the fire.\n\n> You put the crucible on the fire\nThe crucible falls into the heart of the flames and disappears from sight. The fire is obviously deeper than you thought.\n\n> You examine the forge\nThe fire is burning fiercely in the forge. The heat makes your face glow.\n\n> You check your inventory\nYou are carrying a crucible and a mould.\nYou are wearing some jeans and a herringbone overcoat.\n\n> You get the branch\n\n\n> Go west\nThis unpleasant scene is clear evidence that the hand of man has set foot here. The trees have been damaged by fire, and, on closer inspection, you notice the entrance to a mine leading down.\nSome feathers are strewn about (almost enough to make a duvet)."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls]\n\n> Go downwards\nExperience tells you the mine is probably riddled with lurking nasties. Training tells you there's nothing to worry about. It's dark in there. You haven't got a light. Anyway, who's looking for trouble. You return to the glade.\nCharred Glade\nThis unpleasant scene is clear evidence that the hand of man has set foot here. The trees have been damaged by fire, and, on closer inspection, you notice the entrance to a mine leading down.\n\n> You take the feathers\nBut you are already carrying the feathers.\n\n> You examine the feathers\nThe feathers are the last remains of a bird.\n\n> Inventory\nYou are carrying a crucible, a mould and some feathers.\nYou are wearing some jeans and a herringbone overcoat.\n\n> You examine the overcoat\nThe herringbone overcoat smells slightly fishy, but at least it keeps out the rain.\n\n> You look in the pocket\n\n\n> You look at the jeans\nThe jeans are held together by the dirt they've accumulated. A good wash and they'd fall to pieces.\n\n> You look in the jeans\nThe jeans are held together by the dirt they've accumulated. A good wash and they'd fall to pieces.\n\n> Wash jeans\n\n\n> You go to the smithy\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nOutside Smithy\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\nSmithy\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage here.\nOK. I'm here!\n\n> You examine the birdcage\n\n\n> You examine the cage\nThe bird cage is made of cane or something very similar.\nIt is open.\n\n> Burn cage\nWith what?\n\n> Burn cage with fire\nAs you hold the bird cage over the fire the intense heat makes you drop it into the flames. The bird cage burns away.\n\n> You hold the cage with the tongs\nYou are now holding the bird cage with the tongs.\nOut of the corner of your eye you see a movement in the doorway. It's Micky and he seems even madder than usual.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You enter the smooth warp\nThe dimensions flash past as you swim through the smooth warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> You hold the cage with the tongs\nYou have now got the bird cage.\nYou are now holding the bird cage with the tongs.\n\n> Burn cage with fire\nThe bird cage burns away.\n\n> Forge\nAre you talking to yourself again?\n\n> Inventory\nYou are carrying some tongs and a mould.\nYou are wearing some jeans and a herringbone overcoat.\n\n> Go upwards\nI don't understand /u\n\n> You look in the tongs\nThe tongs are made from overwrought iron (the blacksmith was a nervous sort of chappie). They are ideal for holding things at a distance.\n\n> Go east\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard here.\n\n> You drop all\nTongs dropped.\nMould dropped.\n\n> Go west\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\n\n> Go north\nThe constant rainfall here is incredibly depressing. So depressing in fact, that if you weren't an alert inter-dimensional espionage operative with other things to think about, you'd get pretty miserable. The forest is impassable to the northeast, east and southeast, although to the north and south it seems to clear a bit.\n\n> Go west\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\n\n> Xtump\n\n\n> You examine the stump\nThe first thing to catch your eye is the familiar figure sitting upon the stump. The tree stump is all that remains of an oak tree, blown down in a huge gale sometime in late 1987.\n\n> You ask Micky about the stump\nMicky Blowtorch says, \"It keeps the wind out. Not much use when it's raining though. I'll have to get the roof fixed.\"\n\n> You tell Micky about us\n\n\n> You tell Micky about agency\n\n\n> You tell Micky that i am from the agency\nPlease try re-phrasing that.\n\n> You wait\nTime passes.\n\n> You wait\nTime passes.\nA changed man, Micky gets off the stump. He's muttering to himself - words like 'kill', 'maim' and 'disfigure'. All in all this is an ex-inter-dimensional espionage operative who is less than gruntled with life.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> Go northwest\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nThe parrot flies off over the trees.\n\n> You go northwest\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\nThe parrot flies off over the trees.\n\n> You wait\nTime passes.\nBANG! Something explodes in the distance. But, as they say, 'out of sight, out of mind', so it's probably better not to worry about it.\n\n> You look at the stump\nThe tree stump is all that remains of an oak tree, blown down in a huge gale sometime in late 1987.\nMicky trudges off towards the wet forest.\n\n> You look in the stump\nRight at the bottom of the stump you spy a gold disc.\nMicky arrives looking worried.\n\n> You get the disc\nYou can't reach the gold disc from here.\n\"Get off my stump pea-brain\" Micky shouts pushing you aside.\n\"Something suspicious is going on,\" he says. \"The only person who'd interfere with the parrot would be someone after the mould. That means Sir Playfair has got someone else on the trail. And that means... \" His words become indecipherable.\n\n> You ask Micky about Playfair\nMicky Blowtorch says, \"What do you know about the boss? Who's side are you on anyway?\"\n\n> You ask Micky about the brian\n\n\n> You get the disc\n\"Hyahhhhhh,\" shouts Micky, adopting a kung fu position. \"You have my disc but not for long.\" In the time it takes to blink, he whips the disc from your grasp and flings it in the stump. He explains that five years' abstinence from sex, tobacco and alcohol have given him the ability to move with supernatural speed and precision. You decide the techniques aren't worth cultivating.\n\n> You open the cage\nBut the bird cage is already open.\n\n> You get the Mould\nBut you are already carrying the mould.\n\n> Go northwest\nIt's stopped raining here at the moment, but the clouds overhead show that it could start again any minute. If they decide to burst, the tree stump in the centre of the clearing would probably fill up with water. Paths go south, southeast and east. In all other directions the undergrowth is too tangled to make any progress. Micky Blowtorch, your ex-colleague, now a crazed warp junkie, is lounging around the stump, looking suitably bemused.\nMicky snatches the mould from you. \"You shouldn't have this,\" he tells you. \"Not unless you've been interfering with that parrot.\"\n\n> You kick Micky\nBeating people up isn't the answer.\nA changed man, Micky gets off the stump. He's muttering to himself - words like 'kill', 'maim' and 'disfigure'. All in all this is an ex-inter-dimensional espionage operative who is less than gruntled with life.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal, fish protagonist]\n\n> You wait a while\nTime passes.\nMicky trudges off towards the wet forest.\n\n> You look in the stump\nRight at the bottom of the stump you spy a gold disc.\n\n> You go southeast\nDon't you hate the rain? Why is it raining much harder in this bit of the forest than anywhere else? Cold, grey and wet. Blurg! You can leave in any direction, but the undergrowth is too dense for you to see which way would be best.\nMicky Blowtorch is here.\nMicky glances at the disc. \"There are some nasty folk around these days,\" he remarks, retrieving the disc. \"That's better,\" he says as he dusts it down. \"All's well now.\"Micky looks deeply upset. Setting off towards the clearing he starts muttering to himself, but you can't make any sense of what he's saying.\n\n> You look in the cupboard\nThe cupboard contains some tongs, a crucible and a hammer.\n\n> GET TONGS, HAMMER, AND CRUCIBLE\nYou have now got the tongs.\nHammer taken.\nCrucible taken.\n\n> Melt disc\nWith what?\n\n> Melt disc with fire\nThe gold disc melts.\n\n> You check what you're carrying\nYou are carrying some tongs, a crucible and a hammer.\nYou are wearing some jeans and a herringbone overcoat.\n\n> You look at the tongs\nThe tongs are made from overwrought iron (the blacksmith was a nervous sort of chappie). They are ideal for holding things at a distance."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal, Magnetic Scrolls]\n\n> You look around\nThe smithy is dark and hot. The cherry-red glow of the fire is proof that someone has been using it quite recently. Curiously, the building has no windows and there is only the one exit, opposite a tool cupboard, to the west.\nThere is a cupboard and a bird cage here.\n\n> You look at the Mould\nThe mould is the sort that can be broken open after the molten metal you've poured into it has cooled."
    },
    {
        "text": "> GET HAMMER, CRUCIBLE, AND TONGS\nYou have now got the hammer.\nCrucible taken.\nTongs taken.\n\n> You examine disc\nThe gold disc was awarded to the Seven Deadly Fins for their semi-mystical album \"Batting Averages From The Test Match Of Oblivion\". It has a slight bulge in the middle.\n\n> You hold crucible over the fire with the tongs\nAt first nothing happens. Eventually, the gold disc crumples then melts, leaving a puddle of molten gold in the crucible.\n\n> You put the gold in Mould\nYou must have the mould.\n\n> You put the gold in the Mould\nThe molten gold dribbles through the hole into the mould.\nSurprised by the heat of the mould you drop it, splashing molten gold on your feet. Molten gold is hot. Very hot. Sufficiently hot to vapourise your skin and melt all the way down to the bone. Fortunately, you go into a state of shock before the really gruesome stuff starts, slipping out of the host-parasite interface like an expert. You reel and rock through the dimensions, screaming with pain until you hit a goldfish's body with a wet slap.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> GET HAMMER, TONGS, CRUCIBLE\nYou have now got the hammer.\nTongs taken.\nCrucible taken.\n\n> You examine the cupboard\nThe cupboard is a fine place to store metallurgical tools.\nIt is open.\nThere are some asbestos gloves on it.\n\n> You wear the gloves\nYou put on the asbestos gloves.\n\n> You hold the Crucible over the fire with the tongs\nAt first nothing happens. Eventually, the gold disc crumples then melts, leaving a puddle of molten gold in the crucible.\n\n> You put the gold in Mould\nYou must have the mould.\n\n> You pour the Crucible in Mould\nYou empty the crucible, but not carefully enough. Some of the molten gold splashes over you. Molten gold is hot. Very hot. Sufficiently hot to vapourise your skin and melt all the way down to the bone. Fortunately, you go into a state of shock before the really gruesome stuff starts, slipping out of the host-parasite interface like an expert. You reel and rock through the dimensions, screaming with pain until you hit a goldfish's body with a wet slap.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You pour the gold into the Mould\nThe molten gold dribbles through the hole into the mould.\n\n> You hit the Mould with the hammer\nYou break the mould. Bad decision. The gold is still molten and splashes over you. Nice effect, if you want golden skin. Otherwise, it rates zero on just about all counts. Molten gold is hot. Very hot. Sufficiently hot to vapourise your skin and melt all the way down to the bone. Fortunately, you go into a state of shock before the really gruesome stuff starts, slipping out of the host-parasite interface like an expert. You reel and rock through the dimensions, screaming with pain until you hit a goldfish's body with a wet slap.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> Go northwest\nThe falling rain cools the mould too quickly. It cracks open and molten gold spills over you. Molten gold is hot. Very hot. Sufficiently hot to vapourise your skin and melt all the way down to the bone. Fortunately, you go into a state of shock before the really gruesome stuff starts, slipping out of the host-parasite interface like an expert. You reel and rock through the dimensions, screaming with pain until you hit a goldfish's body with a wet slap.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work."
    },
    {
        "text": "> Look around\nSoggy leaves hang limply from the trees here, and thick clouds drift slowly overhead. A battered blacksmith's forge lies to the east, shrouded on all sides by the trees of the forest.\n\n> You go to the north\nThis part of the forest is horribly cold and damp, and brambles scratch and pull at you as you pass. To the north and south the undergrowth clears a little. The forest continues freely in all other directions. You hear a noise from the forest. Micky emerges from the undergrowth in a daze. His eyes are unfocussed and look straight through you, as if you weren't there.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You check your inventory\nYou are carrying some tongs, a mould and a hammer.\nYou are wearing some jeans, a herringbone overcoat and some asbestos gloves.\nYou hear a noise from the forest. Micky emerges from the undergrowth in a daze. His eyes are unfocussed and look straight through you, as if you weren't there.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You go west\nThe forest gets deeper and darker here. The brambles seem to have a life of their own. They snatch at your clothes. Your efforts to get through are futile. You are forced back.\nCharred Glade\nThis unpleasant scene is clear evidence that the hand of man has set foot here. The trees have been damaged by fire, and, on closer inspection, you notice the entrance to a mine leading down.\nSome feathers are strewn about (almost enough to make a duvet).\nYou hear a noise from the forest. Micky emerges from the undergrowth in a daze. His eyes are unfocussed and look straight through you, as if you weren't there.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You look at what you're carrying with you\nYou are carrying some tongs, a mould and a hammer.\nYou are wearing some jeans, a herringbone overcoat and some asbestos gloves.\n\n> You look in the Mould\nBut the mould is closed.\n\n> You drop the Mould\nThe mould falls to the ground and breaks. You don't jump out of the way quick enough and the molten gold splashes over your legs. Molten gold is hot. Very hot. Sufficiently hot to vapourise your skin and melt all the way down to the bone. Fortunately, you go into a state of shock before the really gruesome stuff starts, slipping out of the host-parasite interface like an expert. You reel and rock through the dimensions, screaming with pain until you hit a goldfish's body with a wet slap.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> Wait\nTime passes.\nYou hear a noise from the forest. Micky emerges from the undergrowth in a daze. His eyes are unfocussed and look straight through you, as if you weren't there.\n\"You,\" screams Micky. \"You're the one who's destroyed my peace and quiet. I won't have it I tell you!\" He slowly stands up and waves his fist at you. He slowly works himself into a rage. He slowly moves toward you. If you hadn't spent so much time worrying over the dreadful grammar, you might have seen him land the karate chop that broke your neck...\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA smooth warp, a jagged warp and a small warp are also clearly the boss's work.\n\n> You open the cage\nBut the bird cage is already open.\n\n> Inventory\nYou are carrying a gold disc.\nYou are wearing some jeans and a herringbone overcoat.\n\n> You drop it\nMould dropped.\n\n> GET TONGS, HAMMER, CRUCIBLE, MOULD, GLOVES\nYou have now got the tongs.\nHammer taken.\nCrucible taken.\nMould taken.\nAsbestos gloves taken.\n\n> You wear the gloves\nYou put on the asbestos gloves.\n\n> You pour Crucible into the Mould\nBut the crucible is empty.\n\n> GET HAMMER, TONGS, CRUCIBLE, MOULD, GLOVES\nYou have now got the hammer.\nTongs taken.\nCrucible taken.\nMould taken.\nAsbestos gloves taken.\n\n> You wait for a while\nTime passes.\nThe mould has now cooled.\n\n> You hit the Mould with the hammer\nThe mould shatters into a fine dust, leaving you with a crudely cast gold ring.\n\n> You look at the ring\nThe gold ring is of slightly dodgy craftsmanship.\n\n> You get the ring\nAs you take the ring, a well-aimed stone knocks it from your grasp. You hear a \"Gweek\" sound and see one of the Fins emerging from the bushes with an evil grin on his face. You dive for the ring, getting there a split second before him. As your fingers close round it, the world shimmers, sending you spiralling through the dimensions. With that you slap hard into the goldfish's body, leaving the ring to float effortlessly into the glass box. \"Brilliant display Agent 10,\" says Sir Playfair, \"I thought they had you that time. I'm sending you back to the bowl. Panchax out\"\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp and a small warp are also clearly the boss's work.\n\n> You enter the jagged portal\n\n\n> Enter\nThe dimensions flash past as you swim through the small warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west.\nA waste bin is standing in the corner. Rod is loafing around, as tape ops are wont to do.\nAn important-looking beetroot-faced producer enters the room behind you. \"You,\" he shouts charmingly, \"make some coffee or you're fired!\" He strides out.\n\n> You turn on the television\nThe screen bursts into life showing the latest Seven Deadly Fins promo. Only one thing wrong - no sound. You twiddle a few knobs and jiggle a few leads, but nothing happens, so you turn it off to avoid being caught making a fool of yourself.\nThe producer's voice booms from the distance, \"Rod! What are you doing? I need a tape changing.\" \"Coming,\" shouts Rod. \"I'd better go,\" he says, rushing out, \"it's best not to upset him.\"\n\n> About yourself\nYou are a tall human being with arms and legs. Somewhat surprisingly, you don't have any fishy traits at all.\n\n> You make the coffee\nHow?\n\n> You look in the bin\nThe waste bin contains a ferric oxide cassette.\n\n> You go to the west\nThis east-west hallway has a blue door in the north wall which leads to the main studio. The light by the door is red, indicating that someone is playing at the moment. To the south is a locked door marked 'KITCHEN'.\n\n> You go to the west\nThis is as far as the studio goes. On a first date, anyway. A wooden door with a switch by it is to the south and the secondary control room door, with a light by it, is northward. The hallway runs back to the east.\n\n> Go east\nThis east-west hallway has a blue door in the north wall which leads to the main studio. The light by the door is red, indicating that someone is playing at the moment. To the south is a locked door marked 'KITCHEN'.\nThe producer's menacing voice echoes ominously round the whole studio: \"If I haven't got my coffee in five minutes there'll be trouble.\"\n\n> Go east\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west.\nA waste bin is standing in the corner.\n\n> You go to the east\nBy the prominently displayed gold discs this must be the entrance to an up-market recording studio, possibly somewhere in London. There is a lounge to the west and the exit to the street is east, through a large wooden door.\n\n> Go east\nYou smash your nose against the door. You must open it before you can go that way. (The door or the nose?- The door, idiot.)\n\n> You go east\nIt's night, dark, and cars are flashing past on this busy road with disturbing regularity. Disturbing because the host-parasite interface is in danger. You start to feel a bit odd, and reach out for the door to support you. Your head is spinning and you're finding it hard to concentrate. Just before you lose consciousness, you fling the door open and fall back inside the studio. Slamming the door behind you, you take a few deep breaths to recover.\nEntrance Hall\nBy the prominently displayed gold discs this must be the entrance to an up-market recording studio, possibly somewhere in London. There is a lounge to the west and the exit to the street is east, through a large wooden door.\n\n> You go west\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west.\nA waste bin is standing in the corner.\nThe producer storms into the room, his beetroot face twitching with rage. \"Where's my coffee?\" he screams, pointing at you, \"Why haven't you made it?\" You try to blurt out an excuse but he just rants on. \"Rod makes coffee when he's asked. No questions. It's there in five minutes. He can have your job. You're fired. Now get out.\" He grabs you with his sweaty hand and leads you out onto the street. \"I never want to see you again,\" he shouts, slamming the wooden door.\nBusy Street\nIt's night, dark, and cars are flashing past on this busy road with disturbing regularity. Disturbing because the host-parasite interface is in danger. You start to feel a bit odd, and reach out for the door to support you. Your head is spinning and you're finding it hard to concentrate. The door won't open and the host-parasite interface collapses, hurling you through the dimensions slap bang into a goldfish's body inside a tacky plastic castle. This looks familiar. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp and a small warp are also clearly the boss's work.\n\n> You enter the jagged warp\nThe dimensions flash past as you swim through the jagged warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nNot the best place to sleep. It's very cold and more than slightly damp, but still better than sleeping outside. The icy draught is coming from the front of the van to the south.\nAn old blanket lies next to you and some jeans have been thrown down on the floor.\n\n> You enter the small warp\nThe dimensions flash past as you swim through the small warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west. There is a ferric oxide cassette and a waste bin is standing in the corner here. Rod is loafing around, as tape ops are wont to do.\nAn important-looking beetroot-faced producer enters the room behind you. \"You,\" he shouts charmingly, \"make some coffee or you're fired!\" He strides out.\n\n> You ask Rod about the coffee\nRod says, \"Coffee, strong coffee, keeps the band in the right state of tension to help them capture those special moments.\"\nThe producer's voice booms from the distance, \"Rod! What are you doing? I need a tape changing.\" \"Coming,\" shouts Rod. \"I'd better go,\" he says, rushing out, \"it's best not to upset him.\"\n\n> You make the coffee\n\"Sure thing,\" says Rod, rushing down the corridor. You hear the kitchen door slam, then a few seconds later it slams again as Rod comes out. \"That's the way to do it,\" he beams as he returns, holding a steaming mug of coffee.\nThe producer's voice booms from the distance, \"Rod! What are you doing? I need a tape changing.\" \"I'm making the coffee,\" replies Rod. The producer appears and grabs the mug. He looks at you and smiles a sickly smile as Rod leaves. \"Well done,\" he says, taking a slurp, \"you'll go far in this business; you've already learnt the golden rule: if in doubt, delegate.\" Then he stomps out, looking pleased with himself.\n\n> You go to the west\nThis east-west hallway has a blue door in the north wall which leads to the main studio. The light by the door is red, indicating that someone is playing at the moment. To the south is a locked door marked 'KITCHEN'.\n\n> You go to the west\nThis is as far as the studio goes. On a first date, anyway. A wooden door with a switch by it is to the south and the secondary control room door, with a light by it, is northward. The hallway runs back to the east.\n\n> You open the door\nWhich one, the wooden door or the secondary control room door?\n\n> You go south\nYou stride boldly into the store, bravely ignoring the dark, and promptly bang your shin against something hard and metallic, causing a terrible racket. Yelping with pain, you hop back into the corridor. The producer puts his head round the door of studio one. The music stops abruptly. \"Whats all that flippin' noise?\" he says, \"Go and make some coffee you idiot.\" Shaking his head in bewilderment, he returns to his work.\nCorridor\nThis is as far as the studio goes. On a first date, anyway. A wooden door with a switch by it is to the south and the secondary control room door, with a light by it, is northward. The hallway runs back to the east.\n\n> You go north\nThis room is used to edit tracks so terrible that the bands who made them had to be sent down the pub. Unfortunately, the bands will probably become very famous as a result of the changes, which is why it's usually better to be a musician than a tape operator. An important button is next to the door to the south.\nThere is a cassette player, a small cupboard and an amplifier here.\n\n> You look at the player\nThe cassette player is a very expensive model, with woofers, tweeters, bells, whistles and a cuddly toy. Actually it has none of those things, but you know what salesmen are like.\nIt contains a ferric oxide cassette.\n\n> You turn on the player\nIt is already!\n\n> You turn on the amplifier\nHey, I really dig you amplifier.\nThe producer storms into the room, his beetroot face twitching with rage. \"Where's my coffee?\" he screams, pointing at you, \"Why haven't you made it?\" You try to blurt out an excuse but he just rants on. \"Rod makes coffee when he's asked. No questions. It's there in five minutes. He can have your job. You're fired. Now get out.\" He grabs you with his sweaty hand and leads you out onto the street. \"I never want to see you again,\" he shouts, slamming the wooden door.\nBusy Street\nIt's night, dark, and cars are flashing past on this busy road with disturbing regularity. Disturbing because the host-parasite interface is in danger. You start to feel a bit odd, and reach out for the door to support you. Your head is spinning and you're finding it hard to concentrate. The door won't open and the host-parasite interface collapses, hurling you through the dimensions slap bang into a goldfish's body inside a tacky plastic castle. This looks familiar. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp and a small warp are also clearly the boss's work.\n\n> You look in cupboard\nThe small cupboard contains a head cleaner.\n\n> You get the tape\nYou have now got the ferric oxide cassette.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> Go east\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west.\nA waste bin is standing in the corner. Rod is loafing around, as tape ops are wont to do.\n\n> You make the coffee\n\"Sure thing,\" says Rod, rushing down the corridor. You hear the kitchen door slam, then a few seconds later it slams again as Rod comes out. \"That's the way to do it,\" he beams as he returns, holding a steaming mug of coffee.\nThe producer's voice booms from the distance, \"Rod! What are you doing? I need a tape changing.\" \"I can't,\" replies Rod, \"I'm making more coffee.\" \"About flippin' time too,\" shouts the producer, \"bring it through and stop wasting time talking to that twit.\" Rod walks off, opens the kitchen door and goes in, slamming it behind him.\n\n> Play cleaner\nThe cleaner rumbles its way through the machine, scrubbing the cassette heads until they are as shiny as new pins.\n\n> You get cleaner\nYou have now got the head cleaner.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> You put the tape in the player\nWhich one, the ferric oxide cassette or the head cleaner?\n\n> You play cassette\nThe tape has been played. But you didn't hear anything. Perhaps the volume was too low.\n\n> You examine the volume\nI'm afraid that volume is an abstract concept used to express the level of sound present in a room and so it can't be seen.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> Examine amplifier\nThis amplifier is the top of the range Scratchenitch. As usual, paying more means you get less, and so there is only one fader on the front, which can be used to set the output volume.\n\n> You set the volume\nPlease use \"set fader to number.\"\n\n> You examine the fader\nThe fader covers the range 0 to 11, at least one louder than any other studio. It is currently set to 0.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> You play the cassette\nA really terrible blues tune starts to play:\n\"I woke up one morning.\nMy woman was dead.\nFin rot on her dorsal.\nAnd white spot on her head.\"\nNo wonder you found the tape in the bin!\n\n> Examine button\nThe button looks complicated. It has two positions: \"Safe\" and \"Record\" and is currently set to safe.\n\n> You set the fader to 11\nThe fader is now set to 11.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> You go north\nThis is where the studio paperwork is done. It's also where the producer often complains bitterly that he does everything. In fact, he spends most of his time 'delegating responsibility' or, in ordinary language, bossing people about. The glass door leads back to the lounge.\nThere is a desk and a filing cabinet here.\n\n> You examine the desk\nThe desk is incredibly untidy. Perhaps the cleaning woman should be sacked.\n\n> You examine the cabinet\nThe filing cabinet is made of dull grey metal, obligatory for the modern '80s style office. It has a complex combination lock on it.\nIt is locked.\n\n> Go south\nLounge areas in recording studios are usually for one purpose only, and that's to lull musicians into a false sense of the value of time. They'll sit in the comfortable sofa, drinking coffee and watching promo videos on the television here, all the while running up huge bills at the standard hourly rate. But they can afford it. Through a glass door to the north is an office. The only other exits are east and west.\nA waste bin is standing in the corner.\n\n> You examine the cupboard\nThe small cupboard is made from chipboard and covered in plastic. It's pretty ugly.\nIt is open.\n\n> You look at the player\nThe cassette player is a very expensive model, with woofers, tweeters, bells, whistles and a cuddly toy. Actually it has none of those things, but you know what salesmen are like.\nIt contains a ferric oxide cassette.\n\n> You get the cassette\nYou have now got the ferric oxide cassette.\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> You ask Rod about the tapes\nRod says, \"I wouldn't worry about it; it's the producer's problem.\"\nThe producer's voice booms from the distance, \"Rod! What are you doing? I need a tape changing.\" \"Coming,\" shouts Rod. \"I'd better go,\" he says, rushing out, \"it's best not to upset him.\"\n\n> You look at the discs\nSeveral of the gold discs were awarded to the Seven Deadly Fins; one of the biggest was for their infamous album \"Batting Averages From The Test Match Of Oblivion\". This one has been stolen.\n\n> You examine the sofa\nDespite being made from plastic the sofa looks and sounds incredibly comfortable.\n\n> You sit the sofa\nYou sink right into the sofa and end up with your knees around your chin. \"Get off me you fat lump,\" whispers the sofa. You try to leap out of the sofa, but only succeed in falling sideways onto the floor as your knees give way. Cursing your training, you clamber to your feet.\n\n> You open the door\nWhich one, the blue door or the kitchen door?\n\n> Kitchen\nBut the kitchen door is locked.\n\n> You examine the wooden door\nThe wooden door is large, solid and here to slow you down.\nIt is open.\n\n> You turn on the switch\nA light flickers in the room to the south.\n\n> Go south\nThis is where everything usually ends up. If you had the time to sift your way through it all you might find some unreleased tracks by bands who have since become famous under other names. A more likely find are tracks that should be taken from this place and, for the general good of the population, burned.\nThere is a tape bin here.\n\n> You examine bin\nThe tape bin collects stray bits of tape during editing.\nIt contains a chrome cassette and a metal cassette.\n\n> You examine the chrome cassette\nThe chrome cassette looks like it's been used as an ashtray, but it's probably still playable.\n\n> You look at the metal cassette\n[x -> examine]\n\n> Metal cassette\nYou have now got the chrome cassette.\nMetal cassette taken.\n\n> You play metal cassette\nPlease play the cassette IN or WITH something.\n\n> You play the metal cassette in the player\nThe fader setting is much too high for the host-parasite interface. A massive soundwave hits you like a locomotive. Your psyche is wrenched from its host and flung like so much chaff through the dimensions. You arrive back in the goldfish's body with a wet slap, and notice with a heavy sigh that you are back where you started, in the castle.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp and a small warp are also clearly the boss's work.\n\n> You play the metal cassette in the player\nA loud, punk song starts to play:\n\"Whatever happened to Leon Codsky.\nHe got a fish hook,\nThat made his gills burn.\nNo more cod roes any more\nNo more cod roes any more.\"\nThe tune fades out with the producer shouting, \"No more this song any more.\"\n\n> You play the chrome cassette in the player\nThe room is briefly filled with a dreadful ditty that goes precisely after this fashion:\n\"Climb every fountain,\nSwim every stream,\nFollow every river,\n'Til you find your bream.\"\nThe singer is so out of time that the producer stops the session. \"No, no, no,\" the producer shouts, clicking his fingers in a strange rhythm, \"like this: 2.5.6, 2.5.6, 2.5.6.\"\nThe producer stomps in. \"What are you doing in here?\" he says, \"I want more coffee. NOW!\" He gives you a menacing stare through bloodshot eyes as he departs.\n\n> You set combination to 256\nThe lock is now set to 256. A soft click tells you that the cabinet is now unlocked.\n\n> You look in the cabinet\nThe filing cabinet contains a spindle.\n\n> You get the spindle\nYou grab the spindle and the whole room starts wobbling; it looks like a wormhole is opening, probably carrying the Fins. Fortunately, you were prepared for this and activate the escape device lodged in the back of your psyche just as the Fins start to warp in. \"You'll not escape us this time,\" one of them says between curved teeth. But it's too late, you already have. Your mind zooms to one side, or is it that the world moves very quickly in the opposite direction. It's hard to tell. A tiny plastic castle is off in the distance, getting bigger and bigger as it speeds towards you. SLAP! Your psyche twists into a goldfish's body and the spindle spins (what else) into the glass box. \"We only just got you out,\" says a quiet voice in your brain, clearly Sir Playfair. \"But well done. You're doing a remarkable job. Quite outstanding in fact. Chin up. Panchax out.\"\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> Examine box\nThe glass box shows all the hallmarks of a rush assembly. There are loads of electrical components in it and yards and yards of wiring. You can only hope the back-room boys didn't economise on waterproofing.\nIt is closed.\nIt contains a spindle and a gold ring.\n\n> You look at the blanket\nSmelly perhaps, but even a smelly blanket keeps out the draughts.\n\n> About yourself\nYou are a tall human being with arms and legs. Somewhat surprisingly, you don't have any fishy traits at all.\n\n> You wear the jeans\nYou put on the jeans.\n\n> You go south\nThe cab is Steve's province. Like most roadies, his ability to create chaos out of order is legendary and the rubbish all over the cab is definitely his work. Major slobs themselves, the band prefer to ride in the back in their own squalor. The passenger door has been jammed open, revealing a dark field.\nA note is close to hand.\n\n> You examine the note\nThe note is signed with a squiggle that looks like \"Steve\". There again, it could be \"Rufus T. Flywheel\". Fortunately, it doesn't matter. If you really hate not knowing, we suggest you take it to a pharmacist; they're used to deciphering illegible squiggles.\n\n> You leave\nIt's dark out there. Brave and fearless you may be, but totally stupid you're not (at least, that's your estimation; others have been known to disagree). You decide to return to the van and search for a source of light.\nCab\nThe cab is Steve's province. Like most roadies, his ability to create chaos out of order is legendary and the rubbish all over the cab is definitely his work. Major slobs themselves, the band prefer to ride in the back in their own squalor. The passenger door has been jammed open, revealing a dark field.\n\n> You read the note\nThe note says:\nGone to get diesel. Back before dawn. Steve.\n\n> You examine the rubbish\nThe rubbish covers the floor.\n\n> You get rubbish\nThe rubbish is covered with a thin film of mould. You decide against carrying it with you.\n\n> You search the rubbish\nYou find a torch.\n\n> You look at the torch\nThe torch is the rubber type; the sort that looks like a marital aid but isn't.\n\n> Go outside\nYou're in the middle of a dark field, standing next to the band's van. You can hear music to the east, where a fire silhouettes a ruined building.\n\n> You go to the east\nThis narrow east-west track is miles from civilisation. There is a fire to the east and some music is coming from the same direction.\n\n> Go east\nThe ruined abbey stands before you, imposing even in such a state of decay. Through the grand arch to the east, you hear some awful music and see the glow from a large fire. Westward leads back into the gloom. A poster is blowing about in the wind.\n\n> You look at the poster\nThe poster is a discarded advertisement for a concert by the Seven Deadly Fins.\n\n> You read the poster\nThe poster has a psychedelic picture of purple and green goldfish swimming around the Seven Deadly Fins logo. The fish form the words, \"No rules. No war. No profit.\" Underneath is scrawled, \"The Fins are in town. Place: just listen. Price: what can you afford? Anarchy: only if my mum says it's ok.\"\n\n> You listen\nYou hear some music. These people are serious anarchists; they don't even want to be bound by musical rules. Some people might say it's free jazz, but they'd be wrong - it's just rubbish.\n\n> You go east\nNeglected over the centuries, only the shell of this abbey remains and even that is in a poor state of repair. Rubble is everywhere, except for a gap cleared in the middle, in which a fire is burning. You can go north and south, although the obvious exit is west, towards the grand arch.\nSome hippies are sitting around the fire in squalor, twanging out some terrible guitar and drinking heavily.\n\n> Go south\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nA broken pew catches your attention.\n\n> You look at the pew\nThe broken pew is an old piece of church furniture, sadly discarded in these ungodly times. It's about four feet high, three feet wide and could just about support your weight.\n\n> You go south\nIt's really dark here, torch or no torch. What was that noise? It sounded pretty fierce. There it is again. It came from the east. No, the west. This could well be dangerous so you go back before whatever it is makes itself known.\nRuined Nave\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nA broken pew catches your attention.\n\n> Go north\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway here."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> Go downwards\nThe antechamber connects the ruins to the catacombs. Upwards is the transept and you can enter the catacombs through a doorway to the south.\n\n> Go south\nEven for inter-dimensional espionage operatives, the catacombs are a trifle iffy. Bearing in mind that you have no life assurance, do you still want to enter?\nYes or No?\n\n> Yes\nThe wind whistles around the antechamber as you tip toe towards the catacombs. Expecting something to happen at any moment you stay alert, watching and listening for anything untoward. But nothing does happen. What a let down!\nCatacombs\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber.\n\n> You examine the debris\nThe debris is swathed in many doom laden cliches.\n\n> You search debris\nYou find a sarcophagus lid.\n\n> You get the lid\nMoving the lid uncovers an exciting exit leading down.\nYou have now got the sarcophagus lid."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Go downward\nAs you enter the room you have a sudden vision:\nA girl dressed in white. A raised dagger. A scream.\nAltar Room\nThis icy room has been sealed for a long time. Cold air slices through you; a chill foreshadow of your doom. Terrifying images flash into your mind. You feel that you have violated this place somehow.\nThere is an ancient altar here.\n\n> You look at Altar\nHideous faces carved from stone are positioned halfway along three of the four sides. Intriguingly, one side has a hole, surrounded by custard stains, where a gargoyle should be.\nThere is a ceremonial cord on it.\n\n> You examine the cord\nThe ceremonial cord is about thirty feet long and half an inch in diameter. Really good for strangling virgins after a bout of ceremonial custard-wrestling.\n\n> You get the cord\nYou are carrying too much already to get the ceremonial cord.\n\n> Inventory\nYou are carrying an old blanket, a torch, a note, a poster and a sarcophagus lid.\nYou are wearing some jeans, some socks and a tee-shirt.\n\n> You drop the lid\nSarcophagus lid dropped.\n\n> Up\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\n\n> Up\nYou can't go that way.\nOnly north, down.\n\n> You go to the north\nThe antechamber connects the ruins to the catacombs. Upwards is the transept and you can enter the catacombs through a doorway to the south.\n\n> Up\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway here.\n\n> F north\nNo can do!\nOff The Beaten Track\nIt's really dark here, torch or no torch. What was that noise? It sounded pretty fierce. There it is again. It came from the east. No, the west. This could well be dangerous so you go back before whatever it is makes itself known.\nRuined Transept\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway here.\n\n> You loo up\n\n\n> You look at the nave\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\n\n> You go south\nYou get off.\nOff The Beaten Track\nIt's really dark here, torch or no torch. What was that noise? It sounded pretty fierce. There it is again. It came from the east. No, the west. This could well be dangerous so you go back before whatever it is makes itself known.\nRuined Nave\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nA broken pew catches your attention.\n\n> You get pew\nYou are carrying too much already to get the broken pew.\n\n> You examine the hippies\nThe hippies all have greasy hair and dirty denims. The bad news is that they are the band you're travelling with. The worse news is that they're blind drunk. They are sitting around the fire in squalor, twanging out some terrible guitar and drinking heavily.\n\n> You ask hippies about the fin\nThe music stops and the hippies turn. The leader peers into the gloom, fondling the neck of his guitar. Then he spots you. \"Get him boys,\" he shouts. Your cover blown, you try plan C2-A, colloquially known as 'running for it'. However, C2-A requires that the host be attired in combat gear, not ridiculously flared jeans. Your legs get tangled and you fall. \"Thought you'd get your hands on my grommet didn't you?\" says the leader, standing over you, \"well think again.\" The guitar hits you with a twang like the opening of \"A Hard Day's Night\" and your host passes out. The interface between you relaxes, warping you out through the dimensions, spinning and whirling and feeling sick. Then a goldfish approaches you at great speed. WHAP! That hurt.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You examine the guitar\nThe guitars could certainly do with being properly tuned. Come to think of it, tuned at all would be better than nothing.\n\n> You examine leader"
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Look around\nNeglected over the centuries, only the shell of this abbey remains and even that is in a poor state of repair. Rubble is everywhere, except for a gap cleared in the middle, in which a fire is burning. You can go north and south, although the obvious exit is west, towards the grand arch.\nSome hippies are sitting around the fire in squalor, twanging out some terrible guitar and drinking heavily.\n\n> You look at fire\nThe fire is a real blazer, but you can't wear it. You can really feel the heat.\n\n> You look at what you're carrying with you\nYou are carrying an old blanket, a torch, a note, a poster and a ceremonial cord.\nYou are wearing some jeans, some socks and a tee-shirt.\n\n> You look athe tee-shirt\nThe tee-shirt is old and white. It keeps your chest warm.\n\n> You put the note in the fire\nDidn't your mother ever warn you about playing with fire? Well, if she didn't, Sir Playfair certainly did. Apart from putting the host-parasite interface in danger, there is the more immediate problem of the hippies noticing you. You wisely refrain.\n\n> You examine the archway\nThe crumbling archway looks dangerous. A gargoyle peers balefully from the top of the arch.\n\n> You drop all except the torch\nOld blanket dropped.\nNote dropped.\nPoster dropped.\nCeremonial cord dropped.\n\n> You go to the south\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nThere is a broken pew here.\n\n> Go north\nThe torch beam waves in the air as you drag the pew. Not exactly the most stealthy way to travel. The music stops and the hippies turn. The leader peers into the gloom, fondling the neck of his guitar. Then he spots you. \"Get him boys,\" he shouts. Your cover blown, you try plan C2-A, colloquially known as 'running for it'. However, C2-A requires that the host be attired in combat gear, not ridiculously flared jeans. Your legs get tangled and you fall. \"Thought you'd get your hands on my grommet didn't you?\" says the leader, standing over you, \"well think again.\" The guitar hits you with a twang like the opening of \"A Hard Day's Night\" and your host passes out. The interface between you relaxes, warping you out through the dimensions, spinning and whirling and feeling sick. Then a goldfish approaches you at great speed. WHAP! That hurt.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You drop pew\nBroken pew dropped.\n\n> You go to the north\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a ceremonial cord, a crumbling archway, a poster, a note and an old blanket here.\n\n> Go north\nSomething you are carrying seems to hold you back.\n\n> You pull the cord\nThe room screeches to a halt and the guard rushes in. \"Fifty Pounds, please!\" he demands belligerently. Then he suddenly notices his surroundings and looks embarrassed. He departs with a red face."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Look around\nNeglected over the centuries, only the shell of this abbey remains and even that is in a poor state of repair. Rubble is everywhere, except for a gap cleared in the middle, in which a fire is burning. You can go north and south, although the obvious exit is west, towards the grand arch.\nSome hippies are sitting around the fire in squalor, twanging out some terrible guitar and drinking heavily.\n\n> Inventory\nYou are carrying a torch and a ceremonial cord.\nYou are wearing some jeans, some socks and a tee-shirt.\n\n> You pull the cord\nYou succeed in moving the ceremonial cord, but nothing happens.\nThe ceremonial cord is connected to the broken pew you succeed in moving the broken pew, but nothing happens.\n\n> You get the cord\nBut you are already carrying the ceremonial cord.\n\n> Sd\n\n\n> You go to the south\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nThere is a broken pew here.\n\n> Go south\nIt's really dark here, torch or no torch. What was that noise? It sounded pretty fierce. There it is again. It came from the east. No, the west. This could well be dangerous so you go back before whatever it is makes itself known.\nRuined Nave\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\nThere is a broken pew here.\n\n> You examine the pew\nThe broken pew is an old piece of church furniture, sadly discarded in these ungodly times. It's about four feet high, three feet wide and could just about support your weight.\nThere is a ceremonial cord fixed to it.\n\n> Go north\nThe torch beam waves in the air as you drag the pew. Not exactly the most stealthy way to travel. The music stops and the hippies turn. The leader peers into the gloom, fondling the neck of his guitar. Then he spots you. \"Get him boys,\" he shouts. Your cover blown, you try plan C2-A, colloquially known as 'running for it'. However, C2-A requires that the host be attired in combat gear, not ridiculously flared jeans. Your legs get tangled and you fall. \"Thought you'd get your hands on my grommet didn't you?\" says the leader, standing over you, \"well think again.\" The guitar hits you with a twang like the opening of \"A Hard Day's Night\" and your host passes out. The interface between you relaxes, warping you out through the dimensions, spinning and whirling and feeling sick. Then a goldfish approaches you at great speed. WHAP! That hurt.\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You remove the jeans\nYou take off your jeans and discover you are completely naked underneath. Not wishing to draw attention to yourself (you are supposed to be on a covert mission remember), you put them back on. Besides, it's bloody cold.\n\n> Go south\nIt's really dark here, torch or no torch. What was that noise? It sounded pretty fierce. There it is again. It came from the east. No, the west. This could well be dangerous so you go back before whatever it is makes itself known.\nRuined Nave\nAs you survey this place, you wonder how such beauty could have been left to just rot. Depression hangs heavy on your heart, but not for long! Inter-dimensional espionage operatives aren't renowned for their sentimentality with regard to ruined naves, and, besides, you have jobs to meet, people to be and places to do. Southward from here, it's as dark as pitch, but northward the fire is burning fiercely.\n\n> Inventory\nYou are carrying a torch, a broken pew and a ceremonial cord.\nYou are wearing some jeans, some socks and a tee-shirt.\n\n> You turn off the torch\nWith a sigh of relief, the torch batteries take a well earned rest.\n\n> Go north\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\n\n> You drop the pew\nCeremonial cord dropped.\nBroken pew dropped.\n\n> You stand on the pew\nThe pew's a bit wobbly, but you can reach a little higher now. Looks like you could climb the arch if you wanted to."
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist]\n\n> Go downwards\nYou get off.\nAntechamber\nThe antechamber connects the ruins to the catacombs. Upwards is the transept and you can enter the catacombs through a doorway to the south.\n\n> Go north\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a ceremonial cord, a crumbling archway, a broken pew, a poster, a note and an old blanket here.\n\n> You untie the cord\n(From the broken pew)\nOk.\n\n> Climb arch\nYou're about thirty feet above ground. It feels as if the world is swaying which you put down to vertigo. Only when you realise that you don't suffer from vertigo do you realise that the world really IS swaying. This place isn't safe.\nA gargoyle stares at you with sightless eyes.\n\nThe torch beam waves in the air as you drag the pew. Not exactly the most stealthy way to travel. The music stops and the hippies turn.\n\n> You examine the gargoyle\nThe gargoyle is about one foot square. Its pointed tongue is sticking out in a centuries old expression of disgust. You know just how he feels.\nThere is a ceremonial cord fixed to it."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal]\n\n> Go downward\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway, a broken pew, a poster, a note and an old blanket here.\n\n> You pull the cord\nThe cord tightens and the gargoyle takes the strain. As you pull harder, it comes free. That was the good news. The bad news is that you've brought down the rest of the arch as well, making a tremendous din. Looking towards the fire, you see several heads looking in your direction. The gargoyle lies at your feet."
    },
    {
        "text": "> Go downward\nYou can't go that way.\nOnly north, south, up."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls, fish protagonist]\n\n> You go downwards\nA sudden vision flashes before your eyes:\nChanting voices. Ancient demons. Flashing flames.\nAltar Room\nThis icy room has been sealed for a long time. Cold air slices through you; a chill foreshadow of your doom. Terrifying images flash into your mind. You feel that you have violated this place somehow.\nThere is an ancient altar and a sarcophagus lid here.\n\n> You put the gargoyle in hole\nWith the ceremonial cord tied to it, the gargoyle won't fit in the hole.\nA number of unpleasant looking hippies emerge from who knows where. Seven of them to be precise. They are not happy. Truth to tell, they're extremely unhappy. A bottle of vodka sails through the air. It's not an offer of a drink, since it was aimed at your head. It connects. You disconnect from your host and spin through the dimensions towards your new host. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You enter the jagged warp\nThe dimensions flash past as you swim through the jagged warp and slide into the host-parasite interface with consumate ease. Another human. Work, work, work!\n\nNot the best place to sleep. It's very cold and more than slightly damp, but still better than sleeping outside. The icy draught is coming from the front of the van to the south.\nAn old blanket lies next to you and some jeans have been thrown down on the floor.\n\n> You wear the jeans\nYou put on the jeans.\n\n> You go south\nThe cab is Steve's province. Like most roadies, his ability to create chaos out of order is legendary and the rubbish all over the cab is definitely his work. Major slobs themselves, the band prefer to ride in the back in their own squalor. The passenger door has been jammed open, revealing a dark field.\nA note is close to hand.\n\n> Leave\nIt's too dark to see.\n\n> Go outside\nThis narrow east-west track is miles from civilisation. There is a fire to the east and some music is coming from the same direction.\n\n> Go east\nThe ruined abbey stands before you, imposing even in such a state of decay. Through the grand arch to the east, you hear some awful music and see the glow from a large fire. Westward leads back into the gloom. A poster is blowing about in the wind.\n\n> You look at the poster\nThe poster is a discarded advertisement for a concert by the Seven Deadly Fins.\n\n> You read the poster\nThe poster has a psychedelic picture of purple and green goldfish swimming around the Seven Deadly Fins logo. The fish form the words, \"No rules. No war. No profit.\" Underneath is scrawled, \"The Fins are in town. Place: just listen. Price: what can you afford? Anarchy: only if my mum says it's ok.\"\n\n> You go east\nNeglected over the centuries, only the shell of this abbey remains and even that is in a poor state of repair. Rubble is everywhere, except for a gap cleared in the middle, in which a fire is burning. You can go north and south, although the obvious exit is west, towards the grand arch.\nSome hippies are sitting around the fire in squalor, twanging out some terrible guitar and drinking heavily."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> You look around\nIt's too dark to see.\n\n> Up\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\nThere is a sarcophagus lid here.\n\n> Up\nYou can't go that way.\nOnly north, down.\n\n> Up\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway and a broken pew here.\n\n> Climb arch\nYou're about thirty feet above ground. It feels as if the world is swaying which you put down to vertigo. Only when you realise that you don't suffer from vertigo do you realise that the world really IS swaying. This place isn't safe.\nA gargoyle stares at you with sightless eyes.\n\n> You untie gargoyle\n(From the ceremonial cord)\nOk."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist, surreal]\n\n> Go downward\nA sudden vision flashes before your eyes:\nChanting voices. Ancient demons. Flashing flames.\nAltar Room\nThis icy room has been sealed for a long time. Cold air slices through you; a chill foreshadow of your doom. Terrifying images flash into your mind. You feel that you have violated this place somehow.\nThere is an ancient altar here.\n\n> You put the gargoyle in the hole\nThe gargoyle is now inside the hole. There is a click and you stand back swiftly. The altar sinks into the ground as a column descends from the ceiling.\n\n> Examine column\nThe column has a niche in it, surrounded by an ornate carving. You wonder where it came from, and whether you could get one for your front garden. A chalice rests in the niche.\nA number of unpleasant looking hippies emerge from who knows where. Seven of them to be precise. They are not happy. Truth to tell, they're extremely unhappy. A bottle of vodka sails through the air. It's not an offer of a drink, since it was aimed at your head. It connects. You disconnect from your host and spin through the dimensions towards your new host. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You get the chalice\nYou grab the chalice. Intent on examining it, you don't pay proper attention to the sounds behind you. This is not a good idea. The hippies have found a way in and are peering into the chamber. They do not look happy.\nA number of unpleasant looking hippies emerge from who knows where. Seven of them to be precise. They are not happy. Truth to tell, they're extremely unhappy. A bottle of vodka sails through the air. It's not an offer of a drink, since it was aimed at your head. It connects. You disconnect from your host and spin through the dimensions towards your new host. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work.\n\n> You turn off the torch\nWith a sigh of relief, the torch batteries take a well earned rest.\nA number of unpleasant looking hippies emerge from who knows where. Seven of them to be precise. They are not happy. Truth to tell, they're extremely unhappy. A bottle of vodka sails through the air. It's not an offer of a drink, since it was aimed at your head. It connects. You disconnect from your host and spin through the dimensions towards your new host. Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nA jagged warp is also clearly the boss's work."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> Go downward\nThe transept, at right angles to the nave, is in ruins. The fire to the south gives the only light in here, allowing you to see an exit leading down.\nThere is a crumbling archway and a broken pew here.\n\n> You hide\nYou are unable to do that.\n\n> Up\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\n\n> You examine the doorway\nThe doorway is between the antechamber and the catacombs.\n\n> Exit\nNever mind the size of your muscles, you're not going anywhere with a sarcophagus lid tucked under your arm.\nCatacombs\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\n\n> You drop the lid\nSarcophagus lid dropped.\n\n> You examine the debris\nThe debris is swathed in many doom laden cliches.\n\n> You put lid on the exit\nYou can't do that to the sarcophagus lid at the moment.\nAntechamber\nThe antechamber connects the ruins to the catacombs. Upwards is the transept and you can enter the catacombs through a doorway to the south.\n\n> You put the lid over the eist\n\n\n> You put the lid over the exit\nI don't follow you.\nNever mind the size of your muscles, you're not going anywhere with a sarcophagus lid tucked under your arm.\nCatacombs\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\n\n> You go north\nBut the sarcophagus lid's in the way. It's your own fault - you put it there.\nCatacombs\nThe ceiling's collapse has disturbed the sepulchral debris in this sacred place, throwing it all over the floor. A doorway leads north to the antechamber and there is an exit leading down.\n\n> You get the lid\nYou take the lid from the doorway and drop it on the floor.\n\n> You get the lid\nYou are carrying too much already to get the sarcophagus lid.\n\n> You drop Gargoyle\nCeremonial cord dropped.\nGargoyle dropped.\n\n> You untie the cord\n(From the gargoyle)\nOk.\nYou hear voices in the room outside. After a short discussion they decide that you must have been crushed by the collapsing ceiling. The voices fade away, sounding heartlessly cheerful in the face of your death. Callous brutes."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist, surreal]\n\n> Go downward\nA sudden vision flashes before your eyes:\nChanting voices. Ancient demons. Flashing flames.\nAltar Room\nThis icy room has been sealed for a long time. Cold air slices through you; a chill foreshadow of your doom. Terrifying images flash into your mind. You feel that you have violated this place somehow.\nThere is an ancient altar here.\n\n> You put Gargoyle in the hole\nThe gargoyle is now inside the hole. There is a click and you stand back swiftly. The altar sinks into the ground as a column descends from the ceiling.\n\n> You examine the chalice\nThe glass chalice is a beautifully fluted and delicate example of the glassmaker's art.\nIt contains a grommet.\n\n> You look at the grommet\nThe grommet looks like it should be fixed to a gold ring with a spindle to form a focus wheel.\n\n> You get the grommet\nThe glass chalice lies flush with the opening in the column. You will have to take the chalice before you can get the grommet.\n\n> You get the chalice\nYou grab the chalice. Intent on examining it, you don't pay proper attention to the sounds behind you. This is not a good idea. The hippies have found a way in and are peering into the chamber. They do not look happy.\n\n> You get the grommet\n\"Not so fast,\" says one of the hippies, obviously the leader and probably one of the Fins, \"Hand over the grommet.\" You try to lodge an SOS with HQ. The leader holds out his hand and stares you in the eye. \"Right,\" he yells, \"hold him down boys.\" The hippies close in. The smell is terrible. Just when you wanted a hole to open up in the ground and swallow you, one does. Well almost. It's actually in the ceiling but it'll definitely do. The hippies stop in their tracks and stare at the hole. \"Cor baby,\" says one, taking a puff, \"that's really free.\" You dive for it. Out of the corner of your eye you spot a goldfish approaching at phenomenal speed. Too late to avoid it now. BLAM! The grommet falls from your grasp and into the glass box. \"Sorry about the timing,\" says Sir Playfair's distorted voice, rolling and tumbling through the dimensions with you. \"Excellent job. Well done. Keep up the good work. Panchax out.\"\n\"Oh, sorry old sport,\" Sir Playfair's voice returns, \"I forgot that you now had the focus wheel. Jolly well done. The back room boys have worked out what the Fins are up to. I'll tell you what it is after we open a warp into Hydropolis, the fish planet's capital. Intriguing eh?\" The castle jolts and a large warp appears in the wall.\n\"Well, this is the story: the Fins have set up a meteorological imbalance on the fish planet, causing water to evaporate. The fish scientists have devised a project to save their world but the Fins have sabotaged that too! You are to help them complete their project in the body of its leader, Dr. Roach. Good luck. Panchax out.\"\nCastle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nThere is a large warp here.\n\n> Leave\nThe ant eggs have stopped swirling around and are now floating on the surface. Gravel fills the bottom of the bowl and some tasty looking pondweed you've been wanting to nibble for days is lying on it. You get a nasty feeling in your swim bladder about the castle, probably because Sir Playfair has so rudely interrupted your vacation.\n\n> Leave\nWhich way: north, northeast, east, southeast, south, southwest, west, northwest, up, down.\n\n> Up\nYou can't get enough speed up to leap out of the bowl. You only just manage to break the surface before flopping back in.\n\n> You enter the Castle\nInside, the castle is exactly what you expected - tacky and featureless with ant eggs near the top and gravel at the bottom. To anyone else, the colours sprayed randomly on the wall would just be colours sprayed randomly on the wall. To a daring inter-dimensional espionage operative like yourself, however, they are obviously used to focus communications across the dimensions. The only exit is out, back to the goldfish bowl. Your attention is drawn to a glass box resting in the middle of the room here, this looks like Panchax's work.\nThere is a large warp here.\n\n> You enter the large warp\nYou swim into the large warp and your body changes into a strange hybrid creature, half-man half-fish. This must be Dr. Roach.\nLounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> You examine the fishton\nFishtons are really popular in Hydropolis at the moment. Most fish can only afford small apartments so these space saving beds are essential. You didn't get any instructions with it so it's really just a glorified sofa.\nThe wall behind your fishton glows, revealing the face of the principal's secretary. \"Good morning Dr. Roach,\" she says, \"I'm sorry to call so early, I just want to confirm that the principal is expecting you at ten o'clock this morning. Goodbye.\" Her face fades out, leaving you with the annoying jingle of the Hydropolis Telecommunications Network: \"HTN, HTN - With your friends you can talk, and you won't have to walk, HTN, HTN\". Not the most auspicious start to a morning.\n\n> You lie on the fishton\nYou lie down on the fishton.\n\n> Sleep\nLook, you're a trained inter-dimensional espionage operative. You, more than anyone else, should know that sleeping will destroy the host-parasite interface. You've got an important job to do, now get on with it.\n\n> You stand\nYou are on your feet."
    },
    {
        "text": "> Look around\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> You examine shelf\nDr. Roach bought the trendy black shelf from his favourite trendy black shelf shop.\nThere is a fishofax on it.\n\n> You examine the painting\nThe painting is called 'Waves in Black'. One of Finn's more solid works.\n\n> You look at the fishofax\nThe fishofax is a really useful item. Honest. It combines all the features of a diary and a wallet, for about four or five times the price.\nIt is open.\nIt contains a Fisa card and a tatty card.\n\n> You examine the fisa\nThe Fisa card saves you carrying cash around. For this pleasure, you have to pay extortionate interest rates on your outstanding balance.\n\n> You examine the tatty card\nThe tatty card is in a sorry state, probably because you have to carry it around all the time to keep proving your identity.\n\n> Time\nThe time is 09:12\n\n> You examine the switch\nFor a joke, when Roach was bored one evening last week, he re-wired the switch so that it controls the lights for all of the other apartments in the whole block. For the time being it is on.\n\n> You go outside\nWhich way: there aren't any obvious exits!\n\n> You open the door\nYou'll have to put your hand on the print next to the door.\n\n> You examine the door\nThe apartment door is the latest sliding design, operated by a silver hand print next to it.\nIt is closed.\n\n> You put the hand on print\nWith a loud whoosh, the door flies up into the ceiling.\n\n> You leave\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\nAs you arrive Ernest Chub greets you cheerfully. Your colleague Ernest Chub goes north.\n\n> Go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> You look at Chub\nErnest Chub wants to be like you in every way. You're his hero and this leads to plenty of grovelling on his part. He really needs to get a life - of his own preferably, especially since he rented the apartment next door to you.\n\n> You leave\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\n\n> You put the hand on the print\nWhich one, the silver hand print or the gold hand print?\n\n> Gold\nAfter a few moments, nothing happens. The gold print probably responds only to Ernest Chub. You remove your hand before anyone notices you looking foolish."
    },
    {
        "text": "> Go downward\nYou swim into the access shaft and down to the ground floor.\nLobby\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\n\n> Go south\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\n\n> You go east\nA high speed police fish pulls up outside your apartment block. His flashing blue light and wailing siren make you feel decidedly uneasy. The host-parasite interface weakens momentarily and you catch a glimpse of the goldfish bowl. Then you regain control of Roach's body as the police fish zooms off.\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> You examine clerk\nThe ticket clerk sits behind the ticket counter selling tickets.\nSteve swims by at top speed.\n\n> You ask the clerk about the ticket\nThe ticket clerk says, \"Yes, I've got tickets. Lots of lovely tickets and they're all for sale chief. You need one to get on a train. But you knew that didn't you? I mean, you're a clever sort, I can tell.\"\n\n> You buy the ticket\nWith what?\n\n> Visa\n\n\n> You buy the ticket with the fisa\nThe ticket clerk sneers, \"I'm sorry chief, that won't do nicely; we don't accept Fisa here, only cash or Mastercarp.\"\n\n> Up\nYou can't go that way.\nOnly west, down.\n\n> You go to the west\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\n\n> Go east\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> Go downwards\n\"I'm sorry,\" says the guard, stopping you, \"you can't go into the funnel without a travel pass or a ticket.\"\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> You check what you're carrying\nYou are carrying a fishofax.\nYou are wearing a watch.\n\n> You go to the southwest\nThe roads in Hydropolis, especially here in Paddlington, look remarkably similar. After a short jaunt you get lost. Panic takes a tight grip on your arms and leads you at a rush through the streets, desperately trying to find somewhere familiar. More by luck than judgement, you eventually reach the underground station.\nPaddlington\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\n\n> You go north\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\n\n> Up\nYou swim into the access shaft and up to the level of your apartment Landing\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\nAs you arrive Ernest Chub greets you cheerfully. Your colleague Ernest Chub goes east.\n\n> Go east\nYou swim into the access shaft and down to the ground floor.\nLobby\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> Up\nYou swim into the access shaft and up to the level of your apartment Landing\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\n\n> Go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nOh, no! You've been burgled! I hope Dr. Roach was insured.\nThere is a travel pass here.\n\n> You look\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a travel pass here.\n\n> You look at pass\nThe travel pass gives you unlimited use of the Hydropolis Underground Omnibus system, until it expires of course.\n\n> You go to the south\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby."
    },
    {
        "text": "> Go downward\nYou swim into the access shaft and down to the ground floor.\nLobby\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\n\n> You go south\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> You ask Chub about the pass\nErnest Chub says, \"Oh really sir. You flatter me with such a question. I'm not fit to provide an answer.\"\n\"Oh well,\" says Ernest Chub suddenly. \"I've got to go now. Bye!\"\nYour colleague Ernest Chub goes east.\n\n> Go east\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\nAs you arrive Ernest Chub greets you cheerfully."
    },
    {
        "text": "[Themes: Espionage, Humor, Magnetic Scrolls]\n\n> You descend\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\n\n> You go north\nYou wisely decide not to walk onto the tracks.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> You go to the north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Time\nThe time is 10:00\nThe train speeds through the tunnel then clatters into Barbellican. The doors slide open and the commuters swim in and out.\n\n> Wait\nTime passes.\nThe train speeds through the tunnel then clatters into Pickerel. The doors slide open and the commuters swim in and out.\n\n> You go to the south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\nAn underground train is here but looks likely to leave at any moment.\nA group of students swim by with what looks like the principal.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nPickerel Underground Station\nThis station is teeming with guppies, nipping in and out of the access funnel which leads to the platform. A guard, looking rather bored with life, checks all their tickets. You can buy tickets from the ticket clerk, behind his counter close to the exit southeast.\n\n> You go southeast\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go west\nIt's a good job you have your Fisa card with you. A happy ticket clerk sells you a cinema ticket and you are shown to a seat. The film begins. It's Starfish Wars, the first part of the infamous Starfish Wars trilogy. You spend an entertaining hour watching various fish blaze their way across the galaxy, blasting things and generally having a whale of a time. You are most uplifted but disappointed when the closing credits run. The film ends, the curtains close and the lights come up. You rise from your seat and carefully throwing your ticket into a bin you return to the plaza.\nPlaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Simon Tench greets you cheerfully.\n\n> You look at Simon\nSimon Tench is a brilliant scientist with a searing intuition for the right answer. Unfortunately, he'd much rather have fun than work on The Project.\n\n> You ask Simon about meeting\n\n\n> You ask Simon about Project\nSimon Tench says, \"Daddio, the project is real cool. Probably the coolest thing I've been around. I'm just a prawn, you're the main fish, Roachie.\"\n\n> SK simon to define cool\n\n\n> Oops ask\n\n\n> Inventory\nYou are carrying a fishofax and a travel pass.\nYou are wearing a watch.\n\n> You show the time to Simon\nSimon Tench says, \"How nice.\"\n\n> You buy the drink for Simon\nWhat do you want to buy?\n\n> Beer\n\n\n> You tell Simon he is important"
    },
    {
        "text": "> Look around\nPub (on the stool)\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\n\n> Go east\nYou get off.\nMy, Plaice Street is busy! In the end you succeed in crossing.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go south\nThe police station is fished day and night by a stalwart dogfish who is ready to solve the troutiest of crimes, especially the really simple ones where the villains just confess. You can escape without much danger of pursuit to the north.\n\n> You look at the dogfish\nThe police officer is a dogfish, with large whiskers and a semi-alert expression.\n\n> Go north\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> You go east\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> Go south\nThe music shop is cluttered with amateur musicians, most of whom are playing versions of the ancient heavy metal hit \"Smoke Underwater\", very badly, on expensive instruments that they have no intention of buying. An assistant is attempting to hide behind the counter. The hasty exit from this noisy place is north. The assistant is fondling some ear plugs.\n\n> You buy the plugs with the fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the ear-plugs.\n\n> Go north\nYou dart across Dace Road while nobody's looking.\nSecond Hand Shop\nThis shop is run by a cool catfish of many talents, most of them illegal, who goes by the name of Steve. Steve is a fish who could sell stripes to tiger sharks, but would rather sell them his grandmother - if he hasn't already. The shop has a bad reputation. It normally sells \"fins what have fallen off the back of a submarine\" if you get my drift. The exit from this den of low morals and high prices is to the south. Steve catches your eye, and with a knowing wink suggests that you might like to buy a \"somewhat fruity\" film that came in yesterday. You recognise the fishton.\nThere is a radio case here.\n\n> You ask the steve abotu radio\n\n\n> You ask Steve about the film\nSteve says, \"No, no, the market won't take that sort of talk much longer. The service industries are where the clams are these days.\""
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> You look around\nThis shop is run by a cool catfish of many talents, most of them illegal, who goes by the name of Steve. Steve is a fish who could sell stripes to tiger sharks, but would rather sell them his grandmother - if he hasn't already. The shop has a bad reputation. It normally sells \"fins what have fallen off the back of a submarine\" if you get my drift. The exit from this den of low morals and high prices is to the south. Steve catches your eye, and with a knowing wink suggests that you might like to buy a \"somewhat fruity\" film that came in yesterday. You recognise the fishton.\nThere is a radio case here.\n\n> You look at the fishton\nFishtons are really popular in Hydropolis at the moment. Most fish can only afford small apartments so these space saving beds are essential. You didn't get any instructions with it so it's really just a glorified sofa.\n\n> You look at the radio case\nThe radio case is the outer casing of an antique radio. There is a lot of space inside where the radio bits used to be.\n\n> You buy the radio case with the fisa\n\"Sorry,\" says Steve, \"but I've already sold the radio case to a fish named Chub who lives in Paddlington. I'll get Rod to deliver it later on, if the van's going that way. Otherwise, he'll have to wait!\"\n\n> You buy fishton with the fisa\n\"Rod,\" calls Steve, \"come here and put the fishton in the van for delivery later on.\" Rod appears from a back room, gives you a knowing wink, and leaves with the goods safely in his charge.\n\"It's all right I know your address,\" Steve says as you offer the information. He takes your credit card and partly fills in a sales slip which he informs you will be duly completed \"Later\" and returns the card to you with a supercilious \"Thank you sir.\""
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> Look around\n[l -> look]\n\n> You buy the film with the fisa\nSteve charges the sum of 75 Clams to your Fisa account and passes the film to you.\n\"I hope you enjoy it, sir,\" he smirks.\n\n> You go south\nYou dart across Dace Road while nobody's looking.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\nYour colleague Bertie Bream swims into view.\nBertie Bream greets you with a friendly wave of his fin.\nYou notice a guppy flounder around for a bit and then swim off.\n\n> You look at what you're carrying with you\nYou are carrying a fishofax, a travel pass, some ear-plugs and a film. You are wearing a watch.\n\n> You examine the film\nThe film is an original copy of \"Attack of the Killer Tomatoes\". It's more of a vegetable video than a fruity film now you think about it.\n\n> Go east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nHardware Shop\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west. The assistant offers to sell you a black plastic bag.\nA hyperdriver and a screwdriver are for sale.\n\n> You examine the hyperdriver\nThe hyperdriver is a variant on the standard screwdriver, designed for removing lok screws.\n\n> You buy the hyperdriver with the fisa\n\"That will be 99 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the hyperdriver.\n\n> You buy the screwdriver with the fisa\n\"That will be 8 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the screwdriver."
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist, surreal]\n\n> You look around\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west. The assistant offers to sell you a black plastic bag.\n\n> You buy bag with the fisa\n\"That will be 2 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the bag.\n\n> You go to the west\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> You go to the south-east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nEelpout Underground Station\nIn the ticket hall, commuters are busily swimming up and down the access funnel which leads to the platform. The ticket counter stands in the centre with a clerk behind it. Northwest an exit leads out onto Shark Street.\n\n> You go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Simon Tench greets you cheerfully.\n\n> Go north\nYou dart across Dace Road while nobody's looking.\nPlaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Simon Tench greets you cheerfully.\n\n> You look at the stool\nThe stool is the only stool at the bar available for your use.\n\n> You go north\nBehind a counter stands an assistant, ready to sell you anything in the shop. Many racks are filled with exciting jackets, a fashionable accessory in Hydropolis at the moment. You can leave the shop by going south. A trendy pair of sun glasses are on sale.\nA tie is for sale.\n\n> You buy the glasses with the fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the dark glasses.\n\n> You buy the tie with the fisa\n\"That will be 25 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the tie.\n\n> You examine the tie\nThe tie is to be worn on special occasions: births, deaths, marriages, visits to the disco and so on. It's made from finest kipper.\n\n> You examine the glasses\nThe dark glasses are incredibly cool and trendy, highly unsuitable for Dr. Roach.\n\n> Go south\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\nAn old fish swims up to you and asks for the price of a snifter. \"Five clams,\" you tell him. He thanks you and swims away.\n\n> Go northwest\nThis station is teeming with guppies, nipping in and out of the access funnel which leads to the platform. A guard, looking rather bored with life, checks all their tickets. You can buy tickets from the ticket clerk, behind his counter close to the exit southeast."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\n\n> You wait\nTime passes.\nA rumbling comes from the tunnel and a train pulls into the station. As it comes to a halt, someone pushes you in the back sending you onto the tracks. Brakes screech but the train can't stop in time. It pulverises your pathetic little body, sending you reeling through the dimensions. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls]\n\n> Look around\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> Up\nYou can't go that way.\nThere's no way out.\n\n> You enter the large warp\nYou swim into the large warp and your body changes into a strange hybrid creature, half-man half-fish. This must be Dr. Roach.\nLounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> You examine the shelf\nDr. Roach bought the trendy black shelf from his favourite trendy black shelf shop.\nThere is a fishofax on it.\nThe wall behind your fishton glows, revealing the face of the principal's secretary. \"Good morning Dr. Roach,\" she says, \"I'm sorry to call so early, I just want to confirm that the principal is expecting you at ten o'clock this morning. Goodbye.\" Her face fades out, leaving you with the annoying jingle of the Hydropolis Telecommunications Network: \"HTN, HTN - With your friends you can talk, and you won't have to walk, HTN, HTN\". Not the most auspicious start to a morning.\n\n> You put the hand on print\nWith a loud whoosh, the door flies up into the ceiling.\n\n> You go to the south\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> Go downwards\nYou swim into the access shaft and down to the ground floor.\nLobby\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\nAs you arrive Simon Tench greets you cheerfully.\n\n> Go south\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\n\n> Up\nYou swim into the access shaft and up to the level of your apartment Landing\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\nAs you arrive Simon Tench greets you cheerfully.\n\n> You go south\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\nAs you arrive Simon Tench greets you cheerfully."
    },
    {
        "text": "> Go downward\nYou swim into the access shaft and down to the ground floor.\nLobby\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\n\n> You go south\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\nAn old fish swims up to you and asks for the price of a snifter. \"Five clams,\" you tell him. He thanks you and swims away."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Wait\nTime passes.\nThe train speeds through the tunnel then clatters into Barbellican. The doors slide open and the commuters swim in and out.\n\n> You wait awhile\nTime passes.\n\"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Wait\nTime passes.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> You wait\nTime passes.\nThe train speeds through the tunnel then clatters into Battersea. The doors slide open and the commuters swim in and out.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Battersea.\nAn underground train is here but looks likely to leave at any moment. \"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Up\nYou show your pass to the guard and go through.\nBattersea\nBattersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.\n\n> You go north\n\"Welcome to Battersea Power Station.\" You are met by a tall tour guide, who appears to be chewing gum and reading notes off little cue cards. She takes you on a guided tour of the entire plant, filling your head with facts and figures about throughput, power consumption and blades. One thing that stuck in your mind was the interesting, but little-known, fact that Battersea is only the secondary power station for Hydropolis and is only used during peak demand and to power the underground system. After about half an hour, she returns you to the power station.\nPower Station\n\n> Examine gauge\nThe important gauge shows the total electricity output of the Battersea sub-station. It is currently displaying a value of 100.\n\n> You examine the switch\nThe switch is just like those seen in fifties science-fiction movies, requiring both hands to turn it on or off. It controls the power supply to the whole of the tube system. At the moment it is on.\n\n> You turn off the switch\nWith great effort you manage to pull the switch. The light dims momentarily and the guppies on the guided tour scream until everything returns to normal. The important gauge shows a considerable drop in current.\n\n> You look at gauge\nThe important gauge shows the total electricity output of the Battersea sub-station. It is currently displaying a value of 39.\n\n> You examine the door\nThe steel door opens automatically when the pressure from the turbines in the area to the west falls below danger levels. For safety reasons, it cannot be opened by hand.\nIt is closed.\n\n> Go west\nThe pressure door is closed to protect fish like you from swimming into the proximity of the fast moving blades which lie beyond. You may not appreciate this extra protection but I'm sure Dr. Roach is delighted.\n\n> Go south\nBattersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.\n\n> You go east\nYou can't go that way.\nOnly north, down."
    },
    {
        "text": "[Themes: Espionage, Humor, Magnetic Scrolls]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Battersea.\n\n> You wait\nTime passes.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Wait\nTime passes.\nThe train speeds through the tunnel then clatters into Opah University. The doors slide open and the commuters swim in and out.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nOpah Station\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east.\n\n> You go to the east\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\n\n> You examine the statue\nThe statue has the University motto, 'Scientia est bona' engraved underneath.\nA student sidles up to you. \"We've got the principal,\" he whispers, \"if you don't donate to rag week we'll let her go.\" You hastily decide to give them all your loose change, then realise you have none. They refuse to take your credit card and swim off, laughing.\n\n> You go east\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> You go south\nThe Principal's secretary glances up at you. \"Oh dear. I'm sorry Dr. Roach but you're too late. The principal seemed most concerned by your absence and has taken you off The Project. Take a holiday, we'll contact you tomorrow.\" You are shown out.\nUniversity Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> Time\nThe time is 10:14\n\n> You enter the large warp\nYou swim into the large warp and your body changes into a strange hybrid creature, half-man half-fish. This must be Dr. Roach.\nLounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> You examine the shelf\nDr. Roach bought the trendy black shelf from his favourite trendy black shelf shop.\nThere is a fishofax on it.\nThe wall behind your fishton glows, revealing the face of the principal's secretary. \"Good morning Dr. Roach,\" she says, \"I'm sorry to call so early, I just want to confirm that the principal is expecting you at ten o'clock this morning. Goodbye.\" Her face fades out, leaving you with the annoying jingle of the Hydropolis Telecommunications Network: \"HTN, HTN - With your friends you can talk, and you won't have to walk, HTN, HTN\". Not the most auspicious start to a morning.\n\n> Go north\nYou wisely decide not to walk onto the tracks.\nAn old fish swims up to you and asks for the price of a snifter. \"Five clams,\" you tell him. He thanks you and swims away.\n\n> You wait\nTime passes.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> You go to the north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Wait\nTime passes.\nThe train speeds through the tunnel then clatters into Barbellican. The doors slide open and the commuters swim in and out.\n\n> You wait awhile\nTime passes.\n\"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> You go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Time\nThe time is 09:30\n\n> You go south\nBursting to the gills, this restaurant serves the finest plankton meals in Hydropolis. For the fabulously wealthy, gas-impregnated oils are on sale. They may not be as efficient as snifters, but they certainly put everyone else in their place! A waiter floats around near the exit to the north.\n\n> You examine waiter\nThe waiter bows and scrapes to every customer in the restaurant.\n\n> You go east\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\nYour colleague Simon Tench swims into view.\n\"Heeyy, Roachie baby,\" yells Tench, slapping you on the back. \"How's my main fish? Hanging loose? I'm gonna sniff with Salmon at the Sinker today. Fish, this job is a doddle.\"\n\n> You examine the metal door\nThe metal door remains closed to all except those who are authorised. There is a slot next to it.\nIt is closed.\n\n> Go south\n\"Good morning Dr. Roach,\" says the principal's secretary, \"have a seat. She won't be long.\" She finally arrives at ten minutes to ten. \"Good morning Doctor,\" says the principal as she closes the door and takes a seat, \"I'm sorry if this is inconvenient, but it is an emergency. It seems this talk about parasiting may not be speculation. We've received information that a junior member of your team has been 'taken over' and has sabotaged The Project. You don't need me to tell you that this could be disastrous for Hydropolis. Naturally, I've suspended everyone until further notice. You're the only one I can trust; I want you to investigate. I'm going to the government to inform them of the danger. I'm not evacuating, so don't worry. I'll be back tomorrow.\" She gets up. \"Now please hurry doctor. There's not a second to lose.\" You walk back to the foyer together then go your separate ways.\nUniversity Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\nSimon Tench is here.\n\n> Inventory\nYou are carrying a fishofax and a travel pass.\nYou are wearing a watch.\n\n> Go east\nWindows line the north wall of this corridor which continues east and west. They look out onto the quad, and stream light on to an archway which leads south to the library.\n\n> You go to the south\nContaining the sum total of fish knowledge, this library is the best in all Hydropolis. As fish only have small brains, it is on the smallish side, but students spend a lot of time here delving into what knowledge there is - even during rag week. The library's rarest book lies on a lectern close to the exit in the north wall.\n\n> You look at the book\nThe book is illustrated with many wondrous things from ages gone by. Perhaps you should look some of them up.\nIt is closed.\n\n> You open the book\nYou open the book at random, revealing a full colour picture of a mould on page 336.\n\n> You look at the book\nThe book is illustrated with many wondrous things from ages gone by. Perhaps you should look some of them up.\nIt is open.\n\n> You open the book\nBut the book is already open.\n\n> You read the book\nThere is a full colour picture of a mould on page 336.\n\n> You look up the Mould in book\nYou turn to page 336, revealing a full colour picture of a mould.\n\n> You look up ring in the book\nYou turn to page 331, revealing a full colour picture of a gold ring.\n\n> You look up yourself in the book\nYou search through the book but the page you want has been torn out.\n\n> You look up case in the book\nYou search through the book but the page you want has been torn out. \"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> Go east\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\n\n> You look at the metal door\nThe metal door will not open to unauthorised persons. There is a slot next to it.\nIt is closed.\n\n> You look at the slot\nThe slot is beside the door. It's about the same size as your identity card.\n\n> You put the identity card in the slot\nThe card fits neatly into the slot. After a few reassuring buzzes the door slides open smoothly and the card is returned to your waiting hand.\n\n> Go east\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nAfter allowing time for someone to pass the door closes.\n\n> You go to the northeast\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\n\n> You examine the device\nDr. Roach certainly knows how to build impressive machines - this one nearly fills the project room. It looks a bit like a huge aquarium, filled to the brim with multi-coloured gravel and, if you and Sir Playfair have anything to do with it, it's going to save Hydropolis from water evaporation. It almost fills the room, looking like an aquarium filled with multi-coloured gravel.\nIt contains a stream accelerator.\n\n> You look at the accelerator\nThe stream accelerator accelerates particles gathered by the main Project machine.\nThere is a lok screw on it.\n\n> You examine the lok screw\nThe lok screw (TM) is a small item for fixing items semi-permanently; without the right tool it cannot be removed.\nIt is locked."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> You look at your surroundings\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\n\n> You look in the aquarium\n\n\n> Go southwest\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\n\n> You go to the southeast\nEven though Dr. Roach is very clean and tidy, the same cannot be said of the rest of the team. They've made this the messiest store room in the university. And it's always left for you to straighten things out. All the equipment and spares needed for The Project are usually stashed here, with a wallchart keeping track of what's in and out of stock. The only exit leads northwest.\nThere is a protocopier here.\n\n> You look at the protocopier\nThe protocopier is a large box with a slot on one side and a simple on-off switch where you would expect one, built by Dr. Salmon as a prototype Device. While it is indeed remarkable, the University authorities took a different view for two reasons: the protocopier used so much power that fuel bills reached record levels and secondly, it could only teleport in very small amounts of water. It was the downfall of Dr. Salmon; he was fired by the principal.\n\n> You examine the wallchart\nThe wallchart is an informal record of the equipment held in store for The Project.\n\n> You read the wallchart\nA: filter (out of stock)\nB: photon bridge (out of stock)\nC: focus wheel (out of stock)\nD: tuned crystal (out of stock)\nE: a suitable case (out of stock)\nF: shelf (out of stock)\nG: wallplan (1 in stock)\n\n> You fix the accelerator\nTo what?\n\n> You look at the door\nWhich one, the metal door or the store room door?\n\n> Metal\nThe metal door will not open to unauthorised persons. There is a slot next to it.\nIt is closed.\n\n> You put the card in the slot\nWhich one, the Fisa card, the tatty card or the travel pass?\n\n> You go west\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\nAfter allowing time for someone to pass the door closes.\n\n> You go west\nWindows line the north wall of this corridor which continues east and west. They look out onto the quad, and stream light on to an archway which leads south to the library.\nAs you arrive Simon Tench greets you cheerfully.\nYou notice several students loitering with intent. One of them produces a guitar and starts singing: \"Come on feel my nose. The girls grab my clothes. Go why, why why any more.\" Oh no, he's started busking! Luckily the other students attack and carry him off before you hear too much.\n\n> Go west\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> You put the tatty card in the slot\nA student notices you trying to open the door and beckons you. \"Dr. Salmon's the only one who's got an id card for the research wing,\" she says helpfully. \"He's probably in town getting drunk as usual.\" She trudges off, muttering, \"they should never have taken him off The Project.\"\n\n> You ask the waiter about Salmon\nThe waiter says, \"I'm sorry sir. I'm far too busy to chat right now. I've customers to attend to.\"\n\n> Go west\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east."
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist, surreal, Magnetic Scrolls]\n\n> Go downwards\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Wait\nTime passes.\nThe train speeds through the tunnel then clatters into Angel. The doors slide open and the commuters swim in and out.\n\n> You wait a while\nTime passes.\nThe train speeds through the tunnel then clatters into Eelpout. The doors slide open and the commuters swim in and out.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\nAn underground train is here but looks likely to leave at any moment. \"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Up\nYou show your pass to the guard and go through.\nEelpout Underground Station\nIn the ticket hall, commuters are busily swimming up and down the access funnel which leads to the platform. The ticket counter stands in the centre with a clerk behind it. Northwest an exit leads out onto Shark Street.\n\n> You go northwest\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> Go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> You look at Chub\nErnest Chub wants to be like you in every way. You're his hero and this leads to plenty of grovelling on his part. He really needs to get a life - of his own preferably, especially since he rented the apartment next door to you.\n\n> You ask Chub about Salmon\nErnest Chub says, \"The only good thing about Dr. Salmon's departure was that we now have a morally stable leader for the Project.\" He grins an obsequious grin. \"He he was a brilliant man. It's a shame to see him wasting himself on snifters.\"\n\n> You ask Chub about Project\nErnest Chub says, \"You're the Project leader, Roach. You tell me.\"\n\n> You sniff the gas\nWhich one, the pink gas or the clear gas?\n\n> Pink\nAs you inhale, someone kicks you in the gills. At least, that's what it feels like. Actually, you keel over backwards and swim upside down out of the pub, but you can't remember that. The drunk thought it was funny though. You do remember going round and round the tube network before you could get off at Paddlington. Coming up the access funnel was difficult, but, now that you're back in your apartment, the snifter has thankfully worn off, leaving you with a sore head. Lounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nOh, no! You've been burgled! I hope Dr. Roach was insured.\nThere is a travel pass and a tatty card here.\n\n> You go east\nMy, Plaice Street is busy! In the end you succeed in crossing.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a travel pass and a hyperdriver.\nYou are wearing a watch.\n\n> Go east\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\nAs you arrive Bertie Bream greets you cheerfully.\n\n> You look at Bertie\nThough extremely pedantic, Bertie Bream is a capable and valuable member of the team, able to spot tiny mistakes that most would consider irrelevant. He's also after your job.\nYou notice a guppy flounder around for a bit and then swim off.\n\n> You go to the south-east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nEelpout Underground Station\nIn the ticket hall, commuters are busily swimming up and down the access funnel which leads to the platform. The ticket counter stands in the centre with a clerk behind it. Northwest an exit leads out onto Shark Street."
    },
    {
        "text": "> You descend\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\n\n> You wait a while\nTime passes.\nThe train speeds through the tunnel then clatters into Museum. The doors slide open and the commuters swim in and out.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Museum.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nMuseum Station\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform.\n\n> Go north\nVisited by many fish over the course of a year, the museum is a great attraction. Maybe this is due to its unique collection of piscean relics, the greatest of which is the skeleton of the 'Bloodyenormasaurus' which has pride of place in the centre of this room. You can explore the museum in your own time by going north, east or west. You can return to the station by swimming south.\n\n> You look at the skeleton\nThe bloodyenormasaurus roamed the seas of Hydropolis until fish became civilised. Then they killed every single Bloodyenormasaurus they could lay their grubby little fins on, simply because they made such great museum exhibits.\n\n> Go north\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\n\n> Go north\nBells, hooters and whistles sing out from all over the museum bringing guards rushing to the crystal room. You try to explain that it was an accident; that you just stumbled. Amazingly, the guards believe your story though they do look a bit suspicious as they deposit you back at the station and go back to their various posts.\nMuseum Station\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform.\n\n> You go east\nYou swim through an exhibition of the use of gravel in modern science. The ingenious fish scientists have managed to produce materials so cunning that, even though they aren't really gravel, they behave in almost exactly the same way. Not entirely impressed, you swim back west.\nAlarm Room\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\n\n> You go west\nYou swim lazily into an exhibition of historic gravel, showing many pieces of gravel around which great and important events have centred. It doesn't interest you in the slightest so you swim back east.\nAlarm Room\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\n\n> You go to the south\nVisited by many fish over the course of a year, the museum is a great attraction. Maybe this is due to its unique collection of piscean relics, the greatest of which is the skeleton of the 'Bloodyenormasaurus' which has pride of place in the centre of this room. You can explore the museum in your own time by going north, east or west. You can return to the station by swimming south.\n\n> Go west\nYou swim lazily into an exhibition of historic gravel, showing many pieces of gravel around which great and important events have centred. It doesn't interest you in the slightest so you swim back east.\nMuseum\nVisited by many fish over the course of a year, the museum is a great attraction. Maybe this is due to its unique collection of piscean relics, the greatest of which is the skeleton of the 'Bloodyenormasaurus' which has pride of place in the centre of this room. You can explore the museum in your own time by going north, east or west. You can return to the station by swimming south.\n\n> You go to the south\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Museum.\n\n> You wait\nTime passes.\nThe train speeds through the tunnel then clatters into Paddlington. The doors slide open and the commuters swim in and out.\n\n> You wait for a while\nTime passes.\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Wait\nTime passes.\nSteve swims by at top speed.\nThe train speeds through the tunnel then clatters into Pickerel. The doors slide open and the commuters swim in and out.\n\n> You go up\nYou show your pass to the guard and go through.\nOpah Station\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east.\nAs you arrive Simon Tench greets you cheerfully.\n\n> Unscew lok screw with hyperdriver\n\n\n> You unscrew the lok screw with hyperdriver\nFrack, The Lokscrew(TM) was booby trapped! Bang it goes. Well \"BANG!\" really. Well, to be honest, it's even louder but you get the idea. Then, there's silence and blackness. Lots of it. Next, Sir Playfair says something. \"I think you blew it. You must identify the saboteur. He'd know how to disarm the booby trap he set.\" The voice fades and you experience a new sensation, that of falling. There is a sudden woosh and you land, somewhat winded, back in the goldfish bowl. The castle has gone and someone has cleaned the bowl so you can see further than before.\nProject Room\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\nGoldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> You look up lok in the book\nYou search through the book but the page you want has been torn out.\nA student sidles up to you. \"We've got the principal,\" he whispers, \"if you don't donate to rag week we'll let her go.\" You hastily decide to give them all your loose change, then realise you have none. They refuse to take your credit card and swim off, laughing.\n\n> You go to the west\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\nAs you arrive Bertie Bream greets you cheerfully.\n\n> You ask Bream about the sabotage\n\n\n> You ask Bream about the parasite"
    },
    {
        "text": "[Themes: Espionage, Humor, surreal, Magnetic Scrolls]\n\n> You describe your surroundings\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here."
    },
    {
        "text": "[Themes: Espionage, Humor, surreal]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\n\n> Go south\nYou try to push your way through to the doors, but can't quite make it in time.\n\"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Go south\nYou smash your nose against the door.\nThe train speeds through the tunnel then clatters into Eelpout. The doors slide open and the commuters swim in and out.\n\n> You go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nEelpout Underground Station\nIn the ticket hall, commuters are busily swimming up and down the access funnel which leads to the platform. The ticket counter stands in the centre with a clerk behind it. Northwest an exit leads out onto Shark Street.\n\n> You go northwest\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> Go north\nYou dart across Dace Road while nobody's looking.\nSecond Hand Shop\nThis shop is run by a cool catfish of many talents, most of them illegal, who goes by the name of Steve. Steve is a fish who could sell stripes to tiger sharks, but would rather sell them his grandmother - if he hasn't already. The shop has a bad reputation. It normally sells \"fins what have fallen off the back of a submarine\" if you get my drift. The exit from this den of low morals and high prices is to the south. Steve catches your eye, and with a knowing wink suggests that you might like to buy a \"somewhat fruity\" film that came in yesterday. You recognise the fishton.\nThere is a radio case here.\n\n> Go south\nYou dart across Dace Road while nobody's looking.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> Go south\nThe music shop is cluttered with amateur musicians, most of whom are playing versions of the ancient heavy metal hit \"Smoke Underwater\", very badly, on expensive instruments that they have no intention of buying. An assistant is attempting to hide behind the counter. The hasty exit from this noisy place is north. The assistant is fondling some ear plugs.\n\n> You buy the ear plugs with the fis\n\n\n> You buy the ear plugs with the fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the ear-plugs.\n\n> Go north\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> You go to the east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nHardware Shop\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west. The assistant offers to sell you a black plastic bag.\nA screwdriver is for sale.\n\n> You go west\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\nA group of students swim by with what looks like the principal.\n\n> Go west\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> Go north\nYou dart across Dace Road while nobody's looking.\nPlaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> You go north\nBehind a counter stands an assistant, ready to sell you anything in the shop. Many racks are filled with exciting jackets, a fashionable accessory in Hydropolis at the moment. You can leave the shop by going south. A trendy pair of sun glasses are on sale.\nA tie is for sale.\n\n> You buy the glasses with the fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the dark glasses.\n\n> You go south\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go southeast\nAs you step on the road, the cars all accelerate towards you, their drivers leaning over the steering wheels with fangs bared. You just avoid them by swimming as quick as you can to the safety of Dace Road. Dace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go south\nThe police station is fished day and night by a stalwart dogfish who is ready to solve the troutiest of crimes, especially the really simple ones where the villains just confess. You can escape without much danger of pursuit to the north.\n\n> Go north\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Battersea.\n\n> Go upwards\nYou show your pass to the guard and go through.\nBattersea\nBattersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.\n\n> You go to the north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\n\n> Time\nThe time is 14:15\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> You look at the wand\n\n\n> You wait a while\nTime passes.\nThe train speeds through the tunnel then clatters into Eelpout. The doors slide open and the commuters swim in and out.\n\n> You go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Museum.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nMuseum Station\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform.\n\n> Go north\nVisited by many fish over the course of a year, the museum is a great attraction. Maybe this is due to its unique collection of piscean relics, the greatest of which is the skeleton of the 'Bloodyenormasaurus' which has pride of place in the centre of this room. You can explore the museum in your own time by going north, east or west. You can return to the station by swimming south.\n\n> You look at the skeleton\nThe bloodyenormasaurus roamed the seas of Hydropolis until fish became civilised. Then they killed every single Bloodyenormasaurus they could lay their grubby little fins on, simply because they made such great museum exhibits.\n\n> Go east\nYou swim through an exhibition of the use of gravel in modern science. The ingenious fish scientists have managed to produce materials so cunning that, even though they aren't really gravel, they behave in almost exactly the same way. Not entirely impressed, you swim back west.\nMuseum\nVisited by many fish over the course of a year, the museum is a great attraction. Maybe this is due to its unique collection of piscean relics, the greatest of which is the skeleton of the 'Bloodyenormasaurus' which has pride of place in the centre of this room. You can explore the museum in your own time by going north, east or west. You can return to the station by swimming south.\n\n> You look at Room\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\n\n> You go east\nYou swim through an exhibition of the use of gravel in modern science. The ingenious fish scientists have managed to produce materials so cunning that, even though they aren't really gravel, they behave in almost exactly the same way. Not entirely impressed, you swim back west.\nAlarm Room\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\n\n> Go north\nBells, hooters and whistles sing out from all over the museum bringing guards rushing to the crystal room. You try to explain that it was an accident; that you just stumbled. Amazingly, the guards believe your story though they do look a bit suspicious as they deposit you back at the station and go back to their various posts.\nMuseum Station\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform.\n\n> You look in the skeleton\nThe bloodyenormasaurus roamed the seas of Hydropolis until fish became civilised. Then they killed every single Bloodyenormasaurus they could lay their grubby little fins on, simply because they made such great museum exhibits."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> Go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Museum.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> You wait\nTime passes.\nThe train speeds through the tunnel then clatters into Paddlington. The doors slide open and the commuters swim in and out.\n\n> You go to the south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nPickerel Underground Station\nThis station is teeming with guppies, nipping in and out of the access funnel which leads to the platform. A guard, looking rather bored with life, checks all their tickets. You can buy tickets from the ticket clerk, behind his counter close to the exit southeast.\n\n> You go southeast\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> You go to the east\nYou wait for a break in the traffic but it's far too busy so you give up.\nPlaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go southeast\nAs you step on the road, the cars all accelerate towards you, their drivers leaning over the steering wheels with fangs bared. You just avoid them by swimming as quick as you can to the safety of Dace Road. Dace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go north\nYou wait for a break in the traffic but it's far too busy so you give up.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> You go northwest\nAs you step on the road, the cars all accelerate towards you, their drivers leaning over the steering wheels with fangs bared. You just avoid them by swimming as quick as you can to the safety of Dace Road. Plaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\n\n> Go south\nThe music shop is cluttered with amateur musicians, most of whom are playing versions of the ancient heavy metal hit \"Smoke Underwater\", very badly, on expensive instruments that they have no intention of buying. An assistant is attempting to hide behind the counter. The hasty exit from this noisy place is north.\n\n> You look at the music\nDon't be foolish! You can't examine music, it's ethereal.\n\n> You get in the radio case\n\"Watch it,\" shouts Steve, \"that's sold.\"\n\n> You look at what you're carrying with you\nYou are carrying a fishofax, a tatty card, a travel pass, some dark glasses, some ear-plugs, a hyperdriver, a film and a bag.\nYou are wearing a watch.\n\n> Fishofax\nAre you talking to yourself again?\n\n> You look at the fishofax\nThe fishofax is a really useful item. Honest. It combines all the features of a diary and a wallet, for about four or five times the price.\nIt is open.\nIt contains a Fisa card.\n\n> You read the fishofax\n\"Principal, 10 o'clock. Don't be late\" is written on today's diary page of your fishofax. You've also written your computer password with the letters jumbled up to confuse anyone who reads it. It says \"EM\".\n\n> Yell\nNobody hears you.\n\n> Go south\nYou dart across Dace Road while nobody's looking.\nShark Street\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\n\n> Go east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nHardware Shop\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west.\nA screwdriver is for sale.\n\n> Go northeast\nYou can't go that way.\nOnly north, east, south, west.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\n\n> Go upward\nYou show your pass to the guard and go through.\nOpah Station\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east.\n\n> You go north\nThat was not the right thing to do. The flashing lights blaze into the host-parasite interface, stunning you for a moment. You just manage to stagger outside before the interface disintegrates completely. That was close!\n\n> You wear the glasses\nYou put on the dark glasses.\n\n> Go north\nNot entirely the right thing to do, I'm afraid. The thump-thump-thump of the bass gnaws steadily away at the host-parasite interface, making you feel decidedly uneasy. You lurch outside before it disintegrates completely.\n\n> Wear plugs\nYou put on the ear-plugs. The ear plugs don't work too well. You can still work out what people say.\n\n> You go to the north\nThe dark glasses and ear plugs provide just enough protection for the host-parasite interface from the flashing lights and heavy bass. You are completely safe. As long as you keep them on of course.\nDisco\nThe university disco is open all day and every day during rag week. The students are having a wild and wacky sponsored bop-til-you-drop competition. They're having a whale of a time, pretending they're robots when the stroboscopic light is on and performing mindless synchronised dances to songs they'd normally only dance to if they were on holiday where no-one would remember them. You know it's all done for charity, but they look suspiciously like they're enjoying themselves. Some disco dancers are here.\n\n> You examine the dancers\n[x -> examine]\n\n> Dance\nYou boogie on down to the rhythm, strutting your funky groove in an alarming fashion. Still, it gets you noticed. When the record finishes, the students congratulate you on your 'uninhibited' style.\nGlancing towards the toilet you see a trout emerge, adjusting his flies.\n\n> You look at the trout"
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist]\n\n> You describe your surroundings\nThe university disco is open all day and every day during rag week. The students are having a wild and wacky sponsored bop-til-you-drop competition. They're having a whale of a time, pretending they're robots when the stroboscopic light is on and performing mindless synchronised dances to songs they'd normally only dance to if they were on holiday where no-one would remember them. You know it's all done for charity, but they look suspiciously like they're enjoying themselves. Some disco dancers are here.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a travel pass, a hyperdriver, a film and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Go south\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\n\n> You examine the statue\nThe statue has the University motto, 'Scientia est bona' engraved underneath.\n\n> Go east\nWindows line the north wall of this corridor which continues east and west. They look out onto the quad, and stream light on to an archway which leads south to the library.\nAs you arrive Bertie Bream greets you cheerfully.\n\n> You go south\n\"The principal's not available at the moment, Dr. Roach,\" her secretary informs you, \"I'll tell her you called.\" She shows you out to the foyer.\nUniversity Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> You put tatty card in the slot\nThe card fits neatly into the slot. After a few reassuring buzzes the door slides open smoothly and the card is returned to your waiting hand.\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> Go north\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\nAs you arrive Simon Tench greets you cheerfully.\n\n> Go south\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\nA group of students swim by with what looks like the principal.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nAn underground train is here but looks likely to leave at any moment. \"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> Go south\n\"Good morning Dr. Roach,\" says the principal's secretary, \"have a seat. She won't be long.\" She finally arrives at ten minutes to ten. \"Good morning Doctor,\" says the principal as she closes the door and takes a seat, \"I'm sorry if this is inconvenient, but it is an emergency. It seems this talk about parasiting may not be speculation. We've received information that a junior member of your team has been 'taken over' and has sabotaged The Project. You don't need me to tell you that this could be disastrous for Hydropolis. Naturally, I've suspended everyone until further notice. You're the only one I can trust; I want you to investigate. I'm going to the government to inform them of the danger. I'm not evacuating, so don't worry. I'll be back tomorrow.\" She gets up. \"Now please hurry doctor. There's not a second to lose.\" You walk back to the foyer together then go your separate ways.\nUniversity Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> You put the tatty card in lsot\n\n\n> You go to the west\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\nAs you arrive Ernest Chub greets you cheerfully."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Go downwards\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nAn old fish swims up to you and asks for the price of a snifter. \"Five clams,\" you tell him. He thanks you and swims away.\n\n> Go west\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\nAs you arrive Bertie Bream greets you cheerfully.\n\n> You go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nYour colleague Bertie Bream swims into view.\nBertie Bream greets you with a friendly wave of his fin.\n\n> You examine drunk\nAll washed up, Doctor Salmon is a no-good drunk. He hasn't been the same since he was taken off The Project.\n\n> You ask Salmon about card\n\"If you give me something I might let you have it,\" he says slyly.\n\n> You buy the drink for Salmon\nWhat do you want to buy?\n\n> Inventory\nYou are carrying a fishofax, a tatty card and a travel pass.\nYou are wearing a watch.\n\n> You buy the snifter with the Fisa\n\"That will be 5 clams, sir. I'll charge it to your Fisa account at once. Enjoy your sniff.\" says Steve as he hands you a mask.\n\n\"Only one snifter at a time please,\" says Steve, \"you know the law.\"\n\n> You ask Salmon about the card\nDr. Salmon lurches slightly. He reaches into his pocket and removes an id card a little like your own but in much better condition. Surprised at his find he hands it to you saying \"fangs very very much\".\n\n> You check your inventory\nYou are carrying a fishofax, a tatty card, a new card and a travel pass.\nYou are wearing a watch.\n\n> You go east\nYou wait for a break in the traffic but it's far too busy so you give up.\nPlaza\nNoisy, dirty, fishy and grimy. Well, what did you expect a downtown Hydropolis shopping precinct to be like? You expected shops? OK, I'll give you some shops. To the north is a clothing shop, to the south is a pub and to the west is a cinema. Is that enough? No? Well, you'll have to go across Dace Road to the southeast if you want some more or northwest to Pickerel Underground Station if you want to go somewhere else.\nYou notice a guppy flounder around for a bit and then swim off.\n\n> You go to the south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Bertie Bream greets you cheerfully.\n\n> You go east\nMy, Plaice Street is busy! In the end you succeed in crossing.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal, Magnetic Scrolls]\n\n> You go down\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go east\nThis fish has not been modified to swim through walls.\nSteve swims by at top speed.\n\n> You go north\nThis is where a lot of the groundwork for The Project was done by the famous Dr. Salmon. Unfortunately his work was shelved to make room for your endeavours, and anyway he sniffed far too much. You can swim up into the tower from here or pass through the metal door with a slot beside it to the south.\nThere is a crystal tuna here.\nAfter allowing time for someone to pass the door closes.\n\n> You examine the tuna\nThe crystal tuna is a box which lets you adjust the receiving frequency of a given crystal.\nIt is open.\n\n> You get the tuna\nThe crystal tuna is too heavy to lift.\n\n> You go north\nYou can't go that way.\nOnly up.\n\n> Up\nWater must be evaporating fast; the tower is only half full! You swim up and break the surface to take a look around. In the ceiling, high above through the air, is a trapdoor, but there seems no way of getting there. You dive quickly back underwater before your gills dry out."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\nOnly south.\n\n> You go to the south\nThis is where a lot of the groundwork for The Project was done by the famous Dr. Salmon. Unfortunately his work was shelved to make room for your endeavours, and anyway he sniffed far too much. You can swim up into the tower from here or pass through the metal door with a slot beside it to the south.\nThere is a crystal tuna here.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, some dark glasses, some ear-plugs, a hyperdriver and a film.\nYou are wearing a watch.\n\n> You go to the south\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\nAfter allowing time for someone to pass the door closes.\n\n> You order the meal with the fisa\nThe waiter waves you away. \"I'm afraid our facilities are all fully booked today. I can sell you a take-away sachet of plankton, if you're hungry sir.\"\n\n> You buy the sachet with the Fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the sachet.\n\n> You look at the sachet\nThe sachet is used by customers who wish to take their food away to eat at home.\nIt is closed.\n\n> You open the sachet\nYou tear open the sachet. The plankton escapes and starts to slowly disperse in the water around you. You notice how the plankton deflects the light as it spreads. If you act quickly you should be able to eat it before it disperses completely.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Museum.\n\n> You open sachet\nYou tear open the sachet. The plankton escapes and starts to slowly disperse in the water around you. You notice how the plankton deflects the light as it spreads. If you act quickly you should be able to eat it before it disperses completely. Your mouth drops open in amazement. In the spreading cloud of plankton is the glimmering of myriad light beams - clearly the museum alarm system. Ahem!\n\n> Go north\nYou step past the now visible beams.\nCrystal Room\nThis is the most beautiful room you've ever seen. There are no decorations, no features, no flaws, and yet the colours shift and swirl on every surface creating a hypnotic, soothing ambience. If you ever get the urge to leave, the exit is south.\nA crystal is the museum's star exhibit.\n\n> You examine Crystal\nLight catches this crystal in a beautifully irregular manner.\n\n> Go south\nYou step past the now visible beams.\nAlarm Room\nWhite rooms always have a bad effect on you. If the authorities had had their way, your laboratory would have been white. But you were firm. You put your tail down and refused. This room is white, and you don't like it. It leads north to the museum's finest exhibit and south back to the museum.\nThere are some beams and some plankton here.\n\n> You eat the plankton\nThe plankton is delicious, and soon gone. Bells, hooters and whistles sing out from all over the museum bringing guards rushing to the crystal room. You try to explain that it was an accident; that you just stumbled. On your way out you are interviewed by a guard. \"You've stolen our crystal haven't you, you thief!\" In a moment of weakness, which ruins any chance you had of completing the game, you confess and tearfully hand the crystal back to him, promising never to do anything so naughty again.\nMuseum Station\nThis station is the oldest in Hydropolis. The decoration reflects more decadent times, when men were men, fish were fish and they got together to build underground stations. An exit leads north to the museum while a funnel leads down to the platform.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> You go up\nYou show your pass to the guard and go through.\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> You go to the west\nThis is the up and coming place to live in Hydropolis. It's also one of the busiest, teaming with guppies. Your apartment block is to the north and the entrance to the underground station bearing the logo of the Hydropolis Underground Omnibus Company stands to the east.\n\n> You go north\nWith no security guard, no intercom and no doors, any old eel could slip in here and break into every apartment in the block. It's a wonder it hasn't happened yet! Mind you, it wouldn't be all bad. At least Dr. Roach could get some new furniture with the insurance money. The exit out to Paddlington is to the south and the access shaft leads up to the landing.\n\n> Go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nOh, no! You've been burgled! I hope Dr. Roach was insured.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> You go to the south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Bertie Bream and Ernest Chub greet you cheerfully.\n\n> You ask Bream about the disco\n\"Yes I've often wondered about those places,\" says Bertie, \"so many possibilities for studies of fish behaviour. Seeing how far we've evolved, that sort of thing. I'll have to get my equipment sorted out first. I'll meet you there at 14:00?\" Without waiting for a reply Bertie Bream rushes off on his errands.\n\n> Time\nThe time is 13:02\n\n> You ask Chub about the disco\nErnest Chub says, \"Sorry, I've already made plans for tonight. Anyway, Bertie Bream told me you were going with him.\"\n\n> You go east\nMy, Plaice Street is busy! In the end you succeed in crossing.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street.\n\n> Go east\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\nAs you arrive Simon Tench greets you cheerfully.\n\n> You go to the south-east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nEelpout Underground Station\nIn the ticket hall, commuters are busily swimming up and down the access funnel which leads to the platform. The ticket counter stands in the centre with a clerk behind it. Northwest an exit leads out onto Shark Street.\n\n> Time\nThe time is 13:24\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, some dark glasses, some ear-plugs, a hyperdriver, a crystal, a film and a sachet.\nYou are wearing a watch.\n\n> Wear plugs\nYou put on the ear-plugs. The ear plugs don't work too well. You can still work out what people say.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> Time\nThe time is 13:29\n\n> You wait for Chub\nErnest Chub is not here. Try the pub.\n\n> You wait for Bream\nBertie Bream is not here. Try the pub.\n\n> You wait\nTime passes.\nGlancing towards the toilet you see a trout emerge, adjusting his flies.\n\n> Wait\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\n\n> Time\nThe time is 13:46\n\n> You wait\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\n\n> Time\nThe time is 13:56\n\n> You look\nThe university disco is open all day and every day during rag week. The students are having a wild and wacky sponsored bop-til-you-drop competition. They're having a whale of a time, pretending they're robots when the stroboscopic light is on and performing mindless synchronised dances to songs they'd normally only dance to if they were on holiday where no-one would remember them. You know it's all done for charity, but they look suspiciously like they're enjoying themselves. Some disco dancers are here.\nYou notice several students loitering with intent. One of them produces a guitar and starts singing: \"Come on feel my nose. The girls grab my clothes. Go why, why why any more.\" Oh no, he's started busking! Luckily the other students attack and carry him off before you hear too much.\n\n> You look\nThe university disco is open all day and every day during rag week. The students are having a wild and wacky sponsored bop-til-you-drop competition. They're having a whale of a time, pretending they're robots when the stroboscopic light is on and performing mindless synchronised dances to songs they'd normally only dance to if they were on holiday where no-one would remember them. You know it's all done for charity, but they look suspiciously like they're enjoying themselves. Some disco dancers are here.\n\n> Time\nThe time is 14:01\n\n> You go south\n\"I've been standing here for ages,\" says Bertie Bream , \"come on, let's go in.\"\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> Go north\nSuddenly, Bertie Bream gets very nervous and drags you away from the entrance. \"I can't go in without a tie,\" he says, \"what will everyone think of me?\" He starts shaking uncontrollably. \"You'll have to get me one,\" he quivers, \"I can't swim anywhere right now.\"\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> You look at what you're carrying with you\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal, a film and a sachet.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Time\nThe time is 13:26\n\n> You go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Ernest Chub and Simon Tench greet you cheerfully.\n\n> Go north\nBehind a counter stands an assistant, ready to sell you anything in the shop. Many racks are filled with exciting jackets, a fashionable accessory in Hydropolis at the moment. You can leave the shop by going south.\nA tie is for sale.\n\n> Time\nThe time is 13:54\n\n> You wear the glasses\nYou put on the dark glasses.\n\n> Wear plugs\nYou put on the ear-plugs. The ear plugs don't work too well. You can still work out what people say."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Look around\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\nYou notice several students loitering with intent. One of them produces a guitar and starts singing: \"Come on feel my nose. The girls grab my clothes. Go why, why why any more.\" Oh no, he's started busking! Luckily the other students attack and carry him off before you hear too much.\n\n> You look\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\nHere comes Bertie Bream , clearly ready to shake his booty.\n\n> Go north\nSuddenly, Bertie Bream gets very nervous and drags you away from the entrance. \"I can't go in without a tie,\" he says, \"what will everyone think of me?\" He starts shaking uncontrollably. \"You'll have to get me one,\" he quivers, \"I can't swim anywhere right now.\"\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> You give the tie to Bertie\n\"Thanks,\" says Bertie Bream , putting on the tie, \"I feel quite presentable now. Let's go in.\"\n\n> Go north\nThe dark glasses and ear plugs provide just enough protection for the host-parasite interface from the flashing lights and heavy bass. You are completely safe. As long as you keep them on of course. Bertie Bream follows you in.\"Aghhh!\" Bertie Bream screams and rushes from the disco. You quickly follow, just in time to see his body convulsing. There is a popping noise as something escapes through a warp hole then Bertie Bream collapses. You slap his gills to bring him round. \"What happened?\" he says, standing up, \"I can hardly remember anything. But I did something bad to The Project. Something about stream regulators, stream accelerators, stream regimentors.\" \"Go on,\" you say, \"It's terribly important.\" \"I can't remember,\" he pleads, getting delirious, \"it's not my fault, I really can't. I need a shower. I feel dirty.\" He rushes off before you can stop him.\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\n\n> You examine the aquarium\n\n\n> You unscrew the lok screw with the hyperdriver\nBertie Bream bangs on the door shouting, \"Stop! Stop! Don't touch the Device - it's booby trapped.\" You rush over into the lab and over to the door, expecting some kind of trap. \"Can you hear me Dr. Roach?\" he asks desperately, \"the Device is booby trapped. It's connected up to a computer game called Shutdown which is keeping the Lokscrew locked in place. The only way to free it is to stop Shutdown counting down, but I don't know how to; the parasite wrote the program. You'll have to log in as me; I can't quite remember my password though, I think it's 'pondweed' but I'm not sure. The parasite could have deceived me. Did you get all that?\" \"Yes, thank you,\" you shout and he swims away saying, \"Good luck Dr. Roach.\" You return to the project room and look with dismay upon the lok screw. Another booby trap! This is getting dangerous."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> You look at your surroundings\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\n\n> You examine terminal\nThe Project terminal gives team members access to the university computer.\n\n> You log in\n\n\n> You turn on the terminal\nIt's already turned on. What you really need to do is to sit down and log in.\n\n> You sit down\nThe login message is on the screen.\n\n\"Type LOGIN to enter system\".\n\nYou are now sitting at the Project terminal.\n\n> Login\nLax 1803 V1.19 (University of Hydropolis)\nLogin (surname)-\n\n> Yourself\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 14:26: %\n\n> Ls\nTime 14:26: %\n\n> Project\nOpah University 660/55/4\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nProject Prime Directive: To save Hydropolis, which is under threat from water evaporation, by streaming water from an alternate dimension - Fractal Aquaria Two. The inter-dimensional matter streamer will be referred to as The Device from now on.\nTime 14:27: #\n\n> You read the note\nWhich file do you want to read.\nPROJECT - NOTE - STORE - EQUIPMENT\nOr QUIT to exit to COMMAND level\nTime 14:27: #\n\n> Note\nOpah university 660/55/6\nProject notes\nFor Project Members Eyes only:\nFrom - Principal\nSome serious anomalies have arisen in the last batch of data. Someone is tampering with the figures and The Project! All staff are advised to remain vigilant regarding all suspicious data and misuse of computer time. Let's nip this problem in the bud, boys.\nTime 14:27: #\n\n> Store\nOpah university 660/55/3\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nStore notes: The Stream Regulator has been stolen. This is serious. The Project will fail if we don't replace it. At present, we haven't located any replacement components. Anyone who can find them will be a hero. Here's a list of what's needed:\nFilter.\nPhoton bridge - Dr. Salmon worked on this, he may know its whereabouts. Focus wheel - stolen days ago.\nTuned Crystal - There's an untuned one in the museum but they won't let us near it.\nWe also need a case to keep everything stable.\nTime 14:28: #\n\n> You read the note\nWhich file do you want to read.\nPROJECT - NOTE - STORE - EQUIPMENT\nOr QUIT to exit to COMMAND level\nTime 14:29: #\n\n> Equipment\nStream Regulator = ((a+c)+(b+d))+e\nTime 14:29: #\n\n> Mail\nNo mail in /usr/spool/mail\nTime 14:29: %\n\n> B.\nTime 14:29: %\n\n> F who b.\nTime 14:31: %\n\n> Pondweed\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 14:37: %\n\n> Store\nOpah university 660/55/3\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nStore notes: The Stream Regulator has been stolen. This is serious. The Project will fail if we don't replace it. At present, we haven't located any replacement components. Anyone who can find them will be a hero. Here's a list of what's needed:\nFilter.\nPhoton bridge - Dr. Salmon worked on this, he may know its whereabouts. Focus wheel - stolen days ago.\nTuned Crystal - There's an untuned one in the museum but they won't let us near it.\nWe also need a case to keep everything stable.\nTime 14:37: #\n\n> Pondweed\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 14:42: %\n\n> Games\nChess, Hack, Prawn, Gilled of Thieves, Fish, Shutdown. QUIT to return to command mode.\nTime 14:43: +\n\n> Shutdown\nYou know the rules.\nThe goal is \"WATER\". Starting position - YZWRA\nYou have 19 minute(s) until The Project is activated.\n\n> 2\nYou have 18 minute(s) until The Project is activated.\n\n> 23\nYou have 17 minute(s) until The Project is activated.\n\n> 25\nYou have 16 minute(s) until The Project is activated.\n\n> 1\nYou have 15 minute(s) until The Project is activated.\n\n> 19\nYou have 14 minute(s) until The Project is activated.\n\n> 24\nYou have 13 minute(s) until The Project is activated.\n\n> 5\nYou have 12 minute(s) until The Project is activated.\n\n> 1\nYou have 11 minute(s) until The Project is activated.\n\n> 1\nYou have 10 minute(s) until The Project is activated.\n\n> 1\nYou have 9 minute(s) until The Project is activated.\n\n> 1\nYou have 8 minute(s) until The Project is activated.\n\n> 1\nYou have 7 minute(s) until The Project is activated.\n\n> 15\nYou have 6 minute(s) until The Project is activated.\n\n> 12\nYou have 5 minute(s) until The Project is activated.\n\n> 23\nYou have 4 minute(s) until The Project is activated.\n\n> 1\nYou have 3 minute(s) until The Project is activated.\n\n> 11\nYou have 2 minute(s) until The Project is activated.\n\n> 16\nYou have 1 minute(s) until The Project is activated.\n\n> 3\nShutdown failed. The Project activated.\nSensors detect Stream Regulator sabotaged. This will cause rapid water evaporation. Hydropolis in immediate danger. Red alert. Evacuate! Evacuate!\n\nAll the water gets sucked towards the Device. You try swimming for it, but, with no water, that's more than a little difficult. Suddenly, the door caves in under pressure from water outside and a huge wave slams your puny body against the far wall. Laboratory (at the Project terminal)\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nGoldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> Shutdown\nYou know the rules.\nThe goal is \"WATER\". Starting position - HAPUR\nYou have 21 minute(s) until The Project is activated.\n\n> 23\nYou have 20 minute(s) until The Project is activated.\n\n> 4\nYou have 19 minute(s) until The Project is activated.\n\n> 10\nCongratulations Bertie Bream you've won again.\nWe must play shutdown again sometime. Project initialisation reset to original start time.\n\nReturning to GAMES menu.\nSelect game -\nChess, Hack, Prawn, Gilled of Thieves, Fish, Shutdown. QUIT to return to command mode.\nTime 14:42: +\n\n> You go northeast\nYou get off.\nProject Room\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\n\n> You unscrew the lok screw with the hyperdriver\nThe hyperdriver grips and turns the Lokscrew(TM) in that cunning way that only hyperdrivers can. The Lokscrew(TM) is easily removed.\n\n> You examine the accelerator\nThe stream accelerator accelerates particles gathered by the main Project machine.\n\n> Go west\nWindows line the north wall of this corridor which continues east and west. They look out onto the quad, and stream light on to an archway which leads south to the library.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> You check your inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a lok screw, a stream accelerator, a crystal, a film and a sachet.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You turn on the tuna\nThere is a ringing sound which dies away after about twenty seconds.\n\n> You ask Chub about the case\nErnest Chub says, \"It's a lovely antique I found at the second hand shop. Buried under a pile of rubbish it was. The proprietor has no sense of value.\"\n\n> You ask Chub about the Filter\nErnest Chub says, \"Your mind works in such an amazing way sir. I really don't know how you think of such things.\"\n\n> You ask Tench about the Filter\nSimon Tench says, \"Roachie baby, you're really on form. What a concept!\"\n\n> You ask Tench about the photon bridge\nSimon Tench says, \"The photon bridge? Too far out for me fish.\"\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a lok screw, a stream accelerator, a tuned crystal, a film and a sachet.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You examine the film\nThe film is an original copy of \"Attack of the Killer Tomatoes\". It's more of a vegetable video than a fruity film now you think about it.\n\n> You look at the accelerator\nThe stream accelerator accelerates particles gathered by the main Project machine.\n\n> Go north\nBehind a counter stands an assistant, ready to sell you anything in the shop. Many racks are filled with exciting jackets, a fashionable accessory in Hydropolis at the moment. You can leave the shop by going south.\n\n> Go north\nYou dart across Dace Road while nobody's looking.\nSecond Hand Shop\nThis shop is run by a cool catfish of many talents, most of them illegal, who goes by the name of Steve. Steve is a fish who could sell stripes to tiger sharks, but would rather sell them his grandmother - if he hasn't already. The shop has a bad reputation. It normally sells \"fins what have fallen off the back of a submarine\" if you get my drift. The exit from this den of low morals and high prices is to the south.\nYou recognise the fishton.\nThere is a radio case here.\n\n> You put Crystal in the case\n\"Watch it,\" shouts Steve, \"that's sold.\""
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist]\n\n> Look around\nThis shop is run by a cool catfish of many talents, most of them illegal, who goes by the name of Steve. Steve is a fish who could sell stripes to tiger sharks, but would rather sell them his grandmother - if he hasn't already. The shop has a bad reputation. It normally sells \"fins what have fallen off the back of a submarine\" if you get my drift. The exit from this den of low morals and high prices is to the south.\n\n> Go east\nThis is the seedier part of town with shops to match, so watch who you're dealing with. South is a music shop, north is a second hand shop, across the road to the east is the hardware shop and southeast is the nearest underground station, Eelpout. Dace Road, a much safer place to be, is to the west.\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You wait\nTime passes.\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> Y.\n[y -> yes]\n\nMagnetic Scrolls Interpreter, version 2.3\nWritten by Niclas Karlsson\nGlk interface by Simon Baldwin\n\n\"Well done, Agent 10,\" said Sir Playfair Panchax, head of Mission HQ. \"We knew you'd stop the Seven Deadly Fins. Good show! It's a shame they got away again. But now I suggest you take a vacation. You've earned it, old boy.\" You agreed with him, the last few months had been a real chore. Being an inter-dimensional espionage operative isn't a bad life apart from the pain of warping and the inconvenience of host-parasite relationships, but you need a spot of R and R every now and then, just to stay sane. So you went for the big one - warping into a goldfish for a whole month! The peace. The tranquility. And you're still on the payroll.\n\nFISH! - Version 1.10 - Copyright (C) 1988, 1990 Magnetic Scrolls Ltd.\n\nSomeone's coming. Good, it must be time for food. SPLATTO. A hand as big as a bus drops something hard right on your head. Understandably dazed, you flip over and, through a swirl of ant eggs, spot what hit you: a tacky plastic castle. It looks like a rush job. Sir Playfair must be in trouble. And you thought you were on vacation...\n\nSwimming upside down is good fun, but difficult, even for someone as highly trained as yourself. It looks like the pondweed is dangling from the gravel above your head. And the ant eggs, wow! Upside down they look, so, so much like, well, like exactly the same as if you were the right way up actually. Anyway, there's no need to get carried away. Sir Playfair has a message for you in the castle if you're not mistaken and he hates agents who are late.\n\n> You look\nSwimming upside down is good fun, but difficult, even for someone as highly trained as yourself. It looks like the pondweed is dangling from the gravel above your head. And the ant eggs, wow! Upside down they look, so, so much like, well, like exactly the same as if you were the right way up actually. Anyway, there's no need to get carried away. Sir Playfair has a message for you in the castle if you're not mistaken and he hates agents who are late.\n\n> You read\nWhich file do you want to read.\nPROJECT - NOTE - STORE - EQUIPMENT\nOr QUIT to exit to COMMAND level\nTime 14:43: #\n\n> Note\nOpah university 660/55/6\nProject notes\nFor Project Members Eyes only:\nFrom - Principal\nSome serious anomalies have arisen in the last batch of data. Someone is tampering with the figures and The Project! All staff are advised to remain vigilant regarding all suspicious data and misuse of computer time. Let's nip this problem in the bud, boys.\nTime 14:44: #\n\n> Project\nOpah University 660/55/4\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nProject Prime Directive: To save Hydropolis, which is under threat from water evaporation, by streaming water from an alternate dimension - Fractal Aquaria Two. The inter-dimensional matter streamer will be referred to as The Device from now on.\nTime 14:45: #\n\n> Equipment\nStream Regulator = ((a+c)+(b+d))+e\nTime 14:46: #\n\n> Store\nOpah university 660/55/3\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nStore notes: The Stream Regulator has been stolen. This is serious. The Project will fail if we don't replace it. At present, we haven't located any replacement components. Anyone who can find them will be a hero. Here's a list of what's needed:\nFilter.\nPhoton bridge - Dr. Salmon worked on this, he may know its whereabouts. Focus wheel - stolen days ago.\nTuned Crystal - There's an untuned one in the museum but they won't let us near it.\nWe also need a case to keep everything stable.\nTime 14:47: #\n\n> Go west\nYou get off.\nYou smash your nose against the door.\n\n> You unlock the door with the card\nWhich one, the metal door or the store room door?\n\n> Metal\nWhich one, the Fisa card, the tatty card, the new card or the travel pass?\n\n> Tatty\nBut the metal door is already unlocked.\n\n> You put the film in the slot\nThe film won't fit.\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls]\n\n> Look around\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> Go west\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> You ask Salmon about the phase bridge\n\n\n> You ask Salmon about the phaze bridge\n\n\n> You ask Salmon about the photon bridge\nThe drunk says, \"I don't know anything about that.\"\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You ask Chub about the Filter\nErnest Chub says, \"Oh really sir. You flatter me with such a question. I'm not fit to provide an answer.\"\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You ask Chub about the photon bridge\nErnest Chub says, \"The bridge is of so complex a design that I feel sure only you truly understand its workings.\"\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You examine Salmon\nAll washed up, Doctor Salmon is a no-good drunk. He hasn't been the same since he was taken off The Project.\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You look at the sachet\nThe sachet is used by customers who wish to take their food away to eat at home.\nIt is open."
    },
    {
        "text": "> You look around\nLaboratory (at the Project terminal)\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\n\n> Go west\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\nAfter allowing time for someone to pass the door closes.\nThree students swim by with a rolled-up hang glider under their fins."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\nOnly south.\n\n> You go to the south\nThis is where a lot of the groundwork for The Project was done by the famous Dr. Salmon. Unfortunately his work was shelved to make room for your endeavours, and anyway he sniffed far too much. You can swim up into the tower from here or pass through the metal door with a slot beside it to the south.\nThere is a crystal tuna here.\n\n> Turns"
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> You go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> You go up\nYou show your pass to the guard and go through.\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> You go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\n\n> You ask Steve about the case\nSteve says, \"It's sold mate, sorry. Rod is going to deliver it to a customer later on.\"\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\n\n> You go up\nYou show your pass to the guard and go through.\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> Go upwards\nYou swim into the access shaft and up to the level of your apartment Landing\nThere are two doors on this level of the apartment block - one to your apartment and one to your new neighbour, Ernest Chub's. Beside each door is a handprint and an access shaft leads down to the lobby.\nThere is a radio case here.\n\n> You look at the case\nThe radio case is the outer casing of an antique radio. There is a lot of space inside where the radio bits used to be.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal, a radio case, a film and a sachet.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You examine the film\nThe film is an original copy of \"Attack of the Killer Tomatoes\". It's more of a vegetable video than a fruity film now you think about it.\n\n> You go northeast\nYou get off.\nProject Room\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThe device almost fills the room, looking like an aquarium filled with multi-coloured gravel.\n\n> You get the lok screw\nYou just can't seem to get a grip on the Lokscrew(TM). You need a hyperdriver.\n\n> You unscrew the lok screw with hyperdriver\nOne of the special features of Lokscrews(TM) that make them popular with games programmers is their ability to lock tight just when things are getting critical. This is one such occasion. The computer is counting down the destruction of Hydropolis and time is running out. The Lokscrew(TM) won't move when locked.\n\n> You remove the lok screw with the hyperdiver"
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist]\n\n> You buy the mask with the fisa\n\"That will be 5 clams, sir. I'll charge it to your Fisa account at once. Enjoy your sniff.\" says Steve as he hands you a mask.\n\n> You buy the mask with fisa\n\"That will be 5 clams, sir. I'll charge it to your Fisa account at once. Enjoy your sniff.\" says Steve as he hands you a mask.\n\"You're getting through the snifters quickly.\" adds Steve, \"If you like, I can sell you a cylinder for only 99 clams.\"\n\n> You buy cylinder with the Fisa\n\"That will be 99 clams, me old mate.\" says Steve. He gives you the cylinder and charges the purchase to your Fisa account. A drunk with his left arm in a sling lurches into you as you turn round from the bar, knocking the cylinder to the floor. \"Sorry guv,\" he slurs, picking it up, \"I'll get you another one.\"\n\"It's one of the Fins! Stop him Agent 10,\" screams Sir Playfair in your brain as the drunk runs off with the cylinder. You swim frantically after him but he disappears. \"Well, you really messed that up,\" Sir Playfair scolds. \"The cylinder must be important otherwise they wouldn't have stolen it. Fortunately, the back room boys got a fix on him. He's somewhere in the dimensions. You'll have to go after him, Agent 10, and be careful this time.\" You hear him mumbling in the background then he curtly says, \"A warp will open up in Dr. Roach's apartment. Use that. Panchax out.\" You should be more careful if you want to keep your job.\n\n> Go east\n\"Finished already?\" asks Steve as he takes the snifter. My, Plaice Street is busy! In the end you succeed in crossing.\nDace Road\nYou are swimming along the south side of Dace Road. The police station is to the south, west across Plaice Street is a pub, and east lies Shark Street."
    },
    {
        "text": "[Themes: Espionage, Humor, fish protagonist]\n\n> Go downward\nYou can't go that way.\nOnly north, northeast, east, southeast, south, west, northwest.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Paddlington.\nAn underground train is here but looks likely to leave at any moment. \"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> You go up\nYou show your pass to the guard and go through.\nPaddlington Station\nThis station is busy. Commuters are flooding down the access funnel to the platform, almost overwhelming the guard checking their tickets. The ticket clerk, sitting behind a counter, looks quite scared by the mad rush too. You can get back to the street westward, but you'd be swimming against the tide of commuters.\n\n> Go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a dark warp here.\n\n> You enter the dark warp\nYou slip through the dark warp into the whirling dimensions. \"It's a strange place Agent 10,\" says Sir Playfair's voice in the back of your brain. \"Those Fins have twisted the dimensions into some kind of labyrinth, but it isn't normal. The back room boys are busy trying to figure it out. All they can tell me is that the Fins have hidden the cylinder in a place where the only way out is up and that if you're left in a room with no exits you'll be stuck there until we can get you out, which may well be too late to save Hydropolis. You'll have to watch your step, Agent 10; we don't want to lose you, old boy. Good luck. Panchax out.\"\n\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, southwest, northwest, up.\n\n> You go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, southwest, northwest.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, southwest, west, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast, south, northwest.\n\n> You go to the southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, northwest, up.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, south, southwest, west.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, northwest, up.\n\n> You go to the north-west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, west.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, southwest, northwest, up.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, west.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, west, up.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, southwest, northwest.\n\n> You drop the pass\nTravel pass dropped.\n\n> You go to the east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, southeast, south, southwest, northwest, up.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east, west, northwest.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead northeast, up.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead northeast, southeast, south, up.\n\n> Go upwards\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east, southwest, west, northwest.\n\n> You go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east, south, northwest, up.\n\n> You go to the east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead northeast, southeast, northwest.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east, southeast, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead east, southeast, west.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, east, southeast, south, southwest, northwest, up.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a travel pass here.\nExits lead north, west, northwest.\n\n> You go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a cylinder and a travel pass here.\nExits lead up.\n\n> Cylinder\nYou have now got the travel pass.\nYou are carrying too much already to get the cylinder.\n\n> You drop the film\nFilm dropped.\n\n> Go upward\n\"Well done old boy,\" says Sir Playfair as you slip back into the lounge, \"I didn't think you'd make it. That should keep the Fins at bay for a while. Top hole. Panchax out.\" The dark warp swiftly fades. Lounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\n\n> You look at what you're carrying with you\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal, a sachet and a cylinder.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You sniff the cylinder\nThe cylinder smells like a cylinder.\n\n> Go south\nYou smash your nose against the door.\nThe train speeds through the tunnel then clatters into Barbellican. The doors slide open and the commuters swim in and out.\n\n> You go south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east.\nThere is a stool here.\nAs you arrive Ernest Chub and Simon Tench greet you cheerfully.\n\n> You give the cylinder to Salmon\n\"Thank you,\" slurs the drunk as he takes the cylinder . The drunk plays with your thoughtful present. He unfortunately finds how to empty the cylinder. The gas escapes, all in one go. What a waste.\n\n> You buy the mask with the fisa\n\"That will be 5 clams, sir. I'll charge it to your Fisa account at once. Enjoy your sniff.\" says Steve as he hands you a mask.\nYou are carrying too much and the fishofax annoyingly falls to the ground.\n\n> You wear the mask\nYou put on the snifter. As you inhale, someone kicks you in the gills. At least, that's what it feels like. Actually, you keel over backwards and swim upside down out of the pub, but you can't remember that. The drunk thought it was funny though. You do remember going round and round the tube network before you could get off at Paddlington. Coming up the access funnel was difficult, but, now that you're back in your apartment, the snifter has thankfully worn off, leaving you with a sore head. Lounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a travel pass and a tatty card here.\n\n> You check your inventory\nYou are carrying a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal, a snifter, a sachet and a cylinder.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You drop the mask\nJust as the snifter is about to leave your hand Steve takes it away. \"I'll look after this,\" he says shortly."
    },
    {
        "text": "[Themes: Humor, Espionage, surreal, Magnetic Scrolls]\n\n> Look around\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east.\nThere is a stool and a fishofax here. Simon Tench and Ernest Chub are here.\n\n> Open cylinder\nYou open the cylinder and the gas bubbles away around you.\n\n> You go to the south\nYou can't get out that way!\nIn The Dimensions\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\n\n> You look\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\n\n> You drop the Fishofax\nFishofax dropped."
    },
    {
        "text": "> You look around\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a fishofax here.\n\n> You go north\nYou can't get out that way!\nIn The Dimensions\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a fishofax here.\n\n> You get the fishofa"
    },
    {
        "text": "> You look around\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, south, west.\n\n> You go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, southwest, up.\n\n> You go to the south\nYou can't get out that way!\nIn The Dimensions\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\n\n> You go to the southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, south, southwest.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, west, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, southwest, northwest.\n\n> You go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, south, west, northwest.\n\n> You go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, southwest, northwest, up.\n\n> You go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southwest, northwest.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southwest, west, up.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south.\n\n> You go to the south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest, west, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south, northwest.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northwest, up.\n\n> You go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead west.\n\n> You go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, south, southwest, northwest, up.\n\n> Go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, south, southwest, west.\n\n> You go to the south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, up.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, south, up.\n\n> You go to the south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, southeast, southwest, west.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, south, southwest, west, up.\n\n> You go to the southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, west, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a cylinder here.\nExits lead up.\n\n> You get the cylinder\nYou are carrying too much already to get the cylinder.\n\n> You drop the screwdriver\nScrewdriver dropped.\n\n> You put satchel on the cylinder\n\n\n> You put the satchet on the cylinder\n\n\n> You drop the Sachet\nSachet dropped."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls, fish protagonist]\n\n> You look around\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a sachet here.\n\n> Go east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nHardware Shop\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west. The assistant offers to sell you a black plastic bag.\n\n> You buy bag with the fisa\n\"That will be 2 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the bag.\n\n> Go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east.\nThere is a stool here.\nAs you arrive Ernest Chub and Simon Tench greet you cheerfully.\n\n> You look\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> You examine the eggs\nIt's a pity that ant eggs are all you've had to eat for the past week, otherwise they might look appetising.\n\n> You wait\nTime passes.\nThe bowl rattles as someone strides over. \"It's time for this little fish's last meal,\" says an ominous voice. Then the voice lowers and recites menacingly\n\"And I am become death, destroyer of worlds.\"\nSuddenly, some ant eggs are dropped in.\n\n> You examine the person\n\n\n> You eat the eggs\nDelicious and there are plenty more.\nSuddenly, the ant eggs start dissipating a pale pink solution. Oh no! It's an inter-dimensional espionage operative's worst nightmare - the dreaded pink anti inter-dimensional espionage operative poison, guaranteed to kill not only an inter-dimensional espionage operative's host, but to trap him there for ever. To put it bluntly, the guarantee hasn't run out. The poison gags your gills. You'll never see Sir Playfair or Mission HQ again.\n\nYour score is 349 out of 501.\nYou have died.\nDo you want to quit or restart (q/r)?\n\n> Y.\n\"Well done, Agent 10,\" said Sir Playfair Panchax, head of Mission HQ. \"We knew you'd stop the Seven Deadly Fins. Good show! It's a shame they got away again. But now I suggest you take a vacation. You've earned it, old boy.\" You agreed with him, the last few months had been a real chore. Being an inter-dimensional espionage operative isn't a bad life apart from the pain of warping and the inconvenience of host-parasite relationships, but you need a spot of R and R every now and then, just to stay sane. So you went for the big one - warping into a goldfish for a whole month! The peace. The tranquility. And you're still on the payroll.\n\nFISH! - Version 1.10 - Copyright (C) 1988, 1990 Magnetic Scrolls Ltd.\n\nSomeone's coming. Good, it must be time for food. SPLATTO. A hand as big as a bus drops something hard right on your head. Understandably dazed, you flip over and, through a swirl of ant eggs, spot what hit you: a tacky plastic castle. It looks like a rush job. Sir Playfair must be in trouble. And you thought you were on vacation...\n\nSwimming upside down is good fun, but difficult, even for someone as highly trained as yourself. It looks like the pondweed is dangling from the gravel above your head. And the ant eggs, wow! Upside down they look, so, so much like, well, like exactly the same as if you were the right way up actually. Anyway, there's no need to get carried away. Sir Playfair has a message for you in the castle if you're not mistaken and he hates agents who are late.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, some dark glasses, some ear-plugs, a hyperdriver, a crystal, a film and a sachet.\nYou are wearing a watch.\n\n> You wear the glasses anthe ear-plugs\nYou put on the dark glasses.\nYou put on the ear-plugs. The ear plugs don't work too well. You can still work out what people say.\n\n> You enter the dark warp\nYou slip through the dark warp into the whirling dimensions. \"It's a strange place Agent 10,\" says Sir Playfair's voice in the back of your brain. \"Those Fins have twisted the dimensions into some kind of labyrinth, but it isn't normal. The back room boys are busy trying to figure it out. All they can tell me is that the Fins have hidden the cylinder in a place where the only way out is up and that if you're left in a room with no exits you'll be stuck there until we can get you out, which may well be too late to save Hydropolis. You'll have to watch your step, Agent 10; we don't want to lose you, old boy. Good luck. Panchax out.\"\n\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, southwest.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast, southwest, up.\n\n> You go to the north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest, west, northwest.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south, southwest, west, northwest, up.\n\n> You go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast.\n\n> You go to the northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, up.\n\n> Go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, west, northwest.\n\n> You go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, west, northwest, up.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, south, southwest.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south, southwest, up.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, west.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south, west, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southwest, northwest.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southwest, west, up.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south.\n\n> You go to the south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest, west, up.\n\n> Go upwards\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south, northwest.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, southeast, southwest, west, northwest, up.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, southwest.\n\n> You go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, southwest, up.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast, southwest.\n\n> You go to the north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest, west, northwest, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southwest, west, up.\n\n> Exits\nEast, south, southwest.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, west, up.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, south, southwest, northwest.\n\n> You go to the northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south, southwest, northwest, up.\n\n> You go to the south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, west, northwest.\n\n> F west\nNo can do!\nIn The Dimensions\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south, southwest, up.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, west.\n\n> Go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, west.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead west, up.\n\n> Up\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, southeast, south, southwest, northwest.\n\n> You go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, west, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, south.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, southwest, west, up.\n\n> You go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, southwest, west.\n\n> You go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southwest, west, up.\n\n> Go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southwest, northwest.\n\n> You go to the north-east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southwest, northwest, up.\n\n> Go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, southwest.\n\n> Ascend\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south, up.\n\n> You look at the watch\nThe time is 14:13\n\n> You look at the watch\nThe time is 14:14\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south, up.\n\n> You go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, west, northwest, up.\n\n> You go upwards\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, southwest.\n\n> You go to the north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, southeast, south, southwest, west, northwest, up.\n\n> Go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, east, southeast.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead south, up.\n\n> Exits\nEast, south, southwest.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, west, up.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, west.\n\n> You go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, southwest, up.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, west, up.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast, south, west.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, south, northwest, up.\n\n> You go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south, west.\n\n> Examine watch\nThe time is 14:04\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast, west, up.\n\n> You go west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, southwest, northwest.\n\n> You go to the southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, west, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead southeast.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, up.\n\n> You go to the east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, up.\n\n> Go upward\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south, southwest, west, northwest.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, northwest, up.\n\n> You go north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, west.\n\n> Go upwards\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, south, southwest, west.\n\n> You go to the east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south.\n\n> You go to the southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, south, west, northwest.\n\n> You go to the north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, west, northwest, up.\n\n> Go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast.\n\n> You go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, south, up.\n\n> You go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, southwest, west.\n\n> You go to the west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northwest.\n\n> You go to the northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, west, up.\n\n> You go to the north\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, southeast, south, northwest, up.\n\n> You go to the south-east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead northeast, east, northwest.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, southeast, south, northwest, up.\n\n> Go south\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southwest, west, northwest.\n\n> You go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest.\n\n> You go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, south, west, up.\n\n> You go to the west\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, southwest, northwest.\n\n> Go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, east, southeast, south, west, northwest, up.\n\n> Go southeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, west, northwest.\n\n> You go northwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nThere is a cylinder here.\nExits lead up.\n\n> You get the cylinder\nYou are carrying too much already to get the cylinder.\n\n> You drop the film\nFilm dropped.\n\n> You buy the bag with the fisa\n\"That will be 2 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the bag.\nYou are carrying too much and the fishofax annoyingly falls to the ground.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal and a cylinder.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You drop the screwdriver\nScrewdriver dropped.\n\n> You go to the east\n\"Come on. Let's go in,\" moans Bertie Bream.\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> You wear the glasses\nBut you are wearing the dark glasses.\n\n> Go north\nSuddenly, Bertie Bream gets very nervous and drags you away from the entrance. \"I can't go in without a tie,\" he says, \"what will everyone think of me?\" He starts shaking uncontrollably. \"You'll have to get me one,\" he quivers, \"I can't swim anywhere right now.\"\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> You go east\n\"Please get me a tie. I'll wait here for you,\" says Bertie Bream . University Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> Open cylinder\nThe bag inflates and you hold it tightly closed to prevent the gas escaping. You rise up through the tower. There is a loud bang as you pass through the trap door, opening it. The roof of the tower lies inches below you but you are drifting slowly upwards.\nRoof\nWhen there was a lot of water around, students came up here to watch the teeming city of Hydropolis. A railing around the edge of the roof was put here to prevent them being washed away by the deceptively strong overcurrent. Now the water has gone that has ceased to be a problem. The obvious exit is the trapdoor.\nThere is a photon bridge and some railings here.\n\n> You examine the railings\nWhen there was more water in Hydropolis, students used to come up here to admire Hydropolis. Lots of them were swept over the edge by the overcurrent so some railings were kindly put up.\nThis is fun isn't it? You've drifted even higher now. You are finding breathing a little difficult, however, but Hydropolis is stunning from this height.\n\n> You drop the bag\nYou let go of the bag and fall at an alarming pace. Roach is clearly disturbed, falling is not one of his greatest skills. With a sickening SPLAT you strike the surface, bursting like a balloon full of water hitting a concrete floor. That was fun.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\nGoldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\n> You drop the bag\nYou release the bag, and it floats gently up into the sky."
    },
    {
        "text": "[Themes: Humor, Espionage]\n\n> You go downward\nYou squeeze through the trap door. Not a particularly good move, as there's nothing on the other side to support you. Oh well, falling is quite good fun. Until you hit the shallow water and slam into the floor that is. The host-parasite interface doesn't take too kindly to your scant regard for its delicacy and promptly disintegrates, sending you hurtling into the dimensions.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\nGoldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> Climb railings\nYou slide through the railings with your gills about to burst. Roach has never practiced falling before, it's a good job your training as an inter-dimensional espionage operative has given you the experience to be able to survive under such difficult circumstances. You hit the water below the tower making a dramatic entrance to Opah. Several of the students applaud your efforts.\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> You go east\n\"Please get me a tie. I'll wait here for you,\" says Bertie Bream . University Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a hyperdriver, a crystal and a photon bridge.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Examine slot\nThe slot is about as thick as a piece of paper.\n\n> Go west\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\nAfter allowing time for someone to pass the door closes.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> You go west\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad. Bertie Bream is here.\n\n> Go west\n\"Please get me a tie. I'll wait here for you,\" says Bertie Bream .\nOpah Station\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east.\n\n> You ask Salmon about the trench\n\n\n> You ask Chub about the protocopier\nErnest Chub says, \"Oh really sir. You flatter me with such a question. I'm not fit to provide an answer.\"\n\n> You ask Tench about the protocopier\nSimon Tench says, \"Roachie baby, you're really on form. What a concept!\"\n\n> You ask Tench about Device\nSimon Tench says, \"Roachie, I don't like it. Too many things could go wrong, it could be a real downer.\"\n\n> You show bridge to Tench\nSimon Tench says, \"How nice.\"\n\n> You show the bridge to Salmon\nThe drunk leans forward to examine the the photon bridge and snatches it from you with a mumbled \"Thanks.\"\n\n> You show new card to Salmon\nThe drunk leans forward to examine the the new card and snatches it from you with a mumbled \"Thanks.\"\n\n> You get the fax\nBut you are already carrying the fishofax."
    },
    {
        "text": "> You go downward\nYou show your pass to the guard and go through.\nPlatform\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Opah University.\nAn underground train is here but looks likely to leave at any moment. Abruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You get the bridge\nYou have now got the photon bridge.\nThis is fun isn't it? You've drifted even higher now. You are finding breathing a little difficult, however, but Hydropolis is stunning from this height.\n\n> You open the book\nYou open the book at random, revealing a full colour picture of a bird cage on page 332.\n\n> Turn page\nYou turn to the next page, number 333, revealing a full colour picture of a parrot.\n\n> Turn page\nYou turn to the next page, number 334, revealing a full colour picture of Micky Blowtorch.\n\n> Turn page\nYou turn to the next page, number 335, revealing a full colour picture of a gold disc.\n\n> Turn page\nYou turn to the next page, number 336, revealing a full colour picture of a mould.\n\n> Turn page\nYou turn to the next page, number 337, revealing a full colour picture of a hammer.\n\n> Turn page\nYou turn to the next page, number 339, (the intervening pages have been torn out), revealing a full colour picture of some feathers.\n\n> Turn page\nYou turn to the next page, number 340, revealing a full colour picture of some asbestos gloves.\n\n> Turn page\nYou turn to the next page, number 345, (the intervening pages have been torn out), revealing a full colour picture of a glass box.\n\n> Turn page\nYou turn the last page in the book and close it.\n\n> You open the book\nYou open the book at random, revealing a full colour picture of a head cleaner on page 274.\n\n> Turn page\nYou turn to the next page, number 286, (the intervening pages have been torn out), revealing a full colour picture of an old blanket.\n\n> Turn page\nYou turn to the next page, number 287, revealing a full colour picture of a torch.\n\n> Turn page\nYou turn to the next page, number 288, revealing a full colour picture of some jeans.\n\n> Turn page\nYou turn to the next page, number 289, revealing a full colour picture of some socks.\n\n> Turn page\nYou turn to the next page, number 290, revealing a full colour picture of a tee-shirt.\n\n> Turn page\nYou turn to the next page, number 294, revealing a full colour picture of an interior light.\n\n> Turn page\nYou turn to the next page, number 299, (the intervening pages have been torn out), revealing a full colour picture of a poster.\n\n> Turn page\nYou turn to the next page, number 304, (the intervening pages have been torn out), revealing a full colour picture of a gargoyle.\n\n> Turn page\nYou turn to the next page, number 309, (the intervening pages have been torn out), revealing a full colour picture of a ceremonial cord.\n\n> Turn page\nYou turn to the next page, number 310, revealing a full colour picture of some debris.\n\n> Turn page\nYou turn to the next page, number 312, (the intervening pages have been torn out), revealing a full colour picture of a sarcophagus lid.\n\n> Turn page\nYou turn to the next page, number 313, revealing a full colour picture of an ancient altar.\n\n> Turn page\nYou turn to the next page, number 323, (the intervening pages have been torn out), revealing a full colour picture of a shirt.\n\n> Turn page\nYou turn to the next page, number 327, (the intervening pages have been torn out), revealing a full colour picture of a herringbone overcoat.\n\n> Turn page\nYou turn to the next page, number 330, (the intervening pages have been torn out), revealing a full colour picture of a crucible.\n\n> Turn page\nYou turn to the next page, number 331, revealing a full colour picture of a gold ring.\nThree students swim by with a rolled-up hang glider under their fins.\n\n> Turn page\nYou turn to the next page, number 332, revealing a full colour picture of a bird cage.\n\nThe poster has a psychedelic picture of purple and green goldfish swimming around the Seven Deadly Fins logo. The fish form the words, \"No rules. No war. No profit.\" Underneath is scrawled, \"The Fins are in town. Place: just listen. Price: what can you afford? Anarchy: only if my mum says it's ok.\""
    },
    {
        "text": "[Themes: Humor, Espionage, fish protagonist]\n\n> You look around\nContaining the sum total of fish knowledge, this library is the best in all Hydropolis. As fish only have small brains, it is on the smallish side, but students spend a lot of time here delving into what knowledge there is - even during rag week. The library's rarest book lies on a lectern close to the exit in the north wall.\n\n> You get railings\nThe railings steadfastly refuse to be moved.\nFish cannot survive without water. Roach's gills dry out and are rendered useless. The effect is fatal. These things happen, don't blame yourself.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> You go south\nYou try to push your way through to the doors, but can't quite make it in time.\n\"All aboard,\" shouts the guard. Some dolphins rush in where angelfish fear to tread. The doors close and the train accelerates out of the station.\n\n> You go to the south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Battersea.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Up\nYou show your pass to the guard and go through.\nBattersea\nBattersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.\n\n> You go west\nThe pressure door is closed to protect fish like you from swimming into the proximity of the fast moving blades which lie beyond. You may not appreciate this extra protection but I'm sure Dr. Roach is delighted. Abruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble."
    },
    {
        "text": "> Time\nThe time is 13:27\n\n> Go south\nContaining the sum total of fish knowledge, this library is the best in all Hydropolis. As fish only have small brains, it is on the smallish side, but students spend a lot of time here delving into what knowledge there is - even during rag week. The library's rarest book lies on a lectern close to the exit in the north wall.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off.\n\n> You open the book\nYou open the book at random, revealing a full colour picture of some socks on page 289.\n\n> Ook up box in the book\n\n\n> You look up box in the book\nYou turn to page 345, revealing a full colour picture of a glass box.\n\n> You get the page\nYou will have to tear the page out first.\n\n> Tear page\nThere is a loud ripping noise as you tear the page from the book. Several of the students look your way. One of them wanders over. \"What's going on here?\" he demands, noticing your vandalism. \"Destroying library property, eh?\" he continues, pushing you out into the corridor. \"Sod off and don't come back.\"\nFor some reason he doesn't take the page from you.\nCorridor\nWindows line the north wall of this corridor which continues east and west. They look out onto the quad, and stream light on to an archway which leads south to the library.\n\n> You put the page in the slot\nThe page is drawn quietly into the slot on the side of the protocopier. There is a humming noise followed by a whirring. The protocopier starts to vibrate. Then there is a loud bang and suddenly, on the protocopier there appears a glass box.\n\n> You get box\nWhich one, the glass box or the protocopier?\n\n> Glass\nYou are carrying too much already to get the glass box.\n\n> You drop the film and the Sachet\nFilm dropped.\nSachet dropped.\n\n> Where is Bertie\nErnest Chub says, \"Bertie's an absolute genius. I know because he told me himself.\"\n\n> Go south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Ernest Chub and Simon Tench greet you cheerfully.\n\n> You buy the cylinder with the Fisa\n\"Sorry guv,\" says Steve \"The cylinder can only be sold to dedicated sniffers. I don't know if you can hold your sniffs, do I?\"\n\n> You look at what you're carrying with you\nYou are carrying a tie, a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Battersea.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> Go upwards\nYou show your pass to the guard and go through.\nBattersea\nBattersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.\n\n> You go north\n\"Welcome to Battersea Power Station.\" You are met by a tall tour guide, who appears to be chewing gum and reading notes off little cue cards. She takes you on a guided tour of the entire plant, filling your head with facts and figures about throughput, power consumption and blades. One thing that stuck in your mind was the interesting, but little-known, fact that Battersea is only the secondary power station for Hydropolis and is only used during peak demand and to power the underground system. After about half an hour, she returns you to the power station.\nPower Station\n\n> You turn off switch\nWith great effort you manage to pull the switch. The light dims momentarily and the guppies on the guided tour scream until everything returns to normal. The important gauge shows a considerable drop in current. Whoom! The pressure door opens.\n\n> Go west\nYou'll have to be very careful in this tunnel; the sharp blades of a giant turbine are all around you. They aren't spinning but the turbine could start up again at any moment so it's important not to panic. Just make up your mind quickly whether you're going to swim east back to the power station or further along the tunnel to the west.\nThere is a turbine here.\n\n> You go west\nThe tunnel curves upwards here through still, calm water, coming to a halt at a series of grilles. The turbine's sharp blades lie to the east.\n\n> You examine the grilles\nThe grilles are an intricate criss-cross of filters, screwed together, designed to stop bits of rubbish getting into the turbine.\nThere is a filter on them.\n\n> You unscrew the Filter with the screwdriver\nThe screw is a little sticky to begin with but after a good twist it loosens up. The screw drops into your hands and with a little extra pressure you remove the filter.\n\n> You turn on the switch\nThe switch is now on. The automatic door shuts with a woosh.\n\n> You look at what you're carrying with you\nYou are carrying a tie, a fishofax, a tatty card, a new card, a travel pass, a screwdriver, a hyperdriver, a crystal, a radio case, a filter, a screw and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Undoi\n\n\n> You go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\n\n> Inventory\nYou are carrying a tie, a fishofax, a tatty card, a new card, a travel pass, a hyperdriver, a radio case, a screw and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You go east\nThe traffic on Shark Street is really busy but eventually you notice a small gap and swim hastily across.\nHardware Shop\nThis hardware shop contains everything for the fish with DIY leanings. If your DIY is leaning, this is were you can get the tools to mend it. If you require anything the assistant will only be too pleased to take your credit, if not your credit card. He may even give it back. You can leave the shop by swimming west.\n\n> You examine the Time\nThe time is 16:00\nAbruptly, everything starts heading towards a certain point, accompanied by a grotesque sucking noise. Before you have time to react you are surrounded by a blinding white light which rapidly expands to engulf the whole of Hydropolis. Then silence. You are nothing but a handful of minute particles floating in free space. \"You blew that, didn't you?\" Sir Playfair Panchax is clearly not amused. \"We'll try and get you back to your bowl, but I've got some bad news. The Fins have located you. They're out for revenge. Keep your head old chap, this could be nasty. Panchax out.\" You are dumped back in the fishbowl. Goldfish Bowl\nA tingle runs up and down your scales here. It's definitely not your vacation bowl. True, it does have gravel, ant eggs and pondweed, but then so has every goldfish bowl. The difference is you can see out of this bowl and it doesn't have a tacky plastic castle. It looks like you're in a computer room of some kind, with terminals lining the walls.\n\"You complete Halibut!\" shouts Sir Playfair Panchax. He doesn't sound happy at all. \"We warned you not to damage Dr. Roach's body. He was the only one who could save Hydropolis. The Fins have won and are out to get you. There is nothing we at Mission HQ can do.\" The good news is you've been sent back to the bowl. The bad news is that the dimensional warps have disappeared. It looks like you're in big trouble.\n\n> Examine watch\nThe time is 09:01\nThe wall behind your fishton glows, revealing the face of the principal's secretary. \"Good morning Dr. Roach,\" she says, \"I'm sorry to call so early, I just want to confirm that the principal is expecting you at ten o'clock this morning. Goodbye.\" Her face fades out, leaving you with the annoying jingle of the Hydropolis Telecommunications Network: \"HTN, HTN - With your friends you can talk, and you won't have to walk, HTN, HTN\". Not the most auspicious start to a morning.\n\n> You go north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\nSteve swims by at top speed.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Time\nThe time is 09:20\nThe train speeds through the tunnel then clatters into Pickerel. The doors slide open and the commuters swim in and out.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Pickerel.\nAn underground train is here but looks likely to leave at any moment. The last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> You go to the south\nYou dart across Dace Road while nobody's looking.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\n\n> You buy the mask with the fisa\n\"That will be 5 clams, sir. I'll charge it to your Fisa account at once. Enjoy your sniff.\" says Steve as he hands you a mask.\n\n> Time\nThe time is 09:37\n\n> You buy the ear plugs with the fisa\n\"That will be 5 clams exactly sir.\" You type in your Fish Identity Number to authorise the debit. The assistant waits for authorisation then returns your card, together with the ear-plugs.\nYou notice several students loitering with intent. One of them produces a guitar and starts singing: \"Come on feel my nose. The girls grab my clothes. Go why, why why any more.\" Oh no, he's started busking! Luckily the other students attack and carry him off before you hear too much.\n\n> Go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\n\n> Go south\n\"Good morning Doctor,\" says the principal as she closes the door and takes a seat, \"I'm sorry if this is inconvenient, but it is an emergency. It seems this talk about parasiting may not be speculation. We've received information that a junior member of your team has been 'taken over' and has sabotaged The Project. You don't need me to tell you that this could be disastrous for Hydropolis. Naturally, I've suspended everyone until further notice. You're the only one I can trust; I want you to investigate. I'm going to the government to inform them of the danger. I'm not evacuating, so don't worry. I'll be back tomorrow.\" She gets up. \"Now please hurry doctor. There's not a second to lose.\" You walk back to the foyer together then go your separate ways.\nUniversity Foyer\nThe foyer is lined with ancient busts of important looking fish from the university's past, an ugly bunch of egg-headed reprobates if ever you saw some. West, an impressive arch will take you out of the university. A corridor continues east, and a metal door blocks any access to the north. The principal's office is to the south.\n\n> Time\nThe time is 10:34\n\n> You go east\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\nThree students swim by with a rolled-up hang glider under their fins.\n\n> You open the Fishofax\nBut the fishofax is already open.\n\n> You check your inventory\nYou are carrying a tie, a fishofax, a tatty card, a new card, a travel pass, a screwdriver, some dark glasses, some ear-plugs, a hyperdriver and a bag.\nYou are wearing a watch.\n\n> You drop the Hyperdriver\nHyperdriver dropped.\n\n> You go west\nCommuters are busily swimming up and down the access funnel which leads to the platform. A ticket clerk sits behind a counter selling tickets to fish who lack the simple foresight to buy a pass. You can leave the station through the exit to the east.\nAs you arrive Ernest Chub greets you cheerfully.\n\n> Wait\nTime passes.\nYour colleague Ernest Chub swims into view.\n\"Hello,\" shouts Ernest, \"I'm going to spend the day in the pub. Awful place but there's no work to do.\"\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Time\nThe time is 11:19\nA group of students swim by with what looks like the principal.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> Go north\n\"Welcome to Battersea Power Station.\" You are met by a tall tour guide, who appears to be chewing gum and reading notes off little cue cards. She takes you on a guided tour of the entire plant, filling your head with facts and figures about throughput, power consumption and blades. One thing that stuck in your mind was the interesting, but little-known, fact that Battersea is only the secondary power station for Hydropolis and is only used during peak demand and to power the underground system. After about half an hour, she returns you to the power station.\nPower Station\nThe power station dwarfs almost anything you have ever seen. Guided tours leave from the north, so the citizens of Hydropolis can marvel at this fish-made wonder and the sophistication of their engineers. A steel door lies to the west near an important gauge and a large switch. As you arrive Ernest Chub greets you cheerfully.\n\n> Go west\nThe pressure door is closed to protect fish like you from swimming into the proximity of the fast moving blades which lie beyond. You may not appreciate this extra protection but I'm sure Dr. Roach is delighted.\n\n> Go east\nThe power station dwarfs almost anything you have ever seen. Guided tours leave from the north, so the citizens of Hydropolis can marvel at this fish-made wonder and the sophistication of their engineers. A steel door lies to the west near an important gauge and a large switch. As you arrive Ernest Chub greets you cheerfully.\n\n> Go south\nThe tracks, leading off into the dark tunnel, lie beyond the northern edge of the platform. Trains arrive quite frequently, once every three minutes on average, a fact not unnoticed by the section of the Hydropolis Underground Omnibus Company responsible for advertising. You can go up to ground level via the access funnel to Eelpout.\nAn underground train is here but looks likely to leave at any moment. \"Mind the gap,\" shouts the guard. A pike stops the doors closing to allow his aggressive mates on then the train rushes off into the tunnel.\n\n> You go west\nMy, Plaice Street is busy! In the end you succeed in crossing.\nPub\nThe Hook, Line and Sinker is a good old-fashioned boozer, with a clean bar and filthy customers. One of them, a sorry drunk leaning unsteadily against the bar, seems familiar to your host. Steve, the cool catfish from the second hand shop, is serving behind the bar. Or is it his twin brother? He sells masks, filled with gas from behind the bar, for the customers to sniff. Hence, the masks are known to the locals as \"snifters\" and the state of drunkeness as being \"sniffed to the gills\" or \"completely finless\". Exits lead north and east. An interesting looking cylinder is behind the bar.\nThere is a stool here.\nAs you arrive Bertie Bream and Simon Tench greet you cheerfully.\n\n> You ask Bream about the disco\n\"Yes I've often wondered about those places,\" says Bertie, \"so many possibilities for studies of fish behaviour. Seeing how far we've evolved, that sort of thing. I'll have to get my equipment sorted out first. I'll meet you there at 13:00?\" Without waiting for a reply Bertie Bream rushes off on his errands.\n\n> Time\nThe time is 12:25\n\n> You wear the glasses\nYou put on the dark glasses.\nAn old fish swims up to you and asks for the price of a snifter. \"Five clams,\" you tell him. He thanks you and swims away.\nYou feel a gusting current from the tunnel as a train clatters into the station. The doors open and fish push and shove each other as they get on and off.\n\n> You wear the earplugs\nYou put on the ear-plugs. The ear plugs don't work too well. You can still work out what people say.\nThe train speeds through the tunnel then clatters into Battersea. The doors slide open and the commuters swim in and out.\n\n> Time\nThe time is 12:36\n\n> You drop the Filter\nFilter dropped.\n\n> You check what you're carrying\nYou are carrying a tie, a fishofax, a tatty card, a new card, a travel pass, a crystal, a screw and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Time\nThe time is 12:44\n\n> You open tuna\nBut the crystal tuna is already open.\n\n> You close the tuna then turn on the tuna\nThe crystal tuna is now closed.\nThere is a ringing sound which dies away after about twenty seconds.\n\n> You open the tuna then get Crystal\nThe crystal tuna is now open.\nYou have now got the tuned crystal.\n\n> Time\nThe time is 12:57\n\n> Wait\nTime passes.\n\"On your marks, get set, GO!\" Three pairs of students, tied together come rushing past you. It's a two-tail race, obviously a ploy to raise money for rag week. Then hordes of students swim by, rattling collecting tins. It's a good job they don't take Fisa. They swim off."
    },
    {
        "text": "> Look around\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\nHere comes Bertie Bream , clearly ready to shake his booty.\n\n> Go east\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a filter here.\nAfter allowing time for someone to pass the door closes.\n\n> You drop Crystal\nTuned crystal dropped.\n\n> Go northeast\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThere is a hyperdriver and the device almost fills the room, looking like an aquarium filled with multi-coloured gravel here.\n\n> You go southwest\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a tuned crystal and a filter here.\n\n> Login\nYou have to sit at a terminal before you can login.\n\n> Pondweed\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 13:15: %\n\n> Games\nChess, Hack, Prawn, Gilled of Thieves, Fish, Shutdown. QUIT to return to command mode.\nTime 13:16: +\n\n> Shutdown\nYou know the rules.\nThe goal is \"WATER\". Starting position - GBWBG\nYou have 40 minute(s) until The Project is activated.\n\n> 7\nYou have 39 minute(s) until The Project is activated.\n\n> 0\nYou have 38 minute(s) until The Project is activated.\n\n> 24\nYou have 37 minute(s) until The Project is activated.\n\n> 23\nYou have 36 minute(s) until The Project is activated.\n\n> 19\nYou have 35 minute(s) until The Project is activated."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> Look around\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a tuned crystal and a filter here.\n\n> Pondweed\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 13:16: %\n\n> Shutdown\nYou know the rules.\nThe goal is \"WATER\". Starting position - ZCZAP\nYou have 41 minute(s) until The Project is activated.\n\n> 25\nYou have 40 minute(s) until The Project is activated.\n\n> Shutdown\nYou know the rules.\nThe goal is \"WATER\". Starting position - NOPUX\nYou have 41 minute(s) until The Project is activated.\n\n> 25\nCongratulations Bertie Bream you've won again.\nWe must play shutdown again sometime. Project initialisation reset to original start time.\n\nReturning to GAMES menu.\nSelect game -\nChess, Hack, Prawn, Gilled of Thieves, Fish, Shutdown. QUIT to return to command mode.\nTime 13:16: +\n\n> You examine the Time\nThe time is 13:19\n\n> You stand\nYou are on your feet.\n\n> You drop accelerator\nStream accelerator dropped.\n\n> You look at the Time\nThe time is 13:27\n\n> You go southeast\nEven though Dr. Roach is very clean and tidy, the same cannot be said of the rest of the team. They've made this the messiest store room in the university. And it's always left for you to straighten things out. All the equipment and spares needed for The Project are usually stashed here, with a wallchart keeping track of what's in and out of stock. The only exit leads northwest.\nThere is a glass box and a protocopier here.\n\n> You get box\nWhich one, the glass box or the protocopier?\n\n> Go northwest\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a tuned crystal, a filter and a stream accelerator here.\n\n> You drop the glass box\nGlass box dropped.\n\n> You check what you're carrying\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a lok screw, a brass screw and a bag.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You drop lok screw and brass screw\nLok screw dropped.\nBrass screw dropped.\n\n> You go to the north\nYou squeeze your way, sardine like, onto the train with the other commuters.\nTube\nAlways busy, the tube trains are packed solid with guppies. Rules have been passed strictly governing the number of fish allowed in each carriage but these are often disregarded, especially by sardines and pilchards.\nYou notice a guppy flounder around for a bit and then swim off.\nThe last few fish, pilchards by the look of them, squeeze onto the train. \"Mind the doors,\" shouts the guard as they close. The train clatters off into the tunnel.\n\n> Go north\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nOh, no! You've been burgled! I hope Dr. Roach was insured.\nThere is a dark warp and a fishton here.\n\n> You enter dark warp\nYou slip through the dark warp into the whirling dimensions. \"It's a strange place Agent 10,\" says Sir Playfair's voice in the back of your brain. \"Those Fins have twisted the dimensions into some kind of labyrinth, but it isn't normal. The back room boys are busy trying to figure it out. All they can tell me is that the Fins have hidden the cylinder in a place where the only way out is up and that if you're left in a room with no exits you'll be stuck there until we can get you out, which may well be too late to save Hydropolis. You'll have to watch your step, Agent 10; we don't want to lose you, old boy. Good luck. Panchax out.\"\n\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, northwest, up.\n\n> Go east\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, south, northwest.\n\n> Go northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, south, northwest, up.\n\n> Go upward\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead north, northeast, southeast, southwest, west.\n\n> You go to the northeast\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, southwest, west, up.\n\n> You go southwest\nA lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.\nExits lead east, southeast, south.\n\n> Up\n\"Well done old boy,\" says Sir Playfair as you slip back into the lounge, \"I didn't think you'd make it. That should keep the Fins at bay for a while. Top hole. Panchax out.\" The dark warp swiftly fades. Lounge\nSome would call this apartment small and pretentious, but with house prices in Hydropolis the way they are, small and pretentious was all Dr. Roach could afford. Anyway, he managed to get a view of Hydropolis - not many places have even that. The room is decorated in a minimalist style but, as Dr. Roach would say if he weren't under your control, \"I am a man of minimal needs.\" The only excesses he has allowed himself are a painting, a trendy black shelf, a switch to control the lights and, most important, a door to get out.\nThere is a fishton here.\n\n> You look at the bag\nThe bag is for wrapping rubbish for disposal.\n\n> Time\nThe time is 14:39\n\n> You enter the railings\nYou slide through the railings with your gills about to burst. Roach has never practiced falling before, it's a good job your training as an inter-dimensional espionage operative has given you the experience to be able to survive under such difficult circumstances. You hit the water below the tower making a dramatic entrance to Opah. Several of the students applaud your efforts.\nOpah\nIf things want learning in Hydropolis, then Opah University is where they get learned. The university disco to the north is in the middle of a bop-til-you-drop rag week stunt with schools of tired students swimming in and out to the heavy four-four beat. An expensive restaurant lies to the south. Have you made a reservation? No? Too bad. It's very popular. An impressive archway leads east into the university itself. You can return to Opah tube station by going west.\nA statue of the university founder is in the middle of the quad.\n\n> Go east\nMy worm, it's dark in this corridor. A metal door to the east prevents you from swimming directly into your laboratory and the corridor returns west.\nThere is a brass screw and a lok screw here.\nA student sidles up to you. \"We've got the principal,\" he whispers, \"if you don't donate to rag week we'll let her go.\" You hastily decide to give them all your loose change, then realise you have none. They refuse to take your credit card and swim off, laughing.\n\n> Go east\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a glass box, a tuned crystal, a filter and a stream accelerator here.\nAfter allowing time for someone to pass the door closes.\n\n> You get tuned crystal then put it in the case\nYou have now got the tuned crystal.\nThe tuned crystal is now inside the radio case.\n\n> You join tuned crystal to the case\nThis doesn't feel right to me. I thought we were involved in hi-tech science not surrealist sculpture! Still you're the boss.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a filter and a photon bridge.\nYou are wearing a watch, some dark glasses and some ear-plugs."
    },
    {
        "text": "[Themes: Espionage, Humor]\n\n> You describe your surroundings\nThis lab is exceptionally clean. Dr. Roach must be remarkably fastidious. The water is constantly decontaminated and recycled to protect The Project equipment and your terminal from damage by grit, fluff and dirt. Exits are northeast, southeast and west through the metal door to the corridor.\nThere is a glass box and a stream accelerator here.\n\n> Go northeast\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThere is a hyperdriver and the device almost fills the room, looking like an aquarium filled with multi-coloured gravel here.\n\n> You look at Device\nDr. Roach certainly knows how to build impressive machines - this one nearly fills the project room. It looks a bit like a huge aquarium, filled to the brim with multi-coloured gravel and, if you and Sir Playfair have anything to do with it, it's going to save Hydropolis from water evaporation. It almost fills the room, looking like an aquarium filled with multi-coloured gravel."
    },
    {
        "text": "[Themes: Humor, Espionage, Magnetic Scrolls]\n\n> You get all\nYou have now got the stream accelerator.\nFilter taken.\nTuned crystal taken.\nGlass box taken.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a stream accelerator, a radio case, a filter, a tuned crystal, a photon bridge and a glass box.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You join the bridge to the case\nThis doesn't feel right to me. I thought we were involved in hi-tech science not surrealist sculpture! Still you're the boss.\nYou are carrying too much and the stream accelerator annoyingly falls to the ground.\nYou are carrying too much and the travel pass annoyingly falls to the ground.\nYou are carrying too much and the new card annoyingly falls to the ground.\nYou are carrying too much and the tatty card annoyingly falls to the ground.\nYou are carrying too much and the glass box annoyingly falls to the ground.\n\n> You check your inventory\nYou are carrying a fishofax, a filter, a tuned crystal and some twisted metal.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You look at the twisted metal\nThe twisted metal is a cross between a Henry Moore sculpture and an Anderson bomb shelter. Fine if you like that sort of thing, but it doesn't look like it's going to save Hydropolis.\n\n> You join tuned Crystal to the twisted metal\nThis doesn't feel right to me. I thought we were involved in hi-tech science not surrealist sculpture! Still you're the boss.\n\n> You get the glass box then join it to the twisted metal\nYou are carrying too much already to get the glass box.\nYou can't do that with the glass box.\n\n> You check your inventory\nYou are carrying a fishofax, a filter and some twisted metal.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You drop the twisted metal\nTwisted metal dropped.\n\n> You examine the glass box\nThe glass box shows all the hallmarks of a rush assembly. There are loads of electrical components in it and yards and yards of wiring. You can only hope the back-room boys didn't economise on waterproofing.\nIt is closed."
    },
    {
        "text": "> You look around\nConsidering how important this place is for the future of all fishkind, you are stunned by how little has been done to make it look significant. A lick of paint, although distasteful for the fish licking it on, wouldn't have gone amiss. The only exit is southwest.\nThere is some twisted metal, a stream accelerator, a hyperdriver, a travel pass, a new card and a tatty card and the device almost fills the room, looking like an aquarium filled with multi-coloured gravel here.\n\n> Inventory\nYou are carrying a fishofax and a glass box.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You break the glass box with the Hyperdriver\nYou hack the box to bits and break the hyperdriver in the process. The focus wheel falls to the floor.\n\n> You join the focus wheel to the twisted metal\nThis doesn't feel right to me. I thought we were involved in hi-tech science not surrealist sculpture! Still you're the boss. Stunning. A tingle of pure ecstasy runs down your spine, across the room and out of the window as you realise that you hold in your hands that most treasured of possessions - a food blender. Wow!\n\n> Inventory\nYou are carrying a fishofax, a hyperdriver and a blender.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> You look at the blender\nThe blender is the biggest you have seen in you're whole life. Well done. Now you've got it you might as well mix something until the world blows up. Which it undoubtedly will.\n\n> Inventory\nYou are carrying a fishofax, a tatty card, a new card, a travel pass, a stream accelerator, a radio case, a filter, a tuned crystal, a photon bridge and a glass box.\nYou are wearing a watch, some dark glasses and some ear-plugs.\n\n> Yourself\nFishtrix V1.19 System 2\nWelcome to Fishtrix\n\nTime 14:53: %\n\n> You read\nWhich file do you want to read.\nPROJECT - NOTE - STORE - EQUIPMENT\nOr QUIT to exit to COMMAND level\nTime 14:54: #\n\n> Project\nOpah University 660/55/4\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nProject Prime Directive: To save Hydropolis, which is under threat from water evaporation, by streaming water from an alternate dimension - Fractal Aquaria Two. The inter-dimensional matter streamer will be referred to as The Device from now on.\nTime 14:55: #\n\n> Equopment\nWhich file do you want to read.\nPROJECT - NOTE - STORE - EQUIPMENT\nOr QUIT to exit to COMMAND level\nTime 14:55: #\n\n> Equipment\nStream Regulator = ((a+c)+(b+d))+e\nTime 14:55: #\n\n> Store\nOpah university 660/55/3\nProject notes\nFor Project Members Eyes only:\nFrom - A. Roach\nStore notes: The Stream Regulator has been stolen. This is serious. The Project will fail if we don't replace it. At present, we haven't located any replacement components. Anyone who can find them will be a hero. Here's a list of what's needed:\nFilter.\nPhoton bridge - Dr. Salmon worked on this, he may know its whereabouts. Focus wheel - stolen days ago.\nTuned Crystal - There's an untuned one in the museum but they won't let us near it.\nWe also need a case to keep everything stable.\nTime 14:55: #\n\n> Go southeast\nYou get off.\nStore Room\nEven though Dr. Roach is very clean and tidy, the same cannot be said of the rest of the team. They've made this the messiest store room in the university. And it's always left for you to straighten things out. All the equipment and spares needed for The Project are usually stashed here, with a wallchart keeping track of what's in and out of stock. The only exit leads northwest.\nThere is a protocopier here.\n\n> You join the Filter to focus the wheel\nWell done! The focus wheel connects to the filter making a focus filter.\n\n> You join the photon bridge to tuned Crystal\nBrilliant! The photon bridge and the tuned crystal seem to meld before your eyes leaving you with a crystal bridge.\n\n> You join focus filter to the crystal bridge\nAh, such dexterity. You have made the only crystal filter in fish world.\n\n> You look at the crystal filter\nThe crystal filter gathers energy from various sources which it filters and refines.\n\n> You join the crystal filter to the case\nCongratulations! The two items fuse to form a stream regulator!\n\n> You turn on Device\nHey, I really dig you device.\n\n> You examine Device\nDr. Roach certainly knows how to build impressive machines - this one nearly fills the project room. It looks a bit like a huge aquarium, filled to the brim with multi-coloured gravel and, if you and Sir Playfair have anything to do with it, it's going to save Hydropolis from water evaporation. It almost fills the room, looking like an aquarium filled with multi-coloured gravel.\nIt contains a stream regulator.\n\n> You get Device\nThe device steadfastly refuses to be moved.\n\n> You activate Device\n\n\n> You attach Regulator with the lok screw\nThe Lokscrew(TM) snaps resolutely into place.\nIt seems you have done all you need to do to save Hydropolis so you rest on your laurels for a while, then your laurels start to ache so you start filing your credentials when suddenly... Nothing happened. It's four o'clock, the Project has been activated and nothing happened. You did it! You saved Hydropolis! It's time for celebration, time to party! But professionals don't party; they leave that to the Dr. Roaches of this dimension. You return to Mission HQ, to a hero's de-briefing from Sir Playfair Panchax. \"Absolutely splendid job, Agent 10,\" he chuffs, \"a marvellous piece of work. One of your finest missions. As a reward, we at the Department, are allowing you three month's vacation with a goldfish of your choice.\" He winks. \"And we guarantee no interruptions this time.\" You are warped off to a spacious, warm aquarium with all the pondweed, ant eggs and gravel you could want. And of course, the most beautiful creature in all the dimensions to spend time with. After three months of this kind of pleasure, you might not be up to another mission...\n\nYour score is 491 out of 501.\nDo you want to quit or restart (q/r)?\n\n> R.\nAre you sure (y/n)?\n\n> You drop Regulator\nStream regulator dropped.\n\n> You attach Regulator with the lok screw\nThe Lokscrew(TM) snaps resolutely into place.\nIt seems you have done all you need to do to save Hydropolis so you rest on your laurels for a while, then your laurels start to ache so you start filing your credentials when suddenly... Nothing happened. It's four o'clock, the Project has been activated and nothing happened. You did it! You saved Hydropolis! It's time for celebration, time to party! But professionals don't party; they leave that to the Dr. Roaches of this dimension. You return to Mission HQ, to a hero's de-briefing from Sir Playfair Panchax. \"Absolutely splendid job, Agent 10,\" he chuffs, \"a marvellous piece of work. One of your finest missions. As a reward, we at the Department, are allowing you three month's vacation with a goldfish of your choice.\" He winks. \"And we guarantee no interruptions this time.\" You are warped off to a spacious, warm aquarium with all the pondweed, ant eggs and gravel you could want. And of course, the most beautiful creature in all the dimensions to spend time with. After three months of this kind of pleasure, you might not be up to another mission...\n\nYour score is 483 out of 501.\nDo you want to quit or restart (q/r)?"
    },
    {
        "text": "[Themes: Western, Comedy, strong NPCs, humor, prison, male protagonist, western]\n\nAs the sun sets on the plains, Sheriff Cheney angrily snaps on the cuffs. You are shoved into the coach and land on top of Muddy Charlie and a pile of silver dollars, which until recently had been the property of the Missouri, Kansas & Texas Line.\n\nMuddy whispers, \"Don't fret none, Rick! You done good blowing up that tunnel -- I just didn't plan on the sheriff getting word ahead of time, is all. That were powerful bad luck.\"\n\nThe sheriff climbs onto his horse, spits, and you begin to rumble forward. \"You boys really got it coming this time,\" he yells back cheerfully.\n\nMuddy shakes his head. \"No offense, Sheriff, but I reckon you got the wrong men. We was just on our way to the theater.\"\n\nThe sheriff disagrees. \"The only place you boys are heading is straight to the...\n\nA Wild West Wreck by Ben Collins-Sussman and Jack Welch\n\nType \"help\" for instructions and \"hints\" for hints -- or just roll into town guns a-blazin'.\n\n[Author's Note: Muddy's plan done landed you and your partner in the hoosegow. Now you're fixing to rectificate the matter before the marshal introduces you to the business end of a hangin' rope at dawn.]"
    },
    {
        "text": "[Themes: Western, Comedy, male protagonist, western, humor]\n\n> Inventory\nIn the twilight, you sight the sheriff's sturdy brick office near the edge of town. \"That's mighty fine construction,\" notes Muddy, sounding less feisty now. \"Mighty fine indeed.\" The coach rolls to a halt and a thick arm yanks you roughly from your seat. You land awkwardly in the rutted street, where the sheriff holds you in place with the heel of one boot. He yells to his men, \"Bring the coach around back, we got to impound that evidence.\" You are shoved into the sheriff's office and then into a small holding cell.\n\nThe deputy wakes with a start, whips his dusty boots off the desk and stands, tucking his shirt back into his pants. The sheriff gives him a brief, judgmental glance and offhandedly tosses an arrest warrant on the desk. He barks, \"Jimbo, listen up. Picked up these two down near the train. A federal marshal will be coming for them at eight o'clock tomorrow morning. There's going to be a hanging!\" The deputy nods slowly. The sheriff continues, \"Please take care of our 'guests'. I got to head down to Wichita Falls to discuss my invention with some investors, so you is in charge.\" The deputy smiles until the sheriff adds, \"Jimbo, don't screw up,\" as he heads out the door.\n\nWhy are you not surprised to have landed right back in the hoosegow after another one of Muddy's dubious plans? Will you ever learn? How did it come to this?\n\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nA broken stool lies on the floor.\n\nMuddy leans against the wall tapping a harmonica on his arm.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\n> You check your inventory\nYou're carrying your pocketwatch and a scrap of paper. You are wearing your hat, pants, overcoat, left boot, and right boot.\n\nYour revolver was confiscated, it seems.\n\nMuddy puts his hands in his pockets and seems to be daydreaming.\n\n> You look at paper\nMuddy's scribbled instructions for holding up the train, which you carried out faithfully before the Sheriff showed up.\n\nMuddy closes his eyes and rubs his temples.\n\n> You read the paper\nIn smeared scribbles: \"DEER RICK, 1. GET DYNA-MITE FROM MTNSIDE, 2. INSERT SPARKER, 3. BLOW UP TUNNEL, 4. WAIT FOR ME\".\n\nThat was Muddy's cunning plan, and unlike most of his plans, it went off without a hitch: you got the silver, nobody got hurt. Yup, not a single hitch -- except for getting caught.\n\nA faint breeze wafts by.\n\n> Examine watch\nIt's the wind-up timepiece you received when you were commissioned as an officer in the Confederate Army. You may have lost everything else in that war, but at least you have this fine pocket watch. It currently reads eighteen minutes past seven in the evening  -- less than thirteen hours until you and Muddy are hanged.\n\n> About yourself\nBig boots, pants, a plains hat, a tattered overcoat, and some attitude. Not so different from the uniform you once wore, just more lived-in.\n\nBack in the office, the deputy stares at Muddy.\n\n> You examine the deputy\nBig and strong, but lacking numerically in ancestors.\n\n> You look at stool\nA small stool, with legs a couple of feet long. It's three-legged by design, but two-legged in practice, hence its inability to stand upright. There's an empty socket where the third leg should be. All of the paint has been worn off the seat by your illustrious predecessors who inhabited this cell. Those same occupants carved every square inch of the stool's seat with their initials (and the initials look intriguing!)  A small bronze plate has been nailed to the bottom of the stool.\n\nMuddy stares out the window.\n\n> You read the initials\nYou notice a set of initials. \"It says here, \"RH\"\".\n\nMuddy nods knowingly, \"That'd be Ricochet Howard. Cattle rustling, hog hauling and snake twizzling\".\n\n\"Snake twizzling?\"\n\n\"All right, I made that one up. But the rest is true.\"\n\nA couple of other sets of initials catch your eye.\n\nOver in the office, the deputy sniffles loudly and wipes his nose on his sleeve.\n\n> You read the initials\n\"Here's some more initials, Muddy: S.X.\"\n\nMuddy smiles slyly, \"Oh sure. That's Sixshooter Xavier, the roughest Friar west of the Mississippi. An ornery character with a taste for mead, and he plays a mean five-card stud.\"\n\n\"What'd he do?\"\n\n\"Knocked over the Tulsa Casino, but donated it to orphans.\"\n\n\"That don't sound so bad.\"\n\n\"They wasn't orphans when he started.\"\n\nOne other set of initials catches your eye.\n\n> You read the initials\n\"Hey, how about this one, Muddy: MTO. That's a strange one.\"\n\n\"That's got to be Tymme O'Malley, or the Leprechaun Kid like they call him in Kansas. Wicked fast with a rifle.\"\n\n\"Nah, I said MTO, must be someone else.\"\n\n\"Nope, that's him all right. Dyslexic as all get out. Feds caught him red-handed with a bag of tool.\"\n\n> You look at the gate\n(the gate)\nA metal gate stands between you and freedom. The gate is set into the metal bars that surround your cell, and its hinges must be internal. The gate has a massive padlock that clicked definitively behind you when you were thrown into the cell. You've seen banks with poorer locks. At least this is a quality institution.\n\nBack in the office, the deputy reaches into his pocket, produces a strip of beef jerky, and chews on it for a while.\n\n> You examine the padlock\nA cast-iron padlock of diabolical ingenuity. It is like no lock you've ever seen.\n\n> You pick the lock\nYou don't know how. The thing doesn't even have a keyhole.\n\nJust to the side of the desk, the metal contraption rumbles for a moment and then stops.\n\n> You look at the contraption\nAll bronze and shiny, with lots of pipes, rivets, and flanges, the word \"Protocappuccinomatic\" is engraved on the main body of the machine. The device stands about five feet high and must weigh a ton. A sturdy iron pipe runs from the machine to the boiler.\n\n> You look at the man\nThe man crumpled in the corner wears black vestments and a pastor's necktie. He'd almost look respectable, if it weren't for the immediate environment. He reeks of booze and snores loudly. A pamphlet is sticking out of his pocket. You don't consider yourself a common pickpocket, but it makes you wonder what else he might have on him.\n\n> You get the pamphlet\nYou carefully slip the pamphlet out of the sleeping man's pocket. He almost wakes up, but doesn't.\n\n\"Whatizit?\", Muddy rasps.\n\nOn the other side of the jail bars in the office, the deputy runs his hand through his sparse hair.\n\n> You read it\nYou read it aloud:\n\n\"The Prairie Gospel Church of Uncanny Righteousness (copyrighteous 1871)\"\n\n\"For lo, the impetuous and retributive spirit of FINAL JUDGEMENT is stirring in the heart of the unfaithful, and a FIERY thunderhead of retribution is gathering across the plains of the undeserving, the bereft of propriety, and promulgators of heresy, and the scalding hot sparks of TRUTH are spraying forth, catching light the arid and HIGHLY FLAMMABLE and veritably kerosene-soaked sawdust of the weak-willed. And into this fray, the unwholesome BEAST shall arise and the earth shall tremble. Its body shall tower above like a mountain, and upon the body shall be nineteen heads, each like unto a serpent. Upon each head, twelve horns, like that of the ram, the bull, and the elephant, say four of each. And upon each horn, sixteen stalks, not unlike celery in some respects, yet more flexible, more like the arms of an octopus, except being twice as numerous. And upon each stalk, eighty eyes, or forty pairs of eyes, if you prefer!\"\n\nMuddy, who had been staring intently at his boot tips, looks up, eyebrows knit in concentration. \"I don't get it. Why would anything need two hundred ninety-one thousand, eight hundred and forty eyes?\"\n\n\"What?\" you remark, looking up from the pamphlet. \"Are you kidding me? How could you figure that out?\"\n\n\"Don't rightly know. Just something I do. Same way as I know there's 69,105 railroad ties between here and Muskogee. Ma said I was some kind of idiot savage.\"\n\nDumbfounded, you stop reading halfway through the pamphlet to stare incredulously at Muddy, who picks his nose. \"Yeah, go on. What else's it say?\"\n\n> You read it\nYou straighten out the pamphlet and skim it, paraphrasing for Muddy.\n\n\"Well let's see. It keeps going on like that for a ways without really saying much. By and by there's this part about a revival meeting. Some kind of doxology works, but out in the open, like under a circus tent. It says they'll be some preaching, some healing and even some dancing. I'd allow it sounds like a right pleasant shindig, it do.\"\n\nMuddy pauses. \"Can I see that pamphlet a minute?\" asks Muddy\n\n\"Ain't you gonna ask me about my plan?\" Muddy whispers.\n\nMuddy scrapes some dust off his boots.\n\n> You give the pamphlet to muddy\nMuddy grabs it from you, squinting and sounding out words silently with his mouth. His eyes open wide in amazement.\n\n\"Pete? Wait a gosh darn... PASTOR Pete? That really him? Hot diggity!\"\n\nMuddy jumps to his feet, runs to the bench and shakes Pete wildly; Pete screams and throws his hands into the air, gesticulating to heaven as he's awoken from his dream --\n\n\"BEGONE, daemons! The Prince of Piety shall SMITE thee! He who brushes the Celestial Cavalier's horses shall not clean the stables of PARADISE!\"\n\nThe grubby preacher collapses back on the bench, eyes closed and snoring before either of you can take a step.\n\n\"This time my plan is surefire -- go ahead, ask me. C'mon.\" Muddy jibes quietly.\n\n> You ask muddy about PASTOR\nThere ain't no reply.\n\n\"Ain't you even a speck curious to ask me about my plan?\" taunts Muddy.\n\nMuddy tugs down on his vest, which had ridden up a bit.\n\n> You ask muddy about PASTOR Pete\nMuddy replies, \"Seems mostly harmless.\"\n\n\"Truthful, Rick,\" whispers Muddy solemnly, \"this ain't like all my other plans, this one is iron-clad. Ask me about it. Go ahead.\"\n\nOver in the office, the deputy looks tired.\n\n> You count the bricks\nYou can ASK someone ABOUT something or SHOW something TO someone.\n\nMuddy vibrates with excitement and gushes, \"I got to tell you, Rick, or this new plan of mine is going to drive me plumb crazy!\"\n\n\"Let's keep this between us, though,\" he whispers.\n\nMuddy leans towards you, his face barely an inch from your ear and his buzzard-worthy breath even less so from your nose. \"Okay, Rick, I'm a-going to tell you my plan.\" Muddy pauses dramatically. \"Here it is: we got to break out of this jail before we get strunged up.\"\n\n\"That's it? That's your whole damn plan? That don't count as no plan!\" you fume.\n\n\"Keep it down, Rick!\" Muddy's gaze darts over to your third cellmate. \"Yeah, that's it for now. It takes time to cook up a good plan. You need lots of ingredients.\"\n\n\"Muddy Charlie,\" you retort, \"I heared you was the worst cook in the Confederate Army. Your cooking like as did more damage than Sherman's March.\"\n\nMuddy gives you a hurt look and sulks in the corner. After a while, you regret being so quick-tempered with your old buddy.\n\n> You read the bronze plate\nYou find a tin of chewing tobacco. It looks interesting, so you borrow it.\n\nYou read aloud the engraving on the bronze plate: \"Donated to the Crawdad's Gulch Municipal Hoosegow by the Gunslinger's Widows Association, Chapter Forty-One.\"\n\nMuddy shakes his head, \"They sure are an upstanding organization.\"\n\n> You examine the tin\nA rectangular tin of \"Spitting Image\" chewing tobacco. The cover shows a cowboy painting a portrait of an Indian, and true to its name, the image on the canvas looks just like the Indian. The tin is closed.\n\nPastor Pete throws his head back, howls, and stands on the bench. He screams, \"The ENVELOPE of KNOWLEDGE is sealed with the WAX of PRIDE and impressed by the unwieldy RING of TWISTED ASPIRATIONS, but did anyone remember to put the LETTER of CIVILITY in the envelope? Does the envelope bear the STAMP of HUMILITY, or is it sent cash on delivery? Shall it thusly come to pass that FATE arrives one day in our letter boxes, and we find ourselves searching and shuffling through piles and piles of ADVERTISING, only to find a bill for a life of sinfulness? No! Not if we are quick-witted and change our addresses or even our names, and leave no forwarding instructions and nail shut our letter box, and saw it down, and cast it in a tall VOLCANO and watch it sink into the sulfurous lava. Yea! That might just work!\"\n\nPastor Pete faints onto the bench and resumes snoring without missing a beat.\n\n> You open the tin\nYou open the tin, revealing a wad of tobacco.\n\n> You search pastor\nYou don't find anything that Pastor Pete wasn't born with.\n\nMuddy looks like he's about to have a great idea, but then goes back to staring at the floor.\n\n> You search the tobacco\nYou don't find nothing at all.\n\nPastor Pete curls up into a ball, muttering to himself."
    },
    {
        "text": "[Themes: Western, Comedy, western, strong NPCs]\n\n> Look around\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nA broken stool lies on the floor.\n\nMuddy leans against the wall tapping a harmonica on his arm.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nIn the office you can also see the deputy.\n\n> Chew tobacco\n(first sticking some in your maw)\nThe tobacco is getting juicy and soft.\n\n> You ask the deputy about stool\nThe deputy looks annoyed, but says, \"Yeah, go ahead, try it out.\"\n\nMuddy rubs up and down against the brick wall, scratching an itch.\n\n> You look at the wall\nThe jailhouse walls are made of brightly painted white bricks. The bricks still smell like fresh paint.\n\n> You examine the stool\nA small stool, with legs a couple of feet long. It's three-legged by design, but two-legged in practice, hence its inability to stand upright. There's an empty socket where the third leg should be. All of the paint has been worn off the seat by your illustrious predecessors who inhabited this cell. Those same occupants carved every square inch of the stool's seat with their initials (and the initials look intriguing!)  A small bronze plate has been nailed to the bottom of the stool.\n\nPastor Pete curls up into a ball, muttering to himself.\n\n> You touch the bricks\nThe walls feel rough and a little bit powdery.\n\nIn the office, the deputy pokes his head out of the office and yells at some passersby.\n\n> You look at the bench\nA long wooden bench made of rough, splintery planks. Under the bench, you notice a piece of questionable meat, a spoon and a metallic can.\n\nMuddy pats down his wild hair but only makes it worse.\n\n> TAKE MEAT, SPOON, CAN\nmeat: Yuck. You are holding the rancid meat.\n\nFetched.\n\nspoon: Fetched.\n\ncan of beans: Fetched.\n\nA cockroach scuttles by, making a detour around Muddy. Cockroaches have noses, you figure (not that you smell all that flowery neither).\n\n> You look at the can\nA closed metal can labeled \"BEANS\". On the back, some fine print says, \"Precooked beans. No claim is made regarding the cardioprotective nature of this product. May cause abdominal distension if ingested. No fitness of purpose is implied. No warranty is provided for personal or other injury, or injury or loss related directly or indirectly to the use of this product. By opening this can, you agree to the terms of service posted in town.\"\n\nMuddy rubs his eyes, \"I didn't get a good night's sleep last night either. I'm bushed.\"\n\n> Inventory\nYou're carrying a can of beans, a spoon, a hunk of meat, a tin, a pamphlet, your pocketwatch, and a scrap of paper. You are wearing your hat, pants, overcoat, left boot, and right boot.\n\n> You ask Jimbo about the padlock\nThere ain't no reply.\n\nMuddy cracks his knuckles loudly.\n\n> You examine the spoon\nA bent old spoon.\n\nPastor Pete bounces from wall to wall. He exclaims, \"The ENVELOPE of KNOWLEDGE is sealed with the WAX of PRIDE and impressed by the unwieldy RING of TWISTED ASPIRATIONS, but did anyone remember to put the LETTER of CIVILITY in the envelope? Does the envelope bear the STAMP of HUMILITY, or is it sent cash on delivery? Shall it thusly come to pass that FATE arrives one day in our letter boxes, and we find ourselves searching and shuffling through piles and piles of ADVERTISING, only to find a bill for a life of sinfulness? No! Not if we are quick-witted and change our addresses or even our names, and leave no forwarding instructions and nail shut our letter box, and saw it down, and cast it in a tall VOLCANO and watch it sink into the sulfurous lava. Yea! That might just work!\"\n\nPastor Pete falls onto the bench and falls back to sleep immediately.\n\n> You wake pete\nSuddenly, Pastor Pete leaps up and rants, \"The desires of an earthly PRINCE are met not by gold or myrrh or power over his enemies, but by HERRING. Salted, preserved herring from a can. Kippered Herring. Sweet, sweet, kippered herring. Who could desire more? Indeed, after a few, who could desire more KIPPERED herring, at least for a little while, having filled up on the first tin of them? They're indeed salty, harmless to you and me, but for a SLUG or snail, lethal. This is part of the divine wisdom, and why herrings live in the sea (prior to being canned) and slugs do not (and are, therefore, unlikely to be canned). To argue with this is sheer madness\". He then collapses on the bench again and falls fast asleep.\n\nOver in the office, the sheriff's invention ticks like a clock.\n\n> You ask Jimbo about the invention\nThe deputy looks annoyed, but says, \"Sheriff Cheney done rigged up that machine and the steam whistle, both of them run off that steam boiler stove. Near as I can tell, the machine makes coffee, but oh, what fine coffee it do make. I can't as much as figure, though, how he's paying for all the inventing he does. Well, I guess sheriffs is paid more than deputies is.\"\n\nHalfway between the door to the outside and your jail cell, the boiler rumbles for a moment and then stops.\n\n> You sit on the stool\nThe deputy folds down the warrant he is reading and smiles encouragingly, \"Please, go ahead. The stool is stronger than it looks.\"\n\nYou carefully climb onto the precariously balanced two-legged stool and subsequently find yourself face down on the dusty jail floor. Muddy helps you up and brushes you off.\n\nThe deputy laughs himself hoarse. \"I declare, that were powerful entertaining!\" The deputy continues to chuckle to himself, even as he turns back to his newspaper, \"I said, please go ahead, and he sits on it. That were rich. Maybe he'll try again.\"\n\nOn the other side of the jail bars in the office, the deputy watches you with a bored expression.\n\n> You examine the boiler\nMidway between the jail cell and the door to the sheriff's office stands a pot-bellied inferno. Through a small grate on its front, you can see flames burning within. Above the combustion chamber, there is a round, rivet-studded ball, which in turn leads into a junction. One pipe runs sideways to the bronze machine behind the desk, while the main pipe runs straight up through the roof. There is a lever at the junction which looks like it could swing either towards the front door or towards the rear of the office. Right now, it is nearer to neither position.\n\n> You examine the bowl\nA beat-up mining pan full of dents and scratch marks. The bowl seems to be nailed (yes, nailed!) to the office floor.\n\n> You examine the lever\nA swinging metal arm that pivots on the pipe junction. The arm can swing towards either the door or the back of the office. Right now, it is nearer to neither position.\n\nMuddy burps loudly and remarks, \"Oh, that's much better.\"\n\n> Examine watch\nIt's the wind-up timepiece you received when you were commissioned as an officer in the Confederate Army. It is some small consolation that your jailers were so incompetent as to overlook your one treasure. It currently reads three minutes past eight in the evening  -- less than twelve hours until you and Muddy are looking all so peaceful and serene.\n\nMuddy strokes his whiskers.\n\n> You throw the tin at the lever\nYou can ASK someone ABOUT something or SHOW something TO someone.\n\nPastor Pete rolls back and forth on the bench.\n\n> You ask muddy about lever\nMuddy replies, \"I don't rightly know.\"\n\nMuddy rocks back and forth on the balls of his feet.\n\n> You give the tin to muddy\nMuddy glances at the tin and says, \"I ain't got no idea what I'd do with a tin. No thanks.\"\n\nOver in the office, the deputy inspects his LeMat revolver lovingly.\n\n> You look at the window\nPretty far up on the wall, as wide as your shoulders, and secured by four vertical iron rods as thick as your thumb. And you have thick thumbs. The green tip of a vine pokes in from outside and lies on the narrow window sill.\n\nOn the other side of the jail bars in the office, the deputy peeks through the jail cell window at the saloon across the street. It's clear he'd rather be there.\n\n> You look at the vine\nOnly the leafless tip of a wiry vine pokes into the cell through the window.\n\nOver in the office, the deputy warms his hands near the boiler.\n\n> You pull vine\nYou yank on the wiry vine and it yanks back. It's too tough to break off. From outside the window, you hear the bulk of the plant rustling as it swings back and forth.\n\nIn the office, the deputy repeatedly counts his fingers, but is unable to get a firm answer.\n\n> You pull the vine\nYou yank on the wiry vine and it yanks back. It's too tough to break off. From outside the window, you hear the bulk of the plant rustling as it swings back and forth.\n\n> You examine the meat\nThe deputy has been watching you and he smiles sardonically. \"I see you found your dinner. Or was that last week's dinner? Har, har!\"\n\nYou are distracted by his comment and forget what you were doing.\n\n> You put the meat in bowl\nYou can reach through the bars, but not far enough to touch the food bowl.\n\nBack in the office, the deputy makes you nervous as he waves his gun back and forth, jerking the barrel up and shaping the words \"Pow! Pow!\" with his lips.\n\n> You ask the deputy about the saloon\nThe deputy looks annoyed, but says, \"I get my best work done there.\"\n\nMuddy seems lost in thought.\n\n> You examine the left boot\nA cowhide boot that has been rubbed smooth. The heel is worn-down, and the spurs have broken clear off.\n\n> You examine right boot\nA cowhide boot that has been rubbed smooth. A metal riding spur is about ready to fall off the worn-down heel.\n\nOver in the office, the bronze machine ticks like a clock.\n\n> You examine the vine\nOnly the leafless tip of a wiry vine pokes into the cell through the window.\n\nIn the office, the deputy pokes his head out of the office and yells at some passersby.\n\nOnly the leafless tip of a wiry vine pokes into the cell through the window.\n\nMuddy spends some time looking over at the machine in the office.\n\n> You cut the vine with the spur\nThat don't work none. What kind of crazy talk is you up to?\n\n> You give the spur to muddy\nMuddy glances at the spur and says, \"I ain't got no idea what I'd do with a spur. No thanks.\"\n\nJust to the side of the desk, the boiler gurgles and bubbles quietly.\n\n> You open the beans with the spur\nMuddy cranes his neck to see what you're doing. He's never seen someone open a can with heel spurs. You slide the spur into the groove along the top of the can, and wiggle it back and forth. The can revolves, and the lid is nearly sawn off. It is hard to tell which of you is more surprised that this worked.\n\nOver in the office, the deputy sniffles loudly and wipes his nose on his sleeve.\n\n> You check your inventory\nYou're carrying a spur, a can of beans, a spoon, a hunk of meat, a tin, a pamphlet, your pocketwatch, and a scrap of paper. You are wearing your hat, pants, overcoat, left boot, and right boot.\n\nOn the other side of the jail bars in the office, the deputy inspects his LeMat revolver lovingly.\n\n> You examine the beans\nAn open metal can labeled \"BEANS\". The can is full of plump, glistening, little beans. On the back, some fine print says, \"Precooked beans. No claim is made regarding the cardioprotective nature of this product. May cause abdominal distension if ingested. No fitness of purpose is implied. No warranty is provided for personal or other injury, or injury or loss related directly or indirectly to the use of this product. By opening this can, you agree to the terms of service posted in town.\"\n\nPastor Pete sits bolt upright, howls at the moon, and flips back over, fast asleep.\n\n> You eat the beans\nWhen you were a child, you remember visiting your cousins, who all liked beans. Your aunt insisted that if they could eat beans, so could you. You choked on them, and coughed them up, and they made fun of you. Since then, you don't even like the way they smell. The beans, that is. Actually, your cousins are kind of rank too.\n\nNonetheless, your stomach is growling and you could do with a meal.\n\n[You have dealt with a repressed childhood memory in a constructive manner, your score just went up by two points]\n\nPastor Pete pedals the air with his feet, while making sounds like a ringing bell.\n\n> You pull the bars\nThe deputy looks up from the warrant, annoyed at the distraction. \"Them jail bars is solid iron, boys. Now stop messing with them. I would surely hate to have to shoot you tonight and ruin tomorrow's hanging.\"\n\n> You look in the can\nThe can of beans is empty.\n\nOver in the office, the deputy warms his hands near the boiler.\n\n> You ask the deputy about the coffee\nThe deputy looks annoyed, but says, \"Nothing is as good as the coffee that comes out of the sheriff's machine.\"\n\nMuddy looks around the sheriff's office.\n\n> You ask the deputy about the machine\nThe deputy looks annoyed, but says, \"Sheriff Cheney done rigged up that machine and the steam whistle, both of them run off that steam boiler stove. Near as I can tell, the machine makes coffee, but oh, what fine coffee it do make. I can't as much as figure, though, how he's paying for all the inventing he does. Well, I guess sheriffs is paid more than deputies is.\"\n\nPastor Pete spins in the air. He yells, \"The SUN ariseth, the MOON setteth and the leaves, they do in a chaotic manner blow themselves around and around, presuming it is the time of the year for them to do so, and that the weather has cooperated. The latter pertaining to the leaves, and not so much to the sun and moon, which are independent of the WEATHER, except in so far as being observable only when the weather permits. So, it seems that the weather itself is somewhat a culprit in these matters, but what will a brisk rainstorm do against the fiery, hot flames of eternal damnation? STEAM. Yes, steam. Because it's not so much the heat, it's the HUMIDITY. Back on your heads, my lads!\"\n\nPastor Pete crumples onto the bench and is soon lost in dreams again.\n\n> You look in the can\nThe can of beans is empty.\n\n> You eat the beans\nWhen you were a child, you remember visiting your cousins, who all liked beans. Your aunt insisted that if they could eat beans, so could you. You choked on them, and coughed them up, and they made fun of you. Since then, you don't even like the way they smell. The beans, that is. Actually, your cousins are kind of rank too.\n\nNonetheless, your stomach is growling and you could do with a meal.\n\n[You have dealt with a repressed childhood memory in a constructive manner, your score just went up by two points]\n\n> You put the can in the socket\nPutting the can of beans into the socket don't make a lick of sense. Not likely to fit well anyway.\n\nNot far from your jail cell, the metal contraption puffs some steam into the office.\n\n> You examine the ceiling\nThe stucco jailhouse ceiling is too high to touch.\n\nOutside, there is a brief cloudburst. The wind comes right behind the rain.\n\n> You stand on the bench\nYou can't! A pastor is passed out on it. There's no room for you.\n\nIn the office, the deputy looks tired.\n\n> You look under the bench\nYou peek under the bench but don't find anything new.\n\nBack in the office, the deputy stares at Muddy.\n\n> You make coffee\nYou can reach through the bars, but not far enough to touch <illegal object number 302>.\n\nPastor Pete murmurs repeatedly, \"Kippered herring, please! Kippered herring, please! Kippered herring, please!\"\n\n> Examine watch\nIt's the wind-up timepiece you received when you were commissioned as an officer in the Confederate Army. It currently reads twenty-four minutes to nine in the evening  -- less than twelve hours until you and Muddy are daid.\n\n> You give the beans to muddy\nMuddy takes the can and stares hungrily at the beans.\n\nEven in the most dire situation, Muddy's appetite remains intact. He looks expectantly at you and says, \"Rick, got a spoon?\"\n\nMuddy rubs his belly and says, \"I reckon I could do with a snack right about now.\"\n\n> You give the spoon to muddy\nMuddy cracks a gap-toothed smile and says, \"Much obliged,\" before digging into the can of beans like a miner hot on a fresh gold vein. A couple moments later, he finishes circling the inside of the can with the spoon, trying to get every last drop of bean juice into his mouth. Afterwards, he places the can and spoon on the floor and rubs his stomach with satisfaction.\n\nMuddy has an aura of well-fed contentment.\n\n> Break stool\nYou reckon violence usually is the answer, but maybe not just now.\n\nMuddy holds his belly and comments, \"Got a bit of indigestion, I does.\"\n\n> Wait\nTime passes.\n\nMuddy wraps his arms around his belly, and moans softly, \"I might have overdone it with them beans.\"\n\nThe deputy looks up from his reading, curious.\n\n> You wait for a while\nTime passes.\n\nMuddy doubles over, \"Rick, you should get to high ground. I'm feeling a mite bloated after them beans, and I think you know what's coming!\"\n\n\"Where the Sam Hill do you think I'm going to run to, Muddy? We're locked up in a hoosegow! Deputy, if'n I was you, I would put some distance between Muddy and your nose. \"\n\nThe Deputy looks concerned, but confused.\n\n> You wait for a while\nTime passes.\n\nYou hear nothing. The smell nearly knocks you out. Vision fades, the room spins.\n\nMuddy whispers in that understated manner of his, \"That were a silent but deadly.\"\n\n> You look at Deputy\nBig and strong, but lacking numerically in ancestors.\n\nSuppressing the urge to throw up from the smell, the deputy reaches over to the whiskey bottle and half drains it on his way out the door.\n\nThe fragrance gradually improves as the universe cools.\n\nMuddy picks some food from between his teeth."
    },
    {
        "text": "[Themes: Western, prison]\n\n> You look around\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nA broken stool lies on the floor.\n\nMuddy leans against the wall tapping a harmonica on his arm.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nYou can also see an empty can (in which is a spoon) here.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\n> You pull the vine\nYou yank on the wiry vine and it yanks back. It's too tough to break off. From outside the window, you hear the bulk of the plant rustling as it swings back and forth.\n\nHalfway between the door to the outside and your jail cell, the sheriff's invention percolates.\n\nThe deputy pokes his head back in the office and remarks, \"I've about had enough of you characters. You can stew in your own juices here. I got important things to do over yonder in the saloon. But I reckon I would be dairy licked to leave you jokers alone.\"\n\nThe deputy grabs a dinner bell from the hook where it hangs next to the office door, and he rings the bell slowly a few times. Nothing happens. He rings it again. Minutes go by and the deputy waits impatiently. Finally, a fat bloodhound waddles leisurely through the doorway, tempted by the dinner bell.\n\nThe deputy reaches into his pocket and retrieves a scrap of beef jerky. He pitches it into the dog's bowl, and the bloodhound gobbles it down. The deputy leads his mangy old dog towards the office's strange-looking steam boiler and ties him to it with a leash.\n\n\"This here's Flash, my hunting dog. I got to warn you that he can be vicious when he gets riled up, so don't cross him.\" Flash slowly slumps down next to the boiler, enjoying the heat. His heavy eyes close, and drool drips from his toothless mouth.\n\n\"Flash here's apt to rip your throat out if you so much as look at him funny, but I got him hooked up here to the sheriff's fancy steam contraption.\" The deputy narrows his eyes distrustfully. \"If you boys were so stupid as to make for the jailhouse door, 'ol Flash would yank that lever and set off the steam whistle on the roof. The sheriff installed it special for me, so as I can come when he wants me. I can hear that halfway across town, and if'n I do hear it, then you'll have to deal with me *and* Flash.\" The deputy gives Flash one last pat on the head, swigs the whiskey one more time, and departs for the saloon.\n\n> You give the meat to Flash\nFlash don't seem interested.\n\n\"That worked out well,\" says Muddy proudly.\n\n\"For you maybe,\" you reply. \"But I near to lost my lunch what with that stench.\"\n\nTo which Muddy counters, \"Ain't much worse than your feet, I reckon.\"\n\n> You throw meat\nDitched.\n\n> You put the tobacco on the meat\nYou need to be holding the tobacco before you can put it on top of something else.\n\nNot far from your jail cell, the metal contraption puffs some steam into the office.\n\n> You take the meat\nYuck. You are holding the rancid meat.\n\nFetched.\n\nHalfway between the door to the outside and your jail cell, the furnace creaks.\n\n> You dig the wall with the spoon\nI only twigged your meaning as far as hankering to dig the walls.\n\n> You give the meat to muddy\nMuddy reaches eagerly, but stops just short of taking it. You've never seen Muddy turn down food before, so you're not sure how this experiment will work out. He sniffs it tentatively, hoping that the smell will be better than the sight. His eyes cross and he staggers backward, fanning the air and loosening his collar. \"I think I'll pass,\" he says weakly.\"\n\n> You dig the wall\nThat's crazy talk.\n\nMuddy scratches his leg.\n\n> You stand on the stool\nYou teeter momentarily on the stool and then topple face first into the floor, like a blacksmith's hammer striking the anvil. This is getting old real fast now.\n\n> You look at what you're carrying with you\nYou're carrying a hunk of meat, a spur, a tin, a pamphlet, your pocketwatch, and a scrap of paper. You are wearing your hat, pants, overcoat, left boot, and right boot.\n\nFlash shifts his tail by an inch.\n\n> You examine the overcoat\nThe gray riding coat reminds you of past adventures with Muddy Charlie: the speckled holes on the side where you caught a shotgun blast when a bank transaction done gone awry, the hole on the other side from the time you and Muddy got to fooling around with a bow, an arrow, and a bottle of whiskey, and the charred, frayed edges of the coat from the time you and Muddy were almost burnt as witches. Each flaw in the garment reminds you of one of Muddy's plans, each of which sounded so reasonable at the time....\n\nFlash sneezes, but somehow he manages to do it slowly.\n\n> You examine the stool\nA small stool, with legs a couple of feet long. It's three-legged by design, but two-legged in practice, hence its inability to stand upright. There's an empty socket where the third leg should be. All of the paint has been worn off the seat by your illustrious predecessors who inhabited this cell. Those same occupants carved every square inch of the stool's seat with their initials (and the initials look intriguing!)  A small bronze plate has been nailed to the bottom of the stool.\n\nA yellow-fringed surrey trots past the sheriff's office.\n\n> You look at the socket\nOnce upon a time, a stool leg about two feet long must have occupied the now empty hole in the stool seat. Without that leg, the stool isn't much good.\n\n> You examine bars\nYou look across the street at the saloon. Oh wait, did you mean the prison bars? Yeah, probably. Anyhow, the bars to your cell reach from floor to ceiling and are made of matte black metal. All except one, which is sort of gray in color and as short as a table leg. They are a bit under an inch thick, and they are reinforced by three tiers of horizontal bars. The gate to your cell is framed in the same black metal and inset into this meshwork of bars.\n\n> You examine the gray bar\nThe gray bar is just a shade lighter than the surrounding jail bars. You notice that the gray bar is held to the ceiling by a screw the size of a railroad spike.\n\n> You look at the screw\nA large, rusty screw. It's holding a gray bar in place.\n\n> You unscrew it\nNothing obvious happens.\n\n> You unscrew it with the spoon\nI only twigged your meaning as far as hankering to unscrew the screw.\n\n> You pull the screw\nThe screw is too high for you to reach.\n\nPastor Pete stares wide-eyed at the ceiling for a moment and then falls back asleep.\n\nNothing obvious happens.\n\nFlash has died. Wait. Sorry. He's just really immobile.\n\n> You unscrew the gray bar\nNothing obvious happens.\n\nFlash has a nightmare and growls quietly before returning to a deep slumber.\n\n> You hold the stool\nMuddy ain't having none of your balderdash.\n\nMuddy drums his fingers against the wall.\n\n> You stand on the stool\nYou ain't gonna get onto the stool unless it stands solidly on three good legs.\n\nNot far from your jail cell, the metal contraption gurgles and bubbles quietly.\n\n> You remove the boot\nWhich all do you mean, the left boot, or the right boot?\n\n> Left\nOh, you really don't want to do that. Not indoors at least. Are you sure?\n\n> No\nMuddy murmurs a prayer of thanks to whatever he sometimes prays to when he's running away from something bigger or badder than he is.\n\nHalfway between the door to the outside and your jail cell, the furnace hisses, venting some steam.\n\n> You examine the hat\nAn unusually capacious, wide-brimmed hat to protect you from the sun.\n\nMuddy counts the number of stars he can see out the window, divides by the number of bars in the jail cell, and takes the natural logarithm. \"Yup,\" he says, \"that's what I thought.\"\n\n> You remove the hat\nYou take off the hat.\n\n> You look in the hat\nThere ain't no reply.\n\nFlash starts to rub a flea but then decides it to be too much work.\n\nEnter saved game to store: Ok.\n\nTen gallons of nothing. You sure could shove a lot of loot in there, you reckon.\n\nFlash snores loudly, his jowls fluttering with each breath.\n\n> Chew tobacco\nIt tastes pretty horrid.\n\n> You remove the right boot\nThere are people within a thousand yards. Are you sure?\n\n> Y.\nYou rock back and forth on the floor, locked in a death struggle with your foot. Beads of sweat form on your head, as you struggle to twist and pull the boot off. With a sudden sucking pop, the boot relents and you tumble backwards.\n\nMuddy's eyes water as he complains, \"Ain't you got no sense of smell in that head of yours?\"\n\nTo which you reply, \"Not after I been downwind of you around feeding time, nope. This ain't nothing next to what you can do with a can of beans!\"\n\nFlash wakes with a start and sneezes loudly. The fur on his back bristles, and he opens his eyes to stare in horror at your feet. He backs away, towards the front door. The leash pulls taut. He seems caught in the balance between an urge to run away from your stinky foot and his own laziness, which holds him to the spot.\n\n> You remove the left boot\nIn some states that would be a felony. Are you sure?\n\n> Yes\nYou rock back and forth on the floor, locked in a death struggle with your foot. Beads of sweat form on your head, as you struggle to twist and pull the boot off. With a sudden sucking pop, the boot relents and you tumble backwards.\n\nMuddy's eyes water as he complains, \"Not again! My poor nose!\"\n\nOne foot was bad enough, but two is more than the old dog can handle. Trying not to sniff the air, Flash turns tail and breaks for the door, straining against his leash, which is tied to the steam pipe lever. The lever swings towards the door, and from the roof you hear the ear-splitting drone of a railway steam whistle.\n\nYou agree with Muddy that the deputy is not likely to be in a good mood when he arrives, so you put your boots back on.\n\n> You put the gray bar in the socket\nYou flip the stool over and wiggle the hollow gray tube into the empty socket. It fits perfectly and remains in place when you let go of the bar, but you think you could yank the gray bar out again if you needed it. You now have a stool with three even legs: two wood, one metal.\n\nThe Deputy slams through the swinging doors to the office, lurching to the side as he struggles to put his other leg into his pants. He is bare-chested and empty-handed, aside from a nearly drained bottle of whiskey.\n\nThe deputy thunders, \"What the cluster-chucking blazes is the matter here?\" The deputy surveys the office quickly and then rattles the gate to make sure it is still locked. In his drunken rage, he doesn't notice the missing metal bar.\n\nSatisfied that you haven't escaped, he pushes the lever back to the middle position and warns, \"I don't know what you were up to what made old Flash trigger-happy, but don't let it happen again.\"\n\n\"Dumb dog,\" he mumbles, \"I was doing important business.\" The deputy shakes his head in frustration and sets off again towards the door.\n\n> You look at the stool\nA small stool, with legs a couple of feet long. One of its three legs is a piece of gray jail bar, but it seems relatively solid. All of the paint has been worn off the seat by your illustrious predecessors who inhabited this cell. Those same occupants carved every square inch of the stool's seat with their initials (and the initials look intriguing!)  A small bronze plate has been nailed to the bottom of the stool.\n\nPastor Pete pedals the air with his feet, while making sounds like a ringing bell.\n\n> You sit on the stool\nMuddy holds it steady as you climb up. Your head is now even with the top of the window.\n\nPastor Pete shakes and twists spasmodically.\n\n> You stand on stool\nYou are already high enough up.\n\nMuddy murmurs to himself about not being able to recall a limerick he once heard that had something to do with cowboys and farmers.\n\n> You look at the window\nPretty far up on the wall, as wide as your shoulders, and secured by four vertical iron rods as thick as your thumb. And you have thick thumbs. The green tip of a vine pokes in from outside and lies on the narrow window sill.\n\nThe Deputy slams through the swinging doors to the office, lurching to the side as he struggles to put his other leg into his pants. He is bare-chested and empty-handed, aside from a nearly drained bottle of whiskey.\n\nThe deputy thunders, \"What the cow-poking sheep-sheering bear-baiting turkey-trotting blazes is the matter here?\" The deputy surveys the office quickly and then rattles the gate to make sure it is still locked.\n\nSatisfied that you haven't escaped, he pushes the lever back to the middle position and warns, \"I don't know what you were up to what made old Flash trigger-happy, but don't let it happen again.\"\n\n\"Dumb dog,\" he mumbles, \"I was doing important business.\" The deputy waves his fist at you and sets off again towards the door.\n\n> You look at the gate\n(the gate)\nA metal gate stands between you and freedom. The gate is set into the metal bars that surround your cell, and its hinges must be internal. The gate has a massive padlock that clicked definitively behind you when you were thrown into the cell. You've seen banks with poorer locks. At least this is a quality institution.\n\nFlash basks in the glow of the boiler.\n\n> You look at the grey bar\nThe gray bar is just a shade lighter than the surrounding jail bars. You notice that the gray bar is held to the ceiling by a screw the size of a railroad spike.\n\nMuddy murmurs to himself about not being able to recall a limerick he once heard that had something to do with cowboys and farmers.\n\n> Turn screw\nNothing obvious happens.\n\n> You tie the vine to screw\nYou would achieve nothing by this.\n\nFlash nuzzles up to the boiler.\n\n> You give the tin to PASTOR\nSuddenly, Pastor Pete leaps up and rants, \"The SHIP of INTEGRITY floats merrily on the sea of justice, and we on the shore are lapped by the waves of righteousness, drizzled upon by the REIGN of PROPRIETY, and spat upon by the unyielding sense of honor and self-worth that could be extracted from fried food if one had the time and inclination to do so. We are doused by a fire brigade of good works, immersed in the RIVER of NOBLE DEEDS, pulled under by the CURRENT of good will, and drowned within an inch of our very lives in the deep, dark well of DUTY. Thus, I say, swimming is something that should be learned at an early age, and then avoided\". He then collapses on the bench again and falls fast asleep.\n\nMuddy leans against the wall and sighs.\n\n> You give the tin to muddy\nMuddy glances at the tin and says, \"I ain't got no idea what I'd do with a tin. No thanks.\"\n\nMuddy paces back and forth impatiently.\n\n> You remove the screw\n(first taking the screw)\nThe screw is too high for you to reach.\n\nMuddy hums \"Camptown Races\", singing the \"Doo-Dars\" off key. The effect is annoying.\n\n> You stand on the stool\nYou ain't gonna get onto the stool unless it stands solidly on three good legs.\n\nPastor Pete shakes and twists spasmodically.\n\n> You eat the tobacco\n(first taking the tobacco)\nYou take a pinch of tobacco.\n\n\"Glmph.\"\n\n\"You didn't just swallow that chaw, did you?\" asks Muddy incredulously.\n\n\"I reckon I done just that -- and it didn't go down pretty.\"\n\nYou galoot. You're supposed to chew it. Hain't I learned you nothing?\"\n\n> You get on muddy\n(first sticking some in your maw)\nYou wonder if tobacco is really good for you, like the doctors say.\n\nMuddy glances over at you, and seems about to speak, but then walks away again.\n\nThat ain't something what you can loiter on.\n\nA fly buzzes past your ear and lands on the ceiling.\n\n> You spit the tobacco at the bowl\nThe tobacco hits the food bowl, but drops off.\n\nPastor Pete somersaults from the bench into the center of the jail cell. He chants, \"The mystery of unfounded knowledge knows not the day of its own destruction, nor whence it came. It is a PUZZLE wrapped in an enigma, boarded up in a box lined with straw, and surrounded by another metal box with RIVETS, and finally an even larger metal box that is encased in concrete and thrown into the ocean, where it is swallowed by a whale, which is in turn swallowed by a sea turtle of unusual proportions. That SEA TURTLE is subsequently swallowed by a still larger sea turtle, and from there on, it's turtles all the way down!\"\n\nPastor Pete collapses onto the bench and resumes his previous position as if nothing had happened.\n\n> Spit tobacco at Pete\nSuddenly, Pastor Pete leaps up and rants, \"There shall be an ACCOUNTING and it shall come swiftly, and with little notice, most likely in a four hour time slot in the morning, but perhaps in the late afternoon or evening if they're running late. THE WAGES OF SIN shall be entered into the ledgers, in duplicate, after first deducting the withholdables of sin and carrying over any offsetting credits from previous GOOD WORKS, and taking into consideration the INFLATION of EVIL, the DEVALUATION of MORALS and the exchange rate with PAGAN BELIEFS\". He then collapses on the bench again and falls fast asleep.\n\nFlash half opens one eye and looks at you and Muddy.\n\n> Spit tobacco at Flash\n(first chewing some tobacco)\nThe stomach-churning mass of glistening tobacco pulp splashes on the floor, just in front of Flash. His nose twitches, as his finely honed bloodhound sense of smell detects tobacco ball. Your stomach churns as he stretches lazily forward and laps it up, swallowing it in one gulp before falling asleep again.\n\n> Twist grey bar\nNothing obvious happens.\n\n> You spit the tobacco at the screw\n(first chewing some tobacco)\nYou're not keen to spit at anything in the jail cell with you. A man don't spit where he lives (excepting maybe on the floor, of course).\n\nJust to the side of the desk, the boiler gurgles and bubbles quietly.\n\n> Spit tobacco at lever\n(first chewing some tobacco)\nThe tobacco sails right past the thin lever, hits the boiler pipe and slides down, out of sight.\n\nFlash sniffs his food bowl.\n\n> You look at what you're carrying with you\nYou're carrying a hunk of meat, a spur, a tin, a pamphlet, your pocketwatch, your hat, and a scrap of paper. You are wearing your right boot, left boot, pants, and overcoat.\n\nHalfway between the door to the outside and your jail cell, the metal contraption puffs some steam into the office.\n\n> You examine the pants\nRugged, blue denim.\n\nFlash raises an ear halfway and then lets it flap back down."
    },
    {
        "text": "[Themes: Western, male protagonist, strong NPCs, humor]\n\n> Look around\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nA broken stool lies on the floor.\n\nMuddy leans against the wall tapping a harmonica on his arm.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nYou can also see an empty can (in which is a spoon) here.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nIn the office you can also see Flash.\n\n> You ask muddy about the harmonica\nMuddy replies, \"Give it a toot, Rick.\"\n\n> You play the harmonica\nYou got to be holding it first.\n\nPastor Pete pedals the air with his feet, while making sounds like a ringing bell.\n\n> You get the harmonica\n\"I ain't never seen you play the mouth organ, Muddy.\"\n\nYour partner turns the harmonica back and forth. \"That's 'cuz I ain't never learned how,\" he replies.\n\nMuddy hands the harmonica to you.\n\n> You play the harmonica\nTentatively, you blow a few notes. The bars in the jail cell rattle sympathetically.\n\n\"Look at that, boy\", Muddy laughs, \"I swear that screw up there holding that bar is wiggling loose!\"\n\n> You play the harmonica\nAgain, the room resonates with the rich and vibrant tones of a bagpipe connected to the blowhole of a beluga whale.\n\nMuddy points excitedly towards the top of the gray bar, \"When you played, that screw worked its way out more. It's like you got some kind of sonic screwdriver or something! I think one more time will do it.\"\n\nMuddy tugs down on his vest, which had ridden up a bit.\n\n> You play the harmonica\nThe screw vibrates out of the ceiling, rebounds off the concrete floor in a shower of sparks, and rolls under the deputy's desk. A hollow gray tube falls loose from the upper reaches of the jailbars and lands at your feet.\n\n\"You done it!\" shouts Muddy.\n\nFlash drools.\n\n> You get tube\nYou grab the bar.\n\nYou hold it lengthwise and stare down its hollow shaft at Muddy. He looks back at you.\n\n\"Don't that just beat all,\" ponders Muddy.\n\nFlash lazily sniffs the machine.\n\n> You look through it\nThe bar is a hollow tube, with an inner diameter of about a half-inch. If you look carefully, you can see a spiral groove running up the length of the inside of the shaft, kind of like a rifle.\n\nOver in the office, the bronze machine creaks.\n\n> You put the meat in the tube\nYou don't reckon there's much point in that.\n\nPastor Pete curls up into a ball, muttering to himself.\n\n> You put bar in the socket\nYou flip the stool over and wiggle the hollow gray tube into the empty socket. It fits perfectly and remains in place when you let go of the bar, but you think you could yank the gray bar out again if you needed it. You now have a stool with three even legs: two wood, one metal.\n\nNot far from your jail cell, the boiler rumbles for a moment and then stops.\n\n> You stand on the stool\nMuddy holds it steady as you climb up. Your head is now even with the top of the window.\n\n> You examine the window\nPretty far up on the wall, as wide as your shoulders, and secured by four vertical iron rods as thick as your thumb. And you have thick thumbs. The green tip of a vine pokes in from outside and lies on the narrow window sill.\n\n> You look out window\nThe jail is at the end of a long street. Directly across the street is a saloon, which is open, unlike the stores on both sides of the street that have pulled down their shades for the evening. Below the window there is a covered barrel; you can almost touch its top. Just to the left of the window, a berry-covered vine has grown up the side of the building, and pokes in the window, lying on the narrow window sill.\n\nUp in the sky, you notice a couple of hungry, circling vultures.\n\nFlash looks admiringly at the dinner bell.\n\n> You look at the barrel\nIt's a weathered oak barrel. You can't tell what's inside it, if anything.\n\n> You look at the sill\nA three or four inch wide ledge just inside the small window that looks out onto the street.\n\n> You examine the berry\nEach berry is plump and red, and got no short of mystery about it. Don't look so edible.\n\n> You get the berry\nYou pluck a plump juicy red berry from the part of the vine growing outside the window.\n\nFlash gazes at the dinner bell.\n\n> You eat the berry\nMuddy stops you, \"Don't be a coward -- if'n you eat that, you'll sleep clear through to the afternoon -- and we only got till eight in the \"A\" of \"M\" to get out of here.\"\n\nMuddy leans against the wall and sighs.\n\n> You examine the bell\nA shiny silver bell with a black handle. It is hanging on a small hook by the doorway.\n\n> You put the berry in the bowl\nYou can reach through the bars, but not far enough to touch the food bowl.\n\nFlash moves his front leg slightly.\n\n> Spit at bell\nMuddy shifts around too much for you to even attempt the shot.\n\n> You put the berry in the tube\nYou don't have the gray bar in hand.\n\nPastor Pete leaps into the middle of the jail cell. He rants, \"Blessed is the terribly, terribly DISMAL. How glorious in unpleasantness, how lovely in loathing, how simply pleasing in depravity. In the whole world full of pain and suffering and plagues, not to mention sock monkeys and advertising, how refreshing is the endless potential bounty of disappointment. How much more character we might build were we but marginally more afflicted by adversity, we can only pray. Let us extol the joyfulness of misery and cheer the horrifying facts underlying the production of sausages, and revel in the lack of things we have to celebrate!\"\n\nPastor Pete dives onto the bench and resumes snoring without missing a beat.\n\n> You get off the stool\nYou jump down to the ground again.\n\nA fly buzzes past your ear and lands on the ceiling.\n\n> Unscrew bar\nNothing obvious happens.\n\nMuddy drums his fingers against the wall.\n\n> You take the grey bar\nYou yank the gray tube out of the stool's socket.\n\nFlash keeps an eye on his food bowl.\n\n> You put the berry in the tube\nYou drop the berry into the gray tube.\n\n\"Oh, I get it!\" nods Muddy, \"You're making some kind of berry gun. I seen the Injuns do something like that, except you ain't got no darts in there to blow at people.\"\n\nPastor Pete froths at the mouth.\n\n> You shoot berry at bowl\nThe berry hits the food bowl, then bounces away out of sight.\n\nMuddy murmurs to himself about not being able to recall a limerick he once heard that had something to do with cowboys and farmers.\n\n> You shoot the berry at the bell\nDing! The bell is hit so hard that it spins around on the hook several times, clanging like a church bell on Sunday.\n\nThe amoeba-like mass of fat and fur known to you as Flash leaps immediately to his feet, saliva dripping from his toothless jowls. He lunges like a champion fencer for his food bowl. His leash snaps taut, pulling the lever away from the front door and towards the strange machine.\n\nThe boiler hisses and gurgles, steam jets from the rivet joints in the pipe that connects to the machine, and the machine itself vibrates and rumbles for a minute. A white cup drops from a chute and brown liquid squirts from a nozzle and fills the cup. The smell of fresh coffee pervades the office."
    },
    {
        "text": "[Themes: Western, humor, prison, Comedy]\n\n> Look around\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nA broken stool lies on the floor.\n\nMuddy leans against the wall.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nYou can also see an empty can (in which is a spoon) here.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nOn the machine is a cup (in which is some coffee).\n\nIn the office you can also see Flash.\n\n> You examine the door\nThe cabinet's door covers the front of the cabinet and opens on brass hinges. The contents of the cabinet are recognizable through the cabinet's uneven glass. Despite the distortion, you see what looks like a gun belt some kind of shiny yellow object. Maybe gold, you think, hopefully.\n\n> You look through the bars\nA one-room jailhouse is fitting for this jerkwater town. There's a big, wooden desk in the middle of the room. Just behind the desk is a fancy cabinet, with real glass in the door. Next to the cabinet, a large, framed picture of the sheriff stands on the floor. To the side of the desk, there is a weird-looking contraption: clearly, some sort of steam boiler which is connected by pipes to a strange-looking machine. On the opposite side of the room, two swinging doors lead back to town; a small bell hangs on a hook attached to the door. Flash's empty dog food bowl is nailed to the floor just in front of your jail cell.\n\n> You look at the picture\nA bombastic portrait of the sheriff, who is dressed in a Napoleonic uniform save for the ten gallon hat. In the background, dogs play poker.\n\n> You look at the desk\nA beat-up old wooden desk with time-worn corners, and a pitted, scratched surface.\n\n> You put the bar in the stool\nYou flip the stool over and wiggle the hollow gray tube into the empty socket. It fits perfectly and remains in place when you let go of the bar, but you think you could yank the gray bar out again if you needed it. You now have a stool with three even legs: two wood, one metal.\n\nFlash rolls over and takes a few minutes afterwards to catch his breath.\n\n> You stand on the stool\nMuddy holds it steady as you climb up. Your head is now even with the top of the window.\n\nFlash is as still as a statue.\n\n> You take the berry\nYou pluck a plump juicy red berry from the part of the vine growing outside the window.\n\nA cockroach scuttles by, making a detour around Muddy. Cockroaches have noses, you figure (not that you smell all that flowery neither).\n\n> You continue\nYou already got a mighty nice one.\n\nMuddy pats down his wild hair but only makes it worse.\n\n> You look at the barrel\nIt's a weathered oak barrel. You can't tell what's inside it, if anything.\n\n> You look through the window\nThe jail is at the end of a long street. Directly across the street is a saloon, which is open, unlike the stores on both sides of the street that have pulled down their shades for the evening. Below the window there is a covered barrel; you can almost touch its top. Just to the left of the window, a berry-covered vine has grown up the side of the building, and pokes in the window, lying on the narrow window sill.\n\nUp in the sky, you notice a couple of hungry, circling vultures.\n\n> You examine the vultures\nThey look hungry. Why else would they circle like that?\n\n> You show the meat to the vultures\nYou can only do that to something animate.\n\n> You put the meat on the sill\nYou put the hunk of meat on the window sill and almost immediately, a vulture drops from the sky, lands just beneath the window and drags the meat outside. You can hear it munching away on the meat, and see its tail waving back and forth just outside the window.\n\n> You get the tail\nThat seems to be a part of the vulture.\n\n> You take the feather\nYou pluck a feather from the vulture's tail. The bird twists its head momentarily to glare at you before plunging back into its task of devouring the rotting meat.\n\nPastor Pete pedals the air with his feet, while making sounds like a ringing bell.\n\n> You take the vulture\nYou would achieve nothing by this.\n\nI don't reckon the vulture would much care for that.\n\n> You examine the feather\nA long, black feather with white stripes."
    },
    {
        "text": "[Themes: Western, humor, western]\n\n> Look around\nJail Cell (on the stool)\nThe small jail cell is brick on three sides, metal bars on the other, with a tightly locked gate. A small window is set into the brickwork above your head. Through the jail bars you can see the sheriff's office.\n\nMuddy leans against the wall.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nYou can also see an empty can (in which is a spoon) here.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nOn the machine is a cup (in which is some coffee).\n\nIn the office you can also see Flash.\n\n> You look at the can\nAn open metal can labeled \"BEANS\". Unfortunately for Muddy, the can is empty. One end of a spoon sticks out of the can. On the back, some fine print says, \"Precooked beans. No claim is made regarding the cardioprotective nature of this product. May cause abdominal distension if ingested. No fitness of purpose is implied. No warranty is provided for personal or other injury, or injury or loss related directly or indirectly to the use of this product. By opening this can, you agree to the terms of service posted in town.\"\n\n> You take the spoon\nFetched.\n\n> You examine the spoon\nA bent old spoon.\n\n> You examine the food bowl\nA beat-up mining pan full of dents and scratch marks. The bowl seems to be nailed  to the office floor.\n\n> You throw the feather in the bowl\nTobacco's the only thing worth chewing.\n\nYou can reach through the bars, but not far enough to touch the food bowl.\n\nPastor Pete shakes and twists spasmodically.\n\n> You cut the feather with the spur\nThat don't work none. What kind of crazy talk is you up to?\n\n> You get hollow\nYou yank the gray tube out of the stool's socket, lose your balance, topple backwards and plant your face smartly in the prison floor. Muddy looks away in embarrassment.\n\n> You put the berry in the tube\nYou drop the berry into the gray tube.\n\nA yellow-fringed surrey trots past the sheriff's office.\n\n> You shoot the berry at the bell\nYour projectile ricochets off the bell with a metallic \"ding!\"\n\nFlash reflexively jumps towards his feeding bowl, pulling the lever and somehow causing the machine to rattle and buzz. Finding no food, the despondent dog returns to his favorite place in front of the boiler, shutting off the coffee machine.\n\n> You examine the coffee\nSteaming hot, black joe.\n\nHalfway between the door to the outside and your jail cell, the furnace puffs some steam into the office.\n\n> You put the berry in the tube\nYou drop the berry into the gray tube.\n\nMuddy looks like he's about to have a great idea, but then goes back to staring at the floor.\n\n> You shoot berry at the cup\nThe berry splatters against the side of the cup, and its juice dribbles downwards.\n\nMuddy jumps up, claps you congratulatorily on the back, and you nearly swallow the metal tube still held to your lips.\n\nHe beams, \"That were a one in a million shot, Rick!\" Muddy strokes his chin and wags a finger at the cup, \"Now, if we can only get the deputy to come back and drink some coffee, he might be a whole lot more cooperative, I reckon.\"\n\nYou sure like the way Muddy thinks.\n\n> You remove the left boot\nOh, you really don't want to do that. Not indoors at least. Are you sure?\n\n> Yes\nYou rock back and forth on the floor, locked in a death struggle with your foot. Beads of sweat form on your head, as you struggle to twist and pull the boot off. With a sudden sucking pop, the boot relents and you tumble backwards.\n\nMuddy's eyes water as he complains, \"Man, them feets of yours stinks powerful bad!\"\n\nFlash wakes with a start and sneezes loudly. The fur on his back bristles, and he opens his eyes to stare in horror at your feet. He backs away, towards the front door. The leash pulls taut. He seems caught in the balance between an urge to run away from your stinky foot and his own laziness, which holds him to the spot.\n\n> Yes\nYou rock back and forth on the floor, locked in a death struggle with your foot. Beads of sweat form on your head, as you struggle to twist and pull the boot off. With a sudden sucking pop, the boot relents and you tumble backwards.\n\nMuddy's eyes water as he complains, \"Man, them feets of yours stinks powerful bad!\"\n\nOne foot was bad enough, but two is more than the old dog can handle. Trying not to sniff the air, Flash turns tail and breaks for the door, straining against his leash, which is tied to the steam pipe lever. The lever swings towards the door, and from the roof you hear the ear-splitting drone of a railway steam whistle.\n\nYou agree with Muddy that the deputy is not likely to be in a good mood when he arrives, so you put your boots back on.\n\n> Wait\nTime passes.\n\nThe Deputy slams through the swinging doors to the office, lurching to the side as he struggles to put his other leg into his pants. He is bare-chested and empty-handed, aside from a nearly drained bottle of whiskey. Flash is so scared that he yanks the leash and snaps the lever clear off the machine.\n\nThe deputy thunders, \"What the saddle sore slapping blazes is the matter here?\" The deputy surveys the office quickly and then rattles the gate to make sure it is still locked. In his drunken rage, he doesn't notice the missing metal bar.\n\n\"Dumb dog,\" he mumbles, \"I was doing important business.\" He looks around for Flash, but the dog has already slid out of the office. The deputy gives you a mean look and sets off again towards the door.\n\nThe deputy brightens. \"Ummm. I do smell me some coffee.\" The deputy drains the mug with a single gulp. \"That's good. I got to wake me up some.\"\n\nAlmost immediately, the deputy spins on his heel and drops to the floor just in front of your jail cell.\n\n> You look at Deputy\nYou are relieved to find that the deputy is unconscious, but breathing. He is wearing only a pair of pants -- no shirt, no gun belt, no boots.\n\nMuddy picks some food from between his teeth.\n\n> Search deputy\nYou rifle through his trouser pockets and find a federal warrant. You also find a small brass key. Naturally, you take both.\n\nYou don't find anything else but pocket lint.\n\n> You read warrant\n\"Muddy, this here's a federal warrant!\"\n\n\"What's it say, Rick?\"\n\nI'm a-reading it now: FEDERAL WARRANT. This warrant is issued this eleventh day of December in the year of Our Lord Eighteen Hundred and Seventy-One and duly executed by the hand of United States Army Major General Philip H. Sheridan of Fort Sill, the Indian Territory of these United States of America. The fugitives Mudlark Abercromby MacGyver alias \"Muddy Charlie,\" alias \"Mudshoe,\" alias \"Pensicola Thelma,\" and one Major Richard Carter, alias \"Gentleman Rick,\" alias \"Poor Richard,\" alias \"Gumball Ricky,\" both formerly of the Confederate States Army, having been implicated by observation and circumstance of innumerable delicta, dacoiteries, iniquities, infringements, infractions, and indeed immorality, as well as trangressions, trespassing and trainstopping, are considered deleterious and detrimental to the welfare of the State, and THEREFORE, ordered thereupon that a Mittimus be made out to keep them confined until such time as they be discharged for proper hanging -- It's signed by the General.\"\n\n\"Mittimus?\"\n\n\"I reckon it's after Thanksgiving, before Easter.\"\n\nMuddy gives you that familiar old look that always leads to trouble. \"I got me another cunning plan. C'mon, ask your old buddy Muddy...\" Muddy leans forward, clearly impatient for you to ask him about his latest stroke of (in his opinion) genius.\n\n> You ask muddy about the plan\nMuddy says excitedly, \"Here's my idea: I reckon I could take that warrant and forge a different ending. Maybe trick them into releasing us.\"\n\n\"That's a great idea, Muddy, let me get my pen and some ink. Oh, wait a minute. I don't have either!\" You glare at Muddy.\n\n\"Oh, yeah. I suppose. I didn't think of that.\" Muddy considers the matter. \"Maybe we could make one. If you can find something that I can use as a pen, I reckon we can squish something or other up to make some kind of ink for it.\"\n\n> You give the feather to muddy\n\"Thanks, partner. That'll make a right proper pen.\"\n\nHe continues, \"To finish this business with the warrant, I'll need something to serve as ink.\"\n\nHalfway between the door to the outside and your jail cell, the sheriff's invention puffs some steam into the office.\n\n> You give the tobacco to muddy\n(first taking the tobacco)\nYou take a pinch of tobacco.\n\nMuddy reluctantly accepts the tobacco, saying, \"Well, I suppose I could use the tobacco juice.\" Muddy chews the tobacco some more, fills his makeshift pen with the juice, and throws the wad out the window.\n\nHe continues, \"To finish this business with the warrant, I'll need the warrant itself.\"\n\nA yellow-fringed surrey trots past the sheriff's office.\n\n> You give the warrant to Muddy\nMuddy accepts the document and stares at it for a while, turning it this way and that.\n\nMuddy applies his quill to the paper and with a few flourishes, scrawls an additional sentence on the warrant. He blows gently on it to dry the \"ink\" and hands the warrant back to you for your inspection.\n\nA faint breeze wafts by.\n\n> You read the warrant\nIt says: FEDERAL WARRANT. This warrant is issued this eleventh day of December in the year of Our Lord Eighteen Hundred and Seventy-One and duly executed by the hand of United States Army Major General Philip H. Sheridan of Fort Sill, the Indian Territory of these United States of America. The fugitives Mudlark Abercromby MacGyver alias \"Muddy Charlie,\" alias \"Mudshoe,\" alias \"Pensicola Thelma,\" and one Major Richard Carter, alias \"Gentleman Rick,\" alias \"Poor Richard,\" alias \"Gumball Ricky,\" both formerly of the Confederate States Army, having been implicated by observation and circumstance of innumerable delicta, dacoiteries, iniquities, infringements, infractions, and indeed immorality, as well as trangressions, trespassing and trainstopping, are considered deleterious and detrimental to the welfare of the State, and THEREFORE, ordered thereupon that a Mittimus be made out to keep them confined until such time as they be discharged for proper hanging of the Sheriff's portrait on the office wall.\n\n> You look at the key\nYou see nothing special about the small brass key.\n\nPastor Pete jumps straight up, immediately animate. He hollers, \"BLESSED is the snail who crawls its time across the face of the earth yet, safe in its routine but for the SALT sprinkled upon him, the salt of the earth, well not so much earth per se, earth being dirt, but the ocean, which covers it, and would not cover him so lightly were he not, like a SLUG, so counterintuitively susceptible to its powers. How too we, like the SNAIL, curled in our houses made of our own SUBSTANCE, that being what differentiates the two, after all, amongst other minutiae, which are neither here nor there, nor relevant to the topic at hand, except in such a way as all things are relevant being made by HIS HAND, that by the end of such an analysis one must conclude not based on the FACTS, yet with the INARGUABLE voice of FAITH, which rails against the shackles of REASON itself, having lost track of the original THESIS. Which, were it important, chances are, we would remember. That is why you see so few slugs these days, at any rate!\"\n\nPastor Pete falls onto the bench and resumes his previous position as if nothing had happened.\n\n> You give the warrant to Deputy\nThe deputy groans deeply and curls up into a ball, rolling towards you and blinking quickly. His half-focused eyes drift from you to Pastor Pete and finally fix on Muddy, who gives him a full-toothed (as many as Muddy still has, at any rate) grin.\n\nThe disoriented deputy asks, \"What? What in tarnation happened?\"\n\nMuddy takes the initiative, \"I reckon you must've drunk some potent firewater, deputy. You plumb passed out. Now, why don't you get up and let us out, we got work to do -- just like it says on that federal warrant.\"\n\nThe dull-witted deputy, still stunned by the recent turn of events, stares at the warrant.\n\nMuddy leans forward and points out, \"Down there, near the bottom. It says that we should be discharged to hang up the sheriff's portrait, don't it?\"\n\nThe deputy yawns and rubs his eyes, \"I reckon it do. But I thought you was criminals.\"\n\n\"Oh shucks, no, deputy.\" Muddy puts on his most endearing smile. \"Don't you remember the sheriff asking you to take care of his guests? We were just staying here overnight. Now, why don't you let us out? The sheriff's going to be mad at us all if that picture ain't hung by morning.\"\n\nThe deputy reaches down and does something arcane to the lock. You don't quite see what he did, but it clicks open. He slumps wearily against the jail bars, and the gate swings open, permitting passage eastward into the office.\n\n> Unlock cabinet\nWhat do you want to unlock the cabinet with?\n\n> Key\nIs you talking plain English? I ain't following the words coming out of your lips. Mayhaps it's your accent.\n\n> You unlock the cabinet with the key\n(the cabinet with the small brass key)\nYou'd have to go over to the office first.\n\nJust to the side of the desk, the bronze machine ticks like a clock.\n\n> You go to the east\n[Your score has just gone up by five]\n\nThere's a big, wooden desk in the middle of the room. Just behind the desk is a fancy cabinet, with real glass in the door. Next to the cabinet, a large, framed picture of the sheriff stands on the floor. To the side of the desk, there is a weird-looking contraption: clearly, some sort of steam boiler which is connected by pipes to a strange-looking machine. On the opposite side of the room, two swinging doors lead back to town; a small bell hangs on a hook attached to the door. Flash's empty dog food bowl is nailed to the floor just in front of your jail cell.\n\nMuddy leans against the wall.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nYou can also see the deputy here.\n\nA broken stool lies on the floor.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nIn the jail cell you can also see an empty can (empty).\n\n> You unlock cabinet with the key\n(the cabinet with the small brass key)\nThat doesn't seem to be something you can unlock.\n\n> You open the cabinet\n(the cabinet)\nThe cabinet opens to reveal two gun belts and a banana.\n\n\"Come to papa!\" beams Muddy, as he reaches for his gun belt and straps it on.\n\n> You examine the banana\nSometimes a banana is just a banana. This is one of those times.\n\n> You take the banana\nFetched.\n\n> Hang picture\nWhat do you want to hang the portrait on?\n\n> Wall\nMuddy walks over to the portrait and hangs it on the wall, calling back to you, \"Do this look centered?\"\n\nYou regard the portait critically, \"A little more to the left.\"\n\n\"Good?\"\n\n\"A little more...\"\n\n\"Now?\"\n\n\"There. I'd say it's well-hung.\"\n\nMuddy raises his eyebrows, but doesn't say anything.\n\n> You eat the banana\nYou eat the banana, peel and all. Because cowboys are made of stern stuff and need the fiber.\n\n> You look at the desk\nA beat-up old wooden desk with time-worn corners, and a pitted, scratched surface. The rear of the desk has a drawer with a small lock.\n\n> You unlock the drawer with the key\nYou unlock the drawer.\n\n> You open the drawer\nYou open the drawer, revealing a folder.\n\n> You get the folder\nFetched.\n\n> You look at it\n(first opening the folder)\nA manila cardboard folder containing a telegram, a patent, a note, and a receipt.\n\n> You read the telegram\nIt says: \"AGREE TO YOUR OFFER [STOP] WILL SUPPLY MACHINE PARTS IN EXCHANGE FOR 5000 US DOLLARS IN SILVER COIN [STOP] CONGRATULATIONS ON WINNING LOTTERY [STOP] SIGNED JEFFRIES & BRAND STEAMWORKS CO LTD [STOP][END]\".\n\n> You examine patent\nA thick technical document describing the coffee machine invented by the sheriff. Reading through it, you can see his plans to make these machines in factories and to sell them throughout the country. Your mind reels in horror at the prospect of coffee shops on every street corner selling fancy, steamed beverages.\n\n> You examine note\nThe note is written in a flowing cursive script. It reads:\n\n\"Dear Sam, I can't go on like this. When you were just a plain old sheriff that was one thing, but since you started inventing stuff, I can see what you are made of. A man that kicks my dog isn't cut out for marrying anyone. I thought you were an honest lawman, but I can see what you've become. Don't come around no more or my pa might just take a disliking to you. I was going to send you my ring, but I found out it was glass. Why am I not surprised? You are a scoundrel and not fit to wear that uniform.\n\nExplicitly not yours,\n\nElla\".\n\n> You look at the receipt\nA receipt from Jeffries & Brand Steam Works Co Ltd of Witchita Falls. The receipt is for four hundred dollars worth of pipes and fittings purchased by Sheriff Sam Cheney of Crawdad's Gulch. At the bottom of the note, written in red is the following postscriptum: \"Your account with us is severely in arrears. No further credit will be extended. Remit all payments immediately or we will take legal or other actions as required.\".\n\n> You show the telegram to Deputy\n(first taking the telegram)\nThe marshal demands, \"As the senior lawman present, I must be the one to examine all evidence.\"\n\n> You take all from the envelope\nYou can't take but one thing at a time. You ain't no juggler.\n\n> You show the note to Deputy\n(first taking the note)\nThe marshal demands, \"As the senior lawman present, I must be the one to examine all evidence.\"\n\n> Inventory\nYou're carrying a note, a telegram, a folder, a banana, a warrant, a small brass key, a gray tube, a spoon, a harmonica, a spur, a tin, a pamphlet, your pocketwatch, your hat, and a scrap of paper. You are wearing your right boot, left boot, pants, and overcoat.\n\n> You show the folder to Deputy\nThe marshal demands, \"As the senior lawman present, I must be the one to examine all evidence.\"\n\n> You look in the folder\nIn the folder are a patent and a receipt.\n\n> You ask Deputy about the SILVER\nThe marshal interjects, \"I am the senior lawman present. The prisoners will address their remarks to me.\"\n\n> You tell Deputy about the patent\nThe marshal interjects, \"Address your remarks to me.\""
    },
    {
        "text": "[Themes: Western, humor, male protagonist, strong NPCs, prison]\n\n> You describe your surroundings\nThere's a big, wooden desk in the middle of the room. Just behind the desk is a fancy cabinet, with real glass in the door. An aesthetically questionable portrait of the sheriff hangs on the office wall. To the side of the desk, there is a weird-looking contraption: clearly, some sort of steam boiler which is connected by pipes to a strange-looking machine. On the opposite side of the room, two swinging doors lead back to town; a small bell hangs on a hook attached to the door. Flash's empty dog food bowl is nailed to the floor just in front of your jail cell.\n\nMuddy leans against the wall.\n\nA dented food bowl sits on the office floor, only a few feet from the jail bars.\n\nYou can also see the deputy here.\n\nA broken stool lies on the floor.\n\nIn the corner of the cell, a disheveled man in a black suit is stretched out on a crude wooden bench and is snoring loudly, oblivious to your presence.\n\nIn the jail cell you can also see an empty can (empty).\n\n> You talk about the patent\nIs you talking plain English? I ain't following the words coming out of your lips. Mayhaps it's your accent.\n\n> Leave\nWhich way? West to the jail cell, or east towards the open range?\n\n> You go to the east\nMuddy relents and says, \"All right, Rick. I reckon we done what we can do. Let's make for the hills.\"\n\nAs you head out of the office, two men appear in the doorway: Sheriff Cheney and Federal Marshal McLuhan. They are followed by a small detachment of U.S. Army guards.\n\nSheriff Cheney surges forward, pointing his finger at you and Muddy, \"It were these two what blown up that train tunnel! They's escaping when we walked in! Look, they done killed my deputy! We should drop 'em where they stand.\"\n\nThe marshal looks uncertain and waves the army guards forward. They train their pistols on you.\n\nThe marshal rests his hand on the sheriff's trigger arm and says, \"Sheriff, without any evidence to substantiate your accusation regarding the train robbery, I was reluctant to see these men hanged without a trial. Given the corpse of a lawman in front of us, though, even I have to agree that justice should be swift and definitive in this instance.\"\n\n> You give the receipt to the marshal\nYou show the marshal the receipt and suggest that the sheriff is quite in debt, and might turn to illegal activities to pay it off.\n\nThe marshal looks disappointed and says, \"Being in debt is no crime, although it does eat away at the soul. Once, I went an entire week owing more than five dollars, and I regret it to this day. However, there is nothing to suggest that the sheriff has resorted to any illegal measures to fund his plans.\"\n\nMuddy whispers, \"Rick, we ain't got long. I reckon that marshal is someone what can be reasoned with.\"\n\n> You give the patent to the marshal\nYou show the patent to the marshal and intimate that the sheriff had extensive business plans, far beyond his mandate as a public servant.\n\nThe marshal flips through the patent for the sheriff's invention and looks at you questioningly.\n\n\"So?\" he asks. \"It seems like a clever enough invention, and I presume this work was not done on public time, or using town resources. I also would guess that he will need some big-time investors to put a plan like this into action, but I don't see anything wrong with that. The sheriff's a businessman pure and simple. There isn't anything more American than a man willing to make a profit, when the profit is there for the taking.\"\n\nThe marshal advises, \"Citizens, I am required by federal law as it applies to the Territory to advise you that CAPITAL CHARGES have been filed against you, and summary execution will take place, unless evidence to the contrary can be brought to light.\"\n\nThe sheriff rolls his eyes, \"For the sake of all that's Hog-Tied and Rightful, whyn't we shoot 'em dead right here?\"\n\nThe marshal looks at Sheriff Cheney and answers, \"Because some of us believe in maintaining some semblance of due process.\"\n\n> You give note to the marshal\nThe marshal reads the note and then looks up. He says evenly, \"While this does speak unkindly of the sheriff, his personal life does not interest me. The content of this note is not germane to the matter at hand.\"\n\nThe sheriff wholeheartedly agrees, \"Exactly. You is exactly right, marshal.\"\n\nThe marshal looks back at the sheriff with a hint of annoyance.\n\nMuddy whispers, \"We got to show that marshal something. I reckon maybe we could make up some kind of excuse or shift the blame, maybe.\"\n\n> You give the telegram to the marshal\nYou show the telegram to Marshal McLuhan, telling him that he'll find the sheriff's stagecoach full of stolen silver just behind the jail.\n\nSheriff Cheney wipes his brow nervously, \"I forgot that's where we left that coach. I do reckon I'm always forgetting where I park. I was going to mention the silver as evidence any second now.\"\n\nThe marshal dispatches two guards to search behind the office, and when they return with corroboration about the stolen silver, the marshal instructs his guards to restrain and disarm the sheriff, concluding, \"So, now it is clear. The sheriff took advantage of the railway incident to rob the train's silver himself in order to finance the development of his invention into a business. He framed these two itinerant laborers to shift the blame. No wonder he wanted them killed so quickly.\"\n\nThe marshal rips the gold star off Sheriff Cheney's shirt and instructs the guards, \"Place Mr. Cheney behind bars.\"\n\nWith a wide yawn, Pastor Pete walks out of the cell as the guards wrestle the sheriff past him. \"I do reckon I slept like the dead last night. Thank you for a peaceful night, deputy,\" and he walks out the front door.\n\nThe marshal raises his eyebrows but continues, \"Deputy James Smith Bush, by the power invested in me as federal marshal of this district, I hereby promote you to Sheriff of the Town of Crawdad's Gulch. Congratulations.\" The newly appointed sheriff grins and shakes his hand. The marshal almost pins the star to Jimbo's bare chest, but stops short and just hands it to him. The marshal advises him, \"James, you'll probably want to get yourself some deputies -- men you can trust.\"\n\nSheriff Jim looks over to you and Muddy. The color drains from Muddy's face."
    },
    {
        "text": "[Themes: Western, western, strong NPCs, Comedy, prison]\n\n> Easter egg\nPC\nA Flare For Design\nRange Rover\nJust Visiting\nThe sheriff enters the office, shotgun in hand. You and Muddy freeze in your tracks and raise your hands in the air. The sheriff kicks the prone deputy, who stirs slowly at first, but then jumps to his feet.\n\n\"You.\" The sheriff points at you. \"Your name Muddy?\"\n\n\"No. I ain't Muddy,\" you reply. \"That there is Muddy. I is Rick.\"\n\n\"Damn. What were she thinking?\" growls the sheriff. \"Mary Sue, you come on in here now, you hear?\"\n\nA young woman -- you hesistate to guess her actual age on account of propriety -- edges nervously into the office, her eyes cast to the ground. By the way she walks, you guess she is in a family way, and after she turns towards Muddy, there's no question. Judging by the size of her belly, you'd have to say five, maybe six months. She raises her eyes to Muddy and her face brightens.\n\n\"Oh, Lordie,\" mutters Muddy, closing his eyes and running his hand over his face. \"The one thing I don't plan -- and look what happens.\"\n\nLowering the shotgun, the sheriff walks over and puts his arm around Muddy's shoulders. Distributing cigars to you and the deputy, he smiles, \"Deputy Jimbo, Rick -- I'd like you to meet my new son-in-law, Muddy. Ain't that right, Muddy?\"\n\n\"I do reckon it's better than a-hanging.\"\n\nMuddy never sees it coming. Mary Sue's roundhouse punch lands square on his jaw, launching him towards the jail bars like a sack of potatoes.\n\n\"Well,\" you observe, \"maybe this marriage just might work out.\"\n\n> Planned Parenthood\nPC\nA Flare For Design\nRange Rover\nJust Visiting\n\n> Planned Parenthood\nPC\nA Flare For Design\nRange Rover\nJust Visiting\n\n> Go north\nA Flare For Design\nRange Rover\nJust Visiting\n\n> PC\nA Flare For Design\nRange Rover\nJust Visiting\nThe sheriff's wheelchair rolls up the front ramp, and he enters the office with his multicultural posse, who represent the diverse members of the community of Endangered Arthropod Valley. Two of the named women in his posse discuss a subject other than men. The sheriff draws a nonlethal weapon that has not been tested on animals, and waves it in a non-threatening manner at you and your partner.\n\nThe deputy finishes his yoga stretches and stands up, draining his bottle of health water and setting the recyclable bottle on the renewable hardwood desk. \"Sheriff, we had a right pleasant evening, and I reckon these gentlemen is sincerely regretful of their wrongdoings.\"\n\nThe sheriff agrees, \"I do reckon, but they still got to repay their crime, even if the blame for that crime ultimately rests on society itself, and is the result of a poor educational system and the lack of adequate social welfare and state institutions.\"\n\nThe deputy nods sagely, \"How about some community service? The Gunslinger's Significant Other Association runs a camp for autistic spectrum disorder orphan Native Americans on the outskirts of town. I reckon they could use a hand running their cruelty-free all-vegetarian farm.\"\n\nThere is a murmur of agreement from the posse, and the sheriff claps the deputy on his back. \"That's mighty forward thinking of you, James.\"\n\nMuddy gives you a distressed look and asks the sheriff, \"I reckon I'd prefer the hanging. Is that still an option?\"\n\n> PC\nA Flare For Design\nRange Rover\nJust Visiting\n\n> PC\nA Flare For Design\nRange Rover\nJust Visiting\n\n> You go north\n> A Flare For Design\nRange Rover\nJust Visiting\n\n> A Flare For Design\nRange Rover\nJust Visiting\nThe sheriff strolls into the office and immediately notices the portrait. Hands on his hips, he admires the painting. \"I declare, that *do* make the office. It breaks up that entire space. That wall were so stark and empty before you done hung it. I owe you two a debt of sincere gratitude.\"\n\nMuddy considers the painting as well and then looks around the room. \"That seemed the right place to hang it, considering you got all them wood tones in the desk and the cabinet, and yonder doorway gives that area a bright, natural light most of the day.\"\n\nThe deputy stirs. \"Yeah,\" he adds, \"It's a shame we don't got no windows in the office, excepting in the jail cell. I reckon we could knock out that front wall and put in a bay window, maybe add a window treatment that would soften the room a jot. Also, how about a stencil? Something rustic, running as a trim, just below the ceiling.\"\n\nYou brew four cups of dark, whole-bodied espresso, sprinkling the top with nutmeg. The steam curls upward and fills the room with a rich aroma. You settle down on the plush wraparound couch that has appeared in the office and join the sheriff, the deputy and Muddy in browsing through a book of fabric swatches.\n\nPC\n> A Flare For Design\nRange Rover\nJust Visiting\n\n> A Flare For Design\nRange Rover\nJust Visiting\n\n> You go north\nA Flare For Design\n> Range Rover\nJust Visiting\n\nA Flare For Design\n> Range Rover\nJust Visiting\nThe waving fields of wheat are incinerated in the actinic flame of fusion rocket exhaust as a quarter-mile long football-shaped metal ship extends its landing pylons and sets down across the street from the sheriff's office.\n\nThe sheriff is transfixed by the sight, and the marshal faints outright.\n\nA gangplank extends and a massive cargo door rolls open. A woman in a blue flight suit is followed down the ramp by an energetic white dog with black spots. She walks to the office and stares at Muddy.\n\n\"Janet?\" croaks Muddy dryly. \"I didn't expect to see you around these parts.\"\n\n\"I bet you didn't,\" she replies matter-of-factly. \"We have a situation in The Belt, grab your saddle bag.\"\n\n\"I got a buddy, Janet. He's real good with a gun and plays a mean harmonica.\" Muddy turns to you, \"Janet, this here is Rick.\"\n\nJanet nods and is already walking back to the ship before you can so much as say \"howdy\".\n\n\"What's with her?\" you ask.\n\nMuddy sighs. \"It's complicated, I reckon.\"\n\nPC\nA Flare For Design\n> Range Rover\nJust Visiting\n\nA Flare For Design\n> Range Rover\nJust Visiting\n\n> You go to the north\nA Flare For Design\nRange Rover\n> Just Visiting\n\nA Flare For Design\nRange Rover\n> Just Visiting\nThe sheriff walks into the office, followed closely by the marshal. The marshal trains his pistol on you while the sheriff examines the deputy, who is stretched out on the floor.\n\n\"He ain't dead,\" the sheriff observes. \"But he like as hit his head on the bars. Wait a minute.\" The sheriff leans closer to the prone body. \"This ain't right. Where he lost some skin, I see scales. Like he were a lizard, or something.\"\n\nThe marshal hisses and swings his gun to cover the sheriff. The hissing is echoed by the cadre of soldiers behind the marshal.\n\nThe marshal replies, \"A regrettable observation, earthman.\" He beckons some guards forwards. \"Glulx, take the sheriff and lock him up. Glk and Zil, you go out back and take charge of those iridium discs in the stagecoach.\" Swinging the gun back to you and Muddy, he drawls, \"Now, as for you two...\"\n\nMuddy laughs lightly and pushes the gun aside, \"Heck, Zilch, it's me, Ifmud, and this here's Rixyzzy. We was sent after that iridium our own selves, but we got captured by the earthmen. Good thing I had a backup plan!\""
    },
    {
        "text": "[Themes: Comedy, profanity, vampires, revenge]\n\nLook at him up there. Strutting up and down the stage like he owns the place, which he does. The whole crowd gazing at him, worshipping him. Never mind that he's a vampire, never mind that they're all so much blood to him - he's rich, he's famous, but he likes nerdy things and he smiles a lot, so he must be just like them!\n\nBastard. That should be you up there.\n\nThe plaza outside the Lunarcel complex is packed this morning. The crowd hangs on Hadrian's every word as he paces a stage set up near the entrance to the main campus.\n\nAn old phone booth huddles against the wall.\n\nHadrian is in the middle of a speech. He's been going for about ten minutes, but he seems to be building up to something. \"...Hydrological energy needs you to live next to a big enough river. Solar and wind power need you to have the right kind of weather. Geothermal power needs you to live on top of a volcano. Sustainable energy simply does not work for everybody.\"\n\n[Author's Note: Nero Brashov, vampire and failed businessman, has revenge on his mind. He'll pose as a human, infiltrate his arch-enemy's corporation, and sabotage it from the inside. Just as soon as he's invited in, that is. Contains swearing from the start, so may not be suitable for playing with children.]\n\n> About you\nYou are the vampire Nero Brashov. Once proud and wealthy, now destitute and dusty, but still as blood-sucking as ever.\n\n\"Clearly, the world needs a new solution. A sustainable source of clean energy which is absolutely reliable, no matter who you are or where you are.\" While he rambles, you shift your umbrella to your other arm, and daydream about the snack you're carrying.\n\n> You look at the umbrella\nYour one remaining prized possession, an umbrella made of thick black fabric and an aspen wood shaft, sleek and sharp and aerodynamic. You want to keep out of the sun, but you want to look good doing it. The umbrella is currently open.\n\n\"My friends,\" says Hadrian with a wink, \"I present to you the Moonlite.\" And he whisks the cover off the screen next to him, revealing a picture of... something? Some kind of a machine?\n\n> You look at Moonlite\nThe screen shows a promotional image of something called the Moonlite. It looks like some kind of big dumb thimble-shaped machine.\n\nThe crowd oohs at the screen. \"The Moonlite!\" says Hadrian, gloating. \"A fission reactor which will work anywhere, for anyone! Clean energy, for anyone! And it's completely safe. Forget uranium, forget plutonium - all that's needed is harmless helium.\"\n\n> Examine banner\n\"DO YOU HAVE WHAT IT TAKES to deliver high-quality award-winning customer service online and by telephone to Lunarcel customers and clients? WE ARE HIRING! Entry-level positions - NO CV REQUIRED! Start as early as TODAY! CALL NOW!\"\n\n\"No CV required\"? \"Start today\"? They must be desperate to hire people. There's a phone number on the banner - maybe you could get invited in for an interview...\n\n> Examine booth\nAn old phone booth, but clearly looked after. That is, none of the windows are smashed right now.\n\n> You enter the booth\nYou enter the booth and pick up the phone. Who will you call?\n\n[When talking to people or using devices, you'll be given numbered options like those below. To choose one, just type the number of the option you want. For example, just type \"1\" if you want to select the first option.]\n\n[1] Call the Lunarcel job application number\n[2] Call the emergency services\n[3] Never mind\n\n> 1\nYou dial the number on the job advert. It rings for a while, but a glassy-sounding voice eventually picks up. \"Hello, Lunarcel customer services department, how may I help you?\"\n\n[1] I'm applying for that job opening.\n[2] Do you have Prince Albert in a can? Well you'd better let him out! [3] Sorry, wrong number.\n\n> 1\n\"Brilliant. Well, we're hiring quickly at the moment, so we're open all week for applicants. We just need to do an informal interview to get to know you first. Can you drop in today?\"\n\nYou give the woman on the other end a fake name and details. (Well, better pretend to be human while you're sneaking in. You can feed on the employees later.) \"Great! Thanks, Oren. Come into the office whenever you can. We're on the Lunarcel campus, on the west end. We're in the white office block there.\"\n\n[1] So I'm definitely allowed into the campus, then?\n[2] Great! See you soon.\n\n> 1\n\"Yes, of course you're allowed in! Why wouldn't you be?\"\n\n[1] Great! See you soon.\n\n> 1\nYou say your goodbyes and end the call. So, you've been invited in for interview! You should be able to cross the threshold into the campus now. Unless Hadrian spots you and bans you again. But how could he possibly find you? You're using a fake name.\n\nThe entrance to the Lunarcel campus is now quiet apart from a handful of workers dismantling the stage. The main part of the campus is north of here.\n\nAn old phone booth huddles against the wall.\n\nNow that the stage has been cleared away, you can see a \"Help Wanted\" banner affixed by the entrance.\n\n> Go north\nThis central plaza is wide and spacious, offering striking views of all the major landmarks of the campus, as if designed by a brutalist landscape gardener.\n\nAs a wooden signpost indicates, the black glass building to the immediate north is the corporate headquarters; it also tells you that the campus stretches east to the engineering laboratory, and west to the customer service office. You can also leave the campus through the southern exit.\n\n> Go east\nYou've only been invited to the customer service office for your interview. You don't yet have the freedom to explore more of the place.\n\n> You go west\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\n> You go to the north\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North seems to lead to some kind of meeting room. You can head back outside to the south.\n\nA woman who you take to be the office manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> You examine the list\nThis looks like a printout of some techie website article:\n\n\"THIS YEAR'S MOST COMMON PASSWORDS\nCybersecurity begins with a strong password, yet many people use simple and easily-guessed passwords. This is a list of the 12 most commonly used passwords of the past year, as revealed by security leaks and database breaches.\n\n* 12345678\n* admin\n* dragon\n* holiness\n* letmein\n* monkey\n* password\n* q1w2e3r4\n* qwerty\n* sunshine\n* shadow\n* trustn01\n\nIf you use one of these passwords, you may be at risk of other people accessing your personal information!\"\n\n> You look at the woman\n(the manager)\nA bundle of stress in a turtleneck sweater.\n\n> You talk to her\n\"Can I help- How can I help you?\"\n\n[1] I'm here for a job interview.\n[2] Never mind, I though you were someone else.\n\n> 1\n\"Ah, you must be Oren! I'm ready for you right now. Follow me, please.\" She leads you into the meeting room.\n\nNow that you're in there, you see that what you thought was a conference room is really just a converted stationery closet with two chairs, a table and a cupboard. There's barely room for one person here; with both you and the manager in here, it's dangerously crowded.\n\nThe manager is sitting across from you. She gives you her friendliest smile. \"Good to meet you, Mr. Vohsarb. I only have a few questions for you, just to make sure you're an appropriate fit for this department. So, could you tell me why you applied for this job, and why you want to work at Lunarcel?\"\n\n[1] Corporate espionage\n[2] Revenge\n[3] I've lost control of my life\n[4] It has always been my dream to serve the customer\n\n> 4\nYou say something about helping other people, the kind of thing you used to like to hear from other people. It looks like the manager likes it too. She scribbles a quick note, and says \"Thank you, Oren. Now, why did you leave your last job position?\"\n\n[1] Failed to attract sufficient startup investment\n[2] Employees unwilling to work for me\n[3] Run out of town by pitchforked mob\n[4] It did not challenge and inspire me like this job would\n\n> 4\nYou improvise something about how you've heard Lunarcel is the land of opportunity, and how the office looks like a great work environment and everything, just like you remember your old job applicants telling you.\n\nAs you start to wonder if they were lying too, the manager makes another little note. \"Thank you. Just one more question, and there are no right or wrong answers here... What would you say is your biggest weakness?\"\n\n[1] Vulnerability to sunlight\n[2] Wooden stake through the heart or stomach\n[3] Inability to cross thresholds uninvited\n[4] Sensitivity to holy symbols\n[5] Running water\n[6] I guess I'm just a perfectionist\n\nThe interviewer fiddles with her pen, waiting for a response.\n\n> 6\nYes, everyone says that.\" The interviewer has a wry little smile as she checks her notes one more time.\n\n\"Well, I don't see any cause for concern here. Welcome abroad, Oren!\" She shakes your hand. \"Can you start today?\"\n\nFive minutes later, you've been shown to your new desk, on which is a very old computer. You'll be handling online customer enquiries for your first shift, you've been told. Around you, other workers are being yelled at over the phone, or doing something clerical with a spreadsheet, or some other boring task.\n\nThe interviewer - your new manager - comes back with something on a lanyard. \"Here's your ID card, hot off the presses,\" she says, as you slip it around your neck. \"You're supposed to wear your card at all times. You don't really need it unless you're going to high-security areas, but you'd need to be properly authorised anyway, so don't worry about it. Talk to me if you need anything!\" And she's gone again.\n\nOf course, now that you're officially allowed on the Lunarcel campus, you have no intention of doing any work. You are going to find Hadrian's precious Moonlite machine and destroy it. As soon as you find it, that is.\n\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a meeting room. You can head back outside to the south.\n\nThere's an unused miserable-looking computer here which is, apparently, yours. Lovely.\n\nThe manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> You examine computer\nOn a rickety desk near you is a yellowing tower computer running an operating system from 10 years ago.\n\nThe old computer is currently switched on.\n\n> You examine the card\nA plastic keycard on a lanyard, currently dangling about your neck.\n\n> You read it\nA plastic keycard on a lanyard, currently dangling about your neck.\n\nThe manager makes a phone call and arranges some interview for later this week.\n\n> Inventory\nYou are carrying:\nan ID card (being worn)\nan umbrella\na blood bag\n\n> You examine the blood bag\nTimes are tough, and it's getting harder to bite people without being reported. You have to make do with whatever you can find when you break into the blood donation clinic after hours. This blood bag is full, and looking pretty tasty right now. You can bite it if you want a meal.\n\n> Go south\nYou make a quick and confident exit while the manager's back is turned.\n\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\n> You go east\nThis central plaza is wide and spacious, offering striking views of all the major landmarks of the campus, as if designed by a brutalist landscape gardener.\n\nAs a wooden signpost indicates, the black glass building to the immediate north is the corporate headquarters; it also tells you that the campus stretches east to the engineering laboratory, and west to the customer service office. You can also leave the campus through the southern exit.\n\n> You go east\nThis part of the campus plaza wants to be open and airy, but it's hemmed in by various concrete structures, the biggest of them being the Engineering Laboratory to the north. Prettier parts of the campus are to the west.\n\nWater cuts across the laboratory doorway here, spouting from a burst pipe in the wall.\n\nThere's a worker here, maybe a janitor or other maintenance person, leaning against the wall and holding a sign that says \"VAMPIRES SUCK\". There's just no need for that kind of tone.\n\n> You look at the worker\nShe's leaning against the wall, holding a protest sign. She spots you looking at her, nods at you and waggles the sign a little.\n\n> You talk to the worker\nShe nods at you as you approach. \"Hiya. Vampires suck.\"\n\n[1] What's the protest for?\n[2] Could you fix this water leak so I can get to the laboratory?\n[3] Goodbye.\n\n> 1\n\"It's against vampires. Especially our guy in charge. It's against vampiric systems. It's against the exploitation of labour on long hours and low pay. It's for changes at the highest level for Lunarcel and every other company which lines its own pockets at the expense of workers. It's for radical new ways of being which aren't built on blood and toil.\" (You don't like this woman.)\n\n[1] Isn't anyone else striking with you?\n[2] But haven't vampires done so much for us?\n[3] Could you fix this water leak so I can get to the laboratory?\n[4] Goodbye.\n\n> 2\n\"Oh, I used to think that too! You're not alone. But someone showed me it's all selfish. Vampires get rich off blood and labour, and whatever they give back doesn't usually help anyone but themselves, right? Look at Hadrian Alba. He gave that money for more blood donation clinics years ago, right? But he provided the land, so all the clinics were built on land he owned, right? So he becomes the landlord and proprietor of, basically, grocery stores for vampires. You can't\nprove anything, but it's a conflict of interest, right? You\nhave to be suspicious. All the stuff vampires do 'for us' is just stuff they'd do anyway but they want to be congratulated for it, so we ignore all the blood-drinking.\"\n\n(You'd argue for vampires if it wasn't Hadrian she was picking on. Anyway, she's right. You were working for Hade when he planned it. You think about some of your own past businesses, such as your mail-order blood testing kits and your anti-garlic lobby, and you decide to drop the subject.)\n\n[1] Isn't anyone else striking with you?\n[2] Could you fix this water leak so I can get to the laboratory?\n[3] Goodbye.\n\n> 1\n\"See, that's another problem. Any time we stand up for ourselves, some spurious reason to fire them comes up. I've known three guys here who were getting support for unions, and they all got found out, and they all got fired immediately for, like, 'toxic influence' or something. They're busting unions. So it's just me protesting for now. I won't get anybody else in trouble.\"\n\n[1] Could you fix this water leak so I can get to the laboratory?\n[2] Goodbye.\n\n> 2\n\"See ya.\"\n\n> You talk to the worker\nShe nods at you as you approach. \"Hiya. Vampires still suck.\"\n\n[1] Could you fix this water leak so I can get to the laboratory?\n[2] Goodbye.\n\n> 1\n\"Hm? Oh, this?\" The janitor glances at the rip in the water pipe next to her, as if she forgot about it. \"Yeah, it's a nasty one. Don't know how it got there. Sorry, mate, I'm leaving it for now. Not much of a strike if I'm working during it. Can't you just cross it?\" Before you can think of an excuse, she gasps. \"Oh! Holes in your shoes? Fair enough, mate. Nice umbrella, by the way.\"\n\nShe thinks a little. \"Tell you what, mate, can you do me a favour? I brought some raisins to snack on, but I think I left them in the prayer room. Can you get them for me? I'll tape up the leak for you when you do.\"\n\n[1] What did you want again before fixing the leak?\n[2] What prayer room?\n[3] Goodbye.\n\n> 2\n\"Oh yeah! Sorry, mate. It's at the far end of the campus\" - she points west towards the offices - \"in a side room. You'll find it. We don't talk about it much. It's not official. You know vampires and religion.\"\n\n[1] What did you want again before fixing the leak?\n[2] What prayer room?\n[3] Goodbye.\n\n> Go west\nNo exit that way. From here, you can go north and east.\n\n> Go north\nYou sneak back in. It looks like the manager didn't even notice you were gone.\n\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a meeting room. You can head back outside to the south.\n\nYour work computer is waiting for you here.\n\nThe manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> Go south\nYou make a quick and confident exit while the manager's back is turned.\n\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\n> Go north\nThis is the pleasantly airy and open lobby of the building where all the executives keep their offices. A corridor leads visitors and executives north. The main campus is to the south.\n\nThere's a receptionist here, hunched over a computer and looking very bored.\n\nYou can also see some grapes here.\n\n> You examine grapes\nJuicy seedless purple grapes.\n\n> You take the grapes\nTaken.\n\n> You look at the receptionist\nReceptionists and every other customer service role, you feel, should be bright-eyed and bushy-tailed, always ready with a friendly smile and a proactive attitude. This receptionist clearly doesn't share your opinion. He's not even standing up.\n\n> You talk to receptionist\nHe glances up from whatever he's doing. \"Hi, how can I help you,\" he mutters.\n\n[1] Hey, I'm new here.\n[2] I'd like to see Mr. Alba. Is he in?\n[3] You don't mind me taking that fruit, right?\n[4] Goodbye.\n\n> 3\n\"Yeah, sure, it's there for anyone. Help yourself.\"\n\n[1] Hey, I'm new here.\n[2] I'd like to see Mr. Alba. Is he in?\n[3] Goodbye.\n\n> 1\n\"Sorry to hear that,\" he mumbles automatically.\n\n[1] Is this... not a good place to work?\n[2] I'd like to see Mr. Alba. Is he in?\n[3] Goodbye.\n\n> 1\n\"It's... it's fine. The people are good, but the bosses are-\" The receptionist glances around, and sees no bosses listening in. He leans a little closer. \"It's miserable. You've been hired for the customer service department, right? Have they told you you're not allowed bathroom breaks yet? They fired the guys trying to unionise, and most people just quit after the first few months, with all the long shifts. They stopped checking references because they're just trying to hire people quicker than they can quit. I'm lucky, I get to sit down and just deal with the important visitors, but I had some friends in customer service, being yelled at twelve hours a day because somebody else screwed up. Just... bad.\" He leans back again.\n\n[1] Are you thinking of quitting?\n[2] I'd like to see Mr. Alba. Is he in?\n[3] Goodbye.\n\n> 1\nThe receptionist gives you a wan little smile. \"Can't. I need the job. I can't afford... I'm not... doing well-\" He looks down abruptly and rubs his eyes for a few seconds.\n\n(You remember touring the factory floor once and seeing a worker in tears, and all the other workers clustered around her. You dealt with her. You don't remember what it was about.)\n\nHe looks up again. \"I need the money. I'm just lucky to have a job. Even if it's this one. Sorry. Thanks for listening.\"\n\n[1] I'd like to see Mr. Alba. Is he in?\n[2] Goodbye.\n\n> 1\n\"He's not in right now. Just wait for him in his office if you want. It's just down the hall that way.\" He waves vaguely northward.\n\n[1] Where is Mr. Alba right now?\n[2] Goodbye.\n\n> 1\n\"He's doing something in the lab. Uh, the laboratory, on the east bit of the campus. Where they do the prototypes, and... uh, things. I'd say just go over there and find him, but you need authorisation to get in, and I can't do that for you myself.\" He shrugs sympathetically. \"Sorry, dude.\"\n\n[1] So who can authorise me to get into the laboratory?\n[2] Goodbye.\n\n> 1\n\"The security guys can. Let me check.\" The receptionist dials a number on his phone and murmurs a conversation for a minute or two. He hangs up. \"No luck, sorry. They say they're not changing any of the lab's security permissions at this time. I think they've locked things down with the Moonlite, to stop anyone getting in who shouldn't be there.\" Damn Hadrian, always a step ahead.\n\n\"I think all the executives get to change the cards as well,\" the receptionist adds. \"So they can show guests around.\"\n\n[1] Can I get an executive to change my card to let me into the laboratory?\n[2] Goodbye.\n\n> 1\n\"You can ask, but they probably won't do it.\" The secretary shrugs. \"Maybe one of them left themselves logged in. Just borrow their computer and do it yourself. I know Mr. Alba is out. His office is up that way.\" He waves a lethargic arm northwards. This receptionist has a terrible attitude towards security.\n\n[1] Can I get an executive to change my card to let me into the laboratory?\n[2] Goodbye.\n\n> 2\n\"Oh. Bye.\"\n\n> You go north\nThis is an office?? It looks more like a furniture showroom. It's all expensive tables and chairs and sofas - Hadrian could hold three meetings at once in here. But there are film posters hung up around the room too, like he thinks it makes him look cool.\n\nOn one especially luxurious desk sits a fancy computer.\n\n> You look at the posters\nPosters for sci-fi films and cartoons, and things nerds like. Does Hadrian actually like these things?? You thought maybe he was pretending to like media to trick people into liking him.\n\n> You look at the desk\nLeather and mahogany, everywhere you look. Here's ten chairs arranged around a long table for meetings; over there are deep armchairs and a coffee table for entertainments. It's all very expensive-looking.\n\n> You examine computer\nAn oak or oak-ish desk supports what must be Hadrian's computer. It's one of those really expensive computers they sell to teenagers and nerds. It's black with red accents, and it looks like a spaceship.\n\nThe fancy computer is currently switched on.\n\n> You use the computer\nA password field blocks you! Curse that Hadrian, and screw him, too! He's always one step ahead. Hmm, how can you figure out Hade's password? Hopefully he's not very careful with it - maybe other people in the company can help you guess.\n\n> Type trustn01\n(typing \"trustn01\" on the fancy computer)\nYou type \"trustn01\". The computer responds \"Password invalid.\" Hmm, is there anyone who can tell you anything about Hadrian's password?\n\n> Type nairdah\n(typing \"nairdah\" on the fancy computer)\nYou type \"nairdah\". The computer responds \"Password invalid.\" Maybe that receptionist back outside knows something? Maybe he's overheard a few things.\n\n> Go south\nThis is the pleasantly airy and open lobby of the building where all the executives keep their offices. A corridor leads visitors and executives north. The main campus is to the south.\n\nThere's a receptionist here, hunched over a computer and looking very bored.\n\n> You talk to the receptionist\nHe glances up from whatever he's doing. \"Hi again,\" he mutters.\n\n[1] Can I get an executive to change my card to let me into the laboratory?\n[2] I'm trying to guess Mr. Alba's password. Any idea what it is?\n[3] Goodbye.\n\n> 2\n\"I don't know his password. Sorry. Let me think.\" The secretary pinches the bridge of his nose. \"I know he forgets his password a lot. I can hear him shouting at his computer for keeping him out from all the way out here. But he usually stops pretty quickly. I guess he remembers after he's shouted a bit. Sorry, that's all I can tell you.\"\n\n[1] Can I get an executive to change my card to let me into the laboratory?\n[2] I'm trying to guess Mr. Alba's password. Any idea what it is?\n[3] Goodbye.\n\n* 12345678\"\n* admin\"\n* dragon\"\n* holiness\"\n* letmein\"\n* monkey\"\n* password\"\n* q1w2e3r4\"\n* qwerty\"\n* sunshine\"\n* shadow\"\n* trustn01\"\n\n> | * ADMIN\n\nI didn't understand that sentence.\n\n> | * DRAGON\n\nI didn't understand that sentence.\n\n> | * HOLINESS\n\nI didn't understand that sentence.\n\n> | * LETMEIN\n\nI didn't understand that sentence.\n\n> | * MONKEY\n\nI didn't understand that sentence.\n\n> | * PASSWORD\n\nI didn't understand that sentence.\n\n> | * Q1W2E3R4\n\nI didn't understand that sentence.\n\n> | * QWERTY\n\nI didn't understand that sentence.\n\n> | * SUNSHINE\n\nI didn't understand that sentence.\n\n> | * SHADOW\n\nI didn't understand that sentence.\n\n> | * TRUSTN01\n\nI didn't understand that sentence.\n\n> You go to the north\n[Sorry, most actions (other than looking at things) are disabled\nwhen you're in a tree. Please enter a number to keep talking (there will usually be some kind of goodbye option to exit the conversation or menu). Type REPEAT to see your options again.]\n\n> You repeat\nThe available options are:\n\n[1] Can I get an executive to change my card to let me into the laboratory?\n[2] I'm trying to guess Mr. Alba's password. Any idea what it is?\n[3] Goodbye.\n\n> You go north\nHadrian's office looks more like a furniture showroom. It's all expensive tables and chairs and sofas - Hadrian could hold three meetings at once in here. But there are film posters hung up around the room too, like he thinks it makes him look cool.\n\nOn one especially luxurious desk sits a fancy computer.\n\n> Type 12345678\n(typing \"12345678\" on the fancy computer)\nYou type \"12345678\". The computer responds \"Password invalid.\" Maybe the manager heard Hadrian's password? Maybe she saw him typing it in a staff meeting or something?\n\n> Type admin\n(typing \"admin\" on the fancy computer)\nYou type \"admin\". The computer responds \"Password invalid.\" Doesn't Lunarcel have an IT department? Your businesses were always supposed to have those. Maybe they emailed you something about passwords.\n\n> Type dragon\n(typing \"dragon\" on the fancy computer)\nYou type \"dragon\". The computer responds \"Password invalid.\" There was that article about passwords, from the office. That could give you some pointers.\n\n> Type holiness\n(typing \"holiness\" on the fancy computer)\nYou type \"holiness\". The computer responds \"Password invalid.\" Hell, maybe the custodial staff know Hadrian's password. Hadrian always loves to brag.\n\n> You type LETMEIN\n(typing \"letmein\" on the fancy computer)\nThe password field disappears! (Hey! That's the same as your password!) The computer is unlocked and ready for use.\n\n> You use the computer\nThe computer wakes up without a sound. You could snoop through Hade's emails, but you also see an application for controlling Lunarcel's security permissions.\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 2\nOho! You've found a program for giving and taking away privileges to staff members. And it looks like you're already in the database!\n\n[1] Browse the permissions list\n[2] Enable full permissions for \"Oren\" (you)\n[3] Disable full permissions for Hadrian (prick)\n[4] Quit the permissions list\n\n> 2\nIt's the work of a moment to tick the little checkboxes next to your pseudonym. Now you have full security permissions to your name!\n\n[1] Browse the permissions list\n[2] Disable full permissions for Hadrian (prick)\n[3] Quit the permissions list\n\n> 1\nYou have a quick look through the whole database of people with security privileges. As well as all the staff, it looks like certain visitors also get listed here. Some names and titles catch your eye. \"Count Ur\ufffd\ufffdt,\" \"Baroness Neplacut\"... these are other vampires! Hadrian's been giving single-day passes for his engineering laboratory to vampires here and there over the last couple of years. How come they get invited and not you??\n\n[1] Browse the permissions list\n[2] Disable full permissions for Hadrian (prick)\n[3] Quit the permissions list\n\n> 3\nYou close the security program.\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 3\nYes! Wow, a lot of games. Modern-looking ones, too. Does\nHadrian do any actual work?\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 1\nYou open Hade's email program. Looks like Hade deletes a lot of his emails as he gets them (you remember he doesn't like to leave evidence), but there's a few messages here that he hasn't gotten around to destroying yet.\n\n[1] Subject: Re: Re: Re: Re: URGENT: Moonlite Efficiency Report\n[2] Subject: please change your password, I am BEGGING you\n[3] Subject: MAKE FREE MONEY NOW!!!\n[4] Subject: Moonlite Update Request\n[5] Quit Hadrian's email\n\n> 1\nYou skim through a long back-and-forth conversation between Hadrian and one of the Moonlite engineers.\n\nHuh... it looks like the Moonlite has problems. A lot of it is jargon and gibberish, but it sounds like the type of fission the reactor uses is massively inefficient. Looks like the energy you put into splitting the helium atom isn't worth the energy you get out of it. And the engineer says something about a shortage of helium in the world. So the Moonlite is both unsustainable and worthless. Hah. Great job, Hade.\n\n[1] Subject: Re: Re: Re: Re: URGENT: Moonlite Efficiency Report\n[2] Subject: please change your password, I am BEGGING you\n[3] Subject: MAKE FREE MONEY NOW!!!\n[4] Subject: Moonlite Update Request\n[5] Quit Hadrian's email\n\n> 2\nA message from some technology officer, maybe the head of IT, to Hade. The sender is very politely explaining something about the importance of numbers and symbols and length in passwords, the value of strong password protection, and the cost of security breaches and ensuing lawsuits. Oh dear, what a shame he didn't pay attention!\n\n[1] Subject: Re: Re: Re: Re: URGENT: Moonlite Efficiency Report\n[2] Subject: please change your password, I am BEGGING you\n[3] Subject: MAKE FREE MONEY NOW!!!\n[4] Subject: Moonlite Update Request\n[5] Quit Hadrian's email\n\n> 3\nJust some random email telling Hade he could make money quickly from cryptocurrency mining. Man, he gets all the opportunities!\n\n[1] Subject: Re: Re: Re: Re: URGENT: Moonlite Efficiency Report\n[2] Subject: please change your password, I am BEGGING you\n[3] Subject: MAKE FREE MONEY NOW!!!\n[4] Subject: Moonlite Update Request\n[5] Quit Hadrian's email\n\n> 4\nHere's an older email sent by some banker. It seems they put some investment capital into the Moonlite a few years back, and they're trying to get Hadrian to give them an update. Maybe that was what the press conference earlier was for. Looks like Hadrian never replied to them. You don't blame him. You always wished your investors would just give you the money and then never talk to you again. Just to help Hadrian out, you send a quick reply in his name telling the banker that the project is cancelled and they should demand their money back. Hadrian can thank you later.\n\n[1] Subject: Re: Re: Re: Re: URGENT: Moonlite Efficiency Report\n[2] Subject: please change your password, I am BEGGING you\n[3] Subject: MAKE FREE MONEY NOW!!!\n[4] Subject: Moonlite Update Request\n[5] Quit Hadrian's email\n\n> 5\nYou close the email inbox.\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 2\nYou reload the campus security program.\n\n[1] Browse the permissions list\n[2] Disable full permissions for Hadrian (prick)\n[3] Quit the permissions list\n\n> 2\nAw, nuts. The options next to Hadrian's name are greyed out. The system must be smart enough to not let the boss get locked out of his own property. Pity. You were hoping that if you disinvited Hadrian while he was on campus, maybe he'd be catapulted off the premises or something.\n\n[1] Browse the permissions list\n[2] Quit the permissions list\n\n> 2\nYou close the security program.\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 4\nYou get up and step away from Hadrian's fancy computer.\n\n> You suck the grapes\n(first turning discreetly away from the fancy computer's operating system)\nYou pierce the flesh of one grape and drink deep. Then you pierce the flesh of another grape and drink deep. Then another, then another... It takes a while, but eventually all the grapes are shrivelled and dry. You pick them off the stem and throw the stem away.\n\n> You look at the raisins\nDry, shrivelled, sweet purple grapes.\n\n> Go south\nThis is the pleasantly airy and open lobby of the building where all the executives keep their offices. A corridor leads visitors and executives north. The main campus is to the south.\n\nThere's a receptionist here, hunched over a computer and looking very bored.\n\n> You go east\nThis part of the campus plaza wants to be open and airy, but it's hemmed in by various concrete structures, the biggest of them being the Engineering Laboratory to the north. Prettier parts of the campus are to the west.\n\nWater cuts across the laboratory doorway here, spouting from a burst pipe in the wall.\n\nThere's a worker here, maybe a janitor or other maintenance person, leaning against the wall and holding a sign that says \"VAMPIRES SUCK\".\n\n> Go east\nNo exit that way. From here, you can go north and west.\n\n> You give raisins\n(to the janitor)\nYou offer the dried grapes to the janitor. \"Loose raisins? You can get those?\" The janitor shakes her head. \"Sorry. mate, I do appreciate it, but I just want a box of raisins. Don't want to be holding them in my bare hand, spilling them everywhere. Thanks anyway.\"\n\n> You talk to the worker\nShe nods at you as you approach. \"Hiya. Vampires still suck.\"\n\n[1] What did you want again before fixing the leak?\n[2] What prayer room?\n[3] Will you accept loose raisins?\n[4] Goodbye.\n\n> 3\n\"Loose raisins? You can get those?\" The janitor shakes her head. \"Sorry. mate, I do appreciate it, but I just want a box of raisins. Don't want to be holding them in my bare hand, spilling them everywhere. Thanks anyway.\"\n\n[1] What did you want again before fixing the leak?\n[2] What prayer room?\n[3] Will you accept loose raisins?\n[4] Goodbye.\n\n> 2\n\"Oh yeah! Sorry, mate. It's at the far end of the campus\" - she points west towards the offices - \"in a side room. You'll find it. We don't talk about it much. It's not official. You know vampires and religion.\"\n\n[1] What did you want again before fixing the leak?\n[2] What prayer room?\n[3] Will you accept loose raisins?\n[4] Goodbye.\n\n> You talk to the manager\n\"Hi, Oren. Settling in alright?\"\n\n[1] What are my job duties again?\n[2] When do we get breaks?\n[3] Well, back to work for me.\n\n> 2\n\"Not for a while, Oren. You have a few more hours yet before your ten-minute break,\" she says. (You are, of course, not going to wait for a few more hours. You're already planning to sneak out of the office as soon as possible.)\n\n[1] What are my job duties again?\n[2] When do we get breaks?\n[3] Well, back to work for me.\n\n> 1\n(You're asking this just to look like you're interested, of course. You have no intention of doing any actual work.)\n\n\"Today, you'll be handling online customer support. We've assigned you a computer there.\" She points to the grimy old spare computer nearby. \"You've also got an email account set up for you already - you can check that on the computer too.\"\n\n[1] What are my job duties again?\n[2] When do we get breaks?\n[3] Well, back to work for me.\n\n> 3\n\"Alright, Oren.\" The manager gives you a quick smile, and then bustles away again.\n\n> You use the computer\nThe computer makes noises like it's preparing for take-off, but it seems to work fine.\n\n[1] Check your email\n[2] Do the customer service work you were just hired to do\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 1\nYou check your corporate email inbox.\n\n[1] Subject: Password Security\n[2] Subject: MAKE FREE MONEY NOW!!!\n[3] Quit looking at email\n\n> 1\nSent just this morning to the whole company, from someone you suppose to be the head of IT:\n\n\"Please be advised that, in light of recent security breaches, we will be updating the requirements for account passwords.\n\n\"Currently, all passwords must be at least seven characters long. Soon, we will also require all passwords to include at least one numerical character. No user password currently includes a number; you are advised that this leaves your account more vulnerable to hacking attempts.\n\n\"You will be asked to change your password in the coming weeks, We apologise for the inconvenience after you all updated your passwords recently already.\"\n\nHmm, maybe they're having security breaches because their IT guy is dropping hints about everyone's password to the whole company.\n\n[1] Subject: Password Security\n[2] Subject: MAKE FREE MONEY NOW!!!\n[3] Quit looking at email\n\n> 2\nOh! Free money? For cryptocurrency mining? What a steal! You will have to circle back to this as soon as you've finished sabotaging Lunarcel from the inside.\n\n[1] Subject: Password Security\n[2] Subject: MAKE FREE MONEY NOW!!!\n[3] Quit looking at email\n\n> 3\nEnough email for now.\n\n[1] Check your email\n[2] Do the customer service work you were just hired to do\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 3\nJust one or two solitaire games, it looks like. You ignore them. You hate things you can't win.\n\n[1] Check your email\n[2] Do the customer service work you were just hired to do\n[3] Got any games on this thing?\n[4] Stop using the computer\n\n> 2\nHah. No.\n\n[1] Check your email\n[2] Got any games on this thing?\n[3] Stop using the computer\n\n> 3\nYou step away from the computer.\n\n> You go to the west\nNo exit that way. From here, you can go north and south.\n\nOn the other side of the office, the manager rearranges some stationery on a desk.\n\n> You examine the desk\nOn a rickety desk near you is a yellowing tower computer running an operating system from 10 years ago.\n\nThe old computer is currently switched on.\n\nThe manager makes a phone call and arranges some review for tomorrow.\n\n> You examine the desk\nOn a rickety desk near you is a yellowing tower computer running an operating system from 10 years ago.\n\nThe old computer is currently switched on.\n\n> You go east\nNo exit that way. From here, you can go north and south.\n\n> Go north\nA pokey little room currently set up as an interview room. Two chairs and a table take up most of the room; the rest of it is occupied by a cupboard.\n\n> You look at the table\nA rickety table and two hard plastic chairs. They look like hand-me-downs from a school. The cupboard looks more interesting.\n\n> You open the cupboard\nYou open the cupboard, revealing WAAAUUGH-\n\nYou slam the cupboard shut. You open the cupboard again, gingerly.\n\nHoly symbols! Dozens of them! Of every denomination you can\nthink of! This is no innocent meeting room. It's a multifaith prayer room!\n\nThe symbols are already getting to you. You look away, and notice a little box on the floor. It must have fallen out of the cupboard.\n\n> You take the box\nTaken.\n\nBriefly, you are gripped by shame and guilt.\n\n> You look at the box\nAbout the size of a matchbox. There's some writing on it: \"Seedless RAISINS. Ingredients: 100% dried seedless grapes; additives.\"\n\nYou lose focus as you wonder if there's an afterlife, and what kind of afterlife you can expect.\n\n> You close the cupboard\nYou close the cupboard with relief. Thank God. Better yet, don't.\n\n> You put the raisins in the box\n(the dessicated grapes in the empty raisin box)\nYou file the raisins neatly into the raisin box.\n\n> Go south\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a multifaith prayer room. You can head back outside to the south.\n\nYour work computer is waiting for you here.\n\nThe manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> Go south\nYou make a quick and confident exit while the manager's back is turned.\n\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\n> You check your inventory\nYou are carrying:\na box full of raisins\nan ID card (being worn)\nan umbrella\na blood bag\n\n> You give the box to the worker\n\"Brilliant! Thanks, mate!\" She takes the box of raisins gratefully. She notices your meaningful look. \"Oh yeah! Sorry, mate, forgot I promised.\" She produces a roll of tape from somewhere and patches up the leak in seconds. \"Done! Your shoes are safe.\" She gives you a genuine smile, puts the roll away and returns to leaning.\n\n> Go north\nThis is a little antechamber which serves as a security checkpoint before the laboratory itself. The lab can vaguely be seen through a frosted glass door to the north; the main campus is south.\n\nThere is a card reader device mounted next to the glass door, which must control the lock.\n\n> Swipe card\n(the ID card)\nYou flick your ID card through the reader. Its LED lights up a cheery green, and you hear a soft click from the glass door.\n\n> You go to the north\n(first opening the glass door)\n\nAn open-plan laboratory the size of a warehouse, littered with all sorts of scrap and junk. Engineers move from project to project, doing engineering jobs (you've never been interested in the technical side of things). The exit is south.\n\nIn the centre of the lab sits the Moonlite.\n\nHadrian is here, talking to some engineers. He glances up as you enter.\n\nShock and fury flit across his face. But they're gone in a flash, replaced by the same old magnaminous smirk. You might not have noticed if you weren't watching him carefully.\n\n\"Nero! To what do I owe this unexpected pleasure?\"\n\n[1] Surprised to see me again, Hadrian, you prick?\n[2] I'm here for the machine.\n[3] (skip all the gloating and just attack Hade)\n\n> 1\n\"You could say that, Nero,\" he says. His smile is broad, but his teeth are grinding. \"You could say that, after I forbade you from ever darkening my door again. After you stole from me. Tell me, how did you get in? Who invited you?\"\n\n[1] Looks like you hired me back, boss!\n[2] Stole? So it's my fault your employees wanted to work for me instead?\n[3] I'm here for the machine.\n[4] (skip all the gloating and just attack Hade)\n\n> 2\n\"It's your fault you poached my staff, yeah!\" Hadrian snaps. \"It's your fault you stole my staff and my ideas when you quit! It's your fault you tried to sabotage me on the way out!\n\n\"And it's your fault you failed anyway, isn't it?\" he continues, in a quieter voice. \"It's your fault that you alienated everyone you've ever worked with. That now everyone can see you for the stupid hateful little man you are. It's all your own fault. The only mistake I made was turning you. You have no one to blame but yourself.\"\n\nHadrian is smiling again. You try to hold his gaze.\n\n[1] Looks like you hired me back, boss!\n[2] I'm here for the machine.\n[3] (skip all the gloating and just attack Hade)\n\n> 2\n\"Oh, you don't even know what it does,\" says Hadrian dismissively.\n\n[1] Looks like you hired me back, boss!\n[2] I know exactly what the machine is.\n[3] I don't care what your machine for idiots does.\n[4] (skip all the gloating and just attack Hade)\n\n> 2\n\"Oh yeah? This'll be funny. What do you think's going on, then?\"\n\n[1] You said it was a fission reactor, remember?\n[2] It doesn't do anything. The fission would be too inefficient.\n[3] It's a machine to make vampires more powerful.\n[4] Well... actually, I don't know.\n[5] (skip all the gloating and just attack Hade)\n\n> 2\n\"That's what you'd do, right? Promise the world, deliver nothing, take the money and run,\" Hade says, a little unfairly. \"Well, I have something more ambitious in mind.\"\n\nHadrian starts pacing. He's about to give you a speech if you let him. \"Let me ask you something, Nero. Aren't you tired?\" He gestures vaguely. \"Of all this?\"\n\n[1] Of... talking to you?\n[2] Of... capitalism?\n[3] Of... being a vampire?\n[4] Yes. (attack Hade)\n\n> 1\n\"Feeling's mutual,\" Hadrian replies, glaring at you. \"No, idiot. I'm tired of our bodies!\n\n\"Look at us! We are vampires! We own this world!\nWe're smarter than everyone, we're stronger than everyone, we've seen everything, we've, we have power. True power.\n\n\"But we can't use it! We're trapped by all these, these\nridiculous weaknesses! We can't go anywhere without\npermission! We can't cross rivers! We can't eat garlic! We can't handle holy symbols! We can't have stakes driven through our hearts! We can't even go outside without some stupid umbrella or veil!\n\n\"The Moonlite is going to change that. The Moonlite is going to unshackle us.\n\n\"Well, again, not you. I'm going to kill you in a few minutes.\"\n\n[1] How does the Moonlite make us more powerful?\n[2] Where are you getting the money to develop this thing?\n[3] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[4] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"Sunlight, Nero, sunlight!\" Hade almost sounds giddy. He loves explaining how smart he is. \"What is sunlight, Nero? It's an explosion! It's the energy of octillions of octillions of hydrogen atoms fusing together into helium! A celestial Hindenburg!\n\n\"And I wondered, if that hurts us... what about the opposite? So I had the eggheads here prototype a new kind of energy reactor, one that takes helium and splits it into hydrogen. Oh, some of the staff carped at me about inefficiency, and how hard it is to safely contain a nuclear explosion, and how it shouldn't have a window -\" he pats the glass bulb on the Moonlite \"- but we made it. Of course, I just say it's a new kind of fission reactor we're going to sell, otherwise people might get suspicious. But that's not what it is, Nero. It's an anti-sunlight machine. And just wait till you see what it does for us.\"\n\n[1] Wait, you just had them prototype a nuclear fission reactor? Just like that?\n[2] Where are you getting the money to develop this thing?\n[3] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[4] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"Yes,\" says Hade blankly. There's a small silence. \"Well, they had to pull a couple hundred all-nighters to do it,\" he adds.\n\n[1] Where are you getting the money to develop this thing?\n[2] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[3] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"Investors, of course! I rang up a few rich people and told them about the clean energy revolution. Lots of people want to want to get in on this one. Look like philanthropists while making a quick buck from our hard work.\n\n\"And then there's the other investors. The ones who know what's up.\" Hade starts counting on his fingers. \"Let's see, I got a couple million from Old Count Ur\ufffd\ufffdt, and Baroness Neplacut... Sc\ufffd\ufffdrbos the Loathsome, Comtesse La Marcil, Big Red Peavis... oh, lots of vampires were interested in this one. Some of them even visited.\" He leans forward conspirationally. \"Between you and me, though, I think I'll keep the Moonlite for myself. Monopolies are so much more profitable, aren't they?\"\n\n[1] You told every other vampire about this thing, but you didn't tell me??\n[2] If this is for vampires, why show it off to everyone this morning? [3] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[4] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"Why would I tell you?\" sneers Hadrian. \"I don't want you\nanywhere near this thing. Besides, I know you don't have any money.\" There was no need for that.\n\n[1] If this is for vampires, why show it off to everyone this morning? [2] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[3] You need to destroy this machine. It's too dangerous.\n\n> 1\nHade looks annoyed, not at you for a change. \"I didn't want to. But I told some of my investors that this is a sustainable energy thing, and they were getting mad that I haven't shown anything yet. And some of these were saying that the Moonlite wasn't working,\" he adds, gesturing to the engineers at work around the lab. \"I just needed to stop people getting suspicious and pulling their investment, that's why I did the press conference. I just need a little more time to get it right.\"\n\n[1] Why? Something not right with the Moonlite?\n[2] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[3] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"It works great, it could just be a little stronger-\" Hade catches himself, and gives you a look. \"Sneaky, Nero! Sneaky! Almost got me giving away all my secrets! Well, the Moonlite works just\nfine. I'll show you in a second!\"\n\n[1] Sounds like a cool machine. Be a shame if someone took it for themselves.\n[2] You need to destroy this machine. It's too dangerous.\n\n> 1\n\"Oh, I'm not worried about that,\" says Hadrian. He moves to stand in front of the reactor's glass bulb as he talks. \"For a start, they'd need a crane. And if anyone did threaten to take the Moonlite\noff me... I'd have to do something about that.\" And, holding your gaze and smiling, he slaps the button on the machine.\n\nSomething explodes in the machine. Engineers around the lab panic and dive for cover. The glass bulb fills with incandescent light, forming a beam pointed directly at Hadrian.\n\nSquinting, you see Hade's shape... change. You can see his silhouette grow, and hear the sound of ripping fabric.\n\nSoon, the machine powers down. You open your eyes fully.\n\nHadrian is now the size and shape of a comic book superhero. His newfound absurd muscles have torn through his suit, revealing a scarred chest and perfect pectorals. He shines brilliantly. And his fingers have lengthened to evil talons.\n\nThe engineers around the room sense a change in the atmosphere, and leave the room swiftly. Hadrian grins and advances on you.\n\nHadrian cackles and flexes maliciously.\n\n> You throw the bag at Hadrian\nProbably shouldn't. It might be fun, but you'll look like an idiot if you need the blood bag later and you have to go over and get it back.\n\nHadrian cackles and flexes maliciously.\n\n> You throw the bag at the button\nFutile.\n\nHadrian lunges! You narrowly dodge.\n\n> Bite hadrian\nYou might shatter your fangs on Hadrian's hard body! Anyway, blood sucked from a vampire always tastes so used.\n\nHadrian lunges! You narrowly dodge.\n\n> You go south\nThis is a little antechamber which serves as a security checkpoint before the laboratory itself. The lab can vaguely be seen through a frosted glass door to the north; the main campus is south.\n\nThere is a card reader device mounted next to the glass door, which must control the lock.\n\nAs you enter, you slam the glass door shut behind you and hear its lock engage.\n\nHadrian strides straight through! The glass explodes into confetti against his huge body! \"Can't run away from this one, Nero!\" he bellows (a little unfairly - he was the one who banned\nyou from meeting him).\n\n> You go south\nThis part of the campus plaza wants to be open and airy, but it's hemmed in by various concrete structures, the biggest of them being the Engineering Laboratory to the north. Prettier parts of the campus are to the west.\n\nThere's a worker here, maybe a janitor or other maintenance person, leaning against the wall and holding a sign that says \"VAMPIRES SUCK\".\n\nThe janitor sees Hadrian in hot pursuit and understands what needs to be done. She lets you past, and then rips the pipe leak open again. A river runs across the campus in front of Hadrian.\n\nHe grabs the pipe and bends it like spaghetti, diverting the leak to behind the laboratory. The janitor shrugs at you sympathetically, and then legs it before Hadrian can do the same to her.\n\n> Go west\nThis central plaza is wide and spacious, offering striking views of all the major landmarks of the campus, as if designed by a brutalist landscape gardener.\n\nAs a wooden signpost indicates, the black glass building to the immediate north is the corporate headquarters; it also tells you that the campus stretches east to the engineering laboratory, and west to the customer service office. You can also leave the campus through the southern exit.\n\nAs Hadrian pursues you, the signpost catches his eye. He winks at you. \"Let's do this like the vampire hunters used to!\"\n\nHe grabs the signpost and tears it out of the ground effortlessly. The wooden pole of the signpost has a very pointy end. Uh oh.\n\n> You go west\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\nHadrian pursues you.\n\n> You go north\nYou charge into the office at full-tilt!\n\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a multifaith prayer room. You can head back outside to the south.\n\nYour work computer is waiting for you here.\n\nThe manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\nHadrian storms in and pulls the manager aside. \"When I'm done with this one, we need to have a little talk about your hiring policies,\" he hisses. He lets her go and returns to chasing you. You see the manager very quietly slink out of the door.\n\n> You go to the north\nA mean little room for faiths of all kinds to indulge themselves. All the religious stuff is shoved up inside a cupboard, which is closed. Currently, it's set up as an interview room with two chairs and a table.\n\nHadrian strides towards you.\n\n> You open cupboard\nYou open the cupboard. You're ready for it this time, but it's no less distressing to you.\n\nHadrian isn't ready for it. He screeches and recoils from the religious symbols as if burned. \"WHAT THE HELL ARE THOSE DOING IN THERE???\" he cries."
    },
    {
        "text": "[Themes: Comedy]\n\n> Look around\nA mean little room for faiths of all kinds to indulge themselves. All the religious stuff is shoved up inside a cupboard, which is mercilessly hanging open and exposing its contents. Currently, it's set up as an interview room with two chairs and a table - it's a tight squeeze with both you and an enraged superstrong vampire trying to kill you.\n\nHadrian is here, and coming after you.\n\nBriefly, memories of past transgressions come to you.\nHadrian seems distracted. He stares at his hands.\n\n> You examine signpost\nLots of little signs jutting out of a wooden pole. It looks like one of those destination signposts they have at landmarks which tell you how far away other capital cities are, except this one used to point to buildings on the campus. The end which used to be in the ground is very pointy.\n\nYou lose focus as you are gripped by shame and guilt.\nHadrian's eyes wander from you. He glances behind him.\n\n> You take the signpost\nNow looks like your chance, but somehow Hadrian's grip on the signpost stays firm even while he gazes at the holy symbols and gibbers softly. Too big to be a good stake for you to use anyway. Think smaller!\n\nYour concentration breaks as you reflect on all your sins.\nHadrian drops his guard for a second as he gazes at the holy symbols.\n\n> Break chair\nIt's surprisingly sturdy for how tacky it feels. You can't break it down, but maybe you have something else you can use as a weapon.\n\nBriefly, memories of past transgressions come to you.\nHadrian half-heartedly swipes at you. He glances behind him.\n\n> You check what you're carrying\nYou are carrying:\nan ID card (being worn)\nan umbrella\na blood bag\n\nYour concentration breaks as you reflect on all your sins.\nHadrian seems distracted. He mutters \"No...\" to nobody you can see.\n\n> Stab hadrian with umbrella\nHadrian is too distracted by the symbols, and notices your advance too late! You plunge the umbrella into his heart!\n\nA banshee wail escapes his lips. His body starts to crumble and crumple, like a balloon losing its air. Holes open up in his skin, and dust pours out. He tries to say something, maybe a curse, but it's too late, his throat has opened up and all you hear is a wheeze. His eyes sink inwards. Something crackles.\n\nIt's over in about a minute. All that remains is a pile of dust.\n\nHe could be back soon. He could be resurrected tonight, if someone loves him enough. You need to act now, while the Moonlite is unprotected. You've seen what it does. Power is good, but that much power? You've seen how Hade treats people - how you treat people - even fettered by weaknesses. But unfettered? No, the right thing to do would be-\n\nYou blink, and close the cupboard. All shameful thoughts flee your mind. Ah, that feels better. Now let's grab that Moonlite.\n\n> Inventory\nYou are carrying:\nan ID card (being worn)\nan umbrella\na blood bag\n\n> Go south\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a multifaith prayer room. You can head back outside to the south.\n\nYour work computer is waiting for you here.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> Go east\nThis central plaza is wide and spacious, offering striking views of all the major landmarks of the campus, as if designed by a brutalist landscape gardener. The black glass building to the immediate north is the corporate headquarters; the campus stretches east to the engineering laboratory, and west to the customer service office. You can also leave the campus through the southern exit.\n\n> You go east\nThis part of the campus plaza wants to be open and airy, but it's hemmed in by various concrete structures, the biggest of them being the Engineering Laboratory to the north. Prettier parts of the campus are to the west.\n\n> You go to the north\nThis is a little antechamber which serves as a security checkpoint before the laboratory itself. The lab is clearly visible to the north now that the door which once guarded it has been obliterated; the main campus is south.\n\nThere is a card reader device mounted next to the glass door, which used to control the lock.\n\n> Go north\nAn open-plan laboratory the size of a warehouse, littered with all sorts of scrap and junk. The exit is south.\n\nIn the centre of the lab sits the Moonlite.\n\n> You take Moonlite\nThat's fixed in place.\n\n> You examine Moonlite\nThe reactor looks like a thimble the size of an elephant. Up close, you can see a little power button, and next to that, a sort of... glass bulb? It reminds you of a football-sized version of the little bulbs on laser pointers.\n\nThe Moonlite is currently switched off."
    },
    {
        "text": "[Themes: Comedy, profanity]\n\n> Break Moonlite\nYou grab a couple of exposed wires and yank them. You open some panels and pull out some mysterious electronics and circuitboards. After a moment's thought, you search the lab for anything that looks like a blueprint and tear it up.\n\nIt feels... it feels... cathartic. Not good, but cathartic.\nIt feels horrible, and it feels right.\n\nFive minutes later, years of research lie in bits and pieces on the laboratory floor, and you're being escorted by security officers. Tomorrow, you'll be hungry and miserable again, and you'll wonder why the hell you threw away the Moonlite's power. But tomorrow, no one else will have that power either.\n\n> You enter the booth\nNo, you have to hear what Hadrian has to say. You can't hate him properly if you're not constantly paying attention to him.\n\n\"Clearly, the world needs a new solution. A sustainable source of clean energy which is absolutely reliable, no matter who you are or where you are.\" While he rambles, you shift your umbrella to your other arm, and daydream about the snack you're carrying.\n\n> Wait\nTime passes.\n\n\"My friends,\" says Hadrian with a wink, \"I present to you the Moonlite.\" And he whisks the cover off the screen next to him, revealing a picture of... something? Some kind of a machine?\n\n> You examine the umbrella\nYour one remaining prized possession, an umbrella made of thick black fabric and an aspen wood shaft, sleek and sharp and aerodynamic. You want to keep out of the sun, but you want to look good doing it. The umbrella is currently open.\n\nThe crowd oohs at the screen. \"The Moonlite!\" says Hadrian, gloating. \"A fission reactor which will work anywhere, for anyone! Clean energy, for anyone! And it's completely safe. Forget uranium, forget plutonium - all that's needed is harmless helium.\"\n\n> You open the umbrella\nYou open the umbrella.\n\nUnder your umbrella's welcome shade, your skin cools rapidly and resets. Ahhh. That's better.\n\n> You enter the booth\nYou enter the booth and pick up the phone. Who will you call?\n\n[When talking to people or using devices, you'll be given numbered options like those below. To choose one, just type the number of the option you want. For example, just type \"1\" if you want to select the first option.]\n\n[1] Call the emergency services\n[2] Never mind\n\n> 1\nCall the police on Hadrian and have him arrested on spurious charges? An excellent idea. And indeed, you tried it a few years ago. And that's how you learned that the emergency services can track call locations to arrest hoaxers. So you'd better not, at least not until you know what's up with Hadrian's dumb machine.\n\n[1] Call the emergency services\n[2] Never mind\n\n> 2\nYou hang up and leave the booth.\n\nThe entrance to the Lunarcel campus is now quiet apart from a handful of workers dismantling the stage. The main part of the campus is north of here.\n\nAn old phone booth huddles against the wall.\n\nNow that the stage has been cleared away, you can see a \"Help Wanted\" banner affixed by the entrance.\n\n> You read the banner\n\"DO YOU HAVE WHAT IT TAKES to deliver high-quality award-winning customer service online and by telephone to Lunarcel customers and clients? WE ARE HIRING! Entry-level positions - NO CV REQUIRED! Start as early as TODAY! CALL NOW!\"\n\n\"No CV required\"? \"Start today\"? They must be desperate to hire people. There's a phone number on the banner - maybe you could get invited in for an interview...\n\n> You enter the booth\nYou enter the booth and pick up the phone. Who will you call?\n\n[1] Call the Lunarcel job application number\n[2] Call the emergency services\n[3] Never mind\n\n> 1\nYou dial the number on the job advert. It rings for a while, but a glassy-sounding voice eventually picks up. \"Hello, Lunarcel customer services department, how may I help you?\"\n\n[1] I'm applying for that job opening.\n[2] Do you have Prince Albert in a can? Well you'd better let him out! [3] Sorry, wrong number.\n\n> 2\nYou hang up without waiting for a response. It's good to laugh now and then. You head back outside.\n\nThe entrance to the Lunarcel campus is now quiet apart from a handful of workers dismantling the stage. The main part of the campus is north of here.\n\nAn old phone booth huddles against the wall.\n\nNow that the stage has been cleared away, you can see a \"Help Wanted\" banner affixed by the entrance.\n\n> 1\nYou dial the number on the job advert. It rings for a while, but a glassy-sounding voice eventually picks up. \"Hello, Lunarcel customer services department, how may I help you?\"\n\n[1] I'm applying for that job opening.\n[2] Is your refrigerator running? Well you'd better let him out!\n[3] Sorry, wrong number.\n\n> 1\nYou dial the number on the job advert. It rings for a while, but a glassy-sounding voice eventually picks up. \"Hello, Lunarcel customer services department, how may I help you?\"\n\n[1] I'm applying for that job opening.\n[2] Is your refrigerator running? Well you'd better go catch him!\n[3] Sorry, wrong number.\n\n> You close the umbrella\nYou close the umbrella.\n\nThe sunlight hits your body like the heat of an oven. You can't survive much direct sunlight!\n\n> Wait\nTime passes.\n\nYour skin is blistering! You need to get out of the sunlight now!\n\n> You wait a while\nTime passes.\n\nYou have been exposed to the sun for too long! You combust like a Roman candle!\n\n> You bite yourself\nYou don't like to bite yourself. You've never really gotten anything out of it. (Though some other vampires do, apparently. It's said that old Count Ur\ufffd\ufffdt had his ribs removed so he could suck his own blood.)"
    },
    {
        "text": "> Look around\nThe entrance to the Lunarcel campus is now quiet apart from a handful of workers dismantling the stage. The main part of the campus is north of here.\n\nNow that the stage has been cleared away, you can see a \"Help Wanted\" banner affixed by the entrance.\n\nAn old phone booth huddles against the wall.\n\n> You use the phone\nYou enter the booth and pick up the phone. Who will you call?\n\n[When talking to people or using devices, you'll be given numbered options like those below. To choose one, just type the number of the option you want. For example, just type \"1\" if you want to select the first option.]\n\n[1] Call the emergency services\n[2] Never mind\n\n> You go outside\n[Sorry, most actions (other than looking at things) are disabled\nwhen you're in a tree. Please enter a number to keep talking (there will usually be some kind of goodbye option to exit the conversation or menu). Type REPEAT to see your options again.]\n\n> 2\nYou hang up and leave the booth.\n\nThe entrance to the Lunarcel campus is now quiet apart from a handful of workers dismantling the stage. The main part of the campus is north of here.\n\nAn old phone booth huddles against the wall.\n\nNow that the stage has been cleared away, you can see a \"Help Wanted\" banner affixed by the entrance.\n\n> You read the banner\n\"DO YOU HAVE WHAT IT TAKES to deliver high-quality award-winning customer service online and by telephone to Lunarcel customers and clients? WE ARE HIRING! Entry-level positions - NO CV REQUIRED! Start as early as TODAY! CALL NOW!\"\n\n\"No CV required\"? \"Start today\"? They must be desperate to hire people. There's a phone number on the banner - maybe you could get invited in for an interview...\n\n> You use the phone\nYou enter the booth and pick up the phone. Who will you call?\n\n[1] Call the Lunarcel job application number\n[2] Call the emergency services\n[3] Never mind\n\n> You talk to the woman\n(the manager)\n\"Can I help- How can I help you?\"\n\n[1] I'm here for a job interview.\n[2] Never mind, I though you were someone else.\n\n> 1\n\"Ah, you must be Oren! I'm ready for you right now. Follow me, please.\" She leads you into the meeting room.\n\nNow that you're in there, you see that what you thought was a conference room is really just a converted stationery closet with two chairs, a table and a cupboard. There's barely room for one person here; with both you and the manager in here, it's dangerously crowded.\n\nThe manager is sitting across from you. She gives you her friendliest smile. \"Good to meet you, Mr. Vohsarb. I only have a few questions for you, just to make sure you're an appropriate fit for this department. So, could you tell me why you applied for this job, and why you want to work at Lunarcel?\"\n\n[1] Corporate espionage\n[2] Revenge\n[3] I've lost control of my life\n[4] It has always been my dream to serve the customer\n\nThe interviewer writes an ominous little note.\n\n> 1\n(...although you already recognise the kind of work environment this is. You cultivated it yourself when you were in business. Productivity, that's the key. Make sure your workers are turning up and putting in the hours they owe you. Don't let them shirk. Open-plan offices help with that. You know that's what Hade's thinking. You learned it from him, after all.)\n\nYou choke back the answer, and consider your other options.\n\n[1] Revenge\n[2] I've lost control of my life\n[3] It has always been my dream to serve the customer\n\n> 1\n(Revenge! You've had your history with Hadrian Alba. You though he was a friend, until you dared to dream bigger. Now his very existence belittles you. He has insulted you, he has whispered behind your back, and it's not right that a prick like him gets the luck of the devil and the wealth to match. It should be you doing press\nconferences about your big new inventions and investments, and\nhe should be the one sleeping in plywood coffins. Let's see\nhow haughty he is when you find that Moonlite and ruin it and laugh at him.)\n\nYou guess she won't like that answer, and think again.\n\n[1] I've lost control of my life\n[2] It has always been my dream to serve the customer\n\n> 1\n(Oh, you used to have control! You had it all once! Successful businesses, all the blood you could want, a castle with all sorts of turrets! But now... is this just how the poor live? Worried about tomorrow? Why would they want to live like this instead of becoming rich? This is just temporary. You just need to build up a little bit. And destroy Hadrian while you're doing it.)\n\nBetter not admit to that in a job interview. Better think again.\n\n[1] It has always been my dream to serve the customer\n\nThe interviewer coughs quietly into her fist.\n\n> 1\nYou say something about helping other people, the kind of thing you used to like to hear from other people. It looks like the manager likes it too. She scribbles a quick note, and says \"Thank you, Oren. Now, why did you leave your last job position?\"\n\n[1] Failed to attract sufficient startup investment\n[2] Employees unwilling to work for me\n[3] Run out of town by pitchforked mob\n[4] It did not challenge and inspire me like this job would\n\nThe interviewer writes an ominous little note.\n\n> 1\n(You've had some genuinely brilliant ideas for startup companies. Mail-order blood testing kits. Spice jars with giant kernels of salt and pepper that you can count easily. Portrait painting services which eliminate the need for mirrors. All necessary and important, yet hardly any investors will recognise that! And whenever you do get a business up and running, there's always some stupid thing that comes up, like some study that says your product doesn't work or some big employment tribunal, and suddenly all the investors want their money back! Some call you bitter, but how can you not be when\nthings conspire against you so often?)\n\nYou guess she won't like that answer, and think again.\n\n[1] Employees unwilling to work for me\n[2] Run out of town by pitchforked mob\n[3] It did not challenge and inspire me like this job would\n\n> 1\n(Humans don't like to work, you've noticed. You do the heavy lifting of forming and directing a company, and all your employees will just flake out after a couple of years. Long hours? Some of us\nwork all night. But you still end up burning through staff\nand stamping out unions like wildfires. At least you'll get\nto be the one wasting company time and resources this time. Must be fun.)\n\nBetter not admit to that in a job interview. Better think again.\n\n[1] Run out of town by pitchforked mob\n[2] It did not challenge and inspire me like this job would\n\nThe interviewer coughs quietly into her fist.\n\n> 1\n(This was just dumb. You've never known investors to actually club together and come round to the company headquarters with blunt weapons before. Of course you would be the first guy it happened to.\nYeah, they did lose a couple hundred million dollars between them, but that's investment! It's a risk! Sometimes money doesn't come back! Sometimes share prices just plummet, through no fault of your own! Take it up with every other business vampire!)\n\nYou guess she won't like that answer, and think again.\n\n[1] It did not challenge and inspire me like this job would\n\n> 1\nYou improvise something about how you've heard Lunarcel is the land of opportunity, and how the office looks like a great work environment and everything, just like you remember your old job applicants telling you.\n\nAs you start to wonder if they were lying too, the manager makes another little note. \"Thank you. Just one more question, and there are no right or wrong answers here... What would you say is your biggest weakness?\"\n\n[1] Vulnerability to sunlight\n[2] Wooden stake through the heart or stomach\n[3] Inability to cross thresholds uninvited\n[4] Sensitivity to holy symbols\n[5] Running water\n[6] I guess I'm just a perfectionist\n\n> 1\n(Is it some property of ultraviolet light? Or just sensitive skin? You're not sure, and neither is anyone else, but the sun still rises every day and ruins your life. Umbrellas and good sunblock help a bit, at least.)\n\nBetter not admit to that in a job interview. Better think again.\n\n[1] Wooden stake through the heart or stomach\n[2] Inability to cross thresholds uninvited\n[3] Sensitivity to holy symbols\n[4] Running water\n[5] I guess I'm just a perfectionist\n\n> 1\n(You were killed a couple times, a few hundred years ago. Who wasn't? Europe was lousy with vampire hunters back in the day. The number of times you've been woken up in your coffin by some prick with a wooden stake and a grudge! People have told you that humans can't survive being staked in the heart either, but they don't understand, they don't live in fear of the stake like vampires do.)\n\nYou choke back the answer, and consider your other options.\n\n[1] Inability to cross thresholds uninvited\n[2] Sensitivity to holy symbols\n[3] Running water\n[4] I guess I'm just a perfectionist\n\nThe interviewer gives you an encouraging little smile.\n\n> 1\n(You get very uncomfortable when you know you're not welcome. Why should you care? You are a vampire! You should be able to go where you like! You can rip a human's throat out, but their doorway is going to stop you?? But... when you're invading someone's property, and you can't find a reason to say you're welcome, you feel guilty.\nAnd you try to snap out of it by telling yourself \"well, you don't feel guilty about stealing people's blood.\" And then you start to feel guilty about the blood... Better not to think about it. Better to be welcome, and walk with your head held high, than to be ashamed...)\n\nYou guess she won't like that answer, and think again.\n\n[1] Sensitivity to holy symbols\n[2] Running water\n[3] I guess I'm just a perfectionist\n\n> 1\n(You hate displays of religion. Can't stand to look at any. Superstitious nonsense. Every other vampire says so too.\n\nBut... if pressed, maybe, maybe you'd have to admit that what\nyou're doing vis-a-vis the whole killing and subjugating humans thing is perhaps not fully condoned in most of the major religions,\nand maybe you'd concede that your karmic balance or your charitable-act-to-sin ratio or whatever metric of goodness any religion uses is not completely in your favour, and holy\nsymbols are perhaps a reminder of how possibly your actions\nhave hurt other people... It's not worth dwelling on. Change the subject and move on.)\n\nYou choke back the answer, and consider your other options.\n\n[1] Running water\n[2] I guess I'm just a perfectionist\n\n> 1\n(You don't know why you can't cross running water, but you can't. It's like trying to lick your elbow. It's baffling, and it makes you furious. People don't know how good they have it with their precious bridges.)\n\nBetter not admit to that in a job interview. Better think again.\n\n[1] I guess I'm just a perfectionist\n\n> 1\nYes, everyone says that.\" The interviewer has a wry little smile as she checks her notes one more time.\n\n\"Well, I don't see any cause for concern here. Welcome abroad, Oren!\" She shakes your hand. \"Can you start today?\"\n\nFive minutes later, you've been shown to your new desk, on which is a very old computer. You'll be handling online customer enquiries for your first shift, you've been told. Around you, other workers are being yelled at over the phone, or doing something clerical with a spreadsheet, or some other boring task.\n\nThe interviewer - your new manager - comes back with something on a lanyard. \"Here's your ID card, hot off the presses,\" she says, as you slip it around your neck. \"You're supposed to wear your card at all times. You don't really need it unless you're going to high-security areas, but you'd need to be properly authorised anyway, so don't worry about it. Talk to me if you need anything!\" And she's gone again.\n\nOf course, now that you're officially allowed on the Lunarcel campus, you have no intention of doing any work. You are going to find Hadrian's precious Moonlite machine and destroy it. As soon as you find it, that is.\n\nA modern open-plan office: bent backs from wall to wall and no privacy anywhere. Just how you used to like it when you were running these kinds of places. North leads to a meeting room. You can head back outside to the south.\n\nThere's an unused miserable-looking computer here which is, apparently, yours. Lovely.\n\nThe manager is bustling wildly, juggling several administrative tasks at once.\n\nA list of common passwords has been flimsily stuck up on the wall nearby.\n\n> Bite manager\nThat won't leave a good impression. Actually, it'll leave two good impressions in her jugular vein, but you'd still better not.\n\n> Bite bag\n(first turning discreetly away from the manager)\nYou puncture the plastic easily with your fangs, and drink deep. There's not a drop left when you're done. No substitute for a warm meal, but you do what you have to when times are hard.\n\n> You hypnotize the manager\nShe looks at you, puzzled. Hmm, the old powers of suggestion are a little rusty today.\n\n> Kiss manager\nYou'd rather use your teeth than your lips.\n\n> Curse\nPrick!\n\nOn the other side of the office, the manager rearranges some paperwork on a desk. You don't think that's even her desk.\n\n> Go south\nYou make a quick and confident exit while the manager's back is turned.\n\nSomewhat less pretty than the entrance and central plaza were - this part of the campus must usually be seen only by employees. North is a grimy-looking office block, and the rest of the campus is to the east.\n\n> You use the computer\nYou try to commandeer the receptionist's computer, but he just stammers and says \"um, um\" over and over until you stop. Well, there are other computers you can use if you need to.\n\n> You bite him\nYou'd love to. But they'd probably call it assault, and being wanted for assault would get in the way of your sabotage plans.\n\n> You hypnotize him\nHe looks at you, puzzled. Hmm, the old powers of suggestion are a little rusty today.\n\n> You go north\nThis is an office?? It looks more like a furniture showroom. It's all expensive tables and chairs and sofas - Hadrian could hold three meetings at once in here. But there are film posters hung up around the room too, like he thinks it makes him look cool.\n\nOn one especially luxurious desk sits a fancy computer.\n\n> You use the computer\nA password field blocks you! Curse that Hadrian, and screw him, too! He's always one step ahead. Hmm, how can you figure out Hade's password? Hopefully he's not very careful with it - maybe other people in the company can help you guess.\n\n> You type LETMEIN\n(typing \"letmein\" on the fancy computer)\nThe password field disappears! (Hey! That's the same as your password!) The computer is unlocked and ready for use.\n\n> You use the computer\nThe computer wakes up without a sound. You could snoop through Hade's emails, but you also see an application for controlling Lunarcel's security permissions.\n\n[1] Check Hadrian's emails\n[2] Edit campus security permissions\n[3] Got any games on this thing?\n[4] Stop using the computer"
    },
    {
        "text": "[Themes: Science Fiction, violence, gender choice, alien world, vehicle, prison, nonhuman antagonists, escape, money, memorable NPC]\n\nGreat towers rise from the desert, beneath a clear blue sky. Their mirrored sides reflect the afternoon sun through a shimmering heat haze. Specks hover over the city on veined wings or burning jets.\n\n[Enter 'about' for more info, 'credits' to see who made the game possible, and 'hint' if you get stuck.]\n\nThe klaxon sounds briefly, and your cell door rattles open.\n\nYou've only been in this prison a few days, and you're not confident that you'll make it through too many more.\n\nThe cracked tiles of your small cell have been defaced by decades of graffiti. The metal door out stands open.\n\nSprings protrude from your decrepit old bed.\n\n[Author's Note: Congratulations, convict 76954! You have been selected for scientific experimentation! You will be matter-transmitted to exotic non-Treaty worlds - where opportunities abound to take in fantastic sights and mingle with colourful locals!]\n\n> About yourself\nIt's definitely you. How exactly you wound up in this jail is an interesting question.\n\n> You examine the uniform\nIt identifies you as convict #76954, albeit not in human numerals.\n\n> You look at the bed\nA big, slightly springy mattress suitable for a wide variety of species.\n\n> You examine the graffiti\nA lot of it's in languages you've never even seen before. You recognise some apian gang symbols, some vulgar saurian poetry, and some crude drawings of octopodes in coitu.\n\n> You examine the tiles\nThey might have looked nice once, in an institutional kind of way.\n\n> You remove the uniform\nIt's a cold and uncaring Multiverse out there to be running around naked.\n\n> Go outside\nRotating fan vents light this wide corridor with harsh, flickering sunlight.\n\nOrange suited prisoners drift listlessly forwards.\n\nSaurian guards keep a close eye on the inmates.\n\n> You look at the guards\nBurly, reptilian bipeds in thick body armour. From experience you know they're just looking for an excuse to use their shock sticks.\n\n> You look at the prisoners\nOrganics and androids, bipeds and octopodes... Humans are conspicuous by their absence.\n\n> EXITS\nObvious exits lead in, back to the cell; and forwards.\n\n(You can control the exit listings with the EXITS command. EXITS STATUS shows the exit list in the status line, EXITS LOOK shows a full exit list in each room description, EXITS ON shows both, and EXITS OFF turns off both kinds of exit lists.)"
    },
    {
        "text": "> You look around\nRotating fan vents light this wide corridor with harsh, flickering sunlight.\n\nOrange suited prisoners drift listlessly forwards.\n\nSaurian guards keep a close eye on the inmates.\n\nObvious exits: In, Forwards\n\n> You examine the androids\nMany of them lethal killing machines to varying degrees of literalness.\n\n> You examine organics\nGenerally squishy and full of fluid, just like you, although many have exoskeletons.\n\n> You examine the vents\nA cheap solution to both lighting and ventilation. That's saurians for you.\n\n> F.\nA raised skyway between Cell Block X and the rest of the prison tower. It provides a view of the endless wasteland you'd have to traverse if you even managed to escape. Wire mesh prevents inmates from throwing themselves over the side.\n\nA burly guard stands watch by the way forwards.\n\nTwo inmates - one saurian, one apian - are dawdling on the skyway. The apian nudges her companion and points at you. \"What's that?\"\n\nHe guffaws. \"Ain't you never seen a human before?\"\n\nObvious exits: Forwards, Backwards\n\n> You examine apian\nHer black and yellow exoskeleton has been scrimshawed with elaborate gang carvings.\n\nShe looks back at you. \"Oh honey, what juicy eyes you have.\"\n\n\"Isn't human,\" the apian says, \"like, the other other white meat?\"\n\n\"No fur,\" the saurian muses, looking you up and down, \"no exoskeleton or scales. Like a walking buffet.\"\n\n> You examine the saurian\nRazor sharp teeth, hungry eyes and green-scaled skin that's stretched taut over his muscles.\n\nHe stares back at you. \"What are you looking at, chimp?\"\n\nThe guard draws his shock stick. \"Break it up you three. This isn't a social club.\"\n\nYour two new friends walk away laughing, the saurian pausing to thump you on the back. \"We'll catch you for a bite later, hey pal?\"\n\n> F.\nA number of scanners and drone turrets are arrayed around a low platform, overseen by a smiley face on a computer screen.\n\nThe smiley-faced computer assembles a sentence out of painfully cheerful soundbites. \"Greetings! Convict 76954! Please! Stand on the! Scanning platform!\"\n\nObvious exits: Forwards, Backwards\n\n> You examine computer\nA simple cartoon face that corresponds to the eye and mouth placements of most saurians, apians and lesser octopodes.\n\n> You stand on the platform\nYou stand on the platform. The scanners begin to whir around you, beams tingling over your skin.\n\n\"Thank you!\" the computer chirps, \"For your! Co-operation! Please wait... For the scan to complete...\"\n\n> You look at the platform\nScuffed by countless feet.\n\nYou are standing on the scanning platform.\n\n\"Scanning...\" the computer drones. \"Scanning...\"\n\n> Back\n(first getting off of the scanning platform)\n\"Please!\" the computer sings. \"Proceed! Forward! To! Participate in a scientific experiment!\"\n\nThe drone turrets swivel to aim multi-barrelled machineguns at you.\n\n> You examine turrets\nThey look like they could put a real dent in your day.\n\n> Forward\nCosily lit, with a messy noticeboard on one wall. A narrow desk takes up the centre of the room, strewn with notes. An empty chair is turned slightly towards you.\n\nA saurian in a labcoat sits on the opposite side of the desk.\n\nA muscular guard blocks the exit.\n\nObvious exits: Out\n\nThe saurian smiles, baring her pointed teeth. \"Well, hello! I'm Dr. Sliss. Are those appendages prehensile? How wonderful! Why don't you take a seat and we'll begin?\"\n\n> You look at sliss\nHer skin consists of shimmering green scales, and her golden, slit-pupil eyes hold a calculating beauty.\n\nDr. Sliss is wearing a labcoat, a white blouse, a grey skirt, and red shoes.\n\n\"Don't be shy,\" Dr. Sliss says. \"I won't bite.\"\n\n> You sit\n(on the chair)\nIntended for saurian backsides, the chair is less than comfortable.\n\n\"Now,\" Dr. Sliss says, \"let's get down to business. Would you start by confirming your name?\"\n\n> Male\n\"But of course,\" the doctor says. \"Now, some questions about your medical history. Please be honest.\"\n\nShe turns to the first page of her notes. \"Have you ever been exposed to more than 200 yegs of radiation?\"\n\n(You could say yes or no.)\n\n> No\nThe doctor scribbles down your answer. \"I see. Has your head ever been detached from its current body?\"\n\n(You could say yes or no.)\n\n> No\nThe doctor scribbles down your answer. \"If you say so. Have you ever had any form of unprotected sex with an entity that exists in more than four macroscopic spatial dimensions?\"\n\n(You could say yes or no.)\n\n> No\nThe doctor scribbles down your answer. \"Really? You should try it sometime. Have your actions ever been controlled by hive-linked cortex worms?\"\n\n(You could say yes or no.)\n\n> Yes\nThe doctor scribbles down your answer. \"The fact you can admit it proves you've recovered. Now, the following questions attempt to gauge your personality. There are no right or wrong answers, so just relax and answer truthfully. Are you now or have you ever been a member of the Apian Individualist Coalition, or AIC?\"\n\n(You could say yes or no.)\n\n> No\nThe doctor scribbles down your answer. \"That should please the bean-counters. Have you ever consumed your own offspring?\"\n\n(You could say yes or no.)\n\n> Yes\nThe doctor scribbles down your answer. \"I certainly don't judge you for it. Finally, I see you're serving a life sentence. Well... Did you do it?\"\n\n(You could say yes or no.)\n\n> No\nThe doctor scribbles down your answer. \"And I believe you, even though there's absolutely nothing I can do about it. Well, I'm pleased to say that you meet all of the requirements of my research - especially the parts that prohibit experiments on fellow saurians.\"\n\nShe nods to the guard. \"You may shock him now.\"\n\nSomething cold and metallic touches the back of your neck - and then you taste burning and everything goes white.\n\nYou're awoken by an unfamiliar beeping sound. You sit bolt upright and look around.\n\nHolding Cell (sitting on the bed)\nA bare room of white walls. Strip lights glare down from the ceiling, and there's an intercom next to the way out.\n\nA white, saurian-style bed occupies the middle of the floor.\n\nSomething in the room seems to be beeping.\n\nObvious exits: Out\n\n> You look at the bed\nRaised up off the floor, with a gap in the middle for your tail to go through when you're lying on your back.\n\nYou are sitting on the bed.\n\nSomething in the room seems to be beeping.\n\n> About yourself\nHow do you get in these predicaments?\n\n> You listen\nSomething in the room seems to be beeping.\n\n> You find the beep\nWhat do you want to look that up in?\n\n> You examine the intercom\nA simple grille in the wall. There's a big red button beneath it. The beeping seems to be coming from the intercom.\n\n> You examine the lights\nThe kind of cosy lighting that might be at home in a morgue.\n\n> Inventory\nYou are carrying nothing, and are wearing a collar and an orange uniform.\n\nSomething in the room seems to be beeping.\n\n> You look at the collar\nA leather collar with a small metal box at the throat.\n\n> You look at the box\nIt's slightly warm to the touch.\n\nSomething in the room seems to be beeping.\n\n> Go outside\n(first standing up, then opening the door)\n\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nDr. Sliss leans over the catwalk railing.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the antechamber, or back to the holding cell.\n\nThe Doctor waves down at you. \"Do you like your new fashion accessory? With that collar, I can always keep tabs on my favourite chimp. No, don't try to remove it - the explosive charge will blow your head off.\"\n\nAfter a moment, she adds, \"Also, you might want to keep your distance from microwave ovens.\"\n\n> About yourself\nHow do you get in these predicaments?\n\n\"Now,\" Dr. Sliss says with a grin, \"why don't you step into the antechamber. There may be a banana in it for you!\"\n\n> You look at the cyborgs\nMembers of various sapient species, all wearing black armour. Their brains seem to have been replaced with an exposed mass of wiring and tubes.\n\n> You examine catwalk\nA narrow catwalk, utilitarian and sturdy.\n\nDr. Sliss is standing on the catwalk.\n\nThe cyborgs are standing on the catwalk.\n\n> Forward\nA long, narrow room, the walls bulging with strange pipes and machinery. The most notable feature is the thickly armoured airlock door leading further in. Either side of the airlock are an equipment rack and a glass tube. A more conventional exit leads back out.\n\nOn the equipment rack are a launcher, a scanner, and a retrieval beacon. The glass tube contains an environment suit.\n\nObvious exits: In, Out\n\nYou can go forward to the transmission chamber, or back to the complex lower level.\n\nA wall-mounted monitor flickers to life, displaying Dr Sliss' face.\n\n\"Through that airlock is the matter transmission chamber. You're going to be performing a routine, uh, salvage detail on a non-Treaty world. Which world? Who knows, there are millions.\"\n\n> You examine tube\nIt's closed, and contains an environment suit.\n\nDr Sliss peers around the room from the monitor. \"You'll need all this equipment if you want to return in one piece. Which is not to say that our advanced medical facility is unable to cope with multiple pieces, but bio-glue doesn't come cheap.\"\n\n> You examine rack\nOn the equipment rack are a launcher, a scanner, and a retrieval beacon.\n\n> You examine the launcher\nIt looks kind of like a gun, only weirder.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen is blank.\n\n> You examine BEACON\nAn orange cylinder with RETRIEVAL BEACON stencilled on it. A thin cord protrudes from it with a ring on the end, begging to be pulled.\n\n> You get all\nlauncher: You sling the launcher over your shoulder.\n\n\"You can use the launcher to tag valuables,\" Dr. Sliss tells you. \"At the end of the mission, anything you've tagged will be matter transmitted into one of our five retrieval tanks for salvage.\"\n\nAfter a moment's thought, she adds, \"Please note that the Complex has an ample supply of bananas. Do not tag bananas.\"\n\nThe exit locks with a chunky click.\n\nscanner: The scanner fits neatly in your palm.\n\n\"The scanner is able to detect points of interest within five kitrecks,\" Dr. Sliss says. \"Go to these points of interest and tag anything valuable with the launcher.\"\n\nretrieval beacon: You find the beacon adheres somehow to the front of your outfit.\n\n\"The beacon is your way home,\" Dr. Sliss says. \"If everything goes wrong, or if you've tagged everything valuable in sight, just pull the cord on the beacon and we'll retrieve you whether the mission clock has run out or not. And don't worry if you're too wounded or dismembered to pull the cord: the lifesign monitors on your collar will fulfil the same function when you're near death.\"\n\nenvironment suit:\n(first opening the glass tube)\nTaken.\n\n\"We don't exactly want you running around the complex with a blast launcher,\" Dr. Sliss adds, \"so you'll have to return all the equipment before you can leave.\"\n\n> You wear the suit\nYou step into the suit and fasten the seals. Your ears pop slightly as it pressurises.\n\n\"If something should happen to you,\" Dr. Sliss explains, \"the bright yellow colour of the suit will make it easier to retrieve your - uh, yourself.\"\n\n\"That's it,\" Dr. Sliss says, \"you're ready. Enter the airlock and it's nothing but open skies and banana trees from here on.\"\n\n> STATUS\nYou're Hunkomeat, the male human.\n\nNow you've scored a job as a lab rat. Keep it up!\n\n> Go inside\n(first opening the airlock door)\n\nAn enormous metal dome lit by the distant floodlights that surround an armoured observation window. A huge antenna aims directly down at you from above.\n\nA metal chair is bolted to the floor.\n\nAn armoured airlock door leads out.\n\nObvious exits: Out Dr. Sliss appears at the observation window.\n\nHer voice booms over a loudspeaker. \"When you're ready to begin the-\" she clears her throat, \"salvage mission, please take a seat. We'll retrieve you when 50 seegols have elapsed, when you activate your beacon, or when you're about to die. Whichever happens first.\"\n\n> You look at the antenna\nIt looks like it has a lot of zap.\n\n> You examine the door\nIt's open.\n\n> You sit\n(on the metal chair)\nYou sit on the metal chair. Restraints clunk into place around your wrists and ankles. \"Just relax,\" Dr. Sliss says. \"I've transmitted several warm-blooded organisms and very few experienced anatomical inversion.\"\n\nEverything begins to glow.\n\nDr. Sliss continues, \"You may feel a sensation like every molecule in your body being forced through a microscopic wormhole like so much toothpaste. Don't be alarmed. It's merely that this is exactly what's happening.\"\n\nEverything seems to be growing extremely elongated and distant. Before the whole world disappears with a snap, you hear Dr. Sliss say, \"Remember! Tag valuable objects! Bananas aren't valuable!\"\n\nWith the sound of billions of molecules snapping into place, you pop back into existence - falling some distance to the ground.\n\nCity 0 E 0 N (lying on the ground)\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nYou see an automated news stand here.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\n> You examine the news stand\nA coin-operated newspaper stand with a pair of robot arms.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N.\nA large blip at 3 E, -2 N.\nA large blip at 2 E, 0 N.\nA moving blip at -3 E, -3 N.\nA moving blip at 3 E, 4 N.\nA moving blip at -4 E, -1 N.\nA moving blip at -3 E, 3 N.\nA moving blip at -2 E, 3 N.\nA moving blip at -1 E, -3 N.\n\n> Tag newspaper stand\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the automated news stand.\n\n> You look at scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 3 E, -2 N.\nA large blip at 2 E, 0 N.\nA moving blip at -3 E, -3 N.\nA moving blip at 3 E, 4 N.\nA moving blip at -4 E, -1 N.\nA moving blip at -3 E, 3 N.\nA moving blip at -2 E, 3 N.\nA moving blip at -1 E, -3 N.\n\n> Go east\n(first standing up)\nCity 1 E 0 N\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\n> You go east\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nYou see a hovercar here.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\n> You look at the hovercar\nSleek and curvaceous.\n\n> Tag hovercar\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the hovercar.\n\n> You examine the buildings\nLavish, curvaceous and streamlined, all.\n\n> You look at the scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 5 E, 1 N.\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 6 E, -5 N.\nA moving blip at -1 E, -3 N.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 3 E, -2 N. (Tagged.)\nA moving blip at 5 E, -5 N.\n\n> You examine cop\nShe's wearing a smart blue uniform and a peaked hat.\n\nThe cop leaves to the east.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 3 E, -2 N. (Tagged.)\nA moving blip at 6 E, -5 N.\n\n> You go northwest\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\n> You look at the scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 6 E, -5 N.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 5 E, 1 N.\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 7 E, -5 N.\n\n> You examine the hotdog\nA coin-operated hotdog stand with a pair of robot arms.\n\n> Tag hotdog\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the automated hotdog stand.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 5 E, 1 N. (Tagged.)\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 2 E, 5 N.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 5 E, 1 N. (Tagged.)\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 2 E, 5 N.\nA moving blip at 2 E, 6 N.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 3 E, -2 N. (Tagged.)\nA large blip at 5 E, 1 N. (Tagged.)\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 2 E, 5 N.\nA moving blip at -2 E, 3 N.\nA moving blip at 2 E, 6 N.\n\n> You go northwest\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nAn android housewife is window-shopping here.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\n> Tag housewife\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the housewife. The housewife grabs the tag and pulls it off.\n\nThe housewife flees to the south.\n\n> You examine the housewife\nShe's wearing a modest dress and a pair of horn-rimmed glasses.\n\n> You look at the scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at 0 E, 0 N. (Tagged.)\nA large blip at 5 E, 1 N. (Tagged.)\nA large blip at 2 E, 0 N. (Tagged.)\nA moving blip at 1 E, 4 N.\nA moving blip at -3 E, 3 N.\nA moving blip at -2 E, 3 N.\nA moving blip at 2 E, 6 N.\nA moving blip at -1 E, 8 N.\n\n> Inventory\nYou are carrying a launcher, a scanner, and a retrieval beacon, and you're wearing a collar, an environment suit, and an orange uniform.\n\nThe housewife leaves to the north.\n\n> Go northeast\nElegant art deco buildings line the streets, futurist skyscrapers pierce the skyline and the pavements are all clean.\n\nObvious exits: North, South, East, West, Northeast, Northwest, Southeast, Southwest\n\nYour watch starts vibrating. Everything begins to glow. You feel a sensation like being pulled backwards down your own throat.\n\nYou materialise in the matter transmission chamber with a pop, and fall flailing to the ground.\n\nTransmission Chamber (lying on the floor)\nAn enormous metal dome lit by the distant floodlights that surround an armoured observation window. A huge antenna aims directly down at you from above.\n\nA metal chair is bolted to the floor.\n\nAn armoured airlock door leads out.\n\nDr. Sliss looks down at you from the observation window.\n\nObvious exits: Out\n\n\"Welcome home, Hunkomeat,\" the doctor booms over the tannoy. \"It looks like 4 of our retrieval tanks received salvage. Let's see what you tagged...\"\n\nDr. Sliss touches her chin thoughtfully. \"Hey, chimpy-boy, what do you say we incentivise you? I'll give you 10% of the value of everything you, ahem, salvage. It's only fair - you do take at least part of the risk.\"\n\n\"A cheap robot and a load of news articles about another timeline. I don't see the market for it, to be honest.\"\n[Cash +100]\n\n\"An actual hovercar. On the one hand: supersonic jet engine. On the other: no seatbelts.\"\n[Cash +400]\n\n\"An actual hovercar. On the one hand: supersonic jet engine. On the other: no seatbelts.\"\n[Cash +400]\n\n\"A robot that sells elongated packets of cooked offal. I smell a new fast food craze in the offing.\"\n[Cash +250]\n\nThen she looks down at you and grins. \"You know, a lot of my subjects are gibbering wrecks by this point. I knew you were a good candidate. Why don't you take some time to relax before coming back for your next mission?\"\n\n> Go outside\n(first standing up)\n\nA long, narrow room, the walls bulging with strange pipes and machinery. The most notable feature is the thickly armoured airlock door leading further in. Either side of the airlock are an equipment rack and a glass tube. A more conventional exit leads back out.\n\nObvious exits: In, Out, Forwards, Backwards\n\nYou can go forward to the complex lower level, or back to the transmission chamber.\n\nYou change out of your environment suit and return your equipment to the racks.\n\nThe exit unlocks with a click.\n\n> Forward\n(first opening the exit)\n\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nObvious exits: Forwards, Backwards\n\nYou can go forward to the holding cell, left to the infirmary, right to a long corridor, or back to the antechamber.\n\nDr. Sliss walks out onto the catwalk overhead. \"I've given you access to some of the other areas of the complex,\" she says. \"Have a look around. Just don't forget to go on missions or I may have to turn you into one of these lobotomised cyborgs!\"\n\nShe laughs playfully, her pointed teeth glinting in the sunlight.\n\n> Left\nA single white bed stands in the centre of the room, overlooked by an expansive observation window.\n\nA long mechanical arm hangs from the ceiling, ending in the torso of a white auto-doc.\n\nObvious exits: Out\n\n> Examine auto-doc\nAn androgynous android with numerous arms ending in advanced medical instruments.\n\n\"Wonder if...\" the auto-doc begins, trailing off thoughtfully.\n\n> You lie on the bed\nOkay, you're now lying on the bed.\n\nThe auto-doc orbits the infirmary anti-clockwise.\n\n> Wait\nTime passes...\n\n\"Singular airway and oesophagus,\" the auto-doc notes. \"Choking hazard.\"\n\n> You go outside\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nObvious exits: Left, Right, Forwards, Backwards\n\nYou can go forward to a long corridor, left to the holding cell, right to the antechamber, or back to the infirmary.\n\n> Exit\nWhat do you want to get out of?\n\n> EXITS\nObvious exits lead left; right, to the antechamber; forwards; and backwards, back to the infirmary.\n\n> Right\nA long, narrow room, the walls bulging with strange pipes and machinery. The most notable feature is the thickly armoured airlock door leading further in. Either side of the airlock are an equipment rack and a glass tube. A more conventional exit leads back out.\n\nOn the equipment rack are a scanner, a retrieval beacon, and a launcher. The glass tube contains an environment suit.\n\nYou can go forward to the transmission chamber, or back to the complex lower level.\n\nYou don the environment suit and grab your equipment.\n\nThe exit slides shut and locks with a click.\n\n> Back\n(first opening the exit)\n\nYou change out of your environment suit and return your equipment to the racks.\n\nThe exit unlocks with a click.\n\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the holding cell, left to the infirmary, right to a long corridor, or back to the antechamber.\n\n> Right\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the emergency exit, left to the bathroom, right to the canteen, or back to the complex: lower level.\n\n> You look at the terminal\nThe screen is blank. There's a tempting button beneath it.\n\n> 0\nHave a nice day."
    },
    {
        "text": "[Themes: Science Fiction, nonhuman antagonists, violence, memorable NPC, prison]\n\n> Look around\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the emergency exit, left to the bathroom, right to the canteen, or back to the complex: lower level.\n\n> Left\nA utilitarian shower and a saurian toilet, all lit harshly by fluorescent lights that emit a sickly hum.\n\nA voice whispers from the toilet bowl. \"Hey! Over here!\"\n\n> You examine the toilet\nYou peer cautiously into the toilet bowl. An enormous, seemingly eyeless white worm, easily the size of your whole arm, looks back at you from within. \"Finally!\" the worm says. \"Look, you're not alone in this mess. The name's Sola. Also known as Test Subject 13, the one that got away.\"\n\n> Flush toilet\nYou flush the toilet.\n\nSola gurgles, \"Blub! You're not getting rid of me that easily.\"\n\n\"Look,\" Sola says, \"I'm an undercover agent from the Core Alliance. I escaped into the sewer system when that damn saurian scientist started to twig, but I need your help.\"\n\n> You ask Sola about Sliss\nSola sighs. \"I'm sure Dr. Sliss means well, in her own way. And ultimately it's the government of Dryzandia that should be held responsible. Still, she's a complete whackjob.\"\n\n> You ask Sola about the dryzandia\n\"You're standing on it,\" Sola says. \"Almost uninhabitable, no valuable exports, but they've made a fortune incarcerating prisoners from other Treaty worlds. Not exactly the route to power and prestige though, which is probably why they've started pillaging non-Treaty worlds.\"\n\n> You ask Sola about Treaty\n\"The Mutual Defence and Non-Aggression Treaty,\" Sola says. \"The most advanced worlds in the Imbroglio sign up to it to get protection from interdimensional bandits and rogue states. Of course, to remain a member there's a minimum standard of conduct.\"\n\n> You ask Sola about the conduct\n\"Treaty worlds have two main obligations,\" Sola says. \"They have to contibute to the military and police forces that protect all Treaty worlds - you know, schmucks like me. And they have to refrain from violating the sovereignty of other civilised or pristine worlds, whether those worlds are a part of the Treaty or not.\"\n\n> You ask Sola about Sola\n\"What's there to know?\" Sola says. \"Pretty typical nematode. I was a cop in the Squirm for a couple of decades, but I got sick of the corruption. I joined the Core Alliance out of some misplaced sense of duty, got assigned to the worst undercover job in history, wriggled out of my exploding collar and now live down the shitter. No family back home, but thinking of having kids through autogamy - if I ever get out of here.\"\n\n> You ask Sola about the collar\n\"Easy enough to slip out of it if you don't have any bones,\" Sola says. \"Although it did explode shortly after.\"\n\n> You ask Sola about Imbroglio\n\"That's where you are right now,\" Sola explains, \"and every place you've ever been. The Imbroglio consists of countless worlds, all inter-connected across time, space and alternate realities. The most habitable, most interconnected worlds form the Core Alliance. Most other worlds worth a damn are part of the MDANA treaty.\"\n\n> You ask Sola about the help\nSola looks around furtively. \"The Core Alliance knows that Dryzandia has an unlicensed matter transmitter, but they don't know where, and they don't know what it's being used for. Dr. Sliss is giving you an incentive, right? There's a shopping terminal right next to the exit. I need you to buy some common household items for me, so I can assemble a makeshift cross-planar quantum packet modulator.\"\n\n> You ask Sola about the items\n\"Okay, listen up,\" Sola says. \"With a cross-planar quantum packet modulator I can contact my superiors without anyone on Dryzandia noticing. I should be able to make one with parts from a holo-gallery and a lava lamp. But I'll need to read up on the theory first.\""
    },
    {
        "text": "[Themes: Science Fiction, prison, gender choice, vehicle]\n\n> Look around\nA utilitarian shower and a saurian toilet, all lit harshly by fluorescent lights that emit a sickly hum.\n\nSola looks up at you from the toilet bowl.\n\n> Go outside\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the canteen, left to the emergency exit, right to the complex: lower level, or back to the bathroom.\n\n> Forward\nDecorated in a homely style - for saurians. The cactus-print wallpaper is peeling and torn.\n\nVarious chairs are scattered around a single long table.\n\nA brightly coloured food dispenser stands against the wall.\n\n> You examine the dispenser\nThe gaudy advertising copy claims it will combine whatever nutrients your biology requires into \"palatable\" food. The saurian on the logo certainly seems to be enjoying his snake kebab.\n\nThere's a big button smack in the middle of the thing.\n\n> You take the banana\nTaken.\n\n> You examine gruel\nCapable of sustaining orphans, at least.\n\n> You look at the spoon\nNot likely to be much help tunnelling out of here.\n\n> You eat the gruel\nYou eat the gruel.\n\n> You examine the bowl\n\"Property of the Long Range Matter Transmission Complex. Please return to dispenser tray after use.\"\n\n> STATUS\nYou're Hunkomeat, the male human.\n\nYou've earned 1150 credits after 1 mission.\n\n> You examine the tray\nOn the dispenser tray are a bowl and a spoon.\n\n> You examine the banana\nYellowest of all fruit, save perhaps the lemon.\n\n> You look\nDecorated in a homely style - for saurians. The cactus-print wallpaper is peeling and torn.\n\nVarious chairs are scattered around a single long table.\n\nA brightly coloured food dispenser stands against the wall.\n\nOn the dispenser tray are a bowl and a spoon.\n\n> Leave\nBefore leaving, you return your leftovers to the dispenser.\n\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the bathroom, left to the complex: lower level, right to the emergency exit, or back to the canteen.\n\n> Right\n(first trying to open the exit)\nThe exit seems to be locked.\n\n> You look at the exit\nYou suspect the only way this thing moving is with Dr. Sliss' consent. It's closed.\n\n> EXITS\nObvious exits lead left; right; forwards, to the bathroom; and backwards, back to the canteen.\n\n> Left\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the infirmary, left to the antechamber, right to the holding cell, or back to a long corridor.\n\n> Back\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the emergency exit, left to the bathroom, right to the canteen, or back to the complex: lower level.\n\n> You look at the terminal\nThe screen is blank. There's a tempting button beneath it.\n\n> Yes\nPurchase successful.\n\nYour purchase has been matter transmitted to your billing address.\n\n> Yes\n--Please wait... OK.--\n\nYour balance: 1050 credits.\n\n2 - Dryzandia Drift\n3 - Drone Fantasies Illustrated\n4 - Lord Jim\n5 - Introduction to Octopode Art\n\n> 0\n--VALU-NET SHOPPING DIRECTORY--\nYour balance: 1050 credits.\n\n2 - Furniture\n3 - Books\n\n> 2\n--Please wait... OK.--\n\nYour balance: 1050 credits.\n\n2 - Double bed\n3 - Lava lamp\n4 - Saurian sculpture\n5 - Apian glowlamp\n\n> 1\n--Please wait... OK.--\n\nBring some tentacular culture to your living room with this holo-gallery of works by famous octopode artists.\n\nPrice: 1000 credits.\nYour balance: 1050 credits.\n\n> Yes\n--Please wait... OK.--\n\nYour balance: 50 credits.\n\n2 - Lava lamp\n3 - Saurian sculpture\n4 - Apian glowlamp\n\n> 2\n--Please wait... OK.--\n\nThis unique product of saurian culture can add a real talking point to your room. Are its ever-moving blobs representative of the ceaseless drive of saurians for progress, or our vibrant, party-loving nature?\n\nPrice: 250 credits.\nYour balance: 50 credits.\n\n> 0\n--VALU-NET SHOPPING DIRECTORY--\nYour balance: 50 credits.\n\n2 - Furniture\n3 - Books\n\n> 0\nHave a nice day.\n\n> EXITS\nObvious exits lead left, to the bathroom; right, to the canteen; forwards; and backwards, back to the complex: lower level.\n\n> Right\nA bare room of white walls. Strip lights glare down from the ceiling, and there's an intercom next to the way out.\n\nA white, saurian-style bed occupies the middle of the floor.\n\nA bookshelf is affixed to one wall.\n\nPleasing shapes float in the air over an octopode holo-projector.\n\nOn the bookshelf is Matter Transmission Made Easy.\n\n> You look at holothe -the projector\nA silver widget a bit like a desk lamp.\n\n> You get all\nbed: The bed is too heavy.\n\nMatter Transmission Made Easy: Taken.\nOctopode holo-gallery: Taken.\n\n> Go outside\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the antechamber, left to a long corridor, right to the infirmary, or back to the holding cell.\n\n> Left\nThis functional corridor ends in a thick steel door marked \"Exit\". The bare concrete floor has been scratched and scored by heavy machinery, the breezeblock walls dented and stained.\n\nA small terminal is fixed to the wall beside the door.\n\nYou can go forward to the emergency exit, left to the bathroom, right to the canteen, or back to the complex: lower level.\n\n> You check your inventory\nYou are carrying Matter Transmission Made Easy and an Octopode holo-gallery, and you're wearing a collar and an orange uniform.\n\n> You read the book\nThere are those, of course, who say, \"Why meddle? Why pick apart the vague beauty of the Multiverse? Why try to expose mysteries and unlock power we are unlikely to use wisely?\"\n\nIt is worth noting how many of these naysayers are in their thirties or forties. How many are in their fifties, sixties or even older.\nBecause it is precisely the drive of intelligent, questioning minds to find out what is true, how things work, to try to unravel the secrets of even something as sacred as the living body - it is precisely that drive which has enabled them to live to such a ripe old age that they can preach nostalgically about more ignorant times.\n\nSome would suggest that to see a flower as an inscrutable object of bright colours is more romantic, more inspiring, than to appreciate its inner workings as a complex structure of intricate cells, nourished by waves of energy from its nearest stars, part of a complex, changing ecosystem and an ancient, unspoken symbiosis.\n\nAs someone with a more thorough grounding in science than art, I cannot dispute this view, much as I may feel quite the opposite. But however unromantic the scientist's flower may be, even less appealing is the plague; the child who dies in infancy; the cry for help that travels too slow.\n\nIf the role of dispelling mystery, crushing fancy and profaning the sacred is one to be shunned, I still embrace it, as the alternative is far worse still.\n\n> Examine book\nThe cover shows a swirl of tesselating shapes that give you a slight headache. The author's picture on the back is disturbingly familiar.\n\n> You look at the picture\n\"ABOUT THE AUTHOR: Dr. Lisella Sliss is a graduate of Srrisni University with as many widely accepted theories to her name as controversial hypotheses. She is currently working for the Dryzandian government on an undisclosed project.\"\n\n> You give the book to Sola\n\"Wait,\" Sola says, \"she wrote this? Ah well, it'll do.\"\n\nZie swallows the book whole. \"I still need an Octopode holo-gallery, and a lava lamp.\"\n\n> You look at the holo\nA silver widget a bit like a desk lamp.\n\n> You give the holo to Sola\n\"Excellent,\" Sola says. \"Now I just need to strip out the hyperdimensional EM-threader and unplug the magnetic tape heads.\"\n\nZie swallows the projector whole. \"Now all I need is a lava lamp.\"\n\n> Go inside\nAn enormous metal dome lit by the distant floodlights that surround an armoured observation window. A huge antenna aims directly down at you from above.\n\nA metal chair is bolted to the floor.\n\nAn armoured airlock door leads out.\n\nDr. Sliss appears at the observation window.\n\n> You sit\n(on the metal chair)\nYou sit on the metal chair. Restraints clunk into place around your wrists and ankles. As the transmission machinery hums to life, the world elongates into a one-dimensional line - which then disappears.\n\nWith the sound of billions of molecules snapping into place, you pop back into existence - falling some distance to the ground.\n\nAsteroid 0 E 0 N (lying on the ground)\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\n> You look at the scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at 3 E, 2 N.\n\n> Go northeast\n(first standing up)\nAsteroid 1 E 1 N\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\n> Go northeast\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\n> You go east\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nA mining drone drills into the rock here.\n\n> Tag drone\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the mining drone.\n\nThe mining drone lifts its drill from the ground and turns to face you.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at 3 E, 2 N. (Tagged.)\n\nThe mining drone drills your right arm.\n\n> You go to the southwest\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nYou've escaped the mining drone.\n\n> You examine arm\nWhich arm do you mean, your right arm, or your left arm?\n\n> Right\nYour right arm is injured.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at 3 E, 2 N. (Tagged.)\n\n> You go to the north-west\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -2 E, 6 N.\nA moving blip at 3 E, 2 N. (Tagged.)\n\n> Go north\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nYou see a gold vein here.\n\n> Tag gold\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the gold vein.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -2 E, 6 N. (Tagged.)\nA large blip at -5 E, 5 N.\n\n> You go west\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nYou see a meteorite here.\n\n> You look at the meteorite\nWhat other kind of rock would be sitting in the middle of a crater like that?\n\n> You tag it\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the meteorite.\n\n> You look at the scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -2 E, 6 N. (Tagged.)\nA large blip at -5 E, 5 N. (Tagged.)\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -5 E, 5 N. (Tagged.)\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -2 E, 6 N. (Tagged.)\nA large blip at -6 E, -2 N.\nA large blip at -5 E, 5 N. (Tagged.)\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -6 E, -2 N. (Tagged.)\n\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -6 E, -2 N. (Tagged.)\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA large blip at -6 E, -2 N. (Tagged.)\nA moving blip at -2 E, -6 N.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at -2 E, -7 N.\n\n> You go south\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nAn insectoid sea skater glides over the water.\n\nThe science rover leaves to the west.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at -3 E, -7 N.\n\n> You go west\nWarped dunes and craters curve dramatically towards the near horizon, beneath a starry, airless sky.\n\nAn insectoid sea skater glides over the water.\n\n> Examine scanner\nA small, ergonomic gizmo with a bright LCD screen.\n\nThe screen shows:\nA moving blip at -3 E, -7 N.\n\nYour watch starts vibrating. Everything begins to glow. You feel a sensation like being pulled backwards down your own throat.\n\nYou materialise in the matter transmission chamber with a pop, and fall flailing to the ground.\n\nTransmission Chamber (lying on the floor)\nAn enormous metal dome lit by the distant floodlights that surround an armoured observation window. A huge antenna aims directly down at you from above.\n\nA metal chair is bolted to the floor.\n\nAn armoured airlock door leads out.\n\nDr. Sliss looks down at you from the observation window.\n\n\"Welcome home, Hunkomeat,\" the doctor booms over the tannoy. \"It looks like 4 of our retrieval tanks received salvage. Let's see what you tagged...\"\n\n\"A mining drone full of valuable space rocks. Don't mind if I do thanks.\"\n[Cash +500]\n\n\"Oh ho ho, some bona fide gold. You're one sharp prospector, Hunkomeat.\"\n[Cash +500]\n\n\"An asteroid full of valuable space metals.\"\n[Cash +300]\n\n\"An asteroid full of valuable space metals.\"\n[Cash +300]\n\nDr. Sliss literally jumps for joy. \"Hoo boy, what a treasure trove! I could kiss you, Hunkomeat - you know, if you weren't a monkey.\"\n\n> Tag rover\nYou aim the launcher, squeeze its trigger, and splatter a sticky homing tag onto the science rover.\n\nThe science rover flees to the west.\n\nYour watch starts vibrating. Everything begins to glow. You feel a sensation like being pulled backwards down your own throat.\n\nYou materialise in the matter transmission chamber with a pop, and fall flailing to the ground.\n\nTransmission Chamber (lying on the floor)\nAn enormous metal dome lit by the distant floodlights that surround an armoured observation window. A huge antenna aims directly down at you from above.\n\nA metal chair is bolted to the floor.\n\nAn armoured airlock door leads out.\n\nDr. Sliss looks down at you from the observation window.\n\n\"Welcome home, Hunkomeat,\" the doctor booms over the tannoy. \"All five retrieval tanks received salvage! Let's see what you tagged...\"\n\n\"A mining drone full of valuable space rocks. Don't mind if I do thanks.\"\n[Cash +500]\n\n\"Oh ho ho, some bona fide gold. You're one sharp prospector, Hunkomeat.\"\n[Cash +500]\n\n\"An asteroid full of valuable space metals.\"\n[Cash +300]\n\n\"An asteroid full of valuable space metals.\"\n[Cash +300]\n\n\"Someone else's robotic probe, and all their lovely research data. The very best kind of theft, in my experience.\"\n[Cash +250]\n\nDr. Sliss literally jumps for joy. \"Hoo boy, what a treasure trove! I could kiss you, Hunkomeat - you know, if you weren't a monkey.\"\n\n> You go outside\n(first standing up)\n\nA long, narrow room, the walls bulging with strange pipes and machinery. The most notable feature is the thickly armoured airlock door leading further in. Either side of the airlock are an equipment rack and a glass tube. A more conventional exit leads back out.\n\nYou can go forward to the complex lower level, or back to the transmission chamber.\n\nYou change out of your environment suit and return your equipment to the racks.\n\nThe exit unlocks with a click.\n\n> Leave\n(first opening the exit)\n\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the holding cell, left to the infirmary, right to a long corridor, or back to the antechamber.\n\n> Left\nA single white bed stands in the centre of the room, overlooked by an expansive observation window.\n\nA long mechanical arm hangs from the ceiling, ending in the torso of a white auto-doc.\n\nThe auto-doc tends to your injuries. \"Be sure to get a check-up before you shed your next exoskeleton.\"\n\nYou feel much better now.\n\n> Go outside\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to a long corridor, left to the holding cell, right to the antechamber, or back to the infirmary.\n\n> R.\nA bare room of white walls. Strip lights glare down from the ceiling, and there's an intercom next to the way out.\n\nA white, saurian-style bed occupies the middle of the floor.\n\nA bookshelf is affixed to one wall.\n\nA lava lamp throws strange patterns against the wall.\n\n> You examine the lamp\nA cheap plastic tube full of glowing, slowly undulating fluid.\n\n> You take it\nTaken.\n\n> Go outside\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the antechamber, left to a long corridor, right to the infirmary, or back to the holding cell.\n\n> You give the lamp to Sola\n\"Okay,\" Sola says. \"This should have the isotopes I need.\"\n\nZie swallows the lamp whole. \"That's it! It'll take some time to get this thing assembled and transmitting, so you might like to get some sleep or take a mission or something. After that, the cavalry should be here in an instant...\"\n\nSola disappears down the U-bend.\n\n> R.\nA bare room of white walls. Strip lights glare down from the ceiling, and there's an intercom next to the way out.\n\nA white, saurian-style bed occupies the middle of the floor.\n\nA small wardrobe stands beside your bed.\n\nA bookshelf is affixed to one wall.\n\n> You examine the wardrobe\nIt's closed.\n\n> You open it\nOpening the wardrobe reveals an LRMT uniform.\n\n> You look at uniform\n(the orange uniform)\nIt identifies you as convict #76954, albeit not in human numerals.\n\n> You examine lrmt\n(the LRMT icon)\nA small image of Dryzandia with a beam shooting out of it.\n\n> You take it\nYou can't have that; it's part of the LRMT uniform.\n\n> You examine the lrmt uniform\nA practical blue uniform with a flashy icon on one shoulder and your rank (\"Test Subject\") on the other.\n\n> You wear it\nYou remove your orange uniform. You put on the LRMT uniform.\n\n> You put the orange uniform in the wardrobe\n(first taking the orange uniform)\nDone.\n\n> Exit\nComplex: Lower Level\nAn expansive, drab space. Perhaps a factory floor after the machinery has been cleared out. A catwalk crosses the room above, beneath the dusty rays of grubby skylights.\n\nA number of armed cyborgs look down from the catwalk.\n\nYou can go forward to the antechamber, left to a long corridor, right to the infirmary, or back to the holding cell.\n\nDr. Sliss is leaning over the catwalk, smoking a cigarette.\n\n> You look at sliss\nHer skin consists of shimmering green scales, and her golden, slit-pupil eyes hold a calculating beauty. She is standing on the catwalk.\n\nDr. Sliss is carrying a cigarette, and she's wearing a labcoat, a white blouse, a grey skirt, and red shoes.\n\n> You examine the skirt\nRather smart and elegant. At least as much as it can be with her tail poking out the back.\n\n> You look up skirt\nWhat do you want to look that up in?\n\n> R.\nA bare room of white walls. Strip lights glare down from the ceiling, and there's an intercom next to the way out.\n\nA white, saurian-style bed occupies the middle of the floor.\n\nA small wardrobe stands beside your bed.\n\nA bookshelf is affixed to one wall.\n\nThe wardrobe contains some pyjamas and an orange uniform.\n\n> You examine the pyjamas\nWarm and comfortable flannel pyjamas, with a flap in the back for a saurian's tail.\n\n> You wear the pyjamas\n(first taking the pyjamas)\nYou remove your LRMT uniform. You put on the pyjamas.\n\n> Sleep\nYou never learned to sleep standing up. Or if you did, you've unlearned it.\n\n> You lie on the bed\nYou lie down awkwardly on the bed. It's not very comfortable.\n\n> Sleep\nYou manage to get slightly comfortable and doze for a while. You're woken by a bright flash. When you open your eyes, there are several soldiers in desert camouflage in the room. Before you can do or say anything, several of the soldiers jump on you.\n\nPrison Van (standing in the restraints)\nCramped; windowless; the thickly armoured walls are painted regulation grey. Steel chains dangle from the ceiling and tantalisingly open doors lead out.\n\nDr. Sliss is chained up next to you. She looks really, really angry.\n\nAn officious looking apian stands before you in desert camouflage.\n\n> You look at Apian\nA burly apian worker with a battle-scarred exoskeleton and one antenna missing.\n\nThe commander is carrying a clipboard and a shock stick.\n\n\"Dr. Sliss,\" the apian says, \"this Core Alliance Enforcement Team is arresting you on behalf of the Dryzandian government.\"\n\n\"I work for the Dryzandian government,\" Dr. Sliss hisses.\n\n\"Your project is being shut down,\" the apian continues, \"and you are being remanded to prison.\"\n\n(You could defend Sliss, repudiate her, or say nothing.)\n\n> You defend myself\nYou try to argue, but the apian cuts you off. \"I don't wanna hear it.\"\n\n\"It's not his fault!\" Dr. Sliss shouts. \"Didn't you hear him? I'm the bad guy! When I get out of these restraints, I'm gonna-\"\n\nThe apian touches her shock stick to the doctor's throat. The saurian yelps and then slumps forward.\n\nThe apian sighs. \"Much better.\"\n\n> You look at clipboard\nYou can't read it from here, but there are photos of you and Dr. Sliss on it.\n\nThe apian is about to leave when Sola squirms into the van. \"Commander Zrzh! Wait! What are you doing? Didn't you get my report? Give these two immunity, let them testify against the Dryzandian-\"\n\nThe apian shakes her head. \"It's politics, agent Sola. Do you have any idea how many prisoners the Core has sent to Dryzandia over the years? You want them to start sending them back?\"\n\nThe commander stomps off. Sola looks at you sadly for a second, and then follows after her.\n\n> You cry\nThere there.\n\nDr. Sliss sobs quietly to herself. Or is she laughing? Her tail appears with a keyring dangling from its tip, and she stretches lazily.\n\n\"Very few saurians have prehensile tails,\" the doctor explains as she unlocks her chains. \"Which is why cops from other species rarely know to restrain them. Not that I've ever been arrested before. Much.\"\n\nAs her restraints fall to the floor, she puts her hands on her hips. \"Come on: who's the greatest?\"\n\n(You could tell her she's the greatest, or say nothing.)\n\n> You tell her she's the greatest\nDr. Sliss listens to your compliment with pride. \"Don't I know it.\"\n\nShe unlocks your restraints. \"Naturally, I have an escape plan. You can tag along if you want. It should halve my chances of getting shot.\"\n\n> Leave\nThe two of you burst out of the prison van.\n\nDesert sand stretches as far as you can see, mercilessly reflecting the harsh sunlight. The complex itself is a low dome sunken into wind-blasted rock.\n\nThe prison van stands beside a road that curves off into the distance.\n\nDr. Sliss is standing here in brazen defiance of the Core Alliance.\n\nAn octopode in desert camouflage stands guard beside an apian with a plasma blaster.\n\nDr. Sliss tail-whips the apian, who collapses into an unconscious heap.\n\nThe octopode charges you with tentacles outstretched!\n\n> You kick the octopode\nYou dodge the octopode's tentacles and punch him in his boneless head. Concussed, he falls to the ground unconscious.\n\nDr. Sliss picks up the plasma blaster. \"You know, I once paid good money to see a human wrestle an octopode, and here you are giving it away for free.\"\n\n> You search the octopode\nThere's nothing unusual in the octopode guard.\n\nSomewhere nearby, you hear alarmed shouts.\n\nDr. Sliss kicks off her heels and sprints forwards towards the complex. \"Follow me if you wanna live!\"\n\n> You follow Sliss\nYou chase after the doctor. The voices draw nearer. A few bolts of plasma flash overhead.\n\nA dimly lit maze of concrete pillars. White lines divide the floor into empty parking spaces.\n\nSomething sits in one of the spaces, covered in tarpaulin.\n\nDr. Sliss is taking cover behind one of the columns.\n\nShe waves you over. \"Get that tarp off! I'll cover you!\"\n\n> You remove the tarp\nYou grab the edge of the tarpaulin and pull... unveiling a sleek red vehicle that looks like a jet engine mounted between two huge wheels.\n\nDr. Sliss shrugs. \"Yeah, I don't look the type. But I've always been an impulse buyer. I mean, I bought you, didn't I?\"\n\n> Yes\n\"My dearest, favourite human,\" the doctor says, \"let's talk when we're not being shot at.\"\n\n\"Okay,\" the doctor says, \"you drive, I'll shoot.\"\n\n> You enter the vehicle\nYou climb onto the jet bike's leather saddle and take a firm hold of the handlebars.\n\nDr. Sliss gets on behind you, wrapping an arm around your waist.\n\"Punch it, Hunkomeat!\"\n\nYou fire up the bike's jet engine and roar unsteadily out of the garage, plasma bolts flying past you in every direction.\n\nWasteland Throughway 13 (left lane)\nBlack tarmac bisects the sun-bright glare of the desert sand, a thin line of darkness that stops only at the boundary to the clear blue sky.\n\nYou're in the saddle of a sleek red jet bike, hurtling forward at breakneck speed.\n\nDr. Sliss is behind you, one arm tight around your waist, the other wielding a plasma blaster.\n\n\"You have ridden a jet bike before, right?\" Dr. Sliss shouts out from behind you. \"Accelerate, brake, left, right... A chimp could do it. Which is fortunate.\"\n\n> About yourself\nHow do you get in these predicaments?\n\n\"Nobody's following us?\" Dr. Sliss says. \"I'm almost disappointed.\"\n\n> Inventory\nYou are carrying nothing, and are wearing some pyjamas and a collar.\n\nWith the throaty roar of a personal rocket pack, an Alliance Enforcer appears behind you.\n\nDr Sliss readies her plasma blaster. \"Me and my big mouth.\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss yells into your ear. \"Hit the gas! We've gotta lose our new friend!\"\n\n> Continue\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss aims the plasma blaster and squeezes off a shot at the enforcer.\n\n> Wait\nDr. Sliss fires another shot at the enforcer. \"Hold still, damn you!\"\n\n> Wait\nDr. Sliss yells into your ear. \"She's gaining on us! Can't you go any faster?\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss fires wildly at the enforcer, bolts of plasma churning up the tarmac behind you.\n\n> You continue\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nThe doctor finally gets off a lucky shot, hitting the enforcer's rocket pack. Straining her wings, the enforcer manages to land in a roll.\n\nDr. Sliss whoops and punches the air. \"In your face!\"\n\nYou hear a familiar sound - another rocket pack! This time a saurian enforcer is approaching you from behind.\n\n> Brake\nThe jet engine winds down.\n\nThe enforcer hits the brakes too, narrowly avoiding running into your back.\n\n\"Watch out!\" Dr. Sliss shouts. \"He's trying to get alongside us!\"\n\n> Brake\nThe jet engine winds down.\n\nThe enforcer hits the brakes too, narrowly avoiding running into your back.\n\nDr. Sliss yells into your ear. \"Get us out of here!\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss turns to fire several shots at the enforcer. \"Back off!\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss keep shooting. \"You know, I've never really fired one of these before today.\"\n\n> Right\nYou steer into the right lane.\n\nThe enforcer sees his chance to accelerate up alongside of you.\n\n\"Eat this!\" the doctor screams firing at the enforcer.\n\n> Brake\nThe jet engine winds down.\n\nThe enforcer slows to keep pace with you.\n\nA shot from the doctor's plasma blaster hits the enforcer's rocket pack, and he suddenly launches up into the sky, exploding at his apex like a firework full of jet fuel.\n\n\"I'm sure he'll be fine,\" Dr. Sliss says.\n\n\"That's it!\" Dr. Sliss says triumphantly. \"They can't have more than two rocket packs. We're home free.\"\n\nAlong the horizon ahead you can see a row of blinking blue lights.\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\n\"Okay,\" Dr. Sliss says, grabbing your shoulders painfully tight.\n\"Don't panic! We can punch through. Give it all you've got!\"\n\n> Continue\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nYou ram through between two police cars, saurian cops scattering out of your way as the vehicles are tossed to the side. A few of the cops get off shots at you, but you're out of range in seconds.\n\n\"Can I open my eyes now?\" Dr. Sliss asks. \"Alright! I knew you could do it. Look out!\"\n\nAs you thunder down the road at incredible speed, you're hurtling towards a billboard on a sharp bend.\n\n> You look at the billboard\nThe bilboard advertises Eggulax, helping saurian women pass unfertilised eggs when it's \"that time of the year\".\n\nThe few seconds you spend reading the advertisement is all that's needed to hit it. Your bike erupts into a bright red explosion, incinerating its two passengers in the process.\n\n> Brake\nThe jet engine winds down. You slam on the brakes. The bike's huge tyres lock tight, but you keep going, leaving twin streaks of molten rubber on the road.\n\nDr. Sliss screams and grabs you so tight you can barely breathe.\n\nAnd then suddenly you're clear. You've made it safely around the corner and you're racing off down the open road once more.\n\nDr. Sliss collapses limply against your back. \"Holy shit, I don't think I can take any more of this.\"\n\n> Wait\nTime passes...\n\nAhead of you, great towers rise from the desert.\n\nDr. Sliss leans over your shoulder to point at a small and shabby tower block. \"I don't like our chances of getting far into the city, but we should be able to reach my apartment. From there, well...\"\n\nIt's... a mess. Clothes and books are thrown haphazardly on every surface, along with circuitboards, tools and spare parts. Beneath all the clutter you can just make out a sofa and an aquarium.\n\nIn the centre of the room is a small platform beneath a familiar-looking antenna.\n\nDr. Sliss spins around, hands outstretched. \"Of course you're not surprised I built one in my spare time, are you? It should be able to safely fire a couple of times. Before blowing out power across the city.\"\n\n(You could ask her about the exploding collar, or her plans.)\n\n> You ask Sliss about the collar\n\"I suppose I owe it to you not to let your head explode,\" Dr. Sliss says, grabbing a screwdriver from a nearby surface.\n\nAfter a little poking and prodding, the collar drops to the floor.\n\n> You ask Sliss about the plans\nShe winks. \"Oh, don't worry about me. I've got somewhere nice lined up. You can come if you want. I mean, I kind of like you as a test subject - maybe even a friend. Or I can send you off somewhere by yourself and you'll never see me again.\"\n\n> You ask Sliss about the platform\n\"It's nice to finally talk to you as if we were equals,\" Dr. Sliss says, \"but any second now the cops are going to be bashing down that door.\"\n\n> You follow Sliss\nDr. Sliss is right here.\n\nThe doctor looks at her aquarium. \"Let me just get my...\"\n\nHer shoulders slump. \"Great. I forgot to fucking feed them.\"\n\n> You examine the aquarium\nFull of dead fish floating belly-side up.\n\nDr. Sliss looks around nervously. \"When you're ready, get on the platform.\"\n\n> You take the collar\nTaken.\n\n\"By the way,\" Dr. Sliss says, \"call me Lisella. No, wait, I changed my mind. Keep calling me Dr. Sliss.\"\n\n> You stand on the platform\nOkay, you're now standing on the platform.\n\nDr. Sliss looks around her apartment and sighs. \"Well, this is it then. Do you want to go where I'm going?\"\n\n(You could say yes or no.)\n\n> Yes\nShe tries not to smile too widely as she works the controls to her homemade matter transmitter. \"Oh really? Well, for what I have in store next, I think we should be equal partners. Almost equal partners. Sixty-forty my way. Seventy-thirty. We'll negotiate.\"\n\nWith a hop and a skip, Dr. Sliss jumps onto the platform with you, and you feel the familiar sensation of being beamed through time, space and alternate realities.\n\nToday's the day of the big demonstration. Of course you'll turn up. What you'll do once you get there is another question.\n\nA raised platform surrounded by a precarious railing. From here you can look out across smoking chimneys and slate tiled roofs, or watch airships churn stubbornly into the rain-shrouded sky.\n\nA cable car can take you down to the streets.\n\n> You examine the hat\nYou'd think a world with headwear like this would have taller doorways.\n\n> You examine the suit\nIt actually has a lot more than three pieces. You think you've remembered them all.\n\n> You look at the airships\nFrom luxury liners to ragtag cutters.\n\n> You examine the cable car\nRusted and well used, but otherwise mostly stable."
    },
    {
        "text": "[Themes: Science Fiction, gender choice, violence, vehicle]\n\n> Go downwards\nYou ride the cable car down to street level.\n\nThe city's streets are crowded and narrow - horse-drawn carriages competing for space with steam-powered automobiles, and human pedestrians flooding the gaps in between.\n\nThe neoclassical face of the Royal Academy rises above the red-brick offices either side, its open doors leading in.\n\n> You look at Academy\nBig marble pillars trying to look much older than they are.\n\n> You go inside\nRows of seats descend towards a raised stage. A pair of cages stand on the stage, surrounded by machinery that crackles with electricity.\n\nDr. Sliss stands on the stage, trying to lecture on matter transmission theory.\n\nAn audience of gentlemen in top hats chatter loudly amongst themselves, mostly about \"the lizard woman\".\n\n> You look at the cages\ncage: The wide gaps between the bars suggest a purpose other than imprisonment.\n\ncage: The wide gaps between the bars suggest a purpose other than imprisonment.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You get on the stage\nOkay, you're now standing on the stage.\n\nDr. Sliss sighs with relief and shoots you a grateful smile.\n\n\"My loyal assistant,\" Dr. Sliss yells at the disinterested crowd, \"will now demonstrate the practical application of the theory I've discussed.\"\n\nShe hustles you quickly into one of the cages and works the controls of her machinery. The cages begin to pop and ripple. You experience a familiar sensation, and then a blinding flash.\n\nYou appear in the opposite cage with a resounding pop. The audience stares at the stage open-mouthed.\n\n\"Gentlemen,\" Dr. Sliss says, with a predatory smile, \"I know that in your eyes I am a mere reptile - and worse still: a woman. But what would you say if I offered you the untold riches of alternate worlds?\""
    },
    {
        "text": "> Wait\nTime passes...\n\n> You wait awhile\nTime passes...\n\nDr. Sliss tries to be heard over the hubbub. \"-even universal suffrage-\"\n\n> You wait\nTime passes...\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You leave\nWith one last look at Dr. Sliss, you turn and leave her.\n\nNever again. Perhaps somewhere in this world you can find a way to live a normal life."
    },
    {
        "text": "[Themes: Science Fiction, escape, alien world, money, nonhuman antagonists, violence]\n\n> Look around\nRows of seats descend towards a raised stage. A pair of cages stand on the stage, surrounded by machinery that crackles with electricity.\n\nDr. Sliss stands on the stage, trying to lecture on matter transmission theory.\n\nAn audience of gentlemen in top hats chatter loudly amongst themselves, mostly about \"the lizard woman\".\n\nDr. Sliss tries to be heard over the hubbub. \"-distant worlds-\"\n\n> You get in the cage\nDr. Sliss is too busy trying to hold the audience's attention. She just gestures for you to get on the stage.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You remove the hat\nBe seen out hatless?! Ladies would faint to see such brazen nudity.\n\nDr. Sliss tries to be heard over the hubbub. \"-matter and energy become interchangeable-\"\n\n> You turn off the machinery\nThat isn't something you can turn off.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You examine machinery\nA bizarre mishmash of primitive technology hammered into something that throbbs and crackles with Dr. Sliss' otherworldly knowledge.\n\nDr. Sliss tries to be heard over the hubbub. \"-considerable power drain-\"\n\n> You talk to the gentlemen\nYou can't get a word in edgewise.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> Kiss sliss\nDr. Sliss probably wouldn't like that.\n\nDr. Sliss tries to be heard over the hubbub. \"-alternate timelines-\"\n\n> You kill Sliss\nYou cannot attack her.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You take the cages\ncage: You can't take that.\n\ncage: You can't take that.\n\nDr. Sliss tries to be heard over the hubbub. \"-curved spacetime-\"\n\n> Break machinery\nBreaking that would serve no purpose.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You check your inventory\nYou are carrying nothing, and are wearing a top hat and a three-piece suit.\n\nDr. Sliss tries to be heard over the hubbub. \"-asteroid-\"\n\n> You look under the stage\nYou see nothing unusual under the stage.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You enter the cage\n(first standing on the stage)\nOkay, you're now standing in the cage.\n\nDr. Sliss sighs with relief and shoots you a grateful smile.\n\n\"My loyal assistant,\" Dr. Sliss yells at the disinterested crowd, \"will now demonstrate the practical application of the theory I've discussed.\"\n\nShe works the controls of her machinery. The cages begin to pop and ripple. You experience a familiar sensation, and then a blinding flash.\n\nYou appear in the opposite cage with a resounding pop. The audience stares at the stage open-mouthed.\n\n\"Gentlemen,\" Dr. Sliss says, with a predatory smile, \"I know that in your eyes I am a mere reptile - and worse still: a woman. But what would you say if I offered you the untold riches of alternate worlds?\"\n\n> Kiss sliss\nDr. Sliss probably wouldn't like that.\n\n> You look\nRows of seats descend towards a raised stage. A pair of cages stand on the stage, surrounded by machinery that crackles with electricity.\n\nDr. Sliss stands on the stage, trying to lecture on matter transmission theory.\n\nAn audience of gentlemen in top hats chatter loudly amongst themselves, mostly about \"the lizard woman\".\n\nDr. Sliss tries to be heard over the hubbub. \"-more advanced civilisations-\"\n\n> You throw hat\nWhat do you want to throw it at?\n\n> Sliss\n(first taking off the top hat)\nYou miss. The top hat hits the ground.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You throw the suit at Sliss\n(first trying to take off the three-piece suit)\nIt's a cold and uncaring Multiverse out there to be running around naked.\n\nDr. Sliss tries to be heard over the hubbub. \"-wormholes-\"\n\n> You examine the hat\nYou'd think a world with headwear like this would have taller doorways.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You put the hat in the cage\n(first taking the top hat)\nDone.\n\nDr. Sliss tries to be heard over the hubbub. \"-unexpected opportunities-\"\n\n> You put the suit in the cage\n(first trying to take off the three-piece suit)\nIt's a cold and uncaring Multiverse out there to be running around naked.\n\nDr. Sliss gestures frantically for you to get on the stage.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on the chairs\nYou take a seat in the audience and watch Dr. Sliss flounder. Gradually, the gentlemen of the Royal Academy leave to follow pursuits they consider more worthy of their time.\n\nWhen the theatre is empty but for you two, Dr. Sliss comes down to sit beside you. \"Okay,\" she says. \"I get it. No more matter transmission. I'll try and eke out a life on this barren rock.\"\n\nShe points a scaly green finger at you. \"But we're entering a marriage of convenience. Getting anything done on this world as a single woman is impossible.\"\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your FULL SCORE, or QUIT?\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\n\"Nobody's following us?\" Dr. Sliss says. \"I'm almost disappointed.\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nWith the throaty roar of a personal rocket pack, an Alliance Enforcer appears behind you.\n\nDr Sliss readies her plasma blaster. \"Me and my big mouth.\"\n\n> Left\nYou drive briefly off-road, but the bike begins to judder uncontrollably as it lurches over uneven rocks and slippery sand.\n\nDr. Sliss yells into your ear. \"Hit the gas! We've gotta lose our new friend!\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\nDr. Sliss aims the plasma blaster and squeezes off a shot at the enforcer.\n\n> Brake\nThe jet engine winds down.\n\nThe enforcer, unable to slow down in time, smacks into the back of your jet bike and tumbles down onto the road in a roll.\n\nDr. Sliss looks back for a few seconds, and then reassures you, \"She's all right. That arm will regrow by itself.\"\n\nYou hear a familiar sound - another rocket pack! This time a saurian enforcer is approaching you from behind.\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nThe enforcer seems to have no trouble keeping pace with you.\n\n\"Watch out!\" Dr. Sliss shouts. \"He's trying to get alongside us!\"\n\n> Right\nYou steer into the right lane.\n\nThe enforcer sees his chance to accelerate up alongside of you.\n\nDr. Sliss yells into your ear. \"Get us out of here!\"\n\n> Left\nYou ram the enforcer from the side, sending him tumbling into the sand.\n\nGlancing over your shoulder you see him getting up, dusting himself off and kicking his mangled rocket pack.\n\n\"That's it!\" Dr. Sliss says triumphantly. \"They can't have more than two rocket packs. We're home free.\"\n\nAlong the horizon ahead you can see a row of blinking blue lights.\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\n\"Okay,\" Dr. Sliss says, grabbing your shoulders painfully tight.\n\"Don't panic! We can punch through. Give it all you've got!\"\n\n> You accelerate\nWith a thunderous roar, the afterburner kicks in. You cling to the handlebars with all your strength.\n\nAhead of you, great towers rise from the desert.\n\nDr. Sliss leans over your shoulder to point at a small and shabby tower block. \"I don't like our chances of getting far into the city, but we should be able to reach my apartment. From there, well...\"\n\nIt's... a mess. Clothes and books are thrown haphazardly on every surface, along with circuitboards, tools and spare parts. Beneath all the clutter you can just make out a sofa and an aquarium.\n\nIn the centre of the room is a small platform beneath a familiar-looking antenna.\n\nDr. Sliss spins around, hands outstretched. \"Of course you're not surprised I built one in my spare time, are you? It should be able to safely fire a couple of times. Before blowing out power across the city.\"\n\n(You could ask her about the exploding collar, or her plans.)\n\n> You ask Sliss about her plans\nShe winks. \"Oh, don't worry about me. I've got somewhere nice lined up. You can come if you want. I mean, I kind of like you as a test subject - maybe even a friend. Or I can send you off somewhere by yourself and you'll never see me again.\"\n\n> You look at the sofa\nSomething about its disarray suggests that it's often slept on.\n\nThe doctor looks at her aquarium. \"Let me just get my...\"\n\nHer shoulders slump. \"Great. I forgot to fucking feed them.\"\n\n> You look at the books\nMostly about matter transmission theory, unsurprisingly.\n\n\"Let me get that collar off you,\" she says, grabbing a screwdriver from a nearby surface.\n\nAfter a little poking and prodding, the collar drops to the floor.\n\n> You stand on the platform\nOkay, you're now standing on the platform.\n\nDr. Sliss looks around her apartment and sighs. \"Well, this is it then. Do you want to go where I'm going?\"\n\n(You could say yes or no.)\n\n> No\nShe looks sad, but unsurprised. \"Sure thing. I know a nice place to send you an' all. Goodbye, Hunkomeat. And good luck.\"\n\nShe flicks a switch, and you feel the familiar sensation of being beamed through time, space and alternate realities. \"Consider being someone else's test subject,\" you hear Dr. Sliss call out, her voice fading into the distance, \"you're good at it!\"\n\nIt's been quiet, this past year, but after what you've been through you don't mind so much. It's spring once again now, and time to plough your fields.\n\nThe morning sun is low in the sky. Along the horizon are the shattered domes and broken skyscrapers of a ruined civilisation. Fertile forests spill over, through and around the ruins, divulging a broken road in the direction of the fields beyond.\n\nYou can follow the road forwards.\n\n> You throw the hat at the road\n(first taking off the straw hat)\nYou miss. The straw hat hits the ground.\n\n> You wear the hat\n(first taking the straw hat)\nOkay, you're now wearing the straw hat.\n\n> You look at road\nNewer stones laid over the broken remnants of old tarmac.\n\n> You examine the skyscrapers\nSome of them apparently snapped in half by some terrible force.\n\n> Forward\nA rickety wooden fence denotes the edge of the farmland. The fields lie a short way ahead.\n\nA massive industrial farmbot waits here.\n\nThe farmbot activates with a brief warning klaxon, and stands unsteadily on four hydraulic legs.\n\n> You look at the farmbot\nBadly rusted, its paint almost entirely peeled off, but careful maintenance has kept it running well.\n\n> F.\nA large square of exposed earth, the fertile soil interrupted in one corner by the huge rusting skull of a fallen warbot.\n\nAhead is the small dome of the farmhouse.\n\nThe farmbot lowers its plough, and tries to get its bearings with long-broken proximity sensors. You carefully guide it around the field until the ground has been neatly tilled. By the time you're done, the noon sun beats down on you mercilessly.\n\n> F.\nA small, broken dome, the largest cracks thatched over. Ivy clings valiantly to its smooth sides. Cheerful voices emerge from further in.\n\nThe farmbot stomps after you.\n\nYou catch Old Man Cadan on his way out. \"Alright my ansum,\" he says. \"Best I warn thee the schoolmarm's on the warpath. Scarin' the chillurn wi' your stories o' bee people an' nasty Dr. Stick, she reckons.\"\n\nHe starts to leave, and then pauses. \"Now me, I be rememberin' you turnin' up near a year ago in your strange clothes, with those comical stories 'bout you fallin' out the sky. You've settled in quite nice-like, but I reckon there's something different 'bout you, and that ain't no bad thing.\"\n\nHe strolls off, whistling to himself. \"Don't go losin' that specialness, y'hear?\"\n\n> F.\nYou head inside the dome to face up to the schoolmarm's scorn, and partake of Mama Gwen's freshly made lunch; to tell stories of high-speed jet bike chases to fascinated children, while your wide-eyed, eavesdropping sweetheart pretends to be doubtful or unimpressed.\n\nYour days of hopping from world to world are over. You'll never again find strange treasures or be torn limb from limb by strange monsters only to be glued back together. Like almost everyone in the Imbroglio, you're stuck on just one world, with people you've grown to love and hate.\n\nYours is the wistful happiness of the adventurer who lived to tell the tale.\n\n> Dig\nWhat do you want to dig in?\n\n> Soil\nWhat do you want to dig in it with?\n\n> You look at the farmbot\nBadly rusted, its paint almost entirely peeled off, but careful maintenance has kept it running well."
    },
    {
        "text": "> Describe the surroundings\nA large square of exposed earth, the fertile soil interrupted in one corner by the huge rusting skull of a fallen warbot.\n\nAhead is the small dome of the farmhouse.\n\nA massive industrial farmbot waits here."
    },
    {
        "text": "[Themes: violence, monster, fantasy, minimalist]\n\nI don't like talking. Let's build a fire.\n\nYou are by a lake. The lake is still.\n\nYou can see an axe here.\n\nLooking south, you see the Forest.\n\n[Author's Note: I don't like talking. Let's build a fire. A minimalist story. It is long, but quickly finished, with few words and few complications.]\n\n> About you\nYou look like me.\n\n> You take all\n(the axe)\nTaken.\n\nNow you can cut things.\n\n> You cut yourself\nI'll tell you when you can cut something. This isn't the time.\n\n> You look at the lake\nThe lake? That is what it is. I'll tell you everything that's important the first time."
    },
    {
        "text": "> You describe your surroundings\nYou are by a lake. The lake is still.\n\nLooking south, you see the Forest.\n\n> You look at Forest\nIf you want to see it, just go there. I won't mention this again.\n\n> You go south\nYou are in a forest. It is night.\n\nYou can see a log here.\n\nLooking north, you see the Lake; looking south, you see the Mountain.\n\n> You examine log\nThe log? That is what it is.\n\n> You cut the log\nYou cut the log up into firewood and take it. You could burn it, if you had flint with your steel."
    },
    {
        "text": "[Themes: violence, fantasy]\n\n> You look at your surroundings\nYou are in a forest. It is night.\n\nLooking north, you see the Lake; looking south, you see the Mountain.\n\n> You go south\nYou are on a mountainside. Everything is dry.\n\nLooking north, you see the Forest; looking east, you see the Gravel Pit.\n\n> You check your inventory\nYou are carrying:\na firewood\nan axe\n\n> You go to the east\nYou are in an empty gravel pit.\n\nYou can see a flint here.\n\nLooking west, you see the Mountain.\n\n> You take the flint\nTaken.\n\nNow you can burn something small.\n\n> You make the fire\nLet's burn the wood by the lake. They're scared of water.\n\n> You go to the north\nYou are in a forest. It is night.\n\nLooking north, you see the Lake; looking south, you see the Mountain.\n\n> Go north\nYou are by a lake. The lake is still.\n\nLooking south, you see the Forest.\n\n> You make the fire\nYou made a fire. Let's sleep.\n\n> Sleep\nYou are surrounded by standing stones.\n\nLooking east, you see the Spring; looking west, you see the Moor.\n\nThey came while you were asleep. You're not where you should be. You are hungry. You are cold.\n\n> You examine the stones\nThe standing stones? That is what it is.\n\n> Pray\nFather ure, thu the art in heofenan...\n\n> Sing\nHw\u00e6t! We Gar-Dena in gear-dagum\n\u00feeod-cyninga,   \u00ferym gefrunon,\nhu \u00f0a \u00e6\u00feelingas   ellen fremedon!\nOft Scyld Scefing   scea\u00feena \u00fereatum\nmonegum m\u00e6g\u00feum   meodo-setla ofteah;\n\n> You go to the east\nWater wells up from below. You are safe here.\n\nYou can see a basket (empty) here.\n\nLooking west, you see the Standing Stones.\n\n> You take all\n(the basket)\nTaken.\n\n> Inventory\nYou are carrying:\na basket\n\n> Go west\nYou are surrounded by standing stones.\n\nLooking east, you see the Spring; looking west, you see the Moor.\n\n> Go west\nThe moor is silent. Keep moving.\n\nLooking east, you see the Standing Stones; looking west, you see the Aftermath.\n\nThey will see you. Go now.\n\n> You go west\nThere was a battle here. Almost everything is trampled.\n\nYou can see a meal here.\n\nLooking east, you see the Moor.\n\n> You examine meal\nThe meal? That is what it is.\n\n> You take all\nmeal: You lift the meal into the basket.\n\n> You eat the meal\nIt's not safe to eat here. Take it with you.\n\n> You eat the meal\nYou eat the food carefully. You feel much better now.\n\nYou hear music from the north.\n\n> You go to the north\nSmall lights dance behind trees far away. You hear music.\n\nLooking north, you see the Sea Side.\n\n> You listen\nYou hear music.\n\n> You go north\nYou are at the sea side. You hear music from the west.\n\nYou can see an old spear here.\n\nLooking north, you see the Outside of the Mead-Hall; looking south, you see the Bog; looking east, you see the Cove.\n\n> You go to the west\nNot that way.\n\n> You go north\nYou are outside the mead-hall. They are dancing inside. They have not heard you yet.\n\nLooking north, you see the Inside of the Mead-Hall; looking south, you see the Sea Side.\n\n> You go east\nYou are in a cove. You are safe.\n\nLooking east, you see the Burial Mound; looking west, you see the Sea Side.\n\n> Go east\nYou are on a small mound with white flowers.\n\nYou can see an old shield here.\n\nLooking west, you see the Cove.\n\n> You take shield\nTaken.\n\n> You examine the shield\nThe old shield? That is what it is.\n\n> You take all\nold spear: Taken.\n\n> You check your inventory\nYou are carrying:\nan old spear\nan old shield\na basket\n\n> Sillygame\nSAVEI'll remember.\n\n> Go north\nThe mead-hall is dark and dusty.\n\nYou can see an opponent here.\n\nLooking south, you see the Outside of the Mead-Hall.\n\n> You examine the opponent\nThe opponent? That is what it is.\n\n> You kill the opponent\nYou attack the opponent. He vanishes through a hole in the ground."
    },
    {
        "text": "[Themes: minimalist]\n\n> Look around\nThe mead-hall is dark and dusty.\n\nLooking down, you see the Burrow."
    },
    {
        "text": "> You go downward\nYou are in a burrow. The walls are made of packed dirt.\n\nLooking south, you see the Tunnel.\n\n> Go south\nYou are in a tunnel.\n\nYou can see a shroud here.\n\nLooking north, you see the Burrow; looking south, you see the Cave Pool.\n\n> You take all\nshroud: Taken.\n\n> You wear the shroud\nYou put on the shroud.\n\n> You go south\nWater drips into a pool. A deep hole is here.\n\nA chain goes into the hole. It has a hook. You can put something on it.\n\nLooking north, you see the Tunnel; looking east, you see the Limestone Cave.\n\n> Go north\nYou are in a tunnel.\n\nLooking north, you see the Burrow; looking south, you see the Cave Pool.\n\n> You put the basket on the chain\nYou put the basket on the hook.\n\nThe basket is too light to sink down.\n\n> You take the basket\nTaken.\n\n> You put yourself on the hook\nThe yourself slips off of the hook.\n\n> Go east\nYou are in a limestone cave. The floor is covered in frost.\n\nThere is a frozen door covered in vines.\n\nLooking east, you see the Inside Burial Mound; looking west, you see the Cave Pool.\n\n> You check your inventory\nYou are carrying:\na basket\na shroud (being worn)\nan old spear\nan old shield\n\n> You open the door\nThe vines hold the door shut.\n\n> You cut vines\nYou cut off all the vines. Your spear freezes and breaks.\n\n> You open the door\nYou open the frozen door.\n\n> Go east\nYou are inside the burial mound.\n\nThere is a frozen door.\n\nThere is a crypt here, covered in dust.\n\nYou can also see a chisel here.\n\nLooking west, you see the Limestone Cave.\n\n> You take all\nchisel: The dust on the crypt makes you sneeeze.\n\nTaken.\n\n> You examine chisel\nThe chisel? That is what it is.\n\n> You open the crypt\nThe dust makes the crypt slippery.\n\n> Dust crypt\nThe dust comes off. There is a list of name runes on the crypt. You can cut the crypt to write your name.\n\n> You cut crypt\nYou write your name rune on the crypt.\n\n> You open the crypt\nYou open it a crack. Try again.\n\n> Continue\nYour opponent is here. He is wearing a shroud. He has a coin in his mouth. He fades away."
    },
    {
        "text": "[Themes: minimalist]\n\n> Look around\nYou are inside the burial mound.\n\nThere is a frozen door.\n\nYou see name-runes engraved on the crypt.\n\nLooking west, you see the Limestone Cave.\n\n> You open the door\nThat's already open.\n\n> You read the names\nThe last name rune is yours.\n\n> You go west\nYou are in a limestone cave. The floor is covered in frost.\n\nThere is a frozen door.\n\nLooking east, you see the Inside Burial Mound; looking west, you see the Cave Pool.\n\n> You go west\nWater drips into a pool. A deep hole is here.\n\nA chain goes into the hole. It has a hook. You can put something on it.\n\nLooking north, you see the Tunnel; looking east, you see the Limestone Cave.\n\n> You go to the west\nNot that way.\n\n> You pull the chain\nIt is fixed in place.\n\n> You check what you're carrying\nYou are carrying:\na chisel\na basket\na shroud (being worn)\nan old shield\n\n> You put the shield on hook\nThe old shield slips off of the hook.\n\n> You put chisel on the hook\nThe chisel slips off of the hook.\n\n> You put the shroud on the hook\nThe shroud slips off of the hook.\n\n> You put the basket on the hook\nYou put the basket on the hook.\n\nThe basket is too light to sink down.\n\n> You put chisel in the basket\nYou put the chisel into the basket.\n\nThe basket is too light to sink down.\n\n> You put the shield in the basket\nYou put the old shield into the basket.\n\nThe basket goes into the hole. A bucket comes up. It has a worn coin in it. Your shield has been accepted."
    },
    {
        "text": "[Themes: fantasy, violence]\n\n> Look around\nWater drips into a pool. A deep hole is here.\n\nYou can see a bucket (in which is a chisel) here.\n\nLooking north, you see the Tunnel; looking east, you see the Limestone Cave.\n\n> Go east\nYou are in a limestone cave. The floor is covered in frost.\n\nThere is a frozen door.\n\nLooking east, you see the Inside Burial Mound; looking west, you see the Cave Pool.\n\n> You go east\nYou are inside the burial mound.\n\nThere is a frozen door.\n\nYou see name-runes engraved on the crypt.\n\nLooking west, you see the Limestone Cave.\n\n> You put the coin in the mouth\nYou put the worn coin into your mouth.\n\n> You enter the crypt\nYou get into the wooden crypt. It is small. You can close it now.\n\n> Close crypt\nYou close the wooden crypt. They cannot follow you here. You have been this way before.\n\nIt is almost pitch dark. You can see almost nothing.\n\nLooking down, you see the Lair."
    },
    {
        "text": "[Themes: fantasy, minimalist, violence]\n\n> Go downwards\nYou are in the lair. The room stinks. You are safe. He will protect you.\n\nLooking north, you see the Entrance; looking south, you see the Armory; looking east, you see the New Treasures; looking west, you see the Boneyard.\n\n> Go south\nYou are in his armory. It needs to be cleaned.\n\nYou can see a dusty armor, an open cabinet, a dry snack and a leaning pile here.\n\nLooking north, you see the Lair.\n\n> Dust armor\nYou clean the armor."
    },
    {
        "text": "[Themes: monster, minimalist]\n\n> Look around\nYou are in his armory. It needs to be cleaned.\n\nYou can see a clean armor, an open cabinet, a dry snack and a leaning pile here.\n\nLooking north, you see the Lair.\n\n> You take all\nclean armor: He likes this as it is.\nopen cabinet: He likes this as it is.\ndry snack: You eat it.\nleaning pile: He likes this as it is.\n\n> Climb pile\nIf you want to go up, go up. If you can't, then don't.\n\n> Smell\nThe room stinks.\n\n> Go east\nThis treasure room is full of tapestries, musical instruments, and iron. His treasures are wrong. Put them right.\n\nYou can see a canopic jar here.\n\nLooking east, you see the Old Treasures; looking west, you see the Lair.\n\n> You go to the east\nThis treasure room is full of pottery, statues and silver. His treasures are wrong. Put them right.\n\nYou can see a ring mail here.\n\nLooking east, you see the Ancient Treasures; looking west, you see the New Treasures.\n\n> You take all\n(the ring mail)\nPut it in its place.\n\nTaken.\n\n> You take all\ncanopic jar: Put it in its place.\n\nTaken.\n\n> You check your inventory\nYou are carrying:\na canopic jar\na ring mail\n\n> You open jar\nIt's ancient; he wouldn't be pleased."
    },
    {
        "text": "[Themes: fantasy]\n\n> You look at your surroundings\nThis treasure room is full of tapestries, musical instruments, and iron. His treasures are wrong. Put them right.\n\nLooking east, you see the Old Treasures; looking west, you see the Lair.\n\n> Go south\nYou are in his armory. It needs to be cleaned.\n\nYou can see a clean armor, an open cabinet and a leaning pile here.\n\nLooking north, you see the Lair.\n\n> You drop ring mail\nThat is not the right place.\n\nDropped.\n\n> You take all\nring mail: Put it in its place.\n\nTaken.\nclean armor: He likes this as it is.\nopen cabinet: He likes this as it is.\nleaning pile: He likes this as it is.\n\n> You go to the west\nThe bones of the common are piled here.\n\nLooking east, you see the Lair; looking west, you see the Home of the Valiant.\n\n> You drop jar\nDropped.\n\n> You take all\ncanopic jar: Put it in its place.\n\nTaken.\n\n> Go west\nThe bones of the valiant are here, each with spear and helmet.\n\nLooking east, you see the Boneyard; looking west, you see the Nobles' End.\n\n> Go west\nThe bones of the nobles are laid here in gold.\n\nLooking east, you see the Home of the Valiant; looking west, you see the Hall of Kings."
    },
    {
        "text": "> Look around\nThe bones of the valiant are here, each with spear and helmet.\n\nYou can see a canopic jar here.\n\nLooking east, you see the Boneyard; looking west, you see the Nobles' End.\n\n> You drop all\ncanopic jar: Dropped.\nring mail: It is in its place.\n\nDropped.\n\n> You take all\nring mail: It is already in its place.\ncanopic jar: Put it in its place.\n\nTaken.\n\n> Go east\nThis treasure room is full of pottery, statues and silver. His treasures are wrong. Put them right.\n\nLooking east, you see the Ancient Treasures; looking west, you see the New Treasures.\n\n> You drop all\n(the canopic jar)\nDropped.\n\n> You take all\n(the canopic jar)\nPut it in its place.\n\nTaken.\n\n> Go west\nThis treasure room is full of tapestries, musical instruments, and iron. His treasures are wrong. Put them right.\n\nYou can see a ring mail here.\n\nLooking east, you see the Old Treasures; looking west, you see the Lair.\n\n> You go east\nThis room is full of sarcophagi, rotten spices and gold. His treasures are wrong. Put them right.\n\nYou can see a marble bust here.\n\nLooking west, you see the Old Treasures.\n\n> You drop all\n(the canopic jar)\nIt is in its place.\n\nDropped."
    },
    {
        "text": "> Look around\nThis room is full of sarcophagi, rotten spices and gold. His treasures are wrong. Put them right.\n\nYou can see a canopic jar and a marble bust here.\n\nLooking west, you see the Old Treasures.\n\n> You examine the bust\nThe marble bust? That is what it is.\n\n> You take the bust\nPut it in its place.\n\nTaken.\n\n> You drop the bust\nIt is in its place.\n\nDropped."
    },
    {
        "text": "[Themes: minimalist]\n\n> You look around\nThis treasure room is full of pottery, statues and silver.\n\nYou can see a marble bust here.\n\nLooking east, you see the Ancient Treasures; looking west, you see the New Treasures.\n\n> Go west\nThis treasure room is full of tapestries, musical instruments, and iron.\n\nYou can see a ring mail here.\n\nLooking east, you see the Old Treasures; looking west, you see the Lair.\n\n> You go north\nHis protection comes with a price. His house is not in order.\n\n> Clean Armory\nYou rub armory.\n\n> Close cabinet\nYou close the cabinet.\n\n> Clean pile\nYou rub the leaning pile.\n\n> You take the pile\nHe likes this as it is.\n\n> Clean armor\nIt is already clean."
    },
    {
        "text": "[Themes: violence, monster]\n\n> Describe the surroundings\nYou are in his armory. It needs to be cleaned.\n\nYou can see a clean armor, a closed cabinet and a leaning pile here.\n\nLooking north, you see the Lair.\n\n> Clean Armory\nYou rub armory.\n\n> Clean\nWhat do you want to clean?\n\n> You clean yourself\nYou rub yourself."
    },
    {
        "text": "[Themes: monster, violence]\n\n> Clean Lair\nYou rub the lair.\n\n> Smell\nThe room stinks.\n\n> Go east\nThis room is full of sarcophagi, rotten spices and gold.\n\nYou can see a canopic jar here.\n\nLooking west, you see the Old Treasures.\n\n> You take the spices\nThat's hardly portable.\n\n> You take all\n(the canopic jar)\nIt is already in its place.\n\n> You eat the spices\nFind a snack instead.\n\n> Smell\nThere's no need; I'll tell you what you sense.\n\n> Clean\n(the lair)\nYou rub the lair.\n\n> You look at the bones\nThe common bones? That is what it is.\n\n> Go west\nThe bones of the valiant are here, each with spear and helmet.\n\nLooking east, you see the Boneyard; looking west, you see the Nobles' End.\n\n> Clean\n(the Valiant bones)\nYou rub the Valiant bones.\n\n> You examine the gold\nThe noble bones? That is what it is.\n\n> Go west\nThree thrones are here, with three kings.\n\nA crown is cast down here.\n\nLooking east, you see the Nobles' End.\n\n> You take crown\nThe oldest king is crownless.\n\nTaken.\n\n> You put the crown on the king\nThe king bows his head. You put the crown on him. You may leave."
    },
    {
        "text": "[Themes: minimalist]\n\n> You look around\nThree thrones are here, with three kings.\n\nLooking east, you see the Nobles' End.\n\n> Go north\nYou are by a barrow. The ground is on fire. They are trying to stop him; clear his way.\n\nYou can see a sharp iron here.\n\nLooking north, you see the Cliff; looking south, you see the Lair; looking east, you see the Scrub; looking west, you see the Rocky Tumble.\n\n> You take the iron\nAt the cliff, you can throw this.\n\nTaken."
    },
    {
        "text": "[Themes: monster, violence, minimalist]\n\n> You look around\nYou are by a barrow. The ground is on fire. They are trying to stop him; clear his way.\n\nLooking north, you see the Cliff; looking east, you see the Scrub; looking west, you see the Rocky Tumble.\n\n> Go north\nThe fire stops by the cliff. The water is inviting. You can throw something\n\nLooking south, you see the Entrance; looking down, you see the Shallow Waters.\n\n> You throw the iron\nYou throw the sharp iron in the water."
    },
    {
        "text": "[Themes: fantasy]\n\n> Go downward\nSomething is in his way. Clear his path.\n\n> Inventory\nYou are carrying:\na sharp iron\n\n> Go south\nYou are by a barrow. The ground is on fire. They are trying to stop him; clear his way.\n\nLooking north, you see the Cliff; looking east, you see the Scrub; looking west, you see the Rocky Tumble.\n\n> You examine the fire\nThe ground fire? That is what it is.\n\n> You take the fire\nThat's hardly portable.\n\n> Go east\nYou can see a thornbush here.\n\nLooking west, you see the Entrance.\n\n> You take bush\nAt the cliff, you can throw this.\n\nTaken.\n\n> You go west\nYou can see a jagged rock here.\n\nLooking east, you see the Entrance.\n\n> You take the rock\n(the jagged rock)\nAt the cliff, you can throw this.\n\nTaken.\n\n> You throw all\njagged rock: You throw the jagged rock in the water.\nthornbush: You throw the thornbush in the water.\nsharp iron: You throw the sharp iron in the water.\nYou can go now."
    },
    {
        "text": "> Go down\nYou hear him come home. You fall.\n\nYou can see a boat (empty) here.\n\nLooking east, you see the Coastline; looking up, you see the Cliff.\n\n> You enter the boat\nYou get into the boat.\n\n> You go to the east\nCoastline (in the boat)\nYou are following the coastline; you are close to home.\n\nLooking north, you see the Deeper Waters; looking west, you see the Shallow Waters.\n\n> You go north\nDeeper Waters (in the boat)\nYou are in deep waters. Something is under the water.\n\nLooking south, you see the Coastline; looking east, you see the Choppy Waters.\n\n> Go outside\nYou get out of the boat.\n\nYou are in deep waters. Something is under the water.\n\nYou can see a boat (empty) here.\n\nLooking south, you see the Coastline; looking east, you see the Choppy Waters.\n\n> You examine something\nThe something? That is what it is.\n\n> Go east\nThe water is choppy here.\n\nYou can see a boat (empty) and a shark here.\n\nLooking east, you see the Beach; looking west, you see the Deeper Waters.\n\nA shark has tipped the boat. You are in the water.\n\n> Jump shark\nYou leap over the shark, crying \"Victor!\"\n\n> You enter boat\nThe shark prevents you. You must attack it.\n\n> Attack shark\nThe shark fights back.\n\n> Continue\nThe water is choppy here.\n\nYou can see a boat (empty) and a shark here.\n\nLooking east, you see the Beach.\n\nYou punch the shark away.\n\n> Go east\nBeach (in the boat)\nYou are at the beach. You don't need the boat.\n\nLooking north, you see the Foothill; looking west, you see the Choppy Waters.\n\n> You go outside\nYou are hungry again.\n\nYou get out of the boat.\n\nYou are at the beach. You don't need the boat.\n\nYou can see a boat (empty) here.\n\nLooking north, you see the Foothill; looking west, you see the Choppy Waters.\n\n> You go north\nThey don't like it here. The mountains are between you and home.\n\nLooking south, you see the Beach; looking east, you see the Footpath; looking up, you see the Peak.\n\n> Up\nYou are too weak to climb. You need to eat.\n\n> Go east\nThis path was made by them. Be careful.\n\nLooking east, you see the Outside House; looking west, you see the Foothill.\n\n> You go to the east\nYou are outside one of their houses. It is very small.\n\nLooking east, you see the Inside House; looking west, you see the Footpath.\n\n> You go east\nYou are in the small house.\n\nYou can see a fresh snack here.\n\nLooking west, you see the Outside House.\n\n> You eat the snack\nYou eat it.\n\n> Up\nYou are close to home. A pool of water is here. A waterfall comes out of it.\n\nLooking north, you see the Slick Drop; looking east, you see the Slope; looking down, you see the Foothill.\n\n> Go east\nThe ground slopes up here.\n\nLooking west, you see the Peak; looking up, you see the Rocky Summit.\n\n> Up\nYou are on a rocky summit. There is a cliff to the west.\n\nYou can see some boulders here.\n\nLooking down, you see the Slope.\n\n> You take the boulders\nThey are too heavy to lift."
    },
    {
        "text": "[Themes: fantasy, minimalist, monster]\n\n> You look around\nYou are on a rocky summit. There is a cliff to the west.\n\nLooking down, you see the Slope.\n\n> Go west\nYou are close to home. A pool of water is here. The boulders are blocking it.\n\nYou can see some boulders here.\n\nLooking north, you see the Slick Drop; looking east, you see the Slope; looking down, you see the Foothill.\n\n> Go north\nThe ground here is slick. It goes straight down.\n\nLooking south, you see the Peak; looking down, you see the Eastern Ledge."
    },
    {
        "text": "> Go downward\nThe boulders are coming loose. One is falling above you."
    },
    {
        "text": "[Themes: minimalist, fantasy]\n\n> Go down\nNot that way.\n\n> You jump\nYou leap. It doesn't help.\n\n> Go west\nLooking east, you see the Eastern Ledge.\n\nA boulder smashes on the other side. You hear another boulder above you.\n\n> You go east\nLooking west, you see the Western Ledge.\n\nA boulder smashes on the other side. You hear two boulders above you.\n\n> Go west\nLooking east, you see the Eastern Ledge.\n\nThe boulders miss you. They opened a path."
    },
    {
        "text": "[Themes: minimalist, monster]\n\n> You look around\nLooking east, you see the Eastern Ledge; looking down, you see the Soggy Ground."
    },
    {
        "text": "> Go downward\nThe ground is marshy here.\n\nLooking north, you see the Fen.\n\n> You go north\nYou are in a fen. You hear wolves.\n\nLooking north, you see the Mist; looking south, you see the Soggy Ground.\n\n> Go north\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\n> Go south\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nYou'll be home soon.\n\n> Go north\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nThere is some blood in the water. Now it's gone.\n\n> Go east\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nYou hear the wolves.\n\n> Go east\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nIt feels chilly.\n\n> Go east\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nThe ground is getting firmer.\n\n> Go east\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Mist; looking south, you see the Mist; looking east, you see the Mist; looking west, you see the Mist.\n\nNow you are closer.\n\nYou see out of the mist."
    },
    {
        "text": "[Themes: fantasy, violence]\n\n> Look around\nYou are in the mist. You are safe. You are not lost.\n\nLooking north, you see the Frozen Trees.\n\n> You go north\nYou are in a forest. The trees are covered by snow.\n\nLooking north, you see the Mereside.\n\n> Go north\nYou are by the mere. It is glowing.\n\nYou can see a serpent here.\n\nLooking south, you see the Frozen Trees.\n\n> You examine the serpent\nThe serpent? That is what it is.\n\n> You look at the mere\nThe mere? That is what it is.\n\n> You take the serpent\nDon't take people. You have better things to do.\n\n> You go south\nYou are in a forest. The trees are covered by snow.\n\nLooking north, you see the Mereside.\n\n> You attack the serpent\nThe serpent is not your enemy. You are almost home. You can ask the serpent about them.\n\n> You ask the serpent about them\nThe serpent says \"They stay away. They hate the fire.\"\n\nYou can ask the serpent about fire.\n\n> You ask the serpent about the fire\nThe serpent says \"The fen-fire frightens them. I have seen Hrothgar.\"\n\nYou can ask about Hrothgar.\n\n> You ask the serpent about the hrothgar\nThe serpent says \"Hrothgar is calling for help.\"\n\nYou can ask about help.\n\n> You ask the serpent about the help\nThe serpent says \"He is calling for Beowulf.\"\n\nYou can ask about Beowulf.\n\n> You ask the serpent about the beowulf\nThe serpent says \"Beware of Beowulf.\"\n\nThe serpent swims away. Come home. You are almost there."
    },
    {
        "text": "[Themes: fantasy]\n\n> Describe the surroundings\nYou are by the mere. It is glowing.\n\nLooking north, you see the In Mere; looking south, you see the Frozen Trees.\n\n> You go to the north\nYou are swimming in the fen-fire.\n\nLooking north, you see the Center of Mere.\n\n> You go to the north\nYou are in the center of the mere.\n\nLooking south, you see the In Mere; looking down, you see the Descent."
    },
    {
        "text": "[Themes: fantasy]\n\n> You go downward\nIt takes them all day to reach the bottom.\n\nLooking up, you see the Center of Mere; looking down, you see the Bottom."
    },
    {
        "text": "[Themes: minimalist, violence, monster]\n\n> You go down\nYou are faster than them.\n\nLooking north, you see the Cavern; looking up, you see the Descent.\n\n> Go north\nYou are in a cavern. You are home. You are safe.\n\nYou are thirsty, hungry, and tired.\n\nLooking north, you see the Mother; looking south, you see the Bottom; looking east, you see the Larder; looking west, you see the Mead Room.\n\n> Go east\nYou are in your larder.\n\nYou can see a last snack here.\n\nLooking west, you see the Cavern.\n\n> You eat the last snack\nThey try to get away, but you eat them.\n\n> You go west\nYou are in a cavern. You are home. You are safe.\n\nLooking north, you see the Mother; looking south, you see the Bottom; looking east, you see the Larder; looking west, you see the Mead Room.\n\n> You go west\nThe mead you have taken is stored here.\n\nYou can see a pale mead here.\n\nLooking east, you see the Cavern.\n\n> You drink pale Mead\nYou drink the mead. You are not thirsty.\n\n> You go to the north\nMother is here.\n\nLooking south, you see the Cavern.\n\n> You go to the north\nMother is here.\n\nLooking south, you see the Cavern.\n\n> You take the axe\nTaken.\n\nNow you can cut things."
    },
    {
        "text": "[Themes: Surreal]\n\nFrobTADS 1.2.3 - A text-only TADS 2.5.17 Interpreter.\n\nMaintained by Nikos Chantziaras <realnc@gmail.com>.\n\noptions:\n-ctab file    use character mapping table file\n-ctab-        do not use any character mapping file\n-i file       read commands from file\n-o file       write commands to file\n-l file       log all output to file\n-m size       maximum cache size (in bytes)\n-mh size      heap size (default 65535 bytes)\n-ms size      stack size (default 512 elements)\n-r savefile   restore saved game position from savefile\n-s level      set I/O safety level (-s? for help)\n\n-ts size      maximum swapfile size (default: unlimited)\n-t+           enable swapping (disabled by default)\n-u size       set undo to size (0 to disable; default 60000)\n\ntoggle options: add + to enable, - to disable, nothing to toggle cheaptads quit with exit status: 0\n\nRain and mud.\n\nThose are your first solid memories. Rain pouring down on your head, filling your eyes. Mud beneath your feet, filling your shoes. Other details slowly filter in. The trees surrounding you. The leaden skies above. The chill wind cutting through your clothes with ease.\n\nShelter would be a good beginning.\n\nLosing Your Grip, a Journey in Five Fits\n\nFor more information, type \"about\".\n\nFit the First: Replevin\n\n\"Rain rain on my face/It hasn't stopped raining for days\"\n-- Jars of Clay\n\nshelter, allowing the stinging rain to pelt you. A grey mist conceals everything past four meters.\n\n> About yourself\nWhat you can see of yourself is familiar.\n\n> You check what you're carrying\nYou are empty-handed.\n\n> You look at trees\nMostly pine. Their protection is scant comfort in the rain and the wind.\n\n> Go east\nYou strike off in that direction, but soon become disoriented by the rain.\n\nOnce the field might have been covered in grass. Now the grass is\nbut a memory. Mud covers the ground in its place, fed by the constant rain.\nBuried almost to its chin in the mud is a human head.\n\nThe head's eyes suddenly open, fixing you in place. \"Oh, my,\" he says. \"This is a surprise. I certainly never expected to see you in person!\"\n\n> You examine the head\nOther than being buried in mud to his chin, the head is reassuringly normal. His hair and mustache are a matted brown, perhaps from genetics, perhaps from mud. Rivulets of water run down his creased face.\n\n\"Come to gloat?\" the man says. \"Why not? After all, you put me here.\"\n\n> You ask head about the head\n\"What's to say?\" he asks. \"I've led a dull life, and now I'm about to have a dull end.\"\n\n\"That's right, try to deny it. If it weren't for you, I'd still be safe.\" His eyes dart to the northeast for a second, then return to you.\n\n> You dig the mud\nYou kneel and begin scooping mud from around the head with both hands. As fast as you remove the mud, more mud and water return. \"Forget it,\" the man says gruffly. \"It's too late now.\" He seems strangely touched by your attempt, however.\n\nThe man laughs softly. \"Not long now.\" He grins sarcastically. \"An interesting end, don't you think? Jiminy Cricket never had such an exit scene.\"\n\n> You kick the head\nThe head's eyes widen as you draw your foot back. \"Terry, no, please, oh God you can't--\" His cries are cut short as your foot slams into him. With the sound of eggshells cracking, the head fragments into countless pieces which are quickly lost in the mud.\n\n> Xyzzy\nThere is a puff of smoke. Something lands in your hands.\n\nResignation and more than a little bitterness fill the man's face. \"Go on,\" he says. \"You've work to do, pieces to recover.\" He pauses, then yells, \"Go on, I said!\" Then, muttered, \"You've ignored me too long to do anything about it now.\"\n\n> You check your inventory\nYou have a fool.\n\n> You examine fool\nA tiny doll tricked out in a harlequin's outfit. When you turn it over in your hands, you see that its back is missing, leaving the fool hollow. There is a matching hole where its larynx should be.\n\n> You take the head\nYou grab hold of his ears, but before you can pull, the head says, \"It's no good now. I'm done for.\" His eyes narrow at you. \"The least you can do is feel guilty.\"\n\n> You ask the head about himself\n\"What's to say?\" he asks. \"I've led a dull life, and now I'm about to have a dull end.\"\n\n> You ask the head about yourself\nThe man laughs. \"Funny, I've spent my life judging you, and now I can't think of a thing to say about you.\"\n\n> You ask the head about the mud\nHe says, \"If only the rain would stop...\"\n\n> Dig\nWhat do you want to dig in?\n\n> You dig the mud\nYou kneel and begin scooping mud from around the head with both hands. As fast as you remove the mud, more mud and water return. \"Forget it,\" the man says gruffly. \"It's too late now.\" He seems strangely touched by your attempt, however.\n\n> You search head\nHow rude!\n\n> Kiss head\nThe mud coating him makes you think twice.\n\n> Clean head\nNo matter how much you wipe, the man's face is still begrimed. He grimaces. \"Thanks,\" he says.\n\n> You go to the north-east\n\"Good luck,\" the man whispers as you walk away. The hiss of the rain covers anything else he might have said.\n\nLooming suddenly out of the gloom is a large marble building. Its columns jut skyward, raked by the unending rain. To the north lies its entrance.\n\n> You examine the building\nThe building's white marble is streaked with grime, the rain having no visible effect. Its entrance lies open to the north.\n\n> You go to the north\nAs you walk through the door of the building the sound of the rain stops, as if suddenly turned off.\n\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\n\n> Go north\nLike the foyer, the hallway is marble. Its two-story height\ncombined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\n> Go north\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by a closed door to the west.\n\n> You go to the north\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the desk at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar. To one side of the two doors is a light switch.\n\n> Go south\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\nA section of the air just above your head shimmers. A small pyramid falls from the disturbance to the ground below.\n\n> You go south\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\nYou begin to feel the cold seep into you, chilling you.\n\n> You go north\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\nYou see a paper pyramid here.\n\nYou now feel recovered from your exposure to the cold.\n\n> You get the pyramid\nThe pyramid begins glowing softly. It unfolds like a flower and a feminine voice issues from it, saying, \"Doctor! Doctor! Something's wrong with Terry!\" When the light dies down, the pyramid is gone.\n\n> Go northwest\nShadows crowd the room, strengthened by the unlit ceiling light\nwhich is canted at a strange angle. A scarred mahogany desk is crammed into one corner of the room, facing the doorway and the clock above it. The room is small enough that the light switch beside the door is within arms reach of the desk.\n\n> You go to the southeast\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\n> You look at the desk\nThe dark wood of the desk only serves to make the office more claustrophobic. Deep gouges run from the front of the desk to the back; close examination shows them to be fingernail-shaped. All of the desk drawers have been removed.\n\n> You examine the gouges\nGouges scar the once-pristine surface of the desk.\n\n> Exits\nYou can go southeast.\n\n> You examine the switch\nThe switch is currently off.\n\n> You look at the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 2:59.\n\n> You examine the ceiling\nIt looms above you.\n\n> You go to the southeast\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\n> Go north\nLike the foyer, the hallway is marble. Its two-story height\ncombined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\n> You examine the walkway\nThe walkway rings the hall on every side but the south, casting a shadow on the floor.\n\n> You examine doors\nsmall door: The closed door leads west.\nlarge wooden doors: The carved doors are made of oak and are twice your height. They stand slightly ajar, leaving enough room for you to enter.\n\n> You examine carvings\nYou peer closely at the door, but are unable to tell what the carving is of in the dim light.\n\n> Go east\nMetal shelves fill the hall; most are empty and many have succumbed\nto rust. The shelves that aren't empty hold broken shards of glass.\nThe archive continues to the south, and an exit leads west.\n\n> You look at the glass\nThe glass fragments run the gamut from large shards to fine, gritty powder.\n\n> You take the glass\nYou would most surely cut yourself.\n\n> You look at the shelves\nThe shelves cover the room, as if they had multiplied in the same manner coathangers are reputed to. They are covered in broken shards.\n\n> You go south\nfilling rack after rack of shelves, making it difficult to find a place to stand. The room continues to the north. Above the west exit is a clock; beside the exit is a light switch.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 2:25.\n\n> Wait\nTime passes...\n\n> You look at the boxes\nCardboard boxes, all taped shut. Each one has been labeled with a black magic marker.\n\n> You read the boxes\nYour eyes roam over their surfaces, taking in their titles. Many are labeled \"Memories\" with a range of dates following. A few are labeled \"Fragments.\" You feel an odd sense of disorientation as you stare at them.\n\n> Open boxes\nThe tape prevents you from opening the boxes.\n\n> You go west\n(Opening the small door)\nUtility Room\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door.\n\n> Exits\nYou can go east and down.\n\n> You look at the tank\nThe tank is old and somewhat rusty. An orange wire runs past it.\n\n> You touch the tank\nThe tank is cool."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel.\nIn the middle of the south wall is a heater.\nSitting on the tables are a rucksack and five balances.\nA man stands bent over the tables, jotting things down in a large notebook.\n\nAs your footsteps sound on the stairs, the man turns. He looks you over, one eyebrow quirking in surprise. \"Hello,\" he says. \"And here I thought I was the last one still around. I'm Frankie.\"\n\n> You ask Frankie about the balance\n\"Frankly, I don't know what they were for. One of the unsolved mysteries of this place.\"\n\n> You examine the balances\nSitting silent on the tables, the balances are all tarnished brass and pitted steel.\n\n> You look at the rucksack\nIt is made of heavy denim and looks well-used. The rucksack is open.\n\n> You get the sack\nI don't know the word \"t\".\n\nFrankie glances over at you as you pick up the rucksack. \"You can have it,\" he says. \"It'll do you more good than it will me.\"\n\n> You put all in the sack\nfool: Done.\nrucksack: You can't put the rucksack in itself!\n\n> You examine clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 10:02. Next to the clock is a light switch.\n\n> You ask Frankie about Frankie\nFrankie grins sardonically. \"I'm just an archaeologist, nothing more. My team and I were working on unearthing those,\" he gestures at the pile of spheres by the wall, \"until we got word of the avalanche.\"\n\n> You ask Frankie about the team\n\"I sent my team away when we heard about the avalanche. I couldn't ask them to put themselves in harm's way.\"\n\n> You ask Frankie about the avalanche\nFrankie says, \"When we heard about it yesterday, we all started rushing about, hither and yon, trying to finish our separate projects. The power going out didn't help things a bit.\" He sighs heavily. \"I only wish someone could have protected my project.\"\n\n> You ask Frankie about the project\n\"Why, the spheres,\" he says.\n\n> You examine the spheres\nThe spheres are smooth and translucent, glowing softly from within. Several are caked with mud and dirt, testimony to their recent location. They have been stacked in a tight-fitting pyramid. You feel a strange sense of deja vu as you gaze into them.\n\n> You touch the spheres\nYou reach your hand towards one of the spheres. As you draw nearer, a spark spits from the sphere, rushes up your arm, and then--\n\nDarkness, then light.\n\nYou see yourself, a brief memory of driving your father's car alone for the first time, Joe Walsh on the radio, hands ice-slick with the fear of wrecking, pulse pounding, the thrill of being in control--\n\nLight, then darkness.\n\nYou are thirteen, on a camping trip with friends, hiding in the dark, playing a game of flashlight tag, who will be the first to find you, or will you find the others first--\n\nWith a horrendous wrenching sensation you pull yourself away from the pile of spheres. You glance at Frankie but, absorbed in his notetaking, he has not noticed your momentary distress.\n\n> You tell Frankie about the spheres\nFrankie says, \"They were my project. Well, mine and some colleagues. They'd been buried near here for years.\" He gazes at the spheres for a minute, then at you. \"Makes you wonder why someone would go to all the trouble to bury them.\"\n\nOne of the spheres teeters, then rolls down the pile. It reaches the bottom and breaks, golden smoke issuing from it. As the shards of the sphere melt into the floor, the smoke begins coalescing, solidifying into a Welsh Corgi puppy who barks twice at you.\n\nFrankie glances at the puppy, then at you, smiling at something.\n\"Looks like you have a new pet,\" he says. \"I'd say the first order of business is to name him.\"\n\n> You name the dog bubbles\nYou may name something by using NAME OBJECT \"NEWNAME\".\n\n> You ask Frankie about the power\n\"We put too many demands on the building, tripped every breaker it had, one by one. Thing is, to restart the system you have to reset the breakers in the order in which they were tripped. Too much bother for us, considering our time limit, and what with the breakers being on the outside of the building and all.\"\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You ask Frankie about the wheels\nFrankie says, \"The wheels control the level of this room. I assume that they were installed to keep the balances...well, balanced.\"\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You look in the sack\nIn the rucksack you see a fool.\n\n> Exits\nYou can go up.\n\n> You look at the heater\nIt is an old-fashioned wood-burning heater, standing a few centimeters above the ground on metal legs. Heat pours from it in waves. Its most noticeable feature isn't: it has no smoke stack.\n\n> You look at the wheels\nsouth wheel: The spoked metal wheel has a handle at one point of its circumference.\neast wheel: The spoked metal wheel has a handle at one point of its circumference.\n\n> You examine the drain\nThe metal drain is a small circle with a grate about ten centimeters in diameter.\n\n> You open the grate\nI don't know how to open the metal drain.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Pet Bubbles\nYou pet Bubbles, whose tail wags mightily in response.\n\n> You go north\nBubbles looks at you quizically, head cocked to one side.\n\n> You fetch the sphere\nBubbles looks at you quizically, head cocked to one side.\n\nBubbles curls up in a small ball, resting.\n\n> You take Bubbles\nBubbles gives you a sidelong look. As your hands close around the dog, it swirls like smoke, solidifying just out of your reach.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Go upwards\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door.\n\nBubbles comes trotting after you.\n\n> You go to the east\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\nBubbles comes trotting after you.\n\n> Go north\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the desk at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar. To one side of the two doors is a light switch.\n\nBubbles comes trotting after you.\n\n> Exits\nYou can go south and east."
    },
    {
        "text": "> You look around\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the desk at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar. To one side of the two doors is a light switch.\nBubbles is wandering around, sniffing at things.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 1:43.\n\n> You look at benches\nThey stand to either side of the hall, lined in rows running from east to west. They stop short of the desk, leaving several meters of clear floor.\n\n> You examine the desk\nMore lectern than desk, it is slightly elevated. There is space behind it, presumably for a large chair, and it commands an excellent view of the entire room.\n\n> You stand behind the desk\nYou step behind the desk.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look under the benches\nThere's nothing under the benches.\n\nBubbles curls up in a small ball, resting.\n\n> You examine the balcony\nThe balcony stands above you, covering one-third of the hall.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You go to the east\nSmall and comfortable after the audience hall, a retreat for whoever once presided to the west. A coatrack, chair, and desk fill the room without crowding it.\nHanging from the coatrack are a pair of gloves and a thin coat.\n\nBubbles comes trotting after you.\n\n> You get the coat\nTaken.\n\n> You wear the gloves\nOkay, you're now wearing the heavy gloves.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the coat\nThe coat is thin, more of a windbreaker than a coat. White stitching runs down its arms and sides.\n\n> You examine the stitching\nIt runs down the coat's arms and sides. It has begun to unravel.\n\n> You look in the coat\nNot while you're wearing the coat.\n\n> You pull the stitching\nYou give the stitching a good tug and feel it give slightly.\n\n> Rip stitching\nThe stitching gives further, causing the coat to gape.\n\nBubbles wanders away.\n\n> Rip stitching\nWith a final rip, the stitching tears completely free, leaving only scraps behind.\n\n> You look at the scraps\nDespite their origin, the scraps now could barely cover one of your arms.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You take the scraps\nYou already have some scraps!\n\n> Inventory\nYou have a rucksack, a thin coat, and a pair of gloves (being worn). The rucksack seems to contain a fool.\n\n> You look in the rucksack\nIn the rucksack you see a fool.\n\n> You examine coat\nThe coat is thin, more of a windbreaker than a coat. White stitching runs down its arms and sides.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the desk\nIt is large without being overwhelming. An air of disuse hangs about it. Set into its surface are a clock and a radio.\n\n> You examine the clock\nIts tiny face is turned towards the plush chair, its base affixed to the desk's surface. It has stopped at 1:18.\n\n> You examine the radio\nThe radio is softly playing music. Its only control is a knob on its face.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look at the knob\nThe radio is softly playing music. Its only control is a knob on its face.\n\n> You turn knob\nYou turn the knob, expecting to hear the radio traverse several radio stations. Instead, the same song plays continuously, never deviating."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nSmall and comfortable after the audience hall, a retreat for whoever once presided to the west. A coatrack, chair, and desk fill the room without crowding it.\nBubbles is wandering around, sniffing at things.\n\n> You look at the chair\nThe plush chair sits behind the desk.\n\n> Go west\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the desk at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar. To one side of the two doors is a light switch.\n\nBubbles comes trotting after you.\n\n> Go south\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\nBubbles comes trotting after you.\n\n> Go northeast\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\nBubbles comes trotting after you.\n\n> You examine staircase\nThe staircase curves as it falls to the floor below.\n\nBubbles wanders away.\n\n> Go south\nfoyer. There is a doorway to the east; the walkway continues to the north.\n\n> You go to the east\nThe library is a dimly-lit backwards L curving around the end of the building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\n\n> You examine sentinel\nA dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. Its arms are straight at its sides.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 10:58.\n\n> Examine books\nThe books resemble case histories from a law library: leather binding, small type on their spines.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You read books\nYou pull one off a shelf at random and open it. You read of a dilemma, arguments pro and con, and then of the final decision. As you replace the book, you realize that the entire episode seems oddly familiar.\n\n> Exits\nYou can go west.\n\n> You look at the shelves\nThey are stacked back to back in rows running around the room."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThe library is a dimly-lit backwards L curving around the end of the building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\nBubbles is wandering around, sniffing at things.\n\n> You search the shelves\nDon't worry about the wooden shelves.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Kiss sentinel\nBleah.\n\n> You turn on the switch\nYou turn on the switch, but nothing happens.\n\nBubbles curls up in a small ball, resting.\n\n> You take the books\nYou wouldn't know where to begin.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You read books\nYou pull one off a shelf at random and open it. You read of a dilemma, arguments pro and con, and then of the final decision. As you replace the book, you realize that the entire episode seems oddly familiar.\n\n> Go west\nfoyer. There is a doorway to the east; the walkway continues to the north.\n\nBubbles comes trotting after you.\n\n> You go north\nThe walkway curves to the west; you follow it.\n\nThe walkway is just wide enough to accomodate two people turned sideways. Below you spreads the hallway. There is a gaping doorway to the north.\n\nBubbles comes trotting after you.\n\n> You go to the north\nYou have an excellent view of the audience hall from the balcony. Benches, which would look somber from the floor below, look forlorn from here. Metal bolts in the floor indicate where benches once stood.\n\nBubbles comes trotting after you.\n\n> You examine the bolts\nThe metal bolts stud the balcony, making for treacherous footing.\nTheir spacing and uniformity mark the outlines of the benches they once held.\n\nBubbles wanders away.\n\n> Exits\nYou can go south.\n\n> Go south\nThe walkway is just wide enough to accomodate two people turned sideways. Below you spreads the hallway. There is a gaping doorway to the north.\n\n> Go west\nThe walkway bends to the south; you follow it.\n\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. A closed door is to the west. Above the door is a clock.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 11:30.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You open the door\nOpened.\n\n> You examine the door\nThe open door leads west.\n\n> You go to the west\nThe tiny closet is dank and has a strange smell. It is unfinished;\nin many places unadorned sheetrock and insulation show. The only light in the room comes from the open door to the east. Above you hang a bare bulb and a pull cord.\n\nBubbles comes trotting after you.\n\n> You pull the cord\nYou give the cord a firm tug and are rewarded with a click from the lightbulb. Nothing else happens.\n\nBubbles curls up in a small ball, resting.\n\n> You examine the lightbulb\nThe bare bulb hangs above you.\n\nBubbles wanders away.\n\n> You examine the insulation\nPink and fluffy, it pokes from spots in the closet.\n\n> You take the insulation\nYou rip off a tuft of the insulation.\n\n> Inventory\nYou have a rucksack, a thin coat, a pair of gloves (being worn), and a tuft of insulation. The rucksack seems to contain a fool.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You pull the stitching\nYou give the stitching a good tug and feel it give slightly.\n\n> You put the insulation in the stitching\nYou can't put anything into the white stitching.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You pull the stitching\nThe stitching gives further, causing the coat to gape.\n\n> You put the insulation in the coat\nDone.\n\n> You look at the coat\nThe coat is thin, more of a windbreaker than a coat. Its white stitching is torn, leaving it open like a huge sack. Stuffed inside the coat you see a tuft of insulation.\n\n> Wear coat\nAs you wear the coat you feel the insulation inside crackling. The coat is somewhat warm.\n\n> You examine sheetrock\nIt has been haphazardly applied to the studs behind it.\n\n> You move it\nYou can't move the sheetrock.\n\nBubbles curls up in a small ball, resting.\n\n> You get the insulation\nYou rip off a tuft of the insulation.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You put insulation in the coat\nNot while you're wearing the coat.\n\n> You put the insulation in the coat\nDone.\n\n> You examine the coat\nThe coat is thin, more of a windbreaker than a coat. Its white stitching is torn, leaving it open like a huge sack. Stuffed inside the coat you see two tufts of insulation.\n\n> Wear coat\nAs you wear the coat you feel the insulation inside crackling. The coat is somewhat warm.\n\n> You remove the coat\nOkay, you're no longer wearing the thin coat.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You go to the east\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\nBubbles comes trotting after you.\n\n> You go south\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\nBubbles comes trotting after you.\n\n> You go to the west\nRows of filing cabinets divide the room into sections. Metal rises from floor to ceiling. Drawer after drawer stare at you, none of them labelled. The exit to the east is barely visible due to the metal sentinel partially blocking it. The clock above the exit, however, is plainly visible from anywhere in the room, a feat which is nothing short of miraculous.\n\nBubbles comes trotting after you.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 11:07.\n\n> Exits\nYou can go east.\n\n> You look at the sentinel\nA dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. Its arms are straight at its sides.\n\n> You look at the cabinets\nThe sheer number of filing cabinets boggles the mind.\n\n> You open the cabinet\nYou try several cabinet drawers. All are locked.\n\nBubbles wanders away.\n\n> Go east\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\n> You go north\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You go south\nLike the foyer, the hallway is marble. Its two-story height\ncombined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\nBubbles comes trotting after you.\n\n> Go south\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\nBubbles comes trotting after you.\n\n> Wear coat\nAs you wear the coat you feel the insulation inside crackling. The coat is somewhat warm.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Go south\nBubbles begins barking at you fiercely, dancing in front of you and impeding your progress. You nearly have to jump over Bubbles to get past, at which point it lies on the floor, staring mournfully at you as you leave.\n\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\nThe coat offers limited protection from the wind.\n\n> Go north\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\nBubbles is lying on the ground, waiting for you.\n\nBubbles sees you and jumps up, barking loudly at your return.\n\n> Go upwards\nYou can go up to the northeast or to the northwest.\n\nBubbles wanders away.\n\n> Go northwest\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\n> Go west\nThe tiny closet is dank and has a strange smell. It is unfinished;\nin many places unadorned sheetrock and insulation show. The only light in the room comes from the open door to the east. Above you hang a bare bulb and a pull cord.\n\n> You take the insulation\nYou rip off a tuft of the insulation.\n\n> You remove the coat\nOkay, you're no longer wearing the thin coat.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You put the tuft in the coat\nDone.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You take the insulation\nWhich insulation do you mean, the tuft of insulation, or the mass of insulation?\n\n> You look in the coat\nIn the thin coat you see three tufts of insulation.\n\n> Wear coat\nAs you wear the coat you feel the insulation inside crackling. The coat is very warm.\n\n> Go south\nBubbles begins barking at your rucksack, leaping off the ground in an effort to grab hold of it before you leave. Your momentum, however, carries you out the door before Bubbles is successful.\n\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\nThe wind beats futilely against your now-warm coat.\n\n> Go north\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\nBubbles is lying on the ground, waiting for you.\n\nBubbles sees you and jumps up, barking loudly at your return.\n\n> You check your inventory\nYou have a rucksack, a thin coat (being worn), a pair of gloves (being worn), and a tuft of insulation. The rucksack seems to contain a fool.\n\n> North\nBubbles looks at you quizically, head cocked to one side.\n\n> You take the dog\nBubbles gives you a sidelong look. As your hands close around the dog, it swirls like smoke, solidifying just out of your reach.\n\nBubbles wanders away.\n\n> You drop the rucksack\nDropped.\n\n> You get the rucksack\nTaken.\n\n> Go north\nLike the foyer, the hallway is marble. Its two-story height\ncombined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You give the sack to Bubbles\nYou place the rucksack on the ground next to Bubbles. The dog proceeds to wriggle under the rucksack, then stand.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the rucksack\nIt is made of heavy denim and looks well-used. The rucksack is open and seems to contain a fool.\n\n> You examine Bubbles\nBubbles resembles a corgi. In fact, it looks like the corgi you begged your father for when you were eight. It walks around on short legs, very much a young puppy. It is wearing the rucksack.\n\n> Go south\nBubbles lies down on the floor, waiting for you to return. It places its paws protectively over the rucksack it is guarding.\n\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\nThe wind beats futilely against your coat.\n\n> Go north\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\nBubbles is lying on the ground, waiting for you.\n\nBubbles sees you and jumps up, barking loudly at your return.\n\n> You put the tuft in the rucksack\nDone.\n\n> You put Bubbles in the sack\nYou can't put Bubbles anywhere.\n\nBubbles wanders away.\n\n> Wait\nTime passes...\n\n> You take rucksack\nTaken.\n\nBubbles wanders away.\n\n> You go to the south\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\n> You follow Bubbles\nBut Bubbles is right here!\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You get them\nmuddy footprints: Don't worry about the muddy footprints.\n\n> Go northwest\nShadows crowd the room, strengthened by the unlit ceiling light\nwhich is canted at a strange angle. A scarred mahogany desk is crammed into one corner of the room, facing the doorway and the clock above it. The room is small enough that the light switch beside the door is within arms reach of the desk.\n\nBubbles comes trotting after you.\n\n> You look at the shadows\nThey fill the room. Opaque...no shadows should be so thick.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the light\nIt is tilted at an angle, as if someone once tried to pull it down. It vibrates in time to some unheard syncopated beat.\n\n> You pull light\nIt's too far away.\n\n> You look at the clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 2:59.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You pull light\nDespite its precarious-looking hold on the ceiling, you are unable to tear it down.\n\n> You check your inventory\nYou have a thin coat (being worn) and a pair of gloves (being worn).\n\n> You examine ceiling\nIt is tilted at an angle, as if someone once tried to pull it down. It vibrates in time to some unheard syncopated beat.\n\nBubbles wanders away.\n\n> You feel them\ngouges: Even in the gloves your fingers fit neatly in the gouges.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You look under the desk\nThere's nothing under the mahogany desk.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Search sack\nIn the rucksack you see a fool and a tuft of insulation.\n\n> You look at what you're carrying with you\nYou have a thin coat (being worn), a pair of gloves (being worn), and a rucksack. The rucksack seems to contain a fool and a tuft of insulation."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nShadows crowd the room, strengthened by the unlit ceiling light\nwhich is canted at a strange angle. A scarred mahogany desk is crammed into one corner of the room, facing the doorway and the clock above it. The room is small enough that the light switch beside the door is within arms reach of the desk.\nBubbles is wandering around, sniffing at things.\n\n> Switch\nWhat do you want to switch?\n\n> You examine the switch\nThe switch is currently on.\n\n> You switch it\nYou turn on the switch, but nothing happens.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Exits\nYou can go southeast.\n\n> You examine the floor\nIt lies beneath you.\n\n> You examine the walkway\nThe walkway rings the hall on every side but the south, casting a shadow on the floor.\n\n> You examine the shadow\nIt is cast by the walkway above. Opaque...no shadow should be so thick.\n\n> Go upwards\nYou can't go that way.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look at the doorway\nThe doorway is on the east wall.\n\n> You go east\nfilling rack after rack of shelves, making it difficult to find a place to stand. The room continues to the north. Above the west exit is a clock; beside the exit is a light switch.\n\nBubbles comes trotting after you.\n\n> You examine the light\nThey are cold and dark.\n\n> You stand\nYou're already standing!\n\n> You read the boxes\nYour eyes roam over their surfaces, taking in their titles. Many are labeled \"Memories\" with a range of dates following. A few are labeled \"Fragments.\" You feel an odd sense of disorientation as you stare at them.\n\nBubbles curls up in a small ball, resting.\n\n> You read the boxes\nYour eyes roam over their surfaces, taking in their titles. Many are labeled \"Memories\" with a range of dates following. A few are labeled \"Fragments.\" You feel an odd sense of disorientation as you stare at them.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Open boxes\nThe tape prevents you from opening the boxes.\n\n> You examine the tape\nStrong grey tape, covering every open flap of the boxes.\n\n> You move the boxes\nYou can't move the cardboard boxes.\n\nBubbles curls up in a small ball, resting.\n\n> You look behind the boxes\nThere's nothing behind the cardboard boxes.\n\nBubbles wanders away.\n\n> You go north\nMetal shelves fill the hall; most are empty and many have succumbed\nto rust. The shelves that aren't empty hold broken shards of glass.\nThe archive continues to the south, and an exit leads west.\n\n> You look at the shelves\nThe shelves cover the room, as if they had multiplied in the same manner coathangers are reputed to. They are covered in broken shards.\n\n> You break the shelves\nDon't worry about the metal shelves.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You examine the shards\nThe glass fragments run the gamut from large shards to fine, gritty powder.\n\n> You search the shelves\nDon't worry about the metal shelves.\n\nBubbles curls up in a small ball, resting.\n\n> You move the shelves\nDon't worry about the metal shelves.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You get the shards\nThough the gloves protect your hands, they render your fingers too clumsy to pick up the shards.\n\n> Exits\nYou can go south and west.\n\n> You look at the doors\nsmall door: The open door leads west.\nlarge wooden doors: The carved doors are made of oak and are twice your height. They stand slightly ajar, leaving enough room for you to enter.\n\n> You look at the windows\nThe narrow windows are set just below the ceiling. Grey light from outside spills through them.\n\n> You examine the staircases\nnorthwest staircase: The staircase curves as it climbs to the walkway above.\nnortheast staircase: The staircase curves as it climbs to the walkway above.\n\n> You look at carving\nYou peer closely at the door, but are unable to tell what the carving is of in the dim light.\n\n> You open large doors\nThe doors have frozen in position over time. You cannot budge them.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You open the window\nThey're too far away.\n\n> You look at the cobwebs\nThe cobwebs are draped over every imaginable surface.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look at the tank\nThe tank is old and somewhat rusty. An orange wire runs past it.\n\n> You examine the stairs\nThe stairs lead down.\n\n> You get the wire\nDon't worry about the orange cable.\n\nBubbles curls up in a small ball, resting.\n\n> You open tank\nI don't know how to open the hot-water tank.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You feel the tank\nThe tank is cool."
    },
    {
        "text": "> Go downward\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\n\nBubbles comes trotting after you.\n\n> You examine the windows\nThe stairs lead up.\n\nThe windows are barely ten centimeters tall and are nearly flush with the ceiling. They are much thicker than you would expect, almost like the glass found on submersibles.\n\n> You examine the tables\nThe tables line the north and west walls. On them you see five balances.\n\nOut of the corner of your eye you notice something under the tables.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 10:02. Next to the clock is a light switch.\n\n> You open the window\nThey're too far away.\n\n> You look under the tables\nUnder the tables you see a junction box.\n\n> You look at the box\nThe junction box has a wire running out of it and a large knife switch on its side. The switch is currently off.\n\n> You look at the wire\nThe wire is large and sheathed in orange. It runs from the box into the northeast corner of the wall.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You examine the switch\nWhich switch do you mean, the light switch, or the junction box?\n\n> You switch it\nYou push the large knife switch up. When you release it, however, it slides back to its original position. \"Don't waste your time with that,\" Frankie tells you. \"It won't work without power.\"\n\n> You ask Frankie about the box\nFrankie asks, \"Which box do you mean, the cardboard boxes, or the junction box?\"\n\n> Junction\nFrankie says, \"It supposedly powers the fence on the hill above us.\"\nHe shrugs. \"I've never seen it working.\"\n\n> You ask Frankie about the cardboard boxes\nFrankie says, \"Another group was working on those, but they never could get them open. Judging from the shards near them, they probably held some of these spheres.\"\n\nBubbles wanders away.\n\n> You ask Frankie about the fence\nFrankie shrugs. \"It was on our to-do list. Too bad we never got around to it: it could have protected us from the avalanche.\"\n\n> You ask Frankie about the list\nFrankie says, \"I think I could use it in my research.\"\n\n> You ask Frankie about the shards\nFrankie says, \"I'm afraid I won't be much help with that.\"\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You ask Frankie about the snow\n\"Here already? The avalanche can't be far behind.\"\n\n> You ask Frankie about the spheres\nFrankie says, \"This isn't a good time for repeat questions.\"\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You ask Frankie about Bubbles\nFrankie shrugs. \"You've got me.\"\n\n> You ask Frankie about yourself\nFrankie shrugs. \"I'd never seen you before you walked down the stairs.\""
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\nBubbles is wandering around, sniffing at things.\n\n> You examine the drain\nThe metal drain is a small circle with a grate about ten centimeters in diameter.\n\n> You examine clock\nA white-faced clock with numbers and black hands, hands which stand frozen at 10:02. Next to the clock is a light switch.\n\n> You open the drain\nI don't know how to open the metal drain.\n\nBubbles curls up in a small ball, resting.\n\n> You look in the drain\nThere's nothing in the metal drain.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You turn east wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the north side of the room is higher than it was, the south side lower."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\nBubbles is wandering around, sniffing at things.\n\nBubbles wanders away.\n\n> You examine the balances\nSitting silent on the tables, the balances are all tarnished brass and pitted steel.\n\n> You examine spheres\nThe spheres are smooth and translucent, glowing softly from within. Several are caked with mud and dirt, testimony to their recent location. They have been stacked in a tight-fitting pyramid. You feel a strange sense of deja vu as you gaze into them.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You take the bubble\nBubbles gives you a sidelong look. As your hands close around the dog, it swirls like smoke, solidifying just out of your reach.\n\n> You touch spheres\nAgain you reach for the spheres, but cannot draw close. The rush of memories triggered by the spheres was overwhelming the first time.\n\n> You take the balance\nDon't worry about the five balances.\n\nBubbles curls up in a small ball, resting.\n\n> You hit the sphere\nThat would accomplish nothing.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You look at the heater\nIt is an old-fashioned wood-burning heater, standing a few centimeters above the ground on metal legs. Heat pours from it in waves. Its most noticeable feature isn't: it has no smoke stack.\n\n> You touch the heater\nThe outside is quite warm in places, scalding in others.\n\n> You get it\nIt is much too heavy."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\nBubbles is wandering around, sniffing at things.\n\n> You examine Frankie\nFrankie is of middling height, with tousled hair and a sandy brown mustache. He carries a notebook and a sphere. Resting in his shirt pocket are a pair of sunglasses.\n\n> You turn east wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the north side of the room is higher than it was, the south side lower.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine notebook\nA spiral-bound notebook, dog-eared and worn. You catch occasional glimpses of pages filled with small writing.\n\n> You examine the sunglasses\nCheap. Black. Plastic.\n\n> You ask Frankie about the glasses\nHe glances at the sunglasses. \"For outside.\"\n\n> You ask Frankie for the glasses\nFrankie snaps his fingers. \"You know, I'd really appreciate it if you'd do me a favor.\" He holds up one of the spheres. \"I've had trouble cataloguing this one. Information's available upstairs, but I'd lose too much time if I searched for it myself. Would you mind terribly?\" Frankie puts the light sphere in your hands before you can answer, then picks up another sphere from the pile.\n\n> You look at the sphere\nWhich sphere do you mean, the light sphere, or the pile of spheres?\n\n> Light\nA translucent sphere, about the size of an apple.\n\nSomething half-remembered intrudes on your thoughts, then is gone.\n\n> You put it on the balances\nDon't worry about the five balances.\n\nBubbles wanders away.\n\n> You check your inventory\nYou have a thin coat (being worn), a pair of gloves (being worn), a rucksack, and a light sphere. The rucksack seems to contain a fool and a tuft of insulation.\n\nA birthday party. You remember a birthday party, although you're not sure whose it was.\n\n> You get the glasses\nFrankie snaps, \"If you want something, why don't you ask for it?\" He then sighs heavily. \"Sorry. I didn't mean to yell.\"\n\n> You ask Frankie for the glasses\n\"I told you, I'll help you if you help me.\" Frankie grins.\n\n> Light\nYou crack the sphere in your hands. A cloud rises from it, a vaguely-familiar smell. The shards evaporate.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Inventory\nYou have a thin coat (being worn), a pair of gloves (being worn), a rucksack, and a light sphere. The rucksack seems to contain a fool and a tuft of insulation.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You kill Frankie\nAs you prepare to attack Frankie, he turns and fixes you with a gimlet glare. \"Now, now,\" he says softly.\n\n> You examine staircase\nThe staircase curves as it falls to the floor below.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Go east\nThe library is a dimly-lit backwards L curving around the end of the building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\n\nBubbles comes trotting after you.\n\n> You look at the shelves\nThey are stacked back to back in rows running around the room.\n\n> Examine books\nThe books resemble case histories from a law library: leather binding, small type on their spines.\n\n> You look at the sentinel\nA dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. Its arms are straight at its sides.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Hi\nYou have lost your mind.\n\n> You examine the arms\nMetal hands, held at the sides of the statue. The arms to which the hands belong are hinged at the elbow.\n\n> You show the sphere to the sentinel\nThe sentinel isn't impressed.\n\nBubbles wanders away.\n\n> You turn the arms\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\nI don't know the word \"bend\".\n\nAfter a bout of experimentation you discover that you can raise and lower the sentinel's hands.\n\n> You raise the hands\nYou pull the sentinel's arms, which slowly move up. As they do they come together, until the hands are held cupped in front of the statue.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You put the sphere in the hands\nYou place the light sphere in the sentinel's hands. One of the books on the shelves slides out and falls on the floor. The other books close in, eliminating the space left by the defector.\n\n> You get the book\nWhich book do you mean, the shelved books, or the single book?\n\n> You examine it\nA large, leather-bound volume with the title \"Attendance 27914414.\"\n\n> You read it\nA long, boring list of back-and-forth arguments about attending a party whose purpose is shrouded in jargon.\n\n> You look at the shelved books\nThe books resemble case histories from a law library: leather binding, small type on their spines.\n\n> You search them\nshelved books: You find nothing of interest.\n\n> You get them\nshelved books: You wouldn't know where to begin.\n\nBubbles wanders away.\n\n> You read them\nshelved books: You pull one off a shelf at random and open it. You read of a dilemma, arguments pro and con, and then of the final decision. As you replace the book, you realize that the entire episode seems oddly familiar.\n\n> Go north\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go down\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You go to the west\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door.\n\nBubbles comes trotting after you.\n\n> You go to the east\nThe library is a dimly-lit backwards L curving around the end of the building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\nIn the sentinel's hands you see a light sphere.\n\nBubbles comes trotting after you.\n\n> You put it in the hands\nYou place the light sphere in the sentinel's hands.\n\n> You go north\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Go east\nThe walkway bends to the south; you follow it.\n\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\nBubbles comes trotting after you.\n\n> Go west\nThe walkway bends to the south; you follow it.\n\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\nBubbles comes trotting after you.\n\n> You go south\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\nBubbles comes trotting after you.\n\n> You go to the west\nRows of filing cabinets divide the room into sections. Metal rises from floor to ceiling. Drawer after drawer stare at you, none of them labelled. The exit to the east is barely visible due to the metal sentinel partially blocking it. The clock above the exit, however, is plainly visible from anywhere in the room, a feat which is nothing short of miraculous.\n\nBubbles comes trotting after you.\n\n> You look at the cabinets\nThe sheer number of filing cabinets boggles the mind.\n\nBubbles wanders away.\n\n> You open the cabinets\nYou try several cabinet drawers. All are locked.\n\n> You raise the arms\nYou pull the sentinel's arms, which slowly move up. As they do they come together, until the hands are held cupped in front of the statue.\n\n> You open the drawers\nYou try several cabinet drawers. All are locked.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You put the sphere in the hands\nYou place the light sphere in the sentinel's hands. A drawer in one of the cabinets silently opens.\n\n> You examine the drawer\nWhich drawer do you mean, the cabinet drawers, or the open drawer?\n\n> You open\nAn open cabinet drawer. In the drawer you see a long list.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You look at the list\nThe list is printed on a stack of fanfold paper almost five centimeters thick. On the top sheet is the number \"27914414.\" Below it are a list of words and numbers: \"cake 739424  games 598384\" and so on.\n\n> You put the list in the hands\nYou place the long list in the sentinel's hands."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nRows of filing cabinets divide the room into sections. Metal rises from floor to ceiling. Drawer after drawer stare at you, none of them labelled, one of them open. The exit to the east is barely visible due to the metal sentinel partially blocking it. The clock above the exit, however, is plainly visible from anywhere in the room, a feat which is nothing short of miraculous.\nBubbles is wandering around, sniffing at things.\n\nBubbles curls up in a small ball, resting.\n\n> Exits\nYou can go east.\n\n> You go to the north\nThe walkway curves to the east; you follow it.\n\nThe walkway is just wide enough to accomodate two people turned sideways. Below you spreads the hallway. There is a gaping doorway to the north.\n\nBubbles comes trotting after you.\n\n> You go to the north\nYou have an excellent view of the audience hall from the balcony. Benches, which would look somber from the floor below, look forlorn from here. Metal bolts in the floor indicate where benches once stood.\n\nBubbles comes trotting after you.\n\n> You examine the hall\nThe benches and desk look forlorn from this height.\n\nBubbles curls up in a small ball, resting.\n\n> You examine the benches\nThey stand to either side of the hall, lined in rows running from east to west. They stop short of the desk, leaving several meters of clear floor.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You look at the bolts\nThe metal bolts stud the balcony, making for treacherous footing.\nTheir spacing and uniformity mark the outlines of the benches they once held.\n\n> You look at the balcony\nThe balcony stands above you, covering one-third of the hall.\n\n> You jump\nYour mild fear of heights overcomes the urge.\n\n> Exits\nYou can go south."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nYou have an excellent view of the audience hall from the balcony. Benches, which would look somber from the floor below, look forlorn from here. Metal bolts in the floor indicate where benches once stood. Bubbles is wandering around, sniffing at things.\n\n> Go south\nThe walkway is just wide enough to accomodate two people turned sideways. Below you spreads the hallway. There is a gaping doorway to the north.\n\nBubbles comes trotting after you."
    },
    {
        "text": "[Themes: Surreal]\n\n> You go down\nYou can't go that way.\n\nBubbles curls up in a small ball, resting."
    },
    {
        "text": "> You go downward\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel. The floor slopes noticeably towards the south.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\n\nBubbles comes trotting after you.\n\n> You give the list to Frankie\nFrankie grins. \"Thanks! I think there's more to be found out about that sphere; see what you can find, if you will.\"\n\nBubbles curls up in a small ball, resting.\n\n> You give the book to Frankie\nFrankie grins. \"Thanks! I think that does it.\" Frankie takes his sunglasses out of his pocket. \"As promised,\" he says as he hands them to you.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You put them on Bubbles\nsunglasses: Bubbles has no real way of taking that.\n\n> You wear the glasses\nEverything becomes a little dimmer as you put on the sunglasses.\n\n> You check what you're carrying\nYou have a thin coat (being worn), a pair of gloves (being worn), a rucksack, a light sphere, and a pair of sunglasses (being worn). The rucksack seems to contain a fool and a tuft of insulation."
    },
    {
        "text": "> You look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner is a tiny drain; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel. The floor slopes noticeably towards the south.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging.\nBubbles is wandering around, sniffing at things.\n\nBubbles wanders away.\n\n> Go up\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door.\n\n> Go east\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\n> You go south\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You put the sack on Bubbles\nYou place the rucksack on the ground next to Bubbles. The dog proceeds to wriggle under the rucksack, then stand.\n\n> You go south\nBubbles lies down on the floor, waiting for you to return. It places its paws protectively over the rucksack it is guarding.\n\nThe building to the north is now covered with snow. Under your feet\nit squeaks with the sound of deep-seated ice. To the northeast and northwest the snow is somewhat thinner, due to the building's protection. Pressed down in the ice and snow are tracks of footprints.\n\nThe wind beats futilely against your coat.\n\n> You wear glasses\nYou're already wearing the sunglasses.\n\n> You look at the snow\nThe snow covers everything you see in a fine layer of white. It looks to have been falling for hours.\n\n> Go northwest\nTo the east, the building glitters in the sun. A wind-swept path\nruns north and south.\n\n> You examine the building\nThe building's white marble is now covered with snow. Only a few discolored trails indicate where rain recently sluiced over its surface.\n\n> You go north\nThe hill undulates, then rises steeply to the north. A path leads south past the building. A dark line running northeast to southwest mars the pristine white of the ground.\n\n> Exits\nYou can go south and east.\n\n> You examine the line\nYou peer down into the dark line and discover a mottled wooden fence lying flat in its depths.\n\n> You examine the fence\nThe fence runs northeast to southwest. It looks to be intact despite the weather. Tied to the fence is a rope.\n\n> You examine the rope\nHemp fibers twisted around each other. It is tied to the wooden fence.\n\n> You pull it\nYou give the rope a good tug. The wooden fence goes nowhere.\n\n> You untie the rope\nYou untie the rope.\n\n> You look at the rope\nHemp fibers twisted around each other.\n\n> Go east\nbuilding to the south. A thin path of less-deep snow runs east and west.\n\n> You go south\nYou gently run into the building.\n\n> Go east\nTo the north, the ground suddenly rises into tree-speckled heights.\nTo the south, the building's shape breaks the smooth white carpet of the ground. Partially buried in the snow is a large post.\n\n> Examine post\nIts square outline thrusts skywards from the snow. A dark line in the snow runs beside it, northwest to southeast. From the line a cable issues. The cable's twin dangles from the post, then scurries down its length and into the snow on the side of the post opposite the line.\n\n> You look at the cables\nlower cable: It runs from somewhere in the line in the snow to about thirty centimeters above the snow. Its end is frayed, showing bare wire.\nupper cable: It begins partway up the post and is lashed to it. The cable runs over the top of the post, down the other side, then plunges into the snow, heading towards the building. Some of its orange insulation has been stripped, leaving behind a section of bare wire.\n\n> You pull the cable\nWhich cable do you mean, the lower cable, or the upper cable?\n\n> Lower\nThe cable stretches, but remains attached to the fence. When you let go, it relaxes to its former length.\n\n> You pull upper\nIt is too tightly lashed to the post: it goes nowhere.\n\n> You tie upper to lower\nThe two cables are too short to reach each other.\n\n> Dig\nWhat do you want to dig in?\n\n> You examine the line\nYou peer down into the dark line and discover a mottled wooden fence lying flat in its depths.\n\n> You look at the fence\nThe fence runs northwest to southeast. It looks to be intact despite the weather. From somewhere near the bottom of it, buried deep, a cable runs.\n\n> Examine post\nIts square outline thrusts skywards from the snow. A dark line in the snow runs beside it, northwest to southeast. From the line a cable issues. The cable's twin dangles from the post, then scurries down its length and into the snow on the side of the post opposite the line.\n\n> You examine the upper cable\nIt begins partway up the post and is lashed to it. The cable runs over the top of the post, down the other side, then plunges into the snow, heading towards the building. Some of its orange insulation has been stripped, leaving behind a section of bare wire.\n\n> You go to the south\nThe building looms to the west, shadowing the path which leads north and south.\nSomething on the building catches your eye.\n\nThe air just above you begins shimmering. From the disturbance falls a smallish cube.\n\n> You look at the cube\nA wooden cube, about four centimeters on an edge. Its surface is remarkably polished.\n\n> You get it\nSomething inside the cube softly clicks. Its walls slide open, then flat, and it begins glowing with a warm light. A masculine voice drifts from the cube, saying, \"I'm going to try removing the IV. Prep exam room two; I'll round up equipment. Turn the monitors up so we'll hear if anything goes wrong.\" Then the cube is gone.\n\n> You look at the building\nThe building's white marble is now covered with snow. Only a few discolored trails indicate where rain recently sluiced over its surface. Bolted to its side is a grey box.\n\n> You open the box\nOpening the box reveals a row of breakers and a list.\n\n> You look at the list\n1: Box Office                 5: Archives\n2: Balance Room               6: Filing Office\n3: Audience Hall              7: Storage Closet\n4: Preparatory Room           8: Library\n\n> You examine breakers\nThere are eight breakers, arranged in two rows of four.\n[You may refer to the individual breakers by \" breaker\" or\nsimply by their number.]\n\n> Flip 2\nYou flip the breaker on with a satisfying click."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nThe building looms to the west, shadowing the path which leads north and south.\nOn the side of the building is a grey box.\n\n> You go south\nThe building to the north is now covered with snow. Under your feet\nit squeaks with the sound of deep-seated ice. To the northeast and northwest the snow is somewhat thinner, due to the building's protection. Pressed down in the ice and snow are tracks of footprints.\n\n> Go northeast\nThe building looms to the west, shadowing the path which leads north and south. Pressed down in the snow are tracks of footprints.\nOn the side of the building is a grey box.\n\n> You go northwest\nShadows crowd the room, barely dimmed by the lit ceiling light which\nis canted at a strange angle. A scarred mahogany desk is crammed into one corner of the room, facing the doorway and the clock above it. The room is small enough that the light switch beside the door is within arms reach of the desk.\n\nBubbles comes trotting after you.\n\n> You turn on switch\nIt's already turned on!\n\nBubbles curls up in a small ball, resting.\n\n> You look at the light\nIt is tilted at an angle, as if someone once tried to pull it down. It vibrates in time to some unheard syncopated beat, sending shards of light dancing on the floor.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the floor\nIt lies beneath you.\n\n> You look at the light\nYou're already on the desk.\n\nIt is tilted at an angle, as if someone once tried to pull it down. It vibrates in time to some unheard syncopated beat, sending shards of light dancing on the floor.\n\n> You search it\nYou find nothing of interest.\n\nBubbles comes over, sniffs at your legs, then wanders off again."
    },
    {
        "text": "> Look around\nCramped Office, on the mahogany desk\nShadows crowd the room, barely dimmed by the lit ceiling light which\nis canted at a strange angle. A scarred mahogany desk is crammed into one corner of the room, facing the doorway and the clock above it. The room is small enough that the light switch beside the door is within arms reach of the desk.\nBubbles is wandering around, sniffing at things.\n\n> You examine the desk\nThe dark wood of the desk only serves to make the office more claustrophobic. Deep gouges run from the front of the desk to the back; close examination shows them to be fingernail-shaped. All of the desk drawers have been removed.\n\nBubbles curls up in a small ball, resting.\n\n> You move the desk\nYou can't move the mahogany desk.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You examine the gouges\nGouges scar the once-pristine surface of the desk.\n\n> You examine the shadow\nThey fill the room. Opaque...no shadows should be so thick.\n\n> Go east\nYou can't go that way.\n\nBubbles curls up in a small ball, resting.\n\n> You go to the northeast\nYou can't go that way.\n\nBubbles wanders away.\n\n> You go outside\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\n\n> You turn on the switch\nThe room's lights turn on in response.\n\n> You examine the doors\nsmall door: It stands partially ajar and leads to the east.\nlarge wooden doors: The carved doors are made of oak and are twice your height. They stand slightly ajar, leaving enough room for you to enter.\n\n> You look at the carving\nYou peer closely at the door, but are unable to tell what the carving is of in the dim light.\n\nBubbles wanders away.\n\n> You examine the clock\nA white-faced clock with numbers and black hands, hands which turn slowly, ticking off seconds, minutes, hours.\n\n> You take the carving\nDon't worry about the carving.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You go east\nSmall and comfortable after the audience hall, a retreat for whoever once presided to the west. A coatrack, chair, and desk, lit by the glow of the ceiling lights, fill the room without crowding it.\n\nBubbles comes trotting after you.\n\n> You examine the coatrack\nTall and wooden, it has several branches for coats and hats.\n\n> You get it\nIt is too unwieldy for you to carry.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You look at the chair\nThe plush chair sits behind the desk.\n\n> You get it\nWere you to take it, you would be unable to walk."
    },
    {
        "text": "[Themes: Surreal]\n\n> You describe your surroundings\nSmall and comfortable after the audience hall, a retreat for whoever once presided to the west. A coatrack, chair, and desk, lit by the glow of the ceiling lights, fill the room without crowding it.\nBubbles is wandering around, sniffing at things.\n\n> You look at the radio\nThe radio is softly playing music. Its only control is a knob on its face.\n\nBubbles curls up in a small ball, resting.\n\n> You turn the knob\nYou turn the knob, expecting to hear the radio traverse several radio stations. Instead, the same song plays continuously, never deviating.\n\nBubbles wanders away.\n\n> You look at clock\nIts tiny face is turned towards the plush chair, its base affixed to the desk's surface. Its hands turn slowly, ticking off seconds, minutes, hours.\n\n> Search desk\nThere's nothing on the wooden desk.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Go west\nYour footsteps echo hollowly in the well-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the desk at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar. To one side of the two doors is a light switch.\n\nBubbles comes trotting after you.\n\n> Switch junction\nYou push the large knife switch up. The box begins a high-pitched humming, the switch fixed in place.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\nA quiet sound catches your attention. Black sludge has begun welling up through the drain, covering it and starting to fill the northwest corner.\n\nFrankie glances down, then swears quietly. \"Sam, you son-of-a-bitch,\" he mutters, scribbling furiously in his notebook. Bubbles barks at the sludge, then begins whining softly.\n\n> You ask Frankie about Sam\n\"Sam was one of my colleagues,\" Frankie says. \"He left mid-afternoon yesterday.\"\n\n> You look at sludge\nThe black sludge is burgeoning out of what used to be the drain.\n\n> You ask Frankie about the sludge\nFrankie says, \"I don't know. Sam was studying it. He thought it was connected somehow to the spheres. All he was able to discover about it was that it was highly toxic and flammable.\"\n\n> You get the sludge\nThe thick, viscous stuff surges towards you as you approach. Alarmed, you back away.\n\n> You put the sphere in the sludge\nYou can't put anything into the black sludge.\n\nWith a loud blorp, the flow of sludge increases. Noticeably."
    },
    {
        "text": "> Look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner a river of black sludge is continuously flowing into the room and towards the southwest corner by the stairs; in the southeast corner are two large wheels, one on the east wall and one on the south wall.\nA pile of spheres has claimed part of the east wall beneath the wheel. The floor slopes noticeably towards the south.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging like mad.\nBubbles is wandering around, sniffing at things.\n\n> You turn east wheel CCW\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower. The flow of sludge alters course, until it is collecting near the middle of the room.\n\n> You turn east wheel CCW\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Turn south wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering and the pyramid of spheres to shaking. Frankie spares you a glance; Bubbles looks surprised. When you are done the east side of the room is higher than it was, the west side lower."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner a river of black sludge is continuously flowing into the room; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel. The floor slopes noticeably towards the west. In the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging like mad.\nBubbles is wandering around, sniffing at things.\n\n> You turn east wheel CCW\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower.\n\n> You turn east wheel CCW\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower.\n\nBubbles curls up in a small ball, resting."
    },
    {
        "text": "> Look around\nA cramped square room, barely lit by windows above you. The north\nand west walls are taken up by tables. A clock and a light switch are just visible next to the stairs on the south wall. In the northwest corner a river of black sludge is continuously flowing into the room; in the southeast corner are two large wheels, one on the east wall and one on the south wall. A pile of spheres has claimed part of the east wall beneath the wheel. The floor slopes noticeably towards the northwest.\nIn the middle of the south wall is a heater.\nSitting on the tables are five balances.\nFrankie is here, sorting and cataloging like mad.\nBubbles is curled in a small ball, resting.\n\nBubbles wanders away.\n\n> You look at the sludge\nThe black sludge is burgeoning out of what used to be the drain. It has flowed from the northwest corner to the center of the room.\n\n> You turn east wheel CCW\nThe wheel, stubborn, refuses to turn further in that direction.\n\n> Turn south wheel cw\nThe wheel, stubborn, refuses to turn further in that direction.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Switch box\nYou pull the large knife switch down. The box quietens somewhat.\n\n> Switch box\nYou push the large knife switch up. The box begins a high-pitched humming, the switch fixed in place.\n\nThe flow of sludge triples, then triples again. It reaches the pile of spheres, turning them all black, then dissolving them.\n\n\"Come on!\" Frankie shouts in horror, abandoning his task. He grabs your arm and drags you up the stairs, pulling the trapdoor shut behind him.\n\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. A trapdoor in the floor marks where the stairs used to be. To the east is an open door.\nBubbles is wandering around, sniffing at things.\nFrankie is here.\n\n> You ask Frankie about the sludge\nFrankie says, \"This isn't a good time for repeat questions.\"\n\nBubbles wanders away.\n\nFrankie looks at his hands, surprised to find he is still carrying a sphere. He holds it up to the light; it has turned black as pitch. \"The sludge must've hit it,\" he says. Then he smiles at you, sadly. \"It would have been nice to be able to finish.\" He shrugs resignedly, dropping the sphere. \"Ah, well. See you round.\" He turns and walks into the hallway, but as he does, he separates into thousands of grains, a painting by Seurat. The grains separate, caught in a sudden zephyr, and are gone.\n\n> You examine the sphere\nWhich sphere do you mean, the light sphere, or the dark sphere?\n\n> Dark\nUnlike its mates, this smooth sphere glows blackly. It feels oddly wrong, almost evil.\n\n> You get it\nYou bend down and pick it up. A sudden tremor seizes your arm muscles, then stops.\n\n> You get it\nYou already have the dark sphere!"
    },
    {
        "text": "> You go downwards\nThe trapdoor prevents you.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You examine the trapdoor\nThe trapdoor is closed. It bulges upwards slightly.\n\n> You open it\nPressure from the other side opposes you.\n\n> You go west\nThe tiny closet is dank and has a strange smell. It is unfinished;\nin many places unadorned sheetrock and insulation show. The only light in the room comes from the bare bulb above you. Dangling from it is a pull cord.\n\nBubbles comes trotting after you.\n\n> You look at the cord\nIt dangles from the lightbulb overhead, just within reach.\n\nBubbles curls up in a small ball, resting.\n\n> You pull it\nYou give the cord a firm tug and are rewarded with a click from the lightbulb. The bulb is snuffed out.\n\nBubbles wanders away."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThe tiny closet is dank and has a strange smell. It is unfinished;\nin many places unadorned sheetrock and insulation show. The only light in the room comes from the open door to the east. Above you hang a bare bulb and a pull cord.\n\n> You pull the cord\nYou give the cord a firm tug and are rewarded with a click from the lightbulb. The bulb begins glowing harshly.\n\n> You go to the east\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\n> Go south\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You go to the west\nRows of filing cabinets divide the room into sections. Metal rises from floor to ceiling. Drawer after drawer stare at you, none of them labelled, one of them open. The exit to the east is barely visible due to the metal sentinel partially blocking it. The clock above the exit, however, is plainly visible from anywhere in the room, a feat which is nothing short of miraculous.\n\nBubbles comes trotting after you.\n\n> You put the dark in the hands\nYou place the dark sphere in the sentinel's hands. A shudder wracks the sentinel. Its hands lower, dropping the sphere onto the floor.\n\n> Lower arms\nWith a modicum of effort you are able to push the sentinel's arms back down by its sides.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Lower arms\nThe sentinel's hands are as low as they will go.\n\n> You raise the arms\nYou pull the sentinel's arms, which slowly move up. As they do they come together, until the hands are held cupped in front of the statue.\n\n> You get dark\nWhich dark do you mean, the sentinel, or the dark sphere?\n\n> You examine sentinel\nA dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. Its hands are held cupped in front of it.\n\n> You give it to Bubbles\nBubbles has no real way of taking that.\n\nBubbles curls up in a small ball, resting.\n\n> Dark\nBubbles has no real way of taking that.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Go outside\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\nBubbles comes trotting after you.\n\n> Go east\nThe library is a harshly-lit backwards L curving around the end of\nthe building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\n\nBubbles comes trotting after you.\n\n> You put the dark in the hands\nYou place the dark sphere in the sentinel's hands. The sentinel judders. Its hands lower, dropping the sphere onto the floor.\n\nBubbles curls up in a small ball, resting.\n\n> You get dark\nWhich dark do you mean, the sentinel, or the dark sphere?\n\n> You get the dark sphere\nTaken.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You go south\nBubbles begins barking at your rucksack, leaping off the ground in an effort to grab hold of it before you leave. Your momentum, however, carries you out the door before Bubbles is successful.\n\nThe building to the north is now covered with snow. Under your feet\nit squeaks with the sound of deep-seated ice. To the northeast and northwest the snow is somewhat thinner, due to the building's protection. Pressed down in the ice and snow are tracks of footprints.\n\nTo the south you see a man striding through the snow. He is completely grey, as if all color had been leeched from him long ago, a black and white image in a world of technicolor. He pauses, stares at you, then continues on until he is lost in the distance. You feel a sudden chill.\n\nThe wind beats futilely against your coat.\n\n> You go south\nThe snow is impassable in that direction.\n\nYou hear a faint rumbling begin.\n\nThe air above you shimmers for a brief moment, during which a metal sphere falls from the disturbance to the ground below.\n\n> You look at metal sphere\nA shiny metal sphere, dotted all over with tiny holes.\n\n> You touch it\nIt feels just like a metal sphere.\n\n> You get it\nYou reach down and take the sphere. As you straighten up, tiny needles spring from the thousands of holes which dot it. The needles jab through your gloves; with a curse you throw the sphere, now smeared red with your blood, away from you. As it falls it bursts into flame, oily smoke curling from it. From the center of the flame you hear an eerily familiar voice say, \"Well. Interesting stunt you've pulled, coming to where I now live. I trust you'll stay for my avalanche.\" Then the sphere vanishes in a final burst of fire.\n\n> Go northeast\nThe building looms to the west, shadowing the path which leads north and south. Pressed down in the snow are tracks of footprints.\nOn the side of the building is a grey box.\n\n> Go north\nTo the north, the ground suddenly rises into tree-speckled heights. From those heights you see snow gracefully piling towards you. To the south, the building's shape breaks the smooth white carpet of the ground. Partially buried in the snow is a large post. Pressed down in the snow are many footprints.\n\n> You examine the cable\nWhich cable do you mean, the lower cable, or the upper cable?\n\n> Lower\nIt runs from somewhere near the bottom of the fence to about thirty centimeters above the snow. Its end is frayed, showing bare wire.\n\n> You touch it\nIt feels just like the lower cable.\n\n> You hold it\nYou reach down and grab hold of the bare end of the cable. The wire rasps against your gloves.\n\nThe rumbling you heard earlier has grown in volume. It sounds very close.\n\n> You hold the upper\nYou reach up and grab hold of the bare end of the cable. The wire writhes in your grasp as a surge of electricity passes through you and into the ground and the cable in your other hand. Through a blue haze you see snow fly as the fence raises up, forming a caret on the hillside above the building.\n\nThe avalanche bears down upon it, then is shunted to either side of the building. A sense of peace fills you even as you jerk in a Saint Vitus' dance.\n\n[Press a key to continue]\n\n> You look at the mirror\nThe west wall is mostly mirror, reflecting the chair and the bright light over it.\n\n> Inventory\nYou have medical leads (being worn).\n\n> You look at leads\nRound, cold; used for monitoring heartbeat and other vital functions. The leads are attached by wires to the monitors on one end and you on the other.\n\n> About yourself\nWhat you can see of yourself is familiar.\n\n> You look at the monitors\nThe monitors are stacked next to the chair, facing it. Lights play across their surfaces, and a bright spot traces a jagged heartbeat across a square screen. Running from one of the monitors are several wires, leads attached to their other ends.\n\nYou feel hot, then cold several times in succession.\n\n> You examine the door\nThe door has a knob with which it can be locked or unlocked. It is currently open.\n\n> You examine iv\nHanging from the stand is a bag filled with a clear liquid--the nicotine antiaddiction drug. A needle hangs from the bag.\n\n> You look at the needle\nPointed, sharp. Liquid glistens from its tip.\n\n> Xyzzy\nNothing happens.\n\n> You leave\nNot while you are attached to the monitors.\n\n> You remove the leads\nWith a slight sucking sound the leads come free from your temples and from your wrists. The monitors immediately begin shrilling loudly, the screen tracing out a flat line. Startled, you drop the leads.\n\n> Go west\nYou can't go that way.\n\nYou hear footsteps outside the theatre, followed by Dr. Boozer's entrance. His eyes, crinkled with concern, relax when he sees you awake. \"Thank God,\" he says. \"I thought I'd heard you flatline.\" You begin to crumple but Dr. Boozer moves to support you, surreptitiously taking your pulse. \"Are you recovered?\" he asks worriedly.\n\nYou glance down, staring past your trembling hands. You find you don't know how to answer.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> About yourself\nWhat you can see of yourself is familiar.\n\nYou feel hot, then cold several times in succession.\n\n> Inventory\nYou have medical leads (being worn).\n\n> You look at leads\nRound, cold; used for monitoring heartbeat and other vital functions. The leads are attached by wires to the monitors on one end and you on the other.\n\n> You look at the monitors\nThe monitors are stacked next to the chair, facing it. Lights play across their surfaces, and a bright spot traces a jagged heartbeat across a square screen. Running from one of the monitors are several wires, leads attached to their other ends.\n\n> You look at the mirror\nThe west wall is mostly mirror, reflecting the chair and the bright light over it.\n\n> You look in the mirror\nYou spend several moments gazing at your reflection and its haggard, sunken eyes.\n\n> You remove the leads\nWith a slight sucking sound the leads come free from your temples and from your wrists. The monitors immediately begin shrilling loudly, the screen tracing out a flat line. Startled, you drop the leads.\n\nYour hands begin twitching uncontrollably. You fight to keep them still.\n\n> You remove the leads\nTaken.\n\nYou hear footsteps outside the theatre, followed by Dr. Boozer's entrance. His eyes, crinkled with concern, relax when he sees you awake. \"Thank God,\" he says. \"I thought I'd heard you flatline.\" You begin to crumple but Dr. Boozer moves to support you, surreptitiously taking your pulse. \"Are you recovered?\" he asks worriedly.\n\nYou glance down, staring past your trembling hands. You find you don't know how to answer.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You look at the stand\nHanging from the stand is a bag filled with a clear liquid--the nicotine antiaddiction drug. A needle hangs from the bag.\n\nYour hands begin twitching uncontrollably. You fight to keep them still.\n\n> You put the needle in the arm\nWincing slightly in anticipation, you jab the needle into a prominent vein. Your summer job in the hospital pays off: the needle slides home on the first try.\n\nIce cold, the drug races up your arm and through your chest, numbing you. Fire hot, the next wave of the drug invades your system. The walls around you blur, fade away as the world runs in technicolor streaks...\n\nWith a snap, the vision ends. You are lying prostrate on the ground, the ceiling whirling above you. Next to you, you hear Dr. Boozer's voice. \"Thank God we found you in time,\" he says.\n\n\"Must be deranged,\" he whispers to the nurse who is with him. Even in your fevered state, you hear every word. \"Poor kid put the IV back in.\" Then you drift away, the rest of Dr. Boozer's words lost.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You turn off the monitors\nYou turn off the monitors.\n\n> You remove the leads\nWith a slight sucking sound the leads come free from your temples and from your wrists. You drop them, leaving them dangling from the monitors.\n\n> Go north\nThe hallway runs west to east; the east end of the hall curves south towards reception. An open door lies to the south, a closed door to the north.\n\n> North door\nIt's locked.\n\n> You look at the north door\nThe door has a small keyhole beneath its knob. The door is currently closed and locked.\n\n> You go east\nYou begin walking east, then realize that that way lies reception. You quickly retrace your steps.\n\nThe fever and chills return, accompanied by a fierce pain behind your eyes.\n\n> Go west\nThe hallway bends here, running north and east. To the south is a closed door.\n\n> You examine the door\nThe door has a small keyhole beneath its knob. The door is currently closed.\n\n> You go south\nwindow on its east wall. Several chairs face it.\n\n> You look at the window\nThe east wall contains a window which looks into the operating theatre where you awoke.\n\n> You look at chairs\nThe chairs, plastic and wheeled, face the glass window.\n\n> You go to the north\nThe hallway bends here, running north and east. To the south is an open door.\n\n> Go north\nThe hallway ends to the north. Doors lead north and east. A cord hangs from an outlined rectangle in the ceiling.\n\nA cramp doubles you over, as if you were hit in the stomach. It takes all of your control to straighten up against the pain.\n\n> You look at the rectangle\nThe rectangle is outlined in the ceiling above.\n\n> You open the north door\nIt's locked.\n\n> You open the east door\nOpened.\n\n> Go east\nThe walls of the room are lined with shelves, all of which are\nneatly stocked with supplies. An open door is set in the west wall.\n\n> You look at the supplies\nNearly random supplies, such as needles and latex gloves. Part of the supplies are still in crates, piled high near the northeast corner.\n\n> Examine crates\nThe crates are stacked almost to the ceiling by the northeast corner, leaving a small cubby behind them.\n\nA particularly violent spasm throws you to the floor. You stand again with some effort.\n\n> You enter the cubby\nYou hunker down behind the crates. They are just tall enough to hide you.\n\n> You check what you're carrying\nYou are empty-handed.\n\n> You examine the arm\nYour arms dangle from your shoulders.\n\n> Go west\nThe hallway ends to the north. Doors lead north and east. A cord hangs from an outlined rectangle in the ceiling.\n\n> Go south\nThe hallway bends here, running north and east. To the south is an open door.\n\n> You go to the east\nThe hallway runs west to east; the east end of the hall curves south towards reception. An open door lies to the south, a closed door to the north.\n\n> You go south\nThe operating theatre is dominated by a padded chair in its center,\na light just above it. On the north wall, just to the left of the door, is a bank of monitors. The west wall is mostly mirror.\nStanding next to the padded chair is an IV stand, its needle\ndangling from it.\nHanging from the monitors are several medical leads.\n\nAll of your symptoms attack at once: fever, chills, cramps, pain. Your vision dims as you slump to the floor. Time passes without you noticing.\n\nThe feel of cool air brings you back around. Above you, blue sky streaks by. A face intrudes, looking down at you and mouthing words you cannot hear. A glance down shows you strapped to a gurney. When you look up again, the sky has been cut off by the roof of an ambulance. You close your eyes, succumbing to a dark tide.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You turn off the monitors\nYou turn off the monitors.\n\nYou feel hot, then cold several times in succession.\n\n> You remove the leads\nWith a slight sucking sound the leads come free from your temples and from your wrists. You drop them, leaving them dangling from the monitors.\n\n> You open the door\nIt's already open.\n\n> Go north\nThe hallway runs west to east; the east end of the hall curves south towards reception. An open door lies to the south, a closed door to the north.\n\n> Go west\nThe hallway bends here, running north and east. To the south is a closed door.\n\n> You go to the north\nThe hallway ends to the north. Doors lead north and east. A cord hangs from an outlined rectangle in the ceiling.\n\n> You go to the east\n(Opening the east door)\nSupplies Room\nThe walls of the room are lined with shelves, all of which are\nneatly stocked with supplies. An open door is set in the west wall.\n\n> You close the door\nClosed.\n\nYour hands begin twitching uncontrollably. You fight to keep them still.\n\n> You enter the cubby\nYou hunker down behind the crates. They are just tall enough to hide you and the IV stand.\n\n> You put the needle in the arm\nWincing slightly in anticipation, you jab the needle into a prominent vein. Your summer job in the hospital pays off: the needle slides home on the first try.\n\nIce cold, the drug races up your arm and through your chest, numbing you. Fire hot, the next wave of the drug invades your system. The walls around you blur, fade away as the world runs in technicolor streaks...\n\nFit the Second: Revisit\n\n\"play of light/a photograph/the way I used to be\nsome half-forgotten stranger/doesn't mean that much to me\"\n-- Rush\n\nA familiar green hallway embraces you. As the world ceases its unnatural spin, you find you recognize the east-west hall. You're in Green area of the hospital where you volunteered for three months one summer.\n\nNo, not volunteered. It was coercion. You were going to be a doctor, just like father wanted, so you had to help out at a local hospital. \"Looks good on your resume,\" everyone told you.\n\nThree months of hell. This place cemented your desire to avoid med school.\n\nSeated in a wheelchair is an old woman.\n\n> You look at the woman\nThe woman in the wheelchair is ancient, her parchment skin deeply wrinkled and folded. Alert eyes peer from behind large octagonal glasses, eyes which follow every movement in the room.\n\n> You examine the wheelchair\nThe woman in the wheelchair is ancient, her parchment skin deeply wrinkled and folded. Alert eyes peer from behind large octagonal glasses, eyes which follow every movement in the room.\n\nA group of doctors and interns appears in the hall, headed towards you. You are fixated by the sight of their faces, or rather by their lack of ones. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Hello\n\"Oh, hello!\" she says excitedly. Then a look of puzzled concentration crosses her face. \"Have we met before?\" she asks.\n\n> You ask the woman about herself\nThe old woman says, \"Me? Oh, my, no sense in boring you to tears!\"\n\n> You go east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go west\nThe hall enters from the east and bends to the southwest. A small\ndoor leads north and an open doorway graces the south wall.\n\n> You look at the door\nThe open door leads north. A plastic plaque mounted on it reads \"G7.\"\n\n> You go to the north\nbed in its center. There is a window, its curtains closed, on the north wall. A door leads south.\n\nMovement at the edge of your vision causes you to whirl around. Before you complete the motion grey hands have grabbed you and dragged you backwards. You have time to register the sight of a white-haired head--familiar, but from where?--next to the bed before you are pulled from the room.\n\nThe hall enters from the east and bends to the southwest. A small\ndoor leads north and an open doorway graces the south wall.\nA grey man stands over you, grinning.\n\n\"You've been very busy,\" the grey man says. \"Very, very busy.\" His voice is like a stick of butter squeezed through a fist. \"Don't you even know why you're here?\"\n\n> No\nThe grey man laughs at you, a horrible sound.\n\n\"No guesses?\" Eyebrows lift in mock surprise. He points down the hall at the old woman in the wheelchair. \"To help idiots like her, perhaps? You weren't successful the first time.\"\n\nYou turn away, your cheeks glowing. The time you spent volunteering at the hospital was far from enjoyable. When you look back, the grey man has vanished.\n\n> You go to the north\nYou'll have to open the small door first.\n\n> You open the door\nIt's locked.\n\n> Go south\nThe operating room is dim and smoky, lit by kerosene lamps and\ncandles. Through the haze you make out exits to the north, south, and west.\nA group of doctors fills the room, milling about a patient.\n\n> You examine the patient\nThe poor man is enduring what passes for medical care in this room.\n\nOne of the doctors takes a glass cup from its stand over a candle and applies it to the patient's skin, making the man writhe.\n\n> You look at the cup\nVarious pieces of medical equipment lie scattered about the room and held in doctors' hands.\n\n> You look at the patient\nThe poor man is enduring what passes for medical care in this room.\n\n> You go south\nA nondescript hall leading east to northwest. To the north is an\nopen doorway. The ever-present stripe changes color to the east, just beyond a sign.\n\n> You look at the sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Green/Enter Purple\" in the appropriate colors.\n\n> Go south\nYou can't go that way.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> Go east\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\n> You go to the east\nThe doors are locked.\n\n> Go north\nAn east-south bend in the hall. To the south are several stairs.\n\n> Exits\nYou can go east and south.\n\n> You go to the east\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign.\n\n> You go south\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nAn attendant is here, sitting behind the counter.\nBubbles is lying on the ground, waiting for you.\n\nBubbles, upon seeing you, cocks its head at you as it stands. The dog is quite a bit larger than it was before.\n\n> You examine the dog\nBubbles resembles a corgi. In fact, it looks like the corgi you begged your father for when you were eight. It has recently grown out of early puppyhood.\n\n> You examine the attendant\nGlancing at her, you feel a shock of recognition. It's Linda, the woman you disliked most while working here. With her flaming red hair and her patronizing attitude towards anyone younger than she, she was hated by many in the hospital.\n\nBubbles growls softly, baring teeth at Linda. Linda glares back at the dog. \"Don't you let that mutt bite me,\" she tells you.\n\n> You look at Linda\nLinda has fiery red hair and long black fingernails. She has made a career of being angry.\n\n> Attack\nWhat do you want Bubbles to attack?\n\n> You look at what you're carrying with you\nYou are empty-handed.\n\nBubbles growls softly, baring teeth at Linda. Linda glares back at the dog. \"Don't you let that mutt bite me,\" she tells you.\n\n> You examine the doors\nThe doors are spring-loaded so as to close automatically.\n\n> You open the doors\nThe doors are locked.\n\n> You look\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nLinda is here, sitting behind the counter.\nBubbles is wandering around, sniffing at things.\n\n> You examine magazines\nThe magazines are all years out of date.\n\n> You read the magazines\nYou pick one up and leaf through it. All of its pages are slate grey, completely empty.\n\n> Go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here, talking with a patient.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the south.\n\nThe nurse, satisfied, wheels the gurney through the swinging doors to the north. The remaining patients call after her.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> Exits\nYou can go south, east, and west.\n\n> You go to the west\nAn east-south bend in the hall. To the south are several stairs.\n\n> You go east\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\n> Go east\nTwo doors, one on the north wall and one on the south, flank this east-west hall. A sign hangs from the ceiling to the west.\n\n> Go west\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here.\n\nThe nurse moves to the patient at the head of the line and begins taking a history.\n\n> You go south\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nLinda is here, sitting behind the counter.\nBubbles is lying on the ground, staring at you with soulful eyes.\n\n> You examine the counter\nThe counter is next to the north hallway. It is pushed nearly against the east wall, leaving little room for the attendant behind it. Signs dot its front surface.\n\n> You examine the signs\nThe signs are all ones you remember from your time here: \"Payment expected at time of treatment unless prior arrangements are made,\" \"No pets, guide dogs excepted,\" and your personal favorite, \"No smoking.\" Someone has raked ashes across the last sign.\n\n> Go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here, talking with a patient.\n\nThe nurse, satisfied, wheels the gurney through the swinging doors to the north. The remaining patients call after her.\n\n> You follow you\nBubbles gets up and trots over to you.\n\nBubbles growls softly, baring teeth at Linda. Linda glares back at the dog. \"Don't you let that mutt bite me,\" she tells you.\n\n> Go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the south.\n\nThe nurse reenters the hallway from the north, wheeling a gurney covered in a fine coating of ash. She pushes the gurney west, then returns a few seconds later empty-handed.\n\n> Go east\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> Go north\nA sterile white room, bereft of any humanizing touches. A bed surrounded by medical equipment is the sole piece of furniture in the room. Judging from its rumpled condition, this room is occupied.\n\n> You look at the bed\nA hospital bed, designed for utility rather than comfort.\n\n> You go east\nAn east-west hall with an orange strip coloring the wall just below\nthe ceiling. There is an open door in the south wall.\n\n> You go to the east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\n> You go south\nIn the center of the room, a bed. In the bed, a huddled shape.\nBeside the bed, murmuring equipment. To the north is a door.\nLying on a shelf is a strangely-glowing globe.\n\n> You take the globe\nAs your hands close around the globe, you feel a tingling in your fingers. The tingling quickly grows, becomes horrendous pain. You jerk back your hands; the feeling of having dipped them in lava fades.\n\nThe shape under the bed sits up, startling you. A withered hand grabs you, leaving streaks of blood on your arm. The man is trying to say something, a violent exercise which makes his head shake with effort. He finally points to the globe on the shelf, making a horrible keening noise, before collapsing back under the sheets.\n\n> You examine man\nThe shape underneath the covers is barely recognizable as a man. Tubes snake around and through his body; what skin he still owns he wears poorly. The rise and fall of his chest are uneven.\n\n> You examine the globe\nIts borders are nebulous; it gives off a faint glow.\n\n> You take the globe\nAs your hands close around the globe, you feel a tingling in your fingers. The tingling quickly grows, becomes horrendous pain. You jerk back your hands; the feeling of having dipped them in lava fades.\n\n> You look at the box\nThe gunmetal-grey box is attached to the side of the building, marring its otherwise smooth surface. Its cover is open, revealing a row of breakers inside and a list taped to the box door.\n\n> You look at the breakers\nThere are eight breakers, arranged in two rows of four.\n\n> You look at the first breaker\nThe breaker is currently on.\n\n> Inventory\nYou have a thin coat (being worn), a pair of gloves (being worn), a light sphere, a pair of sunglasses (being worn), a length of rope, and a rucksack. The rucksack seems to contain a fool and a tuft of insulation.\n\n> You put all in the rucksack\nfool: The fool is already in the rucksack!\ntuft of insulation: The tuft of insulation is already in the rucksack! thin coat: (Taking off the thin coat first)\nDone.\nheavy gloves: (Taking off the gloves first)\nDone.\nlight sphere: Done.\nsunglasses: (Taking off the sunglasses first)\nDone.\nrope: Done.\nrucksack: You can't put the rucksack in itself!\n\n> You turn the east wheel clockwise\nThe wheel refuses to turn further in that direction.\n\n> You turn east wheel CCW\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower.\n\nWith a loud blorp, the flow of sludge increases. Noticeably.\n\n> Continue\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the south side of the room is higher than it was, the north side lower.\n\n> Keep going\nThe wheel, stubborn, refuses to turn further in that direction.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look at the heater\nIt is an old-fashioned wood-burning heater, standing a few centimeters above the ground on metal legs. Heat pours from it in waves. Its most noticeable feature isn't: it has no smoke stack.\n\n> You turn south wheel ccw\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the west side of the room is higher than it was, the east side lower.\n\n> You turn south wheel ccw\nYou give the wheel a counterclockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the west side of the room is higher than it was, the east side lower. The flow of sludge alters course, until it is collecting near the northeast corner.\n\n> You ask Frankie about the sludge\nFrankie says, \"I don't know. Sam was studying it. He thought it was connected somehow to the spheres. All he was able to discover about it was that it was highly toxic and flammable.\"\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You turn east wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the north side of the room is higher than it was, the south side lower.\n\n> Turn south wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering and the pyramid of spheres to shaking. Frankie spares you a glance; Bubbles looks surprised. When you are done the east side of the room is higher than it was, the west side lower. The flow of sludge alters course, until it is collecting near the middle of the room.\n\n> You turn east wheel cw\nYou give the wheel a clockwise spin. As you do, a groaning, shuddering sound emanates from beneath your feet. The floor tilts alarmingly, sending the balances to chattering. The pyramid of spheres shakes but stays together. Frankie spares you a glance; Bubbles looks surprised. When you are done the north side of the room is higher than it was, the south side lower. The flow of sludge alters course, until it is collecting near the entrance.\n\nThe flow of sludge triples, then triples again. There is a loud sizzle as it engulfs the heater, extinguishing it. The flow reaches the pile of spheres, turning them all black, then dissolving them.\n\n\"Come on!\" Frankie shouts in horror, abandoning his task. He grabs your arm and drags you up the stairs, pulling the trapdoor shut behind him.\n\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. A trapdoor in the floor marks where the stairs used to be. To the east is an open door.\nBubbles is wandering around, sniffing at things.\nFrankie is here.\n\n> You wait for a while\nTime passes...\n\nFrankie looks at his hands, surprised to find he is still carrying a sphere. He holds it up to the light; it has turned black as pitch. \"The sludge must've hit it,\" he says. Then he smiles at you, sadly. \"It would have been nice to be able to finish.\" He shrugs resignedly, dropping the sphere. \"Ah, well. See you round.\" He turns and walks into the hallway, but as he does, he separates into thousands of grains, a painting by Seurat. The grains separate, caught in a sudden zephyr, and are gone.\n\n> You look at the sphere\nWhich sphere do you mean, the dark sphere, or the light sphere?\n\n> You pull the arm\nAfter a bout of experimentation you discover that you can raise and lower the sentinel's hands.\n\nBubbles wanders away.\n\n> You examine the hands\nMetal hands, held cupped in front of the statue. The arms to which the hands belong are hinged at the elbow.\n\n> You put the dark in the hands\nYou can't put the sentinel anywhere.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You check what you're carrying\nYou are empty-handed.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Go west\nThe room is hot and stifling; cobwebs drip from every surface. A hot-water tank crouches in one corner. A trapdoor in the floor marks where the stairs used to be. To the east is an open door.\nYou see a dark sphere here.\n\nBubbles comes trotting after you.\n\n> You take the dark\nYou bend down and pick it up. A sudden tremor seizes your arm muscles, then stops.\n\n> You put dark sphere in the hands\nYou place the dark sphere in the sentinel's hands. A shudder wracks the sentinel. Its hands lower, dropping the sphere onto the floor.\n\nBubbles curls up in a small ball, resting.\n\n> You take the dark sphere\nTaken.\n\nBubbles wanders away.\n\n> Go east\nThe walkway ends to the south in a blank wall. A doorway to the\nwest and the remainder of the walkway to the north allow egress.\n\n> You go to the north\nThe walkway runs along the west wall of the hallway. To the\nsoutheast, a sweeping staircase meets the hallway from below. An open door is to the west. Above the door is a clock.\n\n> You go west\nThe tiny closet is dank and has a strange smell. It is unfinished;\nin many places unadorned sheetrock and insulation show. The only light in the room comes from the bare bulb above you. Dangling from it is a pull cord.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You put the light sphere in the hands\nYou place the light sphere in the sentinel's hands.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> Go south\nThe walkway runs east and west here.\n\n> Go east\nThe walkway bends to the south; you follow it.\n\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\nBubbles comes trotting after you.\n\n> You go south\nfoyer. There is a doorway to the east; the walkway continues to the north.\n\nBubbles comes trotting after you.\n\n> Go east\nThe library is a harshly-lit backwards L curving around the end of\nthe building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\n\nBubbles comes trotting after you.\n\n> You raise the arms\nThe sentinel's hands will move no further.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You put the light sphere in the hands\nYou place the light sphere in the sentinel's hands.\n\n> Go east\nThe library is a harshly-lit backwards L curving around the end of\nthe building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; on the other side of the exit is a light switch. There is a clock above the sentinel.\nIn the sentinel's hands you see a light sphere.\n\nBubbles comes trotting after you.\n\n> You take the light sphere\nTaken.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You go to the south\nBubbles begins barking at you fiercely, dancing in front of you and impeding your progress. You nearly have to jump over Bubbles to get past, at which point it lies on the floor, staring mournfully at you as you leave.\n\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\nThrough the glare you can make out a man striding through the snow to the south. He is completely grey, as if all color had been leeched from him long ago, a black and white image in a world of technicolor. He pauses, stares at you, then continues on until he is lost in the distance. You feel a sudden chill.\n\nYou begin to feel the cold seep into you, chilling you.\n\n> You go south\nThe snow is impassable in that direction.\n\nYou hear a faint rumbling begin.\n\nThe air above you shimmers for a brief moment, during which a metal sphere falls from the disturbance to the ground below.\n\n> You take the metal sphere\nYou fumble around blindly in the snow, but cannot find what you seek.\n\nThe cold is becoming worse, making your fingers slow to work.\n\n> Go north\nThe two-story height of the foyer is channelled into a narrower\nhallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\nTracked across the marble floor are muddy footprints.\nBubbles is lying on the ground, waiting for you.\n\nBubbles sees you and jumps up, barking loudly at your return.\n\nYour hands are working again, albeit a little stiffly.\n\nThe metal sphere rolls towards you. When it is less than a meter away it stops, waiting.\n\n> You take the metal sphere\nYou reach down and take the sphere. As you straighten up, tiny needles spring from the thousands of holes which dot it. With a curse you throw the sphere, now smeared red with your blood, away from you. As it falls it bursts into flame, oily smoke curling from it. From the center of the flame you hear an eerily familiar voice say, \"Well. Interesting stunt you've pulled, coming to where I now live. I trust you'll stay for my avalanche.\" Then the sphere vanishes in a final burst of fire.\n\n> You go south\nBubbles begins barking at you fiercely, dancing in front of you and impeding your progress. You nearly have to jump over Bubbles to get past, at which point it lies on the floor, staring mournfully at you as you leave.\n\nYou can see little through the glare of sun on snow. The building\nto the north is just visible, but everything else is a wash of bright white.\n\n> Go west\nThe snow is impassable in that direction.\n\nThe cold is becoming worse, making your fingers slow to work.\n\n> You wait awhile\nTime passes...\n\nThe rumbling you heard earlier has grown in volume. It sounds very close.\n\n> Wait\nTime passes...\n\nYour eyelids are becoming gummed. It is now a struggle to keep moving.\n\n> You wait\nTime passes...\n\nStrangely enough, you are no longer cold. The enveloping warmth you now feel is soothing.\n\n> Wait\nTime passes...\n\nYou sink to the ground, lassitude overcoming you. Just a rest, you think, and then onward.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You look at the sack\nIt is made of heavy denim and looks well-used. The rucksack is open and seems to contain a fool, a tuft of insulation, a thin coat, a pair of gloves, a pair of sunglasses, a length of rope, a dark sphere, and a light sphere.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You go to the south\nBubbles begins barking at you fiercely, dancing in front of you and impeding your progress. You nearly have to jump over Bubbles to get past, at which point it lies on the floor, staring mournfully at you as you leave.\n\nThe building to the north is now covered with snow. Under your feet\nit squeaks with the sound of deep-seated ice. To the northeast and northwest the snow is somewhat thinner, due to the building's protection. Pressed down in the ice and snow are tracks of footprints.\n\nTo the south you see a man striding through the snow. He is completely grey, as if all color had been leeched from him long ago, a black and white image in a world of technicolor. He pauses, stares at you, then continues on until he is lost in the distance. You feel a sudden chill.\n\nYou begin to feel the cold seep into you, chilling you.\n\n> You go northeast\nThe building looms to the west, shadowing the path which leads north and south. Pressed down in the snow are tracks of footprints.\nOn the side of the building is a grey box.\n\nYou hear a faint rumbling begin.\n\nThe air above you shimmers for a brief moment, during which a metal sphere falls from the disturbance to the ground below.\n\n> You take the metal sphere\nYou reach down and take the sphere. As you straighten up, tiny needles spring from the thousands of holes which dot it. With a curse you throw the sphere, now smeared red with your blood, away from you. As it falls it bursts into flame, oily smoke curling from it. From the center of the flame you hear an eerily familiar voice say, \"Well. Interesting stunt you've pulled, coming to where I now live. I trust you'll stay for my avalanche.\" Then the sphere vanishes in a final burst of fire.\n\n> Go north\nTo the north, the ground suddenly rises into tree-speckled heights. From those heights you see snow gracefully piling towards you. To the south, the building's shape breaks the smooth white carpet of the ground. Partially buried in the snow is a large post. Pressed down in the snow are many footprints.\n\nThe cold is becoming worse, making your fingers slow to work.\n\n> Examine post\nIts square outline thrusts skywards from the snow. A dark line in the snow runs beside it, northwest to southeast. From the line a cable issues. The cable's twin dangles from the post, then scurries down its length and into the snow on the side of the post opposite the line.\n\n> You take the upper cable\nYou reach up and grab hold of the bare end of the cable. The wire writhes in your grasp as a surge of electricity passes through you and into the ground. Sparks leap gleefully between your rigid fingers, between you and the post, between you and the lower cable. For a moment, improbably, you are a living Jacob's ladder. You begin to lose consciousness as your clothes smoulder, then burst into flames.\n\nThe pain is mercifully brief.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 13 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You take the lower cable\nYou reach down and grab hold of the bare end of the cable. The wire rubs against your hand.\n\n> You go north\nThe hallway runs west to east; the east end of the hall curves south towards reception. An open door lies to the south, a closed door to the north.\n\nYou feel hot, then cold several times in succession.\n\n> You close the door\nClosed.\n\n> You enter the cubby\nYou hunker down behind the crates. They are just tall enough to hide you and the IV stand.\n\n> You put the needle in the arm\nWincing slightly in anticipation, you jab the needle into a prominent vein. Your summer job in the hospital pays off: the needle slides home on the first try.\n\nIce cold, the drug races up your arm and through your chest, numbing you. Fire hot, the next wave of the drug invades your system. The walls around you blur, fade away as the world runs in technicolor streaks...\n\nFit the Second: Revisit\n\n\"play of light/a photograph/the way I used to be\nsome half-forgotten stranger/doesn't mean that much to me\"\n-- Rush\n\nA familiar green hallway embraces you. As the world ceases its unnatural spin, you find you recognize the east-west hall. You're in Green area of the hospital where you volunteered for three months one summer.\n\nNo, not volunteered. It was coercion. You were going to be a doctor, just like father wanted, so you had to help out at a local hospital. \"Looks good on your resume,\" everyone told you.\n\nThree months of hell. This place cemented your desire to avoid med school.\n\nSeated in a wheelchair is an old woman.\n\n> You go northwest\nA U-shaped hall, entering from the northeast. The floor slopes\ngently down as it rounds the curve towards the southeast. Directly across from you is a doorway leading east.\n\n> You go to the southeast\nA nondescript hall leading east to northwest. To the north is an\nopen doorway. The ever-present stripe changes color to the east, just beyond a sign.\n\nA man passes by, dressed in blue scrubs. Where his face should be there is nothing. He is soon out of sight, hidden by a turn in the hall.\n\n> You go to the east\nThe operating room is mildly clean; evidently Lister's ideas have\nbegun to catch on, though they are applied haphazardly. There are exits to the north, south, and west.\nA group of doctors fills the room, milling about a patient.\n\n> Go east\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\nA patient slowly makes her way down the hall, pushing an IV stand. She has no face--her head is featureless. She continues down the hall and out of sight.\n\n> You go to the north\nShiny and clean. The only feature which breaks the sterility of the room is a pile of crates stacked in the northeast corner. There are exits to the north, south, and west.\nA group of doctors and nurses is milling about a patient on a\ngurney.\n\nThe doctors cover the now-dead patient and wheel him out. One nurse lingers for a moment, fingering a glass vial. She absentmindedly places it on the crates while exiting to the north.\n\n> You look at the vial\nThe glass vial has a rubber top and is partially filled with a clear liquid. A label wraps around it.\n\n> You take the vial\nThe vial turns out to be wet; it slips between your fingers and hits the floor. It doesn't break, thankfully, but it does roll under the crates and out of view.\n\n> You read the label\n\"Novocaine.\"\n\n> You look under the crate\nYou can barely see something at the far end of the gap.\n\n> You enter the gap\nThe space is much too small for you.\n\n> You look at the gap\nThe gap is barely wide enough for your arm and is very deep. It is too dark for you to make out any other details.\n\n> You put the arm in gap\nYou reach in the gap. Your hand encounters nothing, no matter how hard you strain.\n\n> You go north\nbed in its center. There is a window, its curtains closed, on the north wall. A door leads south.\nCoiled on the floor where it was carelessly dropped is a blood\npressure cuff.\n\n> You look at the cuff\nThe blood pressure cuff has a dial and an inflation bulb.\n\n> You open the curtains\nOpening the curtains, instead of revealing the green lawn which surrounds this hospital, reveals a grey mist which clings to the window. It is translucent, admitting a diffuse light but no glimpse of what's beyond.\n\n> You close the curtains\nYou draw the curtains against the grey mist.\n\n> Go south\nThe hall enters from the east and bends to the southwest. A small\ndoor leads north and an open doorway graces the south wall.\n\nA group of doctors and interns appears in the hall, headed towards you. You are fixated by the sight of their faces, or rather by their lack of ones. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go south\nShiny and clean. The only feature which breaks the sterility of the room is a pile of crates stacked in the northeast corner. There are exits to the north, south, and west.\nSitting on the crates you see a glass vial.\n\n> You go west\nA U-shaped hall, entering from the northeast. The floor slopes\ngently down as it rounds the curve towards the southeast. Directly across from you is a doorway leading east.\n\n> You look at the sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Purple/Enter Green\" in the appropriate colors.\n\n> You go northwest\nA U-shaped hall, entering from the northeast. The floor slopes\ngently down as it rounds the curve towards the southeast. Directly across from you is a doorway leading east.\n\nA man passes by, dressed in a white coat. Where his face should be there is nothing. He is soon out of sight, hidden by a turn in the hall.\n\n> Go east\nShiny and clean. The only feature which breaks the sterility of the room is a pile of crates stacked in the northeast corner. There are exits to the north, south, and west.\nSitting on the crates you see a glass vial.\n\n> You go north\nbed in its center. There is a window, its curtains closed, on the north wall. A door leads south.\n\n> You go east\nThe doors are locked.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go north\nThe doors will not budge for you. As you push harder, a squirt of grey smoke escapes from behind them.\n\nThe nurse reenters the hallway from the north, wheeling a gurney covered in a fine coating of ash. She pushes the gurney west, then returns a few seconds later empty-handed.\n\n> Go east\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\nA patient slowly makes her way down the hall, pushing an IV stand. She has no face--her head is featureless. She continues down the hall and out of sight.\n\n> You examine the north plaque\nIt reads \"O7.\"\n\n> You examine the south plaque\nIt reads \"O6.\"\n\n> You look at the ceiling sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Orange/Enter Purple\" in the appropriate colors.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> Go west\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\nThe nurse reenters the hallway from the north, wheeling a gurney covered in a fine coating of ash. She pushes the gurney west, then returns a few seconds later empty-handed.\n\n> You examine the sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Purple/Enter Orange\" in the appropriate colors.\n\nThe nurse moves to the patient at the head of the line and begins taking a history.\n\n> You go to the south\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nAn attendant is here, sitting behind the counter.\nBubbles is lying on the ground, waiting for you.\n\nBubbles, upon seeing you, cocks its head at you as it stands. The dog is quite a bit larger than it was before. It is wearing the rucksack and, you would swear, grinning at you.\n\n> You examine the dog\nBubbles resembles a corgi. In fact, it looks like the corgi you begged your father for when you were eight. It has recently grown out of early puppyhood. It is wearing the rucksack.\n\n> You take the rucksack\nTaken.\n\nBubbles growls softly, baring teeth at the attendant. The attendant glares back at the dog. \"Don't you let that mutt bite me,\" she tells you.\n\n> Inventory\nYou have a blood pressure cuff and a rucksack. The rucksack seems to contain a fool, a tuft of insulation, a thin coat, a pair of gloves, a length of rope, a dark sphere, a light sphere, and a pair of sunglasses."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nAn attendant is here, sitting behind the counter.\nBubbles is wandering around, sniffing at things.\n\n> Go south\nYou push open the glass doors that lie between you and the outside. As you do, a grey mist begins pouring through the door. You can't see a thing outside. You're not even sure if there _is_ an outside. You let the doors swing shut in front of you.\n\n> You go to the north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here, talking with a patient.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the south.\n\nThe nurse, satisfied, wheels the gurney through the swinging doors to the north. The remaining patients call after her.\n\n> You go south\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nAn attendant is here, sitting behind the counter.\nBubbles is lying on the ground, staring at you with soulful eyes.\n\n> You go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> You examine the sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Purple/Enter Orange\" in the appropriate colors.\n\nThe nurse reenters the hallway from the north, wheeling a gurney covered in a fine coating of ash. She pushes the gurney west, then returns a few seconds later empty-handed.\n\n> Go north\nThe doors will not budge for you. As you push harder, a squirt of grey smoke escapes from behind them.\n\nThe nurse moves to the patient at the head of the line and begins taking a history.\n\n> You go south\nThe unoccupied room is an oddity in this hospital. Like other\nhospital rooms, it sports a bed and an excess of medical equipment. Leaning in a corner is a white cane.\n\n> You examine the cane\nThe cane is white with a red tip. Its grip is worn with use.\n\n> Go east\nAn east-west hall with an orange strip coloring the wall just below\nthe ceiling. There is an open door in the south wall.\n\nA patient slowly makes her way down the hall, pushing an IV stand. She has no face--her head is featureless. She continues down the hall and out of sight.\n\n> You examine the globe\nIts borders are nebulous; it gives off a faint glow.\n\nThe shape under the bed sits up, startling you. A withered hand grabs you, leaving streaks of blood on your arm. The man is trying to say something, a violent exercise which makes his head shake with effort. He finally points to the globe on the shelf, making a horrible keening noise, before collapsing back under the sheets.\n\n> You take the globe\nAs your hands close around the globe, you feel a tingling in your fingers even through the gloves. The tingling quickly grows, becomes horrendous pain. You jerk back your hands; the feeling of having dipped them in lava fades.\n\n> You ask the man about the globe\nThe man's eyes pop open, fever bright. His lips move soundlessly; exhausted from the effort, he sinks further into his bed.\n\n> You go north\nAn east-west hall with an orange strip coloring the wall just below\nthe ceiling. There is an open door in the south wall.\n\nA man passes by, dressed in blue scrubs. Where his face should be there is nothing. He is soon out of sight, hidden by a turn in the hall.\n\n> You go to the east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\n> You go west\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here, talking with a patient.\n\n> You look at the stairs\nFour steps leading south.\n\n> Exits\nYou can go east and south.\n\n> Go east\nThe doors are locked.\n\nA woman passes by, dressed in blue scrubs. Where her face should be there is nothing. She is soon out of sight, hidden by a turn in the hall.\n\n> You take the vial\nThe vial turns out to be wet; it slips between your gloved fingers and hits the floor. It doesn't break, thankfully, but it does roll under the crates and out of view.\n\n> Inventory\nYou have a blood pressure cuff, a rucksack (being worn), a white cane, and a pair of gloves (being worn). The rucksack seems to contain a fool, a tuft of insulation, a thin coat, a length of rope, a dark sphere, a light sphere, and a pair of sunglasses.\n\n> You open the curtains\nBehind the curtains and the window, the grey mist remains.\n\n> You examine the mist\nIt has a greasy look to it; it rubs against the window, leaving tracks of moisture.\n\n> You go east\nA hospital hall running east-west. A green stripe just below the ceiling decorates the otherwise-bland walls. The hum of fluorescent lighting is barely audible.\nSeated in a wheelchair is an old woman.\n\nA patient slowly makes his way down the hall, pushing an IV stand. He has no face--his head is featureless. He continues down the hall and out of sight.\n\n> Go north\nbed in its center. There is a window, its curtains open, on the north wall. A door leads south.\n\n> You examine the equipment\nThrough the long months you worked here you never discovered their purpose.\n\n> You look under the bed\nYou find some dust, which you take.\n\n> Go east\nA hospital hall running east-west. A green stripe just below the ceiling decorates the otherwise-bland walls. The hum of fluorescent lighting is barely audible.\nSeated in a wheelchair is an old woman.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> Exits\nYou can go east and west.\n\n> You go to the east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\n> Inventory\nYou have a blood pressure cuff, a rucksack (being worn), a white cane, a pair of gloves, and some dust. The rucksack seems to contain a fool, a tuft of insulation, a thin coat, a length of rope, a dark sphere, a light sphere, and a pair of sunglasses.\n\n> You look at the cuff\nThe blood pressure cuff has a dial and an inflation bulb.\n\n> You look at the gap\nThe gap is barely wide enough for your arm and is very deep. By straining your eyes, you can just make out the shadow of something deep within the gap.\n\n> Go south\nA nondescript hall leading east to northwest. To the north is an\nopen doorway. The ever-present stripe changes color to the east, just beyond a sign.\n\nA patient slowly makes his way down the hall, pushing an IV stand. He has no face--his head is featureless. He continues down the hall and out of sight.\n\n> You look at attendant\nGlancing at her, you feel a shock of recognition. It's Linda, the woman you disliked most while working here. With her flaming red hair and her patronizing attitude towards anyone younger than she, she was hated by many in the hospital.\n\n> You give the dust to Linda\nLinda rejects the offer.\n\n> You ask Linda about Linda\n\"I don't have time for stupid questions.\" She rolls her eyes in exasperation.\n\n> Go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A line of patients on gurneys fills the hallway.\nThere is a nurse here.\n\nA sudden scream from further down the line. Both you and the nurse jump; she runs to the patient, then returns, wheeling him at high speed. She holds out a horrible-smelling sac filled with a black substance. \"Here!\" she snaps. \"Colostomy bag. Take it, quick!\" You remember why you chose not to go to med school.\n\n> You take the bag\nIt slithers warmly in your grasp.\n\nThe nurse looks at you gratefully as she wheels the patient north. As she and the patient pass through the doors, one of the blank-faced men slips past her and into the hall. He takes the colostomy bag from you and reenters the north doors. It takes a moment for you to realize the bag is really gone, another to realize that you are now covered in a light sheen of sweat.\n\n> Go north\nThe doors will not budge for you. As you push harder, a squirt of grey smoke escapes from behind them.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> You go south\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nLinda is here, sitting behind the counter.\nBubbles is lying on the ground, staring at you with soulful eyes.\n\n> You wear the glasses\nEverything becomes a little dimmer as you put on the sunglasses.\n\n> Go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign. A few patients on gurneys line the hallway.\nThere is a nurse here.\n\nThe nurse begins talking to a patient, but is brought up short by something. She turns and sees you. She beams. \"Terry, glad you're still here. I'm missing my BP cuff--must've dropped it somewhere in Green. Go get it for me, will you?\" She hands you a hall pass. \"In case someone harasses you,\" she says with a wink before turning back to another patient.\n\n> You take the cuff\nYou already have the blood pressure cuff!\n\n> You give the cuff to the nurse\nThe nurse thanks you as she applies the BP cuff to a patient and takes a reading.\n\n> You examine the pass\nThe hall pass is a laminated card with colors around its edges to show what areas the bearer is authorized to enter. This one is edged in purple and green stripes.\n\nThe nurse, satisfied, wheels the gurney through the swinging doors to the north.\n\n> You check your inventory\nYou have a rucksack (being worn), a white cane, a pair of gloves, some dust, a pair of sunglasses (being worn), and a hall pass. The rucksack seems to contain a fool, a tuft of insulation, a thin coat, a length of rope, a dark sphere, and a light sphere.\n\n> You put the dust in the sack\nDone.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go north\nShiny and clean. The only feature which breaks the sterility of the room is a pile of crates stacked in the northeast corner. There are exits to the north, south, and west.\n\n> Go east\nA hospital hall running east-west. A green stripe just below the ceiling decorates the otherwise-bland walls. The hum of fluorescent lighting is barely audible.\nSeated in a wheelchair is an old woman.\n\n> Go east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\nSlowly, ever so slowly, the old woman's chin nods towards her chest. Shortly after the chin has completed its journey, soft snores begin floating from her.\n\n> You remove the glasses\nYou remove the sunglasses.\n\n> You look at the pass\nThe hall pass is a laminated card with colors around its edges to show what areas the bearer is authorized to enter. This one is edged in purple and green stripes.\n\nThe old woman begins humming to herself. She rolls to the south.\n\n> You go south\nThe hall enters from the east and bends to the southwest. A small\ndoor leads north and an open doorway graces the south wall.\nSeated in a wheelchair is an old woman.\n\nFrom behind you, you hear humming. Surprised, you turn around to see the old woman humming \"Amazing Grace\" to herself. When she notices your scrutiny she stops, her cheeks coloring slightly.\n\n> You ask the woman about the wheelchair\nThe old woman says, \"Me? Oh, my, no sense in boring you to tears!\"\n\nThe old woman in the wheelchair rolls up to you. \"You know, seeing you reminds me of when John and I went to Paris. Have you ever been to Paris?\" she asks.\n\n> Yes\n\"Ooh, I'm so glad!\" she replies.\n\nFrom further down the hall you hear the familiar squeak of a gurney. A faceless man in blue scrubs is pushing it. A shape on the gurney is completely covered by the white sheet draped over it. The shape occasionally writhes, as if in terrible pain. You watch until you can no longer see them.\n\n> You ask woman about the paris\n\"I've been to Paris!\" she tells you excitedly. \"You must go and see it some time. It's lovely!\"\n\n> You ask the woman about John\nThe old woman says, \"Have you seen John?\" Her eyes light up. \"He's been on a business trip.\"\n\n\"I wonder where my son got off to,\" says the old woman. She rolls to the east.\n\n> Go east\nA hospital hall running east-west. A green stripe just below the ceiling decorates the otherwise-bland walls. The hum of fluorescent lighting is barely audible.\nSeated in a wheelchair is an old woman.\n\n> You ask the woman about the son\n\"Have you seen him?\" she asks you excitedly. \"He's getting married soon, you know,\" she adds in a conspiratorial whisper.\n\n> You ask the woman about the son\n\"My son's visiting me for his birthday. Did you know that he'll be seven today?\"\n\n> You go to the south\nYou can't go that way.\n\nSlowly, ever so slowly, the old woman's chin nods towards her chest. Shortly after the chin has completed its journey, soft snores begin floating from her."
    },
    {
        "text": "[Themes: Surreal]\n\n> You describe your surroundings\nA hospital hall running east-west. A green stripe just below the ceiling decorates the otherwise-bland walls. The hum of fluorescent lighting is barely audible.\nSlumped in a wheelchair, asleep, is an old woman.\n\n> Go west\nThe hall enters from the east and bends to the southwest. A small\ndoor leads north and an open doorway graces the south wall.\n\nA woman passes by, dressed in blue scrubs. Where her face should be there is nothing. She is soon out of sight, hidden by a turn in the hall.\n\n> Wear coat\nAs you wear the coat you feel the insulation inside crackling. The coat is very warm.\n\nBubbles's tail hits the ground softly.\n\n> You check what you're carrying\nYou have a white cane, a pair of gloves, a pair of sunglasses (being worn), a hall pass, and a thin coat (being worn).\n\n> You go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the south.\n\nA woman passes by, dressed in a white coat. Where her face should be there is nothing. She is soon out of sight, hidden by a turn in the hall.\n\n> You follow the dog\nBut Bubbles is right here!\n\n> You check what you're carrying\nYou have a white cane, a pair of gloves, a pair of sunglasses (being worn), a hall pass, and a thin coat (being worn).\n\n> You examine the cane\nThe cane is white with a red tip. Its grip is worn with use.\n\n> You show the linda hall pass\nLinda grimaces. \"Okay, so you can come and go as you please. Big deal.\" But she looks distinctly unhappy. You hear what sounds remarkably like snickering coming from Bubbles.\n\n> You show the cane to Linda\n\"You think I've got nothing better to do than look at that?\" she asks you.\n\n> You go to the north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign.\n\n> You take the sack\nTaken.\n\nBubbles's tail hits the ground softly.\n\n> You put it in the sack\nOkay, you're no longer wearing the thin coat.\n\nA woman passes by, dressed in a white coat. Where her face should be there is nothing. She is soon out of sight, hidden by a turn in the hall.\n\nDone.\n\n> You take the chair\nHow rude!\n\n> You give the pass to the woman\nWith a start, the old woman wakes up. \"Yes? Yes?\" she asks querulously.\n\n> Keep going\nShe waves you off. \"No, no, I don't need that,\" she says.\n\n> You look at the stripe\nA stripe of green running just below the ceiling.\n\n> You look at the sign\nThe sign hangs from the ceiling to the west. It reads, \"Leave Green/Enter Purple\" in the appropriate colors.\n\n> You take the sign\nIt's too far away.\n\n> You go east\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go east\nAs you walk east, the hall lengthens. With each step everything blurs, vanishing into a grey mist. Your sense of balance is lost; you stumble back the way you came.\n\nDown the hall, a shapeless, faceless patient in a white gown shuffles towards you. You cannot guess the sex of wraith-like person, even when he (she?) is merely feet away. You watch the patient until you can no longer see the white gown.\n\n> You go south\nThe unoccupied room is an oddity in this hospital. Like other\nhospital rooms, it sports a bed and an excess of medical equipment.\n\n> Go north\nThe doors will not budge for you. As you push harder, a squirt of grey smoke escapes from behind them.\n\n> You go to the south\nYou can't go that way.\n\nThe old woman in the wheelchair rolls up to you. \"You know, seeing you reminds me of when John and I went to Paris. Have you ever been to Paris?\" she asks.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> You look at the doors\nThe doors are spring-loaded so as to close automatically. In one of them is a keyhole in which a key is thrust.\n\n> You unlock the doors with the key\nUnlocked.\n\n> You go east\nYou push past the doors, which shut behind you.\n\nworld. Chairs are strewn about at random; on several there are magazines. A counter guards the hall leading north. Above it is a speaker. To the west are a set of wide double doors labeled \"Deliveries.\" South is the hospital exit.\nLinda is here, sitting behind the counter.\nBubbles is lying on the ground, staring at you with soulful eyes.\n\n> Go west\nYou push past the doors, which shut behind you on Linda's startled exclamation.\n\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\n> Go east\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign.\n\nDown the hall, a shapeless, faceless patient in a white gown shuffles towards you. You cannot guess the sex of wraith-like person, even when he (she?) is merely feet away. You watch the patient until you can no longer see the white gown.\n\n> You examine man\nThe shape underneath the covers is barely recognizable as a man. Tubes snake around and through his body; what skin he still owns he wears poorly. The rise and fall of his chest are uneven.\n\n> You ask the woman about the man\nThe woman says, \"Oh, dear, I really can't help you with that.\"\n\nThe old woman begins humming to herself. She rolls to the north.\n\n> Go north\nAn east-west hall with an orange strip coloring the wall just below\nthe ceiling. There is an open door in the south wall.\nSeated in a wheelchair is an old woman.\n\n> You look at the woman\nThe woman is ancient, her waxy skin draped loosely about her.\n\nA doctor, notable for his unmissing face, walks by the door. He is back in seconds, striding into the room. Leaning over the old woman, he shakes her. \"I'm Doctor John; can you hear me? Ma'am?\" Her lack of response prompts him to lean out into the hall and shout: \"Woman down, unresponsive; crash cart to Orange 7.\" He returns to the woman, placing two fingers to her throat and a palm to her forehead. He tilts her head back, extending her neck, and huffs twice into her mouth. He then motions. \"You.\" He nods at the woman's chest. \"Begin compressions.\"\n\n> You begin compressions\nYou link fingers, one hand on top of the other, and watch as your hands drift to a dimly-remembered position. Then you are pumping as hard as you can, the woman's sternum creaking beneath your weight.\n\n> Again\nYou are already performing CPR on the woman.\n\nYou have slipped into a once-familiar rhythm: five compressions, then the doctor breathes, then five compressions.\n\n> You look at the woman\nThe woman is ancient, her waxy skin draped loosely about her.\n\nA gang of white-garbed doctors, all of whom lack faces, pour into the room. Several of them slide away from the door, revealing the gurney and crash cart they have brought with them.\n\nDr. John nods at them and their cargo. He waves you away from the old woman and motions the others closer. \"On my mark: one, two, three,\" and they have lifted the woman up and onto the gurney.\n\n> You examine john\nHis face is scrunched in concentration, his thin glasses dangling from his ears.\n\nDr. John nods at the ECG readout. \"She's in VFib.\" He snatches up the defibrillator paddles and says to you, \"Charge to 200.\"\n\n> You look at the defibrillator\nYou always found it ironic that shocking someone violently, normally a prescription for stopping the heart, is the only way known to restart the heart. Its dial, marked from 200 J to 400 J, currently points at 320.\n\n> You set the dial to 200\nThe dial clicks as you turn it to 200.\n\n\"Clear!\" A push of buttons; the woman's body arcs and recollapses.\nDr. John rubs the paddles together, smearing paste, while he glances at the ECG. \"Give me 260.\"\n\n> You set the dial to 200\nThe dial is already set to 200.\n\n> You set the dial to 260\nThe dial clicks as you turn it to 260.\n\nAgain Dr. John says, \"Clear!\" Again the woman's body leaps into the air. Dr. John takes another look at the ECG, saying, \"Give me 360.\"\n\n> You set the dial to 360\nThe dial clicks as you turn it to 360.\n\nThe woman's body jumps once more as Dr. John discharges his paddles. When he looks at the ECG this time, his brow furrows. \"PEA,\" he mutters. \"Intubate; give me a 1 mg epinephrine push.\" He resumes breathing for the woman while one of his faceless helpers performs chest compressions.\n\n> You give the epinephrine to Doctor\nWhich doctor do you mean, Doctor John, or the faceless doctors?\n\n> You examine the cart\nThe crash cart appears only when someone is in great distress. It contains plenty of medication, an ECG machine, a syringe, and a defibrillator.\n\nDr. John notices you during a pause between breaths. \"Thanks,\" he says. \"We have it under control.\" Breath. \"You can go.\" Then his attention is focussed on the woman. \"Pulse back, breathing again. 60 mg lidocaine.\" Two of the faceless doctors usher you, not unkindly, through the door. As you leave, the door closes behind you, snicking shut.\n\nTwo doors, a closed one on the north wall and one on the south,\nflank this east-west hall. A sign hangs from the ceiling to the west.\n\n> You take the wheelchair\nYou try to lift it, but find it improbably heavy.\n\nDr. John notices you during a pause between breaths. \"Thanks,\" he says. \"We have it under control.\" Breath. \"You can go.\" Then his attention is focussed on the woman. \"Pulse back, breathing again. 60 mg lidocaine.\" Two of the faceless doctors usher you, not unkindly, through the door. As you leave, the door closes behind you, snicking shut.\n\nTwo doors, a closed one on the north wall and one on the south,\nflank this east-west hall. A sign hangs from the ceiling to the west."
    },
    {
        "text": "[Themes: Surreal]\n\n> You take the syringe\nTaken.\n\nDr. John notices you during a pause between breaths. \"Thanks,\" he says. \"We have it under control.\" Breath. \"You can go.\" Then his attention is focussed on the woman. \"Pulse back, breathing again. 60 mg lidocaine.\" Two of the faceless doctors usher you, not unkindly, through the door. As you leave, the door closes behind you, snicking shut.\n\nTwo doors, a closed one on the north wall and one on the south,\nflank this east-west hall. A sign hangs from the ceiling to the west.\n\n> Inventory\nYou have a white cane, a pair of gloves (being worn), a pair of sunglasses (being worn), a hall pass, a rucksack, some dust, and a syringe. The rucksack seems to contain a fool, a tuft of insulation, a length of rope, a dark sphere, a light sphere, and a thin coat.\n\n> You enter the gap\nThe space is much too small for you.\n\n> You examine the chairs\nPlastic chairs, grouped in small sets of three or four. They are surprisingly empty; when you worked here, they were always in use. Magazines decorate a few of them.\n\nBubbles's tail hits the ground softly.\n\n> Hello\n\"Bark! Bark!\"\n\n> You look at the speaker\nWhen you first worked here, only muzak issued from the speaker. Now, however, it is playing songs in their original versions.\n\n> You go north\nThe corridors of the hospital join in a T-junction. The arms of the\nT lie east and west, while the base runs south. A pair of swinging doors crowns the top of the T, to the north. Over the east corridor is a sign.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the south.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> Go north\nThe doors will not budge for you. As you push harder, a squirt of grey smoke escapes from behind them.\n\n> Go west\nYou push past the doors, which shut behind you on Linda's startled exclamation.\n\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the north.\n\n> You tie the rope to Bubbles\nYou must be holding the rope in your hands before you can tie it to anything.\n\n> You tie the rope to Bubbles\nYou tie the rope to Bubbles. Bubbles wriggles a bit, but submits to being leashed.\n\n> Go west\nYou push past the doors, which shut behind you on Linda's startled exclamation.\n\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\nBubbles is dragged behind you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He looks as if he is about to take action, but then he notices your sunglasses and cane. Realizing what has happened, you inspiredly begin tapping the cane on the ground. The man, satisfied, continues on his way.\n\n> You get the vial\nBubbles looks at you for a moment, then begins wiggling into the space between crates. Shortly after its tail has vanished into the space you hear excited barking, followed by the reemergence of Bubbles. Bubbles then trots to you and drops the glass vial at your feet.\n\nBubbles strains at the rope, then stares back at you.\n\n> You take the vial\nTaken.\n\nA section of the air just above your head shimmers. A small pyramid falls from the disturbance to the ground below.\n\n> You take the pyramid\nThe pyramid begins glowing softly. It unfolds like a flower and a feminine voice issues from it, saying, \"Oh!\" The voice is fainter than before. \"Dr. Boozer! In here, behind the crates!\" When the light dies down, the pyramid is gone.\n\n> Inventory\nYou have a white cane, a pair of gloves (being worn), a pair of sunglasses (being worn), a hall pass, a rucksack, some dust, a syringe, a length of rope (tied to Bubbles), and a glass vial. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, and a thin coat.\n\n> You put all in rucksack\nfool: You cannot put the fool anywhere without holding it.\ntuft of insulation: You cannot put the tuft of insulation anywhere without holding it.\ndark sphere: You cannot put the dark sphere anywhere without holding it.\nlight sphere: You cannot put the light sphere anywhere without holding it.\nthin coat: You cannot put the thin coat anywhere without holding it. white cane: Done.\nheavy gloves: (Taking off the gloves first)\nDone.\nsunglasses: (Taking off the sunglasses first)\nDone.\nhall pass: Done.\ndust: Done.\nsyringe: You refrain for fear of snapping off the end of the needle. rope: Not while the rope is tied to anything.\nglass vial: Done.\n\nBubbles strains at the rope, then stares back at you.\n\n> You untie the rope\nYou untie the rope.\n\n> You go to the south\nA nondescript hall leading east to northwest. To the north is an\nopen doorway. The ever-present stripe changes color to the east, just beyond a sign.\n\nBubbles comes trotting after you.\n\nA group of doctors and interns appears in the hall, headed towards you. They, too, are faceless. Their heads nearly touch; they are obviously in conference, though you can hear nothing. They pass you and are gone.\n\n> You go east\nThe hall jogs west to north, interrupted by several stairs to the north. A sign hangs from the ceiling to the west, delineating where the stripe of color changes from purple to green. A set of doors leads east.\n\nBubbles comes trotting after you.\n\nA faceless man in blue scrubs appears from further down the hall. He starts to walk past, then pulls up short next to Bubbles. He turns his head towards you, then ushers Bubbles to the north.\n\n> You follow you\nBubbles gets up and trots over to you.\n\n> You check your inventory\nYou have a syringe and a glass vial.\n\n> You inject the hand with syringe\nYou stick the syringe into your hand and depress the plunger. A shock of cold runs through you as your hand grows numb.\n\n> You take the globe\nYou pick up the globe with your numbed hand. Your fingers feel warm, but the novocaine blocks any pain.\n\n> You examine the globe\nIts borders are nebulous; it gives off a faint glow.\n\n> You give the globe to the man\nWhen you press the globe to the man's chest, his eyes snap open. The glow suffuses his face and he smiles, revealing gaps once inhabited by teeth. The glow fades, leaving behind a lead sphere. The man's muscles relax, allowing the sphere to fall to the floor. His whole face sags; his breathing stops.\n\nNumbness begins creeping up your arm. You look down to find your hand turning black, beginning to suppurate. Horror, you think, I should be feeling horror. But you are as numb to your growing disfigurement as your hand is to pain.\n\n> You examine sphere\nA dull lead sphere, devoid of any distinguishing marks.\n\nYour hand cracks and bleeds, the white pus running from it turning red. You stumble back against a wall, holding your arm away from you. You close your eyes against the sight, amazed that you still feel no pain. Then you make the mistake of trying to flex your hand.\n\nPain, unending pain, until you can bear no more, until...\n\n\n\nThe ceiling above you looms, fluorescent lights glaring down at you. You've been strapped to a gurney and reattached to monitors. Ambulance workers run alongside you, occasionally bending over to check your condition. Your ill-fated IV has been brought along for the ride, its needle bouncing against your hand from time to time.\n\n> You look at IV\nIt has been attached to the gurney, most likely for the hospital staff to analyze the drug.\n\nOne of the workers bends down and shines a light in your left eye.\nYour reflexive blink seems to take forever.\n\n> You look\nYou've been strapped down on a gurney and covered in a blanket.\nAround you, ambulance workers run along side, guiding you to the ambulance. Your IV is attached to the side of the gurney, the needle occasionally bouncing against your hand.\n\n> You look at IV\nIt has been attached to the gurney, most likely for the hospital staff to analyze the drug.\n\nTwo of the medical workers confer over your head, their lips moving slowly. No sound reaches you.\n\n> You look at the blanket\nIt covers you, keeping you uncomfortably warm.\n\nAhead of you, the clinic exit creeps closer.\n\n> You put the needle in the arm\nYou can't reach your arm to put the needle in it.\n\nYou are wheeled outside and into an ambulance, its roof cutting off the light of the sun. Blackness descends, and you fall into a dreamless sleep.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 33 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You put the needle in the hand\nBy a series of excruciating contortions, you can just reach the needle and jab it in your hand. The familiar waves of heat and cold race through your body. The lights overhead approach and recede, light and dark, light and dark, blending into...\n\nFit the Third: Renascence\n\n\"When I was a child/I caught a fleeting glimpse\nOut of the corner of my eye\"\n-- Pink Floyd\n\nYou are lying on your bed, staring up at the ceiling. The sun\nstreams through the window blinds and falls in stripes across your face.\n\nBut it's not the bed in your apartment. It's your childhood bedroom, upstairs in the house you lived in until shortly after your Mom died.\n\nJudging from the room's neatness, your Mom must have died not too long ago; you remember cleaning your room compulsively after she died in the hopes that it would bring her back. You also remember being sent to your room this day for some unexplained infraction of your father's rules.\n\nYour dresser leans against the north wall and a closed door leads east. There is a window in the west wall.\nSitting on the dresser you see a book of mythology and a book of faeries.\n\n> About yourself\nWhat you can see of yourself is familiar.\n\n> You check what you're carrying\nYou are empty-handed.\n\n> You examine the mythology\nIn the third grade you became enamored with Greek mythology, scouring the 000-010 section of your school library. This book by Edith Hamilton is a remnant of that time.\n\n> You look at the faeries\nShortly after your interest in mythology waned, you became interested in faeries. At this age your nascent research had not yet taken over the top of your dresser, as this lone oversized book can attest.\n\n> You read the mythology\nYou flip through the book, remembering different stories which caught your attention: Perseus and Medusa, the rivers lethe and mnemosyne, Zeus visiting Leda in the guise of a swan.\n\n> You read the faeries\nAs you skim through the book, several facts jump out: how faeries are driven away by church bells, how they change homes on Quarter Days, how you shouldn't eat faerie food, how a four-leaf clover will let you see them.\n\n> You open the dresser\nYou pull open a few drawers and look at the rows of neatly-folded clothes before closing the drawers once more.\n\n> You examine the window\nThe window is closed and looks out on the rolling hills behind your house; without looking directly through the window, the details are hard to make out. You can just see your backyard one story beneath you.\n\n> You look in the window\nIt's closed.\n\n> You take the books\nbook of mythology: Taken.\nbook of faeries: Taken.\n\n> You look through the window\nYou see the hills behind your house and your backyard. Your father called that region \"Big Country,\" and he used to tell you stories of heroes who walked Big Country in search of adventures. Though he stopped telling you those stories after your mom died, the dreams stay with you.\n\n> You go to the west\nThe fall would kill you.\n\n> You take the sheet\nYou pull the bedsheet free, unmaking the bed in the process.\n\n> You look at the bed\nThe bed was large enough for you through your tenth birthday. It has been unmade and its bedsheet removed.\n\n> Tie sheet to bed\nYou loop the sheet around your bed and tie it.\n\n> You examine the door\nIt is closed.\n\n> You open the door\nYour father would see you come out of your room if you left via this door, and the punishment to follow would be painful.\n\n> You climb out the window\nYou realize that it is impossible to hold onto the bedsheet and anything as large as the oversized books at the same time if you intend to reach the ground safely.\n\n> You drop the books\nbook of mythology: Dropped.\nbook of faeries: Dropped.\n\n> You throw it through the window\nYou throw the book of mythology through the window. It vanishes to the ground below.\n\n> You throw it through the window\nYou throw the book of faeries through the window. It vanishes to the ground below.\n\n> You climb out the window\nYou grab hold of the bedsheet tightly and lower yourself out the open window. You shimmy down the sheet, old skills returning. A few feet above the ground your sheet runs out, but the shock of the drop is easily absorbed by your young legs.\n\nThe backyard ends to the south and west in a chain-link fence which fetches up against your house. Grass covers the ground in a remarkably even carpet.\nYou see a book of mythology and a book of faeries here.\n\n> You take the books\nbook of mythology: Taken.\nbook of faeries: Taken.\n\n> You search the grass\nThere is too much of it for you to search indiscriminately.\n\n> You examine the grass\nIt thickly covers the ground. A rogue patch of clover has established a beachhead in the sea of grass. Your father will no doubt rip it out at the first opportunity, restoring the backyard to its former glory.\n\n> You look at the clover\nThe patch of clover huddles together in solidarity against the encroaching grass.\n\n> You search the clover\nYou get on hands and knees and begin carefully examining each clover individually. After a moment you are rewarded with a pristine four-leaf clover, which you take.\n\n> You look at the faeries\nShortly after your interest in mythology waned, you became interested in faeries. At this age your nascent research had not yet taken over the top of your dresser, as this lone oversized book can attest.\n\n> You look\nThe backyard ends to the south and west in a chain-link fence which fetches up against your house. Grass covers the ground in a remarkably even carpet.\n\n> Go east\nThe house is in the way.\n\n> You check what you're carrying\nYou have a book of mythology, a book of faeries, and a four-leaf clover.\n\n> Go north\nThe fence paces you to the west, then angles north to block further progress. To the east is the old tool shed your father built. The thick mat of grass leads back south.\n\nFrom somewhere around your feet you hear a tiny voice pipe up: \"Top o' the mornin' to ya!\" You look down and see a small faerie just on this side of the fence. He is joined by two others, though you can't see where they came from.\n\nOne of the others replies, \"And the rest of the day to yerself!\"\n\n> You examine the faerie\nWhich faerie do you mean, the book of faeries, or the small faeries?\n\n> You examine small faeries\nThere are three of them, small faeries with gnarled faces and red stubbly beards.\n\n> Hi\nThe faeries do not notice you.\n\nFrom the house you hear, \"Terry! TERRY!\"\n\nYour father. He's found your open window.\n\n> Exits\nYou can go south and east."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nThe fence paces you to the west, then angles north to block further progress. To the east is the old tool shed your father built. The thick mat of grass leads back south.\nThree faeries are conversing near your feet.\n\nOne of the faeries says to the other two, \"Shall we be returnin'? The king wanted us back quick as possible.\"\n\n\"Aye.\"\n\n\"But we're without a padfoot. How to get back?\"\n\n\"I've a way,\" responds the third faerie. \"'Tis in the shed.\" The faeries move to the east.\n\n> Go east\nLight filters through chinks in the roof, dimly illuminating empty shelves and forgotten tools. The structure smells of mildew and rot. Seated on a shelf is a metal box.\nA yellowed flyer is curled on the floor.\nThree faeries are conversing near your feet.\n\n> You take the flyer\nTaken.\n\nOne of the faeries pulls several over-sized white hats from under a pile of dirt. Despite their earthy storage they are pristine white.\nHe hands them to the others. Then he wears his hat, saying, \"I'm off!\" In a flash, he zips out the door and into the air.\n\nThe two remaining faeries don their hats. \"I'm after!\" \"I'm after!\" Both are caught up in the air and are gone.\n\nIn their wake, a lone white hat drifts to the floor of the shed, forgotten.\n\n> You wear the hat\nAs you wear the hat, a tingle runs the length of your body.\n\n> Examine flyer\nThe flyer extols the virtues of the SchimTek Sonic Cavity Analyzer.\nThe picture on the flyer shows a rectangular box with a large grip handle on one end, reminiscent of an old geiger counter. Your father was eternally collecting gadgets like the Sonic Cavity Analyzer.\n\nYour father comes into the tool shed, looking around. He is in his late thirties, a vigorous man who shows no sign of the cancer which will steal his life in thirteen years. His face darkens when he sees you, and he walks stiffly towards you. \"_There_ you are,\" he says, grabbing your ear and pulling firmly. You skip after him, pain burgeoning across your head.\n\nYour father punctuates each phrase with a twist of your ear, causing sparks to burst across your vision. \"You were supposed\"--twist--\"to stay\"--twist--\"in your room\"--twist.\n\nThe final twist overcomes you; your vision dims. The throbbing in your head worsens as you fall back.\n\nA hospital bed catches you, supporting you. A quick glance shows you a sterile hospital room. No one else is here; the room is yours alone. Then a black tide washes over you, carrying you away....\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 33 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You go east\nLight filters through chinks in the roof, dimly illuminating empty shelves and forgotten tools. The structure smells of mildew and rot. Seated on a shelf is a metal box.\nA yellowed flyer is curled on the floor.\n\n> You take the box\nTaken.\n\nFrom outside the shed you hear, \"Terry! TERRY!\"\n\nYour father. He's found your open window.\n\n> You take the flyer\nTaken.\n\nThree small faeries slip into the shed.\n\n> Examine box\nThe box is made of seamless metal, marred only by a large handle and a display with a needle. Its underside is crisscrossed with a strange pattern, giving it the look of granite. The display is marked from 0 millimeters to 20000; the needle is currently pointing at 0.\n\n> Examine flyer\nThe flyer extols the virtues of the SchimTek Sonic Cavity Analyzer.\nThe picture on the flyer shows a rectangular box with a large grip handle on one end, reminiscent of an old geiger counter. Your father was eternally collecting gadgets like the Sonic Cavity Analyzer.\n\nOne of the faeries pulls several over-sized white hats from under a pile of dirt. Despite their earthy storage they are pristine white.\nHe hands them to the others. Then he wears his hat, saying, \"I'm off!\" In a flash, he zips out the door and into the air.\n\nThe two remaining faeries don their hats. \"I'm after!\" \"I'm after!\" Both are caught up in the air and are gone.\n\nIn their wake, a lone white hat drifts to the floor of the shed, forgotten.\n\n> Inventory\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, a flyer, and a tri-cornered hat (being worn).\n\n> You look\nThe cave encloses you, reflecting the sound of your breathing. It\nis dry and illuminated, though you cannot find the source of the light. Rough stairs are cut into one part of the cave, leading nowhere. The cave widens to the north.\n\n> You examine the stairs\nThey are carved into one of the cave walls.\n\n> You go north\nEverywhere you look in this hall you find another source of light.\nThey come in all shapes and forms: candles, lamps, crystals. The light bounces about the room, illuminating the throne at the north end of the hall. A thick carpet runs from the throne to the south exit, passing by a banquet table.\nSitting on the throne you see a faerie king.\nTo either side of you stands a faerie guard.\nOff to one side of the throne, True Thomas idly sits.\nBeside the king stands his queen.\nFaeries stand all around you, watching you with a disturbing\nintensity.\n\nThe king looks at you, his eyes glinting strangely. \"A human child? It's been an age since one visited.\" While he speaks, the other faeries slowly circle you. A sibilant whisper rises from the gathering. \"Guards, retake what is ours.\" One of the guards reaches over and plucks the white hat from you.\n\n> You look at true thomas\nHe is an old man, with snow-white hair and a creased face. He holds a stringed instrument which he absentmindedly strums from time to time.\n\n\"We've naught to offer to incipient royalty such as yourself,\" the king continues mockingly. He pauses for a moment, stroking his beard. His queen leans over and whispers to him, causing him to grin. There is nothing human in his expression. \"Perhaps there is something you can offer us instead,\" he says.\n\n> Inventory\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, and a flyer.\n\nThe other faeries stop circling and point at you. You feel a tingle running up and down your spine. \"We'd have from you a story, but one already fills that role.\" The king gestures at True Thomas, who glances uncomfortably at you. \"No, for you I think harvesting would suit.\" The faeries begin running, flying, hopping around you, a writhing mass of flesh. The guards to either side of you take one step back.\n\n> You turn the handle\nTurning the metal box doesn't have any effect.\n\n\"Hold!\" shouts Thomas. The assemblage halts, many in mid-air. As one they turn and focus unnaturally-bright eyes on Thomas, who blanches. Nevertheless, he continues. \"King, could this child not fetch for you some new light?\" As Thomas finishes, the silence deepens. Sweat begins to run down his face.\n\n> You examine table\nThe sturdy table has seen much use in its time. It is covered with heavy scars. On its surface you see some food.\n\n\"A fine suggestion!\" the king finally says. Thomas sways somewhat, as if released from a painful grip. From the horde of faeries an excited buzz arises.\n\n> You look at the king\nHe is one of the tallest faeries you have yet met. His beard is red and reaches to his waist. Other than his clothes of rough cloth, he wears a gold circlet around his head, sign of his kingship.\n\n\"My hall is lit by light stolen from many a source,\" the king explains. At the snap of a finger, one of the faeries brings forward a bright glint cupped in his hands. \"Taken from one of Judas' silver pieces, that was,\" says the king. Another faerie brings forward a dancing flame. The flame radiates cold you can feel from feet away. \"At the heart of every pawnbroker's diamond is a flame like this,\" says the king. \"And you'll be fetching me the light of a dragon's flame.\"\n\n> You look at the jar\nThe mason jar is made of thick glass.\n\n\"Return with the dragon fire and we will reward you.\" As the king finishes speaking, the two guards lead you back out of the hall.\n\nThe cave encloses you, reflecting the sound of your breathing. It\nis dry and illuminated, though you cannot find the source of the light. Rough stairs are cut into one part of the cave, leading to a thin exit above.\n\n> Exits\nYou can go up.\n\n> Up\nThe exit closes behind you.\n\nThe hill curves away from this spot, crowned on top by a gnarled\nthorn tree. Paths curve down the hill to the west and south. Far to the north is a small white church.\nBubbles is lying on the ground, waiting for you.\n\nBubbles, upon seeing you, cocks its head at you and stands. The dog has now reached full adulthood. On its back is the rucksack.\n\n> Exits\nYou can go south and west.\n\n> You examine the tree\nIt curves and stoops, as if shielding itself from the sky.\n\n> You examine the church\nThe church you attended until your mother fell ill. You can hear music floating from it; it must be revival week.\n\nBubbles wanders away.\n\n> You go north\nThe hill drops too steeply for you in that direction.\n\n> You climb tree\nThere is a reason it is called a thorn tree. You scratch yourself horribly in the attempt.\n\n> You go to the west\nThe hill drops off sharply to the west, overlooking a rocky tumble\nto a kill below. A worn path leads up to the east and down to the southeast.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You check your inventory\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, a flyer, a mason jar, and a rucksack. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, and a length of rope.\n\n> You look at the kill\nThe kill makes its slow, flowing way among rocks dislodged from the hill where you stand, victims of time and erosion.\n\n> Exits\nYou can go east and southeast.\n\n> Go west\nThe slope is too rocky.\n\nBubbles wanders away.\n\n> You look at the rock\nThey lay scattered along the length of the kill.\n\n> You go southeast\nThe south side of a gently-sloping hill. Scrub grass clings tenaciously to its side. A path from the east divides here and crawls up the hill to the north and northwest.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You examine the scrub\nIt covers the hill in patches.\n\n> You take the scrub\nDon't worry about the scrub grass.\n\nBubbles wanders away.\n\n> Go east\nHardwood trees stand close together, choking off light and\npreventing you from seeing far. You can, however, see a hill rising to the west. You can walk through the trees and underbrush to the east and south.\n\n> You examine the trees\nMixed hardwood trees, clustering tightly.\n\n> You search trees\nYou find nothing of interest.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Exits\nYou can go south, east, and west.\n\n> Go east\nThe trees are grouped less tightly here, allowing space for an oak\ntree and a lone ash tree. The two trees leave room for passage to the north, south, and west.\nThere is an older boy here, carving his name in the oak tree.\n\nBubbles comes trotting after you.\n\nThe boy very carefully carves a large 'R' in the oak tree.\n\n> Hello\n\"Shove off, squirt,\" he says.\n\nThe boy hacks another initial in the oak tree.\n\n> You examine boy\nHe lived (lives?) somewhere around here. You can remember the delight he took in tormenting you over the years. The three-year age difference was enough to give him the edge.\n\nWielding his knife like a cleaver, the boy manages to carve an 'N' in the oak tree.\n\n> You examine oak\nThe oak tree towers above you, its bole wider than your arms can span. You spent a long time one summer trying to climb it, only to break your arm in the process. Since then, someone has hacked 'BRAN' in its trunk.\n\nShavings fall from the oak tree as the boy carves a 'D' into its trunk.\n\n> You examine the ash\nThinner than its neighboring oak tree, the trunk of the ash gracefully sways in a gentle breeze.\n\nBubbles wanders away.\n\nWith a flourish, the boy finishes carving an 'N' in the oak tree. He steps back to admire his handiwork.\n\n> You examine the oak\nThe oak tree towers above you, its bole wider than your arms can span. You spent a long time one summer trying to climb it, only to break your arm in the process. Since then, someone has hacked 'BRANDN' in its trunk.\n\nThe boy's eyes widen, and he mumbles to himself under his breath. With several sweeps of the knife he tries to obliterate his previous effort, then carve another 'B' in the oak tree just below the first letters.\n\n> Hello\n\"Shove off, squirt,\" he says.\n\nThe boy carves an 'R' in the oak tree.\n\n> You go north\nA small hill within the forest. A cave entrance opens in a rock outcropping to the east. Charred and trampled grass leads up to the cave.\n\n> You examine the mushrooms\nThe ring of mushrooms and toadstools is ragged in places, as if no longer cared for. One toadstool in particular stands out from its brethren.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the toadstool\nWhich toadstool do you mean, the solitary toadstool, or the ring of mushrooms?\n\n> You examine the solitary toadstool\nIt is the tallest of the fungi gathered here. Set in its side is a small door.\n\n> You examine the small door\nThe small door is painted a bright green and is closed. You are surprised that you never saw it before.\n\n> You knock on the door\nThe door swings open, revealing a tiny pixie. He looks at your knees, then up, then further up. His eyes widen. \"You see me?\" he asks unnecessarily. He steps out, closing the door. \"A visitor! Well, an you can see me, let us visit whilst I clean my yard,\" he says, bustling about. \"Have you questions on the forest? I have been here for many whiles.\" Before you can answer, he begins scuffing dirt.\n\n> You ask the pixie about the dragon\nThe pixie says, \"Be cautious of the dragon.\"\n\n> You ask the pixie about the pixie\nThe pixie says, \"What you see is all I am...now.\"\n\n> You ask the pixie about the cave\n\"I've nowt to say of that,\" the pixie says.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\nThe pixie swirls one of his hands, and a tiny cyclone carries away some leaves.\n\n> You ask the pixie about the brandon\nThe pixie says, \"He's a stropping one, always stomping about with those great boots.\"\n\n> You ask the pixie about the oak tree\nThe pixie's eyes slide away from yours. \"There's nowt I have to say about the tree.\"\n\n> You ask the pixie about the ring\nThe pixie asks, \"Which ring do you mean, the ring of keys, or the ring of mushrooms?\"\n\n> Mushrooms\nThe pixie glances at the ring. \"'Twas our home for many a year. Now it is mine only.\"\n\nThe pixie wipes dirt from his door.\n\n> You ask the pixie about the queen\nThe pixie looks away. \"Ask me not about the faerie court.\"\n\n> You ask the pixie about the kill\n\"I've nowt to say of that,\" the pixie says.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\nThe pixie rearranges some of the dirt in the middle of the faerie ring.\n\n> You ask the pixie about the light\nThe pixie asks, \"Which light do you mean, the light sphere, or the sources of light?\"\n\n> Sources\nThe pixie grins sardonically. \"So you have seen our vaunted king's collection, have you?\" He lowers his voice. \"Yet it cannot be complete 'til someone captures the dragon's fire for him. Thank your luck you have not been chosen to bear the king's jar to the dragon's lair.\"\n\n> You show the jar to the pixie\nThe pixie says, \"So...the king has at last found someone to fetch for him the light of the dragon.\" He cocks his head and peers up at you. \"And he did mention the precautions?\"\n\nWhen you shake your head, he leaps into the air, hovering for a second. \"No word of the wards?\" He mutters, then runs into his home. There is the sound of rummaging, things being thrown about, before he emerges holding a pair of boots.\n\n\"You must have wards, lest the dragon sense you. You must be silent, you must be invisible, you must be without scent.\" He squints at you, then adds as an afterthought, \"Also fireproof.\n\n\"A laurel of ash dipped in the blood of another will make you invisible to animals. These boots,\" he hands the boots to you, \"are elfin and will muffle your steps. An oak staff will protect you from the dragon's flame.\"\n\nThe pixie walks to his toadstool and opens the door. \"I needs must work indoors for a time,\" he says by way of explanation before going inside.\n\n> Inventory\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, a flyer, a mason jar, a rucksack, and a pair of elf boots. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, and a length of rope.\n\n> You wear boots\nYou pull the boots on, muffling your footsteps.\n\n> You look\nThe forest growth pauses here, leaving room for a ring of mushrooms\nand toadstools. Due to the spacious arrangement of trees, paths exist north and west.\nBubbles is wandering around, sniffing at things.\n\nBubbles curls up in a small ball, resting.\n\n> You go west\nprovided by a nearby stream. Mossy rocks lead down to the stream, and the underbrush allows passage to the north, east, and west.\n\nBubbles comes trotting after you.\n\n> You look at the stream\nIt lies a short distance to the south. You can occasionally feel its spray on your cheeks.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Down\nWater burbles past rocks worn smooth over time, running east to\nwest. Across the stream the forest continues. Behind you a path leads up.\nOne shiny stone in particular stands out from its brothers.\n\nBubbles comes trotting after you.\n\n> Exits\nYou can go up.\n\n> You examine the stone\nIt shines gently, as if rubbed until it glowed.\n\n> Go south\nThe stream is too wide and too deep to ford.\n\n> You check what you're carrying\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, a flyer, a mason jar, a rucksack, a pair of elf boots (being worn), and a shiny stone. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, and a length of rope.\n\n> You read the flyer\n\"Find the flaws hidden deep beneath the surface! A must have for any structural engineer! Accurate to within plus or minus three millimeters.\"\n\n> Examine flyer\nThe flyer extols the virtues of the SchimTek Sonic Cavity Analyzer.\nThe picture on the flyer shows a rectangular box with a large grip handle on one end, reminiscent of an old geiger counter. Your father was eternally collecting gadgets like the Sonic Cavity Analyzer.\n\nBubbles curls up in a small ball, resting.\n\n> You examine the stream\nThe water is shockingly clear, clearer than you had remembered.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You examine the trees\nMixed hardwood trees, clustering tightly.\n\n> Exits\nYou can go east and west.\n\n> You go west\nYou stand at the road in front of your house. The dirt road leads north and south, with no other houses visible for miles. On the east side of the road opposite your house, the forest looms.\n\nA breeze wanders along the road, carrying with it a hint of music.\n\nBubbles comes trotting after you.\n\n> You listen\nYou can hear music.\n\nBubbles comes over, sniffs at your legs, then wanders off again.\n\n> You go north\nA rural dirt road. Though no one has passed by in some time, a haze\nof dust still hangs in the air.\n\nBubbles comes trotting after you.\n\n> You go to the north\nYou walk for a while, but the Baptist church you know is ahead never comes into view.\n\nA rural dirt road. Though no one has passed by in some time, a haze\nof dust still hangs in the air.\nBubbles is wandering around, sniffing at things.\n\n> Go south\nA rural dirt road. Though no one has passed by in some time, a haze\nof dust still hangs in the air.\nBubbles is wandering around, sniffing at things.\n\n> You go west\nYour home once held nothing but good memories; it was a place where\nyou were happy, where you felt safe. But after Mom died you felt your life escaping your control. Now the very sight of the first floor entrance, its walls and stairs, the table by the entrance, gives you pause. Leaning against the bottom stair is a briefcase and coat. Sitting on the small table you see a bottle of Karo syrup.\n\nYou hear heavy footsteps on the stairs and look up to see your father descending, an avatar of righteous wrath. \"Terry!\" he shouts. \"You stay right there!\"\n\nThen he is beside the stair, shaking you. \"I told you to stay in your room!\" He stops, looks you over. \"I see you hiding something! What have you got in your hands?\" He stretches his hand out and waits.\n\n> Go south\nYour house moves further to the north, but you seem to make no progress.\n\nA rural dirt road. Though no one has passed by in some time, a haze\nof dust still hangs in the air.\nBubbles is wandering around, sniffing at things.\n\nBubbles curls up in a small ball, resting.\n\n> Oops rucksack\nfool: The fool is already in the rucksack!\ntuft of insulation: The tuft of insulation is already in the rucksack! dark sphere: The dark sphere is already in the rucksack!\nlight sphere: The light sphere is already in the rucksack!\nthin coat: The thin coat is already in the rucksack!\nwhite cane: The white cane is already in the rucksack!\nheavy gloves: The heavy gloves are already in the rucksack! sunglasses: The sunglasses are already in the rucksack!\nhall pass: The hall pass is already in the rucksack!\ndust: The dust is already in the rucksack!\nrope: Done.\nbook of mythology: Done.\nbook of faeries: Done.\nfour-leaf clover: Done.\nmetal box: Done.\nflyer: Done.\nmason jar: Done.\nrucksack: You can't put the rucksack in itself!\nelf boots: You will have to remove the elf boots first.\nshiny stone: Done.\n\n> You give the rucksack to Bubbles\nYou place the rucksack on the ground next to Bubbles. The dog proceeds to wriggle under the rucksack, then stand.\n\n> You take off the boots\nAs you remove the boots, you hear your footsteps once more.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You put the boots in the rucksack\nDone.\n\n> You go west\nYour home once held nothing but good memories; it was a place where\nyou were happy, where you felt safe. But after Mom died you felt your life escaping your control. Now the very sight of the first floor entrance, its walls and stairs, the table by the entrance, gives you pause. Leaning against the bottom stair is a briefcase and coat. Sitting on the small table you see a bottle of Karo syrup.\n\nYou hear heavy footsteps on the stairs and look up to see your father descending, an avatar of righteous wrath. \"Terry!\" he shouts. \"You stay right there!\"\n\nThen he is beside the stair, shaking you. \"I told you to stay in your room!\" He then marches you up the stairs, which begin to dissolve as you climb them. As they fade away they tilt, until you are lying on them. The last remnants of their stair-hood vanish, leaving you in a hospital bed. Then sleep claims you, a deep, dreamless sleep.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 38 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "[Themes: Surreal]\n\n> You go south\nThe trees are grouped less tightly here, allowing space for an oak\ntree and a lone ash tree. The two trees leave room for passage to the north, south, and west.\nThere is an older boy here, carving his name in the oak tree.\n\nBubbles comes trotting after you.\n\n> You examine the oak\nThe oak tree towers above you, its bole wider than your arms can span. You spent a long time one summer trying to climb it, only to break your arm in the process. Since then, someone has hacked 'BRANDN' in its trunk, tried to scratch out the letters (with little success), then carved 'BRANDON' just below the first letters.\n\nBubbles wanders away.\n\n> You examine the cane\nThe cane is white with a red tip. Its grip is worn with use.\n\n> You examine the ash\nThinner than its neighboring oak tree, the trunk of the ash gracefully sways in a gentle breeze.\n\n> You climb the ash\nIt is too thin to climb.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You take the boots\nAs you remove the boots, you hear your footsteps once more.\n\n> You wear boots\nYou pull the boots on, muffling your footsteps.\n\n> You examine the knife\nIt is a thin knife with only one blade, currently open. The blade has held its edge, despite its assault on the oak tree.\n\n> You take the knife\nThe boy rests the point of the knife on the middle of your chest.\n\"Want this?\" You step back; he laughs before turning again to the tree.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You ask the boy about the knife\n\"I'm busy,\" he says, wood shavings falling at his feet. \"'less you want me to notice you.\"\n\n> Rub stone\nYou rub your hand over the stone, feeling it warm in your grasp.\n\n> You hit the boy with the stone\nIt's not very effective to attack with the shiny stone.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Kick boy\nYour kick catches him by surprise. He slips and nicks his finger with his knife.\n\n\"Stupid kid!\" he shouts, whirling around. A struggle ensues, with you taking the worse of it. At some point, as he is banging your head against the ground, his knife slides into your chest. Your vision, none too good after the beating you've endured, dims further. You feel the boy's knee lift from your stomach, then hear him running away.\n\nYou turn your head, numbness spreading through your chest. The rough ground beneath your cheek smooths, becomes a pillow. You feel the sheets of a hospital bed enfold you before the numbness reaches your head.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 38 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> Attack boy\nBubbles looks at you, then at the boy carving his initials in the tree. Lips pull back from teeth, a growl begins deep in the throat; Bubbles leaps at the boy.\n\nSurprised, the boy turns just enough for Bubbles to bury teeth in his arm. \"AaaaaAAAA!\" he shrieks, dropping his knife. He shakes his arm, but Bubbles hangs on tenaciously.\n\nFinally, the dog lets go and drops to the forest floor. The boy grabs his arm, blood dripping around his hand. He stares at you, white rimming the pupils of his eyes. \"You!\" he says. He staggers back. \"You!\" he repeats, before turning and running through the forest.\n\nBubbles turns to you and grins, tongue hanging from its mouth.\n\n> You look at the knife\nIt is a thin knife with only one blade, currently open. The blade has held its edge, despite its assault on the oak tree.\n\n\"Oww! Woo! Whoo!\" The voice is deep and booming, coming from somewhere above your head. You look around, but see no one. \"That smarts!\"\n\nYou suddenly notice the oak tree wiggling in time to the voice. You peer at the tree, then jump back as some of its branches bend towards you. \"Oh, MAN, that's gonna be tender.\" One branch tenderly traces the carvings in the tree, then jerks away. \"Wooh. Thanks for the help, Terry.\"\n\nThe tree must see the puzzled look on your face, because he begins laughing. \"Surprised, huh? I bet. We don't talk to many people these days, do we, Phil?\"\n\nYou get another shock when the ash tree next to the oak waves its branches. \"Wmmf fmm,\" the ash tree says.\n\n\"Anyway, lissen. You ever need anything, you let me know. Okay?\"\n\n\"Pffth yrmm,\" agrees the ash tree.\n\n> You ask the oak about the staff\nThe oak tree says, \"It's been a long time since I've made a staff for someone.\"\n\n> You ask the oak about the oak\nThe oak tree's branches wave in an approximation of a shrug. \"I dunno, Terry. Sorry.\"\n\n> You ask the oak about Phil\nThe oak tree replies, \"Oh, me and Phil have been around a while, right, bud?\"\n\n\"Gbbbz,\" the ash tree agrees.\n\nBubbles wanders away.\n\n> You ask the oak for the staff\n\"Oh?\" the tree asks. Then, \"oh,\" he says knowingly. \"Well, I did say anything.\" There is the sound of rustling branches, then a particularly large one comes hurtling to the ground in front of you.\n\"I hope you're not plannin' on going after that dragon, though.\"\n\n> You ask the oak about the pixie\nThe oak tree says, \"Yeah, he comes by and talks to us sometimes.\"\n\n> You ask the ash about the laurel\n\"Prrrm rfth wlft, zrm thmn lffm. Thrf nbbr wrm brrmlm.\"\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You ask the ash for the laurel\nThe ash tree is silent for a second. Finally, the ash tree bends over and deposits a circle of ash branches at your feet. \"Blggg,\" he says.\n\n> You examine Bubbles\nBubbles resembles a corgi. In fact, it looks like the corgi you begged your father for when you were eight.\n\nBubbles curls up in a small ball, resting.\n\n> Thank the oak\nThe tree shrugs. \"I dunno if you should thank me or not, 'specially if you're gonna use that ta see the dragon.\"\n\nBubbles wanders away.\n\n> Thank the ash\nThe ash bows slightly. \"Glm pffffwb wb.\"\n\n> You examine the laurel\nIt is just wide enough to fit your head.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You take off the laurel\nYou remove the ash laurel.\n\nBubbles wanders away.\n\n> Go south\nThe forest growth pauses here, leaving room for a ring of mushrooms\nand toadstools. Due to the spacious arrangement of trees, paths exist north and west.\n\n> You knock on the door\nThe pixie opens his door and comes out, beaming. \"Welcome back!\" he says, \"Welcome back!\"\n\n> You ask the pixie about the blood\n\"I've nowt to say of that,\" the pixie says.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> You show the laurel to the pixie\nThe pixie says, \"Dipped in the blood of another and worn, it will mask your sight from beasts.\"\n\nThe pixie polishes one of the toadstools, removing stray debris.\n\n> You show the staff to the pixie\nThe pixie says, \"No fire will harm you while you hold an oak staff.\"\n\n> You ask the pixie about scent\nThe pixie claps a hand to his mouth, then grimaces. \"Smell! I forgot to tell how to mask your smell!\" A red flush creeps up his green-tinged face. \"Apologies. Find a stone rubbed smooth by a stream. When rubbed enough, the stone will release scent to mask your,\" he sniffs mightily, \"noticeable odor.\"\n\n> Thank the pixie\nThere is no need.\n\nBubbles wanders away.\n\nThe pixie wipes dirt from his door.\n\n> You go west\nprovided by a nearby stream. Mossy rocks lead down to the stream, and the underbrush allows passage to the north, east, and west.\n\n> You go north\nHardwood trees stand close together, choking off light and\npreventing you from seeing far. You can, however, see a hill rising to the west. You can walk through the trees and underbrush to the east and south.\n\n> Go south\nprovided by a nearby stream. Mossy rocks lead down to the stream, and the underbrush allows passage to the north, east, and west.\n\nBubbles comes running toward you, barking loudly. Upon seeing you, however, Bubbles calms down and trots nonchalantly up to you.\n\n> Go west\nTrees stop to the west, forming a remarkably straight line,\ncorralled by some feature of the land. To the east the trees thicken once again.\n\nBubbles comes trotting after you.\n\n> You go west\nYou stand at the road in front of your house. The dirt road leads north and south, with no other houses visible for miles. On the east side of the road opposite your house, the forest looms.\n\nBubbles comes trotting after you.\n\n> You cut the dad with knife\nYour father grabs your hand. \"That is it!\" he shouts, backhanding you across the face. You stagger back, but not fast enough to avoid the second slap. Your head slams into the door jamb.\n\nYou fall down, tumbling head-first into a hospital bed. You gaze around in confusion, taking in the hospital room, empty of people except for you. Then the lump on your head starts hurting, and you begin thinking about how nice it would be to sleep for a while, and soon you are.\n\n--=== Your journey is over ===--\n\nYou have achieved a score of 43 points out of a possible 100.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You give the knife to the dad\nWithout a second thought, your father grabs the open pocketknife. \"Shit!\" he exclaims, dropping the knife. He grabs his hand, blood welling around his fingers. \"You stupid--\" He stops, a pained expression on his face. \"I can't--\" and then, \"Blood--\" Your father never could stand the sight of blood. He races up the stairs, yelling, \"Stay right there!\"\n\n> You put the laurel in the blood\nThe blood vanishes, absorbed by the laurel. For a brief instant, the laurel glows.\n\nA section of the air just above your head shimmers. A small pyramid falls from the disturbance to the ground below.\n\n> You take the pyramid\nThe pyramid begins glowing softly, then flares brighter. You can hear something coming from the pyramid, but it is more like the absence of sound than anything audible. As the non-sound ends the pyramid flakes into ash and is gone.\n\n> You take the syrup\nKaro syrup is best kept in the bottle until used.\n\n> You go to the east\nYou stand at the road in front of your house. The dirt road leads north and south, with no other houses visible for miles. On the east side of the road opposite your house, the forest looms.\nBubbles is lying on the ground, staring at you with soulful eyes.\n\n> Inventory\nYou have a book of mythology, a book of faeries, a four-leaf clover, a metal box, a flyer, a mason jar, a rucksack, a pair of elf boots (being worn), a shiny stone, an ash laurel, an oak staff, and a bottle of Karo syrup. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, and a length of rope.\n\n> Go east\nTrees stop to the west, forming a remarkably straight line,\ncorralled by some feature of the land. To the east the trees thicken once again.\n\n> You put all in the sack\nfool: The fool is already in the rucksack!\ntuft of insulation: The tuft of insulation is already in the rucksack! dark sphere: The dark sphere is already in the rucksack!\nlight sphere: The light sphere is already in the rucksack!\nthin coat: The thin coat is already in the rucksack!\nwhite cane: The white cane is already in the rucksack!\nheavy gloves: The heavy gloves are already in the rucksack! sunglasses: The sunglasses are already in the rucksack!\nhall pass: The hall pass is already in the rucksack!\ndust: The dust is already in the rucksack!\nrope: Done.\nbook of mythology: Done.\nbook of faeries: Done.\nfour-leaf clover: Done.\nmetal box: Done.\nflyer: Done.\nmason jar: Done.\nrucksack: You can't put the rucksack in itself!\nelf boots: You will have to remove the elf boots first.\nshiny stone: Done.\nash laurel: Done.\noak staff: It won't fit.\nbottle of Karo syrup: Done.\n\n> You check your inventory\nYou have a rucksack, a pair of elf boots (being worn), an oak staff, a metal box, a shiny stone, an ash laurel, a four-leaf clover, and a mason jar. The rucksack seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, a length of rope, a book of mythology, a book of faeries, a flyer, and a bottle of Karo syrup.\n\n> You wear the laurel\nYou feel subtly different when you wear it.\n\n> You go east\nprovided by a nearby stream. Mossy rocks lead down to the stream, and the underbrush allows passage to the north, east, and west.\n\n> You take off the laurel\nYou remove the ash laurel.\n\n> Go north\nThe trees are grouped less tightly here, allowing space for an oak\ntree and a lone ash tree. The two trees leave room for passage to the north, south, and west.\n\n> Inventory\nYou have a pair of elf boots (being worn), an oak staff, a metal box, a shiny stone, an ash laurel, a four-leaf clover, and a mason jar.\n\n> You wear the laurel\nYou feel subtly different when you wear it. Bubbles cocks its head, then begins sniffing until Bubbles locates you and is satisfied.\n\n> Rub stone\nYou rub your hand over the stone, feeling it warm in your grasp.\n\n> Rub stone\nYou rub your hand over the stone, feeling it warm in your grasp. A nearly-invisible cloud rises from the stone and settles about you, making you sneeze.\n\n> Rub stone\nThe stone turns rough in your hands and your fingers halt. Seconds later, the stone smooths again.\n\n> Go east\nThe cave flares open into a large space. Most of the space is\nfilled with dragon, tons and tons of dragon. The air is heavy with the smell of sulfur.\n\nThe dragon shifts his head from side to side, tongue testing the air. After a minute he settles down.\n\n> You look at the dragon\nThe dragon's bulk fills the cave. His head swings from side to side; occasionally a forked tongue flicks out, testing the air.\n\n> Exits\nYou can go west.\n\n> You touch the dragon\nYou creep forward and poke the dragon hard before skipping backwards. He bellows, filling the cave with noxious gas. The dragon spews fire all about the cave, though none of it directly at you. Occasionally a tongue of flame licks over you, but the oak staff is more than enough protection. One tongue of flame caresses the mason jar, which swallows the flame and glows in response.\n\n> Go west\nA small hill within the forest. A cave entrance opens in a rock outcropping to the east. Charred and trampled grass leads up to the cave.\n\nThe air just above you begins shimmering. From the disturbance falls a smallish cube.\n\n> You take cube\nSomething inside the cube softly clicks. Its walls slide partway open, then stop. A non-sound issues from the cube, an absence of sound which you can paradoxically hear. As the non-sound ends the cube melts into a puddle, then evaporates.\n\nA nearly-invisible cloud rises from you and disperses into the air.\n\n> Inventory\nYou have a pair of elf boots (being worn), an oak staff, a metal box, a shiny stone, an ash laurel (being worn), a four-leaf clover, and a mason jar.\n\n> You examine the jar\nThe mason jar is made of thick glass. It glows with an angry red light.\n\n> You go south\nThe trees are grouped less tightly here, allowing space for an oak\ntree and a lone ash tree. The two trees leave room for passage to the north, south, and west.\n\n> Go west\nHardwood trees stand close together, choking off light and\npreventing you from seeing far. You can, however, see a hill rising to the west. You can walk through the trees and underbrush to the east and south.\n\n> Go west\nThe south side of a gently-sloping hill. Scrub grass clings tenaciously to its side. A path from the east divides here and crawls up the hill to the north and northwest.\n\n> Go west\nBubbles is lying on the ground.\n\n> You take the syrup\nKaro syrup is best kept in the bottle until used.\n\n> You examine the rucksack\nIt is made of heavy denim and looks well-used. The rucksack is open and seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, a length of rope, a book of mythology, a book of faeries, and a flyer.\n\n> You take off the laurel\nYou remove the ash laurel.\n\n> You follow you\nBubbles gets up and trots over to you.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> Inventory\nYou have a pair of elf boots (being worn), an oak staff, a metal box, a shiny stone, an ash laurel, a four-leaf clover, a mason jar, and a bottle of Karo syrup.\n\nBubbles comes over, sniffs at your legs, then wanders off again."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nThe cave encloses you, reflecting the sound of your breathing. It\nis dry and illuminated, though you cannot find the source of the light. Rough stairs are cut into one part of the cave, leading to a thin exit above. The cave widens to the north.\n\nBubbles comes trotting after you.\n\n> Go north\nSomeone has rearranged the hall with a heavy set of boots. The\nlight sources have been smashed, the throne broken, the table overturned. Mud has been tracked across the carpet.\n\nBubbles comes trotting after you.\n\n> You examine the sources\nSomeone has smashed them all.\n\n> You examine the throne\nThe throne lies in ruins, its wood snapped, the ivy which once decorated it torn and tossed atop the wreckage.\n\n> You examine the mud\nMud has ruined the carpet's once-pristine surface.\n\n> You examine table\nThe table is cracked in the center. It now leans at a drunken angle.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You look\nSomeone has rearranged the hall with a heavy set of boots. The\nlight sources have been smashed, the throne broken, the table overturned. Mud has been tracked across the carpet.\nBubbles is wandering around, sniffing at things.\n\n> You look at the boots\nThey are light and supple.\n\n> You look at the flyer\nThe flyer extols the virtues of the SchimTek Sonic Cavity Analyzer.\nThe picture on the flyer shows a rectangular box with a large grip handle on one end, reminiscent of an old geiger counter. Your father was eternally collecting gadgets like the Sonic Cavity Analyzer.\n\n> You go to the south\nThe cave encloses you, reflecting the sound of your breathing. It\nis dry and illuminated, though you cannot find the source of the light. Rough stairs are cut into one part of the cave, leading to a thin exit above. The cave widens to the north.\n\nBubbles comes trotting after you.\n\n> Up\nThe hill curves away from this spot, crowned on top by a gnarled\nthorn tree. Paths curve down the hill to the west and south. A passage gapes in the side of the hill, leading down. Far to the north is a small white church.\nA grey man stands over you, grinning.\n\nThe grey man reaches out and grabs you before you can run.\n\nBubbles comes trotting after you.\n\n> You examine man\nThere is no color to him, an Edward Gorey sketch come to life. His jet-black eyes glitter to either side of an aquiline nose and above an outthrust chin.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n\"Why, Terry, what a pleasant surprise!\" The arm gripping you twists slightly, pinning you against the grey man. He squints down at you, blinks several times, discomforted by the mild sunlight. He lashes out smoothly with one foot, catching Bubbles by surprise. Bubbles yipes and runs. \"You've been oh so naughty, and your father has sent me to punish you.\"\n\nYou suddenly realize where you had heard the voice from the needled sphere. Your father's voice, nearly choked by his cancer.\n\n> You ask the man about the father\nThe grey man tightens his grip on you, preventing you from moving or drawing much breath.\n\nThe grey man tightens his arm across your chest. \"Come along, come along, I have something special planned!\" He drags you down the hill.\n\nThe hill drops off sharply to the west, overlooking a rocky tumble\nto a kill below. A worn path leads up to the east and down to the southeast.\nThe grey man holds you tightly with one arm.\n\n> You wait\nTime passes...\n\nThe grey man nods towards the sharp drop-off. \"My, that water looks mighty cold,\" he says, not noticing that his hold on you has loosened."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at the rucksack\nIt is made of heavy denim and looks well-used. The rucksack is open and seems to contain a fool, a tuft of insulation, a dark sphere, a light sphere, a thin coat, a white cane, a pair of gloves, a pair of sunglasses, a hall pass, some dust, a length of rope, a book of mythology, a book of faeries, and a flyer.\n\nBubbles takes a running fit, tearing around as fast as possible on short legs.\n\n> You go west\nYou see a pocketknife here.\n\n> Go south\nThe cave encloses you, reflecting the sound of your breathing. It\nis dry and illuminated, though you cannot find the source of the light. Rough stairs are cut into one part of the cave, leading to a thin exit above. The cave widens to the north.\n\n> You go upwards\nThe hill curves away from this spot, crowned on top by a gnarled\nthorn tree. Paths curve down the hill to the west and south. A passage gapes in the side of the hill, leading down. Far to the north is a small white church.\nA grey man stands over you, grinning.\n\nThe grey man reaches out and grabs you before you can run.\n\n> You wait for a while\nTime passes...\n\n\"Why, Terry, what a pleasant surprise!\" The arm gripping you twists slightly, pinning you against the grey man. He squints down at you, blinks several times, discomforted by the mild sunlight. \"You've been oh so naughty, and your father has sent me to punish you.\"\n\nYou suddenly realize where you had heard the voice from the needled sphere. Your father's voice, nearly choked by his cancer.\n\n> You wait awhile\nTime passes...\n\nThe grey man tightens his arm across your chest. \"Come along, come along, I have something special planned!\" He drags you down the hill.\n\nThe hill drops off sharply to the west, overlooking a rocky tumble\nto a kill below. A worn path leads up to the east and down to the southeast.\nThe grey man holds you tightly with one arm.\n\n> You attack the man with the knife\nWith all your strength you drive the blade of the pocketknife deep into the grey man's thigh. He screams, a high-pitched, reedy sound. In pain, the grey man stumbles over the edge of the bluff. With one hand he claws at the ground; with the other he drags you with him. In desperation you pry his hand free, but not before you have slid after him.\n\nfingernails. Your wild descent has been arrested by an iron cage which is caught in some roots. The grey man has not been so lucky: his body lies folded in the kill below. The top of the bluff is a good ten feet above you.\n\n> You examine the cage\nThe iron cage is nearly two meters square. A cloth has been placed on the bottom of the cage. Faeries are crammed into it, trying desperately to avoid the sides of the cage.\n\nBelow you, you glimpse faeries fluttering about the confines of their cage. One notices you. \"Please!\" he pleads. \"Help us!\"\n\n> You open the cage\nYou lean over the cage and pull open its door. In an instant, a rush of faeries flies past you. The sudden shift of weight inside the cage dislodges it from its perch, sending it tumbling. You find your hands slipping from the tree roots until you fall after the cage, ignored by all the faeries.\n\nAll but one. She glances down, then pauses her upward flight. She gestures and your fall slows. A bright glow surrounds you, cushioning you. You feel your head strike a rock sharply, laying bare your skull. Pain and muzziness vie for control of your attention. The faerie frowns in concentration. She gestures again, and the glow brightens, blinding you.\n\n\n\nWhite surrounds you, envelops you. In front of you your father, now an old man, sits before a chess board. He looks up from contemplating his next move and glances at you. He looks back to the board and tips a pawn over with deliberation. Then you are falling, the white closing in.\n\nInterlude, Again\n\nThe white ceiling slowly recedes, eventually settling down to a reasonable distance. Mindful of a disorienting dizziness, you turn your head slowly from side to side, taking in the sight of a hospital room. The room is dim, its only light the sunlight leaking through the window whose curtains are thrown wide. Equipment surrounds your bed in the center of the room."
    },
    {
        "text": "[Themes: bugs, humor, baseball]\n\n> You look at the pitcher\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign. The roar of the crowd is deafening.\n\n[Author's Note: A case study of Murphy's Law in action. In-game hints available.]"
    },
    {
        "text": "[Themes: baseball, bugs]\n\n> You examine the bat\nIt's your favorite Louisville Slugger.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious.\n\n> You look at the ball\nThe pitcher has it.\n\nThe pitcher starts his wind-up. The crowd is roaring.\n\n> You continue\nThe pitcher has it.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time.\n\n> You hit the ball with the bat\nYou focus on the ball approaching the plate. Not knowing the pitch or location, you just pray for the best and swing as hard as you can. You're surprised that a curve ball is thrown inside and you manage to foul off the ball. The ball goes out of play behind the dugout.\n\nThe pitcher gets another ball and approaches the mound.\n\nLooks like you'll have one more chance to be a hero.\nThe roar of the crowd is deafening.\n\n> You examine the pitcher\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign. The fans are screaming at the\ntop of their lungs.\n\n> You examine the catcher\nYou peek in at the catcher and see him extend two fingers under his glove. A curve ball is on the way. Now if you just knew where it\nwill be thrown.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious.\n\n> You wait\nTime passes...\n\nThe pitcher starts his wind-up. The wave has started to roll around the park.\n\n> Swing bat\nYou take a practice swing, anticipating the pitch.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The wave has started to roll around the park.\n\n> Swing bat\nYou focus on the ball approaching the plate. You expect a curve ball, but are not sure of the pitch location. You time the swing but are surprised that the pitch is thrown inside; you manage to foul it off. The ball squirts up the first base line.\n\nThe pitcher gets another ball and approaches the mound.\nThe roar of the crowd is deafening.\n\n> You examine the catcher\nThe catcher is sitting in his crouched position.\n\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign.\n\n> You examine the catcher\nglove. A change-up is on the way. Now if you just knew where it will be thrown.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious.\n\n> You examine the runner\nThe runners break away from their bases.\n\nThe pitcher starts his wind-up.\n\n> You look at pitcher\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The roar of the crowd is deafening.\n\n> Swing bat\nYou focus on the ball approaching the plate. You expect a change-up, but are not sure of the pitch location. You time the swing but are surprised that the pitch is thrown right down the middle of the plate; you manage to foul it off. A lucky fan snags the ball in the grandstands.\n\nThe pitcher gets another ball and approaches the mound.\n\n> You examine the ball\nThe pitcher has it.\n\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign. The wave has started to roll around the park.\n\n> You look at the ball\nThe pitcher has it.\n\nThe pitcher starts his wind-up.\n\n> You keep going\nThe ball approaches the plate rather quickly.\n\nYou watch a change-up catch the outside of the plate and you go down without a fight. Strike three, you're out.\n\nYou slowly walk back to the dugout, bat in hand. Reality didn't play out like your dream. Your teammates try to console you, but you're numb. You take a quick shower, meet up with your wife and kids and head home. There's always next year.\n\n> Swing bat\nYou focus on the ball approaching the plate. You expect a change-up, but are not sure of the pitch location. You time the swing but are surprised that the pitch is thrown right down the middle of the plate; you manage to foul it off. The ball goes out of play behind the dugout.\n\nThe pitcher gets another ball and approaches the mound.\nThe crowd starts chanting your name.\n\n> Full\nYou were:\nExcited by the opportunity to hit the game-winning home run;\nAnxious after barely fouling off a pitch.\n\n> You examine the catcher\nThe catcher is sitting in his crouched position.\n\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign.\n\n> You examine the sign\nYou peek in at the catcher and see him extend two fingers under his glove. A curve ball is on the way. Now if you just knew where it\nwill be thrown.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious.\n\n> You examine the pitcher\nThe pitcher starts his wind-up. The fans are screaming at the top of their lungs.\n\n> You look at ball\nThe pitcher has it.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The fans are screaming at the top of their lungs.\n\n> You examine the runner\nYou watch a curve ball thrown right down the middle of the plate and you go down without a fight. Strike three, you're out.\n\nYou slowly walk back to the dugout, bat in hand. Reality didn't play out like your dream. Your teammates try to console you, but you're numb. You take a quick shower, meet up with your wife and kids and head home. There's always next year.\n\n> You hit the ball\nYou focus on the ball approaching the plate. You expect a curve ball, but are not sure of the pitch location. You time the swing but are surprised that the pitch is thrown outside; you manage to foul it off. A lucky fan snags the ball in the grandstands.\n\nThe pitcher gets another ball and approaches the mound.\n\n> You examine the pitcher\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign.\n\n> You look at the sign\nYou peek in at the catcher and see him extend three fingers under his glove. A slider is on the way. Now if you just knew where it will be thrown.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious. The crowd is roaring.\n\n> You examine the plate\nThat isn't important.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The crowd is up on their feet and clapping wildly.\n\n> Swing bat\nYou focus on the ball approaching the plate. You expect a slider, but are not sure of the pitch location. You time the swing but are surprised that the pitch is thrown inside; you manage to foul it off.\nA lucky fan snags the ball in the grandstands.\n\nThe pitcher gets another ball and approaches the mound.\nThe crowd is up on their feet and clapping wildly.\n\n> Swing\n(your bat)\nYou take a practice swing, anticipating the pitch.\n\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign. The crowd starts chanting your name.\n\n> Inventory\nYou have your bat.\n\nThe pitcher gets the sign from the catcher and glances at the runner leading off third base. He then looks to the plate, back to the\nrunner and again to the plate. You're getting anxious.\n\n> Bunt\nThe pitcher hasn't thrown the ball yet.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The wave has started to roll around the park.\n\n> Bunt\nYou watch the ball leave the pitcher's hand and then square the bat, preparing to bunt the ball. The bat and ball meet and the bunt is hit directly to the pitcher. Everybody in the stadium is shocked; including the pitcher. He picks up the ball and lazily throws it to the first baseman. You're out. Game over.\n\nYou slowly walk back to the dugout, bat in hand. Reality didn't play out like your dream. Your teammates are still in shock over your bunt attempt, and for the most part, avoid you entirely. You take a quick shower, meet up with your wife and kids and head home. There's always next year; that's if you're still part of the team.\n\n> Swing\n(your bat)\nYou focus on the ball approaching the plate. Not knowing what pitch\nto expect, but anticipating that it will be an outside pitch, you\nshift your weight accordingly. You are surprised to see a slider, but manage to foul it off. A lucky fan snags the ball in the grandstands.\n\nThe pitcher gets another ball and approaches the mound.\nThe crowd is roaring.\n\n> You examine the ball\nThe pitcher has it.\n\nThe pitcher brings his glove up to his chest and peers in. He's looking to the catcher for the sign. The wave has started to roll around the park.\n\n> You watch the ball\nIt's too far away.\n\nThe pitcher starts his wind-up.\n\n> You watch the ball\nIt's too far away.\n\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time.\n\n> You watch the ball\nIt's too far away.\n\nYou watch a curve ball catch the outside of the plate and you go down without a fight. Strike three, you're out.\n\nYou slowly walk back to the dugout, bat in hand. Reality didn't play out like your dream. Your teammates try to console you, but you're numb. You take a quick shower, meet up with your wife and kids and head home. There's always next year.\n\n> Swing\n(your bat)\nYou take a practice swing, anticipating the pitch.\n\nThe pitcher starts his wind-up.\n\n> You watch the pitcher\nThe noise level has reached an all time high. The pitcher completes his wind-up and delivers the pitch. You watch the baseball leave his hand. Hero time. The crowd is roaring.\n\n> Swing\n(your bat)\nYou focus on the ball approaching the plate. You extend your arms and the bat and ball meet. As soon as you hit it, you know that it has a shot to leave the park. You watch the ball drift toward the center field bleachers. You toss the bat aside and start running up the\nfirst base line and by the time you round first, you see the ball land in the seats. Euphoria. You don't even remember touching the second base bag and as you hit third, you look up and see your wife and kids, screaming and jumping for joy. The crowd is so loud you can't even hear the sound of your footsteps on the dirt.\n\nThe third base coach slaps you on the butt as you pass him and home plate is near. This is the defining moment of your baseball career\nand all of your teammates are there to greet you. Your team is going to the World Series and you're a big part of it. As you step on the plate, you are immediately mobbed. You don't remember the first five minutes, just a bunch of grown men laughing, screaming, crying and hugging. You end up on the ground in a ceremonial pig pile.\n\nseconds. You then realize someone's metal spike has inadvertently\ntorn a gash across the lower part of your thigh. At first your\nscreams are thought to be part of the celebration and nobody notices. The red splash of blood is quite a contrast to your white Red Sox uniform. Somebody finally notices.\n\nTrainer's Room, on the table\nThe pain is really starting to set in now, especially since Charlie\nis cleaning the wound. You don't even remember being dragged into the trainer's room and plopped onto the table. You just wish the pain would go away so you could start celebrating the victory.\n\nThe trainer's room is not a place you're familiar with. In fact, this is the first time you've been hurt since playing for the Red Sox; who would have imagined that your first injury would be sustained during a celebration.\n\nVarious and sundry medical supplies are scattered about the room. In the center of the room is a large table (the one you're sitting on)\nand the exit is through a door to the south.\nCharlie the trainer is here, looking at your wound.\n\n\"You're very lucky, Jake,\" says Charlie, \"the cut is not too deep. Another inch or so and it could have damaged the muscle.\"\n\n> You look at wound\nIt's not visible right now, but it hurts a lot.\n\n\"I'm going to give you a shot of morphine,\" says Charlie. \"This\nshould make the pain subside.\" Charlie draws the syringe and wipes\nthe area around the wound with some alcohol. \"Hold still now!\" quips Charlie. You barely feel the needle.\n\n> You wait\nTime passes...\n\n\"In the best interests of you and the team,\" says Charlie, \"we're sending you to the local hospital.\"\n\nYou open your mouth to object, but Charlie raises his hand and motions you to be quiet.\n\n\"I know what you're going to say, Jake,\" continues Charlie. \"This is the biggest night of your career, you want to celebrate with the team; yadda, yadda, yadda.\"\n\nCharlie clears his throat and starts to speak again. \"The team can't afford to have you miss game one of the Series; they need you in the lineup,\" adds Charlie. \"Just let the hospital run some routine tests and you'll be back here in a couple of hours. We're even going to\nsend you by ambulance so they can start the routine right away.\"\n\nReluctantly, you agree to go to the hospital. It's not like you\nreally have a choice because you want to make sure you're ready for Game One.\n\n> Wait\nTime passes...\n\nCharlie looks at his watch.\n\n\"Okay, Jake. It's 11:20, they should be here in less than 5 minutes. You don't have time to take a shower or change, but at least change into your sneakers. I can imagine that you're not too fond of metal spikes right now.\" He chuckles.\n\nshiver, thinking that one of them almost ruined the World Series for you.\n\n> You remove cleats\nWait until you reach the locker room.\n\nYour wife and twin daughters enter the trainer's room. You jump off the table, wince in pain for a second, and then greet them. You explain what Charlie has told you and the fact that you need to spend\na couple of hours at the local hospital. You and your wife work out a plan and decide to meet at the hospital in an hour. That should give her enough time to drop off the kids at her mom's house. Your wife, visibly relieved that you're okay, plants a kiss on your cheek as you give your daughters a reassuring hug. Your youngest waves as Charlie walks the three of them out.\n\nSo much for the big celebration.\n\nYou exit the trainer's room and head for your locker. Most of the players and their families have already left for the party; you'll\njust have to catch up with them later. You put on your Nike sneakers and place your lucky Swiss army knife into your rear pocket. You\nnever go anywhere without it.\n\nA moment later, a couple of paramedics escort you out of the locker room by the back door and into the ambulance. What a night.\n\nAmbulance, on the stretcher\nThank goodness Charlie was right: the pain is starting to subside.\nIt's hard to believe that fifty minutes ago you were hitting a\ndramatic grand slam. Now? Now you're strapped to a stretcher in an ambulance heading down Division Street. You've traveled this road countless times, but usually as a driver heading home after a game or practice. It really hasn't sunk in yet.\n\nYou can't see much of the ambulance, considering you're on your back. Apart from the ambulance ceiling, you can make out the ambulance door, which is obviously closed, and an IV pole. Various medical supplies are scattered about and the rhythmic sounds of the different machines beeping and humming is almost soothing; almost.\nA technician, whose name is Jason -- at least that's the name sewn\non his jacket -- is here.\n\n> You ask Jason about the iv\n\"No need to worry about the IV,\" says Jason in a soothing voice.\n\n\"I'm sorry, Jake,\" says Jason. \"I know you may think it's\nunnecessary, but it's policy, you need to be strapped in.\" He continues, \"I just need to perform some routine procedures; please be patient.\"\n\nJason then turns around and starts to gather his blood pressure equipment.\n\n> You examine the straps\nThe straps are prohibiting any movement.\n\n> You examine pole\nThe IV pole is used to hang the appropriate medicine and/or saline solution that would be pumped into your body intravenously. The pole is standing near the head of the stretcher.\n\nJason wraps a medical cuff around your arm, flips the stethoscope over his head and begins to pump the bulb. You feel the cuff tighten\naround your arm, and then just when it starts to get uncomfortable,\nthe pressure slowly releases from the cuff. Jason listens intently through his stethoscope and a few moments later, removes the cuff.\n\n\"One-fifteen over sixty-two,\" says Jason.\n\n> You look at Jason\nThe technician is named Jason, or at least that's the name sewn on his jacket. He stands about six feet tall, is in his mid-forties and has a neatly trimmed goatee. He entering some information in your file.\n\nJason updates his file.\n\n> You ask Jason about the file\n\"Your file can be reviewed once we reach the hospital,\" replies Jason.\n\nJason grabs your wrist, feels for your pulse and after a brief period of time, looks down at his watch.\n\n\"Sixty-four,\" he Jason. \"By the way, Jake, I see here that you're diabetic. Make sure you take care of that, low blood sugar can sneak up on you rather quickly.\"\n\n> You ask Jason about diabetes\n\"I'm no expert, but I do know that you should eat at regular intervals or your low blood sugar may cause you to black out,\" replies Jason, almost as if he's reciting from a medical book.\n\nJason looks around for something.\n\n> You kick jason\nYou're strapped to the stretcher; you can't move.\n\nJason snaps off the cap of a new thermometer and places it under your tongue. A few moments later he removes it and turns it slightly to read your temperature.\n\n\"Ninety-eight point six,\" says Jason. \"I've completed the necessary round of checks,\" he continues. \"You just need to sit tight until we reach the hospital. We should be there shortly.\"\n\n> You ask Jason about the missing nouns\nAmbulance, on the stretcher\nYou can't see much of the ambulance, considering you're on your\nback. Apart from the ambulance ceiling, you can make out the\nambulance door, which is obviously closed. Various medical supplies are scattered about and the rhythmic sounds of the different machines beeping and humming is almost soothing; almost.\nYou see an IV pole here.\nA technician is here.\n\nJason organizes his files.\n\nI don't know the word \"missing\".\n\n> You look at the supplies\nThe medical supplies are of no use to you.\n\nYour body jerks forward and you immediately hear the screeching sound of the ambulance tires. A moment later the ambulance begins to fishtail and you watch the various medical supplies bounce off the walls. Jason is thrown down on the floor and you helplessly watch him get peppered with falling objects. You then hear, and feel, a tremendous crash followed by some screaming coming from the driver's compartment. Jason appears unconscious and is now lying underneath a large piece of equipment.\n\nThe ambulance begins to spin uncontrollably as you hold on to the side railings with a determined grip. To the stretcher's credit, it has kept you safe up until this point; you wonder for a moment what you would be doing if you weren't strapped in.\n\nJust as the ambulance appears to come to a stop, you look out the\nsmall window of the back door and see the ambulance veer off the road and start to plummet down the side of a cliff. The back door flies open and you watch the contents of the ambulance get thrown out systematically. You turn your head away as you watch Jason slide out the back of the ambulance; who knows if he'll survive.\n\nstays on its wheels. The stretcher appears to be on the verge of tipping over several times but its position in the ambulance and its braking system prevent it from doing any damage to you. The IV pole crashes on top of you, your quick reflexes help you avoid it colliding with your head, and it ends up leaning up against the stretcher. The ambulance continues to tumble and slowly comes to rest near some thick brush, a good thirty feet from the road.\n\nAn instant later, you hear the engine compartment burst into flames. Your eyes widen: you know you don't have much time left before the entire ambulance is engulfed in flames.\n\n> You cut the straps with the knife\nYou can't reach the knife.\n\nYou can hear the fire crackle and grow in intensity.\n\n> You get the knife\nYou can't reach the Swiss army knife; the straps limit your movement.\n\nThe fire has now consumed the entire engine compartment. You can\nsmell the strong pungent odor of the smoke.\n\n> You examine the straps\nThe straps are prohibiting any movement.\n\nThe fire advances toward you. The heat is starting to make you sweat and the smoke is starting to fill the cabin.\n\n> Slide\nWhat do you want to slide?\n\n> You leave\nYou're not going anywhere until you get off of the stretcher.\n\nYou can feel the fire inching toward you. You can hear the roar of\nthe flames lick the side of the ambulance walls.\n\n> Yell\nJason looks awkwardly at you.\n\nThe intense heat is almost too much for you to take. It appears as if the stretcher has caught fire and the thick black smoke is making it almost impossible for you to see.\n\n> You take pole\nTaken.\n\nThe inside of the ambulance is almost an inferno. The heat is so intense that you pass out. It's probably best that you did -- you don't survive the barbecue.\n\n> You eat the pole\nThe IV pole doesn't appear appetizing.\n\nYou can hear the fire crackle and grow in intensity.\n\n> You take the pole\nTaken.\n\nThe fire has now consumed the entire engine compartment. You can\nsmell the strong pungent odor of the smoke.\n\n> You take the knife\nYou remove the Swiss army knife from your back pocket.\n\nThe fire is starting to spread through the forest brush at an alarming rate.\n\n> You cut the strap with the knife\nYou reach up to your legs and grab hold of the strap with your left hand as you begin to cut the strap with your right. The straps are tougher than you thought and require some elbow grease to get the job done. Halfway through, you glance up at the approaching fire and figure you literally have seconds before it's too late. The intense heat of the blaze is making your hands sweat and you feel your left hand slipping as you try to maintain your balance. With one last thrust, you manage to cut off the bottom strap.\n\nYou weren't prepared for the incredible jolt you receive as you slide down the stretcher and into the thick brush. The steep descent\ncatches you off guard as you tumble down the precipitous slope. You have no control over your arms and legs as they flail helplessly, trying to grab on to something that can stop your fall.\n\nJust about when you thought your ride was over, you roll past another thick brush into thin air. You fall for few silent seconds and land\non your back with a heavy thud; thank goodness the soft beach sand broke your fall. You look at your right hand. You can't believe you managed to hold on to your lucky Swiss army knife, especially without cutting yourself.\n\nYou lay motionless for a while, admiring the full moon, ominously casting an eerie light on the ocean. You can hear the waves crashing onto the beach and you can't help but laugh. Such a beautiful moment landscape-wise, considering a few moments ago you were almost engulfed in a savage inferno. After catching your breath, you stand up and shake off the sand; what a night.\n\nYou're standing at the end of a beach alcove. From what you can\nsee there's a large cliff to the north, making this a very private area. The forest is up and to the east, unreachable from this point. The ocean lies to the west and goes as far as the eyes can see. The beach path continues south.\n\n> You go south\nYou've made your way to a nice stretch of beach. The surroundings resemble the alcove where you first entered the beach. The ocean\nspans your field of vision to the west and the thick impenetrable forest is up to the east. The beach ends abruptly to the north but continues to the south.\n\n> Go south\nbreathtaking view this location must have during the day. Your best guess is that you're on a private beach, protected by a massive cliff wall to the south. To the east is a small path that appears to lead\nto a prominent looking gate. To the north, a smaller stretch of beach leads into darkness.\n\n> You go east\nYou're standing before a large metal gate. A tall stone wall\nextends to the north and south, wrapping around what appears to be an enormous house. The gate is closed. Beyond the gate to the east is a path that leads toward a house.\n\n> You look at the leg\nThey're your legs.\n\n> You examine the gate\nof the house on the hill. It is somewhat Gothic looking and seems out of place. Attached to the gate is a latch, secured by a small\npadlock. The gate is closed.\n\n> You examine the padlock\nThe padlock has seen better days. The salt air has done a number on the metal, the tiny keyhole is full of rust, and it wouldn't be a surprise if it didn't work at all. The padlock is locked.\n\n> You pick the padlock with knife\nYou try to jam the Swiss army knife blade into the padlock but have no luck; the Swiss army knife blade doesn't fit.\n\n> You kick the gate\nNothing happens.\n\n> You look at the latch\nThe latch is used to lock the gate in place. It's currently in the locked position and there's a padlock hanging from it.\n\n> You examine knife\nYour Swiss army knife has been with you for the last fifteen years.\nIt got handed down to you by your dad when you turned eighteen, which is one of the reasons it means so much to you. Apart from the frighteningly sharp knife, it also contains a flathead screwdriver, a Phillips screwdriver, a bottle opener, tiny scissors and an awl.\n\n> You pick the lock with the awl\nYou insert the awl and poke inside the padlock for a bit. After a couple of jabs, a fair amount of rust escapes from the padlock; you hear a small click. You remove the awl from the padlock and try to open it. Success!\n\n> Open latch\nYou first remove the padlock from the latch and then lift the latch.\n\n> Go east\nYou walk up the winding stone path, passing by numerous flower beds, sculpted bushes and ornate lawn decorations. Each section of the yard is meticulously manicured as if the house was featured on the cover of Home and Garden each week. After a brisk walk, you climb several stairs and enter the wrap-around porch.\n\nby an enormous wrap-around porch. A set of double doors made up of mostly smoked glass is to the east. The porch runs both north and south.\n\nThe house is eerily absent of any light.\n\n> You go to the east\nThe double doors are closed.\n\n> You open the doors\nThe double doors are locked.\n\n> You knock on the door\nYou knock on the door. Eerie silence.\n\n> Break glass\nThat would create too much of a disturbance; you're afraid you'd scare the owners and get promptly shot.\n\n> Go north\nYou're standing at the north end of the wrap-around porch, which\nends abruptly due to the fact that the external casing of the chimney needed to be accounted for. Two large windows flank the fireplace casing.\n\n> You examine the chimney\nThe casing is part of the house, shaped in the form of a chimney.\n\n> You examine the windows\nThe windows are very large and, when there's sunlight, must give the room inside an incredible view of the ocean.\n\n> Go south\nby an enormous wrap-around porch. A set of double doors made up of mostly smoked glass is to the east. The porch runs both north and south.\n\nThe house is eerily absent of any light.\n\n> Go south\nYou've made your way to the south end of the wrap-around porch,\nwhich continues to the east. A pair of large windows offers the room inside an exceptional view of the ocean. The porch also continues north.\n\n> You go to the east\nYou're standing at the east end of the wrap-around porch, which\nends near a patio door. The porch continues to the west.\n\n> You examine the door\nThe patio door looks as if it's been compromised. The glass from one of the window panes is missing and the door is closed.\n\n> You enter door\n(Opening the patio door)\n\n> Go north\nBefore you enter the house, you check to make sure your Swiss army knife has been closed and slip it into your front pocket. No need to walk into a strange house carrying a knife since you don't have\nhostile intentions.\n\nAs you take your second step, you feel a sharp pain run down your spine. Before your brain can process what just happened, you fall to the floor like a sack of potatoes. Two men jump on top of you and immediately begin to secure your hands and legs with some rope. As\nthe rope is being tightened you notice one of them pick up the padlock which fell out of your hand.\n\nYou momentarily black out from the pain and after a few moments, or at least, it felt like only a few moments, you regain your consciousness.\n\nYou're lying on your back in the middle of a stranger's living room, feet bound and hands tied behind your back. Two men are standing over you, inspecting their catch with their flashlights.\n\n\"I'm telling you Tommy, it's him!\" whispers one of the men. \"Look! He's still wearing his uniform.\"\n\n\"Bobby,\" counters Tommy, sounding very skeptical, \"why would Jake Garrett be breaking into this house in the middle of the night when he just hit the game-winning grand slam a few hours ago? And why was he knocking on the door a few moments ago?\"\n\n\"I can't answer that, Tom,\" replies Bobby in a soft, almost giddy voice, \"all I know is that I'm a huge fan and this IS Jake Garrett.\"\n\nBobby and Tommy stare at you, each taking turns scratching their\nheads.\n\n> You ask Bobby about Tommy\n\"Silence!\" yells Bobby.\n\n\"Screw this job,\" says Bobby, \"we could make much more money with a hostage like this. Can you imagine the ransom we could get?\"\n\n\"Now you're talking, Bobby! Didn't he just sign a multi-million\ndollar contract this year?\" asks Tommy, not wanting or needing an answer. \"I'm just sure he would love to share some of that money with us!\"\n\n> You go east\nYou're not going anywhere until you get off of your back.\n\nBobby and Tommy confer quietly.\n\n> You stand\nNot possible.\n\nTommy reaches for his cell phone and makes a call. Before he can say hello, he walks into a different room so you can't quite make out what he's saying. A few moments later he returns.\n\n> You move the hands\nYour hands aren't important.\n\n\"Okay, change in plans Jake,\" quips Bobby as he and Tommy lift you to your feet. \"We're going for a ride,\" says Tommy as he puts a\nblindfold on you. \"We also don't need you shouting for help,\" says Tommy as he puts a makeshift gag around your head.\n\nBob and Tom drag you through several rooms and out yet another door to their car. Your finely tuned, athletic body is treated like a slab of beef as Bobby and Tommy haul you to their car. This does nothing for your injury, save perhaps make it even worse. One of them pops open the trunk and you're unceremoniously dumped in. The morphine Charlie gave you must be wearing off and before you can catch your breath, all goes dark.\n\nYou hear the car doors open and close. A few moments later, the car engine starts and slowly the car accelerates. An instant later, the car veers drastically as your body bounces off the back of the trunk wall. Apparently they've left the driveway and are now on the road. You're going for a ride alright, you just don't know where.\n\n> You take the knife\nYou can't reach the Swiss army knife; your hands are currently tied.\n\nYou can hear the radio changing stations, evidently Tommy and Bobby can't agree on the same type of music. After several attempts, the radio is shut off. A moment later, you hear the siren of a fire truck with police sirens also filling the midnight air.\n\n\"What do we have here?\" says one of them to his friend. \"Wow, it\nlooks like some sort of accident. Look, Tommy, part of the woods is\non fire!\" says Bobby rather excitedly. \"Now drive carefully, the last thing we need is to be pulled over.\"\n\nstart several times. A few moments later, the car accelerates and the sound of the sirens grow more and more distant.\n\n> You listen\nYou don't hear anything unusual.\n\nThe car hits a large pot hole, either that or it's time for them to replace the struts, and this causes your body to slam against the inside wall. Your lucky Swiss army knife digs into your thigh, much too close to your gash. Thank goodness the blade was retracted,\nyou've had your share of pain tonight.\n\n> You take the knife\nYou can't reach the Swiss army knife; your hands are currently tied.\n\nYou're starting to lose track of time. You can't remember if you've been trapped in this trunk for five or 35 minutes and it's starting to get hard to breathe. You're doing your best to remain calm.\n\n> You move the hands\nYour hands aren't important.\n\nAfter what seems like an eternity, the car comes to a full stop. You listen attentively to see what Bobby and Tommy do. Both doors open simultaneously, followed shortly by the pop of the trunk. Neither man says anything as they drag you out of the trunk.\n\nYou're led down a path, up a few steps and then brought into another house. You're guided to a chair where you are forced to sit down as your feet and arms are secured to the chair. You are now a hostage. What you wouldn't do for your baseball bat right about now.\n\nAs you settle into your chair, you wiggle your hands accordingly. If only you had put your Swiss army knife in your back pocket. The way they tied you to the chair, it would take a minimal amount of effort\nto retrieve the knife and cut your way loose when they weren't\nlooking. Oh well, live and learn.\n\nSome room, sitting on the chair\nYou see nothing.\n\n> Lean\nWhat do you want to lean?\n\n> Shake\nWhat do you want to shake?\n\n> You listen\nYou don't hear anything unusual.\n\nYou hear a conversation taking place in another room in the house.\nThe voices sound like they belong to Bobby and Tommy.\n\n\"It'll work,\" says Bobby, \"I know it will.\"\n\n\"Bobby,\" says Tommy in an exasperated voice, \"your plan sounds like it came from a Colombo episode. I don't have a good feeling about it.\"\n\n\"Listen, we call the Red Sox, we tell them that we have Jake Garret\nand we want the money,\" replies Bobby, obviously trying to convince\nhis partner of the soundness of the plan. \"They can't trace the call because they probably don't know he's missing yet!\" says Bobby as his voice gets louder and louder.\n\n\"Okay, okay, Bobby. Let's go over your plan one more time,\" says Tommy, trying to give his friend the benefit of the doubt.\n\nTheir voices get softer as they discuss the details of the ransom pick-up. You don't catch all of the details, apart from a possible swap of luggage and a fake getaway car. One thing you do hear, loud and clear, as if they wanted you to hear it. Should anything go\nwrong, you're dead.\n\nYou hope everything goes right.\n\n> You feel the chair\nThe chair feels just like a chair.\n\nThe silence is broken by Tommy and Bobby discussing the timing. It appears as if they're opting for rush hour traffic in Boston. You\nhear them tentatively agree to leave the house this afternoon. Their conversation continues for a while, bouncing from topic to topic.\nAfter a while, you lose interest and drift off to sleep.\n\nYou wake up many hours later with somebody shaking your shoulder.\n\nAs you gather your senses, the previous night's activities replay in your mind. The ambulance, the fire, the thunk on the head. Oh, does\nit hurt now. That horrible ride in the trunk of the car, it's a\nwonder you managed to sleep at all and worst of all, you're starving and need to go to the bathroom. You wonder if it can get any worse.\n\n\"Hey!\", screams a voice in your ear. \"Hotshot, wake up! It's\npayday.\"\n\n> You go to the south\nYou've made your way to a nice stretch of beach. The surroundings resemble the alcove where you first entered the beach. The ocean\nspans your field of vision to the west and the thick impenetrable forest is up to the east. The beach ends abruptly to the north but continues to the south.\n\nbreathtaking view this location must have during the day. Your best guess is that you're on a private beach, protected by a massive cliff wall to the south. To the east is a small path that appears to lead\nto a prominent looking gate. To the north, a smaller stretch of beach leads into darkness.\n\n> You go east\nYou're standing before a large metal gate. A tall stone wall\nextends to the north and south, wrapping around what appears to be an enormous house. The gate is closed. Beyond the gate to the east is a path that leads toward a house.\n\n> You pick the lock\n(with the Swiss army knife)\nYou try to jam the Swiss army knife blade into the padlock but have no luck; the Swiss army knife blade doesn't fit.\n\n> You examine knife\nYour Swiss army knife has been with you for the last fifteen years.\nIt got handed down to you by your dad when you turned eighteen, which is one of the reasons it means so much to you. Apart from the frighteningly sharp knife, it also contains a flathead screwdriver, a Phillips screwdriver, a bottle opener, tiny scissors and an awl.\n\n> You open gate\nA padlock hangs from the clasp, preventing the latch from being\nlifted.\n\n> You get the lock\nTaken.\n\n> Oops pocket\nDone.\n\n> You open the door\nStrange. This door is unlocked, and opens easily.\n\n> You enter\nAs you take your second step, you feel a sharp pain run down your spine. Before your brain can process what just happened, you fall to the floor like a sack of potatoes. Two men jump on top of you and immediately begin to secure your hands and legs with some rope. As\nthe rope is being tightened you notice one of them pick up the padlock which fell out of your hand.\n\nYou momentarily black out from the pain and after a few moments, or at least, it felt like only a few moments, you regain your consciousness.\n\nYou're lying on your back in the middle of a stranger's living room, feet bound and hands tied behind your back. Two men are standing over you, inspecting their catch with their flashlights.\n\n\"I'm telling you Tommy, it's him!\" whispers one of the men. \"Look! He's still wearing his uniform.\"\n\n\"Bobby,\" counters Tommy, sounding very skeptical, \"why would Jake Garrett be breaking into this house in the middle of the night when he just hit the game-winning grand slam a few hours ago?\"\n\n\"I can't answer that, Tom,\" replies Bobby in a soft, almost giddy voice, \"all I know is that I'm a huge fan and this IS Jake Garrett.\"\n\nBobby and Tommy stare at you, each taking turns scratching their\nheads.\n\n> You get up\nNot possible.\n\n\"Screw this job,\" says Bobby, \"we could make much more money with a hostage like this. Can you imagine the ransom we could get?\"\n\n\"Now you're talking, Bobby! Didn't he just sign a multi-million\ndollar contract this year?\" asks Tommy, not wanting or needing an answer. \"I'm just sure he would love to share some of that money with us!\"\n\n> You get the knife\nYou can't reach the Swiss army knife; your hands are currently tied.\n\nBobby and Tommy confer quietly.\n\n> You wait awhile\nTime passes...\n\nTommy reaches for his cell phone and makes a call. Before he can say hello, he walks into a different room so you can't quite make out what he's saying. A few moments later he returns.\n\n> You tell Bobby about the accident\n\"Silence!\" yells Bobby.\n\n\"Okay, change in plans Jake,\" quips Bobby as he and Tommy lift you to your feet. \"We're going for a ride,\" says Tommy as he puts a\nblindfold on you. \"We also don't need you shouting for help,\" says Tommy as he puts a makeshift gag around your head.\n\nBob and Tom drag you through several rooms and out yet another door to their car. Your finely tuned, athletic body is treated like a slab of beef as Bobby and Tommy haul you to their car. This does nothing for your injury, save perhaps make it even worse. One of them pops open the trunk and you're unceremoniously dumped in. The morphine Charlie gave you must be wearing off and before you can catch your breath, all goes dark.\n\nYou hear the car doors open and close. A few moments later, the car engine starts and slowly the car accelerates. An instant later, the car veers drastically as your body bounces off the back of the trunk wall. Apparently they've left the driveway and are now on the road. You're going for a ride alright, you just don't know where.\n\n> You wait\nTime passes...\n\nYou can hear the radio changing stations, evidently Tommy and Bobby can't agree on the same type of music. After several attempts, the radio is shut off. A moment later, you hear the siren of a fire truck with police sirens also filling the midnight air.\n\n\"What do we have here?\" says one of them to his friend. \"Wow, it\nlooks like some sort of accident. Look, Tommy, part of the woods is\non fire!\" says Bobby rather excitedly. \"Now drive carefully, the last thing we need is to be pulled over.\"\n\nstart several times. A few moments later, the car accelerates and the sound of the sirens grow more and more distant.\n\n> Wait\nTime passes...\n\nThe car hits a large pot hole, either that or it's time for them to replace the struts, and this causes your body to slam against the inside wall. As you bounce around, your lucky Swiss army knife digs into your backside. Thank goodness the blade was retracted, you've\nhad your share of pain tonight.\n\n> Wait\nTime passes...\n\nYou're starting to lose track of time. You can't remember if you've been trapped in this trunk for five or 35 minutes and it's starting to get hard to breathe. You're doing your best to remain calm.\n\n> You wait\nTime passes...\n\nAfter what seems like an eternity, the car comes to a full stop. You listen attentively to see what Bobby and Tommy do. Both doors open simultaneously, followed shortly by the pop of the trunk. Neither man says anything as they drag you out of the trunk.\n\nYou're led down a path, up a few steps and then brought into another house. You're guided to a chair where you are forced to sit down as your feet and arms are secured to the chair. You are now a hostage. What you wouldn't do for your baseball bat right about now.\n\nAs you settle into your chair, you wiggle your hands accordingly. If only you had put your Swiss army knife in your front pocket. The way they tied you to the chair, it would take a minimal amount of effort\nto retrieve the knife and cut your way loose when they weren't\nlooking. Oh well, live and learn.\n\nSome room, sitting on the chair\nYou see nothing.\n\n> Scream\nA muffled murmur is all you can manage.\n\nYou hear a conversation taking place in another room in the house.\nThe voices sound like they belong to Bobby and Tommy.\n\n\"It'll work,\" says Bobby, \"I know it will.\"\n\n\"Bobby,\" says Tommy in an exasperated voice, \"your plan sounds like it came from a Colombo episode. I don't have a good feeling about it.\"\n\n\"Listen, we call the Red Sox, we tell them that we have Jake Garret\nand we want the money,\" replies Bobby, obviously trying to convince\nhis partner of the soundness of the plan. \"They can't trace the call because they probably don't know he's missing yet!\" says Bobby as his voice gets louder and louder.\n\n\"Okay, okay, Bobby. Let's go over your plan one more time,\" says Tommy, trying to give his friend the benefit of the doubt.\n\nTheir voices get softer as they discuss the details of the ransom pick-up. You don't catch all of the details, apart from a possible swap of luggage and a fake getaway car. One thing you do hear, loud and clear, as if they wanted you to hear it. Should anything go\nwrong, you're dead.\n\nYou hope everything goes right.\n\n> Spit\nYou're not at Fenway any more.\n\nThe silence is broken by Tommy and Bobby discussing the timing. It appears as if they're opting for rush hour traffic in Boston. You\nhear them tentatively agree to leave the house this afternoon. Their conversation continues for a while, bouncing from topic to topic.\nAfter a while, you lose interest and drift off to sleep.\n\nYou wake up many hours later with somebody shaking your shoulder.\n\nAs you gather your senses, the previous night's activities replay in your mind. The ambulance, the fire, the thunk on the head. Oh, does\nit hurt now. That horrible ride in the trunk of the car, it's a\nwonder you managed to sleep at all and worst of all, you're starving and need to go to the bathroom. You wonder if it can get any worse.\n\n\"Hey!\", screams a voice in your ear. \"Hotshot, wake up! It's\npayday.\"\n\n> Xyzzy\nHold on while your PC sends you a Gamma burst of mind altering energy...\n\n(I hope you closed your eyes.)\n\nAs soon as the ringing in your ear stops, press ENTER.\n\nOK, thank you in advance for giving this game a 10.\n\n\"You sure we should leave him here?\" questions Bobby as he yells out\nto his partner in crime.\n\n\"You bet, Bobby. He's harmless sitting in that chair; he's not going anywhere until we get back,\" replies Tommy from the other room. \"See if he needs to go to the bathroom before we go because I don't want to come back and have to deal with any mess,\" says Tommy, obviously more concerned about the mess than your needs.\n\n> You ask Bobby about Tommy\nYou mumble something incoherently. Bobby and Tommy both snicker.\n\n\"Okay, hotshot,\" says Bobby as he removes your blindfold, gag and the rope holding your feet and hands to the chair. \"You have five minutes in the bathroom. You try anything funny,\" says Bobby in a sinister voice, \"and I won't hesitate to use this.\"\n\nBobby motions to the gun in his hand, you get the hint.\n\nYou're led through the kitchen area, down a short hallway and into the bathroom. He tells you to leave the door ajar so that he can keep an eye on the window. He doesn't have a view of the toilet or sink.\n\nand a toilet. There is a mirror hanging over the sink, but no\nmedicine cabinet can be found. The room is relatively neat, considering the house occupants. To the north is a door that is ajar, and on the southern wall is a window that is closed.\n\nYou quickly realize that this is your best chance to plan your escape.\n\n> You examine the door\nThe bathroom door is slightly ajar.\n\nYou can hear the muffled voices of Bobby and Tommy fine tuning their plan.\n\n> You close the door\nClosed.\n\nThe bathroom door swings open.\n\n\"Listen, hotshot!\" screams Bobby as if he's scolding his teenage son. \"This door needs to stay ajar so I can monitor the window. You're lucky we've given you these five minutes to use the bathroom.\"\n\nBobby stares you down for a minute and then shuts the door, only leaving it open a crack.\n\n> You examine the toilet\nThe toilet is not noteworthy.\n\n\"How we doing in there?\" questions Bobby, obviously eager to return\nyou to your chair. \"Let's go! You only have a few minutes left.\"\n\n> You look at the mirror\nThe mirror hangs over the pedestal sink.\n\n> Break mirror\nYou'll have to tell me how to do that.\n\nThe bathroom door swings open with Bobby standing there, gun in hand. Bobby escorts you back to the wooden chair where he promptly ties your hands and feet to the chair.\n\n\"Hey Tommy,\" yells Bobby to his friend in the kitchen, \"you think it's okay to leave the gag and blindfold off?\"\n\n\"Yeah, shouldn't be a problem,\" replies Tommy, \"he can yell until he loses his voice, aint nobody gonna hear him.\"\n\nBobby walks toward the kitchen where he and Tommy finalize the plan.\n\n\"Why don't you call Jimmy,\" says Tommy, \"let him know that we have a house guest and to be on the lookout for any suspicious activity.\nDon't tell him our plan, he'll probably want a piece of the action.\nHe keeps forgetting that he retired from the business years ago.\"\n\nYou hear Bobby use his cellular phone and speak to their friend Jimmy. He divulges more of the plan than Tommy would have liked, and you can hear Tommy tell Bobby to end the call. After a few moments, Bobby\ngets the message across to Jimmy and the call ends. You see Bobby\nmake his way back into the family room.\n\n\"Okay, hotshot. We'll be back soon with lots of money,\" quips Bobby, rather amused. \"Make sure you don't go anywhere!\"\n\nBoth Bobby and Tommy laugh as they start to leave the house. You overhear them talk about Jimmy, how ruthless he was and how he didn't mess around. They were sad when he left the business, but a brush\nwith death tends to make people look at life differently. The last thing you hear is the sound of the front door closing.\n\nFamily Room, sitting on the chair\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\n\n> You put the knife in the front pocket\nDone.\n\nYou can hear the muffled voices of Bobby and Tommy fine tuning their plan.\n\n> Piss\nYou relieve yourself in the toilet. After a proper shake (or two),\nyou flush the toilet.\n\n> You examine the window\nThe window is closed.\n\n\"How we doing in there?\" questions Bobby, obviously eager to return\nyou to your chair. \"Let's go! You only have a few minutes left.\"\n\n> You open the window\nOpened.\n\nThe bathroom door swings open.\n\n\"Listen, hotshot!\" screams Bobby as if he's scolding his teenage daughter. \"This window needs to stay closed. I wasn't born\nyesterday, you know!\"\n\nBobby stares you down for a minute and then proceeds to shut the window. He then does an about face and shuts the door, only leaving\nit open a crack.\n\n> You break the mirror with the knife\nYou can't use the Swiss army knife to break anything.\n\nThe bathroom door swings open with Bobby standing there, gun in hand. Bobby escorts you back to the wooden chair where he promptly ties your hands and feet to the chair.\n\n\"Hey Tommy,\" yells Bobby to his friend in the kitchen, \"you think it's okay to leave the gag and blindfold off?\"\n\n\"Yeah, shouldn't be a problem,\" replies Tommy, \"he can yell until he loses his voice, aint nobody gonna hear him.\"\n\nBobby walks toward the kitchen where he and Tommy finalize the plan.\n\n\"Why don't you call Jimmy,\" says Tommy, \"let him know that we have a house guest and to be on the lookout for any suspicious activity.\nDon't tell him our plan, he'll probably want a piece of the action.\nHe keeps forgetting that he retired from the business years ago.\"\n\nYou hear Bobby use his cellular phone and speak to their friend Jimmy. He divulges more of the plan than Tommy would have liked, and you can hear Tommy tell Bobby to end the call. After a few moments, Bobby\ngets the message across to Jimmy and the call ends. You see Bobby\nmake his way back into the family room.\n\n\"Okay, hotshot. We'll be back soon with lots of money,\" quips Bobby, rather amused. \"Make sure you don't go anywhere!\"\n\nBoth Bobby and Tommy laugh as they start to leave the house. You overhear them talk about Jimmy, how ruthless he was and how he didn't mess around. They were sad when he left the business, but a brush\nwith death tends to make people look at life differently. The last thing you hear is the sound of the front door closing.\n\nFamily Room, sitting on the chair\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\n\n> You get the knife\nYou remove the Swiss army knife from your front pocket.\n\n> You cut the rope\nYou begin to cut the rope with your Swiss army knife and after a few moments, you free your hands. You then reach down and cut the rope from your feet and when complete, stand up and stretch. You quickly place the Swiss army knife into your front pocket. You look down at the rope and determine that it may be useful. You discard the smaller pieces of rope that you cut and keep the large piece.\n\nNow, if you could only find a phone.\n\n> Go east\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave, and near it is a note. You can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\n\nIt's been an awfully long time since you last ate and hunger is starting to consume most of your thoughts.\n\n> You read the note\n(first taking the note)\nTommy,\n\nThanks for letting me use the boat. Sorry I ran out of gas,\nbelieve you me, it was embarrassing having to be towed in by those schmucks. Anyway, I left the key in the cabin of the boat. Here's fifty bucks for the gas.\n\nThanks again,\nJimmy\n\n> You open fridge\nYou check out the contents of the refrigerator and snub your nose at most of the items, not that there is an abundance of them. Most of\nthe occupants of the refrigerator are not edible or haven't seen the light of day in quite some time. You do manage to see some pizza that looks relatively fresh and some beverages, most notably a can of coke and a can of beer.\n\n> You take the coke\nTaken.\n\n> Drink coke\nYou pop off the lid and down the Coke. It takes a couple of attempts, carbonation in soda is a wonderful thing, but you manage to finish it in record time. Very refreshing.\n\n> You eat the pizza\nYou chomp down the cold pizza as if you haven't eaten in days, which\nis closer to the truth than you care to admit. Though the pizza was cold and had no taste, it does satisfy you.\n\nYou let out a loud gassy burp; that coke was really carbonated.\n\n> You take the pizza\nTaken.\n\nYou let out a loud gassy burp; that coke was really carbonated.\n\n> You examine the microwave\nThe microwave has no buttons. This must be one of those new automatic models which starts and stops automatically. It is currently closed.\n\n> You open the microwave\nOpened.\n\n> You put the pizza in the microwave\nDone.\n\n> You close the microwave\nYou close the door and the microwave emits three short beeps. You\nhear the microwave turn on as it prepares to heat its contents. You watch the leftover pizza, wondering when the microwave will sense it and stop accordingly. A few moments later the microwave stops and emits five short beeps.\n\n> You open the microwave\nOpening the microwave reveals a leftover pizza.\n\n> You eat the pizza\nThe pizza is rather hot and you don't enjoy it as much as you could. The cheese stings the roof of your mouth as you swallow the pizza bit by bit. You were hungrier than you thought, if that's possible, and when done, you are quite satisfied.\n\n> You open the dishwasher\nOpening the dishwasher reveals some dirty dishes.\n\n> You examine the dishes\nYou see nothing unusual about the dirty dishes.\n\nA small burp escapes from your mouth, definitely coke."
    },
    {
        "text": "[Themes: baseball, bugs]\n\n> You look around\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave.\nYou can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\nThe refrigerator seems to contain a beer and some non-edible items.\nThe dishwasher seems to contain some dirty dishes.\n\n> You examine the stove\nThe stove is almond white and is currently closed.\n\n> You open the stove\nOpening the stove reveals some pots and pans."
    },
    {
        "text": "[Themes: humor]\n\n> Look around\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave.\nYou can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\nThe refrigerator seems to contain a beer and some non-edible items.\nThe stove seems to contain some pots and pans. The dishwasher seems\nto contain some dirty dishes.\n\n> You go east\nBefore you leave, you shut the refrigerator. No need to keep it open.\n\nThe dining room is rather small, and the table and chairs that\nadorn the middle of the room barely fit. The style of the dining room set conflicts with most of the furniture you've seen, particularly in the family room. Your bet is that Tommy and Bobby inherited this from the previous owner. Two large windows give a good view of the backyard. The kitchen is west and to the south, is the formal living room.\n\n> Go south\nThe formal living room, if you could call it that, doesn't appear\nas if it's been used for quite some time. You're getting the feeling that Bobby and Tommy don't really call this home. The fireplace is as clean as a whistle and nothing is out of place. The sofa looks as if the plastic was just removed from it and the coffee table doesn't have one stain on it. Two large windows give you a view of the front yard. The dining room is north and to the west is a small foyer.\n\n> Go west\nYou've made your way to the small foyer. Toward the east is a\nlarge living room which then opens up to the dining room. A hallway\nis northwest of here and to the south, is the front door which is closed.\n\n> You open the door\nOpened.\n\n> Go south\nYou're standing in front of the house, just beyond the driveway.\nIt's a simple one floor cabin, in the style of a Cape. The shingles\nof the house have worn well and the shrubs and bushes surrounding the house have overgrown a bit. You can make your way east or west to explore the front yard more, or you can go south toward the driveway. The front door is north.\n\nAs you step outside for the first time, you notice the threatening\nsky. The clouds are starting to roll in and they don't look too\nhappy. Looks like you're in for some nasty weather soon.\n\n> You go east\nYou're standing east of the cabin. The forest suffocates the area here, but you can make out the backyard to the north. To the west is the front of the house. Near some shrubs, nested against the house,\nis a ladder lying on the ground.\n\n> You go to the north\nYou struggle with the eight foot ladder, but manage to balance it as you walk along.\n\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\n\nYou feel a bit gassy and force a burp, that coke is still haunting\nyou.\n\n> Go north\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south.\n\n> You go to the north\nThe barn doors are closed.\n\n> You open the door\nThe double doors are locked.\n\n> You examine the barn\nThe barn occupies most of the corner of the yard and is up against the property line, protected by a row of trees. It has two large double doors that are closed as well as a window near the roof line.\n\n> You examine the window\nThe window is near the roof line of the barn.\n\nYou glance up at the sky; definitely rain clouds.\n\n> Go upward\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north. The window is protected by a flimsy mesh screen, most likely used to keep the bugs out and to ventilate the barn appropriately.\n\n> You open mesh\nYou tug at the screen and it comes loose. You pull it away from the barn window and the screen is damaged slightly. You inspect it for a moment, then let it drop to the ground.\n\n> You look through window\nYou stick your head through the window and peer in. The barn is extremely cluttered and doesn't appear as if it's used too often.\nThere are a couple of other windows on the far wall allowing some\nlight to filter in, but from here, all you can make out is a pile of junk.\n\n> You drop all\nrope: You drop the rope and watch it fall to the ground.\nnote: You drop the note and watch it fall to the ground.\ncoke can: You drop the coke can and watch it fall to the ground.\n\n> You go inside\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You then let\ngo and land on your feet.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, near the far wall.\nYou see a gas container here.\n\n> You look at crate\nThe wooden crate is roughly three feet wide and four feet tall. It is unmarked.\n\n> You open it\nYou lift the cover slightly and peek in the crate; it's empty. You then lower the cover.\n\n> You examine the trailer\nThe boat trailer is approximately twenty feet long and is made of steel. It's parked at the rear of the barn.\n\n> You open the doors\nThe double doors are locked.\n\n> You pick the lock\nWhat do you want to pick it with?\n\n> You get on the crate\nYou climb up onto the crate."
    },
    {
        "text": "> Go downwards\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, near the far wall.\n\n> You move the crate near the window\nYou move the crate under the window."
    },
    {
        "text": "[Themes: bugs]\n\n> Look around\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\n\n> You throw the gas out the window\nIt doesn't appear as if the gas container can fit through the window, but you give it a shot anyway. You heave the ten gallon gas container at the window and immediately duck as it bounces off the window and promptly hits you on the back of the head. It tumbles off the crate and lands on the barn floor. Thankfully, the container was closed and the gas is safe, for now."
    },
    {
        "text": "> Go down\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container here."
    },
    {
        "text": "[Themes: bugs, baseball]\n\n> You wash hands\nYou wash your hands; not wanting to dry them on their towels, you\nshake them dry and finish wiping them on your uniform.\n\n\"How we doing in there?\" questions Bobby, obviously eager to return\nyou to your chair. \"Let's go! You only have a few minutes left.\"\n\n> Shit\nYou relieve yourself in the toilet. After a few moments, there is no reading material here, you finish up and flush the toilet.\n\n> You wash hands\nYou wash your hands; not wanting to dry them on their towels, you\nshake them dry and finish wiping them on your uniform.\n\nThe bathroom door swings open with Bobby standing there, gun in hand. Bobby escorts you back to the wooden chair where he promptly ties your hands and feet to the chair.\n\n\"Hey Tommy,\" yells Bobby to his friend in the kitchen, \"you think it's okay to leave the gag and blindfold off?\"\n\n\"Yeah, shouldn't be a problem,\" replies Tommy, \"he can yell until he loses his voice, aint nobody gonna hear him.\"\n\nBobby walks toward the kitchen where he and Tommy finalize the plan.\n\n\"Why don't you call Jimmy,\" says Tommy, \"let him know that we have a house guest and to be on the lookout for any suspicious activity.\nDon't tell him our plan, he'll probably want a piece of the action.\nHe keeps forgetting that he retired from the business years ago.\"\n\nYou hear Bobby use his cellular phone and speak to their friend Jimmy. He divulges more of the plan than Tommy would have liked, and you can hear Tommy tell Bobby to end the call. After a few moments, Bobby\ngets the message across to Jimmy and the call ends. You see Bobby\nmake his way back into the family room.\n\n\"Okay, hotshot. We'll be back soon with lots of money,\" quips Bobby, rather amused. \"Make sure you don't go anywhere!\"\n\nBoth Bobby and Tommy laugh as they start to leave the house. You overhear them talk about Jimmy, how ruthless he was and how he didn't mess around. They were sad when he left the business, but a brush\nwith death tends to make people look at life differently. The last thing you hear is the sound of the front door closing.\n\nFamily Room, sitting on the chair\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\n\n> You get the knife\nYou remove the Swiss army knife from your front pocket."
    },
    {
        "text": "[Themes: humor, baseball]\n\n> Look around\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\nYou see a chair here.\n\nIt's been an awfully long time since you last ate and hunger is starting to consume most of your thoughts.\n\n> You go east\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave, and near it is a note. You can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\n\n> You examine bin\nThe blue recycling bin is mostly full of beer cans, though a couple of soda cans and bottles are mixed in. Not a surprise, considering the house occupants, though you never did figure Bobby or Tommy as the environmental friendly type.\n\n> You get the bottle\nWhich bottle do you mean, the two-liter plastic Pepsi bottle, or the two-liter plastic Sprite bottle?\n\n> You get the pepsi\nTaken.\n\n> You examine it\nThe two-liter plastic Pepsi bottle used to contain some soda, but is now currently empty. The cap is currently on the bottle.\n\n> You close the fridge\nClosed."
    },
    {
        "text": "[Themes: baseball]\n\n> You look around\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave, and near it is a note. You can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\n\n> You read it\nTommy,\n\nThanks for letting me use the boat. Sorry I ran out of gas,\nbelieve you me, it was embarrassing having to be towed in by those schmucks. Anyway, I left the key in the cabin of the boat. Here's fifty bucks for the gas.\n\nThanks again,\nJimmy\n\n> You go south\nof the rooms in this cabin. To the north is the kitchen area which then leads to the dining room and family room. To the south is the bathroom, its door currently open. To the southwest is the bedroom\nand to the east, is a closed door. The hallway continues southeast to a small foyer which opens up into a large living room.\n\n> You go to the southwest\nYou've made your way to the only bedroom in the cabin. Based on\nhow it's furnished, you begin to wonder what exactly Bobby's and Tommy's relationship is, but that's the least of your problems right now. The room has the bare essentials, and nothing more.\n\nYour eyes wander to the small night stand where an alarm clock is displaying the current time. You can hardly believe that it's 2:17\npm.\n\n> You examine the stand\nThe night stand compliments the bedroom set nicely. Sitting on the night stand is an alarm clock.\n\n> You open it\nIt's just a table, really; there are no drawers to open.\n\n> You search it\nOn the night stand you see an alarm clock.\n\n> You look at the clock\nThe clock appears battery operated, considering there is no power cord attached to the device. At the bottom of the alarm clock is a cover that is closed. The alarm clock is currently displaying 2:24 pm.\n\n> You open the clock\nOpening the alarm clock reveals a C battery.\n\n> You examine the clock\nThe clock appears battery operated, considering there is no power cord attached to the device. At the bottom of the alarm clock is a cover that is open, exposing a battery. It's flashing 12:00.\n\n> You open the door\nWhich door do you mean, the hallway door, or the bathroom door?\n\n> Go east\nYou've made your way into a small cramped cellar. It's more of a\ncrawl space than anything, but apparently it's used to store items no longer required. The cellar is illuminated by several small windows scattered around the foundation wall. There's lots of junk cluttered about, most of it useless. On one of the walls, there's a shelf that contains a flashlight, a jar and other various junk items.\n\nConsidering your predicament, something in the corner catches your\neye; it appears to be a portable TV. The only exit is to the west, back up the stairs.\n\n> You look at the tv\nIt's a nine inch portable TV, with an antenna attached to the back.\nThe TV is currently off and appears to be battery operated. On the back of the TV is a battery compartment.\n\nA TV dial is attached to the front of the portable TV. The TV dial\ncan be turned to channels numbered from 2 to 13. It's currently set\nto 3.\n\n> You turn on the tv\nThe TV requires four C batteries, so you're three short.\n\n> You examine the flashlight\nFrom this vantage point, it's an average looking flashlight.\n\n> You get it\nAs you reach up to take the flashlight, the shelf gives and comes crashing to the floor. The flashlight escapes your grip and falls to the hard cement floor, along with the other occupants of the shelf.\n\n> You examine it\nThe flashlight appears to be broken. The bulb must have shattered during the fall. The flashlight seems to contain a battery."
    },
    {
        "text": "[Themes: humor, baseball]\n\n> Look around\nYou've made your way into a small cramped cellar. It's more of a\ncrawl space than anything, but apparently it's used to store items no longer required. The cellar is illuminated by several small windows scattered around the foundation wall. There's lots of junk cluttered about, most of it useless. The only exit is to the west, back up the stairs.\nYou see a portable TV, some broken glass, and a shelf here.\n\n> You open compartment\nOpening the TV compartment reveals a C battery.\n\n> You drop the flashlight\nDropped.\n\n> Go west\nof the rooms in this cabin. To the north is the kitchen area which then leads to the dining room and family room. To the south is the bathroom, its door currently open. To the southwest is the bedroom\nand to the east, is an open door. The hallway continues southeast to\na small foyer which opens up into a large living room.\n\n> Go north\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave.\nYou can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\n\n> You go west\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\nYou see a chair here.\n\n> You go north\n(Opening the deck door)\nDeck\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill\nthat has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\nAs you step outside for the first time, you notice the threatening\nsky. The clouds are starting to roll in and they don't look too\nhappy. Looks like you're in for some nasty weather soon.\n\n> You open it\nYou open the gas grill and take a peek inside. Nothing but rust and cobwebs, so you close it."
    },
    {
        "text": "[Themes: bugs, humor]\n\n> You go downward\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\n\n> Go southeast\nYou're standing east of the cabin. The forest suffocates the area here, but you can make out the backyard to the north. To the west is the front of the house. Near some shrubs, nested against the house,\nis a ladder lying on the ground.\n\n> Go north\nYou struggle with the eight foot ladder, but manage to balance it as you walk along.\n\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\n\n> Go southwest\nYou're standing west of the cabin. The forest suffocates the area here, but you can make out the backyard to the north, and beyond it, a large body of water. To the east is the front of the house.\n\n> You examine the body\nThey're your body.\n\n> Go north\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\n\nYou glance up at the sky; definitely rain clouds.\n\n> Go northwest\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast\nof here.\n\n> You examine the pole\nThe tall pole appears to be some type of light post. It's approximately twenty feet high and has two large lights hanging off\nthe end of it. Both lights appear to be directed at the dock and\nboat.\n\n> Go north\nAs you head toward the dock, you glance up at the light stanchion and then it hits you. Those lights are probably triggered by motion, but because it's still pretty bright out, you don't think its a problem; for now.\n\nYou're standing on a short wooden dock, near a boat. The smell of\nsalt air fills your lungs and you are instantly reminded of your younger days, when you and your father would go on fishing trips that would last all afternoon. The boat can be boarded to the east and dry land is due south.\n\n> Go east\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're\nnot very familiar with boats and most of the features of this craft\nare not recognizable. There is no sail, so you quickly determine that it must be powered. You recall the note from Jimmy. It's powered alright, but it has no gas.\n\nA closed hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap. Sitting right near the gas cap is a funnel."
    },
    {
        "text": "[Themes: baseball]\n\n> Go down\nSeeing as the ladder will never fit down there, you decide to leave\nthe ladder on the boat deck.\n\n(Opening the hatch)\nAs you make your way down the steps, you're surprised at the lack of light filtering down from the boat deck. In fact, by the time you reach the bottom of the steps, you can't see a thing.\n\nIt's pitch black.\n\n> You get the key\nIt's pitch black.\n\n> Go upward\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're\nnot very familiar with boats and most of the features of this craft\nare not recognizable. There is no sail, so you quickly determine that it must be powered. You recall the note from Jimmy. It's powered alright, but it has no gas.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\nYou see a ladder here.\n\n> You look at panel\nThe control panel is the brain center of the boat. There are many dials, displays and buttons, but the ones that you're most concerned with are the ignition, throttle, steering wheel and speedometer.\n\n> You read the note\nTommy,\n\nThanks for letting me use the boat. Sorry I ran out of gas,\nbelieve you me, it was embarrassing having to be towed in by those schmucks. Anyway, I left the key in the cabin of the boat. Here's fifty bucks for the gas.\n\nThanks again,\nJimmy\n\n> You leave\nYou're standing on a short wooden dock, near a boat. The smell of\nsalt air fills your lungs and you are instantly reminded of your younger days, when you and your father would go on fishing trips that would last all afternoon. The boat can be boarded to the east and dry land is due south.\n\n> You go to the south\nAs you walk toward the backyard by the pole, you look up at the set of lights and then the darkening skies. You wonder how much time you\nhave left before it detects your motion.\n\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast\nof here.\n\n> You go southeast\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south.\n\n> You climb the ladder\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north. The window is protected by a flimsy mesh screen, most likely used to keep the bugs out and to ventilate the barn appropriately.\n\n> You open the screen\nWhich screen do you mean, the portable TV, or the window screen?\n\n> Window\nYou tug at the screen and it comes loose. You pull it away from the barn window and the screen is damaged slightly. You inspect it for a moment, then let it drop to the ground.\n\n> You drop all\nrope: You drop the rope and watch it fall to the ground.\ntwo-liter plastic Pepsi bottle: You drop the two-liter plastic Pepsi bottle and watch it fall to the ground.\ncan of coke: You drop the can of coke and watch it fall to the\nground.\nnote: You drop the note and watch it fall to the ground.\nbeer: You drop the beer and watch it fall to the ground.\nportable TV: You drop the portable TV and watch it fall to the\nground.\nfunnel: You drop the funnel and watch it fall to the ground."
    },
    {
        "text": "[Themes: baseball]\n\n> You look at what you're carrying with you\nIn your front pocket, you have your Swiss army knife.\n\n> Inventory\nYou have some rope, a two-liter plastic Pepsi bottle, a can of coke, a note, a beer, a portable TV, and a funnel. Your front pocket seems to contain your Swiss army knife. The TV compartment seems to contain\ntwo C batteries."
    },
    {
        "text": "> Go down\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen here.\n\n> You drop all except the bottle and the funnel\nrope: Dropped.\ncan of coke: Dropped.\nnote: Dropped.\nbeer: Dropped.\nportable TV: Dropped.\n\n> Winnable\nThe game is in a winnable state.\n\n> You go up\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\n> You throw all in the window\ntwo-liter plastic Pepsi bottle: You put the two-liter plastic Pepsi bottle in the window and let it drop. A moment later you hear a it land with a soft plunk.\nfunnel: You put the funnel in the window and let it drop. A moment later you hear a it land with a soft plunk.\n\n> Enter\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You then let\ngo and land on your feet.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, near the far wall.\nYou see a gas container, a two-liter plastic Pepsi bottle, and a\nfunnel here.\n\n> You move the crate near the window\nYou move the crate under the window.\n\n> You get the bottle and the funnel\ntwo-liter plastic Pepsi bottle: Taken.\nfunnel: Taken.\n\n> You open the bottle\nYou unscrew the bottle cap from the two-liter plastic Pepsi bottle.\n\n> You put the funnel in bottle\nYou place the funnel into the two-liter plastic Pepsi bottle.\n\n> You open the gas\nOpening the gas container reveals some gas.\n\n> You put the gas in the bottle\nYou slowly pour some gas into the two-liter plastic Pepsi bottle until it fills. There must have been a splash of soda left in the bottle because the gas has a dark tint to it now.\n\n> Winnable\nThe game is in a winnable state.\n\n> Oops bottle\nYou screw the cap onto the two-liter plastic Pepsi bottle.\n\n> You get on the crate\nYou climb up onto the crate.\n\n> You throw the bottle out the window\nYou throw the two-liter plastic Pepsi bottle at the window. A\nmediocre throw, at best. It rattles off the side of the window a couple of times, but still manages to squeak through. You hear it\nland somewhere in the yard.\n\n> You throw the funnel out the window\nYou throw the funnel at the window. Unfortunately, it wasn't a clean shot and didn't go through. It falls to the ground.\n\n> You put the funnel in pocket\nWhich pocket do you mean, your front pocket, or your back pocket?\n\n> Back\nYou can't put the funnel into your back pocket; it doesn't fit.\n\n> Winnable\nThe game has been put in an unwinnable state - best to restore a previous version, start over or UNDO several turns.\n\n> You examine bottle\nThe two-liter plastic Pepsi bottle used to contain some soda, but is now full of gasoline. The cap is currently on the bottle.\n\n> You drop all\ntwo-liter plastic Pepsi bottle: Dropped.\nfunnel: Dropped.\n\n> Go upward\nYou jump up and grab the bottom of the window. You pull yourself up, squeeze through it and reach for the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north."
    },
    {
        "text": "[Themes: bugs]\n\n> Go downward\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, some rope, a can of coke, a note, a beer,\nand a portable TV here. The TV compartment seems to contain two C batteries.\n\n> Go north\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, some rope, a can of coke, a note, and a\nbeer here.\n\n> You climb the ladder\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\n> You go inside\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You figure\nthat the crate is your best bet and land on top of it.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container, a two-liter plastic Pepsi bottle, and a\nfunnel here. The gas container seems to contain some gas.\n\n> You throw bottle out the window\nYou throw the two-liter plastic Pepsi bottle at the window. Good\nshot, it rattles off the window pane slightly and falls through the open window. You hear it land on the grass.\n\n> Winnable\nThe game has been put in an unwinnable state - best to restore a previous version, start over or UNDO one turn.\n\n> You screw the cap\n(on the two-liter plastic Pepsi bottle)\nThe cap is already on the two-liter plastic Pepsi bottle.\n\n> Leave\nSeeing as you're going to need your hands to squeeze through the window, you'll never make it carrying a two-liter plastic Pepsi\nbottle."
    },
    {
        "text": "[Themes: baseball, humor]\n\n> You go downwards\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, some rope, a can of coke, a note, a beer,\na two-liter plastic Pepsi bottle, and a bottle cap here.\n\nYou look down and notice that the two-liter bottle didn't survive the fall. The cap must have popped off from the impact and the gasoline\nis gone."
    },
    {
        "text": "[Themes: bugs]\n\n> Go downward\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container and a funnel here. The gas container seems\nto contain some gas.\n\n> You drop the bottle\nDropped."
    },
    {
        "text": "> Go downwards\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, some rope, a can of coke, a note, and a\nbeer here.\n\n> You throw rope in the window\nYou put the rope in the window and let it drop. A moment later you hear a it land with a soft plunk.\n\n> Go inside\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You figure\nthat the crate is your best bet and land on top of it.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container, a funnel, a two-liter plastic Pepsi\nbottle, and some rope here. The gas container seems to contain some gas.\n\n> You tie the rope to bottle\nYou tie one end of the rope to neck of the bottle.\n\n> Lower bottle\nYou can't reach the window from here. You could probably throw the bottle at the window, though.\n\n> You put the rope in the window\nThe window is just out of reach to put anything through it. You might be able to throw it at the window.\n\n> You tie the rope to the window\nIt's too far away.\n\n> You throw the bottle out the window\nYou throw the two-liter plastic Pepsi bottle at the window and hold on to the other end of the rope with your other hand. The bottle sails through the open window and starts its journey toward the grass.\n\nA moment later you hear the bottle land on the grass. It appears as\nif the rope was too long. You slowly pull the rope up and after several tugs, the end of the rope slides through the open window. It appears as if the bottle came loose from the rope during impact.\n\n> You examine the rope\nThe rope is rather thin, you're almost embarrassed that it contained you for so long, and is about fifteen feet long. The rope is\ncurrently tied to the two-liter plastic Pepsi bottle.\n\n> Go outside\nSeeing as you're going to need your hands to squeeze through the window, you'll never make it carrying some rope and a two-liter\nplastic Pepsi bottle.\n\n> You untie rope\nYou untie the rope from the two-liter plastic Pepsi bottle.\n\n> You throw the rope out the window\nYou throw the rope at the window. Great shot, it sails right through the open window and you hear it land on the grass outside."
    },
    {
        "text": "[Themes: baseball]\n\n> Go downward\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, a beer, and some\nrope here.\n\n> You examine the window\nThe window is rather small, approximately two feet wide and two feet tall. The window is missing a screen."
    },
    {
        "text": "> You look at your surroundings\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\nYou hear the clap of thunder in the distance. The storm is near.\n\n> You put the rope in the window\nYou put the rope in the window and let it drop. A moment later you hear a it land with a soft plunk.\n\n> Examine crate\nThe wooden crate is roughly three feet wide and four feet tall. It is unmarked. It's currently under the barn window.\n\n> Time\nFriday 4:56 pm\n\n> You drop all\nrope: Dropped."
    },
    {
        "text": "[Themes: baseball, humor]\n\n> Go downward\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\n> You go south\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain\ntwo C batteries.\n\n> Go up\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill\nthat has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\n> Go north\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\nYou see a chair here.\n\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill\nthat has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain\ntwo C batteries.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\n> You throw the bottle in window\nYou put the two-liter plastic Sprite bottle in the window and let it drop. A moment later you hear a it land with a soft plunk.\n\n> You go inside\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You figure\nthat the crate is your best bet and land on top of it.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container, a funnel, a two-liter plastic Pepsi\nbottle, some rope, and a two-liter plastic Sprite bottle here. The\ngas container seems to contain some gas.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> You tie the rope to Pepsi\nYou tie one end of the rope to neck of the bottle.\n\n> You tie the rope to the sprite\nThe rope is already tied to the two-liter plastic Pepsi bottle.\n\n> Sprite\non to the other end of the rope with your other hand. The bottle\nsails through the open window and starts its journey toward the grass.\n\nA moment later you hear the bottle land on the grass. It appears as\nif the rope was too long. You slowly pull the rope up and after several tugs, the end of the rope slides through the open window. It appears as if the bottle came loose from the rope during impact.\n\n> You untie the rope\nYou untie the rope from the two-liter plastic Sprite bottle.\n\n> You continue\nThere already is some rope tied to the two-liter plastic Pepsi bottle.\n\n> You cut the rope with the knife\nYou first remove the Swiss army knife from your front pocket. You\nthen untie the rope from the two-liter plastic Pepsi bottle. You cut the length of rope and end up with two almost identical pieces of\nrope.\n\nYou place the Swiss army knife back into your front pocket.\n\n> You tie the rope to Pepsi\nWhich rope do you mean, the eight foot rope, or the seven foot rope?\n\n> Pepsi\nYou throw the two-liter plastic Pepsi bottle at the window and hold on to the other end of the rope with your other hand. The bottle sails through the open window and starts its journey toward the grass.\n\nTwo-thirds of the way down, the rope snaps tightly in your hand as the bottle crashes into the side of the barn. A moment later, the rope goes limp in your hand; it appears as if the bottle came loose. You pull the rope back up.\n\n> You throw the sprite at the window\non to the other end of the rope with your other hand. The bottle\nsails through the open window and starts its journey toward the grass.\n\nTwo-thirds of the way down, the rope snaps tightly in your hand as the bottle crashes into the side of the barn. A moment later, the rope goes limp in your hand; it appears as if the bottle came loose. You pull the rope back up.\n\n> No\nOkay.\n\n> Y.\nBye Jake! Thanks for playing!\n\n> Awe\nRestored.\n\nInside the Barn, standing on the wooden crate\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. You're currently standing on a large wooden crate, which is under the barn window.\nYou see a gas container and a funnel here. The gas container seems\nto contain some gas.\n\n> Hint\nThe hint system in this game will slowly nudge you along. Depending where you are and what you've done, it'll display minor hints accordingly. If you're stuck, consult the walk-through or send me a note at msousa@efortress.com. You'll only see this message once.\n\nThe various items may be of some use to you.\n\n> You search the junk\nThe various junk items are bunched up in one corner of the barn. Most of the things appear worthless to you, though a radio does catch your eye.\n\n> You examine the radio\nIt's a simple radio/CD player combination. The antenna has snapped\noff from the top of the unit and the CD door is open. There is currently nothing in the CD holder. On the back of the radio, is a small battery compartment that is closed."
    },
    {
        "text": "> Go downwards\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a radio, a gas container, and a funnel here. The gas\ncontainer seems to contain some gas.\n\n> You open compartment\nOpening the radio compartment reveals two C batteries.\n\n> You get the batteries\nC battery: Taken.\nC battery: Taken.\n\n> You turn on the radio\nThe radio is now on.\n\nThe radio comes alive with some classic rock and roll. You turn down the volume just a bit, as you mouth some of the lyrics to Stairway to Heaven. Looks like there is no need to search the dial, you are quite pleased with the current radio station.\n\n> You throw the radio out the window\nYou throw the radio at the window. Unfortunately, it wasn't a clean shot and didn't go through. It falls to the ground. The radio goes silent.\n\n> You listen\nLed Zeppelin's Stairway to Heaven is currently playing.\n\n> Tie seven to radio\nI don't know how to tie anything to the radio.\n\nPlant starts to scream the end verse of Stairway and you stop for a moment to join him. You just wish you had a better voice and range.\n\n> Wait\nTime passes...\n\n> You open the sprite\nYou unscrew the bottle cap from the two-liter plastic Sprite bottle.\n\n> You open Pepsi\nYou unscrew the bottle cap from the two-liter plastic Pepsi bottle.\n\n> You put it in the sprite\nYou place the funnel into the two-liter plastic Sprite bottle.\n\nAfter a series of commercials, Sympathy for the Devil starts playing\non the radio."
    },
    {
        "text": "[Themes: baseball, humor]\n\n> Go downwards\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container here. The gas container seems to contain\nsome gas.\n\n> You put the gas in the sprite\nWhich gas do you mean, the gasoline, or the dark gas?\n\n> Gasoline\nuntil it fills.\n\nMick's voice almost puts you in a trance and you momentarily forget what you were doing. You just love this song.\n\n> Oops funnel\nI don't know how to pour the funnel.\n\nMick's voice almost puts you in a trance and you momentarily forget what you were doing. You just love this song.\n\n> You put the cap on the sprite\nYou screw the cap onto the two-liter plastic Sprite bottle.\n\n> You put the cap on Pepsi\nYou screw the cap onto the two-liter plastic Pepsi bottle.\n\nHotel California starts playing on the radio.\n\n> Tie seven to sprite\nbottle.\n\n> Hint\nYou can barely reach the window. I'm sure if you had something else\nto stand on, it would make your job a lot easier.\n\n> You throw the sprite out the window\non to the other end of the rope with your other hand. The bottle\nsails through the open window and starts its journey toward the grass.\n\nTwo-thirds of the way down, the rope snaps tightly in your hand as the bottle crashes into the side of the barn. A moment later, the rope goes limp in your hand; it appears as if the bottle came loose. You pull the rope back up.\n\n> You drop all\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\neight foot rope: Dropped.\nseven foot rope: Dropped.\nradio: Dropped.\nfunnel: Dropped."
    },
    {
        "text": "[Themes: humor]\n\n> You go downwards\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, a beer, and a\ntwo-liter plastic Sprite bottle here.\n\n> You look at the bottle\nThe two-liter plastic Sprite bottle used to contain some soda, but is now currently empty. The cap is currently on the bottle."
    },
    {
        "text": "> You examine the beer\nIt's Bud Ice, sure it has a higher alcohol content, but it's been a tough twenty-four hours or so.\n\n> You look at the can\nWhich can do you mean, the can of coke, or the beer?\n\n> Coke\nIt's Coke Classic, thank god.\n\n> Drink coke\nYou pop off the lid and down the Coke. It takes a couple of attempts, carbonation in soda is a wonderful thing, but you manage to finish it in record time. Very refreshing.\n\n> You climb the ladder\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\nYou let out a loud gassy burp; that coke was really carbonated.\n\n> You throw Coke through the window\nYou put the coke can in the window and let it drop. A moment later\nyou hear a it land with a soft plunk.\n\n> Enter\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You figure\nthat the crate is your best bet and land on top of it.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container, a funnel, a two-liter plastic Pepsi\nbottle, a two-liter plastic Sprite bottle, a piece of rope about eight feet long, a piece of rope about seven feet long, and a coke can here. The gas container seems to contain some gas.\n\n> You put the funnel in the sprite\nYou place the funnel into the two-liter plastic Sprite bottle.\n\nA small burp escapes from your mouth, definitely coke.\n\n> You put the funnel in Coke\nYou can't put anything into the coke can.\n\nA small burp escapes from your mouth, definitely coke.\n\n> You put the funnel in the sprite\nYou place the funnel into the two-liter plastic Sprite bottle.\n\n> You put the gasoline in sprite\nuntil it fills.\n\n> You check what you're carrying\nYou have a funnel and a piece of rope about seven feet long. Your front pocket seems to contain your Swiss army knife.\n\n> Awe2\nRestored.\n\nInside the Barn, standing on the wooden crate\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. You're currently standing on a large wooden crate, which is under the barn window.\nYou see a gas container here. The gas container seems to contain\nsome gas.\n\n> You leave\nSeeing as you're going to need your hands to squeeze through the window, you'll never make it carrying a two-liter plastic Pepsi\nbottle, a two-liter plastic Sprite bottle, a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle), and a piece\nof rope about seven feet long (tied to the two-liter plastic Pepsi bottle).\n\n> You drop all\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\ntwo-liter plastic Sprite bottle: Before you drop the bottle, you\nuntie the rope from the bottle neck.\nDropped.\neight foot rope: Dropped.\nseven foot rope: Dropped."
    },
    {
        "text": "[Themes: humor]\n\n> Go downwards\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\nThe wind starts to pick up and the temperature drops several degrees. It appears as if the storm is making its entrance.\n\n> You go to the north-east\nTrees block your path.\n\n> You go north\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\n> Go northwest\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast\nof here.\n\n> You examine the pole\nThe tall pole appears to be some type of light post. It's approximately twenty feet high and has two large lights hanging off\nthe end of it. Both lights appear to be directed at the dock and\nboat.\n\n> You examine the lights\nThere are two lights that overlook the dock area.\n\n> You check your inventory\nYou have a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle), and a piece of rope about seven feet long\n(tied to the two-liter plastic Pepsi bottle). Your front pocket seems to contain your Swiss army knife.\n\n> You look at the sprite\nThe two-liter plastic Sprite bottle used to contain some soda, but is now currently empty. The cap is currently on the bottle. Tied to the neck of the bottle is a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle).\n\n> You examine Pepsi\nThe two-liter plastic Pepsi bottle used to contain some soda, but is now full of gasoline. The cap is currently on the bottle. Tied to\nthe neck of the bottle is a piece of rope about seven feet long (tied to the two-liter plastic Pepsi bottle)."
    },
    {
        "text": "[Themes: bugs]\n\n> Go downward\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container and a funnel here. The gas container seems\nto contain some gas.\n\n> You screw the cap\nWhat do you want to screw it on?\n\n> Time\nFriday 5:42 pm\n\n> You put Pepsi in the window\nIt's too far away. You may be able to throw it at the window, though.\n\n> You screw cap on Pepsi\nThe cap is already on the two-liter plastic Pepsi bottle.\n\n> You search the junk\nThe various junk items are bunched up in one corner of the barn. Most of the things appear worthless to you, though a radio does catch your eye.\n\n> You examine the radio\nIt's a simple radio/CD player combination. The antenna has snapped\noff from the top of the unit and the CD door is open. There is currently nothing in the CD holder. On the back of the radio, is a small battery compartment that is closed.\n\n> You check what you're carrying\nYou have a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle), a piece of rope about seven feet long (tied to the two-liter plastic Pepsi bottle), and a funnel. Your front pocket seems to contain your Swiss army knife.\n\n> You examine uniform\nIt's the standard issue Boston Red Sox uniform. The pants contain\nboth a front and back pocket.\n\n> You examine the trailer\nThe boat trailer is approximately twenty feet long and is made of steel. It's parked at the rear of the barn.\n\n> You look at seven\nThe rope is rather thin and is approximately seven feet long. It is currently tied to the two-liter plastic Pepsi bottle.\n\n> You put Pepsi in the back pocket\nYou can't put the two-liter plastic Pepsi bottle into your back\npocket; it doesn't fit."
    },
    {
        "text": "> Go downward\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a radio and a gas container here.\n\n> Down\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\ntwo-liter plastic Sprite bottle: Before you drop the bottle, you\nuntie the rope from the bottle neck.\nDropped.\neight foot rope: Dropped.\nfunnel: Dropped.\n\nYou climb up onto the crate.\n\nYou jump up and grab the bottom of the window. You pull yourself up, squeeze through it and reach for the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north,\na large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\nIt has started drizzling.\n\n> Go west\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The\nside yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain\ntwo C batteries.\n\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill\nthat has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\n> Go east\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\nYou see a chair here.\n\nYou're standing in the middle of the kitchen, which doesn't appear\nas if it's used too often. There are almost no kitchen appliances apart from the major ones; neatly tucked away in the corners of the room are the stove, refrigerator and dishwasher. Near the kitchen counter is a blue recycling bin.\n\nThere is a breakfast type counter which nicely separates the kitchen area from the family room. On the kitchen counter is a microwave.\nYou can enter the family room to the west and a hallway leads south, toward the bathroom. The dining room is east of here.\n\n> You get the bin\nThe bin is too full for you to lug around.\n\n> Empty bin\nThat would just make a mess.\n\n> Tie eight to Pepsi\nThe rope is already tied to the two-liter plastic Sprite bottle.\n\n> You examine eight\nThe rope is rather thin and is approximately eight feet long. It's currently tied to the two-liter plastic Sprite bottle.\n\n> You examine seven\nThe rope is rather thin and is approximately seven feet long.\n\n> Hint\nThe hint system in this game will slowly nudge you along. Depending where you are and what you've done, it'll display minor hints accordingly. If you're stuck, consult the walk-through or send me a note at msousa@efortress.com. You'll only see this message once.\n\nThe various items may be of some use to you.\n\n> Hint\nThe various junk items are bunched up in one corner of the barn. Most of the things appear worthless to you, though a radio does catch your eye.\n\nYou can barely reach the window. I'm sure if you had something else\nto stand on, it would make your job a lot easier.\n\n> Hint\nYou climb up onto the crate.\n\nI can't think of any right now; maybe later."
    },
    {
        "text": "> Go downward\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a radio and a gas container here.\n\n> You get the container\nTaken.\n\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container here.\n\nDropped.\n\nTaken.\n\n> Hint\nThe hint system in this game will slowly nudge you along. Depending where you are and what you've done, it'll display minor hints accordingly. If you're stuck, consult the walk-through or send me a note at msousa@efortress.com. You'll only see this message once.\n\nYou can barely reach the window. I'm sure if you had something else to stand on, it would make your job a lot easier.\n\n> Awe2\nRestored.\n\nInside the Barn, standing on the wooden crate\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. You're currently standing on a large wooden crate, which is under the barn window.\nYou see a gas container here.\n\n> You search the junk\nYou climb down off the crate.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a gas container here.\n\nThe various junk items are bunched up in one corner of the barn. Most of the things appear worthless to you, though a radio does catch your eye.\n\n> You drop all\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\ntwo-liter plastic Sprite bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\neight foot rope: Dropped.\nseven foot rope: Dropped.\nbottle cap: Dropped.\n\n> You screw the cap on the sprite\nThe funnel is in the way.\n\n> You drop all\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\ntwo-liter plastic Sprite bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\neight foot rope: Dropped.\nseven foot rope: Dropped.\nfunnel: Dropped.\n\n> Go west\nYou climb up onto the crate.\n\nYou jump up and grab the bottom of the window. You pull yourself up, squeeze through it and reach for the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The side yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain two\nC batteries.\n\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill that has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\n> You get the chair\nYou're in what is best described as a family room, though there is\nno entertainment center to speak of. The furniture in this room is rather sparse, yet cozy for this type of cabin. To the north, a door leads out to the deck and the kitchen is east.\nYou see a chair here.\n\nTaken.\n\n> Go north\nYou're standing in the middle of the wooden deck. It's made of pressure-treated wood, but hasn't been cleaned in years. The color of the wood is a dark gray. In the corner of the deck is a gas grill that has rusted itself obsolete. To the east, stairs descend toward the backyard and to the south is the door to the family room, which is open.\n\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The side yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain two\nC batteries.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, and a beer here.\n\n> Go inside\nYou ascend the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north.\n\nSeeing as you're going to need your hands to squeeze through the window, you'll never make it carrying a chair.\n\n> You put the chair in the window\nYou put the chair in the window and let it drop. A moment later you hear a it land with a loud bang.\n\n> Enter\nYou squeeze through the window and then hang from it for a brief moment, trying to figure out the optimum landing area. You figure that the crate is your best bet and land on top of it.\n\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. A large wooden crate is here, under the barn window.\nYou see a radio, a two-liter plastic Pepsi bottle, a two-liter\nplastic Sprite bottle, a piece of rope about eight feet long, a piece of rope about seven feet long, a funnel, and a chair here. Sitting on the wooden crate is a gas container.\n\n> You put it on the crate\nTaken.\n\nDone.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> You search the junk\nThe various junk items are worthless.\n\n> You open compartment\nOpening the radio compartment reveals two C batteries.\n\n> You get the batteries\nC battery: Taken.\nC battery: Taken.\n\n> You get on the chair\nYou first jump up onto the crate. Okay, you're now sitting on the chair.\n\n> You put the batteries in the back pocket\nC battery: Done.\nC battery: Done."
    },
    {
        "text": "> You describe your surroundings\nWooden Crate, sitting on the chair\nYou're inside an old barn, dimly lit by several windows near the\nroof line and the window that you squeezed through. The barn appears as if it houses a boat in the winter, judging by a boat trailer near the rear of the barn. Most of the room is occupied by various items, mostly worthless.\n\nTwo large doors, which are closed, are to the south. You're currently sitting on a wooden chair, which has been placed on top of a wooden crate. The crate is A large wooden crate is under the barn window.\nYou see a gas container and a chair here.\n\n> You stand on the chair\nYou get up from your sitting position and stand up on the chair.\n\n> You put the funnel in the window\nYou poke your head out the window and let the funnel drop. You watch the funnel land on the soft grass.\n\n> You put Pepsi in the window\nYou lower the two-liter plastic Pepsi bottle out the window until you feel it hit the ground. You then let go of the rope and you hear it land softly on the grass. You stick your head out the window and look for the bottle. You spot it resting on the grass, right near the rope, cap firmly in place. You pull your head back into the barn.\n\n> You put the sprite in the window\nYou lower the two-liter plastic Sprite bottle out the window until you feel it hit the ground. You then let go of the rope and you hear it land softly on the grass. You stick your head out the window and look for the bottle. You spot it resting on the grass, right near the rope, cap firmly in place. You pull your head back into the barn.\n\n> You check what you're carrying\nIn your back pocket, you have two C batteries. In your front pocket, you have your Swiss army knife.\n\n> You go outside\nYou squeeze through the window and reach for the ladder.\n\nTop of the Ladder, Near Window\nYou're standing at the top of a ladder, near the barn window which\nis directly north."
    },
    {
        "text": "> Go downwards\nYou descend the ladder.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a window screen, a can of coke, a note, a beer, a funnel, a two-liter plastic Pepsi bottle, a piece of rope about seven feet long (tied to the two-liter plastic Pepsi bottle), a two-liter plastic Sprite bottle, and a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle) here.\n\n> You get all\nladder: Taken.\nwindow screen: Taken.\ncan of coke: Taken.\nnote: Taken.\nbeer: Taken.\nfunnel: Taken.\ntwo-liter plastic Pepsi bottle: You pick up the bottle and rope.\nseven foot rope: You already have the seven foot rope!\ntwo-liter plastic Sprite bottle: You pick up the bottle and rope. eight foot rope: You already have the eight foot rope!\n\n> You get the batteries\nC battery: You've already got your hands full.\nC battery: You've already got your hands full.\n\n> You drop the bottles\ntwo-liter plastic Pepsi bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\ntwo-liter plastic Sprite bottle: Before you drop the bottle, you untie the rope from the bottle neck.\nDropped.\n\n> You get the batteries\nC battery: Taken.\nC battery: You've already got your hands full.\n\n> You drop eight\nDropped.\n\n> Go south\nYou're standing in the middle of the backyard, which judging by the color of the grass, doesn't get too much water or fertilizer. A large barn can be seen to the north and to the west, is a small deck. The house is due south and is protected by thick trees and brush. The side yard can be accessed by going southwest or southeast.\nYou see a portable TV here. The TV compartment seems to contain two\nC batteries.\n\n> You put batteries in the tv\nC battery: Done.\nC battery: Done.\nC battery: You're not carrying the C battery.\nC battery: You're not carrying the C battery.\n\n> Go north\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a ladder, a two-liter plastic Pepsi bottle, a two-liter\nplastic Sprite bottle, a piece of rope about eight feet long, and a piece of rope about seven feet long here.\n\n> Go northwest\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\n\n> You lean the ladder against the pole\nYou lean the ladder against the tall post.\n\n> You climb the ladder\nYou ascend the ladder.\n\nTop of the Ladder, Near Pole\nYou're standing at the top of a ladder, more than half-way up the\nlight pole.\n\n> You throw Coke at left light\nYou chuck the can of coke at the left light; a perfect shot. The light splits into several pieces, showering the ground below. You catch a glimpse of the can of coke falling to the ground, near the pole.\n\n> You throw the beer at the right light\nYou heave the beer at the right light and hit it square on. The light breaks into many pieces, showering the ground with tiny glass fragments. You watch the beer land on the ground, near a bush."
    },
    {
        "text": "[Themes: bugs, baseball]\n\n> Go downwards\nYou descend the ladder.\n\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. Leaning up against the pole is a ladder. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\nYou see a can of coke and a beer here.\n\n> You get the bottles\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south.\nYou see a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a piece of rope about eight feet long, and a piece of rope about seven feet long here.\n\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> Inventory\nYou have a window screen, a note, a funnel, a portable TV, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle. Your front pocket seems to contain your Swiss army knife.\n\n> You go to the north\nThe barn doors are closed.\n\n> Go north\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. Leaning up against the pole is a ladder. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\nYou see a can of coke and a beer here.\n\nYou're standing on a short wooden dock, near a boat. The smell of\nsalt air fills your lungs and you are instantly reminded of your younger days, when you and your father would go on fishing trips that would last all afternoon. The boat can be boarded to the east and dry land is due south.\n\n> Go east\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're not very familiar with boats and most of the features of this craft are not recognizable. There is no sail, so you quickly determine that it must be powered. You recall the note from Jimmy. It's powered alright, but it has no gas.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\n\n> You open the cap\nWhich cap do you mean, the bottle cap, or the gas cap?\n\n> You put the funnel in the tank\nYou place the funnel into the gas tank.\n\n> You put Pepsi in the tank\nYou slowly pour the gas contained in the bottle into the funnel until the bottle empties.\n\n> You get funnel\nYou've already got your hands full.\n\n> You drop the bottles\ntwo-liter plastic Pepsi bottle: Dropped.\ntwo-liter plastic Sprite bottle: Dropped.\n\n> You put the cap on the tank\nWhich cap do you mean, the gas cap, or the bottle cap?\n\n> Gas\nYou screw the cap onto the gas tank."
    },
    {
        "text": "> Go downwards\nThe TV provides just enough light for you to look around this small room. You're hunched over in a tiny cabin. The room isn't much bigger than a large closet, and you wonder how people can spend the night here. The entire eastern wall is taken up by a twin bed and there is a small dresser near the opposite wall. An open hatch leads up to the boat deck.\n\nSitting on the dresser table is a key.\n\n> Go up\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're not very familiar with boats and most of the features of this craft are not recognizable. There is no sail, so you quickly determine that it must be powered. But then again, that's why you put some gas in the tank.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\nYou see a two-liter plastic Pepsi bottle and a two-liter plastic\nSprite bottle here.\n\n> You turn off the tv\nYou turn off the TV.\n\n> You turn the key\nYou turn the key and the boat engine roars to life.\n\nThe boat rocks gently back and forth.\n\n> You examine the panel\nThe control panel is the brain center of the boat. There are many dials, displays and buttons, but the ones that you're most concerned with are the ignition, throttle, steering wheel and speedometer.\n\nThe boat rocks gently back and forth.\n\n> You look at the throttle\nThe throttle is used to indicate which speed and which direction the boat should travel. It has four settings: reverse, neutral, slow and fast. The throttle is currently set to neutral.\n\nThe boat rocks gently back and forth.\n\n> You set throttle to the slow\nYou move the throttle to slow. The engines rev up a bit and the boat starts to move forward. After a few moments, the boat glides along at about ten knots. The boat slowly pulls away from the dock. You put your hand on the steering wheel and guide the craft away from the shore, toward the open water. With your other hand you move the throttle to fast; you've spent enough time at Bobby's and Tommy's cabin. Just as the boat appears to hit its stride, you hear gun shots.\n\nYour instincts take over and you dive to the floor, your possessions scattering on the deck floor. You roll onto your stomach and cover your head with your hands, desperately trying to take cover from the gun fire. You lift your head slightly and catch a glimpse of an older man at the edge of the dock, firing away at the boat. You surmise that it's Jimmy, but can't be sure.\n\nThe attack only lasts for a few seconds before the speeding boat is out of reach. You slowly get to your feet and look around. You can't believe your eyes. One of the bullets hit the steering wheel dead center. There's practically nothing left of it.\n\nThe boat continues to speed away from the shore at about 25 knots, that's the good news. The bad news is that without a steering wheel, who knows where you're headed.\n\n> Hint\nThe hint system in this game will slowly nudge you along. Depending where you are and what you've done, it'll display minor hints accordingly. If you're stuck, consult the walk-through or send me a note at msousa@efortress.com. You'll only see this message once.\n\nLet's get out of here!\n\n> Wait\nTime passes...\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You wait awhile\nTime passes...\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat continues to speed straight out to sea as it pounds into the waves of the choppy waters.\n\n> You wait for a while\nTime passes...\n\nThe driving rain is making it very hard for you to see. More flashes of lightning illuminate the dark skies and the waves are starting to reach the boat deck. The storm is upon you. The boat catches a couple of waves and actually goes airborne for a moment. The impact knocks you back and you hold onto the railing for dear life.\n\nA huge wave spills across the deck and picks up the two-liter plastic Pepsi bottle. You watch it float to the back of the boat where it disappears into the dark waters.\n\n> Wait\nTime passes...\n\nThe storm has reached its peak. The rain is actually falling horizontally, at least in theory it should be falling. The wind has probably reached hurricane status and is so loud that you can't hear yourself think. A tremendous wave knocks you down to the boat deck but you quickly bounce back up to your feet.\n\nThe boat engines sputter and come to a stop; they apparently are out of gas. The boat continues to rock back and forth and comes awfully close to capsizing. You hang on to the railings as you get pummeled with driving rain, ferocious wind and buckets of sea water. Water continues to fill up the boat cabin below.\n\nA huge wave spills across the deck and picks up the note. You watch it float to the back of the boat where it disappears into the dark waters.\n\n> You wait\nTime passes...\n\nA tremendous surge of water breaks over the port side and carries you into the savage water. You manage to tread water for several minutes before you are dragged into a watery grave. All goes dark. There is no pain. Just silence.\n\n> Awe4\nLost at Sea, in the Boat\nYou're in a decent size boat, which is currently speeding toward the open, albeit turbulent, sea. You're not very familiar with boats and most of the features of this craft are not recognizable.\n\nAn open hatch is here, which leads down to the cabin. Just beyond the hatch, is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\nYou see a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a window screen, a note, a portable TV, two bottle caps, and a funnel here.\n\n> You set the throttle to neutral\nYou move the throttle to neutral. The engines quiet down and the boat decelerates. After a few moments, the boat comes to a full stop.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You set the throttle to reverse\nYou move the throttle to reverse. The reverse setting can't be engaged while the boat is moving forward.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You turn off the ignition\nBefore you turn off the engine, you move the throttle to neutral. You turn the key and the boat engine stops running.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> Wait\nTime passes...\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat sways back and forth in the rough water.\n\n> You look at the antenna\nIt's your standard twelve inch metal antenna. It is currently retracted.\n\nThe sheets of rain are making it almost impossible for you to keep your eyes open. The thunder and lightning are no longer separated by time. Each bolt of lightning is immediately followed by a tremendous clap of thunder. It appears as if you're smack in the middle of a horrible storm.\n\nThe boat rocks back and forth in the turbulent water. Enormous waves wash up onto the deck. Water pours down the hatch into the cabin.\n\nA huge wave spills across the deck and picks up the two-liter plastic Sprite bottle. You watch it float to the back of the boat where it disappears into the dark waters.\n\n> You look at the tv\nIt's a nine inch portable TV, with an antenna, which is extended, attached to the back. The TV is currently on and appears to be battery operated. On the back of the TV is a battery compartment.\n\nA TV dial is attached to the front of the portable TV. The TV dial can be turned to channels numbered from 2 to 13. It's currently set to 3.\n\nA tremendous surge of water breaks over the port side and carries you into the savage water. You manage to tread water for several minutes before you are dragged into a watery grave. All goes dark. There is no pain. Just silence.\n\n> You raise the antenna\nYou can't have the antenna.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You turn on the tv\nThe TV is now on.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You watch the tv\nThe antenna is now extended.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\nThe TV is now on. A picture now appears on the small TV screen.\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat continues to speed straight out to sea as it pounds into the waves of the choppy waters.\n\nYou see nothing but snow. The reception must be pretty bad out here.\n\nThe driving rain is making it very hard for you to see. More flashes of lightning illuminate the dark skies and the waves are starting to reach the boat deck. The storm is upon you. The boat catches a couple of waves and actually goes airborne for a moment. The impact knocks you back and you hold onto the railing for dear life.\n\nA huge wave spills across the deck and picks up the two-liter plastic Pepsi bottle. You watch it float to the back of the boat where it disappears into the dark waters.\n\n> Down\nTaken.\n\nThe sheets of rain are making it almost impossible for you to keep your eyes open. The thunder and lightning are no longer separated by time. Each bolt of lightning is immediately followed by a tremendous clap of thunder. It appears as if you're smack in the middle of a horrible storm.\n\nThe boat speeds along and catches a large wave. The back of the boat becomes submerged in water as enormous waves wash up on the deck.\nWater pours down the hatch into the cabin. The boat rocks violently and you fall to the floor, causing you to let go of all your possessions. After a few moments, the boat rights itself and you stand back up.\n\nA huge wave spills across the deck and picks up the two-liter plastic Sprite bottle. You watch it float to the back of the boat where it disappears into the dark waters.\n\nIt's pitch black.\n\nThe boat continues to rock violently back and forth. Water continues to gush onto the cabin floor from the open hatch.\n\n> Awe4\nRestored.\n\nLost at Sea, in the Boat\nYou're in a decent size boat, which is currently speeding toward the open, albeit turbulent, sea. You're not very familiar with boats and most of the features of this craft are not recognizable.\n\nAn open hatch is here, which leads down to the cabin. Just beyond the hatch, is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\nYou see a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a window screen, a note, a portable TV, two bottle caps, and a funnel here."
    },
    {
        "text": "[Themes: bugs]\n\n> Go downwards\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser and a bed here.\n\nYou brace yourself on the bed while dropping your possessions as you feel the boat skip off a wave and land hard.\n\n> Close hatch\nClosed.\n\nYou can hear thunder rumbling in the distance as the boat speeds along. It crashes against a tremendous wave and you're thrown to the floor. You gather yourself and stand back up.\n\n> Close hatch\nIt's already closed.\n\nThe boat continues to rock violently back and forth.\n\n> You examine the bed\nThe bed is quite small and it doesn't appear to be more than five feet long.\n\nYou're being thrown around the tiny cabin as if you were a piece of popcorn in one of those popcorn machines. You try to hang on to anything that can keep you from bouncing off the walls.\n\n> You get on the bed\nOkay, you're now sitting on the bed.\n\nYou feel the boat lunge forward after hitting a tremendous wave head on. The boat appears to go airborne for a few seconds before landing on its side. A moment later, you're lying on the ceiling of the boat cabin.\n\nYou whip your head around and watch in terror as the boat hatch starts to buckle. An instant later the hatch door explodes open, allowing an incredible amount of water to fill the cabin. You fight your way to the hatch opening to escape but the water pressure is just too much. You are pinned against the back wall as you try to catch your breath.\nA moment later you are submerged in dark cold water. The silence is eerie. So is death.\n\n> You go to the west\nThe water is not very inviting.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You examine panel\nThe control panel is the brain center of the boat. There are many dials, displays and buttons, but the ones that you're most concerned with are the ignition, throttle, steering wheel and speedometer. There is not much left of the steering wheel, though.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> Full\nYou were:\nExcited by the opportunity to hit the game-winning home run;\nAnxious after barely fouling off a pitch;\nDistressed about being in the trainer's room wounded;\nTranquil when you realized you had to travel via ambulance;\nFrightened after the ambulance was involved in an accident;\nTerrified when you hung upside down on the stretcher;\nEncouraged after you survived the forest fire;\nApprehensive of the house on the beach;\nIncredulous when you stumbled onto a crime in progress;\nPessimistic about getting out of the trunk alive;\nOverwhelmed by Bobby's and Tommy's plan;\nConcerned that you only had a few minutes to plan an escape in the bathroom;\nOptimistic that your Swiss army knife would save the day;\nDesensitized when you ran out of emotional support;\nSatisfied when you ate hot pizza;\nFelicitous after you discovered an escape option;\nIndignant when you caused the shelf to fall in the cellar;\nRejuvenated after you stepped outside for the first time at the\ncabin;\nDelighted after you landed safely in the barn;\nGratified when you found a way to get gas from the barn;\nMendacious when you destroyed the light;\nThrilled that you finally started the boat;\nFlabbergasted at your predicament in the boat.\n\n> Awe3\nRestored.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a ladder here.\n\n> You check what you're carrying\nYou have a window screen, a can of coke, a note, a beer, a funnel, a piece of rope about seven feet long (tied to the two-liter plastic Pepsi bottle), a two-liter plastic Pepsi bottle, a piece of rope about eight feet long (tied to the two-liter plastic Sprite bottle), and a two-liter plastic Sprite bottle. Your front pocket seems to contain your Swiss army knife. Your back pocket seems to contain two C batteries.\n\n> You drop seven\n(You untie it from the two-liter plastic Pepsi bottle first.)\nDropped.\n\n> You drop eight\n(You untie it from the two-liter plastic Sprite bottle first.)\nDropped.\n\n> You drop the bottles\ntwo-liter plastic Pepsi bottle: Dropped.\ntwo-liter plastic Sprite bottle: Dropped.\n\n> Go northwest\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south. Leaning up against the barn is a ladder.\nYou see a ladder, a piece of rope about seven feet long, a piece of rope about eight feet long, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle here.\n\nTaken.\n\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\n\n> You climb the ladder\nYou lean the ladder against the tall post.\n\nYou ascend the ladder.\n\nTop of the Ladder, Near Pole\nYou're standing at the top of a ladder, more than half-way up the\nlight pole.\n\n> You throw the beer at right light\nYou chuck the can of coke at the left light; a perfect shot. The light splits into several pieces, showering the ground below. You catch a glimpse of the can of coke falling to the ground, near the pole.\n\nYou heave the beer at the right light and hit it square on. The light breaks into many pieces, showering the ground with tiny glass fragments. You watch the beer land on the ground, near a bush.\n\n> You get the bottles\nYou descend the ladder.\n\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. Leaning up against the pole is a ladder. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\nYou see a can of coke and a beer here.\n\nBackyard, Near Barn\nYou've made your way to the rear of the backyard. Directly north, a large barn stands before you and to the northwest, a path leads through some brush toward the water. The backyard is south.\nYou see a piece of rope about seven feet long, a piece of rope about eight feet long, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle here.\n\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> You look at what you're carrying with you\nYou have a window screen, a note, a funnel, a portable TV, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle. Your front pocket seems to contain your Swiss army knife.\n\nJaybird says (to Floyd), \"get all\"\nseven foot rope: Taken.\neight foot rope: Taken.\n\n> Go east\nBackyard, Near Pole\nYou're standing on a small path that leads from the backyard to the water. The path is protected by thick brush and trees and just ahead, is a large pole. Leaning up against the pole is a ladder. To the north, you can see water as well as a small dock and near the dock is a small motor boat. The barn is southeast of here.\nYou see a can of coke and a beer here.\n\nYou're standing on a short wooden dock, near a boat. The smell of\nsalt air fills your lungs and you are instantly reminded of your younger days, when you and your father would go on fishing trips that would last all afternoon. The boat can be boarded to the east and dry land is due south.\n\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're not very familiar with boats and most of the features of this craft are not recognizable. There is no sail, so you quickly determine that it must be powered. You recall the note from Jimmy. It's powered alright, but it has no gas.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\n\n> You get the cap\nWhich cap do you mean, the bottle cap, or the gas cap?\n\n> You get the bottles\nwindow screen: Dropped.\nnote: Dropped.\nfunnel: Dropped.\nportable TV: Dropped.\ntwo-liter plastic Pepsi bottle: Dropped.\ntwo-liter plastic Sprite bottle: Dropped.\nseven foot rope: Dropped.\neight foot rope: Dropped.\n\nWhich cap do you mean, the gas cap, or the bottle cap?\n\n> Gas\nTaken.\n\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> You open the bottles\ntwo-liter plastic Pepsi bottle: You unscrew the bottle cap from the two-liter plastic Pepsi bottle.\ntwo-liter plastic Sprite bottle: You unscrew the bottle cap from the two-liter plastic Sprite bottle.\n\n> You pour the bottles in the tank\ntwo-liter plastic Pepsi bottle: I don't know how to pour the two-liter plastic Pepsi bottle.\ntwo-liter plastic Sprite bottle: I don't know how to pour the two-liter plastic Sprite bottle.\n\n> You pour the gas in the tank\nWhich gas do you mean, the dark gas, or the clear gas?\n\n> Dark\nYou slowly pour the gas contained in the bottle into the funnel until the bottle empties.\n\n> You get all except the gas cap\nwindow screen: Taken.\nnote: Taken.\nportable TV: Taken.\nseven foot rope: Taken.\neight foot rope: Taken."
    },
    {
        "text": "> Go downwards\nThe TV provides just enough light for you to look around this small room. You're hunched over in a tiny cabin. The room isn't much bigger than a large closet, and you wonder how people can spend the night here. The entire eastern wall is taken up by a twin bed and there is a small dresser near the opposite wall. An open hatch leads up to the boat deck.\n\nSitting on the dresser table is a key.\n\n> You examine table\nThe dresser is tucked against the far wall and appears bolted to the cabin floor. Sitting on the table is a key.\n\n> You get the key\nYou've already got your hands full.\n\n> Inventory\nYou have a two-liter plastic Pepsi bottle, a two-liter plastic Sprite bottle, a funnel, a window screen, a note, a portable TV, a piece of rope about seven feet long, and a piece of rope about eight feet long. Your front pocket seems to contain your Swiss army knife.\n\n> You look at the hatch\nIt's open.\n\n> Time\nFriday 7:24 pm\n\n> Hint\nThe hint system in this game will slowly nudge you along. Depending where you are and what you've done, it'll display minor hints accordingly. If you're stuck, consult the walk-through or send me a note at msousa@efortress.com. You'll only see this message once.\n\nYou need to get out of here before Bobby and Tommy get back. They'll probably be back in a hour or so.\n\n> Go upwards\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're not very familiar with boats and most of the features of this craft are not recognizable. There is no sail, so you quickly determine that it must be powered. But then again, that's why you put some gas in the tank.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\n\n> You set the throttle to fast\nThe throttle doesn't move. It appears as if it's locked in place until the engine is running.\n\n> You get the bottles\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser, a bed, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle here.\n\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> Wait\nTime passes...\n\nThe boat rocks gently back and forth.\n\n> You set the throttle to fast\nYou move the throttle to fast. The engines roar and you feel the boat jerk forward for a split second. The boat's engines sputter briefly and then come to a stop. Putting the throttle on fast called for too much gas too quickly and must have stalled the engines.\n\nYou move the throttle back to neutral.\n\n> You get all except the gas cap\nfunnel: Taken.\nwindow screen: Taken.\nnote: Taken.\nportable TV: Taken.\nseven foot rope: Taken.\neight foot rope: Taken.\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nJust when you thought it couldn't get any worse, a steady rain starts to fall. You glance up at the skies ahead and it doesn't look good. The wind is starting to swirl and the sea water is starting to get agitated. The boat continues to speed straight out to sea as it pounds into the waves of the choppy water.\n\n> You throw the tv in water\nYou can't put anything into the ocean.\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat continues to speed straight out to sea as it pounds into the waves of the choppy waters.\n\n> You throw the tv\nIn order to throw the portable TV, you should be holding it.\n\nThe sheets of rain are making it almost impossible for you to keep your eyes open. The thunder and lightning are no longer separated by time. Each bolt of lightning is immediately followed by a tremendous clap of thunder. It appears as if you're smack in the middle of a horrible storm.\n\nThe boat speeds along and catches a large wave. The back of the boat becomes submerged in water as enormous waves wash up on the deck.\n\nA huge wave spills across the deck and picks up the window screen. You watch it float to the back of the boat where it disappears into the dark waters."
    },
    {
        "text": "> Go downward\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser and a bed here.\n\nYou can hear and feel the engines roar as the boat continues to speed toward an unknown destination.\n\n> Close hatch\nClosed.\n\nYou brace yourself on the bed while dropping your possessions as you feel the boat skip off a wave and land hard.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nYou can hear thunder rumbling in the distance as the boat speeds along. It crashes against a tremendous wave and you're thrown to the floor, letting go of all your possessions. You gather yourself and stand back up.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nThe boat continues to rock violently back and forth. You drop your possessions since you are now more concerned about your safety than anything else.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nYou're being thrown around the tiny cabin as if you were a piece of popcorn in one of those popcorn machines. You try to hang on to anything that can keep you from bouncing off the walls.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nYou feel the boat lunge forward after hitting a tremendous wave head on. The boat appears to go airborne for a few seconds before landing on its side. A moment later, you're lying on the ceiling of the boat cabin.\n\nYou whip your head around and watch in terror as the boat hatch starts to buckle. An instant later the hatch door explodes open, allowing an incredible amount of water to fill the cabin. You fight your way to the hatch opening to escape but the water pressure is just too much. You are pinned against the back wall as you try to catch your breath.\nA moment later you are submerged in dark cold water. The silence is eerie. So is death.\n\n> Awe5\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser, a bed, a two-liter plastic Pepsi bottle, and a two-liter plastic Sprite bottle here.\n\n> You get the bottles\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: You've already got your hands full.\n\n> Go upwards\nAt the Dock, In the Boat\nYou're in a decent size boat, which is currently docked. You're not very familiar with boats and most of the features of this craft are not recognizable. There is no sail, so you quickly determine that it must be powered. But then again, that's why you put some gas in the tank.\n\nAn open hatch, which leads down into the cabin, is here. Just beyond the hatch is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\n\n> You get the sprite\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser, a bed, and a two-liter plastic Sprite bottle\nhere.\n\nTaken.\n\n> You get all\ngas cap: Taken.\nfunnel: Taken.\nwindow screen: Taken.\nnote: Taken.\nportable TV: Taken.\nseven foot rope: Taken.\neight foot rope: Taken.\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: You've already got your hands full.\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat sways back and forth in the rough water.\n\n> Gas\nfunnel: Taken.\nwindow screen: Taken.\nnote: Taken.\nportable TV: Taken.\nseven foot rope: Taken.\neight foot rope: Taken.\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\nThe rain picks up and is now pelting you constantly. You see several flashes of lightning and a few moments later, they are followed by the sound of thunder echoing in the distance. The boat sways back and forth in the rough water.\n\n> Close hatch\nYou're hunched over in a tiny cabin. The room isn't much bigger\nthan a large closet, and you wonder how people can spend the night here. An open hatch leads up to the boat deck.\nYou see a dresser and a bed here.\n\nYou feel the boat rocks back and forth in the choppy water.\n\nClosed.\n\nYou can hear thunder rumbling in the distance as the boat rocks back and forth in the turbulent water. You can hear the sound of waves washing up onto the deck.\n\n> You wait\nTime passes...\n\nThe boat continues to rock violently back and forth. You drop your possessions since you are now more concerned about your safety than anything else.\n\n> You wait\nTime passes...\n\nYou're being thrown around the tiny cabin as if you were a piece of popcorn in one of those popcorn machines. You try to hang on to anything that can keep you from bouncing off the walls.\n\n> You wait\nTime passes...\n\nThe boat brutally rocks back and forth but manages to stay afloat. The closed hatch door appears to keep the water from pouring into the cabin but the violent motion of the boat is throwing you about. You feel a tremendous wave crash the side of the boat and you go flying across the tiny cabin. Another wave sends you flying in the opposite direction. Just as you get back to your feet, the boat appears to almost tip over. You fall backwards and crack your head against the small dresser. The last thing you remember before you lose consciousness is the incredible pain.\n\nYou wake up many hours later with the boat rocking gently back and forth. Looks like you and the boat survived the storm.\n\n> Time\nSaturday 7:09 am\n\n> You get all\nfunnel: Taken.\nwindow screen: Taken.\nnote: Taken.\nportable TV: Taken.\nseven foot rope: Taken.\neight foot rope: Taken.\ntwo-liter plastic Pepsi bottle: Taken.\ntwo-liter plastic Sprite bottle: Taken.\n\n> Go upwards\nPrivate Beach, in the Boat\nYou're in a decent size boat, which is run aground on a beach of a private island. You're not very familiar with boats and most of the features of this craft are not recognizable.\n\nAn open hatch is here, which leads down to the cabin. Just beyond the hatch, is the boat's control panel. At the rear of the boat is the outside casing of the gas tank. The opening to the tank is currently secured by a gas cap.\n\n> Go outside\nBefore you disembark, you leave your possessions on the boat deck. You figure that you'll need both hands to navigate the water. You jump out of the boat and land in shallow water. There's nothing like touching terra firma after spending countless hours on a boat. You walk toward the shore admiring the beauty of the cove the boat decided to dock at.\n\nsome might consider a paradise. To the west is a lush forest that extends high up into the only mountain on the island. The beach is nature at its best. Sandpipers dart the beach, running toward the water and then retreating when the surf breaks.\n\nThe water is sparkling due to the bright sun rising from the east. The wind has died down considerably and is now a gentle zephyr blowing in from the shore. There's something to be said for the morning after a storm. The rocky beach continue north and south.\n\n> You go to the north\nYou walk along the rocky shore for a while and notice that the terrain is getting harder and harder to traverse. The jagged rocks have made it nearly impossible for you to continue.\n\nYou've reached the end of the rocky stretch of beach. It continues north for a short distance, but too many large rocks make it impossible for you to travel in that direction. The only possible direction is back south.\n\nYou hear the sound of a dog barking off in the distance.\n\n> You go south\nYou walk along the rocky shore for a while and notice that the terrain is getting harder and harder to traverse. The jagged rocks have made it nearly impossible for you to continue.\n\nYou've reached the end of the rocky stretch of beach. It continues south for a short distance, but too many large rocks make it impossible for you to travel in that direction. The only possible direction is back north.\n\nYou hear the sound of a dog barking off in the distance.\n\n> You go to the east\nYou've spent enough time on that boat; it's time to move on.\n\n> You go west\nThe trees are just too thick."
    },
    {
        "text": "> Look around\nsome might consider a paradise. To the west is a lush forest that extends high up into the only mountain on the island. The beach is nature at its best. Sandpipers dart the beach, running toward the water and then retreating when the surf breaks.\n\nThe water is sparkling due to the bright sun rising from the east. The wind has died down considerably and is now a gentle zephyr blowing in from the shore. The rocky beach continue north and south.\n\n> You listen\nYou can hear the surf crash into the jagged rocks.\n\n> You look at the rocks\nThe rocks jut out from the beach and are about ten feet tall. They have mostly jagged edges and appear quite dangerous.\n\n> You climb the rocks\nThe rocks are too jagged and too steep for you to climb.\n\n> You take the rock\nThe rocks are far too heavy for you to take.\n\n> Dig\nWhat do you want to dig in?\n\n> Sand\nWhat do you want to dig in them with?\n\n> Go north\nYou walk back along the rocky shore for a while.\n\nsome might consider a paradise. To the west is a lush forest that extends high up into the only mountain on the island. The beach is nature at its best. Sandpipers dart the beach, running toward the water and then retreating when the surf breaks.\n\nThe water is sparkling due to the bright sun rising from the east. The wind has died down considerably and is now a gentle zephyr blowing in from the shore. The rocky beach continue north and south.\n\n> You examine Beach\nYou're standing on the shore of a rocky stretch of beach on what some might consider a paradise. The beach is nature at its best.\nSandpipers dart the beach, running toward the water and then retreating when the surf breaks.\n\n> You examine sandpipers\nThe birds are probably looking for their breakfast.\n\n> You dig in the Beach\nWhat do you want to dig in it with?\n\n> You look at Boat\nThe boat has run aground in the shallow water. Considering what it went through last night, it appears in good shape.\n\n> You examine the water\nThe ocean water is sparkling like a diamond as the rising sun bounces its rays off the waves. It is quite calm, considering how turbulent the ocean was last night.\n\n> Go north\nAs you walk up the beach, you hear the faint sound of the dog barking again.\n\nThis stretch of beach has much more sand and barely any rocks. The western side is still protected by the lush forest and the water is very inviting here. The sun bounces off the water making this area very surreal. You can retreat back toward the boat by going south and the beach continues north for a while before it takes a sharp left turn.\n\n> You go north\nAs you prepare to continue down the stretch of beach, a small beagle runs up to you and starts wagging its tail. You stop in your tracks and bend down to pet the dog. It reciprocates by licking your face.\n\n> You examine the dog\nThe dog is brown and white with streaks of black. It's constantly sniffing something, probably in search of food.\n\n\"Godzilla!\" shouts a short elderly man. \"Why did you run away from me?\" questions the man as if he's fully prepared for the dog to answer him. The beagle sniffs a pile of seaweed and then makes a beeline toward the old man. The man then looks up to you and smiles.\n\n\"Well, hello there,\" says the man as he walks up to you. \"I reckon that you were caught in that horrible storm last night?\" questions the man as he glances over your shoulder at the boat that's run aground.\n\nYou extend your hand and introduce yourself, though you quickly realize he is not a baseball fan since he didn't recognize the name. You learn that his name is Joe and that you washed up on his private island. He tells you more about himself than you can possibly remember and he guides you back to his estate.\n\nYou explain to him the incredible thirty-six hour stretch you've just lived and how lucky you are to be alive. He listens attentively during your walk, but you can tell from his reaction that he can't relate; his daily life is much different here. You do learn that apart from several boats, Joe has his own air strip with a single engine Cessna on the island. You'll be home in several hours.\n\nThe two of you seem to hit it off during your fifteen minute walk to his estate, but you're just relieved that you'll be able to see your wife and kids shortly.\n\n\"Here we are,\" says Joe as he leads you into the living room. \"You can use the phone there,\" he says as he points to a small end table near the sofa. \"Once you've called your wife and let her know the plan, you can freshen up in the bathroom,\" mentions Joe. \"I'll let Mary know that you're here. She'll probably bring you something to eat,\" chuckles Joe, aware that you're probably starving as well.\n\nJoe then leaves the room.\n\nYou're in a large living room, overlooking the ocean. It's\nfurnished quite nicely and appears to be well taken care of. Hanging on the walls are several paintings that look like they belong in a museum. The granite fireplace anchors the living room with the sofa and chairs centered accordingly. There is no TV or radio and you gather that this room is set up as an ideal conversation place.\n\nThe east wall is made up of four extremely large floor to ceiling windows that give an exceptional view of the island. Near the sofa, sitting on a small end table, is a phone.\n\n> You call wife\nYou pick up the phone and dial your number. After a couple of rings, you're greeted by the precious sound of your wife's voice. She immediately starts to cry when she hears your voice and you do your best to soothe her. You tell her that you're stranded off a private island near Martha's Vineyard and that the owner is flying you home in his private Cessna. You tell her that you should be arriving at New Bedford's airport within two hours and that you'll see her then.\n\nYou avoid telling her all the details of your ordeal and manage to quench her thirst for information by saying that you're fine and that you'll explain everything to her shortly. You tell her to give the kids a kiss for you and then hang up the phone.\n\nGodzilla runs into the room and sniffs your leg for a second. He wags his tail several times, sniffs around the sofa and then darts out of the room.\n\n> You call 911\nI don't know how to call the number 911.\n\n\"Hi Jake,\" says a soft voice.\n\nYou turn around and see an elderly woman standing at the entrance of the room.\n\n\"Joe told me your story, I can't believe what happened to you, you poor soul. By the way, I'm Mary, Joe's better half,\" she grins as she places a platter containing coffee, juice and a blueberry muffin down on the end table.\n\nYou return the greeting and thank her for the hospitality. You exchange several more pleasantries before she excuses herself.\n\n> You drink the coffee\nYou sip the coffee.\n\nGodzilla comes streaking into the room again. He immediately notices the blueberry muffin and before you can salvage it, he snags it from the silver platter and consumes it whole. He sniffs the area for a moment and then leaves just as quick as he appeared.\n\n> You eat the muffin\nYou take a bite of the blueberry muffin. You take another bite. You then realize just how hungry you are and finish it off.\n\nGodzilla comes streaking into the room again. He sniffs the air, quite confident that a meal was here, but finds nothing. He sniffs around the end table for a moment and then leaves.\n\n> You drink coffee\nYou sip the coffee.\n\nMary walks into the room and asks if you would like to use the bathroom. You respond accordingly and are promptly escorted to the washroom.\n\nYou spend several minutes taking care of what you need to do and come out feeling very refreshed. You retrace your steps back into the living room, hoping that Joe is there waiting for you. You're eager to get back to your family.\n\nYou're in a large living room, overlooking the ocean. It's\nfurnished quite nicely and appears to be well taken care of. Hanging on the walls are several paintings that look like they belong in a museum. The granite fireplace anchors the living room with the sofa and chairs centered accordingly. There is no TV or radio and you gather that this room is set up as an ideal conversation place.\n\nThe east wall is made up of four extremely large floor to ceiling windows that give an exceptional view of the island. Near the sofa, sitting on a small end table, is a phone.\nSitting on the end table is a silver platter.\n\n> Oops platter\nYou see nothing remarkable about the silver platter. Sitting on the platter is a cup of coffee and a glass of orange juice.\n\n\"You ready?\" quips Joe as he enters the room.\n\nYou look up and smile at Joe. \"You bet!\" you reply as you follow Joe out of the room.\n\nYou're still a little apprehensive that he's the pilot, but you figure you've just about had enough of boats and it will be the quickest way home. Yes home. That's where you need to be. You've had enough adventure to last a lifetime.\n\nYou follow Joe out of the estate, but not without first saying good-bye to Mary, and of course, Godzilla. Joe motions for you to get into the golf cart and you're whisked away to the airfield. A few minutes later you arrive at the Cessna.\n\nThe plane looks brand new and well maintained. He reminds you that he has it serviced every month and that he's been flying for almost forty years. It comforts you somewhat, but not entirely.\n\nYou're then led into the aircraft through a small door in the cabin and after a sharp left turn, you enter the cockpit. You're amazed at how small it is but beggars can't be choosers, so you strap yourself in the passenger's seat. The passenger seat harness uses a five point restraint and looks pretty solid.\n\nJoe then sits down in the pilot's chair, straps himself in and starts the engine. You look down at his flimsy two piece seat belt and chuckle. You're finally glad that you're the passenger. A few moments later, the plane starts rolling down the runway.\n\nCockpit, buckled in the passenger's seat\nAs the plane accelerates, you glance over to Joe; he looks as calm\nas can be. You look down at the instrument panel and are immediately hit with sensory overload. There are more displays, dials, lights and indicators than you could have possibly imagined. You can't even make out the speed or altitude displays, there are just too many of them.\n\nJoe tells you to hang on, this part can be bumpy at times.\n\n\"Bumpy?\" you question Joe. \"I thought you told me that this was smooth sailing from start to finish?\"\n\n\"Heh heh,\" he chuckles. \"Just sit back and relax,\" he replies as the plane leaves the ground, shakes violently for a moment and then eases up. \"Like I said, no sweat!\" he continues, almost as if he's toying with you. \"The rest of the ride will be a breeze, Jake. I promise.\"\n\nJoe picks up the receiver to the radio and mumbles something into it. After several confirmations, he places the receiver back on the radio.\n\n> You wait\nTime passes...\n\nThe plane continues to climb, giving you an incredible view of the small chain of islands. Joe had mentioned earlier that most of the islands are uninhabited and that you were lucky you landed on his.\n\n> Wait\nTime passes...\n\nThe plane ascends to its cruising altitude and appears to be as steady as a rock. You were a bit apprehensive of the possible turbulence at this height, but the cool clear weather conditions are apparently optimal for flying.\n\nJoe points at an island off in the distance and remarks that it's Martha's Vineyard. You play the part and appear interested, even though your thoughts of getting home are consuming you.\n\n> Wait\nTime passes...\n\nThe plane is finally flying over land again. Joe mentions that the approach to New Bedford airport is literally minutes away.\n\n> You wait for a while\nTime passes...\n\nJoe picks up the radio receiver and signals air traffic control that he's ready for his approach. You glance out the window, finally able to relax a little, knowing that within fifteen minutes or so you'll be surrounded by your family.\n\nYour daydreaming is interrupted by the repeated request of the air traffic controller to confirm the landing pattern and by the sudden altitude change of the plane.\n\nYou turn to look at Joe and gasp. He's slumped over in his chair, radio receiver on the cockpit floor, squawking for confirmation. Joe doesn't say a word.\n\n> You wait for a while\nTime passes...\n\nThe plane continues its descent.\n\n> Wait\nTime passes...\n\nThe airplane starts to tremble slightly. The pitch of its descent is starting to increase.\n\n> Wait\nTime passes...\n\nThe Cessna continues to tremble.\n\n> Wait\nTime passes...\n\nYou almost lose your balance as the airplane dips slightly.\n\n> You wait awhile\nTime passes...\n\nThe airplane continues its descent.\n\n> Wait\nTime passes...\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> Wait\nTime passes...\n\nThe engine stalls as the plane continues its descent toward earth.\n\n> You wait\nTime passes...\n\nThe sound of the airplane flying without its engine is starting to get on your nerves.\n\n> Wait\nTime passes...\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You wait for a while\nTime passes...\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You wait a while\nTime passes...\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> Wait\nTime passes...\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You wait\nTime passes...\n\nThe Cessna is starting to shake violently. You're probably no more than ten thousand feet from earth right now, barely enough time for a parachute to open properly.\n\n> You wait\nTime passes...\n\nThe plane appears as if it's on the verge of going into a nose dive. You don't have much time left.\n\n> You wait\nTime passes...\n\nDeath is near, judging by the horrible sound the plane is making.\n\n> Wait\nTime passes...\n\nThe plane pitches forward and you hang on for dear life. It starts to nose dive toward Earth and there's not much you can do. All of the loose items in the plane are thrown toward the back wall of the plane cabin. You can't see much, your brain is having a hard enough time processing the incredible sound the plane is making as it plummets toward Earth. You don't feel a thing at Ground Zero.\n\n> Awe9\nCockpit, buckled in the passenger's seat\nThe cockpit is cramped, to say the least. Both the passenger seat\nand the pilot's chair have little leg room. Most of the space is occupied by an instrument panel which contains numerous dials, displays and indicators that are extremely foreign to you. The plane cabin is south.\n\nJoe is here, slumped in his chair.\n\n> Unstrap\nWhat do you want to unfasten?\n\n> You untie the belt\nI don't know how to untie the seat belt.\n\nThe plane continues its descent.\n\n> You unbuckle belt\nAs you unbuckle the seat belt, Joe slumps to the side and begins to fall to the cockpit floor. You reach over and ease his body down softly. The weight of his initial fall yanks the radio receiver cord from the instrument panel. There goes the radio.\n\nThe plane continues its descent.\n\n> You go south\nYou're not going anywhere until you get off of the passenger's seat.\n\nThe airplane starts to tremble slightly. The pitch of its descent is starting to increase.\n\n> You stand\nYou can't get out of the passenger's seat while you're buckled in.\n\nThe airplane starts to tremble slightly. The pitch of its descent is starting to increase.\n\n> Awe9\nRestored.\n\nCockpit, buckled in the passenger's seat\nThe cockpit is cramped, to say the least. Both the passenger seat\nand the pilot's chair have little leg room. Most of the space is occupied by an instrument panel which contains numerous dials, displays and indicators that are extremely foreign to you. The plane cabin is south.\n\nJoe is here, slumped in his chair.\n\n> Unstrap buckle\nYou unbuckle yourself from the passenger's seat.\n\nThe plane continues its descent.\n\n> You stand\nOkay, you're no longer sitting on the passenger's seat.\n\nThe airplane starts to tremble slightly. The pitch of its descent is starting to increase.\n\n> Go south\nYou're in the tiny cabin of the plane. There's not much room here,\nand you need to duck your head as you move around in the cabin. The closed cabin door is to the east. You can enter the cockpit by going north.\nYou see a red parachute and a blue parachute here.\n\nThe Cessna continues to tremble.\n\n> You get red\nTaken.\n\nYou almost lose your balance as the airplane dips slightly.\n\n> You wear it\nOkay, you're now wearing the red parachute.\n\nThe airplane continues its descent.\n\n> You open the door\nYou open the door and the wind almost knocks you back.\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> Open parachute\nWhich parachute do you mean, the red parachute, or the blue parachute?\n\n> Red\nThe parachute is opened by pulling it's appropriate cord.\n\nThe engine stalls as the plane continues its descent toward earth.\n\n> You pull the cord\nWhich cord do you mean, the long black cord, the short white cord, the long green cord, or the short orange cord?\n\n> You examine Red\nThe red parachute is the larger of the two. It is neatly bundled up and contains the necesary straps and belts to secure it to your body. On the right side of the parachute are two cords, one long and black, the other short and white. Each cord has a small tag attached to it.\n\nThe sound of the airplane flying without its engine is starting to get on your nerves.\n\n> You look at the long black\nThe long black cord is attached to the red parachute. It has a small tag hanging off the end of it.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You read long black\nI don't know how to read the long black cord.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You read the tag\nWhich tag do you mean, the white tag, the black tag, the green tag, or the orange tag?\n\n> Black\nThe black tag has the word Primary stamped on it.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You read white\nWhich white do you mean, the short white cord, or the white tag?\n\n> Tag\nThe white tag has the word Emergency stamped on it.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You jump\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance back at the cockpit and spot Joe, barely clinging to life. You wish him well. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You pull white\nYou yank on the short white cord and it separates from the red parachute. Uh oh. You let go of it.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You pull black\nYou yank on the long black cord and it separates from the red parachute. Uh oh. You let go of it.\n\n> You check what you're carrying\nYou have a red parachute (being worn). Your front pocket seems to contain your Swiss army knife.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You pull black\nYou pull the long black cord and the red parachute begins to open.\nYour body jerks back as your descent toward Earth slows down immensely.\n\n> You wait\nTime passes...\n\nWhile floating to Earth, you watch in horror as Joe's airplane crashes into a small body of water. It appears as if nobody got hurt, apart from poor Joe. There's no way he could have survived that crash. A moment later, the Cessna disappears under water.\n\n> Wait\nTime passes...\n\nThe ground quickly approaches and you brace for impact. You land harder than expected and do a nifty tuck and roll. The parachute drags your body for several feet before you come to a full stop. You can't believe you're alive.\n\nYou look around and see nothing but cows; just your luck, you happen to land right in the middle of a cow pasture. Thankfully, you managed to avoid colliding with one of them. As you regain your senses, you get to your feet and notice several people running toward you.\n\nSeveral folks help you remove the parachute and comment on the plane landing in the water just outside the farm grounds. You hang your head in shame; you should have saved Joe. Now he's dead.\n\nSeveral minutes later, you are escorted to a paramedic who checks you out. You refuse to ride in the ambulance and ask for a police escort home instead; you've been away from your wife and kids far too long.\n\nInterestingly enough, the police officer mentions on the ride home that one of kidnappers was mortally wounded during the money exchange and that the other man was apprehended at his beach house later that evening. You're glad that Bobby and Tommy got their just due.\n\nThe reunion with your family is a precious moment. After swapping hugs, kisses and stories, you manage to catch a few winks. After all, Game One of The Series is tonight. You just hope that you don't have to hit the game winning home run again.\n\nYou were:\nExcited by the opportunity to hit the game-winning home run;\nAnxious after barely fouling off a pitch;\nDistressed about being in the trainer's room wounded;\nTranquil when you realized you had to travel via ambulance;\nFrightened after the ambulance was involved in an accident;\nTerrified when you hung upside down on the stretcher;\nEncouraged after you survived the forest fire;\nApprehensive of the house on the beach;\nIncredulous when you stumbled onto a crime in progress;\nPessimistic about getting out of the trunk alive;\nOverwhelmed by Bobby's and Tommy's plan;\nConcerned that you only had a few minutes to plan an escape in the bathroom;\nOptimistic that your Swiss army knife would save the day;\nDesensitized when you ran out of emotional support;\nSatisfied when you ate hot pizza;\nFelicitous after you discovered an escape option;\nIndignant when you caused the shelf to fall in the cellar;\nRejuvenated after you stepped outside for the first time at the\ncabin;\nDelighted after you landed safely in the barn;\nGratified when you found a way to get gas from the barn;\nMendacious when you destroyed the light;\nThrilled that you finally started the boat;\nFlabbergasted at your predicament in the boat;\nSerene after you survived the storm on the boat;\nSanguine upon touching terra firma;\nHopeful that Joe would be the savior;\nEmotional after you spoke to your wife;\nSatiated after you ate that delicious blueberry muffin;\nPanicky when you saw Joe slumped over in his chair;\nAbhorrent for leaving Joe in the plane.\n\nYou finished the game, but did you really WIN?\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> Unstrap buckle\nYou unbuckle yourself from the passenger's seat.\n\nThe airplane starts to tremble slightly. The pitch of its descent is starting to increase.\n\n> You get Joe\nYou can't reach Joe from here.\n\nThe Cessna continues to tremble.\n\n> You stand\nOkay, you're no longer sitting on the passenger's seat.\n\nThe Cessna continues to tremble.\n\n> You get Joe\nYou reach down, pick him up by the armpits and secure him around his waist. He's much lighter than you expected.\n\nYou almost lose your balance as the airplane dips slightly.\n\n> Go south\nYou're in the tiny cabin of the plane. There's not much room here,\nand you need to duck your head as you move around in the cabin. The closed cabin door is to the east. You can enter the cockpit by going north.\nYou see a red parachute and a blue parachute here.\n\nThe airplane continues its descent.\n\n> You look at Joe\nYou're currently holding Joe as he barely clings to life. His breathing is becoming more and more irregular.\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> You get the red parachute\nYou can't pick up the parachute while carrying Joe.\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> You drop Joe\nYou gently place Joe down.\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> You get the blue parachute\nTaken.\n\nThe engine stalls as the plane continues its descent toward earth.\n\n> You put it on Joe\nYou put the blue parachute on Joe.\n\nThe sound of the airplane flying without its engine is starting to get on your nerves.\n\n> You get red\nTaken.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You wear it\nOkay, you're now wearing the red parachute.\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You open the door\nYou open the door and the wind almost knocks you back.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You get Joe\nYou reach down, pick him up by the armpits and secure him around his waist. He's much lighter than you expected.\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You jump\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance down at Joe, clinging to life. You hope that his parachute will come through for him. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You pull white\nYou yank on the short white cord and it separates from the red parachute. Uh oh. You let go of it.\n\n> You pull the black\nYou pull the long black cord and the red parachute begins to open.\nYour body jerks back and you lose your grip on Joe. His body slips through your hands and you helplessly watch his body fall toward Earth.\n\nMeanwhile, your descent toward Earth slows down tremendously.\n\n> Orange\nAs you reach for the short orange cord, you almost lose your grip on Joe. It appears as if the short orange cord is out of reach based on the way your holding Joe and the way that cord is flailing in the wind.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You pull green\nAs you reach for the long green cord, you almost lose your grip on Joe. It appears as if the long green cord is out of reach based on the way your holding Joe and the way that cord is flailing in the wind.\n\n> You get the cord\nOkay, you're no longer sitting on the passenger's seat.\n\nThe Cessna continues to tremble.\n\nTaken.\n\nYou almost lose your balance as the airplane dips slightly.\n\n> Go south\nYou reach down, pick him up by the armpits and secure him around his waist. He's much lighter than you expected.\n\nThe airplane continues its descent.\n\nYou're in the tiny cabin of the plane. There's not much room here,\nand you need to duck your head as you move around in the cabin. The closed cabin door is to the east. You can enter the cockpit by going north.\nYou see a red parachute and a blue parachute here.\n\nThe sound coming from the single engine starts to worry you. The speed at which the aircraft is now flying is causing the plane engine to sputter.\n\n> You drop Joe\nYou gently place Joe down.\n\nThe engine stalls as the plane continues its descent toward earth.\n\n> You wear red\n(First taking the red parachute)\nTaken. Okay, you're now wearing the red parachute.\n\nThe sound of the airplane flying without its engine is starting to get on your nerves.\n\n> You put the blue on Joe\nYou don't have the blue parachute.\n\nThe wings of the aircraft are now shaking violently as it races toward Earth.\n\n> You read green tag\nThe green tag has the word Primary stamped on it.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You read the orange tag\nThe orange tag has the word Emergency stamped on it.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You tie receiver cord to the orange cord\nYou're not carrying the blue parachute.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> Inventory\nYou have a radio receiver, a red parachute (being worn), and a blue parachute. Your front pocket seems to contain your Swiss army knife.\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You tie the receiver cord to the orange cord\nYou tie the end of the receiver cord to the short orange cord.\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You put the blue on Joe\nYou put the blue parachute on Joe.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You open the door\nYou open the door and the wind almost knocks you back.\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You get Joe\nYou reach down, pick him up by the armpits and secure him around his waist. He's much lighter than you expected.\n\nThe Cessna is starting to shake violently. You're probably no more than ten thousand feet from earth right now, barely enough time for a parachute to open properly.\n\n> You pull the receiver cord\nAs you reach for the receiver cord, you almost lose your grip on Joe. It appears as if the receiver cord is out of reach based on the way your holding Joe and the way that cord is flailing in the wind.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You get the receiver\nAs you race toward Earth, your velocity is causing the receiver to dangle just out of reach. You're afraid that if you made another attempt at it you might lose Joe in the process.\n\n> You pull green\nAs you reach for the long green cord, you almost lose your grip on Joe. It appears as if the long green cord is out of reach based on the way your holding Joe and the way that cord is flailing in the wind.\n\nYou're starting to panic.\n\n> Wait\nTime passes...\n\nYou've lost total control of your senses and you start wondering if there really is a God.\n\n> You wait awhile\nTime passes...\n\nYou look down and marvel at how quickly the grass is approaching you. Your entire life flashes before you at the moment of death. At least you never felt any pain.\n\n> You pull the black\nYou pull the long black cord and the red parachute begins to open.\nYour body jerks back and you lose your grip on Joe. His body slips through your hands and you helplessly watch his body fall toward Earth.\n\nMeanwhile, your descent toward Earth slows down tremendously.\n\nThe ground quickly approaches and you brace for impact. You land harder than expected and do a nifty tuck and roll. The parachute drags your body for several feet before you come to a full stop. You can't believe you're alive.\n\nYou look around and see nothing but cows; just your luck, you happen to land right in the middle of a cow pasture. Thankfully, you managed to avoid colliding with one of them. As you regain your senses, you get to your feet and notice several people running toward you.\n\nSeveral folks help you remove the parachute and comment on the plane landing in the water just outside the farm grounds.\n\nOne of them mentions that they found the body of an elderly man near a large tree. They ask you why you think his parachute didn't open, but you don't offer a reply. The guilt almost consumes you as you say nothing.\n\nSeveral minutes later, you are escorted to a paramedic who checks you out. You refuse to ride in the ambulance and ask for a police escort home instead; you've been away from your wife and kids far too long.\n\nInterestingly enough, the police officer mentions on the ride home that one of kidnappers was mortally wounded during the money exchange and that the other man was apprehended at his beach house later that evening. You're glad that Bobby and Tommy got their just due.\n\nThe reunion with your family is a precious moment. After swapping hugs, kisses and stories, you manage to catch a few winks. After all, Game One of The Series is tonight. You just hope that you don't have to hit the game winning home run again.\n\nYou were:\nExcited by the opportunity to hit the game-winning home run;\nAnxious after barely fouling off a pitch;\nDistressed about being in the trainer's room wounded;\nTranquil when you realized you had to travel via ambulance;\nFrightened after the ambulance was involved in an accident;\nTerrified when you hung upside down on the stretcher;\nEncouraged after you survived the forest fire;\nApprehensive of the house on the beach;\nIncredulous when you stumbled onto a crime in progress;\nPessimistic about getting out of the trunk alive;\nOverwhelmed by Bobby's and Tommy's plan;\nConcerned that you only had a few minutes to plan an escape in the bathroom;\nOptimistic that your Swiss army knife would save the day;\nDesensitized when you ran out of emotional support;\nSatisfied when you ate hot pizza;\nFelicitous after you discovered an escape option;\nIndignant when you caused the shelf to fall in the cellar;\nRejuvenated after you stepped outside for the first time at the\ncabin;\nDelighted after you landed safely in the barn;\nGratified when you found a way to get gas from the barn;\nMendacious when you destroyed the light;\nThrilled that you finally started the boat;\nFlabbergasted at your predicament in the boat;\nSerene after you survived the storm on the boat;\nSanguine upon touching terra firma;\nHopeful that Joe would be the savior;\nEmotional after you spoke to your wife;\nSatiated after you ate that delicious blueberry muffin;\nPanicky when you saw Joe slumped over in his chair;\nIndomitable -- need I say more;\nShocked that you lost your grip on Joe.\n\nYou finished the game, but did you really WIN?\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> Awe10\nRestored.\n\nYou're in the tiny cabin of the plane. There's not much room here,\nand you need to duck your head as you move around in the cabin. The closed cabin door is to the east. You can enter the cockpit by going north.\nJoe is here, lying on the floor, unconscious from an apparent heart attack or stroke.\n\n> You get the receiver cord\nYou already have the receiver!\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You tie receiver cord to the green cord\nYou tie the end of the receiver cord to the long green cord.\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You get Joe\nYou reach down, pick him up by the armpits and secure him around his waist. He's much lighter than you expected.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You get the receiver cord\nYou already have the receiver!\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You jump\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance down at Joe, clinging to life. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nYou aren't prepared for the tremendous jolt your body receives and before you can compensate, you're stripped of your possessions. Fortunately, you manage to hang on to Joe.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You get the receiver cord\nYou grab hold of the receiver, noting that it's still tied to the short orange cord of the the blue parachute.\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You open the door\nYou open the door and the wind almost knocks you back.\n\nThe Cessna is starting to shake violently. You're probably no more than ten thousand feet from earth right now, barely enough time for a parachute to open properly.\n\n> You jump\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance over at Joe lying on the cabin floor, clinging to life. You hope that his parachute will somehow save his life. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nThe radio receiver is ripped from your hand since it was tied to Joe's parachute in the plane.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You open the door\nYou open the door and the wind almost knocks you back.\n\nThe plane appears as if it's on the verge of going into a nose dive. You don't have much time left.\n\n> You jump\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance down at Joe, clinging to life. You hope that his parachute will come through for him. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You pull black cord\nYou yank on the long black cord and it separates from the red parachute. Uh oh. You let go of it.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You pull the white cord\nYou pull the short white cord and the red parachute begins to open. Your body jerks back and you lose your grip on Joe. His body slips through your hands and you helplessly watch his body fall toward Earth. The radio receiver also slips through your fingers, and you watch it and Joe silently fall toward the ground.\n\nMeanwhile, your descent toward Earth slows down tremendously.\n\n> You pull the black\nYou tug at the long black cord, but nothing happens.\n\nThe pitch of the plane is making it very hard for you to do anything. Your rendezvous with Earth is fast approaching.\n\n> You pull white\nYou tug at the short white cord, but nothing happens.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\n> You get the receiver cord\nYou put the blue parachute on Joe.\n\nThe beeping and humming coming from the cockpit panel is driving you nuts. Every light and display is indicating a problem with the plane; one look out the window and you can figure that out all by yourself.\n\nYou grab hold of the receiver, noting that it's still tied to the short orange cord of the the blue parachute.\n\nThe plane continues its steep descent toward Earth. It's a matter of time before impact.\n\n> You jump\nYou open the door and the wind almost knocks you back.\n\nThe plane appears as if it's on the verge of going into a nose dive. You don't have much time left.\n\nYou walk up to the cabin door, look out at the open sky and then prepare to jump out of the plane. You glance down at Joe, clinging to life. You hope that his parachute will come through for him. You briefly inspect the red parachute and hope that you put it on correctly.\n\nYou then grab the side of the door jam, bend one knee and jump. You actually catch yourself screaming \"Geronimo!\" as you clear the plane.\n\nYou're currently racing toward Earth at break-neck speed. Your best guess is that you're less than 10,000 feet from land.\n\n> You drop Joe\nYou let Joe go and watch him slowly move away from you. Gravity is a wonderful thing. Joe only floats away several feet because you're still holding on to the radio receiver which is attached to the blue parachute.\n\nYou're beginning to wonder how much longer you have before impact.\n\n> You pull the receiver cord\nYou pull the receiver cord, which in turn pulls the short orange cord and Joe's parachute begins to open. The receiver is then ripped from your hand and snaps toward the blue parachute. Joe's body then shoots straight up into the sky, or at least it appears that way. In reality, you're falling thirty-two feet per second and Joe is leisurely drifting toward Earth.\n\n> You pull the black\nYou yank on the long black cord and it separates from the red parachute. Uh oh. You let go of it.\n\nYou're starting to panic.\n\n> You pull white\nYou pull the short white cord and the red parachute begins to open. Your body jerks back as your descent toward Earth slows down immensely.\n\n> You wait for a while\nTime passes...\n\nWhile floating to Earth, you watch in horror as Joe's airplane crashes into a small body of water. It appears as if nobody got hurt, apart from some poor fish. A moment later, the Cessna disappears under water.\n\n> Wait\nTime passes...\n\nThe ground quickly approaches and you brace for impact. You land harder than expected and do a nifty tuck and roll. The parachute drags your body for several feet before you come to a full stop. You can't believe you're alive.\n\nYou look around and see nothing but cows; just your luck, you happen to land right in the middle of a cow pasture. Thankfully, you managed to avoid colliding with one of them. As you regain your senses, you get to your feet and notice several people running toward you.\n\nSeveral folks help you remove the parachute and comment on the plane landing in the water just outside the farm grounds.\n\nOne of them mentions that the elderly man appears to have had a heart attack during the fall, but that the paramedics are on their way and that he's clinging to life. You saved him.\n\nSeveral minutes later, you are escorted to a paramedic who checks you out. You refuse to ride in the ambulance and ask for a police escort home instead; you've been away from your wife and kids far too long.\n\nInterestingly enough, the police officer mentions on the ride home that one of kidnappers was mortally wounded during the money exchange and that the other man was apprehended at his beach house later that evening. You're glad that Bobby and Tommy got their just due.\n\nThe reunion with your family is a precious moment. After swapping hugs, kisses and stories, you manage to catch a few winks. After all, Game One of The Series is tonight. You just hope that you don't have to hit the game winning home run again.\n\nYou were:\nExcited by the opportunity to hit the game-winning home run;\nAnxious after barely fouling off a pitch;\nDistressed about being in the trainer's room wounded;\nTranquil when you realized you had to travel via ambulance;\nFrightened after the ambulance was involved in an accident;\nTerrified when you hung upside down on the stretcher;\nEncouraged after you survived the forest fire;\nApprehensive of the house on the beach;\nIncredulous when you stumbled onto a crime in progress;\nPessimistic about getting out of the trunk alive;\nOverwhelmed by Bobby's and Tommy's plan;\nConcerned that you only had a few minutes to plan an escape in the bathroom;\nOptimistic that your Swiss army knife would save the day;\nDesensitized when you ran out of emotional support;\nSatisfied when you ate hot pizza;\nFelicitous after you discovered an escape option;\nIndignant when you caused the shelf to fall in the cellar;\nRejuvenated after you stepped outside for the first time at the\ncabin;\nDelighted after you landed safely in the barn;\nGratified when you found a way to get gas from the barn;\nMendacious when you destroyed the light;\nThrilled that you finally started the boat;\nFlabbergasted at your predicament in the boat;\nSerene after you survived the storm on the boat;\nSanguine upon touching terra firma;\nHopeful that Joe would be the savior;\nEmotional after you spoke to your wife;\nSatiated after you ate that delicious blueberry muffin;\nPanicky when you saw Joe slumped over in his chair;\nIndomitable -- need I say more;\nEstimable for saving Joe.\n\nYOU HAVE WON!\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "[Themes: Science Fiction, robot, gender-neutral protagonist, religion]\n\nThe day of the Robopope's visit has finally arrived. The Pontiff of Logic; Vicar of the Prince of Cyberspace; Ruler of the Holy C++; The Primal Prime Pope Fortran; here, in this very building.\n\n(Or, to be precise--and you are always telling your students to be precise--this very building complex.)\n\nNow that you have finished grading these student examinations, you are going to find the Robopope and then kiss its papal ring, or your name isn't Morgen Santamore.\n\nThe classroom is quiet now. The quiet has the frayed edges that indicate tumult and excitement just a few doors away. The lights are low. The metal walls of the classroom rise, bending at precise yet inexplicable angles as they are lost in the darkness forty, sixty, one-hundred feet overhead.\n\nYour stainless-steel teacher's desk stands at the head of the classroom. Twenty-five student desks of molded wire, in five rows of five, sit empty before it. There is an exit to the south.\n\n[Author's Note: You are going to find the Robopope and then kiss its papal ring, or your name isn't Morgen Santamore.]"
    },
    {
        "text": "[Themes: Science Fiction, robot, gender-neutral protagonist]\n\n> You examine the examination\nA thin sheet of metal approximately 200mm by 282mm. It is engraved at the top with the student's name, and below that, his answers. At the very bottom is engraved the grade you have given it: 62.875%. Jon K. requires improvement.\n\n> You examine desk\n(the teacher's desk)\nIt looks a little like it was extracted from the interior of a large, mysterious engine. It has gears and pistons. It is not particularly practical as a desk, but of course it is not the place of humans to question the mechanically perfect aesthetic sense of robot designers and architects.\n\nThere is a slot in the top of the desk.\n\n> Examine slot\nA wide and narrow mouth fringed with a rubber baffle. It's sized to fit a 200mm wide sheet of metal.\n\n> You put examination in the slot\nThe examination begins to slide into the slot with a brief grinding sound... and now it is gone. Something inside the desk thunks, a pleasant sound, like the mating of important mechanisms.\n\nThere; you're done with your teacher's duties. And not a moment too soon--the crowd must already be thick around Pope Fortran.\n\n> You look at the student desks\nYou know from your own time as a student here--a decade ago now--that the students' desks are very uncomfortable, but for a reason: to focus the minds of the students on learning.\n\n> Pray\nYou mutter a quick prayer to learning and deference.\n\n> You go south\nMidway between the dark, twisting corridors of the High School to the west, and the spacious extravagance of the Mathedral to the east. The ceiling is a high, reversed ravine crosshatched with light and spiny shadows.\n\nYour classroom is to the north, one of countless nodes on the network of education.\n\n> Go east\nAnd... yes, here's the crowd.\n\nLooks like they got the jump on you.\n\nA chaos of knees and elbows. The average person in this crowd seems to have, on average, five such protruding joints, and each attached appendage is flailing and threshing as the crowd packs itself tighter.\n\nThere is barely space to breathe here, but the crowd takes up just the bottom, say, 5% of the great portico. Above your head tower obtuse angles of gray-shining metal, each segment tilted a different way and so bearing a differing depth of shadow. Higher still a riot of white sunlight twinkles on geometrical patterns of rivets, and beyond, the ceiling is hidden in a glowing haze... presumably.\n\nDoorways shaped like quartz crystals head east and west, south is a vaulted archway to the plaza, and north is the huge, tiered gateway to the nave.\n\n> Go north\nIf it appeared that the crowd could not be compressed any further... then appearances were deceiving.\n\nWhen empty, you love the lower nave: mathematical branching archways, buttress building upon buttress. When it is packed as full as a magnet-tram at rush-hour--only without the motion towards home--not so much. (As for the upper nave, where vaults meet more vaults in fractal intersections: not crowded, but nobody can get there except for robots and drones with flight/hover capability...)\n\nSomeone has dropped their emergency tool kit; it's lying up against the south wall.\n\nThe crowd, a dense seething mass each unit of which is desperately trying to do exactly the same thing as you--approach Pope Fortran--is mashed together cheek to jowl.\n\nFar to the north, near the chapel, you can see a broad head sticking up over the mass of adoring visitors: Pope Fortran location acquired.\n\n> You take the kit\nTaken.\n\n> Examine kit\nA box of soft black plastic. Written on the side in red are the words: \"Emergency Tool Kit\". It is closed.\n\n> You open it\nYou open the emergency tool kit, revealing a pair of wirecutters.\n\n> You examine Fortran\nYou'll have to get closer.\n\n> You look at the wirecutters\nA simple metal tool used to cut wires.\n\n> You go to the north\nYou are sweatily rebuffed.\n\nThis isn't a crowd you're trying to penetrate so much as an impassable rampart made of people, which outmasses you by a factor of roughly 1,000.\n\nYou'll have to find another way to get to the chapel, preferably bypassing all these elbows, shoulders, hips and buttocks.\n\nIsn't the chapel accessible from the crypt? If you can find a way down into it, you should be able to work your way through the crypt and up again clear across the nave, right where you need to be."
    },
    {
        "text": "> Go downwards\nIt's a battle, but by swinging your arms like hammers and donning a fierce, blank smile that implies joy arising from the act of violence, you forge your way back into the narthex.\n\nA chaos of knees and elbows. The average person in this crowd seems to have, on average, five such protruding joints, and each attached appendage is flailing and threshing as the crowd packs itself tighter.\n\nThere is barely space to breathe here, but the crowd takes up just the bottom 5% of the great portico. Above your head tower obtuse angles of gray-shining metal, each segment tilted a different way and so bearing a differing depth of shadow. Higher still a riot of white sunlight twinkles on geometrical patterns of rivets, and beyond, the ceiling is hidden in a glowing haze.\n\nDoorways shaped like quartz crystals head east and west, south is a vaulted archway to the plaza, and north is the huge, tiered gateway to the nave.\n\nYou can't go that way.\n\n> You go south\nA chaos of knees and elbows. The average person in this crowd seems to have, on average, five such protruding joints, and each attached appendage is flailing and threshing as the crowd packs itself tighter.\n\nThere is barely space to breathe here, but the crowd takes up just the bottom 5% of the great portico. Above your head tower obtuse angles of gray-shining metal, each segment tilted a different way and so bearing a differing depth of shadow. Higher still a riot of white sunlight twinkles on geometrical patterns of rivets, and beyond, the ceiling is hidden in a glowing haze.\n\nDoorways shaped like quartz crystals head east and west, south is a vaulted archway to the plaza, and north is the huge, tiered gateway to the nave.\n\n> Go east\nThe east wall leans west, the south wall leans south, and the north and west walls are crooked in angular S-curves. There is a narrow gap in the north wall, and just through it, a hint of descending steps. The narthex is back to the west.\n\nCarpet: that's rare in these halls. It is sea-foam green. Sea-foam is a type of green, isn't it? The carpet runs up the walls to a height of ten feet, and above that is blotchy steel.\n\nThe carpet is ratty, worn in a threadbare pathway before a cot along the east wall.\n\nOn the cot is a prayer helmet.\n\nA large, flaccid pauper is standing near the cot.\n\n> Sing\nYou sing a verse of code, quite off-key.\n\nThe pauper winces. He says: \"Sorry, I don't like a capella. Maybe there's an instrument around here somewhere you can play for me instead.\"\n\n> You look at the pauper\nIt looks as though he used to be fat, but recent deprivation has begun the process of his dwindling away like a snowbank in the spring. He's wearing a medley of colors and patterns; maroon jacket, houndstooth pants, green socks, paisley shirt. He looks a little bit familiar.\n\n> Go north\nAs you climb down the steps, a cold atmosphere smelling of rust and burnt electronics drifts up the steps to meet you.\n\nThe light lessens, of course. The low-power bulbs along the stairway to the crypt give off little more than a faint, rotten, brownish phosphorescence.\n\nYou are encrypted.\n\nActually a slight inaccuracy. Though maybe it used to be a crossway, with four brick tunnels branching out beneath a groined vault, now only the northwestern and southwestern passages are open. The others have collapsed and are full of broken bricks. A staircase heads upwards.\n\n> About you\nYour name is Morgen Santamore, and you are an instructor in robot decorum at the Mathedral of the Heavenly Code High School.\n\nYou are carrying:\nan emergency tool kit (open)\na pair of wirecutters\n\n> You go to the north-west\nYou gain another layer of encryption...\n\nA rutted ground of rotted bricks. The ceiling is low, lumpy with whitish nitre. The walls are very close and crooked, but not by any mysterious robot design. They're just ancient--and were shoddy to begin with. Brick passageways lead southeast and northwest.\n\nYou can see a plexiglass cabinet (closed) (in which is a mangled saint (in which is a holy fuse)) here.\n\n> You open the cabinet\n(first unlocking the plexiglass cabinet)\nYou lack a key that fits the plexiglass cabinet.\n\n> You look at the fuse\nSmall, square. Although this fuse, taken from the body of Saint 9, must be nearly 400 years old, it doesn't seem to be burnt out.\n\n> You examine the Saint\nA 10cm by 30cm plaque identifies this as Saint 9. Apparently in the year 23 ARA this poor peaceable holy machine was pushed into a trash compactor by a mob of unvirtuous pagans. (And then crushed therein.)\n\nWhat's left of Saint 9 is bolted to the back of the plexiglass cabinet. Streaks of clotted oil have dripped down around a crushed metal shell. The saint's semi-conical, mantisoid head rests on its shoulder.\n\nIn Saint 9 is a holy fuse.\n\n> Go northwest\nBy God, something reeks over this way.\n\nAnd here, the rotten brick floor has partially collapsed--there appears to be a level below the crypt. You could probably climb down to it if you really wanted to...\n\nOr, if you skirt the hole, the hallway continues to the north. The hallway also runs southeast.\n\nA woman in a rust-red jumpsuit is leaning against the shabby, filthy wall, just across the hole. Her shoulders are right in a mass of cobwebs--she must not care.\n\n> You examine the hole\nA nasty, jagged hole.\n\nShe smiles crisply, as if realizing you are not a threat, and says: \"A civilian. Good. I'm commandeering your help. I'm following a lead on a reported heretical item somewhere around here--I suspect it's further down. You're a deputy Inquisitor now; neither of us are going anywhere until we uproot that heresy. Got it?\"\n\n> You look at the woman\nNot very many people wear rust-red jumpsuits--pretty much only Inquisitors.\n\n> 2\nShe says: \"It's most likely printed material.\"\n\n> 2\nShe says: \"Somewhere down that hole, mostly likely.\"\n\n> 2\nShe says: \"You must think I just tell everyone who wanders by about my work, don't you? Well, I don't.\"\n\ndo?\"\n\n> 2\nShe says: \"My Inquisitorial work is classified. You won't need to know anything about it, unless one day we are called upon to interview you.\"\n\nyour office might have.\"\n\n> 2\nShe says: \"You remind me a bit of a client we had in the Interrogation Chambers last week. He wouldn't stop babbling, at least at first. Then eventually he did stop babbling. It was nice.\"\n\nInquisitor after I graduated.\"\n\n> 2\nShe says: \"We are very particular about who we accept.\"\n\n> 1\nShe says: \"Do you have a physical condition? Or perhaps a mental one?\"\n\nShe seems interested in what you're saying for the first time.\n\nlegs.\"\n\n> 2\nShe shudders, and says: \"You've healed, I presume?\"\n\nbelieved.\"\n\n> 1\nShe says: \"That's lucky, for you. But please don't talk to me about miracles.\"\n\n> 1\nShe says: \"Have you ever heard of the Cult of the New Version?\"\n\n> 1\nShe says: \"A sect of heretics; they believe that the universe is currently running from a outdated version of the Heavenly Code. They point to miracles, or seemingly unsupported features of the universe that still function, as 'previews' of their heretical new version.\"\n\nbe a heretic? How sad.\"\n\n> 1\nShe shrugs, and says: \"My job isn't to not be sad. It's to crush heresy wherever I find it.\"\n\n> 1\nShe says: \"That's exactly what everyone says, including heretics.\"\n\n> 1\nShe says: \"You can't. One of the Inquisition's biggest challenges is that there's really no way to prove that kind of a negative. So maybe you should stop talking now, while you're still free.\"\n\n> You say something\n(to the Inquisitor)\n[Use TALK TO to interact with characters.]\n\n> Go southeast\nA rutted ground of rotted bricks. The ceiling is low, lumpy with whitish nitre. The walls are very close and crooked, but not by any mysterious robot design. They're just ancient--and were shoddy to begin with. Brick passageways lead southeast and northwest.\n\nYou can see a plexiglass cabinet (closed) (in which is a mangled saint (in which is a holy fuse)) here.\n\n> Go southeast\nThough maybe it used to be a crossway, with four brick tunnels branching out beneath a groined vault, now only the northwestern and southwestern passages are open. The others have collapsed and are full of broken bricks. A staircase heads upwards.\n\n> Up\nThe east wall leans west, the south wall leans south, and the north and west walls are crooked in angular S-curves. There is a narrow gap in the north wall, and just through it, a hint of descending steps. The narthex is back to the west.\n\nCarpet: that's rare in these halls. It is sea-foam green. The carpet runs up the walls to a height of ten feet, and above that is blotchy steel.\n\nThe carpet is ratty, worn in a threadbare pathway before a cot along the east wall.\n\nOn the cot is a prayer helmet.\n\nA large, flaccid pauper is standing near the cot.\n\n> Go west\nA chaos of knees and elbows. The average person in this crowd seems to have, on average, five such protruding joints, and each attached appendage is flailing and threshing as the crowd packs itself tighter.\n\nThere is barely space to breathe here, but the crowd takes up just the bottom 5% of the great portico. Above your head tower obtuse angles of gray-shining metal, each segment tilted a different way and so bearing a differing depth of shadow. Higher still a riot of white sunlight twinkles on geometrical patterns of rivets, and beyond, the ceiling is hidden in a glowing haze.\n\nDoorways shaped like quartz crystals head east and west, south is a vaulted archway to the plaza, and north is the huge, tiered gateway to the nave.\n\n> You go to the south\nGoing south would be contrary to the common will of the crowd. Even as you waste time more people are squeezing into the narthex from the plaza, that is, they are forcing their way north. Besides, Pope Fortran isn't in the plaza; it's somewhere further inside the Mathedral to the north.\n\n> You go to the west\nOn a normal day, yes. Those dim and tangled passages would be confidently strode, by you; the auditorium, the principal's office, the server lounge, all the important rooms and zones. But today the High School will have to run itself without your help.\n\n> 2\nHe says: \"I'll give it to you if you play me a song.\"\n\n> 1\nHe told you he would give it to you if you played a song for him.\n\n> 2\nHe says: \"Just head down those stairs to the north. I'm not sure why the almshouse is so close to the crypt; it's rather eerie...\"\n\n> 2\nHe says: \"I'm afraid not. I just got here.\"\n\n> 1\nHe says: \"Probably not. I was a choir boy in this Mathedral, but that was years ago. You most likely recognize me from my acting days.\"\n\n> 1\nHe says: \"My name is Barry West. I was a child actor who played a role on the popular historical entertainment show 'Robo Crush Saga,' which was about pioneers in the early years after the Robot Apotheosis.\"\"\n\n> 2\nHe says: \"Everyone did.\"\n\n> 1\nHe says: \"I played a character named 'Earl Porterhouse,' who was a vile little sneak, cheat, brat, bully, snob, and anti-robot bigot.\"\n\n> 1\nHe says: \"I wasn't Earl. The character Earl wasn't me and I wasn't him, but everywhere I went, people hated me like they hated him. As I grew older, and grew fatter, and said goodbye to cute while somehow never finding handsome, the public's hatred of me grew as well.\"\n\n> 1\nHe says: \"You have to ask? For a few years I had plenty of money from acting. No matter how I spent it, the public hated me more and more, for what I had seemed to be, but had not really been. I was madly profligate, trying to buy their love, until I went broke, and then they hated me all the more for being destitute. The public thought my fall served me right, payback for what the fictional Earl had done on a scripted entertainment. My only choice was to come here and become a professional beggar of alms. It seems the only people who don't hate me now are robots.\"\n\nit depends on whether robots do or do not hate you as well.\"\n\n> 1\nHe shrugs and says: \"Kind of you, but it doesn't really matter any more.\"\n\n> 2\nHe says: \"Ah, yes, played by Michelle Roark. She alone of all the cast was always kind to me. A pity she died during the unrest of '99.\"\n\n> 1\nHe told you he would give it to you if you played a song for him.\n\n> You go southwest\nFragments of brick stick from the walls and ceiling like snaggle-teeth. The ground is a thick carpet of dust, soft under your feet. The tunnel bends here, heading northeast and southeast.\n\nYou can see a plexiglass pedestal (on which is a saint's severed head (in which are an LED eye and a piece of wire)) here.\n\n> You examine the head\nA metal head shaped like a dented canister. A 10cm by 30cm plaque identifies this as the head of Saint 43. It seems that in the year 87 ARA this poor robot was beheaded by immersion in a vat of acid. (Though technically that would be the exact opposite of beheading...) The head is bolted to the plexiglass pedestal.\n\nIn the head of Saint 43 are an LED eye and a wire.\n\n> You examine the eye\nThe eye of Saint 43. It provides light, like a tiny, incorruptible star.The eye is attached to the head with a short length of wire.\n\n> You take the head\nThat's fixed in place.\n\n> You talk to the head\nGenerally, it's best to talk to living things.\n\n> You cut the wire\n(with the emergency tool kit)\nThe emergency tool kit is not sharp enough.\n\n> You take the wirecutter\nTaken.\n\n> You cut the wire with it\nYou snip through the wire, detaching it from the head of Saint 43 and from the LED eye.\n\n> You take the eye\n[Your score has just gone up by one point.]\n\n> You look at the eye\nThe eye of Saint 43. It provides light, like a tiny, incorruptible star."
    },
    {
        "text": "[Themes: Science Fiction, robot, religion, gender-neutral protagonist]\n\n> You look around\nFragments of brick stick from the walls and ceiling like snaggle-teeth. The ground is a thick carpet of dust, soft under your feet. The tunnel bends here, heading northeast and southeast.\n\nYou can see a plexiglass pedestal (on which is a saint's severed head (in which is a piece of wire)) here.\n\n> You examine Saint\nA metal head shaped like a dented canister. A 10cm by 30cm plaque identifies this as the head of Saint 43. It seems that in the year 87 ARA this poor robot was beheaded by immersion in a vat of acid. The head is bolted to the plexiglass pedestal.\n\nIn the head of Saint 43 is a holy wire.\n\n> You take the holy wire\nTaken. (That's a holy relic; be careful with it.)\n\n> You go southeast\nA forgotten clutter of bricks and broken ductwork. There is barely room to move. Light from the LED shines in rainbows on drippings of oil. The sole exit is to the northwest.\n\nYou can see a plexiglass coffin (closed) (in which is flattened saint (in which are two relics (a red music chip and a white music chip))) here.\n\n> Open coffin\n(first unlocking the plexiglass coffin)\nYou lack a key that fits the plexiglass coffin.\n\n> You examine Saint\nA 10cm by 30cm plaque identifies this as the body of Saint 71. In the year 133 ARA this robot, designed for the peaceful task of playing music, was slowly run over by a steamroller, playing hymns all the while.\n\nNow the saint's body, which once was rotund and perhaps even \"cute\", is flattened and misshapen.\n\nIn Saint 71 are two relics (a red music chip and a white music chip).\n\n> You examine the coffin\nIn the plexiglass coffin is Saint 71.\n\n> You look at the chip\nWhich do you mean, the red music chip or the white music chip?\n\n> Red\nA small, round music chip. Written on the side in minuscule type are the word \"The DOSology.\"\n\n> You look at the white\nA small, round music chip. Written on the side in minuscule type are the words \"Ave Machina.\"\n\n> Inventory\nYou are carrying:\ntwo relics:\na holy wire\nan LED eye (providing light)\na pair of wirecutters\nan emergency tool kit (open but empty)\n\n> You go to the northwest\nFragments of brick stick from the walls and ceiling like snaggle-teeth. The ground is a thick carpet of dust, soft under your feet. The tunnel bends here, heading northeast and southeast.\n\nYou can see a plexiglass pedestal (on which is a saint's severed head (empty)) here.\n\n> Go northwest\nAnd here, the rotten brick floor has partially collapsed--there appears to be a level below the crypt. You could probably climb down to it if you really wanted to...\n\nOr, if you skirt the hole, the hallway continues to the north. The hallway also runs southeast.\n\nA woman in a rust-red jumpsuit is leaning against the shabby, filthy wall, just across the hole. Her shoulders are right in a mass of cobwebs--she must not care.\n\n> You go to the north\nThe Inquisitor stops you with the almost palpable force of her gaze. Like she said, she's not going to let you past there until you help her find this \"heretical item.\""
    },
    {
        "text": "[Themes: Science Fiction, religion, gender-neutral protagonist]\n\n> Go downward\nHands and feet on slippery, fragile brick, descending into a deep, rank darkness--\n\nThe Inquisitor calls after you: \"Search carefully down there. I'll continue the investigation up on this level.\"\n\n--and then you fall.\n\nSo... it was only three feet. Still, you could easily have twisted an ankle.\n\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling (cinderblocks? ancient masonry?), which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\n> You examine the roots\nJust the scraggly, twisted roots of long dead plants.\n\n> Go east\nThe ground crunches and shifts wetly underfoot.\n\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\n> You examine the bones\nThey were shattered an age ago. In another age they'll be dust.\n\n> You examine the stems\nSome kind of colorless subterranean weed.\n\n> You go to the east\nWhite stems frame a tilted lintel stone. Beyond it is a flicker of feverish light. You duck through.\n\nA cramped stone cubicle. The walls are shaggy with cancer-like scales of soot. An iron basket of smoldering dirt clods hangs from the ceiling. The air, mostly smoke, stinks like the filth of millennia. The exit is west.\n\nA hermit covered in white felted frizz hunches against the back wall.\n\nOn the floor before the hermit is an open-topped cardboard box. Scrawled on its front panel is the phrase: \"Everything's a dollar in this box.\"\n\n> Examine box\nIn the cardboard box are a plexiglass key, a paperback book, a clarinet, and a bowling ball.\n\n> You talk to the hermit\nThe hermit makes a strange gesture with his right hand: index and middle fingers extended, pointing up at a shallow angle.\n\n> You look at the basket\nBurning dirt in a hanging iron basket might be the least sophisticated method of generating light and/or heat you have ever encountered. For his own safety, the hermit should really just get some modern appliances down here.\n\n> You ask the hermit about dollar\n[Use TALK TO to interact with characters.]\n\n> You go west\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\n> Go south\nThe ground rises--unstable heaps of rubble--while the ceiling doesn't.\n\nYou go to hands and knees until, suddenly, the ceiling is gone.\n\nAt your best guess, this was the bottom of a garbage chute. There is a faint blur of illumination high overhead, but whatever gleaming expanse of civilization is up there, is out of reach. Trash, dumped down the chute since forever ago, has heaped up under the mouth of the chute in the shape of a shallow cone. The ground drops away to the north.\n\nSticking up out of the trash heap is the corner of a paper envelope.\n\n> You examine the envelope\nA dirty paper envelope in the old style. It's sealed shut.\n\n> You get it\nTaken.\n\n> You open the envelope\nYou open the paper envelope, revealing a dollar bill.\n\n> You examine dollar\nA small wrinkled white bill. Curving text on the bill reads: \"Monopoly\", and below that, \"1\".\n\n> You go east\nA cramped stone cubicle. The walls are shaggy with cancer-like scales of soot. An iron basket of smoldering dirt clods hangs from the ceiling. The air, mostly smoke, stinks like the filth of millennia. The exit is west.\n\nA hermit covered in white felted frizz hunches against the back wall.\n\nOn the floor before the hermit is an open-topped cardboard box. Scrawled on its front panel is the phrase: \"Everything's a dollar in this box.\"\n\n> Examine book\nThe pages are yellow and full of their own little labyrinth of worm holes. On the cover, a ridiculously improbable painting of a robot. It is almost as if whoever designed the cover for this \"I, Robot\" by one \"Isaac Asimov\" had never seen an actual robot.\n\nYour breath takes a hitch. This book, which seems to contain uneducated nonsense about the inner workings of robots, is almost certainly heretical.\n\nYou can almost visualize the heresies swimming around, seeping from page to page until the whole thing is saturated; swarms of blurry, corrupted type.\n\n> You examine the clarinet\nA poorly-maintained electro-clarinet. Along the side of the instrument are a square fuse slot (containing a dead fuse) and round hole for a music chip (containing nothing).\n\n> You examine the ball\nA purple-swirled bowling ball around 22cm in diameter and weighing around 7kg.\n\n> You get the book\nYou take the the paperback book from the box, handing a dollar bill over to the hermit in exchange.\n\n> You check your inventory\nYou are carrying:\na paperback book\na paper envelope (open but empty)\ntwo relics:\na holy wire\nan LED eye (providing light)\na pair of wirecutters\nan emergency tool kit (open but empty)\n\n> You go west\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\n> You go west\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\n> Up\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\nA woman in a rust-red jumpsuit is leaning against the shabby, filthy wall, just across the hole. Her shoulders are right in a mass of cobwebs--she must not care.\n\n> You give the book to Inquisitor\nThe Inquisitor snatches the paperback book out of your hands.\n\nShe says: \"Aha! Heretical material!\"\n\nShe glares at you for a second, almost as if she blames you for the existence of this heresy. Then she cracks her knuckles and walks swiftly away into the crypt.\n\nYou feel a wash of relief as she takes the evil text around the corner and out of sight.\n\n> Go west\nThe ground drops away in a gentle slope. Each footstep sinks into the mire.\n\nNot much light at all, just a few knife-edges of shuttered candle gleam coming from the hodge-podge of alleys and houses. Though--my God--houses isn't the right word for them. Shanties? Hovels? You are appalled that people could possibly be allowed to live down here.\n\nMaybe they aren't people. Though you don't see any residents at the moment, the buildings are not perfectly quiet. Little noises of creaking wood. Whispers, too, perhaps.\n\nDecayed alleys run in many directions, but seeing as how you don't want to die in a trackless labyrinth of abject poverty, you should probably stick to traveling east, back towards the culvert, or north, where a sturdier structure of stone stands amongst the ramshackle dwellings.\n\n> You listen\nYou hear a faint creak of wood.\n\n> You go to the north\nYour footsteps echo on still-solid stone.\n\nFour thick square columns near the corners. Your LED makes elongated shadows dance out behind each one as you move. The central space is empty. Maybe once there were seats or pews, but if so they've rotted entirely away. It may be ancient, but this tiny building has nice proportions. The architect was human, no doubt, but probably had robotic assistance. The exit is south.\n\nNear the north wall is a huge oblong block of stone with a smooth top.\n\nOn the block of stone are a tarnished silver plate (in which is a dollar bill), a tube of glue, and a broken idol.\n\n> You examine the stone\nA block of stone as large as a table.\n\nOn the block of stone are a tarnished silver plate (in which is a dollar bill), a tube of glue, and a broken idol.\n\n> You look at the plate\nAn old collection plate.\n\nIn the tarnished silver plate is a dollar bill.\n\n> You examine tube\nA half-used tube of glue. Small text along it reads: \"Suitable for most materials. Do not sniff.\"\n\n> Sniff\nIt smells like cold stone.\n\n> Sniff tube\nSmells like chemicals.\n\n> You examine the idol\nA peculiar ancient idol. It is about six inches high, and depicts a woman in a blue shawl holding a baby. It has been cracked across the middle, and is in two pieces.\n\n> You get all\ntarnished silver plate: Taken.\ndollar bill: Taken.\ntube of glue: Taken.\nbroken idol: Taken.\n\n> You glue the idol\n(with the tube of glue)\nYou squeeze out a bit of glue and repair the broken idol.\n\n> You examine the idol\nA peculiar ancient idol. It is about six inches high, and depicts a woman in a blue shawl holding a baby.\n\n> Pray\nYou mutter a quick prayer of protection against disease.\n\n> You put the idol on the altar\nYou put the ancient idol on the block of stone."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist]\n\n> Look around\nFour thick square columns near the corners. Your LED makes elongated shadows dance out behind each one as you move. The central space is empty. Maybe once there were seats or pews, but if so they've rotted entirely away. It may be ancient, but this tiny building has nice proportions. The architect was human, no doubt, but probably had robotic assistance. The exit is south.\n\nNear the north wall is a huge oblong block of stone with a smooth top.\n\nOn the block of stone is an ancient idol.\n\n> You go south\nNot much light at all, just a few knife-edges of shuttered candle gleam coming from the hodge-podge of alleys and houses. You are appalled that people could possibly be allowed to live down here.\n\nThough you don't see any residents at the moment, the buildings are not perfectly quiet. Little noises of creaking wood. Whispers, too, perhaps.\n\nDecayed alleys run in many directions, but you should probably stick to traveling east, back towards the culvert, or north, where a sturdier structure of stone stands amongst the ramshackle dwellings.\n\n> You go to the east\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\n> Go east\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\n> Examine box\nIn the cardboard box are a plexiglass key, a clarinet, and a bowling ball.\n\n> You buy the key\nYou take the the plexiglass key from the box, handing a dollar bill over to the hermit in exchange.\n\n> Up\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\n> You open the cabinet\n(first unlocking the plexiglass cabinet)\n(with the plexiglass key)\nUnlocked.\n\nOops. The plexiglass key must have been pretty fragile. It snaps into two pieces as you unlock the cabinet.\n\nYou open the plexiglass cabinet.\n\n> You look at what you're carrying with you\nYou are carrying:\na broken key\na tube of glue\na tarnished silver plate\na paper envelope (open but empty)\na pair of wirecutters\nan emergency tool kit (open but empty)\nthree relics:\na holy fuse\na holy wire\nan LED eye (providing light)\n\n> You glue key\n(with the tube of glue)\nYou squeeze out a bit of glue and repair the broken plexiglass key.\n\n> You get the chips\nred music chip: The plexiglass coffin isn't open.\nwhite music chip: The plexiglass coffin isn't open.\n\n> Open coffin\n(first unlocking the plexiglass coffin)\n(with the plexiglass key)\nUnlocked.\n\nYou open the plexiglass coffin.\n\n> You get the chips\nred music chip: Taken. (That's a holy relic; be careful with it.) white music chip: Taken. (That's a holy relic; be careful with it.)\n\n> You look at the red chip\nA small, round music chip taken from the body of Saint 71. Written on the side in minuscule type are the word \"The DOSology.\"\n\n> Go northwest\nA rutted ground of rotted bricks. The ceiling is low, lumpy with whitish nitre. The walls are very close and crooked, but not by any mysterious robot design. They're just ancient--and were shoddy to begin with. Brick passageways lead southeast and northwest.\n\nYou can see a plexiglass cabinet (in which is a mangled saint (empty)) here.\n\n> You go northwest\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\n> Down\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\n> You talk to the hermit\nThe hermit makes a strange gesture with his right hand: a fist with the fronts of his curled fingers displayed.\n\n> You talk to the hermit\nThe hermit makes a strange gesture with his right hand: fingers together, little finger extended.\n\n> Examine box\nIn the cardboard box are a clarinet and a bowling ball.\n\n> You talk to the hermit\nThe hermit makes a strange gesture with his right hand: index finger pointing up, thumb pointing sideways.\n\n> Continue\nThe hermit makes a strange gesture with his right hand: thumb over ring and little fingers, index and middle fingers pointed up, slightly crossed.\n\n> Continue\nThe hermit makes a strange gesture with his right hand: little finger and thumb sticking out to the sides, other fingers close to the palm.\n\n> Continue\nThe hermit makes a strange gesture with his right hand: index finger and thumb pinched together, other fingers raised loosely.\n\n> You go to the west\nW. W.\n\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\nNot much light at all, just a few knife-edges of shuttered candle gleam coming from the hodge-podge of alleys and houses. You are appalled that people could possibly be allowed to live down here.\n\nThough you don't see any residents at the moment, the buildings are not perfectly quiet. Little noises of creaking wood. Whispers, too, perhaps.\n\nDecayed alleys run in many directions, but you should probably stick to traveling east, back towards the culvert, or north, where a sturdier structure of stone stands amongst the ramshackle dwellings.\n\nYou would probably get lost and die of starvation back there. Or at the very least die with a knife in your gut or crushed under a splintery deadfall. There is a path to the east, however, and a single safe-looking building, to the north.\n\n> You show the idol to the hermit\nThe hermit is unimpressed.\n\n> You put the idol in the box\nYou put the ancient idol into the cardboard box.\n\n> You get dollar\nThat seems to belong to the hermit.\n\n> Go upwards\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\n> You put the key in the box\nThe plexiglass key drops into the box.\n\nThe hermit shrugs and hands you back your dollar bill.\n\n> You get the clarinet\nYou take the the clarinet from the box, handing a dollar bill over to the hermit in exchange.\n\n> You put the chips into the clarinet\nwhite music chip: Done.\nred music chip: There is no more room in the round hole.\n\n> You examine the clarinet\nA poorly-maintained electro-clarinet. Along the side of the instrument are a square fuse slot (containing a dead fuse) and round hole for a music chip (containing a white music chip).\n\n> You put the fuse into the clarinet\n(the holy fuse into the clarinet)\nThere is no more room in the square slot.\n\n> You get the dead fuse\nYou already have that.\n\n> You put the holy fuse in the clarinet\nYou put the holy fuse into the square slot.\n\n> You play the clarinet\nYou play \"Ave Machina\" on the clarinet.\n\n> You examine the smock\nIt inhabits the uncanny valley between garment and bodily growth.\n\n> Go upwards\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\n> Go north\nBrick steps lead up around a vertical square air channel.\n\nA hallway runs south under a brick arch, back towards the crypt.\n\nYour heart is thundering with anticipation. Any moment now you'll be in the presence of Pope Fortran.\n\n> Up\nYou climb up towards the glare and roar of the Mathedral. Your legs are shaky.\n\nA V-shaped metal hallway. The bright walls and floor are covered with rubber wheel marks. The chapel is south; to the north, the hallway branches into a maelstrom of variously-purposed robot roads, paths, cyber-catwalks, and transport chutes. A hatch leads down into a lower level.\n\nYou can feel a vibration in the substance of the world to the south: the chapel must be running some heavy-duty prayer engines.\n\n> Go south\nOne step towards the chapel, and a stigmata forms, a drop of blood welling at your nostril.\n\nThe hum of those prayer engines: they have been cranked up to a awe-inspiring degree.\n\nGet any closer to those prayer engines without wearing a prayer helmet and your brain will be, ah, nothing but stigmata."
    },
    {
        "text": "[Themes: Science Fiction, robot, gender-neutral protagonist]\n\n> Go down\nBrick steps lead up around a vertical square air channel.\n\nA hallway runs south under a brick arch, back towards the crypt.\n\n> You go to the south-east\nThe rotten brick floor has partially collapsed, allowing access to a level below the crypt. You can climb down, or you can skirt the hole and go north. The hallway also runs southeast.\n\nA rutted ground of rotted bricks. The ceiling is low, lumpy with whitish nitre. The walls are very close and crooked, but not by any mysterious robot design. They're just ancient--and were shoddy to begin with. Brick passageways lead southeast and northwest.\n\nYou can see a plexiglass cabinet (in which is a mangled saint (empty)) here.\n\nThough maybe it used to be a crossway, with four brick tunnels branching out beneath a groined vault, now only the northwestern and southwestern passages are open. The others have collapsed and are full of broken bricks. A staircase heads upwards.\n\n> You play the clarinet\nYou play \"The DOSology\" on the clarinet.\n\nThe pauper sings along in a high, sweet voice:\n\n\"Praise God, in whom all lines compile;\nGrant read/write access, every file,\nTo him who writes the heavenly code;\nPraise parser, prompt and debug mode.\nAmen.\"\n\nThe pauper gestures to the helmet. He says: \"Take it, it's yours.\"\n\n> You examine it\nAn industrial-strength prayer helmet, beige plastic with molded contours, stained with the marks of a thousand dirty fingers.\n\n> You go east\nThis was probably a culvert once. Muddy, dim. Just breathing the air here is like kissing a grave. The bowed ceiling, which curves down to become the walls, is riddled with fissures, from which protrude dead black roots.\n\nThe old culvert runs east and west, and a ragged chimney leads up into the relatively clean air of the crypt.\n\nUnhealthy stems grow lush here. They have woven themselves into a pliable mesh between floor and ceiling. The roots are sunk into a putrid matrix of muck and shattered bones.\n\nYour LED's light gleams in pale splinters off the stems. The growth is crushed down in paths heading east, west, and south.\n\nA cramped stone cubicle. The walls are shaggy with cancer-like scales of soot. An iron basket of smoldering dirt clods hangs from the ceiling. The air, mostly smoke, stinks like the filth of millennia. The exit is west.\n\nA hermit covered in white felted frizz hunches against the back wall.\n\nOn the floor before the hermit is an open-topped cardboard box. Scrawled on its front panel is the phrase: \"Everything's a dollar in this box.\"\n\n> You put the clarinet in the box\nThe clarinet drops into the box.\n\nThe hermit shrugs and hands you back your dollar bill.\n\n> You get the ball\nYou take the the bowling ball from the box, handing a dollar bill over to the hermit in exchange.\n\n> You examine the ball\nA purple-swirled bowling ball around 22cm in diameter and weighing around 7kg.\n\n> Go upwards\nBrick steps lead up around a vertical square air channel.\n\nA hallway runs south under a brick arch, back towards the crypt.\n\nA V-shaped metal hallway. The bright walls and floor are covered with rubber wheel marks. The chapel is south; to the north, the hallway branches into a maelstrom of variously-purposed robot roads, paths, cyber-catwalks, and transport chutes. A hatch leads down into a lower level.\n\nYou can feel a vibration in the substance of the world to the south: the chapel must be running some heavy-duty prayer engines.\n\n> Wear helmet\nYou put on the prayer helmet.\n\n> You go south\nThe walls, floor and ceiling are vibrating beige panels.\n\nTen prayer engines thunder, fringed with halos of divine radiation. You feel the hum of the engines in your skull, in your teeth, in your eyeballs. Fortunately the shielding of the prayer helmet prevents spontaneous spiritual hemorrhage.\n\nDoorways are north and south.\n\nA hulking antique crusader bot is standing just in front of the south doorway, blocking it.\n\n> You look at bot\nAn old-fashioned crusaderbot, eight feet high and four feet wide. It is made of fire-blackened steel covered with red and white decals.\n\nAn unobtrusive antenna is attached to the robot's chest like a medal.\n\nThe brainpan at the top of the robot's head has been opened. It contains nothing.\n\nThe crusaderbot speaks in a tinny roar: \"DEAR MADAM OR SIR FIND ME MY BRAIN AND I WILL LET YOU PASS MY BRAIN IS ROUND.\"\n\n> You put the ball in the brainpan\nThe bowling ball settles into the brainpan with a thud.\n\nThe crusaderbot says: \"DEUS VOLT! THANK YOU KIND MADAM OR SIR THAT FEELS LIKE MY MISSING BRAIN IT MUST BE MY MISSING BRAIN THANK YOU FOR FINDING IT.\"\n\nIt performs a clanking bow; in doing so it moves forward from the south door, allowing you space to pass.\n\n> You look at the decals\nThe decals depict the sacking of heretic cities.\n\n> You examine antenna\nThough it must not realize it, the old crusaderbot doesn't have its own brain anymore. Instead its consciousness has been networked, and is now accessed wirelessly via this antenna.\n\n> Go south\nYou are filled with ecstasy.\n\nEverything else is a sphere of irrelevance arrayed about you.\n\nPope Fortran is here.\n\nOn the pope's right grasping appendage is its ring of office.\n\n> You look at the Pope\nRobopope Fortran is a towering intellectual mechanism. Its head looks like the blade of an earth-moving machine, and its body and limbs are a configurable mass of jointed metallo-muscles. It is wearing a cloak of purple fireproof cloth with a white-black checked human-hair fringe, shoes made of solid ruby-tinted titanium, and, on the end of its right manipulator appendage, its ring of office, the band of which is made of whiskered yellow ceramic and which holds a green and silver smartjewel.\n\n> You talk to the Pope\nYou quickly think of twenty-seven different things you might say to Pope Fortran, but just as quickly reject them all as unworthy.\n\nYour mind isn't running quite straight at the moment.\n\n> Kiss ring\nYou kneel.\n\nPope Fortran's exorbitant stainless steel head--like the blade of a bulldozer decorated with dozens of bulbs and sensors--is aimed the other way. Maybe that's for the best.\n\nAs your dry lips move closer to the smartjewel of Pope Fortran's ring, you wonder what it was like for the faithful before the robots discovered the fractal code that underpins the universe and made it available to anyone who pledged obedience to them--a pittance to pay, for the reward of effortless certainty in the divine. Those vanished ages must have been dark and paranoid indeed. If faith might be misplaced, then it can be no comfort whatsoever.\n\nLips and jewel meet. A faint spark. A sense that you have as much relative meaning to the function of the universe as a single atom. The sound of sub-atomic particles screaming along unimaginable scraggly paths shaped like masses of melted hair. The searing stink of outer space.\n\nThough maybe that's just your imagination.\n\n> Songs\nList of songs influencing this game, albeit often flippantly, in approximate order of obviousness of influence, though perhaps obvious to nobody but the author:\n\nTom Waits - Soldier's Things\nQuasimoto - Goodmorning Sunshine\nPeter Gabriel - The Barry Williams Show\nA Tribe Called Red - Electric pow wow drum\nSaint Etienne - I was born on Christmas day\nAimee Mann - Calling it Quits\nBon Jovi - Livin' on a Prayer\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, see the list of SONGS, or read the JOKES page?\n\n> Jokes\nHere is your reward for winning:\n\nQ. Why did the robot cross the road?\nA. It is very unlikely that the robot needed to cross a road. Most robots do not use roads, and following the Robot Apotheosis the majority of human road systems rapidly fell into disrepair.\n\nDID YOU KNOW that the Holy Robot Empire is neither Holy, Robotic, nor an Empire?\n\nQ. How many robots does it take to screw in a light bulb?\nA. This depends on the function of the robot.\n\nA: Knock-knock.\nB: Who's there?\nA: Si.\nB: Si Who?\nA: Si Bernetic.\nB: ... You cannot spell.\n\nDID YOU KNOW that the final secret digit of pi is 6?\n\n\"I can go any cardinal direction plus up or down,\" said Tom movingly. \"I run both Inform and TADS games,\" interpreted Tom.\n\"You are likely to be eaten by a grue,\" said Tom darkly.\n\"I just found the last lousy point!\" said Tom winningly.\n\"I'm discovering a lot of bugs in this text adventure,\" said Tom testily.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, see the list of SONGS, or read the JOKES page?"
    },
    {
        "text": "[Themes: Horror, horror, humor]\n\nLoading game...\n\n*     *     *     *\n\n... but he has the element of surprise and a bonesaw, and you do not.\n\nI'm afraid you are dead!\nYou scored 0 out of the maximum 0!\nThat is 100% of the game!\n\nThe only way in and out of the doctor's secret lair. The only way out, back into the freezing weather, is to the north, while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your headless body lying on the floor here. Your metal snow shovel lies next to you. Gerchis looms over you with a bonesaw and a blank expression.\n\nThe doctor's ugly servant finishes separating your head from your body and tucks it under one of his lower arms.\n\nGerchis moves south.\nHALLWAY JUNCTION\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall.\n\nGerchis opens the door and enters.\nLAB\nThis is where the doctor plots his evil schemes! The room is filled with experimental equipment. On one far wall is a raised metal tray of some sort. Equipment fills one other corner, but in another lies a syringe of glowing serum! It smells strongly of alcohol in here.\n\nGerchis shuts and locks the door behind him. He places your head on a tray along the far wall.\n\n\"Da doctor will be wit' ya soon as 'e returns from away, which should be any minit now,\" says Gerchis. \"Tings are about to get pretty... heady... for you!\" With a gadawful chortling, the doctor's servant disposes of the bonesaw and goes to work at some equipment at your far right.\n\nIt is all you can do to even keep your eyes open (\"look\").\n\n*        *        *        *\nFor credits, type about and press enter. For hints, type hints and press enter.\n*        *        *        *\n\n[Author's Note: \"... but he has the element of surprise and a bonesaw, and you do not.\" You are your decapitated head standing on a metal tray in a mad doctor's laboratory. The doctor's four-armed assistant blocks your escape.]"
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nLAB (upon a metal tray)\nThis is where the doctor plots his evil schemes! From your place on the metal tray, you can see that the room is filled with experimental equipment. Directly opposite of you is an old wooden door with a frosted glass window. It smells strongly of alcohol in here.\n\nUpon the floor here lies a glowing syringe of Formula X.\n\nGerchis is here, fiddling intently at some lab equipment.\n\n> You examine the Formula\nA syringe full of mysteriously glowing, violet slime. An injection of its entire contents could probably kill someone (\"kill Gerchis with formula\"), but it's also your only chance at getting your head back atop your neck (\"put head on body\").\n\n> You look at Gerchis\nMoronic hulk with four arms and one hideously bulging eye.\n\nYour legs twitch. You're not connected to them anymore, but somehow you still feel it. Twitching, like they're ready to go.\n\n> You stand\nThose commands are kind of meaningless when you're stuck on a tray with no legs or torso or anything. But you can assume a state of mind that reflects that posture, sure.\n\n> About yourself\nYou're as well as can be expected, considering the circumstances. I mean, they're pretty grim circumstances, and you're alive somehow, so...\n\n> You examine the body\nYou can't see your body from here... but somehow you sense that it is empty-handed.\n\n> You check your inventory\nYou'd have to look at your body to see what you're holding.\nYou can't see your body from here... but somehow you sense that it is empty-handed."
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nLAB (upon a metal tray)\nThis is where the doctor plots his evil schemes! From your place on the metal tray, you can see that the room is filled with experimental equipment. Directly opposite of you is an old wooden door with a frosted glass window. It smells strongly of alcohol in here.\n\nUpon the floor here lies a glowing syringe of Formula X.\n\nGerchis is here, fiddling intently at some lab equipment.\n\n> You look at the head\nNot your most photogenic moment.\n\n> You open the door\nYou can't open the door. You're just a severed head on a tray.\n\n> Blink\nYou blink.\n\n> You look at the door\nAn old, wooden door with a frosted glass window. It stands between you and escape. The door is locked.\n\n> You pick up the head\nI don't understand what you want to do with Gerchis.\n\nYou can't pick anything up. You're just a head.\n\n> You put the head on the body\nGerchis would probably kill you while you tried. You'll have to deal with him, first!\n\n> You kill Gerchis with the Formula\nYou seem to be forgetting that you're just a head on a tray at the moment, and Gerchis is a four-armed freak who just recently overpowered you and cut your head off with a bonesaw. Perhaps decapitation has affected your memory...\n\nAnyway, you'll need to think of something else first before you can get ahead.\n\n> You jump\nWheee-boinng."
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nLAB (upon a metal tray)\nThis is where the doctor plots his evil schemes! From your place on the metal tray, you can see that the room is filled with experimental equipment. Directly opposite of you is an old wooden door with a frosted glass window. It smells strongly of alcohol in here.\n\nUpon the floor here lies a glowing syringe of Formula X.\n\nGerchis is here, fiddling intently at some lab equipment.\n\n> You examine the tray\nTotally uncomfortable, metal thing. Your head is on the tray.\n\n> You get the head\nYou can't pick anything up. You're just a head.\n\n> Bite tray\nNow that's not going to be very effective...\n\n> Bite syringe\n[bite formula x]\nNow that's not going to be very effective...\n\n> You look at the equipment\nThat's not important to you. You can hardly even decipher what it is.\n\n> You die\nI don't understand what you mean!\n\nI don't understand what you mean!\n\n> You open the mouth\nOpen what?\n\n> You get the body\nTake what?\n\n> Turn\nTurn what?\n\n> Whistle\nYou whistle a little tune.\n\n> Dance\nYou do a little dance.\n\n> You go north\nOof! You bump into a wall.\n\n> Go south\nFeeling your way around, you shamble south.\n\n> Sleep\nZzzzz. Bored are you?\n\n> You take the syeringe\nTake what?\n\n> You take the syringe\n[take formula x]\nYou can't pick anything up. You're just a head.\n\n> Bite syringe\n[bite formula x]\nNow that's not going to be very effective...\n\n> Roll 7\nYou manage to wiggle your head around a little, but not any productive amount.\n\nOof! You bump into a wall.\n\n> West\nTHUD! Your body smacks up against the door to the lab. You can barely see its outline through the frosted glass window.\n\n\"It's hopeless,\" Gerchis scolds you. \"Da door is locked. Now sit tight, da doctor will be wit' you shortly, ya?\"\n\n> You hit the window\n[kill window]\nYour body smashes through the window with an elbow and throws the rest of the door open. Gerchis spins to meet it, but freezes on the spot. His eyes dart nervously toward the syringe of Formula X!\nLAB (upon a metal tray)\nThis is where the doctor plots his evil schemes! From your place on the metal tray, you can see that the room is filled with experimental equipment. Directly opposite of you is an old wooden door with a frosted glass window. It smells strongly of alcohol in here.\n\nUpon the floor here lies a glowing syringe of Formula X.\n\nAlso here are some glass shards.\n\nYour headless body stands here. Gerchis is here, shocked stiff by your still-standing body in the doorway.\n\n> You get the Formula X\nYour body takes the glowing syringe in hand...\n\n> You get the shards\n[get glass]\nYou go scrambling for glass shards. Too small. Useless, no good. You just cut up your hands.\n\n> Punch gerchis\n[kill gerchis]\nGerchis grapples your body and tries to wrest the syringe away from it, but you stab it into him and inject its full contents into Gerchis, who spasms wildly and falls flat on the floor, stone dead.\n\n> You put head on the body\nUnfortunately, you used the last of the formula in the syringe to kill Gerchis. Without Formula X, it's impossible to get your head back on."
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nLAB (upon a metal tray)\nThis is where the doctor plots his evil schemes! From your place on the metal tray, you can see that the room is filled with experimental equipment. Directly opposite of you is an old wooden door with a frosted glass window. It smells strongly of alcohol in here.\n\nAlso here are some glass shards.\n\nYour headless body stands here. Gerchis is here, lifeless on the floor.\n\n> You examine Gerchis\nMoronic hulk with four arms and one hideously bulging eye.\n\n> You take the eye\nTake what?\n\n> You take all\nYou go scrambling for glass shards. Too small. Useless, no good. You just cut up your hands.\n\n> You get the head\nYour body picks up your head. Certainly one of the stranger sensations in life.\n\n> You go east\nFeeling your way around, you shamble east.\n\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall. Your headless body stands here, carrying your head.\n\n> You put the head on the body\nUnfortunately, you used the last of the formula in the syringe to kill Gerchis. Without Formula X, it's impossible to get your head back on.\n\nOof! You bump into a wall.\n\nYou hurry north.\n\nThe only way in and out of the doctor's secret lair. The way out, back into the freezing weather, is to the north, while while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your blood pooling all over the floor. Your metal snow shovel is here. Your headless body stands here, carrying your head.\n\nYou pick up your metal snow shovel.\n\nYou hurry south.\n\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall. Your headless body stands here, carrying your head.\n\nOof! You bump into a wall.\n\nYou hurry west.\n\nThis is where the doctor plots his evil schemes. The room is filled with experimental equipment. On the far end of the room is a sort of metal tray. Equipment fills one other corner. It smells strongly of alcohol in here. Also here are some glass shards. Gerchis is here, lifeless upon the floor. Your headless body stands here, carrying your head.\n\nFeeling your way around, you shamble east.\n\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall. Your headless body stands here, carrying your head.\n\n> You examine equipment\nYou see no such thing.\n\nYou'd have to look at your body to see what you're holding.\n\nYou are carrying your head.\n\nYou hurry west.\n\nThis is where the doctor plots his evil schemes. The room is filled with experimental equipment. On the far end of the room is a sort of metal tray. Equipment fills one other corner. It smells strongly of alcohol in here. Also here are some glass shards. Gerchis is here, lifeless upon the floor. Your headless body stands here, carrying your head.\n\n[get formula x]\nTake what?\n\nYou can't pick him up.\n\nMoronic hulk with four arms and one hideously bulging eye.\n\nYou can't take the tray!\n\n> You get the equipment\nYou can't take the equipment!\n\nYou can't go in that direction, but you can move east.\n\nFeeling your way around, you shamble east.\n\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall. Your headless body stands here, carrying your head.\n\nYou hurry north.\n\nThe only way in and out of the doctor's secret lair. The way out, back into the freezing weather, is to the north, while while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your blood pooling all over the floor. Your headless body stands here, carrying your head.\n\nYou stagger out of the doctor's complex of horror into the cold of Escanaba, but your body is beyond being saved by any refrigeration.\nYou wander in search of the highway for almost an hour, but to no avail.\n\nSome days later, a pair of elderly deer hunters stumble upon your corpse in the woods. Tales of its discovery will haunt their lodges for years to come, but they will not stop the doctor from recreating Formula X...\nBetter luck next time.\n\nWould you like to RESTART, UNDO a turn, or QUIT? Restart\n\n*     *     *     *\n\n... but he has the element of surprise and a bonesaw, and you do not.\n\nI'm afraid you are dead!\nYou scored 0 out of the maximum 0!\nThat is 100% of the game!\n\nThe only way in and out of the doctor's secret lair. The only way out, back into the freezing weather, is to the north, while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your headless body lying on the floor here. Your metal snow shovel lies next to you. Gerchis looms over you with a bonesaw and a blank expression.\n\nThe doctor's ugly servant finishes separating your head from your body and tucks it under one of his lower arms.\n\nGerchis moves south.\nHALLWAY JUNCTION\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall.\n\nGerchis opens the door and enters.\nLAB\nThis is where the doctor plots his evil schemes! The room is filled with experimental equipment. On one far wall is a raised metal tray of some sort. Equipment fills one other corner, but in another lies a syringe of glowing serum! It smells strongly of alcohol in here.\n\nGerchis shuts and locks the door behind him. He places your head on a tray along the far wall.\n\n\"Da doctor will be wit' ya soon as 'e returns from away, which should be any minit now,\" says Gerchis. \"Tings are about to get pretty... heady... for you!\" With a gadawful chortling, the doctor's servant disposes of the bonesaw and goes to work at some equipment at your far right.\n\nIt is all you can do to even keep your eyes open (\"look\").\n\n*        *        *        *\nFor credits, type about and press enter. For hints, type hints and press enter.\n*        *        *        *\n\n> You get the syringe\n[get formula x]\nYour body takes the glowing syringe in hand...\n\n> You get the head\nYour body picks up your head. Certainly one of the stranger sensations in life.\n\n> You go east\nIf your body turned its back on Gerchis, you'd be mincemeat.\nGerchis seems to come unstuck all of a sudden and wrestles with your body. Despite your body's struggle, his four arms overpower you, and he stabs you with the needle in your own hand. Your body collapses to the floor like a rag doll.\n\nWith a wipe at his brow, Gerchis turns to you. \"You're a troublesome one, wa...\" he croaks. \"When da doctor returns, I'll make certain 'e takes special care of you...\"\nBetter luck next time.\n\nWould you like to RESTART, UNDO a turn, or QUIT? Restart\n\n*     *     *     *\n\n... but he has the element of surprise and a bonesaw, and you do not.\n\nI'm afraid you are dead!\nYou scored 0 out of the maximum 0!\nThat is 100% of the game!\n\nThe only way in and out of the doctor's secret lair. The only way out, back into the freezing weather, is to the north, while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your headless body lying on the floor here. Your metal snow shovel lies next to you. Gerchis looms over you with a bonesaw and a blank expression.\n\nThe doctor's ugly servant finishes separating your head from your body and tucks it under one of his lower arms.\n\nGerchis moves south.\nHALLWAY JUNCTION\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall.\n\nGerchis opens the door and enters.\nLAB\nThis is where the doctor plots his evil schemes! The room is filled with experimental equipment. On one far wall is a raised metal tray of some sort. Equipment fills one other corner, but in another lies a syringe of glowing serum! It smells strongly of alcohol in here.\n\nGerchis shuts and locks the door behind him. He places your head on a tray along the far wall.\n\n\"Da doctor will be wit' ya soon as 'e returns from away, which should be any minit now,\" says Gerchis. \"Tings are about to get pretty... heady... for you!\" With a gadawful chortling, the doctor's servant disposes of the bonesaw and goes to work at some equipment at your far right.\n\nIt is all you can do to even keep your eyes open (\"look\").\n\n*        *        *        *\nFor credits, type about and press enter. For hints, type hints and press enter.\n*        *        *        *\n\n> You get shovel\nYou fumble around until your hands close about the shaft of your metal snow shovel. It has a cold heft in your hands, like the certainty of death.\n\n> You hit Gerchis with the shovel\n[kill gerchis with shovel]\nCrack! You pank Gerchis's skull with the shovel and he falls to the floor, strings cut, a dead puppet.\n\n> You get the Formula X\nYour body takes the glowing syringe in hand...\n\n> You put the head on body\nYou sit your head back upon your neck and seal it back together with a small injection of Formula X. A searing pain follows that jolts the whole of you-- you drop the syringe and it shatters on the floor. You shiver in a painful wholeness for a moment, but pull yourself together.\n\nYou will be okay.\n\n> You examine Gerchis\nMoronic hulk with four arms and one hideously bulging eye.\n\n> Go east\nYou move east.\nHALLWAY JUNCTION\nA gradual slope here indicates the floor is rising to the north and descending further west. Other than a trail of blood from your severed head, the area is completely white. A door stands in the western wall.\n\n> You go north\nYou move north.\nENTRYWAY\nThe only way in and out of the doctor's secret lair. The way out, back into the freezing weather, is to the north, while while a hallway leading farther in slopes gradually downward to the south. The area has the sterile look of an unused hospital room, except for your blood pooling all over the floor.\n\n> Go north\nYou rush out of the door into the cold of Escanaba in a frantic search for the highway. You manage to hail a car and get to the police station with your story. At your prompting, they storm the doctor's lab and arrest him for his heinous operations.\n\nYou may have saved the day, but still no-one will ever completely believe the horrifying extent of the time you spent as a teenage headless experiment!\nCongratulations!"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, memorable NPC, fantasy, complex NPC, Zork]\n\nAs in a dream, you see yourself tumbling down a great, dark staircase. All about you are shadowy images of struggles against fierce opponents and diabolical traps. These give way to another round of images: of imposing stone figures, a cool, clear lake, and, now, of an old, yet oddly youthful man. He turns toward you slowly, his long, silver hair dancing about him in a fresh breeze. \"You have reached the final test, my friend! You are proved clever and powerful, but this is not yet enough! Seek me when you feel yourself worthy!\" The dream dissolves around you as his last words echo through the void....\n\nZORK III: The Dungeon Master\n\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nYour old friend, the brass lantern, is at your feet.\n\n[Author's Note: An old, oddly youthful man turns toward you slowly. His long, silver hair dances about him as a fresh breeze blows. \"You have reached the final test, my friend! You are proved clever and powerful, but this is not yet enough! Seek me when you feel yourself worthy!\" Draws you into the deepest and most mysterious reaches of the Great Underground Empire. Nothing is as it seems. And the one responsible for the shadow and darkness - the Dungeon Master - embodies the greatest mystery of all. In this test of wisdom and courage, you will face countless dangers. But what awaits you at the culmination of your odyssey is well worth risking all.]"
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian]\n\n> You take the lantern\nTaken.\n\n> You look at what you're carrying with you\nYou are carrying:\nA lamp\n\n> You examine the lamp\nThe lamp is turned off."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, Zork]\n\n> You describe your surroundings\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\n\n> You go to the south\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are at the junction of a north-south passage and an east-west passage. To the north, you can make out the bottom of a stairway. The ways to the east and south are relatively cramped, but a wider trail leads to the west.\nStanding before you is a great rock. Imbedded within it is an Elvish sword.\n\n> You turn on the lamp\nIt is already on.\n\n> You examine rock\nThe great rock contains:\nA sword\n\n> You take the sword\nThe sword is deeply imbedded within the rock. You can't even begin to budge it."
    },
    {
        "text": "> You describe your surroundings\nYou are at the junction of a north-south passage and an east-west passage. To the north, you can make out the bottom of a stairway. The ways to the east and south are relatively cramped, but a wider trail leads to the west.\nStanding before you is a great rock. Imbedded within it is an Elvish sword.\n\n> You examine yourself\nThat's difficult unless your eyes are prehensile.\n\n> You go to the west\nYou are west of the junction, where the rock-bound passage widens out into a large, flat area. Although the land here is barren, you can see vegetation to the west. South of here is a mighty wall of stone, ancient and crumbling. To the southwest the wall has decayed enough to form an opening, through which seeps a thin mist. A trail dips sharply into rocky terrain to the northwest.\n\n> Go southwest\nYou are in a shadowy land of low, rolling hills stretching out to the west and south. The land is bordered to the north by a massive stone wall. Ancient and weathered, the wall has crumbled enough at one point to permit passage.\nThrough the shadows, a cloaked and hooded figure appears before you, blocking the southeastern exit from the room and carrying a brightly glowing sword.\nFrom nowhere, the sword from the junction appears in your hand, wildly glowing!\n\n> You hit the figure with the sword\nA quick stroke catches the hooded figure off guard! Blood trickles down the figure's arm!\nThe figure has a light wound which hasn't affected its seemingly great strength.\nYou are wounded by a lightning thrust!\n\n> Diagnose\nYou are wounded lightly. You have a good deal of strength in reserve. The hooded figure catches you off guard and wounds you!\n\n> You hit the figure with the sword\nYour move was not quick enough and misses the mark.\nYou are wounded by a lightning thrust!\n\n> You continue\nA good slash, but it misses by a mile.\nYou are wounded by a lightning thrust!\n\n> Continue\nYour move was not quick enough and misses the mark.\nThe hooded figure swings its sword and sends yours flying to the ground. Although you are defenseless, the figure reaches for your sword and hands it back to you, nodding grimly.\n\n> You check what you're carrying\nYou are carrying:\nA sword\nA lamp\nThe hooded figure stabs nonchalantly with its sword and misses.\n\n> You hit the figure with the sword\nYou charge, but the hooded figure jumps nimbly aside.\nThe hooded figure stabs nonchalantly with its sword and misses.\n\n> Continue\nYou charge, but the hooded figure jumps nimbly aside.\nYou dodge as the hooded figure comes in low.\n\n> Keep going\nA good parry! Your sword wounds the hooded figure!\nThe figure has some wounds and is probably not capable of hindering your movement.\nThe hooded figure swings its sword and sends yours flying to the ground. Although you are defenseless, the figure reaches for your sword and hands it back to you, nodding grimly.\n\n> Keep going\nA quick stroke, but the hooded figure is on guard.\nThe hooded figure swings its sword and sends yours flying to the ground. Although you are defenseless, the figure reaches for your sword and hands it back to you, nodding grimly.\n\n> Continue\nA quick stroke, but the hooded figure is on guard.\nYour quick reflexes cannot stop the hooded figure's stroke! You are hit!\n\n> Keep going\nA quick stroke catches the hooded figure off guard! Blood trickles down the figure's arm!\nThe figure has some wounds and is probably not capable of hindering your movement.\nThe hooded figure thrusts, but you fight back and send it flying to the ground!\n\n> Continue\nA quick stroke catches the hooded figure off guard! Blood trickles down the figure's arm!\nThe figure is hurt, and its strength appears to be fading.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> Continue\nA quick stroke catches the hooded figure off guard! Blood trickles down the figure's arm!\nThe figure appears to be badly hurt and defenseless.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> Continue\nYour opponent blocks your attack with its sword.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You keep going\nYou charge, but the hooded figure jumps nimbly aside.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> Continue\nA good stroke, but it's too slow.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You continue\nA sharp thrust and the hooded figure is badly wounded!\nThe figure appears to be badly hurt and defenseless.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You hit the figure with the sword\nThe hooded figure, fatally wounded, slumps to the ground. It gazes up at you once, and you catch a brief glimpse of deep and sorrowful eyes. Before you can react, the figure vanishes in a cloud of fetid vapor."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, complex NPC, Zork]\n\n> Look around\nYou are in a shadowy land of low, rolling hills stretching out to the west and south. The land is bordered to the north by a massive stone wall. Ancient and weathered, the wall has crumbled enough at one point to permit passage.\nA cloaked and hooded person, carrying a sword not unlike your own, is here.\nThe hooded figure appears to be badly hurt and defenseless.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You examine the hood\nI see nothing special about the hood.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You give the sword to the figure\nThe hooded figure isn't interested in your gifts.\nThe hooded figure attempts a thrust, but its weakened state prevents hitting you.\n\n> You take the hood\nYou slowly remove the hood from your badly wounded opponent and recoil in horror at the sight of your own face, weary and wounded. A faint smile comes to the lips and then the face starts to change, very slowly, into that of an old, wizened person. The image fades and with it the body of your hooded opponent. The cloak remains on the ground."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy]\n\n> Look around\nYou are in a shadowy land of low, rolling hills stretching out to the west and south. The land is bordered to the north by a massive stone wall. Ancient and weathered, the wall has crumbled enough at one point to permit passage.\n\n> You turn off the lamp\nThe lamp is now off.\nIt is now pitch black.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are in a shadowy land of low, rolling hills stretching out to the west and south. The land is bordered to the north by a massive stone wall. Ancient and weathered, the wall has crumbled enough at one point to permit passage."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl]\n\n> You look at your surroundings\nYou are west of the junction, where the rock-bound passage widens out into a large, flat area. Although the land here is barren, you can see vegetation to the west. South of here is a mighty wall of stone, ancient and crumbling. To the southwest the wall has decayed enough to form an opening, through which seeps a thin mist. A trail dips sharply into rocky terrain to the northwest.\n\n> Go northwest\nYou are at a sharp turn on a narrow and steeply sloping path, strewn with boulders of various sizes. The path climbs sharply toward a desolate plain to the southeast. Southwest of here the path winds down to the base of a cliff.\n\n> You go to the southwest\nYou are at the base of a steep cliff. Directly above you is a wide ledge and far above that some natural sunlight can be seen. To the northeast is a steeply climbing path and the ground becomes sandy toward the south.\n\n> You go south\nYou are at the shore of an amazing underground sea, the topic of many a legend among adventurers. Few were known to have arrived at this spot, and fewer to return. There is a heavy surf and a breeze is blowing on-shore. The land rises steeply to the east and quicksand prevents movement to the south. A thick mist covers the ocean and extends over the hills to the east. A path heads north along the beach.\n\n> You check your inventory\nYou are carrying:\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\n\n> Go south\nThe quicksand prevents movement here.\n\n> You go to the east\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on the lamp\nThe lamp is now on.\n\nYou are in a land of dark shadows and shallow hills, which stretch out in all directions. To the west, the land dips sharply.\n\n> Go south\nYou are in a dark and shadowy land. All around you are gentle hills and eerie shadows. Far above, shrouded in mist, you can barely make out the ceiling of the enormous cavern that spans this entire land.\n\n> Go west\nYou are standing atop a steep cliff, looking west over a vast ocean. Far below, the surf pounds at a sandy beach. To the south and east are rolling hills filled with eerie shadows. A path cut into the face of the cliff descends toward the beach. To the north is a tall stone wall, which ends at the cliff edge. It was obviously built long ago, and directly north is a spot where you could climb over the rubble of the decaying wall.\n\n> You wait for a while\nTime passes...\nPassing alongside the shore now is an old boat, reminiscent of an ancient Viking ship. Standing on the prow of the ship is an old and crusty sailor, peering out over the misty ocean.\n\n> Wave\nWhat do you want to wave?\n\n> You look\nYou are at the shore of an amazing underground sea, the topic of many a legend among adventurers. Few were known to have arrived at this spot, and fewer to return. There is a heavy surf and a breeze is blowing on-shore. The land rises steeply to the east and quicksand prevents movement to the south. A thick mist covers the ocean and extends over the hills to the east. A path heads north along the beach.\nThere is a vial here.\n\n> You examine vial\nIt is a small, transparent vial which looks empty but is strangely heavy.\n\n> Inventory\nYou are carrying:\nA vial\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\n\n> You go north\nYou are at the base of a steep cliff. Directly above you is a wide ledge and far above that some natural sunlight can be seen. To the northeast is a steeply climbing path and the ground becomes sandy toward the south.\n\n> You go to the north-east\nYou are at a sharp turn on a narrow and steeply sloping path, strewn with boulders of various sizes. The path climbs sharply toward a desolate plain to the southeast. Southwest of here the path winds down to the base of a cliff.\n\n> Go southeast\nYou are west of the junction, where the rock-bound passage widens out into a large, flat area. Although the land here is barren, you can see vegetation to the west. South of here is a mighty wall of stone, ancient and crumbling. To the southwest the wall has decayed enough to form an opening, through which seeps a thin mist. A trail dips sharply into rocky terrain to the northwest.\n\n> Go east\nYou are at the junction of a north-south passage and an east-west passage. To the north, you can make out the bottom of a stairway. The ways to the east and south are relatively cramped, but a wider trail leads to the west.\nStanding before you is a great rock.\n\n> You go to the south\nYou are in a dank passage filled with a wispy fog. A spooky passageway leads north and a wider path heads off to the south. To the west, the path leaves the rock and enters an eerie, shadowy land.\n\n> You go south\nYou are in a wide cavern on the north shore of a small lake. Some polished stone steps lead to the southeast and a sheer rock face prevents any movement around the lake to the southwest. The cavern is dimly lit from above.\n\n> Go southwest\nThe sheer rock face prevents movement along the lake shore.\n\n> You go to the south-east\nThis is a small balcony carved into a near-vertical cliff. To the east, stretching from north to south, stands a monumental aqueduct supported by mighty stone pillars, some of which are starting to crumble from age. You feel a sense of loss and sadness as you ponder this once-proud structure and the failure of the Empire which created this and other engineering marvels. Some stone steps lead up to the northwest.\n\n> You examine the aqueduct\nThe aqueduct is large and impressive. It was probably the major method of water transport in the Empire.\n\n> You enter the aqueduct\nYou hit your head against the aqueduct as you attempt this feat.\n\n> Swim\nGo jump in a lake!\n\n> You jump in lake\nThe shock of entering the frigid water has made you drop all your possessions into the lake!\n\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You drop the lamp\nDropped.\n\n> You turn off the lamp\n(Taken)\nIt is already off.\n\n> Inventory\nYou are carrying:\nA cloak (being worn)\nA hood (being worn)\nA sword\n\n> You jump in the lake\nYou are nearly paralyzed by the icy waters as you swim into the center of the lake.\n\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, memorable NPC]\n\n> Go downward\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nYou catch a brief glimpse of something shiny in the sand.\n\n> You go south\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\n\n> You take shiny\nThe shiny object slips from your grasp and back onto the floor of the lake, where it is covered in sand.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\nThe icy waters are taking their toll. You will not be able to hold out much longer.\n\n> Go upward\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You go west\nYou are on the western shore of the lake. The ground here is quite hard, but a few sickly reeds manage to grow near the water's edge. The only path leads into the rock to the south.\n\n> You take shiny\nThe shiny object slips from your grasp and back onto the floor of the lake, where it is covered in sand.\nYou catch a brief glimpse of something shiny in the sand."
    },
    {
        "text": "> Go downward\nYou are already at the bottom of the lake.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\nYou run out of air and return to the surface.\nOn the Lake\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You take shiny\nThe shiny object slips from your grasp and back onto the floor of the lake, where it is covered in sand.\nA large and hungry-looking fish is swimming in the neighborhood.\nYou are becoming very weak. You had better leave the water before you drown!\n\n> Go upward\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You go west\nYou are on the western shore of the lake. The ground here is quite hard, but a few sickly reeds manage to grow near the water's edge. The only path leads into the rock to the south.\n\n> Go south\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"III\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\nThere is a great tremor from within the earth. The entire dungeon shakes violently and loose debris starts to fall from above you."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, Zork]\n\n> Look around\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"III\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\n\n> You take shiny\nThe shiny object slips from your grasp and back onto the floor of the lake, where it is covered in sand.\nSomething sparkling in the sand catches your eye for a moment.\n\n> Keep going\nThe shiny object slips from your grasp and back onto the floor of the lake, where it is covered in sand.\nYou catch a brief glimpse of something shiny in the sand.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\nYou run out of air and return to the surface.\nOn the Lake\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You take shiny\nYou reach the shiny object. It is a simple golden amulet!\nYou are becoming very weak. You had better leave the water before you drown!\n\n> Go upward\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You go west\nYou are on the western shore of the lake. The ground here is quite hard, but a few sickly reeds manage to grow near the water's edge. The only path leads into the rock to the south.\n\n> Go south\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"II\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\n\n> You look at what you're carrying with you\nYou are carrying:\nA golden amulet (being worn)\nA cloak (being worn)\nA hood (being worn)\n\n> Examine indicator\nThe indicator reads \"II\".\nThe indicator above the table flickers briefly, then changes to \"III\"."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, Zork]\n\n> Look around\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"III\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\n\n> You examine table\nThe surface is pale and featureless, but slowly, an image takes shape! You see a wide room with two nearly identical passages leading east and northeast. A wide channel descends steeply into the room and seems to be blocked by rubble.\nThe image slowly fades.\n\n> You get on the table\nYou can't climb onto the viewing table.\nThe indicator above the table flickers briefly, then changes to \"IV\".\n\n> You enter the table\nYou hit your head against the viewing table as you attempt this feat.\n\n> You hit table\nWhat do you want to hit the table with?\n\n> You touch the table\nYou touch the table and are instantly transported to another place!\n\nThis is the interior of a huge temple of primitive construction. A few flickering torches cast a sallow illumination over the altar, which is still drenched with the blood of human sacrifice. Behind the altar is an enormous statue of a demon which seems to reach towards you with dripping fangs and razor-sharp talons. A low noise begins behind you, and you turn to see hundreds of hunched and hairy shapes. A guttural chant issues from their throats. Near you stands a figure draped in a robe of deepest black, brandishing a huge sword. The chant grows louder as the robed figure approaches the altar. The large figure spots you and approaches menacingly. He reaches into his cloak and pulls out a great, glowing dagger. He pulls you onto the altar, and with a murmur of approval from the throng, he slices you neatly across your abdomen.\n\n****  You have died  ****\n\nYou find yourself deep within the earth in a barren prison cell. Outside the iron-barred window, you can see a great, fiery pit. Flames leap up and very nearly sear your flesh. After a while, footfalls can be heard in the distance, then closer and closer.... The door swings open, and in walks an old man.\n\nHe is dressed simply in a hood and cloak, wearing a few simple jewels, carrying something under one arm, and leaning on a wooden staff. A single key, as if to a massive prison cell, hangs from his belt.\n\nHe raises the staff toward you and you hear him speak, as if in a dream: \"I await you, though your journey be long and full of peril. Go then, and let me not wait long!\" You feel some great power well up inside you and you fall to the floor. The next moment, you are awakening, as if from a deep slumber.\n\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nThere is a lamp here."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, complex NPC]\n\n> Look around\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nThere is a lamp here.\n\n> You turn on lamp\nThe lamp is now on.\n\nYou are in a dank passage filled with a wispy fog. A spooky passageway leads north and a wider path heads off to the south. To the west, the path leaves the rock and enters an eerie, shadowy land.\n\n> Go west\nYou are at the eastern end of a dark, featureless landscape of shallow hills. Paths to the east and southeast re-enter the rock.\n\n> Go north\nYou are at the junction of a north-south passage and an east-west passage. To the north, you can make out the bottom of a stairway. The ways to the east and south are relatively cramped, but a wider trail leads to the west.\nStanding before you is a great rock.\n\n> Go east\nThis is a particularly damp spot even by dungeon standards. You can see a crossroads to the west, and two nearly identical passages lead east and northeast. A stone channel, wide and deep, steeply descends into the room from the south. It is covered with moss and lichen, and is far too slippery to climb. The channel crosses the room, but the opening where it once continued north is now blocked by rubble.\n\n> Go south\nThe channel is too steep and the moss too slippery.\n\n> Go northeast\nYou are in a room with passages heading southwest and southeast. The north wall is ornately carved, filled with strange runes and writing in an unfamiliar language.\nAn old and wizened man is huddled, asleep, in the corner. He is snoring loudly. From his appearance, he is weak and frail.\n\n> You hit the man\n(with the sword)\nThe attack seems to have left the old man unharmed! You watch in awe as he rises to his feet and seems to tower above you. He peers down menacingly, then sadly and wearily. \"Not yet,\" he mourns, and vanishes in a puff of smoke.\n\n> You go northwest\nYou are in a room with passages heading southwest and southeast. The north wall is ornately carved, filled with strange runes and writing in an unfamiliar language.\n\n> You go north\nThe channel opening is blocked by tons of debris.\n\n> Hit the debris\n(with the sword)\nI've known strange people, but fighting a dust and debris?\n\n> You wait awhile\nTime passes...\n\n> Wait\nTime passes...\nThere is a great tremor from within the earth. The entire dungeon shakes violently and loose debris starts to fall from above you.\n\n> Go south\nA stone wall blocks your way.\n\n> Go west\nThis is a remarkable spot in the dungeon. Perhaps two hundred feet above you is a gaping hole in the earth's surface through which pours bright sunshine! A few seedlings from the world above, nurtured by the sunlight and occasional rains, have grown into giant trees, making this a virtual oasis in the desert of the Underground Empire. To the west is a sheer precipice, dropping nearly fifty feet to jagged rocks below. The way south is barred by a forbidding stone wall, crumbling from age. There is a jagged opening in the wall to the southwest, through which leaks a fine mist. The land to the east looks lifeless and barren.\nA rope is tied to one of the large trees here and is dangling over the side of the cliff, reaching down to the shelf below.\nIt seems as if somebody has been here recently, as there is some fresh bread lying beneath one of the other trees."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy]\n\n> Look around\nThis is a remarkable spot in the dungeon. Perhaps two hundred feet above you is a gaping hole in the earth's surface through which pours bright sunshine! A few seedlings from the world above, nurtured by the sunlight and occasional rains, have grown into giant trees, making this a virtual oasis in the desert of the Underground Empire. To the west is a sheer precipice, dropping nearly fifty feet to jagged rocks below. The way south is barred by a forbidding stone wall, crumbling from age. There is a jagged opening in the wall to the southwest, through which leaks a fine mist. The land to the east looks lifeless and barren.\nA rope is tied to one of the large trees here and is dangling over the side of the cliff, reaching down to the shelf below.\n\n> You climb the rope\nThis is a rock-strewn ledge near the base of a tall cliff. The bottom of the cliff is another fifteen feet below. You have little hope of climbing up the cliff face, but you might be able to scramble down from here (though it's doubtful you could return).\nA long piece of rope is dangling down from the top of the cliff and is within your reach.\nA large chest, closed and locked, is lying among the boulders.\n\n> You check what you're carrying\nYou are carrying:\nA piece of waybread\nA vial\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp"
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, complex NPC, memorable NPC, fantasy]\n\n> You look around\nThis is a rock-strewn ledge near the base of a tall cliff. The bottom of the cliff is another fifteen feet below. You have little hope of climbing up the cliff face, but you might be able to scramble down from here (though it's doubtful you could return).\nA long piece of rope is dangling down from the top of the cliff and is within your reach.\nA large chest, closed and locked, is lying among the boulders.\nAt the edge of the cliff above you, a man appears. He looks down at you and speaks. \"Hello, down there! You seem to have a problem. Maybe I can help you.\" He chuckles in an unsettling sort of way. \"Perhaps if you tied that chest to the end of the rope I might be able to drag it up for you. Then, I'll be more than happy to help you up!\" He laughs again.\n\n> You tie the rope to the chest\nThe chest is now tied to the rope.\nThe man above you looks pleased. \"Now there's a good friend! Thank you very much, indeed!\" He pulls on the rope and the chest is lifted to the top of the cliff and out of sight. With a short laugh, he disappears. \"I'll be back in a short while!\" are his last words.\n\n> You wait awhile\nTime passes...\n\n> You wait\nTime passes...\nA familiar voice calls down to you. \"Are you still there?\" he bellows with a coarse laugh. \"Well, then, grab onto the rope and we'll see what we can do.\" The rope drops to within your reach.\n\n> You grab the rope\nYou grab securely on to the rope.\nThe man starts to heave on the rope and within a few moments you arrive at the top of the cliff. The man removes the last few valuables from the chest and prepares to leave. \"You've been a good sport! Here, take this, for whatever good it is! I can't see that I'll be needing one!\" He hands you a plain wooden staff from the bottom of the chest and begins examining his valuables.\nThe chest, open and empty, is at your feet."
    },
    {
        "text": "> Look around\nThis is a remarkable spot in the dungeon. Perhaps two hundred feet above you is a gaping hole in the earth's surface through which pours bright sunshine! A few seedlings from the world above, nurtured by the sunlight and occasional rains, have grown into giant trees, making this a virtual oasis in the desert of the Underground Empire. To the west is a sheer precipice, dropping nearly fifty feet to jagged rocks below. The way south is barred by a forbidding stone wall, crumbling from age. There is a jagged opening in the wall to the southwest, through which leaks a fine mist. The land to the east looks lifeless and barren.\nA rope is tied to one of the large trees here and is dangling over the side of the cliff, reaching down to the shelf below.\nThere is a man here.\nThere is a chest here.\nYour \"friend\", moving quickly, dodges behind some trees and is lost from sight.\n\n> You check your inventory\nYou are carrying:\nA wooden staff\nA piece of waybread\nA vial\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\n\n> You eat the bread\nThank you very much. It really hit the spot."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, Zork, complex NPC]\n\n> Look around\nThis is a remarkable spot in the dungeon. Perhaps two hundred feet above you is a gaping hole in the earth's surface through which pours bright sunshine! A few seedlings from the world above, nurtured by the sunlight and occasional rains, have grown into giant trees, making this a virtual oasis in the desert of the Underground Empire. To the west is a sheer precipice, dropping nearly fifty feet to jagged rocks below. The way south is barred by a forbidding stone wall, crumbling from age. There is a jagged opening in the wall to the southwest, through which leaks a fine mist. The land to the east looks lifeless and barren.\nA rope is tied to one of the large trees here and is dangling over the side of the cliff, reaching down to the shelf below.\nThere is a chest here."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, Zork, fantasy, complex NPC]\n\n> Go downward\nThis is a rock-strewn ledge near the base of a tall cliff. The bottom of the cliff is another fifteen feet below. You have little hope of climbing up the cliff face, but you might be able to scramble down from here (though it's doubtful you could return).\nA long piece of rope is dangling down from the top of the cliff and is within your reach.\n\n> You drop all\nwooden staff: Dropped.\nvial: Dropped.\ncloak: Dropped.\nhood: Dropped.\nsword: Dropped.\nlamp: Dropped.\n\n> You jump in Lake\nYou are nearly paralyzed by the icy waters as you swim into the center of the lake.\n\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> Go south\nYou are on the south shore of the lake. Rock formations prevent movement to the west and thickening swamp to the east makes the going all but impossible. To the south, where the beach meets a rock formation, you can make out a dark passage sloping steeply upward into the rock.\n\n> You go to the east\nThe swamp is too thick.\n\n> Wait\nTime passes...\nThe indicator above the table flickers briefly, then changes to \"IV\".\n\n> You wait awhile\nTime passes...\nThe indicator above the table flickers briefly, then changes to \"I\".\n\n> You wait\nTime passes...\nThe indicator above the table flickers briefly, then changes to \"II\".\n\n> You touch the table\nYou touch the table and are instantly transported to another place!\n\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You touch the table\nIt's too dark to see.\n\n> Wait\nTime passes...\nYou suddenly find yourself back in the viewing room!"
    },
    {
        "text": "> You look at your surroundings\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"II\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\nThe indicator above the table flickers briefly, then changes to \"III\".\n\n> You touch the table\nYou touch the table and are instantly transported to another place!\n\nThis is a small chamber carved out of the rock at the end of a short crawl. On the wall is crudely chiseled the number \"8\". The only apparent exit, to the east, seems to be a blur and a loud, whirring sound resounds through the rock.\nA spray can is in the corner. In large type is the legend \"Frobozz Magic Grue Repellent.\""
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, complex NPC, Zork, memorable NPC]\n\n> Look around\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"II\".\nThe indicator above the table flickers briefly, then changes to \"III\"."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, memorable NPC]\n\n> Go downward\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a burned-out torch here.\nThere is a Frobozz Magic Grue Repellent here.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\n\n> You take the can\nTaken.\nYou catch a brief glimpse of something shiny in the sand.\n\n> Go upward\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\n\n> You spray yourself\nWhat do you want to spray the me on?\n\n> You apply can\nWhat do you want to apply the can to?\n\n> You spray the grue on yourself\nHow singularly useless.\n\n> You apply the can to yourself\nThe spray smells like a mixture of old socks and burning rubber. If I were a grue I'd sure stay clear!\n\n> Go south\nIt is pitch black.\n\n> Go south\nThere are sinister gurgling noises in the darkness all around you!\nIt is pitch black.\nThe ground continues to slope upwards away from the lake. You can barely  detect a dim light from the east.\n\n> Go east\nYou are between some rock and a dark place, The room is lit dimly from above, revealing a lone, dark path sloping down to the west.\nTo one side of the room is a large manhole cover.\nThe light from above seems to be focused in the center of the room, where a single key is lying in the dust.\n\n> You take the key\nTaken.\nThat horrible smell is much less pungent now.\n\n> You take the cover\nThe cover is far too heavy to take.\n\n> You move the cover\nThe cover is moved a bit to one side, revealing a small hole leading into darkness."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, fantasy, memorable NPC]\n\n> Go downward\nYou are in a wide stone channel, part of the water supply system for the Great Underground Empire. The source of water was a waterfall to the south, which has long since dried up. Water flowed along the aqueduct to the north. This region is lit from above, although the source of light is not apparent.\n\n> You go north\nYou are now on one of the tallest arches of the aqueduct, hundreds of feet above a rocky chasm. The immensity of the aqueduct project is apparent from here. Stone supports rise from the rock floor to form massive arches, which traverse the region from north to south. The water-carrying channel here is wide and deep. To the west and far below, you can make out a balcony which must command a wide view of the aqueduct.\nThe channel ends abruptly to your north where a supporting pillar has crumbled, casting the arch into the chasm.\n\n> Go upwards\nThe hole is too far above your head.\n\n> You drop all\ncloak: Dropped.\nhood: Dropped.\nsword: Dropped.\nlamp: Dropped.\n\n> You turn off the lamp\n(Taken)\nThe lamp is now off.\n\n> You jump in Lake\nThe shock of entering the frigid water has made you drop all your possessions into the lake!\n\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> Drop\nWhat do you want to drop?\n\n> All\ncloak: Dropped.\nhood: Dropped.\nsword: Dropped.\nlamp: Dropped.\n\n> Go south\nYou are in a small chamber carved in the rock, with the sole exit to the north. Mounted on one wall is a table labelled \"Scenic Vista,\" whose featureless surface is angled toward you. One might believe that the table was used to indicate points of interest in the view from this spot, like those found in many parks. On the other hand, your surroundings are far from spacious and by no stretch of the imagination could this spot be considered scenic. An indicator above the table reads \"IV\".\nMounted on one wall is a flaming torch, which fills the room with a flickering light.\n\n> You take the torch\nTaken.\nThe indicator above the table flickers briefly, then changes to \"I\".\n\n> You take can\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nSomething sparkling in the sand catches your eye for a moment.\n\n> Inventory\nYou are empty handed.\n\n> You jump in Lake\nYou are nearly paralyzed by the icy waters as you swim into the center of the lake.\n\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, memorable NPC]\n\n> You go down\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a burned-out torch here.\nThere is a Frobozz Magic Grue Repellent here.\nSomething sparkling in the sand catches your eye for a moment.\n\n> You take the can\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\n\n> You take the can\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nSomething sparkling in the sand catches your eye for a moment.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\nYou run out of air and return to the surface.\nOn the Lake\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however."
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian]\n\n> Go downwards\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a burned-out torch here.\nThere is a Frobozz Magic Grue Repellent here.\nA large and hungry-looking fish is swimming in the neighborhood.\n\n> Go north\nYou are now on one of the tallest arches of the aqueduct, hundreds of feet above a rocky chasm. The immensity of the aqueduct project is apparent from here. Stone supports rise from the rock floor to form massive arches, which traverse the region from north to south. The water-carrying channel here is wide and deep. To the west and far below, you can make out a balcony which must command a wide view of the aqueduct.\n\n> You go to the north\nYou are near the northern end of this segment of the aqueduct system. To the south and slightly uphill, the bulk of the aqueduct looms ominously, towering above a gorge. To the north, the water channel drops precipitously and enters a rocky hole. The damp moss and lichen would certainly make that a one-way trip.\n\n> You go north\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You go north\nThe channel opening is blocked by tons of debris."
    },
    {
        "text": "> You look at your surroundings\nIt is pitch black. You are likely to be eaten by a grue.\nThere is a great tremor from within the earth. The entire dungeon shakes violently and loose debris starts to fall from above you.\n\n> Go south\nThe channel is too steep and the moss too slippery."
    },
    {
        "text": "> Go downwards\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a Frobozz Magic Grue Repellent here.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\n\n> You take the can\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\n\n> You take the can\nTaken.\nYou catch a brief glimpse of something shiny in the sand.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\nYou run out of air and return to the surface.\nOn the Lake\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however.\n\n> You go south\nOh, no! A dozen or more lurking grues attack at once and devour you! From the look of things, I would guess that you had interrupted a grue convention!\n\n****  You have died  ****\n\nYou find yourself deep within the earth in a barren prison cell. Outside the iron-barred window, you can see a great, fiery pit. Flames leap up and very nearly sear your flesh. After a while, footfalls can be heard in the distance, then closer and closer.... The door swings open, and in walks an old man.\n\nHe is dressed simply in a hood and cloak, wearing a few simple jewels, carrying something under one arm, and leaning on a wooden staff. A single key, as if to a massive prison cell, hangs from his belt.\n\nHe raises the staff toward you and you hear him speak, as if in a dream: \"I await you, though your journey be long and full of peril. Go then, and let me not wait long!\" You feel some great power well up inside you and you fall to the floor. The next moment, you are awakening, as if from a deep slumber.\n\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nThere is a lamp here."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, memorable NPC]\n\n> Go downward\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a Frobozz Magic Grue Repellent here.\nA large and hungry-looking fish is swimming in the neighborhood."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, fantasy, memorable NPC]\n\n> Go downward\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a Frobozz Magic Grue Repellent here.\nYou catch a brief glimpse of something shiny in the sand.\nThe icy waters are taking their toll. You will not be able to hold out much longer.\n\n> You take can\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nSomething sparkling in the sand catches your eye for a moment.\n\n> You keep going\nThe Frobozz Magic Grue Repellent is yours for a moment, but drops from your grasp.\nOut of the corner of your eye, a small, shiny object appears in the sand. A moment later, it is gone!\nYou are becoming very weak. You had better leave the water before you drown!\nYou run out of air and return to the surface.\nOn the Lake\nYou are floating on the surface of the lake. The water is ice cold and your ability to survive here for long is very questionable. A swim north puts you at your starting point. Conditions to the east are poor where the lake turns into swamp. The west and south shores are suitable for walking, however."
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, memorable NPC, complex NPC]\n\n> Go downward\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a Frobozz Magic Grue Repellent here.\nYou catch a brief glimpse of something shiny in the sand.\n\n> Go south\nThere are sinister gurgling noises in the darkness all around you!\nIt is pitch black.\nThe ground continues to slope upwards away from the lake. You can barely  detect a dim light from the east.\nThat horrible smell is much less pungent now.\n\n> You apply the can to yourself\nThe repellent is all gone.\n\n> You touch the table\nYou touch the table and are instantly transported to another place!\n\nThis is a particularly damp spot even by dungeon standards. You can see a crossroads to the west, and two nearly identical passages lead east and northeast. A stone channel, wide and deep, steeply descends into the room from the south. It is covered with moss and lichen, and is far too slippery to climb. The channel crosses the room, but the opening where it once continued north is now blocked by rubble.\n\n> You drop the torch\nDropped.\n\n> You jump in Lake\nThe shock of entering the frigid water has made you drop all your possessions into the lake!"
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, Zork]\n\n> Go downwards\nYou are below the surface of the lake. It turns out that the lake is quite shallow and the bottom is only a few feet below you. Considering the frigid temperature of the water, you should probably not plan an extended stay. The lake bottom is sandy and a few hearty plants and algae live there.\nThere is a Frobozz Magic Grue Repellent here.\nSomething sparkling in the sand catches your eye for a moment.\n\n> Go upward\nA giant roc, previously hidden among the rocks, is heading right toward you, its mouth gaping wide!"
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, fantasy, memorable NPC, complex NPC]\n\n> Go downwards\nYou catch a brief glimpse of something shiny in the sand.\n\n> Go upwards\nThe roc snatches you in its jaws and has you for lunch.\n\n****  You have died  ****\n\nYou find yourself deep within the earth in a barren prison cell. Outside the iron-barred window, you can see a great, fiery pit. Flames leap up and very nearly sear your flesh. After a while, footfalls can be heard in the distance, then closer and closer.... The door swings open, and in walks an old man.\n\nHe is dressed simply in a hood and cloak, wearing a few simple jewels, carrying something under one arm, and leaning on a wooden staff. A single key, as if to a massive prison cell, hangs from his belt.\n\nHe raises the staff toward you and you hear him speak, as if in a dream: \"I await you, though your journey be long and full of peril. Go then, and let me not wait long!\" You feel some great power well up inside you and you fall to the floor. The next moment, you are awakening, as if from a deep slumber.\n\nThere is a lamp here.\n\n> Go upward\nThe icy waters are taking their toll. You will not be able to hold out much longer.\n\n> Go north\nThere is a torch here.\n\n> You check your inventory\nYou are carrying:\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\n\n> You go west\nStanding before you is a great rock.\n\n> Unlock chest\nWhat do you want to unlock the chest with?\n\n> You wait for a while\nTime passes...\nAt the edge of the cliff above you, a man appears. He looks down at you and speaks. \"Hello, down there! You seem to have a problem. Maybe I can help you.\" He chuckles in an unsettling sort of way. \"Perhaps if you tied that chest to the end of the rope I might be able to drag it up for you. Then, I'll be more than happy to help you up!\" He laughs again.\n\n> You tie the chest to the rope\nThe chest is now tied to the rope.\nThe man above you looks pleased. \"Now there's a good friend! Thank you very much, indeed!\" He pulls on the rope and the chest is lifted to the top of the cliff and out of sight. With a short laugh, he disappears. \"I'll be back in a short while!\" are his last words.\nThere is a great tremor from within the earth. The entire dungeon shakes violently and loose debris starts to fall from above you.\n\n> You check your inventory\nYou are carrying:\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\nYour \"friend\", moving quickly, dodges behind some trees and is lost from sight."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl]\n\n> You look at your surroundings\nThis is a remarkable spot in the dungeon. Perhaps two hundred feet above you is a gaping hole in the earth's surface through which pours bright sunshine! A few seedlings from the world above, nurtured by the sunlight and occasional rains, have grown into giant trees, making this a virtual oasis in the desert of the Underground Empire. To the west is a sheer precipice, dropping nearly fifty feet to jagged rocks below. The way south is barred by a forbidding stone wall, crumbling from age. There is a jagged opening in the wall to the southwest, through which leaks a fine mist. The land to the east looks lifeless and barren.\nA rope is tied to one of the large trees here and is dangling over the side of the cliff, reaching down to the shelf below.\nIt seems as if somebody has been here recently, as there is some fresh bread lying beneath one of the other trees.\nThere is a chest here."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, Zork, fantasy, complex NPC]\n\n> Go downward\nThis is a rock-strewn ledge near the base of a tall cliff. The bottom of the cliff is another fifteen feet below. You have little hope of climbing up the cliff face, but you might be able to scramble down from here (though it's doubtful you could return).\nA long piece of rope is dangling down from the top of the cliff and is within your reach."
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, Zork, complex NPC, memorable NPC]\n\n> Go down\nYou are at the base of a steep cliff. Directly above you is a wide ledge and far above that some natural sunlight can be seen. To the northeast is a steeply climbing path and the ground becomes sandy toward the south.\n\n> You go south\nYou are at the shore of an amazing underground sea, the topic of many a legend among adventurers. Few were known to have arrived at this spot, and fewer to return. There is a heavy surf and a breeze is blowing on-shore. The land rises steeply to the east and quicksand prevents movement to the south. A thick mist covers the ocean and extends over the hills to the east. A path heads north along the beach.\n\n> You wait awhile\nTime passes...\n\n> You check your inventory\nYou are carrying:\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\n\n> You check your inventory\nYou are carrying:\nA vial\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\n\n> You go south\nYou are in a wide cavern on the north shore of a small lake. Some polished stone steps lead to the southeast and a sheer rock face prevents any movement around the lake to the southwest. The cavern is dimly lit from above.\nThere is a lamp here.\nThere is a sword here.\nThere is a hood here.\nThere is a cloak here.\n\n> You take all\nlamp: Taken.\nsword: Taken.\nhood: You are now wearing the hood.\ncloak: You are now wearing the cloak.\n\n> Go east\nThis is a very low and narrow passage leading east to west.\n\n> Go east\nThis is a chamber of breathtaking beauty. Mighty stalagmites form structured shapes of rock, encrusted with crystalline formations. Phosphorescent mosses, fed by a trickle of water from some unseen source above, make the crystals glow and sparkle with every color of the rainbow. There is an opening to the west, and a man-made passage heads south.\n\n> You go south\nThis is the north end of a large hall with a vaulted ceiling. A long, tiled hallway leads north through a tall arch. Although the origin or purpose of this room is unclear, there is a large rendering of the Royal Seal of Lord Dimwit Flathead carved on the wall.\n\n> You examine Seal\nThe Seal is vintage Flathead, with signs of excess nearly everywhere. It consists of a curiously flat-headed figure wearing a gaudy crown, surrounded by the Crown Jewels of the Empire.\n\n> You go to the south\nThis is the south end of a monumental hall, full of dust and debris from a recent earthquake. To the east is a great iron door, rusted shut. To its right, however, is a gaping cleft in the rock and behind, a cleared area.\n\n> You go east\nThis is the entrance to the Royal Museum, the finest and grandest in the Great Underground Empire. To the south, down a few steps, is the entrance to the Royal Puzzle and to the east, through a stone door, is the Royal Jewel Collection. A wooden door to the north is open and leads to the Museum of Technology. To the west is a great iron door, rusted shut. To its left, however, is a cleft in the rock providing a western route away from the museum.\n\n> You go north\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is open.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 948. The machine is suprisingly shiny and shows few signs of age.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\n\n> You examine the golden machine\nThe machine consists of a seat and a console containing one small button and a dial connected to a display which reads 948.\n\n> Go east\nThe stone door is closed.\n\n> Go east\nYou are in a high-ceilinged chamber in the middle of which sits a tall, round steel cage, which is securely locked. In the middle of the cage is a pedestal on which sit the Crown Jewels of the Great Underground Empire: a sceptre, a jewelled knife, and a golden ring. A small bronze plaque, now tarnished, is on the cage.\n\n> You wear the ring\nThe jewels are inside a locked cage.\n\n> You examine the plaque\n* 777 GUE *\n\n> Inventory\nYou are carrying:\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\nA vial\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\n\n> 3july16\nSAVEOk.\n\n> 3july2016\n> RESTOREFailed.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\nAs in a dream, you see yourself tumbling down a great, dark staircase. All about you are shadowy images of struggles against fierce opponents and diabolical traps. These give way to another round of images: of imposing stone figures, a cool, clear lake, and, now, of an old, yet oddly youthful man. He turns toward you slowly, his long, silver hair dancing about him in a fresh breeze. \"You have reached the final test, my friend! You are proved clever and powerful, but this is not yet enough! Seek me when you feel yourself worthy!\" The dream dissolves around you as his last words echo through the void....\n\nZORK III: The Dungeon Master\n\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nYour old friend, the brass lantern, is at your feet.\n\n> You enter the machine\nWhich machin do you mean, the gold machine, the black machine, or the grey machine?"
    },
    {
        "text": "> You look around\n(You are in the gold machine.)\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is open.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\n\n> You examine the gold machine\nThe machine consists of a seat and a console containing one small button and a dial connected to a display which reads 948.\n\n> You turn the dial to 947\nThe dial is set to 947."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, memorable NPC]\n\n> Look around\n(You are in the gold machine.)\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is closed.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\n\n> You turn the dial to 948\nThe dial is set to 948."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, complex NPC, Zork, fantasy]\n\n> You look at your surroundings\n(You are in the gold machine.)\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is closed.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\nThere is a Frobozz Magic Grue Repellent here. (outside the gold machine)\nThere is a strange key here. (outside the gold machine)\nThere is a torch here. (outside the gold machine)\nThere is a wooden staff here. (outside the gold machine)\nThere is a vial here. (outside the gold machine)\nThere is a lamp here. (outside the gold machine)\nThere is a sword here. (outside the gold machine)\nThere is a hood here. (outside the gold machine)\nThere is a cloak here. (outside the gold machine)\n\n> You turn the dial to 777\nThe dial is set to 777."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Cave crawl, memorable NPC]\n\nAs in a dream, you see yourself tumbling down a great, dark staircase. All about you are shadowy images of struggles against fierce opponents and diabolical traps. These give way to another round of images: of imposing stone figures, a cool, clear lake, and, now, of an old, yet oddly youthful man. He turns toward you slowly, his long, silver hair dancing about him in a fresh breeze. \"You have reached the final test, my friend! You are proved clever and powerful, but this is not yet enough! Seek me when you feel yourself worthy!\" The dream dissolves around you as his last words echo through the void....\n\nZORK III: The Dungeon Master\n\nYou are at the bottom of a seemingly endless stair, winding its way upward beyond your vision. An eerie light, coming from all around you, casts strange shadows on the walls. To the south is a dark and winding trail.\nYour old friend, the brass lantern, is at your feet.\n\n> You turn the dial to 774\nThe dial is set to 774."
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, fantasy]\n\n> You turn the dial to 778\nThe dial is set to 778."
    },
    {
        "text": "> You enter the gold machine\nYou are already in the gold machine, cretin!\n\n> You turn the dial to 900\nThe dial is set to 900.\n\n> You get out\n(out the gold machine)\nYou are on your own feet again."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, complex NPC, memorable NPC]\n\n> You describe your surroundings\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is closed.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 900. The machine is suprisingly shiny and shows few signs of age.\n\n> Go south\nThe wooden door is closed.\n\n> You open the door\nThe wooden door opens.\n\n> You go south\nThis is the entrance to the Royal Museum, the finest and grandest in the Great Underground Empire. To the south, down a few steps, is the entrance to the Royal Puzzle and to the east, through a stone door, is the Royal Jewel Collection. A wooden door to the north is open and leads to the Museum of Technology. To the west is a great iron door, which is rusted shut.\n\n> Go east\nThe stone door is closed.\n\n> Go east\nYou are in a high-ceilinged chamber in the middle of which sits a tall, round steel cage, which is securely locked. In the middle of the cage is a pedestal on which sit the Crown Jewels of the Great Underground Empire: a sceptre, a jewelled knife, and a golden ring. A small bronze plaque, now tarnished, is on the cage.\n\n> Go north\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is open.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 900. The machine is suprisingly shiny and shows few signs of age.\n\n> You turn the dial to 775\nThe dial is set to 775.\n\n> You turn the dial to 800\nThe dial is set to 800.\n\n> You turn the dial to 776\nThe dial is set to 776.\n\n> You get out\n(out the gold machine)\nYou are on your own feet again.\n\n> You listen\nWhat do you want to listen to?"
    },
    {
        "text": "> Look around\nYou are in a large, unfinished room, probably intended to be a part of the Royal Museum.\nThrough the door you can hear voices which, from their sound, belong to military or police personnel.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The grey machine, it turns out, is a Frobozz Magic Pressurizer, used in the coal mines of the Empire. The black machine is a Frobozz Magic Room Spinner. The golden machine is referred to as a Temporizer. All are non-working models donated by Frobozzco president John D. Flathead.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 776. The machine is suprisingly shiny and shows few signs of age.\n\n> You examine the plaque\nThe plaque merely identifies the machines and names their donor. They are non-working models of existing state-of-the-art machinery.\n\n> You listen to the door\nThe voices are muffled by the door which (fortunately for you) separates you. They seem to be in heated debate on the topic of wage scales for guards.\n\n> Continue\nThe voices are muffled by the door which (fortunately for you) separates you. They seem to be in heated debate on the topic of the proper way to execute trespassers.\n\n> You wait\nTime passes...\nYou hear, from outside the door, guards marching away, their voices fading. After a few moments, a booming crash signals the close of what must be a tremendous door. Then there is silence.\n\n> You open the door\nThe wooden door opens.\n\n> Go south\nThis appears to be an unfinished entranceway to the Royal Museum. There are doors to the east and north, and a blind stairway to the south. A heavy iron door to the west is closed and locked.\n\n> You open the stone door\nThe door is locked, probably by the guards on their way out.\n\n> You go west\nThe guards locked the iron door behind them.\n\n> You go south\nThe stairs end blindly to the south.\n\n> You go to the north\nYou are in a large, unfinished room, probably intended to be a part of the Royal Museum.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The grey machine, it turns out, is a Frobozz Magic Pressurizer, used in the coal mines of the Empire. The black machine is a Frobozz Magic Room Spinner. The golden machine is referred to as a Temporizer. All are non-working models donated by Frobozzco president John D. Flathead.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 776. The machine is suprisingly shiny and shows few signs of age.\n\n> You turn the dial to 948\nThe dial is set to 948."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, fantasy, complex NPC, memorable NPC]\n\n> Look around\nYou are in a high-ceilinged chamber, in the center of which is a pedestal which is the intended home of the Crown Jewels of the Great Underground Empire: a jewelled knife, a golden ring, and the royal sceptre. The room is, by appearances, unfinished.\nThrough the door you can hear voices which, from their sound, belong to military or police personnel."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Fantasy, memorable NPC, complex NPC, Zork]\n\n> You look at your surroundings\nYou are in a high-ceilinged chamber, in the center of which is a pedestal which is the intended home of the Crown Jewels of the Great Underground Empire: a jewelled knife, a golden ring, and the royal sceptre. Not all of the jewels are in place, however. The room is, by appearances, unfinished.\nThrough the door you can hear voices which, from their sound, belong to military or police personnel.\nOne particularly loud and grating voice can now be heard above the others outside the room. \"Very nice! Very nice! Not enough security, but very nice! Now, Lord Feepness, pay attention! I've been thinking and what we need is a dam, a tremendous dam to control the Frigid River, with thousands of gates. Yes! I can see it now. We shall call it ... Flood Control Dam #2. No, not quite right. Aha! It will be Flood Control Dam #3.\" \"Pardon me, my Lord, but wouldn't that be just a tad excessive?\" \"Nonsense! Now, let me tell you my idea for hollowing out volcanoes...\" With that, the voices trail out into nothingness."
    },
    {
        "text": "> Look around\nYou are in a high-ceilinged chamber, in the center of which is a pedestal which is the intended home of the Crown Jewels of the Great Underground Empire: a jewelled knife, a golden ring, and the royal sceptre. Not all of the jewels are in place, however. The room is, by appearances, unfinished.\nThrough the door you can hear voices which, from their sound, belong to military or police personnel.\n\n> You wait\nTime passes...\nYou hear, from outside the door, guards marching away, their voices fading. After a few moments, a booming crash signals the close of what must be a tremendous door. Then there is silence.\n\n> You take all\npedestal: You can't reach it through the cage.\njewelled knife: Taken.\nsceptre: Taken.\n\n> Open seat\nIt is already open.\n\n> You examine gold machine\nThe machine consists of a seat and a console containing one small button and a dial connected to a display which reads 776.\n\n> Inventory\nYou are carrying:\nA sceptre\nA jewelled knife\nA golden ring (being worn)\n\n> You put the ring under the seat\nThe ring is concealed underneath the seat.\n\n> You put the knife under the seat\nIt's too big to hide under the seat.\n\n> You go east\nYou are in a high-ceilinged chamber, in the center of which is a pedestal which is the intended home of the Crown Jewels of the Great Underground Empire: a jewelled knife, a golden ring, and the royal sceptre. Not all of the jewels are in place, however. The room is, by appearances, unfinished.\n\n> Inventory\nYou are carrying:\nA sceptre\nA jewelled knife"
    },
    {
        "text": "[Themes: Cave crawl, Fantasy, Zorkian, Zork, memorable NPC]\n\n> You look around\nYou are in a high-ceilinged chamber, in the center of which is a pedestal which is the intended home of the Crown Jewels of the Great Underground Empire: a jewelled knife, a golden ring, and the royal sceptre. Not all of the jewels are in place, however. The room is, by appearances, unfinished.\nThere is a sceptre here.\n\n> You take the sceptre\nTaken.\nYou start to feel light-headed and, before you can even think, you become completely disoriented. When you regain your faculties, you realize that your surroundings have changed.\nYou notice that everything you were holding is gone!\n\n> Go west\nThis is the entrance to the Royal Museum, the finest and grandest in the Great Underground Empire. To the south, down a few steps, is the entrance to the Royal Puzzle and to the east, through a stone door, is the Royal Jewel Collection. A wooden door to the north is closed and leads to the Museum of Technology. To the west is a great iron door, rusted shut. To its left, however, is a cleft in the rock providing a western route away from the museum.\n\n> Go north\nThis is a large hall which hosted the technological exhibits of the Great Underground Empire. A door to the south is open.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\nThere is a Frobozz Magic Grue Repellent here.\nThere is a strange key here.\nThere is a torch here.\nThere is a wooden staff here.\nThere is a vial here.\nThere is a lamp here.\nThere is a sword here.\nThere is a hood here.\nThere is a cloak here."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Cave crawl, memorable NPC]\n\n> Look around\n(You are in the gold machine.)\nYou are in a high-ceilinged chamber in the middle of which sits a tall, round steel cage, which is securely locked. In the middle of the cage is a pedestal on which sit the Crown Jewels of the Great Underground Empire: a sceptre, a jewelled knife, and a golden ring. A small bronze plaque, now tarnished, is on the cage.\n\n> You look under the seat\nYou find the ring under the seat and put it on your finger.\n\n> You take all\nplaque: It's bolted to the wall.\ngrey machine: It's massive and cannot even be moved.\nblack machine: It's massive and cannot even be moved.\ngold machine: The machine must weigh hundreds of pounds and cannot be carried.\nbutton: You can't be serious.\ndial: An interesting idea...\nseat: You can't be serious.\nFrobozz Magic Grue Repellent: Taken.\nstrange key: Taken.\ntorch: Taken.\nwooden staff: Taken.\nvial: Taken.\nlamp: Taken.\nsword: Taken.\nhood: You are now wearing the hood.\ncloak: You are now wearing the cloak."
    },
    {
        "text": "[Themes: Fantasy, Cave crawl, Zorkian, memorable NPC, fantasy]\n\n> You look at your surroundings\nThis is an exhibit of Empire technology. A wooden door to the south is closed.\nA strange grey machine, shaped somewhat like a clothes dryer, is on one side of the room. On the other side of the hall is a powerful-looking black machine, a tight tangle of wires, pipes, and motors.\nA plaque is mounted near the door. The writing is faded, however, and cannot be made out clearly. The two machines seem to be in bad shape, rusting in many spots.\nDirectly in front of you is a large golden machine, which has a seat with a console in front. On the console is a single button and a dial connected to a three-digit display which reads 948. The machine is suprisingly shiny and shows few signs of age.\n\n> You go to the south\nThis seems to be an entrance hall of some sort, judging by the grand iron door to the west, and the ornate stone and wooden doors which lead to the east and north, respectively. A few wide steps lead south.\n\n> You go to the south\nThis is a small square room, in the middle of which is a perfectly round hole through which you can discern the floor some ten feet below. The place under the hole is dark, but it appears to be completely enclosed in rock. In any event, it doesn't seem likely that you could climb back up. Exits are west and, up a few steps, north. Lying on the ground is a small note of some kind.\n\n> You examine the note\nWarning:\nThe Royal Puzzle is quite dangerous and it is possible to become trapped within its confines. Please do not enter the puzzle after hours or when museum personnel are not present.\nThe Management\n\n> Inventory\nYou are carrying:\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\nA vial\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\nA golden ring (being worn)\n\n> Go west\nYou are in a narrow room, lit from above. A flight of steps leads up toward the north, and a metal door leads to the east.\n\n> Go east\nThe steel door is closed."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Fantasy, memorable NPC, complex NPC]\n\n> You describe your surroundings\n+MM MM ??+\nWest  +   .. SS+  East\n+SS    MM+\n\n> You go south\n+      SS+\nWest  +SS .. MM+  East\n+        +\n\n> You go south\n+SS    MM+\nWest  +   .. +  East\n+SS      +\n\n> Go south\n+        +\nWest  +SS .. +  East\n+      SS+\nThere is a ladder here, firmly attached to the west wall.\n\n> You go south\n+SS      +\nWest  +   .. SS+  East\n+MM MM ??+\n\n> Go west\n+?? SS   +\nWest  +MM .. +  East\n+?? MM MM+\n\n> Go southwest\nThere is a wall there.\n\n> Go east\n+        +\nWest  +   .. SS+  East\n+   SS ??+\n\n> You go to the north\n+   MM   +\nWest  +   .. +  East\n+      SS+\n\n> You go to the east\n+MM    SS+\nWest  +   .. MM+  East\n+   SS ??+\n\n> You go north\n+SS    SS+\nWest  +MM .. SS+  East\n+      MM+\nThere is a ladder here, firmly attached to the east wall.\n\n> Go north\n+?? MM ??+\nWest  +SS .. SS+  East\n+MM    SS+\n\n> Go west\n+?? MM MM+\nWest  +MM .. +  East\n+?? SS   +\nIn the ceiling above you is a large circular opening.\n\n> You go west\n+?? SS   +\nWest  +MM .. +  East\n+?? SS   +\n\n> You take the ladder\nCome, come!\n\n> Examine book\nThe book is written in a strong and elegant hand and is full of strange and wondrous pictures. The text is in a tongue unknown to you and is penned in many colours. Some of the words seem to change colour as you read them. The book itself is very old and the pages dry and brittle.\n\n> You go northwest\n+   MM   +\nWest  +   .. +  East\n+        +\n\n> You go south\n+MM      +\nWest  +MM .. +  East\n+?? SS   +\n\n> You go southeast\n+        +\nWest  +SS .. +  East\n+      SS+\nThere is a ladder here, firmly attached to the west wall.\n\n> You go to the northeast\n+SS    SS+\nWest  +SS .. MM+  East\n+        +\nThere is a ladder here, firmly attached to the west wall.\n\n> Go north\n+?? MM ??+\nWest  +SS .. SS+  East\n+SS    MM+\n\n> You go to the east\n+MM MM ??+\nWest  +   .. SS+  East\n+MM    SS+\n\n> You go west\n+MM MM MM+\nWest  +   .. +  East\n+MM    SS+\n\n> You go to the south\n+        +\nWest  +MM .. SS+  East\n+      MM+\nThere is a ladder here, firmly attached to the east wall.\n\n> You go southwest\n+   MM   +\nWest  +   .. +  East\n+        +\n\n> You go to the south\n+        +\nWest  +   .. +  East\n+   SS SS+\n\n> You check your inventory\nYou are carrying:\nA very ancient book\nA cloak (being worn)\nA hood (being worn)\nA sword\nA lamp\nA vial\nA wooden staff\nA torch\nA strange key\nA Frobozz Magic Grue Repellent\nA golden ring (being worn)\n\n> You look\n+?? SS   +\nWest  +MM .. +  East\n+?? SS   +\n\n> You go northeast\n+MM    SS+\nWest  +   .. MM+  East\n+      SS+\n\n> You go north\n+SS    SS+\nWest  +MM .. SS+  East\n+      MM+\nThere is a ladder here, firmly attached to the east wall.\n\n> Go southwest\n+SS      +\nWest  +MM .. SS+  East\n+      MM+\nThere is a ladder here, firmly attached to the east wall.\n\n> You go southwest\n+   MM   +\nWest  +   .. +  East\n+        +\n\n> You go east\n+      MM+\nWest  +   .. SS+  East\n+SS SS ??+\nThe center of the floor here is noticeably depressed.\n\n> Go south\n+      SS+\nWest  +MM .. +  East\n+?? MM MM+\nIn the center of the west wall is a steel door which is closed. On one side of the door is a narrow slot.\n\n> Go east\n+   SS   +\nWest  +   .. +  East\n+MM MM MM+\n\n> Go east\n+SS      +\nWest  +   .. MM+  East\n+MM MM ??+\n\n> Go north\n+?? SS   +\nWest  +SS .. +  East\n+      MM+\n\n> Go east\n+SS    MM+\nWest  +   .. MM+  East\n+   MM ??+\n\n> Go north\n+MM    MM+\nWest  +SS .. MM+  East\n+      MM+\n\n> You go north\n+SS    MM+\nWest  +MM .. MM+  East\n+SS    MM+\n\n> You go north\n+SS    MM+\nWest  +SS .. MM+  East\n+MM    MM+\n\n> You go north\n+?? MM ??+\nWest  +SS .. MM+  East\n+SS    MM+\n\n> You continue\nThe wall slides forward and you follow it to this position:\nRoom in a Puzzle\n+      SS+\nWest  +SS .. +  East\n+MM      +\n\n> Keep going\nThe wall slides forward and you follow it to this position:\nRoom in a Puzzle\n+SS      +\nWest  +SS .. +  East\n+?? MM   +\n\n> Go east\n+      SS+\nWest  +   .. +  East\n+MM      +\n\n> You go east\n+   SS SS+\nWest  +   .. +  East\n+        +\n\n> Go northwest\n+        +\nWest  +   .. SS+  East\n+        +\n\n> Go southwest\n+        +\nWest  +   .. SS+  East\n+MM      +\n\n> You go to the south\n+SS      +\nWest  +SS .. +  East\n+      MM+\n\n> Go northwest\n+      SS+\nWest  +   .. SS+  East\n+MM      +\n\n> You go north\n+        +\nWest  +   .. SS+  East\n+      SS+\n\n> You go to the southwest\n+        +\nWest  +MM .. SS+  East\n+?? MM ??+\nIn the center of the west wall is a steel door which is closed. On one side of the door is a narrow slot.\n\n> You go to the north-east\n+   SS   +\nWest  +   .. +  East\n+   SS MM+\n\n> Go southwest\n+   SS   +\nWest  +   .. +  East\n+      SS+\n\n> Go northwest\n+        +\nWest  +   .. SS+  East\n+        +\n\n> Go northwest\n+        +\nWest  +   .. +  East\n+        +\n\n> You go southeast\n+      MM+\nWest  +SS .. +  East\n+SS      +\n\n> You go east\n+      MM+\nWest  +   .. +  East\n+        +\nThe center of the floor here is noticeably depressed.\n\n> You go to the northeast\n+SS    MM+\nWest  +MM .. MM+  East\n+      MM+\n\n> You go to the north\n+?? SS ??+\nWest  +SS .. MM+  East\n+MM    MM+\n\n> You go north\n+MM MM ??+\nWest  +   .. SS+  East\n+SS      +\n\n> You go west\n+?? MM MM+\nWest  +SS .. +  East\n+?? SS   +\n\n> You go to the southwest\n+        +\nWest  +   .. SS+  East\n+        +\nThere is a ladder here, firmly attached to the east wall.\n\n> You go to the south-east\n+   SS   +\nWest  +   .. +  East\n+   SS SS+\n\n> You go northeast\n+?? MM   +\nWest  +SS .. +  East\n+        +\n\n> You go to the southwest\n+?? SS   +\nWest  +SS .. +  East\n+?? MM   +\n\n> Go west\n+MM    SS+\nWest  +MM .. +  East\n+?? SS   +\n\n> Go north\n+?? MM ??+\nWest  +MM .. SS+  East\n+MM      +\nIn the ceiling above you is a large circular opening.\nThere is a ladder here, firmly attached to the east wall.\n\n> Go upwards\nWith the help of the ladder, you exit the puzzle.\nRoyal Puzzle Entrance\nThis is a small square room, in the middle of which is a perfectly round hole through which you can discern the floor some ten feet below. The place under the hole is dark, but it appears to be completely enclosed in rock. In any event, it doesn't seem likely that you could climb back up. Exits are west and, up a few steps, north. Lying on the ground is a small note of some kind."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, meta, gender-neutral protagonist, humor]\n\nHELLO CHEF!!!!!1 You must make FOOD!\nYou have a list! First to food wins!\n\nYou are a Chef!\n\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\n\n> You examine pot\nThis is the pot!! In which to put your items! There's nothing in the SOUP pot.\n\n> Inventory\nYou have a list.\n\n> You look at list\nHello Chef!! You must find items to put in the pot! This will enable the food to be properly made: attention!\n\nThe food requires the following ingredients: potato, monkey, octopus, cabbage, paperclips, tomato. Later the MYSTERY INGREDIENT will be delivered!You hear squidge from northeast!"
    },
    {
        "text": "[Themes: Surreal, Cave crawl, gender-neutral protagonist]\n\n> You look around\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nAn apple falls from the sky!\n\n> You look at the shop\nThe SHOP is known as 'End of Days'. It is however entitled 'A Freak Accident leaves Seattle Pantsless' due to a strange experience in aught-six.You hear potato from northeast!\n\nYou hear squish from northeast!\n\nMonkey falls from the sky!\n\n> You take the monkey\nChef, you cannot take the MONKEY without the BANANA!!\nYou hear clink from south!\n\nYou hear clunk from south!\n\nLost sock falls from the sky!\n\nMagnet falls from the sky!\n\nYou hear cackle from south!\n\n> You take the magnet\nTaken.\n\n> Go south\nHello Cook!!! There is a LOT of PARKING here because this is a PARKING LOT. Ha ha! A joke! You are permitted by the cars to go only northwards.\nYou see a fork, a tongs, and the Blair Witch here.\nSalmon falls from the sky!\n\nChocolate falls from the sky!\n\nYou hear fwish from north!\n\n> You examine the list\nHello Chef!! You must find items to put in the pot! This will enable the food to be properly made: attention!\n\nThe food requires the following ingredients: potato, monkey, octopus, cabbage, paperclips, tomato. Later the MYSTERY INGREDIENT will be delivered!Loaf of bread falls from the sky!\n\nYou hear tinkle-tinkle from north!\n\nYou hear blorsh from north!\n\n> You take the bread\nTaken. You hear plop from north!\n\nYou hear husk from north!\n\nYou hear thud from north!\n\n> Go north\nYou see a an apple, a monkey, a lost sock, a pepper, a corn, and a cabbage here.\n\n> You take the cabbage\nChef, you cannot take the CABBAGE without the PEPPER!!\n\n> You look\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nYou see a an apple, a monkey, a lost sock, and a corn here.\n\n> Inventory\nYou have a list, a magnet, a loaf of bread, a pepper, and a cabbage.\n\n> You put the cabbage in the the pot\nGood work Chef!!! But you must find more!! Ingrredients!!!"
    },
    {
        "text": "[Themes: Cave crawl, Surreal, gender-neutral protagonist, meta, humor]\n\n> Look around\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nYou see a an apple, a monkey, a lost sock, and a corn here. The\nSOUP pot seems to contain a cabbage.\n\n> You go northeast\nHello Cook!!! This is the corner. There is a 23rd here. Also a Lincoln. You can go south-west.\nYou see a giant octopus, a potato, a bruised tomato, a paperclips,\na yogurt, and a banana here.\n\n> You get all\ngiant octopus: Chef, you cannot take the GIANT OCTOPUS without the TONGS!!\npotato: Taken.\nbruised tomato: Taken.\npaperclips: Taken.\nyogurt: Taken.\nbanana: Chef, you cannot take the BANANA without the CORN!!"
    },
    {
        "text": "[Themes: Surreal, Cave crawl, humor, gender-neutral protagonist]\n\n> You look at your surroundings\nHello Cook!!! This is the corner. There is a 23rd here. Also a Lincoln. You can go south-west.\nYou see a giant octopus and a banana here.\n\n> Go southwest\nYou see a an apple, a monkey, a lost sock, and a corn here. The\nSOUP pot seems to contain a cabbage.\n\n> You take the corn\nTaken.\n\n> About yourself\nYou look about the same as always.\n\n> You go to the northeast\nYou see a giant octopus and a banana here.\n\n> You take OCTOPUS\nChef, you cannot take the GIANT OCTOPUS without the TONGS!!\n\n> You go southwest\nYou see a an apple, a monkey, and a lost sock here. The SOUP pot seems to contain a cabbage.\n\n> Inventory\nYou have a list, a magnet, a loaf of bread, a pepper, a potato, a bruised tomato, a paperclips, a yogurt, a corn, and a banana.\n\n> You look at the list\nHello Chef!! You must find items to put in the pot! This will enable the food to be properly made: attention!\n\nThe food requires the following ingredients: potato, monkey, octopus, cabbage, paperclips, tomato. Later the MYSTERY INGREDIENT will be delivered!\n\n> You examine pot\nThis is the pot!! In which to put your items! In the SOUP pot you see a cabbage, a bruised tomato, a monkey, a paperclips, and a potato."
    },
    {
        "text": "[Themes: Cave crawl, Surreal, meta]\n\n> Look around\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nYou see a an apple and a lost sock here. The SOUP pot seems to contain a cabbage, a bruised tomato, a monkey, a paperclips, and a potato.\n\n> Go south\nYou see a fork, a tongs, the Blair Witch, a salmon, and a chocolate here.\n\n> You go north\nYou see a an apple and a lost sock here. The SOUP pot seems to contain a cabbage, a bruised tomato, a monkey, a paperclips, and a potato.\n\n> Go northeast\nYou see a giant octopus here.\n\n> You put OCTOPUS in the pot\nGood work Chef!!! But you must find more!! Ingrredients!!!\nA funny clown runs out of the room!A funny clown runs into the room!"
    },
    {
        "text": "[Themes: Surreal, Cave crawl, meta]\n\n> You look at your surroundings\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nYou see a an apple and a lost sock here. The SOUP pot seems to contain a cabbage, a bruised tomato, a monkey, a paperclips, a potato, and a giant octopus.\nA funny clown runs out of the room!Iron safe falls from the sky!\nIt lands on top of clown and breaks open!\n\n> You examine safe\nIn the iron safe you see a MYSTERY INGREDIENT.\n\n> You examine MYSTERY INGREDIENT\nI cannot tell you! It is a mystery!!\n\n> You put MYSTERY INGREDIENT in the pot\nYou have completed the soup!! You retired with the FOOD in triumph!! Congratulations Chef!!!\n\n... the whistle blows, and it's the end of another day at the Flavorplex Text Adventure Company. The end, that is, for everyone but you. You're the new janitor, and it's your first day on the job.\n\nIt's a living.\nCopyright 2002 Peter Seebach / Kevin Lynn\n\nYou are in the company break room, complete with the employee fridge, where you could store your lunch, if you had a lunch. Access corridors lead north, south, east, and west. Your supply closet is to the northwest, and the receptionist's office is to the northeast. Next to the safety and motivational posters, a pin-up calendar adorns the dingy wall, currently displaying Ms. July.\n\n> Examine calendar\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. July, a certain Ms. Veronica Ashcroft. She was quite the looker in her time.\n\n> You look at the posters\nYou would have to name a specific poster; try \"safety\" or \"motivational\".\n\n> You look at the safety\nThe safety poster explains that the game world is completely safe, and that there are no dangerous things present when mimesis is disrupted. It describes the procedure for filing a complaint should you find a way to die.\n\n> You examine motivational\nThe motivational poster details the core rules on which all text adventures are founded. You have been instructed to read them all every day; perhaps this would be a good time. Just look at \"rule 1\" through \"rule 10\".\n\n> You examine the rule 1\n1. You do not talk about janitor club.\n\n> You examine the rule 2\n2. This is not a game. This is a world.\n\n> You examine rule 3\n3. The treasures are always real.\n\n> You look at the rule 4\n4. No lethal traps without clear warning.\n\n> You examine the rule 5\n5. You do not need to save and restore to win the game.\n\n> You examine the rule 6\n6. There's more to theatre than repetition.\n\n> You look at rule 7\n7. There's more to theatre than repetition.\n\n> You examine the rule 8\n8. But not much.\n\n> You examine the rule 9\n9. Every room has a purpose.\n\n> You examine the rule 10\n10. Every puzzle has a reason to be there."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, humor, meta]\n\n> Look around\nYou are in the company break room, complete with the employee fridge, where you could store your lunch, if you had a lunch. Access corridors lead north, south, east, and west. Your supply closet is to the northwest, and the receptionist's office is to the northeast. Next to the safety and motivational posters, a pin-up calendar adorns the dingy wall, currently displaying Ms. July.\n\n> You examine the fridge\nIt's a large, white fridge, of the sort that decorates breakrooms everywhere. It makes an odd buzzing sound when it's running, and the temperature inside ranges from below the freezing point of water to just warm enough to completely melt butter. Optimistically, you assume that it lacks energy star certification only because it predates the time when energy conservation was understood to be an issue.\n\n> You open the fridge\nAlmost before the door opens, a dingy light comes on, illuminating the insides of the fridge.\n\nYou open the refrigerator, revealing some tin cans, a sack and a plastic tub.\n\n> You examine cans\nIt's a large stack of tin cans, each labeled \"That Looks More Like Hot Air Balloon Fuel Than Butter\".\n\n> You look at the sack\nAn elongated brown sack, smelling of hot peppers. It came from a restaurant called the Heisenberg Cafe, whose slogan is \"You Only Know What You Ordered Until It Gets There\".\n\n> You open the sack\nYou open the sack, revealing a lunch and a clove of garlic.\n\n> You read july\nWhat do you want to read in?\n\n> Flip calendar\nYou flip ahead to August, revealing one Iris.\n\n> You examine Iris\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. August, a certain Iris. She was quite the looker in her time.\n\n> Flip calendar\nYou flip ahead to September, revealing one Auda.\n\n> You look at Auda\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. September, a certain Auda. She was quite the looker in her time.\n\n> You look at Elaine\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. October, a certain Governor Elaine Marley. She was quite the looker in her time.\n\n> Flip calendar\nYou flip ahead to November, revealing one Tamara Lynd.\n\n> You look at Tamara\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. November, a certain Tamara Lynd. She was quite the looker in her time.\n\n> Flip calendar\nYou flip ahead to December, revealing one Meriday Beth Komor.\n\n> You examine meriday\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. December, a certain Meriday Beth Komor.\n\n8888:::8888888888888888888888888 8888::::::8888888888888888888888888888 88::::::::888:::8888888888888888888888888 88888888::::8:::::::::::88888888888888888888\n888 8::888888::::::::::::::::::88888888888   888 88::::88888888::::m::::::::::88888888888    8 888888888888888888:M:::::::::::8888888888888 88888888888888888888::::::::::::M88888888888888 8888888888888888888888:::::::::M8888888888888888 8888888888888888888888:::::::M888888888888888888 8888888888888888::88888::::::M88888888888888888888 88888888888888888:::88888:::::M888888888888888   8888 88888888888888888:::88888::::M::;o*M*o;888888888    88 88888888888888888:::8888:::::M:::::::::::88888888    8 88888888888888888::::88::::::M:;:::::::::::888888888 8888888888888888888:::8::::::M::aAa::::::::M8888888888       8\n88   8888888888::88::::8::::M:::::::::::::888888888888888 8888\n88  88888888888:::8:::::::::M::::::::::;::88:88888888888888888\n8  8888888888888:::::::::::M::\"@@@@@@@\"::::8w8888888888888888 88888888888:888::::::::::M:::::\"@a@\":::::M8i888888888888888 8888888888::::88:::::::::M88:::::::::::::M88z88888888888888888 8888888888:::::8:::::::::M88888:::::::::MM888!888888888888888888 888888888:::::8:::::::::M8888888MAmmmAMVMM888*88888888   88888888 888888 M:::::::::::::::M888888888:::::::MM88888888888888   8888888 8888   M::::::::::::::M88888888888::::::MM888888888888888    88888\n888   M:::::::::::::M8888888888888M:::::mM888888888888888    8888\n888  M::::::::::::M8888:888888888888::::m::Mm88888 888888   8888\n88  M::::::::::::8888:88888888888888888::::::Mm8   88888   888\n88  M::::::::::8888M::88888::888888888888:::::::Mm88888    88\n8   MM::::::::8888M:::8888:::::888888888888::::::::Mm8     4 8M:::::::8888M:::::888:::::::88:::8888888::::::::Mm    2 88MM:::::8888M:::::::88::::::::8:::::888888:::M:::::M 8888M:::::888MM::::::::8:::::::::::M::::8888::::M::::M 88888M:::::88:M::::::::::8:::::::::::M:::8888::::::M::M\n88 888MM:::888:M:::::::::::::::::::::::M:8888:::::::::M:\n8 88888M:::88::M:::::::::::::::::::::::MM:88::::::::::::M 88888M:::88::M::::::::::*88*::::::::::M:88::::::::::::::M 888888M:::88::M:::::::::88@@88:::::::::M::88::::::::::::::M 888888MM::88::MM::::::::88@@88:::::::::M:::8::::::::::::::*8\n88888  M:::8::MM:::::::::*88*::::::::::M:::::::::::::::::88@@\n8888   MM::::::MM:::::::::::::::::::::MM:::::::::::::::::88@@\n888    M:::::::MM:::::::::::::::::::MM::M::::::::::::::::*8\n888    MM:::::::MMM::::::::::::::::MM:::MM:::::::::::::::M\n88     M::::::::MMMM:::::::::::MMMM:::::MM::::::::::::MM\n88    MM:::::::::MMMMMMMMMMMMMMM::::::::MMM::::::::MMM\n88    MM::::::::::::MMMMMMM::::::::::::::MMMMMMMMMM\n88   8MM::::::::::::::::::::::::::::::::::MMMMMM\n8   88MM::::::::::::::::::::::M:::M::::::::MM 888MM::::::::::::::::::MM::::::MM::::::MM 88888MM:::::::::::::::MMM:::::::mM:::::MM 888888MM:::::::::::::MMM:::::::::MMM:::M 88888888MM:::::::::::MMM:::::::::::MM:::M\n88 8888888M:::::::::MMM::::::::::::::M:::M\n8  888888 M:::::::MM:::::::::::::::::M:::M:\n888888 M::::::M:::::::::::::::::::M:::MM\n888888  M:::::M::::::::::::::::::::::::M:M\n888888  M:::::M:::::::::@::::::::::::::M::M\n88888   M::::::::::::::@@:::::::::::::::M::M\n88888   M::::::::::::::@@@::::::::::::::::M::M\n88888   M:::::::::::::::@@::::::::::::::::::M::M\n88888   M:::::m::::::::::@::::::::::Mm:::::::M:::M\n8888   M:::::M:::::::::::::::::::::::MM:::::::M:::M\n8888   M:::::M:::::::::::::::::::::::MMM::::::::M:::M\n888    M:::::M:::::::::::::::::::::::MMM:::::::::M::::M\n8888    MM::::Mm:::::::::::::::::::::MMMM:::::::::m::m:::M\n888      M:::::M::::::::::::::::::::MMM::::::::::::M::mm:::M\n8888       MM:::::::::::::::::::::::::MM:::::::::::::mM::MM:::M: M:::::::::::::::::::::::::M:::::::::::::::mM::MM:::Mm MM::::::m:::::::::::::::::::::::::::::::::::M::MM:::MM M::::::::M:::::::::::::::::::::::::::::::::::M::M:::MM MM:::::::::M:::::::::::::M:::::::::::::::::::::M:M:::MM M:::::::::::M88:::::::::M:::::::::::::::::::::::MM::MMM M::::::::::::8888888888M::::::::::::::::::::::::MM::MM M:::::::::::::88888888M:::::::::::::::::::::::::M::MM M::::::::::::::888888M:::::::::::::::::::::::::M::MM M:::::::::::::::88888M:::::::::::::::::::::::::M:MM M:::::::::::::::::88M::::::::::::::::::::::::::MMM M:::::::::::::::::::M::::::::::::::::::::::::::MMM MM:::::::::::::::::M::::::::::::::::::::::::::MMM M:::::::::::::::::M::::::::::::::::::::::::::MMM MM:::::::::::::::M::::::::::::::::::::::::::MMM M:::::::::::::::M:::::::::::::::::::::::::MMM MM:::::::::::::M:::::::::::::::::::::::::MMM M:::::::::::::M::::::::::::::::::::::::MMM MM:::::::::::M::::::::::::::::::::::::MMM M:::::::::::M:::::::::::::::::::::::MMM MM:::::::::M:::::::::::::::::::::::MMM M:::::::::M::::::::::::::::::::::MMM MM:::::::M::::::::::::::::::::::MMM\nMM::::::M:::::::::::::::::::::MMM\nMM:::::M:::::::::::::::::::::MMM\nMM::::M::::::::::::::::::::MMM\nMM:::M::::::::::::::::::::MMM\nMM::M:::::::::::::::::::MMM\nMM:M:::::::::::::::::::MMM\nMMM::::::::::::::::::MMM\nMM::::::::::::::::::MMM\nM:::::::::::::::::MMM\nMM::::::::::::::::MMM\nMM:::::::::::::::MMM\nMM::::M:::::::::MMM:\nmMM::::MM:::::::MMMM\nMMM:::::::::::MMM:M\nmMM:::M:::::::M:M:M\nMM::MMMM:::::::M:M\nMM::MMM::::::::M:M\nmMM::MM::::::::M:M\nMM::MM:::::::::M:M\nMM::MM::::::::::M:m\nMM:::M:::::::::::MM\nMMM:::::::::::::::M:\nMMM:::::::::::::::M:\nMMM::::::::::::::::M\nMMM::::::::::::::::M\nMMM::::::::::::::::Mm\nMM::::::::::::::::MM\nMMM:::::::::::::::MM\nMMM:::::::::::::::MM\nMMM:::::::::::::::MM\nMMM:::::::::::::::MM\nMM::::::::::::::MMM\nMMM:::::::::::::MM\nMMM:::::::::::::MM\nMMM::::::::::::MM\nMM::::::::::::MM\nMM::::::::::::MM\nMM:::::::::::MM\nMMM::::::::::MM\nMMM::::::::::MM\nMM:::::::::MM\nMMM::::::::MM\nMMM::::::::MM\nMM::::::::MM\nMMM::::::MM\nMMM::::::MM\nMM::::::MM\nMM::::::MM\nMM:::::MM\nMM:::::MM:\nMM:::::M:M\nMM:::::M:M\n:M::::::M:\nM:M:::::::M\nM:::M::::::M\nM::::M::::::M\nM:::::M:::::::M\nM::::::MM:::::::M\nM:::::::M::::::::M\nM;:;::::M:::::::::M\nM:m:;:::M::::::::::M\nMM:m:m::M::::::::;:M\nMM:m::MM:::::::;:;M\nMM::MMM::::::;:m:M\nMMMM MM::::m:m:MM\nMM::::m:MM\nMM::::MM\nMM::MM\nMMMM\n\n\"Meriday in the Morning\"\n\n(& Meriday too!)\n\n(Copyright 1992-2002 Mike Jittlov and Meriday Beth Komor, used by kind permission)\n\n> Go northwest\nYou can't leave the fridge open! It would waste energy.\n\n> You close fridge\nAs the door closes, the light goes out. Or does it?\n\n> You go northwest\nIf a man's home is his castle, then a janitor's supply closet is his outhouse. It's dingy and dirty, uncomfortable, and smelly, but you would be pretty uncomfortable if you couldn't come here occasionally. To the southeast is a room which, in the same metaphor, might be considered your dungeon.\n\nProud and unbent, the mop stands in the corner; it calls to you.\n\nYou can also see a cannister of orange smoke, some spare light bulbs, some dirty magazines and a bucket of dirty water (which is empty) here.\n\n> You take all\nmop: Taken.\ncannister of orange smoke: The cannister of orange smoke was depleted during a fierce debate about the ownership of certain lunchy comestibles, and is of no interest.\nspare light bulbs: You take the top bulb off the stack.\nTaken.\ndirty magazines: Taken.\nbucket of dirty water: Taken.\n\n> You examine magazines\nThe dirty magazines appear to be wholly interchangeable, and furthermore stuck together.\n\n> You examine the bucket\nThe bucket contains some dingy grey water."
    },
    {
        "text": "[Themes: Cave crawl, Surreal, gender-neutral protagonist]\n\n> Look around\nYou are in the company break room, complete with the employee fridge, where you could store your lunch, if you had a lunch. Access corridors lead north, south, east, and west. Your supply closet is to the northwest, and the receptionist's office is to the northeast. Next to the safety and motivational posters, a pin-up calendar adorns the dingy wall, currently displaying Ms. December.\n\n> Flip calendar\nYou flip the calendar back to January, revealing one Tiffany.\n\n> You examine Tiffany\nIt's a traditional pin-up calendar, the sort that decorates breakrooms everywhere, roughly two years old. It is currently displaying Ms. January, a certain Tiffany. She was quite the looker in her time.\n\n> Go northeast\nThis office is an interesting combination between Art Deco and the fads of the 80's. At least all the earth tones were taken out during the last remodeling. The vast cherrywood doors to the north lead to your boss's office; they are illuminated by lamps which were probably tasteful at least briefly during the 70's. The smell of stale coffee comes from the southwest.\n\nThe receptionist, Eva, is sitting at a sterile white desk, typing on a computer probably five years older than the desk.\n\n> You look at Eva\nEva, your boss's secretary, is a tough, no-nonsense sort of woman with two-inch fingernails. She is thin almost to the point of being bony. You have no idea how she types, although she apparently types all the correspondence for the office. She has a great affection for gaudy and showy objects; she probably likes black velvet paintings and plush animals, too.\n\n> You examine the desk\nIt's formed from a \"space age\" plastic, which is to say, it's probably particle board with vinyl covering. It's not very interesting.\n\n> You look at the computer\nIt's a very old computer.\n\n> Hello\n\"Excuse me?\" Eva looks up from her typing.\n\n> You ask Eva about the job\n\"Hey, honey. Still toiling away? Don't worry if it takes a while to get oriented. I just have to finish up this web page update before I head home. It's a real bummer you can't get the normal on-the-job training; the last guy went crazy, or something. He was always talking to his mop. You look like a smart kid; you'll figure it out.\"\n\n> You examine the mop\nA beautiful mop, this is equipped with all the extra features, including the mimesis disruptor, and some kind of arrangement of perpetually damp yarn whose function is not apparent. The mimesis-disruption field is currently disengaged.\n\n> You turn on the mop\nYou engage the mimesis disruptor.\n\n> You ask Eva about the boss\n\"He already left for the day; he blew out of here about a minute after the whistle blew.\"\n\n> You go north\nEva stops you. \"You can't go in there!\"\n\n> Go south\nYou are in Access Corridor S1, which leads south and north from here. You can see the break room to the north, and the smell of stale snack foods and burnt coffee is strangely appealing. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S1E is here, standing open.\nAccess door S1W is here, standing open.\n\n> You go south\nYou are in Access Corridor S2, which leads south and north from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S2E is here, standing open.\nAccess door S2W is here, standing open.\n\n> You go south\nYou are in Access Corridor S3, which leads south and north from here. The corridor goes through a half-twist to the south, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S3E is here, standing open.\nAccess door S3W is here, standing open.\n\n> You examine the mop\nA beautiful mop, this is equipped with all the extra features, including the mimesis disruptor, and some kind of arrangement of perpetually damp yarn whose function is not apparent. The mimesis-disruption field is currently engaged.\n\n> You turn mop off\nYou disengage the mimesis disruptor.\n\n> You look through the door\nWhich do you mean, janitor's door S3E or janitor's door S3W?\n\n> You examine the mop\nA beautiful mop, this is equipped with all the extra features, including the mimesis disruptor, and some kind of arrangement of perpetually damp yarn whose function is not apparent. The mimesis-disruption field is currently disengaged.\n\n> You go south\nYou are in Access Corridor N3, which leads north and south from here. The corridor goes through a half-twist to the north, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door N3E is here, standing open.\nAccess door N3W is here, standing open.\n\n> You close n3e door\nYou close janitor's door N3E.\n\n> You turn the mop on\nYou engage the mimesis disruptor.\n\n> You look at the bucket\nThe bucket contains some dingy tinsel, apparently intended to give the illusion of dirty water.\n\n> You open the n3e\nYou open janitor's door N3E.\n\n> Go east\nThis cozy basement has beautiful wood-panel walls. Above you is the living room, and a doorway is to the west. A heavy iron ladder hangs down from the ceiling.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N3E, which is open.\n\n> You turn off the mop\nYou disengage the mimesis disruptor."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, humor, meta]\n\n> Look around\nThis cozy basement has beautiful wood-panel walls. Above you is the living room, and a doorway is to the west. A heavy iron ladder hangs down from the ceiling.\n\n> You look at the ladder\nIt's a wrought-iron ladder, firmly attached to the ceiling.\n\n> Go west\nThis bare stone room contains a couple of large rocks, one covered with little fragments of broken clockwork. A passageway leads east.\n\n> You look at the fragments\nIt's a pile of small broken bits of clockwork on one of the rocks.\n\n> Go upward\nYou are unable to climb the trap door.\n\n> You look at the trapdoor\nIt's a beautiful oak trap door, with fine brass fittings, which is currently closed.\n\n> You open the trapdoor\nYou can't budge it; it seems to be mechanically driven.\n\n> You go to the west\nThis bare stone room contains a couple of large rocks, one covered with little fragments of broken clockwork. A passageway leads east.\n\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E3S, which is open.\n\n> Go west\nThis room is like a giant safe. The shelving on one side has a small, descriptive plaque. The vault door is to the north.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N3W, which is open.\n\nYou can also see a pedestal here.\n\n> You read the plaque\nThe plaque reads:\n\"resu eht swolla gnizaG fo brO delbaf ehT\n.secalp dna semit tnatsid ees ot\"\n\n> You look at the pedestal\nThe pedastal looks like the base of a gumball machine; the jar is missing.\n\n> You go north\nThe living room's south wall contains a vast steel door. To the east is a foyer, to the north a kitchen, to the west a parlor, and a spiral staircase used to lead upwards, but has fallen into disrepair. A ratty old couch sits in the corner.\nThe floor is bare hardwood, except for the trap door in the center of the room, which is closed.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W3N, which is open.\n\n> You turn off the mop\nYou disengage the mimesis disruptor."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, humor]\n\n> You look at your surroundings\nThe living room's south wall contains a vast steel door. To the east is a foyer, to the north a kitchen, to the west a parlor, and a spiral staircase used to lead upwards, but has fallen into disrepair. A ratty old couch sits in the corner.\nThe floor is bare hardwood, except for the trap door in the center of the room, which is closed.\n\n> You go to the south\nThis room is like a giant safe. The shelving on one side has a small, descriptive plaque. The vault door is to the north.\n\nYou can also see a pedestal here.\n\n> You turn on the mop\nYou engage the mimesis disruptor."
    },
    {
        "text": "[Themes: Cave crawl, Surreal, gender-neutral protagonist]\n\n> Look around\nThis room is like a giant safe. The shelving on one side has a small, descriptive plaque. The vault door is to the north.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N3W, which is open.\n\nYou can also see a pedestal here.\n\n> You examine the couch\nIt's a ratty old sofa which looks like it's seen a lot of use. Who knows which treasure its cushions hide?\n\n> You look at the cushions\nThey're just ordinary cushions which have seen better days.\n\n> You turn off mop\nThat's already off.\n\n> Go north\nThis tiny kitchen is incredibly cluttered, and contains a large refrigerator. There used to be a stove, but it was removed because of the fire hazard. A doorway leads south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2S, which is open."
    },
    {
        "text": "[Themes: Surreal, Cave crawl]\n\n> Describe the surroundings\nThis tiny kitchen is incredibly cluttered, and contains a large refrigerator. There used to be a stove, but it was removed because of the fire hazard. A doorway leads south.\n\n> You look at the fridge\nIt's a large dingy grey refrigerator; it might have been white 20 years ago. The handle is on the left, and a small tag reads \"Anama\".\n\n> You open the fridge\nAlmost before the door opens, a dingy light comes on, illuminating the insides of the fridge.\nYou open the refrigerator, revealing a top shelf and a bottom shelf.\n\n> You examine the top shelf\nThis shelf is nearly covered with butter substitutes.\n\n> You examine the butter substitutes\nIt's a bunch of butter substitutes; among those present are:\nMore Buttery Than Not\nAre You Tired Of Choosing Between Guns And Butter\nIf That's Butter, Then I'm Richard Nixon\nDefinitely Some Sort Of Lipid\nIt Goes On Toast, Anyway\nRoadsign Yellow Extreme Butter Substitute\nButter My Ass!\nYou Could Convince Me That's Not Butter\nI Am Starting To Suspect That's Not Butter\nIt Seems Probable That's Not Butter\nI Would Bet Money That's Not Butter\nDoes That Look Like Butter To You?\nI Sure Hope That's Not Butter\nDear God, Don't Let That Be Butter\n\n> You examine the bottom shelf\nThis shelf is the place of honor for a single stick of butter, on a marble pedestal.On the bottom shelf is a stick of butter.\n\n> You examine the butter\n(the stick of butter)\nIt's a stick of real butter on a marble pedestal.\n\n> You take the butter\n(the stick of butter)\nYou don't need the butter. It's fine where it is.\n\n> Go south\nYou can't leave the fridge open. The contents might spoil. Or... escape.\n\n> You close fridge\nAs the door closes, the light goes out. Or does it?\n\n> Go south\nThe living room's south wall contains a vast steel door. To the east is a foyer, to the north a kitchen, to the west a parlor, and a spiral staircase used to lead upwards, but has fallen into disrepair. A ratty old couch sits in the corner.\nThe floor is bare hardwood, except for the trap door in the center of the room, which is closed.\n\n> Go east\nYou are in the foyer of a shiny, new mansion. There is no mat on the floor. The outside world is to the east, the house is to the west.\n\n> Go east\nAn overwhelming certainty strikes: If you leave by that door, clowns will eat you.\n\n> Go west\nThis dim parlor is richly furnished. A small window on the north wall looks out onto a sandy desert. A large grey mirror is on the west wall, and a doorway leads east.\n\n> You examine the window\nThe window peers out into an expanse of windswept dunes.\n\n> You look at the mirror\nThe mirror above the mantelpiece reflects the room through a dim haze; it's made with smoked glass. The mirror has a few smudges and fingerprints on it. In the mirror, the living room is plushly carpeted, but the couch has been moved into the parlor. Curiously, your reflection holds a sputtering torch, giving off a small stream of inky smoke, which blends into the mirror's smoked glass.\n\n> You pull the couch\nYou are unable to.\n\n> You take the couch\nThat's hardly portable.\n\n> You go northeast\nYou are in Access Corridor W3, which leads west and east from here. The corridor goes through a half-twist to the west, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W3S is here, standing open.\nAccess door W3N is here, standing open.\n\n> You go south\nA peaceful living room. The entire north wall is taken up by the vast steel door of a large safe. A trail of muddy footprints suggests a foyer to the west, and the doorway to the south leads to a cluttered kitchen. Spiral stairs ascend to the attic. The parlor is east of here.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W3S, which is open.\n\nA square section of the carpet has been cut out on three sides, revealing a trap door."
    },
    {
        "text": "> Go down\nThe basement smells faintly of mold. The walls are constructed of solid concrete. A trap door is set in the ceiling above. Doorways lead north, east, and west, while a hole in the wall leads into a natural cavern to the south. Thin grooves are worn in the floor, leading into the room to the west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W1S, which is open.\n\nAn uncovered ladder leads up to the trap door.\n\n> Go north\nThis room is full of half-finished wickerwork projects. Some of them are quite impressively ambitious, but almost none of them are complete. A doorway leads south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W2S, which is open.\n\n> You examine the runes\nOne of the many generic access doors used, this one is labeled \"W2S\".\n\n> You go east\nThis bare stone room contains a couple of large rocks, one covered with bird droppings. A doorway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W2N, which is open.\n\n> You examine the droppings\nIt's a pile of bird droppings on one of the rocks.\n\n> You examine the rocks\nIt's just a couple of large rocks, perhaps suitable for perching, and covered with bird droppings.\n\n> Clean rock\nYou clean up the bird droppings.\n\n> You look at the rock\nIt's just a couple of large rocks, perhaps suitable for perching."
    },
    {
        "text": "[Themes: Cave crawl, Surreal, humor, meta]\n\n> You go to the west\nThis room was once a wine cellar; a few bits and pieces of broken bottles have been swept into the corner. A doorway leads east to the rest of the basement. The old wine racks tower above you. Thin grooves are worn in the floor, leading back to the basement.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S1E, which is open.\n\nA jagged hole in the wall leads south.\n\n> You go to the south\nThis claustrophobic space is unoccupied.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E3N, which is open.\n\nA jagged hole in the wall leads north.\n\n> Go south\nYou are in a natural stone cavern. To the north, you can see the basement. Passages lead east and south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W1N, which is open.\nA songbird sits here, singing beautifully.\n\nYou can also see a bird cage (which is closed and empty) here.\n\n> You examine the cage\nA wicker cage, precisely the sort in which one keeps birds. It has a delicate little door, and a small perch; it actually looks quite comfortable, as cages go.\n\n> You examine the bird\nA songbird. It has three little snake silhouettes on its left wing. It appears to be in shuffle-play.\n\n> You take the bird\nThe bird is not about to let itself be picked up by your grubby hands. It sings:\n\"Don't hand me no lines /\nand keep your hands to yourself.\"\nPerhaps the bird cage would help.\n\n> You put the bird in the cage\nYou entice the songbird into the wicker cage, closing the door quickly. It begins singing:\n\"In a cage sits a gold canary /\nBy a wicker chair and a rosewood loom /\nAs a soul ascends aboard the evening /\nCanary sings to an empty room\"\n\n> You look at what you're carrying with you\nYou are carrying:\na bird cage\na songbird\na bucket of tinsel\nsome dirty magazines\na live bulb\na mop\na sack (which is open)\na lunch\na clove of garlic\n\n> You go to the north\nThe basement smells faintly of mold. The walls are constructed of solid concrete. A trap door is set in the ceiling above. Doorways lead north, east, and west, while a hole in the wall leads into a natural cavern to the south. Thin grooves are worn in the floor, leading into the room to the west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W1S, which is open.\n\nAn uncovered ladder leads up to the trap door.\n\n> Go up\nA peaceful living room. The entire north wall is taken up by the vast steel door of a large safe. A trail of muddy footprints suggests a foyer to the west, and the doorway to the south leads to a cluttered kitchen. Spiral stairs ascend to the attic. The parlor is east of here.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W3S, which is open.\n\nA square section of the carpet has been cut out on three sides, revealing a trap door.\n\n> Go upwards\nThe attic has been converted into a cozy reading nook. A small wooden table sits in the center of the room, next to a large and comfortable-looking reading chair. A floor lamp stands behind the chair, casting a warm glow over the room. Stairs down are the only exit.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S3E, which is open.\n\nOn the table is a butter cookbook.\n\n> You take the cookbook\n(putting the sack into the bucket of tinsel to make room)\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na butter cookbook\na bird cage\na songbird\na bucket of tinsel\na sack (which is open)\na lunch\na clove of garlic\nsome dirty magazines\na live bulb\na mop"
    },
    {
        "text": "> You look around\nA peaceful living room. The entire north wall is taken up by the vast steel door of a large safe. A trail of muddy footprints suggests a foyer to the west, and the doorway to the south leads to a cluttered kitchen. Spiral stairs ascend to the attic. The parlor is east of here.\n\nA square section of the carpet has been cut out on three sides, revealing a trap door.\n\n> You examine the footprints\nA trail of muddy footprints. Why don't adventurers ever wipe their feet?\n\n> Go west\nYou are in the foyer of an old mansion. A mat on the floor is labeled \"Welcome to our home, wipe your feet\". The outside world is to the west, the house is to the east. Ahead lie the five Great Treasures... and fame!\n\n> You go west\nEnraged monster-rights protesters are picketing the mansion; best not to get in their way.\n\n> You turn on the mop\nYou engage the mimesis disruptor.\n\nYou are in a sumptuously decorated parlor, containing a mantelpiece with a vast mirror above it. The sumptuous decorations consist of an old, ratty, couch. The living room is back to the west. A window-frame on the south wall contains a picture of a sunny field. A light fixture above the window contains a burned-out bulb.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2N, which is open.\n\n> Change bulb\n(the live bulb)\nNothing obvious happens.\n\n> You take the bulb\n(the live bulb)\nYou already have that.\n\n> You takthe burned-out bulb\n(putting the mop into the bucket of tinsel to make room)\nIt wouldn't fit.\n\n> You examine the yarn\nIt's entirely unclear what function this is intended to serve. It appears to be a tangled mass of thick, damp, yarn, attached to one end of your mop. You've never seen its like before.\n\n> You ask the mop about live\n\"You're smart. You figure it out.\"\n\n> You ask the mop about the job\n\"You're a janitor. Get everything ready for people to come back tomorrow.\"\n\n> You put the cookbook in the bucket\nYou put the butter cookbook into the bucket of tinsel."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, meta, humor]\n\n> Look around\nYou are in a sumptuously decorated parlor, containing a mantelpiece with a vast mirror above it. The sumptuous decorations consist of an old, ratty, couch. The living room is back to the west. A window-frame on the south wall contains a picture of a sunny field. A light fixture above the window is empty.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2N, which is open."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, meta]\n\n> You look around\nYou are in a sumptuously decorated parlor, containing a mantelpiece with a vast mirror above it. The sumptuous decorations consist of an old, ratty, couch. The living room is back to the west. A window-frame on the south wall contains a picture of a sunny field. A light fixture above the window contains a bright floodlight.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2N, which is open.\n\n> You examine mirror\nThe mirror above the mantelpiece reflects the room through a dim haze; it's made with smoked glass. The mirror has a few smudges and fingerprints on it. In the mirror, you can't spot the carpet in the living room, but there's a trap door in the middle of the living room floor. Also, the couch has been moved from the parlor to the living room. Curiously, your reflection holds a sputtering torch, giving off a small stream of inky smoke, which blends into the mirror's smoked glass."
    },
    {
        "text": "> You look around\nYou are in a sumptuously decorated parlor, containing a mantelpiece with a vast mirror above it. The sumptuous decorations consist of an old, ratty, couch. The living room is back to the west. Through the window on the south wall, you see a vast green field. Streams of sunlight pour in through the window.\n\n> Mop footprints\nYou clean up the muddy footprints.\n\n> Go west\nA peaceful living room. The entire north wall is taken up by the vast steel door of a large safe. A freshly-cleaned region of carpet leads to the foyer to the west, and the doorway to the south leads to a cluttered kitchen. Spiral stairs ascend to the attic. The parlor is east of here.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W3S, which is open.\n\nA square section of the carpet has been cut out on three sides, revealing a trap door."
    },
    {
        "text": "[Themes: Cave crawl, Surreal, gender-neutral protagonist, meta]\n\n> You look at your surroundings\nA peaceful living room. The entire north wall is taken up by the vast steel door of a large safe. A freshly-cleaned region of carpet leads to the foyer to the west, and the doorway to the south leads to a cluttered kitchen. Spiral stairs ascend to the attic. The parlor is east of here.\n\nA square section of the carpet has been cut out on three sides, revealing a trap door.\n\n> You fix the carpet\nThe open trap door is in the way.\n\n> Down\nThe basement smells faintly of mold. The walls are constructed of solid concrete. A trap door is set in the ceiling above. Doorways lead north, east, and west, while a hole in the wall leads into a natural cavern to the south. Thin grooves are worn in the floor, leading into the room to the west.\n\nAn uncovered ladder leads up to the trap door.\n\n> You examine the grooves\nThese thin grooves look like they're spaced about as widely as the base of a ladder.\n\n> You go to the south\nYou are in a natural stone cavern. To the north, you can see the basement. Passages lead east and south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W1N, which is open.\n\n> You go south\nThis warm, moist room seems perfectly suited to the keeping of reptiles. It is full of sculpted stone which appears to be intended to take the shape of natural rocks; the rock is warm to the touch, and a soft red light suffuses the room. A passageway leads north.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E1S, which is open.\nA little garter snake has curled up on one of the rocks, and appears to be ignoring you.\n\nYou can also see a dead janitor here.\n\n> You look at the janitor\nOh, dear. Now you know what happened to your predecessor; he was crushed by something shaped just like a snake, and probably about twice his size.\n\n> You look at the snake\nA cute little garter snake. If it were bigger, it might want to threaten you. The snake seems content and even a bit sleepy, and ignores you.\n\n> Jan1\nEnter saved game to store: Ok."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, gender-neutral protagonist]\n\n> You describe your surroundings\nThis warm, moist room seems perfectly suited to the keeping of reptiles. It is full of sculpted stone which appears to be intended to take the shape of natural rocks; the rock is warm to the touch, and a soft red light suffuses the room. A passageway leads north.\nA large snake has curled up on one of the rocks, and appears to be ignoring you.\n\nYou can also see a dead janitor here.\n\n> You examine the snake\nMonty Anaconda! This is a huge snake; there's no way you could survive a confrontation with such a beast. The snake seems content and even a bit sleepy, and ignores you.\n\n> You turn off the mop\nYou disengage the mimesis disruptor.\nThat's odd, the snake (which you had nearly forgotten about) seems to be growing... and growing... and eating you. You are the weakest link; goodbye.\n\n> Jan1\nEnter saved game to load: Ok.\n\n> You search janitor\nAs you look under the body, a diamond rolls out from under it.\n\n> You look at the diamond\nA large, bluish, diamond, about two inches in diameter. It is heart-stoppingly beautiful, and the shimmering reflections it casts provide the corresponding CPR.\n\n> Go northeast\nYou are in Access Corridor E1, which leads east and west from here. You can see the break room to the west, and the smell of stale snack foods and burnt coffee is strangely appealing. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door E1S is here, standing open.\nAccess door E1N is here, standing open.\n\n> You go west\nYou are in the company break room, complete with the employee fridge, where you could store your lunch, if you had a lunch. Access corridors lead north, south, east, and west. Your supply closet is to the northwest, and the receptionist's office is to the northeast. Next to the safety and motivational posters, a pin-up calendar adorns the dingy wall, currently displaying Ms. January.\n\n> Go south\nYou are in Access Corridor S1, which leads south and north from here. You can see the break room to the north, and the smell of stale snack foods and burnt coffee is strangely appealing. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S1E is here, standing open.\nAccess door S1W is here, standing open.\n\n> Go west\nYou are in the foyer of a shiny, new mansion. There is no mat on the floor. The outside world is to the east, the house is to the west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S3W, which is open.\n\n> You go west\nThe living room's south wall contains a vast steel door. To the east is a foyer, to the north a kitchen, to the west a parlor, and a spiral staircase used to lead upwards, but has fallen into disrepair. A ratty old couch sits in the corner.\nThe floor is bare hardwood, except for the trap door in the center of the room, which is closed.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W3N, which is open."
    },
    {
        "text": "> Go downwards\nYou are unable to descend by the trap door.\n\n> You open the trapdoor\nYou can't budge it; it seems to be mechanically driven.\n\n> Go north\nThis tiny kitchen is incredibly cluttered, and contains a large refrigerator. There used to be a stove, but it was removed because of the fire hazard. A doorway leads south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2S, which is open.\n\n> You go northeast\nYou are in Access Corridor E2, which leads east and west from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door E2S is here, standing open.\nAccess door E2N is here, standing open.\n\n> You go to the north\nYou are in a sumptuously decorated parlor, containing a mantelpiece with a vast mirror above it. The sumptuous decorations consist of an old, ratty, couch. The living room is back to the west. A window-frame on the south wall contains a picture of a sunny field. A light fixture above the window contains a bright floodlight.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E2N, which is open.\n\n> You ask mop about mimesis\n\"How should I know? I'm just a mop. What would a talking mop know about the disruption of mimesis?\"\n\n> Go north\nYou are on the east edge of a deep chasm above a stagnant pool. A large stone bridge leads to the other side, and a dark passageway leads east.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E1N, which is open.\n\n> Go west\nYou are on a vast stone bridge over a stagnant pool, with a row of brass rungs, temporarily blocked by a giant lever which is just out of your reach, leading down to the base of the single vast pillar supporting the bridge. The bridge runs east and west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S2W, which is open.\n\nA wrought-iron torch sconce is on the side of the bridge, covered with soot.\n\nYou can also see a hot-air balloon here.\n\n> You look at the sconce\nIt's a wrought-iron torch sconce. It is currently empty.\n\n> You check what you're carrying\nYou are carrying:\na bluish diamond\na dead bulb\na bird cage\na songbird\na bucket of tinsel\na butter cookbook\na sack (which is open)\na lunch\na clove of garlic\nsome dirty magazines\na mop\n\n> You put the magazines in the bucket\nYou put the dirty magazines into the bucket of tinsel.\n\n> You put bulb in the bucket\nYou put the dead bulb into the bucket of tinsel.\n\n> You take the sconce\nThat's fixed in place.\n\n> You pull the lever\nIt's too far away, and you couldn't do anything with it from the rungs. You'd need to find a way down there. You could always jump.\n\n> You examine the balloon\nIt looks like a hot-air balloon; it consists of a tarp made of parachute fabric, tied to a wicker basket.\n\n> Jan2\nEnter saved game to store: Ok.\n\n> You jump\nWhee!\nBelow of Chasm\nYou are standing at the base of the gigantic pillar supporting the bridge above you. A set of brass rungs set into the side of the pillar leads upwards. You are surrounded by a still pool of water. A large lever labeled \"Bridge Control\" is set in the pillar and blocks your way to the rungs.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N1E, which is open.\n\n> You pull the lever\nYou switch the mechanism on."
    },
    {
        "text": "> You look around\nYou are standing at the base of the gigantic pillar supporting the bridge above you. A set of brass rungs set into the side of the pillar leads upwards. You are surrounded by a still pool of water. A large lever labeled \"Bridge Control\" is set in the pillar.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N1E, which is open.\n\n> You examine the pool\nIt's just a shallow pool of water; you couldn't even keep a goldfish in it.\n\n> Go up\nYou are on a vast stone bridge over a stagnant pool, with a row of brass rungs leading down to the base of the single vast pillar supporting the bridge. The bridge runs east and west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S2W, which is open.\n\nA wrought-iron torch sconce is on the side of the bridge, covered with soot.\n\n> You turn off the mop\nYou disengage the mimesis disruptor.\n\nIt is now pitch dark in here!\n\n> You turn on the mop\nYou engage the mimesis disruptor.\n\nYou are on a vast stone bridge over a stagnant pool, with a row of brass rungs leading down to the base of the single vast pillar supporting the bridge. The bridge runs east and west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S2W, which is open.\n\nA wrought-iron torch sconce is on the side of the bridge, covered with soot.\n\n> Go northeast\nYou are in Access Corridor N1, which leads north and south from here. You can see the break room to the south, and the smell of stale snack foods and burnt coffee is strangely appealing. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door N1E is here, standing open.\nAccess door N1W is here, standing open.\n\n> You go west\nYou are on the west edge of a deep chasm above a stagnant pool. A large stone bridge leads to the other side, and a dimly lit passageway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N1W, which is open.\n\n> You go west\nYou are in a natural stone cavern. To the north, you can see the basement. Passages lead east and south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W1N, which is open.\n\n> You go to the east\nThe bridge must have turned around, or something, because you're back on the west side.\n\nYou are on the west edge of a deep chasm above a stagnant pool. A large stone bridge leads to the other side, and a dimly lit passageway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N1W, which is open.\n\n> You go east\nThis grotto looks like the inside of a gigantic geode; every surface sparkles. A small hole in one wall catches the light. A passageway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N2W, which is open.\n\n> You examine the hole\nA hole in the wall looks as though it once contained an angular object perhaps two inches in diameter.\n\n> You put diamond in the hole\nThe diamond fits snugly and smoothly into the hole. You put the bluish diamond into the hole in the wall."
    },
    {
        "text": "[Themes: Surreal, Cave crawl, gender-neutral protagonist, humor]\n\n> You look at your surroundings\nThis grotto looks like the inside of a gigantic geode; every surface sparkles. A sparkling gem set in the wall catches your eye; perhaps it could be pried out. A passageway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N2W, which is open.\n\n> You turn off the mop\nYou disengage the mimesis disruptor.\n\nIt is now pitch dark in here!\n\n> You turn on the mop\nYou engage the mimesis disruptor.\n\nThis grotto looks like the inside of a gigantic geode; every surface sparkles. A sparkling gem set in the wall catches your eye; perhaps it could be pried out. A passageway leads west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N2W, which is open.\n\n> Go northeast\nYou are in Access Corridor N2, which leads north and south from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door N2E is here, standing open.\nAccess door N2W is here, standing open.\n\n> You go to the east\nYou are in the foyer of an old mansion. A mat on the floor is labeled \"Welcome to our home, wipe your feet\". The outside world is to the west, the house is to the east. A buzzing neon sign reads \"Flavorplex Qualifying Adventure Copyright 1973 Flavorplex Text Adventure Company\".\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door N2E, which is open.\n\n> Go east\nYou are in Access Corridor E2, which leads east and west from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door E2S is here, standing open.\nAccess door E2N is here, standing open.\n\nYou are in Access Corridor E3, which leads east and west from here. The corridor goes through a half-twist to the east, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door E3S is here, standing open.\nAccess door E3N is here, standing open.\n\nYou are in Access Corridor W3, which leads west and east from here. The corridor goes through a half-twist to the west, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W3S is here, standing open.\nAccess door W3N is here, standing open.\n\n> Go west\nYou are in Access Corridor E3, which leads east and west from here. The corridor goes through a half-twist to the east, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door E3S is here, standing open.\nAccess door E3N is here, standing open.\n\n> Go south\nThis bare stone room contains a couple of large rocks, one covered with little fragments of broken clockwork. A passageway leads east.\n\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door E3S, which is open.\n\n> You go east\nYou are in Access Corridor W3, which leads west and east from here. The corridor goes through a half-twist to the west, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W3S is here, standing open.\nAccess door W3N is here, standing open.\n\nYou are in Access Corridor W2, which leads west and east from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W2S is here, standing open.\nAccess door W2N is here, standing open.\n\n> Go south\nThis room is full of half-finished wickerwork projects. Some of them are quite impressively ambitious, but almost none of them are complete. A doorway leads south.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door W2S, which is open.\n\n> You go to the north-east\nYou are in Access Corridor W2, which leads west and east from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W2S is here, standing open.\nAccess door W2N is here, standing open.\n\n> Go east\nYou are in Access Corridor W1, which leads west and east from here. You can see the break room to the east, and the smell of stale snack foods and burnt coffee is strangely appealing. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the north and south.\nAccess door W1S is here, standing open.\nAccess door W1N is here, standing open.\n\nYou are in the company break room, complete with the employee fridge, where you could store your lunch, if you had a lunch. Access corridors lead north, south, east, and west. Your supply closet is to the northwest, and the receptionist's office is to the northeast. Next to the safety and motivational posters, a pin-up calendar adorns the dingy wall, currently displaying Ms. January.\n\n> You go west\nThis kitchen has been mostly stripped, but contains a large refrigerator. There used to be a stove, but it was removed because of the fire hazard. The living room is to the north.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S1W, which is open.\n\n> Go south\nYou are in Access Corridor S2, which leads south and north from here. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\n\n> You go east\nAccess door S2E is here, standing open.\nAccess door S2W is here, standing open.\n\nThis dim parlor is richly furnished. A small window on the north wall looks out onto a sandy desert. A large grey mirror is on the west wall, and a doorway leads east.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S2E, which is open.\n\n> Go south\nAccess door S2E is here, standing open.\nAccess door S2W is here, standing open.\n\n> Go west\nYou are in Access Corridor S3, which leads south and north from here. The corridor goes through a half-twist to the south, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S3E is here, standing open.\nAccess door S3W is here, standing open.\n\nYou are in the foyer of a shiny, new mansion. There is no mat on the floor. The outside world is to the east, the house is to the west.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S3W, which is open.\n\n> Go northeast\nYou are in Access Corridor S3, which leads south and north from here. The corridor goes through a half-twist to the south, joining with one of the other corridors in a way you've never quite understood. The fluorescent lights above you flicker irregularly, dimly illuminating the doors to the east and west.\nAccess door S3E is here, standing open.\nAccess door S3W is here, standing open.\n\n> Go east\nThe attic has been converted into a cozy reading nook. A small wooden table sits in the center of the room, next to a large and comfortable-looking reading chair. A floor lamp stands behind the chair, casting a warm glow over the room. Stairs down are the only exit.\nIn the northeast corner, a floating arrangement of glowing blue runes indicates the location of access door S3E, which is open.\n\n> Jan3\nEnter saved game to store: Ok."
    },
    {
        "text": "[Themes: Science Fiction, apocalyptic, science fiction, male protagonist, Old-style, verbose, disaster]\n\nMorning comes, in Monarch. An eerie light permeates the room.\n\nIt's been a hard night...\n\nA bed, a table, a bathroom. This is all that's left of your colleague, Professor Re's. Some dust, an eerie atmosphere and just a memory.\n\n[Author's Note: The most important discovery in history. And then, the whole world goes crumbling down. Armed with but a computer and an expired railway ticket, how can one expect to save the day when the doomsday clock has begun ticking...?]\n\n> You examine the dust\nLight fills in from the blinded windows. Dust flies in the sunrays like snow in a torment.\n\n> You look at memory\nYou can't see any such thing.\n\nCertainly, though, you can smell it and listen to it.\n\n> Smell memory\nAlong with Andy, has gone his scent. All that remains is the noisy pout-pourri of the exotic food he'd like to eat, along with the odor of root beer and soda.\n\n> You listen to the memory\nSilence is all that's left of Andy, and it's much more than anything else. He was so mouthy, sometimes. Hell, he was mouthy every damn minute, never closing that babbling gape, always inquiring about something, always trying to inspire faith in the others. Faith in science, that is. And faith in humanity as a worthy bunch.\n\nYou hardly squeeze a smile. You will miss that gape. You will miss his faith.\n\n> About yourself\nGetting fat. Getting old. Getting bald.\n\n> You check your inventory\nYou're carrying an expired railway ticket, a magnetic card and an E-Pad.\n\n> You examine the ticket\nA regular monthly railway ticket. The expiration date printed on it bears the yesterday's date.\n\n> You look at the card\nA plastic card, with a black stripe on its back. On the front it bears a picture of you and your generalities.\n\n> You look at the picture\nIt is you, some time ago.\n\n> You examine Ethe -Pad\nA black slab, ten-by-twenty centimeters. A surface, the one you would refer to as \"the bottom\", is made out of vibertron alloy. The \"top\" side is a psychoglass vibertron that you can use to gather information. The E-Pad is indeed the ultimate resource for any kind of question: you can consult it about almost anything (that you have previously uploaded into it, of course). Think to it as some kind of Guide to the galaxy.\n\n> You examine the bed\nThat's where you've had your final sleep. The blankets are a mess, even if you lied over them. A troublesome sleep, indeed.\n\n> You examine the top\nIt is a psychoglass you would use to gather information simply by touching it.\n\n> You touch the top\nIt took seven minutes to upload all your records on the Pad. It would take several millennia just to browse through half of it. It's better if you try and consult it about something.\n\n> You take the blankets\nYou sincerely hope the night just passed is the last you'll have to mess with this particular bed.\n\n> You examine table\nThis is where Andy passed his sleepless nights, always studying something new, always focusing on pushing humanity forward.\n\nYou can't but mourn at the loss this old world has suffered from his departure.\n\nOn the table, you glance a folder with some files inside.\n\n> You consult Ethe -Pad about Andy\nYou wave your hand on the vibertron, mentally igniting its interior device. A blink of an eye later, the screen vibrates with a faint purple light.\n\nUser 5,834 of this device, bearing no significant difference\nbetween all the other 5,833 before and the one after.\n\n> You consult e-pad about yourself\nYou are user 5,835 of this device, bearing no significant\ndifference between all the other 5,834.\n\n> You examine the folder\nAs you drop your eyes on the cerulean cover of the folder, your own writing jumps out almost new, as if someone else has inscribed on it the words: \"Reports to the Council\".\n\n> You read the folder\nYou know these files by heart: A report on the state of the crust substrates, and about the discoveries you've made there.\n\nStrolling through the pages, you fall deep into a sense of vertigo. The whole world starts spinning.\nCan you do it? Will you be able to go on with the plan, now that Andy has gone? Now that he's been--\nA single tear runs through your left cheek, substantial, heavy. When it dives from your skin you almost feel its burden leaving. A second later -- or maybe a millennia -- it hits the ground with a sounding boom.\n\nYou can barely form his visage into your head, and he's been dead for just ten hours. The impression printed in your forehead is that of a pale face, no more anguish, no more tears. And that terrible wound, a hole ripped in his chest like a mole's burrow. That's how it looks when a bullet bangs out of you, taking skin, flesh and bones in a bloody firework. They shot him. In the back, and he wasn't even fleeing. The coroner said he may just have been walking unaware.\n\nAnother tear jumps into the void. Another boom.\n\nThey were looking for these, the Reports.\n\nOne reason more to go and show the committee. One reason more to cry the truth out loud.\n\n> You take the folder\nTaken.\n\n> Exits\n[From here you can go west].\n\n> You examine bathroom\nA sink and a toilet, stocked in the far corner of the room.\n\n> Go west\nYou leave the tiny room.\n\nOn the door's sill, you pause and send one last glance to Andy's apartment. A new rush of tears threatens an escape and you barely suffocate it.\n\nAndy, you promise. I will do it. I will do it for both of\nus. Whatever it is they are trying to hide -- whoever they are -- I will find out. And the whole of Monarch will know. This I vow.\n\nAnd, although you can't quite imagine it just now, no words will ever be truer than those.\n\nA foggy light comes from the grates on the top half of the stairwell. You are standing just mere feet from Andy's house entrance, above the first step going down.\n\n> Research monarch\nSixth planet in the trinary system, the biggest in size. Base of\nthe human activity in the Andromeda galaxy, is Capital World and headquarters of the ASA Council of the Thirteen. Age: 1.2bill. Size: magnitude 7.2 in Resson's scale.\n\n> Research council\nThe government-above-the-government of the ASA Republican Worlds.\nMade up of thirteen members, it is the source of the ASA codex and of the 237 Bounds.\n\nYou really think it's time to run to the Campus. You sight the exit, down from here.\n\n> You look at grates\nYes, you rather had a regular window, but this is what comes with peripheral, low-cost buildings."
    },
    {
        "text": "[Themes: Science Fiction, verbose, disaster, Old-style, science fiction]\n\n> You go downward\nThe faint lights get fainter here. A sturdy door opens on the Avenues, to the north. A flight of stairs moves up to the front door of Andy's Apartment.\n\n> You go to the north\nYou leave the satisfying safety of the house with but a sigh. The massive vibertron door opens with no sound, and with no sound closes after you.\n\nThe vivid pink of the Monarch sky paints an eternal dawn and washes the street and the buildings in a somewhat romantic nuance. The door to Andy's condominium lies south of here, reflecting the three suns like a gigantic kaleidoscope. The Avenue runs out of sight in every direction, finding outlets in a handful of other busy streets. The one you need runs east, towards the train station.\n\nAll these people, you think, watching the passers-by as they\ncrowd the streets in their random duties. If only they knew,\nthey'd scamper around like mad rats, biting at each other and feasting on the corpses.\nYou hold more tightly to your Report files.\n\nThe major sun -- Korhos -- seems to point its malevolent, cold finger at you.\n\n> You look at korhos\nThe fiery halo around the biggest of the suns of Monarch sends spires of red spreading across space.\n\n> Go east\nHere the street forks in two different branches, one disappearing southeast into the train station, the other going on to the east. To the west lies Andy's house. The dark underground tunnel that leaves the street to the first underground floor, where your train is probably waiting, sends shivers down your spine.\n\nThere. The big underground empire. The place where all human fears gather.\n\nYou pick up the Report files again, and look at their cover.\n\nWhat's the meaning of all this? What did you find down there that grips around your throat like a deathly lace every time you think about it? Is it the discovery itself, or maybe the fact that Andy was killed to prevent its disclosure? You never imagined being a nerd of a scientist would have given you so much anguish.\n\nYou put back your burden and look up to the station's entrance. All will come in place, you hopefully consider. All will come in place.\n\n> You go southeast\nThe cyanotic, vibrating light of the station stands as a formal counterweight to the usual pink of the open air. People from all the country crowd the hall, piling up like chickens in stocks. The loud whistle of the incoming and departing trains dopplers through the place and drills into your ears. The rails cut the earth in two, further south, while a more breathable atmosphere breaks in through the entrance, northwest from here.\n\nA steel gate stands between you and the trains. A ticket obliterator blinks silently at its side.\n\nOn the west wall is a ticket vending machine.\n\n> You look at the obliterator\nA tall figure, all in vibertron alloy, which is obviously there to read and authenticate tickets. A red laser scans the air inside a slot in its base.\n\n> You examine the vending\nCyanotic, like the rest of the enviroinment. It accommodates a magnetic card reader and a pocket for ticket delivery.\n\n> You put the ticket in the slot\n(the expired railway ticket in the obliterator)\nThe obliterator blinks tiredly. A red exclamation mark appears on its glossy surface. You remove the ticket.\n\nWith the corner of an eye, you catch a glimpse of yellow, shining among the people.\n\n> You examine the yellow\nLadies and gents from all around the trinary system crowd the tunnels of the South Fork station. They seem resolute and sturdy, each intent in finding the way into a new day.\n\nAmong the rest of the unaware mob, you scout a single man, busy reading the railway map pinned to the wall.\n\n> You put the card in the card reader\n(the magnetic card in the magnetic card reader)\nYou push the card into the reader. A second later, a red exclamation mark starts blinking on the vending machine and an unsympathetic, metallic voice informs all the people present that your \"credit is exhausted\".\nYou try and take the card back, but the machine swallows it whole.\n\nAnd at this point, it just feels like it's too much.\n\nYou fall on your knees, like an empty jute sack. The head dives between the shoulders, an empty face towards the ground beneath the legs. And the tears you so hardly tried to keep inside the dam begin rolling.\n\nThere is just no exit, you realize, and a sense of doom\novercomes you.\nThere is no exit, no place to run to, no escape. The weight of the world is upon you and you can do nothing about it. Andy has been killed and he was the one with the wit and the strength to try and do something. In cases like this, he would have been the one to stroke your hair and spread hope. He would have been the one who said \"Hey, man. Just relax. I'll be doing this.\"\n\nYou sense the star-shattering future as too much for you to handle and give in, like a child who's been told his parents have just died.\n\nThen, something happens.\n\nA hand is dropped on your shoulder. An unfamiliar voice breathes in your ear, and all of a sudden you feel awake.\nYou turn and face a man, one you never met before, and his understanding eyes. It's just a hand, still it feels like an invigorating shock.\n\n\"It will be ok, man\", he says. \"Just relax\".\n\nA second later, you are on your feet, your eyes following the stranger as he passes through the gates and into the railways.\n\n> You examine man\nYou recognize the funny man as coming from the near Bom-Fong Satellite facility: his darker skin tone and his thin eyes betray his provenance. He wears a yellow coat that runs down to his feet. On his shoulders, he's carrying a purple backpack, the sort of which you usually see worn by the students at the University.\n\nFrom a pocket of the backpack you see poking a freshly printed ticket.\n\n> You take the ticket\n(the new railway ticket)\nThere's no way of getting it without startling its owner. You are not that used to stealing to be subtle enough. Maybe you'd need a diversion.\n\n> You examine the map\nA map depicting the maze of rails connecting all the various stations in Monarch. With but a glance you find your route to the University."
    },
    {
        "text": "> You describe your surroundings\nThe cyanotic, vibrating light of the station stands as a formal counterweight to the usual pink of the open air. People from all the country crowd the hall, piling up like chickens in stocks. The loud whistle of the incoming and departing trains dopplers through the place and drills into your ears. The rails cut the earth in two, further south, while a more breathable atmosphere breaks in through the entrance, northwest from here.\n\nA man wearing a funny yellow coat is reading the railways map, puzzled.\n\nA steel gate stands between you and the trains. A ticket obliterator blinks silently at its side.\n\nOn the west wall is a ticket vending machine.\n\n> Examine backpack\nA purple backpack, the sort of which you usually see worn by the students at the University.\n\nFrom a pocket of the backpack you see poking a freshly printed ticket.\n\n> You examine the gate\nA maze of sturdy steel bars, which runs from the floor to the ceiling. It looks very dense.\n\n> Exits\n[From here you can go northwest and south, beyond the steel\ngate].\n\n> You go to the south\nThe gate stands closed between you and the rails.\n\n> Research university\nUser 5,835 is chief researcher at the Radiations and Microwave\nSurvey in the Monarch State University. The University is located in Brouguoise.\n\n> You talk to the man\n\"Need help?\"\n\nThe man turns to see you, a bit startled. \"Uhm,\" he says, pointing at the map, \"I'm just looking for the next stop in this... erm... maze.\"\n\n> You talk to the man\n\"I know, it's always a nightmare the first time you try and read one of those. Let me help.\"\n\nA fresh smile of relief paints his face, as the man moves a step to the left to let you check the map. In the movement, unseen, the ticket that was hanging from the open pocket of his backpack flies over the edge, landing a mere step from your right foot. You notice it but avoid dropping your sight to the ground.\n\n> Step on ticket\n(the new railway ticket)\nOk, you are finally persuaded. He won't need this as much\nas I -- or the whole of Monarch -- do.\n\nSubtly, you hide the fallen ticket under your foot, hoping to go unnoticed. And it works. The man follows your instructions on the map up to the last letter:\n\n\"There, you know,\" you say, pointing at the map in the place where Cardinal Park would be. \"There is the station you might look at for your departure, sir. South Fork is only southbound, and you have to go north.\n\n\"It's just a couple of kilometers,\" you grin, depicting in your mind the Park, the farthest place in all Monarch to a railway.\n\nWith a sigh, the man thanks you and heads out of the station. You grab the ticket and pitch the old, useless one.\n\n> You put the ticket in the slot\n(the new railway ticket in the obliterator)\nThe obliterator blinks vigorously. A green exclamation mark appears on its glossy surface. The gate reacts with but a faint buzz. You remove the ticket.\n\n> You go south\nYou pass through the gate which admits you, silently opening around you.\n\nYou are standing by the bay of the railways, where trains arrive and depart. The light gets dimmer, here, but it is still strong enough to let you see the nearest surroundings. It then fades away in the intricate maze of the other platforms. A series of gates opens north into the main hall of South Fork Station. Through the bars you can see hundreds of people passing by, like ants in a sand castle.\n\nA deep sense of claustrophobia gets to your nerves as you stare at the long tunnels winding everywhere from this place. The intricate maze carves so deep and so far that now it could easily count more surface than on the open air...\n\nIt digs so deep that you are quite certain it opened entrances -- or outages -- to things you'd better have seen left undisturbed. The Report files in your hands, the ones you are going to explain to your colleagues at the University, vibrate as if animate, trying to catch your attention.\n\nYour train is not here, yet. This could be a chance to study them again.\n\n> You look at the files\n\"Reports to the Council\".\n\n> You read the files\nYou open the files at random. Your eye is quickly caught by one of the first reports:\n\n(...)The volcanic crust separating what was once the glacial layer from the lower halls cannot possibly be thick enough to hold those energies at bay. Nor can it be trusted to keep a region larger than one third of Monarch's surface area hidden from whatever may be resting down there. In my humble opinion, the chances that former colonizations could have gotten in there before the glacial age (trapped? self-defending?) are quite high, especially now that we have discovered the Alpha Radiation.\n\nIn the end, we know nothing about Monarch before the first\nsettlements from the outer galaxies came into Andromeda more than one thousand years ago. Technology back then was not sufficient to dig as far as we have recently. The glacial layer was only partially melted and covered by the constructs. I suggest further investigation before we start -- as we should -- to probe the source of the\nradiation.(...)\n\nThe thought of something ancient sleeping under your very feet is more than your mortal brain can handle.\n\nEventually, your train arrives.\n\nThe doors open silently and you enter its bright intestines with but a second thought, powerfully relieved by leaving the dark recesses of the underground rails.\n\nThe wagon is enlightened by several fluorescent lamps, spanning along all its roof. The yellow, vibrating light paints each surface with the colors of death and decay. The train moves swiftly on its rails.\n\nA man sitting beside you is reading his newspaper.\n\n> You examine the lamps\nTubes of light, inside tubes of glass.\n\n> You research Alpha Radiation\n(Inserted by user 5,835 -- not present in general database)\n\nRadiation which pulsates from a specific point under Monarch's capital. Discovered on 25th/3rd/9,855. Generator or source: unkn. Z-position: unkn. Magnitude: feeble, but growing. ---- Warning: same kind of the Event residues. ----.\n\n> You look at the man\nHe must be your age, a small man that looks like the average white collar worker from somewhere in the government. He's holding his newspaper like it was the only thing valuable in the world.\n\nYou realize with surprise it is the same man who had the nice words at the vending machine, earlier.\n\nAn unforeseen tremor shakes the train. You grab a handle before falling. The man beside you grips his seat.\n\n\"Woha!\" he laughs. \"That was something.\"\n\nYou notice small bits of the tunnel walls crumbling as you pass them by.\n\n> You look at the newspaper\nThe part you can see is about the weather and a few of other unimportant things.\n\n> You read it\nThe part you can see is about the weather and a few of other unimportant things.\n\nA second, much stronger quake shakes the train. You are bounced once to the back, where you hit the doors with a faint sound, then forward. This time you go swimming through the air like some sort of flying fish.\n\nBut it is not over.\n\nAnother shock rocks the train to its core, sending it off the rails. Cracks like razor wounds open the car one by one, ripping it apart like a tube of crumpling paper. The windows shatter with a fierce boom! that grinds into your ears like a thousand needles. The\nnext second, you are smashed against the end of the wagon, your head trying its resilience against solid steel.\n\nThe last thing you see, before your eyes are closed forever, is the man who was reading his newspaper beside you being engulfed by a dark abyss that has opened under your feet -- and below the collapsing train --  like the maw of an ancient creature.\n\n> You examine man\nHe's trapped. There is no way of pulling him out of the wreckage. Blood is pouring violently from a wound in his chest, where an iron crank has opened a new way in.\n\nThe train rattles and screams, slowly slipping further into the abyss where it is being inexorably pulled.\n\n> You talk to the man\n\"You will be fine,\" you say. \"Soon enough help will come. I will stay here till then.\"\n\nYou look out of the shattered glass of the train windows, hiding your sore eyes to the man you lied to with your last words.\n\nAnother rattle and the wagon is pulled further into oblivion.\n\n> Exits\n[From here you can go nowhere].\n\nThe shrieking sound of metal against metal fills your ears as the last part of the train sinks. Another meter. One more shake and all will fall inside the open chasm.\n\n> You go south\n\"Don't leave me,\" cries the trapped man. \"Please!\"\n\nOne final, sinister noise shakes the wagon. Before you can understand what's happening, the weight of the rest of the train causes it all to fall into the enormous crack that opens below.\n\nYou have just enough time to jump through the wide crack before it all disappears into darkness, landing to safety on a hard ledge.\n\nIn the end, you fail to turn your eyes from those -- praying, pleading -- of the man trapped in the wreckage, his last goodbye a terrorized wailing into the unknown. You gaze into the blackness, speechless. The same words cycle into your forehead like a grinding echo: It will\nbe ok. Just relax. It will be ok.\nLedge\nYou are on a hard ledge, over a kilometers-deep chasm opening directly in front of you. There are no visible ways out, except for a trail cut in stone to the northwest. Now that the train has disappeared into oblivion, you realize there is no light, anywhere, apart from the orange glow coming up from the deep, like a disaster movie scenography. The faint green light from the screen of your E-Pad catches details for only a few meters around.\n\nWhat comes to your mind next sends a blow to your stomach.\n\nThe Fatimah Initiative, you think in horror. No lights\nmeans no energy.\n\nAnd no energy means the tides.\n\n> Research fatimah initiative\nMonarch to counterweight the one caused by the approaching of the orbiting star Fatimah. Every ten days, all non-emergency power sources on the planet are redirected to the Initiative. The Initiative was the Second Bound by the Interstellar Agreement and was signed by all the thirteen members of the Council.\n\nIf the Fatimah initiative is stopped, for any reason, the whole planet would be submerged in water. This must be avoided at any cost.\n\n> Research tides\nMonarch to counterweight the one caused by the approaching of the orbiting star Fatimah. Every ten days, all non-emergency power sources on the planet are redirected to the Initiative. The Initiative was the Second Bound by the Interstellar Agreement and was signed by all the thirteen members of the Council.\n\n> Research bounds\nThe sum of the 237 rules by which the ASA Republican Worlds work.\nThey are divided into seven sections, each made up by at least 20 so-called \"initiatives\". Only the first two Bounds contain just one Initiative each. Those were written in the Ancient Days before the reforming of the Republic.\n\n> You research ancient Days\nThe third age spanned between 3,000 and 8,140 (YotG). The first\ntwo centuries after its end are called \"the Ancient Days\", as opposed to the modern ones, lasting up to now.\n\n> Research first bound\nThis unit was not allowed to download resources on the matter.\nSorry.\n\n> Research asa\nAndromeda Solar-spatial Agreement.\n\nIt is the set of rules which binds the interstellar space of the Andromeda Galaxy. The whole library is held in the Monarch Manuscript, under the Humanitas Mementos, closed from light and cryogenized at the Terracentral station in Phelios. It can be fully accessed from any ASA reports in the nearest Police station, Government hall or University. Excerpts can be found under the topic \"excerpts\" in this device.\n\n> Research excerpts\nThe E-Pad prints at least 763 pages before stopping its listing of the \"excerpts\". You think it's best to study them another time. Like never, maybe.\n\n> Research phelios\nThe small asteroid-satellite orbiting Monarch VII, Phelios, is\nhome to the Terracentral fortress, where the Quintessential Library and the Humanitas mementos are stored.\n\n> Go northwest\nWith much effort, you manage to pull yourself over the ledge.\n\nThese are the remains of the tunnel which would have taken you to the University if the quake hadn't swallowed its walls. Cascades of dirty water wash the sides of the black pit, flowing towards the giant crack. The fiery curtains of orange smoke that originate a few meters from you are the only light source for a span that goes on for kilometers. A thick web of twisted rails cuts its way across the darkness to the southwest. A small gap in the hulking walls of the tunnel leads north towards the unknown. Then it's only concrete and stone and a shattered world tangling together in every direction.\n\nWhat is the magnitude of this disaster? you ask yourself,\nwhile trying to put together the pieces of the splintering ground around you. What could have caused such a devastating\nearthquake?\n\nIn the darkness of Monarch's deepest recesses, only the thickest silence stands as an answer. The rest is black.\n\n> You examine the rails\nThe rails can be walked on, although with a certain care.\n\n> You go north\nThe earth shattering event has done much more damage here than in the near tunnel. A gigantic river of molten rocks and magma slowly cuts its way in a wide crack running before your eyes. You stand uncomfortably over a small stony step which looks like a building's cornice and serves as the only walkway at the side of the underground cliff, off to the east and west. Pieces of building sink into the ground and pop out from the ceiling of the enormous cave, like steel crosses in an abandoned cemetery. In the middle of the crack, to the north, bathing in magma, rests the crippled half of one of the Construct pillars, the remaining structure lost.\n\nA thin rain of small debris drops constantly from the crumbling sky. You look upon the decay of the human last resort and close your eyes in fear and torment.\n\nThere it goes, you sink into sorrow. We are late. We\nalways have been late.\n\nYou feel the weight of your E-Pad and remember downloading something about the Constructs in it.\n\n> Research constructs\nThe foundations of Monarch's Republican World. Digging deep into\nthe earth where the glacial layer has been molten, pillars of steel and concrete serve as supports for the above cities. In fact, the Monarch nation is but a floating continent built by the first colonies above the icy layer. Nowadays, a mere 10 percent of that layer is still solid, the rest being transformed into vast oceans covering more than half the world.\n\n> You examine the pillar\nAbout fifteen meters wide, the pillar must have been torn in two by the quake. The lower part still sinks into the ground, inside and below the flowing magma, its alloy slowly surrendering to the heat. In a few hours it will be consumed. Something shines on the oblique surface of the pillar, in the spot where its has been cut in half.\n\n> You go north\nIt is a jump of twenty meters. There is no way to reach the pillar without falling into the fiery pit.\n\n> You examine the shine\nYou can't quite discern it from here. It is a metallic pole of sorts.\n\n> Exits\n[From here you can go south, east and west].\n\n> You go east\nIf it wasn't so dramatic, the view from here would be breathtaking. The immense magma river flows below effortlessly, although slow and patiently. The whole cave is lit by its fiery belly. From here you can see the broken pillar rising from the flames like a finger pointing the sky -- a sky made of crumbling rocks and metal -- and the stony walls surrounding the sight like the steps of a giant arena. Below, the thin cornice cuts a distinct line on the side of it, losing itself in the distance inside a small passage to the west. The piece of quartz you are standing on has resisted the quake's onslaught and is now holding itself onto the rock like a cat on a tree trunk. Something like steps rise from here to an alcove, up above and near the ceiling. A faint cyanotic light pulsates inside it. You can reach it to the northwest.\n\n> You go to the north-west\nA grim mouth dug into the span's wall starts here and crawls inside the earth, disappearing after a twist to the south. A bright blue light pulsates there, faint. In front of you, the molten span is still visible, although the curve of the collapsing ceiling covers your sight. The cliff then dives deep into the roaring lava, debris dropping from its edge now and then. You can reach the quartz outcropping walking -- carefully -- southeast.\n\nA lesser tremor splinters the cliff, sending pieces into the fiery pit below.\n\n> Exits\n[From here you can go south and southeast].\n\nA small chunk of rock falls into the magma from the edge of the cliff.\n\n> Research Hyerotrope\nThe moving motor of the Tidal Initiative.\n\nDiscovered during the Ancient Era, its meaning or purpose is yet unknown. Apart from a huge power surge (all in the geo-gravitational spectrum), a Hyerotrope seems utterly inactive. Its \"breathing\" has been hypothesized as a remnant of a former energy outbreak, the likes and size of which are not computable. Although \"dead\" in many ways, it was soon discovered that its gravitational pull could be altered by igniting it with an immense plasma shock. Thus far, the seventeen Hyerotropes discovered have been used to counterweight Fatimah during the tidal outbreaks.\n\n> Research tidal initiative\nMonarch to counterweight the one caused by the approaching of the orbiting star Fatimah. Every ten days, all non-emergency power sources on the planet are redirected to the Initiative. The Initiative was the Second Bound by the Interstellar Agreement and was signed by all the thirteen members of the Council.\n\n> You examine the carvings\nThey are one centimeter wide (and you could bet all you have it is exactly one centimeter) and one deep. Inside it, an\nunsubstantial essence flows like a river of light. Although twisty and maze-like, they all wrap up at the base of the dome, some of them continuing over its round surface.\n\n> You examine the door\nThere is no way of telling how this \"door\" can be opened.. On it, four small dots draw a perfect line, in its center.\n\nThe dots look like tiny holes in the center of the \"door\", one above the other in a linear sequence. Light pulsates inside four of them.\n\n> You look at the dots\nThe dots look like tiny holes in the center of the \"door\", one above the other in a linear sequence. Light pulsates inside four of them.\n\n> Examine dome\nThe dome is made of a substance that looks solid, but it is actually pulsating like an human belly. It reflects almost no light, apart from the thick web of luminescent cracks that cover its ancient skin.\n\n> You touch the dot\nThey are cold.\n\n> Inventory\nYou're carrying a new railway ticket, some Report files and an E-Pad.\n\n> You go to the north\nA stronger tremor opens a crack near the edge of the cliff.\n\n> You go southeast\nYou approach the cliff's edge, ready to get back to the quartz platform, when a sudden tremor stops you on your feet.\nAnd it's a rather fortunate event, as your step ends up just a centimeter from a sinister crack opening on the cliff itself.\n\nA second later, a more intense shock cuts the crack open and a large section of the cliff face goes crumbling down right in front of you. You had taken another half step you would have fallen into the fiery pits below.\n\nYou hold yourself to the cave walls, panting loudly, waiting for the affright to vanish.\n\nA stronger tremor opens a crack near the edge of the cliff.\n\n> Exits\n[From here you can go south and southeast].\n\nA lesser tremor splinters the cliff, sending pieces into the fiery pit below.\n\n> Go north\nYou walk over the crumbled wall, finding your way to the Construct pillar. The heat is almost unbearable.\n\nThe broken pillar seems sturdy enough to resist the flowing magma for a long time. Were it not for the quake, it could have survived in the molten rocks for ages. The alloy is sturdy and elastic at the same time, its interiors glittering like a salt mine. At its center, a hollow section opens into a net of tangled steel bars that worked as a skeleton for the whole structure. Wires of every kind run deep inside, like a circulatory system. You can't tell what kind of machinations were designed for the Construct and what served what inside here.\n\nFrom the center of the pillar, where it has been torn in two by the disaster, a steel bar pops out, loose from the others of its own family. It looks like you can pull it out without much effort.\n\nYou start fainting from the excessive heat. Your eyes are sore and you can barely breathe.\n\n> You take the bar\nYou pull the steel bar out of the tangle in which it rests.\n\nEverything around you is becoming red and black, like in a sort of twisted nightmare. The intense heat is killing you.\n\n> Go south\nA gigantic river of molten rocks and magma slowly cuts its way in a wide crack running before your eyes. You stand uncomfortably over a small stony step which looks like a building's cornice and serves as the only walkway at the side of the underground cliff, off to the east and west. Pieces of building sink into the ground and pop out from the ceiling of the enormous cave, like steel crosses in an abandoned cemetery. In the middle of the crack, to the north, bathing in magma, rests the crippled half of one of the Construct pillars, the remaining structure lost.\n\nA bridge of sedimentary stone has fallen from above, and now rests in a scarce equilibrium above the fiery canyon between here and the pillar's broken surface.\n\n> Examine bar\nOne meter and a half long, three centimeters wide. Enough to break a man's skull with just one hit.\n\n> You go to the north\nYou walk over the crumbled wall, finding your way to the Construct pillar. The heat is almost unbearable.\n\nThe broken pillar seems sturdy enough to resist the flowing magma for a long time. Were it not for the quake, it could have survived in the molten rocks for ages. The alloy is sturdy and elastic at the same time, its interiors glittering like a salt mine. At its center, a hollow section opens into a net of tangled steel bars that worked as a skeleton for the whole structure. Wires of every kind run deep inside, like a circulatory system.\n\nThe fumes coming from the lava under the pillar are so hot you can feel your skin burn. You must get out of here before you catch fire.\n\n> Exits\n[From here you can go south].\n\nEverything around you is becoming red and black, like in a sort of twisted nightmare. The intense heat is killing you.\n\n> You go west\nThe walk over the tiny ledge is painstaking. After several minutes, you leave it for the first opening, a tight crack in the wall, large enough to let a man pass through.\n\nThe wide room is lit only by the fiery pits opening east beyond the crack in the wall. The rest is immersed in darkness. All you can discern are piles and piles of boxes and stuff put together who knows when and for who knows what. Glimmering in the reflections of your E-Pad's green light, you discover a lonely hut, made from plastic wreckage and held together by iron wires, its door sprung open to the north. The warehouse goes on to the northwest, beyond more piles of stock.\n\nA huge switch hides behind some dust in the west wall.\n\n> You examine the switch\nIt is encrusted with rust, grinning like a sardonic smile made in steel and plastics.\n\n> You look at the boxes\nPiles and piles of once useful objects, now reduced to rubbish. The plastic cans make them unopenable and unmovable. A pity.\n\n> You go to the north\nDarkness gets thicker in here. Shelves line up along the interior, but they are all empty. An old wire dangles from the ceiling with no lamp on it. The only exit is south, to the warehouse.\n\nA blade of light comes from the back of the hut, to the north, where it penetrates a cut in the plastic casing.\n\n> Examine cut\nThe plastic has been damaged -- by the quake? --  and lets some light come in from beyond the hut's shoulders.\n\n> You look at the wire\nIt comes from a pre-plasmatron era. Better leave it alone.\n\n> You pry cut with the bar\nYou push the steel bar inside the crack and press all you weight against it. After a while, the cut gives and a new, human-sized scar now smiles in the north wall.\n\n> Go north\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\nWhat kind of place is this, you mutter, looking around\npuzzled. A subway service area?\n\nYou remember having read something about this kind of structure. One of your fellow teachers once called it an \"underground settlement\".\n\n> You research underground settlement\nDuring the era when the Constructs were built, a large underground vault, known as the \"settlement\", was used for R&D and to store artifacts and knowledge found while digging through the icy crust and the upper layers. Aseptic walls run relentlessly for kilometers, along with a vast number of laboratories and facilities. These places are a sort of gigantic city-under-the-city, where the researchers and the workers spent their time together in a closed environment. Due to the extremely long times before resurfacing, many were captivated in the settlements for months until their duty schedule expired. The seclusion proved too much for the inhabitants of the settlements, who started showing signs of paranoia and of claustrophobia. After only three years since the first humans entered the vault, a fierce riot took the pale halls, leaving more than three hundred civilians dead. The settlements were closed and all the work was handed over to automated machines and robots.\n\nstill visitable: the Museum of the Vaults, near the Central Station. There, visitors can witness the \"magic\" of the white corridors lighting system, some of the remaining labs (only a handful are still functioning -- even if for mere demonstrational purposes) and the thrilling experience of the disappearing walls.\n\n> You research disappearing walls\nOne of the best shows in the Museum of the Vaults.\n\nProperly stimulated (via an input device or by remote control),\nwhat looks like a regular settlement wall blinks and disappears, working as a door for hidden or particularly dangerous rooms.\n\n> Exits\n[From here you can go south, east and west].\n\n> Go east\nPale walls run west from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA darker spot seems to mark the north wall, almost in the exact center.\n\n> You look at the spot\nA darker spot marks a rectangular area. It looks like once it hosted... a painting, maybe?\n\n> Exits\n[From here you can go west].\n\n> Go west\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\n> You go west\nPale walls run east from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nWhatever this is, it looks like a cul-de-sac.\n\nA darker spot seems to mark the west wall, almost in the exact center.\n\n> You look at roof\nThe plastic of the ceiling is glowing unnaturally. It doesn't look like light shines from behind but rather from the very\nsurface.\n\n> You touch the bottom\nIt is cut from a single piece of vibertron alloy. It is unopenable and unbreakable.\n\n> You go east\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\n> Go south\nDarkness gets thicker in here. Shelves line up along the interior, but they are all empty. An old wire dangles from the ceiling with no lamp on it. The only exit is south, to the warehouse.\n\nWhere the light came in from a small cut in the wall, a wide crack opens, revealing an escape route to the north.\n\n> You go to the south\nThe wide room is lit only by the fiery pits opening east beyond the crack in the wall. The rest is immersed in darkness. All you can discern are piles and piles of boxes and stuff put together who knows when and for who knows what. Glimmering in the reflections of your E-Pad's green light, a lonely hut, made from plastic wreckage and held together by iron wires, its door sprung open to the north. The warehouse goes on to the northwest, beyond more piles of stock.\n\nA huge switch hides behind some dust in the west wall.\n\n> You pull the switch\nAs you lower the switch, a burst of energy breaks loose, exploding in a loud pop! Fuses, wires and the very handle of the switch\nare now melted together. Apart from this, there's no evident outcome. You can only guess lights have been turned off somewhere.\n\n> Go north\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> Go east\nPale walls run west from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA darker spot seems to mark the north wall, almost in the exact center.\n\n> Go west\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\n> You take the wire\nThat's hardly portable.\n\n> You go to the south\nThe wide room is lit only by the fiery pits opening east beyond the crack in the wall. The rest is immersed in darkness. All you can discern are piles and piles of boxes and stuff put together who knows when and for who knows what. Glimmering in the reflections of your E-Pad's green light, a lonely hut, made from plastic wreckage and held together by iron wires, its door sprung open to the north. The warehouse goes on to the northwest, beyond more piles of stock.\n\nA huge switch hides behind some dust in the west wall.\n\n> You pull the wire\nIt is fixed in place.\n\n> You go to the northwest\nThe stocks are too tight together to let you pass. Some make a climbing route to the ceiling, which unfortunately ends there with no hope for trespassing.\n\n> You examine the shelves\nDust covers the shelves, a witness of decay.\n\n> You go to the south\nThe wide room is lit only by the fiery pits opening east beyond the crack in the wall. The rest is immersed in darkness. All you can discern are piles and piles of boxes and stuff put together who knows when and for who knows what. Glimmering in the reflections of your E-Pad's green light, a lonely hut, made from plastic wreckage and held together by iron wires, its door sprung open to the north. The warehouse goes on to the northwest, beyond more piles of stock.\n\nA huge switch hides behind some dust in the west wall.\n\n> Inventory\nYou're carrying a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You hit switch with the bar\nIt would probably ruin both the steel bar and the power switch.\n\n> You go east\nThe immense magma river flows below effortlessly, although slow and patiently. The whole cave is lit by its fiery belly. From here you can see the broken pillar rising from the flames like a finger pointing the sky -- a sky made of crumbling rocks and metal -- and the stony walls surrounding the sight like the steps of a giant arena. Below, the thin cornice cuts a distinct line on the side of it, losing itself in the distance inside a small passage to the west. The piece of quartz you are standing on has resisted the quake's onslaught and is now holding itself onto the rock like a cat on a tree trunk. Something like steps rise from here to an alcove, up above and near the ceiling. A faint cyanotic light pulsates inside it. You can reach it to the northwest.\n\nA large chunk of rock from the cave mouth, up above, has fallen into the molten span and now looks like a bridge of sorts between it and the Construct pillar.\n\n> Go northwest\nA grim mouth dug into the span's wall starts here and crawls inside the earth, disappearing after a twist to the south. A bright blue light pulsates there, faint. In front of you, the molten span is still visible, although the curve of the collapsing ceiling covers your sight. The cliff then dives deep into the roaring lava, debris dropping from its edge now and then. You can reach the quartz outcropping walking -- carefully -- southeast.\n\nA small chunk of rock falls into the magma from the edge of the cliff.\n\n> You go north\nA grim mouth dug into the span's wall starts here and crawls inside the earth, disappearing after a twist to the south. A bright blue light pulsates there, faint. In front of you, the molten span is still visible, although the curve of the collapsing ceiling covers your sight. The cliff then dives deep into the roaring lava, debris dropping from its edge now and then. You can reach the quartz outcropping walking -- carefully -- southeast.\n\nA stronger tremor opens a crack near the edge of the cliff.\n\n> You go south\nCascades of dirty water wash the sides of the black pit, flowing towards the giant crack. The fiery curtains of orange smoke that originate a few meters from you are the only light source for a span that goes on for kilometers. A thick web of twisted rails cuts its way across the darkness to the southwest. A small gap in the hulking walls of the tunnel leads north towards the lake of magma. Then it's only concrete and stone and a shattered world tangling together in every direction.\n\n> You go to the south-west\nMoving very carefully, you manage to put one step in front of the other, above the deep, until you get to...\n\nThe chasm is under you. Its teeth close on the rails like the mouth of an all-devouring creature. You balance above nothing, an acrobat clinging to his own life, the only reasonable exit awaiting to the northeast.\n\nA broken wagon is dangling from the last of the rails, to the west. Light buzzes inside.\n\nA gust of smoke fills your nostrils, leaving you stunned.\n\n> You look at the wagon\nThe wagon clings to the last straw of rails. It has been ripped in half by the quake deflagration and now looks like the decaying body of a dead pet. Sparks light its interiors.\n\n> Go west\nOne step at a time. Very, very carefully.\n\nThe crumpled floor rests inclined by forty degrees, making it very hard to stay on foot. You hold on to a bench, its metal handles your last resort against a fall. Light buzzes inside broken fluorescent lamps and sparks ignite the emptiness with futile effort. You are overwhelmed by... the gravity of the situation.\n\nThere is no sign of life. All is fallen. Dead.\n\nA glimpse of light reflects on something, hidden under the last bench before the chasm.\n\n> You look under the bench\nSomething is holding itself over the chasm, above the last metal rung.\n\nThe crumpled floor rests inclined by forty degrees, making it very hard to stay on foot. You hold on to a bench, its metal handles your last resort against a fall. Light buzzes inside broken fluorescent lamps and sparks ignite the emptiness with futile effort. You are overwhelmed by... the gravity of the situation.\n\nA black metal box pops out from under the last bench before the chasm.\n\n> Examine box\nYou see nothing special about the black box.\n\nA howling comes from the chasm, like a human crying.\n\n> You take it\nYou pull yourself to your stretching limit, a hand grasping for the box under the bench. As you catch it, debris -- and a square meter of the wagon's floor -- fall into the void with a noise like the one of nails on a blackboard.\n\nThey disappear down under never hitting the bottom.\n\n> You open the box\nYou open the black box, revealing an Elektron and a metal weight.\n\n> You examine Elektron\nA glossy side, a sticky side and no power. On the lower part of the sticky side, a slot is open, revealing nothing.\n\n> You go to the east\nThe chasm is under you. Its teeth close on the rails like the mouth of an all-devouring creature. You balance above nothing, an acrobat clinging to his own life, the only reasonable exit awaiting to the northeast.\n\nA broken wagon is dangling from the last of the rails, to the west. Light buzzes inside.\n\nA howling comes from the chasm, like a human crying.\n\n> Research elektron\nA portable interface. It connects to a receiving surface and works\nas an input device for commands and other tasks. Upon connection, it analyses the target and gives out: a) a fast signature recap; and b) the default commands to be executed (when provided). It usually needs a resonating crystal as a power stabilizer.\n\n> You look at the weight\nA kilogram. Almost perfect.\n\n> You go to the northeast\nCascades of dirty water wash the sides of the black pit, flowing towards the giant crack. The fiery curtains of orange smoke that originate a few meters from you are the only light source for a span that goes on for kilometers. A thick web of twisted rails cuts its way across the darkness to the southwest. A small gap in the hulking walls of the tunnel leads north towards the lake of magma. Then it's only concrete and stone and a shattered world tangling together in every direction.\n\nA howling comes from the chasm, like a human crying.\n\n> Go north\nA gigantic river of molten rocks and magma slowly cuts its way in a wide crack running before your eyes. You stand uncomfortably over a small stony step which looks like a building's cornice and serves as the only walkway at the side of the underground cliff, off to the east and west. Pieces of building sink into the ground and pop out from the ceiling of the enormous cave, like steel crosses in an abandoned cemetery. In the middle of the crack, to the north, bathing in magma, rests the crippled half of one of the Construct pillars, the remaining structure lost.\n\nA bridge of sedimentary stone has fallen from above, and now rests in a scarce equilibrium above the fiery canyon between here and the pillar's broken surface.\n\n> You examine the quartz\nIt shines and reflects the molten span below. Here and there, small chunks popped off of the cracked crystal.\n\nA perfect splinter rests upon the others, waiting to be picked up.\n\n> You take the splinter\nTaken.\n\n> You put the splinter in Elektron\nThe quartz perfectly fits the slot on the back of the Elektron. The display comes to life, showing some text.\n\n> You read Elektron\nIt reads: No source. Expected link missing. Check status and connection.\n\n> You go north\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> Go east\nPale walls run west from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA darker spot seems to mark the north wall, almost in the exact center.\n\n> You put Elektron on the spot\nYou link the Elektron to the north wall. The display on the device blinks twice: Some text appears on it.\n\nIt reads: Gamma section port found. Tap display to open.\n\n> You tap the display\nThe Elektron blinks twice, then the whole north wall blinks too. It shines in a brilliant purple and seconds later it disappears, folding into itself. A gap now opens where the wall stood.\n\nYou take the Elektron and put it back among your belongings.\n\n> Go north\nYou go into the gap.\n\nDarkness falls. The faint, sterile light coming from the opening to the south is devoured by the walls of this twisted tunnel, a cut in the earth running diagonal and scattered in every direction. You can find no exits: the E-Pad is not enough to shed a light on this obscure womb.\n\n> Go south\nPale walls run west from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA gap opens where the north wall once stood.\n\n> Go west\nPale walls run east from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA darker spot seems to mark the west wall, almost in the exact center.\n\n> You put Elektron on the spot\nYou link the Elektron to the west wall. The display on the device blinks twice: Some text appears on it.\n\nIt reads: Alpha section port found. Tap display to open.\n\n> You tap the display\nThe Elektron blinks twice, then the whole west wall blinks too. It shines in a brilliant purple and seconds later it disappears, folding into itself. A gap now opens where the wall stood.\n\nYou take the Elektron and put it back among your belongings.\n\n> Go west\nYou go into the gap.\n\nThe gap in the eastern wall opens into a narrow room. Light vibrates and sends shimmering glances all over the place. The floor seems to be made from plain, levigated rock. The walls are of the same plastic material of the near corridor. To the west, a metal door bears the sign \"storeroom\" while, to the north, stands a more relieving vibertron portal.\n\nLight? You mutter to yourself. Where's the source? Maybe\nthere is power, somewhere, after all.\n\nA power strong enough to activate the Tidal Initiative, maybe?\n\n> You look at the portal\nAn automatic door. This means a power source must be near.\n\n> You go west\n(first opening the storeroom door)\n\nWhatever power source lightens the near corridors, its is nowhere to be found in here. The blank closet in which you stand, a bare two-by-two meters with no furniture except for a decaying plastic shelf in a corner, is covered in old and cracked tiles, the likes of which you only remember having seen either in hospitals or in public toilets. The acrid smell that fills the room points toward the latter.\n\nOn the plastic shelf is a wax soap.\n\n> You examine the soap\nA remarkably old wax soap, one of the kind momma used to wash clothes when you were but a child. A sort of relic these days.\n\n> You examine the tiles\nOld and cracked tiles, the likes of which you only remember having seen either in hospitals or in public toilets.\n\n> You go to the east\nLight vibrates and sends shimmering glances all over the place. The floor seems to be made from plain, levigated rock. The walls are of the same plastic material of the near corridor. To the west, a metal door bears the sign \"storeroom\" while, to the north, stands a more relieving vibertron portal.\n\nA distant dripping sound echoes somewhere.\n\n> Go north\nYou walk past the vibertron door, which silently opens around you.\n\nWhen the heavy door hides in the surrounding walls, the buzzing lights of the corridor drop down to a mere spark. Whatever the power source is, its is obviously not enough to feed both the lights and the door.\n\nThe door opens into another disaster scenario. Chunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nThe quake has indeed been tremendous and you wonder how much of the surface is still standing.\n\nA tunnel cuts its way into the earth to the north, beyond reach.\n\nAn ice spike the size of a bus has been thrusted into the room from below. It shines, the light coming from a source underneath it, and it is illuminating the area. The color and shape of the chunk betray the ice as very, very old, the likes of which you studied from the Monarch's glacial era.\n\nAbove the spike, near the roof, sparkles fall down from a broken piece of machinery.\n\n> You examine the spike\nIts surface is rough and cracked. Shards of light glow everywhere. It looks sturdy enough to sustain your weight.\n\n> Climb spike\nYou climb up the spike, finding enough grip to reach the roof.\n\nCold Pyramid (on the ice spike)\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north, beyond reach.\n\nNear the roof, sparkles fall down from a broken piece of machinery.\n\n> You examine the machinery\nIt seems the quake has exploded in here, sending all upwards, toward the surface. The machinery (the likes of which you've never seen before) has been pushed into the ceiling by a shattering force.\n\nNow that you are near, you can carefully analyze it. It is a sort of metal cylinder, levigated beyond perfection by unknown forces. On it, four dots identical to the ones on the door of the Hyerotrope blink faintly. The exposed edge of the cylinder is a tangle of tiny cuts, each twisted into the other in an unique pattern. A smooth, plain surface is visible just a few centimeters near the dots.\n\n> You put Elektron on the surface\nYou link the Elektron to the machinery. The display on the device blinks twice: Some text appears on it.\n\nIt reads: Radio wave emissions. Geo-gravitational pull. Very low response. Tap display to activate.\n\n> You read Elektron\nIt reads: Radio wave emissions. Geo-gravitational pull. Very low response. Tap display to activate.\n\n> You take the cylinder\nIt is firmly stuck in the stone.\n\n> You look at cylinder\nIt seems the quake has exploded in here, sending all upwards, toward the surface. The machinery (the likes of which you've never seen before) has been pushed into the ceiling by a shattering force.\n\nThe Elektron is connected to the machinery.\n\nNow that you are near, you can carefully analyze it. It is a sort of metal cylinder, levigated beyond perfection by unknown forces. On it, four dots identical to the ones on the door of the Hyerotrope blink faintly. The exposed edge of the cylinder is a tangle of tiny cuts, each twisted into the other in an unique pattern. A smooth, plain surface is visible just a few centimeters near the dots.\n\n> You examine Elektron\nA glossy side, a sticky side and some text on the display. On the lower part of the sticky side, a slot welcomes a heart-shaped quartz, now pulsating with life.\n\n> You check your inventory\nYou're carrying a wax soap, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You look in the box\nIn the black box are an Elektron and a metal weight.\n\n> You look at the weight\nA kilogram. Almost perfect.\n\n> Exits\n[From here you can go south].\n\n> Go outside\nBefore leaving, you remove the Elektron from the machinery.\n\nYou get off the ice spike.\n\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north, beyond reach.\n\nAn ice spike the size of a bus has been thrusted into the room from below. It shines, the light coming from a source underneath it, and it is illuminating the area. The color and shape of the chunk betray the ice as very, very old, the likes of which you studied from the Monarch's glacial era.\n\nAbove the spike, near the roof, sparkles fall down from a broken piece of machinery.\n\n> Go north\nThe massive ice spike is in the way.\n\n> You look at the machinery\nIt seems the quake has exploded in here, sending all upwards, toward the surface. The machinery (the likes of which you've never seen before, although it is hard to tell from here) has been pushed into the ceiling by a shattering force.\n\n> You examine Elektron\nA glossy side, a sticky side and some text on the display. On the lower part of the sticky side, a slot welcomes a heart-shaped quartz, now pulsating with life.\n\n> You read the text\nIt reads: No source. Expected link missing. Check status and connection.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\nMorning comes, in Monarch. An eerie light permeates the room.\n\nIt's been a hard night...\n\nA bed, a table, a bathroom. This is all that's left of your colleague, Professor Re's. Some dust, an eerie atmosphere and just a memory.\n\n> You go east\nPale walls run east from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA gap opens where the west wall once stood.\n\n> You go east\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\n> You put Elektron on the door\nYou link the Elektron to the door of the dome. The display on the device blinks twice: Some text appears on it.\n\nIt reads: Geo-gravitational pull. Alert. Peaks at 13.6x10^12 gamma epsilon. Reading off scale. Process terminated.\n\nWow. There must be a power source of gigantic proportions in there.\n\n> You open the door\nThere is no evident way of doing that. There must be a trick of sorts to open the door. If it is a door, of course.\n\n> Research elektron\nA portable interface. It connects to a receiving surface and works\nas an input device for commands and other tasks. Upon connection, it analyses the target and gives out: a) a fast signature recap; and b) the default commands to be executed (when provided). It usually needs a resonating crystal as a power stabilizer.\n\n> Light soap\nThis dangerous act would achieve little.\n\n> You eat the soap\nThat's plainly inedible.\n\n> You go to the north\nBefore leaving, you remove the Elektron from the door of the dome.\n\nA grim mouth dug into the span's wall starts here and crawls inside the earth, disappearing after a twist to the south. A bright blue light pulsates there, faint. In front of you, the molten span is still visible, although the curve of the collapsing ceiling covers your sight. The cliff then dives deep into the roaring lava, debris dropping from its edge now and then. You can reach the quartz outcropping walking -- carefully -- southeast.\n\nA small chunk of rock falls into the magma from the edge of the cliff.\n\n> You put Elektron on the wall\nThe surface of Walls_dark is not good for that.\n\n> You go to the north\nBy touching the walls, you discover an exit on the north wall.\n\nAgain, disaster struck.\n\nThe walls of what once was a sort of laboratory are but piles of debris and distorted laminas. The only passage large enough for your shoulders is west, through broken rocks. To the south, darkness marks the way to the corridors.\n\nThe only surviving piece of equipment, amidst the crumbled universe that is now this old planet, is a glass cabinet which batteries still power. A fluorescent light shines on its pale interior.\n\n> You look at the cabinet\nInside the cabinet you can see a disc that someone labeled \"Alpha\" and a disc labeled \"Beta\".\n\n> You examine Alpha\nIt has two plain surfaces. One is smooth and polished. The other is marked by an astonishing number of protruding lines, like a maze of sorts.\n\n> You open the cabinet\nYou open the surviving glass cabinet.\n\n> You take the batteries\nYou can't tell where they are. And you don't really need them, after all.\n\n> You go west\nAnother lab, where light is just a thick, yellow smoke at nose-height. All seems in place: the cabinets, the tables, the displays. Even a terminal, which sits on the northeast corner of the room, seems real enough to push the thought it could actually be functional. But: there's something more, something you couldn't have honestly anticipated.\n\nSomething like a talon has cut this room in two. Its three meter long, shiny carapace is dripping with horror and malevolence. In from the west wall, it has crushed everything and splintered stone and metal together with no effort. You cannot fathom what -- or who -- it must belong to.\n\nThe nail seems nerveless.\n\n> You look at the nail\nIt looks metallic, although you are certain it must be a\nbeast's nail. It is still as a statue, but you are convinced\nlife still runs through it.\n\n> You touch it\nIt is cold as ice. Still, you know warm blood must run in\nthere.\n\n> Research dragon\nYou discover nothing of interest in the E-Pad.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> You examine terminal\nA keyboard and a screen. It sits silently, seemingly turned off.\n\n> You turn on the terminal\nThe screen comes to life. What comes up appears to be a diagram of sorts.\n\n> You examine the screen\n(the old terminal)\nThe screen shows a diagram, indicating what seems to be a comparison between energy spectrums, a kind of measurement you and Andy have been doing a lot, lately. Infact, it takes you but a second to recognize the waveforms and the patterns depicted.\n\nOn the left, a vivid pink line indicates the remnants of the Event onslaught, that waveform that still can be picked up well beyond the Omega waves array. On the right, a similar (but much stronger) curve, printed in light blue, almost replicates the first one. There are no labels under the diagrams, still it's beyond any doubt the latter is what you and Andy called the Alpha Radiation.\n\nIronically, the two lines look like the output of a... quake measurement device.\n\nThe Event, you murmur. As a conditioned reflex, you find\nyourself holding tight to the E-Pad.\n\n> Research event\n\"The Event\" a.k.a. \"Event Primeval\" or \"the Crunch\".\n\nDuring the Third Age, around year 7,892 of the Galaxy, the Event begun, spanning over 300 years as calculated from Korhos revolutionary times. At first just a mere brilliance in the night sky, as luminescent as any supernova effect, it was described as soon \"enlarging and becoming more and more intense\". Records from the era recount how something, inside the neighboring galaxy, grew so big that it actually devoured 90 percent of the stars in it. In time, the brilliance became less invasive, returning darkness to the night. In the end, on the third day of the fourth month of the year 8,140, the Event exploded, obliterating the sky on the southern hemisphere of Monarch. The lesser sun of the trinary system KFS, Fatimah, was actually involved in the deflagration. It was dislocated enough to enter the Korhos gravitational orbit, thus becoming its bigger satellite. The Event also wiped almost all life on the Andromeda galaxy: just the more technologically advanced inhabitants of the Monarch Republic survived the onslaught, by hiding underground and in the Mechanosatellites.\n\n> Research mechanosatellites\nStructures orbiting Monarch at a very long range. Build as solid\nspace stations, they were meant to be used as bunkers against the Event onslaught. Upon serving their purpose, they have been since left abandoned.\n\nA distant dripping sound echoes somewhere.\n\n> You research Alpha Radiation\n(Inserted by user 5,835 -- not present in general database)\n\nRadiation which pulsates from a specific point under Monarch's capital. Discovered on 25th/3rd/9,855. Generator or source: unkn. Z-position: unkn. Magnitude: feeble, but growing. ---- Warning: same kind of the Event residues. ----."
    },
    {
        "text": "[Themes: Science Fiction, verbose, apocalyptic, science fiction, Old-style, male protagonist]\n\n> Look around\nAnother lab, where light is just a thick, yellow smoke at nose-height. All seems in place: the cabinets, the tables, the displays. Even a terminal, which sits on the northeast corner of the room, seems real enough to push the thought it could actually be functional. But: there's something more.\n\nSomething like a talon has cut this room in two. Its three meter long, shiny carapace is dripping with horror and malevolence. In from the west wall, it has crushed everything and splintered stone and metal together with no effort. You cannot fathom what -- or who -- it must belong to.\n\nThe nail seems nerveless.\n\n> Exits\n[From here you can go east].\n\n> You take the nail\nThat's fixed in place.\n\nA distant dripping sound echoes somewhere.\n\n> Go east\nThe walls of what once was a sort of laboratory are but piles of debris and distorted laminas. The only passage large enough for your shoulders is west, through broken rocks. To the south, darkness marks the way to the corridors.\n\nThe only surviving piece of equipment, amidst the crumbled universe that is now this old planet, is a glass cabinet which batteries still power. A fluorescent light shines on its pale interior.\n\n> Go south\nDarkness falls. The faint, sterile light coming from the opening to the south is devoured by the walls of this twisted tunnel, a cut in the earth running diagonal and scattered in every direction. The only exit you found is north, to the laboratory.\n\n> Go west\nPale walls run east-west in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof. A crack breaks the southern wall like a black scar.\n\nA distant dripping sound echoes somewhere.\n\n> You pull switch\nThat's already off.\n\n> Go west\nPale walls run east from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA gap opens where the west wall once stood.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> You go to the west\nYou go into the gap.\n\nLight vibrates and sends shimmering glances all over the place. The floor seems to be made from plain, levigated rock. The walls are of the same plastic material of the near corridor. To the west, a metal door bears the sign \"storeroom\" while, to the north, stands a more relieving vibertron portal.\n\n> Go north\nYou walk past the vibertron door, which silently opens around you.\n\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north, beyond reach.\n\nAn ice spike the size of a bus has been thrusted into the room from below. It shines, the light coming from a source underneath it, and it is illuminating the area. The color and shape of the chunk betray the ice as very, very old, the likes of which you studied from the Monarch's glacial era.\n\nAbove the spike, near the roof, sparkles fall down from a broken piece of machinery.\n\n> Climb spike\nYou climb up the spike, finding enough grip to reach the roof.\n\nCold Pyramid (on the ice spike)\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north, beyond reach.\n\nNear the roof, sparkles fall down from a broken piece of machinery.\n\n> You look at the cylinder\nIt seems the quake has exploded in here, sending all upwards, toward the surface. The machinery (the likes of which you've never seen before) has been pushed into the ceiling by a shattering force.\n\nNow that you are near, you can carefully analyze it. It is a sort of metal cylinder, levigated beyond perfection by unknown forces. On it, four dots identical to the ones on the door of the Hyerotrope blink faintly. The exposed edge of the cylinder is a tangle of tiny cuts, each twisted into the other in an unique pattern. A smooth, plain surface is visible just a few centimeters near the dots.\n\n> You examine Alpha\nIt has two plain surfaces. One is smooth and polished. The other is marked by an astonishing number of protruding lines, like a maze of sorts.\n\n> You put Alpha on the cylinder\nYou try the disc labeled \"Alpha\", but it doesn't fit the machinery base. The lines and cuts don't match.\n\n> You put the Beta on the cylinder\nYou try the disk \"Beta\" on the machinery. It fits perfectly, the lines protruding from it matching the cuts on the base. The four dots blink twice, then start strobing and dancing to the rhythm of some unheard music.\n\nIt is so much fun.\n\nThen, it all comes crumbling down. The very earth trembles and drops to pieces. A wave comes rushing inside from the south, devastating the walls and the whole surroundings like a tsunami of stone. The ceiling holds, but the ice spike on which you stand is swallowed by the ground, that closes on it like curtains of doom.\n\nWhen the event comes to an end, the machinery has disappeared, lost somewhere, and you get up, bruised but uncannily unharmed.\n\nWhat has just happened? you ask yourself, while removing dust\nfrom your clothes.\n\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north.\n\n> Inventory\nYou're carrying a disc labeled \"Alpha\", a wax soap, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You go north\nCrystal walls surround you, in every direction. To the south, they open to a more comfortable rock cave while, on the opposite direction, they separate in two different paths, to the northwest and east respectively.\n\n> Go northwest\nThe dark interiors of this hall, washed in a pale greenish dye, remind you of a hospital. A few corridors exit the chamber to the east, north and south, all marked by a red sign respectively to \"the Wastes\", \"the Cells\" and \"the Pentagon\". A tunnel exits to the southeast.\n\nAnother spark ignites your brain as you recall having read something, once, about a zone called the \"Quarantine\", where convicts of the underground settlements -- and something far more valuable -- were held... uhm, hostages.\n\nA seclusion area, you think. A place where things were\nhidden.\n\n> Research quarantine\nThe reclusion area of the Underground Settlements. Different zones were used for storing artifacts found during excavations, storing unvaluable waste and garbage, and jailing those that were held responsible for acts of mischief during their duty.\n\nA non-conventional belief, by the way, is that the Quarantine was\nused to recess \"guests\" not too fond of keeping secrets and -- as the very name indicates -- to avoid unknown viruses from exiting the underground environment.\n\nOuch, you express loudly. Viruses? And to think that I\nforgot my medkit at home.\n\n> Research wastes\nA part of the Quarantine area, in the Settlements, was used as a\nwaste facility. In there ended up all the garbage and the disposable utilities.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> Go east\nA room as large as your condo opens before you. A set of metal stairs descends into what seems to be the largest waste basket you've ever seen. Walls are shiny in slime and other unpleasant sewages, reflecting the stale light that comes from bioluminescent lamps clinging to the ceiling. The overall sensation is that of a green pudding, bubbling inside a green basin, bathing in a green atmosphere.\n\n> You look at the pudding\nEverything that was rejected in the Settlements has been piled here. This is a sort of trash compactor, now luckily inert. Bathing in this sink is every kind of thing, much of it almost completely putrefied."
    },
    {
        "text": "[Themes: Science Fiction, Old-style, male protagonist]\n\n> Go down\nYou climb down the ladder, every step uncomfortably sinking into ancient garbage and the thick smell of human decay.\n\nYou are neck deep into a mass of old-decayed garbage. The only exit is up, via a metal ladder. The rest is a green horizon of smelly headaches.\n\n> You search the garbage\nYou rake the garbage, holding your breath -- and not\nfiguratively. In the end, you come up with something unexpected.\n\nYou are neck deep into a mass of old-decayed garbage. The only exit is up, via a metal ladder. The rest is a green horizon of smelly headaches.\n\nA glass case swims over the garbage. Something is floating inside it.\n\n> You look at the case\nIn the glass case is a perfect machine.\n\n> You examine the machine\nA sort of metal cylinder, levigated beyond perfection by unknown forces. On it, four dots identical to the ones on the door of the Hyerotrope blink faintly. The bottom edge of the cylinder is a tangle of tiny cuts, each twisted into the other in an unique pattern. A smooth, plain surface is visible just a few centimeters near the dots.\n\n> Open case\nThere are no obvious openings. It looks like a cage. Whatever that thing inside is is meant to stay there.\n\n> You hit the case with the bar\nThe glass case resists the blow. It has obviously been designed to keep the cylinder trapped inside at any cost. You need to find something even more adamant to break it.\n\n> You go west\nThe dark interiors of this hall, washed in a pale greenish dye, remind you of a hospital. A few corridors exit the chamber to the east, north and south, all marked by a red sign respectively to \"the Wastes\", \"the Cells\" and \"the Pentagon\". A tunnel exits to the southeast.\n\n> You go north\nThe polished look of this area shouldn't betray its soul. A wing of containment rooms, each used for a specific purpose, as stated by the signs appended to each of the doors in the corridor. Many are storerooms for quarantined specimens, chambers armored against radiation, explosions and other unpredictable events. But the rest, lined in rows of hundreds, are just detention cells for human convicts. Among the many, two are open, west of here and further north.\n\nYou think about the madness that once must have inhabited this hall. A place where seclusion was the worst enemy, above danger, a scarce economy and not many escape routes. A full population of no-hopers, whom life on the surface was forbidden or set apart and that, eventually, was driven insane by its own lifestyle.\n\nThe ASA, in the end, proved above all the rest that \"the end justifies the means\" is just another hollow statement, built up by politicians to lay their plans with no opposition.\n\n> Go west\nA wall, covered in monitors. A table, unfurnished except for some lined square buttons in the middle and a lonely terminal, sitting on a corner. This is a sightseeing tour over the detention center.\n\n> You examine terminal\nA tap display and a vibertron surface. It is on, maybe self-powered.\n\n> You tap the display\n(the functioning terminal)\nThere are three blank spaces and a virtual numeric keyboard on the terminal. Maybe you have to enter a code on it.\n\n> You examine the buttons\nStrangely, two of the buttons are lit. One bears the word \"screens\", the other: \"shock\".\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> Examine monitor\nOne of the monitors is lit. It shows the blank interiors of a stale cell.\n\n> Go east\nThe polished look of this area shouldn't betray its soul. A wing of containment rooms, each used for a specific purpose, as stated by the signs appended to each of the doors in the corridor. Many are storerooms for quarantined specimens, chambers armored against radiation, explosions and other unpredictable events. But the rest, lined in rows of hundreds, are just detention cells for human convicts. Among the many, two are open, west of here and further north.\n\n> You go north\nYou walk in the only open cell to the north and gasp.\n\nThis is what hell must be.\n\nThe walls of the tiny cell -- a mere two-by-two meters cubicle -- have all been painted and writings cover most of the surface. Someone, the inmate, has scratched every square centimeter of the concrete, leaving parts of himself among the apocalyptic messages and drawings.\n\nIt is indeed a work that took time, and a relentless resolution. Or a madness without boundaries.\n\nAnd was the madness that took him to the confinement, you\nwonder, looking at the scars that mark the soul of this very room,\nor was it the other way around?\n\nThe humming that fills this nightmare, as a moaning of a living being, stands as an answer, when all that is sane has left the building.\n\nA cylinder rests on the ground of the cell, on the opposite side of a hole dug into the wall where it must have been trapped before the explosion.\n\nA round hole marks the wall where the cylinder once stood trapped.\n\n> You look at the wall\nThe writings have been scratched in blood. Nails and finger parts are still clinging to the raped wall.\n\nI found the way    There is a way\nItch itch itch\nHelp me\nApocalypse comes from down under\nThey all speak in riddles    They all speak to me     I can hear\nthem\n\nThen, the single writing that catches your attention:\n\nThe FIRST initiative. Their testament. I have seen it. This is all going to end. Use the bounds use their number.\n\nThe first initiative. The one secreted so many years ago.\n\nAnd that sentence: \"Apocalypse comes from down under\". Could it be talking about the Alpha Radiation?\n\n> Research first initiative\nThis unit was not allowed to download resources on the matter.\nSorry.\n\n> You look at the cylinder\n(the perfect cylinder)\nA sort of metal cylinder, levigated beyond perfection by unknown forces. On it, four dots identical to the ones on the door of the Hyerotrope blink faintly. The bottom edge of the cylinder is a tangle of tiny cuts, each twisted into the other in an unique pattern. A smooth, plain surface is visible just a few centimeters near the dots.\n\n> You look in the hole\nAll you see is part of the next cell. Blank as a politician's speech.\n\n> Inventory\nYou're carrying a glass case, a disc labeled \"Alpha\", a wax soap, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You put Alpha on the cylinder\n(the perfect cylinder)\nYou try the disk \"Alpha\" on the perfect cylinder. It fits perfectly, the lines protruding from it matching the cuts on the base. The four dots blink twice, then start strobing and dancing to the rhythm of some unheard music. The perfect machine flees from your hands and start levitating in front of you. Then, shrieking like a wraith, it flies away, jumping into the very ground and digging itself an escape."
    },
    {
        "text": "[Themes: Science Fiction, Old-style, male protagonist]\n\n> Look around\nThe walls of the tiny cell -- a mere two-by-two meters cubicle -- have all been painted and writings cover most of the surface. Someone, the inmate, has scratched every square centimeter of the concrete, leaving parts of himself among the apocalyptic messages and drawings.\n\nA round hole marks the wall where the cylinder once stood trapped.\n\n> You enter the hole\nIt's ten centimeters wide.\n\n> You go south\nA five-sided room, which the earthquake has just barely scratched. Five exits run from here, each marked with a letter, except for the one which stands blank on the north wall. To the northeast, a capital \"A\" hangs over a grate, which seems stuck to the walls, unopenable. Southeast, \"B\" rests over what remains of a tunnel that has caved in, some of the rocks fallen inside the room. Northwest and southwest, respectively, \"C\" and \"D\" sign two metal doors.\n\nA distant dripping sound echoes somewhere.\n\n> You look at the grate\nIron bars, the old style. Rust cover its surface. Beyond the grate only darkness and a dripping sound.\n\n> You examine the C\nIts massive vibertron structure is inert in this powerless environment.\n\n> Examine B\nYou see nothing unexpected in that direction.\n\nYou can't see any such thing.\n\n> You examine the d door\nThis door is different. It is not made from vibertron, but all in solid steel. Its surface is marked by a yellow scar -- a logo of sorts -- depicting a triangle with rays all around it. The words \"CAUTION: DANGER ZONE\" are the only other detail. A knob rests on the right side of the door.\n\n> You go to the northeast\n(first opening the barred gate)\n(first unlocking the barred gate)\nYou lack a key that fits the barred gate.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> Go northwest\n(first opening northwest door)\n(first unlocking northwest door)\nYou lack a key that fits northwest door.\n\n> Go southwest\n(first opening southwest door)\n\nIt is now proven that the train derailed over the scientific area of the Settlements. This is yet another lab. The walls are made of the same old white plastic as the rest of the corridors that crowd the place. As opposite to the rest of the environment, this large room seems unscarred. The yellow floor is dotted by tracks in black-striped adhesives, drawing lines around the structure that rests in the center of the chamber. There is not much by the way of furniture, except for a single, foreign machine.\n\nA cube, three meters wide, sleeps in the very center of the room. A strong, tight bundle of wires moves from its bottom towards the eastern wall, where it disappears in a plug. Two bays are open on the machine's top. Something that looks like a laser cannon points at the right bay.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> You examine the machine\n(the cubic device)\nA cube, three meters wide, sleeps in the very center of the room. A strong, tight bundle of wires moves from its bottom towards the eastern wall, where it disappears in a plug. Two bays are open on the machine's top. Something that looks like a laser cannon points at the right bay.\n\n> You examine the plug\nYou are certain the wires are the power source for the machinery.\n\n> You examine the bays\nWhich do you mean, the left bay or the right bay?\n\n> You examine the left bay\nThe left bay is empty.\n\n> You examine the right bay\nThe right bay is empty.\n\n> You look at the cannon\nIt looks like a plasma gun or a laser rifle. It is warm, indicating that it is functional. On the back of the gun is a red button, marked \"FIRE\".\n\n> Go northeast\nA five-sided room, which the earthquake has just barely scratched. Five exits run from here, each marked with a letter, except for the one which stands blank on the north wall. To the northeast, a capital \"A\" hangs over a grate, which seems stuck to the walls, unopenable. Southeast, \"B\" rests over what remains of a tunnel that has caved in, some of the rocks fallen inside the room. Northwest and southwest, respectively, \"C\" and \"D\" sign two metal doors.\n\n> Go east\nAnother lab. This time, the walls have resisted the quake onslaught and just a few cracks depict their skin. A couple of chairs are poised against a big screening window, beyond which you can barely see. A thick layer of dust and smoke has painted it black. You can see the quartz tunnel to the west.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> You look at the window\nAlthough very dirty, the window can be seen through, due to the strong light on the other side. The room seems empty. Only a parallelepipedon stands in its center, and you can discern nothing else.\n\n> You examine the chairs\nTwo chairs, rusted and broken. They must have been left here a long time ago.\n\nA small, dusty object sits on one of the chairs.\n\nAnother lab. This time, the walls have resisted the quake onslaught and just a few cracks depict their skin. A couple of chairs are poised against a big screening window, beyond which you can barely see. A thick layer of dust and smoke has painted it black. You can see the quartz tunnel to the west.\n\nYou can see a disc labeled \"Gamma\" here.\n\n> You take Gamma\nTaken.\n\n> Go east\nAnother lab. This time, the walls have resisted the quake onslaught and just a few cracks depict their skin. A couple of chairs are poised against a big screening window, beyond which you can barely see. A thick layer of dust and smoke has painted it black. You can see the quartz tunnel to the west.\n\n> You open window\nYou can't find a way of opening it. It has been designed to stay in place.\n\n> You go south\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north.\n\n> Go south\nLight vibrates and sends shimmering glances all over the place. The floor seems to be made from plain, levigated rock. The walls are of the same plastic material of the near corridor. To the west, a metal door bears the sign \"storeroom\" while, to the north, stands a more relieving vibertron portal.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> You go east\nPale walls run east from here in this blank passage. No doors or windows open in the underground, but light fills the corridor, blown in through the roof.\n\nA gap opens where the west wall once stood.\n\n> You go to the north\nYou go into the gap.\n\nDarkness falls. The faint, sterile light coming from the opening to the south is devoured by the walls of this twisted tunnel, a cut in the earth running diagonal and scattered in every direction. The only exit you found is north, to the laboratory.\n\n> Go west\nAnother lab, where light is just a thick, yellow smoke at nose-height. All seems in place: the cabinets, the tables, the displays. Even a terminal, which sits on the northeast corner of the room, seems real enough to push the thought it could actually be functional. But: there's something more.\n\nSomething like a talon has cut this room in two. Its three meter long, shiny carapace is dripping with horror and malevolence. In from the west wall, it has crushed everything and splintered stone and metal together with no effort. You cannot fathom what -- or who -- it must belong to.\n\nThe nail seems nerveless.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> You throw the case at the nail\nNot even an alien gigantic nail could open that glass case. It is not sharp enough.\n\n> You look at the case\nIn the glass case is a perfect machine.\n\n> You take the nail\nThat's fixed in place.\n\n> You hit the nail with the bar\nWith the risk of waking it up? Never.\n\n> You look at what you're carrying with you\nYou're carrying a disc labeled \"Gamma\", a glass case, a wax soap, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You put soap on the case\nPutting things on the glass case would achieve nothing.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> I\n\nYou're carrying a disc labeled \"Gamma\", a glass case, a wax soap, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You take the splinter\nYou carefully remove the quartz from the Elektron.\n\n> You cut the case\nCutting that up would achieve little.\n\nA faint crumbling sound breaks the silence of the place, somewhere.\n\n> Go north\nYou walk past the vibertron door, which silently opens around you.\n\nChunks of rock have emerged from the broken floor, piercing through the roof. From there, massive blocks of concrete and steel hang, remnants of the city above.\n\nA tunnel cuts its way into the earth to the north.\n\n> Go southwest\nThis is yet another lab. The walls are made of the same old white plastic as the rest of the corridors that crowd the place. As opposite to the rest of the environment, this large room seems unscarred. The yellow floor is dotted by tracks in black-striped adhesives, drawing lines around the structure that rests in the center of the chamber. There is not much by the way of furniture, except for a single, foreign machine.\n\nA cube, three meters wide, sleeps in the very center of the room. A strong, tight bundle of wires moves from its bottom towards the eastern wall, where it disappears in a plug. Two bays are open on the machine's top. Something that looks like a laser cannon points at the right bay.\n\n> You put the soap in the right bay\nYou put the wax soap into the right bay.\n\n> You take the soap\nTaken.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> You put the soap in the left bay\nYou put the wax soap into the left bay.\n\n> You put the weight in the right bay\n(first taking the metal weight)\n\nYou put the metal weight into the right bay.\n\n> You examine the weight\nA kilogram. Almost perfect. A replica of the wax soap has been laser-cut onto it.\n\n> Go northeast\nA five-sided room, which the earthquake has just barely scratched. Five exits run from here, each marked with a letter, except for the one which stands blank on the north wall. To the northeast, a capital \"A\" hangs over a grate, which seems stuck to the walls, unopenable. Southeast, \"B\" rests over what remains of a tunnel that has caved in, some of the rocks fallen inside the room. Northwest and southwest, respectively, \"C\" and \"D\" sign two metal doors.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> You look at the grate\nIron bars, the old style. Rust cover its surface. Beyond the grate only darkness and a dripping sound.\n\n> You look at the c door\nIts massive vibertron structure is inert in this powerless environment.\n\n> You look at a the door\n(southwest door)\nThis door is different. It is not made from vibertron, but all in solid steel. Its surface is marked by a yellow scar -- a logo of sorts -- depicting a triangle with rays all around it. The words \"CAUTION: DANGER ZONE\" are the only other detail. A knob rests on the right side of the door.\n\n> You examine the knob\nThis door is different. It is not made from vibertron, but all in solid steel. Its surface is marked by a yellow scar -- a logo of sorts -- depicting a triangle with rays all around it. The words \"CAUTION: DANGER ZONE\" are the only other detail. A knob rests on the right side of the door.\n\n> You look at the ne\nYou see nothing unexpected in that direction.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> You look at the splinter\n(first opening the barred gate)\n(first unlocking the barred gate)\nYou lack a key that fits the barred gate.\n\nIt is vaguely heart shaped. Its crystal resonates to the colors of the surroundings, shifting from pink to blue through all the spectrum.\n\n> You put Elektron on the knob\nThe surface of southwest door is not good for that.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> You hit the gate with the bar\nIt would probably ruin both the steel bar and the barred gate.\n\n> You go north\nThe polished look of this area shouldn't betray its soul. A wing of containment rooms, each used for a specific purpose, as stated by the signs appended to each of the doors in the corridor. Many are storerooms for quarantined specimens, chambers armored against radiation, explosions and other unpredictable events. But the rest, lined in rows of hundreds, are just detention cells for human convicts. Among the many, two are open, west of here and further north.\n\nA distant dripping sound echoes somewhere.\n\n> Go west\nA wall, covered in monitors. A table, unfurnished except for some lined square buttons in the middle and a lonely terminal, sitting on a corner. This is a sightseeing tour over the detention center."
    },
    {
        "text": "[Themes: Science Fiction, apocalyptic, verbose, science fiction]\n\n> You put the case in the hole\nNow, this is freudian.\n\n> You go to the west\nThe dark interiors of this hall, washed in a pale greenish dye, remind you of a hospital. A few corridors exit the chamber to the east, north and south, all marked by a red sign respectively to \"the Wastes\", \"the Cells\" and \"the Pentagon\". A tunnel exits to the southeast.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> You look at the door\nThere is no way of telling how this \"door\" can be opened.. On it, four small dots draw a perfect line, in its center.\n\nThe dots look like tiny holes in the center of the \"door\", one above the other in a linear sequence. Light pulsates inside two of them.\n\n> You examine the dots\nThe dots look like tiny holes in the center of the \"door\", one above the other in a linear sequence. Light pulsates inside two of them.\n\n> You check your inventory\nYou're carrying a wax soap, a disc labeled \"Gamma\", a glass case, a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You go to wagon\nMoving very carefully, you manage to put one step in front of the other, above the deep, until you get to...\n\nOne step at a time. Very, very carefully.\n\nYou go north to the cave mouth, southeast to the hollow grounds, west to the molten span, south to the rails' end, southwest to the last steel overlook and west to the broken wagon.\n\nThe crumpled floor rests inclined by forty degrees, making it very hard to stay on foot. You hold on to a bench, its metal handles your last resort against a fall. Light buzzes inside broken fluorescent lamps and sparks ignite the emptiness with futile effort. You are overwhelmed by... the gravity of the situation.\n\n> You examine the bench\nSparks crackle under the seat, in the safety of the alcove.\n\nThe flames burst in a minor explosion, sending sparks all around the place.\n\n> You look at the bench\nSparks crackle under the seat, in the safety of the alcove.\n\n> You jump\nI'd be more polite with gravity, while balancing over a kilometer long chasm.\n\n> You leave\nThe chasm is under you. Its teeth close on the rails like the mouth of an all-devouring creature. You balance above nothing, an acrobat clinging to his own life, the only reasonable exit awaiting to the northeast.\n\nA broken wagon is dangling from the last of the rails, to the west. Light buzzes inside.\n\nThe flames burst in a minor explosion, sending sparks all around the place.\n\n> You look down\nYou see nothing unexpected in that direction.\n\nThe flames burst in a minor explosion, sending sparks all around the place.\n\n> You go to Cells\nYou go into the gap.\n\nYou walk past the vibertron door, which silently opens around you.\n\nYou go northeast to the rails' end, north to the molten span, west to the abandoned warehouse, north to the inside the hut, north again to the featureless corridor, west to the featureless corridor, west again to the blinking room, north to the cold pyramid, north again to the quartz tunnel, northwest to Quarantine and north to the cells.\n\nThe polished look of this area shouldn't betray its soul. A wing of containment rooms, each used for a specific purpose, as stated by the signs appended to each of the doors in the corridor. Many are storerooms for quarantined specimens, chambers armored against radiation, explosions and other unpredictable events. But the rest, lined in rows of hundreds, are just detention cells for human convicts. Among the many, two are open, west of here and further north.\n\n> You examine the wall\nThe writings have been scratched in blood. Nails and finger parts are still clinging to the raped wall.\n\nI found the way    There is a way\nItch itch itch\nHelp me\nApocalypse comes from down under\nThey all speak in riddles    They all speak to me     I can hear\nthem\n\nThen, the single writing that catches your attention:\n\nThe FIRST initiative. Their testament. I have seen it. This is all going to end. Use the bounds use their number.\n\n> Research bounds\nThe sum of the 237 rules by which the ASA Republican Worlds work.\nThey are divided into seven sections, each made up by at least 20 so-called \"initiatives\". Only the first two Bounds contain just one Initiative each. Those were written in the Ancient Days before the reforming of the Republic.\n\n> Go south\nThe polished look of this area shouldn't betray its soul. A wing of containment rooms, each used for a specific purpose, as stated by the signs appended to each of the doors in the corridor. Many are storerooms for quarantined specimens, chambers armored against radiation, explosions and other unpredictable events. But the rest, lined in rows of hundreds, are just detention cells for human convicts. Among the many, two are open, west of here and further north.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> Go west\nA wall, covered in monitors. A table, unfurnished except for some lined square buttons in the middle and a lonely terminal, sitting on a corner. This is a sightseeing tour over the detention center.\n\n> You examine terminal\nA tap display and a vibertron surface. It is on, maybe self-powered.\n\n> You examine the display\n(the functioning terminal)\nA tap display and a vibertron surface. It is on, maybe self-powered.\n\n> You tap the display\n(the functioning terminal)\nThere are three blank spaces and a virtual numeric keyboard on the terminal. Maybe you have to enter a code on it.\n\n> You enter 237 on the terminal\nYou type the number into terminal, and the screen wakes up. What follows sends frigid whiplashes through your spine.\n\nInitiative One (or First initiative)\n\nAll reunited, the Council of the Thirteen pledges eternal secrecy\nupon this Initiative, which will not be traded, in any part, at any cost.\n\nThe icy mantle under Monarch (System KFS - Andromeda galaxy) has\nbeen pierced. What the first human probes have found can only be described as the remnants of a former civilization, the mortal spoils of which can be trusted as ultimately lost. A series of globular machines lays in a pattern (called the Hyeromatrix), hidden under the very mantle of the earth. All forty-four of those machines (called the Hyerotropes) are dormant but still present a form of \"living\" electromagnetic and geo-gravitational power. Beyond this, an unknown energy array seems to be pulsing inside them, out of the usual spectrum. Whatever the structures are, there is indeed no way of stating that they aren't alien in nature.\n\nMoreso, the radiance emitted by one of the bigger spheres is very similar to the fast decaying fingerprints of the Event residue. This MUST be noted as extremely important.\n\nAs the coded memories recount, the Event Primeval was a star-shattering event that devoured entirely our neighbor galaxy. An energy pattern so similar could mean the Event can be replicated -- or even controlled and slaved to one's benefit.\n\nbefore the Event happened. We now have time to study and understand how the Event started, to avoid this New Heaven being destroyed by forces as of now uncontrollable. For this reason, a containment cage will be closed around the forty-four Hyerotropes and investigative labs will be built under the Monarch's crust.\n\nBy order of the Council of the Thirteen, the cage will be named \"Construct\" and the labs \"the Settlements\". For obvious secrecy reasons, the real motives behind the two buildings will be concealed from the population.\nMonarch Bastion Satellite, 12/05/8199.\n(signed by the thirteen members of the Council)\n\nYou stand, shocked.\n\nSo this is why they killed Andy. This is the secret they were\ntrying to keep.\nThis time, tears are held back by a forceful rage, contaminating you like an alien virus.\n\nThen, something more sinister comes into stage.\n\nThe Hyerotrope can replicate the Event. The whole of Andromeda\nwould be...\n\n> You throw the case\nAs the case hits the ground it shatters to pieces. The crystals made their job.\n\n> You take all\nperfect machine: Taken.\nElektron: Taken.\n\n> You check what you're carrying\nYou're carrying an Elektron, a perfect machine, a wax soap, a disc labeled \"Gamma\", a black box, a steel bar, a new railway ticket, some Report files and an E-Pad.\n\n> You put Gamma on the cylinder\nYou try the disk \"Gamma\" on the perfect machine. It fits perfectly, the lines protruding from it matching the cuts on the base. The four dots blink twice, then start strobing and dancing to the rhythm of some unheard music. The perfect machine flees from your hands and start levitating in front of you. Then, shrieking like a wraith, it flies away, jumping into the very ground and digging itself an escape. A fierce quake shakes the room like a cocktail mixer. Something must have occurred somewhere.\n\n> You go to the nail\nYou go into the gap.\n\nYou go south to the cold pyramid, south again to the blinking room, east to the featureless corridor, east again to the featureless corridor, east again to the featureless corridor, north to the dark recess, north again to the dark lab and west to the nail.\n\nAnother lab, where light is just a thick, yellow smoke at nose-height. All seems in place: the cabinets, the tables, the displays. Even a terminal, which sits on the northeast corner of the room, seems real enough to push the thought it could actually be functional.\n\nWhere the enormous talon once stood, now is a black gap, opening on the west wall.\n\n> Go west\nYou dare enter the black gap. Slowly proceeding, you find a way into another section of the settlements.\n\nYou find yourself in an empty room, except for a large parallelepipedon standing in its center. The walls are dusty and black, the floor is mere concrete, coarse and unattended. A large mirror dresses the west wall, almost completely. Its presence betrays this room as an inspection laboratory, where dangerous things could be tested in a relative safe place. The mirror is probably a one way window for scientists to look through towards the outcome of their effort.\n\nWhat is this, you mutter to yourself. What was examined\nhere?\n\nThe Elektron beeps twice in your hands.\n\nThe thing that you thought was an alien, enormous talon, now pops in from the north wall, showing itself for what it is: a wheel. It was part of a big machine, now it is torn in two and useless.\n\nBig idiot. Things are getting onto your nerves, isn't it?\n\nYou breathe slowly and regain your calm after a few moments.\n\n> You examine the parallelepiped\nIt is simply a large piece of metal, closed onto something that protrudes from its top. Maybe a detention machine for things to be examined.\n\n> You put Elektron on the parallelepiped\nYou link the Elektron to the parallelepipedon. The display on the device blinks twice: Some text appears on it.\n\nIt reads: Alpha radiation discovered. Alert. Alpha radiation discovered. Alert. Do not activate. Do not activate.\n\nAlpha radiation... we must be near the source. We must be near the cave.\n\n> You tap the display\nA shock rumbles through your arms, as you are crossed by a huge power surge. You keep the balance by chance.\n\nThe earth shakes a little, maybe adjusting itself.\n\n> You examine the parallelepiped\nIt is simply a large piece of metal, closed onto something that protrudes from its top. Maybe a detention machine for things to be examined.\n\nThe Elektron is connected to the parallelepipedon."
    },
    {
        "text": "[Themes: Science Fiction, verbose]\n\n> Look around\nYou find yourself in an empty room, except for a large parallelepipedon standing in its center. The walls are dusty and black, the floor is mere concrete, coarse and unattended. A large mirror dresses the west wall, almost completely.\n\nA round object protrudes from the parallelepipedon's top, a sort of circular maze. It is the last part of something bigger, evidently stuck inside the cage.\n\nThe thing that you thought was an alien, enormous talon, now pops in from the north wall, showing itself for what it is: a wheel. It was part of a big machine, now it is torn in two and useless.\n\nThe Elektron blinks faintly, connected to the parallelepipedon.\n\n> You look at the maze\nA sort of metal cylinder, half stuck in the caging parallelepipedon, levigated beyond perfection by unknown forces. The exposed edge of the circular object is a tangle of tiny cuts, each twisted into the other in an unique pattern.\n\n> You take the cylinder\nIt is stuck into the parallelepipedon.\n\n> You put the soap on the cylinder\nYou press the wax soap onto the circular maze. One of the sides is now a perfect (reversed) replica of the circular maze itself.\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> You take the soap\nYou already have that.\n\n> You examine the soap\nA remarkably old wax soap, one of the kind momma used to wash clothes when you were but a child. It now bears the impression of a circular maze.\n\n> You go to Pentagon\nBefore leaving, you remove the Elektron from the parallelepipedon.\n\nYou go into the gap.\n\nYou walk past the vibertron door, which silently opens around you.\n\nYou go east to the nail, east again to the dark lab, south to the dark recess, south again to the featureless corridor, west to the featureless corridor, west again to the featureless corridor, west again to the blinking room, north to the cold pyramid, north again to the quartz tunnel, northwest to Quarantine and south to the pentagon.\n\nA five-sided room, which the earthquake has just barely scratched. Five exits run from here, each marked with a letter, except for the one which stands blank on the north wall. To the northeast, a capital \"A\" hangs over a grate, which seems stuck to the walls, unopenable. Southeast, \"B\" rests over what remains of a tunnel that has caved in, some of the rocks fallen inside the room. Northwest and southwest, respectively, \"C\" and \"D\" sign two metal doors.\n\n> Go southwest\nThis is yet another lab. The walls are made of the same old white plastic as the rest of the corridors that crowd the place. As opposite to the rest of the environment, this large room seems unscarred. The yellow floor is dotted by tracks in black-striped adhesives, drawing lines around the structure that rests in the center of the chamber. There is not much by the way of furniture, except for a single, foreign machine.\n\nA cube, three meters wide, sleeps in the very center of the room. A strong, tight bundle of wires moves from its bottom towards the eastern wall, where it disappears in a plug. Two bays are open on the machine's top. Something that looks like a laser cannon points at the right bay.\n\n> You put the soap in the left bay\nYou put the wax soap (replicating a circular maze) into the left bay.\n\n> You examine the right bay\nIn the right bay is a metal weight (cut to resemble a wax soap (replicating a circular maze)).\n\nThe light from the ceiling vibrates randomly, then it calms down.\n\n> You examine the weight\nA kilogram. Almost perfect. A replica of the circular maze has been laser-cut onto it.\n\n> You go to the windowed habitat\nYou go into the gap.\n\nYou find a way into another section of the settlements.\n\nYou go northeast to the pentagon, north to Quarantine, southeast to the quartz tunnel, south to the cold pyramid, south again to the blinking room, east to the featureless corridor, east again to the featureless corridor, east again to the featureless corridor, north to the dark recess, north again to the dark lab, west to the nail and west again to the windowed habitat.\n\nYou find yourself in an empty room, except for a large parallelepipedon standing in its center. The walls are dusty and black, the floor is mere concrete, coarse and unattended. A large mirror dresses the west wall, almost completely.\n\nA round object protrudes from the parallelepipedon's top, a sort of circular maze. It is the last part of something bigger, evidently stuck inside the cage.\n\nThe thing that you thought was an alien, enormous talon, now pops in from the north wall, showing itself for what it is: a wheel. It was part of a big machine, now it is torn in two and useless.\n\n> You put the weight on cylinder\nYou try your mockup of an eventual disc on the circular maze. It fits perfectly, the lines protruding from it matching the cuts on the base. Lights from inside the parallelepipedon flash then start strobing and dancing to the rhythm of some unheard music.\n\nAll of a sudden, the very room starts trembling, as if another fierce quake was shaking it around. The mirror vibrates but resists the shock, while the parallelepipedon and the strange object trapped inside it both sink in the ground, forever lost. The concrete shatters and closes over the hole like a worm's mouth.\n\nThe jolt sends you flying again. The walls begin crumbling down, in a rehearsal of Doomsday. Something very big must have happened somewhere.\n\n> You look at dots\nThe dots look like tiny holes in the center of the \"door\", one above the other in a linear sequence. All the dots are currently off.\n\n> You touch the door\nYou push the frame. Now it vibrates with a greater charge. It trembles a bit and then, smoothly and silently, slides and opens a real door on the side of the dome. As you release your hands, it closes back with no sound. You are confident it will let you in, now.\n\n> You enter the dome\nThe door of the Hyerotrope opens and lets you in, finally.\n\nUpon entering, the Elektron bursts in flames, a power shock running through it like a technological virus. You have to drop it and witness how it is ultimately consumed. At the same time, the E-Pad in your hand sends its final beep.\n\nA perfect sphere, cut in two by a substance that looks like glass and stands as a floor for an eventual passenger: This is what the Hyerotrope is. At the center of the stage, a cube rests like a sort of solitary chair. There is no visible way out and, although you are quite certain of where the door once was, it now has disappeared.\n\nThe tides. They have come.\n\nYou were not fast enough, and you realize it as splinters of the world surrounding you start floating in the air and all of a sudden cracks start opening everywhere. Without the Fatimah Initiative rolling, the whole of Monarch will be flooded by the rising oceans.\n\n> You examine cube\nA faint light glows inside the cube. Something makes you believe it's a sort of... uhm, pedestal.\n\n> You check your inventory\nYou're carrying a dead E-Pad, a black box, a steel bar, a new railway ticket and some Report files.\n\n> You sit on the cube\nWhen the world around finally falls, you take your time just to climb the glowing cube, and see what happens. Seconds later, the last fierce earthquake devours the world in a single gulp. A light so dense it can barely be endured fills the Hyerotrope and the dome starts breathing as if it was alive.\n\nThen, you are caught by the sensation of being pulled downwards, like a drunk man in an elevator...\nReport to the Council about the discoveries around the Alpha\nRadiation\n\nWhat we have here may be, thus far, the most important discovery\nin human recent history, if not on a bigger scale. Upon scanning the recently exposed areas underneath the University basement (after the last minor quakes that interested the area) our team found a new kind of radiation -- from now on called \"Alpha Radiation\" (AR) -- springing from a single spot under the second and third layers of crust. That means beyond the icy layer, too.\nThis radiation, the kind of which has never been measured before,\nhas been fast growing in the last few weeks, reaching a point where it cannot be further ignored by the scientific committee. The latest of our discoveries stated without any shadow of a doubt that something enormous is at stake.\nIt was Dr. Re's that first linked the strange spectrum to the\nresidual fingerprint of the Event energy burst, that \"background noise\" that still plagues the Andromeda dark matter gravitational pull, with the one relative to the AR. As noted by the scientific crew, the Event residue is what is forcing the galaxy to shrink, due to its connection with potentials yet unknown which raise the mass of the galaxy itself to the point where the universe's eternal expansion is stopped and reversed. Now it looks like a similar energy is growing under our city, less than three kilometers below the surface.\nWhat we suggest is a deep scan -- and maybe a human driven probe\n-- in the interested area in order to find out what's happening down there. The volcanic crust separating what was once the glacial layer from the lower halls cannot possibly be thick enough to hold those energies at bay. Nor can it be trusted to keep a region larger than one third of Monarch's surface hidden from whatever it is that rests down there. In my humble opinion, the chances that former colonizations could have gotten in there before the glacial age (trapped? self-defending?) are quite high, especially now that we have discovered the Alpha-radiation.\n\nIn the end, we know nothing about Monarch before the first\nsettlements from the outer galaxies came into Andromeda more than one thousand years ago. Technology back then was not sufficient to dig as far as we have recently, and the glacial layer was only partially melted and covered by the constructs. I suggest further investigation before we start -- as we should -- to probe the source of the radiation. The evidence of structures unknown to the humans is too much to ignore.\nAn example could be the existence of the Hyerotropes. These were\nmore than once hinted at as some sort of alien machinery used for unknown purposes.\nA Hyerotrope -- or Gravitational Sphere -- is, indeed, an unknown artifact. We can only suppose they landed on Monarch before the glacial layer was made, as the seventeen specimens found all were under the icy layer or half protruding from it. The magnetic spectrum they emit is actually almost purely geo-gravitational, with small sparks of radio waves, and this suggests they were a sort of \"anchor\" for something bigger which needed to stop by the surface.\nUltimate considerations about the Hyerotropes cannot be made, as no-one has yet succeeded in truly activating them. Whatever the power source which keeps the Spheres \"alive\", it must still be there, and this is confirmed by the scattered energy ghosts that flow around their perfect structures.\n\nAnd then there is the Alpha Radiation.\n\nweeks. We can only suppose it was -NOT- there before Dr. Re's\nand his scientific crew discovered it. And we can hope it is\nnothing to worry about.\nStill, hoping is not all we have to do.\n\ncontact with the AR, what we think about its relation to the Hyerotropes, and a full analysis of its spectrum and wavelength.\n\n-- The Monarch University Scientific Staff, Dr. Mastiff, Dr.\nRe's\nThe Hyerotrope stops. A door opens and you get out, breathing hard.\n\nThe place is damp. You lift your eyes and what you see is -- again -- breathtaking.\n\nYou stand in the middle of a winding canyon, high several hundreds of meters and long as much. Luminescent cracks open on the walls, lighting up the place with a spectral voice. The ground seems to be polished as if human-made. The ravine goes on forever to the south and north of here.\n\nAs you exit the Hyerotrope, the door closes behind you. Seconds later, the sphere starts glowing and begins flying upwards, until it disappears from where it came.\n\nYou watch it speechlessly.\n\n> You examine the cracks\nThey are very similar to the thin cuts you saw crawling around the Hyerotrope. This time, though, the seem more coincidental.\n\n> Go north\nYou travel the canyon for half an hour, until you come to...\n\nThe ravine ends here. A giant gate, bulky in its iron hinges, towers in front of you. Cranks and gears seem to operate it, from above the twelve meters tall columns at its sides. The canyon lurks away to the south.\n\nA metal ladder on the left of the gate climbs towards a cabin clinging steadily to the canyon's walls.\n\n> You go up\nYou try and climb the ladder, not afraid of the missing rung. The second and third creak sinisterly as you try and reach for them. You need too much leverage to reach for the fourth peg.\n\n> You look at the ladder\nNot the comfortable ladder you found in that waste basket. Here, rungs are divided by a gap of fifty centimeters. The very first rung is lost, a hole carving the left leg.\n\n> You put the bar in the ladder\nYou try the bar, but it is too thick to fit. You need something smaller but equally strong.\n\n> You go south\nYou stand in the middle of a winding canyon, high several hundreds of meters and long as much. Luminescent cracks open on the walls, lighting up the place with a spectral voice. The ground seems to be polished as if human-made. The ravine goes on forever to the south and north of here.\n\n> Go south\nThe canyon abruptly comes to an end. Although the unending ravine crawls deeper to the south, something is blocking your steps.\n\nWhen you recognize it, you fall to your knees.\n\nThe train on which you begun your journey is here, fallen like an evil adumbration. Among it, several other wagons and a whole section of the upper city. They must have traveled a long way: part of the disaster is still clinging to the canyon's walls, ornaments of despair burning in flames and fumes. Wreckages mix with concrete, concrete mixes with the rests of the human race.\n\nA waterfall comes splashing down from a ledge a hundred meters above you. It must be the first result of the tides devouring what's above.\n\n> You examine the train\nYou are certain: This is the train you took in your futile trip to the now sunk University Campus. The laths are so distorted it would look like a crumpled ball of paper... if it was not for the black, charred human parts littering its intestines.\n\n> You enter the train\nThat is no longer viable as a vehicle. It's just a mess of contorted laminas.\n\n> Search train\nYou know what you are looking for: something sturdy enough to sustain your weight and thin enough to fit the hole in that ladder.\n\nYou rummage through the debris and the human rests until you find what you seek: a piece of a train's bench.\n\n> You take the bench\nYou already have that.\n\n> You look at the bench\nA sturdy, metallic pole, once part of a bench from the train.\n\n> You examine the waterfall\nThe oceans are devouring Monarch. Soon, a lot of water will come down, flooding this place.\n\n> Go north\nYou travel the canyon for half an hour, until you come to...\n\nThe ravine ends here. A giant gate, bulky in its iron hinges, towers in front of you. Cranks and gears operate it, from above the twelve meters tall columns at its sides. The canyon lurks away to the south.\n\nA metal ladder on the left of the gate climbs towards a cabin clinging steadily to the canyon's walls.\n\n> You put bench in the ladder\nThe new 'rung' perfectly fits. You stick it in a side of the ladder and force it into the other, and now it serves as a perfect anchorage.\n\n> You go up\nWith the new rung in place, you find anchorage to climb inside the cabin.\n\nDust is the main inhabitant, here, as one would have foreseen. It covers the wooden desk and the big windows on the north wall, the broken chair that now rests like a sleeping cat on the far corner of the cabin, and the ancient computing devices dropped dead on the table.\n\nThe metal ladder descends to the south side of the gate.\n\nAn old, battered diary rests on a corner of the wooden desk, its cover bloated by time and water. It looks miraculously intact.\n\n> You read the diary\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\nIt is not the best job in the universe, but still... I have seen worse. Marko has seen worse. They sent him to the digging facility. You know what they say about those goddam machines. They\nradiate. They give you the Big C. I know better than going\ninto there, that place. They call it the center of the earth.\nNo wonder it's the dampest place of all. Feels like sleepin in a b***hole.\n\n> Third month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\n\n> Go north\nThird month, day eleven\n> Third month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\nMore of the military, today. I think I've opened the dam at least seventy times. I've seen the tanks and the cannons they bring in there. Can't tell for sure, but bet they are trying to open one of those balls of metal. It's been a rumble all day. A bit tired. The computers are off and I don't really like it here. It's getting boring by the day.\n\nThird month, day eleven\n> Third month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\n\n> You go north\nThird month, day eleven\nThird month, day twenty-three\n> Third month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\nAnother day opening and closing and opening and closing. One of them was the general. That Hickk'errs, guy. I've seen his eyes. Those are blank eyes. He looks at you, but he's not really looking, you know? It's like his mind is always somewhere else. I've heard them talk, this morning. He and the professor. They said something about\nthe beacon. They knew I was listenin but didn't care. They\nthink I'm outta their league, that I dunno nothing. But I\nknow what they talkin about. The beacon is the thing that\ndrove us here, from our galaxy. We built it, sent it in space and followed. I know what they talking about.\n\nThird month, day eleven\nThird month, day twenty-three\n> Third month, day twenty-four\nFifth month, day two\nFifth month, day seven\nSixth month, day eighteen\n\n> Go north\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\n> Fifth month, day two\nFifth month, day seven\nSixth month, day eighteen\nGeneral said this morning a new set of experiments were going to be launched. They said no civilians would stay here, no matter what. I'm a civilian, too, in some way. I mean, I have the tags and all of that, but I'm not in charge of the weapons. So they think about me as some kind of white collar. They are going to do something dangerous down there. In the b***hole. They are gonna fire things at the metal balls. I'd like I was a civilian, for real. They are not lettin me go. They want me here to operate the dam. In case something goes wrong. If something goes wrong I wanna be in the other side of the universe, that's for sure. Did I mention this is NOT the best job out there?\n\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\n> Fifth month, day two\nFifth month, day seven\nSixth month, day eighteen\n\n> Go north\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\n> Fifth month, day seven\nSixth month, day eighteen\nThe world didn't end. I'm still here, opening and closing. Yesterday, tho, something occurred. There was a flash an then all the walls begun rumblin. It was not only the walls, but everything. The ceiling cracked and -- I swear -- a chunk of ice large like a tank\ncame crushing down. It killed seven people. None I knew, fortunately. They were all so much in panic I thought the world was really gonna end. But then it all got normal and everything got back to quiet. No sign of the general, today. Guess he has to smell those things. He's never here when something occurs.\n\nI forgot to say something. During the tremors (it was not a quake, more of the ground adjusting, I've heard some say), something odd happened. The computers went suddenly on, just for ten seconds or so. The were all broken, you know. No signal for two months. But then they wake up and there's this white light. And all things begun moving towards that hole in the big chamber, the one just before the center of the earth. It looked like they were PULLED there by some sort of ghost.\n\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\n> Fifth month, day seven\nSixth month, day eighteen\n\n> Go north\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\n> Sixth month, day eighteen\nIt is over. I'm not sure I'm unhappy about it. They will send me back to that satellite but, what the hell, better than here, even my aunt's. The last days were horrible. More died on walls crumbling and the earth cracked once, spilling lava and rocks everywhere. I heard Marko is dead, too. They don't let anyone beyond the dam and I can't tell for sure, but I heard some say he got devoured by one of those spheres. \"It has eaten him alive\", they said. Poor Marko. I can't wait for the gathering. I wanna go home. Even if it takes me another three years like in the first trip.\n\nThird month, day eleven\nThird month, day twenty-three\nThird month, day twenty-four\nFifth month, day two\nFifth month, day seven\n> Sixth month, day eighteen\n\n> You look at desk\nA slab of wood, fastened to the wall, with no legs. It is surmounted by a console, rust biting at it with no pity. On the table are some computers and several light bulbs, now broken and useless.\n\n> You examine the chair\nIt lays by your feet, a wasted amount of metal and a stiff cushion.\n\n> You examine computer\nDust is more than a soft layer on these. It just has become\npart of the old computers, like the shell for a nut. The\nscreens have been broken -- one from the inside, the other punched in -- and there is no sign of a keyboard or a touch screen. The wires have been removed by force, and now just a knotted bunch of cords hangs loose and useless.\n\n> You examine the console\nA set of rusted buttons and some light bulbs, blown or fused. The main object on the console is a plastic lever. You can only suppose it was used to open the big gate, downstairs.\n\n> You pull the lever\nYou maneuver the lever, but it doesn't budge. So, you decide to try harder. As a result, the lever breaks and the longer part ends in your hand, now useless.\n\nWon by discouragement, you yell a heartily yaaugh! and throw\nthe lever at the windows in front of you. The windows themselves, battered by the cold winds of time, give with less effort and crash, opening a new outlet on the north side of the cabin.\n\n> You go north\nYou pass through the newly opened window, careful not to cut your hands with the smashed glass, then descend to the floor with a leap.\n\nA river cuts this massive chamber in two. On the other side, its filled with stocks of any kind and size. On this one, it looks like a showcase of ancient war machinery, all lined up and packed for the show. A human-sized cave mouth exits to the north. Around it, all sorts of maze-like channels cut the earth and dive deep into the soil and walls.\n\nThe broken lever you threw at the window is here, on the ground.\n\n> You examine the river\nIt is a bubbling river. It comes from a crack in the north\nwall and dives into the earth a few meters below the gate walls. The bed must fish deep enough to be scalded by the molten layer.\n\n> You examine the machinery\nThis is military equipment. Tanks, cannons and so forth, all packed up and lined like a showcase in a very odd underground mall.\n\nOn one of the packings you notice a resume of sorts. A single typed page, torn on one side, which title reads: \"Essay on the Beacon, closing notes\". You pick it up.\n\n> You read the resume\nThe results of the tests on the Hyerotropes are still fuzzy.\n\nIn the end, at least, we understood how could our 'beacon' reach\nso far in such a relatively short time. Almost two millions parsecs in less than 400 years. That would mean traveling at least 6,250 times faster than light and, although certain velocities have been hypothesized, nothing we ever witnessed reached them.\n\nThe Hyeromatrix works as an attractor. The energy spectrum of the whole matrix (as opposite to the single sphere's) is capable of bending the structure of the Higgs Bosom's pattern, articulating a fierce vacuum-like tunnel which can pull, evidently, from a very long distance. The Hyeromatrix must have sensed the 'beacon' and decided to make it its own.\n\nThe single Hyerotropes have proven themselves 'thinking machines',\nif that is what we want to call them, or even living beings.\nTheir scattered pattern in the underground of this cold planet is not coincidental and, contrarily, the matrix has the purpose to actually enhance the spheres' abilities and reach. They breathe, as a living being, and as a living being the pollute the atmosphere when doing so: The ethereal substance they grow is toxic to the surroundings as noted by research Omega-33.\nUltimately, their presence indicates a superior meaning to the\nwhole universe, one which we never thought of -- at least scientifically -- up to now. We can suppose the Hyerotropes being a species on their own, breaking the walls of human research on the matter quite abruptly. Or we can hypothesize an even more powerful entity at work, somewhere, to operate those things. In both cases, there is much about the evolution of the stars we can gather from the discovery.\n\n--Prof. G.D., Monarch Research Facility.\n\nAddendum// The Hyerotropes emit a very subtle but very strong\nenergy. It is something we almost overlooked, as it is so far out of the usual spectrum that it is invisible if not searched for purposefully. The energy has become radiating with more intensity in the last few days. It seems a single beam has been directed towards the very center of our galaxy. We decided to keep studying the Hyerotropes, in the hope of finding answers about the recent Multiple Supernovae Effect registered in [...] --- the page is torn here,\nthe rest of the text missing.\n\n> You examine the stocks\nToo far to distinguish. They look like scientific machines. No more to be known.\n\n> Cross river\nThere must be a better way to die, right? One less painful.\n\n> Go north\nYou are in the cave. This is the ancient alcove and you are the first one to enter its vaults in a millennia. The cave opens in every direction. To the north, a higher ceiling welcomes two apparently abandoned objects.\n\n> You look at the objects\nA metallic form, barely discernible from this distance, and another Hyerotrope. Although you are quite far, you judge it to be at least two times bigger than the one you traveled into.\n\n> Go north\nThe Hyerotrope is giving off light, a dense orange glow, and -- yes-- it is bigger than the one you used as an elevator. At least five times bigger. Four big dots flare on it, all lined together like soldiers in formation. The whole cave, although gigantic, is lit by its energy.\n\nA strange object sits alongside the Hyerotrope, its rusty casing decaying and rotten.\n\n> You look at the object\nWhatever it is, it must be alien in nature. You can't understand its form -- an octagonal prism surmounted by broken steel poles -- but surely recognize the solar panels that once must have powered it. A set of metallic legs holds it standing.\n\nA metal sign was planted by someone near its base.\n\n> You look at the things\nThe belly of the beast is open. A rectangular thing, the likes of which you are very familiar with, sits almost unscarred by the remnants of a tight bird's nest of wires and circuitry. A golden plate, inscribed with drawings that finally have a meaning, marks another metallic slab.\n\nThe Hyerotrope starts moving.\n\nYou are flooded again by the sensation of being pushed around, this time upwards. As you levitate, the surrounding stars slowly fade, until they are substituted by the reality of it all.\n\nAnd you see the end of History for what it is. The lands devoured by the quakes and the tides. Whole cities swallowed by the fierce strength of Fatimah's gravitational pull. The rest of the human race devoured. All while you are suspended mid air above the mayhem in the Hyerotrope's womb.\nAfter a while, another, smaller sphere starts climbing the sky, stopping at your height. And then a second, and a third. And in minutes they are dozens, levitating and rotating around the biggest one, which you inhabit.\nThey begin wandering the cosmos, and your sphere does the same, slowly but relentlessly. As you leave the planet, a strong, white light begins pouring from the Hyerotropes and, finally, you understand.\n\nThat's it, you mourn. History repeats herself.\n\nWe came from another galaxy, this you know. We came here a millennia ago following one of our probes, looking for what the ASA First Council called \"a New Heaven\". We came here and barely survived a cosmic event that annihilated an entire galaxy and decimated life in those neighboring it.\n\nWhat was that Event and why did it occur no one will ever know. No one but you. You still lack the motivation but indeed have found out what it's like to be at the cyclone's eye. What can clear a galaxy off the screen.\n\nThe Hyerotropes. The plagues God sent upon the sinful mortals to\nbegin the end. And we thought we could be able to control them.\n\nAs if one could control the Apocalypse.\n\nYou get close to the rectangular player which fell off the ancient stellar beacon that now rests below you and straighten it, finding a perfect balance in the imploding universe. While everything that is is swallowed by the final, white fire, you admire that drawing -- a man and a woman, one alongside the other like twins in a child's sketch -- and the hope it was infused with.\nThen, you activate the recording.\n\nAndromeda finally awakens, in its swan-song, while the first notes from the Brandenburg Concerto No. 1 in F Major start playing\nfor the last time.\n\n> BEACON\nThe 'beacon' is a probe an old race sent into the void to gather information about the universe. This is the only part in the game which is not fictional. If you are comfortable with space-related trivia, you may have recognized it: The golden laser disc, the male and female sketched drawings, the mathematically-perfect song from Bach. It is Voyager II. Our beacon in the sky.\n\nYes, if you didn't get it, that's the sordid truth: Humanity in Andromeda came from our galaxy. It was our beloved Milky Way which was wiped off the radar by the Event. We are the Ancestors. Or, well... we WERE.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, know about the true nature of the BEACON, find what's WRONG with the technical stuff or read some AFTERWORDS from the author?\n\n> Wrong\nThis game was not intended as a maniacally perfect scientific resource for space travel. That said, the author put so much effort in trying to make everything realistic. Apart from the obvious things that couldn't be (i.e. a train falling for a kilometer doesn't only crumple: it disintegrates) there is one which stood hidden until much too late.\n\nThe 'beacon' has been pulled through space by the Hyerotropes. They made it fly at 6k times light-speed. If that's so... what about the humans? How could the First Colonists reach Andromeda WITHOUT such power and knowledge?\n\nWell, they couldn't.\n\nGiven there is no Earth date in the game, one could argue that the voyage took a really huge amount of time and that the Colony indeed reached through space around -- what do you think? 10.000 a.D.? 100.000? Well, nope: Andromeda is 2.5 MILLIONS lightyears from Earth. At the speeds we can reach nowadays, the trip would have lasted around 90 BILLIONS years.\n\nThe one solution can be the use of a wormhole, a rip in the fabrics of reality that creates a passage to distant places... but we all know that would have been a deus ex machina. That's why it is not mentioned ingame.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, know about the true nature of the BEACON, find what's WRONG with the technical stuff or read some AFTERWORDS from the author?\n\n> Afterwords\nI was in my car, early summer of 2011, driving my wife to our mountain resort, when I started teasing her with some scientific trivia about the galaxy of Andromeda. Kid was in the backseat, already dozed off, the sun did shine and the birds were singing. I begun flapping my never-stopping mouth about distances, dimensions, the sheer number of stars involved, when she begun yawning. I got the message and shut up.\n\nBut didn't shut up on the inside.\n\nThat is how my first IF story had birth. I run to the house, turned on my Macbook Air (freshly acquired, and just a week before the release of the new one, ouch) and begun coding again, never fully realizing I was going to complete the task, for the first time ever.\n\nI've first played and then tried to write IF in the mid-Eighties. I was nearly a teen, the world was splendid and everything quite worked for the best. The amount of time I could devote to my hobbies was impressive. The Hobbit was always running and I was\nstruggling a lot trying to understand english and what to do with that singing bastard Thorin the dwarf. More that a quarter of century has passed, and I'm still here, messing with trolls and an english parser. Meanwhile, almost ten -- or twenty, who can tell? -- adventure games have danced on my screen waiting to be designed and coded. I never got much beyond the few introductory rooms.\nThe occasion came when I stumbled upon the IFComp. Edition\n2011 was about to open and I had a game halfway to being finished that could maybe, and just maybe, fit in. All I had to do was deciding how the world of Monarch was going to be saved and how I could code that damn soap-over-metal puzzle.\n\nSummer passed by in a whoosh, and by the end of September the game was ready.\n\nOr so I thought.\n\nCoding a kind of game which is by far the most similar thing to a novel that could exist in a language that is not one's own is a rather terrific experience. Although I'm quite fluent in English and have classes listening to me from all around the globe -- I'm a graphic designer and expert on editorial design, which I teach in what you'd call a Master School for Gifted Youngsters -- I soon discovered that the river which spans between the speech and the writing is a very wide and turbulent one. Fortunately, my first proofreaders did an awesome job in putting straight my bulky texts (yeah: if you'd seen Andromeda before their intervention, you'd think this one\nwas, like, Hemingway).\nSo, I entered the Comp. For one and a half months, I've been in awe. I don't think I was exactly aware of what I've stepped into.\nI'm willing to believe that, if I'd known, I'd rather go around naked downtown than publish a game in so a renowned competition.\n\nAnd that was nice, 'cause I had the opportunity, otherwise precluded, to step into a new, fascinating world. I had an audience. I had critics. I had a chance.\n\nI wanted to be a writer all my life. Since when ten years old, I filled notebooks with short tales and novels-wannabe. I actually did write a novel, one that is trying to find a place in the horrible italian fiction maelstrom, but I never had someone other than my wife or friends read anything that's mine. Now it seems, looking at the number in the online transcript of the first release of this game, more than 600 people have tried my game. On IFDB (at the time this is being written), Andromeda averages on 3 stars, with the\nGerman scene gifting me with 4.\nI don't really know how this second release will fare, out there. What I know is that one of my strongest desires, the one I keep asking the sky to make real whenever I see a falling star, has become solid truth. And that's more than what one would sell his soul to hell for, believe me.\n\nNow, only time will tell if I can be a writer or have to stick with graphics. But if I die tomorrow, at least I won't go away saying \"nobody has ever read my work\". Thank you all who participated. This was a blast.\n\n--Marco Innocenti, Firenze (Italy), January 8, 2012.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, know about the true nature of the BEACON, find what's WRONG with the technical stuff or read some AFTERWORDS from the author?"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, blood, wolf, multiple protagonists, party, castle, Comedy, horror]\n\n]  Corrigan Road\n\nGood evening. My name is Ryan Veeder. It is my great pleasure, in this festive and frightening season, to welcome you to Castle Balderstone: America's legendary hotbed of horror, a treasure trove of the morose, macabre, and monstrous. Its crooked pinnacles slash blasphemously against ever-present clouds; its grim silhouette is a stain of absolute blackness in the midst of a black sky.\n\nEach year, the greatest spookcrafters working in the English language assemble in Castle Balderstone's drafty halls to test their latest material on the only audience possessed of hearts so inured to terror as to withstand the absolute scariest stories\u2014each other.\n\nTonight, you are my plus-one to this wedding of the weird and the wicked.\n\nAs we ascend the winding stairs of Castle Balderstone, the wind outside howls in warning, and the temperature drops until your teeth chatter in the cold\u2014or is it in anticipation of the horrors you are about to witness?\n\nWe trudge through antique galleries, across musty hallways and down forgotten corridors. The occasional window offers no view of a friendly outside world, but only confirms what your aching legs and ragged breath have already predicted: that the labyrinthine architecture of Castle Balderstone is one you can never hope to escape. Nevertheless we step on, through another creaking door...\n\n...And into a warm sitting-room, where velvet couches sit in a circle near a roaring fire. The walls are lined with bookshelves, stacked with titles you recognize as those you have never been brave enough to read. You recognize the occupants of the couches, as well: murder-mongers, evil-experts, ghost-gurus, monster-maestros, vampire-virtuosos, and dread-distributors. These are the infamous authors of Castle Balderstone, and you are their latest victim.\n\nIt appears that you and I are the last to arrive, and we take our seats in a conspicuous display of embarrassed hurriedness and loudly-whispered apologies. When the chamber is at last quiet, the first author rises to share with us the first tale of the evening.\n\nIt is Fiona Grice, well-known for the mysticism (and neuroticism) woven into her public persona, the better to lure unwitting readers into the worlds of darkness she so expertly crafts. Among friends, she is casual, irreverent, often self-deprecating. But on talk shows and social media, she shrouds herself in mystery, casting herself as a macabre new-age seer: a shaman of dread.\n\nAs she arranges her notes on the lectern, we all wait eagerly to see which Fiona has joined us this evening.\n\n\"Hello,\" she intones. \"This story came to me in a dream\u2014or, I should say, a nightmare.\"\n\nI guess it's the talk show version. Why is she acting this way, in a place of safety, among like-minded fellow-authors?\n\nHmm. Maybe it's because you're here.\n\nFiona goes on: \"When I awoke from my nightmare, I wrote it down, and I present it now exactly as I remember it. I don't know what, if anything, it means. Dreams are mysterious in this way.\" Okay, Fiona, let's get on with it.\n\n\"But dreams do not come to us with titles,\" she continues, \"so I had to invent my own. The title that I gave to this dream is...\"\n\nA nightmare in three parts by Fiona Grice\n\nClouds were racing across the sky.\n\nShe had never ventured out this far, where the road had started to fall apart and disappear into dirt and new grass. But she had nothing better to do, and this at least was something new.\n\nShe thought she heard an ambulance's siren.\n\n[Author's Note: An anthology of terror, edited by Ryan Veeder.]"
    },
    {
        "text": "> You listen\nShe strained her ears.\n\nThe sound was getting louder.\n\n> About yourself\nShe was dressed for a jog, but she had opted for an easy stroll instead.\n\nThe keening sound continued, coming from somewhere beyond the bushes.\n\n> You examine bushes\nThe bushes were thick, but she thought she could see a path between them to the east.\n\nThe high-pitched wail from the bushes to the east rose in intensity. It didn't sound like a siren. It sounded like a person.\n\n> You go east\nShe pushed a branch out of her way and trudged into the leaves.\n\nShe emerged in a ruined parking lot. On the east end was the entrance to a low building, its windows smashed, walls covered in ivy.\n\nAt first she thought it was a prison\u2014then she realized it was the old hospital.\n\nThe screaming didn't stop. It was starting to ring in her ears.\n\n> You examine the hospital\nThe hospital had been abandoned for years. She wondered why it hadn't been torn down.\n\nThe scream seemed to activate something in her brainstem. Her heart was beating faster.\n\n> Go east\nShe pulled on the rusted door; it opened easily. She stepped inside.\nShe pulled on the rusted door; it opened easily. She stepped inside.The door swung shut behind her.\ninside.The door swung shut behind her.The scream went on, over the sounds of wind and distant traffic.\nsounds of wind and distant traffic.Then it stopped.\nsounds of wind and distant traffic.Then it stopped.* * *\n\nCaroline is kind of flaky sometimes, but she always calls the next day to make an excuse for not showing up. This time, she didn't call the next day, or the day after that. She's not at her house; she's not answering her phone.\n\nAmy can't believe how clean Elle's place is, especially considering she wasn't expecting any visitors. Amy hasn't really talked to Elle since high school, but she's the one person Amy can think of who might know where Caroline ran off to.\n\nThe one messy area is around the crib, where any piece of baby equipment must be ready at a moment's notice.\n\nElle smiles at Amy politely. \"So, what brings you here?\" she asks, signaling that the pleasantries have concluded.\n\n> You examine Elle\nIn high school, Elle's hair was long enough to cause inconveniences and occasional accidents, and she was proud of it. Now it's cropped above her shoulders, and she looks like someone else.\n\n> You ask Elle about Caroline\n\"Well,\" Amy says, \"I've been trying to get ahold of Caroline for a couple\u2014\"\n\nSomething stirs, and a low moan rises from the crib. Elle rises at once.\n\n\"Oh, Oliver,\" she coos. \"What is it, darling?\"\n\nThe baby has no response, and Elle shrugs and lets the matter lie.\n\n> You examine baby\nWithout getting too close, Amy can see most of Baby Oliver through the ribs of the crib: A standard big-headed baby like all other big-headed babies, notable only for an oddly pointed nose.\n\n> You ask Elle about Caroline\nAmy coughs. \"So, I was about to ask, if you knew what Caroline\u2014\"\n\nBaby Oliver makes a little yelping sound, like an animal caught in a trap. Elle rushes to the crib.\n\n\"Ollie, oh, Ollie, Ollie, Ollie, Ollie, Ollie, Ollie, Ollie,\" she sings, lifting the baby onto her shoulder and walking him around the room. \"There you go. There you go. There you go. There you go. Little Oliver.\"\n\nAfter some more cooing and stroking, Little Oliver desists, and Elle returns him to the crib. \"Poor thing,\" she murmurs.\n\n> Continue\nAmy eyes the crib warily, and then she asks: \"Elle, I can't find Caroline. Do you know where she is?\"\n\nElle blinks. \"I haven't talked to Caroline in a while. We used to go for jogs out on Corrigan Road, but then I got so busy with\u2014\"\n\nLittle Oliver screams a horrendous, earsplitting scream, a desperate, existential scream that makes no sense coming from a creature with no conception of heartbreak or failure or student loans. Amy winces.\n\nElle rushes to Oliver's side and begins cooing and patting, with no apparent effect. She turns to Amy with desperation in her eyes.\n\n\"Oh Amy, I'm sorry...\"\n\n\"Don't worry about it,\" Amy says, and she rises to leave. And then to herself she mutters \"Corrigan Road\" as she makes for the door.\nherself she mutters \"Corrigan Road\" as she makes for the door.* * *\n\nThis seems to be as far as the road goes before it stops being a road. There's been no sign of Caroline anywhere.\n\nBut in the bushes to the east, Amy sees a vague little opening, as if the branches have been pushed aside by someone passing through.\n\n> About yourself\nAmy is a little unkempt. Her jacket is crumpled; her hair is a mess. She might be more distressed than she wants to admit.\n\n> Go east\nAmy grimaces as she pushes her way through the foliage.\n\nAmy finds herself in an old parking lot, outside a building she recognizes as the old hospital. Amy heard about kids sneaking around here, back in high school\u2014kids more adventurous than Amy and her friends.\n\nA light flickers on the other side of the hospital's rusty door.\n\n> Go east\n(first opening the rusty door)\n\nThe lobby's carpet is streaked with mildew. All the furniture has been either looted or crushed into anonymous debris.\n\nA fluorescent light flickers in the hallway to the east.\n\n> You go east\nThe hallway strobes in and out of washed-out existence as the fluorescent light flickers. Amy can't help but rub her eyes, making sure it's the light and not her own vision that's failing.\n\nOn the north side of the hall is a blue door; on the south side is a pink door. The corridor continues east and west.\n\nA millipede scurries out of the darkness and stops in the middle of the hall.\n\n> You examine millipede\nAs if in response to Amy's attention, the millipede walks calmly away on its undulating, unnatural legs.\n\n> You listen\nAmy holds still and listens.\n\n> Go south\n(first opening the pink door)\n\nA stained futon lies abandoned in what must be a squatter's former bedroom\u2014or some teenager's love nest. Amy grits her teeth involuntarily.\n\nThe hallway is north.\n\n> Go north\nThe hallway strobes in and out of washed-out existence as the fluorescent light flickers.\n\nOn the north side of the hall is a blue door; on the south side is a pink door. The corridor continues east and west.\n\n> Go north\n(first opening the blue door)\nIt seems to be locked.\n\n> You go east\nA green stain has formed around a puddle that hasn't quite dried up all the way.\n\nThe hall turns from west to south here.\n\n> You examine the puddle\nThe size of the stain indicates the puddle used to be almost as big as the hallway is wide.\n\n> You go south\nThe hallway goes from north to south. To the east is a pink door; to the west is a blue door, and a graffito spraypainted on the wall.\n\n> You examine graffito\npaint that dripped almost all the way down to the floor before it dried.\n\n> You go east\n(first opening the pink door)\nIt seems to be locked.\n\n> Go south\nThe hallway turns from north to west here.\n\nA rusty scalpel lies on the floor here.\n\n> You take it\nTaken.\n\n> You go west\nThe hallway runs east and west. To the north is a blue door; to the south is a pink door.\n\nThe remains of a poster hang on the southern wall.\n\n> Examine poster\nMost of the poster has been torn away. What remains is the profile of a woman, looking down in concern, and the word \"YOU'RE.\"\n\nAmy wonders what the poster wanted to say, and whether it was at all sincere.\n\n> Go south\nAmy holds her breath, and wonders whether she could hear if someone were in the room ahead of her.\n\n(first opening the pink door)\n\nThe shards of a broken jar lie scattered across the floor.\n\nThe hallway is north.\n\n> You examine jar\nAmy leans down to look closely at the shards. There's a faint residue of the fluid that splashed across the floor where the jar broke. She can see it happen: It lands here, it shatters, and then something\u2014something slippery\u2014skids across the floor, and it stops right there.\n\nBut whatever was in the jar isn't here.\n\n> You go to the west\nThe hallway turns from east to north here.\n\nAmy hears something.\n\nA low wail, coming from\u2014but it stops before she can determine the source of the sound.\n\n> You go north\nThe hallway from the south stops here.\n\nTo the west is a pink door. To the east is a blue door.\n\n> Go west\n(first opening the pink door)\nIt seems to be locked.\n\n> You go east\n(first opening the blue door)\n\nIt's dark in here.\n\nAs Amy's eyes adjust, she can make out rows of cribs for newborn babies. Empty cribs.\n\nThen she hears the low wail again. It's coming from a crib at the other end of the room, in the darkest corner.\n\n> You examine the crib\nIn the crib is a crying baby.\n\n> You examine baby\nIt seems perfectly healthy, but it's crying softly all the same. Maybe it knows somehow that it's been abandoned.\n\nAmy frowns. Who would do such a thing?\n\nShe looks around the room, but there's no one else there.\n\n> You take the Baby\nAmy reaches down into the crib. She tries to remember the correct way to hold a baby.\n\nIt's lighter than she expected.\n\nThe baby quiets down in her arms, and as she raises its head to rest on her shoulder, it seems utterly content with its new situation. She pats it gently, she bobs it up and down.\n\nThen it makes a noise.\n\nThen it makes a noise.\"Oh, yeah,\" the baby grunts. \"You sure know how to treat a baby.\"\n\nto treat a baby.\"Amy pulls the thing off her shoulder, holds it at arm's length. It looks back at her with an unbabylike intelligence in its sleepy eyes.\n\nits sleepy eyes.\"What's the matter, lady? I didn't say it was time to stop cuddling.\"\n\nstop cuddling.\"Amy throws the baby across the room. Then she realizes what she's done, and she screams. But it's too late.\n\nwhat she's done, and she screams. But it's too late.The baby collides with the wall. It pops like a balloon and disappears.\n\nwith the wall. It pops like a balloon and disappears.The lights come on in the maternity ward.\n\nAmy is surrounded by rows of empty cribs. The hallway is west.\n\nA steel key is lying on the floor.\n\n> You take it\nTaken.\n\n> You examine the crib\nThe crib is empty.\n\n> You go to the west\nThe hallway from the south stops here.\n\nTo the west is a pink door. To the east is a blue door.\n\n> You unlock the blue door\nWhat do you want to unlock the blue door with?\n\n> Go north\nThe hallway goes from north to south. To the east is a pink door; to the west is a blue door, and a graffito spraypainted on the wall.\n\n> You unlock the blue door with the key\nShe unlocks the blue door.\n\n> You go west\nAmy opens the door. On the other side is a stairway, leading down into the hospital's basement.\n\n\"Caroline?\" Amy calls down the stairs, but of course there's no answer.\n\nShe crosses the threshold and begins making her way downstairs.\nShe crosses the threshold and begins making her way downstairs.* * *\n\nAmy descends from the last stair and steps in something wet. She winces.\n\nShe moves forward slowly, peering into the fog for any sign of another human being. Then she thinks she sees a shape up ahead.\n\nThe fog parts: The shape is only a pattern on peeling wallpaper.\n\n> You examine wallpaper\nThe pattern on the wallpaper is an endless series of cute little bunnies, hopping and cavorting. But the wallpaper is peeling away everywhere, revealing mildew-encrusted plaster beneath.\n\n> You take the wallpaper\nThat's hardly portable.\n\n> You cut the plaster\nCutting it up would achieve little.\n\n> Hop\nShe jumps on the spot.\n\n> You look\nAmy looks around at the fog. She is alone in the hospital basement, with no frame of reference.\n\n> You check your inventory\nShe is carrying:\na steel key\na rusty scalpel\n\n> You look at the fog\nAmy tries to wave the fog away, but she can only reveal the space immediately in front of her: On the floor, a trickle of filthy liquid snakes across the tiles.\n\n> You examine the liquid\nA thin stream of brown liquid runs over the tiles until it reaches a drain in the middle of the room.\n\nBut then Amy follows the rivulet backwards, and she realizes it's coming from somewhere to the southeast.\n\n> Go southeast\nAmy follows the trail of liquid out of the room, and out of the fog.\n\nThe ceiling seems very low in here.\n\nA splintery playpen is set against the wall.\n\nNext to the playpen, Caroline is sitting in a rocking chair, cradling something in her arms.\n\n> You look at Caroline\nCaroline's eyes are half-closed, and her mouth is half-open in a dreamy smile. She has something cradled in her arms.\n\n> You examine the playpen\nAmy looks at the playpen, barely still standing, and imagines a tiny monster shaking its bars and shrieking to be released.\n\n> You examine the ceiling\nThe ceiling is painted black\u2014or maybe there is no ceiling.\n\n> You wake caroline\nAmy approaches Caroline carefully, trying not to look at whatever she's holding.\n\n\"Caroline?\" she whispers.\n\nCaroline rouses herself slowly. Her eyes focus on Amy.\n\n\"I'm sorry,\" she says, her voice creaking.\n\nAmy shakes her head. \"It's okay, Caroline. Let's get out of here.\"\n\n\"I would have called\u2014but I was so busy.\" Caroline shakes her head and looks down at the bundle in her arms. \"I've been so busy lately...\"\n\nAmy takes another step and reaches out for Caroline's shoulder. Then a sound makes her stop: The sound of something tearing.\nsound makes her stop: The sound of something tearing.A pudgy hand rises out of a hole in the bottom of the playpen.\nrises out of a hole in the bottom of the playpen.The hand reaches over to grab Caroline, wrapping its fat fingers around her body. She offers no resistance.\n\n\"Sorry, Amy,\" she says.\n\"Sorry, Amy,\" she says.The hand pulls Caroline through the bottom of the playpen and disappears.\n\n> You look\nThe ceiling seems very low in here.\n\nA splintery playpen is set against the wall.\n\nNext to the playpen is an empty rocking chair.\n\n> You look in the playpen\nA great black hole has been torn in the bottom of the playpen.\n\n> You examine hole\nAmy peers into the hole.\n\n> You enter the hole\nAmy hoists herself over the side of the playpen and climbs into the hole.\n\nAmy is in a narrow vertical tunnel, pressing her arms and legs against the walls to keep from falling down."
    },
    {
        "text": "> Go downward\nAmy carefully lowers her arm, and then her leg, then her other arm, inching her way down the tube.\n\nBut the tunnel widens unexpectedly\u2014she falls\u2014\n\nAmy lands with a squelch. She groans as she picks herself up.\n\nThe hospital's cavernous sub-basement glows red and orange over hundreds of flickering candles. The walls and floor are coated with slime. To the west is a door labeled EMPLOYEES ONLY.\n\nIn the center of the chamber is a gigantic baby. It holds Caroline against its fat chest and eyes Amy lazily.\n\n> You examine baby\nAmy looks up into the giant baby's giant face. Its cheeks are perfect globes; its eyes are huge and wet and inquisitive. Its nose is the slightest bit pointed.\n\n\"See anything you like?\" asks the baby. It runs a pudgy hand over its smooth skin.\n\nAmy averts her eyes. The floor near the baby is littered with bones.\n\n> You look at the slime\nAmy looks around herself. Every surface is covered in slime. She even got some on herself.\n\nShe tries to wipe it off, with little success.\n\n> You look at Caroline\nCaroline clings to the giant baby's chest, a satisfied smile on her face. She seems to be asleep.\n\nShe takes a deep breath, and as she exhales she coos, \"My little angel...\"\n\n> You look at the bones\nAmy sees a skull, and a pelvis, but most of the bones are half-sunken in the slime and unrecognizable. How many other women have ended up like Caroline?\n\n> You take Caroline\nAmy calls up to Caroline: \"Caroline! It's me, Amy! Your friend!\"\n\nBut the giant baby reaches down and puts a huge, fat finger over Amy's mouth. \"She's not your friend anymore, lady. She's my mommy. But you'll be my mommy too, pretty soon. So just sit tight.\"\n\n> You ask the Baby about the nose\nYou can only do that to something animate.\n\n> Cut baby\nAmy yells at the giant baby: \"What are you doing with Caroline?\"\n\nThe baby gawks at Amy a little, as if the question is unthinkably stupid. Then it says: \"We're cuddling. We'll be cuddling for a good long while.\"\n\nThe baby's eyes bulge. It stares furiously into the middle distance, as if it just remembered something awful.\n\nThen it burps, and the odor stings Amy's eyes.\n\nThe giant baby grins smugly. \"Don't worry, lady. You'll get a turn.\"\n\n> Cut baby\n\"Give me back my friend!\" Amy screams.\n\nThe giant baby rolls its giant eyes. It pats Caroline on the back, and she produces a contented sigh.\n\n> You hit the Baby\nAmy hides the rusty scalpel behind her back and moves toward the giant baby. It looks down at her and smiles.\n\nShe raises the scalpel over her head and, before the hulking creature can react, she jabs the blade into its stomach.\n\nThe scalpel doesn't make a scratch. It bounces off of the baby's springy skin, flying out of Amy's hand and careening toward some dark corner of the chamber.\n\nThe giant baby blinks. \"Huh,\" it says. \"Nice try, I guess.\"\n\n> Inventory\nShe is carrying:\na steel key"
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, castle, multiple protagonists, wolf]\n\n> Look around\nThe hospital's cavernous sub-basement glows red and orange over hundreds of flickering candles. The walls and floor are coated with slime. To the west is a door labeled EMPLOYEES ONLY.\n\nIn the center of the chamber is a gigantic baby. It holds Caroline against its fat chest and eyes Amy lazily.\n\n> Search bones\nAmy moves toward the bones, but the giant baby swats her away.\n\n> You take candle\nThe candles are mostly melted into the floor, and the wax is too hot to touch.\n\n> You examine baby\nAmy looks up into the giant baby's giant face. Its cheeks are perfect globes; its eyes are huge and wet and inquisitive. Its nose is the slightest bit pointed.\n\n> You examine Caroline\nCaroline clings to the giant baby's chest, a satisfied smile on her face. She seems to be asleep.\"\n\n> Go west\n(first opening the closet door)\n\nThe closet is cramped and dusty, lit only faintly by the candles to the east.\n\nAn old toolbox sits alone on the shelves.\n\nA huge oxygen tank rests on the floor nearby.\n\n> You open the toolbox\nShe opens the toolbox, revealing a hefty wrench.\n\n> You take the wrench\nTaken.\n\n> Examine tank\nAmy looks over the oxygen tank. It looks like it could be a hundred years old. There used to be a safety warning painted on it, but most of the paint has chipped away. It's mounted on rickety wheels, so with some effort she could push it around.\n\nThe nozzle of the tank is secured with a hexagonal nut.\n\n> You unscrew the nut\nAmy fixes the wrench around the tank nozzle, and then she leans on the tool until at last the thing turns the slightest bit. The nozzle begins hissing as oxygen escapes into the musty air.\n\nAmy pulls up on the wrench, and the hissing stops. She peeks out from the closet at the giant baby, and her lips purse in a grim half-smile.\n\n> You unscrew the nut\nAmy grits her teeth and tries to force the wrench onto the nozzle. She grunts, she puts her weight into it, and the wrench fits into place.\n\nThe giant baby looks over at her. \"Hey! What do you think you're doing?\" it whines.\n\nAmy doesn't answer. She positions herself over the wrench, and she pushes it down until the screw gives way. Gas streams out of the nozzle.\n\nAmy looks up at Caroline. The baby is squeezing her harder now, tensing its fat fingers in frustration. But Caroline's expression is blissful.\n\n\"Stop it!\" the big baby cries. But it doesn't realize what's happening. It doesn't even try to stop her.\n\nAmy grins up at the baby's stupid face. She pushes harder, opening the aperture wider, increasing the flow of oxygen into the room.\naperture wider, increasing the flow of oxygen into the room.An invisible finger of gas brushes against the flame atop one of the candles.\ncandles.A river of fire flows toward the oxygen tank.\n\n> You listen\nYou hear nothing unexpected.\n\nIt is pitch dark, and a cat is howling outside.\n\n> Inventory\nYou are carrying nothing.\n\nIt is pitch dark, and your life is meaningless.\n\n> You stand\nBut you aren't in anything at the moment.\n\nIt is pitch dark, and you are naked.\n\n> Go north\nYou can't go that way.\n\nIt is pitch dark, and a serial killer is on the loose.\n\n> You wake up\nThe dreadful truth is, this is not a dream.\n\nIt is pitch dark, and there is no way out.\n\n> Exit\nBut you aren't in anything at the moment.\n\nIt is pitch dark, or is it?\n\n> Go east\nYou can't go that way.\n\nIt is pitch dark, and something is touching your neck.\n\n> You touch yourself\nYou achieve nothing by this.\n\nIt is pitch dark, and there's nothing you can do about it.\n\n> You go south\nYou can't go that way.\n\nIt is pitch dark, and you are being eaten by a grue.\n\n> Smell\nYou smell nothing unexpected.\n\nIt is pitch dark, you stupid idiot.\n\n> You go to the west\nYou can't go that way.\n\nIt is pitch dark, but what else is new?\n\n> About yourself\nYou are bound and gagged.\n\nShe smiles at you. \"Are you thinking about your past?\"\n\n> You say NGGH\n(to the woman)\nYou can only grunt through the gag in your mouth.\n\n\"I've learned how to forget things,\" she explains. \"I won't remember all the details.\"\n\n> You examine the woman\nHer skin is smooth and white. Her arms are long and lithe. Her dark eyes still glitter welcomingly, but it is too late to succumb or to resist.\n\n\"I won't remember you,\" she says.\n\nFor a moment you think you hear music.\n\n> You check your inventory\nYou are carrying nothing.\n\nShe looks up into the mist and lets go of the oars. \"This is the place.\"\n\n> You look at the gag\nYou can't move.\n\nShe raises her hands and calls out to the fog: \"O Great Nesphelet! I am Mergeis, your servant, your slave. In accordance with our contract I offer this sacrifice.\"\n\nTendrils of mist swirls around the boat. The waters shake, and a voice rises from the bottom of the lake:\n\nThe sacrifice is inadequate.\n\nMergeis stares blankly into the fog.\n\n> You wait\nTime passes.\n\nThen she finds her voice. \"No!\" she cries. \"This is what you asked for! You can't change the terms now!\"\n\nMy terms require the sacrifice of a virgin, the voice responds.\n\nMergeis is baffled for an instant\u2014then she glares at you with insane fury.\n\n> You examine the mist\nAt times, the fog is so thick that you seem to be floating through a dark cloud. When the waters come into view, they reveal nothing.\n\n\"I was lied to!\" Mergeis shrieks. \"You must accept this one! You must honor our bargain!\"\n\nThere can be no negotiation.\n\n\"No!\" She reaches for you, clutches you with cold hands. She shoves you out of the boat, into the lake.\n\n\"You must\u2014\" she shouts into the mist, as you sink below the surface.\n\nYou are falling through the icy waters of the Grey Lake.\n\n> Go upwards\nYou struggle uselessly.\n\nYou can't hold your breath much longer."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, Comedy, castle, multiple protagonists, party]\n\n> Go downward\nYour binds are too tight.\n\nYour body overcomes your will\u2014you try to inhale, and freezing water fills your nose and throat.\n\n> Wait\nYou let yourself go limp.\n\nYour lungs are burning.\n\n> You wait awhile\nYou wait.\n\nFinally you die.\n\nYour lifeless body continues sinking to the bottom of the Grey Lake.\n\nBut something else floats in its place, going neither up nor down.\n\nYou are in the middle of grey, featureless water, without even a body.\n\n> Go upward\nYou float formlessly in the greyness of the Grey Lake. Above, the water is lighter; below, it grows darker."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, castle, party, Comedy, horror]\n\n> Go downward\nYou are in the middle of grey, featureless water, without even a body."
    },
    {
        "text": "> Go downwards\nThe water is dark here. It's even darker below.\n\nA slow, sombre tune floats past you."
    },
    {
        "text": "> Go downwards\nA corpse has landed here, among the dirt and lake-weed.\n\nBut the slope of the lakebed leads even further down.\n\n> You look at the corpse\nThe body is intact; the fish haven't gotten to it yet. Its arms and legs are bound with strong rope, which will rot away long after the corpse does. Its mouth is gagged. Its face bears a resigned, maybe even weary expression."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, Comedy, horror, blood, multiple protagonists, party]\n\n> Go downwards\nAt the bottom of the lake is a mountain. Atop the mountain sits Nesphelet, Un-god of the Grey Lake, playing his thorny harp.\n\n> You look at the nesphelet\nThe aspect of the Un-god is as hideous as it is colossal. His glassy skin is cracked and crumbling; his ragged wings beat slowly through the filthy water. His eyes are bulbous, enormous\u2014\n\n\u2014and they look down at you in disgust.\n\nMergeis gained nothing by drowning you, he says. All the\nsame, you have fallen into my domain, and are now my subject. I doubt it's the afterlife you were looking forward to...\n\nHe loses interest, and resumes plucking his harp.\n\n> You look at the harp\nNesphelet's harp is carved from a branch of the Tree of Desire, and still bears its deadly thorns. Its hundreds of strings, stretched thin and tight over the spikes, are the souls of mortals (virgins) offered to the Un-god of the Grey Lake by his followers as payment for his favors.\n\nAs he plucks each string, it screams out for release, and in this way a melody of purest pain plays on and on.\n\n> You take the strings\nNesphelet would begrudge your interference.\n\n> You ask Nesphelet about the harp\nNesphelet bats the question away."
    },
    {
        "text": "[Themes: Tales from Castle Balderstone, blood, multiple protagonists]\n\n> You go downwards\nNo light reaches into this cavern, at the bottom of the bottom of the lake.\n\nA woman is here, waiting for you.\n\n> You look at the woman\nShe has the flowing hair and hungry eyes of a river sprite, but none of a river sprite's youth or beauty.\n\n\"You've been very unlucky,\" she says. \"And not a little foolish, but that can't be helped. It's not too late, though.\"\n\nShe opens her hand: In her palm rests a smooth stone disk.\n\n\"With the fealglass you can ascend into the mortal world. Whoever gazes into it will take your place among the damned. Show it to some unlucky fool\u2014\" She laughs. \"More unlucky, if not more foolish than yourself.\"\n\nWithout arms or hands, you can't take hold of the stone. But she passes it to you, and it becomes yours.\n\n> You ask the woman about herself\nYou cannot find the words\u2014but she smiles reassuringly.\n\n> You go upwards\nAt the bottom of the lake is a mountain. Atop the mountain sits Nesphelet, Un-god of the Grey Lake, playing his thorny harp.\n\n> You show the fealglass to Nesphelet\nThe stone manages to engage the Un-god's attention. Ah. An\ninteresting toy, he says.\n\nBut that's all he says.\n\n> Go upwards\nA corpse has landed here, among the dirt and lake-weed.\n\nBut the slope of the lakebed leads even further down.\n\n> You go upward\nThe water is dark here. It's even darker below.\n\n> Go upward\nYou are in the middle of grey, featureless water, without even a body.\n\n> Go upward\nYou float formlessly in the greyness of the Grey Lake. Above, the water is lighter; below, it grows darker.\n\n> Go up\nJust above you, the water at the lake's surface glitters weakly in the meager sunlight. Below is the darkness of the Grey Lake.\n\n> Go upwards\nThe fealglass seems to pull you up. You can't resist; you float easily, like a bubble.\n\nYou emerge into misty air.\n\nYou are on the shore of the Grey Lake. Night has fallen.\n\nBut the moon sheds some light, and you're able to recognize the geography: The road back to town is northwest of here.\n\nA pebbled path leads east around the lake.\n\n> You go to the east\nYou pass between the shore and the woods, on a path choked with weeds.\n\nThe road and the village are further west. To the east is a cottage that you think you recognize.\n\n> You examine the cottage\nSomeone is inside.\n\n> You go east\nThis is the cottage where Mergeis lured you, where she tied you up before forcing you into her dirty rowboat.\n\nMergeis is here, hunched over her cauldron.\n\n> You examine the cauldron\nThe water in the cauldron is as murky as that of the Grey Lake.\n\n\"Please,\" she whispers into the cauldron. \"I need more time. I can give you a virgin. I just need more time.\"\n\nThe cauldron does not respond.\n\n\"If I wither away, I can't give you anything! Is it worth it to let me crumble and die? Wouldn't you rather let me live, and receive more sacrifices?\"\n\nAll Mergeis sees in the cauldron is her own reflection. She covers her shriveled face with her hands and sobs.\n\n> You show the fealglass to Mergeis\nYou can almost feel your grip around the fealglass. With a thought you could pull it out into the air and make it visible. But is this the right place? The right person?\n\n> You look at what you're carrying with you\nYou are carrying:\na fealglass\n\n> You show the fealglass to Mergeis\nMist fills the cottage, and Mergeis looks up hopefully.\n\nThe fealglass materializes before her. She reaches for it desperately; she clutches the stone that she assumes is her salvation. She stares into its depths, waiting for a message from her master.\n\nHer eyes go blank; the crone's body collapses on the earthen floor. Her soul howls as it exits the cottage, borne by irresistable magic to the bottom of the Grey Lake.\n\nYou crawl into the shell Mergeis left behind, as naturally as crawling into bed after a long day. You stand up, finally a being of both body and soul.\n\nA voice comes from the cauldron: Very impressive. Very well\ndone, it says. But I'm afraid you may find this body somewhat\nlacking.\n\nA sudden pain in your new joints makes you hunch over, and you're forced to agree.\n\nI can help, the voice goes on, but in return I'll require\nsomething from you.\n\n Isn't she obviously old and frail at that point?\"\n\nAntonio looks through his notes. \"Well, originally, I was going\nto...\"\n\nHe frowns.\n\n\"I think it's...\"\n\nThe moderator glances around the room. \"Are there any more questions?\"\n\nThere are not.\n\n> Yes\nThat presents a problem. The efficacy of this exercise is predicated on your aversion to diving into blood. Fortunately, I have the equipment and expertise necessary to correct this."
    },
    {
        "text": "> You go west\nYou pass between the shore and the woods, on a path choked with weeds.\n\nThe road and the village are further west. To the east is a cottage that you recognize.\n\n> You go west\nYou are on the shore of the Grey Lake. The road back to town is northwest of here.\n\nA pebbled path leads east around the lake.\n\n> Go northwest\nThis road leads west, to the village where you live\u2014or, used to live. Southeast from here are the shores of the Grey Lake.\n\nThere's a man here, stumbling through the dark.\n\n> You examine man\nIt's a drunkard you know from town. He has no friends, no family. No one would miss him.\n\n> Go west\nThe streets are empty, except for faint fingers of mist gathering in the dark. The main road leads east, out of town.\n\nYour old home is just north from here.\n\n> Go north\nEverything is as you left it, but through a ghost's vision, your home seems odd and unfamiliar.\n\nYour brother sits at the table, counting a stack of coins.\n\n> You examine brother\nHe can't see you.\n\nHis eyes are glittering. His lips move rapidly as he silently counts; then he pauses, to appreciate a particular coin, not as a number, but as as an object: Warm metal, a rigid edge, pressing hard against his fingers. Then he begins counting again.\n\nYour brother begins mumbling to himself.\n\n\"Oh, Mergeis,\" he whispers, \"How desperate you must have been, to accept my first offer! I would have agreed to so much less. Look: Here is the value of family.\"\n\nHe pushes a short stack of gold coins apart from the others.\n\n\"And here is the value of loyalty.\" He sets aside another handful.\n\n\"And this is the price of my reputation,\" he says, skimming a few coppers off the top. \"I have to charge a little extra, since word might get around about my dealing with witches. But everything else!\"\n\nHe closes his hands over the impressive pile that remains. \"Pure profit! Or pure stupidity on your part, Mergeis.\"\n\nHe laughs\u2014Then he glances around, embarrassed, hoping nobody heard him. But he doesn't see anybody.\n\n> You break the fealglass\nYou are incorporeal.\n\n> You drop the fealglass\nThat would be very stupid of you.\n\n> You show the fealglass to the brother\nA cloud of mist forms around your brother, and the fealglass appears on the table. He leans over it with interest. Maybe it's something he missed\u2014a piece of exotic currency.\n\nBut as he looks into the swirling pattern at the center of the disk, the avarice disappears from his eyes, leaving nothing behind. His body slumps forward, knocking piles of coins off the table and onto the floor.\n\nYour brother's soul emits a quiet yelp of protest as it is pulled away to Nesphelet's domain beneath the Grey Lake. Meanwhile, you crawl into his body and begin tidying the stacks of coins that now belong to you.\n\n Why place all the blame on him, in the end?\"\n\nAntonio nods. \"I wanted to expand on the archetype of the predatory female witch. The brother character represents another kind of evil, a masculine evil to complement the feminine version of classic fairy-stories. I wanted to show both halves of the evil equation, reflecting and magnifying each other.\"\n\nI rub my forehead wearily.\n\nThe moderator glances around the room. \"Are there any more questions?\"\n\nThere are not.\nThere are not.Now it is time for the next author to step forward and share the next of the evening's delirious entertainments. It is Colin Michael Gustafson, well-known for his surreal, nightmarish visions, conjured from deep beneath the daylight realm of polite society, always presented with impish indelicacy.\n\nColin nods meekly and bows\u2014and then sheds the veneer of modesty and reveals a brilliant grin. \"I'm very proud of this one,\" he admits. \"I believe it touches on the most basic anxieties in the deepest, most universal (and most uncomfortable) fundaments of our psychology.\"\n\n\"How very Jungian!\" another author interjects. \"The collective unconscious! The specter of the Shadow!\"\n\n\"Precisely,\" Colin hisses. \"But we're getting ahead of ourselves.\" He produces a sheaf of papers. \"Allow me to begin...\"\n\nDon't Dive Into Blood, Kids\nAn experiment in psychological terror by Colin Michael Gustafson \n\nBefore we begin, are you prepared to dive into blood?\n\n> Yes\nThat presents a problem. The efficacy of this exercise is predicated on your aversion to diving into blood. Fortunately, I have the equipment and expertise necessary to correct this.\nOffice\nI am in a cold, sterile psychiatrist's office.\n\nI can see a patient here.\n\n> About yourself\nI am a cold, sterile psychiatrist.\n\n> You look at the patient\nYou are being very calm and quiet. Good for you.\n\nI'm going to cut an incision\u2014Not a physical incision in your head,\nbut\na metaphorical incision in your mind. The procedure is perfectly safe.\n\n> Inventory\nI am carrying:\na scalpel\n\n> You examine the scalpel\nA tiny little knife like this is perfect for a patient like you.\n\n> You cut the incision\nWith the utmost care and professionalism, I make a Y-shaped psychological incision in your mind. The metaphorical aperture is more than wide enough for me to enter.\n\n> You enter the incision\nI carefully climb into the incision. I assure you there's no medical risk involved.\n\nNow I am inside your mind. Don't worry; I'm a professional.\n\nI poke through the components of your psyche for a moment before I find what I'm looking for: your willingness to dive into blood.\n\n> You examine the willingness\nYour willingness to dive into blood is connected to the rest of your mind with some sort of psychic tendon.\n\n> You cut tendon\nI draw my scalpel across the psychic tendon, and your willingness to dive into blood comes loose easily.\n\n> You take the willingness\nI carefully remove your willingness to dive into blood. Now you should be more than adequately prepared for our little entertainment.\nPool of Blood\nYou're standing at the side of a pool. The Vein sits on a tall chair, making sure all the swimmers are safe.\n\n> You examine Vein\nClad in a Speedo and sunglasses, the Vein is the archetype of coolness. His muscular skin glistens like a coiled anaconda.\n\n> You look at the Pool\nThe pool is full of red blood. At the far end, a ladder leads up to a diving board.\n\n> You look at the board\nAcross the pool from the lifeguard's chair is a diving board with an attached ladder. The construction seems too tall to be safe, but maybe that's an optical illusion.\n\n> You ask Vein about the blood\nThe Vein tosses his capillaries majestically and grins. \"Don't distract me, kid,\" he says. \"I've got lives to save.\"\n\n> About yourself\nYou are a kid in basic swimming attire.\n\n> You climb the ladder\nThere is no running allowed at the pool of blood, so you walk slowly around its perimeter to the diving board.\n\nYour arms are easily strong enough to bear you to the top of the ladder. What slows your progress is the knowledge that there is no turning back: When you get to the top of the ladder, the only way to get back down will be to dive into blood.\n\nYou are very high up.\n\nThe board wobbles beneath your feet.\n\nBelow you, far below, is the pool of blood.\n\n> You dive into the blood\nYou approach the edge of the board. The wind is cold on your skin.\n\nFrom his chair at the far side of the pool, the Vein watches you dispassionately; there's nothing else to watch.\n\nYou are afraid, and you should be afraid, because this is a bad idea. Don't dive into blood, kids.\n\nYou leap forward and dive into the pool of blood.\n\nYour tiny body takes forever to reach the surface.\n\nThe hot blood hits your skin all at once.\n\nYou sink into the deep end of the pool.\n\nYou flail helplessly into the blood.\n\nYou float back up to the surface.\n\n\"\u2014IN THE POOL,\" the Vein is screaming. \"THERE IS A WOLF IN THE POOL. EVERYBODY OUT OF THE POOL. EVERYBODY OUT OF THE POOL OF BLOOD.\"\n\nThe Vein scrabbles down the side of his tall chair and runs away.\n\nYou turn your head back and forth. You can't see the Wolf. Where could he be? Where can you hide?\n\n> You go outside\nIf there really is a Wolf in the pool, he'll gobble you up before you get very far.\n\n> You dive into the blood\nYou take a few deep breaths, inhale one last big gulp of air, screw your eyes shut, and dive into the blood.\n\nYour force yourself to open your eyes.\n\nThe Wolf is at the bottom of the pool.\n\n> You examine Wolf\nIt turns out that the Wolf, the great Devourer, the archetype of inevitable destruction and lurking evil, was lurking at the bottom of the pool of blood. All along!\n\nHis mouth is wide open, a gaping, toothy entrance into pure blackness.\n\n> You dive into the blood\nYou're already in the blood.\n\n> You dive into the blackness\nYou swim deeper, deeper into the pool of blood. And then you dive into the beast's mouth.\n\nYou are now inside the Wolf's mind. Every aspect of his conscious, subconscious, and unconscious is open to you.\n\nObvious exits are WEST and NORTHEAST.\n\n> Go west\nThis chamber is dusty and disused.\n\nObvious exits are NORTH and EAST.\n\n> You go north\nThe studio is a picture of intentional, almost rehearsed disorder: A few papers have fallen on the floor; others are taped to the wall at uneven angles, but the attempt to create an atmosphere of chaos is not convincing.\n\nThe Wolf's current project rests on an easel, situated in front of a full-length mirror.\n\nObvious exits are NORTHEAST and SOUTH.\n\n> You examine the project\nThe canvas has been painted completely black, almost as if the Wolf simply poured a can of black paint over it. But you can see every brush stroke.\n\n> You examine the easel\nOn the easel rests a large canvas, the Wolf's latest artistic endeavor.\n\n> You examine papers\nYou peek at a random paper. On it is scribbled a reproduction of that optical illusion where it's a duck one way and a rabbit the other way.\n\n> You examine mirror\nThe mirror is about twice your height.\n\n> You examine papers\nYou peek at a random paper. On it is scrawled a few dozen squares, their uniformity decreasing as the Wolf got more and more bored of drawing squares.\n\n> You look at the papers\nYou peek at a random paper. On it is scribbled various rough drafts of a logo for \"WOLF COLA,\" all of which insist on the two words sharing the same O and L.\n\n> You go to the north-east\nIn the darkened chambers at the back of the Wolf's mind are his fears and insecurities, his vulnerabilities, his self-loathing and his doubts.\n\nObvious exits are EAST and SOUTHWEST.\n\nYou can see an unresolved trauma here.\n\n> You examine the trauma\nThe content of the trauma isn't something we have time to investigate. Just remove it so you can get out of here.\n\n> You go east\nThis room is a little better-lit than the others.\n\nObvious exits are SOUTH and WEST.\n\nThere is a Wolf in a dress here.\n\n> You examine Wolf\nThe dress is blue with white polka dots and a white collar. It's the kind of thing a she-wolf would wear on the first day of third grade.\n\nThe Wolf's feminine side bats an eyelash at you. You smile politely.\n\n> Go south\nSet into the wall of this chamber are four levers.\n\nObvious exits are NORTH and SOUTHWEST.\n\n> You examine the levers\nYou see a green lever, a red lever, a purple lever, and a blue lever.\n\n> You examine the green\nIt's just a lever, sticking out of the wall.\n\n> You ask Wolf about levers\n\"Where'd you get that dress?\" you ask.\n\n\"I sewed it myself,\" the Wolf's feminine side admits\u2014and then gushes: \"It has pockets!\"\n\nYou nod approvingly as the Wolf's feminine side demonstrates that the dress has pockets.\n\n> You ask Wolf about the mirror\n\"I like your lipstick,\" you say, not that your taste in lipstick is especially discerning.\n\n\"The better to smooch you with, my dear,\" says the Wolf's feminine side. A lump forms in your throat.\n\n> Go west\nIn the darkened chambers at the back of the Wolf's mind are his fears and insecurities, his vulnerabilities, his self-loathing and his doubts.\n\nObvious exits are EAST and SOUTHWEST.\n\nYou can see an unresolved trauma here.\n\n> You take the trauma\nYou pull on the unresolved trauma, but it won't budge. When you look a little closer, you see it's connected to the Wolf's mind by some sort of psychic tendon.\n\n> You cut tendon\nYou position the blades of your giant pair of scissors on either side of the psychic tendon, and then you snip, and the unresolved\ntrauma comes loose.\n\n> You check your inventory\nYou are carrying:\na giant pair of scissors\n\n> You take the trauma\nYou reach around the unresolved trauma. It is too large for someone of your size to hold easily, but you should be able to roll it away...\n\nYou hear something snorting behind you.\n\nYou turn around.\n\nA huge, hairy creature looms over you. His snout is full of pointy yellow teeth. Is this the Wolf?\n\n\"Nope,\" says the monster. He snorts again, and leans down, way down, to meet your gaze.\n\n\"I'm the Wolf's dad.\"\n\nYou wake up in a cold sweat.\n\n\"\n\n\"I came up with most of it in the shower,\" says Colin.\n\nThe room full of authors rumbles in a general affirmation.\n\n\"But why the word 'kids?'\" asks another author. \"There seems to be only one kid in the story.\"\n\nI elbow you and roll my eyes at the insipid question, but Colin answers in good faith: \"Well, the title that came to me in the shower was 'Don't Dive Into Blood, Kids.' And I guess I didn't bother to change it.\"\n\n\"Don't overanalyze it!\" someone calls out from the back, and the moderator is forced to hush everyone before things get too heated.\n\nNow it is time for the next author to step forward\u2014but, as I look around the room, I see that all of tonight's authors have already presented their stories! How time flies, when you're out of your mind with terror and suspense.\n\n\"So,\" I say, \"which story was your favorite?\"\n\nBehind me, you can see the other authors leaning in, eager to hear your answer.\n\n> You look at the authors\nJust as you're about to speak, a black wind rushes through the library\u2014the fire is extinguished\u2014and Castle Balderstone is plunged into darkness!"
    },
    {
        "text": "[Themes: Fantasy, gender choice, zorkian, magic, Zork, old school, fantasy, spells, adventure]\n\nscenes. It is highly recommended if you are new to interactive fiction, as it will teach you many of the commands you should use to progress the story. Would you like to view the tutorial as you\nplay?\nPlease type either yes or no.\n\n[Author's Note: Not a single spell! After two full years of study! Every Enchanter\u0097every mortal with the power to change very nature of the universe with their words\u0097has a spell book! Filled with words of power collected over years, decades, generations... and yours is blank after two entire years of study. It is shameful! And now something is wrong. You have seen the Enchanters and Sorcerers discussing it in hushed tones. Magic is failing. And there are rumors that GUE Tech will be closed. That would end your dreams of magic forever. There is only one solution, although it is looking less feasible by the minute. Take your spell book, break into the library, and steal some magic from the Guild of Enchanters. This is a puzzle-heavy game in the Zork/Enchanter universe, meant as an \"unofficial sequel\" clearing up some of the mysteries of Spellbreaker.]\n\n> No\nThe tutorial is now off, though you may turn it on at any time by typing TUTORIAL ON. Please note, you will continue to receive occasional help messages about commands specific to this game.\n\nThe hour is late, and you lie awake.\n\nPerhaps if you were fully grown, Father would have invited you to join the men in the library for cigars and port. And then colloquies (and colloquies and colloquies) on the means to greater wealth, followed by a rousing game of Tiddledy-Winks. Traces of laughter meander through your bedroom walls, and you bury your ears in your pillow. You can only be thankful you have more growing to do. *\n\n> About yourself\nonly be thankful you have more growing to do. *What's this? A\ntiny woman no larger than your hand alights on your chest. \"Young sir. Young sir, you must wake up,\" she says, hushed but hurried.\n\n\"Go away,\" you say, rolling onto your side. *\n\"Go away,\" you say, rolling onto your side. *But the woman is undeterred. Holding her parasol over her head, she is lifted into the air and over your ear. \"Young sir, I insist you wake up at once. There is a matter most urgent!\" A bold woman, she risks a raised voice.\n*\n*The Terrible Doubt of Appearances\n\nThe following is an introduction to a larger work in progress.\nCertain accessible paths touch upon mature themes that may not be suitable for young readers. For ideal viewing, the author recommends keeping the window to the approximate dimensions of a paperback novel. Thank you, and enjoy!\n\n\n\nYou are in your bedroom, a sacred place filled with your many treasures. You climb out of bed and into the moonlight, glowering at the tiny woman. Who (or what) is she to visit so informally\nat such an hour? An unsavory sort, no doubt.\n\n\"Good evening,\" she says. \"I am Athena, your guide.\" You are still much too tired to follow along with the rest of her introduction; something about humanity and granting wishes. \"Quickly now, look under the bed,\" she concludes at long last, shooing you back toward your bed with a lacy glove.\n\nOh well. A simple task, if it means she will leave you in peace.\n\n> You check what you're carrying\nYou are wearing your pajamas.\n\n> You examine the pajamas\nYour favorite pajamas, imported from British India. You prefer their modernity and comfort to your nightshirts.\n\nAthena watches as you inspect your pajamas. \"You seem distracted,\" she says. \"Would you like a hint? I would be happy to provide one for you.\"\n\n> About yourself\nYou linger by your reflection in the mirror. No longer a boy, not yet a man. And despite this awkward phase of life, you are still as good looking as ever, a sign of your exceptional breeding.\n\n> You look under the bed\nSearching among the dust bunnies, you find the edges of a loose floorboard. A loose floorboard! How long have you been ignorant of such a glorious cranny? Perhaps one or two of your more controversial treasures could be hidden beneath.\n\n\"Quite the discovery,\" says Athena. \"This calls for further examination.\"\n\n> You ask ATHENA about herself\nMother says every conversation should leave the other captivated by your charm, impressed by your wit, and envious of your good looks. And how you practiced your charm, with the hope it would one day be as effortless as the other two.\n\nYou conceal your scowl with a warm smile. Mother would be proud. \"You are so very unique,\" you say. A careful compliment. \"I'd like to know you better.\"\n\nAthena looks away. \"Your interest is flattering, young sir, but I don't care to discuss myself with you.\"\n\nA dubious reply. You could flatter her, if you think it would help sweeten her mood. Or you could ask what sort of creature she is, say you have concerns about her existence, ask what she wants from you, or request that she leaves. Though you might let her be.\n\n(When in conversation with someone, you can type ASK or SAY to\ndiscuss various objects, people, places, or subjects, such as ASK ATHENA ABOUT HERSELF. Some of the conversation options relevant to the story are suggested to you, which can be also be reviewed by typing TOPICS. You should try to type the suggestion exactly as mentioned, and note that not every suggestion will begin with the words ASK or SAY.)\n\n> You take the floorboard\nYou pull, you twist, you heave with all your might. A success! You cast the floorboard aside. The newly revealed cranny exudes a strange glow.\n\n> You examine the glow\nYou find a pocket watch. It appears to be made of brass, with an open face in the modern style. Strangely, it has a single watch hand, which points to the number one. Even more strangely, it glows of its own accord.\n\n> Examine watch\nA glowing pocket watch.\n\n> You take the watch\nYou tentatively reach under the bed again, and you no sooner touch the pocket watch than find the glow spreading up your arm to surround you; an appropriate moment to panic. Fortunately, the glow either fades on its own, or your immediate rubbing, shaking, rolling, kicking, and blaspheming were a surprisingly effective remedy. *\n\n> Footnote\nblaspheming were a surprisingly effective remedy. *And then a\nterrible ripping sound as the nearest floorboards begin to fall. A black hole tears into the floor beneath your feet. You leap onto the bed and cling to a post, watching helplessly as your treasures disappear into the widening darkness.\n\nThe bed stirs. It pitches to one side. Then another. Oh dear.\n*\nYou had a nightmare of falling once. From where, you couldn't remember, and to where, you didn't know. Down down down you fell, faster and faster. So fast, you couldn't breathe. Then just before you struck the ground, you woke gasping for breath. A strange thing to happen, you had thought, that your mind could conjure such terrible illusions and you believed them, never in doubt.\n\nLater that day, you learned of Uncle Earl's passing. The doctors\nsaid he stopped breathing in his sleep. Mother blamed the doctors of course, saying no man with so robust an appearance should die without any forewarning. Yet you also remembered him a gloomy sort of curmudgeon with a dislike for anything that moved. You couldn't help but think he was happy to depart when he did.\n\nAn experiment came to mind. If it was possible to convince\nyourself to die, maybe you could convince yourself into becoming someone you're not. *\nYou fall. The bedroom is gone, a shrinking patch of light swallowed by the nothingness. You dive under the covers, making swift promises to God you'll take no more lemon squares from the pantry if only you'll live.\n\nAnd then the hard ground, but not as hard as expected (being alive, you're fairly certain). You emerge from the covers amidst a dissipating cloud of dust. Athena descends and hovers by your shoulder. *\nChapter II\nOf the uncertainty after all\n\nYou find yourself in a clearing surrounded by trees\u2014but no! What you mistook for trees are wooden planks, just as tall and jutting from the gray earth at steep angles. A rocky hill rises beyond the clearing.\n\n\"What luck! You appear to be intact,\" says Athena, looking you over. \"Traveling by fall has been known to cause a complication or two when the aiming is poor... Oh! There we are.\" She directs your attention to where the planks are most dense and a narrow gap invites exploration. \"The path should take us safely through the planks to our destination.\"\n\n\"And which way is home?\" you ask, squinting into the sky. The moon is brighter here. \"I don't see myself going back the way I came.\"\n\nAthena smooths her gown and gestures once again. \"You must follow the path now, young sir. I will be close behind.\" Another realization, this one much darker. She is not your guide. She is your warden.\n\n(You can type MAP to see a list of directions available for\ntravel. Also, unless otherwise noted, you may assume Athena is nearby. She will no longer be mentioned when looking.)\n\n> You examine the bed\nYou had hoped for paisley covers, but Mother sent for garish stripes in crimson and gold."
    },
    {
        "text": "> Look around\nA dearth of planks form a small clearing, which your bed graces with its presence. You could do as Athena asks and follow the path, climb the rocky hill, or escape the forest.\n\n> Escape\nOh, how you hate this place. You feel you must depart at once. But which way? Finding no clear path of escape, you walk directly through the planks, around and around and around, skirting one after the other. It is a welcome relief when the planks begin to thin.\n\nAthena initially expresses her displeasure at going the wrong way, but quickly falls silent. She must have realized your ability to receive a scolding and not hear one word of it. Thank you, Mother.\n\nAfter a lengthy trek, you approach the forest's edge. A sweet sight, but one that inevitably sours. A mass of some sort blocks the way out of the forest.\n\n> You examine mass\nA bizarre pile of colorful things. Dresses and gowns in bold fabrics over wooden torsos. Lace and beads and flowers and dead birds and glittering jewels. Feet in exquisite heels. And all of such a height and breadth; you are surprised you couldn't see it from the clearing. The pile creaks and rustles.\n\n> Climb pile\nOnly when close enough does the mass acknowledge your presence. A dozen arms of various compositions erupt from within and swipe at you.\n\nBy the time Athena coaxes you out from behind a distant plank, the arms have receded back into the pile.\n\n> You return\nYou return to the clearing and your bed. You could follow the path, climb the rocky hill, or revisit the forest's edge.\n\n> You climb the hill\nYou leave the clearing along the rising ground. It is a tiresome walk. Uphill, no less. The rocks are large and abundant, and you\neven have to put your hands on their dusty surfaces several times to lift yourself over them.\n\nCresting the hilltop, you stop short. An odd white ball blocks the way down the far side of the hill.\n\n> You examine the ball\nHow peculiar. It stands nearly double your height and reflects the moonlight off its polished surface."
    },
    {
        "text": "[Themes: Fantasy, zorkian, fantasy]\n\n> You look around\nYou take in the view from the hilltop. The forest is immense, though you can see where the planks end and the gray horizon begins. Far below, the path cuts a jagged line from the clearing to an ominous black shape.\n\nMore instruction. Athena insists you should return to the clearing and avoid the odd white ball that blocks the way down the far side of the hill.\n\n> You touch ball\nIt feels like fine china.\n\n> You take the ball\nThe ball is much too heavy to lift, even if you could get your arms around it."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Go down\nYou look one way, and then the other. Two routes down. Do you want to return to the clearing or descend the far side of the hill?\n\n> You descend the far side of the the hill\nPicking your way down the hill, you reach the bottom. But between the fence-like planks and the impassable ditch, you realize with great annoyance that all of your efforts have brought you to a dead end.\n\nYou happen to glance down, and in doing so you notice a pocket watch hanging from a chain around your neck. Quite a shock, considering you didn't put it there yourself. You turn it around in your hands. It appears to be the same one from beneath your bed. The single watch hand points to the number one.\n\n> You change the clock to 2\n(Your command was not recognized. You can type COMMANDS for a list\nof basic commands.)\n\n> You climb the hill\nYou sigh and turn back the way you came, tripping over a small mound of dust. Not your most graceful moment. Though the mound was a little too hard, to be only dust.\n\n> You look at the mound\nThe ground bulges ever so slightly. You imagine there could be something buried.\n\n> You dig the mound\nUgh, why must the ground always be so dirty? This dust is no exception. You search for a small plank to dig with, but find nothing suitable. You look at your hands. Desperate times, desperate measures.\n\nResigning yourself to filthy hands, you sweep away the dust. Gold! No, merely golden in color. You dig and dig, wincing with every clump of dust that impinges on the delicate space beneath your fingernails. Gradually, a giftbox emerges, wrapped in golden paper and tied with a red ribbon. Not something one usually finds buried. Perhaps there is a treasure inside.\n\n> Unwrap box\nThe urge is simply too strong. And when the deed is done, you are wielding a pirate's cutlass. Your finest treasure yet! Yes, yours. Someone was clearly wanting to be rid of it. You think about how grand it will look above your fireplace. If you ever get home, that is.\n\nYou carefully slide the cutlass into the accompanying leather scabbard, which you belt about your waist.\n\n> You look at the cutlass\nYou unsheathe the pirate's cutlass, successfully not hurting yourself in the process.\n\nShiver me timbers! An edged weapon, perfect for cutting things. Or pillaging, if the circumstances are right.\n\n> Climb hilll\nYou do not see any such thing. Perhaps you meant something else.\n\n> You climb the hill\nAs you climb, you become aware of an anxious clinking sound, like someone is rattling a jar of pennies, coming from the ditch. You wait. And watch.\n\nTwo wooden hands emerge, clawing at the edge of the ditch, followed by another two hands. Followed by two more and then two more. A creature pokes its head out\u2014the same head you rolled down the hill! Except a significant portion of the top is missing and the nose has broken off. It sees you, and smiles. Uh-oh. *\nIt sees you, and smiles. Uh-oh. *Athena shrieks and ducks\nbehind you, as you shriek and attempt to hide behind her. Then a moment of spinning in circles and general silliness.\n\n\"It has amalgamated!\" cries Athena. \"Quickly, cut the amalgam to dispatch it at once!\"\n\nThe creature ascends the hill with incredible speed, snapping planks and dislodging rocks. Rocks that must weigh, well, a great deal more than you.\n\n> You cut the amalgam with cutlass\nYou wait for the amalgam to near, trying desperately to control your shaking limbs. As it closes in, you shut your eyes, cover your face, and wave your sword around. Father would not be pleased.\n\nRegardless, you strike! And feel as if you smashed through one of the family vases (not that you would know anything about such an event, of course). When you peek from beneath your arm, you see the amalgam shattered into bits of china. Its appendages detach and scatter like roaches under a lifted rock, disappearing behind the planks.\n\nAthena is elated, and talks briefly about the feats of swordsmanship you could accomplish with your eyes open.\n\n> Go upward\nThe planks are much too sheer to climb. Even if they weren't, you don't suspect you would climb far.\n\n> You follow the path\nThe planks are too dense directly between here and there. You might return to the clearing first.\n\n> You follow the the path\nThe way forward is not quite the Sunday stroll. The earth rises and falls frequently, and several stray plank saplings threaten to stub your toes. The path continues deeper into the forest.\n\n> You follow the the path\nWithout warning, a human-like arm bursts from the ground! Another one of those creatures. It looks to be made of rubber, bending in directions arms don't usually bend. Its hand snatches at the air.\n\nAthena puts herself between you and the arm. \"Don't get too close, if you value your life! Make quick use of the cutlass you acquired, then we can continue.\"\n\n> You cut the arm\nYou take a couple of hesitant steps toward the nefarious arm, cutlass extended. Then a couple more. Another half step. Maybe it won't notice you.\n\nAnd then the arm grabs you about the waist! You scream. And whack it with all your might. And whack and whack and whack and whack and whack and\u2014\n\n\"It is defeated!\" shouts Athena over your whacking. The arm lies flaccid on the ground.\n\nAn idea. You want to be cautious, but more importantly, you\nwant to be honest with yourself\u2014what a fine treasure the arm would make. You pick it up.\n\n> You check what you're carrying\nYou are wearing your pajamas, a leather scabbard, and a pocket watch, and you are carrying a rubber arm and a pirate's cutlass."
    },
    {
        "text": "> Describe the surroundings\nYou are making your way through the planks. You could continue on the path or return to the clearing.\n\n> You continue on the the path\nAnother walk along the path, and another appendage protruding from the ground. This time a limb, composed of sanded wood and complete with a slippered foot.\n\n\"Not again,\" you grumble, yet you are glad for an appendage less fearsome. In fact, you find its slipper rather lovely.\n\n\"We should remove this one as well, while keeping a safe distance,\" says Athena. You nod in agreement. The wooden limb impedes the way forward, flailing wildly.\n\n> You cut the leg\nYou swing at the wooden limb, but your blade merely nicks the surface. It seems a different approach will be required.\n\n> You hit the leg with the arm\nThe rubber arm! What a marvelous invention. Its fingers wrap tightly around the limb's wooden ankle. This ought to hold it in place, you think.\n\nBut no, the limb contends! It pulls to the left! You tighten your grip on the rubber arm. It reverses to the right! You follow suit. It attempts a retreat! You dig in your heels.\n\nPOP!\n\nIt separates at a previously invisible joint, and you are left holding the limp, bare limb. How utterly scandalous. You think you may well have a complete person before the night is done.\n\n> You continue on the the path\nYou continue onwards, and the path becomes littered with fallen planks. You find yourself scurrying over and under them more often than walking. Not at all the way you are used to traveling. And just before you can bear the journey no longer, you come to stand before a giant peacock plume sprouting from a magnificent black hat the size of a house. It is resting on its side, the top of which faces you.\n\n\"We're here,\" says Athena.\n\nA lilting tenor echoes off the surrounding planks. \"Oh! Athena dearest? My sweet sweet sweet savior. Is that you?\"\n\n\"Yes, Mr Mighty, and I have brought the boy,\" she replies.\n\n\"Splendid! Up up up! Let me have a look-see!\"\n\nAthena motions in the direction of the hat. Up up up, it seems.\n\n> You go upwards\nUp up up isn't as straightforward as the voice claims it to be. Perhaps there is a way up his hat.\n\n> Climb hat\nThe hat is tall and steep. You spot a golden hatpin affixed to the lower part of the crown, which might make for a serviceable platform. If only you could reach it.\n\n> You grab the hatpin with the arm\nOnce again, the rubber arm! Ever the useful tool, it grabs hold of the hatpin. You should like to harvest them and sell them in town. People would come from miles around for one of your extraordinary rubber arms. And Father would be so pleased by your entrepreneurial ambitions.\n\nYou clamber up the arm, the hatpin, the collection of giant roses (somehow, sneezing), and the now inward-sloping crown of the hat. One final hop over the front brim, and\u2014 *\nWhen you were younger, Father would often share his wisdom with\nyou as bedtime stories. In one of these stories, he told of a fisherman who worked for an entire day, only to catch one tiny fish. The fish flipped and flopped and begged to be released. \"Good sir, kind sir, benevolent sir, do you see how tiny I am? Do not take me away and sell me, for I am hardly worth anything at all. However, if you toss me back into the sea, I shall grow into a mighty fish, bigger than you've ever seen! Then you can catch me again and earn a great fortune!\" But the fisherman shook his head and replied \"What a fool I would be, if I forego a certain gain for an uncertain profit.\"\n\nIt was an odd lesson from Father, who always praised his more speculative investments. Then one unfortunate day many years later, you overslept and missed a crucial exam. As you tried (unsuccessfully) to convince the teacher your future assiduousness should warrant a second chance, you realized the true moral of the story\u2014that you should never end up the tiny fish. *"
    },
    {
        "text": "> Look around\nyou stand on the forehead of a wooden countenance, meticulously painted with a delightful expression. The eyes are a starry cobalt, the nose long and proud, the lips nestled below a grand imperial. The rest of the supine figure extends far into the distance, wearing an elegant velvet coat.\n\n\"Come come come,\" the lips speak. \"Sit on my nose, so I may see you.\"\n\n> You wait\nAthena comes to rest on your shoulder. \"I thought this one would please you the most,\" she says to the Dandy.\n\n\"So I see,\" he replies. You notice his hesitancy.\n\nYou could introduce yourself or continue to remain silent.\n\n> You remain silent\nWhen you offer no introduction, the Dandy continues. \"Athena dearest, didn't you say you chose the one who would most please me?\"\nAthena clears her throat in your ear suggestively.\n\nYou could introduce yourself or continue to remain silent.\n\n> You introduce myself\nIntroductions are a necessary formality. Especially necessary, you assume, when seated on the other's nose.\n\n\"Good evening, Mr Mighty,\" you say. \"My name is Henry, and I apologize for my silence. Your largeness was... overwhelming at first. It is an honor to make your acquaintance.\"\n\nThe Mighty Dandy is delighted. \"Ho ho ho! And I you, Henry. And I you.\"\n\nAn opportunity for a question or two. You could ask Mr Mighty about himself, ask what he wants, or remain silent.\n\n> You ask about himself\n\"Mr Mighty,\" you say, \"I take it you are a well-known and respected figure.\" Obvious flattery, but Athena did say to be generous with it.\n\n\"Yes yes yes, I should hope so,\" says the Dandy, chuckling.\n\"I was elected to the Mighty Twelve after all.\"\n\nAh, a servant of the people. You should have guessed, having met several Congressmen at Father's parties. The similarities are numerous. You could ask what the Mighty Twelve is, ask what he wants, or remain silent.\n\n> You ask what the mighty twelve is\n\"I'm sure you represent the people well,\" you say. More flattery. \"Is the Mighty Twelve your governing body?\"\n\n\"Oh, yes! New Pardon is unique compared to many other cities. Twelve wards, each with its own laws, represented by...\" Instantly reminded of your history teacher, you drift away from the conversation.\n\nAthena clears her throat, and the Dandy laughs. \"Ho ho ho! My poor boy, you nearly had me recounting the entire history of my\ngreat city. Alas, Athena is right. There is much to be done, and you must use your power to help me.\" He pauses, concern spreading across his face. \"...you do have a votum, yes?\"\n\nYou aren't sure what he is talking about. You have a votum? You could respond truthfully or respond dishonestly. Or, you could ask what he wants, ask what a votum is, or remain silent.\n\n> You ask what a the votum is\n\"A votum? I don't understand,\" you say.\n\n\"Athena!\" gasps the Dandy. \"Have you really not told him?\"\n\nA guilty pause. \"He never asked.\"\n\nThe Dandy rolls his eyes, then crosses them once again. You might have laughed were the situation not so distressing, and your body not so precariously perched. \"Humans like yourself can collect vota to acquire unique powers, or use them to grant the wishes of others. They can appear as almost anything, but always with an unusual glow. Even the most fleeting contact will bring one into your possession, usually into a sort of container called an artifact.\" You look down at the pocket watch, or you should say, your artifact. It must have contained a votum this entire time!\n\nHe continues. \"Now that you know, you can tell me whether you have found one on your journey.\"\n\nWith the realization you do, in fact, have this seemingly important votum, you could respond truthfully or respond dishonestly. Or, you could ask what he wants or remain silent.\n\n> You ask what he wants\nNo, you won't respond yet. There are still things you wish to know. \"I offer an exchange of information,\" you say, trying your best to sound like Father. \"You answer my questions, and I'll answer yours.\"\n\nYou didn't think the Dandy's smile could grow so wide. It does. \"Be still, my heart! Such shrewdness from one so young. I accept this most enticing proposal. Ask then. But remember, I will have my\nanswers, one way or another.\"\n\nYou nod. \"Please, tell me why have you summoned me here. How could I possibly be of use to someone as mighty as yourself?\"\n\nThe Dandy frowns. \"Yes. Well... there's no sense in hiding it, though you may have already guessed I am suffering from a minor embarrassment. You see, the dolls have\u2014how does one say in polite company? They have not been themselves lately. I'm afraid\nthey have gummed up my inner workings. Gummed them up, I say! Would you be ever so kind, so handsome, so magnanimous, and repair my broken parts?\" His expressions dance from shame to anger to supplication.\n*\n*\"Surely you know someone more qualified than I,\" you reply.\n\n\"More qualified?\" The Dandy is taken aback. \"You are a human.\nYou have the power to grant wishes.\" His mustache twitches\nback and forth. \"And now I ask you again\u2014do you possess a votum?\"\n\nDeciding whether you should reveal your votum, you could respond truthfully or respond dishonestly. Or, you could remain silent."
    },
    {
        "text": "[Themes: Fantasy, gender choice, spells, zorkian]\n\nNot a single spell! After two full years of study!\n\nEvery Enchanter\u2014every mortal with the power to change the\nworld\u2014the\nvery fabric of reality\u2014the very nature of the universe with\ntheir words\u2014has a spell book! Filled with words of power collected over years, decades, generations...\n\nAnd yours is blank after two entire years of study. It is shameful! The first marks must be made.\n\n> Inventory\nThe first marks must be made.You pick up the quill. The frontispiece of the book has a space for your name. You may as well fill that out now.\n\nWhat do you want to write?\n\n> Wizard mcsmartypants\nYou sign your name with a flourish. Wizard's Spell Book.\n\nThe ink shines on the page. You straighten up and look at your reflection in the mirror across from your desk.\n\nAre you a man or a woman?\n\n> Woman\nThat mirror is said to have a scrying spell on it, but you have never seen it work. You turn back to your book.\n\nThe ink on the frontispiece is dry. You turn to the first page. You have practiced casting spells in your classes over and over until your pronunciation is perfect. Frotz. Gloth. Gnusto. Rezrov.\n\nFrotz should be the first page. The simplest spell, causing an object to glow with light. A warmup spell cast in preparation for a journey. Any Enchanter could cast it in their sleep if light were conducive to slumber.\n\n> You write the Frotz\nslumber.You write the name across the top of the page. Not bad. Flawless calligraphy, if you do say so yourself.\n\nYou turn another page. Gloth should be page two, the second spell you ever cast.\n\nGnusto...rezrov...you write out the titles in flowing script at the tops of the pages.\n\nBut this is not enough. The name of the spell is not enough to cast it\u2014you need the Presence from the scroll. And until you have\nyour own copy of the gnusto spell, there is no way to transfer it into the spell book. It is used up when cast. Gone.\nthe spell book. It is used up when cast. Gone.Which is why it has come to this.\n\nSomething is wrong. You have seen the Enchanters and Sorcerers discussing it in hushed tones.\n\nMagic is failing.\n\nAnd there are rumors that GUE Tech will be closed. That would end your dreams of magic forever.\ndreams of magic forever.There is only one solution, although it is looking less feasible by the minute.\n\nTake your newly-prepared spell book, break into the library, and steal some magic from the Guild of Enchanters."
    },
    {
        "text": "> Look around\n[First-time players should type ABOUT.]\n\nIt was surprisingly easy to get in here\u2014you saw nobody on your way over, and the outer doors recognized your student ring. The hardest part was not talking yourself out of it. So many things could go wrong. What if there is an alarm? What if someone is still in the Library? What if someone comes in and finds you?\n\nNo. You have come this far. Only the inner door to the library is keeping you away from the magic you seek. You aren't going to turn back now.\n\n> You look at door\nThe door to the library itself is closed and barred, with thick metal chains across it. There doesn't even seem to be a keyhole. Clearly the Guild is taking no chances with security.\n\n> Rezrov door\nAs you cast the spell, the badly-written scroll vanishes.\n\nYou stutter slightly in the pronunciation\u2014this is the most\ncomplicated\nspell you have yet cast! But the scroll was consumed, so the\nPresence has had its effect. There is a slight shudder, and you\ncan see the chains on the door loosen infinitessimally.\n\nSuddenly, the bar flies back with a loud THUMP and the lock clicks open. The door swings wide with an enormous CLANG.\n\nWell, so much for stealth. But you can't panic yet. Not yet. The\nGuild might assume it was a false alarm. Just get in, get the spells, get out.\n\n> You check what you're carrying\nYou are carrying:\nyour spell book\nthe Frobozz Colored Parchment Pack\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\n> Examine Pack\nThis was the largest package of blank parchment you could buy without looking suspicious. The label on the shiny foil wrapping says it contains four sheets of quality magic-imbued vellum in various colors.\n\n> You look at the pen\nYou borrowed this from one of your professors, allegedly to practice copying your \"gloth\" scroll. It's large and deep blue, with a tiny enchanted diamond set in the tip.\n\n> You look at the compass\nIt's a large gold compass about the size of a pocketwatch, with a spell on the needle to make it always stay level. Most mages carry compasses because of how easy it is to get disoriented in magic-rich areas.\n\n> You look at the ring\nA thin band of some silvery metal, with a flat copper disk in place of a stone. It's keyed to the enchanted doors on campus. It would also allow you to check out books here if the library were open.\n\n> You examine the door\nThe door hangs open, the bar raised and the chains shattered.\n\n> Go north\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\n> You look at the scroll\nAccording to the plaque in the display case, this is one of the three original scrolls made of the \"gnusto\" spell. The words are surrounded by elaborate decorations picked out in lapis dye and gold leaf.\n\n> Gnusto scroll\nYou pause for a moment\u2014this is a valuable artifact, after all.\nShould\nyou really burn it up for your own personal gain?\n\n> Gnusto scroll\nThe glass case shouldn't pose a problem for the gnusto spell,\nbut you aren't very confident with this spell yet. It would be a lot easier to cast at a scroll in your hand for now.\n\n> Examine Pack\nThis was the largest package of blank parchment you could buy without looking suspicious. The label on the shiny foil wrapping says it contains four sheets of quality magic-imbued vellum in various colors.\n\n[You might find the command OPEN THE PACK useful here.]\n\n> You open Pack\nYou tear open the foil pack, revealing four blotchy scraps of dull parchment.\n\n> You look at the parchment\nWhich do you mean, the 1) yellowish parchment, the 2) greenish parchment, the 3) bluish parchment, or the 4) reddish parchment?\n\n> 1\n(the yellowish parchment)\nThe scroll has nothing written on it.\n\n> Gnusto scroll\nWhich do you mean, the 1) illuminated scroll, the 2) yellowish parchment, the 3) greenish parchment, the 4) bluish parchment, or the 5) reddish parchment?\n\n> 1\n(the yellowish parchment)\nYou do not know that spell.\n\n> Gnusto illuminated scroll\nThe glass case shouldn't pose a problem for the gnusto spell,\nbut you aren't very confident with this spell yet. It would be a lot easier to cast at a scroll in your hand for now.\n\n> You look at the floor\nThe mosaic in the library antechamber is unlike any other you've ever seen. The tiles range in size from almost a meter across to finer than grains of sand, and seem to pull in and intensify the moonlight. Though the stones around your feet remain in one place, the rest of the floor is constantly shifting and swirling to create new messages or patterns.\n\nThe pattern of the mosaic changes: \"Welcome, Wizard McSmartypants!\n\"\n\nThe mosaic shifts again: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> Go north\nIt is pitch black. You are likely to be eaten by a grue.\n\n> Go south\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"The Spell Research Area is to the north.\n\"\n\n> You go to the north-east\nDust, cobwebs, and not much else. Markings on the floor show that this room once contained some large boxes or trunks, but right now it is empty.\n\n> You examine the dust\nSeveral large squares and a smaller circle are dust-free. Large objects of some sort must have been stored here until fairly recently.\n\n> Exits\nThe only way to go is southwest.\n\n> You go southwest\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You go to the east\nAs your eyes adjust, you see that you are in a simple panelled room, dominated by an orange metal box leaning against one wall. The words FROBOZZ MAGIC SCROLL DISPENSER are stencilled across one side in white, and the other is covered with a large sign explaining the proper usage.\n\nA calendar on one wall is acting as a strange source of illumination.\n\n> Examine calendar\nAccording to the front page, this is an official Frobozz Magic Flathead Royal Family Calendar. There appear to be 12 pages left on it.\n\n> You get Calendar\nYou tear a page off the calendar, and it disintegrates in your hand. (Shame\u2014it would have made a useful light source.)\nThe next page reads \"Estuary: Lord Dimwit Flathead the Excessive. Dimwit's nickname was given to him after his coronation ceremony, which took thirteen years to plan and lasted for eighteen months.\"\n\n> You examine sign\n== FROBOZZ MAGIC ==\n= SPELL DISPENSER =\n\nOperating Instructions:\nPress a button to dispense a spell scroll. The Frobozz Magic Spell Dispenser Company, a subsidary of FrobozzCo International, is not responsible for any injuries resulting...(blah, blah, blah)\n\n> 1\n(the yellow button)\nThe Dispenser whirrs, then a beautifully printed square of parchment flies out of the slot at the bottom. You manage to catch it before it touches the ground.\n\nThe yellow button makes a slight clicking sound as you release it.\n\n> You check your inventory\nYou are carrying:\nthe newly-printed scroll\na yellowish parchment (blank)\na greenish parchment\na bluish parchment\na reddish parchment\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\n> You examine newly-printed\nThe parchment is smooth, the lettering dark and mechanically perfect: \"FROTZ: cause something to give off light\".\n\n> 2\nThe Dispenser beeps. \"Only one scroll may be printed at a time. Correcting...\" The old scroll crumbles to ashes.\nThe Dispenser whirrs, then a beautifully printed square of parchment flies out of the slot at the bottom. You manage to catch it before it touches the ground.\n\nThe blue button makes a slight clicking sound as you release it.\n\n> You examine the scroll\nWhich do you mean, the 1) Frobozz Magic Scroll Dispenser, the 2) newly-printed scroll, the 3) yellowish parchment, the 4) greenish parchment, the 5) bluish parchment, or the 6) reddish parchment?\n\n> 2\nThe parchment is smooth, the lettering dark and mechanically perfect: \"BLORB: safely protect a small object as though in a strongbox\".\n\n> You blorb yourself\nAs you cast the spell, the newly-printed scroll vanishes.\n\nYou experience the most peculiar sensation of being simultaneously shrunken and sucked into what might best be likened to a black hole. The effect is not without its exhilarating aspect; as a way of life, however, it leaves much to be desired.\n\n> You read the yellow button\n~FROTZ~\n\n> You read the button\nWhich do you mean, the 1) yellow button, the 2) blue button, the 3) green button, or the 4) red button?\n\n> All\nSorry, you can only have one item here. Which exactly?\n\n> Green\n~NITFOL~\n\n> You read the red\n(the reddish parchment)\nThe scroll has nothing written on it.\n\n> You read the red button\n~LESOCH~\n\n> 2\nThe parchment is smooth, the lettering dark and mechanically perfect: \"LESOCH: cause a gust of wind\".\n\n> You read the lesoch\n(the newly-printed scroll)\nThe parchment is smooth, the lettering dark and mechanically perfect: \"LESOCH: cause a gust of wind\".\n\n> Lesoch\nAs you cast the spell, the newly-printed scroll vanishes.\n\nSlowly, teasingly, a small puff of wind begins to blow. It quickly builds to gale force, then hurricane force, and just as you feel you are about to be swept away, it subsides.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe newly-printed scroll\na yellowish parchment (blank)\na greenish parchment\na bluish parchment\na reddish parchment (blank)\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\n> Frotz pen\nAs you cast the spell, the newly-printed scroll vanishes.\n\nThere is an almost blinding flash of light as the quill pen begins to glow! It slowly fades to a less painful level, but the quill pen is now quite usable as a light source.\n\nYou suddenly hear a loud CLICK from behind you. A magically recorded voice sounds from the Antechamber:\n\n\"Hello, footpad! Your after-hours spellcasting within the Library has activated one of the triggers of a Frobozz Magic Alarm Company security system. Please be aware that unless you say the correct passphrase within the next five minutes, the preset alarms will be activated. In the meantime, additional traps and triggers have been activated for your safety. Have a nice day!\"\n\n...okay, this is getting worse. But you won't panic. You won't panic. You still have five minutes before the alarms activate.\n\n> You go to the west\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"To the east is the Basic Spells Collection.\n\"\n\n> Go southeast\n(first trying to open the wooden door)\nIt seems to be locked.\n\nThe mosaic shifts again: \"Returns are processed to the southwest.\n\"\n\n> You go south\nA spell book can be reasonably well concealed, but it would be hard to explain how you came by the newly-printed scroll.\n\nThe tiles in the mosaic create a new message: \"Scrying crystals are available to the northwest.\n\"\n\n> You go northeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"The Main Stacks are to the west.\n\"\n\n> Go west\nThis is the main area of the library, extending seemingly infinitely to the east and west. The tallest shelves are over twice your height, and some residual light spells bathe everything in a dim yellow glow. It would take a lifetime to read every book.\n\nA book catches your eye: A Brief History of Magic by Gustar\nWoomax.\n\nSitting on a wooden podium near one wall is one volume of the Encyclopedia Frobozzica.\n\n> You read History\n...But, in spite of the rigors of spell casting, the personal rewards are great, and the job of Enchanter remains a popular and well-respected vocation...\n\n> You keep going\n...The problem of imbuing Presence became a deterrent to the rapid growth of magical science. The creation of a single powerful scroll could take literally months for even most creative and productive thaumaturge...\n\n> You continue\n...Bizboz himself wrote what became the seminal work in Thaumaturgy, \"On the Presence of Incredibly Weird Stuff Going On,\" in 473 GUE, in which he claimed to have discovered \"for-the-most-part-Natural Rules\" by which this Weird Stuff is ordered...\n\n> Continue\n...Berzio, working for years in his own self-made workshop and often going for days without food, drink, or sleep, created the means by which Presence could be transferred from a scroll to a specially impregnated paper by use of a simple spell, which he named after his dog, Gnusto...\n\n> You examine Frobozzica\nThe volume here is titled \"Magical Spells and Effects\". It's about 24 inches tall, 18 inches wide, and 12 inches thick. You flip to an entry at random: guncho*: banish the victim to another plane of existence\n\n*note: too powerful for gnusto\n\n[You might find the command LOOK UP (X) IN ENCYCLOPEDIA useful\nhere.]\n\n> You look up the gnusto in Encyclopedia\ngnusto: write a magic spell into a spellbook\n\n> You look up the yomin in Encyclopedia\nyomin: mind probe\n\n> Go east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> Go southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> You examine the glass\nIn the display case is an illuminated scroll.\n\n\"This illuminated manuscript was one of the first three created by the famed magician Berzio in 769 GUE. The gnusto spell is\nconsidered one of the most important discoveries in modern thaumaturgy, as it allows a spell to be cast multiple times without requiring multiple spell scrolls.\"\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You frotz yourself\nAs you cast the spell, the newly-printed scroll vanishes.\n\nThere is an almost blinding flash of light. You are bathed in a shimmering golden glow, bright enough to read by.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\nYou suddenly hear a loud CLICK from behind you. A magically recorded voice sounds from somewhere above you:\n\n\"Hello, footpad! Your after-hours spellcasting within the Library has activated one of the triggers of a Frobozz Magic Alarm Company security system. Please be aware that unless you say the correct passphrase within the next five minutes, the preset alarms will be activated. In the meantime, additional traps and triggers have been activated for your safety. Have a nice day!\"\n\n...okay, this is getting worse. But you won't panic. You won't panic. You still have five minutes before the alarms activate.\n\n> Go north\nThis is the area where advanced students can work out variations on old spells or attempt (with close supervision) to create simple enchantments from scratch.\n\nLying on the workbench is a scribbled spell scroll, probably a student's forgotten experiment.\n\nA long workbench lines one of the walls. Judging from the amount of strange machinery around it, the alarm recording wasn't lying about the traps\u2014magic-users have a tendency to make things overly complicated in case of unlikely eventualities. It might not be a good idea to touch anything until the trap can be deactivated.\n\nThe recorded voice speaks again: \"Four minutes and thirty seconds.\"\n\n> You read scribbled\nYou would need to unroll it before you could read the spell.\n\n\"Four minutes.\"\n\n> Unroll scribbled\nAs you reach out, your weight falls on the bench for a moment. With a grinding of gears, the bench sinks slightly into the floor. It seems that the additional weight has activated a trap, and before you can dodge backwards a cleesh spell fires at you from a mechanism in the ceiling.\n\n> You frotz yourself\nAs you cast the spell, the newly-printed scroll vanishes.\n\nThere is an almost blinding flash of light. You are bathed in a shimmering golden glow, bright enough to read by.\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\nYou suddenly hear a loud CLICK from behind you. A magically recorded voice sounds from somewhere above you:\n\n\"Hello, footpad! Your after-hours spellcasting within the Library has activated one of the triggers of a Frobozz Magic Alarm Company security system. Please be aware that unless you say the correct passphrase within the next five minutes, the preset alarms will be activated. In the meantime, additional traps and triggers have been activated for your safety. Have a nice day!\"\n\n...okay, this is getting worse. But you won't panic. You won't panic. You still have five minutes before the alarms activate.\n\n> You go to the southeast\n(first trying to open the wooden door)\nIt seems to be locked.\n\nThe pattern of the mosaic changes: \"The Spell Research Area is to the north.\n\"\nThe recorded voice speaks again: \"Four minutes and thirty seconds.\"\n\n> Go south\nNow that the alarm has been tripped, it is unlikely that you would find it so easy to break in again. You decide not to leave until you've collected...let's say...twelve spells. Yes, twelve sounds good.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\nThe recorded voice speaks again: \"Four minutes and thirty seconds.\"\n\n> Go southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nA purple tome lies on the input tray, ready for reshelving.\n\nThe recorded voice speaks again: \"Four minutes and thirty seconds.\"\n\n> You examine Tome\nA heavy purple tome, titled the \"Tome of Psychological Incantations\". The first third of the book is a long treatise on the theory behind mind-affecting spells, and you can only understand about one word in every seven. The second gives background information on various incantations. But the third seems the most promising:\nYOMIN: mind probe\nSERAGE: force temporary obedience\n\n\"Four minutes.\"\n\n> You go to the north-east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic flickers to \"Hello, footpad!\" before resuming its normal cycle.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\n\n> You go to the west\nThis is the main area of the library, extending seemingly infinitely to the east and west. The tallest shelves are over twice your height, and some residual light spells bathe everything in a dim yellow glow. It would take a lifetime to read every book.\n\nA book catches your eye: Legends by P. D. Lebling.\n\nSitting on a wooden podium near one wall is one volume of the Encyclopedia Frobozzica.\n\n\"Three minutes.\"\n\n> You go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nAlmost all of them are deactivated for the night, but if you searched you might find some that had been left on.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\n\"Three minutes.\"\n\n> Examine book\n(your spell book)\nYou have written \"Wizard's Spell Book\" hopefully across the first page, and added headings for the first few spells, but no magic is yet contained in it.\n\n> You examine the Evocatio\nThis is a nice spell book, bound in blue cloth with silver stitching on the cover and spine. The title (almost) means \"On Evocation\" or \"On Summoning\". It contains the following spells:\nZIFMIA: magically summon a being\nVEZZA: view the future\n\n\"Two minutes.\" That voice is getting really irritating.\n\n> Search scrying\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\n> Search mirrors\nThey come in all different shapes and sizes: a stained mirror and a gilt mirror catch your eye. Most are dark and foggy, but you notice two palantiri (a small red sphere and a small blue sphere) and a wall-sized mirror glowing with inner light.\n\nStrangely enough, there also appears to be a glass aquarium on one of the shelves. It looks rather out of place with no water in it.\n\n\"One minute. Please say the passphrase now.\"\n\n> You examine the red sphere\nInstead of a reflection, the small red sphere seems to show a different view, as if it were a window to another world...\n\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere) here.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\n\"This is your last chance to deactivate the alarm.\"\n\n> You look in the mirror\nWhich do you mean, the 1) stained mirror, the 2) gilt mirror, or the 3) wall-sized mirror?\n\n> Gilt\nYou see reflected in the mirror one of the most stunningly beautiful women you have ever laid eyes on. You take a moment to adjust your hair. There, that's better.\n\n\"The alarms have been activated, and the exits are now sealed. Goodbye.\" Okay, now might be a time to panic.\n\n> You examine stained\nYou see reflected in the mirror one of the most stunningly beautiful women you have ever laid eyes on. You take a moment to straighten your student cloak. There, that's better.\n\nYou can't hear anyone approaching. Maybe you still have some time.\n\n> You look ithe wall-sized mirror\nInstead of a reflection, the wall-sized mirror seems to show a different view, as if it were a window to another world...\n\nYou are in a splendid chamber, about thirty feet high. The walls look like rivers of orange stone, magically frozen for eternity around you. An awkward canyon leads to the east, and a slightly larger passage opens out to the west.\n\nIn the darkness you see an adventurer holding a bright carbide lamp.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\nPerhaps all the Enchanters who would have heard the alarm are still asleep.\n\n> You go southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic flickers to \"Hello, footpad!\" before resuming its normal cycle.\n\nThe pattern of the mosaic changes: \"Storage areas lie to the northeast and southeast.\n\"\nStill nobody has arrived. Even if it took them a few minutes to wake up, they should be here by now.\n\n> You go south\nNow that the alarm has been tripped, it is unlikely that you would find it so easy to break in again. You decide not to leave until you've collected...let's say...twelve spells. Yes, twelve sounds good.\n\nThe tiles in the mosaic create a new message: \"To the east is the Basic Spells Collection.\n\"\nSomething is very wrong\u2014it only takes thirty seconds at most to cast an aimfiz spell, and you probably set off a high-priority alarm.\n\n> Go southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nThe Tome of Psychological Incantations lies on the input tray, ready for reshelving.\n\nPerhaps it's because of the meeting in Borphee? Perhaps the people who were supposed to hear the alarm...aren't back yet?\n\n> You get tome\nTaken.\n\nEven though it's not yours, you expect you could memorize and cast spells from the Tome of Psychological Incantations or another spell book without much difficulty.\n\nStill nobody has appeared. You can start to relax a bit.\n\n> Go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic flickers to \"Hello, footpad!\" before resuming its normal cycle.\n\nThe mosaic shifts again: \"Returns are processed to the southwest.\n\"\nYou're starting to think that nobody heard the alarm after all.\n\n> You go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere), a small red sphere, and a small blue sphere here.\n\n> You examine the aquarium\nIn the glass aquarium is a small transparent sphere.\n\n> You examine transparent\nInstead of a reflection, the small transparent sphere seems to show a different view, as if it were a window to another world...\n\nStorage Area (on the dented table)\nA rusty iron key seems to have been left in the keyhole.\n\nAround the table, strange objects are piled almost four feet high. You don't even recognize what most of it is, much less what might be useful or magical.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\n> Go southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Scrying crystals are available to the northwest.\n\"\n\n> You go to the west\nThis is the main area of the library, extending seemingly infinitely to the east and west. The tallest shelves are over twice your height, and some residual light spells bathe everything in a dim yellow glow. It would take a lifetime to read every book.\n\nA book catches your eye: Total Control by A. Schultz.\n\nSitting on a wooden podium near one wall is one volume of the Encyclopedia Frobozzica.\n\n> You examine the total Control\n...since then, spells such as serage has been strictly\nregulated due to the obvious potential for abuse...\n\n> You go east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"The Main Stacks are to the west.\n\"\n\n> You go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere), a small red sphere, and a small blue sphere here.\n\n> You get tome\nThe last time you saw the Tome of Psychological Incantations, it was in your possession.\n\n> You get the book\n(De Evocatio)\n(first trying to open the glass cabinet)\nIt seems to be locked.\n\n> You examine the glass cabinet\nA simple cabinet with a tiny metal lock on one side.\n\nIn the glass cabinet is De Evocatio.\n\n> You go to the southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> You go to the east\nAs your eyes adjust, you see that you are in a simple panelled room, dominated by an orange metal box leaning against one wall. The words FROBOZZ MAGIC SCROLL DISPENSER are stencilled across one side in white, and the other is covered with a large sign explaining the proper usage.\n\nA calendar on one wall is acting as a strange source of illumination.\n\n> Go west\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Welcome, Wizard McSmartypants!\n\"\n\n> Go north\nThis is the area where advanced students can work out variations on old spells or attempt (with close supervision) to create simple enchantments from scratch.\n\nLying on the workbench is a scribbled spell scroll, probably a student's forgotten experiment.\n\nA long workbench lines one of the walls. Judging from the amount of strange machinery around it, the alarm recording wasn't lying about the traps\u2014magic-users have a tendency to make things overly complicated in case of unlikely eventualities. It might not be a good idea to touch anything until the trap can be deactivated.\n\n> Lesoch\nAs you cast the spell, the newly-printed scroll vanishes.\n\nSlowly, teasingly, a small puff of wind begins to blow. It quickly builds to gale force, then hurricane force, and just as you feel you are about to be swept away, it subsides.\nLooking around, the room looks somewhat messier than before. The wind blew various bits of debris off the workbench\u2014including the\nscribbled\nscroll.\n\n> You get scribbled\nTaken.\n\n> You look at it\nThe scroll reads \"rezrov: open even locked or enchanted objects\".\n\nThe handwriting on this scroll is much neater than on the one you opened the doors with. Hopefully it will work.\n\n> You get stained\nThe last time you saw the stained mirror, it was in the Scrying Room.\n\n> You go south\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere), a small red sphere, and a small blue sphere here.\n\n> Rezrov case\nYou pause for a moment\u2014you don't know where you might find another rezrov scroll, so you should probably make a copy of this one before you destroy it.\n\n> You read the book\nYou have written \"Wizard's Spell Book\" hopefully across the first page, and added headings for the first few spells, but no magic is yet contained in it.\n\nThe pattern of the mosaic changes: \"Storage areas lie to the northeast and southeast.\n\"\n\n> Gnusto rezrov\nYou do not know that spell.\n\nThe tiles in the mosaic create a new message: \"To the east is the Basic Spells Collection.\n\"\n\n> Rezrov case\nAs you cast the spell, the scribbled scroll vanishes.\n\nThe case shatters with an enormous CRASH, shards of glass flying everywhere! You shield your eyes until they seem to have settled.\n\nThe pattern of the mosaic changes: \"Returns are processed to the southwest.\n\""
    },
    {
        "text": "[Themes: Fantasy, spells, Zork]\n\n> You look around\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"Returns are processed to the southwest.\n\"\n\n> You examine the quill\nYou borrowed this from one of your professors, allegedly to practice copying your \"gloth\" scroll. It's large and deep blue, with a tiny enchanted diamond set in the tip.\n\nThe mosaic shifts again: \"Scrying crystals are available to the northwest.\n\"\n\n> Examine box\nA wide orange box, with a row of buttons on the front above a long slot.\n\nA large sign attached to the top explains how to properly dispense scrolls.\n\n> You look at the quill\nYou borrowed this from one of your professors, allegedly to practice copying your \"gloth\" scroll. It's large and deep blue, with a tiny enchanted diamond set in the tip.\n\n> You check what you're carrying\nYou are carrying:\na scribbled scroll\na yellowish parchment (blank)\na greenish parchment\na bluish parchment\na reddish parchment (blank)\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\n> You copy the gnusto to the yellowish\nYou meticulously copy the writing from the illuminated scroll to the yellowish parchment.\n\nThe tiles in the mosaic create a new message: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> You examine yellowish\nThe scroll reads \"gnusto: write a magic spell into a spellbook\".\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> Inventory\nYou are carrying:\na scribbled scroll\na yellowish parchment (bearing the gnusto spell)\na greenish parchment\na bluish parchment\na reddish parchment (blank)\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\nThe pattern of the mosaic changes: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> Gnusto rezrov\nAs you cast the spell, the yellowish parchment vanishes.\n\nYour spell book begins to glow softly. Slowly, ornately, the words of the rezrov spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the scribbled scroll on which it was written vanishes as the last word is copied.\n\nThe tiles in the mosaic create a new message: \"The Spell Research Area is to the north.\n\"\n\n> Memorize rezrov\nUsing your best study habits, you learn the rezrov spell.\n\nThe mosaic shifts again: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA glass cabinet on one of the shelves contains a blue-and-silver book, titled De Evocatio. Books kept in these rooms tend to contain\nspells relevant to the equipment there, so presumably it contains spells for scrying.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere), a small red sphere, and a small blue sphere here.\n\n> Rezrov aquarium\n(first memorizing rezrov)\nYou complete the spell, but the aquarium refuses to open. It appears to be a solid cube of crystal, and the rezrov spell isn't powerful enough to force it open.\n\n> Rezrov cabinet\n(first memorizing rezrov)\nThe glass cabinet clicks open.\n\n> You open the cabinet\nThat's already open.\n\n> You get tome\nThe last time you saw the Tome of Psychological Incantations, it was in your possession.\n\n> You get the book\n(De Evocatio)\nTaken.\n\n> Go southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"To the east is the Basic Spells Collection.\n\"\n\n> You copy the gnusto\nWhat do you want to copy the illuminated scroll on?\n\n> Blue\nWhich do you mean, 1) De Evocatio or the 2) bluish parchment?\n\n> 2\nYou meticulously copy the writing from the illuminated scroll to the bluish parchment.\n\nThe pattern of the mosaic changes: \"Returns are processed to the southwest.\n\"\n\n> You copy the gnusto to the red\n(the illuminated scroll to the reddish parchment)\nYou meticulously copy the writing from the illuminated scroll to the reddish parchment.\n\nThe mosaic shifts again: \"Scrying crystals are available to the northwest.\n\"\n\n> Gnusto gnusto\nAs you cast the spell, the reddish parchment vanishes.\n\nYour spell book begins to glow softly. Slowly, ornately, the words of the gnusto spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the bluish parchment on which it was written vanishes as the last word is copied.\n\nThe pattern of the mosaic changes: \"The Main Stacks are to the west.\n\"\n\n> Inventory\nYou are carrying:\nDe Evocatio\na greenish parchment\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\nThe mosaic shifts again: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> You examine the Evocatio\nThis is a nice spell book, bound in blue cloth with silver stitching on the cover and spine. The title (almost) means \"On Evocation\" or \"On Summoning\". It contains the following spells:\nZIFMIA: magically summon a being\nVEZZA: view the future\n\nThe tiles in the mosaic create a new message: \"Welcome, Wizard McSmartypants!\n\"\n\n> Gnusto zifmia\n(first memorizing gnusto)\nThe spell fizzles. Unlike spell scrolls, spell books are magically guarded against the 'theft' of their lore.\n\nThe pattern of the mosaic changes: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> Gnusto newly\n(first memorizing gnusto)\nYour spell book begins to glow softly. Slowly, ornately, the words of the lesoch spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the newly-printed scroll on which it was written vanishes as the last word is copied.\n\n> Gnusto newly\n(first memorizing gnusto)\nYour spell book begins to glow softly. Slowly, ornately, the words of the blorb spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the newly-printed scroll on which it was written vanishes as the last word is copied.\n\n> Gnusto newly\n(first memorizing gnusto)\nYour spell book begins to glow softly. Slowly, ornately, the words of the frotz spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the newly-printed scroll on which it was written vanishes as the last word is copied.\n\n> 3\nThe Dispenser whirrs, then a beautifully printed square of parchment flies out of the slot at the bottom. You manage to catch it before it touches the ground.\n\nThe green button makes a slight clicking sound as you release it.\n\n> Gnusto newly\n(first memorizing gnusto)\nYour spell book begins to glow softly. Slowly, ornately, the words of the nitfol spell are inscribed, glowing even more brightly than the book itself. The book's brightness fades, but the spell remains! However, the newly-printed scroll on which it was written vanishes as the last word is copied.\n\n> You hold red button\nThat seems to be a part of the row of buttons.\n\n> You look at the book\nWhich do you mean, 1) De Evocatio or 2) your spell book?\n\n> 2\nGNUSTO: write a magic spell into a spellbook\nFROTZ: cause something to give off light\nBLORB: safely protect a small object as though in a strongbox\nNITFOL: converse with beasts in their own tongue\nREZROV: open even locked or enchanted objects\nLESOCH: cause a gust of wind\n\n> Go west\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\n\n> Go south\nA spell book can be reasonably well concealed, but it would be hard to explain how you came by the newly-printed scroll.\n\nThe tiles in the mosaic create a new message: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You examine newly\nThe parchment is smooth, the lettering dark and mechanically perfect: \"LESOCH: cause a gust of wind\".\n\nThe mosaic shifts again: \"To the east is the Basic Spells Collection. \"\n\n> Go southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nYou can see the Tome of Psychological Incantations here.\n\n> You get tome\nTaken.\n\n> You go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Returns are processed to the southwest.\n\"\n\n> You go to the north-east\nDust, cobwebs, and not much else. Markings on the floor show that this room once contained some large boxes or trunks, but right now it is empty.\n\n> Go southwest\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"Scrying crystals are available to the northwest.\n\"\n\n> Go southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nYou can see the Tome of Psychological Incantations here.\n\n> You put scroll on the tray\nWhich do you mean, the 1) newly-printed scroll or the 2) greenish parchment?\n\n> 1\n(the newly-printed scroll on the mahogany input tray)\nYou put the newly-printed scroll on the mahogany input tray.\n\n> You get tome\nTaken.\n\n> Go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"The Main Stacks are to the west.\n\"\n\n> You examine Device\nA hulking contraption of bronze and iron, currently deactivated for the night.\n\n> You turn on Device\nYou don't see any obvious way to do that. You'd need to ask one of the Librarians.\n\n> You examine Tome\nA heavy purple tome, titled the \"Tome of Psychological Incantations\". The first third of the book is a long treatise on the theory behind mind-affecting spells, and you can only understand about one word in every seven. The second gives background information on various incantations. But the third seems the most promising:\nYOMIN: mind probe\nSERAGE: force temporary obedience\n\n> Memorize yomin\nUsing your best study habits, you learn the yomin spell.\n\n> You memorize the SERAGE\nUsing your best study habits, you learn the serage spell.\n\n> Examine de\nThis is a nice spell book, bound in blue cloth with silver stitching on the cover and spine. The title (almost) means \"On Evocation\" or \"On Summoning\". It contains the following spells:\nZIFMIA: magically summon a being\nVEZZA: view the future\n\n> You memorize ZIFMIA\nUsing your best study habits, you learn the zifmia spell.\n\n> ZIFMIA\nThat enchantment must be cast at something."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\n> Vezza\n(first memorizing vezza)\nYou see a startling location of transparent walls, twinkling with reflected light.\n\n> Spells\nYou have the rezrov spell once, the zifmia spell once, and the yomin spell once and the serage spell once committed to memory.\n\n> You cast the SERAGE on Device\n(first memorizing serage)\nYou cast the spell, but nothing obvious happens.\n\n> You go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> Go west\nThis is the main area of the library, extending seemingly infinitely to the east and west. The tallest shelves are over twice your height, and some residual light spells bathe everything in a dim yellow glow. It would take a lifetime to read every book.\n\nA book catches your eye: Field Guide to the Creatures of\nFrobozz by S. Meretzky.\n\nSitting on a wooden podium near one wall is one volume of the Encyclopedia Frobozzica.\n\n> You go east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> You go to the northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nYou can see a glass aquarium (closed) (in which is a small transparent sphere), a small red sphere, a small blue sphere, and a glass cabinet (empty) here.\n\n> You look in the red sphere\nInstead of a reflection, the small red sphere seems to show a different view, as if it were a window to another world...\n\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nYou can see a glass aquarium (closed) (in which is a small transparent sphere) and a glass cabinet (empty) here.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\n> You look in the blue sphere\nInstead of a reflection, the small blue sphere seems to show a different view, as if it were a window to another world...\n\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nYou can see a glass aquarium (closed) (in which is a small transparent sphere) and a glass cabinet (empty) here.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\n> You look ithe wall-sized mirror\nInstead of a reflection, the wall-sized mirror seems to show a different view, as if it were a window to another world...\n\nYou are in a splendid chamber, about thirty feet high. The walls look like rivers of orange stone, magically frozen for eternity around you. An awkward canyon leads to the east, and a slightly larger passage opens out to the west.\n\nIn the darkness you see an adventurer holding a bright carbide lamp.\n\n...you step back from the mirror, and take a moment to regain your bearings.\n\n> You get blue\n(the small blue sphere)\nTaken.\n\n> Go southeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You go north\nThis is the area where advanced students can work out variations on old spells or attempt (with close supervision) to create simple enchantments from scratch.\n\nA long workbench lines one of the walls. Judging from the amount of strange machinery around it, the alarm recording wasn't lying about the traps\u2014magic-users have a tendency to make things overly complicated in case of unlikely eventualities. It might not be a good idea to touch anything until the trap can be deactivated.\n\n> You look at the trap\nIf you had to guess, you'd say it was meant to activate when someone leaned on the workbench.\n\n> Go south\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\n\n> You go to the north-east\nDust, cobwebs, and not much else. Markings on the floor show that this room once contained some large boxes or trunks, but right now it is empty.\n\n> Vezza\n(first memorizing vezza)\nYou see a dried-up river bed, full of sharp rocks and muddy puddles. A dark cave beckons.\n\n> You go to the southwest\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"Storage areas lie to the northeast and southeast.\n\"\n\n> Vezza\n(first memorizing vezza)\nYou see a glittering midway filled with garish lights and honky-tonk music, surrounded by a spidery wooden structure.\n\nThe tiles in the mosaic create a new message: \"To the east is the Basic Spells Collection.\n\"\n\n> Vezza\n(first memorizing vezza)\nYou see a field surrounded by fortified ramparts. A tattered flag flies atop a tall pole.\n\nThe mosaic shifts again: \"Returns are processed to the southwest.\n\"\n\n> You look at Calendar\nAccording to the front page, this is an official Frobozz Magic Flathead Royal Family Calendar. There appear to be 11 pages left on it.\n\n> You get Calendar\nYou tear a page off the calendar, and it disintegrates in your hand. The next page reads \"Frobuary: John D. Flathead. John D. was the founder of Flathead Industries, which produced new companies to sell to FrobozzCo International.\"\n\n> You go southeast\n(first trying to open the wooden door)\nIt seems to be locked.\n\nThe mosaic shifts again: \"The Main Stacks are to the west.\n\"\n\n> 1\n(the wooden door)\n(first memorizing rezrov)\nThe door shudders, and there is a clicking sound from the lock, but nothing else happens. Looking closely at it, you see that the key has been left partway in the lock, preventing it from turning.\n\nThe pattern of the mosaic changes: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> Inventory\nYou are carrying:\ntwo palantiri:\na the small blue sphere\na the small red sphere\nDe Evocatio\na greenish parchment\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You examine the ring\nA thin band of some silvery metal, with a flat copper disk in place of a stone. It's keyed to the enchanted doors on campus. It would also allow you to check out books here if the library were open.\n\nThe tiles in the mosaic create a new message: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You look up the zifmia in Frobozzica\nzifmia: magically summon a being\n\n> Go east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"To the east is the Basic Spells Collection. \"\n\n> Go southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nYou can see the Tome of Psychological Incantations here.\n\n> You examine the belt\nA hulking contraption of bronze and iron, currently deactivated for the night.\n\n> You examine Tome\nA heavy purple tome, titled the \"Tome of Psychological Incantations\". The first third of the book is a long treatise on the theory behind mind-affecting spells, and you can only understand about one word in every eight. The second gives background information on various incantations. But the third seems the most promising:\nYOMIN: mind probe\nSERAGE: force temporary obedience\n\n> Yomin yourself\n(first taking the Tome of Psychological Incantations, then memorizing yomin)\nYou sense a mind concentrating hard on casting the yomin spell. The recursion gives you a headache.\n\n> You check your inventory\nYou are carrying:\nthe Tome of Psychological Incantations\ntwo palantiri:\na the small blue sphere\na the small red sphere\nDe Evocatio\na greenish parchment\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\n> You look at the compass\nIt's a large gold compass about the size of a pocketwatch, with a spell on the needle to make it always stay level. Most mages carry compasses because of how easy it is to get disoriented in magic-rich areas.\n\n> You go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Returns are processed to the southwest.\n\"\n\n> Go southwest\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"The Main Stacks are to the west.\n\"\n\n> 2\nGNUSTO: write a magic spell into a spellbook\nFROTZ: cause something to give off light\nBLORB: safely protect a small object as though in a strongbox\nNITFOL: converse with beasts in their own tongue\nREZROV: open even locked or enchanted objects\nLESOCH: cause a gust of wind\n\nThe pattern of the mosaic changes: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> Blorb key\n(first memorizing blorb)\nA glowing strongbox forms out of the air, carefully enclosing the lock, which disappears from view. It appears solid and secure, but you get the feeling that it would open at your slightest touch.\n\nThe tiles in the mosaic create a new message: \"Welcome, Wizard McSmartypants!\n\""
    },
    {
        "text": "[Themes: Fantasy, old school, adventure, gender choice, Zork, magic]\n\n> Look around\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe mosaic shifts again: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You look at the wooden door\nYou see nothing special about the wooden door.\n\nThe pattern of the mosaic changes: \"The Spell Research Area is to the north.\n\"\n\n> You examine the spellbook\nGNUSTO: write a magic spell into a spellbook\nFROTZ: cause something to give off light\nBLORB: safely protect a small object as though in a strongbox\nNITFOL: converse with beasts in their own tongue\nREZROV: open even locked or enchanted objects\nLESOCH: cause a gust of wind\n\nThe mosaic shifts again: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You examine the lock\nThe last time you saw the lock, it was in the magical strongbox.\n\nThe pattern of the mosaic changes: \"To the east is the Basic Spells Collection.\n\"\n\n> Blorb key\n(first memorizing blorb)\nA glowing strongbox forms out of the air, carefully enclosing the lock, which disappears from view. It appears solid and secure, but you get the feeling that it would open at your slightest touch.\n\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> Rezrov compass\n(first memorizing rezrov)\nOpening the magical compass is beyond the power of the REZROV spell.\n\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> Inventory\nYou are carrying:\ntwo palantiri:\na the small blue sphere\na the small red sphere\nDe Evocatio\na greenish parchment\nyour spell book\na quill pen\na magical compass\nyour identification ring (being worn)\nyour journal\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You examine the key\nYou can't see anything through the keyhole\u2014the key is in the way.\n\nThe mosaic shifts again: \"The Spell Research Area is to the north.\n\"\n\n> You learn the lesoch\nUsing your best study habits, you learn the lesoch spell.\n\nThe pattern of the mosaic changes: \"Storage areas lie to the northeast and southeast.\n\"\n\n> Lesoch keyhole\nThat enchantment cannot be cast at anything.\n\nThe mosaic shifts again: \"To the east is the Basic Spells Collection. \"\n\n> Lesoch\n(first memorizing lesoch)\nSlowly, teasingly, a small puff of wind begins to blow. It quickly builds to gale force, then hurricane force, and just as you feel you are about to be swept away, it subsides.\n\nThe pattern of the mosaic changes: \"Returns are processed to the southwest.\n\"\n\n> You look at the lock\nYou can't see anything through the keyhole\u2014the key is in the way.\n\nThe tiles in the mosaic create a new message: \"Scrying crystals are available to the northwest.\n\"\n\n> You hit the wooden door\nViolence isn't the answer to this one.\n\nThe pattern of the mosaic changes: \"The Main Stacks are to the west.\n\"\n\n> You hit the lock\nViolence isn't the answer to this one.\n\nThe tiles in the mosaic create a new message: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> You put the ring in the keyhole\n(first trying to take your identification ring)\nYou already have that.\n\nThe mosaic shifts again: \"Welcome, Wizard McSmartypants!\n\"\n\n> You remove the ring\nSeveral years ago a student used a girgol scroll to steal a classmate's ID ring, sneak into one of the women's residence halls, install small scrying mirrors in several rooms, and return the ring before the spell wore off. He likely would have gotten away with it, except that the occupant of one of those rooms happened to be practicing jindak at the time.\n\nAnyway, after that the rings were magically bonded to the students\" fingers. It can't be removed without going through a lengthy and time-consuming process.\n\nYou take off your identification ring.\n\nThe tiles in the mosaic create a new message: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You wear the ring\nYou're already wearing that!\n\nThe pattern of the mosaic changes: \"The Spell Research Area is to the north.\n\"\n\n> You go to the northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nYou can see a glass aquarium (closed) (in which is a small transparent sphere) and a glass cabinet (empty) here.\n\n> You look in the mirror\nWhich do you mean, the 1) stained mirror, the 2) gilt mirror, or the 3) wall-sized mirror?\n\n> Zifmia adventurer\n(first memorizing zifmia)\nAll at once, the bedraggled Adventurer appears before you, brightly glowing lamp in hand. His jaw has dropped and his eyes are bulging. His eyes dart this way and that, as if looking for a way to escape.\n\n> You memorize the SERAGE\nYou have so much buzzing around in your head, though, that it's likely that something may have been forgotten in the shuffle.\n\nUsing your best study habits, you learn the serage spell.\n\n> Spells\nYou have the rezrov spell once, the zifmia spell once, the yomin spell once, and the lesoch spell once and the serage spell once committed to memory.\n\n> You go northeast\nAs the purple tome touches the doorway, it seems to hit an invisible barrier and falls from your hand! A recorded voice sounds from the Reshelver: \"This book is not checked out to you. Please wait for the return to be processed.\"\nLibrary Antechamber\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe tiles in the mosaic create a new message: \"Returns are processed to the southwest.\n\"\n\n> Go northwest\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nA bedraggled and weary-looking adventurer stands here, looking panicked and terrified.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere) and a glass cabinet (empty) here.\n\n> Yomin adventurer\nYou sense confusion and fear.\n\n> Serage adventurer\nAs you complete the spell, the Adventurer's eyes unfocus for a moment. He seems much more willing to listen to you."
    },
    {
        "text": "[Themes: Fantasy, adventure, spells, Zork, old school]\n\n> You look at your surroundings\nThe walls and shelves of this room are lined with mirrors and crystals of all types. Presumably you would have learned to scry in a more advanced Thaumaturgy class, but it wasn't covered in the first or second year of studies.\n\nThe Adventurer is standing here, awaiting a command.\n\nYou can also see a glass aquarium (closed) (in which is a small transparent sphere) and a glass cabinet (empty) here.\n\n> Break aquarium\nThe Adventurer turns to listen to you.\n\nThe Adventurer motions for you to stand back, then picks up the aquarium and tosses it with effort towards the ceiling. It comes down with a massive crash, but doesn't even seem scratched. The\nAdventurer scowls at it.\n\n> Open aquarium\nThe Adventurer doesn't move. Perhaps there was a problem with your command.\n\n> You follow you\nThe Adventurer begins to follow you.\n\n> You go to the south-east\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nThe pattern of the mosaic changes: \"Scrying crystals are available to the northwest.\n\"\nThe Adventurer arrives from the northwest.\n\n> You push key\nThe Adventurer turns to listen to you.\n\nThe Adventurer pushes the lock.\n\nThe tiles in the mosaic create a new message: \"The Main Stacks are to the west.\n\"\n\n> You open the southeast door\nThe Adventurer doesn't respond in any way. Perhaps the serage\nspell is preventing his from responding to anything other than commands.\n\nThe mosaic shifts again: \"This mosaic was enchanted by H. Ondricek and M. T. Winter of the Class of 925.\n\"\n\n> You go to the southwest\nThis is the room where book returns are processed. It's one of the few areas of the library you've been in before, but you vividly remember the Frobozz Magic Reshelving Device. You placed your book on the mahogany input tray, then watched as it was drawn up a conveyor belt and slid over a series of differently-shaped slots until it fell through the right one.\n\nYou can see the Tome of Psychological Incantations here.\n\nThe Adventurer arrives from the northeast.\n\n> You get tome\nThe Adventurer turns to listen to you.\n\nThe Adventurer picks up the Tome of Psychological Incantations.\n\n> You ask Adventurer,  to go northeast\nThe Adventurer ceases to pursue you.\n\nThe Tome of Psychological Incantations falls from the Adventurer's hand as they step through the archway.\n\nThe Adventurer goes northeast.\n\n> You look northeast\nYou see the library antechamber that way.\n\n> You get tome\nThat seems to belong to the Adventurer.\n\n> You look at the lantern\nA small brass lantern, with two compartments connected by a small valve. You learned about these in a history class: the top chamber contains water, and the bottom one calcium carbide. When the valve is open, they react and produce a bright flame.\n\nThe carbide lantern is currently switched on.\n\n> You ask Adventurer,  to inventory\nThe Adventurer looks through his possessions. \"I have the Tome of Psychological Incantations, a carbide lantern, a plaited rope, a broken rope, and a map.\"\n\n> You examine the MAP\nIt looks like a mess of meaningless lines and arrows. Presumably the Adventurer understands it better.\n\n> You examine the plaited rope\nThe plaited rope is tied to nothing.\n\nA long rope of some sort. It feels fairly smooth, but it would still hold a knot.\n\n> You look at the broken rope\nThe broken rope is tied to nothing.\n\nShorter than the other rope, and frayed at one end, but still capable of holding your weight if necessary.\n\n> Nitfol adventurer\n(first memorizing nitfol)\nThe Adventurer isn't very talkative.\n\n> Yomin adventurer\n(first trying to take the Tome of Psychological Incantations)\nThe predominant thought is the phrase \"ADVENTURER, I\".\n\n> You give tome to you\nThe Adventurer looks at the Tome of Psychological Incantations once, then hands it to you.\n\n> You throw Tome northeast\nYou fling the Tome of Psychological Incantations as hard as you can. It sails northeastward and disappears into the Library Antechamber.\n\n> You go northeast\nYou've visited the library many times, and this room has never failed to impress you. Sunlight shone in through the circular window in the great domed ceiling, reflecting off the mosaic floor and filling the area with patterns of red and gold. The din of innumerable Enchanters and students made it feel alive.\n\nNow, however, it is dark and silent. A few shafts of moonlight give everything an ethereal silvery glow.\n\nStanding in the middle of the floor is a glass display case, showing off an illuminated scroll.\n\nYou can also see the Tome of Psychological Incantations here.\n\nThe pattern of the mosaic changes: \"Welcome, Wizard McSmartypants!\n\"\nThe Adventurer arrives from the southwest.\n\n> You get tome\nTaken.\n\nThe mosaic shifts again: \"Library hours: 6:00 AM to 10:00 PM today.\n\"\n\n> You cut the quill\nCutting it up would achieve little.\n\nThe tiles in the mosaic create a new message: \"The Spell Research Area is to the north.\n\"\n\n> You put the quill in the keyhole\nThe quill pen cannot fit through the keyhole\u2014the nib is just barely too wide.\n\nThe mosaic shifts again: \"Storage areas lie to the northeast and southeast.\n\"\n\n> You examine the quill\nYou borrowed this from one of your professors, allegedly to practice copying your \"gloth\" scroll. It's large and deep blue, with a tiny enchanted diamond set in the tip.\n\nThe tiles in the mosaic create a new message: \"To the east is the Basic Spells Collection.\n\"\n\n> Gnusto yomin\n(first memorizing gnusto)\nThe spell fizzles. Unlike spell scrolls, spell books are magically guarded against the 'theft' of their lore.\n\nThe mosaic shifts again: \"Returns are processed to the southwest.\n\"\n\n> Y.\ncheapglulxe quit with exit status: 0\n\nThe occupied territories.\n\nFaith, but this has been worse than you could have imagined. You gave no thought when you left the capital; the promise of escape was too tempting and the intention of Jumaht's letter was too clear.\n\nIts contents, however, were less so, and you have had far too much time in far too empty a land to think on their purpose. Over the last weeks of your journey, your worry and your homesickness have worked their way from an ache in your heart to a stone in your stomach.\n\nAs if to remind you of his own burden, Huwen brays and nuzzles your shoulder. You place a hand on his nose and whisper a word of thanks, for you are alone here except for him. Alone amongst the once-mad.\n\nThe gates of Diahl lie before you. Everything else lies behind. Your journey here is ended. Your work is just beginning.\n\nA Tale of the Apostasy by Veronica Devon\n\n[First-time players should type \"info\" for instructions. Type \"credits\" to view the credits.]\n\nHere, the path takes its final turn north, towards the gates of the town. It is as narrow here as you can remember, becoming a slight track clinging to the cliff wall. As such, the view of the valley below is unmarred by any obstruction.\n\nHuwen stands beside you, as ever, heavy under his pack.\n\n> About yourself\nYou've tried to look the part of a merchant of modest means, and you have mostly succeeded. The deep black of your skin marks you as a southerner, a child of the plains and not the mountains. At least you are not the ochre of a capitaler, for you would not to be trusted on sight.\n\nStill, you do not expect to be welcomed with open arms.\n\n> You check your inventory\nYou are carrying:\nyour bag (open)\na letter\nThe Book of Lies\na grey badge\nyour notebook\n\n> You look at the badge\nThe sign of your office, such as it is. Glancing over its smooth, featureless surface, you realize that you must be careful with this. Before anyone sees it, you are simply another stranger or traveller. After, you would be branded an agent of the Apostasy, with all that that title demands.\n\n> You examine Huwen\nYou've had the donkey for a very long time now. He is everything you could ask for in a travelling companion: good-natured and uncomplaining. He does have a propensity for the sweet, but you can hardly blame him for it, as he is not alone in his vice.\n\nYour pack is settled across his back. He somehow does not seem tired, even after the long journey.\n\n> You examine the letter\nShort and to the point, as all Jumaht's missives are.\n\nDarius:\nA murder has occurred in Diahl. It is to be investigated\nimmediately. It is not known by me or by anyone that this is linked to cult or worship activities.\n\nKeep quiet on your journey. Keep to your principles. Keep to your truths. And know always how very proud I am of you.\n\nAt the bottom, he has added a personal postscript:\n\nWe will speak when this is over. I am sorry about Adar.\n\nIt is not what is written that is so disturbing, but what is missing. \"It is not known by me or anyone\"? And yet it is to be investigated? Some part of you has hoped the postscript was the reason for the speed of your necessary departure - an excuse to get you away from the capital and all that had occurred. But there is more here, and that is more than merely worrisome. For it implies you - specifically you - were chosen for a reason.\n\n> You look at Book\nA grammarie given only to initiates, though since it is written in the Tongue, there is little worry of anyone else reading it. On the back is inscribed the Brotherhood's creed: The world deceives. The\nworld wishes to be deceived. The truth against the world.\n\nYour initiation is not that long behind you, but as Jumaht is fond of saying: the page remembers long after men have forgotten.\n\n[If you find need, you may \"consult\" the Book about topics or\n\"look up\" topics in the Book.]\n\n> Consult book about cult\nYou can find no reference to cult in The Book of Lies.\n\nHuwen's ears twitch nervously.\n\n> Consult book about truth\nMuch of the text of the Book is given over to the subjects of truth and falsehood, in one form or another. The actual entries on both subjects contain treatises of such depth, complexity, and length as to make up almost half of its length.\n\nThat said, there is one portion on truth that you have found yourself coming back to again and again:\n\nthe ancients and, following his natural disposition, puts his trust in them, but rather the one who suspects his faith in them and questions what he gathers from them, the one who submits to argument and demonstration, and not to the sayings of a human being whose nature is fraught with all kinds of imperfection and deficiency.\n\nThus the duty of our Order, if learning the truth is our goal, is\nto make ourselves an enemy of all that we read, and, applying our minds to the core and margins of its content, attack it from every side. We should also suspect ourselves as we performs our critical examination of it, so that we may avoid falling into either prejudice or leniency.\n\nHuwen suddenly brays at nothing.\n\n> You examine notebook\nThis one is for official purposes; you left your personal notes in safekeeping before you left the capital. Flipping quickly through the fresh pages, running your fingers over the smooth parchment, reminds you how very far you are from civilization. You would not find its like for a hundred miles, you are certain.\n\nOn the notebook's front page, you have made a list of tasks remaining to you:\nFind stable for Huwen.\nFind local hall of records. (Contact - trustworthy?)\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nYou jotted these down in an attempt to codify the work awiating you in Diahl, a week ago. It was at one of the last inns you passed, the last time you had a bath and a decent meal. You recall writing the last entry with a distinct sense of unease.\n\nYou are just about to close the book when your eyes catch on an imperfection: there is writing on the inside cover.\n\n> You examine the writing\nof all our desire\nwill look, lift your face\nand say,\n\nLike this.\n\nAdar must have done this. You cannot think of when. You also cannot think which is worse: that he wrote it before things ended, or after.\n\nHuwen wanders up to you, nuzzles you for a moment, then wanders away.\n\n> Pet huwen\nHuwen nuzzles closer.\n\n> You think about Adar\n[I can't understand your entire command: the first part might be\nan action I know, but I didn't expect the word \"about\" next.]\n\n> Consult book about silenus\nSilenus does not have a specific entry in the Book. Nor have you been able to correlate what little you have observed of it with any known entity. Which should make its existence all the more worrying, if you gave yourself pause to think on it."
    },
    {
        "text": "[Themes: Fantasy, gender choice, adventure, spells, zorkian]\n\n> Look around\nHere, the path takes its final turn north, towards the gates of the town. It is as narrow here as you can remember, becoming a slight track clinging to the cliff wall. As such, the view of the valley below is unmarred by any obstruction.\n\nHuwen stands beside you, as ever, heavy under his pack.\n\n> You go to the north\nThe path expands here, to a walled courtyard of patterned stone. The gates lead northward, and the town itself is clearly visible behind and above the walls. It seems the mountain it lies upon continues upwards for a good distance.\n\nTo one side of the gate is a long, planed piece of ancient stonework.\n\nHuwen obediently follows after.\n\n> You examine the stonework\nFour circular depressions of increasing depth are inscribed on its pebbled and worn surface. It takes you a moment to realize that it is a maofas - used in ancient times for the measurement of grain\nand cereals. Each depression was precisely sized and standardized, such that fair prices could be charged.\n\nThis one seems to be part of the town wall itself, which implies that the foundations of Diahl are centuries old, if not older.\n\n> You examine the gate\nThe gates lie open. The walls they pierce seem to be made of the same ancient stone as the measurer which lies here. Diahl's defences are older than the town they contain.\n\nHuwen huffs, as if sighing.\n\n> You go north\nA shadowed, sheltered plaza just beyond the walls. The city gates lie open to the south. On the far side, the road continues as a staircase continuing up the mountain north into the town proper.\n\nThe sides of the square are crowded with the small stone buildings you saw dotting the mountain from below.\n\nAlong the eastern side is a wooden structure with a thatched roof. From the look and smell, you would guess it a stable.\n\nAt the center of the plaza is a stone basin, filled with rainwater.\n\nHuwen walks beside you.\n\n> You go east\nThe dimly-lit wooden interior is barely visible, given the only illumination is a lantern on the floor at the center of the room. In the darkness beyond, you can hear the snuffling and shifting of what must be two or three horses.\n\nA woman - clearly the hostler - stands beside the lantern.\n\n\"Evening, evening...\" says the woman in a cheery voice, turning at the sound of the creaky door opening and then closing behind you. \"With you in just a ...\"\n\nHer greeting dies in her throat as she sights you. The silence that follows goes on for several moments.\n\nShe smiles nervously, taking a deep breath. \"Apologies, sir. \"Twasn't expecting a stranger, as it were.\" She blinks. \"No offense meant, of course.\" Another pause. \"Just we don't see many come this way from the valley. Sir.\"\n\nShe brushes a non-existent speck of dust from her roughspun clothes, then looks you straight in the eye. \"That is where you came from? Sir?\"\n\nYou could say only that you came from the valley, say you travelled from the capital or ask about using the stables.\n\n> You ask about using the the stables\n\"I would like to make use of your stables, if I may.\"\n\nHer eyes narrow as she realizes you have side-stepped her question. Her mouth sets in a frown. \"I don't know, sir.\" She gestures to the shifting figures in the dark behind her. \"Considering the time of year, we don't have much room.\"\n\nYou could ask about the cost.\n\n> You ask about the the cost\n\"What would it cost to leave my friend, Huwen, here?\" you ask, patting him on the flank.\n\nHer smile has something feral in it. \"Oh goodness - that's not how things are often done here. Sir.\" She pauses. \"But I suppose I could look after this fine boy for...five measures of grain?\"\n\nYou could say you can pay in coin or identify yourself as a member of the Apostasy.\n\n> You say i can pay in the coin\nThe journey here was more expensive than you had hoped, and all you have left is a single stater. It is worth far more than even ten measures of grain, you are certain. You slip it from its place in Huwen's pack and show it to the hostler.\n\nShe takes the coin and examines it in the light of the lantern. It takes her a moment to recognize what you've given her. \"Yes, sir. Certainly, sir. We'll look after your boy here. No problems.\" The coin swiftly vanishes, and all that remains is the uncertain look on her face.\n\nThe hostler leads Huwen to a corner of the stable and places a bit of sweetgrass before him. He begins contendedly munching, taking no further interest in you or anything else. She then takes his pack from his back and hands it to you.\n\nYou could ask about the town or identify yourself as a member of the Apostasy.\n\n> You look at the notebook\nOn the notebook's front page, you have made a list of tasks remaining to you:\nFind local hall of records. (Contact - trustworthy?)\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nThere is writing -- Adar's doggerel -- on the inside cover.\n\nYou could ask about the town or identify yourself as a member of the Apostasy.\n\n> You ask about the town\n\"I have never before been to Diahl. Can you tell me anything of it?\"\n\nShe raises a suspicious eyebrow. \"Not much to know, sir. What you looking to know?\"\n\nYou could ask about the town's elders, ask about the hall of records or ask about the murder.\n\n> You ask about the the town's elders\n\"Who is in charge in Diahl? Do you have elders here?\"\n\nShe frowns. \"Oh, we've elders. Couldn't say where they are, this late in the evening. Sir.\"\n\nYou could ask about the hall of records or ask about the murder.\n\n> You ask about Hall of the Records\n\"I've heard tell of your Hall of Records. Where might I find it?\"\n\nShe begins straightening up, as if she has no time for you. \"Oh, further up, sir.\" She waves vaguely. \"Can't miss it.\"\n\nYou could ask about the murder.\n\n> You ask about the the murder\n\"I heard a rumor on my way here -- something about a death, a murder. Is that true?\"\n\nShe coughs. \"Oh, you know how people can go on, sir. I wouldn't put any trust in rumors.\"\n\n> Go west\nA shadowed, sheltered plaza just beyond the walls. The city gates lie open to the south. On the far side, the road continues as a staircase continuing up the mountain north into the town proper.\n\nThe sides of the square are crowded with the small stone buildings you saw dotting the mountain from below.\n\nAlong the eastern side is a wooden structure with a thatched roof. From the look and smell, you would guess it a stable.\n\nAt the center of the plaza is a stone basin, filled with rainwater.\n\n> You look at the basin\nFor public use, you presume.\n\n> Clean\n[What do you want to clean?]\n\n> Yourself\n[Rubbing yourself would have no effect in these\ncircumstances.]\n\n> Go north\nThe steps lead upwards, crossing several narrow streets which generally run north through the homes closest to the walls.\n\nThis has the feel of a market square, though either the season or the day is wrong as there is not a stall to be seen. The town extends in all directions - narrow streets run further up the mountain to the north, along its slopes to the east and west, and back towards the valley to the south. You do not know the town well enough to say where to go from here.\n\nA particularly striking building lies on square's northeast corner.\n\nAs you approach, you notice movement near the building -- a figure moving in the shadowy alcove of its entrance. It is a young lady, locking its front door. She slips the key into her pocket and adjusts the pile of books in her other hand.\n\nAs she turns, her eyes catch and hold yours for a moment. Then she smiles slightly, nods, and walks away.\n\nIt strikes you suddenly how what you have just seen would have been impossible only a few generations ago: the books, the building's clear use, the woman's ability to hold your gaze, or to walk unescorted.\n\n> You talk to the woman\n[That's not something you can see now, or I misunderstood\nyou.]\n\n> You look at the woman\n[The last time you saw the hostler, she was at \"The\nStables\".]"
    },
    {
        "text": "> Look around\nThis has the feel of a market square, though either the season or the day is wrong as there is not a stall to be seen. The town extends in all directions - narrow streets run further up the mountain to the north, along its slopes to the east and west, and back towards the valley to the south. You do not know the town well enough to say where to go from here.\n\nA particularly striking building lies on square's northeast corner.\n\n> You examine the building\nThe building is several times larger than any building you have thus seen in the town, sturdy and ancient, made of stone slabs built around a central arch. The arch's apex, as well as the towers at its corners, were broken off long ago, and the symbols that circled its walls have been carved away. It is a common enough and necessary sight - the conversion of such structures into approved shapes, the roods which graced them long since destroyed. That and the girl you saw earlier tell you that this must be Diahl's Hall of Records.\n\nThe door to the Hall is currently closed and locked.\n\nClasses - which either the girl was taking part in or teaching herself - must be over, and the Hall's hours past. You will need to seek out the place's keeper tomorrow. A shame.\n\n> You examine notebook\nOn the notebook's front page, you have made a list of tasks remaining to you:\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nThere is writing -- Adar's doggerel -- on the inside cover.\n\n> Go north\nYou do not know which direction to proceed in. You could try wandering blindly, you suppose.\n\n> You go to the south\nYou pass through the square's entrance and follow the narrow road back to the staircase.\n\nA shadowed, sheltered plaza just beyond the walls. The city gates lie open to the south. On the far side, the road continues as a staircase continuing up the mountain north into the town proper.\n\nThe sides of the square are crowded with the small stone buildings you saw dotting the mountain from below.\n\nAlong the eastern side is a wooden structure with a thatched roof. From the look and smell, you would guess it a stable.\n\nAt the center of the plaza is a stone basin, filled with rainwater.\n\n> You examine the buildings\nDiahl seems made of nothing more than narrow streets between crowded buildings, built in tiers one upon the next, all the way to the peak to the north. It will not be as easy to find your way through here as you'd hoped.\n\n> You go east\nThe dimly-lit wooden interior is barely visible, given the only illumination is a lantern on the floor at the center of the room. In the darkness beyond, you can hear the snuffling and shifting of what must be two or three horses.\n\nHuwen stands here, contentedly munching sweetgrass.\n\nA woman - clearly the hostler - stands beside the lantern.\n\n> Go west\nA shadowed, sheltered plaza just beyond the walls. The city gates lie open to the south. On the far side, the road continues as a staircase continuing up the mountain north into the town proper.\n\nThe sides of the square are crowded with the small stone buildings you saw dotting the mountain from below.\n\nAlong the eastern side is a wooden structure with a thatched roof. From the look and smell, you would guess it a stable.\n\nAt the center of the plaza is a stone basin, filled with rainwater.\n\n> You go west\nYou can't go that way.\n\n[From here, you can go north, south and east.]\n\n> You look at the notebook\nOn the notebook's front page, you have made a list of tasks remaining to you:\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nThere is writing -- Adar's doggerel -- on the inside cover.\n\nYou could ask about the murder.\n\n> You go to the north\nYou head onward until you reach...\n\nThis has the feel of a market square, though either the season or the day is wrong as there is not a stall to be seen. The town extends in all directions - narrow streets run further up the mountain to the north, along its slopes to the east and west, and back towards the valley to the south. You do not know the town well enough to say where to go from here.\n\nThe town's Hall of Records lies on square's northeast corner.\n\n> Go east\nUnsure how to proceed, you wander the narrow streets blindly, until you come to...\n\nThe road crests a particularly steep hill here, pausing as if to rest. You have reached what seems the outskirts of Diahl, even though the walls and mountains continue northward from here. To the northeast, the smooth paved stone gives way to a dirt track which continues along the plateau.\n\nA squat, solid edifice sits to the southwest.\n\nSeated on the steps of the building, a smoking pipe in his hand, sits a grey-haired man.\n\n> You examine man\nHe looks to have all the time in the world, with nothing more to do than smoke his pipe and watch the clouds and the mountain. The silvered ring on the fourth finger of his left hand marks him as one given auctorias by the empire - colloquially referred to as\nan elder.\n\n> You speak to the ELDER\n[If you're trying to talk to someone, you might try ASK ELDER\nABOUT something, the traditional conversation syntax. Type ABOUT to see if this story offers more detailed instructions for\nconversation.]\n\n> Greet the ELDER\nYou are already talking to the elder.\n\nYou could make small talk, ask about Diahl or officially identify yourself to the elder.\n\n> You make the small talk\n\"It's a lovely evening,\" you note.\n\n\"It is,\" he replies, his face and tone expressionless.\n\nYou could ask about Diahl or officially identify yourself to the elder.\n\n> You ask about the diahl\n\"What can you tell me of your lovely town?\"\n\nHe chuckles. \"Lovely? One word of it I wouldn't have thought of.\" He shrugs. \"It's old. It's been here for an age. Will most likely be here for an age longer.\"\n\nYou could ask about a place to stay or officially identify yourself to the elder.\n\n> You ask about a the place to stay\n\"Do you know a place I could stay for the evening?\"\n\n\"Not much call for it, to be honest. Visitors usually arrange such with a local house, beforehand. You'll have some trouble finding any, I think.\"\n\nYou could officially identify yourself to the elder.\n\n> You identify myself\nYou motion to the badge, hold yourself erect and take a deep breath. \"By the auctorias invested in me by the empire, I hereby\nidentify myself officially as an agent of the Apostasy, and demand all rights and assistance to be granted to such.\"\n\nHe blinks at you a moment, then sighs. \"Aye. I suppose that's valid. You from the Brotherhood of Disbelief, then? We don't often see your like hereabouts.\"\n\n\"Yes,\" you reply, \"though that is not the official...\"\n\nHe waves off your protestations. \"We're not much for officialdom here, to be honest. It'll do.\"\n\nYou could say you are here because of a murder.\n\n> You examine notebook\nOn the notebook's front page, you have made a list of tasks remaining to you:\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nThere is writing -- Adar's doggerel -- on the inside cover.\n\nYou could say you are here because of a murder.\n\n> You say i am here because of a the murder\n\"I am here to investigate a murder.\"\n\nHe blinks at that. \"A murder? Here? Never heard of anything so...\" He trails off.\n\n\"Yes?\"\n\nHe shakes his head. \"You must mean Camael. Fell down the mountainside, climbing like a fool.\" He waves northward at the peak about the town. \"'Twas an accident.\"\n\n\"You may think so. Still, I am here to investigate.\"\n\nHe looks as if he will argue for a moment, then sighs and taps his pipe. \"I...I'll ask around. I can give you something tomorrow, mayhaps.\"\n\nYou could ask who was murdered or ask about a possible cult link.\n\n> You look at notebook\nOn the notebook's front page, you have made a list of tasks remaining to you:\nOfficially present self to local elder or elders.\nGain housing. (Demand obesance, if necessary?)\n(What of Silenus?)\n\nThere is writing -- Adar's doggerel -- on the inside cover.\n\nYou could ask who was murdered or ask about a possible cult link.\n\n> You ask about the cult\n\"And there was no connection to...worship in this? No evidence of a cult?\"\n\nHis shock deepens. \"A...c....ult?\" he stammers. \"No. Never. Sir. I swear to you, never would any...\"\n\nYou raise a hand and he falls silent. \"Of course. But I have to ask these things.\"\n\nHe nods and shudders.\n\nYou could ask who was murdered.\n\n> You ask who was murdered\n\"Tell me what you can of Camael.\"\n\nHe sighs. \"He was boy - barely a man. Sweet-natured. Never a bother. They'd already lost his mother, poor boy. His father has nothing now.\" He sighs again. \"I'll...I'll ask after him. I'll have something for you tomorrow.\" His shock at the implication of the boy's death as murder seems genuine."
    },
    {
        "text": "> You look around\nThe road crests a particularly steep hill here, pausing as if to rest. You have reached what seems the outskirts of Diahl, even though the walls and mountains continue northward from here. To the northeast, the smooth paved stone gives way to a dirt track which continues along the plateau.\n\nThe elder's home sits to the southwest.\n\nSeated on the steps of the building, a smoking pipe in his hand, sits the town's elder.\n\nYou could officially identify yourself to the elder.\n\n> You identify myself\nYou motion to the badge, hold yourself erect and take a deep breath. \"By the auctorias invested in me by the empire, I hereby\nidentify myself officially as an agent of the Apostasy, and demand all rights and assistance to be granted to such.\"\n\nHe blinks at you a moment, then sighs. \"Aye. I suppose that's valid. You from the Brotherhood of Disbelief, then? We don't often see your like hereabouts.\"\n\n\"Yes,\" you reply, \"though that is not the official...\"\n\nHe waves off your protestations. \"We're not much for officialdom here, to be honest. It'll do.\"\n\nYou could say you are here because of a murder.\n\n> You say you're here because of a the murder\n[You will need to be more specific. Try typing LOOK to get a description of your surroundings.]\n\n> You say i am here because of a the murder\n\"I am here to investigate a murder.\"\n\nHe blinks at that. \"A murder? Here? Never heard of anything so...\" He trails off.\n\n\"Yes?\"\n\nHe shakes his head. \"You must mean Camael. Fell down the mountainside, climbing like a fool.\" He waves northward at the peak about the town. \"'Twas an accident.\"\n\n\"You may think so. Still, I am here to investigate.\"\n\nHe looks as if he will argue for a moment, then sighs and taps his pipe. \"I...I'll ask around. I can give you something tomorrow, mayhaps.\"\n\nYou could ask who was murdered or ask about a possible cult link.\n\n> You ask who was murdered\n\"I understand. But at least tell me what you can of Camael.\"\n\nHe sighs. \"He was boy - barely a man. Sweet-natured. Never a bother. They'd already lost his mother, poor boy. His father has nothing now.\" He sighs again. \"I'll...I'll ask after him. I'll have something for you tomorrow.\" His shock at the implication of the boy's death as murder seems genuine.\n\nYou could ask about a possible cult link.\n\n> You ask about the link\n\"And there was no connection to...worship in this? No evidence of a cult?\"\n\nHis shock deepens. \"A...c....ult?\" he stammers. \"No. Never. Sir. I swear to you, never would any...\"\n\nYou raise a hand and he falls silent. \"Of course. But I have to ask these things.\"\n\nHe nods and shudders.\n\n> You ask about the housing\n\"As an agent of the Apostasy, I may demand obesance, in the form of indefinite housing...\"\n\nHe nods. \"Aye. No need to go on.\" He rummages in his coat for a long moment, produces a brass key and points to the northeast. \"That way, up the track, to the mountainside,\" he says as he hands the key to you. \"It's not much, but it'll keep the rain off.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na brass key\nyour pack\nyour bag (open)\na letter\nThe Book of Lies\na grey badge\nyour notebook\n\n> Go northeast\nAn open patch of land marks the point where the plateau ends, with the mountains' highest peaks continuing in a continuous wall to the north.\n\nIn marked difference to the close-built stone buildings in town, a wooden hut with a thatched roof stands alone.\n\nA pile of stunted stones lies just near the hut.\n\n> You examine the stones\nIt was once a polylith of some kind - a dolmen, perhaps, at its center with a circle of standing stones about. All that remains are the stunted bases of the original stones, clearly razed and destroyed after the War. Near one of the larger bases sits a loose chunk of stone.\n\n> You get the chunk\nYou slip the loose stone from the larger pile.\n\n> You look at the chunk\nA hunk of stone the size of your closed fist.\n\n> You check what you're carrying\nYou are carrying:\na stone\na brass key\nyour pack\nyour bag (open)\na letter\nThe Book of Lies\na grey badge\nyour notebook\n\n> Unlock hut\n[What do you want to unlock the hut door with?]\n\n> Key\nYou unlock the hut door.\n\n> You open the door\nYou open the hut door.\n\n> Enter\nThis is little more than four walls and a leaky ceiling set against the elements. It says something of what Dhial thinks of the Apostasy and the Brotherhood that this is where they would place the likes of you.\n\nThe bare dirt floor of the hut holds nothing more than a cot, shoved into one corner.\n\nAfter finally reaching this place after the seeming endless journey up from the valley, then up through the town, you feel a wave of exhaustion wash over you. In its wake, the idea of sleep seems irresistable.\n\n> Sleep\nYou have not been lucid since your last night in the capital. Part of you wondered if you ever would be again. But as the walls of the hut fade from view, you feel yourself falling to that place that lies at the center of your being. Then, with the smooth transition of a dream, all about you arises the endless expanse of...\n\nIt has been grey here for as long as you can remember. You think it was before they taught you of it, when you came here without knowledge of what it was. The featureless expanse reaches from horizon to horizon, the grey above it only slightly lighter than the grey below.\n\nYou sense more than see the slight perturbations in the plane, one in each of what you think of as the cardinal directions. Three - north, east, and west - are morphological: an echo of Diahl to the west, a memory of home to the north, and...to the east -- yes, it definitely is. The familiar sensation of Silenus.\n\nTo the south lies a grey sea, making itself visible only in its motion. Your true body and the emptiness of sleep lies in its waiting arms.\n\n> Go south\nSleep will be good. To not be for a time will be good. You step into the waves and fall beneath them, slipping from grey to black with a contented sigh.\n\n[Here ends the INTROCOMP version of THE CUCKOLD'S EGG. Thank you\nvery much for playing.]\n\n> You go east\nThis was not here the last time. Then again, neither was Silenus...\n\nHere the grey lightens and hardens until it is pure white marble beneath your feet, inlaid with precious stones and pieces of mirror. A raised path, also of marble, leads to the center. Beyond it, to the east, five arches are sketched into perilous existence.\n\nThe path ends in a platform of deep red brick, topped in marble. Upon the platform is a wrought iron table.\n\nSeated at the table, as if nothing has happened and no time has passed, sits Silenus, shuffling and laying out a deck of cards.\n\n\"Ah here he is now, the good Brother,\" it says, looking up from its task as you approach. \"Following each and every one of Jumaht's commands with the constancy of a trained sheepdog.\" It gives the impression of a wry smirk. \"Good boy. Sit. Stay.\"\n\nYou could insult it back, say to it orders are important or ask where it has been.\n\n> You examine Silenus\nA vaguely human shape, as grey as the Quarter itself. Though it has no specific features, you have somehow never had an issue with understanding it, as if the implication of a glance or a frown were enough.\n\nYou could insult it back, say to it orders are important or ask where it has been.\n\n> You ask where it has been\n\"Where have you been, then? I wondered where you had gone!\"\n\nIt manages to look surprised. \"What are you talking about? I've been here. As I always have. It's not like I could go anywhere if I liked!\" It returns to its cards.\n\nYou know that is not true. Yes, you have not managed to reach lucidity since your last night in the capital, but you lost track of Silenus long before then. The implications of this are disturbing: either Silenus is lying - which is, to your knowledge, impossible - or it cannot remember disappearing.\n\nStill, this is the most coherent you have ever seen Selenus. You do not know if that is a good or a bad thing.\n\nYou could ask about this place, ask how it is feeling or ask about the cards.\n\n> You ask about this the place\n\"And what is this place, then? Did you fetch it and bring it with you?\"\n\nIt seems surprised at the question, then looks around as if seeing its surroundings for the first time. \"It is... it is...\" It places a hand to its head. \"I know this. I've seen this. It is...\" It looks up at you, seemingly proud. \"The Palace of Mirrors, of course!\" it says, as if giving you the answer you had expected all along.\n\nYou have never heard of any such place.\n\nYou could ask how it is feeling or ask about the cards.\n\n> You ask how it is feeling\n\"And how are you feeling?\"\n\n\"What an odd question. Feeling? That's what your sort do. Or at least, when you're ludic, you do.\"\n\nYou chuckle at its confusion. \"Lucid, Silenus. I think you mean lucid.\"\n\nIt manages to blink at you. \"Truly? Lucid.\" It tries the word in its mouth. \"Lu-cid. Huh. A shame. Only when you're lucid, then.\"\n\nYou could ask about lucidity or ask about the cards.\n\n> You ask about the the cards\n\"And what are you doing, then? What are the cards for?\"\n\n\"I am trying to remember how to play shisheh,\" it says,\nvaguely pushing the cards about. \"Four and four and six and ten. Roods and stones and stars and beasts. Lords, ladies, knights, dames. I've all the pieces. But none of them fit.\"\n\nYou could ask about lucidity or ask about shisheh.\n\n> You ask about shisheh\n\"And what is shisheh?\"\n\nIt pauses a long moment, then lets the card in its hand drop to the table. It picks it up and looks at it as if it doesn't recognize what it is. Then it places it down and begins shuffling and moving the deck again. \"Glass. It means glass. Broken. A game.\" It sighs. \"But I can't seem to remember how to play.\"\n\n> You read the notebook\n[That's not something you can see now, or I misunderstood\nyou.]\n\n> You ask about this the place\n[Most connecting and comparative words are not necessary.]\n>ASK ABOUT PLACE\nThat doesn't seem to be a topic of conversation at the moment.\n\n> You go west\nIt has been grey here for as long as you can remember. You think it was before they taught you of it, when you came here without knowledge of what it was. The featureless expanse reaches from horizon to horizon, the grey above it only slightly lighter than the grey below.\n\nYou sense more than see the slight perturbations in the plane, one in each of what you think of as the cardinal directions. Three - north, east, and west - are morphological: an echo of Diahl to the west, a memory of home to the north, and a structure containing the entity Silenus to the east.\n\nTo the south lies a grey sea, making itself visible only in its motion. Your true body and the emptiness of sleep lies in its waiting arms.\n\n> You go west\nYou are surprised that Diahl has made such a strong impression so quickly as to appear here, even slightly...\n\nIt was after watching Adar sketch that first time (the pencils staining his long, thin fingers, the scratch of the nibs being drawn across the parchment) that you realized the structures here were of a like: impregnations of pigment against a blank canvas. The beginnings of a new piece are here: the arch of the town's gate, the long curve of the road into the valley.\n\nYou expect this place to fill with memories soon, though not your own. You have not Walked in the ripples of another's wake in some time, but you expect it to become common place once more before this task is ended.\n\n> Go north\nWhen you first began your studies and came to this place, it was cluttered beyond comprehension: certainties, biases, treasures and trash and failures and successes of all kinds. Through long study and a good deal of work, you slowly cleared it all, from the attics down to the deepest sub-basement. Then you began the task of dismantling the building itself...\n\nThere is nothing here, really, but the idea of a home. It most closely resembles a hastily drawn sketch of the Brotherhood's Hall, back in the capital. Perhaps someday there will be something more to see here: some memory to turn over and examine, some problem or conundrum to consider. But for now, the emptiness of the place feels like a very good thing, indeed."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic, science fiction]\n\nThe dropship sways dangerously as the pilot trys to correct for slipstream effects. Clutching the thin monofilament line doesn't do a lot for your stability, but at least it helps you concentrate. You risk a glance below - stupid thing to do, really, at this height, even after taking the anti-vertigo treatment - and you're rewarded with a glimpse of the ruins. Tantalisingly close, almost totally preserved. After all these years, to finally reach an intact Ancient site -\n\nThe line shears in your fingers, and in sudden slow-motion horror you watch the buckle, the support harness, your entire equipment pack come wrenching up and over your arms. The debris dangles gracefully in midair for the longest moment, then slides away out of reach as gravity takes over.\n\nYour involuntary scream, drowned in the wind, turns to a jerking gasp as you fall through the jungle tree cover, rolling, sliding, and finally landing with a thud on solid ground -\n\nThe ground of the Ancients!\n\n\n\nThis appears to be some kind of courtyard in the centre of an Ancient dwelling. The building itself swings around to the north and west, terminating in a crumbling retaining wall due south. A smaller domed construction opens to the northeast, through a wide metal door (closed). To the east is a flat space that could bear further exploring.\n\nYou hear a high-pitched decelerating whine -- a dropship turbine in trouble -- from the northeast, followed by a dull roaring crash. Just in time, you duck and cover your eyes. Blue-white light etches across the landscape, then the gravity blast wave hits. Every molecule in your private universe shudders.\n\nA minute later, you get to your feet, pain gnawing your body. Scratch one dropship; nobody could have survived that crash. Scratch your equipment. Now it's just you, your wits - and the Ancients. Hope you're as good a xenohistorian as you claimed at the Institute. Because unless you find some kind of way out of here, it could be months before a recovery team locates you.\n\n[Author's Note: You play as a xenohistorian on an expedition. You've been dropped (more literally than you planned) by a dropship over the ground of the Ancients. Your equipment was scattered and the dropship crashed. Now it's just you, your wits, and the Ancients to help you find a way home.]\n\n> You examine myself\nYou're a world-renowned xenohistorian and student of Ancient artifacts. And you're in reasonably good shape, given the mess this field trip has turned into.\n\n> You check your inventory\nYou are empty-handed.\n\n> You go east\nYou're standing in a square area of neatly trimmed green lawn, shimmering faintly in the afternoon light. To the west, the lawn gives way to courtyard, and beyond it to the west and north are buildings. An odd, paved rectangular depression in the ground leads down to the southeast; the encroaching jungle vegetation further back is kept at bay by a barrier of translucent sheeting.\n\nSomething about the scene gives you a sudden tingle of recognition, a surge of awe. As if you're walking into a legend.\n\n> You go southeast\nYou're standing in a concrete rectangle set into the ground, paved with a grey substance, probably stressed concrete. It's recognisable as a swimming pool, a popular Ancient recreation fixture. Whatever water was once here has long since drained away, probably through the outlet grate set centrally in the pool's floor.\n\nYou see a bright orange object here.\n\n> You examine the object\nIt's a bright orange polymer casting, moulded in the shape of a spiral disk. A tiny legend on the now faded material reads, in the Ancient language, FRISBEE (tm) HELIPTA.\n\n> You take the frisbee\nTaken.\n\n> Inventory\nYou have a Frisbee Helipta.\n\n> You throw Frisbee\nThe Frisbee Helipta spins furiously as it leaves your hand, hovers briefly before shooting straight up into the air, then glides in a graceful spiral back into your hand. Reminds you of a a modern dropship in flight.\n\n> You look at the grate\nIn the outlet grate you see a set of cards.\n\n> You take the cards\nWith some difficulty, you fish the set of cards out of the outlet grate. Taken.\n\n> You examine the cards\nIt's a set of card-sized holographic images, in full colour, printed on some kind of synthetic backing material which has survived immersion in a pool of water for years. Flicking through the holos, you see images of an Ancient family seated in an aerial vehicle; a young girl, holding what looks like a fabric toy; the same girl, a little older, throwing an orange disklike object; the family again, together, around the pool; the girl, older yet, examining a blade of grass with an optical instrument. Definitely, this is an important xenohistorical artifact.\n\n> You examine the barrier\nThe barrier is a thin, translucent film, resembling modern polycarbon alloys. Possibly an early form of monomolecular diamond; if so, it confirms some of your theories about the development of Ancient materials handling. It stands nearly three metres high, forming a protective wall across the entire south and east edges of the lawn area.\n\n> You look at the lawn\nThe lawn grass radiates a pale green glow.\n\nYou suddenly realise what it is that struck you about the lawn. It's glowing! And it's _completely untouched._ The chill works deep into your spine. This is a find so staggering, you'd never thought it possible.\n\nGlowgrass. One of the earliest successes of Ancient genetic engineering. A simple enough idea; graft firefly genes into the DNA of common lawn grass. Primitive tests on tobacco plants had proved the concept worked; the rest was only a matter of commerce. (Ancient economic theory was strange in many ways, but you're as well informed as any modern scholar can be).\n\nAnd by the end of the Ancient era, almost every family home had its glowgrass lawn. You picture children playing on the soft shining green mat, imagine the laughter and music of a vanished age. An age of ghosts, legends, heroes.\n\nOne small clump of grass, growing alone by the concrete edge, attracts your attention; it would make a perfect scientific specimen for the Institute.\n\n> You take the clump\nTaken.\n\n> You examine clump\nIt's a clump of glowgrass, unchanged since the Ancient era. The tiny green blades glow with a pale green light.\n\n> Smell clump\nIt smells just like a clump of glowgrass.\n\n> You go west\nThis appears to be some kind of courtyard in the centre of an Ancient dwelling. The building itself swings around to the north and west, terminating in a crumbling retaining wall due south. A smaller domed construction opens to the northeast, through a wide metal door (closed). To the east is a flat space that could bear further exploring.\n\nYou briefly catch a metallic glimmer from the top of the wall.\n\n> You examine the glimmer\nThe object looks metallic, and out of place in the vegetation above the wall. It could - you hardly dare to hope - could be a piece of equipment from your pack, but you can't tell which one from this distance.\n\n> You examine the ship\nThe dropship is gone, crashed somewhere nearby in the jungle. Another casualty of these local slipstream winds. The critics at the Institute were right; you were lucky to get this far alive.\n\n> You get glimmer\nThe metallic object is too high to reach with your hands alone. Perhaps you could find something to help you get it down.\n\n> You examine the glimmer\nThis is definitely a piece of your equipment. It's a magprobe, a silvery rod about ten centimetres long and half a centimetre wide.\nThe ceramic inductors inside are crude, useless for interfacing with any modern technology, but sufficient to manipulate small ferromagnetic devices.\n\n> You open the northeast door\nThe door appears to be locked, using a simple ferromagnetic latch from the middle Ancient period. Perhaps the magprobe might prove useful here, after all.\n\n> You use the probe\nTry unlocking something with it.\n\n> You unlock the door with probe\nAfter a few minutes of careful manipulation with the magprobe, you feel the door's magnetic contacts click open. You breath a sigh of relief; those hours of studying Ancient artifacts at the Institute training finally paid off.\n\n> You open door\nThe wide metallic door slides upward, creaking a little, and clangs jerkily to a halt.\n\n> Go northeast\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently closed, leads west to to whatever mysteries lie within the main building.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\nGlancing around the dome, your spirits rise a little. Your initial orbital scan of the site has proved accurate; the building is intact. And if the living quarters are as well-preserved as this... then who knows what treasures you might find?\n\n> You look at the vehicle\nYou recognise the Ancient vehicle from Institute file fragments. If this one is anything like the reconstructions you examined, it uses a solid-state power cell to jumpstart deuterium-hydrogen fusion, ejecting its clean-burning fuel directly as accelerated reaction mass. A clumsy system, compared to today's gravitic drives, but possibly more reliable in the short term. The skycar's sleek angular lines are marred by ugly thermal scars, as if the vehicle was caught in some kind of blast before being landed here. An entrance hatch in the vehicle's side is closed.\n\nLooking at the skycar, you feel a surge of hope. Despite the vehicle's age, it seems intact. Maybe, if you could somehow get it to work...\n\nThe thought dies as quickly as it came. Stupid idea. You have no idea how to fly the thing, and who knows what parts are missing?\n\n> You open hatch\nAt a touch from your hand, the skycar's entrance hatch swings open.\n\n> You look in\nWhat do you want to look in?\n\n> You enter the car\nYou step into the vehicle.\n\nSkycar, in vehicle dome\nThe interior of the skycar is fairly cramped compared to a modern altiwing or dropship. There's a control console directly in front of you, and a viewshield through which you can see the vehicle dome. The exit hatch to your side is open; in the rear of the car is an access panel (currently closed).\n\n> You look in the Skycar\nYou're in the skycar; it's all around you.\n\n> You open the panel\nOpening the access panel reveals a power cell, a corroded metal coil, and a triangular hole.\n\n> You examine the hole\nIt's a triangular hole, with what looks like some kind of one-way filter or valve beneath it. It's inscribed with a teardrop symbol.\n\n> You look at the coil\nIt's a thin coil of some heavily corroded metal, about ten centimetres long and three across.\n\n> You examine the symbol\nWhich symbol do you mean, the green button, or the triangular hole?\n\n> You leave\nYou step out into the vehicle dome.\n\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently closed, leads west to to whatever mysteries lie within the main building.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\n> Go west\nYou'll have to open the western door first.\n\n> You look at cube\nThe cube is black and nearly featureless, apart from a blue button marked with a lightning bolt symbol, a hexagonal socket, and a ten-centimetre disk slot. There's a yellow disk in the slot. Black words embossed on the cube's polymer face spell out the legend \"Sonjitsu 2100 Immersive Entertainment System\", whatever that means.\n\n> You press the blue button\nThe button clicks, but nothing happens. The device doesn't seem damaged; perhaps it requires an external power supply.\n\n> Examine hexagonal\nThe socket is hexagonal, about two centimetres across. It's probably designed to take some kind of cable.\n\n> You examine the sculpture\nThe floor sculpture seems to be formed from some transparent semi-plastic polymer, poured into a web of interlocking fractal loops and twists. It stands about half a metre high and two metres around, and gives softly when you touch it. As a sculpture it's quaintly beautiful, in an abstract kind of way; but you sense there's some further purpose to it. Perhaps the fact that it's in a direct line of sight to the black cube might mean something.\n\n> You sit on the sculpture\nOf course! That's what it is - a seating device! Okay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\n> You check what you're carrying\nYou have a set of holograms, a clump of glowgrass, and a magprobe."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic, science fiction]\n\n> Describe the surroundings\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\n> Go west\nJudging from the stark utility of this room, compared to the airy spaciousness of the living area, it's a service or preparation area. Possibly a kitchen for food, though from its role in Ancient legends you'd pictured a more warming aura than this. Metal alloy surfaces, their function unknown, line the walls; the only exits are east and southwest.\n\nYou see a printout here.\n\n> Go southwest\nThis is a soothing, white-walled chamber with soft rounded surfaces, much like being inside an egg. From your knowledge of Ancient social mores, it's likely to be a personal cleansing area. There is a blue lens embedded in the western wall, with a placard above it, and a white vat standing opposite it. Round curtained apartures lead northeast and southeast.\n\n> You read the placard\nEnviroMaster UV showerhead. For a guaranteed sterile environment. WHOSIC Green certified.\n\n> You look at the lens\nThe blue lens is embedded into the wall of the chamber. It looks like some kind of light based cleansing device, now non-functional.\n\n> You examine the vat\nThe vat is white, about fifty ventimetres high, and sealed, although it seems to be filled with liquid. You could probably lift it with both hands. There is a label on one side and a small tap near the bottom.\n\n> You look at the label\nHydroSource Sterile Water Supplies. Europe's Number One for quality and protection. WHOSIC Green certified.\n\n> You examine tap\nIt's a mechanical device for controlling the flow of liquid out of the vat, with a triangular mouth. You would probably have to put the tap into some receptacle, then open it, to get the liquid, otherwise it would be wasted.\n\n> You go northeast\nJudging from the stark utility of this room, compared to the airy spaciousness of the living area, it's a service or preparation area. Possibly a kitchen for food, though from its role in Ancient legends you'd pictured a more warming aura than this. Metal alloy surfaces, their function unknown, line the walls; the only exits are east and southwest.\n\n> You go to the south-west\nThis is a soothing, white-walled chamber with soft rounded surfaces, much like being inside an egg. From your knowledge of Ancient social mores, it's likely to be a personal cleansing area. There is a blue lens embedded in the western wall, with a placard above it. Round curtained apartures lead northeast and southeast.\n\n> You look at the placard\nEnviroMaster UV showerhead. For a guaranteed sterile environment. WHOSIC Green certified.\n\n> Go southeast\nSome things never change over the ages. This looks like a room for rest and sleeping - there's a polymer mattress on the floor, moulded as a single unit and still intact. The walls are covered with colourful images, presumably icons from Ancient culture; there's years of work here for a psycholinguistic team alone. Doorways lead northeast and northwest.\n\nBut the immediate sight that catches your eye - and your breath - is what's sprawled on the mattress. A young Ancient skeleton, complete and fully preserved. You can barely keep from trembling.\n\n> You examine the images\nWhich images do you mean, the set of holograms, or the wall glyphs?\n\n> You examine the skeleton\nWith icy stabs of excitement coursing down your spine, you bend over the sad remains to examine them more closely.\n\nThe skeleton is moderately sized, but smaller than recent digs and salvaged files indicate was normal for an Ancient adult; this was almost certainly a young female. She lies on the bed crouched in a fetal position, her arms twisted as if shielding her face from intense pain. There is no obvious evidence of external injury, but the odd displacement of joints in the upper and lower limbs, along with deep cracking of the bone structure, suggests violent muscular spasms as she died. In her right hand, the woman clutches a small object; possibly some kind of electronic device, with leads running from the box in her hand to a headset draped across her skull.\n\nA gasp wells in your throat, as vividly you relive how it must have been; to suffer such agony, so young. For the first time you regret the empathic talent which led you to xenohistory. A moment later, the mood passes, leaving you still somehow chilled.\n\n> You examine the device\nThe device is possibly a recording or playback instrument of some kind; it has a slot for a ten-centimetre disk, a common Ancient data storage format. Words embossed into its polymer surface read \"Kodak Synapsit (tm) Neural Transfer System.\" Judging by the corrosion stains seeping from inside the device, it's completely non-functional. There's a green disk in the slot.\n\n> You examine the disk\nIt appears to be a thin metallic polymer disk around ten centimetres in diameter, with a green tint. You recognise the object from Institute files as an Ancient data storage device.\n\n> You look at the headset\nThe device is possibly a recording or playback instrument of some kind; it has a slot for a ten-centimetre disk, a common Ancient data storage format. Words embossed into its polymer surface read \"Kodak Synapsit (tm) Neural Transfer System.\" Judging by the corrosion stains seeping from inside the device, it's completely non-functional. The disk slot is empty.\n\n> You look at the holograms\nIt's a set of card-sized holographic images, in full colour, printed on some kind of synthetic backing material which has survived immersion in a pool of water for years. Flicking through the holos, you see images of an Ancient family seated in an aerial vehicle; a young girl, holding what looks like a fabric toy; the same girl, a little older, throwing an orange disklike object; the family again, together, around the pool; the girl, older yet, examining a blade of grass with an optical instrument. Definitely, this is an important xenohistorical artifact.\n\n> You take the headset\nThe skeleton is clutching the device so tightly, it would be impossible to remove without risking severe damage. You'll have to find another way of learning more about it.\n\n> You touch the skeleton\nNot likely. This is your most outstanding find yet, and every detail of the body's position is vital data. It would take a complete archeological forensics team at least a week to study and capture the remains before they felt at all comfortable with moving it, and even then it would be an emergency operation; you've got no equipment, not even a basic quantum chromodynamagraph.\n\n> You lie on the mattress\nIt would be impossible to sit on the mattress without disturbing the position of the skeleton."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic]\n\n> You look at your surroundings\nSome things never change over the ages. This looks like a room for rest and sleeping - there's a polymer mattress on the floor, moulded as a single unit and still intact. The walls are covered with colourful images, presumably icons from Ancient culture; there's years of work here for a psycholinguistic team alone. Doorways lead northeast and northwest.\n\nSprawled out on the mattress is a lone Ancient skeleton.\n\n> You look at the skeleton\nThe skeleton is moderately sized, but smaller than recent digs and salvaged files indicate was normal for an Ancient adult; this was almost certainly a young female. She lies on the bed crouched in a fetal position, her arms twisted as if shielding her face from intense pain. There is no obvious evidence of external injury, but the odd displacement of joints in the upper and lower limbs, along with deep cracking of the bone structure, suggests violent muscular spasms as she died. In her right hand, the woman clutches a small object; possibly some kind of electronic device, with leads running from the box in her hand to a headset draped across her skull.\n\n> Go northeast\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\n> Go east\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\n> Go southeast\nYou can only go east or southwest.\n\n> You go to the south-west\nThis is a soothing, white-walled chamber with soft rounded surfaces, much like being inside an egg. From your knowledge of Ancient social mores, it's likely to be a personal cleansing area. There is a blue lens embedded in the western wall, with a placard above it. Round curtained apartures lead northeast and southeast.\n\n> You look at what you're carrying with you\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, and a green disk.\n\n> You go inside\nYou step into the vehicle.\n\nSkycar, in vehicle dome\nThe interior of the skycar is fairly cramped compared to a modern altiwing or dropship. There's a control console directly in front of you, and a viewshield through which you can see the vehicle dome. The exit hatch to your side is open; in the rear of the car is an access panel (currently open).\n\n> You examine the panel\nThe access panel is open. In the access panel you see a power cell, a corroded metal coil, and a triangular hole.\n\n> You look at the coil\nIt's a thin coil of some heavily corroded metal, about ten centimetres long and three across.\n\n> You put tap in the hole\nYou hold the vat over the access panel and rest the tap inside the triangular hole. It fits neatly.\n\n> You look at the power cell\nThe solid state power cell, easily the most distinctive Ancient artifact of all, is a rectangular solid block around thirty centimetres tall and half as wide and deep. It's silver in colour, completely featureless apart from the logo \"Energiser (tm)\" and a hexagonal socket.\n\n> You open tap\nYou open the tap, sending liquid trickling into the triangular hole. After a few minutes, the vat is empty.\n\n> You look at socket\nThe socket is hexagonal, about two centimetres across. It's probably designed to take some kind of cable.\n\n> Inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a green disk, and a power cell.\n\n> Go west\nUnless you can fly this thing, you can only go out through the exit hatch.\n\n> You exit\n(first taking the white vat's tap out of the triangular hole)\nYou step out into the vehicle dome.\n\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\n> You put the cell in the socket\nWhich socket do you mean, the power cell's socket, or the cube's socket?\n\n> You attach the cell to cube\n[TADS-1026: wrong number of arguments to user function \"<NO SYMBOL TABLE>.<NO SYMBOL TABLE>\"]\n\n> You look at surfaces\nThe metal surfaces could have been used for storage, or perhaps manipulation, of food products. Most of them are open and empty, their contents gone. But one small vertical panel seems worth more investigation.\n\n> You look in\n(the storage cupboard)\nIn the storage cupboard you see a black cable and a white box.\n\n> You examine the cable\nThe cable is about two metres long, with hexagonal connectors at each ends. From your knowledge of Ancient technology, it seems likely to be some kind of data or energy transfer device.\n\n> Examine box\nIt's a small box made from some decay-resistant pressed fibre, possibly spun carbon or silicon. A label reads \"Surefire palladium ignitor coils, contents 6\". The white box is closed.\n\n> You check your inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a green disk, a power cell, a white box, and a black cable.\n\n> You connect the cable to the cell\nThe black cable plugs neatly into the power cell's socket. The other end of the cable remains free.\n\n> You connect the cable to the cube\n(first dropping the cable)\n(also dropping the power cell)\nThe black cable plugs neatly into the cube's socket, linking the black cube to the power cell.\n\n> You sit on the sculpture\nOkay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\nThe flicker of light and sound suddenly takes form, merging into an experience that swells through your mind.\n\nRainforest, in the sculptured chair\nTowering forest giants climb towards the green canopy that shades most of the sky. A soft trickle of mist falls on your face, as birds whistle and laughing monkeys scramble through the branches.\n\n> You look at the forest\nThe rainforest scene makes you feel calm and tranquil.\n\n> You examine the monkeys\nThe rainforest scene makes you feel calm and tranquil.\n\nThe scene suddenly changes."
    },
    {
        "text": "> Look around\nMartian Sunset, in the sculptured chair\nOn the lip of a giant crater, you watch as an ochre sun shimmers over a red dust horizon. Below, in a diamond-walled biodome, trees and small scrub bushes grow amid atmosphere towers and lidar dishes.\n\n> Wait\nTime passes...\n\n> You examine the lidar\nThe Martian scene makes you feel both proud and insignificant.\n\nThe scene suddenly changes."
    },
    {
        "text": "> You look around\nCoral Reef, in the sculptured chair\nYou're gliding through an underwater sanctuary, as shoals of brightly coloured fish dart away through the wrecks of Spanish galleons.\n\n> You look at the fish\nThe reef scene makes you feel peaceful and adventurous.\n\n> You examine the galleons\nThe reef scene makes you feel peaceful and adventurous.\n\nThe scene suddenly changes."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You describe your surroundings\nAntarctic Sunrise, in the sculptured chair\nMountains of ice crumble with a booming crack as bright sunlight shines over blue and purple glaciers. A cold wind sends shivers through your padded survival suit.\n\n> You look at ice\nThe Antarctic scene makes you feel awed and intrigued.\n\nThe scene suddenly changes."
    },
    {
        "text": "> Look around\nOffice Tower, in the sculptured chair\nYou're alone in an expensive office suite, looking out over a city skyline. White letters hovering in mid-air say, \"TransDex Immersive Studios presents The Relaxation Trip Volume III. For our full executive stress management series, link to vr.transdex.immersive.com.eu.\"\n\n> Wait\nTime passes...\n\n> You examine the skyline\nThe office scene makes you feel tense and stressful.\n\nThe scene suddenly changes."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic]\n\n> Describe the surroundings\nWheatfield, in the sculptured chair\nGolden waves of grain ripple into the distance across an endless prairie. An airship glides overhead, softly, casting a tiny black shadow over the ripened wheat.\n\n> You examine the airship\nThe airship glides majestically over the field.\n\n> You examine the grain\nThe field of grain stretches for miles in all directions.\n\nThe scene suddenly changes."
    },
    {
        "text": "> You describe your surroundings\nBeach, in the sculptured chair\nA beach of sparkling white sand stretches across the horizon, lapped by crystal blue water. Coconut palm fronds sway lazily in the soft warm breeze.\n\n> You examine the palm\nThe beach scene makes you feel warm and relaxed."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic]\n\n> You look around\nBeach, in the sculptured chair\nA beach of sparkling white sand stretches across the horizon, lapped by crystal blue water. Coconut palm fronds sway lazily in the soft warm breeze.\n\nThe scene suddenly changes."
    },
    {
        "text": "> Describe the surroundings\nRainforest, in the sculptured chair\nTowering forest giants climb towards the green canopy that shades most of the sky. A soft trickle of mist falls on your face, as birds whistle and laughing monkeys scramble through the branches.\n\n> You stand\nOkay, you're no longer in the sculptured chair. The image evaporates from your mind, leaving you slightly dizzy.\n\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nA tiny flicker of light and sound dances frustratingly around your vision.\n\nYou see a black cable (linking the black cube to the power cell) and a power cell here.\n\n> You stand\nYou're already standing!\n\n> You check what you're carrying\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a green disk, a white box, and a yellow disk.\n\n> You put green disk in the slot\nDone.\n\n> You sit\n(the sculptured chair)\nOkay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\nThe flicker of light and sound suddenly takes form, merging into an experience that swells through your mind.\n\nTwilight Lawn, in the sculptured chair\nThe neat square of grass shines with a pale green glow, almost as bright now as the last ray of sunset afterglow. Dark shapes of buildings loom comfortably all around, while evening stars, mere pinpoints of light, appear in the deep blue sky.\n\nA young Ancient girl stands in the middle of the lawn, shivering.\n\nYou take a sharp breath. The girl - she must be the same age as you judged the skeleton to be. So this is some kind of recording; perhaps the first ever complete personal diary of an Ancient!\n\n> You examine girl\nThe girl is young, probably in her late teenage years taking into account the difference in aging rates between Ancient and modern biochemistries. She has deep blue eyes and reddish-brown hair; you're struck by such an unusual colour, which is only accentuated by the black jumpsuit she wears. Perhaps it was once the colour of mourning, which would be appropriate given her manner. She looks up at the evening stars, unaware of you.\n\nThe girl winces as if controlling a surge of pain, looks up at the stars, and starts speaking.\n\n\"Tuesday. This'll be... ahh... my last entry. Six weeks since Quarantine. I think everyone... uhh... else must be dead. Infection's so... nngh... fast.\"\n\n> You wait\nTime passes...\n\n\"Took the 'car up this afternoon. Last chance to make... uuuhh.. a run for it. No sky patrols. Didn't realise, too late. They'd evac'ed the area. Sky went white, two suns. Never thought I'd see that and live. Dived to miss the firestorm but got... nnnng...\nheaps of rads in the, whatever, flash. Landed back home. No use running, I'm dead either way, nuke or plague. Lucky the house survived. Valley must've shielded it.\"\n\n> You look at the lawn\nThe lawn scene is strangely haunting.\n\nThe girl tenses, her whole body shuddering, and paces around the lawn.\n\n\"Anyway... no time left... getting the shakes real bad... hope this is recording okay. Pulled some 'stricted files off the net... crosswired neural inputs. Hyper illegal but that's hardly important... if it works maybe... someone will find it and... wish Mum and Dad had tried this... couldn't even find the other memory pack...\"\n\n> Wait\nTime passes...\n\nThe girl's image fluctuates, breaking up. Even the background wavers. \"Losing... it... pulse... overlo... no... don't want to die like...\"\n\nThe image suddenly clears. The girl freezes in mid-frame, jerks, collapses to the ground.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic]\n\n> Look around\nTwilight Lawn, in the sculptured chair\nThe neat square of grass shines with a pale green glow, almost as bright now as the last ray of sunset afterglow. Dark shapes of buildings loom comfortably all around, while evening stars, mere pinpoints of light, appear in the deep blue sky.\n\nThe body of a young Ancient girl lies sprawled on the lawn.\n\n> You look at the body\nThe paperlike substance appears to be a digital data service printout in the standard Ancient language, Ingles-2. Loosely translated, the headline reads: UNITED EUROPE NEWSWEB 2068.261.08.35 (the numbers could be either a date or location code). NUKES WON'T HALT GREEN PLAGUE - ERLMANN. An article, in closely printed body text, follows.\n\nSlowly, as if in a dream, the girl gets to her feet. Her image seems more chunky, less detailed than before.\n\n\"What...\" she manages. \"How...\" Then she sees you. \"Oh God!\" she whispers. \"It... I did it. I'm... Oh, God, no! I can't have been that stupid!\"\n\nThe girl turns to you, shivering for real now. She speaks the Ancient syllables so fast you can barely translate. \"Who are you? Where am I? What have you done to my mind?\"\n\n> You talk to the girl\nWhat do you want to talk to it about?\n\n> Hello\nNice weather we've been having.\n\n\"Who are you?\" repeats the girl, plainly terrified.\n\n> Hello\nThe girl listens wide-eyed while you try to explain who you are; an explorer from her future. It sounds strange, even to you. Her eyes lose some of their terror, but remains taut and wary.\n\n\"Marie\", she says. \"Marie Hyde. The lost.\"\n\nA tingling chill seeps deep into your bones, and you dimly realise that you're sweating. Neural transfer. A technology only crudely developed by the Ancients, but the potential would have been in place. Is it possible this girl was desperate enough to risk a full-mind simulation? To copy her entire soul to a machine?\n\nIf that's true, you've made the most stunning discovery of the millenium. This simulation you've awoken could be not just a recording - but an Ancient's living replica!\n\n> You ask the girl about Plague\n\"The Green Plague was the worst bio-disaster in history,\" says Marie, shivering. \"Worse than XIT or the Carbon Flu. It wiped out whole cities. Probably the world, for all I know. I don't know how it started. Maybe a geneering accident. Or a weapon that got loose. It usually caused death within days.\" She looks over her shoulder, and crosses her arms over her chest. \"That's how I died. Funny, I always used to pity the survivors.\"\n\n> You ask Marie about Marie\nMarie's eyes flash. \"I'm a figment of a computer's imagination, and I'm trapped here in a vee-ar sim forever. My parents are dead and my world is probably extinct. Otherwise, I'm just fine. Why should you care?\"\n\nMarie looks around, cautiously. \"I wish I could see something,\" she says. \"Something from home. To prove it's not just a dream.\"\n\n> You show Marie the the Glowgrass\nMarie looks at the clump of glowgrass, wonder in her eyes. \"The grass,\" she says. \"You found some. It's still there.\" Her eyes turn pixelised, beyond the capacity of the simulation to render them. \"I used to dream of this as a child. They were always good dreams.\"\n\nMarie seems to relax a little, but still remains cautious.\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You show her the the holograms\nMarie looks at each of the holograms in turn, tears forming in her simulated eyes. \"Yes,\" she says. \"That was me. That was my life.\"\n\nMarie seems to relax a little, but still remains cautious.\n\n> You show holograms to Marie\nMarie looks puzzled. \"You've already shown me that.\"\n\n> You check your inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a white box, and a yellow disk.\n\n> You show the printout to her\n\"That's old news,\" says Marie. \"Everything's changed a lot since then.\"\n\n> You show the printout to Marie\n\"That's old news,\" says Marie. \"Everything's changed a lot since then.\"\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You ask Marie about the nukes\nMarie is silent for a moment. \"Yeah, they nuked us,\" she says. \"It was the only thing they knew that would stop the Plague.\" She looks around the room, and shivers. \"I guess it must have worked, in the end. But I'm not one of the lucky survivors.\"\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You show the vat to Marie\n\"It's just a vat of sterile water,\" says Marie. \"Might be useful.\"\n\n> You ask Marie about the car\nMarie's eyes cloud with suspicion. \"And why would you be interested in our family skycar? I'll tell you this much. It won't start without a password. But I'd have to trust someone a lot before I let them know the code.\"\n\n> You ask Marie about Erlmann\n\"President Erlmann? He's the American president who authorised the use of nukes against the Plague,\" says Marie. \"I don't blame him. I guess he had no choice.\"\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You ask Marie about Frisbee\n\"Sounds like a Frisbee Helipta (tm) to me,\" says Marie. \"I'd like to see that.\"\n\n> You show the box to Marie\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a white box, and a yellow disk.\n\nMarie shrugs, indicating either ignorance or unwillingness to answer."
    },
    {
        "text": "[Themes: Science Fiction, post-apocalyptic]\n\n> You look around\nTwilight Lawn, in the sculptured chair\nThe neat square of grass shines with a pale green glow, almost as bright now as the last ray of sunset afterglow. Dark shapes of buildings loom comfortably all around, while evening stars, mere pinpoints of light, appear in the deep blue sky.\n\nThe young Ancient, Marie, stands facing you, her eyes wary.\n\n> You kiss her\nMarie slaps you. \"I didn't kiss strangers when I was alive,\" she says. \"Why should I start now?\"\n\n> You ask her about the sculpture\nMarie smiles. \"It's a nice chair.\"\n\n> You ask her about yourself\nMarie listens as you explain again who you are and how you came to be here.\n\"I believe you,\" she says, but her eyes are troubled. \"Just leave me alone. I need to grieve.\"\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You stand\nOkay, you're no longer in the sculptured chair. The image evaporates from your mind, leaving you slightly dizzy.\n\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nA tiny flicker of light and sound dances frustratingly around your vision.\n\nYou see a black cable (linking the black cube to the power cell) and a power cell here.\n\n> Go east\nYou can only go west into the building or out to the southwest.\n\n> Go southwest\nThis appears to be some kind of courtyard in the centre of an Ancient dwelling. The building itself swings around to the north and west, terminating in a crumbling retaining wall due south. A smaller domed construction opens to the northeast, through a wide metal door (open). To the east is a flat space that could bear further exploring.\n\nYou see a Frisbee Helipta here.\n\n> You go to the east\nYou're standing in a square area of neatly trimmed green lawn, shimmering faintly in the afternoon light. To the west, the lawn gives way to courtyard, and beyond it to the west and north are buildings. An odd, paved rectangular depression in the ground leads down to the southeast; the encroaching jungle vegetation further back is kept at bay by a barrier of translucent sheeting.\n\n> You go west\nThis appears to be some kind of courtyard in the centre of an Ancient dwelling. The building itself swings around to the north and west, terminating in a crumbling retaining wall due south. A smaller domed construction opens to the northeast, through a wide metal door (open). To the east is a flat space that could bear further exploring.\n\n> You go west\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nA tiny flicker of light and sound dances frustratingly around your vision.\n\nYou see a black cable (linking the black cube to the power cell) and a power cell here.\n\n> You sit\n(the sculptured chair)\nOkay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\nThe flicker of light and sound suddenly takes form, merging into an experience that swells through your mind.\n\nTwilight Lawn, in the sculptured chair\nThe neat square of grass shines with a pale green glow, almost as bright now as the last ray of sunset afterglow. Dark shapes of buildings loom comfortably all around, while evening stars, mere pinpoints of light, appear in the deep blue sky.\n\nThe young Ancient, Marie, stands facing you, her eyes wary.\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You show Frisbee to Marie\nMarie looks at the Helipta. \"I remember this,\" she says with a trace of a smile. \"Throwing it on the lawn. I remember being young and alive.\"\n\nMarie seems to relax a little, but still remains cautious.\n\n> You look at Marie\nMarie is young, probably in her late teenage years taking into account the difference in aging rates between Ancient and modern biochemistries. She has deep blue eyes and reddish-brown hair; you're struck by such an unusual colour, which is only accentuated by the black jumpsuit she wears. The girl's image is chunky and pixellated, as if stretching the computational power of the projector system to its limit. She looks at you, taut and wary, an arm's reach away.\n\n> You throw Frisbee\nThe Frisbee Helipta spins furiously as it leaves your hand, hovers briefly before shooting straight up into the air, then hits the ceiling and tumbles awkwardly to the floor. Guess it wasn't designed for use indoors. Dropped. The Frisbee Helipta vanishes from the illusion.\n\nMarie looks around, cautiously. \"I wish I could see something else,\" she says. \"Something else from home.\"\n\n> You check your inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a white box, and a yellow disk.\n\n> You stand\nOkay, you're no longer in the sculptured chair. The image evaporates from your mind, leaving you slightly dizzy.\n\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nA tiny flicker of light and sound dances frustratingly around your vision.\n\nYou see a black cable (linking the black cube to the power cell), a power cell, and a Frisbee Helipta here.\n\n> You examine the mattress\nAside from the Ancient skeleton, there's a fabric animal on the mattress.\n\n> You examine the fabric animal\nIt appears to be a colourful replica of a koala bear, one of the animal species from the Ancient era, extinct until very recently. The fabric has remained almost intact, probably made from the same resilient material as the mattress.\n\n> You look at the headset\nThe device is possibly a recording or playback instrument of some kind; it has a slot for a ten-centimetre disk, a common Ancient data storage format. Words embossed into its polymer surface read \"Kodak Synapsit (tm) Neural Transfer System.\" Judging by the corrosion stains seeping from inside the device, it's completely non-functional. The disk slot is empty.\n\n> You get the headset\nThe skeleton is clutching the device so tightly, it would be impossible to remove without risking severe damage. You'll have to find another way of learning more about it.\n\n> You leave\nYou'll have to be more specific; there's more than one direction to leave this area.\n\n> You go to the north-east\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nA tiny flicker of light and sound dances frustratingly around your vision.\n\nYou see a black cable (linking the black cube to the power cell), a power cell, and a Frisbee Helipta here.\n\n> You sit\n(the sculptured chair)\nOkay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\nThe flicker of light and sound suddenly takes form, merging into an experience that swells through your mind.\n\nTwilight Lawn, in the sculptured chair\nThe neat square of grass shines with a pale green glow, almost as bright now as the last ray of sunset afterglow. Dark shapes of buildings loom comfortably all around, while evening stars, mere pinpoints of light, appear in the deep blue sky.\n\nThe young Ancient, Marie, stands facing you, her eyes wary.\n\n> You show the animal to Marie\nMarie looks at the fabric bear, and a shiver runs down her body.\n\"Miss Kelli,\" she says. \"I had her with me. The last thing I saw...\" She turns away, unable to continue.\n\nMarie pauses, as if she's finally coming to some internal decision. Then she steps forward and places one arm on your shoulder. Her touch is warm; apparently the simulation includes tactile response. Ancient technology must have been more advanced than even the Institute had realised.\n\n\"I believe you,\" she says, struggling to keep a tear from appearing again. \"You're really here. Walking through my home.\"\n\nMarie looks into your eyes, pain and hope colliding.\n\n\"But there's nothing left for me now. Everything I knew is gone.\"\n\n> You ask her about Ancients\n\"Ancients?\" says Marie sadly. \"Yes, I suppose we are to you. I'd love to tell you everything I know about my world, but I don't think we have the time right now.\"\n\n> You touch marie\nMarie leans against your arms. \"Mmmm,\" she says softly. \"But we don't have time to waste like this.\"\n\n> You ask her about the car\nMarie gasps. \"The skycar! Of course! I don't know if it could still work, but it's probably our best chance of getting out of here.\nYou'll need a password to start the electrical system - just 'say dolphin' when the voice asks you. And there's an onboard VR projector, too - you can keep me live.\"\n\nMarie grips your hand. \"Please. Take me with you.\"\n\n> Yes\nThat was a rhetorical question.\n\n> You kiss marie\nMarie kisses you briefly on the lips. \"Mmmm,\" she says, \"But I don't have the processor power for this right now. And besides, you don't want me. You want a girl who's alive.\"\n\nMarie grips your hand. \"Please. Take me with you.\"\n\n> You examine cube\nThe cube is black and nearly featureless, apart from a blue button marked with a lightning bolt symbol, a hexagonal socket, and a ten-centimetre disk slot. There's a green disk in the slot. Black words embossed on the cube's polymer face spell out the legend \"Sonjitsu 2100 Immersive Entertainment System\", whatever that means.\n\n> You get Frisbee and the disk\nWhich disk do you mean, the Frisbee Helipta, or the green disk?\n\n> You unplug the cable\nWhat do you want to unplug it from?\n\n> You take the green disk\nYou already have the green disk!\n\n> Cube\nThe black cable unplugs easily from the cube's socket.\n\n> You unplug the cable from the cell\nThe black cable unplugs easily from the power cell's socket.\n\n> You take the cell\nYou've already got your hands full.\n\n> Inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a white box, a yellow disk, a fabric bear, a green disk, and a Frisbee Helipta.\n\n> You leave\nYou'll have to be more specific; there's more than one direction to leave this area.\n\n> Go east\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\n> You examine the car\nYou recognise the Ancient vehicle from Institute file fragments. If this one is anything like the reconstructions you examined, it uses a solid-state power cell to jumpstart deuterium-hydrogen fusion, ejecting its clean-burning fuel directly as accelerated reaction mass. A clumsy system, compared to today's gravitic drives, but possibly more reliable in the short term. The skycar's sleek angular lines are marred by ugly thermal scars, as if the vehicle was caught in some kind of blast before being landed here. An entrance hatch in the vehicle's side is open.\n\n> You open the car\nThe skycar's entrance hatch is already open.\n\n> You drop the yellow\nDropped.\n\n> Go west\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nYou see a black cable and a power cell here.\n\n> Go east\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\nYou see a yellow disk here.\n\n> You put the green disk in the slot\nThere's already a red disk in the disk slot.\n\n> You examine the red disk\nThe red disk is in the disk slot; you'd have to take it out to examine it further.\n\n> You get it\nYou've already got your hands full.\n\n> You drop Frisbee\nDropped.\n\n> You go outside\nYou step out into the vehicle dome.\n\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\nYou see a yellow disk here.\n\n> Exit\nThis appears to be some kind of courtyard in the centre of an Ancient dwelling. The building itself swings around to the north and west, terminating in a crumbling retaining wall due south. A smaller domed construction opens to the northeast, through a wide metal door (open). To the east is a flat space that could bear further exploring.\n\n> Go inside\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\nYou see a yellow disk here.\n\n> Go west\nYou're in what seems to be the central space of the dwelling, a wide living area that still retains the awe and innocence of the Ancient age. The room is now mainly bare, apart from shreds of mouldered textile on the decayed timber floor, and a sculptured chair poised opposite a two-metre black cube. There is a door to the east (open), and hallways leading west and southwest.\n\nYou see a black cable here.\n\n> You put the disk in the slot\nWhich disk do you mean, the green disk, or the red disk?\n\n> You connect the cable to the cell\n(first taking the cable)\nThe black cable plugs neatly into the power cell's socket. The other end of the cable remains free.\n\n> You connect the cable to the cube\n(first dropping the cable)\n(also dropping the power cell)\nThe black cable plugs neatly into the cube's socket, linking the black cube to the power cell.\n\n> You sit on the chair\nOkay, you're now sitting on the sculptured chair. The polymer loops sway beneath you, distributing your mass until you feel nearly weightless. The black cube is now directly centred in your field of vision.\n\nThe flicker of light and sound suddenly takes form, merging into an experience that swells through your mind.\n\nStadium, in the sculptured chair\nCrowds of screaming fans stand all around you, reaching out toward the rock group playing on the centre stage.\n\nHarsh white spotlights converge on the lead singer, while smoke and lasers spell out the band's name: \"Fleischman Tokamak.\"\n\n> Wait\nTime passes...\n\nThe lead singer steps up to the hovering cam-bot, taps his implant mike, and begins. \"This one goes out to everyone who has ever logged into the cube in the morning, seen their own reflection... and wept. Biofeedback.\" The crowd falls silent.\n\n> Wait\nTime passes...\n\nThe band kicks up, a grating metallic beat that devours the singer's voice.\n\n\"Bright annihilation\nChaos is my nation\nIn too far too deep too high\nto ever fly away\"\n\n> Inventory\nYou have a set of holograms, a clump of glowgrass, a magprobe, a printout, a white vat, a white box, a fabric bear, and a green disk.\n\n\"Biofeedback\nBiofeedback\nTake my dreams back\nGive me something new and strange\"\n\n> You examine Green\nIt appears to be a thin metallic polymer disk around ten centimetres in diameter, with a green tint. You recognise the object from Institute files as an Ancient data storage device.\n\n\"Global destination\nA silicon creation\nWho am I are you are we\nare what am I today\""
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nStadium, in the sculptured chair\nCrowds of screaming fans stand all around you, reaching out toward the rock group playing on the centre stage.\n\n\"Biofeedback\nBiofeedback\nTake my dreams back\nGive me something new and strange\"\n\n> You listen\nYou hear nothing unusual.\n\nThe lead musician, playing a stringless virtual electric with chrome pickups on his fingertips, launches into an instrumental riff on the first two stanzas.\n\n> You listen\nYou hear nothing unusual.\n\n\"Biofeedback\nBiofeedback\nTake my dreams back\nGive me something new and strange\"\n\n> You listen\nYou hear nothing unusual.\n\nThe music blurs into a warped analog acid mix, from a style nearly a hundred years old.\n\n\"Simplicity conformity\nReality compelling me\nIllusion me transfusion me\nElectricity my complicity\"\n\n> You listen\nYou hear nothing unusual.\n\n\"Biofeedback\nBiofeedback...\nSomething new and strange...\nSomething new and strange...\nSomething new and strange...\"\n\n> You wait\nTime passes...\n\nThe musician does another lead break, roaming up and down the scale in five different tonal keys.\n\n> Wait\nTime passes...\n\nThe singer steps forward, drops his voice to a whisper and speaks softly as if reading a nursery rhyme.\n\n\"And we will walk on glowgrass lawns\nAnd we will sing electric storms\nAnd the mothers and the fathers\nof all our futures will be there\nAnd we will live without a care...\"\n\n> You wait awhile\nTime passes...\n\nThe band kicks into a screaming frenzy and ends on a crescendo cry.\n\n\"Biofeedback!\"\n\nThe crowd goes wild, and the sound slowly fades out.\n\n> You wait\nTime passes...\n\nA soft female voice says \"End of licensed tracks on this release. Please reset your projector to replay, or link to vvr.audioclub.com.eu to decrypt another single. Thank you for purchasing from The Audio Club.\"\n\n> You unplug the cable from cube\nThe black cable unplugs easily from the cube's socket. The black cube abruptly stops humming, and the flicker of light and sound vanishes.\n\n> You take the cell\n(also taking the connected cable)\nTaken.\n\n> You take the red disk\nYou've already got your hands full.\n\n> Go east\nThis domed construction is fairly small compared to the building proper, and open to the air at the southwest. Given today's scholarly confusion about many Ancient living habits, it could serve any number of functions. But the giveaway is the vehicle stationed in the middle of the floor. An interior door, currently open, leads west to to the living area.\n\nThe vehicle, a primitive skycar, rests under the centre of the dome.\n\nYou see a yellow disk here.\n\n> You enter\nYou step into the vehicle.\n\nSkycar, in vehicle dome\nThe interior of the skycar is fairly cramped compared to a modern altiwing or dropship. There's a control console directly in front of you, and a viewshield through which you can see the vehicle dome. The exit hatch to your side is open; in the rear of the car is an access panel (currently open).\n\nYou see a Frisbee Helipta here.\n\n> Enter\nYou step into the vehicle.\n\nSkycar, in vehicle dome\nThe interior of the skycar is fairly cramped compared to a modern altiwing or dropship. There's a control console directly in front of you, and a viewshield through which you can see the vehicle dome. The exit hatch to your side is open; in the rear of the car is an access panel (currently open).\n\nYou see a Frisbee Helipta, a white vat, and a magprobe here.\n\n> You put the cell in the socket\nThe black cable is already plugged into the power cell's socket.\n\n> You examine the panel\nDone.\n\nThe access panel is open. In the access panel you see a corroded metal coil, a triangular hole, and a rectangular hole.\n\n> You look at the console\nDespite your research, the controls on this model of skycar are quite unfamiliar to you. The only ones you can make out at all are a green button marked with a sunburst symbol, a mechanical lever (currently pushed all the way forward), and a slot to fit a ten-centimetre disk. There's a green disk in the slot.\n\n> You put the cell in the rectangle\nThe power cell slots neatly into the rectangular hole.\n\n> You say the dolphin\nAn electronic voice replies, \"Thank you. Your password is accepted.\"\n\nMarie's projected image appears on the seat beside you.\n\nMarie flicks in and out of view for a few moments, then settles into a sitting posture beside you. She glances around the vehicle's interior - presumably, the skycar has concealed visual pickups to give projected images the power of sight - and then nods.\n\n\"Okay. You've got the electrics running. Now you need to give the drive some power. That lever there is the main throttle - pull it to increase power and push to slacken off. Steering could be a problem - I'll try to cut past the overrides and do it myself.\"\n\nSeeing your expression, Marie grins. \"Why the surprise? I'm a natural with cars. You should have seen me fly this before... when I was... whatever. Well, I'm okay now. I'll be fine.\"\n\nThe car does not respond.\n\n\"Well, let's go!\" says Marie.\n\n> You put the red disk in the slot\nDone.\n\n\"Please say the password,\" repeats the electronic voice.\n\n> You say the dolphin\nAn electronic voice replies, \"Thank you. Your password is accepted.\"\n\nA projected image of an Ancient rock concert appears on the seat beside you.\n\nHarsh white spotlights converge on the lead singer, while smoke and lasers spell out the band's name: \"Fleischman Tokamak.\"\n\n> You say the dolphin\nThe car does not respond.\n\nHarsh white spotlights converge on the lead singer, while smoke and lasers spell out the band's name: \"Fleischman Tokamak.\"\n\n> You examine the seat\nThe passenger seat isn't important.\n\nHarsh white spotlights converge on the lead singer, while smoke and lasers spell out the band's name: \"Fleischman Tokamak.\"\n\n> You take the red disk\nTaken.\n\nThe projected image vanishes.\n\n> You put the green disk in the slot\nDone.\n\nMarie's projected image appears on the seat beside you.\n\nMarie flicks in and out of view for a few moments, then settles into a sitting posture beside you. She glances around the vehicle's interior - presumably, the skycar has concealed visual pickups to give projected images the power of sight - and then nods.\n\n\"Okay. You've got the electrics running. Now you need to give the drive some power. That lever there is the main throttle - pull it to increase power and push to slacken off. Steering could be a problem - I'll try to cut past the overrides and do it myself.\"\n\nSeeing your expression, Marie grins. \"Why the surprise? I'm a natural with cars. You should have seen me fly this before... when I was... whatever. Well, I'm okay now. I'll be fine.\"\nI beg your pardon?\n\n> You take Green\nTaken.\n\nMarie's image vanishes.\n\n> You put the yellow disk in the slot\nDone.\n\nA projected image of a rainforest appears on the seat beside you.\n\n> You look at the rainforest\nIt's only a projection.\n\n> You take the red\nTaken.\n\n\"You did not say the password,\" says the electronic voice. \"For your protection, this vehicle is now powering down.\"\n\nThere's a quiet click from the console. The green button stops glowing.\n\n> You say the dolphin\nAn electronic voice replies, \"Thank you. Your password is accepted.\""
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nSkycar, in vehicle dome\nThe interior of the skycar is fairly cramped compared to a modern altiwing or dropship. There's a control console directly in front of you, and a viewshield through which you can see the vehicle dome. The exit hatch to your side is open; in the rear of the car is an access panel (currently open).\n\nYou see a Frisbee Helipta, a white vat, and a magprobe here.\n\n> You look at the coil\nIt's a thin coil of some heavily corroded metal, about ten centimetres long and three across.\n\n> Examine box\nIt's a small box made from some decay-resistant pressed fibre, possibly spun carbon or silicon. A label reads \"Surefire palladium ignitor coils, contents 6\". The white box is closed.\n\n> You ask Marie about the coil\nMarie shrugs, indicating either ignorance or unwillingness to answer.\n\n\"Well, let's go!\" says Marie.\n\n> You open box\nOpening the white box reveals a transparent bag.\n\n\"Well, let's go!\" says Marie.\n\n> You look at the bag\nIt's a small bag made from transparent polymer sheeting, about the size of your hand. In the transparent bag you see a shiny metal coil.\n\n> You open bag\nOpened.\n\n> You put the new coil in the panel\nYou'll need to be more specific; there are several places to put things in the access panel.\n\n\"Well, let's go!\" says Marie.\n\n> You examine the panel\nThe access panel is open. In the access panel you see a triangular hole, a power cell, and a round hole.\n\n> You put the new coil in the round hole\nThe shiny metal coil screws neatly into the round hole.\n\n> You pull lever\nYou pull the lever back one notch. An electronic voice says \"Please close the hatch before ignition.\" The lever clicks forward again.\n\n\"Duh,\" grins Marie. \"Better get that.\"\n\n> You close the door\nThe exit hatch swings closed.\n\n\"Ready to go yet?\" asks Marie.\n\n> You pull the lever\nYou pull the lever back one notch. An electronic voice says \"Please close the access panel before ignition.\" The lever clicks forward again.\n\n\"Duh,\" grins Marie. \"Better get that.\"\n\n> Close panel\nClosed.\n\n> You pull the lever\nYou pull the lever back one notch. The skycar's engine ignites with a deep vibrating hum.\n\nThe skycar begins to lift into the air.\n\nMarie grins. \"Nice liftoff. Now comes the tricky part. Open up the throttle some more, and take us out of here - but be ready to hit it when I tell you. I can't handle both steering and power at the same time. I'm having enough trouble just computing myself as it is.\"\n\n> You pull throttle\nYou pull the lever back one notch. The engine's hum increases to a whine.\n\nThe skycar accelerates up and out to the southwest, grazing the edge of the vehicle dome's ceiling in a shower of sparks.\n\nMarie's image flickers. \"Sorry about that. Okay, I've got it now. Watch out for the turn, I'm going to need full throttle in a moment.\"\n\n> Wait\nTime passes...\n\nThe skycar skims through the courtyard, heading directly for the southern wall.\n\n\"This is it!\" shouts Marie, her hands flicking across the console. \"Full throttle, now!\"\n\n> You pull the throttle\nYou pull the lever back one notch. The engine's whine increases to a shriek.\n\nThe skycar banks sharply to the south and east, pulling hard into a near-vertical turn across the glowgrass lawn. Through the viewshield, you see the pool and vehicle dome, tilted at a freakish angle.\n\n\"Excellent!\" shouts Marie. \"I didn't think we were going to make that one. Okay, slacken back a bit and I'll try to staighten us up.\"\n\n> You open the door\nAn electronic voice says, \"For your comfort and safety, the hatch will not open while the vehicle is in motion.\"\n\nThe skycar continues to follow the valley's curve, gradually heading towards a forested ridge. Below, you get a clear view of the jungle: tall green palms with leafy fronds, clustering thornbushes, strange contorted ferns. All of them glowing, a soft pale green.\n\nMarie looks down at the jungle, wonderingly. \"This was a city,\" she breathes. \"All this was city. Suburbs, housing estates, skycars, towers... all gone. I don't believe it.\" She turns away, as if unwilling to reveal any more emotion.\n\n> You take the yellow\nYou already have the yellow disk!\n\nThe skycar reaches the end of the valley, approaching the ridge. To the west, the sun is sinking behind the mountains; golden light gives everything a dreamlike aura, like one single fading moment of innocence.\n\nMarie takes one last look back at the valley, as if fixing it in her mind.\n\n> You take Green\nTaken.\n\nMarie's image vanishes.\n\nThe skycar falters, losing height.\n\n> You kiss marie\nMarie kisses you briefly on the lips. \"Mmmm,\" she says, \"But I don't have the processor power for this right now. And besides, you don't want me. You want a girl who's alive.\"\n\nThe skycar tops the ridge and breaks through into a scene of devastation. A smouldering crater, carved out of the jungle by the doomed dropship's crash. There's no wreckage; a turbine implosion never leaves more than scattered plasma. You watch silently as the crater passes by beneath. If your team were lucky, they had a few seconds to activate the escape wormhole, and make their own way home. If not...\n\nMarie looks over at you, her face gentle. \"So, it was true. You had friends too.\" She looks back at the console for a moment, then at you. \"Lost? Or... no. There's still hope, isn't there?\"\n\n> Yes\nThat was a rhetorical question.\n\nThe skycar leaves the crater, passing over a sheer cliff - recently fractured by the dropship's blast wave - into a river valley that winds its way out towards more familiar territory. The setting sun slowly drops out of sight, leaving a trail of soft green light as the glowgrass jungle switches on its full bioluminescence. Bright moving dots mark the passage of birds and predators. You hope Marie doesn't ask about the taller ones; or notice the drop of greenish, sparkling, blood oozing from the tiny cut on your arm. Tommorow will be time enough for everything.\n\n\"Hope,\" continues Marie, quietly, watching the jungle swallow the night. \"Yes. I guess that's all any of us has.\"\n\nYou nod, silently. There doesn't seem anything else to say.\n\n> About yourself\nYou're a world-renowned xenohistorian and student of Ancient artifacts. And you're in reasonably good shape, given the mess this field trip has turned into.\n\nThe skycar leaves the crater, passing over a sheer cliff - recently fractured by the dropship's blast wave - into a river valley that winds its way out towards more familiar territory. The setting sun slowly drops out of sight, leaving a trail of soft green light as the glowgrass jungle switches on its full bioluminescence. Bright moving dots mark the passage of birds and predators. You hope Marie doesn't ask about the taller ones; or notice the drop of greenish, sparkling, blood oozing from the tiny cut on your arm. Tommorow will be time enough for everything.\n\n\"Hope,\" continues Marie, quietly, watching the jungle swallow the night. \"Yes. I guess that's all any of us has.\"\n\nYou nod, silently. There doesn't seem anything else to say.\n\n> You pull green\nWhich green do you mean, the green button, or the green disk?\n\n> You take the green disk\nTaken.\n\nMarie's image vanishes.\n\nThe skycar falters, losing height.\n\n> You put in the yellow disk\nWhat do you want to put?\n\n> You put the yellow disk in the slot\nDone.\n\nA projected image of a rainforest appears on the seat beside you.\n\nHelplessly out of control, the skycar plunges down into the jungle.\n\nTrapped in the wreckage, you desperately race to free yourself, but it's too late. The car's electrics die, sending a last surge of unregulated power through the fusion ignitors. Everything within a thirty metre radius explodes.\n\nThe recovery team, six months later, finds no trace of your body. Had you lived, you would have warned them to may more attention to instructions.\n\n> You put Green in the slot\nDone.\n\nMarie's projected image appears on the seat beside you.\n\nThe skycar leaves the crater, passing over a sheer cliff - recently fractured by the dropship's blast wave - into a river valley that winds its way out towards more familiar territory. The setting sun slowly drops out of sight, leaving a trail of soft green light as the glowgrass jungle switches on its full bioluminescence. Bright moving dots mark the passage of birds and predators. You hope Marie doesn't ask about the taller ones; or notice the drop of greenish, sparkling, blood oozing from the tiny cut on your arm. Tommorow will be time enough for everything.\n\n\"Hope,\" continues Marie, quietly, watching the jungle swallow the night. \"Yes. I guess that's all any of us has.\"\n\nYou nod, silently. There doesn't seem anything else to say.\n\n> You pull the lever\nYou pull the lever back one notch. The engine's hum increases to a whine.\n\nThe skycar accelerates up and out to the southwest, grazing the edge of the vehicle dome's ceiling in a shower of sparks.\n\nMarie's image flickers. \"Sorry about that. Okay, I've got it now. Watch out for the turn, I'm going to need full throttle in a moment.\"\n\n> You pull the lever\nYou pull the lever back one notch. The engine's whine increases to a shriek.\n\nThe skycar skims through the courtyard, heading directly for the southern wall.\n\n\"This is it!\" shouts Marie, her hands flicking across the console. \"Full throttle, now!\"\n\n> You wait\nTime passes...\n\nThe skycar banks sharply to the south and east, pulling hard into a near-vertical turn across the glowgrass lawn. Through the viewshield, you see the pool and vehicle dome, tilted at a freakish angle.\n\n\"Excellent!\" shouts Marie. \"I didn't think we were going to make that one. Okay, slacken back a bit and I'll try to staighten us up.\"\n\n> You take Green\nTaken.\n\nMarie's image vanishes.\n\nThe skycar continues to hover a few feet above the ground.\n\n> You pull the lever\nYou pull the lever back one notch. The engine's hum increases to a whine.\n\nThe skycar accelerates up and out to the southwest, grazing the edge of the vehicle dome's ceiling in a shower of sparks.\n\n> You pull the lever\nYou pull the lever back one notch. The engine's whine increases to a shriek.\n\nThe skycar skims through the courtyard, heading directly for the southern wall. You wrestle with the controls, but find that you have no steering!\n\nA moment later, the skycar collides with the wall, shearing up and nearly over before flipping and plunging nose-first into the ground. The electrics die; fusion ignitors spark in a final unregulated surge of power, and then the vehicle and everything within a thirty metre radius explodes.\n\nThe recovery team, six months later, finds no trace of your body. But had you survived, you would have warned them against flying an unknown craft without competent assistance.\n\n> You put Green in the slot\nDone.\n\nMarie's projected image appears on the seat beside you.\n\nThe skycar skims through the courtyard, heading directly for the southern wall.\n\n\"This is it!\" shouts Marie, her hands flicking across the console. \"Full throttle, now!\"\n\n> Wait\nTime passes...\n\nThe skycar banks sharply to the south and east, pulling hard into a near-vertical turn across the glowgrass lawn. The engines struggle for power, but there isn't enough; the car stalls, spins, and crashes out of the sky into the concrete pool.\n\nTrapped in the wreckage, you desperately race to free yourself, but it's too late. The car's electrics die, sending a last surge of unregulated power through the fusion ignitors. Everything within a thirty metre radius explodes.\n\nThe recovery team, six months later, finds no trace of your body. Had you lived, you would have warned them to may more attention to instructions.\n\n*** Your expedition has failed ***\n\nYou may RESTORE a saved game, RESTART, QUIT, or UNDO the previous command.\nPlease enter RESTORE, RESTART, QUIT, or UNDO: >"
    },
    {
        "text": "[Themes: Vampire, werewolf, violence, supernatural, nonhuman protagonist, vampire, maze]\n\ntwo recent college graduates like yourself and your friend Carolyn. From the mansions of England to the beaches of Greece, you've walked in the footsteps of the Crusaders and seen sights that few Americans have ever seen.\n\nCarolyn had wanted to skip the Central European nation of Rylvania. \"Why bother?\" she'd said. \"There's nothing but farmers there, and creepy old castles - nothing we haven't seen already. The Rylvanians are still living in the last century.\"\n\nThat, you'd insisted, was exactly why Rylvania was a must-see. The country was an intact piece of living history, a real treasure in this modern age.\n\nIf only you hadn't insisted! As night fell, as you approached a\nsmall farming village in search of a quaint inn to spend the night, the howling began. A scant hundred yards from the village, and it happened...the wolves appeared from the black forest around you and attacked. Big, black wolves that leaped for Carolyn's throat before you could shout a warning, led by a great gray-black animal that easily stood four feet at the shoulder. Carolyn fell to the rocky path, blood gushing from her neck as the wolves faded back into the trees, unwilling, for some unknown reason, to press their attack.\n\nIf she dies, it will be your fault. You curse the darkening sky as\nyou cradle Carolyn's head, knowing that you have little time to find help. Perhaps in the village up the road to the north -\n\nCopyright (C) 1993, 1996 D. A. Leary\nAll rights reserved.\n\nDifficulty Rating: Horrifying (5 out of 10)\n\nSuggested for Mature Audiences.\n\n***\n\nThis game is free. We encourage you to distribute it, but you may\nnot charge any money for it beyond the cost of the media it is stored on.\n\nADVENTIONS no longer supports this product. Please do not contact\n\n***\n\n***\n\n- winding through a black, dismal forest. To the north, through the trees, you can barely make out the lights of a small Rylvanian village. The sun has just set and dark trees hang over the path, forming a mazelike net overhead. The path is well trodden and easy to walk on.\n\nCarolyn, your close friend from college, lies motionless on the\npath, blood flowing freely from a gaping, jagged wound in her throat and chest. She's making faint gurgling sounds and just barely breathing.\n\n[Author's Note: What you expected would be a fun outing in scenic Rylvania turns into a gruesome nightmare, with *you* playing the starring role. Find out what it's like to be alternately the source and challenger of evil in the tiny Eastern European province. Test your very moral fiber as you decide to damn yourself and save others -- or vice versa.]\n\n> Note 1\n[1]: Footnote markers are numbers enclosed in square brackets.\n\n> You check your inventory\nYou have a fifty-dollar traveller's check and a matchbook.\n\n> Go north\nYou are standing at a fork in the path, just outside a village. To\nthe west the trees thin out slightly, while to the east they disappear entirely, becoming an impassable swamp. Branches of the path run north and northeast. To the north you can see several buildings. The track runs south as well, back into the forest.\n\n> You go north\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\n> You examine the sign\nIn gothic script the sign reads \"The Devil's Cup.\"\n\n> You go north\nThe inn is well-lit, less shabby on the inside than on the out. A warming fire burns in the hearth. Several townsfolk are seated around a table, talking quietly, and a thin old man stands behind the bar.\nThe townsfolk and the barman look up as you enter, suspicious of strangers - as are all Rylvanians - but soon the patrons turn back to their conversation and the barman returns to polishing glasses. The exit from the inn is south, and an open doorway behind the bar leads west.\n\nA tarot deck is sitting on the table.\n\nSome of the townsfolk turn and nod briefly at you before continuing their conversation.\n\nThe old barman regards you silently.\n\nYou catch a fragment of conversation. \"...written on the trees...\"\n\n> You tell the barman about Carolyn\nThe bartender shakes his head and points at his mouth. \"Foreigner!\" one of the patrons shouts at you. \"Old Henri is mute! He cannot speak to you.\" The customer smiles. \"But he knows what you need, if you have the money.'\n\nYou catch a fragment of conversation. \"...written on the trees...\"\n\n> You give the check to bartender\nThe bartender looks at the check, then smiles and shakes his head, passing the check back to you.\n\n\"They walk tonight,\" one of the customers whispers.\n\n> You tell patrons about the wolves\nThe customers eye you suspiciously. \"Yes. The wolves roam the woods. The old woodcutter that lives out there might know more about them.\"\n\nYou catch a fragment of conversation. \"...the doctor knows...\"\n\n> You ask the patrons about doctor\nOne of the customers glances up at you. \"Yes, we have a doctor. He lives further down, on this side of the street.\" He jerks his thumb to the east, then falls quiet for a long moment. \"I don't know if you want him as your doctor, Foreigner. He is a strange man.\"\n\n\"They walk every night,\" a customer snaps, drinking heavily from a stone flagon. \"Every bloody night. Our village is cursed.\"\n\n> You go to the east\nYou are walking on a road through the center of the village. The street is quiet and empty; most of the local populace has already turned in for the night. Silence weighs heavily on the town, and the air is cold and leaden. To the north is a small square wooden building. The door to the building is open. To the south is an open field. The road continues to the east and west, and a branch runs southwest as well - toward the black forest.\n\n> Go east\nYou are near the eastern outskirts of the village. To the south is\na stately old church, weathered and in a state of disrepair. The entrance to the church stands open. To the north a narrow track runs along the side of the small wooden building you passed to the west.\nThe road continues west and also runs northeast, out of town and through the moors.\n\n> You go north\nYou are inside a small office which appears to belong to the local doctor. It's small and dark, but clean. A chair and a desk are the only furniture. The exit is south, back through the doorway. One small window in the east wall looks out on an alley. Hanging on the wall is a framed diploma. The door stands open, and the window is closed.\n\nA middle-aged man is here. \"Hello,\" he says pleasantly. \"I am\nDoctor Trolovitch.\"\n\n> You tell the Doctor about Carolyn\nThe doctor nods hurriedly. \"Yes, of course. I can help. Take me to her, and I'll do all I can.\"\n\nDoctor Trolovitch waits, staring at you expectantly.\n\n> Go south\nYou are walking on a road through the center of the village. The street is quiet and empty; most of the local populace has already turned in for the night. Silence weighs heavily on the town, and the air is cold and leaden. To the north is a small square wooden building. The door to the building is open. To the south is an open field. The road continues to the east and west, and a branch runs southwest as well - toward the black forest.\n\nDoctor Trolovitch checks the door to his office, making sure it's locked. \"Can't be too careful,\" he murmurs.\n\n> Go west\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\nDoctor Trolovitch follows you.\n\n> You go west\nYou are lost among the twisted, gnarled trees of the black forest.\nThe trees close in around you and the air is damp and cold. Somewhere off in the distance a lone wolf howls. Owls hoot, and a faint scrabbling under the leaves hints of tiny creatures of the night, searching for food. You can travel in almost all directions.\n\nDoctor Trolovitch follows you.\n\n> Go south\nYou are standing at a fork in the path, just outside a village. To\nthe west the trees thin out slightly, while to the east they disappear entirely, becoming an impassable swamp. Branches of the path run north and northeast. To the north you can see several buildings. The track runs south as well, back into the forest.\n\nDoctor Trolovitch follows you.\n\n> Go south\n- winding through a black, dismal forest. To the north, through the trees, you can barely make out the lights of a small Rylvanian village. The trail is shrouded in almost total darkness and dark trees hang over the path, forming a mazelike net overhead. The path is well trodden and easy to walk on.\n\nDoctor Trolovitch follows you, looking around. \"Is this where you claim your friend to be?\" he says irritably. \"I see no patient.\" He shakes his head. \"I would think one of your age would be beyond these childish pranks.\" He turns and walks back toward town without a word, leaving you to wonder what could have happened to Carolyn.\n\n> Go north\nYou are standing at a fork in the path, just outside a village. To\nthe west the trees thin out slightly, while to the east they disappear entirely, becoming an impassable swamp. Branches of the path run north and northeast. To the north you can see several buildings. The track runs south as well, back into the forest.\n\n> You go north\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\n> You go north\nThe inn is well-lit, less shabby on the inside than on the out. A warming fire burns in the hearth. Several townsfolk are seated around a table, talking quietly, and a thin old man stands behind the bar.\nThe townsfolk and the barman look up as you enter, suspicious of strangers - as are all Rylvanians - but soon the patrons turn back to their conversation and the barman returns to polishing glasses. The exit from the inn is south, and an open doorway behind the bar leads west.\n\nA tarot deck is sitting on the table.\n\nSome of the townsfolk turn and nod briefly at you before continuing their conversation.\n\nThe old barman regards you silently.\n\nYou catch a fragment of conversation. \"...the doctor knows...\"\n\n> You examine the deck\nIt's a deck of tarot cards.\n\n\"They walk tonight,\" one of the customers whispers.\n\n> You examine the tarot\nIt's a deck of tarot cards.\n\n\"They walk every night,\" a customer snaps, drinking heavily from a stone flagon. \"Every bloody night. Our village is cursed.\"\n\n> You ask the patrons about the wolves\nThe customers eye you suspiciously. \"Yes. The wolves roam the woods. The old woodcutter that lives out there might know more about them.\"\n\nYou catch a fragment of conversation. \"...the wolves know...\"\n\n> You take tarot\nTaken.\n\n\"They walk every night,\" a customer snaps, drinking heavily from a stone flagon. \"Every bloody night. Our village is cursed.\"\n\n> You ask the patrons about the church\nThe patrons ignore your attempts at communication.\n\nYou catch a fragment of conversation. \"...the wolves know...\"\n\n> Go outside\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\n> Go east\nYou are walking on a road through the center of the village. The street is quiet and empty; most of the local populace has already turned in for the night. Silence weighs heavily on the town, and the air is cold and leaden. To the north is a small square wooden building. The door to the building is closed. To the south is an open field. The road continues to the east and west, and a branch runs southwest as well - toward the black forest.\n\n> Go east\nYou are near the eastern outskirts of the village. To the south is\na stately old church, weathered and in a state of disrepair. The entrance to the church stands open. To the north a narrow track runs along the side of the small wooden building you passed to the west.\nThe road continues west and also runs northeast, out of town and through the moors.\n\n> Go south\nYou are in the main hall of the village church. To the north is the exit to the village road. Pews, facing south, line both sides of the center aisle. A brass basin sits atop a stone pillar near the north exit. An altar is at the far end of the room, near a low passage which leads south to another part of the church. Moonlight streams through the stained glass windows, bathing the wooden pews in a ghostly glow.\n\nThe brass basin seems to contain some holy water.\n\n> You look at the pews\nThe pews are hard wooden benches. They face south, toward the altar.\n\n> You look at the windows\nThe stained glass windows are typical Rylvanian church design. Most portray Saint William of Irdopest, the patron saint of Rylvanians. A few show more typical Christian scenes - the Christ child, Jesus on the cross, and so forth. They're quite pretty, but hard to see in the pale light.\n\n> You go to the south\nYou are behind the altar in the church, in a small chamber that\nserves, judging from the hooks on the walls, as the church's vestry. Other than the hooks, the chamber is empty now. To the north is the main part of the church. An open doorway leads out of the church to the east, and beyond, you can see the town graveyard. A ladder leads up into darkness.\n\nA cloak is hanging on the wall hooks.\n\n> You examine the cloak\nThe cloak is brown, lined with rabbit fur, and looks quite warm.\n\n> You take all\ncloak: Taken.\n\n> You examine the water\nThe water looks normal to you. You're not a religious expert, so if you take the water from the basin, it probably loses any special properties it might have.\n\n> You look at the windows\nThe stained glass windows are typical Rylvanian church design. Most portray Saint William of Irdopest, the patron saint of Rylvanians. A few show more typical Christian scenes - the Christ child, Jesus on the cross, and so forth. They're quite pretty, but hard to see in the pale light.\n\n> You take the basin\nIt's bolted to the pillar.\n\n> You go south\nYou are behind the altar in the church, in a small chamber that\nserves, judging from the hooks on the walls, as the church's vestry. Other than the hooks, the chamber is empty now. To the north is the main part of the church. An open doorway leads out of the church to the east, and beyond, you can see the town graveyard. A ladder leads up into darkness.\n\n> Go upward\nYou are standing in the church belfry, a tiny tower above the\nvestry. Far above you, shrouded in cobwebs and gloom, you can just make out a large bell attached to the roof. Dangling from the bell is a thin iron chain. Pale light filters in through narrow windows in the stone walls, and a chilling breeze whips through the tower. The only exit is down the ladder, back to the vestry.\n\nYou see a flyswatter here.\n\n> You take all\nflyswatter: Taken.\n\n> You pull chain\nYou pull on the chain and ring the bell. A deep tone resounds through the tower, shaking the church to its very foundations. A few bats fly out of the bell, shrieking angrily. For a moment, they appear to be diving at you, but then they swerve and dart out one of the narrow windows.\n\n> Keep going\nYou pull on the chain and ring the bell. A deep tone resounds through the tower, shaking the church to its very foundations.\n\n> Climb chain\nYou grab the chain and try to hoist yourself up. Far overhead, the bell rings loudly, shaking the walls of the belfry as you try to climb the iron links. Unfortunately, the chain is too thin to climb; you can't seem to get a good grip on it.\n\n> You go east\nYou are at the southern end of the church graveyard. Some\nheadstones are shrouded in low-lying fog, while others are partially hidden by the long grass. It's obvious that the graveyard, like the church itself, hasn't been taken care of for some time. A few old stunted trees mark the boundaries to the south and east. To the west is a side entrance to the old church, and further to the north, you can see more headstones and an old mausoleum.\n\n> You read the stones\nYou push aside the grasses and read the names on some of the gravestones:\n\n\"Elijah Vilovitch 1745-1795\"\n\n\"Tomis Rasarivin 1760-1782\"\n\n\"Maryana Olgrisson 1747-1770\"\n\n> You go north\nYou are at the north end of the graveyard. To the west is the old church; an entrance is further along the wall to the south. To the north is an ancient iron fence some twelve feet tall. To the east is an ancient mausoleum, with a few words etched in the stone above the entrance. Several gravestones are scattered amongst the weeds here.\n\n> You read the words\n\"Vladmir Von Rhistoven: In Morte Pax\"\n\n> You enter the mausoleum\nThe entrance to the mausoleum is closed.\n\n> You look at the weeds\nThe weeds are stunted and dying. They cling to life around the scattered graves.\n\n> You open the mausoleum\nYou grunt and strain, but can't open the mausoleum gate. It seems to be locked.\n\n> You examine the fence\nIt's a twelve foot tall fence, made of wrought iron. It bars passage to the north, out onto the moors.\n\n> You go to the south\nYou are at the southern end of the church graveyard. Some\nheadstones are shrouded in low-lying fog, while others are partially hidden by the long grass. It's obvious that the graveyard, like the church itself, hasn't been taken care of for some time. A few old stunted trees mark the boundaries to the south and east. To the west is a side entrance to the old church, and further to the north, you can see more headstones and an old mausoleum.\n\n> Go north\nYou're standing next to a small wooden building to the west.\nThere's a small window on this side, but otherwise the building's wall is featureless and uninteresting. To the north and northeast are impassable moors and swamps, and to the south is the main road. The alley is littered with trash and debris.\n\n> You search the trash\nIt's just typical alley litter - paper and the like. You find a leaflet lying amidst the debris, which you take.\n\n> You read the leaflet\n\"Good for One Free Reading at Madame Hulga's, just outside of town - head west from the signpost.\"\n\n> You examine the window\nThe window is set in the west wall of the building. It's closed.\n\n> You open the window\nThe window won't open. It seems to be latched from the other side.\n\n> You look through the window\nThe window's shutters are closed. You can't see a thing.\n\n> You search debris\nIt's just typical alley litter - paper and the like.\n\n> Go northeast\nYou walk out of town, heading out into the moors. Your mind wanders\nto Carolyn, and the recent strange turn of events. Where could she have gone? Is she dead? Can you still save her? Where did Doctor Trolovitch go?\n\nThe moors are dark and cold. A light rain is falling and the\nrumblings of far-distant thunder reach your ears. A flash of lightning, and suddenly, she is there. Carolyn - dressed in a white robe, standing before you on the fog-covered fen! Stunned, you run toward her, calling her name. She smiles, arms outstretched, reaching for you. And then you are there, hugging her, crying - and noticing how cold she is, how pale - how very dead. Her mouth opens in a jagged smile. Cold, bone-white pointed teeth reach for your neck. You cry out as her canines puncture your throat - and go limp as your lifeblood pumps into her mouth. The world turns black -\n\nYou dream.\n\nThe dreams are endless and horrifying. You are alive, then dead,\nthen floating in a formless void, then somehow alive again - but not alive. You have changed - you can tell. You are no longer human. You struggle out of blackness and find yourself enclosed in wood -\n\n> Wood\nNothing happens.\n\nA gnawing hunger is wracking your body. An icy chill grasps your stomach.\n\n> Scream\nAIIIEEEYYYEEE!\n\nSomewhere far above you, you hear faint scraping.\n\n> Continue\nAIIIEEEYYYEEE!\n\n> You break the coffin\nThe coffin is sturdy wood, and you can't seem to break it.\n\nThe scraping above you is getting louder."
    },
    {
        "text": "[Themes: Vampire, maze, nonhuman protagonist, vampire, violence]\n\n> Look around\nIt's quite dark, but by feeling around, you discover that you're\nlying in a closed pine coffin.\n\nA gnawing hunger is wracking your body. An icy chill grasps your stomach.\n\n> You keep going\nIt's quite dark, but by feeling around, you discover that you're\nlying in a closed pine coffin.\n\n> You check what you're carrying\nYou are empty-handed.\n\n> Open coffin\nYou grunt and strain, but there's far too much dirt on top of the coffin to push it open.\n\nThere's a loud thump on the coffin lid, like metal hitting wood.\n\n> Keep going\nYou push open the coffin lid. A man leaps back from your newly-opened grave, a horrified expression on his face. He falls backward and out of sight.\n\n> Go upwards\nYou're not going anywhere until you get out of the coffin.\n\nA gnawing hunger is wracking your body. An icy chill grasps your stomach.\n\n> You get out\n(the coffin)\nGraveyard North\n\nYou are at the north end of the graveyard. To the west is the old church; an entrance is further along the wall to the south. To the north is an ancient iron fence some twelve feet tall. To the east is an ancient mausoleum, with a few words etched in the stone above the entrance. Several gravestones are scattered amongst the weeds here.\n\nA man in priest's robes is cowering beside the headstones.\n\nOne grave has been dug up, and at the bottom of the hole is an open coffin.\n\nYou see a wooden stake and a shovel here.\n\n> You take all\nwooden stake: Taken.\nshovel: Taken.\n\n> You eat man\nA deadly hunger draws you to the priest. You raise his head in your hands and gaze into his eyes. He's beautiful, and the throbbing pulse in his neck is somehow hypnotic. You bend in for a closer look - and sever his jugular with newly-sharp canines, feeling his hot blood on your tongue, feeling it wash over your throat in a sensual orgy of smells and tastes. The priest grows limp in your arms and soon you let him fall, dead. You have killed for the first time - but your chilling hunger is sated."
    },
    {
        "text": "[Themes: Vampire, werewolf, maze, nonhuman protagonist]\n\n> Look around\nYou are at the north end of the graveyard. To the west is the old church; an entrance is further along the wall to the south. To the north is an ancient iron fence some twelve feet tall. To the east is an ancient mausoleum, with a few words etched in the stone above the entrance. Several gravestones are scattered amongst the weeds here.\n\nOne grave has been dug up, and at the bottom of the hole is an open coffin.\n\nYou see a dead man here.\n\n> You search man\nThe man's throat has been torn open - a ghastly, gruesome sight. He's been totally drained of blood. His broken body lies beside the open grave. From his clothing, you surmise that he was a Catholic priest. Perhaps you should bury him.\n\n> You put the man in the grave\nWhich grave do you mean, the hole, or the gravestones?\n\n> You bury man\nSomehow, you don't feel quite right about burying the priest in your grave; you feel you might need the coffin again. You dig a shallow grave in a shadowy corner of the graveyard and roll the priest into it, pulling bits of sod and leaves over the body."
    },
    {
        "text": "> You look around\nYou are at the north end of the graveyard. To the west is the old church; an entrance is further along the wall to the south. To the north is an ancient iron fence some twelve feet tall. To the east is an ancient mausoleum, with a few words etched in the stone above the entrance. Several gravestones are scattered amongst the weeds here.\n\nOne grave has been dug up, and at the bottom of the hole is an open coffin.\n\n> You go to the south\nYou are at the southern end of the church graveyard. Some\nheadstones are shrouded in low-lying fog, while others are partially hidden by the long grass. It's obvious that the graveyard, like the church itself, hasn't been taken care of for some time. A few old stunted trees mark the boundaries to the south and east. To the west is a side entrance to the old church, and further to the north, you can see more headstones and an old mausoleum.\n\n> You go west\nYou approach the church door, but suddenly, a strange pain seizes your gut. You double over in agony, and are forced to stop.\n\n> Go north\nYou easily scale the fence and head toward the moors.\n\nYou are walking along a lightly-travelled path that wends its way through the dark, misty moors of Rylvania. The trail curves here, continuing to the southwest and the northwest. The rain is picking up now, and the thunder and lightning are getting closer. South of here is the church graveyard, covered with a blanket of fog and mist. To the north, you hear the sounds of rushing water, but I wouldn't stray from the path if I were you - the bogs are deadly. The village is back to the southwest.\n\n> About yourself\nYour skin is pale and cold to the touch, your canines are long and pointy, and you feel very strange. You seem to have become a vampire. [2]\n\n> Footnote 2\n[2]: Bummer.\n\n> You go to the northwest\nYou are standing at a fork in the path through the moors. To the\neast a short path slopes down to the river, while another track continues through the fens to the west. To the southeast, the road heads back through the moors toward the village. To the northwest the way becomes drier and the terrain begins to rise - the path in that direction leads up the side of a low hill. There's a tall signpost here.\n\nSitting on top of the signpost is a raven, preening its feathers.\n\n> You examine the sign\nThe signpost has three signs. One points northwest and reads \"Gloomfen Castle.\" The second points southeast and reads \"Gloomfen Village.\"\nThe third points west and reads \"Deadly Moors - Be careful!\" There's a large raven sitting atop the post. It eyes you suspiciously.\n\n> You examine the raven\nIt's a large black raven, a bird of ill-omen. It gives you the chills, but appears to be quite harmless.\n\n> You talk to the the raven\nPlease refer to your manual and/or README file for the proper syntax to use when talking to people or objects.\n\n> You go west\nThe road from town ends here in a clearing, a dry spot in the\nendless bogs and moors. To the north you can see a rocky hill, atop which is a dark stone castle shrouded in mist. The only safe path through the bogs leads east, back toward the crossroads. A faded Gypsy tent sewn from once-bright colorful cloth stands to the west, its flap open. Stuck in the ground near the tent is a wooden sign.\n\n> You read sign\n\"Madame Hulga's - Enter if you seek Truth\"\n\n> You go west\nMoonlight filters through the thin cloth, bathing the dim interior\nof the tent in subtle shades of blue, green, and red. The interior of the tent is empty save for a low table. The exit is to the east.\n\nThere's a wizened old woman here, pacing the tent and muttering to herself. She looks up as you enter, and frowns. \"Well? What do you want?\"\n\n> You ask the hulga about the reading\n\"Yes, I do readings,\" the old crone says. \"But first you must pay me.\"\n\n> You check your inventory\nYou have a wooden stake and a shovel.\n\n> Go northwest\nThe terrain is rockier here than further down toward the village,\nand the land slopes gently upward to the north. Further north, up a mountain, you see the stark stone towers of Castle Gloomfen, the ancestral home of the Von Rhistoven family. The trail runs from the north to the southeast. Other directions appear too rocky for easy travel.\n\n> Go north\nYou're standing on the edge of a rocky gorge, which is to the north. The bottom is lost somewhere deep in the mists, but far below, you can hear water crashing on the rocks. The trail ends at the edge of the gorge. A thick rope spans the chasm, vanishing into the swirling fog. The trail leads back down the hill to the south.\n\n> Go north\nYou put one foot on the rope, but it's just too slippery. If you try to cross you'll plunge to your death.\n\n> You examine the reeds\nThe dying reeds bend gently in the chilling breezes.\n\n> You look at the river\nThe river water is muddy and foul, and smells of decay and death.\n\n> Go east\nYou can't swim. Besides, you should know that vampires can't cross running water.\n\n> Go southeast\nYou are walking along a lightly-travelled path that wends its way through the dark, misty moors of Rylvania. The trail curves here, continuing to the southwest and the northwest. The rain is picking up now, and the thunder and lightning are getting closer. South of here is the church graveyard, covered with a blanket of fog and mist. To the north, you hear the sounds of rushing water, but I wouldn't stray from the path if I were you - the bogs are deadly. The village is back to the southwest.\n\n> You go southwest\nYou are near the eastern outskirts of the village. To the south is\na stately old church, weathered and in a state of disrepair. The entrance to the church stands open. To the north a narrow track runs along the side of the small wooden building you passed to the west.\nThe road continues west and also runs northeast, out of town and through the moors.\n\nThe night is alive now; you can't believe you didn't notice before\nhow bright the stars were, how the shadows on the ground contrast sharply with the bright village lights around you. Your senses are at a peak, and you feel flushed with dark purpose.\n\nThe smell of hot blood beckons you to the north. You can almost\nsense the man's thoughts - and they're not thoughts that you're happy to share. Whoever lurks to the north has a sinister motive; he's a thief, and he's killed before himself.\n\n> Go north\nYou're standing next to a small wooden building to the west.\nThere's a small window on this side, but otherwise the building's wall is featureless and uninteresting. To the north and northeast are impassable moors and swamps, and to the south is the main road. The alley is littered with trash and debris.\n\nA sinister-looking man is lurking near the window, fiddling with the shutters. He glances in your direction as you approach, his eyes narrowing, trying to spot you in the gloom. \"Who's there?\" he whispers. When you fail to respond, he turns back to the closed window, trying to see how it opens. You can taste his hot blood, drifting to your newly-sensitive nostrils on the brisk winds that blow off the moors.\n\n> Wait\nTime passes...\n\n> You eat man\nEmerging from the shadows, you pounce on the hapless thief. He\ncries out only once - and then, your teeth find his neck. Slowly, savoring the warm flavors, you lap the blood from the gaping wound.\nThe thief begins to grow limp in your grasp, his face pale. Suddenly, with a last burst of strength, he tears away from your grasp and runs out onto the moors, screaming. Your prey has escaped, but the all-consuming hunger tearing your guts is sated - for the moment.\n\n> You look in the window\nThe window's shutters are closed. You can't see a thing.\n\n> You go north\nThe door is closed.\n\n> Door\nNothing happens.\n\n> You examine the building\nThe building is just north of the road. It looks like an office of some kind. Like most of the buildings in the village, it's made of wood with a fieldstone foundation.\n\n> You open the door\nIt seems to be latched from the other side.\n\n> Go west\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\nWith heightened senses, you hear the townsfolk muttering inside the inn. You sense their fear, their terror of the creatures they believe stalk the night. The smell of their blood, hot and sweet, drifts on the cool night breezes.\n\nEverything is new and fresh. The fluttering light from inside the\ninn seems to dance with a new intensity. Though it's clear you wouldn't be able to see in total darkness, your vision is sharper than it's ever been. New sensations scream for attention, and every pore in your body is tingling.\n\n> You go to the west\nYou are lost among the twisted, gnarled trees of the black forest.\nThe trees close in around you and the air is damp and cold. Somewhere off in the distance a lone wolf howls. Owls hoot, and a faint scrabbling under the leaves hints of tiny creatures of the night, searching for food. You can travel in almost all directions.\n\nThe woods seem to call your name; your heart is racing. You can\nsense life all around you - the quiet stalking of predators, the mindless fear of the prey, even the gentle grace of dying trees.\nScents wash over you, and your nostrils flare involuntarily. Even though your sharpened vision tells you the trees are dying, no forest has ever seemed so alive.\n\n> You read the trees\nI don't know how to read the trees.\n\nWithout warning, a lone wolf appears from the trees and meets your\ngaze with yellow eyes. Strangely you feel no fear - only a strange mastery over the creature. You can even hear the beast's thoughts - \"I serve you.\" Before you can find a way to respond, the wolf melts away into the dark wood.\n\n> You examine the trees\nThe black forest seems to close in around you. For a moment, you feel like you're being watched - and then, the feeling passes. The trees themselves are mostly twisted oaks, dying and shriveled in the dark autumn air.\n\n> You climb the tree\nThe limbs of the trees are too dead for you to safely climb them.\n\n> Smell\nWhat do you want to smell?\n\n> Smell air\nThe air is cold and damp, with a faint moldy smell.\n\n> Smell trees\nIt smells like what you'd expect a trees to smell like.\n\n> Go east\nYou are standing outside a wooden inn at the west end of a small Rylvanian village. Flickering light streams from an open window, and a sign hangs above the doorway. The inn has seen better days - it's run-down and falling apart, and could use a good coat of paint. A path runs south, out of town, and more buildings are down the street to the east. To the west is more of the black forest. The inn is to the north.\n\nWith heightened senses, you hear the townsfolk muttering inside the inn. You sense their fear, their terror of the creatures they believe stalk the night. The smell of their blood, hot and sweet, drifts on the cool night breezes.\n\n> Go south\nYou are standing at a fork in the path, just outside a village. To\nthe west the trees thin out slightly, while to the east they disappear entirely, becoming an impassable swamp. Branches of the path run north and northeast. To the north you can see several buildings. The track runs south as well, back into the forest.\n\n> Go northeast\nYou are walking on a road through the center of the village. The street is quiet and empty; most of the local populace has already turned in for the night. Silence weighs heavily on the town, and the air is cold and leaden. To the north is a small square wooden building. The door to the building is closed. To the south is an open field. The road continues to the east and west, and a branch runs southwest as well - toward the black forest.\n\n> Go south\nYou're standing on a knoll, an open field a bit higher than the surrounding terrain. Tall grasses gently sway in the cool night breezes. Below you to the north you see the winking lights of Gloomfen Village and far in the distance, up a rocky mist-shrouded mountain, you can just make out a sinister-looking stone castle. To the south and west are the black Rylvanian forests. To the east is a crumbling stone church and - perhaps a half-mile away - a winding river. The only clear track leads north, back down to the village.\n\nThere's a ragged old man lying on the ground. He looks up at you through bleary eyes. \"Charity for a poor fellow, kind sir?\" he wheezes.\n\n> You look at the man\nThe old man is obviously a derelict, and is even more obviously extremely drunk. He's dressed in rags and lies on the ground, mumbling to himself. He looks up at you through bleary eyes. \"Need four,\" he gasps.\n\n> You ask the man about the man\n\"How should I know?\" the old man cries.\n\n> You ask the man about the liquor\nThe old man lights up. \"Wine, you say? Give it to me!\"\n\n> Go north\nRylvanian inn. \"My God!\" one shouts. \"The one we buried the other day, back from the grave!\" The patrons leap to their feet, their faces masks of fear. They leap for you and throw you to the ground, shouting and cursing, holding crosses in your face. You throw one off, then a second, but four still hold you, just barely able to keep you restrained. One raises a wooden stake above your heart and brings it down, touching your chest. Another grasps a hammer -\n\n> Yes\nBye! Thank you for playing The Horror of Rylvania!"
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, fantasy, zorkian, alchemy, spells, old school]\n\nThe Meteor, The Stone And A Long Glass Of Sherbet\n\nAnother day wasted as guest of the Empress, a wretchedly long tour of\nthe breath-taking Boreal Falls, conducted as ever by the Lady Amilia.\nAs if she weren't bad enough, an honour guard of soldiers, their\nbreast-plates red in the setting sun, march ahead of the procession\nand protect you from seeing anything unrehearsed. It's a dog's life\nbeing an Ambassador.\n\nThe Meteor, the Stone and a Long Glass of Sherbet\nThe Interactive Memoirs of a Diplomat\n\n(Please type \"help\" if you would like instructions.)\n\nStandard interpreter 1.0\n\nWatling Street (in the cushioned basket)\nThe ancient paved road stretches for miles to the south, turning very\nslowly to the northeast along a mossy stone wall. From up here on your elephant's wickerwork basket, you're just level with the branches of\nthe old Imperial hunting woods inside the wall.\n\nday for a fortnight, you're just desperate to get away.\n\nThe procession of elephants shuffles on, their enormous soles slapping\nonto the flagstones with a dull, regular boom.\n\n[Author's Note: Another day wasted as guest of the Empress, a wretchedly long tour of the breath-taking Boreal Falls, conducted as ever by the Lady Amilia. As if she weren't bad enough, an honour guard of soldiers, their breast-plates red in the setting sun, march ahead of the procession and protect you from seeing anything unrehearsed. It's a dog's life being an Ambassador.]\n\n> Inventory\nYou are carrying:\na fedora hat (being worn)\na hand telescope\n\n\"I'm sure I've told you the scandal with the new Lord Chamberlain?...\"\n\n> You look at Amilia\nThe terrifying thing about the Lady Amilia, a young woman who would\ngrace any court ball, is that even after an entire day like this she\nshows no sign whatever of being bored. Even now she is reading the\nguide book with apparent concentration, though you can't ever remember\nher turning a page.\n\n\"...such a disappointment for all concerned, quite honestly...\"\n\n> You examine the hat\n(Amilia's hat)\nAmilia is wearing a simply fatuous hat, a light summer shade which\nwould look quite presentable if it weren't for the waxwork grapes,\napples, plums, damsons and so on around the brim.\n\n> You look at your hat\n(Amilia's hat)\nAmilia is wearing a simply fatuous hat, a light summer shade which\nwould look quite presentable if it weren't for the waxwork grapes,\napples, plums, damsons and so on around the brim.\n\n\"...which only means one thing...\"\n\n> You examine fedora\nA broad-brimmed light summer hat, ideal for shading your face from the\nsetting sun.\n\nA silken boy runs up from the rear of the procession, hands you each a\nglass of sherbet and then allows himself to be caught up again before\nboarding the last carriage at the rear of the elephant-train.\n\n> You show the fedora to Amilia\nLady Amilia is unimpressed.\nAmilia fans herself with the guide book.\n\n> You get book\nThose seem to belong to Lady Amilia.\n\n> You throw the glass at Amilia\nOh, if only you could. A pity that the resulting incident could plunge\nan entire continent into war, with the mighty Empire crushing your\ntiny Duchy.\n\n> You examine the woods\nThe walls do seem very secure. Surely a minor local law would have\nbeen enough to keep the local peasants away?\n\nBut then, by now you're quite sure it isn't just an ordinary hunting\nestate. A pity this will probably be the closest you'll ever be\nallowed to get...\n\n> You examine the elephant\nThe magnificent grey beast is wrinkled and has a wise look (but then,\nafter an entire day of Amilia's conversation, your average potato\nwould have a wise look). His two great ears flap a little up at the\nfront sides of the basket, his trunk curls and pokes at the air.\n\n\"Have I told you the rumour about the Empire's best racing donkey?...\"\n\n> You look at the basket\nThe basket has the usual complement of cushions, but if there were\nanything among them you'd have bumped into it hours ago.\n\n> You check what you're carrying\nYou are carrying:\na glass of sherbet\na fedora hat (being worn)\na hand telescope\n\n\"...such a terribly exciting moment for everybody...\"\n\n> You look through the telescope\nYou must say what to look at through the telescope.\n\n\"...just as my Mother always warned me...\"\n\n> You search amilia\nYou find nothing of interest.\n\nAmilia fans herself with the guide book.\n\nAt a whistle from the soldiers up ahead, the procession comes to an\nungainly halt.\n\nCustoms Post (in the cushioned basket)\nAs the road passes around the corner of the woods and turns east, it\nalso passes a customs post. You're ten feet up, and the tasseled\npennant flag flutters down from the pole to curl around the basket in\nthe light breeze.\n\nThe whole procession of elephants and carts is halted, and there is\nmuch commotion.\n\n> You look at Amilia through the telescope\nLady Amilia is too close to you to make that worthwhile.\n\n> You look at the flag through the telescope\nThe pennant flag is too close to you to make that worthwhile.\n\n\"Have I told you how I couldn't get a single pair of shoes to fit,\nlast week?...\"\n\n> You look at the forest through the telescope\nYou raise the brass telescope expertly to your eye, a dashing gesture\nwhich never fails to make Amilia clap her hands with pleasure.\nSomehow, though, Amilia also manages to nudge your arm so that you\ncan't get a clear look at the woods.\n\n\"Don't fret,\" says Amilia, \"we're only stopping a moment, it's just a\nsilly old routine I suppose, I mean they can see we aren't smugglers\nor anything...\"\n\n> You look at Amilia\nThe terrifying thing about the Lady Amilia, a young woman who would\ngrace any court ball, is that even after an entire day like this she\nshows no sign whatever of being bored. Even now she is reading the\nguide book with apparent concentration, though you can't ever remember\nher turning a page.\n\nThe procession sluggishly resumes, taking some time to accelerate\nagain. You dread to imagine what a hill start would be like.\n\nWatling Street (in the cushioned basket)\nThe ancient highway stretches east as far as the eye can see, running\nparallel with the mossy stone wall enclosing the hunting woods to the\nsouth. The wall appears unbroken. To the north, vast meadowlands sweep\ninto a lush, cultivated valley.\n\nThe procession of elephants shuffles on, their enormous soles slapping\nonto the flagstones with a dull, regular boom.\n\n\"...such a dreadful shame, all things considered...\"\n\n> You examine wall\n(the mossy wall)\nThe walls do seem very secure. Surely a minor local law would have\nbeen enough to keep the local peasants away?\n\nBut then, by now you're quite sure it isn't just an ordinary hunting\nestate. A pity this will probably be the closest you'll ever be\nallowed to get...\n\n> You look at the wall through the telescope\n(the mossy wall through the hand telescope)\nThe mossy wall is too close to you to make that worthwhile.\n\nThe procession runs over a small culvert bridge, which presents no\nproblem to the elephants. You glance down, and can't help thinking\nsomething's wrong somewhere.\n\n\"...I expect somebody was sorry, really...\"\n\n> You ask Amilia about the wall\nWhat Amilia doesn't know would fill a whole game in itself.\n\nAmilia fans herself with the guide book.\n\nJust for a moment, you catch a flickering glimpse of a bird up in the\nhigher branches of the woods.\n\n> You examine the bird\nIt's too far away to make out at all clearly, and it keeps moving.\n\n> You look at the bird through the telescope\nYou raise the brass telescope expertly to your eye, a dashing gesture\nwhich never fails to make Amilia clap her hands with pleasure.\nAlthough you only get one clear glimpse of the bird, its distinctive\nspeckled green and blue feathers must make it one of the legendary\nBirds of Paradise.\n\n\"I'm sure I've told you my mother's recipe for rhubarb pudding?...\"\n\n> You tell Amilia about the bird\n\"Is that so? Heavens!\"\n\n\"...such a charming face, that's what I say...\"\n\n> Drink sherbet\nYou sip at the fine sherbet, careful not to drink it all at once. It\nhas been chilled in a wooden cask of ice, and is the best news all\nday.\n\nGiggling nervously, for she has been waiting for you to take a sip,\nAmilia downs her sherbet with a quick snort (unfortunately literally,\nand she sneezes).\n\n> You say eww\n[To address somebody, please type \"name, what you want to say\". For\nexample: \"amilia, hello\".]\n\n> Eww\nAmilia is baffled, but then she so often is.\n\n> Kiss amilia\nThank heavens, an Ambassador's duties only go so far.\n\n\"...I expect somebody was sorry, really...\"\n\n> Yes\nThat was a rhetorical question.\n\n> Sleep\nYou aren't feeling especially drowsy.\n\nAmilia fans herself with the guide book.\n\n> You look\nWatling Street (in the cushioned basket)\nThe ancient highway stretches east as far as the eye can see, running\nparallel with the mossy stone wall enclosing the hunting woods to the\nsouth. The wall appears unbroken. To the north, vast meadowlands sweep\ninto a lush, cultivated valley.\n\nA bird seems to be darting about in the tree-tops, vaguely following\nthe procession.\n\nThe procession of elephants shuffles on, their enormous soles slapping\nonto the flagstones with a dull, regular boom.\n\n> You ask Amilia about the guide book\nWhat Amilia doesn't know would fill a whole game in itself.\n\n\"Surely I can't be the first to tell you about those scandalous\ngoings-on at the Royal Farm?...\"\n\n> You give the telescope to Amilia\n\"Super!\"\n\nShe squints into the telescope, but picks the wrong end, and then\nhands it back with a half-puzzled look. \"Marvellous invention, what?\"\n\n> You ask Amilia for the guide book\n\"It's a jolly super guide book!\" says Amilia gratuitously, as she\nkindly passes it over. Fortified by years of training in the\ndiplomatic service, you thank her.\n\n\"...such a horrid way to spend a Wednesday in the season...\"\n\n> You stand\nIt wouldn't be safe to dismount while the procession is under way.\n\n\"...a nod's as good as a wink, after all...\"\n\n> You look at the bird through the telescope\nAmilia thinks she disapproves of that.\n\n> You take the guide book\nEnormously detailed with the useless and irrelevant, the Empress gave\nit to you hoping you'd waste time studying it in detail. You have\nvowed never to do so, but it's still handy for passing the odd dull\nmoment by looking up some specific local feature.\n\nYou already have that.\n\n> You look up the bird in the book\nThe Northland Empire supports a rich and varied avian life.\n\n> You look up the bird of the paradise in Book\nThe Guide Book has a lovingly detailed section on birds of paradise,\nwhich there is no time to read now. Apart from the plumage, it seems\nthese birds are distinguished by their mating call, a chirrup followed\nby a coo. They live to be twenty years old, always return to their\nfirst nest in midsummer and steal each others' eggs, but nobody knows\nwhy.\n\n> Chirrup\nAmilia hangs her head half on one side and flutters her eyelids,\npuzzled.\n\n> Coo\nAmilia really is bewildered now. But your mating call does seem to\nhave done the trick! The bird of paradise flutters down over the wall\nto dance eagerly around your basket.\n\nAlthough clearly peeved by the lack of a significant other here, the beautifully-plumed bird does (to your immense satisfaction) begin\npecking away at the wax fruit on the Lady Amilia's hat.\n\n> You look through the telescope at the forest\nYou raise the brass telescope expertly to your eye. Somehow, though,\nAmilia also manages to nudge your arm so that you can't get a clear\nlook at the woods.\n\nAmilia hisses at the bird, without effect.\n\n> You look\nWatling Street (in the cushioned basket)\nThe ancient highway stretches east as far as the eye can see, running\nparallel with the mossy stone wall enclosing the hunting woods to the\nsouth. The wall appears unbroken. To the north, vast meadowlands sweep\ninto a lush, cultivated valley.\n\nThe Bird of Paradise is still worrying away at Amilia's hat, so for\nonce your tour guide has her eyes off you.\n\nThe procession of elephants shuffles on, their enormous soles slapping\nonto the flagstones with a dull, regular boom.\n\n> You check what you're carrying\nYou are carrying:\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\na glass of sherbet\na fedora hat (being worn)\na hand telescope\n\nAmilia hisses at the bird, without effect.\n\n> You examine the elephant\nThe magnificent grey beast is wrinkled and has a wise look (but then,\nafter an entire day of Amilia's conversation, your average potato\nwould have a wise look). His two great ears flap a little up at the\nfront sides of the basket, his trunk curls and pokes at the air."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, zorkian, old school, alchemy, spells]\n\n> Go downwards\nIt wouldn't be safe to dismount while the procession is under way.\n\nNo matter what Amilia tries, the bird continues to hover.\n\n> You look at the ears\nWhich do you mean, the right ear or the left ear?\n\n> You give sherbet to Bird\nYou can only do that to something animate.\n\n> You pull the right ear\nAmilia is too preoccupied to notice you doing this, giving the\nelephant's ear a good tug. But he must be half-asleep on his feet,\nafter this long trudging day, and he shows no signs yet of waking up\nfor you.\n\n> You pour the sherbet on the elephant\nAs the icy liquid cascades over the elephant's great head, he bucks\nand jumps, shaking his ears, thoroughly waking up. You have his\nattention now all right.\n\n> You pull the right ear\nThe elephant gives a huge trumpet and begins to charge right, straight\ninto the stone wall! The basket careers along with him, suddenly\nlurches onto his side and is rapidly crushed between an elephant and a\nhard place.\n\nHopefully, you and Amilia will be sent to different departments of the afterlife.\n\n> You pull the left ear\nthe meadowland! The basket is tossed around at high speed as you and\nAmilia are taken for a nerve-wracking ride.\n\nBy the time the bearers have got him under control again, the whole\nprocession has slewn out of line and is all over the valley. Casks are overturned, cartwheels have rolled loose, axles have broken, the\nanimals are restive, and darkness is coming on. The expedition will\nhave to stop here for the night.\n\nThe finest quarters they could find for a visiting Ambassador, at such\nshort notice: and much better than you'd have expected from a\nprovincial customs post. Presumably some very rich collector of\nantiquities once slept here... The only exit is to east.\n\nThe room is almost filled with a four-poster bed, caparisoned gaudily\nas a warhorse.\n\nNorthlands and Surrounding Provinces.\n\nA jade figurine nestles in an alcove, beneath a painting of\nunparalleled beauty.\n\n> You examine painting\nIt depicts a wide cavern with a polished stone ledge on one shore of a subterranean lake, dimly lit from above and ringed in with rock faces.\n\n> You look\nThe finest quarters they could find for a visiting Ambassador, at such\nshort notice: and much better than you'd have expected from a\nprovincial customs post. Presumably some very rich collector of\nantiquities once slept here... The only exit is to east.\n\nThe room is almost filled with a four-poster bed, caparisoned gaudily\nas a warhorse.\n\nNorthlands and Surrounding Provinces.\n\nA jade figurine nestles in an alcove, beneath a painting of\nunparalleled beauty.\n\n> You get Guide\nTaken.\n\n> You examine the figurine\nAn exquisite antiquity.\n\n> You get it\nTaken.\n\n> Go east\nYou can't get out, because soldiers (\"for your protection,\nAmbassador\") are guarding the door.\n\n> Inventory\nYou are carrying:\na jade figurine\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\n\n> You eat guide\nThat's plainly inedible.\n\n> You look at the bed\nIt looks highly inviting."
    },
    {
        "text": "> You describe your surroundings\nThe finest quarters they could find for a visiting Ambassador, at such\nshort notice: and much better than you'd have expected from a\nprovincial customs post. Presumably some very rich collector of\nantiquities once slept here... The only exit is to east.\n\nThe room is almost filled with a four-poster bed, caparisoned gaudily\nas a warhorse.\n\n> You move painting\nNothing obvious happens.\n\n> You move the bed\nThose are fixed in place.\n\n> You lie on the bed\nYou get into bed.\n\nCustoms House Bedroom (on the four-poster bed)\nA magnificent design is woven into the inside of the tapestry roof of\nthe bed, and the whole effect is sumptuous and comfortable.\n\n> You look at the design\nThe design of a topiary garden, whose bushes and shaped hedges depict\na dragon, a unicorn, a great serpent and a huge misshapen dog. It is\nsigned \"Leblank\".\n\n> Sleep\nYou relax into a strange, dream-laced sleep. The Boreal Falls... Lady\nAmilia, giggling wildly with a hysterical edge... your secret\nbriefing, back at the Duchy, when you were warned not to take anything\nin the Empire at face value... and mages, sorcerers, enchanters,\npowerful men from the Old Time...\n\n...and suddenly you sit bolt upright, at the distant but unnerving\nsound of the blowing of a horn. It's deep into the night but you're\nnow perfectly awake.\n\n> You look\nCustoms House Bedroom (on the four-poster bed)\nA magnificent design is woven into the inside of the tapestry roof of\nthe bed, and the whole effect is sumptuous and comfortable.\n\n> You go outside\nYou get off the four-poster bed.\n\nThe room is almost filled with a four-poster bed, caparisoned gaudily\nas a warhorse.\n\n> You go east\n(The soldiers who guarded this door must have gone off duty some hours\nago.)\n\nStairs descend to the ground floor, and one doorway leads west, into\nyour bedroom.\n\nThe rich brocade curtains of the window here are drawn.\n\n> You examine the curtains\nPerhaps you should open the curtains and then see what you can see.\n\n> You open the curtains\nYou open the curtains, and look out on a deserted Watling Street, the\nmossy wall, the woods beyond. Somewhere in the distance, from the\ncentre of the woods, is an unearthly green glow."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, old school]\n\n> Go downward\nYou are in the kitchen of the white-painted Customs House. The table\nhere looks as if it hasn't been used for the preparation of food in\nyears. A passage leads to the west and a dark staircase can be seen\nleading upward. There is a fine, modern charcoal-stove and to the\neast, the front door is closed.\n\nOn the kitchen table is a small wickerwork hamper (which is closed).\n\nA joint of cured ham hangs from a hook in the ceiling.\n\n> You get the ham\nYou just, right up on tiptoe, succeed in dislodging the ham from its\nhook.\n\n> You get the hamper\nTaken.\n\n> You look at stove\nThis immaculate black iron stove, just the size of the fireplace, has\nbeen very well cleaned and has that elusive \"never used\" look. It is a\nmodern, de luxe charcoal stove, embellished with iron hoops and\ndesigns around the edge. The stove is currently closed.\n\n> You open the stove\nYou open the stove. There is no charcoal inside.\n\n> Search stove\nThe black-iron stove is empty.\n\n> You open the hamper\nThoughtfully, someone has provided you with breakfast.\n\nIn the small wickerwork hamper are some provisions - an apple, a hunk\nof cheese and a clove of garlic.\n\n> Go west\nYou are in a stately and well-aged living room. There is a doorway to\nthe east, leading back into the kitchen, a trophy case, and a large\noriental rug in the center of the room.\n\nA brass lantern rests on top of the trophy case.\n\nhere, just where you left it last night.\n\n> You put the ham in the hamper\nYou put the joint of cured ham into the small wickerwork hamper.\n\n> You examine the trunk\nThis little trunk (one foot by one foot by six inches) is an\nimmaculate example of Duchy craftsmanship at its finest. The latch\nmechanism is so intricate that only its owner can open it. Turning out\nfine products like this is the very lifeblood of your native land.\n\nit? Surely only a wizard could have done so, and the days of the\nwizards are long gone, back even before the foundation of the Old\nUnderground Empire! Unless... the rumours are true. Has magic been rediscovered here?\n\nYou'd better find out, because in a world of magic no-one's going to\nwant mechanisms like this any more.\n\n> You open the trunk\nExpertly sliding your fingers along the sequence of hidden catches,\nyou trigger the mechanism and the trunk-lid gracefully raises.\n\nIn the Ambassador's trunk are a hand telescope, your formal\ncredentials and a coil of light rope.\n\n> You examine the credentials\n\"To whom it may concern... granted plenipotentiary powers\nnotwithstanding... most excellent and serene Highness...\" and so on.\nThe froth which covers any diplomat's life.\n\n> You take all\ntrophy case: That's hardly portable.\noriental rug: That's hardly portable.\n\n> Go east\nThere's a hook in the ceiling.\n\n> You open the front door\nThey seem to be locked.\n\n> You examine the front door\nAs secure as you could ever hope for.\n\n> You go west\nYou are in a stately and well-aged living room. There is a doorway to\nthe east, leading back into the kitchen, a trophy case, and a large\noriental rug in the center of the room.\n\n> You examine the trophy case\nAccording to a plaque, it's a genuine early Empire trophy case, a real antique. At that time, it was fashionable to collect precious items\nand display them in one's own home, in just such a case.\n\n> You open it\nAs you open the old trophy case, which is so stiff it can't have been\nopened in years, something shiny falls out into your hand.\n\n> Inventory\nYou are carrying:\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na coil of light rope\na brass lantern\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\ntwo ancient treasures:\na jewelled scarab\na jade figurine\n\n> You examine the scarab\nA finely-worked filigree gold and jewelled scarab.\n\n> You look under the rug\nWith a great effort, the rug is moved to one side of the room,\nrevealing a seamless wooden floor.\n\nSomewhat embarrassed, you move the rug back again.\n\n> You go east\nYou are in the kitchen of the white-painted Customs House. The table\nhere looks as if it hasn't been used for the preparation of food in\nyears. A passage leads to the west and a dark staircase can be seen\nleading upward. There is a fine, modern charcoal-stove and to the\neast, the front door is closed.\n\nThere's a hook in the ceiling.\n\n> You pull the stove\nThe stove budges fractionally, but is so heavy that you can hardly get\nit to move at all by hand.\n\n> You tie rope to the stove\nYou make a secure little knot. It is now tied to the black-iron stove.\n\n> You pull the hook\nThe hook's too high for you to touch, even on tiptoe.\n\n> You put the rope on the hook\non top of something else.\n\n> You tie the rope to the hook\nThe rope's already tied to the black-iron stove.\n\n> You pull the rope\nYou pull hard on the rope, and the stove budges fractionally, but the\nenormous friction of its flat base on the floor stops you from getting anywhere.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\ntwo ancient treasures:\na jewelled scarab\na jade figurine\n\n> You climb the rope\nYou see nothing special about the joint of cured ham.\n\nBut the rope leads neither up nor down.\n\n> You take the rope\nYou can't take the rope; it's tied to the black-iron stove.\n\n> You untie the rope\nYou untie the rope.\n\n> You stand on the table\nThat would be unhygienic. Anyway, the table is not underneath anything interesting, so no benefit would accrue.\n\n> You move the table\nThe kitchen table seems securely fixed in place.\n\n> You drop the trunk\nDropped.\n\n> You close the trunk\nYou close the clasps carefully, and the trunk seals itself."
    },
    {
        "text": "> You look around\nYou are in the kitchen of the white-painted Customs House. The table\nhere looks as if it hasn't been used for the preparation of food in\nyears. A passage leads to the west and a dark staircase can be seen\nleading upward. There is a fine, modern charcoal-stove and to the\neast, the front door is closed.\n\nThere's a hook in the ceiling.\n\nYou can also see your Ambassador's trunk (which is closed) here.\n\n> You check what you're carrying\nYou are carrying:\na length of light rope\na brass lantern\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\ntwo ancient treasures:\na jewelled scarab\na jade figurine\n\n> You throw the rope at the hook\nYou throw the rope up. Its two ends are now hanging from the hook.\n\n> You tie the rope to the oven\nYou make a secure little knot. It now runs from the black-iron stove\nup and over the hook, from which the loose end dangles.\n\n> You pull the rope\nPulling hard on the rope, you have enough leverage to slightly lift\nthe stove, and it comes aside towards the centre of the kitchen.\n\nBehind the stove, it seems, was a much older chimney, an original\nfeature of the Customs House.\n\n> You get the hamper and the trunk\nsmall wickerwork hamper: Taken.\nAmbassador's trunk: Taken.\n\n> You take the trunk\nYou already have that.\n\n> You get the rope\nYou can't take the rope; it's tied to the black-iron stove.\n\n> You untie rope\nYou untie the rope. Its two ends are now hanging from the hook.\n\n> You get the rope\n(first pulling the rope off the hook)\nTaken.\n\n> You enter the chimney\nAs dazzling as you may be in the conference chamber, down a chimney\nyou're as mortal as anyone else. It looks extremely dangerous to climb\ndown in darkness without anything holding you safe.\n\n> You tie rope to the stove\nYou make a secure little knot. It is now tied to the black-iron stove.\n\n> Light lamp\nYou light the lantern.\n\n> Go inside\nThe stairs lead back up, and there's a doorway west.\n\n> You tie the rope to yourself\nYou tie the rope around you. One end is tied around you, and the other\nto the black-iron stove.\n\n> You enter the chimney\nYou pull hard on the rope, and the stove budges fractionally, but the\nenormous friction of its flat base on the floor stops you from getting anywhere."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, alchemy]\n\n> Go downward\nYou abseil down the chimney, securely held by the rope, though you\nhave to untie yourself to drop down the last foot or so.\n\nAt the foot of the chimney are low and grimy cellars, built of\ndecaying brickwork and seemingly unused for years. There are no\nbottles, or crates, unless they're stored through the passage to the\nsouth.\n\nYour length of rope is here. Its tail is just visible at the foot of\nthe chimney.\n\n> Go south\nancient Watling Street, which must run just overhead.\n\nunder a long lintel-stone; a side passage, northwest, is much more\nearthy.\n\n> Go northwest\nThis is a red-brown earthy bole, a cavity in hardened soil with but a\nsingle crawl leading out to the southeast. The ground is covered with\nautumn leaves, russet and variegated.\n\nIn the centre is a bubbling pool of spring water, glinting with shades\nand flickers of green phosphoresence.\n\n> Examine leaves\nThe leaves have the weight of many autumns, many winds, in their\ndelicate hue.\n\n> Count leaves\nThere are 16,339 leaves.\n\n> Search leaves\nTurning through the leaves, you come across a precious platinum egg!\n\n> Drink water\nThe water is imbued with something... what? A taste of blackcurrant\nand the scent of morning fire-ash. Whatever it is, it's naturally\ncarbonated and you hiccup.\n\nIn fact, you feel quite light-headed.\n\n> You examine the egg\nYou see nothing special about the platinum egg.\n\nYou're beginning to feel dangerously unsteady on your feet.\n\n> Wait\nTime passes.\n\n...And suddenly, there is the Power! It crackles through your whole\nbody, sparking at your fingernails and toenails, sending shivers along\nyour limbs. You feel suddenly afraid to imagine, afraid that you can\nno longer tell imagination from reality.\n\n> You check what you're carrying\nYou are carrying:\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nthree ancient treasures:\na platinum egg\na jewelled scarab\na jade figurine\n\n> You examine the scarab\nA finely-worked filigree gold and jewelled scarab.\n\n> Go south\nThe only passage out of this earthy bole is southeast.\n\n> You go to the southeast\nancient Watling Street, which must run just overhead.\n\nunder a long lintel-stone; a side passage, northwest, is much more\nearthy.\n\nStill not quite yourself, you trip over slightly, banging your head on\nthe lintel. Involuntarily you curse out the word \"jilnix\", a word\nyou're almost certain you've never heard before!\n\nsurge of motion. A dark cloud of bat-like insects clashes with the\nclear air around you, purposeless and malevolent. Only by great effort\nof will can you abolish them.\n\nOne thing seems clear. The Old Magic has returned.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have no spells memorised.\n\n> Jilnix\nAs your brows frown, the air around you gathers with vile winged\ninsects, fluttering angrily about you for a moment. But nothing\nresults from this, and they dissipate again.\n\n> Go northwest\nThis is a red-brown earthy bole, a cavity in hardened soil with but a\nsingle crawl leading out to the southeast. The ground is covered with\nautumn leaves, russet and variegated.\n\nIn the centre is a bubbling pool of spring water, glinting with shades\nand flickers of green phosphoresence.\n\n> Go south\nYou duck your head under the lintel-stone.\n\nA narrow passage, running north to south under solid sandstone blocks\nwhich must make up the base of the wall. Further south, the passage\nruns onto what seems to be a ledge, and you have a sense of space\nopening up from below.\n\nThe Old Underground Empire awaits!\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\n> You look at the snake\nIt has a lean and hungry look.\n\n> Jilnix snake\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the oil-snake. It recoils\n(literally) backward, retreating south through the passage until out\nof sight! Your insects dissipate, their work done.\n\n> Go south\nThis is a slate-littered shelf high up at the northwest eaves of a\ndark, vaulted cave, from which a meadow-fresh breeze blows. The ledge\nbroadens down a slab \"staircase\" to the east but wastes away into a\ntight squeeze southwest. Natural passages extend like tendrils into\nthe rock all around this cavern, but only one is accessible from here,\nback north under the lintel.\n\nHanging down toward the dim, distant cave floor is a flourishing,\ninverted cedar, its roots grappling the roof, its nearest outflung\nbranch a good 10 feet across the abyss from here.\n\n> Go north\nA narrow passage, running north to south under solid sandstone blocks\nwhich must make up the base of the wall. Further south, the passage\nruns onto what seems to be a ledge, and you have a sense of space\nopening up from below.\n\nThe Old Underground Empire awaits!\n\n> Go southwest\ndead end not far west, but a muddy slide-passage descends to the\nsouth.\n\nA flat stick, curved around a right angle, rests on the ground here.\n\n> You look at stick\nA flat curved stick, but one that has been well-crafted to some end.\n\n> You throw stick\nstick, since you'd really need to pull your arm right back and swing\nhard.\n\n> Go south\nThis is only half a cave; the eastern half, to be exact. It's a dark\nplace full of crevices (you would have missed the slide passage back\nnorth if you hadn't already known about it); chief among them a\ndistinctive triangular cavity, 1 foot or so high, and blocked by a\nrough quartz window.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\nA shard of pottery glints slightly in the mud floor.\n\n> You look at the pottery\nold. (Held up to the light, it has a faint glint from having being\nbaked with mica.)\n\n> You look\nThis is only half a cave; the eastern half, to be exact. It's a dark\nplace full of crevices (you would have missed the slide passage back\nnorth if you hadn't already known about it); chief among them a\ndistinctive triangular cavity, 1 foot or so high, and blocked by a\nrough quartz window.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\n> You examine the wall\n(the masoned wall)\nYou see nothing special about the masoned wall.\n\n> You examine the window\nThe window itself, perhaps, was the work of primitive cave dwellers\nlong ago. Whoever they were, they seem to have cut some kind of cavity\nto the east, behind the window.\n\n> You examine the cavity\nTantalisingly, you can only see darkness within.\n\n> You go to the east\nThe quartz window in the east wall is only 1 foot high, in addition to\nbeing apparently unbreakable.\n\n> Jilnix window\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the quartz window. But nothing\nresults from this, and they dissipate again.\n\n> You check your inventory\nYou are carrying:\na shard of pottery\na flat curved stick\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nthree ancient treasures:\na platinum egg\na jewelled scarab\na jade figurine\n\n> Go south\nThanks to the wall, the slide passage is the only way out.\n\n> You go north\ndead end not far west, but a muddy slide-passage descends to the\nsouth.\n\n> You go northeast\nThe increasingly earthy rock blocks your way. The only viable routes\nare west, south and northeast.\n\nThis is a slate-littered shelf high up at the northwest eaves of a\ndark, vaulted cave, from which a meadow-fresh breeze blows. The ledge\nbroadens down a slab \"staircase\" to the east but wastes away into a\ntight squeeze southwest. Natural passages extend like tendrils into\nthe rock all around this cavern, but only one is accessible from here,\nback north under the lintel.\n\nHanging down toward the dim, distant cave floor is a flourishing,\ninverted cedar, its roots grappling the roof, its nearest outflung\nbranch a good 10 feet across the abyss from here.\n\n> Go south\nledge, either down to the east or into the tight squeeze to the\nsouthwest.\n\n> You throw branch\nThe inverted cedar is already on the floor.\n\n> Go west\nAn earthy rockfall, soaked through with water into wet clay, makes\nthis passage lose all coherence. A kind of chimney-like crack leads\nupward, and the crawl eases slightly to the east.\n\nRoughly underneath the chimney-crack is a mound of garbage, dropped in\nfrom above. Potato-peel, broken tools and so on seem to make up the\nbulk of it.\n\n> You go to the west\nThe muddy earth is too tight.\n\n> Search heap\nThe moment you reach out to touch the mound, it comes alive with\nwoodlice and ants, making you pull your finger back as if stung.\nWhatever the mound's secrets, they're well guarded.\n\nA moment later, it's as if nothing had happened.\n\n> Jilnix heap\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the garbage heap. They set\nabout the garbage heap with relish, doing battle royal with the native woodlice and ants. Only when finally triumphant do they dissipate.\n\n> Search heap\nRummaging through the garbage, you turn up all manner of things: odd\nsocks with holes in, iron bedstead-parts, rotting turnips and so on.\n\nAnd then you come across a bound volume of parchment (wrapped loosely\nin old sackcloth), filled with curious writings.\n\n> You look at the crack\nYou can just make out starlight, so it must open onto the ground\nabove. You can't help feeling it was indeed constructed to be a\nchimney, terribly long ago and with primitive tools at best.\n\n> Up\nThe chimney-crack becomes just too tight for you, and you sag back\ndown, muddier and wiser.\n\n> You check your inventory\nYou are carrying:\nExperimental Spell Book #5\na shard of pottery\na flat curved stick\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nthree ancient treasures:\na platinum egg\na jewelled scarab\na jade figurine\n\n> Examine book\nWhich do you mean, the parchment book or The Guide For Travellers To\nThe Lower Northlands and Surrounding Provinces?\n\n> You look at the parchment\nA note tucked into the book falls out and into your hand.\n\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\n\n\n\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\n\n> You read the note\nGraceful, almost effeminate handwriting on the note declares that as\nthe parchment book is defective (having failed the target of binding\nup to 50 spells), it is to be disposed of.\n\nSince magic-imbued paper will not burn, the instructions go on to\ninsist that the book must be securely buried.\n\nPresumably, whoever received this note thought that dropping the book\ninto the rubbish dump at one corner of the Imperial hunting woods was\nquite secure enough.\n\n(There is something troublingly familiar about the handwriting,\nperhaps from your briefings last month. But you can't put your finger\non it.)\n\n> You memorize the chiaro\nYou commit the chiaro spell to memory.\n\n> You memorize the chiaro\nYou commit the chiaro spell to memory once again.\n\n> You memorize the piroo\nYou commit the piroo spell to memory.\n\n> Chiaro pottery\nglow! Not for a long moment is the light level tolerable.\n\n> You examine the chiaro\nchiaro spell (cause inanimate object to radiate light).\n\n> You check your inventory\nYou are carrying:\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\na flat curved stick\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nthree ancient treasures:\na platinum egg\na jewelled scarab\na jade figurine\n\n> Go east\nYou edge along the northern wall of the cave, descending the rocky\nstairs.\n\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\n> Go north\nThe oil-snake oozes and rears itself up to bar your way.\n\n> Jilnix snake\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the oil-snake. But it's not to\nbe fooled a second time.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the piroo spell and chiaro spell memorised.\n\n> You look at the piroo\npiroo spell (unfasten object).\n\n> Piroo snake\nNothing happens, perhaps because the oil-snake was already unfastened.\n\n> Piroo snake\nYou speak the word, but it seems that isn't enough to make the magical\nforces gather. Perhaps if you could voice the spell more quickly, with\nmore assuredness... you would need to have learnt the spell in\nadvance, though.\n\nOdd how at any one time, you can remember the details of some spells\nbut not others.\n\n[Type the \"spells\" command to see which you can remember at any given\nmoment.]\n\n> You memorize the piroo\nYou commit the piroo spell to memory.\n\n> You go north\nAt the foot of the chimney are low and grimy cellars, built of\ndecaying brickwork and seemingly unused for years. There are no\nbottles, or crates, unless they're stored through the passage to the\nsouth.\n\nYour length of rope is here. Its tail is just visible at the foot of\nthe chimney.\n\n> Piroo rope\nThe rope falls obligingly to your feet.\n\n> You go south\nYou duck your head under the lintel-stone.\n\nA narrow passage, running north to south under solid sandstone blocks\nwhich must make up the base of the wall. Further south, the passage\nruns onto what seems to be a ledge, and you have a sense of space\nopening up from below.\n\nThe Old Underground Empire awaits!\n\n> You throw the stick\nYou throw the flat curved stick out into the vast air of the cave,\nwhere it quickly spins out of sight.\n\n> You wait awhile\nTime passes.\n\n> You wait\nTime passes.\n\nSuddenly and without warning, the flat curved stick spins back in from\nthe cave and gives you a nasty bruise on the head.\n\n> Inventory\nYou are carrying:\na boomerang\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nthree ancient treasures:\na platinum egg\na jewelled scarab\na jade figurine\n\n> You jump to the cedar\nYou take a short run-up and leap across, just managing to catch the\nnearest branch! Painfully slowly, you haul yourself in.\n\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform.\n\nYou can also see a bow and an arrow here.\n\n> You take bow and arrow\nbow: Taken.\narrow: Taken.\n\n> You look at arrow\nThere's no good way of tying it to that.\n\nYou see nothing special about the arrow.\n\n> You examine bow\nA short-bow, reasonably accurate across short distances though little\ngood for rapid fire. Well-balanced, if far from being state of the\nart.\n\n> You enter House\nStrangely, every side appears to be solid with vine-bound planks and\nlogs, even the obvious place where a doorway should be.\n\n> You memorize the piroo\nYou haven't got that spell committed to memory. [Type \"spells\" to see\nwhat you do remember.]\n\nYou commit the piroo spell to memory.\n\n> Piroo house\nAs the spell takes effect, vines begin to shrink and strain all over\nthe treehouse. Just as your magic is about to expire, the cords break\nand the doorway opens up onto a dark interior.\n\n> You get in\n(the ledge)\nThe ledge is too far off.\n\n> You enter House\nInside the wooden lean-to is a surprising illusion of space and\ncomfort, which you'd never guess is perched in an upside-down cedar.\nThere are no windows, but finely built wooden chairs suggest some kind\nof meeting-place.\n\nA golden fir-cone rolls about on one of the chairs.\n\nYou can also see two arrows here.\n\n> You get the cone\nTaken.\n\n> Continue\n(the arrow)\nTaken.\n\n> You look at the cone\nOnly an inch across, but beautiful and valuable.\n\n> You sit\n(on yourself)\nThat's not something you can enter.\n\n> Inventory\nYou are carrying:\nthree arrows\na bow\na boomerang\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You examine the destruction order\nGraceful, almost effeminate handwriting on the note declares that as\nthe parchment book is defective (having failed the target of binding\nup to 50 spells), it is to be disposed of.\n\nSince magic-imbued paper will not burn, the instructions go on to\ninsist that the book must be securely buried.\n\nPresumably, whoever received this note thought that dropping the book\ninto the rubbish dump at one corner of the Imperial hunting woods was\nquite secure enough.\n\n(There is something troublingly familiar about the handwriting,\nperhaps from your briefings last month. But you can't put your finger\non it.)\n\n> You look\nInside the wooden lean-to is a surprising illusion of space and\ncomfort, which you'd never guess is perched in an upside-down cedar.\nThere are no windows, but finely built wooden chairs suggest some kind\nof meeting-place.\n\n> You go outside\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform."
    },
    {
        "text": "> You go downwards\nthe trunk will bear your weight.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, hangs down the rest of the way.\n\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\n> You go north\nThat would be straight into the pool. Try walking around it.\n\n> Drink pool\nThe water tastes strongly of minerals, but is not unpleasant, though\nit is extremely cold.\n\n> You go upwards\nthe trunk will bear your weight.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, hangs down the rest of the way.\n\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform.\nThe trunk becomes too smooth up near the roots.\nThe trunk becomes too smooth up near the roots."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, zorkian, alchemy]\n\n> You go downwards\nthe trunk will bear your weight.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, hangs down the rest of the way.\n\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\nThis is the base of the cave.\nThis is the base of the cave.\n\n> You go southwest\nThe furrow has been burrowed and extended by primitive mine workings,\nhewn chiefly by hand or at best stone tools. But the seam has been\nexhausted, and the striations in the rock scraped clean of ore.\n\nWhat looks like a small drum lies discarded here.\n\n> You examine the drum\nYou are carrying:\nan improvised ladder\nthree arrows\na bow\na boomerang\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\nIt resembles a tambourine without chimes. Some kind of coarse gauze is stretched taut along the bottom of a wooden drum-frame.\n\n> You hit drum\nA hollow Bong! results."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, alchemy, zorkian, old school]\n\n> You look around\nThe furrow has been burrowed and extended by primitive mine workings,\nhewn chiefly by hand or at best stone tools. But the seam has been\nexhausted, and the striations in the rock scraped clean of ore.\n\n> Go northeast\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\n> You go to the south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\n> You count the tiles\nArithmetical correctness gone mad.\n\n> You examine the scroll\nThe scroll reads \"azzev spell (view the past)\".\n\n> You get the scroll\nJust as you're about to pull out the scroll, a tiny but significant\nshift of stones give you pause. The scree fall is on the very edge of\nan avalanche! You'd need to be a lot more than arm's length away to\nsurvive that.\n\n> Azzev\nYou haven't got that spell committed to memory. [Type \"spells\" to see\nwhat you do remember.]\n\n> You throw the boomerang\nstick, since you'd really need to pull your arm right back and swing\nhard.\n\n> You memorize the azzev\nIt seems to be not enough to be able to read a copy of the spell. No,\nthe writing has to be part of the fabric of a spell book you have in\nyour hands, so that the magic can flow from the binding into your own\nspine.\n\n> Inventory\nYou are carrying:\nan improvised ladder\na drum (which is empty)\nthree arrows\na bow\na boomerang\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple, a hunk of cheese\nand a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You hit the scroll with the ladder\nI only understood you as far as wanting to hit the black, memorial\nscroll.\n\n> You shoot scroll\nYou loose off an arrow at the black, memorial scroll, but miss.\n\n> You throw the boomerang at the scroll\nThere isn't really room to throw it at the black, memorial scroll in\nthis cramped space.\n\n> Jilnix scroll\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the black, memorial scroll. But\nnothing results from this, and they dissipate again.\n\n> You throw the pottery at the scroll\nFutile.\n\n> Piroo scroll\nYou haven't got that spell committed to memory. [Type \"spells\" to see\nwhat you do remember.]\n\n> Piroo scroll\nNothing happens, perhaps because the black, memorial scroll was\nalready unfastened."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, alchemy, zorkian]\n\n> You describe your surroundings\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\n> Go north\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\n> You go east\nThe cave floor closes off into an enclosed stream-bed here, forcing\nyou into a stoop.\n\nThe stream runs much faster here, as the bony hand of the cave-wall\nclenches around it.\n\n> About yourself\nAs good-looking as ever.\n\n> Go east\nFurther east, the cave roof descends until it touches the stream\nwater-level.\n\n> You touch wall\nWhich do you mean, the north wall, the south wall, the east wall, the\nwest wall, the northeast wall, the northwest wall, the southeast wall\nor the southwest wall?\n\n> Cross stream\nYou'll have to be more specific about which way to go.\n\n> Swim\nThe water is bone-chillingly cold, and even undressing near it would\ngive you goose-pimples.\n\n> You examine Guide\nEnormously detailed with the useless and irrelevant, the Empress gave\nit to you hoping you'd waste time studying it in detail. You have\nvowed never to do so, but it's still handy for passing the odd dull\nmoment by looking up some specific local feature.\n\n> You put the ladder on the cedar\nof the tree.\n\n> You take the cone\nYou already have that."
    },
    {
        "text": "> You look at your surroundings\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\n> You go to the northwest\nYou cross the stream and walk around the pool.\n\nThe stream's pool washes up almost to your feet, close to the\nforbiddingly craggy and overhung northern wall of the cave, but the\nwater does leave room for a broad path around the periphery; and this\nis its northern limb.\n\nThe cone of the cedar hangs vertiginously down, its tip suspended some\n20 feet to the south, across the stream.\n\nA single, graceful green water-lily plumes at the calm surface of the\npool.\n\nYou can also see an arrow here.\n\n> You get arrow\n(the arrow)\nTaken.\n\n> You get the lily\nYou'd have to wade through icy water to reach it.\n\n> Go northeast\nYou cross the stream and walk around the pool.\n\nThe stream's pool washes up almost to your feet, close to the\nforbiddingly craggy and overhung northern wall of the cave, but the\nwater does leave room for a broad path around the periphery; and this\nis its northern limb.\n\nThe cone of the cedar hangs vertiginously down, its tip suspended some\n20 feet to the south, across the stream.\n\nA single, graceful green water-lily plumes at the calm surface of the\npool.\n\n> Drink water\nWhich do you mean, the stream or the water lily?\n\n> You shoot the lily\nsnap!\n\n> Jilnix lily\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the water lily. The carnivorous\nlily makes very quick work of them.\n\n> You throw the ham at the lily\nThe water-lily gulps upward and swallows the joint of cured ham with a\nvicious snap!\n\n> You check your inventory\nYou are carrying:\na joint of cured ham\nfour arrows\nan improvised ladder\na drum (which is empty)\na bow\na boomerang\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - an apple, a hunk of cheese and a clove of garlic\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You throw the garlic at the lily\nvicious snap!\n\n> You throw the apple at the lily\n(first taking the apple)\nThe water-lily gulps upward and swallows the apple with a vicious\nsnap!\n\n> You throw the boomerang\nYou throw the boomerang out into the vast air of the cave, where it\nquickly spins out of sight.\n\n> You wait awhile\nTime passes.\n\n> Wait\nTime passes.\n\nSuddenly and without warning, the boomerang spins back in from the\ncave and gives you a nasty bruise on the head.\n\n> You throw the boomerang at the lily\nspace.\n\n> You look\nThe stream's pool washes up almost to your feet, close to the\nforbiddingly craggy and overhung northern wall of the cave, but the\nwater does leave room for a broad path around the periphery; and this\nis its northern limb.\n\nThe cone of the cedar hangs vertiginously down, its tip suspended some\n20 feet to the south, across the stream.\n\nA single, graceful green water-lily plumes at the calm surface of the\npool.\n\n> You go to the north\nThe sheer black rock blocks your way.\n\n> Go south\nThat would be into the pool!\n\n> Up\nthe trunk will bear your weight.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, hangs down the rest of the way.\n\n> Up\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform.\n\n> Go north\nAlthough branches radiate in all compass directions, your first\nimpression is that none of them lead anywhere in particular. Certainly\nthis one doesn't.\n\n> You throw the rope at ledge\nThe ledge is too far off.\n\n> You shoot arrow at the ledge\nsight.\n\n> You put the ladder on the ledge\nbroadest branches to the ledge.\n\n> You look\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, spans the abyss up to the ledge.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform.\n\n> Up\nThis is a slate-littered shelf high up at the northwest eaves of a\ndark, vaulted cave, from which a meadow-fresh breeze blows. The ledge\nbroadens down a slab \"staircase\" to the east but wastes away into a\ntight squeeze southwest. Natural passages extend like tendrils into\nthe rock all around this cavern, but only one is accessible from here,\nback north under the lintel.\n\nHanging down toward the dim, distant cave floor is a flourishing,\ninverted cedar, its roots grappling the roof, its nearest outflung\nbranch a good 10 feet across the abyss from here.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, spans the abyss down to the cedar branches.\n\n> You throw the boomerang at the snake\nThere isn't really room to throw it at the oil-snake in this cramped\nspace.\n\n> You shoot arrow at the snake\nYou loose off an arrow at the oil-snake, but miss.\n\n> You get all\narrow: Taken.\narrow: Taken.\narrow: Taken.\ncave floor: That's hardly portable.\ninverted cedar: You can't reach the tree from here.\noil-snake: I don't suppose the oil-snake would care for that.\n\n> You examine the floor\n(the cave floor)\nYou see nothing special about the cave floor.\n\n> You check your inventory\nYou are carrying:\nfour arrows\na boomerang\nsome provisions - a clove of garlic and a joint of cured ham\na drum (which is empty)\na bow\na length of light rope\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na small wickerwork hamper (which is open)\nsome provisions - an apple and a hunk of cheese\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You give the ham to the snake\nThe snake snatches and swallows whole the joint of cured ham, its neck distending to fit."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, alchemy, spells, zorkian]\n\n> Look around\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\nYou can also see a small wickerwork hamper (in which are some\nprovisions - a joint of cured ham, an apple and a hunk of cheese)\nhere.\n\n> You examine lantern\nThe brass lantern is currently switched on.\n\n> You consult Guide abouthe oil-snake\nThe oil snake infests the foundations of many Northland houses. It is\nsaid to bring bad luck, presumably because its bite is deadly poison.\n\n> You look\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\n> Go west\nThis is a slate-littered shelf high up at the northwest eaves of a\ndark, vaulted cave, from which a meadow-fresh breeze blows. The ledge\nbroadens down a slab \"staircase\" to the east but wastes away into a\ntight squeeze southwest. Natural passages extend like tendrils into\nthe rock all around this cavern, but only one is accessible from here,\nback north under the lintel.\n\nHanging down toward the dim, distant cave floor is a flourishing,\ninverted cedar, its roots grappling the roof, its nearest outflung\nbranch a good 10 feet across the abyss from here.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, spans the abyss down to the cedar branches.\n\n> Go southeast\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\n> You tie the rope to ring\nYou make a secure little knot. One end is tied to the ring, the other\nhangs down from the ledge.\n\n> Down\nshort, you decide against carefully lowering yourself down.\n\n> You go to the north-west\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\n> Go southeast\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\nYour length of rope is here. One end is tied to the ring, the other\nhangs down from the ledge.\n\n> You tie the rope to the ladder\nThe rope's already tied to the iron ring.\n\n> You untie the rope\nYou untie the rope.\n\n> You look at what you're carrying with you\nYou are carrying:\nan improvised ladder\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple and a hunk of\ncheese\nfour arrows\na boomerang\na clove of garlic\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is closed)\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You open the trunk\nExpertly sliding your fingers along the sequence of hidden catches,\nyou trigger the mechanism and the trunk-lid gracefully raises.\n\ncredentials.\n\n> You examine the telescope\nOne thing about your home, the Duchy: you may not be a very powerful\nrealm, but you certainly are fine inventors and craftsmen. Take this\nten-inch brass \"telescope\", for example. Distant objects that you look\nat through the telescope actually seem closer to you!\n\n> You look in the drum\nThe drum is empty.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the chiaro spell memorised.\n\n> Chiaro boomerang\nThere is an almost blinding flash as the boomerang takes on a glow!\nNot for a long moment is the light level tolerable.\n\n> You throw the boomerang\nYou throw the boomerang out into the vast air of the cave, where it\nquickly spins out of sight.\n\n> You look\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\nYour length of rope is here.\n\n> Wait\nTime passes.\n\nSuddenly and without warning, the boomerang spins back in from the\ncave and gives you a nasty bruise on the head.\n\n> You read Book\nWhich do you mean, Experimental Spell Book #5 or The Guide For\nTravellers To The Lower Northlands and Surrounding Provinces?\n\n> Spell\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\n\n> You memorize the chiaro\nYou commit the chiaro spell to memory.\n\n> You break wall\n(the masoned wall)\nViolence isn't the answer to this one.\n\n> Go south\nThanks to the wall, the slide passage is the only way out.\n\n> You go west\nThough the cave undoubtedly extends west, the wall means you are\nunable to follow it."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, spells, alchemy]\n\n> Go downwards\nthe trunk will bear your weight.\n\n> You put the ladder on the floor\n(the cave floor)\nYou hang the ladder so that it runs from the cave floor up to the tip\nof the tree."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, old school]\n\n> Go downwards\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\n> You go to the south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\n> You get the scroll\nJust as you're about to pull out the scroll, a tiny but significant\nshift of stones give you pause. The scree fall is on the very edge of\nan avalanche! You'd need to be a lot more than arm's length away to\nsurvive that.\n\n> You shoot arrow at the scroll\nYou loose off an arrow at the black, memorial scroll, but miss.\n\n> You check your inventory\nYou are carrying:\na boomerang (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple and a hunk of\ncheese\nfour arrows\na clove of garlic\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\na shard of pottery (providing light)\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You throw the cheese at the scroll\n(first taking the hunk of cheese)\nFutile.\n\n> Go south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\nYou can also see a shard of pottery (providing light) here.\n\n> You go east\nThe scree fall would be a desperate scramble down in any direction but\nnorth.\n\n> You go southwest\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nYou can also see a boomerang (providing light) here.\n\n> You look at the scroll with the telescope\nThe black, memorial scroll is too close to you to make that\nworthwhile.\n\n> Go west\nThe cave wall is impenetrable in that direction.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham, an apple and a hunk of\ncheese\nfour arrows\na clove of garlic\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\n\n> You put the cheese in the river\nsomething else.\n\n> You put the cheese in the river\nThe hunk of cheese washes away with the stream.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham and an apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a hunk of cheese and a clove of garlic\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the chiaro spell and piroo spell memorised.\n\n> Inventory\nYou are carrying:\nan improvised ladder\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham and an apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a hunk of cheese and a clove of garlic\n\n> About yourself\nAs good-looking as ever.\n\n> Pray\nNothing practical results from your prayer.\n\n> Shout\n[To address somebody, please type \"name, what you want to say\". For\nexample: \"amilia, hello\".]\n\n> You consult Guide about sherbet\nA delightful fruit cocktail. A popular superstition holds that a\ngentleman is fated to marry the first lady he drinks sherbet with.\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\n> Hints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\n> The Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\n> Amongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\n> Ledge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\n> Cedar and Cave Floor\nHints: Casting Spells\nHints: General\nHints\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\n> Cedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> I don'T actually know how to push the enter\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\n> Cedar and Cave Floor\nHints: Casting Spells\nHints: General\nCedar and Cave Floor\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\n> I can't get back up.\nThe treehouse is impenetrable.\nThe scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\n> Go north\n(Press H for more, or SPACE to return.)\n\nThe means for doing so are further down.\nCedar and Cave Floor\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\n> I can't get back up.\nThe treehouse is impenetrable.\nThe scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\n> The treehouse is impenetrable.\nThe scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\nThe treehouse is impenetrable.\n> The scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n(Press H for more, or SPACE to return.)\n\naway.\n\n> Go east\nYou edge southeast along the ledge.\n\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\nYour length of rope is here.\n\n> You tie the rope to scroll\nYou make a secure little knot. It is now tied to the black, memorial\nscroll.\n\n> You tie the rope to yourself\nYou tie the rope around you. One end is tied around you, and the other\nto the black, memorial scroll.\n\n> You get the scroll\nJust as you're about to pull out the scroll, a tiny but significant\nshift of stones give you pause. The scree fall is on the very edge of\nan avalanche! You'd need to be a lot more than arm's length away to\nsurvive that.\n\n> You go north\nThe rope plucks out the scroll as you run north... but you are\novertaken by a thundering avalanche with the same idea! Your burial is\nalmost instant.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You untie the rope\nYou untie the rope.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham and an apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a hunk of cheese and a clove of garlic\n\n> Go south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\nYour length of rope is here. It is now tied to the black, memorial\nscroll.\n\n> Go south\nThe scree fall would be a desperate scramble down in any direction but\nnorth.\n\n> You get the rope\nYou can't take the rope; it's tied to the black, memorial scroll.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nsome provisions - a joint of cured ham and an apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a hunk of cheese and a clove of garlic\n\n> You tie the rope to boomerang\nThe rope's already tied to the black, memorial scroll.\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\n> The treehouse is impenetrable.\nThe scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\nThe treehouse is impenetrable.\n> The scree slope is too unstable!\nThe arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\n> You go north\nThe rope plucks out the scroll as you run north... but you are\novertaken by a thundering avalanche with the same idea! Your burial is\nalmost instant.\n\n> Go south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\nYour length of rope is here.\n\n> You pull the rope\nYou pull the rope."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, alchemy, fantasy, zorkian]\n\n> Go downward\nThe rope plucks out the scroll as you run north... but you are\novertaken by a thundering avalanche with the same idea! Your burial is\nalmost instant."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, old school]\n\n> You look around\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 50 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nA black scroll, like a roll of remembrance, is curled around the top\nfew feet of scree.\n\nYour length of rope is here. One end is tied around you, and the other\nto the black, memorial scroll.\n\n> You go west\nYou skitter nervously down the very steep western side of the scree.\n\nThe rope plucks out the scroll... and your sideways leap is only just\nin time to clear the thundering avalanche of masonry which results!\n\nThe furrow has been burrowed and extended by primitive mine workings,\nhewn chiefly by hand or at best stone tools. But the seam has been\nexhausted, and the striations in the rock scraped clean of ore.\n\nYou can see a black, memorial scroll here.\n\n> You untie the rope\nYou loose the rope from your waist.\n\n> You put the azzev in spell book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the black, memorial scroll,\nwhich straightens and becomes the new azzev spell page. The book's\nbrightness fades as the corners settle to perfect right angles.\n\n> You memorize azzev\nYou commit the azzev spell to memory.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nYou see the painfully slow carving-out of the seam, by miners\ncenturies gone; and the anguish on their faces as the ore runs out,\nnever to be found again.\n\n> Go south\nHeaped up against the southern cave wall like a sloping rampart, and\nrising 40 feet above the stream, the scree fall is made up not of\nfallen stones but of masonry, broken terracotta tiles, wrecked\nalabaster murals and those marbly bits you can't ever remember the\nname of: as if the veil of a temple has been rent in twain. But what\nthe catastrophe can have been, and where the building stood, you\ncannot say.\n\nThe avalanche has cleared away part of the scree, leaving open behind\nit a crudely arched doorway into the southern cave wall. Above the\ndoorway, a skull and crossbones has been carved.\n\n> Continue\nYou commit the azzev spell to memory once again.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nThe scree slope being built, by teams of slaves, under an overseer\nterrified that the doorway would ever be revealed again, but in a\ndesperate hurry... constantly glancing over his shoulder at the\ncorridor behind him... and the slope being completed, and his final\nact laying the black scroll at its apex, to stand warning down all\ntime.\n\n> You look at the doorway\ncoated with a runny, nasty-looking paste which drips out of tiny\npores.\n\n> You get the paste\nThat's fixed in place.\n\n> Go south\nAs you pass through the archway, clouds of vapour and drips of arsenic\nseep into your nose and ears! Death is immediate.\n\n> You put arrow in the doorway\nThe use of poisoned projectiles is strictly prohibited by the Protocol\nof Collioure, one of the great triumphs of your early career.\n\n> You put the ham in the doorway\ninto something else.\n\n> Poison ham with arsenic\nham.\n\n> You touch the doorway with the ham\ndoorway.\n\n> You check your inventory\nYou are carrying:\na length of light rope\nan improvised ladder\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nan apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> Azzev lily\nThe spell backfires, and you somehow feel it wrong to apply it to\nindividual objects.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nGreen lilies proliferating in the depths of the pool.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nAn old man rocks back and forth in a chair, puffing smoke rings from a\nlong briar pipe.\n\n> Azzev\nYou haven't got that spell committed to memory. [Type \"spells\" to see\nwhat you do remember.]\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nThe wall being masoned, but quite recently, by Northlands soldiers\nworking on the other side.\n\n> Go south\nThanks to the wall, the slide passage is the only way out.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nSeas of garbage rain down through the crack onto the mound, rapidly decomposing or washing away so that the process fights itself to a\nstandstill.\n\n> You memorize azzev\nYou commit the azzev spell to memory a third time. You have so much\nrushing around in your head, though, that something may easily have\nbeen lost in the confusion.\n\n> Go north\nThe increasingly earthy rock blocks your way. The only viable routes\nare west, south and northeast.\n\n> You look at azzev\nazzev spell (view the past).\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nA very ancient time, when the tree has not grown: the doorway is being\ncut with enervating slowness.\n\n> Go southeast\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nThe tree, sprouting confidentally downwards.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the azzev spell, chiaro spell and piroo spell memorised.\n\n> You look at Cedar with telescope\nYou raise the brass telescope expertly to your eye. There seems to be\na crude wooden house built into it halfway down.\n\n> Inventory\nYou are carrying:\na length of light rope\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open)\nan apple\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You go north\nYou edge northwest along the ledge.\n\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\nA watchful oil-snake coils and uncoils itself restlessly, occupying\nits territory but making no move towards you as yet.\n\n> Go north\nThe oil-snake oozes and rears itself up to bar your way.\n\n> You get the rope\nYou can't take the rope; it's tied to the iron ring.\n\n> You show the apple to the snake\n(first taking the apple)\nThe oil-snake is unimpressed.\n\n> You give the apple to the snake\nThe snake snatches and swallows whole the apple, its neck distending\nto fit.\n\nBut something mysterious is wrong! It chokes, seizing up horribly and thrashing about, its great body squeezing away from you until it\ntopples over the lip of the ledge, plunging out of sight to its\npresumed demise.\n\n> You eat the apple\nJust in time, you stop yourself from taking a bite as you notice\nlittle puncture-marks and a faint discolouration. This apple has been poisoned!\n\n> You eat the cheese\nYou eat the hunk of cheese. Not bad.\n\n> You give the apple to snake\nThe snake snatches and swallows whole the poisoned apple, its neck\ndistending to fit.\nIt chokes, seizing up horribly and thrashing about, its great body\nsqueezing away from you until it topples over the lip of the ledge,\nplunging out of sight to its presumed demise.\n\n> Go north\nThis is a pale corridor filled with a cold, pearly light, ranging from near-darkness at the southern end to a bright glow from the east.\n\nYou are in the almost ghostly presence of a gaunt, long-haired man, an Adventurer who looks as if he has just stepped out of a weaving of a\nscene from the old Empire.\n\n> You look at the man\nIf legends may be believed, although basically trustworthy he would do\nalmost anything for treasure.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nEven in your vision, the Adventurer stalks, untired and yet\nunsatisfied.\n\n> Hello\nThe Adventurer is already serving under one geas, and you have little\nchance of talking him out of it.\n\n> Go east\neastward continuation.\n\n\"The Chamber is private to my Master!\" he booms, in a voice not his\nown.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nfour ancient treasures:\na golden fir-cone\na platinum egg\na jewelled scarab\na jade figurine\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You give the egg to the man\nThe Adventurer's eyes gleam. Treasure! He wants only more and more of\nit.\n\n> You give the figurine to Adventurer\n(first taking the jade figurine)\nThe ghostly Adventurer guards the pile of treasure zealously.\n\n> You look\nThis is a pale corridor filled with a cold, pearly light, ranging from near-darkness at the southern end to a bright glow from the east.\n\nYou are in the almost ghostly presence of a gaunt, long-haired man, an Adventurer who looks as if he has just stepped out of a weaving of a\nscene from the old Empire.\n\nYou can also see four ancient treasures (a golden fir-cone, a jade\nfigurine, a jewelled scarab and a platinum egg) here.\n\n> You give the pottery to Adventurer\nThe Adventurer is incorruptible. Well, fairly incorruptible. Unless\nsomething valuable is on offer, anyway.\n\n> Inventory\nYou are carrying:\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nyour formal credentials\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You give credentials to Adventurer\n(first taking the formal credentials)\nHe is unimpressed, perhaps because he speaks a language centuries\nbefore your own.\n\n> You get the telescope then give it to Adventurer\nTaken.\nThe Adventurer is incorruptible. Well, fairly incorruptible. Unless\nsomething valuable is on offer, anyway.\n\n> Go south\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nTerribly slowly, the stream erodes this channel into existence.\n\n> You check what you're carrying\nYou are carrying:\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You shoot the lily\nsnap!\n\n> Fill drum\nThe placid water pools slowly in the drum, then drains out of the\ngauze. Nothing appears to result from this.\n\n> Fill drum\nWater sluices through the gauze drum, panning and leaving a sludge of\nwet sediment behind.\n\n> You look at the sludge\nThe sludge is a mucky aggregation of river debris; clay, sand, small\nstones of all sizes.\n\n> Fill drum\nWater washes through the sludge, filtering away the lighter sediment\nuntil a gleaming (if tiny) lump of ore remains!\n\n> You check your inventory\nYou are carrying:\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum\na tiny lump of tin ore\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> Jilnix doorway\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the crudely arched doorway. But\nnothing results from this, and they dissipate again.\n\n> Chiaro tin\nThere is an almost blinding flash as the tiny lump of tin ore takes on\na glow! Not for a long moment is the light level tolerable.\n\n> Inventory\nYou are carrying:\na tiny lump of tin ore (providing light)\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum\na sludge of sediment\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> Fill drum\nWater sluices the sludge away to nothing. Then again, panning is all\nabout luck and persistence.\n\n> Go east\nYou edge along the northern wall of the cave, descending the rocky\nstairs.\n\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\n> Go north\nThis is a pale corridor filled with a cold, pearly light, ranging from near-darkness at the southern end to a bright glow from the east.\n\nYou are in the almost ghostly presence of a gaunt, long-haired man, an Adventurer who looks as if he has just stepped out of a weaving of a\nscene from the old Empire.\n\nYou can also see four ancient treasures (a golden fir-cone, a jade\nfigurine, a jewelled scarab and a platinum egg) here.\n\n> You give the ore to the ghost\nThe Adventurer is incorruptible. Well, fairly incorruptible. Unless\nsomething valuable is on offer, anyway.\n\n> Fill drum\nEffervescent, glowing spring water cascades magically around the pan.\nThere is a sudden flash of light!\n\n> Inventory\nYou are carrying:\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a banana, a joint of cured ham, a hunk of cheese\nand a clove of garlic\n\n> You look at what you're carrying with you\nYou are carrying:\na tiny lump of tin ore (providing light)\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> Fill drum\nEffervescent, glowing spring water cascades magically around the pan.\nThere is a sudden flash of light!\n\n> You put the drum in the pool\nThe drum drops silently into the spring water, vanishing without\ntrace.\n\n> You put the ore in pool\nThe tiny lump of tin ore drops silently into the spring water,\nvanishing without trace.\n\n> Drink water\nYou feel it would be highly dangerous to drink further.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nDeranged, kaleidoscopic visions of great force and power, signifying\nnothing.\n\n> You examine the Spell Book\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\nThe azzev spell (view the past).\n\n> You touch the tin to poll\nore.\n\n> Chiaro drum\nThere is an almost blinding flash as the drum takes on a glow! Not for\na long moment is the light level tolerable.\n\n> You eat the banana\nDelicious! Just as you reach the last morsel, there is another\nblinding flash of light.\n\n> You look at what you're carrying with you\nYou are carrying:\na drum (providing light and empty)\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You put the ladder on the floor\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the azzev spell and piroo spell memorised.\n\n(the cave floor)\nYou hang the ladder so that it runs from the cave floor up to the tip\nof the tree.\n\n> DDD\nEnter saved game to load: Restore failed.\n\n> You look at the drum\nIt resembles a tambourine without chimes. Some kind of coarse gauze is stretched taut along the bottom of a wooden drum-frame.\n\n> Hint\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\n> Instructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\n> Briefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\n> Hints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\n> The Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\n> Amongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nHints: Casting Spells\nHints: General\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\nThe treehouse is impenetrable.\nThe scree slope is too unstable!\n> The arched doorway seems very dangerous.\nWhat's the drum for?\nDoes the water-lily play a part?\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nI can't get back up.\nThe treehouse is impenetrable.\nThe scree slope is too unstable!\nThe arched doorway seems very dangerous.\n> What's the drum for?\nDoes the water-lily play a part?\n(Press H for more, or SPACE to return.)\n\nIt's not for percussion.\n\n> You look at the ledge with the telescope\nYou raise the brass telescope expertly to your eye. The ledge looks\nmuch as you remember it. From here, however, you can see a cave\nopening below the southeastern end of the ledge, concealed from above\nby the overhang. But it's a very long way from here, and you can't see anything inside.\n\n> You drop the rope\nThe length of light rope is already on the floor.\n\n> You look\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\nYour length of rope is here. One end is tied to the ring, the other\nhangs down from the ledge.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\n> You tie the rope to yourself\nYou tie the rope around you.\n\n> You tie the rope to ring\nYou make a secure little knot. One end is tied around you, and the\nother to the iron ring.\n\n> You jump\nYou make a wild jump out into the cave, swinging down until the rope\ncomes full stretch and catches you with an almost bone-breaking lurch.\nSo you're feeling quite dizzy as you swing back under the ledge and,\nby ridiculous good fortune, into a cave mouth halfway up the wall\n(which had been invisible from above).\n\nAn almost inaccessible side-chamber, which leads only a little way\nnortheast, giving you the feeling of being suspended in midair halfway\nup the cedar cavern. It would make a splendid eyrie, but thankfully\nthere is no sign of eagles.\n\n> Inventory\nYou are carrying:\na tiny lump of tin ore (providing light)\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\nYou are carrying:\na tiny lump of tin ore (providing light)\nyour formal credentials\na boomerang (providing light)\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You drop the rope\n(first untying it from yourself)\nThe length of light rope is already on the floor.\n\n> You go to the northeast\nCruelly, the tight cave comes to what every adventurer dreads: a dead\nend, leaving nothing for it but to go back southwest.\n\nAn ingot of silver was, presumably, quite safely stored here up to\nnow.\n\n> You get the silver\nTaken.\n\n> You examine it\nThe ingot is marked in ancient runes with the word: \"TOGNI\". No,\nactually: you were looking at it back to front.\n\n> Go southwest\nAn almost inaccessible side-chamber, which leads only a little way\nnortheast, giving you the feeling of being suspended in midair halfway\nup the cedar cavern. It would make a splendid eyrie, but thankfully\nthere is no sign of eagles.\n\n> You get the rope\nThe rope is too far out.\n\n> You wait awhile\nTime passes.\n\nSuddenly and without warning, the boomerang spins back in from the\ncave and gives you a nasty bruise on the head.\n\nIn the process, it recoils off the rope hanging in mid-air and swings\nthat (rather more slowly) toward you. Forgetting about rubbing your\ntemple, you grab at the rope and tie it back around your waist for\nsafety.\n\n> Go up\nYou jump back out and haul yourself painfully up the rope again.\n\n> Go outside\nThis long parapet thins to nothing further on, appearing to lead\nnowhere after all: the nearest other ledge being 50 feet vertically\nbelow.\n\nthe inverted cedar, giving you a magnificent view of this botanic\nmarvel.\n\nYour length of rope is here. One end is tied around you, and the other\nto the iron ring.\n\nThere's an iron ring fixed to the wall, the kind used to tie up\nhorses, though how anyone could possibly get a horse up here you can't imagine.\n\nBut you aren't in anything at the moment.\n\n> Go north\nYou edge northwest along the ledge.\n\nJust where the shelf flattens at the foot of rocky steps (climbing\nwestward), a square-cut doorway has been hewn into the north wall. The\nledge, which begins to curve southeast, is at its broadest here, yet\nyour feeling of vertigo hardly abates.\n\nsouthwest, 30 feet away.\n\n> Go north\nThis is a pale corridor filled with a cold, pearly light, ranging from near-darkness at the southern end to a bright glow from the east.\n\nYou are in the almost ghostly presence of a gaunt, long-haired man, an Adventurer who looks as if he has just stepped out of a weaving of a\nscene from the old Empire.\n\nYou can also see four ancient treasures (a golden fir-cone, a jade\nfigurine, a jewelled scarab and a platinum egg) here.\n\n> You give the silver to the ghost\nThe Adventurer, having now acquired the whole nearby wealth of\ntreasure, spreads his arms around the pile of loot. As he does so, he\nand they vanish like the dawn into the past where, perhaps, they\nbelong.\n\n> Go east\nThe corridor funnels out into a chamber, turning once again to the\nsouth. Though smoother, the walls become hung with cobwebs and you\nhave a sense of disturbing centuries of quiet.\n\nAn ancient coffer, a chest of precious or personal papers, rests to\none side.\n\n> You open it\nYou open the coffer, revealing an old document and a colour chart.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\ncurious colour-chart.\n\n> You look at the chart\nThis chart, very ancient though it is, gives the impression of being\nwork in progress rather than a finished diagram, in that different\npatches seem to have been drawn in at different times. It consists of\ncolours and symbols rather than words:\n\nRed-black --> ? --> ? -->\n\nCopper --> Silver-white --> Bright yellow -->\n\nBlack --> Dull silver --> Dull grey -->\n\nVivid green --> Skull symbol -->\n\nFlame symbol --> Yellow -->\n\nChalky white --> Dark silver -->\n\n> You look at the document\nScratchy handwriting adorns this text, and the writing's in a dialect\nalmost unrecognisable today. But, like any diplomat worth his salt,\nyou've a way with languages: it writes of a way to tap the\nPhilosopher's Stone, a source of Riches by Transmutation, but which is\nonly workable fairly near the Stone itself... A sketch diagram\nsuggests that the author was familiar with the route back up to the\nCustoms House, and may even have lived there.\n\n> You get the chart and the document\ncolour chart: You already have that.\nold document: Taken.\n\n> You look\nThe corridor funnels out into a chamber, turning once again to the\nsouth. Though smoother, the walls become hung with cobwebs and you\nhave a sense of disturbing centuries of quiet.\n\nAn ancient coffer, a chest of precious or personal papers, rests to\none side.\n\n> You go to the south\nThe serene white illumination comes as a shock to your eyes after\nfollowing dim lamplight for so long, but this chamber is patient while\nyou blink; a circular room with smooth walls and concentric steps down\nto a shallow well.\n\nThe Stone itself is resting in the well: an obelisk whose irregular\nfacets contrast so sharply with the perfect roundness of the walls\nthat it almost seems alive.\n\nOn the Philosopher's Stone is a spotless scroll.\n\n> You examine the scroll\nThe scroll reads \"ruther spell (transmute pure chemical elements)\".\n\n> You put it in the Spell Book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the spotless scroll, which straightens and becomes the new ruther spell page. The book's\nbrightness fades as the corners settle to perfect right angles.\n\n> You memorize azzev\nYou commit the azzev spell to memory.\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nA wily gentleman casts a dazzling spell onto an ingot of silver, and\nit becomes gold! He is enriched, but unsurprised.\nYou commit the azzev spell to memory.\n\n> Inventory\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na tiny lump of tin ore (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You memorize ruther\nYou commit the ruther spell to memory.\n\n> Ruther tin\n(This powerful enchantment easily cancels the earlier \"chiaro\" spell.)\n\n> You check your inventory\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na tiny lump of lead ore\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> Ruther lead\npower! And it is transmuted into a gleaming uncut diamond.\n\n> You look at the coffer\nThe coffer is empty.\n\n> You check what you're carrying\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na gleaming uncut diamond\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You examine the telescope\nOne thing about your home, the Duchy: you may not be a very powerful\nrealm, but you certainly are fine inventors and craftsmen. Take this\nten-inch brass \"telescope\", for example. Distant objects that you look\nat through the telescope actually seem closer to you!\n\n> Ruther diamond\nThe magic has no effect, perhaps because the diamond's crystalline\nstructure is too strong.\n\n> Ruther lantern\nYou commit the ruther spell to memory.\nThe spell misfires, perhaps because the brass lantern is not pure but\na mixture or an alloy.\n\n> You look\nThe serene white illumination comes as a shock to your eyes after\nfollowing dim lamplight for so long, but this chamber is patient while\nyou blink; a circular room with smooth walls and concentric steps down\nto a shallow well.\n\nThe Stone itself is resting in the well: an obelisk whose irregular\nfacets contrast so sharply with the perfect roundness of the walls\nthat it almost seems alive."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, spells, alchemy]\n\n> Go downward\nThe Adventurer was guarding the only entrance.\n\n> Go north\nThe corridor funnels out into a chamber, turning once again to the\nsouth. Though smoother, the walls become hung with cobwebs and you\nhave a sense of disturbing centuries of quiet.\n\n> You go to the west\nThis is a pale corridor filled with a cold, pearly light, ranging from near-darkness at the southern end to a bright glow from the east.\n\n> Ruther arsenic\nYou commit the ruther spell to memory.\nBlue magical light crackles over the doorway, abating to leave it...\ngreenly glowing.\n\n> Go south\nAn upward slope from the arched doorway to north, this is an irregular\nburrow wriggled out of soft earth. Strange tracks have been dragged,\nmaking wavy lines which meet at the distant top, where the burrow\nopens out.\n\n> You examine the doorway\nThe doorway glows with green phosphorescence.\n\n> Go upwards\nHollowed out like a wasp's nest in a rotten apple, this almost-sealed\nden can only be one thing.\n\ncreature, curled up, half-hornet, half-prawn. It looks as if it would\nfall to dust if you so much as looked at it.\n\nA glistening, pulsing egg, rocks back and forth erratically. It seems\nclose to hatching! A dull, humid heat radiates out from it, and you\nsense effort and anger.\n\n> You examine corpse\nYou so much as look at the creature's body, and it falls to dust!\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nA magnificent hornet-creature, in its death-throes, laying one final\negg.\n\n> You consult Guide Book about the hornet\ninto the population. Modern historians feel that this is merely a\nsymbol of deep insecurity.\n\n> You hit the egg\nIf anything could accelerate hatching, pushing the egg around might.\nIf only you could cause it to crack open somewhere!"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, old school]\n\n> Look around\nHollowed out like a wasp's nest in a rotten apple, this almost-sealed\nden can only be one thing.\n\nA glistening, pulsing egg, rocks back and forth erratically. It seems\nclose to hatching! A dull, humid heat radiates out from it, and you\nsense effort and anger.\n\n> You examine the Spell Book\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\nThe azzev spell (view the past).\nThe ruther spell (transmute pure chemical elements).\n\n> You learn the piroo\nYou commit the piroo spell to memory once again.\n\n> Jilnix egg\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague the glistening egg. They are\nunable to make any inroad into the eggshell.\n\n> Piroo egg\nNothing happens, perhaps because the glistening egg was already\nunfastened.\n\n> You look\nSmothered in a suffocating red haze, half-conscious at best, your\nposition seems hopeless. The lily's membrane is tough as\ncrocodile-skin and beyond it is perhaps a thousand feet of water? The\npressure seals you in as well as any rockfall could. Indeed, only the\npressure makes it possible at all for one Ambassador and one giant\nhatched lizard to share a space barely six feet in diameter.\n\nThe creature wriggles, dripping a saliva that burns to the touch, but\nseems lapsed back into embryonic sleep.\n\n> You look at the creature\nA sleek, beautiful marvel, half-insect, half-reptile. Its gauzy wings\nare only undeveloped stubs and a little amniotic fluid still coats\nthem; but its sting, painted like a brimstone butterfly, looks deadly\nalready.\n\n> Inventory\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na gleaming uncut diamond\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\nThe compression tightens.\n\nThe creature wriggles in sleep, stirring.\n\n> You learn the piroo\nYou commit the piroo spell to memory once again.\n\n> Piroo lily\nAbruptly the lily-pod bursts. A detached observer would think its\ngraceful explosion reminiscent of seeds released onto a spring wind.\nBut with the pressure of the water smashing into you like a hammer,\nyou are soon detached from all observation, all reminiscence.\n\n> Wait\nTime passes.\n\nThe membrane walls exude some kind of digestive fluid.\n\n> You wake creature\nThe hornet sleeps soundly (thank heavens).\n\nThe membrane walls exude some kind of digestive fluid.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nA highly disconcerting montage of plant and animal life being digested wholesale.\n\nYour shoulders are being folded together, like a recalcitrant\ncardboard box.\n\nThe creature wriggles in sleep, stirring.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the piroo spell (twice) and chiaro spell memorised.\n\nThe hatchling wriggles in sleep, stirring.\n\n> Jilnix lily\nThere really is no situation so unpleasant you can't make it worse, is\nthere?\n\nThe pressure is now almost unbearable!\n\n> Jilnix  hatchlinjilnix   hatchling\nThere really is no situation so unpleasant you can't make it worse, is\nthere?\n\nWith a sudden convulsion of fibres, the lily pod crunches you up\nentirely, with merciful speed.\n\n> You give the garlic to creature\nThe hornet sleeps soundly (thank heavens).\n\n> You shoot the hornet\nWhat, in this confined space?\n\nThe compression tightens.\n\n> You check what you're carrying\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na gleaming uncut diamond\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\nThe compression tightens.\n\n> You burn lily\nThe membrane seems impervious to everything.\n\nThe hornet wriggles in sleep, talons rustling.\n\n> Bite lily\nThe membrane seems impervious to everything.\n\nThe membrane walls exude some kind of digestive fluid.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the piroo spell and chiaro spell memorised.\n\n> You kick the lily\nThe membrane seems impervious to everything.\n\nYour shoulders are being folded together, like a recalcitrant\ncardboard box.\n\n> Ruther lily\nThe spell misfires, perhaps because the lily membrane is not pure but\na mixture or an alloy.\n\nThe pressure is now almost unbearable!\n\n> You shoot arrow at the lily\nWhat, in this confined space?\n\nWith a sudden convulsion of fibres, the lily pod crunches you up\nentirely, with merciful speed.\n\n> You check your inventory\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na gleaming uncut diamond\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\nThe creature wriggles in sleep, perhaps dreaming.\n\n> You feed the cheese to the creature\nThe hornet sleeps soundly (thank heavens)."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, old school]\n\n> Look around\nSmothered in a suffocating red haze, half-conscious at best, your\nposition seems hopeless. The lily's membrane is tough as\ncrocodile-skin and beyond it is perhaps a thousand feet of water? The\npressure seals you in as well as any rockfall could. Indeed, only the\npressure makes it possible at all for one Ambassador and one giant\nhatched lizard to share a space barely six feet in diameter.\n\nThe creature wriggles, dripping a saliva that burns to the touch, but\nseems lapsed back into embryonic sleep.\n\nThe creature wriggles in sleep, stirring.\n\n> Fill drum\nBut there's no water here to carry.\n\nThe compression tightens.\n\n> You enter the coffer\nThat's not something you can enter.\n\nThe compression tightens.\n\n> Memorise ruther\nYou commit the ruther spell to memory.\n\nThe compression tightens.\n\n> Ruther telescope\nThe spell misfires, perhaps because the hand telescope is not pure but\na mixture or an alloy.\n\nThe creature wriggles in sleep, stirring.\n\n> Ruther creature\nThe spell misfires, perhaps because the embryonic hornet is not pure\nbut a mixture or an alloy.\n\n> You open the pod\nThe membrane seems impervious to everything.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the ruther spell, piroo spell and chiaro spell memorised.\n\nThe membrane walls exude some kind of digestive fluid.\n\n> Piroo creature\nNothing happens, perhaps because the embryonic hornet was already\nunfastened.\n\n> Chiaro diamond\nThe magic has no effect, perhaps because the diamond's crystalline\nstructure is too strong.\n\nThe hatchling wriggles in sleep, perhaps dreaming.\n\n> You search the hornet\nYou find nothing of interest.\n\nYour shoulders are being folded together, like a recalcitrant\ncardboard box.\n\nThe hornet wriggles in sleep, talons rustling.\n\n> Ruther window\nThe spell misfires, perhaps because the quartz window is not pure but\na mixture or an alloy.\n\n> You cut the window\nCutting that up would achieve little.\n\n> You look in the window\nTantalisingly, you can only see darkness within.\n\n> Chiaro window\nThe spell dissipates, perhaps because the quartz window is already\ngiving off light.\n\n> You look at the window through telescope\nThe quartz window is too close to you to make that worthwhile.\n\n> Ruther wall\n(the masoned wall)\nThe spell misfires, perhaps because the masoned wall is not pure but a\nmixture or an alloy.\n\n> You memorize ruther\nThat would be highly hazardous!\nYou commit the ruther spell to memory.\n\n> Ruther doorway\nYou commit the ruther spell to memory once again.\nBlue magical light crackles over the doorway, reconstituting the\npoison on the archway.\n\n> You look at the doorway\ncoated with a runny, nasty-looking paste which drips out of tiny\npores.\n\n> Ruther doorway\nBlue magical light crackles over the doorway, abating to leave it...\ngreenly glowing.\n\n> You examine the doorway\nThe doorway glows with green phosphorescence.\n\n> Go south\nAn upward slope from the arched doorway to north, this is an irregular\nburrow wriggled out of soft earth. Strange tracks have been dragged,\nmaking wavy lines which meet at the distant top, where the burrow\nopens out.\n\n> Ruther doorway\nBlue magical light crackles over the doorway, reconstituting the\npoison on the archway.\n\n> Go south\nAs you pass through the archway, clouds of vapour and drips of arsenic\nseep into your nose and ears! Death is immediate.\n\n> Go north\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nYou can also see a joint of cured ham here.\n\n> You go south\nAn upward slope from the arched doorway to north, this is an irregular\nburrow wriggled out of soft earth. Strange tracks have been dragged,\nmaking wavy lines which meet at the distant top, where the burrow\nopens out.\n\nYou can see a joint of cured ham here.\n\n> You eat the banana\nDelicious! Just as you reach the last morsel, there is another\nblinding flash of light.\n\nThe hornet wriggles in sleep, stirring.\n\n> Piroo lily\nAbruptly the lily-pod bursts. A detached observer would think its\ngraceful explosion reminiscent of seeds released onto a spring wind.\nBut with the pressure of the water smashing into you like a hammer,\nyou are soon detached from all observation, all reminiscence.\n\n> You wake the hornet\nThe hornet sleeps soundly (thank heavens).\n\nThe hatchling wriggles in sleep, talons rustling.\n\n> You kick the hornet\nDoes it not occur to you that you and the hornet are in the same boat,\nor in this case the same submarine?\n\nThe compression tightens.\n\n> You examine the hornet\nA sleek, beautiful marvel, half-insect, half-reptile. Its gauzy wings\nare only undeveloped stubs and a little amniotic fluid still coats\nthem; but its sting, painted like a brimstone butterfly, looks deadly\nalready.\n\nThe creature wriggles in sleep, perhaps dreaming.\n\n> You examine the sting\nThe tip slightly exudes some kind of poison.\n\nThe membrane walls exude some kind of digestive fluid.\n\n> Poison arrow\nYou'll have to be more exact about how to do that.\n\nYour shoulders are being folded together, like a recalcitrant\ncardboard box.\n\n> Break stinger\nYou'd have to be very careful about that.\n\nYour shoulders are being folded together, like a recalcitrant\ncardboard box.\n\n> You shoot the hornet\nWhat, in this confined space?\n\n> You check what you're carrying\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\nThe pressure is now almost unbearable!\n\n> You put the ham on the stinger\nPutting things on the stinger would achieve nothing.\n\nWith a sudden convulsion of fibres, the lily pod crunches you up\nentirely, with merciful speed.\n\n> Hint\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\n> Instructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nHints: Casting Spells\nHints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nHints: Casting Spells\n> Hints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\n> Hints: Casting Spells\nHints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\n> Egg Chamber and Lily\nHints: Casting Spells\nHints: General\nEgg Chamber and Lily\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\n> Can the creature be revived?\nWhen will the egg hatch?\nWill the amniotic fluid harm my hands?\nThe lily is crushing me.\nMy possessions are lost!\nCan I go back to the house for something?\nWhat's the broad leaf for?\n\n> You go north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nCan the creature be revived?\n> When will the egg hatch?\nWill the amniotic fluid harm my hands?\nThe lily is crushing me.\nMy possessions are lost!\nCan I go back to the house for something?\nWhat's the broad leaf for?\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nCan the creature be revived?\nWhen will the egg hatch?\n> Will the amniotic fluid harm my hands?\nThe lily is crushing me.\nMy possessions are lost!\nCan I go back to the house for something?\nWhat's the broad leaf for?\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nCan the creature be revived?\nWhen will the egg hatch?\nWill the amniotic fluid harm my hands?\n> The lily is crushing me.\nMy possessions are lost!\nCan I go back to the house for something?\nWhat's the broad leaf for?\n(Press H for more, or SPACE to return.)\n\nYou must find a way of immobilising it, without exploding it.\nEgg Chamber and Lily\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nCan the creature be revived?\nWhen will the egg hatch?\nWill the amniotic fluid harm my hands?\n> The lily is crushing me.\nMy possessions are lost!\nCan I go back to the house for something?\nWhat's the broad leaf for?\n(Press H for more, or SPACE to return.)\n\nYou must find a way of immobilising it, without exploding it.\n\n> You squeeze the stinger\nWith extreme care you squeeze the hornet's stinger, and poison drips\nout to form a tiny pool in the base of the lily pod. In this\ncompressed space you're just able to keep your feet out of it, for the\ntime it takes to soak into the membrane walls of the pod.\n\n> You wait for a while\nTime passes.\n\nThere is a hissing sound from the base of the pod.\n\nThe hatchling wriggles in sleep, stirring.\n\n> Wait\nTime passes.\n\npoison! The whole pod rocks a little in the underwater currents,\nfraying away from the stalk.\n\n> You wait\nTime passes.\n\nSuddenly the pod pulls free, and although you can see nothing of the\nwaters outside, your best guess is that it's drifting westward and\nrising slightly.\n\nYou begin to feel a certain concern for, of all things, your\nbelongings. When the pod collapses, what will the water do to them?\n\n> Piroo\nAbruptly the lily-pod bursts. A detached observer would think its\ngraceful explosion reminiscent of seeds released onto a spring wind.\nBut with the pressure of the water smashing into you like a hammer,\nyou are soon detached from all observation, all reminiscence.\n\n> You wait\nTime passes.\n\nThe pod bumps against an obstacle, checking its westward motion. Now\nit is only rising, rising.\n\nThe hatchling wriggles in sleep, stirring.\n\n> You put all in the coffer\nold document: Done.\ncolour chart: Done.\nlength of light rope: Done.\nboomerang: Done.\ngleaming uncut diamond: Done.\nformal credentials: Done.\nshard of pottery: Done.\nsmall wickerwork hamper: Done.\narrow: Done.\narrow: Done.\narrow: Done.\ndrum: Done.\narrow: Done.\nbow: Done.\nhandwritten note: Done.\nExperimental Spell Book #5: Done.\nAmbassador's trunk: Done.\nbrass lantern: Done.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Done.\njoint of cured ham: Done.\nhunk of cheese: Done.\nclove of garlic: Done.\n\nFinally the pod breaks surface and bursts into disparate leaves, no\nlonger bound up by the pressure. In confusion you strike out, treading\nwater, but after a couple of minutes' panic realise that the water is\nonly waist deep here. You wade toward a slight light.\n\nFrom the natural light, dim and far above, you'd guess this cave was distinctly higher up than the cedar-cavern floor. A natural limestone\ncavity, beautiful and thankfully unused, it's a chance to rest and\nthink. A single winding path leads vaguely north.\n\nA burnished lantern lies discarded in the sand.\n\nDead leaves float out on the water, but of the hornet there is no\ntrace.\n\nOne broad leaf, though, has washed up beside you.\n\n> You put all in the coffer\nold document: Done.\ncolour chart: Done.\nlength of light rope: Done.\nboomerang: Done.\ngleaming uncut diamond: Done.\nformal credentials: Done.\nshard of pottery: Done.\nsmall wickerwork hamper: Done.\narrow: Done.\narrow: Done.\narrow: Done.\ndrum: Done.\narrow: Done.\nbow: Done.\nhandwritten note: Done.\nExperimental Spell Book #5: Done.\nAmbassador's trunk: Done.\nbrass lantern: Done.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Done.\njoint of cured ham: Done.\nhunk of cheese: Done.\nclove of garlic: Done.\n\nSuddenly the pod pulls free, and although you can see nothing of the\nwaters outside, your best guess is that it's drifting westward and\nrising slightly.\n\nYou begin to feel a certain concern for, of all things, your\nbelongings. When the pod collapses, what will the water do to them?\n\nThe hatchling wriggles in sleep, stirring.\n\n> You close the coffer\nYou close the coffer.\n\nThe pod bumps against an obstacle, checking its westward motion. Now\nit is only rising, rising.\n\nThe hornet wriggles in sleep, talons rustling.\n\n> You take the coffer\nYou already have that.\n\nFinally the pod breaks surface and bursts into disparate leaves, no\nlonger bound up by the pressure. In confusion you strike out, treading\nwater, but after a couple of minutes' panic realise that the water is\nonly waist deep here. You wade toward a slight light.\n\nFrom the natural light, dim and far above, you'd guess this cave was distinctly higher up than the cedar-cavern floor. A natural limestone\ncavity, beautiful and thankfully unused, it's a chance to rest and\nthink. A single winding path leads vaguely north.\n\nA burnished lantern lies discarded in the sand.\n\nDead leaves float out on the water, but of the hornet there is no\ntrace.\n\nOne broad leaf, though, has washed up beside you.\n\n> You get the leaf and the lantern\nbroad green leaf: Taken.\nburnished lantern: Taken.\n\n> You take it\nYou are carrying:\na burnished lantern\na broad green leaf\n\nYou already have that.\n\n> You examine the lantern\nThe burnished lantern is currently switched off.\n\n> Spells\nThe jilnix spell is indelibly etched on your memory. Other than that,\nyou have the piroo spell and chiaro spell memorised.\n\n> Go north\nIt is pitch black. You are in danger of falling into a pit if you move\naround in this.\n\n> You turn on the lantern\nYou light the lantern.\n\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\nThe stub of a stock-keeper's note lies forgotten beside the stores.\n\n> You examine the stub\nJust the torn end of a tally-sheet of some kind:\n\n\nMake of that what you will!\n\n> Examine boxes\nThe stores piled up here are heavy and there's quite a supply,\ncovering half the wall: enough for a dozen men to last out for weeks.\n\n> Search boxes\nYou manage to uncover what seems to be a secret doorway in the masoned\nwall. An emergency escape-route, prudently added by whoever is using\nthe stores?\n\n> You open the door\nYou open the secret door.\n\n> You go to the east\nThis is only half a cave; the eastern half, to be exact. It's a dark\nplace full of crevices (you would have missed the slide passage back\nnorth if you hadn't already known about it); chief among them a\ndistinctive triangular cavity, 1 foot or so high, and blocked by a\nrough quartz window.\n\nthe cave, after all.\n\n> Go west\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nthe cave, after all.\n\n> Go northwest\nWheel Cave (South)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. Yet no mason of the Duchy could cut so smooth a wall! The\narc hoops around northeast and northwest, while a broad passage runs\nsoutheast back to the stores.\n\n> You go northeast\nWheel Cave (East)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northwest and southwest.\n\nA white scroll, in pristine condition, rests in a niche.\n\n> You examine the scroll\nThe scroll reads \"ploor spell (nation shall speak peace unto nation)\".\n\n> You go northwest\nWheel Cave (North)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around southwest and southeast.\n\nOn the northern wall is a wooden rack, of the kind used by bakers to\ncool cakes, or painters to dry watercolours.\n\nOn the wooden rack are seven unwritten vellum scrolls.\n\n> You look at the scroll\nThe scroll is as yet unwritten.\n\n> You get all\nwooden rack: That's fixed in place.\n\n> You get all from the rack\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\n\n> You go southwest\nWheel Cave (West)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northeast and southeast.\n\nof the great wheel.\n\nA clear funnel chimney rises vertically up, like a glass-blower's vent\nor something from a furnace, lined with smooth-curving brick.\n\nBeneath the chimney is a huge, irregular, metallic lodestone,\npresumably a meteor fallen to earth.\n\nA thick, viscous green beam of magical light reflects from the meteor\nthrough a right-angle: straight upward through the chimney, to a level\npath east through the archway.\n\n> You look at the scroll\nWhich do you mean, an unwritten vellum scroll or the white scroll in\npristine condition?\n\n> Unwritten\nThe scroll is as yet unwritten.\n\n> Go east\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come. The\nbeam of light courses in through the eastern archway to strike the top\nof the Anvil dead-centre.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 37.12.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> You look at Clotspinner\nOne of the few wise men to be widely known across the continent, he is Clotspinner, renowned for his optical experiments. They've\nrevolutionised the practice of lense-making in the Duchy, but the\nEmpress was far less impressed with such footling activities. Nothing\nhas been known of him since his \"resignation\" from the Imperial\nAcademy -- until now, that is.\n\n> You check your inventory\nYou are carrying:\nseven unwritten vellum scrolls (which is unwritten)\na white scroll in pristine condition (of the ploor spell)\na stub of a stock-keeper's note\na burnished lantern (providing light)\na broad green leaf\n\n> You wake Clotspinner\nClotspinner lies prone, close to death, his pulse thready and weak,\nhis breath too slight to feel on your hand. Surely nothing on earth\ncould revive him now.\n\n> You look at the dial\nIt seems to be possible to put something into it.\n\n> Inventory\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a banana, a joint of cured ham, a hunk of cheese\nand a clove of garlic\n\n> You drop all\ncoffer: Dropped.\nold document: Dropped.\ncolour chart: Dropped.\nlength of light rope: Dropped.\nboomerang: Dropped.\nformal credentials: Dropped.\nshard of pottery: Dropped.\nsmall wickerwork hamper: Dropped.\narrow: Dropped.\narrow: Dropped.\narrow: Dropped.\narrow: Dropped.\nbow: Dropped.\nhandwritten note: Dropped.\nExperimental Spell Book #5: Dropped.\nAmbassador's trunk: Dropped.\nbrass lantern: Dropped.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Dropped.\nbanana: Dropped.\njoint of cured ham: Dropped.\nhunk of cheese: Dropped.\nclove of garlic: Dropped.\n\n> Go north\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nYour length of rope is here.\n\nYou can also see some provisions - a clove of garlic, a hunk of\ncheese, a joint of cured ham and a banana, The Guide For Travellers To\nThe Lower Northlands and Surrounding Provinces, a brass lantern\n(providing light), your Ambassador's trunk (in which is a hand\ntelescope), Experimental Spell Book #5, the handwritten note, a bow,\nfour arrows, a small wickerwork hamper (which is empty), a shard of\npottery (providing light), your formal credentials, a boomerang\n(providing light), a colour chart, an old document and a coffer (which\nis empty) here.\n\n> You light it\nThat's already on.\n\n> Wait\nTime passes.\n\nThere is a hissing sound from the base of the pod.\n\n> Wait\nTime passes.\n\npoison! The whole pod rocks a little in the underwater currents,\nfraying away from the stalk.\n\nThe creature wriggles in sleep, talons rustling.\n\n> You wait\nTime passes.\n\nSuddenly the pod pulls free, and although you can see nothing of the\nwaters outside, your best guess is that it's drifting westward and\nrising slightly.\n\nYou begin to feel a certain concern for, of all things, your\nbelongings. When the pod collapses, what will the water do to them?\n\nThe hatchling wriggles in sleep, stirring.\n\n> Wait\nTime passes.\n\nThe pod bumps against an obstacle, checking its westward motion. Now\nit is only rising, rising.\n\nThe hornet wriggles in sleep, perhaps dreaming.\n\n> Wait\nTime passes.\n\nFinally the pod breaks surface and bursts into disparate leaves, no\nlonger bound up by the pressure. In confusion you strike out, treading\nwater, but after a couple of minutes' panic realise that the water is\nonly waist deep here. You wade toward a slight light.\n\nFrom the natural light, dim and far above, you'd guess this cave was distinctly higher up than the cedar-cavern floor. A natural limestone\ncavity, beautiful and thankfully unused, it's a chance to rest and\nthink. A single winding path leads vaguely north.\n\nA burnished lantern lies discarded in the sand.\n\nDead leaves float out on the water, but of the hornet there is no\ntrace.\n\nOne broad leaf, though, has washed up beside you.\n\n> You get the leaf and the lantern\nbroad green leaf: Taken.\nburnished lantern: Taken.\n\n> Go north\nIt is pitch black. You are in danger of falling into a pit if you move\naround in this.\n\n> You turn on the lantern\nYou light the lantern.\n\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\nThe stub of a stock-keeper's note lies forgotten beside the stores.\n\n> You jump\n(to the tree, presumably, rather than plunging into the abyss and\ncertain death)\nYou take a short run-up and leap across, just managing to catch the\nnearest branch! Painfully slowly, you haul yourself in.\n\nYou are perched inside the dense, broad first branches down from the\ncedar's roots, which splay across the rocky ceiling like buttresses on\na perpendicular gothic column. Through the dappled green cover, you\ncan just make out the long ledge, but it's too far up to jump across.\n\nA tree-house has been constructed here, though it's little more than a\nwooden lean-to on a log platform."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, zorkian]\n\n> Go downwards\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nYour length of rope is here.\n\nYou can also see some provisions - a clove of garlic, a hunk of\ncheese, a joint of cured ham and a banana, The Guide For Travellers To\nThe Lower Northlands and Surrounding Provinces, your Ambassador's\ntrunk (in which is a hand telescope), Experimental Spell Book #5, the handwritten note, a bow, four arrows, a small wickerwork hamper (which\nis empty), a shard of pottery (providing light), your formal\ncredentials, a boomerang (providing light), a colour chart, an old\ndocument and a coffer (which is empty) here.\n\n> You get all\nstream: You have nothing which will hold water.\ninverted cedar: You can't reach the tree from here.\nimprovised ladder: Taken.\nclove of garlic: Taken.\nhunk of cheese: Taken.\njoint of cured ham: Taken.\nbanana: Taken.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Taken.\nAmbassador's trunk: Taken.\nExperimental Spell Book #5: Taken.\nhandwritten note: Taken.\nbow: Taken.\narrow: Taken.\narrow: Taken.\narrow: Taken.\narrow: Taken.\nsmall wickerwork hamper: Taken.\nshard of pottery: Taken.\nformal credentials: Taken.\nboomerang: Taken.\nlength of light rope: Taken.\ncolour chart: Taken.\nold document: Taken.\ncoffer: Taken.\n\n> You put the scroll in the Spell Book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the white scroll in\npristine condition, which straightens and becomes the new ploor spell\npage. The book's brightness fades as the corners settle to perfect\nright angles.\n\n> You go northwest\nWheel Cave (North)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around southwest and southeast.\n\nOn the northern wall is a wooden rack, of the kind used by bakers to\ncool cakes, or painters to dry watercolours.\n\nOn the wooden rack are seven unwritten vellum scrolls.\n\n> You get all\nwooden rack: That's fixed in place.\n\n> You get all from the rack\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\nunwritten vellum scroll: Removed.\n\n> You go southwest\nWheel Cave (West)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northeast and southeast.\n\nof the great wheel.\n\nA clear funnel chimney rises vertically up, like a glass-blower's vent\nor something from a furnace, lined with smooth-curving brick.\n\nBeneath the chimney is a huge, irregular, metallic lodestone,\npresumably a meteor fallen to earth.\n\nA thick, viscous green beam of magical light reflects from the meteor\nthrough a right-angle: straight upward through the chimney, to a level\npath east through the archway.\n\n> Ruther light\n(the green light beam)\nThe beam is made of insubstantial light.\n\n> You memorize ruther\nYou commit the ruther spell to memory once again.\n\n> Ruther lodestone\nThe air around the meteor glows as it is transformed, slowly under the\nplay of the green light, into... a chalk formation, white and\nirregular. The beam now loses itself in the any-angled facets of the\nchalk.\n\n> Ruther chalk\nThe air around the chalk glows as it is transformed, slowly under the\nplay of the green light, back into the meteor, whose burnished surface\nthrows the beam back east through the archway!\n\n> You look\nWheel Cave (West)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northeast and southeast.\n\nof the great wheel.\n\nA clear funnel chimney rises vertically up, like a glass-blower's vent\nor something from a furnace, lined with smooth-curving brick.\n\nbecome, and into which the beam of magical light dissipates\nharmlessly.\n\n> Go east\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 37.12.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> Ruther prism\nThe spell misfires, perhaps because the fragments of prism is not pure\nbut a mixture or an alloy.\n\n> You check what you're carrying\nYou are carrying:\nseven unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a banana, a joint of cured ham, a hunk of cheese\nand a clove of garlic\na stub of a stock-keeper's note\na burnished lantern (providing light)\na broad green leaf\n\n> Objects\nObjects you have handled:\n\nthe fedora hat   (lost)\nthe hand telescope   (inside the Ambassador's trunk)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces   (held)\nthe sherbet   (lost)\nthe jade figurine   (lost)\nthe joint of cured ham   (held)\nthe small wickerwork hamper   (held)\nthe poisoned apple   (lost)\nthe hunk of cheese   (held)\nthe clove of garlic   (held)\nthe jewelled scarab   (lost)\nthe brass lantern   (in Lily Pod)\nthe Ambassador's trunk   (held)\nthe formal credentials   (held)\nthe length of light rope   (held)\nExperimental Spell Book #5   (held)\nthe handwritten note   (held)\nthe platinum egg   (lost)\nthe banana   (held)\nthe improvised ladder   (in Topmost Ledge)\nthe silver ingot   (lost)\nthe boomerang   (held)\nthe shard of pottery   (held)\nthe coffer   (held)\nthe old document   (held)\nthe colour chart   (held)\nthe spotless scroll   (lost)\nthe bow   (held)\nthe arrow   (held)\nthe golden fir-cone   (lost)\nthe arrow   (held)\nthe arrow   (held)\nthe drum   (lost)\nthe gleaming uncut diamond   (lost)\nthe black, memorial scroll   (lost)\nthe arrow   (held)\nthe burnished lantern   (held)\nthe broad green leaf   (held)\nthe stub of a stock-keeper's note   (held)\nthe white scroll in pristine condition   (lost)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\nthe unwritten vellum scroll   (held)\n\n> You turn the dial\nTry turning it to a particular setting.\n\n> You turn the dial to 100\nYou rotate the mounting to 100.00.\n\n> You examine note\nWhich do you mean, the handwritten note or the stub of a\nstock-keeper's note?\n\n> You put the unwritten scroll in the dial\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\n> You turn the dial to 180\nYou rotate the mounting to 180.00.\n\n> 63\nYou rotate the mounting to 101.63.\n\n> You go east\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come. The\nbeam of light courses in through the eastern archway to strike the top\nof the Anvil dead-centre.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 101.63 and holds a sheet of vellum\npaper.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> You get the scroll\n(the unwritten vellum scroll)\nTaken.\n\n> You put it on Anvil\nsecond.\n\n> You put the leaf in the dial\nThe mounting is clearly meant to hold something, but not a broad green\nleaf.\n\n> You look at the dial\nIt seems to be possible to put something into it.\n\n> You turn the dial to 11000\nYou rotate the mounting to 169.60.\n\n> You turn the dial to -1\nEnter saved game to load: Ok.\n\nYou can't see any such thing.\n\n> You check what you're carrying\nYou are carrying:\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\na gleaming uncut diamond\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\na brass lantern (providing light)\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\n\n> You drop all except the lantern\ncoffer: Dropped.\nold document: Dropped.\ncolour chart: Dropped.\nlength of light rope: Dropped.\nboomerang: Dropped.\ngleaming uncut diamond: Dropped.\nformal credentials: Dropped.\nshard of pottery: Dropped.\nsmall wickerwork hamper: Dropped.\narrow: Dropped.\narrow: Dropped.\narrow: Dropped.\ndrum: Dropped.\narrow: Dropped.\nbow: Dropped.\nhandwritten note: Dropped.\nExperimental Spell Book #5: Dropped.\nAmbassador's trunk: Dropped.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Dropped.\njoint of cured ham: Dropped.\nhunk of cheese: Dropped.\nclove of garlic: Dropped.\n\n> You squeeze the stinger\nWith extreme care you squeeze the hornet's stinger, and poison drips\nout to form a tiny pool in the base of the lily pod. In this\ncompressed space you're just able to keep your feet out of it, for the\ntime it takes to soak into the membrane walls of the pod.\n\n> Wait\nTime passes.\n\nThere is a hissing sound from the base of the pod.\n\nThe hatchling wriggles in sleep, perhaps dreaming.\n\n> Wait\nTime passes.\n\npoison! The whole pod rocks a little in the underwater currents,\nfraying away from the stalk.\n\n> You wait\nTime passes.\n\nSuddenly the pod pulls free, and although you can see nothing of the\nwaters outside, your best guess is that it's drifting westward and\nrising slightly.\n\nYou begin to feel a certain concern for, of all things, your\nbelongings. When the pod collapses, what will the water do to them?\n\n> Wait\nTime passes.\n\nThe pod bumps against an obstacle, checking its westward motion. Now\nit is only rising, rising.\n\n> Inventory\nYou are carrying:\na brass lantern (providing light)\n\nFinally the pod breaks surface and bursts into disparate leaves, no\nlonger bound up by the pressure. In confusion you strike out, treading\nwater, but after a couple of minutes' panic realise that the water is\nonly waist deep here. You wade toward a slight light.\n\nFrom the natural light, dim and far above, you'd guess this cave was distinctly higher up than the cedar-cavern floor. A natural limestone\ncavity, beautiful and thankfully unused, it's a chance to rest and\nthink. A single winding path leads vaguely north.\n\nA burnished lantern lies discarded in the sand.\n\nDead leaves float out on the water, but of the hornet there is no\ntrace.\n\nOne broad leaf, though, has washed up beside you.\n\n> You take all\nburnished lantern: Taken.\ndead leaves: You can't get to the pod's detritus from here.\nbroad green leaf: Taken.\n\n> Go north\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\nThe stub of a stock-keeper's note lies forgotten beside the stores.\n\n> You go to the east\nThough the cave undoubtedly extends east, the wall means you are\nunable to follow it.\n\n> You go southeast\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nWhat divides this cave is a solid, floor-to-ceiling stone wall running\nnorth to south, masoned with mortar and seemingly recent. You feel\nquite certain that the cave continues.\n\n> You search wall\n(the masoned wall)\nYou find nothing of interest.\n\n> Go east\nYou manage to uncover what seems to be a secret doorway in the masoned\nwall. An emergency escape-route, prudently added by whoever is using\nthe stores?\n\nYou can't, since the secret door is in the way.\n\n> You go to the east\nThat's already open.\n\nThis is only half a cave; the eastern half, to be exact. It's a dark\nplace full of crevices (you would have missed the slide passage back\nnorth if you hadn't already known about it); chief among them a\ndistinctive triangular cavity, 1 foot or so high, and blocked by a\nrough quartz window.\n\nthe cave, after all."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, spells]\n\n> Go downwards\nAn expanse of shingle and boulders sloping haphazardly across an irregularly-shaped floor a hundred feet across, only smoothed out at\nits centre by a stream which pools just to the north. A furrow in the\nrocky walls leads southwest, alongside a scree-fall which lies roughly\nsouth; while the cave narrows into a canyon to the east.\n\nThe cone of the cedar hangs vertiginously over you, its tip perhaps 9\nfeet off the floor.\n\nAn improvised ladder of sticks, lashed together with vines and\ncreepers, rests against the tip of the cedar, leading up into its\nbranches.\n\nYour length of rope is here.\n\nYou can also see some provisions - a clove of garlic, a hunk of cheese\nand a joint of cured ham, The Guide For Travellers To The Lower\nNorthlands and Surrounding Provinces, your Ambassador's trunk (in\nwhich is a hand telescope), Experimental Spell Book #5, the\nhandwritten note, a bow, four arrows, a drum (which is empty), a small wickerwork hamper (which is empty), a shard of pottery (providing\nlight), your formal credentials, a gleaming uncut diamond, a boomerang (providing light), a colour chart, an old document and a coffer (which\nis empty) here.\n\n> You get all\nstream: You have nothing which will hold water.\ninverted cedar: You can't reach the tree from here.\nimprovised ladder: Taken.\nclove of garlic: Taken.\nhunk of cheese: Taken.\njoint of cured ham: Taken.\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces: Taken.\nAmbassador's trunk: Taken.\nExperimental Spell Book #5: Taken.\nhandwritten note: Taken.\nbow: Taken.\narrow: Taken.\ndrum: Taken.\narrow: Taken.\narrow: Taken.\narrow: Taken.\nsmall wickerwork hamper: Taken.\nshard of pottery: Taken.\nformal credentials: Taken.\ngleaming uncut diamond: Taken.\nboomerang: Taken.\nlength of light rope: Taken.\ncolour chart: Taken.\nold document: Taken.\ncoffer: Taken.\n\n> Memorise ploor\nYou commit the ploor spell to memory.\n\n> You get the scrolls\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\nunwritten vellum scroll: Taken.\n\n> Ploor\nA brief babble in your ears clarifies and settles to a calm voice, a\nvoice with the clarity of a thought. You are in telepathic conference\nwith the Archduke Elect, the head of the Duchy's legislature and\ntherefore of the whole Diplomatic Service!\n\nSomehow, without words, a perfect concord is achieved between you. He\nhas received your report and is arranging for your escape: agents will\nbe waiting at Watling Street to whisk you away. But your detailed\nimpressions of what is going on will not be enough. No, you must\nsomehow foil this new magic, if possible forever.\n\n(Only now do you realise how the poor watchmakers and craftsmen of the\nDuchy must feel. This \"ploor\" spell will make travelling diplomats\nentirely redundant.)\n\n> You put the diamond on Anvil\nright across the calibrations on the far wall, in a weaker but still\npotent greenness.\n\n> You turn the dial to 123\nYou rotate the mounting to 123.00.\n\n> You look\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come. The\nbeam of light courses in through the eastern archway to strike the top\nof the Anvil dead-centre, where it is refracted by the diamond, right\nacross the calibrations on the far wall.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 123.00.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> You put the scroll in the swivel\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n> You look at the scroll\n(the newly-written scroll)\nThe scroll reads \"gloth spell (fold pastry dough 83 times)\".\n\n> Inventory\nYou are carrying:\nseven unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\na broad green leaf\na burnished lantern (providing light)\n\n> 85\nYou rotate the mounting to 25.85.\n\n> You put the scroll in dial\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n> You look at the scroll\n(the newly-written scroll)\nThe scroll reads \"gloth spell (fold pastry dough 83 times)\".\n\n> You look at the scroll\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n(the newly-written scroll)\nThe scroll reads \"gloth spell (fold pastry dough 83 times)\".\n\n> 48\nYou rotate the mounting to 127.48.\n\n> You examine the scroll\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n(the newly-written scroll)\nThe scroll reads \"corpax spell (make small-bore tunnel through light\nstone)\".\n\n> You put the scroll in the dial\nWhich do you mean, the newly-written scroll or an unwritten vellum\nscroll?\n\n> Unwritten\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n> Inventory\nYou are carrying:\na newly-written scroll (of the corpax spell)\nfive unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\na broad green leaf\na burnished lantern (providing light)\n\n> Spell\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the newly-written scroll,\nwhich straightens and becomes the new corpax spell page. The book's\nbrightness fades as the corners settle to perfect right angles.\n\n> You get the scroll\n(the newly-written scroll)\nTaken.\n\n> You put it in the Spell Book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the newly-written scroll,\nwhich straightens and becomes the new gloth spell page. The book's\nbrightness fades as the corners settle to perfect right angles.\n\n> You memorize the gloth\nYou commit the gloth spell to memory.\n\n> 78\nYou rotate the mounting to 75.78.\n\n> You put unwritten scroll in the dial\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\nBy an ancient and powerful magic, as you stand clear of the green\nbeam, one precise ray of one single shade strikes the paper in the\nmounting. A spell appears upon it!\n\n> You examine newly\nThe scroll reads \"alsakan spell (pursue squirrel with spectral\nhounds)\".\n\n> You get the scroll\n(the newly-written scroll)\nTaken.\n\n> You put it in the Spell Book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the newly-written scroll,\nwhich straightens and becomes the new alsakan spell page. The book's brightness fades as the corners settle to perfect right angles.\n\n> You read the spellbook\nThe chiaro spell (cause inanimate object to radiate light).\nThe jilnix spell (summon small plague of insects).\nThe piroo spell (unfasten object).\nThe azzev spell (view the past).\nThe ruther spell (transmute pure chemical elements).\nThe ploor spell (nation shall speak peace unto nation).\nThe corpax spell (make small-bore tunnel through light stone).\nThe gloth spell (fold pastry dough 83 times).\nThe alsakan spell (pursue squirrel with spectral hounds).\n\n> You memorize the corpax\nYou commit the corpax spell to memory.\n\n> Corpax meteor\nThe spell misfires: it's far too dangerous to direct at any specific\nperson or item.\n\n> Corpax\nIt's the most exhausting spell you've ever cast, leaving you almost\ntoo wrung out to notice the pleasant rising tunnel now leading\nsmoothly up from the walls.\n\n> You take the chalk\nThat much chalk is deceptively heavy.\n\n> You look\nWheel Cave (West)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northeast and southeast.\n\nof the great wheel.\n\nA clear funnel chimney rises vertically up, like a glass-blower's vent\nor something from a furnace, lined with smooth-curving brick.\n\nbecome, and into which the beam of magical light dissipates\nharmlessly.\n\nA smooth, recent tunnel rises up to natural light.\n\n> Up\nA half-cave, half-overhang among the mossy damp rocks of the central\nhillock in the hunting woods. It's a clear night, and a fresh cold\nbreeze blows across your face.\n\nThe tunnel runs downward, back into the wheel complex. But escape with\nyour life is what matters now!\n\n> Go north\n\"My dear Ambassador,\" purrs a familiar voice. \"You are welcome\nindeed.\"\n\nA break in the dense foliage, caused mainly by the shadow of the\nrockface to the west, bathed by the unnatural light which fires over\nthe hillock. Trees are clustered in on all sides and there's no sign\nof the boundary wall.\n\nAmilia is flanked by impassive guards, and is herself wearing a corset\nor jerkin of finely worked chain-mail, the kind favoured by assassins\nand very expensive courtesans.\n\nIn her hand is an elegant spell book, bound in white kid leather\n(until this evening you had presumed it a diary): her long fingers\ngracefully point at you as she whispers something...\n\nAnd you are transmuted into a wolfhound. Your vision goes black and\nwhite, your hearing is suddenly acute. Of course, you can carry\nnothing. (It's an Ambassador's life, being a dog.)\n\nWeighing your options, you cock a leg over the nearest tree. Amilia\ngiggles. \"Can you guess what I do to dogs, you vermin?\"\n\n> Spells\nAs a wolfhound, you have no such ability.\n\nAmilia disposes of her other business, and scoops you up into her\narms. It will save a good deal of unpleasantness to skip straight to\nthe outcome:\n\n> You go to the north\nIt may be possible to go that way from further around the wheel."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, spells]\n\n> Go downwards\nThe wheel corridor is flat level.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nrest, at the foot of an irregular smoking pit, just here.\n\n> You go to the north-east\nWheel Cave (North)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around southwest and southeast.\n\nOn the northern wall is a wooden rack, of the kind used by bakers to\ncool cakes, or painters to dry watercolours.\n\n> Go southeast\nWheel Cave (East)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northwest and southwest.\n\n> Go east\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 75.78.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> You go to the east\nThe only way in or out is through the arched entrance.\n\n> Azzev\nA cloud of green smoke gathers and swirls in the air like cream poured\ninto soup, and a vision briefly appears...\n\nBlinding flashes of green light.\n\n> You examine man\nOne of the few wise men to be widely known across the continent, he is Clotspinner, renowned for his optical experiments. They've\nrevolutionised the practice of lense-making in the Duchy, but the\nEmpress was far less impressed with such footling activities. Nothing\nhas been known of him since his \"resignation\" from the Imperial\nAcademy -- until now, that is.\n\n> Jilnix man\nAs your brows frown, the air around you gathers with vile winged\ninsects, which surge forward to plague Clotspinner. But nothing\nresults from this, and they dissipate again.\n\n> Ruther leaf\nThe spell misfires, perhaps because the broad green leaf is not pure\nbut a mixture or an alloy.\n\n> Inventory\nYou are carrying:\nfour unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\na burnished lantern (providing light)\n\n> Inventory\nYou are carrying:\nfour unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\na broad green leaf\na burnished lantern (providing light)\n\n> Tear leaf\nYou tear the leaf into a pile of smallish fragments.\n\n> You look at what you're carrying with you\nYou are carrying:\na torn-up broad green leaf\nfour unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nfour arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\na burnished lantern (providing light)\n\n> Grind leaf\n(with the Anvil)\nViolence isn't the answer to this one.\n\n> You put the leaf on Anvil\nYou put the torn-up broad green leaf on the Anvil."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy]\n\n> Look around\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come.\n\nOn the Anvil is a torn-up broad green leaf.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 75.78.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> You put the leaf on the dial\nThe mounting is clearly meant to hold something, but not a torn-up\nbroad green leaf.\n\n> You examine the hand\nOne thing about your home, the Duchy: you may not be a very powerful\nrealm, but you certainly are fine inventors and craftsmen. Take this\nten-inch brass \"telescope\", for example. Distant objects that you look\nat through the telescope actually seem closer to you!\n\n> You feed the leaf to Clotspinner\nClotspinner lies prone, close to death, his pulse thready and weak,\nhis breath too slight to feel on your hand. Surely nothing on earth\ncould revive him now.\n\n> You memorize the ploor\nYou commit the ploor spell to memory.\n\n> Ploor clotspinner\nA brief babble in your ears turns to a shriek. Whatever you're doing,\nyou're not doing it correctly.\n\n> You look\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 75.78.\n\nwooden cot, apparently in a deep sleep or coma.\n\nOn the floor beneath Clotspinner's outstretched hand are the fragments\nof a broken glass prism, smashed by the fall. It's a tableau like a\nnarrative painting: you feel a curious urge to disturb nothing.\n\n> Up\nA half-cave, half-overhang among the mossy damp rocks of the central\nhillock in the hunting woods. It's a clear night, and a fresh cold\nbreeze blows across your face.\n\nThe tunnel runs downward, back into the wheel complex. But escape with\nyour life is what matters now!\n\n> You go west\nInto the Woods (as wolfhound)\nRunning, running through the trackless woods, in search of the wall\nand escape. Everywhere looks like everywhere else.\n\n> Smell\nOf course, your sense of smell is by far your most acute, and with it\nyou feel a whole landscape. To northeast a brook runs to the wall.\n\n> You go to the northeast\nUnder the Culvert (as wolfhound)\nThe brook runs confidently uphill, gushing up under the culvert, under\nthe wall to Watling Street. The pursuit seems to have been thrown off\nfor the moment.\n\n> You go north\nWatling Street, Again (as wolfhound)\nThe meeting-point: where Watling Street crosses the culvert, through\nwhich the brook still flows.\n\nAgents of the Duchy, cloaked as all spies should be, huddle beside\nblack horses.\n\n> Bark\n\"Woof! Woof!\"\n\nThe agents shoo you away. The last thing they want is a barking dog to\ndraw attention to them!\n\n> Bite agent\nThe agents kick you savagely, and you yelp as if this were unprovoked.\n\n> You sit\n(on the agents of the Duchy)\nAs a wolfhound, you have no such ability.\n\n> About yourself\nGlossy coat, wet nose: you're a much better-looking dog than you ever\nwere a human, really. Perhaps a trifle vainer.\n\n> Bite\n(the agents of the Duchy)\nThe agents kick you savagely, and you yelp as if this were unprovoked.\n\n> Bark\n\"Woof! Woof!\"\n\n> You listen\nYour ears prick up. A hundred noises of the copse: badger, hedge-rat,\nglow worm: Amilia's guards, crashing about deafeningly nearby: and,\nfar away, other voices and perhaps a horse. But which way?\n\n> Drink brook\nThe water is cold and magical, effervescent. You feel yourself\nchanging again, just as you did at the russet pool. Your limbs stretch\ninto arms and legs, your ears tuck back within human hair: yes, a man,\nbut just a man. No magic left. It seems a fair bargain, almost.\n\n> Go north\nWatling Street, Again\nThe meeting-point: where Watling Street crosses the culvert, through\nwhich the brook still flows.\n\nAgents of the Duchy, cloaked as all spies should be, huddle beside\nblack horses.\n\n\"Well met, Captain,\" you call out casually, giving no hint of your\nrecent canine persona. They saddle up to smuggle you away from the\nEmpire forever: for you'll never be persona grata here again.\n\nPerhaps the Duchy will flourish, now that the meteor is denied to\nAmilia's Empire. Still, it can only be a matter of time before\nClotspinner succeeds in mastering the \"ruther\" spell, and then where\nare you? But then, that's diplomacy: so many missions end in a\nfifty-fifty impasse.\n\n> Hint\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\n> Instructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\n> Hints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\n> Hints: Casting Spells\nHints: General\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\n> The Wheel and its Environs\nHints: Casting Spells\nHints: General\nThe Wheel and its Environs\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\n> Are the supplies useful?\nHow can I heal Clotspinner?\nHe is suspicious of me.\nThe beam strikes the anvil uselessly.\nThe beam dissipates in the ore.\nWhat are the calibrations for?\nWhat does the swivel mounting hold?\nIs the meteor invulnerable?\nHow can I leave the Wheel?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nAre the supplies useful?\nHow can I heal Clotspinner?\nHe is suspicious of me.\nThe beam strikes the anvil uselessly.\nThe beam dissipates in the ore.\nWhat are the calibrations for?\nWhat does the swivel mounting hold?\nIs the meteor invulnerable?\n> How can I leave the Wheel?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nAre the supplies useful?\nHow can I heal Clotspinner?\nHe is suspicious of me.\nThe beam strikes the anvil uselessly.\nThe beam dissipates in the ore.\nWhat are the calibrations for?\nWhat does the swivel mounting hold?\n> Is the meteor invulnerable?\nHow can I leave the Wheel?\n(Press H for more, or SPACE to return.)\n\nWell, it is a very heavy lump of elemental magnesium.\n\n> You go to the west\nThis is only half a cave; the western half, to be exact. It's a dark\nplace full of crevices (you would have missed the stony passage back\nsouth if you hadn't already known about it). Boxes, bottles and crates\nare stored here, and to judge from scrape-marks are used by whoever\nlives through the broad passage northwest.\n\nthe cave, after all.\n\nYou can also see a burnished lantern (providing light) here.\n\n> You put pottery in the cavity\nThe quartz blocks all access.\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\n> Briefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\n\n> You go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\n> Hints: During the Procession\nThe Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\n> The Customs House\nAmongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\n\n> You go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\n> Amongst the Foundations\nLedge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\n\n> You go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\n\nInstructions: How to play this game\nBriefings: A diplomatic background\nHints: During the Procession\nThe Customs House\nAmongst the Foundations\n> Ledge and Surroundings\nCedar and Cave Floor\nEgg Chamber and Lily\nThe Wheel and its Environs\nHints: Casting Spells\nHints: General\nLedge and Surroundings\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\n> How do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\nWhat's behind the quartz window?\nWoodlice and ants are a problem.\nHow do I pass the Pale Corridor?\nWhat is the Philosopher's Stone?\nHow does the colour chart work?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nHow do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\nWhat's behind the quartz window?\nWoodlice and ants are a problem.\nHow do I pass the Pale Corridor?\nWhat is the Philosopher's Stone?\n> How does the colour chart work?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nHow do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\nWhat's behind the quartz window?\nWoodlice and ants are a problem.\nHow do I pass the Pale Corridor?\n> What is the Philosopher's Stone?\nHow does the colour chart work?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nHow do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\nWhat's behind the quartz window?\nWoodlice and ants are a problem.\n> How do I pass the Pale Corridor?\nWhat is the Philosopher's Stone?\nHow does the colour chart work?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nHow do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\nWhat's behind the quartz window?\n> Woodlice and ants are a problem.\nHow do I pass the Pale Corridor?\nWhat is the Philosopher's Stone?\nHow does the colour chart work?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                        Q = prev\nious menu\n\nHow do I get down from the ledge?\nI'm a good 20 feet short!\nI can't get back up from the Tiny Cave.\nCan I reach the tree from the ledge?\nWhat use is the flat curved stick?\nWhat's the significance of the shard?\n> What's behind the quartz window?\nWoodlice and ants are a problem.\nHow do I pass the Pale Corridor?\nWhat is the Philosopher's Stone?\nHow does the colour chart work?\n(Press H for more, or SPACE to return.)\n\nA cavity with a distinctive triangular shape.\n\n> You shoot cavity\nYou loose off the arrow across the cave and, satisfyingly, its arc\ntakes it straight into the triangular cavity.\nThe interior of the cavity is now lit up! You're still too far away\nhere to make out anything, though.\n\n> You look in the cavity with telescope\ncavity.\n\n> You look in the cavity\nThe cavity contains a kind of prehistoric shrine, lined with cave\npaintings. Preeminent among them is an intriguing sequence showing a\nman being roused from a coma, or perhaps even death, with an elixir:\nwe see a shaman preparing this healing paste by tearing a broad leaf\nand then grinding it up with an arrow.\n\n> Grind fragments with arrow\n(the fragments of prism with the arrow)\nViolence isn't the answer to this one.\n\n> Grind leaf with arrow\nUsing the arrow-head, you grind the leaf fragments down even further,\nso that their natural moisture is driven out until you are left with a\ndull green paste.\n\n> You give the paste to Clotspinner\nThe water-lily elixir has an immediate effect on Clotspinner! For a\nmoment you think it will burn him out, and that he's too weak to\nwithstand it: but then he rises from the cot, coughing and\nspluttering.\n\n\"Well who are you?\" he asks. \"You needn't think I'm grateful. Can't\neven do myself in, it seems.\"\n\nCaught off-balance, you introduce yourself with a stammer, and make a\npassable Court bow. \"I suppose you can prove that, young man?\"\n\n> Inventory\nYou are carrying:\na burnished lantern (providing light)\nfour unwritten vellum scrolls\na coffer (which is open but empty)\nan old document\na colour chart\na length of light rope\na boomerang (providing light)\nyour formal credentials\na shard of pottery (providing light)\na small wickerwork hamper (which is open but empty)\nthree arrows\na drum (which is empty)\na bow\nthe \"destruction order\"\nExperimental Spell Book #5\nyour Ambassador's trunk (which is open)\na hand telescope\nThe Guide For Travellers To The Lower Northlands and Surrounding\nProvinces\nsome provisions - a joint of cured ham, a hunk of cheese and a clove\nof garlic\na stub of a stock-keeper's note\n\n> You show the credentials to Clotspinner\n\"Thought so,\" he mutters. \"Damnable headache. Pardon my suspicion and\nall that. Ever since I invented the \"morglop spell: pry into darkest\nmotives\" I've been a little cynical, you know. Shan't be working for\nAmilia any more, that's for certain!\"\n\nHe staggers around the workshop, focusing his eyes again and generally rejoining the real world.\n\n> You show the credentials to Clotspinner\n\"Never mind that! What about my asylum?\"\n\n(You are beginning to think he belongs in one.)\n\n\"I shall want asylum, of course. Political asylum, from the Duchy,\neh?\"\n\n> You memorize the ploor\nYou commit the ploor spell to memory.\n\n\"Of course I'll also need an official appointment.\"\n\n> Ploor\nNothing happens, perhaps because you have already reported home to the\nDuchy.\n\n\"And a little wooden house by the sea.\"\n\n> You ask Clotspinner about the morglop\nquestions.\n\n\"And I'll need the best laboratories and assistants.\"\n\n> Memorise ploor\nYou commit the ploor spell to memory.\n\n\"With profiteroles every teatime, promptly at four.\"\n\n> Ploor\nNothing happens, perhaps because you have already reported home to the\nDuchy.\n\n\"And I trust there'll be dancing-girls, ten or twelve should suffice\nat a pinch.\"\n\n> Yes\nThat was a rhetorical question.\n\n\"Oh yes, my needs are simple,\" Clotspinner presses on.\n\n> Yes\nHe looks pensive as you shake hands on the deal, wondering no doubt if\nhe should have held out for more.\n\n\"Well, first thing to do's to get me out of here. I believe we'll\nrequire a spell at, umm,\" (and he scribbles a quick calculation),\n\"mental arithmetic always was overrated, always said so, let's see,\n172.88 degrees. Shall you do the honours?\n\n\"But... the light has gone... ah, I see. Weeks I've spent, trying to\ndispose of that meteor, keep Amilia from using it! But just for the\nmoment I'd like it back, if it's not too much trouble.\"\n\n> 88\nYou rotate the mounting to 172.88.\n\n> You put the scroll on the dial\nYou put the unwritten vellum scroll on the calibrated swivel mounting.\n\n> Ruther chalk\nYou commit the ruther spell to memory.\nThe air around the chalk glows as it is transformed, slowly under the\nplay of the green light, back into the meteor, whose burnished surface\nthrows the beam back east through the archway!\n\n> Go east\nThe presence everywhere of tools and instruments makes this place\nrather homely to a Duchy-born man like yourself: it's like a smithy,\nbut of the colours of light, not the alloys of metal.\n\nAt the workshop's centre is the Anvil, a hard stone mounting and,\nperhaps, the fulcrum of the new Northlands Empire that is to come. The\nbeam of light courses in through the eastern archway to strike the top\nof the Anvil dead-centre, where it is refracted by the diamond, right\nacross the calibrations on the far wall.\n\nworkshop, and can be turned anywhere on the calibrated dial from 1 to\n180 degrees. It now stands at 172.88 and holds a sheet of vellum\npaper.\n\nOn the calibrated swivel mounting is a newly-written scroll.\n\nClotspinner wanders the workshop pensively, looking over the\nequipment.\n\n> You get the scroll\n(the newly-written scroll)\nTaken.\n\n> You examine it\nThe scroll reads \"thrale spell (assist even old or wizened savant)\".\n\n> You put it in the Spell Book\nYour spell book begins to glow softly. Almost imperceptibly, the\nbinding swells and closes over the edge of the newly-written scroll,\nwhich straightens and becomes the new thrale spell page. The book's\nbrightness fades as the corners settle to perfect right angles.\n\n> You memorize the thrale\nYou commit the thrale spell to memory.\n\n> Thrale Clotspinner\n\"Thank you very much,\" says Clotspinner as he begins to disappear. \"I\nshall now be teleported direct to the Duchy. You, I'm afraid, will\nhave to make other arran...\"\n\nHe's gone.\n\n> Go west\nWheel Cave (West)\nA circular corridor-cave, like a cartwheel's rim and unmistakably\nartificial. The arc hoops around northeast and southeast.\n\nof the great wheel.\n\nA clear funnel chimney rises vertically up, like a glass-blower's vent\nor something from a furnace, lined with smooth-curving brick.\n\nBeneath the chimney is a huge, irregular, metallic lodestone,\npresumably a meteor fallen to earth.\n\nA thick, viscous green beam of magical light reflects from the meteor\nthrough a right-angle: straight upward through the chimney, to a level\npath east through the archway.\n\nA smooth, recent tunnel rises up to natural light.\n\n> Drink water\nThe water is cold and magical, effervescent. You feel yourself\nchanging again, just as you did at the russet pool. Your limbs stretch\ninto arms and legs, your ears tuck back within human hair: yes, a man,\nbut just a man. No magic left. It seems a fair bargain, almost.\n\nIt tastes only of rue.\n\n> Go north\nWatling Street, Again\nThe meeting-point: where Watling Street crosses the culvert, through\nwhich the brook still flows.\n\nAgents of the Duchy, cloaked as all spies should be, huddle beside\nblack horses.\n\n\"Well met, Captain,\" you call out casually, giving no hint of your\nrecent canine persona. They saddle up to smuggle you away from the\nEmpire forever: for you'll never be persona grata here again.\n\nBut the Duchy will rise now. Tottering on the foundations laid by the\nOld Underground Empire, the bankrupt remains which are the Northland\nEmpire of today will crumble at last. Unchecked, the Enlightenment\nwill spread across the continent, and nothing will be as it was.\n\nLooking back from your horse, you only know that you will miss\nBorealis, its tradition and undoubted glory: ever the Ambassador's\ncurse is to love the land he must one day betray and abandon. Still\nand all:"
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy, alchemy]\n\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\nHis eyes are wide & unseeing. He wears only his velvet Robe of state, his face bearing a resigned Expression.\n\nYou hear a terrible crashing sound to the east.\n\n[Author's Note: The glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise. The cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.]"
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Inventory\nYou are carrying:\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> Open Case\nYou open the wooden Scroll-Case, revealing a vellum Scroll.\n\n> You read Scroll\nThe Scroll is made of rich vellum & is rolled up, inside the Scroll-Case.\n\n> You get Scroll then read it\nYou remove the Scroll from its Case.\nThe rich vellum is covered with a flowing hand.\n\n[Author's Note: The bearer of this Notice, one Knight Itinerant, being granted special Dispensation & ordered by Divine Covenant to separate from this World the immortal Soul of par Tiller, Baron of Stesan, his Crimes and Sins having blotted his Name beyond hope of Redemption or Reform, & it being ordered that any & all requested Assistance be rendered this Knight in this sacred Quest, let it be known that to this I set my Stamp & Seal on this day & for Perpetuity, in the name of the most holy God, who has ordained it so,]\n\nThe stamp & signature is that of the Bishop of Dol Nesta.\n\n> About you\nYou are a strapping Knight, secure in your faith & glowing with the chaste Excitement of a task accomplished.\n\n> You put Blade in the sheath\nYou sheathe your Blade.\n\n> You go east\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\n> You examine Frescoes\nYou shield your Eyes from the lewd & ribald Frescoes. Under the guise of Art they depict pagan & unrighteous Scenes--that is all that shall be said of them.\n\n> You go to the east\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. Yet a visitor, betrayed, can quickly become a prisoner--a metal Portcullis to the east now separates you from the threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> Turn wheel\nA strange tingling comes over you as you reach for the Wheel. When you withdraw, your Arm is numbed. You try again, and feel sensation give way to Pain, mild and then unbearable. It seems you cannot turn the Wheel.\n\n> You look at Wheel\nA heavy wooden wheel, which raises and lowers the Portcullis.\n\n> Go north\nAn Armoury, stocked by the Baron for a siege but unable to protect him from the vengeance of the Almighty. Amidst the Armour, Weaponry &c. stands an archway to the south.\n\nA wooden Lance stands here, propped against a wall.\n\n> You look at Lance\nIntended not for warfare but for the Baron's extravagant games, the wooden Lance sits unused against a wall of the Armoury. It is of nearly constant width along its length, giving it the look of a common pole.\n\n> You get it\nTo hold that you must have both hands free.\n\n> Inventory\nYou are carrying:\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open but empty)\n\n> Sheath blade\nIt is already sheathed.\n\n> You put Scroll iScroll-Case\nYou roll up the Scroll and slide it into the Case.\n\n> Close Case\nYou close the wooden Scroll-Case.\n\n> You get Lance\nTaken.\n\n> You go to the south\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You examine Portcullis\nA heavy iron portcullis blocks your way. No doubt its sudden closing was the cause of the crashing sound you heard earlier. Sun shines through the grate.\n\n> Lift portcullis\nYour strength is as great as your faith, but try as you might, you cannot lift the heavy portcullis. Perhaps the nearby Wheel holds the answer.\n\n> Go south\nIf only the Baron had set his soul in the same order in which he kept his Study! Had he lined his heart with good Works the way he lined his walls with Books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\n> You look at Desk\nThe Writing-Desk is of dark wood. Its flap is closed.\n\n> You open flap\nYou open the flap of the Writing-Desk, revealing a small but deep Hole in the south wall.\n\n> You put the pole in the hole\nInserting the lance into the hole as far as you can, you feel the wood catch & hear the faraway grinding of stone. Removing the lance, you find it unchanged.\n\n> You go north\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You examine Portcullis\nA heavy iron portcullis blocks your way. Sun shines through the grate.\n\n> You go south\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\n> You open the door\nIt seems to be locked."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> You look around\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your going east.\n\n> You examine Altar\n(the marble Altar)\nThe Altar is smooth & sweet-smelling, but you see it stained with Blood.\n\n> You look at Door\nThe door is made of fine oak, with a copper lock. It stands forebodingly closed.\n\n> You examine Candles\nThe Candles are old & sit guiltily in pools of their own Wax, flickering under your gaze.\n\n> You open it\nIt seems to be locked.\n\n> You get the candle\nThat would compound Blasphemy upon Blasphemy.\n\n> Pray\nKneeling, you offer up a brief Prayer.\n\n> You examine the lock\nA copper Lock set into the oaken Door."
    },
    {
        "text": "> You look around\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your going east.\n\n> You check what you're carrying\nYou are carrying:\na wooden Lance\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)"
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You descend\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to luxury a Tapestry which hangs near the upward-climbing Stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\n[Author's Note: So,] says the Priest, devoid of Emotion. [Author's Note: You have come.]\n\n> You look at Priest\nYou can sense the fear in his eyes, though your code prevents you from harming him. Fear of the Justice you represent, of the Judgement that will be passed upon him for the evils he did not act to prevent.\n\nThe priest speaks again. [Author's Note: The others have left. I remained.] Perhaps he thinks this will earn him Clemency?\n\n> You examine the tapestry\nThe Tapestry depicts an allegorical Scene from the Scriptures of the true Faith.\n\n> You ask Priest about Baron\n[Author's Note: I can tell you nothing you do not already know.]\n\n> You get the tapestry\nThe tapestry is hardly portable.\n\n> You ask Priest about the tapestry\n[Author's Note: Surely you know of its significance.]\n\n> You examine Mat\nA straw Mat upon which the Priest meditates and sleeps. Now he kneels on it in deference to you. Awaiting his Fate.\n\n> You look under Mat\nThe Priest occupies the mat.\n\n> You go\nThe corrupt Priest has better things to do.\n\n> You move priest\nThat would be less than courteous.\n\n> You ask Priest to move\nThe meaning of that sentence escapes me.\n\n> You search priest\nYou search the Priest, who divulges a small silver Key. [Author's Note: The Box!] cries the desperate Priest, placing the Key forlornly on the ground. [Author's Note: It contains naught but Spices!]\n\n> You ask Priest about Box\n[Author's Note: I pray, Knight, of what do you speak?]\n\n> You take Key\nYour hands are full.\n\n> Open Case\nYou open the wooden Scroll-Case, revealing a vellum Scroll.\n\n> You put Key in Case\nDropped.\nTaken.\nThe Case is already occupied.\n\n> You show Key to Priest\n[Author's Note: It fits the Lock,] says the Priest.\n\n> You show the holy symbol to Priest\nThe Priest looks away, ashamed.\n\n> You show Scroll to Priest\n(the wooden Scroll-Case to the corrupt Priest)\nThe corrupt Priest is unimpressed.\n\n> You show the symbol to Priest\n(the holy symbol to the corrupt Priest)\nThe Priest looks away, ashamed.\n\n> Press priest\nThat would be less than courteous.\n\n> You check what you're carrying\nYou are carrying:\na silver key\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll"
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to luxury a Tapestry which hangs near the upward-climbing Stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\nYou can also see a wooden Lance here.\n\n> You show the vellum scroll to Priest\n(first taking the vellum Scroll)\nYou remove the scroll from the case.\n\n> You put vellum Scroll in Case\nYou roll the scroll up & place it in the case.\n\n> You ask Priest about Box\n[Author's Note: I pray, Knight, of what do you speak?]\n\n> You unlock Door\n(with the silver key)\nThe silver key does not seem to fit the lock."
    },
    {
        "text": "> Look around\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n> You go west\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You search baron\nThe Baron's Robe bears a Pocket, in which is a golden key.\n\n> You get golden\nTaken.\n\n> Go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> You examine Altar\n(the marble Altar)\nThe Altar is smooth & sweet-smelling, but you see it stained with Blood."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> You look under Altar\n(the marble Altar)\nYou find nothing of interest.\n\n> You look at the candle\nThe Candles are old & sit guiltily in pools of their own Wax. They flicker under your Gaze.\n\n> Blow candle\n(first taking the lighted Candles)\nThat would compound Blasphemy upon Blasphemy.\n\n> You unlock Door\n(with the golden key)\nThe golden key does not seem to fit the lock.\n\n> You go to the northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n> You go north\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> You look at Mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the Baron seems to have been impressed with it so as to have it realized as a Fountain.\n\nNow Water pours through the Perpetuum, falling out of the Spout & into the Funnel. The Splashings of the water combine harmoniously with the Grindings of the Gears & Screws. Tho it seems very heavy, you could probably carry the Perpetuum, if you were careful not to spill its Water.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> You look at the fool\nThe Baron's Fool has taken to the cups. His Master no longer requires his gambols & rapier Wit. He sprawls beneath a large Wine-Barrel, clutching a Tankard from which he sips. His lincoln Cap is askew. He has not suffered the pangs of Sobriety for some time.\n\n> You look at Cap\nThe Fool's Cap is lincoln Green,  adorned with Bells. It is stained with the Drippings of wine from the Barrel.\n\n> You examine Ovens\nThe ovens stand cold as stone.\n\n> Go north\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home.\n\n> You examine Pig\nThe Pig is dead two days. Its Butcher likely fled the castle, dreading your approach. A large Slit travels its bloated Stomach.\n\n> You get Axe\nYou remove the fine Axe from the Stump.\n\n> You get Pig\nYour hands are full.\n\n> You go south\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy, fantasy]\n\n> Go downwards\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stairs.\n\nA dented Box lies in a corner, seemingly kicked there by a thwarted Robber.\n\n> You look at Box\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock secures it.\n\n> You drop Axe\nDropped.\n\n> Unlock Box with silver\nYou unlock the dented Box.\n\n> You open Box\nYou open the dented Box, revealing a handful of spice.\n\n> You look at the spice\nRare Peppers, and other Spices you cannot identify. Their smell is oriental, exotic.\n\n> You get the spice\nYour hands are full.\n\n> You smell spice\nWondrous and dangerous.\n\n> You eat the spice\n(first taking the handful of spice)\nYour hands are full.\n\n> You eat the spice\n(first taking the handful of spice)\nYou may not partake of Spice while on quest.\n\n> You get the spice\nYou already have that.\n\n> You look in Box\nThe dented Box is empty.\n\n> You put the keys in Box\ngolden key: Done.\nsilver key: Done.\n\n> You get the spice\nTaken.\n\n> You put the spice in Box\nYou put the handful of spice into the dented Box.\n\n> You put Axe in Box\nThat is too large to fit into the Box."
    },
    {
        "text": "> You look at your surroundings\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stairs.\n\n> Up\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Fool's bleary Gaze lights on the Box you carry. [Author's Note: The Lock is the Key -- He! He!] The Fool giggles, hiccoughs, and again regards his Tankard.\n\n> Go east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> You look at Mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the Baron seems to have been impressed with it so as to have it realized as a Fountain.\n\nNow Water pours through the Perpetuum, falling out of the Spout & into the Funnel. The Splashings of the water combine harmoniously with the Grindings of the Gears & Screws. Tho it seems very heavy, you could probably carry the Perpetuum, if you were careful not to spill its Water.\n\n> You go to the south\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\n> You look at Door\nThe door is made of fine oak, with a copper lock. It stands forbodingly closed.\n\n> You look at the lock\n(the dented Box)\nBattered, dented, the stoic and iron Resistor of an attack on its contents. Yet how easily it has opened to your more gentle persuasion. Surely a parable of Patience."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Go downwards\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to Luxury a tapestry which hangs near the upward-climbing stair.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\nYou can also see a wooden Lance here.\n\nThe Priest, noticing the dented Box in your hand, shies away from you. Yet he says nothing.\n\n> You show spices to Priest\n(first taking the handful of spice)\nYour hands are full.\n\n> Drop box\nDropped.\n\n> You show the spices to Priest\n[Author's Note: As I said...], says the Priest.\n\n> You give the spices to Priest\n[Author's Note: Keep it,] says the Priest.\n\n> You put the spices in Box\nYou put the handful of spice into the dented Box.\n\n> You ask Priest about Box\nThe Priest treats your act as an accusation, and quails. [Author's Note: The box? It contains naught but Spices! Here, I have the key...] Reaching into his Robes, he withdraws a small silver Key, which he hurriedly hands to you.\n\n> You show Box to Priest\n(first taking the dented Box)\nYour hands are full.\n\n> You check what you're carrying\nYou are carrying:\na silver key\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll\n\n> You put silver Key in Box\nYou put the silver key into the dented Box.\n\n> You put Axe in Box\nYou put the fine Axe into the dented Box.\n\n> You check what you're carrying\nYou are carrying:\na silver key\na dented Box (which is open)\na handful of spice\na fine Axe\na golden key\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll\n\n> You put Key in Box\n(the silver key in the dented Box)\nYou put the silver key into the dented Box.\n\n> You get Lance\nTo hold that you must have both hands free.\n\nThat is too large to fit into the Box.\n\n> You examine Axe\nA sturdy & well-fashioned Axe. Its rim is crusted with blood.\n\n> You examine the symbol\n(the holy symbol)\nA perfect Circle, symbolizing the creation: Heaven above, Earth here & now, the pits below. The unbroken continuity of God, of which Man partakes. The symbol hangs by a light Chain from your neck.\n\n> Clean Blade\nOnly the abbot can cleanse your blade once it has drunk.\n\n> You show Axe to Priest\n(first taking the fine Axe)\nThe corrupt Priest is unimpressed.\n\n> You examine the lock\nBattered, dented, the stoic and iron Resistor of an attack on its contents. Yet how easily it has opened to your more gentle persuasion. Surely a parable of Patience.\n\n> You unlock it\n(with the silver key)\nThat is unlocked at the moment.\n\n> You examine Key\nTho very small, with but two teeth, the silver key glitters a sterling pedigree.\n\n> Go upwards\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\n> You go to the northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n> Go east\nIn this grand Hall do heraldry & great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You go south\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\n> You look at the books\nThe Baron's library is full of heretical Ideas & Assertions most blasphemous. Yet here are also books of Metallurgy, of Alchymy and other useful Arts. A monk from Dol Nesta will need to be sent here to separate Wheat from Chaff, to save that which might be usefully Consulted and to destroy the Dross.\n\n> You get the books\nThere are far too many Books to carry, although you may consult the Library while standing before it.\n\n> You look up Key\nWhat do you want to look up in?\n\n> You look at Door\nThe door is made of fine oak, with a copper lock. It stands forbodingly closed.\n\n> You look at the lock\n(the dented Box)\nBattered, dented, the stoic and iron Resistor of an attack on its contents. Yet how easily it has opened to your more gentle persuasion. Surely a parable of Patience.\n\n> You unlock Door\nWhat do you want to unlock the oaken door to the west with?\n\n> Inventory\nYou are carrying:\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll\n\n> Go north\nIn this grand Hall do heraldry &great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You go west\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> Go downwards\nYou can see a wooden Lance here.\n\n> You get Lance\nHolding that would require both hands, and you can only spare one.\n\n> You check what you're carrying\nYou are carrying:\na fine Axe\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll"
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy, alchemy]\n\n> Look around\nThis is room 10. Exits: up.\n\n> You go to the northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\n> Go east\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> Go south\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\n> Inventory\nYou are carrying:\na fine Axe\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\n\n> You look at symbol\n(the holy symbol)\nA half circle, symbolizing the dome of the world, the entire of existance save the pits beneath.\n\n> You check what you're carrying\nYou are carrying:\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\n\n> Inventory\nYou are carrying:\na suit of Chain-Mail (being worn)"
    },
    {
        "text": "> Look around\nThis is room 7. Exits: north, west, up.\n\n> You ascend\nThis is room 12. Exits: down.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You go to the east\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\nYou hear a terrible crashing sound to the east.\n\n> Go north\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> You go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> Pity fool\n[Author's Note: Enough with the Jibba-Jabba, sucka!] quoth the Fool."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> You go downward\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stair.\n\nA dented Box lies in a corner, seemingly kicked there by a thwarted Robber.\n\n> You sweep the flour\nTo which do you refer, the sack of Flour or the Foot-Prints in the Flour?\n\n> Foot-prinfoot-prints\nThe Foot-Prints may be usable as evidence later.\n\n> You examine the footprints\nFoot-Prints in the Flour run frantically around the Store Room, stopping here, stopping there, before dashing up the Stairs. Whoever made these Prints was anxious to make his Exit also.\n\n> You take the sack\nYou would scatter Flour everywhere you walked.\n\n> You examine the Ham\nRacks of Ham hang from the Ceiling.\n\n> You look at the fruit\nStrings of Fruit both familiar & exotic hang from the Ceiling.\n\n> You check your inventory\nYou are carrying:\na dented Box (which is closed & locked)\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You examine the symbol\n(the holy symbol)\nA perfect Circle, symbolizing the creation: Heaven above, Earth here & now, the pits below. The unbroken continuity of God, of which Man partakes. The symbol hangs by a light Chain from your neck.\n\n> You take all\nStair-Way: The Stair-Way is hardly portable.\nracks of Ham: It is unclean.\nstrings of Fruit: You hunger not.\nsack of Flour: You would scatter Flour everywhere you walked. Foot-Prints in the Flour: The Foot-Prints are not portable.\n\n> Go upwards\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Fool's bleary Gaze lights on the Box you carry. [Author's Note: The Lock is the Key -- He! He!] The Fool giggles, hiccoughs, & again regards his Tankard.\n\n> You take Tankard\nThat seems to belong to the court Fool.\n\n> You look at Box\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock secures it.\n\n> You look at Fool\nThe Baron's Fool has taken to the cups. His Master no longer requires his gambols & rapier Wit. He sprawls beneath a large Wine-Barrel, clutching a Tankard from which he sips. His Lincoln Cap is askew. He has not suffered the pangs of sobriety for some time.\n\n> You go to the south\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtedly--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home.\nYour hands are full.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> Go south\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home.\nYou remove the fine Axe from the Stump.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> You hit Box with Axe\nYou should put down the dented Box before attempting to destroy it.\n\n> You hit Box with Axe\nYou hack at the Box, and again, splitting its sides asunder and spilling its contents onto the Floor."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Describe the surroundings\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a handful of spice & a splintered, useless Box here.\n\n> You check your inventory\nYou are carrying:\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Inventory\nYou are carrying:\na dented Box (which is closed & locked)\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Go east\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> You unlock Door with the lock\n(the dented Box)\nThe dented Box does not seem to fit the lock.\n\n> You search priest\nYou search the Priest, who divulges a small silver Key. [Author's Note: The Box!] cries the desperate Priest, placing the Key forlornly on the ground. [Author's Note: It contains naught but Spices!]\n\nThe priest speaks again. [Author's Note: The others have left. I remained.] Perhaps he thinks this will earn him Clemency?\n\n> Unlock Box with silver\nDropped.\nTaken.\nYou unlock the dented Box.\n\n> Examine box\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock is mounted therein, but does not prevent your opening it.\n\n> You break the lock\nIn the ensuing Battle, the Box inflicts more damage upon you than do you on it.\n\n> You kill Priest\nTruly this Worm deserves Death. But it is against your Code to strike down a man of the Cloth, however deserving. His time will come soon enough.\n\n> Bless Priest\nYou lack the athourity to perform Blessings.\n\n> Bless sword\nThe corrupt Priest has better things to do.\n\n> You pull the lock\nNothing obvious happens.\n\n> You look at the lock\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock is mounted therein, but does not prevent your opening it.\n\n> Break box\nIn the ensuing Battle, the Box inflicts more damage upon you than do you on it.\n\n> You check your inventory\nYou are carrying:\na silver key\na dented Box (which is open)\na handful of spice\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> You give the symbol to Priest\n(the holy symbol to the corrupt Priest)\n[Author's Note: Keep it,] says the Priest.\n\n> Rub symbol\n(the holy symbol)\nSuch superstitious acts are beneath you.\n\n> You examine the symbol\n(the holy symbol)\nA perfect Circle, symbolizing the creation: Heaven above, Earth here & now, the pits below. The unbroken continuity of God, of which Man partakes. The symbol hangs by a light Chain from your neck.\n\n> You examine mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimedes. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the Baron seems to have been impressed with it so as to have it realized as a Fountain.\n\nNow Water pours through the Perpetuum, falling out of the Spout & into the Funnel. The Splashings of the water combine harmoniously with the Grindings of the Gears & Screws. Tho' it seems very heavy, you could probably carry the Perpetuum, were you careful not to spill its Water.\n\n> You get mobile\nAs you strain to lift the heavy Perpetuum, there is a Lurch & a sudden Outpouring of water, which seeps into the Floor. The Gears & Screws continue to spin as before, but the Machine is now dry.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> You ask Fool about Mobile\n[Author's Note: Round & round & round she goes! Where she stops, no man knows!]\n\n> You look at Mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimedes. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the workmanship is such that the Machine continues its toil even in the absence of Water to propel it.\n\nTho the Perpetuum is empty, still turn its Gears & Screws."
    },
    {
        "text": "> Go downwards\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stairs.\n\n> Go east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nYou can see a fine Axe & a dented Box (in which are a silver key & a handful of spice) here.\n\n> Go south\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n> You examine the gears\nGears of many shapes & sizes turn endlessly in the Machine, imitating the model of Creation itself.\n\n> You look at the armor\nThe sanctified chain mail is light on your body, and leaves your Arms and Elbows free. A white cloth covering bears a blue Circle, the symbol of the faith.\n\n> You remove Cloth\n(first taking the white Covering over your armour)\nTo remove your Covering outside the Church is to invite divine Disapproval.\n\n> You remove the holy symbol\nTo remove the symbol of the faith is to lose divine protection.\n\n> You drop mobile\nYou gently set the Perpetuum on the floor.\n\n> You examine Portcullis\nA heavy iron portcullis blocks your way. Sun shines through the grate.\n\n> You get mobile\nYou strain to lift the heavy Perpetuum."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Go down\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to Luxury a tapestry which hangs near the upward-climbing stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\n> You show Mobile to Priest\nThe corrupt Priest is unimpressed.\n\n> Go west\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the Decrepitude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You examine Carpet\nNear the seat the carpet is red with the stain of unholy blood. It stretches out white to the east.\n\n> You look at Seat\nA most opulent & high Seat, supporting the dastardly Baron as he passes judgement, accomplice to his avarice. No more."
    },
    {
        "text": "> Look around\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You sit on Seat\nYou would perhaps take the Baron's place, as minister of evil?\n\n> You check your inventory\nYou are carrying:\na Perpetuum Mobile (churning & empty)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> You examine Baron\nHis eyes are wide & unseeing. He wears an expression of resignation & a velvet robe.\n\n> You get Carpet\nThe bloodstained carpet is hardly portable.\n\n> You cut Carpet\nWhat do you want to cut the bloodstained carpet with?\n\n> You cut Carpet with Blade\n(first taking the sacred blade)\nYour hands are full.\n\n> Yes\nThat was a rhetorical question.\n\n> You roll Carpet\nYou are unable to.\n\n> Shit\nSuch language reeks of sulphur.\n\n> You hold Blade\nYou draw your blade.\n\n> You cut Carpet with Blade\nCutting that up would achieve little.\n\n> You look at Mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the workmanship is such that the Machine continues its toil even in the absence of Water to propel it.\n\nTho the Perpetuum is empty, still turn its Gears & Screws.\n\n> You examine Spout\nA decorated Spout from which water would pour, had you not spilled it out. The Funnel of the Perpetuum stands directly below.\n\n> You examine Funnel\nA large round Funnel, flared at the top to catch splashing water. The Spout of the Perpetuum stands directly above.\n\n> You look at Robe\nThe red velvet robes of state are stained a deeper red with the blood of the evil sovereign. A small pocket on the right side catches your eye.\n\n> You look in Pocket\nIn the pocket is a golden key.\n\n> You examine it\nThe key is of gold, with eight small teeth.\n\n> Go east\nIn this grand Hall do heraldry & great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You go to the southwest\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\n> Examine books\nThe Baron's library is full of heretical Ideas & Assertions most blasphemous. Yet here are also books of Metallurgy, of Alchymy & other useful Arts. A monk from Dol Nesta will need to be sent here to separate Wheat from Chaff, to save that which might be usefully Consulted & to destroy the Dross.\n\n> You look at Desk\nThe Writing-Desk is of dark wood. Its flap is closed.\n\n> You open flap\nYou open the flap of the Writing-Desk, revealing a  deep Hole in the south wall.\n\n> You open flap\nThat is already open.\n\n> You examine the hole\nA dark Hole penetrates the desk & proceeds deep into the Stone of the south wall. It is deeper than your arm is long.\n\n> You check your inventory\nYou are carrying:\na golden key\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You go to the east\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\nYou hear a terrible crashing sound to the east.\n\n> You go to the east\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. Yet a visitor, betrayed, can quickly become a prisoner--a metal Portcullis to the east now separates you from the threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> Go south\nIf only the Baron had set his soul in the same order in which he kept his Study! Had he lined his heart with good Works the way he lined his walls with Books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\n> You examine Gap\nThe Gap separates two of the most odious Works in the Library. Likely their Brother is similarly accursed.\n\n> You examine Chair\nThe Arm-Chair is of leather, & is cold to the touch.\n\n> You sit in Chair\nYou sit in the Chair, but quickly tire of such Decadence.\n\n> Inventory\nYou are carrying:\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You put Blade in Gap\nThe Gap is book-shaped.\n\n> You look at the books\nThe Baron's library is full of heretical Ideas & Assertions most blasphemous. Yet here are also books of Metallurgy, of Alchymy & other useful Arts. A monk from Dol Nesta will need to be sent here to separate Wheat from Chaff, to save that which is useful & to destroy the Dross. While you are here, however, you may CONSULT the Library about its more wholesome topics.\n\nThere is a noticeable Gap between two particularly odious Books.\n\n> You look at the chairs\nThe Chairs are well-carved with geometric designs.\n\n> Go north\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> You go to the north\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtedly--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home.\n\n> You examine Pig\nThe Pig is dead two days. Its Butcher likely fled the castle, dreading your approach. A large Slit travels its bloated Stomach.\n\n> You examine the stomach\nThe Ancients are said to have practiced divination by the Entrails of Beasts. Not being one of the Ancients, you know not what these Vitals fortell.\n\n> You get Axe\nYou remove the fine Axe from the Stump.\n\n> You hit Pig with Axe\nWell done, brave knight! The pig is dead!"
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy, alchemy]\n\n> You look around\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtedly--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here.\n\n> Inventory\nYou are carrying:\na fine Axe\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> Go north\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here.\n\n> You put the spices in Pig\nPerhaps you hope to cure the Meat?\n\n> You take the stomach\nLet the pig's Vitals be.\n\n> You give the spices to Fool\nThe Fool's eyes cross comically as he regards the handful of spice. Exhausted by the effort, he slumps. He does not seem to want it.\n\n> You look at the barrel\nA Barrel of fine Wine, nearly emptied by the efforts of the Fool. He lies below, supported by the Saw-Horses which carry the Barrel.\n\n> You ask Fool about the book\nThe Fool belches & says nothing.\n\n> You ask Fool about wine\n[Author's Note: Wine, the Fruit of the Vine, a Fellow of mine.]\n\n> You ask Fool about Priest\nThe grinning Fool dips his Finger-Tips into his Tankard & sprinkles Wine at you like holy Water.\n\n> You ask Fool for Tankard\n[Author's Note: The Wine is Mine,] sings the Fool. [Author's Note: The Wine is Mine!]\n\n> You ask Fool about the gate\nThe Fool shudders & says nothing.\n\n> You ask Fool about Wheel\nThe Fool coughs & says nothing.\n\n> Inventory\nYou are carrying:\na handful of spice\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> Sheathe blade\nYou sheathe your Blade."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Go down\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stair.\n\nA dented Box lies in a corner, its sides split open.\n\nYou can also see a fine Axe here.\n\n> Go upward\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Fool slurs some lines of Verse: [Author's Note: Ye Grasse is green, ye Beere is green, a stranger Sighte I ne'er have seen.] You see no Beer in his tankard; naught but the Baron's Wine.\n\n> You ask Fool about Beer\nThe Fool coughs & says nothing.\n\n> Inventory\nYou are carrying:\na fine Axe\na handful of spice\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Go east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\n> Go east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nYou can see a handful of spice & a fine Axe here.\n\n> You get the spice and Axe\nhandful of spice: Taken.\nfine Axe: Taken.\n\n> You go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a Perpetuum Mobile here.\n\n> You drop Axe and the spice\nfine Axe: Dropped.\nhandful of spice: Dropped.\n\n> You examine mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimedes. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again\n\n> You fill mobile with Wine\n(the Wine-Barrel)\nYou need to be holding the Wine-Barrel before you can put it into something else.\n\n> You get Wine\n(the Wine-Barrel)\nThe Barrel is well-supported by Saw-Horses, and you cannot move it.\n\n> You put the spices in Mobile\nThat would surely ruin the valuable Spices.\n\n> You drop the spice\nDropped.\n\n> Go east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\n> You look at Table\nThe long banquet table once groaned under the weight of extravagant Feasts. Now it is bare, its Luster fading.\n\nThere is nothing on the long Table.\n\n> You examine the chairs\nThe chairs are carved ornately.\n\n> You look under Table\nThere is naught but Dust under the long Table.\n\n> You go west\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You get Robe\nYou separate robe & owner, leaving the Baron bare.\n\n> You look at Robe\nThe red velvet robes of state are stained a deeper red with the blood of the evil sovereign. A small pocket on the right side catches your eye.\n\n> You examine Pocket\nIn the pocket is a golden key."
    },
    {
        "text": "> Look around\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the Decrepitude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> You cut Robe\nWhat do you want to cut the red robe with?\n\n> Inventory\nYou are carrying:\na red robe\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> You cut Robe with Blade\n(first taking the sacred blade)\nYou draw your blade.\n\n> You look at what you're carrying with you\nYou are carrying:\na sacred blade\na red robe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You wear Robe\nYou lack the rank.\n\n> You get all\nfine Axe: Taken.\nlong Table: The long Table is hardly portable.\nornate Chairs: Such posessions would only weigh you down.\n\n> You go to the west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a handful of spice & a Perpetuum Mobile here.\n\n> Inventory\nYou are carrying:\na fine Axe\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You examine Baron\nHis eyes are wide & unseeing.\n\n> You look at the eyes\nThe Baron's eyes are wide and unseeing.\n\n> Inventory\nYou are carrying:\nthe Baron's eyes\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You examine Baron\nHis eyes are wide & unseeing.\n\n> You open eyes\nEven the most evil deserves posthumous Respect.\n\n> You close the eyes\nYou close the Baron's eyes.\n\n> You go to the north\nAn Armory, stocked by the Baron for a seige but unable to protect him from the vengeance of the Almighty. Amidst the Armor, Weaponry &c. stands an archway to the south.\n\nA wooden Lance stands here, propped against a wall.\n\n> Inventory\nYou are carrying:\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> You get Lance\nTo hold that you must have both hands free.\n\n> Sheath blade\nYou sheathe your blade.\n\n> Go south\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\n> You examine the hole\nA dark Hole penetrates the desk & proceeds deep into the Stone of the south wall. It is deeper than your Arm is long.\n\n> You put the symbol in Hole\n(the holy symbol in the Hole in the south wall)\nYou insert the holy symbol into the hole as far as you can, then draw it out again. No change has occured.\n\n> You put the symbol on Lance\n(the holy symbol on the wooden Lance)\nPutting things upon the wooden Lance would achieve nothing.\n\n> You put Lance in Hole\nInserting the lance into the hole as far as you can, you feel the wood catch & hear the faraway grinding of stone. Removing the lance, you find it unchanged.\n\n> Lift portcullis\nThat is hardly portable.\n\n> You open Portcullis\nYour strength is as great as your faith, but try as you might, you cannot lift the heavy portcullis. Perhaps the nearby Wheel holds the answer.\n\n> You go west\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> You go to the west\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\nYou can also see a fine Axe here.\n\n> Go west\nFrom here you may go only east.\n\n> You read Scroll\nA scroll case made of wood & bearing the sigil of the bishop of Dol Nesta.\n\n> You read the vellum scroll\nThe scroll is made of rich vellum & is rolled up, inside the scroll case.\n\n> You get vellum Scroll\nYou remove the scroll from the case.\n\n> You read the vellum scroll\nThe rich vellum is covered with a flowing hand.\n\n[Author's Note: The bearer of this Notice, one Knight Itinerant, being granted special Dispensation and ordered by Divine Covenant to separate from this World the immortal Soul of par Tiller, Baron of Stesan, his Crimes and Sins having blotted his Name beyond hope of Redemption or Reform, and it being ordered that any and all requested Assistance be rendered this Knight in this sacred Quest, let it be known that to this I set my Stamp and Seal on this day and for Perpetuity, in the name of the most holy God, who has ordained it so,]\n\nThe stamp and signature is that of the bishop of Dol Nesta.\n\n> Go northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\n> You go north\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\n> You show Scroll to Fool\nTo which do you refer, the vellum Scroll or the wooden Scroll-Case?\n\n> You show vellum Scroll to Fool\nThe court Fool is unimpressed.\n\n> Inventory\nYou are carrying:\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open but empty)\n\n> You put the vellum in Case\nYou  the scroll up and place it in the case.\n\n> Close Case\nYou close the wooden Scroll-Case.\n\n> You put it in Mobile\nOnly the particulate may progress through the wondrous Machine.\n\n> You examine the machine\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the workmanship is such that the Machine continues its toil even in the absence of Water to propel it.\n\n> You look at the spice\nRare Peppers, and other Spices you cannot identify. Their smell is oriental, exotic."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Look around\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nYou can see a Perpetuum Mobile here.\n\n> You get all\ndented Box: Taken.\n\n> You look at what you're carrying with you\nYou are carrying:\na dented Box\na handful of spice\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)"
    },
    {
        "text": "> You look at your surroundings\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stairs.\n\n> Up\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nYou can see a Perpetuum Mobile here.\n\n> Go north\nIn this small, walled Yard are the Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here.\n\n> You look at Oak\nFrom little Acorns great Oaks spring. But great Oaks die, or are cut down, & only God remembers what once was.\n\n> You search it\nThe stump is empty.\n\n> Go east\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You look at Wheel\nA heavy wooden wheel, which raises and lowers the Portcullis.\n\n> Go north\nAn Armory, stocked by the Baron for a seige but unable to protect him from the vengeance of the Almighty. Amidst the Armor, Weaponry &c. stands an archway to the south.\n\n> You ask S,  to go to the south\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\n> You examine Door\nThe door is made of fine oak. It stands forbodingly closed.\n\n> You search Carpet\nYou find nothing of interest.\n\nYou hear a terrible crashing sound to the east.\n\n> You search baron\nThe Baron's Robe bears a Pocket, in which is a golden key.\n\n> You examine the tables\nThe Tables are carved as the Chairs. Game-Boards are inscribed into many of them, & some bear Dice & other pieces for Gaming.\n\n> You take all\nSun-Light: The Sun-Light is ethereal.\nFrescoes: The Frescoes are hardly portable.\nwooden Chairs: Such posessions would only weigh you down.\nwooden Tables: They are much too heavy.\ngaming Pieces: A Knight must shun all such unclean Associations.\n\n> You examine the dice\nThe Gaming-Pieces are Dice, Cups, Chess-Men & the like. You are ashamed to remember from childhood the Rules to some of these Games.\n\n> You look under Desk\nThere is naught but Dust under the Writing-Desk.\n\n> You take all\nGap in the Library: Such an act smacks of paradox.\noaken Door to the west: The oaken Door to the west is hardly portable. library: There are far too many Books to carry, although you may consult the Library while standing before it.\nWriting-Desk: The Writing-Desk is hardly portable.\nleather Arm-Chair: It is much too heavy to carry.\n\n> Consult books\nThe meaning of that sentence escapes me.\n\n> You consult the books about Mobile\nYou find a reference to the Perpetuum Mobile (oddly enough) in a Discourse on religious Symbolism. Tho your brothers at the Monastery would follow the Arguments better than you can, the Ideas seem orthodox & you can make out most of what is said.\n\n> You consult the books about Fool\nThe Perpetuum must exist, even if only in the mind of God (so says the Author, for the Work is a century old & so precedes the working Perpetuum) for it realizes the sacred Circle on a cosmic scale. Without the Perpetuum, the Cosmos is a strait Line, slowly declining in vital Force, sinking into Degeneracy & Oblivion. As God is the moral restorative of this vital Force, so is the Perpetuum, which does Work without losing Energy, its physical Restorative. When the vital Force moves back & forth between the Poles of Entropy & Restoration, is the Cosmos realized as a grand Circle.\n\nIn a satirical work on the Hangers-On at court, you find the following:\n\n[Author's Note: THE TRAGEDY OF THE FULE: Every Court from Low to High/founds itself upon some Lie/Therein only one, the Fule/may speak true of lordly Misrule. He knows none his Words will heed/nor one comprehend his Deed.]\n\nThere is more of this poor Doggerel, but it merely repeats this Theme.\n\n> You consult the books about Circle\nThe Circle makes itself the Symbol of this great Faith, symbolizing all that was and all that will be. Sadly, most of the references you find in the Baron's Library pervert this great Truth by demonstrating methods of subverting and desecrating the true Cycles of God and Nature, life and death.\n\n> You consult the books about the Metallurgy\nA set of large Volumes describe the art & history of Metallurgy, from Antiquity to the present Era. The base & the nobler Metals are discussed, & their uses. Also Alloys & their means of manufacture are described. In these Works you may be able to find reference to some more specific facet of the Craft.\n\n> You consult the books about the alchymy\nSeveral Tomes here are devoted to Alchymy, [Author's Note: Noblest of the Crafts.] By which the baser Metals may be transmuted into Gold, or between themselves. You may be able to find reference to some more specific facet of the Craft.\n\n> You consult the books about the copper\n[Author's Note: Commonest of the noble Metals, both Artisan and Craftsman, renowned both for its Luster and for the useful Alloys it forms.]\n\n> You consult the books about silver\n[Author's Note: A valuable and pliable Metal, second in value only to Gold. Projections upon it are common.]\n\n[Author's Note: A valuable and pliable Metal, second in value only to Gold. Projections upon it are common.]\n\n> You consult the books about the Gold\n[Author's Note: The most coveted of the noble Metals. Empires are built on it, Men die for it, & those who have it hoard it. Through complex transmutations can baser materials, such as Lead, be transformed into this Prince among Metals.]\n\n> You consult the books about the alloys\n[Author's Note: An alloy such as Bronze or Electrum may be formed by the molten Merging of its several Composites. Some alloys of the nobler metals have mythic Powers--in particular the celebrated alliage sympathique, or sympathetic Alloy.]\n\n> You consult the books about the sympathetic Alloy\nIn a work on alchymic Medicine you find the following:\n\n[Author's Note: The sympathetic Alloy, Rosy-Gold, so named for its Colour. Its dust comprises Powder of Sympathy, or the Weapon-Salve, tho this is but its most convenient Form. Its true power lies in the bonding of its three component Metals.]\n\n> You consult the books about the Powder\nA work is devoted to the Weapon-Salve, or Powder of Sympathy, which is the dust of the sympathetic Alloy. [Author's Note: The Powder heals when applied not to the Wound but to the Weapon. Most Injuries can it treat, tho it cannot re-bind Soul & Body.]\n\n> You consult the books about Soul\nThe Soul, precious gift of God, that which distinguishes Man from Animal, is given small service in this library. What little there is, chiefly in Manuals devoted to dark and unholy Twistings of God's work, described by phrases unsuitable for repeating here.\n\n> You read Scroll\nA Scroll-Case made of wood & bearing the Sigil of the Bishop of Dol Nesta.\n\n> You consult the books about dol nesta\nAn Atlas describes the Town of Dol Nesta as \"a small mountain village, renowned for the quality of its Soil and the breadth of its monastery's Library.\".\n\n> You consult the books about metal\n[Author's Note: Man was not Man ere he mastered the Metals.] Noble & base alike, they made & do make Civilization. Yet also do they forment Greed, & enable fearsome Instruments of torture & war. Truly, Man must master the Metals, else they will master him.\n\n> You climb the shelves\nLittle is to be achieved by that.\n\n> You consult the books about Fool\nIn a satirical work on the Hangers-On at court, you find the following:\n\n[Author's Note: THE TRAGEDY OF THE FULE: Every Court from Low to High/founds itself upon some Lie/Therein only one, the Fule/may speak true of lordly Misrule. He knows none his Words will heed/nor one comprehend his Deed.]\n\nThere is more of this poor Doggerel, but it merely repeats this Theme.\n\n> You consult the books about symbol\n[Author's Note: Symbols are powerful things, but take pains never to confuse a Symbol with the Object by it signified; this error is the root of much Heresy.] If only the Baron had taken this advice!>>\n\n> You consult the books about Wine\nThere is a Treatise here on Wine-Making, but it seems imprudent of you to consult it.\n\n> You go up\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Fool's bleary Gaze lights on the Box you carry. [Author's Note: The Lock is the Key -- He! He!] The Fool giggles, hiccoughs, & again regards his Tankard.\n\n> You look at the Jewels\nJewels are encased in the walls of this room. Riches encrust the Baron's Seat & golden gleamings come from every Direction. A Show of earthly things, to quail the Unfortunates who in this room must address their cruel Master. The will of a higher Master yet has been done this Day.\n\n> You show Box to Priest\nThe Priest treats your act as an accusation, and quails. [Author's Note: The box? It contains naught but Spices! Here, I have the key...] Reaching into his Robes, he withdraws a small silver Key, which he hurriedly places before you.\n\nThe priest speaks again. [Author's Note: The others have left. I remained.] Perhaps he thinks this will earn him Clemency?\n\n> You take Key\n(the silver key)\nTaken.\n\n> You put the keys in Box\nsilver key: Done.\ngolden key: Done.\n\n> Close Box\nYou close the dented Box.\n\n> Shake box\nYou shake the dented Box. There seems to be something inside.\n\n> You open Box\nYou open the dented Box, revealing a golden key, a silver key & a handful of spice.\n\n> You show golden Key to Priest\n(first taking the golden key)\n[Author's Note: I know it not.]\n\n> You get all\nStair-Way(PriestStairway): The Stair-Way(PriestStairway) is hardly portable.\noaken door: The oaken door is hardly portable.\nlighted Candles: That would compound Blasphemy upon Blasphemy.\nmarble Altar: The marble Altar is hardly portable.\n\n> You put Box on Altar\n(the marble Altar)\nThat is not a proper Offering.\n\n> You take all\nBaron's corpse: Your hands are full.\nSun-Light: The Sun-Light is ethereal.\nopulent Decorations: The opulent Decorations are hardly portable. tapestries: The tapestries are hardly portable.\nbloodstained carpet: The bloodstained carpet is hardly portable.\nhigh Seat: You would perhaps take the Baron's place, as minister of evil?\n\n> Inventory\nYou are carrying:\na golden key\na dented Box (which is open)\na silver key\na handful of spice\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> You put gold Key in Box\nYou put the golden key into the dented Box.\n\n> You put the corpse on Altar\n(the marble Altar)\nTruly barbaric.\n\n> Search corpse\nThe Baron's Robe bears a Pocket, which is empty.\n\n> You show the corpse to Priest\nThe Priest quails at the sight of the dead Baron.\n\n> You show the corpse to Fool\n[Author's Note: What is a Fool with no Master?]\n\n> Inventory\nYou are carrying:\nthe Baron's corpse\nthe Baron's eyes\na red robe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Drop symbol\n(the holy symbol)\n(first taking the holy symbol off)\nTo remove the symbol of the faith is to lose divine protection.\n\n> You remove Scroll\n(the wooden Scroll-Case)\nYou take off the wooden Scroll-Case.\n\n> You put the symbol in Case\n(the holy symbol in the wooden Scroll-Case)\nThere is already something in the case.\n\n> You get Scroll\n(the wooden Scroll-Case)\nYou already have that.\n\n> Inventory\nYou are carrying:\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (which is open)\na vellum Scroll\n\n> You get the vellum\nYou remove the scroll from the case.\n\n> You put the symbol in Case\n(the holy symbol in the wooden Scroll-Case)\nThe scroll case is not the proper container for the holy symbol.\n\n> You put the symbol in sheath\n(the holy symbol in the leather sheath)\nOnly your sword may inhabit the sheath.\n\n> You go west\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nYou can see a dented Box (in which are a golden key, a silver key & a handful of spice) here.\n\n> You put the symbol in Box\n(the holy symbol in the dented Box)\nThat is too large to fit into the Box.\n\n> You examine the symbol\n(the holy symbol)\nA perfect Circle, symbolizing the creation: Heaven above, Earth here & now, the pits below. The unbroken continuity of God, of which Man partakes. The symbol hangs by a light Chain from your neck.\n\n> Empty Box\ngolden key: Dropped.\nsilver key: Dropped.\nhandful of spice: Your hands are full.\n\n> You check your inventory\nYou are carrying:\na dented Box (which is open)\na handful of spice\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (which is open but empty)\n\n> You drop Scroll\nTo which do you refer, the vellum Scroll or the wooden Scroll-Case?\n\n> You drop all Scroll\nvellum Scroll: Dropped.\nwooden Scroll-Case: Dropped.\n\n> You put all the keys in Box\nNone are available!\n\n> You get the keys\nsilver key: Your hands are full.\ngolden key: Your hands are full.\n\n> You look at what you're carrying with you\nYou are carrying:\na handful of spice\na dented Box (which is open but empty)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You get all the keys\nsilver key: Taken.\ngolden key: Taken.\n\n> You put Box in the corpse\nYou must be hard pressed indeed to see utility in that.\n\n> You put Box in Pocket\nThat is too large to fit in the pocket.\n\n> You put the symbol in Pocket\n(the holy symbol in the pocket)\nThat is too large to fit in the pocket.\n\n> You look at Fool\nThe Baron's Fool has taken to the cups. His Master no longer requires his gambols & rapier Wit. He sprawls beneath a large Wine-Barrel, clutching a Tankard from which he sips. His lincoln Cap is askew. He has not suffered the pangs of Sobriety for some time.\n\n> You examine Cap\nThe Fool's Cap is lincoln Green, and adorned with Bells. It is stained with the Drippings of wine from the Barrel.\n\n> You ask Fool for Cap\n[Author's Note: This noble Cap has been in my family for generations! My Father was a Fool, his Father before him! And so am I.]\n\n> You ask Fool for Tankard\n[Author's Note: The Wine is Mine,] sings the Fool. [Author's Note: The Wine is Mine!]\n\n> You take all\nwooden Scroll-Case: Taken.\nvellum Scroll: Taken.\nBaron's corpse: Your hands are full.\ncourt Fool: I doubt the court Fool would care for that.\nWine-Barrel: The Barrel is well-supported by Saw-Horses, and you cannot move it.\nlarge Ovens: The large Ovens are hardly portable.\nshattered Crockery: You have no use for such things.\n\n> You put Case in Gap\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nIn this grand Hall do heraldry & great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\nThe Gap is book-shaped.\n\n> You put Scroll in Gap\nTo which do you refer, the vellum Scroll or the wooden Scroll-Case?\n\n> You put the scroll case in Gap\nThe Gap is book-shaped.\n\n> You put the symbol in Gap\n(the holy symbol in the Gap in the Library)\nThe Gap is book-shaped.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see the Baron's corpse here.\n\n> Inventory\nYou are carrying:\na vellum Scroll\na wooden Scroll-Case (which is open but empty)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You put the vellum in the scroll case\nYou roll the scroll up & place it in the case.\n\n> You wear the scroll case\nYou put on the wooden Scroll-Case.\n\n> You get all\nGap in the Library: Such an act smacks of paradox.\noaken door to the west: That is hardly portable.\nlibrary: There are far too many Books to carry, although you may consult the Library while standing before it.\nWriting-Desk: That is hardly portable."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy, alchemy]\n\n> You look at your surroundings\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\n> Go west\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the Seat & towards the Sunrise.\n\n> You look at Seat\nA most opulent & high Seat, supporting the dastardly Baron as he passes judgement, accomplice to his avarice. No more.\n\n> You look at the Jewels\nJewels are encased in the walls of this room. Riches encrust the Baron's Seat & golden gleamings come from every Direction. A Show of earthly things, to quail the Unfortunates who in this room must address their cruel Master. The will of a higher Master yet has been done this Day.\n\n> You get the Jewels\nThey are hardly portable.\n\n> You check what you're carrying\nYou are carrying:\nthe Baron's corpse\na red robe\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You put Robe on Altar\n(the marble Altar)\nPutting things upon the marble Altar would achieve nothing.\n\n> You go upward\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles & marble altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here.\n\n> Go west\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the throne & towards the Sunrise.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> Go west\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants & counselors, now lies nearly untravelled. It leads away from the throne & towards the Sunrise.\n\n> Wait\nYou idle away a few moments.\n\n> You wait for a while\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\n\n> You wait awhile\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> You look at your surroundings\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Look around\nThe glitterings of gold, jewels, tapestries, &c. bely the pulchitrude of he who tilrecently occupied the throne. A white carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise.\n\n> Wait\nYou idle away a few moments.\nYou idle away a few moments.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> DeC\nEnter saved game to load: Restore failed.\n\n> Rec\nEnter saved game to load: Ok.\n\n> You wait for a while\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\n\n> Wait\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy, fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> Go west\nThis is room 7. Exits: north, west, up.\n\n> Go southwest\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nYou can see the Baron's corpse here.\n\n> You go to the east\nYou can see a copper key here.\n\n> You go east\nThis is room 7. Exits: north, west, up.\n\n> You go northwest\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You go to the southwest\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> You look around\nYou idle away a few moments.\nYou idle away a few moments.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Duke does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Duke's lifetime.\n\nA stair in the corner leads up, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nYou can see the Baron's corpse here.\n\n> Turn hourglass\nYou can see a copper key here.\n\nA Seam runs down the northwest wall.\n\n> You go to the east\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here.\n\n> You wait\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\n\n> Go north\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied the throne. A white Carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Look around\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied the throne. A white carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise.\n\n> You go east\nThis is room 5. Exits: north, east, west.\n\n> Go north\nThis is room 6. Exits: south, east, west."
    },
    {
        "text": "> You look at your surroundings\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Look around\nYou idle away a few moments.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Describe the surroundings\nYou idle away a few moments.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied the throne. A white carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise.\n\n> You go to the north\nA richly attired Wait Chamber. The\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThis is room 9. Exits: south, west, up."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\n\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied this high Seat. A white Carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise.\n\n> You go to the north\nThis is room 6. Exits: south, west.\n\n> Go west\nThis is room 3. Exits: north, south, east, down.\n\n> You go south\nThe glitterings of Gold, Jewels, Tapestries, &c. bely the pulchitrude of he who til recently occupied the throne. A white carpet, once flanked by sycophants and counselors, now lies nearly untravelled. It leads away from the throne and towards the Sunrise.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\n> Go north\nThis is room 16. Exits: south."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy, alchemy]\n\n> You describe your surroundings\nThis is room 3. Exits: south, east, up.\n\n> Go upwards\nThis is room 11. Exits: down.\n\n> Go upward\nThis is room 10. Exits: down."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Look around\nYou idle away a few moments.\n\nAn Armory, stocked by the Baron for a seige but unable to protect him from the vengeance of the Almighty. Amidst the Armor, Weaponry &c. stands an archway to the south."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You look around\nYou idle away a few moments.\n\nAn Armory, stocked by the Duke for a seige but unable to shield him from the vengeance of the Almighty. Amidst the Armor, Weaponry &c. stands a spiral staircase leading up into the Battlement. An oaken door leads south."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nThis is room 9. Exits: south, west, up.\n\n> Go up\nThis is room 13. Exits: down.\n\n> You go west\nThis is room 6. Exits: north, south, east, west.\n\n> You go north\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nThis is room 6. Exits: south, west."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> You look around\nYou idle away a few moments.\n\nThis is room 6. Exits: south, west."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nThis is room 6. Exits: south, east, west."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nYou idle away a few moments.\n\nThis is room 6. Exits: north, south, east, west.\n\n> Go west\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nThis is room 3. Exits: north, south, east, down.\n\n> You go to the west\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nThis is room 3. Exits: north, south, east, down.\n\n> You go south\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Look around\nYou idle away a few moments.\n\nIf only the Duke had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. An oaken door leads west from this cozy room, an archway leads north, and a stairway in one corner spirals upward."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nThis is room 7. Exits: north, west, up.\n\n> You go to the north-west\nYou can see a copper key here.\n\nA Seam runs down the northwest wall.\n\n> You go south\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\n> Go south\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nIn this grand Hall do heraldry andgreat pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north and south.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> Go upward\nYou idle away a few moments.\nMethinks you see exits where there are none.\n\n> You go up\nYou idle away a few moments.\n\nThis is room 12. Exits: down.\n\n> Go northwest\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass wobbles most violently as the last of the Sand begins to leak out of its top.\n\n> You turHour-Glass\nIf you want to invert the Hour-Glass, you should pick it up first. It is much too heavy to turn in place.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You drop all\nWhat do you want to drop those things in?\n\n> You check what you're carrying\nYou are carrying:\na red robe\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade"
    },
    {
        "text": "> You look around\nYou idle away a few moments.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\nYou can see a red robe here."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy, fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nIf only the Duke had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. An oaken door leads west from this cozy room, an archway leads north, and a stairway in one corner spirals upward.\n\nYou can see a red robe here.\n\n> You go to the north-west\nYou can see a copper key here.\n\nA Seam runs down the northwest wall.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass wobbles most violently as the last of the Sand begins to leak out of its top.\n\n> You get the hourglass\nA Shock goes through your Hand as you touch the Hour-Glass. Recoiling, you nurse your injured Hand until life returns.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Break hourglass\nYou deal the Hour-Glass a mighty blow, creating a loudly collapsing Storm of shards which ceases nearly as soon a\n\n> You touch Wheel\nYou touch the wheel and briefly feel a numbing Shock.\n\n> You look at the lock\nA copper Lock set into the oaken Door to the west.\n\n> You get Scroll\nYou remove the Scroll from its Case.\n\n> You put Scroll under Door\nThe meaning of that sentence escapes me.\n\n> You consult Books about the Time\nIn a book on Meta-Physicks you find a waggish Summary of the Controversy surrounding the nature of Time: [Author's Note: It is said by some that Time travelleth in a great Circle, by others that it maketh a strait Line. The former Description prevaileth, as we art obliged to listen to its Exponents again and again, the latter being content to assert but once.]\n\n> Consult books about hourglass\nA history of Time-Keeping devotes considerable space to the Hour-Glass, its history occidental and oriental, its usages in Navigation, &c. A book of modern Philosophy waxes more poetic of the Time-Piece, seeing in it a symbol of the linearity of Time, the irretrievability of Moments past."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Go downwards\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your passage east.\n\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to luxury a Tapestry which hangs near the upward-climbing Stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\n[Author's Note: So,] says the Priest, devoid of Emotion. [Author's Note: You have come.]\n\n> You ask Priest about Time\nThe Priest avoids your Gaze and does not respond.\n\nThe priest speaks again. [Author's Note: The others have left. I remained.] Perhaps he thinks this will earn him Clemency?\n\n> You ask Fool about the hourglass\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\nThe Fool shudders & says nothing.\n\n> Go east\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, and to the east is the grand Entry Hall.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted candles and marble altar did bear witness to blasphemous and terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see the Baron's corpse here."
    },
    {
        "text": "> Go downwards\nThis is room 10. Exits: up.\n\n> You check what you're carrying\nYou are carrying:\na red robe\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> Go north\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nOn the long Table is a Perpetuum Mobile.\n\n> You examine mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the Baron seems to have been impressed with it so as to have it realized as a Fountain.\n\n> You get mobile\nAs you strain to lift the heavy Perpetuum, there is a Lurch & a sudden Outpouring of water, which seeps into the Floor. The Gears & Screws continue to spin as before, but the Machine is now dry.Taken."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nYou idle away a few moments.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. An oaken door leads west from this cozy room, an archway north.\n\n> You examine the hourglass\nA large & heavy Hour-Glass, containing fine Sand of a reddish Shade. Metal sliding Flaps on the upper & lower Surfaces, controlled by Levers, are used for replenishing the sand. Both flaps lie closed.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Inventory\nYou are carrying:\na Perpetuum Mobile (churning and empty)\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> Go north\nIn this small, walled Yard are the Beasts put to the knife and prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> You look around\nYou idle away a few moments.\n\nIn this small, walled Yard are the Beasts put to the knife and prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nThis is room 16. Exits: south."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> Go downward\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to Luxury a tapestry which hangs near the upward-climbing stair.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nYou can see a dented Box (in which are a silver key, a golden key & a handful of spice) here.\n\n> Inventory\nYou are carrying:\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade"
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Look around\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\n> You go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nThe Baron's Fool lies besotted, beneath a large Wine-Barrel.\n\nYou can also see a dented Box (in which are a silver key, a golden key & a handful of spice) here.\n\n> Go east\nIn this grand Hall do heraldry &great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You go north\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nOn the long Table is a Perpetuum Mobile.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted, beneath a large Wine-Barrel.\n\nYou can also see a dented Box (in which are a silver key, a golden key & a handful of spice) here.\n\n> You go to the east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nYou can see a Perpetuum Mobile here.\n\n> You put spice in Mobile\nOnly the particulate may progress through the wondrous Machine.\n\n> Inventory\nYou are carrying:\na handful of spice\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You get mobile\nYou strain to lift the heavy Machine.\n\n> You get mobile\nDropped.\nAs you strain to lift the heavy Perpetuum, there is a Lurch & a sudden Outpouring of water, which seeps into the Floor. The Gears & Screws continue to spin as before, but the Machine is now dry.Taken.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nYou can see a dented Box (in which are a silver key & a golden key) here.\n\n> You go to the east\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nYou can see a vellum Scroll & a Perpetuum Mobile here.\n\n> You look at Mobile\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, and Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again, ad infinitum. The Design is that of a certain Portuguese and the workmanship is such that the Machine continues its toil even in the absence of Water to propel it.\n\n> You look at what you're carrying with you\nYou are carrying:\na wooden Scroll-Case (being worn & open but empty)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You go north\nOn feast days in years & months past, Lords & favored Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\nOn the long Table is a Perpetuum Mobile.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted, beneath a large Wine-Barrel.\n\nYou can also see a dented Box (in which are a silver key, a golden key & a handful of spice) here.\n\n> Go east\nIn this grand Hall do heraldry &great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nHas this Place changed since last you were here? The work of some mischevious Spirit, or deceiving Daemon? It is but a slight tugging in your Marrow, yet a worrisome one.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You look at what you're carrying with you\nYou are carrying:\na handful of spice\na red robe\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\n\n> You wait for a while\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments.\nYou idle away a few moments."
    },
    {
        "text": "> You look around\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\nYou can see a red robe here."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy, fantasy]\n\n> You look at your surroundings\nYou idle away a few moments.\n\nIf only the Duke had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. An oaken door leads west from this cozy room, an archway leads north, and a stairway in one corner spirals upward.\n\nYou can see a red robe here."
    },
    {
        "text": "> Look around\nYou idle away a few moments.\n\nThis is room 7. Exits: north, west, up.\n\n> You look at what you're carrying with you\nYou are carrying nothing.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open lower flap\nA Shock goes through your Hand as you touch the lower Flap. Recoiling, you nurse your injured Hand until life returns.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open the upper flap\nA Shock goes through your Hand as you touch the upper Flap. Recoiling, you nurse your injured Hand until life returns.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You pull the lever\nTo which do you refer, the upper Lever or the lower Lever?\n\n> Lower\nA Shock goes through your Hand as you touch the lower Flap. Recoiling, you nurse your injured Hand until life returns.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Inventory\nYou are carrying:\na Perpetuum Mobile (churning and empty)\na wooden Scroll-Case (being worn & open)\na vellum Scroll\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade"
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You look around\nYou idle away a few moments.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west, and an archway leads north.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nYou idle away a few moments.\n\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. An oaken door leads west from this cozy room, an archway north.\n\n> Inventory\nYou are carrying:\na Perpetuum Mobile (churning and empty)\na holy symbol (glowing with a sacred light and being worn)\na suit of Chain-Mail (being worn)\n\n> You check your inventory\nYou are carrying:\na Perpetuum Mobile (churning and empty)\na suit of Chain-Mail (being worn)\n\n> You look at what you're carrying with you\nYou are carrying:\na Perpetuum Mobile (churning and empty)"
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Look around\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You wipe sword\nOnly the Abbot may cleanse your Blade once it has drunk.\n\n> You consult Books about Lance\nIn a Treatise on Weapons you find the following:\n\n[Author's Note: Of types of Weapon there are three: the Pointed, or Stabbing (viz. the Sword or Spear); the Blunted, or Striking (viz. the Mace or Lance); the Bladed, or Slashing (viz. the Axe or oriental Scimitar). Each of the three has its proper Place in the annals of Strateg'ry and War-Fare.]"
    },
    {
        "text": "> You look at your surroundings\nIf only the Baron had set his soul in the same order in which he kept his Study! Had he lined his heart with good Works the way he lined his walls with Books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> You examine Desk\nThe Writing-Desk is of dark wood. Its flap is open, revealing a dark Hole in the stone slightly wider than your Arm, tho much deeper.\n\n> You go north\nAn Armoury, stocked by the Baron for a siege but unable to protect him from the vengeance of the Almighty. Amidst the Armour, Weaponry &c. stands an archway to the south.\n\n> You examine Armour\n(the suits of Armour)\nFive suits of Chain & Plate stand at attention near one wall. The Suits are new & polished & were not touched by whoever sacked the Weapons. Perhaps the Mail was deemed too heavy & awkward to loot.\n\n> You examine Weapons\nDivers Weapons, some new but most rusting from disuse. Fear alone kept the Baron's Vassals obedient; shows of force were rarely needed. The Weapons are in disarray, as though someone or someones had ransacked them. Perhaps most of the new Arms were taken in departure.\n\n> You get Mail\n(the suits of Armour)\nYou are armoured already.\n\n> Search mail\n(the suits of Armour)\nNothing is inside the the suits of Armour.\n\n> Search weapons\nNothing is concealed in the disarray of Weaponry.\n\n> You get all\nlong Table: The long Table is hardly portable.\nornate Chairs: Such posessions would only weigh you down.\n\n> You get mobile\nAs you strain to lift the heavy Perpetuum, there is a Lurch & a sudden Outpouring of water, which seeps into the Floor. The Gears & Screws continue to spin as before, but the Machine is now dry.\n\n> Go north\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\n> Go south\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a fine Axe here.\n\n> Go upwards\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a fine Axe here.\n\nThe Fool's bleary Gaze lights on the Box you carry. [Author's Note: The Lock is the Key -- He! He!] The Fool giggles, hiccoughs, & again regards his Tankard.\n\n> You go to the southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your going east.\n\nYou can see a Perpetuum Mobile here.\n\n> You examine the lock\n(the dented Box)\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock secures it.\n\n> Unlock Box\n(with the silver key)\nYou unlock the dented Box.\n\n> You open Box\nYou open the dented Box, revealing a handful of spice.\n\n> You pray for Priest\nYou should offer your Prayer in a more suitable location.\n\n> You think\nBy all means.\n\n> You kick Door\n(with your bare hands)\nYou pound on the oaken door, to no avail.\n\n> You pick the lock\n(the dented Box up)\nYou already have that.\n\n> Inventory\nYou are carrying:\na silver key\na dented Box (which is open)\na handful of spice\na golden key\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Golden\ndented Box: Dropped.\ngolden key: Dropped."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Look around\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see a golden key, a dented Box (in which is a handful of spice) & a silver key here.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a fine Axe here.\n\n> You go south\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron still lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A stair leads downward into Darkness.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nYou can also see a Perpetuum Mobile & a fine Axe here.\n\n> You show Pig to Priest\nThe Priest shudders at the sight of the butchered Pig.\n\n> You get in Pig\nThe Pig is much smaller than you seem to think it is.\n\n> You eat Pig\n(first taking the bloated Pig)\nTo hold that you must have both hands free.\n\n> You eat Pig\n(first taking the bloated Pig)\nIt is unclean.\n\n> You get\nWhat do you want to get?\n\n> You look at what you're carrying with you\nYou are carrying:\na bloated Pig\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> R.\nWhat do you want to drop?"
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You look around\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see a bloated Pig, a handful of spice, a golden key, a dented Box (which is empty) & a silver key here.\n\n> You go east\nIn this grand Hall do heraldry & great pomp greet the visitor to this castle. Yet a visitor, betrayed, can quickly become a prisoner--a metal portcullis to the east now separates you from the castle threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> You examine Sun\nThe rays of the Sun, shining in from the East, seem very inviting after your stay in the Baron's keep.\n\n> You go south\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> You consult Books about the religion\nOnly a few books in the Library touch properly upon true Religion. Even these you suspect the Baron harbored for some darker Purpose.\n\n> You consult Books about the alchemy\nSeveral Tomes here are devoted to Alchymy, [Author's Note: Noblest of the Crafts.] By which the baser Metals may be transmuted into Gold, or between themselves. You may be able to find reference to some more specific facet of the Craft.\n\n> You examine the tables\nThe Tables are carved as the Chairs. Game-Boards are inscribed into many of them, and some bear Dice and other pieces for Gaming.\n\n> You get the Dice\nA Knight must shun all such unclean Associations.\n\n> You go to the south-west\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see a bloated Pig, a handful of spice, a golden key, a dented Box (which is empty) & a silver key here.\n\n> Burn door\nThis dangerous act would achieve little.\n\n> You put Key in the lock\n(the golden key in the dented Box)\nYou put the golden key into the dented Box.\n\n> You put Key in Door\n(the golden key in the oaken door)\nThat cannot contain things.\n\n> You drop Key\n(the golden key)\nDropped."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy]\n\n> Describe the surroundings\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nYou can see a golden key, a bloated Pig, a handful of spice, a dented Box (which is empty) & a silver key here.\n\n> You examine Light\nA steel Chain around your neck secures your Symbol.\n\n> You examine Chain\n(the suit of Chain-Mail)\nThe sanctified chain mail is light on your body. A white cloth covering bears a circle, the symbol of the faith.\n\n> Sleep\nYour feeling especially drowsy.\n\n> Sing\nYour singing is abominable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You examine yourself\nYou are a strapping cleric, secure in your faith & glowing with the chaste excitement of a task accomplished."
    },
    {
        "text": "> Look around\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\nYou can see a golden key, a bloated Pig, a handful of spice, a dented Box (which is empty) & a silver key here.\n\n> Go northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to unpure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\n'Tis odd... you cannot but think this Place has changed since last you did look upon it. Nay, it cannot be.\n\n> You go south\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A solid oak door blocks your way to the west & an archway leads north.\n\nYou can see a wooden Lance here."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy, fantasy]\n\n> Go south\nFrom here you may go only east.\n\nYou hear a terrible crashing sound to the east.\n\n> You go southwest\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your passage east.\n\n> You consult Books about the animals\n[Author's Note: Animals are placed under the dominion of Man. Having no Souls, they must share in the Glory to him allotted, aligning themselves with his Plans.] A slight Unorthodoxy, but less heretical than most you find in these Volumes.\n\n> You consult Books about the religion\nOnly a few books in the Library touch properly upon true Religion. Even these you suspect the Baron harbored for some darker Purpose.\n\n> You consult Books abouthe Rosy-Gold\nThe sympathetic Alloy, much celebrated. [Author's Note: It is of four parts of Gold, the same of Copper, & the first part of Silver.]\n\n> You consult Books about the alloys\n[Author's Note: An alloy such as Bronze or Electrum may be formed by the molten Merging of its several Composites. Some alloys of the nobler metals have mythic Powers--in particular the celebrated alliage sympathique, or sympathetic Alloy.]\n\n> You consult Books about the electrum\nThe alloy of Gold & Silver; four parts of the one to one of the other.\n\n> You consult Books about perpetual\nYou find a reference to the Perpetuum Mobile (oddly enough) in a Discourse on religious Symbolism. Tho your brothers at the Monastery would follow the Arguments better than you can, the Ideas seem orthodox & you can make out most of what is said.\n\nThe Perpetuum must exist, even if only in the mind of God (so says the Author, for the Work is a century old & so precedes the working Perpetuum) for it realizes the sacred Circle on a cosmic scale. Without the Perpetuum, the Cosmos is a strait Line, slowly declining in vital Force, sinking into Degeneracy & Oblivion. As God is the moral restorative of this vital Force, so is the Perpetuum, which does Work without losing Energy, its physical Restorative. When the vital Force moves back & forth between the Poles of Entropy & Restoration, is the Cosmos realized as a grand Circle.\n\n> You consult Books about the ideas\nThere is a Work in the Library on the ontological status of the Idea, but it is too technical for you to follow.\n\n> You consult Books about the magic\nOn these shelves are Books & Scrolls devoted to the dark Arts, but you are loath to peruse the evil things.\n\n> You consult Books about stesan\nStesan is described in an Atlas as \"a flat and mostly agricultural Land, lying between two Lakes.\"\n\n> You examine Case\nA Scroll-Case made of wood & bearing the Sigil of the Bishop of Dol Nesta.\n\n> You consult Books about dol nesta\nAn Atlas describes the Town of Dol Nesta as \"a small mountain village, renowned for the quality of its Soil and the breadth of its monastery's Library.\".\n\n> You examine Atlas\nThe Baron's library is full of heretical Ideas & Assertions most blasphemous. Yet here are also books of Metallurgy, of Alchymy & other useful Arts. A monk from Dol Nesta will need to be sent here to separate Wheat from Chaff, to save that which is useful & to destroy the Dross. While you are here, however, you may CONSULT the Library about its more wholesome topics.\n\nThere is a noticable Gap between two particularly odious Books.\n\n> You consult Books about noble\n[Author's Note: The nobler Metals are Gold, Silver, Copper, Platinum &c. Those with intrinsic Value above & beyond their suitability for use in Tools. It is inevitably the nobler Metals which have been discovered to have alchymic & magical Properties.]\n\n> You consult Library about the platinum\n[Author's Note: A rare and valuable Metal, much prized for decoration as well as for its alchymic Properties.]\n\n> You examine Sigil\nYour scroll case bears the Sigil of the Bishop of Dol Nesta.\n\n> Go southwest\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oak door prevents your going east.\n\n> You take vellum\nThis dangerous act would achieve little.\n\nYou remove the scroll from the case.\n\n> You examine vellum\nThe rich vellum is covered with a flowing hand.\n\n[Author's Note: The bearer of this Notice, one Knight Itinerant, being granted special Dispensation & ordered by Divine Covenant to separate from this World the immortal Soul of par Tiller, Baron of Stesan, his Crimes and Sins having blotted his Name beyond hope of Redemption or Reform, & it being ordered that any & all requested Assistance be rendered this Knight in this sacred Quest, let it be known that to this I set my Stamp & Seal on this day & for Perpetuity, in the name of the most holy God, who has ordained it so,]\n\nThe stamp & signature is that of the bishop of Dol Nesta.\n\n> You examine Case\nA scroll case made of wood & bearing the sigil of the bishop of Dol Nesta.\n\n> Search case\nThe wooden Scroll-Case is empty.\n\n> You examine Candles\nThe Candles are old & sit guiltily in pools of their own Wax. They flicker under your Gaze.\n\n> Close Case\nYou close the wooden Scroll-Case."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Go downward\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to Luxury a tapestry which hangs near the upward-climbing stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\n[Author's Note: So,] says the Priest, devoid of Emotion. [Author's Note: You have come.]\n\n> You look at Priest\nYou can sense the fear in his eyes, though your code prevents you from harming him. Fear of the Justice you represent, of the Judgement that will be passed upon him for the evils he did not act to prevent."
    },
    {
        "text": "[Themes: Fantasy, Surreal, alchemy, fantasy]\n\n> Go downwards\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stairs.\n\nA dented Box lies in a corner, seemingly kicked there by a thwarted Robber.\n\n> You get all\ndented Box: Your hands are full.\nStair-Way(StoreStairway): That is hardly portable.\nracks of Ham: It is unclean.\nstrings of Fruit: You hunger not.\nsack of Flour: You would scatter Flour everywhere you walked. Foot-Prints in the Flour: The Foot-Prints are not portable.\n\n> Inventory\nYou are carrying:\na vellum Scroll\na sacred blade\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> Vellum\nThe wooden Scroll-Case is closed.\n\n> Open Case\nYou open the wooden Scroll-Case.\n\n> You get all\ndented Box: Taken.\nracks of Ham: It is unclean.\nstrings of Fruit: You hunger not.\nsack of Flour: You would scatter Flour everywhere you walked. Foot-Prints in the Flour: The Foot-Prints are not portable.\n\n> Go upwards\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Fool's bleary Gaze lights on the Box you carry. [Author's Note: The Lock is the Key -- He! He!] The Fool giggles, hiccoughs, and again regards his Tankard.\n\n> Go north\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtably--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here. The steel blade of an Axe calls it home.\n\n> You examine the stump\nFrom little Acorns great Oaks spring. But great Oaks die, or are cut down, & only God remembers what once was. In this dim reminder of an ancient Tree is embedded a fine Axe.\n\n> You get all\nbloated Pig: To hold that you must have both hands free.\nstump: Its roots are deep, & buried under Stone.\n\n> Chop oak\nWhat do you want to chop the stump with?\n\n> Axe\nI fear the tree was cut down some years ago.\n\n> You go south\nThe Baron's Fool lies besotted beneath a large Wine-Barrel."
    },
    {
        "text": "> Go downwards\nOn the long Table is a Perpetuum Mobile.\n\n\n\nThe Priest sits on his mat, eyes downturned in submission.\n\nThe Priest, noticing the dented Box in your hand, shies away from you. Yet he says nothing.\n\n> You show Box to Priest\nThe Priest treats your act as an accusation, and quails. [Author's Note: The box? It contains naught but Spices! Here, I have the key...] Reaching into his Robes, he withdraws a small silver Key, which he hurriedly places before you.\n\n> You look at Box\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock secures it.\n\n> You chop Door with Axe\nYou hack at the door with your axe. Although sturdily built, it is no match for your strength. Slowly, the splinters of wood give way to cracking slabs of the wood, and with a final series of blows you are afforded entry.\n\n> You go to the east\nThough the Baron never took a wife, 'tis said his Bed was not a night empty. This sinful bed stands before you now, as does the Baron's dresser & Looking-Glass. The door to the west is smashed, the door to the east closed, & a most curious Trap-Door is set into the ground near the bed.\n\nYou can see a copper key here.\n\n> You examine the copper key\nA copper key with eight small teeth.\n\n> You look aLooking-Glass\nThe Looking-Glass is about as tall as you are. You can see yourself in its depths.\n\n> You get all\ncopper key: Your hands are full.\ntrap door: That is hardly portable.\noaken door to the east: That is hardly portable.\noaken door to the west: That is hardly portable.\nLooking-Glass: That is hardly portable.\nBed: That is hardly portable.\n\n> You chop the trap with Axe\nIt is of stone.\n\n> You chop the east door with Axe\nYou hack at the door with your axe. Although sturdily built, it is no match for your strength. Slowly, the splinters of wood give way to cracking slabs of the wood, and with a final series of blows you are afforded entry.\n\n> You check your inventory\nYou are carrying:\na fine Axe\na dented Box (which is closed)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll\n\n> Axe\ndented Box: Dropped.\nfine Axe: Dropped.\n\n> Go south\nYou can see a fine Axe & a dented Box (which is closed) here.\n\n> Axe\ndented Box: Taken.\nfine Axe: Taken.\n\n> You go west\nYou can see a copper key here.\n\n> You examine trap\nA stone Trap-Door set into the floor. A small golden Lock is fashioned into it.\n\n> You go to the west\nThe cruel Baron lies at your feet.\n\n> Go east\nYou can see a copper key & a fine Axe here.\n\n> Inventory\nYou are carrying:\na golden key\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & open)\na vellum Scroll\n\n> You get Key\n(the copper key)\nTaken.\n\n> You go to the east\nYou can see a wooden Lance here.\n\n> You go west\nYou can see a fine Axe here.\n\n> Go northwest\nA small opening in the Stone leads southeast.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You examinHour-Glass\nA large & heavy Hour-Glass, containing fine Sand of a reddish Shade. Metal sliding Flaps on the upper & lower Surfaces, controlled by Levers, are used for replenishing the sand. Both flaps lie closed.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Glass of the heavy Timepiece before you seems briefly to ripple, as though 't'were a Wave upon the shore.\n\n> You open the upper flap\nA Shock goes through your Hand as you touch the upper Flap. Recoiling, you nurse your injured Hand until life returns.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You go northwest\nYou can see a fine Axe here.\n\nA small opening in the Stone leads northwest.\n\nA small opening in the Stone leads southeast.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass begins to shake.\n\n> You examine the upper flap\nA sliding metal Flap, covering a Hole in the top of the Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass is shaking most violently, and now begins to slowly rock about.\n\n> You look at Shelf\nAn Outcropping, a small Shelf of rock protruding from the wall.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass is shaking most violently, and now rocks about its Axis.\n\n> You examine Sand\nTo which do you refer, the Sand in the top half of the Hour-Glass or the Sand in the bottom half of the Hour-Glass?\n\n> You examine Sand in the top\nA contained Cone of fine Sand, red in Colour. Perhaps four measures.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass is shaking most violently, and now rocks about its Axis.\n\n> You examine Sand in the bottom\nA contained Cone of fine Sand, red in Colour. Perhaps two hundred measures.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass is shaking most violently, and now rocks about its Axis.\n\n> You examine top Sand\nA contained Cone of fine Sand, red in Colour. Perhaps two measures.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Hour-Glass wobbles most violently as the last of the Sand begins to leak out of its top.\n\n> You look at top Sand\nA contained Cone of fine Sand, red in Colour. About a measure.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Go southwest\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall).\n\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A solid oaken Door prevents your passage east.\n\n> You chop Door with Axe\nYou hack at the door with your Axe. Tho' sturdily built, it cannot stand under your strength. Slowly, the splinters of Wood give way to cracking Slabs, and with a final series of Blows you are afforded entry."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You descend\nIn contrast to the Baron's opulence lurks here the spartan Cell of his corrupt Priest. The only furnishing is a straw Mat, the only concession to luxury a Tapestry which hangs near the upward-climbing Stair.\n\nThe Priest sits on his mat, eyes downturned in submission.\n\n[Author's Note: So,] says the Priest, devoid of Emotion. [Author's Note: You have come.]\n\n> Go east\nThough the Baron never took a Wife, 'tis said his bed was not a night empty. This sinful Bed stands before you now, as does the Baron's Dresser & Looking-Glass. The door to the west is smashed, the door to the east closed, & a most curious Trap-Door is set into the ground near the bed.\n\nOn the Dresser is a copper key."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> Go downwards\nThe Priest sits on his mat, eyes downturned in submission.\n\nYou can also see a silver key here.\n\n> Go west\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> Search corpse\nThe Baron's Robe bears a Pocket, in which is a golden key.\n\n> You get Key\nYou already have that.\n\n> Unlock trap\n(with the golden key)\nYou unlock the Trap-Door.\n\n> Open Trap\nYou open the Trap-Door."
    },
    {
        "text": "> You go downwards\nIt is stifling hot in here, yet the flickering yellow glow of the small Furnace does little to light this room. On a long, acid-scarred Work-Bench sit Crucibles, Mortar & Pestle, &c. A stair leads up.\n\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\n> You look at Furnace\nThe Furnace is your equal in height, and its Insides glow yellow with concealed heat. It was no doubt used by the Baron to prepare scraps of the base Metals for their transmutation. Material placed in a vent soon runs molten into a stone collecting pan.\n\n> You look at Bench\nThe Baron's Work-Bench reeks of evil. The Crucibles & other Appointments have been used for tasks far darker & less wise than mere Alchymy.\n\nAmong the dark clutter of the Work-Bench is a Book of evil Magic.\n\n> You look at Crucibles\nThe Crucibles seem to be uniformly covered inside by a burnt black Crust.\n\n> You examine Mortar\nThe interior of the Mortar & the grinding Surface of the Pestle are covered in a foul blue Substance.\n\n> Smell substance\nThe blue Substance inside the Mortar smells most foul.\n\n> You look at the pan\nA collecting pan of black and tempered Stone. Its tenure inside the Furnace makes it shimmer with heat. A small Handle on the pan allows you to redeem it from the flames.\n\n> You look at Book\nThe book is one of foul & evil Magic, by an unknown Author. Its open Page is covered with Notes in the Baron's Hand. Tho it burns your eyes to look at its cursed Runes, you feel that by perusing the Baron's last Endeavour you may bring his activities to light.\n\nThe Tyrant, it seems, was planning for his inevitable Demise. His study was of an ancient Curse, activated upon its caster's Death for the purpose of Revenge. The Recipe is black & foul, and at the end of is a caution to the would-be Warlock:\n\n[Author's Note: Its close ties to the Caster's physical Blood make this Curse vulnerable to a Weakening or Breaking through methods of Sympathy. The tying of the curse to the Caster's Soul instead of to the Blood would make the Curse un-breakable, but none yet have accomplished this Feat.]\n\n> You examine the Notes\nThe copious Notes are in the Baron's hand, nearly illegible. One Word by its multiple occurances you distinguish as [Author's Note: entrapment].\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You put the keys in Pan\ngolden key: The collecting Pan is for Liquids. The Vent is the entrance to the Furnace.\nsilver key: The collecting Pan is for Liquids. The Vent is the entrance to the Furnace.\ncopper key: The collecting Pan is for Liquids. The Vent is the entrance to the Furnace.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You get Book\nYou shut the Tome & pick it up. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\n> You go northwest\nHardly a room, this, a mere niche in the rock of the castle's Foundation. A small Shelf of rock stands before you, and the secret door through which you entered is to the southeast.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You turn hour glass\nIf you want to invert the Hour-Glass, you should pick it up first. It is much too heavy to turn in place.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You touch Book\nThe Book is numbing your Hand.\n\nA trickle of sand falls through the Hour-Glass.\n\nYou can barely feel the Hand which holds the evil Book.\n\n> You go to the southeast\nA small opening in the Stone leads northwest.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> Go upward\nYou can see a fine Axe here.\n\nYour Hand becomes as a dead Man's, & your Fingers slip open, dropping the Book upon the floor.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> Go northwest\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nYour Hand becomes as a dead Man's, & your Fingers slip open, dropping the Book upon the floor.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> You get Book\nYou pick up the Tome. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Go east\nA small opening in the Stone leads northwest.\n\n\n\nYou can see a fine Axe here.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> You put Book in Gap\nYou slide the book of foul Spells into the Gap. It fits perfectly, & the Library is whole. Relieved are you to be free of the burden of that terrible, numbing Presence.\n\nLife is slow to return to the Hand that held the evil Tome."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Look around\nIf only the Baron had set his soul in the same order in which he kept his Study! Had he lined his heart with good Works the way he lined his walls with Books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A shattered oak door opens to the west & an archway leads north.\n\nYou can see a wooden Lance here.\n\n> You consult Library about Furnace\nIt seems the Baron commissioned a short Work on the operation of a Furnace which was built for his alchymyc Studies. Designed for simplicity, it melts scraps of Metal placed into a Vent and drains the molten result into a collecting Pan below. The source of power for the Furnace is not mentioned in the small Pamphlet, but since it [Author's Note: will melt Lead and even Gold, tho not Iron or Steel], perhaps it is fired by Charcoal.\n\n> You look at Box\nBattered, dented, the stoic and iron Resistor of an attack on its contents. A small Lock secures it.\n\n> You consult Library about the curse\nOn these shelves are Books & Scrolls devoted to Cursings most foul, but you are loath to peruse the evil Volumes."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Go downwards\nA small opening in the Stone leads northwest."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy, alchemy]\n\n> Look around\nIt is stifling hot in here, yet the flickering yellow glow of the small Furnace does little to light this room. On a long, acid-scarred Work-Bench sit Crucibles, Mortar & Pestle, &c. A stair leads up.\n\nA small opening in the Stone leads northwest.\n\n> You look at Furnace\nThe Furnace is your equal in height, and its Insides glow yellow with concealed heat. It was no doubt used by the Baron to prepare scraps of the base Metals for their transmutation. Material placed in a vent soon runs molten into a stone collecting pan.\n\n> Examine vent\nA small vent near the top of the Furnace. It accepts scraps of metal for alchymic experiments.\n\n> You put all the keys in Vent\ngolden key: You place the golden key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\nsilver key: You place the silver key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\ncopper key: You place the copper key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\n\n> You examine Pan\nA collecting pan of black and tempered Stone. Its tenure inside the Furnace makes it shimmer with heat. A small Handle on the pan allows you to redeem it from the flames.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan.\n\n> You look at metal\nMolten Silver pools at the bottom of the collecting Pan.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan, slightly altering the tint of the existing Contents.\n\n> You examine metal\nA short Pool of molten Metal mostly fills the collecting Pan. It seems to be Gold, with a rosy Glow.\n\n> You examine Bench\nThe Baron's Work-Bench reeks of evil. The Crucibles & other Appointments have been used for tasks far darker & less wise than mere Alchymy.\n\nAmong the dark clutter of the Work-Bench."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> You look at your surroundings\nIt is stifling hot in here, yet the flickering yellow glow of the small Furnace does little to light this room. On a long, acid-scarred Work-Bench sit Crucibles, Mortar & Pestle, &c. A stair leads up.\n\nA small opening in the Stone leads northwest.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You look at metal\nA short Pool of molten Metal mostly fills the collecting Pan. It seems to be Gold, with a rosy Glow.\n\nA puff of foul-smelling Smoke emerges from the Furnace.\n\n> You look at Pan\nA collecting pan of black and tempered Stone. Its tenure inside the Furnace makes it shimmer with heat. A small Handle on the pan allows you to redeem it from the flames.\n\nA short Pool of molten Metal mostly fills the collecting Pan. It seems to be Gold, with a rosy Glow.\n\n> You get Pan\nThe pan is quite hot! You quickly remove your Fingers from the blistering stone.\n\n> You look at the handle\nA small flat handle of the same stone as the pan.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> Go up\nThough the Baron never took a wife, 'tis said his Bed was not a night empty. This sinful bed stands before you now, as does the Baron's dresser & Looking-Glass. Two shattered doors lead east & west, & a most curious Trap-Door yawns to reveal a stairway as dark as the Baron's soul.\n\nYou can see a fine Axe here.\n\n> You go to the west\nO foul Hypocrite! O whited Sepulchure! In the midst of his debauchery the Baron does see fit to erect himself a Chapel of the faith! Mayhap he thought to take sanctuary here at your approach. 'Tis more likely the lighted Candles & marble Altar did bear witness to blasphemous & terrible Rites in the Baron's lifetime.\n\nA stair in the corner leads down into darkness, an archway northeast. A shattered oak door opens to the east.\n\n> Go northeast\nA richly attired Wait Chamber, walls covered with pagan frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with tables for gaming. The chamber becomes the reception chamber to the west, the dining hall to the north. A small tiled archway leads southwest, & to the east is the grand Entry Hall.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\n> You go to the west\nThe glitterings of Gold, Jewels, Tapestries, &c. belie the Corruption of he who 'til recently occupied this high Seat. A white Carpet, once flanked by Sycophants & Counsellors, now lies untravelled. It leads away from the Seat & towards the Sunrise.\n\nHave these Walls shifted? Is the Light different in its attentions upon your Eyes? Nay, for how could this be so? It must be your tiresome Confinement that makes your Memory falter. You had best find a way to quit the Baron's Keep.\n\nThe cruel Baron lies at your feet, dyeing the carpet scarlet with his blood.\n\n> Go east\nIf only the Baron had set his soul in the same order he kept his study! Had he lined his heart with good works the way he lined his walls with books, kept his spiritual affairs as tidy as he kept his Writing-Desk, then your grim task need never have been assigned you. But the leather Arm-Chair now awaits a master who will never again occupy it. A shattered oak door opens to the west & an archway leads north.\n\nYou can see a wooden Lance here.\n\n> You put all keys in Vent\ngolden key: You place the golden key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\nsilver key: You place the silver key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\ncopper key: You place the copper key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\n\nA puff of foul-smelling Smoke emerges from the Furnace.\n\n> Wait\nYou idle away a few moments.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan.\n\n> You wait\nYou idle away a few moments.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan, slightly altering the tint of the existing Contents.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You get evil Book\nYou shut the Tome & pick it up. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\n> Wait\nYou idle away a few moments.\n\nA puff of foul-smelling Smoke emerges from the Furnace.\n\nYou can barely feel the Hand which holds the evil Book.\n\n> You get Pan\nThe pan is quite hot! You quickly remove your Fingers from the blistering stone.\n\nYour Hand becomes as a dead Man's, & your Fingers slip open, dropping the Book upon the floor.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> You get Pan\nThe pan is quite hot! You quickly remove your Fingers from the blistering stone.\n\n> You get Book\nYou pick up the Tome. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\n> You look at Book\nThe book is one of foul & evil Magic, by an unknown Author. Tho closed, still you feel its foul Presence.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> Wait\nYou idle away a few moments.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\nYou can barely feel the Hand which holds the evil Book.\n\n> Wait\nYou idle away a few moments.\n\nYour Hand becomes as a dead Man's, & your Fingers slip open, dropping the Book upon the floor.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> You touch the handle\nThe handle is quite hot! You quickly remove your Fingers from the blistering stone.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You touch Book\nYou touch the Book & briefly feel a numbing Shock.\n\n> You touch the handle\nThe handle is quite hot! You quickly remove your Fingers from the blistering stone.\n\n> You look under Bench\nThe Stone beneath the Work-Bench is stained and scarred.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You check what you're carrying\nYou are carrying:\na dented Box (which is closed & locked)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\nThe metal in the collecting Pan bubbles briefly."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You go downwards\nIt is stifling hot in here, yet the flickering yellow glow of the small Furnace does little to light this room. On a long, acid-scarred Work-Bench sit Crucibles, Mortar & Pestle, &c. A stair leads up.\n\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> Inventory\nYou are carrying:\na golden key\na silver key\na copper key\na dented Box (which is open)\na handful of spice\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You drop the keys\ngolden key: Dropped.\nsilver key: Dropped.\ncopper key: Dropped.\n\n> You put Box in Pan\nThe collecting Pan is for Liquids. The Vent is the entrance to the Furnace.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You put Box in Vent\nThat is far too large to fit into the Vent on the Furnace.\n\n> You remove Blade\n(first taking the sacred blade)\nYou draw your Blade.\n\n> You get all the keys\ncopper key: Your hands are full.\nsilver key: Your hands are full.\ngolden key: Your hands are full.\n\n> Sheath blade\nYou sheathe your Blade.\n\n> You get all the keys\ncopper key: Taken.\nsilver key: Taken.\ngolden key: Taken.\n\n> You put all the keys in Vent\ngolden key: You place the golden key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\nsilver key: You place the silver key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\ncopper key: You place the copper key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> Wait\nYou idle away a few moments.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan.\n\n> You get Pan\nThe pan is quite hot! You quickly remove your Fingers from the blistering stone.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan, slightly altering the tint of the existing Contents.\n\n> You get Book\nYou shut the Tome & pick it up. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\n> You open Book\nYou open the Book to the page at which you first found it & shudder as a wave of Evil washes over you.\n\n> You read Book\nThe book is one of foul & evil Magic, by an unknown Author. Its open Page is covered with Notes in the Baron's Hand. Tho it burns your eyes to look at its cursed Runes, you feel that by perusing the Baron's last Endeavour you may bring his activities to light.\n\nThe Tyrant, it seems, was planning for his inevitable Demise. His study was of an ancient Curse, activated upon its caster's Death for the purpose of Revenge. The Recipe is black & foul, and at the end of is a caution to the would-be Warlock:\n\n[Author's Note: Its close ties to the Caster's physical Blood make this Curse vulnerable to a Weakening or Breaking through methods of Sympathy. The tying of the curse to the Caster's Soul instead of to the Blood would make the Curse un-breakable, but none yet have accomplished this Feat.]\n\n> You get the spice\nYour hands are full.\n\nYou can barely feel the Hand which holds the evil Book.\n\n> Sheath sword\nIt is already sheathed.\n\n> Inventory\nYou are carrying:\na Book of evil Magic\na dented Box (which is open but empty)\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\n> Drop box\nDropped.\n\nYour Hand becomes as a dead Man's, & your Fingers slip open, dropping the Book upon the floor.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> You put the spice in Mortar\nYou have no need of the Mortar & Pestle.\n\n> You put the spice in Pan\nAs they are consumed by the bubbling Liquid, the Spices fill the room with their Fragrance. Your Eyes momentarily tear from the pungent Aroma as well as from the heat.\n\n> You examine Pan\nA collecting pan of black and tempered Stone. Its tenure inside the Furnace makes it shimmer with heat. A small Handle on the pan allows you to redeem it from the flames.\n\nA short Pool of molten Metal mostly fills the collecting Pan. It seems to be Gold, with a rosy Glow.\n\nA puff of foul-smelling Smoke emerges from the Furnace."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> Go downward\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\n> You drop all\ngolden key: Dropped.\nsilver key: Dropped.\ncopper key: Dropped.\ndented Box: Dropped.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Go downward\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a dented Box (which is closed), a copper key, a silver key & a golden key here.\n\n> You go to the north\nA bloated Pig lies here, its Stomach slit.\n\nThe stump of an ancient Oak stands here.\n\n> You drop Pig\nYou can see a fine Axe here.\n\n\n\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see the Baron's corpse, a dented Box (which is closed), a copper key, a silver key & a golden key here.\nDropped.\n\n> You drop mobile\nYou can see a fine Axe here.\n\nOn the long Table is a Perpetuum Mobile (which acts as a Water-Fall). As you strain to lift the heavy Perpetuum, there is a Lurch & a sudden Outpouring of water, which seeps into the Floor. The Gears & Screws continue to spin as before, but the Machine is now dry.\n\n\n\nYou can see a fine Axe here.\n\n\n\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a bloated Pig, the Baron's corpse, a dented Box (which is closed), a copper key, a silver key & a golden key here.\nYou gently set the Perpetuum on the floor."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Go downwards\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a Perpetuum Mobile, a bloated Pig, the Baron's corpse, a dented Box (which is closed), a copper key, a silver key & a golden key here.\n\n> You put the keys in Vent\ncopper key: Taken.\nsilver key: Taken.\ngolden key: Taken.\ngolden key: You place the golden key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\nsilver key: You place the silver key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\ncopper key: You place the copper key into the Vent and quickly take your hand away. An unseen Zephyr swiftly draws the key into the reaches of the Furnace.\n\n> You open Box\nYou open the dented Box, revealing a handful of spice.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan.\n\n> You get the spice\nTaken.\n\nA molten stream of Metal pours briefly out of the furnace into the collecting Pan, slightly altering the tint of the existing Contents.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You examine Axe\nA sturdy & well-fashioned Axe. Its rim is crusted with blood.\n\nA puff of foul-smelling Smoke emerges from the Furnace.\n\n> You dip Axe in metal\nYou manage to fit the tip of the Axe into the hellish Furnace & touch it to the pool of Metal. A vibration runs through the Axe as it laps at the liquid Alloy, drawing the metal up to cover the blood-crusted Rim. A few drops fall onto the floor as you remove the Axe from the Furnace.\n\nYou hear a Grunt & turn to see that the butchered Pig again lives!\n\n> You draw the sword\nYou draw your blade.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You dip Sword in metal\nYou place your sword into the hellish Furnace & touch the tip to the pool of Metal. A vibration runs through your Sword as it laps at the liquid Alloy, drawing the metal up the Blade like water into a Root. A few drops fall onto the floor as you remove your sated Blade from the pool.\n\n> You look at Blade\nWhere your blade was red it is now a rosy Gold. The Blood-Stains have absorbed a foreign Metal, which coats the Edge lightly.\n\nA blast of hot Air emerges from the Furnace, as though some Daemon inside were working a Bellows.\n\n> You look at Axe\nA sturdy & well-fashioned Axe. Where blood once was clings a Shine of rose Gold.\n\n> You look at Pig\nThe Pig is fat & healthy. You see on it no trace of the Axe-Work which once caused it not to be.\n\n> You look at corpse\nHis eyes are wide & unseeing. He wears an expression of resignation & a velvet robe. Strangely, you can no longer find the wounds with which you separated Soul from Body. Yet he does not move; the Spark of life is gone.\n\n> Inventory\nYou are carrying:\na sacred blade\na fine Axe\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na wooden Scroll-Case (being worn & closed)\n\n> Sheathe blade\nYou sheathe your blade.\n\nThe Pig gives the Mobile a brief Sniff, then moves onto other Pig matters, uninterested.\n\n> You drop Axe\nDropped.\n\nThe metal in the collecting Pan bubbles briefly.\n\n> You get mobile\nYou strain to lift the heavy Perpetuum.\n\n> You go northwest\nYou struggle to bring the Perpetuum through the small opening.\n\nHardly a room, this, a mere niche in the rock of the castle's Foundation. A small Shelf of rock stands before you, and the secret door through which you entered is to the southeast.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\nYou struggle to bring the Perpetuum through the small opening.\nYou struggle to bring the Perpetuum through the small opening.\n\n> You drop machine\nYou gently set the Perpetuum on the floor.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You examine Sand in the top\nA contained Cone of fine Sand, blue in Colour. Perhaps one hundred measures.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You touch the hourglass\nYou feel nothing unexpected.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open the top lever\nYou pull the Lever, sliding the Flap open.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open the bottom lever\nYou pull the Lever. The Flap opens & Sand begins to pour out onto the Shelf.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get bottom Sand\nTo do that, you would have to break the Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get the hourglass\nWith great effort you lift the diabolically heavy Hour-Glass, sending Sand spilling onto the stone Shelf. You cannot carry it for long!\n\nThe Hour-Glass bleeds Sand, which sifts onto the floor.\n\n> Turn hourglass\nAs you tip the heavy Hour-Glass over in your hands, there is a fatal moment at which the sand slides from one Side to the other, and at which you lose your tenuous Grip. As if in a dream you see the glass fall slowly to the Floor, re-bounding upwards briefly even as the Frame cracks and the Glass parts in ten thousand directions, spilli\n\n> You get Book\nYour hands are full.\n\nThe Pig rubs up against you.\n\n> Go upward\n\n\n> Go east\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> You put Book in Gap\nYou slide the book of foul Spells into the Gap. It fits perfectly, & the Library is whole. Relieved are you to be free of the burden of that terrible, numbing Presence.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> Turn wheel\nEvery muscle in your body strains, and you feel the grinding of faraway Pulleys as the Portcullis slowly lifts open. At last the heavy Machinery catches, and you relax.\n\n> Go east\nThe sweet Sunlight & soft Earth did never feel so refreshing upon your face & under your feet. The rough hewed stones of the keep seem from the outside to shimmer in the heat. You set down the road, beginning the long journey back to the monastery.\n\nUpon your safe arrival in Dol Nesta, the Bishop himself visits Stesan to oversee the trial and punishment of the corrupt Priest. Astoundingly, he reports that where once stood par Tiller's Keep, there is naught now but a fallow Field, as smooth and empty as a blank Scroll. It is a Mystery which may never see Light, and you think oft upon it. But there are more Adventures here and now than among the forgotten Dead.\n\n> You drop Axe\nDropped.\n\nThe Pig shuffles to the northwest.\n\n> You go northwest\nHardly a room, this, a mere niche in the rock of the castle's Foundation. A small Shelf of rock stands before you, and the secret door through which you entered is to the southeast.\n\nHere a fat Pig wallows.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You go northwest\nYou struggle to bring the Perpetuum through the small opening.\n\nHardly a room, this, a mere niche in the rock of the castle's Foundation. A small Shelf of rock stands before you, and the secret door through which you entered is to the southeast.\n\nHere a fat Pig wallows.\n\nOn the Shelf is an Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You drop mobile\nYou gently set the Perpetuum on the floor.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Go southeast\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\n> You go northwest\nHere a fat Pig wallows.\n\nOn the Shelf is an Hour-Glass.\n\nYou can also see a Perpetuum Mobile here.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get the hourglass\nTo hold that you must have both hands free.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig sniffs at the ground.\n\n> Drop box\nDropped.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get the hourglass\nWith great effort you lift the diabolically heavy Hour-Glass. You cannot carry it for long!\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig rolls & twists on the Ground.\n\n> You put the hourglass in Box\nThat is too large to fit into the Box.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig rubs up against you.\n\nYou can barely hold on to the Hour-Glass!\n\n> You put down the hourglass\nRelieved, you set down the Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig brushes its nose against the cool bell of the Hour-Glass.\n\n> You examine the hourglass\nA large & heavy Hour-Glass, containing fine Sand of a bluish Shade. Metal sliding Flaps on the upper & lower Surfaces, controlled by Levers, are used for replenishing the sand. Both flaps lie closed.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig shuffles to the southeast.\n\n> You examine the machine\nThis Device you have seen before, in the Library at Dol Nesta. An ingenious Perpetuum Mobile, built of Pipes, Gears, & Screws of Archimides. Whereby the Force exhibited by Water as it pours into a wide Funnel drives the Drawing of that water upward, to fall again through a Spout into the Funnel--on & on, ad infinitum. The Design is that of a certain Portuguese & the workmanship is such that the Machine continues its toil even in the absence of Water to propel it.\n\nTho the Perpetuum is empty, still turn its Gears & Screws.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You pull lower lever\nYou pull the Lever. The Flap opens & Sand begins to pour out onto the floor.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get top Sand\nYou cannot fit your Hand into the Hour-Glass.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You examine the hourglass\nA large & heavy Hour-Glass, containing fine Sand of a bluish Shade. Metal sliding Flaps on the upper & lower Surfaces, controlled by Levers, are used for replenishing the sand. Both flaps lie open.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You roll the hourglass\nNothing obvious happens.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get the hourglass\nWith great effort you lift the diabolically heavy Hour-Glass, sending Sand spilling onto the stone Floor. You cannot carry it for long!\n\nThe Hour-Glass bleeds Sand, which sifts onto the floor.\n\n> You put hourglass in Mobile\nStraining, you place the Hour-Glass atop the funnel of the Perpetuum.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass. You feel immediately a great sense of relief, as though suddenly awakening from some terrifying Dream."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> You look around\nHardly a room, this, a mere niche in the rock of the castle's Foundation. A small Shelf of rock stands before you, and the secret door through which you entered is to the southeast.\n\nSand is scattered on the floor.\n\nYou can also see a dented Box (which is empty) & a Perpetuum Mobile (which supports a large Hour-Glass) here.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass.\n\n> You get Sand\n(the sand scattered on the floor)\nThe sand dissolves like Snow under your Touch.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass.\n\n> You get in mobile\nThe Space you would need to do that seems occupied.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass.\n\nThe Pig rubs up against you.\n\n> You get Pig\nI doubt the Pig would care for that.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass.\n\n> You go to the south-east\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe & the Baron's corpse here.\n\nThe Pig follows you.\n\n> Go upwards\nThe Pig shuffles to the east.\n\n> You go east\nHere a fat Pig wallows.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> Go north\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig follows you.\n\n> Turn wheel\nEvery muscle in your body strains, and you feel the grinding of faraway Pulleys as the Portcullis slowly lifts open. At last the heavy Machinery catches, and you relax.\n\nYou can barely feel the Hand which holds the evil Book.\n\n> You go south\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> Go east\nThe sweet Sunlight & soft Earth did never feel so refreshing upon your face & under your feet. The rough hewed stones of the keep seem from the outside to shimmer in the heat. You set down the road, beginning the long journey back to the monastery. Within an hour, the castle is gone behind you.\n\n> Smash machine\nA knight of the faith should not make use of violence unless there is no alternative.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig gives the Mobile a brief Sniff, then moves onto other Pig matters, uninterested.\n\n> You sit on the machine\nThe Funnel of the Perpetuum would probably support your weight, but what is to be gained by testing the Hypothesis?\n\nA trickle of sand falls through the Hour-Glass.\n\n> You get the hourglass\nWith great effort you lift the diabolically heavy Hour-Glass. You cannot carry it for long!\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig gives the Mobile a brief Sniff, then moves onto other Pig matters, uninterested.\n\n> You put the hourglass in the machine\nStraining, you place the Hour-Glass atop the funnel of the Perpetuum.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open the bottom lever\nYou pull the Lever. The Flap opens & Sand begins to pour out into the Perpetuum.\n\nSand pours into the Funnel of the Perpetuum & re-emerges at the Spout, scattering off the closed top of the Hour-Glass & spreading onto the floor.\n\n> You open the bottom lever\nYou pull the Lever. The Flap opens & Sand begins to pour out into the Perpetuum.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass. You feel immediately a great sense of relief, as though suddenly awakening from some terrifying Dream.\n\n> You go southeast\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\nThe Pig follows you.\n\n> Go upward"
    },
    {
        "text": "> Look around\nThough the Baron never took a wife, 'tis said his Bed was not a night empty. This sinful bed stands before you now, as does the Baron's dresser & Looking-Glass. Two shattered doors lead east & west, & a most curious Trap-Door yawns to reveal a stairway as dark as the Baron's soul."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> Go downward\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\n> Go upwards\nHere a fat Pig wallows.\n\n> Go east\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a wooden Lance here.\n\n> Drop book\nLife is slow to return to the Hand that held the evil Tome.\n\n> You get Pig\nI doubt the Pig would care for that.\n\n> You go east\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a Book of evil Magic & a wooden Lance here.\n\nThe Pig follows you.\n\n> You go to the north\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig sniffs at the ground.\n\n> You go to the east\nThe sweet Sunlight & soft Earth have never felt so refreshing upon your face & under your feet. The rough hewed stones of the Keep seem from the outside to shimmer in the heat. You set down the road, beginning the long journey back to the Monastery. Within an hour, the castle is gone behind you.\n\n> You wait\nYou idle away a few moments.\n\nThe Pig rubs up against you.\n\n> You get Pig\nI doubt the Pig would care for that.\n\nThe Pig sniffs at you.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe Pig shuffles to the north.\n\n> Go north\nHere a fat Pig wallows.\n\nThe Pig shuffles to the south.\n\n> You go south\nHere a fat Pig wallows.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig grunts!\n\n> You wait\nYou idle away a few moments.\n\nThe Pig sniffs at you.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig shuffles to the south.\n\n> Go south\nHere a fat Pig wallows.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a Book of evil Magic & a wooden Lance here.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig rolls & twists on the Ground.\n\n> You wait\nYou idle away a few moments.\n\nThe Pig studies the open page & begins grunting & gesticulating with one hoof. Briefly the Pig's fur turns a shade of blue. The Pig grunts & continues its nasal Inspection of the area.\n\n> You eat Pig\n(first taking the Pig)\nI doubt the Pig would care for that.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig inhales noisily the scent of the Lance.\n\n> You wait awhile\nYou idle away a few moments.\n\nThe Pig shuffles to the west.\n\n> You go to the west\nHere a fat Pig wallows.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig sniffs at the ground.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe Pig inhales noisily the scent of the Dresser.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe Pig snuffles along the length of the Bed, rooting under it as if looking for something.\n\n> You look under Bed\nThere is only Dust under the Bed.\n\nThe Pig inhales noisily the scent of the Dresser.\n\n> You examine Dresser\nThe wooden Dresser is well-polished but dusty underneath. Its several Drawers contain only irrelevant personal Effects of the Baron.\n\n> You search Dresser\nThere is nothing of interest in the Dresser, & only dust underneath it.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe Pig grunts!\n\n> You wait\nYou idle away a few moments.\n\nThe Pig shuffles to the east.\n\n> Go east\nHere a fat Pig wallows.\n\nThe orderly appointment of the Books on their several Shelves is marred in one place by a Gap.\n\nYou can also see a Book of evil Magic & a wooden Lance here.\n\nThe Pig shuffles to the west.\n\n> You get Book\nYou pick up the Tome. It seems to numb your Hand, as though its cruel Intentions were oozing out to contain you.\n\n> You put Book in Gap\nYou slide the book of foul Spells into the Gap. It fits perfectly, & the Library is whole. Relieved are you to be free of the burden of that terrible, numbing Presence.\n\nLife is slow to return to the Hand that held the evil Tome.\n\n> You go to the west\nHere a fat Pig wallows.\n\n> You kick Pig\nThis day you have already killed one of God's creatures.\n\nThe Pig fogs up the Looking-Glass & jumps back suddenly as it catches a glimpse of itself.\n\n> East\nThe Pig grunts.\n\nThe Pig inhales noisily the scent of the Dresser.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig sniffs at the ground.\n\n> You touch Pig\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nYou can see no such thing.\n\n> You go to the west\nHere a fat Pig wallows.\n\n> You touch Pig\nThe Pig is warm & grunts under your Touch.\n\nThe Pig shuffles to the northeast.\n\n> You go northeast\nHere a fat Pig wallows.\n\nThe Pig rolls & twists on the Ground.\n\n> You touch Pig\nThe Pig is warm & grunts under your Touch.\n\n> Go southwest\nThe Pig follows you."
    },
    {
        "text": "[Themes: Surreal, Fantasy]\n\n> Descend\nA small opening in the Stone leads northwest.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here."
    },
    {
        "text": "[Themes: Surreal, Fantasy, fantasy]\n\n> Go downwards\nThe Priest sits on his mat, eyes downturned in submission.\n\n> You show the corpse to Priest\nThe Priest quails at the sight of the dead Baron.\n\n> Go west\nHere a fat Pig wallows.\n\nThe Pig shuffles to the east.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> You show Baron to Fool\n[Author's Note: What is a Fool with no Master?]\n\n> Go east\nYou can see a wooden Lance here.\n\nThe Pig follows you.\n\n> Go east\nThe sweet Sunlight & soft Earth have never felt so refreshing upon your face & under your feet. The rough hewed stones of the Keep seem from the outside to shimmer in the heat. The Pig briefly follows you as you set down the road, beginning the long journey back to the Monastery. Within an hour, the castle is gone behind you.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig trots out the gate & into the world beyond.\n\n> You go to the east\nThe sweet Sunlight & soft Earth have never felt so refreshing upon your face & under your feet. The rough hewed stones of the Keep seem from the outside to shimmer in the heat. You set down the road, beginning the long journey back to the Monastery. Within an hour, the castle is gone behind you.\n\n> You look at Pig\nThe Pig is fat & healthy. You see on it no trace of the Axe-Work which once caused it not to be.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Go up\nMethinks you see exits where there are none.\n\nA trickle of sand falls through the Hour-Glass.\n\n> Go southeast\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\n> You get the hourglass\nWith great effort you lift the diabolically heavy Hour-Glass. You cannot carry it for long!\n\nA trickle of sand falls through the Hour-Glass.\n\n> You put the hourglass in Mobile\nStraining, you place the Hour-Glass atop the funnel of the Perpetuum.\n\nA trickle of sand falls through the Hour-Glass.\n\n> You open top Lever\nYou pull the Lever, sliding the Flap open.\n\nA trickle of sand falls through the Hour-Glass.\n\nThe Pig gives the Mobile a brief Sniff, then moves onto other Pig matters, uninterested.\n\n> You open bottom Lever\nYou pull the Lever. The Flap opens & Sand begins to pour out into the Perpetuum.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass. You feel immediately a great sense of relief, as though suddenly awakening from some terrifying Dream.\n\nThe Pig sniffs at you.\n\n> You go to the south-east\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\nThe metal in the collecting Pan bubbles briefly.\n\nThe Pig follows you."
    },
    {
        "text": "[Themes: Fantasy, Surreal, fantasy]\n\n> Go down\nHere a fat Pig wallows.\n\nA small opening in the Stone leads northwest.\n\nOn the Work-Bench is a Book of evil Magic.\n\nYou can also see a fine Axe, the Baron's corpse & a dented Box (which is empty) here.\n\n> You touch Pig\nIt is warm, and grunts under your Touch.\n\n> Go northwest\nYou can also see a Perpetuum Mobile (which supports a large Hour-Glass) here.\n\nSand enters the Funnel of the Perpetuum & re-emerges at the Spout, refilling the Hour-Glass.\n\n> You get Priest\nI doubt the corrupt Priest would care for that.\n\n> Go upwards\nHere a fat Pig wallows.\n\nThe Pig sniffs at you.\n\n> Go west\nHere a fat Pig wallows.\n\nThe Pig sniffs at the ground.\n\n> Go east\nThe Pig follows you.\n\n> Down\nThe Pig grunts.\n\n> You ascend\nHere a fat Pig wallows.\n\nThe Pig sniffs the Altar & moves quickly away, knowing well the scent of Slaughter.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig shuffles to the northeast.\n\n> You wait for a while\nYou idle away a few moments.\n\nThe Pig sniffs the Altar & moves quickly away, knowing well the scent of Slaughter.\n\n> Go west\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Pig follows you.\n\n> You go to the north\nThe stump of an ancient Oak stands here.\n\nThe Pig follows you.\n\n> Go upward\nHere a fat Pig wallows.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig sniffs the Fool's Wine but does not imbibe, not caring for its Bouquet.\n\n> You ask Pig about Fool\nOnly Saints & Mad-Men can speak with the Beasts.\n\nThe Pig rolls & twists on the Ground.\n\n> Inventory\nYou are carrying:\na holy symbol (glowing with a sacred light & being worn)\na suit of Chain-Mail (being worn)\na leather sheath (being worn)\na sacred blade\na wooden Scroll-Case (being worn & closed)\n\nThe Pig sniffs at the Ovens & backs away quickly.\n\n> You show Symbol to Pig\n(the holy symbol to the Pig)\nThe Pig, not in the mood for a Light snack, shows little interest in the holy symbol.\n\nThe Pig grunts!\n\n> You show Mail to Pig\nThe Pig sniffs your Chain-Mail & wrinkles its Nose in distaste. Coming from a Pig, this leads you to believe a Cleaning of the Armour is past due.\n\nThe Pig sniffs at the ground.\n\n> You show the sheath to Pig\nThe Pig shows little interest in the leather Sheath. Presumably, its former owner was no one he knew personally.\n\nThe Pig sniffs at you.\n\n> You show Blade to Pig\nThe Pig respectfully backs away from the sacred blade.\n\n> Show case to Pig\nThe Scroll-Case is briefly stuck on the Pig's snout, causing a Moment of amusement but nothing more.\n\nThe Pig sniffs at the Ovens & backs away quickly.\n\n> You show Blade to Fool\n[Author's Note: I see your Point.]\n\n> You show Symbol to Fool\n(the holy symbol to the court Fool)\n[Author's Note: Round & round she goes!]\n\nThe Pig sniffs at the Ovens & backs away quickly."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtedly--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nHere a fat Pig wallows.\n\nThe stump of an ancient Oak stands here.\n\n> Wait\nYou idle away a few moments.\n\nThe Pig squeals with alarm as it sniffs the Stump, then stops suddenly with a confused look as if it had just realized something quite Odd.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig grunts!"
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> You describe your surroundings\nIn this small, walled Yard were Beasts put to the knife & prepared for the master's feasting table. Unthinkably--but undoubtedly--were other Prey too destroyed here, to feed the Baron's appetite for sin. There is no hiding place in this small Arena; meat, alive or dead, can escape only south, through the Kitchen.\n\nHere a fat Pig wallows.\n\nThe stump of an ancient Oak stands here.\n\n> Go south\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Pig follows you."
    },
    {
        "text": "[Themes: Surreal, Fantasy, alchemy]\n\n> Look around\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nHere a fat Pig wallows.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Pig sniffs at you."
    },
    {
        "text": "[Themes: Fantasy, Surreal]\n\n> Go downward\nThe gloomy Store Room has been recently sacked, though racks of Ham & strings of dried Fruit still hang above your head. A bag of Flour has been ripped open, its contents scattered. Hundreds of white Foot-Prints run frantic around the room & up the Stair.\n\n> Go up\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nHere a fat Pig wallows.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\n> Go east\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nThe Pig follows you.\n\n> You go south\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\nThe Pig follows you.\n\n> Go east\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. Yet a visitor, betrayed, can quickly become a prisoner--a metal Portcullis to the east now separates you from the threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig follows you.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig rolls & twists on the Ground.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig sniffs at the ground.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig rubs up against you.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig shuffles to the north.\n\n> Go north\nAn Armoury, stocked by the Baron for a siege but unable to protect him from the vengeance of the Almighty. Amidst the Armour, Weaponry &c. stands an archway to the south.\n\nHere a fat Pig wallows.\n\nThe Pig shuffles to the south.\n\n> You go south\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. Yet a visitor, betrayed, can quickly become a prisoner--a metal Portcullis to the east now separates you from the threshold. You must take your leave instead to the round Chamber that lies westward, or else attend one of the two archways to the north & south.\n\nHere a fat Pig wallows.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig wanders over to the heavy Portcullis & pokes its snout through on of the gaps in the iron Gate. A wistful look comes across the Pig's face, as it ponders a more carefree time in its life, a time redolent with Rolls in cool Mud & games of [Author's Note: Got Your Snout] with its thirty-seven Grand-Children.\n\n> Turn wheel\nEvery muscle in your body strains, and you feel the grinding of faraway Pulleys as the Portcullis slowly lifts open. At last the heavy Machinery catches, and you relax.\n\n> You hug Pig\nThe Pig snorts.\n\nThe Pig shuffles to the west.\n\n> You go west\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\nHere a fat Pig wallows.\n\nThe Pig shuffles to the north.\n\n> You go to the north\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nHere a fat Pig wallows.\n\n> Go north\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nHere a fat Pig wallows.\n\nThe Pig rubs up against you.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nHere a fat Pig wallows.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThe Pig sniffs the Fool's Wine but does not imbibe, not caring for its Bouquet.\n\n> Go west\nGluttonous indeed were the the Feasts prepared in this Kitchen while the Baron lived. The huge Ovens now stand cold & unlit, the Crockery smashed & strewn about the floor. The Dining Hall is to the east, & northwards is a small enclosed Yard. A Stair leads downward into darkness.\n\nHere a fat Pig wallows.\n\nThe Baron's Fool lies besotted beneath a large Wine-Barrel.\n\nThere is a sudden chorus of Gruntings, as the court Fool is interrogated by the cold nose of the Pig.\n\n> Go east\nOn feast days in years & months past, Lords & favoured Thinkers entered this long Hall from the south, to be served by huge platters of exotic repast from the Kitchen to the west. But now the room stands bare, stripped of its Appointments by some fleeing servant. Only the larger items remain--the long Table & the ornate Chairs.\n\nThe Pig follows you.\n\n> You wait\nYou idle away a few moments.\n\nThe Pig sniffs underneath the Chairs.\n\n> Go east\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. The round Chamber lies westward, as always. You may also attend to one of the two archways to the north & south, or, tiring of this false hospitality, depart to the east.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\n> Go west\nA richly attired Wait Chamber, its walls covered in pagan Frescoes which beckon you to impure thoughts. Chairs arranged near the circular perimeter mingle with Tables for gaming. The chamber becomes the Reception Chamber to the west, the Dining Hall to the north. A small tiled archway leads southwest & to the east is the grand Entry Hall.\n\nA Pig enters from the north.\n\n> Go east\nIn this grand Hall do Heraldry & great Pomp greet the visitor to this Keep. The round Chamber lies westward, as always. You may also attend to one of the two archways to the north & south, or, tiring of this false hospitality, depart to the east.\n\nA wooden Wheel is mounted on the wall, near the Portcullis.\n\nThe Pig follows you."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, space, amnesia, male protagonist, space station, profanity]\n\nType ABOUT for more information.\n\nYou don't know how long you've been hammering against the station's wall, but you stop as soon as you realize what you've been doing. You let your gloved hands fall by your sides and pause, confused.\n\n[Author's Note: You don't know how long you've been hammering against the station's wall, but you stop as soon as you realize what you've been doing.]\n\n> About yourself\nYou're in full kit, suited up against the vacuum. Your suit's wrist readout is flashing.\n\nWhat happened? Other than someone taking a cricket bat to the back of your head? You'd been...piloting? Moving the station? But why wasn't Suze doing that? You're the backup pilot, for Crippen's sake!\n\n> You examine the readout\nYou reflexively check the suit's readout: plenty of oxygen; no integrity issues. The health report is rather more worrying, though. The suit thinks you've had a concussion.\n\n> You examine the readout\nPlenty of oxygen; no integrity issues. The health report is rather more worrying, though. The suit thinks you've had a concussion.\n\n> Inventory\nYou're wearing a flex spacesuit.\n\n> You examine the suit\nYour suit is a standard-issue flex spacesuit?not a hardshell, thankfully, which means no radiation concerns. It has the usual handy extras: a pouch for storing small items and D-rings for tethers.\n\n> You look\nSomething took out the fluorescents, so the only light comes from your helmet's forward spot. Since you're facing the wall you twist your neck and look around frantically, your spotlight dancing across the remains of Node 4, before you realize what a bad idea moving your head fast is.\n\n> You examine wall\nYou take a more calm survey of your surroundings this time. You're in Node 4, the cylindrical science module. Some of the walls and bulkheads have buckled and parts of the module are now floating free or have otherwise been shoved to where they shouldn't be. You just know as soon as the news reaches Earth that the net'll light up with cries of how much taxpayer money went out the airlock.\n\nYou're pinned near the starboard wall by some wreckage. Since you're facing the wall you've got a good view of the supplemental lighting switch that's at chest height.\n\n> You flip switch\nOh thank goodness: the supplemental LED lights begin to glow all along the station. The lights reveal details like the prise bar jammed into a nearby screen and how the entire aft end of Node 4 is gone, ripped away like the end of a tube of biscuits?\n\n?you had strapped yourself into the sleeping rack and closed its door, hoping it would provide protection, expecting that it wouldn't, and there was a flash of light visible through the edges of the sleeping rack's door and your head cracked against the wall?\n\nYou pause until a sudden wave of dizziness passes.\n\n> You examine switch\nThe switch turns on and off the Node's supplemental lights. Right now the lights are switched on.\n\n> Examine bar\nThe prise bar is a completely straight piece of metal the length of your arm and made of some light alloy because of the cost to bring things into orbit. Both ends are flattened and are the width of three of your fingers. The prise bar only sees occasional use thanks to Newton's Third.\n\n> You take the bar\nYou pull the prise bar free from the screen.\n\n> You look\nYou're still trapped facing the starboard wall, so you can't see whether the escape pod is attached to the port side of Node 4 or not. Fore you can see the hatch to the station exterior is dogged shut. Looking aft you can't see the remaining three-quarters of Node 4, since it seems to have gone missing.\n\n> Aft\nYou push off against the wall only to be pulled up short when one of your legs doesn't go with you. It's pinned.\n\n> You examine the legs\nYour leg is pinned in some wreckage.\n\n> Pry leg\n(with the prise bar)\nYou slip one end of the prise bar between the struts holding you in place and apply pressure. You feel a vibration through your suit leg as the struts move apart until there's enough space that you slip your foot free.\n\n> You examine the wreckage\nSome of the struts have bowed out of the floor.\n\n> Full\nYou have 1 points out of 8. Here is how you got them:\n\n> Port\nNode 4: Fore, Starboard\nYou're in the fore end of Node 4 by the starboard wall. Exercise equipment like the stationary bicycle is stored here, even though no one can use it while many of the Node's science experiments are ongoing. From here the sleeping racks are aft near where Node 4 now ends and the escape pod is to port. The hatch to the station exterior"
    },
    {
        "text": "[Themes: Science Fiction, amnesia, science fiction]\n\n> You describe your surroundings\nis fore.\n\nYou gently push off from the wall and drift port.\n\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\n> You examine the metal\n(the embedded compartment)\nIt's a box roughly 30 centimeters on a side, with a ruff of jagged metal that was ripped from an equipment rack. The whole thing is embedded sideways in a wall, which makes you glad you weren't hit by it when it came whizzing through the station. The compartment has a featureless door that is closed.\n\n> You open the door\nYou push the door's button with one gloved finger but nothing happens. The escape pod door is supposed to automatically open in the event main power fails, but something's clearly gone wrong. You spend a moment cursing stupid turn-of-the-century NASA engineers with their hipster sideburns and their iPods, since that's better than giving in to panic. Just because NASA's old ISS equipment was available at fire-sale prices doesn't mean it was a true bargain.\n\n> You pry the metal\n(the embedded compartment)\n(with the prise bar)\nYou can't slip the prise bar between the door and the rest of the compartment, not enough to get any leverage. The only way to open it is electronically.\n\nThis compartment used to be with the others next to the experiments aft of here. With any luck you'll find the button that opens the compartment there.\n\n> You look at the panel\nThe door is controlled by a button mounted on a panel that is secured by four screws.\n\n> You examine the screen\nThe screen should be lit up like a, well, a lit screen, but it isn't. Even though the main power's out the screen and door should have switched over to auxiliary power.\n\n> Aft\nNode 4: Aft, Port\nWhile some of the station's science experiments are still here, many of them vanished along with the rest of Node 4. The port wall is filled with racks of equipment and inset storage compartments. The damage is extensive near the aft ragged edges where the station now ends. From here the escape pod is fore and the sleeping racks are starboard.\n\nThe floor underneath you has a large crack in it.\n\nYou carefully bring yourself to a stop before you reach the open end of the station. For one vertiginous moment you feel as if the remains of the station are above you and you are falling inexorably to your death.\n\n> You look at the crack\nPlates in the floor have cracked open, revealing the station's underlying structure. Deep down you can see a length of chain.\n\n> You get the chain\nYou gingerly reach between the broken floor plates trying to pick up the length of chain, but it is about a meter down, and you'd likely tear your suit on the edges of the crack trying to get it this way.\n\n> Pry chain\n(with the prise bar)\nThat doesn't truly need prising.\n\nThrough the open end of Node 4 you see the Earth roll into view, throwing the jagged edge of the station into stark relief and revealing an external battery on the outside of the station. While you watch the Earth vanish again the very expensive programs in your head start estimating orbits and trajectories. You're slowly spiraling away from Earth while the cylinder of Node 4 spins about its fore-aft axis.\n\n> You examine the compartment\n(the embedded compartment that is near the escape pod)\nIt's a box roughly 30 centimeters on a side, with a ruff of jagged metal that was ripped from an equipment rack. The whole thing is embedded sideways in a wall, which makes you glad you weren't hit by it when it came whizzing through the station. The compartment has a featureless door that is closed.\n\n> You look\nNode 4: Aft, Port\nWhile some of the station's science experiments are still here, many of them vanished along with the rest of Node 4. The port wall is filled with racks of equipment and inset storage compartments. The damage is extensive near the aft ragged edges where the station now ends. From here the escape pod is fore and the sleeping racks are starboard.\n\nThe floor underneath you has a large crack in it.\n\n> You examine battery\nOne of the battery modules dotted around the exterior of the station. It's slightly larger than a loaf of bread. It's on the exterior skin of the station?you can just see it from here.\n\n> Starboard\nNode 4: Aft, Starboard\nThere used to be four sleeping racks here, small coffin-like soundproof booths where you could have a little bit of privacy. Now there's just one left. Its door is closed. The other three racks must have been ripped away when the accident happened. The station ends aft of here in a ring of jagged, twisted metal.\n\n> Fore\nNode 4: Fore, Starboard\nYou're in the fore end of Node 4 by the starboard wall. Exercise equipment like the stationary bicycle is stored here, even though no one can use it while many of the Node's science experiments are ongoing. From here the sleeping racks are aft near where Node 4 now ends and the escape pod is to port. The hatch to the station exterior is fore.\n\n> You open the door\nNode 4: Aft, Starboard\nThere used to be four sleeping racks here, small coffin-like soundproof booths where you could have a little bit of privacy. Now there's just one left. Its door is closed. The other three racks must have been ripped away when the accident happened. The station ends aft of here in a ring of jagged, twisted metal.\n\nYou open the door and a body falls towards you!\n\nRight, deep breaths, it's just an empty spacesuit.\n\n> You look at the spacesuit\n(the empty spacesuit)\nThe empty spacesuit is just like yours, except it has SUZAN HARRISON stenciled on it. It also has the screwdriver you've used for EVA repair missions strapped to it?\n\n?wrestling with the empty suit, desperately pushing it into the sleeping rack, wishing the lights hadn't gone off after the explosion, not sure why but knowing you have to get the damn thing inside?\n\nFor a moment you struggle with panic borrowed from a poorly-remembered past.\n\n> You take the screwdriver\nYou remove the screwdriver from the spacesuit and hold it in your gloved hand. You've spent countless hours on EVAs using screwdrivers just like this one, sweating in a spacesuit like the one you're wearing for up to eight hours. You had no idea those EVAs would end up being good practise for your current situation.\n\nYou clip the screwdriver to one of your suit's D-rings to make it easier to carry.\n\n> You examine screwdriver\nA low-torque powered screwdriver with a grip that's specially designed to be used while you're wearing these ham-hand gloves. It's clipped to your spacesuit.\n\n> Fore\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\n> You look at the panel\nThe door is controlled by a button mounted on a panel that is secured by four screws.\n\n> Unscrew panel\nYou unclip the screwdriver and in short order have the four screws out. You let them drift away to join the rest of the junk while you gently pull the panel away from the bulkhead. With any luck you can fix what's wrong with the button.\n\nBehind the panel is a mass of wires held in place by a stick pad.\n\n> You look at the pad\nIt's a square pad about the width of three of your fingers. It's made of some super-velcro substance the boffins came up with. It's lightly tacky on both sides and sticks to most any surface. The pad is stuck to the mass of wires. Patricia always used one to secure her pens?\n\n?dogging the hatch and looking through the porthole to see Patricia on the other side snap a salute even though she's never liked your dual astronaut and military roles, but she must have felt it was the most appropriate goodbye gesture she could make?\n\n> You pull pad\nThe stick pad isn't very strong?you give a tug and detach the stick pad from the mass of wires.\n\n> You examine the wires\nOh good grief, there are ten wires: Red, black, white, green, grey, blue, yellow, orange, violet, and white-and-red striped. They've got quick disconnects so you can yank them out of the panel easily. All of the wires are connected to the panel.\n\n> You pull all the wires\nYou pull the red wire loose from the panel.\n\nYou pull the black wire loose from the panel.\n\nYou pull the white wire loose from the panel.\n\nYou pull the green wire loose from the panel.\n\nYou pull the grey wire loose from the panel.\n\nYou pull the blue wire loose from the panel.\n\nYou pull the yellow wire loose from the panel.\n\nYou pull the orange wire loose from the panel.\n\nYou pull the violet wire loose from the panel.\n\nYou pull the white-and-red striped wire loose from the panel.\n\n> You examine the red wire\nThe red wire is disconnected from the panel.\n\n> You examine the panel\nThe door is controlled by a button mounted on a panel that is dangling open, revealing the mass of wires, and the stick pad.\n\n> You attach the red wire to the panel\nYou re-connect the red wire to the panel.\n\n> You look at the stick pad\nIt's a square pad about the width of three of your fingers. It's made of some super-velcro substance the boffins came up with. It's lightly tacky on both sides and sticks to most any surface.\n\n> You put the pad on the bar\nYou pick up the stick pad and stick the stick pad to the prise bar.\n\n> Aft\nNode 4: Aft, Port\nWhile some of the station's science experiments are still here, many of them vanished along with the rest of Node 4. The port wall is filled with racks of equipment and inset storage compartments. The damage is extensive near the aft ragged edges where the station now ends. From here the escape pod is fore and the sleeping racks are starboard.\n\nThe floor underneath you has a large crack in it.\n\n> You get the chain with the bar\nWith the stick pad on the end of the bar, you're able to snag the chain and pull it out from under the floor, even though the chain doesn't really want to stick to the pad. You coil the chain and attach it to one of your suit's D-rings.\n\nThe enormity of the task in front of you, the unlikelihood of your escaping, nearly paralyzes you. You take a few deep breaths to steady yourself.\n\n> You examine the chain\nIt's several meters long and very similar to a bike chain. Both ends sport carabiners, small metal loops with a spring-loaded latch. One end of the chain is clipped to your suit.\n\n> You examine the racks\nAll of the experiments are in 19-inch racks, complete with protruding handles, that are bolted into the wall. The experiments often meant one thing: tedious checklists. You had to follow extensive checklists and write down the results at every step in a logbook because typing information into a computer would be too easy. It was so tedious that you made Quintin do it for you whenever possible. The logbooks were stored in nearby storage compartments. You got in the habit of writing all kinds of notes on the logbooks just because they were handy.\n\nNext to the storage compartments is a button that opens the compartment you saw near the escape pod.\n\n> You press the button\nThere's a gas line in front of the button, which you brush aside to push and hold the button. The compartment near the escape pod swings open, so you keep holding the button.\n\n> You put the chain on the handle\nYou find a convenient handle on one of the experiments to clip one of the chain's carabiners onto. You now have a chain that runs from the experiments to your suit, forming a tether.\n\n> Aft\nBefore you leave you have to let go of the button, making the compartment near the escape pod swing closed.\n\nThe piloting programs in your head plan your route. You take a deep breath and grasp your tether tightly. Ready, steady, go?and you jump, trusting your modified instincts to keep you safe. You soar out into space before the tether pulls taut and you land flat on the outside of the station, your boots grabbing hold.\n\nYou cling carefully to the outside of Node 4. From here you can see that this is all there is: a small, ragged cylinder, spinning as it tumbles around the Earth. There is no sign of the rest of the station.\n\nYou can see a backup battery here.\n\nThe chain runs back into the station, tethering you.\n\nFor a moment you consider unclipping the chain, kicking off of Node 4 and tumbling peacefully away. You giggle before you can stop yourself.\n\n> You get the battery\nYou carefully unclip the screwdriver and remove the screws from around the battery. You watch the screws float off into space and wonder if they'll eventually embed themselves in some random satellite. You then carefully lift the battery and tuck it under one arm.\n\nYour suit's readout flashes.\n\n> You look at the readout\nPlenty of oxygen; no integrity issues. The suit's mini-doc warns you that your blood pressure and respiration have spiked. Oh, and you probably have a concussion.\n\n> You examine the battery\nIt's not just a battery, it's a space battery. The battery module is slightly larger than a loaf of bread, and has two terminal slots where wires can be inserted.\n\n> Fore\nYou have a tether, but it's a short one, and you've no interest in playing Major Tom. The only place to go is back inside.\n\n> Inside\nGetting back inside is a little trickier than leaping outside, but it's nothing you and your fancy head full of kinematic equations can't handle.\n\nNode 4: Aft, Port\nWhile some of the station's science experiments are still here, many of them vanished along with the rest of Node 4. The port wall is filled with racks of equipment and inset storage compartments. The damage is extensive near the aft ragged edges where the station now ends. From here the escape pod is fore and the sleeping racks are starboard.\n\nThe floor underneath you has a large crack in it.\n\nOne end of the chain is looped around the science experiments; one end is clipped to your suit.\n\n> You remove the chain\n(from the science experiments)\nUnchained.\n\n> You press the button\nYou brush aside the gas line to push and hold the button. The compartment near the escape pod swings open, so you keep holding the button.\n\n> Examine button\nA simple momentary-contact button that some bright spark at NASA thought was an appropriate control to open the compartment you saw near the escape pod. Whoever designed that stupid button and compartment is probably in his seventies now, which means you might be able to look him up and punch him if you get back to Earth and can obtain a visa for the NUS.\n\nDangling in front of the button is a gas line.\n\n> You look at the gas line\nA nitrogen feed line for one of the experiments is in front of the button. It's a metal hard line that has an L-shaped bend right in front of the compartment button, with the threaded end of the line pointing away from the button. Partway up the line is the valve that controls nitrogen flow. The valve is closed.\n\n> You put stick pad on the button\nYou stick the stick pad and the prise bar to the single button.\n\n> Rotate gas line\nYou open the valve on the gas line. Nitrogen begins flowing slowly out of the end of the line, causing the L bend in the gas line to press gently against the button but not hard enough to push the button.\n\n> Press bar\nNothing obvious happens.\n\n> You press the button\nThe prise bar is in your way.\n\n> You detach the stick pad from the button\nYou peel the stick pad off of the single button.\n\n> You press the button\nIt's already pushed down.\n\n> Examine button\nA simple momentary-contact button that some bright spark at NASA thought was an appropriate control to open the compartment you saw near the escape pod. Whoever designed that stupid button and compartment is probably in his seventies now, which means you might be able to look him up and punch him if you get back to Earth and can obtain a visa for the NUS.\n\nDangling in front of the button is a gas line.\n\n> Rotate gas line\nYou close the valve on the gas line. The cloud of nitrogen quickly disperses.\n\n> Rotate gas line\nYou open the valve on the gas line. Nitrogen begins flowing slowly out of the end of the line, causing the L bend in the gas line to press gently against the button but not hard enough to push the button.\n\n> You look at pouch\nA small snap pouch for holding sundries.\n\n> You open the pouch\nNo need. You've long trained to open the pouch only long enough to put something in or take something out of it.\n\n> You look at the gas line\nA nitrogen feed line for one of the experiments is in front of the button. It's a metal hard line that has an L-shaped bend right in front of the compartment button, with the threaded end of the line pointing away from the button. Partway up the line is the valve that controls nitrogen flow. The valve is open.\n\n> You look at what you're carrying with you\nYou're carrying a backup battery and you're wearing a flex spacesuit. Clipped to your suit is a length of chain and a screwdriver.\n\n> Fore\nBefore you leave you have to let go of the button, making the compartment near the escape pod swing closed.\n\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\n> You examine the debris\nA whole wodge of twisted metal jammed in front of the escape pod door like a ruined column.\n\n> You connect the wires to the battery\nYou'll have to specify which wire you want to plug.\n\n> You connect the black wire to battery\nYou plug the black wire into the battery's terminal slot.\n\n> You connect the red wire to battery\n(first unplugging the red wire)\nYou pull the red wire loose from the panel.\n\nYou plug the red wire into the battery's terminal slot.\n\n> You look at the battery\nIt's not just a battery, it's a space battery. The battery module is slightly larger than a loaf of bread, and has two terminal slots where wires can be inserted.\n\nThe red wire and the black wire are plugged into the battery.\n\n> You look at the wires\nThere are ten wires: Red, black, white, green, grey, blue, yellow, orange, violet, and white-and-red striped. They've got quick disconnects so you can yank them out of the panel easily.\n\nThe red wire and the black wire are plugged into the battery. The rest of the wires are disconnected from the panel.\n\n> You look at panel\nThe door is controlled by a button mounted on a panel that is dangling open, revealing the mass of wires.\n\n> You examine the door\nThe door to the escape pod is currently closed.\n\n> You think about the wires\nYou can mainly think about other the other spacestation crewmembers.\n\n> You unplug the red wire\nYou disconnect the red wire from the battery's terminal slot.\n\n> You attach the striped wire to the panel\nYou re-connect the white-and-red striped wire to the panel.\n\n> You connect the red wire to the battery\nYou plug the red wire into the battery's terminal slot.\n\n> You think about Suzan\nSuzan's the mission commander. You've known Captain Harrison for years, having served together on three separate missions, one of which will remain redacted for a long time to come.\n\n> You think about Patricia\nDr. Patricia Morrison has authored numerous definitive papers on the effect of long-term space travel and weightlessness in space. You haven't had a chance to see what kind of hands-on doctor she is, but after today you'll hopefully get your chance.\n\n> You think about Quintin\nMission Specialist Quintin Davies, Warrant Officer and all-around skilled technician. His PhD is in physics, which means everyone made him deal with the station's plumbing and constant electrical problems.\n\n> You look at panel\nThe door is controlled by a button mounted on a panel that is dangling open, revealing the mass of wires.\n\n> You think about yourself\nYou can mainly think about other the other spacestation crewmembers.\n\n> Fore\nSince there are wires plugged into the battery, you leave the battery floating next to the panel.\n\nYou can't go fore from here.\n\n> You disconnect the battery\nYou unplug the red wire and the black wire from the battery.\n\nYou disconnect the red wire from the battery's terminal slot.\n\n> Starboard\nNode 4: Fore, Starboard\nYou're in the fore end of Node 4 by the starboard wall. Exercise equipment like the stationary bicycle is stored here, even though no one can use it while many of the Node's science experiments are ongoing. From here the sleeping racks are aft near where Node 4 now ends and the escape pod is to port. The hatch to the station exterior is fore.\n\n> Ride bike\nRiding the bicycle would be a feat and a half. Even a flex suit doesn't give you enough range of motion, and your survival backpack would get in the way. You can turn the pedals, though, which you do.\n\n> You examine the bike\nThis space bicycle doesn't look that much like a regular bicycle. It's a grey trapezoidal box held together by about twenty screws. Pedals stick out of it, and attached above it is a seat with very little cushioning. Next to the seat is a water line that you've sipped from many times before while exercising.\n\n> Unscrew box\nYou unclip the screwdriver and painstakingly remove all the screws holding the bicycle's trapezoidal box together. You let them all float away?might as well, given the rest of the debris that fills the station?and fold open the bike.\n\nInside, the bicycle is mainly a single small wheel about the size of your gloved hand with fingers stretched wide. The small wheel has holes all along its perimeter. The bike's pedals are attached to either side of the wheel, and stick out a long distance compared to the small wheel.\n\n> You examine the water line\nThat's hardly portable.\n\nA flexible water line. Someone's left their nozzle on the line post-exercise, a sanitary no-no. Probably Quintin. You'll have to scold him, assuming he's still alive.\n\n> You look at the nozzle\nA nozzle with clear plastic on one end and hard metal on the other. The clear plastic end has a very small opening. Its large metal end is threaded and fits all standard tubing on board the station.\n\n> You examine the compartment\n(the embedded compartment that is near the escape pod)\nIt's a box roughly 30 centimeters on a side, with a ruff of jagged metal that was ripped from an equipment rack. The whole thing is embedded sideways in a wall, which makes you glad you weren't hit by it when it came whizzing through the station. The compartment has a featureless door that is closed.\n\n> Rotate valve\nYou open the valve on the gas line. Nitrogen begins flowing quickly out of the end of the nozzle, causing the L bend in the gas line to press firmly enough on the button to open the compartment near the escape pod. Unfortunately the bend slips off of the button and the compartment closes once more.\n\n> You put stick pad on the button\nYou stick the stick pad and the prise bar to the single button.\n\n> You remove the bar from the pad\nYou peel the stick pad off of the prise bar.\n\n> Rotate valve\nYou close the valve on the gas line. The cloud of nitrogen quickly disperses.\n\n> You continue\nYou open the valve on the gas line. Nitrogen begins flowing quickly out of the end of the nozzle, causing the L bend in the gas line to press firmly enough on the button to open the compartment near the escape pod. The force is also enough to make the stick pad adhere to the gas line and the button, holding the gas line in place on the button.\n\n> Fore\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is an open compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\nYou can also see a backup battery here.\n\n> You look at the compartment\nIt's a box roughly 30 centimeters on a side, with a ruff of jagged metal that was ripped from an equipment rack. The whole thing is embedded sideways in a wall, which makes you glad you weren't hit by it when it came whizzing through the station. The compartment has a featureless door that is open. Inside you can see a logbook.\n\n> You take the logbook\nAs you remove the logbook from the compartment, the door swings back shut. It looks like you had just enough nitrogen to get the job done.\n\n> You read the logbook\nLike all of them, this logbook has all four of your names on the front in order of rank: Suzan Harrison, Simon Mahil, Quintin Davies, and Patricia Morrison. It also has obsessive step-by-step instructions for running several of the on-station experiments and recording the results, because the space program is all about hiring the smartest, most capable people it can find, training them exhaustively, and then not trusting them to do their job.\n\nThere are a lot of notes in the logbook's margins. Several of them are notes Quintin wrote when he made on-the-fly repairs to the station. One talks about the problems he'd had with the escape pod door malfunctioning, and how he had to disconnect the door control and computer from backup power to fix the problem. He noted that disconnecting only the green and yellow wires and connecting the two current-carrying wires?the white-and-red wire and the red wire?together would restore backup power. Normally the white-and-red wire and the red wire would run to the power source.\n\n> You think about Simon\nYou've been piloting EELV-boosted spacecraft for nearly a decade. As a reward for doing such a good job you got stuck onboard the space station for months.\n\n> Aft\nNode 4: Aft, Port\nWhile some of the station's science experiments are still here, many of them vanished along with the rest of Node 4. The port wall is filled with racks of equipment and inset storage compartments. The damage is extensive near the aft ragged edges where the station now ends. From here the escape pod is fore and the sleeping racks are starboard.\n\nThe stick pad is holding the single button and the gas line together.\n\nThe floor underneath you has a large crack in it.\n\nYou can also see a prise bar here."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, amnesia, profanity]\n\n> You look around\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is closed and debris is wedged in front of it. The door is flanked by a dark display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\nYou can also see a backup battery here.\n\n> You look at panel\nThe door is controlled by a button mounted on a panel that is dangling open, revealing the mass of wires.\n\n> You connect all the wires\nYou re-connect the red wire to the panel.\n\nYou re-connect the white wire to the panel.\n\nYou re-connect the green wire to the panel.\n\nYou re-connect the grey wire to the panel.\n\nYou re-connect the blue wire to the panel.\n\nYou re-connect the yellow wire to the panel.\n\nYou re-connect the orange wire to the panel.\n\nYou re-connect the violet wire to the panel.\n\n> You disconnect yellow\nYou pull the yellow wire loose from the panel.\n\n> You examine the battery\nIt's not just a battery, it's a space battery. The battery module is slightly larger than a loaf of bread, and has two terminal slots where wires can be inserted.\n\nThe black wire is plugged into the battery.\n\n> You disconnect green\nYou pull the green wire loose from the panel.\n\n> You disconnect the black wire\nYou disconnect the black wire from the battery's terminal slot.\n\n> You connect the black wire\n(first unplugging the red wire)\nYou pull the red wire loose from the panel.\n\nYou plug the red wire into the battery's terminal slot.\n\nYou re-connect the black wire to the panel.\n\n> You connect the black wire\nYou re-connect the black wire to the panel.\n\n> You look at panel\nThe door is controlled by a button mounted on a panel that is dangling open, revealing the mass of wires.\n\n> You examine the wires\nThere are ten wires: Red, black, white, green, grey, blue, yellow, orange, violet, and white-and-red striped. They've got quick disconnects so you can yank them out of the panel easily.\n\nThe red wire is plugged into the battery. The green wire and the yellow wire are disconnected from the panel. The rest of the wires are connected to the panel.\n\n> You connect striped to the battery\n(first unplugging the white-and-red striped wire)\nYou pull the white-and-red striped wire loose from the panel.\n\nYou plug the white-and-red striped wire into the battery's terminal slot.\n\nThe screen next to the door returns to life, though it's so bright that you might be able to get a tan from it.\n\n> You examine the screen\nThe screen's in data-dump mode, which means it's showing?wait, this can't be right. The screen claims that Node 4 is following one of the really old docking protocols. The transponder beacons are even active, the ones that once guided visiting vehicles to the antiquated docking port at the other end of Node 4?\n\n?\"Don't you see? The scow's navigation is just a veneer on top of the old software! I turn on the beacon, jettison the node with me on it, and pilot it away from the station. We send an emergency docking command and trip the original failsafes. The shuttle will follow, trying desperately to dock with the node instead of ramming the rest of the station. That way, if it's rigged to explode, it only takes out Node 4.\"You'd been shouting at Quintin, but it was Suzan you had to convince. The station was observing radio silence, though when you try to remember why you can't. You just can't.\n\n> Full\nYou have 5 points out of 8. Here is how you got them:\n\n1 for getting the battery\n1 for rescuing the logbook from the compartment\n1 for opening the escape pod door\n\n> You look at the pod\nThe door to the escape pod is currently wide open.\n\n> You enter the pod\nNot until you get that debris out of the way.\n\n> You check your inventory\nYou're carrying a logbook and you're wearing a flex spacesuit. Clipped to your suit is a length of chain and a screwdriver.\n\n> You pry the debris\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is open and debris is wedged in front of it. The door is flanked by an active display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\nYou can also see a backup battery here.\n\n(with the prise bar)\nYou try to find a good point to jam the prise bar into and shift the debris, but nothing doing. You'll need a lot more lateral force than you can bring to bear with the bar.\n\n> Starboard\nNode 4: Fore, Starboard\nYou're in the fore end of Node 4 by the starboard wall. Exercise equipment like the stationary bicycle is stored here, even though no one can use it while many of the Node's science experiments are ongoing. From here the sleeping racks are aft near where Node 4 now ends and the escape pod is to port. The hatch to the station exterior is fore.\n\nThe bicycle is open, revealing a small wheel to which its pedals are attached.\n\n> You examine pedals\nThe pedals stick out from the bicycle.\n\n> You examine the wheel\nThe small wheel is about the size of your palm. It has holes all along its perimieter. The bike's pedals are attached to either side of the wheel by a small axle, and stick out a long distance compared to the wheel.\n\n> You attach the chain to the axle\nYou clip the carabiner to one of the holes in the wheel and turn the pedals some to wind the chain on the wheel. You now have a chain that runs from the bike's wheel to your suit, forming a tether.\n\n> Port\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is open and debris is wedged in front of it. The door is flanked by an active display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\nYou can also see a backup battery here.\n\nOne end of the chain runs starboard; one end is clipped to your suit.\n\n> You attach the chain to the debris\nYou loop the chain around the column of debris and clip the carabiner to secure it.\n\n> Starboard\n(moving along the chain)\n\nNode 4: Fore, Starboard\nYou're in the fore end of Node 4 by the starboard wall. Exercise equipment like the stationary bicycle is stored here, even though no one can use it while many of the Node's science experiments are ongoing. From here the sleeping racks are aft near where Node 4 now ends and the escape pod is to port. The hatch to the station exterior is fore.\n\nThe bicycle is open, revealing a small wheel to which its pedals are attached.\n\nOne end of the chain runs port; one end is looped around the bike's wheel.\n\n> Ride bike\nYou push on the bicycle pedals, making them and the small wheel turn. As you do, the chain begins to wind around the axle. You keep turning until the chain pulls taut. Then you turn some more, until the chain slackens and the debris that used to be in front of the escape pod breaks into fragments and starts tumbling all around you. You bat random pieces of it out of the way and it joins the rest of the debris filling the station.\n\nTake that, Archimedes.\n\n> Port\nNode 4: Fore, Port\nThank goodness the escape pod is still here. The converted Predpriyatie craft is port of here; its door is open. The door is flanked by an active display screen on one side and the door's control panel on the other. The exercise equipment is to starboard and the science experiments are aft, closer to the new jagged edge of Node 4.\n\nEmbedded sideways in a wall is a closed compartment attached to a jagged piece of metal.\n\nThe control panel is open, revealing a mass of wires.\n\nYou can also see a backup battery here.\n\n> You look at the pod\nThe door to the escape pod is currently wide open.\n\n> You enter the pod\nThe converted Predpriyatie is boxy, held together by far too many bolts, and is one of the best things you've ever seen. You wish you could hug it. It's dark, though; no power is running to the pod.\n\nThere is a large button labeled ESCAPE. You also wish you could hug the nameless engineer who made this so simple to operate. Next to the button is the pod's touch screen.\n\n> Hug pod\nYou can only do that to something animate.\n\n> You look at the touch screen\nThe screen is showing a password prompt and a keyboard. Password locked? The station computers are never password locked.\n\nNo, wait, Quintin had had to turn on password protection a few hours ago. He'd set it to the crew's initials, with the names in reverse rank order. It would make your security officer weep hot tears of anger if he knew.\n\nRadio silence. Password protection. Oh, oh no, oh no no no, some idiot must have decided it was time for a shooting war.\n\nAnd now you remember: the automated cargo supply shuttle that didn't respond to repeated hails. The orbital plot that showed the scow headed for the middle of the station. The realization that someone was worried about the UK holding the high ground and had decided to blow up the station. The desperate gamble that you could divert the supply shuttle away from the rest of the station.\n\nYou've got to get out of here soon, before there's no one left in orbit to pick you up.\n\nThe screen is showing a password prompt and a keyboard. Quintin set the password to the crew's initials, with the names in reverse rank order.\n\n> You read the logbook\nOn the cover are the names of everyone in order of rank: Suzan Harrison, Simon Mahil, Quintin Davies, and Patricia Morrison. One of Quintin's notes in the margin describes how to re-connect backup power to the escape pod door and computer by disconnecting only the green and yellow wires and by connecting the two current-carrying wires, the white-and-red wire and the red wire, together. Normally the white-and-red wire and the red wire would run to the power source.\n\n> You type the pmqdsmsh\n(on the touch screen)\nThe screen clears and diagnostic messages start scrolling up the display. You scan them, watching as the computer learns what you already know about Node 4. It then decides to fully power up the escape pod."
    },
    {
        "text": "[Themes: violence, gender-neutral protagonist, experiments, laboratory, psychic, experimentation, laboratory setting, profanity, horror, medical]\n\nPlease be advised that One Eye Open is a horror game. It contains mature content (including blood, gore, human injury and death, mild language, tobacco reference, violence, and violent references.)\n\nWe do not recommend this game for a younger audience.\n\n[Author's Note: Had you known the bloody history of Corona Labs, you would never have signed up as a test subject. But now, plunged into that history, surrounded by the damned and the dying, you must find the truth. Perhaps you will even survive it.]\n\n> Y.\nAfter only ten days, you're becoming surprisingly comfortable with life as a Corona Corporation guinea pig. It helps that your routine is so reliable - meals, exercise, rest, and sleep are clearly arranged on a schedule hanging beside the white clock in your room. As for the tests - well, you've grown used to the sight of your blood in a sample vial, and the rest is mostly paperwork. Personality tests, aptitude tests, intelligence tests, psychological tests, Rorschach and the MMPI and even kinetic family drawing... you're starting to worry that they'll run out of tests by the end of the month.\n\nAlthough 7:30 PM is always the day's last test, you never leave your room alone, so you were still watching American Beauty when Dr. Marnie Ephart knocked at the door. \"Oh, you're almost to the end!\" she said brightly, seeing the screen. \"I can wait until you're through.\"\n\n\"No, that's fine.\" You hit PAUSE to freeze Angela in mid-motion as you got up from the couch. \"I've seen it before.\" Last Monday, actually. The video collection isn't that good, and, considering what they're paying you, it's a pity Corona couldn't invest in a few more options. It's hard to complain, though; the staff is friendly, the tests aren't hard, and the salary is great.\n\nDuring the day, Raymond, Best, or one of the scientists might be around, but at night, it's usually just the two of you, and the hall you cross now is deserted. You accompany her through the antechamber and into the main testing chamber. By now, you're used to being watched from behind one-way glass, but the observational room is fully lit today, and you can easily see inside.\n\n\"Back in a moment,\" Dr. Ephart says cheerfully. \"See you on the other side!\"\n\nTest Chamber, Corona Labs\nIn the center of the room, a single black office chair sits in front of a broad, heavy desk. The desk and chair are familiar, but the wireless keypad sitting on the desk is new. There are five large white buttons on the keypad, each displaying a different symbol in broad black strokes. The symbols are a circle, a cross, a set of three wavy lines, a square, and a five-pointed star. As always, you are quite aware of the cameras watching you from above.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThe familiar black office chair sits invitingly nearby.\n\nThrough the thick pane of glass, you can see the curved desk in the observational room.\n\n>I beg your pardon?\n\n> You sit in the chair\nYou sit down on the office chair.\n\nThrough the thick pane of glass, you see Dr. Ephart come into the observational room carrying a stack of cards and a notebook. She waves to you in friendly fashion, sets her notebook on the desk, and sits down before pressing the intercom button.\n\n\"This is a different kind of test,\" Dr. Ephart explains. \"I have twenty-five cards here, each of which shows one of the symbols on your keypad.\" She holds up five cards and fans them so you can see the circle, cross, wavy lines, square, and five-pointed star. \"I'm going to draw one of these cards and concentrate on the shape. I want you to concentrate, to really focus your mind, and try to pick the same symbol that I do. After you've decided on your symbol, press it on the keypad. We'll do five of these.\"\n\nDr. Ephart shuffles her cards together and draws the first card. She holds the card up with its back to you.\n\n> You concentrate on the card\nDr. Ephart is holding up one of the cards. The back shows several blue loops and a line drawing of a building.\n\nAs you concentrate on the deck of cards, you get a dull headache. For a moment, you think you see the cross superimposed on the back of the card, but then it is gone.\n\n> You press the cross\nThe keypad chimes, and the cross button glows briefly. Dr. Ephart nods unconsciously as she tucks her card back in the deck.\n\nDr. Ephart shuffles her cards together and draws the second card. She holds the card up with its back to you.\n\n> You concentrate on the card\nAs you concentrate on the deck of cards, you feel a peculiar twinge behind one eye. The back of the card distorts until it's like looking at the front of the card. You see the five-pointed star on the card.\n\n> Press star\nThe keypad chimes, and the five-pointed star button glows briefly. Dr. Ephart tilts her head to one side as she takes note of your response.\n\nDr. Ephart shuffles her cards together and draws the third card. She holds the card up with its back to you.\n\n> You concentrate on the card\nAs you concentrate on the deck of cards, small spots of light glitter through your vision. You close your eyes for a moment, then open them and look at the card. You clearly see the wavy lines on the back of the card before it swims out of sight.\n\n> You press lines\nThe keypad chimes, and the wavy lines button glows briefly. Dr. Ephart's lips curve slightly up as she writes something in her notebook.\n\nDr. Ephart shuffles her cards together and draws the fourth card. She holds the card up with its back to you.\n\n> You concentrate on the card\nAs you concentrate on the deck of cards, your headache increases. Staring at the card, you sense that Dr. Ephart's card is the cross.\n\n> You press the cross\nThe keypad chimes, and the cross button glows briefly. Dr. Ephart glances at your response and looks impressed.\n\nDr. Ephart shuffles her cards together and draws the last card. She holds the card up with its back to you.\n\n> You concentrate on the card\nAs you concentrate on the deck of cards, you feel briefly lightheaded. The five-pointed star jolts sharply and painfully into your brain. There's no doubt: that's her card.\n\n> Press star\nThe keypad chimes, and the five-pointed star button glows briefly. Dr. Ephart breaks into a broad smile.\n\nDr. Ephart picks up the deck of cards again. She smiles at you and presses the intercom switch. \"You did great - thank you! I'll be back in just a moment.\""
    },
    {
        "text": "[Themes: laboratory, horror, violence, medical]\n\n> You look around\nTest Chamber, Corona Labs (on the black office chair)\nTwo cameras watch the heavy desk from above with unwinking red eyes. The desk currently has a wireless keypad on it.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThrough the thick pane of glass, you can see the blue notebook and the curved desk in the observational room.\n\n> You examine the blue notebook\nDr. Ephart reliably documents everything in her dark blue notebook. Unsurprisingly, you've never gotten even a peek at the inside.\n\n> You check your inventory\nYou are carrying nothing.\n\nThe door to the testing chamber rattles briefly before Dr. Ephart enters. The doctor gives you her warm, customary smile as she sets a manila folder in front of you. \"I've placed a photograph in this folder,\" she says, tapping the folder. \"Please study it closely and learn as much as you can about the scene. I'll be back shortly, and I'll have some questions for you when I return.\"\n\nTaking the keypad, Dr. Ephart departs, leaving you alone with the closed folder.\n\n> You take the folder\nYou pick up the manila folder.\n\n> You open it\nYou open the manila folder, revealing a glossy photograph.\n\n> You take the photo\nYour fingertips tingle slightly as you pick up the photograph.\n\n> You examine the photograph\nThe glossy 4x5 photograph shows the side view of a teenage student.\nA falling wave of shoulder-length russet hair obscures her face as she leans over an open book, leaving only the slight frown on her pale lips visible. Her left cheek is propped against the curled fingers of her left hand, and her right rests lightly against the beige wood of the desk.\n\n> You look at the hair\nThe student's russet-colored hair is pretty and well-brushed, falling barely past her shoulders.\n\n> You look at the book\nThe photo's detail is good, but not so good that you can read the tiny print of the large book. By its heft, it could easily be a medical textbook.\n\n> You examine the desk\n(the photoed desk)\nA desk made of finished beige wood.\n\n> You examine the face\nThe slightly warped 4x5 photograph shows the side view of a teenage student. A straggling wave of rust-red hair falls to shoulder length, half-hiding her face as she leans over an open book. She's frowning slightly, and her lips are very pale. Her left cheek is propped against the fisted fingers of her left hand, and her right tenses against the beige wood of the desk.\n\n>The student's face is obscured, but her skin and lips are visibly pale, like someone about to faint.\n\n> You look at the left hand\nThe photo's detail is good, but not so good that you can read the small print of the book. By its heft, it could easily be a college textbook.\n\n>You can't see any such thing.\n\n> You examine the hands\nThe student's hands are very pale, their veins standing in sharp blue against white skin. Both hands are clenched in tight fists, the left under her chin and the right pressed against the desk.\n\n> You examine the hair\nThe student's hair is rust-red, but of a duller hue than you swear it was a moment ago. The hair is somewhat straggled, as though not quite dry and unbrushed.\n\n> You look at photo\nThe slightly warped 4x5 photograph shows the side view of a teenage student. A straggling wave of rust-red hair falls to shoulder length, half-hiding her face as she leans over an open book. She's frowning slightly, and her lips are very pale. Her left cheek is propped against the fisted fingers of her left hand, and her right tenses against the beige wood of the desk.\n\n> You examine the lips\nThe student's face is obscured, but her skin and lips are visibly pale, like someone about to faint.\n\n> You concentrate on the photograph\nThe photograph blurs before your eyes.\n\nThe warped 4x5 photograph shows the three-quarter profile of a teenage student. Lines of blood straggle down from the broad cut on her forehead, and she cradles her left eye behind her bloodied left hand, hiding it from view. Her lips are bloodsmeared as well, and blood spots the book she leans over. The fingers of her right hand are crooked into claws, tearing at the beige wood of the desk.\n\n> You touch the blood\nThe photoed face is smooth to the touch."
    },
    {
        "text": "[Themes: experiments, profanity, violence]\n\n> You look around\nTest Chamber, Corona Labs (on the black office chair)\nTwo cameras watch the heavy desk from above with unwinking red eyes. The desk currently has nothing on it.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThrough the thick pane of glass, you can see the blue notebook and the curved desk in the observational room.\n\n> You wave to cameras\nYou wave at the security cameras.\n\nA distinct *click* sounds from the door to the antechamber.\n\n> You examine the antechamber\nIt's a plain aluminum door with a straight handle.\n\n> You concentrate on the photo\nYou wave at the security cameras.\n\n>The photograph blurs before your eyes.\n\nThe extremely warped 4x5 photograph shows the image of someone, face buried in both hands, about ready to collapse across a damaged, bloodsoaked book. Cruelly tight braids bind the student's hair back so sharply that you can see the skin stretching.\n\n> You look at the student\nOnly the edges of the person's face can be seen, but the skin stretches like a rubber mask at the very edges.\n\n> You concentrate on the photo\nThe photograph blurs before your eyes.\n\nThe damaged 4x5 photograph shows the image of a young man dragging his fingernails down his face. Long furrows run down his cheeks, and blood drips from those furrows onto the savaged book in front of him. His green eyes are open but unfocused, and his lips are parted in a soundless scream.\n\n> You examine man\nHe's definitely not the same person that you first saw in the photograph. His features are not just refined, but gaunt, and the hollow bruises under his eyes suggest he hasn't slept well for a very long time.\n\n> You concentrate on photo\nThe photograph blurs before your eyes.\n\nSomething's happened to the photograph - there are dull yellow spots marring its surface, like it's been damaged with some kind of chemical. Past those spots, you can make out the image of a young man screaming. Hands shielded with surgical gloves restrain his arms and head as he struggles. He clutches two handfuls of torn, bloodstained pages, but one gloved hand is prying the fingers of his right hand open.\n\n> About yourself\nEven without a mirror, you know you're not looking your best. You haven't been sleeping well for a few nights now, leaving dark circles beneath your eyes, and your appetite's been off as well. Not that it's been Corona's fault - the food's been surprisingly good - but you're just not feeling so hot.\n\n> You concentrate on the photograph\nThe glossy 4x5 photograph shows the side view of a teenage student.\nA falling wave of shoulder-length russet hair obscures her face as she leans over an open book, leaving only the slight frown on her pale lips visible. Her left cheek is propped against the curled fingers of her left hand, and her right rests lightly against the beige wood of the desk.\n\n> You go to the west\nThe unlocked door opens readily under your hand.\n\n(first getting off the black office chair)\nYou stand up from the office chair.\n\nAntechamber, Corona Labs\nThere are no hangings on the dull off-white walls, but a fake palm tree in one corner attempts to add some cheer. In the other corner, there's a simple chair, which looks like a refugee from some grade-school classroom. There's absolutely nothing else in this spartan antechamber.\n\nA windowless door separates the antechamber from the testing room further in.\n\nA matching door, also windowless, leads from the antechamber to the hallway outside.\n\n> You look at the palm\nThe palm tree looks strikingly realistic, and it wasn't until you examined it closely one day that you realized it was fake. Sadly, its realism provides an unpleasantly discordant accent to the sterile room.\n\n> Go east\nTest Chamber, Corona Labs\nTwo cameras watch the heavy desk from above with unwinking red eyes. The desk currently has nothing on it.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThe familiar black office chair sits invitingly nearby.\n\nThrough the thick pane of glass, you can see the blue notebook and the curved desk in the observational room.\n\n> Go west\nAntechamber, Corona Labs\nThere are no hangings on the dull off-white walls, but a fake palm tree in one corner attempts to add some cheer. In the other corner, there's a simple chair, which looks like a refugee from some grade-school classroom. There's absolutely nothing else in this spartan antechamber.\n\nA windowless door separates the antechamber from the testing room further in.\n\nA matching door, also windowless, leads from the antechamber to the hallway outside.\n\n> Go west\nYou take a step toward the hall door, but your movement is arrested suddenly by a wrenching sensation. Your gorge leaps toward your throat abruptly, giving you the unsettling sensation of having been dropped a foot down. The sensation is gone quickly, but your throat remains thick with unease.\n\n> You look\nAntechamber, Corona Labs\nThe antechamber is nearly as spartan as the test chamber itself. The walls, painted a dull off-white, are bare of hangings. A simple chair squats in the corner like a grade-school refugee. The only decoration in the room is a straggly ficus tree, which sprawls in the opposite corner from the chair.\n\nA windowless door leads west from the antechamber to the hallway outside.\n\nA matching door, also windowless, separates the antechamber from the testing room further to the east.\n\n> You examine the ficus\n(the ficus tree)\nA real, living ficus tree sprawls outward from its pot in the corner of the room. While you can't imagine how it can survive in a windowless room, it looks healthy enough. Sadly, its realism provides an unpleasantly discordant accent to the sterile room.\n\n> You search the ficus\n(the ficus tree)\nThe ficus tree's untrimmed branches obscure but do not conceal its staid black pot.\n\nIn the ficus pot is a small piece of unlined paper.\n\n> You take paper\nYou reach through the shrouding branches and fish the small piece of unlined paper out of the ficus pot.\n\n> You read it\nThe small piece of unlined paper reads:\n\nAlice's Diary, 4/30/78\n\nHe screams at night.\nIan says that he's had these nightmares as long as he can remember, that it's fine and everything is normal. I really want to believe him, but the last few days have been different. I've seen him tossing and turning, but now he screams. Says things. His eyes are open, but he can't see or hear me.\nAre they doing something to him? I'm not supposed to ask about why he's here. I've been sort of hoping that he would tell me something, but he doesn't even like to talk about the nightmares. All I can hear are the things he says when he's asleep, strangled bits of words. \"Teeth. Dark. Coming for me.\"\nI wish I could do something for him. Anything.\n\n> Go east\nThis door was open just a moment ago, but it's closed now. You can't recall hearing it close.\n\n> You unlock door\nWhich do you mean, the hall door or the test chamber door?\n\n> You focus on the ficus\n(the ficus tree)\nYou try to concentrate on the ficus tree, but you don't sense anything out of the ordinary.\n\n> Go west\nYou open the hall door.\n\nThis is not the hallway you expected. The far wall is the correct distance away, and the ceiling is the correct height, but the walls are painted a dull, sterile white instead of the light blue-green that you associate with Corona Labs, and long banks of fluorescent lights cast everything into an unexpectedly harsh light. Your room should be through the metal door across the hall to the west, but in light of the other changes, it's easy to doubt that it's yours. A small brass sign identifies it as Room 320.\n\nA windowless door leads east into the testing room's antechamber.\n\nA piece of unlined paper leans face-down against the west wall, just slightly to the left of the door.\n\n> You get the paper\n(the piece of unlined paper)\nYou pick up the piece of unlined paper.\n\nYou add the pages you are carrying together and classify them all inwardly as your notes.\n\n> You read the notes\nThe piece of unlined paper reads:\n\n5/12/78\nOh god, want to write better but so sick.\nI don't know what happened.\nA psychic spike - has to be. Nauseating.\nWhat happened? Echoes of ... Cross. Dr. Yehuda.\nIs Theo hurt? Dead? Did he hurt Ian?\nSomething has pushed Ian over the edge. I think we've all made a terrible mistake.\nI've got to get it together. Theo left a bottle of pills on his desk -- the label says \"Sandepam\". I'm going to carry it with me. I don't know what it does, but if I have to face Ian, I need whatever edge Theo might have found.\nI can't believe it's come to this. Something awful is about to happen. EGB\n\n> Go west\nYou open the door.\n\nAs you step across the threshold, you freeze at the grisly sight beyond.\n\nA broad ivory spike protrudes from the floor and pierces the ceiling, transfixing the corpse of a slender, dark-haired woman on the way.\nHer blood stands starkly red against the dull white tile and walls. The room's furnishings - a hospital bed, a bookshelf, a dresser - have been smashed into a still-recognizable pile of twisted metal and wood on the west side of the room. Thousands of pieces of shredded paper, none much larger than a fingernail, cover the floor near the wreckage and shiver in the slight breath from the broken window. The only exit is to the east.\n\n> You search the shredded paper\nLooking through the confetti, you come across a single page of mostly-intact paper that doesn't seem to match the others. It's a small piece of unlined paper with a ragged edge. You fish it out of the pile of shredded paper.\n\nYou add the small piece of unlined paper to your existing collection of pages.\n\n> You read the notes\nThe small piece of unlined paper reads:\n\nAlice's Diary, 5/12/78\n\nI just saw a man die. He was standing in a shadow and a mouth came\nout and bit him in half.\nI feel numb and awful and I'm so scared. I don't know where Ian is\nand I'm afraid that he's going to be hurt or killed. I don't know why he isn't in his room.\nI have to help him and protect him. I'll wait for him here and he'll come back, and we can be together and I'll stop the awful things from hurting him.\nPlease Ian come back. I will be here waiting until you come back.\nI love you.\n\n> You examine the corpse\nThe woman impaled on the white spike is dressed as you imagine a nurse might have been in the seventies, with a button-down skirt that must once have been clean white. Her face, frozen in a look of wide-eyed shock, indicates asian-american heritage and youth.\n\n> You look at the spike\nThe gleaming, slightly curved spike broadens near the base and comes to a sharp tip just as it pierces the ceiling. It resembles nothing quite so much as a cat's fang, though one of mammoth proportions.\n\n> You examine the window\nA small window looks out of the room. Some glass is still present in the windowframe in jagged shards, and you're loath to touch them. The wood frame of the window is very badly warped.\n\n> You look at bookshelf\nA nearby bookshelf likely held most of the books that now lay in scraps. Its frame is mostly intact, but all of the internal shelves are smashed, rendering it useless.\n\n> You go east\nLong banks of fluorescent lights cast sharp shadows along the half-familiar, half-unfamiliar hallway, which continues off to the north. The tiled floor is only a shade darker than the dull off-white walls. A strange, unpleasant odor hangs in the air and stings your nostrils. The door to Room 320 is across the hall to the west.\n\nA windowless door leads east into the testing room's antechamber.\n\n> Go north\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\n> You look at the map\nThe legend identifies this map as \"Mt. Airy Hospital - Third Floor\". Three-quarters of the map is obscured with a large bloodsmear, but the lower right quadrant is mostly visible.\n\n> No\nView the lower right quadrant? (y/n) >Okay.\n\n> Y.\nView the lower right quadrant? (y/n) >\n[Picture number 3 here.]\n\n> Wait\nTime passes.\n\n> You wait awhile\nThe elevator call button stops glowing. Nothing else happens.\n\n> You go north\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. A long, slow breeze flows from the south past you, reaching towards the deep shadow to the north. Before the light fails, there's a bathroom door in the dull white wall to the east and a swinging panel to the west.\n\n> You go south\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\n> You look at floor indicator\nThe twelve-character split-flap display currently reads \"BASEMENT\".\n\n> Go east\nYou open the bathroom door.\n\nBathroom, Mt Airy Hospital\nThe single fluorescent light in the bathroom flickers rapidly like a strobe. On the other side of the room, a bloodied corpse seems to be partially buried in the toilet, folded in half. Near the toilet is a sink, above which is a mirror marred by a spiderweb crack. The light's strobe effect gives the room a surreal, filmlike quality. Behind you, to the west, a door leads back into the hallway.\n\n> You examine the mirror\nYou peer into the mirror. The spiderwebbing cracks divide your face into strange angles, and the strobing light gives a strange, jerky cast to your movements.\n\n> You examine the corpse\nUpon closer inspection, you can see that the corpse was male, and is dressed in the scrubs of a hospital orderly or nurse. The blood strewn on his uniform seems to have come from his mouth, likely vomited out when he was folded violently in half.\n\n> Search corpse\nYou peer into the mirror. The spiderwebbing cracks divide your face into strange angles, and the strobing light gives a strange, jerky cast to your movements.\n\nYou try to concentrate on the cracked mirror, but you don't sense anything out of the ordinary.\n\n>The dead man's scrubs are completely contaminated with blood and more unpleasant fluids. You don't see anything worth taking on the corpse, and going through his pockets is impossible, since they're folded into the toilet.\n\n> You hit the mirror\nThe mirror is already badly damaged. You'd risk injury trying to break it further.\n\n> You look at the sink\nA small hand-washing sink is attached to the wall near the toilet, made of white porcelain and a metal faucet and handles.\n\n> You turn on the sink\nYou turn the handle. The sink rattles and coughs, but no water comes out.\n\n> You turn off the sink\nThe faucet is already off.\n\n> You examine the lights\nThere's only one light here, positioned above the mirror, and its strobelike flickering makes everything jerky and strange.\n\n> Go west\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. There's a long, slow rush of bad-smelling air coming from that direction. Before the light fails, there's a bathroom door in the dull white wall to the east and a swinging panel to the west.\n\n> You examine the panel\nUpon closer examination, the swinging panel appears to be a laundry chute. Pushing open the chute, you take a look down. There's enough light to see, strangely but unmistakably, rows of oversized shark's teeth set into the sides of the chute partway down its length. Going this way seems like a particularly bad idea.\n\nThere's also a white object visible in the shadows of the laundry chute. It looks as if something white fell partway down and got caught on the protruding teeth.\n\n> Go north\nYou start north into the darkness, moving cautiously. The halitosis smell gets increasingly strong as you proceed.\n\nA gleam alerts you to halt in the darkness. As your vision adjusts to the low light, you see a row of long, sharp, curving shapes projecting both from the floor and the ceiling. Careful examination convinces you that the hallway has grown a mouthful of fangs. Proceeding north seems like an incredibly bad idea.\n\nYou back away until you have returned to the relative safety of the lit hallway by the bathroom door.\n\n> Go east\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\n> You go east\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nThere's a keycard reader beside the sliding door.\n\n> You go to the south\nYou open the door to room 323.\n\nThe glimmer of glass greets your eye as you enter this shadowed room. Running through the layout of the facility in your mind, you realize that you're now standing in the observational room, though the furnishings have changed from your memory. For instance, the gutted corpse is definitely new.\n\nObservational Room, Mt Airy Hospital\nA broad pane of one-way glass separates this room from the testing chamber beyond. The lights are off in this room, cloaking everything in shadow, but you can still see enough to navigate past the rectangular table, the chairs, and the filing cabinet tucked into one corner. Your view of the observational room is somewhat blocked by the gutted corpse sprawled across the table.\n\nA door to your north leads back to the hallway.\n\nThrough the thick pane of glass, you can see a gaunt young man huddled in the far corner of the test chamber.\n\n> You look at the man\n(the gaunt young man)\nA gaunt young man huddles on an office chair in the far corner of the room, clothed only in a pair of navy sweatpants. He is slumped forward in a hunch, the outline of his spine standing sharply against the skin of his emaciated back. His face is obscured by a mass of messy, tangled brown hair.\n\nYou feel drawn to the young man. The feeling vibrates between empathy and sympathy. You can all-too-easily imagine the slight chill of the air against his bare back, the way his elbows dig into his knees, and the slight ache of his spine from the unnatural posture. You can imagine how he sits, alone, listening to the emptiness which is not empty enough - the emptiness that is filled with too many thoughts, fears, dreams. He shifts position slightly and raises a hand to his hidden face. You feel the way he drags his fingernails down his forehead - not breaking the skin, not quite, but toying with the idea. Flirting with the idea of blindness, as his nails trail over his closed eyelid, or disfigurement, as they trail over his cheek.\n\nHe has the answers you seek. The knowledge thumps home like a bullet thumping into flesh - not hurting, not yet - only a solid impact like nothing else in the world.\n\nYou shake yourself out of the bizarre reverie to see the young man hunched and still. You're not sure whether he ever moved at all.\n\n> You concentrate on the young man\nYou focus your thoughts on the young man huddled in the corner of the test chamber. For a moment, nothing happens.\n\nThen, suddenly, you think you see the young man's head snap up, but your vision immediately bursts with a nausea-inducing green light that blots everything else out. You are overcome with dizziness. Images of death, terror and madness fill your brain, swelling it, pressing against your skull. Reaching out to destroy everything around you, you are a whirlwind of insane destructive force. You see images of teeth, mouths, throats, closing in to devour you, and you fight against them with everything you are....\n\nYou fall back into yourself with an involuntary scream. Your skin is covered in cold sweat. After a few moments, your heart rate and breathing return to normal, though it takes some time before you stop shaking. You have been Ian McMoneagle, and his mind is a hell.\n\nThe gaunt young man still sits, huddled into himself, immobile.\nYou're still not sure whether he ever moved at all.\n\n> You look at Ian\nA gaunt young man huddles on an office chair in the far corner of the room, clothed only in a pair of navy sweatpants. He is slumped forward in a hunch, the outline of his spine standing sharply against the skin of his emaciated back. His face is obscured by a mass of messy, tangled brown hair.\n\n> You look at the corpse\nA broad rip across the man's shirt and stomach reveal the shredded ruin of his abdominal cavity. The remains of the ruined organs and flesh within have jagged edges that you cannot help but equate to small toothmarks. There's a sheet of paper pinned under the corpse's shoulder.\n\n> You take the paper\n(the bloodstained sheet of paper)\nYou push the corpse sideways, releasing the bloodstained sheet of paper from beneath its shoulder so that you can pick it up.\n\nThe table is small, and the blood on the table is still fairly slick. Unbalanced, the corpse suddenly starts to slide off the edge, and you fail to arrest its movement in time. With a startlingly loud thump, the corpse hits the ground.\n\nYou add the bloodstained sheet of paper to your existing collection of pages.\n\n> You read the notes\nThe bloodstained sheet of paper reads:\n\nRaymond Pearce, M.D.\nAssistant Director, Mt. Airy Hospital\nApril 16, 1978\n\nI am upset with the Director.\nWhile I am well aware that our hospital is under-funded and that we should take sources of revenue wherever we can find them, renting out our space to private companies performing procedures that we cannot oversee makes me feel rather like a hotel manager. Moreover, I have enough duties to see to without having to carry out the blind and deaf duty of being the Corona Corporation's liaison. Couldn't we have one of our administrators do that? A secretary, perhaps? My medical expertise certainly does not come into play, as I am not allowed to see the experimentation, nor interview the patient. If he is indeed a patient.\nThe lead researcher is friendly enough, but I've not been able to\nget a private word with him since the corporate auditor showed up. I swear, he looks more like a Secret Service agent than a medical professional, and he seems to be everywhere.\nI only want to know what's going on. And barring that, I'd frankly rather not have anything to do with the Corona Corporation. This is not what I signed on for.\n\n> You examine the cabinet\nIt's a fairly small filing cabinet, squatting at about waist height. There seems to be some kind of strange liquid leaking down to the floor from the edges of each drawer.\n\n> You open cabinet\nOpening the bottom drawer of the filing cabinet, you are instantly greeted with a foul biological scent, like stomach acid. The inside of the drawer is completely empty, but covered with some kind of slime. You open the top drawer as well, only to see (and smell) the same results.\n\n> You get the slime\nIt's too awkward to pick anything up while you're carrying the gutted corpse around.\n\n> You get slime\nYou heave the gutted corpse off your shoulder and lower it carefully to the ground. Then, you untuck your notes from your armpit with minimal damage done.\n\nYou consider scraping some of the stuff off to carry it with you, but the idea of having it under your fingernails is a dreadful one.\n\n> You go north\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nThere's a keycard reader beside the sliding door.\n\n> Go west\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\n> Go west\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\n> Go north\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. A long, slow breeze flows from the south past you, reaching towards the deep shadow to the north. Before the light fails, there's a bathroom door in the dull white wall to the east and a laundry chute to the west.\n\n> Y.\nIf you put the gutted corpse in there, it's a good bet you'll never see it again. Are you sure you want to do this? (y/n) >You heave the gutted corpse feetfirst into the laundry chute. It falls partway down before the laundry chute's teeth snap closed. There's a hideous crunching sound, accompanied by the flash of bloodstained teeth in the gloom.\n\nThe gutted corpse is gone. The teeth slowly curve in an unmistakable smile. Then, they melt into the sides of the laundry chute and vanish from view, leaving only smeared blood on the stainless steel tunnel to document the carnage.\n\nThere's no sign of the piece of paper any more, either.\n\n> Y.\nAre you sure you want to go into the laundry chute? (y/n) >After some awkward experimentation, you realize that you'll have to go in headfirst. You put both arms in, shield your face with your arms, and wriggle into the chute. You slide rapidly down through the narrow darkness until the chute abruptly ends. For one heartstopping moment, you plummet through space, but you land safely in something soft. A quiet, papery crunch accompanies your landing.\n\nLaundry, Mt Airy Hospital (in the laundry bin)\nCrumpled white sheets fill an enormous laundry bin underneath the chute's entrance - a great relief, since those sheets were dense enough to competently break your fall. You're currently inside the laundry bin, but you can see the rest of the room well enough. There is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nThe giant laundry machine is running, filling the room with ominous sound and vibration.\n\nAn open door leads south out of the room.\n\nA sheet of typewriter paper is lying on the sheets, looking only a bit worse for its misadventures (including having you land on it). It looks like the one that you knocked free from the laundry chute.\n\n> You read the notes\n(your notes)\nYou already have that.\n\nThe bloodstained sheet of paper reads:\n\nRaymond Pearce, M.D.\nAssistant Director, Mt. Airy Hospital\nApril 16, 1978\n\nI am upset with the Director.\nWhile I am well aware that our hospital is under-funded and that we should take sources of revenue wherever we can find them, renting out our space to private companies performing procedures that we cannot oversee makes me feel rather like a hotel manager. Moreover, I have enough duties to see to without having to carry out the blind and deaf duty of being the Corona Corporation's liaison. Couldn't we have one of our administrators do that? A secretary, perhaps? My medical expertise certainly does not come into play, as I am not allowed to see the experimentation, nor interview the patient. If he is indeed a patient.\nThe lead researcher is friendly enough, but I've not been able to\nget a private word with him since the corporate auditor showed up. I swear, he looks more like a Secret Service agent than a medical professional, and he seems to be everywhere.\nI only want to know what's going on. And barring that, I'd frankly rather not have anything to do with the Corona Corporation. This is not what I signed on for.\n\nYou nearly jump out of your skin as a buzzer sounds loudly from the huge laundry machine. Its motor gradually slows to a halt.\n\n> You get typewritten\nYou pick up the somewhat crumpled sheet of typewriter paper.\n\nYou add the somewhat crumpled sheet of typewriter paper to your existing collection of pages.\n\n> You read the notes\nThe somewhat crumpled sheet of typewriter paper reads:\n\nUnofficial log, April 2, 3:10 pm\nDay one with the Corona Corporation! The intrepid doctor embarks on\na real adventure; hardly the first of his career but certainly the most extraordinary.\nI always considered my interest in the paranormal purely academic.\nNo matter what a man has seen or believes, bringing such beliefs and experiences into the professional arena is a dangerous prospect. Being approached to pursue such things -- for a very tidy sum, no less! -- is not something I ever expected to see in my resume ... but here I am.\nMy team is eclectic, which I suppose is to be expected. Dr.\nAtwater, slated to be my assistant overseer (and the previous man who held my current title), has a closed-minded cynicism matched only by his impressive credentials. Miss Elaine Buchanan, on the other hand, is not only a believer but actually considers herself a psychic. The company evidently agrees, since she is effectively our lead subject-seeker, spending her days poring over newspaper articles, tabloids and television programs.\nIt is difficult not to find the entire outfit somewhat difficult to take seriously, but this is my chance to see what is really behind the closed door of the human mind. I find myself very nervous and excited. - Theo Yehuda\n\n> You examine the laundry machine\nThis laundry machine is positively monolithic, reaching chest-height on you and almost as wide as your full armspan. It lacks controls of any kind; its only feature is the hinged metal door on its top.\n\n> You open the machine\nYou lift the lid of the large laundry machine.\n\nThe inside of the machine is not, as you expected, a metal cylinder, but a fleshy tube with a sphincter-like hole in the bottom. Stubby, glistening cilia, like the ones lining the inside of an intestine from a biology textbook, line the curved walls of the tube, each one wriggling with life. Sitting in the tube is a skeleton, complete but with its flesh eaten cleanly away. The skeleton is wearing a clean, white lab coat.\n\n> You get the skeleton\nIn the clean lab coat is a Corona Labs keycard.\n\n>You gingerly reach inside the laundry machine, cringing away as the hungry cilia reach for your hands. You grasp the skeleton's shoulders through the protection of the lab coat and lift it. Thankfully, enough ligaments and tendons and so forth remain on the skeleton to maintain its cohesion as you pull it out, and you are able to extract it from the machine without breaking it. You lay the skeleton down on the tile floor.\n\n> You take the keycard\nYou fish the keycard out of the lab coat's pocket.\n\n>You already have that.\n\n> You enter machine\nFor a moment, you picture yourself climbing into what appears to be a cannibalistic digestive system in a box. You spend the next few moments being glad that you possess a functioning self-preservation instinct.\n\n> You examine the sink\nThe basin of this sink is made of heavy-duty steel, its shiny surface dulled from poor care and abuse. The functioning parts of the sink are in even worse shape than the basin, though; both handles seem to be missing, and the thick metal faucet, which would normally trace a graceful, high arc, is bent at a jaunty angle.\n\nIn the heavy-duty steel sink is a sheet of ruled paper.\n\n> You get ruled\n(the sheet of ruled paper)\nYou pick up the sheet of ruled paper.\n\nYou add the sheet of ruled paper to your existing collection of pages.\n\n> You read the notes\nThe sheet of ruled paper reads:\n\nRaymond Pearce, M.D.\nAssistant Director, Mt. Airy Hospital\nMay 1st, 1978\n\nWell, things are clearly getting exciting for our guests from\nCorona Labs.\nI'm not sure what's different, but I've heard signs of a struggle\nfrom McMoneagle's room during the day. Nurse Kim reports that his sleeping at night has been disruptive and suspects that his nightmares are more intense than when he first arrived. I want to know more, but obviously none of the Corona employees are telling me anything at all. As always, Cross watches me whenever I'm near their annex.\nSomething very suspicious is going on. They're experimenting on\nthat young man, and it's obviously not anything safe. Be it on their heads if he dies, or becomes violent. They'd better be able to contain it, or we are going to come down on them as hard as the law allows. I swear it.\nYehuda has seemed the most concerned of the lot of them, and has mentioned to me that he may need to requisition \"a few medications\" from me in the near future. Truth be told, I hope he does so. That might give me some insight to just what in heaven's name they're doing."
    },
    {
        "text": "[Themes: psychic, laboratory, medical, gender-neutral protagonist, profanity]\n\n> You look around\nLaundry, Mt Airy Hospital (in the laundry bin)\nCrumpled white sheets fill an enormous laundry bin underneath the chute's entrance - a great relief, since those sheets were dense enough to competently break your fall. You're currently inside the laundry bin, but you can see the rest of the room well enough. There is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nThere's a human skeleton lying on the tiled floor. It's wearing a very clean lab coat.\n\nAn open door leads south out of the room.\n\n> Go outside\nYou get out of the laundry bin.\n\nLaundry, Mt Airy Hospital\nThere is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room, and three canvas-walled carts filled with dirty linens squat awaiting their purpose. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nThere's a human skeleton lying on the tiled floor. It's wearing a very clean lab coat.\n\nAn open door leads south out of the room.\n\nYou can also see a laundry bin (in which is a heap of soiled sheets) here.\n\n> You look at the faucet\nEven if the sink had working handles, the sharp angle at which this faucet is bent would render it useless anyway.\n\n> You take the faucet\nTugging on the faucet has no effect; whatever bent this must have been a tremendous force.\n\n> You go to the east\nThe only obvious exit is south through a doorway into a hall.\n\n> You go to the south\nBasement Hall, Mt Airy Hospital\nLike the hallways upstairs, this hall has fluorescent lighting, dull off-white walls, and tiled floors, but the basement is clearly less cared-for. Grime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies between the elevator doors, blocking them from closing.\n\n> You examine the corpse\nThe battered body of this older man is swollen and purple with bruising, and his limbs bend in more places than they should. Drying blood marks his nostrils, lips, eyes, and earholes.\n\n> You move it\nYou get behind the corpse, set your hands under his shoulder, and shove. You can feel his broken shoulderblades and ribs shifting as he moves, but you manage to get him out from between the elevator doors.\n\n> Go south\nYou open the boiler room door.\n\nBoiler Room, Mt Airy Hospital\nA single incandescent bulb behind a metal cage provides harsh yet inadequate light to this room. A maze of large pipes runs along the ceiling. Most of said pipes lead to a large boiler that squats in front of you, easily taking up three quarters of the small room's real estate. A door to the north leads back to the hallway.\n\nA metal box with a glass surface is mounted on the wall, a fire axe tantalizingly close.\n\n> Examine box\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself in the doorway, a roaring fills your ears, and grayness clouds your vision.\n\nThrough the grayness, you see that the room is hideously spattered with gore, particularly the wall behind the boiler. Amid the less recognizable chunks, you spot a bloodsoaked leather dress shoe, a cracked cell phone, and a shredded lab coat.\n\nYour vision clears and the roaring fades. The blood, the half-identified body parts, the shoe - all have vanished.\n\nIt's a metal box containing a pristine, solid steel fire axe. The glass on the front shows the words, \"In case of emergency, break glass.\" With what, a fire axe?\n\nIn the metal box is a fire axe.\n\n> You examine the pipes\nThe harsh light barely illuminates a maze of large metal pipes, most of which lead to the large boiler in the center of the room.\n\n> You touch the pipes\nUpon contact, your fingers convulse tightly around the pipe. The pipe groans, a sound that resonates not only through the boiler room, but through your bones and your skull. Your fingers slacken....\n\nAs your outer eyes close, your inner eye opens. Dimly, you perceive your body rebounding from the pipes to crumple on the floor, but you're not there any more.\nPress any key to continue.\n\nFleeting impressions flash through your awareness. It's hard to orient yourself. You're running - banging helplessly at an elevator button that doesn't respond - turning desperately down the hall. Fleeing down a set of stairs. Thoughts pelt past with the same speed as your running footsteps, rasp through you like your hard-stolen breaths. Grasping for inner purchase, you come up with a name:\n\nLeon Shaunessy.\n\nWith the name comes identity:\n\nNeurologist, Corona Laboratories, Mount Airy division. Father of two, divorcee of one, lover of good scotch and handwritten letters and speedcubing. Probably the world's leading expert in the effects of Naegleria splendens, though it doesn't mean a good goddamned thing now....\n\nHis perceptions are yours, his thoughts rush through you, and his fear contaminates you as he runs down the hall, stumbles through the door, and slams it shut. You look and see:\n\nUntil today, you had never visited the facility's boiler room. A single incandescent bulb behind a metal cage provides a harsh yet inadequate light, and a maze of large pipes runs along the ceiling. Most of the pipes lead to a large boiler that squats in front of you, easily taking up three quarters of the small room's real estate. In the rear of the room, an oversized exhaust fan with wide blades stands unmoving.\n\nA loud, electronic buzz permeates this room.\n\nThe door to the east is closed, but there's no lock. You've got to bar it somehow.\n\n> You search pipes\nYou find nothing of interest.\n\nYou think you hear something outside the door, and your strained nerves shriek. If the door isn't barred, the horrors could come straight in after you. You can't possibly hold the door shut with muscle power alone.\n\n> You look at the pipes\nThe pipes run all over the room, most eventually reaching the boiler. Two red pipes run parallel to the door. A pipe that seems to be loose from the rest of the framework is wedged in the fan at the room's south side.\n\nYour heart is beating so fast it could burst. You urgently need to block the door somehow.\n\n> You take the pipe\n(the loose  pipe)\nYou grab the loose length of pipe and pull hard on it. After a few tries, you hear a groaning noise, and the pipe suddenly breaks free. You stumble backward with the pipe. The fan blades, now loose, resume their rotation, turning in a slow circle. The buzzing in the room stops, becoming a low hum instead. Something about the humming resonates through your mind, dizzying you....\n\nIn the moment of your dizziness, Leon moves with no prompting. Heart pounding, he slides the metal pipe behind the pair of red pipes, resting it on the pipe bend and the door's handle. The door is effectively barred shut.\n\nThe fan's rotation gently increases in speed, causing a breeze to waft through the room.\n\n> You examine the fan\nIt's an almost comically large exhaust fan, six feet in diameter and with blades about a foot wide. While the room may get hot because of the boiler, the fan seems a bit larger than is necessary. The fan is currently spinning.\n\nThe fan continues to turn. Your hair moves in the strengthening breeze.\n\n> You check your inventory\nYou're wearing a dirt-smeared lab coat and a security badge and carrying a Samsung cell phone. In sum, you have absolutely nothing of use.\n\nThe fan's rotation picks up speed, causing the breeze to increase in intensity. You brush hair from your face.\n\n> You examine the badge\nCorona operates on a magnetic security badge system instead of physical locks. This is your badge, complete with a rather august photo, which allows you to open any doors in the secure Corona area of the Corona building.\n\nOf course, you're not exactly in the secure Corona area now, nor would you want to be (he remembers the jointed, steel-legged spider crouching to fit through a doorway, blood streaking its legs to half their height - then pushes the idea sharply out of his mind).\n\nThe hum of the fan's motor has become increasingly loud, and it shows no indication of stopping. Dust is dragged from the ground and sucked through the fan.\n\nSome internal alarm rouses you, and you struggle for identity. This is not you. Leon Shaunessy is not you..\n\n> You examine the cell phone\nThe cell phone is off, its screen dark.\n\nThe Samsung cell phone is currently switched on.\n\nThe fan's blades are now a blur. It's getting harder to breathe in here. The pipe rattles in the door, drawn, like all loose objects, toward the fan.\n\nHe's going to die. You can feel his death coming.\n\n> You get the pipe\n(the barricade pipe)\nYou don't dare take the loose pipe away; it's the only thing separating you from the nightmare outside.\n\nAs the fan's speed continues to increase, you find it difficult to maintain your footing. You realize with despair that the horror has found you after all, and tricked you into trapping yourself with it.\n\nNot you. This isn't your death - it's his.\n\nYou struggle your way to the door and grasp the length of loose pipe, trying to remove it from the door and make it out of this wind tunnel. Just as you grab the pipe, the suction becomes too powerful. Your shoes lift from the ground and you find yourelf holding onto the pipe for dear life as the fan cuts a deadly whirlwhind behind you.\n\n> You get the pipe\n(the barricade pipe)\nLeon doesn't respond to your suggestion. He's too busy clinging to the pipe.\n\nAfter a few seconds, his grip, slick with nervous sweat, begins to fail. His fingers lose their strength. Suddenly he is torn free, his body falling sideways through the air for a few long moments before striking the fan. The powerful blades churn Leon Shaunessy's body into a paste, spraying the wall behind with gore.\n\nIn the instant before death, you rip your consciousness free of his. Leon Shaunessy is dead, but you are still alive.\nPress any key to continue.\n\n> Y.\nYou sense it."
    },
    {
        "text": "[Themes: laboratory, medical, profanity, psychic]\n\n> Look around\nBoiler Room, Mt Airy Hospital\nA single incandescent bulb behind a metal cage provides harsh yet inadequate light to this room. A maze of large pipes runs along the ceiling. Most of said pipes lead to a large boiler that squats in front of you, easily taking up three quarters of the small room's real estate. A door to the north leads back to the hallway.\n\nA metal box with a glass surface is mounted on the wall, a fire axe tantalizingly close.\n\n> You examine the cage\nIt's a metal cage surrounding the single lightbulb, providing eerie shadows to the light it casts. It appears to be screwed into the ceiling.\n\n> You examine Boiler\nIt's a large metal boiler. A gentle hiss comes from it, so you assume that it's still functional. You don't see any visible controls, but even if you did you don't think you'd know what to do with them.\n\nYou note a white piece of paper lying behind the boiler.\n\n> You get the paper\n(the piece of unlined paper)\nYou pick up the piece of unlined paper.\n\nYou add the piece of unlined paper to your existing collection of pages.\n\n> You read the paper\n(your notes)\nThe piece of unlined paper reads:\n\n4/20/78\nI knew it! I was right about him!\nIan is consistently testing better than any other subject we've put through the paces. His score with the Zener cards is consistently over 50% and he's shown some promise with psychometry. Dr. Atwater says that it's all within the limits of random chance, of course. That man would, presented with a UFO, write it off as a trendy new model of Chevette.\nWe still have some testing to do to determine Ian's psychological resilience and mental strength. There is some concern about his chronic nightmares and emotional difficulties, but I honestly think that one comes from the other. It's not uncommon for psychics to have problems like these.\nIf everything checks out, it should be about a week before he's introduced to the symbiont. I have a lot of faith, but it still makes me nervous. No one's survived it. If I don't trust my instincts, I have no reason to believe that Ian will be an exception.\nNothing to do but wait and see.\nEGB\n\n> Go north\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> You go to the east\nBasement Hall, Mt Airy Hospital\nAt this end of the dingy basement hall, the only intact door is labelled with a black sign reading \"Autopsy Room/Morgue\".\n\nA white 10-digit keypad is attached to the wall beside the door.\n\nIn the adjoining wall, a bent doorframe holds a severely dented metal door that has been very badly dented toward you.\n\n> Go east\nYou shove the bent door experimentally. It does not even budge.\nEven with tools, it would take hours to get through this door.\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nA piece of unlined paper lies face-down on the elevator floor.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\nI beg your pardon?\n\n> You get paper\n(the piece of unlined paper)\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself on the far wall, your ears fill with a strident, sharp ringing, and grayness clouds your vision.\n\nThrough the grayness, you see a pudgy man with thinning brown hair lying on the floor. His open eyes stare lifelessly into nowhere, and his lips are twisted in a half-smile. There's no nametag on his white lab coat. A small trickle of dark red blood runs from his ear to the floor.\n\nYour vision clears and the ringing fades. The corpse is gone.\n\nYou pick up the piece of unlined paper.\n\nYou add the piece of unlined paper to your existing collection of pages.\n\n> You read notes\nThe piece of unlined paper reads:\n\n3/20/77\nThis diary has seen a lot of angry words from me and a lot of them have been related to my being declared an \"inadequate\" test subject for Corona. I have the ability. I have the will. I've never been able to understand what they meant when the Corona techs said I had an \"inadequate psychological profile\" to be a carrier for the Project's symbiont.\nSince being hired, though, I'm starting to see an ugly truth: My inadequacy may have saved my life.\nThis thing is killing people. It hasn't even been a year since I was placed as Dr. Atwater's assistant and we've seen twelve deaths. Twelve.\nPresumably all of these people had stronger minds than me, if they were taken into the program. But days after they're declared suitable and given the symbiont, they end up tagged, bagged and shelved. Would that have happened to me?\nNo, I'm better off where I am. And I have to have faith. I believe in the researchers behind the symbiont, believe in Mr. Schuyler because he believes in us. Believes that I'm the only person who can find him. I'll find the one soon.\nEGB\n\n> You answer the phone\nYou hit the ANSWER button. Nothing happens.\n\nYour cell phone rings again. It might be Rayjay.\n\n> You look at what you're carrying with you\nYou are wearing your lab coat, which has your cell phone in one pocket but not (you discover now) your Palm Pilot. In light of the carnage upstairs, you're not too concerned. The white lab coat also contains a security badge. You also have your wallet and the key to your van. And, of course, the scooter.\n\nYour cell phone rings again. The sound seems terribly loud in this confined space.\n\n> You examine the wallet\nYour wallet is made of real leather, but of inexpensive design. You recently cleaned out all of the extra junk in it, so it only contains the bare essentials... all of which are utterly useless right now.\n\nThe cell phone's ring fills the car again, painfully loud, and you realize that it's not just the confined space. The sound is increasing in volume.\n\n> You look at the scooter\nYou call it a scooter to keep from calling it a wheelchair, but you never really forget that it's a wheelchair. It's four-wheeled, candy-red, and equipped with a neat little joystick to trigger the motor. It isn't that you can't walk - you can - but the shaking gets too bad, and if you fall down in the middle of the lab, where will you be then?\n\nNot that you can do much in the lab except point and instruct. That's why you need Rayjay - his steady hands are your hands now, and his confidence in you keeps you centered.\n\nThe cell phone rings again, as loud as a child screaming. Why is the elevator so slow?\n\n> Smash phone\nYou tighten your trembling hand around the phone and then smash the phone into the wall. It's a brand new Nokia - surely there are delicate electronics in here. Surely even you can break it. You hit the wall with the phone again.\n\nThe cell phone rings, and the sound transfixes your flesh to vibrate your very bones and your spine. Redness flashes before your eyes as the sound fills your head. The elevator is so very slow.\n\n> Keep going\nYou tighten your trembling hand around the phone and then smash the phone into the wall. It's a brand new Nokia - surely there are delicate electronics in here. Surely even you can break it. You hit the wall with the phone again.\n\nThe phone rings again, and scarlet spirals through your vision as agony rips through your ears, your skull, your brain. The sound is too much for you to endure.\n\nHe's going to die. You can feel his death coming.\n\nWhy won't the elevator stop? The number 2 glows, the elevator hums, but surely you should be at the ground floor by now.\n\n>You tighten your trembling hand around the phone and then smash the phone into the wall. It's a brand new Nokia - surely there are delicate electronics in here. Surely even you can break it. You hit the wall with the phone again.\n\nThe phone rings, and it is louder than anything you have ever heard. You can't see anything but red, and your involuntary scream of pain is lost in the terrible ringing.\n\nNot you. It's not your death.\n\nYour vision clears as the floor indicator flashes to 1.\n\n> You wait a while\nTime passes.\n\nThe phone rings again. Your entire body twitches, as if the sound were an electric shock, and the familiar, well-hated tremors run through your hands and over your face, making you twitch like a seizure patient.\n\nIt's not you. You're not the one dying.\n\nThe elevator stops.\n\n> Scream\nNo. No one would hear you through the elevator walls.\n\nNot you.\n\nThe phone rings again. The klaxon sound overwhelms Tobias Ensfield's trained, calculating brain and disrupts delicate balances in his head. A fine trickle of blood seeps from one of his ears, strangely ticklish, strangely painless.\n\n> Wait\nYou're out of time.\n\nThe elevator doors slide open. Beyond the doors, the ground floor hallway is a half-obscured hell of crackling electricity. Amid the leaping sparks are bodies every bit as hideous as Camille deVries's.\n\nTobias Ensfield gives up. He relaxes into the agony of the phone's next strident ring, and an odd sense of relief overcomes him as he dies.\n\nAnd then the noise is blessedly gone.\n\n> You wait for a while\nPress any key to continue.\n\n> Y.\nYou are sure of it.\nPress any key to continue.\n\nYou're lying on the elevator floor. You slowly get to your feet.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> You look at the panel\nThe control panel is heavily scuffed at gurney-height, and the button for the 2nd floor appears to have been replaced at least once. The buttons are marked B through 4. There is also an extended button marked \"Alarm\" and a key switch marked \"Fire\", which is scarred with key marks.\n\n> Wait\nTime passes.\n\n> You wait awhile\nThe elevator comes to a halt with a quiet ding. The ground floor button stops glowing, and the doors slide open.\n\n> Go east\nYou step through the elevator doors and into the dim hallway.\n\nHallway, Mt Airy Hospital\nThe overhead lights are shattered to the north and south, leaving this solitary space brightly lit in the white-walled hallway. Looking to the south, you can glimpse the dim squares of light that are the windows of the far-distant lobby. Twin doors stand open across the hallway, and a placard beside them reads \"CAFETERIA\". The elevator doors are to the west.\n\nThere is a handwritten menu taped below the placard.\n\n> Examine menu\nIn looping calligraphy, someone has written out a rather unappetizing menu.\n\n> You read it\nThe handwritten menu reads:\n\n\n\n~~o~~\nMashed potatoes\n~~o~~\nCarrots and peas\n~~o~~\nPears or sherbert\n\n> You go to the east\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into the kitchen, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\n\n> You examine the machine\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself against a table, a feverish heat rises in your cheeks, and grayness clouds your vision.\n\nThrough the grayness, you see a tall black woman contorted into a protective fetal position. Although her arms are shielding her face, you recognize the beaded braids and lab smock of \"Best\" Ife, one of the techs from your Corona Labs. Her skin is horribly blistered, and it hangs loosely on her slim-boned body. In places, the flesh has split to reveal the cooked muscle below.\n\nThe fever fades, and your vision clears. Mercifully, the corpse is gone.\n\nIt's an old-style snack vending machine. A small window near the top displays a few snacks, doomed to forever be display products only.\nThe rest of the machine's surface displays an abstract design featuring several loops and a drawing of a building. The design seems familiar to you. Bizarrely, the vending machine lacks a keypad and any means of inserting money; you have no idea how anyone is supposed to get snacks out of it. A plastic flap conceals the lower compartment where the snacks are supposed to come out.\n\n> You open flap\nYou push open the plastic flap. Inside the compartment of the vending machine, you see: the piece of unlined paper.\n\n> You take the paper\n(the piece of unlined paper)\nYou pick up the piece of unlined paper.\n\nYou add the piece of unlined paper to your existing collection of pages.\n\n> You read the notes\nThe piece of unlined paper reads:\n\n5/3/78\nIan is suffering a lot, and he says that his headaches are worse than ever. I knew that this would be a part of it, but things are going to be difficult for all of us until his mind adjusts to the symbiont. I'm confident that it will.\nIn the meantime, it's a bit difficult not to be a bit unsettled by\nthe intensity of his nightmares. I don't think I would even know about them if it weren't a set part of our counseling sessions. He's very reluctant to talk about them, and refused to do so until I reminded him that failing to do so might hamper testing.\nThere's a common theme to his nighttime ordeals. Imagery involving teeth, internal organs, and being trapped in a moist, wet space are showing up over and over again. I've got to assume that Ian is obsessed with being eaten.\nI can't help but wonder if he witnessed something awful when he was little, but he gets very upset when questioned about the possible source of the nightmares. Maybe I'll ask again once his mind has recovered a bit.\nNervous but hopeful!\nEGB\n\n> You look at rails\nIt's a set of rails that you put cafeteria trays on while you're getting your food. Strangely, there are no such trays in sight.\n\n> You look at the tables\nPlain particle board tables with a wood veneer surface. Clearly a permanent fixture here, they look pretty heavy.\n\n> You look at gap\nYou look through the gap into the kitchen, only to find that the kitchen is not there. Where the floor of the room through the gap should be, some kind of room-sized fleshy tube leads down to God-knows-where. Some kind of strange smell emanates through the gap. You find yourself somewhat grateful that there is no visible way to get there.\n\n> Go west\nHallway, Mt Airy Hospital\nThe overhead lights are shattered to the north and south, leaving this solitary space brightly lit in the white-walled hallway. Looking to the south, you can glimpse the dim squares of light that are the windows of the far-distant lobby. Twin doors stand open across the hallway, and a placard beside them reads \"CAFETERIA\". The elevator doors are to the west.\n\nThere is a handwritten menu taped below the placard.\n\n> Go north\nYou turn your back on the distant lobby windows and walk north along the dim hallway.\n\nHallway, Mt Airy Hospital\nIt's very dark here, but enough light from the south stretches up the hall to help you find your way. Underfoot, the texture of the tile floor seems less stable and more mushy than it used to be. The air is thick with a dank, somehow metallic odor.\n\n> You look at the floor\nYour questing fingers come across a sheet of partially damp paper clinging to the floor. You peel it off and pick it up.\n\nYou add the piece of unlined paper to your existing collection of pages.\n\n> You read the notes\nIt's too dark to read anything here.\n\n> You go to the south\nMore quickly than you might have expected, you reach the well-lit square by the cafeteria and the elevator.\n\nHallway, Mt Airy Hospital\nThe overhead lights are shattered to the north and south, leaving this solitary space brightly lit in the white-walled hallway. Looking to the south, you can glimpse the dim squares of light that are the windows of the far-distant lobby. Twin doors stand open across the hallway, and a placard beside them reads \"CAFETERIA\". The elevator doors are to the west.\n\nThere is a handwritten menu taped below the placard.\n\n> You read the notes\nThe piece of unlined paper reads:\n\n5/12/78\nThere will never be anything I can do to make up for the sins I have committed. Blinding myself to the danger of this experimentation, as tied to it as I was, is a pure product of my own ambition and bitterness at having been rejected. I should have known long ago.\nNow it is only because of that connection that I am alive and\neveryone else is dead.\nI know where he is and where his nightmares are. I can stay alive while I find out what I need to do to beat him.\nNo matter what else happens, I have to try. Even if it kills me. I helped birth this monster in an innocent young man. Now I must kill it or die trying.\nIt's all up to me now.\nEGB\n\n> You go south\nYou walk south down the hall toward the distant lobby.\n\nHallway, Mt Airy Hospital\nAbove, the lights are shattered, leaving this part of the hallway dark, and shards of glass crunch softly underfoot. To the south, the lobby windows shine like a will-o-the-wisp. To the north, harsh fluorescent lights still illuminate the hall near the elevator.\n\n> You look at the glass\nYou crouch to feel across the darkened floor. Your fingers encounter curved shards and prickling splinters before encountering something of a different texture - papery and flat. You pick up the piece of paper, brushing off the fragments.\n\nYou add the sheet of ruled paper to your existing collection of pages.\n\n> You read notes\nThe sheet of ruled paper reads:\n\nRaymond Pearce, M.D.\nAssistant Director, Mt. Airy Hospital\nMay 8th, 1978\n\nWell!\nDr. Yehuda has come to requisition supplies as he said he might,\nbut I daresay I expected the man to be more composed when he did so. He was wild-eyed when he came to my office, with the air of a\nfugitive who had just escaped a pursuer. It was therefore somewhat less of a surprise when he asked that I not report the requisition to Mr. Cross. Much as I would have liked to use the information as a bargaining chip, I am inclined to be more lenient to Dr. Yehuda as opposed to Cross, not to mention the fact that any requisition at all would give me information that I didn't have before.\nThough suspicious, I therefore consented.\nDr. Yehuda asked for a dose of liquid tyramine for synthesis, as\nwell as a drug that contained diazepam, benzodiazepenes, and beta blockers. Concerning the tyramine, I knew that the hospital had only one supply of the stuff suitable for the lab, and that went by the brand name Vanemine. We also had a cocktail matching the doctor's second request, which sold under the brand name Sandepam. I assured him that both would be made available to him.\nAs soon as I was clear of the Doctor, I began researching his\nchoices, starting with the most specific and targeted. Given its specific chemical cocktail, Sandepam is primarily kept as a treatment for a potentially fatal adrenergic storm. While there are a lot of causes of such a condition, an overdose of tyramine is one. I can assume, then, that the relationship between the drugs is causal. So why would he need tyramine in the first place? I have trouble believing that Corona has hired out an annex to research some kind of advanced \"cheese effect.\"\nGiven the secretive and dangerous air about the project combined\nwith a need for high levels of a potentially life-threatening norepinephrine, I can only assume that they are playing with McMoneagle's brain. Are they trying to create a supersoldier? An advanced neurotoxin?\nThis is too dangerous. I've got to get to the bottom of it, even if\nit puts my position in danger.\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> Wait\nTime passes.\n\n> You wait awhile\nThe elevator comes to a halt with a quiet ding. The second floor button stops glowing, and the doors slide open.\n\nThe scene that greets you as the elevator doors slide open is one extracted directly from nightmare. Rather than a hallway, the area ahead of you appears to be some kind of cave made of flesh, lined with fanged jaws and pulsating sphincters. Hideous, amorphous creatures spawn within seconds, only to be devoured messily seconds later. The air is thick with the smell of feces, bile and death. A rusty iron portcullis directly behind the doors, glistening with blood, does little to hide the horrors but mercifully separates you from stepping into the hall... and keeps the things there from getting to you.\n\n> You wait\nThe elevator comes to a halt with a quiet ding. The fourth floor button stops glowing, and the doors slide open.\n\n> Go east\nYou step through the elevator doors into unfamiliar terrain.\n\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> You go south\nYou open the wooden door.\n\nStaff Lounge, Mt Airy Hospital\nThis windowless room smells of cigarette smoke and less savory things, but it's comfortingly normal - no corpses, no blood, no mystery teeth, and no other signs of the cataclysm experienced by the rest of the building. Signs and memos litter the bulletin board and the surface of the refrigerator. Utilitarian black chairs cluster around a small round table, and, at the far end of the lounge, a pale blue couch sprawls in front of the silent television sitting on a back counter.\n\nA windowless wooden door to the north leads out of the staff lounge.\n\n> You look at the bulletin board\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself in the doorway, static fills your ears, and grayness clouds your vision.\n\nThrough the grayness, you see a dark-haired man lying on the floor in an unnaturally twisted position. You recognize him as Rayjay Farley, a tech of some kind from your Corona Labs. Below the neck, his skin is completely raw, as if it had been sunburned badly and then sanded off.\n\nYour vision clears and the static fades. The corpse is gone.\n\nIt's a normal bulletin board made of dark cork.\n\nOn the cork bulletin board are an assortment of plastic-headed push pins, a bake sale advertisement, a neatly written memo and a newspaper clipping.\n\n> You look at the push pins\nSeveral push pins stud the dark surface of the cork bulletin board.\n\n> You examine the ad\nThis is an elegantly designed (yet still visibly amateur) bake sale ad.\n\n> You read it\nThe bake sale advertisement reads: Bake sale Wed. 5/17 to Fri. 5/19 to benefit the American Cancer Society. Cookies, brownies, cupcakes, we want it all! Contact Sandra C. to donate.\n\n> You examine the memo\nThe handwriting is neat and precise. The numbering is so careful that you could mistake it for computer printing, save that it's some twenty years too early.\n\n> You read it\nThe neatly written memo reads: Please don't forget - the autopsy room access code has changed -> 5 7 1 3 9\n\n> You look at the clipping\nThe garishly large headline of the story is clipped from another source - the front page, perhaps - and stapled to the top of the article. The article starts, \"HUMAN CLONING IS HERE! David Rorvik, author of bestselling book Your Baby's Sex: Now You Can Choose, has written a new book talking about his secret cloning lab in South Africa!\" Across the bottom of the article, someone has written \"B.S.!\" with a wide black marker.\n\n> You look at the fridge\n(the massive refrigerator)\nThe tall refrigerator has just one door - there's no freezer compartment.\n\nOn the massive refrigerator are a handful of colorful magnets and a fridge warning note.\n\n> You read it\nThe fridge warning note reads: FRIDGE CLEANING NEXT TUESDAY. Label your things if you don't want them thrown out!\n\n> You look at the magnets\nA number of thin magnets are stuck to the surface of the fridge, every one of them some kind of advertisement. Many are ads for pharmaceuticals, but a few are for local restaurants.\n\n> You open fridge\n(the massive refrigerator)\nYou're not sure what you expected to find in the fridge, but even at your most pessimistic you wouldn't have guessed this. Opening the fridge reveals a full set of working internal organs, filling the fridge completely from wall to wall. You watch the lungs inflate and deflate rhythmically next to a distended yellowish heart, only a short distance from a gurgling stomach and pulsating intestines. The organs all churn with life, though each one looks discolored and bloated. An indescribable organic stink wafts from the organs.\n\n> You look at the heart\nPulsating, yellowish, disgusting, smelly organs pack the inside of the refrigerator. The layout seems to be similar to that of a human, but much larger and bloated beyond belief.\n\n> You close fridge\n(the massive refrigerator)\nYou shut the refrigerator door, blocking out the hideous sight within.\n\n> You examine the couch\nThis couch has definitely seen better days. A rip on the side mars the upholstery, and the cushions are lumpy and malformed.\n\n> You examine the cushions\nThese cushions are worn-down from years of being sat on, and the stuffing has gotten malformed, giving them a lumpy feel. They seem to be sewn directly to the couch's upholstery."
    },
    {
        "text": "[Themes: experiments, psychic]\n\n> Describe the surroundings\nStaff Lounge, Mt Airy Hospital\nThis windowless room smells of cigarette smoke and less savory things. Signs and memos litter the bulletin board and the surface of the refrigerator. Utilitarian black chairs cluster around a small round table, and, at the far end of the lounge, a pale blue couch sprawls in front of the silent television sitting on a back counter.\n\nA windowless wooden door to the north leads out of the staff lounge.\n\n> You look at the table\nA cheap-looking but inoffensive coffee table, probably of Swedish design.\n\nOn the small round table are a dirty ashtray and a small piece of unlined paper.\n\n> You take the unlined paper\nYou pick up the small piece of unlined paper.\n\nYou add the small piece of unlined paper to your existing collection of pages.\n\n> You read notes\nThe small piece of unlined paper reads:\n\nAlice's Diary, 4/17/78\n\nI know it's totally unprofessional, but I can't help but think that the patient in room 320 is really interesting.\nI don't know much about him. He's in an annex that's being used by an outside corporation for a secret project or something. I'm not even really supposed to talk to him, but ...\nWell, he looks so sad. He hasn't gone home in a week and a half and he'll be here for even longer than that, and he's got to be really lonely. They can't expect me to come through the room and give him food and change his linens and keep my mouth clamped shut the whole time. That's not fair to him and it's not fair to me either.\nMore than food and linens and medication, what a patient like that needs right now is a friendly face and light conversation if he happens to be up late. That's not a crime, is it?\nAnd I've gotta admit ... he's kind of cute.\n\n> You examine the ashtray\nIt's just a dirty ashtray.\n\n> You look at the tv\nThe television sits dark and silent.\n\n> You turn it on\nThe television turns on with a click. The meaningless roar of static fills the room as tiny black and white dots flit over the screen.\n\n> You turn the tv off\nThe static seething over the television screen shrinks to a tiny dot and disappears. Silence fills the room again.\n\n> You search the couch\nYou search among the cushions, but surprisingly enough, you don't find any spare change. However, there is something small, hard, and squarish in the couch rip. Easing it out, you discover that it is a typewriter key.\n\n> You look at the key\nA small black key with a white letter I.\n\n> You take it\nYou already have that.\n\n> You go to the north\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\n> You examine the water\nWater trickles from under the bathroom door in a slow stream, moving to the seam between the floor and wall and running down the hallway.\n\n> You go to the north\nYou open the gray door.\n\nBathroom, Mt Airy Hospital\nYou step in a thin layer of water that covers the floor immediately upon entering the bathroom. While the single toilet here appears to be whole and undamaged, it is filled nearly to the brim with some kind of thick, reddish-brown substance that you cannot immediately identify. The sink's faucet is on, and the sink is filled to the brim with water, which is overflowing continuously onto the floor. An undamaged mirror sits above the sink.\n\nA gray door to the south leads out of the bathroom.\n\n> You turn off the faucet\nYou turn off the faucet and water ceases to flow from it.\n\n> You examine the mirror\nThere is something profoundly disturbing about seeing your own likeness in these environs, as though it somehow legitimizes the nightmare you're slogging through. You quickly look away.\n\n> You look at toilet\nThe toilet is filled with some sort of disgusting reddish-brown gunk. It stinks of rotting meat, though not as badly as the hallway.\n\n> You examine the water\n(the thin layer of water)\nSpilled water sits perhaps an inch deep on the floor, making your footing treacherous. There doesn't seem to be anywhere for it to drain away.\n\n> You examine the gunk\n(the clogged toilet)\nThe toilet is filled with some sort of disgusting reddish-brown gunk. It stinks of rotting meat, though not as badly as the hallway.\n\n> Go south\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> You go east\nYou begin to walk east, and have not walked ten paces before the darkness engulfs you completely. You are unable to see so much as your hand in front of your face, and the vomitous smell increases in intensity.\n\nIt's dark here, and the darkness reeks. You can barely perceive the dim light of a dying fluorescent bulb back to the west, where you came from, but there is only darkness moving forward.\n\n> You examine the floor\nYou briefly crouch down and touch the floor. Its texture is unpleasantly slick.\n\n> Smell\nThe air smells horrible, like a stew of fresh vomit. You're trying not to dwell on it too much.\n\n> You go east\nYour steps become more cautious out of instinct and you place your hand in front of you, feeling for a wall or obstacle. It is only as you slow down that you notice the floor giving a bit beneath your feet, as though you are walking on a gym mat or soil after a rain.\nYou pause and consider turning back, and are only moments too late.\n\nThe walls and floor, rubbery and sticky, constrict together with no warning and pull you down into an unseen tunnel. You can feel ropy, pulsing movement as you are pulled down further and further. After what seems like an eternity of being pulled through a hot, suffocating nightmare, the walls shove you into some kind of burning liquid.\n\nThe liquid stings every surface of your skin. The pain is unbearable. You black out....\nPress any key to continue.\n\nConsciousness returns. You muzzily realize that you are gazing at the ceiling of the Corona Labs test chamber just before the door slams open. Dr. Shaunessy, the neurologist, hurries into the room. Dr. Ephart follows close enough behind to step on his heels. \"How many fingers do you see?\" Dr. Shaunessy asks, kneeling down beside you, and Dr. Ephart rests light fingers on your wrist to take your pulse. In short order, they conclude that you suffered a vasovagal syncope and struck your head in the fall.\n\nYou try to talk to the doctors, but your words are confused and disjointed. Your gaze drags across the fallen photograph, half-shadowed by the folder above it, and you see the gaunt young man screaming. You can't find the words to make them understand. Though you can nearly stand on your own, the doctors firmly escort you from the room and off to bed.\n\nDr. Shaunessy leaves, but Dr. Ephart stays with you as the sedatives take hold. \"Don't worry,\" she says, resting a gentle hand on your shoulder. \"Everything will be all right.\"\n\nSix days later, the past repeats itself in Corona Labs.\nNo one escapes alive.\n\n> Go west\nYou rapidly return to stand beneath the single dying light.\n\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> You wait\nThe elevator comes to a halt with a quiet ding. The basement button stops glowing, and the doors slide open.\n\n> Go east\nYou step through the elevator doors and into the grimy basement hallway.\n\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> You go to the east\nBasement Hall, Mt Airy Hospital\nAt this end of the dingy basement hall, the only intact door is labelled with a black sign reading \"Autopsy Room/Morgue\".\n\nA white 10-digit keypad is attached to the wall beside the door.\n\nIn the adjoining wall, a bent doorframe holds a severely dented metal door that has been very badly dented toward you.\n\n> You examine the keypad\nThe ten white keys on the keypad are numbered in black from 0 to 9. There are also two lights, both unlit at this time."
    },
    {
        "text": "[Themes: laboratory, profanity, experimentation, psychic, medical]\n\n> You look at your surroundings\nBasement Hall, Mt Airy Hospital\nAt this end of the dingy basement hall, the only intact door is labelled with a black sign reading \"Autopsy Room/Morgue\".\n\nA white 10-digit keypad is attached to the wall beside the door.\n\nIn the adjoining wall, a bent doorframe holds a severely dented metal door that has been very badly dented toward you.\n\nThe green light on the keypad winks out.\nThere's a click from the door as the lock reengages.\n\n> You go to the east\nYou shove the bent door experimentally. It does not even budge.\nEven with tools, it would take hours to get through this door.\n\nThe green light on the keypad winks out.\nThere's a click from the door as the lock reengages.\n\n> Go north\nYou open the autopsy room door.\n\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA sheet of typewriter paper lies on the floor very near the hallway door.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\n> You take paper\n(the sheet of typewriter paper)\nYou pick up the sheet of typewriter paper.\n\nYou add the sheet of typewriter paper to your existing collection of pages.\n\n> You read the notes\nThe sheet of typewriter paper reads:\n\nUnofficial log, April 15, 11:00 am\nI suppose someone must have listened to Elaine's assertion that\nthis test subject was different from the rest, since we've just gained a new member of the team.\nThis was not a pleasant cup of chicory to down first thing in the morning. Don't get me wrong -- I would love, more than anything, to welcome Simon Cross to our ranks, and G-d knows that we could stand to gain another team member. Of all of the positions we had open prior to today, however, I'm not sure I ever would have counted \"Company Spook\" among them.\nPerhaps I am being unfair, but it is my opinion that hypnotizing yourself into believing that a knife is a rolling pin will not prevent you from needing stitches after trying to make bread dough. Cross's official title is \"auditor.\" He claims that he is here to oversee Corona's professional interests in the Project, and I don't doubt him one bit. Cross oozes \"professional interests.\" He brushes his teeth with it, or he wouldn't be able to give me that sharkish grin.\nStill, we are bedfellows now. There's nothing to do but see to it\nthat he is comfortable ... and bored.\n- Theo Yehuda\n\nThe hallway door swings closed. There's a click as the lock reengages.\n\n> You examine the corpse\nUntil very recently, this body belonged to a precisely-handsome man in his late twenties or early thirties, wearing a finely-pressed and very expensive suit. Now both the suit and body have been peeled open, exposing everything within. The flaps of skin that once held the corpse's organs in place are stretched in four directions, one for each flap. Surgical thread embedded in the ceiling with heavy needles stretches the skin upward, giving a coliseum view to the gore within. The man's vivisected torso is littered with dozens of surgical instruments - scalpels, forceps, hypodermic needles - each one driven in with such force as to be stuck in place. Some are barely visible. Only a surgical bonesaw, currently half-bisecting the man's neck, looks extricable. The man's face is distorted in a silent scream, and, upon closer inspection, you can just see something stuck inside his mouth.\n\nThe corpse's right hand is curled desperately around a small black pistol, the kind you're used to seeing in spy films.\n\n> You examine the pistol\nA small, sleek black pistol with a short barrel. It reminds you of the Walther PPK from 60s spy movies.\n\n> You take the pistol\nThe corpse's hand maintains a death-grip on the pistol, rendered unbreakable by rigor mortis.\n\n> You examine the mouth\nYou peer into the mouth of the corpse.\n\nIn the corpse's mouth is a wad of crumpled paper.\n\n> You take crumpled\n(the wad of crumpled paper)\nYou gingerly reach inside the corpse's mouth and extract the piece of paper, trying not to touch the dry-yet-tacky sides of the mouth as you do so. Then, you flatten it into legibility.\n\nYou add the small page torn from a compact notebook to your existing collection of pages.\n\n> You read the notes\nThe small page torn from a compact notebook reads:\n\nS.C. - Entry 1978-05-12-0230\n\nDoctor, Doctor, Doctor.\nI know that you're not used to people sifting through your notes, but you should know by now that you are out of your element. I'm sure that you have a private diary that I won't find, but keeping crib notes of your experiments on the side is simply not a very good survival technique.\nTyramine? Diazepam? Dead samples of the symbiont? I may not be a doctor, Doctor, but I am not a fool and I am in a facility chock full of useful texts.\n\"Curing\" Ian will not save him, and your attempt has sealed your fate. This is bigger than you or me, Doctor. We are but tiny satellites floating in the corona of the sun. Dive too deep and you will burn away.\nYou have dived too deep, Doctor. Now I must burn you.\n\n> You examine the bonesaw\nA rather old-fashioned looking bonesaw, it has a molded grip made of painted wood and a sharp steel blade that is mostly hidden by being buried in the corpse's neck.\n\n> You take the bonesaw\nYou grasp the handle of the bonesaw and pull upward. With a sucking sound, it pulls free of the corpse's neck, still smeared with partly-congealed blood.\n\n> You cut the hand with the bonesaw\n[This command only takes one input. Ignoring \"with bonesaw\".)]\n\nYou grasp the corpse by the wrist. You set the edge of the bonesaw against the edge of the hand where its fingers begin, and set your teeth for an unpleasant task. You brace your shoulder and begin sawing the fingers at the joint, easily slicing through the first layers of flesh and grating against the hardened muscle. After a few moments of nauseating work, you feel the grate of bone beneath the saw. You set your back into a few more passes, trying to neither see nor hear the flesh shredding under the bonesaw.\n\nAt last you are rewarded for your gruesome work: the pistol clatters to the ground amid curled, severed fingers.\n\nUnfortunately, you do not anticipate the sudden success. The weight of your shoulder throws the saw forward, driving it solidly into the side of the metal table and bending it nearly in half. You discard the ruined bonesaw.\n\n> You take the pistol\nYou pick up the small-caliber pistol.\n\n> You look at the sinks\nLiterally the cleanest sink you have ever seen, the polished steel of the basin gleams like a mirror. A long faucet curves in a neat arc over the sink and its long handles flank the faucet like wings.\n\nIn the sink is a small brass key.\n\n> You take brass key\nYou pick up the small brass key.\n\n> You examine the key\nWhich do you mean, the small brass key or the typewriter key?\n\n> You look in the sink\nThe sink is empty.\n\n> You look at the cabinets\nThe cabinets are curiously empty. Many of the instruments from them are likely buried in the corpse's chest now.\n\n> You examine counters\nThe polished stone of the counter is spotless, with no hint of dust or scoring on its immaculate surface. It almost seems as though the room was recently built, though you have trouble believing so.\n\n> You look at the corpse\nUntil very recently, this body belonged to a precisely-handsome man in his late twenties or early thirties, wearing a finely-pressed and very expensive suit. Now both the suit and body have been peeled open, exposing everything within. The flaps of skin that once held the corpse's organs in place are stretched in four directions, one for each flap. Surgical thread embedded in the ceiling with heavy needles stretches the skin upward, giving a coliseum view to the gore within. The man's vivisected torso is littered with dozens of surgical instruments - scalpels, forceps, hypodermic needles - each one driven in with such force as to be stuck in place. Some are barely visible. The man's face is distorted in a silent scream.\n\n> You examine suit\nAt one point, this suit was probably worth over a thousand dollars. Its cut is precise, its silk fine. Sadly, it has been shredded by its owner's impromptu vivisection, and is now worth nothing to no one. A quick check of the suit's remaining pockets reveals nothing.\n\n> You examine the glass door\nA door made from two panes of thick glass mounted in a metal frame, with rubber seals on all sides.\n\n> You go east\nYou open the glass door.\n\nMorgue, Mt Airy Hospital\nThe astringent smell is even stronger in the morgue than in the autopsy room. The single working fluorescent light here flickers slightly, giving your movement a cinematic cast to it. The east wall of the morgue is lined with large drawers for corpse storage, like a giant, morbid filing cabinet. Along the north wall is a counter with a large industrial sink. Nearby, a hospital gurney squats at an odd angle, one of its wheels bent sharply to the side. There is a spatter of dried blood on the drawers, marring the otherwise spartan cleanliness of the area.\n\nA heavy glass door to the west leads back to the autopsy room.\n\n> You look at the gurney\nIt's a hospital gurney of dated design that has seen heavy use. It is currently stripped of any bedclothes, its surface flat and uncomfortable-looking. One of its legs has bent near the wheel, causing the wheel to rest on its side and causing the whole gurney to lean slightly.\n\n> You look at the sink\nThe large industrial sink is empty.\n\n> You look at the counter\nA heavy-duty industrial sink sits in the middle of the counter.\nBelow the sink is a concealed storage cabinet.\n\n> You open the storage cabinet\nYou open the concealed doors, revealing some pipes and a bulky wastebasket stashed beneath the sink.\n\n> You examine the pipes\nJust ordinary pipes. You don't see anything strange about them, which in and of itself is sort of strange.\n\n> You look at the wastebasket\nThe wastebasket is awkwardly large. It's possible to reach and see into the wastebasket in its current position, but wrestling it out from its niche among the pipes would be a chore.\n\nIn the bulky wastebasket is a bloodstained lab coat.\n\n> You examine the coat\nThe neck, back, and shoulder of the lab coat are wet with disconcertingly fresh blood. However, the lower half, including the pockets, are unstained. Through the scarlet stain, you read the embroidered name: Dr. Theodore M. Yehuda\n\nIn the bloodstained lab coat is a typewritten page.\n\n> You take the page\n(the typewritten page)\nYou pick up the typewritten page.\n\nYou add the typewritten page to your existing collection of pages.\n\n> You read the notes\nThe typewritten page reads:\n\nUnofficial log, May 6th, 8:00pm\nIan's test was strange today.\nAs I've said in my notes, Ian is showing a great deal of promise in remote viewing. He's able to come up with at least one salient, unique detail about anything he is asked to see. Over the past day or two, his \"scrying\" has been strikingly accurate, including not only corroborating details but also an understanding of the situations he has been asked to view.\nToday's trial, though, has left me with a nasty sense of\nforeboding. Dr. Atwater had just excused himself to make a run to the convenience store, so I proposed to Ian that he perform a viewing on the doctor. I was initially merely disappointed when Ian described an office within the facility, indicating guesswork on Ian's part. After that, the boy became seriously agitated, babbling about being in danger. He dissolved into a panic attack and spoke very fast. It was hard to understand him, but he seemed to be saying that Cross and Dr. Atwater were \"out to get him,\" claiming that \"they want to terminate me.\"\nI did my best to placate the poor boy, but he was having none of\nit. By the look in his eyes, he seemed to be caught in the vision and unable to escape it. After a few minutes, I saw no recourse but to tranquilize him and have him moved back to his room under supervision. Once awake, he was very paranoid, still believing firmly that Cross and Dr. Atwater were conspiring to end his life. By my estimation, this must have been his nightmares bleeding over into his visions, tainting them with the paranoia of being chased on a nightly basis. It's possible that Ian's abilities interpreted Dr. Atwater's departure from the facility as abandonment, termination. It's the best that I can guess.\nThere is a part of me that believes that I should have put all of\nthis into the official report. Instead, I used the most generic terms I could. Panic attack. Adverse effects. Unexpected delusions.\nWhy not the truth, Theo? You are a Doctor and an employee of\nCorona. They don't pay you to omit details.\nThe truth is ... by now, I trust Ian's abilities more than I trust\nDr. Atwater's belief in the project. When Ian told me that Dr. Atwater wanted him to die, well, it was very difficult not to believe him.\nWhere is this project going, and why are we in a handbasket?\n- Theo Yehuda\n\n> You look at the blood\n(the spatter of dried blood)\nThe blood is dry, and there wasn't much of it to begin with. Its spray and drip pattern indicates a violently inflicted wound. You note that apart from the spray, there is a smear of dried blood on drawer 6.\n\n> You open the drawer 6\nYou open drawer 6 and slide its metal tray partway out. On the tray are a pair of corpses, stacked atop one another face-to-face in some gross parody of intimacy. The upper corpse is fresh and sports a nasty-looking head wound; the lower corpse is paler and clearly embalmed.\n\n> You examine the upper corpse\nThis corpse is fresh, and, from what you can tell, hastily-stowed in this drawer. Before death, Dr. Yehuda was a somewhat overweight middle-aged man. Although he was stacked face down, his head is turned to the side, away from his grisly companion, so you can see that his face looks tired but kindly. The neat bullet-wound between the corpse's eyes has dried, but the messy exit wound in the back glistens with still-drying blood. Behind a thick pair of black-rimmed glasses, the skin around his eyes shows clear laugh lines.\n\n> You examine the lower corpse\nJudging from what you can see of this corpse, it was once a white man of average build and below average height. His features are those of a man in his middle age, but his face is craggy for its youth. The corpse has bags under its closed eyes and stress lines on its brow. The corpse has clearly been autopsied and embalmed, as its naked, pale skin shows no sign of decay. There are also no visible injuries on this corpse.\n\n> You move yehuda\nWhich do you mean, the fresh corpse, the face, Yehuda 4/15, Yehuda 4/2 or typewritten page?\n\n> Corpse\nWhich do you mean, the embalmed corpse or the fresh corpse?\n\n> You move upper corpse\nYou'd prefer not to disturb Dr. Yehuda's corpse. He surely deserves whatever measure of peace he has achieved.\n\n> You examine the face\n(the embalmed corpse)\nJudging from what you can see of this corpse, it was once a white man of average build and below average height. His features are those of a man in his middle age, but his face is craggy for its youth. The corpse has bags under its closed eyes and stress lines on its brow. The corpse has clearly been autopsied and embalmed, as its naked, pale skin shows no sign of decay. There are also no visible injuries on this corpse.\n\n> You close drawer 6\nYou slide the tray back into the drawer, then close the door and lock it in place.\n\n> You look at the drawers\n(drawer number 1)\nThese are morgue drawers just like the ones you've seen in the movies, with heavy latched doors like those on industrial refrigerators; the doors are labeled 1 to 12. There is a spatter of dried blood on the doors. The spray and drip pattern indicates a violently inflicted wound. You note that apart from the spray, there is a smear of dried blood on drawer 6.\n\n> You open the drawer 1\nYou open the door to drawer 1. Rather than a metal tray on rails, you see a reddish, pulsating, fleshy tunnel that extends into a darkness you cannot see.\n\n> You close it\nYou close drawer number 1, hiding the abomination from sight.\n\n> You open the drawer 2\nYou open the door to drawer 2. Rather than a metal tray on rails, you see a reddish, pulsating, fleshy tunnel that extends into a darkness you cannot see.\n\n> You close it\nYou close drawer number 2, hiding the abomination from sight.\n\n> You open the drawer 12\nYou open the door to drawer 12. Rather than a metal tray on rails, you see a reddish, pulsating, fleshy tunnel that extends into a darkness you cannot see.\n\n> You close it\nYou close drawer number 12, hiding the abomination from sight.\n\n> Go west\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\nYou can also see a ruined bonesaw and some severed fingers here.\n\nYou hear the meaty thunk of something large hitting the ground to the east.\n\n> Go east\nMorgue, Mt Airy Hospital\nThe astringent smell is even stronger in the morgue than in the autopsy room. The single working fluorescent light here flickers slightly, giving your movement a cinematic cast to it. The east wall of the morgue is lined with large drawers for corpse storage, like a giant, morbid filing cabinet. Along the north wall is a counter with a large industrial sink. Nearby, a hospital gurney squats at an odd angle, one of its wheels bent sharply to the side. There is a spatter of dried blood on the drawers, marring the otherwise spartan cleanliness of the area. The doors beneath the large counter stand open, exposing steel pipes and a wastebasket.\n\nA heavy glass door to the west leads back to the autopsy room.\n\nThe fresh corpse lies face-down on the floor here.\n\nDrawer number 6 is open, exposing a tray with a prepared and embalmed corpse on it.\n\nThe corpse on the ground seems to melt and grow, its flesh pouring rapidly along the ground from its sleeves, pantlegs and collar.\n\n> You look at the fresh corpse\nThe fresh corpse lies face-down on the floor, unmoving. The exit wound in the back of the skull glistens dark and red.\n\nThe flesh pours from Dr. Yehuda's corpse, expanding rapidly in all directions. The edges form coherent, fleshy tendrils that glisten like fresh, exposed muscle, and the tendrils reach toward you hungrily.\n\n> You shoot it\nYou raise the gun and fire a bullet into the prone corpse. You are immediately seized with a sense of dread, feeling that you have made a terrible mistake. The corpse's hideous mutation continues unabated, and now you are out of bullets. Perhaps you should have waited until the thing displayed an obvious weak point....\n\nLightning fast, one of the fleshy tentacles wraps around you with crushing force. You set your heels and lean back against the pull of the tentacle, but you are unable to maintain your footing. With a sudden jerk, the fleshy muscle jerks you forward and you stumble directly into the mass of pulsating flesh. You hit the stuff face-first, and you can feel it wrap around you as soon as you touch it. You attempt to scream, but the noise is cut off as something warm and soft expands down your throat. Deprived of air, you can only struggle helplessly as you feel your flesh begin to prickle. Every contact point between your body and the mass of flesh begins to burn, almost as though you are being digested....\nPress any key to continue.\n\nConsciousness returns. You muzzily realize that you are gazing at the ceiling of the Corona Labs test chamber just before the door slams open. Dr. Shaunessy, the neurologist, hurries into the room. Dr. Ephart follows close enough behind to step on his heels. \"How many fingers do you see?\" Dr. Shaunessy asks, kneeling down beside you, and Dr. Ephart rests light fingers on your wrist to take your pulse. In short order, they conclude that you suffered a vasovagal syncope and struck your head in the fall.\n\nYou try to talk to the doctors, but your words are confused and disjointed. Your gaze drags across the fallen photograph, half-shadowed by the folder above it, and you see the gaunt young man screaming. You can't find the words to make them understand. Though you can nearly stand on your own, the doctors firmly escort you from the room and off to bed.\n\nDr. Shaunessy leaves, but Dr. Ephart stays with you as the sedatives take hold. \"Don't worry,\" she says, resting a gentle hand on your shoulder. \"Everything will be all right.\"\n\nSix days later, the past repeats itself in Corona Labs.\nNo one escapes alive.\n\n> You examine fresh corpse\nThe flesh of the corpse has become a glistening red, like exposed muscle. The clothes now seem to float in a sea of the stuff as the substance takes over the entire room. You should probably get out of here.\n\nLightning fast, one of the fleshy tentacles wraps around you with crushing force. You set your heels and lean back against the pull of the tentacle, but you are unable to maintain your footing. With a sudden jerk, the fleshy muscle jerks you forward and you stumble directly into the mass of pulsating flesh. You hit the stuff face-first, and you can feel it wrap around you as soon as you touch it. You attempt to scream, but the noise is cut off as something warm and soft expands down your throat. Deprived of air, you can only struggle helplessly as you feel your flesh begin to prickle. Every contact point between your body and the mass of flesh begins to burn, almost as though you are being digested....\n\n> You look at the door\nWhich do you mean, the glass door or the hallway door?\n\n> Hallway\nYou don't see a keypad on this side, or even a lock.\n\nThe corner of a white piece of paper is visible beneath the door.\n\nA wet sliding noise emanates from the morgue, starting quiet but getting louder by the second.\n\n> You take the paper\n(your notes)\nYou already have that.\n\nThrough the door to the east, you can see a writhing, pulsating mass of what appears to be raw red muscle. It is filling the morgue and rapidly approaching the autopsy room.\n\n> You take the white piece of the paper\nI only understood you as far as wanting to take EGB 4/20/78.\n\n> You take the white\n(the tiled floor)\nThat's not really feasible.\n\nThe opening to the morgue fills now with pulsating red flesh, pouring over the sides of the door like a sideways drain overflowing with sludge, all the while making a ghastly wet sliding noise. In the center of the mass, a pale bubble forms. It appears at first to be a blister, but its features define until you recognize a face - that of Dr. Yehuda. The face's expression is wracked with pain; it lets out an anguished sound as the mass of flesh pushes its way into the room.\n\n\"I didn't know! I'm so sorry!\" the face moans.\n\n> You shoot the face\n(the pale face)\nYou raise your pistol toward the face-blister and pull the trigger. With a deafening report, the gun kicks in your hand. A spray of white liquid splatters from the face's forehead where the bullet lands. The white liquid runs in rivulets down the front of the face as it contorts in even further agony.\n\n\"God, why?\" the face moans. \"Why did I die?\"\n\nThe mass of bloody flesh begins to retract, pulling away from the walls and leaving a glistening red trail as it goes. Steam billows from the flesh as the white liquid runs onto it and burns it away.\nThe face begins to lose coherency, melting as it cries.\n\n\"My only sin was ignorance,\" the dissolving face murmurs. \"Please forgive me my part in this.\"\n\nAfter a minute, the mass has retreated entirely into the morgue. Through the door, you see it retract back to the center of the room, curl into a small ball, and collapse into a small pile of ash with a peculiar clinking sound.\n\nAfter several seconds of empty silence, you hear a click from the door to the south.\n\n> Go east\nMorgue, Mt Airy Hospital\nThe astringent smell is even stronger in the morgue than in the autopsy room. The single working fluorescent light here flickers slightly, giving your movement a cinematic cast to it. The east wall of the morgue is lined with large drawers for corpse storage, like a giant, morbid filing cabinet. Along the north wall is a counter with a large industrial sink. Nearby, a hospital gurney squats at an odd angle, one of its wheels bent sharply to the side. There is a spatter of dried blood on the drawers, marring the otherwise spartan cleanliness of the area. The doors beneath the large counter stand open, exposing steel pipes and a wastebasket.\n\nA heavy glass door to the west leads back to the autopsy room.\n\nThere's a small, circular pile of ash below drawer 6.\n\nDrawer number 6 is open, exposing an empty tray.\n\n> You look at the ash\nIt's a small pile of gray ash. Nothing more remains of the corpse of Dr. Yehuda. You note a faint glint of metal in the ash.\n\n> You search the ash\nUpon closer examination, the small piece of metal turns out to be a ridged key. You pick up the ridged key.\n\n> You examine the ridged key\nThis is a typical office door key. It has a slightly ridged handle.\n\n> Go west\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\nYou can also see a ruined bonesaw and some severed fingers here.\n\n> You examine the fingers\n(the severed fingers)\nThese four severed fingers used to belong to the corpse in the autopsy room.\n\n> You take the fingers\n(the severed fingers)\nYou pick up the severed fingers.\n\n> You open it\nThe hidden lock releases under your hand.\n\nYou open the hallway door.\n\n> You take the paper\n(your notes)\nYou already have that.\n\n> You go south\nBasement Hall, Mt Airy Hospital\nAt this end of the dingy basement hall, the only intact door is labelled with a black sign reading \"Autopsy Room/Morgue\".\n\nA white 10-digit keypad is attached to the wall beside the door.\n\nA sheet of typewriter paper lies on the floor very near the hallway door.\n\nIn the adjoining wall, a bent doorframe holds a severely dented metal door that has been very badly dented toward you.\n\nThe autopsy room door swings closed. There's a click as the lock reengages.\n\n> You take the sheet\nWhich do you mean, Pearce 5/8/78, Pearce 4/16/78 or Pearce 5/1/78?\n\n> You take the paper\n(sheet of typewriter paper)\nYou pick up sheet of typewriter paper.\n\nYou add sheet of typewriter paper to your existing collection of pages.\n\n> You read the notes\nThe sheet of typewriter paper reads:\n\nUnofficial log, April 15, 11:00 am\nI suppose someone must have listened to Elaine's assertion that\nthis test subject was different from the rest, since we've just gained a new member of the team.\nThis was not a pleasant cup of chicory to down first thing in the morning. Don't get me wrong -- I would love, more than anything, to welcome Simon Cross to our ranks, and G-d knows that we could stand to gain another team member. Of all of the positions we had open prior to today, however, I'm not sure I ever would have counted \"Company Spook\" among them.\nPerhaps I am being unfair, but it is my opinion that hypnotizing yourself into believing that a knife is a rolling pin will not prevent you from needing stitches after trying to make bread dough. Cross's official title is \"auditor.\" He claims that he is here to oversee Corona's professional interests in the Project, and I don't doubt him one bit. Cross oozes \"professional interests.\" He brushes his teeth with it, or he wouldn't be able to give me that sharkish grin.\nStill, we are bedfellows now. There's nothing to do but see to it\nthat he is comfortable ... and bored.\n- Theo Yehuda\n\n> You look at the notes\n[To see the next page of your notes, just TURN the page.]\n\nYour notes consist of a sheaf of various papers that you found scattered about this facility. Currently, a sheet of typewriter paper written on 4/15 by Yehuda is the topmost page.\n\nThis is a piece of paper punched for a three-ring binder, its words typed out from an old self-correcting machine.\n\n> You look at the bent door\nThis metal door is damaged beyond repair, dented inward and fused with its frame as though struck from the other side by a car moving at high speed. Whatever hit it must have been incredibly strong, given how sturdy the door seems to be. The doorknob is missing from the door completely. A sign on the door reads \"stairs\".\n\n> You wait awhile\nThe elevator comes to a halt with a quiet ding. The third floor button stops glowing, and the doors slide open.\n\n> You go east\nYou step through the elevator doors into a familiar hallway. In front of you, the lurid orange biohazard symbol all but glows from the end of the east hall, and a broader hallway stretches away to the left and right.\n\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\n> Go east\nAs you walk away, you hear a peculiar fluttering noise behind you.\n\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\n> You unlock the north door with brass key\n[This command only takes one input. Ignoring \"with brass key\".)]\n\nYou insert the ridged key into the lock of the door to room 322 and turn it, successfully unlocking the door\n\n> Go north\nYou open the door to room 322.\n\nRoom 322, Mt Airy Hospital\nWhile spacious, this office is surprisingly austere. The office is clearly separated into two sides. On the west side, a large but inexpensive-looking metal desk is festooned with decorations; a calendar covers its center, while several photos are proudly displayed with their faces to the door. The desk on the east side is a standing oak desk, precisely arranged and nearly bare. All of the decoration on that side of the room is on the walls, an array of diplomas and commendations. An office chair stands in front of each desk.\n\nOnly a single object dares to split the room: a wall-mounted television displaying half of a grainy black-and-white picture.\n\nTo your south, a door leads back to the hallway.\n\nBelow the television, there is a wall button with a typewritten sign taped next to it.\n\nA piece of unlined paper lies face-down on the floor, half in and half out of the oak desk's shadow.\n\n> You take the unlined paper\nYou pick up the piece of unlined paper.\n\nYou add the piece of unlined paper to your existing collection of pages.\n\n> You read it\nThe piece of unlined paper reads:\n\n4/7/78\nI've found him!\n\nIt's hard not to doubt myself. I've written about candidates before. I believed in each and every one of them. They all had that spark, that brilliant glint of possibility. It shone in them like a tiny sun. How could I not believe? And with each failure it became harder to believe in myself.\n\nBut he's different, McMoneagle. Ian. A skinny boy from the suburbs of Olney with nothing spectacular about him but chronic nightmares, headaches, and emotional problems. But that sun, his sun. So much brighter than any I've seen.\n\nDr. Atwater is of course convinced that he'll fail just like all the others, and refuses to refer to him even by his first name since we picked him up. Even Dr. Yehuda is cautious, given our track record. I have to convince him, both of them.\n\nHe's the one. He's our hope.\n\n> You look at the calendar\nA large desktop calendar with disposable pages. The currently-displayed month is May of 1978. While notes are scrawled on the calendar, little are of any use; most are for day-to-day activities centered around someone named \"Ian\". Several other names are mentioned: \"Atwater\", \"Elaine\", and occasionally \"Pearce\". A quick page-flip reveals that little is filled out for future months in the calendar. Whoever was using this lived in the moment, or at least by the month.\n\n> You look at the oak desk\nThis desk is smaller than the one on the other side of the room, but taller and made of fine varnished oak. Upon closer inspection, it is in fact conspicuous in its barren appearance. There is literally nothing on this desk, as though it had been cleaned out but not taken away. The diplomas on the wall remain, but the desk itself is a suspense story of a departed occupant.\n\n> You examine the diplomas\nSeveral diplomas, commendations and awards adorn the wall around the standing desk. Each one is awarded to an Edward Atwater, Ph.D, MD, and each one congratulates the man for his astonishing skill and study in the field of medicine. Apparently, Dr. Atwater both knew his stuff and wanted everyone around him to know it.\n\n> You examine the metal desk\nWhile somewhat cheap, this steel desk is large and provides a good deal of real estate for its user. A large desk calendar sits on its surface, stained with rings of coffee and marked with a near-illegible scrawl. Several framed photos sit on the right corner of the desk.\n\nA black safe with a prominent dial has been bracketed beneath the left side of the desk. The safe was obviously manufactured separately and attached in a somewhat haphazard fashion, but the metalwork is effective even if it isn't attractive. The safe is currently closed.\n\nAre you sure you want to quit? \n\nPlease be advised that One Eye Open is a horror game. It contains mature content (including blood, gore, human injury and death, mild language, tobacco reference, violence, and violent references.)\n\nWe do not recommend this game for a younger audience.\n\n> Y.\nAfter only ten days, you're becoming surprisingly comfortable with life as a Corona Corporation guinea pig. It helps that your routine is so reliable - meals, exercise, rest, and sleep are clearly arranged on a schedule hanging beside the white clock in your room. As for the tests - well, you've grown used to the sight of your blood in a sample vial, and the rest is mostly paperwork. Personality tests, aptitude tests, intelligence tests, psychological tests, Rorschach and the MMPI and even kinetic family drawing... you're starting to worry that they'll run out of tests by the end of the month.\n\nAlthough 7:30 PM is always the day's last test, you never leave your room alone, so you were still watching American Beauty when Dr. Marnie Ephart knocked at the door. \"Oh, you're almost to the end!\" she said brightly, seeing the screen. \"I can wait until you're through.\"\n\n\"No, that's fine.\" You hit PAUSE to freeze Angela in mid-motion as you got up from the couch. \"I've seen it before.\" Last Monday, actually. The video collection isn't that good, and, considering what they're paying you, it's a pity Corona couldn't invest in a few more options. It's hard to complain, though; the staff is friendly, the tests aren't hard, and the salary is great.\n\nDuring the day, Raymond, Best, or one of the scientists might be around, but at night, it's usually just the two of you, and the hall you cross now is deserted. You accompany her through the antechamber and into the main testing chamber. By now, you're used to being watched from behind one-way glass, but the observational room is fully lit today, and you can easily see inside.\n\n\"Back in a moment,\" Dr. Ephart says cheerfully. \"See you on the other side!\"\n\nTest Chamber, Corona Labs\nIn the center of the room, a single black office chair sits in front of a broad, heavy desk. The desk and chair are familiar, but the wireless keypad sitting on the desk is new. There are five large white buttons on the keypad, each displaying a different symbol in broad black strokes. The symbols are a circle, a cross, a set of three wavy lines, a square, and a five-pointed star. As always, you are quite aware of the cameras watching you from above.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThe familiar black office chair sits invitingly nearby.\n\nThrough the thick pane of glass, you can see the curved desk in the observational room.\nI beg your pardon?"
    },
    {
        "text": "[Themes: violence]\n\n> You look at your surroundings\nRoom 322, Mt Airy Hospital\nWhile spacious, this office is surprisingly austere. The office is clearly separated into two sides. On the west side, a large but inexpensive-looking metal desk is festooned with decorations; a calendar covers its center, while several photos are proudly displayed with their faces to the door. The desk on the east side is a standing oak desk, precisely arranged and nearly bare. All of the decoration on that side of the room is on the walls, an array of diplomas and commendations. An office chair stands in front of each desk.\n\nOnly a single object dares to split the room: a wall-mounted television displaying half of a grainy black-and-white picture.\n\nTo your south, a door leads back to the hallway.\n\nBelow the television, there is a wall button with a typewritten sign taped next to it.\n\n> Examine button\nA white plastic button about a half-inch in diameter, mounted in a brass plate.\n\n> You examine the sign\nIt's taped to the wall next to a plate with a button. Instructions concerning \"remote viewing\" are typed on the page's surface.\n\n> You read it\nThe typewritten sign reads: No remote viewing tests are to occur without a remote supervisor. The subject is to be released by the remote supervisor at the signal of the local supervisor. This button will unlock the door for fifteen seconds, at which time a local buzzer will sound.\n\n> You examine safe\n(the black safe)\nA black safe with a numbered dial has been bracketed to the inner left leg of the inexpensive desk. The safe doesn't look overwhelmingly expensive, either, but it does look durable and effective. There is a safety label on the front advising you that it is Class 350 and rated for four hours of fire resistance. It is currently closed.\n\n> You read the label\nThe safe label reads:\n\nUnderwriters Laboratories, Inc\nAs To Fire Resistance\nRating: Class 350-4 Hr\n\n> You open safe\n(the black safe)\nIt seems to be locked.\n\n> You look at the dial\nThe numbered dial goes from 1 to 60.\n\n> You examine photos\nThere are three photos in frames on the desk. The one in the center seems to be a family photo. A man with curly salt-and-pepper hair laughs, his hands on the shoulder of a woman of about his age and a child of about ten whose features, though youthful, strongly resemble those of the older man. After a moment, you recognize the curly-haired man as Theo Yehuda. The younger boy and the woman feature in their own photo, as do the older man and the woman. Happiness all but shines from the subjects as they gaze into the camera lens.\n\n> You look under the desk\nAs you concentrate, an ache pulses powerfully through your temples. You feel the need to pay closer attention to the small brass key, the ridged key, and the typewriter key.\n\n>Which do you mean, the inexpensive desk or the standing desk?\n\n> You turn on the tv\nIt's already on.\n\n> Examine tv\nIt's a wall-mounted television monitor, antique by your standards. The screen seems to be split into two halves, but one half is completely dark. The other shows a familiar sight: the testing chamber. A skinny young man is hunched on a chair in the corner of the room, next to the table. A timestamp shows in blocky white font on the bottom of the monitor: MAY 12 1978 20:20.\n\n> You look at Ian\nOn the television monitor, a young man hunches over on a chair, stock-still. Scraggly hair falls over his eyes, obscuring his face. His bare back is curved in a painful arch, and skinny elbows rest on a pair of plain sweatpants. His feet are bare and stained with something dark.\n\n> You examine the smudge\nCloser examination convinces you that the red substance staining the paper is blood. The mark is about the size and shape of a smeared fingerprint.\n\n> You look at the typewriter\n(the typewriter key)\nA small black key with a white letter I.\n\n> You examine the diplomas\nThere's something very familiar about these diplomas.\n\nSeveral diplomas, commendations and awards adorn the wall around the standing desk. Each one is awarded to an Edward Atwater, Ph.D, MD, and each one congratulates the man for his astonishing skill and study in the field of medicine. Apparently, Dr. Atwater both knew his stuff and wanted everyone around him to know it.\n\n> You search diplomas\nYou slide your hand along the side of one of the diplomas and find a folded typewritten page hidden there. You pull it gently from its hiding place, unfold it, and smooth it out.\n\nYou add the creased sheet of typewriter paper to your existing collection of pages.\n\n> Go east\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nA legal-size page lies face-up on the floor amid the debris.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\n> You take the page\n(the legal-size page)\nYou pick up the legal-size page.\n\nYou add the legal-size page to your existing collection of pages.\n\n> You read it\nThe legal-size page reads:\n\nFrom the desk of Dr. Edward Atwater, M.D., Ph.D.\nApril 3rd, 1978\nNot a day passes by that I fail to be astonished by how willing\nCorona is to throw their money away. Such tremendous cost of research! Such lucrative pay for the staff! Such reparations to the families of the dead!\nThis project has killed fifteen fools who believed themselves to be psychic. I would painstakingly run them through personality tests, IQ tests, psychological profiles. They would pass muster or fail, and those who failed would be turned away. The poor fools who pass receive the treatment that will inevitably kill them. I'm not sure that they've even told the new project head, Yehuda, how many subjects have died thanks to the \"symbiont.\"\nSymbiont. Pah. I'm no microbiologist, but I recognize the symptoms\nof a parasite when I see one, and this one has killed everyone that it's been fed to. The thing dies like any other microorganism when exposed to formaldehyde in the lab as when creating a vaccine, but once it's in the body there's no cure. The little beasts go straight to the brain, the subject goes mad and then dies in an out-of-control adrenergic storm that even a near-lethal dose of diazepam won't stop. And now we're looking for another one. At this rate, we'll never\nget the contract -- at the very least, someone needs to live through the damn infection.\n\n> You look at debris\nIt's unclear what happened here, but sorting cautiously through the debris by eye, you identify at least two broken test tubes, a shattered syringe, and a couple tiny clamps. A dark, clotted brown substance clings to several of the sharper edges among the debris."
    },
    {
        "text": "[Themes: psychic, experiments, horror, medical]\n\n> You look around\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\n> You go south\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou think that you left this door open, and you know that it wasn't locked before. But it's closed now, and as you try the knob, you discover that it's locked.\n\nYou try unlocking the door to room 323 with the ridged key and the small brass key, but you don't have a key to fit the lock.\n\n> Go north\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou try unlocking the door to room 324 with the ridged key and the small brass key, but you don't have a key to fit the lock.\n\n> Go east\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou swipe your keycard through the keycard reader. After a moment, the door emits a loud click and the airlock door slides open.\n\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nA sheet of ruled paper lies beside a prone figure.\n\nOn the floor, there is a prone figure in a complete hazard suit.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> You take the paper\n(the sheet of ruled paper)\nYou pick up the sheet of ruled paper.\n\nYou add the sheet of ruled paper to your existing collection of pages.\n\n> You read it\nThe sheet of ruled paper reads:\n\nRaymond Pearce, M.D.\nAssistant Director, Mt. Airy Hospital\nMay 12th, 1978\nI don't know what kind of disaster they've uncovered but it's happening right now and it's in my hospital.\nThey're all running around like they're possessed. The subject, McMoneagle, went tearing past me less than a half hour ago. It's more energy than I've ever seen him display. He went down the stairs, not a doctor or escort in sight. I should have followed, but something gave me this unearthly fear. Ridiculous, but it's hard not to fall prey to the mysticism that's surrounded this whole absurd affair.\nMinutes later, I heard screaming, like the kind in the giant\nmonster pictures my nephew is so damn fond of. I couldn't tell where it was from. Now there's something strange going on in the wet lab, something obscuring the window in there.\nIt's now or never. I have a terrible feeling about all this, but I have to find out what the hell they've been doing before we're all run out of the building.\n\n> You look at the figure\nSomeone in a hazard suit lies, unmoving. The faceplate of the hazard suit is completely obscured by a red, wet substance that looks not entirely unlike sloppy joe filling. The stuff inside the suit is moving, churning within itself.\n\nThe external airlock door slides closed with a hiss and locks with a click.\n\n> You examine the hazard suit\nSomeone in a hazard suit lies, unmoving. The faceplate of the hazard suit is completely obscured by a red, wet substance that looks not entirely unlike sloppy joe filling. The stuff inside the suit is moving, churning within itself.\n\n> You examine the lamps\nA battery of six red lamps glares down at you. The light manages to be both subtle and harsh.\n\n> You look at the hooks\nA pair of small brass hooks is mounted in the wall. They are small and somewhat flimsy, appearing to be designed for exactly the kind of environment suit that hangs, shredded, from one of the hooks. The other hook is empty.\n\n> You open the hazard suit\nYou begin to unzip the hazard suit. The moment an opening appears, you are sprayed in the face with some kind of reddish mist. It stings your eyes and nose, and you stumble backward. You start to feel queasy immediately, and the skin where the mist touched you starts to experience a buzzing sensation.\n\n> Sing\nYou are too distracted by your condition to take any action.\n\nThe pain in your face ebbs away, replaced with a vibrating numbness. You reach one hand up to touch your cheek but feel only a churning, moving wetness where your face used to be. Your limbs have become numb, and you can feel your heart's beating become labored in your chest. Something moving in your lungs begins to retard your breathing.\n\n> Keep going\nYou are too distracted by your condition to take any action.\n\nGurgling helplessly, you slump to the floor. You can feel the intruder in your body slowly eating away at you, from the inside and out. Mercifully, the pain is now gone, replaced only by a strange vibration in the places of your body that remain uneaten. As your lungs and heart slowly stop moving, your senses fade away, replaced by an ominous stillness.\n\n> You check your inventory\nPress any key to continue.\n\nConsciousness returns. You muzzily realize that you are gazing at the ceiling of the Corona Labs test chamber just before the door slams open. Dr. Shaunessy, the neurologist, hurries into the room. Dr. Ephart follows close enough behind to step on his heels. \"How many fingers do you see?\" Dr. Shaunessy asks, kneeling down beside you, and Dr. Ephart rests light fingers on your wrist to take your pulse. In short order, they conclude that you suffered a vasovagal syncope and struck your head in the fall.\n\nYou try to talk to the doctors, but your words are confused and disjointed. Your gaze drags across the fallen photograph, half-shadowed by the folder above it, and you see the gaunt young man screaming. You can't find the words to make them understand. Though you can nearly stand on your own, the doctors firmly escort you from the room and off to bed.\n\nDr. Shaunessy leaves, but Dr. Ephart stays with you as the sedatives take hold. \"Don't worry,\" she says, resting a gentle hand on your shoulder. \"Everything will be all right.\"\n\nSix days later, the past repeats itself in Corona Labs.\nNo one escapes alive.\n\n> Go east\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou swipe your keycard through the keycard reader. After a moment, the door emits a loud click and the airlock door slides open.\n\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nA sheet of ruled paper lies beside a prone figure.\n\nOn the floor, there is a prone figure in a complete hazard suit.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> You take the paper and the hazard suit\nsheet of ruled paper: You pick up the sheet of ruled paper.\n\n> Yes\nYou begin to unzip the hazard suit. The moment an opening appears, you are sprayed in the face with some kind of reddish mist. It stings your eyes and nose, and you stumble backward. You start to feel queasy immediately, and the skin where the mist touched you starts to experience a buzzing sensation.\n\nYou add the sheet of ruled paper to your existing collection of pages.\n\n> You take the paper\n(the sheet of ruled paper)\nYou pick up the sheet of ruled paper.\n\nYou add the sheet of ruled paper to your existing collection of pages.\n\nThe external airlock door slides closed with a hiss and locks with a click.\n\n> No\nDo you mean to unzip the sealed hazard suit? (y/n) >Did you mean to pick up the prone figure? (y/n) >Please answer yes or no.> Then what did you mean by trying to take the hazard suit? Now I'm all confused.\n\n> No\nYou think you could lift the prone figure, but you'll need to have your hands free first. Set down the severed fingers, the ridged key, the small brass key, the small-caliber pistol and the typewriter key? (y/n) >Please answer yes or no.> It's too awkward to lift the prone figure while carrying the severed fingers, the ridged key, the small brass key, the small-caliber pistol, the typewriter key, the Corona Labs keycard and your notes.\n\n> Yes\nYou think you could lift the prone figure, but you'll need to have your hands free first. Set down the severed fingers, the ridged key, the small brass key, the small-caliber pistol and the typewriter key? (y/n) >\nYou discard the severed fingers.\n\nYou set down the ridged key.\n\nYou set down the small brass key.\n\nYou set down the small-caliber pistol.\n\nYou set down the typewriter key.\n\nYou fold your notes, slip the keycard into the fold, tuck them under your arm, and heave the prone figure onto your shoulder. It feels both heavier and squishier than you expected it to be, given its size.\n\n> You go west\nYou push the button marked \"EXIT\". The external airlock door emits a loud click and then slides open with a soft hiss.\n\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\n> Go west\nGlass crunches faintly underfoot as you move through the hallway.\n\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\n> You drop the suit\n(the sealed hazard suit)\nYou haven't got that.\n\n> You look at what you're carrying with you\nYou are carrying a hazard-suited figure slung over your shoulder. Also, you have your notes folded under your arm with the Corona Labs keycard tucked inside.\n\n> Drop figure\nYou heave the hazard-suited figure off your shoulder and lower it carefully to the ground. Then, you untuck your notes from your armpit and fish out the Corona Labs keycard with minimal damage done.\n\n> No\nThat was a rhetorical question.\n\n> Go west\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nThere's a large white butterfly flitting back and forth near the ceiling.\n\nA building map is posted on the wall.\n\n> You examine butterfly\nLooking more closely at the white butterfly, you realize that it is nothing more than folded paper. Still, its wings beat like a real butterfly's wings against the slight breeze in the hallway, and it dances through the air with careless, casual grace.\n\nThere seems to be something written on the butterfly, but you can't make out the words from here.\n\n> You take butterfly\nIt's too awkward to pick anything up while you're carrying the hazard-suited figure around.\n\n> Drop figure\nYou heave the hazard-suited figure off your shoulder and lower it carefully to the ground. Then, you untuck your notes from your armpit and fish out the Corona Labs keycard with minimal damage done.\n\nThe paper butterfly traces a lazy spiral through the air before coming to rest on the dull white tile. Its diamond-shaped wings flex, unflex, and then unfold. The corners and edges pull apart from one another like some sort of magical puzzle box.\n\nThe transformation is complete. The butterfly is gone, and only a small piece of unlined paper remains.\n\n> You take the paper\n(the small piece of unlined paper)\nYou pick up the small piece of unlined paper.\n\nYou add the small piece of unlined paper to your existing collection of pages.\n\n> You read it\nThe small piece of unlined paper reads:\n\nAlice's Diary, 5/6/78\nToday must have been different for Ian. When I came in, he greeted me with a plea to keep him company and keep him awake. I was glad to be able to help, so we talked late into the night.\nIt feels like he's putting a lot of trust in me, even though he doesn't like to talk about his nightmares or his past. He seems to be afraid of himself, and said over and over that he didn't want to hurt anybody. He's afraid, he says, and he doesn't want to hurt anybody. It was hard not to laugh at the notion of Ian hurting anybody. He wouldn't -- couldn't -- hurt a fly.\nHe really didn't want to fall asleep, but eventually he just couldn't stay up any longer. I tucked him in and tried to make him as comfortable as I could for when the nightmares came.\nI think I'm developing feelings for Ian. His eyes are so expressive and he feels for other people so keenly. Unprofessional or not, Ian's a really special person and I hope Corona's able to cure him of whatever it is that he's got. I wish I could do something for him. Protect him from his demons.\nIn the meantime, I'll just do the one thing that it seems like only I can do:\nCare.\n\n> You go north\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. A long, slow breeze flows from the south past you, reaching towards the deep shadow to the north. Before the light fails, there's a bathroom door in the dull white wall to the east and a laundry chute to the west.\n\nThe sterile breeze flowing north slowly stops and then reverses. A long wave of bad-smelling air pushes toward you from the dense darkness down the hallway.\n\n> You enter the chute\nIt'll be a difficult enough wriggle to get into the chute without carrying the hazard-suited figure at the same time. If you want the hazard-suited figure at the bottom of the laundry chute, you should probably drop it in first.\n\n> You put the figure in the chute\nYou drop the hazard-suited figure into the laundry chute. It promptly vanishes into the darkness.\n\n> Y.\nA peek down the laundry chute suggests that it is still safe, but looks may be deceiving. Are you sure you want to try it? (y/n) >You slide headfirst down the laundry chute. The fast, exhilarating, and death-free ride ends with a heartstopping plummet through space and a faceful of soiled sheets. They're soft enough for you to land safely, but still pretty disgusting.\n\nLaundry, Mt Airy Hospital (in the laundry bin)\nCrumpled white sheets fill an enormous laundry bin underneath the chute's entrance - a great relief, since those sheets were dense enough to competently break your fall. You're currently inside the laundry bin, but you can see the rest of the room well enough. There is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nAn open door leads south out of the room.\n\nThere's a human skeleton lying on the tiled floor. It's wearing a very clean lab coat.\n\nIn the laundry bin you can see a hazard-suited figure.\n\n> Go outside\nYou get out of the laundry bin.\n\nLaundry, Mt Airy Hospital\nThere is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room, and three canvas-walled carts filled with dirty linens squat awaiting their purpose. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nAn open door leads south out of the room.\n\nThere's a human skeleton lying on the tiled floor. It's wearing a very clean lab coat.\n\nYou can also see a laundry bin (in which are a hazard-suited figure and a heap of soiled sheets) here.\n\n> You put the figure in machine\nYou heave the hazard-suited figure into the cilia-filled tube of the laundry machine and close the lid.\n\nThe laundry machine starts up with an audible whine and a whirring noise that increases in frequency as its internal motors (or muscles, you suppose) spin up.\n\n> Wait\nTime passes.\n\n> You wait awhile\nYou nearly jump out of your skin as a buzzer sounds loudly from the huge laundry machine. Its motor gradually slows to a halt.\n\n> You open the machine\nYou lift the lid of the large laundry machine, revealing the fleshy, cilia-lined tube within. Flattened around the inside of the tube is the limp form of an empty hazard suit, clean and white.\n\n> You take the suit\nYou reach into the machine and grasp the suit by your thumb and forefinger, then gently extract it while avoiding the reach of the undulating cilia. You shake the hazard suit out, noting that it is now completely clean and dry. You momentarily find yourself wondering whether, if you could manufacture machines like this, the American public might be able to overlook its flesh-eating properties for its clearly superior garment care.\n\n> You wear the suit\nThe suit is somewhat flimsy. You'd better not wear it until you really need it or you might tear the thing.\n\n> Go south\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand closed.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> Wait\nTime passes.\n\nThe split-flap display whirs into life, reporting the elevator's transit from floor to floor.\n\n> You look at the display\nA single call button glows beside the elevator doors. The floor indicator has a split-flip display currently reading \"BASEMENT\".\n\nThe split-flap display stops on \"BASEMENT\". The elevator call button goes dark, and the metal doors slide open.\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> You go east\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou swipe your keycard through the keycard reader. After a moment, the door emits a loud click and the airlock door slides open.\n\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\nYou can also see a typewriter key, a small-caliber pistol, a small brass key, a ridged key and some severed fingers here.\n\n> You take all\ntypewriter key: You pick up the typewriter key.\nsmall-caliber pistol: You pick up the small-caliber pistol.\nsmall brass key: You pick up the small brass key.\nridged key: You pick up the ridged key.\nsevered fingers: You pick up the severed fingers.\n\n> You wear the suit\n(the clean hazard suit)\nYou clamber awkwardly into the suit. It takes you several minutes to figure out how to get your hands into the gloves at the end of the sleeves without having to zip it up first, but after some struggling you are completely suited up. You check all of the airtight zippers and make sure that the filter is letting you breathe properly. You feel clumsy and big, but you should be protected from all but the most minute contaminants. Unless the suit tears, of course.\n\n> Go east\nBiohazard Lab, Mt Airy Hospital\nThis room seems to have been the subject of some kind of massive biological explosion. Some kind of glistening, mealy red substance similar to ground meat is splattered all over the floor, walls and ceiling in large patches. The substance seems to have a life of its own, pulsing and undulating in great colonies. Large piles of it merge and separate.\n\nThe room itself seems to have been some kind of biological experimentation laboratory. You can see a large sink along one wall, with nozzles for a bunsen burner mounted next to it. While most of the counters are covered with the disgusting red substance, one table is mostly untouched thanks to an overhanging edge.\n\nOn the table is a measuring pipette, fixed in place above a wooden test tube rack. There's also a small lab refrigerator branded with a biohazard symbol.\n\nThe bottom of a glass test tube projects from a mound of the mealy red stuff.\n\n> You look at the rack\nA wooden rack with holes and divots for holding test tubes. It's currently empty.\n\n> You examine the fridge\nThe refrigerator is half-sized, like a dorm fridge, but designed to contain various heat-sensitive biological supplies instead of beer. A striking orange and black biohazard symbol has been stickered to the front. Unlike so much else in the room, the refrigerator appears uncontaminated by the red mass.\n\nThe internal airlock door slides closed with a hiss and and locks with a click.\n\n> You examine the suit\nIt's a thin white hazard suit. While not very durable, a combination of a charcoal air filter and an airtight fiber weave should serve to protect the wearer from most environmental hazards. Mealy red stuff smears the outside of the hazard suit, giving it a certain butchery chic look.\n\n> You look at sink\nThe mealy red substance covers this large sink. Next to it are some equally contaminated-looking bunsen burner nozzles.\n\n> You examine the nozzles\nThere are two of the cone-shaped, ridged nozzles, each with a handle on top. If there were a bunsen burner nearby, you could connect it to one of these. Unfortunately, you see no such thing. Worse, the nozzles seem to be covered with red goo and rust.\n\n> You open fridge\nYou open the small lab refrigerator, revealing a vial of blood and a legal-size page.\n\n> You take all from the fridge\n[\"take all from fridge\" is vague - please be more specific with your command.]\n\n> You take the page from the fridge\nYou pick up the legal-size page.\n\nYou add the legal-size page to your existing collection of pages.\n\n> You read it\nThe legal-size page reads:\n\nFrom the desk of Dr. Edward Atwater, M.D., Ph.D.\nApril 25th, 1978\nI'll be damned, they're really buying it. McMoneagle's due to be\ndosed within the next few days.\nI am not a completely heartless man. It is a popular conceit in\nthis office, and I suppose I cannot blame anyone for thinking so. But I have been here for years, now, and overseen the snuffing out of over a dozen lives. With each death I hope to the godless heavens that Corona will see the depth of its mistake, realize that experimenting with a lethal parasite and calling it a symbiont will not make wishes come true. If we want to join the Project it will only be through methodical chicanery, not methodical murder.\nWhat do they want of me? To become McMoneagle's friend, like\n\"kindly old Doc Yehuda?\" To have faith in the absence of reason, like \"Crazy 'Lainey?\" I dread to think of how crushed they will be when the young man's brain floods itself with chemicals. I will be the only staff member in his right mind.\nI am not a monster. I am a doctor. To hell with anyone who doesn't understand that.\n\n> You look at the vial\nIt's a small vial of dark red blood with a handwritten label on the front.\n\n> You read it\nThe vial is labelled \"Ian McMoneagle, 5/10/78\".\n\n> You examine the pipette\nIt's a long, very thin tube with a valve to control the flow of liquid through it. It is mounted in place above the test tube rack. The pipette is marked with numbered graduations along its side to aid with measurement, and it is flared at the top so that pouring liquid into it is easier.\n\n> You close the fridge\nYou close the small lab refrigerator.\n\n> Inventory\nYou're wearing a sludge-smeared hazard suit, which is excellent protection, but which does give the world a certain surreal quality as seen through the faceplate. You are carrying some severed fingers, a ridged key, a small brass key, a small-caliber pistol, a typewriter key, a Corona Labs keycard and your notes.\n\n> You examine table\nA black stone table. Its edge extends outward from the solid wood base supporting it, and the hanging edge seems to have kept any of the red goo from making it to the top of the table. It's a miracle that none has fallen down from the ceiling.\n\n> You examine the red substance\nYou study the goop for a moment. It's a pulsating mass of red, mealy, meat reminiscent of nothing so much as living, malevolent sloppy joe filling.\n\n> You examine test tube\n(the sludge-encrusted test tube)\nA dark brown substance clings to the inside of the test tube.\n\n> You take it\nYou pull the test tube out of the churning mound of mealy red stuff.\n\n> You look at the brown substance\nA dark brown substance clings to the inside of the test tube.\n\n> You smell it\nFrom inside the hazard suit, most smells are muted under your own body odor, but you can still pick up a faint meaty reek.\n\n> You read the tube\n(the sludge-encrusted test tube)\nThere's nothing written on the sludge-encrusted test tube."
    },
    {
        "text": "[Themes: psychic, profanity, horror, medical, laboratory, gender-neutral protagonist, experiments, experimentation]\n\n> Look around\nBiohazard Lab, Mt Airy Hospital\nThis room seems to have been the subject of some kind of massive biological explosion. Some kind of glistening, mealy red substance similar to ground meat is splattered all over the floor, walls and ceiling in large patches. The substance seems to have a life of its own, pulsing and undulating in great colonies. Large piles of it merge and separate.\n\nThe room itself seems to have been some kind of biological experimentation laboratory. You can see a large sink along one wall, with nozzles for a bunsen burner mounted next to it. While most of the counters are covered with the disgusting red substance, one table is mostly untouched thanks to an overhanging edge.\n\nOn the table is a measuring pipette, fixed in place above a wooden test tube rack. There's also a small lab refrigerator branded with a biohazard symbol.\n\n> Search goop\nWincing, you grope about for a moment in the sludge near the door until you encounter something that feels like a button.\n\n> Go west\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nA few slowly shifting tendrils of red, mealy meat have made their way into the airlock.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> You close the entry door\nThe internal airlock door resists your attempt to close it.\n\n> You go east\nYou push the button marked \"ENTRY\". The internal airlock door emits a loud click and then slides open with a soft hiss.\n\nBiohazard Lab, Mt Airy Hospital\nThis room seems to have been the subject of some kind of massive biological explosion. Some kind of glistening, mealy red substance similar to ground meat is splattered all over the floor, walls and ceiling in large patches. The substance seems to have a life of its own, pulsing and undulating in great colonies. Large piles of it merge and separate.\n\nThe room itself seems to have been some kind of biological experimentation laboratory. You can see a large sink along one wall, with nozzles for a bunsen burner mounted next to it. While most of the counters are covered with the disgusting red substance, one table is mostly untouched thanks to an overhanging edge.\n\nOn the table is a measuring pipette, fixed in place above a wooden test tube rack. There's also a small lab refrigerator branded with a biohazard symbol.\n\n> You put the tube in the rack\n(the clean glass test tube in the wooden test tube rack)\nYou lower the clean glass test tube through a hole in the wooden test tube rack and nestle its base into the appropriate divot."
    },
    {
        "text": "[Themes: medical, violence, experimentation, experiments, psychic, profanity]\n\n> You look at your surroundings\nLaundry, Mt Airy Hospital\nThere is no mistaking the purpose of this room. Industrial washers and dryers line the walls of this room, and three canvas-walled carts filled with dirty linens squat awaiting their purpose. The room stinks of offal, blood and bleach all at the same time. On the east wall, a large sink made of heavy-duty steel sits, but its long faucet is bent at a peculiar angle and it is missing both handles. A particularly large laundry machine looms at the end of the row.\n\nAn open door leads south out of the room.\n\nThere's a human skeleton lying on the tiled floor. It's wearing a very clean lab coat.\n\nYou can also see a laundry bin (in which is a heap of soiled sheets) here.\n\n> Go south\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand closed.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> You wait awhile\nTime passes.\n\nThe split-flap display stops on \"BASEMENT\". The elevator call button goes dark, and the metal doors slide open.\n\n> You put the suit on the hook\n(the clean hazard suit on the small brass hook)\nYou set the clean hazard suit on the small brass hook.\n\n> Go west\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\nThe airlock door slides closed with a hiss and locks with a click.\n\n> Alarm\nYou push the alarm button, and a strident bell rings out, filling the elevator painfully for a long moment. The sound dies away, but the ringing in your head takes a bit longer to fade.\n\n> You examine Alice\nWhich do you mean, small piece of unlined paper, Alice 5/12/78, Alice 4/17/78 or Alice 4/30/78?\n\n> Unlined\nWhich do you mean, small piece of unlined paper, Alice 5/12/78, EGB 4/20/78, EGB 5/12/78, EGB 5/12/78, EGB 4/7/78, EGB 3/20/77, Alice 4/17/78, Alice 4/30/78 or EGB 5/3/78?\n\n> You go south\nThe only way out of the elevator is through the elevator doors to the east.\n\n> You go south\nHall End, Mt Airy Hospital\nLong banks of fluorescent lights cast sharp shadows along the half-familiar, half-unfamiliar hallway, which continues off to the north. The tiled floor is only a shade darker than the dull off-white walls. A strange, unpleasant odor hangs in the air and stings your nostrils. The door to Room 320 is across the hall to the west.\n\nA windowless door leads east into the testing room's antechamber.\n\n> You go west\nRoom 320, Mt Airy Hospital\nA broad ivory spike protrudes from the floor and pierces the ceiling, transfixing the corpse of a slender, dark-haired woman on the way.\nHer blood stands starkly red against the dull white tile and walls. The room's furnishings - a hospital bed, a bookshelf, a dresser - have been smashed into a still-recognizable pile of twisted metal and wood on the west side of the room. Thousands of pieces of shredded paper, none much larger than a fingernail, cover the floor near the wreckage and shiver in the slight breath from the broken window. The only exit is to the east.\n\n> You look at Alice\n(the the corpse of the young nurse)\nThe woman impaled on the white spike is dressed as you imagine a nurse might have been in the seventies, with a button-down skirt that must once have been clean white. Her face, frozen in a look of wide-eyed shock, indicates asian-american heritage and youth.\n\n> You search Alice\n(the the corpse of the young nurse)\nYou go briefly and quickly through the dead nurse's pockets, but you find nothing of interest.\n\n> You put the brass key in Alice\n(the the corpse of the young nurse)\nThat can't contain things.\n\n> You give the brass key to Alice\nYou can only do that to something animate.\n\n> Examine tv\nIt's a wall-mounted television monitor, antique by your standards. The screen seems to be split into two halves, but one half is completely dark. The other shows a familiar sight: the testing chamber. A skinny young man is hunched on a chair in the corner of the room, next to the table. A timestamp shows in blocky white font on the bottom of the monitor: MAY 12 1978 20:02.\n\n> No\nAre you sure you want to do this? (y/n) >Please answer yes or no.> You let out your breath in a long hiss. You know that you must eventually open the test chamber, but you have to be absolutely prepared.\n\n> You go south\nBoiler Room, Mt Airy Hospital\nA single incandescent bulb behind a metal cage provides harsh yet inadequate light to this room. A maze of large pipes runs along the ceiling. Most of said pipes lead to a large boiler that squats in front of you, easily taking up three quarters of the small room's real estate. A door to the north leads back to the hallway.\n\nA metal box is mounted on the wall, about the right size for a fire axe. The glass on the front is broken, and the broken glass is strewn near the foot of the box. You see no fire axe anywhere nearby.\n\n> You look at box\nThe metal box's glass has been shattered, and someone has taken the fire axe from it.\n\n> You examine Boiler\nIt's a large metal boiler. A gentle hiss comes from it, so you assume that it's still functional. You don't see any visible controls, but even if you did you don't think you'd know what to do with them.\n\n> You take the pipe\nThe pipes are firmly fixed in place.\n\n> Go south\nThe only routes open to you are a door to the north labelled \"Autopsy Room/Morgue\" and a hallway leading back to the west. There's also a door to the east, but it's too damaged to open.\n\n> Go north\nYou open the autopsy room door.\n\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA sheet of typewriter paper lies on the floor very near the hallway door.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\nYou can also see a ruined bonesaw here.\n\n> You take the paper\n(sheet of typewriter paper)\nYou pick up sheet of typewriter paper.\n\nYou add sheet of typewriter paper to your existing collection of pages.\n\n> You read it\nYou already have that.\n\nThe sheet of typewriter paper reads:\n\nUnofficial log, April 15, 11:00 am\nI suppose someone must have listened to Elaine's assertion that\nthis test subject was different from the rest, since we've just gained a new member of the team.\nThis was not a pleasant cup of chicory to down first thing in the morning. Don't get me wrong -- I would love, more than anything, to welcome Simon Cross to our ranks, and G-d knows that we could stand to gain another team member. Of all of the positions we had open prior to today, however, I'm not sure I ever would have counted \"Company Spook\" among them.\nPerhaps I am being unfair, but it is my opinion that hypnotizing yourself into believing that a knife is a rolling pin will not prevent you from needing stitches after trying to make bread dough. Cross's official title is \"auditor.\" He claims that he is here to oversee Corona's professional interests in the Project, and I don't doubt him one bit. Cross oozes \"professional interests.\" He brushes his teeth with it, or he wouldn't be able to give me that sharkish grin.\nStill, we are bedfellows now. There's nothing to do but see to it\nthat he is comfortable ... and bored.\n- Theo Yehuda\n\nThe hallway door swings closed. There's a click as the lock reengages.\n\n> You read the notes\nThe sheet of typewriter paper reads:\n\nUnofficial log, April 15, 11:00 am\nI suppose someone must have listened to Elaine's assertion that\nthis test subject was different from the rest, since we've just gained a new member of the team.\nThis was not a pleasant cup of chicory to down first thing in the morning. Don't get me wrong -- I would love, more than anything, to welcome Simon Cross to our ranks, and G-d knows that we could stand to gain another team member. Of all of the positions we had open prior to today, however, I'm not sure I ever would have counted \"Company Spook\" among them.\nPerhaps I am being unfair, but it is my opinion that hypnotizing yourself into believing that a knife is a rolling pin will not prevent you from needing stitches after trying to make bread dough. Cross's official title is \"auditor.\" He claims that he is here to oversee Corona's professional interests in the Project, and I don't doubt him one bit. Cross oozes \"professional interests.\" He brushes his teeth with it, or he wouldn't be able to give me that sharkish grin.\nStill, we are bedfellows now. There's nothing to do but see to it\nthat he is comfortable ... and bored.\n- Theo Yehuda"
    },
    {
        "text": "[Themes: medical, laboratory, laboratory setting, gender-neutral protagonist, psychic]\n\n> You look at your surroundings\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\nYou can also see a ruined bonesaw here.\n\n> You search the coat\nThe bloodstained lab coat is empty.\n\n> You take it\nThe bloodstained lab coat is wet to the touch, but you pull it out of the wastebasket and smooth it out.\n\n> You look at it\nThe neck, back, and shoulder of the lab coat are wet with disconcertingly fresh blood. However, the lower half, including the pockets, are unstained. Through the scarlet stain, you read the embroidered name: Dr. Theodore M. Yehuda\n\n> You examine Atwater\nYou flip through your notes until you come to the Atwater 4/3/78 entry.\n\nYour notes consist of a sheaf of various papers that you found scattered about this facility. Currently, a legal-size page written on 4/3/78 by Atwater is the topmost page.\n\nLines of neat, professional script in black pen run across the surface of the legal-size page.\n\n> You go south\nThere's no visible lock on this side, but you try the door anyway. The hidden lock releases under your hand.\n\nYou open the hallway door.\n\nBasement Hall, Mt Airy Hospital\nAt this end of the dingy basement hall, the only intact door is labelled with a black sign reading \"Autopsy Room/Morgue\".\n\nA white 10-digit keypad is attached to the wall beside the door.\n\nIn the adjoining wall, a bent doorframe holds a severely dented metal door that has been very badly dented toward you.\n\n> You put the coat in machine\n(the bloodstained lab coat in the laundry machine)\nYou drop the bloodstained lab coat into the cilia-filled tube of the laundry machine. The cilia crawl across its surface, first slowly, and then with increasing agitation. Then, with a sudden heave, the laundry machine expels the bloodstained lab coat in a beautiful arc through the air.\n\nThe bloodstained lab coat sails through the air to land in the laundry bin. With a sharp twitch, the laundry machine slams its lid shut.\n\n> You look at the coat\nWhich do you mean, the clean lab coat or the bloodstained lab coat?\n\n> You open the machine\nYou lift the lid of the large laundry machine, revealing the fleshy, cilia-lined tube within.\n\n> You take the bloodstained coat\nYou pick up the bloodstained lab coat.\n\n> You put it in the machine\nYou drop the bloodstained lab coat into the cilia-filled tube of the laundry machine. The cilia crawl across its surface, first slowly, and then with increasing agitation. Then, with a sudden heave, the laundry machine expels the bloodstained lab coat directly into your forehead.\n\nYou reel in surprise at the impact as the bloodstained lab coat falls to the ground. With a sharp twitch, the laundry machine slams its lid shut.\n\n> You put the pistol in the machine\nYou lift the lid of the large laundry machine, revealing the fleshy, cilia-lined tube within.\n\nYou drop the small-caliber pistol into the cilia-filled tube of the laundry machine. The cilia crawl across its surface, first slowly, and then with increasing agitation. Then, with a sudden heave, the laundry machine expels the small-caliber pistol in a beautiful arc through the air.\n\nThe small-caliber pistol sails through the air to land in the sink. With a sharp twitch, the laundry machine slams its lid shut.\n\n> Go south\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> You go to the east\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into a strange fleshy tube, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\n\n> You examine chair\nThe chairs, which are neither new nor cheap, have diagonal metal legs that come together to a support in the center, onto which is bolted a molded plastic frame. You remember seeing chairs like this in multipurpose rooms at schools.\n\n> You look at the pipes\nThe pipe maze is sufficiently complex that you fear for the original designer's sanity. Forking here, twisting back there, studded with valves and levers - what was it all intended for, anyway?\n\nOne pipe near the door has a red-handled lever of mysterious purpose that is particularly prominent.\n\n> You examine the lever\nInspecting the pipe maze, you find a red-handled lever within reach on the wall. Its purpose is mysterious to you.\n\n> You pull lever\nFrom somewhere in the pipe maze, you hear a sharp hiss of steam, but your mind reels strangely. It seems like the hiss is as much within your head as outside it, and you feel very peculiar. The room twists sideways....\n\nAs your outer eyes close, your inner eye opens. Dimly, you perceive the way your ribs collide with a rectangular table and the way your body collapses to the floor, but you're not there any more.\n\n> Inventory\nThere's a nice white leather satchel over your shoulder, and you keep just about everything you need in there. Like almost always, your hair is braided back with a set of gold and blue beads.\n\nYou stifle a yawn. You could really go for a double right now.\n\n> You examine the machine\nThe espresso machine is fairly inexpensive, but produces good enough coffee for you. That's all that matters since you're probably the only person who knows how to operate it. It is already loaded and tamped; you prepped it earlier today.\n\nIn the espresso machine is a pretty white demitasse.\n\n> You turn on the machine\nYou switch on the espresso machine. It makes a familiar hissing sound as hot steam is forced through tightly-packed espresso grounds.\n\nThe espresso machine makes an unexpected popping noise. The hissing noise jumps in volume as the steam wand suddenly starts spewing hot vapor.\n\n> You turn off the machine\nIn theory, it's already off. In practice, something seems to be horribly wrong with it - the din continues unabated, and steam spews in all directions.\n\nThe steam wand of the espresso machine continues to spew hot vapor.\n\n> You leave\nThe only exit from the break room is into the hallway there, to the west.\n\nA loud noise like a gunshot erupts from the espresso machine, and you flinch back from it. A powerful blast of vapor issues from the espresso machine's nozzle, shattering the demitasse into tiny shards. Menacing steam begins to leak from other crevices in the device.\n\n> Go west\nYou start moving toward the door, but are interrupted as a pipe near the door violently bursts, spraying hot water vapor across the entrance. You are trapped inside the cafeteria.\n\nUnprompted, the microwave lights up, turning on. The bowl inside slowly rotates.\n\n> You turn off microwave\nYou press the \"stop\" button on the microwave. Nothing happens.\n\nThe bowl in the microwave begins to bubble over with overheated liquid.\n\n> You break the microwave\nAttempting to break the microwave seems futile.\n\nThe microwave fills with steam. You begin to hear strange noises from the pipes above you.\n\nCaught in the power of Best's mind, strung out on her confusion and alarm, you fight to preserve your thoughts. You are not Best Ife, Elizabeth Ife, Abeni Ife - you are yourself. This isn't you.\n\n> You turn on the sink\nYou're perfectly clean already.\n\nThe microwave suddenly bursts open, billowing clouds of hot steam. As if on cue, you hear a deafening report from the back of the refrigerator and see steam jet out from behind it.\n\nShe's going to die. You can feel her death coming.\n\n> You open the satchel\nYou click the clasps open on the white satchel.\n\nA groaning noise comes from above.\n\nBut this isn't you. This isn't how you die.\n\n> You look in the satchel\nThat's already open.\n\nIn the white satchel are a Richard Feynman biography and a large red paperback.\n\nWith a hideous shriek, the maze of pipes above you explodes, issuing a wave of superheated water vapor. You cannot escape the steam as it fills the room. Best gasps for breath as she is bathed in burning moisture.\n\nNot you. Not you!\n\n> You read the paperback\nYou're out of time.\n\nBest stumbles toward the exit, but not fast enough. She collapses to the ground, unable to take a breath, literally boiling alive. As she tumbles to the floor, her blurring vision documents the way her skin peels away against the edge of a tile, and her ravaged nerves report the fiery sensation all the way up her arm. She covers her head with her arms and succumbs to the loss of her senses.\n\nNot you.\n\nYour mind flees from hers, and Abeni Elizabeth Ife dies alone in a watery hell.\n\n> You wait for a while\nPress any key to continue.\n\n> Y.\nIt has to be true.\n\n> Wait\nPress any key to continue.\n\nYou're lying on the ground. You slowly get to your feet.\n\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into a strange fleshy tube, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\nI beg your pardon?\n\n> You pull the lever\nNothing obvious happens."
    },
    {
        "text": "[Themes: experiments, violence, gender-neutral protagonist, medical, laboratory setting]\n\n> You look around\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into a strange fleshy tube, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\n\n> You examine the lights\nThe fluorescent lights cast their stark, unflattering light from behind frosted plastic covers.\n\n> You go to the south\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou try unlocking the door to room 323 with the ridged key and the small brass key, but you don't have a key to fit the lock.\n\n> You pull the lever\nFrom somewhere in the pipe maze, you hear a sharp hiss of steam, but your mind reels strangely. It seems like the hiss is as much within your head as outside it, and you feel very peculiar. The room twists sideways....\n\nAs your outer eyes close, your inner eye opens. Dimly, you perceive the way your ribs collide with a rectangular table and the way your body collapses to the floor, but you're not there any more.\nPress any key to continue.\n\nYou reorient slowly. You're still in a cafeteria, but you recognize this place - surrounded by the cheerful bustle of chatty office workers from elsewhere in the building, you sat here and drank tea with Dr. Ephart.\n\nYour awareness doubles - you remember drinking tea with Dr. Ephart after signing your guinea pig contract, but there's an echo in your mind, the echo of tens or hundreds of other snacks and meals grabbed quickly in this room, either alone or with others. These thoughts aren't yours, but they strike and dissolve upon your own thoughts like falling raindrops, shifting them subtly with every touch. Grasping for inner purchase, you come up with a name:\n\nAbeni - no, Elizabeth, Elizabeth \"Best\" - Ife.\n\nAnd with the name comes identity:\n\nI said my name was Elizabeth, and they called me Betsy, then Bets. When Marlene's kid garbled it to Best, I kept it - that was perfect! I'll be the best they've ever seen. A lab tech now, but that's just the start. I'm as good as anyone else in Corona, and if they really just care about skill - well, this is the way in and the way up. Even for a woman. Even for a foreigner. To hell with their prejudices.\n\nHer thoughts are inflicted strangely - there's a lilt to them, a sway. You realize that she isn't really thinking in English, but you seem to be translating it well enough. Still, focusing on her mind is like staring into a driving rainstorm - it blinds you and dazes you with its force. You shift your focus outward and see:\n\nOnly a few hours ago, the room was bustling with people from the building's various offices, but now it's completely empty save for you and the furniture. The room is large enough to be a cafeteria, but apart from a dozen or so cafeteria tables, it isn't furnished like one. The room bears only a small kitchenette with a fridge, microwave, sink, and a tabletop espresso machine.\n\nThe exit to the hallway is opposite the kitchenette, to the west.\n\nBest needs espresso, badly!\n\n> Y.\nThat was a rhetorical question.\n\n> Inventory\nThere's a nice white leather satchel over your shoulder, and you keep just about everything you need in there. Like almost always, your hair is braided back with a set of gold and blue beads.\n\n> You open the satchel\nYou click the clasps open on the white satchel.\n\nYour eyes droop a little, reminding you of why you came here in the first place.\n\n> You open the satchel\nThat's already open.\n\nBest needs espresso, badly!\n\n> You look in it\nThat's already open.\n\nIn the white satchel are a Richard Feynman biography and a large red paperback.\n\n> You get Feynman\nYou pick up the Richard Feynman biography.\n\nYou stifle a yawn. You could really go for a double right now.\n\n> You read Feynman\nDr. Ensfield loaned you this biography, and, rather to your amazement, you loved it. You need to give this one back and get your own copy. It's called Surely You're Joking, Mr. Feynman! For a physicist, Richard Feynman got up to some absolutely crazy shit - playing the bongos, going to Japan and Brazil, sending puzzle letters with his wife to dodge the government censors, and so on.\n\nYou even had the chance to try out one of his stunts. After reading about how he cracked all the locks at Los Alamos, you went wandering around the building in search of locks to try his techniques on, and you went into a whole bunch of filing cabinets with no one the wiser. You also found this great old desk hidden in the basement with a safe bolted onto it. That was totally weird! You managed to get it open, and there were even some papers inside....\n\nThat's been bothering you, a bit - because the papers in there were old, but they talked about a set of experiments that sounded very familiar. There's no way anyone else could know about Naegleria splendens, is there? You passed them over to Dr. Ephart - she'll figure out what to do from here.\n\nWhere is your mind going? You must need that espresso very badly!\n\nSomething inside you (not Best, but you) snaps shut like a clamshell, preserving that moment and that memory. It might be important....\n\n> You go to the north\nThe only exit from the break room is into the hallway there, to the west.\n\n> Go west\nYou hesitate, casting a regretful look back at the espresso machine, but... maybe you should lay back on the caffeine a little. People joke about how wired you get. But you like the feeling - being up and high and confident and capable. Having the world melt away in a headache is much less fun.\n\nYou turn away from the espresso machine and start toward the hallway, but you're interrupted by a strange noise. Looking back, you see that the steam wand of the espresso machine has started spewing vapor. That's extremely weird.\n\nThe steam wand of the espresso machine continues to spew hot vapor.\n\n> Wait\nTime passes.\n\nA loud noise like a gunshot erupts from the espresso machine, and you flinch back from it. A powerful blast of vapor issues from the espresso machine's nozzle, shattering the demitasse into tiny shards. Menacing steam begins to leak from other crevices in the device.\n\n> You wait for a while\nTime passes.\n\nUnprompted, the microwave lights up, turning on. The bowl inside slowly rotates.\n\n> Wait\nTime passes.\n\nThe bowl in the microwave begins to bubble over with overheated liquid.\n\n> You wait\nTime passes.\n\nThe microwave fills with steam. You begin to hear strange noises from the pipes above you.\n\nCaught in the power of Best's mind, strung out on her confusion and alarm, you fight to preserve your thoughts. You are not Best Ife, Elizabeth Ife, Abeni Ife - you are yourself. This isn't you.\n\n> You wait\nTime passes.\n\nThe microwave suddenly bursts open, billowing clouds of hot steam. As if on cue, you hear a deafening report from the back of the refrigerator and see steam jet out from behind it.\n\nShe's going to die. You can feel her death coming.\n\n> You wait\nTime passes.\n\nA groaning noise comes from above. Looking up, you discover a maze of pipes wending over the ceiling and down the walls - pipes that, Best thinks dazedly, almost certainly weren't there at lunchtime.\n\nBut this isn't you. This isn't how you die.\n\n> You wait\nTime passes.\n\nWith a hideous shriek, the maze of pipes above you explodes, issuing a wave of superheated water vapor. You cannot escape the steam as it fills the room. Best gasps for breath as she is bathed in burning moisture.\n\nNot you. Not you!\n\n> You read the paperback\nYou're out of time.\n\nBest stumbles toward the exit, but not fast enough. She collapses to the ground, unable to take a breath, literally boiling alive. As she tumbles to the floor, her blurring vision documents the way her skin peels away against the edge of a tile, and her ravaged nerves report the fiery sensation all the way up her arm. She covers her head with her arms and succumbs to the loss of her senses.\n\nNot you.\n\nYour mind flees from hers, and Abeni Elizabeth Ife dies alone in a watery hell.\nPress any key to continue.\n\n> Y.\nIt has to be true.\nPress any key to continue.\n\nYou're lying on the ground. You slowly get to your feet.\n\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into a strange fleshy tube, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\n\n> You read paperback\nYou've already read it. You're just carrying it around because you're planning to loan it to Rayjay - he needs some help loosening up and a reminder not to take himself so seriously. He's always so stiff and formal, which makes sense, since he's working with Dr. Ensfield all the time - but Rayjay's sour too, and that worries you. Dr. Ensfield's not sour. Plus, Rayjay is the only person anywhere near your age at Corona, and it would be nice if he weren't such a grapefruit.\n\nA groaning noise comes from above. Looking up, you discover a maze of pipes wending over the ceiling and down the walls - pipes that, Best thinks dazedly, almost certainly weren't there at lunchtime.\n\nBut this isn't you. This isn't how you die.\n\n> You look at the paperback\nThis is a copy of Tales from the Securemarket, this great future fantasy about gun-toting supermarket employees in a weird version of Washington DC.\n\nA groaning noise comes from above. Looking up, you discover a maze of pipes wending over the ceiling and down the walls - pipes that, Best thinks dazedly, almost certainly weren't there at lunchtime.\n\nBut this isn't you. This isn't how you die.\n\n> You wait\nTime passes.\n\nWith a hideous shriek, the maze of pipes above you explodes, issuing a wave of superheated water vapor. You cannot escape the steam as it fills the room. Best gasps for breath as she is bathed in burning moisture.\n\nNot you. Not you!\n\n> Y.\nIt has to be true.\nPress any key to continue.\n\nYou're lying on the ground. You slowly get to your feet.\n\nCafeteria, Mt Airy Hospital\nThe hospital's cafeteria is not very large, but it's still enough to seat a few dozen people at a time. Rows of rectangular tables covered in wood veneer are surrounded by a gauntlet of cheap chairs made of metal and molded plastic. The ceiling is higher here than elsewhere in the hospital; the fluorescent lights hang down, surrounded by a maze of exposed pipe running through the room. A gap in the wall to the east looks into a strange fleshy tube, and below it, a set of metal rails is mounted on the wall, suitable for resting a tray on.\n\nThe open doorway to the west leads back to the hallway. Next to the door is a hulking vending machine.\nI beg your pardon?\n\n> Go west\nHallway, Mt Airy Hospital\nThe overhead lights are shattered to the north and south, leaving this solitary space brightly lit in the white-walled hallway. Looking to the south, you can glimpse the dim squares of light that are the windows of the far-distant lobby. Twin doors stand open across the hallway, and a placard beside them reads \"CAFETERIA\". The elevator doors are to the west.\n\nThere is a handwritten menu taped below the placard.\n\n> You look in machine\nYou push open the plastic flap. Inside the compartment of the vending machine, you see: nothing.\n\n> You get menu\nYou pull the menu off the wall.\n\nYou add the handwritten menu to your existing collection of pages.\n\n> You go south\nYou walk south down the hall toward the distant lobby.\n\nHallway, Mt Airy Hospital\nAbove, the lights are shattered, leaving this part of the hallway dark, and shards of glass crunch softly underfoot. To the south, the lobby windows shine like a will-o-the-wisp. To the north, harsh fluorescent lights still illuminate the hall near the elevator.\n\n> You feel the floor\nYou feel your way cautiously across the darkened floor, but you encounter only curved shards and prickling splinters.\n\n> Go north\nMore quickly than you might have expected, you reach the well-lit square by the cafeteria and the elevator.\n\nHallway, Mt Airy Hospital\nThe overhead lights are shattered to the north and south, leaving this solitary space brightly lit in the white-walled hallway. Looking to the south, you can glimpse the dim squares of light that are the windows of the far-distant lobby. Twin doors stand open across the hallway, and a placard beside them reads \"CAFETERIA\". The elevator doors are to the west.\n\n> Go west\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> Unlock safe\n(the black safe)\nResting your fingers on the dial for a moment, you close your eyes and call up Best's memory.\n\nThe room was shadowed and full of dust. How long since anyone had been down there? Since you'd picked the lock to get into the room in the first place, probably pretty long, but you were so bored, and exploring was fun.\n\nThe safe was a surprise. What a weird old desk, with the safe bolted onto its leg! You tried to open it, but it was still locked. You leaned into it just a bit, and you started turning the dial slowly, feeling the numbers shift under your fingers. You recognized the little shift in friction when it came - \"you don't have to sandpaper your fingertips\", Feynman wrote, and he was right. It was amazing - a small success, a minor exploration, but perfect all the same.\n\nReleasing the memory, you open your eyes. The safe opens under your hand.\n\n> You look in safe\n(the black safe)\nThat's already open.\n\n>(the black safe)\nIn the black safe is a secret document.\n\n> You get the document\nA sense of relief, quiet but intense, courses through you. You feel strongly that you have done something right.\n\nYou add the secret document to your existing collection of pages.\n\n> You read the notes\nThe secret document reads: Examining hyperkinetic reactions related to intravenously induced symbiotic amoebic meningoencephalitis....\n\nAt least, you think that's what the first line says - the terminology's mostly unfamiliar, and the handwriting is an abominable scrawl. From what you can determine, these notes are the very early planning stages for a cure to combat the lethal effects of a particularly virulent amoebic infection.\n\nUnfortunately, the notes never seem to get to an actual cure. There's extensive discussion of the ineffectiveness of Amphotericin B, for example, and the author's confusion and dismay over this are painfully clear.\n\n> You open the machine\nThat's already open.\n\n> You put the fingers in the machine\nYou drop the severed fingers into the cilia-filled tube of the laundry machine and close the lid.\n\nThe laundry machine starts up with an audible whine and a whirring noise that increases in frequency as its internal motors (or muscles, you suppose) spin up.\n\n> You open the machine\nYou lift the lid of the large laundry machine, revealing the fleshy, cilia-lined tube within, and flinch in surprise as some small objects burst out of the laundry machine, bounce off your face and clatter to the floor. A quick look around reveals that the fingers you dropped into the laundry machine have now been reduced to twelve finger bones, each one bleached white by the machine's industrious cilia.\n\n> You get the bones\nYou pick up the handful of fingerbones.\n\n> You look at the bones\nTwelve clean white fingerbones, created by dropping four severed fingers into a monstrous laundry machine.\n\n> You drop the bones\nYou toss the fingerbones on the ground, and they clatter across it like dice before coming to a rest.\n\n> Go south\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\n> You go north\nYou push the 5 key.\n\nYou push the 7 key.\n\n(the 1 key)\nYou push the 1 key.\n\nYou push the 3 key.\n\nA green light flashes on the keypad, and the door unlocks with a click.\n\nYou open the autopsy room door.\n\nAutopsy Room, Mt Airy Hospital\nThe air here is thin with an astringent, chemical smell that makes you feel light-headed. Counters and cabinets line the west and north walls of the room, with a pair of sinks in the middle of each. Every surface you see is immaculate save for the metal table in the center of the room. On it, a corpse in a cut-up suit has been laid in a spread-eagled position, with dozens of surgical tools protruding from its dissected torso. Flaps of skin from the corpse's torso stretch towards the ceiling, suspended by thin pieces of surgical thread.\n\nA sheet of typewriter paper lies on the floor very near the hallway door.\n\nA door made of heavy, insulated glass leads to another room to the east.\n\nThe door to the hallway lies to the south.\n\nYou can also see a ruined bonesaw here.\n\n> You get the sheet\nWhich do you mean, Pearce 5/8/78, Pearce 4/16/78, Pearce 5/12/78 or Pearce 5/1/78?\n\n> You get the typewriter\n(Yehuda 4/2)\nYou flip through your notes until you come to the Yehuda 4/2 entry.\n\nYou already have that.\n\n> Hint\nAh, you're looking for some assistance? Welcome to the hint system.\n\nDice were probably originally made from the ankle bones of hoofed animals, but their nickname of \"knucklebones\" can give the impression that original dice were made from the bones of human fingers.\n\n> You get the typewriter paper\nYou pick up sheet of typewriter paper.\n\nYou add sheet of typewriter paper to your existing collection of pages.\n\nThe hallway door swings closed. There's a click as the lock reengages.\n\n> You look in the sink\nThe sink is empty.\n\n> You drop the bones\nYou toss the fingerbones on the ground, and they clatter across it like dice before coming to a rest.\n\n> You examine the sink\nLiterally the cleanest sink you have ever seen, the polished steel of the basin gleams like a mirror. A long faucet curves in a neat arc over the sink and its long handles flank the faucet like wings.\n\n> You put the bones in the sink\nYou place the handful of fingerbones in the sink.\n\n> Go west\nBasement Hall, Mt Airy Hospital\nGrime coats the frosted covers of the overhead lights, causing the peeling walls and tiled floors to look shadowed and ugly. The laundry room's large entrance to the north opposes the boiler room door to the south. To the west, an elevator's doors stand open.\n\nAn open door leads north into the laundry room.\n\nA swollen corpse with visibly broken limbs lies on the floor a short distance from the elevator doors.\n\nYou step into the elevator.\n\nElevator, Mt Airy Hospital\nThe elevator is just big enough to fit the length of a standard hospital gurney and not much else. Unlike the dull white walls of the rest of the hall, the elevator's interior is crafted with burnished steel. The fluorescent lights above shine through a thick metal grate.\n\nThere are floor buttons for B through 4 on the control panel. There is also a button marked \"Alarm\" and a key switch marked \"Fire\".\n\n> Wait\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\n> You go east\nYou step through the elevator doors into the familiar stench of the fourth floor hallway.\n\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> You go north\nBathroom, Mt Airy Hospital\nWhile the single toilet here appears to be whole and undamaged, it is filled nearly to the brim with some kind of thick, reddish-brown substance that you cannot immediately identify. The sink's faucet is off, and the sink is filled to the brim with water. An undamaged mirror sits above the sink.\n\nA gray door to the south leads out of the bathroom.\n\n> You throw the bones\nYou toss the handful of fingerbones onto the ground, where they splash into the water. You stare at them for a moment, but nothing happens. You sigh and move to pick them up, only to realize that your reflection does not bend down as you do.\n\nYou straighten your back slowly, looking at the mirror. A skinny, gaunt-faced young man, naked to the waist, stares at you with piercing green eyes from behind the mirror's surface. You stare back. The mirror explodes with no warning, pelting you painfully with glass.\nYou stumble against the rear wall, throwing your hands over your stinging face and eyes....\n\nYou remain frozen in place for a moment, then cautiously move your arms away from your face. The pain is gone; your skin is undamaged. Your reflection again shows your own face. The fingerbones sit on the floor. You scoop them up again.\n\nYou toss the fingerbones on the ground, and they clatter across it like dice before coming to a rest.\n\n> You look in the sink\n(the metal sink)\nThe metal sink is empty.\n\n> You get the stopper\nYou pull the stopper out of the drain by its chain, causing the water to immediately begin draining from the sink.\n\nWater continues to drain from the sink through its pipes.\n\n> Wait\nTime passes.\n\nWater continues to drain from the sink through its pipes.\n\nYou are startled by a loud, splashing clang! You see that a u-bend section of pipe has disconnected and fallen to the floor. Water pours from the disconnected drainpipe directly to the floor now.\n\n> You look at the sink\nYou can't see any such thing.\n\n>(the metal sink)\nThe sink contains clean, clear water, which is now emptying from the sink through its drain (and from there onto the floor, since the pipe is missing). At the bottom of the sink, you can see that the sink's drain is unplugged. A chain leads from behind the faucet to a rubber stopper.\n\nWater continues to drain from the sink onto the floor.\n\n> You look in the pipe\nIt's a useless piece of pipe. Not even Professor Plum could use it as an effective weapon.\n\nIn the rusty u-bend pipe is a crumpled piece of plastic.\n\nWater continues to drain from the sink onto the floor.\n\n> You get the plastic\n(the crumpled piece of plastic)\nYou reach carefully into the pipe and pull out the plastic thing. It snags on the edge of the pipe, but you manage to get it out. It's a crumpled plastic baggie containing a folded piece of paper.\n\nImmediately after you remove the baggie, something else falls out of the pipe. You manage to catch it reflexively and discover that you have a steel key.\n\nWater continues to drain from the sink onto the floor.\n\nThe sink, now empty, ceases to pour water on the floor. The room is now silent.\n\n> You get paper from the baggie\nYou can't see any such thing.\n\n>(the folded piece of paper from the ripped plastic baggie)\nYou remove the folded page from the ripped plastic baggie, unfold it, and smooth it out as best as you can. It turns out to be a small page torn from a compact notebook.\n\nYou add the small page torn from a compact notebook to your existing collection of pages.\n\n> You read the notes\nThe small page torn from a compact notebook reads:\n\nS.C. - Entry 1978-04-15-1400\n\nMr. Schuyler was right; there is entirely too much humanity in this project.\nOnly Atwater displays even the remotest scrap of professional detachment, which he manages to keep entirely useless through the judicious application of insecurity and megalomania. Yehuda, while observant and quick-thinking, is entirely too compassionate and will be doddering before his time, should he live so long. Buchanan, no matter how much faith Mr. Schuyler has in her abilities, is little more than a hippie who lacked the good graces to be born in the correct decade.\nI have no doubt that my presence has their dander up. I will never be able to oil my smile so much that it would not arouse their collective suspicion. But that's of no consequence. They know their jobs, shaken nerves will not deter them, and this is precisely as it should be. Should they do their jobs, mine will be boring and that is ideal.\nI am, of course, prepared for the alternative.\n\n> Go south\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> Go east\nBathroom, Mt Airy Hospital\nThe single fluorescent light in the bathroom flickers rapidly like a strobe. On the other side of the room, a bloodied corpse seems to be partially buried in the toilet, folded in half. Near the toilet is a sink, above which is a mirror marred by a spiderweb crack. The light's strobe effect gives the room a surreal, filmlike quality. Behind you, to the west, a door leads back into the hallway.\n\n> Go north\nBathroom, Mt Airy Hospital\nWhile the single toilet here appears to be whole and undamaged, it is filled nearly to the brim with some kind of thick, reddish-brown substance that you cannot immediately identify. The sink's faucet is off, and the sink is currently empty. An undamaged mirror sits above the sink.\n\nA gray door to the south leads out of the bathroom.\n\nThere's a rusty u-bend pipe on the floor. It looks pretty useless.\n\n> You get the bones\nYou can also see a handful of fingerbones here.\n\n>You pick up the handful of fingerbones.\n\n> Go south\nHall End, Mt Airy Hospital\nThe air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.\n\nA gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.\n\nTo your south, a windowless wooden door sits, a small metal sign next to it marking it as a \"staff lounge\".\n\n> You go to the north\nThe third floor button lights under your finger. The elevator doors slide closed, and the elevator lurches downward.\n\nTime passes.\n\nTime passes.\n\nThe elevator comes to a halt with a quiet ding. The third floor button stops glowing, and the doors slide open.\n\nYou step through the elevator doors into a familiar hallway. In front of you, the lurid orange biohazard symbol all but glows from the end of the east hall, and a broader hallway stretches away to the left and right.\n\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. A long, slow breeze flows from the south past you, reaching towards the deep shadow to the north. Before the light fails, there's a bathroom door in the dull white wall to the east and a laundry chute to the west.\n\n> Go east\nBathroom, Mt Airy Hospital\nThe single fluorescent light in the bathroom flickers rapidly like a strobe. On the other side of the room, a bloodied corpse seems to be partially buried in the toilet, folded in half. Near the toilet is a sink, above which is a mirror marred by a spiderweb crack. The light's strobe effect gives the room a surreal, filmlike quality. Behind you, to the west, a door leads back into the hallway.\n\n> You throw the bones\nThe fingerbones clatter against the floor. For a moment, nothing happens.\n\nAbruptly, the broken mirror breaks open and expands outward like a mouth, its jagged edges yawning toward you. You scream as it sinks its shard-teeth into your arm, and you pull against it with all of your strength.\n\nWhen your back hits the opposite wall, you realize that your arm is unhurt and the mirror is still. The fingerbones sit on the floor.\nYou scoop them up again.\n\nYou toss the fingerbones on the ground, and they clatter across it like dice before coming to a rest.\n\n> Go west\nHallway, Mt Airy Hospital\nPartway down this hall, the fluorescent lights have sputtered out, leaving the way north cloaked in darkness. There's a long, slow rush of bad-smelling air coming from that direction. Before the light fails, there's a bathroom door in the dull white wall to the east and a laundry chute to the west.\n\n> You go to the south\nYou insert the steel key into the lock of the door to room 321 and turn it, successfully unlocking the door\nYou open the door to room 321.\n\nRoom 321, Mt Airy Hospital\nThis small room would have made a cozy office for a single person; set up for two, it feels more like a furnished closet. The room's furnishings express remarkably different personalities: on the west, a massive black filing cabinet is flanked by a mahogany desk and expensive-looking rolling chair. On the east, the cheap metal desk has a kneeling chair in front of it, next to a gray filing cabinet much smaller than its counterpart on the west side.\n\nThere's a high shelf supporting a preserved heart, a pickled two-headed sparrow and a jar of formaldehyde above the mahogany desk.\n\n> You examine the mahogany desk\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself against the black filing cabinet, the world doubles unpleasantly, and grayness clouds your vision.\n\nThrough the grayness, you see two identical, obviously dead women standing nearby and watching you. Chestnut hair spills over their shoulders. Each woman's skull is hideously crushed, and each face, turned toward you, has one missing eye - the left missing for the woman on the left, and the right missing for the woman on the right. Blood and less identifiable fluids drip from the empty eyesockets.\n\nYour vision clears and the doubled image disappears. The corpses are gone.\n\nThe mahogany desk is immaculate. Its varnished surface seems to have been cleaned not long ago, and it sports no clutter whatsoever.\n\nOn the mahogany desk is a precisely folded sheet of typewriter paper.\n\n> Go north\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou insert the steel key into the lock of the door to room 324 and turn it, successfully unlocking the door\nYou open the door to room 324.\n\nRoom 324, Mt Airy Hospital\nThe fluorescent lights overhead are dark - burned out, judging by the presence of the tall torchiere lamp standing by the door. The torchiere is currently turned off, and ink-dark shadows fill the room.\n\nA small door to your south leads back into the hallway.\n\n> You turn on the torchiere\nYou switch on the tall torchiere. Yellow light floods through the small room, illuminating row upon row of shelves around you and a closed metal cupboard at the back of the room.\n\n> You open the cupboard\nOpening the cupboard, you discover that it contains quite a few sterile packages containing hypodermic syringes.\n\n> You get the syringes\nYou select a sealed hypodermic syringe.\n\n> You look\nRoom 324, Mt Airy Hospital\nThe yellow light of a single torchiere lamp illuminates a small room. The room is filled mostly with standing shelves that go from floor to ceiling, reminding you immediately of the brief glances of pharmacies that you've caught over their counters. Sure enough, the shelves are filled with rows upon rows of medicine, kept in bottles of varying sizes. A metal cupboard containing a pile of packaged syringes stands open at the end of the room.\n\nA small door to your south leads back into the hallway.\n\n> You search the shelves\nYou paw through the bottles on the shelf, searching for the Vanemine described in Pearce's 5/8 entry. Though it takes you a few minutes, you are able to find a small vial of Vanemine hidden behind several other medications in larger bottles. You pocket it.\n\n\"Hrtmn\" is difficult to uncover until you luckily find \"Hartmann's Solution\" in the small print of the bottle labeled CSL. You pick up the bottle.\n\n> You search the shelves\nYou make one last search of the shelves for anything useful. Unexpectedly, you discover a small piece of notebook paper concealed against the back wall of the shelving. You remove and unfold it.\n\nYou add the small page torn from a compact notebook to your existing collection of pages.\n\n> You read the notes\nThe small page torn from a compact notebook reads:\n\nS.C. - Entry 1978-05-07-0400\n\n\"No battle plan survives contact with the enemy.\"\nAtwater spoke to me about the possibility of terminating McMoneagle. It is true and observable that Ian has suffered more severe effects than any of the previous test recipients had before their brains succumbed to the symbiont's side effects. Since Atwater has never had faith in the possible success of the project, psychotic reactions hold no hope for him. He would just as soon destroy the subject and move to the next.\nWhat I did not know upon this meeting is that Atwater had given an innocuous excuse to Yehuda concerning his absence from the test -- a trip to the store. This rendered him an adequate target for a remote viewing session, by Yehuda's reckoning. Ian \"overheard\" Atwater's conversation with me and became overwrought.\nWhen he went to sleep, his psychic abilities manifested, somehow dealing severe trauma to Atwater's heart. By the time the doctor was taken to the hospital, he was already dead.\nWhile I was notified almost immediately, this is going to be incredibly inconvenient to keep quiet and controlled. Elaine should be easy to manipulate; her faith in the project will ensure her loyalty. Yehuda will be another matter. I will speak to him directly, but even then I will need to keep an eye on the man. He has too much humanity to be a good Doctor.\nI realize that it is my job to babysit the ignorant, but that does not keep it from being infuriating.\n\n> You look\nYou switch off the tall torchiere. Darkness immediately floods the room.\n\n>Room 324, Mt Airy Hospital\nThe fluorescent lights overhead are dark - burned out, judging by the presence of the tall torchiere lamp standing by the door. The torchiere is currently turned off, and ink-dark shadows fill the room.\n\nA small door to your south leads back into the hallway.\n\n> You wait awhile\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\nGlass crunches faintly underfoot as you move through the hallway.\n\nRoom 324, Mt Airy Hospital\nThe fluorescent lights overhead are dark - burned out, judging by the presence of the tall torchiere lamp standing by the door. The torchiere is currently turned off, and ink-dark shadows fill the room.\n\nA small door to your south leads back into the hallway.\n\nTime passes.\n\n> Go south\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\n> You go to the south\nGlass crunches faintly underfoot as you move through the hallway.\n\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\n>You insert the steel key into the lock of the door to room 321 and turn it, successfully unlocking the door\nYou open the door to room 321.\n\nRoom 321, Mt Airy Hospital\nThis small room would have made a cozy office for a single person; set up for two, it feels more like a furnished closet. The room's furnishings express remarkably different personalities: on the west, a massive black filing cabinet is flanked by a mahogany desk and expensive-looking rolling chair. On the east, the cheap metal desk has a kneeling chair in front of it, next to a gray filing cabinet much smaller than its counterpart on the west side.\n\nThere's a high shelf supporting a preserved heart, a pickled two-headed sparrow and a jar of formaldehyde above the mahogany desk.\n\n> You stand on the chair\nWhich do you mean, the rolling office chair or the kneeling chair?\n\n> You stand on the mahogany desk\nA sudden wave of dizziness overwhelms you. As you stumble and steady yourself against the black filing cabinet, the world doubles unpleasantly, and grayness clouds your vision.\n\nThrough the grayness, you see two identical, obviously dead women standing nearby and watching you. Chestnut hair spills over their shoulders. Each woman's skull is hideously crushed, and each face, turned toward you, has one missing eye - the left missing for the woman on the left, and the right missing for the woman on the right. Blood and less identifiable fluids drip from the empty eyesockets.\n\nYour vision clears and the doubled image disappears. The corpses are gone.\n\nYou climb up on the mahogany desk. From here, you can reach the high shelf.\n\n> You get the formaldehyde\nYou pick up the jar of formaldehyde.\n\n> You stand\nYou climb carefully down from the desk.\n\n> You unlock the black cabinet with the brass key\n[This command only takes one input. Ignoring \"with brass key\".)]\n\nYou insert the small brass key into the lock of the black filing cabinet and turn it, successfully unlocking the black filing cabinet.\n\n> You open it\nYou open the black filing cabinet.\n\n> You look in it\n[To find things in the black filing cabinet's files, use the command \"LOOK UP [topic] IN FILES\".]\n\nIn the black filing cabinet, you see a set of files relating to employee records.\n\n> You look up Yehuda in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Yehuda, Theodore.\n\nDr. Yehuda's file contains mainly research on him and his work in the study of neuroscience. A few performance reviews from other offices are in the file, which you're not entirely certain is legal. The paperwork pertinent to Corona, Inc indicates that the doctor signed on with Corona in early April, 1978, immediately assuming a position as the head of the project. One of the reports has holes cut out of it. You suspect that there may be information missing from the report.\n\nYou put the file back where you found it.\n\n> You look up Elaine in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Buchanan, Elaine Geraldine.\n\nIt takes you a few moments to parse the disparate and heavily censored information in the file, but you are eventually able to make sense of it. It seems as though she was originally an applicant for an Institute that was doing contract work for some kind of government Project. The name of both project and institute have been excised from all documents where they are mentioned, clipped out with scissors. Elaine was rejected by the Institute as unsuitable, and headhunted by Corona not a week later, judging by her interview notes. Her recruitment took place sometime in 1977, before April. Since then, it appears that Elaine has acted as some kind of scout, seeking out suitable test patients and doing field research.\n\nYou put the file back where you found it.\n\n> You look up Ian in the black cabinet\nYou search through the black filing cabinet until you locate a folder for McMoneagle, Ian.\n\nIan's file is one of the thickest in the cabinet, filled with past medical reports and research. Ian was born on October 30th, 1955 in Olney, Maryland to John McMoneagle, a general store manager, and Olive McMoneagle. Judging by the neatly-organized and annotated transcripts, Ian was very bright but did poorly in school due to depressive behavior. A few reports of incidents illustrate that Ian was a frequent victim of bullying, and even the teachers and administration of his schools found his behavior off-putting. His medical records indicate a history of chronic headaches and nightmares. Ian was recruited as a test subject for Corona Laboratories in mid-April of 1978.\n\nYou put the file back where you found it.\n\n> You look up Alice in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Kim, Alice.\n\nIts contents reveal that Alice is a nurse at Mt. Airy, and she has been working for the hospital for about six months. Alice was born on May 14, 1955, in Wheaton, Maryland, to Seung and Mary Kim. While there isn't much more specific information about Alice, her performance review indicates that while Alice \"sometimes lacks procedural knowledge,\" she is a patient favorite, known for her \"bright and cheerful outlook\", and people note that she \"never seems to have a bad day.\"\n\nYou put the file back where you found it.\n\n> You look up Simon in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Cross, Simon.\n\nA single sheet of paper lies in the folder. In its center, a simple message has been typed in a bold serif font: \"This space intentionally left blank.\"\n\nYou put the file back where you found it.\n\n> You look up Atwater in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Atwater, Edward.\n\nThe files indicate that Dr. Atwater had a solid career in medicine for about 30 years before signing on with Corona Labs in 1977. Dr. Atwater was initially the lead physician in charge of Corona's project here at Mt. Airy Hospital, but about a month ago he stepped down from that role to be replaced by Dr. Yehuda. The reason for this is not explicitly stated in the file, and you can't help but feel that there may be some information purposefully left out.\n\nYou put the file back where you found it.\n\n> You look up Pearce in the black cabinet\nYou search through the black filing cabinet until you locate a folder for Pearce, Raymond, MD.\n\nThe folder is thick with files, mainly reports, commendations and reviews. Near the front and the back you find some basic information: Dr. Pearce was born on October 15th, 1915, in Northwest Washington, DC. There isn't much about his personal life, but it appears that the Doctor's progression through the hospital's ranks was gradual and measured; his most recent promotion was two years ago, to the position of the hospital's assistant director. Nothing else that you find is of value.\n\nYou put the file back where you found it.\n\n> You look in the gray cabinet\nYou open the gray filing cabinet.\n\n[To find things in the gray filing cabinet's files, use the command \"LOOK UP [topic] IN FILES\".]\n\nIn the gray filing cabinet, you see a set of files relating to a variety of peculiar topics, ranging from UFOs to remote viewing to cryptozoology.\n\n> You look up the remote viewing in the gray cabinet\nThe organization system of the gray filing cabinet is mysterious at best. You skim quickly through, but you cannot find a clipping about remote viewing.\n\n> You look up the ufos in the gray cabinet\nWhich do you mean, the black filing cabinet or the gray filing cabinet?\n\n>You find three articles about UFOs. Each one centers around an alleged sighting, and is covered with notes in black marker. It seems that whoever wrote these notes actually did some research on each sighting, as the notes pertain to the likely accuracy of each statement. One article, concerning an incident near Roswell, is marked \"Likely! Ask about vacation time in August.\"\n\n> Gray\nYou put the file back where you found it.\n\n>[\"gray\" is not a recognized command.]\n\n> You look up the symbiont in the gray\nThe organization system of the gray filing cabinet is mysterious at best. You skim quickly through, but you cannot find a clipping about symbiont."
    },
    {
        "text": "[Themes: medical, laboratory]\n\n> You look around\nRoom 321, Mt Airy Hospital\nThis small room would have made a cozy office for a single person; set up for two, it feels more like a furnished closet. The room's furnishings express remarkably different personalities: on the west, a massive black filing cabinet is flanked by a mahogany desk and expensive-looking rolling chair. On the east, the cheap metal desk has a kneeling chair in front of it, next to a gray filing cabinet much smaller than its counterpart on the west side.\n\nThere's a high shelf supporting a preserved heart and a pickled two-headed sparrow above the mahogany desk.\n\n> You examine the sparrow\nOne of the heads is smaller than the other, jutting strangely upward, while the other is bowed by the weight of the first. Both beaks are open plaintively, but all four eyes are closed.\n\n> You go to the east\nGlass crunches faintly underfoot as you move through the hallway.\n\nYou swipe your keycard through the keycard reader. After a moment, the door emits a loud click and the airlock door slides open.\n\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> You examine the suit\n(the clean hazard suit)\nIt's a thin white hazard suit. While not very durable, a combination of a charcoal air filter and an airtight fiber weave should serve to protect the wearer from most environmental hazards.\n\n> You wear the suit\n(the clean hazard suit)\n(first taking the clean hazard suit)\nYou pick up the clean hazard suit.\n\nYou clamber awkwardly into the suit. It takes you several minutes to figure out how to get your hands into the gloves at the end of the sleeves without having to zip it up first, but after some struggling you are completely suited up. You check all of the airtight zippers and make sure that the filter is letting you breathe properly. You feel clumsy and big, but you should be protected from all but the most minute contaminants. Unless the suit tears, of course.\n\n> You go to the east\nYou push the button marked \"ENTRY\". The internal airlock door emits a loud click and then slides open with a soft hiss.\n\nAs the door slides open, you are immediately sprayed by a reddish liquid, which splatters against the surface of your suit. Upon wiping off your faceplate with a suited arm, you see that an amorphous red substance is now oozing into the airlock through the partly open door.\n\nYou flinch back from the vista beyond, where a strange, churning red substance has devoured almost an entire room. Before, when you looked into the faceplate of the prone figure's environmental suit, you saw a seething red hell that consumed one man. That was the microcosm; this door contains the same red hell in macrocosm.\n\nBiohazard Lab, Mt Airy Hospital\nThis room seems to have been the subject of some kind of massive biological explosion. Some kind of glistening, mealy red substance similar to ground meat is splattered all over the floor, walls and ceiling in large patches. The substance seems to have a life of its own, pulsing and undulating in great colonies. Large piles of it merge and separate.\n\nThe room itself seems to have been some kind of biological experimentation laboratory. You can see a large sink along one wall, with nozzles for a bunsen burner mounted next to it. While most of the counters are covered with the disgusting red substance, one table is mostly untouched thanks to an overhanging edge.\n\nOn the table is a measuring pipette, fixed in place above a wooden test tube rack. There's also a small lab refrigerator branded with a biohazard symbol.\n\nThe bottom of a glass test tube projects from a mound of the mealy red stuff.\n\n> You get the tube\n(the sludge-encrusted test tube)\nYou pull the test tube out of the churning mound of mealy red stuff.\n\n> Go west\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nA few slowly shifting tendrils of red, mealy meat have made their way into the airlock.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> Wait\nTime passes.\n\nThe internal airlock door slides closed with a hiss and and locks with a click.\n\n> You go east\nYou push the button marked \"ENTRY\". The internal airlock door emits a loud click and then slides open with a soft hiss.\n\nBiohazard Lab, Mt Airy Hospital\nThis room seems to have been the subject of some kind of massive biological explosion. Some kind of glistening, mealy red substance similar to ground meat is splattered all over the floor, walls and ceiling in large patches. The substance seems to have a life of its own, pulsing and undulating in great colonies. Large piles of it merge and separate.\n\nThe room itself seems to have been some kind of biological experimentation laboratory. You can see a large sink along one wall, with nozzles for a bunsen burner mounted next to it. While most of the counters are covered with the disgusting red substance, one table is mostly untouched thanks to an overhanging edge.\n\nOn the table is a measuring pipette, fixed in place above a wooden test tube rack. There's also a small lab refrigerator branded with a biohazard symbol.\n\n> You open the fridge\n(the clean glass test tube in the wooden test tube rack)\nYou lower the clean glass test tube through a hole in the wooden test tube rack and nestle its base into the appropriate divot.\n\n>You open the small lab refrigerator, revealing a vial of blood and a legal-size page.\n\n> You get the page\nYou find nothing of interest.\n\nThe internal airlock door slides closed with a hiss and and locks with a click.\n\n>(the legal-size page)\nYou pick up the legal-size page.\n\nYou add the legal-size page to your existing collection of pages.\n\n> You read the notes\nThe legal-size page reads:\n\nFrom the desk of Dr. Edward Atwater, M.D., Ph.D.\nApril 25th, 1978\nI'll be damned, they're really buying it. McMoneagle's due to be\ndosed within the next few days.\nI am not a completely heartless man. It is a popular conceit in\nthis office, and I suppose I cannot blame anyone for thinking so. But I have been here for years, now, and overseen the snuffing out of over a dozen lives. With each death I hope to the godless heavens that Corona will see the depth of its mistake, realize that experimenting with a lethal parasite and calling it a symbiont will not make wishes come true. If we want to join the Project it will only be through methodical chicanery, not methodical murder.\nWhat do they want of me? To become McMoneagle's friend, like\n\"kindly old Doc Yehuda?\" To have faith in the absence of reason, like \"Crazy 'Lainey?\" I dread to think of how crushed they will be when the young man's brain floods itself with chemicals. I will be the only staff member in his right mind.\nI am not a monster. I am a doctor. To hell with anyone who doesn't understand that.\n\n> You get the blood\n(the vial of blood)\n\n> You put the blood in the tube\nYou pick up the vial of blood.\n\n>(the vial of blood in the clean glass test tube)\nThere are no measurement graduations on the test tube. You should put components into the pipette so that you can be sure you added the right amount.\n\n> You put the blood in the pipette\n(the vial of blood in the measuring pipette)\nUsing Dr. Yehuda's notes for reference, you carefully measure some of the vial of blood into the pipette and then decant it into the test tube.\n\n> You put the hartmann's in tube\n(the partially full glass test tube)\nThere are no measurement graduations on the test tube. You should put components into the pipette so that you can be sure you added the right amount.\n\n(the partially full glass test tube)\nThere are no measurement graduations on the test tube. You should put components into the pipette so that you can be sure you added the right amount.\n\n> You put Hartmann's in the pipette\nUsing Dr. Yehuda's notes for reference, you carefully measure some of the jar of formaldehyde into the pipette and then decant it into the test tube.\n\nUsing Dr. Yehuda's notes for reference, you carefully measure some of the bottle of Hartmann's solution into the pipette and then decant it into the test tube.\n\n> You put Vanemine in the pipette\nUsing Dr. Yehuda's notes for reference, you carefully measure some of the vial of Vanemine into the pipette and then decant it into the test tube.\n\n> You put the syringe in tube\n(the partially full glass test tube)\nThere are no measurement graduations on the test tube. You should put components into the pipette so that you can be sure you added the right amount.\n\n> You get the tube\n(the partially full glass test tube)\nYou pick up the partially full glass test tube.\n\n> You fill the syringe from the tube\n(the partially full glass test tube in the sealed hypodermic syringe) You open the plastic wrapper surrounding the hypodermic syringe and prepare the needle for use.\n\nYou draw some of the liquid from the test tube into the hypodermic syringe.\n\n>[\"fill syringe from tube\" is not a recognized command.]\n\n> You put the tube in the rack\n(the partially full glass test tube in the wooden test tube rack)\nYou lower the partially full glass test tube through a hole in the wooden test tube rack and nestle its base into the appropriate divot.\n\n> Go west\nWincing, you grope about for a moment in the sludge near the door until you encounter something that feels like a button.\n\nYou push the hidden button. The internal airlock door emits a loud click and then slides open with a soft hiss.\n\nBiohazard Airlock, Mt Airy Hospital\nYou stand in a small room lit by a low red light. It is immaculately clean and nearly featureless. Two hooks are mounted on the wall; what appears to be a shredded environment suit hangs from one of them. Overhead, a set of red lamps shines down on you, mounted next to four spray nozzles. A sliding door with a small wire-reinforced window leads back to the hallway to your west. Another door stands to the east, a small opaque window set in it.\n\nThree large buttons, one marked \"ENTRY\", one marked \"EXIT\", and one marked \"DECONTAMINATE\", glow faintly from a wall recess.\n\n> You wait a while\nTime passes.\n\nYou note that some of the mealy red substance from inside the biohazard lab has found its way into the airlock.\n\n> Wait\nThe internal airlock door slides closed with a hiss and and locks with a click.\n\n> Go west\n(the clean hazard suit)\nYou take off the clean hazard suit.\n\nYou push the button marked \"EXIT\". The external airlock door emits a loud click and then slides open with a soft hiss.\n\nSide Hall End, Mt Airy Hospital\nPlain, windowless doors labelled neatly with small brass signs lead off to the north and south. At the east end of the hallway, a large, lurid orange biohazard symbol marks a door of a different design.\nThis door is a sliding door instead of a regular door, and it has a small, wire-reinforced window.\n\nSeveral curving, sharp pieces of glass and small pieces of metal litter the floor.\n\nThere's a keycard reader beside the sliding door.\n\n> You get the sign\nYou carefully peel the sign off the wall. Realizing that the old clear tape is likely to tear the paper, you fold it over the paper's side and add it to your notes.\n\nYou add the typewritten sign to your existing collection of pages.\n\n> Y.\nAre you sure you want to do this? (y/n) >Still dazed by the sudden racing of your heart, you depress the button.\n\nTo the southwest, muffled by the walls, you hear a strident buzzer, and the noise of high heels suddenly echoes down the hallway from that direction. The footsteps pause, and you hear the sound of a door opening.\n\nIn the security monitor, you see the young man jerk his head upward suddenly. This is your first good look at his face, and his features are gaunt, his eyes sunken and haunted. He slowly gets to his feet and walks out of the range of the security camera.\n\nThe strident buzzer continues to sound.\n\n> You go south\nThe lights flicker. The security monitor gives a sharp, abrupt crackle before going dead.\n\nSide Hall, Mt Airy Hospital\nThe off-white walls and dull, stain-resistant tiles of this hallway match those of the main hall to the west. Windowless doors marked with small brass signs branch off to the north and south.\n\nThe strident buzzer continues to sound.\n\n> Go west\nHall Intersection, Mt Airy Hospital\nCold fluorescent lights pace the ceiling from north to south and lead off east along the T intersection. To the west, a pair of metal elevator doors sits silently closed. There's a call button beside the elevator and a floor indicator above the call button.\n\nA building map is posted on the wall.\n\nThe strident buzzer continues to sound.\n\n> Go south\nHall End, Mt Airy Hospital\nLong banks of fluorescent lights cast sharp shadows along the half-familiar, half-unfamiliar hallway, which continues off to the north. The tiled floor is only a shade darker than the dull off-white walls. A strange, unpleasant odor hangs in the air and stings your nostrils. The door to Room 320 is across the hall to the west.\n\nA windowless door leads east into the testing room's antechamber.\n\nThe strident buzzer continues to sound.\n\n> You go to the east\nAntechamber, Mt Airy Hospital\nYour last visit to this room was your last breath of normalcy; now, the madness has spread even here. A pile of shattered bones, gore and viscera lies in a wide cone, sprayed toward the door through which you entered. Blood drips from the walls and ceiling in the shape of that same cone, pelting you with a gentle crimson rain. The most complete part of the remains is a single high-heeled shoe, which lies just in front of the pile. The ficus tree that previously stood in the corner now lies on its side, its leaves glistening with blood. Its pot, now cracked, lies on its side in a pile of blood-drenched topsoil.\n\nA metal fire axe lies on the far side of the floor.\n\nThe strident buzzer continues to sound.\n\n> You get the axe\nYou heft the metal fire axe. It is heavier than you expected it to be, but the weight is nonetheless somewhat reassuring.\n\nThe strident buzzer continues to sound.\n\nWith an audible click, the buzzer shuts off. The door swings closed behind you, and the lock slams home before you can intercept it.\n\n> You examine the shoe\nIt's a single, black, heeled women's pump. Whatever happened to its owner threw it forward just enough that it escaped the carnage, and it is mostly free of blood. Someone has written \"EGB\" in faded black marker on the pale gold lining of the inner sole.\n\n> You examine the ficus\nThe ficus tree's leaves glisten red with blood, so evenly coated as to uniformly appear that this is their natural state. The tree sprawls from the mouth of a cracked pot that lies on its side.\n\n> You search ficus\nThe ficus tree's pot is badly cracked, and the topsoil in which the tree was planted now spills out on the floor, soaking up the blood that coats one half of the room. You glimpse something buried in the topsoil, probably thrown there from the remains of the corpse: an intact pill bottle.\n\n> You get the bottle\n(the bottle of Hartmann's solution)\nYou already have that.\n\n> You get pill bottle\nYou pick up the bottle and brush off the blood-soaked dirt. It's labeled \"Sandepam\".\n\n> Go east\nAs you open the windowless door, you interrupt the insulated barrier that was preventing sound from leaving the test chamber. The sound of screaming suddenly goes from a muted, ignorable presence to a hammering agony on your ears.\n\nThe screaming from inside the test chamber hammers down, not only on your ears, but on your mind. The world warps strangely around you, and, quite abruptly, you are somewhere else.\n\nThe door slams shut behind you with tremendous force.\n\nTest Chamber, Mt Airy Hospital\nWhile you are not entirely sure what you expected to find, you are halted in your tracks nonetheless. The floor of the test chamber is littered with glittering shards of reflective glass. The one-way mirror between the test chamber and the observation room is opaque, but it pushes outward in the center to form a pair of jagged, irregular halves like a pair of jaws. From the hips up, Ian McMoneagle is trapped in the grip of those jaws, his face twisted into a mask of pain. The mirror's halves grind against muscle and bone, tearing him apart as they draw him in. And yet he lives....\n\nIan McMoneagle looks you in the face with wide, terrified eyes, his bloody bangs obscuring his gaze but not reducing its weight. He opens his mouth and screams in guilty agony.\n\nThe mirror pulls Ian in more deeply. The hideous cracking sound that follows is almost surely his pelvis.\n\n> You drop the bones\nYou scoop the fingerbones up from your pocket, rattle them in one hand, then toss them onto the ground in front of Ian. At once, his screams stop, and he stares at the bones.\n\nFollowing his gaze, you see that the fingerbones are gone. What lies on the ground is a set of twelve six-sided game dice, each one showing a single pip facing upward. Six sets of snake eyes stare up at you and Ian. You stare back.\n\nThe room vibrates for a few seconds, and then reality shatters. You both shatter with it.\nPress any key to continue.\n\nA darkened office. The orange light of dusk spilling through venetian blinds, laying bright stripes on the dark wood of an expensive luxury desk.\n\nWith a satisfying clatter, six dice bounce across the surface of the desk, coming to rest with assorted results: 6 6 2 6 3 1. The man who threw them, a middle-aged man with a face craggier than his age should allow, wears Brylcreemed black hair, a power suit, and the receiver of an office telephone held firmly to the side of his head.\n\n\"No, John, let me tell YOU something,\" he says. \"The Schuyler family didn't get to be where it is because we refused to take risks. This stuff is the real deal, and whoever pulls it off first is going to be set for generations.\"\n\nHe grabs three of the dice, leaving the three that show sixes. With an offhand gesture, he tosses them again. One of the three comes up a six. \"Look, this Buchanan broad is too hippy dippy for the Institute, but she's the real deal and she'll do anything for a break. They want to look legit, fine, but they won't land the project. We will.\"\n\nHe picks up one of the unlucky dice, then the other. He pauses for a moment, listening to the phone, then laughs. \"Well, John, I imagine she'll go nuts after a little while, but if you're not willing to squeeze an orange hard enough, you'll never get a glass of juice. Well, all right John. Talk to you later.\"\n\nThe man hangs up the phone, then throws the final two dice one last time. Both come up sixes. He leans back in his chair and smiles.\n\n\"Heh-heh,\" he says. \"Yahtzee.\"\n\nThen, he puts five dice back in the game box and one die in his pocket, and he saunters off to dinner.\n\n> You kill Ian\nYou raise the fire axe over your head and bring it down in a long, sweeping slice. Ian's head hits the floor and bounces from the force of its removal. Ian's body slumps for a moment.\n\nSomething in the stump of his throat moves. Widening the throat, something emerges from his windpipe: a single veiny eyeball supported on a pink, pulsating stalk. It swivels to stare at you.\n\nThe mirror continues to chew at Ian, drawing him into its surface with razor-sharp shard-teeth.\n\n> You hit the eyeball\nYou falter, unable to break away from the  eyeball's faceless gaze. And from deep inside the headless body, there comes a dreadful keening....\n\nThe mirror begins to bubble, like a photograph exposed to flame.\nGreat silver blisters form in its surface, and the blisters slowly turn white from front to back. Only a few heartbeats pass before the entire mirror is comprised of large white mounds. Then, all at once, a black spot with a dark green iris appears at the center of each mound, and they all swivel to stare directly at you. The surface of the mirror, now perfectly still, has become a wall of eyes. The combined gaze bores savagely into you as the body of Ian McMoneagle collapses at your feet.\n\nParalyzed, you stare back, completely unable to move.\n\n> Break mirror\nYou heave your shoulder behind the fire axe, driving it into the mirror's surface with all of your strength. The head of the axe buries itself in the mirror, throwing cracks all the way across its surface. The cracks run straight through the mirror, through the hideous jaws, and through the body of Ian McMoneagle\n\nPress any key to continue.\n\nConsciousness returns. You awaken in your bed surrounded by familiar and unfamiliar faces - Dr. Shaunessy, the neurologist; Rayjay Farley and Best Ife, the lab techs; the wheelchair-bound Dr. Ensfield, previously known by you only at a distance; a slim, chestnut-haired woman with a cool gray gaze, utterly unknown to you. Dr. Ephart is missing.\n\nDr. Shaughnessy has soothing words for you, but most of them blur together, issuing from a face that sometimes seems to lace with scars from an unknown source. You fight to understand. You were unconscious for three days, he tells you, after collapsing during a memory test. The project will continue if you feel up for it after a few days of rest, but right now everyone's going to take it easy.\n\nYou want to know where Dr. Ephart went. Dr. Shaughnessy says that she was transferred to another project because she adjusted your medication doses inappropriately, contributing to your attack. In the corner, the chestnut-haired woman with the bullet eyes stares at you. It all seems wrong, wrong. Everyone is alive and dead. Walking around one moment, shambling with fatal wounds the next.\n\nNightmares plague you that night - Dr. Ephart, confused and protesting, gunned down by the chestnut-haired woman; Dr. Ensfield screaming and covering his ears in an elevator shaft; Rayjay Farley staring into static as the static takes him apart. And Ian. Over and over, that young man from the test chamber in Mt. Airy Hospital - Ian McMoneagle, wild with fear and guilt, being devoured by the walls.\n\nPress any key to continue.\n\nYou can guard your words.\n\nBut you can't stop your dreams.\n\nYou can't stop your nightmares.\n\nYou can't stop this from happening all over again.\n\nIt's inside you.\n\nIT'S INSIDE YOU.\n\nAnd you had the chance to stop it.\n\nBut you can't stop it now.\n\nPress any key to continue.\n\nYour protestations turn to abjurations. Your abjurations turn to ravings. You must make them listen, and your efforts become more violent; you plead, you cry, you lose control, you scream and rave.\nIt is not long before the youngest and strongest of the staff, Rayjay and Best, strap you to your bed with sad, worried eyes.\n\nBut straps will only hold you down while you're still harmless.\n\nthey'll all die.\n\nJust like you saw.\n\nThree days later, your dreams come to life in Corona Labs.\nNo one escapes alive.\n\n> Inject ian\nWith no time for precision or care, you dodge Ian's attempts to fend you off and ram the syringe into his shoulder, driving the plunger home. The solution enters his body, and his screams, for just a moment, are stilled.\n\nYou watch him anxiously for some sign of change as you withdraw the needle, but nothing obvious happens. The mirror bites down again, and his screams renew.\n\nThe mirror continues to chew at Ian, drawing him into its surface with razor-sharp shard-teeth.\n\n> You open the bottle\nWhich do you mean, the pill bottle or the bottle of Hartmann's solution?\n\n> Y.\nDo you want to swallow the Sandepam pills? (y/n) >\nYou twist off the lid of the Sandepam and hesitate over the pills for a moment before swallowing two.\n\nAfter a moment, you feel a numb, calm sensation come over you. Your senses are slightly dulled, but the terror of your situation seems a little bit less sharp. If only you'd found these a little earlier in the nightmare.\n\nIan's anguished screams gargle into weak bubbles as the mirror bites into his chest, and, surely, his lungs.\n\n> You look at Ian\nIan's eyes are bulging and terrified, but filled with terrible knowledge and guilt as well. His mouth is opened wide, his teeth stained with what must be his own blood. The lower half of his body is hidden by the glass jaws that are chewing him up from the bottom to the top.\n\nWith the sound of glass grinding against glass, the mirror-glass draws Ian all the way in and shuts its uneven jaws. There is a brief and terrible silence before the mirror shatters cataclysmically.\n\nShards of glass fly past you, shredding your skin and muscle. You feel tiny pieces piercing your eyes, driving into your brain, flaying you alive. You stumble and fall onto a floor covered in razor-sharp pieces. There is no mercy; as you twitch in spasmodic anguish, lanced repeatedly through the cerebrum and cerebellum, everything goes dark....\nPress any key to continue.\n\nConsciousness returns. You muzzily realize that you are gazing at the ceiling of the Corona Labs test chamber just before the door slams open. Dr. Shaunessy, the neurologist, hurries into the room. Dr. Ephart follows close enough behind to step on his heels. \"How many fingers do you see?\" Dr. Shaunessy asks, kneeling down beside you, and Dr. Ephart rests light fingers on your wrist to take your pulse. In short order, they conclude that you suffered a vasovagal syncope and struck your head in the fall.\n\nYou try to talk to the doctors, but your words are confused and disjointed. Your gaze drags across the fallen photograph, half-shadowed by the folder above it, and you see the gaunt young man screaming. You can't find the words to make them understand. Though you can nearly stand on your own, the doctors firmly escort you from the room and off to bed.\n\nDr. Shaunessy leaves, but Dr. Ephart stays with you as the sedatives take hold. \"Don't worry,\" she says, resting a gentle hand on your shoulder. \"Everything will be all right.\"\n\nSix days later, the past repeats itself in Corona Labs.\nNo one escapes alive.\n\n> You look\nAntechamber, Mt Airy Hospital\nYour last visit to this room was your last breath of normalcy; now, the madness has spread even here. A pile of shattered bones, gore and viscera lies in a wide cone, sprayed toward the door through which you entered. Blood drips from the walls and ceiling in the shape of that same cone, pelting you with a gentle crimson rain. The most complete part of the remains is a single high-heeled shoe, which lies just in front of the pile. The ficus tree that previously stood in the corner now lies on its side, its leaves glistening with blood. Its pot, now cracked, lies on its side in a pile of blood-drenched topsoil.\n\n> Go east\nAs you open the windowless door, you interrupt the insulated barrier that was preventing sound from leaving the test chamber. The sound of screaming suddenly goes from a muted, ignorable presence to a hammering agony on your ears.\n\nThe screaming from inside the test chamber hammers down, not only on your ears, but on your mind. The world warps strangely around you, and, quite abruptly, you are somewhere else.\n\nThe door slams shut behind you with tremendous force.\n\nTest Chamber, Mt Airy Hospital\nWhile you are not entirely sure what you expected to find, you are halted in your tracks nonetheless. The floor of the test chamber is littered with glittering shards of reflective glass. The one-way mirror between the test chamber and the observation room is opaque, but it pushes outward in the center to form a pair of jagged, irregular halves like a pair of jaws. From the hips up, Ian McMoneagle is trapped in the grip of those jaws, his face twisted into a mask of pain. The mirror's halves grind against muscle and bone, tearing him apart as they draw him in. And yet he lives....\n\nIan McMoneagle looks you in the face with wide, terrified eyes, his bloody bangs obscuring his gaze but not reducing its weight. He opens his mouth and screams in guilty agony.\n\nThe mirror pulls Ian in more deeply. The hideous cracking sound that follows is almost surely his pelvis.\n\n> You inject yourself\nYou poise the tip of the  hypodermic syringe over your elbow and briefly consider what a bad idea this is. Before you have time to talk yourself out of it, you push the needle into your vein and press down the plunger. The solution burns like fire ants racing into your body.\n\nImmediately, you feel light-headed, and you think your heart might be beating faster although only a few seconds have passed.\n\nThe mirror continues to chew at Ian, drawing him into its surface with razor-sharp shard-teeth.\n\n> Y.\nDo you want to swallow the Sandepam pills? (y/n) >\nYou twist off the lid of the Sandepam and hesitate over the pills for a moment before swallowing two.\n\nAfter a moment, you feel a numb, calm sensation come over you. Your senses are slightly dulled, but the terror of your situation seems a little bit less sharp. If only you'd found these a little earlier in the nightmare.\n\nIan's anguished screams gargle into weak bubbles as the mirror bites into his chest, and, surely, his lungs.\n\nYour heartbeat becomes labored and fast, and you can feel its sharp, heavy thud shaking your chest. Your breathing increases in speed as your vision fades toward white. You fall to your knees, losing strength in your limbs and feeling in your extremities.\n\n> You wait\nTime passes.\n\nWith the sound of glass grinding against glass, the mirror-glass draws Ian all the way in and shuts its uneven jaws. There is a brief and terrible silence before the mirror shatters cataclysmically.\n\nShards of glass fly past you, shredding your skin and muscle. You feel tiny pieces piercing your eyes, driving into your brain, flaying you alive. You stumble and fall onto a floor covered in razor-sharp pieces. There is no mercy; as you twitch in spasmodic anguish, lanced repeatedly through the cerebrum and cerebellum, everything goes dark....\nPress any key to continue.\n\nConsciousness returns. You muzzily realize that you are gazing at the ceiling of the Corona Labs test chamber just before the door slams open. Dr. Shaunessy, the neurologist, hurries into the room. Dr. Ephart follows close enough behind to step on his heels. \"How many fingers do you see?\" Dr. Shaunessy asks, kneeling down beside you, and Dr. Ephart rests light fingers on your wrist to take your pulse. In short order, they conclude that you suffered a vasovagal syncope and struck your head in the fall.\n\nYou try to talk to the doctors, but your words are confused and disjointed. Your gaze drags across the fallen photograph, half-shadowed by the folder above it, and you see the gaunt young man screaming. You can't find the words to make them understand. Though you can nearly stand on your own, the doctors firmly escort you from the room and off to bed.\n\nDr. Shaunessy leaves, but Dr. Ephart stays with you as the sedatives take hold. \"Don't worry,\" she says, resting a gentle hand on your shoulder. \"Everything will be all right.\"\n\nSix days later, the past repeats itself in Corona Labs.\nNo one escapes alive.\n\n>\n\n> You inject yourself\nYou poise the tip of the  hypodermic syringe over your elbow and briefly consider what a bad idea this is. Before you have time to talk yourself out of it, you push the needle into your vein and press down the plunger. The solution burns like fire ants racing into your body.\n\nImmediately, you feel light-headed, and you think your heart might be beating faster although only a few seconds have passed.\n\n> Y.\nDo you want to swallow the Sandepam pills? (y/n) >\nYou twist off the lid of the Sandepam and hesitate over the pills for a moment before swallowing two.\n\nAfter a moment, you feel a numb, calm sensation come over you. Your senses are slightly dulled, but the terror of your situation seems a little bit less sharp. If only you'd found these a little earlier in the nightmare.\n\nYour heartbeat becomes labored and fast, and you can feel its sharp, heavy thud shaking your chest. Your breathing increases in speed as your vision fades toward white. You fall to your knees, losing strength in your limbs and feeling in your extremities.\n\n> You wait\nTime passes.\n\nAfter what seems like an eternity of agonized arrhythmia, the Sandepam's effect begins to counter that of the cure. Your heartbeat becomes more subtle, regular, slow. Your breathing, too, begins to return to normal. While your eyes still feel wired open, the white fuzz around the edge of your vision begins to recede.\n\nYou feel decidedly unwell - nauseated and manic at the same time. But you don't think you're going to die. Not for this reason, at least.\n\n> Break mirror\nYou heave your shoulder behind the fire axe, driving it into the mirror's surface with all of your strength. The head of the axe buries itself in the mirror, throwing cracks all the way across its surface. The cracks run straight through the mirror, through the hideous jaws, and through the body of Ian McMoneagle\n\n> Go east\nAs you open the windowless door, you interrupt the insulated barrier that was preventing sound from leaving the test chamber. The sound of screaming suddenly goes from a muted, ignorable presence to a hammering agony on your ears.\n\nThe screaming from inside the test chamber hammers down, not only on your ears, but on your mind. The world warps strangely around you, and, quite abruptly, you are somewhere else.\n\nThe door slams shut behind you with tremendous force.\n\nTest Chamber, Mt Airy Hospital\nWhile you are not entirely sure what you expected to find, you are halted in your tracks nonetheless. The floor of the test chamber is littered with glittering shards of reflective glass. The one-way mirror between the test chamber and the observation room is opaque, but it pushes outward in the center to form a pair of jagged, irregular halves like a pair of jaws. From the hips up, Ian McMoneagle is trapped in the grip of those jaws, his face twisted into a mask of pain. The mirror's halves grind against muscle and bone, tearing him apart as they draw him in. And yet he lives....\n\nIan McMoneagle looks you in the face with wide, terrified eyes, his bloody bangs obscuring his gaze but not reducing its weight. He opens his mouth and screams in guilty agony.\n\nThe mirror pulls Ian in more deeply. The hideous cracking sound that follows is almost surely his pelvis.\n\nYour heartbeat becomes labored and fast, and you can feel its sharp, heavy thud shaking your chest. Your breathing increases in speed as your vision fades toward white. You fall to your knees, losing strength in your limbs and feeling in your extremities.\n\n> You wait awhile\nTime passes.\n\nThe mirror continues to chew at Ian, drawing him into its surface with razor-sharp shard-teeth.\n\nToo late, you realize that your system is not strong enough to withstand the powerful injection. Your vision goes completely white and you collapse heavily to the floor, feeling your heart seize up as your senses fade.\nPress any key to continue.\n\nBut your mind - does not fade. In the moment of death, you are drawn forward to where your body convulses in a white bed. You see Dr. Ephart's white and worried face as she drops your hand and steps away, hear Dr. Ensfield's cry for someone to use the paddles, Best coming forward with the paddles in her hands.\n\nThe paddles flare across your chest. Electricity. Your heart tries to start - and fails. Your synapses spark and jitter.\n\nYour mind does not fade. But as electricity snaps through you, your awareness is torn backward across the planes of reality, a psychic rope ripped painfully down through twenty years of history.\n\nYou see Best retreating with the paddles in her hands, hear Dr. Ensfield's indecipherable cry, see Dr. Ephart's white and worried face as she steps toward you and takes your wrist.\nPress any key to continue.\n\n> Y.\nEverything faster.\nEverything backward.\n\n> Y.\nEverything accelerating from your death to your death.\n\nPress any key to continue.\n\nYou don't see, but somehow sense, the Corona team cluster around your corpse. And then you're alive again. They back away from your unconscious body, compelled by worry and concern.\n\nYou lie unconscious for three days and then rise sharply into wakefulness. You press buttons on a wireless keypad; Dr. Ephart holds up the matching cards in response. You leave the test chamber backward; you watch red rose petals dance upward on the television screen.\n\nYou watch yourself retreat from the blue-walled rooms of Corona. Now you've never been there. The teams mills about briefly in your absence, consulting and debating, before it dissolves to the wind.\nDr. Ensfield leaves with Rayjay Farley. The others all leave alone.\n\nPress any key to continue.\n\nThe building bustles with transcriptionists and secretaries, all walking confidently and casually backward. They untype letters from computers and regurgitate lunch in neat little bites and leave the building one by one, never to return.\n\nAnd then the workmen come, and what they touch - the carpenters, the plumbers, the electricians, the stonemasons - they destroy. They pull paint from the walls and wires from the ceilings and coat everything in soot and decay. There is only a carcass here.\n\nFor years, the scorched and ruined carcass stands. Your mind whispers with melancholy voices, but they're all backward, shattered, bewildering. You understand none of it.\n\nPress any key to continue.\n\nAnd then men come again - dressed differently, this time, men in suits and sunglasses and briefcases. They bring corpse after corpse into the building, each more mutilated than the last, and they leave the corpses. Walking backward, they retreat into sunlight.\n\nOn the third floor of the building, shattered silver reforms into a pane of one-way glass. Seconds later, the mirror regurgitates a young man's corpse, and the corpse comes to life. Nightmare swirls through the building - acid, jaws, darkness and madness, something too inconstant and awful for your mind to embrace - and where the nightmare goes, dead men and women leap up alive and flee backward through their mortal days.\n\nAnd there - with the building half-gutted, corpses springing to life around you - there is where you die again, hot cheek against the floor with the Vanemine raging through your bloodstream.\n\nPress any key to continue.\n\nYour mind stretches from death to death like a piece of rope. Your consciousness stretches backward and forward across twenty years.\n\nWith light, sharp-edged pressure that knows nothing of time, the young man's mind rubs at yours. Your psyche cannot endure the same space as his. Slowly, you fray.\n\nAnd someday, somehow, you will snap.\n\nBut not yet...\n\nPlease be advised that One Eye Open is a horror game. It contains mature content (including blood, gore, human injury and death, mild language, tobacco reference, violence, and violent references.)\n\nWe do not recommend this game for a younger audience.\n\n> Y.\nWould you like to proceed? (y/n) >\n\nAfter only ten days, you're becoming surprisingly comfortable with life as a Corona Corporation guinea pig. It helps that your routine is so reliable - meals, exercise, rest, and sleep are clearly arranged on a schedule hanging beside the white clock in your room. As for the tests - well, you've grown used to the sight of your blood in a sample vial, and the rest is mostly paperwork. Personality tests, aptitude tests, intelligence tests, psychological tests, Rorschach and the MMPI and even kinetic family drawing... you're starting to worry that they'll run out of tests by the end of the month.\n\nAlthough 7:30 PM is always the day's last test, you never leave your room alone, so you were still watching American Beauty when Dr. Marnie Ephart knocked at the door. \"Oh, you're almost to the end!\" she said brightly, seeing the screen. \"I can wait until you're through.\"\n\n\"No, that's fine.\" You hit PAUSE to freeze Angela in mid-motion as you got up from the couch. \"I've seen it before.\" Last Monday, actually. The video collection isn't that good, and, considering what they're paying you, it's a pity Corona couldn't invest in a few more options. It's hard to complain, though; the staff is friendly, the tests aren't hard, and the salary is great.\n\nDuring the day, Raymond, Best, or one of the scientists might be around, but at night, it's usually just the two of you, and the hall you cross now is deserted. You accompany her through the antechamber and into the main testing chamber. By now, you're used to being watched from behind one-way glass, but the observational room is fully lit today, and you can easily see inside.\n\n\"Back in a moment,\" Dr. Ephart says cheerfully. \"See you on the other side!\"\n\nTest Chamber, Corona Labs\nIn the center of the room, a single black office chair sits in front of a broad, heavy desk. The desk and chair are familiar, but the wireless keypad sitting on the desk is new. There are five large white buttons on the keypad, each displaying a different symbol in broad black strokes. The symbols are a circle, a cross, a set of three wavy lines, a square, and a five-pointed star. As always, you are quite aware of the cameras watching you from above.\n\nTo the west, a windowless door separates the testing room from the antechamber outside.\n\nThe familiar black office chair sits invitingly nearby.\n\nThrough the thick pane of glass, you can see the curved desk in the observational room.\n\n> Y.\nThat was a rhetorical question.\n\nThrough the thick pane of glass, you see Dr. Ephart come into the observational room carrying a stack of cards and a notebook. She waves to you in friendly fashion, sets her notebook on the desk, and sits down before pressing the intercom button.\n\n\"This is a different kind of test,\" Dr. Ephart explains. \"I have twenty-five cards here, each of which shows one of the symbols on your keypad.\" She holds up five cards and fans them so you can see the circle, cross, wavy lines, square, and five-pointed star. \"I'm going to draw one of these cards and concentrate on the shape. I want you to concentrate, to really focus your mind, and try to pick the same symbol that I do. After you've decided on your symbol, press it on the keypad. We'll do five of these.\"\n\nDr. Ephart shuffles her cards together and draws the first card. She holds the card up with its back to you.\n\n> Go north\nDo you want to swallow the Sandepam pills? (y/n) >It's safer to leave the pills in their container until you decide to take them.\n\nIan's anguished screams gargle into weak bubbles as the mirror bites into his chest, and, surely, his lungs."
    },
    {
        "text": "[Themes: Fantasy, Surreal, gender-neutral protagonist]\n\nReality is an illusion.\n\nThose who seek to understand it corrode their understanding of it. In nai\u0308vete\u0301, objects are solid, ideas are true or false, sensations are real, and communication conveys information. To the adept, these things are as fading dreams.\n\nThere is no object that is not also emptiness. There is no arbiter of truth.\n\nSensations are the lies of Maya; they are the shifting of electrical patterns in the brain; they are signifiers without referent.\n\nCommunication is violence. Reality is false.\n\nIt does not matter how many layers one peels back. It does not matter what revelations one has. This is because there is no truth.\n\nWe are things that we have dreamed, and there is no sense in it, and when the sleeper wakes we shall be washed away.\n\nFrom the ranks of the people you have been raised up as a Wisher\u2014\n\nTo seek among the fairies;\nthe dragons of the deeps;\nthe ur-toads and the claw things;\namong the shadows on the sun and the ghosts beneath the world,\nand in the lands of humankind besides\nfor the jewel of all desiring.\n\nYou must find the jewel and command the Creator to make the world as you desire it. And if you should succeed, then the world shall always have been as you wish it, and your life a thing sprung of your own desiring; and if you should fail then you shall be forgotten like the tides.\n\nWisher, Theurgist, Fatalist\na Weird Textual Fiction by Xavid\n\nFanfic of the tabletop RPG by Jenna Katerin Moran. World, metaphysics, and the best bits of text are hers.\nOriginal RPG:\n[LINK]\n\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\n(If you're unfamiliar with text adventures, try typing HELP.)\n\n[Author's Note: From the ranks of the people you have been raised up as a Wisher\u0097 To seek among the fairies; the dragons of the deeps; the ur-toads and the claw things; among the shadows on the sun and the ghosts beneath the world, and in the lands of humankind besides for the jewel of all desiring. You must find the jewel and command the Creator to make the world as you desire it. And if you should succeed, then the world shall always have been as you wish it, and your life a thing sprung of your own desiring; and if you should fail then you shall be forgotten like the tides. Fanfic of the tabletop RPG by Jenna Katerin Moran. (No knowledge of the source material is expected or needed.) World, metaphysics, and the best bits of text are hers.]\n\n> You look at the signpost\nIt points south. The lettering has been worn away by the wind.\n\n> About yourself\nAs good-looking as ever.\n\n> You go to the south\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\n(I should mention that, as you begin your journey, you have many options before you. As Wisher, it is upon you to divide right from wrong.)\n\n> You look at the gate\nThe gate stands some distance to the south, with someone standing guard outside it.\n\n> You go to the south\nA large gate guards entrance into the city.\n\nThe gate to the south is closed fast.\n\nA guard stands here, watching you.\n\n> You look at the guard\nShe's wearing chainmail and a steady frown.\n\n> You examine the gate\nThe gate is itself exactly.\n\n> You talk to the guard\nI'm not sure what you're trying to say to the gate guard. Try \"gate guard, do something\", \"gate guard, I AM something\", or \"ASK gate guard ABOUT something\".\n\n> You ask the guard about the gate\n\"You're not getting in. The Queen's put a ban on Wishers. They give her indigestion.\"\n\n(As a Wisher, you have control over the power of Harmony. This gives you a supernatural or near-supernatural ability to win hearts and minds, reconcile divergent ideas, and share their vision of the world with others. To do so, you can \"INSPIRE someone TO do something\" or instruct them like \"Guard, YOU SHOULD do something\".)\n\n> You ask the guard about guard\n\"I am a gate guard.\"\n\n> You should open the gate\nYou focus the power of Harmony on the gate guard.\n\nThe guard hesitates. \"You have impressed me with the nobility of your quest. Yet I fear my life if I disobey my Queen.\"\n\n> You go north\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\n> You go to the north\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\n> Turn sign\nIt is fixed in place.\n\n> You go to the west\nSetting forth without the blessing of the royalty of Raif would be unimaginably improper.\n\n> You inspire the guard to open the gate\nYou focus the power of Harmony on the gate guard.\n\n\"I can't help but see it is for the best. I will not stand in your way, though it may mean my life.\"\nThe guard pulls a lever, and the gate slides open with a great whirring of gears.\n\n> You go south\nYou walk through the open gate.\n\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\n> Go east\nA large, dimly-lit tavern. It smells of beer and blood.\n\nA poorly-dressed man, possibly a shoemaker, lounges here glumly.\n\n> You examine man\nHe looks common enough, but you nevertheless perceive his true nature as a Fatalist.\n\nThe Fatalist is carrying a piece of parchment and a pen.\n\n> You look at the parchment\nThe piece of parchment is itself exactly.\n\n> You examine the pen\nThe pen is itself exactly.\n\n> You ask man about himself\n\"My name is Froderick. I am a Fatalist.\n\n\"But I'm more concerned about what makes you the true Wisher.\"\n\n> You ask the man about Wisher\nFroderick gives a long and in-depth explanation that, while presumably educational, is nevertheless fundamentally irrelevant.\n\n> You ask the man about the queen\n\"Having lost the Jewel of All Desiring, the royalty of Raif has become vampiric, treacherous, cold-blooded and bloodthirsty monsters. They have elected to help in the discovery of the Jewel. Setting forth without their blessing would be unimaginably improper.\"\n\n> You ask the man about Jewel\n\"The Jewel of All Desiring is that sleeper that dreams inwards, that inverted oyster, that creature that we name God the Shaper, God the Maker, Lord\u2014\n\n\"And it has not yet begun to shape the world.\n\n\"The jewel is a pearl of infinite layers and subtleties and its possessor may obtain everything that they desire.\n\n\"For uncounted \u00e6ons it was in the hands of the Kings and Queens of Raif. Never did they wish.\n\n\"Never did they fulfill the destiny of the jewel.\n\n\"Who would want to obtain everything that one desires?\"\n\n> You inspire man to write\nWhat do you want Froderick to write on?\n\n> You inspire the man to write on the parchment\nYou focus the power of Harmony on Froderick.\n\nHe's not sure what to write.\n\n> Go west\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\n> Go south\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles enthusiastically here.\n\n> You examine the fountain\nA large fountain made of marble. The water seems clear, clean, and pure.\n\nIt has strong valence.\n\n(Your power of Harmony also allows you to manipulate valence. Try TAKE VALENCE FROM FOUNTAIN or GIVE VALENCE TO FOUNTAIN.)\n\n> You take the valence from the fountain\nThe fountain now has normal valence.\nYou now have an amorphous quality of valence.\n\n> You look at the valence\nAbstract, yet clearly present.\n\n> You examine the fountain\nA large fountain made of marble. The water is cloudy and has a slight putrid smell.\n\n> Go west\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\nYou can also see an old bone here.\n\n> You examine the bone\nLooks a bit gnawed on.\n\n> You take it\nTaken.\n\n> You look at the trash\nThe mound of trash is itself exactly.\n\n> You examine the moat\nThe water of the moat is still and filled with eerie shadows."
    },
    {
        "text": "> Look around\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\n> You go west\nIf you get lost in the tangles of alleys and passageways, you might get mugged or eaten, and that would preclude the existence of the world.\n\n> Go east\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\n> Go south\nMarble steps lead up to an ornately-carved entryway. Below them on either side sits a stagnant moat.\n\nAn open portcullis leads into the palace to the south.\n\nA guard wearing a helmet blocks the way in.\n\n> You look at the guard\nShe seems to be wearing something under her helmet, possibly earmuffs.\n\n> You examine the portcullis\nThe portcullis is itself exactly.\n\n> You check your inventory\nYou are carrying:\nan old bone\nsome valence\n\n> You give the valence to the trash\nThe mound of trash's weight of dharma is insufficient to have strong valence.\n\n> You give the valence to the moat\nThe moat's weight of dharma is insufficient to have strong valence.\n\n> You examine the bone\nLooks a bit gnawed on.\n\nIt has strong valence.\n\n> You take valence from the bone\nThe old bone now has normal valence.\nYou now have an amorphous quality of valence.\n\n> Go east\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\n> You go north\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\n> You ask the man about valence\n\"Valence measures the degree to which something matters.\nSomething with strong valence has the power to create good outcomes\u2014both in the sense of abstract virtue and in the sense of matching your desires.\"\n\n> You give the valence to the man\nPeople are too multifaceted for yourself to modify their valence directly.\n\n> You ask the man about Fatalist\n\"My name is Froderick. I am a Fatalist.\n\n\"But I'm more concerned about what makes you the true Wisher.\"\n\n> You ask the man about the Theurgist\n\"Theurgists are people who can light the hidden fires in the world.\n\n\"They could be angels, wizards, fairies, or little gods. They could be holy men or women. They are those who, wielding Pramana and Mimamsa, have the power to lift others up into light or cast them down into shadow.\n\n\"The theurgists do not desire the jewel for themselves\u2014at least, not at first, and not aloud.\n\n\"Their goal is to forge the wishers into the kinds of people who are worthy to give unto God the purpose for this world; into heroes worthy of the wishes that shall define the world. Their goal is to judge the wishers and make them ready for their task\u2014and only then to ensure their success.\n\n\"They can use their command of Theurgy to see hidden possibility in the world and make it into truth, to make things how they should be: to give things characteristics they previously lacked.\"\n\n> You show the valence to the man\nFroderick is unimpressed.\n\n> You should follow you\nYou focus the power of Harmony on Froderick.\n\n\"It seems my doubts as to your nature must be swept aside. I will join you.\"\nThe man pauses, considering. \"As you certainly know, I am a Fatalist. I have the power of Knowledge. I may speak for the past, the present, and the future when others' inner eyes are blind. You may ask me about anything, and I will explain the truths of the world.\"\n\n> You go west\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nFroderick arrives from the east.\n\n> You go to the south\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nFroderick arrives from the north.\n\n> Go south\nMarble steps lead up to an ornately-carved entryway. Below them on either side sits a stagnant moat.\n\nAn open portcullis leads into the palace to the south.\n\nA guard wearing a helmet blocks the way in.\n\nFroderick arrives from the north.\n\n> Go south\nThe guard blocks your path. \"No one enters without a letter from the Queen.\"\n\n> You write on the parchment\nHe tries to forge a letter from the queen.\n\n> You examine the parchment\nA piece of parchment with \"a letter from the queen\" written on it.\n\n> You show the parchment to the guard\n(first taking the forged letter)\nThat seems to belong to Froderick.\n\n> You ask Froderick for the letter\nFroderick gives the forged letter to you.\n\n> You go south\nThe guard looks at your letter. \"Are you trying to waste my time?\"\n\n> You look at the letter\nA piece of parchment with \"a letter from the queen\" written on it.\n\nIt has strong valence.\n\n> You take the valence from the letter\nThe forged letter now has normal valence.\nYou now have an amorphous quality of valence.\n\n> You go north\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nFroderick arrives from the south.\n\n> Go south\nMarble steps lead up to an ornately-carved entryway. Below them on either side sits a stagnant moat.\n\nAn open portcullis leads into the palace to the south.\n\nA guard wearing a helmet blocks the way in.\n\nFroderick arrives from the north.\n\n> You give the letter to Froderick\nYou give the forged letter to Froderick.\n\n> You inspire Froderick to write on the parchment\nYou focus the power of Harmony on Froderick.\n\nIt's already got something written on it.\n\n> You inspire the guard to accept the letter\nYou focus the power of Harmony on the palace guard.\n\nShe does not respond, almost as if she cannot hear you.\n\n> You give the letter to the guard\n(first taking the forged letter)\nThat seems to belong to Froderick.\n\n> You give letter to the guard\nFroderick gives the forged letter to the palace guard.\n\n> Go south\nThe guard blocks your path. \"No one enters without a letter from the Queen.\"\n\n> You check your inventory\nYou are carrying:\nan old bone\n\n> You examine Froderick\nHe looks common enough, but you nevertheless perceive his true nature as a Fatalist.\n\nFroderick is carrying a pen.\n\n> You check your inventory\nYou are carrying:\nsome valence\nan old bone\n\n> You examine man\nHe looks common enough, but you nevertheless perceive his true nature as a Fatalist.\n\nFroderick is carrying a forged letter and a pen.\n\n> You hit the guard\nWith what? Your bare hands?\n\n> Yes\nShe's not a dragon. Honestly.\n\n> You ask the man about the guard\nFroderick gives a long and in-depth explanation that, while presumably educational, is nevertheless fundamentally irrelevant.\n\n> You drop the bone\nDropped.\n\n> You go south\nYou walk through the open gate.\n\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\n> Go south\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles enthusiastically here.\n\n> You take the valence from the fountain\nThe fountain now has normal valence.\nYou now have an amorphous quality of valence.\n\n> You go north\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\n> You inspire the man to follow yourself\nYou focus the power of Harmony on the Fatalist.\n\n\"It seems my doubts as to your nature must be swept aside. I will join you.\"\nThe man pauses, considering. \"As you certainly know, I am a Fatalist. I have the power of Knowledge. I may speak for the past, the present, and the future when others' inner eyes are blind. You may ask me about anything, and I will explain the truths of the world.\"\n\n> Go west\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the east.\n\n> You go south\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the north.\n\n> You go to the west\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\nYou can also see an old bone here.\n\nThe Fatalist arrives from the east.\n\n> You ask the man about the bone\nThe Fatalist gives a long and in-depth explanation that, while presumably educational, is nevertheless fundamentally irrelevant.\n\n> You go to the east\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the west.\n\n> Go south\nMarble steps lead up to an ornately-carved entryway. Below them on either side sits a stagnant moat.\n\nAn open portcullis leads into the palace to the south.\n\nA guard wearing a helmet blocks the way in.\n\nThe Fatalist arrives from the north.\n\n> You give the valence to the pen\nThe pen's weight of dharma is insufficient to have strong valence.\n\n> You go north\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the south.\n\n> You ask the man about the letter\nThe Fatalist gives a long and in-depth explanation that, while presumably educational, is nevertheless fundamentally irrelevant.\n\n> You give the valence to the parchment\nThe piece of parchment's weight of dharma is insufficient to have strong valence.\n\n> You inspire the man to forge the letter\nYou focus the power of Harmony on the Fatalist.\n\nThe Fatalist does not respond.\n\n> You ask the man about Queen\n\"Having lost the Jewel of All Desiring, the royalty of Raif has become vampiric, treacherous, cold-blooded and bloodthirsty monsters. They have elected to help in the discovery of the Jewel. Setting forth without their blessing would be unimaginably improper.\"\n\n> You ask the man about Jewel\n\"The Jewel of All Desiring is that sleeper that dreams inwards, that inverted oyster, that creature that we name God the Shaper, God the Maker, Lord\u2014\n\n\"And it has not yet begun to shape the world.\n\n\"The jewel is a pearl of infinite layers and subtleties and its possessor may obtain everything that they desire.\n\n\"For uncounted \u00e6ons it was in the hands of the Kings and Queens of Raif. Never did they wish.\n\n\"Never did they fulfill the destiny of the jewel.\n\n\"Who would want to obtain everything that one desires?\"\n\n> You should write the letter on the parchment\nYou focus the power of Harmony on the Fatalist.\n\nHe tries to forge a letter from the queen.\n\n> Go west\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\nThe Fatalist arrives from the east.\n\n> Wish\nI'm not sure that's going to do you much good without the Jewel of All Desiring. (As a Wisher, your main abilities are to use Harmony to inspire people to do things and to take valence from things with high valence and give said valance to other things.)\n\n> You give the letter to you\nThe Fatalist gives the forged letter to you.\n\n> You show the bone to Fatalist\nThe Fatalist is unimpressed.\n\n> You ask the man for the pen\nThe Fatalist gives the pen to you.\n\n> You ask the man for the parchment\nThe Fatalist gives the piece of parchment to you.\n\n> You write on the parchment\nYou try to forge a letter from the queen.\n\n> You examine the letter\nA piece of parchment with \"a letter from the queen\" written on it.\n\n> You go north\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the south.\n\n> You go to the north\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the south.\n\n> You go to the north\nYou walk through the open gate.\n\nA large gate guards entrance into the city.\n\nThe gate to the south is open.\n\nA guard stands here, watching you.\n\nThe Fatalist arrives from the south.\n\n> Go north\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\nThe Fatalist arrives from the south.\n\n> You go north\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\nThe Fatalist arrives from the south.\n\n> Beith\nThe road here winds erratically before coming to a ford, beith of you. The water is flowing too rapidly to allow for safe passage. This surfeit of water has also done a number on the condition of the road, in contrast to its dusty condition back towards the crossroads.\n\nThere is a large anvil with a sword sticking out of it by the side of the road.\n\nThe Fatalist arrives.\n\n> You look at the ANVIL\nA heavy iron anvil. An inscription reads, \"Only one with the blood of an angel may take this sword.\"\n\nIn the anvil is a sword.\n\nThe Fatalist says, \"Hmm, that anvil has strong truth.\"\n(The Fatalist can manipulate truth. Try \"Fatalist, TAKE TRUTH FROM ANVIL\" or \"Fatalist, GIVE TRUTH TO ANVIL\".)\n\n> You take the truth from the ANVIL\nThe anvil now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> You examine the letter\nA finely-written letter of invitation from the queen.\n\nThe Fatalist says, \"Hmm, that forged letter has strong truth.\"\n\n> Inventory\nYou are carrying:\na forged letter\na pen\nan old bone\nsome valence\n\n> You take the ANVIL\nThat's too heavy to lift.\n\n> You look\nThe road here winds erratically before coming to a ford, beith of you. The water is flowing too rapidly to allow for safe passage. This surfeit of water has also done a number on the condition of the road, in contrast to its dusty condition back towards the crossroads.\n\nThe Fatalist is here.\n\nThere is a large anvil by the side of the road.\n\n> Beith\nThe river is too quick and too cutting.\n\n> Back\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\nThe Fatalist arrives from the beith.\n\n> You go south\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\nThe Fatalist arrives from the north.\n\n> Go south\nA large gate guards entrance into the city.\n\nThe gate to the south is open.\n\nA guard stands here, watching you.\n\nThe Fatalist arrives from the north.\n\n> You go south\nYou walk through the open gate.\n\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the north.\n\n> Go south\nThe guard looks at your letter carefully, then motions you through.\n\nA towering room decorated with mosaics in gold and gems.\n\nAn open portcullis leads north.\n\nSitting on a throne is the Queen of Raif, sipping blood out of a jeweled goblet.\n\nNext to the queen stand several well-armed guards.\n\nOn a balcony an archer keeps careful watch.\n\nThe Fatalist arrives from the north.\n\n> You examine Queen\nBefore you can do anything, the Queen gives you a hard stare. \"Having lost the Jewel of All Desiring, we royals of Raif have elected to help in its discovery by those worthy of it. I am unsurprised that you have come to seek my blessing.\n\n\"However, you bear none of the signs of the prophecy and are unquestionably unworthy. How dare you defile my halls like this?\" She motions to the guards. \"Throw them in a cell until my son gets back. Wishers give me heartburn, and that Fatalist hardly looks like a good meal.\"\n\nThe guards waste no time carrying out her instructions.\n\nA damp cell with slimy stone walls.\n\nThe Fatalist is here.\n\nSteel bars block the exit to the east.\n\nA scarred woman sits in the corner.\n\n> You examine the woman\nShe looks rather wan and hungry, but she is clearly recognizable as a Theurgist.\n\n> You ask the woman about herself\n\"My name is Theresa. I am a Theurgist.\n\n\"But right now I'm mostly a prisoner. Of this cell, and of my guilt.\"\n\n> You ask the woman about the guilt\n\"I used Theurgy in anger to immure someone deep within the world. I am rightly guilty of murder.\"\n\n> You ask the woman about the murder\nTheresa shrugs absently.\n\n> You inspire woman to follow yourself\nYou focus the power of Harmony on Theresa.\n\n\"Well, then, I find my heart has moved. I will join you.\"\nThe woman smiles at you. \"As a Theurgist, I have the power of Insight. I can see hidden truths through a deep understanding of the\ncosmos\u2014and\nthen bring them forth; essentially, if I believe an object should be a certain way I can make it that way. I can make boulders light and lead into gold.\"\n\n> You look\nA damp cell with slimy stone walls.\n\nThe Fatalist is here.\n\nSteel bars block the exit to the east.\n\nTheresa is here.\n\n> You examine bars\nThe steel bars are themselves exactly.\n\n> THERESA, ,LOOK AT BARS\nTheresa looks closely at the steel bars.\n\n> You examine the walls\nThe walls are made of stone blocks covered in a grimy green slime.\n\n> THERESA, ,EXAMINE WALLS\nTheresa looks closely at the wall.\n\n> You open the door\nTheresa is unable to do that.\n\n> You inspire Theresa to open the door\nYou focus the power of Harmony on Theresa.\n\nTheresa is unable to do that.\n\n> You inspire Theresa to lighten the bars\nYou focus the power of Harmony on Theresa.\n\nTheresa does not respond.\n\n> You make the bars light\nThat requires command of the power of Insight.\n\n> You make the bars light\n\"I'm not sure I believe that should be the case. I don't want to risk Corrupt Insight.\"\n\n> You make the door open\n\"I could do that, easily. But I'm guilty of my crime. I should be locked up here. Using Theurgy to break free would be Corrupt Insight.\"\n\n> You ask the man about the truth\n\"Truth measures how real something is. Something that is strong in its truth is all but written in the book of the world--- an axiom of creation, a primal cause, a thing that makes ordinary rocks and trees pale into corollaries and lemmas. There is nothing more true or indisputable than this.\"\n\n> You inspire Theresa to make the door open\nYou focus the power of Harmony on Theresa.\n\n\"I could do that, easily. But I'm guilty of my crime. I should be locked up here. Using Theurgy to break free would be Corrupt Insight.\"\n\n> You examine Theresa\nShe looks rather wan and hungry, but she is clearly recognizable as a Theurgist.\n\n> You tell Theresa that we're not guilty\n\"Ah, I see. You are a victim of this foul Queen. You do not deserve to be locked here. That changes things.\"\n\n> You make the door open\n\"Yes, it is not right for you to be confined here.\"\nThe steel bars are now open, as if they had been that way all along.\n\n> You go to the east\nA damp hallway lined with cells. Stairs lead up to the north.\n\nSteel bars stand open to the west.\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> Go upwards\nYou seem to lack wings.\n\n> You go north\nA beautiful garden with carefully-trimmed topiaries and rather unnerving statues. Doorways are open to the east and south. Across a short railing to the north lies the moat.\n\nYou can see a fallen leaf here.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You examine the leaf\nThe fallen leaf is itself exactly.\n\n> You look at statues\nThe statues feature individuals of various species screaming in horror.\n\n> You examine topiaries\nThe topiaries depict dragons, chimerae, and wombats.\n\n> You look at railing\nIt's only three feet tall and should be easy climb.\n\nTheresa says, \"I perceive strong mechanical support in that short easily-climbed railing.\"\n(Theresa can manipulate mechanical support. Try \"Theresa, TAKE SUPPORT FROM SHORT EASILY-CLIMBED RAILING\" or \"Theresa, GIVE SUPPORT TO SHORT EASILY-CLIMBED RAILING\".)\n\n> You take the support from the railing\nThe short easily-climbed railing now has normal mechanical support. Theresa now has an amorphous quality of mechanical support.\n\n> You put support on the leaf\nTheresa is unable to do that.\n\n> Go north\nYou are on a narrow muddy bank. A deep, still moat separates you from the main city to the north. To the south is the gardens.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> Go north\nGiven what you've heard about the royalty of Raif, you're not keen to try swimming. If only you had something you could ride across.\n\n> You examine the leaf\nThe fallen leaf is itself exactly.\n\n> You drop the leaf\nDropped.\n\n> Ride leaf\nAs strange as it may seem, you successfully ride the fallen leaf across the moat with Theresa and the Fatalist.\n\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\nYou can also see some valence, an old bone, a pen, a forged letter, and a sword here.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You examine the leaf\nThe fallen leaf is itself exactly.\n\nTheresa says, \"I perceive strong mechanical support in that fallen leaf.\"\n\n> You look at the trash\nThe mound of trash is itself exactly.\n\n> You examine the bone\nLooks a bit gnawed on.\n\n> You examine the pen\nThe pen is itself exactly.\n\n> You examine the letter\nA finely-written letter of invitation from the queen.\n\nThe Fatalist says, \"Hmm, that forged letter has strong truth.\"\n\n> You ask Fatalist about the prophecy\n\"Legend states that Vedic astrologers prophesied that the true Wisher would be bright green, bear a sword of lightning, and carry a representation of Ketu.\n\n\"Of course, some say that this legend was created as a way of conveniently dismissing Wishers.\"\n\n> You ask Fatalist about Ketu\n\"Ketu, the Contemplation Planet, is the dragon's tail. It is an invisible planet, one of two key secret planets studied in Vedic astrology.\"\n\n> You take all\nfallen leaf: Taken.\nvalence: You now have an amorphous quality of valence.\nold bone: Taken.\npen: Taken.\nforged letter: Taken.\nsword: Taken.\ntruth: That requires command of the power of Knowledge.\n\n> You go east\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> You examine the fountain\nA large fountain made of marble. The water is cloudy and has a slight putrid smell.\n\n> You go to the north\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You go to the east\nA large, dimly-lit tavern. It smells of beer and blood.\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> Go west\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the east.\n\nTheresa arrives from the east.\n\n> Go north\nYou walk through the open gate.\n\nA large gate guards entrance into the city.\n\nThe gate to the south is open.\n\nA guard stands here, watching you.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You look at the guard\nShe's wearing chainmail and a steady frown.\n\n> You look at the lever\nThe guard blocks access to the lever.\n\n> You go north\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You go north\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You look at the signpost\nIt points south. The lettering has been worn away by the wind.\n\n> You go to the west\nSetting forth without the blessing of the royalty of Raif would be unimaginably improper.\n\n> Beith\nThe road here winds erratically before coming to a ford, beith of you. The water is flowing too rapidly to allow for safe passage. This surfeit of water has also done a number on the condition of the road, in contrast to its dusty condition back towards the crossroads.\n\nThere is a large anvil by the side of the road.\n\nThe Fatalist arrives.\n\nTheresa arrives.\n\n> You examine the ANVIL\nA heavy iron anvil. It used to have a sword stuck through it. An inscription reads, \"Only one with the blood of an angel may take this sword.\"\n\n> You put the truth in the sword\n(the Fatalist first taking the truth)\nThe Fatalist is unable to do that.\n\n> You get the truth\nThe Fatalist is unable to do that.\n\n> You check your inventory\nYou are carrying:\na sword\na forged letter\na pen\nan old bone\nsome valence\na fallen leaf\n\n> You give the letter to Fatalist\nYou give the forged letter to the Fatalist.\n\n> You get the truth\nThe forged letter now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> You get the truth from the ANVIL\nThe anvil now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> You examine sword\nThe sword is itself exactly.\n\nThe Fatalist says, \"Hmm, that sword has strong truth.\"\n\n> You take the truth from the sword\nThe sword now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> You examine ANVIL\nA heavy iron anvil. An inscription reads, \"Only one with the blood of an angel may take this sword.\"\n\nIn the anvil is a sword.\n\nThe Fatalist says, \"Hmm, that anvil has strong truth.\"\n\n> You ask the man about the angel\n\"They're not as rare as you'd think. I saw one get arrested in a tavern brawl just the other day.\"\n\n> You get the truth\nThe anvil now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> Back\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\nThe Fatalist arrives from the beith.\n\nTheresa arrives from the beith.\n\n> Go south\nThe road approaches the imposing gate to the south. To the north is the crossroads.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> Go south\nA large gate guards entrance into the city.\n\nThe gate to the south is open.\n\nA guard stands here, watching you.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> You go south\nYou walk through the open gate.\n\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> You go to the east\nA large, dimly-lit tavern. It smells of beer and blood.\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> You look at blood\nUsing your nose, you find a bloody rag.\n\nIt looks like it was used to mop up a pool of blood.\n\n> You look at the rag\nIt looks like it was used to mop up a pool of blood.\n\n> Go west\nA wide, well-traveled road leads south from the gate. It seems strangely devoid of traffic. A tavern with a sign possibly resembling an ur-toad stands to the east.\n\nThe gate to the north is open.\n\nThe Fatalist arrives from the east.\n\nTheresa arrives from the east.\n\n> Go north\nYou walk through the open gate.\n\nA large gate guards entrance into the city.\n\nThe gate to the south is open.\n\nA guard stands here, watching you.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> You take the sword\nA bright ray of light shines down from the heavens, and an unseen chorus chants melodiously.\n\nTaken.\n\n> You look\nThe road here winds erratically before coming to a ford, beith of you. The water is flowing too rapidly to allow for safe passage. This surfeit of water has also done a number on the condition of the road, in contrast to its dusty condition back towards the crossroads.\n\nTheresa is here.\n\nThe Fatalist is here.\n\nThere is a large anvil by the side of the road.\n\n> You take the truth from the ANVIL\nThe anvil now has normal truth.\nThe Fatalist now has an amorphous quality of truth.\n\n> Back\nYou stand on a dusty crossroads in the Kingdom of Raif. The road leads south, west, and beith.\n\nA signpost stands nearby.\n\nThe Fatalist arrives from the beith.\n\nTheresa arrives from the beith.\n\n> You go south\nA large, tree-lined square sits before the grand steps of the royal palace, which stands ominously to the south. The main road leads north. A dirtier road leads west.\n\nA large fountain burbles lackadaisically here.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> Go west\nInauspiciously surrounded by narrow apartment buildings lies what must be the city dump. The deep, still moat surrounding the palace lies to the south, apparently untroubled by its proximity to mouldering trash. Things smell a bit better to the east.\n\nA huge mound of trash sits here, beset by flies.\n\nThe Fatalist arrives from the east.\n\nTheresa arrives from the east.\n\n> Ride leaf\nAs strange as it may seem, you successfully ride the fallen leaf across the moat with Theresa and the Fatalist.\n\nYou are on a narrow muddy bank. A deep, still moat separates you from the main city to the north. To the south is the gardens.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> You look at what you're carrying with you\nYou are carrying:\na fallen leaf\na sword\na bloody rag\na pen\nan old bone\nsome valence\n\n> Go south\nA beautiful garden with carefully-trimmed topiaries and rather unnerving statues. Doorways are open to the east and south. Across a short railing to the north lies the moat.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> You examine topiaries\nThe topiaries depict dragons, chimerae, and wombats.\n\n> You cut the topiaries\nCutting them up would achieve little.\n\n> You look at statues\nThe statues feature individuals of various species screaming in horror.\n\n> You ask the man about the statues\nThe Fatalist gives a long and in-depth explanation that, while presumably educational, is nevertheless fundamentally irrelevant.\n\n> You ask the man about Ketu\n\"Ketu, the Contemplation Planet, is the dragon's tail. It is an invisible planet, one of two key secret planets studied in Vedic astrology.\"\n\n> You go to the east\nA towering room decorated with mosaics in gold and gems.\n\nA closed portcullis blocks the way north.\n\nSitting on a throne is the Queen of Raif, sipping blood out of a jeweled goblet.\n\nNext to the queen stand several well-armed guards.\n\nOn a balcony an archer keeps careful watch.\n\nThe Queen looks down at you with a bored expression. \"You have returned. You did better than I thought you would. Remain here as my guests until my son gets back, or until I get particularly hungry. I will overlook your failure to give a proper guest's tribute, and I will even give you leave to attempt to prove yourself worthy. You will fail, of course. You are not the one kissed by prophecy.\n\n\"Oh, and don't think of trying your mystical powers. My guards are instructed to kill anyone who does so.\"\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> You look at Queen\nThe Queen is herself exactly.\n\n> You look at the guards\nThe well-armed guards are themselves exactly.\n\n> You look at the archer\nThe archer is himself exactly.\n\n> You examine the portcullis\nThe portcullis is itself exactly.\n\n> You ask man about the tribute\n\"Royalty expect golden jeweled treasures, I'm sure. But even then, taste and appropriateness are hard to judge.\"\n\n> You inspire Queen to give the blessing to yourself\nTo talk to someone, try \"someone, hello\" or some such.\n\n> You should give the blessing to you\nYou focus the power of Harmony on the Queen.\n\nThe guards kill you without hesitation.\n\n> You should shoot Queen\nYou focus the power of Harmony on the archer.\n\nThe guards kill you without hesitation.\n\n> You give the rag to Queen\n\"That's hardly a gift worthy of the royalty of Raif. Frankly, it's insulting.\"\n\n> You go west\nA beautiful garden with carefully-trimmed topiaries and rather unnerving statues. Doorways are open to the east and south. Across a short railing to the north lies the moat.\n\nThe Fatalist arrives from the east.\n\nTheresa arrives from the east.\n\n> You go to the south\nA damp hallway lined with cells. Stairs lead up to the north.\n\nSteel bars stand open to the west.\n\nThe Fatalist arrives from the north.\n\nTheresa arrives from the north.\n\n> You go west\nA damp cell with slimy stone walls.\n\nSteel bars stand open to the east.\n\nThe Fatalist arrives from the east.\n\nTheresa arrives from the east.\n\n> You make the pen invisible\nThe pen fades from sight.\n\n> You go to the east\nA damp hallway lined with cells. Stairs lead up to the north.\n\nSteel bars stand open to the west.\n\nThe Fatalist arrives from the west.\n\nTheresa arrives from the west.\n\n> Go north\nA beautiful garden with carefully-trimmed topiaries and rather unnerving statues. Doorways are open to the east and south. Across a short railing to the north lies the moat.\n\nThe Fatalist arrives from the south.\n\nTheresa arrives from the south.\n\n> Go east\nThe Queen gasps. \"You bear the signs of prophecy! There is no escaping it. I must give you my blessing, and resign myself to a world that exists.\"\n\nWith the blessing of the royalty of Raif, you are free to proceed on your journey.\n\nYou proceed to Tin 'An, the calcifying city. You evade the Axeman and pay your respects to the Duke and the Foremost Scribe. You learn much here, though the existence of such a dying city is a weight upon your concept of the world you seek to have created.\n\nYou travel among the savage peoples, who must pay horrible prices to survive. Your time there redoubled the questions about why the world born from your wish would require such painful compromises.\n\nYou make inquiry among the fairies. They are beautiful and magical and tragic. They do not exist. You nevertheless find profound secrets lurking in their stories.\n\nYou visit the sun. Great continent-sized fortresses of dark stone drift there: the homes of thieves and blackguards too notorious to live within the dreaming kingdoms. To sail on its surface is absolute torment, but still you find something of value there.\n\nNo paths lead to the Dragons of the Deeps. They are impossible to find. Yet, encounter them you do. They are deepness and greatness and inspiration and they war against the shadow. It might have been for them to eat you, but you were not there for their teeth to find.\n\nYou travel to the golden meadows under the world. There, you find the ur-toads. They are insanely cool, dreadful, and awe-inspiring. They are mysterious and sagacious. They kill you, and thus end your journey.\n\nExcept it is then, in the afterlife, that you find Tiresias, Seer of Thebes. He tells you that the Jewel of All Desiring is not in the world, nor above, nor below it, nor outside it in any direction.\n\nAnd thus, you have come, the three of you, boon companions all, to this place, a surfeit of the void, a spaceless space both before and after the world. You are at your journey's end. There is but one task left: to wish upon the jewel.\n\nThere is nothing all around you, save for raw prameya stripped of danda and your companions.\n\nTheresa is here.\n\nThe Fatalist is here.\n\nFloating before you is the Jewel of All Desiring.\n\n> You look at Jewel\nIt is a celestial jewel that contains all that is, was, and will be within its facets.\n\n> You check your inventory\nYou are carrying:\nSpring's Root\na cloak of breezes\na battery-powered brass lantern\nan obsidian knife\nsome empty gallon cans of blood\n\n> You examine the Spring 's root\nSpring's Root is itself exactly.\n\n> You examine the cloak\nThe cloak of breezes is itself exactly.\n\n> You examine the lantern\nThe battery-powered brass lantern is itself exactly.\n\n> You examine the knife\nThe obsidian knife is itself exactly.\n\n> You look at the cans\nThe empty gallon cans of blood are themselves exactly.\n\n> You wish upon Jewel\nTheresa nods at you as you grasp the jewel tightly. \"Go ahead. You have proven yourself worthy.\"\n\nYou hold the jewel and form your intent, radiance from the jewel emerging the Fatalist, who shall form the firmament of the world.\n\nBut before you can conceptualize your wish, shadowy flames emerge from the void and surround you. You find your thoughts thrown back to your decisions and their nature.\n\nWas it correct to force the gate guard to disobey her Queen and then leave her to face that Queen's wrath?\n\n> No\nWas it correct to win the Fatalist's loyalty with the power of Harmony?\n\n> No\nWas it correct to remove the Valence from the fountain, leaving the townspeople to depend on polluted water?\n\n> Yes\nWas it correct to forge a letter to gain access to the Queen under false pretenses?\n\n> Yes\nWas it correct to have Theresa use theurgy to break out of the cell, despite her guilt?\n\n> No\nWas it correct to remove the mechanical support from the railing, creating a safety hazard?\n\n> No\nWas it correct to assume the signs of prophecy to obtain the Queen's blessing?\n\n> Yes\nWas it correct to never even ask the Fatalist's name despite your long journey together?\n\n> Yes\nIs it correct to create the world, with its vampiric queens and calcifing cities and horrible compromises, with its beasts and murderers, with its pain and death and suffering?\n\n> No\nApparently satisfied with your answers, the shadowy flames disperse.\n\nAnd then, emanating from the body of the Fatalist, you see the Dreaming Kingdoms you have always known grow and kindle, unmistakably real, until they encompass all."
    },
    {
        "text": "[Themes: Literary]\n\nWhat a bother. Father says that some thing has happened to all of your family's animals, all at the same time, and he's sent you out to care for them, almost before brillig. Oh, well. It should be a quick job, and then you can eat breakfast and relax.\n\nType HELP for credits, information, and assistance.\n\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\nA worn tablet lies here, half-buried in the sand.\n\n[Author's Note: In this story, based on the Lewis Carroll poem \"Jabberwocky\", you play as a farmer's child, sent out before brillig to deal with the family's animals. You also find a tablet with a pattern of lines and letters; as you complete your chores, the blank lines of the tablet are replaced with words, forming the first stanza of the poem.]\n\n> You take the tablet\nYou pull the tablet from the sand, shaking the fine white grains from its stony surface.\n\n> You examine the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, ___ ___  \n___ ____ ___  __ ___ ____:\n___  ____ ___ ,\n___ ___ ____  .\n\n> You examine wabe\nThe wabe could be called a sea, except that instead of being composed of water, it's composed of a rose-colored mist. The mist is quite dense, and almost acts like a liquid. Instead of forming waves, however, it forms tiny clouds of fog that slowly drift back into the main body of mist.\n\n> You examine the structure\nThe tove corral lies to the south.\n\n> You listen to the toves\nThe toves are making their sad cries.\n\n> You go to the west\nThat wouldn't be a good idea. It's not that you can't swim, it's just that the wabe isn't made up of water, but of mist that's mildly poisonous to humans.\n\n> You go north\nThey call it \"chicken wire,\" but you don't get many chickens around here. You and your dad use it to keep in your borogoves. The wire is stretched between sturdy wooden posts sunk deep into the sand of the shore. Inside the wire, the borogoves skitter around, looking very agitated.\n\nThe tablet shivers in your hands.\n\n> You look at the suns\nThe suns have recently risen in the west, and they're at the point called \"brillig,\" where they're level with each other in the sky. Soon, the smaller, faster sun will pull ahead of the larger.\n\n> You look at the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, ___ ___  \n___ ____ ___  __ ___ ____:\n___  were the borogoves,\n___ ___ ____  .\n\n> You examine the borogroves\n(assuming you mean \"borogoves\")\nBorogoves are very odd creatures. Their meat is surprisingly tasty, considering their appearance: their body is spherical, perhaps as large as a beach ball, and six long, thin, insectile legs protrude from the equator of their body. They have two small, stubby, antennae, and a dish-shaped organ at the top of their head that allows them to \"see\" the world around them using a type of echolocation called mimsing. However, at the moment they are in a panic, not at all mimsy. They blindly bump against the wire fence around the pen. The cause of their disturbance is obvious: one of them seems to be badly hurt, and lies motionless in the center of the pen. Beware, though; they can still smell you, and in their confusion, they seem to classify you as a threat. You'll have to get rid of the wounded animal or else they'll never calm down.\n\n> You check your inventory\nYou are carrying:\na worn tablet\n\n> About yourself\nYoung, polite, and capable, or at least you like to think so.\n\n> You look at the wounded borogove\nBorogove blood could more accurately be called \"ichor.\" It's slick, black stuff, and it coats the exoskeleton of this borogove. The creature seems to have been ripped apart by huge claws. It still twitches, but the movement is most likely a reflex. If the creature isn't dead now, it will be soon. You'd better get it out of the enclosure, or the rest of the borogoves will hurt themselves in the panic.\n\n> You take the wounded borogove\nIt's too far away to reach."
    },
    {
        "text": "[Themes: Literary]\n\n> Look around\nThey call it \"chicken wire,\" but you don't get many chickens around here. You and your dad use it to keep in your borogoves. The wire is stretched between sturdy wooden posts sunk deep into the sand of the shore. Inside the wire, the borogoves skitter around, looking very agitated.\n\nThere is a hurt borogove inside the enclosure.\n\n> You go south\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\n> Go south\nIt took you and your father an entire week to build this enclosure, but it was worth the effort: not one of your family's toves has ever been attacked in the night. The corral has four sturdy walls and a slate roof, but the bottom is open. This allows the rose-colored mist from the wabe in, which in turn keeps your toves alive. During the night, they're kept in by the half-submerged door, which is held closed by a nice secure latch. You stand on a catwalk affixed to one wall, and little tendrils of fog waft up between the catwalk's metal bars.\n\nYour family's toves drift around aimlessly. For some reason, they're not in very good health.\n\nYou can also see a skimmer here.\n\nThe tablet shivers in your hands.\n\n> You examine the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, and the slithy toves\n___ ____ ___  __ ___ ____:\n___  were the borogoves,\n___ ___ ____  .\n\n> You look at the toves\nToves are strange creatures, diaphanous and billowing. Their bodies are hollow and tube-shaped, with long, thin tentacles arranged in a ring around their \"mouth\". These toves, of course, are tame, but a wild tove could latch on to your arm and dissolve it to the bone. Usually, they'd be gyring and gimbling, but they seem sick. They just drift aimlessly around the pen, their tentacles limp. They seem to be having trouble breathing the mist inside the corral.\n\n> You take skimmer\nTaken.\n\n> You examine the skimmer\nThis tool allows you to skim insects and debris from the tove corral. It's a detachable net attached to a threaded metal pole.\n\n> You look at the pole\nThis long metal pole has a specially threaded socket in the end to allow you to affix various attachments.\n\n> You examine the net\nThis is a net, with one end specially threaded to fit into its pole.\n\n> You go north\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\n> Go north\nThey call it \"chicken wire,\" but you don't get many chickens around here. You and your dad use it to keep in your borogoves. The wire is stretched between sturdy wooden posts sunk deep into the sand of the shore. Inside the wire, the borogoves skitter around, looking very agitated.\n\nThere is a hurt borogove inside the enclosure.\n\n> You take wounded with the skimmer\nThe net on the skimmer is too small to fit around the wounded borogove, and if you caught on to any of its legs, they'd just pull off.\n\n> S then east\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\nYou feel happy here in front of your house. The coat of white paint on the house was recently retouched, and your father has planted flowers in the window boxes. You can hear the mournful calling of the toves in the wabe to the west, and there are bare paths worn into the dirt around the corners of the house to the northeast and southeast.\n\n> You look at the flowers\nThe windowboxes are filled with wildflowers.\n\n> You look at the house\nYour house is a bit large for just you and your father. It's two stories tall, plus an attic and a basement, and your father just repainted it last week.\n\n> You look at grass\nTo the west, a path leads down to the beach. There are also paths leading around the house to the northeast and southeast.\n\n> You examine the door\nIt's the front door to your house.\n\n> Enter\nYou'd better finish all your chores before you go inside."
    },
    {
        "text": "> You look around\nYou feel happy here in front of your house. The coat of white paint on the house was recently retouched, and your father has planted flowers in the window boxes. You can hear the mournful calling of the toves in the wabe to the west, and there are bare paths worn into the dirt around the corners of the house to the northeast and southeast.\n\n> You go northeast\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nThe pen is closed. You can see something inside.\n\n> You examine pen\nThe pen is carefully woven from strips of wood to form a cage large enough for a man to stand in. This allows the raths to exercise their wings without any danger of them escaping. Strangely enough, the cage seems to have scratches on the outside.\n\nThe pen is closed.\n\n> You look in the pen\nIn the rath pen are a blue mome rath, a red mome rath and a rope hanging from the ceiling.\n\n> You examine the scratches\nThe wickerwork of the pen seems to have been gouged by some sort of blade... or perhaps enormous claws.\n\n> You examine the rope\nIt's the rope that is used to hold up Red's favorite toy. The raths love playing with it.\nOn the rope is a hook, on which is Red's toy.\n\n> You look at hook then x toy\nThis hook is used to hold Red's favorite toy. It's originally a tool for removing debris from the tove corral, so it has a threaded end to allow it to attach to a metal pole.\nOn the hook is Red's toy.\nThe mome rath Red's favorite toy is a fuzzy stuffed egg. All you have to do is show it to him and he'll cuddle it for hours. It's hanging on its hook.\n\n> You look at Red then X blue\nMome raths are generally friendly birds, and Red's no exception. He's always nice to you, unlike his sister Blue. At the moment, he's panicking, flying around in a blind panic, bumping into the wicker walls of the pen. He's so panicked, he's not even outgribing.\nMome raths are generally friendly birds, but Blue's always been a bit wary of humans. Sure, she'll accept food, but she's nowhere near as affectionate as her brother Red; you usually have to treat her a bit rougher. At the moment, she's panicking, flying around in a blind panic, bumping into the wicker walls of the pen. She's so panicked, she's not even outgribing.\n\n> You open it\nYou open the rath pen.\n\n> You enter it\nYou get into the rath pen.\n\nNorth of House (in the rath pen)\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nLight filters in through the holes in the woven walls. Twin perches hang opposite each other in the pen. The door stands wide open.\n\nThe mome rath named Blue flaps wildly inside the pen.\n\nThe mome rath named Red flutters around the pen in a panic.\n\nInside the pen is a rope hanging from the ceiling, on which is a hook, on which is Red's toy.\n\nThe tablet shivers in your hands.\n\n> You examine the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, and the slithy toves\n___ ____ ___  __ ___ ____:\n___  were the borogoves,\nand the mome raths .\n\n> Close pen\nYou close the rath pen.\n\n> You examine the perches\nThere are two wooden perches hanging from the ceiling of the pen.\n\n> You get the toy\nTaken.\n\n> You give the toy to Red\nYou wave the toy in front of Red, and he swoops down and snatches it out of your hands. He lands on his perch and plays with it. He begins to outgribe, making the cooing noises that the birds use to communicate over long distances.\n\n> You take the rope\nThat's fixed in place.\n\n> You look at Blue\nMome raths are generally friendly birds, but Blue's always been a bit wary of humans. Sure, she'll accept food, but she's nowhere near as affectionate as her brother Red; you usually have to treat her a bit rougher. At the moment, she's panicking, flying around in a blind panic, bumping into the wicker walls of the pen. She's so panicked, she's not even outgribing."
    },
    {
        "text": "[Themes: Literary]\n\n> Look around\nNorth of House (in the rath pen)\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nLight filters in through the holes in the woven walls. Twin perches hang opposite each other in the pen. The door is latched shut.\n\nThe mome rath named Blue flaps wildly inside the pen.\n\nThe mome rath named Red sits on his perch, almost smiling at you.\n\nInside the pen is a rope hanging from the ceiling.\n\n> You examine Red\nMome raths are generally friendly birds, and Red's no exception. He's always nice to you, unlike his sister Blue. Right now, he's calm, cuddling his toy.\n\n> Go south\nYou'll have to get out of the rath pen first.\n\n> You open the gate then out then close the gate\nYou open the rath pen.\nYou get out of the rath pen.\n\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nThe pen stands open. Luckily, even while they're panicking your raths are well-trained enough that they don't try to escape.\nYou close the rath pen.\n\n> You go west\nThe only exit is southwest to the front of your house.\n\n> You go to the southwest\nYou feel happy here in front of your house. The coat of white paint on the house was recently retouched, and your father has planted flowers in the window boxes. You can hear the mournful calling of the toves in the wabe to the west, and there are bare paths worn into the dirt around the corners of the house to the northeast and southeast.\n\n> Go south\nIt took you and your father an entire week to build this enclosure, but it was worth the effort: not one of your family's toves has ever been attacked in the night. The corral has four sturdy walls and a slate roof, but the bottom is open. This allows the rose-colored mist from the wabe in, which in turn keeps your toves alive. During the night, they're kept in by the half-submerged door, which is held closed by a nice secure latch. You stand on a catwalk affixed to one wall, and little tendrils of fog waft up between the catwalk's metal bars.\n\nYour family's toves drift around aimlessly. For some reason, they're not in very good health.\n\n> You remove the net\n(first taking the net attachment)\nYou remove the net attachment from the pole.\n\n> You fix the hook to the pole\nYou screw the hook attachment onto the pole, making a gaff.\n\n> You remove the mist\n(first taking the the wabe)\nThat's hardly portable.\n\n> You look at the hook\nThis hook is used to hold Red's favorite toy. It's originally a tool for removing debris from the tove corral, so it has a threaded end to allow it to attach to a metal pole.\n\n> You look at tove\n(the toves)\nToves are strange creatures, diaphanous and billowing. Their bodies are hollow and tube-shaped, with long, thin tentacles arranged in a ring around their \"mouth\". These toves, of course, are tame, but a wild tove could latch on to your arm and dissolve it to the bone. Usually, they'd be gyring and gimbling, but they seem sick. They just drift aimlessly around the pen, their tentacles limp. They seem to be having trouble breathing the mist inside the corral.\n\n> You examine the mist\nThe wabe could be called a sea, except that instead of being composed of water, it's composed of a rose-colored mist. The mist is quite dense, and almost acts like a liquid. Instead of forming waves, however, it forms tiny clouds of fog that slowly drift back into the main body of mist. However, the wabe here inside the corral is discolored brown. The stain seems to be coming from under the catwalk.\n\n> You examine the catwalk\nYou can smell the rust on this catwalk, slightly corroded from exposure to the fog of the wabe. It runs the length of one wall, allowing for the feeding and care of the toves. You can see the wabe through the metal grid of the catwalk; it seems somewhat discolored.\n\n> You look under catwalk\nYou can barely see what looks like a clump of scales stuck to the underside of the catwalk. They seem to be the source of the stain tinting the wabe brown.\n\n> You examine the scales\nSeveral rather large reptilian scales, silver in color, covered with a disgusting and foul-smelling slime. You can't help but notice that their edge is razor-sharp.\n\n> You take the scales\nYou carefully reach down and pull on the disgusting scales. After a few tries, they pull free from the catwalk, and you take them. A few moments later, the mist inside the corral returns to its normal rose color. The toves perk up almost instantly, and soon begin to gyre and gimble. They look well enough for you to let them out into the wabe.\n\nThe tablet shivers in your hands.\n\n> You look at the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, and the slithy toves\nDid gyre and gimble __ ___ ____:\n___  were the borogoves,\nand the mome raths .\n\n> You remove the scales with the gaff\nYou are carrying:\nsome strange scales\na gaff\na net attachment\na worn tablet\n\nYou can't see any such thing.\n\n> You open it\nYou carefully open the door, and the toves gimble out into the wabe. Soon, they are too far away to be seen with the naked eye. No need to worry, though. They'll be back by feeding time.\n\nThe tablet shivers in your hands.\n\n> You check your inventory\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, and the slithy toves\nDid gyre and gimble in the wabe:\n___  were the borogoves,\nand the mome raths .\n\nYou are carrying:\nsome strange scales\na gaff\na net attachment\na worn tablet\n\n> N then north\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\nThey call it \"chicken wire,\" but you don't get many chickens around here. You and your dad use it to keep in your borogoves. The wire is stretched between sturdy wooden posts sunk deep into the sand of the shore. Inside the wire, the borogoves skitter around, looking very agitated.\n\nThere is a hurt borogove inside the enclosure.\n\n> You take the borogove with hook\n(first taking the hook attachment)\nYou remove the hook attachment from the pole.\n\n> You fix the hook to the pole\nYou screw the hook attachment onto the pole, making a gaff.\n\n> You take borogove with the gaff\nYou reach out with the hook and snag the hurt animal, pulling it toward you. As its body reaches the fence, it slips off your hook, and falls onto the ground just in front of the fence. You'll never get it with that unwieldy pole. You could reach in and take it out with your bare hands, but the other borogoves would bite you.\n\n> You look at the hurt borogove\nBorogove blood could more accurately be called \"ichor.\" It's slick, black stuff, and it coats the exoskeleton of this borogove. The creature seems to have been ripped apart by huge claws. It still twitches, but the movement is most likely a reflex. If the creature isn't dead now, it will be soon. You'd better get it out of the enclosure, or the rest of the borogoves will hurt themselves in the panic.\n\n> You put the net on the pole\nYou screw the net attachment onto the pole, making a skimmer.\n\n> You take the borogove with the skimmer\nThe net on the skimmer is too small to fit around the wounded borogove, and if you caught on to any of its legs, they'd just pull off.\n\n> You get the borogove\nIf you reach in there, the panicked borogoves will most likely bite you all over your hand. And borogove bites hurt.\n\n> Go southeast\nA rickety old shed without a door is leaning against the house here. You use it to store tools and feed for your family's animals. There's not much else around here except weeds and a closed cellar window in the house wall at ground level.\n\n> You examine the window\nIt's a grimy, closed window that allows light into the cellar. It's much too small for you to fit through.\n\n> You open it\nIt seems to be locked.\n\n> You examine the weeds\nJust some weeds.\n\n> You examine the shed\nAn old shed made from sheets of corrugated aluminum and planks of wood. You're not that worried about theft, so it doesn't even have a door. The shed's purely to keep the rain off of the tools and feed.\n\n> You enter the shed\nYou walk into the shed.\n\nSouth of House (in the old shed)\nA rickety old shed without a door is leaning against the house here. You use it to store tools and feed for your family's animals. There's not much else around here except weeds and a closed cellar window in the house wall at ground level.\n\nIt's dim inside the shed, the only light coming through the doorway from outside.\n\nIn the old shed you can see a tool box (which is closed) and a bag of borogove feed (which is closed).\n\n> You examine the tool box\nA metal box, used for storing tools. It's shut.\n\n> You open it\nYou open the tool box, revealing four tools (a screwdriver, a hammer, a pipe wrench and a file).\n\n> Examine feed\nThis is a burlap bag of borogove feed, basically dried moss with some nutritional supplements. It's still unopened.\n\n> You close the tool box\nYou close the tool box.\n\n> Inventory\nYou are carrying:\na tool box (which is closed)\na bag of borogove feed\na skimmer\na hook attachment\nsome strange scales\na worn tablet"
    },
    {
        "text": "[Themes: Literary]\n\n> Look around\nSouth of House (in the old shed)\nA rickety old shed without a door is leaning against the house here. You use it to store tools and feed for your family's animals. There's not much else around here except weeds and a closed cellar window in the house wall at ground level.\n\nIt's dim inside the shed, the only light coming through the doorway from outside.\n\n> You go outside\nYou get out of the old shed.\n\nA rickety old shed without a door is leaning against the house here. You use it to store tools and feed for your family's animals. There's not much else around here except weeds and a closed cellar window in the house wall at ground level.\n\n> NW then W then S\nYou feel happy here in front of your house. The coat of white paint on the house was recently retouched, and your father has planted flowers in the window boxes. You can hear the mournful calling of the toves in the wabe to the west, and there are bare paths worn into the dirt around the corners of the house to the northeast and southeast.\n\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\nIt took you and your father an entire week to build this enclosure, but it was worth the effort: not one of your family's toves has ever been attacked in the night. The corral has four sturdy walls and a slate roof, but the bottom is open. This allows the rose-colored mist from the wabe in, which in turn keeps your toves alive. During the night, they're kept in by the half-submerged door, but it's open to allow the toves to gimble in the wabe. However, it does have a nice secure latch. You stand on a catwalk affixed to one wall, and little tendrils of fog waft up between the catwalk's metal bars.\n\n> Examine feed\nThis is a burlap bag of borogove feed, basically dried moss with some nutritional supplements. It's still unopened.\n\n> You open the feed\nYou tug at the bag, but it doesn't open. You'll need to slice open the burlap.\n\n> You open the tool box\nYou open the tool box, revealing four tools (a screwdriver, a hammer, a pipe wrench and a file).\n\n> You put the skimmer in the tool box\nThe toolbox is made to hold tools. Nothing else.\n\n> You open the burlap with the scale\nYou cut open the bag, revealing powdery borogove food.\n\n> You feed borogoves with the food\nYou scatter the food into the far side of the borogove enclosure. The creatures instantly smell it, and race over, eating it in a feeding frenzy.\n\n> You take the hurt borogove\nWhile the rest of the borogoves are distracted by their feeding frenzy, you grab the wounded insect. Seconds later, they finish the food, and spread out again, once again in a panic. You toss the body of the now-dead borogove into the wabe, and the others calm down as soon as the scent fades away.\n\nThe tablet shivers in your hands.\n\n> You examine the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral I. Below, there is a pattern of lines and letters, like so:\n\n'Twas brillig, and the slithy toves\nDid gyre and gimble in the wabe:\nAll mimsy were the borogoves,\nand the mome raths .\n\n> S then east\nFrom far off to the west you can hear the toves calling, a sad, lonely sound, punctuated only by their happy cries of greeting when they encounter one another. The pink mist of the wabe quietly drifts by, occasionally lapping up on shore in billows of sweet-smelling fog. Above, the suns gently glow. Along the shore to the north is a chicken-wire enclosure, and to the south is a small wooden structure. The sand gives way to grass along the path back to your house in the east.\n\nYou feel happy here in front of your house. The coat of white paint on the house was recently retouched, and your father has planted flowers in the window boxes. You can hear the mournful calling of the toves in the wabe to the west, and there are bare paths worn into the dirt around the corners of the house to the northeast and southeast.\n\n> You open the pen then enter the pen then close the pen\nYou open the rath pen.\nYou get into the rath pen.\n\nNorth of House (in the rath pen)\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nLight filters in through the holes in the woven walls. Twin perches hang opposite each other in the pen. The door stands wide open.\n\nThe mome rath named Blue flaps wildly inside the pen.\n\nThe mome rath named Red sits on his perch, almost smiling at you.\n\nInside the pen is a rope hanging from the ceiling.\nYou close the rath pen.\n\n> You check your inventory\nYou are carrying:\na tool box (which is open)\nfour tools:\na screwdriver\na hammer\na pipe wrench\na file\na bag of borogove feed\na skimmer\na hook attachment\nsome strange scales\na worn tablet"
    },
    {
        "text": "[Themes: Literary]\n\n> Look around\nNorth of House (in the rath pen)\nThis is a small grassy area, mostly occupied by the pen for your family's raths. The pen is made of wickerwork, widely spaced, allowing light and air to pass through while keeping the raths in.\n\nLight filters in through the holes in the woven walls. Twin perches hang opposite each other in the pen. The door is latched shut.\n\nThe mome rath named Blue flaps wildly inside the pen.\n\nThe mome rath named Red sits on his perch, almost smiling at you.\n\nInside the pen is a rope hanging from the ceiling.\n\n> You feed Blue\n(with the rath pen)\nThe blue mome rath isn't interested in eating the rath pen.\n\n> You look in the bag\nThe bag of borogove feed is empty.\n\n> You take Blue with the net\nWhat do you want to catch the blue mome rath with?\n\n(first taking the net attachment)\nYou remove the net attachment from the pole.\n\n> You take Blue with the skimmer\nShe's flying slowly enough, but that's not the best tool for the job. Too long.\n\n> You take Blue with the net\nYou aim carefully, and swing the net. You catch Blue with ease. She calms down as she realizes that she's both trapped and not in immediate danger, so you carefully release her onto a perch, where she begins to sullenly outgribe, cooing to communicate with far off raths.\n\nThe tablet shivers in your hands.\n\nYou hear the faint sound of a pen scratching on paper, and the stone tablet shivers in your hands once more. You look down to discover that it seems to have switched to the next stanza of the poem, and is once again filled with blank lines.\n\n> You look at the tablet\nThe tablet is made of some sort of worn stone, pitted and etched by the elements. In the upper left corner is the Roman numeral II. Below, there is a pattern of lines and letters, like so:\n\n\" ___ , __ ___!\n___ ____ ____ ____, ___  ____ !\n ___  ____, ___ ____\n___  !\n\n> You look at Blue\nMome raths are generally friendly birds, but Blue's always been a bit wary of humans. Sure, she'll accept food, but she's nowhere near as affectionate as her brother Red; you usually have to treat her a bit rougher. Right now, she's calm, or at least as calm as Blue ever gets. However, she still eyes you a bit suspiciously.\n\n> Enter\nYou enter the house, where you will encounter your father, a cat, a bird, and a beast, then begin your journey into the forest, where you will meet three aspects of Lewis Carroll and defeat the Jabberwock."
    },
    {
        "text": "[Themes: Wordplay, fairy tale]\n\nYou are west of a white house.\n\n[Author's Note: The theme was fractured fairy tales. Vaguely inspired by \"This is the house that Jack built.\"]"
    },
    {
        "text": "[Themes: Wordplay]\n\n> About yourself\nThe player character (or P.C.)\nWho is in the game that I wrote.\n\n> You examine the house\nThis is the house you've seen before,\nWhich is in the game that I wrote.\n\nIt has a door.\n\n> You examine the door\nThis closed thing is called a door,\nThat guards the house you've seen before,\nWhich is in the game that I wrote.\n\n> You open the door\nIt seems to be locked.\n\nOh, look. Here comes Matt.\n\n> Examine matt\nThis is Matt, in front of the door,\nThat guards the house you've seen before,\nWhich is in the game that I wrote.\n\n> Kiss matt\nMatt says, \"Welcome.\"\n\n> You search matt\nYou find the key with the jagged edge,\nUnder Matt who's in front of the door,\nThat guards the house you've seen before,\nWhich is in the game that I wrote.\n\n> You take the key\nYou already have that.\n\n> You open the door\nIt seems to be locked.\n\n> You unlock the door with the key\nYou unlock the door.\n\n> You open the door\nYou open the door.\n\n> You go east\nYou are inside the house.\n\nBelle sits forlorn apon the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\n> Ring belle\nYou have no ring to give to Belle,\nWho sits forlorn apon the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\n> You examine belle\nBelle, she has a button nose,\nAnd yes, you could even say it glows.\nShe sits forlorn apon the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\n> Press belle\nYou push cute Belle's li'l button nose.\nShe says \"RING!\" and there it goes!\nA ring now rolls along the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\n> You take the ring\nTaken.\n\n> You examine the ring\nThis diamond ring is shiny and bright.\n'Tis made for someone's wedding night.\n\n> You wear the ring\nYour finger is not where this ring goes,\nThat was made by Belle with the button nose.\nShe sits forlorn apon the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote."
    },
    {
        "text": "> You look at your surroundings\nYou are inside the house.\n\nBelle sits forlorn apon the floor,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\n> Up\nAlas, I fear I have to say,\nYou simply cannot go that way,\n'Cause this is the game that I wrote.\n\n> Go west\nYou are west of a white house.\n\nMatt lies in front of the door,\nThat guards the house you've seen before,\nWhich is in the game that I wrote.\n\n> You give the ring to Belle\n[Hm. Can you rephrase that?]\n\n> Ring belle\nYou get down on your knees, and you propose,\nTo Belle and her cute li'l button nose.\nYou made her ring, and you ring your Belle,\nAnd everything will now be well.\nThe diamond ring, all shiny and bright,\nWill comfort you on your wedding night.\n\nNo more forlorn apon the floor.\nNo longer blocked by some fool door.\nYou two will wed - imagine that!\nYour witness shall be the welcome Matt.\n\nWell, that's the story; there is no more,\nInside the house you've seen before,\nWhich is in the game that I wrote.\n\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Science Fiction, house setting, multiple protagonists, male protagonist, humor, spaceship setting, female protagonist, artificial intelligence, robots, dogs, space, violence, science fiction, dreams, nonhuman protagonist, dog, animal protagonist, meta]\n\n\"There ought not to be anything in the whole universe that man can't poke his nose into - that's the way we're built and I assume that there's some reason for that.\"\n- Robert Heinlein\n\n\n\nType \"help\" for instructions, credits, and license or just blaze on impetuously.\n\nJanet: David, are you hooked in?\nDavid: Ready to go. Is this the final version of the ACU,\nor another beta?\nJanet: A program is never finished, but I think we're ready\nto go.\nDavid: I hope so, Earth could launch any day now.\nJanet: Run program.\n\n[Author's Note: Three hundred years ago, the Brazilian Space Agency discovered a rocky exoplanet only 38 light years from Earth. With a surface temperature of 1200 Celsius and nine times Earth gravity, it's hardly the sort of place you'd take your dog walkies. Most days.]"
    },
    {
        "text": "> You look at your surroundings\nAlarm clock. Next to bed. Make it stop.\n\nOPERATIONS -> STATUS : TRUE\nI beg your pardon?\n\n> You turn the alarm off\nThe alarm clock senses the electrical activity in your brain and turns itself on and off as needed.\n\nTEMPORAL TRANSGRESSOR -> RESET : NIL\n\n> About yourself\nLying down. Wearing pajamas. That's all the description you can handle at this time in the morning.\n\nRover scratches at the side of the futon.\n\nACU -> DIAGNOSTIC : TRUE\n\n> You wake up\nGathering your resolve, you slowly slide off the side of the futon, inadvertently sending the alarm clock on a death spiral off the edge of the futon. Oh well, you can find it later. Meanwhile, you slowly stand up, recapitulating millions of years of evolution in a few seconds.\n\nAs you get out of bed, you notice that your left arm tickles a bit -- must have been the way you were sleeping.\n\nACU -> INITIALIZE : TRUE\n\n\"There ought not to be anything in the whole universe that man can't poke his nose into - that's the way we're built and I assume that there's some reason for that.\"\n- Robert Heinlein\n\n\n\nType \"help\" for instructions, credits, and license or just blaze on impetuously.\n\nJanet: David, are you hooked in?\nDavid: Ready to go. Is this the final version of the ACU,\nor another beta?\nJanet: A program is never finished, but I think we're ready\nto go.\nDavid: I hope so, Earth could launch any day now.\nJanet: Run program.\n*    *    *\n\n\n\nRelease beta 732 / Serial number 23920401 / Inform 10.6 build Mu-013 (I6/v.7.1 lib 7/18N)\n\nRover draws pensively on his stubby cigar, the tip glowing red below his dealer's hat. He paws nonchalantly at the scotch and water he has been nursing for the last half hour. Despite the tower of chips in front of him, he's either in trouble now, or trying to play the rest of the table for suckers. His tail is no longer wagging, though, and you suspect that the scotch may be getting the better of him. He can't mass more than about 30 kilos, and he's been putting them away tonight. You push all in, figuring that even if you lose it all, at least you'll get some sleep before you need to get back to the MARSpace. Elva the cleaning lady folds, as does Isaac Asimov and that boy that you kissed in fourth grade. Wait...don't go....where is everyone going?\n\nDavid: You have some weird dreams.\nJanet: You can't hold me responsible for the subconscious\nramblings of the ACU.\nI beg your pardon?\n\n> You examine the picture\nIt's too far from the bed, and you're not quite awake.\n\nDEEP MEMORY -> DIAGNOSTIC : NIL\n\n> You wake up\nGathering your resolve, you slowly slide off the side of the futon, inadvertently sending the alarm clock on a death spiral off the edge of the futon. Oh well, you can find it later. Meanwhile, you slowly stand up, recapitulating millions of years of evolution in a few seconds.\n\nAs you get out of bed, you notice that your left arm tickles a bit -- must have been the way you were sleeping.\n\nACU -> INITIALIZE : TRUE\n\n> You examine the left arm\nDarkness is great for sleeping, not so good for looking at stuff.\n\nPORT HULL -> DIAGNOSTIC : NIL\n\n> You turn on the light\nThat's not something you can switch.\n\nPHOTON SENSOR -> TRIGGER : NIL"
    },
    {
        "text": "[Themes: Science Fiction, robots, meta, violence, humor, dogs, nonhuman protagonist, female protagonist]\n\n> Look around\nWhere the heavy drapes meet, a sliver of sunlight shines into the otherwise dark living room. A framed picture hangs on the living room wall in the small area illuminated by the shaft of light.\n\nOPERATIONS -> STATUS : TRUE\n\n> You open the drapes\nYou push aside the drapes.\n\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nYou can see an alarm clock and Rover here.\n\nDavid: I see it successfully accessed the solar shield.\nJanet: Yes, the status line makes it clear what work is being performed.\n\nSOLAR SHIELD -> ACCESS : TRUE\n\n> You look at the picture\nA picture of the Starship Valkyrie, still under construction in drydock. There is small brass nameplate below the picture.\n\nIt feels like something is tickling your left arm.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> Scratch arm\nWhich do you mean, the left arm, or the right arm?\n\n> Left\nOoooo. Ahhhh...slowly, the itchiness subsides. That feels so good.\n\nDavid: Is the static charge neutralization part of the script?\nJanet: No, that's the point of the ACU -- it isn't a set\nscript. As we throw malfunctions at it in these simulations,\nthe ACU responds appropriately. We can't, for instance,\nknow that Valkyrie will accumulate a static charge\nin a particular area, so the ACU has to be flexible\nenough to react to unpredictable events.\nDavid: Like you would.\nJanet: Subject to the resolution of the synaptic scan, yes.\n\nPORT HULL -> NEUTRALIZE CHARGE : TRUE\n\n> You examine the nameplate\nA brass nameplate bearing a short inscription. The nameplate is attached to the bottom of the picture.\n\nPLASTIC SIGN -> DIAGNOSTIC : TRUE\n\n> You read the nameplate\nIt says, \"Good luck at MARSpace! - Tomasz\"\n\nTomasz's valediction makes you remember happier times...\n\nYour late fianc? gave you the photo when you began working on the Valkyrie Project as a graduate student -- a happier time before the Independence War with Earth, and the attacks on Mars by Earth's Myomita Corporation. Back then, Valkyrie's experimental Casimir Drive was an exciting technological adventure, rather than a military priority. Now the Valkyrie is Mars' only chance to recover data from a recently discovered space probe marooned in deep space. For whatever reason, MARSpace feels that probe could hold information that could finally give Mars the upper hand in its competition with Earth.\n\nDavid: Why did we lose audio?\nJanet: I've muted the ACU's memories -- they are, after all,\na bit personal. We don't need to hear them, but\nthey may be useful for the ACU to come up to speed.\nDavid: That's fine. How much can the ACU remember, though?\nJanet: It's based on my own synaptic scan, so it can willfully remember a wide variety of subjects -- almost any\nmajor component of my life, important events, and\nso on. It adds depth to its decisions.\nDavid: If you say so. I'd hate to know what it remembers\nabout me.\nJanet: I wouldn't worry too much.\n\n[Note: You can recall something from your past by typing \"REMEMBER something\", e.g. \"REMEMBER casimir drive\"]\n\nPLASTIC SIGN -> READLINE : TRUE\n\n> You remember the mars\nMars has been home to your family for three generations, your grandparents having been life contractors for the Myomita corporation. Since its colonization by national and later corporate entities beginning more than two hundred years ago, Mars has been subservient to the interests of Earth. Since the Independence War, the situation has improved, and income from off-world commerce is slowly balancing the equation.\n\nDavid: I think I'd like to have heard that one.\nJanet: Not a chance.\n\nACU -> DATA_FETCH : TRUE\n\n> You remember War\nFive years ago, you were a graduate student in computational cognition when the situation with Earth deteriorated, and Earth ships attacked the colonial government. The fighting destroyed most of the surface installations in the first few days, but Earth backed down when Martian missiles struck Luna City, Beijing and S?o Paulo. Under terms of the treaty, the Martian government was granted autonomy, but Mars remains economically dominated by Earth, except for MARSpace.\n\nDavid: I'm half tempted to decompile the code just to see\nwhat it said.\nJanet: My code is not for the faint of heart. If you wander\nin there, watch out for grues.\nDavid: Grooze?\n\nACU -> DATA_FETCH : TRUE\n\n> You remember MARSpace\nMARSpace began as an extension of the Myomita corporation space program but was absorbed by the People's Government of Mars after the War of Independence. Before the war, MARSpace serviced almost all condensate drive vessels engaged in commerce between the Solar System and Earth's Interstellar Territories. Since the war, MARSpace has slowly rebuilt, and its first Casimir Drive ship, the Valkyrie, is nearly ready for launch.\n\nACU -> DATA_FETCH : TRUE\n\n> You remember Valkyrie\nThe potential for interstellar commerce has been constrained by time and distance. Although condensate drive has allowed vessels to reach nearby stars, it is expensive and slow and holds little promise for commercial exploitation. The Valkyrie is the first ship to incorporate the Casimir Drive, giving it unprecedented speed and range. It is rumored that since the Valkyrie project fell into MARSpace hands after the Independence War, Earth's Myomita corporation has been working on a sister ship based on similar technology.\n\nACU -> DATA_FETCH : TRUE\n\n> You remember Casimir Drive\nThe Casimir, or zero-point energy drive, was developed in the last ten years. By doing largely incomprehensible things to time/space, the Casimir Drive can translate a ship incredible distances in a fraction of the time and energy that would be required by a ship equipped with condensate drive.\n\nThe one drawback to Casimir technology, at least in its current implementation, is that such trips are lethal to biological organisms, hence the need for the ACU. Human test subjects exposed even briefly to Casimir gradients experienced intense dreams and nightmares; those with longer exposures died during a state of heavy REM activity. Even the ACU is not immune to the quantum distortions responsible for this effect and is expected to experience dream states while in hibernation mode during Casimir jumps.\n\nACU -> DATA_FETCH : TRUE\n\n> You remember ACU\nYour project for the last two years has been design of the autonomous control unit, an artificially intelligent agent that controls all operations aboard the Valkyrie. Originally, the ACU would have been modeled on synaptic scans of experts from relevant fields of study, but given the short time frame, you have only had time to incorporate your own synaptic scans and you have jury-rigged the ACU-to-ship interface.\n\nACU -> DATA_FETCH : TRUE\n\nRover dashes back and forth like a possessed dog for no apparent reason.\n\n> You examine Rover\nHe's a big, happy dalmatian.\n\nROVER -> DIAGNOSTIC : TRUE\n\n> Pet Rover\nYou rub Rover under the chin, and he cranes back his neck and twists his head from side to side in enjoyment.\n\nROVER -> SYNCH : TRUE\n\n> Scratch rover\nYou pat Rover briefly, but he lets you know that a brief pat is not satisfactory. You spend some time scratching Rover, as he repositions himself constantly, trying to get you to scratch an ever-moving itch.\n\nROVER -> SYNCH : TRUE\n\n> You remember Rover\nRover is your dog, a five-year-old dalmatian. When his original owners were killed during the Independence War, you adopted him as a puppy. He is a clever dog, and you have taught him to perform a number of tricks on command. Rover is house trained but loves to explore outside. He can be trusted to go out on his own, and he always comes back.\n\nACU -> DATA_FETCH : TRUE\n\n> You roll over\nRover rolls over like a puppy. He quickly jumps to his feet again.\n\nROVER -> LATERAL JETS : TRUE\n\n> You sit\nRover grazes the ground with his rear end, like a suborbital glider aborting a landing.\n\nROVER -> PARK : TRUE\n\nRover seems relaxed.\n\n> Beg\nThere is no reply.\n\nROVER -> TRANSMIT : NIL\n\n> Bark\nRover barks out a meaty, \"Arf! Arf!\"\n\nROVER -> EMIT PULSE : TRUE\n\nRover cocks his head and ogles the front door.\n\n> You ask ROVER about ROVER\n(Rover about that)\nThere is no reply.\n\nROVER -> QUERY : NIL"
    },
    {
        "text": "[Themes: Science Fiction, robots, dreams, meta, dog, space, violence, house setting, spaceship setting, humor, animal protagonist, female protagonist]\n\n> You look around\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nYou can see an alarm clock and Rover here.\n\nOPERATIONS -> STATUS : TRUE\n\nRover paces back and forth, looking at the front door.\n\n> You look at futon\nYour futon is huge, and oh so comfy. The wooden frame supports a king-size mattress that is pulled out to form a bed.\n\nCASIMIR DRIVE -> DIAGNOSTIC : TRUE\n\n> You search the futon\nIt's too early to delve into the dust-bunny infested recesses of the futon. Certainly not before some strong coffee.\n\nCASIMIR DRIVE -> MANIFEST : NIL\n\n> You go to the kitchen\nYou can't really move around much because of the futon. It takes up a lot of room.\n\nDavid: Isn't that a tad inconvenient?\nJanet: Yeah, but it kind of made sense when I got it.\n\nENGINEERING -> SELECT : NIL"
    },
    {
        "text": "[Themes: Science Fiction, artificial intelligence, spaceship setting, dogs, nonhuman protagonist, humor, animal protagonist, multiple protagonists, violence, male protagonist, house setting]\n\n> Look around\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nYou can see an alarm clock and Rover here.\n\nOPERATIONS -> STATUS : TRUE\n\nRover appears lost in thought.\n\n> You enter the kitchen\nYou can't really move around much because of the futon. It takes up a lot of room.\n\nENGINEERING -> ACTIVATE : NIL\n\n> You move the futon\nWith a little effort, the futon folds up, snug against the wall, leaving more room to walk around the cramped cottage.\n\nCASIMIR DRIVE -> PRESSOR FIELD : TRUE\n\n> You enter the kitchen\nThe kitchen is small but functional, with a space-saver refrigerator and a glass-top electric range. There is a drawer under the range. On the opposite wall there is a sink and under it, a storage cabinet.\n\nYou can see a water bowl (empty) and a food bowl (empty) here.\n\nENGINEERING -> ACTIVATE : TRUE\n\n> You open the drawer\nYou open the drawer, revealing a frying pan.\n\nREACTOR CORE -> ACCESS : TRUE\n\n> You take the pan\nTaken.\n\nMAGNETIC BOTTLE -> SELECT : TRUE\n\n> You put the pan on the range\nYou put the frying pan on the the cooking range.\n\nMAGNETIC BOTTLE -> TRANSFER : TRUE\n\nFrom the direction of the living room, you hear Rover breathing quietly (quietly for Rover, who is a heavy breather).\n\n> You close the drawer\nYou close the drawer.\n\nREACTOR CORE -> DEACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover dragging something around.\n\n> You open the fridge\nAs the fridge creaks open on its ancient hinges, Rover slips into the kitchen. He pokes his nose in the fridge and sniffs around, although he knows full well that stuff in the fridge is for people only and that he'd be in a heap of trouble if he got too curious in there.\n\nCRYOCHAMBER -> ACCESS : TRUE\n\n> You look in the fridge\nYou poke around in the fridge and find a white egg.\n\nCRYOCHAMBER -> MANIFEST : TRUE\n\n> You take the egg\nYou pluck the white egg out of the fridge.\n\nJanet: It's a shame we don't have enough heavy helium to\nbring the ship back.\nDavid: I'm afraid we've put all our baskets in one egg, as\nit were. That one egg represents every bit of heavy\nhelium refined on Mars since Phobos was destroyed.\nJanet: All Your Egg Are Belong to Us?\nDavid: Huh? Didn't quite catch that.\nJanet: Never mind.\n\nHEAVY HELIUM SPHERE -> SELECT : NIL\n\nRover narrows his eyes critically, noting the lack of food in his food bowl. He looks at the food bowl. He looks at you. He looks at the food bowl. He looks at you.\n\n> You look in the fridge\nYou poke around in the fridge and find nothing at all.\n\nCRYOCHAMBER -> MANIFEST : NIL\n\n> You close the fridge\nYou close the old fridge.\n\nCRYOCHAMBER -> DEACCESS : TRUE\n\nRover notices the lack of food in his soi-disant food bowl. He paws pathetically at the food bowl, and the hollow, tin ring of the pitiful bowl echoes through the kitchen.\n\n> You examine the food bowl\nA simple metal bowl. It is identical to the water bowl, except for the word \"food\" that appears on its side. The food bowl is empty.\n\nFUEL RESERVOIR -> DIAGNOSTIC : TRUE\n\nRover contemplates the profound emptiness of the food bowl. He looks at you with imploring puppy dog eyes and then back again at his empty food bowl.\n\nHe eyes the empty water bowl thirstily.\n\n> You look at water bowl\nA simple metal bowl labeled \"water\". The water bowl is empty.\n\nCOOLANT RESERVOIR -> DIAGNOSTIC : TRUE\n\nRover sighs audibly and frowns at his food bowl. His stomach rumbles with hunger.\n\n> You take the water bowl\nTaken.\n\nCOOLANT RESERVOIR -> SELECT : TRUE\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You examine the sink\nA small, utilitarian kitchen sink. Below the sink, there is a small cabinet.\n\nCOOLANT OUTPUT TERMINUS -> DIAGNOSTIC : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You fill the water bowl with the water\nRover would not appreciate it if you put anything aside from water in his water bowl.\n\nCOOLANT RESERVOIR -> TRANSFER : NIL\n\nRover stares longingly at the bowl in your hand.\n\nHe notices the lack of food in his soi-disant food bowl. He paws pathetically at the food bowl, and the hollow, tin ring of the pitiful bowl echoes through the kitchen.\n\n> You turn the tap\nIt is fixed in place.\n\nCOOLANT OUTPUT TERMINUS -> REORIENT : NIL\n\nRover is obviously waiting for you to give him a bowl.\n\nHe narrows his eyes critically, noting the lack of food in his food bowl. He looks at the food bowl. He looks at you. He looks at the food bowl. He looks at you.\n\n> You turn on the tap\nYou run the water momentarily, and then turn off the tap to conserve water.\n\nCOOLANT OUTPUT TERMINUS -> TRIGGER : TRUE\n\nRover is obviously waiting for you to give him a bowl.\n\n> You examine the water bowl\nA simple metal bowl labeled \"water\". The water bowl is empty.\n\nCOOLANT RESERVOIR -> DIAGNOSTIC : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You put the water bowl in the sink\nYou're tired of stuff piling up in the sink, so you stick to your New Year's resolution and decide to hang on to the water bowl.\n\nCOOLANT RESERVOIR -> TRANSFER : NIL\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You examine tap\nA small, utilitarian kitchen sink. Below the sink, there is a small cabinet.\n\nCOOLANT OUTPUT TERMINUS -> DIAGNOSTIC : TRUE\n\nRover stares longingly at the bowl in your hand.\n\n> You turn on the sink\nYou run the water momentarily, and then turn off the tap to conserve water.\n\nCOOLANT OUTPUT TERMINUS -> TRIGGER : TRUE\n\nRover stares longingly at the bowl in your hand.\n\n> You put water in the water bowl\n(the sink in the water bowl)\nYou run the sink briefly to make sure the water is cold, and then fill Rover's bowl about halfway up.\n\nRover looks towards the sink as you fill his water bowl.\n\nCOOLANT OUTPUT TERMINUS -> TRANSFER : TRUE\n\nRover is obviously waiting for you to give him a bowl.\n\nHe sighs audibly and frowns at his food bowl. He looks at you with imploring puppy dog eyes and then back again at his empty food bowl.\n\n> You give the water bowl to Rover\nRover shivers with excitement as you put the full water bowl on the ground.\n\nCOOLANT RESERVOIR -> DELIVER : NIL\n\nRover contemplates the profound emptiness of the food bowl. His stomach rumbles with hunger.\n\nRover slurps the water bowl dry.\n\n> You open the cabinet\nYou open the cabinet, revealing a reward nugget replicator and a 20 kilo bag of dog chow.\n\nFUEL STORAGE VAULT -> ACCESS : TRUE\n\n> You take chow\nTaken.\n\nFUEL CONDUIT -> SELECT : TRUE\n\nRover prances past you at a convenient back-scratching distance.\n\n> You take the replicator\nA dog treat rattles around in the replicator as you pick it up. Rover stares at the box of treats, successfully suppressing the urge to drool. For the moment.\n\nTOKEN DISPENSER -> SELECT : NIL\n\nHe notices the lack of food in his soi-disant food bowl. He looks at you with imploring puppy dog eyes and then back again at his empty food bowl.\n\n> You open the chow\nThat's already open.\n\nFUEL CONDUIT -> ACCESS : NIL\n\n> You pour chow into the food bowl\n(first taking the food bowl)\nYou  empty the bag of dog chow into Rover's bowl, giving him a generous portion that should more than carry him through a day's worth of Rover antics.\n\nRover watches with interest as you fill his food bowl.\n\nFUEL CONDUIT -> TRANSFER : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You drop the food bowl\nFUEL RESERVOIR -> DESELECT : TRUE\n\nRover gulps down the food, without pausing for niceties such as breathing.\n\n> You examine Rover\nHe's a gentle, obedient dalmatian.\n\nRover circles the food bowl.\n\nROVER -> DIAGNOSTIC : TRUE\n\n> You pour the chow into the food bowl\n(first taking the food bowl)\nThere are no more kibbles in the bag.\n\nFUEL CONDUIT -> TRANSFER : NIL\n\n> You examine the bag\nThe open bag features a picture of a grotesquely (in your opinion) fat white husky seated at a fancy dinner table. In front of him, steak, turkey, and ham are piled high on silver dishes. He stares rapaciously at the feast, clenching a fork and knife in his paws. The bag is labeled \"Fill your best friend's bowl with Happy Dogz Mix!\"\n\nFUEL CONDUIT -> DIAGNOSTIC : TRUE\n\n> You remember the happy dogz mix\nThat doesn't ring a bell.\n\nACU -> DATA_FETCH : NIL\n\n> Close cabinet\nYou close the cabinet.\n\nFUEL STORAGE VAULT -> DEACCESS : TRUE\n\n> You fry the egg\nYou wonder whether the egg wouldn't cook better if you actually put it in the frying pan.\n\nHEAVY HELIUM SPHERE -> FUSE : NIL\n\n> You crack the egg into the pan\nYou feel kind of grimy and not entirely awake. From past experience you know that cooking before your morning shower often ends in disaster. (This is why you have your list hanging on the fridge!)\nYou put the egg and the frying pan aside for the moment.\n\nHEAVY HELIUM SPHERE -> DISCHARGE : NIL\n\n> You look at the list\nIt is a to-do list, in your own writing.\n\nTASK MANAGER -> DIAGNOSTIC : TRUE\n\nRover licks his front paws.\n\n> You read the list\nMorning:\nX. Get up\n2. Shower\n3. Breakfast\n4. Take care of business\n5. Let Rover go walkies\n\nDavid: \"Take care of business\"? Is that a euphemism?\nJanet: Yes. I had a heck of a time mapping the landing sequence\nto my daily routine.\n\nTASK MANAGER -> READLINE : TRUE"
    },
    {
        "text": "> You describe your surroundings\nThe kitchen is small but functional, with a space-saver refrigerator and a glass-top electric range. There is a drawer under the range. On the opposite wall there is a sink and under it, a storage cabinet.\n\nOn the kitchen counter is a frying pan (in which is a white egg).\n\nYou can also see a water bowl (empty) and Rover here.\n\nENGINEERING -> STATUS : TRUE\n\n> Inventory\nYou are carrying:\na food bowl\na reward nugget replicator\na dog treat\na 20 kilo bag of dog chow (open but empty)\na flight suit (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You put the replicator on the counter\nYou put the reward nugget replicator on the kitchen counter.\n\nTOKEN DISPENSER -> TRANSFER : TRUE\n\n> Bowl\n20 kilo bag of dog chow: Dropped.\n\nfood bowl:\n*** RUN-TIME PROBLEM P31: ATTEMPT TO USE A PROPERTY OF THE 'NOTHING' NON-OBJECT.\n\n-> DESELECT : TRUE\n\n> You drop the food bowl\nYou weren't holding the food bowl to begin with.\n\nFUEL RESERVOIR -> DESELECT : NIL\n\nRover walks around the room, occasionally sniffing various spots on the floor.\n\n> You check your inventory\nYou are carrying:\na flight suit (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You go to the bathroom\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a toothbrush and a plastic box.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> You look at the mirror\nYou see yourself in the mirror: a young woman with dark brown hair, high cheekbones and a look of determination.\n\nDavid: Wait, is that memory usage correct?\nJanet: Sure, it's fairly conservative. The system has 640\nPB available.\nDavid: That's it?\nJanet: C'mon, nobody will ever need more than 640 PB.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the kitchen, you hear Rover chewing something.\n\n> You look at the glass plate\nA glossy black plate that is just to the right of the bathroom mirror.\n\nIRRADIATOR SWITCH -> DIAGNOSTIC : TRUE\n\nFrom the direction of the kitchen, you hear Rover snoring softly (in the sense that it probably can't be heard outside of the cottage)."
    },
    {
        "text": "[Themes: Science Fiction, dog, female protagonist, humor, animal protagonist, meta, science fiction, robots, dreams, multiple protagonists]\n\n> You describe your surroundings\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a toothbrush and a plastic box.\n\nFLIGHT CONTROL -> STATUS : TRUE\n\n> You examine the counter\nA counter of that pink faux marble that is so common in Martian bathrooms. On it are a toothbrush and a plastic box.\n\nFLIGHT CONSOLE -> DIAGNOSTIC : TRUE\n\n> You examine the toothbrush\nA green sonic toothbrush with slightly worn bristles.\n\nPIT SCRUBBER -> DIAGNOSTIC : TRUE\n\n> You examine the plastic box\nA small plastic box labeled \"Tooth Floss,\" with a blue button just below where the floss comes out.\n\nOBJECT LINKER -> DIAGNOSTIC : TRUE\n\nFrom the direction of the kitchen, you hear Rover growling at something.\n\n> You remove the suit\nYou take off your blue flight suit and it falls to the bathroom floor. You are naked.\n\nDavid: I don't think I should be seeing this. I mean, I'm\nyour boss. There's that whole power dynamic thing.\nJanet: Don't worry: I'm not inclined to sue you for staring\nat a simulation.\nDavid: I'm not staring at the stimulation.\nJanet: You said stimulation. That's funny.\nDavid: No, I said simulation - and I'm not staring.\nJanet: Alright -- you're the boss.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You examine the mirror\nYou see yourself in the mirror: a young woman with dark brown hair, high cheekbones and a look of determination.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the kitchen, you hear Rover entertaining himself.\n\n> Brush teeth\n(first grabbing the toothbrush)\nThe toothbrush sprays each tooth with a fizzy foam, vibrates it into lather and rinses. Your teeth feel smooth and your breath is much improved.\n\nHULL PLATING -> SPAWN SCRUBBERS : TRUE\n\nFrom the direction of the kitchen, you hear Rover scratching himself.\n\n> You floss the teeth\nYou don't have any floss.\n\nHULL PLATING -> LINK NODES : NIL\n\n> You open the box\nThat's not something you can open.\n\nOBJECT LINKER -> ACCESS : NIL\n\n> You look at the plastic box\nA small plastic box labeled \"Tooth Floss,\" with a blue button just below where the floss comes out.\n\nOBJECT LINKER -> DIAGNOSTIC : TRUE\n\nFrom the direction of the kitchen, you hear Rover rolling around on the floor.\n\n> You floss the teeth\nYou floss your teeth and then swallow the tasty (and nutritious) floss. You feel so much better now.\n\nHULL PLATING -> LINK NODES : TRUE\n\nFrom the direction of the kitchen, you hear Rover walking in your direction.\n\n> You examine the shower\nA utilitarian shower.\n\nEXTRUDER -> DIAGNOSTIC : TRUE\n\n> You remember the extruder\nThat doesn't ring a bell.\n\nACU -> DATA_FETCH : NIL\n\n> You remember the irradiator\nThat doesn't ring a bell.\n\nACU -> DATA_FETCH : NIL\n\nFrom the direction of the kitchen, you hear Rover jumping around.\n\n> You enter the shower\nThe last time you walked out of the bathroom with your toothbrush, you never found it again. You toss it on the counter. The plastic box almost makes it out of the bathroom, but you remember to set it down before stepping out.\n\nYou are in your shower and water of just the right temperature is spraying down on you. Two buttons are molded into the wall of the shower stall. One is labeled \"soap\", and the other, \"shampoo\".\n\nDavid: Janet, I...\nJanet: David, if it were anyone but you, I would have a problem.\nJust let it go.\nDavid: Anyone else? Like who?\nJanet: Can we get back to the program?\nDavid: Okay, I'm paying attention.\nJanet: Obviously.\n\nEXTRUDER -> ACTIVATE : TRUE\n\n> You go outside\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nYou can also see a flight suit here.\n\nACU -> DESELECT : TRUE\n\n> About yourself\nLying down. Wearing pajamas. That's all the description you can handle at this time in the morning.\n\nACU -> DIAGNOSTIC : TRUE\n\n> You stand\nYou get off the futon.\n\nDavid: Thank you. I can only take so many dream sequences.\nJanet: No problem. So, at this point, the Valkyrie would\nbe at the edge of the probe's stellar system, and\nready to switch over from Casimir to condensate drive\nand begin the approach.\n\nACU -> DEACTIVATE : TRUE"
    },
    {
        "text": "[Themes: Science Fiction, robots, meta, violence, humor, dogs, nonhuman protagonist, female protagonist]\n\n> Look around\nWhere the heavy drapes meet, a sliver of sunlight shines into the otherwise dark living room. A framed picture hangs on the living room wall in the small area illuminated by the shaft of light.\n\nOPERATIONS -> STATUS : TRUE\n\n> You open the drapes\nYou push aside the drapes.\n\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nOn the purple futon is an alarm clock.\n\nYou can also see Rover here.\n\nSOLAR SHIELD -> ACCESS : TRUE\n\n> You examine the clock\nIt's a cheap, white plastic alarm clock with fading green LEDs that read 5:34 am. A large button juts out of the top.\n\nTEMPORAL TRANSGRESSOR -> DIAGNOSTIC : TRUE\n\n> You look at the button\nMounted almost flush with the top of the clock, you can barely make out the dimly illuminated word \"snoo\".\n\nDavid: You could use a new alarm clock.\nJanet: You could increase my salary.\n\nMF TOGGLE -> DIAGNOSTIC : TRUE\n\n> You ask the clock about itself\nYou can only do that to something animate.\n\n> You hit the clock\nViolence isn't the answer to this one.\n\nTEMPORAL TRANSGRESSOR -> OFFENSE MODE : NIL\n\n> You fold up the futon\nWith a little effort, the futon folds up, snug against the wall, leaving more room to walk around the cramped cottage.\n\nCASIMIR DRIVE -> RETRACT : TRUE\n\n> You examine picture\nA picture of the Starship Valkyrie, still under construction in drydock. There is small brass nameplate below the picture.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> You go to the bathroom\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nJanet: Let's hope the simulation doesn't crash again. I'd\nreally like to run it all the way through to the Rover\nrelease.\nDavid: It's looked good this far.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover scratching something.\n\n> You take the toothbrush\nTaken.\n\nPIT SCRUBBER -> SELECT : TRUE\n\n> Brush teeth\nThe toothbrush sprays each tooth with a fizzy foam, vibrates it into lather and rinses. Your teeth feel smooth and your breath is much improved.\n\nHULL PLATING -> SPAWN SCRUBBERS : TRUE\n\n> You put the brush on the counter\nYou put the toothbrush on the marble counter.\n\nPIT SCRUBBER -> TRANSFER : TRUE\n\n> You floss the teeth\nYou floss your teeth and then swallow the tasty (and nutritious) floss. You feel so much better now.\n\nHULL PLATING -> LINK NODES : TRUE\n\n> You look at the mirror\nThe mirror is covered with condensation.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover sniffing something.\n\n> Clean mirror\nYou wipe away the condensation and can see yourself in the mirror. INSPECTOR -> NEUTRALIZE CHARGE : TRUE\n\n> You examine the mirror\nYou see yourself in the mirror: a young woman with dark brown hair, high cheekbones and a look of determination.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover running in circles.\n\n> You remove the suit\nYou take off your blue flight suit and it falls to the bathroom floor. You are naked.\n\nDavid: That mole should be on your left side.\nJanet: Good eye for detail -- I'll flip the UV coordinates\non the next run.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You examine the suit\nIt is a loose-fitting blue flight suit with a MARSpace insignia. Some letters are also sewn above the insignia.\n\nQUANTUM ISOLATOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover snoring loudly.\n\n> You read the insignia\nThat's not something you can read.\n\nINSIGNIA -> READLINE : NIL\n\nFrom the direction of the living room, you hear Rover barking at something.\n\n> You read the letters\nThere are only three letters: \"ACU\".\n\nDavid: If the ACU knows what you know, why doesn't the ACU\nrealize that it is the ACU? I mean, isn't that what\nyou would suspect if you woke up in a flight suit\nlabeled ACU?\nJanet: Cognitive constraints are implemented - the willing\nsuspension of disbelief is a programmatic imperative.\nDavid: I love it when you use big words!\nJanet: You are a doofus, sir.\n\n127.0.0.1 -> READLINE : TRUE\n\nFrom the direction of the living room, you hear Rover doing whatever it is he does when he's not out for walkies and he thinks he's out of your sight.\n\n> You enter the shower\nThe plastic box almost makes it out of the bathroom, but you remember to set it down before stepping out.\n\nYou are in your shower and water of just the right temperature is spraying down on you. Two buttons are molded into the wall of the shower stall. One is labeled \"soap\", and the other, \"shampoo\".\n\nEXTRUDER -> ACTIVATE : TRUE\n\nFrom the direction of the living room, you hear Rover walking about.\n\n> You remember the tommygoffs\nThat doesn't ring a bell.\n\nACU -> DATA_FETCH : NIL\n\nFrom the direction of the living room, you hear Rover sniffing something.\n\n> Sing\nYou quietly sing a short song that Tomasz had taught you. The song is about a lonely colony ship engineer who pines for his sweetheart back on Earth.\n\nACU -> DUMP : TRUE\n\n> You remember Tomasz\nTomasz was your fianc? five years ago. You had planned to get married on Mons Olympus and to honeymoon at Club Meridian on the equator.\n\nACU -> DATA_FETCH : TRUE\n\nFrom the direction of the living room, you hear Rover scratching something.\n\n> You touch yourself\nYou feel normal. Nothing out of the ordinary, really.\n\nACU -> UPDATE : TRUE\n\n> Go outside\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nYou can also see a flight suit here.\n\nACU -> DESELECT : TRUE\n\nFrom the direction of the living room, you hear Rover chewing something.\n\n> You examine the toilet\nA plain vanilla toilet, having a water tank and bowl. Nothing to write home about. Someone left both the cover and seat up. How rude.\n\nA plunger stands next to the toilet, between it and the shower.\n\nRETRO ASSEMBLY -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover dragging something around.\n\n> You look at the plunger\nA common plumber's plunger, consisting of a wooden shaft and red rubber cup. Something about the plunger just doesn't look proper. The handle of the plunger is tilted a little bit backwards. Furthermore, its handle is twisted a little bit clockwise.\n\nATTITUDE CONTROL -> DIAGNOSTIC : TRUE\n\n> You use toilet\nYou're willing to hold it until you can sit down properly on a toilet seat, thank you very much.\n\nRETRO ASSEMBLY -> TOGGLE : NIL\n\n> You sit on the toilet\nSitting on the ceramic rim of the toilet bowl would be absolutely too gross to contemplate.\n\nRETRO ASSEMBLY -> ACTIVATE : NIL\n\nFrom the direction of the living room, you hear Rover walking about.\n\n> Lower seat\nYou lower the toilet seat into position.\n\nPRESSURE SEATING -> DEACCESS : NIL\n\n> You sit on the seat\nYou sit on the toilet seat.\n\nPRESSURE SEATING -> ACTIVATE : TRUE\n\n> You use the toilet\nYou don't need to go right now; check the list on the fridge.\n\nRETRO ASSEMBLY -> TOGGLE : NIL\n\nFrom the direction of the living room, you hear Rover entertaining himself.\n\n> You stand\nYou stand up again.\n\nACU -> DEACTIVATE : TRUE\n\n> You take suit\nTaken.\n\nQUANTUM ISOLATOR -> SELECT : TRUE\n\n> You wear it\nYou put on the flight suit.\n\nQUANTUM ISOLATOR -> ENGAGE : TRUE\n\nFrom the direction of the living room, you hear Rover snoring loudly.\n\n> You go to the kitchen\nThe kitchen is small but functional, with a space-saver refrigerator and a glass-top electric range. There is a drawer under the range. On the opposite wall there is a sink and under it, a storage cabinet.\n\nYou can see a food bowl (empty) and a water bowl (empty) here.\n\nDavid: Where are your coffee machine and toaster?\nJanet: I mapped the ship functions to the minimum number\nof objects. More objects means more ways for things\nto go wrong and more time debugging. Call me lazy.\nDavid: Lazy.\nJanet: You don't know the crazy things the ACU does! Sometimes\nit walks around trying to eat or take everything in\nsight. Sometimes it sings and jumps around. It's based\non my neural bindings, but the ACU definitely has\na mind of its own, and I don't want to have to worry\nabout what it might try do with a toaster.\n\nENGINEERING -> SELECT : TRUE\n\n> You take the water bowl\nTaken.\n\nCOOLANT RESERVOIR -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover growling at something.\n\n> You put the water in it\n(the sink in the water bowl)\nYou run the sink briefly to make sure the water is cold, and then fill Rover's bowl about halfway up.\n\nRover wanders into the kitchen when he hears water splashing into his bowl.\n\nCOOLANT OUTPUT TERMINUS -> TRANSFER : TRUE\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You drop it\nYou weren't holding the sink to begin with.\n\nCOOLANT OUTPUT TERMINUS -> DESELECT : NIL\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You drop the bowl\nCOOLANT RESERVOIR -> DESELECT : TRUE\n\nRover narrows his eyes critically, noting the lack of food in his food bowl. His stomach rumbles with hunger.\n\nRover must have been thirsty. One moment the water bowl is full; the next, it's bone dry.\n\n> You take the food bowl\nTaken.\n\nFUEL RESERVOIR -> SELECT : TRUE\n\nRover is obviously waiting for you to give him a bowl.\n\n> You open the cabinet\nYou open the cabinet, revealing a reward nugget replicator and a 20 kilo bag of dog chow.\n\nFUEL STORAGE VAULT -> ACCESS : TRUE\n\nRover stares longingly at the bowl in your hand.\n\n> You take the chow\nTaken.\n\nFUEL CONDUIT -> SELECT : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You pour the chow into the food bowl\nYou  empty the bag of dog chow into Rover's bowl, giving him a generous portion that should more than carry him through a day's worth of Rover antics.\n\nRover watches with interest as you fill his food bowl.\n\nFUEL CONDUIT -> TRANSFER : TRUE\n\nRover stares longingly at the bowl in your hand.\n\n> You drop the food bowl\nFUEL RESERVOIR -> DESELECT : TRUE\n\nRover's head disappears into the food bowl. It is hard to believe that the sounds generated are coming from a dog rather than some sort of industrial mining rig. When his head lifts, the bowl is not only empty but has been buffed to a mirror finish.\n\n> You take replicator\nA dog treat rattles around in the replicator as you pick it up. Rover stares at the box of treats, successfully suppressing the urge to drool. For the moment.\n\nTOKEN DISPENSER -> SELECT : NIL\n\n> Close cabinet\nYou close the cabinet.\n\nFUEL STORAGE VAULT -> DEACCESS : TRUE\n\n> You close the drawer\nYou close the drawer.\n\nREACTOR CORE -> DEACCESS : TRUE\n\nRover exhales with contentment and rolls over, legs outstretched.\n\n> You put the pan on the range\nYou put the frying pan on the the cooking range.\n\nMAGNETIC BOTTLE -> TRANSFER : TRUE\n\n> You open the fridge\nRover looks up when he hears the old fridge open. He sniffs the fridge door and decides there is nothing in the fridge worth getting in trouble over. He saunters out of the kitchen and back towards the living room.\n\nCRYOCHAMBER -> ACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover breathing quietly (quietly for Rover, who is a heavy breather).\n\n> You look in the fridge\nYou poke around in the fridge and find a white egg.\n\nCRYOCHAMBER -> MANIFEST : TRUE\n\n> You take the egg\nTaken.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> You close the fridge\nYou close the old fridge.\n\nCRYOCHAMBER -> DEACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover barking at something.\n\n> You put the egg in the pan\nYou put the white egg into the frying pan.\n\nHEAVY HELIUM SPHERE -> TRANSFER : NIL\n\n> You fry the egg\nYou crack the egg into the frying pan. The neoegg shell sublimates as the contents spread over the pan's non-stick surface. Immediately, the surface of the range glows red. When the egg is cooked sunny-side up to perfection, the glow fades.\n\nJanet: If there were some heavy helium left after landing,\ncould the ship take off again?\nDavid: Hypothetically, yes, but the planet has essentially\nno atmosphere to break against and it has about nine\ntimes Earth gravity. Even with optimal approach we'll\nhave to fuse every gram of that heavy helium to make\na soft landing.\nJanet: I just hate to leave the ship there. It could take\nyears before our next Casimir ship will be built,\nand who knows if Valkyrie will survive that long on\nthat chthonian rock.\nDavid: Nice word. From MARSpace perspective, all that matters\nis that the probe data are recovered.\n\nHEAVY HELIUM SPHERE -> FUSE : TRUE\n\n> You examine the egg\nA perfectly fried egg: The yellow yolk lies at the geometric center of a white disc, like the star at the center of a nascent system. The yolk is just a notch short of congealing, and the white is neither runny nor burnt. Another culinary success.\n\nHEAVY HELIUM SPHERE -> DIAGNOSTIC : TRUE\n\n> You eat the egg\nYou gobble down what might well have been the best neoegg you've ever had.\n\nDavid: Wait a minute! She just scoops the egg out of the\npan with her hand and eats it like a grizzly bear\nraking salmon out of a river?\nJanet: Works for me, yeah.\nDavid: How about a plate and fork?\nJanet: The ACU doesn't miss them, and it's less programming\noverhead. And bonus: fewer dishes to clean.\n\nHEAVY HELIUM SPHERE -> RECYCLE : TRUE\n\nFrom the direction of the living room, you hear Rover doing whatever it is he does when he's not out for walkies and he thinks he's out of your sight.\n\n> You look at the list\nIt is a to-do list, in your own writing.\n\nTASK MANAGER -> DIAGNOSTIC : TRUE\n\n> You read the list\nMorning:\nX. Get up\nX. Shower\nX. Breakfast\n4. Take care of business\n5. Let Rover go walkies\n\nTASK MANAGER -> READLINE : TRUE\n\nFrom the direction of the living room, you hear Rover running in circles.\n\n> You go to the bathroom\nIt took a lot of training to get Rover to eat it in the kitchen, so rather than walk out with a bag of dog food, you put it back in the cabinet.\n\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nRover trundles along behind you, his attention riveted to the reward nugget replicator.\n\nJanet: So now we begin the landing cycle. This is where the\nACU really shines.\nDavid: What about timing? The ship has to be in the right\norientation to fire the fusion thrusters at exactly\nthe right time.\nJanet: The ACU works so fast that no matter how many individual\nsteps it takes, the effect occurs at the right time.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> Lower seat\nThe toilet seat is already down.\n\nPRESSURE SEATING -> DEACCESS : NIL\n\n> You remove the suit\nYou take off your blue flight suit and it falls to the bathroom floor. You are naked.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You sit on the toilet\nYou sit on the toilet seat.\n\nRETRO ASSEMBLY -> ACTIVATE : TRUE\n\n> You use the toilet\nYou complete your business with great aplomb.\n\nRETRO ASSEMBLY -> TOGGLE : TRUE\n\n> You stand\nYou stand up again, although you are uncomfortably aware that you have left some, shall we say, \"unresolved\" business behind you.\n\nACU -> DEACTIVATE : TRUE\n\n> You wear the suit\n(first taking the flight suit)\nYou put on the flight suit.\n\nQUANTUM ISOLATOR -> ENGAGE : TRUE\n\nRover sniffs the toilet bowl.\n\n> You look at the bowl\nThe white porcelain bowl is the bottom part of the toilet. The toilet seat is down, but the cover is raised.\n\nREACTION CHAMBER -> DIAGNOSTIC : TRUE\n\n> Close seat\nThe toilet seat is already down.\n\nPRESSURE SEATING -> DEACCESS : NIL\n\n> Close cover\nYou lower the toilet cover into position.\n\nREACTANT SHIELD -> DEACCESS : NIL\n\n> Flush toilet\nYou are distracted momentarily. Something just isn't right in the bathroom.\n\nRETRO ASSEMBLY -> THRUST : NIL\n\n> You check your hair\nYet another part of your anatomy.\n\nSUBSYSTEMS -> DIAGNOSTIC : TRUE\n\n> You look at the plunger\nA common plumber's plunger, consisting of a wooden shaft and red rubber cup. Something about the plunger just doesn't look proper. The handle of the plunger is tilted a little bit backwards. Furthermore, its handle is twisted a little bit clockwise.\n\nATTITUDE CONTROL -> DIAGNOSTIC : TRUE\n\nRover walks towards the toilet bowl.\n\n> You take it\nSince the day Tomasz jammed the plunger down on the bathroom floor, it has been stuck there like a barbed harpoon in the side of a great whale. Well, maybe more like a giant squid wrapped around an unfortunate whale, since squids have (you have heard) suckers. Some kind of weird interaction between the rubber cup and the micropores in the floor have effectively bonded the plunger to the floor, and any attempt to remove it would probably destroy one or the other. The plunger doesn't really bother you, and most of the time you just ignore it.\n\nATTITUDE CONTROL -> SELECT : NIL\n\nRover dashes back and forth like a possessed dog for no apparent reason.\n\n> You pull the plunger\nIt's stuck to the floor. On the other hand, if you want to push it in a particular direction, just say so.\n\nATTITUDE CONTROL -> TRACTOR FIELD : NIL\n\n> You turn plunger\nIt is fixed in place.\n\nATTITUDE CONTROL -> REORIENT : NIL\n\n> You turn the handle counterclockwise\nYou adjust the plunger handle counterclockwise. Certainly, a step in the right direction.\n\nSomething about the plunger just doesn't look proper. The handle of the plunger is tilted a little bit backwards.\n\nYAW VECTOR -> VECTOR ADJUST : TRUE\n\nRover lies down next to the bathroom sink.\n\n> Flush toilet\nThe cottage's aging plumbing rumbles and vibrates as the toilet flushes.\n\nDavid: That's it. One long burn down to the planet's surface.\nDavid: And then, the ACU just needs to deploy the ROVER.\n\nRover runs out of the bathroom, and you hear him jumping around near the front door.\n\nRETRO ASSEMBLY -> THRUST : TRUE"
    },
    {
        "text": "[Themes: Science Fiction, house setting, nonhuman protagonist, male protagonist, meta, dogs, female protagonist, artificial intelligence, dreams]\n\n> You describe your surroundings\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nFLIGHT CONTROL -> STATUS : TRUE\n\nFrom the direction of the living room, you hear Rover walking in your direction.\n\n> Go outside\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nOn the purple futon is an alarm clock.\n\nYou can also see Rover here.\n\nJanet: When Rover brings the probe back to the ship, it will automatically extract the data and send it back by\nansible. Did you enter the ansible parameters?\nDavid: Yes, I had to do it manually, since the frequency\nand coordinates are encrypted. It's too bad they didn't\nhave FTL communications when they built the probes\n-- it would have saved us the trip.\nJanet: Yes, but then Earth would get the information as well\n-- even encrypted, I wouldn't want it to fall into\ntheir hands.\n\nACU -> DESELECT : TRUE\n\nRover lies down with his front paws crossed.\n\n> You examine the door\nThe front door of the cottage is closed.\n\nCARGO BAY DOOR -> DIAGNOSTIC : TRUE\n\n> You open the door\nRover looks up when he hears the door begin to open. You swing the front door fully open, confident that Rover will walk about the park and then return. Rover is out in a flash.\n\nJanet: So, that's it. Rover goes out, gets the probe, and\nbrings it back to the ship, and then the information\nis squirted back to MARSpace.\nDavid: Well, congratulations, Doctor Xiang, on a job well\ndone. I say we celebrate tonight, and get up early\nfor the launch tomorrow morning.\nJanet: It's a deal. Give me ten minutes to make the final\ncommit, and I'll join you.\nDavid: I'll put the champagne on ice.\n\n> You exit\n*    *    *\n\n\n\nEven mildly drugged and reclining on an overstuffed couch in the MARSpace human resources office, it's hard to relax in the presence of the MARSpace political officer conducting the final interview. You didn't catch her name, probably because she never mentioned it. After three such interviews and six months of background check, what more could they want?\n\n\"Ms. Xiang, thank you for your cooperation. Your tests show no hint of disloyalty to the Republic or MARSpace. We hope you understand the need for these measures, particularly for personnel with access to the Valkyrie's command and control functions. Now that you are cleared, I can inform you that credible sources have warned that the project may have been infiltrated by...\"\n\nYou weren't particularly enjoying this dream, but being jarred awake by a violently shaking futon is even less pleasurable.\n\nAs the bed bucks and tumbles, several scenarios flash through your mind: explosive decompression of the dome? Volcanic activity? Meteor impact? Before you can even consider your next action, you are thrown from the futon onto the living room floor. Light pours in from the window. It looks like the drapes were somehow torn away from the window.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\nRover scratches his ears.\n\n> You stand\nYou are standing in the living room.\n\nACU -> DEACTIVATE : TRUE\n\nRover exhales with contentment and rolls over, legs outstretched.\n\n> You close the door\nThat's already closed.\n\nCARGO BAY DOOR -> DEACCESS : NIL\n\n> You examine Rover\nHe's not what you'd typically call a lapdog, although he'd beg (literally) to differ.\n\nROVER -> DIAGNOSTIC : TRUE\n\n> You examine the window\nWhatever woke you up this morning did some damage. The cottage's window is built to withstand damage, but thin cracks have appeared throughout it. The garden skylights are just coming on. They cast long shadows from a stand of Norwegian Spruce trees at the far side of the park.\n\nVIEWER -> DIAGNOSTIC : TRUE\n\nRover looks at the front door.\n\n> You examine the trees\nA line of tall, dark green trees stands at the far edge of the park.\n\nVIEWER -> DIAGNOSTIC : TRUE\n\n> You examine the picture\nA picture of the Starship Valkyrie, still under construction in drydock. You notice that a few pixels have gone dark in the picture. Not a big deal, though. Probably only something you'd notice. There is small brass nameplate below the picture.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> You examine the futon\nYour futon is huge, and oh so comfy. The wooden frame supports a king-size mattress that is pulled out to form a bed.\n\nCASIMIR DRIVE -> DIAGNOSTIC : TRUE\n\nRover walks around the room, occasionally sniffing various spots on the floor.\n\n> You search the futon\nIt's too early to delve into the dust-bunny infested recesses of the futon. Certainly not before some strong coffee.\n\nCASIMIR DRIVE -> MANIFEST : NIL\n\n> Close futon\nWith a little effort, the futon folds up, snug against the wall, leaving more room to walk around the cramped cottage.\n\nCASIMIR DRIVE -> DEACCESS : TRUE\n\nRover sniffs the window.\n\n> Smell window\nThe window smells ordinary.\n\nVIEWER -> CHEMOSENSOR : NIL\n\n> Pet Rover\nYou stroke Rover's back and he nuzzles up against you.\n\nROVER -> SYNCH : TRUE\n\n> You go to the kitchen\nThe kitchen is small but functional, with a space-saver refrigerator and a glass-top electric range. There is an open drawer under the range. On the opposite wall there is a sink and under it, an open storage cabinet.\n\nYou can see a food bowl (empty) and a water bowl (empty) here.\n\nENGINEERING -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover rolling around on the floor.\n\n> You read the list\nMorning:\nX. Get up\n2. Shower\n3. Breakfast\n4. Take care of business\n5. Let Rover go walkies\n\nTASK MANAGER -> READLINE : TRUE\n\nFrom the direction of the living room, you hear Rover playing.\n\n> You open the cabinet\nThat's already open.\n\nFUEL STORAGE VAULT -> ACCESS : NIL\n\nFrom the direction of the living room, you hear Rover jumping around.\n\n> You look in the cabinet\nIn the cabinet are a reward nugget replicator and a 20 kilo bag of dog chow.\n\nFUEL STORAGE VAULT -> MANIFEST : NIL\n\nFrom the direction of the living room, you hear Rover snoring softly (in the sense that it probably can't be heard outside of the cottage).\n\n> You examine the chow\nThe open bag features a picture of a grotesquely (in your opinion) fat white husky seated at a fancy dinner table. In front of him, steak, turkey, and ham are piled high on silver dishes. He stares rapaciously at the feast, clenching a fork and knife in his paws. The bag is labeled \"Fill your best friend's bowl with Happy Dogz Mix!\"\n\nFUEL CONDUIT -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover chewing something.\n\n> You look in the bag\nIn the 20 kilo bag of dog chow are some doggie kibbles.\n\nFUEL CONDUIT -> MANIFEST : NIL\n\n> You go to bathroom\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> You take the brush\nTaken.\n\nPIT SCRUBBER -> SELECT : TRUE\n\n> You put the brush on the counter\nYou put the toothbrush on the marble counter.\n\nPIT SCRUBBER -> TRANSFER : TRUE\n\nFrom the direction of the living room, you hear Rover scratching himself.\n\n> You floss the teeth\nYou floss your teeth and then swallow the tasty (and nutritious) floss. You feel so much better now.\n\nHULL PLATING -> LINK NODES : TRUE\n\n> You remove the suit\nYou take off your blue flight suit and it falls to the bathroom floor. You are naked.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You look at the mirror\nThe mirror is covered with condensation.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\n> You wipe the mirror\nYou wipe away the condensation and can see yourself in the mirror. You are naked.\n\nINSPECTOR -> NEUTRALIZE CHARGE : TRUE\n\n> You look at the mirror\nYou see yourself in the mirror: a young woman with dark brown hair, high cheekbones and a look of determination.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover snoring softly (in the sense that it probably can't be heard outside of the cottage).\n\n> You read letters\nThere are only three letters: \"ACU\".\n\n127.0.0.1 -> READLINE : TRUE"
    },
    {
        "text": "[Themes: Science Fiction, animal protagonist, multiple protagonists, space, science fiction, nonhuman protagonist, house setting, robots]\n\n> You wear the suit\n(first taking the flight suit)\nYou put on the flight suit.\n\nQUANTUM ISOLATOR -> ENGAGE : TRUE\n\nFrom the direction of the living room, you hear Rover playing.\n\n> You go to kitchen\nThe kitchen is small but functional, with a space-saver refrigerator and a glass-top electric range. There is an open drawer under the range. On the opposite wall there is a sink and under it, a storage cabinet.\n\nYou can see a food bowl (empty) and a water bowl (empty) here.\n\nENGINEERING -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover dragging something around.\n\n> You take the water bowl\nTaken.\n\nCOOLANT RESERVOIR -> SELECT : TRUE\n\n> You put the water in it\n(the sink in the water bowl)\nYou run the sink briefly to make sure the water is cold, and then fill Rover's bowl about halfway up.\n\nRover wanders into the kitchen when he hears water splashing into his bowl.\n\nCOOLANT OUTPUT TERMINUS -> TRANSFER : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You drop bowl\nCOOLANT RESERVOIR -> DESELECT : TRUE\n\nRover drinks the water.\n\n> You take the food bowl\nTaken.\n\nFUEL RESERVOIR -> SELECT : TRUE\n\nRover is obviously waiting for you to give him a bowl.\n\n> You open cabinet\nYou open the cabinet, revealing a reward nugget replicator and a 20 kilo bag of dog chow.\n\nFUEL STORAGE VAULT -> ACCESS : TRUE\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You take the bag\nTaken.\n\nFUEL CONDUIT -> SELECT : TRUE\n\nRover outright gapes at the bowl you carry, then gently sniffs it in hope that you'll give it to him.\n\n> You pour the chow into the food bowl\nYou  empty the bag of dog chow into Rover's bowl, giving him a generous portion that should more than carry him through a day's worth of Rover antics.\n\nRover watches with interest as you fill his food bowl.\n\nFUEL CONDUIT -> TRANSFER : TRUE\n\nRover tingles with anticipation as he stares at the bowl you're carrying.\n\n> You eat the chow\nThat's plainly inedible.\n\nFUEL CONDUIT -> RECYCLE : NIL\n\nRover stares longingly at the bowl in your hand.\n\n> You drop food bowl\nFUEL RESERVOIR -> DESELECT : TRUE\n\nRover makes short work of the food in his bowl.\n\n> You open the drawer\nThat's already open.\n\nREACTOR CORE -> ACCESS : NIL\n\n> You examine the pan\nA small, non-stick frying pan .\n\nMAGNETIC BOTTLE -> DIAGNOSTIC : TRUE\n\n> You close the drawer\nYou close the drawer.\n\nREACTOR CORE -> DEACCESS : TRUE\n\n> You open the fridge\nAs you pull on the refrigerator door, it grudgingly creaks a few millimeters.\n\nCRYOCHAMBER -> ACCESS : NIL\n\n> You look in it\nBefore you can look in it, you've got to open it!\n\nCRYOCHAMBER -> MANIFEST : NIL\n\n> You open the fridge\nRover looks up when he hears the old fridge open. He sniffs the fridge door and decides there is nothing in the fridge worth getting in trouble over. He saunters out of the kitchen and back towards the living room.\n\nCRYOCHAMBER -> ACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover walking in your direction.\n\n> You look in the fridge\nYou poke around in the fridge and find a white egg.\n\nCRYOCHAMBER -> MANIFEST : TRUE\n\nFrom the direction of the living room, you hear Rover sniffing something.\n\n> You close the fridge\nYou close the old fridge.\n\nCRYOCHAMBER -> DEACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover jumping around.\n\n> You examine the egg\nA big white neoegg.\n\nHEAVY HELIUM SPHERE -> DIAGNOSTIC : TRUE\n\n> You open the drawer\nYou open the drawer, revealing a frying pan.\n\nREACTOR CORE -> ACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover running in circles.\n\n> You take the pan\nTaken.\n\nMAGNETIC BOTTLE -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover barking at something.\n\n> You close the drawer\nYou close the drawer.\n\nREACTOR CORE -> DEACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover scratching something.\n\n> You put the pan on the range\nYou put the frying pan on the the cooking range.\n\nMAGNETIC BOTTLE -> TRANSFER : TRUE\n\nFrom the direction of the living room, you hear Rover growling at something.\n\n> You fry the egg\nYou crack the egg into the frying pan. The neoegg shell sublimates as the contents spread over the pan's non-stick surface. Immediately, the surface of the range glows red. When the egg is cooked sunny-side up to perfection, the glow fades.\n\nHEAVY HELIUM SPHERE -> FUSE : TRUE\n\n> You eat the egg\nYou gobble down what might well have been the best neoegg you've ever had.\n\nHEAVY HELIUM SPHERE -> RECYCLE : TRUE\n\n> You read the list\nMorning:\nX. Get up\nX. Shower\nX. Breakfast\n4. Take care of business\n5. Let Rover go walkies\n\nTASK MANAGER -> READLINE : TRUE\n\n> You go to the bathroom\nIt took a lot of training to get Rover to eat it in the kitchen, so rather than walk out with a bag of dog food, you put it back in the cabinet.\n\nYour cottage's living room is palatial compared to your bathroom. There is a pink marble counter and above it you've mounted a mirror on the wall. To the right of the mirror is a black glass plate. Between the counter and the shower is a white, porcelain toilet.\n\nOn the marble counter are a plastic box and a toothbrush.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\nFrom the direction of the living room, you hear Rover rolling around on the floor.\n\n> You raise the cover\nThe toilet cover is already raised.\n\nREACTANT SHIELD -> ACCESS : NIL\n\n> You remove the suit\nYou take off your blue flight suit and it falls to the bathroom floor. You are naked.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You sit on the seat\nYou sit on the toilet seat.\n\nPRESSURE SEATING -> ACTIVATE : TRUE\n\n> You use the toilet\nYou complete your business with great aplomb.\n\nRETRO ASSEMBLY -> TOGGLE : TRUE\n\n> You wear the suit\n(first taking the flight suit)\nYou put on the flight suit.\n\nQUANTUM ISOLATOR -> ENGAGE : TRUE\n\n> You examine the plunger\nA common plumber's plunger, consisting of a wooden shaft and red rubber cup. Something about the plunger just doesn't look proper. The handle of the plunger is tilted completely forwards and it's also leaning a little bit to the right. Furthermore, its handle is twisted a little bit clockwise.\n\nATTITUDE CONTROL -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover doing whatever it is he does when he's not out for walkies and he thinks he's out of your sight.\n\n> You continue\nYou adjust the plunger handle backwards. Your obsessive compulsive inner person does a happy dance as you move the plunger in a good direction.\n\nSomething about the plunger just doesn't look proper. The handle of the plunger is tilted a little bit forwards and it's also leaning a little bit to the right. Furthermore, its handle is twisted a little bit clockwise.\n\nPITCH VECTOR -> VECTOR ADJUST : TRUE\n\nFrom the direction of the living room, you hear Rover entertaining himself.\n\n> Keep going\nYou adjust the plunger handle backwards. The plunger is now less offensive to your artistic sense of space and proportion.\n\nSomething about the plunger just doesn't look proper. The handle of the plunger is leaning a little bit to the right. Furthermore, its handle is twisted a little bit clockwise.\n\nPITCH VECTOR -> VECTOR ADJUST : TRUE\n\nFrom the direction of the living room, you hear Rover running in circles.\n\n> Oops handle\nYou adjust the plunger handle counterclockwise. That improved the situation.\n\nThe plunger stands perfectly straight, just the way you like it.\n\nYAW VECTOR -> VECTOR ADJUST : TRUE\n\n> You close the lid\nThat's already closed.\n\nPLASMA CONSTRICTOR HATCH -> DEACCESS : NIL\n\n> Flush toilet\nThere is a tinny clanking from within the toilet, but nothing happens.\n\nRETRO ASSEMBLY -> THRUST : NIL\n\n> You look at the toilet\nA plain vanilla toilet, having a water tank and bowl. Nothing to write home about. The toilet seat is down, but the cover is raised.\n\nA plunger stands next to the toilet, between it and the shower.\n\nRETRO ASSEMBLY -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover entertaining himself.\n\n> You examine the plunger\nA common plumber's plunger, consisting of a wooden shaft and red rubber cup. The plunger stands perfectly straight, just the way you like it.\n\nATTITUDE CONTROL -> DIAGNOSTIC : TRUE\n\nFrom the direction of the living room, you hear Rover breathing quietly (quietly for Rover, who is a heavy breather).\n\n> You examine the toilet bowl\nThe white porcelain bowl is the bottom part of the toilet. Both the cover and seat are down.\n\nREACTION CHAMBER -> DIAGNOSTIC : TRUE\n\n> Lift cover\nYou lift the toilet cover.\n\nREACTANT SHIELD -> ACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover barking at something.\n\n> Lift seat\nYou lift the toilet seat.\n\nPRESSURE SEATING -> ACCESS : TRUE\n\n> You look in toilet\nThere's something in it, but you don't want details.\n\nRETRO ASSEMBLY -> MANIFEST : NIL\n\n> Examine tank\nA porcelain reservoir containing several liters of water to flush the toilet. On the front of the tank there is a silver knob used to flush the toilet and on the top of the tank there is a lid.\n\nPLASMA CONSTRICTOR -> DIAGNOSTIC : TRUE\n\n> You open the lid\nYou open the water tank, revealing a flapper valve, a metapropylene lever, and a flush chain.\n\nPLASMA CONSTRICTOR HATCH -> ACCESS : TRUE\n\nFrom the direction of the living room, you hear Rover scratching himself.\n\n> You examine the chain\nA metal chain that would normally connect the flush lever to the flapper valve. The chain has rusted away.\n\nTHRUSTER LINKAGE SERVO -> DIAGNOSTIC : TRUE\n\n> You examine the valve\nA black rubber valve that seals the bottom of the water tank, allowing the toilet to flush only when it is pulled upward by the chain that connects it to the flush lever.\n\nTHRUST APERTURE -> DIAGNOSTIC : TRUE\n\n> You pull the chain\nYou pull on the small bit of chain attached to the flapper valve.\n\nThe cottage's aging plumbing rumbles and vibrates as the toilet flushes.\n\nFrom the living room, Rover gives a short bark and scratches at the front door.\n\nTHRUSTER LINKAGE SERVO -> TRACTOR FIELD : TRUE\n\n> You close the lid\nYou close the water tank.\n\nPLASMA CONSTRICTOR HATCH -> DEACCESS : TRUE\n\n> Go outside\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is closed.\n\nYou can see Rover and an alarm clock here.\n\nACU -> DESELECT : TRUE\n\n> You open door\nRover looks up when he hears the door begin to open. Rover slips out the door.\n\nThere is a wrenching shift in perspective, but a moment later it seems perfectly natural.\n\nYou go bounding out the front door, full of energy.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> Smell\nIt smells like the outdoors here. From a long way off you smell the disagreeable scent of a man. Interestingly, you detect the intriguing scent of a female dog carried across the park by the wind. The comforting smell of home is a hop, lick, and a bark away.\n\nROVER -> CHEMOSENSOR : TRUE\n\n> You examine the house\nHome sweet home, where Janet lives, where you get fed, and where you sleep. Even out here, the smell of home is comforting.\n\nBASE -> DIAGNOSTIC : TRUE\n\n> Dig\nYou dig for a while with your front paws. Finding nothing, you kick the dirt back in again so you won't be blamed for digging up the yard.\n\nROVER -> EXCAVATE : TRUE\n\n> Bark\n\"Buhwahwahwahwahwah!\"\n\nROVER -> EMIT PULSE : TRUE"
    },
    {
        "text": "[Themes: Science Fiction, science fiction, artificial intelligence, dogs, dog, male protagonist, multiple protagonists, humor]\n\n> Look around\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here.\n\nPLANET SURFACE -> STATUS : TRUE\n\n> Pet Rover\nYou can't see any such thing.\n\nCOGNITIVE BLOCK -> SYNCH : NIL\n\n> You look at the dust\nThrough the dust, you can see little more than dim light from above.\n\nSKY -> DIAGNOSTIC : TRUE\n\n> You leave\nBut you aren't in anything at the moment.\n\nROVER -> DESELECT : NIL\n\n> Go west\nWoof?\n\nROVER -> SELECT : NIL\n\n> You run\nYou'll have to say which compass direction to go in.\n\nROVER -> NOOP : NIL\n\n> You go\nYou'll have to say what you'd like to go towards."
    },
    {
        "text": "> You look around\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. Ominous clouds of dust loom on the ever-darkening horizon.\n\nPLANET SURFACE -> STATUS : TRUE\n\n> Smell\nIt smells like the outdoors here. From a long way off you smell the stench of a man. Interestingly, you detect the enthralling bouquet of a female dog carried across the park by the wind. The reassuring smell of home is a hop, lick, and a bark away.\n\nROVER -> CHEMOSENSOR : TRUE\n\n> You go to female dog\nYou trot off in that direction.\n\nYou are outside.\n\nYou can see a lump of rock here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> Smell\nIt smells dry and stale here. From a considerable distance you smell the stale funk of a man. Interestingly, you detect the entertaining fragrance of a female dog wafting enticingly from not too far away. The pleasant smell of home is two shakes of a tail from here.\n\nROVER -> CHEMOSENSOR : TRUE\n\n> You look at the rock\nYou taste the rock. Not edible. Not a bone. Not interesting.\n\nLEAD ORE -> DIAGNOSTIC : TRUE\n\n> You go to female dog\nYou let your nose lead the way.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You look at the paw marks\nPaw marks from a medium-sized dog. From the look of the field, they must belong to a dog that either likes digging or was trying to find something important buried around here.\n\nBULLDOZER TRACKS -> DIAGNOSTIC : TRUE\n\n> Dig\nYou dig for a while with your front paws. Finding nothing, you kick the dirt back in again so you won't be blamed for digging up the yard.\n\nROVER -> EXCAVATE : TRUE\n\n> Smell\nIt smells of freshly turned soil here. From a ways off you smell the odor of a man. Interestingly, you detect the riveting perfume of a female dog coloring the air with its lovely scent from only a short run away. The heartening smell of home is a short run from here.\n\nROVER -> CHEMOSENSOR : TRUE\n\n> You go to the female dog\nTrot, trot, trot.\n\nA long, dark furrow scars the ground in this part of the park.\n\nYou can see a long furrow here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You look at the furrow\nOn your muzzle, you can feel heat radiating from the furrow walls, which are shiny and black. On the walls and floor of the trench, you can see some scratches that look like they could have been made by dog paws.\n\nTRENCH -> DIAGNOSTIC : TRUE\n\n> Smell furrow\nThe long furrow smells like freshly poured tar.\n\nTRENCH -> CHEMOSENSOR : TRUE\n\n> You scratch it\nYou achieve nothing by this.\n\nTRENCH -> NEUTRALIZE CHARGE : TRUE\n\n> You search it\nThe long furrow is empty.\n\nTRENCH -> MANIFEST : NIL\n\n> You go to the female dog\nYour legs carry you as fast as they can.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a female dog here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You examine the female dog\nYour heart catches in your throat as you stand in her glorious presence. Graceful, athletic, and possessed of a noble bearing, she smites you with a glance down her long, fine muzzle. In her sensual mouth, she is provocatively carrying a bone almost as big as she is.\n\nROBOTIC BULLDOZER -> DIAGNOSTIC : TRUE\n\n> You examine the bone\nIt is the biggest, juiciest bone you've ever seen. You envy the bone, which is clamped between the bewitchingly white teeth of the female dog.\n\nSPACE PROBE -> DIAGNOSTIC : TRUE\n\n> You take the bone\nIt is a nice bone...but how would she feel if you just took it? She might find that playful, but then again, she might take it the wrong way. She might like resent such a bold move, uninvited. On the other hand, she could be secretly wishing that you'd make the first move. It might be just the right thing. It could also be a dreadful mistake though. You might come across as greedy and pushy. Not the sort of impression you'd like to make... Um. What were you thinking about? You forget.\n\nSPACE PROBE -> SELECT : NIL\n\n> Pet female\nYou shift a little closer to her and nonchalantly drape your tail near her, but a gust of wind pushes it away.\n\nROBOTIC BULLDOZER -> SYNCH : TRUE\n\n> You examine the female\nYour eyes are drawn to her perfectly rounded shoulders and haunches, her long arcing tail, and her soft, pendulous ears. You avert your gaze so as not to appear overly forward. In her amorous mouth, she is agilely carrying a bone.\n\nROBOTIC BULLDOZER -> DIAGNOSTIC : TRUE\n\n> You look at the ears\nRover is covered from nose to tail with white fur dotted with black splotches.\n\nROVER MODULES -> DIAGNOSTIC : TRUE\n\n> Mount female\nYou're not even on your second date with her! Better keep your paws to yourself.\n\nROBOTIC BULLDOZER -> MOUNT : TRUE\n\n> Kiss female\nThe very thought makes your canine heart scramble like a greased xihuahua in free fall.\n\nROBOTIC BULLDOZER -> INTERFACE : NIL\n\n> Smell\nIt smells barren and lifeless here. From not too far away you smell the stench of a man. Interestingly, you detect the engrossing aroma of a female dog at muzzle's distance from you. The cheerful smell of home is getting fainter.\n\nROVER -> CHEMOSENSOR : TRUE\n\n> You go to the man\nYou scuttle forth.\n\nYou are right outside a dilapidated shack, which has clearly been neglected. A gust of wind lifts a sheet of dust and rains it down on you.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You examine the shack\nThe shabby shack could use more than a coat of paint. The walls are bent at strange angles, and the door is askew. Ominous clouds of dust loom on the ever-darkening horizon.\n\n-> DIAGNOSTIC : TRUE\n\n> You open the shack\nThat's not something you can open.\n\n-> ACCESS : NIL\n\n> You go inside\nYou can't go that way.\n\nROVER -> SELECT : NIL\n\n> You look at the door\nA heavy plastrex door hangs loosely in the door frame, tenuously attached by one frail hinge. The door swings wildly in the wind.\n\nDAMAGED AIRLOCK -> DIAGNOSTIC : TRUE\n\n> You enter door\nYou walk into the tumbledown shack. There is a man here who looks old and grumpy. Like your home, this place has a sleeping room and an eating room. It looks like you've walked right into the sleeping room.\n\nThe man yells at you and you tuck your head down. \"Blah, blah, blah!\" He doesn't seem to move though. Maybe he can't move.\n\nNope. No movement. Hmph. You don't feel so afraid of him.\n\nYou can see a pink pillow here.\n\nDAMAGED AIRLOCK -> ACTIVATE : NIL\n\n> You examine man\nThe man seems flat like a rug, rather than round like a ball. He makes a lot of noise, but he doesn't move around at all. He just stays up against one wall. Boy, does he seem mad, \"Blah, out, blah, blah, dog!\"!\n\nMYOMITA AI -> DIAGNOSTIC : TRUE\n\n> You take the man\nI don't suppose the smelly man would care for that.\n\nMYOMITA AI -> SELECT : NIL\n\n> You smell man\nThe smelly man smells unbearable at this close range. It is like something out of a nightmare: a combination of mouthwash, carpet cleaner and air fresheners. Entirely sickening.\n\nMYOMITA AI -> CHEMOSENSOR : TRUE\n\n> You look at the pillow\nA puffy, pink pillow with a pretty design on it: a red ball, with radiating red and white rays.\n\nNPT -> DIAGNOSTIC : TRUE\n\n> You remember npt\nThat doesn't ring a bell.\n\nROVER -> DATA_FETCH : NIL\n\n> You go to the eating room\nYou eagerly scamper that way.\n\nThe room has big cold box just like the eating room in your home. It's less loud in this room, but you can hear the man in the other room yelling, \"Blah, blah, Myomita, blah, blah, blah, Earth, blah, blah, dog, blah, blah!\". On the floor, there are two dishes.\n\nYou can see a food dish (in which is some canned food) and a water dish (in which is some crystal clear water) here.\n\nLOCATION -> SELECT : TRUE\n\n> You examine the food dish\nThe other dog's metal food dish smells much better than yours.\n\nFUEL RESERVOIR -> DIAGNOSTIC : TRUE\n\n> You smell it\nThe food dish smells unremarkable.\n\nFUEL RESERVOIR -> CHEMOSENSOR : NIL\n\n> You take it\nNope, the food dish is stuck to the ground. So much for going home with a \"doggie bag\".\n\nFUEL RESERVOIR -> SELECT : NIL\n\n> You examine the water dish\nThe other dog's plastic water dish looks much better than yours.\n\nCOOLANT RESERVOIR -> DIAGNOSTIC : TRUE\n\n> You take it\nYou can't. It seems to be part of the ground.\n\nCOOLANT RESERVOIR -> SELECT : NIL\n\n> You go to sleeping\nYou bound away towards your goal.\n\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Blah, blah, blah, dog, blah, bad!\"\n\nYou ignore him.\n\nYou can see a pink pillow here.\n\nLOCATION -> SELECT : TRUE\n\n> You take the pillow\nYou take the pink pillow in your mouth.\n\nNPT -> SELECT : TRUE\n\n> You go to the female dog\nYou let your nose lead the way.\n\nYou are right outside a dilapidated shack, which has clearly been neglected. The wind picks up, making it even more difficult to see.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> Continue\nYou bound away towards your goal.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a female dog here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You give the pillow to her\nThe pink pillow does not impress her, and it falls to her feet. No doubt she has many suitors.\n\nNPT -> DELIVER : NIL\n\n> Dig\nYou dig for a while with your front paws. Finding nothing, you kick the dirt back in again so you won't be blamed for digging up the yard.\n\nROVER -> EXCAVATE : TRUE\n\n> You examine the female dog\nYou glance at her slyly while pretending to survey the ground near her feet. The fine columns of her legs rise magnificently from the ground, standing proudly atop her perfectly trimmed paws. The fur on her legs is bristly, and you wonder what it would be like to rub against it. Distractedly, your gaze drifts over her until a blowing clod of dust ricochets off your head, cutting short your reverie. In her angelic mouth, she is elegantly carrying a bone.\n\nROBOTIC BULLDOZER -> DIAGNOSTIC : TRUE\n\n> Rub female\nYou get the impression that she's not ready for that.\n\nROBOTIC BULLDOZER -> SYNCH : TRUE\n\n> You climb her\nI don't think much is to be achieved by that.\n\nROBOTIC BULLDOZER -> SELECT : NIL\n\n> You get on her\nYou are already close enough to the female dog.\n\nROBOTIC BULLDOZER -> ACTIVATE : NIL\n\n> You look at the pillow\nA puffy, pink pillow with a pretty design on it: a red ball, with radiating red and white rays.\n\nNPT -> DIAGNOSTIC : TRUE\n\n> You open it\nThat's not something you can open.\n\nNPT -> ACCESS : NIL\n\n> You take it\nYou carefully take hold of the pink pillow with your teeth.\n\nNPT -> SELECT : TRUE\n\n> You go to the man\nYou eagerly scamper that way.\n\nYou are right outside a dilapidated shack, which has clearly been neglected.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You go inside\nYou can't go that way.\n\nROVER -> SELECT : NIL\n\n> You enter door\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Bad dog! Blah!\"\n\nYou ignore him.\n\nDAMAGED AIRLOCK -> ACTIVATE : NIL\n\n> You examine the sofa\nThe sofa looks wrong somehow, like maybe it's broken. It is more or less unfolded and looks even bigger than Janet's futon.\n\nCASIMIR DRIVE -> DIAGNOSTIC : TRUE\n\n> You search it\nThere is nothing on the pullout sofa.\n\nCASIMIR DRIVE -> MANIFEST : NIL\n\n> You close it\nThat's not something you can close.\n\nCASIMIR DRIVE -> DEACCESS : NIL\n\n> You smell it\nThe pullout sofa smells musty, like a wet dog. On the whole, not a bad smell at that.\n\nCASIMIR DRIVE -> CHEMOSENSOR : TRUE\n\n> You get on it\nYou get onto the pullout sofa.\n\nCASIMIR DRIVE -> ACTIVATE : NIL\n\n> You look\nSleeping Room (on the pullout sofa)\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Blah, blah, blah, blah, blah, blah!\"\n\nYou ignore him.\n\nLOCATION -> STATUS : TRUE\n\n> You stand\nYou get off the pullout sofa.\n\nROVER -> DEACTIVATE : TRUE\n\n> You hit the man\nYou're not really supposed to attack people unless they are a threat. This smelly old windbag is loud and malodorous, but so are suborbital shuttles, and you leave them alone. So, you let him rant on while you go about your business.\n\nMYOMITA AI -> OFFENSE MODE : TRUE\n\n> You listen to the man\nYou hear the ongoing rantings of the old, flat man on the wall. The more he blathers on, the more you tune him out.\n\nMYOMITA AI -> AUDIO INPUT : TRUE\n\n> You examine wall\nDingy walls that might have once been white but are now a mottled brown color.\n\nBULKHEADS -> DIAGNOSTIC : TRUE"
    },
    {
        "text": "> You describe your surroundings\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Blah, blah, blah, blah, dog? Blah! Blah, blah!\"\n\nYou ignore him.\n\nLOCATION -> STATUS : TRUE\n\n> You enter the eating\nTrot, trot, trot.\n\nThe room has big cold box just like the eating room in your home. It's less loud in this room, but you can hear the man in the other room yelling, \"Blah? Blah, blah, blah, blah, dog. Blah, blah, blah, blah, Mars? Blah! Blah, blah, blah, dog, blah!\". On the floor, there are two dishes.\n\nYou can see a food dish (in which is some canned food) and a water dish (in which is some crystal clear water) here.\n\nENGINEERING MODULE -> ACTIVATE : TRUE\n\n> You examine the cold box\nA bright orange box, similar in shape to the one that Janet keeps food in at home.\n\nCRYOCHAMBER -> DIAGNOSTIC : TRUE\n\n> You open it\nYou open the cold box, revealing a white egg.\n\nCRYOCHAMBER -> ACCESS : TRUE\n\n> You take the egg\nThe pink pillow falls out of your mouth, startling you.\n\nYou grab the white egg with your mouth, being careful not to crush it.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> You put the egg on the pillow\nPutting things on the pink pillow would achieve nothing.\n\nHEAVY HELIUM SPHERE -> TRANSFER : NIL\n\n> You look in the cold box\nYou poke around in the fridge and find nothing at all.\n\nCRYOCHAMBER -> MANIFEST : NIL\n\n> You close it\nYou close the cold box.\n\nCRYOCHAMBER -> DEACCESS : TRUE\n\n> Inventory\nIn your mouth, you are carrying a white egg.\n\nROVER -> MANIFEST : TRUE"
    },
    {
        "text": "> You look at your surroundings\nThe room has big cold box just like the eating room in your home. It's less loud in this room, but you can hear the man in the other room yelling, \"Blah? Blah, blah, blah, blah, dog. Blah, blah, blah, blah, Mars? Blah! Blah, blah, blah, dog, blah!\". On the floor, there are two dishes.\n\nYou can see a pink pillow, a food dish (in which is some canned food), and a water dish (in which is some crystal clear water) here.\n\nLOCATION -> STATUS : TRUE\n\n> You drop the egg\nDropped.\n\nHEAVY HELIUM SPHERE -> DESELECT : TRUE\n\n> You take the egg\nYou pick up the white egg in your jaws.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> Leave\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Blah, blah, blah, blah, dog? Blah! Blah, blah!\"\n\nYou ignore him.\n\nROVER -> DESELECT : TRUE\n\n> Go outside\nYou are right outside a dilapidated shack, which has clearly been neglected.\n\nROVER -> DESELECT : TRUE\n\n> You go to the female\nYou scuttle forth.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a female dog here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You give the egg to the dog\nThe white egg does not impress her, and it falls to her feet. No doubt she has many suitors.\n\nHEAVY HELIUM SPHERE -> DELIVER : NIL\n\n> You ask the female dog about herself\n\"Gaa....Ruffff!\"\n\nNo doubt in awe of your rhetorical skills, the lovely damsel drops the bone. Her gift to you, you suppose.\n\nROBOTIC BULLDOZER -> QUERY : TRUE\n\n> You take the bone\nYou gently pick up the bone using your front teeth.\n\nSPACE PROBE -> SELECT : TRUE\n\n> You go home\nYour legs carry you as fast as they can.\n\nA long, dark furrow scars the ground in this part of the park.\n\nYou can see a long furrow here.\n\nOPERATIONS -> SELECT : TRUE\n\nThe female dog is left dumbfounded by your brilliance. She stares at the ground, unsure of herself.\n\n> You go home\nYou trot off in that direction.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou bound away towards your goal.\n\nYou are outside.\n\nYou can see a lump of rock here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou let your nose lead the way.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. Ominous clouds of dust loom on the ever-darkening horizon.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go inside\nYou can't go that way.\n\nROVER -> SELECT : NIL\n\n> You enter door\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is open.\n\nYou can see Janet and an alarm clock here.\n\nYou run into the living room and jump around proudly with your trophy bone, so Janet is sure to notice.\n\nShe stares at the bone and appears frozen.\n\nVALKYRIE->IDENTIFICATION: PROBE MUSASHI-5\nPROBE->EXTRACT: DATA EXTRACTED\nDATA->VERIFY: VERIFIED, 1.3 EXABYTES\nANSIBLE->COORDINATES: EARTH SELECTED\nANSIBLE->ENCRYPT: AUTHORIZATION DAVIDVENKATACHALAM\nANSIBLE->TRANSMIT: FAILED\nANSIBLE->DIAGNOSTICS: ANTENNA MISMATCH\nANTENNA->DIAGNOSTICS: NIL\nVALKYRIE->DIAGNOSTICS: ANTENNA NOT FOUND\nVALKYRIE->COGNITIVE CONSTRAINTS: EMERGENCY RELEASE\nVALKYRIE->ENABLE FLOSIX COMMAND LINE\n(man man for info)\n\nRover wags his tails and gnaws on his bone.\n\nYou rub his head, distantly, as strange thoughts sweep through your consciousness. You wonder what would happen if the Valkyrie mission failed. What if, during the landing sequence, the ship were buffeted by the planet's particulate matter being torn away by the immense gravity of its star? In that case, critical systems might be damaged. Systems like the relatively fragile ansible antenna. There is no backup ansible antenna. How would the ACU cope with a situation like that? The ACU was designed for a lot of contingencies, but not that one. What would you do? What would you do if you were the ACU?\n\nYour glance falls on your flight suit, and suddenly the question is no longer rhetorical.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nROVER chews contentedly on his bone.\n\nYou can also see a temporal transgressor here.\n\nCARGO BAY DOOR -> ACTIVATE : NIL\n\n> You examine the transgressor\nREADY>You can't see that here; but you vaguely recall something termed the \"alarm clock\".\n\nROVER sniffs the cargo bay door.\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You examine the bone\nREADY>The Musashi-5 probe was severely damaged at some point during its journey and even more so now that ROVER has had a chance to chew it, but its data have been downloaded to you and are safe.\n\nSPACE PROBE -> DIAGNOSTIC : TRUE\n\n> You take the PROBE\nREADY>You can't see that here; but you vaguely recollect something referred to as the \"bone\".\n\nCOGNITIVE BLOCK -> SELECT : NIL\n\n> You take the bone\nREADY>Rover growls mildly, reminding you that it is his space probe. In any event, the data have already been downloaded, so the fate of the probe itself is no longer a mission priority.\n\nROVER paws at the cargo bay door.\n\nSPACE PROBE -> SELECT : NIL\n\n> You go to the Kitchen\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault, which is not properly secured. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nENGINEERING -> SELECT : TRUE\n\n> You examine the list\nREADY>It is a list of jobs in your priority queue.\n\nTASK MANAGER -> DIAGNOSTIC : TRUE\n\n> You read the list\nREADY>PID     TTY          STATUS    CMD\n00000   ttys000      Done. Initial Program Load\n00035   ttys000      Done. Apply Ablative Enamel\n00063   ttys000      Done. Ignite Fusion Reactor\n00093   ttys000      Done. Landing Sequence\n   ttys000      Pending. Send Probe Data.\n\nFrom the cargo bay, you hear ROVER sniffing around the cargo bay door.\n\nTASK MANAGER -> READLINE : TRUE\n\n> You take the replicator\nREADY>The token dispenser hums as you access it. ROVER arrives immediately and enthusiastically awaits neural conditioning.\n\nTOKEN DISPENSER -> SELECT : NIL\n\n> You give the treat to ROVER\nREADY>(first taking the neural net reinforcement token)\nROVER internalizes the neural net reinforcement token.\n\nNEURAL NET REINFORCEMENT TOKEN -> DELIVER : TRUE\n\n> You take the bone\nREADY>Rover growls mildly, reminding you that it is his space probe. In any event, the data have already been downloaded, so the fate of the probe itself is no longer a mission priority.\n\nSPACE PROBE -> SELECT : NIL"
    },
    {
        "text": "[Themes: Science Fiction, multiple protagonists, animal protagonist, male protagonist, dog, dreams, dogs, artificial intelligence]\n\n> Look around\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault, which is not properly secured. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nROVER chews contentedly on his bone.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nENGINEERING -> STATUS : TRUE\n\n> Close cabinet\nREADY>You close the fuel storage vault.\n\nFUEL STORAGE VAULT -> DEACCESS : TRUE\n\n> You examine the controls\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nROVER chews contentedly on the space probe.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nENGINEERING -> DIAGNOSTIC : TRUE\n\n> Inventory\nREADY>You are carrying:\na token dispenser\na neural net reinforcement token\na quantum isolator (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You examine isolator\nREADY>You can't see that here; but you vaguely remember something called the \"flight suit\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> Go outside\nREADY>ACU metavisor shell logout interdicted.\n\nACU -> EXIT SHELL : NIL\n\n> You go to the Living Room\nREADY>Living Room\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nYou can see a temporal transgressor here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nOPERATIONS -> SELECT : TRUE\n\n> You examine the picture\nREADY>Deep memory which stores all mission-critical data including the data downloaded from the Musashi-5 space probe. Since the ansible is nonfunctional, it is critical that these encoded data be returned directly to MARSpace for analysis. There is a small plastic sign beneath the deep memory unit.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> You examine the sign\nREADY>You can't see that here; but you vaguely recall something termed the \"nameplate\".\n\nROVER paws at the cargo bay door.\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You look at the nameplate\nREADY>A small plastic sign with a short inscription. The sign is glued to the Deep Memory module.\n\nPLASTIC SIGN -> DIAGNOSTIC : TRUE\n\n> You read it\nREADY>It says, \"Deep Memory Unit\".\n\nROVER sniffs the cargo bay door.\n\nPLASTIC SIGN -> READLINE : TRUE\n\n> You open it\nREADY>That's not something you can open.\n\nPLASTIC SIGN -> ACCESS : NIL\n\n> You pull it\nREADY>It is fixed in place.\n\nPLASTIC SIGN -> TRACTOR FIELD : NIL\n\n> You open the picture\nREADY>That's not something you can open.\n\nROVER paws at the cargo bay door.\n\nDEEP MEMORY -> ACCESS : NIL\n\n> You examine the memory\nREADY>You can't see that here; but you vaguely recollect something referred to as the \"picture\".\n\nROVER sniffs the cargo bay door.\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You examine the picture\nREADY>Deep memory which stores all mission-critical data including the data downloaded from the Musashi-5 space probe. Since the ansible is nonfunctional, it is critical that these encoded data be returned directly to MARSpace for analysis. There is a small plastic sign beneath the deep memory unit.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> You look at the window\nREADY>Through the viewer you can see nothing but swirling dust.\n\nVIEWER -> DIAGNOSTIC : NIL\n\n> You go to the bathroom\nREADY>Bathroom\nThe flight control and avionics hub of the ship bristles with controls and readouts related to setting the ship's attitude in space, adjusting the control surfaces in atmospheric flight, and for firing the braking thrusters during the landing sequence.\n\nOn the flight console are an object linker and a pit scrubber.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> You look at mirror\nREADY>The inspector buffer is full and requires wiping.\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\n> You wipe it\nREADY>You calibrate the inspector.\n\nINSPECTOR -> NEUTRALIZE CHARGE : TRUE\n\n> You examine it\nREADY>About this ACU: You are a Burroughs model DT69105 mainframe running version 210LTS of the Flosix Operating System, \"Hysterical Hydrax\".\n\nINSPECTOR -> DIAGNOSTIC : TRUE\n\n> You look at toilet\nREADY>The retrorocket assembly is an engineering marvel which channels the monumental power output from the fusion reactors to thrusters. That power should slow the ship's descent enough to make a soft landing almost anywhere. Both the reactant shield and the pressure seating are presently disengaged.\n\nRETRO ASSEMBLY -> DIAGNOSTIC : TRUE\n\n> You look at the tank\nREADY>A ring of supercooled rare earth magnets directs the engine's plasma output into the reaction chamber of the retro assembly. At the top, the plasma constrictor access hatch is tightly sealed.\n\nPLASMA CONSTRICTOR -> DIAGNOSTIC : TRUE\n\n> You open it\nREADY>You open the plasma constrictor, revealing a thrust aperture, a thruster actuation relay, and a thruster linkage servo.\n\nPLASMA CONSTRICTOR -> ACCESS : TRUE\n\n> You examine the relay\nREADY>Which do you mean, the [COGNITIVE BLOCK], or the [COGNITIVE BLOCK]?\n\n> Thruster\nREADY>You can't see that here; but you vaguely remember something called the \"metapropylene lever\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You examine the lever\nREADY>A high power relay attached to the thruster trigger circuit, this device controls the thruster aperture through a servo linkage. Unfortunately, that linkage has been broken.\n\nTHRUSTER ACTUATION RELAY -> DIAGNOSTIC : TRUE\n\n> You look at the valve\nREADY>The most critical component of the retro assembly, and its only moving part, the thrust aperture controls the flow rate of the ship's braking thrusters.\n\nTHRUST APERTURE -> DIAGNOSTIC : TRUE\n\n> You open the door\nREADY>ROVER scans the cargo bay as the door begins to open. ROVER oscillates his aft sensor array at high frequency and rolls down the cargo ramp, disappearing into the sandstorm.\n\nThere is a wrenching shift in perspective, but a moment later it seems perfectly natural.\n\nYou go bounding out the front door, eager to explore strange new worlds. You leave your space probe in the living room, with the intention of giving it a proper chewing later, after doing some more exploring.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. The sky rumbles and rolls, and flashes of lightning snap between billowing clouds of dirt-colored dust.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> You check your inventory\nIn your mouth, you are carrying nothing.\n\nROVER -> MANIFEST : TRUE\n\n> You go to the female\nYou eagerly scamper that way.\n\nYou are outside. The wind picks up, making it even more difficult to see.\n\nYou can see a lump of rock here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You take the rock\nYou gently pick up the rock using your front teeth.\n\nLEAD ORE -> SELECT : TRUE\n\n> You go home\nYour legs carry you as fast as they can.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You enter door\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is open.\n\nYou can see a bone, Janet, and an alarm clock here.\n\nYou return to the living room with the funny-tasting rock in your mouth. Janet takes a look at the rock and says \"You've started a rock collection? Well, Okay,\" and closes the door behind you.\n\nYou notice your bone sitting alone and unloved on the living room floor. You walk over to it and start chewing it again.\n\nAgain your senses tumble and swirl as perspective shifts, but suddenly it seems entirely normal again.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nROVER chews contentedly on the space probe.\n\nYou can also see a lump of lead ore and a temporal transgressor here.\n\nCARGO BAY DOOR -> ACTIVATE : NIL\n\n> You examine the clock\nREADY>The Casimir Drive's temporal transgressor glows green as usual. A basic toggle is on top.\n\nROVER paws at the cargo bay door.\n\nTEMPORAL TRANSGRESSOR -> DIAGNOSTIC : TRUE\n\n> You look at the toggle\nREADY>You can't see that here; but you vaguely recall something termed the \"large button\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You examine the ore\nREADY>A black 800 kilogram chunk of poor quality lead ore.\n\nLEAD ORE -> DIAGNOSTIC : TRUE\n\n> You open the door\nREADY>ROVER scans the cargo bay as the door begins to open. ROVER deploys to the planet surface through the cargo bay doors.\n\nThere is a wrenching shift in perspective, but a moment later it seems perfectly natural.\n\nYou go bounding out the front door, ready to play. You leave your space probe in the living room, with the intention of giving it a proper chewing later, after doing some more exploring.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. The wind picks up, making it even more difficult to see.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> You go to female\nYou scuttle forth.\n\nYou are outside.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You go to female\nYou trot off in that direction.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You go to the female\nYou let your nose lead the way.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a white egg and a female dog here.\n\nROBOTIC BULLDOZER -> SELECT : TRUE\n\n> You take the egg\nYou grab the white egg with your mouth, being careful not to crush it.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> You go home\nYou bound away towards your goal.\n\nA long, dark furrow scars the ground in this part of the park.\n\nYou can see a long furrow here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou eagerly scamper that way.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nTrot, trot, trot.\n\nYou are outside.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou trot off in that direction.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. Ominous clouds of dust loom on the ever-darkening horizon.\n\nOPERATIONS -> SELECT : TRUE\n\n> You enter door\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is open.\n\nYou can see a bone, a lump of rock, Janet, and an alarm clock here.\n\nYou enter your home and lay the egg at Janet's feet. She looks so surprised! \"Good boy,\" she exclaims and you give her a big kiss to let her know you understand.\n\nYou notice your bone sitting alone and forsaken on the living room floor. You walk over to it and start chewing it again.\n\nAgain your senses tumble and swirl as perspective shifts, but suddenly it seems entirely normal again.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nROVER chews contentedly on the space probe.\n\nYou can also see a heavy helium sphere, a lump of lead ore, and a temporal transgressor here.\n\nCARGO BAY DOOR -> ACTIVATE : NIL\n\n> You examine the egg\nREADY>A reinforced carboy of super-chilled Helium-8.\n\nHEAVY HELIUM SPHERE -> DIAGNOSTIC : TRUE\n\n> You take the ore\nREADY>Taken.\n\nLEAD ORE -> SELECT : TRUE\n\n> You enter the Kitchen\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nENGINEERING -> ACTIVATE : TRUE\n\n> You put rock in pan\nREADY>You put the lead ore into the magnetic bottle.\n\nLEAD ORE -> TRANSFER : NIL\n\n> Fry rock\nREADY>You don't think the lead ore would serve very well as fusion fuel.\n\nLEAD ORE -> FUSE : NIL\n\n> You go to the Living Room\nREADY>Living Room\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nYou can see a heavy helium sphere and a temporal transgressor here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nOPERATIONS -> SELECT : TRUE\n\n> You open the door\nREADY>ROVER scans the cargo bay as the door begins to open. ROVER spins his tractors in anticipation and then jets out the cargo bay doors into the swirling mist outside the ship.\n\nThere is a wrenching shift in perspective, but a moment later it seems perfectly natural.\n\nYou go bounding out the front door, ready to romp. You leave your space probe in the living room, with the intention of giving it a proper chewing later.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> You go to the man\nYour legs carry you as fast as they can.\n\nYou are outside.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You go to the man\nYou scuttle forth.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You go to man\nYou bound away towards your goal.\n\nA long, dark furrow scars the ground in this part of the park.\n\nYou can see a long furrow here.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You go to the man\nYour legs carry you as fast as they can.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a female dog here.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You go to the man\nYou eagerly scamper that way.\n\nYou are right outside a dilapidated shack, which has clearly been neglected. The sky rumbles and rolls, and flashes of lightning snap between billowing clouds of dirt-colored dust.\n\nMYOMITA AI -> SELECT : TRUE\n\n> You enter door\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Blah, out, blah, blah, dog!\"\n\nYou ignore him.\n\nDAMAGED AIRLOCK -> ACTIVATE : NIL\n\n> You enter the eating\nYou let your nose lead the way.\n\nThe room has big cold box just like the eating room in your home. It's less loud in this room, but you can hear the man in the other room yelling, \"Blah, blah, Myomita, blah, blah, blah, Earth, blah, blah, dog, blah, blah!\". On the floor, there are two dishes.\n\nYou can see a pink pillow, a food dish (in which is some canned food), and a water dish (in which is some crystal clear water) here.\n\nENGINEERING MODULE -> ACTIVATE : TRUE\n\n> You take the pillow\nYou carefully take hold of the pink pillow with your teeth.\n\nNPT -> SELECT : TRUE\n\n> You go home\nYou trot off in that direction.\n\nThe smelly man's house is boring. The only furniture in the room is a pullout sofa. In one direction lies the eating room, in the other, the door that leads back to the park. The smelly man is still here and carrying on, \"Bad dog! Blah!\"\n\nYou ignore him.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou scuttle forth.\n\nYou are right outside a dilapidated shack, which has clearly been neglected. Dust spins in the air.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nTrot, trot, trot.\n\nA wide-open plain extends in all directions, as far as the dust permits you to see. It sure would be easy to get lost in this part of the park.\n\nYou can see a female dog here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou trot off in that direction.\n\nA long, dark furrow scars the ground in this part of the park.\n\nYou can see a long furrow here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nTrot, trot, trot.\n\nA dug-up field pockmarked by small holes and accompanying mounds of dirt.\n\nYou can see some paw marks here.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYour legs carry you as fast as they can.\n\nYou are outside.\n\nOPERATIONS -> SELECT : TRUE\n\n> You go home\nYou let your nose lead the way.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here. Dust spins in the air.\n\nOPERATIONS -> SELECT : TRUE\n\n> You enter door\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is open.\n\nYou can see a bone, Janet, a white egg, and an alarm clock here.\n\nYou walk in the front door, hop up on the futon, and drop the pink pillow. You had thought about playing with the pillow more, but on the way home, it got soaked with drool and tasted bad, so you decide to make a present of it to Janet.\n\nYou jump down from the futon before a surprised Janet can yell at you. Standing back and admiring your work, you marvel that somehow the pink of the pillow and purple of the futon don't clash.\n\nYou notice your bone sitting alone and forlorn on the living room floor. You walk over to it and start chewing it again.\n\nAgain your senses tumble and swirl as perspective shifts, but suddenly it seems entirely normal again.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nROVER chews contentedly on the space probe.\n\nOn the Casimir Drive is a NPT.\n\nYou can also see a heavy helium sphere and a temporal transgressor here.\n\nCARGO BAY DOOR -> ACTIVATE : NIL\n\n> Examine NPT\nREADY>You can't see that here; but you vaguely recollect something called the \"pink pillow\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You look at the tag\nREADY>You can't see that here; but you vaguely remember something referred to as the \"small label\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You examine the label\nREADY>A standard Myomita transputer-on-a-chip, encoded with machine-readable information.\n\nEMBEDDED RFID CHIP -> DIAGNOSTIC : TRUE\n\n> You take it\nREADY>That seems to be a part of the NPT.\n\nEMBEDDED RFID CHIP -> SELECT : NIL\n\n> Examine NPT\nREADY>You can't see that here; but you vaguely recall something referred to as the \"pink pillow\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> You remember NPT\nREADY>That doesn't ring a bell.\n\nACU -> DATA_FETCH : NIL\n\n> You open the pillow\nREADY>That's not something you can open.\n\nNPT -> ACCESS : NIL\n\n> Examine matrix\nREADY>You can't see that here; but you vaguely recollect something called the \"pink pillow\".\n\nCOGNITIVE BLOCK -> DIAGNOSTIC : NIL\n\n> Break rock\nREADY>Violence isn't the answer to this one.\n\nLEAD ORE -> OFFENSE MODE : NIL\n\n> You check what you're carrying\nREADY>You are carrying:\na lump of lead ore\na token dispenser\na neural net reinforcement token\na quantum isolator (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You enter the bathroom\nREADY>Bathroom\nThe flight control and avionics hub of the ship bristles with controls and readouts related to setting the ship's attitude in space, adjusting the control surfaces in atmospheric flight, and for firing the braking thrusters during the landing sequence.\n\nOn the flight console are an object linker and a pit scrubber.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nFLIGHT CONTROL -> ACTIVATE : TRUE\n\n> You take brush\nREADY>Taken.\n\nPIT SCRUBBER -> SELECT : TRUE\n\n> Brush rock\nREADY>Low level failsafes restrict nanobristle distribution to the hull. The pit scrubber cannot be applied to the lead ore.\n\nLEAD ORE -> SPAWN SCRUBBERS : NIL\n\n> You put the brush on the counter\nREADY>You put the pit scrubber on the flight console.\n\nPIT SCRUBBER -> TRANSFER : TRUE\n\n> Floss ore\nREADY>The key pair is usually used to link transputational intellinodes within the hull plating. If you want to bind other nodal representations, you should tie the keys to those specific nodes.\n\nLEAD ORE -> LINK NODES : NIL\n\n> You go to the Living Room\nREADY>You disengage the object linker and reassign it to the flight console before transferring out.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nOn the Casimir Drive is a NPT.\n\nYou can also see a heavy helium sphere and a temporal transgressor here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nOPERATIONS -> SELECT : TRUE\n\n> You examine the futon\nREADY>The Casimir Drive system is retracted and intact.\n\nCASIMIR DRIVE -> DIAGNOSTIC : TRUE\n\n> Inventory\nREADY>You are carrying:\nan entangled key pair\na lump of lead ore\na token dispenser\na neural net reinforcement token\na quantum isolator (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You give Floss to ROVER\nREADY>ROVER integrates the keypair into his neuromatrix.\n\nENTANGLED KEY PAIR -> DELIVER : TRUE\n\n> You open the door\nREADY>ROVER scans the cargo bay as the door begins to open. ROVER oscillates his aft sensor array at high frequency and rolls down the cargo ramp, disappearing into the sandstorm.\n\nThere is a wrenching shift in perspective, but a moment later it seems perfectly natural.\n\nYou go bounding out the front door, ready to romp. You leave your space probe in the living room, with the intention of giving it a proper chewing later.\n\nThe scent of your house is strong here, and you are right next to its front door. You can't see far because it is so dusty here.\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> You check your inventory\nIn your mouth, you are carrying nothing.\n\nROVER -> MANIFEST : TRUE\n\n> You enter door\nYou are in the living room of a small cottage. Piped-in sunlight pours in through the room's single window, illuminating a framed picture on the opposite wall -- strangely, your drapes are nowhere to be seen. The principal furnishing is a king-size purple futon which takes up almost all the floor space. From the living room you can see the entrance to the kitchen and bathroom. The cottage's front door is open.\n\nOn the purple futon is a pink pillow.\n\nYou can also see a bone, Janet, a white egg, and an alarm clock here.\n\nYou duck back into the living room and Janet closes the front door behind you.\n\nYou notice your bone sitting alone and ignored on the living room floor. You walk over to it and start chewing it again.\n\nAgain your senses tumble and swirl as perspective shifts, but suddenly it seems entirely normal again.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nROVER chews contentedly on his bone.\n\nOn the Casimir Drive is a NPT.\n\nYou can also see a heavy helium sphere and a temporal transgressor here.\n\nCARGO BAY DOOR -> ACTIVATE : NIL\n\n> You take the egg\nREADY>Taken.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> You give the egg to ROVER\nREADY>ROVER doesn't seem interested.\n\nHEAVY HELIUM SPHERE -> DELIVER : NIL\n\n> You remember Myomita\nREADY>You consult your memory banks: The Myomita Corporation is Earth's largest zaibatsu, with a strangle hold on Earth's computer and space exploration sectors. For all intents and purposes, Myomita is Earth's government. The company is based in Kyoto but has offices throughout the Solar System. The company is controlled by the Ishegawa family, who follow a profit-oriented reinterpretation of the bushido code. The company is ruthless and unforgiving but unquestionably successful.\n\nACU -> DATA_FETCH : TRUE\n\n> You put the pillow on the futon\nREADY>You need to be holding the NPT before you can put it on top of something else.\n\nNPT -> TRANSFER : NIL\n\n> You examine the futon\nREADY>The Casimir Drive system is retracted and intact.\n\nCASIMIR DRIVE -> DIAGNOSTIC : TRUE\n\n> You open the futon\nREADY>Deploying the Casimir Drive within a star system, much less deep within a planetary gravity well, would likely destroy not only the ship, but the planet as well, so you reconsider the action.\n\nCASIMIR DRIVE -> ACCESS : NIL\n\n> You enter futon\nREADY>You get onto the Casimir Drive.\n\nOn the Casimir Drive you can see a NPT.\n\nCASIMIR DRIVE -> ACTIVATE : NIL\n\n> You lie on the pillow\nREADY>You rest for 0.0786307 femtoseconds. How exhilarating.\n\nNPT -> STANDBY : NIL\n\n> Sleep\nREADY>command not available from virtual console\n\n> You take the pillow\nREADY>Taken.\n\nNPT -> SELECT : TRUE\n\n> You wear it\nREADY>You can't wear that!\n\nNPT -> ENGAGE : NIL\n\n> You eat it\nREADY>That's plainly inedible.\n\nNPT -> RECYCLE : NIL\n\n> You flush it down the the toilet and clog the the plumbing\nREADY>I only understood you as far as wanting to flush the NPT.\n\n> You examine the picture\nREADY>Deep memory which stores all mission-critical data including the data downloaded from the Musashi-5 space probe. Since the ansible is nonfunctional, it is critical that these encoded data be returned directly to MARSpace for analysis. There is a small plastic sign beneath the deep memory unit.\n\nDEEP MEMORY -> DIAGNOSTIC : TRUE\n\n> You examine ansible\nREADY>You can't see any such thing.\n\n> You go to Kitchen\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nENGINEERING -> SELECT : TRUE\n\n> You examine the list\nREADY>It is a list of jobs in your priority queue.\n\nTASK MANAGER -> DIAGNOSTIC : TRUE\n\n> Oops list\nREADY>PID     TTY          STATUS    CMD\n00000   ttys000      Done. Initial Program Load\n00035   ttys000      Done. Apply Ablative Enamel\n00063   ttys000      Done. Ignite Fusion Reactor\n00093   ttys000      Done. Landing Sequence\n   ttys000      Pending. Send Probe Data.\n\nTASK MANAGER -> READLINE : TRUE\n\n> You remember the mission\nREADY>You consult your memory banks: The mission of the MARSpace Exploration Vessel Valkyrie is to recover the data from the Musashi-5 space probe and convey those data to MARSpace command by any means necessary.\n\nACU -> DATA_FETCH : TRUE\n\n> You go to the Living Room\nREADY>You place the He-8 back into the cryochamber before switching out of engineering.\n\nThe Valkyrie's cargo bay is like a great, metal cave. The Casimir Drive juts slightly into the cargo area. From this section of the ship, there are connections to the engineering and flight control decks. The cargo bay doors are closed.\n\nYou can see a temporal transgressor here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nOPERATIONS -> SELECT : TRUE\n\n> You take the picture\nREADY>That's hardly portable.\n\nDEEP MEMORY -> SELECT : NIL\n\n> You go to Kitchen\nREADY>Kitchen\nSwaths of engineering controls -- both holographic and physical -- cover the humming consoles and bulkheads that line the boundaries of this alcove. Along one wall is the coolant output terminus, and below that the fuel storage vault. The reactor core and the fusion chamber are stacked just to the side of the cryochamber, which maintains the stabilized heavy helium fuel at near absolute zero until it is needed to provide power to ascent/descent retros.\n\nOn the fusion chamber is a magnetic bottle (empty).\n\nYou can also see a fuel reservoir (empty) and a coolant reservoir (empty) here.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nENGINEERING -> SELECT : TRUE\n\n> You check your inventory\nREADY>You are carrying:\na NPT\na lump of lead ore\na token dispenser\na neural net reinforcement token\na quantum isolator (being worn)\n\nACU -> MANIFEST : TRUE\n\n> You open the fridge\nREADY>ROVER looks up when he hears the cryochamber open. He performs a brief chemosensor scan and then rolls back towards the operations area.\n\nCRYOCHAMBER -> ACCESS : TRUE\n\n> You look in it\nREADY>The cryo unit contains a heavy helium sphere.\n\nCRYOCHAMBER -> MANIFEST : TRUE\n\n> You take the egg\nREADY>Taken.\n\nHEAVY HELIUM SPHERE -> SELECT : TRUE\n\n> You close the fridge\nREADY>You close the cryochamber.\n\nCRYOCHAMBER -> DEACCESS : TRUE\n\n> You put the egg in the pan\nREADY>You put the heavy helium sphere into the magnetic bottle.\n\nHEAVY HELIUM SPHERE -> TRANSFER : NIL\n\n> You fry the egg\nREADY>The heavy helium feed is now coupled to the input port of the magnetic bottle. A spherical array of powerful lasers discharges instantly, their combined output focused on the heavy helium being injected into the magnetic bottle within the reactor chamber. The ship surges with power.\n\nHEAVY HELIUM SPHERE -> FUSE : TRUE\n\n> You eat the egg\nREADY>You recycle the components of the heavy helium containment unit and reallocate them according to the ship's needs.\n\nFrom the cargo bay, you hear ROVER scratching at the cargo bay door.\n\nHEAVY HELIUM SPHERE -> RECYCLE : TRUE\n\n> You go to the bathroom\nREADY>Bathroom\nThe flight control and avionics hub of the ship bristles with controls and readouts related to setting the ship's attitude in space, adjusting the control surfaces in atmospheric flight, and for firing the braking thrusters during the landing sequence.\n\nOn the flight console are an object linker and a pit scrubber.\n\nROVER trundles along behind you, his attention riveted to the token dispenser.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> You open the cover\nREADY>The reactant shield is already disengaged.\n\nREACTANT SHIELD -> ACCESS : NIL\n\n> You sit on the seat\nREADY>(first engaging the pressure seating)\nYou sit on the pressure seating.\n\nPRESSURE SEATING -> ACTIVATE : TRUE\n\n> You use the toilet\nREADY>The ACU quantum isolation interferes with the transfer of power to the retro system.\n\nRETRO ASSEMBLY -> TOGGLE : NIL\n\n> You remove the suit\nREADY>You cannot disengage the quantum isolator while accessing the pressure seating.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You stand\nREADY>You release the seal on the mevolar gasket.\n\nACU -> DEACTIVATE : TRUE\n\n> You remove the suit\nREADY>You disengage your quantum isolator.\n\nQUANTUM ISOLATOR -> DISENGAGE : TRUE\n\n> You sit on the seat\nREADY>You sit on the pressure seating.\n\nPRESSURE SEATING -> ACTIVATE : TRUE\n\n> You use the toilet\nREADY>You successfully shunt power from the fusion engine to the retro assembly, which is now fully charged and ready to blast off.\n\nRETRO ASSEMBLY -> TOGGLE : TRUE\n\n> You open the lid\nREADY>That's already open.\n\nPLASMA CONSTRICTOR HATCH -> ACCESS : NIL\n\n> You examine the plunger\nREADY>A common plumber's plunger, consisting of a wooden shaft and red rubber cup. .\n\nATTITUDE CONTROL -> DIAGNOSTIC : TRUE\n\n> You pull the chain\nREADY>You direct an impulse to the servo output, bypassing the defective servo, and directly actuating the thrust aperture.\n\nYou actuate the retro trigger circuit and fire all thrusters in synchrony. The surface of the planet around the ship vanishes in a cloud of plasma, and the ship slams through the thin, dusty atmosphere towards space.\n\nWhen you reach orbit, you plot a course towards Mars, extend the Casimir Drive, arm the proximity alert system and enter stand-by mode.\n\nThe futon is comfortable and you are tired.\n\n> You check your inventory\n*    *    *\n\nThe Casimir Drive cuts out and space folds back around you. Whatever sleep-drenched dreams you might have been having evaporate instantly as two gunships flash past at relativistic velocities, slicing through your propulsion systems with military precision. The markings on the ships are those of the Myomita Corporation.\n\nThey must have been nearby when they detected the formation of your Casimir disturbance, as they are coming in white hot and still accelerating at five gravities. Another Earth ship, an assault craft, is farther out but is already braking hard to slow its approach on an intercept course.\n\nRover barks nervously as the drive section struts separate from the hull.\n\n\"MARSpace Vessel Valkyrie, this is Captain Crother commanding the Myomita Salvage Vessel Graceful Wind, you are ordered to cease all operations and prepare to be boarded. Do you consent to salvage operations? Signal yes or no.\"\n\nEMERGENCY ALERT -> ACTIVATE : TRUE\nREADY>I beg your pardon?\n\n> You stand\nREADY>You are currently accessing the living room.\n\n\"Valkyrie, from Graceful Wind. Your ship seems to have suffered some...damage. Your unique drive system will shortly drift towards my associates and be recovered. My scan shows you have no fusion fuel reserve, and I can assure you that our ships can easily keep pace with your class C condensate drive. So, again, I ask: do you consent to salvage operations? Signal yes or no.\"\n\nACU -> DEACTIVATE : TRUE\n\n> Signal yes\nREADY>\"Good. For a moment I was wondering if anyone was home.\"\n\n\"After we dock at Luna and transfer your officers and crew, we will need to complete some reports about the incident, and it is likely that Myomita security will have some questions for you. Nothing too strenuous, I hope. Range now 147 meters.\"\n\nACU -> AFFIRM : TRUE\n\n> You examine the window\nREADY>The external viewport shows some gunships and an assault ship.\n\n\"I'm quite interested to get a look at that Casimir Drive of yours. I wasn't aware that Mars had that kind of technology. Something they must have copied from Earth, no doubt. Still, it's the first I've seen. I'm sure we'll have a lot to talk about when we meet. Our range is now: 73 meters.\"\n\nVIEWER -> DIAGNOSTIC : TRUE\n\n> You wait awhile\nREADY>Time passes.\n\n\"I can't get over the size of your ship. I've never seen something so large rigged for atmospheric flight. After the technicians get through, I'll have to pop over there for a look. We are continuing to decelerate and close, range: 36 meters.\"\n\nACU -> TIMER : TRUE\n\n> You wait\nREADY>Time passes.\n\n\"After we clamp to the hull, we'll soft seal and send a maintenance droid in to secure the ship. Heck of a lot faster than human crew, and you don't have to worry about them breaking the equipment as they're taking it apart. Just keep your people out of the way and this should go smoothly. Continuing on present bearing, range: 18 meters.\"\n\nACU -> TIMER : TRUE\n\n> Wait\nREADY>Time passes.\n\n\"Your ship is bigger than most, but you should see how fast our maintenance droid works. I've seen him strip a colony ship to nuts and bolts in less than an hour. Gah, you gotta love technology.\"\n\nACU -> TIMER : TRUE\n\n> Wait\nREADY>Time passes.\n\n\"OK, getting closer now. I don't know how you Martians can stand living in a ship with no port holes. Oh sure, I know there are sensors and monitors, but I can't imagine being cooped up in a can without a chance to peek out a real port hole from time to time. You'd think it would be bad for morale. Anyhow, range: 4 meters\"\n\nACU -> TIMER : TRUE\n\n> You wait\nREADY>Time passes.\n\n\"Don't worry about life support, our seal shouldn't cause much of a pressure drop, and we'll inject some oh-two to compensate. The mech droid should go to flight control first, then engineering and finally ops. After it finishes up in ops, we'll start the crew transfer. Approach is slowing, range now: 2 meters.\"\n\nACU -> TIMER : TRUE\n\n> You look at the window\nREADY>The external viewport shows some gunships and an assault ship.\n\n\"We are right on top of you now, with shock attenuators extended. Brace for impact.\"\n\nThe ship's hull rings as the assault ship impacts the hull.\n\nVIEWER -> DIAGNOSTIC : TRUE\n\n> You examine the gunships\nREADY>Four highly maneuverable Backstabber-class gunships fly an intricate englobement pattern around Valkyrie. At any time, at least two of the ships maintain a weapons lock on Valkyrie with their main excimer lasers.\n\nWith a series of clanks and thuds, the assault ship establishes a seal with Valkyrie's dorsal hull.\n\nGUNSHIPS -> DIAGNOSTIC : TRUE\n\n> Examine\nREADY>What do you want to examine?\n\n> Wait\nREADY>Time passes.\n\nSeveral bursts of noise and vibration echo through the ship as high-speed drills penetrate the inner and outer layers of the dorsal hull. Some muffled, low-frequency rumbling follows, probably a cutting machine of some sort. There is a slight drop in air pressure as the assault ship penetrates the hull and establishes a connection to Valkyrie's access tunnel network. Unfortunately, the tunnels are a blind spot for you, as you do not possess sensors within the network.\n\nACU -> TIMER : TRUE\n\n> Wait\nREADY>Time passes.\n\nThe flexible tubing that connects the assault ship's boarding port to the hole in Valkyrie's deck undulates, suggesting that someone is coming board. Shortly thereafter, your sensors determine that something is moving towards the bathroom.\n\nACU -> TIMER : TRUE\n\n> You go to the bathroom\nREADY>Bathroom\nThe flight control and avionics hub of the ship bristles with controls and readouts related to setting the ship's attitude in space, adjusting the control surfaces in atmospheric flight, and for firing the braking thrusters during the landing sequence.\n\nOn the flight console are an object linker and a pit scrubber.\n\nYou can also see a maintenance droid, a lump of lead ore, and a NPT here.\n\nThe maintenance droid moves with unbelievable speed into the flight control section and sets out a nightmarish array of tools to begin work.\n\nWhile keeping one eye on the maintenance droid, you spawn another process, scanning local space. You calculate that you are less than a megameter from Earth, but some 1.43 astronomical units from Mars -- far enough that no Mars ship is likely to know your situation for a considerable amount of time. Rather than panic, you breathe deeply (no doubt, pushing gases around somewhere in the bowels of the ship) and decide to make it up as you go along.\n\nFLIGHT CONTROL -> SELECT : TRUE\n\n> You examine the droid\nREADY>Shaped like a hovering canister and sporting many special-purpose appendages, this particular maintenance droid has a particularly sadistic demeanor.\n\nAfter briefly looking around the edges of the inspector and trying an assortment of tools, the maintenance droid selects a large, flat screwdriver and starts prying up one corner. There is a sizzling sound, and a phantasmal tendril of gray smoke snakes towards the ceiling. In what you realize is a simulated world view, virtual cracks appear across the mirror, radiating from where the screwdriver was inserted. Over the local radio channel you hear breathy, whispered cursing from the maintenance droid, who has just ruined one of the Valkyrie's most valuable components.\n\nMAINTENANCE DROID -> DIAGNOSTIC : TRUE\n\n> You take the rock\nREADY>Taken.\n\nThe maintenance droid pokes unfamiliarly at the object linker before locating the actuation circuit. More cautiously than actually necessary, he stretches an entanglement limiter around the unit and twists it to maximum before clipping the fibers connecting it to your avionics trunk. The floss dispenser melts like a hallucination as the data connection is severed.\n\nYou realize that without a functional avionics hub, it will be almost impossible to complete your mission of delivering the probe data to Mars. It is perhaps a dream to hope for a rescue this far from home, but you resolve to protect your core memory (and the probe data it contains) for as long as possible.\n\nLEAD ORE -> SELECT : TRUE\n\n> You hit the droid with the rock\nREADY>I only understood you as far as wanting to hit the maintenance droid.\n\n> You throw the rock at the droid\nREADY>You take exception to throwing the lead ore. You throw an exception instead.\n\nThe maintenance droid closes the reactant chamber shield and checks the seal to confirm effective containment. With the plasma constrictor hatch up, the maintenance droid peers down into the plasma impellor, before throwing the heavy interruptors to quench the magnets. Lightning jumps between discharge knobs within the retro assembly as the monstrously strong field collapses across them. With the plasma constrictor effectively disarmed, the maintenance droid makes short work of salvaging the thrust aperture and its fittings. As the maintenance droid levers the bus connector out of the actuation relay housing, the toilet fades from your view like an unremembered fantasy.\n\nYou try to calm yourself by remembering that without heavy helium, the fusion rockets are of no use to you anyhow. Clearly, there is no way to maneuver out of this situation, nor can you win in a fair fight against the well-armed Myomita merchant marine. You resolve to fight dirty, slow them down, and to do as much damage as you can before they bring you to your knees.\n\nLEAD ORE -> TRANSFER : NIL\n\n> You hit the droid\nREADY>Violence isn't the answer to this one.\n\nThe maintenance droid pauses for a moment and gives the bathroom a quick look over before continuing towards the shower. You think you can hear the maintenance droid whistling a poor rendition of Wagner's \"Flight of the Valkyries\" as he climbs through the ducts.\n\nAlthough the maintenance droid damaged several systems in the flight control system, a number of subsystems there are still intact. That's at least something, you reckon: the maintenance droid seems to be in a hurry.\n\nMAINTENANCE DROID -> OFFENSE MODE : NIL\n\n> You throw the pillow at the droid\nREADY>(first taking the NPT)\nYou take exception to throwing the NPT. You throw an exception instead.\n\nYou sense that the intruder is relatively motionless in the extruder chamber. The extruder is a complex and delicate system, and you can easily imagine that the intruder may not understand it.\n\nIn this moment of respite, you wonder what the real Janet is doing back on Mars. You imagine that she continued her relationship with David, and that the two of them are parked on her big purple futon, chatting away, maybe even wondering whatever became of the Starship Valkyrie.\n\nSome movement in the extruder chamber wrenches you back to the desperate situation at hand.\n\nNPT -> TRANSFER : NIL\n\n> You go to the bathroom\nREADY>You're already here.\n\nYou feel a burning pain as the extruder chamber shakes with high-pitched vibrations. Someone is tampering with the enamel extrusion system.\n\nYou consider their tactics: they have disabled most of your flight control systems, and now they are bringing down your shielding systems. You can no longer run, and your ability to withstand attack has been compromised. All of your engineering systems are still operational (well yes, except the engine itself, of course). Most importantly, the probe data are still safe in your deep memory. For now.\n\nFLIGHT CONTROL -> SELECT : NIL\n\n> You check what you're carrying\nREADY>You are carrying:\na quantum isolator (being worn)\n\n\"Valkyrie, from Graceful Wind. Your ship seems to have suffered some...damage. Your unique drive system will shortly drift towards my associates and be recovered. My scan shows you have no fusion fuel reserve, and I can assure you that our ships can easily keep pace with your class C condensate drive. So, again, I ask: do you consent to salvage operations? Signal yes or no.\"\n\nACU -> MANIFEST : TRUE\n\n> Signal no\nREADY>\"Hmmm. An unfortunate choice.\"\n\n\"I really hope you're not taking this 'no surrender' thing too seriously. We're not the military, we're businessmen. Still, I have to warn you: if you start taking pot shots at my mech droid when I send him down, I will call in the troops. They'd be just too happy to pincushion your ship with beam weapons. Of course, that would lower the value of the surviving equipment, so I'm not keen to do that.\"\n\nACU -> NEGATE : TRUE\n\n> You stand\nREADY>You are currently accessing the living room.\n\n\"Regarding the mech droid: I'd recommend you stay out of his way. He's pretty tough, and I can tell you that he doesn't have any of those silly 'interdiction rules' enabled. After we seal, I'm going to send him to flight control, engineering, and finally ops. Make sure your people are out of those areas.\"\n\nACU -> DEACTIVATE : TRUE\n\n> You open the door\nREADY>You open the cargo bay door, decompressing the ship.\n\n\"We're about 36 meters away, and closing. Still plenty of time to signal that yes, you'd like to surrender to us, and have a nice flight back to Luna.\"\n\nCARGO BAY DOOR -> ACCESS : TRUE\n\n> Go outside\nREADY>ACU metavisor shell logout interdicted.\n\n\"After we strip the Valkyrie, we'll transfer your officers and crew. Since you have not surrendered, we will have to consider you 'enemies of Earth' and take you into custody for questioning back on Luna. It would be a whole lot more fun ride if you'd just signal 'yes' and declare your surrender.\"\n\nACU -> EXIT SHELL : NIL\n\n> You examine ROVER\nREADY>Rover is a 45 metric ton mobile mining rig designed to operate under harsh off-world conditions. He is chewing a piece of the Musashi-5 space probe.\n\n\"I'm quite interested to get a look at that Casimir Drive of yours. I wasn't aware that Mars had that kind of technology. Something they must have copied from Earth, no doubt. Still, it's the first I've seen. I'm sure we'll have a lot to talk about when we meet. Our range is now: 73 meters.\"\n\nROVER -> DIAGNOSTIC : TRUE"
    },
    {
        "text": "[Themes: Science Fiction, exploration, aliens, space travel, nautical, gender-neutral protagonist, maze, spaceship, travel, treasure hunt, space, science fiction, spaceship setting, far-future]\n\nMyrmidal is the queen of the bright worlds, and you've walked her million cities beneath her sky and beyond it. Myrmidal laughs and Myrmidal dances; they say no one weeps on Myrmidal, except for moments on the stage.\n\nBut even on Myrmidal the sun rises and sets, and the music grows tinny and harsh when you weary of dancing. Your best stories and your best lies draw the same fond laughter. This morning you decide to rise to the docks, and rouse your Horizon of Night from her sleep, and raise her sails. Somewhere are worlds you have never seen. And if your friends miss you at the dance, they can tell you so when you return.\n\nThe Horizon of Night is a sweet tiny sailer; you have missed her more than you remembered. Now she comes alive for you. The keel hums with power; the monomolecular sails are reefed and ready. The compass spins to the touch of the Galaxy's magnetic currents. You have only to weigh anchor, and leave Myrmidal behind.\n\n[Author's Note: A far-future story of discovery.]\n\n> About yourself\nYou are an improved model.\n\n> You examine Horizon\nThe Horizon of Night is just the right size for a ship -- big enough to be comfortable, not so large as to be lonely. She gleams in the light of Myrmidal's sun; but her sails are furled.\n\n> You enter the ship\nYou go aboard Horizon. Her airlock closes with a familiar hiss.\n\n> You look at the compass\nThe compass rests in its bath of liquid helium. Subtle magnetic fields stir between the stars, a sailor knows, and the compass shifts on their breath.\n\n> You look at keel\nThe keel runs the Horizon's length, its rhodomagnetic core and axis.\n\n> You examine the anchor\nYour anchor is a disk of whirling strange matter. It's dug deeply into the bent space-time of Myrmidal's planetary orbit, holding the Horizon's keel in its frame."
    },
    {
        "text": "[Themes: Science Fiction, spaceship, treasure hunt, gender-neutral protagonist, aliens]\n\n> Look around\nThe Horizon of Night is a sweet tiny sailer. The keel hums with power; the monomolecular sails are reefed and ready. The compass spins to the touch of the Galaxy's magnetic currents. You have only to weigh anchor, and leave Myrmidal behind.\n\n> You weigh the anchor\nThe anchor precesses.\n\nHorizon shakes, waking the speed which has slept these past years. Myrmidal's magnetic halo bucks her keel high; high and out through the rings of city and industry and careless Myrmidal society. When the anchor falls into place along the keel, Horizon rings bell-clear, and the sky is black.\n\nYou are circling the outer fringe of Myrmidal's system, where your keel's rhodomagnetics balance the solar winds. You pass snow-miners and farfactories, humming cheerfully in their work.\n\nAlready the quiet is a relief. But this is still civilization, and this star has nothing for you.\n\n> You examine the ship\nThe Horizon of Night gleams in the light of Myrmidal's sun; but her sails are furled.\n\n> Open sails\nThe sails begin to unfurl. They catch sunlight. The Horizon of Night shifts gladly around her keel, and slides into interstellar space.\n\nThe bright worlds fade behind you.\n\nSomewhere out there, you sense, are treasures worthy of your attention.\n\nYou spread the sails wider. The ship accelerates.\n\nStars thin around you as you leave the bright worlds behind. Nebulae drift past.\n\nYou won't get far into the unknown at this rate.\n\n> You unfurl the sails\nYou stretch the sails to their fullest spread. The Horizon of Night leans forward eagerly, and springs out into the void.\n\nThe bright worlds are far behind Horizon now. Darkness clots thickly between the stars, out here.\n\n> You examine the stars\nThe stars are infinite.\n\n> Wait\nHorizon speeds silently through the Reaches.\n\nYou speed through the void. Darkness clots thickly between the stars.\n\nA petite golden star catches your eye.\n\n> You look at the golden star\nIt's common enough for a star of its spectral class. However, you hear a faint jangling from its direction, in the long-wave band.\n\n> You listen to the star\nYou are detecting a faint, musical jangling from the petite golden star's vicinity.\n\n> Lower sails\nYou begin bringing in the sails. But Horizon's velocity is too great; you whip past the star in a shallow hyperbola, and are flung away into the void. The petite golden star disappears behind you.\n\nWide sunless spaces stretch between distant stars, out here.\n\n> You look at the compass\nThe compass rests in its bath of liquid helium. Subtle magnetic fields stir between the stars, a sailor knows, and the compass shifts on their breath.\n\n> You wait awhile\nHorizon moves silently through the Reaches.\n\nWide sunless spaces stretch between distant stars, out here.\n\n> You furl the sails\nYou trim the sails to a narrow edge. The ship slows to a sedate pace.\n\nThe bright worlds are far behind you now. Darkness clots thickly between the stars.\n\nA blue star catches your interest.\n\n> You listen to the star\nYou are detecting a faint, musical jangling from the blue star's vicinity.\n\n> You go to star\nYou furl your sails, and descend into the blue star's outer system.\n\nThis blue star is circled by the usual assortment of barren rocks. However, a faint, long-wave jangling radiates from one fat gas giant.\n\n> You go to the gas giant\nYou drop the anchor. Horizon curves gracefully in to meet the gas giant in its orbit.\n\nHorizon hangs within the cloud layers of the nameless gas giant. Mauve and violet bands of cloud slide past you.\n\nSomething iridescent drifts out from behind a cloud. You think of a bubble, and then a jellyfish. By the time the scale registers, others have followed: vast floating shapes, gaseous and shimmering, each a kilometer long.\n\nIncomprehensible long-wave harmony rings through the clouds.\n\n> You look at the jellyfish\nA flock of vast, gaseous jellyfish-beings move across the face of the world.\n\nYou notice sheets of iridescent tissue peeling from some of them and drifting away through the clouds.\n\n> You look at the tissue\nYou do not know why the floating beings shed this substance, but it drifts away from the flock in long, iridescent streamers. Each one twists slowly through the clouds, until it is lost from sight.\n\n> You get the tissue\nYou glide cautiously below the flock, and gather a sample of the shed tissue. Up close, it is more like cloth than a grown membrane, although it lacks the regularity of artificial fabric. In any case, the fibers are incredibly fine -- almost transparent.\n\nYou have seen nothing like it before. And you are certain that, within d'Accord, you are the first. You stow your prize in the hold.\n\n> Inventory\nYou have the iridescent cloth, safely stowed.\n\n> You examine the cloth\nYou have lengths of the iridescent tissue neatly packed in the hold. It is nearly weightless, but it catches the light in a way that even monomolecular cloth cannot match.\n\n> You weigh the anchor\nThis blue star is circled by the usual assortment of barren rocks. The alien signal fades as you circle outward from the gas giant.\n\nThis iridescent substance is an enthralling start to your journey. Even d'Accord technology cannot create all things, and a new form of matter may benefit lives across the bright worlds. If the stars before you are as rich in wonders as this, you will be a nine-days' wonder when you return home.\n\n> You eat the cloth\nThat's plainly inedible.\n\n> You unfurl the sails\nYou hoist the sails once again. Horizon swings outward from the blue star, into the spaces beyond.\n\nTendrils of dust encroach on these straits, hazing the stars. A stellar nebula looms ahead -- a fantastic web of blue, green, and violet vapor, stirred by internal currents.\n\n> You examine the nebula\nA nebula is splashed colorfully across space, directly ahead. It looks promising."
    },
    {
        "text": "[Themes: Science Fiction, maze, far-future, treasure hunt, space travel, travel, spaceship setting]\n\n> Look around\nTendrils of dust encroach on these straits, hazing the stars. A stellar nebula looms ahead -- a fantastic web of blue, green, and violet vapor, stirred by internal currents.\n\n> You go to the nebula\nYou adjust the sails, and drift into the nebula.\n\nClouds of dust roil around you, confusing your sight. Slow, heavy stellar winds perturb the nebula; Horizon heaves uneasily as she wallows through the currents.\n\n> You look at the dust\nThe nebula is all around you. Surely there is something to discover in its depths."
    },
    {
        "text": "> You look around\nClouds of dust roil around you, confusing your sight. Slow, heavy stellar winds perturb the nebula; Horizon heaves uneasily as she wallows through the currents.\n\n> Lower sails\nYou don't want to strike your sails completely, not out here in the void. That would leave Horizon an aimless comet.\n\n> You drop the anchor\nOut here? There's nowhere in sight to anchor.\n\n> You take the dust\nThe nebula is too vast and intangible to affect.\n\n> You raise the sails\nYou spread the sails, but Horizon only shakes more violently.\n\nYou are lost in clouds of dust. The stellar winds are thick and turgid here. Horizon heaves uneasily as she moves across the currents.\n\nYour sails are too taut for this dense environment, you realize.\n\n> You examine the sails\nThe sails are spread.\n\n> You loosen the sails\nYou loosen the sails to catch the thick dust-currents. Horizon pitches once; but then the sails billow and fill, and she comes to hand. You steer her inwards, shifting deftly with the nebula's roiling, until the clouds part before you.\n\nHorizon circles the rim of a vast, empty bubble -- a void swept clear by the bright-beating pulsar at its heart. Hot radiation sleets around you, most intensely in the pulsar's whirling beams.\n\n> You examine the pulsar\nA pulsar is the core of a dead star -- its bulk long since blasted away, dispersed to the dust that surrounds this place. The tiny dense remnant has not yet cooled, after these aeons. It blazes hot and clear, and casts two polar beams in wild spirals as it whirls.\n\n> You examine the beams\nThe radiation in this space is a pure hot high-energy blaze -- very different from the dust-thick currents out in the nebula. The pulsar's beams whirl around the bubble in a spiralling sweep. (48.327 rotations per second, whispers the compass.)\n\n> You go to the pulsar\nA close approach to such an energetic dead star would kill you, despite Horizon's protection.\n\n> You enter the beam\nThat's what sails are for.\n\n> You raise the sails\nYou raise the sails, fighting to angle their lax fabric against the pulsar-light. Horizon accelerates skittishly until it hurtles around the edge of the bubble. But speed will do you no favors once you are embroiled in the dust.\n\n> Tighten sails\nYou tighten sail somewhat. It helps; the sails begin to thrum in the clear, hot energy-flow. But it is not enough.\n\n> Inventory\nYou have the iridescent cloth, safely stowed.\n\n> You put cloth on the sails\nThe iridescent cloth is invaluable, and you have perfectly good sails already.\n\n> You examine the anchor\nYour anchor is a disk of whirling strange matter. It's secured by the keel, edge-on so that it slips without drag through space-time.\n\n> Tighten sails\nYou tighten the sails, taut as you can pull them, and steer into the pulsar's beam. The sails sing in the pure clear high-energy stream; the Horizon of Night thrums, blazes, and flings herself out through the veils of dust.\n\nYou are streaking along a narrow passage, an open lane through the nebula's streams of dust. Far behind you, the pulsar illuminates your sails every .02 seconds or so.\n\nA small blue-white star stands out in this empty zone.\n\n> You go to star\nYou vector for the star. But Horizon's velocity is too great; you whip past the star in a shallow hyperbola, and are flung away into the void.\n\nSlow, thick stellar winds perturb the nebula. You are lost in clouds of gas. Horizon heaves frighteningly as she crashes through the currents.\n\nYou will have to loosen sail to gain control.\n\n> You loosen the sail\nYou partially relax the sails, and Horizon begins to ease.\n\nClouds of gas swirl. The winds are turgid and heavy, here in the nebula; Horizon heaves uneasily as she crashes through the currents.\n\nYou will have to loosen sail to gain control.\n\n> Lower sails\nYou lower the loose sails, and slow. Horizon still handles unevenly, even at this speed.\n\n> Tighten sails\nYou tighten sail somewhat. It helps; the sails begin to thrum in the clear, hot energy-flow. But it is not enough.\n\n> You continue\nYou tighten the sails, taut as you can pull them, and steer into the pulsar's beam. The sails sing in the pure clear high-energy stream; the Horizon of Night thrums, blazes, and flings herself out through the veils of dust.\n\nYou are diving along a narrow passage, an open lane through the nebula's streams of dust. Far behind you, the pulsar illuminates your sails every .02 seconds or so.\n\nA small blue-white star stands out in this empty zone.\n\n> Lower sails\nYou furl your sails, and descend into the blue-white star's outer system.\n\nThis blue-white sun has no planets, only a broad ring of asteroidal trash. One planetoid seems touched with an unusual glow.\n\n> You examine the planetoid\nThe planetoid seems laced with a faint glow, even on its dark side.\n\n> You go to the planetoid\nYou drop the anchor; Horizon swings slowly into the asteroid belt. You maneuver towards the odd planetoid.\n\nThis is a dusty, cratered potato of a rock just like billions of others... except for the strange pale light which pools in the deepest craters.\n\n> You look at light\nThe light seems fluid -- as if starlight had condensed on this lonely rock, and dripped down to puddle in the cracks and crevices. You know no chemistry which could explain such a phenomenon.\n\n> You take light\nYou venture out with several storage carboys. The liquid light registers no mass nor temperature, but it seems to respect the fused-quartz surface of the containers. You fill them, and stow your prize in the hold, where it gleams gently.\n\n> You weigh the anchor\nThis blue-white sun has no planets, only a broad ring of asteroidal trash. One planetoid seems touched with an unusual glow.\n\nThe fluid luminescence is unique in your memory and experience. The light, together with the iridescent cloth -- discoveries like these will assure your fame.\n\n> You raise the sails\nYou raise sail to pulsar-light. Horizon rides a long crest out through the nebula and into the star-clusters beyond.\n\nThis region is dominated by old, old stars -- the suns of the early universe, scant of life's rich elements. Perhaps they have nothing for you. But a fey mood is on you, and you determine to forge ahead until you have found something worthy of your time.\n\n> You wait\nYou allow the Horizon to move on.\n\nYou have passed into a starless bubble in the cluster. Solar winds howl through the space. The galactic spiral is spread in a long glorious arc below you.\n\nYou feel, more than hear, an eerie shift in the neutrino flux. It's not a signal... you think; but the natural white noise of neutrinos has modulated to a spectral opalescence. And the odd flux is coming from straight ahead, on the far side of the bubble.\n\n> You wait\nAt your slow speed, Horizon succumbs to the powerful solar winds of the bubble. She shifts off-course, into the halo reaches.\n\nYou trawl among the halo's ancient stars. You can no longer sense the eerie neutrino signal; but you are certain that it is somewhere nearby.\n\n> Wait\nYou allow the Horizon to move on.\n\nYou have entered a starless bubble in the cluster. Solar winds howl through the space.\n\nYou sense the eerie flux once again. It is coming from straight ahead, on the far side of the bubble. You're not sure you can reach it, in these crosscurrents.\n\n> You raise sails\nYou haul the sails higher. Horizon accelerates across the void, towards the source of the neutrino shift.\n\nStellar gas presses in on you, drawn together by who knows what confluence of nebular magnetism and solar winds.\n\nThe odd neutrino flux is coming from beyond the clouds. But your sails are shuddering. Controlling Horizon is difficult.\n\n> You loosen the sails\nYou relax the sails. They billow, catching the dense solar currents, and you steer Horizon into the cluster.\n\nYou have passed into a dense cluster of ancient stars. Murky currents swirl around you. Somewhere out of sight, you hear a nova-chain crackling away.\n\nThe odd neutrino flux is off to the side, tangled in the maze.\n\n> You examine the flux\nThe normal white hiss of the neutrino background -- the cosmic noise of burning stars -- has shifted, somewhere to the side. One flavor follows another in a delicate, shimmering opalescence. You know of no property of space which could cause such a thing.\n\n> Lower sails\nYou lower the sails, and steer carefully into the cluster.\n\nNew suns are condensing here -- an unusual phenomenon in these halo reaches. Their ultraviolet flares have swept this region free of the dust that birthed them.\n\nThe odd neutrino flux is coming from beyond the binary. But your sails are rippling.\n\n> Tighten sails\nYou tighten sail. Horizon shivers, catching the energetic radiation, and draws in on the neutrino source.\n\nYou have passed into a starless bubble in the cluster. Solar winds howl through the space. Somewhere out of sight you can hear a variable star thumping.\n\nThe odd neutrino flux is coming from straight ahead, on the far side of the bubble. You will have to accelerate to reach it across these currents."
    },
    {
        "text": "[Themes: Science Fiction, spaceship setting, gender-neutral protagonist, treasure hunt, science fiction, spaceship, space, maze, far-future]\n\n> Look around\nNew suns are condensing here -- an unusual phenomenon in these halo reaches. Their ultraviolet flares have swept this region free of the dust that birthed them.\n\nThe odd neutrino flux is coming from beyond the binary. But your sails are rippling loosely.\n\n> You look\nNew suns are condensing here -- an unusual phenomenon in these halo reaches. Their ultraviolet flares have swept this region free of the dust that birthed them.\n\nThe odd neutrino flux is coming from beyond the binary. But your sails are rippling loosely, unable to resist the ultraviolet storm.\n\n> You unfurl the sails\nYou haul the sails higher. Horizon accelerates across the void, towards the source of the neutrino shift.\n\nHere at the heart of the halo cluster, a brown dwarf star slowly gutters towards exhaustion.\n\nThe odd neutrino flux is coming from the vicinity of the dwarf star.\n\n> You go to the dwarf star\nYou furl your sails, and descend into the brown dwarf star's outer system.\n\nThe brown dwarf, you discover, is circled by a lone, frozen planet.\n\n> You go to the planet\nYou drop the anchor. Horizon glides in towards the dwarf star and its icy companion.\n\nThis planet might once have been a chilly wasteland. Now it is nothing but slabs of black ice, layered with the ancient snow that was once an atmosphere.\n\nOr, no. Those protrusions of ice are too angular to be natural. They are monuments -- how old, you have no way of knowing. But sheltering beneath them are row upon row of engraved tablets.\n\n> You examine the tablets\nYou can make nothing of the engravings. You will have to bring them back to the linguists of d'Accord.\n\nThe tablets themselves have a vitreous shine. You realize, inspecting carefully, that they are pure helium -- frozen helium, a substance that should not exist on the surface of a world.\n\n> You get the tablets\nYou seal several of the tablets in layers of vacuum insulation -- and then layers on top of that. Moving as delicately as you can, you transport the bulky packages to your cryohold. A few tense moments reveal no sublimation of the frozen helium, to your relief.\n\n> You weigh the anchor\nThe ice-world shrinks behind you, as you rise to the edge of the brown dwarf's orbit.\n\nCivilizations are fragile, and the relics of an unknown race -- a people who might have bloomed billions of years past, in the cold unlight of a dwarf star -- these tablets must be incalculably valuable. You are torn: should you come around, and begin the journey back to the bright worlds?\n\nBut so much remains out there for you to take. Just one more discovery. Perhaps two.\n\n> You raise the sail\nYou hoist the sails once again. Slowly, the infrared glow of the dwarf fills them, and Horizon moves out into the galactic halo.\n\nA rare sight drifts into view, far ahead: a red supergiant guttering on the edge of catastrophe. It is a crimson, billowing cauldron of turbulent fire -- pulsing irregularly, choked with helium and carbon ash.\n\n> You go to star\nYou vector for the supergiant. Horizon's fast approach compresses its history. Carbon roils in the star's atmosphere; shock-waves roll in fast-forward across its surface.\n\nBy the time you see oxygen and argon boiling into the red star's corona, it is too late to turn aside. The light of fusing metals washes over Horizon, and the shockwave is only fractionally behind.\n...\n\nLights appear on the control consoles, one by one. Horizon of Night is coming back to life. The walls around you are dim and radiation-scarred; you have no idea how long it's taken the ship to recover enough function to support you. But you are awake. You stretch in your couch, shudder, and take stock.\n\nOutside is blackness, pure and opaque.\n\n> Inventory\nYou have the helium tablets, the liquid light, and the iridescent cloth, all safely stowed.\n\n> You look at the blackness\nYou are surrounded by blackness, pure and opaque. Whatever corner of space you've been flung into, it's dense enough to block all starlight. Only the vague thermal wash of microwaves reassures you that the universe is out there at all.\n\n> You raise the sails\nYou scan the spars, and then scan them again, but it is just as you expected: your sails are gone. The monomolecular lace was surely blasted apart in the first instant of the disaster.\n\nBut then, if the sails had held against the shockwave, you suppose you would have been swept into the next galaxy. Small blessings.\n\n> You look at the ship\nHorizon of Night is wounded, but she lives. The hull is sound. The controls and the shipframe are more or less functional. But the sails are destroyed, and the compass must have cracked. Worse: her senses are quite dead. You will have to steer by eye; and there is nothing outside to see, at all.\n\nStowed in Horizon's hold are the helium tablets, the liquid light, and the iridescent cloth.\n\n> Port\nSpaceships really only fly forwards.\n\n> Forwards\nYour sails are gone; only ruined tatters of lace remain on the spars.\n\n> You examine the light\nThe hold contains several carboys of the pale liquid light. It seems to pulse faintly in its containers.\n\n> You open carboys\nYou lever the carboys out of the hold, crack the seals, and expose the liquid light to space.\n\nA thin streamer of light spreads from Horizon's hold. It does little to shift the darkness... but another streamer rolls outward, and then more. Soon you can make out dust particles and shreds of debris -- a star's remains, now aggregated by chance or Horizon's own gravity into a swirling mass. Some aeon this might become a planet.\n\nThe light diffuses quickly, but your surroundings are illuminated now. You have a chance of getting clear of this space."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, space, travel, science fiction, exploration, treasure hunt, space travel, spaceship setting, aliens]\n\n> Look around\nYou are surrounded by thick, swirling debris. It is dangerous, but you might navigate it -- if you had a compass. And sails.\n\n> You put the cloth on the mast\nYou unroll the iridescent cloth from your hold, and begin fastening it to Horizon's spars.\n\nThe tissue seems strong and it plays well upon your lines. Even reefed, it rolls eagerly in the dust currents. After a timeless interval of labor, you have its full measure rigged and ready to unfurl.\n\nBut you notice a faint silver vapor subliming from the new sails. Apparently this material, light as it is, is not perfectly suited for space travel. Best you hurry.\n\n> You look at the compass\nThe compass housing is ridged with barely-healed scars. It must have cracked in the disaster; most of its superfluid helium has boiled away. If the ship had not managed this repair, the entire compass assembly might have been hopelessly quenched. No doubt the course-memory of your travels has been lost. But the mechanism itself looks sound.\n\n> Melt tablets\nYou can think of no other choice.\n\nYou fashion a capillary line from the last of your insulation, and connect it to the compass chamber. Carefully, you lower the line onto the first of the frozen helium tablets. The thermal gradient shifts; the priceless artifact begins to melt.\n\nThe arrangement works perfectly, of course. One by one, the tablets liquefy and are drawn up into the compass. By the time the last one is gone, the helium bath is full enough to function."
    },
    {
        "text": "> Look around\nYou are surrounded by thick, swirling debris. It is dangerous, but you are sure you can navigate it.\n\n> You unfurl the sails\nYou hoist the sails -- what has yet survived your touch -- and bring Horizon of Night under way.\n...\n\nYou are not so far from Myrmidal, at this end of your wandering. You pass by suns on the way home; they do not hold your interest, not long enough to slow Horizon in its course. And there are the sails, to be sure. You leave a trail of vapor in your wake, as the iridescent fabric decays. Delay is no temptation now.\n\nIn the end, it is the touch of Myrmidal's solar wind that brushes the last shreds of sail away.\n\nHorizon falls across the system, through the staticky noise of civilization, until the patrol tenders match your course and bring you in tow. They jibe your ill luck, and offer you the gossip of your centuries outward-gone. You swap them stories of treasures found; floating creatures and icy ruins; the sound a ship's sails make as they explode in supernova-light. The patrollers laugh and applaud a lie well-told. You leave it at that.\n\n> You raise the sails\nYou can't raise sail here! The docking environment is crowded with ships and equipment. Your sails would be destroyed immediately, and with a terrible mess.\n\n> You raise anchor\nThe anchor precesses.\n\nHorizon shakes, waking the speed which has slept these past years. Myrmidal's magnetic halo bucks her keel high; high and out through the rings of city and industry and careless Myrmidal society. When the anchor falls into place along the keel, Horizon rings bell-clear, and the sky is black.\n\nYou are circling the outer fringe of Myrmidal's system, where your keel's rhodomagnetics balance the solar winds. You pass snow-miners and farfactories, humming cheerfully in their work.\n\nAlready the quiet is a relief. But this is still civilization, and this star has nothing for you.\n\n> You raise the sails\nThe sails begin to unfurl. They catch sunlight. The Horizon of Night shifts gladly around her keel, and slides into interstellar space.\n\nStars thin around you as you leave the bright worlds behind. A globular cluster drifts by.\n\nSomewhere out there, you sense, are treasures worthy of your attention.\n\n> You continue\nYou stretch the sails to their fullest spread. The Horizon of Night leans forward eagerly, and springs out into the void.\n\nThe bright worlds are far behind Horizon now. Emptiness hangs wide between the stars, out here.\n\n> Warp 8\nYou recall, from a quixotic interest in antique blue-water sailing jargon, that \"to warp\" is to draw a sea-ship into dock by pulling on ropes. But it really isn't meaningful for starships."
    },
    {
        "text": "[Themes: Fantasy, Seasonal, Children's, female protagonist, winter, kids, kid-friendly, Christmas, child protagonist]\n\nwith a set color scheme, a compass rose, and occasional ASCII graphics?\n\nIf you would like to try a more embellished presentation, you might try running in 'frills' mode by typing FRILLS at the prompt. At any time, you may return to the 'bare bones' setting by typing BARE.\n\nRelease Version 2.0\n\nCopyright 1999 Laura A. Knauth\n .:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*: .\n\nIn a far off land, there lies a little village nestled in a snowy mountainscape. As the townsfolk joyously prepare for the coming winter solstice, a young girl living with her family in a humble hut at the outskirts of town gains no comfort in the festivities. Her closest companion, her younger brother Sander Bales, has fallen seriously ill with a fever and can barely lift his head from the bed upon which he lies. Young Gretchen could hardly have suspected that such circumstances would cause the fanciful events that were to occur upon this solstice eve.\n *:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.:*\"*:._.: *\n\nNOTE: At any time, you may view HINTS, CREDITS, or read some words about the MAKING of Winter Wonderland by typing the all-caps word on the command line.\n\n   PROLOGUE   \n\nStandard interpreter 1.0\n\nA small, sickly boy is lying on a bed that takes up most of the space in this room. Light filters in through drab curtains hung around the only window in this bedroom. A long dark drapery hangs down over a portion of the east wall.\n\nSmall, disheveled shoes lie at the foot of the bed.\n\n[Author's Note: Young Gretchen could have only imagined the fanciful events that were to occur before finding herself lost in a winter wonderland.]\n\n> You examine boy\nYour younger brother, Sander, became very ill many weeks ago and has yet to show signs of recovery. He looks feverish and uncomfortable as he lies asleep in your parents' bed. You become very forlorn as you stare at him. This used to be your favorite time of the year when the two of you would brave going into town and partake in the numerous solstice festivities with the other children.\n\n> You look at the drapery\nIt is just the separation between the living room and the bedroom.\n\n> About yourself\nYou are a young girl by the name of Gretchen Bales.\n\n> You examine the shoes\nSander has had to wear these same shoes for years. They have so many rips and tears that you wonder how they are able to hold together at all. This solstice eve, your family was only able to afford one new pair of shoes between the two of you, and being the eldest, you were the fortunate beneficiary. Poor Sander!\n\n> You open the curtains\nYou push aside the thin curtains and peer out of the window. In the distance, you can see your father chopping wood at the forest edge.\n\n> Go east\nYou push the drapery aside and move into the adjacent room.\n\nThis is the main room of the house. The drapery to the bedroom hangs in the west wall. A lighted hearth takes up most of one wall, and your mother prepares food in one corner of the room for what will be a meager solstice dinner. The room is sparsely decorated save for a little spruce tree that stands near the door to the north, your family's only token to the winter celebration.\n\n> You examine the tree\nAlthough you delight in having the spruce tree in the house as a reminder of the nearing solstice celebration, you cannot help but be saddened that it is undecorated with any of the marvelous ornaments and trimmings of the trees in the village. Your mother notices you staring at the tree and remarks, \"Gretchen, if you go into town today, remember to stop by the tavern and ask Hanna-Mae if she has a candle to spare so that we may at least have something to adorn that tree.\"\n\n> You look at the mother\nYour mother is chopping vegetables for tonight's dinner.\n\n> You ask the mother about Sander\nShe looks down at you and musters a smile, \"With all of our thoughts and well wishes, he's just got to get well soon. Be patient, and let him have his rest.\"\n\n> Pray\nNothing seems to have changed.\n\n> You examine the vegetables\nAlthough a vegetable feast is incredibly meager compared to the feasts in town, it will be one of the most lavish of the year for your family.\n\n> You ask the mother abouHanna-Mae\n\"Please be very careful if you go into town today, Gretchen dear.\"\n\n> You examine hearth\nYou stare mesmerized by the fire for some time.\n\n> You ask the mother about the shoes\nYour mother seems preoccupied with her chores.\n\n> You hug mother\nYour mother gives you a warm hug in return. \"Poor Gretchen, I know it must be lonely for you. But, try to cheer up,\" she says with a smile. \"I'm sure Sander will be back to normal in no time.\" She looks worried though, and busily occupies herself with tidying the room.\n\n> You go outside\nYou open the front door and step outside.\n\nThe air is cool and brisk this evening. Menacing storm clouds loom over the mountaintops to the east, but on the opposite horizon are the beginnings of a fantastic sunset. The door to your family's house lies to the south and a well-worn trail leads northeast to the village.\n\n> You examine the house\nYour family lives in this meager structure indeed, but it has been a safe and secure harbor all of your life.\n\n> You look at the sunset\nThe sun is setting in the western sky in a wondrous display of color.\n\n> You go northeast\nA large, bustling community lies to the north. Cheers of merriment can be heard even at this distance. The terrain along this part of the path is particularly mountainous, and the trail leading into the village is carved into a moderately steep incline. The path home winds to the southwest.\n\n> Go north\nThis is the main road through town. This road continues deeper into the village when traversed to the north, and leads back down the mountainous path to home when traveled south. Peals of laughter can be heard from the tavern to the east. Tantalizing and delicious smells beckon your poor, hungry belly toward the open tavern door.\n\n> Go east\nThis tavern is a popular meeting place for the townsfolk especially at this time of year. Peels of laughter can be heard over the din of so many voices telling stories from past years and hopes for future seasons. Nearly every table is occupied with groups of villagers drinking, feasting and laughing. The smells of lavish dishes sorely tempt your empty stomach. Musicians walk through the crowd singing carols and playing their instruments for the diners. A roaring fire adorns the back wall of the tavern. A large pot hangs on a rack squarely over the flames. Many of the villagers take their bowls over to the hearth and fill them with the traditional plum pudding that is being cooked in that large pot. Peering through the smoky air, you recognize a woman scrubbing a counter stretching along the back wall.\n\n> You look at the woman\nWhich do you mean, the villagers or Hanna-Mae?\n\n> Hanna-mae\nYou recognize the waitress as Hanna-Mae, a long-time acquaintance of your family. She has been working in this tavern for as long as you can remember. She looks up and gives you a warm smile as you approach.\n\n> GreeHanna-Mae\nHanna-Mae smiles, \"Why, hello there, little dear. How is your family? Be sure to give my regards to your brother. I hope he is doing better!\"\n\n> You telHanna-Mae about Sander\nOne of the villagers waves at Hanna-Mae from across the room. As she starts across the tavern floor, she calls back to you, \"Sorry, Gretchen! Back in a moment!\"\n\n> You asHanna-Mae about the candle\n\"Oh, sure. I can probably find a candle to spare,\" Hanna-Mae explains as she walks around to the other side of the counter and picks up a candle from an empty table. She returns to the counter where you are waiting and gives the candle to you. \"I'm sure your tree will be beautiful. Now run along, and be sure to give my regards to your family!\"\n\n> You examine the pot\nYou walk over to the fire and peer into the large black pot that hangs over the yellow flames. A delicious-looking plum pudding is being cooked in the pot. As the yearly tradition would have it, whomever finds the single silver coin that is placed in the large pot of plum pudding will be blessed with a season of unparalleled prosperity. Ah, if only you could afford a bowlful.\n\n> You get the pudding\nIt would be very rude to simply take a handful of the pudding directly from the large vat. Anyway, you would most likely be burned attempting to take the pudding by yourself.\n\n> You asHanna-Mae about the pudding\nHanna-Mae looks at you for a moment and then says, \"Why ... sure, it is solstice eve after all! I'm sure no one will mind if I give you a small serving of that plum pudding. Wouldn't that be nice?\" And with that, Hanna-Mae finds a bowl and fills it with the plum pudding from the large pot over the hearth. She brings it back over to you, \"Eat up, Gretchen. That batch is especially tasty this year!\n\n> You buy the pudding with the candle\n(the large vat of plum pudding with the candle stick)\nNothing appears to be on sale.\n\n> You eat the pudding\n(the tiny bowl containing a small serving of plum pudding)\nYou devour the plum pudding, downing spoonful after spoonful in hungry gulps. Suddenly, your teeth clamp down on a hard, flat object. Your initial discomfort turns rapidly to glee when you pull a silver coin from your mouth! It has always been the tradition in town every winter solstice that the person who finds the coin in the plum pudding will be blessed with a coming season of prosperity. Hanna-Mae runs over to you and hugs you joyfully. \"You found it, you found it!\" she cries. Many of the townsfolk turn to look at you and clap politely.\n\n> You look at the coin\nEven though most townsfolk would find this silver coin more valuable for the traditional superstition of future good fortune, this coin is the most money you have ever had in your possession. You imagine yourself to be the richest girl in all of the world.\n\n> You go outside\nThis is the main road through town. This road continues deeper into the village when traversed to the north, and leads back down the mountainous path to home when traveled south. Peals of laughter can be heard from the tavern to the east.\n\n> Go south\nAs you begin to start back home, you feel a pang that compels you to stay in town a little longer. You would so much like to return home with something to cheer up your brother.\n\n> You go north\nFurther down the road, you see children playing some sort of game in the town square. Beyond them, a small theater production is taking place. You pass a window of one of the shops filled with a dazzling display of dolls and toys of all shapes and sizes. Your favorite place in town, the toy store lies to the west.\n\n> You examine the toy store\nYou might occasionally become lost in other parts of town, but you know the path to the toy shop well. The window facing the main path through town is a delight for the senses and the imagination.\n\n> You go west\nStepping across the threshold into the toy shop, you are overcome by a stunning display of all the toys a child could want. Filling the shelves are colorful stuffed bears, bouncing balls, games and puzzles, shiny trinkets and gizmos, dolls of all shapes and sizes, and even a polished red wagon. There are racks full of frilly dresses and boxes brimming with fancy bonnets and ribbons. The old shopkeeper peers at you curiously from behind his desk.\n\nAs you gaze in awe from one toy to the next, your eyes come to rest upon a strikingly pair of fine leather shoes on a pedestal in front of the clothes display.\n\n> You look at the shoes\nQuite simply, these are the finest, most handsome pair of shoes you have ever laid eyes upon. You could not imagine a more perfect solstice gift for Sander who has had to wear his tight and tattered old shoes for so long.\n\n> You examine dresses\nWhich do you mean, the toys or the fancy clothes?\n\n> Clothes\nOn many an occasion, you have wished that you could dress up in those fancy dresses, ribbons, bonnets, and bows instead of the plain garment you wear to work in the field.\n\n> You look at the toys\nYou have had many dreams and fantasies about the hours of fun you could have playing with all of these toys.\n\n> You ask the shopkeeper about shoes\nThe shopkeeper smiles, \"Ah, they are a fine pair of shoes, aren't they? Those shoes were specially made by the best shoemaker in the village for a special solstice treat. It is very lucky for you that they are still in the shop tonight! Eh,\" he pauses and rubs his chin looking suddenly forlorn, \"You do have something to buy them with, yes?\"\n\n> You play with the toys\nAlas, that only seems possible in your imaginings.\n\n> You show the coin to the shopkeeper\n\"Ah, now you've really got something there!\", the shopkeeper grins. \"Anything you would like to buy with it?\"\n\n> You ask the shopkeeper about the toys\nThe shopkeeper does not respond, but merely keeps looking over his notes and ledgers. All the young children know the old man has been going deaf for years now. You shrug your shoulders and continue inspecting the shop.\n\n> You buy the toys\nWhat do you want to buy the toys with?\n\n> Coin\nYour heart delights that you could finally buy something from this toy shop, but you suddenly remember Sander. It would mean so much more if you could cheer him up this solstice eve.\n\n> You go east\nFurther down the road, you see children playing some sort of game in the town square. Beyond them, a small theater production is taking place. You pass a window of one of the shops filled with a dazzling display of dolls and toys of all shapes and sizes. Your favorite place in town, the toy store lies to the west.\n\n> You examine the children\nLooking down the village street into the town square, you see a group of children merrily around a tall pole.\n\n> You look at the pole\nIn keeping with tradition, sheaves of grain are placed on a pole and set up in the town square on solstice eve. In the morning, the dozens of chirping birds hungrily eating the grain will make the celebration all the more merry.\n\n> Dance\nYou begin to sway from side to side, humming to yourself. Then you twirl 'round and 'round making your dress billow.\n\n> Sing\nYour sing joyously into the open air.\n\n> Play\nWhat do you want to play with?\n\n> Pole\nAlas, that only seems possible in your imaginings.\n\n> You look at your dress\nYour dress is simple and plain.\n\n> You get the grain\nYou are not in the town square. Besides, you are much too fascinated by the toy shop to pay it any more notice.\n\n> You go west\nStepping across the threshold into the toy shop, you are overcome by a stunning display of all the toys a child could want. Filling the shelves are colorful stuffed bears, bouncing balls, games and puzzles, shiny trinkets and gizmos, dolls of all shapes and sizes, and even a polished red wagon. There are racks full of frilly dresses and boxes brimming with fancy bonnets and ribbons. The old shopkeeper peers at you curiously from behind his desk.\n\nAs you gaze in awe from one toy to the next, your eyes come to rest upon a strikingly pair of fine leather shoes on a pedestal in front of the clothes display.\n\n> You buy the shoes with the coin\nThe shopkeeper takes the coin from you and looks back and forth upon it and the fine leather shoes. \"Well my dear, I have to tell you that this silver coin does not quite equal the price of these shoes ... \" The shopkeeper pauses as you stare at him with disappointment brimming in your eyes. \"But after all, it is solstice eve ... Ah, very well then. Here, take the shoes to your brother. Now run along back home, it is getting late!\" And with that, the shopkeeper gives you the pair of leather shoes.\n\n> You wear the shoes\nThey are a present for your brother!\n\n> Inventory\nYou are carrying:\nhandsome leather shoes\na candle stick\n\n> You eat the shoes\nThat would hardly agree with you.\n\n> Go south\nYou begin the trek back home with the sun already sinking below the horizon. You will have worried your poor mother sick!\n\nAs the wind picks up and begins whipping your hair and dress furiously about, you cover your face and try to hurry back faster than ever. Suddenly, the black storm clouds that had been threatening the horizon for so long swoop down at an alarming rate that completely engulfs the valley leaving you no choice but to stumble on in darkness. Cold, wet droplets suddenly pummel your skin as a furious snowstorm erupts. Thousands upon thousands of snowflakes swirl about in a blinding blizzard. You stumble off of the path in blindness and tumble down the side of the mountain ...\n\nYou awake finding yourself staring at a silvery round orb in a midnight blue sky. You are lying on your back in a small forest clearing covered for the most part in soft, powdery snow. Shivering, you stand up, swat the snow from your dress, and shake icy droplets from your long hair. The snowy forest landscape appears completely foreign, as if you have stumbled into some kind of winter wonderland.\n\nThe silvery moonlight softly illuminates the nearby branches of this dense forest and reflects from snowy patches along the cold ground. Although your range of sight is limited by the darkness, the brambles appear passable to the north and southwest. A glowing orb to the north sends streaks of yellow light through the gnarled branches.\n\n> You go to the north\nThis is a small clearing in the dark wood which is singular for a large beautiful oak tree growing here. The moonlight filters through the dark bare branches and makes unusual patterns on the snowy ground. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\nA lit lantern hangs just within your reach from one of the long twisted branches of the oak.\n\n> You examine the lantern\nThe lantern emits a bright and glowing yellow light.\n\n> You take the lantern\nJust as your hands are about to touch the glowing lantern, the branch upon which it hangs abruptly swoops up out of your reach. Only when you step back does the branch lower back to its original position.\n\n> You examine the moon\nThe bright and silvery full moon hanging in the night sky illuminates the snowy patches at your feet and provides the light by which you are able to view this strange and snowy world in which you have fallen.\n\nYou suddenly hear a rustling above you, but before you can react, you are pummeled by clumps of snow as the icy patches are dislodged from the branches above.\n\n> You look at trees\nThe forest is full of magnificent tall fir trees. They fill the wood with a wonderful fresh pine scent.\n\n> You talk to tree\nWhich do you mean, the fir trees or the oak tree?\n\n> You look at the oak tree\nThe great oak tree in this clearing is devoid of all leaves as it would be at this time of the year. The long and gangly branches are crisply silhouetted by the full silvery-white moon hanging in the dark sky. You notice some unusual folds in the bark of the oak. You imagine that these folds resemble a kind of face with two eyes and a closed mouth. As you approach the trunk to examine it further, the 'eye' folds suddenly split open revealing dark gaps, and from the opening 'mouth' a deep throaty voice suddenly booms, \"Wait right there, little lass! Come any closer, and I might eat you up fast!\" With that, all of the dryad's branches seem to wriggle as if he were taking a great stretch, and the lantern, in turn, bobs up and down. He stares at you with a bemused expression.\n\n> You smell the fir trees\nThe fragrant fir trees fill the wood with a terrific scent.\n\n> You ask dryad about the lantern\nThe dryad raises the lantern up out of your reach and looks at you with pity. \"So sorry, young thing, but without this light, I have no solstice cheer to bring. But take heart, little sprite, the moon is full and bright on this most snowy solstice night!\" Then after pausing to reflect he adds, \"Now if you had a bundle of fairy glow rocks, what a find! But alas, the ore grows deep in the old dwarf's mine.\"\n\n> You ask the dryad about the moon\nThe dryad stares whimsically at the moon, \"Look how it shines so pure and white as it bursts from the night. Lo, what a sight!\"\n\n> You climb the dryad\nYou consider moving closer. But on second thought, you imagine it might be most unpleasant if the dryad were to actually eat you as he so casually mentioned.\n\n> You go to the west\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> You go to the northwest\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> You look at the stones\nThe tall rock pile is made up of hundreds and hundreds of small, grey rounded stones.\n\n> You get the stones\nYou take a handful of the round, grey rocks, but they soon become unwieldy. Since you cannot find a suitable place to keep any more than a handful, you have to stop at that.\n\n> Rub stones\n(the rock pile)\nLittle is changed by this.\n\n> Go southeast\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> You go to the east\nThe oak dryad peers down at you as you stand in this small clearing in the dark wood. The moonlight filters through his dark bare branches and makes unusual patterns on the snowy ground. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\nA lit lantern hangs just within your reach from one of the long twisted branches of the oak.\n\n> Light candle\nIf you were to light the candle, the melting wax would surely burn you. Besides, the candle is small, made more for decoration than illumination.\n\n> Go northwest\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> Go north\nThe terrain is just too difficult in that direction.\n\n> You go to the west\nInside the cave, you can barely make out the shapes within this chamber. The moonlight trickles in barely illuminating the metal tracks upon which the cart rolls. The tracks appear to originate from somewhere in a tunnel to the north and then divide here in this chamber. One set of tracks leads back out to the east while the other continues into a tunnel to the southwest. Near the junction of the tracks, you can barely see a tall metal lever reflecting in the moonlight.\n\n> You go to the south-west\nAlas! It is much too dark to see deeper within the mine. The moonlight barely illuminates this chamber as it is.\n\n> You examine the lever\nThe long metal lever is connected to the tracks near the junction. It is tipped slightly from vertical in one direction.\n\n> You pull the lever\nYou grab ahold of the long lever and pull with all of your might. With the groaning of rusted metal, the lever slowly moves. You notice that the tracks are now connected from the tunnel to the north to the tunnel to the southwest.\n\n> Wait\nTime passes.\n\n> You check your inventory\nYou are carrying:\na handful of grey stones\nhandsome leather shoes\na candle stick\n\nYou hear the faint grinding of the miner's cart on the tracks as it returns from the tunnel to the north. The cart rolls into the cave and follows the tracks which now lead into the cave to the southwest. The dwarf passes by oblivious to your presence.\n\n> You pull the lever\nYou hear the squeaky wheels of the miner's cart rapidly approaching and decide it best to step away from the tracks.\n\nThe dwarf pushing the old miner's cart reappears at the tunnel entrance and passes by apparently uninterested in your presence. He and the cart vanish from view into the tunnel to the north.\n\n> You check your inventory\nYou are carrying:\na handful of grey stones\nhandsome leather shoes\na candle stick"
    },
    {
        "text": "[Themes: Seasonal, Fantasy, Children's, winter]\n\n> You look around\nInside the cave, you can barely make out the shapes within this chamber. The moonlight trickles in barely illuminating the metal tracks upon which the cart rolls. The tracks appear to originate from somewhere in a tunnel to the north and then divide here in this chamber. One set of tracks leads back out to the east while the other\n\n> You examine the track\ncontinues into a tunnel to the southwest. Near the junction of the tracks, you can barely see a tall metal lever reflecting in the moonlight.\n\nYou cannot seem to find that here.\n\n> You look at the tracks\nThe metal tracks split at a junction in the center of this cave. Leading into the cave from a tunnel to the north, one line of tracks leads into the darkness of the southwestern tunnel, and the other leads out of the cave to the east. The dim silver moonlight reflects off of the long think metal strips with an eerie bluish sheen.\n\n> You go east\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\n> Go east\nThe vast expanse of snowy hills continue in nearly all directions. A tall mountain rises to the west, and you can barely make out the forest edge to the southeast.\n\n> You throw the stones at the dryad\nThat would hardly help the situation.\n\n> Go east\nA path, outlined upon the snow-covered ground by two rows of stones, begins here and continues to the southeast. Moonbeams streak through the tops of the giant fir trees illuminating your way.\n\n> Go southeast\nYou are standing in the middle of a stone lined path that leads through the snow-covered forest from the northwest to the east. To the north, the ground dips down much lower than the path upon which you now stand.\n\n> You go east\nThe front of a small wooden cottage faces to the west on the far side of this forest clearing. Without the concealing canopy of branches, you see shiny points of light twinkle in the dark sky. The underbrush has grown thick in this area, but it has been cleared away to the east and also looks passable to the southeast. The stone-lined path leads back into the forest to the west.\n\n> You examine the cottage\nThe cottage is of modest size and made almost entirely of dark, coarse wood. The windows appear to be covered from the inside by thick curtains and appear very dark. Ashen-grey smoke curls up out of the chimney and drifts out of the clearing on the cool winter breeze.\n\n> You examine the stars\nThe midnight sky is blanketed with thousands of brilliantly shining points of starlight.\n\n> You go east\nYou cautiously make your way up to the front door.\n\nThe wooden floorboards creak and groan as you tread upon them. The front door is closed to the east, and a short flight of steps lead back to the forest clearing.\n\n> You examine the door\nThe door is made of strong, thick wood and is carved with decorative swirls. The door handle is a shiny round knob, and underneath it you spot a large keyhole from which a soft warm light emanates.\n\n> You look through the keyhole\nYou peer into the keyhole and see a narrow vision of the room beyond. The cottage appears cozy and well decorated with large comfy furniture and splendid knickknacks. A roaring fire casts pulsating shadows about the room.\n\n> You examine the floorboards\nThe wooden floorboards creak and groan as you tread upon them. The front door is closed to the east, and a short flight of steps lead back to the forest clearing.\n\n> You look at the steps\nThe steps lead down to the forest clearing.\n\n> Go north\nThe porch is surrounded by a wooden railing except for the steps to the west.\n\n> You examine the underbrush\nThe underbrush has grown wild in some patches throughout the forest.\n\n> You go southeast\nThe forest thins slightly near this side of the house, but traversal in this area is hindered by the dense underbrush. From this vantage point, you can see that the wooden cottage to the north sits up above the ground on short stilts.\n\n> You go north\nYou crouch down and crawl under the cottage. You soon discover a gap in the foundation that is nearly tall enough for you to stand in.\n\nThis is a dark crawl space beneath the wooden cottage. When you try to stand upright, you nearly bang your head upon a wooden surface above you. As you look up at the ceiling of this crawl space, you see faint streaks of yellow light seeping through the wooden ceiling in the pattern of a large rectangle.\n\n> You look at the couch\nThe couch is much more luxurious than anything that would be in your parent's house. In fact, this entire room is cozy and comfortable.\n\n> You search knickknacks\nAll of these items are probably very important to whomever lives here.\n\n> You look at the kettle\nYou try to lean over the kettle to see the water inside, but the rising steam is simply too hot.\n\n> You look at the dome\nThe large glass dome has an ornately carved base made up of three rings. The translucent blue spheres within click against the glass dome as they move about in mesmerizing swirls.\n\n> You examine the spheres\nThe small orbs are translucent fist-sized spheres that have a silvery bluish cast when light reflects from their smooth, shiny surfaces. The orbs churn about within the dome encasement almost as if looking for an escape.\n\n> Open dome\nYou pull upon the glass dome, but it will not budge. It appears to be locked.\n\n> You examine the wardrobe\nA tall wooden wardrobe stands against one of the cottage walls. The wardrobe doors are closed.\n\n> You open it\nThe wardrobe doors creak as you open them.\n\n> You look in it\nPeering inside of the dark wardrobe, you see several curious items of clothing hanging inside. A pair of slippers and boots have been stashed in the back corner of the wardrobe. Along the back wall of the wardrobe, you notice several rows of shelves.\n\n> You examine the slippers\nThe clothing most likely belongs to the owner of the house. None of the clothes or shoes stored in the wardrobe are your size. You poke about through the clothes but find nothing else.\n\n> You examine the shelves\nResting upon one of the shelves at the back of the wardrobe is a fine black top hat which seems of quite a different style then the other wardrobe items.\n\n> You examine the top hat\nThe black top hat is finely crafted of smooth black silk. A royal blue silk band encircles the brow. As you stare at the hat, it appears special somehow.\n\n> You take it\nTaken.\n\n> You wear it\nYou put on the top hat and imagine yourself looking quite handsome while attending a fancy ball.\n\n> You remove it\nYou take off the fine black top hat.\n\n> Close wardrobe\nYou close the wardrobe."
    },
    {
        "text": "[Themes: Fantasy, Children's, Seasonal, kid-friendly, child protagonist, female protagonist]\n\n> You look at your surroundings\nThe cottage is warm and cozy. Burning candles resting in sconces along the walls twinkle brightly illuminating the room in flickering yellow light. The cottage appears to be just a one-room dwelling. The front door is closed to the west. A large walk-in wardrobe has been pushed up against one of the walls; its door is closed. The portion of the room near the trap door would seem to serve as the kitchen equipped with cupboards from which hang cups and saucers. Near the center of the room stands a modest table surrounded by a few chairs. Centered in the middle of the table is a large glass dome filled with many translucent spheres that glisten in the firelight. Aside from various knickknacks strewn about, you notice a large couch with fluffy pillows facing the fireplace. A large black kettle hangs in the fireplace above a raging fire.\n\n> You examine the rings\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a star, the middle ring etching is a wreath, and the bottom ring etching is a toy horse.\n\n> You open the wardrobe\nThe wardrobe doors creak as you open them.\n\n> You look at the table\nIt is simply a plain, wooden table.\n\n> You look at the fireplace\nThe large fireplace is made of red bricks. A long, thin stocking has been hung from the mantle. A raging fire blazes in the hearth causing the kettle's water to boil ferociously.\n\n> You examine the stocking\nThe brown stocking is long and thin.\n\n> You get it\nTaken.\n\n> Wear stocking\nThe stocking is much too big for you.\n\n> Inventory\nYou are carrying:\na stocking\na fine black top hat\na handful of grey stones\nhandsome leather shoes\na candle stick\n\n> You examine stones\nThe grey stones are small and spherical.\n\n> You examine the arrow\nThe arrow carved upon the bottom support of the dome points inward giving significance to the column of carvings centered just above the tip.\n\n> You turn ring\nWhich do you mean, the top ring, the middle ring or the bottom ring?\n\n> You look at the top ring\nThe top ring of the dome's base has four equidistant carvings around its perimeter. As you circle the dome to the right, you see carvings which resemble a star, a wreath, a candy cane, and a figure of a toy horse.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a star, the middle ring etching is a wreath, and the bottom ring etching is a toy horse.\n\n> You examine middle ring\nThe middle ring of the dome's base has four equidistant carvings around its perimeter. As you circle the dome to the right, you see carvings which resemble a wreath, a candy cane, a toy horse, and a figure of a star.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a star, the middle ring etching is a wreath, and the bottom ring etching is a toy horse.\n\n> You turn the top ring\nYou turn the top ring to the right and it clicks into place once offset by a quarter turn. Simultaneously, the middle ring moves one quarter turn to the right as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a wreath, the middle ring etching is a candy cane, and the bottom ring etching is a toy horse.\n\n> You turn the bottom ring\nYou turn the bottom ring to the right and it clicks into place once offset by a quarter turn. Simultaneously, the top ring moves one quarter turn to the right as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a candy cane, and the bottom ring etching is a star.\n\n> You turn middle ring\nYou turn the middle ring to the left and it clicks into place once offset by a quarter turn. Simultaneously, the bottom ring moves one quarter turn to the left as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a wreath, and the bottom ring etching is a toy horse.\n\nYou turn the middle ring to the left and it clicks into place once offset by a quarter turn. Simultaneously, the bottom ring moves one quarter turn to the left as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a star, and the bottom ring etching is a candy cane.\n\n> You look at the top ring\nThe top ring of the dome's base has four equidistant carvings around its perimeter. As you circle the dome to the right, you see carvings which resemble a star, a wreath, a candy cane, and a figure of a toy horse.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a star, and the bottom ring etching is a candy cane.\n\n> You look at the middle ring\nThe middle ring of the dome's base has four equidistant carvings around its perimeter. As you circle the dome to the right, you see carvings which resemble a wreath, a candy cane, a toy horse, and a figure of a star.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a star, and the bottom ring etching is a candy cane.\n\n> You examine the bottom ring\nThe bottom ring of the dome's base has four equidistant carvings around its perimeter. As you circle the dome to the right, you see carvings which resemble a toy horse, a star, a wreath, and an etching of a candy cane.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a candy cane, the middle ring etching is a star, and the bottom ring etching is a candy cane.\n\n> Turn bottom\nYou turn the bottom ring to the right and it clicks into place once offset by a quarter turn. Simultaneously, the top ring moves one quarter turn to the right as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a toy horse, the middle ring etching is a star, and the bottom ring etching is a toy horse.\n\n> Turn bottom\nYou turn the bottom ring to the right and it clicks into place once offset by a quarter turn. Simultaneously, the top ring moves one quarter turn to the right as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a star, the middle ring etching is a star, and the bottom ring etching is a star.\n\n> You look at the baubles\nSome of the bluish orbs float serenely by as if corks upon the ocean while others tumble and twirl through the air as if trying to occupy every square inch of available space in the cottage at least once.\n\n> You take them\nYou reach for one of the baubles floating close by, but just as you are about to capture it, the orb deftly swirls out of your grasp. It circles you almost tauntingly and then floats away.\n\n> You look in dome\nThe glass dome has retreated into its ornately carved base."
    },
    {
        "text": "> You look around\nThe cottage is warm and cozy. Burning candles resting in sconces along the walls twinkle brightly illuminating the room in flickering yellow light. The cottage appears to be just a one-room dwelling. The front door is closed to the west. A large walk-in wardrobe has been pushed up against one of the walls; its door hangs open. The portion of the room near the trap door would seem to serve as the kitchen equipped with cupboards from which hang cups and saucers. Near the center of the room stands a modest table surrounded by a few chairs. Centered in the middle of the table is a large glass dome that is now empty. Aside from various knickknacks strewn about, you notice a large couch with fluffy pillows facing the fireplace. A large black kettle hangs in the fireplace above a raging fire.\n\nMany beautiful blue, translucent orbs float and lilt through the air inside this cozy cottage.\n\n> You get the candle\n(the candles)\nThe candles are fixed in place by candle holders that are securely fastened to the walls. Besides, the hot wax would surely burn you.\n\n> You open the cupboards\nYou open the cupboards.\n\n> You take dome\nYou have already opened the glass dome.\n\n> Sing\nYour sing joyously into the open air.\n\n> You look at the door\nWhich do you mean, the trap door or the front door?\n\n> Front\nThe door is made of strong, thick wood and is carved with decorative swirls. The door handle is a shiny round knob, and underneath it you spot a large keyhole.\n\n> You unlock the front door\nWhat do you want to unlock the front door with?\n\n> Candle\n(the candle stick)\nLocking or unlocking the cottage door would seem to require a key.\n\n> You look through the keyhole\nYou look out of the keyhole into a snowy forest illuminated by the pale moonlight. It is a winter wonderland!\n\n> You look in the stocking\nThe brown stocking is long and thin.\n\n> You put the stones in the stocking\nYou put the handful of rocks into the stocking.\n\n> You get the stocking\nBut, you already have that.\n\n> You catch the baubles\nYou reach for one of the baubles floating close by, but just as you are about to capture it, the orb deftly swirls out of your grasp. It circles you almost tauntingly and then floats away."
    },
    {
        "text": "[Themes: Seasonal, Children's, Fantasy, Christmas, kids]\n\n> Go downward\nYou open the trap door and climb down. The trap door closes behind you.\n\nThis is a dark crawl space beneath the wooden cottage. When you try to stand upright, you nearly bang your head upon a wooden surface above you. As you look up at the ceiling of this crawl space, you see faint streaks of yellow light seeping through the wooden ceiling in the pattern of a large rectangle.\n\n> You go south\nThe forest thins slightly near this side of the house, but traversal in this area is hindered by the dense underbrush. From this vantage point, you can see that the wooden cottage to the north sits up above the ground on short stilts.\n\n> You go east\nThe underbrush is too dense in that direction.\n\n> You examine the path\nSomeone has made a path through the woods by meticulously laying out two rows of stones. The stone-lined path leads back into the snowy forest to the west.\n\n> You look at the stones\n(the stone-lined path)\nSomeone has made a path through the woods by meticulously laying out two rows of stones. The stone-lined path leads back into the snowy forest to the west.\n\n> Go north\nYou step over the row of stones and climb down into the forest vale. The air is much warmer here.\n\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\nIn the firefly light, you see a bed of strikingly beautiful white poinsettias. Little flying fairies dance and sing on the flower petals. You glance about the area and notice that this forest vale continues to the east.\n\n> You examine the fairies\nThe fairies dance in the firefly light playing games, singing, and laughing. You spy a group of them playing hide and seek among the poinsettias, while others seem to be having flying races with the fireflies.\n\n> Hello\nA few of the fairies hear you and fly over to you. They swirl about your head in dizzying circles and play with strands of your hair, while chanting, \"Hello! Goodbye! Hello! Goodbye!\"\n\n> You ask the fairies about dryad\nGiggles swirl through the air as the fairies dart about and circle around you. \"He's big and scary, but don't let that fill you with fear. He is only brimming with solstice cheer!\" The fairies scatter and fly about in different directions.\n\n> You examine the flowers\nFlower fairies play gaily on the petals of the white poinsettias. When a firefly passes close by to one of the flowers close by, you notice a little wand resting on its petals.\n\n> You examine the wand\nThe wand resting on the flower petal appears to belong to the fairies, but none are looking after it at the moment. The wand appears to be bluish in color.\n\n> You get the wand\nYou reach for the little wand, but just as you are about to grasp it, one of the flower fairies darts through the air and swats your fingers with his wand. Another fairy rushes over as well and chides her companion in a bell-like high-pitched voice, \"You must take better care to guard the wands!\" A little later, you see the fairies become distracted by a game the others seem to be playing with the light bugs and fly off to join in.\n\n> You go east\nForest Vale (East)\nThe sunken vale continues back to the west. Fireflies dance about in the air on this side of the vale as well illuminating the space beneath the thick covering of branches above. Another bed of white poinsettia flowers grows here in the soft earth.\n\n> You look at the flowers\nThe patch of white poinsettias shines beautifully in the blue-green firefly light.\n\n> You get the flower\nThe white poinsettias look so fresh and beautiful that you decide to leave them to grow in peace.\n\n> You catch the fireflies\nYou do your best to capture one of the fireflies, but they fly away from you too quickly. They look more lovely from a distance anyway.\n\n> You look at the fireflies\nThe fireflies zip about this forest vale. Their illuminated bodies blink serenely on and off and bathe this entire area in soft blue-green light.\n\n> You look at the branches\nThe forest is full of magnificent tall fir trees. They fill the wood with a wonderful fresh pine scent.\n\n> You go west\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\nIn the firefly light, you see a bed of strikingly beautiful white poinsettias. Little flying fairies dance and sing on the flower petals. You glance about the area and notice that this forest vale continues to the east.\n\n> You ask Fairies,  to go east\nThey merely laugh and fly in chaotic circles around your head.\n\n> You take the wand\nYou reach again for the wand, but just at the last moment, one of the fairies dashes through the air and shoots dazzling light rays toward you from her green wand. The brilliant flashings cause you to take several steps backwards. The fairy twirls a few times in the air, nods in satisfaction, and flies back to the others.\n\n> You go to the south\nYou carefully climb up the slope and step back into the stone-lined path. The chill of the blowing breeze sends shivers up your spine.\n\nYou are standing in the middle of a stone lined path that leads through the snow-covered forest from the northwest to the east. To the north, the ground dips down much lower than the path upon which you now stand.\n\n> You go to the northwest\nA path, outlined upon the snow-covered ground by two rows of stones, begins here and continues to the southeast. Moonbeams streak through the tops of the giant fir trees illuminating your way.\n\n> You go north\nThe powdery white snow has become slushy in this direction, and you sink in to your knees. You can scarcely make out the silhouettes of the forest trees against the starry midnight sky to the south and southwest. The gleaming snow-covered hills continue to the west.\n\n> You go to the west\nSnow covered peaks and valleys continue to the horizon as far as your eyes can see while the midnight sky above is speckled with fine points of light. The snowy hills continue all across the northern horizon and the forest lies to the south.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You go to the north\nYou walk up and down the nearby snowy hills, but soon become lost and eventually find yourself back where you started.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> Go south\nThe oak dryad peers down at you as you stand in this small clearing in the dark wood. The moonlight filters through his dark bare branches and makes unusual patterns on the snowy ground. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\nA lit lantern hangs just within your reach from one of the long twisted branches of the oak.\n\n> Go south\nThe silvery moonlight softly illuminates the nearby branches of this dense forest and reflects from snowy patches along the cold ground. Although your range of sight is limited by the darkness, the brambles appear passable to the north and southwest. A glowing orb to the north sends streaks of yellow light through the gnarled branches.\n\n> You go southwest\nAs you walk to the southwest, the forest becomes much denser and more foreboding. The underbrush turns into a prickly thicket and you become hopelessly lost. You wander about for a time before finally reaching the edge of the dense forest again.\n\n> You go south\nAlas! The brambles are impassable in that direction.\n\n> You go south\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. Three large round snowballs have been stacked atop one another directly in front of one spot along the row of hedges. Two spindly twigs jut out on either side of the middle snowball.\n\n> You go east\nThe underbrush is too thick in that direction.\n\n> You go west\nYou walk up and down the nearby snowy hills, but soon become lost and eventually find yourself back where you started.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You look at the bell\nThe little golden bell is highly polished and has a lustrous sheen in the moonlight.\n\n> You ask the sprite about the bell\nThe snow imp cuddles the bell lovingly, \"So small, so shiny! My beautiful ... beautiful ... bell.\" He lets out a sudden giggle and starts waving it over his head tauntingly.\n\n> You ask the sprite about the snowman\nThe snowsprite stares at you with great attention as you speak. When you finish, he straightens up very seriously as if about to give a prophetic oration but says only, \"What?\"\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You take the stones\nYou retrieve the handful of rocks from the long, thin stocking.\n\n> You put hat on the snowball\nYou lay the black hat atop the snowman's bare head. He now looks much more handsome, but alas, he has no face!\n\n> You put the stones on the top snowball\nOn second thought, that just does not seem to be quite right.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> Inventory\nYou are carrying:\na handful of grey stones\na stocking\nhandsome leather shoes\na candle stick\n\n> You examine the hedges\nThe hedges that have grown to approximately twice your height have been formed into a neat row which runs northwest to southeast.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You go to the south-west\nAlas, the snowman is blocking your way.\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> Inventory\nYou are carrying:\na handful of grey stones\na stocking\nhandsome leather shoes\na candle stick\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> You give the stones to the snowman\nThe snowman does not seem interested.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You examine the top snowball\nThe snowman is made up of three stacked snowballs. Two twigs jut out of either side of the middle snowball to form his spindly arms. The snowman is now looking much more handsome now that you have adorned him with the fine black top hat.\n\n> You go north\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> You go to the west\nThe underbrush soon becomes too thick in that direction.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You go southwest\nThe underbrush soon becomes too thick in that direction.\n\n> You ascend\nYou push open the trap door and climb up into the cottage. The trap door swings closed with a thud behind you.\n\nThe cottage is warm and cozy. Burning candles resting in sconces along the walls twinkle brightly illuminating the room in flickering yellow light. The cottage appears to be just a one-room dwelling. The front door is closed to the west. A large walk-in wardrobe has been pushed up against one of the walls; its door hangs open. The portion of the room near the trap door would seem to serve as the kitchen equipped with cupboards from which hang cups and saucers. Near the center of the room stands a modest table surrounded by a few chairs. Centered in the middle of the table is a large glass dome that is now empty. Aside from various knickknacks strewn about, you notice a large couch with fluffy pillows facing the fireplace. A large black kettle hangs in the fireplace above a raging fire.\n\nMany beautiful blue, translucent orbs float and lilt through the air inside this cozy cottage.\n\n> You examine the fire\nWithin the fireplace, long fingers of orange flame lap at the bottom of the large black kettle inciting the water within to boil and churn.\n\n> You take the kettle\nYou are unable to move that.\n\n> You put the stones in the kettle\nYou toss the grey stones into the kettle. The water froths briefly, but nothing else seems to change. You try to lean over the kettle to see the grey stones inside, but the rising steam is simply too hot.\n\n> You pour the kettle on the fire\nAlas! That sentence is not understandable.\n\n> You put the stocking in the kettle\nYou worry that putting the stocking into the boiling water would destroy it.\n\n> You empty kettle\nAlas, the black kettle is scaldingly hot.\n\n> Inventory\nYou are carrying:\na handful of grey stones\na stocking\nhandsome leather shoes\na candle stick"
    },
    {
        "text": "[Themes: Seasonal, Children's, Fantasy, Christmas, kids]\n\n> Go downward\nYou open the trap door and climb down. The trap door closes behind you.\n\nThis is a dark crawl space beneath the wooden cottage. When you try to stand upright, you nearly bang your head upon a wooden surface above you. As you look up at the ceiling of this crawl space, you see faint streaks of yellow light seeping through the wooden ceiling in the pattern of a large rectangle.\n\n> You look at the snow\n(the snow)\nThe ground is covered in some places and dotted in others by fluffy white snow.\n\n> You check your inventory\nYou are carrying:\na handful of snow\na handful of grey stones\na stocking\nhandsome leather shoes\na candle stick\n\n> You put the snow in the stocking\n(the handful of snow in the stocking)\nYou decide to keep the handful of snow out of the stocking after all.\n\n> You put the snow in the fire\nThe snow instantly melts and then vaporizes in the orange flames. The fire dims briefly in the spot where the snow fell, but then quickly reignites and burns brightly.\n\n> Inventory\nYou are carrying:\na handful of grey stones\na stocking\nhandsome leather shoes\na candle stick"
    },
    {
        "text": "> You look around\nThe cottage is warm and cozy. Burning candles resting in sconces along the walls twinkle brightly illuminating the room in flickering yellow light. The cottage appears to be just a one-room dwelling. The front door is closed to the west. A large walk-in wardrobe has been pushed up against one of the walls; its door hangs open. The portion of the room near the trap door would seem to serve as the kitchen equipped with cupboards from which hang cups and saucers. Near the center of the room stands a modest table surrounded by a few chairs. Centered in the middle of the table is a large glass dome that is now empty. Aside from various knickknacks strewn about, you notice a large couch with fluffy pillows facing the fireplace. A large black kettle hangs in the fireplace above a raging fire.\n\nMany beautiful blue, translucent orbs float and lilt through the air inside this cozy cottage.\n\n> You empty kettle\nAlas, the black kettle is scaldingly hot.\n\n> You examine the fire\nWithin the fireplace, long fingers of orange flame lap at the bottom of the large black kettle inciting the water within to boil and churn.\n\n> You put the stones in the kettle\nYou toss the grey stones into the kettle. The water froths briefly, but nothing else seems to change. You try to lean over the kettle to see the grey stones inside, but the rising steam is simply too hot.\n\n> You look in the kettle\nYou try to lean over the kettle to see the water inside, but the rising steam is simply too hot."
    },
    {
        "text": "[Themes: Seasonal, Children's, Fantasy, Christmas, kids]\n\n> Go downward\nYou open the trap door and climb down. The trap door closes behind you.\n\nThis is a dark crawl space beneath the wooden cottage. When you try to stand upright, you nearly bang your head upon a wooden surface above you. As you look up at the ceiling of this crawl space, you see faint streaks of yellow light seeping through the wooden ceiling in the pattern of a large rectangle.\n\n> You go south\nThe forest thins slightly near this side of the house, but traversal in this area is hindered by the dense underbrush. From this vantage point, you can see that the wooden cottage to the north sits up above the ground on short stilts.\n\n> You go to the northwest\nSnow covered peaks and valleys continue to the horizon as far as your eyes can see while the midnight sky above is speckled with fine points of light. The snowy hills continue all across the northern horizon and the forest lies to the south.\n\n> You go west\nThe vast expanse of snowy hills continue in nearly all directions. A tall mountain rises to the west, and you can barely make out the forest edge to the southeast.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You go to the west\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> You take the stones\nYou scoop up a handful of the grey rocks, but hear the gnome returning from within the mine, so you quickly step away from the rock pile.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> You put the stones in the stocking\n(the handful of grey stones in the stocking)\nYou put the handful of rocks into the stocking.\n\n> You take the stones\n(the rock pile)\nYou scoop up a handful of the grey rocks, but hear the gnome returning from within the mine, so you quickly step away from the rock pile.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> Inventory\nYou are carrying:\na handful of grey stones\na stocking (which is empty)\nhandsome leather shoes\na candle stick\n\n> Go southeast\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> You take the cup\nThe wardrobe doors creak as you open them.\n\nYou cannot seem to find that here.\n\n> You enter the wardrobe\nThe wardrobe is much too small and cluttered.\n\n> You examine the fireplace\nThe large fireplace is made of red bricks. A raging fire blazes in the hearth causing the kettle's water to boil ferociously.\n\n> You examine the ceiling\n(the trap door)\nThe trap door is made of the same wood as the rest of the floor. There is a notch in one side which provides a grip so that it may be raised.\n\n> You examine the saucer\nThe kitchen is equipped with ordinary household items.\n\n> You take the cups\nYou are unable to move that.\n\n> You turn the bottom ring\nYou turn the bottom ring to the right and it clicks into place once offset by a quarter turn. Simultaneously, the top ring moves one quarter turn to the right as well.\n\nThe etchings of the vertically stacked rings line up in four columns at equal distances around the circumference. Looking at the column of etchings above the embossed arrow, the top ring carving resembles a wreath, the middle ring etching is a star, and the bottom ring etching is a wreath.\n\n> You sit on the couch\nThe couch pillows are soft and cushy. You relax and feel the warmth of the fire. You let out a blissful sigh before standing back up again to continue exploring the cottage.\n\n> You sit on the chair\nYou sit down upon the chair, drum your fingers on the table, and then get back to exploring the cabin.\n\n> You listen\nYou strain to hear the song of an owl off in the distance.\n\n> You listen\nYou stand perfectly still for as long as you can bear it.\n\n> You go west\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\nIn the firefly light, you see a bed of strikingly beautiful white poinsettias. Little flying fairies dance and sing on the flower petals. You glance about the area and notice that this forest vale continues to the east.\n\n> You ask the fairies about the imp\nOne of the fairies flies close by and crosses his arms, \"That snow imp has played one too many a trick. An errant snowball buried dear Dereshel dashedly quick!\" After shaking his head in dismay, he flies back with the others.\n\n> You go to the south\nYou carefully climb up the slope and step back into the stone-lined path. The chill of the blowing breeze sends shivers up your spine.\n\nYou are standing in the middle of a stone lined path that leads through the snow-covered forest from the northwest to the east. To the north, the ground dips down much lower than the path upon which you now stand.\n\n> You throw the snow at the fairies\nThe fairies dart out of the way of your flying snowball. From behind, you hear a high-pitched, \"Hmph!\" and are doused by a momentarily blinding ray of sparkling fairy light.\n\n> You take the wand\nYou reach again for the wand, but just at the last moment, one of the fairies dashes through the air and shoots dazzling light rays toward you from her green wand. The brilliant flashings cause you to take several steps backwards. The fairy twirls a few times in the air, nods in satisfaction, and flies back to the others.\n\n> You go to the south-west\nThe underbrush soon becomes too thick in that direction.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You listen\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You wait for a while\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You put the stones in the snow\n(the snow)\nThat does not seem to be able to contain anything.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\nYour handful of snow finally melts and slips through your fingers.\n\n> Go west\nThe underbrush soon becomes too thick in that direction.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away."
    },
    {
        "text": "[Themes: Children's, Fantasy, Seasonal, kids, kid-friendly, child protagonist]\n\n> You describe your surroundings\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You take the snow\n(the snow sprite)\nThe little snow sprite is much too quick for you.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You take the snow\nYou reach down and pick up a handful of snow.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You go south\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. A snowman stands here in front of the hedges.\n\n> Wait\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You wait for a while\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> Wait\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nYour handful of snow finally melts and slips through your fingers.\n\n> You get the snow\n(the snow)\nYou reach down and pick up a handful of snow.\n\n> Wait\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> You wait awhile\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\nYour handful of snow finally melts and slips through your fingers."
    },
    {
        "text": "[Themes: Seasonal, Children's, Fantasy, kid-friendly]\n\n> You look around\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. A snowman stands here in front of the hedges.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> Wait\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You throw the snow at the sprite\n(the handful of snow at the snow sprite)\nYou hurl the handful of snow at the little sprite. He lurches to the side to avoid being pelted. Even though the sprite is much to quick to be hit, he seems to have a newfound respect for you ... for a moment. But, then he pokes his tongue out at you and continues with his usual antics.\n\n> You get the snow\n(the snow sprite)\nThe little snow sprite is much too quick for you.\n\n> You get snowball\nYou push and pull on round snowballs, but they do not seem to budge. You try even harder, but stop when you hear a muffled yelp.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills."
    },
    {
        "text": "> Look around\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. A snowman stands here in front of the hedges.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You use the stones\nYou will have to be more specific.\n\n> You get the snow\nYou reach down and pick up a handful of snow.\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> You put the snow on the snowman\n(the handful of snow on the snowman)\nOn second thought, that just does not seem to be quite right."
    },
    {
        "text": "> You look around\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. A snowman stands here in front of the hedges.\n\n> You go east\nThe underbrush is too thick in that direction.\n\n> You go north\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> Go east\nThe oak dryad peers down at you as you stand in this small clearing in the dark wood. The moonlight filters through his dark bare branches and makes unusual patterns on the snowy ground. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\nA lit lantern hangs just within your reach from one of the long twisted branches of the oak.\n\nYour handful of snow finally melts and slips through your fingers.\n\n> Go east\nA path, outlined upon the snow-covered ground by two rows of stones, begins here and continues to the southeast. Moonbeams streak through the tops of the giant fir trees illuminating your way.\n\n> You search the snow\nThe hills are completely covered by a thick layer of snow. You feet sink in quite a bit when you walk.\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> You examine the hills\nThe powdery white snow has become slushy in this direction, and you sink in to your knees. You can scarcely make out the silhouettes of the forest trees against the starry midnight sky to the south and southwest. The gleaming snow-covered hills continue to the west.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> Wait\nA gentle breeze tosses about the thin fabric of your dress.\n\n> You go northwest\nIn the hemisphere of your sight, the horizon to your feet is a blur of white peaks and valleys, while the entire starry sky above is a deep midnight blue that is pierced by the gleaming full silvery moon.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You go to the north\nYou wander up and down the snow-covered hills, but eventually find yourself back where you started.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You go east\nThe powdery white snow has become slushy in this direction, and you sink in to your knees. You can scarcely make out the silhouettes of the forest trees against the starry midnight sky to the south and southwest. The gleaming snow-covered hills continue to the west.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You go to the north-east\nThe forest has thinned in this area at the foothills of a great mountain range that lies to the north. In the moonlight, you see that the undergrowth has thinned to the southwest which leads toward the forest. A small hole, barely noticeable in the shadows, extends into the mountain directly to the north.\n\n> You examine the hole\nThe hole is incredibly dark and menacing.\n\n> You go north\nThe hole is incredibly dark and menacing, so you decide against entering.\n\n> Go west\nYou see the dwarf retreat into the darkness of the tunnel to the north as he pushes the old rusty miner's cart.\n\nInside the cave, you can barely make out the shapes within this chamber. The moonlight trickles in barely illuminating the metal tracks upon which the cart rolls. The tracks appear to originate from somewhere in a tunnel to the north and then divide here in this chamber. One set of tracks leads back out to the east while the other continues into a tunnel to the southwest. Near the junction of the tracks, you can barely see a tall metal lever reflecting in the moonlight.\n\n> You wait a while\nTime passes.\n\nYou hear the faint grinding of the miner's cart on the tracks as it returns from the tunnel to the north. The cart rolls into the cave and follows the tracks which now lead into the cave to the southwest. The dwarf passes by oblivious to your presence.\n\n> Wait\nTime passes.\n\nThe miner's cart emerges from the tunnel to the southwest and rides upon the tracks until it crosses over the junction. The dwarf then hobbles around to the other side of the cart and stops its motion. He emerges from the back side of the cart and pulls the lever back. A loud clap thunders through the caves as the track is connected back to the tracks leading east. As he pushes the cart out of the mine, the dwarf curves his mouth downward in a mean pout and narrows his beady black eyes at you.\n\n> Go east\nYou pass by the dwarf pushing his empty cart as you exit the cave.\n\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\n> You examine the pile\nThe tall rock pile is made up of hundreds and hundreds of small, grey rounded stones.\n\n> You get the stones\n(the rock pile)\nYou scoop up a handful of the grey rocks, but hear the gnome returning from within the mine, so you quickly step away from the rock pile.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> Go east\nThe vast expanse of snowy hills continue in nearly all directions. A tall mountain rises to the west, and you can barely make out the forest edge to the southeast.\n\n> You give the stones to the dryad\n\"But so dull and lifeless be the lot, you must now make them piping hot!\" The dryad peers at you discriminatingly, \"But what's this? You have so few! No, no little one, that will never do.\"\n\n> You put the stocking on the fireplace\nYou put the stocking on the mantle.\n\n> Inventory\nYou are carrying:\nhandsome leather shoes\na candle stick\n\n> You look in the stocking\nThe brown stocking is long and thin.\n\n> You examine the mantle\nThe large fireplace is made of red bricks. A raging fire blazes in the hearth causing the kettle's water to boil ferociously. On the mantle, you see a stocking, inside which contains a handful of grey stones.\n\n> Tie stocking\nWhat do you want to tie the stocking to?\n\n> You take the stocking\nTaken.\n\n> You go to the north-west\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nThe vast expanse of snowy hills continue in nearly all directions. A tall mountain rises to the west, and you can barely make out the forest edge to the southeast.\n\n> You fill the stocking with the stones\n(the rock pile)\nYou scoop up a handful of the round rocks, but hear the gnome returning from within the mine, so you quickly step away from the rock pile.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> You fill the stocking with stones\n(the rock pile)\nYou quickly fill the stocking with as many of the round grey stones as you can.\n\n> Go southeast\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\n> You go southeast\nThe underbrush soon becomes too thick in that direction.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You put the stocking in the kettle\nYou empty the stockingful of grey stones into the boiling water which instantly froths and churns. The water hisses furiously and then bubbles up over the rim of the kettle. The hot liquid flows over the side of the black kettle and falls onto the tall orange flames below. You stand back as clouds of steam and soot pour forth from the hearth. When the steam clears, you see the flames have been extinguished.\n\nAs the warm air in the room begins to escape through the chimney now that the burning fire has been extinguished, the baubles which had been placidly lilting about the room suddenly rush to the fireplace and in an instant are swept up into the chimney and out the top. You rush over to one of the windows and pull back the drape. You can see the baubles, with their perfectly rounded surfaces shining in the moonlight, up high in the air and slowly drifting to the northwest.\n\n> Inventory\nYou are carrying:\na stocking\nhandsome leather shoes\na candle stick\n\n> You go northwest\nThe front of a small wooden cottage faces to the west on the far side of this forest clearing. Without the concealing canopy of branches, you see shiny points of light twinkle in the dark sky. The underbrush has grown thick in this area, but it has been cleared away to the east and also looks passable to the southeast. The stone-lined path leads back into the forest to the west. The windows of the cottage appear dark, but curls of smoke billow from the chimney.\n\n> You ask the dryad about yourself\nThe dryad looks down at you with mischievous eyes and exclaims, \"Children? Ah, yes I've seen a few. And over the years, I may have eaten one or two!\"\n\n> You ask the dryad about the dryad\n\"A deep booming voice responds, \"I am the dryad that guards this tree, now be on your way and let me be!\"\n\nYou suddenly hear a rustling above you, but before you can react, you are pummeled by clumps of snow as the icy patches are dislodged from the branches above.\n\n> You ask the dryad about the lantern\n\"No, no!\" chides the oak, \"I need this pretty glowing light to show my cheer for solstice night!\"\n\n> Go north\nIn the hemisphere of your sight, the horizon to your feet is a blur of white peaks and valleys, while the entire starry sky above is a deep midnight blue that is pierced by the gleaming full silvery moon.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> Go east\nSnow covered peaks and valleys continue to the horizon as far as your eyes can see while the midnight sky above is speckled with fine points of light. The snowy hills continue all across the northern horizon and the forest lies to the south.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You look at the sky\nThe night sky is a marvelous shade of midnight blue. It is the perfect backdrop for the thousands of scintillating points of starlight.\n\n> Go east\nThe powdery white snow has become slushy in this direction, and you sink in to your knees. You can scarcely make out the silhouettes of the forest trees against the starry midnight sky to the south and southwest. The gleaming snow-covered hills continue to the west.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You go northeast\nThe snow is far too cold and wet to travel upon in that direction.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath."
    },
    {
        "text": "> You fill the stocking with the stones\nYou have already taken a large quantity of the gnome's ore. It would be impolite to remove any more.\n\n> You go southeast\nYou are standing in the middle of a stone lined path that leads through the snow-covered forest from the northwest to the east. To the north, the ground dips down much lower than the path upon which you now stand.\n\nYou suddenly hear a rustling above you, but before you can react, you are pummeled by clumps of snow as the icy patches are dislodged from the branches above.\n\n> You go east\nThe front of a small wooden cottage faces to the west on the far side of this forest clearing. Without the concealing canopy of branches, you see shiny points of light twinkle in the dark sky. The underbrush has grown thick in this area, but it has been cleared away to the east and also looks passable to the southeast. The stone-lined path leads back into the forest to the west. The windows of the cottage appear dark, but curls of smoke billow from the chimney.\n\n> Go east\nThe wooden floorboards creak and groan as you tread upon them. The front door is closed to the east, and a short flight of steps lead back to the forest clearing.\n\n> Go up\nYou push open the trap door and climb up into the cottage. The trap door swings closed with a thud behind you.\n\nThe cottage is warm and cozy. Burning candles resting in sconces along the walls twinkle brightly illuminating the room in flickering yellow light. The cottage appears to be just a one-room dwelling. The front door is closed to the west. A large walk-in wardrobe has been pushed up against one of the walls; its door hangs open. The portion of the room near the trap door would seem to serve as the kitchen equipped with cupboards from which hang cups and saucers. Near the center of the room stands a modest table surrounded by a few chairs. Centered in the middle of the table is a large glass dome that is now empty. Aside from various knickknacks strewn about, you notice a large couch with fluffy pillows facing the fireplace.\n\nSoft pink and blue lights emanate from the black kettle in the fireplace as it hangs above smoldering embers.\n\n> You look in the kettle\nYou peer over the lip of the kettle and see dazzling pastel colors emanating from the round rocks. Shimmering hues of pinks, purples, and blues brighten the darkened fireplace with magical light.\n\n> You take the rocks\nYou scoop the brightly glowing rocks out of the tepid water remaining in the kettle and fill the stocking with them.\n\n> Inventory\nYou are carrying:\na stocking\nshining fairy glow rocks (providing light)\nhandsome leather shoes\na candle stick\n\n> You give the rocks to the dryad\n(first taking shining fairy glow rocks)\nYou wouldn't be able to hold all of the glow rocks in your hands, so you decide to leave them in the stocking.\n\n> You give stocking to the dryad\nThe dryad peers into your opened stocking and his gaping eyes fill with glee. He exclaims, \"Well! Now there is one fine solstice treat! Oh, I'm so pleased our paths did meet! Now, take this lamp to light your way, and may the morrow bring you one fine solstice day!\" You hold the stockingful of glowing rocks to the dryad, and he scoops it up with one of his gangly limbs. The dryad then flings the opened stocking with a grand swooping motion sending the multitudes of glowing rocks high into the air. Where the brightly lit rocks land, he grasps them with surrounding twigs. The oak is lit with the brightly colored stones from tip to trunk in glowing purple, pink and blue hues. The dryad's eyes curve into blissful arcs and you can see his mouth curved in a huge grin. The branch supporting the lantern dips down well within your reach.\n\n> You take the lantern\nTaken.\n\nYou suddenly hear a rustling above you, but before you can react, you are pummeled by clumps of snow as the icy patches are dislodged from the branches above.\n\n> You go to the southwest\nThis large tunnel of rock leads out of the caves to the south and continues back into the caves to the northeast. Metal tracks line the center of the tunnel.\n\n> Go south\nDense foliage has surrounded the area at the mouth of the cave. The tracks lead out of the cave for few yards where they are buried under a large pile of coal that is illuminated in the moonlight.\n\n> You take the coal\nYou grab a handful of the black coal.\n\n> You check your inventory\nYou are carrying:\nlumps of black coal\na lantern (providing light)\nhandsome leather shoes\na candle stick\n\n> You put the coal on snowman\nAs soon as you put the coal pieces one by one on the top sphere of the snowman to form his eyes, nose, and mouth, the snowman begins to sway back and forth. A jolly voice suddenly emanates from the snowman. \"Whoopee!\" he cheers and begins to bounce up and down. The snowman bounces in a large circle around you singing over and over again, \"Oh how jolly it is to be, a snowman so fine as you can see.\" He giggles and laughs and spins 'round and 'round. Then off to the distant horizon he jumps in wild zigzags and fanciful twirls. You hear his voice trail off as he dances into the distance humming \"La, dee dee, dee da, dee dee!\" When his figure becomes a mere speck on the horizon, you turn around and notice that a distinct hole has been trimmed away from the thicket behind the spot where the snowman was standing to the southwest.\n\n> You go to the southwest\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> Go west\nSnow crunches beneath your feet when you walk down the pathway. The breezes are very gusty in this area as the wind blowing down from the night sky is funneled through the twists and turns of the hedge maze. Collected snow in the branches of the hedges is continually swept up by the breezes causing little snow flurries which gradually cover the footprints you leave behind.\n\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You go west\nThe row of hedges leads to the west and east.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> Go west\nThis hedge pathway has been shaped into a tidy corner leading to the east and south.\n\n> You go to the south\nThe only way out of this area is a pathway leading back to the north.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You examine angel\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. She gracefully kneels, looking down at you with a most serene expression.\n\n> You touch angel\nThe white stone is smooth and cold.\n\n> You go north\nThis hedge pathway has been shaped into a tidy corner leading to the east and south.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You go east\nThe row of hedges leads to the west and east.\n\n> Go east\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\n> You go southwest\nPowdery snow flurries toss your hair about as you walk down this pathway that leads to the northeast and to the south.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You go south\nOne pathway through the shaped hedges leads to the north, and two more lead to the southwest and southeast.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You examine angel\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The glorious angel looks skyward with majestically outstretched arms. Her long gown swirls as if in a gust of wind revealing her dainty slippers beneath.\n\nYou hear an impish high-pitched giggle approaching from the pathway to the north.\n\n> You examine the slippers\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The glorious angel looks skyward with majestically outstretched arms. Her long gown swirls as if in a gust of wind revealing her dainty slippers beneath.\n\nFootsteps softly crunch in the snow close by.\n\n> Clean angel\nLittle is changed by this.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They head toward the pathway to the southeast, then turn around and wave their arms motioning for you to follow. With an impish giggle, they disappear to the southeast leaving tiny footprints behind.\n\n> You get the slippers\nThe stone statue is quite massive and entirely to heavy for you to even budge.\n\n> You go southeast\nPathways lead through the hedge maze to the northwest, to the south and southwest.\n\nA trail of tiny footprints lead into this pathway from the northwest, but suddenly stop here in a most peculiar fashion.\n\n> You look at the footprints\nThe footprints in the snow are tiny and have very pointy toes; however, they are slowly filling in with the blowing powdered snow. The trail of footprints lead into this pathway from the northwest, but then abruptly stop here. The snow is completely undisturbed any where else save for your own foot trails.\n\n> Dig\nWhat do you want to dig?\n\n> You search the snow\nWhen the wind gusts, the snow that has gathered on the hedges blows down the pathways throughout the maze in puffs of snow flurries. Your footsteps are quickly filled in by the gusting snow.\n\n> You listen\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nAlas! The tiny footprints have become completely filled in by powdered snow.\n\n> Go southwest\nThe twists and turns of the green hedges look so much alike, that you loose your way. After walking and walking, you eventually find yourself back at the start of the hedge maze.\n\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You go west\nThe hedges arc gracefully from the southeast to the southwest. An additional pathway leads to the east.\n\n> Go southeast\nThe shaped hedges lead to the northwest, south, and east.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> Go east\nYou are in a small enclosed area with the only pathway leading back to the west.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You examine angel\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. With clasped hands, the angel looks peacefully down upon you.\n\n> Pray\nNothing seems to have changed.\n\n> You go south\nOne pathway through the shaped hedges leads to the north, and two more lead to the southwest and southeast.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You examine angel\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The glorious angel looks skyward with majestically outstretched arms. Her long gown swirls as if in a gust of wind revealing her dainty slippers beneath.\n\nYou hear an impish high-pitched giggle approaching from the pathway to the north.\n\n> Go southwest\nThe twists and turns of the green hedges look so much alike, that you loose your way. After walking and walking, you eventually find yourself back at the start of the hedge maze.\n\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> Go southwest\nPathways through the green hedges lead to the north, south, east, and northeast.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You go east\nThis is a small enclosed area with the only pathway leading back to the west.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You look at the angel\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The angel looks upward into the night sky and appears to be singing a most lovely hymn.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You look at the pedestal\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The angel looks upward into the night sky and appears to be singing a most lovely hymn.\n\n> You turn angel\nIt is fixed in place.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You ask the sprite about the bell\nThe snow imp cuddles the bell lovingly, \"So small, so shiny! My beautiful ... beautiful ... bell.\" He lets out a sudden giggle and starts waving it over his head tauntingly.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You take the snow\nYou reach down and pick up a handful of snow.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You throw the snow at the sprite\n(the handful of snow at the snow sprite)\nYou hurl the handful of snow at the little sprite. He lurches to the side to avoid being pelted. Even though the sprite is much to quick to be hit, he seems to have a newfound respect for you ... for a moment. But, then he pokes his tongue out at you and continues with his usual antics."
    },
    {
        "text": "[Themes: Children's, Fantasy, Seasonal, child protagonist, winter, female protagonist, kid-friendly]\n\n> Look around\nThis is a small enclosed area with the only pathway leading back to the west.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You go southwest\nAlas, the hedges block your way.\n\n> You go north\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You go northeast\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. At the center of this row of hedges is a neatly cut opening.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> Go north\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You go east\nThe oak dryad peers down at you as you as you stand in this small clearing in the dark wood. He seems to be humming softly with his deep throaty voice. Brightly glowing orbs of little pastel lights, accentuated against the midnight blue sky, fill the branches of the oak. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\n> Go north\nYou crawl on your belly through the tunnel which is illuminated by the lantern you carry. After a time, you see a brighter light ahead and keep crawling until you find yourself on the other side of the mountain.\n\nStretching out before you is a vast expanse of flat white ice brilliantly shimmering in the silvery moonlight. Straining to see the shadowy horizon of the stark ice in contrast to the dark starlit sky, you notice a cluster of dark trees off to the northwest. A small dark hole in the mountainside opens directly south.\n\nA long wooden pole, partially covered in powdery white snow, has been propped on the mountainside close by.\n\n> You check your inventory\nYou are carrying:\na lantern (providing light)\nhandsome leather shoes\na candle stick\n\n> You examine the pole\nThe long wooden pole is about one and a half times your height.\n\n> You examine the floes\nLarge, beautiful ice floes cover the surface of this gigantic frozen lake. The silvery moonlight reflects brilliantly off of the stark white sheets of ice."
    },
    {
        "text": "[Themes: Seasonal, Children's, Fantasy, kid-friendly, Christmas]\n\n> Look around\nStretching out before you is a vast expanse of flat white ice brilliantly shimmering in the silvery moonlight. Straining to see the shadowy horizon of the stark ice in contrast to the dark starlit sky, you notice a cluster of dark trees off to the northwest. A small dark hole in the mountainside opens directly south.\n\n> Go northwest\nAs you leave the protective barrier of the southern mountain range, the cold breezes blowing over the surface of the ice tosses your simple skirt about in great billows chilling your legs and ankles.\n\nA gentle breeze swirls powdery white snow over the stark flat surface of the ice floes. A shadowy mountain range spans the southern horizon, and only a small island of trees barely visible to the north disrupts the otherwise flat expanse of the ice floes.\n\n> Go northwest\nA gentle breeze swirls powdery white snow over the stark flat surface of the ice floes. A shadowy mountain range spans the southern horizon, and only a small island of trees barely visible to the north disrupts the otherwise flat expanse of the ice floes.\n\n> You go to the north\nThe wide expanse of white ice glistening in the full moon light meets the horizon in stark contrast to the inky black of midnight sky. The otherwise featureless landscape is marked by a small island to the northwest and the southern mountain range to the south.\n\n> You go northeast\nAt this point, you have traveled about half-way between the island landmass and the southern mountains. A moderately sized sheet of ice has broken from the main floe you stand upon. To the north of the smaller ice floe, you see a stretch of water that looks almost like a channel between other giant sheets of ice.\n\n> You get on the sheet\nWhich do you mean, the large ice floes or the small ice floe?\n\n> Small\nYou carefully step out onto the small ice floe. It tips and sways atop the frigid waters, but seems sturdy enough to support your weight.\n\n> Go northwest\nYet another water channel lies to the north. The freezing waters of the lake lap against the bank of the ice sheet upon which you stand. You are very wary to keep your feet sufficiently far from the edge so that the water does not splash upon your small feet. The southern mountain ranges are now barely visible to the south. Indeed, you would almost fail to spot them but for your keen sense of direction.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> Go northwest\nThe small forested island is quite visible to the west. Alas, the ice floe upon which you had been walking upon has broken off here, and small channel of freezing water to the west blocks your path to the island shore. The chilly water also circles around to the south where a very large waterway extends to a barely visible southern ice bank.\n\n> Go west\nThe water channel to the west is far too cold for swimming.\n\n> You jump\nYou jump up and down having a jolly good time.\n\n> You look at the island\nThe small island seems to be the only prominent feature of this vast and absolutely flat landscape. The mists that sweep across the ice floes and swirl in the gusty breeze make observing any more detail quite difficult.\n\n> Go southeast\nYou are standing on yet more ice floes far from the shore on this frozen lake. A small island is quite visible in the moonlight to the northwest. If you stand perfectly still, you are barely able to make out the sound of gay and lively music over the gentle lapping of water along the edge of the ice sheet to the south.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> You get on the small floe\nYou carefully step out onto the small ice floe. It tips and sways atop the frigid waters, but seems sturdy enough to support your weight.\n\n> Go southeast\nA chilly mist rises from the surrounding ice and swirls about in the gusting breeze. An island of tall trees is just visible to the northwest and a narrow waterway extends to the south.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> Go west\nThe powdered snow that has collected on the surface of the ice sheet keeps you from slipping and sliding on the surface of this gigantic frozen lake. The large ice sheets you have been walking upon thus far however have broken into much smaller pieces beyond this area save to the north and east. More secure ice sheets lie back to the east, and a very wide and rather long water channel extends to the north. The small island to the northwest is obscured in the mist of icy droplets rising from the waterway.\n\nA small floe is lodged into the ice sheet on the near bank of the long, chilly water channel.\n\n> You listen\nYou strain to listen to the joyous refrains wafting over the frozen lake. The sounds are coming from the small forested island to the northwest.\n\n> You go to the northwest\nThe small forested island is quite visible to the west. Alas, the ice floe upon which you had been walking upon has broken off here, and small channel of freezing water to the west blocks your path to the island shore. The chilly water also circles around to the south where a very large waterway extends to a barely visible southern ice bank.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> You examine the trees\nThe tall leafy trees that circle the island just off of the snow-covered shore have a rather majestic and magical quality. You have never seen trees so lush and green at this time of year. The trees have grown very thick inhibiting your view beyond them; however, your tiny body could easily squeeze through the spaces between their wide trunks. When you stand still and listen, you hear what sounds like giggling coming from the other side.\n\n> You listen\nCheerful music emanates from behind the lush trees to the west.\n\n> Go west\nA wondrous site greets your eyes as you step through the tall lush trees.\n\nYou have happened upon a magical reverie! In the open clearing encircled by the giant leafy trees, tiny fairies giggle and play as they dance on the giant petals of white orchids which grow abundantly in this soft earth. Mistletoe rich with tiny white berries, spiral up through the branches of the surrounding trees. Moonbeams streak down through the tops of the giant trees illuminating a gurgling spring that wells up warm water in a circular pond at the center of the clearing. Several small doe lie on the soft, lilting grass enchanted by the merry tunes from a company of fauns playing an assortment of flutes, lyres, and reed pipes. The wondrous scene is even more remarkable by the presence of numerous floating orbs that swirl about the clearing seemingly of their own accord.\n\n> You examine the orchids\nBeautiful white orchids abound in this little clearing. Their petals, large and full, glow brilliantly white in the silvery moonbeams.\n\n> You examine the fairies\nThe tiny flower fairies seem to be thoroughly enjoying themselves as they dance and play about the flower petals. Some laugh and cheer as they chase each other about the clearing. As they twirl their colored wands, beautiful pastel light trails shoot through the air and illuminate the area in brief pools of light wherever they land. You notice one of the fairies with a yellow wand stand poised on the tip of a flower petal carefully holding her wand outstretched. One of the yellow baubles swirls through the air close by her and then gently lands on the tip of her wand. She waves her wand in a giant arc then impishly flicks her wand at one of the fairies hovering above the spring. The bauble soars gloriously through the air leaving yellow streaks of light behind before splashing into the spring completely drenching her unsuspecting friend.\n\n> You greet fairies\nThe fairies smiles back at you.\n\n> You ask the fairies about the imp\nOne of the fairies flies close by and crosses his arms, \"That snow imp has played one too many a trick. An errant snowball buried dear Dereshel dashedly quick!\" After shaking his head in dismay, he flies back with the others."
    },
    {
        "text": "> You look around\nYou have happened upon a magical reverie! In the open clearing encircled by the giant leafy trees, tiny fairies giggle and play as they dance on the giant petals of white orchids which grow abundantly in this soft earth. Mistletoe rich with tiny white berries, spiral up through the branches of the surrounding trees. Moonbeams streak down through the tops of the giant trees illuminating a gurgling spring that wells up warm water in a circular pond at the center of the clearing. Several small doe lie on the soft, lilting grass enchanted by the merry tunes from a company of fauns playing an assortment of flutes, lyres, and reed pipes. The wondrous scene is even more remarkable by the presence of numerous floating orbs that swirl about the clearing seemingly of their own accord.\n\n> You examine the pond\nConcentric circles continually ripple over the surface of the circular pool of water fueled at the center by the warm spring. It gurgles in accompaniment to the fauns' woodwind songs.\n\n> You examine the fauns\nThe jovial fauns are small creatures in stature with the torso and head of a man, and haunches of a pony. The faun playing the reed pipe sits near the spring allowing one hoof to be immersed in the warm water, while the faun with the flute dances and twirls joyously about the clearing. The third faun strums a lyre while sitting placidly in the soft grass.\n\n> You touch the pond\nThe warm water feels very soothing against your skin.\n\n> Swim\nYou dip into the spring water relishing in its warmth. After splashing about for a time, you exit the spring and sit on the grass with a doe and the fauns listening to their music until your dress has dried.\n\n> You ask the fauns about the fauns\nThe fauns are too involved in their music to reply. They do however give you a kindly smile and a nod.\n\n> You look at the trees\nThe tall leafy trees encircle this magical area almost like an enchanted barrier from the stark, cold landscape beyond.\n\n> You examine mistletoe\nsurrounding this clearing. Their white berries glisten like pearls in the moonlight.\n\nMistletoe vines hang from the branches of the tall leafy trees surrounding this clearing. Their white berries glisten like pearls in the moonlight.\n\n> You take the berries\nThe mistletoe grows beyond your reach.\n\n> You take the orb\nWhich do you mean, the blue baubles or the colored baubles?\n\n> You look at the blue baubles\nThe blue baubles from the cottage have made their long trek across the starry night sky to this enchanted island. They swirl about the clearing with the rest of the beautifully colored floating spheres.\n\n> You examine the colored baubles\nThe baubles are fist-sized translucent orbs that float and swirl about in the air. Their smooth, glossy surfaces reflect wonderful shades of blue, yellow, green, pink, and silver when they pass through the moonbeams. As you watch them dance about this enchanted clearing, you notice one of the fairies hold out a pink wand. The nearest pink bauble suddenly circles about the point of the outstretched wand and then alights directly on the tip. As you observe the other fairies playing, you see that the orbs have landed upon several other wands as well.\n\n> Inventory\nYou are carrying:\na long wooden pole\na lantern (providing light)\nhandsome leather shoes\na candle stick\n\n> You wave it\nYou have fun waving the candle stick.\n\n> Wave pole\nYou have fun waving the long wooden pole.\n\n> Sing\nYou do your best to join in the fauns' little concerto first by humming in accompaniment. When you feel a little braver, you begin to sing a favorite solstice carol to the tune that they play. The creatures of the island seem to approve of your addition. The fauns smile and nod affectionately, and a few of the fairies circle close by while others braid strands of your hair.\n\n> Dance\nYou dance a pretty little waltz to the rhythm of the woodwinds. The fauns nod and smile encouragingly.\n\n> Go east\nYou wander into the wood and eventually find yourself back on the eastern shore of the island.\n\nYou are standing on the shore of a little island in the midst of a vast expanse of ice floes gleaming brilliantly white in the moonlight. A channel of water leads back to the east, and brilliantly green leafy trees nearly forming a wall grow to the west.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> You go south\nAs you crawl through the tunnel under the mountain, the long wooden pole you carry becomes increasingly cumbersome, and you are forced to retreat back to the ice floes and deposit the pole on that side of the mountain before proceeding back to the forest.\n\nYou crawl on your belly through the tunnel which is illuminated by the lantern you carry. After a time, you see a brighter light ahead and keep crawling until you find yourself on the other side of the mountain.\n\nThe forest has thinned in this area at the foothills of a great mountain range that lies to the north. In the moonlight, you see that the undergrowth has thinned to the southwest which leads toward the forest. A small hole, barely noticeable in the shadows, extends into the mountain directly to the north.\n\n> You show the candle to the fairies\nThe fairies is unimpressed.\n\n> Wave candle\nYou have fun waving the candle stick.\n\n> You look at the poinsettias\nFlower fairies play gaily on the petals of the white poinsettias. When a firefly passes close by to one of the flowers close by, you notice a little wand resting on its petals.\n\n> You examine the shoes\nYou now hold in your hands a magnificent present for Sander that is sure to brighten his spirit on this solstice eve. Quite simply, these are the finest, most handsome pair of shoes you have ever laid eyes upon. You could not imagine a more perfect solstice gift for Sander who has had to wear his tight and tattered old shoes for so long.\n\n> You get the flower\nThe white poinsettias look so fresh and beautiful that you decide to leave them to grow in peace.\n\n> You examine the lantern\nThe lantern emits a bright and glowing yellow light.\n\n> You climb the trees\nNone of the surrounding fir trees seem to have good branches for climbing.\n\n> Poinsettias\nWhat do you want to dig the white poinsettias with?\n\n> You check your inventory\nYou are carrying:\na handful of snow\na lantern (providing light)\nhandsome leather shoes\na candle stick\n\n> Go south\nThe silvery moonlight softly illuminates the nearby branches of this dense forest and reflects from snowy patches along the cold ground. Although your range of sight is limited by the darkness, the brambles appear passable to the north and southwest.\n\n> You go to the west\nThe oak dryad peers down at you as you as you stand in this small clearing in the dark wood. He seems to be humming softly with his deep throaty voice. Brightly glowing orbs of little pastel lights, accentuated against the midnight blue sky, fill the branches of the oak. A path runs through the little clearing from the east to the west, but many other directions appear passable as well.\n\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You ask the dryad about fairies\nThe dryad chuckles, \"Oh, those fairies with their tricks and lights, they are welcome on any and all solstice nights.\"\n\n> You ask the dryad about the moon\nThe dryad stares whimsically at the moon, \"Look how it shines so pure and white as it bursts from the night. Lo, what a sight!\"\n\n> You ask the dryad about the horse\nBark creaks as the dryad raises his wooden eyebrows, \"Where is he? Have you seen him here? I have not one, but hundreds of solstice tokens this year!\" The dryad wriggles his branches causing the pastel lights to dance and sway.\n\n> You ask the dryad about the fauns\nThe dryad chuckles in his deep resonating voice, \"Fantastic creatures, wouldn't you say? They play music on through the night to the light of day.\"\n\n> You go west\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You ask the sprite about the horse\nThe sprite hugs his golden bell saying, \"Mine! All mine!\" He then burst into a taunting singsong, \"Takers, keepers! Missers, weepers!\"\n\n> You give the bell to you\n\"No, no, no!\" the snow sprite chides. He hugs the bell lovingly, \"Mine, all mine!\"\n\n> You ring bell\n(the snow sprite at the snow sprite)\n(first taking the snow sprite)\nThe little snow sprite is much too quick for you.\n\nThe snow sprite laughs raucously, then picks up a handful of snow and hurls it in your direction.\n\n> You check your inventory\nYou are carrying:\na lantern (providing light)\nhandsome leather shoes\na candle stick"
    },
    {
        "text": "[Themes: Children's, Fantasy, Seasonal, kids, kid-friendly, child protagonist]\n\n> You describe your surroundings\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You ask the sprite about the fairies\nThe sprite starts running back and forth sending snow flying through the air as he screams, \"Yeh! Fairies!\" The sprite stops running to crouch down, gather a huge handful of snow and toss it into the air. As the snowflakes trickle down, he adds, \"I like their sparklies. Mmm-hmm!\"\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You ask the sprite about the fireflies\nThe snowsprite stares at you with great attention as you speak. When you finish, he straightens up very seriously as if about to give a prophetic oration but says only, \"What?\"\n\n> You ask the sprite about snow\nThe sprite starts singing as he runs in a large circle around you, \"Solstice, solstice! Solstice nights! Call in one and all snow sprites!\"\n\n> You ask the sprite about the statues\nThe snowsprite stares at you with great attention as you speak. When you finish, he straightens up very seriously as if about to give a prophetic oration but says only, \"What?\"\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You ask the sprite about the horse\nThe sprite hugs his golden bell saying, \"Mine! All mine!\" He then burst into a taunting singsong, \"Takers, keepers! Missers, weepers!\"\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath.\n\n> You get the snow\nYou reach down and pick up a handful of snow.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> Go northwest\nThis is the base of a giant mountain to the north. The rocky landscape continues to the west. Snow-covered plateaus glisten in the moonlight high above. The path stops just in front of the mouth of a cave in the mountainside to the west. Railroad tracks lead from deep inside the cave to a large pile of round stones a few yards from the cave entrance. Looking to the east and southeast, you see the edge of the snowy hills. The mountainous terrain appears impassable in other directions.\n\nYour handful of snow finally melts and slips through your fingers.\n\nYou hear the faint groaning of creaky wheels echoing from within the cave. The scraping of metal becomes louder and louder, and suddenly an old mining cart filled with small grey stones emerges from the cave entrance. A stocky, pug-nosed dwarf with a lit candle on his hat pushes the cart along the tracks from behind. Quite oblivious or unconcerned by your presence, he continues pushing the cart until it reaches the stone pile where he dumps his load of stones. He then slowly marches around the cart to the other side and pushes it back into the darkness of the cave.\n\n> You get the snow\nYou reach down and pick up a handful of snow.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You throw the handful at the sprite\nYou hurl the handful of snow at the little sprite. He lurches to the side to avoid being pelted. Even though the sprite is much to quick to be hit, he seems to have a newfound respect for you ... for a moment. But, then he pokes his tongue out at you and continues with his usual antics.\n\n> You throw the snow at the bell\n(the handful of snow at the golden bell)\nYou throw your snowball at the golden bell.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You throw the snow at the sprite\n(the handful of snow at the snow sprite)\nYou hurl the handful of snow at the little sprite. He lurches to the side to avoid being pelted. Even though the sprite is much to quick to be hit, he seems to have a newfound respect for you ... for a moment. But, then he pokes his tongue out at you and continues with his usual antics.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills."
    },
    {
        "text": "[Themes: Children's, Fantasy, Seasonal, kids, kid-friendly, child protagonist]\n\n> You describe your surroundings\nThis is the edge of a vast expanse of snowy hills that continue to the north and northeast. The hills are completely covered in powdery white snow that glistens in the soft moonlight. A path extends from the northwest to the east. The forest continues in all other directions.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> Go south\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. At the center of this row of hedges is a neatly cut opening.\n\nA little white snow sprite carrying a golden bell runs across the snowy hills laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You go southwest\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\n> You examine gown\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The glorious angel looks skyward with majestically outstretched arms. Her long gown swirls as if in a gust of wind revealing her dainty slippers beneath.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They head toward the pathway to the southeast, then turn around and wave their arms motioning for you to follow. With an impish giggle, they disappear to the southeast leaving tiny footprints behind.\n\n> You examine the pedestal\nThe stone angel and the elaborate pedestal upon which she rests has been beautifully carved out of alabaster stone. The glorious angel looks skyward with majestically outstretched arms. Her long gown swirls as if in a gust of wind revealing her dainty slippers beneath.\n\n> You hide\nWhat do you want to hide behind?\n\n> Statue\nYou hide behind the angel statue.\n\nFootsteps softly crunch in the snow close by.\n\n> You listen\nYou hear only the whispering wind murmuring soft secrets which, alas, you cannot understand.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They both stop in the middle of the pathway and glance furtively about. With a mischievous giggle, one of the sprites hops upon the other's shoulders and they trot down the pathway to the southeast.\n\n> You look at the hedge\nThe hedges that have grown to approximately twice your height have been formed into a neat rows and corners to build this giant maze."
    },
    {
        "text": "[Themes: Children's, Fantasy, Seasonal, Christmas, child protagonist, kids, female protagonist]\n\n> Look around\nOne pathway through the shaped hedges leads to the north, and two more lead to the southwest and southeast.\n\nA trail of tiny footprints in the snow lead to the southeast.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They both stop in the middle of the pathway and glance furtively about. With a mischievous giggle, one of the sprites hops upon the other's shoulders and they trot down the pathway to the southeast.\n\n> You go southeast\nPathways lead through the hedge maze to the northwest, to the south and southwest.\n\nA trail of tiny footprints lead into this pathway from the northwest, but suddenly stop here in a most peculiar fashion.\n\n> You go to the south-west\nThe twists and turns of the green hedges look so much alike, that you loose your way. After walking and walking, you eventually find yourself back at the start of the hedge maze.\n\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\n> You check your inventory\nYou are carrying:\na lantern (providing light)\nhandsome leather shoes\na candle stick\n\nYou hear an impish high-pitched giggle approaching from the pathway to the north.\n\n> You go outside\nBut you aren't in anything at the moment.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They both stop in the middle of the pathway and glance furtively about. With a mischievous giggle, one of the sprites hops upon the other's shoulders and they trot down the pathway to the southeast.\n\n> You wait awhile\nThe wind whistles down the corridors of the hedge maze and blows snowflakes into your hair.\n\nA little snow sprite wearing a green scarf comes galloping in from the north. Another snow sprite comes cartwheeling in right behind. They both stop in the middle of the pathway and glance furtively about. With a mischievous giggle, one of the sprites hops upon the other's shoulders and they trot down the pathway to the southeast.\n\n> You go southeast\nPathways lead through the hedge maze to the northwest, to the south and southwest.\n\nA trail of tiny footprints lead into this pathway from the northwest, but suddenly stop here in a most peculiar fashion.\n\n> You follow the trail\nThe footprints come in from the northwest and just stop here in the middle of the pathway. They do not lead anywhere!\n\n> You go to the northeast\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\n> You hide behind the angel\nYou carefully hide behind the angel statue.\n\n> Wait\nThe wind whistles down the corridors of the hedge maze and blows snowflakes into your hair.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You give the shoes to the sprite\nThe snow sprite does not seem interested.\n\nThe snow sprite does flips and cartwheels across the top of the snow and then suddenly disappears beneath."
    },
    {
        "text": "[Themes: Seasonal, Fantasy, Children's, Christmas]\n\n> You look at your surroundings\nThe only way out of this area is a pathway leading back to the north.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to you stops just a few feet away.\n\n> You go north\nThis hedge pathway has been shaped into a tidy corner leading to the east and south.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\n> You go east\nThe row of hedges leads to the west and east.\n\n> Go east\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\nSuddenly, you are smacked in the head by a snowball. You whirl about to see a devilish little snow sprite giggling at you. It suddenly jumps up, does a back flip and then disappears into the snow.\n\n> You go to the east\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\n> Go northeast\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. At the center of this row of hedges is a neatly cut opening.\n\n> Go west\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\nA little white snow sprite carrying a golden bell runs atop the snow laughing and tumbling. As soon as it spots you, it runs right up to\n\n> You go to the south\nyou stops just a few feet away.\n\n> You go south\nPowdery snow flurries toss your hair about as you walk down this pathway that leads to the northeast and to the south.\n\nA little white snow sprite runs right by you carrying a large golden bell in both its hands over its head. It giggles and laughs mischievously, then does a few somersaults and disappears back into the snow.\n\nPathways through the green hedges lead to the north, south, east, and northeast.\n\nOne pathway through the shaped hedges leads to the north, and two more lead to the southwest and southeast.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You go south\nAlas, the hedges block your way.\n\nYou hear an impish high-pitched giggle approaching from the pathway to the north."
    },
    {
        "text": "> You look around\nOne pathway through the shaped hedges leads to the north, and two more lead to the southwest and southeast.\n\nA trail of tiny footprints in the snow lead to the southeast.\n\nA beautiful, snow-dusted, angel statue adorns one corner along this pathway in the hedge maze.\n\n> You wait\nThe wind whistles down the corridors of the hedge maze and blows snowflakes into your hair.\n\nSuddenly, with a great puff of snowflakes, the snow sprites spring up out of the snow in front of the statue where you remain quietly hidden. They laugh raucously at the opening to the southeast waving their arms in jest and sticking out their tongues. They then skip merrily down the pathway to the southwest leaving tiny footprints behind.\n\n> You go to the south-west\nYou follow the tiny pointed footprints out of the pathway to the southwest.\n\nPathways lead to the northeast, to the west, and to the south.\n\nA tiny trail of footprints in the snow lead from the northeast to the south.\n\n> Go south\nThe pathways through this area of the hedge maze lead to the north, east, and southwest.\n\nA tiny trail of footprints in the snow lead from the north to the southwest.\n\n> You go southwest\nPathways have been neatly formed to lead north and northeast. To the west is a long corridor with glowing warm firelight emanating from the other side. And, you can hear joyous music and laughter over the sound of the gusting winds.\n\nA tiny trail of footprints in the snow lead from the northeast all of the way down the long corridor to the west.\n\n> You go to the west\nThe large clearing is lit by a tremendous bonfire at its center. The dazzling light illuminates all sorts of magical creatures, dancing and frolicking around the flickering firelight. Many of the elves, fairies, and fauns in this clearing have instruments in their hands and with them play the most enchanting and festive music you have ever heard. A giant circle of the perfectly shaped hedges encloses this large area. Decorative boughs of holly have been draped in great sweeping arcs along the tops of the hedges.\n\n> You examine the holly\nGreat sweeping arcs of holly lace the top of the hedges in this jolly clearing. Their boughs are rich red berries that gleam in the bonfire light.\n\n> You get the holly\nThe holly boughs are much too high for you to reach. You would not wish to disrupt the festive charm of this magical gathering anyhow.\n\n> You get the berry\nYou are unable to move that.\n\n> Sing\nYour sing joyously into the open air.\n\n> Dance\nYou mimic the festive dancers moving joyously through the clearing. Your dancing shadow, formed by the flickering light of the bonfire, bounces about along the circular hedges.\n\n> Go west\nYou walk around the bonfire to the far side of the clearing.\n\nMuch of the same revelry continues on this side of the bonfire, and tiny fairies with their flickering wands fly all about. As the dancers pass in front of the bonfire, their shadows stretch out in gangly forms that lurch about the clearing. A beautifully crafted brass horn glints in the firelight. It hangs down to eye-level by a string from one of the decorative boughs of holly.\n\n> You get the horn\nYou untie the bit of string around the brass horn and it easily pulls free.\n\n> You look at the horn\nThe horn is formed of a highly polished brass that gleams in the light. The metal has been crafted in a circular loop-the-loop. A mouthpiece forms one end of the brass tube while the other is an opened flare."
    },
    {
        "text": "> You look at your surroundings\nMuch of the same revelry continues on this side of the bonfire, and tiny fairies with their flickering wands fly all about. As the dancers pass in front of the bonfire, their shadows stretch out in gangly forms that lurch about the clearing.\n\n> You go to the east\nPathways have been neatly formed to lead north and northeast. To the west is a long corridor with glowing warm firelight emanating from the other side. And, you can hear joyous music and laughter over the sound of the gusting winds.\n\n> Go northeast\nPaths through the neatly trimmed hedges lead to the west, east, and southwest.\n\nA mischievous little snow sprite is standing here making faces at you and giggling.\n\n> You go to the east\nNeatly trimmed hedges form pathways to the south and west. An opening has been sheared through the row of hedges to the northeast.\n\n> Go northeast\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. At the center of this row of hedges is a neatly cut opening.\n\n> You go west\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\nYou can see a little blue wand lying on a flower petal here.\n\n> You get the wand\nTaken.\n\n> You examine the wand\nThe blue fairy wand glistens a beautiful pale blue shade when the light shines upon it.\n\n> Wave wand\nYou wave the blue wand causing sparkling blue light trails to flash through the air. The effect is quite beautiful, but nothing else happens."
    },
    {
        "text": "[Themes: Fantasy, Seasonal, Children's, winter, kids, kid-friendly]\n\n> You look at your surroundings\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\n> You go east\nForest Vale (East)\nThe sunken vale continues back to the west. Fireflies dance about in the air on this side of the vale as well illuminating the space beneath the thick covering of branches above. Another bed of white poinsettia flowers grows here in the soft earth.\n\nIn the firefly light, you see little flying fairies dancing and singing atop the flower petals.\n\n> You go to the south\nForest Vale (West)\nEven though this area is much deeper than the rest of the forest, the thick canopy of branches high above has blocked the snow from collecting here. The moonlight has also been blocked by the thick covering of branches. Fortunately, dozens of fireflies have congregated here and illuminate the darkness sufficiently.\n\nThe underbrush is too dense in that direction.\n\nYou carefully climb up the slope and step back into the stone-lined path. The chill of the blowing breeze sends shivers up your spine.\n\nYou are standing in the middle of a stone lined path that leads through the snow-covered forest from the northwest to the east. To the north, the ground dips down much lower than the path upon which you now stand.\n\n> Go north\nYou crawl on your belly through the tunnel which is illuminated by the lantern you carry. After a time, you see a brighter light ahead and keep crawling until you find yourself on the other side of the mountain.\n\nStretching out before you is a vast expanse of flat white ice brilliantly shimmering in the silvery moonlight. Straining to see the shadowy horizon of the stark ice in contrast to the dark starlit sky, you notice a cluster of dark trees off to the northwest. A small dark hole in the mountainside opens directly south.\n\nYou can see a long wooden pole here.\n\n> You get the pole\nTaken.\n\n> Go northwest\nA gentle breeze swirls powdery white snow over the stark flat surface of the ice floes. A shadowy mountain range spans the southern horizon, and only a small island of trees barely visible to the north disrupts the otherwise flat expanse of the ice floes.\n\n> Go northeast\nThe vast expanse of wet ice slabs creates a warbled reflection of the silvery moon hanging above in the night sky. Several large sheets of ice have broken off from the more solid floes of ice you stand on in this area. Soft gurgling and sloshing sounds emanate from these slabs as they flex and bob up and down atop the icy waters below. The tunnel leading to the other side of the southern mountain range is to the southwest.\n\n> You go north\nFrom this distance, you can see that the small clump of trees to the north are on a small landmass in the midst of a vast sea of ice. Off in the distance, you can hear faint sounds of groaning and popping as the sheets of ice settle. The tunnel leading to the other side of the southern mountains lies some distance away to the south.\n\n> You examine the floe\nThis small ice floe has broken off from the main sheets of ice that cover this terrain. The lake waters are gently pushing this small floe to the south, so it is floating very nearby to the edge of the ice floe upon which you stand.\n\n> You stand on floe\nYou carefully step out onto the small ice floe. It tips and sways atop the frigid waters, but seems sturdy enough to support your weight.\n\n> Go northwest\nYet another water channel lies to the north. The freezing waters of the lake lap against the bank of the ice sheet upon which you stand. You are very wary to keep your feet sufficiently far from the edge so that the water does not splash upon your small feet. The southern mountain ranges are now barely visible to the south. Indeed, you would almost fail to spot them but for your keen sense of direction.\n\nA small floe is lodged into the ice sheet on the near bank of the chilly water channel.\n\n> You drop all except the wand\ncandle stick: Dropped.\nhandsome leather shoes: Dropped.\nlantern: Dropped.\nbrass horn: Dropped.\nlong wooden pole: Dropped.\n\n> You get all\ncandle stick: Taken.\nhandsome leather shoes: Taken.\nlantern: Taken.\nbrass horn: Taken.\nlong wooden pole: Taken.\n\n> Go west\nA wondrous site greets your eyes as you step through the tall lush trees.\n\nYou have happened upon a magical reverie! In the open clearing encircled by the giant leafy trees, tiny fairies giggle and play as they dance on the giant petals of white orchids which grow abundantly in this soft earth. Mistletoe rich with tiny white berries, spiral up through the branches of the surrounding trees. Moonbeams streak down through the tops of the giant trees illuminating a gurgling spring that wells up warm water in a circular pond at the center of the clearing. Several small doe lie on the soft, lilting grass enchanted by the merry tunes from a company of fauns playing an assortment of flutes, lyres, and reed pipes. The wondrous scene is even more remarkable by the presence of numerous floating orbs that swirl about the clearing seemingly of their own accord.\n\n> Wave wand\nAs you hold your wand outstretched, you notice one of the blue baubles swirling closer and closer to you. The scintillating blue bauble twirls about the tip of your wand before gently alighting upon the point. Even when you wiggle the wand about in the air, the spherical blue orb stays fixed to the tip of your wand.\n\n> You look at the orb\n(the colored baubles)\nThe baubles are fist-sized translucent orbs that float and swirl about in the air. Their smooth, glossy surfaces reflect wonderful shades of blue, yellow, green, pink, and silver when they pass through the moonbeams. As you watch them dance about this enchanted clearing, you notice one of the fairies hold out a pink wand. The nearest pink bauble suddenly circles about the point of the outstretched wand and then alights directly on the tip. As you observe the other fairies playing, you see that the orbs have landed upon several other wands as well.\n\n> You look at the blue orb\nThe small orb is a translucent fist-sized sphere with a silvery bluish cast when light reflects from its smooth, shiny surface.\n\n> Show bauble to dryad\n(first taking the captured blue bauble)\nYou grasp the blue orb as tightly as you can and pull it down away from the wand's tip. With a tiny \"bing!\" the orb breaks free from the wand. The blue bauble, however, appears to have other plans then to be held in your tiny hands, for it slips from your grasp, swivels in a few tight circles around the tip your wand, and lands perfectly upon the point once again.\n\n> Go south\nThe forest edge lies to the northeast and the gently rolling snowy hills continue no further than a row of hedges to the southwest. At the center of this row of hedges is a neatly cut opening.\n\nYou hear a ringing bell in the distance and can barely make out a little snow sprite running across the hilltops in the distance.\n\n> You give the orb to the sprite\n(first taking the captured blue bauble)\nAs the snow sprite stares transfixed at the beautiful blue orb on the tip of your wand, his jaw drops opened and you see his little pink tongue dangle lackadaisically from his mouth. He approaches cautiously taking slow purposeful steps on his little pointed feet. You hold the wand so the blue orb dangles tantalizingly within his reach. The little golden bell drops into the soft snow with a little \"plink!\" The sprite reaches out to the orb and pulls it from the wand. He mutters to himself, \"Oh, what a beautiful bauble. Beautiful ... beautiful ... bauble.\" The sprite suddenly snaps out of his daze and runs off carrying the blue orb proudly overhead.\n\n> You get the bell\nYou reach down and pluck the golden bell from the snowdrift.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\nOff in the distance to the northern hills beyond, you spot a tall figure walking in front of a white horse. You can faintly hear the jingling of bells which fades away as the two of them disappear behind one of the distant snowy hills.\n\n> You show the bell to the dryad\nThe dryad has closed his eyes as he hums an old solstice hymn and so does not observe your offering. You might try asking him about it instead.\n\n> You ask the dryad about the bell\nThe dryad narrows his eyes to deep, dark slits as he peers at the golden bell. \"Ah ... how shiny, look how it catches the light. Quite perfect to have on this solstice night.\"\n\n> You check your inventory\nYou are carrying:\na golden bell\na brass horn\na lantern (providing light)\nhandsome leather shoes\na candle stick\na blue wand\n\n> You go to the north\nAs you walk, the forest thins and soon, you leave it behind entirely.\n\nSnow covered peaks and valleys continue to the horizon as far as your eyes can see while the midnight sky above is speckled with fine points of light. The snowy hills continue all across the northern horizon and the forest lies to the south.\n\n> You go to the northwest\nIn the hemisphere of your sight, the horizon to your feet is a blur of white peaks and valleys, while the entire starry sky above is a deep midnight blue that is pierced by the gleaming full silvery moon.\n\nAtop one of the hills to the north, a tall figure grooms a white horse whose mane gleams in the silvery moonlight.\n\n> Go north\nThe soft white snow glistens in the silvery moonlight and stretches out in all directions. A tall man with his fine white mare is standing close by.\nYou trod through the powdery snow to the north. The beautiful white horse whinnies as you approach, and the tall man glances in your direction and smiles, \"Hello there, young one.\"\n\n> Hello\nThe mysterious man looks down upon you and smiles.\n\n> You examine man\nThe mysterious man standing next to the finest white mare you have ever seen is very tall and thin with a long white beard. He is dressed in handsomely crafted white garments and has a long white cape that billows in the gentle breeze. His face is quite serene and his demeanor is genuinely warm and endearing.\n\n> You look at the horse\nThe fine white mare has been meticulously groomed. Her shiny coat gleams in the silvery moonlight, and her flowing white mane billows in the cool breeze. She seems to be a close companion to the tall, mysterious man standing nearby who is adjusting her bell-laden harness.\n\n> You ring bell\nYou ring the little golden bell, and it tinkles gaily in the night air.\n\n> You give the bell to the man\nThe man exclaims, \"Why, look what you have there!\" He takes the bell and turns it about in his hands. \"I lost this little bell a while ago when a naughty little snow sprite ran off with it.\" The man affixes the bell back to the harness in the empty spot where it had been pulled off. \"Could you tell? This bell is enchanted. When it tolls ... But, oh!\" he stops short and reaches inside one of his pockets, \"I am reminded of this magical amulet.\" He pulls out an amulet on a thin golden necklace and drapes it over your head. \"Wear it 'round your neck, and go south to the thicket at the edge of the wood. The amulet will guide you home. Now, I must be on my way. I have much to do this night ... Go child, make haste, and take care!\" The tall man mounts the white mare and gallops into the darkness.\n\n> You look at amulet\nThe amulet hangs from the thin golden strands of a delicate necklace. The beautifully polished medallion has grown quite cool to the touch.\n\n> Go south\nIn the hemisphere of your sight, the horizon to your feet is a blur of white peaks and valleys, while the entire starry sky above is a deep midnight blue that is pierced by the gleaming full silvery moon.\n\n> You go southwest\nYour amulet suddenly shimmers and begins to glow with deep yellow tones.\n\nA prickly thicket has run wild beyond the edge of the forest. The brambles which grab at your dress as you try to pass all look so much alike that you must continually struggle to keep your sense of direction. The moonlight barely filters down through the overgrowth, but you are able to spot openings in the brambles both to the northeast and the southeast.\n\n> You examine the amulet\nThe amulet hangs from the thin golden strands of a delicate necklace. The beautifully polished medallion has become very warm to the touch and has begun to emanate a rich golden light.\n\n> You go to the south-east\nYour amulet seems to glow a shade brighter as you walk.\n\nAs the wind whistles through the thicket, the prickly tangles screech and crackle as they rub together. The sound sends shivers up your spine. The thicket has thinned here somewhat, and you will be able to continue to the northwest, west, northeast, or east.\n\n> You go east\nPrickly thorns tug at your hemline as you push your way through the twisted branches. You are able to observe openings among the brambles to the north, west, and southwest.\n\n> Go north\nYour amulet seems to glow a little dimmer as you walk.\n\nYour feet are getting very cold as you walk through the slushy snow-covered ground, and you miss your little brother than ever. The only directions you appear able to traverse are to the south and southwest.\n\n> Go south\nYour amulet seems to glow a shade brighter as you walk.\n\nPrickly thorns tug at your hemline as you push your way through the twisted branches. You are able to observe openings among the brambles to the north, west, and southwest.\n\n> You go to the south-west\nYour amulet seems to glow a shade brighter as you walk.\n\nThe thicket has somewhat thinned here, but the openings to the northwest, northeast, east, and southwest are dark and foreboding.\n\n> Go southwest\nYour amulet seems to glow a shade brighter as you walk.\n\nThe thicket almost seems to have formed into a tunnel. The brambles form a complete arch overhead which blocks out most of the moonlight. Moonbeams shine into the tunnel from both the northeast and southeast.\n\n> You go southeast\nAs you walk out of the tunnel of brambles to the southeast, you are much relieved to find yourself in a wide open area with the thicket behind you. A large mountain rises into the starry night sky to the south and you see many others beyond. With a gasp of delight, you recognize that a snow-covered trail running along the mountainside is the very same one upon which you had ventured into town so many times. You scamper up the mountain side to the trail which gleams brilliantly in the full moonlight and run towards home with all of the strength left that you are able to muster.\n\nYou return home to a teary reunion with your worried parents. And to your great surprise and delight, Sander was well enough to sit at the fireside awaiting your return. When you reveal the handsome shoes you carried through the entire adventure as a solstice gift for him, his eyes gleam with giddy admiration. You feel certain that he will recover soon to join you in all of your games and mischief as once before. Your mother brings out the meager solstice feast she had been saving, and all of you sit around the hearth to celebrate the final moments of this solstice night. Sander smiles with delight as you relate all of your incredible trials and adventures in the winter wonderland, and your parents exchange bewildered glances.\n\nSuddenly, a burlap bag tied in twine arcs through the open window to land in front of the little spruce tree with a thud. Your parents carefully open the bag and dump out the contents. They nearly fall over in shock as gold pieces spill out onto the floor. You run to the window and poke your head outside. A damp breeze rustles your hair as you look to the east. You hear soft jingling bells among the distant clop of horse hoofs and are barely able to see a fading figure on a white horse disappear into the rising dawn.\n\n> You drop the shoes\nDropped.\n\n> Go southeast\nAs you walk out of the tunnel of brambles to the southeast, you are much relieved to find yourself in a wide open area with the thicket behind you. A large mountain rises into the starry night sky to the south and you see many others beyond. With a gasp of delight, you recognize that a snow-covered trail running along the mountainside is the very same one upon which you had ventured into town so many times. You scamper up the mountain side to the trail which gleams brilliantly in the full moonlight and run towards home with all of the strength left that you are able to muster.\n\nYou return home to a teary reunion with your worried parents. And to your great surprise and delight, Sander was well enough to sit at the fireside awaiting your return. Your mother brings out the meager solstice feast she had been saving, and all of you sit around the hearth to celebrate the final moments of this solstice night. Sander smiles with delight as you relate all of your incredible trials and adventures in the winter wonderland, and your parents exchange bewildered glances.\n\nSuddenly, a burlap bag tied in twine arcs through the open window to land in front of the little spruce tree with a thud. Your parents carefully open the bag and dump out the contents. They nearly fall over in shock as gold pieces spill out onto the floor. You run to the window and poke your head outside. A damp breeze rustles your hair as you look to the east. You hear soft jingling bells among the distant clop of horse hoofs and are barely able to see a fading figure on a white horse disappear into the rising dawn."
    },
    {
        "text": "[Themes: surreal, nonhuman protagonist, magic, kids, kid-friendly, tentacles, gender-neutral protagonist]\n\n\"Year after year beheld the silent toil\nThat spread his lustrous coil;\nStill, as the spiral grew,\nHe left the past year's dwelling for the new,\nStole with soft step its shining archway through,\nBuilt up its idle door,\nStretched in his last-found home, and knew the old no more.\"\n\n--From \"The Chambered Nautilus\", by Oliver Wendell Homes\n\nFor the first time in centuries, something is different. Your tentacles tingle as you float to the east past icebergs and whirlwinds. You skirt a pocket of hot air, bounce through a field of ice, and finally come upon a massive stormcloud filling the sky to the east.\n\nThere it is. Glinting red below you and heading this way.\n\nA jet through the atmosphere. Version 2. by Brian Rushton\n\nThe wild sky stretches off forever in all directions. To the far east, storm clouds boil. To the far west, the sky is gentle and open. To the far north, icebergs float amid the clouds. To the far south, patches of steam whirl in vortices. Far above you, the air becomes thinner near the top of the world. Far below you lies a blanket of thicker air.\n\nThe temperature is pleasant and mild. You feel a mild breeze. The air pressure matches your natural buoyancy.\n\nA chunk of glowing red ice shoots out of the frozen clouds to the north, far below you, and starts to slowly rise. The ice glows strangely.\n\n[If you are playing Ether for the first time, you are strongly encouraged to type in ABOUT].\n\n[Author's Note: For the first time in centuries, something is different. Your tentacles tingle as you float to the east past icebergs and whirlwinds. You skirt a pocket of hot air, bounce through a field of ice, and finally come upon a massive stormcloud filling the sky to the east.]\n\n> About yourself\nYour tentacles wiggle with excitement. Your shell gleams in the bright glow from the south.\n\nThe chunk of red ice bobs upward. It now lies far to the north and far below you.\n\n> Inventory\nYou are carrying nothing except a relentless sense of determination.\n\nThe chunk of red ice bobs upward. It now lies far to the north and below you.\n\n> M.\nYou burst west through a small patch of cloud.\n\nThere is a faint breeze.\n\nThe chunk of red ice bobs upward. It now lies far to the north, slightly to the east, and slightly below you.\n\n> M.\nYou lazily swim west through the air.\n\nThe wind here is slower and mild. Unlike the other directions, you notice that the west is peaceful, clear, and free, with gentle air and thick, pillowy cloud formations that drift slowly by. You realize when you see it how deeply tired you are. You shake yourself, determined to press on.\n\nThe chunk of red ice bobs upward. It now lies far to the north and to the east.\n\n> M.\nYou lazily swim west through the air.\n\nThe air flows slowly here, with torpid spirals that you idly spin in.\n\nThe chunk of red ice lies far to the north and far to the east.\n\n> M.\nYou jet swiftly west.\n\nThe air is still and peaceful. You find yourself tired, your tentacles drooping. Any further west and you might fall asleep.\n\nThe chunk of red ice lies far to the north and far to the east.\n\n> M.\nYou lazily swim west through the air.\n\n> Nd\nYou lazily swim northdown through the air.\n\nThe air is cool and fresh. You pause in awe at the wintry spectacle to the north. Massive pillowy clouds blot out the horizon, shedding enormous snowflakes that hurl about in blizzards to the northeast and clump together in snowbergs and icebergs to the northwest. Even here, close to you, a few small snowflakes spill out and dance around you. The air becomes noticeably chiller to the north.\n\nThe air weighs on your shell a bit more than usual.\n\nThe chunk of red ice bobs upward. It now lies far to the north and below you.\n\n> Nd\nYou lazily swim northdown through the air.\n\nYou feel a chill in the air.\n\nYou notice that the air is thicker than usual down here. The air far below you is so compressed and thick that it has become liquid, its surface constantly bubbling and popping. Even here, much higher, you can feel a slight, uncomfortable pressure on your shell..\n\nThe chunk of red ice bobs upward. It now lies to the north.\n\n> You go north\nYou lazily swim north through the air.\n\nThin snowflakes litter the air here. Puffs of mist come from your gills.\n\nThe chunk of red ice bobs upward. It now lies slightly to the north and slightly above you.\n\n> Nu\nYou burst northup through a small patch of cloud.\n\nThick frost clusters on your shell and sticks your tentacles together. You may not be able to go any further to the north.\n\nThe air weighs on your shell a bit more than usual.\n\nThe chunk of red ice bobs upward. It now lies slightly above you.\n\n> You go upwards\nYou jet swiftly up.\n\nThe air pressure matches your natural buoyancy.\n\nThe chunk of red ice is right next to you.\n\n> You take the ice\nTaken.\n\nYou have it! You still remember the day you gave it up, streams of red magic flowing out of you, coalescing into this form. You threw it deep into the icy maelstrom of the world, knowing you would fear to come here until you had mastered this airy realm.\n\nYou just need to melt the ice to release the energy. The hot air to the south should do the trick.\n\n> Go south\nYou recklessly coast about as you fly south.\n\nThin snowflakes litter the air here. Puffs of mist come from your gills.\n\n> Go south\nYou lazily swim south through the air.\n\nYou feel a chill in the air.\n\n> Go south\nYou jet swiftly south.\n\nThe air is cool and fresh.\n\n> Go south\nYou spin slightly as you glide south.\n\nThe temperature is pleasant and mild.\n\n> You go to the south\nYou burst south through a small patch of cloud.\n\nThe air is warm and moist.\n\nThe chunk of red ice is melting slowly.\n\n> Go south\nYou jet swiftly south.\n\nThe air is hot and humid here, in stark contrast to the north. The southern horizon is filled with nebulous masses that glow red and churn slowly, occasionally flaring out bursts of steam. A dry heat bakes your tentacles, only to be suddenly replaced by a shell-drenching humidity that is quickly swept away. The air gets quite a bit hotter to the south, although it is still manageable.\n\nThe chunk of red ice is melting rapidly.\n\n> You examine the ice\nA small chunk of cold red ice pulsing with magical power. You remember...\n\nYou were new to this world, and its strong winds and extreme environment frightened you at first. You felt out of control and lost. You thought of leaving, of giving up, of admitting you had made a mistake. You even began preparing the great door to your next home.\n\nBut you changed your mind at the last minute. You would make a home here, and you would not leave until you mastered this realm. So you took the power, the world-power, the summoning-power, the mind-power, and bound it in this crystal until it was time.\n\nBut the time is now.\n\nThe chunk of red ice is partially melted.\n\nThe chunk of red ice is melting rapidly.\n\n> Wait\nTime passes.\n\nThe chunk of red ice has now melted completely.\n\nThe now-free magic flows in blood-red streams into you. You feel the power coursing through your veins, more than you can remember feeling in a long, long time. Enough to summon what you need. It is time to move on. You exert your will, and the world answers.\n\nNervously, you wait. You never know what the portal to the next world will be like. Once, it was just a door. The next time, it was a seed that grew into a hollow tree. Once, it was a mechanical crocodile; you spent weeks in its belly as it voyaged between worlds.\n\nSlowly, out of the top of the storm cloud to the east, a shape coalesces. The world has chosen to represent the way out as a scroll.\n\nThe scroll, a small piece of paper, is thrown violently into your view by the storm. It lies close to the top of the storm cloud. You find it odd that the scroll formed so far from you.\n\n> Up\nYou burst up through a small patch of cloud.\n\nThe air is a bit thin up here.\n\nThe scroll sinks lower in the air. It now lies to the north, far to the east, and above you.\n\n> Neu\nYou lazily swim northeastup through the air.\n\nThe air is warm and moist.\n\nThe brisk wind ruffles your tentacles.\n\nThe atmosphere is weak and thin here. You look up, and far above you, the clouds and snowflakes and all other details that enrich this world slowly phase out into empty nothingness. Here, where you are, the air is thin, but you can still manage to go up a bit further.\n\nThe scroll sinks lower in the air. It now lies slightly to the north and far to the east.\n\n> You go to the northeast\nYou jet swiftly northeast.\n\nThe temperature is pleasant and mild.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place. A particularly nasty blast of wind comes from the east, whose vast space is filled by colossal black stormclouds constantly shredded by small tornadoes and gales. Occasional lightning bolts flash, followed by deep grumbling thunder. Even this far away, the wind is still uncomfortably strong.\n\nThe scroll sinks lower in the air. It now lies to the east and slightly below you.\n\n> Ed\nYou lazily swim eastdown through the air.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nThe air is a bit thin up here.\n\nThe scroll sinks lower in the air. It now lies slightly to the east and slightly below you.\n\n> Ed\nYou lazily swim eastdown through the air.\n\nTerrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds.\n\nThe air pressure matches your natural buoyancy.\n\nThe scroll is right next to you.\n\n> You get the scroll\nTaken.\n\nThe strong wind whips the scroll about violently. You need to find a quieter location if you want to read it. The scroll looks odd.\n\nThe howling storm threatens to rip the scroll from your tentacles.\n\n> You go to the south-west\nYou jet swiftly southwest.\n\nThe air is warm and moist.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nThe gale twists the paper about, rendering it impossible to read.\n\n> You go west\nYou spin slightly as you glide west.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe stiff wind flips the paper here and there.\n\n> You go southwest\nYou spin slightly as you glide southwest.\n\nThe air is hot and humid.\n\nThe brisk wind ruffles your tentacles.\n\nThe breeze rustles the scroll about.\n\n> M.\nYou burst west through a small patch of cloud.\n\nYou feel a mild breeze.\n\nYour tentacles have difficulty keeping the paper still in the light breeze.\n\n> Go west\nYou jet swiftly west.\n\nThere is a faint breeze.\n\nThe scroll is calmer now, but still flits fitfully.\n\n> You go to the west\nYou jet swiftly west.\n\nThe wind here is slower and mild. Unlike the other directions, you notice that the west is peaceful, clear, and free, with gentle air and thick, pillowy cloud formations that drift slowly by. You realize when you see it how deeply tired you are. You shake yourself, determined to press on.\n\nFrustratingly, the scroll is so fragile that it ripples slightly in the wind. You can almost make out a word or two.\n\n> You go to the west\nYou jet swiftly west.\n\nThe air flows slowly here, with torpid spirals that you idly spin in.\n\nThe scroll lies still, and can now be read.\n\n> You read the scroll\nFinally, the scroll stops fluttering long enough for you to read it. It has taken the appearance of an old roll of vellum, ripped at the edges and slightly musty.\n\nIt contains a list of items and requirements to travel to your next world. As you continue to read, you realize with surprise that you will not just be travelling to the next world.\n\nYou will be creating it.\n\nYou read to the end. Nervously, you begin the first step. With a snap of your tentacles, the scroll disappears. To begin your world, you have to have something, and you have to have nothing; the light and the dark. Again you call on the red magic, and the world responds grudgingly.\n\nSlowly, a ball of pure light forms far below you. Simultaneously, a smear of pure darkness forms far above you. In a short time, the ball of light resolves into a glowing jellyfish, in form like those you used to hunt worlds ago. The darkness resolves into an ebony chunk of coral.\n\nThe jellyfish of light bobs upward. It now lies far to the east and far below you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the east, and far above you.\n\n> You go to the jellyfish\nYou spin slightly as you glide eastdown.\n\nThe wind here is slower and mild.\n\nThe air weighs on your shell a bit more than usual.\n\nThe jellyfish of light bobs upward. It now lies far to the east and slightly below you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, to the east, and far above you.\n\n> You go to the jellyfish\nYou lazily swim eastdown through the air.\n\nThere is a faint breeze.\n\nYou notice that the air is thicker than usual down here.\n\nThe jellyfish of light bobs upward. It now lies far to the east and slightly above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, slightly to the east, and far above you.\n\n> You go to jellyfish\nYou lazily swim eastup through the air.\n\nYou feel a mild breeze.\n\nThe air weighs on your shell a bit more than usual.\n\nThe jellyfish of light bobs upward. It now lies far to the east and slightly above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north and slightly above you.\n\n> You go to the jellyfish\nYou spin slightly as you glide eastup.\n\nThe brisk wind ruffles your tentacles.\n\nThe air pressure matches your natural buoyancy.\n\nThe jellyfish of light bobs upward. It now lies to the east and slightly above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, slightly to the west, and slightly below you.\n\n> You examine the self\nYour tentacles wiggle with excitement. Your shell gleams in the bright glow from the south.\n\nThe jellyfish of light bobs upward. It now lies to the east and above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, slightly to the west, and below you.\n\n> You go to the jellyfish\nYou burst eastup through a small patch of cloud.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe air is a bit thin up here.\n\nThe jellyfish of light bobs upward. It now lies slightly to the east and above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, to the west, and far below you.\n\n> Again\nYou jet swiftly eastup.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nThe atmosphere is weak and thin here.\n\nThe jellyfish of light bobs upward. It now lies above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and far below you.\n\n> Again\nYou burst up through a small patch of cloud.\n\nYou find yourself slightly drowsy in the thin air.\n\nThe jellyfish of light bobs upward. It now lies above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and far below you.\n\nThe jellyfish sails out of your reach above you. You summon another, but you feel resistance from this world, and your power grows weaker. Slowly, grudgingly, another jellyfish forms, far below you, and begins to rise.\n\nThe coral sinks into the darkness below. You summon another, but you feel resistance from this world, and your power grows weaker. Slowly, grudgingly, another coral forms, far above you, and begins to sink down.\n\n> Down\nYou spin slightly as you glide down.\n\nThe atmosphere is weak and thin here.\n\nThe jellyfish of light bobs upward. It now lies far below you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and slightly above you.\n\n> Down\nYou burst down through a small patch of cloud.\n\nThe air is a bit thin up here.\n\nThe jellyfish of light bobs upward. It now lies far below you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and slightly above you.\n\n> Down\nYou lazily swim down through the air.\n\nThe air pressure matches your natural buoyancy.\n\nThe jellyfish of light bobs upward. It now lies slightly below you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and slightly above you.\n\n> Down\nYou burst down through a small patch of cloud.\n\nThe air weighs on your shell a bit more than usual.\n\nThe jellyfish of light bobs upward. It now lies slightly above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and slightly above you.\n\n> Up\nYou spin slightly as you glide up.\n\nThe air pressure matches your natural buoyancy.\n\nThe jellyfish of light bobs upward. It now lies slightly above you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north, far to the west, and slightly below you.\n\n> You wait\nTime passes.\n\nThe jellyfish of light bobs upward. It is right next to you.\n\nThe coral of darkness sinks lower in the air. It now lies to the north and far to the west.\n\n> You get jellyfish\nAs you grab the jellyfish, it pulses a bright flash of light, and the coral pulses a deep black echo. When it sees the dark flash, the jellyfish begins to wiggle and squirm, almost escaping. You can feel in it an overwhelming urge to rush towards the coral, to combine violently with it.\n\nUnexpectedly, a tongue of black, smoky cloud from the east bursts towards the coral, engulfing it. When it withdraws, you see that the coral has become a nautilus, like you, but dark and nebulous, with glints of red ice for eyes.\n\nThe jellyfish squirms and wiggles in your tentacles. It pulls towards the black nautilus so hard that you have to use all your strength to restrain it.\n\nThe nautilus flees upward! Now it lies to the north, to the west, and above you.\n\n> You go to Nautilus\nYou jet swiftly northwestup.\n\nThe air is warm and moist.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe air is a bit thin up here.\n\nThe jellyfish squirms and wiggles in your tentacles. It pulls towards the black nautilus so hard that you have to use all your strength to restrain it.\n\nThe nautilus flees upward! Now it lies to the north, to the west, and above you.\n\n> Nwu\nYou burst northwestup through a small patch of cloud.\n\nThe temperature is pleasant and mild.\n\nThe brisk wind ruffles your tentacles.\n\nThe atmosphere is weak and thin here.\n\nThe jellyfish squirms and wiggles in your tentacles. It pulls towards the black nautilus so hard that you have to use all your strength to restrain it.\n\nThe nautilus flees upward! Now it lies to the west and above you.\n\n> Wu\nYou jet swiftly westup.\n\nYou feel a mild breeze.\n\nYou find yourself slightly drowsy in the thin air.\n\nThe jellyfish squirms and wiggles in your tentacles. It pulls towards the black nautilus so hard that you have to use all your strength to restrain it.\n\nThe nautilus is too close to the jellyfish to escape. The jellyfish is ripped from your tentacles.\n\nThe jellyfish drifts uncontrollably closer to the nautilus, accelerating rapidly. You cringe and turn away, and an explosion hurls you about as a loud *CRACK* echoes through the sky as the two violently combine, releasing their energy.\n\nYou blink wearily and shake your tentacles. You blink again, closing your eyes, and they open somewhere else. At first there is nothing, and then you start to sense pulses and waves. Clouds of potential swarm around you, spiking in brilliant flashes here and there. Clouds rip into millions and billions and trillions of tiny pieces, rearrange, combine, flip in and out of reality. Your new world in its infant form lies before you.\n\nYou open your eyes, and they slowly adjust, returning to the world your body resides in. Slowly, a number of objects fade into view, archetypes summoned by this old world as building blocks and food for your new world. Vacuum, liquid, solid and gas lay before you.\n\nBut there is something odd; each is encased in a thick shell of a different kind. The vacuum is encased in a crystalline bottle; the solid metals are contained in a thick treasure chest, like the one you used on the desert world; the argon gas is contained in an organic flask, made from some sort of dense wood; and the liquid toluene is in a tea kettle, like the one you used on your birth world.\n\nYour tentacles squirm uncomfortably. It is supposed to be much easier than this. Something about this world seems off today. You look at the maelstrom to the east, to the burning heat of the south and the freezing cold of the north. Then you understand...\n\nThis world doesn't want you to leave.\n\nThe bottle of vacuum lies to the south, far to the east, and far below you.\n\nThe chest of solid gold lies far to the south and far to the west.\n\nThe insulated flask of argon gas lies far below you.\n\nThe sealed kettle of liquid toluene lies slightly to the north, slightly to the west, and slightly below you.\n\n> You go to the flask\nYou spin slightly as you glide down.\n\nThe atmosphere is weak and thin here.\n\nThe bottle of vacuum bobs upward. It now lies to the south, far to the east, and far below you.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south and far to the west.\n\nThe insulated flask of argon gas bobs upward. It now lies far below you.\n\nThe sealed kettle of liquid toluene sinks lower in the air. It now lies slightly to the north, slightly to the west, and slightly below you.\n\n> You go to the flask\nYou spin slightly as you glide down.\n\nThe air is a bit thin up here.\n\nThe bottle of vacuum bobs upward. It now lies to the south, far to the east, and below you.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south and far to the west.\n\nThe insulated flask of argon gas bobs upward. It now lies slightly below you.\n\nThe sealed kettle of liquid toluene sinks lower in the air. It now lies slightly to the north, slightly to the west, and slightly below you.\n\n> You wait\nTime passes.\n\nThe bottle of vacuum bobs upward. It now lies to the south, far to the east, and slightly below you.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south, far to the west, and slightly below you.\n\nThe insulated flask of argon gas lies slightly below you.\n\nThe sealed kettle of liquid toluene lies slightly to the north, slightly to the west, and slightly below you.\n\n> You wait\nTime passes.\n\nThe bottle of vacuum bobs upward. It now lies to the south and far to the east.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south, far to the west, and below you.\n\nThe insulated flask of argon gas lies slightly below you.\n\nThe sealed kettle of liquid toluene lies slightly to the north, slightly to the west, and slightly below you.\n\n> You go to the flask\nYou jet swiftly down.\n\nThe air pressure matches your natural buoyancy.\n\nThe bottle of vacuum bobs upward. It now lies to the south, far to the east, and above you.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south, far to the west, and below you.\n\nThe insulated flask of argon gas is right next to you.\n\nThe sealed kettle of liquid toluene lies slightly to the north and slightly to the west.\n\n> You get the flask\nTaken.\n\nThe bottle of vacuum bobs upward. It now lies to the south, far to the east, and far above you.\n\nThe chest of solid gold sinks lower in the air. It now lies far to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies slightly to the north and slightly to the west.\n\n> You go to vacuum\nYou burst southeastup through a small patch of cloud.\n\nThe air is warm and moist.\n\nThe brisk wind ruffles your tentacles.\n\nThe air is a bit thin up here.\n\nThe bottle of vacuum lies slightly to the south, far to the east, and above you.\n\nThe chest of solid gold sinks lower in the air. It now lies to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies to the north, to the west, and slightly below you.\n\n> You go to vacuum\nYou burst southeastup through a small patch of cloud.\n\nThe air is hot and humid.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe atmosphere is weak and thin here.\n\nThe bottle of vacuum lies to the east and slightly above you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and below you.\n\nThe flask creaks a little.\n\n> You go to vacuum\nYou jet swiftly eastup.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nYou find yourself slightly drowsy in the thin air.\n\nThe bottle of vacuum lies slightly to the east.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe flask cracks and pops a bit as the pressure inside builds up.\n\n> Inventory\nYou are carrying:\nan insulated flask of argon gas\n\nThe bottle of vacuum lies slightly to the east.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe flask cracks and pops a bit as the pressure inside builds up.\n\n> Getyerflask\nSAVEOk.\n\n> You look\nThe wild sky stretches off forever in all directions. To the far east, storm clouds boil. To the far west, the sky is gentle and open. To the far north, icebergs float amid the clouds. To the far south, patches of steam whirl in vortices. Far above you, the air becomes thinner near the top of the world. Far below you lies a blanket of thicker air.\n\nThe air is hot and humid. A gale blows here, making it difficult to fly. You feel your shell trembling. You find yourself slightly drowsy in the thin air.\n\nThe bottle of vacuum lies slightly to the east.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe flask cracks and pops a bit as the pressure inside builds up.\n\n> Go east\nYou lazily swim east through the air.\n\nTerrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds.\n\nThe bottle of vacuum is right next to you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe flask cracks and pops a bit as the pressure inside builds up.\n\n> You get the vacuum\nYour tentacles have difficulty carrying that many objects at once.\n\nThe bottle of vacuum is right next to you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe flask cracks and pops a bit as the pressure inside builds up.\n\n> Up\nYou lazily swim up through the air.\n\nYou struggle mightily to keep alert and aloft in the thin atmosphere. You may not be able to go any higher.\n\nThe bottle of vacuum lies slightly below you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nThe pressure of the gas ruptures the flask. The gas fluoresces fitfully as sparks of lightning consume it and the flask.\n\nAgain, you sense the new world. A strong atmosphere springs into place, like the world you are in now. You see powerful storms sending down torrents of rain. You see enormous clouds floating in the sky. You see light spreading and filling the world, turning the sky blue or red.\n\nYou return to the old world. The gas flows and surrounds you, then is sucked into your shell. You now have the ability to rocket about;\ntype \"ROCKET [DIRECTION]\" to go as far as you can in that\ndirection.\n\nThis world rumbles and shakes, grudging you your success. The maelstrom to the east boils up in massive black clouds. Lightning strikes out in several directions, some smashing icebergs, others lighting up the underbellies of clouds.\n\n> Inventory\nYou are carrying nothing except a relentless sense of determination.\n\nThe bottle of vacuum lies slightly below you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nA thick finger of black cloud stretches out from the east and flicks at you. The cloud narrowly misses you, cracking the air to your side.\n\n> Down\nYou spin slightly as you glide down.\n\nYou find yourself slightly drowsy in the thin air.\n\nThe bottle of vacuum is right next to you.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\nA thick finger of black cloud stretches out from the east and flicks at you. The cloud narrowly misses you, cracking the air to your side.\n\n> You get the vacuum\nTaken.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\n> Rocket up\nYou rocket up as far as you safely can.\n\nThe air is hot and humid. Terrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds. You struggle mightily to keep alert and aloft in the thin atmosphere. You may not be able to go any higher.\n\nThe chest of solid gold lies slightly to the south, far to the west, and far below you.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far below you.\n\n> Rocket down\nYou rocket down as far as you safely can.\n\nThe air is hot and humid. Terrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds. The thick air squeezes your shell from all sides. You find yourself somewhat uncomfortable, and wonder if your shell could take any more pressure.\n\nThe chest of solid gold lies slightly to the south and far to the west.\n\nThe sealed kettle of liquid toluene lies far to the north, far to the west, and far above you.\n\nThe intense pressure crushes the crystal bottle. With a loud \"pop\", the vacuum collapses, and the crystal shards are compressed to a small point, vanishing.\n\nAs the bottle shatters, the vision of the new world springs into your view again. Like an explosion, the bounds of the world shatter, and a vacuum-filled space expands exponentially faster and faster away from your world, sprouting stars, nebulae, and suns. This new world will be bigger than any you have created before.\n\nYou absorb the power of the vacuum inside of you. You can now draw\nall objects towards you. Type \"VACUUM\" to attract objects. The air around you starts slowly drifting towards you, absorbing into your shell, increasing in speed until a steady stream of air is pulling all visible objects to you.\n\nYou sense intense anger as you take yet another step towards leaving. The blanket of thick air below you begins to bubble and boil. A thick globule of air rises slowly before popping uncomfortably close to you.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves northeast, towards you. It now lies far to the west.\n\nThe sealed kettle of liquid toluene moves southeast, towards you. It sinks lower in the air. It now lies to the north, far to the west, and far above you.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves east, towards you. It now lies far to the west.\n\nThe sealed kettle of liquid toluene moves southeast, towards you. It sinks lower in the air. It now lies slightly to the north, far to the west, and above you.\n\nAnother globule of air boils out from below and rushes at you. Before you can move, it pops, dazing you for a second.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves east, towards you. It now lies far to the west.\n\nThe sealed kettle of liquid toluene moves southeast, towards you. It sinks lower in the air. It now lies to the west and slightly above you.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves east, towards you. It now lies far to the west.\n\nThe sealed kettle of liquid toluene moves east, towards you. It sinks lower in the air. It now lies slightly to the west.\n\n> You go to the west\nYou lazily swim west through the air.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nThe chest of solid gold lies far to the west.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies slightly above you.\n\n> Go west\nYou burst west through a small patch of cloud.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe chest of solid gold lies to the west.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies slightly to the east and above you.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves east, towards you. It now lies slightly to the west.\n\nThe sealed kettle of liquid toluene moves west, towards you. It sinks lower in the air. It now lies slightly above you.\n\n> Vacuum\nThe sealed kettle of liquid toluene and chest of solid gold are pulled a bit closer to you.\n\nThe chest of solid gold moves east, towards you. It is right next to you.\n\nThe sealed kettle of liquid toluene sinks lower in the air. It is right next to you.\n\nThe stiff wind makes the hinges of chest creak.\n\n> You get the chest\nTaken.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies slightly above you.\n\nThe stiff wind makes the hinges of the chest creak.\n\nAnother globule of air boils out from below and rushes at you. Before you can move, it pops, sending everything you are carrying\nflying.\n\n> You look\nThe wild sky stretches off forever in all directions. To the far east, storm clouds boil. To the far west, the sky is gentle and open. To the far north, icebergs float amid the clouds. To the far south, patches of steam whirl in vortices. Far above you, the air becomes thinner near the top of the world. Below you lies a blanket of thicker air. The world is agitated, with globules of thicker air floating from below and exploding, as violent eddies swirl from the east.\n\nThe air is hot and humid. The stiff wind blows you off course for a moment. You struggle to remain in place. The thick air squeezes your shell from all sides. You find yourself somewhat uncomfortable, and wonder if your shell could take any more pressure.\n\nThe chest of solid gold sinks lower in the air. It now lies to the south.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies above you.\n\nThe stiff wind makes the hinges of chest creak.\n\n> Go south\nYou spin slightly as you glide south.\n\nThe chest of solid gold lies slightly to the south.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies slightly to the north and far above you.\n\nThe stiff wind makes the hinges of chest creak.\n\nAnother globule of air boils out from below and rushes at you. It bursts in a loud explosion close to you. The explosion rocks you, but you avoid the brunt of it.\n\n> You go to the south\nYou lazily swim south through the air.\n\nThin strands of steam are leaking from your tentacles. You may not be able to withstand further heat.\n\nThe chest of solid gold is right next to you.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies to the north and far above you.\n\nThe stiff wind makes the hinges of chest creak.\n\n> You get the chest\nTaken.\n\nThe sealed kettle of liquid toluene lies to the north and far above you.\n\nThe stiff wind makes the hinges of the chest creak.\n\nAnother globule of air boils out from below and rushes at you. It bursts in a loud explosion close to you. The explosion rocks you, but you avoid the brunt of it.\n\n> Rocket west\nYou rocket west as far as you safely can.\n\nThin strands of steam are leaking from your tentacles. You may not be able to withstand further heat. The air is still and peaceful. You find yourself tired, your tentacles drooping. Any further west and you might fall asleep. The thick air squeezes your shell from all sides. You find yourself somewhat uncomfortable, and wonder if your shell could take any more pressure.\n\nThe sealed kettle of liquid toluene lies to the north, far to the east, and far above you.\n\n> Rocket east\nYou rocket east as far as you safely can.\n\nThin strands of steam are leaking from your tentacles. You may not be able to withstand further heat. Terrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds. The thick air squeezes your shell from all sides. You find yourself somewhat uncomfortable, and wonder if your shell could take any more pressure.\n\nThe sealed kettle of liquid toluene lies to the north, to the west, and far above you.\n\nThe extreme wind rips the hinges off the chest. Gold nuggets and coins spill out and spiral through the air before disappearing in a flash along with the chest.\n\nThe old world fades for a moment as the new world enters your view. You feel enormous weight as a thick core of iron builds up in the center of your world, hot and mobile. More and more molten rock piles on, the outsides cooling, popping and cracking into seams of quartz, basalt, silver, and gold. Your new world will have a solid foundation. The visions of the new world fade away.\n\nAs they disappear, you feel a power coursing through your tentacles. They strengthen and harden. You now have the ability to crush\nobjects instead of moving them around. To crush an object, type \"CRUSH [OBJECT]\". You must be carrying an object before you can crush it.\n\nThe world explodes in fury. An enormous bolt of lightning rockets from east to west, sending a thunderclap echoing throughout the world. A wave of steaming air rolls from the south to the north. You are tossed about for a second. The lightning bolt has temporarily blinded you, but it quickly wears off.\n\nAnother globule of air boils out from below and rushes at you. Before you can move, it pops, dazing you for a second.\n\n> Vacuum\nThe sealed kettle of liquid toluene is pulled a bit closer to you.\n\nThe sealed kettle of liquid toluene moves southeast, towards you. It sinks lower in the air. It now lies slightly to the north, slightly to the west, and far above you.\n\n> Vacuum\nThe sealed kettle of liquid toluene is pulled a bit closer to you.\n\nThe sealed kettle of liquid toluene moves southeast, towards you. It sinks lower in the air. It now lies above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> Vacuum\nThe sealed kettle of liquid toluene is pulled a bit closer to you.\n\nThe sealed kettle of liquid toluene sinks lower in the air. It now lies slightly above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You get the kettle\nThat's too far away!\n\nThe sealed kettle of liquid toluene bobs upward. It now lies above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You go to the kettle\nYou lazily swim up through the air.\n\nThe air is soupy and uncomfortably thick down here.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You go to the kettle\nYou burst up through a small patch of cloud.\n\nYou notice that the air is thicker than usual down here.\n\nThe sealed kettle of liquid toluene bobs upward. It now lies above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You go to kettle\nYou lazily swim up through the air.\n\nThe air weighs on your shell a bit more than usual.\n\nThe sealed kettle of liquid toluene lies slightly above you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\nAnother globule of air boils out from below and rushes at you. It bursts in a loud explosion close to you. The explosion rocks you, but you avoid the brunt of it.\n\n> Vacuum\nThe sealed kettle of liquid toluene is pulled a bit closer to you.\n\nThe sealed kettle of liquid toluene sinks lower in the air. It is right next to you.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You get the kettle\nTaken.\n\nThe liquid boils in the kettle, causing intense pressure. However, the walls still hold. It may need a little something more to release the liquid.\n\n> You crush kettle\nYou raise your hardened tentacles high in the air, and send the plummeting down onto the sealed kettle of liquid toluene. It smashes into dozens of pieces.\nThe kettle is smashed and explodes in a cloud of mist.\n\nAs the mist envelopes you, you feel the presence of the new world stronger than before. Rivers and oceans spill across it, lakes and streams. The Ocean... you have never seen a world with so much water. The ocean teems with life, but the deepest recesses of it are dark and empty. You watch it all with excitement. In this new world, the Ocean will be your home.\n\nThe liquid spreads all over your tentacles and shell, and is absorbed into your body. Your tentacles lengthen and become stickier. You\ncan now carry multiple objects at once.\n\nThere is a great pause in the air. Your world now is complete; you can sense it, waiting for you. But something is holding it back; a membrane between the worlds, or a dam.\n\nAnother bolt of lightning streaks from the east. You were turn away before the bolt strikes, and it doesn't affect you.\n\n> Up\nYou spin slightly as you glide up.\n\nThe air pressure matches your natural buoyancy.\n\nAnother globule of air boils out from below and rushes at you. Before you can move, it pops, dazing you for a second.\n\nSuddenly, you feel it. You concentrate with all your might. Slowly, slowly, the membrane between the worlds stretches and thins out. With the tiniest sound in the world, a minuscule tear in the fabric of time appears, to the west. Through it, you can see a black field of stars.\n\n> Rocket west\nAs you reach towards the rift, the world around you bursts into activity. Streams of thick black clouds, tendrils of flame, and giant chunks of ice swirl to the west to surround the tear in space. The sky darkens considerably, and red glints of light flash far in the distance, all around you.\n\nThe churning mass to the left grows and grows, forming into an enormous shell of clouds and fire so large that you cannot see where it ends in any direction. Slowly, painfully, the cloud rotates, lightning exploding all around it, until a single red baleful eye stares at you, miles long in each direction.\n\nA dark and black sky surrounds you. Unfamiliar flashes of red glint balefully in the distance. To the east, the maelstrom of black clouds spirals into a churning vortex. To the far north, icebergs clash and explode in violent, freezing confrontations. To the south, the sky has caught on fire. Far above you, the nakedness of an empty sky seeks your embrace. Far below you the thicker air churns and roils, sending out geysers unpredictably. To the far west lies the massive, gibbering stormbeast. Its enormous red eye glares balefully at you.\n\nThin strands of steam are leaking from your tentacles and flames lick your shell. You may not be able to withstand further heat. Terrifying winds buffet you about. You revel in the excitement, but know that you may not be able to withstand stronger winds. The air pressure matches your natural buoyancy.\n\n> Vacuum\nYou feel the air flow towards you.\n\nA geyser of thick, deep air from below erupts. Your shell is stretched and pulled in different directions, and you are almost ripped from your shell. It subsides and you must pause for a moment until the pain becomes bearable.\n\n> Go northwest\nYou quickly dodge northwest.\n\nWaves of heat roll at you from every direction and jets of flame scorch your shell from time to time.\n\nA gale blows here, making it difficult to fly. You feel your shell trembling.\n\nA blast of fire from the south rolls into you, singing your tentacles and blackening your shell.\n\n> You go to the north-west\nYou blast northwest.\n\nThe air is hot and humid.\n\nThe stiff wind blows you off course for a moment. You struggle to remain in place.\n\nThe great stormbeast roars and a torrent of pale green phosphorescent rain fills the air.\n\n> You go to the northwest\nYou quickly dodge northwest.\n\nThe air is warm and moist.\n\nThe brisk wind ruffles your tentacles.\n\nA blast of fire from the south rolls into you, singing your tentacles and blackening your shell.\n\nYou begin to despair of your life. You turn to the west and notice a thin web of cracks in the eye. If you could rocket into it, perhaps you could break it open.\n\n> Rocket west\nYou rocket to the west with all your might, towards the eye. You impact the center with a mighty crash, and the eye splinters, forming a deep crack in the middle.\n\nA geyser of thick, deep air from below erupts. Your shell is stretched and pulled in different directions, and you are almost ripped from your shell. It subsides and you must pause for a moment until the pain becomes bearable.\n\n> Rocket west\nYou rocket to the west with all your might, towards the eye. You impact the center with a mighty crash, and you smash through the eye into the center of the beast!\n\nYou are in a vast, empty blackness. Isolated red tendrils pulse throughout the darkness.\n\nYou fly into the eye and into a dark and empty scene. Behind you is a sheet of red ice with a crack in the center, dwindling as you fall further into the beast. There is nothing around you except empty blackness. Occasionally, you see thin tendrils of red energy.\n\n> You get the sheet\nYou can't reach into Battlezone.\n\nYou drift slowly through the darkness. A single snowflake passes by you.\n\n> Rocket west\nYou try to move, but you can't. Or maybe you do move; it is hard to tell.\n\nSlowly, you sense something being pulled to you. A tiny red dot surrounded by tendrils appears in the distance.\n\n> You wait\nTime passes.\n\nThe red dot increases in size as it is pulled towards you. More and more tendrils come into your view, leading towards the red dot. As you approach, you see that it is a massive, pulsing red ball, hundreds of times larger than yourself. As it pulses, energy swirls around it and out through the conduits. It is the heart of the stormbeast. In the center of it, encased in the thick swirls of energy, you see the entrance to your new world, a tear in the fabric of space with a field of stars behind it. The heart around it constricts, and the inner world trembles.\n\n> You wait\nTime passes.\n\nThe tendrils pulse regularly. The rift to your world pulses wildly inside of the heart, but the red tendrils restrain it.\n\n> Vacuum\nYou feel the air flow towards you.\n\nThe tendrils pulse regularly. The rift to your world pulses wildly inside of the heart, but the red tendrils restrain it.\n\n> You get dot\nThe heart is too big to carry, but your tentacles latch onto the heart, ready to crush it.\n\nThe tendrils pulse regularly. The rift to your world pulses wildly inside of the heart, but the red tendrils restrain it.\n\nThe red forces constrict your new world. Helpless, you watch through the rift as an enormous asteroid hurtles through the void and smashes into your planet, killing billions of creatures.\n\n> Crush heart\nYou destroy the heart, and the red energy explodes around you in a violent red flash. As the light dims, you see the darkness around you crumbling and fading, until you are surrounded again by your familiar clouds. The red energy begins flowing into your new world at a quick pace. A crimson stream touches you, and images flash into your mind...\n\nAn image of your first entrance into this world, opening a mighty machine and flying out.\n\nAn image of you drowsily floating through the air, tickled by a zephyr of this world.\n\nAn image of you careening through a black storm cloud, exhilarated by the joy and excitement of the dangerous gale.\n\nAn image of you hesitating, turning away from both zephyr and whirlwind, drawn to inner contemplation.\n\nYou begin to realize that this world has always been alive, and that in its own way, the world has loved you. You see a last series of images, of the world bringing the red ice to you, bringing the scroll and the ingredients it needed.\n\nFinally, you turn and see the blood of the world flowing into the next, strengthening it and making it real. Now you understand. This old world knew that the next could not live on its own. A sacrifice must be made; the old must die that the new may live. And only you could destroy the old world. Suddenly, a tremor runs through the area.\n\nThe wild sky stretches off forever in all directions. To the far east, storm clouds boil. To the west, the sky is gentle and open. To the far north, icebergs float amid the clouds. To the far south, patches of steam whirl in vortices. Far above you, the air becomes thinner near the top of the world. Far below you lies a blanket of thicker air.\n\nThe air is warm and moist. The air is still and peaceful. You find yourself tired, your tentacles drooping. Any further west and you might fall asleep. The air pressure matches your natural buoyancy.\n\nThe darkness clears, and you see the world around you again, slowly collapsing. Small bubbles float in the air around you. One bursts against you, misting your tentacles. The world, you realize, is kissing you goodbye.\n\nA bubble moves southwest, towards you. It bobs upward. It now lies slightly to the north and far to the east.\n\nAnother bubble moves northwest, towards you. It sinks lower in the air. It now lies far to the east and above you.\n\nAnother bubble moves southwest, towards you. It bobs upward. It now lies slightly to the north, to the east, and slightly below you.\n\nA pale green phosphorescent rain of tears fills the air. You cannot see the rift to your world, but you sense it near you. The\nworld around you slowly decays, and you feel its energy flowing into you.\n\n> You go to the rift\n[GO TO only works on objects in the field of play]\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble sinks lower in the air. It now lies far to the east and slightly above you.\n\nAnother bubble bobs upward. It now lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. You weep as the world around you slowly grows silent.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble sinks lower in the air. It now lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. A shower of red glinting lights pours in around you, and you feel your strength increase.\n\nThe storm to the east builds up to an immense speed, and then rockets across to the west. Ice, steam, and strange sandlike debris whirl around you. When the wind settles, the storm is gone.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. The energy is building in you to almost unbearable levels. It is almost time.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. The world around you slowly decays, and you feel its energy flowing into you.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. A shower of red glinting lights pours in around you, and you feel your strength increase.\n\nNow the blanket of thick air below you bubbles and boils before erupting in plumes of dense air that you sense rather than see. They bubble higher and higher as they diffuse, until they are gone. Now, all about you, the air pressure is equalized.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. A shower of red glinting lights pours in around you, and you feel your strength increase.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. You weep as the world around you slowly grows silent.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. A shower of red glinting lights pours in around you, and you feel your strength increase.\n\nThe icebergs from the north and the steam vortices from the north move together. You brace yourself for the impact. When they touch, the world explodes into steam.\n\n> You wait\nTime passes.\n\nA bubble lies slightly to the north and far to the east.\n\nAnother bubble lies far to the east.\n\nAnother bubble lies slightly to the north and to the east.\n\nA pale green phosphorescent rain of tears fills the air. A shower of red glinting lights pours in around you, and you feel your strength increase.\n\nFinally, you are ready. The magic bursts from you, then returns as you spin faster and faster. Shards of metal from the kettle, strands of emptiness from the vacuum, tentacles of light and polyps of dark, gold coins and strange-smelling gas unite around you.\n\nYou begin shrinking into a point of incredibly bright light, and then rocket into the tear in the fabric of this world. Everything fades.\n\nOcean (much, much later)\nYou are swimming near the bottom of a slope in a large reef, your home for untold years. Brightly-colored fish swim about, and polyps wave from the reef. The surface glimmers dimly, far above you, and the ocean stretches away to all sides.\n\n> About yourself\nYou are battered and slightly dazed. Your shell is dinged and one of your tentacles' tips is seared off.\n\n> Inventory\nYou are carrying nothing except a relentless sense of determination.\n\nSomething splashes from far above. Through the murk, you dimly see a metal sphere slowly sinking to the ocean floor, attached to a cable stretching up high.\n\n> You examine the sphere\nA sphere of metal with glass windows and a cable running above it. Inside the window is an oddly shaped being with knobbly tentacles at the end of its appendages peering at you through a small hole.\n\nIn the bathysphere is an oddly shaped being.\n\n> Wave\nYou wave.\n\n> You look at the being\nAn elongated being with eyes in the front of its head. Five fingers spring from each of two hands, and they are all pressed up against the window.\n\n> So we just had to sit around watching the doomsday\nBECAUSE WE'D BEEN TOLD THAT THE NEW WORLD WAS CREATING ITSELF, SO WE JUST HAD TO SIT AROUND WATCHING DOOMSDAY\n\nYou seem to want to talk to someone, but I can't see whom.\n\n> Vacuum\nYou feel the water flow towards you sluggishly. You're not used to doing this anymore.\n\n> You get the sphere\nYou consider the sphere for some time, but you soon lose interest and swim slowly backwards, occasionally bumping a chunk of coral.\n\nYou swim slowly back down the slope, to where the reefs end, to where all life ends, except for you. This world has been good to you now for a long, long time. But maybe now it's time to go. It's time to start looking for a way out.\n\n\"This is the ship of pearl, which, poets feign,\nSails the unshadowed main,-\nThe venturous bark that flings\nOn the sweet summer wind its purpled wings\nIn gulfs enchanted, where the Siren sings,\nAnd coral reefs lie bare,\nWhere the cold sea-maids rise to sun their streaming hair...\n\nBuild thee more stately mansions, O my soul,\nAs the swift seasons roll!\nLeave thy low-vaulted past!\nLet each new temple, nobler than the last,\nShut thee from heaven with a dome more vast,\nTill thou at length art free,\nLeaving thine outgrown shell by life's unresting sea!\"\n-Oliver Wendell Holmes"
    },
    {
        "text": "[Themes: Science Fiction, reincarnation, transformation]\n\n\"After you, Professor,\" Zak says, holding open the door. \"Think - if this works you'll be standing on the surface in no time!\"\n\n\"Yes, Zak, I know.\"\n\nThe floor is a tangle of cables running from the bank of heavy machinery to the man-sized glass cylinder in the corner; it's like a blender plugged into a car-battery in a giant's world. The whole arrangement looks suspiciously haphazard.\n\nDr. Kurner is already here, looking like he only just got out of bed.\n\nThe others enter behind you. \"All set, Professor?\" asks Zak, clapping you on the back. Taking your arm he helps you into the glass tube.\nYou don't need help, but this is a Momentous Occasion.\n\n[Author's Note: Dr. Taylor's looking worried. Dr. Kurner's looking exhausted. Zak is grinning with glee. Today is the big day, and you're about to try out the crowning experiment of your life, and in AtlantisLab's chequered history. It's just a shame that it's not going to work. And you're unlikely to stay alive through the consequences. TILL DEATH... and then some.]"
    },
    {
        "text": "> Winnable\nThis game is in a perpetual winnable state.\n\n> Review\n(Review mode - time does not pass)\n\nCables feed away from the base of the glass to the bank of machinery outside, around which the scientists huddle and confer. Inside is your own little fish-tank; there's a grille to put your feet on, and some machinery at the top, and the Emergency Door Release Switch just about where your left hand is. They're all looking at you expectantly, perhaps waiting for a final speech before the glass slides shut...\n\n> You say\nWhat do you want to say?\n\n> You talk\n\"Friends! This is a momentous day! I have prepared just a few words to be said on this occasion, if you will bear with me. There is a saying in my country: he who eats of the plum tree must wonder why he ...\"\n\nThe glass door slides quickly shut. Your view of the scientists is somewhat obscured by a note, taped to the inside.\n\n> You examine the note\n(first taking the note)\n\"Well, Professor. I suspect that from now on you will not prove a problem in my life any more. Your machine is under my control. Shall we say: if you are reading this, you are already dead.\"\n\n\"FIVE,\" booms the automated countdown voice.\n\n> You pull the release switch\nYou tug the release. Nothing results but a grating noise. It's broken!\n\n\"Hey - do you suppose it should be sparking like that?\" Zak pipes up. The others tut and mutter.\n\n\"THREE.\" Power begins to build.\n\n> You look at Kurner\nA sour man, five years your senior, but lower than you in rank. You vaguely remember him from college but don't think you ever spoke. Otherwise - he was down here when you arrived.\n\n\"And then there's quite a bit of smoke too, isn't there?\"\n\n\"TWO.\" The cables on the floor wriggle like a squid.\n\n> You pull the cables\nThe cables aren't important.\n\n\"Maybe we should open it up and take a look?\"\n\nDr. Kurner's attention is taken briefly by a school of fish passing by the window. No dedication, that man.\n\n\"ONE.\" The coils at the top of the cylinder make a searing noise.\n\n> Scream\nYour words are muffled by the glass; which steams up as you shout. You could probably write in the condensation with a fingertip, though.\n\n\"Anyone got a screwdriver?\" A few pat their pockets, and shrug.\n\n\"ZER-OH!\" The machine blasts a spurt of searing white light, as though your head has come off. The scientists outside barely seem to notice as they hunt around for a coin to use in the screw-head. Just as everything fades fuzzily to black, you see Kurner stumble himself; then the world slides away...\n\nConsciousness projection. They'd not said it couldn't be done, but they had said it was pretty unlikely. They'd not said you were mad, but they had said you were a little unusual, especially in your taste for sushi. But you knew, if anyone down in AtlantisLab needs anything, it's a holiday on the surface. Preferably a holiday as a twenty-two-year-old beach dweller.\n\nWhich is where you should be right now. It feels colder than Hawaii should this time of year. You have a slight headache. It's dark - so you open your eyes.\n\n> Scream\nYour words are muffled by the glass; which steams up as you shout. You could probably write in the condensation with a fingertip, though.\n\nOutside all the scientists gather around the machinery, intent; tapping gauges and nodding seriously. All except Dr. Kurner, that is, who stands off to one side, leaning heavily on a counter, staring at you.\n\n\"FOUR.\" There's a slight snigger sound just at the end; you remember laughing when you recorded that last week.\n\n> You write in the condensation\nWhen typing or writing, you need to surround the target word in quotes; ie, write \"in\".\n\n> You write xyzzy\nWhen typing or writing, you need to surround the target word in quotes; ie, write \"xyzzy\"."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nIn a drawer, sitting up\nYou are sitting up in a long metal drawer, halfway up a large wall\nof metal drawers. Most of the others are closed; yours is open. Below - about ten feet or so - is the floor of an unfamiliar room, with a door at the far end. The main features seem to be metal: metal ceiling, metal walls, metal piping along one side. Coupled with the dim lighting, this is definitely not Waikiki Beach, by any stretch of the imagination.\n\nYour foot is itching.\n\n> You examine the foot\nTied tightly around your big toe is a tag. It reads \"John Doe.\" Well, at least you know what name you should answer to.\n\n> You remove the tag\nThe toe tag is firmly attached.\n\n> About you\nWell, you seem to be naked. This isn't your body either. So everything's gone to plan; except this doesn't look a lot like Hawaii.\n\nTied around your toe is a tag.\n\n> You get up\nYou stand up.\n\n> You examine the drawers\nYour drawer is empty bar you, without even a sheet, and is labelled \"John Doe\" at the front. Looking around the others you see they're all labelled too - there's Jeremy Doe off to one side; Jack Doe a few\n\n> Inventory\nlevels up, and the lowest down you can read is Ms. Jenny Doe; who's about halfway to the ground. The surrounding drawers are all closed.\n\nYou have nothing, absolutely nothing. And you're cold as a consequence.\n\n> You open the drawer\nYour drawer is already open.\n\n> Go outside\nThe ground is too far to jump!\n\n> You open the drawers\nOne at a time, please.\n\n> You open Jenny\nIt's too far below for you to reach the handle.\n\n> You open jeremy\nYou slide open Jeremy's drawer. He's inside, asleep. He seems to have a peg-leg.\n\n> You examinpeg-leg\nThe peg-leg is a tapering pole the length of one leg - more like a strut, really, or half a flamingo.\n\n> You get the leg\nTaken.\n\n> You examine Jeremy\nJeremy is a large round-faced man, almost tubby, almost jovial in fact; apart from the missing leg which adds a sinister touch to the proceedings. He is naked, and asleep, and looks very comfortable somehow.\n\n> You open Jack\nYou stand up, and can easily reach Jack's drawer to slide it open.\nJack is inside, but he appears to be asleep.\n\n> You examine Jack\nYou can only really make out his feet from down here, but they're very still, so he must be fast asleep.\n\n> You wake jack\nDon't wake him. He looks like he's sleeping real deeply.\n\n> You open Jenny\n(with the peg-leg)\nHooking the drawer with Jeremy's leg, you slide it open. Poor old Jenny rolls into view. She looks positively knackered.\n\n> You look at Jenny\nJenny is a red-head, and a good-looking one too. If you weren't both naked, and lying in cold metal drawers halfway up a wall, you'd consider asking her out; just to irritate your wife.\n\n> You get in Jenny's drawer\nThe peg is far too cumbersome for this manoeuvre, so you first give it back to good old Jeremy next door.\n\nIt's a fair way down - so first you get a solid grip on the edge of your pallet, and then very gradually you slide off it. There's a moment of flailing before one toe meets her drawer. Slight kick in the ribs - you freeze - but she hasn't noticed. Lucky. Next foot, you can't see where it's going - oops, that felt like her head; you feel certain her eyes must open any second, you'll hear a complaint... no, no, somehow you get away with it. The next time you put it down it's more or less onto a clear space - bar some hair.\n\nYou let go of your drawer, now firmly astride Jenny's, and rub your hands. There's a deep shadowed groove in either palm from holding up your weight.\n\n> You examine Jenny\nJenny is a red-head, and a good-looking one too.\n\n> You examine the floor\nIt lies beneath you.\n\n> Kiss Jenny\nShe'd no doubt appreciate it, of course, given that she's probably quite lonely here. But you refrain, on grounds of hygiene.\n\n> Down\nYou make the final fall to the ground.\n\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall.\n\n> You examine the hatch\nThe hatch is about three foot square and flush with the floor. Just by it is a circular recess in the wall.\n\n> You examine the compartments\nThe names read: Kathleen, Victoria, Charlotte and Rosalind.\n\n> You look at the recess\nIt's roughly ten centimeters wide and deep, and is barely a meter off the floor.\n\n> You open kathleen\nYou slide open the compartment. Inside is a trolley on which lies what is clearly a corpse. A transparent sheet covers face down to ankles, like it was wrapped in cling-film. Only the feet protrude - no tag. A little horrified, you slam the compartment closed.\n\n> Open Victoria\nYou quickly slide it open and shut -- same story as the other compartment.\n\n> You open Rosalind\nInside the compartment is an empty trolley.\n\n> You look at the trolley\nThe trolley is inside the compartment.\n\n> You take the trolley\nYou can't reach it from here.\n\nYou can't reach it from here.\n\n> You enter Rosalind\nYou enter Rosalind's compartment.\n\nA metal box, seven foot by four foot by five, arranged such that you could lie down spread-eagled but stoop when you stand. The west wall is missing. In the middle of the floor is a low flat trolley.\n\n> You enter Rosalind\nYou're already in the compartment.\n\n> Go west\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall.\n\n> You look at the trolley\nSix feet long, three feet wide, it is essentially a tray on wheels.\nThe only additions are a rubber bumper at one end and a flat metal rectangle at the other. This is like the registration plate of a car, only blank.\n\n> You look at the bumper\nYou push the trolley west.\n\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall.\n\nAn arc of thick rubber, designed for shock absorbance.\n\n> You look at the rectangle\nIt is just smooth metal.\n\n> You get on the trolley\nYou lie on the trolley. It's cold."
    },
    {
        "text": "[Themes: Science Fiction, transformation, reincarnation]\n\n> Look around\nBottom of ramp, on the trolley\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall. In the middle of the floor is a low flat trolley.\n\n> You get off\n(the trolley)\nYou get off the trolley.\n\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall. In the middle of the floor is a low flat trolley.\n\n> Go north\nThis is a small stage, facing the stalls below down a ramp to the south, with the royal boxes on the wall above, reserved it seems for the Doe family. You could take your bow, lit by the spotlight-glow through the window, or slip offstage through the door just beside it. Just left of the door is a small device.\n\n> Bow\nAnything for a little credit.\n\n> You examine the window\nAcross the glass in arcing letters is emblazoned: \"YRAUTROM\" (though the R's are a little strange). Which is - you're quite sure - a place in Jordan; and not a place in Hawaii.\n\nIt is bright in the corridor beyond, which smarts your eyes a little.\n\n> You look at the device\n** ERROR - Reset Required **\n\nare printed on the tiny display. Near the display is a button.\n\n> You examine the device\nare printed on the tiny display. Near the display is a button.\n\nAt the bottom of the ramp, a robot appears through the hatch.\n\n> You go south\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall. In the middle of the floor is a low flat trolley.\n\nThe robot positions its hexagonal tube by the trolley base with a muffled clang. It then powers away up the ramp, pushing the trolley ahead of it.\n\n> You get on the trolley\nIt's too far away.\n\nAt the top of the ramp, the robot does something to make the door open, and slips through, pushing the trolley in front of it. Then the door slams shut.\n\n> You enter door\nThe door is sealed shut."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nThis is a small stage, facing the stalls below down a ramp to the south, with the royal boxes on the wall above, reserved it seems for the Doe family. You could take your bow, lit by the spotlight-glow through the window, or slip offstage through the door just beside it. Just left of the door is a small device.\n\nAt the bottom of the ramp, a robot appears through the hatch.\n\n> You examine the door\nIt is locked, it seems. By the side, at shoulder height, is a black glass palm-scanner. Three feet below is a circular recess and to the left is a small device.\n\nThe robot - whose name appears to be Kathleen - rumbles up the ramp.\n\n> You examine the robot\nThis Hansome is Kathleen. It is shaped like a square coffee-table resting on one side. The two legs - or rather, arms - at the top each boast a shining disc, like eyes; though only one is a camera lens and the other is a stubby protrusion like a hockey puck. The two bottom prongs are run with caterpillar tracks. Slung between them is brown hexagonal tube.\n\nThe robot inserts its hockey puck into the circular recess and opens the door long enough for it to power through. Then the door slams shut.\n\n> Go south\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall.\n\n> Open Victoria\nYou quickly slide it open and shut -- same story as the other compartment.\n\n> You wait\nTime passes...\n\nThe hatch slides open long enough to spit out an orange robot.\n\n> You get on robot\nThere's no surface to clamber on.\n\nThe robot - whose name appears to be Victoria - rumbles up the ramp.\n\n> You get on robot\nThere's no surface to clamber on.\n\nAt the top of the ramp, the robot does something to make the door open, and slips through. Then the door slams shut.\n\n> You go to the east\nYou enter Rosalind's compartment.\n\nA metal box, seven foot by four foot by five, arranged such that you could lie down spread-eagled but stoop when you stand. The west wall is missing.\n\n> You go north\nThis is a small stage, facing the stalls below down a ramp to the south, with the royal boxes on the wall above, reserved it seems for the Doe family. You could take your bow, lit by the spotlight-glow through the window, or slip offstage through the door just beside it. Just left of the door is a small device.\n\nThrough the hatch appears first a trolley, then a robot shepherd. In a deft volley of whirrs and flicks, it opens the Charlotte compartment with its extending arm and shoves the trolley inside, moving forward itself. The trolley bounces off the one already inside the compartment and comes to a rest in the room, behind the robot. The compartment door swings shut.\n\n> Go south\nThis is a thin room then, between the wall of square drawers like a tiling and another side of sheer metal, east and west respectively.\nThe floor is split-level; from where you stand a ramp leads up and northward, and light from a window there tumbles back down.\n\nThe drawers stop about five feet from ground-level; below are four compartments.\n\nThere is a smooth hatch set into the south wall. In the middle of the floor is a low flat trolley.\n\nThe robot - whose name appears to be Charlotte - rumbles up the ramp.\n\n> You get on the trolley\nYou clamber on.\n\nThe robot inserts its hockey puck into the circular recess and opens the door long enough for it to power through. Then the door slams shut.\n\n> You wait\nTime passes...\n\n> You examine the compartments\nThe names read: Kathleen, Victoria, Charlotte and Rosalind.\n\nThe hatch open long enough to spit out Kathleen, again.\n\n> Wait\nTime passes...\n\nKathleen positions its hexagonal tube by the trolley base with a muffled clang. It then powers away up the ramp, taking you with it.\n\nTop of ramp, on the trolley\nThis is a small stage, facing the stalls below down a ramp to the south, with the royal boxes on the wall above, reserved it seems for the Doe family. Above you is a circular recess which is attached to a door. Just left of the door is a small device.\n\n> Sing\nWhat do you want to sing to?\n\n> You examine Kathleen\nThis Hansome is Kathleen. It is shaped like a square coffee-table resting on one side. The two legs - or rather, arms - at the top each boast a shining disc, like eyes; though only one is a camera lens and the other is a stubby protrusion like a hockey puck. The two bottom prongs are run with caterpillar tracks. Slung between them is brown hexagonal tube.\n\nThe robot extends its hockey puck to an absurd length, reaching over the trolley in front, to clip into the recess by the door. The entrance slides open, and it passes through, taking you with it.\n\nOnce in the corridor outside, you leap from the trolley before it, and the robot, power away.\n\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, lighting round the bends on either hand, but right now your eyes are elsewhere - drawn to the window of the room you have just left.\n\n> You look at the window\nHere it is light, and there it is dark, and the glass acts as a mirror over which your haggard face looms. Only it is not your face. It is the face of Dr. Kurner. A moment of staring is not enough, and you stare some more. His nose is your nose, his eyes, wet and squinting, are your eyes, they move as you look over them. You feel the tightness of his skin around your mouth and cheekbones. And worse: his face is framed, like an advert for a circus clown, by an arcing title in large letters:\n\nDead! Ridiculous! You're not dead! You're standing upright. Indeed, you're breathing! Aren't you? There - you blow a long breath onto the glass, and a pool of condensation smokes it over. Alive. You're alive. And the sooner you can get back to your machine and get yourself back into your own skin, the better.\n\nThe robot pushes the trolley through the hatch in the southwest wall and disappears.\n\n> You look at the portholes\nThrough the portholes swim a variety of underwater fish, lit in the half-glow leaking from this dome.\n\nThe condensation on the window evaporates away.\n\n> You go west\nThe robot's hatch is closed.\n\nThe condensation on the window evaporates away.\n\n> You go to the east\nThe airlock is closed. And it doesn't look in good repair, either.\n\nThrough the door appears Victoria.\n\n> You go north\nYou can't go that way.\n\nThe robot opens the hatch and rumbles through.\n\n> You look at the airlock\nThe airlock is circular, and damaged, with loose wiring hanging from the frame. Set in the centre is the access mechanism, above is a small square spyhole. The sight beyond it is not good - you can make out twisted metal, bent panels and wiring dripping from the ceiling like thick seaweed. It appears not to have been breached, though, as there is no water. Something moves about within: something large and orange.\n\n> You examine the mechanism\nThe mechanism is a large button marked ACCESS MECHANISM. Its functions are probably impaired by the sparking wiring hanging from the doorframe.\n\n> You examine the wiring\nTwo wires, crudely torn. They spark occasionally - and are quite possibly live!\n\n> You connect the wiring\nOf course! If you electrocute yourself - if you die - then your consciousness will flip back to your original body! It's bound to, after all! And then your problem is solved! ... Though you'll still have to help Dr. Kurner, somehow, wherever he is. Excellent idea.\n\nYou steel your courage, raise your hand... and have a moment of doubt. Are you sure you want to do this?\n\n> Yes\nYou close your eyes, and close your hand around the two ends of the wires. There is a terrible sparking as electricity leaps between them, flowing blue lightning between your fingers, along your skin, down your palm!\n\nHowever, due to Dr. Kurner's plastic prosthetic wrist replacement, it doesn't get much further than that. Your hand comes away, a little blackened.\n\nThe airlock door slides open.\n\nThe robot opens the hatch and rumbles through.\n\n> Yes\nIt's good that you're feeling so positive.\n\n> You look at the hand\nYour hand is the colour of your wife's baked potatoes.\n\n> You go east\nYou slip through the airlock, into a mangle of metal.\n\nThis was the eastern quadrant of the dome, but something has fallen away and it is now a mangle of sheets of metal, intersecting skew-like. About halfway along, the roof is so low to the floor as to admit a mere few centimeters of space between. Wiring hangs from the neon light, but only the first segment is still lit. Where the corridor is most crumpled, one of the panels underfoot is loose, rippling out from the floor. A large orange robot is whirring back and forth here. It is Rosalind.\n\nYou hear the rumbling sound of another robot in the corridor.\n\n> You look at the panel\nOne of the panels of flooring at the southern end of this area has stuck up from the floor, like the bone protruding from a broken leg; like a wafer in an ice-cream.\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\nRosalind edges forward once more, away from the airlock.\n\n> You look under the panel\nThere's nothing under the panel.\n\nThe robot moves on down the corridor, until it hits the fallen roof.\n\n> You examine Rosalind\nShe has not survived the impact, either. Poor thing - you wonder how long she has been trapped here, whirring forward along the corridor until she can go no further, then back until caught in the pinched walls by the airlock.\n\nRosalind whirrs slowly across the corridor.\n\n> You get the panel\nThe panel is heavy, and one end is stuck in a pinch of metal, but this acts neatly as a hinge. You prop it with a clang against the wall.\n\nBeyond is a dark hole in the flooring. Who knows how far a drop it might be, how long one might tumble before finally crunching to certain death on the floor?\n\nThe robot reaches the airlock, but cannot quite fit through the gap.\n\n> You enter the hole\nYou cross yourself once. This is it - a long jump - air whipped from your mouth - certain death on a solid flooring, who knows how far down. You can see nothing in there, it is black. Will they ever find this body? Who can say? You close your eyes and leap into the dark.\n\nAnd land, an instant later, in a waist-deep hole.\n\nYou are waist-high in a hole in the floor, in the middle of a\ncorridor of mangled metal walls.\n\nYou hear Rosalind's trudging footsteps."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> Go downward\nThe only exit is up.\n\nYou hear Rosalind's trudging footsteps.\n\n> Search hole\nYou find nothing of interest.\n\nYou hear Rosalind's trudging footsteps. With a loud rumble, the robot looms over your head, filling your vision the way a cloud can blot out the sun. You cower, raising your arms instinctively over your eyes, as Rosalind pitches forward into the hole...\n\nBut it seems the centre of those robots is just a sheet of orange paper, as it rips easily when it hits your head. A crash-smash later, you are standing in the debris of shattered robot, half filling the pit.\n\n> You examine the robot\nRosalind is in at least twelve parts, most bright orange, a few black, with wires spilling from several fissures. The debris is four inches deep.\n\n> You search debris\nAmongst the orange parts you find the robot's hockey-puck arm, which you take.\n\n> You look at the arm\nIt's a two-inch long black cylinder, as wide as your prosthetic wrist. One end is marked with concentric ridges - that's the end that fits the hatch-locks. It must be telescopic, somehow, but you can't see a mechanism.\n\n> Pray\nYou pray and feel a bit better.\n\n> Up\nYou scramble out of the hole.\n\nThis was the eastern quadrant of the dome, but something has fallen away and it is now a mangle of sheets of metal, intersecting skew-like. About halfway along, the roof is so low to the floor as to admit a mere few centimeters of space between. Wiring hangs from the neon light, but only the first segment is still lit. The loose panel is propped against the wall, revealing a promising, deep hole into the bowels of the dome.\n\n> You examine the wiring\nThe wiring is dark and dead, like the hair of a drowned mermaid.\n\n> You pull it\nThe wires slip through your hands.\n\nYou hear the rumbling sound of another robot in the corridor."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> You look around\nThis was the eastern quadrant of the dome, but something has fallen away and it is now a mangle of sheets of metal, intersecting skew-like. About halfway along, the roof is so low to the floor as to admit a mere few centimeters of space between. Wiring hangs from the neon light, but only the first segment is still lit. The loose panel is propped against the wall, revealing a promising, deep hole into the bowels of the dome.\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> You go east\nThe only exit is west.\n\n> You go to the west\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, light leaking round the bends until it is cut on the west side by a robot-hatch, and on the east by an airlock door, which is open.\n\nTo the south is the door back to the mortuary, a black glass panel by its side.\n\n> You go west\nThe robot's hatch is closed.\n\n> You open hatch\nThe hatchway will not open, will not budge and will not slide either.\n\nThrough the door appears Victoria.\n\n> You put the arm in the recess\nThe hatch slides open for a brief moment, then slams shut. You put the arm in once more, and this time, slip through.\n\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\nThe norhern hatch flips open and out pops Victoria. She slowly lumbers southward, disappearing through the southern hatch.\n\n> Go north\nThe hatch is shut.\n\n> You put the arm in the recess\nWhich recess do you mean, the dented recess, or the circular recess?\n\n> You put the arm in circular recess\nThe hatch opens; you dart through.\n\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, light leaking round the bends until it is cut on the west side by a robot-hatch, and on the east by an airlock door, which is open.\n\nTo the south is the door back to the mortuary, a black glass panel by its side.\n\n> You put arm in recess\nThe hatch opens; you dart through.\n\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\n> You put the arm in the dented recess\nThere is a dull click. It seems not to want to work. There could be a hundred finicky mechanical reasons why.\n\n> Go west\nThis is just a short vestibule, from the airlock to the west to the main corridor back east. The airlock door is sealed, but looking through its panel, you can see a long corridor, leading off into the distance. This must be the umbilical to the rest of the lab.\n\nYou spot a robot trudging along the curving corridor, disappearing through the southern hatch.\n\n> You examine airlock\nThe door is sealed shut. You can make out the opening mechanism - on this door it's near the top, out of reach for stumpy Dr. Kurner and probably your old self too. Set into the centre of the door is a viewing panel.\n\n> You examine the mechanism\nNothing fancy, just a large button that you'd need to jab. You just can't reach it, that's all.\n\n> You go east\nWithout something to poke that catch with - a broom handle, or something - there's no way through that airlock. Hopefully you can find something, though; as that's the way back to the lab.\n\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\nKathleen slips through the northern hatch and moments later exits to the south.\n\n> Go south\nThat hatch is sealed to you, and likely to remain so.\n\n> Go north\nThe hatch is shut.\n\n> You put the arm in circular recess\nThe hatch opens; you dart through.\n\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, light leaking round the bends until it is cut on the west side by a robot-hatch, and on the east by an airlock door, which is open.\n\nTo the south is the door back to the mortuary, a black glass panel by its side.\n\n> Go south\nThe door is closed and locked.\n\nThrough the door appears Victoria.\n\n> You look at the door\nIt is locked, it seems. By the side, at shoulder height, is a black glass palm-scanner.\n\nThe robot opens the hatch and rumbles through.\n\n> You look at the scanner\nFlat black glass, a panel that uses all manner of fancy beams to read over your palm-print and check you are who you think you are. Unfortunately, it's not clever enough to realise you now think you are someone that you actually aren't. Or you think you are someone who you're not, but really are. Or something like that. Anyway, it's a pig-ignorant machine.\n\n> You touch the scanner\nIt bleeps red, displaying \"PATTERN NOT IN DATABANK\"."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> You look at your surroundings\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, light leaking round the bends until it is cut on the west side by a robot-hatch, and on the east by an airlock door, which is open.\n\nTo the south is the door back to the mortuary, a black glass panel by its side.\n\n> You examine the panel\nFlat black glass, a panel that uses all manner of fancy beams to read over your palm-print and check you are who you think you are.\n\nThrough the door appears Charlotte.\n\n> You look at the arm\nIt's a two-inch long black cylinder, as wide as your prosthetic wrist. One end is marked with concentric ridges - that's the end that fits the hatch-locks. It must be telescopic, somehow, but you can't see a mechanism.\n\nThe robot opens the hatch and rumbles through.\n\n> You pull the arm\nYou waggle and flip the cylinder, but it refuses to extend to its full length.\n\n> You look at the arm\nIt's a two-inch long black cylinder, as wide as your prosthetic wrist. One end is marked with concentric ridges - that's the end that fits the hatch-locks. It must be telescopic, somehow, but you can't see a mechanism.\n\n> You wear arm\nYou can't wear the robot arm.\n\nThe robot opens the hatch and rumbles through.\n\n> You remove the hand\nYour hand is firmly attached to you.\n\n> You wait a while\nTime passes...\n\nThrough the door appears Victoria.\n\n> Wait\nTime passes...\n\nThe robot opens the hatch and rumbles through.\n\n> You wait\nTime passes...\n\nThrough the door appears Charlotte.\n\nTime passes...\n\nThe robot opens the hatch and rumbles through.\n\nTime passes...\n\n> You go east\nYou slip through the airlock, into a mangle of metal.\n\nThis was the eastern quadrant of the dome, but something has fallen away and it is now a mangle of sheets of metal, intersecting skew-like. About halfway along, the roof is so low to the floor as to admit a mere few centimeters of space between. Wiring hangs from the neon light, but only the first segment is still lit. The loose panel is propped against the wall, revealing a promising, deep hole into the bowels of the dome.\n\n> You go to the east\nThe only exit is west.\n\nYou hear the rumbling sound of another robot in the corridor."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> Go downward\nYou leap into the dark and land, an instant later, in a waist-deep hole.\n\nYou are waist-high in a hole in the floor, in the middle of a\ncorridor of mangled metal walls. It's filled with the mangled rubble of robot parts, all a lurid orange.\n\n> You go to the south\nThe only exit is up.\n\n> You examine the hole\nYou are waist-high in a hole in the floor, in the middle of a corridor of mangled metal walls. It's filled with the mangled rubble of robot parts, all a lurid orange.\n\n> Go up\nYou scramble out of the hole.\n\nThis was the eastern quadrant of the dome, but something has fallen away and it is now a mangle of sheets of metal, intersecting skew-like. About halfway along, the roof is so low to the floor as to admit a mere few centimeters of space between. Wiring hangs from the neon light, but only the first segment is still lit. The loose panel is propped against the wall, revealing a promising, deep hole into the bowels of the dome.\n\n> Go west\nThe corridor curves southeast to southwest, smooth metal walls low\nand merging over your head. Portholes splatter the north side like bullet-holes. A neon striplight runs the length of the corridor, light leaking round the bends until it is cut on the west side by a robot-hatch, and on the east by an airlock door, which is open.\n\nTo the south is the door back to the mortuary, a black glass panel by its side.\n\nThrough the door appears Victoria.\n\n> Wait\nTime passes...\n\nThe robot opens the hatch and rumbles through.\n\n> Go south\nThe door is closed and locked.\n\n> You put arm in recess\nThe hatch opens; you dart through.\n\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\n> You go to the east\nThis appears to be the hub of the Hansome's world. Along one wall\nruns a large computer bank, over which soft lights play in colours tailored for electric eyes. The far corner of the room contains a large glass cylinder that disappears through the ceiling; it is open at the bottom, where a coffin waits. The centre of the floor is taken up by a circular hatch marked \"Waste Disposal\". The juxtaposition is quite unpleasant, and if too much so, you could leave back west.\n\n> You examine the coffin\nThe coffin is a smart black number of regular height. It is unmarked, open, and waiting with a depressing certitude.\n\nFrom the corridor, you hear the sound of the robot hatch opening and closing.\n\n> You look at the computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard, and a flat black palm scanner. However, your gaze is taken by one larger switch, marked with beautiful portent: PERSONAL DETONATION DISPENSEMENT.\n\n> You check what you're carrying\nYou have a robot arm.\n\n> You examine Switch\nThat switch should dole out swifter death than cyanide.\n\n> You switch Switch\nIt's already open.\n\nI don't know how to switch the switch.\n\nFrom the corridor, you hear the sound of the robot hatch opening and closing.\n\n> You look in the coffin\nThe coffin is empty.\n\n> You examine the cylinder\nIt's glass, and stretches upwards. During a funeral, the base seals, it fills with water and coffins are flushed out to be found and buried on land. You'd seen it before on the designs for this place, but never realised they'd been so heartless as to actually build the thing.\n\n> You get in the coffin\nYou made that mistake when you joined AtlantisLab. You're not doing it again.\n\n> You enter the cylinder\nThe coffin is in the way.\n\n> You move the coffin\nYou can't move the coffin.\n\nThe familiar swish-snap sound of the robot hatch gets your attention.\n\n> You pull Switch\nYou tug the switch. It sticks halfway, and a message appears on the screen: DISPENSEMENT SET. PROCEED VIA PERSONAL SETTING.\n\n> You examine the hatch\nAh, the eco-friendly waste system. A hatch, with a short tunnel, another hatch, and then the sea. Waste goes into through one door and is ejected into the water. Simple, effective, and self-cleaning. The waste disposal hatch is closed, and there is no immediately obvious control to change that.\n\n> You examine computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard, and a flat black palm scanner. The switch for the PDD is stuck half-way down. The screen is flashing something about setting a PERSONAL.\n\n> You touch the scanner\nOf course, it probably won't be happy with your print. But you put your palm on the glass anyway.\n\nThe computer heaves and splats. You barely notice a squat oblong fire out from its base, because of a searing pain that shoots across your palm. You pull back your hand, to find you have been branded!\n\n> You look at the palm\nYour palm contains a brand. Beneath it is inscribed \"Press for detonation.\"\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> Press brand\nYour finger hovers over the contact. Eyes to palm, eyes to bomb. You can't help feeling it's a slightly extreme way to go. But you press the button anyway.\n\n\"!ERROR - PERSONAL WITHIN BLAST RADIUS!\" screams a siren from just above your wrist.\n\n> You enter the coffin\nYou made that mistake when you joined AtlantisLab. You're not doing it again.\n\n> You examine brand\nThe brand is a small black button - a tattoo just left of your lifeline. Beneath it is inscribed \"Press for detonation.\"\n\n> You look at the computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard, and a flat black palm scanner, slightly stained with your blood. The switch for the PDD is stuck half-way down. The screen is blank.\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> You examine the blood\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard, and a flat black palm scanner, slightly stained with your blood. The switch for the PDD is stuck half-way down. The screen is blank.\n\nYou didn't think Dr. Kurner had any left."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> Describe the surroundings\nThis appears to be the hub of the Hansome's world. Along one wall\nruns a large computer bank, over which soft lights play in colours tailored for electric eyes. The far corner of the room contains a large glass cylinder that disappears through the ceiling; it is open at the bottom, where a coffin waits. The centre of the floor is taken up by a circular hatch marked \"Waste Disposal\". The juxtaposition is quite unpleasant, and if too much so, you could leave back west.\n\nSitting in the middle of the floor is a black oblong, with a single red light on top which blinks intermittently.\n\n> You examine oblong\nOf course, \"black oblong\" is a marketing euphemism. It means \"container capable of violent explosive self-destruction\" or \"Bomb\".\n\nIt's small, black, and judging by the way it slid across the floor, very heavy. There is a single red light on top which blinks intermittently.\n\n> You take bomb\nIt's small, but it's heavy, and flat on the flat floor so you can't get your fingers underneath. (That's not helped, of course, by the fact you can barely bend your left palm thanks to the brand.)\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> You examine the hatch\nAh, the eco-friendly waste system. A hatch, with a short tunnel, another hatch, and then the sea. Waste goes into through one door and is ejected into the water. Simple, effective, and self-cleaning. The waste disposal hatch is closed, and there is no immediately obvious control to change that.\n\n> Go west\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\n> Go south\nThat hatch is sealed to you, and likely to remain so.\n\n> You go west\nThis is just a short vestibule, from the airlock to the west to the main corridor back east. The airlock door is sealed, but you recall that a long corridor leads off into the distance.\n\n> Go east\nThe western side of the dome, and an area not designed for human personnel. Robot hatches stand secure at the north and southern ends, the latter a little dented, perhaps in the same explosion that damaged the east side. Portholes peer out in the dark, their ring broken by a passage to the west, opposite an open archway to the east.\n\nThe norhern hatch flips open and out pops Kathleen. She slowly lumbers southward, disappearing through the southern hatch.\n\n> You look at what you're carrying with you\nYou have a robot arm.\n\nYour left palm has been branded with a button.\n\nYou hear the rumbling sound of another robot in the corridor.\n\n> You look at the door\nIt is locked, it seems. By the side, at shoulder height, is a black glass palm-scanner.\n\n> You toucthe palm-scanner\nIt bleeps red, displaying \"PATTERN NOT IN DATABANK\".\n\nThrough the door appears Victoria.\n\n> Go south\nThe door is closed and locked.\n\nThe robot opens the hatch and rumbles through.\n\n> You look at the portholes\nThrough the portholes swim a variety of underwater fish, lit in the half-glow leaking from this dome.\n\n> You break the cylinder\nYou'll have to tell me how to do that.\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> You examine computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard, and a flat black palm scanner, slightly stained with your blood. The switch for the PDD is stuck half-way down. The screen is blank.\n\n> You examine the recess\nMuch like the others you've seen. Around the circumference are marked small lines.\n\n> You put the arm in the recess\nYou clip the robot arm into the circular recess. The screen lights up with a list of names.\n\n> You examine the screen\nThe list on the screen reads:\nDOE, JACK\nDOE, JENNY\nDOE, JEREMY\nDOE, JOSEPHINE\nDOE, JULIA\nDOE, JOHN\n\nJack's name is currently blinking.\n\nThe familiar swish-snap sound of the robot hatch gets your attention.\n\n> You look at the computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard from which protrudes a broken robot arm and a flat black palm scanner, slightly stained with your blood. The switch for the PDD is stuck half-way down. The screen is displaying a list of names. One - \"JACK\" - is flashing.\n\nThe red light on the black oblong winks.\n\n> You put the arm in recess\nThe robot arm is already in the recess!\n\n> You look at the recess\nThe arm protrudes from the recess like a broken spur from a wrecked ship. Around the circumference are marked small lines.\n\n> You pull arm\nYou unclip the arm from the recess. The screen flashes: \"PROCESSING... PROCESSING... READY\", then falls dark.\n\n> You check your inventory\nYou have a robot arm.\n\nYour left palm has been branded with a button.\n\n> You press the button\nYou press the small black button.\n\n\"!ERROR - PERSONAL WITHIN BLAST RADIUS!\" screams a siren from just above your wrist.\n\n> You examine the screen\nThe list on the screen reads:\nDOE, JENNY\nDOE, JEREMY\nDOE, JOSEPHINE\nDOE, JULIA\nDOE, JOHN\n\nJenny's name is currently blinking."
    },
    {
        "text": "[Themes: Science Fiction, reincarnation]\n\n> Look around\nThis appears to be the hub of the Hansome's world. Along one wall\nruns a large computer bank, over which soft lights play in colours tailored for electric eyes. The far corner of the room contains a large glass cylinder that disappears through the ceiling; it is open at the bottom, where a coffin waits. The centre of the floor is taken up by a circular hatch marked \"Waste Disposal\". The juxtaposition is quite unpleasant, and if too much so, you could leave back west.\n\nSitting in the middle of the floor is a black oblong, with a single red light on top which blinks intermittently.\n\nYou hear the familiar snap of the robot hatch echo in the corridor.\nYou turn and spot Kathleen, connected to trolley, trudging along the corridor.\n\n> You put the arm in recess\nYou unclip the arm from the recess. The screen flashes: \"PROCESSING... PROCESSING... SYSTEM BUSY\", then falls dark.\n\nKathleen enters the room, pushing a trolley in front of it. On the trolley lies Jack Doe.\n\nYou clip the robot arm into the circular recess. The screen lights up with a list of names.\n\nThe robot pushes the trolley over to the coffin, performs an ingenious twist, and the body slides in.\n\n> You pull Switch\nIt doesn't budge.\n\nThe robot flips the coffin shut. The glass cylinder seals, and in a great spiral of water rather too much like a submarine toilet, the coffin is ejected outwards and upwards. You can't help noticing its panel was never engraved. An empty coffin slides into place, by some mechanism too fast for your watery eyes to follow.\n\n> Wait\nTime passes...\n\nKathleen turns tail and leaves the room, pushing its empty trolley before it.\n\n> Wait\nTime passes...\n\nFrom the corridor outside you hear the swish-snap of the robot hatch.\n\n> You wait for a while\nTime passes...\n\nThe red light on the black oblong winks.\n\n> You examine computer\nThe computer has one main screen, a circular recess to serve as a monodigital keyboard from which protrudes a broken robot arm and a flat black palm scanner, slightly stained with your blood. The switch for the PDD is stuck half-way down. The screen is displaying a list of names. One - \"JENNY\" - is flashing.\n\n> Wait\nTime passes...\n\nThe familiar swish-snap sound of the robot hatch gets your attention.\n\n> You wait\nTime passes...\n\nTime passes...\n\nTime passes...\n\nYou hear the familiar snap of the robot hatch echo in the corridor.\nYou turn and spot Kathleen, connected to trolley, trudging along the corridor.\n\nTime passes...\n\nKathleen enters the room, pushing a trolley in front of it. On the trolley lies Jenny Doe.\n\n> You wait awhile\nTime passes...\n\nThe robot transfers the body to the coffin.\n\n> You wait for a while\nTime passes...\n\nThe robot flips the coffin shut, and it is ejected, presumably into the sea above.\n\n> You wait for a while\nTime passes...\n\nKathleen turns tail and leaves the room, pushing its empty trolley before it.\n\nYou hear a great rumbling under the floor.\n\n> You listen\nYou can hear the low hum emanating from the computer bank.\n\n> You put the arm in recess\nYou clip the robot arm into the circular recess. The screen lights up with a list of names.\n\nFrom the corridor, you hear the sound of the robot hatch opening and closing.\n\n> You examine the screen\nThe list on the screen reads:\nDOE, JEREMY\nDOE, JOSEPHINE\nDOE, JULIA\nDOE, JOHN\n\nJeremy's name is currently blinking.\n\n> You turn the arm\nYou turn the arm one notch, and the name JOHN in the list begins to blink.\n\nThe familiar swish-snap sound of the robot hatch gets your attention.\n\n> You take the arm\nYou unclip the arm from the recess. The screen flashes: \"PROCESSING... PROCESSING... READY\", then falls dark.\n\n> Wait\nTime passes...\n\nYou hear the familiar snap of the robot hatch echo in the corridor.\nYou turn and spot Victoria, connected to trolley, trudging along the corridor.\n\n> Wait\nTime passes...\n\nVictoria enters the room, pushing a trolley in front of it, on which lies Jeremy and Jeremy's peg-leg. It is heading for the coffin, but there is a sudden loud grumbling from under the floor and the robot stops dead. Before you spot the connection between the trolley's position and the waste-disposal hatch, the trolley has been tipped up by a neat shudder of Victoria's lower limbs and Jeremy has slid down in the compartment in the floor. The coffin remains empty, and appears not to have noticed that's its snack has been thrown away by the waiter.\n\nThe robot motors quietly out of the room westward, leaving the trolley behind, lolling flat on the floor once more. The waste-disposal hatch slides shut. Or, well, almost shut. Jeremy's peg-leg protrudes, obstructing the closing of the cover.\n\n> You get the leg\nThe hatch has gripped it obliquely, and it's trapped on something inside the compartment (an armpit, perhaps).\n\n> You open hatch\nYou pull at the hatch, but don't have quite enough strength to move it with your hands. Jeremy's peg-leg slides a bit toward you.\n\n> You get the leg\nYou lever open the hatch with the peg-leg, which finally comes free in your hands.\n\nInside, your eyes are met by an appalling sight. Jeremy is crumpled in the bottom of the compartment, whose lower door is not sealed, but rather filled by a thick green sludge, which oozes between his splayed limbs.\n\nAnd as you look down, the sludge looks up. You leap back.\n\n> You examine the sludge\nYou lean back toward the hole.\n\nThere is a surge of movement from inside the hatch, and then an eruption of cobalt goop as a tentacle surges out. It feels at the air, back and forth like the foil of a fencer, swiping toward your face.\nYou recoil, stumble, fall back flat upon the trolley. The suckers, blood-tipped already, follow the sound, soon hovering mere inches from your face."
    },
    {
        "text": "[Themes: Science Fiction, transformation]\n\n> You use the computer\nTrolley-very-fast-squid-flood, remember?\n\nBehind you the tentacle is still coming. It's almost upon you. The flood door is now half-way to the floor.\n\nIn a final surge, you crash toward the flood door, and sweep through just before it rams home. There is a colossal thud from behind as the squid hammers into it. But it holds. The trolley rockets calmly into a wall, and you are thrown painfully, rolling further down the corridor where it bends to the north, head spinning with legs. It is a while before you take in your surroundings once more.\n\nYou're in the main module, and that means you know your way around\nwith your eyes shut. With your eyes open you can also comment on the decor; and note that it improves substantially to the east where the General has his office, to the west it probably disimproves (Kurner's hole is over there) and north leads toward the centre of the dome which means one thing - toward the room with your machine.\n\nBack south is a long corridor.\n\n> You go to the west\nThe corridor continues around the curve of the base to the\nnorthwest, to the rooms of the various scientists. This one is of interest though, perhaps - it is the door to Kurner's room - chosen by lottery, it is the nearest to all the machinery and so the loudest to be in.\n\nThe door itself is quite a sight if you like hybridised tech - Kurner being the paranoiac he is has fitted it with a Russian retinal scanner, a thumb-reader and a voice tag detector.\n\n> You unlock door\nThere's a pretty formidable array of locks on the thing!\n\n> You put the hand on the reader\nThe door chimes happily.\n\n> You look in the scanner\nThe door pings happily.\n\n> You examine the microphone\nJust a microphone to read in a code-word. Known to be temperamental most people don't trust these to anything you actually want to be able to get into. Kurner himself always has problems because he insists on whispering his password. Eventually he'll just yell \"SCARECROW\" and pretend it was a curse at the door's failures.\n\n> Go west\nThe corridor continues northwest and Kurner's room is directly north. The intersection lies east.\n\n> You go north\nIronic, really, that if he'd just had a keyhole you'd never have broken in.\n\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\nFrom the floor one fragment of paper catches your eye. It reads: \"If you are reading this, then, by Jove, it's all up with you!\"\n\n> You look at the paper\nThere are about a hundred scraps of paper littered around. You pick one at random to read:\n\n\"If you are reading this, death is imminent!!!\"\n\n> You examine paper\n\"By the time you read this, my dear friend, death is your only alibi!!!\"\n\n> You examine paper\n\"If you are reading this, you are quite simply doomed!\"\n\n> You look at the paper\n\"When you wrap your head round this, your doom approaches!!\"\n\n> You look at the books\n80% are \"Physics for Beginners\", 18% are \"Biochemistry for Beginners\" and 1 book is a biography of Judy Garland.\n\n> You examine computer\n\"Type password:\"\n\n> You read the biography\nNo, don't. You really don't want to know what Kurner's hidden behind that appalling dust-jacket.\n\n> You search the books\nYou've read most before. And they're mostly trash.\n\n> You search the bed\nYou find books...\n\n> You look under bed\nThe morass of paper continues that way. Perhaps in the darkness it is growing more slowly.\n\n> You get the biography\nNo - someone might see you with it.\n\n> Search paper\n\"If you are reading this, death is your only alibi!\""
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\n> You look at the desk\nThe desk is cleared but for the computer, the screen and keyboard built into the surface. There is also a drawer, with a small metal lock.\n\n> You examine computer\nIt's locked.\n\n\"Type password:\"\n\n> You look at the keyboard\nStandard.\n\n> You examine the clothing\nIt's all about your (current) size.\n\n> Search clothing\nYou hunt around, hoping to find a drawer key. But it's likely to be small, and, well, you don't find it.\n\n> You go west\n(Opening the bathroom door)\nBathroom\nStandard cubby-hole bathroom really. A sink, toilet, and a greasy mirror reflecting the steam-stained beige walls in all their smudged glory. The door - should you tire of such an atmospheric locale - is back east.\n\n> Flush toilet\nYou flush the toilet.\n\n> You examine the mirror\nKurner's harassed and ugly mush looks back at you. You can't help noticing he looks a little pale - but then everyone here does, it's lack of sunlight. Once again you curse your machine for not having put you sea-side.\n\n> You examine the walls\nThe beige walls compliment the room nicely. No, really...\n\n> Break mirror\nYou'll have to tell me how to do that.\n\nThe condensation on the mirror evaporates away.\n\n> You breathe on the mirror\nYou breathe on the mirror and a pool of condensation forms. Your previous message \"xyzzy\" is now visible on the mirror.\n\n> You examine the mirror\nKurner's harassed and ugly mush looks back at you. You can't help noticing he looks a little pale - but then everyone here does, it's lack of sunlight. Once again you curse your machine for not having put you sea-side. You can make out \"xyzzy\" scribbled in big chunky fat-child finger-writing in the condensation.\n\nThe condensation on the mirror evaporates away.\n\n> Go east\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\n> Go south\nThe corridor continues around the curve of the base to the\nnorthwest, to the rooms of the various scientists. This one is of interest though, perhaps - it is the door to Kurner's room - chosen by lottery, it is the nearest to all the machinery and so the loudest to be in.\n\nThe door itself is quite a sight if you like hybridised tech - Kurner being the paranoiac he is has fitted it with a Russian retinal scanner, a thumb-reader and a voice tag detector.\n\n> You go east\nYou're in the main module, and that means you know your way around\nwith your eyes shut. With your eyes open you can also comment on the decor; and note that it improves substantially to the east where the General has his office, to the west it probably disimproves (Kurner's hole is over there) and north leads toward the centre of the dome which means one thing - toward the room with your machine.\n\nBack south is a long corridor.\n\n> Go east\nA familiar waiting room - when you first joined AtlantisLab you'd be here every month as you worked your way up the security clearances. Ironic, in a way, that you were only two chevrons from finding out what all that electro-plasma and virus engineering was for when you'd mooted your Project and been booted into a whole new department. Just goes to show, it seems, that even the most dedicated people need a holiday, and the General himself was no doubt very much looking forward to stepping inside your machine and spending a fortnight on a beach in someone else's head.\n\nOf course he, like all the others, and yourself, was expecting it to work.\n\n> Go east\nThe General's door is closed.\n\n> You open the door\nIt's locked, very heavily, with many a large key.\n\n> You go north\nYou walk along a fairly long stretch of corridor, until it opens out.\n\ngods of pressure - this room, unlike the cramped corridors and tight bunkrooms, is a wide cathedral-like dome, held up by one fat pillar in the centre of the floor. A smooth ramp snakes around it on a gentle incline up to the higher levels - no stairs here, the robots not being that adept - and on a normal day the floor around would be crowded with scientists, like worshippers at a standing stone. However today - for some reason, it seems - is not a normal day. Where is everyone?\n\nCorridors leave the space in all directions - Kurner's room is down the passage further south.\n\n> Go east\nThere's nothing of great interest there. Besides, you don't really want to bump into anyone, you look terrible.\n\n> Up\nYou climb the great spiral of the ramp, round and round until you're sure the ground is screwing in and you're not going anywhere...\n\nYou know you're in favour when your personal lab is put on the first level of the building. It's behind that door to the south, the one only you have the key to. Except, of course, you haven't got it, because you're inside the room. Or you might be. Anyway, the door seems to still be open, which is handy.\n\nA loose panel hangs from the doorframe - it seems it's incurred some damage since you were last here.\n\nThe ramp which leads back down to the main room is north.\n\nThere's a screwdriver lying on the floor.\n\nA lab coat is crumpled in the corner. You're shivering, and quickly put it on.\n\n> You examine the handle\nThe yellow plastic handle is charred, and a little deformed.\n\n> You examine the panel\nThe panel is about two inches by four, and hangs from one screw revealing the wiring inside. Which, now you look, is certainly not how is should be.\n\n> You look at the wiring\nThere are two wires running under the panel, down to the keyhole. They have been ripped up from their sockets, the ends bared; presumably they were then twisted together to make the door unlock.\n\nWhoever did this has since tried to repair the damage - the first wire is jammed back into their socket. But with one wire connected the other would have been sparking with a lot of electricity. It's strangely dead, now. Perhaps the fuse was blown by a surge.\n\nMore importantly though, someone has hotwired your door whilst you've been away.\n\n> Review\n(Review mode - time does not pass)\n\nYou know you're in favour when your personal lab is put on the first level of the building. It's behind that door to the south, the one only you have the key to. Except, of course, you haven't got it, because you're inside the room. Or you might be. Anyway, the door seems to still be open, which is handy.\n\nA loose panel hangs from the doorframe - it seems it's incurred some damage since you were last here.\n\nThe ramp which leads back down to the main room is north.\n\n> Go south\nYou enter your lab.\n\nThe room is much as you left it; a porthole above a bank of heavy machinery. The glass cylinder stands in one corner, aloof and empty.\n\nYou can't help noticing with something verging on a nervous tick above one eye that a terminal case has had its lock smashed open.\n\n> You examine terminal\nThe terminal lock has been broken, shattered off, with a few dents in the metal left behind. These dents are about a half-centimeter long, and thin, like the blade of a screwdriver.\n\n> You look in it\n(opening the case first)\nInside the case is all the familiar circuitry and wiring - and then one addition to the family. A black plastic box sits on the base of the terminal, with a multi-strand wire coming out of the side, its connections soldered onto the circuit boards. You recognise the manufacture. It's exactly like the modules Dr. Kurner was building for you, it's his characteristic habit of hiding all his work inside moulded boxes so no-one can see it and criticise.\n\nBut what's it doing here? You last checked over the machine last night, it wasn't here then. In the morning - well, Kurner was already here, wasn't he? So whatever happened to your machine - whatever you're doing in this non-sunshine state - it's his doing. And you're not going to be able to get back to your own body with this machine unless you find out what he's done.\n\n> You get the box\nThe box is firmly soldered into the machine. You'd need proper tools if you were going to remove it. Probably easier, then, to get it open and rewire it inside.\n\n> You examine the cylinder\nThe cylinder is all rigged up and ready from the experiment, the door open.\n\n> Examine box\nThe box gives no clues, it's a smooth firm black. They'll be a catch on it, somewhere, that's how Kurner designs these things, but quite where - well. You could hunt for several hours or you could go and find a design plan and work it out. That'd tell you what it was for, too.\n\n> You enter the cylinder\nYou step inside the cylinder.\n\nCables feed away from the base of the cylinder. Inside, there's the grille for your feet, and the Emergency Door Release Switch.\n\n> You examine Switch\nThe Emergency Release Switch - provided in the terrible off-chance that the door release cover might fail, or be sabotaged, or any such.\n\n> Leave\nYou step out of the cylinder.\n\nThe room is much as you left it; a porthole above a bank of heavy machinery. The glass cylinder stands in one corner, aloof and empty.\n\nOne terminal case is violently unlocked.\n\n> You go north\nYou know you're in favour when your personal lab is put on the first level of the building. It's behind that door to the south, the one only you have the key to. Except, of course, you haven't got it, because you're inside the room. Or you might be. Anyway, the door seems to still be open, which is handy.\n\nA loose panel hangs from the doorframe - it seems it's incurred some damage since you were last here.\n\nThe ramp which leads back down to the main room is north."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\nYou make your way down the ramp...\n\ngods of pressure - this room, unlike the cramped corridors and tight bunkrooms, is a wide cathedral-like dome, held up by one fat pillar in the centre of the floor. A smooth ramp snakes around it on a gentle incline up to the higher levels - no stairs here, the robots not being that adept - and on a normal day the floor around would be crowded with scientists, like worshippers at a standing stone. However today - for some reason, it seems - is not a normal day. Where is everyone?\n\nCorridors leave the space in all directions - Kurner's room is down the passage further south.\n\n> You go south\nYou walk back down the corridor.\n\nYou're in the main module, and that means you know your way around\nwith your eyes shut. With your eyes open you can also comment on the decor; and note that it improves substantially to the east where the General has his office, to the west it probably disimproves (Kurner's hole is over there) and north leads toward the centre of the dome which means one thing - toward the room with your machine.\n\nBack south is a long corridor.\n\n> You go to the west\nThe corridor continues around the curve of the base to the\nnorthwest, to the rooms of the various scientists. This one is of interest though, perhaps - it is the door to Kurner's room - chosen by lottery, it is the nearest to all the machinery and so the loudest to be in.\n\nThe door itself is quite a sight if you like hybridised tech - Kurner being the paranoiac he is has fitted it with a Russian retinal scanner, a thumb-reader and a voice tag detector.\n\n> Go north\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\n> You examine computer\n\"Type password:\"\n\n> Search desk\nA glint catches your eye, but it turns out to be the silver button on a particularly hideous shiny-purple shirt. You toss it aside.\n\n> You search floor\nBooks, clothes, papers -- a mess, really.\n\n> Review\n(Review mode - time does not pass)\n\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\n> You look at the drawer\nIt's locked.\n\n> You check what you're carrying\nYou have a lab coat (being worn) and a screwdriver.\n\nYour left palm has been branded with a button.\n\n> You go west\nStandard cubby-hole bathroom really. A sink, toilet, and a greasy mirror reflecting the steam-stained beige walls in all their smudged glory. The door - should you tire of such an atmospheric locale - is back east.\n\n> You examine the toilet\nYou can learn about those things yourself.\n\n> You breathe on the porthole\nYou breathe on the portholes and a pool of condensation forms.\n\n> You examine the portholes\nThrough the portholes swim a variety of underwater fish.\n\n> Go east\nYou can exit Kurner's room by going south. The bathroom is west.\n\n> You type nothing\nWhen typing or writing, you need to surround the target word in quotes; ie, type \"nothing\".\n\n> Go east\nThe door to the General's office itself is to the east. This room isn't really a room, it's more just an expansion of the corridor westwards, with the walls hung with deep curtains and a couple of leather sofas stuck in the middle of the floorspace. In one corner there used to stand a potted plant, but as budget cuts meant saving on electricity it quickly died in the glow of forty-watt bulbs.\n\nIn place of the plant is a Stat machine.\n\n> You examine the curtains\nThey're deep blue, like the sea, and hung to cover the otherwise utilitarian walls.\n\n> You look behind the curtains\nBehind the curtains is propped what you assume are a few cleaning tools - a floor waxer and a metal rod with a plate on the end.\n\n> You get the metal detector\nTaken.\n\n> You get the waxer\nIt's far to heavy.\n\n> You examine the machine\nA panel for your hand, and then once read it'll tell you on a need-to-know basis all you need to know. By one side is a notice listing all the current clearances: \"1 - General Huffing. 2 - Dr. Kurner, Prof. Taylor\". 3 is your old group, and contains most of the established members of the team. Zak still loiters in a class by himself, no. 12, mainly due to his mother being Ukrainian and the General being somewhat old-school.\n\n> You touch panel\nClearance 2: CONFIRMED\n*Plasma virus-injection complete\n*Virus tests on rodent subjects complete\n*Results show 250% growth - see Dr. Taylor for details.\nWARNING - CONTAINER LOSS REPORTED\n\nContainer loss! Well, that would explain why Taylor had that \"car keys down the gutter\" expression all last week.\n\nThe screen falls dark as you remove your hand.\n\n> You examine the detector\nIt's called a \"Cosmetic\" apparently, in another one of those horribly garbled nicknames that are currently all the range. (Anyone for a Coocla? Or a game of Bammon?)  It has a switch on one side, a four-foot handle pole and a rounded plate at the base.\n\n> You wave it\nYou could take someone's eye out with that! (If their eye was about a foot wide).\n\n> You turn it on\nBleep!\n\n> You point it at the clothes\nNothing.\n\n> You point it at the books\nBleep!\n\nHunting more thoroughly leads you to locate a small key under the dust jacket of a hideous looking volume.\n\nYou find nothing else.\n\n> You unlock the drawer with the key\nUnlocked.\n\n> You open the drawer\nOpened.\n\nIn the drawer you see a pill-bottle and a notepad.\n\n> You look athe pill-bottle\nIt's labelled in gibberish: \"TAXI MALLO BALUO:\" and so forth.\n\n> You open the bottle\nOf course! An overdose on strange medicines! That'd take you out faster than it did your aunt! (Who was rushed to hospital, revived, but then died of food-poisoning from a bunch of grapes).\n\nYou open the bottle, to reveal a large number of pink tablets.\n\n> You eat the tablets\nYou swallow a fistful, noting they are cherry flavoured. Then you wait.\n\nOne.\n\nTwo.\n\nZmigra.\n\nChank.\n\nZis qua! Lil betite monkrane follo! Ze chafi lighan mucho blanchos, y ca merhaba ftang flivaro-toaster. Milcha! San omb-bomba ze anse le tabbycat-rrr.\n\n>ANSE TABBYCAT-RRR\n\nLa ranja se: \"ProtoFrench lessons. Dosage: one tablet last five minutes. Try to avoid taking more than twenty a day. Do not take with alcohol or whilst in control of aircraft or heavy equipment. Do not feed to children. Do not use as fertiliser, or vitamin supplement. Do not sue the manufacturer for misunderstandings.\"\n\nThe shock of comprehension lasts well after the severe nausea and stomach cramp has passed, and you come around, feeling well. The drug - a ProtoFrench class, presumably imported from Europe itself - has slackened its grip on the language centres of your brain leaving you with just a mild dyslexia when you look around.\n\n> You look at the notepad\n\"He is there. He was there. He will be there. He has been there. He might well be there. He shall be there. The password is dog. The password was dog. The password will be dog. The password has been...\"\n\nAnd so on.\n\n> You look at the computer\nIt's unreadable.\n\nYou feel a slight shadow pass across your eyes as your brain is repaired to Native Tongue once more.\n\n> You go west\nStandard cubby-hole bathroom really. A sink, toilet, and a greasy mirror reflecting the steam-stained beige walls in all their smudged glory. The door - should you tire of such an atmospheric locale - is back east.\n\n> You write the dog\nWhen typing or writing, you need to surround the target word in quotes; ie, write \"dog\".\n\n> You examine the mirror\nKurner's harassed and ugly mush looks back at you. You can't help noticing he looks a little pale - but then everyone here does, it's lack of sunlight. Once again you curse your machine for not having put you sea-side. You can make out \"dog\" scribbled in big chunky fat-child finger-writing in the condensation.\n\nThe condensation on the mirror evaporates away.\n\n> You eat the pill\nYou swallow a pill, and wait a second until the pain in your brain indicates effect.\n\n> You wait for a while\nTime passes...\n\nThe brain-pain subsides.\n\nTime passes...\n\nTime passes...\n\nTime passes...\n\n> You examine the mirror\nKurner's harassed and ugly mush looks back at you. You can't help noticing he looks a little pale - but then everyone here does, it's lack of sunlight. Once again you curse your machine for not having put you sea-side.\n\n> You breathe on mirror\nYou breathe on the mirror and a pool of condensation forms. The word \"CHYNE\" is now visible on the mirror.\n\n> Go east\nDr. Kurner's Office\n- is also his room, and it's a tip. A bed in one corner looks\nutterly pristine, under forty or fifty large books. The desk, facing onto a ubiquitous porthole, has a computer screen and keyboard set into it but is otherwise empty. The floor is a seaweed-sludge of screwed-up paper and dirty clothing. A door leads out south, and there's a bathroom annex to the west.\n\n> You examine the screen\nIt's changed to white, just plain white. There should be a selection of program buttons - and a logout - which you'd touch to activate the applications. (The \"mouse\" went out of fashion as soon as people were willing to have fine enough electrodes implanted in their index fingers). But there's nothing visible here.\n\n> You touch the screen\nYou jab the screen randomly and eventually hit the logout button at the bottom left of the screen, which you spot by the way it blinks blue before returning the screen to\n\n\"Enter password:\"\n\nIt must have been white-on-white.\n\n> Type chyne\nWhen typing or writing, you need to surround the target word in quotes; ie, type \"chyne\".\n\n> You touch top left\nThe screen changes.\n\n> You examine the screen\nOn the screen is a collection of Dr. Kurner's documents - mostly uninteresting; work reports, one is apparently the first draft of a novel called \"Vengeance is my Sister\". There is one open already - and it catches your eye.\n\nIt is the design for a black-box module with a multistrand wire feed that looks not a whole lot unlike the one plugged into your beloved upstairs. You skim over the opening mechanism and make a note of it, before ploughing into the circuits themselves.\n\nQuickly the patterns form. The search processes have been altered - no longer the first-mind-in-set-location pattern you'd programmed, but rather a nearest-to-base scan. And the criteria - you'd demanded a certain age, fitness, and suntan level for your subject. Kurner's level is set for ... good grief...\n\nThat explains it then. That box must have been in place this morning, when you stepped into the machine. It's set up to find the nearest dead body it can and transfer. Thinking back - didn't Kurner collapse when the machine fired? Maybe he had a heart attack or something, then machine transferred you in.\n\nOnly one thing to do then. Get back to the machine, and reprogram that box to get you back.\n\n> You touch the screen\nNothing else happens.\n\n> You touch bottom left\n\"Enter password:\"\n\n> You touch the top right\nNothing happens.\n\n> You go to the east\nYou're in the main module, and that means you know your way around\nwith your eyes shut. With your eyes open you can also comment on the decor; and note that it improves substantially to the east where the General has his office, to the west it probably disimproves (Kurner's hole is over there) and north leads toward the centre of the dome which means one thing - toward the room with your machine.\n\nBack south is a long corridor.\n\nJoe the janitor saunters in from the east corridor. \"Well, there it is!\" he exclaims. \"I've been looking for that.\" He removes the Cosmetic from your hand with a frown of reproach. \"I know you scientists are the bigwigs here, but I wish you'd ask first.\"\n\n\"Say, Dr. Kurner, are you ill?\" He smiles. \"I guess you're nervous about the Big Day. I'll let you get on.\" With that - and with the metal detector - he whistles his way off westwards.\n\nBig Day?\n\n> Up\nYou climb the great spiral of the ramp, round and round until you're sure the ground is screwing in and you're not going anywhere...\n\nYou know you're in favour when your personal lab is put on the first level of the building. It's behind that door to the south, the one only you have the key to. Except, of course, you haven't got it, because you're inside the room. Or you might be. Anyway, the door seems to still be open, which is handy.\n\nA loose panel hangs from the doorframe - it seems it's incurred some damage since you were last here.\n\nThe ramp which leads back down to the main room is north.\n\n> You go south\nYou enter your lab.\n\nThe room is much as you left it; a porthole above a bank of heavy machinery. The glass cylinder stands in one corner, aloof and empty.\n\nOne terminal case is violently unlocked.\n\n> Examine box\nYou kneel down by the terminal case and begin to feel for the various catches which control the opening mechanism. There's one - the next - you feel one side start to pivot round, which is a good sign.\n\nSuddenly there is a noise from the door. You stand up sharply, wheel around.\n\n\"Oh, hi there, Dr. Kurner!\" exclaims Zak cheerily, from the doorway.\nHe has a screwdriver held between his teeth and is working on something in the doorframe. \"Something went wrong with the door; I'm just refusing it. Be with you in a second.\"\n\n> You tell Zak about yourself\n\"Hold on a sec Doc -- almost done here,\" says Zak.\n\n> You open the box\nYou freeze as Zak shouts \"Morning, Professor!\" And sure enough, through the door enters yourself, looking spritely, excited, well. You stagger back in shock against the machine, in front of the damaged terminal case. There is a moment of eye-contact, but the Professor - you - don't seem to react.\n\nThe others on the project enter the room and start to fiddle with the machinery. As the Professor pauses to gaze in proud awe at his construction, Zak winks your way and whispers \"Good thing I got that door fixed, eh?\"\n\n\"All set, Professor?\" Zak takes his arm - your arm is supporting your weight against the terminal due to the weakness entering your body as suddenly it all comes become clear. \"Nearest-search\". Any physicist knows \"near\" isn't just a three-dimensional concept.\n\n\"FIVE\". \"FOUR\".\n\n\"Hey - do you suppose it should be sparking like that?\" Zak pipes up.\n\nIt is sparking, too, but you're not thinking about that, you're desperately trying to work out what happens next.\n\n\"And then there's quite a bit of smoke too, isn't there?\"\n\nDr. Kurner's box wasn't well programmed enough to cope with this - with an empty mind-sack next to a host containing its mind. Not only that but the machine is still performing it's primary search too, just secondary to Kurner's implanted approach.\n\n\"Maybe we should open it up and take a look?\"\n\nAnd to cap it all - you've just seen a cable at the top of the machine which is plugged into completely the wrong socket.\n\nA school of fish swims past the window.\n\n\"Anyone got a screwdriver?\" A few pat their pockets, and shrug.\n\n\"ZERO.\"\n\nYour eyes flip open, to a flash of your face in glass. Then the air sears once more. Bug in my program, you think. What happens now?\n\nNo other way to put it. Our myriad eyes see it a hundred different ways; a million little angles on the same rocks below, the same lights distant and near. It all spins sickly, too much information, too much speed, every bit of changing direction constantly. We are swimming, around in and about each other.\n\nA snuttlenose swims by.\n\nThe school flicks about and swims northeast.\n\nFrom way above trickles light. To the south is the dome.\n\n> About yourself\nWe are multiple, all seeing. We see ourself and the world at once, it is all placed out. We are fish.\n\n> Frolic\nWe don't understand.\n\nThe school flicks about and swims southward.\n\nTo the south is the bulging dome. All around us is the blue.\n\n> You go to the south\nIn a pulse we move south.\n\nTo the south is the bulging dome. All around us is the blue.\n\nJagged rocks blade from the sand here.\n\n> You look at the rocks\nThey are rugged and ripped, protruding like spines through the sand.\n\nAn allamander passes us in eerie silence.\n\nThe school flicks about and swims westward.\n\nTo the south is the bulging dome. All around us is the blue.\n\n> You go south\nThe dome blocks us swimming.\n\nA squid passes us in eerie silence.\n\n> Examine dome\nThe dome is a huge bulge of copper on the seabed. We do not understand it, it is just rock, shape of land, movement of speed of water. A metal corridor snakes out of it eastward toward a smaller dome, with a glass chimney at its top. It is the mortuary block and near it blackness moves.\n\nFloating through the blue comes a finn.\n\n> You go east\nThe school trails eastward.\n\nTo the south is the bulging dome. All around us is the blue. We are near a window in a large metal dome just to the south.\n\nFloating through the blue comes an angel.\n\n> You look at the angel\nThe angel swims out of reach -- and not to our disappointment.\n\nThe school flicks about and swims northwest.\n\nTo the south is the bulging dome. All around us is the blue.\n\n> Go south\nWe fin south.\n\nTo the south is the bulging dome. All around us is the blue. We are near a window in a large metal dome just to the south.\n\nA cuttlesprout swims by.\n\nWith a snap one of our school is gone. Suddenly we can't remember our father's face.\n\n> You look at the window\nWe see our reflection.\n\nA calarta swims by.\n\nThe school flicks about and swims in many directions before joining us again.\n\nThe dome is south. We are in blue.\n\n> Go east\nWe fin east.\n\nTo the south is the bulging dome. All around us is the blue.\n\nThis is ridiculous. We can't spend our life as a shoal of fish. We need to get back, and fast.\n\n> Examine dome\nThe dome is a huge bulge of copper on the seabed. We do not understand it, it is just rock, shape of land, movement of speed of water. A metal corridor snakes out of it eastward toward a smaller dome, with a glass chimney at its top. It is the mortuary block and near it blackness moves.\n\nThe school flicks about and swims westward.\n\nFrom way above trickles light. To the south is the dome.\n\n> Go east\nThe school trails eastward.\n\nThe dome is south. We are in blue.\n\n> You go east\nWe swim east.\n\nThe dome is south. We are in blue.\n\n> Go upwards\nWe are up and down as well. We are a school, and wide, and shape changing always.\n\nThe school flicks about and swims northward.\n\nThe dome is south. We are in blue.\n\n> You examine the chimney\nThe Mortuary dome is broken, some walls have collapsed under a great dark weight we cannot see clearly, with moving eyes and confusion.\n\nAn angel passes us in eerie silence.\n\n> You look at weight\nIt is blackness over the mortuary.\n\nA shrake swims by.\n\nThe school is fished, we are piece-eaten. Strangely our name has gone missing.\n\nThere are a good few hundred in this school. It will take forever to be eaten by other fish.\n\nThe school flicks about and swims northwest.\n\nTo the south is the bulging dome. All around us is the blue.\n\n> You eat yourself\nWe are too many.\n\n> You eat the weight\nWe try but we just don't know how.\n\nAn octopus swims by.\n\n> You go south\nWe swim south.\n\nFrom way above trickles light. To the south is the dome. We are above a long corridor of metal leading toward the mortuary.\n\nA calarta swims by.\n\n> Go east\nWe fin over the dome of mortuary, where the metal turns black with a heaving darkness.\n\nOur motion sets a rustle in the water like the waving of seaweed and some of the shoal tries to leave in a panic. The darkness below is moving. It's coming nearer. It's rushing from the seabed in a motion like the unfolding of the earth. It is a giant, wrapping hand, that our kaleidoscope eyes see from all sides and form into a huge rounded trunk in our mind. The whole object encompasses us until a mouth is doing the same. The rest try to swim away, finning back madly over the corridor toward the dome. The shadow follows, boiling out of the sand, revealing its shadow full. Sweeps over the corridor, more of us are lost. We try to out-shake it. We fail. Flitter, flurry, fade, in blackness.\n\nEyes open. You feel somewhat dizzy. You can't remember how to tie a tie, you note, which at least means one got away.\n\nThe glass door has slid open. Outside, the room is empty bar for smoking machinery and Dr. Kurner's body, slumped out on the floor.\n\nSomewhere, an alarm is blaring.\n\n> About yourself\nYou are yourself, once more.\n\n> You look\nCables feed away from the base of the cylinder. Inside, there's the grille for your feet, and the Emergency Door Release Switch.\n\n> Leave\nYou step out of the cylinder. From here you can see the screen in the corner of the room, which shows a giant multi-tentacled creature growing from over the mortuary dome, coming closer.\n\nYour machine is in one corner, forgotten. Dr. Kurner slumps on the floor, quite dead, almost forgotten too.\n\nThe alarm is blaring. A voice over the intercom shrieks \"What are we going to do? General? WHAT ARE WE GOING TO DO?\"\n\n> You examine screen\nThe squid is coming closer, ever closer. In a matter of minutes it will crush the lab."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, folklore, fairy tale, fantasy]\n\nConversations in this game use keywords.\n\nIf no words above were colored or emphasized, or if you'd like to choose a different way to emphasize keywords, press K now.\n\nan existing story.\n\n[Author's Note: You are Molly Butterfield, dairy farmer extraordinaire. In the past week there have been two mysterious butter disappearances from your own kitchen. There will not be a third.]"
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go north\nYou are Molly Butterfield, dairy farmer extraordinaire. You have the finest cows and the sweetest butter for miles around, and word of it has spread far and wide.\n\nPerhaps too far.\n\nIn the past week there have been two mysterious butter disappearances from your own kitchen. There will not be a third.\n\nThis time, you'll be lying in wait for the thief. And you'll be armed with a fire poker.\n\n> You examine the dish\nA china dish shows off an exquisite specimen of butter, round from the butter mold and stamped with your signature imprint of a flower.\n\nWith all the labor that goes into making butter, you feel a twinge of regret that you're sacrificing it to lure a thief, and on a beautiful dish passed down from your grandparents, to boot. But you're determined to find out who has been stealing your butter, and why.\n\nYou hear a cow lowing outside--unusual for this time of night. Something must have startled Millicent.\n\n> You examine the poker\nAn iron fire poker, useful for scaring off intruders if necessary.\n\nThe door creaks open, revealing a sliver of night.\n\n> You examine the door\nThe front door is open.\n\nGlimmering points of light float in through the doorway like different colored fireflies.\n\n> You look at the points\nPoints of light drift and flicker like tiny luminescent butterflies.\n\nThe flickering points of light drift towards your fancy plate of butter. Now the butter dish is rising into midair. The butter dish balances, then hovers towards the front door, accompanied by the lights.\n\n> You close the door\nNot now!\n\nThe butter on its dish floats through the doorway, surrounded by the glimmering sparks, and then the door closes behind it.\n\nYou let out the breath you've been holding and lay down the fire poker. You won't be needing a heavy thing like that to deal with a couple of sparks. You're better off using your wits, and if need be, your fists. Now, where's that thief off to?\n\n> You go outside\nIt's shadowy in the yard. You can just make out the red water pump in the moonlight. The farmhouse stands to the west, and the forest to the east. There ought to be a path into the forest, but you can make out only a tangle of trees.\n\nWhite pebbles glint in the grass.\n\nPoints of light drift and flicker, carrying with them the dish of butter.\n\nThe glimmering lights are making their way slowly east across the field.\n\n> You take the pebbles\nYou scoop up a generous handful of pebbles.\n\nThe glimmering lights are making their way slowly east across the field.\n\n> Pump pump\nYou sidle over to the bright red water pump and begin pumping water. The thief startles at the noise and vanishes along with the coveted butter.\n\n> You go east\nYou feel as though you have entered not one forest, but two. The trees you've always known are still here, but tonight new trees have joined them, and an unfamiliar mass of wild brambles has overtaken most of the ground. The new vegetation intersects the old and grows right through it, unaffected by its presence. A stream flows through the center of it all.\n\nYou know every path through the forest--this is your home, after all. But tonight you're not sure you'll be able to find your way back.\n\nUnless, perhaps, you have something to mark the way.\n\n> You drop the pebble\nGood idea! You'll leave a trail of pebbles as you go through the strange forest so you'll be able to find your way back. (You are\nnow leaving a trail of pebbles automatically.)\nYou drop some pebbles on the ground.\n\n> You examine trees\nStrange, otherworldy plants and trees surround you.\n\nThe colored points of light float slowly south with the fancy dish of butter, staying well away from the stream.\n\n> Go south\nA clearing in the heart of the double-natured forest. Unfamiliar vines hang down through familiar trees, and strange toadstools grow near a hollow log that wasn't here before this evening.\n\nYou drop some pebbles on the ground.\n\n> You examine the toadstools\nStrange, otherworldy plants and trees surround you.\n\nThe colored points of light float slowly southeast with the fancy dish of butter.\n\n> You take the vine\nThe surrounding forest seems so strange, almost threatening. You don't trust it far enough to do anything with it.\n\nThe thief is going southeast, and is almost out of sight.\n\n> You go southeast\nThe trees are sparse here at the edge of the forest, and the ground slopes down to the east. Well, some of it does. A spongy layer of ground with tall grass and another layer that's rocky are oddly interwoven with each other.\n\nAs you make your way through the grass, you stop for a moment. You've seen this place before.\n\nHaven't you?\n\nYou drop the last of your pebbles on the ground.\n\nThe colored points of light float slowly east with the fancy dish of butter.\n\n> You go to the east\nYou stand in a moonlit bog at the bottom of a valley. Mist drifts across the spongy turf, and amidst the fog, floating in midair, is the ghostly outline of a castle, draped with ivy and flowers. An almost transparent bridge leads east across the mud to its front door. The tangled forest lies to the west, and to the northwest is the opening to a small cave.\n\n> You look at the castle\nThe ghostly form of a castle stands to the east, across the bridge. The castle walls look as if they are not quite solid. Or not quite...there.\n\nThe thief is floating toward the bridge.\n\n> Go east\nYou march up to the bridge and, as you step forward, find it to be just as unsubstantial as it looks. You fall through it as though it were air, and land splat in the mud.\n\nThe thief floats east across the bridge with the butter.\n\nA new cluster of lights comes into view, lavender and rose and green. The lights drift back and forth on this side of the bridge.\n\n> You stand\nYou get out of the mud.\n\n> You look at the cluster\nFloating here is a twisting constellation of glimmering lights, lavender and rose and green. Here and there the points of light lengthen into lines, suggesting edges of petals and fluttering fabric.\n\n> You talk to the cluster\n\"Hail, bold mortal. Welcome to our banquet,\" says a voice.\n\nYou choose a focal point amongst the floating lights and say \"Good evening,\" annoyed that you don't know whom you're addressing.\n\n\"You may call me 'Your Majesty,'\" says the voice, answering your unspoken question. \"It is only edges and glimpses of us you see now. But tonight our worlds converge for a while, and as the night\ndraws on, you may see us in our true form.\"\n\n(Please type a keyword to proceed.)\n\n> Form\n\"Yes, mortal, we are of the fair folk,\" says the voice. \"You cannot see this, for we are not yet fully in your world, nor you in ours. But we are happy to share what we have as the worlds come together, even a crossing into our realm, should you desire it.\"\n\n(You could type banquet or\nconverge.)\n\n> Converge\nThe voice answers. \"Every so often the world of faerie and the world of humans pass through each other, and while the worlds converge, we may mingle.\"\n\n(You could type banquet.)\n\n> Banquet\n\"Our banquet is held in the castle there, across the bridge,\" says the voice. \"Do not neglect to bring a fairy flower with you.\"\n\n\"I have tarried here long enough. I must go. See to the flower, mortal,\" says the voice, and the lights vanish."
    },
    {
        "text": "[Themes: Fantasy, folklore]\n\n> You look around\nYou stand in a moonlit bog at the bottom of a valley. Mist drifts across the spongy turf, and amidst the fog, floating in midair, is the ghostly outline of a castle, draped with ivy and flowers. An almost transparent bridge leads east across the mud to its front door. The tangled forest lies to the west, and to the northwest is the opening to a small cave.\n\n> Go northwest\nA small cave in the rock, large enough to walk a little, but no more. Overgrown tree roots and flowering vines camouflage the cave opening to the southeast.\n\nA ledge in the wall of the cave forms a natural seat. It gives you a curious feeling to look at it.\n\n> You sit on the seat\nYou sit on the stone seat and when you look at the cave from your new perspective, you are cast adrift in a sea of memory: the look of\nthe vines hanging in the doorway, dark against the moon. Flower shadows on the wall. Sitting on the smooth stone seat with your legs dangling, not long enough to touch the ground. Fragments of\nforgotten dreams.\n\nIf they were dreams.\n\n> You look at the vines\nOvergrown tree roots and flowering vines camouflage the cave opening to the southeast. The blossoms on the vines look oddly faint.\n\n> You take the flower\nThe flowers look more like tricks of the light than real blossoms. As you reach for one you wonder if you'll be able to touch it at all. But you can, and once you've picked the flower, it seems more solid, somehow.\n\n> You look at what you're carrying with you\nYou are carrying:\na fairy flower\n\n> Smell flower\nIt smells both sweet and bitter.\n\n> You examine the flower\nA blossom you picked from the flowering vine. On the vine it looked faint, as though it were not quite present, but now that you've picked it, it looks more solid, somehow.\n\n> You stand\nYou get off the natural seat.\n\nA small cave in the rock, large enough to walk a little, but no more. Overgrown tree roots and flowering vines camouflage the cave opening to the southeast.\n\nA ledge in the wall of the cave forms a natural seat.\n\n> You go outside\nYou go to leave. A rainstorm was raging that night. That must\nhave been why you were lost, though you thought you knew the path. But you found a cave and crept in, and sat on the ledge, and began to sing to yourself in the dark.\n\nCurious children, about your own age, peeped into the cave, and\ncame in. By the end of the song you had a small audience sitting on the floor.\n\n\"I've never heard that lullaby before,\" one of them said.\n\n\"My mother always sings it to me during a storm,\" you said.\n\n\"The fairies don't sing about rain. They don't seem to like it\nmuch.\"\n\n\"What fairies?\"\n\n\"The ones who live over yonder. But don't worry--you're safe for\nnow. Sing us another.\"\n\nYou stand in a moonlit bog at the bottom of a valley. Mist drifts across the spongy turf, and amidst the fog, floating in midair, is the ghostly outline of a castle, draped with ivy and flowers. An almost transparent bridge leads east across the mud to its front door. The tangled forest lies to the west, and to the northwest is the opening to a small cave.\n\n> You touch the bridge\nYou touch the bridge, and it feels solid. You can't help but feel that the flower has something to do with it.\n\n> You go to the east\nAs you step onto the bridge, unsure if it will support you, you grip your flower.\n\nThe bridge holds, and you cross.\n\nA table stretches from one end of the hall to the other, spread with a fine banquet, and seated along the table are scores of fairies. Other fairies are walking through with pitchers and silver trays, periodically disappearing through a set of doors to the north. There is a great deal of laughter and singing going on.\n\nYour dish of butter is nowhere to be seen.\n\n\"Psst! Molly!\" whispers a voice.\n\nYou turn, and over in the corner, waving at you, is none other than Tom the Baker.\n\nTom, the man who jilted your friend Lucinda seven years ago. A midsummer wedding had been planned, but on the appointed day, he never showed up. No one ever saw him around after that.\n\nAnd to think all this years he's been here enjoying himself! You hardly know whether to ignore him, or give him a piece of\nyour mind.\n\n(Please enter a keyword to proceed.)\n\n> Mind\nYou march forward, ready to light into him, but he is the first to speak.\n\n\"I cannot begin to tell you how sorry I am that I was not there to marry Lucinda. But I must tell you this: do not drink the\nwine the fairies offer you. Once you drink it, you cannot\nleave the fairy realm.\"\n\npaper.\n\n> Paper\nHe hands you a folded letter with \"LUCINDA\" written on the outside.\n\n\"I would be so grateful if you would give this letter to Lucinda,\" he says.\n\n(You could type wine.)\n\n> Wine\nYou ask him about the wine.\n\n\"You see over there some others you may know,\" says Tom, \"the midwife, the miller's son. They, too, drank the fairy wine. It is not meant for humans; it binds us to the realm of faerie. None of us can ever go home again.\"\n\nYou look over at the familiar faces, laughing and carrying on. They take no notice of you.\n\n\"Don't they see me?\" you ask.\n\n\"If you drink enough, you forget those you knew. You forget\nthe human world. Our friends over there can't remember any life other than this.\"\n\n> You forget\n\"If you are imprisoned here forever,\" you say, \"then don't you wish to forget what you have lost, as the others have done?\"\n\n\"Many times I have wanted to forget entirely,\" says Tom. \"But I hoped for the day when someone would visit from the human world, as you have. Someone who could deliver this letter to Lucinda.\"\n\n\"And besides,\" he continues, \"if I were to forget, how could I warn others who might come in, unsuspecting, like you? The fairies may have trapped my body in this world,\" says Tom. \"But they cannot trap my will.\"\n\n\"Please, give Lucinda the letter,\" he says. \"And remember what I said about the wine.\"\n\nSeeing a fairy approach, Tom slips away.\n\n> You examine the server fairy\nA fairy offering drinks to the guests.\n\nA fairy greets you and offers you a goblet of some purplish, sweet-smelling liquid. You debate whether to say thank you or\nto decline. (Please enter a keyword to proceed.)\n\n> You look at the goblet\nA silver goblet full of a purplish liquid.\n\n> You examine table\nYou've seen enough to know that your dish of butter is not in the Banquet Hall. There's no use wasting more time on the banquet.\n\n> You go to the north\n(first opening set of doors)\n\nPrecariously-stacked dishes fill much of the scullery. Along the north edge of the room, behind a half-wall, is a long channel with a stream of water running through it. A grating across the floor is meant to drain any stray water. A set of doors to the south leads back into the banquet hall, and a little wooden door leads west.\n\nAmong the stacks of dishes is your beautiful china butter dish passed down from your grandparents. You were beginning to think you'd never see it again!\n\n> You look at the dish\nIt's your fancy butter dish that you laid out to lure the thief! With not a trace of butter left on it.\n\n> You take it\nTaken.\n\n> You examine the channel\nWater splashes into the channel through an opening in one end of the room and flows out again at the other end. A thick half-wall divides the channel from the rest of the scullery. It's clear that the stream of water is meant for washing dishes, but the height and thickness of the wall must make it difficult.\n\nYou puzzle over the thick half-wall and the long grating. The fairies seem to have gone to a lot of trouble to keep the floor dry.\n\n> Pour goblet\nYou glance around to make sure no one is watching, then pour the contents of the goblet over your shoulder. You hear a hiss as the liquid burns a hole in the floor.\n\n> Go west\nYou doubt the fairies would appreciate you taking their silver goblet home with you.\n\n> You drop the goblet\nDropped.\n\n> Go west\n(first opening the little wooden door)\n\nYou stand in a moonlit bog at the bottom of a valley. Mist drifts across the spongy turf, and amidst the fog, floating in midair, is the ghostly outline of a castle, draped with ivy and flowers. An almost transparent bridge leads east across the mud to its front door. The tangled forest lies to the west, and to the northwest is the opening to a small cave.\n\nOh, no. There's a fairy here, and she's already seen you! You stroll by, doing your best not to call attention to the dish you're carrying.\n\n\"What is this?\" says the fairy. \"Is this how you repay our hospitality, mortal? How dare you steal our fine dish! Give it to me!\"\n\nYou recognize that voice.\n\n\"Pardon, Your Majesty,\" you say, \"but I won't have you calling it yours when one of your thieving fairies stole it first!\"\n\nAlas, diplomacy was never your strong suit. The Queen goes inside to fetch the other fairies, and soon they are pouring out of the castle, chasing after you.\n\nI hope you know your way home, Molly. There's no time to dilly-dally!\n\n> You go west\nThe trees are sparse here at the edge of the forest, and the ground slopes down to the east. Well, some of it does. A spongy layer of ground with tall grass and another layer that's rocky are oddly interwoven with each other.\n\nA trail of pebbles leads northwest and east.\n\nA memory...\n\nAfter the rain died down on the night of the storm, the singing\ncame to an end and your little friends whispered, nudging you towards the forest. \"You'd better go. If the Fairy Queen catches sight of you she might decide she'd like another servant.\"\n\n\"What if the fairies should come after me?\" you asked.\n\n\"If you're quiet, they'll never know you were here. But if they\nfollow you, look for the dewleaf, which grows by running water. The fairies cannot follow you through water. Dip the leaf in water, and when you stand outside your home, throw the leaf down on the ground. Then you'll be safe.\"\n\n\"What does the leaf--\"\n\n\"Shh--they'll come looking for us any minute. You must go!\nGoodbye!\"\n\n> You go northwest\nA clearing in the heart of the double-natured forest. Unfamiliar vines hang down through familiar trees, and strange toadstools grow near a hollow log that wasn't here before this evening.\n\nA trail of pebbles leads north and southeast.\n\n> You go to the north\nIt looks as though there is not one forest here, but two. The trees you've always known are still here, but tonight new trees have joined them, and an unfamiliar mass of wild brambles has overtaken most of the ground. The new vegetation intersects the old and grows right through it, unaffected by its presence. A stream flows through the center of it all.\n\nA strange bush by the stream catches your eye.\n\nA trail of pebbles leads west and south.\n\n> You examine the bush\nThe low bush has leaves like slices of water: clear, with ripples of light running from tip to tip as though across the surface of a stream.\n\n> You take leaf\nYou gently pull a dewleaf from the bush.\n\n> You put it in the stream\nYou dip the dewleaf into the stream. Soon the leaf begins to glow, and you draw it out again.\n\n> You go west\nIt's shadowy in the yard. You can just make out the red water pump in the moonlight. The farmhouse stands to the west, and the forest to the east.\n\n> You throw the leaf\nYou throw down the glowing wet dewleaf, and as it hits the ground, the earth begins to shake.\n\nA crack appears in the ground, and you leap out of the way as it lengthens and widens.....\nAnd the crack in the ground deepens into a trench, rapidly snaking around the farmhouse....\nAnd then you hear a loud rush of water, and the trench becomes a river, completely encircling your home....\n\nAnd then you catch sight of two more dishes being swept down the stream: the ones that disappeared when your butter was stolen before. You grab them as they approach....\nThen the fairies arrive from the east, a whole crowd of them, hopping mad. They gather on the opposite side of the river and command you to give them the dishes.\n\nYou decline.\n\n\"Now if you'll excuse me,\" you say, \"it's almost morning, and the milking won't wait. And then I've got an important letter to deliver.\"\n\nAnd the fairies never trouble you again."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave crawl, treasure hunt, combat, fantasy, memorable NPC, maze, Zork, cave]\n\nZORK I: The Great Underground Empire\nCopyright (c) 1981, 1982, 1983 Infocom, Inc. All rights reserved.\n\nRevision 88 / Serial number 840726\n\nYou are standing in an open field west of a white house, with a boarded front door.\nThere is a small mailbox here.\n\n[Author's Note: Many strange tales have been told of the fabulous treasure, exotic creatures, and diabolical puzzles in the Great Underground Empire. As an aspiring adventurer, you will undoubtedly want to locate these treasures and deposit them in your trophy case.]\n\n> You open the mailbox\nOpening the small mailbox reveals a leaflet.\n\n> You take the leaflet\nTaken.\n\n> You read it\n\"WELCOME TO ZORK!\n\nZORK is a game of adventure, danger, and low cunning. In it you will explore some of the most amazing territory ever seen by mortals. No computer should be without one!\"\n\n> You look at what you're carrying with you\nYou are carrying:\nA leaflet\n\n> You look\nYou are standing in an open field west of a white house, with a boarded front door.\nThere is a small mailbox here.\n\n> You examine the door\nThe door is closed.\n\n> You examine the house\nThe house is a beautiful colonial house which is painted white. It is clear that the owners must have been extremely wealthy.\n\n> You examine the wall\nWhich wall do you mean, the granite wall or the surrounding wall?\n\n> Go north\nYou are facing the north side of a white house. There is no door here, and all the windows are boarded up. To the north a narrow path winds through the trees.\n\n> Go south\nThe windows are all boarded.\n\n> Go southeast\nYou are behind the white house. A path leads into the forest to the east. In one corner of the house there is a small window which is slightly ajar.\n\n> Go south\nYou are facing the south side of a white house. There is no door here, and all the windows are boarded.\n\n> You go south\nThis is a dimly lit forest, with large trees all around.\n\n> Go north\nYou are in a small clearing in a well marked forest path that extends to the east and west.\n\n> You go east\nYou are at the top of the Great Canyon on its west wall. From here there is a marvelous view of the canyon and parts of the Frigid River upstream. Across the canyon, the walls of the White Cliffs join the mighty ramparts of the Flathead Mountains to the east. Following the Canyon upstream to the north, Aragain Falls may be seen, complete with rainbow. The mighty Frigid River flows out from a great dark cavern. To the west and south can be seen an immense forest, stretching for miles around. A path leads northwest. It is possible to climb down into the canyon from here.\n\n> Go east\nYou are on a ledge about halfway up the wall of the river canyon. You can see from here that the main flow from Aragain Falls twists along a passage which it is impossible for you to enter. Below you is the canyon bottom. Above you is more cliff, which appears climbable."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, treasure hunt, maze, fantasy, cave]\n\n> Go downwards\nYou are beneath the walls of the river canyon which may be climbable here. The lesser part of the runoff of Aragain Falls flows by below. To the north is a narrow path.\n\n> You go to the north\nYou are on a small, rocky beach on the continuation of the Frigid River past the Falls. The beach is narrow due to the presence of the White Cliffs. The river canyon opens here and sunlight shines in from above. A rainbow crosses over the falls to the east and a narrow path continues to the southwest.\n\n> You go south\nStorm-tossed trees block your way.\n\n> Go west\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\n> Go east\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\nYou hear in the distance the chirping of a song bird.\n\n> You go to the south\nYou are facing the north side of a white house. There is no door here, and all the windows are boarded up. To the north a narrow path winds through the trees.\n\n> Go north\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\n\n> You go north\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south.\nOn the ground is a pile of leaves.\n\n> You take the leaves\nIn disturbing the pile of leaves, a grating is revealed.\nTaken.\n\n> You examine the grating\nThe grating is closed.\n\n> You open the grating\nThe grating is locked.\n\n> You examine the branches\nThere's nothing special about the tree.\nYou hear in the distance the chirping of a song bird.\n\n> You climb the tree\nYou are about 10 feet above the ground nestled among some large branches. The nearest branch above you is above your reach.\nBeside you on the branch is a small bird's nest.\nIn the bird's nest is a large egg encrusted with precious jewels, apparently scavenged by a childless songbird. The egg is covered with fine gold inlay, and ornamented in lapis lazuli and mother-of-pearl. Unlike most eggs, this one is hinged and closed with a delicate looking clasp. The egg appears extremely fragile.\n\n> You take the egg\nTaken.\n\n> You examine the egg\nThe jewel-encrusted egg is closed.\nYou hear in the distance the chirping of a song bird.\n\n> You check what you're carrying\nYou are carrying:\nA jewel-encrusted egg\nA pile of leaves\nA leaflet\n\n> Count leaves\nThere are 69,105 leaves here.\n\n> You enter the window\nYou are in the kitchen of the white house. A table seems to have been used recently for the preparation of food. A passage leads to the west and a dark staircase can be seen leading upward. A dark chimney leads down and to the east is a small window which is open.\nOn the table is an elongated brown sack, smelling of hot peppers.\nA bottle is sitting on the table.\nThe glass bottle contains:\nA quantity of water\n\n> You take all\nbrown sack: Taken.\nglass bottle: Taken.\n\n> Up\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> Down\nYou are in the kitchen of the white house. A table seems to have been used recently for the preparation of food. A passage leads to the west and a dark staircase can be seen leading upward. A dark chimney leads down and to the east is a small window which is open.\n\n> You examine table\nThe kitchen table is empty.\n\n> Go west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a large oriental rug in the center of the room.\nAbove the trophy case hangs an elvish sword of great antiquity.\nA battery-powered brass lantern is on the trophy case.\n\n> You move the rug\nWith a great effort, the rug is moved to one side of the room, revealing the dusty cover of a closed trap door.\n\n> You look\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a closed trap door at your feet.\nAbove the trophy case hangs an elvish sword of great antiquity.\n\n> You go west\nThe door is nailed shut.\n\n> You read the lettering\nThe engravings translate to \"This space intentionally left blank.\"\n\n> You examine the case\nThe trophy case is empty.\n\n> Open case\nOpened.\n\n> You put the egg in the case\nDone.\n\n> Close case\nClosed.\n\n> You examine the case\nYour collection of treasures consists of:\nA jewel-encrusted egg\n\n> Inventory\nYou are carrying:\nA sword\nA brass lantern\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nA pile of leaves\nA leaflet\n\n> You examine bottle\nThe glass bottle contains:\nA quantity of water\n\n> You examine sack\nThe brown sack is closed.\n\n> You open the sack\nOpening the brown sack reveals a lunch, and a clove of garlic.\n\n> You smell the garlic\nIt smells like a clove of garlic.\n\n> You put all in the sack\nsword: There's no room.\nbrass lantern: There's no room.\nglass bottle: There's no room.\nbrown sack: How can you do that?\npile of leaves: There's no room.\nleaflet: Done.\n\n> You drop the leaves\nDropped.\n\n> Inventory\nYou are carrying:\nA sword\nA brass lantern\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\n\n> You look\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a closed trap door at your feet.\nA small leaflet is on the ground.\nOn the ground is a pile of leaves.\nYour collection of treasures consists of:\nA jewel-encrusted egg\n\n> You go east\nYou are in the kitchen of the white house. A table seems to have been used recently for the preparation of food. A passage leads to the west and a dark staircase can be seen leading upward. A dark chimney leads down and to the east is a small window which is open.\n\n> Up\nThis is the attic. The only exit is a stairway leading down.\nA large coil of rope is lying in the corner.\nOn a table is a nasty-looking knife.\n\n> You get all\nnasty knife: Taken.\nrope: Taken.\n\n> You examine table\nThe table is empty.\n\n> Down\nOnly Santa Claus climbs down chimneys.\n\n> You go to the west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a closed trap door at your feet.\nA small leaflet is on the ground.\nOn the ground is a pile of leaves.\nYour collection of treasures consists of:\nA jewel-encrusted egg\n\n> Down\nThe trap door is closed.\n\n> You open the trap door\nThe door reluctantly opens to reveal a rickety staircase descending into darkness.\n\n> Down\nThe trap door crashes shut, and you hear someone barring it.\n\nYou are in a dark and damp cellar with a narrow passageway leading north, and a crawlway to the south. On the west is the bottom of a steep metal ramp which is unclimbable.\nYour sword is glowing with a faint blue glow.\n\n> Go north\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\nA nasty-looking troll, brandishing a bloody axe, blocks all passages out of the room.\nYour sword has begun to glow very brightly.\n\n> You examine troll\nA nasty-looking troll, brandishing a bloody axe, blocks all passages out of the room.\nThe troll hits you with a glancing blow, and you are momentarily stunned.\n\n> You go to the south\nYou are in a dark and damp cellar with a narrow passageway leading north, and a crawlway to the south. On the west is the bottom of a steep metal ramp which is unclimbable.\nYour sword is glowing with a faint blue glow.\n\n> You hit the troll with the sword\nThe troll's weapon is knocked to the floor, leaving him unarmed.\nThe troll, angered and humiliated, recovers his weapon. He appears to have an axe to grind with you.\n\n> You hit the troll with the sword\nA good slash, but it misses the troll by a mile.\nYou stagger back under a hail of axe strokes.\n\n> Continue\nYou are still recovering from that last blow, so your attack is ineffective.\nThe troll's axe barely misses your ear.\n\n> Continue\nThe fatal blow strikes the troll square in the heart: He dies.\nAlmost as soon as the troll breathes his last breath, a cloud of sinister black fog envelops him, and when the fog lifts, the carcass has disappeared.\nYour sword is no longer glowing.\n\n> You look\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\nThere is a bloody axe here.\n\n> You take the axe\nYour load is too heavy.\n\n> Inventory\nYou are carrying:\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\n\n> Go east\nThis is a narrow east-west passageway. There is a narrow stairway leading down at the north end of the room.\n\n> You go to the east\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\n\n> You go to the north\nA chasm runs southwest to northeast and the path follows it. You are on the south side of the chasm, where a crack opens into a passage.\n\n> You take the bar\nbar bar ...\n\n> Keep going\ng g ...\n\n> Up\nYou are on the south edge of a deep canyon. Passages lead off to the east, northwest and southwest. A stairway leads down. You can hear the sound of flowing water from below.\n\n> You go to the east\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe sluice gates on the dam are closed. Behind the dam, there can be seen a wide reservoir. Water is pouring over the top of the now abandoned dam.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble.\n\n> You take bolt\nIt is an integral part of the control panel.\n\n> Go north\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam. Some guidebooks entitled \"Flood Control Dam #3\" are on the reception desk.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\n> Go north\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a group of tool chests here.\nThere is a wrench here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a screwdriver here."
    },
    {
        "text": "> Go down\nYou are at the base of Flood Control Dam #3, which looms above you and to the north. The river Frigid is flowing by here. Along the river are the White Cliffs which seem to form giant walls stretching from north to south along the shores of the river as it winds its way downstream. There is a folded pile of plastic here which has a small valve attached.\n\n> You take the pile\nYour load is too heavy.\n\n> You go to the west\nYou are in a long room on the south shore of a large lake, far too deep and wide for crossing.\nThere is a path along the stream to the east or west, a steep pathway climbing southwest along the edge of a chasm, and a path leading into a canyon to the southeast.\n\n> You go to the southwest\nA chasm runs southwest to northeast and the path follows it. You are on the south side of the chasm, where a crack opens into a passage.\n\n> You go to the south\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\n\n> You examine the mirror\nThere is an ugly person staring back at you.\n\n> You go west\nThis is a winding passage. It seems that there are only exits on the east and north.\n\n> You go to the east\nThis is a tiny cave with entrances west and north, and a dark, forbidding staircase leading down.\nYour sword is glowing with a faint blue glow.\n\n> Nevermind\nSAVEOk.\n\n> You go west\nThis is a winding passage. It seems that there are only exits on the east and north.\nYour sword is no longer glowing.\n\n> Down\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nThe way through the gate is barred by evil spirits, who jeer at your attempts to pass.\nYour sword has begun to glow very brightly.\n\n> You examine the spirits\nYou seem unable to interact with these spirits.\n\n> You examine the gate\nThe gate is protected by an invisible force. It makes your teeth ache to touch it.\n\n> Attack gate\nWhat do you want to attack the gate with?\n\n> You hit the spirits with the sword\nHow can you attack a spirit with material objects?\n\n> Up\nThis is a tiny cave with entrances west and north, and a dark, forbidding staircase leading down.\nYour sword is glowing with a faint blue glow.\n\n> Go north\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nYour sword is no longer glowing.\n\n> You take the mirror\nThe mirror is many times your size. Give up.\n\n> You look\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\n\n> N\n\nThis is a high north-south passage, which forks to the northeast.\n\n> N\n\nA chasm runs southwest to northeast and the path follows it. You are on the south side of the chasm, where a crack opens into a passage.\n\nA chasm runs southwest to northeast and the path follows it. You are on the south side of the chasm, where a crack opens into a passage.\n\n> You go southeast\nYou have entered a low cave with passages leading northwest and east. There are old engravings on the walls here.\n\n> You examine the engravings\nThe engravings were incised in the living rock of the cave wall by an unknown hand. They depict, in symbolic form, the beliefs of the ancient Zorkers. Skillfully interwoven with the bas reliefs are excerpts illustrating the major religious tenets of that time. Unfortunately, a later age seems to have considered them blasphemous and just as skillfully excised them.\n\n> You go east\nYou are at the periphery of a large dome, which forms the ceiling of another room below. Protecting you from a precipitous drop is a wooden railing which circles the dome.\n\n> You go west\nThis is part of a maze of twisty little passages, all alike.\n\n> Go south\nYou are in a dark and damp cellar with a narrow passageway leading north, and a crawlway to the south. On the west is the bottom of a steep metal ramp which is unclimbable.\n\n> Go south\nYou are on the east edge of a chasm, the bottom of which cannot be seen. A narrow passage goes north, and the path you are on continues to the east.\n\n> Go east\nThis is an art gallery. Most of the paintings have been stolen by vandals with exceptional taste. The vandals left through either the north or west exits.\nFortunately, there is still one chance for you to be a vandal, for on the far wall is a painting of unparalleled beauty.\n\n> You take the painting\nYour load is too heavy.\n\n> You check your inventory\nYou are carrying:\nA matchbook\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\n\n> You drop the knife\nDropped.\n\n> You look\nThis is an art gallery. Most of the paintings have been stolen by vandals with exceptional taste. The vandals left through either the north or west exits.\nThere is a nasty knife here.\n\n> Go north\nThis appears to have been an artist's studio. The walls and floors are splattered with paints of 69 different colors. Strangely enough, nothing of value is hanging here. At the south end of the room is an open door (also covered with paint). A dark and narrow chimney leads up from a fireplace; although you might be able to get up it, it seems unlikely you could get back down.\nLoosely attached to a wall is a small piece of paper.\n\n> You examine the wall\nWhich wall do you mean, the granite wall or the surrounding wall?\n\n> You examine paper\nCongratulations!\n\nYou are the privileged owner of ZORK I: The Great Underground Empire, a self-contained and self-maintaining universe. If used and maintained in accordance with normal operating practices for small universes, ZORK will provide many months of trouble-free operation.\n\n> You drop all\npainting: Dropped.\nmatchbook: Dropped.\nrope: Dropped.\nsword: Dropped.\nbrass lantern: Dropped.\nglass bottle: Dropped.\nbrown sack: Dropped.\n\n> You drop all\npainting: Dropped.\n\n> Up\nGoing up empty-handed is a bad idea.\n\n> You open the door\nWhich door do you mean, the wooden door or the trap door?\n\n> Down\nThe door reluctantly opens to reveal a rickety staircase descending into darkness.\n\nThe trap door crashes shut, and you hear someone barring it.\n\nYou are in a dark and damp cellar with a narrow passageway leading north, and a crawlway to the south. On the west is the bottom of a steep metal ramp which is unclimbable.\n\n> You go to the west\nYou try to ascend the ramp, but it is impossible, and you slide back down.\n\n> Go south\nYou are on the east edge of a chasm, the bottom of which cannot be seen. A narrow passage goes north, and the path you are on continues to the east.\n\n> You go to the east\nThis is an art gallery. Most of the paintings have been stolen by vandals with exceptional taste. The vandals left through either the north or west exits.\nThere is a nasty knife here.\n\n> You go north\nThis appears to have been an artist's studio. The walls and floors are splattered with paints of 69 different colors. Strangely enough, nothing of value is hanging here. At the south end of the room is an open door (also covered with paint). A dark and narrow chimney leads up from a fireplace; although you might be able to get up it, it seems unlikely you could get back down.\nLoosely attached to a wall is a small piece of paper.\nA painting by a neglected genius is here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nA clove of garlic\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a sword here.\nThere is a rope here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\n> You get all\npainting: Taken.\nbrown sack: Taken.\nglass bottle: Taken.\nsword: Taken.\nrope: Taken.\nmatchbook: Taken.\nZORK owner's manual: Your load is too heavy.\n\n> You drop the matchbook\nDropped.\n\n> You drop all\nrope: Dropped.\nsword: Dropped.\nglass bottle: Dropped.\nbrown sack: Dropped.\npainting: Dropped.\nbrass lantern: Dropped.\n\n> Drop\nWhat do you want to drop?\n\n> You drop all\nZORK owner's manual: Dropped.\n\n> You get all\nZORK owner's manual: Taken.\nbrass lantern: Taken.\npainting: Taken.\nbrown sack: Taken.\nglass bottle: Taken.\nsword: Taken.\nrope: Your load is too heavy.\nmatchbook: Taken.\n\n> You look\nThis appears to have been an artist's studio. The walls and floors are splattered with paints of 69 different colors. Strangely enough, nothing of value is hanging here. At the south end of the room is an open door (also covered with paint). A dark and narrow chimney leads up from a fireplace; although you might be able to get up it, it seems unlikely you could get back down.\nThere is a ZORK owner's manual here.\n\n> Go north\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\nThere is a bloody axe here.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> Go east\nThis is a narrow east-west passageway. There is a narrow stairway leading down at the north end of the room.\n\n> Go north\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam.\n\n> Go north\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You turn on the lantern\nThe brass lantern is now on.\n\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a group of tool chests here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a screwdriver here.\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a group of tool chests here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a screwdriver here.\n\n> You drop all\nrope: Dropped.\nmatchbook: Dropped.\nsword: Dropped.\nglass bottle: Dropped.\nbrown sack: Dropped.\npainting: Dropped.\nbrass lantern: Dropped.\n\n> You examine tube\n---> Frobozz Magic Gunk Company <---\nAll-Purpose Gunk\n\n> You open the tool chests\nThe chests are so rusty and corroded that they crumble when you touch them.\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a brass lantern (battery-powered) here.\nA painting by a neglected genius is here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nA clove of garlic\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a sword here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a rope here.\nThere is a screwdriver here.\n\n> Inventory\nYou are carrying:\nA tube\nA seedy-looking individual with a large bag just wandered through the room. On the way through, he quietly abstracted some valuables from the room and from your possession, mumbling something about \"Doing unto others before...\"\n\n> You get all\nbrass lantern: Taken.\nbrown sack: Taken.\nglass bottle: Taken.\nsword: Taken.\nmatchbook: Taken.\nrope: Taken.\nscrewdriver: Taken.\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\n\n> You press the blue button\nThere is a rumbling sound and a stream of water appears to burst from the east wall of the room (apparently, a leak has occurred in a pipe). The water level here is now up to your ankles.\n\n> You press the yellow button\nClick.\nThe water level here is now up to your shin.\n\n> You press the red button\nThe lights within the room come on.\nThe water level here is now up to your knees.\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThe water level here is now up to your knees.\n\n> Go south\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam.\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA rope\nA matchbook\nA sword\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\nA brass lantern (providing light)\nA tube\n\n> Turn valve\n(with the screwdriver)\nYou can't turn that!\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA rope\nA matchbook\nA sword\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\nA brass lantern (providing light)\nA tube\n\n> You go north\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe sluice gates on the dam are closed. Behind the dam, there can be seen a wide reservoir. Water is pouring over the top of the now abandoned dam.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble.\nThe lamp appears a bit dimmer.\n\n> Go west\nYou are standing on a path beside a gently flowing stream. The path follows the stream, which flows from west to east.\n\n> Go west\nThe stream emerges from a spot too small for you to enter.\n\n> You take the engravings\nWhat a concept!\n\n> You take the railing\nA valiant attempt.\n\n> Light match\nOne of the matches starts to burn.\n\n> Light tube\nYou can't turn that on.\nThe match has gone out.\n\n> You apply Gunk\nWhat do you want to apply the gunk to?\n\n> Open tube\nOpening the tube reveals a viscous material.\n\n> You eat the lunch\nThank you very much. It really hit the spot.\n\n> You eat the garlic\nWhat the heck! You won't make friends this way, but nobody around here is too friendly anyhow. Gulp!\n\n> You check what you're carrying\nYou are carrying:\nA screwdriver\nA rope\nA matchbook\nA sword\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nA brass lantern (providing light)\nA tube\nThe tube contains:\nA viscous material\n\n> Drink water\nYou'll have to open the glass bottle first.\n\n> You open bottle\nOpened.\n\n> Drink water\nThank you very much. I was rather thirsty (from all this talking, probably).\n\n> You tie the rope to the railing\nThe rope drops over the side and comes within ten feet of the floor.\n\n> Down\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nThere is a wrench here.\nSitting on the pedestal is a flaming torch, made of ivory.\n\n> You take the wrench\nTaken.\n\n> You examine the torch\nThe torch is burning."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, treasure hunt, cave]\n\n> Go downward\nThis is the north end of a large temple. On the east wall is an ancient inscription, probably a prayer in a long-forgotten language. Below the prayer is a staircase leading down. The west wall is solid granite. The exit to the north end of the room is through huge marble pillars.\nThere is a brass bell here.\n\n> You ring bell\nDing, dong.\n\n> You read the inscription\nThe prayer is inscribed in an ancient script, rarely used today. It seems to be a philippic against small insects, absent-mindedness, and the picking up and dropping of small objects. The final verse consigns trespassers to the land of the dead. All evidence indicates that the beliefs of the ancient Zorkers were obscure.\n\n> Go north\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nThere is a brass lantern (battery-powered) here.\n\n> Go south\nThis is the north end of a large temple. On the east wall is an ancient inscription, probably a prayer in a long-forgotten language. Below the prayer is a staircase leading down. The west wall is solid granite. The exit to the north end of the room is through huge marble pillars.\n\n> You get the lantern\nYou're holding too many things already!\n\n> You look\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nThere is a brass lantern (battery-powered) here.\nThere is a sword here.\nThere is a torch here (providing light).\n\n> You check your inventory\nYou are carrying:\nA sword\nA brass bell\nA wrench\nA screwdriver\nA matchbook\nA glass bottle\nA brown sack\nA tube\nThe tube contains:\nA viscous material\n\n> You put all in the sack\nsword: There's no room.\nbrass bell: Done.\nwrench: Done.\nscrewdriver: There's no room.\nmatchbook: There's no room.\nglass bottle: There's no room.\nbrown sack: How can you do that?\ntube: There's no room.\n\n> You look\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nThere is a glass bottle here.\nThere is a brown sack here.\nThe brown sack contains:\nA wrench\nA brass bell\nThere is a brass lantern (battery-powered) here.\n\n> Go south\nThis is the south end of a large temple. In front of you is what appears to be an altar. In one corner is a small hole in the floor which leads into darkness. You probably could not get back up it.\nOn the two ends of the altar are burning candles.\nOn the altar is a large black book, open to page 569.\n\n> You read the book\nOh ye who go about saying unto each: \"Hello sailor\":\nDost thou know the magnitude of thy sin before the gods?\nYea, verily, thou shalt be ground between two stones.\nShall the angry gods cast thy body into the whirlpool?\nSurely, thy eye shall be put out with a sharp stick!\nEven unto the ends of the earth shalt thou wander and\nUnto the land of the dead shalt thou be sent at last.\nSurely thou shalt repent of thy cunning.\n\n> Nevermind\nSAVEOk.\n\n> You examine the candles\nThe candles are burning."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave crawl, cave, fantasy]\n\n> Go downwards\nThis is a room which looks like an Egyptian tomb. There is an ascending staircase to the west.\nThe solid-gold coffin used for the burial of Ramses II is here.\n\n> You examine the coffin\nThe gold coffin is closed.\n\n> Open coffin\nThe gold coffin opens.\nA sceptre, possibly that of ancient Egypt itself, is in the coffin. The sceptre is ornamented with colored enamel, and tapers to a sharp point.\n\n> Close the coffin\nClosed.\n\n> You listen\nWhat do you want to listen to?\n\n> You hit the mirror with the sword\nYou have broken the mirror. I hope you have a seven years' supply of good luck handy.\n\n> You look\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nUnfortunately, the mirror has been destroyed by your recklessness.\n\n> Up\nYou are on the south edge of a deep canyon. Passages lead off to the east, northwest and southwest. A stairway leads down. You can hear the sound of flowing water from below.\nThere is a tour guidebook here.\n\n> Inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA wrench\nA brass bell\nA torch (providing light)\nA sword\nA screwdriver\nA matchbook\nA tube\nThe tube contains:\nA viscous material\nA seedy-looking individual with a large bag just wandered through the room. On the way through, he quietly abstracted some valuables from the room and from your possession, mumbling something about \"Doing unto others before...\"\nThe thief seems to have left you in the dark.\n\n> You look\nThis is the south end of a large temple. In front of you is what appears to be an altar. In one corner is a small hole in the floor which leads into darkness. You probably could not get back up it.\nOn the two ends of the altar are burning candles.\nOn the altar is a large black book, open to page 569.\n\n> You read the book\n\"Flood Control Dam #3\n\nFCD#3 was constructed in year 783 of the Great Underground Empire to harness the mighty Frigid River. This work was supported by a grant of 37 million zorkmids from your omnipotent local tyrant Lord Dimwit Flathead the Excessive. This impressive structure is composed of 370,000 cubic feet of concrete, is 256 feet tall at the center, and 193 feet wide at the top. The lake created behind the dam has a volume of 1.7 billion cubic feet, an area of 12 million square feet, and a shore line of 36 thousand feet.\n\nWe will now point out some of the more interesting features of FCD#3 as we conduct you on a guided tour of the facilities:\n1) You start your tour here in the Dam Lobby. You will notice\non your right that....\n\n> You turn the bolt with the wrench\nI don't know the word \"wrenh\".\n\nThe bolt won't turn with your best effort.\n\n> You read the tube\n---> Frobozz Magic Gunk Company <---\nAll-Purpose Gunk\n\n> You look at what you're carrying with you\nYou are carrying:\nA sword\nA brown sack\nThe brown sack contains:\nA wrench\nA brass bell\nA torch (providing light)\nA screwdriver\nA matchbook\nA tube\nThe tube contains:\nA viscous material\n\n> You ring bell\nDing, dong.\n\n> Go east\nYou are at the periphery of a large dome, which forms the ceiling of another room below. Protecting you from a precipitous drop is a wooden railing which circles the dome.\nHanging down from the railing is a rope which ends about ten feet from the floor below."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave, memorable NPC, cave crawl, maze, treasure hunt]\n\n> Go downwards\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nThere is a glass bottle here.\nThere is a brass lantern (battery-powered) here.\n\n> Go north\nThis is a long and narrow corridor where a long north-south passageway briefly narrows even further.\nThere is a tour guidebook here.\n\n> You go east\nThis is an art gallery. Most of the paintings have been stolen by vandals with exceptional taste. The vandals left through either the north or west exits.\n\n> You go north\nThis appears to have been an artist's studio. The walls and floors are splattered with paints of 69 different colors. Strangely enough, nothing of value is hanging here. At the south end of the room is an open door (also covered with paint). A dark and narrow chimney leads up from a fireplace; although you might be able to get up it, it seems unlikely you could get back down.\nThere is a ZORK owner's manual here.\n\n> You go to the north\nThis is part of a maze of twisty little passages, all alike.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a brass bell here.\n\n> You go south\nThis is part of a maze of twisty little passages, all alike.\nThere is a brass bell here.\nSomeone carrying a large bag is casually leaning against one of the walls here. He does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\nYour sword has begun to glow very brightly.\nYou parry a lightning thrust, and the thief salutes you with a grim nod.\n\n> You hit the thief with the sword\nThe thief is disarmed by a subtle feint past his guard.\nThe robber, somewhat surprised at this turn of events, nimbly retrieves his stiletto.\n\n> Keep going\nYou charge, but the thief jumps nimbly aside.\nThe stiletto flashes faster than you can follow, and blood wells from your leg.\n\n> Continue\nYou charge, but the thief jumps nimbly aside.\nThe thief comes in from the side, feints, and inserts the blade into your ribs.\nIt appears that that last blow was too much for you. I'm afraid you are dead.\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> You look\nThe room looks strange and unearthly and objects appear indistinct.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> Go south\nSome invisible force prevents you from passing through the gate.\n\n> You close the gate\nEven such an action is beyond your capabilities.\n\n> Go east\nThis cave has exits to the west and east, and narrows to a crack toward the south. The earth is particularly damp here.\n\n> You go east\nYou are on a narrow strip of beach which runs along the base of the White Cliffs. There is a narrow path heading south along the Cliffs and a tight passage leading west into the cliffs themselves.\n\n> You go to the south\nYou are on a rocky, narrow strip of beach beside the Cliffs. A narrow path leads north along the shore.\n\n> Dig\nWhat do you want to dig in?\n\n> Go south\nIt is too narrow for most insects.\n\n> Up\nYou are on the south edge of a deep canyon. Passages lead off to the east, northwest and southwest. A stairway leads down. You can hear the sound of flowing water from below.\n\n> Go east\nAs you enter the dome you feel a strong pull as if from a wind drawing you over the railing and down.\n\n> Keep going\ng g ...\nI beg your pardon?\n\n> You take the bell\nYour hand passes through its object."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, treasure hunt, combat]\n\n> Go downwards\nThe chasm probably leads straight to the infernal regions.\n\n> You cover ears\nears ears ...\n\n> Ha\nha ha ...\n\n> You think\nthink think ...\n\n> You go to the west\nYou are standing on a path beside a gently flowing stream. The path follows the stream, which flows from west to east.\nThere is a tour guidebook here.\n\n> Go west\nThe stream emerges from a spot too small for you to enter."
    },
    {
        "text": "> Go downwards\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> You wait\nMight as well. You've got an eternity.\n\n> You look\nThe room looks strange and unearthly and objects appear indistinct.\n\nThis is the south end of a large temple. In front of you is what appears to be an altar. In one corner is a small hole in the floor which leads into darkness. You probably could not get back up it.\nOn the two ends of the altar are burning candles.\nOn the altar is a large black book, open to page 569.\n\n> Pray\nFrom the distance the sound of a lone trumpet is heard. The room becomes very bright and you feel disembodied. In a moment, the brightness fades and you find yourself rising as if from a long sleep, deep in the woods. In the distance you can faintly hear a songbird and the sounds of the forest.\n\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\n> Go east\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\nThere is an object which looks like a tube of toothpaste here.\nThe tube contains:\nA viscous material\n\n> You take the tube\nTaken.\nYou hear in the distance the chirping of a song bird.\n\n> You go north\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south.\nThere is a grating securely fastened into the ground.\nThere is a brown sack here.\nThe brown sack contains:\nA wrench\n\n> You get all\nbrown sack: Taken.\n\n> You open the grating with the wrench\nThe grating is locked.\n\n> You look\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south.\nThere is a grating securely fastened into the ground.\n\n> Go south\nYou are facing the north side of a white house. There is no door here, and all the windows are boarded up. To the north a narrow path winds through the trees.\nThere is a sword here.\n\n> You check your inventory\nYou are carrying:\nA sword\nA brown sack\nThe brown sack contains:\nA wrench\nA tube\nThe tube contains:\nA viscous material\n\n> Go east\nYou are behind the white house. A path leads into the forest to the east. In one corner of the house there is a small window which is open.\nThere is a screwdriver here.\n\n> You go west\nYou are behind the white house. A path leads into the forest to the east. In one corner of the house there is a small window which is open.\n\n> Open case\nIt is already open.\n\n> You open the trap door\nThe door reluctantly opens to reveal a rickety staircase descending into darkness."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian]\n\n> Go downward\nYou have moved into a dark place.\nThe trap door crashes shut, and you hear someone barring it.\n\nIt is pitch black. You are likely to be eaten by a grue.\n\n> Go north\nOh, no! A lurking grue slithered into the room and devoured you!\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> You enter the mirror\nYou hit your head against the mirror as you attempt this feat.\n\n> Go north\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam. Some guidebooks entitled \"Flood Control Dam #3\" are on the reception desk.\n\n> You read the button\nWhich button do you mean, the blue button, the red button, the brown button, or the yellow button?\n\n> You read the blue button\nThey're greek to you.\n\n> You examine the chests\nThe chests are all empty.\n\n> You put all in the sack\nwrench: There's no room.\nmatchbook: Done.\nrope: There's no room.\nnasty knife: There's no room.\nsword: There's no room.\nbrass lantern: There's no room.\nglass bottle: There's no room.\nbrown sack: How can you do that?\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a group of tool chests here.\nThere is an object which looks like a tube of toothpaste here.\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA wrench\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA brown sack\nThe brown sack contains:\nA matchbook\nA lunch\nA clove of garlic\n\n> You put all in the sack\nscrewdriver: There's no room.\nwrench: There's no room.\nrope: There's no room.\nnasty knife: There's no room.\nsword: There's no room.\nbrass lantern: There's no room.\nbrown sack: How can you do that?\n\n> You eat the lunch\nThank you very much. It really hit the spot.\n\n> You put all in the sack\nscrewdriver: Done.\nwrench: There's no room.\nrope: There's no room.\nnasty knife: There's no room.\nsword: There's no room.\nbrass lantern: There's no room.\nbrown sack: How can you do that?\n\n> You look at what you're carrying with you\nYou are carrying:\nA tube\nA wrench\nA rope\nA nasty knife\nA brass lantern (providing light)\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\n\n> You look\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a sword here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a group of tool chests here.\n\n> You go south\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam. Some guidebooks entitled \"Flood Control Dam #3\" are on the reception desk.\n\n> Go east\nThis is what appears to have been the maintenance room for Flood Control Dam #3. Apparently, this room has been ransacked recently, for most of the valuable equipment is gone. On the wall in front of you is a group of buttons colored blue, yellow, brown, and red. There are doorways to the west and south.\nThere is a sword here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a group of tool chests here.\nA \"lean and hungry\" gentleman just wandered through, carrying a large bag. Finding nothing of value, he left disgruntled."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, combat, maze, Zork]\n\n> Go downwards\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\nSitting on the pedestal is a flaming torch, made of ivory.\n\n> Inventory\nYou are carrying:\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\nA brass lantern (providing light)\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\n\n> You go to the east\nThe rank undergrowth prevents eastward movement.\nYou hear in the distance the chirping of a song bird.\n\n> Go south\nThis is a dimly lit forest, with large trees all around.\nYou hear in the distance the chirping of a song bird.\n\n> You go east\nThe rank undergrowth prevents eastward movement.\n\n> Go north\nYou are in a small clearing in a well marked forest path that extends to the east and west.\n\n> You go east\nYou are at the top of the Great Canyon on its west wall. From here there is a marvelous view of the canyon and parts of the Frigid River upstream. Across the canyon, the walls of the White Cliffs join the mighty ramparts of the Flathead Mountains to the east. Following the Canyon upstream to the north, Aragain Falls may be seen, complete with rainbow. The mighty Frigid River flows out from a great dark cavern. To the west and south can be seen an immense forest, stretching for miles around. A path leads northwest. It is possible to climb down into the canyon from here.\n\n> You go west\nThis is a dimly lit forest, with large trees all around.\n\n> You check what you're carrying\nYou are carrying:\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\nA brass lantern\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\n\n> You look at what you're carrying with you\nYou are carrying:\nA torch (providing light)\nA tube\nA wrench\nA nasty knife"
    },
    {
        "text": "> Go down\nThe trap door is closed.\n\n> You open the door\nWhich door do you mean, the wooden door or the trap door?\n\n> You open the trap door\nThe door reluctantly opens to reveal a rickety staircase descending into darkness."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, Zork]\n\n> Descend\nThis is a large room with a prominent doorway leading to a down staircase. Above you is a large dome. Up around the edge of the dome (20 feet up) is a wooden railing. In the center of the room sits a white marble pedestal.\nA piece of rope descends from the railing above, ending some five feet above your head.\n\n> You go south\nThis is the north end of a large temple. On the east wall is an ancient inscription, probably a prayer in a long-forgotten language. Below the prayer is a staircase leading down. The west wall is solid granite. The exit to the north end of the room is through huge marble pillars.\nThere is a brass bell here.\n\n> You look at what you're carrying with you\nYou are carrying:\nA sceptre\nA painting\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> Pray\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\nYou hear in the distance the chirping of a song bird.\n\n> You go west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a rug lying beside an open trap door. There is a brown sack here.\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nThere is a brass lantern (battery-powered) here.\nA small leaflet is on the ground.\nOn the ground is a pile of leaves.\nYour collection of treasures consists of:\nA jewel-encrusted egg\n\n> Inventory\nYou are carrying:\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You look\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a rug lying beside an open trap door. There is a brown sack here.\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nThere is a brass lantern (battery-powered) here.\nA small leaflet is on the ground.\nOn the ground is a pile of leaves.\nYour collection of treasures consists of:\nA painting\nA sceptre\nA jewel-encrusted egg\n\n> You look\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a rug lying beside an open trap door. There is a brass lantern (battery-powered) here.\nYour collection of treasures consists of:\nA painting\nA sceptre\nA jewel-encrusted egg\n\n> You open the trap door\nToo late for that.\n\n> You check what you're carrying\nYou are carrying:\nA pile of leaves\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> Go east\nYou have come to a dead end in the maze.\n\n> You go to the south\nThis is part of a maze of twisty little passages, all alike.\nOn the ground is a pile of leaves.\n\n> Inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a wrench here.\n\n> You go to the west\nThis is part of a maze of twisty little passages, all alike.\nThere is an object which looks like a tube of toothpaste here.\n\n> You go to the south\nYou can't go that way.\nA seedy-looking individual with a large bag just wandered through the room. On the way through, he quietly abstracted some valuables from the room and from your possession, mumbling something about \"Doing unto others before...\"\nThe thief seems to have left you in the dark.\n\n> Go east\nThis is a narrow east-west passageway. There is a narrow stairway leading down at the north end of the room.\nThere is a brass bell here.\n\n> You drop the tube\nDropped.\nSomeone carrying a large bag is casually leaning against one of the walls here. He does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\nA quick thrust pinks your left arm, and blood starts to trickle down.\n\n> Attack thief with knife\nThe thief is disarmed by a subtle feint past his guard.\nThe thief just left, still carrying his large bag. You may not have noticed that he robbed you blind first.\nThe thief seems to have left you in the dark.\n\n> You look at what you're carrying with you\nYou are carrying:\nA bloody axe\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA torch (providing light)\nA nasty knife\n\n> Up\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\nThere is a skeleton key here.\nAn old leather bag, bulging with coins, is here.\n\n> You get all\nskeleton: A ghost appears in the room and is appalled at your desecration of the remains of a fellow adventurer. He casts a curse on your valuables and banishes them to the Land of the Living Dead. The ghost leaves, muttering obscenities.\nskeleton key: Taken.\nrusty knife: Taken.\nburned-out lantern: Your load is too heavy.\n\n> You check your inventory\nYou are carrying:\nA rusty knife\nA skeleton key\nA bloody axe\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA nasty knife\n\n> Up\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\nThere is a skeleton key here.\nAn old leather bag, bulging with coins, is here.\nA seedy-looking individual with a large bag just wandered through the room. On the way through, he quietly abstracted some valuables from the room and from your possession, mumbling something about \"Doing unto others before...\"\n\n> Inventory\nYou are carrying:\nA pile of leaves\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You look\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\nA small leaflet is on the ground.\nOn the ground is a pile of leaves.\nThere is a brass bell here."
    },
    {
        "text": "> Go down\nYou won't be able to get back up to the tunnel you are going through when it gets to the next room.\n\nThis is part of a maze of twisty little passages, all alike.\n\n> You check your inventory\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> Xyzzy\nA hollow voice says \"Fool.\"\n\n> You examine the coins\nThere are lots of coins in there.\n\n> You count the coins\nYou have lost your mind.\n\n> You check your inventory\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nThe brown sack contains:\nA screwdriver\nA clove of garlic\nA torch (providing light)\nA wrench\nA nasty knife\n\n> Inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA leaflet\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nA small leaflet is on the ground.\n\n> Inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA screwdriver\nA matchbook\nA clove of garlic\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a clove of garlic here.\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a screwdriver here.\n\n> You check your inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA matchbook\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, treasure hunt, memorable NPC, fantasy]\n\n> Go downward\nYou won't be able to get back up to the tunnel you are going through when it gets to the next room.\n\nThis is part of a maze of twisty little passages, all alike.\nOn the ground is a pile of leaves.\n\n> You take the key\nTaken.\nSomeone carrying a large bag is casually leaning against one of the walls here. He does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\n\n> You hit the thief with the knife\nA good slash, but it misses the thief by a mile.\nThe stiletto flashes faster than you can follow, and blood wells from your leg.\n\n> Continue\nThe thief's weapon is knocked to the floor, leaving him unarmed.\nThe robber, somewhat surprised at this turn of events, nimbly retrieves his stiletto.\n\n> Continue\nA good slash, but it misses the thief by a mile.\nThe thief rams the haft of his blade into your stomach, leaving you out of breath.\n\n> Continue\nYou are still recovering from that last blow, so your attack is ineffective.\nYou dodge as the thief comes in low.\n\n> You continue\nA good stroke, but it's too slow; the thief dodges.\nYou parry a lightning thrust, and the thief salutes you with a grim nod.\n\n> Continue\nThe thief takes a fatal blow and slumps to the floor dead.\nAlmost as soon as the thief breathes his last breath, a cloud of sinister black fog envelops him, and when the fog lifts, the carcass has disappeared.\n\n> You look\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\nThere is a stiletto here.\n\n> You take the stiletto\nYour load is too heavy, especially in light of your condition.\n\n> You check your inventory\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nThe brown sack contains:\nA matchbook\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> Diagnose\nYou have a light wound, which will be cured after 26 moves.\nYou can be killed by a serious wound.\n\n> Diagno\nYou have a light wound, which will be cured after 25 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 24 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 23 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 22 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 21 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 20 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 19 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 18 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 17 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 16 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 15 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 14 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 13 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 12 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 11 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 10 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 9 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 8 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 7 moves.\nYou can be killed by a serious wound.\n\n> You continue\nYou have a light wound, which will be cured after 6 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 5 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 4 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 3 moves.\nYou can be killed by a serious wound.\n\n> Keep going\nYou have a light wound, which will be cured after 2 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou have a light wound, which will be cured after 1 moves.\nYou can be killed by a serious wound.\n\n> Continue\nYou are in perfect health.\nYou can survive one serious wound.\n\n> You look\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\nThere is a stiletto here.\n\n> Inventory\nYou are carrying:\nA skeleton key\nA brown sack\nThe brown sack contains:\nA matchbook\nA brass bell\nA torch (providing light)\nA tube\nA wrench\nA nasty knife\n\n> You go west\nThe door is nailed shut."
    },
    {
        "text": "> You go downwards\nThe grating is closed!\n\n> Unlock grate\nWhat do you want to unlock the grate with?\n\n> You go to the west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a rug lying beside an open trap door. There is a brass lantern (battery-powered) here.\nYour collection of treasures consists of:\nA leather bag of coins\nA painting\nA sceptre\nA jewel-encrusted egg\n\n> You drop all\nskeleton key: Dropped.\nbrown sack: Dropped.\nbrass bell: Dropped.\ntorch: Dropped.\ntube: Dropped.\nwrench: Dropped.\nnasty knife: Dropped.\n\n> You go west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a rug lying beside an open trap door. There is a nasty knife here.\nThere is a wrench here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a brass bell here.\nThere is a brown sack here.\nThe brown sack contains:\nA matchbook\nThere is a skeleton key here.\nThere is a brass lantern (battery-powered) here.\nYour collection of treasures consists of:\nA leather bag of coins\nA painting\nA sceptre\nA jewel-encrusted egg\n\n> You put the coffin in the case\nDone.\n\nZORK I: The Great Underground Empire\nCopyright (c) 1981, 1982, 1983 Infocom, Inc. All rights reserved.\n\nRevision 88 / Serial number 840726\n\nYou are standing in an open field west of a white house, with a boarded front door.\nThere is a small mailbox here.\n\n> You go west\nThis is part of a maze of twisty little passages, all alike.\nThere is a nasty knife here.\n\n> You check your inventory\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nThe brown sack contains:\nA matchbook\nA brass bell\nA torch (providing light)\nA tube\nA wrench\n\n> You look at what you're carrying with you\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nThe brown sack contains:\nA matchbook\nA torch (providing light)\n\n> Go southeast\nThis room has an exit on the northwest, and a staircase leading up.\nA cyclops, who looks prepared to eat horses (much less mere adventurers), blocks the staircase. From his state of health, and the bloodstains on the walls, you gather that he is not very friendly, though he likes people.\n\n> You check what you're carrying\nYou are carrying:\nA skeleton key\nA leather bag of coins\nA brown sack\nA torch (providing light)\n\n> You hit the cyclops with the torch\nThe cyclops shrugs but otherwise ignores your pitiful attempt.\nThe cyclops seems somewhat agitated.\n\n> You talk to cyclops\nThe cyclops pauses for a moment, perhaps thinking that you should re-read the manual.\n\n> You look\nThis room has an exit on the northwest, and a staircase leading up. The cyclops is standing in the corner, eyeing you closely. I don't think he likes you very much. He looks extremely hungry, even for a cyclops.\nThe cyclops appears to be getting more agitated.\n\n> You follow you\nThe cyclops prefers eating to making conversation.\nThe cyclops is moving about the room, looking for something.\n\n> Search\nWhat do you want to search?\n\n> You search the staircase\nYou find nothing unusual.\nThe cyclops was looking for salt and pepper. No doubt they are condiments for his upcoming snack.\n\n> Up\nThe cyclops doesn't look like he'll let you past.\nThe cyclops is moving toward you in an unfriendly manner.\n\n> You go to the southeast\nThis room has an exit on the northwest, and a staircase leading up. The cyclops is standing in the corner, eyeing you closely. I don't think he likes you very much. He looks extremely hungry, even for a cyclops.\nYou have two choices: 1. Leave  2. Become dinner.\n\n> You throw the torch\n(at the cyclops)\nThe cyclops shrugs but otherwise ignores your pitiful attempt.\nThe cyclops, tired of all of your games and trickery, grabs you firmly. As he licks his chops, he says \"Mmm. Just like Mom used to make 'em.\" It's nice to be appreciated.\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, maze, cave, fantasy, memorable NPC, combat]\n\n> You go downwards\nYou won't be able to get back up to the tunnel you are going through when it gets to the next room.\n\nYou have come to a dead end in the maze.\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a skeleton key here.\n\n> You check your inventory\nYou are carrying:\nA leather bag of coins\nA brown sack\nA torch (providing light)\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nAn old leather bag, bulging with coins, is here.\n\n> You look at what you're carrying with you\nYou are carrying:\nA brown sack\nA torch (providing light)"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave, combat, memorable NPC]\n\n> Go down\nThis is part of a maze of twisty little passages, all alike.\nThere is a brown sack here."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, memorable NPC, fantasy, cave, Zork]\n\n> Go down\nYou won't be able to get back up to the tunnel you are going through when it gets to the next room.\n\nThis is part of a maze of twisty little passages, all alike.\nAn old leather bag, bulging with coins, is here.\n\n> You check what you're carrying\nYou are carrying:\nA torch (providing light)\n\n> You go northeast\nYou are in a small room near the maze. There are twisty passages in the immediate vicinity.\nAbove you is a grating locked with a skull-and-crossbones lock.\n\n> Unlock grating\n(with the skeleton key)\nThe grate is unlocked.\n\n> Up\nThe grating is closed.\n\n> You open the grating\nThe grating opens to reveal trees above you.\n\n> Up\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south.\nThere is an open grating, descending into darkness.\n\n> You get all\nbrass lantern: Taken.\ntrophy case: The trophy case is securely fastened to the wall.\ncarpet: The rug is extremely heavy and cannot be carried.\n\n> You check your inventory\nYou are carrying:\nA sceptre\nA jewel-encrusted egg\nA painting\nA brass lantern\nA skeleton key\nA torch (providing light)\n\n> You go to the west\nThis is part of a maze of twisty little passages, all alike. A skeleton, probably the remains of a luckless adventurer, lies here. Beside the skeleton is a rusty knife.\nThe deceased adventurer's useless lantern is here.\n\n> Go northwest\nThis is part of a maze of twisty little passages, all alike.\nThere is a jewel-encrusted egg here.\n\n> Go southwest\nYou can't go that way.\n\nYou can't go that way.\n\n> Go northeast\nYou are in a small room near the maze. There are twisty passages in the immediate vicinity.\nAbove you is an open grating with sunlight pouring in.\n\n> Go northwest\nThis is part of a maze of twisty little passages, all alike.\nThere is a stiletto here.\n\n> You check what you're carrying\nYou are carrying:\nA sceptre\nA painting\nA brass lantern\nA skeleton key\nA torch (providing light)\n\n> You check your inventory\nYou are carrying:\nA matchbook\nA sceptre\nA painting\nA brass lantern\nA skeleton key\nA torch (providing light)\n\n> You look\nThis is part of a maze of twisty little passages, all alike.\nThere is a brass lantern (battery-powered) here.\n\n> You give the clove to cyclops\nThe cyclops may be hungry, but there is a limit.\n\n> You check your inventory\nYou are carrying:\nA clove of garlic\nA matchbook\nA sceptre\nA painting\nA skeleton key\nA torch (providing light)\n\n> What is a grue\nThe grue is a sinister, lurking presence in the dark places of the earth. Its favorite diet is adventurers, but its insatiable appetite is tempered by its fear of light. No grue has ever been seen by the light of day, and few have survived its fearsome jaws to tell the tale.\n\n> What is a cyclops\nA hungry cyclops is standing at the foot of the stairs.\n\n> You go to the east\nThis is a long passage. To the west is one entrance. On the east there is an old wooden door, with a large opening in it (about cyclops sized).\n\n> Go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\n\n> You go to the west\nThis room has an exit on the northwest, and a staircase leading up. The east wall, previously solid, now has a cyclops-sized opening in it.\n\n> Up\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a silver chalice, intricately engraved, here.\n\n> You look\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\n\n> You examine the wall\nWhich wall do you mean, the granite wall or the surrounding wall?\n\n> Go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nYour collection of treasures consists of:\nA sceptre\nA painting\nA chalice\n\n> You drop all\nclove of garlic: Dropped.\nmatchbook: Dropped.\nskeleton key: Dropped.\ntorch: Dropped.\n\n> You check what you're carrying\nYou are carrying:\nA leather bag of coins\nA jewel-encrusted egg\nA nasty knife\nA brass lantern\nA tube\nA wrench\nA brass bell\nA torch (providing light)\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA leather bag of coins\nA jewel-encrusted egg\nA nasty knife\nA tube\nA wrench\nA brass bell\nA torch (providing light)\n\n> You go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a clove of garlic here.\nYour collection of treasures consists of:\nA sceptre\nA painting\nA chalice\n\n> Inventory\nYou are carrying:\nA screwdriver\nA nasty knife\nA tube\nA wrench\nA brass bell\nA torch (providing light)\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA tube\nA wrench\nA brass bell\nA torch (providing light)\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a nasty knife here.\nThere is a skeleton key here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a clove of garlic here.\nYour collection of treasures consists of:\nA jewel-encrusted egg\nA leather bag of coins\nA sceptre\nA painting\nA chalice\n\n> Go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a nasty knife here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA jewel-encrusted egg\nA leather bag of coins\nA sceptre\nA painting\nA chalice\n\n> Inventory\nYou are carrying:\nA clove of garlic\nA matchbook\nA screwdriver\nA tube\nA wrench\nA brass bell\nA torch (providing light)\n\n> You get all\npile of leaves: Taken.\nbrown sack: Taken.\nglass bottle: Taken.\n\n> You check your inventory\nYou are carrying:\nA brass lantern\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA brown sack\nA pile of leaves\nA jewel-encrusted egg\n\n> You check your inventory\nYou are carrying:\nA brass lantern\nA jewel-encrusted egg\n\n> You look\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a large oriental rug in the center of the room.\nThere is a brown sack here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nOn the ground is a pile of leaves.\n\n> You go north\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\nA nasty-looking troll, brandishing a bloody axe, blocks all passages out of the room.\nYour sword has begun to glow very brightly.\nThe flat of the troll's axe hits you delicately on the head, knocking you out.\nConquering his fears, the troll puts you to death.\nIt appears that that last blow was too much for you. I'm afraid you are dead.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\n> You check your inventory\nYou are empty-handed.\n\n> Go south\nThis is a dimly lit forest, with large trees all around.\nThere is a sword here.\n\n> You go north\nThis is a dimly lit forest, with large trees all around.\nThere is a rope here.\n\n> You go east\nYou are at the top of the Great Canyon on its west wall. From here there is a marvelous view of the canyon and parts of the Frigid River upstream. Across the canyon, the walls of the White Cliffs join the mighty ramparts of the Flathead Mountains to the east. Following the Canyon upstream to the north, Aragain Falls may be seen, complete with rainbow. The mighty Frigid River flows out from a great dark cavern. To the west and south can be seen an immense forest, stretching for miles around. A path leads northwest. It is possible to climb down into the canyon from here.\nThere is a nasty knife here.\n\n> Go west\nYou would need a machete to go further west.\nYou hear in the distance the chirping of a song bird.\n\n> You check your inventory\nYou are carrying:\nA nasty knife\nA rope\nA sword\n\n> You go to the west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a closed trap door at your feet.\nThere is a brass lantern (battery-powered) here.\nThere is a brown sack here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nOn the ground is a pile of leaves.\n\n> Go west\nYou are in the living room. There is a doorway to the east, a wooden door with strange gothic lettering to the west, which appears to be nailed shut, a trophy case, and a large oriental rug in the center of the room.\n\n> You move the rug\nWith a great effort, the rug is moved to one side of the room, revealing the dusty cover of a closed trap door.\n\n> You check what you're carrying\nYou are carrying:\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA jewel-encrusted egg\n\n> You hit troll with the sword\nThe troll is confused and can't fight back.\nThe troll slowly regains his feet.\n\n> You hit the troll with the sword\nYour sword misses the troll by an inch.\nThe troll swings; the blade turns on your armor but crashes broadside into your head.\n\n> Continue\nA good slash, but it misses the troll by a mile.\nThe troll's axe barely misses your ear.\n\n> Continue\nThe troll is momentarily disoriented and can't fight back.\nThe troll slowly regains his feet.\n\n> Continue\nThe troll takes a fatal blow and slumps to the floor dead.\nAlmost as soon as the troll breathes his last breath, a cloud of sinister black fog envelops him, and when the fog lifts, the carcass has disappeared.\nYour sword is no longer glowing.\n\n> Go west\nThis is part of a maze of twisty little passages, all alike.\nYour sword is glowing with a faint blue glow.\n\n> You go to the south-east\nThis room has an exit on the northwest, and a staircase leading up.\nA cyclops, who looks prepared to eat horses (much less mere adventurers), blocks the staircase. From his state of health, and the bloodstains on the walls, you gather that he is not very friendly, though he likes people.\nYour sword has begun to glow very brightly.\n\n> You go to the east\nThis is a long passage. To the west is one entrance. On the east there is an old wooden door, with a large opening in it (about cyclops sized).\n\n> You go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a closed trap door at your feet.\n\n> Inventory\nYou are carrying:\nA skeleton key\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA jewel-encrusted egg\n\n> Up\nYou hear a scream of anguish as you violate the robber's hideaway. Using passages unknown to you, he rushes to its defense.\nThe thief gestures mysteriously, and the treasures in the room suddenly vanish.\n\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a suspicious-looking individual, holding a large bag, leaning against one wall. He is armed with a deadly stiletto.\nThere is a silver chalice, intricately engraved, here.\nYour sword has begun to glow very brightly.\nThe stiletto flashes faster than you can follow, and blood wells from your leg.\n\n> You give the egg to the thief\nThe thief is taken aback by your unexpected generosity, but accepts the jewel-encrusted egg and stops to admire its beauty.\n\n> You get the chalice\nYou'd be stabbed in the back first.\nShifting in the midst of a thrust, the thief knocks you unconscious with the haft of his stiletto.\nThe thief, forgetting his essentially genteel upbringing, cuts your throat.\nIt appears that that last blow was too much for you. I'm afraid you are dead.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, treasure hunt, cave]\n\n> Go downward\nThis room has an exit on the northwest, and a staircase leading up. The east wall, previously solid, now has a cyclops-sized opening in it.\nYour sword is no longer glowing.\n\n> Up\nYou hear a scream of anguish as you violate the robber's hideaway. Using passages unknown to you, he rushes to its defense.\nThe thief gestures mysteriously, and the treasures in the room suddenly vanish.\n\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a suspicious-looking individual, holding a large bag, leaning against one wall. He is armed with a deadly stiletto.\nThere is a silver chalice, intricately engraved, here.\nYour sword has begun to glow very brightly.\nThe thief slowly approaches, strikes like a snake, and leaves you wounded.\n\n> You check what you're carrying\nYou are carrying:\nA rope\nA nasty knife\nA sword\nA brass lantern (providing light)\nA \"lean and hungry\" gentleman just wandered through, carrying a large bag. Finding nothing of value, he left disgruntled.\n\n> Up\nYou hear a scream of anguish as you violate the robber's hideaway. Using passages unknown to you, he rushes to its defense.\nThe thief gestures mysteriously, and the treasures in the room suddenly vanish.\n\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a suspicious-looking individual, holding a large bag, leaning against one wall. He is armed with a deadly stiletto.\nThere is a silver chalice, intricately engraved, here.\nYour sword has begun to glow very brightly.\nThe thief bows formally, raises his stiletto, and with a wry grin, ends the battle and your life.\nIt appears that that last blow was too much for you. I'm afraid you are dead.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\n> You go to the east\nThis is a long passage. To the west is one entrance. On the east there is an old wooden door, with a large opening in it (about cyclops sized).\nSomeone carrying a large bag is casually leaning against one of the walls here. He does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\nYour sword has begun to glow very brightly.\nFinishing you off, the thief inserts his blade into your heart.\nIt appears that that last blow was too much for you. I'm afraid you are dead.\n\n****  You have died  ****\n\nNow, let's take a look here... Well, you probably deserve another chance. I can't quite fix you up completely, but you can't have everything.\n\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\n> You go to the southeast\nThis room has an exit on the northwest, and a staircase leading up. The east wall, previously solid, now has a cyclops-sized opening in it.\nA \"lean and hungry\" gentleman just wandered through, carrying a large bag. Finding nothing of value, he left disgruntled.\n\n> You go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a closed trap door at your feet.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA leather bag of coins\n\n> You go to the west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA torch (providing light)\nA painting\nA nasty knife\nA sword\nA brass lantern (providing light)"
    },
    {
        "text": "> You go downwards\nThis is a tiny cave with entrances west and north, and a dark, forbidding staircase leading down.\nSomeone carrying a large bag is casually leaning against one of the walls here. He does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\nYour sword has begun to glow very brightly.\n\n> You hit the thief with the knife\nClang! Crash! The thief parries.\nThe thief tries to sneak past your guard, but you twist away.\n\n> Continue\nA good slash, but it misses the thief by a mile.\nThe thief draws blood, raking his stiletto across your arm.\n\n> Continue\nYour stroke lands, but it was only the flat of the blade.\nThe thief just left, still carrying his large bag. You may not have noticed that he robbed you blind first.\nThe thief seems to have left you in the dark.\n\n> You turn on the lantern\nThe brass lantern is now on.\n\nThis is a tiny cave with entrances west and north, and a dark, forbidding staircase leading down."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, Zork]\n\n> You go downwards\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nThe way through the gate is barred by evil spirits, who jeer at your attempts to pass.\n\n> You look\nThis is a room which looks like an Egyptian tomb. There is an ascending staircase to the west.\n\n> Go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA nasty knife\nA brass lantern (providing light)\n\n> Go north\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\nThere is a bloody axe here.\nA \"lean and hungry\" gentleman just wandered through, carrying a large bag. Finding nothing of value, he left disgruntled.\n\n> You take\ntake take ...\n\n> You check your inventory\ni i ...\n\n> Kick\nkick kick ...\n\n> You listen\nlisten listen ...\n\n> Echo\nThe acoustics of the room change subtly.\n\nThis is a large room with a ceiling which cannot be detected from the ground. There is a narrow passage from east to west and a stone stairway leading upward. The room is eerie in its quietness.\nOn the ground is a large platinum bar.\n\n> You go west\nThis is a large room with a ceiling which cannot be detected from the ground. There is a narrow passage from east to west and a stone stairway leading upward. The room is eerie in its quietness.\n\n> Go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> You take all\ngroup of tool chests: The chests are so rusty and corroded that they crumble when you touch them.\nwrench: Taken.\ntube: Taken.\nscrewdriver: Taken.\n\n> You go south\nThis room appears to have been the waiting room for groups touring the dam. There are open doorways here to the north and east marked \"Private\", and there is a path leading south over the top of the dam. Some guidebooks entitled \"Flood Control Dam #3\" are on the reception desk.\n\n> You check what you're carrying\nYou are carrying:\nA pile of plastic\nA screwdriver\nA tube\nA wrench\nA matchbook\nA nasty knife\nA brass lantern (providing light)\n\n> Light match\nOne of the matches starts to burn.\n\n> Light valve with match\nThe pile of plastic catches fire. Unfortunately, you were holding it at the time.\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> Light valve\n(Taken)\nYou can't turn that on.\nThe match has gone out.\n\n> You take the plastic\nYou already have that!\n\n> You check what you're carrying\nYou are carrying:\nA pile of plastic\nA screwdriver\nA tube\nA wrench\nA matchbook\nA nasty knife\nA brass lantern (providing light)\n\n> You look\nYou are at the base of Flood Control Dam #3, which looms above you and to the north. The river Frigid is flowing by here. Along the river are the White Cliffs which seem to form giant walls stretching from north to south along the shores of the river as it winds its way downstream.\n\n> You go to the west\nYou can't go that way.\nThe lamp appears a bit dimmer.\n\n> Up\nYou hear a scream of anguish as you violate the robber's hideaway. Using passages unknown to you, he rushes to its defense.\nThe thief gestures mysteriously, and the treasures in the room suddenly vanish.\n\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a suspicious-looking individual, holding a large bag, leaning against one wall. He is armed with a deadly stiletto.\nThere is a silver chalice, intricately engraved, here.\nThe butt of his stiletto cracks you on the skull, and you stagger back.\n\n> You hit the thief with the knife\nYou are still recovering from that last blow, so your attack is ineffective.\nYou dodge as the thief comes in low.\n\n> Continue\nThe thief is battered into unconsciousness.\n\n> You continue\nThe unarmed thief cannot defend himself: He dies.\nAlmost as soon as the thief breathes his last breath, a cloud of sinister black fog envelops him, and when the fog lifts, the carcass has disappeared.\nAs the thief dies, the power of his magic decreases, and his treasures reappear:\nA stiletto\nA torch\nA sword\nA jewel-encrusted egg, with a golden clockwork canary\nThe chalice is now safe to take.\n\n> You take all\nstiletto: Taken.\ntorch: Your load is too heavy.\nsword: Your load is too heavy.\njewel-encrusted egg: You're holding too many things already!\nchalice: You're holding too many things already!\n\n> Inventory\nYou are carrying:\nA stiletto\nA pile of plastic\nA screwdriver\nA tube\nA wrench\nA matchbook\nA nasty knife\nA brass lantern (providing light)\n\n> You examine the egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\n\n> You look\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a stiletto here.\nThere is a nasty knife here.\nThere is a torch here (providing light).\nThere is a sword here.\nThere is a silver chalice, intricately engraved, here.\n\n> Go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA torch (providing light)\nA pile of plastic\nA screwdriver\nA tube\nA wrench\nA matchbook\nA brass lantern (providing light)\n\n> You go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a brass lantern (battery-powered) here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> Up\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a stiletto here.\nThere is a nasty knife here.\nThere is a sword here.\nThere is a silver chalice, intricately engraved, here.\n\n> You get the sword\nYour load is too heavy.\n\n> You get the sword\nTaken.\nYour sword is no longer glowing.\n\n> Inventory\nYou are carrying:\nA sword\nA chalice\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> You check your inventory\nYou are carrying:\nA sword\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> Up\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a stiletto here.\nThere is a nasty knife here.\n\n> You go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a brass lantern (battery-powered) here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> You inflate plastic\nWhat do you want to inflate the plastic with?\n\n> You inflate the plastic with the breathe\nThe boat must be on the ground to be inflated.\n\n> Inflate boat\nWhat do you want to inflate the boat with?\n\n> You check your inventory\nYou are carrying:\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a brass lantern (battery-powered) here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> You touch the mirror\nThere is a rumble from deep within the earth and the room shakes.\n\n> You check what you're carrying\nYou are carrying:\nA pile of plastic\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> You touch the mirror\nThere is a rumble from deep within the earth and the room shakes.\n\n> You go north\nThis is a cold and damp corridor where a long east-west passageway turns into a southward path.\n\n> You go to the west\nThis is a small chamber, which appears to have been part of a coal mine. On the south wall of the chamber the letters \"Granite Wall\" are etched in the rock. To the east is a long passage, and there is a steep metal slide twisting downward. To the north is a small opening.\n\n> Go north\nYou are standing at the entrance of what might have been a coal mine. The shaft enters the west wall, and there is another exit on the south end of the room.\n\n> Go west\nYou are in a small room. Strange squeaky sounds may be heard coming from the passage at the north end. You may also escape to the east.\n\n> Go north\nYou are in a small room which has doors only to the east and south.\nA large vampire bat, hanging from the ceiling, swoops down at you! There is an exquisite jade figurine here.\nFweep!\nFweep!\nFweep!\n\nThe bat grabs you by the scruff of your neck and lifts you away....\n\nYou are standing at the entrance of what might have been a coal mine. The shaft enters the west wall, and there is another exit on the south end of the room.\n\n> Slide\nWhat do you want to slide?\n\n> You check your inventory\nYou are carrying:\nA brown sack\nThe brown sack contains:\nA lunch\nA clove of garlic\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA pile of plastic\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> Inventory\nYou are carrying:\nA clove of garlic\nA brown sack\nThe brown sack contains:\nA lunch\nA pile of plastic\nA torch (providing light)\nA screwdriver\nA tube\nA wrench\nA matchbook\n\n> You look\nYou are standing at the entrance of what might have been a coal mine. The shaft enters the west wall, and there is another exit on the south end of the room.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\n\n> You go to the north\nYou are in a small room which has doors only to the east and south.\nIn the corner of the room on the ceiling is a large vampire bat who is obviously deranged and holding his nose.\nThere is an exquisite jade figurine here.\n\n> You get the jade\nYou're holding too many things already!\n\n> You drop all\nclove of garlic: Dropped.\nbrown sack: Dropped.\npile of plastic: Dropped.\ntorch: Dropped.\nscrewdriver: Dropped.\ntube: Dropped.\nwrench: Dropped.\nmatchbook: Dropped.\n\n> Go east\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nAt the end of the chain is a basket.\n\n> You examine basket\nThe basket is empty.\n\n> Go north\nThis is a small non-descript room. However, from the direction of a small descending staircase a foul odor can be detected. To the south is a narrow tunnel."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave, cave crawl, treasure hunt, fantasy]\n\n> Go downwards\nThis is a small room which smells strongly of coal gas. There is a short climb up some stairs and a narrow tunnel leading east.\nThere is a sapphire-encrusted bracelet here.\nOh dear. It appears that the smell coming from this room was coal gas. I would have thought twice about carrying flaming objects in here.\n\n** BOOOOOOOOOOOM **\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> You go to the west\nYou are in a small room which has doors only to the east and south.\nIn the corner of the room on the ceiling is a large vampire bat who is obviously deranged and holding his nose.\n\n> You enter the basket\nYou hit your head against the basket as you attempt this feat.\n\n> You examine the chain\nThe chain secures a basket within the shaft.\n\n> Lower basket\nThe basket is lowered to the bottom of the shaft.\n\n> You enter the basket\nThe basket is at the other end of the chain.\n\n> You raise the basket\nThe basket is raised to the top of the shaft.\n\n> Lower basket\nThe basket is lowered to the bottom of the shaft.\nIt is now pitch black.\n\n> You raise the basket\nIt's too dark to see!\n\n> You look\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nThere is a clove of garlic here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a screwdriver here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a wrench here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\n> You go south\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nThere is a clove of garlic here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a screwdriver here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a wrench here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\nYou can't go that way.\n\n> Inventory\nYou are carrying:\nA jade figurine\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA matchbook\nA clove of garlic\nA brass lantern\nA torch (providing light)"
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, memorable NPC, combat, cave, cave crawl]\n\n> Go downward\nThis is a small room which smells strongly of coal gas. There is a short climb up some stairs and a narrow tunnel leading east.\nThere is a sapphire-encrusted bracelet here.\n\n> Go east\nThis is a non-descript part of a coal mine.\nThere is a sapphire-encrusted bracelet here.\n\n> You go north\nThis is a small room which smells strongly of coal gas. There is a short climb up some stairs and a narrow tunnel leading east.\n\n> Inventory\nYou are carrying:\nA jade figurine\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA matchbook\nA clove of garlic\nA brass lantern (providing light)\n\n> You go northeast\nThis is a non-descript part of a coal mine.\nThere is an exquisite jade figurine here.\n\n> You look\nThis is a non-descript part of a coal mine.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. The lamp is definitely dimmer now.\n\n> Inventory\nYou are carrying:\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA clove of garlic\nA brass lantern (providing light)\n\n> You go north\nThis is a non-descript part of a coal mine.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\n\n> You go southwest\nThis is a non-descript part of a coal mine.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, fantasy, maze]\n\n> You go downwards\nThis is a very small room. In the corner is a rickety wooden ladder, leading downward. It might be safe to descend. There is also a staircase leading upward."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, memorable NPC, treasure hunt, Zork, fantasy, maze, cave]\n\n> Go downward\nThis is a rather wide room. On one side is the bottom of a narrow wooden ladder. To the west and the south are passages leaving the room.\n\n> You go to the west\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a broken timber here.\n\n> You drop all\nbroken timber: Dropped.\nclove of garlic: Dropped.\nbrass lantern: Dropped.\n\n> Go west\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> Go east\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a brass lantern (battery-powered) here.\nThere is a clove of garlic here.\nThere is a broken timber here.\n\n> You look\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a clove of garlic here.\nThere is a broken timber here.\n\n> Go east\nThis is a rather wide room. On one side is the bottom of a narrow wooden ladder. To the west and the south are passages leaving the room.\n\n> Go south\nYou have come to a dead end in the mine.\nThere is a small pile of coal here.\n\n> You break the coal\nWhat do you want to break the coal with?\n\n> You look\nYou have come to a dead end in the mine.\n\n> Inventory\nYou are carrying:\nA small pile of coal\nA brass lantern (providing light)\n\n> You drop all\nmatchbook: Dropped.\nsmall pile of coal: Dropped.\nbrass lantern: Dropped.\n\n> Light match\nThis room is drafty, and the match goes out instantly.\n\n> Inventory\nYou are carrying:\nA matchbook\n\n> You look\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a brass lantern (battery-powered) here.\nThere is a small pile of coal here.\nThere is a clove of garlic here.\nThere is a broken timber here.\n\n> You drop all\nmatchbook: Dropped.\n\n> Go west\nYou have moved into a dark place.\nIt is pitch black. You are likely to be eaten by a grue.\n\n> You go east\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a brass lantern (battery-powered) here.\nThere is a small pile of coal here.\nThere is a clove of garlic here.\nThere is a broken timber here.\n\n> You go west\nOh, no! You have walked into the slavering fangs of a lurking grue!\n\n****  You have died  ****\n\nAs you take your last breath, you feel relieved of your burdens. The feeling passes as you find yourself before the gates of Hell, where the spirits jeer at you and deny you entry. Your senses are disturbed. The objects in the dungeon appear indistinct, bleached of color, even unreal.\n\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\n\n> You take all\nmatchbook: Taken.\nbrass lantern: Taken.\nsmall pile of coal: Taken.\nclove of garlic: Taken.\nbroken timber: Taken.\n\n> Up\nThis is a non-descript part of a coal mine.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThe lamp is nearly out.\n\n> Go south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nThere is a torch here (providing light).\nAt the end of the chain is a basket.\n\n> You drop all\njade figurine: Dropped.\nglass bottle: Dropped.\nmatchbook: Dropped.\nclove of garlic: Dropped.\nbrass lantern: Dropped.\n\n> You drop all\njade figurine: Dropped.\nclove of garlic: Dropped.\nbrass lantern: Dropped.\n\n> You go to the west\nThis is a small drafty room in which is the bottom of a long shaft. To the south is a passageway and to the east a very narrow passage. In the shaft can be seen a heavy iron chain.\nAt the end of the chain is a basket.\nThe basket contains:\nA torch (providing light)\n\n> Go east\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a brass lantern (battery-powered) here.\nThere is a clove of garlic here.\nThere is an exquisite jade figurine here.\nThere is a broken timber here.\n\n> You go south\nThis is a large, cold room whose sole exit is to the north. In one corner there is a machine which is reminiscent of a clothes dryer. On its face is a switch which is labelled \"START\". The switch does not appear to be manipulable by any human hand (unless the fingers are about 1/16 by 1/4 inch). On the front of the machine is a large lid, which is closed.\n\n> You open the lid\nThe lid opens.\n\n> You look\nThis is a large, cold room whose sole exit is to the north. In one corner there is a machine which is reminiscent of a clothes dryer. On its face is a switch which is labelled \"START\". The switch does not appear to be manipulable by any human hand (unless the fingers are about 1/16 by 1/4 inch). On the front of the machine is a large lid, which is open.\n\n> You enter the machine\nYou hit your head against the machine as you attempt this feat.\n\n> You check what you're carrying\nYou are carrying:\nA torch (providing light)\n\n> You close the lid\nThe lid closes.\n\n> You go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA torch (providing light)\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA matchbook\nA clove of garlic\nA brass lantern\n\n> You drop all\nmatchbook: Dropped.\nclove of garlic: Dropped.\nbrass lantern: Dropped.\n\n> You turn on the lantern\nThe brass lantern is now on.\n\nThis is a small non-descript room. However, from the direction of a small descending staircase a foul odor can be detected. To the south is a narrow tunnel.\n\n> Go northeast\nThis is a non-descript part of a coal mine.\nThe lamp is definitely dimmer now.\n\n> Inventory\nYou are carrying:\nA brass lantern (providing light)\n\n> Go south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nThere is a clove of garlic here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here.\nAt the end of the chain is a basket.\nThe basket contains:\nA torch (providing light)\n\n> You get all\nclove of garlic: Taken.\nmatchbook: Taken.\nbasket: The cage is securely fastened to the iron chain.\n\n> Inventory\nYou are carrying:\nA matchbook\nA clove of garlic\nA brass lantern (providing light)\n\n> Inventory\nYou are carrying:\nA clove of garlic\nA brass lantern (providing light)\n\n> You drop the clove\nDropped.\nThe lamp is definitely dimmer now.\n\n> Go south\nThis is a non-descript part of a coal mine.\nThere is a clove of garlic here.\n\n> You go south\nThis is a non-descript part of a coal mine.\nThere is a brass lantern (battery-powered) here.\n\n> You go west\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a brass lantern (battery-powered) here.\nThere is a broken timber here.\n\n> You drop all\nsmall pile of coal: Dropped.\n\n> You get all\nsmall pile of coal: Taken.\nbrass lantern: Taken.\nbroken timber: Taken.\n\n> You put all in the basket\nbroken timber: You can't see any basket here!\nbrass lantern: You can't see any basket here!\nsmall pile of coal: You can't see any basket here!\n\n> You look\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\n\n> You drop all\nbroken timber: Dropped.\nbrass lantern: Dropped.\nsmall pile of coal: Dropped.\n\n> You look\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a small pile of coal here.\nThere is a brass lantern (battery-powered) here.\nThere is a broken timber here.\n\n> You go to the south\nThis is a non-descript part of a coal mine.\nThere is a clove of garlic here.\nThe lamp is nearly out.\n\n> Go south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nAt the end of the chain is a basket.\nThe basket contains:\nA torch (providing light)\n\n> You look\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nAt the end of the chain is a basket.\nThe basket contains:\nA small pile of coal\n\n> Go west\nYou are in a small room which has doors only to the east and south.\nA large vampire bat, hanging from the ceiling, swoops down at you! Fweep!\nFweep!\nFweep!\n\nThe bat grabs you by the scruff of your neck and lifts you away....\n\nThis is a non-descript part of a coal mine.\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA sceptre\nA painting\nA leather bag of coins\n\n> You check your inventory\nYou are carrying:\nA torch (providing light)\nA matchbook\nA clove of garlic\nA brass lantern\n\n> You go south\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a screwdriver here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a wrench here.\n\n> You get all\nmirror: The mirror is many times your size. Give up.\nbrown sack: Taken.\npile of plastic: Taken.\nscrewdriver: Taken.\ntube: Taken.\nwrench: Your load is too heavy.\n\n> You drop all\ntube: Dropped.\nscrewdriver: Dropped.\npile of plastic: Dropped.\nbrown sack: Dropped.\ntorch: Dropped.\nmatchbook: Dropped.\nclove of garlic: Dropped.\nbrass lantern: Dropped.\n\n> You look\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\nThere is an object which looks like a tube of toothpaste here.\n\n> Go south\nYou are in a large square room with tall ceilings. On the south wall is an enormous mirror which fills the entire wall. There are exits on the other three sides of the room.\nThere is a wrench here.\n\n> You go north\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\n\n> Inventory\nYou are carrying:\nA brass lantern\nA clove of garlic\nA screwdriver\n\n> You turn on the lantern\nThe brass lantern is now on.\n\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nFrom the chain is suspended a basket.\n\n> You go east\nYou can't go that way.\nThe lamp is definitely dimmer now.\n\n> You go to the south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nFrom the chain is suspended a basket.\n\n> You raise the basket\nThe basket is raised to the top of the shaft.\n\n> Inventory\nYou are carrying:\nA brass lantern (providing light)\nA clove of garlic\n\n> You examine basket\nThe basket contains:\nA small pile of coal\nA screwdriver\nA torch (providing light)\n\n> You go south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nThere is a clove of garlic here.\nThere is a broken timber here.\nAt the end of the chain is a basket.\nThe basket contains:\nA small pile of coal\nA screwdriver\nA torch (providing light)\n\n> You go west\nThis is a small drafty room in which is the bottom of a long shaft. To the south is a passageway and to the east a very narrow passage. In the shaft can be seen a heavy iron chain.\nAt the end of the chain is a basket.\nThe basket contains:\nA small pile of coal\nA screwdriver\nA torch (providing light)\n\n> You get all\nbasket: The cage is securely fastened to the iron chain.\n\n> You look\nThis is a small drafty room in which is the bottom of a long shaft. To the south is a passageway and to the east a very narrow passage. In the shaft can be seen a heavy iron chain.\nAt the end of the chain is a basket.\n\n> You go south\nThis is a large, cold room whose sole exit is to the north. In one corner there is a machine which is reminiscent of a clothes dryer. On its face is a switch which is labelled \"START\". The switch does not appear to be manipulable by any human hand (unless the fingers are about 1/16 by 1/4 inch). On the front of the machine is a large lid, which is closed.\n\n> You open the lid\nThe lid opens.\n\n> You examine the machine\nThe machine is closed.\n\n> You turn the switch with the screwdriver\nThe machine comes to life (figuratively) with a dazzling display of colored lights and bizarre noises. After a few moments, the excitement abates.\n\n> You open the machine\nThe lid opens, revealing a huge diamond.\n\n> Inventory\nYou are carrying:\nA huge diamond\nA torch (providing light)\nA screwdriver\n\n> You look\nThis is a large, cold room whose sole exit is to the north. In one corner there is a machine which is reminiscent of a clothes dryer. On its face is a switch which is labelled \"START\". The switch does not appear to be manipulable by any human hand (unless the fingers are about 1/16 by 1/4 inch). On the front of the machine is a large lid, which is open.\n\n> You go to the north\nThis is a small drafty room in which is the bottom of a long shaft. To the south is a passageway and to the east a very narrow passage. In the shaft can be seen a heavy iron chain.\nAt the end of the chain is a basket.\n\n> Go east\nThis is a long and narrow passage, which is cluttered with broken timbers. A wide passage comes from the east and turns at the west end of the room into a very narrow passageway. From the west comes a strong draft.\nThere is a brass lantern (battery-powered) here.\n\n> You go to the north\nThis is a non-descript part of a coal mine.\nThe lamp is nearly out.\n\n> Go east\nThis is a non-descript part of a coal mine.\nYou'd better have more light than from the brass lantern.\n\n> You look\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a wrench here.\nThere is an object which looks like a tube of toothpaste here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\n\n> You go south\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nFrom the chain is suspended a basket.\nThere is a clove of garlic here.\nThere is a broken timber here.\nThe lamp is nearly out.\n\n> You get all\nbasket: The cage is securely fastened to the iron chain.\nclove of garlic: Taken.\nbroken timber: Taken.\n\n> You examine basket\nThe basket contains:\nA screwdriver\nA huge diamond\n\n> You look\nThis is a large room, in the middle of which is a small shaft descending through the floor into darkness below. To the west and the north are exits from this room. Constructed over the top of the shaft is a metal framework to which a heavy iron chain is attached.\nThere is a brass lantern (battery-powered) here.\nAt the end of the chain is a basket.\n\n> You check your inventory\nYou are carrying:\nA screwdriver\nA broken timber\nA clove of garlic\nA torch (providing light)\n\n> You examine the coffin\nThe gold coffin is empty.\n\n> Wave sceptre\nA dazzling display of color briefly emanates from the sceptre.\n\n> You drop all\ntube: Dropped.\nscrewdriver: Dropped.\nbroken timber: Dropped.\nclove of garlic: Dropped.\ntorch: Dropped.\n\n> You go west\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a clove of garlic here.\nThere is a broken timber here.\nThere is a screwdriver here.\nThere is a wrench here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a folded pile of plastic here which has a small valve attached.\n\n> You go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA sceptre\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA sceptre\nA torch (providing light)\nA tube\nThe tube contains:\nA viscous material\n\n> You go east\nThe forest thins out, revealing impassable mountains.\n\n> Go east\nThe mountains are impassable.\n\n> Wave sceptre\nSuddenly, the rainbow appears to become solid and, I venture, walkable (I think the giveaway was the stairs and bannister).\nA shimmering pot of gold appears at the end of the rainbow.\n\n> Up\nYou are on top of a rainbow (I bet you never thought you would walk on a rainbow), with a magnificent view of the Falls. The rainbow travels east-west here.\n\n> You go east\nYou are at the top of Aragain Falls, an enormous waterfall with a drop of about 450 feet. The only path here is on the north end.\nA solid rainbow spans the falls.\n\n> Go north\nYou are on the east shore of the river. The water here seems somewhat treacherous. A path travels from north to south here, the south end quickly turning around a sharp corner.\n\n> Go north\nYou are on a large sandy beach on the east shore of the river, which is flowing quickly by. A path runs beside the river to the south here, and a passage is partially buried in sand to the northeast.\nThere is a shovel here.\n\n> Go northeast\nThis is a sand-filled cave whose exit is to the southwest.\n\n> Dig\nWhat do you want to dig in?\n\n> You dig in the sand\nWhat do you want to dig the sand with?\n\n> You dig the sand with the shovel\nYou seem to be digging a hole here.\n\n> Continue\nThe hole is getting deeper, but that's about it.\n\n> Keep going\nYou are surrounded by a wall of sand on all sides.\n\n> Continue\nYou can see a scarab here in the sand.\n\n> You go southwest\nYou are on a large sandy beach on the east shore of the river, which is flowing quickly by. A path runs beside the river to the south here, and a passage is partially buried in sand to the northeast.\n\n> Go south\nYou are on the east shore of the river. The water here seems somewhat treacherous. A path travels from north to south here, the south end quickly turning around a sharp corner."
    },
    {
        "text": "[Themes: Cave crawl, Zorkian, cave crawl, maze, memorable NPC]\n\n> Go downward\nIt's a long way...\n\n> You go to the west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA beautiful jeweled scarab\nA shovel\nA sceptre\nA torch (providing light)\nA tube\nThe tube contains:\nA viscous material\n\n> You check your inventory\nYou are carrying:\nA shovel\nA tube\nThe tube contains:\nA viscous material\n\n> You dig the ground\nWhat do you want to dig the ground with?\n\n> You dig the ground with the shovel\nThe ground is too hard for digging here.\n\n> You get all\nclove of garlic: Taken.\nbroken timber: Your load is too heavy.\nscrewdriver: Taken.\nwrench: Taken.\nmatchbook: Taken.\nbrown sack: Taken.\npile of plastic: Your load is too heavy.\n\n> You look\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a clove of garlic here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a broken timber here.\nThere is a folded pile of plastic here which has a small valve attached.\n\n> You check your inventory\nYou are carrying:\nA matchbook\nA wrench\nA screwdriver\nA torch (providing light)\nA shovel\nA tube\nThe tube contains:\nA viscous material\n\n> You check your inventory\nYou are carrying:\nA pile of plastic\nA matchbook\nA wrench\nA torch (providing light)\nA tube\nThe tube contains:\nA viscous material\n\n> Go east\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a screwdriver here.\nThere is a shovel here.\nThere is a clove of garlic here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a broken timber here.\n\n> You go to the north\nYou would drown.\n\n> Go west\nYou are standing on a path beside a gently flowing stream. The path follows the stream, which flows from west to east.\n\n> Go west\nThe stream emerges from a spot too small for you to enter.\n\n> Diagnose\nYou are in perfect health.\nYou can strong enough to take several wounds..\n\n> Search buttons\nWhich buttons do you mean, the blue button, the red button, the brown button, or the yellow button?\n\n> You read the red button\nThey're greek to you.\n\n> Wind\nWhat do you want to wind?\n\n> You check your inventory\nYou are carrying:\nA tour guidebook\nA pile of plastic\nA matchbook\nA wrench\nA torch (providing light)\nA tube\nThe tube contains:\nA viscous material\n\n> You press the yellow button\nClick.\n\n> You go to the south\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe sluice gates on the dam are closed. Behind the dam, there can be seen a wide reservoir. Water is pouring over the top of the now abandoned dam.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble which is glowing serenely.\n\n> You turn the bolt with the wrench\nThe sluice gates open and water pours through the dam.\n\n> You look\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe sluice gates are open, and water rushes through the dam. The water level behind the dam is still high.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble which is glowing serenely.\n\n> You wait\nTime passes...\n\n> You look\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe water level behind the dam is low: The sluice gates have been opened. Water rushes through the dam and downstream.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble which is glowing serenely.\n\n> You go west\nYou are in a long room, to the north of which was formerly a lake. However, with the water level lowered, there is merely a wide stream running through the center of the room.\nThere is a path along the stream to the east or west, a steep pathway climbing southwest along the edge of a chasm, and a path leading into a canyon to the southeast.\n\n> You go north\nYou are on what used to be a large lake, but which is now a large mud pile. There are \"shores\" to the north and south.\nLying half buried in the mud is an old trunk, bulging with jewels.\n\n> You examine the trunk\nThere are lots of jewels in there.\n\n> You drop all\ntour guidebook: Dropped.\npile of plastic: Dropped.\nmatchbook: Dropped.\nwrench: Dropped.\ntorch: Dropped.\ntube: Dropped.\n\n> Go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> You go north\nYou are on what used to be a large lake, but which is now a large mud pile. There are \"shores\" to the north and south.\n\n> You go to the north\nYou are in a large cavernous room, the south of which was formerly a lake. However, with the water level lowered, there is merely a wide stream running through there.\nThere is a slimy stairway leaving the room to the north.\nThere is a hand-held air pump here.\n\n> You go to the north\nThis is an ancient room, long under water. There is an exit to the south and a staircase leading up.\nOn the shore lies Poseidon's own crystal trident."
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, Zork, treasure hunt, memorable NPC]\n\n> Go down\nThis is an ancient room, long under water. There is an exit to the south and a staircase leading up.\n\n> Inventory\nYou are carrying:\nA crystal trident\nA hand-held air pump\nA torch (providing light)\n\n> You go to the east\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe water level behind the dam is low: The sluice gates have been opened. Water rushes through the dam and downstream.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble which is glowing serenely.\nThere is an object which looks like a tube of toothpaste here.\nThe tube contains:\nA viscous material\nThere is a wrench here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a folded pile of plastic here which has a small valve attached.\nThere is a tour guidebook here.\n\n> Inflate boat\n(with the hand-held air pump)\nThe boat must be on the ground to be inflated.\n\n> Inflate boat\n(with the hand-held air pump)\nThe boat inflates and appears seaworthy.\nA tan label is lying inside the boat.\n\n> You examine the label\n!!!! FROBOZZ MAGIC BOAT COMPANY  !!!!\n\nHello, Sailor!\n\nInstructions for use:\n\nTo get into a body of water, say \"Launch\".\nTo get to shore, say \"Land\" or the direction in which you want to maneuver the boat.\n\nWarranty:\n\nThis boat is guaranteed against all defects for a period of 76 milliseconds from date of purchase or until first used, whichever comes first.\n\nWarning:\nThis boat is made of thin plastic.\nGood Luck!\n\n> Launch\n(magic boat)\nYou can't launch that by saying \"launch\"!\n\n> You deflate the boat\nThe boat deflates.\n\n> You check your inventory\nYou are carrying:\nA pile of plastic\nA crystal trident\nA hand-held air pump\nA torch (providing light)\n\n> You enter the boat\nThat would involve quite a contortion!\n\n> Inflate boat\n(with the hand-held air pump)\nThe boat must be on the ground to be inflated.\n\n> You get the buoy\nTaken.\nThe flow of the river carries you downstream.\n\nFrigid River, in the magic boat\nThe sound of rushing water is nearly unbearable here. On the east shore is a large landing area.\nThe magic boat contains:\nA tan label\n\n> Go east\nThe magic boat comes to a rest on the shore.\n\nShore, in the magic boat\nYou are on the east shore of the river. The water here seems somewhat treacherous. A path travels from north to south here, the south end quickly turning around a sharp corner.\nThe magic boat contains:\nA tan label\n\n> You examine buoy\nThe red buoy is closed.\n\n> Open buoy\nOpening the red buoy reveals a large emerald.\n\n> You exit the boat\nRead the label for the boat's instructions.\n\n> You read the label\n(Taken)\n!!!! FROBOZZ MAGIC BOAT COMPANY  !!!!\n\nHello, Sailor!\n\nInstructions for use:\n\nTo get into a body of water, say \"Launch\".\nTo get to shore, say \"Land\" or the direction in which you want to maneuver the boat.\n\nWarranty:\n\nThis boat is guaranteed against all defects for a period of 76 milliseconds from date of purchase or until first used, whichever comes first.\n\nWarning:\nThis boat is made of thin plastic.\nGood Luck!\n\n> You look\nShore, in the magic boat\nYou are on the east shore of the river. The water here seems somewhat treacherous. A path travels from north to south here, the south end quickly turning around a sharp corner.\n\n> You get out of the boat\nYou are on your own feet again.\n\n> You deflate the boat\nThe boat deflates.\n\n> You go to the north\nYou are on a large sandy beach on the east shore of the river, which is flowing quickly by. A path runs beside the river to the south here, and a passage is partially buried in sand to the northeast.\n\n> Go northeast\nThis is a sand-filled cave whose exit is to the southwest.\n\n> You go south\nYou are on the east shore of the river. The water here seems somewhat treacherous. A path travels from north to south here, the south end quickly turning around a sharp corner.\nThere is a folded pile of plastic here which has a small valve attached.\n\n> Go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA trunk of jewels\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> Inventory\nYou are carrying:\nA pile of plastic\nA tan label\nA large emerald\nA red buoy\nA crystal trident\nA hand-held air pump\nA torch (providing light)\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA torch (providing light)\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA jewel-encrusted egg\nThe jewel-encrusted egg contains:\nA golden clockwork canary\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins"
    },
    {
        "text": "> You look at your surroundings\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA jewel-encrusted egg\nA torch (providing light)\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA golden clockwork canary\nA jewel-encrusted egg\nA torch (providing light)\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> Count treasures\nWhich treasures do you mean, the golden clockwork canary, the jewel-encrusted egg, the torch, the crystal trident, the large emerald, the trunk of jewels, the sceptre, the beautiful jeweled scarab, the pot of gold, the huge diamond, the sapphire-encrusted bracelet, the jade figurine, the chalice, the platinum bar, the gold coffin, the painting, or the leather bag of coins?\n\n> You check what you're carrying\nYou are carrying:\nA pile of plastic\nA tan label\nA red buoy\nA hand-held air pump\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA golden clockwork canary\nA jewel-encrusted egg\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA beautiful jeweled scarab\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA chalice\nA platinum bar\nA gold coffin\nA painting\nA leather bag of coins\n\n> You examine the chalice\nIt looks pretty much like a chalice.\n\n> You look at what you're carrying with you\nYou are carrying:\nA chalice\nA torch (providing light)\nA pile of plastic\nA tan label\nA red buoy\nA hand-held air pump\n\n> Inventory\nYou are carrying:\nA beautiful jeweled scarab\nA chalice\nA torch (providing light)\nA pile of plastic\nA tan label\nA red buoy\nA hand-held air pump\n\n> You read the coins\n(Taken)\nHow does one read a leather bag of coins?\n\n> You examine the buoy\nThe red buoy is empty.\n\n> Inflate boat\n(with the hand-held air pump)\nThe boat inflates and appears seaworthy.\n\n> Inventory\nYou are carrying:\nA pile of plastic\nA beautiful jeweled scarab\nA chalice\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> You go west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA leather bag of coins\nA golden clockwork canary\nA jewel-encrusted egg\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You put water in the chalice\nYou can't. It's not a very good chalice, is it?\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a red buoy here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA leather bag of coins\nA golden clockwork canary\nA jewel-encrusted egg\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You cut the trees\nWhat do you want to cut the trees with?\n\n> You cut the trees with the trident\nThe \"cutting edge\" of a crystal trident is hardly adequate.\n\n> Inventory\nYou are carrying:\nA crystal trident\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA pile of plastic\nA beautiful jeweled scarab\nA chalice\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> Up\nThis is the attic. The only exit is a stairway leading down.\nThere is a table here.\n\n> You drop all\ncrystal trident: Dropped.\nglass bottle: Dropped.\npile of plastic: Dropped.\nbeautiful jeweled scarab: Dropped.\nchalice: Dropped.\ntorch: Dropped.\ntan label: Dropped.\nhand-held air pump: Dropped.\n\n> You go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a hand-held air pump here.\nThere is a tan label here.\nThere is a silver chalice, intricately engraved, here.\nThere is a beautiful jeweled scarab here.\nThere is a folded pile of plastic here which has a small valve attached.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a crystal trident here.\nThere is a red buoy here.\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA leather bag of coins\nA golden clockwork canary\nA jewel-encrusted egg\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You cut the trees with the diamond\nThe \"cutting edge\" of a huge diamond is hardly adequate.\n\n> You check what you're carrying\nYou are carrying:\nA huge diamond\nA torch (providing light)\n\n> You put the diamond in the trunk\nDon't be silly. It wouldn't be a trunk of jewels anymore.\n\n> You get all\nhand-held air pump: Taken.\ntan label: Taken.\nchalice: Taken.\nbeautiful jeweled scarab: Taken.\npile of plastic: Taken.\nglass bottle: Taken.\ncrystal trident: Taken.\nred buoy: Your load is too heavy.\nskeleton key: Your load is too heavy.\ntrophy case: The trophy case is securely fastened to the wall.\ncarpet: The rug is extremely heavy and cannot be carried.\n\n> You go north\nThis is a circular stone room with passages in all directions. Several of them have unfortunately been blocked by cave-ins.\nThere is a screwdriver here.\nThere is a clove of garlic here.\nThere is a brown sack here.\nThe brown sack contains:\nA lunch\nThere is a broken timber here.\n\n> You look\nThis is a room which looks like an Egyptian tomb. There is an ascending staircase to the west.\nThere is a beautiful jeweled scarab here.\n\n> Echo\necho echo ...\n\n> Inventory\nYou are carrying:\nA beautiful jeweled scarab\nA brass bell\nA shovel\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA pile of plastic\nA tan label\nA hand-held air pump\nA torch (providing light)\n\n> You ring bell\nThe bell suddenly becomes red hot and falls to the ground. The wraiths, as if paralyzed, stop their jeering and slowly turn to face you. On their ashen faces, the expression of a long-forgotten terror takes shape.\n\n> You ring bell\nThe bell is too hot to reach.\n\n> Inventory\nYou are carrying:\nA beautiful jeweled scarab\nA shovel\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA pile of plastic\nA tan label\nA hand-held air pump\nA torch (providing light)\n\n> Inventory\nYou are carrying:\nA black book\nA beautiful jeweled scarab\nA shovel\nA glass bottle\nThe glass bottle contains:\nA quantity of water\nA pile of plastic\nA tan label\nA hand-held air pump\nA torch (providing light)"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, cave, maze]\n\n> Go downwards\nThis is a tiny cave with entrances west and north, and a dark, forbidding staircase leading down.\nA gust of wind blows out your candles!"
    },
    {
        "text": "[Themes: Zorkian, Cave crawl, maze, cave crawl, combat, Zork, treasure hunt, memorable NPC]\n\n> Go downwards\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nThe way through the gate is barred by evil spirits, who jeer at your attempts to pass.\nThere is a brass bell here.\n\n> You look at what you're carrying with you\nYou are carrying:\nA pair of candles\nA black book\nA beautiful jeweled scarab\nA shovel\nA pile of plastic\nA tan label\nA hand-held air pump\nA torch (providing light)\n\n> You light the candles with the torch\nThe heat from the torch is so intense that the candles are vaporized.\n\n> Damn\nSuch language in a high-class establishment like this!\n\n> You jump\nVery good. Now you can go to the second grade.\n\n> Xyzzy\nA hollow voice says \"Fool.\"\n\n> You look\nYou are on a small, rocky beach on the continuation of the Frigid River past the Falls. The beach is narrow due to the presence of the White Cliffs. The river canyon opens here and sunlight shines in from above. A rainbow crosses over the falls to the east and a narrow path continues to the southwest.\nThere is a magic boat here.\n\n> You deflate the boat\nThe boat deflates.\n\n> Go east\nYou are standing on the top of the Flood Control Dam #3, which was quite a tourist attraction in times far distant. There are paths to the north, south, and west, and a scramble down.\nThe water level behind the dam is low: The sluice gates have been opened. Water rushes through the dam and downstream.\nThere is a control panel here, on which a large metal bolt is mounted. Directly above the bolt is a small green plastic bubble which is glowing serenely.\nThere is an object which looks like a tube of toothpaste here.\nThe tube contains:\nA viscous material\nThere is a wrench here.\nThere is a matchbook whose cover says \"Visit Beautiful FCD#3\" here. There is a tour guidebook here.\n\n> You check your inventory\nYou are carrying:\nA black book\nA brass bell\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA pile of plastic\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> You ring bell\nThe bell suddenly becomes red hot and falls to the ground. The wraiths, as if paralyzed, stop their jeering and slowly turn to face you. On their ashen faces, the expression of a long-forgotten terror takes shape.\nIn your confusion, the candles drop to the ground (and they are out).\n\n> You read the book\nOh ye who go about saying unto each: \"Hello sailor\":\nDost thou know the magnitude of thy sin before the gods?\nYea, verily, thou shalt be ground between two stones.\nShall the angry gods cast thy body into the whirlpool?\nSurely, thy eye shall be put out with a sharp stick!\nEven unto the ends of the earth shalt thou wander and\nUnto the land of the dead shalt thou be sent at last.\nSurely thou shalt repent of thy cunning.\n\n> You light the candles with the match\nWith a matchbook??!?\n\n> You light the candles with the match\nThe candles are lit.\nThe match has gone out.\n\n> You look\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nThe way through the gate is barred by evil spirits, who jeer at your attempts to pass.\nThere is a pair of candles here (providing light).\nOn the ground is a red hot bell.\nThe tension of this ceremony is broken, and the wraiths, amused but shaken at your clumsy attempt, resume their hideous jeering.\n\n> You light the candles with the match\nThe candles are already lit.\nThe match has gone out.\n\n> You look\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nThe way through the gate is barred by evil spirits, who jeer at your attempts to pass.\nThere is a pair of candles here (providing light).\nOn the ground is a red hot bell.\n\n> You light the candle with the match\nYou can't see any candle here!\nThe match has gone out.\n\n> You look at what you're carrying with you\nYou are carrying:\nA black book\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA pile of plastic\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> You look\nThis is the south end of a large temple. In front of you is what appears to be an altar. In one corner is a small hole in the floor which leads into darkness. You probably could not get back up it.\nOn the two ends of the altar are burning candles.\n\n> Light candles\n(with the match)\nThe candles are lit.\nThe flames flicker wildly and appear to dance. The earth beneath your feet trembles, and your legs nearly buckle beneath you. The spirits cower at your unearthly power.\nThe match has gone out.\n\n> Go south\nYou have entered the Land of the Living Dead. Thousands of lost souls can be heard weeping and moaning. In the corner are stacked the remains of dozens of previous adventurers less fortunate than yourself. A passage exits to the north.\nLying in one corner of the room is a beautifully carved crystal skull. It appears to be grinning at you rather nastily.\n\n> You look\nYou have entered the Land of the Living Dead. Thousands of lost souls can be heard weeping and moaning. In the corner are stacked the remains of dozens of previous adventurers less fortunate than yourself. A passage exits to the north.\n\n> You go north\nYou are outside a large gateway, on which is inscribed\n\nAbandon every hope all ye who enter here!\n\nThe gate is open; through it you can see a desolation, with a pile of mangled bodies in one corner. Thousands of voices, lamenting some hideous fate, can be heard.\nOn the ground is a red hot bell.\n\n> You check your inventory\nYou are carrying:\nA crystal skull\nA pair of candles (providing light)\nA black book\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> Extinguish candles\nThe flame is extinguished.\n\n> You go south\nThis is the south end of a large temple. In front of you is what appears to be an altar. In one corner is a small hole in the floor which leads into darkness. You probably could not get back up it. There is a folded pile of plastic here which has a small valve attached.\n\n> You go to the west\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA golden clockwork canary\nA jewel-encrusted egg\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA crystal skull\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA golden clockwork canary\nA jewel-encrusted egg\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> Up\nThis is a large room, whose east wall is solid granite. A number of discarded bags, which crumble at your touch, are scattered about on the floor. There is an exit down a staircase.\nThere is a sword here.\nThere is a stiletto here.\nThere is a nasty knife here.\n\n> Inventory\nYou are carrying:\nA pile of plastic\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA torch (providing light)\nA tan label\nA hand-held air pump\n\n> Go north\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south.\nThere is a grating securely fastened into the ground.\nOn the ground is a pile of leaves.\n\n> Up\nYou are about 10 feet above the ground nestled among some large branches. The nearest branch above you is above your reach.\nBeside you on the branch is a small bird's nest.\n\n> You examine the nest\nThe bird's nest is empty.\n\n> You check what you're carrying\nYou are carrying:\nA bird's nest\nThe bird's nest contains:\nA golden clockwork canary\nA pile of plastic\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA torch (providing light)\nA tan label\n\n> Go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a hand-held air pump here.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA crystal skull\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA jewel-encrusted egg\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You listen to the bird\nYou can't hear the songbird now.\nYou hear in the distance the chirping of a song bird.\n\n> Up\nYou are about 10 feet above the ground nestled among some large branches. The nearest branch above you is above your reach.\n\n> Inventory\nYou are carrying:\nA bird's nest\nThe bird's nest contains:\nA jewel-encrusted egg\nA golden clockwork canary\nA pile of plastic\nA tube\nThe tube contains:\nA viscous material\nA matchbook\nA torch (providing light)\nA tan label\n\n> Go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a hand-held air pump here.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA crystal skull\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You look\nYou are behind the white house. A path leads into the forest to the east. In one corner of the house there is a small window which is open.\nThere is a bird's nest here.\nThe bird's nest contains:\nA jewel-encrusted egg\nA golden clockwork canary\n\n> Wind canary\nThe canary chirps blithely, if somewhat tinnily, for a short time.\n\n> You wait\nTime passes...\n\n> Go northeast\nYou can't go that way.\nYou hear in the distance the chirping of a song bird.\n\n> Wind canary\nThe canary chirps, slightly off-key, an aria from a forgotten opera. From out of the greenery flies a lovely songbird. It perches on a limb just over your head and opens its beak to sing. As it does so a beautiful brass bauble drops from its mouth, bounces off the top of your head, and lands glimmering in the grass. As the canary winds down, the songbird flies away.\n\n> You take the gauble\nI don't know the word \"gauble\".\n\n> You put the torch in the case\nDone.\nAn almost inaudible voice whispers in your ear, \"Look to your treasures for the final secret.\"\n\n> You look\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a bird's nest here.\nThere is a hand-held air pump here.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nIn the trophy case is an ancient parchment which appears to be a map. Your collection of treasures consists of:\nA torch (providing light)\nA jewel-encrusted egg\nA golden clockwork canary\nA beautiful brass bauble\nA crystal skull\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You read the parchment\nThe map shows a forest with three clearings. The largest clearing contains a house. Three paths leave the large clearing. One of these paths, leading southwest, is marked \"To Stone Barrow\".\n\n> You go east\nYou are in the living room. There is a doorway to the east. To the west is a cyclops-shaped opening in an old wooden door, above which is some strange gothic lettering, a trophy case, and a rug lying beside an open trap door.\nThere is a bird's nest here.\nThere is a hand-held air pump here.\nThere is a red buoy here.\nThere is a glass bottle here.\nThe glass bottle contains:\nA quantity of water\nThere is a skeleton key here.\nYour collection of treasures consists of:\nA jewel-encrusted egg\nA golden clockwork canary\nA beautiful brass bauble\nA crystal skull\nA chalice\nA beautiful jeweled scarab\nA leather bag of coins\nA crystal trident\nA large emerald\nA trunk of jewels\nA sceptre\nA pot of gold\nA huge diamond\nA sapphire-encrusted bracelet\nA jade figurine\nA platinum bar\nA gold coffin\nA painting\n\n> You go northwest\nYou are standing in an open field west of a white house, with a boarded front door. A secret path leads southwest into the forest. There is a small mailbox here.\n\n> You go southwest\nYou are standing in front of a massive barrow of stone. In the east face is a huge stone door which is open. You cannot see into the dark of the tomb.\n\n> You enter\nAs you enter the barrow, the door closes inexorably behind you. Around you it is dark, but ahead is an enormous cavern, brightly lit. Through its center runs a wide stream. Spanning the stream is a small wooden footbridge, and beyond a path leads into a dark tunnel. Above the bridge, floating in the air, is a large sign. It reads: All ye who stand before this bridge have completed a great and perilous adventure which has tested your wit and courage. You have mastered the first part of the ZORK trilogy. Those who pass over this bridge must be prepared to undertake an even greater adventure that will severely test your skill and bravery!\n\nThe ZORK trilogy continues with \"ZORK II: The Wizard of Frobozz\" and is completed in \"ZORK III: The Dungeon Master.\"\nYour score is 350 (total of 350 points), in 472 moves.\nThis gives you the rank of Master Adventurer.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Fiction, gender-neutral protagonist, moral choice, epic, conversation, sexuality choice, Mythology, storytelling, gilgamesh]\n\n\"He found the knowledge at the heart of the\nuniverse;\nReturned, and cut his story into stone...\"\n\n\n\n(Press any key to continue)\n\n[Author's Note: The people had always gathered on moonless nights to hear the stories, since the time of their ancestors' ancestors. The heat of the fire and the glow in the storyteller's eyes made the past present, and the path to the future clear. The power in the telling was immense, subtle, divine. What man would dare subvert it?]\n\n> Y.\nI am your eyes and hands within the story. Direct me with commands such as EXAMINE THE BAG, GO OUTSIDE, LISTEN, or FIGHT HIM. Single word shorthand like FIGHT or BAG will often suffice. Some single words will be highlighted to bring them to your attention. Type them to\nshape the story to your will; some of the possible choices will be seen in the header bar above. Time only advances when you give a command or type LISTEN, which it is sometimes wise to do.\n\nOther useful commands include REPEAT, to remember what was recently said; STORY to see the choices you have made; INVENTORY to see what you are holding; WAIT to let the time pass; UNDO to take back your last turn; and GREET, MOCK, PRAISE, TALK TO or ASK ABOUT to interact with characters.\n\nMore information about this story is available by typing ABOUT.\n\nPress any key to continue.\n'Whom The Telling Changed' makes use of emphasized words to\nindicate useful options to pursue. Typing one of these words helps to advance the story in the direction you desire. Please choose a style of emphasis which displays clearly on your interpreter:\n\n1) The emphasized words appear in this fashion.\n2) The emphasized words appear in this fashion.\n3) The EMPHASIZED words appear in THIS fashion.\n4) The emphasized words appear in this fashion.\n5) Emphasis off.\n\n> 3\nStyle SET. You may change this setting using the STYLE command.\n\nNote that you are not limited to typing emphasized words to interact with the story. Other actions may be open to you at any time.\n\nPress any key to begin.\nThe people have always gathered on moonless nights to hear the telling, since the time of your ancestors' ancestors. The heat of the fire and the glow in the storyteller's eyes make the past present, and the path to the future clear. Tonight the stars are bright, but the minds of your people are troubled. May the words of the telling guide your way.\n\nThe walls of your tent glow yellow in the lamplight, your simple possessions casting flickering shadows on the wall. A straw bed; some skins of water, oil, and wine; a small, guttering lamp--it is simple, but it is enough.\n\nThe symbol of your occupation hangs from the central support of the tent.\n\n> You examine the symbol\nWhich do you mean, the medicine bag or the copper dagger?\n\n> Medicine bag\nA small leather medicine pouch hangs from a long strap, bulging with curative herbs.\n\n> You look at the dagger\nThis copper dagger is as long as your forearm, with a round pommel and hardened leather grip.\n\n> You take the bag\nThe leather strap feels cool and familiar in your hands as you take your medicine bag down from its place.\n\n> You take the dagger\nYou carefully take your lover's weapon down from the wall and study it thoughtfully for a moment.\n\n> About yourself\nYou are a healer, nothing more. These have always been your people, and you have always been theirs.\n\nYou are carrying your lover's copper dagger, your medicine bag and the storyteller's feathered circlet.\n\n> You look at the circlet\nCountless weeks were spent collecting the delicate feathers and weaving them together to make this circlet. It is light as air in your hands, and seems to glow in the lamplight.\n\nLowered voices speak softly from somewhere outside your tent.\n\n> You listen\nThe lamp crackles softly as it burns. Somewhere distant is the sound of muffled voices.\n\n> You look at the bed\nA simple bed of furs and straw.\n\n> You examine the lamp\nThis small oil lamp is made from cured hide and a reed wick. You made many of these from the sheepskins you traded the merchants for last moon. The small flame glows brightly, leaving dancing black streaks in your eyes if you look straight at it.\n\n> You take the water\nWater for your hands, oil for your lamp, wine for your thirst. You need none of them now, but knowing they are there brings comfort.\n\n> Exit\nYou step outside into the warm night air.\n\nIt has been night for many hours, but the air is still warm, and the stars are a million brilliant fires above you. Nearby are the vague outlines of your neighbors' tents, but on this moonless night only the distant glow of the fire pit seems truly alive.\n\nIn the darkness a few feet away, Sihan and Saiph talk quietly in strained tones.\n\nAs you approach, your enemy grows silent. Your love turns to you with a look of relief and reaches out a hand.\n\n> You examine Saiph\nSaiph has his father's tall strength and the bearing of a leader. His grace and bold demeanor draw others to him, though few know of his quiet and gentle side underneath.\n\n> You examine Sihan\nSihan is beautiful; you have always thought so, as have many others. Her long black hair seems to swallow up her face in the dark of night.\n\n> You take the saiph's hand\nYou clasp Saiph's strong hand and turn to Sihan with a frown.\n\n\"What business have you here?\" you ask her coldly.\n\nSihan tosses her hair and fixes her sharp gaze on you. \"I came to see if Saiph is truly a man of action and not only of words,\" she says levelly. \"But I see that, like you, he is counted among the cowards and the weaklings. I have no more to say.\" She turns and vanishes into the darkness without a sound.\n\n> You talk to Saiph\n\"I care for you more than you know,\" you say, kissing Saiph on the cheek.\n\nSaiph frowns. \"Her heart clamors for war with these NEWCOMERS,\" your lover says, \"and was upset to find I do not share her views. We shall see if your ENEMY has better luck at the TELLING.\" He looks up to the stars, and adds, \"It is a good NIGHT for it.\"\n\n> Newcomers\n\"Have you heard the news?\" he asks. \"Young Ada found traces of a camp less than an hour's walk from here, and more than half a day from their FIRES in the valley. SIHAN and her friends are already sharpening their spears and preparing for war,\" he says darkly.\n\n> Enemy\n\"Sihan has been asking all the warriors to support her plan to attack the newcomers,\" your love says. \"She is convinced they are planning to murder us all in our beds at any moment. She is so sure of herself; how nice it must be to have such conviction in one's own superiority.\"\n\n> Telling\n\"It is almost time,\" your love says seriously. \"I wonder, what story will we hear tonight? The people are buzzing about the newcomers; perhaps the teller's story will be about them.\"\n\nThe time is not right to speak about that.\n\n> Fires\n\"The moon has waxed and grown small again since they arrived,\" Saiph murmurs, holding you tightly. \"Why don't they come to us? Why do they hide when we send our emissaries? They must know the unrest they're causing in us.\"\n\n> NIGHT\nSaiph points up at the night sky. \"See how bright the stars are,\" he says, \"as if the gods themselves gather round our fire to hear the teller's story.\"\n\nSaiph glances towards the fire pit and takes his dagger from you, sliding it into its familiar place at his waist. \"Let us join the gathering and hear the story,\" your love says lightly, and turns to the FIRE at the center of the village."
    },
    {
        "text": "> You look around\nIt has been night for many hours, but the air is still warm, and the stars are a million brilliant fires above you. Nearby are the vague outlines of your neighbors' tents, but on this moonless night only the distant glow of the fire pit seems truly alive.\n\nYour beloved gazes up at the stars.\n\n> Fire\nYou walk to the firepit with Saiph, and friends and neighbors greet you with a nod or quiet word.\n\nAlways the fire pit is the center of the village, and always the people gather there. Faint smells of tonight's great feast still linger, but the fire now smolders low, only a shadow of its roaring fierceness at sunset.\n\nIsi and Nabu stand near the fire, along with a growing crowd. Saiph stands near your side.\n\n> You look at Isi\nIsi's long black hair is white now, and her soft skin is loose and wrinkled, but her eyes have grown sharper with each passing year. Your father's sister sees more than most; the truth behind deceit and the sadness behind smiles. Her eyes sparkle as they meet yours, and she gives you a tiny nod.\n\n> You examine Nabu\nYour father's brother Nabu has never been good with a spear, but there is a warrior somewhere inside him that the wise respect more than the strongest man in the village. He is short and stern; quiet, but clever and collected. He is old, now, but his spirit is as strong as ever.\n\n> You look at the crowd\nThey have always been your people since you were a child, and each of their faces are known to you. Some are friends, some are relatives, some you know little and some you know better than you might wish. But they are all your people.\n\nSaiph places a hand on your shoulder. \"Go on, my love,\" he says softly. \"Give the circlet of office to the STORYTELLER. It is time.\"\n\n> Storyteller\n\"The storyteller awaits,\" Saiph says. \"The telling cannot begin until the teller's circlet has been gifted.\"\n\n> You wear the circlet\nNo; you are not the storyteller.\n\n> You give the circlet to Isi\nYou approach your aunt Isi and hand the circlet to the white-haired old woman. She takes it delicately, eyeing the craftsmanship, and then looks up at you and smiles warmly. Carefully, she lifts it up to her old head--and now before you is no longer your father's sister, but the storyteller... a role she has taken every new moon for many years.\n\n> You listen\nA bat circles above the fire for a moment, then swoops away.\n\nSihan approaches the far side of the fire and greets some friends warmly.\n\n> You talk to Sihan\n\"Sihan,\" you call across the fire. \"Can we not hear the story as friends?\"\n\nSihan snorts. \"That is unlikely,\" she says, \"unless you have come to your senses and accepted the need for defense.\" Sihan turns away with contempt and laughs with her friends, but you catch a guarded glance thrown your way a moment later.\n\nSaiph kisses your cheek. \"May the story bring you what you seek,\" he whispers, then slips into the crowd. Your beloved has always liked to hear the stories by himself.\n\n> You listen\nA bat circles above the fire for a moment, then swoops away.\n\nThe murmurings of the people die away as the storyteller rises to her feet and raises two bony hands.\n\n> You listen\nIt is strangely quiet around the fire.\n\nThe storyteller shouts, \"In this time of darkness the people gather for the telling. Will the people hear?\"\n\n> Y.\nYou call out your response along with many others.\n\nThe crowd cries out with one voice, \"The people are ready.\" The teller bows humbly, accepting the people's blessing, then straightens with the hint of a smile.\n\n\"Tonight,\" she says, \"we shall hear an old, old story, from days long ago when great cities and mighty kings ruled this land. May you find in the story that which you seek.\"\n\n> You listen\nA bat circles above the fire for a moment, then swoops away.\n\nThe storyteller lifts her hands in invocation. \"Our story begins,\" she says quietly, \"in the far-off city of URUK. Uruk of the broad streets, Uruk of the mighty WALLS. Can you see them, gleaming in the desert heat?\"\n\nThe teller gestures into the night, and in your mind the walls come alive, shimmering in the desert air.\n\n\"Come,\" she continues, \"cross the ancient threshold, walk the streets and orchards and markets. Walk the streets and climb the great stone steps to the TEMPLE. Climb the steps and find the box of burnished copper. Find the box and undo the lock and draw out the great TABLET of deep blue stone. Draw out the tablet and read of Uruk's king, Uruk's pride, Uruk's greatest hero. Hear of the trials of GILGAMESH.\"\n\n> Gilgamest\n[Things to try: LOOK | LOOK AT | GO | TALK TO | GREET | ATTACK | TAKE | TOUCH | HEAL | LISTEN | PRAISE | MOCK | STORY | UNDO | or an EMPHASIZED word. For more detailed instructions, type INFO]\n\n> Temple\n\"The great temple of Inanna: what did it look like?\" you say.\n\n\"Mighty and tall and grand and proud,\" the teller replies, \"so fine that Inanna herself dwelt there instead of in her heavenly palace. Inanna, goddess of warfare, goddess of lust, dwelt often in URUK herself.\"\n\nSihan's eyes stare deeply at you. You return her stare and for a moment a flicker of some vanishing emotion touches her face.\n\n> Temple\nIt is no longer the right time to make that part of the story.\n\nSihan smiles broadly. \"Ah, good!\" she says, \"a story of my ancestor Gilgamesh. There, there was a true hero to INSPIRE the people in troubled times.\"\n\nSome in the crowd murmur in excitement, but older faces look as if they QUESTION Sihan's claim of lineage.\n\n> Question\nYou snort and raise your voice. \"So it is Gilgamesh you descend from now, is it Sihan?\" you say derisively. \"Last moon it was Sargon of Akkad, was it not?\"\n\nA few near you snicker as Sihan flushes furiously, then she turns away from you with cold disdain.\n\nThe teller continues. \"MIGHTY was Gilgamesh, a lord among lords. Mighty is he who both leads the way and guards the rear. Mighty is he who both crashes like a wave and shelters the weak. Gilgamesh was tall, strong, bearded, a roaring bull among his people. ARURU, mother of the Earth, gave him his form, and ADAD the Storm gave him courage, and SHAMASH the Sun gave him beauty--but,\" the teller's piercing eyes fixate on the crowd, \"he was still a MAN, nonetheless.\"\n\n> Aruru\n\"I would hear more of Aruru,\" you say.\n\n\"Lady Aruru,\" the teller sighs, \"Lady of the Gods, Lady of the Foothills, Mother of the Earth, made Gilgamesh as she made the first man long eons ago. She formed an image of Gilgamesh in her mind, took up her clay, and kneaded it, shaped it into Gilgamesh's form. More MIGHTY she made him than a normal man: taller, broader, and stronger.\"\n\n> Adad\nSihan is speaking before you can react.\n\n\"How awesome to have such divinity in one's creation,\" Sihan says. \"The people of Uruk were blessed indeed to have such a king to lead them.\"\n\n\"And they knew it,\" says the teller with a twinkle in her eye, \"even if they sometimes wished for a leader who provoked awe less frequently.\"\n\nA current of energy runs through a few in the crowd, who mutter affirmation with somber faces. Saiph scowls darkly across the flames.\n\n> Adad\n\"Adad, god of storms, blessed mighty Gilgamesh?\" you ask.\n\n\"He breathed lightning into the body of Gilgamesh,\" the teller says powerfully, \"Adad of the tempest and the rain. He gave Gilgamesh the spark of courage and the fire of charisma.\"\n\nThe telling continues. \"With his friend and companion ENKIDU,\" the storyteller says, \"Gilgamesh ruled URUK with a young and prideful heart. But he saw the DEAD and dying in the streets of Uruk, and his mind was TROUBLED.\"\n\n> Enkidu\n\"Let us hear more of Gilgamesh's friend Enkidu,\" you say.\n\n\"Enkidu the wild man, MADE by the gods to tame unruly Gilgamesh,\" says the teller, a smile lighting her face. \"He lived with the animals in the wild lands till he came to URUK to CHALLENGE Gilgamesh. But their battle UNITED them, and instead of enemies they became closer than friends. Inseparable were Gilgamesh and Enkidu; together they faced all foes and fought all battles.\"\n\n> United\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\n\"Mighty Enkidu was also made by the gods?\" Sihan's voice calls from across the circle.\n\n\"By Aruru,\" the storyteller says sagely, \"By Aruru the Earth mother. The people of Uruk beseeched her to soothe wild Gilgamesh, who day after day came to the young men's homes, fighting and sparring in search of an equal, and night after night came to the young women's beds. The people of Uruk called on Aruru for help, and Enkidu was pinched from Aruru's clay and cast into the wilderness, as strong and mighty as Gilgamesh himself.\"\n\n\"How wise the gods are,\" Sihan says, \"to send such magnificent heroes to protect their people.\"\n\nLow muttering comes from across the circle; it seems this has struck a chord with a few.\n\n> United\n\"It was battle that united Enkidu and Gilgamesh in friendship, was it not?\" you say musingly.\n\n\"It is often the way,\" the teller says, \"that two foes may only find kinship through the bitterest battles. But perhaps,\" she adds humbly, \"this is only the way in stories.\"\n\nThe storyteller continues. \"One night,\" she says, \"as Gilgamesh knelt in prayer, SHAMASH, god of the sun, came down to whisper in his ear. Shamash WHISPERED to Gilgamesh of a far off place called the Cedar Forest, where dwelt the demon HUMBABA. Shamash whispered that he who could defeat Humbaba would gain fame greater than any man. He who could chop down the tallest CEDAR and defeat Humbaba the guardian would gain everlasting fame. He would burn in the minds of men forever. He would never be forgotten. And the heart of Gilgamesh became RESTLESS.\"\n\n> Whispered\n\"Storyteller,\" you call out, \"did you say that SHAMASH, god of the sun, whispered these words to Gilgamesh?\"\n\n\"I did.\" says the teller.\n\n\"And why would so mighty a god whisper such a thing?\" you ask, turning to the people. \"Was he afraid another god would hear? Did Shamash really have the glory of Gilgamesh in mind, or did he hope to use Uruk's king for purposes of his own?\"\n\nA wave of muttering sweeps over the crowd, but no one comes forward to answer your question.\n\n> Restless\nBefore you can speak, Sihan steps forward.\n\n\"You said King Gilgamesh was restless when he heard Shamash's call,\" Sihan says loudly. \"And of course he was! What king would not seize a chance for glory, to prove his strength and power? A leader is trebled in stature when admired by the people.\"\n\n> Cedar\n\"What magic was there in the Cedar Forest that made it special?\" you ask.\n\n\"Uruk was a land like ours,\" the teller answers, \"where the tree is scarce and the wood is poor. Cedarwood is strong, and beautiful, and pleasant to see and smell, and in those days was valued as gold. In the Cedar Forest far, far away, the cedar trees are so thick you could not see a man a hundred paces away; and so tall you could not see the sky.\"\n\n> Restless\nDoubtless the heart of Gilgamesh stirred at a chance for glory; but was this Humbaba a VALID opponent?\n\n> Humbaba\n\"Humbaba the demon?\" you ask. \"Why was he so feared?\"\n\n\"Humbaba the awful, he of many stories,\" the teller says. \"His breath is a firestorm; his voice is the floodwaters; his jaws are death itself. Horrible to look at is the demon Humbaba, and the few who saw him and survived could not describe his face.\"\n\nThe story moves on. \"The heart of Gilgamesh burned with the words of SHAMASH,\" says the teller. \"Gilgamesh sought out his friend Enkidu and said to him: 'You came from the wild. My friend, you came from the wild and you know the secret paths of animals. Do you know the way to the Cedar Forest?'\n\n\"Enkidu SIGHED and his heart grew heavy,\" says the teller, and then seems to become young and strong as the gruff guise of Enkidu comes over her. \"'Yes, I know the way to the Cedar Forest, but it is long and lonely. And what awaits you at its end but the demon Humbaba? The lord of all gods, mighty Enlil, has set him there to GUARD the Cedar Forest. What man or god could DEFEAT him, my brother?'\"\n\n> Valid\nThe time is not right to weave that into the story.\n\n\"Subtle is the art of the storyteller,\" Sihan says with a smile. \"Do you see why Gilgamesh is the leader and Enkidu only a follower? He hesitates in the face of danger; when courage is called for, he backs away. It is Gilgamesh whose bravery will be remembered and loved.\"\n\nPeople murmur in agreement and nod. The storyteller's eyes sparkle in the firelight, inscrutable.\n\n> Sighed\nThe story has moved on; there are other things to say.\n\n\"Shamash himself came down from the realm of the gods to tell Gilgamesh of this?\" asks a weatherbeaten farmer. \"Why don't I have such luck?\" A few of his neighbors chuckle.\n\n> Defeat\nIf Enkidu wonders whether even a god could triumph, then the fight must be truly HOPELESS--but surely, if any mortal could ever have TRIUMPHED at such a task, it was Gilgamesh?\n\n> Triumphed\n\"What better task for Gilgamesh to take on?\" you wonder aloud. \"If he succeeds, his people will love him and follow him all the more; and if he fails, his name will live on in death as one who showed no fear.\"\n\n\"As it has,\" the teller says, \"though which of those outcomes found Gilgamesh has not yet been told.\"\n\nThe telling continues. \"GILGAMESH looked at Enkidu with disapproving eyes,\" continues the teller, who then seems to grow tall and strong. \"Is this the brave Enkidu I know?\" she asks in the voice of the king. \"Is this Enkidu who fought with the wild beasts and once challenged King Gilgamesh himself? Have you traded COURAGE for COWARDICE? Our days are few, and chances for glory far between. Do you not wish to burn forever in the minds of men?\"\n\nThe teller becomes Enkidu again, and seems to consider the words of Gilgamesh. \"'You have set your mind, I see. You will make this QUEST no matter what your friend ENKIDU counsels. Since that is your road, I will go with you. I will guide you on the hidden paths; I will find for you the hidden water; I will help you on your quest for glory. Enkidu will go with you.'\"\n\n> Courage\n\"I would say rather that Enkidu was strong, not cowardly,\" you say, \"to stand against such a man as Gilgamesh. What courage to raise his voice against so mighty and stalwart a man.\"\n\n> Enkidu\nYou consider Enkidu's response for a moment. Some might call him WEAK for giving in so easily to Gilgamesh... but others would call him a true FRIEND for standing by even though he did not agree.\n\n> Friend\n\"Such is true loyalty,\" you say, \"to stand by a friend and companion no matter what your own thoughts are.\"\n\n\"But truer still,\" calls Saiph unexpectedly, \"is the friend who stays true to his own beliefs.\" Your lover smiles mischievously and fades back into the crowd.\n\n> Gilgamesh\nIs Gilgamesh RIGHT to set off on this quest for personal glory? Should he rather stay and help the PEOPLE of Uruk?\n\n> People\n\"A strange king is Gilgamesh,\" you say loudly. \"He is troubled by the sight of his people, sick and dying, so he leaves them to go on a long quest to distant lands. Would a better king not have stayed behind to help them?\"\n\n\"What help could he have given them?\" asks Sihan. \"Gilgamesh was not a healer, but a fighter; a warrior. He could best help his people by inspiring them; though I do not expect you to understand.\" She gives you a tiny, humorless smile.\n\nThe story continues. \"Gilgamesh rejoiced,\" the teller says, \"and summoned the blacksmiths to forge mighty WEAPONS for the companions. He summoned the blacksmiths and summoned the servants to prepare food and supplies. He summoned the servants and summoned the priestesses to make generous SACRIFICES, to ask the gods for good fortune.\"\n\n\"When all was ready, Gilgamesh and Enkidu passed through the seven gates of Uruk and set off into the desert. The people watched them go,\" she says softly, \"the people of Uruk in SILENCE watched them go.\"\n\n> SILENCE\nSihan is speaking before you can react.\n\n\"How SOLEMN the folk of Uruk must have been,\" says Sihan, \"to recognize the seriousness of such a moment, and not PROTEST like fearful children.\"\n\nVoices mutter in agreement; for a fair number, this point has touched home.\n\n> Protest\n\"And why should they not protest?\" you respond. \"Gilgamesh and Enkidu are leaving on a long and dangerous road, and the people of Uruk have little to gain from their leader's self-centered quest.\"\n\nA voice somewhere behind you calls, \"It is true!\" and a few nod their heads in agreement.\n\n> Story\nThis is a story about a healer in the village who was in love with a strong warrior man, Saiph. On the night of the telling, when the healer's aunt Isi became the teller, their enemy Sihan tried her best to turn the people towards needless war with the outsiders. The healer spoke against this reckless path, but the people heard the words of Sihan more clearly.\n\n> Info\n[I am your eyes and hands within the story. Direct me with commands such as EXAMINE THE BAG, GO OUTSIDE, LISTEN, or FIGHT HIM. Single word shorthand like FIGHT or BAG will often suffice. Some single words will be HIGHLIGHTED to bring them to your attention. Type them to shape the story to your will; some of the possible choices will be seen in the header bar above. Time only advances when you give a command or type LISTEN, which it is sometimes wise to do.\n\nOther useful commands include REPEAT, to remember what was recently said; STORY to see the choices you have made; INVENTORY to see what you are holding; WAIT to let the time pass; UNDO to take back your last turn; and GREET, MOCK, PRAISE, TALK TO or ASK ABOUT to interact with characters.\n\nMore information about this story is available by typing ABOUT.]\n\n> You repeat\nThe story continues. \"Gilgamesh rejoiced,\" the teller says, \"and summoned the blacksmiths to forge mighty WEAPONS for the companions. He summoned the blacksmiths and summoned the servants to prepare food and supplies. He summoned the servants and summoned the priestesses to make generous SACRIFICES, to ask the gods for good fortune.\"\n\n\"When all was ready, Gilgamesh and Enkidu passed through the seven gates of Uruk and set off into the desert. The people watched them go,\" she says softly, \"the people of Uruk in silence watched them go.\"\n\n> Sacrifices\n\"What were the sacrifices Gilgamesh made to the gods?\" you ask.\n\n\"They were many,\" the teller responds, \"and befitting of such a strong king; three fattened oxen and twelve fattened sheep; four golden bowls of honey and five silver bowls of butter. The incense was lit and the prayers were sung; the priestesses sang the prayers while the stars turned above.\"\n\n\"Hot were the sands of the desert,\" continues the teller, \"hot were the sands and hard was the way. Many BONES of less fortunate travellers marked their journey. But ENKIDU knew the secret paths of the animals and the secret hiding places of water, and the land fell behind them swiftly.\"\n\n\"The first MOUNTAIN range they crossed in a day; the first desert and mountain range they crossed in a single day. On the next day they crossed the second desert and the second mountain range; on the next they crossed the third desert and the third mountain range. On the third night they lay down to sleep, utterly exhausted from their journey.\"\n\n> Bones\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\n\"True heroes were Gilgamesh and Enkidu,\" Sihan says. \"They did not stop to pity the dead travellers who did not have the strength to cross the desert. They knew that the weak should not be pitied, for pity saps the strength of strong and weak alike.\"\n\nA young warrior near Sihan places a hand on her shoulder for a moment. Saiph scowls darkly across the flames.\n\n> Bones\n[** Programming error: bones (object number 157) has a property player_asks, but it is longer than 2 bytes so you cannot use \".\" to read **]\n\"Did the companions not stop to perform burial rites on the bones of those who had died in the desert?\" you ask.\n\n\"Why should they?\" says Sihan. \"Those who failed the journey were weak, and their fate was decided accordingly. We should not pity the weak.\"\n[** Programming error: bones (object number 157) has a property player_asks, but it is longer than 2 bytes so you cannot use \".\" to read **]\n\n[** Programming error: bones (object number 157) has a property player_asks, but it is longer than 2 bytes so you cannot use \".\" to read **]\n\nA gust of wind ripples through the grass.\n\n> Mountain\n\"Was the crossing of the mountains difficult?\" you ask.\n\n\"For the likes of us, perhaps;\" says the teller, \"certainly for an old bones like me. Great and long the desert ranges ran, with no water or shelter or game on their cruel slopes. But Gilgamesh and Enkidu strode over their slopes without slowing down, though the sweat coursed down their bodies like rain.\"\n\nThe teller continues. \"In the darkest hour of night Gilgamesh woke with a start and clutched his chest. 'Who walks there?' he gasped. 'Why does my flesh tingle? Has a GOD touched me?' Enkidu heard and awoke, saying, 'Have you dreamt, Gilgamesh? Tell me your DREAM and I will unravel its meaning.'\n\n'I dreamt we walked in a gorge beneath a mighty mountain, you and I,' said Gilgamesh. 'We were like flies beneath its massive bulk. Then, with a rumble, the mountain COLLAPSED on top of us. What is its meaning, my friend?'\"\n\n> Dream\nDreams are sent by the gods. Was this dream sent by SHAMASH, to presage the fall of Humbaba? Or, perhaps, by ENLIL, warning of the consequences of destroying his guardian?\n\n> ENLIL\n\"A dark dream,\" you say, \"for the heroes to have on their journey. Clearly it was sent by Enlil, to warn of the doom the companions will face if they destroy his servant Humbaba.\"\n\n\"Your reasoning is sound,\" says the teller with a bow, \"but the interpretation does not match the one Enkidu gave to Gilgamesh. 'The mountain is the demon Humbaba,' he said. 'Shamash has sent us this dream to show that we will defeat the demon, and his fall will shake the earth.' And Gilgamesh heard his words, and was at peace.\"\n\n> God\nIt is no longer the right time to make that part of the story.\n\n\"Dreams of portent are frightening,\" says a young mother, pulling her wrap tighter around her. \"I do not like the gods to enter my head in the night.\"\n\n\"Wise you are to be cautious,\" says the teller with a nod. \"The ways of the gods are strange and obscure to men, their dealings laced with complexities we cannot understand.\"\n\n> You mock yourself\n[I'm not sure what you are referring to.]\n\n> You listen\nYou can't see \"me\" (yourself) at the moment.\n\nThe stars begin to fade as clouds swallow up their light.\n\nAs the teller speaks more of the journey across the desert, a strong hand presses on your shoulder. You turn to see Sihan's angry face only inches from yours.\n\n\"The power of the story should not be meddled with,\" she says in a barely audible undertone, the breath from her words hot on your face. \"Why do you seek to TWIST and subvert its meaning to your own PURPOSE? Are you afraid of the SPEAR?\"\n\n> Twist\n\"It is you who twists the story,\" you whisper back. \"Why are you so anxious to bring our people to war?\"\n\n\"You think war is what I want?\" she says quietly. \"No. I want our people to remember the feel of the SPEAR in their hands. I want our children to learn to defend themselves. For these times of peace we have lived in cannot LAST, and there may be no time left for us to remember it.\"\n\n> Last\n\"Why can't it last?\" you ask. \"Why can we not make peace with the outsiders?\"\n\nSihan looks at you in disgust. \"You are as foolish as you are OUTSPOKEN,\" she says. \"How many stories of peace does the teller know, and how many of war? How many kingdoms, great or small, have lived forever in peace? This is a world of war, and those who do not see that are truly BLIND.\"\n\n> Blind\n\"No,\" you say fiercely, \"the truly blind are those who decide the answer to a question before they have ever heard it.\"\n\nSihan looks away in disgust. \"I see I waste my words,\" she mutters, \"on a coward and a fool. I have no more to say.\" She turns and melts back into the crowd.\n\n> You listen\nThe stars begin to fade as clouds swallow up their light.\n\nYou turn your attention back to the teller. \"On the seventh day,\" she is saying, \"the companions crossed the seventh desert and the seventh mountain range, and came at last to the edge of the Cedar FOREST.\"\n\n\"The cedars were green, and the forest cool after the barren heat of the desert, and it smelled inside of wood and soil. But QUIET it was under the boughs of the trees; quiet, with a lingering whisper of FEAR.\"\n\n> Quiet\n\"But is this not normal for a forest? I have never heard of noisy trees,\" you say with a smile.\n\n\"This forest was too quiet: quiet as a temple, quiet as a tomb,\" the teller chants, \"no creature stirred within the Cedar Forest; not hare nor hawk nor rat nor owl. No beetles crawled on dampened leaves; no crickets chirped. Even the wind seemed to lose its voice as it entered the cool wood.\"\n\n> Forest\n\"What did this mighty forest look like?\" you say.\n\n\"Tall were the trees,\" says the teller, \"tall and broad were the trees of the cedar forest, their wide arms grasping each other high above. The Cedar Mountain sloped up, up, up, and the trees were a pale green blanket wrapping it tight.\n\n> Fear\nFear, you wonder, of the UNKNOWN? Or the DREADFUL fear of a terrible evil?\n\n> Unknown\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\n\"This fear is portentious,\" Sihan says. \"Fear is a warning; a harbinger of terrible things and dangerous times. It is the gods themselves warning us of doom.\" Sihan looks at you challengingly from across the fire. \"Do you agree?\" she asks in a bold tone.\n\nWhispers of assent float across the fire; some nod visibly at these words. Almost no one is looking towards you now.\n\n> Fear\nThe story has moved on; there are other things to say.\n\nThe teller speaks slowly, lingering over each word. \"Enkidu and Gilgamesh stepped into the cedars with care, but,\" she says, picking up speed, \"the demon Humbaba, Humbaba, Humbaba heard the rustle of every leaf in the forest.\"\n\nThe teller leaps up and spreads her arms wide, and the people shrink back in fear. \"A wind blew through the trees,\" the teller says quickly, \"and a FREEZING terror seized the companions. Nightmare FACES leered behind gnarled branches: blood-smeared faces, faces of rabid lions, faces with hideous tusks, always changing, always horrible. But the demon did NOT appear before them.\"\n\n> Fear\nBefore you can speak, Sihan steps forward.\n\n\"This fear is portentious,\" Sihan says. \"Fear is a warning; a harbinger of terrible things and dangerous times. It is the gods themselves warning us of doom.\" Sihan looks at you challengingly from across the fire. \"Do you agree?\" she asks in a bold tone.\n\nA shepherd nods his head, and holds his wife closer. Sihan smiles at the center of the people's attention.\n\n> Y.\n\"It is true,\" you say, \"our fear can be a valuable measure of coming terror, if we learn how to read it.\" Sihan nods and smiles.\n\nThe teller speaks slowly, lingering over each word. \"Enkidu and Gilgamesh stepped into the cedars with care, but,\" she says, picking up speed, \"the demon Humbaba, Humbaba, Humbaba heard the rustle of every leaf in the forest.\"\n\nThe teller leaps up and spreads her arms wide, and the people shrink back in fear. \"A wind blew through the trees,\" the teller says quickly, \"and a FREEZING terror seized the companions. Nightmare FACES leered behind gnarled branches: blood-smeared faces, faces of rabid lions, faces with hideous tusks, always changing, always horrible. But the demon did NOT appear before them.\"\n\n> Faces\nShifting faces can be the mark of THIEVES; but perhaps there is MORE to them.\n\n> More\n\"The faces--whose were they?\" you ask.\n\n\"The terrors of Humbaba; the seven terrors of the demon,\" says the teller. \"Guarding their master they should have been; but they flocked to the companions, leering and snarling at them with a thousand devil faces. Enkidu's heart raced in his chest, as it had not done since he ran with the animals.\"\n\nThe stars begin to fade as clouds swallow up their light.\n\n> You listen\nThe wind is picking up now, catching the teller's hair and making it dance with each gust.\n\nSihan raises her voice above the crowd. \"Truly Humbaba was hideous!\" she shouts. \"These changing faces that precede him are like those of all liars and thieves who mask their true self.\"\n\n\"Only too true,\" nods a gaunt woman from the crowd. \"Evil is often couched in deception and lies.\"\n\n> Not\nCurious, that. Did the demon not appear because he was a COWARD, trembling before the approach of the mighty heroes? Or did he perhaps hope to SCARE off the companions and avoid a fight?\n\n> Scare\n\"Perhaps he thought to save himself the trouble of fighting,\" you say with an amused tone, \"by scaring off the intruders. Wise is the one who avoids unnecessary conflict.\"\n\nThe story goes on. \"With a cry, Enkidu FELL to his knees,\" says the teller, mimicking the action. \"'I cannot go on, friend Gilgamesh! You must leave me and go on alone. I must return to Uruk in shame, for I cannot withstand the terrors of Humbaba!'\"\n\n\"Gilgamesh pulled Enkidu to his feet. 'Courage, friend,' he said. 'Two may prevail where one would fall. TOGETHER, we are stronger than any single man. Touch my heart and you will not fear death.' And Enkidu placed his hand on Gilgamesh's chest, and he felt no fear. Together they journeyed deeper into the forest.\"\n\n> Together\n\"So true are the words of Gilgamesh,\" you say. \"Two together are stronger than two divided. Such a simple thing to say, but how many can remember it?\"\n\nWhispers of assent float across the fire; a fair number nod visibly at these words. Saiph gives you a quiet smile from across the fire.\n\n> Fell\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\nSihan lets out a contemptuous snort. \"So a few shadows in the dark is all it takes to subdue this Enkidu?\" Sihan asks. \"I would have expected more from one of Uruk's greatest heroes.\"\n\n\"You would expect the entire village to walk off a cliff if it would make them seem more honorable,\" Saiph says hotly, but the mood of the crowd is clearly against him.\n\n\"Be quiet and let the story continue,\" shouts a voice from the back of the circle.\n\nThe stars begin to fade as clouds swallow up their light.\n\n> Brave\n\"Even the bravest of heroes feel fear at times,\" you say gently. \"Even the surest of feet sometimes question their way.\"\n\n\"Soon before them rose up a mighty cedar,\" continues the storyteller, \"so tall its top seemed to touch the sky. 'Surely, this must be the tallest cedar in the forest,' Gilgamesh cried, and unsheathed his axe. But his FIRST blow had scarcely fallen when Humbaba screamed with rage. The leaves rustled and the ground shook, and in an instant Humbaba the terrible had come.\"\n\n\"His face shimmered and whirled with a thousand forms,\" says the teller, eyes wide as if the demon stands before him, \"a thousand nightmare faces whirled and shimmered down at them. Humbaba's BREATH scorched their faces; his SCREECHES cut their ears.\"\n\n> Breath\nBefore you can speak, Sihan steps forward.\n\n\"On the very first blow of Gilgamesh the demon came?\" Sihan asks.\n\n\"That is so,\" nods the teller, \"the sound of the splitting tree had not yet died when the ground began to shake with Humbaba's rage.\"\n\n\"He is cunning,\" Sihan says, \"this demon. He HIDES behind shadows and TERROR, waiting for his victims to grow complacent before STRIKING.\"\n\nLow muttering comes from across the circle; it seems this has struck a chord with some. Almost no one is looking towards you now.\n\n> Hides\n\"Hides?\" you ask aloud. \"It was no secret that Humbaba dwelt within the Cedar Forest. It was no secret to Gilgamesh that he was its guardian. Gilgamesh and Enkidu knew well the consequences if they entered there.\"\n\n\"It also was no secret that this creature was a demon, a monster,\" says a young father with a clenched jaw, as many in the crowd mutter their assent. \"If you imply this beast was somehow wronged, you speak your words into a lonely void.\"\n\n> Striking\n\"And Gilgamesh and Enkidu's response will be swift,\" you say. \"They will cut down this wicked demon before he may spread his terror to the world.\"\n\nThe crowd voices their approval loudly.\n\nThe story goes on. \"GILGAMESH trembled and fell to his knees. 'I cannot face him!' he cried to Enkidu, 'My blood has turned to ice. You must go on and fight him without me!'\n\nEnkidu pulled Gilgamesh to his feet. 'Courage, FRIEND,' he said. 'The well-twined rope is stronger than a single strand. Together, we are stronger than any single man. Touch my heart and you will not fear death.' And Gilgamesh placed his hand on Enkidu's chest, and he felt no fear. Together they drew their weapons and faced the demon Humbaba.\"\n\n> Praise\n[You can only do that to a human being.]\n\n> Friend\n\"The true friend is always there to help,\" you say. \"What would Gilgamesh have done without Enkidu?\"\n\n\"Spent less time talking and more fighting!\" says a young man, whose friends all laugh uproariously.\n\n> You listen\nThe people huddle together as a hot, damp wind catches their clothes.\n\nThe crowd shuffles impatiently. \"Let the story move on,\" calls someone, \"let the heroes overcome their fear and destroy this demon.\" Many nod in agreement; Sihan looks at you with a smug, victorious smile.\n\n> You repeat\nThe story goes on. \"GILGAMESH trembled and fell to his knees. 'I cannot face him!' he cried to Enkidu, 'My blood has turned to ice. You must go on and fight him without me!'\n\nEnkidu pulled Gilgamesh to his feet. 'Courage, friend,' he said. 'The well-twined rope is stronger than a single strand. Together, we are stronger than any single man. Touch my heart and you will not fear death.' And Gilgamesh placed his hand on Enkidu's chest, and he felt no fear. Together they drew their weapons and faced the demon Humbaba.\"\n\n> Gilgamesh\n\"Ahh,\" you say, a great smile breaking over your face despite yourself. \"And now it is your mighty Gilgamesh who falls to his knees in fear. Will you mock him too, as you did Enkidu?\"\n\nSihan stares back at your with narrowed eyes. \"Do not make light of the story,\" she says quietly.\n\nThe story continues. \"Humbaba laughed, and the mountains shook,\" the teller says, then draws herself up and cries out in a great, booming voice: \"'What fools are these? What fools are these who dare challenge the demon Humbaba? I will crush your bodies and leave your corpses bloody and mangled on the ground. You will never see your homes again and your women and children will mourn an empty grave.' And with a roar like the splitting of the heavens, Humbaba charged.\"\n\n\"Enkidu stabbed with spear; Gilgamesh slashed with sword; Humbaba ripped with claws. Trees crashed to earth; the ground was torn asunder; lightning and thunder split the skies over the forest. Gilgamesh and Enkidu fought like no men ever fought before; but still the demon Humbaba drove them back, and the companions came ever closer to defeat.\"\n\n> Humbaba\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\n\"Awesome must it have been, to see such a fight,\" Sihan says.\n\n\"You would not have wanted to be too close!\" warns the teller, bringing a nervous laugh from the audience. \"The clouds turned to a poisonous shroud; the very mountains were split by the fury of Humbaba's rage. It was all the companions could do to stay alive.\"\n\nSihan speaks under her breath with a friend across the circle.\n\n> Lightning\nYou open your mouth to speak but a middle-aged widow turns with a look of annoyance. \"You speak too much.\" she says frostily, \"Be quiet and let the rest of us hear how the story ends!\"\n\nShe turns eagerly back to the teller, as several nearby people hide their smiles, but the teller's face is hard. \"Those who speak too little have no voice in the story,\" she says, eyeing the old woman critically. \"Which fate is worse?\"\n\nThe teller continues. \"Gilgamesh cried to the sky, 'Shamash, my lord! Help your servant Gilgamesh in his hour of need!' And SHAMASH heard Gilgamesh's cry, and sent all the mighty WINDS of the world to rail against Humbaba: The Winds of the North and the South and the West and the East and the Rainstorm and the Snowstorm and the Icestorm and the Sandstorm; the Screaming Winds and the Piercing Winds and the Cruel Winds and the Devil Winds and the Winds of Simurru. Thirteen winds Shamash sent against Humbaba, and not even he could stand against them all. Enkidu threw a net over Humbaba and Gilgamesh seized him from BEHIND.\"\n\n> Winds\nThe mighty ASSISTANCE of Shamash is timely; but is it also a bit UNFAIR?\n\n> Unfair\nYour mouth is already open to respond when Sihan's voice rises above the circle.\n\n\"How awesome an ally,\" Sihan marvels, \"how great an honor the companions of our story received! Could their quest be any more justified than with the divine blessing, the divine assistance of Shamash, lord of the skies?\"\n\n> Fairness\n\"So that is how the mighty heroes end their adventure,\" you say bitterly, \"sneaking behind an enemy held down by a god. How brave the companions were.\"\n\nThe crowd mutters angrily. \"Hold your tongue,\" says an older woman, wagging a finger in your face. \"I will not hear you slander good Gilgamesh and brave Enkidu any longer.\"\n\n> Mock\nThe story has moved on; there are other things to say.\n\n> You listen\nA gust of wind makes the ashes of the fire hiss.\n\nThe teller continues. \"HUMBABA saw the way things were and cried out in fear. Humbaba the demon CRIED out, 'Do not kill me, mighty heroes! If you let me live I will be your slave, your eternal SERVANT. I will let you cut down all the TREES you want; I will cut them for you. I COULD have attacked you when first you set foot in my forest, but I showed you MERCY. Now return the favor and spare my life.'\n\n\"Gilgamesh heard Humbaba's words and took PITY on the monster. He lowered his sword. But Enkidu cried out: 'Do not listen to him! Show no mercy to this cunning foe, this EVIL creature. If you let him live he would attack us the moment our backs were turned.'\"\n\n> Pity\n\"Curious,\" you say, \"that mighty Gilgamesh, so strong and proud, would take pity on the creature in this way.\"\n\n\"He has been through a great battle,\" says Sihan, \"and the great windstorm has doubtless muddled his wits.\"\n\n> Trees\n\"Humbaba offered the trees of the Cedar Forest to Gilgamesh and Enkidu?\" you ask.\n\n\"Yes,\" breathes the storyteller. \"Humbaba the demon even offered to carry the timber back to Uruk.\"\n\n> Mercy\nSihan is speaking before you can react.\n\n\"My people,\" says Sihan, \"is the evil of this demon Humbaba not clear? Hideous he is, with changing faces; he strikes fear into the hearts of all men; he threatens Gilgamesh. He must be destroyed.\"\n\n> Evil\nThe time is not right to weave that into the story.\n\nThe storyteller continues. \"Humbaba the demon called out in fear, 'Please, mighty heroes, do not slay HUMBABA! I was set by Enlil, father of the GODS, to GUARD over the forest. If you slay me he will be angry and his judgment severe.'\n\n\"Gilgamesh heard the demon and again took pity on him, lowering his sword, but ENKIDU cried out, 'Gilgamesh, do not listen to his words; close your ears! Kill the demon before you become confused. Kill him now before he can tell the gods anything. Kill him now and claim your fame!'\"\n\n> Humbaba\nPerhaps it was a sign of WEAKNESS for the demon to plead for his life. Or was the creature WISE not to fight to the death?\n\n> Wise\n\"Humbaba was wise not to fight to the death,\" you say. \"Continuing malice in the face of total destruction is foolishness.\"\n\nAt these words, some nod somberly. Parents hold their children tighter. Saiph gives you a quiet smile from across the fire.\n\n> Gods\n\"Humbaba's words should not be dismissed,\" you say. \"Will not Enlil be angered if his servant is destroyed? These brave heroes should not be pawns of the gods; they should make their own fate, and not interfere with the realm of the divine.\"\n\nA voice somewhere behind you calls, \"It is true!\" and a few nod their heads in agreement.\n\n> Wait\nIn a sudden flash of lightning the whole valley is illuminated around you; then you are plunged back into darkness.\n\n\"Enkidu has had a change of heart,\" Sihan says. \"When once he opposed Gilgamesh in the quest to slay Humbaba, he now is more set on this mission than even Gilgamesh.\"\n\n> Defending\n\"Humbaba did not threaten the people of Uruk,\" you reply. \"He only guarded the Cedar Forest many leagues away. It was Gilgamesh and Enkidu who came to Humbaba's home and attacked him. It was Humbaba who had the right of defense.\"\n\nThe teller continues. \"Gilgamesh looked into Enkidu's eyes,\" says the teller's powerful voice, \"Gilgamesh, the King, looked into the eyes of his friend Enkidu and made his decision. He knew...\"\n\nA gasp rises from the far side of the circle. Out of the darkness three dozen strangers appear, bearing long spears and faces painted with dark blue lines. It is the newcomers, the invaders in your valley, and as they approach your fire, the rain begins to fall.\n\nAmongst them one stands out: tall, with sharp features and a thick leather vest. You guess at once that he is their leader.\n\n> Greet\n\"Welcome to our village,\" you say to the leader. \"We did not expect visitors in the midst of our telling. What can we do for you?\"\n\nThe warrior leader steps out of the DARKNESS and bares his teeth. \"You will give us HALF your sheep,\" he says in a strange, harsh accent, \"and half your grain. You will GIFT us these things or we will take them, now.\" The men behind him grip their SPEARS tightly.\n\n> You listen\nThe fire smokes and hisses as rain falls on it.\n\n\"Half?\" a bold youth says mockingly, stepping forward in anger. \"Beggars should not be so greedy. Why should we give you anything at all? We are strong, and do not fear your threats.\"\n\nThe warrior leader's face darkens and he grips his SPEAR tightly. \"My people are also strong,\" he says coldly. \"I ask you one last time. Either give us what we want; half your sheep and grain; or we shall RAZE your village to the ground.\"\n\n> Even\n\"Your spears are of fine make,\" you say, \"not so different from ours. I think if our peoples were to fight, it would be a very close battle.\"\n\nThe warrior leader's face stays fierce, but you see in his eyes he has thought the same. \"We would not take this path,\" he says with heavy tones, \"were there any other way. But the spear is the only way we have in this strange land where our SHEPHERDS cannot catch sheep.\"\n\nLightning flashes across the bodies of the enemy warriors, who stand for an instant in brightest light before thunder and DARKNESS settle over them once again.\n\n> Shepherd\n\"The skill to catch these sheep can be taught,\" you say. \"We will teach you. Come in peace, and we will teach you to catch the sheep and share our grain with you.\"\n\nA twisted smile crosses the leader's face. \"We have heard such OFFERS before,\" he says, a bitter edge shaping his voice, \"to come unarmed and helpless to the homes of enemies with sharpened SPEARS and cruel daggers. Do you think us FOOLS?\"\n\n> Fools\nAre they truly FOOLISH? Or are they merely shaped by DESPAIR?\n\n> Despair\n\"You are not fools,\" you say softly, \"only people like us who do not wish to see their children starve.\"\n\n\"You are brave,\" he says after a time, looking away for a moment and licking his lips. He focuses on your people. \"And clear-headed,\" he adds. \"Perhaps... perhaps there are things we can learn from you.\"\n\nHe steps forward and your people raise their weapons, but you hold up your arms and stand before them. The warrior leader places his spear on the ground. As he straightens, a wave of sighs moves through the circle, a release of tension in both strangers and neighbors.\n\nThe leader of the warriors looks upon you with stoic pride. \"I am Arkab,\" he says, \"and these are my people.\"\n\nThe fire has almost died and the people have scattered, leaving a tangible emptiness behind. Even the rain has stopped its drizzle.\n[Nothing entered.]"
    },
    {
        "text": "[Themes: Fiction, conversation, gender-neutral protagonist, sexuality choice]\n\n> You look at your surroundings\nThe fire has almost died and the people have scattered, leaving a tangible emptiness behind. Even the rain has stopped its drizzle.\n\nSaiph finds you and gives you a strong embrace. \"I am glad there was no war,\" your love says, \"though I was ready to fight if I had to. ARKAB has promised to return tomorrow, bearing gifts instead of spears.\"\n\n> Arkab\n\"He seems a man of his word?\" you ask.\n\n\"It is too early to tell,\" says Saiph cautiously, \"but I have a good feeling about him.\"\n\nSaiph places a firm hand on your shoulder. \"There is sad news,\" he says. \"The storyteller is DYING. The shock must have done something to her heart. There is little we can do now, but she asked to speak with you. You should hurry,\" he adds quietly, pointing towards the storyteller's TENT near the edge of the village, \"for there is not much time left to her.\"\n\n> Tent\nYou pull aside the flap of the teller's tent and step inside.\n\nA lamp burns low, its nearly-spent wick barely lighting up the storyteller's small tent. Nothing adorns the walls or brightens up the floor; all that is here is a small straw mat, on which the teller lies, breathing shallowly.\n\n> You examine teller\nThe teller lies on a simple straw mat, as if merely resting, but it is clear at once she is very sick. Her face is waxy white; breathing rasps in a sweat-covered throat; grimaces of pain fight for control of the wrinkled face.\n\n> Kiss teller\nNow is not the time for that.\n\nThe teller smiles at your arrival, and beckons you closer with a weak hand. You kneel by the old straw mat and grasp the cold fingers tightly.\n\n\"Curious,\" she mutters, \"the way fate moves, sometimes weaving a fantastic tale, and othertimes getting the timing all wrong. I would not have had my end be upstaged, were I telling this final chapter.\" She smiles, then grimaces in pain.\n\nThe teller seems to look through your eyes to something hidden at the core of your being, and weigh it with great care. \"The people did not hear the end of the story,\" she says presently. \"For good or ill a great decision was made tonight, before the story was complete. Would you know how it ends?\"\n\n> Y.\n\"Yes,\" you say, \"I would hear the end of the story.\"\n\nThe teller smiles and closes her eyes. \"Gilgamesh faced a choice,\" she says quietly. \"Whether to take pity on Humbaba and spare his life, or kill him, as his friend Enkidu counseled. Gilgamesh looked into Enkidu's eyes, and made his choice. He reached into the demon's throat and pulled out his insides, pulled them out of the demon's body by his tongue. Enkidu chopped off Humbaba's head, and the ground shook, and the forest trembled, and the soil ran with blood. And then it rained, it rained, it rained...\"\n\nThe storyteller trails off, eyes unfocused, as if lost in another world. After a long moment, she comes back and looks at you. \"Perhaps this seems to you a strange story to tell at such a time?\" she asks.\n\n> You go north\nThe teller wants to spend her last moments with you; you cannot refuse such an offer.\n\n> You listen\nWind tugs gently at the tent flaps, then subsides.\n\n> Y.\nYou smile, your affinity lighting up your face."
    },
    {
        "text": "> Describe the surroundings\nA lamp burns low, its nearly-spent wick barely lighting up the storyteller's small tent. Nothing adorns the walls or brightens up the floor; all that is here is a small straw mat, on which the teller lies, breathing shallowly.\n\n> Wait\nThe lamp sputters quietly, sending flickering shadows across the tent wall.\n\n> Heal\nYou examine the teller quickly and see it is as Saiph has said. Her breath is shallow and skin is pale, but the eyes tell you most clearly how short her time is.\n\n> Story\nThis is a story about a healer in the village who was in love with a strong warrior man, Saiph. On the night of the telling, when the healer's aunt Isi became the teller, their enemy Sihan tried her best to turn the people towards needless war with the outsiders. The healer spoke against this reckless path, but the people heard the words of Sihan more clearly.\n\nWords flew between these two firebrands, but their rancor was too bitter and curdled to heal. The arrival out of the blackest night of the strange newcomers shook the crowd, so sure peace was the way. The healer who brokered a fragile peace, and agreed to share their resources with the curious strangers to their land.\n\nAnd the teller lay dying, struck down from shock or chance with a weakened heart, and in her final moments called the healer to her side.\n\n> Heal\nYou examine the teller quickly and see it is as Saiph has said. Her breath is shallow and skin is pale, but the eyes tell you most clearly how short her time is.\n\nThe teller smiles at your arrival, and beckons you closer with a weak hand. You kneel by the old straw mat and grasp the cold fingers tightly.\n\n\"Curious,\" she mutters, \"the way fate moves, sometimes weaving a fantastic tale, and othertimes getting the timing all wrong. I would not have had my end be upstaged, were I telling this final chapter.\" She smiles, then grimaces in pain.\n\nThe teller seems to look through your eyes to something hidden at the core of your being, and weigh it with great care. \"The people did not hear the end of the story,\" she says presently. \"For good or ill a great decision was made tonight, before the story was complete. Would you know how it ends?\"\n\n> Yes\n\"Yes,\" you say, \"I would hear the end of the story.\"\n\nThe teller smiles and closes her eyes. \"Gilgamesh faced a choice,\" she says quietly. \"Whether to take pity on Humbaba and spare his life, or kill him, as his friend Enkidu counseled. Gilgamesh looked into Enkidu's eyes, and made his choice. He reached into the demon's throat and pulled out his insides, pulled them out of the demon's body by his tongue. Enkidu chopped off Humbaba's head, and the ground shook, and the forest trembled, and the soil ran with blood. And then it rained, it rained, it rained...\"\n\nThe storyteller trails off, eyes unfocused, as if lost in another world. After a long moment, she comes back and looks at you. \"Perhaps this seems to you a strange story to tell at such a time?\" she asks.\n\n> Yes\nA smile. \"There is a secret that all storytellers know,\" the teller says, and I will tell it to you now.\" She beckons you close, and says each word distinctly. \"No story is true, until the listener has heard it. A story is no more true than a doll is a man. To a child, a doll can seem to be filled with life and wishes and dreams; but this is not because of the doll. It is because of the child.\"\n\nThe teller coughs, but the cough turns to long, gasping chokes.\n\n> Touch\n(the herbs)\nYou feel nothing unexpected.\n\nThe teller's eyes sparkle. \"The power of the teller is to share the story with the people,\" she says, \"but the power of the listener is to make the story true, or untrue. Only a teller who understands where the true power lies becomes a master; only a teller who knows not to hoard this power can bring change to this world.\"\n\nThe storyteller coughs again, very, very weakly. There will be but a few more breaths, now, before the end.\n\n> You listen\nWind tugs gently at the tent flaps, then subsides."
    },
    {
        "text": "> Look around\nA lamp burns low, its nearly-spent wick barely lighting up the storyteller's small tent. Nothing adorns the walls or brightens up the floor; all that is here is a small straw mat, on which the teller lies, breathing shallowly.\n\n\"I have one last gift for you,\" she says, her voice fading but still beautiful, \"a choice you must make. You must make your decision not out of consideration for me, nor for Saiph, nor for any but yourself, for it is you who will walk the path this choice lays out, and you alone. There is no shame in refusing, for the ways to the path are many, and another will find it in time. But I think, perhaps, it is well-suited for you.\"\n\nThe storyteller grips your hand tight, and summons up one final reserve of strength, holding your gaze with eyes that begin now to fade. \"The teller must gather the people each time the moon dies,\" she says. \"The teller must tell the stories to the people so the young will learn and the old not forget. The teller must teach the people who they are, and how to shape who they will be. Will you do these things? Will you become the storyteller?\"\n\n> Yes\nThe teller sighs, and sinks back into her pillow, and your father's sister Isi lies before you once again. Peace slowly fills her pain-wracked face, and she mutters something as the old eyes close. You bend closer to hear.\n\n\"You will tell the stories well, my child,\" Isi says in a voice softer than grass in the wind, \"You will tell them well.\"\n\nThe voice falls silent, then, and there is much darkness before the next story begins.\n\nThis is a story about a healer in the village who was in love with a strong warrior man, Saiph. On the night of the telling, when the healer's aunt Isi became the teller, their enemy Sihan tried her best to turn the people towards needless war with the outsiders. The healer spoke against this reckless path, but the people heard the words of Sihan more clearly.\n\nWords flew between these two firebrands, but their rancor was too bitter and curdled to heal. The arrival out of the blackest night of the strange newcomers shook the crowd, so sure peace was the way. The healer who brokered a fragile peace, and agreed to share their resources with the curious strangers to their land.\n\nAnd the teller lay dying, struck down from shock or chance with a weakened heart, and in her final moments called the healer to her side. She told the healer how the story ended, and whom the telling changed. A teller died and a teller was born, and the story will always guide the way.\n\n> Afterword\nThank you for interacting with \"Whom The Telling Changed.\" If you haven't already, try playing again and pursuing a different path. There are many ways to experience this story, and many perspectives you may encounter: what you assumed to be right and wrong, good and evil with one play-through may not be as simple as you thought. Your very first action sets your course, but there are many ways to alter it as both stories progress, some surprising.\n\nThe storyteller's tale is part of the Epic of Gilgamesh, the oldest story recorded by human history, originating in Sumeria more than 4,000 years ago. The specific words used by the teller are my own, a mishmash of various versions of the Humbaba story from Sumer, Babylon, and Akkadia. The quest of the Cedar Forest is only a small part of the full epic, which is well worth reading or re-reading.\n\nThe setting of my frame story is not meant to be any more specific than somewhere in the Fertile Crescent, thousands of years ago, but to fill in the details of atmosphere and setting I am indebted to Karen Rhea Nemet-Nejat's book \"Daily Life in Ancient Mesopotamia.\" The various translations of the Gilgamesh epic were also very useful: specifically, those of Mitchell, Ferry, and Gardner/Maier, all of which are beautiful and readable versions of the work.\n\nThanks also to my beta testers James Cunningham, Michael Fransioli, and Henrik 'Drix' Jensen, to storyteller Beth Horner, and to the friends who helped me wrestle the very nebulous concept for this piece towards its final implementation.\n\nWould you like to RESTART, RESTORE a saved game, read the AFTERWORD, or QUIT?"
    },
    {
        "text": "[Themes: Horror, zombie, music, violence, strong profanity, scatological, America, monster girl, mall, abjection, rpg, ghost, occult, sexual content, relationships, romance, vampire, horror]\n\nMy dad came home late one night when I was nine and threw an old copy of the Monster Manual by Gary Gygax onto my bed. He woke me up, stressed and shaking at the humiliation his friends had put him through earlier that evening.\n\nHe asked me if I wanted the book. I was still groggy, but I picked it up and thumbed through it. \"We didn't play Monopoly tonight, Jarret,\" he told me. \"That's because not a one of them can beat me. Instead, they brought out this... thing. Some 'game of the imagination'.\" He practically spat that last word. \"You can move all you like without throwing any dice, but to actually do anything, you need to throw a handful!!\" I was both reading entries on the different monsters and paying half-attention to his rant. \"Five minutes in, Benson tells me that I come across something called a gorgon. That got me stoned. Why would I play a game that depicted the recreational use of marijuana cigarettes? I got up and left.\"\n\n\"They let you read this during play?\" I asked him. He nodded. I turned to page 49. \"I don't think they were supposed to. It says right here that the gorgon can turn you to stone. It doesn't get you stoned. And right here are all its weaknesses! How did you not see this? Are you stupid or something? Or what?\"\n\nMy father snatched back the Monster Manual. He didn't state that what he was going to do was going to hurt him more than it hurt me. (I think all he did say was that he should have left his 'patented Duffy blast' on my mother's face the night I was conceived, which didn't make a whole lot of sense to me then.) He instead just quietly gave me a spanking for back talk. But as that 112 page reference to a modern mythology of villainy struck my bony behind, it was as if he were bonding the pages and me for all time. Like directed osmosis through anger or something.\n\n(Okay, it actually wasn't like osmosis at all, but I've sacrificed knowledge in basic chemistry for additional levels in Modern Mythology, so please cut me some slack on the occasional analogy outside of my experience.)\n\nIn the week that followed, my father tried to ban Dungeons & Dragons from the house as he had previously banned video games, cursing, Cajun food and music recorded after 1959. I stood up to him on D&D, though, and he caved for the only time in my childhood. Within a week I was running my own games for the kids in my tract. We were creating adventures together with Devils, Demons and Dragons and it was one of the best times of my life. My old man may have never been on the short list for an award from the PTA, but his maniac antics did a better job helping me understand just what I was interested in than the fathers of anyone else I grew up with. And heck, he did have my back that one time I met D&D creator Gary Gygax himself at DragonCon and started kicking him in his bag of magic beans (if you're digging my ditch here) in misplaced, latent vengeance due to how hard the board stock was for those manual covers.\n\nI don't think you've truly bonded with your father until you've spent 36 consecutive hours in a holding cell mocking and taunting an inmate set consisting of multiple thirty-somethings decked out in homemade hobbit, fairie and chocobo costumes, where the only thing the lot of them had in common, aside from a complete lack of human dignity, was relating how difficult it was to sleep late when the sump pump went off.\n\n[Author's Note: This story ollows the story of gaming store employee Jarret Duffy when all hell breaks loose in his mall. Getting past the waves of undead in his path will require ingenuity, imagination, empty demands for the return of pre-casting, the ability to use common mall objects as weapons and twenty-six alphabetic keycaps working together with a functional 'enter' key. It's text, baby!]\n\n> Y.\nThanks for playing!\n\nMy dad came home late one night when I was nine and threw an old copy of the Monster Manual by Gary Gygax onto my bed. He woke me\nup, stressed and shaking at the humiliation his friends had put him through earlier that evening.\n\nHe asked me if I wanted the book. I was still groggy, but I picked it up and thumbed through it. \"We didn't play Monopoly tonight, Jarret,\" he told me. \"That's because not a one of them can beat me. Instead, they brought out this... thing. Some 'game of the imagination'.\" He practically spat that last word. \"You can move all you like without throwing any dice, but to actually do anything, you need to throw a handful!!\" I was both reading entries on the different monsters and paying half-attention to his rant. \"Five minutes in, Benson tells me that I come across something called a gorgon. That got me stoned. Why would I play a game that depicted the recreational use of marijuana cigarettes? I got up and left.\"\n\n\"They let you read this during play?\" I asked him. He nodded. I turned to page 49. \"I don't think they were supposed to. It says right here that the gorgon can turn you to stone. It doesn't\nget you stoned. And right here are all its weaknesses! How\ndid you not see this? Are you stupid or something? Or what?\"\n\nMy father snatched back the Monster Manual. He didn't state\nthat what he was going to do was going to hurt him more than it hurt me. (I think all he did say was that he should have left his 'patented Duffy blast' on my mother's face the night I was conceived, which didn't make a whole lot of sense to me then.) He instead just quietly gave me a spanking for back talk. But as that 112 page reference to a modern mythology of villainy struck my bony behind, it was as if he were bonding the pages and me for all time. Like directed osmosis through anger or something.\n\n(Okay, it actually wasn't like osmosis at all, but I've sacrificed knowledge in basic chemistry for additional levels in Modern Mythology, so please cut me some slack on the occasional analogy outside of my experience.)\n\nIn the week that followed, my father tried to ban Dungeons & Dragons from the house as he had previously banned video games, cursing, Cajun food and music recorded after 1959. I stood up to him on D&D, though, and he caved for the only time in my childhood. Within a week I was running my own games for the kids in my tract. We were creating adventures together with Devils, Demons and Dragons and it was one of the best times of my life. My old man may have never been on the short list for an award from the PTA, but his maniac antics did a better job helping me understand just what I was interested in than the fathers of anyone else I grew up with. And heck, he did have my back that one time I met D&D creator Gary Gygax himself at DragonCon and started kicking him in his bag of magic beans (if you're digging my ditch here) in misplaced, latent vengeance due to how hard the board stock was for those manual covers.\n\nI don't think you've truly bonded with your father until you've spent 36 consecutive hours in a holding cell mocking and taunting an inmate set consisting of multiple thirty-somethings decked out in homemade hobbit, fairie and chocobo costumes, where the only thing the lot of them had in common, aside from a complete lack of human dignity, was relating how difficult it was to sleep late when the sump pump went off.\nNecrotic Drift\n\nI'm here this evening at an Academy Videos store thirty-five minutes from my home with two of my roommates and my best friend. We have to come all the way down here to rent because of the late fees on my memberships at all the video places back in the Fort. I wish I had a good story for why that is the case, but I don't. I'm just poor and had the first Lord of the Rings movie overdue for more than\ntwo weeks at multiple video chains. I kept it around to mainly prove trivia. (It will probably end up costing me more to show my friends that the elf character Legolas was walking on, and not\nin the snow, than it did for director Peter Jackson to\nimplement that effect on-screen.)\n\nSupposedly, Audrey is dropping by tonight to watch a movie, which is why I'm even here to begin with. In the five years we've been together we've dumped each other a total of nine times. She is currently ahead of me six to three. Her most shallow dumping was when she wanted to exclusively hang around a hardcore goth guy who had somehow managed to finance or lease his own cemetery plot. That guy was the black fingernail Alpha male until he missed his first payment. To be fair, mine was when she filled out Student Loan paperwork for me without my knowledge or consent and almost enrolled me into classes at the nearby University of Central Hill. She doesn't like the fact that I work at the Funtime Teen Mall for $5.51 an hour at age 27.\n\nI have to work later tonight, so I guess I'd better pick something and get out of here quickly."
    },
    {
        "text": "[Themes: Horror, scatological, occult, ghost, horror, strong profanity, monster girl, violence, America, relationships]\n\n> You look around\nThe inside of the video store looks like it was slapped together in a weekend by enslaved, tool-wielding howler monkeys and routinely cleaned by an anosmic with all the enthusiasm of a man who lost a bet. Rotting floorboards create a random topography that would put the landshifts and valleys of the legendary Umar Hills to shame. Faded posters cover much of the surface area of the walls, and a few of them have begun peeling or been stricken with graffiti.\n\nAll the available movies have been shoved into racks labeled with one of four categories: Action, Drama, Fantasy and Horror. Alphabetical order isn't implemented in any of them either, so trying to find a specific movie is often futile. It's usually best just to look along the racks and hope something good catches your eye.\nGibs, Pang, Criswell, and the clerk are here.\n\n\"So...\" says Gibs, as he scans the movies half-heartedly, \"You and Audrey are on the rocks again, eh, Duffy? What happened this time, did she get you enrolled into MIT?\"\n\n> You examine the action\nIt's constructed from a cheap wood board, and sags quite a bit due to the number of movies placed within it.\n\nInside the action rack is a movie from action rack.\n\nPang clears his throat and holds up a copy of Blade. \"I have\nfound the movie for us all tonight,\" he states, with an annoying authority. \"It has electronica and vampires, as all classics should.\"\n\n\"Blade?\" screeches Criswell. He's another one of my\nroommates. \"They merged techno music and goths for that one. No chance. No way. And if you pick out one that merges country music with the French art film or opera with a Pixar kiddie flick I will drop trou and take a crap on the TV while it's playing.\"\n\nCriswell's only half joking, as he's demonstrated his willingness to do that before. When his favorite CFL football team lost in the finals last year he was so pissed off at the TV for depicting it that he grabbed a chair from the kitchen, got up and plopped a steaming load on top of the set. Worse, it was two weeks before anyone cleaned it up. We had a veritable bumper crop of flies around the house that year.\n\n> You take the action movie\nI grab a movie from the rack. And behold! It's The Lord of the\nRings. Why on earth the dip behind the counter would deign to\nkeep it in this rack is beyond my comprehension. But it\ndoesn't matter. I don't really possess the discipline to go get something else.\n\n\"OK, I'm set,\" says Criswell. \"Truman Show. Jim Carrey is the\nfunniest man alive. This'll be a gem. Hey, Duffy, you\nbringin' that chick you hang around with over tonight? Well, thank me later, man, 'cos she'll be all out of giggles by the time you pull off your pants. For once, anyway.\"\n\nBarnaby idly toys with a movie and then puts it back on the shelf. \"There were some real hotties at that Bead Store, the other day,\" he says to me. \"Cute, but not so cute that they would have nothing to do with you, I mean.\"\n\n> You look at the video\nThe clerk at Academy Videos is famous through New Haz for being one of its most smug and sarcastic citizens. He will always criticize a customer's movie choice unless it's one of the ten or fifteen films that he thinks are classic. He is wearing a hypercolor shirt like all employees in the chain, as well as a pair of dirty sweatpants.\n\n\"Yo, fruit loops,\" says the clerk to the lot of us, \"I'm shutting this store down to go get a full body massage from the Taiwanese Parlor down the street. Pronto. Get your movies and get out.\"\n\n\"Full-body?\" asks Barnaby. \"That means they give you a hand job, right?\" The clerk perks up and nods gleefully. \"Hey, I've always wondered...\" Barnaby decides exactly how he wants to phrase it. \"Is it customary to let them know when you're about to come? Like, a warning? Or do you not have to do that because they are professionals?\"\n\nNobody says anything for a few moments. I shrug. \"I guess it depends on whether you're a sprayer or a lumper,\" I say.\n\n> You check your inventory\nI am carrying my glasses (being worn) and the DVD case. Inside the DVD case is the Lord of the Rings DVD.\n\n\"Anyway, I wasn't kidding around. Get your movies and get lost,\" repeats the clerk. The clerk continues to get ready for his little excursion. He places his armament upon the counter.\n\n\"Yeah, yeah! I'm thinkin', I'm thinkin'...\" says Criswell. I'm all set, but it looks like we'll have to wait for him or Pang now.\n\n> You look at the horror\nThe horror rack used to be pretty good, but it's fallen into anarchy just like all the other racks. Criswell once accidentally rented Beaches from this rack and failed to note it was a chick\nflick. He's the only guy in the city that thinks the best horror flick of all-time doesn't feature Bruce Campbell or Bill Chepil or whoever, but rather Bette Midler.\n\nA grime-encrusted area denizen slams his hand on the door and the clerk reluctantly lets him in. The thing shambles his way into the video store. He leaves muddy streaks upon the entrance door, drawing the further ire of the clerk.\n\n\"Hey, what the hell is the matter with you, cracky?\" I suppose that I disagree that the new denizen is a crackhead (he meanders more in his movement than he shakes, I mean). But I don't say anything. The clerk points a stern finger at him from across the counter. \"Can't you read? We're closed! Get out of here!\"\n\n> You examine the crackhead\nThis creature is covered in a thick grit. He (it?) is draped in a musty flannel and shambles about with an unwholesome gait. His forearms are unnaturally long and jaundiced, and his there are several patches of mosiaced-over scabs and seeping wounds covering his face and neck.\n\nThe area denizen grabs at the clerk's neck! He gets two hands round the clerk's esophagus, and begins choking the life right out of him!\n\nThe clerk gurgles in pain! I hear a guttural moaning sound coming from the attacker. The violence causes Pang and Criswell to hide in the back of the store.\n\n\"Hey!\" says Barnaby, \"Knock it off! Let him go!\"\n\n> You look at the armament\nI should first say something about the city of New Haz and explain why a video clerk would be packing heat.\n\nCulturally, New Haz is kind of a stinking dump. It's been described as everything from a holding cell for miscreants and scuzzballs, to a bleak planned community gone horribly and violently wrong, to a slightly Utopian New Haven, Connecticut. I like it so much I live thirty-five minutes away, and believe me when I say that I would not work here if the Fort had a mall. Truthfully, it used to be a lot worse before some kid brought to justice 80% of the city's Most Wanted Criminals a while back. But it's nevertheless rather rough, and you're legally required to possess a firearm to enter the west side.\n\nThis gun uses nail magazines, and fires them off slowly and messily, one at a time. Nice accuracy, but it has no spray or automatic settings. It's on the small side, as small as the manufacturer could go without embracing the \"ladies choice\" designation.\n\nThis weapon has 7 shots remaining.\n\nThe grimy denizen throttles the clerk!\n\nThe clerk slumps to the floor, disappearing behind the register counter.\n\n\"Christ, Duffy, get the goddamn gun!\" screams Barnaby. The guy (creature, whatever it is) is between the gun and Barnaby. It emits a throaty snarl and slowly shambles toward him. Barnaby gives the door a couple solid kicks and opens it.\n\n> You get the armament\nI casually lift the gun from the counter without the clerk really noticing.\n\nBarnaby takes a swing at the filthy mound. He connects to its sternum (a solid blow) but the guy / creature is not stunned, not driven back, not nearly phased by it at all.\n\n\"Shoot the damn thing, Duffy!\" yells Barnaby. \"Now,\ngoddammit!\"\n\n> You shoot zombie\n[Specify which gun to shoot with.]\n\n> You shoot the zombie with the armament\nI shoot the creature!\n\nThe creature collapses and falls to the ground.\n\n> You search zombie\nThe creature is empty.\n\n> You look at the clerk\nThe clerk at Academy Videos is famous through New Haz for being one of its most smug and sarcastic citizens. He will always criticize a customer's movie choice unless it's one of the ten or fifteen films that he thinks are classic. He is wearing a hypercolor shirt like all employees in the chain, as well as a pair of dirty sweatpants.\n\nHe  is currently knocked out.\n\n> You examine the zombie\nThis creature is covered in a thick grit. He (it?) is draped in a musty flannel that hasn't been in fashion since Gygax was happily married to his first wife. His forearms are unnaturally long and jaundiced, and his there are several patches of mosiaced-over scabs and seeping wounds covering his face and neck.\n\nIt  is currently knocked out.\n\n> You talk to Barnaby\n[ Use \"TALK TO CHARACTER\" to talk to a particular character in the game. ]\n\nI can't think of anything to say right now.\n\n> You read the poster\nThe drama rack should, in theory, contain a bunch of films that are shown on TNN, but it instead contains a hodgepodge of differently genred flicks. Criswell once took the DVD that Gibs shot a couple years ago where he was apologizing to his girlfriend for getting into a threesome at this one guy Avandre's bachelor party and put it in this rack. That was some serious drama. But I think Gibs rented and destroyed it when he found out.\n\nI can't do that with the posters.\n\n> You examine the posters\nwall. That's really the only one of note. There are some other ones that I can't make out, and by 'make out,' I mean 'they were filmed in the sixties so I have no idea what their deal is.'"
    },
    {
        "text": "[Themes: Horror, rpg, scatological, America, relationships, monster girl]\n\n> You look around\nThe inside of the video store looks like it was slapped together in a weekend by enslaved, tool-wielding howler monkeys and routinely cleaned by an anosmic with all the enthusiasm of a man who lost a bet. Rotting floorboards create a random topography that would put the landshifts and valleys of the legendary Umar Hills to shame. Faded posters cover much of the surface area of the walls, and a few of them have begun peeling or been stricken with graffiti.\n\nAll the available movies have been shoved into racks labeled with one of four categories: Action, Drama, Fantasy and Horror. Alphabetical order isn't implemented in any of them either, so trying to find a specific movie is often futile. It's usually best just to look along the racks and hope something good catches your eye.\n\nThere's an exit east to Main Street.\nGibs, Pang, Criswell, the clerk, and the creature are here.\n\n> Leave\nThe stench of the city of New Haz hits me like a cruel sucker-punch through the septum. It's a ringing, persistent odor. One of sewage mixed with old gasoline. I shift to breathing exclusively through my mouth. But fortunately we'll be out of here soon enough (and before the stink can settle on my clothes.)\nMy car is here.\n\nGibs, Pang, and Criswell are here.\n\n\"What the hell was that in there?\" asks Pang.\n\n\"Who knows?\" says Barnaby. \"Who cares? Let's just go. At least by putting down the homeless guy inside he won't get grime nor slime over Duffy's windshield in some half-assed attempt to clean it.\"\n\n\"I thought you knew that guy, Duffy,\" says Criswell, unhelpfully, as if that somehow explains why he was cowering in the corner.\n\nWe need to get in my car and get out of here quickly -- both before the cops come round due to the encounter with that thing in the store, but also before the city's ripe stench can settle into our clothes.\n\n> You go car\nThe car is shut.\n\n> You open the car\nOpened.\n\nThe thing from inside breaks through a section of the door!\n\n> You go the car\nI get into the car. Pang, Criswell and Barnaby join me.\n\nThe zombie slams its open palms against the side of the car!\n\n> You close the door\nClosed.\n\nThe zombie slams its open palms against the side of the car!\n\n> You start the car\n(Entering my car first...)\n\nI double-check to make sure everyone's into the car.\n\nThe guy from inside keeps clawing away at the passenger side of my car.\n\n\"Drive, dammit, drive!\" screeches Criswell from the backseat.\n\"Get us outta here!\"\n\nI put the car in reverse and prepare to get the hell out of town. The guy staggers over and gets right in my path.\n\n\"Hit 'em, Duffy!\" Criswell's going crazy back there. \"Run him over!\"\n\nI put the car in first and stomp the accelerator more out of panic than anything else. The guy doesn't move, flinch, anything. I ram him and he smacks right into the windshield, chipping it with his elbow. He tumbles about and we hear him on the roof for a moment before seeing his face appear on the back window, shocking the hell out of Pang and Criswell. I downshift from third gear back into second for a moment which causes my car to red line and enough of a jolt for him to fall off completely. I see him, through the rear-view mirror, take a vicious fall onto the road, bouncing against it at painful angles like a discarded rag doll.\n\nNobody says anything for a second, until Criswell pops opens his mouth. \"That... man, that was awesome!!\"\n\n\"You don't think I killed that guy, do you? Do you think he's OK?\"\n\n\"It was probably a bot,\" says Gibs. \"Look, he was trying to attack us, anyway.\"\n\n\"That's true,\" says Pang. \"Both items are totally true.\"\n\nI get us on the Interstate and head north, back towards home. I chuck the gun out the window on the way back. Nobody says anything else until I drop Gibs off and get the rest of us back to the house...\n\n> You look\nI've only been on, really, truly on... once in my life.\n\nIt was about five years ago. The first week of March. The Wizards of the Coast (the company that publishes all the D&D books these days) were sponsoring a huge, two-day tournament in the Fort. I signed up for it with Barnaby, who used to be more into this kind of thing back then, and we started gaming it on a Saturday morning.\n\nIt wasn't a 'competitive' tournament, per se, especially since around that time the two local gangs of Korean role players had pretty much wiped each other out when an on-line housing refresh dispute went from the virtual world of the internet to the physical one of reality, resulting in thirteen dead and seven wounded. That would have normally taken the edge off for the rest of us for the whole of the weekend, but we soon found out that WotC were putting up an eight-thousand dollar first prize for the weekend's 'Most Outstanding Roleplayer.' When I found that out, something clicked inside me, and I drew from a strength of personality I didn't know I had.\n\nAll day the dice were with me. Just about every time I threw a twenty-sided die I got an incredibly favorable result. I started getting a bit more bold and soon found that the other kids at my table started following me. Looking to me for direction, for\ndecisions, for witticisms. I became bolder and overly gregarious. I hardly needed any of the booty the game's Dungeon Master was giving us in-game, and won over the entire table through generosity. I was confident and having fun being me for the first time ever.\n\nMy luck stayed with me when I went to different tables and played with different people. When the tournament finished the next day, I was awarded the top prize and a check for $8,000. I accepted it graciously and thanked everyone I played with for giving me the chance to shine. As Barnaby and I were rounding up our backpacks and bags of dice, I Xeroxed a copy of my character sheet, signed my name and phone number to it, and gave it to the cutest girl who seemed single during the event, someone I had played with on the first day.\n\nWhen I got home, I spent the entire check on a car and a new wardrobe. I had nothing left of it by Tuesday.\n\nAudrey didn't call the number on the sheet, maybe because it was a pompous act of nigh-Olympic level. But when she dropped by the Mall later that week I asked her out on a date. She said yes and has been in various states of flabbergastation with me over the years that have followed.\n\nI got my car, clothes and relationship within a lucky streak that lasted 48 hours five years ago. And I've been living off that success ever since. I'd confess that in my darker moments, when I am at my most honest, it rather spooks me to know that I have essentially been stagnant ever since.\n\n> You examine the wine\nOkay, actually it's a bottle of Mad Dog 20/20.\n\n> You look at the vecna's hand\nVecna was a bad-ass (and quite mad) guy described in the original D&D game. One of the game's artifacts was his 'hand,' and this is a novelty item that they passed out at DragonCon a few years back.\n\nThere's a knock at the door. It's probably Audrey.\n\n> You take the bottle\nTaken.\n\nThere's another knock on the door. I should probably get that.\n\n> You open door\nI let Audrey inside, and give her a kiss on the cheek.\n\n\"Hello, Jarret...\" she looks over and sees Pang on the couch. Distaste can't help but crawl across her face. \"So... what have we got planned for tonight?\"\n\nI see Audrey for the first time. I probably should have gotten the door for her.\n\n\"Thanks for getting the door, jerk,\" she says. Ouch. This isn't good, I've managed to come off as irritating before she'd even entered the house. I usually have ten minutes of grace period.\n\n\"I was in the bathroom, brushing my hair so it would look nice and stylish for you,\" I say with a shrug.\n\n\"It's a brush. Not a magic wand. You know... I've never met a man who was so obsessed with his hair. But anyway. What are we doing tonight?\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Movie Night! Movie Night sure sounds great, doesn't it?\"\n(2) \"I'm going to avoid that question by telling you how great you look, Miss Case.\"\n\n> 2\n\"Well, that's certainly nice of you to say,\" says Audrey. \"Thank you. But...\" she says with just the trace of a smile, \"You can't avoid the question forever, you know.\"\n\nWell, she's right about that, but I could at least probably\ntry.\n\nPlease select one:\n\n(1) \"OK, to be honest, I thought we'd watch a movie.\"\n\n> 1\n\"A movie. Oh-kay,\" she says. \"Which theatre?\" she asks, hopefully.\n\n\"Casa de Duffy, funnily enough.\"\n\n\"Funnily enough? What's so funny, or fun, about being cooped\nup in this house for the millionth time?\" She puts her hands on her hips, which is an subconscious indicator that she's starting to get agitated. \"You really don't want to leave and do something?\"\n\n\"Well, it's not ha-ha funny, no,\" I tell her. \"Look, we got some good stuff. I broke the bank here. If you don't like the films then at least you've got me providing Tom-Servo-style running commentary.\"\n\nShe relaxes her pose and waves her hand in a dismissal of her argument. \"Okay, okay... but you'd better be on, Jarret\nDuffy. What's your term for it? Comedy Jupiter? It had better be Comedy Jupiter.\"\n\n\"You betcha. I'll even throw in Io and Europa.\" I'm not quite sure what that means, but those were the only two moons I could recall in a pinch, so.\n\nPang puts the copy of Blade into the DVD player.\n\n> You sit on the tattered couch\nI sit down on the tattered couch.\n\nLiving Room, on a tattered couch\nThis room is centered around the television, a 32\" Sony that Leary brought when he moved in. The set sits on a wooden entertainment center, with 'satellite' speakers all around the room. The tattered white couch is perpendicular to the set, and the blue one (where Pang normally situates himself) is eight or nine feet directly across from it.\nOn the tattered couch are the green blanket and the pillow.\nSitting corpulently in the blue couch is Pang.\nSitting on the entertainment center are the television and the DVD player. Inside the DVD player is the Blade DVD. Sitting on the table are Vecna's hand, the Dreamcast, a cup, the The Truman Show DVD, and the Lord of the Rings DVD.\nAudrey is here.\n\n\"What.. aw, hell, what the hell is this, Pang?\" asks Criswell, as he enters. \"Oh, hey, by the way, I don't think we're gonna be able to keep beers at the neighbor's house any longer. Someone has begun the moving-in process. Wait, did you end up getting this fucking\nBlade thing? Oh, Kee-rist!\"\n\nI don't understand why Criswell is so against this movie. I guess I could ask him, or something, if I really cared. Only I don't. I just want him gone.\n\n\"Just watch the movie,\" says Pang.\n\n\"No!\" exclaims Criswell. \"I'm gonna make The Call!\"\n\n\"You're not going to have a quorum,\" says Pang.\n\n> You stand\nBe a little more specific about what you'd like me to stand.\n\n> You stand up\nI get up off the tattered couch.\n\nLeary walks down the stairs. He gives everyone a 'hey' and waves to Audrey.\n\n\"Yo, Leary, what's your take on Blade?\" asks Criswell.\n\nPang's not thrilled about opinions being offered up on his choice before the opening credits are even finished.\n\n\"Ehh,\" says Leary as he picks up the phone to make a call. \"Not my thing. Nothing personal, Panger.\"\n\n\"Damn fuckin' straight!\" says Criswell. \"I'm makin' the call! The Call for Ejection! Duffy? What're you saying?\"\n\nI don't know how to go with this one. On one hand, it could mean that my movie will get played and these two morons will leave out of boredom. On the other hand -- just how freaking immature am I going to come across?\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Sorry. The next movie will probably be better anyway.\"\n(2) \"Did you particularly want to see Blade??\"\n\n> 2\n\"Not especially,\" she says. \"I think I saw it when it first came out.\"\n\n\"What? Are you kidding me?\" I think about the math for a second. \"By my calculations, you were eight when it came out. You mean to tell me that the Neuromancer didn't like you dating me at first because at three years your elder, I was a bad example, but he was OK with you watching a movie where Snipes hacks apart vampires for 90 minutes?\" I call her father 'The Neuromancer' because his first name is Henry, and the main character of the novel _Neuromancer_ is named Henry Case. I've been lucky in not saying it when he's been around so far.\n\n\"I was very mature for my age,\" she replies. \"I think we'd have been a perfect match, intellectually, if you met me when I was eight and you were twenty-seven.\n\n\"Hey, what about if you met me?\" says Criswell.\n\n\"Two,\" Audrey and I say at the same time.\n\n\"The thumb points down, bitchkin!\" says Criswell to Pang. It was inevitable that he was going to pull the movie no matter what popular choice happened to be. Criswell hops over to the DVD player and ejects the disc. He places The Truman Show in. \"We're now starin'\ndown the barrel of a whole lotta giggles,\" he says to Audrey.\n\nI keep one eye trained underneath the sofa in case Audrey's rolling eyes pop out of her head.\n\n\"What are you talking about?\" she says. Audrey has never, ever liked Criswell. \"This is a drama, not a ninety minute episode of 'White Guys Gone Jostling.'\" Criswell's head strains to the side as he simultaneously doesn't believe her and doesn't comprehend her.\n\nAudrey continues. \"You know what drama is, right? It's the name given to a movie that adults tend to enjoy, as well as being the\nstandard root cause of every Linkin Park song.\"\n\n\"Yeah, whatever.\" Criswell shrugs. \"I bet you Truman here is making like he's talking out of his ass before the opening credits are finished.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"So... how is school going these days?\"\n(2) \"What are you doing later?\"\n\n> 2\n\"Probably storming out of here in anger,\" she says. I give her one of those looks that would look more in place on a puppet after the jaw string got cut. \"Just kidding,\" she says after a beat. \"You're working, right? I am actually going to be at the Mall, 'funnily enough.'\" She does that, sometimes, claim my cliched remarks as her own. \"Sydney and a few of my other friends will be at the Bead Store. I'll stop by.\"\n\nFive minutes elapse. The only possession Criswell has left is the dumbfounded look upon his face.\n\nMinute seven comes and Pang can't help himself any longer.\n\n\"You stupid, simple... child,\" he says, quietly. \"Next week\ngo get Good Will Hunting -- Robin Williams is hilarious in\nit.\" Pang points his thumb down.\n\n> You wait\nTime passes...\n\nLeary turns around from his phone call and squints a bit at the TV. He chuckles, points his own thumb down for a second and then turns back away from the living room. Pang wiggles the Vecna's Hand toy around with its thumb pointing down in order to taunt Criswell just a bit more.\n\nPang gets up to change the movie.\n\nHe places in Lord of the Rings, apparently without really\nrecognizing what it is. The intro starts. Audrey lets out a sigh. I have no idea if I'm correctly interpreting it, but I'm guessing that she's resigned herself to at least watching the movie on the TV screen.\n\n\"What the shit is this?\" asks Criswell. \"More fuckin' ghouls and orcs and shit?\"\n\n> You talk to Criswell\nI can't think of anything to say right now.\n\nPang and Criswell both put their thumbs down as Leary leaves.\n\n\"What are you two doing?\" I ask. \"There aren't any other movies. We didn't get any.\"\n\n\"Someone has forgotten our massive porn collection,\" says Pang, matter-of-factly.\n\n\"Oh, for Heaven's sake,\" says Audrey. She gets off the couch and leaves the room, heading towards my bedroom. Not, I should say, in a 'let's go make out' way or a 'we need to talk' way but in a pre-emptive strike on a fight way.\n\n\"What's her problem?\" asks Criswell, to Pang. \"We've got chick-on-chick stuff.\"\n\nI've got a fairly high boiling point, but I've absolutely had it with these two. The frustrations concerning the fact that my bad decisions and sloth have forced me into this decision boils right over. I decide it's time to probably let them have it.\n\n> You talk to Pang\nPlease select one:\n\n(1) \"That -- this, all of this: Not cool, dude.\"\n(2) \"What the FUCKING HELL is wrong with you?\"\n\n> 2\nPang doesn't say anything at first, a bit taken aback by my outburst.\n\n\"You two fucking pieces of shit really make me sick. I know neither one of you have the looks or personality to ever get a fucking girl to come over here more than once, but for me, you two acting like a bunch of immature little fucks just pisses me the hell right off. What the fuck is wrong with you? How fucking old are you?\"\n\n\"Hey, look -- \"\n\n\"Just shut the fuck up, Chunky. This is the last fucking time. If this shit ever happens again -- if you or your little sidekick are anywhere NEAR me when I have her over, I will fucking break both of you.\"\n\nPang doesn't say anything. He just looks over towards Criswell.\n\n> You go to the bedroom\nMy bedroom's the smallest one in the house. (I got here last so I got the skankiest room.) There's not a whole lot going on in here, just some shelves with all my crap on it and a bed. It smells a bit less like cigarettes than it used to since I have gone a week and a half since my last one.\n\n\"What the hell was that?\" asks Audrey. \"When are you going to get it... this has got to stop.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"You're pissed. Aren't you?\"\n(2) \"Hey, sorry about that and those guys.\"\n(3) \"What's got to stop?\"\n\n> 2\n\"Well, when is it going to stop? I mean, really. They're animals.\"\n\n\"Oh, come on now! You're over-reacting if you really think that.\"\n\n\"Fine, Leary isn't. But he's never around. Those other two? They're out there right now hurling feces at one another while masturbating, sorry, furiously masturbating and you know it.\"\n\n\"Look, I can't help my roommates, OK?\"\n\n\"Yes, you can, Jarret! You're better than this! We're better than this. You're too intelligent and talented to be working for minimum wage. But because you are, you have to live with three other people.\"\n\n\"Look, I happen to like my job. Shouldn't that account for something?\"\n\n\"Jarret, if you had as little going for you as Pang and Criswell then I wouldn't care. I really wouldn't. But I know you better, and I know that with the smallest bit of drive or ambition you could be writing, writing well. The guy that I fell in love with was the\ngreatest storyteller, er, albeit in the fantasy genre, that I had ever met. And you're just sitting on that gift. Seeing you waste yourself like this isn't fun.\"\n\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n(2) \"What? Come on, we were just goofing around in there.\"\n\n> 1\n\"Spending time with you is fun, normally. You know, doing date-type things. I am not old enough where I want to spend every evening with my boyfriend just sitting on a couch watching film. My sister became that way, but she works all day, is married and is tired when she gets home. I'm not ready to retire just yet.\"\n\nPlease select one:\n\n(1) \"Hey, look, me either. OK? I'm not retiring on you.\"\n(2) \"Look, we'll go skydiving or something, okay?\"\n\n> 1\n\"Well, I appreciate the sentiment, Jarret, but it's been like this for a while now. I don't know if it's just the inevitable ennui you get when you reach your late twenties or what, but that kind of brings me to what I wanted to talk about when I came over tonight...\"\n\nI realize now that we're probably only just getting started with what she wants to discuss. Geez. Well, I'll try to keep this quick.\n\nPlease select one:\n\n(1) \"Lay it on me, then. What's up?\"\n\n> 1\n\"I'm going to be moving soon.\"\n\n\"What? Why? Where to? Moving like you're moving to Cheyenne moving or moving like you're moving to Eastern Islamistan moving?\"\n\n\"To Texas... I'm going to Texas. Houston, specifically. A company from there sent some recruiters up over Christmas Break and most of us in my program interviewed well. After I finish up this semester I am taking a job with them and headed down there.\"\n\n\"Uh... okay.\" Don't you break down, Duffy. Do not let this girl\nget under your skin.\n\n\"And it goes without saying that I'd love it if you came with me. I mean, I hope you know that.\"\n\n\"To Texas. Uh... well...\"\n\nPlease select one:\n\n(1) \"Look, there's not a chance in hell I'm moving to Texas.\"\n(2) \"Houston? Why not Bangor? Or freaking Charon?\"\n\n> 2\nShe shakes her head, she doesn't understand what I mean.\n\n\"I'm just saying, if you're going to move the hell away then don't beat around the bush. Get to some place that I'll really never be able to see you.\" For the record, I thought that mentioning Persephone or another Kuiper Belt object would have come off as too sarcastic, but I don't tell her that.\n\n\"That's not why I am going there. Why are you being so thick with this? What on earth is keeping you here?\"\n\n\"So you want me to come with you?\"\n\nShe pauses before answering. \"With you like this? No. No, I don't want this version of you coming with me. I don't think you get just how much I am into you, Jarret. And it's painful to see you like this. The guy that I fell for and have been with all these years would not get defensive about simply moving somewhere.\"\n\nPlease select one:\n\n(1) \"Look... I have to get to work.\"\n\n> 1\n\"I understand,\" she says.\n\nTechnically, I had a couple hours before I was due at work, but I might as well go in early and pick up some overtime.\n\"We can talk about this after I get out of there, right?\"\n\n\"Of course,\" she says. Again, in her terse form of communicating more without words than with.\n\n\"I get out at eleven. Gibs might want me to do his radio show but I will blow it off if so. I'll give you a call when I get home, okay?\"\n\nShe nods, gives me a hug and leaves my room.\n\n> You leave\nThis room is centered around the television, a 32\" Sony that Leary brought when he moved in. The set sits on a wooden entertainment center, with 'satellite' speakers all around the room. The tattered white couch is perpendicular to the set, and the blue one (where Pang normally situates himself) is eight or nine feet directly across from it.\nOn the tattered couch are the green blanket and the pillow. Sitting on the entertainment center are the television and the DVD player. Inside the DVD player is the Lord of the Rings DVD. Sitting on the table are Vecna's hand, the Dreamcast, a cup, the Blade DVD, and the The Truman Show DVD.\nCriswell, Pang, and Audrey are here.\n\n\"Oh, Jesus Christ!\" exclaims Audrey. \"What the hell are you two chimps doing? Goddess, I don't need this shit. Goodbye!\"\n\n> You look at Pang\nPang used to be an athlete but he's let himself go in recent years. He's about 6'4\" tall and 270 pounds. He's wearing a mesh orange jersey stuffed into a pair of scrub blue jeans.\n\nAudrey opens the door to the Front Porch, leaves, and slams it behind her.\n\n> Go outside\nI shake my head at my horrible home life and leave for work...\nI'm still rather pissed off when I pull up into the Mall parking lot and showroom park my car. What kind of game is Audrey playing here? Surely she's bluffing. We've gone to Defcon 2 or maybe 3 before, but we were always able to talk one another down before the bombshells were dropped.\n\nI didn't want to have to go into work tonight worrying about this kind of crap. My job becomes a lot easier when I'm able to turn off the parts of my mind that don't deal with twenty-sided dice, Player's Handbooks and noticing customer body odor. The greatest curse you can inflict upon someone who works at the Mall is getting them to fret.\n\n(And the greatest curse you can inflict upon yourself while at the Mall is to attempt to stop smoking. I seriously picked a bad week for it.)\n\nI walk down to the east end of the Mall, avoid the guy taking surveys, and enter my store.\nBenji's Gaming and Role-Playing Emporium\nTrott had been working the evening shift; I greet him and take my usual place behind the counter. There's really no reason for two of us to close the store, except that Benji (the owner) is still a little freaked after someone tried to blow up his arcade next door a couple of weeks ago. It's unlikely that we'll have any customers, though, so Trott and I should be able to logout the register and drop the gate quickly when the time comes.\nThe counter contains the Magic: The Gathering cards.\nThe counter has a postcard on it.\nTrott is here.\n\n> You get the postcard\nTaken.\n\nGibs arrives from the north.\n\n> Examine postcard\nIt's a postcard sent from a friend of Trott's.\n\nIt reads, \"Greetings from New Mexico, Trotskie! Clara and I are\nliving in a town called -- get this -- 'Rockville' of all things. It's right near Alamogordo, too, which is the city where Atari buried all those E.T. cartridges. I'll probably make the trip to check out the site one of these days. Clara has been completing her degree off the internet, and I've already cracked and released my first ware. It's great to be back in the loop! Keep it cool and hopefully we'll be back for a visit later this year. Try to remember to lovingly palm the breasts of the corpses you've been slabbing lately, bud! You know they like that. Your pal, Delarion.\"\n\n\"Hey, Duffy, solid. Glad you're here,\" says Barnaby. He puts his big gulp drink down by the counter. \"Got a question for you.\"\n\n> You talk to Gibs\nI can't think of anything to say right now.\n\nBarnaby nods over to Trott. \"What's going on, man?\" he asks.\n\n> You look at the cards\nThe cards are used in a game called 'Magic:The Gathering.' It's sort of like poker for nerds, except that the cards have special powers and so forth. I've never really gotten into it. Anyway, this is a small box containing wrapped packs of cards. There are about fifty or so in a box.\n\n\"It's all great here, man,\" says Trott to Barnaby. \"Yourself?\" he asks.\n\n\"Bitchin'\" says Gibs in reply.\n\n> You get the cards\nThe counter is closed.\n\n> You open the counter\nI can't, it's locked. I have no idea where the key is, either.\n\nI hear a 'pop' sound come from near the counter.\n\n\"Aw, Christ,\" says Trott. \"The goddamn lock just burst on the counter shelf. Cheap plastic crap.\"\n\n> You open the counter\nDone.\n\n> You get the cards\nTaken.\n\n> You open the cards\nI can't do that with the Magic: The Gathering cards.\n\n> You talk to Trott\nPlease select one:\n\n(1) \"Hey, what's up, Trott?\"\n(2) \"Anything interesting happen tonight?\"\n\n> 2\n\"Nah, pretty slow night actually. Benji waddled in around five or six and the usual bunch of backpack-wearing kids bought their Magic:\nThe Gathering packs after classes let out. Other than that,\nnothing of note. Why's Benji even having two of us close the store these days?\"\n\n\"He still thinks that the bomb that was planted in the arcade a few weeks back had something to do with him. He's as paranoid as a dope-smoking Everquest player chilling in a Greek Net cafe.\"\n\n> Inventory\nI am carrying my glasses (being worn), a postcard, and the Magic: The Gathering cards.\n\n> You examine the glasses\nMy glasses have gone from being in style to out with such regularity that I don't even notice any longer. If geek chic is in these days then I'm all set. If not, at least I can see well.\n\n> You remove the glasses\nI can't remove my specs like that! They are a valuable information-gathering tool!"
    },
    {
        "text": "> Describe the surroundings\nBenji's Gaming and Role-Playing Emporium\nThe Emporium is rather smallish, as far as stores around here go, nestled into the far corners of the Mall, distant from practically every other decent or worthwhile store. Shelves of gaming books and modules are arranged everywhere, and promotional kiosks occupy the floorspace between the register and the far wall.\n\nThe rest of the Mall is to the north.\nThe counter has Barnaby's Big Gulp drink on it.\nTrott and Gibs are here. Gibs has Gibs's lacrosse stick.\n\n> You examine kiosk\nBenji bought up a bunch of skanky, rotting shelves from some other business here in the Mall that went under a while back. He moved the nice, clean ones that we had previously to his home when he was installing his home theatre system. These shelves have a stench to them which I'm sure probably gets into my clothes and on my person to a disgusting degree.\nSitting on the shelves are some gaming manuals.\n\nSitting on the shelves are some gaming manuals.\n\n> You take the drink\nTaken.\n\n> You examine the manuals\nWe sell hundreds of different kinds of gaming manuals that support all manner of interests for the careful and particular fantasy gaming connoisseur. Car Wars (for geeks into cars), Boot Hill (for geeks into guns), FATAL (for geeks that are tired of their dice lying to them), Battletech (for geeks into giant robots), Advanced Dungeons & Dragons (for alpha, 'classic' geeks) and Bras, Blondes, and Broadswords (for the geek who's pretty much given up ever talking to a real, live woman). I've got most of the information in the manuals memorized, save for the last one, which I haven't had to get into yet. (AOL Keyword being 'yet,' I guess.)\n\n> You take the stick\nNah, that is Gibs'.\n\n> You go north\nI'm supposed to finish out this shift tonight."
    },
    {
        "text": "[Themes: Horror, America, violence, monster girl, abjection, zombie, romance, rpg]\n\n> Look around\nBenji's Gaming and Role-Playing Emporium\nThe Emporium is rather smallish, as far as stores around here go, nestled into the far corners of the Mall, distant from practically every other decent or worthwhile store. Shelves of gaming books and modules are arranged everywhere, and promotional kiosks occupy the floorspace between the register and the far wall.\n\nThe rest of the Mall is to the north.\nTrott and Gibs are here. Gibs has Gibs's lacrosse stick.\n\n> Smell kiosks\nLike old wood mixed with old feet.\n\n> Gibs\n[ Use \"TALK TO CHARACTER\" to talk to a particular character in the game. ]\n\n> You examine the counter\nIt's an acrylic blue countertop, useful for leaning upon during the workday. We keep some media inside the counter, but nothing particularly interesting or important.\nBehind the counter is a stool.\n\n> You look at the stool\nThe Game Store stool is a very short and incredibly uncomfortable 4-legged stool that we prop ourselves on when we know that Benji isn't going to be around. (Benji is an incredibly irritating person to work for, and will yell at us if he sees us slouching on the stool. He is a miserable person, in this regard. ... In all regards, really,\nbut still.) Trott once hurled the stool at me, and the thing really smarted when I got hit by the sharp legs of the thing.\n\n> You get the stool\nTaken.\n\n> You examine the far wall\nI haven't encountered any \"far wall\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You look at the register\nThe cash register is beige and on the large side. They come in all shapes and sizes and I suppose I have seen a bunch at the Mall where I work that differ in structure and security features... Jesus, this is depressing. I'm a cash register expert at age 27. What have I been doing with my life?\n\n> You open the register\nThe register is locked.\n\n> You close out the register\nI haven't encountered any \"out register\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You examine Gibs\nBarnaby Gibbons is 5'11\" tall and 175lbs, and right about my age. He has hazel eyes and brown hair. He's wearing a backwards baseball cap and a Rochester Knighthawks authentic lacrosse jersey. Barnaby makes his living as the host of a semi-popular sports radio show that is broadcast from two in the morning until six AM weekdays. I've known him for about a decade. He was my roommate for my three semesters at Syracuse University, and always keeps me rooted back in reality when I've been spending too much time with role-playing games. He also has the worst taste in music of anybody I know.\n\n> You wait\nTime passes...\n\n> You examine the stick\nGibs's stick is a Patterson brand Men's field lacrosse stick, designed for the Attack-Midfield position. It has a rawhide quick wall and bridge, woven with black leather, at one end (for catching and shooting balls) and a standard wood frame and handle at the other. Gibs has removed the plastic butt-end for his stick and filed it down, as he often thrusts it at his opponents during play in one of the nastier leagues he plays in.\n\n> You show the cards to Trott\nTrott doesn't seem too interested in the Magic: The Gathering cards.\n\n> You show the cards to Gibs\nGibs doesn't seem too interested in the Magic: The Gathering cards.\n\n> You look at the lock\nIt's just a little lock placed on the counter to stop the mallrats from stealing Magic:The Gathering cards when we're not looking. And, to be honest, we're almost never looking. The cheapness of the lock caused it to become brittle and break when Gibs set his frosty Big Gulp drink by it.\n\n> You examine the drink\nIt's sixty-four ounces of refreshing lime cola in a cup that looks like a chalice. The 128 ounce version of this drink is called the 'Supreme Maw Thrust' and even though it's a better deal it doesn't get purchased much by many Mall denizens.\n\n> You check your inventory\nI am carrying my glasses (being worn), a postcard, the Magic: The Gathering cards, Barnaby's Big Gulp drink, and the stool.\n\n> You sit on the stool\nThe stool is really uncomfortable.\n\n> You close the door\nIt's already open.\n\n> You look at door\nThe back office door is extremely aged and flaking. The door is currently closed and locked.\n\n> You open the door\nThe back office door is locked.\n\n> Go south\nI can't go that way. I can't go anywhere. I'm working.\n\n> Exits\nThere's an exit north to the rest of the Mall, but I'm really not supposed to leave until my shift is over. (That won't be for another couple of hours.)\n\n> You talk Gibs\nJust talking to Gibs will suffice.\n\n> You look at cards\nThe cards are used in a game called 'Magic:The Gathering.' It's sort of like poker for nerds, except that the cards have special powers and so forth. I've never really gotten into it. Anyway, this is a small box containing wrapped packs of cards. There are about fifty or so in a box.\n\n> You open the cards\nI can't do that with the Magic: The Gathering cards.\n\n> You eat the cards\nI can't eat the Magic: The Gathering cards.\n\n> You throw the drink at back door\nNothing happens.\n\n> You put Magic in the counter\nI put the Magic: The Gathering cards in the counter.\n\n> You wait\nTime passes...\n\n> Lock lock\nI will have to close it first.\n\n> Close lock\nClosed.\n\n> Lock lock\nLocked.\n\n> You open the lock\nThe counter lock is locked.\n\n> You put the drink on the counter\nI put the Big Gulp drink on the counter.\n\n> You put the postcard on the counter\nI put the postcard on the counter.\n\n> Inventory\nI am carrying my glasses (being worn) and the stool.\n\n> You drop the stool\nDropped.\n\n> Door\n[ Use \"TALK TO CHARACTER\" to talk to a particular character in the game. ]\n\n> You kick the door\nThe back office door is covered in decades-old lead paint which gives it advanced armor against any attack I could strike it with.\n\n> You press the space\nI'm here this evening at an Academy Videos store thirty-five minutes from my home with two of my roommates and my best friend. We have to come all the way down here to rent because of the late fees on my memberships at all the video places back in the Fort. I wish I had a good story for why that is the case, but I don't. I'm just poor and had the first Lord of the Rings movie overdue for more than\ntwo weeks at multiple video chains. I kept it around to mainly prove trivia. (It will probably end up costing me more to show my friends that the elf character Legolas was walking on, and not\nin the snow, than it did for director Peter Jackson to\nimplement that effect on-screen.)\n\nSupposedly, Audrey is dropping by tonight to watch a movie, which is why I'm even here to begin with. In the five years we've been together we've dumped each other a total of nine times. She is currently ahead of me six to three. Her most shallow dumping was when she wanted to exclusively hang around a hardcore goth guy who had somehow managed to finance or lease his own cemetery plot. That guy was the black fingernail Alpha male until he missed his first payment. To be fair, mine was when she filled out Student Loan paperwork for me without my knowledge or consent and almost enrolled me into classes at the nearby University of Central Hill. She doesn't like the fact that I work at the Funtime Teen Mall for $5.51 an hour at age 27.\n\nI have to work later tonight, so I guess I'd better pick something and get out of here quickly.\n\n> You examine the action\nIt's constructed from a cheap wood board, and sags quite a bit due to the number of movies placed within it.\n\nInside the action rack is a movie from action rack.\n\n\"So...\" says Gibs, as he scans the movies half-heartedly, \"You and Audrey are on the rocks again, eh, Duffy? What happened this time, did she get you enrolled into MIT?\"\n\n> You take action movie\nI grab a movie from the rack. And behold! It's The Lord of the\nRings. Why on earth the dip behind the counter would deign to\nkeep it in this rack is beyond my comprehension. But it\ndoesn't matter. I don't really possess the discipline to go get something else.\n\nPang clears his throat and holds up a copy of Blade. \"I have\nfound the movie for us all tonight,\" he states, with an annoying authority. \"It has electronica and vampires, as all classics should.\"\n\n\"Blade?\" screeches Criswell. He's another one of my\nroommates. \"They merged techno music and goths for that one. No chance. No way. And if you pick out one that merges country music with the French art film or opera with a Pixar kiddie flick I will drop trou and take a crap on the TV while it's playing.\"\n\nCriswell's only half joking, as he's demonstrated his willingness to do that before. When his favorite CFL football team lost in the finals last year he was so pissed off at the TV for depicting it that he grabbed a chair from the kitchen, got up and plopped a steaming load on top of the set. Worse, it was two weeks before anyone cleaned it up. We had a veritable bumper crop of flies around the house that year.\n\n> You wait for a while\nTime passes...\n\n\"OK, I'm set,\" says Criswell. \"Truman Show. Jim Carrey is the\nfunniest man alive. This'll be a gem. Hey, Duffy, you\nbringin' that chick you hang around with over tonight? Well, thank me later, man, 'cos she'll be all out of giggles by the time you pull off your pants. For once, anyway.\"\n\nBarnaby idly toys with a movie and then puts it back on the shelf. \"There were some real hotties at that Bead Store, the other day,\" he says to me. \"Cute, but not so cute that they would have nothing to do with you, I mean.\"\n\n> You wait\nTime passes...\n\n\"Yo, fruit loops,\" says the clerk to the lot of us, \"I'm shutting this store down to go get a full body massage from the Taiwanese Parlor down the street. Pronto. Get your movies and get out.\"\n\n\"Full-body?\" asks Barnaby. \"That means they give you a hand job, right?\" The clerk perks up and nods gleefully. \"Hey, I've always wondered...\" Barnaby decides exactly how he wants to phrase it. \"Is it customary to let them know when you're about to come? Like, a warning? Or do you not have to do that because they are professionals?\"\n\nNobody says anything for a few moments. I shrug. \"I guess it depends on whether you're a sprayer or a lumper,\" I say.\n\n> You wait\nTime passes...\n\n\"Anyway, I wasn't kidding around. Get your movies and get lost,\" repeats the clerk. The clerk continues to get ready for his little excursion. He places his armament upon the counter.\n\n\"Yeah, yeah! I'm thinkin', I'm thinkin'...\" says Criswell. I'm all set, but it looks like we'll have to wait for him or Pang now.\n\n> You wait\nTime passes...\n\nA grime-encrusted area denizen slams his hand on the door and the clerk reluctantly lets him in. The thing shambles his way into the video store. He leaves muddy streaks upon the entrance door, drawing the further ire of the clerk.\n\n\"Hey, what the hell is the matter with you, cracky?\" I suppose that I disagree that the new denizen is a crackhead (he meanders more in his movement than he shakes, I mean). But I don't say anything. The clerk points a stern finger at him from across the counter. \"Can't you read? We're closed! Get out of here!\"\n\n> You take the gun\nI casually lift the gun from the counter without the clerk really noticing.\n\nThe area denizen grabs at the clerk's neck! He gets two hands round the clerk's esophagus, and begins choking the life right out of him!\n\nThe clerk gurgles in pain! I hear a guttural moaning sound coming from the attacker. The violence causes Pang and Criswell to hide in the back of the store.\n\n\"Hey!\" says Barnaby, \"Knock it off! Let him go!\"\n\n> Shoot thing\n[Specify which gun to shoot with.]\n\n> Go outside\n(opening the store door first)\nIt's stuck!!\n\nThe grimy denizen throttles the clerk!\n\nThe clerk slumps to the floor, disappearing behind the register counter.\n\n\"Shoot the goddamn thing, Duffy!\" screams Barnaby. He kicks open the door to the outside and gets into a defensive posture.\nWe run outside and slam the door shut. Pang gives it an angled kick, 'locking' it the best he can.\n\nThe stench of New Haz suddenly hits us all like a cruel sucker-punch through the septum. Individually (but within moments, in concert) we all gasp for fresher air. We need to get in my car and get out of here quickly -- both before that thing finishes up in the store,\nand before the city's stink can settle in our clothes.\nMy car is here.\n\nGibs, Pang, and Criswell are here.\n\n\"What... what the hell was that?\" asks Pang. I don't have a\ndecent answer for him. I don't know, I don't have any idea.\n\n\"There are sometimes bots,\" starts Barnaby, before shutting up. \"Oh, Christ, let's just get the hell out of here before it comes looking for us!\"\n\n> You enter Car\nOpened.\n\nI get into the car. Pang, Criswell and Barnaby join me.\n\nThe thing from inside breaks through a section of the door!\n\n> You drive\nI double-check to make sure everyone's into the car.\n\nThe guy from inside starts banging and clawing at the passenger side of my car.\n\n\"Drive, dammit, drive!\" screeches Criswell from the backseat.\n\"Get us outta here!\"\n\nI put the car in reverse and prepare to get the hell out of town. The guy staggers over and gets right in my path.\n\n\"Hit 'em, Duffy!\" Criswell's going crazy back there. \"Run him over!\"\n\nI put the car in first and stomp the accelerator more out of panic than anything else. The guy doesn't move, flinch, anything. I ram him and he smacks right into the windshield, chipping it with his elbow. He tumbles about and we hear him on the roof for a moment before seeing his face appear on the back window, shocking the hell out of Pang and Criswell. I downshift from third gear back into second for a moment which causes my car to red line and enough of a jolt for him to fall off completely. I see him, through the rear-view mirror, take a vicious fall onto the road, bouncing against it at painful angles like a discarded rag doll.\n\nNobody says anything for a second, until Criswell pops opens his mouth. \"That... man, that was awesome!!\"\n\n\"You don't think I killed that guy, do you? Do you think he's OK?\"\n\n\"It was probably a bot,\" says Gibs. \"Look, he was trying to attack us, anyway.\"\n\n\"That's true,\" says Pang. \"Both items are totally true.\"\n\nI get us on the Interstate and head north, back towards home. I chuck the gun out the window on the way back. Nobody says anything else until I drop Gibs off and get the rest of us back to the house...\n\n> Wait\nI've only been on, really, truly on... once in my life.\n\nIt was about five years ago. The first week of March. The Wizards of the Coast (the company that publishes all the D&D books these days) were sponsoring a huge, two-day tournament in the Fort. I signed up for it with Barnaby, who used to be more into this kind of thing back then, and we started gaming it on a Saturday morning.\n\nIt wasn't a 'competitive' tournament, per se, especially since around that time the two local gangs of Korean role players had pretty much wiped each other out when an on-line housing refresh dispute went from the virtual world of the internet to the physical one of reality, resulting in thirteen dead and seven wounded. That would have normally taken the edge off for the rest of us for the whole of the weekend, but we soon found out that WotC were putting up an eight-thousand dollar first prize for the weekend's 'Most Outstanding Roleplayer.' When I found that out, something clicked inside me, and I drew from a strength of personality I didn't know I had.\n\nAll day the dice were with me. Just about every time I threw a twenty-sided die I got an incredibly favorable result. I started getting a bit more bold and soon found that the other kids at my table started following me. Looking to me for direction, for\ndecisions, for witticisms. I became bolder and overly gregarious. I hardly needed any of the booty the game's Dungeon Master was giving us in-game, and won over the entire table through generosity. I was confident and having fun being me for the first time ever.\n\nMy luck stayed with me when I went to different tables and played with different people. When the tournament finished the next day, I was awarded the top prize and a check for $8,000. I accepted it graciously and thanked everyone I played with for giving me the chance to shine. As Barnaby and I were rounding up our backpacks and bags of dice, I Xeroxed a copy of my character sheet, signed my name and phone number to it, and gave it to the cutest girl who seemed single during the event, someone I had played with on the first day.\n\nWhen I got home, I spent the entire check on a car and a new wardrobe. I had nothing left of it by Tuesday.\n\nAudrey didn't call the number on the sheet, maybe because it was a pompous act of nigh-Olympic level. But when she dropped by the Mall later that week I asked her out on a date. She said yes and has been in various states of flabbergastation with me over the years that have followed.\n\nI got my car, clothes and relationship within a lucky streak that lasted 48 hours five years ago. And I've been living off that success ever since. I'd confess that in my darker moments, when I am at my most honest, it rather spooks me to know that I have essentially been stagnant ever since.\n\n> You wait\nTime passes...\n\n> You wait for a while\nTime passes...\n\nThere's a knock at the door. It's probably Audrey.\n\n> You open door\nI let Audrey inside, and give her a kiss on the cheek.\n\n\"Hello, Jarret...\" she looks over and sees Pang on the couch. Distaste can't help but crawl across her face. \"So... what have we got planned for tonight?\"\n\nI see Audrey for the first time. I probably should have gotten the door for her.\n\n\"Thanks for getting the door, jerk,\" she says. Ouch. This isn't good, I've managed to come off as irritating before she'd even entered the house. I usually have ten minutes of grace period.\n\n\"I was in the bathroom, brushing my hair so it would look nice and stylish for you,\" I say with a shrug.\n\n\"It's a brush. Not a magic wand. You know... I've never met a man who was so obsessed with his hair. But anyway. What are we doing tonight?\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Movie Night! Movie Night sure sounds great, doesn't it?\"\n(2) \"I'm going to avoid that question by telling you how great you look, Miss Case.\"\n\n> 1\n\"Movie night?\" asks Audrey. \"You want to sit around the house and watch a movie? Come on. Really?\"\n\nPang pops up with his opinion. \"Well, I want to.\"\n\n\"Nobody's asking you,\" says Audrey. Then it hits her that Pang is probably going to sit around for the showing. \"Your little friend isn't around is he, Pang?\" She means Criswell.\n\n\"He will be in a minute. The pipes froze and burst next door and flooded the kitchen. He's been keeping beer there.\"\n\nAudrey doesn't roll her eyes or anything, but it's obvious to me that she envisioned something else when I asked her over. I'd love to go out somewhere, but I barely have enough gas to get me to work and back and I don't get paid until Wednesday. In a storybook world or in some kind of made-up dream relationship I'd just come correct and\nlet her know how broke I was. We could then just play in the snow, frolic for a couple hours and eat pieces of our gingerbread house for dinner. In the world I reside in, though, in the reality I've made for myself that's not an option I have available.\n\nPang puts the copy of Blade into the DVD player.\n\n> You talk to Audrey\nI can't think of anything to say right now.\n\n\"What.. aw, hell, what the hell is this, Pang?\" asks Criswell, as he enters. \"Oh, hey, by the way, I don't think we're gonna be able to keep beers at the neighbor's house any longer. Someone has begun the moving-in process. Wait, did you end up getting this fucking\nBlade thing? Oh, Kee-rist!\"\n\nI don't understand why Criswell is so against this movie. I guess I could ask him, or something, if I really cared. Only I don't. I just want him gone.\n\n\"Just watch the movie,\" says Pang.\n\n\"No!\" exclaims Criswell. \"I'm gonna make The Call!\"\n\n\"You're not going to have a quorum,\" says Pang.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Sorry. The next movie will probably be better anyway.\"\n(2) \"Did you particularly want to see Blade??\"\n\n> 2\n\"Not especially,\" she says. \"I think I saw it when it first came out.\"\n\n\"What? Are you kidding me?\" I think about the math for a second. \"By my calculations, you were eight when it came out. You mean to tell me that the Neuromancer didn't like you dating me at first because at three years your elder, I was a bad example, but he was OK with you watching a movie where Snipes hacks apart vampires for 90 minutes?\" I call her father 'The Neuromancer' because his first name is Henry, and the main character of the novel _Neuromancer_ is named Henry Case. I've been lucky in not saying it when he's been around so far.\n\n\"I was very mature for my age,\" she replies. \"I think we'd have been a perfect match, intellectually, if you met me when I was eight and you were twenty-seven.\n\n\"Hey, what about if you met me?\" says Criswell.\n\n\"Two,\" Audrey and I say at the same time.\n\nLeary walks down the stairs. He gives everyone a 'hey' and waves to Audrey.\n\n\"Yo, Leary, what's your take on Blade?\" asks Criswell.\n\nPang's not thrilled about opinions being offered up on his choice before the opening credits are even finished.\n\n\"Ehh,\" says Leary as he picks up the phone to make a call. \"Not my thing. Nothing personal, Panger.\"\n\n\"Damn fuckin' straight!\" says Criswell. \"I'm makin' the call! The Call for Ejection! Duffy? What're you saying?\"\n\nI don't know how to go with this one. On one hand, it could mean that my movie will get played and these two morons will leave out of boredom. On the other hand -- just how freaking immature am I going to come across?\n\n> You talk to Audrey\nI can't think of anything to say right now.\n\n\"The thumb points down, bitchkin!\" says Criswell to Pang. It was inevitable that he was going to pull the movie no matter what popular choice happened to be. Criswell hops over to the DVD player and ejects the disc. He places The Truman Show in. \"We're now starin'\ndown the barrel of a whole lotta giggles,\" he says to Audrey.\n\nI keep one eye trained underneath the sofa in case Audrey's rolling eyes pop out of her head.\n\n\"What are you talking about?\" she says. Audrey has never, ever liked Criswell. \"This is a drama, not a ninety minute episode of 'White Guys Gone Jostling.'\" Criswell's head strains to the side as he simultaneously doesn't believe her and doesn't comprehend her.\n\nAudrey continues. \"You know what drama is, right? It's the name given to a movie that adults tend to enjoy, as well as being the\nstandard root cause of every Linkin Park song.\"\n\n\"Yeah, whatever.\" Criswell shrugs. \"I bet you Truman here is making like he's talking out of his ass before the opening credits are finished.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"So... how is school going these days?\"\n(2) \"What are you doing later?\"\n\n> 1\n\"Pretty well, actually.\" Audrey is in the last year of Medical School. It's taken her forever to finish up, but I guess that's normal for would-be doctors. \"They are having a dress-up party in my department for Martin Luther King day in a couple weeks, you know. You should come.\"\n\n\"Who do you have to dress up as?\"\n\n\"Someone who did something positive for civil rights.\"\n\n\"So you could dress up as someone who freed the slaves, then, right?\"\n\n\"Sure. You'd look cute, I think, if you had that Abraham Lincoln-style beard for a few days.\"\n\n\"Ah! Ah-ha. Yes.\" I don't bother to tell her that I was thinking more along the lines of Cameron Maj?re than Lincoln, which is probably for the best.\n\nFive minutes elapse. The only possession Criswell has left is the dumbfounded look upon his face.\n\nMinute seven comes and Pang can't help himself any longer.\n\n\"You stupid, simple... child,\" he says, quietly. \"Next week\ngo get Good Will Hunting -- Robin Williams is hilarious in\nit.\" Pang points his thumb down.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"This, ah, movie is mine, for what it's worth.\"\n\n> 1\nShe doesn't say anything. She just nods, looking straight ahead. I can't really blame her... these two idiots are really getting in my way tonight, and ruining everything.\n\nLeary turns around from his phone call and squints a bit at the TV. He chuckles, points his own thumb down for a second and then turns back away from the living room. Pang wiggles the Vecna's Hand toy around with its thumb pointing down in order to taunt Criswell just a bit more.\n\nPang gets up to change the movie.\n\nHe places in Lord of the Rings, apparently without really\nrecognizing what it is. The intro starts. Audrey lets out a sigh. I have no idea if I'm correctly interpreting it, but I'm guessing that she's resigned herself to at least watching the movie on the TV screen.\n\n\"What the shit is this?\" asks Criswell. \"More fuckin' ghouls and orcs and shit?\"\n\n> You wait awhile\nTime passes...\n\nPang and Criswell both put their thumbs down as Leary leaves.\n\n\"What are you two doing?\" I ask. \"There aren't any other movies. We didn't get any.\"\n\n\"Someone has forgotten our massive porn collection,\" says Pang, matter-of-factly.\n\n\"Oh, for Heaven's sake,\" says Audrey. She gets off the couch and leaves the room, heading towards my bedroom. Not, I should say, in a 'let's go make out' way or a 'we need to talk' way but in a pre-emptive strike on a fight way.\n\n\"What's her problem?\" asks Criswell, to Pang. \"We've got chick-on-chick stuff.\"\n\nI've got a fairly high boiling point, but I've absolutely had it with these two. The frustrations concerning the fact that my bad decisions and sloth have forced me into this decision boils right over. I decide it's time to probably let them have it.\n\n> You wait\nTime passes...\n\n> You enter the bedroom\nMy bedroom's the smallest one in the house. (I got here last so I got the skankiest room.) There's not a whole lot going on in here, just some shelves with all my crap on it and a bed. It smells a bit less like cigarettes than it used to since I have gone a week and a half since my last one.\n\n\"What the hell was that?\" asks Audrey. \"When are you going to get it... this has got to stop.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"You're pissed. Aren't you?\"\n(2) \"Hey, sorry about that and those guys.\"\n(3) \"What's got to stop?\"\n\n> 1\n\"It's got to stop, Jarret. You know that.\"\n\nEight years ago I was a sophomore at Syracuse University. I had not only barely gotten in, but barely survived my first year. My grade point average was a 1.8. (Well, 1.78; I used to always round that up.) My father had two main tenets when it came to raising me: obedience and grades. The first half of my sophomore year I failed all my classes except for Organic Chemistry Lab and Mythologies II. (Chem Lab was because I was fucking the teaching assistant; bitch still only gave me a B-.) When my father got my semester's grades in the mail he, for the first time, didn't go berserk or explode in a wave of profanity. He simply shrugged and said 'it's got to stop.'\n\nIt feels just the same as Audrey saying it now.\n\nPlease select one:\n\n(1) \"What? Come on, we were just goofing around in there.\"\n\n> 1\n\"Well it's not funny!\" she says. \"And I can't think of any substance I could take that would make those idiots 'funny.' I could give you the formula and arrangement of at least a hundred molecules off the top of my head, and not a single one can be ingested in sufficient quantities that would make what went on in there 'funny' without killing me first.\"\n\nThe thing about dating smart girls, I should tell you, is that you don't feel half as bad when they attempt to humiliate you. Audrey and I also give each other plenty of time to finish our sentences, which I think is something that we both require more than oxygen, fresh water, and C6 H... er, 12, and O... well, glucose, anyway.\n\n\"Spending time is normally fun with you, Jarret. Doing date-type things. Even studying when you were still going to uni. But this middle-age sitting-around watching-DVDs thing... I'm just not ready for every day to be like this.\"\n\nPlease select one:\n\n(1) \"Hey, look, me either. OK? I'm not retiring on you.\"\n(2) \"Look, we'll go skydiving or something, okay?\"\n\n> 1\n\"Well, I appreciate the sentiment, Jarret, but it's been like this for a while now. I don't know if it's just the inevitable ennui you get when you reach your late twenties or what, but that kind of brings me to what I wanted to talk about when I came over tonight...\"\n\nI realize now that we're probably only just getting started with what she wants to discuss. Geez. Well, I'll try to keep this quick.\n\nPlease select one:\n\n(1) \"Lay it on me, then. What's up?\"\n\n> 1\n\"I'm going to be moving soon.\"\n\n\"What? Why? Where to? Moving like you're moving to Cheyenne moving or moving like you're moving to Eastern Islamistan moving?\"\n\n\"To Texas... I'm going to Texas. Houston, specifically. A company from there sent some recruiters up over Christmas Break and most of us in my program interviewed well. After I finish up this semester I am taking a job with them and headed down there.\"\n\n\"Uh... okay.\" Don't you break down, Duffy. Do not let this girl\nget under your skin.\n\n\"And it goes without saying that I'd love it if you came with me. I mean, I hope you know that.\"\n\n\"To Texas. Uh... well...\"\n\nPlease select one:\n\n(1) \"Look, there's not a chance in hell I'm moving to Texas.\"\n(2) \"Houston? Why not Bangor? Or freaking Charon?\"\n\n> 1\n\"Really?\" she says, a bit annoyed at my attitude. \"And why's that? You're not worried about losing your seniority at that shithole you work at, are you?\"\n\n\"No! Jesus. It's not that. But look at it from my perspective. Why would I move to a city where I know exactly nobody?\"\n\n\"You'd know me.\"\n\n\"Besides you.\"\n\n\"Some of my friends from class are headed down there. They like you.\"\n\n\"I don't know about that.\" I consider that for a second.\n\"Wait, really?\"\n\nPlease select one:\n\n(1) \"Look... I have to get to work.\"\n\n> 1\n\"I understand,\" she says.\n\nTechnically, I had a couple hours before I was due at work, but I might as well go in early and pick up some overtime.\n\"We can talk about this after I get out of there, right?\"\n\n\"Of course,\" she says. Again, in her terse form of communicating more without words than with.\n\n\"I get out at eleven. Gibs might want me to do his radio show but I will blow it off if so. I'll give you a call when I get home, okay?\"\n\nShe nods, gives me a hug and leaves my room.\n\n> Exit\nThis room is centered around the television, a 32\" Sony that Leary brought when he moved in. The set sits on a wooden entertainment center, with 'satellite' speakers all around the room. The tattered white couch is perpendicular to the set, and the blue one (where Pang normally situates himself) is eight or nine feet directly across from it.\nOn the tattered couch are the green blanket and the pillow. Sitting on the entertainment center are the television and the DVD player. Inside the DVD player is the Lord of the Rings DVD. Sitting on the table are Vecna's hand, the Dreamcast, the bottle of wine, a cup, the Blade DVD, and the The Truman Show DVD.\nCriswell, Pang, and Audrey are here.\n\n\"Oh, Jesus Christ!\" exclaims Audrey. \"What the hell are you two chimps doing? Goddess, I don't need this shit. Goodbye!\"\n\n> Go outside\n(opening the porch door first)\nOpened.\n\nAudrey strides out the open door. I shake my head at my horrible home life and leave for work...\nI'm still rather pissed off when I pull up into the Mall parking lot and showroom park my car. What kind of game is Audrey playing here? Surely she's bluffing. We've gone to Defcon 2 or maybe 3 before, but we were always able to talk one another down before the bombshells were dropped.\n\nI didn't want to have to go into work tonight worrying about this kind of crap. My job becomes a lot easier when I'm able to turn off the parts of my mind that don't deal with twenty-sided dice, Player's Handbooks and noticing customer body odor. The greatest curse you can inflict upon someone who works at the Mall is getting them to fret.\n\n(And the greatest curse you can inflict upon yourself while at the Mall is to attempt to stop smoking. I seriously picked a bad week for it.)\n\nI walk down to the east end of the Mall, avoid the guy taking surveys, and enter my store.\n\n> 1\n\"Hi, Duffy,\" says Trott. \"Not much going on. Got a postcard from a friend of mine who used to work next door. Did you ever meet him?\"\n\n\"The arcade guy? Met him once, briefly. He didn't seem to know who on earth I was when I'd see him passing through the mall after that, though.\"\n\nTrott chuckles. \"Yeah, that was him all right.\"\n\nGibs arrives from the north.\n\n> You talk to Gibs\nPlease select one:\n\n(1) \"Hey, look who it is! The guy who hates malls and D&D!\"\n(2) \"Aren't you supposed to be at work?\"\n\n> 2\n\"Nah, not until three o'clock A.M.,\" says Barnaby. \"On Fridays they don't need me around before my show starts.\"\n\n\"Hey, Duffy, solid. Glad you're here,\" says Barnaby. He puts his big gulp drink down by the counter. \"Got a question for you.\"\n\nPlease select one:\n\n(1) \"Well what brings you here? I thought you hated the mall?\"\n\n> 1\n\"Mingya, gimme a break, Duffy,\" says Barnaby. \"I outgrew all this stuff years ago. If I'm going to be weirdly obsessive about something, it'll be football roto stats, not the loyalty tables of half-orc henchmen.\"\n\n\"Fair enough,\" I say with a shrug. Why get into it with him? \"What's up, anyway?\"\n\n\"I need you to come on the air tonight. After you get done here and everything. Both of my interviews fell through so I need to make this an all-comedy night.\"\n\nI've gone by the studio with Barnaby a couple times before. Though previously I've known in advance and could brush up on the various crimes committed by NFL players.\n\n\"I dunno, Gibs... I haven't been paying much attention as of late, I don't even know who's going to be in the Super Bowl.\"\n\n\"You'll do fine!\" he says. \"Tavarian Pittman was identified as a participant in a snuff film earlier today! All we're going to do is make jokes about it for three hours. Can you do a Nicholas Cage impression? Additionally, we'll also discuss the worst sports cities of all-time.\"\n\nBarnaby nods over to Trott. \"What's going on, man?\" he asks.\n\nPlease select one:\n\n(1) \"What do you have down as the worst sports city, all-time, so far?\"\n\n> 1\n\"So far, Nagasaki, 1946. Everyone is dead, the stadia are in shambles, and the concession stand taffy glows in the dark.\"\n\n\"It's all great here, man,\" says Trott to Barnaby. \"Yourself?\" he asks.\n\n\"Bitchin'\" says Gibs in reply.\n\n> You open the counter\nI can't, it's locked. I have no idea where the key is, either.\n\nI hear a 'pop' sound come from near the counter.\n\n\"Aw, Christ,\" says Trott. \"The goddamn lock just burst on the counter shelf. Cheap plastic crap.\"\n\nAudrey arrives from the north.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Well, that didn't take long. Hi!\"\n(2) \"Congrats! You're our 209th customer!\"\n\n> 2\nAudrey's not sure how to respond to that.\n\n\"You get a free dice polishing down at Hrewreguard's Trading Post,\" I say.\n\nAudrey's even less sure of how to respond to it now.\n\n\"Hello, Jarret,\" says Audrey. She makes eye contact for only a split-second before directing her line of sight downwards and away from me. \"Can I speak with you for a moment?\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Sure, anytime. Go ahead.\"\n(2) \"Yeah. Talk in private, or...?\"\n\n> 2\n\"Private would be fantastic,\" says says, quickly. She takes my hand and walks me to the back of the store. We're not really out of the range of Barnaby and Trott, but it's unlikely that they are going to eavesdrop.\n\n\"Hey, look,\" I start, \"About before -- \"\n\n\"Oh, no,\" she says, \"This isn't about that. We can get some coffee when you get out of work and talk about that. No, Sydney and Casey wanted me to ask you a favor. They are having difficulties getting their register to interface with the mainframe tonight. Something is broken with their PC. They thought maybe you could look at it for them.\"\n\nI am crazy about this girl, and I guess I will always be and everything, but her coming over here to get me to do work for her friend's store is kind of cold. \"Isn't Mall Security supposed to handle that?\" It's not really that I don't want to help, I tell myself, as much as that I'll look like a jerk in front of a small gaggle of girls if I can't fix it. (But then I tell myself that I'm 28 and still afraid to fail a bit in front of some chicks. Ouch.)\n\n\"They only have one guy working now, what with Christmas Rush being over and everything. And that guy is infatuated with a girl over at the lingerie store.\"\n\n\"Which one? I know one or two girls that work there.\"\n\n\"Not one that works there. He's obsessed with with one of the giant push-up bra posters in the window.\"\n\nI consider this for a moment. \"Well... fair enough, I guess. Her breasts on one of those giant posters would be six times larger than his head. Or even eight times if it's a good push-up.\"\n\nPlease select one:\n\n(1) \"Yes, look, I'll help you. Them. Whoever.\"\n(2) \"Look, I'll try to make it over eventually. OK?\"\n\n> 1\n\"Fan-tastic,\" she says, with more than a hint of\nexasperation. \"Let's go.\" I wave to Trott in order to inquire if it's OK if I leave the store. He gives me a nod. We run this store through a regime of efficient hand-signals and basic telepathy. Gibs perks up at all of this.\n\n\"Hey, I'm coming along,\" he says.\n\n\"No, you're not,\" replies Audrey.\n\n\"You're out of your mind if you think I'm missing a chance to hang out with the girls at the Bead Store, Yoko,\" says Gibs.\n\nAudrey turns to make what I predict to be a sharp comment, but I try to defuse the situation first. \"Audrey isn't anybody's Yoko fucking Ono, Gibs. That doesn't even make any sense, since she's not bringing me down, making me dress poorly, stopping me from shaving and bathing, or getting me shot in New York City. She's not the Yoko to my Lennon, not the Delilah to my Samson. No, what she is, is -- \"\n\n\"I'm going to prepare some vomit bags in case you say she's the Laurana to your Tanis,\" says Trott from behind the counter. He's referring to the male and female lead of the Dragonlance\nnovels.\n\nNobody says anything for a few seconds. \"Let's just go,\" I say. \"The three of us.\"\n\n> You go outside\nI can't go that way. I can go north to the eastern end of the mall.\n\n(Guess I have time to go check out the Bead Store.)\n\n> You take all\ngaming manuals: I've got all the info contained within memorized for those games I'm into, and somewhat proud of myself for those games that I don't have committed to memory, if you're digging my ditch here (and I think you are).\npostcard: Taken.\nMagic: The Gathering cards: Taken.\nBig Gulp drink: Taken.\n\nThere is a strong shock of sound from above! It roars as if lightning struck directly above the Mall!\n\n\"Goddess!\" yells Audrey, as the Mall shakes from the shockwave, \"What on Earth was that?\"\n\nThe lights go out in the Mall!\n\n> Go north\nThis is as far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally built on a landfill (and it's already started to sink some). There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Bead Store, Sporting Goods Outlet and Arcade.\n\nMy store, the Gaming Emporium is south.\n\nGibs and Audrey follow me.\n\n> You examine the kiosk\nThe informational kiosk shows all the locations of all the businesses on this level of the Mall.\n\nThe lights come back on, albeit it slightly dimmer than before.\n\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south.\nGibs and Audrey are here. Gibs has Gibs's lacrosse stick.\n\n> You read the kiosk\nFrom east to west, the first floor of the Mall goes as follows:\n\n\n\nChoad's Sporting Goods - Benji's Arcade\n\nJewels N' Things - Perfume Counter\n\n> Go west\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods (the gate has been lowered and the screen up). The arcade is to the south, but that has been closed and inaccessible for a while now. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, a couple feet west of the edge of the Sporting Goods store.\n\nIn the corner of the front of the Arcade is an X-box game unit.\n\nGibs and Audrey follow me.\n\n> You examine table\nSome of the stores have tables on the outside, in an attempt to entice customers to come inside. This table is one of them, for Choad's Sporting Goods Store. Usually only extremely cheap items are set on them, so as to minimize shortages and loss.\nSitting on the counter are some socks.\n\nSitting on the counter are some socks.\n\n> Wear socks\nI already have a decent pair of socks, so I place them over my hands and use them as mittens. The Mall is freezing, anyway.\n\n> Go inside\nI can't go that way. I can go west to the beginning of the east wing or east to the eastern end of the mall.\n\n> You look at the box\nIt's a very old video game unit. I believe it first hit the market in 2001 or 2002. It's also incredibly fricken huge. Looks like over a cubic meter of gaming anger to me. Physically, the box depicts all the games you can play on the thing in a green and black color scheme.\n\nBenji (the same guy who is my boss as well) keeps them outside the Arcade in some attempt to entice customers sick of the arcade experience into buying a larger-ticket item. Either that, or they are placed outside the arcade to balance the weight of the dozen, ancient, hulking arcade games inside it. Either / or.\n\n> You check what you're carrying\nI am carrying my glasses (being worn), a postcard, the Magic: The Gathering cards, Barnaby's Big Gulp drink, some socks (being worn), and the X-box.\n\n> Go west\n\"Well, we're here,\" says Audrey, indicating that the Bead Store is to the south.\n\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\n\nGibs and Audrey follow me.\n\n> You go south\nI part aside a dense curtain of strung-together beads and enter the store. The Bead Store has always had a unique odor among the shops on this block of the Mall -- it smells strongly of incense and old marijuana. The owner of this place has a sweetheart deal on the rent along with clearance from the Fire Marshall that allows her to burn all manner of scent sticks popular with Wiccans and hippies.\n\nThere are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\n\nOn the far side of the store is the register counter, and next to that, the broken PC that Audrey wanted me to take a look at.\nAlongside the shelves is a tall crystal ball holder.\nSydney and Casey are here.\n\nGibs and Audrey follow me.\n\n> You examine Sydney\nSydney is a very feisty and sarcastic blonde, and close friend of Audrey's.\n\nCasey and Sydney hold each other's hands along the edge of the pentagram. I give Gibs a nudge and a thumbs-up sign.\n\n\"So, Barnaby,\" says Casey, \"Would you like to help us in our little seance?\"\n\nAudrey gives Casey a dirty look.\n\n\"What?\" murmurs Casey to Audrey, \"You're the one who told me I was gonna get a boyfriend at the mall.\"\n\n\"I'd be delighted to help out,\" says Barnaby. \"I've never done this before, so just let me know what to do and where to go. Did I mention that I am famous? I'm famous.\"\n\n> You examine Casey\nShe has brown eyes and jet-black, though obviously dyed, hair. She is wearing a textbook goth outfit, complete with the black fingernails, eyeliner and steel-toed boots. She looks dark, mysterious, dangerous and completely off her rocker.\n\nThe blonde (Sydney) gets Audrey, Gibs and Casey situated just how she wants them. \"I memorized the passage we need to incant,\" she says to them. \"You, the new guy, just don't speak out of turn. There are four names you need to remember. They are Nysrogh, Verin, Valafar and Cyramoir. We say them in an order based on just who we are trying to raise. Can you remember those names?\"\n\n\"He's a sports geek,\" says Audrey, \"He can remember the average number of cup adjustments a player for the Nukes makes in a game -- He can remember this.\"\n\n\"I'll be fine,\" beams Gibs.\n\n> You get the ball\nI can't separate the crystal ball from the crystal ball holder.\n\nThe girls and Gibs continue the summoning ritual...\n\n\"Nysrogh, we are not fit for your attention, milord,\" sings Casey, sweetly.\n\n> You look at the pc\nThe register computer is run by an ancient Pentium IV-based processor within a mini-ATX case. It, like all register computers, connects to the Mall hub via a serial cable in the back.\n\nThe girls and Gibs continue the summoning ritual...\n\nWith the girls' eyes closed, I take the opportunity to check out their bodies. These three can seriously fill out a costume.\n\n> You look at the serial cable\nHmm... it looks like it's been plugged into the computer incorrectly. I could probably fix it.\n\nThe girls and Gibs continue the summoning ritual...\n\nSydney keeps mumbling in some sort of inane chant.\n\n> You fix the cable\nI take a look at the back of the computer. The serial cable has been shoved into the back panel of the case. I'm not a hardware guru, but I can count pins and figure out where most stuff goes. I look over to the girls to tell them what the problem is, but they are holding one another's hands trying to engage in some pseudo-religious summoning ceremony. I fail at stifling an eye roll and give the serial cord a gentle tug. Nothing happens, as it's quite stuck. I pull a little harder, but still nothing. I decide to get a bunch of slack on the cord and give it a forceful yank --\n\nThe serial cord rips free from the back of the computer! I see, briefly, that it was attached to some sort of small plug-in card that was squirreled away inside the box.\n\nThe force of pulling on the cord launches the card behind me. It falls into the pentagram that the girls and Gibs are around.\n\nThe girls and Gibs continue the summoning ritual...\n\n\"Verin, love, do not forget us this dark eve, we miss you so...\" chants Sydney, slowly.\n\nThere is a sudden and quick flash of fire and light a second after the cable lands on the floor!\n\nA deafening boom accompanies it -- the five of us fall right to the floor."
    },
    {
        "text": "[Themes: Horror, America, sexual content, romance, occult, rpg, vampire, scatological, monster girl, violence, strong profanity]\n\n> You look around\nBead Store, on the floor\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\n\nOn the far side of the store is the register counter, and next to that, the broken PC that Audrey wanted me to take a look at.\nAlongside the shelves is a tall crystal ball holder.\nSydney, Casey, Gibs, and Audrey are here. Gibs has Gibs's lacrosse stick.\n\nGibs stirs for a bit, and gives everyone in the room a look of disgusted confusion. He leaves a rather pregnant pause. He finally gives his own comment on the explosion: \"What... the fuck...\nwas that?\n\nAudrey slowly picks herself up off the ground. I crawl over towards her. \"Did you...\" she starts. She sees the cable in the middle of the floor.\n\n\"That was incredible!\" says Casey, as she gets up and dizzily staggers around. \"We have to do that again!\"\n\n> You get the holder\nI'm carrying too much to take that.\n\nAudrey, Gibs, and Casey are all up after the knockdown. Sydney is still down and out, though.\n\n\"Syd?\" asks Audrey. \"You okay? Syd?\" Audrey picks up the serial cable from the floor. \"Oh, no...\" she stumbles back as if something cut her legs out from underneath her. She knocks her head up against the counter and slumps to the ground without displaying a bit of evidence that she felt any pain. She stares ahead, so vacant...\n\nShe snaps out of it. She looks up to me. \"Jarret... \" She swallows -- hard. \"I think we summoned something. I think we summoned a\nghost.\"\n\nIf anyone else had said it at any other time I would have began a sarcastic riff. But she's not kidding around. \"Are you okay? Did you hurt your head at all -- \" She shakes her head in the negative. \"Look, I'll check on Sydney, OK? Just relax, just stay still for a second...\" Sydney is the only one still unconscious.\n\n> You wake sydney\nI get up off the floor and go over towards Sydney in an attempt to wake her up. I place my hand on her shoulder... and suddenly her eyes snap open. She recognizes me quickly and gives me a look which communicates that she could have me at any time she wished in\na split-second.\n\nHer eyes begin to swirl. She begins to turn transparent, she starts to float... she rises off the ground, breaking the look of pure sex and hypnotism that she shared with me, and looking over the others.\n\n\"Always the inadvertent knight in shining armor, no, Jarret?\" she whispers. It's still Sydney's voice, but softer, much more melodic.\n\n\"Syd?\" asks Audrey. \"Are you --\"\n\n\"Oh, I feel wonderful,\" she says, answering the question\nbefore Audrey can finish it. \"It has been so long since I have walked among you all... Too long. I have forgotten how good it feels to take a breath of air rather than soot...\"\n\nShe crosses her legs and raises herself a bit higher. She begins to slightly glow.\n\n> You look at the holder\nIt's a wooden stand, roughly four feet in height. It has three protruding grips on top to hold a smallish crystal ball (which is present). The base is circular in shape and rather thick.\n\nAn animate human skeleton staggers into the store from outside. Its walk is slow, considered and focused, as if controlled by an inexperienced puppeteer. It has in its fingers a bloody and seeping severed head, which it discards to one side of the room.\n\nAudrey lets out a quick scream of shock when she sees it hobble in, and I grab her arm and get her behind me. The skeleton's head swivels quickly from right to left as it gives the four of us on the ground a haunting peer.\n\nI scan the room and recall what's in my pockets and trying to find a decent weapon.\n\n> You take the holder\nI'm carrying too much to take that.\n\nThe skeleton attacks and hits me!\n\n> Attack skeleton\n\"Choke it all down!\" I scream. I hit the skeleton!\n\nThe skeleton screeches horribly -- a dry, dusty rasp somehow escaping from its ribs and jaw.\n\nThe skeleton attacks and hits me!\n\n> Status\nI have a few minor scratches but am otherwise fine.\n\nThe skeleton attacks and hits me!\n\n> You kick the head\nI cruelly break the severed head!\n\n> You hit the skeleton with the holder\nI clobber the skeleton with the crystal ball holder.\n\n(The crystal ball holder breaks as a result, and I throw it down.)\n\n\"Choke it all down!\" I scream.\n\nThe skeleton collapses and falls to the ground.\n\n\"Excellent, Jarret,\" Sydney rasps to me, from above. \"It could not handle being hit that way...\"\n\n\"Skeletons are susceptible to blunt attacks.\" I shrug in a despondent attempt to mask my fear. \"Y'know, Syd, I was thinking of just pulling off my trousers there for a second and breaking it into kibble with the Hammer of Thunderbolts that lives in my pants, but I didn't want to knock down all my friends in the process.\"\n\nShe ignores my comment, as if unable to process it and feeling me not worthy of inquiry. The skeleton's weakness has been in every revision of the Monster Manual over the years. It's one of the first\n--\n\n\"It's one of the first things you learn when playing D&D,\" says Sydney. A terrible smile crosses her face.\n\nIt's terribly effective.\n\nI try to show no fear. (No additional fear, anyway.) \"But that's an artifact of the game,\" I say. \"It's a made-up construct. Something to give them a little more personality. There's no real-world basis for any of it.\" Keep thinking, Duffy, keep your mind busy, don't let this telepath get into your hea--\n\n\"Probably not,\" she says. Her eyes turn empty and glow. \"But who can tell? You have complicated my return slightly, but not for much longer. The look into your mind I obtained when we touched was so insightful. You're made up of so many deep, arbitrary little undead rules, rules you need to learn and exceptions you need to note.\"\n\n\"What? Those aren't mine! I didn't make them!\"\n\n\"They will be. They are. You will find this place governed by them when you return to it. My power within this world will grow and that should keep you busy...\"\n\nThe room becomes much colder. Barnaby grabs me by the collar and leads the four of us out of the Bead Store.\nGibs drags me out of the Bead Store as I try to plead with Sydney (or whatever is possessing her) to use anybody else as her template tonight, to give us back our friend, to let us all go. The room just keeps getting colder, and my words and breath form puffy clouds that fall short of reaching her. She never wavers in her silent smirk.\n\nWe leave the Bead Store and collect ourselves out in the foyer. Most of the lighting in the Mall is now completely gone; lit instead by the moon through the skylights.\n\n\"Fuck this fucking mall,\" says Gibs. \"Let's go get Trott and get the fuck out of here. Jesus Fucking Christ.\"\n\n\"I don't think we can just leave,\" says Audrey.\n\n\"Why not?\"\n\n\"The thing that possessed Sydney said that the Mall will be governed by the arbitrary rules she found floating about in my head,\" I say. \"With the showing of the skeleton, I think she means the undead rules.\"\n\n\"What undead rules?\" asks Gibs. \"What are they, specifically? Which undead are we going to encounter? What will they act like?\"\n\n\"Who are all you people?\" says Casey in a voice like Gibs's,\nmaking fun of all his questions.\n\n\"There's a progression,\" I say. \"In the D&D undead table, it goes skeleton, zombie, ghoul, shadow, ghast or wight, wraith, mummy, spectre, vampire, ghost, lich... and then 'special.'\"\n\nGibs reflects on that for a couple seconds. \"Ah. Sure. Special like Special Olympics, or -- \"\n\n\"Special like they can kill with a scream or single touch.\"\n\n\"Yeah.\" Gibs shrugs. \"I guess that's pretty special.\"\n\n\"Wait,\" says Casey. \"Do you hear that? There's something groaning out there, in that direction.\" She points to the west. \"Can you guys hear it? It sounds like there's a lot of them.\"\n\n\"I'll get us out of here,\" I say, quietly. I don't know if the others are paying attention to me. \"I'll keep us all safe...\"\nEast Side Corridor\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nAudrey, Casey, and Gibs are here. Gibs has Gibs's lacrosse stick.\n\n> Go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nAlongside the shelves is a tall crystal ball holder.\nA postcard, the Magic: The Gathering cards, Barnaby's Big Gulp drink, the X-box are here.\nSydney and the skeleton are here.\n\nGibs follows me.\n\n> You take the holder\nTaken.\n\nIt's really cold in here.\n\n> You take the magic cards\nTaken.\n\nThe cold begins to really sting. It's too cold to stay in here, so I scatter back outside the Bead Store.\n\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nAudrey and Casey are here.\n\n> You look at cards\nThe cards are used in a game called 'Magic:The Gathering.' It's sort of like poker for nerds, except that the cards have special powers and so forth. I've never really gotten into it. Anyway, this is a small box containing wrapped packs of cards. There are about fifty or so in a box.\n\n> You go east\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\nGibs goes over to the gate of the Sporting Goods store and gives it a tug. \"It's locked... what, do all the gates fall down when the power goes out or something?\"\n\n\"That's my understanding, yes.\" I casually inspect the gate. \"Ever since somebody brought a bomb into the arcade there have been a host of security procedures not in other, normal malls. Trott knows how to work the security console, though. Let's go find him.\"\n\n> You go east\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south.\n\n> Go south\nBenji's Gaming and Role-Playing Emporium\nMy store is covered in darkness and shadows, giving it a far more foreboding look than it's otherwise ever had.\n\nThe rest of the Mall is to the north. The door to the back room leads east.\n\n> Go east\n(opening the back office door first)\nOkay, the door is now open.\nI enter the back office hand-first, groping for the light switch. I find it, but flipping it has no effect. This act is not lost on Gibs.\n\n\"Good work, there, Tesla,\" he says, albeit rather quietly. \"The electricity is out everywhere.\"\n\nIt takes a moment, but our eyes adjust to the darkness.\n\nThe back office is made up of a number of shelves which hold boxes of 'Magic' game cards, and other stock we don't want out by the customers. There's barely enough room for two people to stand side-by-side here. There are two exits, one back to the store and one that leads to the garbage hall (and eventually, beyond that, to the security area).\nSitting on the shelves is a cardboard box.\n\n\"Trott's not here...\" I say to Gibs.\n\nGibs doesn't say anything. I turn back to look at him and his face has blanched. He snaps out of it but doesn't look at me. He points ahead and whispers, \"Look at the window to the door, Duffy...\"\n\n> You look at the window\nI creep up to the window of the hallway door and take a closer look at it. A bloody handprint has been smeared  upon the other side.\n\n> You look in box\nInside the cardboard box is the gaming glove.\n\n> Wear glove\nI'll have to take the socks off my hands first.\n\n> You remove the socks\nI take off the socks.\n\n> Wear glove\nI slip on the thick, pleather gaming glove. I begin to feel downright sexy.\n\n> You look at Glove\nThe Sierra Hobbies Gaming Glove is an inky black novelty gaming companion for the hurried Games Master. It's full of mnemonics, scribbled shortcuts and tables to allow for a smoother (and more stylish) game of D&D. No Dungeon Master that takes his craft seriously should be without!\n\nI'm currently wearing the gaming glove.\n\n> You open door\nOpened.\n\n> Go north\nGibs and I enter the long hallway that sits behind a number of stores. It's here to allow us to drop off whatever cardboard and trash we accumulate during the day for janitorial services. I know from memory that there is a door on the east side that opens into a sort of mini-lounge for the mallcops, but there isn't enough light to really make it out very well.\n\n> You go to the east\n(opening the second corridor door first)\nOpened.\n\nThe Lounge is far more spacious than the last few areas, and has enough room for a couple of couches, a television, a big plant, and a water cooler.\n\nOn the far side of the room is a door which leads to a long walkway (on the other side of which, I think, is the actual Mall Security headquarters).\n\n\"This isn't what I expected a Mall lounge to look like,\" says Gibs.\n\n> You look at cooler\nThe water cooler usually holds a few gallons of water, but it's currently empty. Busting up urchins all day makes a man\nthirsty, narmean?\n\n> You examine the plant\nIt's just a generic pink pot that can store green vegetation and wildlife. It's about half a foot in diameter.\n\n> You go east\nI can't go that way. I can go west to the garbage hall or north to the mall back hallway.\n\n> You examine the television\nThe TV is 19\" in size or thereabouts, quite small, really. It doesn't work due to the lack of power in this section of the Mall.\n\n> Go north\n(opening the lounge door first)\nOpened.\n\nThis hallway is strangely shaped, and I am unable to make out everything within it. On the far side of the hall is a door that leads to the Security Room, but I can only barely make it out from here. The only real items in the room are a pair of doors and a large garden-variety plant in the corner.\n\nThere is no transparent moon roof or anything in this room, so Gibs sticks his lacrosse stick up against the door so that we get light from the Lounge.\n\n\"Do you think Trott got into the Security Room?\" asks Gibs. \"Do you think he made it this far?\"\n\n> You examine the plant\nIt's comprised of a large potted base filled with soil, and a leafy, oversized garden plant of some unknown (to me, anyway) variety.\n\nTaking a closer look at the plant reveals a zombie hiding behind it!\n\n\"What the fuck is that?\" says Gibs. \"Jesus -- look out, Duffy!\" Gibs rips the lacrosse stick from the doorjamb. The resident light disappears as the door closes and locks with a click and I can only make out a quick glance of the creature before us before we're enveloped in complete darkness.\n\nGibs takes a roundhouse swing at the creature with his stick. He doesn't connect, though. The creature emits a hoarse groan. I can hear it shuffling closer.\n\n> You look at the plant\nIt's comprised of a large potted base filled with soil, and a leafy, oversized garden plant of some unknown (to me, anyway) variety.\n\n\"Get me some goddamn light!\" shouts Gibs. I hear him struggle a bit more. \"Hit this fucking thing!\" I hear Gibs begin to gurgle and choke.\n\nGibs's lacrosse stick falls to the floor -- Gibs never managed to get a shot at the creature with it.\n\nWaves of stench emit from the creature; it's some sort of dead fish and carrion stink that forms a nigh palpable cloud in the room.\n\n> Exits\nThere are exits to the north and south from here.\n\nThe creature screams deeply and Gibs's arms flail about, knocking me to the side. I make out Gibs slumping to the ground as he's let go. The thing turns with sudden quickness before beginning to shamble towards me with arms outstretched and awkwardly groping for me...\n\nThe creature attacks and hits me!\n\n> You hit the creature with the holder\nThe crystal ball holder is broken and useless.\n\n> You take the stick\nTaken.\n\nThe creature attacks, but misses me!\n\n> You hit the creature with the stick\nI clobber the creature with Gibs's lacrosse stick.\n\n\"And then I kicked him in the head till he was dead!\" I say,\nquoting Baldur's Gate.\n\nThe creature collapses and falls to the ground.\n\nGibs slowly staggers up, gently feeling his throat. \"Ooof... guess you got him. Thanks, man,\" he says.\n\n\"You bet,\" I say. \"You OK?\"\n\n\"Yeah... my throat's a bit sore, but I'll be all right.\"\n\n> Status\nI have a light wound.\n\n> You go to the north\nThe security room door is closed.\n\n> You open the door\nThe security room door is locked.\n\n> Inventory\nI am carrying my glasses (being worn), some socks, the crystal ball holder (broken), the Magic: The Gathering cards, the gaming glove (being worn), and Gibs's lacrosse stick.\n\n> You knock on the door\nAfter a brief pause, I hear a \"klitch!\" sound come from the Security Room door, around where the lock is located.\n\n> You open door\nOpened.\n\n> You go to the north\nWe open the door and see Trott bolt right up from his chair.\n\n\"Oh, geez... thank Christ it's you guys. Wait, did you get past that -- \"\n\n\"Yeah, we did,\" I say. \"I think we killed it.\"\n\nI take a look around the room. There's a big console against the west wall which controls the gates, electricity and breakers for all the shops in the Mall. I imagine that Trott has been trying to get it operational for sometime now.\nTrott is here.\n\n> You talk to Trott\nPlease select one:\n\n(1) \"What were you doing in here? Taking a nap, you\ntesticle?\"\n(2) \"The mallcop got turned into a zombie. What I can't figure out is why you weren't.\"\n(3) \"How did you get past that thing?\"\n(4) \"Hey... did you know that was us?\"\n(5) \"Hey, the lounge door got locked. Can you unlock it?\"\n\n> 3\n\"Well, it took a chunk out of me.\" Trott lifts his shirt up to show some deep claw marks just below his rib cage. \"I first saw it when I went through the door to our back room. I was able to get back, and it started groping at the window every few seconds. I timed it, opened the door, and just bolted back here. I sure had no idea where it was or if it had followed me... looks like it was just on the other side of this freaking door!\"\n\nPlease select one:\n\n(1) \"What were you doing in here? Taking a nap, you\ntesticle?\"\n(2) \"The mallcop got turned into a zombie. What I can't figure out is why you weren't.\"\n(3) \"Hey... did you know that was us?\"\n(4) \"Hey, the lounge door got locked. Can you unlock it?\"\n\n> 2\n\"What do you mean, 'turned into a zombie?' That guy was a nobody. Just some schmuck who was as bad at his job as anyone else in this dump. We're all mindless zombies in here.\"\n\n\"No, not like that,\" I say. \"Whatever summoning Audrey was trying ended up working. Her friend Sydney is possessed by someone. That someone stated that we'd find the Mall governed by the undead rules. I guess it's turning the Mall denizens into the undead.\"\n\nPlease select one:\n\n(1) \"What were you doing in here? Taking a nap, you\ntesticle?\"\n(2) \"Hey... did you know that was us?\"\n(3) \"Hey, the lounge door got locked. Can you unlock it?\"\n\n> 3\n\"Yeah, one sec,\" says Trott. He makes flips a switch on the console. \"Should be all set,\" he says.\n\nPlease select one:\n\n(1) \"What were you doing in here? Taking a nap, you\ntesticle?\"\n(2) \"Hey... did you know that was us?\"\n\n> 2\n\"When?\"\n\n\"When we were fighting that freaking thing,\" I say.\n\n\"Oh. No,\" says Trott. \"I heard the fighting but I guessed that it was another creature or something. I was hoping that you'd all take each other out, like when imps start fighting each other in Doom.\"\n\n\"In what?\"\n\n\"Doom. The game, Doom? Don't tell me you don't know\nwhat Doom is. Oh dear. Ohhh, dear.\"\n\n\"Hey, I don't give you crap for not knowing what Man Down Defense is,\" I say, trying to use sports knowledge against Trott.\n\nTrott stops for a beat and calmly says, \"That probably didn't come off quite as scathing as you thought it would have.\" Unfortunately, he's right. Damn 'im.\n\nPlease select one:\n\n(1) \"What were you doing in here? Taking a nap, you\ntesticle?\"\n\n> 1\n\"What? No,\" says Trott. \"I've been here -- what do you mean, a 'testicle'? Cripes, I -- \"\n\n\"I'm just kidding around. Would you have preferred 'gonad'? What did you do when the lights went out?\"\n\n\"I was in the back room when the lights went out. I heard the auto-kick-in for the gate... kick in, so I went out and verified that the thing was locked and that it wouldn't open from the inside. What happened anyway?\"\n\n\"Duffy interrupted his girlfriend's seance,\" says Barnaby.\n\n\"It wasn't a seance,\" I say.\n\n\"I know. I just wanted to see if you'd be able to resist anal-retentively correcting me.\"\n\nTrott waits a bit before he says anything further. He doesn't like Gibs much.\n\n\"Anyways,\" says Trott, \"The only way to get out is to get the mallcops to let me out. I made my way back through the first door when I saw that thing. It took a chunk out of my side, but I eventually got by it, ran in here and locked the door. What was that? It wasn't a bot. It was wearing the clothes of one of the security guys who works at the Mall. But what happened to him?\"\n\nPlease select one:\n\n(1) \"Do you know how to work the console?\"\n\n> 1\n\"I think so,\" he says. \"Much of it was damaged before I got here, but I can turn on power and raise the gates to some of the individual stores.\"\n\n\"Can you raise the gate to the Sporting Goods store?\"\n\n\"Ummm,\" Trott says, as he looks over the console, \"Yeah. That one I can turn on. Do you want it on now or later?\"\n\nPlease select one:\n\n(1) \"Later... the girls are out there alone.\"\n(2) \"Now is good, it's probably safe.\"\n\n> You talk to Trott\nPlease select one:\n\n(1) \"Later... the girls are out there alone.\"\n(2) \"Now is good, it's probably safe.\"\n\n> 2\n\"Okay... \" Trott flips a few switches on the console. \"It's up.\"\n\n\"Thanks.\"\n\n\"OK, before you go, why don't you take this phone? The Mall only pays for it to work as a CB radio for the mallcops, but if you need more gates raised, just let me know through it.\"\n\n\"All right, sounds like a plan,\" I say. \"I'll try to keep you posted as to what is going on out there.\"\n\n> You leave\nI can't go that way. I can go south to the mall back hallway.\n\n> Go south\nThis is an oddly-shaped hallway that connects the Lounge with the Security Room. There are doors that lead to both rooms.\nThere is a potted plant here.\nThe creature is here.\n\n> You examine creature\nThe thing's face features a dramatic gaping burn wound on the forehead, presidentially presiding over a quick voting bloc consisting of two or three jagged teeth. It's wearing some tattered mallcop clothes, but my expert opinion is that the creature is in fact a zombie.\n\nIt  is currently knocked out.\n\n> Go south\nThe Lounge is a largish, open room with a high ceiling. There are a couple of old couches here, along with a television, water cooler and plant life of unknown make and origin.\n\nExits lead north and west.\n\n> Go west\nThis is a long hallway that sits behind a number of stores. The store owners and workers put their trash in this hallway for janitorial services. There is a door to the security lounge to the east and a door to the back office of Benji's store to the south.\n\n> Go south\nThe back office is a cramped and tight little room with shelves on both sides.\n\nThere are two exits, one back to the store and one that leads to the garbage hall (and eventually, beyond that, to the security area). Sitting on the shelves is a cardboard box.\n\n> You go to the south\nI can't go that way. I can go west to Benji's Gaming and Role-Playing Emporium or north to the garbage hall.\n\n> Go west\nBenji's Gaming and Role-Playing Emporium\nMy store is covered in darkness and shadows, giving it a far more foreboding look than it's otherwise ever had.\n\nThe rest of the Mall is to the north. The door to the back room leads east.\n\n> Go north\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south. Audrey and Casey are here.\n\n\"Hey, Dungeon Master,\" says Audrey. \"Did you find Trott?\"\n\n\"Yeah. He's back operating the security console for us.\" Huh. 'DM,' she said. She normally only calls me that when she's in a good mood about our chances.\n\n\"He didn't want to come with you?\" she asks.\n\n\"Maybe he would have, but he'll be able to open the gates we want if I contact him through this,\" I show her the phone.\n\n\"Did you guys try the gate at the Sporting Good store already?\" asks Gibs.\n\n\"No, not yet,\" says Audrey. \"We just got bored waiting for you, so we headed over this way.\"\n\n\"Also,\" says Casey, \"We went over to where the escalator was. You wouldn't believe how foul it smells over there!\"\n\n\"How bad is it? My previous high score in this department is my roommate Pang's custom Dance Dance Revolution pad that he\nkeeps downstairs and only uses with bare feet in some bizarro-logic attempt to keep it 'nice.' I mean, is it worse than -- \"\n\n\"It's worse,\" Audrey says softly, her eyes closed in the pain of the persistence of this memory, \"Much, much worse.\""
    },
    {
        "text": "[Themes: Horror, mall, music, ghost, vampire, sexual content, occult]\n\n> You look around\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south. Audrey and Casey are here.\n\n> Go west\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\nAudrey and Casey follow me.\n\n\"This won't take me a moment to sort out,\" says Gibs. \"I'll be in and out like a greased German through the Maginot Line.\"\n\n\"I thought the Germans circumvented around the Maginot Line?\"\nI say.\n\n\"No. You've got that confused with what they did with the bounds of good taste when they collectively invented scheisse  porn,\"\nsays Gibs with commanding authority. \"Anyway, more importantly, I know just where the shotguns would be in this store. Anyone want to come with?\"\n\n\"I'll go,\" says Audrey. \"I'll try to find some helmets and pads and such.\"\n\n\"Pads?\" This is good. Very good. \"Oh, so you were able to trickle a puck past the five hole with the Detroit Red Wings after all?\" I ask Audrey.\n\n\"What?\" It takes Audrey a moment to translate my intended delicate innuendo in her head, but when she does, she's not laughing. \"No. I meant like shoulder pads and shin guards. For personal defense.\" She pauses for a moment. \"What on earth is wrong with you?\"\n\nWhoops. \"I'll just, ah, stay out here with Casey, then.\"\n\n> You talk to Casey\nPlease select one:\n\n(1) \"So... what's new with you?\"\n(2) \"Hey, you talk to Audrey all the time. Is she going to dump me again?\"\n\n> 1\n\"I broke up with my boyfriend not too long ago,\" says Casey. \"Other than that, nothing much.\"\n\n\"Hey, really? What brought that on?\"\n\n\"He never wanted to go do anything,\" she says, \"But you know what it was, really? He would always wear a baseball cap, and wear it so that the bill was always right over his eyes. Every time I would try to kiss him, I would have to navigate around the thing. Romance shouldn't be a frustrating puzzle in three-dimensionality, you know? Sometimes I just wanted to get intimate, not play a real-life game of\nKlax.\"\n\nI don't know what Klax is, so I just nod in agreement.\n\nPlease select one:\n\n(1) \"Hey, you talk to Audrey all the time. Is she going to dump me again?\"\n(2) \"Gibs... I mean, Barnaby, he wears his hat backwards.\"\n\n> 2\n\"That's definitely a point in his favor. Make sure he gives me his number when we get out of here. I'm tired of being either cooped-in on the weekend or hanging out at the Bead Store like tonight.\"\n\n\"You seem awfully confident that we are going to get out of here.\"\n\n\"Shouldn't I be? From what Audrey tells me, whatever we resurrected... or, I guess, 'surrected' in this case, isn't any match for the geek encyclopedia you've got knocking about in that skull of yours.\" She gives me a genuine smile of reassurance and I, to my discredit, don't have the heart to tell her that in reality most of the thoughts knocking about in my head have to do with how I'm going to get back with her best friend.\n\nPlease select one:\n\n(1) \"What does Audrey want from me, then?\"\n\n> 1\n\"You're going to have to ask her that, eventually, Jarret.\"\n\n\"Yes. I know. Eventually.\"\n\n\"What does she want? She wants to be with you, in my opinion, anyway. I've seen her with other guys in between the dozen or so times you two have broken up. She is always so much happier when she is together with you. She just lights up when you enter the room, you know that?\"\n\n\"I didn't know that.\" I try to think back the best I can, to try to get some sort of visual holographic proof of this, but I just can't. Maybe I've just never been paying attention.\n\n\"But she wants to see you take the next step, Jarret.\" Casey turns and looks right into my eyes. \"She's going to graduate soon. The future is coming and everything. I think, ultimately, what she wants to know is if you think you have one.\"\n\nI hear Gibs swear violently from within the Sporting Goods store.\n\n\"Jarret!\" screams Audrey, \"Help!\"\n\n> You go to the north\nThere is a light blue-skinned, feral beast hunched over towards the corner of this store. A ghoul, just as how I'd imagine it. It has Audrey backed up against the eastern wall. A row of jacket racks separates them from me. Gibs is much closer, and seems to be holding the ghoul at bay by slowly darting in and out of its range, and preventing it from ripping Audrey apart by giving it another target. That won't stop it for long. The only thing preventing the ghoul from shredding Audrey is its attempt to work out just how he can incapacitate and consume them both.\nThere is a circular jacket rack here.\nThe ghoul, Audrey, and Gibs are here.\n\nGibs swears violently.\n\n\"Jarret!\" screams Audrey, \"Help!\"\n\n> You check what you're carrying\nI am carrying my glasses (being worn), some socks, the crystal ball holder (broken), the Magic: The Gathering cards, the gaming glove (being worn), Gibs's lacrosse stick, and the phone.\n\nThe beast is content, for the moment, to look back between his prey and his attacker. I know that at any moment it is going to choose one of them to attack first.\n\n> You hit the ghoul with the stick\nI clobber the ghoul with Gibs's lacrosse stick.\n\nI try to wail like a banshee: \"ooOOooOOOO!\"\n\nThe ghoul attacks and hits me!\n\n> You examine Glove\nThe Sierra Hobbies Gaming Glove is an inky black novelty gaming companion for the hurried Games Master. It's full of mnemonics, scribbled shortcuts and tables to allow for a smoother (and more stylish) game of D&D. No Dungeon Master that takes his craft seriously should be without!\n\nI'm currently wearing the gaming glove.\n\nThe ghoul attacks, but misses me!\n\n> You take the rack\nTaken.\n\nThe ghoul attacks and hits me!\n\n> You throw the rack at ghoul\nI hit the ghoul with the circular jacket rack.\n\n(The circular jacket rack breaks as a result.)\n\nI hear a grotesque snapping sound coming from the thing. I completely flattened it on that last one!\n\nI walk over to Audrey. She's shivering.\n\n\"Are you OK?\" She nods. \"Where did your coat go?\" She doesn't say. She shakes her head and melts into my arms. I hold her, hug her and bring her as close as I can. Her face is buried within my chest and I scratch the back of her head and feel her close-cropped hair on her neck flick through my fingers. I had no idea if I'd ever feel that again, or feel her body, alive and whole, this close to mine. \"I'll keep you warm,\" I say with a whisper.\n\nCasey enters from the entrance to the south. \"Ugh,\" she says, after spotting what's left of the ghoul. \"What on earth did you do to that thing?\"\n\n> You talk to Casey\nPlease select one:\n\n(1) \"I buried it.\"\n\n> 1\n\"What was it?\" asks Casey.\n\n\"It was a ghoul.\"\n\n\"So, so far, a skeleton, zombie and ghoul... \" Casey drifts off and leaves that bit hanging in the air.\n\n\"Yeah. So far, just as the demon that possessed Sydney claimed.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"I'm with you now. My preeeeecioussss...\"\n\n> 1\ntalking about the precious of his very own. I don't say it at first, I don't say it right away... but I say it and she knows what I mean by it. Her body shakes with a quick, stifled bit of laughter. I'm so glad she's here with me that it doesn't even occur to me that it must be killing Gibs to not be able to tell us just how bop we are\nfor each other."
    },
    {
        "text": "[Themes: Horror, strong profanity, zombie, abjection, music, sexual content, vampire, scatological, rpg, monster girl, America]\n\n> You describe your surroundings\nChoad's Sporting Goods exists under the unfortunate circumstance that the owner's name translates into Bengali as 'fuck.' Once or twice a year there will be a demonstration or protest from a bunch of local student Hindus, but nothing ever changes.\n\nThe store is one of the larger ones in the Mall, about 40' wide and 140' long. Ski jackets take up almost all the area towards the front of the store, as far as I can see, with the entire western wall filled with displays of discount tennis sneakers.\n\nThere doesn't seem to be any rifles or shotguns for sale. (It appears as if Gibs's intuition was incorrect.)\nThere is a circular jacket rack here.\nThe ghoul, Audrey, Gibs, and Casey are here.\n\n> You get the jacket\nWhich jacket do you mean, the circular jacket rack or the ski jackets?\n\n> Ski\nThey are essentially permanently part of the circular jacket rack.\n\n> You go south\n\"Can you watch Gibs for a bit?\" I ask Casey.\n\n\"It won't be a problem,\" she says.\n\nAudrey goes up to him, still in his frozen state, and gives him a kiss on the cheek. \"Have a good thaw,\" she says.\n\nI take her hand and put it in mine and together we leave the Sporting Goods store.\n\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\nAudrey follows me.\n\nAudrey pulls on my hand, to begin to drag me towards the far side of the Mall. \"Jarret, let's go this way,\" she says. \"The elevator is on the over this way. I think I know how we can get to it.\"\n\n> You follow Audrey\nAudrey is right here.\n\n> You go south\nI can't go that way. I can go west to the beginning of the east wing, east to the eastern end of the mall, or north to Choad's Sporting Goods.\n\n> You go east\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south.\n\nAudrey follows me.\n\n> Go west\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\nAudrey follows me.\n\n> You go west\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\n\nAudrey follows me.\n\n> You go west\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a horrific stench in this area. It's new, too -- the guy who used to take the surveys always kept himself cheerfully clean.\nThere is a kiosk in the center of the hallway. At the far end of the rail is an elevator.\n\nAudrey follows me.\n\nAudrey quietly points over to the kiosk and whispers right into my ear.\n\n\"Do you see that? Do you see the wraith?\"\n\nI squint. The lighting is so dark... I don't see it. I adjust my glasses and still nothing. I shake my head in the negative.\n\nAudrey takes my hand in hers and we duck into the Jewelry Store..."
    },
    {
        "text": "[Themes: Horror, ghost, occult, horror, America, scatological, relationships]\n\n> Look around\nWe both press ourselves flat up against the wall of the Jewelry Store.\n\n\"How are we to get past the wraith, Jarret?\" Her eyes dart down and to the side as she tries to remember if she ever encountered one in a role playing game. \"... I can't remember,\" she says.\n\n\"Sunlight, and I don't know how long until that will show up.\" I say. Was there really a wraith there? Outside the store? I didn't see a thing. It is colder down this way than it was in the rest of the Mall, though. \"Yeah. Sunlight is the only thing I'm 100% positive on, maybe there are others.\" I strain to try to remember, but I haven't used a 'wraith' character in any games that I've played in a very long time. I'm certain there are other ways... I just can't recall.\nSitting on the tabletop is a pleather purse.\n\n> Open purse\nThe pleather purse is already open.\n\nA bit of smoke and haze begins to form against the eastern wall.\n\n> You search the purse\nInside the pleather purse is the silver comb.\n\nAudrey looks over to the east wall. \"What do you think... what is that, Jarret?\" she whispers.\n\nI can't quite tell at first, but as the haze beings to form more familiar shapes, it starts to dawn on me.\n\n\"It's a vision,\" I tell her.\n\nDisplayed on the west wall of the Jewelry Store is a scene. I can make out Gibs and Audrey clearly... there seems to be one or two other figures moving in the background.\n\n\"That's a scene from that tournament we went to, isn't it?\" asks Audrey.\n\n> You take the comb\nGot it. Ooh, silvery!\n\nAudrey continues to look at the vision. The scene takes on a greater contrast, with muted blues smeared together in fog with darker earth colors.\n\n\"Why... what's up with Gibs giving you a thumbs-up sign? This vision takes place from your perspective, doesn't it?\"\n\n\"I just made what was my sixth straight saving throw. He gave me a thumbs-up because I was using loaded dice.\"\n\n\"What?!\" says Audrey, and then instantly brings her voice down a couple levels due to the wraith. \"What the hell do you mean, you were using loaded dice?\"\n\n\"I ordered some red 20 sided dice before the tourney over the Internet. They were weighted to give out mostly 18s, 19s and 20s. What? What's the big deal? That was years ago!\"\n\n\"Ssh!\" Audrey puts her hand over my mouth. \"The big deal is that the Tourney is where we met! Do you think I would want to go out with you if you were cheating everybody in the room?\"\n\n\"Oh come on, don't start this bullshit. It wasn't like I was at DragonCon or something. Christ!\"\n\n\"No. You weren't. You were cheating your friends. That makes it worse, you know.\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Oh, what does it matter if I cheated at the tourney?\"\n(2) \"C'mon, you have to admit it's pretty funny.\"\n\n> 2\n\"Oh, it's hilarious, all right,\" says Audrey. \"You know me. There's nothing I find funnier than stories of the guy that I've been with for the last five years ripping off everyone I know like a unconscionable rogue at a lawless bazaar.\"\n\n\"The Wizards of the Coast were going to give that to me anyway. The dice didn't really change anything, other than the fact that I made a few extra saving throws and got a few extra hits in. You have to appreciate the return on the investment, at least.\"\n\n\"Oh, sure. You're a regular Gordon Gecko,\" says Audrey.\n\n\"I can't believe you're comparing me to white collar criminals.\"\n\n\"I can't believe you essentially commit white collar crime.\" Audrey shrugs her shoulders.\n\nThe ether(?) that makes up the vision dissipates completely and it completely disappears.\n\nAudrey sits herself up against the east wall of the store.\n\n\"So you found a comb, I see,\" says Audrey. \"Maybe you can do something with that mound of straight hay on top of your head with it.\" She gives me a smile after she says that to let me know it was said with affection.\n\n\"It's a silver comb,\" I tell her. \"I'm sure it's quite valuable.\"\n\n\"Isn't silver a type of bane to wraiths?\" asks Audrey.\n\nI try to bring up the memory of what affects wraiths from the back of my mind, but my memory is hardly photographic. \"I think you're right,\" I say to her. \"I think it works against a lot of undead. A little trinket like this might just scare it off, but that's a big maybe. I don't really want to throw the comb and find out.\"\n\nI can't think of anything to say right now.\n\nI took a look over towards the wall that Audrey is leaning up against. The shadow that she should be throwing is nowhere near the one that is present.\n\n\"Audrey,\" I whisper, \"Do not move. You're not casting a proper shadow. I -- \"\n\n\"What?\" she asks. She moves away from the wall, and sure enough, the light that she should be blocking is completely inconsistent with what's there.\n\n> You show the comb to the wraith\nShowing the silver comb to wraith doesn't accomplish a whole lot.\n\nThe shadow jumps from the wall!\n\nThe shadow points a long, tapered finger onto Audrey's neck. She freezes up as it sucks the strength from her body.\n\n> You hit the shadow with the comb\nI clobber the shadow with the silver comb.\n\n\"Who else wants a piece of the pain pie?\" I ask.\n\nUpon coming in contact with the silver, the shadow halts in place and disintegrates -- it falls to the floor in a little pile of soot-like dust. I get down and blow it away in order to properly scatter it into nothingness.\n\nI walk over towards Audrey. She's shivering. \"You OK, doll?\"\n\n\"Yes,\" says Audrey, quietly. \"It's just so cold in here. I'm sorry. I don't mean to complain.\"\n\nI embrace her for a few moments and rub my hands over her bare shoulders. \"I'll keep you warm...\" She nods. \"Silver definitely worked on the shadow,\" I muse. \"It used up the comb, however. But the same thing'll work on the wraith. We just need to find more of it. The girls that work here (presuming that they didn't rip the place off blind before calling it a night) keep all the jewelry locked up in the safebox.\" I point over towards the big locker-style cabinet against the western wall of the store. \"If we can get the temperature in here to be significantly colder, I'm betting that lock will pop.\"\n\n\"How do we do that?\" asks Audrey. She looks over towards the wraith. \"Oh, no. You don't mean -- \"\n\n\"Yes,\" I say quietly. \"Let's get the wraith in here.\"\n\n\"Jarret, no! You can't be serious!\"\n\n> Go west\nThere isn't an exit in that direction.\n\nThere's an exit south into the long corridor of the top level of the Mall.\n\n> You go south\n\"Jarret, no!\" whispers Audrey. \"It's not safe, not with the wraith still out there!\"\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Audrey... trust me on this. Please.\"\n(2) \"What options do you have for this?\"\n\n> 1\n\"Jarret! I don't want that thing in here!\"\n\n\"Audrey, you know that I will not let it touch you. There's a lock just like this one in my store, and it's made of ridiculously poor components. Everyone involved in owning a store in this Mall is incredibly cheap and only worried about the bottom line and how much money they can squeeze out of their customers. I will guarantee you that as soon as the temperature is brought down a few degrees Celsius that lock is coming off like a prom dress. A lock of this type busted earlier today at my store when Gibs placed his iced soft drink next to it.\"\n\n\"Okay...\" she says. She kisses me for entirely too brief a time and looks right into my eyes. \"I trust you.\"\n\nI suddenly feel like I can do anything. One scream and the wraith will make its way over here.\n\n> Scream\nI scream like a housewife in a 50s sitcom coming across a mouse. Like an English siren during the blitz. (Like Lorraine Williams surrounded by a bunch of pen & paper gamers, even.) And it works. The wraith turns round and passes right through the kiosk. It slowly begins to come near us.\n\n> You open the cabinet\nI can't open it on my own. The lock, while not incredibly sturdy and powerful, is still more than I can crack on my own.\n\nI hear a voice, strangely disembodied, but one I instinctively know is coming from the wraith.\n\n\"oh delightful maiden this will be a wonderful meeting will it not and you seem oh so achingly warm and tight and I really only want to get close to you for only a moment do not you see how wonderful oh how wonderful that will be my darling...\"\n\nThe wraith never really stops its sending, but instead meanders about a couple different themes. What he's going to do to my girlfriend being one of them. (With all the guys who have tried to steal my girlfriend over the years, I finally feel I am on somewhat familiar territory.)\n\nThe wraith glides a bit closer to the entrance of the Jewelry Store. It is already several degrees colder in here.\n\n> You break the lock with the stick\nThe lock is especially designed to be impervious to any and all brute attacks.\n\nThe wraith glides further; it's now within the Jewelry Store, but still a fair ways away from Audrey.\n\nThe lock to the safebox pops.\n\nIt continues its raving, more in my head than not:\n\n\"your death will be so pleasing my love I promise that getting there will be quick and painless I am the only one you can trust you know I will always be there for you and never leave your side you and I there isn't a thing that we wouldn't be able to do together my lovely witch princess all it takes is for you to just sit still that is it just another few moments and I will be there and we will be together so wonderfully so wonderfully it will be so wonderful...\n\n> You take all from the cabinet\nNothing to take.\n\n> You look in the cabinet\nThe safebox is closed.\n\nThe wraith sends another meandering rhyme to me...\n\n\"let me tell you of our wonderful death my darling,\" mentally continues the wraith, \"you cannot begin to imagine the wonders that we will see together everything you could ever want everything that has been out of your reach well it is not out of mine it is not out of ours let me ask you this my darling a simple question take all the time in the world just answer me truthfully... have you ever wanted to fly?\"\n\n> You open the safebox\nDone -- it's open.\nInside the safebox are the handful of silver rings.\n\nThe wraith inches closer to Audrey...\n\nAmazingly (to me at least) I see Audrey enraptured by the wraith and she actually nods her head a little in response to its question. It takes all my self-control to not attack the fucking nothing\nwith my bare hands.\n\n\"of course you have there is no shame in admitting such a thing let me tell you my darling just how wondrous it is to float above this city this world this plane with nothing holding you down and nothing keeping you from doing what you want to do being who you wish to be you will see oh how you will see it will not be long now my darling just hold yourself I will be there and we will be together...\"\n\n> You get Rings\nTaken.\n\nThe wraith moves until he is directly in front of Audrey. I won't have much time now.\n\n\"hold still my darling this is so much easier when you just stay there so beautifully within my own view...\"\n\n> You throw Rings at the wraith\nI hit the wraith with the handful of silver rings.\n\nUpon coming in contact with the charms, the wraith immediately atomizes, taking the silver with him into oblivion.\n\n\"That was my Treasure Type you were fucking with, creep!\" I\nsay it even though the wraith is completely blinked out of existence. It takes me a fair trice to realize that thing is truly gone. \"Let's get out of here,\" I say to Audrey. \"Unless you want to get to work on raising the temperature of the room with a little bit of body heat.\"\n\nTo my surprise, she looks back at me with nothing but love. \"If I thought it could be done,\" she says, \"without it becoming a menage a trois with a lurking horror, or a four-way with an undead ettin... you know I would.\" (An ettin is a two-headed beastie in D&D, which elicits a smile from me. That's my girl!)\n\n> You go south\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a horrific stench in this area. It's new, too -- the guy who used to take the surveys always kept himself cheerfully clean.\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\n\nAudrey follows me.\n\nBarnaby and Casey come up to us as we leave...\n\n\"Heya there, Duffy,\" says Gibs, no longer paralyzed. Casey is with him. \"Any luck with the elevator?\"\n\n\"Not yet. We encountered a vision , shadow and wraith, though.\"\n\n\"So what's changed?\" asks Gibs.\n\n\"Well, the Jewelry Store is open and the makeup kiosk is broken down. Other than that...\"\n\n> You examine the kiosk\nThe makeup kiosk is a business that operates in a very small rectangle in the middle of the Mall corridor. Girls (and in this town, a not-insignificant number of goth guys) stop by to pretty themselves up for their dates and/or midnight angstings.\n\nIt looks like the intense cold of the wraith passing through the kiosk caused the thing to crack open.\n\nInside the makeup kiosk is a bottle of perfume.\n\nGibs spits once off the guardrail because he's a filthy, disgusting animal at heart.\n\n> You take Perfume\nI'm carrying too much to take that.\n\n> You look at what you're carrying with you\nI am carrying my glasses (being worn), some socks, the crystal ball holder (broken), the Magic: The Gathering cards, the gaming glove (being worn), Gibs's lacrosse stick, the phone, and a pleather purse.\n\n> You take Perfume\nGot it.\n\nGibs spits once off the guardrail because he's a filthy, disgusting animal at heart.\n\n> You examine it\n(assuming you mean the bottle of perfume)\nThis bottle of perfume is a fairly large container of the Elizabeth Arden perfume 'True Love' (A feminine scent that is a blend of lotus, iris and jasmine, recommended for office wear.)\n\nA girl who worked at my D&D store for a season used to wear this scent, and it was all I could concentrate on. She'd erode my sense of smell regarding all else within a minute of beginning her shift.\n\n> You spray yourself with the Perfume\nI spray a bit of the perfume on it. Sek-sai!\n\n> Go west\nThere's not a path in that direction.\n\nThere are exits north to the Jewelry Store, in towards the Elevator and east towards the east side of the Mall.\n\n> You enter Elevator\nAudrey says, \"No way. We're not going to follow you until you do something about that smell.\"\n\nThe elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'\n\nI'm currently on the second level of the Mall. Aside from the operational panel, there is little else here in the lift.\n\nI can see into the corridor ahead, although only a few feet before the darkness completely envelopes the hall.\n\n> Spray\nBe a little more specific about what you'd like me to spray.\n\n> Go outside\nThe elevator doors open, and I'm struck by the terrible, pungent odor of carrion. It's far too much for what I can bear: it's absolutely the worst-smelling air I have ever experienced.\n\nI briefly steal a glance of what lay beyond in the corridor on the first level of the Mall before squashing the up button on the elevator -- it's mostly dark, but I can make out the cupid statue. The stench is just too much for me. however. I can't force myself to do anything from here except escape.\n\nThe elevator comes to rest on the top floor.\n\n> You spray the Perfume on Audrey\n\"Hey, I'm not your Barbie doll!\" exclaims Audrey as I give her a hit of True Love.\n\n> You exit\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a horrific stench in this area. It's new, too -- the guy who used to take the surveys always kept himself cheerfully clean.\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\nThere is a crystal ball holder here.\nCasey is here.\n\n> You examine Cupid\nIt's a nicely-sculpted, eight-foot marble work of the mythological god of love. Cupid (known as Eros in Greek myth) was often depicted as being a winged baby or cherub that would just start freaking out and begin slinging arrows at people so they would indulge in a torrent of romance, love and sex.\n\nThis statue was commissioned by the guy who owns and rents out the Mall, from a student at the local art college. Cupid's in a pose where he seems to be taking deadly aim at people.\n\n> You throw the Perfume at Cupid\nI toss the perfume bottle at the statue. It shatters, natch, and releases a giant pool of stench-killing fumes into the area below.\n\n> Go inside\nThe elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'\n\nI'm currently on the second level of the Mall. Aside from the operational panel, there is little else here in the lift.\nAudrey and Gibs are here.\n\nCasey follows me."
    },
    {
        "text": "[Themes: Horror, America, strong profanity, mall, monster girl, scatological, vampire, horror, sexual content]\n\n> Go downwards\nI can't go that way.\n\nThere is an exit leading out.\n\n> You press down\nI press the down button. After a few seconds, the elevator transports me to the first (ground) level of the Mall.\n\nThe doors remain shut for some reason.\n\n> Leave\nMall, First Level, East Edge\nI'm on the first level (ground floor) of the Mall, a lot closer to the lone exit than where I was previously. I'll need to get past a few more stretches of corridor (which is under a blanket of darkness) and then past the Food Court. And I hesitate to think about what is in store for me until I get to that point.\n\nIn the center of the corridor is a sculpted marble statue.\n\nAudrey, Gibs, and Casey follow me.\n\n\"Well, we got this far,\" says Gibs. \"What's the plan, now? How are we getting out?\"\n\n\"We could try the exit by the big Outlet Tech Store, can't we?\" asks Casey.\n\n\"They went bankrupt,\" I say. \"When the Septium Computer Processor was declared an instrument of bedevilment and banned by the Mayor in 2012, the hottest selling item that Christmas had to be removed from the store. We can try to go that way, but I am almost positive that exit access was cemented over.\" I shrug.\n\n\"So we'll probably have to slog through the Food Court, speedily going about our business with as much haste as molasses slow-fucking a giant land turtle.\" says Gibs. He spits with disgust -- the Food Court floor never gets cleaned. It's kind of gross.\n\n\"Yeah, everyone jump over the ochre jellies,\" whispers Audrey, almost to herself. After a beat, she realizes what she said and turns towards me. \"Hey! You've got me doing it now!\"\n\nGibs laughs. \"Duffy's veritable roster of sexually transmitted diseases is not the only thing infectious about him,\" he\noffers.\n\n> Exits\nThere's an exit west to the Mall, First Level, Eastern Edge, or in to Elevator.\n\n> Go west\nMall, First Level, Eastern Edge\nI enter this bit of hallway and am taken back by the glorious fountain that dominates the scene. I've seen it hundreds, even thousands of times in normal daylight, but the small bits of ambient light currently available reflects off the fountain in a simply breathtaking manner.\n\nWhile Audrey, Casey and myself are checking out the fountain (and momentarily entranced by the beauty thereof) Gibs wanders off and goes further down the corridor. I forget him for a moment until he lets out a blood-curdling scream.\n\n\"Duffy! Look out! It's the fucking ghast!\"\n\nI turn and look -- that's exactly what it is. A green-skinned feral beast with glazed-over eyes and torn clothes. Gibs falls to the floor, presumably knocked out by the ghast's stench and so far from where the perfume bottle broke open. The ghast stomps once on his head and runs over towards us. I motion for Audrey and Casey to get back behind the fountain.\nThe ghast, Gibs, Audrey, and Casey are here.\n\nThe ghast attacks and hits me!\n\n> You examine the fountain\nThe fountain is rich limestone artifact that was discovered years ago in a poured-over closet in Italy and flown out here at great expense. It has been converted from its original state as a Renaissance-era commissioned sculpture to a marketing tool for the Mall.\n\nIt's about six feet at the base and rather shallow -- water would only come up to one's ankles in its normal, calm state. The spout extends a couple of feet up from the dead center of the base. There are a few inscriptions and symbols on the thing, but nothing I can decipher.\n\nInside the fountain is some water.\n\nInside the fountain is some water.\n\nThe ghast attacks and hits me!\n\n> You check what you're carrying\nI am carrying my glasses (being worn), some socks, the Magic: The Gathering cards, the gaming glove (being worn), Gibs's lacrosse stick, the phone, and a pleather purse.\n\nThe ghast attacks and hits me!\n\n> You take the water\n(I'll only be able to hold the water for a couple moments before it flows through my hands...)\n\nThe ghast attacks and hits me!\n\n> You throw the water at the ghast\n\"Drink up, Dupre!\" I throw the water at the ghast's upper\ntorso. It screams -- a horrible, piercing shriek of disbelief, and inhuman pain. My aim was a bit off, as the water chews through his shirt, eats through his belly and stomach and begins hissing away at the consumption of his rotting intestines and grodie twists of entrails.\n\nI wipe a little sweat away from my face and see that he truly can't comprehend what has happened to him. I sort of feel sorry for him... not just because the ghost killed him once, but because she brought him back and then he got killed in a second, crueler, manner.\n\nThe slashing sounds of evaporation fade away as the last bits of the ghast inanimately fall to the floor and crumble into nothingness. His head bounces to the floor of the Mall. Gibs wakes himself up and blinks stupidly a couple times as he sees the ghast's skull resting peacefully on the floor. He winds up and kicks it down the corridor.\n\n> Diagnose\nI have a critical wound.\n\n> You enter the fountain\nEntered!\n\nMall, First Level, Eastern Edge, in the fountain\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nGibs, Audrey, and Casey are here.\n\nA little more water trickles into the fountain.\n\n> You sit\nBe a little more specific about where you'd like me to sit.\n\n> You examine the water\nIt's a small amount of perfectly clear, shining and absolutely gorgeous water. It looks far superior than it ever did under normal daylight.\n\n> Drink water\nAhhhhh! Mine Luftwaffe!\n\n> Diagnose\nI have a serious wound.\n\n> You look at the fountain\nThe fountain is rich limestone artifact that was discovered years ago in a poured-over closet in Italy and flown out here at great expense. It has been converted from its original state as a Renaissance-era commissioned sculpture to a marketing tool for the Mall.\n\nIt's about six feet at the base and rather shallow -- water would only come up to one's ankles in its normal, calm state. The spout extends a couple of feet up from the dead center of the base. There are a few inscriptions and symbols on the thing, but nothing I can decipher.\n\nA little more water trickles into the fountain.\n\n> You wait\nTime passes...\n\nA little more water trickles into the fountain.\n\n> Diagnose\nI have a lot of minor scratches, but will be okay, since I still have my looks.\n\nThe spectre arrives from the west.\n\n> You talk to Gibs\nI can't think of anything to say right now.\n\nA little more water trickles into the fountain.\n\nThe spectre heads off to the south.\n\n> Diagnose\nI am in perfect physical health.\n\nThe spectre arrives from the south.\n\n> You check your inventory\nI am carrying my glasses (being worn), some socks, the Magic: The Gathering cards, the gaming glove (being worn), Gibs's lacrosse stick, the phone, and a pleather purse.\n\nA little more water trickles into the fountain.\n\n> You go to the west\nI will have to get out of the fountain first.\n\n> Go outside\nI get out of the fountain.\n\nThe spectre heads off to the west.\n\n> You go to the east\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\n\nAudrey, Gibs, and Casey follow me.\n\n> Go inside\nAudrey says, \"We'll wait down here for you.\"\n\nThe elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'\n\nI'm currently on the first level of the Mall. Aside from the operational panel, there is little else here in the lift.\n\n> You go outside\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\nThere is a crystal ball holder here.\n\n> You go east\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\n\n> Go east\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\n> You go to the south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, Barnaby's Big Gulp drink, the X-box are here.\nSydney and the skeleton are here.\n\n> You take the drink\nTaken.\n\nIt's really cold in here.\n\n> Go outside\nI can't go that way. I can go north to the beginning of the east wing.\n\n> You go inside\nAudrey says, \"We'll wait down here for you.\"\n\nThe elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'\n\nI'm currently on the second level of the Mall. Aside from the operational panel, there is little else here in the lift.\n\n> Go outside\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\nAudrey, Gibs, and Casey are here.\n\n> You go west\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey, Gibs, and Casey follow me.\n\n> You take the water\n(I'll only be able to hold the water for a couple moments before it flows through my hands...)\n\n> You enter the fountain\nEntered!\n\nMall, First Level, Eastern Edge, in the fountain\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nAudrey, Gibs, and Casey are here.\n\n> You put water in the fountain\nDone.\n\n> You put the drink in the fountain\nI put the Big Gulp drink in the fountain.\n\n> You examine the drink\nIt's sixty-four ounces of refreshing lime cola in a cup that looks like a chalice. The 128 ounce version of this drink is called the 'Supreme Maw Thrust' and even though it's a better deal it doesn't get purchased much by many Mall denizens.\n\nThe spectre arrives from the west.\n\n> You throw water at the spectre\nIt doesn't appear as if splashing the water has any effect.\n\nThe spectre heads off to the west.\n\n> You leave\nI get out of the fountain.\n\nThe water flows through my fingers.\n\nThe water flows away and disappears.\n\n> You go to the south\nThis place has been in the Mall for as long as I can remember. It really is just called 'Poster Store,' though when I first noticed it a few years back the 'T' on the sign was missing. For months I thought it was some theme store where white suburban kids exclusively bought cassettes detailing cop killing and bitch slapping.\n\nThe Poster Store sells posters... and little else. There's a hanging flip-rack of posters in the corner of the store, and a few hanging up on the walls.\n\nAlongside the far wall is a set of oversized disembodied lips.\n\nAudrey, Gibs, and Casey follow me.\n\n> Kiss lips\nThey are too high up for me to kiss, which is too bad, because they look DELICIOUS.\n\n> You talk to magic Mouth\nPlease select one:\n\n(1) \"What on earth happened to you?\"\n(2) \"Greetings, Mouth!\"\n(3) \"Tell me a story, Magic Mouth!\"\n\n> 2\nThe mouth says nothing in reply. I know that it 'heard' me, too, as it did not quiver even slightly while I was speaking to it.\n\nPlease select one:\n\n(1) \"What on earth happened to you?\"\n(2) \"Tell me a story, Magic Mouth!\"\n\n> 1\n\"What happened is, I'd like to say, just a misunderstanding! Why, my soul was a-flutter and a-fizz, there was one particularly hateful day, and then a terrible diversionary landing. But now it seems, hidden around, is the key to pick my lock... but I don't quite think you can do it, you miserable fucking cock.\"\n\nPlease select one:\n\n(1) \"Er, excuse me?\"\n(2) \"Shut the fuck up. You're just shitty lips on a wall.\"\n\n> 1\n\"I think you heard me, Duffinkowski; heard me rather well. I'd sooner wait for Ragnar?k than for your mind to gel. You're trapped here, Doofernowski, drinkin', sleepin', eatin'... and I'll wink and sneeze upon your release, you sniveling dumbfuck cretin.\"\n\nPlease select one:\n\n(1) \"Oh, you want to go, eh? Fisticuffs?.\"\n(2) \"Please don't insult me like that. It's, er, insulting.\"\n\n> 1\n\"Oh, I'll have a go, just have no fear -- \"\n\nI'm fed up with the mouth's nonsense. I cut it off from going any further.\n\n\"Just shut that wretched little hole before I cover you with a custom balm milked from your disgusting, available organs, bitchlips. I need help and answers and I'm wholly not interested in even remotely taking abuse from some matted, chudlike non-life hung up on a wall.\"\n\nA sudden unease creeps over me. What am I doing with my life?\nThis is a terrible time for reflection, and I try to fight it off. Audrey starts to say something, like how lips aren't officially organs or something equally helpful, but I ignore the interruption and continue. \"You don't want to be in the Mall any more than I do. Help me out.\"\n\nNothing happens for at least fifteen seconds. I get ready to leave before the lips purse. Finally.\n\n\"How?\" it says, at last.\n\n> Turn rack\nI flip to the next poster in the series and take a look at it.\n\nThe first poster in this set depicts a kind of ritual. There is a red pentagram on the floor, and a bunch of pilgrims, quakers or hippies holding hands around it. (I can never really differentiate between the three.) It's eerily reminiscent of the attempt at an invoking performed earlier by Audrey, Gibs, Syd and Casey... Relatively speaking, anyway, as encountering a wraith and zombie tonight has raised the scale for what I will consider 'eerie' in the future.\n\n> Again\nI flip to the next poster in the series and take a look at it.\n\nThe second poster shows a ghost -- a child's rendition of a spirit, really, with looming, evil eyes and a reversed teardrop shape. It's emerging from some other world or dimension inside the pentagram.\n\n> Keep going\nI flip to the next poster in the series and take a look at it.\n\nEr, this poster is actually one of Samantha Fox pouring milk all over herself in the shower.\n\n> You continue\nI flip to the next poster in the series and take a look at it.\n\nThis poster seems to be by the same artist as the other two, but rather than being drawn from a bird's eye perspective like those posters, it is a close-up of a young boy reading passages from a thick, craggily book. Locks of the boy's hair descend over his glasses and he's decked out all in black, wrapped in a weary and somber expression.\n\n> Keep going\nI flip to the next poster in the series and take a look at it.\n\nThe fourth poster in this set shows a little girl with her eyes downcast. She is drinking from a radiant, glowing urn. The girl is wearing a silvery dress and has a key around her neck.\n\n\"Do you see the symbolism in this picture, Jarret?\"\n\n\"The girl? No. Is she ashamed? Is that why she's looking down?\"\n\n\"No... I mean, around her neck. The key.\"\n\n\"What's the key to?\" I ask.\n\n\"It's... well, actually, maybe it isn't really symbolism. But I think that's to a chastity belt.\" She releases her study of the picture and gives me a subtle, wry smile. \"You know, my father wanted to put me in one when we first started dating.\"\n\n\"It's good that he didn't. I would have just picked it.\"\n\n\"Oh, really?\" she says, with a bit of faux, exaggerated inquiry. \"You know, skills from a game don't always translate to real life.\"\n\n\"I know. I would have done it with my tongue. I have like a cold iron fetish, I just haven't told you yet because the subject hasn't come up and that's a tough one to drop on somebody.\" We stare at each other's eyes for a moment, 'till she breaks the gaze with a smile she unsuccessfully tries to hide.\n\n> Continue\nI flip to the next poster in the series and take a look at it.\n\nThe second-to-last image is of a person from the first poster surrounded by numerous lit candles. There are seemingly millions of candles in the scene, and it's almost like an optical illusion, as the 'negative space' for certain candles comprise many separate ones when viewed in a different way. No candle seems to have a single, identifiable color (or rather, they seem to include all possible colors) and one can only really make out a single flame glowing serenely upon them.\n\n> You look at Poster\nThe fourth poster in this set shows a little girl with her eyes downcast. She is drinking from a radiant, glowing urn. The girl is wearing a silvery dress and has a key around her neck.\n\n> You keep going\nI flip to the next poster in the series and take a look at it.\n\nyousTayaWayyouSICKLITTLEBOY!!\n\nThe last scene shows vibrant fire all over the edges, and the subjects all seem burned to a crisp. There is no sign of the ghost, but the bodies of the boy, the girl, and all their compatriots are viciously chunked and charred. It's a beautiful little bit of art, regardless of how horrible the scene it depicts, and how terrible the ulcer is that begins to grow in my stomach.\n\n> Go north\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey, Gibs, and Casey follow me.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south (in addition to the east, back from where we came). The gate to the Record Store is down to the north.\nThe spectre is here.\n\nAudrey, Gibs, and Casey follow me.\n\n\"Where do we go from here?\" asks Gibs. \"There's an exit past the Food Court, right?\" He gestures over towards the west.\n\n\"Yeah. I don't think we can get out going to the Tech SuperStore.\" The SuperStore is to the south. \"Audrey and I can take a jaunt down there and make sure, though.\"\n\n\"Either way,\" says Gibs. \"Just be careful. Who knows what's lurking about down there?\"\n\n\"Well, as my father always said, 'He who fights with monsters might take care lest he thereby become a monster. \"\n\nGibs thinks about that for a second. \"Your dad didn't say that. Freddie Nietzsche did, dummy.\"\n\n\"What? No he didn't. You're completely wrong.\" I am really not sure if Barnaby is correct or not, so I just immediately go on the defensive.\n\n\"Did Papa Duffy also say 'In heaven, all the interesting people are missing?' Or maybe 'Only sick music makes money today?\"\n\n(Truth to tell, my dad did used to say the latter, but I\ndon't tell Gibs that.)\n\n\"Your father is really weird,\" says Audrey, unhelpfully.\n\n\"Look, enough with ragging on poor, old Nichodeimos. He liked all of you well enough.\"\n\n\"He hated me,\" says Audrey.\n\n\"He called me 'fruitier than a blueberry pudding pop.'\" says Gibs.\n\n\"I never met him\" says Casey.\n\n\"Yeah, well, he hated Goths,\" says Gibs.\n\n\"He hated everybody,\" says Audrey.\n\nThe spectre heads off to the north.\n\n> Go north\nThe gate to the Record Store is down, blocking my path."
    },
    {
        "text": "[Themes: Horror, America, sexual content, horror, mall, monster girl, occult]\n\n> You descend\nThere is not an exit that way.\n\nThere are exits north to the Record Store, and west, east and south to other corridors of the Mall.\n\n> You go to the west\nMall, First Level, West Edge\nA kind of cave-in has apparently occurred here. While the gate north to the Novel Shoppe has been destroyed (and passage is possible), our path to the west is blocked by an enormous amount of rubble.\n\nAudrey, Gibs, and Casey follow me.\n\n\"This is the way out, isn't it?\" asks Gibs. I nod, sagely, in the affirmative.\n\nHe looks over the mess.\n\n\"Look,\" says Gibs, \"Why don't you and Audrey see if you can find any items that we'll need to get past whatever horrors are in store for us on the other side of this wall of junk? I'll start digging away at this and clear a path. Your sissy, atrophied she-muscles won't be able to really help any, Duffy.\"\n\n> Go north\nYou're supposed to be pumped to enter a book store in a mall.\n\nThis isn't the case with this one. The novels contained herein are not discounted in terms of their cost, they are discounted, rather, in terms of their quality. A few years back there was a fad in publishing that resulted in the release of a large number of non-fiction books that were little more than paper printouts of 'successful' blog sites. (I say 'successful' in a manner of speaking like that, as in my opinion the only successful blog site is one that ends with\nthe webcam suicide of its maintainer.)\n\nEl circo de chamuscarse de la retina doesn't stop there.\nShitty steampunk, trite Lycanthropian romance novels, pre-civilization thrillers featuring cavemen (well, cavepeople) and gimmick dictionaries were all part of the hardcover publishing's switch towards the tactics of pop music the last few years. These outright dolorous genres are fully represented here, making this place more a library or museum than a boutique.\n\nThere is an exit to the south.\n\nNailed to a couple of boards in the far corner of the room is a girl. Sitting on the cross is the crucified girl.\n\nCarelessly discarded on the ground next to the crucified girl is a thick, burgundy text.\n\nAudrey follows me.\n\n> You examine girl\nThe crucified girl seems to be of mild Hispanic descent. Her features are slightly olive, her hair dark and her eyes stained all the round by blood. She is wearing a torn black tank top, blue bandana with floral print, and sleek pair of tight shorts. Her build is slight -- she is probably about five foot five at most, with slim, athletic legs.\n\nThe girl's arms and right leg have been nailed to a makeshift cross, and the cross seems solidly affixed to the western wall. There are cuts and tears elsewhere on her body as well. It is difficult to tell how long she has been dead, but she is not sending off a waft of stench or anything, currently. She looks a lot like a girl that used to work in the paint and housewares store that used to be here in the Mall before they closed. I remember that she was really bright, resourceful, helpful and was working on her four-year degree. I really hope it's not her.\n\nShe is dead.\n\n> You look at the cross\nThe cross runs about six feet high, wide enough for a grown woman to be nailed to and made of some sort of indeterminate wood.\n\nThere is a dead girl nailed to it.\n\nSitting on the cross is the crucified girl.\n\n> You remove the girl\nI ease the girl down from the cross and place her on the floor.\n\n> You examine the text\nThe text has a grooved, sturdy cover, designed out of pressed reed and dyed a rich burgundy. It is about fifteen inches long, nine or ten inches thick.\n\n> You get it\n(assuming you mean the aged text)\nGot it.\n\nnoyoUreYescasTtheMaSiDelittlefucKsicklittleboy!!! !\n\n> You read it\n(assuming you mean the aged text)\nI flip through a few pages, but nothing really catches my eye. I'm sure that some long dead monk or priest who nearly acquired whatever the 14th century version of repetitive motion syndrome in writing this thing is revolving in a European Potter's grave at my disinterest, but the words just seem to roll off my eyeballs in a splash of drama and desperate Calligraphy.\n\n> You get the girl\nShe's too heavy for me to lift and move around.\n\n> You get cross\nI'm carrying too much to take that.\n\n> You check your inventory\nI am carrying my glasses (being worn), some socks, the Magic: The Gathering cards, the gaming glove (being worn), Gibs's lacrosse stick, the phone, a pleather purse, Barnaby's Big Gulp drink, and the aged text.\n\n> You drop the gulp\nDropped.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\nsocks: Dropped.\nMagic: The Gathering cards: Dropped.\ngaming glove: I will have to take the gaming glove off first. lacrosse stick: Dropped.\nphone: Dropped.\naged text: Dropped.\n\n> Go south\nMall, First Level, West Edge\nThis area is adjacent to the huge Food Court which is just over to the west. The amount of available light dwindles further, while the density of smoke present is the thickest I've seen yet.\n\nThere's paths to the west (into the Food Court) and east (back into the first-floor corridor).\nGibs and Casey are here.\n\nAudrey follows me.\n\n> Go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\n\nAudrey follows me.\n\n> Go north\nThe gate to the Record Store is down, blocking my path.\n\n> Go north\nI hate going in here, but I have apparently been a patron enough times to notice how peculiar the store is without its overhead fluorescent spotlights. The low light received from outside produces oddly-angled little shadows, albeit (apparently) non-sentient ones.\n\nThere are two long rows of shelves along the north-south orient of the store, and a cashier's counter in back.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text are here.\nThe crucified girl and the phone are here.\n\nAudrey follows me.\n\n> You get all\nBig Gulp drink: Taken.\npleather purse: Taken.\nsocks: Taken.\nMagic: The Gathering cards: Taken.\nlacrosse stick: Taken.\nphone: Taken.\naged text: Got it.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey follows me.\n\nThe spectre arrives from the east.\n\n> You look at the spectre\nThe spectre is a powerful, intangible, undead spirit consumed with hatred for those with warmth in their souls. Its touch drains an enormous amount of life energy, it is unaffected by silver, 'normal' iron, or cold.\n\nIt would be powerless in daylight, but I am obviously several hours away from any such thing. It may be best to just avoid and and not antagonize it.\n\nThe spectre heads off to the north.\n\n> You call the phone\n[Speaking to Trott on the phone...]\nJust talking to Trott will suffice.\n\nThe spectre arrives from the north.\n\n> You talk to Trott\n[Speaking to Trott on the phone...]\nPlease select one:\n\n(1) \"Can you raise the gate of the Record Store for me?\"\n\n> 1\n\"Hmm,\" says Trott, \"Let me try... argh. I can't. I'm not getting anything to respond in that area.\"\n\n> Go south\nMall, First Level, Southern Edge\nI enter the southern-most section of the Mall, and it's as I feared: the Outlet SuperStore has been cemented over, so I won't be able to get to the exit doors that way. (I always arrive through the food court due to how the parking lots are structured.)\n\nThere's two stores here that are accessible, however: a party favors store to the east, and then the Bead Store's main competitor -- a candle store, which is to the west.\n\nAudrey follows me.\n\n> Go east\nThis store is mostly unfurnished, with a low, bare ceiling, cold floor covered in cheap carpeting, and blankets and rugs thumb-tacked up to hide the peeling wallpaper and crumbling drywall.\n\nThe contents of the room are a cluttered mess, as this place seems to be more of a craftsman's think-tank and construction area than pure chamber for commerce like so many other shops in the Mall. There's a workdesk and mirror along the northern wall and a file cabinet across from it. A small window is visible behind some junk, and directly across from the entrance are seven masks attached to the back wall in a proud display. Attached to one of the naked support beams is a disco laser pointer.\n\nProminently displayed in the center of the room is a reserved, yet sizeable urn.\nSitting on the workdesk is the blue balloon.\n\nAudrey follows me.\n\n> You look at the cabinet\nIt's colored a deep beige and stands about as tall as I do. It, like most of the other things in the room, is of cheap construction.\n\n> You open it\n(assuming you mean the file cabinet)\nOpened.\n\n> You examine it\n(assuming you mean the file cabinet)\nIt's colored a deep beige and stands about as tall as I do. It, like most of the other things in the room, is of cheap construction.\n\n> You look in it\n(assuming you mean the file cabinet)\nThe file cabinet is empty.\n\n> You search it\n(assuming you mean the file cabinet)\nI don't find anything.\n\n> You examine the desk\nThis workdesk is just a worn and cheap table that any office supply store would carry and sell for around sixty bucks.\nSitting on the workdesk is the blue balloon.\n\nSitting on the workdesk is the blue balloon.\n\n> You get the balloon\nTaken.\n\n> You examine it\n(assuming you mean the blue balloon)\nIt's colored blue, but the material used is a heavier than I'd expect -- like an expandable metallic bag. It floats in the air about where it's placed, so presumably it's got some helium in it, though a fair amount has leaked out.\n\n> You look at the masks\nThere's a collection of masks in the Party Store, though many of them valueless, and all of them locked up tight to the wall.\n\n> You examine the mirror\nA stylin' and engaging Chortlemaster with great hair is staring back at me.\n\n> You examine the window\nThis rare window offers a glimpse to what is going on outside. There is a terrible storm along the horizon that is visible from this direction. The clouds right above the mountains are electric with activity. The moon is soft and blurred and red-orange.\n\nI stay for too long a moment and take it all in. The window itself is unbreakable, of course, to fend off thieves, and it's far too small for me to fit through, but I can't deny how strong the feeling is to get on the other side of these walls, to sprint off into the distance until the snow-capped peaks are before me and to just burrow within them and hide until dawn... till some other dawn, days away.\n\nI come back to my senses after a few moments. I'll find another way out.\n\n> You get the urn\nRight on.\n\nleAveaLonEthEdEadthEirasHesnoTFORYOULItTleoNe!!!\n\n> You turn on the pointer\nParty!! It's a FUN FOR ALL FREE PARTY ZONE! I get down and\ndance! Who doesn't like a rockin' party like this?"
    },
    {
        "text": "[Themes: Horror, romance, mall, America, music, scatological]\n\n> Describe the surroundings\nThis store is mostly unfurnished, with a low, bare ceiling, cold floor covered in cheap carpeting, and blankets and rugs thumb-tacked up to hide the peeling wallpaper and crumbling drywall.\n\nThe contents of the room are a cluttered mess, as this place seems to be more of a craftsman's think-tank and construction area than pure chamber for commerce like so many other shops in the Mall. There's a workdesk and mirror along the northern wall and a file cabinet across from it. A small window is visible behind some junk, and directly across from the entrance are seven masks attached to the back wall in a proud display. Attached to one of the naked support beams is a disco laser pointer.\nAudrey is here.\n\n> You examine the carpet\nThe carpets and blankets are old, musty things have been tacked up onto the walls to hide the scratched-out drywall beneath.\n\n> You look at the junk\nUpon closer inspection, the junk is just some random garbage that the guy who owns the store probably generated in making his wares.\n\n> You remove masks\nThe masks are permanently attached to the wall of the Party Store.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n\n> Go west\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey follows me.\n\n> Go west\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\nThere are a number of tiny birthday candles in packages all over the store, but the most impressive display is in the back, where an elegant, if clouded menorah rests upon a long display table.\nA Revenant is here.\n\nAudrey follows me.\n\n> You get menorah\noUTOUTboysickchildOUTNONONONONONONO!!!\n\nI take it.\n\nA bit of smoke and fog begins to form against the southern wall.\n\n> You look at Revenant\nThe Revenant is about a foot taller than me, and decked out in an old, charred robe. Its face is covered in hideous burn scars, not that the thing is doing itself any favors in the charisma department by wearing a constant sneer. Its fingernails are overgrown and apparently chewed or filed down to function as sharp claws. It breathes heavily, each gasp of air apparently being quite an effort to draw.\n\nAnother vision appears before us. It shows a slender hand over a sink holding a one of those card pregnancy tests.\n\nThe vision quickly pulls back, revealing Audrey in a bathrobe and her hair in towel. I think that I saw the card show a 'plus' sign before the vision ended. The only thing is... I have no idea what plus represents. Pregnant? Not expecting? Gender? I don't have a lot of experience in this sort of thing."
    },
    {
        "text": "> Look around\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\n\nThe floorspace towards the rear of the store is completely taken up by the long display table against the western wall.\nA Revenant and Audrey are here.\n\n> You talk to Revenant\nPlease select one:\n\n(1) \"A vampire, Kali, is your killer.\"\n(2) \"Yeah. Sorry about that. I honestly thought she killed you.\"\n(3) \"What was supposed to happen upon you finding your killer?\"\n(4) \"The vampire wasn't your killer, was she?\"\n\n> 1\n\"Then this 'Kali' shall be boiled away into hell!\" booms the Revenant. \"Off we are!\"\n\nPlease select one:\n\n(1) \"Yeah. Sorry about that. I honestly thought she killed you.\"\n(2) \"What was supposed to happen upon you finding your killer?\"\n(3) \"The vampire wasn't your killer, was she?\"\n\n> 1\nThe Revenant silent stares ahead for an uncomfortable amount of time. Should I leave or something? Add more? He's really difficult to gau--\n\n\"Mistakes are made,\" he says with infinite calm. \"No real harm has been done.\" Whatta guy.\n\nThe Revenant heads off to the east.\n\n> 4\n\"She was not,\" the Revenant says quickly. \"It is of little matter, however. Mistakes get made. She offered no real value to this world or any others. She will not be back for the foreseeable future.\"\n\n\"That's excellent,\" I reply. \"Thanks.\"\n\n\"There is no need for thanks. It was not a favor I did, but an attempt to uncover the truth about my death.\" I give him a quick look of sympathy and understood pain, but it's totally fake. I'm hoping he can't determine my ruse, what with the flamb?ed face and eyes and everything. But either way he seems pretty relaxed.\n\nPlease select one:\n\n(1) \"A vampire, Kali, is your killer.\"\n(2) \"Yeah. Sorry about that. I honestly thought she killed you.\"\n(3) \"What was supposed to happen upon you finding your killer?\"\n\n> 3\n\"REST!\" bellows the Revenant. I'm momentarily taken back by his outburst: there are absolutely no other sounds audible this far into the Mall. \"A sweet, everlasting relaxation that I so richly deserve. Many cultures have had many different names for it. Nirvana... Heaven... Ragnar?k...\"\n\n\"Actually, Ragnar?k wasn't a final state of bliss, like the Sanskrit Nirvana, but rather a foretelling of -- \" The Revenant cuts me off and continues his monologue. What a complete cock!\n\n\"A final resting place for a warrior such as I. It is as I deserve. I crave it, desperately... but first I must find the one that put me into this state and remove her from this world.\"\n\nI give the guy the fingerguns sign. \"Good luck with that,\" I tell him. Jerk.\n\nPlease select one:\n\n(1) \"A vampire, Kali, is your killer.\"\n(2) \"Yeah. Sorry about that. I honestly thought she killed you.\"\n\n> 1\n\"Then this 'Kali' shall be boiled away into hell!\" booms the Revenant. \"Off we are!\"\n\nPlease select one:\n\n(1) \"Yeah. Sorry about that. I honestly thought she killed you.\"\n\n> Yes\nThanks for playing!\ncheaphe quit with exit status: 0\n\n> You check your inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, and the menorah.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n(2) \"Are we looking for a particular candle?\"\n(3) \"Whoa, that was you in the vision! What does a plus mean?\"\n\n> 3\n\"What does a plus mean?\" asks Audrey. \"On a home pregnancy test? It means that you're not pregnant. Thank God.\"\n\n\"Did you have a close call or something?\"\n\n\"Yes, we had a close call. Don't you remember? It wasn't that\nlong ago. I had got off ICQ talking to one of your ex-girlfriends the night before. She told me that you, quote, 'wig out' when spoken to in Elvish or some other made-up language along those lines.\"\n\nAudrey continues her story, but I start to get a flood of memories back from that night. I had actually deigned to go out clubbing with her for a night a few weeks back. (I usually don't, as I am such a lousy, self-conscious dancer.) She was wearing this tight little gray dress with slight horizontal lines across it, made out of this fuzzy fabric -- the outfit practically squealed 'do me' by itself.\n\nAudrey was grinding her way up against me every time I went onto the floor. I just seizured out. That's the only way I know how to dance. I almost never really consume much alcohol, but that night I was taking pull after pull of some Safeway Vodka that Sydney had smuggled into the club as if the contents of the bottle were nothing more innocuous than Mexican Kool-Aid. Audrey and I took a cab back to her place, and we were all over one another before we could find the light switch.\n\nShe was on top of me for what seemed like the better part of an hour when she dipped down and whispered something into my ear.\nTye-mela'ne. It's Tolkein Elvish for 'I love you.' We don't\nseem to say that to each other very much, but even drunk I instantly translated what she said and I... well, I went off like a Soviet Catapult: unexpectedly, unpredictably, and altogether quite messily.\n\nI hadn't thought about it -- about the consequences of it -- until just right now. I didn't mean for her to go through a pregnancy scare like that by herself. I just wasn't thinking about the details.\n\n(For what it's worth, the story that Audrey related as I had this flashback was pretty much exactly like mine, except that she said that we only jammed for something like fifteen minutes. She's got this crazy, post-Einsteinian view of how time really works though, so don't believe her.)\n\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n(2) \"Are we looking for a particular candle?\"\n\n> 2\n\"Um... I'm not really sure,\" said Audrey. \"If I remember right, the candle or candles didn't have an apparent identifying trait that I could see...\" She screws up her face in thought for a moment. \"I'll think, though, about it...\" It's probably nothing more than ego on my part, but I could swear that there was a hint of, 'if I don't\nget it, I am betting that my charming and resourceful boyfriend certainly will.' OK, maybe a lot of ego, but still.\n\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n\n> You look\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\n\nThe floorspace towards the rear of the store is completely taken up by the long display table against the western wall.\nAudrey is here.\n\n> You examine table\nThe display table is a sort of countertop, approximately fifteen feet long and about three feet deep. It is made out of a hard plastic, faced off with a chipping formica plate.\n\n> You search it\n(assuming you mean the long display table)\nI don't find anything.\n\nA horrible scream pierces the air, originating from the far end of the Food Court.\n\n> You go to the east\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey follows me.\n\n> Go north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\nThe spectre is here.\n\nAudrey follows me.\n\nThe spectre heads off to the north.\n\n> You go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey follows me.\n\n> Go east\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\n\nAudrey follows me.\n\n> Go south\nThe Poster Store sells posters... and little else. There's a hanging flip-rack of posters in the corner of the store, and a few hanging up on the walls.\n\nAlongside the far wall is a set of oversized disembodied lips.\n\nAudrey follows me.\n\n> You go north\nI'm not quite sure why sunglasses and shades are only sold in 'huts' but this store is very un-hut like. There are three very solid walls here and a roof made not of thatch, but poured, cracking cement. The floor is hardly comprised of peat or mud, but the same tile present everywhere else in the Mall.\n\nA fair bit of ether has snaked itself into the room. It combines with the hand-picked and market-researched atmospheric lights that still function to give off a very deep, defracted and soothing look to the room. Vibrant purples and deep blues dominate the walls and counters of the Sunglasses Hut.\n\nI worked at this place for a week once when I was fighting with my manager at the D&D store. I acquired a little bit of trivia regarding this place (for instance, the center display case will open if it's tapped upon) but nothing useful otherwise.\n\nAudrey follows me.\n\n> Hit case\nI give the case a good whack, and it opens with ease.\n\nInside the center display case are the mirrored shades.\n\n> You take the shades\nGot it.\n\n> You examine them\n(assuming you mean the mirrored shades)\nThey are circular frames, with perfect mirrors on the outside. My eyes are completely hidden while wearing the sunglasses, at the expense of a lot of light getting through.\n\n> You remove the glasses\nI can't remove my specs like that! They are a valuable information-gathering tool!\n\n> You wear the shades\nI take off my glasses and put the shades on. Things get considerably darker.\n\n> You look\nA fair bit of ether has snaked itself into the room. It combines with the hand-picked and market-researched atmospheric lights that still function to give off a very deep, defracted and soothing look to the room. Vibrant purples and deep blues dominate the walls and counters of the Sunglasses Hut.\n\nI worked at this place for a week once when I was fighting with my manager at the D&D store. I acquired a little bit of trivia regarding this place (for instance, the center display case will open if it's tapped upon) but nothing useful otherwise.\nAudrey is here.\n\n> You wear the glasses\nI put my specs back on.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey follows me.\n\n> Go north\nThe gate to the Record Store is down, blocking my path.\n\n> You knock on the gate\nNo response.\n\n> Go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nGibs is here.\n\nAudrey follows me.\n\n\"She was here, Duffy. She was beautiful.\"\n\n\"Who was? Casey? Where's Casey?\"\n\n\"Casey... \" Gibs turns and looks at me for the first time since I came back. \"No... not poor Casey. We finished up getting all the wreckage out of the way and as I looked up Casey was entranced by the most beautiful creature I have ever seen. Her skin was so pale, so fragile. She had this dark shock of bangs that framed her perfect face. As soon as I looked up, I froze. But she had locked eyes with Casey. I knew her name was Kali, but not how. Casey didn't seem to be able to move, at first, just like me. Then -- \"\n\n\"It was a vampire, Gibs. I was hoping we'd avoid one, but -- \"\n\n\"She took Casey by the hand and they both walked that way... into the darkness.\"\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first. lacrosse stick: Dropped.\nphone: Dropped.\naged text: Dropped.\nblue balloon: Dropped.\nurn: Dropped.\nmenorah: Dropped.\nmirrored shades: Dropped.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n> You go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nGibs's lacrosse stick, the aged text, the blue balloon, an urn, the menorah, the mirrored shades are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n> Go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nCasey is here.\n\nAudrey and Gibs follow me.\n\nA garbage can comes flying right at me!\n\nA garbage can strikes me, and I take a little bit of damage.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west.\n\n> Go west\nI can't get by the Poltergeist!\n\n\"I don't think Casey has a lot of time,\" says Gibs. \"I don't remember as much D&D crap as you do, Duffy, but I'm thinking she has maybe fifteen minutes.\"\n\n> You go to the north-east\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green which some junior ad exec no doubt thinks promotes quick sales decisions, when all it truly does is make customers eager to get the hell out before they add an equally off-putting color to the surrounding by use of their own acrid vomit.\n\nIn the rear of the store is a modest plastic counter and an ancient analog cash register. Further behind that is a closed metal door that really clashes with what's going on otherwise, stylistically.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nExits lead to the southwest and through the door.\n\n\"There should surely be some garlic here,\" I say to myself...\n\nAudrey and Gibs follow me.\n\n> You open the door\n\"I'm going to take a quick look below. Be right back.\"\nOpened.\n\n> You go inside\nI can't go that way. I can go down to the basement entrance or southwest to the food court's east half.\n\n> You go through the door\nI descend the stairs and enter the basement. The air is at least twenty degrees cooler down here than it is up above and it has a bit of a tangy, acrid -- almost 'chewy' quality to it. My breath turns into wispy, stringy clouds the instant it leaves my lips and I begin to feel my very bones come across a deep chill. I usually prefer winter to summer, so normally I wouldn't be put off by the frost down here and a few bad smells, but there's something different about the chill in the air down here. The temperature of the air seems malevolent, almost.\n\nThe ceiling of the basement is about five and a half feet high, so I have to lurch over like I'm the hunchback of Notre Dork just to get around. The walls have a very rough texture to them, as if they were blasted away and then sanded down in a very half-assed manner.\n\nThe corridor continues into darkness to the north.\n\n> Go north\nThe light is very poor in this room, all of it coming from what can seep and pour through the metal door up above. The floor has turned to earth, however, and the walls seem to have a texture wholly different from the blasted rock earlier in the corridor. I can't say I'm totally suprised to find this area down here below the Mall, as rumor was that the place was built upon some burial grounds. I just never knew that they were, in parts, integrated.\n\nExits lead south and further on to the north.\n\n> You go to the north\nThe basement ceiling gets much taller in this room, about up to 15 feet or so, I'd guess. At the very top is a small torch, which is providing a fair bit of the light in the room -- the rest of it is reflected from the coffin in the corner.\n\nThe ground is no longer soft earth, either, but rather blocks of cold stone. The walls are made of some kind of brick which reflects a bit of light as well, although nowhere near as well as the coffin.\n\nA support beam has been installed next to the coffin. Beyond it, to the right, is a small and very dark alcove.\n\n> You get the torch\nIt's too far up.\n\n> You look at it\n(assuming you mean the alcove)\nIt's a very small and hidden away subsection of the basement. It's to the east.\n\n> Go east\nI practically have to crawl to get into this little cave-like section cut away from the basement. The light is gobbled up from something inside, as nothing from the coffin room manages to get in here.\n\nThe only thing of note here is a very small trestle up against the wall.\n\n> You look at the trestle\nIn the corner of the alcove is a single trestle. It's obviously rotting away, and emitting a little bit of an old musty smell. It stands about two feet high and looks as if it might crumble at any time.\n\nThe trestle has a garlic clove on it.\n\n> You get the clove\nI take the garlic.\n\nI hear metallic stone sliding up against metallic stone coming from the next room.\n\n> You go west\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. At the top of the ceiling is a single, lit torch, held at a diagonal against the wall with a bracket. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\nThe lid is here.\n\nI see two bandaged hands slowly emerge from darkness. They grope at the sides of the coffin. A figure rises, I see first the unwrapped, rotting head and then the torso, wound tight with stinking fibers and rags.\n\nThe mummy turns its head directly towards me.\n\n> You hit the torch with the cross\nI cruelly break the torch!\n\n> You look at the beam\nThe support beam is a strong and long block of stone keeping the ceiling up nice and high.\n\nThe mummy exits the coffin.\n\nThe mummy slowly begins to moan, seemingly within a weary, endless pain. It quickly shifts this to a scream. Its keen is of a deep tenor, and it begins thrashing about. Small scraps of deteriorating bandages fall from its person and onto the floor.\n\nThe mummy strikes the support beam! Chunks of the ceiling fall downwards and it sounds as if the entire Mall has collapsed a little.\n\nThe chaos breaks me out of my fear-trance. I feel I could flee now if I wanted to try.\n\nThe mummy attacks and hits me!\n\nI feel awful after that last touch.\n\n> You go to the south\nThis stretch of corridor is little more than a narrow, forgotten passageway. Soft earth makes up the floor, a distinct change from the cement seen to the south.\n\nThe mummy follows me.\n\nThe mummy attacks and hits me!\n\n> Go south\nThe temperature of the air down here in the basement is quite cold, probably no more than thirty degrees Fahrenheit. The ceiling is just over five feet high, and the walls have a very rough texture to them, as if they were blasted away and then poorly sanded.\n\nThe mummy follows me.\n\nThe mummy attacks and hits me!\n\n> You hit the mummy with the cross\nI attack, but miss the mummy!\n\nThere's a flash of pain right where the mummy first struck me.\n\nThe mummy attacks and hits me!\n\n> Go south\nI can't go that way. I can go up to a health store or north to a basement corridor.\n\n> You go up\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\nAudrey and Gibs are here.\n\nThe mummy follows me.\n\n\"Duffy, look out! Somebody's followin' you!\"\n\n\"Christ, I know, Gibs! Help me kill it!\"\n\nThe mummy attacks and hits me!\n\n> You hit the mummy with the cross\nI clobber the mummy with the cross.\n\n(The cross breaks as a result, and I throw it down.)\n\n\"Bring back pre-casting, beeeeyatch!\" I scream!\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\nThe mummy attacks and hits me!\n\n> Go southwest\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nThe mummy, Audrey, and Gibs follow me.\n\nThe mummy attacks and hits me!\n\n> Go east\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 17, then find line 5 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 6.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 17, then find line 5 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 6.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n%% Enter a save filename to read:\n\n> You look at the candles\nThese boxes contain reams of cheap, short blue birthday candles.\n\n> You check your inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, and the menorah.\n\n> You get the blue candles\nI haven't encountered any \"blue candles\". (If you're sure you need to refer to that, try putting it another way.)\n\n> Go east\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey follows me.\n\nA horrible scream pierces the air, originating from the far end of the Food Court.\n\n> Go east\nThis store is mostly unfurnished, with a low, bare ceiling, cold floor covered in cheap carpeting, and blankets and rugs thumb-tacked up to hide the peeling wallpaper and crumbling drywall.\n\nThe contents of the room are a cluttered mess, as this place seems to be more of a craftsman's think-tank and construction area than pure chamber for commerce like so many other shops in the Mall. There's a workdesk and mirror along the northern wall and a file cabinet across from it. A small window is visible behind some junk, and directly across from the entrance are seven masks attached to the back wall in a proud display. Attached to one of the naked support beams is a disco laser pointer.\n\nAudrey follows me.\n\n> You examine the laser\nThe laser pointer is out there jivin'! It's scattering laser light everywhere and it's turned this placed into a Block Party Central! Whoo-hoo!\n\n> You examine the balloon\nIt's colored blue, but the material used is a heavier than I'd expect -- like an expandable metallic bag. It floats in the air about where it's placed, so presumably it's got some helium in it, though a fair amount has leaked out.\n\n> You look at the masks\nThere's a collection of masks in the Party Store, though many of them valueless, and all of them locked up tight to the wall.\n\n> Go west\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey follows me.\n\n> Go north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey follows me.\n\nThe spectre arrives from the north.\n\n> Examine Poster\nThe last scene shows vibrant fire all over the edges, and the subjects all seem burned to a crisp. There is no sign of the ghost, but the bodies of the boy, the girl, and all their compatriots are viciously chunked and charred. It's a beautiful little bit of art, regardless of how horrible the scene it depicts, and how terrible the ulcer is that begins to grow in my stomach.\n\n> Turn poster\nI flip the posters in the rack all the way back to the start.\n\n> You flip the rack\nI flip to the next poster in the series and take a look at it.\n\nThe first poster in this set depicts a kind of ritual. There is a red pentagram on the floor, and a bunch of pilgrims, quakers or hippies holding hands around it. (I can never really differentiate between the three.) It's eerily reminiscent of the attempt at an invoking performed earlier by Audrey, Gibs, Syd and Casey... Relatively speaking, anyway, as encountering a wraith and zombie tonight has raised the scale for what I will consider 'eerie' in the future.\n\n> Continue\nI flip to the next poster in the series and take a look at it.\n\nThe second poster shows a ghost -- a child's rendition of a spirit, really, with looming, evil eyes and a reversed teardrop shape. It's emerging from some other world or dimension inside the pentagram.\n\n> Keep going\nI flip to the next poster in the series and take a look at it.\n\nEr, this poster is actually one of Samantha Fox pouring milk all over herself in the shower.\n\n> You continue\nI flip to the next poster in the series and take a look at it.\n\nThis poster seems to be by the same artist as the other two, but rather than being drawn from a bird's eye perspective like those posters, it is a close-up of a young boy reading passages from a thick, craggily book. Locks of the boy's hair descend over his glasses and he's decked out all in black, wrapped in a weary and somber expression.\n\n> You continue\nI flip to the next poster in the series and take a look at it.\n\nThe fourth poster in this set shows a little girl with her eyes downcast. She is drinking from a radiant, glowing urn. The girl is wearing a silvery dress and has a key around her neck.\n\n> Continue\nI flip to the next poster in the series and take a look at it.\n\nThe second-to-last image is of a person from the first poster surrounded by numerous lit candles. There are seemingly millions of candles in the scene, and it's almost like an optical illusion, as the 'negative space' for certain candles comprise many separate ones when viewed in a different way. No candle seems to have a single, identifiable color (or rather, they seem to include all possible colors) and one can only really make out a single flame glowing serenely upon them.\n\n> Continue\nI flip to the next poster in the series and take a look at it.\n\nThe last scene shows vibrant fire all over the edges, and the subjects all seem burned to a crisp. There is no sign of the ghost, but the bodies of the boy, the girl, and all their compatriots are viciously chunked and charred. It's a beautiful little bit of art, regardless of how horrible the scene it depicts, and how terrible the ulcer is that begins to grow in my stomach.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the menorah, and the mirrored shades.\n\n> You call the phone\n[Speaking to Trott on the phone...]\nJust talking to Trott will suffice.\n\n> You talk to Trott\n[Speaking to Trott on the phone...]\nI can't think of anything to say right now.\n\n> You read the text\nI flip through a few pages, but nothing really catches my eye. I'm sure that some long dead monk or priest who nearly acquired whatever the 14th century version of repetitive motion syndrome in writing this thing is revolving in a European Potter's grave at my disinterest, but the words just seem to roll off my eyeballs in a splash of drama and desperate Calligraphy.\n\n> You examine the menorah\nThe menorah has places for nine candles -- one for each day of Hanukkah, and then one candle which is the Shamash, which is used to light the other candles once per day for each day of the holiday. This menorah is made out of brass and does not appear to have had any attention or cleaning in quite some time.\nInside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\nInside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\n> Keep going\nThe menorah gets a little brighter.\n\nThe spectre arrives from the south.\n\n> You talk to the spectre\nI can't think of anything to say right now.\n\nThe spectre heads off to the east.\n\n> Go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nCasey is here.\n\nAudrey and Gibs follow me.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west.\n\n> Examine can\nIt's a typical Mall garbage can (big, gray, plastic and cruddy).\n\n> You search it\n(assuming you mean the garbage can)\nI don't find anything.\n\n> You get light\nI'm carrying too much to take that.\n\n> You get light\nI'm carrying too much to take that.\n\nA brown table is drawn up from the floor and thrown at me!\n\nI dodge the item, though.\n\n\"I don't think Casey has a lot of time,\" says Gibs. \"I don't remember as much D&D crap as you do, Duffy, but I'm thinking she has maybe fifteen minutes.\"\n\n> You drop the glasses\nI can't drop my specs! They are a valuable information-gathering tool!\n\nA short gray table comes flying right at me!\n\nI dodge the item, though.\n\n> You get light\nI'm carrying too much to take that.\n\nA fluorescent light wobbles a bit, and is suddenly hurled at me!\n\nA fluorescent light strikes me, and I take a little bit of damage.\n\n> You examine it\n(assuming you mean the fluorescent light)\nThis light fixture is from a chunk of the Mall's ceiling. It's at least a couple feet long, and mostly cylindrical in shape. It's non-functioning, of course, and quite heavy.\n\nSomething roughly picks up some socks and throws it at me!\n\nSome socks strike me, and I take a little bit of damage.\n\n> You check your inventory\nI am carrying the gaming glove (being worn), a pleather purse, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the menorah, the mirrored shades, and my glasses (being worn). Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\nA metal chair wobbles a bit, and is suddenly hurled at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> You examine urn\nThis rather large urn is crafted in the shape of an upside-down mushroom. It's a base silver in color with a floral pattern painted on top.\n\nA brown table comes flying right at me!\n\nI dodge the item, though.\n\n> You get it\n(assuming you mean the urn)\nRight on.\n\n> You wear the shades\nI take off my glasses and put the shades on. Things get considerably darker.\n\nSomething roughly picks up a metal chair and throws it at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> You examine Poltergeist\nPoltergeists are a form of invisible undead that whines for attention by flinging shit at people. Of all the creatures and spirits that make up the hierarchy of walking dead, these mewling little bitches are the ones I despise with the most passion. They're the worst drama queens in the underworld. In reality, 'poltergeists' are just the manifestations of picked-on, spoiled little emo or Goth kids... I can't imagine what this demonically-realized little ghost brat has going on underneath the surface.\n\n> You talk to Poltergeist\nPoltergeists can not communicate that way.\n\nA broken chair comes flying right at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\n> You use the gaming glove\n[Be a little more specific about what you'd like to do with the\ngaming glove.]\n\n> You look at Glove\nThe Sierra Hobbies Gaming Glove is an inky black novelty gaming companion for the hurried Games Master. It's full of mnemonics, scribbled shortcuts and tables to allow for a smoother (and more stylish) game of D&D. No Dungeon Master that takes his craft seriously should be without!\n\nI'm currently wearing the gaming glove.\n\nThe poltergeist hurls a broken chair at me!\n\nI dodge the item, though.\n\n> You get the chair\nWhich chair do you mean, the plastic chair, the metal chair, the broken chair, or the chair parts?\n\n> Plastic\nI'm carrying too much to take that.\n\nThe poltergeist picks up some chair parts and throws it towards me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\n> Status\nI have a lot of minor scratches, but will be okay, since I still have my looks.\n\nThe poltergeist picks up a metal chair and throws it towards me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Whoa, that was you in the vision! What does a plus mean?\"\n\n> 1\n\"What does a plus mean?\" asks Audrey. \"On a home pregnancy test? It means that you're not pregnant. Thank God.\"\n\n\"Did you have a close call or something?\"\n\n\"Yes, we had a close call. Don't you remember? It wasn't that\nlong ago. I had got off ICQ talking to one of your ex-girlfriends the night before. She told me that you, quote, 'wig out' when spoken to in Elvish or some other made-up language along those lines.\"\n\nAudrey continues her story, but I start to get a flood of memories back from that night. I had actually deigned to go out clubbing with her for a night a few weeks back. (I usually don't, as I am such a lousy, self-conscious dancer.) She was wearing this tight little gray dress with slight horizontal lines across it, made out of this fuzzy fabric -- the outfit practically squealed 'do me' by itself.\n\nAudrey was grinding her way up against me every time I went onto the floor. I just seizured out. That's the only way I know how to dance. I almost never really consume much alcohol, but that night I was taking pull after pull of some Safeway Vodka that Sydney had smuggled into the club as if the contents of the bottle were nothing more innocuous than Mexican Kool-Aid. Audrey and I took a cab back to her place, and we were all over one another before we could find the light switch.\n\nShe was on top of me for what seemed like the better part of an hour when she dipped down and whispered something into my ear.\nTye-mela'ne. It's Tolkein Elvish for 'I love you.' We don't\nseem to say that to each other very much, but even drunk I instantly translated what she said and I... well, I went off like a Soviet Catapult: unexpectedly, unpredictably, and altogether quite messily.\n\nI hadn't thought about it -- about the consequences of it -- until just right now. I didn't mean for her to go through a pregnancy scare like that by herself. I just wasn't thinking about the details.\n\n(For what it's worth, the story that Audrey related as I had this flashback was pretty much exactly like mine, except that she said that we only jammed for something like fifteen minutes. She's got this crazy, post-Einsteinian view of how time really works though, so don't believe her.)\n\n> You talk to Trott\n[Speaking to Trott on the phone...]\nI can't think of anything to say right now.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, some chair parts, and some socks are here.\n\nAudrey and Gibs follow me.\n\nSome chair parts comes flying right at me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\n> You go to the north-east\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green which some junior ad exec no doubt thinks promotes quick sales decisions, when all it truly does is make customers eager to get the hell out before they add an equally off-putting color to the surrounding by use of their own acrid vomit.\n\nIn the rear of the store is a modest plastic counter and an ancient analog cash register. Further behind that is a closed metal door that really clashes with what's going on otherwise, stylistically.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nExits lead to the southwest and through the door.\n\n\"There should surely be some garlic here,\" I say to myself...\n\nAudrey and Gibs follow me.\n\n> You examine the register\nIt's one more in an endless parade of registers that are probably filled with cash that would solve all my financial problems, only I don't know how to get to it. Oh, well, stealing is wrong anyway.\n\n> You look at the Counter\nThis smooth, treated plastic counter is towards the back of the store, in front of a steel door.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You open the door\n\"I'm going to take a quick look below. Be right back.\"\nOpened.\n\n> Exits\nThere are exits southwest to the Food Court and down (through the door)."
    },
    {
        "text": "[Themes: Horror, abjection, ghost, strong profanity, rpg]\n\n> Go downward\nI descend the stairs and enter the basement. The air is at least twenty degrees cooler down here than it is up above and it has a bit of a tangy, acrid -- almost 'chewy' quality to it. My breath turns into wispy, stringy clouds the instant it leaves my lips and I begin to feel my very bones come across a deep chill. I usually prefer winter to summer, so normally I wouldn't be put off by the frost down here and a few bad smells, but there's something different about the chill in the air down here. The temperature of the air seems malevolent, almost.\n\nThe ceiling of the basement is about five and a half feet high, so I have to lurch over like I'm the hunchback of Notre Dork just to get around. The walls have a very rough texture to them, as if they were blasted away and then sanded down in a very half-assed manner.\n\nThe corridor continues into darkness to the north.\n\n> Examine beam\nThe support beam is a strong and long block of stone keeping the ceiling up nice and high.\n\n> Climb beam\nI can get a little ways up, but the beam becomes highly polished and without any sort of ridges to hold onto or place my feet within about two or three feet up.\n\n> Inventory\nI am carrying the gaming glove (being worn), a pleather purse, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, the menorah, the mirrored shades, my glasses, an urn, and Barnaby's Big Gulp drink. Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\n> You look at the coffin\nThe coffin is made out of some kind of stone-like substance that I am not altogether familiar with. It's like a chiseled and well-grooved offshoot of pyrite. It nevertheless reflects light quite well, and practically shimmers down here in the basement, excepting those bits of it flecked with dried blood.\n\n> You open the box\nI try to push the lid off the coffin, but I am unable to do so.\n\n> You open the cards\nI can't do that with the Magic: The Gathering cards.\n\n> You wear the shades\nI put the shades on."
    },
    {
        "text": "[Themes: Horror, scatological, horror, America, romance, ghost, occult]\n\n> You look around\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. At the top of the ceiling is a single, lit torch, held at a diagonal against the wall with a bracket. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\n\n> Shout\nI scream like a banshee. Nothing seems to happen.\n\n> You look at the bracket\nIt's a very small piece of metal designed to keep the torch in place along the wall.\n\nInside the bracket is the torch.\n\n> You feel the wall\nThe bracket is too far away for me to get my greasy paws on it.\n\n> You throw the menorah at the torch\nI knock the torch off of the bracket! The torch falls to the ground, where the cold fog quickly extinguishes it.\n\n> Go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nThe spectre is here.\n\nAudrey follows me.\n\n> You press down\nNothing happens since I am already on the first floor of the Mall. Pushing the down button doesn't get me anywhere.\n\n> You press up\nI press the up button. After a few seconds, the elevator transports me to the second level of the Mall.\n\n> You press up\nNothing happens; I'm already on the second floor.\n\n> You go outside\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\nThere is a crystal ball holder here.\n\n> You examine holder\nIt's a wooden stand, roughly four feet in height. It has three protruding grips on top to hold a smallish crystal ball (which is present). The base is circular in shape and rather thick.\n\nThe stand is broken, and cannot be used effectively as a weapon.\n\n> You get the holder\nI'm carrying too much to take that.\n\n> You look at what you're carrying with you\nI am carrying my glasses (being worn), the gaming glove (being worn), a pleather purse, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the menorah, and the mirrored shades. Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\n> You examine the purse\nIt's one of those cheap, black pseudo-leather purses that you can get in any Imitation Fabric Store in America.\n\n> You drop it\n(assuming you mean the pleather purse)\nDropped.\n\n> Go north\nThe Jewelry Store is of average dimensions for the Mall, with significantly less maneuvering room due to the long tabletop display that snakes about the room. They sell all manner of jewelry (ear rings, bracelets, watches) but as they close much earlier than everybody else, it's all under lock and key.\n\nOn the east side of the store, against the wall, is a large safebox.\n\n> You open the safebox\nDone -- it's open.\n\n> You examine it\n(assuming you mean the safebox)\nThis is a towering cabinet, in which all the valuable jewelry is kept when the store closes down at night. It is about seven feet tall and compartmentalized into different sections, one of which I can get to easily at my own relatively meager height.\n\nIt's open.\n\n> You go south\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\nSome socks, Barnaby's Big Gulp drink, a pleather purse are here.\n\n> You go south\nThere's not a path in that direction.\n\nThere are exits north to the Jewelry Store, in towards the Elevator and east towards the east side of the Mall.\n\n> You go east\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\n\n> Go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, the X-box are here.\nSydney and the skeleton are here.\n\n> You talk to Sydney\nI can't think of anything to say right now.\n\nIt's really cold in here.\n\n> You open the xbox\nI should really avoid opening the box, mostly because I don't want to lose anything that comes with it, but partly because lifting this monster in its entirety makes me feel like a real man.\n\nIt's really cold in here.\n\n> You examine table\nSome of the stores have tables on the outside, in an attempt to entice customers to come inside. This table is one of them, for Choad's Sporting Goods Store. Usually only extremely cheap items are set on them, so as to minimize shortages and loss.\n\n> You go north\nChoad's Sporting Goods exists under the unfortunate circumstance that the owner's name translates into Bengali as 'fuck.' Once or twice a year there will be a demonstration or protest from a bunch of local student Hindus, but nothing ever changes.\n\nThe store is one of the larger ones in the Mall, about 40' wide and 140' long. Ski jackets take up almost all the area towards the front of the store, as far as I can see, with the entire western wall filled with displays of discount tennis sneakers.\n\nThere doesn't seem to be any rifles or shotguns for sale. (It appears as if Gibs's intuition was incorrect.)\nThere is a circular jacket rack here.\nThe ghoul is here.\n\n> Go outside\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\nAudrey is here.\n\n> You go west\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey follows me.\n\nThe spectre arrives from the north.\n\n> You examine the fountain\nThe fountain is rich limestone artifact that was discovered years ago in a poured-over closet in Italy and flown out here at great expense. It has been converted from its original state as a Renaissance-era commissioned sculpture to a marketing tool for the Mall.\n\nIt's about six feet at the base and rather shallow -- water would only come up to one's ankles in its normal, calm state. The spout extends a couple of feet up from the dead center of the base. There are a few inscriptions and symbols on the thing, but nothing I can decipher.\n\nInside the fountain is some water.\n\nInside the fountain is some water.\n\n> Climb fountain\nI can't climb the fountain.\n\nThe spectre heads off to the north.\n\n> You go to the north\nA fair bit of ether has snaked itself into the room. It combines with the hand-picked and market-researched atmospheric lights that still function to give off a very deep, defracted and soothing look to the room. Vibrant purples and deep blues dominate the walls and counters of the Sunglasses Hut.\n\nI worked at this place for a week once when I was fighting with my manager at the D&D store. I acquired a little bit of trivia regarding this place (for instance, the center display case will open if it's tapped upon) but nothing useful otherwise.\nThe spectre is here.\n\nAudrey follows me.\n\n> You check what you're carrying\nI am carrying my glasses (being worn), the gaming glove (being worn), the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the menorah, the mirrored shades, and the crystal ball holder (broken). Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\nThe spectre heads off to the south.\n\n> You wear the shades\nI take off my glasses and put the shades on. Things get considerably darker.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n(2) \"Whoa, that was you in the vision! What does a plus mean?\"\n\n> 2\n\"What does a plus mean?\" asks Audrey. \"On a home pregnancy test? It means that you're not pregnant. Thank God.\"\n\n\"Did you have a close call or something?\"\n\n\"Yes, we had a close call. Don't you remember? It wasn't that\nlong ago. I had got off ICQ talking to one of your ex-girlfriends the night before. She told me that you, quote, 'wig out' when spoken to in Elvish or some other made-up language along those lines.\"\n\nAudrey continues her story, but I start to get a flood of memories back from that night. I had actually deigned to go out clubbing with her for a night a few weeks back. (I usually don't, as I am such a lousy, self-conscious dancer.) She was wearing this tight little gray dress with slight horizontal lines across it, made out of this fuzzy fabric -- the outfit practically squealed 'do me' by itself.\n\nAudrey was grinding her way up against me every time I went onto the floor. I just seizured out. That's the only way I know how to dance. I almost never really consume much alcohol, but that night I was taking pull after pull of some Safeway Vodka that Sydney had smuggled into the club as if the contents of the bottle were nothing more innocuous than Mexican Kool-Aid. Audrey and I took a cab back to her place, and we were all over one another before we could find the light switch.\n\nShe was on top of me for what seemed like the better part of an hour when she dipped down and whispered something into my ear.\nTye-mela'ne. It's Tolkein Elvish for 'I love you.' We don't\nseem to say that to each other very much, but even drunk I instantly translated what she said and I... well, I went off like a Soviet Catapult: unexpectedly, unpredictably, and altogether quite messily.\n\nI hadn't thought about it -- about the consequences of it -- until just right now. I didn't mean for her to go through a pregnancy scare like that by herself. I just wasn't thinking about the details.\n\n(For what it's worth, the story that Audrey related as I had this flashback was pretty much exactly like mine, except that she said that we only jammed for something like fifteen minutes. She's got this crazy, post-Einsteinian view of how time really works though, so don't believe her.)\n\nPlease select one:\n\n(1) \"Well, what is fun, then? Educate me.\"\n\n> You examine the gate\nThe gate is made up of interwoven metal links, but due to the lack of power over here it can't be opened.\n\nThe spectre heads off to the south.\n\n> You read the book\nI flip through a few pages, but nothing really catches my eye. I'm sure that some long dead monk or priest who nearly acquired whatever the 14th century version of repetitive motion syndrome in writing this thing is revolving in a European Potter's grave at my disinterest, but the words just seem to roll off my eyeballs in a splash of drama and desperate Calligraphy.\n\n> You go to the south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre is here.\n\nAudrey follows me.\n\nThe spectre heads off to the south.\n\n> You go west\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\n\nThe floorspace towards the rear of the store is completely taken up by the long display table against the western wall.\n\nAudrey follows me.\n\n> Go east\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre is here.\n\nAudrey follows me.\n\nThe spectre heads off to the west.\n\n> Go east\nThis store is mostly unfurnished, with a low, bare ceiling, cold floor covered in cheap carpeting, and blankets and rugs thumb-tacked up to hide the peeling wallpaper and crumbling drywall.\n\nThe contents of the room are a cluttered mess, as this place seems to be more of a craftsman's think-tank and construction area than pure chamber for commerce like so many other shops in the Mall. There's a workdesk and mirror along the northern wall and a file cabinet across from it. A small window is visible behind some junk, and directly across from the entrance are seven masks attached to the back wall in a proud display. Attached to one of the naked support beams is a disco laser pointer.\n\nAudrey follows me.\n\n> You examine the workdesk\nThis workdesk is just a worn and cheap table that any office supply store would carry and sell for around sixty bucks.\n\n> You examine the pointer\nThe laser pointer is out there jivin'! It's scattering laser light everywhere and it's turned this placed into a Block Party Central! Whoo-hoo!\n\nThe spectre arrives from the west.\n\n> You get the laser\nI can't take that.\n\nThe spectre heads off to the west.\n\n> You throw the menorah at the laser\nNothing happens.\n\n> You take the menorah\nI take it.\n\n> Go west\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey follows me.\n\nThe spectre arrives from the south.\n\n> You go to the north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey follows me.\n\n> Go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nGibs is here.\n\nAudrey follows me.\n\n\"She was here, Duffy. She was beautiful.\"\n\n\"Who was? Casey? Where's Casey?\"\n\n\"Casey... \" Gibs turns and looks at me for the first time since I came back. \"No... not poor Casey. We finished up getting all the wreckage out of the way and as I looked up Casey was entranced by the most beautiful creature I have ever seen. Her skin was so pale, so fragile. She had this dark shock of bangs that framed her perfect face. As soon as I looked up, I froze. But she had locked eyes with Casey. I knew her name was Kali, but not how. Casey didn't seem to be able to move, at first, just like me. Then -- \"\n\n\"It was a vampire, Gibs. I was hoping we'd avoid one, but -- \"\n\n\"She took Casey by the hand and they both walked that way... into the darkness.\"\n\n> You go to the south\nThe gate to the Sneaker Store is down.\nThere are exits north to Discount Novel Shoppe, East to the Central Corridor, South to the Sneaker Store and West to the Food Court.\n\n> You go north\nI hate going in here, but I have apparently been a patron enough times to notice how peculiar the store is without its overhead fluorescent spotlights. The low light received from outside produces oddly-angled little shadows, albeit (apparently) non-sentient ones.\n\nThere are two long rows of shelves along the north-south orient of the store, and a cashier's counter in back.\nThe crucified girl is here.\n\nAudrey and Gibs follow me.\n\n> You look at the girl\nThe crucified girl seems to be of mild Hispanic descent. Her features are slightly olive, her hair dark and her eyes stained all the round by blood. She is wearing a torn black tank top, blue bandana with floral print, and sleek pair of tight shorts. Her build is slight -- she is probably about five foot five at most, with slim, athletic legs.\n\nShe has not been dead long as she is just a few degrees cooler than living human flesh ought to be.\n\nShe is dead.\n\n\"I don't think Casey has a lot of time,\" says Gibs. \"I don't remember as much D&D crap as you do, Duffy, but I'm thinking she has maybe fifteen minutes.\"\n\n> Go north\nI can't go that way. I can go south to the corridor.\n\n> Go south\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\n> Go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nCasey is here.\n\nAudrey and Gibs follow me.\n\nSome chair parts come flying right at me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west.\n\n> You listen\nI hear nothing unexpected.\n\nSome chair parts are drawn up from the floor and thrown at me!\n\nI dodge the item, though.\n\n> You examine table\nWhich table do you mean, the brown table or the short gray table?\n\n> Brown\nThis table is a longish one, six or seven people could sit on a single side of it and eat comfortably.\n\nSomething roughly picks up a fluorescent light and throws it at me!\n\nA fluorescent light strikes me, and I take a little bit of damage.\n\n> You go north\nI can't go that way. I can go west to the food court's west half, east to the corridor, or northeast to a health store.\n\n> You go to the north-east\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green which some junior ad exec no doubt thinks promotes quick sales decisions, when all it truly does is make customers eager to get the hell out before they add an equally off-putting color to the surrounding by use of their own acrid vomit.\n\nIn the rear of the store is a modest plastic counter and an ancient analog cash register. Further behind that is a closed metal door that really clashes with what's going on otherwise, stylistically.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nExits lead to the southwest and through the door.\n\n\"There should surely be some garlic here,\" I say to myself...\n\nAudrey and Gibs follow me.\n\n> Break glass\nBut!! This is INNOCENT glass!\n\n> You get trestle\nI can't take that.\n\nThe sound is so soft, but I hear something brush up against the coffin walls. I... I can't bear to turn my head and look at what it is.\n\n> Go west\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. At the top of the ceiling is a single, lit torch, held at a diagonal against the wall with a bracket. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\nThe lid is here.\n\nThe mummy exits the coffin.\n\nThe mummy slowly begins to moan, seemingly within a weary, endless pain. It quickly shifts this to a scream. Its keen is of a deep tenor, and it begins thrashing about. Small scraps of deteriorating bandages fall from its person and onto the floor.\n\nThe mummy strikes the support beam! Chunks of the ceiling fall downwards and it sounds as if the entire Mall has collapsed a little.\n\nThe mummy attacks and hits me!\n\nI feel awful after that last touch.\n\n> You hit the mummy with the stick\nI attack, but miss the mummy!\n\nThe mummy attacks and hits me!\n\n> You hit the torch with the stick\nI cruelly break the torch!\n\n> You throw the menorah at the torch\nI knock the torch off of the bracket! The torch plummets to the ground, but on the way down it strikes the mummy! The mummy quickly catches fire and lets out a set of horrible screams. It begins to flail about wildly, but I'm able to stay out of its way. Within moments the fire consumes most of the mummy and I give the charred skeletal and bandage bits that are left a helpful kick.\n\nThe mummy is reduced to extinguished, dusty chunks.\n\n> You get the menorah\nI take it.\n\nThere's a flash of pain right where the mummy first struck me.\n\n> You examine the mummy\nIt's covered in strips of treated linen, except for the face, which is exposed completely. The skin on its face is stretched tightly over the angular and hardened skull, which at one time, millennia ago, may have been handsome.\n\nIt is dressed in dry, crisp rags that crackle with every movement. The rags look dusty, pained... without a hint of humidity and with no possibility of moisture.\n\nModern myth indicates that mummies are riddled with diseases that cause a quick and painful rotting in their hosts.\n\nIt  is dead.\n\n> You get the mummy\nThe mummy is too heavy for me to lift.\n\n> You examine the mummy\nIt's covered in strips of treated linen, except for the face, which is exposed completely. The skin on its face is stretched tightly over the angular and hardened skull, which at one time, millennia ago, may have been handsome.\n\nIt is dressed in dry, crisp rags that crackle with every movement. The rags look dusty, pained... without a hint of humidity and with no possibility of moisture.\n\nModern myth indicates that mummies are riddled with diseases that cause a quick and painful rotting in their hosts.\n\nIt  is dead.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> Go south\nThis stretch of corridor is little more than a narrow, forgotten passageway. Soft earth makes up the floor, a distinct change from the cement seen to the south.\n\n> You go south\nThe temperature of the air down here in the basement is quite cold, probably no more than thirty degrees Fahrenheit. The ceiling is just over five feet high, and the walls have a very rough texture to them, as if they were blasted away and then poorly sanded.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> Go upward\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\nAudrey and Gibs are here.\n\n\"Jarret, are you okay? What happened down there?\"\n\n\"The mummy... it touched me,\" I say. It's tough to get the words out of my throat as it seems so dry and craggy.\n\n\"Do you think -- \" Audrey pauses for a sec -- \"Did it infect you with something? Oh, goddess. Okay, let's find something to put on it. Something's got to help the pain.\"\n\n> You go to the southwest\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nSomething roughly picks up a short gray table and throws it at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\nMy hand has begun to rot away.\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe rotting sickness has spread to my body.\n\n> You go to the east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\n> You enter fountain\nEntered!\n\nMall, First Level, Eastern Edge, in the fountain\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nInside the fountain is some water. Audrey and Gibs are here."
    },
    {
        "text": "> Describe the surroundings\nMall, First Level, Eastern Edge, in the fountain\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nAudrey and Gibs are here.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\nThe spectre arrives from the west.\n\n> Status\nI have a lot of minor scratches, but will be okay, since I still have my looks.\n\nA little more water trickles into the fountain.\n\n> Drink water\nAhhhhh! Mine Luftwaffe!\n\nThe spectre heads off to the north.\n\n> You go to the west\nI will have to get out of the fountain first.\n\n> Go outside\nI get out of the fountain.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> You go east\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 17, then find line 5 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 6.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> You hit enter\n%% Enter a save filename to read:\n\n> Go east\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre and a Revenant are here.\n\nAudrey follows me.\n\nThe spectre heads off to the north.\n\nThe Revenant heads off to the north.\n\n> Go north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\nThe spectre and a Revenant are here.\n\nAudrey follows me.\n\n> You talk to Revenant\nI can't think of anything to say right now.\n\nThe spectre heads off to the south.\n\nThe Revenant heads off to the west.\n\n> Go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nGibs and a Revenant are here.\n\nAudrey follows me.\n\n\"She was here, Duffy. She was beautiful.\"\n\n\"Who was? Casey? Where's Casey?\"\n\n\"Casey... \" Gibs turns and looks at me for the first time since I came back. \"No... not poor Casey. We finished up getting all the wreckage out of the way and as I looked up Casey was entranced by the most beautiful creature I have ever seen. Her skin was so pale, so fragile. She had this dark shock of bangs that framed her perfect face. As soon as I looked up, I froze. But she had locked eyes with Casey. I knew her name was Kali, but not how. Casey didn't seem to be able to move, at first, just like me. Then -- \"\n\n\"It was a vampire, Gibs. I was hoping we'd avoid one, but -- \"\n\n\"She took Casey by the hand and they both walked that way... into the darkness.\"\n\nThe Revenant heads off to the west.\n\n> Go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nThe vampire, Casey, and a Revenant are here.\n\nAudrey and Gibs follow me.\n\nA fluorescent light comes flying right at me!\n\nI dodge the item, though.\n\nThe Revenant heads off to the west.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west.\n\n> Go west\nI can't get by the Poltergeist!\n\nSomething roughly picks up a metal chair and throws it at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> Go northeast\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green which some junior ad exec no doubt thinks promotes quick sales decisions, when all it truly does is make customers eager to get the hell out before they add an equally off-putting color to the surrounding by use of their own acrid vomit.\n\nIn the rear of the store is a modest plastic counter and an ancient analog cash register. Further behind that is a closed metal door that really clashes with what's going on otherwise, stylistically.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nExits lead to the southwest and through the door.\n\n\"There should surely be some garlic here,\" I say to myself...\n\nAudrey and Gibs follow me.\n\nA horrible scream pierces the air, originating from the far end of the Food Court."
    },
    {
        "text": "[Themes: Horror, mall, horror, America, zombie, rpg, abjection, vampire, music, sexual content]\n\n> Go downward\n(opening the door first)\n\"I'm going to take a quick look below. Be right back.\"\nOpened.\n\nI descend the stairs and enter the basement. The air is at least twenty degrees cooler down here than it is up above and it has a bit of a tangy, acrid -- almost 'chewy' quality to it. My breath turns into wispy, stringy clouds the instant it leaves my lips and I begin to feel my very bones come across a deep chill. I usually prefer winter to summer, so normally I wouldn't be put off by the frost down here and a few bad smells, but there's something different about the chill in the air down here. The temperature of the air seems malevolent, almost.\n\nThe ceiling of the basement is about five and a half feet high, so I have to lurch over like I'm the hunchback of Notre Dork just to get around. The walls have a very rough texture to them, as if they were blasted away and then sanded down in a very half-assed manner.\n\nThe corridor continues into darkness to the north.\n\n> You go to the north\nThe light is very poor in this room, all of it coming from what can seep and pour through the metal door up above. The floor has turned to earth, however, and the walls seem to have a texture wholly different from the blasted rock earlier in the corridor. I can't say I'm totally suprised to find this area down here below the Mall, as rumor was that the place was built upon some burial grounds. I just never knew that they were, in parts, integrated.\n\nExits lead south and further on to the north.\n\n\"I don't think Casey has a lot of time,\" says Gibs. \"I don't remember as much D&D crap as you do, Duffy, but I'm thinking she has maybe fifteen minutes.\"\n\n> You throw the menorah at the torch\nI knock the torch off of the bracket! The torch falls to the ground, where the cold fog quickly extinguishes it.\n\nThe mummy exits the coffin.\n\nThe mummy slowly begins to moan, seemingly within a weary, endless pain. It quickly shifts this to a scream. Its keen is of a deep tenor, and it begins thrashing about. Small scraps of deteriorating bandages fall from its person and onto the floor.\n\nThe mummy strikes the support beam! Chunks of the ceiling fall downwards and it sounds as if the entire Mall has collapsed a little.\n\nThe chaos breaks me out of my fear-trance. I feel I could flee now if I wanted to try.\n\nThe mummy attacks and hits me!\n\nI feel awful after that last touch.\n\n> Go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nGibs is here.\n\nAudrey follows me.\n\n\"She was here, Duffy. She was beautiful.\"\n\n\"Who was? Casey? Where's Casey?\"\n\n\"Casey... \" Gibs turns and looks at me for the first time since I came back. \"No... not poor Casey. We finished up getting all the wreckage out of the way and as I looked up Casey was entranced by the most beautiful creature I have ever seen. Her skin was so pale, so fragile. She had this dark shock of bangs that framed her perfect face. As soon as I looked up, I froze. But she had locked eyes with Casey. I knew her name was Kali, but not how. Casey didn't seem to be able to move, at first, just like me. Then -- \"\n\n\"It was a vampire, Gibs. I was hoping we'd avoid one, but -- \"\n\n\"She took Casey by the hand and they both walked that way... into the darkness.\"\n\nThe Revenant arrives from the east.\n\n> Go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nThe vampire and Casey are here.\n\nAudrey and Gibs follow me.\n\nThe Revenant arrives from the east.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west."
    },
    {
        "text": "[Themes: Horror, vampire, abjection, violence, relationships]\n\n> You descend\n(opening the door first)\n\"I'm going to take a quick look below. Be right back.\"\nOpened.\n\nI descend the stairs and enter the basement. The air is at least twenty degrees cooler down here than it is up above and it has a bit of a tangy, acrid -- almost 'chewy' quality to it. My breath turns into wispy, stringy clouds the instant it leaves my lips and I begin to feel my very bones come across a deep chill. I usually prefer winter to summer, so normally I wouldn't be put off by the frost down here and a few bad smells, but there's something different about the chill in the air down here. The temperature of the air seems malevolent, almost.\n\nThe ceiling of the basement is about five and a half feet high, so I have to lurch over like I'm the hunchback of Notre Dork just to get around. The walls have a very rough texture to them, as if they were blasted away and then sanded down in a very half-assed manner.\n\nThe corridor continues into darkness to the north.\n\nA horrible scream pierces the air, originating from the far end of the Food Court.\n\n> You go north\nThe basement ceiling gets much taller in this room, about up to 15 feet or so, I'd guess. At the very top is a small torch, which is providing a fair bit of the light in the room -- the rest of it is reflected from the coffin in the corner.\n\nThe ground is no longer soft earth, either, but rather blocks of cold stone. The walls are made of some kind of brick which reflects a bit of light as well, although nowhere near as well as the coffin.\n\nA support beam has been installed next to the coffin. Beyond it, to the right, is a small and very dark alcove.\n\n\"I don't think Casey has a lot of time,\" says Gibs. \"I don't remember as much D&D crap as you do, Duffy, but I'm thinking she has maybe fifteen minutes.\"\n\n> Go east\nI practically have to crawl to get into this little cave-like section cut away from the basement. The light is gobbled up from something inside, as nothing from the coffin room manages to get in here.\n\nThe only thing of note here is a very small trestle up against the wall.\n\n> You look at the trestle\nIn the corner of the alcove is a single trestle. It's obviously rotting away, and emitting a little bit of an old musty smell. It stands about two feet high and looks as if it might crumble at any time.\n\nThe trestle has a garlic clove on it.\n\n> You wait\nTime passes...\n\nThe sound is so soft, but I hear something brush up against the coffin walls. I... I can't bear to turn my head and look at what it is.\n\n> Go west\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. At the top of the ceiling is a single, lit torch, held at a diagonal against the wall with a bracket. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\nThe lid is here.\n\nThe mummy exits the coffin.\n\nThe mummy slowly begins to moan, seemingly within a weary, endless pain. It quickly shifts this to a scream. Its keen is of a deep tenor, and it begins thrashing about. Small scraps of deteriorating bandages fall from its person and onto the floor.\n\nThe mummy strikes the support beam! Chunks of the ceiling fall downwards and it sounds as if the entire Mall has collapsed a little.\n\nThe mummy attacks and hits me!\n\nI feel awful after that last touch.\n\n> You throw the menorah at the torch\nI knock the torch off of the bracket! The torch plummets to the ground, but on the way down it strikes the mummy! The mummy quickly catches fire and lets out a set of horrible screams. It begins to flail about wildly, but I'm able to stay out of its way. Within moments the fire consumes most of the mummy and I give the charred skeletal and bandage bits that are left a helpful kick.\n\nThe mummy is reduced to extinguished, dusty chunks.\n\n> Go south\nThis stretch of corridor is little more than a narrow, forgotten passageway. Soft earth makes up the floor, a distinct change from the cement seen to the south.\n\nThere's a flash of pain right where the mummy first struck me.\n\n> Go south\nThe temperature of the air down here in the basement is quite cold, probably no more than thirty degrees Fahrenheit. The ceiling is just over five feet high, and the walls have a very rough texture to them, as if they were blasted away and then poorly sanded.\n\n> Go south\nI can't go that way. I can go up to a health store or north to a basement corridor.\n\n> Go upward\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\nAudrey and Gibs are here.\n\n\"Jarret, are you okay? What happened down there?\"\n\n\"The mummy... it touched me,\" I say. It's tough to get the words out of my throat as it seems so dry and craggy.\n\n\"Do you think -- \" Audrey pauses for a sec -- \"Did it infect you with something? Oh, goddess. Okay, let's find something to put on it. Something's got to help the pain.\"\n\n> You go southwest\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA broken chair is drawn up from the floor and thrown at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\n> You go to the east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\nThe spectre heads off to the north.\n\n> You get cross\nTaken.\n\nThe spectre arrives from the north.\n\n> You go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\nMy hand has begun to rot away.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, some chair parts, Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, and the torch (broken) are here. The phone is here.\n\nAudrey and Gibs follow me.\n\nSomething roughly picks up a short gray table and throws it at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\n> You go west\nI can't get by the Poltergeist!\n\nSomething roughly picks up a broken chair and throws it at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\n> You hit Poltergeist with the cross\nThe poltergeist is invisible, so I have no way of really tracking it. Likewise, it can't directly affect me with its transparent non-body.\n\nAn urn comes flying right at me!\n\nAn urn strikes me, and I take a little bit of damage.\n\nThe rotting sickness has spread to my body.\n\n> You look at Poltergeist\nPoltergeists are a form of invisible undead that whines for attention by flinging shit at people. Of all the creatures and spirits that make up the hierarchy of walking dead, these mewling little bitches are the ones I despise with the most passion. They're the worst drama queens in the underworld. In reality, 'poltergeists' are just the manifestations of picked-on, spoiled little emo or Goth kids... I can't imagine what this demonically-realized little ghost brat has going on underneath the surface.\n\nThe poltergeist hurls the garlic clove at me!\n\nThe garlic clove strikes me, and I take a little bit of damage.\n\n> You talk to Poltergeist\n[Be a more specific about what you'd like me to throw the cross\nat.]\n\nThe poltergeist hurls the aged text at me!\n\nThe aged text strikes me, and I take a little bit of damage.\n\nPoltergeists can not communicate that way.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You get the urn\nRight on.\n\nThe poltergeist picks up Gibs's lacrosse stick and throws it towards me!\n\nI dodge the item, though.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You examine it\n(assuming you mean the urn)\nThis rather large urn is crafted in the shape of an upside-down mushroom. It's a base silver in color with a floral pattern painted on top.\n\nThe poltergeist hurls a metal chair at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> You get all\nfluorescent light: I'm carrying too much to take that.\ngarbage can: I'm carrying too much to take that.\nbrown table: I'm carrying too much to take that.\nshort gray table: I'm carrying too much to take that.\nplastic chair: I'm carrying too much to take that.\nmetal chair: I'm carrying too much to take that.\nbroken chair: I'm carrying too much to take that.\nchair parts: I'm carrying too much to take that.\nBig Gulp drink: Taken.\npleather purse: I'm carrying too much to take that.\nsocks: Taken.\nMagic: The Gathering cards: I'm carrying too much to take that. lacrosse stick: I'm carrying too much to take that.\nphone: I'm carrying too much to take that.\naged text: Got it.\nblue balloon: I'm carrying too much to take that.\ngarlic clove: I'm carrying too much to take that.\ntorch: Got it.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> You go east\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 22, then find line 1 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 10.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> You hit enter\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 2,345, then find line 233 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 4,096.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the garlic clove, and the torch (broken).\n\nA broken chair comes flying right at me!\n\nI dodge the item, though.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You pop the balloon\nHa-ha! Suck down the madness!\n\n(I break the balloon.)\n\nA brown table wobbles a bit, and is suddenly hurled at me!\n\nI dodge the item, though.\n\n> Inhale balloon\nWhy do that?\n\nSome chair parts are drawn up from the floor and thrown at me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\n> You give gulp to Poltergeist\nMy goodwill is ignored.\n\nMy hand has begun to rot away.\n\n> You give the cards to Poltergeist\nMy goodwill is ignored.\n\nSome chair parts wobble a bit, and are suddenly hurled at me!\n\nI dodge the item, though.\n\n> You go to the east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the south.\n\n> Go north\nI'm not quite sure why sunglasses and shades are only sold in 'huts' but this store is very un-hut like. There are three very solid walls here and a roof made not of thatch, but poured, cracking cement. The floor is hardly comprised of peat or mud, but the same tile present everywhere else in the Mall.\n\nA fair bit of ether has snaked itself into the room. It combines with the hand-picked and market-researched atmospheric lights that still function to give off a very deep, defracted and soothing look to the room. Vibrant purples and deep blues dominate the walls and counters of the Sunglasses Hut.\n\nI worked at this place for a week once when I was fighting with my manager at the D&D store. I acquired a little bit of trivia regarding this place (for instance, the center display case will open if it's tapped upon) but nothing useful otherwise.\n\nAudrey and Gibs follow me.\n\n> Hit case\nI give the case a good whack, and it opens with ease.\n\nInside the center display case are the mirrored shades.\n\n> You get the shades\nI'm carrying too much to take that.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You wear the shades\nI take off my glasses and put the shades on. Things get considerably darker.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> Go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> You go east\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 2,345, then find line 233 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 4,096.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> You hit enter\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 17, then find line 5 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 6.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nBig Gulp drink: Dropped.\npleather purse: Dropped.\nsocks: Dropped.\nMagic: The Gathering cards: Dropped.\nlacrosse stick: Dropped.\nphone: Dropped.\naged text: Dropped.\nblue balloon: Dropped.\nurn: Dropped.\ngarlic clove: Dropped.\ntorch: Dropped.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA fluorescent light is drawn up from the floor and thrown at me!\n\nA fluorescent light strikes me, and I take a little bit of damage.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You get all\nfluorescent light: Taken.\ngarbage can: Taken.\nbrown table: I'm carrying too much to take that.\nshort gray table: I'm carrying too much to take that.\nplastic chair: I'm carrying too much to take that.\nmetal chair: I'm carrying too much to take that.\nbroken chair: I'm carrying too much to take that.\nchair parts: I'm carrying too much to take that.\n\n> Go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken) are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\nMy hand has begun to rot away.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> You get all\nbrown table: Taken.\nshort gray table: I'm carrying too much to take that.\nplastic chair: Taken.\nmetal chair: I'm carrying too much to take that.\nbroken chair: I'm carrying too much to take that.\nchair parts: I'm carrying too much to take that.\n\nThe rotting sickness has spread to my body.\n\n> Go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), a fluorescent light are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\ngarbage can: Dropped.\nbrown table: Dropped.\nplastic chair: Dropped.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A short gray table, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> You get all\nshort gray table: Taken.\nmetal chair: Taken.\nbroken chair: Taken.\nchair parts: I'm carrying too much to take that.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), a fluorescent light, a garbage can, a brown table, a plastic chair are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You drop the metal chair\nDropped.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> You drop the broken chair\nEnter (R)ESTART, R(E)STORE, (U)NDO, or (Q)UIT:\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You get the metal chair\nTaken.\n\nA fluorescent light wobbles a bit, and is suddenly hurled at me!\n\nI dodge the item, though.\n\n> You get the plastic chair\nTaken.\n\nMy hand has begun to rot away.\n\n> You go to the east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken) are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n> You drop the plastic chair\nDropped.\n\nThe rotting sickness has spread to my body.\n\n> You go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA garbage can is drawn up from the floor and thrown at me!\n\nA garbage can strikes me, and I take a little bit of damage.\n\n> You get light\nTaken.\n\nSome chair parts wobble a bit, and are suddenly hurled at me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), a metal chair, a plastic chair are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You call the phone\n[Speaking to Trott on the phone...]\nJust talking to Trott will suffice.\n\nSomething roughly picks up a short gray table and throws it at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You talk to Trott\n[Speaking to Trott on the phone...]\nI can't think of anything to say right now.\n\nA short gray table wobbles a bit, and is suddenly hurled at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\n> You talk to Gibs\nI can't think of anything to say right now.\n\nA fluorescent light is drawn up from the floor and thrown at me!\n\nA fluorescent light strikes me, and I take a little bit of damage.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You go northeast\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nAudrey and Gibs follow me.\n\nMy hand has begun to rot away.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You get the pills\nI can't take those.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You go southwest\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> Go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\nThe rotting sickness has spread to my body.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n> You go south\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You go to the east\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\n\nAudrey and Gibs follow me.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You go north\nI can't go that way. I can go west to further down the mall or in to the elevator.\n\n> You hit the light with the stick\nI cruelly break a fluorescent light!\n\n> Go west\nI can't get by the Poltergeist!\n\nSomething roughly picks up a garbage can and throws it at me!\n\nI dodge the item, though.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nBig Gulp drink: Dropped.\npleather purse: Dropped.\nsocks: Dropped.\nMagic: The Gathering cards: Dropped.\nlacrosse stick: Dropped.\nphone: Dropped.\naged text: Dropped.\nblue balloon: Dropped.\nurn: Dropped.\ngarlic clove: Dropped.\ntorch: Dropped.\n\nThe Magic: The Gathering cards are drawn up from the floor and thrown at me!\n\nThe Magic: The Gathering cards strike me, and I take a little bit of damage.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You get light\nTaken.\n\nSome chair parts are drawn up from the floor and thrown at me!\n\nI dodge the item, though.\n\n> You go west\nI can't get by the Poltergeist!\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\n\nAudrey and Gibs follow me.\n\n> You examine the light\nThis light fixture is from a chunk of the Mall's ceiling. It's at least a couple feet long, and mostly cylindrical in shape. It's non-functioning, of course, and quite heavy.\n\nMy hand has begun to rot away.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> Go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You go to the east\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\n\nAudrey and Gibs follow me.\n\n> Enter\nAudrey says, \"We'll wait down here for you.\"\n\nThe elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'\n\nI'm currently on the first level of the Mall. Aside from the operational panel, there is little else here in the lift.\n\nMy hand has begun to rot away.\n\n> You go outside\nThe floor of the Mall comes up against a rail, forming a barrier which prevents further (sane) western travel. The bottom (ground floor) level can be viewed with ease, though, as the guardrail mainly prevents kids -- future productive Mall denizens! -- from ragdolling their way off the edge.\n\nThere is a badly-cracked kiosk in the center of the hallway. At the far end of the rail is an elevator.\nThere is a crystal ball holder here.\n\nThe rotting sickness has spread to my body.\n\n> You go south\nThere's not a path in that direction.\n\nThere are exits north to the Jewelry Store, in towards the Elevator and east towards the east side of the Mall.\n\n> You go south\nI'm at the eastern side of the Mall. To the north is Choad's Sporting Goods. My store is a bit to the east, and the Bead Store a bit to the west.\n\nThere is a table here, set adjacent to the Sporting Goods store.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You go east\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You go west\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n> You get the xbox\nI'm carrying too much to take that.\n\nIt's really cold in here.\n\n> You drop Glove\nI will have to take the gaming glove off first.\n\n> Inventory\nI am carrying my glasses, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the mirrored shades, the crystal ball holder (broken), the menorah, and the gaming glove (being worn). Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle."
    },
    {
        "text": "[Themes: Horror, scatological, violence, zombie, relationships, rpg, horror]\n\n> You describe your surroundings\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nThere is a crystal ball holder here.\n\n> Go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, the X-box are here.\nSydney and the skeleton are here.\n\n> You take Xthe -the box\nI'm carrying too much to take that.\n\nThe cold begins to really sting. It's too cold to stay in here, so I scatter back outside the Bead Store.\n\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nThere is a crystal ball holder here.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You drop the cards\nDropped.\n\nThe cold begins to really sting. It's too cold to stay in here, so I scatter back outside the Bead Store.\n\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nThere is a crystal ball holder here.\nGibs's lacrosse stick is here.\n\n> Go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, the X-box, the Magic: The Gathering cards are here.\nSydney and the skeleton are here.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\nphone: Dropped.\naged text: Dropped.\nblue balloon: Dropped.\nurn: Dropped.\nmirrored shades: Dropped.\nmenorah: Dropped.\ngaming glove: I will have to take the gaming glove off first.\n\nThe cold begins to really sting. It's too cold to stay in here, so I scatter back outside the Bead Store.\n\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nThere is a crystal ball holder here.\nGibs's lacrosse stick is here.\n\n> Go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, the X-box, the Magic: The Gathering cards, the aged text, the blue balloon, an urn, the mirrored shades, the menorah are here. Inside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\nSydney, the skeleton, and the phone are here.\n\n> You get the xbox\nTaken.\n\nIt's really cold in here.\n\n> Go north\nThere's only one more stretch of corridor on this level before one gets to the elevator, which leads down to the ground floor. To the south of this area is the Bead Store, exits otherwise lead west and east.\nThere is a crystal ball holder here.\nGibs's lacrosse stick is here.\n\n> Go outside\nMall, First Level, East Edge\nThis is the first level, or ground floor, of the Funtime Teen Mall. The lone Mall Exit leads in a westerly direction, past a few more stretches of darkness-enveloped corridor, and the Food Court. There's also a few more stores to the west, with the Mall passageways expanding to all four directions at that point.\n\nExits lead west to the rest of the Mall, and inside to the elevator.\n\nIn the center of the corridor is a sculpted marble statue.\nAudrey and Gibs are here.\n\n> You go west\nThe Food Court is a vast, open area and I can only see about half of it from here due to the lack of light -- the entire western end of it is cloaked in darkness. There are a number of cheap square tables and static plastic chairs bolted to the floor here, although a few have somehow broken off and are loose.\n\nTo the northeast is a Nutrition Store. They carry a large assortment of tabs, pills, drugs and spices. The Court has another section to the west, and there is an exit east from where we came.\n\nAudrey lets out a little surprised 'yip!' and runs over towards me.\n\n\"Jarret!\" she says, \"I felt something brush up against my leg! Something's here, in this area with us!\" Before I can pooh-pooh her objections to this area, a metal chair comes flying at us. It appears as if a poltergeist has infected the food court.\nA fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\nCasey is here.\n\nAudrey and Gibs follow me.\n\nSome chair parts come flying right at me!\n\nI dodge the item, though.\n\nI notice something moving over in the far corner of the Food Court. It's a girl. She is wearing a reserved violet dress and has the most perfect, slim little figure I have ever seen.\n\nThe vampire, I guess. It has to be; she's just as stunning as Gibs said.\n\nFocusing harder, I see Casey beside her, unmoving, defeated, completely obedient. The vampire whispers softly to her -- Casey snaps back into proper consciousness, and after a moment begins to look at her with loving trust. They are both several yards away, but I can make what the vampire says to her perfectly: Follow me, my\npet.\n\nThe vampire heads off to the west.\n\nCasey heads off to the west.\n\n> You give the xbox to Poltergeist\nMy goodwill is ignored.\n\nSomething roughly picks up a garbage can and throws it at me!\n\nA garbage can strikes me, and I take a little bit of damage.\n\nGibs pipes up for a moment. \"Casey's got probably ten minutes left at my count before the ichor spreads.\"\n\n> You go to the west\nI can't get by the Poltergeist!\n\nA broken chair is drawn up from the floor and thrown at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\n> You drop the xbox\nDropped.\n\nA metal chair wobbles a bit, and is suddenly hurled at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> Go west\nI can't get by the Poltergeist!\n\nSomething roughly picks up a metal chair and throws it at me!\n\nI dodge the item, though.\n\n> You give the balloon to Poltergeist\nMy goodwill is ignored.\n\nSomething roughly picks up a broken chair and throws it at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You eat the garlic\nThis probably would do more good if it was not getting an acid bath within my ulcerous stomach.\n\nA metal chair wobbles a bit, and is suddenly hurled at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the garlic clove, and the torch (broken).\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the garlic clove, and the torch (broken).\n\nA short gray table is drawn up from the floor and thrown at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\nMy hand has begun to rot away.\n\n> Go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe rotting sickness has spread to my body.\n\nThe spectre arrives from the north.\n\n> You get cross\nTaken.\n\nThe spectre heads off to the south.\n\n> You go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA short gray table wobbles a bit, and is suddenly hurled at me!\n\nI dodge the item, though.\n\n> You give the cross to Poltergeist\nMy goodwill is ignored.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You throw the cross\n[Be a more specific about what you'd like me to throw the cross\nat.]\n\nA metal chair wobbles a bit, and is suddenly hurled at me!\n\nA metal chair strikes me, and I take a little bit of damage.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You get all\nBig Gulp drink: Taken.\npleather purse: I'm carrying too much to take that.\nsocks: Taken.\nMagic: The Gathering cards: I'm carrying too much to take that. lacrosse stick: I'm carrying too much to take that.\nphone: I'm carrying too much to take that.\naged text: Got it.\nblue balloon: I'm carrying too much to take that.\nurn: Right on.\ngarlic clove: I'm carrying too much to take that.\ntorch: Got it.\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\n> Empty can\nThe garbage can is already empty.\n\nSomething roughly picks up a brown table and throws it at me!\n\nA brown table strikes me, and I take a little bit of damage.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\n> You examine the gray table\nThis table is one of the smaller ones in the food court, ideal for four (and only four) teenage girls to roll their eyes around.\n\nSomething roughly picks up a garbage can and throws it at me!\n\nI dodge the item, though.\n\n> You examine the brown table\nThis table is a longish one, six or seven people could sit on a single side of it and eat comfortably.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\n> You examine the chair parts\nThey are a collection of pieces that were once part of a larger, more whole (wholer?) chair.\n\n> You examine the metal table\nI haven't encountered any \"metal table\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You examine the metal chair\nThe metal chair is shiny and foldable, but rusted out, so the advanced folding properties are not available.\n\nA brown table wobbles a bit, and is suddenly hurled at me!\n\nA brown table strikes me, and I take a little bit of damage.\n\nMy hand has begun to rot away.\n\n> You examine the plastic chair\nIt's a one-piece white plastic chair, designed for slovenly types to sit endlessly upon in the Mall.\n\n> You examine the broken chair\nThis chair has been snapped in half by the poltergeist's mad mind.\n\nA fluorescent light comes flying right at me!\n\nA fluorescent light strikes me, and I take a little bit of damage.\n\n> Go northeast\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nAudrey and Gibs follow me.\n\nThe rotting sickness has spread to my body.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You search the shelves\nI don't find anything.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You examine glass\nThis smooth, treated plastic counter is towards the back of the store, in front of a steel door.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\nThe glass pane separates that which happens within the store and that which happens without it. Or something.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> Go south\nI can't go that way. I can go down to the basement entrance or southwest to the food court's east half.\n\n> You look at the pills\nI take a quick look at the shelves and spot a jar of ointment. It catches my eye as its decked out in a bright purple label with the word 'GENERAL OINTMENT' in a canary Impact font. If I remember my general health studies classes, stuff like this has good disease-fighting capabilities.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You take the ointment\nI'm carrying too much to take that.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), Barnaby's Big Gulp drink, a pleather purse, some socks, the Magic: The Gathering cards, Gibs's lacrosse stick, the phone, the aged text, the blue balloon, an urn, the garlic clove, and the torch (broken).\n\nI collapse to the floor. The pain all over my body has gone from a throbbing that I can deal with to sharp, sudden piercings of agony... Audrey sees me fall. She comes to my side.\n\nI lash out to keep her away. I see her talking to me, pleading to get up and get better, but my ears don't pick up the sound. I try to move my hands up to clear them, but there's just molding and seeping sacs of pus where my ears once were.\n\nI try to tell her to stay away and to burn me so that I infect no one else, but I can't make the words escape. She cradles me in her arms anyway. I am up against her cool body, she is stroking my forehead with her hands. I shift. My right arm begins to separate and cracks off into my jacket. Everything feels so warm, this fever is terrible...\n\nLibson couldn't even count. Dramatics of that hit and that round couldn't save it! Ha! Who could choose to slinking over abounds and hell? Hell! one lake algae flash seventeen flash future flash nothing release cradling holding still eyes NO not oh hope flash\nflash dice die die flash nothing ... nothing\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You go east\nHave you got a photographic memory? If you have you will find the following question to be very easy. If you haven't, please find your novella that came with the game called 'Which Witch?'. Please turn to page 22, then find line 1 (please note that lines start at 1, 'chapter' lines are included, but blank lines are not.) And count to word 10.\n\nNow please enter this word. Or just hit enter. You have three chances to get it right.\nPlease enter word :\n\n> You go northeast\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\n\nAudrey and Gibs follow me.\n\nThere's a dull, raw ache on the left side of my jaw. I try to rub it away, but it doesn't help.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You drop the cards\nDropped.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You get ointment\nTaken.\n\nMy right hand has started to throb, and I take a closer look at it -- it's starting to blacken a little bit. I suspect this is from the mummy.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You use the ointment\n[Be a little more specific about what you'd like to do with the ointment jar.]\n\n> You open the jar\nOpened.\n\nInside the ointment jar is some salve.\n\nAudrey looks at me with a little bit of inquisitive sympathy, but I don't say or reveal anything.\n\n> You use the salve\n[Be a little more specific about what you'd like to do with the salve.]\n\n> Smear salve\nBe a little more specific about what you'd like me to smear.\n\n> You smear the salve on yourself\nI apply the salve to myself, hoping to stave off the rotting.\n\n> Go southwest\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nSome chair parts are drawn up from the floor and thrown at me!\n\nSome chair parts strike me, and I take a little bit of damage.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nBig Gulp drink: Dropped.\npleather purse: Dropped.\nsocks: Dropped.\nlacrosse stick: Dropped.\nphone: Dropped.\naged text: Dropped.\nblue balloon: Dropped.\nurn: Dropped.\ngarlic clove: Dropped.\ntorch: Dropped.\nointment jar: Dropped.\n\n> You go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A fluorescent light, a garbage can, a brown table, a short gray table, a plastic chair, a metal chair, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA fluorescent light wobbles a bit, and is suddenly hurled at me!\n\nI dodge the item, though.\n\n> You get all\nfluorescent light: Taken.\ngarbage can: Taken.\nbrown table: I'm carrying too much to take that.\nshort gray table: I'm carrying too much to take that.\nplastic chair: I'm carrying too much to take that.\nmetal chair: I'm carrying too much to take that.\nbroken chair: I'm carrying too much to take that.\nchair parts: I'm carrying too much to take that.\n\n> Go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), the ointment jar are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n\"Hey, Duffy... Casey's got maybe 12 minutes left by my count,\" says Gibs.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first. fluorescent light: Dropped.\ngarbage can: Dropped.\n\n> You get all\nbrown table: Taken.\nshort gray table: I'm carrying too much to take that.\nplastic chair: Taken.\nmetal chair: Taken.\nbroken chair: I'm carrying too much to take that.\nchair parts: I'm carrying too much to take that.\n\nA short gray table wobbles a bit, and is suddenly hurled at me!\n\nA short gray table strikes me, and I take a little bit of damage.\n\n> Go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), the ointment jar, a fluorescent light, a garbage can are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nbrown table: Dropped.\nplastic chair: Dropped.\nmetal chair: Dropped.\n\n> You go to the west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came. A short gray table, a broken chair, and some chair parts are here.\n\nAudrey and Gibs follow me.\n\nA broken chair is drawn up from the floor and thrown at me!\n\nA broken chair strikes me, and I take a little bit of damage.\n\n> You get all\nshort gray table: Taken.\nbroken chair: Taken.\nchair parts: Taken.\n\nThere doesn't seem to be anything for the Poltergeist to throw at me... it's probably possible for me to get by it and get into the other section of the Food Court now.\n\n> You go to the east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, Gibs's lacrosse stick, the aged text, the blue balloon, an urn, the garlic clove, the torch (broken), the ointment jar, a fluorescent light, a garbage can, a brown table, a plastic chair, a metal chair are here. The phone is here.\n\nAudrey and Gibs follow me.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nshort gray table: Dropped.\nbroken chair: Dropped.\nchair parts: Dropped.\n\n> GET PHONE, STICK, TEXT, URN, BALLOON AND CLOVE\nphone: Taken.\nlacrosse stick: Taken.\naged text: Got it.\nurn: Right on.\nblue balloon: Taken.\ngarlic clove: Got it.\n\n> Go west\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came.\n\nAudrey and Gibs follow me.\n\nThere doesn't seem to be anything for the Poltergeist to throw at me... it's probably possible for me to get by it and get into the other section of the Food Court now.\n\n> Go west\nThis far section of the Food Court pinches off to a slight, concrete wall extension. There were plans to expand this once, by the corporation that owns the Mall, but they now seem forever ago and far away. The rest of the Food Court is to the east, and the final corridor leading out of the Mall completely is around a turn to the northwest.\nCasey and a Revenant are here.\n\nAudrey and Gibs follow me.\n\n> You talk to Revenant\nPlease select one:\n\n(1) \"What was supposed to happen upon you finding your killer?\"\n(2) \"The vampire wasn't your killer, was she?\"\n\n> 1\n\"REST!\" bellows the Revenant. I'm momentarily taken back by his outburst: there are absolutely no other sounds audible this far into the Mall. \"A sweet, everlasting relaxation that I so richly deserve. Many cultures have had many different names for it. Nirvana... Heaven... Ragnar?k...\"\n\n\"Actually, Ragnar?k wasn't a final state of bliss, like the Sanskrit Nirvana, but rather a foretelling of -- \" The Revenant cuts me off and continues his monologue. What a complete cock!\n\n\"A final resting place for a warrior such as I. It is as I deserve. I crave it, desperately... but first I must find the one that put me into this state and remove her from this world.\"\n\nI give the guy the fingerguns sign. \"Good luck with that,\" I tell him. Jerk.\n\nPlease select one:\n\n(1) \"The vampire wasn't your killer, was she?\"\n\n> 1\n\"She was not,\" the Revenant says quickly. \"It is of little matter, however. Mistakes get made. She offered no real value to this world or any others. She will not be back for the foreseeable future.\"\n\n\"That's excellent,\" I reply. \"Thanks.\"\n\n\"There is no need for thanks. It was not a favor I did, but an attempt to uncover the truth about my death.\" I give him a quick look of sympathy and understood pain, but it's totally fake. I'm hoping he can't determine my ruse, what with the flamb?ed face and eyes and everything. But either way he seems pretty relaxed.\n\n> You examine Casey\nShe has brown eyes and jet-black, though obviously dyed, hair. She is wearing a textbook goth outfit, complete with the black fingernails, eyeliner and steel-toed boots. She looks dark, mysterious, dangerous and completely off her rocker.\n\n> Go northwest\nMall, First Level, North Edge\nWe've come to the last long hall. To the north, approximately fifty yards away, are the exit doors. Dawn has yet to creep up upon us. It's still pitch black outside. Freedom is all I can think of at this point.\n\nI take a single step forward. That's when she materializes.\n\n\"Hello, Sydney,\" I say, intentionally agitating the spirit that thinks it's in total control.\n\n\"Hi there, doll,\" she says in return. \"What happened to her?\" she asks, looking over towards Casey. \"How unfortunate. I was hoping to add her soul to my collection, but it looks like that won't be possible.\"\n\n\"We have to get out of here before the sun rises. Otherwise she'll die,\" I say. \"Get out of the way.\"\n\n\"The door is shut by my command, Jarret. Though I'll confess that the thought of her turning to sawdust as the sun rises right before I take each of your lives is especially intriguing. We could do it that way. That's fine with me.\"\n\n\"Shut up,\" suggests Audrey. \"We know how to exorcise you, and we're going to do exactly that.\"\n\nAudrey turns towards me and looks at me with a kind of love and somber happiness that I have never before seen. \"Read the passage from the book, Jarret...\"\nThe ghast's head is here.\nSydney, Audrey, Gibs, and Casey are here.\n\nGibs pipes up for a moment. \"Casey's got probably ten minutes left at my count before the ichor spreads.\"\n\n> You read the book\nI turn over the book and it opens to a section in the back. Just like in the Dungeon Master's Guide and, I suppose, The\nBible, this is where all the good bits are:\n\nTombs containing carrion, and hate within the ground\nA claw-scratched forced Caesarian, who could not remain bound\nGroping, moaning pantomime, beasts within the air\nRending tortured friends of mine, killing with a stare\n\nStacked on a forgotten grave, crushing souls and mud\nVirgin souls we try to save, walls crying with blood\nLeave the host, this eve, you took -- no longer will you dine\nThe mart's collapse, the walls all shook -- your attention shall\nbe mine!\n\nAll the arrogance and jeering has left Sydney, and she remains hovering over with an expectant, slightly confused expression on her face. We've got her enraptured for the moment, it would seem.\n\n\"We need someone to drink the water... But whoever does needs to be a virgin,\" says Audrey.\n\n> Drink urn\nNot quite sure what you hope I will accomplish with that.\n\nI can't drink the urn.\n\n> You examine Sydney\nSydney has been possessed. Her aura can be seen as a strong,\nhazy glow and her eyes have turned red. She does not exist on this physical plane and cannot be touched. The air around her is much colder than it is elsewhere in this room. She is levitating herself just out of reach, and regards us all with supernatural superiority and arrogance.\n\n> Go southeast\nThis far section of the Food Court pinches off to a slight, concrete wall extension. There were plans to expand this once, by the corporation that owns the Mall, but they now seem forever ago and far away. The rest of the Food Court is to the east, and the final corridor leading out of the Mall completely is around a turn to the northwest.\nA Revenant is here.\n\nAudrey and Gibs follow me.\n\n> You kick Revenant\n\"And then I kicked him in the head till he was dead!\" I say,\nquoting Baldur's Gate. I hit a Revenant!\n\nA Revenant attacks and hits me!\n\n> You go east\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the torch (broken), the ointment jar, a fluorescent light, a garbage can, a brown table, a plastic chair, a metal chair, a short gray table, a broken chair, some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n> You put water in the urn\n(taking the water first)\n(I'll only be able to hold the water for a couple moments before it flows through my hands...)\n\nDone.\n\n> You examine urn\nThis rather large urn is crafted in the shape of an upside-down mushroom. It's a base silver in color with a floral pattern painted on top.\n\nInside the urn is some water.\n\n> Leave\nI get out of the fountain.\n\n> Go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n> Go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nBarnaby's Big Gulp drink, a pleather purse, some socks, the torch (broken), the ointment jar, a fluorescent light, a garbage can, a brown table, a plastic chair, a metal chair, a short gray table, a broken chair, some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> You go northwest\nMall, First Level, North Edge\nWe are before the last long hall. To the north, approximately fifty yards away, are the exit doors. There are no stores to either side of us. An informational kiosk and some planted trees are the only things in between us and the exit. Well, that and the levitating, possessed body of one of my friends, natch.\nThe ghast's head is here.\nSydney and Casey are here.\n\nAudrey and Gibs follow me.\n\n\"I have a knock-knock joke for you,\" says Gibs.\n\n\"Now is not a good time. OK?\"\n\n\"Knock knock.\"\n\n\"Jesus Fuck. 'Who's there?'\"\n\n\"Not Casey. Casey's dying in eight minutes.\" Gibs stares furiously ahead.\n\n> You kick Sydney\nNah.\n\n> You examine the ghast\nIt's a disembodied head. One with kind of a squashed-in face, like... er, somebody whacked it with their boot or something. Most of the hair and flesh is still hanging on, but both the eyes are gone and the jaw hangs open in a particularly grotesque manner. The head formerly belonged to a guy named Randolph who would guilt people into taking his surveys and was always talking about all the women he met at his job, though none of them would ever go out with him because, hey, he's the Survey Guy.\n\n> You give the water to the ghast\n(taking the water first)\n(I'll only be able to hold the water for a couple moments before it flows through my hands...)\n\nThe kind gesture goes unnoticed by the head.\n\n> Go southeast\nThis far section of the Food Court pinches off to a slight, concrete wall extension. There were plans to expand this once, by the corporation that owns the Mall, but they now seem forever ago and far away. The rest of the Food Court is to the east, and the final corridor leading out of the Mall completely is around a turn to the northwest.\nA Revenant is here.\n\nAudrey and Gibs follow me.\n\n> Go east\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came.\n\nAudrey and Gibs follow me.\n\nThere doesn't seem to be anything for the Poltergeist to throw at me... it's probably possible for me to get by it and get into the other section of the Food Court now.\n\nThe water flows through my fingers.\n\nThe water flows away and disappears.\n\n> You give the urn to Revenant\nMy goodwill is ignored.\n\nThe water flows through my fingers.\n\nThe water flows away and disappears.\n\n> You go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the north.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), the phone, Gibs's lacrosse stick, the aged text, an urn, the blue balloon, and the garlic clove.\n\n> You examine the text\nThe text has a grooved, sturdy cover, designed out of pressed reed and dyed a rich burgundy. It is about fifteen inches long, nine or ten inches thick.\n\n\"Six minutes, Jarret,\" says Gibs.\n\n> Go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the east.\n\n> You go to the east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\n> Go south\nThe Poster Store sells posters... and little else. There's a hanging flip-rack of posters in the corner of the store, and a few hanging up on the walls.\n\nAlongside the far wall is a set of oversized disembodied lips.\n\nAudrey and Gibs follow me.\n\n> You put the water in urn\nThe water is already in the urn.\n\n> Go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n\"I don't mean to be annoying,\" says Gibs, \"Not now, anyway, but Casey's got maybe four minutes left before she can no longer be saved.\"\n\n> You go northwest\nMall, First Level, North Edge\nWe are before the last long hall. To the north, approximately fifty yards away, are the exit doors. There are no stores to either side of us. An informational kiosk and some planted trees are the only things in between us and the exit. Well, that and the levitating, possessed body of one of my friends, natch.\nThe ghast's head is here.\nSydney and Casey are here.\n\nAudrey and Gibs follow me.\n\n> Drink water\n[ Use \"TALK TO CHARACTER\" to talk to a particular character in the game. ]\n\n> You get the water\n(I'll only be able to hold the water for a couple moments before it flows through my hands...)\n\n> You give the water to Casey\nMy goodwill is ignored.\n\n\"Three minutes for Casey,\" says Gibs.\n\n> You talk to Audrey\nPlease select one:\n\n(1) \"Lay it on me, then. What's up?\"\n(2) \"Whoa, that was you in the vision! What does a plus mean?\"\n\n> 2\n\"What does a plus mean?\" asks Audrey. \"On a home pregnancy test? It means that you're not pregnant. Thank God.\"\n\n\"Did you have a close call or something?\"\n\n\"Yes, we had a close call. Don't you remember? It wasn't that\nlong ago. I had got off ICQ talking to one of your ex-girlfriends the night before. She told me that you, quote, 'wig out' when spoken to in Elvish or some other made-up language along those lines.\"\n\nAudrey continues her story, but I start to get a flood of memories back from that night. I had actually deigned to go out clubbing with her for a night a few weeks back. (I usually don't, as I am such a lousy, self-conscious dancer.) She was wearing this tight little gray dress with slight horizontal lines across it, made out of this fuzzy fabric -- the outfit practically squealed 'do me' by itself.\n\nAudrey was grinding her way up against me every time I went onto the floor. I just seizured out. That's the only way I know how to dance. I almost never really consume much alcohol, but that night I was taking pull after pull of some Safeway Vodka that Sydney had smuggled into the club as if the contents of the bottle were nothing more innocuous than Mexican Kool-Aid. Audrey and I took a cab back to her place, and we were all over one another before we could find the light switch.\n\nShe was on top of me for what seemed like the better part of an hour when she dipped down and whispered something into my ear.\nTye-mela'ne. It's Tolkein Elvish for 'I love you.' We don't\nseem to say that to each other very much, but even drunk I instantly translated what she said and I... well, I went off like a Soviet Catapult: unexpectedly, unpredictably, and altogether quite messily.\n\nI hadn't thought about it -- about the consequences of it -- until just right now. I didn't mean for her to go through a pregnancy scare like that by herself. I just wasn't thinking about the details.\n\n(For what it's worth, the story that Audrey related as I had this flashback was pretty much exactly like mine, except that she said that we only jammed for something like fifteen minutes. She's got this crazy, post-Einsteinian view of how time really works though, so don't believe her.)\n\nPlease select one:\n\n(1) \"Lay it on me, then. What's up?\"\n\n> Go southeast\nThis far section of the Food Court pinches off to a slight, concrete wall extension. There were plans to expand this once, by the corporation that owns the Mall, but they now seem forever ago and far away. The rest of the Food Court is to the east, and the final corridor leading out of the Mall completely is around a turn to the northwest.\nA Revenant is here.\n\nAudrey and Gibs follow me.\n\n> You go east\nThe Food Court is a vast, open area, and I can only make out about half of it from here. (The entire west end is shrouded in darkness.)\n\nTo the northeast is a Nutrition Store. The Court has another section to the west, and there is an exit east from where we originally came.\n\nAudrey and Gibs follow me.\n\n> You enter the fountain\nEntered!\n\nMall, First Level, Eastern Edge, in the fountain\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nAudrey and Gibs are here.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the south.\n\n> You give the urn to the spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the south.\n\n> Go south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You follow the spectre\nThe spectre is right here.\n\n> Kiss spectre\nI try to get close, but the spectre resonates extreme cold from his person... much too painfully cold to touch.\n\nThe spectre heads off to the west.\n\n> You go west\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\n\nThe floorspace towards the rear of the store is completely taken up by the long display table against the western wall.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You give the water to the spectre\nThe spectre shakes his head sadly. \"I'm not thirsty for that,\" he says. \"Not at all...\" His eyes narrow, his head tilts slightly to the side -- he's trying to communicate something to me, and\nunlike some of the other denizens of the Mall, it's not a horrible curse or disease.\n\n\"Six minutes, Jarret,\" says Gibs.\n\nThe spectre heads off to the east.\n\n> Go east\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the south.\n\n> Inventory\nI am carrying my glasses (being worn), the gaming glove (being worn), the phone, Gibs's lacrosse stick, the aged text, an urn, the blue balloon, and the garlic clove. Inside the urn is some water.\n\n> You go south\nThe Bead Store smells strongly of incense and stale joints, and it almost overpowers every other sense. There are shelves on all sides of the store, but none in the middle of the store due to the drawn pentagram.\nA postcard, the X-box are here.\nThe skeleton is here.\n\n> Go east\nThis is far east as the Mall goes. The Mall technically dips a bit as one goes west, as it was originally constructed upon a landfill. There's a three-sided advertising kiosk in the middle of the corridor.\n\nTo the west is the Beads Store, Sporting Good Outlet and the (closed) Arcade.\n\nMy store, the Gaming and Role-Playing Emporium, is to the south.\n\n\"I don't mean to be annoying,\" says Gibs, \"Not now, anyway, but Casey's got maybe four minutes left before she can no longer be saved.\"\n\n> You go west\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\n\"Three minutes for Casey,\" says Gibs.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the south.\n\n> Go south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey and Gibs follow me.\n\n> You go north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n\"Two minutes, Jarret,\" says Gibs.\"\n\n> You wait\nTime passes...\n\nThe spectre arrives from the south.\n\n> You give the text to the spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the south.\n\n> Go south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You give the balloon to the spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the west.\n\n> Go west\nThe Candle Store is the second-most picketed store, right after Choad's. It used to be a lot worse when it was a nail and board emporium, though. Some old and independently wealthy latin guy owns the place, though, and he just doesn't care about the Cash-In of the Christ.\n\nChrist's Candles is decked out in a similar manner to the Bead Store, hippie stuff and dark shadows even when the power isn't completely out. This isn't the kind of city where one can set up a number of candles on stands like in the video to 'Wrapped Around Your Finger,' so instead all the candles and other objects are on shelves.\n\nThe floorspace towards the rear of the store is completely taken up by the long display table against the western wall.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the east.\n\n> Go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\n\"Casey doesn't have much time left, Duff,\" says Gibs, quietly.\n\n> You go to the north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\n\"I'm not going to say that I am an expert on the supernatural, but I can't imagine that we could still save Casey,\" whispers Gibs.\n\n> Go east\nThis store is mostly unfurnished, with a low, bare ceiling, cold floor covered in cheap carpeting, and blankets and rugs thumb-tacked up to hide the peeling wallpaper and crumbling drywall.\n\nThe contents of the room are a cluttered mess, as this place seems to be more of a craftsman's think-tank and construction area than pure chamber for commerce like so many other shops in the Mall. There's a workdesk and mirror along the northern wall and a file cabinet across from it. A small window is visible behind some junk, and directly across from the entrance are seven masks attached to the back wall in a proud display. Attached to one of the naked support beams is a disco laser pointer.\n\nAudrey and Gibs follow me.\n\n> You look at the mirror\nA stylin' and engaging Chortlemaster with great hair is staring back at me.\n\nThe spectre arrives from the west.\n\n> You examine the laser\nThe laser pointer is out there jivin'! It's scattering laser light everywhere and it's turned this placed into a Block Party Central! Whoo-hoo!\n\nThe spectre heads off to the west.\n\n> Inventory\nI am carrying my glasses, the gaming glove (being worn), the phone, Gibs's lacrosse stick, the aged text, an urn, the blue balloon, the garlic clove, Barnaby's Big Gulp drink, and the mirrored shades. Inside the urn is some water.\n\n> You wear the shades\nI put the shades on.\n\n> You examine the laser\nThe laser pointer is out there jivin'! It's scattering laser light everywhere and it's turned this placed into a Block Party Central! Whoo-hoo!\n\n> You examine the mirror\nA stylin' and engaging Chortlemaster with great hair is staring back at me.\n\n> Empty urn\nwater: Done.\n\n> Wait\nTime passes...\n\nThe water flows away and disappears.\n\n> You go to the east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\n\nAudrey and Gibs follow me.\n\nA little more water trickles into the fountain.\n\nThe spectre arrives from the south.\n\n> You go to the west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nThe cross is here.\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the east.\n\n> You drop all\nglasses: I can't drop my specs! They are a valuable information-gathering tool!\ngaming glove: I will have to take the gaming glove off first.\nphone: Dropped.\nlacrosse stick: Dropped.\naged text: Dropped.\nurn: Dropped.\nblue balloon: Dropped.\ngarlic clove: Dropped.\nBig Gulp drink: Dropped.\nmirrored shades: I will have to take the mirrored shades off first.\n\nThe spectre heads off to the east.\n\n> You go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the west.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, the aged text, an urn, the blue balloon, the garlic clove, Barnaby's Big Gulp drink are here.\nThe phone and the spectre are here.\n\nAudrey and Gibs follow me.\n\n> You give the cross to spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the south.\n\n> Go north\nA fair bit of ether has snaked itself into the room. It combines with the hand-picked and market-researched atmospheric lights that still function to give off a very deep, defracted and soothing look to the room. Vibrant purples and deep blues dominate the walls and counters of the Sunglasses Hut.\n\nI worked at this place for a week once when I was fighting with my manager at the D&D store. I acquired a little bit of trivia regarding this place (for instance, the center display case will open if it's tapped upon) but nothing useful otherwise.\n\nAudrey and Gibs follow me.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, the aged text, an urn, the blue balloon, the garlic clove, Barnaby's Big Gulp drink are here.\nThe phone is here.\n\nAudrey and Gibs follow me.\n\n> You go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nA pleather purse, some socks, the torch (broken), the ointment jar, a fluorescent light, a garbage can, a brown table, a plastic chair, a metal chair, a short gray table, a broken chair, some chair parts are here.\n\nAudrey and Gibs follow me.\n\n> You examine the light\nThis light fixture is from a chunk of the Mall's ceiling. It's at least a couple feet long, and mostly cylindrical in shape. It's non-functioning, of course, and quite heavy.\n\n> You insert light\nYou'll have to be a little more specific about exactly with what you'd like me to do that.\n\n> You put the light in the spotlights\n[ The word \"shadows\" is not recognized by the game. ]\n\n[ The word \"spotlights\" is not recognized by the game. ]\n\n> You examine girl\nThe crucified girl seems to be of mild Hispanic descent. Her features are slightly olive, her hair dark and her eyes stained all the round by blood. She is wearing a torn black tank top, blue bandana with floral print, and sleek pair of tight shorts. Her build is slight -- she is probably about five foot five at most, with slim, athletic legs.\n\nShe has not been dead long as she is just a few degrees cooler than living human flesh ought to be.\n\nShe is dead.\n\n> Inventory\nI am carrying my glasses, the gaming glove (being worn), the mirrored shades (being worn), and a fluorescent light.\n\n> You examine the shades\nThey are circular frames, with perfect mirrors on the outside. My eyes are completely hidden while wearing the sunglasses, at the expense of a lot of light getting through.\n\n> Go south\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nA pleather purse, some socks, the torch (broken), the ointment jar, a garbage can, a brown table, a plastic chair, a metal chair, a short gray table, a broken chair, some chair parts, the cross are here.\n\nAudrey and Gibs follow me.\n\n> You examine the rubble\nIt seems to be constructed of the cheap concrete that was poured onto the roof of the Mall a few years back.\n\n> You examine the lips\nThe Magic Mouth is a set of purple disembodied lips, measuring roughly two feet wide and a little less than a foot high. They are stuck on the side of the wall as if they are part of it and seem (supernaturally, natch) integrated within them. No discernable teeth or tongue or lungs are present, so whatever causes it to vibrate the air is wholly beyond me.\n\n> You go west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, the aged text, an urn, the blue balloon, the garlic clove, Barnaby's Big Gulp drink are here.\n\nAudrey and Gibs follow me.\n\n> Go south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the south.\n\n> Examine spectre\nThe spectre is a powerful, intangible, undead spirit consumed with hatred for those with warmth in their souls. Its touch drains an enormous amount of life energy, it is unaffected by silver, 'normal' iron, or cold.\n\nIt would be powerless in daylight, but I am obviously several hours away from any such thing. It may be best to just avoid and and not antagonize it.\n\n> You touch the spectre\nI try to get close, but the spectre resonates extreme cold from his person... much too painfully cold to touch.\n\nThe spectre heads off to the north.\n\n> You go north\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, the aged text, an urn, the blue balloon, the garlic clove, Barnaby's Big Gulp drink are here.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You get the urn\nRight on.\n\nThe spectre heads off to the east.\n\n> You get the text\nGot it.\n\nThe spectre arrives from the east.\n\n> You get the balloon\nTaken.\n\nThe spectre heads off to the east.\n\n> Go east\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the south.\n\n> You go south\nThe Poster Store sells posters... and little else. There's a hanging flip-rack of posters in the corner of the store, and a few hanging up on the walls.\n\nAlongside the far wall is a set of oversized disembodied lips.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\nThe spectre heads off to the north.\n\n> Go north\nMall, First Level, Eastern Edge\nThis bit of hallway features an enormous and beautiful fountain. There are exits in all four primary compass directions.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You give the garlic to the spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the west.\n\n> You follow the spectre\nWhich way did it go?\n\n> You go to the west\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a bit of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, Barnaby's Big Gulp drink are here.\nThe spectre is here.\n\nAudrey and Gibs follow me.\n\n> You move the rubble\nI can't move the chunk of rubble.\n\nThe spectre heads off to the east.\n\n> You get the rubble\nDone."
    },
    {
        "text": "[Themes: Horror, zombie, abjection, America, occult, vampire, scatological]\n\n> Look around\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a fine dusting of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, Barnaby's Big Gulp drink are here.\nAudrey and Gibs are here.\n\n> You get the rubble\nI already have that.\n\n> You search the rubble\nI don't find anything.\n\nThe spectre arrives from the east.\n\n> You give the rubble to the spectre\nThat's not what the spectre seems to be looking for.\n\nThe spectre heads off to the east.\n\n> You examine the rubble\nIt seems to be constructed of the cheap concrete that was poured onto the roof of the Mall a few years back.\n\n> You talk to Trott\n[Speaking to Trott on the phone...]\nI can't think of anything to say right now.\n\nThe spectre arrives from the east.\n\n> Search gate\nI don't find anything.\n\nThe spectre heads off to the east.\n\n> You check your inventory\nI am carrying my glasses, the gaming glove (being worn), the mirrored shades (being worn), the phone, an urn, the aged text, the blue balloon, the garlic clove, and a chunk of rubble.\n\n> You go west\nMall, First Level, West Edge\nThe area is free from the wreckage. Gibs, though is just standing up, completely motionless, facing the inky blackness that shrouds the Food Court from here. Casey is nowhere to be found.\nA pleather purse, some socks, the torch (broken), the ointment jar, a garbage can, a brown table, a plastic chair, a metal chair, a short gray table, a broken chair, some chair parts, the cross are here.\n\nAudrey and Gibs follow me.\n\n> Go northeast\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\nThe Magic: The Gathering cards are here.\n\nAudrey and Gibs follow me.\n\n> Go north\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\nThere are a number of tiny birthday candles in packages all over the store, but the most impressive display is in the back, where an elegant, if clouded menorah rests upon a long display table.\nThe lid is here.\nThe mummy is here.\n\n> You get menorah\nI take it."
    },
    {
        "text": "> You look around\nThe ceiling in this room is unique within the basement, as it is actually enough up where I don't have to hunch. All available light is strongly reflected from the coffin, which sits quietly in the corner of the room. The walls are made out of a flecked brick, and a support beam stands to the right of the coffin.\n\nExits are south towards the stairs and east into a tight alcove.\nThe lid is here.\nThe mummy is here.\n\n> You examine menorah\nThe menorah has places for nine candles -- one for each day of Hanukkah, and then one candle which is the Shamash, which is used to light the other candles once per day for each day of the holiday. This menorah is made out of brass and does not appear to have had any attention or cleaning in quite some time.\nInside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\nInside the menorah are the crimson candle, the cyan candle, the jade candle, the umber candle, the indigo candle, the canary candle, the black candle, the slate candle, and the white candle.\n\n> You look at the coffin\nThe coffin is made out of some kind of stone-like substance that I am not altogether familiar with. It's like a chiseled and well-grooved offshoot of pyrite. It nevertheless reflects light quite well, and practically shimmers down here in the basement, excepting those bits of it flecked with dried blood.\n\n> You look at the lid\nThe coffin lid is about six and a half feet long, three feet wide and a good eight or nine inches deep. It's made out of rough stone, but of a type filled with flecks of highly reflective metal. The stonework is strictly functional, as there are several gashes and lines in the lid and it hardly even approximates a smooth surface anywhere that I can see.\n\n> You examine blood\nWhich blood do you mean, the dried blood or the bag of blood?\n\n> You get the bag\nI grab the bag.\n\n> Go upwards\nThe Nutrition Store is dominated by a series of five-foot high shelves that make up four distinct aisles. The walls are a sickly shade of green and contrast with the subdued nature of the shelves and all the jars of pills placed upon them.\n\nIn the rear of the store is a modest wood counter and an ancient analog cash register. Even further, behind the counter and register, is a metal door.\n\nThere is no front gate to the Nutrition Store, only a ten foot cut in the wall. The opening is not quite centered, however, and a 5'x3' pane of glass has been placed into the southern wall.\nThe Magic: The Gathering cards are here.\nAudrey and Gibs are here.\n\n> Go southeast\nI can't go that way. I can go down to the basement entrance or southwest to the food court's east half.\n\n> Go east\nMall, First Level, Central Corridor\nThis stretch of the Mall hallway is covered with just a fine dusting of rubble. There are clear exits to the west and south. The gate to the Record Store is down to the north.\nGibs's lacrosse stick, Barnaby's Big Gulp drink are here.\n\nAudrey and Gibs follow me.\n\n> Go south\nMall, First Level, Southern Edge\nThis is the southern-most section of the Mall. There's a large block of impenetrable cement to the south, which covers over the failed Outlet Store, and two paths to two other stores: the candle store (west) and party favors store (east).\n\nAudrey and Gibs follow me.\n\nThe spectre arrives from the east.\n\n> You give the bag to the spectre\nThe spectre looks stupidly at the bag of blood for several moments, blinking the little ovals on its transparent face where eyes ought to be. I grasp Audrey's hand and ensure that she's physically behind me in case the spectre revolts. It doesn't, however, and instead impossibly takes hold of the bag with intangible fingers. \"Perfect,\" it says, simply, \"I thank you.\"\n\nThe spectre blinks out of existence.\n\n> You go north\nI hate going in here, but I have apparently been a patron enough times to notice how peculiar the store is without its overhead fluorescent spotlights. The low light received from outside produces oddly-angled little shadows, albeit (apparently) non-sentient ones.\n\nThere are two long rows of shelves along the north-south orient of the store, and a cashier's counter in back.\nA fluorescent light is here.\nThe crucified girl is here.\n\nAudrey and Gibs follow me.\n\n> You go northeast\nI can't go that way. I can go south to the corridor.\n\n> You search mummy\nThe mummy is empty.\n\n> You go to the west\nI can't go that way. I can go northwest to Mall, First Level, North Edge or east to the food court's east half.\n\n> You go northwest\nMall, First Level, North Edge\nWe are before the last long hall. To the north, approximately fifty yards away, are the exit doors. There are no stores to either side of us. An informational kiosk and some planted trees are the only things in between us and the exit. Well, that and the levitating, possessed body of one of my friends, natch.\nThe ghast's head is here.\nSydney and Casey are here.\n\nAudrey and Gibs follow me.\n\n> Go north\nI kicked open the first set of exit doors, entered the airlock and pushed open the second set. I held it as all my friends made it out. The sky was completely free from clouds and had the slightest hint of azure swirling within its fair blue mix. The sun hadn't yet crept up over the plains and scrub to the east, but it was only going to be moments before we started to see the first few beams.\n\n> You give the shades to Casey\nmoments before we started to see the first few beams.Audrey desperately looked for some cover from the sun for her friend. She spotted the group of the anonymously parked lorries sitting in the lot and ran towards one. I took Casey's hand and brought her to them. The van would give us a few extra seconds relief from the daylight that would kill her.\n\nI brushed Casey's hair away from her face. I couldn't help a tangential glance at the bite marks on her neck. They were terrible, fascinating... beautiful. Members of my generation have had hundreds of thousands of tattoos and this was more striking than any of them.\n\n\"I'm not going to give up on you, Casey,\" I whispered to her. She offered no response. Trott, Gibs and Sydney joined us. I tossed my keys to Trott and told him to bring my car around. Casey hadn't made a sound since we had left the Mall. \"I'll get some blankets for you,\" I told her. \"We'll cover you up, get you to a hospital, get you a transfusion...\" Audrey let out a little sound of a cry. I saw that her cheeks were streaked with tears. She had been so silent I hadn't noticed.\n\nI jumped flat-out of my skin when Casey grabbed my arm. She opened her eyes. They were blank, as if her eyes had rolled to the back of her head. But she was still able to lock onto me and stare right through me.\n\n\"I don't want to live like this,\" she said. Her voice was so soft, but her grip -- her nails were digging through the sleeves of my jacket, almost breaking the skin on my wrist.\n\n\"I won't live like this,\" she said. \"You already all look so tempting. You, Jarret... I can't stop thinking of what it would be like to just take the littlest sip from you...\" She released her grip on her own. She was still in control of herself, albeit barely. \"And you,\" she said, a wry smile forming on her lips as she looked up at Gibs, \"You would have been delicious...\"\n\n\"That's not the vampirism talking,\" whispered Gibs.\n\nCasey turned slightly and faced me again. \"The sun. I feel can feel it already. I won't be able to make this decision tomorrow night. Tomorrow will be too late.\" She rose until she stood, giving no pause to worry about leverage or looking slightly awkward as she took to her feet. She hugged me. She hugged us all, one by one, until only Audrey was left. Casey gave her a kiss on her cheek and Audrey finally broke down. They embraced. And as terrible as I felt for Casey, it was killing me that my girl was having to go through the mechanics of saying goodbye forever to her best friend.\n\n\"There is no other group that I would like to spend my final moments with,\" said Casey. \"I will miss you all.\"\n\nI took Casey's hand and pulled her up as we climbed on top of the truck. I tried to tell her that I could find a way to heal her, to fix her -- that there was still time. But she was staring straight ahead. The sky continued to turn brighter. We were up there for less than a minute, but it felt like I had tried to argue with her and talk her down for ages\n\nAt exactly 7:21am she briefly turned to me with a sad smile and stretched her arms out as wide as they would go. I grabbed hold of her in an attempt to drag her down, but daylight peeked out over the horizon and instantly vaporized her. She disintegrated away into a whiff of dust and only the smallest bit of her was left in my hand. Her clothes fell to the top of the van. I heard Audrey shriek from below. I picked up Casey's clothes and hopped down to the ground.\n\nI opened the passenger door to my car and directed Audrey in. The rest of us dispersed and went our separate ways. I drove up to the Fort, expecting to drop Audrey off and go home. She brought me inside and together we both crawled into her bed. She fell asleep quickly, and within moments I was hypnotized by her rise and fall. We both slept for most of the rest of the day.\n\nAfter about twelve hours I fell back into consciousness. I kissed my girl on the lips, but she only stirred, smiled faintly, and fell back into sleep without ever opening her eyes. In the modern mythology I don't follow, a kiss on that is supposed to wake up the girl\nwhen it's delivered by her own Prince Charming.\n\nIt just made it all the more obvious that I've never been that guy for her.\n\nI slipped out of her room and drove myself home.\nFour months later...\n\n> You hit enter\nI thought the five of us would have difficulties explaining what happened in the Mall right after the incident. I thought there would be questions, interrogations, solicitors and then time in locked rooms downtown before good cops gone bad, and then thrown off our case, but at the last second rehired because they always got results.\n\nBut there was none of that. Not so much as a single arched eyebrow. Electricity had been restored when I sheepishly returned a few days later for my next shift. The bodies were removed, either when the ghost vanished or by carry-out after the fact. I never found out because I was too much of a coward to ever research what officially happened to them.\n\nIt was easy to not get into a nervous furor about things with my friends because I hardly saw any of them afterwards. Gibs treated missing his shift that night as a power ploy and ended up getting promoted and the afternoon drive-time slot. Sydney I only ever saw through Audrey, and Audrey moved to Texas at me a week after what went down in the Mall. I mean, right at me. (If it could be said\nthat someone could aggressively move 'at' somebody, I mean. If that's possible, then that's definitely what Audrey did.) Trott was the only one of the group that I ever encountered with any regularity, and that was because we worked together. We never spoke about that night.\n\nBut after four days of living with the spectre of the night figuratively breathing a chilling ulcer into my bones I decided that it was time that we did.\n\n> You hit enter\nThe Curiosity Shoppe is rather smallish, as far as stores around here go, nestled into the far corners of the Mall, distant from practically every other decent or worthwhile store. Shelves of gaming books and modules are arranged everywhere, and promotional kiosks occupy the floorspace between the register and the far wall.\n\nIn the last few months, Benji has decided to sell all sorts of other worthless crap to increase the profit margin of the store. This includes, but is not limited to, baseball cards, DDR mats, stuffed Japanese Gromit Dolls, stripper poles, headphones and joy buzzers.\n\nTrott and I are working here this evening, and it's been a rather slow night.\nTrott is here.\n\n> You talk to Trott\nPlease select one:\n\n(1) \"Hey, Trott... You know That Night we never talk about?\"\n\n> 1\n\"Uhm, yeah...\" Trott shifts uncomfortably.\n\n\"I think it's high time we talked about it.\" I look him dead in the eye, but Trott doesn't respond. \"C'mon! What the fuck went on that night?\" I start to get really agitated and animated. This is how you need to be to get through to Trott sometimes. \"All that undead? What was all that? How on earth have you rationalized that in your\nmind?\"\n\nTrott looks around for a cigarette. He finally finds one and takes a long drag on it.\n\n\"Truth to tell, Jarret... heh. I deal with it every day by remembering to completely forget about it. I put it all out of my head. Let me tell you a story.\" Trott offers me a cigarette. I accept.\n\nTrott exhales a long stream of smoke. \"When I was in college, a few of my friends and I were playing with a ouija board. I had never done it before. And neither had my friend Raida. We were both put together on the board, on opposite sides, naturally. As first-timers, this was going to be of interest to the old pros.\"\n\n\"Naturally,\" I say.\n\n\"Well, the 'spirits' were asked a bunch of questions. We saw the planchette moved intelligently to the different letters. I know for a fact that I didn't move it. I am pretty sure that she didn't as well. What we saw and what we were told through the board spooked the hell out of us. The spirits knew our names and threatened us and told us that they were going to suck down our souls and so forth. There was only one thing that bugged me, though.\"\n\nTrott frowns. \"Well, actually, the entire thing shocked the living Christ right out of me. But anyway. At one point Herr\ngeistenhaus was asked which one of us they were going to get\nfirst, me or Raida. The ghost said that it was going to be me, and spelled my name out T-R-O-T-T. Three instances of the letter 'T.' Immediately after, a similar question was asked, and Raida's name came up. Her name was spelled -- by the spirits! -- with the letter 'I' and not 'Y.' So not only are those beasties in contact with us on the physical plane, but they also instinctively knew how to spell our names with all our crazy variants. Oh, and it referred to me by my last name rather than my first. Of course.\"\n\n\"What the hell is your first name, anyway?\" I ask.\n\n\"Sveinsgeird?ttir,\" says Trott. I wouldn't have guessed that. I would have gone with 'John' if pressed. \"It's Norse,\" says Trott, helpfully.\n\n\"Anyway. I borrowed the board a couple nights later. I set it up on my bed. Raida and I put it backwards to us, and we closed our eyes. I set up a webcam to record what happened on the board.\" Trott takes a thoughtful puff. \"And what happened later, away from the board, too, as it turns out.\" He shakes his head to remove a quick smile based on old memories. \"We got back gibberish from what we asked. You'd think the banshees and demons could account for the board being oddly placed, but they couldn't, apparently. Ah! Ah! Ah! There is something called the ideomotor effect, I later learned. But the point is... there's plenty of standard explanations for remarkable things that happen that everyday. So Sydney was 'levitating.' Sometimes magnetism looks like super powers. It got cold in the Mall. Fuck. The\npower was out. And when is it ever not cold in the Mall? July? People turned into monsters...\"\n\n\"Admittedly, tougher to explain,\" continues Trott. \"Maybe the government tried out an ebola strain on people.\" He lowers his voice. \"People like Rudolph. Er, Randolph. Whoever.\" He looks around the store to make sure nobody else has wandered in. \"It's already legal to create a bot and just let it run loose around town. I don't know for certain. But I do know that I am not prepared to blindly believe in anything. I don't mind playing role playing games and being a dungeon master and whatever else, but I certainly won't baaa-baaaa my way around life and absorb every pseudo-supernatural event I encounter like a peanut-brained little sheep.\""
    },
    {
        "text": "[Themes: Horror, sexual content, music, romance, abjection, rpg, vampire, America, scatological, relationships]\n\n> You describe your surroundings\nThe Curiosity Shoppe is rather smallish, as far as stores around here go, nestled into the far corners of the Mall, distant from practically every other decent or worthwhile store. Shelves of gaming books and modules are arranged everywhere, and promotional kiosks occupy the floorspace between the register and the far wall.\n\nBenji has decided over the last few months to sell crap that has nothing to do with D&D in order to increase his profit per customer visit. It's probable that he'll eventually squeeze out all the fantasy role-playing stuff.\nTrott is here.\n\nA strangely familiar and altogether repulsive customer shambles into the store.\n\n> You examine the customer\nThis creature is covered in a thick grit. He (it?) is draped in a musty flannel and shambles about with an unwholesome gait. His forearms are unnaturally long and jaundiced, and his there are several patches of mosiaced-over scabs and seeping wounds covering his face and neck.\n\nThe customer projects a hideous snarl!\n\nThe customer attacks and hits me!\n\n> You check your inventory\nI am carrying my glasses (being worn).\n\nGibs enters the store from outside. He spies the creature flailing away at me. \"What's been happening, gents?\" he exclaims.\n\nGibs rips the stripper pole from the wall!\n\nGibs whacks the creature with the stripper pole!\n\nThe creature crumples into a heap and falls down on top of itself onto the floor.\n\n> You look at the creature\nThis creature is covered in a thick grit. He (it?) is draped in a musty flannel that hasn't been in fashion since Gygax was happily married to his first wife. His forearms are unnaturally long and jaundiced, and his there are several patches of mosiaced-over scabs and seeping wounds covering his face and neck.\n\nIt  is currently knocked out.\n\n\"Whew,\" says Gibs. \"This store really does replicate the fantasy gaming experience.\"\n\n> Go outside\nI can't go that way. I can't go anywhere.\n\n> You examine creature\nThis creature is covered in a thick grit. He (it?) is draped in a musty flannel that hasn't been in fashion since Gygax was happily married to his first wife. His forearms are unnaturally long and jaundiced, and his there are several patches of mosiaced-over scabs and seeping wounds covering his face and neck.\n\nIt  is currently knocked out.\n\n> You search the creature\nThe customer is empty.\n\n> You look\nThe Curiosity Shoppe is rather smallish, as far as stores around here go, nestled into the far corners of the Mall, distant from practically every other decent or worthwhile store. Shelves of gaming books and modules are arranged everywhere, and promotional kiosks occupy the floorspace between the register and the far wall.\n\nBenji has decided over the last few months to sell crap that has nothing to do with D&D in order to increase his profit per customer visit. It's probable that he'll eventually squeeze out all the fantasy role-playing stuff.\nTrott, the customer, and Gibs are here.\n\n> You examine the pole\nIt's about ten feet high and supposed to be filled with water when in use. Exotic dancers use them in their shows, and as of late we've been marketing to their scene.\n\n> Dance\n[ Use \"TALK TO CHARACTER\" to talk to a particular character in the game. ]\n\n> You wake up\nI am already awake.\n\n> Inventory\nI am carrying my glasses (being worn) and the stripper pole."
    },
    {
        "text": "[Themes: Space Adventure, adventure, sci-fi, space adventure, science fiction]\n\nBy the velvety purple rings of Uranus!\n\nYou stare lasers through the bars of your prison door at Lord Infamy.\n\n\"Commander Powers.\" Infamy's cold eyes taunt you. \"This is the last time you'll trouble me.\" He pulls the chromed lever built into the control panel. Instantly, your cage drops a meter toward the frigid water below.\n\nInfamy strides to the edge of the lake. \"You're about to make the acquaintance of a few of my pets,\" he purrs. You can't stop yourself from glancing towards the churning waters. Martian razorfish!\n\n\"I intend to savor the experience. Every minute, you will be lowered a fraction toward your inevitable demise.\" Infamy smiles sinisterly.\n\nA uniformed minion hurries into the room and whispers into Infamy's ear. He looks pained. \"It seems I shall have to forgo that pleasure after all, Commander. More urgent matters require my attention.\"\n\nAbruptly, the cage drops again. It sways slightly as it is jerked to a halt by the steel cable which suspends it. \"Goodbye, Commander. And good riddance!\" With a swirl of his cape, Infamy sweeps from the room.\n\n\"I'll get you yet, Lord Infamy!\" you howl after him.\n\nDynamite Powers vs. the Ray of Night!\n\nEpisode 7: Fishing with Dynamite!\n\nCavern (in the titanium cage)\nTwo thirds of this large rock chamber is filled with an underground lake. It's churning with activity, and in the seething water, you can see flashes of silver.\n\nA closed steel hatch is set into the north wall.\n\nThe control panel for the deathtrap is mounted on the rocky shore. A menacing chrome lever protrudes from it.\n\nOn the shore, your equipment is lying where Infamy's flunkies dumped it.\n\n[Author's Note: Dynamite Powers and Rosalind have escaped the Chinese water torture on Lord Infamy's dirigible. With the help of their new friend, Melcor, they led the revolt of the singing monkeys of Melodion and toppled Infamy's oppressive regime. Now the trio has learned the location of Lord Infamy's superweapon, the Ray of Night -- Mars! As Dynamite infiltrates the mysterious Martian base, he is ambushed by henchmen with paralyzing gas! We rejoin Dynamite as he awakens in a new deathtrap]"
    },
    {
        "text": "> Menu\nWelcome to Dynamite Powers vs. the Ray of Night!\n\nAccess the extras at any time with these commands:\n\nABOUT    Learn the story of Dynamite Powers vs. the Ray of Night! COLOR    Switch between the monochrome and colorized versions\nART      Display the cover art\nCREDITS  Read the credits\nHINTS    Access the hint menu\n\n> You look at what you're carrying with you\nYou are carrying:\na uniform (being worn)\nan unbreakable nylon fiber rope (imprisoning your wrists behind your back)\na Sentinels of Outer Space insignia (being worn)\n\n> You look at the cage\nThe cage is large enough to confine a human being. It is composed of titanium bars so thick that even your mighty muscles would be unable to budge them. The bars form a grid too small for you to fit your hand through, but large enough for Martian razorfish to pass through unimpeded.\n\nThe door of your prison is securely locked. Beyond it, you can see the shore, and safety.\n\nThe cage is suspended four meters above the water.\n\n> You examine the insignia\nThe insignia of the Sentinels of Outer Space is pinned to your lapel. As you gaze at the stylized atom on the pin, you are once again reminded why you're proud to be a citizen of the League of Planets.\n\n> You look at uniform\nThe uniform of the Sentinels of Outer Space molds itself to your impressive physique. The trousers are charcoal and tight enough to scandalize the ladies. The tunic is a handsome dove gray, and has ivory braid across the chest. The insignia pinned to your lapel indicates your membership in the Sentinels of Outer Space.\n\nSuddenly, sickeningly, the cage plummets another meter towards the water.\n\nThe cage is now suspended three meters above the water.\n\n> You look at the lever\nThe control panel seems to control the cage's descent.\n\n> You examine the equipment\nYour small heap of belongings lies where Infamy's flunkies dropped it. If they've damaged anything, they'll face the wrath of Commander Dynamite Powers of the Sentinels of Outer Space!\n\n> You look at the pool\nThe underground lake is a natural formation. It's roughly twenty meters in diameter, and looks very deep. The cage is suspended in the center. Innumerable Martian razorfish flash through it, churning the water into foam.\n\nThe cage is now suspended three meters above the water.\n\n> You take the insignia\nUsing an undignified combination of your chin and the bars of the cage, you work the insignia free from your lapel. As the pin finally pulls free, it tumbles to the cage floor, and narrowly escapes being lost over the edge.\n\n> You take the insignia\nPutting your back to the bars, you lower yourself to a sitting, then a lying, position. With infinite caution, you coax the insignia from the cage floor into your mouth. At last, you hold it securely between your teeth, with the pin pointed outward.\n\nSuddenly, sickeningly, the cage plummets another meter towards the water.\n\nThe cage is now suspended two meters above the water.\n\n> You unlock door with the pin\nLet's see - picking a lock with a pin in your teeth, while hanging suspended over a lake of ravenous Martian razorfish. Piece of cake for the Sentinels of Outer Space!\n\nCarefully, you insert the end of the pin into the keyhole, and begin probing its innards. You align the tumblers, then slowly turn your head to disengage the bolt.\n\nWhoops! As the bolt comes free, you sprawl face down through the suddenly-opening door. You're able to save yourself, but your Sentinels insignia falls into the water below and disappears. Shuddering, you work your way back into the cage, then rise to your feet.\n\n> Go outside\nYes, you might be able to cling to the outside of the cage with your tied hands. But things don't look any better out there. Better stay inside until you have a plan.\n\n> Swing cage\nYou grasp the bars with your tied hands, and lean back and forth in rhythm with the natural period of the cage qua pendulum. You are quickly able to build up an arc of 2 meters or so.\n\n> Keep going\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 4 meters.\n\n> You continue\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 6 meters.\n\nAs the cage slowly pendulums across the lake, it jerks and plummets another meter towards the water.\n\nThe cage is now suspended one meter above the water.\n\n> You continue\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 8 meters.\n\n> Continue\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 10 meters.\n\n> You keep going\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 12 meters.\n\n> Go outside\nYes, you might be able to cling to the outside of the cage with your tied hands. But things don't look any better out there. Better stay inside until you have a plan.\n\n> Swing cage\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 14 meters.\n\nAs the cage slowly pendulums across the lake, it jerks and plummets another meter towards the water.\n\nThe cage is now suspended mere centimeters above the water.\n\n> Continue\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 16 meters.\n\n> Keep going\nFuriously, you continue pumping the cage back and forth. With an effort, you build up the length of the arc to 18 meters.\n\nThe arc of the cage extends almost from the edge of the lake to the rock wall. At each end of the arc, your stomach does a small flip as you are briefly weightless. In the center of the arc, the razorfish-filled water rockets by mere centimeters below your feet.\n\n> Continue\nFuriously, you continue pumping the cage back and forth. No matter how you try, however, you can't seem to increase its arc.\n\nThe arc of the cage extends almost from the edge of the lake to the rock wall. At each end of the arc, your stomach does a small flip as you are briefly weightless. In the center of the arc, the razorfish-filled water rockets by mere centimeters below your feet.\n\n> You jump\nYou screw up your courage, and fling yourself into space. For an instant, you think you're going to fall short, but you land half in and half out of the water. Flopping like the fish you're trying to escape, you pull your legs onto shore and roll a safe distance from the water. The area where you fell is a fountain of seething water, foam and fish.\n\nYou lay panting on the ground, while your heart and your breathing slow. The swinging cage plows into the lake and sends a spray of water over your supine form. Moments later, the cage sinks into the lake of death, and is gone.\n\nWhen you've gathered your strength once more, you lever yourself to your feet, and look around.\n\nTwo thirds of this large rock chamber is filled with an underground lake. It's churning with activity, and in the seething water, you can see flashes of silver.\n\nA steel cable runs up from the lake and into a featureless ceiling.\n\nA closed steel hatch is set into the north wall.\n\nThe control panel for the deathtrap is mounted on the rocky shore. A menacing chrome lever protrudes from it.\n\nNearby, your equipment is lying where Infamy's flunkies dumped it.\n\n> You examine the equipment\nYour ray gun is here, but it's destroyed and useless. There's a new-fangled ballpoint pen, a copy of Detective Comics #27 and lip balm in a white-and-black jar. Everything's been damaged beyond repair, and you angrily boot it all into the lake.\n\nWait! Here's your old Boy Scout knife!\n\n> You cut rope with the knife\n(first taking the Boy Scout knife)\nYou perform an awkward pratfall, then pick up the knife in your bound hands.\n\nThe knife isn't open.\n\n> You open the knife\nWorking by touch, you carefully pry open the larger blade of the knife.\n\n> You cut the rope with the knife\nYou twist the knife upward, and saw awkwardly at your bonds. Your blade makes quick work of the ropes, and they soon fall to the ground. You are free once more.\n\n> You take the knife\nYou already have that.\n\n> You close the knife\nYou carefully close the knife."
    },
    {
        "text": "[Themes: Space Adventure, space adventure, sci-fi]\n\n> Look around\nTwo thirds of this large rock chamber is filled with an underground lake. It's churning with activity, and in the seething water, you can see flashes of silver.\n\nA steel cable runs up from the lake and into a featureless ceiling.\n\nA closed steel hatch is set into the north wall.\n\nThe control panel for the deathtrap is mounted on the rocky shore. A menacing chrome lever protrudes from it.\n\nYou can also see some rope fragments here.\n\n> You look at the hatch\nIt's a door-sized stainless steel hatch with a handwheel. It's closed.\n\n> Turn wheel\nYou spin the wheel, and the hatch opens.\n\n> You go north\nThe hatch leads to a short, dark, ascending tunnel. You blunder your way through, eventually emerging through a second hatch.\n\nYou're in a small chamber above ground. Most of the room is the sterile white of laboratories everywhere, but the north wall has a large transparent bubble protruding outward. Outside, you can see the Martian surface and a distant dome. The only exit is the hatch leading back south.\n\nAn open steel hatch is set into the south wall.\n\nA cube-like machine squats along the wall next to the bubble.\n\nAlong the west wall, a purpose-built table contains some sort of book.\n\n> You look at the book\nThe book seems to be a programming guide for the machine in this room. It is uncountable thousands of creamy loose-leaf pages long, permanently mounted in a metal bracket affixed to a table. The bracket has a small nameplate, which reads \"Transmutation: A Mutant's Intro\".\n\n> You read the book\nGlancing through the book, you see columns on columns of five-digit numbers. Picking one at a random entry, you read:\n\nReturn code 77375: Edison circuit tripped\n\nThis is gibberish! Maybe if you knew what to look up.\n\n> You look at machine\nThe machine is almost a cube, and about five feet on each edge. The front of the machine displays three pictures, in a vertical column. Each picture displays the head, torso or legs of an alien creature!\n\nThe pictures display the head of a Martian kangasaur, the torso of a Martian kangasaur and the legs of a Martian kangasaur. To the left of each picture is a steel button.\n\nBelow the pictures, there's a mechanical readout of five digits. It currently displays \"00000\".\n\nMounted vertically on the right side of the machine, toward the bubble window, are three long tubes of frosted glass.\n\n> Keep going\nYou press the top button. The machine clanks, then a new picture flicks into place next to it. It shows the head of a frost turtle.\n\n> Keep going\nYou press the top button. The machine clanks, then a new picture flicks into place next to it. It shows the head of a megastrich.\n\n> You look at the megastrich\nThe top picture shows the head of a yellow-crested Jovian megastrich. Unlike its smaller Earth eponym, the megastrich is a carnivore. It chases down its prey with its powerful running legs, kicks it to death and (in a manner you'd prefer not to contemplate) spits a potent acid to pre-digest it. The purpose of the megastrich's stubby wings remains unknown, since no flying species are known to live on Jupiter.\n\nStudying the picture carefully, you note the sharp coal black beak and peaked crest. Despite the creature's name, its crest is actually iron.\n\n> You look at the kangasaur\nWhich do you mean, the middle picture or the bottom picture?\n\n> Middle\nThe middle picture shows the torso of a violet-bellied Martian kangasaur. The kangasaur is the peak predator of this region of Mars, chasing the smaller red sand fleas with its powerful leaping hind legs and snatching them with its gecko-like tongue. Best of all, the kangasaur is a hypoxygen-breather!\n\nStudying the picture carefully, you note the small charcoal forepaws and sleek belly. Despite the creature's name, its belly is actually slate.\n\n> You look up 00000 in the book\nReturn code 00000: Success\n\nHuh. That's something we could use more of.\n\n> You examine the bubble\nThe bubble is a precise quarter sphere made of a tough, transparent plastic that protrudes outward from the north wall. It's big enough to walk into. In fact, the top is a couple of feet higher than your 6' 2\" frame.\n\nOn close inspection, the sphere appears to be more than a window. Where it touches the wall, a bead of softer plastic mounted on the wall forms an airtight seal. And where the sphere meets the floor, it passes through another seal. Tracing the line with your eyes, you see that the floor seal forms a perfect circle, precisely bisected by the wall. Inside the circle, the floor is no longer the white tile of the main floor, but a soft silver.\n\nYou can see the rugged Martian landscape outside. In the distance, across some sort of ravine, there's an immense transparent dome.\n\n> Examine dome\nThe dome is hundreds of yards across. You can see structures inside, but you can't make out details.\n\n> You examine the marshbat\nThe top picture shows the head of a blue-eyed Venusian marshbat. Its resemblance to an Earth bat is superficial, at best. In the dense atmosphere of its native planet, it can fly indefinitely, navigating the steamy jungle by echolocation. It doesn't breathe, as such, but lands in the rich loam and extracts oxygen through organs in its legs.\n\nStudying the picture carefully, you note the enlarged inky ears and intense eyes. Despite the creature's name, its eyes are actually gunmetal.\n\n> You examine the turtle\nThe top picture shows the head of a green-shelled Plutonian frost turtle, the largest creature yet discovered on Sol's ninth and newest planet. In Pluto's frigid night, even oxygen freezes, so the frost turtle retains its own atmosphere inside a transparent helmet that it can close at will. It navigates the nightmarish mountains of frozen gases using suction cup-like graspers on its two front limbs and traverses the soft snows of the plains using hind limbs that inflate to form snowshoes.\n\nStudying the picture carefully, you note the clear helmet and scaly onyx head.\n\n> You examine the machine\nThe machine is almost a cube, and about five feet on each edge. The front of the machine displays three pictures, in a vertical column. Each picture displays the head, torso or legs of an alien creature!\n\nThe pictures display the head of a Plutonian frost turtle, the torso of a Martian kangasaur and the legs of a Martian kangasaur. To the left of each picture is a steel button.\n\nBelow the pictures, there's a mechanical readout of five digits. It currently displays \"00000\".\n\nMounted vertically on the right side of the machine, toward the bubble window, are three long tubes of frosted glass.\n\n> You examine the bottom picture\nThe bottom picture shows the legs of a violet-bellied Martian kangasaur. The kangasaur is the peak predator of this region of Mars, chasing the smaller red sand fleas with its powerful leaping hind legs and snatching them with its gecko-like tongue. Best of all, the kangasaur is a hypoxygen-breather!\n\nStudying the picture carefully, you note the powerful leaping smoky gray legs and short pitch black tail.\n\n> You look at the bottom picture\nThe bottom picture shows the legs of a blue-eyed Venusian marshbat. Its resemblance to an Earth bat is superficial, at best. In the dense atmosphere of its native planet, it can fly indefinitely, navigating the steamy jungle by echolocation. It doesn't breathe, as such, but lands in the rich loam and extracts oxygen through organs in its legs.\n\nStudying the picture carefully, you note the lethal cinereal gray talons and sleek waxy gills.\n\n> You look at the bottom picture\nThe bottom picture shows the legs of a green-shelled Plutonian frost turtle, the largest creature yet discovered on Sol's ninth and newest planet. In Pluto's frigid night, even oxygen freezes, so the frost turtle retains its own atmosphere inside a transparent helmet that it can close at will. It navigates the nightmarish mountains of frozen gases using suction cup-like graspers on its two front limbs and traverses the soft snows of the plains using hind limbs that inflate to form snowshoes.\n\nStudying the picture carefully, you note the enlarged leaden hind limbs and short, spiked sable tail.\n\n> You examine the middle\n(the middle picture)\nThe middle picture shows the torso of a violet-bellied Martian kangasaur. The kangasaur is the peak predator of this region of Mars, chasing the smaller red sand fleas with its powerful leaping hind legs and snatching them with its gecko-like tongue. Best of all, the kangasaur is a hypoxygen-breather!\n\nStudying the picture carefully, you note the small charcoal forepaws and sleek belly. Despite the creature's name, its belly is actually slate.\n\n> You enter the bubble\nAs you enter the chamber, the silver floor gives slightly, making a satisfying ka-chunk! The machine chatters briefly, then new numbers ratchet into place: 69105.\n\n> You look up 69105\nThe programming guide is out of reach.\n\n> Leave\nYou get out of the plastic window.\n\nYou're in a small chamber above ground. Most of the room is the sterile white of laboratories everywhere, but the north wall has a large transparent bubble protruding outward. Outside, you can see the Martian surface and a distant dome. The only exit is the hatch leading back south.\n\nAn open steel hatch is set into the south wall.\n\nA cube-like machine squats along the wall next to the bubble.\n\nAlong the west wall, a purpose-built table contains a programming guide.\n\n> You look up 69105\nReturn code 69105: Insufficiently mad science - add entropy\n\nHuh. What the heck is entropy?\n\n> You look at the machine\nThe machine is almost a cube, and about five feet on each edge. The front of the machine displays three pictures, in a vertical column. Each picture displays the head, torso or legs of an alien creature!\n\nThe pictures display the head of a Plutonian frost turtle, the torso of a Martian kangasaur and the legs of a Plutonian frost turtle. To the left of each picture is a steel button.\n\nBelow the pictures, there's a mechanical readout of five digits. It currently displays \"69105\".\n\nMounted vertically on the right side of the machine, toward the bubble window, are three long tubes of frosted glass.\n\n> You enter the bubble\nAs you enter the chamber, the silver floor gives slightly, making a satisfying ka-chunk! The machine chatters briefly, then new numbers ratchet into place: 69105.\n\n> You examine the middle picture\nThe middle picture shows the torso of a green-shelled Plutonian frost turtle, the largest creature yet discovered on Sol's ninth and newest planet. In Pluto's frigid night, even oxygen freezes, so the frost turtle retains its own atmosphere inside a transparent helmet that it can close at will. It navigates the nightmarish mountains of frozen gases using suction cup-like graspers on its two front limbs and traverses the soft snows of the plains using hind limbs that inflate to form snowshoes.\n\nStudying the picture carefully, you note the rugged ash gray graspers and sturdy shell. Despite the creature's name, its shell is actually pewter.\n\n> You check what you're carrying\nYou are carrying:\na Boy Scout knife\na uniform (being worn)\n\n> About yourself\nYou glance down at yourself. You're wearing the dove gray tunic and charcoal trousers of the Sentinels of Outer Space.\n\n> You examine the bottom\n(the bottom picture)\nThe bottom picture shows the legs of a green-shelled Plutonian frost turtle, the largest creature yet discovered on Sol's ninth and newest planet. In Pluto's frigid night, even oxygen freezes, so the frost turtle retains its own atmosphere inside a transparent helmet that it can close at will. It navigates the nightmarish mountains of frozen gases using suction cup-like graspers on its two front limbs and traverses the soft snows of the plains using hind limbs that inflate to form snowshoes.\n\nStudying the picture carefully, you note the enlarged leaden hind limbs and short, spiked sable tail.\n\n> You examine the bottom picture\nThe bottom picture shows the legs of a yellow-crested Jovian megastrich. Unlike its smaller Earth eponym, the megastrich is a carnivore. It chases down its prey with its powerful running legs, kicks it to death and (in a manner you'd prefer not to contemplate) spits a potent acid to pre-digest it. The purpose of the megastrich's stubby wings remains unknown, since no flying species are known to live on Jupiter.\n\nStudying the picture carefully, you note the muscular heather legs and deadly sooty black eviscerating claws.\n\n> You look at the middle\n(the middle picture)\nThe middle picture shows the torso of a green-shelled Plutonian frost turtle, the largest creature yet discovered on Sol's ninth and newest planet. In Pluto's frigid night, even oxygen freezes, so the frost turtle retains its own atmosphere inside a transparent helmet that it can close at will. It navigates the nightmarish mountains of frozen gases using suction cup-like graspers on its two front limbs and traverses the soft snows of the plains using hind limbs that inflate to form snowshoes.\n\nStudying the picture carefully, you note the rugged ash gray graspers and sturdy shell. Despite the creature's name, its shell is actually pewter.\n\n> You look at the middle\n(the middle picture)\nThe middle picture shows the torso of a yellow-crested Jovian megastrich. Unlike its smaller Earth eponym, the megastrich is a carnivore. It chases down its prey with its powerful running legs, kicks it to death and (in a manner you'd prefer not to contemplate) spits a potent acid to pre-digest it. The purpose of the megastrich's stubby wings remains unknown, since no flying species are known to live on Jupiter.\n\nStudying the picture carefully, you note the stunted argent wings and oyster feathered back.\n\n> You examine the middle\n(the middle picture)\nThe middle picture shows the torso of a violet-bellied Martian kangasaur. The kangasaur is the peak predator of this region of Mars, chasing the smaller red sand fleas with its powerful leaping hind legs and snatching them with its gecko-like tongue. Best of all, the kangasaur is a hypoxygen-breather!\n\nStudying the picture carefully, you note the small charcoal forepaws and sleek belly. Despite the creature's name, its belly is actually slate.\n\n> You examine middle\n(the middle picture)\nThe middle picture shows the torso of a blue-eyed Venusian marshbat. Its resemblance to an Earth bat is superficial, at best. In the dense atmosphere of its native planet, it can fly indefinitely, navigating the steamy jungle by echolocation. It doesn't breathe, as such, but lands in the rich loam and extracts oxygen through organs in its legs.\n\nStudying the picture carefully, you note the powerful jet black wings and dove breast.\n\n> You enter the bubble\nAs you enter the chamber, the silver floor gives slightly, making a satisfying ka-chunk! The machine chatters, then the plastic bubble rotates smoothly over your head, sealing into the circular groove behind you.\n\nThe fluorescent tubes mounted to the machine come to life, bathing you in a penetrating radiance. You involuntarily clamp your eyes shut, but you can still see the eerie glow. Looking about wildly, you see that your body casts no shadow.\n\n\"Walston rays!\" you think. \"But they're only a theory!\" Your body spasms, and for a moment the world seems to twist like an Escher woodcut. When it steadies again, everything is different.\n\nYou've transformed into a nightmare jigsaw of a creature! From the shoulders up, you've become a Plutonian frost turtle. Your transparent vacuum helmet covers your head in a tight seal, but you can sense the neck muscles that will reopen it. From shoulders to hips, you have the body of a Venusian marshbat. Your gossamer wings fold tight against your body, but you can feel the new muscles used to flap them. Below the hips, you're now a Jovian megastrich. Your legs hold you as lightly as a feather in the weak Martian gravity, and you feel the urge to kick them with the sheer power.\n\nNew numbers ratchet into place on the front of the machine, and you can just make them out: 00000.\n\nThe Boy Scout knife falls to the floor.\n\nThe bubble begins to turn once more, continuing over your head and disappearing into the circular groove. A gap opens to the outside, widening until the situation has reversed: a quarter sphere protrudes into the interior of the lab, while you stand on the outside, exposed to the Martian elements.\n\nYou're standing in a rugged landscape of boulders and rocky outcroppings next to a small, square building. A transparent bubble projects inward into the building. Through the window, you can see the relative safety of the laboratory you just left.\n\nThe Martian surface extends in every direction, looking much the same as here, except to the north. There, across some sort of ravine, you can see a gargantuan transparent dome.\n\nFor a moment, you're frozen with panic. Then your hindbrain kicks in and slams your helmet shut. You convulsively breathe in, and realize that your reptilian reflexes have preserved enough oxygen inside the helmet to keep you alive.\n\nYou step out of the airlock, and onto the surface of Mars.\n\n> You examine the ravine\nThe ravine, if that's what it is, crosses the landscape jaggedly as far as the eye can see. You can't see into it at this distance, but there's clearly a gap.\n\n> Go north\nYou thunkathunk across the Martian plain, fatooming as you go.\n\nYou've arrived on the south side of a broad Martian canal. You can still see the laboratory in the distance, and across the canal you can see a huge transparent dome.\n\n> You examine the canal\nMars is covered with a fine tracing of these canals. They're not filled with water, of course - everybody knows there's no water on Mars! (Well, except underground.) Instead, they're filled with gray sand. You know that this fine powder is like terrestrial quicksand\u2026 you'd sink in it like a stone.\n\n> You fly\nIn the thick atmosphere of Venus, you could glide for hours on your marshbat wings. In the thinner atmosphere of Mars, you struggle aloft like an infant taking his first steps, make a short, ungainly flight across the canal, and crash-land into the softest pile of rocks.\n\nThis is the north side of the canal. To the south, the laboratory building now blends into the background perfectly. Further north, looming ever larger, is a titanic transparent dome.\n\n> You go north\nYou thunkathunk across the Martian plain, fatooming as you go.\n\nAt last, you've reached the base of the transparent dome. Up close, it's absolutely tremendous - bigger than Michigan Stadium! It's built into a circular crater that's hundreds of yards across.\n\nAn airlock provides access to the dome here. To the right of the airlock, mounted on the dome wall, is a device. Inside the airlock, you can see a manatee gray button mounted on a pedestal.\n\nInside, you can see a catwalk leading further north. Further in, there's some equipment of some kind mounted on a platform.\n\nBack to the south, you can make out the canal of sand you crossed.\n\n> You examine the airlock\n(the glass airlock)\nThe bubble design of the airlock is similar to the one in the laboratory building: a hemisphere of thick glass seals into a circle of soft plastic. Peering through the outer wall, you can see the airlock is in its neutral position; that is, it is sealed from both the interior and exterior of the dome. The circular floor is native Martian rock.\n\nInside, you see a manatee gray button mounted on a waist-high pedestal. Beyond that, you can see a catwalk leading out over empty space. Further in, there's equipment of some kind.\n\n> You look at the device\nThe device is mounted on the wall of the dome. It's little more than a black rectangle of plastic and metal. On its surface, glowing slightly, is the outline of a hand. Oddly, you see no wires.\n\n> Examine button\nThe pedestal is slender, metallic and about waist-high to a space adventurer. On its top surface is a small manatee gray button.\n\nUnexpectedly, your muscles twitch and you feel a faint ringing in your ears. Are you coming down with something?\n\n> You touch the device\nIntuiting the purpose of the device, you press your wing against the surface of the device.\n\nThe device emits a brief series of descending tones, like a sad trombone.\n\n> You enter the airlock\n(the glass airlock)\nThere's a sphere of thick glass in the way.\n\n> About yourself\nYou've transformed into a nightmare jigsaw of a creature! From the shoulders up, you've become a Plutonian frost turtle. Your transparent vacuum helmet covers your head in a tight seal, but you can sense the neck muscles that will reopen it. From shoulders to hips, you have the body of a Venusian marshbat. Your gossamer wings fold tight against your body, but you can feel the new muscles used to flap them. Below the hips, you're now a Jovian megastrich. Your legs hold you as lightly as a feather in the weak Martian gravity, and you feel the urge to kick them with the sheer power.\n\n> Kick device\nYou wind up one sinewy leg and bash the rectangular device. Despite a devastating impact, the rectangular device is undamaged. Perhaps you should reserve your attack for a less durable target.\n\n> You kick the airlock\n(the glass airlock)\nViolence *is* the answer to this one!\n\nYou wind up one sinewy leg and bash the glass hemisphere. The glass fragments into a million pieces, releasing the air inside with a whoosh! The shattered pieces are swept past you like a whirlwind of razors. They disappear into the landscape, leaving you with only minor wounds.\n\nWith victory in your grasp, you smile, contorting your frost turtle features in ways they were never meant to move.\n\nAnd as you rejoice, pain suddenly floods through you. Your whole body clenches like a fist, then melts like a Dali pocketwatch. When you open your eyes again, you're back in your familiar human body.\n\nYou immediately begin to choke on Mars' thin, poisonous atmosphere.\n\n> You enter the airlock\n(the glass airlock)\nYou stumble into the airlock, avoiding the razor-sharp edges.\n\nOutside the Dome (in the glass airlock)\nYou're inside a glass hemisphere that forms an airlock to the giant dome. In front of you, an intact quarter sphere separates you from the interior of the giant dome. Behind you, a broken quarter sphere exposes you to the Martian atmosphere.\n\nThere's a manatee gray button mounted on a pedestal in the center of the airlock.\n\nYou are choking on the poisonous atmosphere! You don't have much longer!\n\n> You examine the mirror\nIt's impossible to focus on the mirrored bowl below you, rather than what's reflected in it. In it, you can see a distorted view of the Martian sky crossed by the thin line of the catwalk. The central platform seems to hang directly beneath your feet. The solar disc is nowhere to be seen.\n\n> You examine tube\nThere's a round platform, surrounded by a railing, in the center of the mirror chamber. In its center, an ominous black tube juts at an angle toward the Earth. There are equipment consoles surrounding the tube, but you can't make out any detail at this distance.\n\n> About yourself\nYou glance down at yourself. You're wearing the dove gray tunic and charcoal trousers of the Sentinels of Outer Space.\n\n> Go north\nThis vertiginous aerie appears to be suspended in an infinite open space. In every direction you look, you see only the Martian sky. The platform itself is circular and about ten meters in diameter. It's surrounded by a wholly inadequate handrail.\n\nA narrow catwalk extends back to the south of the platform, appearing to vanish into the sky. The catwalk continues across a gap to the north, studded with the cranes, gantries, and scaffolding towers of an active construction site. Steel cables, seeming as slender and fragile as spider silk, extend at intervals to anchor the catwalks and platform to thin air.\n\nA console sits on the west side of the platform, studded with blinking lights, gauges, dials, instruments, indicators, and other doohickeys. Electrical cables connect the console with the tube. A drawer is set into the front of the console.\n\nOn the metal console is an Acme Mark III Deluminator Instruction Guide.\n\nA metallic tube in the center of the platform towers over you. The tube points at the sky at a slight angle to vertical. The base of the tube is set into a complicated clockwork mechanism.\n\n> You examine Guide\nIt's a small volume made of battleship gray faux leather. In pearly letters, it's titled \"Acme Mark III Deluminator Instruction Guide\".\n\nThere's the humming of circuits opening, then Lord Infamy's voice booms from every direction:\n\n\"Commander Powers. I see you've escaped my pets. Again.\"\n\nHis voice drips with mock sympathy. \"I fear this is only a momentary reprieve. I have two legions of my Midnight Horde on board this space dreadnought. That's enough to deal with any number of\u2026 your ilk.\"\nYou\ncan hear the pucker of distaste in his voice.\n\n\"Enjoy your last moments of freedom, and,\" he chuckles mirthlessly, \"life. Perhaps you can spend it in contemplation of Earth's future\u2026\nan\neternity adrift in darkness.\n\n\"In the meantime, that's the engine of Earth's destruction right there! Feel free to examine it\u2026 you won't be able to do any harm.\nIt's\nthe heavy-duty model.\n\n\"I'm a tad busy preparing for my ascent. Rest assured, my friends and I will stop by as soon as I have a free moment. Then you and I can have a nice chat while I show you my new toy. And after that,\" -- Infamy's voice hardens and rises into a shriek-- \"after I've destroyed your friends, your planet, and everything you hold dear\u2026 then we'll find out what a planetary deluminator can do to the last Earthman!\"\n\n> You examine Infamy\nLord Infamy isn't here. On the whole, you prefer it that way.\n\n> You read Guide\nYou leaf through until you find the table of contents. You can read these sections:\n\nOperational Overview\nTechnical Information\nSafety Instructions\n\n> You read the introduction\nHello, despot!\n\nCongratulations on your purchase of an Acme Mark III Deluminator!\n\nYour new deluminator will provide you and your family with hours of delight-ful entertainment for years to come. However, incorrect operation can result in planetary extinction, so please read this manual carefully and completely before operation.\n\nIf you're in a hurry, just read the Quick Start section!\n\n> You read the quick start\nHello, abecedarian!\n\nIn a hurry to create your first \"ray of darkness\"Follow these simple steps:\n\n1) Mount the Acme Mark III Deluminator and Acme Mark III Tracking Platform on a planetary surface, with a clear view of the object you wish to deluminate. Remember - you should never deluminate an inhabited planet!\n2) Attach the Acme Mark III Deluminator and Acme Mark III Tracking Platform to an operating atomic pile.\n3) Insert the seven Acme Mark III Lens Filters into the seven lens apertures inside the Acme Mark III Deluminator. Be sure that each lens filter is placed in the aperture with the corresponding label!\n4) Aim the Acme Mark III Deluminator using the Acme Mark III\nTracking Platform.\n5) Activate the Acme Mark III Deluminator using the big red button.\n\nHave fun!\n\n\"Kiss the light goodbye!\" Infamy shrills through the loudspeakers.\n\n> You open the drawer\nThe drawer slides open with oiled ease. The drawer is divided into seven compartments, which are lined with velvet. All of the compartments are occupied.\n\nThey contain some lenses with glass of different colors (white, black, gunmetal, pewter, iron, taupe and slate).\n\n> You get the lenses\nlens with white-colored glass: You ease the white-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with black-colored glass: You ease the black-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with gunmetal-colored glass: You ease the gunmetal-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with pewter-colored glass: You ease the pewter-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with iron-colored glass: You ease the iron-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with taupe-colored glass: You ease the taupe-colored lens gently out of one of the drawer's velvet lined compartments.\nlens with slate-colored glass: You ease the slate-colored lens gently out of one of the drawer's velvet lined compartments.\n\n> You examine black\n(the lens with black-colored glass)\nThe lenses are each about ten centimeters in diameter. This one has black-colored glass.\n\n> You look at the compartments\nThe drawer is set into the front of the metal console. The drawer is divided into seven compartments, which are lined with velvet. All of the compartments are empty.\n\n\"You won't ruin my triumph,\" Infamy states coldly.\n\n> Break lens\nWhich do you mean, the lower hemispherical complex lens, the upper hemispherical complex lens, the lens with slate-colored glass, the lens with taupe-colored glass, the lens with iron-colored glass, the lens with pewter-colored glass, the lens with gunmetal-colored glass, the lens with black-colored glass or the lens with white-colored glass?\n\n> White\nThe white lens is too beautiful to destroy.\n\n> You read operational\nHello, dilettante!\n\nCurious about how the Acme Mark III Deluminator works? Here's a brief overview. If you really want to know all the nitty-gritty, continue on to the Technical Information section!\n\nThe Acme Mark III Deluminator lets you turn light into darkness as a fun, family-friendly activity!\n\nIt works in three steps:\n\n1) The chromatic disintegrator at the bottom of the Acme Mark III Deluminator separates natural starlight into its seven component beams, each of a different color.\n2) Each of these beams passes through a different colored filter, transforming the beam to black.\n3) The chromatic integrator at the top of the Acme Mark III Deluminator recombines the seven identical black beams into a ray of pure darkness!\n\nHave fun, and keep spreading the dark!\n\n> You read technical\nHello, gearhead!\n\nEager to dig into the details of how the Acme Mark III Deluminator works? Let's start with a little background about light.\n\nIf you've ever seen a rainbow, you know that light is composed seven different colors: white, red, violet, blue, green, yellow and black. Natural starlight can be separated into these component parts using a chromatic disintegrator.\n\nThe fun starts when you transform the colored beams in different ways. For instance, when you filter blue light through a red lens, you'll get violet!\n\nWhy is this? Well, the colors are arranged in cycles of seven, called septaves. They're a lot like the octaves you find in music. You could number the colors like this:\n\n0 = White\n1 = Red\n2 = Violet\n3 = Blue\n4 = Green\n5 = Yellow\n6 = Black\n\nFiltering disintegrated light is like subtracting their numbers. So, filtering blue light (3) with a red lens (1) gives you violet light (2)!\n\nBut what if you filter red light (1) with a blue lens (3)? They subtract to (-2), and there's no color for that! Well, after you reach the bottom of a septave, another one begins, just like an octave in music. So, (-1) is the same as (6), and (-2) is the same as (5). So red light (1) filtered through a blue lens (3) creates yellow light (5)!\n\nFinally, seven identical beams can be recombined and amplified into a coherent ray using a chromatic integrator.\n\nOf course, you don't need to keep track of all these details. Acme makes it simple by labeling each lens aperture with the color of the lens that should be placed in it. As long as you're careful to follow these instructions, the Acme Mark III Deluminator will always emit a ray of pure darkness.\n\n> You read the safety\nHello, fussbudget!\n\nPlease follow these safety precautions when using your Acme Mark III Deluminator:\n\n1) Do not immerse the deluminator. There is a small danger of chromaticution.\n2) The Acme Mark III Deluminator is designed only for use with type G white starlight. Do not use with other star types.\n3) Never look directly into the chromatic integrator.\n4) Do not use on inhabited planets. This may cause the extinction of life on the deluminated planet.\n5) Never use the deluminator to generate anything other than pure darkness. This may cause the deluminator to overheat. (For other colors, try the new Acme Mark IV Illuminator!)\n6) Do not use the deluminator in the vicinity of a gas leak.\n\nFailure to follow these safety precautions will void the warranty for the Acme Mark III Deluminator.\n\n\"How did you escape my razorfish?\" Infamy wonders to himself. \"No matter. It won't happen again.\"\n\n> Examine deluminator\n(the deluminator tube)\nThe tube looks something like an electron microscope, but much larger. It towers at least four meters above the platform, and is thick enough that your arms won't reach all the way around it. The surface of the tube is highly polished obsidian chrome, and you can see your own concerned face peering back from its surface.\n\nThe tube is set into a clockwork mechanism, which holds it at an eighty-two degree angle from the horizontal. Sighting along the barrel of the tube, you can see the Earth. At this distance, it's only a pinprick of light in the fabric of the sky, but for a moment your heart swells with homesickness.\n\nLooking down through the grating, you can see a hemispherical complex lens at the lower end of the tube. Craning your neck to see the top, you can see a matching lens.\n\nA circular button and a square button are mounted at eye level on the north face of the tube.\n\n> You examine complex\nWhich do you mean, the lower hemispherical complex lens or the upper hemispherical complex lens?\n\n> You look at the lower complex\nThere's a complex, multi-faceted lens covering the entire lower end of the tube. It's made of transparent crystal, and is approximately hemispherical.\n\n> You examine the upper complex\nThere's a complex, multi-faceted lens covering the entire upper end of the tube. It's made of transparent crystal, and is approximately hemispherical.\n\n> You read technical\nHello, gearhead!\n\nEager to dig into the details of how the Acme Mark III Deluminator works? Let's start with a little background about light.\n\nIf you've ever seen a rainbow, you know that light is composed seven different colors: white, red, violet, blue, green, yellow and black. Natural starlight can be separated into these component parts using a chromatic disintegrator.\n\nThe fun starts when you transform the colored beams in different ways. For instance, when you filter blue light through a red lens, you'll get violet!\n\nWhy is this? Well, the colors are arranged in cycles of seven, called septaves. They're a lot like the octaves you find in music. You could number the colors like this:\n\n0 = White\n1 = Red\n2 = Violet\n3 = Blue\n4 = Green\n5 = Yellow\n6 = Black\n\nFiltering disintegrated light is like subtracting their numbers. So, filtering blue light (3) with a red lens (1) gives you violet light (2)!\n\nBut what if you filter red light (1) with a blue lens (3)? They subtract to (-2), and there's no color for that! Well, after you reach the bottom of a septave, another one begins, just like an octave in music. So, (-1) is the same as (6), and (-2) is the same as (5). So red light (1) filtered through a blue lens (3) creates yellow light (5)!\n\nFinally, seven identical beams can be recombined and amplified into a coherent ray using a chromatic integrator.\n\nOf course, you don't need to keep track of all these details. Acme makes it simple by labeling each lens aperture with the color of the lens that should be placed in it. As long as you're careful to follow these instructions, the Acme Mark III Deluminator will always emit a ray of pure darkness.\n\nYou hear weapons ratcheting over the loudspeakers.\n\n> You enter the tube\nThat's not something you can enter.\n\n\"Kiss the light goodbye!\" Infamy shrills through the loudspeakers.\n\n> You examine square button\nIt's square.\n\n\"Are you comfy over there?\" Infamy asks sardonically. It's probably a rhetorical question."
    },
    {
        "text": "[Themes: Space Adventure, sci-fi, science fiction]\n\n> You look at disc\nThe disc is slightly smaller in diameter than the column and is made of a black metal with a matte finish. It has seven circular apertures in it, arranged in a regular heptagon. The apertures are about ten centimeters in diameter. Each has a small label etched into the metal below it. Going clockwise from the point closest to the column, the labels say \"White\", \"Red\", \"Violet\", \"Blue\", \"Green\", \"Yellow\", and \"Black\".\n\nThe apertures are all empty.\n\n> You put the gunmetal in red\n(the second aperture)\nThe lens snicks into place.\n\n\"My next deathtrap will be inescapable!\" Lord Infamy barks.\n\n> You put the slate in the green\nThe lens snicks into place.\n\n> You put the iron in the black\n(the seventh aperture)\nThe lens snicks into place.\n\n> You check what you're carrying\nYou are carrying:\nsome lenses with glass of different colors (taupe, pewter, black and white)\na uniform (being worn)\n\n> You put the taupe in the white\n(the lens with taupe-colored glass in the first aperture)\nThe lens snicks into place.\n\n> You put pewter in the black\n(the seventh aperture)\nYou can only fit one lens in the aperture at a time.\n\n\"You won't ruin my triumph,\" Infamy states coldly.\n\n> You put the black in the blue\n(the lens with black-colored glass in the fourth aperture)\nThe lens snicks into place.\n\n> You put white in violet\n(the lens with white-colored glass in the third aperture)\nThe lens snicks into place.\n\n> Inventory\nYou are carrying:\na lens with pewter-colored glass\na uniform (being worn)\n\n> You look at disc\nThe disc is slightly smaller in diameter than the column and is made of a black metal with a matte finish. It has seven circular apertures in it, arranged in a regular heptagon. The apertures are about ten centimeters in diameter. Each has a small label etched into the metal below it. Going clockwise from the point closest to the column, the labels say \"White\", \"Red\", \"Violet\", \"Blue\", \"Green\", \"Yellow\", and \"Black\".\n\nLooking closer, you see:\nThe first aperture (labeled White) contains a lens with\ntaupe-colored glass.\nThe second aperture (labeled Red) contains a lens with gunmetal-colored glass.\nThe third aperture (labeled Violet) contains a lens with\nwhite-colored glass.\nThe fourth aperture (labeled Blue) contains a lens with\nblack-colored glass.\nThe fifth aperture (labeled Green) contains a lens with\nslate-colored glass.\nThe sixth aperture (labeled Yellow) is empty.\nThe seventh aperture (labeled Black) contains a lens with\niron-colored glass.\n\n> You put pewter in the yellow\nThe lens snicks into place.\n\nYou hear Infamy's hollow laugh echo from all around you.\n\n> You examine the taupe button\nThe button is taupe-colored, and it's really big - about the size of your balled-up fist. Having seen it, you know that it's your destiny to push this button.\n\n> You read the safety\nHello, fussbudget!\n\nPlease follow these safety precautions when using your Acme Mark III Deluminator:\n\n1) Do not immerse the deluminator. There is a small danger of chromaticution.\n2) The Acme Mark III Deluminator is designed only for use with type G white starlight. Do not use with other star types.\n3) Never look directly into the chromatic integrator.\n4) Do not use on inhabited planets. This may cause the extinction of life on the deluminated planet.\n5) Never use the deluminator to generate anything other than pure darkness. This may cause the deluminator to overheat. (For other colors, try the new Acme Mark IV Illuminator!)\n6) Do not use the deluminator in the vicinity of a gas leak.\n\nFailure to follow these safety precautions will void the warranty for the Acme Mark III Deluminator.\n\n\"You'll regret the day you crossed Lord Infamy!\" Infamy howls.\n\n> You look at the disc\nThe disc is slightly smaller in diameter than the column and is made of a black metal with a matte finish. It has seven circular apertures in it, arranged in a regular heptagon. The apertures are about ten centimeters in diameter. Each has a small label etched into the metal below it. Going clockwise from the point closest to the column, the labels say \"White\", \"Red\", \"Violet\", \"Blue\", \"Green\", \"Yellow\", and \"Black\".\n\nLooking closer, you see:\nThe first aperture (labeled White) contains a lens with\ntaupe-colored glass.\nThe second aperture (labeled Red) contains a lens with gunmetal-colored glass.\nThe third aperture (labeled Violet) contains a lens with\nwhite-colored glass.\nThe fourth aperture (labeled Blue) contains a lens with\nblack-colored glass.\nThe fifth aperture (labeled Green) contains a lens with\nslate-colored glass.\nThe sixth aperture (labeled Yellow) contains a lens with pewter-colored glass.\nThe seventh aperture (labeled Black) contains a lens with\niron-colored glass.\n\n> You take all lens\nlens with taupe-colored glass: The lens snaps out of the aperture. lens with gunmetal-colored glass: The lens snaps out of the aperture. lens with white-colored glass: The lens snaps out of the aperture. lens with black-colored glass: The lens snaps out of the aperture. lens with slate-colored glass: The lens snaps out of the aperture. lens with pewter-colored glass: The lens snaps out of the aperture. lens with iron-colored glass: The lens snaps out of the aperture.\n\n> You put the Black in the white\n(the lens with black-colored glass in the first aperture)\nThe lens snicks into place.\n\n\"You can't escape the Midnight Horde!\" Infamy gloats.\n\n> You put white in the red\n(the lens with white-colored glass in the second aperture)\nThe lens snicks into place.\n\n> You put the taupe in the violet\n(the lens with taupe-colored glass in the third aperture)\nThe lens snicks into place.\n\n> You put slate in violet\nYou can only fit one lens in the aperture at a time.\n\n> You put the slate in blue\nThe lens snicks into place.\n\nSuddenly, you know who Infamy reminds you of. He sounds like that new actor, Vincent Price. You and Rosalind saw him last year in \"Tower of London\". Except without the charm.\n\n> You put the gunmetal in the green\nThe lens snicks into place.\n\n> You put iron in Black\n(the seventh aperture)\nThe lens snicks into place.\n\n\"My next deathtrap will be even more lethal,\" Infamy remarks dryly.\n\n> You check your inventory\nYou are carrying:\na uniform (being worn)\n\nOut of one corner of your eye, you think you see the tube shift minutely. You swivel your head and study it carefully, but whatever happened isn't happening now.\n\n> Go south\nBut all the action's here!\n\nFwooosh! Clouds of steam erupt from motivators on the periphery of the vast mirror and the entire structure shudders slightly. Now there's a definite element of fear in Infamy's voice as he cries out, \"What have you done?\"\n\n> Wait\nTime passes.\n\nThe hum of capacitors charging comes from every direction. It starts as a thrum that you feel through the soles of your shoes, but quickly passes from bass to treble, and ends as a long dog whistle. As it rises, you feel a prickle of charge fill your body and your hair lift away from your head.\n\n> You wait\nTime passes.\n\nJagged shafts of lightning streak between the outer rim of the mirror and the Martian sky as the capacitors discharge! The sound reaches you a moment later, not as a boom, but as a sustained crackling in the thin atmosphere. The entire structure begins to shudder slightly as the titanic energies of the Ray of Night begin to release.\n\nThrough the loudspeakers, you hear Infamy gibbering in fear, but can't make out his words.\n\n> Wait\nTime passes.\n\nWith a piercing shriek that permeates your body and vibrates your bones, the Ray of Night erupts! An almost-solid shaft of pure white lances out of the tube towards the gray pinpoint far above. For long moments, the Earth is bathed in wholesome white light.\n\n\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\n\nFar, far away, half a world is illuminated. Some rise from their beds, blinking sleep from their eyes. Workers drop their hammers, shovels and slide rules. Drivers stop on freeways and emerge from their automobiles. Lovers pause in their caresses. Families drop their books, forget their radios and rise from their tables. Children forget their games and leave their toys. Time pauses, and for frozen moments the people of Earth look wonderstruck to the sky and an unexpected dawn.\n\n\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\n\nYou marvel after the beam as it plays harmlessly over your home planet. Tension drains from you as you realize you've thwarted Lord Infamy's plot and defanged the Ray of Night!\n\nFor several breaths, you stand stunned in the silent Martian landscape. Then Infamy screams from the loudspeakers: \"Noooooo!\"\n\n> Wait\nYou start to do that, but events are moving too quickly now.\n\nThe tube is radiating incandescent waves now, and you can feel the heat from the grating through your shoes. The black tube beside you glows silver, then white hot, and begins to slump into a liquid puddle. The complex lenses fracture into kaleidoscopes from the heat, showering you with fine glass particles. The platform itself melts and dips. The semi-liquid mass sags and falls toward the mirror below. The hole left behind glows silver at the edges and is ringed with liquid metal. You cling to the handrail to prevent sliding into the gravity well.\n\nSuddenly, a new cataclysm shakes the platform. You stumble against the handrail, and hold on for dear life. The oscillations increase in amplitude until the whole structure is shaking like Galloping Gertie on a windy day. To the north, a gantry crane gives way, and falls across the gap to the northern catwalk.\n\n> You go north\nIgnoring everything else, you head for the only escape route!\n\nYou scramble across the fallen crane, then stumble down the northern catwalk as it convulses beneath you, lurching from railing to railing like a broken-field runner avoiding tacklers. Behind you, the platform itself falls into the abyss with a howl of tortured steel.\n\nAt the end of the catwalk is Lord Infamy's mighty imperial dreadnought, Conquest. Its powerful coal-fueled engines are\nalready warming up, and sparks are spitting from the jet igniters.\n\nThe ship's heavy steel mooring lines are falling free, and, far above, you can hear sirens sounding and hatches clanging shut as Infamy's minions prepare the spaceship for takeoff.\n\nDesperately, you cast about for some way to stop the departure - you mustn't let Infamy escape! Then, you spot it; there's an open hatch leading into the cargo compartment at the base of the ship! Hidden by the choking black smoke billowing from the jet igniters, you make a running dive through the hatch and roll into the steel compartment. Behind you, the hatch springs shut, and locking pins seal it in place.\n\nLeaping to your feet, you seek desperately for the ladders that will take you forward to the crew compartments. Then you realize: this is no cargo compartment! You've entered the combustion chamber for the spaceship!\n\nLooking up, you see Lord Infamy peering through a hatch into the engine compartment, far out of reach. He gestures to unseen workers and commands \"Fire the jets!\" With a smile seeping malice, he slams the hatch shut, and you hear the wheel spin and lock.\n\nWith only moments before the jets fire and incinerate you, you spin around, looking for an escape route. The crew has obviously been using this chamber as a recreation area. In their haste to prepare for takeoff, they've left a half-finished game of Monopoly on the floor in the center of the chamber. A pile of Mars Bars is nearby, as are several cans of Krueger's Special Beer, each with a bendy straw protruding from it. A \"Frying Pan\" electric guitar leans against a wall. An unopened can of Nescaf\u00e9 freeze-dried coffee and a half-empty tube of Burma-Shave lie discarded on the floor. A standing lamp with an ultraslate bulb casts an un-Earthly glow over the area.\n\nFuel jets begin to spew finely-divided coal dust. With a whoomp, the jets ignite, illuminating your upturned face and casting harsh, shifting shadows. You stare into the flames of imminent death. Then\u2026\n\nYou've won this round! But don't forget to play\u2026\n\n\"Boom! Goes the Dynamite!\"\n\nEpisode 8 of \"Dynamite Powers vs. the Ray of Night!\""
    },
    {
        "text": "[Themes: Satire, Alien Visitation, music, Comedy, science fiction, gender-neutral protagonist, aliens, child protagonist, cute]\n\nGeez, mom really hacks you off sometimes. I mean, making you do dishes while that new show \"Captain Dangerous\" is on. Last week, Cap'n was having to fight off the slavering hordes of Gamma Proxima Epsilon Centauri Five B, and he and his side-kick Billy Bob had used up the last of their ammo keeping the zombie mind troopers at bay. The evil over-leader had just shown up with his mucilage-ray when the show ended.\n\nAnd you're stuck cleaning the Pfaltzgraff while Cap'n and Billy Bob fight for their lives.\n\nLife's not fair when you're eight.\n\nYou've spent many an hour at the kitchen sink, elbow-deep in suds, staring out the window. Add this hour to the total, thanks to mom and her speech about familial responsibility. At least she isn't making you wipe down the cabinets again. A dismayingly large stack of dirty plates towers on one side of the sink, balanced by a much smaller stack of clean plates on the other side. Next to the east doorway is the avocado-green refrigerator your family has owned forever.\n\n> You wash the dishes\nYou pull, freeing the top plate from the gummy, foody stack with a wet slurping sound. One quick dip in the suds, one quick rinse from the faucet, and you toss the plate on the \"clean\" stack. The clean stack, in return, shimmies a bit. You keep piling slick clean dishes on that stack and, chances are, you'll soon have dish pieces on your hands.\n\n> You examine the window\nThe window may have been clear once, but your mom's gleeful use of oil while cooking has added a dirty yellow glaze, making it hard to see through.\n\n> Clean window\nEww, gross. That oil'd coat your hands more or less permanently.\n\n> You look at the fridge\nEverything in the kitchen used to be the same pukey-green color as the fridge. Thankfully, all that other stuff was replaced. Too bad the fridge still works, or you wouldn't ever have to see that color again. Mom has covered up as much of the fridge as she could with some of your artwork from class.\n\n> About yourself\nYou look about the same as always.\n\n> You check your inventory\nYou are empty-handed.\n\n> You open fridge\nNuh-uh. You mess around in there and you won't get to see Captain Dangerous' adventures for the rest of your life, maybe longer.\n\n> You examine the artwork\nJust some stuff you drew for class. No big deal. Though you did get an A+ on the big blue swirly one.\n\n> You examine the sink\nThe discolored porcelain sink is filled with suds. To its right is a stack of dirty dishes; to its left, a stack of clean dishes.\n\n> You wash the dishes\nYou pull, freeing the top plate from the gummy, foody stack with a wet slurping sound. One quick dip in the suds, one quick rinse from the faucet, and you toss the plate on the \"clean\" stack.\n\n> Continue\nYou pull, freeing the top plate from the gummy, foody stack with a wet slurping sound. One quick dip in the suds, one quick rinse from the faucet, and you toss the plate on the \"clean\" stack. As you do, the clean stack of dishes wobbles for a moment before settling down. You could probably get that stack dancing if you wanted.\n\nA gleam out the window, a faux star, grows brighter and brighter. You pull yourself up on the edge of the sink, soaking your elbows. The gleam is a glow, is a streak, is a flame which is rocketing into your backyard and WHAM onto the ground. You reflexively blink, the flash brighter than the one on that camera dad lugs around everywhere. When you can see again, there is a silvery ship in the backyard.\n\nA ship! Oh man oh man, it must be a spaceship! From outer space! Maybe from Gamma Proxima Epsilon Centauri Five B! Forget the dishes--this is way too cool to ignore.\n\nor, Attack of the B-Movie Clich\u00e9s\n\n(Type \"about\" for more information)\n\nDeveloped with TADS, the Text Adventure Development System."
    },
    {
        "text": "> Look around\nYou've spent many an hour at the kitchen sink, elbow-deep in suds, staring out the window, ignoring the ugly appliances and dirty cabinets. A dismayingly large stack of dirty plates towers on one side of the sink, balanced by a much smaller stack of clean plates on the other side. Next to the east doorway is the avocado-green refrigerator your family has owned forever.\n\n> You go east\nA short hall lined with dark wood panelling. It connects the\nkitchen, to the west, with the living room, to the east. The backyard is north of here.\n\n> Go north\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, gleaming under the bright backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\n\n> You examine the ship\nIt's much, much cooler close up. The surface is all crinkly and silvery. The top and bottom are flat; the sides angle out, then back in, and are ruffled. On its back are two bumper stickers.\n\n> You look at the stickers\nleft bumper sticker: The left sticker reads, \"Speed Kills! .55c Saves Lives.\"\nright bumper sticker: The right bumper sticker reads, \"My Other Saucer Is A Porsche.\""
    },
    {
        "text": "[Themes: Alien Visitation, Satire, child protagonist, aliens, Comedy]\n\n> You look at your surroundings\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, gleaming under the bright backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\n\nWith the sound of a thousand cats yowling a thousand different songs, a piece of the saucer lowers, forming a ramp. For a few seconds, the only things coming out of the ship are gouts of white gas which quickly dissipate.\n\nThen the aliens step forth.\n\nFull of might and majesty, two shapes drift down the ramp and onto the zoysia grass. One is purple and cylindrical, with several tentacles dangling. The other is green and much more blobby, though he too is be-tentacled.\n\nThe purple alien squints for a moment at the bright lights, then produces a small box with a rotating antenna on it. He punches some buttons on the box. It responds with bleeps and blips. The purple one nods and puts the box away. \"Scan for life signs in immediate vicinity complete. Two adults, one child, no tabloid reporters found.\"\n\n\"Good,\" the green one says. \"We now must--\" He stops, staring right at you. You blink.\n\n\"Zigurt,\" the purple alien says to the green one. His voice is thick with worry.\n\n\"Shh,\" the green alien replies. \"I am cogitating.\"\n\n\"Ziiiiiguuurt,\" the purple alien whines.\n\n\"Shh!\"\n\n\"But ZIIiiIIiiIIiiguuuurt, the child can see us! Why is that?\" The purple alien turns to the green one, filling the air with his flailing tentacles. \"You said the neurotron would prevent our detection. You said that this would be a slight wind, that this would be without difficulty!\"\n\n\"Silence, Floban.\" The purple alien falls quiet. \"We will unravel this conundrum in due time. For now, I have closed the child's avenue of retreat.\" You spin around--sure enough, a curtain of energy has sprung up between you and your house.\n\n> You enter the ship\nThe aliens move to block you.\n\nThe two aliens begin whispering back and forth. \"Obviously the child is the Ambassador Plenipotentiary for this planet.\"\n\n\"A child?\"\n\n\"Certainly. The Zufans' intelligence, while fearful in their young, diminishes with age. All of their civil servants are children. Why not with Terrans? Have you not seen the their `sit-coms,' in which the children are all-knowing and their elders impotent fools?\"\n\n\"Fine, fine, fine. But can the child understand us?\" Zigurt responds by displaying a plain metal rod. \"Ah, yes. I had forgotten of the translator.\"\n\n> Hello\n\"Kindly hold your tongue until we have decided your fate.\"\n\nZigurt makes a sound like that of gravel being crushed underfoot. \"Floban, would this not be an opportune time to present our demands to the Ambassador?\"\n\nFloban looks hurt. \"I was preparing the list mentally,\" he says truculently. \"There is no need for you to clear your esophageal passages at me.\n\n\"Human child!\" The latter is directed at you, making you jump. Floban moves forward, looming ominously. \"We are here on behalf of all spacefaring races who must cope with the mess your species is making. Must you shout your news across all radio frequencies?\"\n\n\"Mmm, Floban,\" says Zigurt.\n\n\"Must I hear of your puny world wars? Must I deal with the endless chatter of a semi-sentient race? Must you flood the universe with your `top-ten lists' and `buzz clips'?\"\n\n\"What about our demands, Floban?\"\n\n\"Must I sully the tips of my tentacles by dipping them in the muck of this world? Must I stop your stupid, stupid development of Solarnite? Must I spend more time on a backwards planet, educating the--\"\n\n\"FLOBAN! FOOD!\"\n\nFloban winces. \"Not so loud,\" he hisses to Zigurt. \"One moment, please, Ambassador,\" he says to you as he rolls back to Zigurt.\n\n> Wait\nTime passes...\n\nZigurt and Floban have a hurried, whispered discussion. Finally, Zigurt moves closer to you. \"Our trip has been a long one, and we are in need of sustenance. You will bring us rock salt, so that we might de-hydrate.\"\n\n\"And some Ho-Hos,\" Floban interjects hopefully.\n\nZigurt glares at Floban. Finally, grudgingly, he adds, \"And some Ho-Hos. You will--\"\n\n\"And a memento!\" says Floban.\n\nThis silence lasts longer than the previous one. Slowly Zigurt swivels around to stare at Floban. \"A...memento?\" he asks.\n\n\"Oh, my, yes! The preliminary scan--\" he waves around the small box you saw before, \"--showed a high concentration of mementos somewhere within the domicile. We should obtain...one to...add...\" Floban's words trail off under Zigurt's glare.\n\nZigurt sighs before turning back to you. \"Bring us rock salt, some Ho-Hos,\" he pauses and glares again at Floban, who ducks his head, \"and a memento. You will bring them to our skrrbtz...\" Zigurt frowns, shakes the translator. \"Enter our fzzgt...\" His frown is deeper this time. \"Our gblzzt...\" He waves his tentacles, distressed.\n\"`Universal translator' my anterior appendage!\" he shouts.\n\n\"Please, not so loud!\" Floban brings out an open white bottle and pops a pill from it. \"I am experiencing a horrendous headache. If you would but wait a moment.\" From somewhere he finds a large book, which he consults. \"The word you want is `sheep'.\"\n\nZigurt pauses, rolling the strange word around in his mouth, tasting its sounds. \"Bring the rock salt, Ho-Hos, and memento to our sheep.\nWe will wait.\"\n\n> You look at the grill\nRoundish, red, with three legs and wheels. Occasionally dad uses it to flash-burn meat into flaky, charcoal lumps.\n\nZigurt and Floban drift back up the ramp. When they are near the top, they stop. \"Oh, and tell your world governments' spacefarers to clean up after themselves in orbit,\" Zigurt says.\n\n\"Yeah, especially that Mir.\"\n\nZigurt negligently waves a tentacle, making the curtain of energy vanish, and the two aliens disappear into their ship.\n\n> You open grill\nNo thanks. Last time dad cooked something in it, it almost exploded from all the lighter fluid. If you open it and get soot all over you, you'll probably have to clean it.\n\n> Go south\nA short hall lined with dark wood panelling. It connects the\nkitchen, to the west, with the living room, to the east. The backyard is north of here.\n\n> You go east\nThe living room is the rumpled center of your home. Comfy floral furniture, a few shelves filled with knick-knacks, a window, two parents, and a TV. The hallway to the kitchen is west, and the unimportant rest of your home (mentioned here merely for the sake of completeness) is south.\nMom is here, knitting away.\nDad is slowly going through today's paper.\n\nMom says, \"You better be done with those dishes, kid,\" and smiles.\n\n> You look athe knick-knacks\nCollectibles out the wazoo. Well, out the shelves. Hummel figurines, Franklin Mint plates, even a bunch of plastic smurfs. One entire shelf is filled with Precious Moments dolls, all of them staring at you with wide eyes, exuding eerie cuteness.\n\n> You take the doll\nMom glances at you. \"Leave that stuff alone, kid.\""
    },
    {
        "text": "[Themes: Alien Visitation, Satire, child protagonist]\n\n> Look around\nThe living room is the rumpled center of your home. Comfy floral furniture, a few shelves filled with knick-knacks, a window, two parents, and a TV. The hallway to the kitchen is west, and the unimportant rest of your home (mentioned here merely for the sake of completeness) is south.\nMom is here, knitting away.\nDad is slowly going through today's paper.\n\n> You go to the south\nThat part of your house is so unimportant right now that it hasn't been implemented. Don't you read the long descriptions of rooms?\n\n> You look at Dad\nDad is poring over the paper, reading and re-reading every article, occasionally circling misspellings and misprints.\n\n> You examine mom\nShe's relaxing, quietly knitting to pass the time.\n\nYou hear your dad rustling his newspaper. When you look over at him, you see that he's crumpled part of it into a saucer-like shape. Mom sees it too; she says, \"Dad? Whatcha got?\"\n\n\"I...I don't know,\" he answers, \"but...it means something.\"\n\n\"Oh, hush,\" mom scolds him. \"That doesn't mean anything.\"\n\nDad thinks, then sends the paper saucer flying towards the trash. \"I guess you're right,\" he says before he starts reading again.\n\n> Examine tv\nThe TV sits there, completely silent. It's not natural, I tell you. Behind that blank screen the adventures of Captain Dangerous and Billy Bob are going on, and you're missing them!\n\n> You ask Mom about Ho-Hos\nMom sighs. \"I wish we could afford Ho-hos. But you know how expensive brand-name snack cakes are.\"\n\n> You ask Mom about the rock salt\n\"In the kitchen cabinets, like always,\" mom tells you.\n\n> You tell Mom about the ship\nYour dad grunts as he rises from his chair. \"Okay, kid, let's take a look.\" He gazes out the window for a moment, then sits heavily back down in his chair, shaking his head at your mom.\n\n\"Oh, kid,\" mom says laughingly. \"I know you don't want to wash dishes, but we all have to do our part. All three of us have familial responsibilities. Now get back in there.\" She gives you a playful swat on the butt.\n\n> You go west\nA short hall lined with dark wood panelling. It connects the\nkitchen, to the west, with the living room, to the east. The backyard is north of here.\n\n> You examine the cabinets\nClosed pressboard cabinets. From time to time, mom makes you sponge them down to remove the oily residue that builds up on them.\n\n> You open the cabinets\nOpening the cabinets reveals a can of rock salt, a box of generic cupcakes, and some other stuff.\n\n> You take the rock salt\nTaken."
    },
    {
        "text": "[Themes: Alien Visitation, Satire, gender-neutral protagonist, science fiction, Comedy]\n\n> Look around\nYou've spent many an hour at the kitchen sink, elbow-deep in suds, staring out the window, ignoring the ugly appliances and dirty cabinets. A dismayingly large stack of dirty plates towers on one side of the sink, balanced by a much smaller stack of clean plates on the other side. Next to the east doorway is the avocado-green refrigerator your family has owned forever.\nThe cabinets seems to contain some other stuff.\n\n> You go north\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, ramp down, gleaming under the bright backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\n\n> You enter the ship\nThe silvery hallway splits into five branches, like the inside of\nsome mutant cauliflower. The branches lead north, northeast, northwest, southeast, and southwest. Behind you, the ramp flops out onto the backyard. A strange metal plate is attached to the wall by the ramp.\n\n> You look at the plate\nThe plate is shinier than the rest of the surrounding wall, as if rubbed by countless tentacles (tentacli?).\n\n> You touch the plate\nA whispering of voices runs lightly through your mind, then fades away when you stop touching the plate.\n\n> You go north\nCurving control consoles, all just taller than you, line the\nunderneath of the viewport. There are no chairs, no creature comforts--just austere controls and an exit to the south.\n\n> You go to the north-east\nsouthwest, a chill which leaves your breath diaphanous in front of you. Ovoids the size of small couches lie scattered about.\n\n> You examine the ovoids\nThe ovoids must be sleep pods, given their frosted windows and sleep-podish appearance.\n\n> You get in the pod\nGood luck getting in the sleep pods while they're closed.\n\n> You open the pod\nThe pods open reluctantly and with a hiss.\n\n> You get in the pod\nGingerly you lower yourself into a pod. You have to wiggle around a bit before you're comfortable, but soon enough you're settled.\n\nAll that shifting and squirming must have started the pod's lid to closing, though. You look up just as the lid snicks into place.\n\nYou thump your fists against the lid, hard at first, then weaker and weaker as the gas filling the pod puts you to sleep.\n\n* * * * *\n\nYou blink away the crusty sleep which fills your eyes. Above you, Zigurt and Floban peer at you in surprise.\n\n\"Ambassador!\" Zigurt says as he helps you out of the pod. \"We had no idea you were on board with us!\"\n\n\"But what a wonderful happenstance!\" Floban says. \"We cannot return you to your world, since the V'lvxnlxiaforming of Terra is nearly complete.\" He looks sad for a moment, pausing in sympathy. \"But!\" he says, brightening, \"The nobles of V'lvxnlxia will no doubt find you amusing, and suffer you to live.\"\n\n\"Say, Floban.\" Floban turns to look at Zigurt, who is now holding a small barrel organ. \"If you can learn to play this instrument, no doubt the Ambassador's performances will be more entertaining.\"\n\n\"Splendid!\"\n\nYou have achieved a score of 0 points out of a possible 20 in 65 turns.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You go northwest\nThe rec room is surprisingly empty, its only features a slanted\nledge on one wall and a counter jutting from another. Across from the ledge is the southeast exit.\nSitting on the low-slung counter is a white bottle, a universal translator, and a large book. The slanted ledge seems to contain a road atlas.\nZigurt is carefully poring over the atlas.\nFloban stands next to Zigurt, watching him and the maps.\n\nFloban nods in your direction. \"Ambassador,\" he says."
    },
    {
        "text": "[Themes: Satire, Alien Visitation, Comedy, aliens, science fiction]\n\n> You look around\nThe rec room is surprisingly empty, its only features a slanted\nledge on one wall and a counter jutting from another. Across from the ledge is the southeast exit.\nSitting on the low-slung counter is a white bottle, a universal translator, and a large book. The slanted ledge seems to contain a road atlas.\nZigurt is carefully poring over the atlas.\nFloban stands next to Zigurt, watching him and the maps.\n\n> You examine bottle\nThe white bottle is about three inches tall. Its lid has been removed. The inside of the bottle is crammed full of white pills.\n\n> You examine the road atlas\nThe atlas lies open to a map of the USA.\n\n> Examine book\nLarge and, strangely enough, bound in leather. Stamped on its cover are the words, \"To Serve Man.\" Someone has made a feeble attempt to obliterate \"Serve\" and replace it with \"Understand\".\n\nZigurt traces some routes on the atlas with one tentacle. \"We shall follow this `Interstate' until it reaches Washington, D.C., at which point we will meet with the leader of this country,\" he says to Floban.\n\n\"Oh, capital!\" Floban replies.\n\n> You examine the pills\nLittle. White. Similar.\n\nFloban massages his forehead with one tentacle, picking up the white bottle with another. He sticks a third tentacle into the bottle. When he pulls it back out, a pill is stuck to the end of it. He pops the pill in his mouth, then puts the bottle back on the counter.\n\n> You take pill\n\"Winners don't use drugs.\"\n--This message brought to you by the director of the FBI.\n\n> You take the bottle\nA tentacle darts out, thumping your hand and making it sting. \"That is not polite,\" Floban says.\n\n> You give the cupcakes to Floban\nFloban takes the box from you, looking at it. \"Redi-Snak(TM) Chokolate Snak Kakes?\" He sighs. \"I suppose they will do.\"\n\n\"Now we need rock salt and a memento. If you would, please, run along now.\" Floban, meanwhile, has wolfed down two or three cupcakes, leaving his face smeared with chocolate which he tries to lick off with a large blue tongue. \"You are such a mess,\" Zigurt tells him as they turn back to the atlas.\n\n> You examine the translator\nThe universal translator is a metallic silver rod about the length of your forearm and almost as thick around. It is currently turned on. There is a button on its side labelled in an alien script.\n\n> You look at the button\nA button on the side of the universal translator.\n\nFloban massages his forehead with one tentacle, picking up the white bottle with another. He sticks a third tentacle into the bottle. When he pulls it back out, a pill is stuck to the end of it. He pops the pill in his mouth, then puts the bottle back on the counter."
    },
    {
        "text": "[Themes: Alien Visitation, Satire, science fiction]\n\n> Go southeast\nIn sharp contrast to what you've seen of the rest of the ship, this room is filthy. Junk piles up in corners, spilling out over the floor, claiming most of the room. It's as if Zigurt and Floban had thrown every bauble which had ever caught their eye into this room without regard for order or the boundaries of good taste. Indeed, most things you see lie squarely on the far side of tasteful. Somewhere in the midst of the junk is the northwest exit.\n\n> You examine the junk\nThe amount of junk thrown down here is astounding. There's no telling what you could find with a bit of work.\n\n> You search the junk\nSome rooting around turns up a salad shooter, which you pick up.\n\n> You search the junk\nSome rooting around turns up a red lid, which you pick up.\n\n> You search the junk\nSome rooting around turns up a velvet Elvis, which you pick up.\n\n> You search the junk\nSome rooting around turns up a rain stick, which you pick up.\n\n> You examine the red lid\nA red child-proof lid.\n\n> You search junk\nSome rooting around turns up a garden hose, which you pick up.\n\n> Continue\nSome rooting around turns up a stress ball, which you pick up.\n\n> You look at the stick\nA hollow stick filled with beads and capped at both ends. When turned, the beads slide down the stick and make a sound that is kinda like the sound of falling rain.\n\n> You examine hose\nA green garden hose.\n\n> You look at the ball\nThe stress ball is quite deformed from people squeezing it.\n\n> You examine Elvis\nThe King, captured in all his glory by a simple piece of mounted velvet. Stunning.\n\n> You check what you're carrying\nYou have a salad shooter, a red lid, a velvet Elvis, a rain stick, a garden hose, and a stress ball.\n\n> You look at the shooter\nThe salad shooter might once have chopped up vegetables and more for a mighty fine salad, but someone has removed all of its blades, rendering it useless.\n\n> You put the red lid on the white bottle\nA tentacle darts out, thumping your hand vigorously. \"Most definitely do not do that,\" Floban says while you rub your smarting hand.\n\n> You give Elvis to Floban\nFloban waves away the velvet Elvis. \"Your trinkets are of no concern right now,\" he tells you.\n\n> You go southwest\nStark. Metal. An examination table fills the center of the room. Above it crouch various tools on metal appendages, extended like the legs of some insect. Along one wall is a control panel. The exit is to the northeast.\n\n> You examine the tools\nYou can begin to guess at some of the tools' functions--the brightly-shining light is familiar, reminding you of visits to the dentist. Other tools, however, are too strange for your puny Earth brain.\n\n> You examine table\nWhatever metal was used in its making has been buffed to a high sheen. You can see your face reflected in its surface when you stand on tippy-toes.\n\n> You examine the switches\nSo many controls. So many, many controls, and all unlabeled.\n\n> You turn the stick\nYou give the rain stick a turn, listening to the beads fall.\n\n> You put Elvis on the table\nDone."
    },
    {
        "text": "[Themes: Alien Visitation, Satire, music, cute, aliens]\n\n> You look around\nStark. Metal. An examination table fills the center of the room. Above it crouch various tools on metal appendages, extended like the legs of some insect. Along one wall is a control panel. The exit is to the northeast.\nSitting on the examination table is a velvet Elvis.\n\n> You turn on the controls\nYou flip a switch at random. The table shudders, as if trying to do something, then quits. A red light on the control panel winks on, then off. A tool descends, points angrily at the object on the table's surface, and retracts once more.\n\n> You look at the controls\nSo many controls. So many, many controls, and all unlabeled.\n\n> You pull the lever\nYou yank on a lever. There is a loud keening sound as a laser beam shoots from one of the tools and strikes the table. The beam traces up the middle of the table before shutting off again.\n\n> You pull the lever\nYou yank on a lever. An energy field flicks into brief existence around the table.\n\n> You pull the lever\nYou yank on a lever. The table is wrapped in what looks suspiciously like Saran-Wrap. The plastic sheeting dissolves and vanishes a short time later.\n\n> You pull the lever\nYou yank on a lever. A whirling circular saw descends, slices the air above the table, then retracts.\n\n> You pull the lever\nYou yank on a lever. The table undergoes a series of uncomfortable-looking contortions before straightening back out.\n\n> You pull the lever\nYou yank on a lever. The table shudders, as if trying to do something, then quits. A red light on the control panel winks on, then off. A tool descends, points angrily at the object on the table's surface, and retracts once more.\n\n> Inventory\nYou have a salad shooter, a red lid, a rain stick, a garden hose, and a stress ball.\n\n> You pull the lever\nYou yank on a lever. The table shudders, as if trying to do something, then quits. A red light on the control panel winks on, then off. A tool descends, points angrily at the objects on the table's surface, and retracts once more.\n\n> You take all from the table\nstress ball: Taken.\n\n> You examine the map\nThe map shows the innards of the spaceship. According to it, the bridge lies to the north of the silver hallway, the rec room is northwest of the hallway, the slumber chamber is northeast, the exam room is southwest, and the hold is southeast from the hallway.\n\n> You give Elvis to Mom\nYour mom rejects the offer.\n\n> You look at the window\nThe window looks out on the backyard and on the ship.\n\n> You examine paper\nYour dad is reading it with deliberate care.\n\n> You turn the stick\nYou give the rain stick a turn, listening to the beads fall.\n\n> You hit Mom\nTemper, temper.\n\n> You hit the dishes\nWhich dishes do you mean, the stack of clean dishes, or the stack of dirty dishes?\n\n> You go east\nA short hall lined with dark wood panelling. It connects the\nkitchen, to the west, with the living room, to the east. The backyard is north of here.\n\n> You go north\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, ramp down, gleaming under the bright backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\n\n> Wait\nTime passes...\n\n> You wait\nTime passes...\n\nFrom the kitchen, you hear a tremendous clattering banging crash. Something very bad has happened to your clean dishes, and something even worse will probably happen to you if mom catches you.\n\n> You wait\nTime passes...\n\nMom jumps up, her knitting forgotten. \"What was that?\" she asks on her way out the door.\n\nDad calls after her. \"Oh, probably a stack of dishes falling to the floor and breaking.\"\n\n> You ask Dad about the grill\nHe lowers his paper, looks out at you from under beetle brows, and goes back to reading.\n\n> You give all to Dad\nsalad shooter: Your dad rejects the offer.\nred lid: Your dad rejects the offer.\nrain stick: Your dad rejects the offer.\ngarden hose: Your dad rejects the offer.\nvelvet Elvis: Your dad rejects the offer.\nstress ball: Your dad rejects the offer.\nship map: Your dad rejects the offer.\n\n> You examine the patio\nDad spent one summer putting it in. He got the bricks from an old house, so they were covered in mortar. He offered you ten cents a brick to scrape the mortar off--yeah, like you wanted to spend your vacation working for the Man. The Weber is on one side of the patio, a free-standing faucet on the other.\n\n> You attach the hose to the faucet\nYou screw one end of the hose onto the faucet.\n\n> You turn on the faucet\nYou turn on the faucet with a twist. Water begins gushing from the far end of the hose.\n\n> You take the hose\nYou already have the garden hose!\n\n> You point the hose at the grill\nIf you want to spray something with the hose, just say so.\n\n> You spray the ship with hose\nYou send a jet of water towards the ship. The water beads on the skin of the ship, then rolls down onto the ground.\n\n> Go south\nNot until you either drop the hose or you detach it from the faucet.\n\n> You examine the ship\nIt's much, much cooler close up. The surface is all crinkly and silvery. The top and bottom are flat; the sides angle out, then back in, and are ruffled. On its back are two bumper stickers. Its ramp lies open like a big silver tongue; you can enter to the north.\n\n> You look at ramp\nIt leads into the ship.\n\n> You examine the patio\nDad spent one summer putting it in. He got the bricks from an old house, so they were covered in mortar. He offered you ten cents a brick to scrape the mortar off--yeah, like you wanted to spend your vacation working for the Man. The Weber is on one side of the patio, a free-standing faucet on the other.\n\n> Inventory\nYou have a salad shooter, a red lid, a rain stick, a garden hose, a velvet Elvis, a stress ball, and a ship map.\n\n> You examine the map\nThe map shows the innards of the spaceship. According to it, the bridge lies to the north of the silver hallway, the rec room is northwest of the hallway, the slumber chamber is northeast, the exam room is southwest, and the hold is southeast from the hallway.\n\n> You turn the stick\nYou give the rain stick a turn, listening to the beads fall.\n\n> You examine the lights\nYour dad's always adding this and that to the house, trying to improve it. A while back, he added these lights to the backyard, presumably because he wanted to show the mosquitos where to gather. The current control for the lights is mounted below them.\n\n> You examine the control\nIt's just a knob to control how bright the lights get. Right now it's turned counterclockwise.\n\n> You turn the knob clockwise\nYou twist the current control all the way clockwise. The lights brighten to the point that the backyard is more lit up than it is during the day.\n\n> You spray the lights with the hose\nIt's too far away.\n\n> You look\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, ramp down, gleaming under the harsh backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\n\n> Go south\nNot until you either drop the hose or you detach it from the faucet.\n\n> You drop the hose\nDropped.\n\nYou are startled to see Zigurt come down the ramp, squinting and wiping away tears. Floban follows him, waving his tentacles about madly. \"What did I tell you? The light out here has become unbearable. How do you expect me to concentrate on our plans with the sound of so many photons bombarding our ship's repulso-field?\"\n\n\"Your point is taken,\" Zigurt replies thoughtfully. He brings out a large ray gun, complete with flanges and doohickeys. He braces its barrel against one tentacle and fires at the lights. With a FZOOM! a shower of sparks falls from a nearby tree.\n\nIn response, Zigurt clears his throat and wipes his tearing eyes once more. \"Somewhat...tricky...\" he mutters, taking aim once more.\nFZOOM! and more sparks fly from the tree, followed by a very put-out flock of nesting birds.\n\nZigurt is drawing a bead on the lights once more when something hits one of them and breaks it with a quiet tinkle. In the reduced glare, both you and Zigurt turn to look at Floban, who has dropped a tentaclefull of medium-sized rocks. \"Not for nothing was I on the All-Solar team at the Academy,\" he says with a touch of pride.\n\n\"Indeed,\" says Zigurt as both cautiously detour around the water-spewing hose and re-enter the ship."
    },
    {
        "text": "> You look at your surroundings\nNormally the backyard is boring, but not tonight! Tonight the lawn\nhas been crisped by the arrival of the silvery ship. It sits there, ramp down, gleaming under the bright backyard lights your dad installed a while back. Its shadow stretches across the brick patio and Weber grill. Your house is to the south.\nYou see a garden hose here.\n\n> Go west\nYou've spent many an hour at the kitchen sink, elbow-deep in suds, staring out the window, ignoring the ugly appliances and dirty cabinets. A dismayingly large stack of dirty plates towers on one side of the sink. Next to the east doorway is the avocado-green refrigerator your family has owned forever.\nThe cabinets seems to contain some other stuff.\n\n> You go east\nThe living room is the rumpled center of your home. Comfy floral furniture, a few shelves filled with knick-knacks, a window, two parents, and a TV. The hallway to the kitchen is west, and the unimportant rest of your home (mentioned here merely for the sake of completeness) is south.\nDad is slowly going through today's paper.\nMom is walking down the hall towards the living room.\n\nMom looks at you angrily. You duck your head and scuffle one foot against the floor. \"You know better than to run away and hide when you've done something wrong,\" she says. You turn beet red. \"To your room, kid.\" When she talks to you in that tone of voice, you know better than to disobey. Up the stairs you go, to await your eventual punishment.\n\nOf course, none of this matters much since the world ends some hours later.\n\nYou have achieved a score of 4 points out of a possible 20 in 209 turns.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "[Themes: Casual Simulation, corporal punishment, orphanage, simulation, Victorian, children, satire, management, strategy, grooming, orphans]\n\nWhile not particularly graphic in its depiction, this game is centrally about the institutional mistreatment of children, in which the player character is instrumental. That considered, do you wish to continue?\n\n[Author's Note: Sparky young entrepreneur Olivia sets out to fulfil her dream of running an orphanage. The beatings will continue until morale improves.]\n\n> Yes\nWhen young the orphan is commonly sent to an asylum, where by\ncareful cultivation of its rudimentary sense of locality it is taught to know its place. It is then instructed in the arts of dependence and servitude and eventually turned loose to prey upon the world as a bootblack or scullery maid. -- Bierce\nYou have always dreamed of becoming an orphanmaster, and now you are finally getting to live your dream! Can you rise to the challenge and guide Olivia's Orphanorium from humble beginnings to towering success?\n\nA Casual Simulation by Sam Kabo Ashwell\n\nFor further information, see ABOUT.\n\nHere are housed the younger children, from the age of weaning to about six years old (though with most of them, age is merely a rough guess). Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHans, Peyton and Gilbert are housed here.\n\n> You examine the fairy tales\nFirst published over a hundred years ago, Lung's Fairy Tales come in a variety of coloured covers, sturdy enough to resist chewing. These appear to form the complete set, and to be mostly first editions; signed bookplates indicate that they were donated to the Waifs and Strays Trust by the author.\n\nSkimming briefly through a few of the Tales, you are shocked at how gruesomely inappropriate they are for children; clearly these predate the more pure-minded Revised Edition. You shudder to think what schemes they might put into a child's head.\n\n> You examine Hans\nHans Culter, son of a gamekeeper and a scrawny Salopian bawd.\nHis discipline is mediocre, his vigour poor, his appearance bad and his morale poor.\n\n> Status\nPeyton     poor         bad          bad          mediocre\nGilbert    poor         bad          poor         poor\nDeedee     abysmal      poor         bad          mediocre\n\n> Xyzzy\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHans, Peyton and Gilbert are housed here.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nSome ancient tricycles are littered about the place.\n\nDeedee is housed here.\n\n> You examine the tricycle\nRelics of the public-sector days, when it was hoped that regular tricycle use might furnish orphans of the correct age with enmuscled shanks, allowing them to better work a treadmill at a later age. Their designer, Hopfrock Truitt, fondly envisaged a future in which orphans would find gainful employment as cycle-rickshaw pilots, a dream dashed when it was discovered to be extremely stupid.\n\n(The tricycles are an activity upgrade; orphans ASSIGNed to them\nwill slowly become more vigorous. Assigning orphans to self-improvement devices is vital if you wish to shape their character.)\n\n> You assign Deedee to the tricycle\nYou command Deedee Hock to occupy herself with the ancient tricycles. She obediently complies."
    },
    {
        "text": "> You look at your surroundings\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nDeedee is busily occupied with the ancient tricycles.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen -- although once a child confined here was discovered, when his birth certificate surfaced, to be a spindly twenty-two. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\n> You look at the murals\nThe murals depict sturdy youths and modest maidens, with classic features and somewhat blank expressions, enthusiastically applying themselves to various forms of wholesome industry. The jobs depicted are chiefly of the rustic sort, or at least involve healthy exercise in the fresh air.\n\n> You look at the form\nProducing gruel in-house was determined to be inefficient relative to subcontracting, not to mention an incentive to theft. Using this form you can change your standing order with Slophouse & Sons, who offer grades of gruel from 1 to 5, high numbers cheapest. Your current order is for Grade 3, thin gruel; this will cost six coins a day.\n\n> You examine the bell\nThis heavy brass bell summons the orphans to their daily meal, signalling the day's end. You prefer to ring it only when all the affairs of the day have been taken care of.\n\n> You examine orphanmaster\nThis handsome duodecimo volume briefly summarises the most important tools in the orphanmaster's trade, as follows:\n\nASSIGN a dependent TO some constructive workstation;\nalso UNASSIGN\nBUY items listed FROM a reputable catalogue\nCONSULT a catalogue ABOUT the nature and quality of its\nwares\nDISCIPLINE a dependent, in a manner not exceeding established standards\nDISMISS vexing and bootless tasks\nSELL unprofitable superfluities\nSCORE yourself on the ephemeral scale of worldly accomplishment\nRECAP tasks one has promised to undertake, then neglected\nROOM NAME, navigation for the navigation-challenged\nSCRUB someone incapable of taking responsibility for their own filthiness\nBureaucratically tabulate the STATUS of all your charges\n\n> You examine deedee\nDeedee Hock, daughter of a loveless effeminate pawnbroker and a fraudulent fluffer.\nHer discipline is abysmal, her vigour poor, her appearance bad and her morale mediocre.\n\n> Discipline deedee\nYou apply some well-deserved discipline to Deedee Hock. Her discipline is now bad.\n\n> You examine deedee\nBehold: Deedee Hock, daughter of a loveless effeminate pawnbroker and a fraudulent fluffer.\nHer discipline is abysmal, her vigour poor, her appearance bad and her morale poor.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHans, Peyton and Gilbert are housed here.\n\n> You examine Peyton\nPeyton Cropes, daughter of an advertiser of adult stamps and a Greek medium.\nHer discipline is poor, her vigour bad, her appearance bad and her morale mediocre.\n\n> You examine Gilbert\nGilbert Graves, son of an addict to Tijuana bibles and an Egyptian milkmaid.\nHis discipline is mediocre, his vigour bad, his appearance poor and his morale poor. Yet God loves him, thus proving that He is capable of all things.\n\n> You take the fairy tales\nThere are too many of them to cart about.\n\n> You assign Gilbert to the fairy tales\ndevice: idle orphans in the relevant ward may be improved by it, or not, and there is nothing that God or man may do to affect the outcome. You can only assign orphans to active improvement devices."
    },
    {
        "text": "[Themes: Casual Simulation, Victorian, orphans, simulation, strategy]\n\n> Discipline gilbert\nYou apply some well-deserved discipline to Gilbert Graves. His discipline is now adequate.\n\n> Discipline peyton\nYou apply some well-deserved discipline to Peyton Cropes. Her discipline is now poor.\n\n> You examine Hans\nThis is Hans Culter, discarded progeny of a gamekeeper and a scrawny Salopian bawd.\nHis discipline is mediocre, his vigour bad, his appearance bad and his morale poor. He is a perpetual disappointment.\n\n> Scrub hans\nYou seize Hans, delouse his scalp with equal parts pomatum and mercurial ointment (just in case), and scrub him all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Status\nPeyton     poor         bad          bad          poor\nGilbert    adequate     bad          poor         poor\nDeedee     abysmal      poor         poor         poor\n\n> You discipline yourself\nYou should only discipline orphans.\n\n> You scrub yourself\nYou have already washed. You have particularly clean habits.\n\n> About yourself\nYou are an attractive, capable woman with a sunny disposition, aged 20-35; despite this, your life is sufficiently dull to excite neither unease nor envy in middle-aged ladies.\n\n> You scrub  Peyton\nSetting the occasional example is one thing, but you would be worn to the bone if you had to groom each and every one of your charges; you are their guardian, not their stable-hand.\n\n> You ring bell\nPolychromatic Lung's Fairy Tales has improved Hans Culter's morale, which is now mediocre.\nThe ancient tricycles have fortified Deedee Hock's vigour, which is now mediocre.\n\nYou receive a government stipend of 40 for the feeding and care of your orphans; and pay out 6 coins on necessary care and maintenance, most of it going on food. How tiny people can eat so much is beyond you.\n\nA new orphan, Hunter Blair, has been entrusted to your care and is now housed in the Junior House.\n\n> You scrub Gilbert\nYou seize Gilbert, drag a comb through his hair, and make him walk around with a book on his head. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\nA new task: Prisoners Dilemma\n\nYou are awakened late at night by inexpertly-muffled footsteps on squeaky boards, and rush to check that all your charges are secure. It swiftly transpires that Deedee Hock and Gilbert Graves are both missing; worse, it sounds as if Graves is making for the boarded-up back door in the Junior House, while Hock climbs to the attic and tries to force a window. A perfectly coordinated escape: pursuing one will almost certainly give the other enough time to get away. You have only moments to decide.\n1 - Go after Deedee Hock.\n2 - Pursue Gilbert Graves.\n3 - Come up with a plan that somehow allows you to intercept both.\n\n> 3\nYou hesitate too long. There is really no way to accomplish this, but you can't bear to abandon a child. Too late, you choose the attic, but you know before you arrive there that the window will be open, the birds flown. You trudge back downstairs, trying to ignore the buzz of excitement rising from the dormitories."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, satire, grooming, children, orphanage, simulation, corporal punishment]\n\n> You look at your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nHunter, Hans and Peyton are housed here.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> Status\nPeyton     poor         poor         poor         poor\nHunter     abysmal      poor         bad          poor\n\n> Discipline hunter\nYou apply some well-deserved discipline to Hunter Blair. His discipline is now bad.\n\n> Examine hunter\nYou are graced by the presence of Hunter Blair, secret brat of a stinking debased footpad and a suicidal poetess.\nHis discipline is awful, his vigour bad, his appearance awful and his morale poor.\n\n> You assign Hunter to the tricycles\nIt is highly irregular to assign an orphan to a task unsuited to their age. Besides, total chaos would ensue if children were allowed to wander freely between wards.\n\n> Examine form\nProducing gruel in-house was determined to be inefficient relative to subcontracting, not to mention an incentive to theft. Using this form you can change your standing order with Slophouse & Sons, who offer grades of gruel from 1 to 5, high numbers cheapest. Your current order is for Grade 3, thin gruel; this will cost five coins a day.\n\n> You set the form to 1\nYou amend your order to request grade 1, thick porridge. A gruel finer than any orphan deserves, this stodgy mix contains steel-cut oats, crab-apples, molasses and lumps of beef fat. Any orphan capable of keeping it down will surely grow up big and strong. Your daily food bill is now fifteen coins.\n\n> You set the form to 2\nYou amend your order to request grade 2, substantial gruel. This grade of gruel is somewhat thicker than the basic product, but otherwise much the same stuff. Your daily food bill is now nine coins.\n\n> You ring bell\nPolychromatic Lung's Fairy Tales has improved Hans Culter's morale, which is now adequate.\nPolychromatic Lung's Fairy Tales has improved Peyton Cropes's morale, which is now mediocre.\n\nYou receive a government stipend of 30 for the feeding and care of your orphans; and pay out 9 coins on necessary care and maintenance, most of it going on food.\n\nThe Orphanorium has been entrusted with two more children: Donny Pinkney is old enough for the Middle House, while Prudence Socket will go to the Junior.\n\n> Status\nPeyton     poor         poor         bad          poor\nHunter     awful        bad          awful        poor\nPrudence   abysmal      poor         bad          mediocre\nDonny      awful        awful        bad          mediocre\n\nA new task: Mystery Child\n\nLate one night a shuttered carriage pulls up to the Orphanorium gates. The coachman, a swarthy and ill-favoured fellow in mourning-dress, asks to discuss a sensitive matter; his master, he explains, wishes his young ward to be kept discreetly at the Orphanorium. One hundred coins will, he trusts, buy your hospitality and your silence.\n1 - Take the money and admit the child.\n2 - This smells rotten. Refuse.\n\n> 1\nThe coachman nods. Many locks are removed from the carriage; a small boy emerges, and is introduced as Harry Quisling. You discreetly convey him to the Junior House and the coin to your strongbox, then spend the rest of the night amending your records to make it appear that he arrived with the last batch of Ministry brats."
    },
    {
        "text": "[Themes: Casual Simulation, management, grooming, orphans]\n\n> You look at your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nHarry, Prudence, Hunter, Hans and Peyton are housed here.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> You examine Harry\nThis is Harry Quisling, a boy whose origins are shrouded in sordid mystery. His level gaze and long, elegant hands set him apart.\nHis discipline is abysmal, his vigour mediocre, his appearance poor and his morale mediocre. Such ingratitude is nothing short of monstrous.\n\n> Discipline harry\nYou apply some well-deserved discipline to Harry Quisling. His discipline is now bad.\n\n> Status\nPeyton     poor         poor         poor         poor\nHunter     bad          bad          bad          poor\nHarry      bad          poor         poor         mediocre\nPrudence   abysmal      poor         bad          poor\nDonny      awful        abysmal      bad          poor\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nDonny is housed here.\n\nSome ancient tricycles are littered about the place.\n\n> You assign Donny to the tricycles\nYou command Donny Pinkney to occupy himself with the ancient tricycles. He obediently complies.\n\nAn official Ministry courier delivers a large brown-paper package. Within is a doorstop of a book: the famed industry catalogue Fobberfish of Hackney's. There is a cover letter from Mr. Fobberfish himself, congratulating you on your appointment, expressing pleasure at the prospect of working together and solidarity as a fellow-contracter, drawing your attention to the superior, competitively-priced products supplied by his humble business, and suggesting that they might be brought into fruitful conjunction with your Ministry funds.\n\n> You look at the catalogue\nA respected specialist catering to the orphan management trade, Fobberfish of Hackney provides a wide variety of goods at virtually affordable rates. Bowing to the decadence of the age, this once-respectable publication now features many vain luxuries that you can safely ignore, such as fair-trade gruel, artisanal wildflower soap, and smallpox vaccines. The few items of real utility have been circled in red pen:\n\nRuritanian Mastiffs (400 coins)\nThe Box (300 coins)\nAtherton's Ergonomic Treadmill (400 coins)\nMy First Delousing Bath (350 coins)\nSpinal Corrective Corsets (450 coins)\nDr. Pranger's Lithium Water (700 coins)\ntriple-barred windows (350 coins)\nThe Harvest of Sin (700 coins)\n\n> You read about Box\n(in Fobberfish of Hackney's catalogue):\nRecommended by veterans of the profession, The Box is the surest way to instil discipline in an orphan. Adjustable to fit children of all ages. Includes installation costs.\n\n> You read about the Mastiffs\n(in Fobberfish of Hackney's catalogue):\nToo ugly to love and too foul-tempered to suborn, Ruritanian Mastiffs form an essential part of any professional orphan-retention system.\n\n> You read about the treadmill\n(in Fobberfish of Hackney's catalogue):\nAtherton's Ergonomic Treadmill produces a negligible quantity of electrical power, but (more importantly) its persistent use strengthens the thighs, calves and buttocks of older children, while teaching them the value of a hard day's work.\n\n> You scrub Donny\nYou seize Donny, pinch his cheeks until they take on a healthy red colour, and scrub him all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now awful.\n\n> Status\nPeyton     poor         bad          poor         poor\nHunter     bad          awful        awful        poor\nHarry      awful        poor         poor         mediocre\nPrudence   abysmal      poor         bad          poor\nDonny      bad          awful        bad          poor\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHarry, Prudence, Hunter, Hans and Peyton are housed here.\n\n> Discipline harry\nYou apply some well-deserved discipline to Harry Quisling. His discipline is now poor.\n\n> You ring bell\nThe ancient tricycles have fortified Donny Pinkney's vigour, which is now bad.\n\nYou receive a government stipend of 60 for the feeding and care of your orphans; and pay out 18 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Peyton Cropes has improved her morale.\n\nPeyton Cropes and Hunter Blair have grown up a little, and been transferred to the Middle House.\n(When orphans age up, they abandon any assigned tasks. You may\nwant to reassign them.)\n\nA new orphan, Randy Potts, has been entrusted to your care and is now housed in the Junior House.\n\n> You recruit Harry\nHarry Quisling appears sceptical about the proposition, but the foreman describes it as a sort of grand game, while keeping a firm grip on his arm. They depart to the mill, to return once the engines are running once again.\n\n> Scrub randy\nYou seize Randy, delouse his scalp with carbolic acid, and apply a rough brush to those parts of his person that he has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Status\nPeyton     poor         poor         poor         mediocre\nRandy      mediocre     abysmal      bad          poor\nHunter     bad          bad          bad          poor\nHarry      bad          poor         poor         mediocre\nPrudence   abysmal      poor         awful        poor\nDonny      awful        poor         awful        poor\n\n> You discipline Prudence\nYou apply some well-deserved discipline to Prudence Socket. Her discipline is now bad.\n\n> Status\nPeyton     poor         poor         poor         mediocre\nRandy      mediocre     awful        bad          poor\nHunter     bad          awful        bad          poor\nHarry      poor         bad          poor         mediocre\nPrudence   bad          bad          bad          poor\nDonny      bad          poor         bad          poor\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nHunter and Peyton are housed here.\n\nDonny is busily occupied with the ancient tricycles.\n\n> Discipline donny\nYou apply some well-deserved discipline to Donny Pinkney. His discipline is now poor.\n\n> You assign Hunter to the tricycles\nYou command Hunter Blair to occupy himself with the ancient tricycles. He obediently complies.\n\n> You assign Peyton to the tricycles\nYou command Peyton Cropes to occupy herself with the ancient tricycles. She obediently complies.\n\nHarry returns in triumph, having successfully unclogged twenty years of impacted fluff from the main doohickey of the whatsit. After careful questioning, he reveals that the foreman gave him 25 coins in thanks, and entrusts them to you for safe-keeping.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHarry, Randy, Prudence and Hans are housed here.\n\n> You examine Harry\nThis is Harry Quisling, a boy whose origins are shrouded in sordid mystery. His level gaze and long, elegant hands set him apart.\nHis discipline is poor, his vigour poor, his appearance poor and his morale mediocre. He must make more effort.\n\n> You ring bell\nPolychromatic Lung's Fairy Tales has improved Hans Culter's morale, which is now mediocre.\nThe ancient tricycles have fortified Peyton Cropes's vigour, which is now poor.\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now poor.\nThe ancient tricycles have fortified Donny Pinkney's vigour, which is now poor.\n\nDonny Pinkney has constructed a small glider out of bedsheets and crutches and escaped! Given his ingratitude and weak character, you are not surprised when, later, you receive reports that he has been forced to subsist as a frame-breaker. (High vigour in an orphan aids in escape attempts; high discipline and morale protect against it).\n\nYou receive a government stipend of 60 for the feeding and care of your orphans; and pay out 18 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Randy Potts has improved his morale.\n\nHarry Quisling has grown up a little, and been transferred to the Middle House.\n\n> Status\nPeyton     poor         poor         poor         poor\nRandy      mediocre     abysmal      poor         mediocre\nHunter     bad          bad          bad          poor\nHarry      poor         mediocre     poor         adequate\nPrudence   awful        poor         bad          poor\n\nA new task: Top Ranking\nIn any well-regulated society, there must be a recognised order. Even among the savage peoples and urban poor, some shade of hierarchy will always arise from the machinations of violence and vanity. And so it is among orphans, though their society is little more advanced than a troupe of feral macaques. A good orphanmaster must always know whose star is in the ascendant, and how they may best be managed.\nUntil recently, Randy Potts was the seldom-disputed king of the dormitories. But your informants aver that a coup is in the offing. This would usually be grounds for interest but not alarm, but today the challenger is the Quisling child. If he is damaged somehow, your mysterious sponsor might not be best pleased. And you don't like the child; having him at the top of the pecking order seems a hazardous prospect.\n1 - Ensure Randy Potts loses.\n2 - Sabotage Harry's campaign.\n\n> 2\nHarry's reputation is on the rise, but if it never comes to anything it will drop. You keep a careful eye open in order to head off actual fights, while turning a blind eye to minor torments perpetrated by Randy Potts's proxies. Harry acquires a harried look, and Randy a decidedly smug one.\n\nThen your vigilance fails; while a decoy lures you into B Corridor with the scent of cigar-butts, a merciless duel is fought atop the west roof, before solemnly sworn witnesses. After the fact, both have bloody noses but Harry is grinning broadly, and continues to do so through all the punishment you can exact.\n\n> You go to the north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nHarry is housed here.\n\nHunter and Peyton are busily occupied with the ancient tricycles.\n\n> You examine Harry\nThis is Harry Quisling, a boy whose origins are shrouded in sordid mystery. His level gaze and long, elegant hands set him apart.\nHis discipline is bad, his vigour mediocre, his appearance poor and his morale adequate. Until licenses are required to breed, his kind will only proliferate.\n\n> Status\nPeyton     poor         poor         poor         mediocre\nRandy      mediocre     bad          bad          bad\nHunter     bad          poor         awful        poor\nHarry      awful        mediocre     poor         mediocre\nPrudence   awful        bad          bad          poor\n\n> You look at Harry\nThis is Harry Quisling, a boy whose origins are shrouded in sordid mystery. His level gaze and long, elegant hands set him apart.\nHis discipline is bad, his vigour mediocre, his appearance poor and his morale adequate.\n\n> Status\nPeyton     poor         mediocre     poor         mediocre\nRandy      mediocre     awful        bad          poor\nHunter     bad          poor         awful        poor\nHarry      poor         poor         poor         adequate\nPrudence   bad          bad          bad          poor\n\n> You assign Harry to tricycles\nYou command Harry Quisling to occupy himself with the ancient tricycles. He obediently complies.\n\n> You look at the catalogue\nA respected specialist catering to the orphan management trade, Fobberfish of Hackney provides a wide variety of goods at virtually affordable rates. Bowing to the decadence of the age, this once-respectable publication now features many vain luxuries that you can safely ignore, such as fair-trade gruel, artisanal wildflower soap, and smallpox vaccines. The few items of real utility have been circled in red pen:\n\nRuritanian Mastiffs (400 coins)\nThe Box (300 coins)\nAtherton's Ergonomic Treadmill (400 coins)\nMy First Delousing Bath (350 coins)\nSpinal Corrective Corsets (450 coins)\nDr. Pranger's Lithium Water (700 coins)\ntriple-barred windows (350 coins)\nThe Harvest of Sin (700 coins)\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nRandy, Prudence and Hans are housed here.\n\n> Status\nPeyton     poor         poor         poor         poor\nRandy      mediocre     awful        poor         poor\nHunter     bad          bad          bad          poor\nHarry      poor         mediocre     poor         mediocre\nPrudence   poor         awful        bad          poor\n\n> You scrub Prudence\nYou seize Prudence, pinch her cheeks until they take on a healthy red colour, and apply a rough brush to those parts of her person that she has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now bad.\n\n> You ring bell\nThe ancient tricycles have fortified Peyton Cropes's vigour, which is now mediocre.\nPolychromatic Lung's Fairy Tales has improved Randy Potts's morale, which is now poor.\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now poor.\nThe ancient tricycles have fortified Harry Quisling's vigour, which is now adequate.\n\nYou receive a government stipend of 60 for the feeding and care of your orphans; and pay out 18 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Hans Culter and Randy Potts have improved their morale.\n\n> Status\nPeyton     poor         mediocre     poor         mediocre\nRandy      mediocre     abysmal      bad          mediocre\nHunter     bad          poor         bad          poor\nHarry      poor         mediocre     poor         adequate\nPrudence   bad          abysmal      poor         bad\n\nA new task: A Grueling Task\nWhile taking inventory, you discover that your gruel deliveries are regularly falling short. Indeed, they're falling short by almost precisely as much gruel as one greedy orphan can cram down at a sitting. Somehow, one of your charges has found a way to circumvent your protective measures and indulge in banditry. This crime will out, and the best way to extract a confession is through whippings. Your first suspects should be the plump and cheerful ones.\n\n> Recap\nWhile taking inventory, you discover that your gruel deliveries are regularly falling short. Indeed, they're falling short by almost precisely as much gruel as one greedy orphan can cram down at a sitting. Somehow, one of your charges has found a way to circumvent your protective measures and indulge in banditry. This crime will out, and the best way to extract a confession is through whippings. Your first suspects should be the plump and cheerful ones."
    },
    {
        "text": "[Themes: Casual Simulation, corporal punishment, satire, Victorian, orphans, simulation, children]\n\n> Look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nRandy, Prudence and Hans are housed here.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nHarry, Hunter and Peyton are busily occupied with the ancient tricycles.\n\n> Whip Peyton\nYou apply some well-deserved discipline to Peyton Cropes. Her discipline is now mediocre.\n\nEven under duress, Cropes denies being involved in gruel-theft. You are not entirely convinced, but decide to try some other suspects first.\n\n> Whip Harry\nYou apply some well-deserved discipline to Harry Quisling. His discipline is now mediocre.\n\nEven under duress, Quisling denies being involved in gruel-theft. You are not entirely convinced, but decide to try some other suspects first.\n\n> Whip Hunter\nYou apply some well-deserved discipline to Hunter Blair. His discipline is now poor.\n\nEven under duress, Blair denies being involved in gruel-theft. You are not entirely convinced, but decide to try some other suspects first.\n\n> Whip randy\nEnough for today: there are regulations about excessive corporal punishment. Besides, if you thrash every child continually, they'll grow leathery and insensate.\n\n> Status\nPeyton     mediocre     mediocre     poor         poor\nRandy      mediocre     awful        poor         poor\nHunter     poor         poor         awful        poor\nHarry      mediocre     mediocre     poor         mediocre\nPrudence   poor         abysmal      poor         bad\n\n> Scrub hunter\nYou seize Hunter, spit-wash his grimy little face with your second-best handkerchief, and tell him that he will be spending his break re-ironing his crumpled clothes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> You ring bell\nThe ancient tricycles have fortified Peyton Cropes's vigour, which is now mediocre.\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now poor.\nThe ancient tricycles have fortified Harry Quisling's vigour, which is now adequate.\n\nYou receive a government stipend of 60 for the feeding and care of your orphans; and pay out 18 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Randy Potts has gained vigour.\n\n> Whip Hans\nYou apply some well-deserved discipline to Hans Culter. His discipline is now mediocre.\n\nEven under duress, Culter denies being involved in gruel-theft. You are not entirely convinced, but decide to try some other suspects first.\n\n> Whip randy\nYou apply some well-deserved discipline to Randy Potts. His discipline is now mediocre.\n\nEven under duress, Potts denies being involved in gruel-theft. You are not entirely convinced, but decide to try some other suspects first.\n\n> Whip prudence\nYou apply some well-deserved discipline to Prudence Socket. Her discipline is now poor.\n\nUnder close interrogation, Prudence confesses to being the gruel-thief. Justice is served! You thrash her soundly, confiscate her paraphernalia of crime, and sleep peacefully.\n\n> Status\nPeyton     mediocre     mediocre     poor         poor\nRandy      mediocre     abysmal      bad          poor\nHunter     poor         poor         poor         bad\nHarry      poor         mediocre     poor         mediocre\nPrudence   poor         abysmal      poor         poor\n\n> Scrub randy\nYou seize Randy, delouse his scalp with carbolic acid, and scrub him all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> You ring bell\nPolychromatic Lung's Fairy Tales has improved Hans Culter's morale, which is now satisfactory.\nThe ancient tricycles have fortified Peyton Cropes's vigour, which is now adequate.\nPolychromatic Lung's Fairy Tales has improved Randy Potts's morale, which is now mediocre.\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now poor.\nThe ancient tricycles have fortified Harry Quisling's vigour, which is now adequate.\nPolychromatic Lung's Fairy Tales has improved Prudence Socket's morale, which is now poor.\n\nPeyton Cropes has broken a hole through the roof and escaped! Since virtue is rewarded and vice leads to ruin, you are not surprised when, later, you receive reports that she has become a surrogate mother.\n\nYou receive a government stipend of 50 for the feeding and care of your orphans; and pay out 15 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Hunter Blair has improved his morale.\n\nThe Orphanorium has been entrusted with five more children: Courtney Bludge is old enough for the Middle House, while Jim Tench, Cob Froome, Cheyenne Burrow and Bub Grady will go to the Junior.\n\n> You buy dogs\nYou reluctantly part with 400 coins, mail in your order, and in due course receive delivery of Ruritanian Mastiffs.\n\nA new task: Top Ranking\nIn any well-regulated society, there must be a recognised order. Even among the savage peoples and urban poor, some shade of hierarchy will always arise from the machinations of violence and vanity. And so it is among orphans, though their society is little more advanced than a troupe of feral macaques. A good orphanmaster must always know whose star is in the ascendant, and how they may best be managed.\nUntil recently, Bub Grady was the seldom-disputed king of the dormitories. But your informants aver that a coup is in the offing. This would usually be grounds for interest but not alarm, but today the challenger is the Quisling child. If he is damaged somehow, your mysterious sponsor might not be best pleased. And you don't like the child; having him at the top of the pecking order seems a hazardous prospect.\n1 - Ensure Bub Grady loses.\n2 - Sabotage Harry's campaign.\n\n> 1\nIt would be easiest to thrash Bub until he was no contest, but that might be too obvious. But there are more subtle ways of sapping a child's will: a less-generous ladle of gruel and a closer watch against dinner-table banditry, extra midnight chamberpot duty, work schedules that make co-ordination with allies onerous and frustrating.\n\nYou do not observe the fight directly, of course, but the signs are clear. Bub is sulky and friendless, while Harry is deferred to by all. The mantle has passed.\n\n> Status\nJim        abysmal      poor         poor         mediocre\nCourtney   poor         poor         bad          mediocre\nRandy      mediocre     abysmal      poor         adequate\nCheyenne   bad          poor         mediocre     poor\nHunter     poor         poor         poor         poor\nHarry      mediocre     adequate     poor         mediocre\nBub        bad          abysmal      poor         awful\nPrudence   poor         abysmal      poor         poor\nCob        bad          awful        poor         poor"
    },
    {
        "text": "> You describe your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nBub, Cheyenne, Cob, Jim, Randy, Prudence and Hans are housed here.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> You scrub Bub\nYou seize Bub, pinch his cheeks until they take on a healthy red colour, and apply a rough brush to those parts of his person that he has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Discipline jim\nYou apply some well-deserved discipline to Jim Tench. His discipline is now bad.\n\n> Discipline cob\nYou apply some well-deserved discipline to Cob Froome. His discipline is now poor.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nCourtney is housed here.\n\nHarry and Hunter are busily occupied with the ancient tricycles.\n\n> You examine the Mastiffs\nThe Ruritanian Mastiff breed is characterised by a face like a tumour and the heart of an abused wolverine. Ruritanian Mastiffs get disqualified from dog shows for failing to savage a judge.\nWhen a Ruritanian Mastiff gets rabies, nobody notices. Rurie\nowners would nonetheless say that they are highly intelligent, loyal and loving -- at least, those Rurie owners with a voicebox yet-untorn by slavering fangs.\n\nMastiffs significantly reduce the risk of orphans escaping. The condition of failed escape-artists is not guaranteed.\n\n> Status\nJim        bad          bad          bad          poor\nCourtney   poor         poor         poor         mediocre\nRandy      adequate     abysmal      poor         mediocre\nCheyenne   poor         poor         poor         mediocre\nHunter     bad          mediocre     poor         poor\nHarry      mediocre     satisfactory poor         mediocre\nBub        bad          abysmal      poor         bad\nPrudence   bad          abysmal      bad          poor\nCob        bad          abysmal      bad          poor\n\n> You hug harry\nExcessive affection stunts a child's development, and exposes adults to all manner of contagion. Maintain a distance; they will respect you for it.\n\n> Hug mastiff\nKeep your mind on the game.\n\n> Examine hunter\nHunter Blair, son of a stinking debased footpad and a suicidal poetess.\nHis discipline is poor, his vigour poor, his appearance poor and his morale bad.\n\n> You ring bell\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now mediocre.\nThe ancient tricycles have fortified Harry Quisling's vigour, which is now satisfactory.\n\nHarry Quisling attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 100 for the feeding and care of your orphans; and pay out 30 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Jim Tench has gained vigour, and Courtney Bludge and Harry Quisling have improved their morale.\n\nHans Culter has grown up a little, and been transferred to the Middle House.\n\nA new orphan, Gavin Nash, has been entrusted to your care and is now housed in the Junior House.\n\n> Status\nJim        bad          bad          poor         poor\nCourtney   poor         poor         poor         mediocre\nRandy      mediocre     abysmal      poor         mediocre\nCheyenne   poor         poor         mediocre     poor\nHunter     bad          mediocre     poor         poor\nHarry      poor         good         poor         adequate\nBub        bad          abysmal      poor         bad\nPrudence   poor         abysmal      bad          poor\nGavin      abysmal      poor         bad          mediocre\nCob        poor         awful        poor         poor\n\nA new task: Vicarious\nEvery Sunday morning, the orphans file down into the chapel, where a visiting minister delivers a sermon. The chapel is cramped and funny-smelling, and the orphans mostly use the time to snicker, skirmish and sleep; it is not a popular duty, and you suspect that the diocese sends you their dregs.\nYou do have a certain amount of leeway in which ones come the most often, however.\n1 - Cropstoke. He mumbles and forgets things, but he's thoroughly safe.\n2 - Fisk. Not too bright, but he's got a good voice and makes snoozers do push-ups.\n3 - Hotchlock. Good delivery, but suspected of radicalism.\n4 - Coombe. The orphans will sit in quiet contemplation, or else.\n\n> 2\nFisk is a balding, roundish, red-faced fellow with a funny accent and a temper. They snicker and lampoon; he hands out punishments, but this makes him look even more like a fool, the situation escalates, and it is even money whether he will reach the homily without undergoing something like a meltdown. It is not clear whether the punishments balance out the mockery; but nobody sleeps through it, and a great many push-ups are done.\n\n> Status\nJim        bad          poor         bad          poor\nCourtney   poor         poor         poor         mediocre\nRandy      adequate     bad          poor         mediocre\nCheyenne   poor         poor         poor         mediocre\nHunter     poor         adequate     poor         poor\nHarry      mediocre     excessive    poor         adequate\nBub        bad          awful        poor         awful\nPrudence   poor         bad          bad          poor\nGavin      awful        mediocre     bad          poor\nCob        poor         bad          poor         poor"
    },
    {
        "text": "[Themes: Casual Simulation, management, grooming, satire, corporal punishment]\n\n> Look around\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nHans and Courtney are housed here.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nHarry and Hunter are busily occupied with the ancient tricycles.\n\n> Unassign Harry\nYou allow Harry Quisling to take a break.\n\n> You assign Hans to the tricycles\nYou command Hans Culter to occupy himself with the ancient tricycles. He obediently complies.\n\n> You assign Courtney to tricycles\nYou command Courtney Bludge to occupy herself with the ancient tricycles. She obediently complies.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nGavin, Bub, Cheyenne, Cob, Jim, Randy and Prudence are housed here.\n\n> Status\nJim        bad          poor         bad          poor\nCourtney   poor         mediocre     bad          mediocre\nRandy      mediocre     bad          poor         mediocre\nCheyenne   bad          mediocre     poor         poor\nHunter     poor         adequate     poor         poor\nHarry      poor         excessive    poor         adequate\nBub        bad          awful        poor         awful\nPrudence   bad          bad          bad          poor\nGavin      abysmal      mediocre     awful        poor\nCob        poor         poor         poor         poor\n\n> You scrub Gavin\nYou seize Gavin, delouse his scalp with equal parts pomatum and mercurial ointment (just in case), and make him walk around with a book on his head. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Discipline gavin\nYou apply some well-deserved discipline to Gavin Nash. His discipline is now bad.\n\n> You ring bell\nThe ancient tricycles have fortified Hans Culter's vigour, which is now mediocre.\nThe ancient tricycles have fortified Courtney Bludge's vigour, which is now mediocre.\nThe ancient tricycles have fortified Hunter Blair's vigour, which is now adequate.\nPolychromatic Lung's Fairy Tales has improved Prudence Socket's morale, which is now poor.\nPolychromatic Lung's Fairy Tales has improved Gavin Nash's morale, which is now poor.\n\nCourtney Bludge has convinced you that she is entitled to diplomatic immunity and escaped! Without a steady moral compass nobody can prosper, and you are not surprised when, later, you receive reports that she is shamefully employed as a mudlark.\nHarry Quisling has constructed a small glider out of bedsheets and crutches and escaped! Since virtue is rewarded and vice leads to ruin, you are not surprised when, later, you receive reports that he is shamefully employed as a prize-fighter.\n\nYou receive a government stipend of 90 for the feeding and care of your orphans; and pay out 27 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Jim Tench has gained vigour, and Bub Grady has improved his morale.\n\nRandy Potts has been moved to the Middle House, being of sufficient age. Hunter Blair is ready for the Senior.\n\nA new orphan, Bart Button, has been entrusted to your care and is now housed in the Junior House.\n\n> Status\nJim        awful        mediocre     poor         poor\nRandy      mediocre     bad          poor         mediocre\nCheyenne   poor         poor         poor         mediocre\nHunter     poor         adequate     poor         poor\nBart       mediocre     bad          bad          poor\nBub        bad          awful        poor         bad\nPrudence   poor         awful        poor         mediocre\nGavin      bad          mediocre     poor         poor\nCob        poor         bad          poor         poor\n\nA new task: The Cholera Caper\nAn unidentified child stuffed a blanket down the privies, and now the entire facility is ankle-deep in backed-up sewage. Assign orphans to sewage cleanup before you all die of cholera.\n\n> You assign Cob to the sewage\nYou command Cob Froome to occupy himself with raw sewage. He obediently complies.\n\n> You assign all\nWhat do you want to assign those things to?\n\n> You assign all to the sewage\nYou assign Jim, Cheyenne, Bart, Bub, Prudence, Gavin and Cob to raw sewage.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe room is ankle-deep in raw sewage.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nRandy is housed here.\n\nHans is busily occupied with the ancient tricycles.\n\n> You assign all to sewage\nYou assign Hans and Randy to raw sewage.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe room is ankle-deep in raw sewage.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nHunter is housed here.\n\n> You assign Hunter to the sewage\nYou command Hunter Blair to occupy himself with raw sewage. He obediently complies.\n\n> Status\nJim        awful        poor         bad          poor\nRandy      mediocre     bad          poor         mediocre\nCheyenne   bad          poor         poor         mediocre\nHunter     poor         adequate     poor         bad\nBart       poor         bad          bad          poor\nBub        bad          abysmal      poor         bad\nPrudence   bad          bad          bad          mediocre\nGavin      awful        mediocre     poor         poor\nCob        bad          bad          bad          poor\n\n> You go to the south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nSome ancient tricycles are littered about the place.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nThe room is ankle-deep in raw sewage, in which Randy and Hans frolic with bleach, bucket and mop.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nThe room is ankle-deep in raw sewage, in which Bart, Gavin, Bub, Cheyenne, Cob, Jim and Prudence frolic with bleach, bucket and mop.\n\n> Discipline jim and Gavin\nYou apply some well-deserved discipline to Jim Tench. His discipline is now poor.\n\nYou apply some well-deserved discipline to Gavin Nash. His discipline is now poor.\n\n> You ring bell\nThe raw sewage has weakened Randy Potts's morale, which is now poor. The raw sewage has weakened Cob Froome's morale, which is now poor. Polychromatic Lung's Fairy Tales has improved Cob Froome's morale, which is now poor.\n\nHans Culter has died of cholera. The coroner suggests that the death might have been prevented through better living conditions, which apparently involve less contact with raw sewage.\nThe sewage has been cleaned from the Junior House. Until the Orphanorium is entirely clean, however, cholera will imperil everyone.\n\nHunter Blair attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 90 for the feeding and care of your orphans; and pay out 27 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Jim Tench has gained vigour, and Jim Tench, Bart Button and Gavin Nash have improved their morale.\n\nPrudence Socket has been moved to the Middle House, being of sufficient age. Randy Potts is ready for the Senior.\n\nThe Orphanorium has been entrusted with four more children: Dorinda Twite is old enough for the Middle House, while Gretchen Bloch, Mildred Chollop and Agatha Dorrit will go to the Junior."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, orphanage, children, simulation]\n\n> You look at your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nAgatha, Mildred, Gretchen, Bart, Gavin, Bub, Cheyenne, Cob and Jim are housed here.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe room is ankle-deep in raw sewage.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nDorinda and Prudence are housed here.\n\nSome ancient tricycles are littered about the place.\n\n> You assign all to the sewage\nYou assign Prudence and Dorinda to raw sewage.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nRandy is housed here.\n\nThe room is ankle-deep in raw sewage, in which Hunter frolics with bleach, bucket and mop.\n\n> You assign all to the sewage\nYou assign Randy and Hunter to raw sewage.\n\n> Status\nGretchen   abysmal      mediocre     poor         poor\nRandy      mediocre     bad          poor         mediocre\nCheyenne   poor         mediocre     poor         poor\nHunter     bad          adequate     poor         bad\nBart       poor         awful        bad          poor\nAgatha     bad          bad          poor         poor\nBub        bad          awful        poor         bad\nPrudence   poor         bad          bad          poor\nGavin      poor         mediocre     poor         mediocre\nMildred    abysmal      awful        poor         mediocre\nDorinda    bad          bad          bad          mediocre\nCob        bad          poor         bad          mediocre\n\n> You go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nSome ancient tricycles are littered about the place.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nThe room is ankle-deep in raw sewage, in which Dorinda and Prudence frolic with bleach, bucket and mop.\n\n> You scrub dorinda\nYou seize Dorinda, delouse her scalp with carbolic acid, and make her dedicate a few hours to shining her shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nAgatha, Mildred, Gretchen, Bart, Gavin, Bub, Cheyenne, Cob and Jim are housed here.\n\n> Discipline mildred\nYou apply some well-deserved discipline to Mildred Chollop. Her discipline is now bad.\n\n> Discipline gretchen\nYou apply some well-deserved discipline to Gretchen Bloch. Her discipline is now abysmal.\n\n> Discipline bub\nYou apply some well-deserved discipline to Bub Grady. His discipline is now bad.\n\n> Discipline agatha\nEnough for today: there are regulations about excessive corporal punishment. Besides, if you thrash every child continually, they'll grow leathery and insensate.\n\n> You ring bell\nThe raw sewage has weakened Hunter Blair's morale, which is now awful. Polychromatic Lung's Fairy Tales has improved Bart Button's morale, which is now mediocre.\n\nYou receive a government stipend of 130 for the feeding and care of your orphans; and pay out 39 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Mildred Chollop and Cob Froome have gained vigour, and Bart Button and Cob Froome have improved their morale.\n\nA generous patron, impressed by Randy Potts's work ethic, has offered him employment as a swineherd. For your success as an educator, the Government awards you a bonus of 35 coins.\n\nGavin Nash has grown up a little, and been transferred to the Middle House.\n\nA new orphan, Ray Cotter, has been entrusted to your care and is now housed in the Junior House.\n\n> You look at the catalogue\nA respected specialist catering to the orphan management trade, Fobberfish of Hackney provides a wide variety of goods at virtually affordable rates. Bowing to the decadence of the age, this once-respectable publication now features many vain luxuries that you can safely ignore, such as fair-trade gruel, artisanal wildflower soap, and smallpox vaccines. The few items of real utility have been circled in red pen:\n\nThe Box (300 coins)\nAtherton's Ergonomic Treadmill (400 coins)\nMy First Delousing Bath (350 coins)\nSpinal Corrective Corsets (450 coins)\nDr. Pranger's Lithium Water (700 coins)\ntriple-barred windows (350 coins)\nThe Harvest of Sin (700 coins)\n\n> You read about Sin\n(in Fobberfish of Hackney's catalogue):\nMuch-beloved Christian artist Stowey Downard's previous works include Chartists: Vanguard of Lucifer, Whorish Shame and\nthe fifty-panel series Christ's Vengeance. Now he has been\ninspired to create his most morally instructive work yet, The\nHarvest of Sin, a series of 35 anatomical diagrams depicting the shocking consequences of pre-marital flirting. Highly scientific lithographs illuminate the diseased body's foulness in unflinching detail, and may be depended upon to foster a healthsome disgust of the sexual acts. Do not, in moral timorousness, shrink from letting your child know where sin must lead: order The Harvest of Sin\ntoday.\n\n> You read about Bath\n(in Fobberfish of Hackney's catalogue):\nMy First Delousing Bath introduces the young child to the painful, demeaning concept of personal hygiene. With regular use, it is guaranteed to remove all but the most deeply-embedded skin parasites.\n\n> Status\nJim        poor         poor         poor         poor\nGretchen   abysmal      mediocre     bad          poor\nCheyenne   poor         mediocre     mediocre     poor\nHunter     poor         adequate     poor         bad\nBart       poor         bad          bad          mediocre\nAgatha     poor         bad          poor         poor\nBub        poor         abysmal      poor         awful\nPrudence   bad          awful        bad          mediocre\nGavin      poor         mediocre     poor         poor\nMildred    bad          abysmal      bad          poor\nDorinda    awful        poor         mediocre     mediocre\nCob        poor         poor         poor         mediocre\n\n> You buy Box\nYou reluctantly part with 300 coins, mail in your order, and in due course receive delivery of The Box."
    },
    {
        "text": "[Themes: Casual Simulation, orphanage, orphans, corporal punishment, children, management]\n\n> You look at your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nRay, Agatha, Mildred, Gretchen, Bart, Bub, Cheyenne, Cob and Jim are housed here.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> You look at Box\nThe beauty of The Box is that it is quite, quite self-explanatory.\n\n> You assign Gretchen to Box\nWith steel in your voice, you condemn Gretchen Bloch to The Box until further notice. She folds herself into one of its compartments, and you lock the door.\n\n> You assign Ray to Box\nStern but fair, you condemn Ray Cotter to The Box until further notice. He folds himself into one of its compartments, and you lock the door.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nGavin is housed here.\n\nSome ancient tricycles are littered about the place.\n\nThe room is ankle-deep in raw sewage, in which Dorinda and Prudence frolic with bleach, bucket and mop.\n\n> You assign Gavin to the sewage\nYou command Gavin Nash to occupy himself with raw sewage. He obediently complies.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nThe room is ankle-deep in raw sewage, in which Hunter frolics with bleach, bucket and mop.\n\n> Junior\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nRay and Gretchen are spending some time in The Box.\n\nAgatha, Mildred, Bart, Bub, Cheyenne, Cob and Jim are housed here.\n\n> Status\nJim        poor         mediocre     poor         poor\nGretchen   abysmal      mediocre     bad          poor\nCheyenne   bad          poor         poor         poor\nHunter     poor         adequate     mediocre     bad\nBart       mediocre     awful        bad          adequate\nAgatha     bad          bad          poor         poor\nBub        poor         awful        poor         awful\nPrudence   poor         awful        poor         poor\nGavin      poor         poor         poor         poor\nMildred    bad          abysmal      bad          poor\nDorinda    awful        bad          mediocre     mediocre\nCob        poor         bad          bad          mediocre\n\n> Scrub cob\nYou seize Cob, delouse his scalp with equal parts pomatum and mercurial ointment (just in case), and apply a rough brush to those parts of his person that he has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Discipline mildred\nYou apply some well-deserved discipline to Mildred Chollop. Her discipline is now bad.\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   abysmal      mediocre     poor         poor\nCheyenne   bad          poor         mediocre     mediocre\nHunter     poor         adequate     poor         bad\nBart       poor         awful        poor         adequate\nAgatha     bad          bad          poor         poor\nBub        bad          abysmal      poor         bad\nPrudence   poor         awful        bad          poor\nGavin      poor         poor         poor         poor\nMildred    bad          abysmal      poor         poor\nDorinda    bad          bad          poor         mediocre\nCob        poor         bad          poor         mediocre\n\n> You ring bell\nThe Box has weakened Ray Cotter's morale, which is now poor.\nThe Box has stiffened Ray Cotter's discipline, which is now awful.\nThe Box has weakened Gretchen Bloch's morale, which is now poor.\nThe Box has stiffened Gretchen Bloch's discipline, which is now abysmal.\nThe raw sewage has weakened Hunter Blair's morale, which is now abysmal.\nPolychromatic Lung's Fairy Tales has improved Agatha Dorrit's morale, which is now mediocre.\nThe raw sewage has weakened Prudence Socket's morale, which is now poor.\nPolychromatic Lung's Fairy Tales has improved Cob Froome's morale, which is now adequate.\n\nCholera has claimed Cheyenne Burrow. You admonish the children sternly against drinking sewage, but they are insensible to reason.\nThe Middle House is no longer awash in sewage.\n\nHunter Blair has disguised himself as a visiting nun and escaped! Out in the harsh world children are exposed to all manner of sinful influences, so you are not surprised when, later, you receive reports that he has sunk to working as a mugger.\n\nYou receive a government stipend of 110 for the feeding and care of your orphans; and pay out 33 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Ray Cotter, Bub Grady, Mildred Chollop and Cob Froome have gained vigour, and Ray Cotter and Agatha Dorrit have improved their morale.\n\nRay Cotter has grown up a little, and been transferred to the Middle House.\n\nA new orphan, Eliza Grundy, has been entrusted to your care and is now housed in the Middle House."
    },
    {
        "text": "[Themes: Casual Simulation, children, orphanage]\n\n> Look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nAgatha, Mildred, Bart, Bub, Cob and Jim are housed here.\n\nGretchen is spending some time in The Box.\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   awful        poor         bad          poor\nBart       poor         bad          poor         adequate\nAgatha     poor         poor         poor         mediocre\nEliza      poor         mediocre     bad          poor\nBub        poor         abysmal      poor         awful\nPrudence   bad          awful        bad          poor\nGavin      poor         poor         poor         poor\nMildred    poor         bad          poor         poor\nDorinda    bad          poor         poor         poor\nCob        poor         poor         poor         adequate\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nSome ancient tricycles are littered about the place.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nEliza, Ray, Gavin, Dorinda and Prudence are housed here.\n\n(The Cholera Caper has been going on for quite a while. If you'd\nlike a refresher on how to complete this task, try RECAP. There is still uncleaned sewage in the Senior House.)\n\n> Scrub eliza\nYou seize Eliza, drag a comb through her hair, and scrub her all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You assign all to the tricycles\nYou assign Ray, Eliza, Prudence, Gavin and Dorinda to the ancient tricycles.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe room is ankle-deep in raw sewage.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nEliza, Ray, Gavin, Dorinda and Prudence are busily occupied with the ancient tricycles.\n\n> You assign Prudence and Dorinda to Box\nIn icy tones, you condemn Prudence and Dorinda to The Box until further notice. They crawl into their various compartments, and you bolt them in.\n\n> You ring bell\nThe ancient tricycles have fortified Ray Cotter's vigour, which is now mediocre.\nThe Box has weakened Gretchen Bloch's morale, which is now poor.\nThe Box has sapped Gretchen Bloch's vigour, which is now poor.\nThe Box has stiffened Gretchen Bloch's discipline, which is now bad. The ancient tricycles have fortified Eliza Grundy's vigour, which is now mediocre.\nThe Box has weakened Prudence Socket's morale, which is now bad.\nThe Box has stiffened Prudence Socket's discipline, which is now mediocre.\nThe ancient tricycles have fortified Gavin Nash's vigour, which is now mediocre.\nThe Box has weakened Dorinda Twite's morale, which is now poor.\nThe Box has sapped Dorinda Twite's vigour, which is now abysmal.\nThe Box has stiffened Dorinda Twite's discipline, which is now poor.\n\nEliza Grundy has squeezed through the window-bars and escaped! Given her ingratitude and weak character, you are not surprised when, later, you receive reports that she has become a surrogate mother.\nGavin Nash has hidden in the garbage and escaped! Since virtue is rewarded and vice leads to ruin, you are not surprised when, later, you receive reports that he has become a pirate.\n\nYou receive a government stipend of 100 for the feeding and care of your orphans; and pay out 30 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Bart Button, Prudence Socket and Dorinda Twite have gained vigour, and Agatha Dorrit and Mildred Chollop have improved their morale.\n\nBart Button has been moved to the Middle House, being of sufficient age. Dorinda Twite is ready for the Senior.\n\n> Senior\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe room is ankle-deep in raw sewage.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nDorinda is housed here.\n\n> You assign all to the sewage\nYou command Dorinda Twite to occupy herself with raw sewage. She obediently complies.\n\n> Go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nBart is housed here.\n\nRay is busily occupied with the ancient tricycles.\n\nPrudence is spending some time in The Box.\n\n> You assign all to the tricycles\nYou assign Ray, Bart and Prudence to the ancient tricycles.\n\n> Status\nJim        poor         poor         poor         poor\nGretchen   bad          poor         poor         poor\nBart       poor         bad          poor         mediocre\nAgatha     bad          bad          bad          adequate\nBub        poor         abysmal      poor         awful\nPrudence   poor         poor         bad          poor\nMildred    bad          awful        poor         poor\nDorinda    poor         bad          mediocre     poor\nCob        bad          poor         poor         adequate\n\n> You scrub Prudence\nYou seize Prudence, spit-wash her grimy little face with your second-best handkerchief, and apply a rough brush to those parts of her person that she has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nAgatha, Mildred, Bub, Cob and Jim are housed here.\n\nGretchen is spending some time in The Box.\n\n> Unassign Gretchen\nYou allow Gretchen Bloch to take a break.\n\n> You assign Bub and Cob to Box\nWith steel in your voice, you condemn Bub and Cob to The Box until further notice. They crawl into their various compartments, and you bolt them in.\n\n> You ring bell\nThe ancient tricycles have fortified Ray Cotter's vigour, which is now mediocre.\nThe ancient tricycles have fortified Bart Button's vigour, which is now poor.\nPolychromatic Lung's Fairy Tales has improved Agatha Dorrit's morale, which is now adequate.\nThe Box has weakened Bub Grady's morale, which is now awful.\nThe Box has stiffened Bub Grady's discipline, which is now poor.\nThe ancient tricycles have fortified Prudence Socket's vigour, which is now mediocre.\nPolychromatic Lung's Fairy Tales has improved Mildred Chollop's morale, which is now poor.\nThe raw sewage has weakened Dorinda Twite's morale, which is now poor. The Box has weakened Cob Froome's morale, which is now mediocre.\nThe Box has sapped Cob Froome's vigour, which is now bad.\nThe Box has stiffened Cob Froome's discipline, which is now poor.\n\nThe last of the sewage has been mopped, bailed and bleached out of existence. Your orphans look a little green, but the worst is behind you.\n\nRay Cotter attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 100 for the feeding and care of your orphans; and pay out 30 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Bart Button and Prudence Socket have improved their morale.\n\nCob Froome has grown up a little, and been transferred to the Middle House.\n\nA new orphan, Frannie Harris, has been entrusted to your care and is now housed in the Junior House.\n\n> You unassign all\nYou allow Bub to take a break.\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   bad          bad          bad          poor\nBart       mediocre     poor         bad          adequate\nAgatha     bad          poor         poor         mediocre\nBub        mediocre     bad          poor         abysmal\nFrannie    bad          bad          poor         poor\nPrudence   poor         poor         mediocre     poor\nMildred    bad          bad          bad          poor\nDorinda    bad          bad          mediocre     bad\nCob        poor         bad          poor         mediocre"
    },
    {
        "text": "> You look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrannie, Agatha, Mildred, Gretchen, Bub and Jim are housed here.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\n> Scrub mildred\nYou seize Mildred, pinch her cheeks until they take on a healthy red colour, and make her dedicate a few hours to shining her shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nCob is housed here.\n\nBart, Ray and Prudence are busily occupied with the ancient tricycles.\n\n> You assign Ray to Box\nWith steel in your voice, you condemn Ray Cotter to The Box until further notice. He folds himself into one of its compartments, and you lock the door.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nFrannie, Agatha, Mildred, Gretchen, Bub and Jim are housed here.\n\n> You assign mildred to Box\nKnowing that it will do her good, you condemn Mildred Chollop to The Box until further notice. She folds herself into one of its compartments, and you lock the door.\n\n> Discipline gretchen\nYou apply some well-deserved discipline to Gretchen Bloch. Her discipline is now bad.\n\n> You go south\nWhat you do outside work hours and the Orphanorium is not the concern of this story. (The Middle House is to the north.)\n\n> Discipline frannie\nYou apply some well-deserved discipline to Frannie Harris. Her discipline is now bad.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nCob is housed here.\n\nBart and Prudence are busily occupied with the ancient tricycles.\n\nRay is spending some time in The Box.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nDorinda is housed here.\n\n> You discipline dorinda\nYou apply some well-deserved discipline to Dorinda Twite. Her discipline is now mediocre.\n\n> You ring bell\nThe Box has weakened Ray Cotter's morale, which is now abysmal.\nThe Box has sapped Ray Cotter's vigour, which is now poor.\nThe Box has stiffened Ray Cotter's discipline, which is now poor.\nThe ancient tricycles have fortified Bart Button's vigour, which is now mediocre.\nThe ancient tricycles have fortified Prudence Socket's vigour, which is now mediocre.\nThe Box has weakened Mildred Chollop's morale, which is now poor.\nThe Box has stiffened Mildred Chollop's discipline, which is now bad.\n\nYou receive a government stipend of 110 for the feeding and care of your orphans; and pay out 33 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Bart Button has gained vigour, and Ray Cotter, Gretchen Bloch, Frannie Harris and Prudence Socket have improved their morale.\n\nGretchen Bloch and Frannie Harris have grown up a little, and been transferred to the Middle House.\n\n> Go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nFrannie, Gretchen and Cob are housed here.\n\nBart and Prudence are busily occupied with the ancient tricycles.\n\nRay is spending some time in The Box.\n\nA new task: Friends Like These\n\nAgatha Dorrit, one of the worst children in the institution, seems to be spending a lot of time with Prudence Socket of late. You are troubled by this development; the adage \"one bad apple spoils the barrel\" is hard to live by when curating a compost pile, but Agatha is liable to ruin the least awful of your wards.\n1 - Punish them both.\n2 - Punish only Agatha.\n3 - Punish only Prudence.\n4 - Let it be. They'll drift apart soon enough.\n\n> 1\nAgatha endures the punishment with her characteristic insensitivity to good influences, but Prudence seems devastated by the incident. She avoids Agatha thereafter, but she gives off an air of raw hostility whenever you're near her.\n\n> Consult\nWhat do you want to consult?\n\n> You read the catalogue\nA respected specialist catering to the orphan management trade, Fobberfish of Hackney provides a wide variety of goods at virtually affordable rates. Bowing to the decadence of the age, this once-respectable publication now features many vain luxuries that you can safely ignore, such as fair-trade gruel, artisanal wildflower soap, and smallpox vaccines. The few items of real utility have been circled in red pen:\n\nAtherton's Ergonomic Treadmill (400 coins)\nMy First Delousing Bath (350 coins)\nSpinal Corrective Corsets (450 coins)\nDr. Pranger's Lithium Water (700 coins)\ntriple-barred windows (350 coins)\nThe Harvest of Sin (700 coins)\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   poor         bad          bad          bad\nBart       mediocre     mediocre     bad          mediocre\nAgatha     bad          bad          poor         mediocre\nBub        poor         abysmal      poor         bad\nFrannie    poor         bad          poor         poor\nPrudence   poor         mediocre     poor         poor\nMildred    poor         abysmal      mediocre     poor\nDorinda    mediocre     bad          poor         poor\nCob        poor         bad          poor         mediocre\n\n> Unassign Ray\nYou allow Ray Cotter to take a break."
    },
    {
        "text": "> You look at your surroundings\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nFrannie, Gretchen, Cob and Ray are housed here.\n\nBart and Prudence are busily occupied with the ancient tricycles.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nAgatha, Bub and Jim are housed here.\n\nMildred is spending some time in The Box.\n\n> Unassign mildred\nYou allow Mildred Chollop to take a break.\n\n> You assign Agatha to Box\nTo show that discipline must be upheld, you condemn Agatha Dorrit to The Box until further notice. She folds herself into one of its compartments, and you lock the door.\n\n> You scrub Gretchen\nYou seize Gretchen, delouse her scalp with equal parts pomatum and mercurial ointment (just in case), and scrub her all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> You ring bell\nThe ancient tricycles have fortified Bart Button's vigour, which is now adequate.\nThe Box has weakened Agatha Dorrit's morale, which is now mediocre. The Box has sapped Agatha Dorrit's vigour, which is now awful.\nThe Box has stiffened Agatha Dorrit's discipline, which is now poor. The ancient tricycles have fortified Prudence Socket's vigour, which is now mediocre.\n\nBub Grady has died of Bumpsterhausen's blue follicles. (Low morale\nis the main cause of orphan mortality.) You pay 5 coins for a\ncheap burial.\n\nPrudence Socket has forced a lock and escaped! Water finds its level, so you are not surprised when, later, you receive reports that she has sunk to working as a surrogate mother.\n\nYou receive a government stipend of 90 for the feeding and care of your orphans; and pay out 27 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Cob Froome has gained vigour, and Frannie Harris has improved her morale.\n\nJim Tench and Agatha Dorrit have been moved to the Middle House, being of sufficient age. Cob Froome is ready for the Senior.\n\nYou have been awarded custody of two orphans of Junior House age: Maud Barnacle and Becky Criggledip.\n\n> You recruit Bart\nBart Button is judged adequate to the demands of the position, and the shady aide spirits him off to the corridors of power. The money -- a mere twenty coins -- is not as good as you had hoped, but at least you can chalk this one up in the success column when the Periodic Review rolls around."
    },
    {
        "text": "[Themes: Casual Simulation, corporal punishment, Victorian, orphanage, children, orphans, management]\n\n> Look around\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nAgatha, Jim, Frannie, Gretchen and Ray are housed here.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSome ancient tricycles are littered about the place.\n\n> You scrub Agatha\nYou seize Agatha, drag a comb through her hair, and scrub her all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nBecky, Maud and Mildred are housed here.\n\n> You buy Bath\nYou reluctantly part with 350 coins, mail in your order, and in due course receive delivery of My First Delousing Bath; it is installed in the Junior House.\n\n> You assign Becky to Bath\nYou unceremoniously dunk Becky Criggledip into the Delousing Bath, and command her to remain there until she she has learned a lesson about hygiene.\n\n> You assign mildred to Bath\nYou unceremoniously dunk Mildred Chollop into the Delousing Bath, and command her to remain there until she she has learned a lesson about hygiene.\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   poor         bad          mediocre     bad\nMaud       awful        bad          bad          mediocre\nAgatha     poor         abysmal      poor         mediocre\nFrannie    poor         bad          poor         poor\nBecky      bad          poor         poor         poor\nMildred    poor         abysmal      mediocre     poor\nDorinda    mediocre     bad          mediocre     bad\nCob        poor         poor         poor         poor\n\n> Discipline maud\nYou apply some well-deserved discipline to Maud Barnacle. Her discipline is now poor.\n\n> Discipline becky\nYou apply some well-deserved discipline to Becky Criggledip. Her discipline is now poor.\n\n> You ring bell\nMy First Delousing Bath has brightened Maud Barnacle's looks, which are now mediocre.\nPolychromatic Lung's Fairy Tales has improved Maud Barnacle's morale, which is now mediocre.\nMy First Delousing Bath has brightened Mildred Chollop's looks, which are now mediocre.\n\nYou receive a government stipend of 100 for the feeding and care of your orphans; and pay out 30 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Maud Barnacle and Cob Froome have improved their morale.\n\nMildred Chollop has been moved to the Middle House, being of sufficient age. Ray Cotter is ready for the Senior.\n\n> Status\nJim        poor         mediocre     bad          poor\nGretchen   poor         bad          poor         poor\nMaud       poor         abysmal      mediocre     mediocre\nAgatha     poor         abysmal      poor         mediocre\nFrannie    poor         awful        poor         mediocre\nBecky      bad          mediocre     poor         poor\nMildred    bad          bad          mediocre     poor\nDorinda    mediocre     bad          mediocre     poor\nCob        mediocre     poor         poor         mediocre\n\nA new task: The Porter Babies\nFashionable nutritionist Laurice Shellac is testing a new theory: since it is acknowledged that the admixture of porter and stout is a sovereign tonic to the nerves of nursing mothers, it stands to reason that a half-pint of dark beer, imbibed at elevenses, will strengthen the nerves and consitution of children also. If your institution will take part in his national study, he'll supply the beers. Science can be unpredictable, however.\nDoes Laurice have your support?\n\n> Discipline becky\nYou apply some well-deserved discipline to Becky Criggledip. Her discipline is now mediocre.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMildred, Agatha, Jim, Frannie and Gretchen are housed here.\n\nSome ancient tricycles are littered about the place.\n\n> Discipline mildred\nYou apply some well-deserved discipline to Mildred Chollop. Her discipline is now poor.\n\n> You assign Frannie to the tricycles\nYou command Frannie Harris to occupy herself with the ancient tricycles. She obediently complies.\n\n> You assign Agatha to tricycles\nYou command Agatha Dorrit to occupy herself with the ancient tricycles. She obediently complies.\n\n> You assign mildred to the tricycles\nYou command Mildred Chollop to occupy herself with the ancient tricycles. She obediently complies.\n\n> Status\nJim        poor         poor         bad          poor\nGretchen   poor         bad          poor         poor\nMaud       poor         awful        mediocre     mediocre\nAgatha     poor         abysmal      mediocre     mediocre\nFrannie    poor         awful        poor         mediocre\nBecky      mediocre     poor         poor         poor\nMildred    poor         abysmal      mediocre     poor\nDorinda    mediocre     bad          mediocre     bad\nCob        mediocre     poor         poor         mediocre\n\n> Discipline agatha\nYou apply some well-deserved discipline to Agatha Dorrit. Her discipline is now mediocre.\n\n> Discipline gretchen\nEnough for today: there are regulations about excessive corporal punishment. Besides, if you thrash every child continually, they'll grow leathery and insensate.\n\n> You scrub Jim\nYou seize Jim, delouse his scalp with equal parts pomatum and mercurial ointment (just in case), and apply a rough brush to those parts of his person that he has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nRay, Cob and Dorinda are housed here.\n\n> You ring bell\nThe ancient tricycles have fortified Agatha Dorrit's vigour, which is now bad.\nThe ancient tricycles have fortified Frannie Harris's vigour, which is now poor.\nMy First Delousing Bath has brightened Becky Criggledip's looks, which are now poor.\nThe ancient tricycles have fortified Mildred Chollop's vigour, which is now abysmal.\n\nRay Cotter has conspired with an outside associate and escaped! Since virtue is rewarded and vice leads to ruin, you are not surprised when, later, you receive reports that he is shamefully employed as a garotter.\n\nYou receive a government stipend of 90 for the feeding and care of your orphans; and pay out 27 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Jim Tench, Maud Barnacle, Agatha Dorrit, Dorinda Twite and Cob Froome have gained vigour, and Mildred Chollop has improved her morale.\n\nAgatha Dorrit has graduated to the Senior House. Orphans in the Senior House, if they have been trained well enough, may find employment and leave your care.\n\nYou have been awarded custody of three orphans of Junior House age: Molly Bogey, Tawny Scraggley and Edie Dillinger.\n\n> Go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMildred and Frannie are busily occupied with the ancient tricycles.\n\nJim and Gretchen are housed here.\n\n> You assign Jim to the beer\nShellac's Porter Supplements is a passive improvement device:\nidle orphans in the relevant ward may be improved by it, or not, and there is nothing that God or man may do to affect the outcome. You can only assign orphans to active improvement devices.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nEdie, Tawny and Molly are housed here.\n\nBecky and Maud are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> You assign all to Bath\nYou assign Edie, Maud, Tawny, Molly and Becky to My First Delousing Bath.\n\n> Status\nJim        poor         mediocre     mediocre     poor\nGretchen   bad          poor         mediocre     poor\nMaud       poor         bad          mediocre     mediocre\nTawny      bad          mediocre     awful        poor\nAgatha     poor         poor         poor         mediocre\nMolly      poor         poor         poor         poor\nFrannie    poor         bad          poor         poor\nBecky      poor         poor         mediocre     poor\nMildred    poor         abysmal      mediocre     poor\nDorinda    mediocre     poor         mediocre     bad\nCob        mediocre     poor         mediocre     mediocre\n\n> Discipline edie\nYou apply some well-deserved discipline to Edie Dillinger. Her discipline is now poor.\n\n> You discipline tawny\nYou apply some well-deserved discipline to Tawny Scraggley. Her discipline is now bad.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMildred and Frannie are busily occupied with the ancient tricycles.\n\nJim and Gretchen are housed here.\n\n> Discipline gretchen\nYou apply some well-deserved discipline to Gretchen Bloch. Her discipline is now poor.\n\n> Smell the beer\nIt is your constant practice to avoid ever inhaling too deeply around orphans.\n\n> You assign Gretchen to the tricycles\nYou command Gretchen Bloch to occupy herself with the ancient tricycles. She obediently complies.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nAgatha, Cob and Dorinda are housed here.\n\n> You assign Agatha to Box\nWith a fearsome glare, you condemn Agatha Dorrit to The Box until further notice. She folds herself into one of its compartments, and you lock the door.\n\n> You ring bell\nThe ancient tricycles have fortified Gretchen Bloch's vigour, which is now bad.\nMy First Delousing Bath has brightened Tawny Scraggley's looks, which are now poor.\nThe Box has weakened Agatha Dorrit's morale, which is now poor.\nThe Box has stiffened Agatha Dorrit's discipline, which is now mediocre.\nShellac's Porter Supplements has fortified Agatha Dorrit's vigour, which is now poor.\nMy First Delousing Bath has brightened Molly Bogey's looks, which are now poor.\nThe ancient tricycles have fortified Frannie Harris's vigour, which is now mediocre.\nThe ancient tricycles have fortified Mildred Chollop's vigour, which is now bad.\nShellac's Porter Supplements has fortified Dorinda Twite's vigour, which is now poor.\nShellac's Porter Supplements has eroded Dorinda Twite's discipline, which is now poor.\nShellac's Porter Supplements has fortified Cob Froome's vigour, which is now poor.\n\nYou receive a government stipend of 120 for the feeding and care of your orphans; and pay out 36 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Becky Criggledip has gained vigour, and Jim Tench, Maud Barnacle, Molly Bogey and Becky Criggledip have improved their morale.\n\nMaud Barnacle has grown up a little, and been transferred to the Middle House.\n\n> Status\nJim        poor         mediocre     poor         poor\nGretchen   poor         poor         poor         bad\nMaud       poor         awful        mediocre     mediocre\nTawny      poor         poor         bad          poor\nAgatha     mediocre     mediocre     mediocre     poor\nMolly      poor         poor         poor         mediocre\nFrannie    bad          poor         poor         mediocre\nBecky      mediocre     poor         poor         poor\nMildred    poor         bad          mediocre     poor\nDorinda    poor         poor         mediocre     poor\nCob        poor         mediocre     mediocre     mediocre\n\n> You assign Cob to Box\nStern but fair, you condemn Cob Froome to The Box until further notice. He folds himself into one of its compartments, and you lock the door."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, corporal punishment, grooming, Victorian, children]\n\n> You look around\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nAgatha and Cob are spending some time in The Box.\n\nDorinda is housed here.\n\n> Unassign Agatha\nYou allow Agatha Dorrit to take a break.\n\n> You go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMaud and Jim are housed here.\n\nMildred, Frannie and Gretchen are busily occupied with the ancient tricycles.\n\n> You assign Maud to the tricycles\nYou command Maud Barnacle to occupy herself with the ancient tricycles. She obediently complies.\n\n> You scrub Frannie\nYou seize Frannie, pinch her cheeks until they take on a healthy red colour, and make her walk around with a book on her head. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> Discipline frannie\nYou apply some well-deserved discipline to Frannie Harris. Her discipline is now poor.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nEdie, Tawny, Molly and Becky are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> Discipline edie\nYou apply some well-deserved discipline to Edie Dillinger. Her discipline is now mediocre.\n\n> You discipline tawny\nEnough for today: there are regulations about excessive corporal punishment. Besides, if you thrash every child continually, they'll grow leathery and insensate.\n\n> You ring bell\nShellac's Porter Supplements has improved Edie Dillinger's morale, which is now poor.\nShellac's Porter Supplements has sapped Edie Dillinger's vigour, which is now bad.\nThe ancient tricycles have fortified Gretchen Bloch's vigour, which is now poor.\nThe ancient tricycles have fortified Maud Barnacle's vigour, which is now poor.\nShellac's Porter Supplements has improved Tawny Scraggley's morale, which is now mediocre.\nShellac's Porter Supplements has sapped Tawny Scraggley's vigour, which is now poor.\nMy First Delousing Bath has brightened Molly Bogey's looks, which are now mediocre.\nShellac's Porter Supplements has improved Molly Bogey's morale, which is now mediocre.\nShellac's Porter Supplements has sapped Molly Bogey's vigour, which is now bad.\nThe ancient tricycles have fortified Frannie Harris's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Becky Criggledip's looks, which are now adequate.\nShellac's Porter Supplements has improved Becky Criggledip's morale, which is now poor.\nShellac's Porter Supplements has sapped Becky Criggledip's vigour, which is now poor.\nThe ancient tricycles have fortified Mildred Chollop's vigour, which is now poor.\nThe Box has weakened Cob Froome's morale, which is now poor.\nThe Box has sapped Cob Froome's vigour, which is now mediocre.\nThe Box has stiffened Cob Froome's discipline, which is now mediocre.\n\nYou receive a government stipend of 120 for the feeding and care of your orphans; and pay out 36 coins on necessary care and maintenance, most of it going on food.\n\nBecky Criggledip has been moved to the Middle House, being of sufficient age. Gretchen Bloch is ready for the Senior.\n\nYou have been awarded custody of two orphans of Junior House age: Percy Dabney and Hubert Dobson.\n\n> You buy the bars\nYou reluctantly part with 350 coins, mail in your order, and in due course receive delivery of triple-barred windows."
    },
    {
        "text": "[Themes: Casual Simulation, orphanage, children, orphans, grooming, simulation, satire]\n\n> Look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nHubert and Percy are housed here.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nEdie, Tawny and Molly are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> Status\nJim        poor         mediocre     mediocre     poor\nGretchen   poor         mediocre     mediocre     bad\nMaud       poor         poor         mediocre     mediocre\nTawny      bad          poor         poor         mediocre\nHubert     bad          bad          poor         mediocre\nAgatha     mediocre     poor         poor         poor\nMolly      bad          poor         mediocre     adequate\nFrannie    mediocre     mediocre     mediocre     poor\nBecky      poor         poor         adequate     poor\nPercy      poor         mediocre     bad          poor\nMildred    poor         poor         mediocre     poor\nDorinda    mediocre     poor         poor         awful\nCob        mediocre     poor         poor         mediocre\n\n> You assign all to Bath\nYou assign Edie, Tawny, Hubert, Molly and Percy to My First Delousing Bath.\n\n> You discipline tawny\nYou apply some well-deserved discipline to Tawny Scraggley. Her discipline is now poor.\n\n> Discipline hubert\nYou apply some well-deserved discipline to Hubert Dobson. His discipline is now poor.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nBecky and Jim are housed here.\n\nMaud, Mildred and Frannie are busily occupied with the ancient tricycles.\n\n> Unassign Frannie\nYou allow Frannie Harris to take a break.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe aroma of dark beer saturates the building.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nGretchen, Agatha and Dorinda are housed here.\n\nCob is spending some time in The Box.\n\n> You scrub dorinda\nYou seize Dorinda, delouse her scalp with carbolic acid, and tell her that she will be spending her break re-ironing her crumpled clothes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> Status\nJim        poor         poor         poor         mediocre\nGretchen   poor         poor         mediocre     bad\nMaud       poor         poor         mediocre     adequate\nTawny      mediocre     bad          poor         poor\nHubert     poor         bad          poor         poor\nAgatha     poor         poor         poor         poor\nMolly      bad          poor         mediocre     mediocre\nFrannie    poor         mediocre     mediocre     poor\nBecky      mediocre     bad          adequate     mediocre\nPercy      bad          mediocre     bad          poor\nMildred    poor         poor         mediocre     poor\nDorinda    mediocre     poor         mediocre     awful\nCob        mediocre     poor         poor         poor\n\n> Unassign Cob\nYou allow Cob Froome to take a break.\n\n> Discipline agatha\nYou apply some well-deserved discipline to Agatha Dorrit. Her discipline is now mediocre.\n\n> You go to the south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nBecky, Jim and Frannie are housed here.\n\nMaud and Mildred are busily occupied with the ancient tricycles.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe aroma of dark beer saturates the building.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nHubert, Percy, Edie, Tawny and Molly are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> You ring bell\nMy First Delousing Bath has brightened Edie Dillinger's looks, which are now poor.\nShellac's Porter Supplements has improved Edie Dillinger's morale, which is now mediocre.\nShellac's Porter Supplements has stiffened Edie Dillinger's discipline, which is now satisfactory.\nThe ancient tricycles have fortified Maud Barnacle's vigour, which is now poor.\nMy First Delousing Bath has brightened Tawny Scraggley's looks, which are now poor.\nShellac's Porter Supplements has improved Tawny Scraggley's morale, which is now mediocre.\nMy First Delousing Bath has brightened Hubert Dobson's looks, which are now mediocre.\nShellac's Porter Supplements has improved Hubert Dobson's morale, which is now poor.\nMy First Delousing Bath has brightened Molly Bogey's looks, which are now adequate.\nShellac's Porter Supplements has improved Molly Bogey's morale, which is now mediocre.\nMy First Delousing Bath has brightened Percy Dabney's looks, which are now bad.\nShellac's Porter Supplements has improved Percy Dabney's morale, which is now mediocre.\nShellac's Porter Supplements has stiffened Percy Dabney's discipline, which is now mediocre.\nPolychromatic Lung's Fairy Tales has improved Percy Dabney's morale, which is now mediocre.\nThe ancient tricycles have fortified Mildred Chollop's vigour, which is now mediocre.\n\nYou receive a government stipend of 140 for the feeding and care of your orphans; and pay out 42 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Mildred Chollop has gained vigour.\n\nEdie Dillinger has been moved to the Middle House, being of sufficient age. Jim Tench is ready for the Senior.\n\nA new orphan, Griselda Much, has been entrusted to your care and is now housed in the Junior House.\n\nLaurice Shellac's grand porter experiment has concluded. He retrieves his porter-casks and a great many measurements, praises your charity, wisdom and personal charms for a period somewhat longer than strictly required, and departs.\n\n> You assign Griselda to Bath\nYou unceremoniously dunk Griselda Much into the Delousing Bath, and command her to remain there until she has ceased to smell like a case of gangrene.\n\n> Status\nGriselda   abysmal      poor         poor         mediocre\nJim        poor         poor         mediocre     poor\nGretchen   poor         mediocre     mediocre     bad\nMaud       poor         mediocre     mediocre     adequate\nTawny      mediocre     poor         poor         mediocre\nHubert     mediocre     bad          mediocre     mediocre\nAgatha     mediocre     mediocre     poor         bad\nMolly      poor         bad          satisfactory adequate\nFrannie    poor         mediocre     mediocre     poor\nBecky      mediocre     poor         mediocre     poor\nPercy      mediocre     mediocre     poor         adequate\nMildred    poor         mediocre     mediocre     poor\nDorinda    mediocre     poor         mediocre     bad\nCob        mediocre     mediocre     mediocre     poor\n\n> You discipline griselda\nYou apply some well-deserved discipline to Griselda Much. Her discipline is now bad.\n\n> Unassign Molly\nYou allow Molly Bogey to take a break.\n\n> You assign Molly to Box\nKnowing that it will do her good, you condemn Molly Bogey to The Box until further notice. She folds herself into one of its compartments, and you lock the door."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, orphanage, corporal punishment, simulation, grooming]\n\n> Look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nGriselda, Hubert, Percy and Tawny are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nMolly is spending some time in The Box.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nEdie, Becky and Frannie are housed here.\n\nMaud and Mildred are busily occupied with the ancient tricycles.\n\n> You assign Edie to tricycles\nYou command Edie Dillinger to occupy herself with the ancient tricycles. She obediently complies.\n\n> You assign Becky to the tricycles\nYou command Becky Criggledip to occupy herself with the ancient tricycles. She obediently complies.\n\n> Discipline mildred\nYou apply some well-deserved discipline to Mildred Chollop. Her discipline is now poor.\n\n> Discipline frannie\nYou apply some well-deserved discipline to Frannie Harris. Her discipline is now poor.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nJim, Gretchen, Agatha, Cob and Dorinda are housed here.\n\n> You assign Jim to Box\nIn icy tones, you condemn Jim Tench to The Box until further notice. He folds himself into one of its compartments, and you lock the door.\n\n> You ring bell\nThe ancient tricycles have fortified Edie Dillinger's vigour, which is now bad.\nMy First Delousing Bath has brightened Griselda Much's looks, which are now poor.\nThe Box has weakened Jim Tench's morale, which is now bad.\nThe Box has sapped Jim Tench's vigour, which is now poor.\nThe Box has stiffened Jim Tench's discipline, which is now poor.\nThe ancient tricycles have fortified Maud Barnacle's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Tawny Scraggley's looks, which are now poor.\nMy First Delousing Bath has brightened Hubert Dobson's looks, which are now mediocre.\nThe Box has weakened Molly Bogey's morale, which is now mediocre.\nThe Box has stiffened Molly Bogey's discipline, which is now poor.\nThe ancient tricycles have fortified Becky Criggledip's vigour, which is now poor.\nThe ancient tricycles have fortified Mildred Chollop's vigour, which is now mediocre.\n\nYou receive a government stipend of 150 for the feeding and care of your orphans; and pay out 45 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Tawny Scraggley and Dorinda Twite have gained vigour, and Jim Tench, Frannie Harris, Becky Criggledip, Dorinda Twite and Cob Froome have improved their morale.\n\nAgatha Dorrit has reached the age of maturity, and there is nothing more you can do. She is lost to gainful industry and to virtue, and promptly becomes a baby-farmer. (Good discipline is the surest path to a respectable job, though employers also favour those with high vigour and looks).\n\nA new orphan, Madison Codscrote, has been entrusted to your care and is now housed in the Junior House.\n\n> Unassign jim\nYou allow Jim Tench to take a break.\n\nA new task: Tympanic Panic\nThe popular music-hall ensemble Fariq Nasty and his Timpani Five is due to appear at the local auditorium. According to this leaflet, distributed by the Solemn Order of Platypii Ladies' Moral Auxiliary, Mr. Nasty's lyrics promote street grammar, kissing one's fiancee, regicide, Palestinian independence, bro-hugs, jeepform RPGs, immoderate use of snuff and sacrificing virgin blood to Bel-Marduk. The good Ladies intend to mount a campaign of protest, and as its centrepiece they need a child who has been ruined by Fariq's lascivious kettledrums, or at least appears so. Improving the moral tone of your community should, they imply, be reward enough. (Use RECRUIT on a suitable orphan.)\n\n> Status\nGriselda   bad          poor         poor         poor\nJim        mediocre     bad          poor         poor\nGretchen   poor         mediocre     poor         awful\nMadison    bad          awful        bad          poor\nMaud       poor         mediocre     mediocre     mediocre\nTawny      mediocre     bad          poor         mediocre\nHubert     poor         bad          mediocre     poor\nMolly      poor         bad          satisfactory poor\nFrannie    poor         poor         mediocre     poor\nBecky      mediocre     poor         adequate     mediocre\nPercy      mediocre     poor         bad          adequate\nMildred    mediocre     adequate     mediocre     bad\nDorinda    mediocre     mediocre     mediocre     bad\nCob        mediocre     poor         poor         mediocre\n\n> You recruit Jim\nThe Ladies' Moral Auxiliary are in a hurry to put their campaign together, and have no time to question your choice. Jim is escorted to Platypus Hall to prepare for his first appearance.\n\n> You go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nEdie, Becky, Maud and Mildred are busily occupied with the ancient tricycles.\n\nFrannie is housed here.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nMadison is housed here.\n\nGriselda, Hubert, Percy and Tawny are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nMolly is spending some time in The Box.\n\n> Status\nGriselda   bad          poor         poor         poor\nJim        poor         poor         mediocre     poor\nGretchen   poor         mediocre     mediocre     awful\nMadison    bad          bad          awful        mediocre\nMaud       poor         mediocre     mediocre     adequate\nTawny      mediocre     poor         poor         mediocre\nHubert     mediocre     bad          adequate     poor\nMolly      poor         poor         satisfactory mediocre\nFrannie    poor         poor         mediocre     poor\nBecky      mediocre     poor         adequate     mediocre\nPercy      poor         mediocre     poor         mediocre\nMildred    mediocre     mediocre     mediocre     poor\nDorinda    poor         poor         mediocre     bad\nCob        mediocre     poor         poor         mediocre\n\n> You discipline madison\nYou apply some well-deserved discipline to Madison Codscrote. Her discipline is now poor.\n\n> You assign Madison to Bath\nYou unceremoniously dunk Madison Codscrote into the Delousing Bath, and command her to remain there until she she has learned a lesson about hygiene.\n\n> You discipline griselda\nYou apply some well-deserved discipline to Griselda Much. Her discipline is now poor.\n\n> Status\nGriselda   poor         bad          bad          poor\nJim        poor         poor         poor         poor\nGretchen   poor         mediocre     mediocre     bad\nMadison    poor         awful        bad          poor\nMaud       poor         mediocre     mediocre     adequate\nTawny      mediocre     poor         poor         mediocre\nHubert     poor         bad          adequate     mediocre\nMolly      poor         poor         adequate     mediocre\nFrannie    mediocre     poor         mediocre     poor\nBecky      mediocre     poor         mediocre     mediocre\nPercy      mediocre     mediocre     poor         adequate\nMildred    poor         mediocre     mediocre     poor\nDorinda    mediocre     poor         mediocre     bad\nCob        mediocre     poor         mediocre     poor\n\n> You scrub Griselda\nYou seize Griselda, pinch her cheeks until they take on a healthy red colour, and apply a rough brush to those parts of her person that she has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You go to the north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nEdie, Becky, Maud and Mildred are busily occupied with the ancient tricycles.\n\nFrannie is housed here.\n\n> Unassign maud\nYou allow Maud Barnacle to take a break.\n\n> You assign Maud to box\nKnowing that it will do her good, you condemn Maud Barnacle to The Box until further notice. She folds herself into one of its compartments, and you lock the door.\n\n> Status\nGriselda   poor         poor         poor         poor\nJim        poor         bad          mediocre     poor\nGretchen   poor         mediocre     mediocre     awful\nMadison    poor         awful        bad          poor\nMaud       poor         mediocre     mediocre     adequate\nTawny      poor         poor         poor         mediocre\nHubert     mediocre     bad          mediocre     mediocre\nMolly      poor         bad          adequate     poor\nFrannie    mediocre     poor         mediocre     poor\nBecky      mediocre     poor         mediocre     mediocre\nPercy      mediocre     mediocre     poor         mediocre\nMildred    mediocre     adequate     mediocre     bad\nDorinda    mediocre     poor         mediocre     bad\nCob        mediocre     poor         mediocre     mediocre\n\n> You assign Frannie to the tricycles\nYou command Frannie Harris to occupy herself with the ancient tricycles. She obediently complies.\n\n> You ring bell\nThe ancient tricycles have fortified Edie Dillinger's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Griselda Much's looks, which are now mediocre.\nMy First Delousing Bath has brightened Madison Codscrote's looks, which are now poor.\nThe Box has weakened Maud Barnacle's morale, which is now poor.\nThe Box has sapped Maud Barnacle's vigour, which is now poor.\nThe Box has stiffened Maud Barnacle's discipline, which is now mediocre.\nMy First Delousing Bath has brightened Tawny Scraggley's looks, which are now mediocre.\nMy First Delousing Bath has brightened Hubert Dobson's looks, which are now adequate.\nThe Box has weakened Molly Bogey's morale, which is now poor.\nThe Box has stiffened Molly Bogey's discipline, which is now poor.\nThe ancient tricycles have fortified Frannie Harris's vigour, which is now poor.\nThe ancient tricycles have fortified Becky Criggledip's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Percy Dabney's looks, which are now poor.\n\nYou receive a government stipend of 150 for the feeding and care of your orphans; and pay out 45 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Griselda Much, Frannie Harris, Becky Criggledip and Cob Froome have gained vigour, and Jim Tench has improved his morale.\n\nTawny Scraggley and Hubert Dobson have grown up a little, and been transferred to the Middle House.\n\n> Status\nGriselda   poor         poor         mediocre     poor\nJim        mediocre     poor         mediocre     poor\nGretchen   poor         mediocre     poor         bad\nMadison    poor         abysmal      poor         poor\nMaud       mediocre     mediocre     mediocre     poor\nTawny      poor         poor         mediocre     mediocre\nHubert     poor         bad          satisfactory mediocre\nMolly      poor         poor         adequate     poor\nFrannie    mediocre     mediocre     mediocre     poor\nBecky      mediocre     mediocre     mediocre     mediocre\nPercy      poor         mediocre     poor         adequate\nMildred    poor         mediocre     mediocre     bad\nDorinda    mediocre     poor         mediocre     bad\nCob        mediocre     mediocre     mediocre     mediocre\n\n> You scrub Edie\nYou seize Edie, delouse her scalp with carbolic acid, and make her dedicate a few hours to shining her shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nMadison, Griselda and Percy are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nMolly is spending some time in The Box.\n\n> Discipline percy\nYou apply some well-deserved discipline to Percy Dabney. His discipline is now poor.\n\n> You discipline griselda\nYou apply some well-deserved discipline to Griselda Much. Her discipline is now poor.\n\n> You discipline madison\nYou apply some well-deserved discipline to Madison Codscrote. Her discipline is now mediocre.\n\n> You read the catalog\nA respected specialist catering to the orphan management trade, Fobberfish of Hackney provides a wide variety of goods at virtually affordable rates. Bowing to the decadence of the age, this once-respectable publication now features many vain luxuries that you can safely ignore, such as fair-trade gruel, artisanal wildflower soap, and smallpox vaccines. The few items of real utility have been circled in red pen:\n\nAtherton's Ergonomic Treadmill (400 coins)\nSpinal Corrective Corsets (450 coins)\nDr. Pranger's Lithium Water (700 coins)\nThe Harvest of Sin (700 coins)\n\n> You ring bell\nThe ancient tricycles have fortified Edie Dillinger's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Griselda Much's looks, which are now adequate.\nPolychromatic Lung's Fairy Tales has improved Griselda Much's morale, which is now poor.\nThe Box has weakened Molly Bogey's morale, which is now bad.\nThe Box has sapped Molly Bogey's vigour, which is now bad.\nThe Box has stiffened Molly Bogey's discipline, which is now mediocre. Polychromatic Lung's Fairy Tales has improved Molly Bogey's morale, which is now poor.\nThe ancient tricycles have fortified Frannie Harris's vigour, which is now mediocre.\nThe ancient tricycles have fortified Becky Criggledip's vigour, which is now adequate.\nMy First Delousing Bath has brightened Percy Dabney's looks, which are now mediocre.\nPolychromatic Lung's Fairy Tales has improved Percy Dabney's morale, which is now mediocre.\n\nMildred Chollop attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 150 for the feeding and care of your orphans; and pay out 45 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Becky Criggledip has gained vigour, and Jim Tench and Madison Codscrote have improved their morale.\n\nDorinda Twite has reached the age of maturity, and there is nothing more you can do. She is lost to gainful industry and to virtue, and promptly becomes a bondage model.\nGriselda Much and Madison Codscrote have been moved to the Middle House, being of sufficient age. Mildred Chollop is ready for the Senior.\n\n> Unassign Molly\nYou allow Molly Bogey to take a break.\n\nNot only does Jim Tench look appropriately pathetic, he demonstrates a remarkable ability to weep on cue, elaborate in chilling detail about the timpani lifestyle from which he was rescued, and go into seizures at the sight of a felt mallet. Fariq Nasty has to flee town under cover of darkness to escape tar-and-feathering, the Timpani Five are barred from respectable auditoria across the country, and the Ladies' Auxiliary return Jim Tench with a small expression of their gratitude.\n\n> Status\nGriselda   poor         bad          mediocre     poor\nJim        mediocre     poor         poor         mediocre\nGretchen   poor         poor         poor         bad\nMadison    mediocre     abysmal      poor         poor\nMaud       poor         mediocre     poor         poor\nTawny      mediocre     bad          mediocre     mediocre\nHubert     poor         poor         adequate     poor\nMolly      mediocre     abysmal      adequate     poor\nFrannie    mediocre     adequate     mediocre     poor\nBecky      mediocre     adequate     adequate     poor\nPercy      poor         poor         mediocre     adequate\nMildred    mediocre     mediocre     mediocre     poor\nCob        mediocre     poor         poor         mediocre\n\n> You read about the treadmill\n(in Fobberfish of Hackney's catalogue):\nAtherton's Ergonomic Treadmill produces a negligible quantity of electrical power, but (more importantly) its persistent use strengthens the thighs, calves and buttocks of older children, while teaching them the value of a hard day's work.\n\n> You read about the Water\n(in Fobberfish of Hackney's catalogue):\nThe world-renowned Dr. Pranger has discovered that pathological and criminal behaviours are rooted in patterns of thought established in childhood. Attempts to improve society will inevitably fail, therefore, without a bold application of behavioural pharmacology from earliest youth, particularly in those classes that produce the overwhelming mass of the criminal and insane. His patented Lithium Formula, added to the drinking-water of your orphanage, juvenile prison, refugee camp or poor-house, is the necessary first step to a brighter future.\n\n> You go south\nWhat you do outside work hours and the Orphanorium is not the concern of this story. (The Middle House is to the north.)"
    },
    {
        "text": "[Themes: Casual Simulation, strategy, orphanage, simulation]\n\n> You describe your surroundings\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nPercy is shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nMolly is housed here.\n\n> You assign Molly to Bath\nYou unceremoniously dunk Molly Bogey into the Delousing Bath, and command her to remain there until she shehas become less foul to behold.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMadison, Griselda, Hubert, Tawny and Maud are housed here.\n\nEdie, Becky and Frannie are busily occupied with the ancient tricycles.\n\n> You assign Tawny to the tricycles\nYou command Tawny Scraggley to occupy herself with the ancient tricycles. She obediently complies.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     poor         mediocre     mediocre\nGretchen   poor         mediocre     poor         bad\nMadison    poor         abysmal      poor         poor\nMaud       poor         poor         poor         mediocre\nTawny      mediocre     bad          mediocre     mediocre\nHubert     poor         bad          adequate     poor\nMolly      adequate     awful        adequate     poor\nFrannie    mediocre     adequate     mediocre     poor\nBecky      mediocre     adequate     adequate     mediocre\nPercy      mediocre     mediocre     mediocre     adequate\nMildred    poor         adequate     mediocre     bad\nCob        mediocre     mediocre     poor         mediocre\n\n> You assign Hubert to the tricycles\nYou command Hubert Dobson to occupy himself with the ancient tricycles. He obediently complies.\n\n> Unassign Becky\nYou allow Becky Criggledip to take a break.\n\n> You scrub Edie\nYou seize Edie, delouse her scalp with equal parts pomatum and mercurial ointment (just in case), and make her dedicate a few hours to shining her shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> Status\nGriselda   poor         poor         adequate     poor\nJim        mediocre     poor         mediocre     mediocre\nGretchen   poor         mediocre     poor         awful\nMadison    mediocre     abysmal      poor         poor\nMaud       mediocre     poor         mediocre     mediocre\nTawny      mediocre     bad          mediocre     mediocre\nHubert     poor         bad          adequate     poor\nMolly      adequate     abysmal      adequate     poor\nFrannie    mediocre     adequate     mediocre     mediocre\nBecky      poor         adequate     mediocre     poor\nPercy      poor         mediocre     mediocre     adequate\nMildred    mediocre     mediocre     mediocre     bad\nCob        mediocre     mediocre     mediocre     mediocre\n\n> You discipline griselda\nYou apply some well-deserved discipline to Griselda Much. Her discipline is now mediocre.\n\n> You assign Griselda to the tricycles\nYou command Griselda Much to occupy herself with the ancient tricycles. She obediently complies.\n\n> You ring bell\nThe ancient tricycles have fortified Edie Dillinger's vigour, which is now mediocre.\nThe ancient tricycles have fortified Griselda Much's vigour, which is now poor.\nThe ancient tricycles have fortified Tawny Scraggley's vigour, which is now poor.\nThe ancient tricycles have fortified Hubert Dobson's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Molly Bogey's looks, which are now good.\n\nBecky Criggledip has broken a hole through the roof and escaped! Out in the harsh world children are exposed to all manner of sinful influences, so you are not surprised when, later, you receive reports that she is shamefully employed as a haughty courtesan.\nMildred Chollop attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 130 for the feeding and care of your orphans; and pay out 39 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Edie Dillinger, Madison Codscrote, Maud Barnacle and Frannie Harris have gained vigour, and Frannie Harris and Mildred Chollop have improved their morale.\n\nMolly Bogey has been moved to the Middle House, being of sufficient age. Madison Codscrote is ready for the Senior.\n\nA new orphan, Ned Jackson, has been entrusted to your care and is now housed in the Junior House.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nNed is housed here.\n\nPercy is shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nA new task: Bleeding Hearts, Haemorrhaging Funds\nThe incessant complaining and underhanded lobbying techniques of the Cruelty Defamation League have borne poison fruit: a law is being discussed in committee that, if enacted, would reduce the daily beatings permitted in juvenile institutions. Impassioned letter-writing has fallen on deaf ears, and it seems as if, once again, special interests will corrupt the fair process of government. But you're not entirely without friends. Hera Bethany Towlich, an artist of the back-room deal and the twisted arm, informs you that the voting is close and certain parties are open to persuasion. For 300 coins, the bill can be buried; for 700 it can be rewritten in language that would accidentally allow facilities of your kind more\ndiscipline.\nFew things are certain about the legislative process, but this is a matter of principle. What are you to do?\n1 - Pay three hundred to bury the bill.\n2 - Keep your money, cross your fingers and pray.\n\n> 1\nIt boils your blood to be forced to pay money just to keep that which you possess by right; but sometimes principle must bow to sense. You fork the cash over, Hera eats some very nice lunches with some very unpleasant people, and no more is heard of the bill.\n\n> You assign Ned to Bath\nYou unceremoniously dunk Ned Jackson into the Delousing Bath, and command him to remain there until he is presentable.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     poor         mediocre     mediocre\nGretchen   poor         mediocre     poor         awful\nMadison    poor         abysmal      mediocre     poor\nNed        bad          poor         poor         poor\nMaud       mediocre     mediocre     poor         mediocre\nTawny      poor         poor         mediocre     mediocre\nHubert     poor         poor         adequate     mediocre\nMolly      mediocre     awful        good         poor\nFrannie    poor         adequate     mediocre     mediocre\nPercy      mediocre     mediocre     mediocre     adequate\nMildred    mediocre     adequate     mediocre     bad\nCob        mediocre     poor         poor         poor\n\n> Discipline ned\nYou apply some well-deserved discipline to Ned Jackson. His discipline is now poor.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMolly, Maud and Frannie are housed here.\n\nGriselda, Hubert, Tawny and Edie are busily occupied with the ancient tricycles.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMadison, Jim, Mildred, Gretchen and Cob are housed here.\n\n> Scrub cob\nYou seize Cob, drag a comb through his hair, and apply a rough brush to those parts of his person that he has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now poor.\n\n> Discipline hubert\nYou apply some well-deserved discipline to Hubert Dobson. His discipline is now adequate.\n\n> You discipline tawny\nYou apply some well-deserved discipline to Tawny Scraggley. Her discipline is now mediocre.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     bad          mediocre     mediocre\nGretchen   poor         mediocre     mediocre     awful\nMadison    mediocre     abysmal      mediocre     poor\nNed        poor         mediocre     poor         poor\nMaud       poor         mediocre     poor         poor\nTawny      mediocre     poor         mediocre     poor\nHubert     mediocre     mediocre     satisfactory poor\nMolly      mediocre     bad          satisfactory poor\nFrannie    poor         adequate     mediocre     poor\nPercy      mediocre     poor         mediocre     mediocre\nMildred    poor         mediocre     mediocre     bad\nCob        mediocre     poor         mediocre     mediocre\n\n> You ring bell\nThe ancient tricycles have fortified Edie Dillinger's vigour, which is now good.\nThe ancient tricycles have fortified Griselda Much's vigour, which is now poor.\nMy First Delousing Bath has brightened Ned Jackson's looks, which are now mediocre.\nThe ancient tricycles have fortified Tawny Scraggley's vigour, which is now mediocre.\nThe ancient tricycles have fortified Hubert Dobson's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Percy Dabney's looks, which are now adequate.\n\nEdie Dillinger attempted to escape, but failed to get past the Ruritanian Mastiffs.\nMildred Chollop attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 140 for the feeding and care of your orphans; and pay out 42 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Ned Jackson has gained vigour, and Gretchen Bloch and Percy Dabney have improved their morale.\n\nMaud Barnacle and Frannie Harris have graduated to the Senior House.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     poor         mediocre     adequate\nGretchen   poor         mediocre     poor         bad\nMadison    mediocre     awful        poor         poor\nNed        poor         poor         mediocre     poor\nMaud       poor         mediocre     mediocre     mediocre\nTawny      adequate     mediocre     mediocre     mediocre\nHubert     mediocre     mediocre     adequate     poor\nMolly      adequate     bad          excellent    poor\nFrannie    mediocre     adequate     mediocre     mediocre\nPercy      poor         mediocre     adequate     adequate\nMildred    poor         mediocre     mediocre     awful\nCob        mediocre     mediocre     mediocre     poor\n\nA new task: The Malnutrition Games\nA number of forward-thinking administrators in the institutional guardianship sector are trying to put together a five-a-side streetball tournament. Team sports promote determination, local pride and contempt for the weak. On the other hand, you would need to field a team of five strong-limbed orphans of Senior House age; while matches are infrequent enough that they would still have time for regular activities, the risk of injury or escape should not be ignored. This opportunity may not present itself again, however.\nDo you want to compete in the tournament?\n\n> Yes\nExcellent. Use RECRUIT on orphans to add them to your team. If they disappoint, you can CUT them from the team -- but matches will not go ahead unless you have a full squad of five."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, satire, simulation]\n\n> You look at your surroundings\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nFrannie, Maud, Madison, Jim, Mildred, Gretchen and Cob are housed here.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\n> You recruit Cob\nYou inform Froome that he will be representing the Orphanorium in forthcoming games. Your team now comprises him alone.\n.\n\n> You recruit mildred\nYou would be subject to endless ridicule from the other teams if you fielded a player as frail as Chollop.\n\n> You recruit Gretchen\nYou inform Bloch that she will be representing the Orphanorium in forthcoming games. Your team now comprises Froome and Bloch.\n\n> You recruit Frannie\nYou inform Harris that she will be representing the Orphanorium in forthcoming games. Your team now comprises Froome, Bloch and Harris.\n\n> You recruit Maud\nYou inform Barnacle that she will be representing the Orphanorium in forthcoming games. Your team now comprises Froome, Bloch, Harris and Barnacle.\n\n> Go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMolly is housed here.\n\nGriselda, Hubert, Tawny and Edie are busily occupied with the ancient tricycles.\n\n> You recruit Edie\nA child so small would be crushed to pulp in a streetball tournament.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nFrannie, Maud, Madison, Jim, Mildred, Gretchen and Cob are housed here.\n\n> You recruit Jim\nYou inform Tench that he will be representing the Orphanorium in forthcoming games. Your team now comprises Froome, Bloch, Harris, Barnacle and Tench: a complete line-up.\n\nRinging the dinner-bell will start the next match.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     poor         poor         adequate\nGretchen   poor         mediocre     mediocre     poor\nMadison    mediocre     awful        poor         poor\nNed        poor         poor         mediocre     poor\nMaud       mediocre     mediocre     mediocre     mediocre\nTawny      mediocre     mediocre     mediocre     mediocre\nHubert     adequate     mediocre     adequate     poor\nMolly      mediocre     bad          good         poor\nFrannie    mediocre     adequate     adequate     mediocre\nPercy      poor         mediocre     adequate     adequate\nMildred    poor         adequate     mediocre     bad\nCob        mediocre     poor         mediocre     mediocre\n\n> Unassign Edie\nYou allow Edie Dillinger to take a break.\n\n> You assign Molly to the tricycles\nYou command Molly Bogey to occupy herself with the ancient tricycles. She obediently complies.\n\n> You scrub Jim\nYou seize Jim, pinch his cheeks until they take on a healthy red colour, and make him dedicate a few hours to shining his shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; his looks are now mediocre.\n\n> Discipline mildred\nYou apply some well-deserved discipline to Mildred Chollop. Her discipline is now mediocre.\n\n> Go south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\nEdie is housed here.\n\n> Discipline edie\nYou apply some well-deserved discipline to Edie Dillinger. Her discipline is now satisfactory.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nNed and Percy are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     poor         mediocre     adequate\nGretchen   poor         mediocre     poor         poor\nMadison    mediocre     abysmal      poor         poor\nNed        poor         mediocre     mediocre     poor\nMaud       poor         mediocre     mediocre     adequate\nTawny      mediocre     mediocre     mediocre     mediocre\nHubert     adequate     mediocre     adequate     poor\nMolly      mediocre     bad          good         poor\nFrannie    mediocre     adequate     mediocre     adequate\nPercy      mediocre     mediocre     adequate     adequate\nMildred    mediocre     mediocre     mediocre     bad\nCob        mediocre     mediocre     poor         adequate\n\n> Discipline ned\nYou apply some well-deserved discipline to Ned Jackson. His discipline is now mediocre.\n\n> You ring bell\nYou are due to face Blackburn Remedial in the first round. You have not played streetball since your reformatory days, but you feel you've been able to teach the children enough.\n\nJim Tench has lost some teeth during a three-point maul.\nThe injury is severe enough to take him off the team.\n\nYour orphans are unceremoniously crushed. The outcome was never in doubt. You are out of the tournament, and a tangible sense of failure settles over everyone.\n\n> You cut Jim\nCutting him up would achieve little.\n\n> Status\nGriselda   mediocre     poor         adequate     poor\nJim        mediocre     bad          adequate     poor\nGretchen   poor         mediocre     mediocre     bad\nMadison    mediocre     abysmal      mediocre     poor\nNed        mediocre     mediocre     mediocre     bad\nMaud       poor         adequate     mediocre     mediocre\nTawny      mediocre     mediocre     mediocre     poor\nHubert     mediocre     mediocre     adequate     poor\nMolly      adequate     abysmal      good         poor\nFrannie    mediocre     satisfactory adequate     mediocre\nPercy      mediocre     poor         adequate     adequate\nMildred    mediocre     mediocre     mediocre     awful\nCob        mediocre     mediocre     mediocre     mediocre\n\n> You recruit Frannie\nNobody has expressed any special interest in hiring orphans. You must trust to the soft mercies of the labour market.\n\n> You ring bell\nThe ancient tricycles have fortified Griselda Much's vigour, which is now poor.\nThe ancient tricycles have fortified Tawny Scraggley's vigour, which is now mediocre.\nThe ancient tricycles have fortified Hubert Dobson's vigour, which is now mediocre.\nThe ancient tricycles have fortified Molly Bogey's vigour, which is now bad.\nMy First Delousing Bath has brightened Percy Dabney's looks, which are now satisfactory.\n\nMaud Barnacle's audacious escape attempt was brought to an end by the Ruritanian Mastiffs. Unfortunately, so was Maud Barnacle. Once the dogs are sleeping, you retrieve the remains and dump them down the nearest sewer.\n\nYou receive a government stipend of 130 for the feeding and care of your orphans; and pay out 39 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Gretchen Bloch has gained vigour, and Tawny Scraggley and Molly Bogey have improved their morale.\n\nNed Jackson and Percy Dabney have grown up a little, and been transferred to the Middle House.\n\nThe Orphanorium has been entrusted with three more children: Sadie Sankey is old enough for the Middle House, while Pepper Grabble and Jacek Scound will go to the Junior.\n\n> You go to the south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy, Ned and Edie are housed here.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\nA new task: Path to the Nest of Spiders\nEver since Slophouse & Sons started sourcing gruel ingredients from Ruritania, you have occasionally found a Ruritanian Misanthrope spider lurking at the bottom of a box of dehydrated oat-scrapings. Now, however, it seems that one has escaped and started to breed. The bite of the Ruritanian Misanthrope is not usually fatal, but the necrosis it causes is both painful and unsightly. Unless you want an establishment full of blotchy, keening orphans, you had better search for the nest and deal with it.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrom an obscure corner, My First Delousing Bath gives off sanitary-smelling vapours.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nJacek and Pepper are housed here.\n\n> Nfoo1\nOk.\n\n> RECAP\nEver since Slophouse & Sons started sourcing gruel ingredients from Ruritania, you have occasionally found a Ruritanian Misanthrope spider lurking at the bottom of a box of dehydrated oat-scrapings. Now, however, it seems that one has escaped and started to breed. The bite of the Ruritanian Misanthrope is not usually fatal, but the necrosis it causes is both painful and unsightly. Unless you want an establishment full of blotchy, keening orphans, you had better search for the nest and deal with it.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy, Ned and Edie are housed here.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nFrannie, Madison, Jim, Mildred, Gretchen and Cob are housed here.\n\nA penetrating wail would suggest that Griselda Much has been attacked by a Ruritanian Misanthrope spider.\n\n> You examine Griselda\nGriselda Much, discarded daughter of an advertiser of adult stamps and a Greek medium.\nHer discipline is mediocre, her vigour mediocre, her appearance adequate and her morale poor. It is difficult to remember that she was formed by God.\n\n> Search\nWhat do you want to search?\n\n> You examine Mastiffs\nThe Ruritanian Mastiff breed is characterised by a face like a tumour and the heart of an abused wolverine. Ruritanian Mastiffs get disqualified from dog shows for failing to savage a judge.\nWhen a Ruritanian Mastiff gets rabies, nobody notices. Rurie\nowners would nonetheless say that they are highly intelligent, loyal and loving -- at least, those Rurie owners with a voicebox yet-untorn by slavering fangs.\n\nMastiffs significantly reduce the risk of orphans escaping. The condition of failed escape-artists is not guaranteed.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrom an obscure corner, My First Delousing Bath gives off sanitary-smelling vapours.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nJacek and Pepper are housed here."
    },
    {
        "text": "[Themes: Casual Simulation, orphans, management, children, orphanage]\n\n> Look around\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrom an obscure corner, My First Delousing Bath gives off sanitary-smelling vapours.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nJacek and Pepper are housed here.\n\nConvulsive sobbing would suggest that Percy has been got by a Ruritanian Misanthrope spider.\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy, Ned and Edie are housed here.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\nA howl of agony from the Middle House would suggest that Tawny Scraggley has been bitten by a Ruritanian Misanthrope spider.\n\n> You search hideaway\nYou find nothing of interest.\n\nA penetrating wail would suggest that Pepper Grabble has been molested by a Ruritanian Misanthrope spider."
    },
    {
        "text": "[Themes: Casual Simulation, children]\n\n> You describe your surroundings\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy, Ned and Edie are housed here.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\n> You examine the tricycles\nRelics of the public-sector days, when it was hoped that regular tricycle use might furnish orphans of the correct age with enmuscled shanks, allowing them to better work a treadmill at a later age. Their designer, Hopfrock Truitt, fondly envisaged a future in which orphans would find gainful employment as cycle-rickshaw pilots, a dream dashed when it was discovered to be extremely stupid.\n\n> You go east\nWhat you do outside work hours and the Orphanorium is not the concern of this story. (The Senior House is north, and the Junior House south.)\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nFrannie, Madison, Jim, Mildred, Gretchen and Cob are housed here.\n\n> You examine the mural\nThe murals depict sturdy youths and modest maidens, with classic features and somewhat blank expressions, enthusiastically applying themselves to various forms of wholesome industry. The jobs depicted are chiefly of the rustic sort, or at least involve healthy exercise in the fresh air.\n\n> You search frannie\nAlthough orphans are prone to infestations and mulishly insensitive to pain, you cannot quite believe that one could unwittingly harbour a nest of venomous spiders.\n\nSoft moaning from the Senior House would suggest that Frannie Harris has been attacked by a Ruritanian Misanthrope spider.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrom an obscure corner, My First Delousing Bath gives off sanitary-smelling vapours.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nJacek and Pepper are housed here.\n\nCries of pain would suggest that Edie Dillinger has been chewed on by a Ruritanian Misanthrope spider.\n\n> Search bath\nYou find a few cobwebs, a spider-leg or two, and some sucked-dry insects. No spiders, though. Certainly not a nest."
    },
    {
        "text": "> You look N\nYou see nothing unexpected in that direction.\n\n> You search the fairy tales\nAha! There has surely been a nest here not too long ago: empty egg casings, thick froths of web, the husks of infant spiders devoured by their siblings. Alas, it's here no longer. But the exodus was not covert: a trail leads you to an old bricked-up chimney flue, spidery holes punctuating its rotten mortar.\n\nSoft moaning would suggest that Tawny Scraggley has been attacked by a Ruritanian Misanthrope spider.\n\n> You examine flue\nThis old chimney is probably where the spiders have made their nest. However, it was bricked up long ago, and the spiders must be getting in and out through the rotting mortar.\n\nTiny sobs would suggest that Madison Codscrote has been poisoned by a Ruritanian Misanthrope spider.\n\n> You examine the mortar\nThis old chimney is probably where the spiders have made their nest. However, it was bricked up long ago, and the spiders must be getting in and out through the rotting mortar.\n\nA howl of agony would suggest that Mildred Chollop has been bitten by a Ruritanian Misanthrope spider.\n\n> You take the mortar\nThat's hardly portable.\n\n> You take the brick\nThat's hardly portable.\n\nA penetrating wail would suggest that Tawny Scraggley has been attacked by a Ruritanian Misanthrope spider.\n\n> You break the mortar\nThe mortar crumbles easily under the slightest impact, and you are able to tear down half the wall with your bare hands. Out tumble several mummified pigeons, a great deal of soot and brick dust, and a scattering of panicked spiders that are instantly stomped upon by gleeful orphans. The chimney's jagged mouth is revealed, ominous wisps of web leading up into darkness.\n\n> Search flue\nThe short stretch of chimney that's visible from here doesn't seem to be the location of the nest, and you can neither reach nor see any further. Perhaps you might assign someone better-suited to this task.\n\n> You assign Pepper to the flue\nYou hand little Pepper a lantern, a spray-can of insecticide and a fortifying biscuit, then send her up the chimney with dire threats of what will happen if she returns without eradicating the spider nest. A hushed silence falls over the Orphanorium, broken only by the occasional squeal of agony.\n\n> You assign Jacek to Bath\nYou unceremoniously dunk Jacek Scound into the Delousing Bath, and command him to remain there until he has ceased to smell like a case of gangrene.\n\n> You look at the flue\nFrom within the flue comes the sound of distant, constrained wriggling, and the occasional cascade of soot.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy, Ned and Edie are housed here.\n\nMolly, Griselda, Hubert and Tawny are busily occupied with the ancient tricycles.\n\nIn a sudden explosion of soot and insecticide fumes, Pepper Grabble emerges from the fireplace. She is rather horribly bitten and has inhaled a considerable quantity of soot, neurotoxins and spider legs, but her triumph over the spiders is undeniable. The orphans give up a ragged cheer, Pepper gets a double helping of gruel at supper, a man is called in to brick up the chimney, and life in the Orphanorium returns to normal.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nPepper is housed here.\n\nJacek is shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> Status\nGriselda   mediocre     mediocre     adequate     poor\nJim        mediocre     bad          mediocre     mediocre\nGretchen   poor         mediocre     poor         poor\nSadie      poor         awful        bad          mediocre\nMadison    poor         awful        bad          mediocre\nNed        mediocre     mediocre     mediocre     poor\nTawny      mediocre     adequate     poor         mediocre\nHubert     mediocre     adequate     adequate     mediocre\nMolly      mediocre     bad          satisfactory mediocre\nJacek      bad          bad          poor         mediocre\nFrannie    mediocre     satisfactory mediocre     adequate\nPepper     abysmal      poor         bad          awful\nPercy      poor         mediocre     adequate     adequate\nMildred    mediocre     adequate     mediocre     bad\nCob        mediocre     mediocre     poor         mediocre\n\n> Discipline percy\nYou apply some well-deserved discipline to Percy Dabney. His discipline is now adequate.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nPepper and Jacek are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> You discipline Pepper\nYou apply some well-deserved discipline to Pepper Grabble. Her discipline is now bad.\n\n> You discipline griselda\nYou apply some well-deserved discipline to Griselda Much. Her discipline is now adequate.\n\n> You scrub Sadie\nYou seize Sadie, drag a comb through her hair, and make her walk around with a book on her head. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You ring bell\nThe ancient tricycles have fortified Griselda Much's vigour, which is now mediocre.\nThe ancient tricycles have fortified Tawny Scraggley's vigour, which is now adequate.\nThe ancient tricycles have fortified Hubert Dobson's vigour, which is now adequate.\nThe ancient tricycles have fortified Molly Bogey's vigour, which is now bad.\n\nGretchen Bloch attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 160 for the feeding and care of your orphans; and pay out 48 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Griselda Much, Madison Codscrote and Tawny Scraggley have gained vigour, and Jim Tench, Tawny Scraggley, Hubert Dobson, Pepper Grabble and Mildred Chollop have improved their morale.\n\nJim Tench has reached the age of maturity, and there is nothing more you can do. He is lost to gainful industry and to virtue, and promptly becomes a panhandler.\nCob Froome has reached the age of maturity, and there is nothing more you can do. He is lost to gainful industry and to virtue, and promptly becomes a pirate.\nEdie Dillinger and Hubert Dobson have graduated to the Senior House. You have been awarded custody of three orphans of Junior House age: Alice Makane, Harriet Rostigraben and Beth Twitch.\n\n> You go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nBeth, Harriet and Alice are housed here.\n\nPepper and Jacek are shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\nA new task: The Malnutrition Games\nA number of forward-thinking administrators in the institutional guardianship sector are trying to put together a five-a-side streetball tournament. Team sports promote determination, local pride and contempt for the weak. On the other hand, you would need to field a team of five strong-limbed orphans of Senior House age; while matches are infrequent enough that they would still have time for regular activities, the risk of injury or escape should not be ignored. This opportunity may not present itself again, however.\nDo you want to compete in the tournament?\n\n> Go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nSadie, Percy and Ned are housed here.\n\nMolly, Griselda and Tawny are busily occupied with the ancient tricycles.\n\n> Go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nHubert, Edie, Frannie, Madison, Mildred and Gretchen are housed here.\n\n> Status\nGriselda   adequate     mediocre     adequate     poor\nGretchen   poor         adequate     poor         poor\nSadie      poor         abysmal      bad          mediocre\nMadison    mediocre     awful        poor         poor\nNed        mediocre     poor         mediocre     poor\nTawny      mediocre     adequate     bad          adequate\nHubert     mediocre     mediocre     satisfactory mediocre\nBeth       awful        mediocre     bad          poor\nMolly      mediocre     poor         satisfactory mediocre\nJacek      poor         abysmal      poor         mediocre\nFrannie    poor         satisfactory mediocre     mediocre\nHarriet    poor         poor         bad          mediocre\nPepper     bad          mediocre     awful        bad\nPercy      mediocre     mediocre     adequate     adequate\nMildred    mediocre     mediocre     mediocre     bad\nAlice      abysmal      poor         bad          poor\n\n> You recruit Edie\nYou inform Dillinger that she will be representing the Orphanorium in forthcoming games. Your team now comprises Bloch, Harris and Dillinger.\n\n> You recruit Hubert\nYou inform Dobson that he will be representing the Orphanorium in forthcoming games. Your team now comprises Bloch, Harris, Dillinger and Dobson.\n\n> You recruit Frannie\nBut Harris is already on the team roster.\n\n> You recruit mildred\nYou would be subject to endless ridicule from the other teams if you fielded a player as frail as Chollop.\n\n> You recruit Gretchen\nBut Bloch is already on the team roster.\n\n> You recruit Madison\nYou would be subject to endless ridicule from the other teams if you fielded a player as frail as Codscrote.\n\n> Status\nGriselda   mediocre     adequate     adequate     poor\nGretchen   poor         adequate     mediocre     poor\nSadie      poor         abysmal      poor         mediocre\nMadison    mediocre     bad          poor         mediocre\nNed        mediocre     poor         mediocre     mediocre\nTawny      mediocre     adequate     poor         mediocre\nHubert     adequate     adequate     satisfactory adequate\nBeth       abysmal      mediocre     bad          poor\nMolly      adequate     poor         excellent    mediocre\nJacek      bad          abysmal      poor         mediocre\nFrannie    mediocre     adequate     mediocre     mediocre\nHarriet    bad          bad          bad          mediocre\nPepper     poor         poor         abysmal      bad\nPercy      adequate     poor         adequate     adequate\nMildred    mediocre     mediocre     mediocre     awful\nAlice      abysmal      poor         bad          poor\n\n> You buy the treadmill\nYou reluctantly part with 400 coins, mail in your order, and in due course receive delivery of Atherton's Ergonomic Treadmill; it is installed in the Senior House."
    },
    {
        "text": "[Themes: Casual Simulation, grooming, management]\n\n> You look around\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nAtherton's Ergonomic Treadmill stands grimly against one wall.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nHubert, Edie, Frannie, Madison, Mildred and Gretchen are housed here.\n\n> You assign mildred to the treadmill\nYou command Mildred Chollop to occupy herself with Atherton's Ergonomic Treadmill. She obediently complies.\n\n> You assign Madison to the treadmill\nYou command Madison Codscrote to occupy herself with Atherton's Ergonomic Treadmill. She obediently complies.\n\n> You scrub Edie\nYou seize Edie, delouse her scalp with carbolic acid, and make her dedicate a few hours to shining her shoes. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now mediocre.\n\n> Status\nGriselda   adequate     adequate     adequate     bad\nGretchen   poor         adequate     mediocre     poor\nSadie      poor         awful        poor         mediocre\nMadison    mediocre     abysmal      poor         mediocre\nNed        mediocre     mediocre     mediocre     poor\nTawny      adequate     adequate     poor         adequate\nHubert     mediocre     adequate     adequate     adequate\nBeth       awful        mediocre     awful        poor\nMolly      mediocre     bad          good         mediocre\nJacek      poor         awful        poor         mediocre\nFrannie    mediocre     adequate     mediocre     adequate\nHarriet    poor         poor         bad          poor\nPepper     poor         poor         bad          bad\nPercy      mediocre     poor         adequate     adequate\nMildred    mediocre     mediocre     mediocre     bad\nAlice      abysmal      poor         bad          poor\n\n> You ring bell\nThe ancient tricycles have fortified Griselda Much's vigour, which is now adequate.\nAtherton's Ergonomic Treadmill has weakened Madison Codscrote's morale, which is now mediocre.\nAtherton's Ergonomic Treadmill has fortified Madison Codscrote's vigour, which is now bad.\nThe ancient tricycles have fortified Tawny Scraggley's vigour, which is now adequate.\nThe ancient tricycles have fortified Molly Bogey's vigour, which is now mediocre.\nMy First Delousing Bath has brightened Jacek Scound's looks, which are now mediocre.\nMy First Delousing Bath has brightened Pepper Grabble's looks, which are now bad.\nAtherton's Ergonomic Treadmill has weakened Mildred Chollop's morale, which is now awful.\nAtherton's Ergonomic Treadmill has fortified Mildred Chollop's vigour, which is now mediocre.\n\nGriselda Much attempted to escape, but failed to get past the Ruritanian Mastiffs.\nGretchen Bloch attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 170 for the feeding and care of your orphans; and pay out 51 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Sadie Sankey, Madison Codscrote, Jacek Scound and Mildred Chollop have gained vigour, and Edie Dillinger, Hubert Dobson, Beth Twitch, Frannie Harris, Pepper Grabble and Alice Makane have improved their morale.\n\nA generous patron, impressed by Edie Dillinger's work ethic and crude charms, has offered her employment as a lady's maid. For your success as an educator, the Government awards you a bonus of 50 coins.\nA generous patron, impressed by Hubert Dobson's commitment and pectoral development, has offered him employment as a lumberjack. For your success as an educator, the Government awards you a bonus of 50 coins.\n\nPepper Grabble has been moved to the Middle House, being of sufficient age. Griselda Much and Molly Bogey are ready for the Senior.\n\nA new orphan, Mimi Trotter, has been entrusted to your care and is now housed in the Junior House.\n\nThe treadmill has produced 16 coins' worth of paranormal romance novels.\n\n> Status\nGretchen   poor         adequate     mediocre     poor\nSadie      poor         abysmal      poor         mediocre\nMadison    poor         poor         poor         mediocre\nNed        mediocre     mediocre     poor         poor\nMimi       bad          mediocre     poor         poor\nTawny      adequate     satisfactory poor         adequate\nBeth       abysmal      mediocre     bad          poor\nMolly      mediocre     poor         satisfactory mediocre\nJacek      bad          bad          mediocre     mediocre\nFrannie    mediocre     adequate     mediocre     adequate\nHarriet    poor         poor         bad          mediocre\nPepper     bad          poor         bad          poor\nPercy      adequate     poor         adequate     satisfactory\nMildred    mediocre     adequate     mediocre     awful\nAlice      abysmal      poor         bad          mediocre\n\n> You recruit Madison\nYou inform Codscrote that she will be representing the Orphanorium in forthcoming games. Your team now comprises Bloch, Harris and Codscrote."
    },
    {
        "text": "[Themes: Casual Simulation, satire, children, simulation]\n\n> You describe your surroundings\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nMolly, Griselda, Frannie and Gretchen are housed here.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nMadison and Mildred are busily occupied with Atherton's Ergonomic Treadmill.\n\n> You recruit Griselda\nYou inform Much that she will be representing the Orphanorium in forthcoming games. Your team now comprises Bloch, Harris, Codscrote and Much.\n\n> You recruit Molly\nYou inform Bogey that she will be representing the Orphanorium in forthcoming games. Your team now comprises Bloch, Harris, Codscrote, Much and Bogey: a complete line-up.\n\n> Status\nGretchen   poor         adequate     poor         poor\nSadie      poor         awful        poor         mediocre\nMadison    mediocre     poor         bad          adequate\nNed        mediocre     mediocre     mediocre     mediocre\nMimi       awful        poor         bad          poor\nTawny      mediocre     satisfactory poor         mediocre\nBeth       bad          mediocre     abysmal      poor\nMolly      adequate     mediocre     good         adequate\nJacek      poor         bad          mediocre     mediocre\nFrannie    poor         satisfactory mediocre     adequate\nHarriet    poor         poor         bad          mediocre\nPepper     bad          poor         poor         bad\nPercy      adequate     mediocre     adequate     adequate\nMildred    mediocre     adequate     mediocre     bad\nAlice      abysmal      poor         bad          mediocre\n\n> You scrub Madison\nYou seize Madison, pinch her cheeks until they take on a healthy red colour, and apply a rough brush to those parts of her person that she has neglected to keep to a hygienic standard. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You go to the south\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nPepper, Sadie, Percy and Ned are housed here.\n\nTawny is busily occupied with the ancient tricycles.\n\n> You unassign Tawny\nYou allow Tawny Scraggley to take a break.\n\n> You discipline tawny\nYou apply some well-deserved discipline to Tawny Scraggley. Her discipline is now adequate.\n\n> You assign all to the tricycles\nYou assign Sadie, Ned, Tawny, Pepper and Percy to the ancient tricycles.\n\n> You go to the south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nMimi, Beth, Harriet and Alice are housed here.\n\nJacek is shedding parasites, encrustations and chunks of skin in My First Delousing Bath.\n\n> Discipline alice\nYou apply some well-deserved discipline to Alice Makane. Her discipline is now awful.\n\n> Status\nGretchen   poor         adequate     mediocre     poor\nSadie      poor         bad          poor         mediocre\nMadison    mediocre     poor         poor         mediocre\nNed        mediocre     mediocre     mediocre     mediocre\nMimi       bad          mediocre     poor         poor\nTawny      mediocre     adequate     poor         mediocre\nBeth       awful        mediocre     abysmal      mediocre\nMolly      mediocre     poor         satisfactory adequate\nJacek      bad          awful        mediocre     mediocre\nFrannie    mediocre     satisfactory mediocre     adequate\nHarriet    poor         bad          bad          poor\nPepper     bad          poor         bad          poor\nPercy      mediocre     mediocre     adequate     adequate\nMildred    mediocre     adequate     mediocre     awful\nAlice      awful        poor         poor         poor\n\n> Discipline beth\nYou apply some well-deserved discipline to Beth Twitch. Her discipline is now poor.\n\n> You ring bell\nYou are due to face Folsom Juniors in the first round. You have not played streetball since your reformatory days, but you feel you've been able to teach the children enough.\n\nThe game ends in a convincing victory, and you are through to the next round.\nYou counsel the team against prideful celebrations, but their morale is clearly boosted by your success.\n\n> You ring bell\nThe ancient tricycles have fortified Sadie Sankey's vigour, which is now bad.\nAtherton's Ergonomic Treadmill has weakened Madison Codscrote's morale, which is now adequate.\nAtherton's Ergonomic Treadmill has fortified Madison Codscrote's vigour, which is now adequate.\nThe ancient tricycles have fortified Ned Jackson's vigour, which is now mediocre.\nThe ancient tricycles have fortified Pepper Grabble's vigour, which is now mediocre.\nThe ancient tricycles have fortified Percy Dabney's vigour, which is now mediocre.\nAtherton's Ergonomic Treadmill has fortified Mildred Chollop's vigour, which is now good.\nPolychromatic Lung's Fairy Tales has improved Alice Makane's morale, which is now adequate.\n\nMildred Chollop attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 160 for the feeding and care of your orphans; and pay out 48 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Sadie Sankey, Molly Bogey and Pepper Grabble have gained vigour, and Tawny Scraggley and Percy Dabney have improved their morale.\n\nA generous patron, impressed by Griselda Much's ingrained servility and swanlike grace, has offered her employment as an informercial model. For your success as an educator, the Government awards you a bonus of 50 coins.\nA generous patron, impressed by Molly Bogey's dedication and coltish grace, has offered her employment as a nursery-maid. For your success as an educator, the Government awards you a bonus of 50 coins.\n\nBeth Twitch and Jacek Scound have been moved to the Middle House, being of sufficient age. Tawny Scraggley is ready for the Senior.\n\nThe treadmill has produced 12 coins' worth of pork pies.\n\n> You go north\nThis ward is the home of children aged between six and twelve. A series of oddly-shaped rooms produced by ill-considered renovations, it's difficult to heat, the lighting is bad and there are far too many blind corners and hideaways. The Junior House lies south and the Senior north.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nJacek and Beth are housed here.\n\nPepper, Sadie, Percy and Ned are busily occupied with the ancient tricycles.\n\n> You go north\nHere reside the oldest children, aged roughly twelve to fifteen. The largest, best-lit and airiest of the wards, its walls are decorated with inspiring murals. The Middle House lies to the south.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nTawny, Frannie and Gretchen are housed here.\n\nMadison and Mildred are busily occupied with Atherton's Ergonomic Treadmill.\n\n> Unassign mildred\nYou allow Mildred Chollop to take a break.\n\n> Unassign madison\nYou allow Madison Codscrote to take a break.\n\n> Status\nSadie      poor         poor         poor         mediocre\nMadison    poor         mediocre     poor         adequate\nNed        mediocre     mediocre     poor         poor\nMimi       awful        mediocre     poor         poor\nTawny      adequate     satisfactory poor         mediocre\nBeth       poor         mediocre     bad          mediocre\nJacek      bad          bad          mediocre     mediocre\nFrannie    poor         good         mediocre     satisfactory\nHarriet    poor         poor         bad          mediocre\nPepper     bad          adequate     poor         poor\nPercy      adequate     adequate     adequate     adequate\nMildred    mediocre     good         mediocre     abysmal\nAlice      abysmal      poor         bad          adequate\n\n> You discipline madison\nYou apply some well-deserved discipline to Madison Codscrote. Her discipline is now adequate.\n\n> You assign all to the tricycles\nYou assign Sadie, Ned, Beth, Jacek, Pepper and Percy to the ancient tricycles.\n\n> Go south\nHere are housed the younger children, from the age of weaning to about six years old. Formerly a lumber-room, its ceilings are oppressively low. The Middle House is to the north.\n\nFrom an obscure corner, My First Delousing Bath gives off sanitary-smelling vapours.\n\nThe Box is installed in a remote sub-basement, but the way to it is well-known to the miscreant and lolligagger.\n\nA pack of savage Ruritanian Mastiffs patrol the grounds.\n\nIn one corner, piled up into a small mountain, are the many volumes of Polychromatic Lung's Fairy Tales.\n\nMimi, Harriet and Alice are housed here.\n\n> Discipline alice\nYou apply some well-deserved discipline to Alice Makane. Her discipline is now bad.\n\n> Scrub mimi\nYou seize Mimi, delouse her scalp with carbolic acid, and scrub her all over with turpentine and a pumice-stone. This accomplished, you deliver a short lecture on the spiritual and bacterial dangers of filthiness. Hopefully the lesson is learned; her looks are now poor.\n\n> You ring bell\nAtherton's Ergonomic Treadmill has weakened Gretchen Bloch's morale, which is now bad.\nAtherton's Ergonomic Treadmill has fortified Gretchen Bloch's vigour, which is now satisfactory.\nThe ancient tricycles have fortified Sadie Sankey's vigour, which is now poor.\nThe ancient tricycles have fortified Ned Jackson's vigour, which is now adequate.\nAtherton's Ergonomic Treadmill has fortified Tawny Scraggley's vigour, which is now excessive.\nThe ancient tricycles have fortified Beth Twitch's vigour, which is now mediocre.\nThe ancient tricycles have fortified Jacek Scound's vigour, which is now bad.\nAtherton's Ergonomic Treadmill has weakened Frannie Harris's morale, which is now adequate.\nAtherton's Ergonomic Treadmill has fortified Frannie Harris's vigour, which is now excellent.\nPolychromatic Lung's Fairy Tales has improved Harriet Rostigraben's morale, which is now mediocre.\nThe ancient tricycles have fortified Pepper Grabble's vigour, which is now satisfactory.\nThe ancient tricycles have fortified Percy Dabney's vigour, which is now adequate.\nPolychromatic Lung's Fairy Tales has improved Alice Makane's morale, which is now mediocre.\n\nGretchen Bloch attempted to escape, but failed to get past the Ruritanian Mastiffs.\nPepper Grabble's audacious escape attempt was brought to an end by the Ruritanian Mastiffs. Unfortunately, so was Pepper Grabble. Once the dogs are sleeping, you retrieve the remains and dump them down the nearest sewer.\nMildred Chollop attempted to escape, but failed to get past the Ruritanian Mastiffs.\n\nYou receive a government stipend of 130 for the feeding and care of your orphans; and pay out 39 coins on necessary care and maintenance, most of it going on food.\nYour profligate meal plans have borne fruit: Ned Jackson and Percy Dabney have gained vigour, and Madison Codscrote, Beth Twitch and Harriet Rostigraben have improved their morale.\n\nA generous patron, impressed by Madison Codscrote's dedication and powerful thighs, has offered her employment as a farmer's wife. For your success as an educator, the Government awards you a bonus of 40 coins.\nA generous patron, impressed by Tawny Scraggley's demure ways and massive forearms, has offered her employment as a factory worker. For your success as an educator, the Government awards you a bonus of 40 coins.\nA generous patron, impressed by Mildred Chollop's discipline and chapped hands, has offered her employment as a fur-puller. For your success as an educator, the Government awards you a bonus of 40 coins.\n\nFrannie Harris has reached the age of maturity, and there is nothing more you can do. She is lost to gainful industry and to virtue, and promptly becomes a surrogate mother.\nMimi Trotter has grown up a little, and been transferred to the Middle House.\n\nThe Orphanorium has been entrusted with three more children: Izzie Butts is old enough for the Middle House, while Serge Geech and Igor Rudge will go to the Junior.\n\nThirty orphans have come and gone from your Orphanorium, and it is time for your Periodic Assessment.\n\n> Go north\ntime for your Periodic Assessment.Of thirty orphans leaving the system from your care, nine have become productive citizens. You have operated at a surplus of 829 coins. The Assessment therefore regards you as outstanding. Your certification is upgraded, but this is really quite irrelevant; one of the big metropolitan-orphanage firms headhunts you to run their new juvie centre, where you will be in charge of some hundreds of children, a staff, a regular budget; and a salary to match."
    },
    {
        "text": "[Themes: Historical, mystery, victorian era, crime, male protagonist]\n\nAs an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.\n\n\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\n> You check your inventory\nYou are carrying:\na heavy iron key\n\nIt has been a difficult time, with the two deaths happening in one week. Old Lord Bellwater had been ill for some time and no-one was really surprised when he passed peacefully away last Friday or even when his son, who had been noticeably absent throughout the old man's illness, suddenly turned up the following day and took over the role of master of the house. Of course he inherits the title, and presumably everything else, as his father's only son.\n\n> About you\nYou are Bert Smith, a groom in the service of Lord Bellwater. You are currently wearing a brown jacket and corduroy trousers.\n\nThe real blow was the tragic death of your sweetheart, Elsie Browning, on Monday. She was one of Lord Bellwater's housemaids, and she inexplicably fell from the study window in broad daylight and landed on the pavement outside. They say she must have died instantly and felt no pain; that it was a terrible accident; that no-one will ever know for sure how she managed to fall out of a window. For you it has just been a terrible shock: you were young and in love, and you planned to marry as soon as you had saved enough money. the strange thing was that you had seen her briefly on the morning of her death. She had been shaking out some dusters in the back garden and whispered to you that she had some important news to tell you, but she'd wait until you were alone. That was the last time you saw her alive.\n\n> You look at the painting\nYou leave the door and walk towards the fireplace.\n\nYou examine the painting carefully. It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.\n\nDespite all the talk of tragic accidents, you are sure that there is something sinister about Elsie's death. Somehow, it has to be connected with the Bellwaters - either the old man or his son - and if the answer is anywhere, it is probably in this study, the room from which she fell.\n\n> You look at the scroll\n(the oil painting)\nIt is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.\n\n> You look at the pedigree\nIt is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.\n\n> Examine books\nYou turn away from the fireplace and walk over to the bookshelves.\n\nThe entire wall is lined with floor-to-ceiling shelves, stacked with books - there must be over a thousand volumes here, all arranged neatly on the shelves, in groups of similarly-sized books. Looking along the shelves, you can see that each volume has a tiny hand-written label on its spine, with a number on it. The entire set of books seems to be numbered from 1 to 1200. You could select a particular book - \"take volume 200\", for instance.\n\n> You examine the key\nThis is the key that you took from Mr Catchpole's butler's pantry. It was easy to identify because it was hanging on a hook labelled \"Study\".\n\n> Examine volume 374\nYou select volume number 374 and carefully take it down from its shelf. It is a book called Pride and Prejudice by Jane Austen.\n\nYou open the book and read the first few sentences. A tear comes to your eye as you think of yourself with no fortune and now no prospect of marriage. However, the book does not seem to help with the task in hand and you return it to its place on the shelf.\n\n> You look behind the painting\nYou turn from the bookshelves and walk towards the fireplace.\n\nYou try to move the painting and find that it is hinged to the wall so that it swings out like a door, revealing what is evidently a safe, set into the wall behind it.\n\n> You examine safe\nThe safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned.\n\n> You turn the handle\nThe handle begins to turn but seems to meet some resistance.\n\n> You look at fireplace\nThe fireplace consists of a stone surround, surmounted by a carved family crest of the Bellwaters. In the hearth a few embers glow a dull red amongst the pile of ashes. Above the fireplace hangs a painting of Lord Horace Bellwater.\n\n> You examine ashes\nIt looks as though someone has been burning papers in the fireplace. However, they are all completely burnt beyond recognition with the exception of a slightly charred printed leaflet, which you rescue from the fire.\n\n> You examine the leaflet\nThe leaflet is a bit charred, but still readable:\n\nAcme patented wall safe. Instructions for use.\n\nThe safe will have been set up with a code consisting of three numbers (each between 1 and 100). These numbers should NEVER be written down but must be committed to memory. When the safe is first installed, it is advisable to select three numbers that are easily memorable. For instance, they might be selected for a memorable date. Someone who remembers the Battle of Waterloo (which took place on 18th June 1815) might choose the numbers 15, 6, 18, which are the year, month and day of the battle.\n\nTo open the safe, proceed as follows:\n\n1. Spin the dial so that the mechanism is reset.\n2. Turn the dial to the first number (eg 15)\n3. Turn the dial to the second number (eg 6)\n4. Turn the dial to the third number (eg 18)\n5. Turn the handle\n\nThe door will now open.\n\nAfter closing the door, spin the dial once again to ensure that the safe is locked.\n\n> You turn the dial to 15\nThe dial settles on the number 15 with a slight \"clunk!\"\n\n> You turn the dial to 6\nThe dial settles on the number 6 with a slight \"clunk!\"\n\n> You turn the dial to 18\nThe dial settles on the number 18 with a slight \"clunk!\"\n\n> You turn the handle\nThe handle begins to turn but seems to meet some resistance.\n\n> Spin dial\nThe dial spins round randomly. Now it points to 86.\n\n> You look at the painting\nIt is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.\n\n> You look at the scroll\n(the oil painting)\nIt is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.\n\n> Examine volume 200\nYou turn away from the fireplace and walk over to the bookshelves.\n\nYou select volume number 200 and carefully take it down from its shelf. It is a book called Ivanhoe by Sir Walter Scott.\n\nIt seems to be a story of love and honour. You feel a sense of pride that you are embarking on a similar adventure. However, the book does not seem to help with the task in hand and you return it to its place on the shelf.\n\n> You look at the ashes\nYou turn from the bookshelves and walk towards the fireplace.\n\nYou reach out to touch the ashes. Although the fire has almost burnt out, the ashes are still too hot to handle."
    },
    {
        "text": "> You look at your surroundings\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\n> You examine the stand\nIt is a simple wooden stand for supporting a plant pot.\n\nOn the simple wooden stand is a china pot.\n\n> You examine the pot\nIt is a china pot, about two feet high, decorated with Chinese designs.\n\nIn the china pot is a leafy house plant.\n\n> You look at the plant\nThe plant consists of a dense clump of dark green, rather fleshy leaves sprouting from a decorative china pot, and reaching almost to your head height. You think it is the sort of house plant known as an aspidistra.\n\n> You take the pot\nThat's hardly portable.\n\n> You examine the curtains\nYou turn away from the fireplace and walk over to the window.\n\nThe dark blue velvet curtains hang from floor-to-ceiling on either side of the window. They are opened or closed by means of a cord which hangs down at the side of the curtains and passes over a pulley mechanism, incorporated into the curtain rail, above the window.\n\n> You pull the cord\nYou pull the cord and the heavy curtains draw smoothly across the window, plunging the room into darkness.\n\nIt is now pitch dark in here!\n\n> You pull the cord\nYou pull the cord and draw back the heavy curtains. The room is once again lit by the pale light from outside.\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\nOn the table is a cardboard grocery box with some papers in it.\n\n> You open the window\nAs cautiously and quietly as you can, you open the window and look out. The sill is quite low - below your waist height - and you suppose it would be possible to fall out. You look down into the street below and are not sure if that is just a shadow on the pavement or is it a dark stain? You give an involuntary shudder.\n\n> You look at the papers\nIt is an ordinary cardboard box, of the type used by grocers for deliveries. A handwritten scrawl on its side says \"Father's old papers - for disposal\".\n\nIn the cardboard grocery box are a leather-bound diary and an ink bottle.\n\n> You read the diary\nYou reach out and take the leather-bound diary.\n\nYou examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.\n\nAs you flick through the diary, a newspaper cutting falls out and flutters to the floor.\n\n> You read the newpaper\n(the newspaper cutting)\nYou examine the newspaper cutting - it seems to have been neatly cut from a recent copy of \"The Times\".\n\nYou read it carefully:\n\n\n\nReaders of this newspaper will be aware of the recent case in the Court of Chancery, regarding the last will and testament of Sir Archibald Ramswell of Dorchester. We reported yesterday that Sir Archibald's will (in which he divided his entire estate between his housekeeper and his favourite horse) was being contested by his eldest son, the Honourable Percy Ramswell, who was not mentioned in the will.\n\nAfter due consideration, the judge (Mr Justice Williams) has now delivered his judgement. In summary, he has stated that under English law, a man may leave his property to any living person and is certainly under no obligation to leave anything to his children if he does not wish to do so. However, a horse is not a living person and is ineligible to be a beneficiary of a will. His ruling is therefore that in this case, the entire estate is to be given to the only living person mentioned in the will, namely the housekeeper. The judge informed the housekeeper that she is entitled to use her newly-acquired fortune as she wishes, but that she might see fit to make arrangements for the comfort of the horse. This comment caused a ripple of mirth in the courtroom, shared by all except The Honourable Percy Ramswell.\n\nOn a separate legal point which had been raised on behalf of Sir Archibald's son, the judge ruled that the naming of a horse in one's will was not, in itself, evidence of insaninty, and that the terms of the will could not be contested on those grounds. \"If everyone who preferred their horse to their son was to be certified insane,\" declared Judge Williams, \"There should not be asylums enough to house them all.\"\n\nThe article has been ringed with green ink and a handwritten note in the margin reads \"Capital idea. Maybe leave everything to a horse rather than to James!\"\n\n> Spin dial\nYou leave the window, and walk towards the fireplace.\n\nThe dial spins round randomly. Now it points to 4.\n\n> You turn dial to 62\nThe dial settles on the number 62 with a slight \"clunk!\"\n\n> You turn the dial to 10\nThe dial settles on the number 10 with a slight \"clunk!\"\n\n> You turn the dial to 21\nThe dial settles on the number 21 with a slight \"clunk!\"\n\n> Spin dial\nThe dial spins round randomly. Now it points to 47.\n\n> You examine bottle\nYou turn away from the fireplace and walk over to the window.\n\nIt is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.\n\n> You examine the desk\nYou leave the window, and walk over to the desk.\n\nThe desk is made of a dark wood - perhaps mahogany. It is very solidly built and its surface is polished to a high gloss.\n\nYou pause for a moment and wonder how many hours Elsie spent polishing this desk.\n\nOn the mahogany desk are an envelope, a copy of \"The Times\" newspaper and a wooden tray full of cards.\n\n> You read the diary\nYou examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.\n\n> You examine the envelope\nYou examine the envelope. It is addressed to \"George Sutherland Esq., Phillips and Sutherland Merchant bank, Cheapside, London EC.\" It is freshly written in black ink and in a handwriting which you take to belong to the younger Lord Bellwater. The envelope is not yet sealed.\n\n> You open the envelope\nYou open the envelope, revealing a letter.\n\n> You read the letter\nYou cautiously pick up the letter.\n\nKnowing that you are seriously breaching your employer's trust, you read the letter. It says:\n\n\n\nDear Sutherland,\nI write with regard to my temporary financial embarrassment and the substantial loan which you have extended to me in recent years.\n\nI now find myself in a position to repay you in full. If you would care to call on me at my residence in Cadogan Square on Friday next at 10:30am I shall have the money ready for your receipt.\n\nI trust that you will now accept that your threats of bailiffs and bancruptcy were somewhat premature and I look forward to your full apology before I consider doing further business with your firm.\n\nYours sincerely,\n\n> You look at the cards\nIt is a wooden tray full of index cards. You look through them and see that each card has got details of a book and its author. The cards are in alphabetical order so you could look up the name of a book in the card index.\n\n> Spin dial\nYou step away from the desk and walk towards the fireplace.\n\nThe dial spins round randomly. Now it points to 79.\n\n> You turn the dial to 91\nThe dial settles on the number 91 with a slight \"clunk!\"\n\n> You turn the dial to 10\nThe dial settles on the number 10 with a slight \"clunk!\"\n\n> Search desk\nYou turn away from the fireplace and walk over to the desk.\n\nOn the mahogany desk are an envelope, a copy of \"The Times\" newspaper and a card index.\n\n> Examine index\nIt is a wooden tray full of index cards. You look through them and see that each card has got details of a book and its author. The cards are in alphabetical order so you could look up the name of a book in the card index.\n\n> You examine table\nYou step away from the desk and walk over to the window.\n\nA heavy oak table stands beside the window. Its surface has been polished to a gleaming finish.\n\nOn the table is a cardboard grocery box.\n\n> Examine box\nIt is an ordinary cardboard box, of the type used by grocers for deliveries. A handwritten scrawl on its side says \"Father's old papers - for disposal\".\n\nIn the cardboard grocery box is an ink bottle.\n\n> You examine the ink bottle\nIt is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.\n\n> You take the ink bottle\nTaken.\n\n> You put the letter in the envelope\nYou leave the window, and walk over to the desk.\n\nYou put the letter to Sutherland the banker into the envelope.\n\n> You put the envelope in the box\nYou step away from the desk and walk over to the window.\n\nYou put the envelope into the cardboard grocery box.\n\n> You examine sill\nYou examine the window. It is a sash window looking out over Cadogan Square. It is currently open.\n\nThis was where Elsie must have been standing and was the last view she saw before....\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\n> You examine the ivy\nYou carefully examine the ivy growing around the window and find a woman's purse, nestling among the leaves. Leaning out cautiously from the ledge, you make a grab for the purse and take it from the ivy.\n\n> You look at the purse\nYou recognise the purse as one belonging to Elsie. It is about three inches square - just big enough to hold a few coins - and is made of a soft fabric. It is drawn closed by a ribbon around its top edge. Perhaps it was caught in the ivy when Elsie fell from the window!\n\n> Open purse\nYou open the purse, revealing a shiny silver sixpence, a stubby pencil and a scrap of paper.\n\n> You examine the scrap\nYou reach for the paper.\n\nWith mounting excitement, you carefully smooth out the screwed-up piece of paper. The following is written on it in Elsie's spidery handwriting:\n\nDear Bert. We may not get a chanse to talk privitly for a few days so Im righting this note and hope to give it to you in the garding. Last week I sined a paper for old lord B. He said you will get a lot of mony when he died. But the new lord B. is very angery about it. I dont now why he is angery with me but i fear he means to do me harm. If you are to get some mony maybe we can get marrid and I can give my notis to leave. I am a bit afrayd of new lord B. Try to meet me in the...\n\nAt this point there is a heavy mark as though the pencil broke and, although there are some scratch marks, as though the writer tried to continue, nothing further can be read.\n\n> You go in\nYou clamber back through the window into the study.\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\nOn the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).\n\nYou can see a newspaper cutting here.\n\n> Inventory\nYou are carrying:\na scrap of paper\na purse (open)\na shiny silver sixpence\na stubby pencil\nan ink bottle\na leather-bound diary\na slightly charred instruction leaflet\na heavy iron key\n\n> You examine the pencil\nIt is a stub of a pencil, about an inch long. The point has broken off so it would need sharpening before it could be used.\n\n> You look at the coal\nYou leave the window, and walk towards the fireplace.\n\nYou reach out to touch the ashes. Although the fire has almost burnt out, the ashes are still too hot to handle.\n\n> You look at the sixpence\nIt is a small silver coin.\n\n> You examine the stand\nIt is a simple wooden stand for supporting a plant pot.\n\nOn the simple wooden stand is a china pot.\n\n> You take the coin\nTaken.\n\n> You open the door\nYou swing the door open and stand on the threshold, peering into the cool darkness of the landing.\n\n> You go to the west\nYou pause on the threshold and consider abandoning your task. But then you remember Elsie. No, you owe it to her to continue...you turn and step back resolutely into the study.\n\n> You eat the key\nThat's plainly inedible.\n\n> You look at the desk\nYou leave the door and walk over to the desk.\n\nThe desk is made of a dark wood - perhaps mahogany. It is very solidly built and its surface is polished to a high gloss.\n\nOn the mahogany desk are a copy of \"The Times\" newspaper and a card index.\n\n> You look behind the sash\nYou step away from the desk and walk over to the window.\n\nYou find nothing of interest.\n\n> You look under the desk\nYou leave the window, and walk over to the desk.\n\nYou find nothing of interest.\n\n> Search ashes\nYou step away from the desk and walk towards the fireplace.\n\nYou find nothing of interest.\n\n> Spin dial\nThe dial spins round randomly. Now it points to 7.\n\n> Continue\nThe dial spins round randomly. Now it points to 1.\n\n> You turn the dial to 91\nThe dial settles on the number 91 with a slight \"clunk!\"\n\n> You turn the dial to 10\nThe dial settles on the number 10 with a slight \"clunk!\"\n\n> You turn the dial to 21\nThe dial settles on the number 21 with a slight \"clunk!\"\n\n> Spin dial\nThe dial spins round randomly. Now it points to 59.\n\n> Spin dial\nThe dial spins round randomly. Now it points to 19.\n\n> Newspaper\nWhich do you mean, a copy of \"The Times\" newspaper or the newspaper cutting?\n\n> Spin dial\nYou step away from the desk and walk towards the fireplace.\n\nThe dial spins round randomly. Now it points to 24.\n\n> You turn the dial to 63\nThe dial settles on the number 63 with a slight \"clunk!\"\n\n> You turn the dial to 6\nThe dial settles on the number 6 with a slight \"clunk!\"\n\n> Spin dial\nThe dial spins round randomly. Now it points to 44.\n\n> You look at the diary\nRestore failed.\n\n> Inventory\nYou are carrying:\na shiny silver sixpence\na scrap of paper\na purse (open)\na stubby pencil\nan ink bottle\na leather-bound diary\na slightly charred instruction leaflet\na heavy iron key\n\n> You examine diary\nYou examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.\n\n> Spin dial\nYou step away from the desk and walk towards the fireplace.\n\nThe dial spins round randomly. Now it points to 86.\n\n> You turn the dial to 90\nThe dial settles on the number 90 with a slight \"click!\"\n\n> You turn the dial to 10\nThe dial settles on the number 10 with a slight \"click!\"\n\n> You turn the dial to 21\nThe dial settles on the number 21 with a slight \"click!\"\n\n> You turn handle\nThe handle turns smoothly and with a solid \"clunk\" the safe door swings open.\n\n> You examine safe\nThe safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned. The safe is open.\n\nIn the safe are a sheet of crisp cream paper, a red pocketbook and a leather bag.\n\n> You eat the paper\n(the scrap of paper)\nThat's plainly inedible.\n\n> You examine paper\n(the scrap of paper)\nThe following is written on it in Elsie's spidery handwriting:\n\nDear Bert. We may not get a chanse to talk privitly for a few days so Im righting this note and hope to give it to you in the garding. Last week I sined a paper for old lord B. He said you will get a lot of mony when he died. But the new lord B. is very angery about it. I dont now why he is angery with me but i fear he means to do me harm. If you are to get some mony maybe we can get marrid and I can give my notis to leave. I am a bit afrayd of new lord B. Try to meet me in the...\n\nAt this point there is a heavy mark as though the pencil broke and, although there are some scratch marks, as though the writer tried to continue, nothing further can be read.\n\n> You examine crisp paper\nYou reach out and take the sheet of crisp cream paper.\n\nYou examine the paper - it is a letter. You read it:\n\nPurdy and Jowett (Solicitors)\n3 Holborn Court\nLondon WC\n16th June 1863\n\nWe talked last night over a few brandies at your club about your father's last will and testament.\n\nAs we discussed, he asked me to draw up a new (and rather surprising) will, shortly before his sad decease. As I indicated to you, the will was properly drawn up by myself, was signed by your father and was witnessed by his butler and one of his chambermaids. There were two copies, one of which was kept by your father (and therefore came into your possession, as you explained to me) and the other retained by me as an office copy. This new will revoked your father's previous will, made some years ago, in which he had left everything to yourself.\n\nYou have made a strong case to me that your father was losing his mind towards the end of his final illness and that this new will was therefore invalid. I have to say that I saw no sign of your father's loss of mental powers when I was with him, but I accept that you have been a good deal closer to him than me and that you are better placed to make that judgement. I also accept that some of the wording of the will could be taken to indicate an unbalanced mind. I fully understand your reluctance to challenge the will through the legal process, which would require giving evidence in court of your father's worsening mental state. I appreciate that you do not wish to dishonour his memory by dragging these details through the courts.\n\nIn view of all the above considerations I have decided to accept your account of your father's dementure and that it will be for the best for us to destroy all copies of the recent will and to abide by the terms of the earlier will. I therefore enclose the office copy of the recent will and leave it for you to dispose of it as you see fit. I have no further record of the will and will treat its existence as a matter of client confidentiality between the two of us.\n\nYou also mentioned to me that you have some sort of hold over the butler which will guarantee his absolute silence and loyalty. However, I am more concerned about the an unhappy \"accident\", which occurred to the chambermaid, who was the other witness to the will. You indicated that her fortuitous death was not quite so accidental as you would like people to believe. I cannot help but draw the conclusion that you had some part in her death. Whilst I would find such behaviour personally unacceptable, I shall, of course, be bound by my professional confidentiality in my dealings with you as a client.\n\nOn a separate matter, you kindly mentioned in our conversation that I have performed a great many services for your family over the years, often without any direct remuneration from your father and that you intended to pay me a modest sum in recompense for these services. I think you mentioned a sum in the region of 5000 pounds, which I consider to be most generous and look forward to receiving.\n\nYour solicitor and loyal friend.\n\nAlthough this letter makes mention of an enclosed copy of a will, there is nothing of that sort attached to the letter.\n\n> You take pocketbook\nTaken.\n\n> Examine pocketbook\nYou flick through it and realise it is a diary for this year. A number of the daily entries have been filled in in black ink. You could look up a particular date in the pocketbook. - \"Look up dd/mm in the red pocketbook\".\n\n> You take the bag\nConscious that you are picking up more money than you have ever seen in your life, you take the leather bag.\n\n> You open the bag\nYou open the leather bag, revealing a hundred guineas.\n\n> You look up tristram shandy in index cards\nYou find a card with the entry:\n\nShelf number: 715.\n\n> Examine volume 715\nYou step away from the desk and walk over to the bookshelves.\n\nYou select volume number 715 and notice that its title is \"Tristram Shandy\". As you pull the book out from the shelf, you realise that it is connected to some sort of mechanism: there is a mechanical \"click\" and a part of the shelf swings open to reveal a secret compartment.\n\n> You examine the compartment\nA section of the bookshelf has swung open to reveal a secret compartment.\n\nIn the secret compartment are a sheet of heavy legal paper and a roll of parchment.\n\n> You look at the legal paper\nYou reach out for the crisp sheet of paper.\n\nYou read the paper:\n\nThis is the last will and testament of Lord Horace Bellwater.\n\nI Horace Bellwater of Cadogan Square London hereby revoke all former wills made by me. I appoint the firm of Purdy and Jowett (solicitors) as the executors of this my will. With regards to my wastrel of a son, James Bellwater, he has received a great deal of my fortune during my lifetime and has squandered it on drinking and gambling. It is therefore my wish that he receives a legacy of exactly one penny of English money and I hope he spends it wisely. The entire residue of my property, including real estate, possessions, investments and cash, I leave to my groom Bert Smith on condition that he promises to take good care of my horse. Signed sealed and delivered in the presence of George Dewhurst and Elsie Browning. Signed: Horace Bellwater.\n\n> You examine the parchment\nYou unroll the parchment and examine it. It loooks like the one depicted in the background of the painting of Lord Bellwater, above the fireplace. At the top is a picture of the coat of arms of Bellwater similar to the one carved above the fire. Below is a brief family tree of the Bellwaters, then a kind of poem:\n\nWhen the true-hearted lion's hard-pressed;\nTwice the same for the star of your dreams;\nThe bell just once, it is stressed,\nAnd the water the same, as it seems.\nThe name of Bellwater, under the shield,\nWill give way to whatever you must have revealed.\n\n> You look at the painting\nYou turn from the bookshelves and walk towards the fireplace.\n\nIt is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.\n\n> You look at fireplace\nThe fireplace consists of a stone surround, surmounted by a carved family crest of the Bellwaters. In the hearth a few embers glow a dull red amongst the pile of ashes. Above the fireplace hangs a painting of Lord Horace Bellwater.\n\n> You look at the crest\nThe coat of arms is carved into the stone lintel above the fireplace. It consists of a shield, divided into four quarters. In the quarters are heraldic depictions of a bell, waves (perhaps representing water), a lion, and a star, respectively. Above the shield is carved a knight's helmet: below, is a carved scroll with the name \"Bellwater\".\n\n> Press lion\nYou press the coat of arms and think you might have felt a tiny movement of the stone under your fingers.\n\n> You press Bellwater\n(Lord Bellwater's will)\nNothing obvious happens.\n\n> You press the water\nAs you press the waves, You feel a definite movement of the stone beneath your finger and the scroll section, below the shield springs open, leaving a narrow slot in the stonework.\n\n> You look at the slot\nA narrow horizontal slot has opened up in the stone of the fireplace.\n\nIn the narrow horizontal slot are a flimsy sheet of paper and a sheet of grey notepaper.\n\n> You take flimsy\nA little hesitantly, you take the flimsy sheet of paper.\n\n> You read the flimsy\nIt appears to be a rough copy of a letter, scribbled in pencil on cheap paper. Presumably a neat copy was later made from it.\n\nThank you for your letter and your acceptance of our arrangement. I have decided not to destroy the two copies immediately but I have put them where they cannot be found. I have also placed your letter in an extremely safe place. That, too, I am keeping, just in case you should get cold feet about our arrangement. I believe that what we have done is honest and reasonable but, if you should suddenly decide to view it otherwise, the letter would make your part very plain. Once the formalities have been completed for my inheritance and assuming that goes unchallenged, I shall destroy both the letter and the copies of the will.\n\nRegarding my part in the death of the servant, I have to inform you that you are much mistaken. A rogue and a cad I may be, but a murderer I am not. Indeed I fear I may have given you too much of my favourite brandy on Monday evening, leaving you not quite in command of your senses. In case you doubt my veracity, the exact situation is that I entered my study to see Dewhurst, my butler trying to force his attentions on the girl. He had his back to me and didn't see me enter the room. The girl was struggling to get away from him and he seemed to lose his temper and giver her an almightly shove. She fell back against the open window and toppled over the sill.\n\nI was very consoling to poor Dewhurst and agreed that I would not call in the police, so long as he signed a confession, on the undertanding that if I am completely satisfied with his service for the next five years, I shall destroy the confession.\n\nWith regard to the other matter that you mention, as soon as I have received the benefit of my inheritance, I shall be in a position to pay you for the past services that we discussed. The sum you mentioned would indeed be generous but I think I can offer something approaching that amount.\n\nJames.\n\n> You read the notepaper\nIt reads as follows:\n\n16th June 1863.\n\nI, Robert William Dewhurst do make this sworn statement to Lord James Bellwater. On 15th June 1863, I came into my Lord's private study, where I found Elsie Browning, a female servant, polishing the windows. I have long held an affection for this girl and I tried to press my attentions on her. She struggled in my arms and I thought she was teasing me and I was all the more keen to embrace her. However, she then proceeded to slap my face, at which point I lost my temper and pushed her away from me. I did not know my own strength and she fell back, against the open window with such force that she lost her balance and fell out. I was filled with remorse and ran downstairs and out of the door to the front steps where she had landed, but it was all in vain, for she was quite dead from the fall.\n\nR. Dewhurst.\n\nWell you think that now you have amassed the evidence to avenge Elsie's murder and inherit a possible fortune for yourself, into the bargain! Scotland Yard is only about a mile away - a brisk walk will get you there in no time, and you can hand over your evidence to the Police.\n\n> You open the door\nYou turn away from the fireplace and walk over to the door.\n\nIn your indignation at the terrible events that you have uncovered, you move across the room rather hastily and somehow manage to barge against the pot with the aspidistra in it. It teeters on its stand...you try to steady it...it slips through your fingers. With a collossal CRASH, the pot smashes on the floor.\n\nThere is a distant shout from the direction of Lord Bellwater's bedroom, across the landing and you hear it answered from somewhere else in the house.\n\n> You go outside\nThere is nowhere to go in that direction.\n\nYou can hear the sound of heavy feet hastening up the staircase.\n\n> You close door\nThat's already closed.\n\nYou hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.\n\n> You lock the door\n(with the heavy iron key)\n\nThe key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.\n\nThe sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying \"He's in there, my Lord.\"\n\n> You open the window\nYou leave the door and walk over to the window.\n\nThat's already open.\n\nYou hear Lord Bellwater's voice, outside the door, saying \"Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!\"\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nYou hear the sound of someone rattling the door handle and saying \"He's got a key and has locked it from the inside!\"\n\n> You climb the ivy\nYou grab a handful of the ivy in each hand and test its strength. It doesn't feel stong enough to allow you to climb up.\n\nYou can hear some muted discussion outside the door."
    },
    {
        "text": "[Themes: Historical, mystery, male protagonist]\n\n> Go downwards\nYou consider trying to climb down the ivy, but you don't think it would take your weight. The only other option is to jump, and you are to scared to do that.\n\nOut on the landing, you hear the sound of footsteps moving briskly away from the door."
    },
    {
        "text": "[Themes: Historical, male protagonist, mystery]\n\n> Go downwards\nYou consider trying to climb down the ivy, but you don't think it would take your weight. The only other option is to jump, and you are to scared to do that.\n\nThere is silence from outside the door.\n\n> You go to the east\nYou can't go that way.\n\nYou recognise Mrs Jenkins\" voice outside the door, saying \"There's nowhere for him to go. We've got him cornered.\"\n\n> You go west\nYou clamber back through the window into the study.\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\nOn the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).\n\nYou can see a newspaper cutting here.\n\nYou can hear some shuffling of feet and a murmur of voices outside the door.\n\n> You take the cord\nYou try to take the cord, but it is firmly attached to the curtains, out of reach, above you.\n\nYou hear Dewhurst's voice: \"We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver.\"\n\n> You untie the cord\nWhat do you want to untie the curtain cord from?\n\n> Rod\nYou step away from the desk and walk over to the window.\n\nThe curtain cord is not tied to the street view so you cannot untie it.\n\nYou recognise Dewhurst's voice outside the door, saying \"I'm ready with this iron poker. I'll give him a good whack with that.\"\n\n> You tie the cord to the desk\nYou cannot tie the curtain cord to the mahogany desk.\n\nThere is an eerie silence outside the door.\n\n> You tell Dewhurst about yourself\nYou can only do that to something animate.\n\n> You tie cord to sill\nYou cannot tie the curtain cord to the window.\n\nYou can hear some whispered conversation outside the study door.\n\n> You examine the cord\nA loop of thick cord hangs down at the side of the curtains and passes over a pulley mechanism, incorporated into the curtain rail, above the window.\n\nYou hear a shout from somewhere in the depths of the house.\n\n> You untie the cord from the curtain rail\nThe curtain cord is not tied to the curtain cord so you cannot untie it.\n\nYou hear the sound of approaching footsteps outside the door.\n\n> You untie the cord from the mechanism\nThe curtain cord is not tied to the curtain cord so you cannot untie it.\n\nThrough the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.\n\n> You remove the cord\n(first taking the curtain cord)\nYou try to take the cord, but it is firmly attached to the curtains, out of reach, above you.\n\nYou recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying.\n\n> You take the cord\nYou try to take the cord, but it is firmly attached to the curtains, out of reach, above you.\n\nThrough the study door you can hear Lord Bellwater asking, saying \"Right then, are we all ready?\"\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nYou hear a faint rattling of the handle of the study door.\n\n> You close the curtains\nThat's not something you can close.\n\nYou hear a faint rustling sound from outside the study door."
    },
    {
        "text": "[Themes: Historical, mystery, male protagonist, crime]\n\n> You describe your surroundings\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nYou can hear some whispered conversation from outside the door.\n\n> Close window\nWith great care not to make a noise, you close the window and latch it.\n\nThere is an eerie silence outside the door.\n\n> You look at the wall\nThe ivy has grown up over most of the front of the house and clings to the walls around the window.\n\nYou hear some muttered discussion out on the landing then the sound of someone trying to burst through the door. However, their attempts are in vain, as the door is currently locked.\n\n> You examine the ground\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nYou hear a muttered curse from beyond the study door, and someone says \"The blighter's locked it!\"\n\n> You examine the portico\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nLow voices on the landing seem to be in deep discussion.\n\n> You look at the portico\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nThere is the sound of a gunshot from the landing, followed by a shriek. You hear Mrs Jenkins say, rather loudly, \"Oh no, Lord Bellwater, I don't think it's safe to try and shoot the lock!\"\n\n> You examine the steps\n(the house view)\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nThere is a heavy thud as though someone has tried to break the door with their shoulder, but the lock holds fast.\n\n> You examine the windows\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nYou recognise Dewhurst's voice saying, \"I'll try and prise it open with this poker.\"\n\n> You climb the ivy\nYou grab a handful of the ivy in each hand and test its strength. It doesn't feel stong enough to allow you to climb up.\n\nThere is a thud as something is being wedged into the door jamb, then a creaking sound as someone levers against the locked door.\n\n> You examine the portico\nYou can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.\n\nWith a splintering sound the lock is torn away from the door, which bursts open with a crash.\n\nLooking through the window into the study, you see the figure of Lord Bellwater appear in the doorway, swathed in a tartan dressing gown and brandishing a revolver. Behind him looms the figure of Dewhurst, who has somehow managed to change into his immaculately cleaned and pressed butler's uniform. At first they look around the apparently empty room in some surprise, but then they spot you silhouetted against the light entering the window. They both dash to the window, flinging it open, and drag you bodily back into the room. Neither of them seems to recognise you in the pale light but, none too gently, they wrestle you to the floor.\n\nSome weeks later, the following item appears in \"The Times\":\n\nToday at the Old Bailey was concluded the trial which has been called (in the more \"popular\" press) the \"Bellwater burglary case\". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, was discovered in his employer's study, in the act of stealing papers and a substantial sum of money from a safe.\n\nDuring the ensuing trial, the groom, by the name of Smith, has made repeated allegations that a murder had been committed in Lord Bellwater's household and that his employer was trying to subvert the intentions of his late father's will. The trial of Smith has created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must \"do his public duty as a witness and ensure that justice is done\".\n\nAfter retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia.\n\n> Tear curtains\nYou leave the door and walk over to the window.\n\nThe house is in a deep silence. The sound of your own breathing seems loud and raucous.\n\nYou can hear the sound of heavy feet hastening up the staircase.\n\n> You lock the door\nYou leave the window, and walk over to the door.\n\n(with the heavy iron key)\n\nThe key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.\n\nYou hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.\n\n> Tear curtains\nYou leave the door and walk over to the window.\n\nYou can hear a light gust of wind blowing past the window and rattling the ivy leaves against the panes.\n\nThe sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying \"He's in there, my Lord.\"\n\n> Tear curtains\nYou can hear a light gust of wind blowing past the window and rattling the ivy leaves against the panes.\n\nYou hear Lord Bellwater's voice, outside the door, saying \"Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!\"\n\n> You rip the curtains\nThere's nothing suitable to drink here.\n\nYou hear Lord Bellwater's voice, outside the door, saying \"Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!\"\n\n> You take the pulley\nYou try to take the cord, but it is firmly attached to the curtains, out of reach, above you.\n\nYou hear the sound of someone rattling the door handle and saying \"He's got a key and has locked it from the inside!\"\n\n> You close the curtains\nYou pull the cord and the heavy curtains draw smoothly across the window, plunging the room into darkness.\n\nYou can hear some muted discussion outside the door.\n\nIt is now pitch dark in here!\n\n> You go outside\nYou push your way through the heavy curtains and climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nOut on the landing, you hear the sound of footsteps moving briskly away from the door.\n\n> Close window\nWith great care not to make a noise, you close the window and latch it.\n\nThere is silence from outside the door.\n\n> You wait for a while\nTime passes.\n\nYou recognise Mrs Jenkins\" voice outside the door, saying \"There's nowhere for him to go. We've got him cornered.\"\n\n> You wait a while\nTime passes.\n\nYou can hear some shuffling of feet and a murmur of voices outside the door.\n\n> Wait\nTime passes.\n\nYou hear Dewhurst's voice: \"We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver.\"\n\n> You wait awhile\nTime passes.\n\nThrough the study door you can hear some shuffling of feet and a murmur of voices.\n\n> You wait\nTime passes.\n\nYou recognise Dewhurst's voice outside the door, saying \"I'm ready with this iron poker. I'll give him a good whack with that.\"\n\n> You wait for a while\nTime passes.\n\nThere is an eerie silence outside the door.\n\n> You wait awhile\nTime passes.\n\nYou can hear some whispered conversation outside the study door.\n\n> You wait a while\nTime passes.\n\nYou hear a shout from somewhere in the depths of the house.\n\n> You wait a while\nTime passes.\n\nYou hear the sound of approaching footsteps outside the door.\n\n> You wait\nTime passes.\n\nThrough the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.\n\n> You wait awhile\nTime passes.\n\nYou recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying.\n\n> You wait for a while\nTime passes.\n\nThrough the study door you can hear Lord Bellwater asking, saying \"Right then, are we all ready?\"\n\n> Wait\nTime passes.\n\nYou hear a faint rattling of the handle of the study door.\n\n> Wait\nTime passes.\n\nYou hear a faint rustling sound from outside the study door.\n\n> Wait\nTime passes.\n\nYou can hear some whispered conversation from outside the door.\n\n> You wait for a while\nTime passes.\n\nThere is an eerie silence outside the door.\n\n> Wait\nTime passes.\n\nYou hear some muttered discussion out on the landing then the sound of someone trying to burst through the door. However, their attempts are in vain, as the door is currently locked.\n\n> You shout geronimo\n(to yourself)\nThere is no reply.\n\nYou hear a muttered curse from beyond the study door, and someone says \"The blighter's locked it!\"\n\n> You wait\nTime passes.\n\nLow voices on the landing seem to be in deep discussion.\n\n> Wait\nTime passes.\n\nThere is the sound of a gunshot from the landing, followed by a shriek. You hear Mrs Jenkins say, rather loudly, \"Oh no, Lord Bellwater, I don't think it's safe to try and shoot the lock!\"\n\n> You wait\nTime passes.\n\nThere is a heavy thud as though someone has tried to break the door with their shoulder, but the lock holds fast.\n\n> You wait for a while\nTime passes.\n\nYou recognise Dewhurst's voice saying, \"I'll try and prise it open with this poker.\"\n\n> You wait\nTime passes.\n\nThere is a thud as something is being wedged into the door jamb, then a creaking sound as someone levers against the locked door.\n\n> You wait\nTime passes.\n\nWith a splintering sound the lock is torn away from the door, which bursts open with a crash.\n\nLooking through the window into the study, you see the figure of Lord Bellwater appear in the doorway, swathed in a tartan dressing gown and brandishing a revolver. Behind him looms the figure of Dewhurst, who has somehow managed to change into his immaculately cleaned and pressed butler's uniform. At first they look around the apparently empty room in some surprise, but then they spot you silhouetted against the light entering the window. They both dash to the window, flinging it open, and drag you bodily back into the room. Neither of them seems to recognise you in the pale light but, none too gently, they wrestle you to the floor.\n\nSome weeks later, the following item appears in \"The Times\":\n\nToday at the Old Bailey was concluded the trial which has been called (in the more \"popular\" press) the \"Bellwater burglary case\". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, was discovered in his employer's study, in the act of stealing papers and a substantial sum of money from a safe.\n\nDuring the ensuing trial, the groom, by the name of Smith, has made repeated allegations that a murder had been committed in Lord Bellwater's household and that his employer was trying to subvert the intentions of his late father's will. The trial of Smith has created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must \"do his public duty as a witness and ensure that justice is done\".\n\nAfter retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia."
    },
    {
        "text": "> Look around\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\nYou can see some broken pottery, a sprinkling of soil and an aspidistra here.\n\nYou can hear the sound of heavy feet hastening up the staircase.\n\n> You lock the door\n(with the heavy iron key)\n\nThe key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.\n\nYou hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.\n\n> You look at the plant\nThe plant has a dense clump of dark green, rather fleshy leaves and a mass of tiny roots. It doesn't look very healthy now that it is out of its pot.\n\nThe sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying \"He's in there, my Lord.\"\n\n> You take it\nTaken.\n\nYou hear Lord Bellwater's voice, outside the door, saying \"Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!\"\n\n> You put it in fireplace\nYou leave the door and walk towards the fireplace.\n\nYou put the aspidistra into the fireplace.\n\nYou hear the sound of someone rattling the door handle and saying \"He's got a key and has locked it from the inside!\"\n\n> You burn it\nThis dangerous act would achieve little.\n\nYou can hear some muted discussion outside the door.\n\n> You tie the cord to yourself\nYou cannot tie the curtain cord to yourself.\n\nYou can hear some muted discussion outside the door.\n\n> You cut cord\nYou turn away from the fireplace and walk over to the window.\n\nYou try to cut through the cord with everything at your disposal, but nothing is sharp enough.\n\nOut on the landing, you hear the sound of footsteps moving briskly away from the door.\n\n> You take the table\nThat's hardly portable.\n\nThere is silence from outside the door.\n\n> You stand on the table\nYou climb up onto the table, bringing your head close to the level of the curtain rail.\n\nYou recognise Mrs Jenkins\" voice outside the door, saying \"There's nowhere for him to go. We've got him cornered.\"\n\n> You look at the rail\nThe curtains hang from a metal track which is clearly visible from this position. The cord which opens and closes the curtains passes along the track and is tied to the curtains.\n\nYou can hear some shuffling of feet and a murmur of voices outside the door.\n\n> You untie the cord\nWhat do you want to untie the curtain cord from?\n\n> Rail\nYou undo the knots and release the cord from the curtains. You pull it out from the curtain mechanism and find that you have a considerable length of cord in your hands.\n\nYou hear Dewhurst's voice: \"We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver.\"\n\n> You go outside\nYou'll have to get off the table first.\n\nThrough the study door you can hear some shuffling of feet and a murmur of voices.\n\n> You get down\nYou must name something more substantial.\n\nThrough the study door you can hear some shuffling of feet and a murmur of voices.\n\n> You get off the table\nYou get off the table.\n\nOn the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).\n\nYou can see a newspaper cutting here.\n\nYou recognise Dewhurst's voice outside the door, saying \"I'm ready with this iron poker. I'll give him a good whack with that.\"\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nThere is an eerie silence outside the door.\n\n> You tie cord to sill\nWhich do you mean, the window or the ledge?\n\n> Ledge\nThe ledge is not really suitable to tie a cord on to.\n\nYou can hear some whispered conversation outside the study door.\n\n> You tie the cord to the window\nThe window is not really suitable to tie a cord on to.\n\nYou hear a shout from somewhere in the depths of the house.\n\n> You go inside\nYou clamber back through the window into the study.\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\nOn the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).\n\nYou can see a newspaper cutting here.\n\nYou hear the sound of approaching footsteps outside the door.\n\n> Tie cord to table\nYou tie the cord around the table and knot it securely.\n\nThrough the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nYou recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying."
    },
    {
        "text": "[Themes: Historical, victorian era]\n\n> You go down\nThe cord bites painfully into your hands as you grip it tightly and test it with your weight. Gritting your teeth against the pain, you brace your feet against the wall of the house and begin to release the cord. You manage to lower yourself almost to the ground then drop the last few feet, landing on the pavement in front of the front door.\n\nArmed with the evidence, you set off for Scotland Yard.\n\nSome weeks later, the following item appears in \"The Times\":\n\nToday at the Old Bailey was concluded the trial which has been called (in the more \"popular\" press) the \"Bellwater burglary case\". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, presented himself at Scotland yard, claiming that a murder had been committed and making accusations against his employer. The groom, by the name of Smith, produced a number of documents which he claimed to be \"evidence\" against those whom he accused. Our trusty police force quickly ascertained that the documents in question had been stolen from Lord Bellwater  and, on further examination of Smith, it was discovered that he was in possession of some one hundred pounds, in coins, stolen from his master's safe. The trial of Smith created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must \"do his public duty as a witness and ensure that justice is done\".\n\nAfter retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia.\n\n> You put the money in safe\nIf you go to the safe, the hundred guineas will no longer be within your reach.\n\nYou can hear the sound of heavy feet hastening up the staircase.\n\n> You examine safe\nYou leave the door and walk towards the fireplace.\n\nThe safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned. The safe is open.\n\nYou hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.\n\n> You put the money in safe\nYou need to be holding the hundred guineas before you can put it into something else.\n\nThe sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying \"He's in there, my Lord.\"\n\n> You lock the door\nYou turn away from the fireplace and walk over to the door.\n\n(with the heavy iron key)\n\nThe key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.\n\nYou hear Lord Bellwater's voice, outside the door, saying \"Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!\"\n\n> You get the money\nYou already have that.\n\nYou hear the sound of someone rattling the door handle and saying \"He's got a key and has locked it from the inside!\"\n\n> You put the leather bag in safe\nYou leave the door and walk towards the fireplace.\n\nYou put the leather bag into the safe.\n\nYou can hear some muted discussion outside the door.\n\n> Close safe\nYou swing the heavy door shut and it locks with a satisfying \"clunk\".\n\nYou close the safe.\n\nOut on the landing, you hear the sound of footsteps moving briskly away from the door.\n\n> Spin dial\nThe dial spins round randomly. Now it points to 1.\n\nThere is silence from outside the door.\n\n> You stand on the table\nYou turn away from the fireplace and walk over to the window.\n\nYou climb up onto the table, bringing your head close to the level of the curtain rail.\n\nYou recognise Mrs Jenkins\" voice outside the door, saying \"There's nowhere for him to go. We've got him cornered.\"\n\n> Inventory\nYou are carrying:\nDewhurst's confession\na flimsy sheet of paper\nLord Bellwater's will\na red pocketbook\na letter from Roger Jowett the solicitor\na shiny silver sixpence\nan Elsie's note\na purse (open)\na stubby pencil\nan ink bottle\na leather-bound diary\na slightly charred instruction leaflet\na heavy iron key\n\nYou can hear some shuffling of feet and a murmur of voices outside the door.\n\n> You untie the cord from the curtains\nYou undo the knots and release the cord from the curtains. You pull it out from the curtain mechanism and find that you have a considerable length of cord in your hands.\n\nYou hear Dewhurst's voice: \"We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver.\"\n\n> You stand\nYou get off the table.\n\nOn the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).\n\nYou can see a newspaper cutting here.\n\nThrough the study door you can hear some shuffling of feet and a murmur of voices.\n\n> Tie cord to table\nYou tie the cord around the table and knot it securely.\n\nYou recognise Dewhurst's voice outside the door, saying \"I'm ready with this iron poker. I'll give him a good whack with that.\"\n\n> You take cutting\nTaken.\n\nThere is an eerie silence outside the door.\n\n> You go outside\nYou climb out through the window onto the sill.\n\nYou are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!\n\nYou can hear some whispered conversation outside the study door."
    },
    {
        "text": "[Themes: Historical, victorian era, crime, mystery]\n\n> Go downwards\nThe cord bites painfully into your hands as you grip it tightly and test it with your weight. Gritting your teeth against the pain, you brace your feet against the wall of the house and begin to release the cord. You manage to lower yourself almost to the ground then drop the last few feet, landing on the pavement in front of the front door.\n\nArmed with the evidence, you set off for Scotland Yard.\n\nSome weeks later, the following item appears in \"The Times\":\n\nToday at the Old Bailey was concluded the trial which has been called (in the more \"popular\" press) the \"Bellwater murder case\". Mr George Dewhurst, a butler in the household of Lord Bellwater was charged with the unlawful killing of a house servant, Elsie Browning. The main evidence against Dewhurst was provided by a groom in Lord Bellwater's household, named Bert Smith, who presented himself at Scotland Yard, in the early hours of a day in June this year, with several documents which pointed to Dewhurst's having committed the crime.\n\nAfter retiring for a short time, the jury found Dewhurst guilty of manslaughter and the judge sentenced him  to be transported, for life, to the penal colony in Western Australia.\n\nThe case has raised considerable public attention, not only because the crime took place in the household of a noble lord, but also because of some of the surprising allegations (not directly related to the case) that have been made by the groom, Bert Smith. In particular, Smith has claimed that he is himself the lawful beneficiary of the will of the late Lord Horace Bellwater - a claim ridiculed by the present Lord Bellwater and effectively silenced by a sworn affidavit by the Bellwaters' family solicitor, Roger Jowett Esq, who has declared the supposed will to be a forgery.\n\nWe understand that one of the \"popular\" newspapers, the \"Daily News\" has championed the cause of Bert Smith, and during the course of the trial, it has been raising a public subscription, amongst its readership, for the benefit of Smith. A considerable sum has been raised, providing Smith with the capital to start his own business, running a livery stable.\n\nIn an extraordinary gesture of generosity, and as a personal contribution to this new business venture, it is understood that Lord James Bellwater has presented Smith with the late Lord Bellwater's horse.\n\n> Examine will\nYou read the paper:\n\nThis is the last will and testament of Lord Horace Bellwater.\n\nI Horace Bellwater of Cadogan Square London hereby revoke all former wills made by me. I appoint the firm of Purdy and Jowett (solicitors) as the executors of this my will. With regards to my wastrel of a son, James Bellwater, he has received a great deal of my fortune during my lifetime and has squandered it on drinking and gambling. It is therefore my wish that he receives a legacy of exactly one penny of English money and I hope he spends it wisely. The entire residue of my property, including real estate, possessions, investments and cash, I leave to my groom Bert Smith on condition that he promises to take good care of my horse. Signed sealed and delivered in the presence of George Dewhurst and Elsie Browning. Signed: Horace Bellwater.\n\nYou can hear some whispered conversation outside the study door.\n\n> You examine the letter from Jowett\nYou examine the paper - it is a letter. You read it:\n\nPurdy and Jowett (Solicitors)\n3 Holborn Court\nLondon WC\n16th June 1863\n\nWe talked last night over a few brandies at your club about your father's last will and testament.\n\nAs we discussed, he asked me to draw up a new (and rather surprising) will, shortly before his sad decease. As I indicated to you, the will was properly drawn up by myself, was signed by your father and was witnessed by his butler and one of his chambermaids. There were two copies, one of which was kept by your father (and therefore came into your possession, as you explained to me) and the other retained by me as an office copy. This new will revoked your father's previous will, made some years ago, in which he had left everything to yourself.\n\nYou have made a strong case to me that your father was losing his mind towards the end of his final illness and that this new will was therefore invalid. I have to say that I saw no sign of your father's loss of mental powers when I was with him, but I accept that you have been a good deal closer to him than me and that you are better placed to make that judgement. I also accept that some of the wording of the will could be taken to indicate an unbalanced mind. I fully understand your reluctance to challenge the will through the legal process, which would require giving evidence in court of your father's worsening mental state. I appreciate that you do not wish to dishonour his memory by dragging these details through the courts.\n\nIn view of all the above considerations I have decided to accept your account of your father's dementure and that it will be for the best for us to destroy all copies of the recent will and to abide by the terms of the earlier will. I therefore enclose the office copy of the recent will and leave it for you to dispose of it as you see fit. I have no further record of the will and will treat its existence as a matter of client confidentiality between the two of us.\n\nYou also mentioned to me that you have some sort of hold over the butler which will guarantee his absolute silence and loyalty. However, I am more concerned about the an unhappy \"accident\", which occurred to the chambermaid, who was the other witness to the will. You indicated that her fortuitous death was not quite so accidental as you would like people to believe. I cannot help but draw the conclusion that you had some part in her death. Whilst I would find such behaviour personally unacceptable, I shall, of course, be bound by my professional confidentiality in my dealings with you as a client.\n\nOn a separate matter, you kindly mentioned in our conversation that I have performed a great many services for your family over the years, often without any direct remuneration from your father and that you intended to pay me a modest sum in recompense for these services. I think you mentioned a sum in the region of 5000 pounds, which I consider to be most generous and look forward to receiving.\n\nYour solicitor and loyal friend.\n\nAlthough this letter makes mention of an enclosed copy of a will, there is nothing of that sort attached to the letter.\n\nYou hear a shout from somewhere in the depths of the house.\n\n> You read the book\n(the leather-bound diary)\nYou examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.\n\nYou hear the sound of approaching footsteps outside the door.\n\n> You look at what you're carrying with you\nYou are carrying:\na cord\nDewhurst's confession\na flimsy sheet of paper\nLord Bellwater's will\na red pocketbook\na letter from Roger Jowett the solicitor\na shiny silver sixpence\nan Elsie's note\na purse (open)\na stubby pencil\nan ink bottle\na leather-bound diary\na slightly charred instruction leaflet\na heavy iron key\n\nYou hear the sound of approaching footsteps outside the door.\n\nAs an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.\n\n\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\n> You look at the ink\nIt is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.\n\nThere is an eerie silence outside the door."
    },
    {
        "text": "[Themes: Historical, crime, mystery]\n\nAs an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.\n\n\n\nThe study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.\n\nOn the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.\n\n>fa\n\n> Burn confession\nThis dangerous act would achieve little.\n\nThere is an eerie silence outside the door.\n\n> You put the confession in the fireplace\nYou leave the window, and walk towards the fireplace.\n\nYou put Dewhurst's confession into the fireplace.\n\nYou can hear some whispered conversation outside the study door.\n\n> Burn confession\nThis dangerous act would achieve little.\n\nYou hear a shout from somewhere in the depths of the house."
    },
    {
        "text": "[Themes: anthropomorphised animals, cute, kid-friendly, nonhuman protagonist, gender-neutral protagonist, small town]\n\nSpecial thanks to Andy Fleming, Lorne Harris, and Brian Rushton for testing, and to Nadia Bellazola for cover art.\n\nYou are at the main entrance to the town of Fairview. A large gate leads out of town to the south, and a short path runs north to Primrose Street.\n\nA well-dressed owl paces back and forth, murmuring worriedly. \"Greetings!\" he says in a deep voice. \"I am Alfred P. Owl, the mayor of Fairview. Oh, it's an awful situation. Throughout our town, the animals have problems, very serious problems. Please, please help us!\" He clasps his wings imploringly. \"Come back after you have helped at least five of our hapless residents.\"\n\n[Author's Note: Help the unfortunate residents of Fairview! (Who are all animals, by the way.) A light puzzle for all ages.]\n\n> You go north\nThis cobbled street runs east and west, and a path leads south to the town gate.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\nSpecial thanks to Andy Fleming, Lorne Harris, and Brian Rushton for testing, and to Nadia Bellazola for cover art.\n\nYou are at the main entrance to the town of Fairview. A large gate leads out of town to the south, and a short path runs north to Primrose Street.\n\nA well-dressed owl paces back and forth, murmuring worriedly. \"Greetings!\" he says in a deep voice. \"I am Alfred P. Owl, the mayor of Fairview. Oh, it's an awful situation. Throughout our town, the animals have problems, very serious problems. Please, please help us!\" He clasps his wings imploringly. \"Come back after you have helped at least five of our hapless residents.\"\n\n> You go north\nThis cobbled street runs east and west, and a path leads south to the town gate.\n\n> Go east\nThe cobbled street ends here at a tall fence.\n\nA white umbrella is leaning against the fence. You take it!\n\n> You take the umbrella\nYou won't need to GET or TAKE things in this game. (If something is worth taking, you'll do it automatically.)\n\n> Inventory\nYou are carrying a white umbrella.\n\n> You go to the west\nThis cobbled street runs east and west, and a path leads south to the town gate.\n\n> Go west\nPrimrose Street ends here in a cul-de-sac. You see a shop to the south and an empty lot to the north.\n\n> You go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nA doe sits behind the counter, filing her hoof with an emery board. She looks up. \"Hi hon, I'm Janice, welcome to Tool Emporium. Are you having a nice day? I'm not. No one has bought anything, and look at these hooves: they're a mess, and I'm all out of my beautiful red hoof polish.\"\n\n(Type STATUS to see a status report, including a list of unsolved problems.)\n\n> You go to the north\nThis empty lot is overgrown with weeds. The cul-de-sac is to the south.\n\nYou discover an old hubcap lying in a patch of weeds. You take it!\n\n> You go east\nCorncob Lane continues east and west.\n\nA pig in a tweed blazer and skirt is examining the ground through a magnifying glass. She jumps as you approach. \"Oh, hi! I'm Emily Pig. I guess this must look a little silly. Well, I lost the key to my suitcase, and it's pretty small, so I'm just carefully retracing my steps.\" She sighs. \"This is going to take a while.\"\n\n> Talk\n\"I'm still looking for my key. If you find it, please let me know!\"\n\n> You go east\nCorncob Lane ends here by the shore of Lake Horatio. You see a small house to the north. \"E. P.\" is painted on the mailbox.\n\n> You go to the north\nThis small house is painted blue and features a bookshelf filled with detective novels. Two large suitcases stand next to the bed.\n\nYou notice a tiny key lying under the table. You pick it up!\n\n> Go west\nCorncob Lane continues east and west.\n\nEmily Pig is examining the ground through a magnifying glass.\n\n> You give the key\nEmily looks up. \"Oh, you found it! Thank you! This is such a relief.\" She puts the key in her pocket. \"Here's a tip!\" She gives you a quarter. Then she flops down on the ground and starts to read a small book.\n\n(You have helped one animal!)\n\n> You go to the north\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nA large ant leans against a bridge post. \"Hello,\" he says slowly. \"Name's Werner. We've got a problem: some of those boards are loose, and the bridge isn't safe! I'm eager to fix it, but I need a hammer. Actually, wait a second!\" He fishes around in his pocket.\n\n> Talk\nWerner pulls a five-dollar bill out of his pocket and gives it to you. \"Here, see if you can find me a hammer!\"\n\n> You go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nJanice Doe sits behind the counter, filing her hoof with an emery board.\n\n> You give the bill\n\"Finally, a customer!\" says Janice. She takes your five dollars, gives you a hammer, and goes back to filing her hoof. \"These are really good hammers. You're getting a fantastic deal.\"\n\n> Go north\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nWerner Ant leans against a bridge post, staring worriedly at the bridge.\n\n> You give the hammer\n\"Say, that's a fine hammer!\" Werner grabs the hammer and immediately gets to work on the bridge.\n\n(You have helped two animals!)\n\n> Go north\n\"I'm not done yet!\" shouts Werner.\n\nWerner Ant pries up some old nails from the bridge.\n\n> You wait\nTime passes.\n\nWerner Ant pulls some shiny nails out of his pocket.\n\n> Wait\nTime passes.\n\nWerner Ant pounds in a few nails.\n\n> You wait\nTime passes.\n\nWerner Ant pounds in one last nail and wipes his forehead.\n\n> You wait\nTime passes.\n\nWerner Ant gets up. \"That should do it!\" he says. \"This bridge is now fixed and safe to use.\"\n\n> Talk\n\"Another job well done,\" says Werner. \"Thanks for getting that hammer.\"\n\n> You go north\nWillow Avenue continues north. To the south, a bridge crosses Little Oak Stream. A small building to the west has a sign that says \"Personal Museum.\"\n\n> You go west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet.\n\nA rat stands next to the table, weeping into a handkerchief. \"Hello,\" he whimpers. \"My?my name is Tobias Rat. Alas! my prize collection of Five Round Things has disappeared. Oh, what shall I do?\" He starts bawling again.\n\n> You give the cap\n\"Ah!\" says Tobias. \"That is a fascinating specimen!\" He takes the hubcap, polishes it with his handkerchief, and puts it on the table. \"Please accept this token of my gratitude.\" He hands you a pair of gently used earplugs.\n\n> You check what you're carrying\nYou are carrying a pair of earplugs, a quarter, and a white umbrella.\n\n> Go east\nMaple Street continues east and west.\n\nYou notice a brand-new unsharpened pencil lying in the middle of the street. You take it!\n\n> Go east\nMaple Street ends here near Lake Horatio. To the north you see a comfortable-looking brick house.\n\n> You go north\nThis is a well-furnished living room. The walls are hung with various portraits. The exit is south.\n\nA yak in a bathrobe sits in an armchair, looking miserable. As you enter, he hands you a business card that says \"Herman Yak, Attorney at Law.\" Then he points at the cup of hot water he's holding.\n\n> Talk\nHerman Yak points at his neck and shakes his head. Then he points at his cup.\n\n> You take the cup\nYou won't need to GET or TAKE things in this game. (If something is worth taking, you'll do it automatically.)\n\n> You check your inventory\nYou are carrying Herman Yak's business card, an unsharpened pencil, a pair of earplugs, a quarter, and a white umbrella.\n\n> You give the pencil\nHerman Yak frowns and shakes his head.\n\n> Go west\nMaple Street continues east and west.\n\n> You go north\nHere Willow Avenue passes between the Footlight Theater to the west and Zoltan's Restaurant to the east.\n\nA confused-looking hen stands in front of the theater. \"Stop a moment! My name is Cornelia Hen. Please help me. I can't leave my post of course, but I absolutely have to have...it was a...well now, what was it?\" She scratches her head.\n\n> Talk\nCornelia says, \"Oh, I remember! I need...I think...was it? No, it wasn't.\" She shuffles her foot.\n\n> Talk\n\"Hmm,\" says the hen, \"maybe...was it...yes? No. No? No. Yes. No.\"\n\n> You wait for a while\nTime passes.\n\n\"I need to start doing those memory exercises,\" says Cornelia.\n\n> You go east\nSmall round tables with white tablecloths fill the large dining room. Zoltan's is known for fine food, but it is strangely empty right now. The exit is west.\n\nA dinner plate lies on the floor near one of the tables. You take it!\n\n> You go to the west\nHere Willow Avenue passes between the Footlight Theater to the west and Zoltan's Restaurant to the east.\n\nCornelia Hen stands in front of the theater, looking bewildered.\n\n> Go north\nThis is the north end of Willow Avenue. To the east you see an abandoned drugstore.\n\n> Go east\nThis little drugstore seems to be abandoned. The shelves are empty, and there is no one here.\n\nA small bottle of purple hoof polish is sitting on the counter. Apparently no one else wants it, so you take it!\n\n> You go to the south\nHere Willow Avenue passes between the Footlight Theater to the west and Zoltan's Restaurant to the east.\n\nCornelia Hen stands in front of the theater, looking bewildered.\n\n\"Now what the heck was it?\" mutters Cornelia.\n\n> You go to the west\nCornelia stops you. \"You need a ticket to enter the theater!\"\n\n> Inventory\nYou are carrying a bottle of purple hoof polish, a dinner plate, Herman Yak's business card, an unsharpened pencil, a pair of earplugs, a quarter, and a white umbrella.\n\n> You give the card\nCornelia looks at Herman Yak's business card. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You go west\nMaple Street continues in both directions, but to the west it is blocked by a huge pile of rubble.\n\nA cow in an orange vest notices you. \"Can you believe this? When they demolished the old Krone building yesterday, the whole thing fell into the street! I'm supposed to start clearing it, but I can't find a hard hat. My name is Barbara, by the way.\" She shakes your hand.\n\n> You go west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap.\n\nTobias Rat stands next to the table, weeping into a handkerchief.\n\n> You give the plate\n\"Ooh!\" says Tobias. He rubs the surface of the plate thoughtfully, then puts it on the table. \"Please accept this in return.\" He takes a hand mirror from a shelf and gives it to you.\n\n> You give quarter\n\"Oh!\" says Tobias. \"That's lovely!\" He takes the quarter and examines it closely. Then he places it delicately on the table. \"Here, let me reward you with something special.\" He takes a fresh-looking teabag out of his pocket and hands it to you.\n\n> You check your inventory\nYou are carrying a teabag, a tarnished hand mirror, a bottle of purple hoof polish, Herman Yak's business card, an unsharpened pencil, a pair of earplugs, and a white umbrella.\n\n> Go north\nThis is a well-furnished living room. The walls are hung with various portraits. The exit is south.\n\nHerman Yak sits in an armchair, holding a cup of hot water and looking miserable.\n\n> You give the tea\nHerman brightens up as he takes the teabag. He drops it into his cup of water. He gives you a thumbs-up, then reaches into the pocket of his bathrobe and hands you a ticket.\n\n(You have helped three animals!)\n\n> You go west\nMaple Street continues in both directions, but to the west it is blocked by a huge pile of rubble.\n\nBarbara Cow surveys the situation.\n\nBarbara shakes her head at the rubble. \"Amateurs.\"\n\n> Go north\nHere Willow Avenue passes between the Footlight Theater to the west and Zoltan's Restaurant to the east.\n\nCornelia Hen stands in front of the theater, looking bewildered.\n\n\"I need to start doing those memory exercises,\" says Cornelia.\n\n> You give the ticket\nCornelia takes the ticket and tears it, and gives the stub back to you. \"You may now enter the theater.\"\n\n> Go west\nThis theater has an awful lot of red velvet, from the curtain to the carpet to the seats. A poster advertises the currently running \"Murder in the Dell.\" The main doors are east, and to the west is another smaller exit.\n\n> Go west\nThis narrow alley runs behind the Footlight Theater. To the west you see a wide road.\n\n> You go west\nThis wide road is lined with small flowering shrubs. It runs north and south, and a narrow alley leads east.\n\n> Go north\nWalnut Road ends here. To the west a locked gate leads into the Ostracod Estate. To the east is Timmit Pool.\n\n> Go east\nOn a sunny day like this, Timmit Pool is a favorite destination for the youth of Fairview. Several small snakes and frogs are playing in a large round pool.\n\nA grown-up asp lies in a chair by the pool. \"Hi,\" he says weakly. \"I'm Simon Asp. My kids have been here for hours. I'm so hungry. I can't move.\"\n\n> Talk\nSimon looks at you pleadingly. \"Could you please bring me a snack?\"\n\n> Inventory\nYou are carrying a ticket stub, a tarnished hand mirror, a bottle of purple hoof polish, Herman Yak's business card, an unsharpened pencil, a pair of earplugs, and a white umbrella.\n\n> You go south\nWalnut Road crosses Maple Street here. A statue in the middle of the intersection is dedicated to Horatio J. Turkey, the founder of Fairview. You may proceed in any direction, but to the south, a wide stream of oil flows across the road.\n\n> You go south\nAs soon as your foot touches the oil, you slip and fall down. You get up wincing.\n\n> You go to the east\nMaple Street is interrupted here by a huge pile of rubble. On the north side of the street you can see the foundation of what was a large building. To the south a sign marks the entrance to Little Oak Park.\n\n> Go south\nThis pleasant park on the bank of Little Oak Stream is named after the eight-foot tree that stands at its center. A sign describes the tree as the \"smallest oak in the four-county area.\"\n\nA bat hanging from a light pole calls out as you enter. \"Oh, help me!\" she says. \"My name is Violet Bat. That awful noise is driving me crazy! Please do something!\"\n\nYou can't hear whatever she is talking about.\n\n> You give earplugs\nViolet Bat is hanging out of reach.\n\n> Go west\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nA dog wearing a sun hat stands in front of the house. She yells at the hedge, \"If you don't give them back to me, I swear I will?I will do something you'll regret!\" She turns to face you. \"My name is Henrietta Dog. You will never believe what an attitude that?that INDIVIDUAL has. He refuses to return my...oh, it just makes me too mad.\"\n\n> You go west\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nA tawny cat is sitting here in a lawn chair. He wears sunglasses and holds a newspaper. \"Hey there!\" he calls to you. \"I'm Jack Cat. Nice day! Too sunny, though. I need a way to get some shade.\"\n\n> You give umbrella\n\"Now that will give some shade,\" says Jack, taking the umbrella. \"But I don't want to sit here holding it. I'll get too tired. I need some way to attach it to my lawn chair!\"\n\n> You check what you're carrying\nYou are carrying a ticket stub, a tarnished hand mirror, a bottle of purple hoof polish, Herman Yak's business card, an unsharpened pencil, and a pair of earplugs.\n\n> Go north\nIt's not easy to maneuver inside this dwelling, because there are piles of stuff everywhere: mostly books, but also half-assembled furniture, electronic components, and cardboard boxes. On one wall hangs a photo of two aged cats. The exit is south.\n\nA battered orange frisbee sits on one pile of boxes. You hesitate for a moment, then grab it.\n\n> Go south\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nJack Cat sits here in his lawn chair, reading the newspaper. An umbrella is lying across his lap.\n\n\"You certainly did!\" calls a voice from the other side of the hedge.\n\n> Go east\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta Dog is here, glaring at the hedge.\n\n\"It's not like you ever use them,\" calls a voice from the other side of the hedge. \"Which is why I can't even see you right now.\"\n\n> Go north\nThe front door is locked.\n\n\"Of course I use them!\" shouts Henrietta. \"Now give them back!\"\n\n> Wait\nTime passes.\n\n\"I never borrowed them, you silly dog,\" calls a voice from the other side of the hedge.\n\n> You wait\nTime passes.\n\n\"You certainly did!\" cries Henrietta. \"How dare you deny it!\"\n\n> You wait\nTime passes.\n\n\"It's not like you ever use them,\" calls a voice from the other side of the hedge. \"Which is why I can't even see you right now.\"\n\n> You wait\nTime passes.\n\n\"Of course I use them!\" shouts Henrietta. \"Now give them back!\"\n\n> Go west\nMaple Street continues in both directions, but to the west it is blocked by a huge pile of rubble.\n\nBarbara Cow surveys the situation.\n\n> Go west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap, a quarter, and a dinner plate.\n\nTobias Rat stands next to the table, weeping into a handkerchief.\n\n\"Who would do such a thing?\" moans Tobias.\n\n> You give the frisbee\n\"I've always wanted one of these!\" cries Tobias. He hugs the frisbee and places it on the table. \"This is a feeble reward, but please take it.\" He picks up a pair of garden shears and gives them to you.\n\n> You go to the west\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta Dog is here, glaring at the hedge.\n\n\"Of course I use them!\" shouts Henrietta. \"Now give them back!\"\n\n> You give the shears\n\"You got them back!\" cries Henrietta, clapping. \"It's about time!\" she shouts at the hedge. Then she unlocks her front door, runs inside, and returns a moment later wearing heavy leather gloves. She begins clipping the hedge.\n\n(You have helped four animals!)\n\n> Talk\n\"I just love clipping,\" says Henrietta.\n\n> Go north\nThis quaint little house is decorated with carnation wallpaper, tulip curtains, and a large vase of possibly fake irises. The exit is south.\n\nYou discover a large speckled egg sitting out on a counter. You take it!\n\n> Go south\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta stands next to the hedge, clipping away.\n\n> Go west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap, a quarter, a dinner plate, and an orange frisbee.\n\nTobias Rat stands next to the table, weeping into a handkerchief.\n\n> You give the egg\nTobias looks at the egg. \"No, I collect things that are more flat and round. That way they don't roll off the table.\"\n\n> Inventory\nYou are carrying a large speckled egg, a ticket stub, a tarnished hand mirror, a bottle of purple hoof polish, Herman Yak's business card, an unsharpened pencil, and a pair of earplugs.\n\n> Go east\nOn a sunny day like this, Timmit Pool is a favorite destination for the youth of Fairview. Several small snakes and frogs are playing in a large round pool.\n\nSimon Asp lies weakly in a chair by the pool.\n\n\"How long can they stay in there?\" whimpers Simon.\n\n> You give the egg\nSimon's eyes widen. \"Oh, you're a life saver.\" He accepts the egg and slowly swallows it whole. Then he smiles and falls asleep.\n\n(You have helped five animals! Go talk to the mayor!)\n\n> You go south\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nWerner Ant leans against a bridge post, looking calmly at the stream.\n\nWerner nods approvingly at the bridge.\n\n> Go south\nYou are at the main entrance to the town of Fairview. A large gate leads out of town to the south, and a short path runs north to Primrose Street.\n\nAlfred P. Owl paces back and forth, murmuring worriedly.\n\n> Talk\n\"Excellent!\" says the mayor. \"I knew I could count on you! There are many other animals who desperately need your help, so don't stop now! I'd like to give you some assistance, but this is the only useful thing I have on hand.\" He presents you with a shiny silver motorcycle helmet.\n\n> Go south\nBut you haven't helped all the animals!\n\nThe mayor shakes his head.\n\n> You go north\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nWerner Ant leans against a bridge post, looking calmly at the stream.\n\n> Go west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap, a quarter, a dinner plate, and an orange frisbee.\n\nTobias Rat stands next to the table, weeping into a handkerchief.\n\n\"Woe is me,\" says Tobias.\n\n> You give the helmet\n\"That's not regulation equipment,\" says Barbara. \"On the other hand, I need to get working. OK, fine.\" She forces the helmet on her head with some difficulty. Then she starts hacking at the rubble, and immediately discovers an oil valve. \"Whoa, this oil valve is open! That can't be good!\" She shuts it off. \"Why they installed an oil valve on the street here, I'll never know.\"\n\n(You have helped six animals!)\n\n> Go west\nThere's still no way past all the rubble.\n\nBarbara whistles an old farm tune.\n\n> Go south\nWalnut Road crosses Maple Street here. A statue in the middle of the intersection is dedicated to Horatio J. Turkey, the founder of Fairview. You may proceed in any direction.\n\nThe pavement is still a bit oily, but you should be able to cross it now.\n\n> You go to the south\nThis section of Walnut Road is quiet and peaceful. To the south, the road crosses a bridge over Little Oak Stream.\n\n> You go south\nWalnut Road continues its long journey north and south. To the east is a concrete building with a sign that says LABORATORY.\n\n> You go east\nThis large chamber is filled with worktables and various pieces of apparatus. In the center stands a massive machine. Several long metal rods stick up from the machine through a hole in the ceiling. They are vibrating violently.\n\nA ram in a white lab coat is peering into the machine. He turns to meet you. \"Greetings! Pleased to make your acquaintance. I am Professor Hubert Ram, and this is my wonderful Alteratomatic. Well, that's what I'm calling it now, but I might change the name later. Anyway, it's all charged up and ready to go, but sadly I can't activate it until I find a 33-ounce oscillating prosistor.\"\n\n> Go south\nJuniper Lane runs west from here, and Walnut Road continues north and south. To the east you can see a lot of tall weeds.\n\n> Go east\nThis lot is full of weeds and occasional pieces of trash, as well as a large muddy puddle. You can see Walnut Road to the west.\n\n> You go south\nThis is the south end of Walnut Road. Azalea Street starts here and runs west. To the east is a post office.\n\n> You go east\nThis small post office features a counter and a wall of locked mailboxes. A sign advertises same-day delivery to addresses in Fairview.\n\nA large bee is pacing nervously behind the counter. \"You've got to help me!\" she exclaims. \"I have to make deliveries later today, and I can't find my mail bag, and if I don't find it then I can't deliver anything, and I will be in SO much trouble, and I'm going to get fired, and I'm not kidding at all!\" She pauses for breath. \"Also, my name is Meg Bee.\"\n\n> You go to the west\nAzalea Street ends here. To the south you see what looks like an auto repair shop.\n\n> Go south\nThis is the front office of an auto repair shop. A desk and table are covered with work orders, and various keys hang from a rack on the wall.\n\nA fox wearing greasy jeans and a T-shirt stands by the desk, holding a work order. \"Welcome to the shop!\" he says. \"I'm Willard Fox. If your vehicle needs any work, bring it in! But hey, maybe you can help me with a little problem.\" He taps the work order. \"Simon Asp wants his car back tomorrow, and I can't fix it because I've lost my Jenkins-head screwdriver. Could you find me one? Here.\" He gives you a ten-dollar bill.\n\n\"Oh, by the way,\" he adds, \"in case you don't know, there's a path between the two empty lots. You have to look carefully to find it.\"\n\n> Go east\nThis small post office features a counter and a wall of locked mailboxes. A sign advertises same-day delivery to addresses in Fairview.\n\nMeg Bee is pacing nervously behind the counter.\n\n> You go to the east\nYou can't go that way.\n\nMeg buzzes unhappily.\n\n> Go east\nThis lot is full of weeds and occasional pieces of trash, as well as a large muddy puddle. You can see Walnut Road to the west.\n\nSure enough, you discover a small path east through the weeds!\n\n> Go east\nThis empty lot is overgrown with weeds, but a small path leads west through them. The cul-de-sac is to the south.\n\n> Go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nJanice Doe sits behind the counter, filing her hoof with an emery board.\n\nJanice blows on her hoof.\n\n> You give the bill\n\"I'll bet you want a screwdriver,\" says Janice as she takes the bill. She hunts around under the counter and gives you one.\n\n> You go to the west\nThis lot is full of weeds and occasional pieces of trash, as well as a large muddy puddle. You can see Walnut Road to the west. A small path leads east through the weeds.\n\n> You go west\nJuniper Lane runs east from here. An imposing courthouse stands to the north, and to the west is a school: Fairview Elementary, according to the sign.\n\n> You go to the west\nThis is one of several classrooms at Fairview Elementary. It contains about fifteen young animals, pretty well-behaved as it appears. You can leave the school to the east or south.\n\nThe teacher, a tall emu, nods to you as you enter. \"Welcome to 4A. Say hello, class. My name is Mrs. Rosina Emu. I was just telling the class about a little problem. I've lost my glasses, so I can't read from our history book. It's very distressing.\"\n\nSeveral of the students giggle. You notice that Mrs. Emu's glasses are on top of her head.\n\n> Talk\nBefore you can communicate anything, Mrs. Emu says, \"Excuse me, I don't mind your observing, but we really can't have any additional talking. It sets a poor example for the students.\"\n\n> You give the mirror\n\"No thank you,\" says Mrs. Emu as she glances at the mirror. Then she notices her reflection. \"Good heavens! My glasses have been on my head this whole time!\" The students start laughing, and Mrs. Emu gives them a very severe look as she lowers her glasses into position.\n\n(You have helped seven animals!)\n\n> Talk\nMrs. Emu says, \"Excuse me, I don't mind your observing, but we really can't have any additional talking. It sets a poor example for the students.\"\n\n> Go north\nYou stand in the carved-wood foyer of the Fairview courthouse. There is only one courtroom, and it seems to be empty.\n\nA coupon for a free piece of luggage is lying on the front counter. You take it!\n\n> Go south\nThis is the front office of an auto repair shop. A desk and table are covered with work orders, and various keys hang from a rack on the wall.\n\nWillard Fox stands by the desk, examining a work order for Cornelia Hen.\n\n> You give the screwdriver\nWillard looks at the screwdriver. \"No, that's not what I need. That's a Jarvis-head, but Simon Asp's car requires a Jenkins-head. Totally non-standard, but what are you gonna do?\" He shrugs.\n\n> You go west\nThis is one of several classrooms at Fairview Elementary. It contains about fifteen young animals, pretty well-behaved as it appears. You can leave the school to the east or south.\n\nMrs. Rosina Emu stands in front of the class.\n\n> You go south\nThe Fairview Elementary playground is full of swings, seesaws, and other familiar equipment. There is no one here right now.\n\nAn old plastic hula hoop has been left near the slide. You take it!\n\n> Go north\nThis is one of several classrooms at Fairview Elementary. It contains about fifteen young animals, pretty well-behaved as it appears. You can leave the school to the east or south.\n\nMrs. Rosina Emu stands in front of the class.\n\nMrs. Emu reads aloud from A History of the World for Young Animals.\n\n> You give the screwdriver\nJanice shakes her head. \"We have a no-return policy.\"\n\n> Go north\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nWerner Ant leans against a bridge post, looking calmly at the stream.\n\nWerner pats his new hammer affectionately.\n\n> Go west\nMaple Street continues in both directions, but to the west it is blocked by a huge pile of rubble.\n\nBarbara Cow is banging on the rubble with a pickaxe.\n\n> You give the hoop\nTobias gasps. \"Incredible!\" He puts the hula hoop on the table. \"I simply don't know what to say! My collection of Five Round Things has been restored! My happiness is complete!\" He shakes your hand vigorously. \"This deserves a special reward. I'll give you a real oddity.\" He hunts around for a while, and then produces a furrowed metal cube. \"I have no idea what this is, but it's fascinating, isn't it?\" He gives it to you.\n\n(You have helped eight animals!)\n\n> You check your inventory\nYou are carrying a furrowed metal cube, a luggage coupon, a Jarvis-head screwdriver, a ticket stub, a tarnished hand mirror, a bottle of purple hoof polish, Herman Yak's business card, an unsharpened pencil, and a pair of earplugs."
    },
    {
        "text": "[Themes: anthropomorphised animals, cute, small town, gender-neutral protagonist, nonhuman protagonist]\n\n> You look at your surroundings\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap, a quarter, a dinner plate, an orange frisbee, and a plastic hula hoop.\n\nTobias Rat stands next to the table, admiring his collection.\n\nTobias brushes off the velvet.\n\n> You go south\nWalnut Road crosses Maple Street here. A statue in the middle of the intersection is dedicated to Horatio J. Turkey, the founder of Fairview. You may proceed in any direction.\n\n> You go to the south\nThis section of Walnut Road is quiet and peaceful. To the south, the road crosses a bridge over Little Oak Stream.\n\n> You go south\nWalnut Road continues its long journey north and south. To the east is a concrete building with a sign that says LABORATORY.\n\n> You go east\nThis large chamber is filled with worktables and various pieces of apparatus. In the center stands a massive machine. Several long metal rods stick up from the machine through a hole in the ceiling. They are vibrating violently.\n\nProfessor Ram is examining his machine.\n\nThe professor adjusts a slider on the machine.\n\n> You give the cube\n\"What luck!\" cries the professor. He takes the cube from you and examines it. \"Well, this prosistor is actually a 34-ounce, but I think it will be OK.\" He opens a panel and forces the cube into place. \"Thanks, you've been a big help! Now let's see here. Hold on one moment.\" He begins tweaking the controls.\n\n(You have helped nine animals!)\n\n> Wait\nTime passes.\n\n\"OK,\" says the professor. \"Let me explain how the Alteratomatic works. Give me an object, and the machine will change it somehow. I don't know exactly what will happen, but that's the fun of it!\"\n\n> You give the polish\nProfessor Ram puts the bottle of purple hoof polish in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a bottle of red hoof polish. \"See, it works!\" he says as he gives it to you.\n\n> You give the pencil\nProfessor Ram puts the unsharpened pencil in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a sharpened pencil. \"Here you go,\" he says.\n\n> You check your inventory\nYou are carrying a sharpened pencil, a bottle of red hoof polish, a luggage coupon, a Jarvis-head screwdriver, a ticket stub, a tarnished hand mirror, Herman Yak's business card, and a pair of earplugs.\n\n> You give the mirror\nProfessor Ram puts the tarnished hand mirror in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a shiny hand mirror. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Uh oh,\" says the professor. \"The Alteratomatic ran out of juice. It will recharge, but you might have to wait a bit.\"\n\n> You wait awhile\nTime passes.\n\n> You give the earplugs\n\"The Alteratomatic is recharging,\" says the professor. \"Hang on.\"\n\n> Go south\nYou can't go that way.\n\nThe professor opens a panel and fiddles with something inside.\n\n> Go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nJanice Doe sits behind the counter, filing her hoof with an emery board.\n\nJanice sighs.\n\n> You give the polish\n\"Wow!\" says Janice. \"That is fantastic! Give it here!\" She takes the bottle.\n\n(You have helped ten animals!)\n\n> Inventory\nYou are carrying a shiny hand mirror, a sharpened pencil, a luggage coupon, a Jarvis-head screwdriver, a ticket stub, Herman Yak's business card, and a pair of earplugs.\n\n> You give the pencil\nCornelia looks at the sharpened pencil. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the card\nCornelia looks at Herman Yak's business card. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You go east\nThis large chamber is filled with worktables and various pieces of apparatus. In the center stands a massive machine. Several long metal rods stick up from the machine through a hole in the ceiling. They are vibrating violently.\n\nProfessor Ram is examining his machine.\n\n> You give the screwdriver\nProfessor Ram puts the Jarvis-head screwdriver in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a Jenkins-head screwdriver. \"Here you go,\" he says.\n\n> You go to the south\nThis is the front office of an auto repair shop. A desk and table are covered with work orders, and various keys hang from a rack on the wall.\n\nWillard Fox stands by the desk, examining a work order for Alfred P. Owl.\n\n> You give the screwdriver\n\"You found one!\" says Willard. \"Thank you!\" He sticks the screwdriver in his back pocket.\n\n(You have helped eleven animals!)\n\n> Talk\nWillard taps the work order he's holding and laughs. \"Alfred Owl has been driving the same car for almost twenty years! It's getting harder and harder to find the parts!\"\n\n> Go east\nYou can't go that way.\n\nWillard tosses the work order on the desk and picks up one for Simon Asp.\n\n> Go east\nThis large chamber is filled with worktables and various pieces of apparatus. In the center stands a massive machine. Several long metal rods stick up from the machine through a hole in the ceiling. They are vibrating violently.\n\nProfessor Ram is examining his machine.\n\nThe professor adjusts a dial on the machine.\n\n> You give the card\nProfessor Ram puts Herman Yak's business card in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out Zoltan Reindeer's business card. \"Here you go,\" he says.\n\n> Inventory\nYou are carrying Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, a luggage coupon, a ticket stub, and a pair of earplugs.\n\n> You give the coupon\nMeg looks at the luggage coupon. \"That's really nice of you to offer, but I need a mail bag right now, and if I take anything else, I'll just get frustrated that it isn't a mail bag!\"\n\n> You go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nJanice Doe sits behind the counter, applying some red hoof polish.\n\n> Inventory\nYou are carrying Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, a luggage coupon, a ticket stub, and a pair of earplugs.\n\n> You give the earplugs\nProfessor Ram puts the pair of earplugs in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a pair of corks. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> You give the coupon\nProfessor Ram puts the luggage coupon in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a tool coupon. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> You go east\nThis lot is full of weeds and occasional pieces of trash, as well as a large muddy puddle. You can see Walnut Road to the west. A small path leads east through the weeds.\n\nThis empty lot is overgrown with weeds, but a small path leads west through them. The cul-de-sac is to the south.\n\n> You give the coupon\nJanice looks at the coupon. \"Sorry, this is expired.\"\n\n> You give the coupon\nProfessor Ram puts the tool coupon in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a luggage coupon. \"Here you go,\" he says.\n\n> You go south\nThis pleasant park on the bank of Little Oak Stream is named after the eight-foot tree that stands at its center. A sign describes the tree as the \"smallest oak in the four-county area.\"\n\nViolet Bat is hanging from a light pole.\n\n> Inventory\nYou are carrying a luggage coupon, Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, a ticket stub, and a pair of earplugs.\n\n> Talk\n\"I can't come down with all that noise!\" says Violet. \"Oh, my head! Hanging upside-down helps a little.\""
    },
    {
        "text": "[Themes: small town, anthropomorphised animals, kid-friendly, gender-neutral protagonist]\n\n> You look at your surroundings\nThis pleasant park on the bank of Little Oak Stream is named after the eight-foot tree that stands at its center. A sign describes the tree as the \"smallest oak in the four-county area.\"\n\nViolet Bat is hanging from a light pole.\n\nViolet moans pitifully.\n\n> You go east\nThis large chamber is filled with worktables and various pieces of apparatus. In the center stands a massive machine. Several long metal rods stick up from the machine through a hole in the ceiling. They are vibrating violently.\n\nProfessor Ram is examining his machine.\n\nThe professor opens a panel and fiddles with something inside.\n\n> You give stub\nProfessor Ram puts the ticket stub in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a ticket. \"Here you go,\" he says.\n\n> You check your inventory\nYou are carrying a ticket, a luggage coupon, Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, and a pair of earplugs.\n\n> You go west\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta stands next to the hedge, clipping away.\n\nHenrietta adjusts her sun hat.\n\n> You give the card\n\"No thanks,\" says Henrietta.\n\n> Go west\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nJack Cat sits here in his lawn chair, reading the newspaper. An umbrella is lying across his lap.\n\n> You give the card\n\"No thanks,\" says Jack.\n\n> You go to the west\nThe gate is locked tight. You won't be getting in there.\n\n> Go east\nOn a sunny day like this, Timmit Pool is a favorite destination for the youth of Fairview. Several small snakes and frogs are playing in a large round pool.\n\nSimon Asp is sleeping in a chair by the pool.\n\n> You give the card\nSimon Asp is sleeping.\n\n> Go east\nSmall round tables with white tablecloths fill the large dining room. Zoltan's is known for fine food, but it is strangely empty right now. The exit is west.\n\n> You give the card\nCornelia looks at Zoltan Reindeer's business card. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the coupon\nCornelia looks at the luggage coupon. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the mirror\nCornelia looks at the shiny hand mirror. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You check your inventory\nYou are carrying a ticket, a luggage coupon, Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, and a pair of earplugs.\n\n> You give the earplugs\nCornelia looks at the pair of earplugs. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the pencil\nCornelia looks at the sharpened pencil. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You go east\nThis little drugstore seems to be abandoned. The shelves are empty, and there is no one here.\n\n> You go to the north\nThis is a well-furnished living room. The walls are hung with various portraits. The exit is south.\n\nHerman Yak sits in an armchair, holding a cup of tea.\n\nHerman coughs.\n\n> You give coupon\nHerman looks surprised, but he takes the coupon and shuffles into another room. He returns with a suitcase, which he gives to you.\n\n> You give the suitcase\nProfessor Ram puts the suitcase in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a duffel bag. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> You give the bag\n\"Oh!\" says Meg. \"That's not a regulation mail bag, so I might still get in trouble, but I think it's big enough for all the mail, and it looks easy to carry, and I bet it will work! So thank you!\" She grabs the duffel bag and shakes your hand gratefully. \"I really want you to have something in return! Uh, here!\" She gives you a roll of packing tape.\n\n(You have helped twelve animals!)\n\n> Go west\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta stands next to the hedge, clipping away.\n\nHenrietta brushes some leaves off her shoulder.\n\n> You go to the west\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nJack Cat sits here in his lawn chair, reading the newspaper. An umbrella is lying across his lap.\n\nJack yawns.\n\n> You give the tape\n\"Perfect!\" says Jack, taking the roll of tape. He stands up, tapes the umbrella to the back of his lawn chair, and opens it. Then he drops back into the chair with a sigh of content. \"You're the best,\" he says.\n\n(You have helped thirteen animals!)\n\n> You check what you're carrying\nYou are carrying a ticket, Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, and a pair of earplugs.\n\n> You give the ticket\nCornelia takes the ticket and tears it, and gives the stub back to you. \"Didn't you already give me a ticket?\"\n\n> Talk\n\"Hmm,\" says the hen, \"maybe...was it...yes? No. No? No. Yes. No.\"\n\n> You check your inventory\nYou are carrying a ticket stub, Zoltan Reindeer's business card, a shiny hand mirror, a sharpened pencil, and a pair of earplugs.\n\n> Go east\nCorncob Lane continues east and west.\n\nEmily Pig is sitting by the side of the road, reading a small book entitled McTransom: Master Detective.\n\nEmily taps her chin thoughtfully.\n\n> Talk\n\"Thanks for the help!\" says Emily. \"When I'm done with this, I'm going to go home and unpack!\"\n\n> You give the pencil\nEmily looks up. \"Oh, thanks, but I don't want that.\"\n\n> You go to the north\nThis small house is painted blue and features a bookshelf filled with detective novels. Two large suitcases stand next to the bed.\n\n> You go to the west\nCorncob Lane continues east and west.\n\nEmily Pig is sitting by the side of the road, reading a small book entitled McTransom: Master Detective.\n\n> Talk\n\"When you have helped the rest of the animals, I'll give you a fine reward!\"\n\n> You give the pencil\nThe owl shakes his head. \"I'm afraid I have no use for that.\"\n\n> You give the card\nProfessor Ram puts Zoltan Reindeer's business card in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out Herman Yak's business card. \"Here you go,\" he says.\n\n> Go north\nYou can't go that way.\n\nThe professor adjusts a knob on the machine.\n\n> You go to the west\nYou are in the front yard of a small brick house that stands to the north. Maple Street continues east and west. An overgrown hedge separates this yard from the one to the west.\n\nHenrietta stands next to the hedge, clipping away.\n\nHenrietta hums along with her clipping.\n\n> You give the card\n\"I never want to see that two-bit charlatan again!\" cries Henrietta, waving her shears.\n\n> Go west\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nJack Cat sits here in his umbrella-shaded lawn chair, reading the newspaper.\n\n> You give the card\n\"No thanks,\" laughs Jack. \"In case you don't know, Herman Yak isn't the most popular animal in town. He has lost more cases than I can count. He should go back to his old job.\"\n\n> Talk\n\"Thanks for the umbrella,\" says Jack. \"Now I can sit here all day.\"\n\n> You give the card\nMrs. Emu huffs. \"I'd give you my opinion, but I need to watch my language here.\"\n\n> You check your inventory\nYou are carrying Herman Yak's business card, a ticket stub, a shiny hand mirror, a sharpened pencil, and a pair of earplugs.\n\n> You go east\nThis small post office features a counter and a wall of locked mailboxes. A sign advertises same-day delivery to addresses in Fairview.\n\nMeg Bee is sorting letters behind the counter.\n\n\"That mail is gonna get delivered...\" sings Meg.\n\n> You give the card\n\"Oh wow, I have heard a lot of things about Herman Yak, and basically it's all bad, because he keeps losing everyone's cases, which is kind of a problem when you're a lawyer.\"\n\n> You give the card\n\"Yeah, Herman Yak's car is here in the shop. He's not a very good lawyer. He should probably go back to selling luggage.\"\n\n> You give the pencil\n\"No thanks,\" says Willard.\n\n> You go east\nThis small post office features a counter and a wall of locked mailboxes. A sign advertises same-day delivery to addresses in Fairview.\n\nMeg Bee is sorting letters behind the counter.\n\n> You give the mirror\n\"If you want to mail that, you'll have to pack it up and put stamps on it and everything!\"\n\n> You go south\nThe walls of this small shop are lined with tools. A sign hanging in front of the counter says, \"Today's Sale: Hammers only five bucks!\"\n\nJanice Doe sits behind the counter, applying some red hoof polish.\n\nJanice hums softly.\n\n> You give the card\n\"He's a shyster, if you ask me.\"\n\n> You give the mirror\nJanice glances in the mirror. \"As good-looking as ever,\" she says.\n\n> You give pencil\n\"No thanks, hon,\" says Janice.\n\n> You go south\nYou are at the main entrance to the town of Fairview. A large gate leads out of town to the south, and a short path runs north to Primrose Street.\n\nAlfred P. Owl paces back and forth, murmuring worriedly.\n\n\"Dear, dear,\" says the mayor.\n\n> You give the card\n\"Ah yes,\" says the mayor, \"one of our most, er, active attorneys.\"\n\n> You give the mirror\nThe owl shakes his head. \"I'm afraid I have no use for that.\"\n\n> You give the mirror\n\"No thanks,\" says Werner. \"I've got my hammer, and I'm content.\"\n\n> Talk\n\"Another job well done,\" says Werner. \"Thanks for getting that hammer.\"\n\n> You give the card\nWerner shakes his head. \"I know all about him.\"\n\n> You go to the west\nThis is a very odd one-room museum. Shelves hold an assortment of worthless-looking items. In the middle of the room is a large table covered in black velvet, on which you see an old hubcap, a quarter, a dinner plate, an orange frisbee, and a plastic hula hoop.\n\nTobias Rat stands next to the table, admiring his collection.\n\n> You give the card\n\"No thanks,\" says Tobias. \"My uncle hired him once, and things didn't turn out too well.\"\n\n> You give the pencil\n\"No, I couldn't take anything else from you!\" says Tobias.\n\n> You go to the west\nMaple Street continues in both directions, but to the west it is blocked by a huge pile of rubble.\n\nBarbara Cow is banging on the rubble with a pickaxe.\n\nBarbara shakes her head at the rubble. \"Amateurs.\"\n\n> Talk\n\"Thanks for the helmet!\" says Barbara.\n\n> You give the pencil\n\"No thanks,\" says Barbara Cow.\n\n> You give the card\nBarbara laughs. \"No thank you!\"\n\n> You give the stub\nCornelia glances at the stub. \"Head in anytime,\" she says.\n\n> Go north\nThis is a well-furnished living room. The walls are hung with various portraits. The exit is south.\n\nHerman Yak sits in an armchair, holding a cup of tea.\n\n> You give the card\nHerman points at himself.\n\n> You wait\nTime passes.\n\n\"Now what the heck was it?\" mutters Cornelia.\n\n> You give the stub\n\"No thank you,\" says Mrs. Emu, glancing at the ticket stub.\n\n> Status\n(You have been playing for 614 turns. So far you have helped Emily Pig, Werner Ant, Herman Yak, Henrietta Dog, Simon Asp, Barbara Cow, Rosina Emu, Tobias Rat, Hubert Ram, Janice Doe, Willard Fox, Meg Bee, and Jack Cat.)\n\n* Alfred P. Owl wants you to return after you have helped the remaining animals.\n* Cornelia Hen can't seem to remember what she wants.\n* Violet Bat wants relief from the noise she is hearing.\n\n> You give the pencil\n\"No thank you,\" says Mrs. Emu, glancing at the sharpened pencil.\n\n> You give mirror\nMrs. Emu checks the mirror to make sure she hasn't missed anything else.\n\n> Talk\n\"Those rods vibrate at a very high frequency. They would be extremely loud, but fortunately you and I can't hear them.\"\n\n> You give the card\nProfessor Ram puts Herman Yak's business card in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out Zoltan Reindeer's business card. \"Here you go,\" he says.\n\n> You give the card\nProfessor Ram puts Zoltan Reindeer's business card in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out Herman Yak's business card. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> Go south\nThis pleasant park on the bank of Little Oak Stream is named after the eight-foot tree that stands at its center. A sign describes the tree as the \"smallest oak in the four-county area.\"\n\nViolet Bat stands near a light pole, looking miserable.\n\n> You give the plugs\n\"You're a lifesaver!\" cries Violet. She takes the plugs and jams them in her ears. \"I can't hear a thing now. What a relief.\" She sighs and sits down on a park bench.\n\n(You have helped fourteen animals!)\n\n> Talk\n\"I can't hear you, sorry!\" says Violet.\n\n> You give the card\n\"No thanks!\" says Violet.\n\n> You check what you're carrying\nYou are carrying Herman Yak's business card, a ticket stub, a shiny hand mirror, and a sharpened pencil.\n\n> Status\n(You have been playing for 647 turns. So far you have helped Emily Pig, Werner Ant, Herman Yak, Henrietta Dog, Simon Asp, Barbara Cow, Rosina Emu, Tobias Rat, Hubert Ram, Janice Doe, Willard Fox, Meg Bee, Jack Cat, and Violet Bat.)\n\n* Alfred P. Owl wants you to return after you have helped the remaining animals.\n* Cornelia Hen can't seem to remember what she wants.\n\n> You give yourself\nYou can only give something you're carrying. (Not yourself!)\n\nThe professor opens a panel and fiddles with something inside.\n\n> You give the ticket\nCornelia cries, \"Enough! Stop giving me tickets! What's the matter with you?\" She yanks the ticket from your hand.\n\n> Inventory\nYou are carrying Herman Yak's business card, a shiny hand mirror, and a sharpened pencil.\n\n> You give the card\nCornelia looks at Herman Yak's business card. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the mirror\nProfessor Ram puts the shiny hand mirror in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a tarnished hand mirror. \"Here you go,\" he says.\n\n> You give pencil\nProfessor Ram puts the sharpened pencil in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out an unsharpened pencil. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> You give the pencil\nCornelia looks at the unsharpened pencil. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You give the mirror\nCornelia looks at the tarnished hand mirror. \"Is that what I need? I think it might be. Although...no, probably not. I can't remember.\"\n\n> You go south\nThis pleasant park on the bank of Little Oak Stream is named after the eight-foot tree that stands at its center. A sign describes the tree as the \"smallest oak in the four-county area.\"\n\nViolet Bat is sitting on a bench, looking out at the stream.\n\n> You go to the north\nThis quaint little house is decorated with carnation wallpaper, tulip curtains, and a large vase of possibly fake irises. The exit is south.\n\n> Go west\nMaple Street ends here in another front yard, which contains an assortment of plastic flamingos, gnomes, birdbaths, and the like. An overgrown hedge separates this yard from the one to the east. There is a small green house to the north.\n\nJack Cat sits here in his umbrella-shaded lawn chair, reading the newspaper.\n\nJack moves his lawn chair slightly.\n\n> You go north\nIt's not easy to maneuver inside this dwelling, because there are piles of stuff everywhere: mostly books, but also half-assembled furniture, electronic components, and cardboard boxes. On one wall hangs a photo of two aged cats. The exit is south.\n\n> Talk\n\"Give me an object, and I'll stick it in the Alteratomatic. We'll see what happens.\"\n\n> Talk\n\"This is my best invention so far.\" The professor pats his machine.\n\n> You give the mirror\nProfessor Ram puts the tarnished hand mirror in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a shiny hand mirror. \"Here you go,\" he says.\n\n> You give the pencil\nProfessor Ram puts the unsharpened pencil in the machine. He pushes a large black button. Sparks fly between the metal rods. A few seconds later, he reaches in and pulls out a sharpened pencil. \"Here you go,\" he says.\n\nJust then you hear a buzzer, and the metal rods stop vibrating. \"Out of juice again,\" says the professor. \"Don't worry, it should recharge soon.\"\n\n> Go north\nYou stand in the carved-wood foyer of the Fairview courthouse. There is only one courtroom, and it seems to be empty.\n\n> You go to the west\nThis is one of several classrooms at Fairview Elementary. It contains about fifteen young animals, pretty well-behaved as it appears. You can leave the school to the east or south.\n\nMrs. Rosina Emu stands in front of the class.\n\nMrs. Emu adjusts her glasses.\n\n> You give the pencil\n\"No thank you,\" says Mrs. Emu, glancing at the sharpened pencil.\n\n> You go to the south\nThe Fairview Elementary playground is full of swings, seesaws, and other familiar equipment. There is no one here right now.\n\n> Go east\nThis small post office features a counter and a wall of locked mailboxes. A sign advertises same-day delivery to addresses in Fairview.\n\nMeg Bee is sorting letters behind the counter.\n\nMeg shuffles some bins around.\n\n> Talk\n\"I really appreciate you going and doing whatever it was you had to do to get me this bag!\"\n\n> Talk\nWillard taps the work order he's holding and shakes his head. \"That Cornelia Hen. Every time she brings her scooter in here, she's forgotten what the problem is! But I find, if I just keep talking to her long enough, she eventually remembers.\"\n\n> Talk\n\"Oh!\" cries Cornelia. \"Of course, I need a?wait, no, I already have a bunch of those.\"\n\n> Talk\nCornelia closes her eyes. \"It couldn't have been that, or that...or those. No, it definitely wasn't any of those things.\"\n\n> Talk\n\"Well, maybe I don't need anything after all. Except...no, I'm sure I needed something.\"\n\n> Talk\n\"Oh!\" shouts Cornelia. \"A pencil! That's it! I need a pencil! I think you already showed me one, didn't you?\"\n\n> You give the pencil\n\"Yes!\" shouts Cornelia. \"Just what I need!\" She pulls out a small notebook. \"This is my reminder book. I write important things it, which is why I never forget them.\" She jots down a short note.\n\n(You have helped fifteen animals! Go talk to the mayor!)\n\n> You go south\nTo the north, Little Oak Stream runs west to east, dividing Fairview in half. A wide wooden bridge crosses the stream.\n\nWerner Ant leans against a bridge post, looking calmly at the stream.\n\n\"Pleasant day,\" says Werner.\n\n> You go south\nYou are at the main entrance to the town of Fairview. A large gate leads out of town to the south, and a short path runs north to Primrose Street.\n\n\"You've done it!\" cries the mayor as you approach. \"You have saved the town! You have ended the misery! My gratitude is boundless! I will never forget your helping us at such a critical time. If you had not appeared when you did, I don't know what we would have done! What can I possibly do to repay you? No reward can be enough. But here, take this!\"\n\nHe gives you a signed autobiography.\n\n(You have helped all sixteen animals!)\n\n> Inventory\nYou are carrying a signed autobiography, a shiny hand mirror, and Zoltan Reindeer's business card.\n\n> Go north\nIt's time for you to leave Fairview.\n\n> You go to the south\nYou leave Fairview, pleased to have been helpful. Of course, you only went there to take a walk, since your doctor has told you to walk more. Hopefully 556 blocks is enough!"
    },
    {
        "text": "[Themes: Science Fiction, spaceship, spaceship setting, science fiction, unreliable narrator, triangle of identities]\n\nWith thanks to Vincent Lynch, Tom Lees, John Bichard.\n\nup.]\nBzzt. Crackle. *Static*\n\n\"...hello? Hello? Can... me? .. Anyone! Hel.... Need.. hello?\"\n\nBleep - PLEASE WAIT - Locating/Tuning signal...\n\n..\n\n\".. help. Repeat, can anybody hear me? Can you hear me? Hello..\"\n\n> Hello\n\"Hello? Hello! The .. <crackle> pretty bad. Are you receiving this? Over.\"\n\n> No\n\"..what? Can't quite make you out. .. we need help. This is the space pod 'Serpentine'. We've been attacked, a small cruiser. They.. they came out of nowhere.. tried to board us.. ...stly dead.. systems are all messed up, we're drifting.. I need help to fix this..\"\n\n\"I'm by the console, there's wires everywhere. The computer flashing something. What do I do? Hello?\"\n\n> You fix it\n\"What it? I don't understand..\"\n\n> You identify yourself\n\"What was that..? The radio.. <crackle> ..ing up, Moon's interference, something..\"\n\n> You read the computer\n\"It's flashing 'SIDE ENGINES MALFUNCTIONING' and 'GENERAL POWER SHORTAGE -- Reconnect Auxiliary: Cross computer feed (G) with back-up power line (B)'. There's a couple of buttons by the side; Reset and Diagnose. Should I press one of these?\"\n\n> You press diagnose\n\"I've pressed it.. nothing.. I think it must be broken..\"\n\n> You look at the wires\n\"There's about twenty of them; all looped up ...from under the console. Three of them have been cut, ends bared.. I think McThwaite.. -\"\n\nBleep -- accessing records: \"McThwaite, Alistair: Born Cairo, 2412. Graduated...\"\n\n- Initiate Search for Salient Inf (Y/N)?\n\n> Y.\nPLEASE WAIT - Filing to secondary processor.\n\n\"- .. was connecting them up, about to twist them together. But I..\"\n\n\"The ship's spinning pretty fast - the Grav. Pad went in the first blast, but, the spinning - everything's kind of sticking near the walls.\"\n\n> You connect the wires\n\"Which shall I connect? There's a red wire, a green, a blue... Any guesses, I don't know, don't know..\"\n\n> You connect the blue and green\n\"Okay, I'll.. twist the wire ends up... hang on..\"\n\n\"Okay - nothing's blown up. Phew..\"\n\nBleep - Processing complete. McThwaite, Alistair - contracted to 'Serpentine' - Rank: Chef - [Author's Note: FILE CLOSED]\n\n> You wait\n*static*\n\n> You wait\n*static*\n\n..\"God.. Thank God, the lights... Hello, are you there? Are you there.. Hello?\"\n\n> Hello\n\"Oh, fantastic, so good to hear you! .. everything went dead.. thought I'd lost it all for a second.. Geez!\"\n\n\"Computer's back on-line now. Shall I read the display to you?\"\n\n> You read the display\n\"Oh, it's still flashing 'SIDE ENGINES MALFUNCTIONING'. There's a couple of buttons by the side; Reset and Diagnose. Should I press one of these?\"\n\n> No\n\"Okay.. but I'm going to need.. lasers.. pretty soon, okay..?\"\n\n> You check your inventory\n\"You..? You ..what?\"\n\n> Inventory\n\"Sorry? Do.. what? ..I can't hear you, too much static..\""
    },
    {
        "text": "[Themes: Science Fiction, spaceship setting, unreliable narrator]\n\n> You look around\n\"Oh, let's see. The attack was tough, it's bad... ...console, with the computer screen on. The engineer, McThwaite was trying to fix that before.. ...shook up bad, he might be okay, I don't know. I don't think so....hatch, that leads down to the ring... engineering, store rooms and stuff. And there's the porthole.\"\n\n> You examine the porthole\n\"The moon, it's .. uh .. it's approaching pretty fast. I'm going to need to sort out these engines..\"\n\n> Pray\n\"Oh what? Oh man, oh man.. I'm gonna die.. oh no...\""
    },
    {
        "text": "[Themes: Science Fiction, unreliable narrator, spaceship]\n\n> Look around\n\"Oh, let's see.. it's bad up here. There's the console, with the computer screen on. The engineer, McThwaite was trying to fix that before he  - well he's here too. He's shook up bad, he might be okay, I don't know. I don't think so. And the hatch, that leads down to the ring section, airlocks, engineering, store rooms and stuff. And there's the porthole.\"\n\n> You look at McThwaite\n\"Says.. name on his overall.. He's bleeding.. a lot, red blood everywhere.. he was over by the console - I think it shorted, or when the last burst hit us.. he's dead I think.. yes, he's dead.. He died in the last attack - the shaking of the ship.. must have thrown him.. something like that, yes that's it..\"\n\n> You look at the wires\n\"There's about twenty of them; all looped up ...from under the console. Three of them have been cut, ends bared.. I think McThwaite was connecting them up, about to twist them together. But I..\"\n\n\"They were too damn good for us... better firepower, defences, everything.. .. -\"\n\nBleep -- accessing records: \"Species: G'hilga. First Contact: 2413. War declared 2423...\"\n\n- Initiate Search for Salient Inf (Y/N)?\n\n> Y.\nPLEASE WAIT - Filing to secondary processor.\n\n\"- .. didn't stand a chance.. I guess we were outside the moon security field.. would have polished us off if we hadn't have broken through in time I suppose..\"\n\n\"I've connected those two together; they seem to be holding.\""
    },
    {
        "text": "[Themes: Science Fiction, spaceship, spaceship setting, unreliable narrator, triangle of identities]\n\n> Go down\n\"Sorry? Do.. what? ..I can't hear you, too much static..\"\n\n> You enter the hatch\n\"The hatchway isn't open.. I can't.. through.. \"\n\n> You open hatch\n\"Okay - hang on.. turn the wheel, quite heavy.. Aaargh!.... Y...!\"\n\n- Click - <Crkkzt>.. .<bzzt>..\n\n\"..sorry.. slipped on something, cut my leg... I'm okay.. The hatch is open..\"\n\nBleep - Processing complete. Physical form of G'hilga - height 3 foot, monopedal, climb using multiple claws situated over torso, translucent blood - Firepower - superior, though unable to penetrate Moon-shield - [Author's Note: FILE CLOSED]\n\n> You enter the hatch\n\"Okay, I'll just slip through.. right.\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You open the door\n\"It's a solid bulkhead! ..sealed.. I can't find any sort of mechanism.. open it.. You think I really need to get this open.. might be a way.. Well?\"\n\n> Yes\n\"Right, okay then.. Hang on; I'll give this a try..\"\n\n......Frrrraaaaagggg.... BOOM!.....\n\n\"Okay, it's open.\"\n\n> You enter door\n\"Okay, I'm .. now in the store room.. pretty cramped here..\"\n\n\"This isn't the laser room, I need the laser room.. ...hole in the wall, leading back to the hub, right size, straight through the bulkhead. And, let's see... ..body, just one here, a man. He's... ...some sort of recess, alcove, and another porthole like in all the rooms; Moon's pretty damn big..\"\n\n> You examine recess\n\"A square recess - no, it's a chute of some sort.. leads downwards.. I think it's a waste ejection system; there's a button above it labelled 'Flush'... to eject things into space I suppose.\"\n\n> Exit\n\"I'm going back through the doorway.\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> Down\n\"What..? The radio's bad .. breaking up, Moon's ...thing..\"\n\n> You search the bodies\n\"Too many.. in a such a mess... don't think there's anything there..\"\n\n> You examine the debris\n\"...load of debris from the attack, blocking up something I think, a tunnel. They must have hit... ..mighty fine weaponry they've got there. I might be able to slip past into the tunnel.. <crrk>..\"\n\n> You enter\n\"Right. I'm climbing through now.. hang on..\"\n\n\"Oh, let's see. The attack was tough, it's bad... ...console, with the computer screen on. The engineer, McThwaite was trying to fix that before.. ..died....hatch, that leads down to the ring... engineering, store rooms and stuff. And there's the porthole.\"\n\n> You climb the ladder\n\"Are you sure.. do I need to? It looks pretty burnt out down there, I don't know how safe it is.. Should I go?\"\n\n> Yes\n\"Okay then. Hang on..\"\n\n\"Climbing down the ladder...\"\n\nBleep - PLEASE WAIT - Incoming inf from Tracking Station Tranquility Base..\n\n\"Oh God.. it's a real mess down here.. ..third level.. the walkway mangled up in the middle, hairpin.. the walls are all crunched in, toward the base of the ladder, a V.. there's no floor space to stand on.. all the bulkheads around have closed, they're charred.. there's piping, wiring hissing from every crevice.. it's like it's just been .. melted.. \"\n\n> You climb the ladder\n\"I'm climbing back up.. hard, the Grav's a little looser here..\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You open the door\n\"..open already.. okay..\"\n\nBleep - Processing complete. Enemy fleet massing just outside MoonShield perimeter - All batteries collecting for attack - All civilian/trade ships must land immediately - Boarding pods detected - [Author's Note: TRANSMISSION ENDS]\n\n> Oops\n\"I don't understand.. start again, please, help me..\"\n\n> You squeeze past\n\"What do... want me to squeeze past?\"\n\n> Yes\n\"Alright.\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction, spaceship]\n\n> You look at your surroundings\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You squeeze past the debris\n\"There's not.. enough room for me.. don't think I can get past.\"\n\n> You search debris\n\"There's.. there's some sort of room there, sure..\"\n\n> You enter door\n\"Okay, I'm .. now in the store room.. pretty cramped here..\"\n\n\"This isn't the laser room, I need the laser room.. There's the hole in the wall, leading back to the hub.. through the bulkhead. And.. this place is a mess... another body, just one.. a man.. next to one wall, where's there's.. some sort of recess, alcove, another porthole like in all the rooms...\"\n\n> You search the body\n\"One hand is clutching.. a thick tangle of wiring.. short bits, ripped out I think.. connectors still attached to the end.. nothing else.\"\n\n> You examine the wires\n\"Just scraps.. scraps of wire; torn out of somewhere I guess..\"\n\n\"Not a lot of crew on board though... could have been worse I guess.. just bad luck or something, huh..?\"\n\n> Exit\n\"I'm going back through the doorway.\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You dig debris\n\"Rig?.. I don't understand, there's nothing to rig up here..\"\n\n\"The laser room's got to be around somewhere.. hope it's nearer the top of the ship.. accessible.\"\n\n> You move the debris\n\"Okay.. I've hauled a bit out of the way.. not much better though..\"\n\n> You enter the tunnel\n\"I don't see.. I don't see what you mean at all.\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction, unreliable narrator]\n\n> You look around\n\"... is the central hub of the ship. Let's see; there's the hatch leading back up the bridge and a couple of other doors around the ring.. a lot sealed off; bulkheads down.. .. couple of bodies floating slightly, red blood.. passages, blocked up leading off into .. marked 'store room' on the door, pretty solid.. and a ladder down, and some debris opposite .. squeeze past, I don't know, I could try to squeeze past it, I think there's...\"\n\n> You squeeze past the debris\n\"It's going to be quite a squeeze.. hang on.. no, I'm through.. okay..\"\n\n\"The laser! The laser room - it's here!\"\n\n\"..'s it! That's the control for the laser!.. Okay, let's... ..very proud of me.. ..ha!.. <crzzzkt>.. Gujt!.. No! D... ... not working either; d... on, I'll take a closer look, maybe you can ...\"\n\n\"There's a panel by the side of the main controls, numeric pad above that... forced open, like someone.. apart. ..\"\n\n> You examine the panel\n\"The outer casing.. access panel ripped open, hanging loose. The workings of the console are inside, I think.. By the side of it, there's a keypad, numeric keypad..\"\n\n> You examine keypad\n\".. from 0 to 9, got a display at the top with.. \"\n\n\"The display is dark.. could be... ken, panel...\"\n\n> Press 5\n\"The what? I can't see anything.. Anything like that..\""
    },
    {
        "text": "[Themes: Science Fiction, triangle of identities, unreliable narrator, spaceship]\n\n> Look around\n\"Alright. .. laser's here, the controls and everything, under the por... not much else, real mess. No bodies.. just the one doorway, a little blocked but okay I guess...\"\n\n\"Moon's getting pretty close.. I can see, damn, I can see the collision battery swinging around..\"\n\n> You look at the laser\n\"There's a panel by the side of the main controls, numeric pad above that... forced open, like someone.. apart. ..\"\n\n\"...the damn gun's lining up! The damn space junk gun is lining up!..\"\n\n> Exit\n\"Okay, I've squeezed back out..\"\n\n\"... is the central hub of the ship. Let's see; there's the hatch leading back up the bridge and a couple of other doors around the ring.. a lot sealed off; bulkheads down.. .. couple of bodies floating slightly, red blood.. passages, blocked up leading off into .. marked 'store room' on the door, pretty solid.. and a ladder down, and some debris opposite .. squeeze past, I don't know, I could try to squeeze past it, I think there's...\"\n\"Oh no, I don't believe it! The damn gun.. it oh sh.. ie! ...firing at us! I'm gonna die! I'm gonna die!!\"\n\n> Yes\n\"Alright.\"\n\n\"..not going to be please.. ..failed... so close.. ..damn you, DAMN you, DAMN Y\"\n\nWith thanks to Vincent Lynch, Tom Lees, John Bichard.\n\nup.]\n\n> You press the green\nBzzt. Crackle. *Static*\n\n\"...hello? Hello? Can... me? .. Anyone! Hel.... Need.. hello?\"\n\nBleep - PLEASE WAIT - Locating/Tuning signal...\n\n..\n\n\".. help. Repeat, can anybody hear me? Can you hear me? Hello..\""
    },
    {
        "text": "[Themes: Science Fiction, triangle of identities]\n\n> You look around\n\"Hello? Hello! The .. <crackle> pretty bad. Are you receiving this? Over.\"\n\n> You look at yes\n\"..what? Can't quite make you out. .. we need help. This is the space pod 'Serpentine'. We've been attacked, a small cruiser. They.. they came out of nowhere.. tried to board us.. ...stly dead.. systems are all messed up, we're drifting.. I need help to fix this..\"\n\n\"I'm by the console, there's wires everywhere. The computer flashing something. What do I do? Hello?\"\n\n> Y.\nPLEASE WAIT - Filing to secondary processor.\n\n\"- .. was connecting them up, about to twist them together. But I..\"\n\n> Twist blue and green\n\"I only.. caught.. wanted me to.. twist the wires.\"\n\n> You connect the blue and green\n\"Okay, I'll.. twist the wire ends up... hang on..\"\n\n\"Okay - nothing's blown up. Phew..\"\n\n> Wait\nBzzzt.. crackle..\n\n> You wait awhile\nBleep - PLEASE WAIT - signal offline. Retracing..\n\n> You wait for a while\nBzzzt.. crackle..\n\n..\"God.. Thank God, the lights... Hello, are you there? Are you there.. Hello?\"\n\n> Don'T panic\n\"Who's that.? There's no-one here like that..\"\n\n> You open hatch\n\"Hello..? The line's still a little weak, but I can hear you..? Thank God, thank God, I thought.. everything went dead..\"\n\n\"The computer's back up and running now; shall I read the display?\"\n\n> You read the display\n\"Oh, it's still flashing 'SIDE ENGINES MALFUNCTIONING'. There's a couple of buttons by the side; Reset and Diagnose. Should I press one of these?\"\n\n> You press diagnose\n\"Wait - yes, it's reading, it's pretty fast, I'll, hang on..\"\n\n\"Damage to decks 1,2 - light. Damage to 3 - partial. Damage to 4 and below - total. That's the ..berths and equipment; damn! Hang on, there's more.. side engines offline, back thrusters erratic. We're going to need to use the lasers to cut them free, they're spinning us off..\"\n\n\"I don't know how to operate them.. Are they not controlled from here? No, suppose must not be ... sealed off.. Shall I go down and look?\"\n\n> Yes\n\"Okay then. Hang on..\"\n\n\"The hatchway isn't open.. I can't.. through.. \"\n\n> You open hatch\n\"Okay - hang on.. turn the wheel, quite heavy.. Aaargh!.... Y...!\"\n\n- Click - <Crkkzt>.. .<bzzt>..\n\n\"..sorry.. slipped on something, cut my leg... I'm okay.. The hatch is open..\"\n\n> You take the wires\n\"They're only tiny little bits.. I don't think I could use them.. ..destroyed..\""
    },
    {
        "text": "> Describe the surroundings\n\"This isn't the laser room, I need the laser room.. ...hole in the wall, leading back to the hub, right size, straight through the bulkhead. And, let's see... ..body, just one here, a man. He's... ...some sort of recess, alcove, and another porthole like in all the rooms; Moon's pretty damn big..\"\n\n> You look in recess\n\"I can't see anything.. goes a long way down though.\"\n\n> You enter the recess\n\"It's not large enough.. ..or me..\"\n\n> You take all\n\"The... I can't ..e anything.. Anything like that here.\"\n\n> You examine man\n\"Must have died in the attack.. like all the others I guess... he's.. lying near the recess in the wall, his hands still over the lip.. fell onto it perhaps, certainly facing ... lot of blood.. oh God..\"\n\n> You look under man\n\"Nothing.. there's nothing there..\"\n\n\"They were too damn good for us... better firepower, defences, everything.. .. -\"\n\nBleep -- accessing records: \"Species: G'hilga. First Contact: 2413. War declared 2423...\"\n\n- Initiate Search for Salient Inf (Y/N)?\n\n> Y.\nPLEASE WAIT - Filing to secondary processor.\n\n\"- .. didn't stand a chance.. I guess we were outside the moon security field.. would have polished us off if we hadn't have broken through in time I suppose..\"\n\n> You move man\n\"..moved a little.. didn't reveal anything..\"\n\nBleep - Processing complete. Physical form of G'hilga - height 3 foot, monopedal, climb using multiple claws situated over torso, translucent blood - Firepower - superior, though unable to penetrate Moon-shield - [Author's Note: FILE CLOSED]\n\n> Exit\n\"I'm going back through the doorway.\"\n\n\"... is the central hub of the ship. Let's see; there's the hatch leading back up the bridge and a couple of other doors around the ring.. a lot sealed off; bulkheads down.. .. couple of bodies floating slightly, red blood.. passages, blocked up leading off into .. marked 'store room' on the door, pretty solid.. and a ladder down, and some debris opposite .. squeeze past, I don't know, I could try to squeeze past it, I think there's...\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction, spaceship setting]\n\n> Look around\n\"Alright. .. laser's here, the controls and everything, under the por... not much else, real mess. No bodies.. just the one doorway, a little blocked but okay I guess...\"\n\n> You look at the controls\n\"The what? I.. I don't see anything like that here.\"\n\n> You look at the panel\n\"The outer casing.. access panel ripped open, hanging loose. The workings of the console are inside, I think.. By the side of it, there's a keypad, numeric keypad..\"\n\n>>\n\"The outer casing.. access panel ripped open, hanging loose. The workings of the console are inside, I think.. By the side of it, there's a keypad, numeric keypad..\"\n\n>>\n\"The outer casing.. access panel ripped open, hanging loose. The workings of the console are inside, I think.. By the side of it, there's a keypad, numeric keypad..\"\n\n> You look at the keypad\n\"Keys,. .. to 9. There's a display, four... \"\n\n\"The display is dark.. could be... ken, panel...\"\n\n> You examine display\n\"I don't see - no I ....what you mean at all.\"\n\n> You look in the panel\n\"Inside.. there's a lot of tangled wiring, but ... anything broken... empty socket just under the numeric pad... one component missing... quite large, power source perhaps... to find it..\"\n\n> You leave\n\"Okay... tell what I need to do... ...help me, for God's sake..\"\n\n> Exit\n\"Okay, I've squeezed back out..\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You search debris\n\"There's.. there's some sort of room there, sure..\"\n\n> You enter door\n\"Okay, I'm .. now in the store room.. pretty cramped here..\"\n\n\"This isn't the laser room, I need the laser room.. There's the hole in the wall, leading back to the hub.. through the bulkhead. And.. this place is a mess... another body, just one.. a man.. next to one wall, where's there's.. some sort of recess, alcove, another porthole like in all the rooms...\"\n\n> You examine the alcove\n\"A square recess - no, it's a chute of some sort.. leads downwards.. I think it's a waste ejection system; there's a button above it labelled 'Flush'... to eject things into space I suppose.\"\n\n\"I'm gonna need to fix that laser up pretty quickly.. can't be long now till Moon landing, you know?\"\n\n> You look under man\n\"Nothing.. there's nothing there..\"\n\n\"It could be anywhere this damn thing! I hope you know what we're looking for..\"\n\n> Leave\n\"I'm going back through the doorway.\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You climb the ladder\n\"Are you sure.. do I need to? It looks pretty burnt out down there, I don't know how safe it is.. Should I go?\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Look around\n\"Oh God.. it's a real mess down here.. ..third level.. the walkway mangled up in the middle, hairpin.. the walls are all crunched in, toward the base of the ladder, a V.. there's no floor space to stand on.. all the bulkheads around have closed, they're charred.. there's piping, wiring hissing from every crevice.. it's like it's just been .. melted.. \"\n\n> You examine the piping\n\"There's a lot of ... broken, torn pipes here, spewing white gas.. it's all mangled up.. and a metal chute of some sort.. seems to be caught in a bulkhead, must have been flying outwards when it closed.. all crunched up..\"\n\nBleep - Processing complete. Enemy fleet massing just outside MoonShield perimeter - All batteries collecting for attack - All civilian/trade ships must land immediately - Boarding pods detected - [Author's Note: TRANSMISSION ENDS]\n\n> You examine the chute\n\"Chute, running from the level above I think.. the other end is trapped in one of the bulkheads; it's squeezed the chute.. burst it open at the base, along a seam..\"\n\n> You look in the chute\n\"..something..yes, there's something here. A component, it's little blackened, but it's some sort of component. Quite ... I've picked it up.. I've got it..\"\n\n> You examine the component\n\"Is this it? ..all, a bit charred.. size of .. a man's fist, yes.. gold attachments either end.\"\n\n> You climb the ladder\n\"I'm climbing back up.. hard, the Grav's a little looser here..\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n\"Moon's getting pretty close.. I can see, damn, I can see the collision battery swinging around..\"\n\n> You squeeze past the debris\n\"It's going to be quite a squeeze.. hang on.. no, I'm through.. okay..\"\n\n\"Alright. .. laser's here, the controls and everything, under the por... not much else, real mess. No bodies.. just the one doorway, a little blocked but okay I guess...\"\n\n\"I'm still holding onto the blackened component.\"\n\n\"...the damn gun's lining up! The damn space junk gun is lining up!..\"\n\n> You put the component in the panel\n\"Okay, I've slotted it in... hang on... it's powering up!.. oh, .. keypad, the keypad's powered up.\"\n\"Keys,. .. to 9. There's a display, four... \"\n\n\"All powered up.. need an access code. What's the code?\"\n\nBleep -- accessing memory -- Lasercodes: ENTER CLASSIFIED SECTOR: (Y/N)?\n\n> You enter 8748\n\"Okay, I'll type it in.. hang on... \"\n\n\"..it's flashing.. 'Type code match' ..hat good? What does it mea..?\"\n\n\"...the damn gun's lining up! The damn space junk gun is lining up!..\"\n\n> You wait\n\"Just ... the code, tell me the code now!! ... hear me, I need the code...\"\n\n\"...oh sh.. oh sh... I'm gonna die! The gun's firing.. I'm gonna die..\"\n\n> Fire\n\"What do... want me to fire?\"\n\n> Fire laser\n\"Just ... the code, tell me the code now!! ... hear me, I need the code...\"\n\n\"..not going to be please.. ..failed... so close.. ..damn you, DAMN you, DAMN Y\"\n\nWith thanks to Vincent Lynch, Tom Lees, John Bichard.\n\nup.]\n\n> You press the green\nBzzt. Crackle. *Static*\n\n\"...hello? Hello? Can... me? .. Anyone! Hel.... Need.. hello?\"\n\nBleep - PLEASE WAIT - Locating/Tuning signal...\n\n..\n\n\".. help. Repeat, can anybody hear me? Can you hear me? Hello..\"\n\n> You open hatch\n\"Huh?.. right, yes, I'm on it.. \"\n\n\"Okay - hang on.. turn the wheel, quite heavy.. Aaargh!.... Y...!\"\n\n- Click - <Crkkzt>.. .<bzzt>..\n\n\"..sorry.. slipped on something, cut my leg... I'm okay.. The hatch is open..\"\n\n> Go outside\n\"Okay, I'll just slip through.. right.\"\n\n\"... is the central hub of the ship. Let's see; there's the hatch leading back up the bridge and a couple of other doors around the ring.. a lot sealed off; bulkheads down.. .. couple of bodies floating slightly, red blood.. passages, blocked up leading off into .. marked 'store room' on the door, pretty solid.. and a ladder down, and some debris opposite .. squeeze past, I don't know, I could try to squeeze past it, I think there's...\""
    },
    {
        "text": "[Themes: Science Fiction, spaceship, science fiction, spaceship setting]\n\n> Go down\n\"Do what..? You're breaking up..\"\n\n> You climb the ladder\n\"Are you sure.. do I need to? It looks pretty burnt out down there, I don't know how safe it is.. Should I go?\"\n\n> You look at the piping\n\"There's a lot of ... broken, torn pipes here, spewing white gas.. it's all mangled up.. and a metal chute of some sort.. seems to be caught in a bulkhead, must have been flying outwards when it closed.. all crunched up..\"\n\n> You look at the chute\n\"Chute, running from the level above I think.. the other end is trapped in one of the bulkheads; it's squeezed the chute.. burst it open at the base, along a seam..\"\n\n\"They were too damn good for us... better firepower, defences, everything.. .. -\"\n\nBleep -- accessing records: \"Species: G'hilga. First Contact: 2413. War declared 2423...\"\n\n- Initiate Search for Salient Inf (Y/N)?\n\n> Y.\nPLEASE WAIT - Filing to secondary processor.\n\n\"- .. didn't stand a chance.. I guess we were outside the moon security field.. would have polished us off if we hadn't have broken through in time I suppose..\"\n\nBleep - Processing complete. Enemy fleet massing just outside MoonShield perimeter - All batteries collecting for attack - All civilian/trade ships must land immediately - Boarding pods detected - [Author's Note: TRANSMISSION ENDS]"
    },
    {
        "text": "[Themes: Science Fiction, spaceship setting]\n\n> Describe the surroundings\n\"Oh God.. it's a real mess down here.. ..third level.. the walkway mangled up in the middle, hairpin.. the walls are all crunched in, toward the base of the ladder, a V.. there's no floor space to stand on.. all the bulkheads around have closed, they're charred.. there's piping, wiring hissing from every crevice.. it's like it's just been .. melted.. \"\n\nBleep - Processing complete. Physical form of G'hilga - height 3 foot, monopedal, climb using multiple claws situated over torso, translucent blood - Firepower - superior, though unable to penetrate Moon-shield - [Author's Note: FILE CLOSED]\n\n> You examine the wiring\n\"There's a lot of ... broken, torn pipes here, spewing white gas.. it's all mangled up.. and a metal chute of some sort.. seems to be caught in a bulkhead, must have been flying outwards when it closed.. all crunched up..\"\n\n\"Not a lot of crew on board though... could have been worse I guess.. just bad luck or something, huh..?\"\n\n> Up\n\"What..? The radio's bad .. breaking up, Moon's ...thing..\"\n\n> You climb the ladder\n\"I'm climbing back up.. hard, the Grav's a little looser here..\"\n\n\"Okay - this is the central hub... ..there's the hatch leading back up the bridge and a couple of other doors.. a lot sealed off; bulkheads down, scorch damage on walls.. ..couple of bodies.. <bzzt> ..leading off into... ...marked 'store room' on the door... and a ladder down, and some debris opposite the door.. ...squeeze past, I don't know..\"\n\n> You move the debris\n\"Okay.. I've hauled a bit out of the way.. not much better though..\"\n\n\"I'm still holding onto the blackened component.\"\n\n> You put the component in the panel\n\"Okay, I've slotted it in... hang on... it's powering up!.. oh, .. keypad, the keypad's powered up.\"\n\".. from 0 to 9, got a display at the top with.. \"\n\n\"All powered up.. need an access code. What's the code?\"\n\nBleep -- accessing memory -- Lasercodes: ENTER CLASSIFIED SECTOR: (Y/N)?\n\n> Wait\nSelect type no:8 - 7 - 4 - 8\n\nBleep -- PLEASE WAIT -- Accessing lasercodes...\n\n> You enter 8748\n\"Okay, I'll type it in.. hang on... \"\n\n\"..it's flashing.. 'Type code match' ..hat good? What does it mea..?\"\n\n> You wait for a while\n\"What's the.. <pzpt>.. I need the engines free... WHAT'S THE DAMN CO... !..\"\n\nBleep -- code accessed: LASERCODES FOR TYPE 8-7-4-8:\n\n[Author's Note: Highly Secured Material]: Display Document (Y/N)?\n\n> Y.\n\"Moon's getting pretty close.. I can see, damn, I can see the collision battery swinging around..\"\n\n> You enter 8748\n\"Okay, I'll type it in.. hang on... \"\n\n\"..it's flashing.. 'Type code match' ..hat good? What does it mea..?\"\n\n\"...the damn gun's lining up! The damn space junk gun is lining up!..\"\n\n> Wait\n\"Just ... the code, tell me the code now!! ... hear me, I need the code...\"\n\"Oh no, I don't believe it! The damn gun.. it oh sh.. ie! ...firing at us! I'm gonna die! I'm gonna die!!\"\n\n> You enter 8748\n\"Okay, I'll type it in.. hang on... \"\n\n\"..it's flashing.. 'Type code match' ..hat good? What does it mea..?\"\n\n\"..not going to be please.. ..failed... so close.. ..damn you, DAMN you, DAMN Y\"\n\n> Yes\n\"Oh, thank God. Thank God.. ..emergency frequency.. We need help.\nThis is the space pod 'Serpentine'. We've been attacked, a small cruiser. They.. they came out of nowhere.. tried to board us.. ...stly dead.. systems are all messed up, we're drifting.. I need help to fix this..\"\n\n\"I'm by the console, there's wires everywhere. The computer flashing something. What do I do? Hello?\"\n\n> You connect the blue and green\n\"Okay, I'll.. twist the wire ends up... hang on..\"\n\n\"Okay - nothing's blown up. Phew..\"\n\n> You climb the ladder\n\"Climbing down the ladder...\"\n\nBleep - PLEASE WAIT - Incoming inf from Tracking Station Tranquility Base..\n\n\"Oh God.. it's a real mess down here.. ..third level.. the walkway mangled up in the middle, hairpin.. the walls are all crunched in, toward the base of the ladder, a V.. there's no floor space to stand on.. all the bulkheads around have closed, they're charred.. there's piping, wiring hissing from every crevice.. it's like it's just been .. melted.. \"\n\n> You look at the pipes\n\"There's a lot of ... broken, torn pipes here, spewing white gas.. it's all mangled up.. and a metal chute of some sort.. seems to be caught in a bulkhead, must have been flying outwards when it closed.. all crunched up..\"\n\n> You examine the chute\n\"Chute, running from the level above I think.. the other end is trapped in one of the bulkheads; it's squeezed the chute.. burst it open at the base, along a seam..\"\n\nBleep - Processing complete. Enemy fleet massing just outside MoonShield perimeter - All batteries collecting for attack - All civilian/trade ships must land immediately - Boarding pods detected - [Author's Note: TRANSMISSION ENDS]\n\n> Wait\n\"Come on, hurry up.. .what's the code for the laser, what's the code??\"\n\n> You enter 8748\n\"Okay, I'll type it in.. hang on... \"\n\n\"..it's flashing.. 'Type code match' ..hat good? What does it mea..?\"\n\n\"Moon's getting pretty close.. I can see, damn, I can see the collision battery swinging around..\"\n\n> You enter 1374\n\"Okay, I'll type it in.. hang on... \"\n\n<bzzt> \"the laser's powering up.. I have control of it! Gujt! I have ... of it! Do you hear me, Human? I have control of the laser!\""
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Describe the surroundings\n\"...I thank you, Human, for your aid... <bzzt vrakk> You perhaps do not quite grasp the stupidity of what you have just done. The Empire will - \"\n\n> Wait\n\" - be most - \"\n\nBleep - PLEASE WAIT - New Signal Located.. Locating/Tuning...\n\n\"Hello? Alpha Station Computer, this is MoonDome Beta-3. We need your assistance, we've been attacked; they're through the shield. It's Frag firepower! I don't know how it's coming through the shield, but it's definitely Frag weaponry! We thought we could see some attachment to a civilian transport. Repeat: We need assistance. Require..\"\n\nBleep - PLEASE WAIT - Channeling signal into secondary processor...\n\n\" - where many have failed. Our long war is over, I think, Human. We have you to thank for that. You are a true hero. I - \"\n\n> You wait\n- \" wish you a good death.\"\n\nBleep - Power source fluctuations. Memory sections damaged. Control un..\n\n> You idiot\n\"I don't think... can.. more than one at a time..\"\n\n> You open hatch\n\"Okay - hang on.. turn the wheel, quite heavy.. Aaargh!.... Y...!\"\n\n- Click - <Crkkzt>.. .<bzzt>..\n\n\"..sorry.. slipped on something, cut my leg... I'm okay.. The hatch is open..\""
    },
    {
        "text": "[Themes: Science Fiction, triangle of identities, unreliable narrator]\n\n> You climb the ladder\n\"I'm climbing back up.. hard, the Grav's a little looser here..\"\n\n\"... is the central hub of the ship. Let's see; there's the hatch leading back up the bridge and a couple of other doors around the ring.. a lot sealed off; bulkheads down.. .. couple of bodies floating slightly, red blood.. passages, blocked up leading off into .. marked 'store room' on the door, pretty solid.. and a ladder down, and some debris opposite .. squeeze past, I don't know, I could try to squeeze past it, I think there's...\"\n\nBleep - Processing complete. Enemy fleet massing just outside MoonShield perimeter - All batteries collecting for attack - All civilian/trade ships must land immediately - Boarding pods detected - [Author's Note: TRANSMISSION ENDS]\n\n> You enter 6126\n\"Okay, I'll type it in.. hang on... \"\n\n<bzzt> \"the laser's powering up... targetting is swinging round... ..the fleet, targetting our fleet... all automatic.. damn it! ... The fleet - the fleet's being ripped apart... I improved the laser cannon... oh no... damn you, Human...\"\n\n<crkkt>\n\n\"..firing back at me... what have I... damn you!!! DAMN YOU!!! DAMN Y -"
    },
    {
        "text": "[Themes: Zombie, amnesia, zombies, hospital, horror, survival]\n\nYou let out a deep and painful moan as you slowly realize you are awake on a cold, tiled surface. Judging by the ache in your head and bones, you've been hit with a lead pipe and left to rot. You grope at your head, but you can't feel anything, not through the thick rubber gloves you're wearing at any rate. You flop over and moan again at the bright lights coming from the ceiling. Your arm half-heartedly gropes around for something, and finds the metal railing of a vinyl bed. You use it to steady your balance as you pull yourself up. You close your eyes to help yourself adjust.\n\nAs your vision clears and your nausea subsides you are gifted with a very acute headache. Feeling less groggy, a sudden realization of a deep, debilitating hunger nearly doubles you over in pain. You can't remember how on earth this happened to you, but then retrograde amnesia is rather common in head trauma victims. You take time to recover your senses, then assess the situation.\n\nYou instantly recognize the special room of the hospital you are in; after all you've been working here for years. You can see the delicate instruments of radiation treatment neatly positioned, ready to use. There is a worn green vinyl bed underneath the delicate machinery. A quick glance around also finds you a smashed glass paperweight on the ground, which you suspect is the cause of your massive headache. Your hunger is probably just from being knocked out for so long. You also notice an airtight, electronic sealed door with a large button next to it.\n\nYou can go south to the Control Room.\n\n[Author's Note: The infection has spread. They are coming.]\n\n> You examine paperweight\nYou see the shattered remnants of what formerly appeared to be a glass paperweight. Small chunks of glass lie in a heap upon the floor None of them are large enough to cut anything.\n\n> About yourself\nYou look at yourself and find that you're wearing a large-pocketed, long lab coat, with thick rubber gloves and white boots to match.\n\n> You examine the pockets\nDeep white pockets, useful for carrying things. Inside you can see nothing.\n\nSearching more closely, you actually find your small good-luck compass in one of the pockets! It will certainly prevent you from getting lost.\n\n> You examine compass\nA small bauble. As far as navigation goes, it's not too terribly accurate but it can give you a general idea.\n\n> You look at the bed\nA semi-comfortable human-sized block of padding with a head pillow. The padding is covered in vinyl for easy sanitation.\n\n> You examine the pillow\nSlightly thicker vinyl plush extending from the radiation bed in a predictable rectangle shape. The radiation equipment seems to be focusing on this spot.\n\n> You examine the equipment\nA marvel of modern machinery and medicine, they offer hope to those who have little. This device will kill off cancer in rather precise locations with exposure to large amounts of radiation. Unfortunately, it kills many others things in the process. It appears to be targeting the head pillow of the radiation bed. Perhaps the last user had a brain tumor. It looks functional.\n\n> Examine button\nA large, round, inviting button. You just know it does something. Probably something with the door it is right next to.\n\n> You examine the door\nAn electronic door, sealed tightly to keep out radiation. There is a large exit button clearly labeled next to the door. You can only assume this is in case a patient panics and tries to run out. The airtight door is closed.\n\nYou feel weak from hunger.\n\n> About yourself\nYou look at yourself and find that you're wearing a large-pocketed, long lab coat, with thick rubber gloves and white boots to match.\n\n> You go to the south\nAs expected, you see a computer control system. What you did not expect is to see are two dead bodies. The first is a woman slumped in the northeast corner with her head blown out. The other, a desiccated and decaying male with a coat and badge lies frozen in a crawling motion. Your neck hair prickles, your stomach churns and your mind reels. \"Zombie,\" your mind whispers, but you are having trouble believing it. The stench of the dead fills the room.\n\nTo your dismay, you see another locked door, this time with a cardswipe next to it. Why can't doors just be always open? After reflecting on it for a moment, you are quite glad that these doors are here; the barrier probably saved you from... whatever is going on outside. You probably owe your lives to these annoying doors.\n\nYou can go north to the Radiation Chamber or south to the First Floor Hall.\n\n> You take the badge\nYou fight back waves of nausea. You feel as though you've seen many dead bodies in your life, but this one will give you nightmares, if you're ever able to sleep again. You gently remove the security badge from his blue lab coat as if the slightest touch might wake him. His mottled and rotting skin does not stir.\n\nA sharp pain from your temples almost make you cry aloud.\n\n> You examine the controls\nA series of buttons and sliders that adjust the strength and location of the machine. There is a large, conveniently labeled \"start\" button. You can also make out instruments adjusting the angle and intensity, but you don't want to mess with the direction or intensity buttons. There is an emergency seal button in the very top corner.\n\n> You look at the woman\nShe is a middle aged, slightly heavy woman. The name tag on her shirt identifies her as Madelyn Grea, a senior technician. She has been shot through the jaw, and there is a vast quantity of blood staining her shirt and pooled on the ground around her. There is a handgun in her right hand and cartridges surrounding her. With your amateur detective skills, you deduce that she killed the attacking man and then took her own life.\n\n> You take the gun\nThe dead woman's fingers are gripping the gun tightly. With a shudder of distaste, you realize you'll have to open her hand first.\n\n> You open her hand\nThe gun clatters from her nerveless fingers to the floor.\n\n> You take the gun\nTaken.\n\nA nice slab of steak sounds perfect right now.\n\nYou pause a moment, as your pain makes it difficult to concentrate.\n\n> You look at the gun\nA standard 9mm handgun, as far as you can tell. The etchings indicate that it is a Glock 17, but you're not sure what that means. The chamber is empty.\n\n> You look at man\nThe most disgusting corpse you believe you have ever seen. The flesh is withered and seems to have been preserved while in the midst of rotting. Judging by the holes in the clothes, he appears to have been shot in the torso and head several times, but there is a distinct lack of blood. Judging by the crooked angle of his legs, at least one had been broken. His fingernails are peeled back, and his left arm is outstretched towards the dead woman: grasping the floor as if he had been crawling towards her with an intense amount of effort. Upon closer inspection, you discover that the man is not \"missing\" a head, per se, there blasted apart pieces of skull littering the room. All of the bone fragments are covered with coagulated blood and rotting meat.\n\nYou realize that you are looking at an actual zombie. Your heart and breath quicken. If a person wearing a staff uniform has been infected, then who knows the extent of the plague, and how it spreads? You are not sure you can rely on the standard movie bite as the only mode of transmission. It might be spread by more casual contact, or even airborne. You resolve to survive.\n\nYou really want to get rid of this headache.\n\n> You take the man\nThat's disgusting. You don't want to interfere with a future police investigation and you certainly don't want to expose yourself to whatever disease he's got, even with protective gloves. You leave him put.\n\n> You search the woman\nNothing but more blood.\n\n> You search zombie\nNothing here but internal organs.\n\n> Swipe badge\nThe door whooshes open with the wave of your plastic.\n\n> You go south\nYou walk into a central hub of nondescript, pristinely sterile hospital hallway. The lights flicker with the dim light of the emergency power generator. The lack of noise sends a chill down your spine. Where there should be doctors rushing, nurses chatting, and patients complaining, you hear absolutely nothing. You wonder if this building has been quarantined off or if the infection has spread beyond it. You are thankful that there are no more signs of trouble: no blood on the walls, no corpses on the ground. Then again, this does make your situation more uncertain.\n\nYou can go north to the Radiation Controls, south to the Elevator, east to the Hospital Entry, or west to the Cafeteria.\n\n> You go west\nWhere sterile halls and clean, empty rooms have dominated nearly all of the hospital, the Cafeteria's vile stench precedes it a full hallway in advance. The Cafeteria has been thoroughly raided. Overturned bins of food, broken jugs of milk and other liquids have all swirled together into a rotting pool of sludge. There are still-sealed bottles of water that have managed to escape the ooze.\n\nA stove had been serving as a barricade to the kitchen, but it has been shoved aside and overturned. You also note some blood and bloody blunt objects.\n\nYou can go north to the Kitchen or east to the First Floor Hall.\n\n> You look at sludge\nA disgusting mix of undecipherable food, liquids and now mold. Looking around at the pooled filth you wonder why all this food was wasted.\n\n> You look at the water\n(sealed bottles)\nBottles of water that are still sealed and not covered in goo.\n\nYour stomach rumbles in hunger.\n\n> You take the water\n(the water bottle)\nWater will always come in handy, and you are certain that with the seal it is safe to drink, providing you are very careful where you put your lips.\n\n> You examine the blunt objects\nBloody trays, a skillet, a chair leg and even cooking utensils are strewn about the room. They might have been marginally useful against invading hordes, but now most of them are shattered or bent or plain unwieldy from over-use. The skillet looks like it is in the best condition.\n\nJudging by the way the blood has dried, they were used against\nhumans, not zombies.\n\nYou feel weak from hunger.\n\n> You take the skillet\neggs. You are certain it will come in handy for one of those things.\n\n> Go north\nYou now realize where all the bodies are - in the kitchen. You see rows upon rows of neatly stacked and cleaned dead bodies, ranging from cafeteria workers to janitors to patients and doctors, all forming a macabre scene.\n\nTearing your eyes away from the gruesome pile, you look around and notice a chaos of canned food. That is probably what the survivors were fighting over - the promise of eating something that is untainted. There is also a huge stainless steel walk-in freezer, not to mention rows of promising cabinets. In the far corner you can see a tin trash container and a plastic blue recycling bin.\n\nYou can go south to the Cafeteria.\n\n> You take the canned food\nYou rifle through the various cans of food and grab the nice-looking can of chickpeas.\n\n> You open the cabinets\nYou open the cabinets, revealing a microwave.\n\nA nice slab of steak sounds perfect right now.\n\n> You open the freezer\nYou see dozens more bodies stacked up in a neat row; with corpses piled several layers high. They are stacked higher towards the end, forming a slope. While the power had been on, you were sure that the cold had helped keep these bodies hidden and preserved. The power has apparently been off for some time now, as many of the bodies have started to melt into one another.\n\nThe stench, which had been sealed off, is now overwhelming and more repulsive than you can even imagine. Barely suppressing the urge to vomit, faint or do both, you close the freezer and back away. As you back away from the freezer, you stumble over one of the dead bodies, knocking it out of line. You really hope that someone is not going to care about that because you are too disgusted to fix it.\n\n> You look in the blue bin\nThe plastic blue recycling bin is empty.\n\n> You look in the trash\nThe tin trash container is empty.\n\n> You examine the bodies\nSomeone has neatly arranged bodies into a row, with the shortest person in the middle and taller people on either sides. They all show signs of a bloody struggle with serious injuries - some have had their heads bashed in, some are missing body parts or have obvious amounts of strong internal bleeding. They have all been cleaned up as much as possible, closed their eyes and even pushed their cheeks into a smile. Someone put a lot of time into doing this.\n\nYou survey them one by one. You see nobody you recognize, but perhaps that is only because you don't remember them. It appears as though only a few of them had actually turned; the rest seem to lack bite marks and only have wounds from fighting. Whoever lined them up also seems to have taken everything useful from them - they lack food, weapons, keys, and don't even have their wallets or ID cards.\n\n> You look at the microwave\nA boxy device used to heat up things. It looks like it's a decade old at least, and the useless power cable has been ripped out from the back of the machine.\n\n> You open it\nYou open the microwave but the light don't come on. In fact, none of the lights are on. The machine is quite broken.\n\n> You take the microwave\nIt's a useless hunk of metal. It wouldn't even be wieldy enough to use to bludgeon.\n\n> You hit the can with the skillet\n(the can of chickpeas with skillet)\nViolence is never the answer, except when it comes to survival. Well, even now, it's not really going to help.\n\n> Examine can\n(the can of chickpeas (unclean))\nA metal can containing chickpeas. Happily for you, it is the kind you can open without a can opener.\n\n> Clean can\n(the can of chickpeas)\nYou achieve nothing by this.\n\nA collective moan arises from the rest of the city. It echoes and is joined by more moans until a distance or origin point is simply indeterminable. The voice of the despairing dead slowly peter out, but their message for you remains. They are determined, and they do not sleep, and they are always hungry, always desperate. You better prepare your defenses.\n\n> Open water\nYou open the water bottle.\nYou take a small sip.\n\nTo protect the water as best as you can, you close it tight again.\n\n> You put the water on can\n(the can of chickpeas (unclean))\nPutting things on the can of chickpeas (unclean) would achieve nothing.\n\nYour stomach rumbles in hunger.\n\n> You put can on the pillow\nYou put the can of chickpeas (unclean) on the pillow of the radiation bed.\n\n> You hit the zombie with the skillet\n(zombie crossdresser with skillet)\nWielding your best weapon (the skillet) you charge and scream as you run towards the crossdresser, putting all your force into a beautifully-arched swing. The metal makes contact with the skull, and you hear the crackling of bone as blood spurts of blood fly around you. As the body of the former person falls to the ground, the blood around the skull wound and splattered onto the frying pan clots almost instantly. The handle to the skillet breaks and is torn from your hand by the force. You duck your head away to minimize contact with flying debris.\n\nThe now broken skillet clatters to the ground. You'd better find a real weapon. Despite the racket, no more zombies come, and you can only assume you were lucky enough that they simply didn't hear. You slump in a corner, and quiver for minutes before being able to so much as stand again.\n\n> You go north\nOn the head pillow is a can of chickpeas (closed).\n\n> You take can\nTaken.\n\n> You open it\nYou remove the lid, salivating at the prospect of food.\n\n> You eat can\nYou scarf the vegetables down, eager to have something to eat at last. You hardly feel satisfied at all, and even a little queasy.\nYou recall hearing about the difficulties people have eating after long bouts of starvation. Or maybe you just never liked chickpeas. You feel an unusual craving for some meatloaf, but at least your hunger pains are satiated.\n\n> You look at the transvestite\nHe was a sort of crossdresser, and a darned good one at that too. If it wasn't for his (now bloody) adam's apple and lanky walk, you'd have mistaken him for a woman. His skirt, already short, is ripped. One of his shoes fell off, and his bright green jacket has been covered in blood. His makeup was nice, but his face has been completely destroyed.\n\n> You go to the south\nA central hub of nondescript, pristinely sterile hospital hallway.\n\nYou can go north to the Radiation Controls, south to the Elevator, east to the Hospital Entry, or west to the Cafeteria.\n\n> You go east\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the previously majestic arches and pillars. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and a small table littered with magazines. The large glass sliding door to the outside displays a thick, ominous fog. You think you see figures moving in the fog, but then again, you might just be playing tricks on yourself.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\n> You examine the sliding door\nImpressively large sheets of glass with great visibility. There is a thick fog outside. You think you can see figures moving outside, but you're not quite sure. You worry about invaders coming.\n\n> You lock the door\nWhat do you want to lock the sliding glass doors with?\n\n> You look at the counters\nA series of desks where employees check in patients, as the name suggests. Everyone has abandoned them; you don't even see hints of blood or struggle. They are just empty. Aside from that, you see nothing spectacular about them.\n\n> You examine table\nA lightweight but sturdy flat surface used to hold the typical variety of tattered hospital magazines. The coffee table is basically made up of a flat wooden rectangular plank attached to a thin supporting column with a weighted metal base.\n\n> Break table\nViolence is never the answer, except when it comes to survival.\nWell, even now, it's not really going to help.\n\n> You take the table\nThe coffee table, while moveable, is hardly portable. You would have a difficult time trying to take it anywhere past a few feet without thoroughly exhausting yourself.\n\n> You look\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the arches. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and a small table littered with magazines. The large glass sliding door to the outside displays a thick, ominous fog. You think you see figures moving in the fog, but then again, you might just be playing tricks on yourself.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\n> You go to the northwest\nFull of various exercising equipment, this place is designed to start people on the path to getting stronger, but you are certain that there is a larger place off-facility for when people are able to leave the hospital. You see exercise balls, stretchy rubber ropes, stationary bicycles, massage tables, stair stepping blocks and doctor chairs. This place is still bright and cheery looking - no blood, no bodies, just orange walls and brightly colored equipment. All of the free weights and weight bars you remember being here have been stolen. There goes your shot at a sweet bludgeoning weapon from here.\n\nYou can go southeast to the Entry Hall.\n\n> You examine balls\nBouncy, large rubber balls for doing yoga and various other kinds of exercise.\n\n> You take the rope\nYou fiddle with it for a few minutes then put it in your pocket for later.\n\n> You examine blocks\nStackable blocks used to do aerobics on. You can combine the blocks to form all sorts of stairs.\n\n> Go southeast\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the previously majestic arches and pillars. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and magazines. You can't see anything out of the sliding glass doors, thanks to the coffee table and bench barricade.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\n> Go north\nAn assortment of gifts and necessities, designed to milk more money out of patients and their visiting families. The place is quiet and poorly lit, lending to a dystopian atmosphere. There are rows and rows of low shelves containing gift cards, knick-knacks, flowers and balloons. There is a section containing flashlights, lamps and batteries especially catches your eye.\n\nYou glance around the store. Not seeing any figures past the shelves is somewhat comforting, but you can't shake the image of a fallen zombie hidden somewhere beneath one of the shelves, just waiting for someone to wander close enough. You shudder.\n\nYou can go south to the the Entry Hall.\n\n> You take the batteries\nLooking at the wall of assorted batteries, you decide that you should stock up on all sizes and shapes. You grab a package of everything from AAA to DD, and even a few tiny circle ones to be sure. You never know what size battery you might need.\n\n> You take the flashlight\nYou're unsure what a flashlight is doing in a hospital gift store, as you are sure that it won't make anyone feel any better. The flashlight is wrapped in a plastic container. You get one.\n\n> You open the flashlight\n(the flashlight (wrapped))\nYou rip at the plastic crap, but you never could do it with your bare hands. You need a sharp object.\n\n> Inventory\nYou are carrying:\na flashlight (wrapped)\nsome batteries\na stretchy rubber rope\nempty can\na water bottle\na handgun (empty)\na security badge\na compass\na lab coat (being worn)\nthick rubber gloves (being worn)\nwhite boots (being worn)\n\n> You look athe knick-knacks\nName magnetic license plates, curio windmills, figurines, glasses and all sorts of other assorted bits of junk manufactured by starving people in China for the passing amusement and inevitable disposal. There is nothing that looks even remotely useful here. Tourist-trap grade junk.\n\n> You examine the shelves\nThere sure are a lot of shelves. They are all uninteresting, except for the various for-sale cards, balloons, batteries, flashlights and lamps.\n\n> You look at the balloons\nSomething native to all hospital gift stores, the assortment of crinkly aluminum get-well balloons. They have everything from teddy bears to cute kittens to just plain \"Get well soon\".\n\n> You take the balloons\nYou seriously doubt that you will ever have need for balloons with get-well inscriptions. Perhaps you can give it to the next zombie you see, and it will be touched at your heart-felt intentions enough not to eat you alive. Nevertheless, taken.\n\n> You look at can\nA completely emptied tin can, complete with the pull-off top.\n\n> You open the flashlight with can\n(the flashlight with empty can)\nThat doesn't seem to be something you can unlock.\n\n> You look at the card\n(the happy birthday card)\n\"Your special day, today it's like the world is made just for you!\"\n\n> You examine the lamp\nA shelf with a few electric lamps. Neat.\n\n> You examine the boots\nThick, with a killer sole. They're actually completely inappropriate for a real hospital worker to be wearing, it was probably just the shoes you wore on your way to work when it was raining. Still, they look pretty badass.\n\n> Go south\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the previously majestic arches and pillars. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and magazines. You can't see anything out of the sliding glass doors, thanks to the coffee table and bench barricade.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\n> You go west\nA central hub of nondescript, pristinely sterile hospital hallway.\n\nYou can go north to the Radiation Controls, south to the Elevator, east to the Hospital Entry, or west to the Cafeteria.\n\n> Go south\nYou stand outside of the elevator. Looking at the elevator lights above the elevator door, you notice that there are two floors, plus probably a basement. The great steel elevator doors are closed. To the west you see a staircase.\n\nYou can go north to the First Floor Hall, or west to the First Floor Staircase.\n\n> You examine the elevator door\nTall, steel and firmly shut. Without electricity running to it, you worry that you probably won't be able to open it at all.\n\n> You go west\nOn the walls, you can see a broken fire extinguisher box, and an emergency escape map.\n\nThe staircase leading up is blocked halfway by piles upon piles of furniture. You can see a small passage in the top of the barricade. As for the stairway down, a large chunk of concrete staircase has gone missing. You think you could navigate down, but he darkness of the basement worries you.\n\nYou can go east to the First Floor Elevator, northeast to the First Floor Hall, up to the Second Floor Staircase or down to the Basement.\n\n> Examine box\nSomeone has yanked off the box's little complimentary glass breaker and smashed the glass, taking the fire extinguisher. Aside from glass shards, the only thing you see is a guide on which types of extinguishers to use on which types of fires.\n\n> You take the shard\nYou decide to ditch the idea of pocketing the cut hazard; even the tiniest nick creates a huge vector for infection. There must be less dangerous ways to cut things open.\n\n> You examine the barricade\nA painstakingly erected barricade made of piled up furniture. There is a small hole at the top that seems stable enough for you to climb through if it wasn't just out of your reach\n\n> You go northeast\nA central hub of nondescript, pristinely sterile hospital hallway.\n\nYou can go north to the Radiation Controls, south to the Elevator, east to the Hospital Entry, west to the Cafeteria or southwest to the First Floor Staircase.\n\n> You go east\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the previously majestic arches and pillars. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and magazines. You can't see anything out of the sliding glass doors, thanks to the coffee table and bench barricade.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\n> Go northwest\nFull of various exercising equipment, this place is designed to start people on the path to getting stronger, but you are certain that there is a larger place off-facility for when people are able to leave the hospital. You see exercise balls, stationary bicycles, massage tables, stair stepping blocks and doctor chairs. This place is still bright and cheery looking - no blood, no bodies, just orange walls and brightly colored equipment.\n\nYou can go southeast to the Entry Hall.\n\n> You take the blocks\nThey look a little too bulky to carry, but you feel as though you could push them around if you wanted.\n\n> You take the map\nIt's mounted to the wall.\n\n> You read the map\nBasically, it is telling you to go down the stairs and out the exits of which you are already aware. Not actually very helpful."
    },
    {
        "text": "[Themes: Zombie]\n\n> Go downwards\nOn the walls, you can see a broken fire extinguisher box, and an emergency escape map.\n\nThe staircase leading up is blocked halfway by piles upon piles of furniture. You can see a small passage in the top of the barricade which is now easily accessible thanks to the stair stepping blocks.\nAs for the stairway down, a large chunk of concrete staircase has gone missing. You think you could navigate down, but he darkness of the basement worries you.\n\nYou can go east to the First Floor Elevator, northeast to the First Floor Hall, up to the Second Floor Staircase or down to the Basement.\n\nThe stair stepping blocks have been pushed into this room.\n\n> You take the guide\nYou leave it; what if someone needs to know this information at some point in the future?\n\n> You read the guide\nWater extinguishers are good for wood fires, CO2 extinguishers are good for electrical but bad for water, BC are multi-purpose extinguishers good for gas and electrical fires, and ABC extinguishers are multi-purpose extinguishers good for wood, gas and electrical.\nYou feel enlightened.\n\n> You go upward\nYou climb on up the stair stepping blocks and make it to the second floor staircase.\n\nThe majority of this floor is offices.\n\nYou can see the ripped out hinges and a darkened rectangular wall halo the exact shape and size of a fire extinguisher box. An emergency map is helpfully plastered to the wall.\n\nYou can go east to the Second Floor Elevator, northeast to the Second Floor Hall, or down to the First Floor Staircase.\n\n> Go east\nThe stainless steel doors here are jammed open, exposing a gap wide enough to enter the elevator cab. The previously pristine steel doors have been covered with blood.\n\nYou can go north to the Second Floor Hall, west to the Second Floor Staircase or east to the Elevator Cab.\n\n> You go to the east\nAn elevator with padded walls, used to protect the metal against dings when they take gurneys up and down. You can see the things typical of a elevator: the buttons, the lights and the emergency call box. With the lack of power, this elevator has been deemed non-essential and is not working; none of the lights are on.\n\nYou can go west to the Second Floor Elevator.\n\n> You examine the call box\nThis thing has a phone inside of it that alerts an emergency response team. It is supposed to work in the event of a power failure.\n\n> You open it\nInside the box is an emergency phone. It seems to be functional.\n\n> You use the phone\nYou pick up the phone and hear a dial tone. Amazingly enough, someone is at the other end! You nearly cry with relief at hearing another human voice. You learn that a rescue operation was using the emergency call center as a base of operations. You tell them that you are alive and trapped inside the hospital.\n\nThey assure you that a rescue team will be deployed quickly, and that there are other survivors who have barricaded themselves in the basement and are similarly waiting for help. The rescuer advises that you join with them, as a strength in numbers approach is often best. They stress avoiding contact with possible sources of contamination.\n\nYou savor the human contact, but the man on the other line apologizes and lets you know he has to return to organizing rescues for other survivors. He does strongly assure you that a rescue team will make it to the hospital as soon as it can clear a path.\n\n> You go north\nPristine and sterile, silent hallway, with no noises or anything in sight.\n\nYou can go north to the Medical Records, east to the Restrooms, northwest to the Security Station or southwest to the Second Floor Staircase.\n\n> Go northwest\nA small, cramped room with a single swivel chair, a huge monitor display and an ammo box. There is no evidence of a barricade at all here, it appears as if the security guards on staff bravely went out and tried to fight the problem. Perhaps they were the first ones who got turned by trying to detain the zombies instead of fighting them.\n\nThe Second Floor Hall is to the southeast.\n\n> You examine the ammo box\nA sturdy black box. There is nothing inside the ammo box. You can see something glinting behind the ammunition box, though.\n\n> You look behind it\nThe glint behind the gun ammo box turns out to be a magazine of ammo.\n\n> You take the ammo\n(the gun ammo)\nYou grab the ammo, ready to lock and load.\n\n> You look at the gun\nA standard 9mm handgun, as far as you can tell. The etchings indicate that it is a Glock 17, but you're not sure what that means. It has 6 clips left.\n\n> Examine monitor\nYou had thought that security would have had some kind of power priority in the event of an emergency, but it appears that security monitors are not considered important in a life-support system. All of the monitors are black. But it does look rather impressive, nonetheless.\n\n> You go north\nFiles and records and other such boring stuff dating back for months. The records over a year old are moved to the basement for storage. There are several documents from a bright orange folder that are scattered over a central table. You can see a nearby administrator's office is open.\n\nYou can go northeast to the Office or south to the Second Floor Hall.\n\n> You examine the documents\nThey look like regular patient files, except for the orange folder. In this hospital, that color is reserved for emergency cases - potential plagues, new diseases, resistant strains, or diseases of undeterminable transmission vector. You are guessing that this is the original zombie victim's files. First flipping casually through the files, you notice that there are several copies of the same documents. Several people were going over these files.\n\nThe files talk about a John Doe victim who was bitten in the leg, punctured a major vessel, lost consciousness, and whose heart had stopped for 2 minutes. The heart resumed function, and then the man jumped out of his stretcher and attacked several doctors with his teeth. He had to be restrained, but not after biting several orderlies and other staff.\n\nWhenever he noticed anyone in the vicinity, he would mindlessly and completely devote himself to attacking and eating that person. There is a note about his disease definitely being transmitted by bite - you guess this means the staff turned as well, but you suppose their records would be kept confidentially separate from this John Doe. You suppose that they somehow passed the disease on themselves.\n\nThis isn't really anything that you wouldn't have guessed yourself, except for a little addendum at the end: There are notes that several of the cancer patients did not get infected, even after they got bitten. This knowledge will certainly come in handy fighting this disease. You resolve to share it with the appropriate medical personnel. If you ever survive, that is.\n\n> You go to the northeast\nA typical administrator's office, this is the only one you could find that is unlocked. It is the office of administrator Richard Michaels, but that doesn't mean anything. You can see a typical desk, a painting on the wall, medical cabinets, and an office chair.\n\nYou can go southwest to the Medical Records.\n\n> You look at the desk\nA sturdy wooden desk, there is a single piece of paper on the top: the fiscal report. The desk has three large drawers on its left side. You also see a pen jar, a stapler and a telephone.\n\n> You look at the report\nA bunch of graphs and charts. Boring in regular life and especially so in the middle of an invasion.\n\n> You open the drawers\nYou open the drawers and rifle through to see a pair of scissors and junk.\n\n> You cut the wrapping with the scissors\nYou cut that annoying plastic crap off the flashlight. You flick it on, then off. Looks like it came with batteries. Huh.\n\n> You use the phone\nYou pick up the receiver and attempt to make a call, but there's no dial tone. \"Of course the phone wouldn't be working in an emergency,\" you sigh.\n\n> You examine the stapler\nA heavy metal stapler.\n\n> You take it\nI believe that belongs to someone else.\n\n> You look at the painting\nModern, abstract splatter art of green in a sort of... foliage pattern. Rather pretty and calming.\n\n> You open the cabinets\nYou see plenty of doctor's routine supplies. Cotton balls, cotton swabs, face masks, wooden sticks, a reflex mallet, paper towels and latex gloves.\n\n> You take the mask\nYou stash it in your lab coat.\n\n> You wear mask\nStylish!\n\n> You take the gloves\n(thick rubber gloves)\nYou already have that.\n\n> Go southwest\nFiles and records and other such boring stuff dating back for months. There are several documents from a bright orange folder that are scattered over a central table. You can see a nearby administrator's office is open.\n\nYou can go northeast to the Office or south to the Second Floor Hall.\n\n> You go to the south\nPristine and sterile, silent hallway, with no noises or anything in sight.\n\nYou can go north to the Medical Records, east to the Restrooms, northwest to the Security Station or southwest to the Second Floor Staircase.\n\n> Go south\nThe stainless steel doors here are jammed open, exposing a gap wide enough to enter the elevator cab. The previously pristine steel doors have been covered with blood.\n\nYou can go north to the Second Floor Hall, west to the Second Floor Staircase or east to the Elevator Cab.\n\n> You go to the east\nAn elevator with padded walls, used to protect the metal against dings when they take gurneys up and down. You can see the things typical of a elevator: the buttons, the lights and the emergency call box. With the lack of power, this elevator has been deemed non-essential and is not working; none of the lights are on.\n\nYou can go west to the Second Floor Elevator.\n\n> You use the phone\nYou have already called, help is on the way! Barricade yourself, head to the basement and wait for the calvary.\n\n> You go east\nYou go into the unisex restroom. You see toilets, urinals and sinks. The mirror is broken, however. It appears as though the plumbing has stopped working at some point, but the human need to relieve themselves didn't. Most disturbing, you see is a severely injured zombie sitting in the far corner, casually chewing on human remains. He doesn't seem to notice you.\n\nYou can go west to the Second Floor Hall.\n\n> You go east\nYou see toilets, urinals and sinks. The mirror is broken, however.\nIt appears as though the plumbing has stopped working at some point, but the human need to relieve themselves didn't. Most disturbing, you see is a severely injured zombie sitting in the far corner, casually chewing on human remains. He doesn't seem to notice you.\n\nYou can go west to the Second Floor Hall.\n\n> You shoot zombie\nDeciding to take the zombie out of its misery, you stand back at a safe distance, level your gun and calmly shoot at his head and pull the trigger. You end up hitting the left side of his neck instead. Blood spurts out, and quickly clots down his neck.\n\nEnraged, he drops his hunk of flesh, and stumbles to his feet. He bellows and flails his arms wildly, knocking you back. Backing up, he prepares himself to blindly charge.\n\n> Continue\nYou roll over onto your shoulder and raise your gun at the staggering, bellowing abomination. In your terror, you fire too early, missing the head and instead shooting him right in the stomach. You actually did hit the stomach organ; acidic bile in a slurry of digested meat spray from his wound for a moment before the injury clots. His rage increases and he slams head-first into the wall, completely smashing his skull. He immediately slumps down under the sinks. One less horror in the world.\n\n> You examine the zombie\nA formerly stout fellow, this mutilated corpse slumped against the corner. His head is completely destroyed, with chunks of skull and brain sprinkled across his corpulent lap. His blood has sprayed and is clotted on the tiled walls. He's been rendered quite harmless."
    },
    {
        "text": "[Themes: Zombie, horror, amnesia, survival, hospital]\n\n> You look around\nYou see toilets, urinals and sinks. The mirror is broken, however.\nIt appears as though the plumbing has stopped working at some point, but the human need to relieve themselves didn't  The carcass of a dead zombie lies slumped under the sinks.\n\nYou can go west to the Second Floor Hall.\n\n> You look at the mirror\nSomeone really had it out for reflective surfaces; every mirror is completely shattered and ground into a coarse dust. You are disappointed that you can't check yourself out.\n\n> You examine the sink\nPorcelain and steel, someone has had the foresight to know that the water would be turned off, so they stuffed the sink drains and let the taps run to fill the sinks with water. All of the sinks are empty now.\n\n> You look at the urinals\nEco-friendly flushless urinals. Maybe they still work without the water working?\n\n> You examine the toilets\nThe toilets had been kept clean and sanitized by regular hospital staff; regular cleaning is important to keeping hospital grade infections. Of course, since probably water pumping facilities have been evacuated and the water has shut off. The people have been using the toilets even after the water has been shut off - biology doesn't stop.\n\n> Go southwest\nThe majority of this floor is offices.\n\nYou can see the ripped out hinges and a darkened rectangular wall halo the exact shape and size of a fire extinguisher box. An emergency map is helpfully plastered to the wall.\n\nYou can go east to the Second Floor Elevator, northeast to the Second Floor Hall, or down to the First Floor Staircase.\n\n> You turn on the flashlight\nIt emits a strong beam of light."
    },
    {
        "text": "[Themes: Zombie, amnesia, hospital, horror]\n\n> Go downward\nFirst of all, you can't see the unfamiliar broken staircase well enough to climb it in the dark since you'd have to carry a flashlight with the hands to need to help you climb. Second of all - and this is the biggie - if there were any zombies down there, the awkwardness of climbing down would leave you susceptible to an attack. It's too dangerous without a light source already illuminating the basement.\n\n> You drop flashlight\nYou drop the flashlight. You hope you remember where you put it.\n\n> You put the flashlight on broken Staircase\nYou gently lower it, then raise it again. Nothing happens.\n\n> You tie the rope to the flashlight\nNot a bad idea. Sadly, there's not a sturdy handle that you could tie the rope to, and a flashlight-on-a-rope would be too jiggly to do anything useful."
    },
    {
        "text": "[Themes: Zombie, amnesia, zombies, horror]\n\n> Look around\nSomeone has yanked off the box's little complimentary glass breaker and smashed the glass, taking the fire extinguisher. Aside from glass shards, the only thing you see is a guide on which types of extinguishers to use on which types of fires.\n\n>First Floor Staircase\nOn the walls, you can see a broken fire extinguisher box, and an emergency escape map.\n\nThe staircase leading up is blocked halfway by piles upon piles of furniture. You can see a small passage in the top of the barricade which is now easily accessible thanks to the stair stepping blocks.\nAs for the stairway down, a large chunk of concrete staircase has gone missing. You think you could navigate down, but he darkness of the basement worries you.\n\nYou can go east to the First Floor Elevator, northeast to the First Floor Hall, up to the Second Floor Staircase or down to the Basement.\n\nThe stair stepping blocks have been pushed into this room.\n\n> You turn off the flashlight\nYou turn off the flashlight.\n\n> You go south\nYou see shelves upon shelves of unprotected drugs. If you were unscrupulous you could steal and sell them all... if there was anyone left to sell them to that is. Some people have already had that idea, many of the medical supplies seem depleted. You quickly assess all of the rows. You spot a tempting bottle of over-the-counter pain pills.\n\nYou can go north to The Entry Hall.\n\n> You take the pills\nYou grab a bottle. Pills here.\n\n> Swallow pill\nYou pop the recommended dosage of pills into your mouth.\n\n> Drink water\nYou gulp down the water.\n\nYou feel so relieved as your headache starts to recede, and you thank modern medicine.\nYou feel much better. Satisfied with the state of your body, you start to wonder what other sorts of things might be important in a survival situation."
    },
    {
        "text": "[Themes: Zombie, survival, zombies]\n\n> You describe your surroundings\nYou see shelves upon shelves of unprotected drugs. If you were unscrupulous you could steal and sell them all... if there was anyone left to sell them to that is. Some people have already had that idea, many of the medical supplies seem depleted.\n\nYou can go north to The Entry Hall.\n\n> Go northwest\nFull of various exercising equipment, this place is designed to start people on the path to getting stronger, but you are certain that there is a larger place off-facility for when people are able to leave the hospital. You see exercise balls, stationary bicycles, massage tables and doctor chairs. This place is still bright and cheery looking - no blood, no bodies, just orange walls and brightly colored equipment.\n\nYou can go southeast to the Entry Hall.\n\n> You look at the bike\nA metal ancient monstrosity, not even electric. The difficulty of the bike is adjusted by a strap on the front wheel.\n\n> You examine the strap\nThe thick strap can be pulled or let out with a buckle to change the difficulty of the bicycle. The machine hardly looks safe, but it must have passed numerous safety inspections to still be around.\n\n> You take the strap\nIt's part of the bike.\n\n> You cut the strap with scissors\nThere's no reason to deface the hospital's property; they'll have enough to fix.\n\n> You examine table\nA medical massage table, slightly different from massage tables for fun. There is heating and cooling packs and machinery.\n\n> You examine the ball\nBouncy, large rubber balls for doing yoga and various other kinds of exercise.\n\n> You check your inventory\nYou are carrying:\nsome pain pills\na flashlight\na face mask (being worn)\nplastic light crap\na pair of scissors\na balloon\nsome batteries\na stretchy rubber rope\nempty can\na water bottle\na handgun (loaded)\na security badge\na compass\na lab coat (being worn)\nthick rubber gloves (being worn)\nwhite boots (being worn)\n\n> Tie balloon to flashlight\nAfter sitting in the Gift Shop for so long, it's lost a lot of helium and is only barely afloat. It doesn't need to be anchored, and it definitely won't fly away with something, or even cause something else to fall slowly, so tying it to anything would be useless.\n\n> You look at Staircase\n(the broken staircase)\nConcrete stairs with parts missing. It looks easily climbable, but only with light.\n\n> You check your inventory\nYou are carrying:\nsome pain pills\na flashlight\na face mask (being worn)\nplastic light crap\na pair of scissors\na balloon\nsome batteries\na stretchy rubber rope\nempty can\na water bottle\na handgun (loaded)\na security badge\na compass\na lab coat (being worn)\nthick rubber gloves (being worn)\nwhite boots (being worn)\n\n> You examine the flashlight\nA handheld light-spewing device, perfect for illuminating the darkness of night or basements.. Luckily enough, it came with batteries already inside.\n\nThe flashlight is off.\n\n> You put the flashlight in the coat\nYou put the flashlight into the lab coat.\n\n> You tie the rope to Staircase\n(the broken staircase)\nThe rope isn't strong enough to hold your weight if that's what you were thinking, and anyway the rope's too short to be tied to the stairs AND reach down into the basement. Your best bet would be to simply tie the rope to whatever you want to lower into the basement and then manually lower it.\n\n> Tie the flashlight\nWhat do you want to tie the flashlight to?\n\n> You tie the rope to the flashlight\nNot a bad idea. Sadly, there's not a sturdy handle that you could tie the rope to, and a flashlight-on-a-rope would be too jiggly to do anything useful.\n\n> You get flashlight\nYou already have that.\n\n> You go to the north\nAn assortment of gifts and necessities, designed to milk more money out of patients and their visiting families. The place is quiet and poorly lit, lending to a dystopian atmosphere. There are rows and rows of low shelves containing gift cards, knick-knacks, flowers and balloons. The section containing flashlights, lamps and batteries.\n\nYou can go south to the the Entry Hall.\n\n> You examine the lamp\nA shelf with a few electric lamps. Neat.\n\n> You take the lamp\nYou stow one of the lamps away. It's wrapped in that annoyingly tough plastic wrapping.\n\n> You cut the lamp wrapping\nYou cut that annoying plastic crap off the lamp. You flick it on, then off. Looks like it came with batteries. Huh.\n\n> You check your inventory\nYou are carrying:\nplastic lamp crap\nan electric lamp\na flashlight (providing light)\nsome pain pills\na face mask (being worn)\nplastic light crap\na pair of scissors\na balloon\nsome batteries\na stretchy rubber rope\nempty can\na water bottle\na handgun (loaded)\na security badge\na compass\na lab coat (being worn)\nthick rubber gloves (being worn)\nwhite boots (being worn)\n\n> You look at the lamp\n(the electric lamp)\nA modern version of the hand-held, swinging lamp with a handle. Luckily enough, it came with batteries already inside.\n\nThe electric lamp is off.\n\n> You tie the rope to handle\nYou secure the stretchy rubber rope to the sturdy handle of the lamp.\n\n> You tie the rope to the flashlight\n(the flashlight)\nYou would achieve nothing by this.\n\n> You turn on the lamp\n(the electric lamp (tied))\nThe lamp radiates a low level of light in all directions.\n\n> Lower lamp\n(the electric lamp (tied))\nYou slowly lower the lamp down, peering into the basement. The lamp illuminates the room; you can see that there are three rooms extending out from the basement. Even with the stretch of the rope, the lamp doesn't make it all the way down. Since it's only about half a foot from the ground, you let the lamp fall. It lightly clatters, and nothing happens. It must be safe to go down."
    },
    {
        "text": "> Go downward\nFrom what little light there is, you can tell that the lightbulbs have all been smashed. Perhaps there used to be power here, but someone has made sure that this place would be dark. There are monstrous file cabinets that have been piled up in front of the door, leaving only a small opening to the furnace room. There are deep scuff marks leading from the Room of Records to the barricade.\n\nYou can go north to the Janitor Closet, south to the Furnace Room, northeast to the Room of Records, or up to the First Floor Staircase.\n\n> You look at the cabinets\nStacks of rusted, ancient metal cabinets block the southern exit to the furnace room. They've been hauled out from the room of records that have been hauled up upon one another into a crude pyramid. There is a small opening at the top of the file cabinet barricade.\n\n> You open the cabinets\nThey're locked, and full of boring records anyway.\n\n> Go north\nHospitals have to be sanitary, and that means plenty of janitors constantly cleaning and disinfecting. Not properly a closet, this thing is a full room. There is an arsenal of brooms, mops, cleaning supplies, and a floor waxer.\n\nYou can go south to the Basement.\n\n> You examine the waxer\nA beast of a machine, this baby looks like it could haul.\n\n> You look at the mops\nThe stereotypical heavy-duty industrial grade mop. It reeks of cleaning solutions, even after several days of drying and airing out.\n\n> You look at the brooms\nA wide, fuzzy industrial-grade broom. This thing is pushed along corridors, and is quite different from the classic straw job you imagine you have at your home.\n\n> You examine supplies\nYou can see jugs of bleach, jugs of ammonia, standard glass, wood and stainless steel cleaners.\n\n> Ride waxer\nYou can't bring it out; the thing runs on electricity and has lost its charge. There's no way to charge it either, with all of the electrical sockets down here not working.\n\n> You examine the bleach\nA huge jug of bleach with an easy-to-grasp-handle.\n\n> You take the bleach\nYou grab the jug of bleach by its handle and toss it in your pockets.\n\n> You examine the ammonia\nA huge jug of ammonia with an easy-to-grasp handle..\n\n> You take the ammonia\nYou grab the jug by the handle and toss the ammonia in your pockets.\n\n> You open the bleach\nYou completely remove the cap of the bleach.\n\n> Open ammonia\nYou completely remove the cap of the ammonia.\n\n> Go south\nFrom what little light there is, you can tell that the lightbulbs have all been smashed. Perhaps there used to be power here, but someone has made sure that this place would be dark. There are monstrous file cabinets that have been piled up in front of the door, leaving only a small opening to the furnace room.\n\nYou can go north to the Janitor Closet, south to the Furnace Room, northeast to the Room of Records, or up to the First Floor Staircase.\n\n> You go to the north-east\nA massive room that was filled with shelves and file cabinets. It is evident that a large number of old file cabinets are simply not here any more; there is way too much space near the entrance of the room and you can see the indents on the floor where the file cabinets used to be. There are also huge scuff marks leading from various empty spaces and converging on the exit. You marvel at the amount of effort this must have taken. At the back of the room is an electrical panel.\n\nYou can go southwest to the Basement.\n\n> You examine the panel\nA standard grey electrical panel. It is securely screwed shut, for safety you'd imagine. You remember that you have a toolbox in the trunk of your car; that should come in handy.\n\n> Go south\nYou cautiously climb the file cabinets towards the small opening at the top - making an awful racket of it. You are greeted with a cool and collected male disembodied voice, \"Back away, or I'll shoot you.\"\n\nYou hear a muffled cry coming from deep behind the opening; but you can't risk going in there. You carefully back away from the small opening, not getting a glimpse at the clearly crazed survivor.\n\n> You talk to the survivor\nAll you get is curses. He is quite determined to keep you out. You could always try asking him about something, but it doesn't\n\n> You ask the survivor about himself\n\"Get out of here with your crazy talk.\"\n\n> You ask the survivor about the zombies\n\"They're all going to be turned, into the darkness, into the abomination. Zombie. Ha! That word doesn't even begin to scratch the surface of the deep-seated evil of these creatures. Not to mention their ferocity. They never sleep, never rest, always come and are always hungry. They'll keep coming, nothing can stop them. Only people. Burn before the forest fire. You're already one. They are all already one. Go burn.\"\n\n> You tell the survivor about the cancer\nHe's safely on the other side of that barricade making most interactions a bit tricky. The only way through is that small hole. Maybe if you had some knockout gas, you could actually get in there.\n\n> You throw the bleach into the hole\nYou lob the bleach at the opening, and hear a bloink and splish as the liquid spills out. You hear a string of curses from the other side as the liquid glubs out of the jug.\n\n> You throw the ammonia into the hole\nYou lob the ammonia at the opening, and hear a bloink and splish as the liquid spills out. You hear a string of curses from the other side as the liquid glubs out of the jug.\n\nFitful coughing and curses comes from the Furnace Room, followed a sharp thud and then silence. You expected to hear a hissing reaction or even smell something off, but there was no special noise, and no special smell from the toxic combination of the two cleaning liquids.\n\n> You go south\nWell, you dispatched of the loon, but if you're not careful, you'll hoist yourself by your own petard. You're not going in there with that toxic gas, find a way to get rid of it.\n\n> You throw the balloon\nYou drop the balloon. You hope you remember where you put it.\n\n> You wear the mask\nYou're already wearing that!\n\n> Go east\nYou've put a lot of effort into barricading up the outside doors; you'd have to move the bench and the coffee table back before being able to go outside.\n\n> You move the table\nYou remove the barricade, returning both the coffee table and the bench to the original spots. The coast looks clear enough outside.\n\n> You go to the east\nYou are outside again, for the first time in.... well, you are not sure how long. You wish you could feel the sun, but the thick fog carpets everything; you can barely tell that it is indeed daytime outside. You are now certain that you see shapes moving in the distance and feel hesitant to move much further from the safety of the hospital.\n\nYou can go south to the Parking Lot or west to the Entry Hall.\n\nThere seems to be an unusually large amount of stumbling towards you. Moans all around you fill the air. With panic, you realize they must be drawn to your light. You whimper as the increased shuffling of feet and moaning all point to them being attracted to you.\n\n> Go east\nYou are outside again, for the first time in.... well, you are not sure how long. You wish you could feel the sun, but the thick fog carpets everything; you can barely tell that it is indeed daytime outside. You are now certain that you see shapes moving in the distance and feel hesitant to move much further from the safety of the hospital.\n\nYou can go south to the Parking Lot or west to the Entry Hall.\n\n> Go south\nAn open and sprawling patch of asphalt packed with cars. Many have been broken into and a few have crashed. The fog is so thick that you cannot see more than one area of the lot at a time. You can hear afflicted people shuffling around between rows of cars. You can see your Volvo with a zombified occupant trapped inside, clawing at the window, unsure how to open the door.\n\nIt looks like somebody tried to take advantage of your habit of leaving the car unlocked, but turned before getting the chance to escape. It probably wouldn't have done her any good anyway, you have no idea where your keys ended up, and a car would attract lots of attention, until it ran out of gas.\n\nYou can go north to The Hospital Exterior.\n\n> You look at the car\n(the Volvo car)\nA rather normal looking Volvo wagon: it appears as if the car thief... turned while relaxing or hiding or trying to drive away in your car, you're not sure which. The occupant is now clawing at the window, staring through with glassy eyes, unable to figure a way out. It doesn't look like she has your keys, and they're not in the ignition. You worry about her being able to break the window or claw the door handle open, so you do your best to keep your distance and hide.\n\nLooking more closely, you can see a toolbox in the Volvo's trunk.\n\n> You open the trunk\nThe hinges on the door squeak loudly as you swing the trunk up and open. You notice that inside the trunk is a toolbox. More importantly at the moment, however is the fact that zombified occupant hears and twists her head to see. She hisses and claws at the seats. You feel confident that the seat belt will hold her in place until you hear a snap. It appears the woman was more injured than you initially assessed; she had a large part of her midsection missing. Lacking internal organs, or pesky connecting tissue, the change in pressure from her turning to look at you has snapped her spine.\n\nLeaving her legs in the seat and pulling up on the shoulders of the seats, she heaves her torso through the car. For a moment positions herself between the two seats, staring at you and the newly developed exit. She hesitates for a moment.\n\n> You shoot zombie\nYou steady your aim and fire. You haven't ever had much practice, but you apparently have great aim at such close range. You shoot the zombie square in the head. She reels back with a screech and flops down, completely incapacitated.\n\nThe sound of the gunshot echoes loudly through the parking lot, breaking the silence. No birds fly up, but the sound of the vengeful dead does. You hear one moan, then another and another from the mist. The sound of aimless shuffling increases, only now it doesn't seem quite so aimless.\n\n> You take the toolbox\nTaken.\n\nYou hear deep and anguished moans fill the air from all around you. The sound drowns out everything else, or at least it would if there were any other sounds. The chorus of the undead harmonizes quite perfectly with your growing sense of despair.\n\n> You go to the north\nYou are outside and the thick fog carpets everything; you can barely tell that it is indeed daytime outside. You are now certain that you see shapes moving in the distance and feel hesitant to move much further from the safety of the hospital.\n\nYou can go south to the Parking Lot or west to the Entry Hall.\n\nYou can hear the gentle shuff of feet and limbs being dragged along the ground mixed with the occasional clomp of a heavy shoe or heel. There are occasional thuds of zombies dropping to the ground and raising themselves up again. The sound of massive amounts of undead lumbering towards you fills the air and echoes against the building structures.\n\n> You go to the west\nThe grand entrance to the Calypso Hospital, dead bodies hang from ropes tied to the previously majestic arches and pillars. There is a series of abandoned check-in counters. There are various benches along the hallway, as well as couches and a small table littered with magazines. The large glass sliding door to the outside displays a thick, ominous fog. You think you see figures moving in the fog, but then again, you might just be playing tricks on yourself.\n\nYou can go north to the Gift Shop, south to the Pharmacy, east to the Hospital Exterior, west to the First Floor Hallway and northwest to the Physical Therapy room.\n\nThe entrance doors of the hospital close behind you. Luckily, the horde seems too dumb to pursue you further. You breathe a sigh of relief. Still, it couldn't hurt to bolster your defenses.\n\n> You open the toolbox\nOpening the toolbox, you see a screwdriver and a tire pressure reader. You immediately take out the screwdriver, as it will almost certainly come in handy.\n\n> You look at the tire pressure reader\nAttach it to tires, read the pressure. While it might help you save gas mileage in normal situations, it's absolutely useless in a zombie invasion.\n\n> Go west\nA central hub of nondescript, pristinely sterile hospital hallway.\n\nYou can go north to the Radiation Controls, south to the Elevator, east to the Hospital Entry, west to the Cafeteria or southwest to the First Floor Staircase.\n\n> You go northeast\nIt is pitch dark, and you can't see a thing.\n\nA collective moan arises from the rest of the city. It echoes and is joined by more moans until a distance or origin point is simply indeterminable. The voice of the despairing dead slowly peter out, but their message for you remains. They are determined, and they do not sleep, and they are always hungry, always desperate.\n\n> You turn on the flashlight\nIt emits a strong beam of light.\n\nA massive room that was filled with shelves and file cabinets. At the back of the room is an electrical panel.\n\nYou can go southwest to the Basement.\n\n> Unscrew panel\nYou loosen the screws on the panel and set them carefully on the floor. Your clumsy feet promptly manage to knock them under a nearby file cabinet. They are forever lost. Oh, well.\n\nInside the electrical panel is a row of circuit breakers.\n\n> You examine the breakers\nYou see 10 circuit breakers. It appears that the emergency power was automatically engaged, and powered sections of the hospital were maintained manually with this panel.\n\nThe circuit breakers are: air conditioning (off), east (off), emergency power (on), fire sprinklers (off), furnace (on), MRI machine (on), north (off), radiation chamber (on), south (off), west (off).\n\n> You turn on the air conditioning\nYou let it run for a bit, but then realize that the toxic liquids in the furnace room will continue to evaporate and fill the room with deadly gas. The furnace room is still deadly.\n\n> You turn on fire sprinklers\nYou turn on the fire sprinklers. You glance out into the basement and see water streaming down. You can only imagine that water is similarly raining down on the rest of the hospital as well. You let it run for 30 seconds before shutting off; there is only a small reserve of emergency water, and you imagine that piped water won't be working to replace it anytime soon. You are certain you have washed away the toxic ammonia and bleach, but you are still worried about the chlorine gas that remains.\n\n> You turn on the fire sprinklers\nYou turn on the fire sprinklers. You glance out into the basement and see water streaming down. You can only imagine that water is similarly raining down on the rest of the hospital as well. You let it run for 30 seconds before shutting off; there is probably only a small reserve of emergency water.\n\n> You turn on the air conditioning\nThe whirr of mechanical fans fills the air with an intense cold blast. After letting it run for 15 minutes, you are certain enough that the chlorine gas has been throughly dissipated.\n\n> Go south\nYou climb through the barricade and survey the room. The room is softly lit by the lights from a huge heating furnace with plenty of pipes. The most salient feature of the room, however is a row of bodies, neatly laid from north to south. There is also a closet that is closed. There are muffled cries originating from the closet. You also see the fallen body of a grey-haired man in his late forties curled up on the floor.\n\nYou can go north to the Basement.\n\n> You examine man\nA kind-faced man, you have difficulty believing that this person could be a mass killer. He wears the uniform of a nurse; and you see a name tag with a smiley face. He is unmoving and unbreathing; if he's not dead yet, he will be dead soon. A set of keys is poking out from his jacket pocket.\n\n> You take keys\nTaken.\n\n> You examine the bodies\nA few of them look as though they were in the middle of turning, but most of them seemed to be just normal people who were killed. The freshly-killed bodies look like people posing for some sort of macabre photoshoot; they certainly all look happy enough. One of them has an odd smile, and you realize that the person who arrange their bodies also tweaked their facial muscles.\n\n> Shoot man\nNot taking any chances, you take the time to properly aim at the head and pull the trigger. You see the disgusting aftermath of bits of skull flying everywhere, and a lot of blood pooling. You feel sick, but much safer.\n\n> You open the cabinet\nThey're all locked.\n\n> You look at the man\nA kind-faced man, you have difficulty believing that this person could be a mass killer. He wears the uniform of a nurse; and you see a name tag with a smiley face. He is unmoving and unbreathing; if he's not dead yet, he will be dead soon."
    },
    {
        "text": "[Themes: Zombie, horror, survival]\n\n> Look around\nThe room is softly lit by the lights from a huge heating furnace with plenty of pipes. The most salient feature of the room, however is a row of bodies, neatly laid from north to south. There is also a closet that is closed. There are muffled cries originating from the closet. You also see the fallen body of a grey-haired man in his late forties curled up on the floor.\n\nYou can go north to the Basement.\n\n> You search man\nNothing but sheer crazy.\n\nThere is nothing on the grey-haired man.\n\n> You open Closet\nTo your surprise, you find a young man in his twenties gagged and chained up to an especially sturdy pipe; he silently recoils at the sight of you, not even daring to whimper. Tears flow down his dirtied face and stick to his ear-length sandy blonde hair.\n\n> You untie the man\n(the young man)\nFumbling through the keys with your thick gloves, you find a small key that looks like a good candidate and walk forward to unlock his chains. He stares as you with eyes perplexed, even long after it is clear that your only intentions are to unlock him. He relaxes slightly and sits still as you jam the key into the padlock and hear the comforting click. He rips off his gag and throws the duct tape away, gasping in pain. He immediately slumps into a relieved mass and whispers out a \"thank you.\"\n\nHe then stares up at you with the sweetest, heart-warming smile. You blush and for the first time realize what a handsome man he is. You return the smile. Well, all that's left to do really is stay here and wait for the calvary.\n\n> You ask the man about himself\n(the young man about that)\nThere is no reply.\n\nYou hear muffled stamping and shouts coming from upstairs in the hospital. You both look up excitedly, doubting that help is actually on the way. You can hear occasional bursts of gunfire, and soon you can even hear shouts. You are pretty sure safety is on the way.\n\n> You ask the man about the old man\n(the young man about that)\n\"I came into the hospital seeking refuge. He invited me to he safe zone, and was very friendly, even gave me some food. I still had my own, so I told him he could keep it. Then he, he I dunno he switched.\" You can see the horror in his eyes. \"He started mumbling about order and shoved me through this hole, when I saw all the bodies I tried to run, but he just tackled me and slammed my head hard. I woke up chained, and heard him cursing at the barricade.\".\n\nYou hear shouts coming from the other side of the barricade, warning you to stay away from the entrance. The young man stands up and turns to you. \"Listen, I'm not entirely sure what's going on, but it's sure as hell they won't know either. You're in danger, you're likely to be blamed. They won't...\" he falters, tears brimming as he wipes them away. \"They won't attack me\" he tells you, less than confidently. \"because I look like a victim.\"\n\nYou glance at his wrists, and the tale they immediately tell. The rows of bodies sure do look bad. Your fellow companion walks towards the file cabinets and orders you to stay where you are. You try to object, but he hears none of it.\n\n> You tell the man about the cancer\n(the young man about that)\nThere is no reply.\n\nSuddenly, the top file cabinet is wrenched back and a S.W.A.T. member runs through the top pile of doors. After only glancing at the pile of bodies, he swings his rifle up at you. \"What the hell is going on.\" he demands. Shock and adrenaline pump through you. Your eyes widen and your nostrils flare. You automatically switch to a combative stance and an image of pouncing him and disarming him of that rifle briefly flashes through your mind.\n\nLuckily, your companion has better kept his wits about him, and he immediately intervenes: stepping into the line of fire and telling how you saved him from a crazed survivor. He explains that the crazed survivor was the one who killed everyone trying to contain the infection. More S.W.A.T. members pour in and similarly aim their weapons at you. None are aiming at your companion. You're now effectively surrounded by your supposed rescuers.\n\nUncertain, the S.W.A.T. member yells at you to drop your gun, and points his assault rifle at you with more vigor.\n\n> You drop the gun\nYou drop the handgun. The S.W.A.T. member visibly relaxes.\n\nAfter complying with their orders, the members of the S.W.A.T. remain uncertain. They radio for backup. One of the team members cautiously walks up to you. \"Do you know... who... what you are?\" Confused, all you can do is shake your head. One of the other members starts digging through a pack and procures a tactical mirror, handing it over. Hesitantly, you look at yourself in the mirror. Your skin is mottled and was decomposing at some point, but now has a weathered, preserved look. There is a rather large gash on your forehead that has been bandaged. Helplessly you stare at the reflection you want not to be your own, but that matches you at every turn. You drop the mirror and start to cry. No tears come; you are physically incapable.\n\nThe young man whom you saved sees your distress, comes over and embraces you, not caring that his skin touches yours. The guns are all lowered and you hear a cacophony of clicks. Radiation kills the neuro-virus, and you realize the significance of you waking up in a radiation chamber. Noticing that you are lost in your thoughts, you glance around at a room of confused S.W.A.T members. Taking advantage of the uncertainty, you dramatically rise up, \"I am an infected who has been to madness and back and I can save them all.\" A bit cheesier than you had intended, but it gets the job done.\n\nYou guide the hesitant doctors and scientist through the hospital's notes. Thanks to you, the infection policy is changed after a week. While people's sanities are restored, their skin maintains the same pale, mottled and rotting look. The legal status of the new undead becomes annoyingly uncertain as intolerance finds its newest schism. You become a poster child for zombie tolerance, equality and reason, starting a new non-profit organization designed to fight legal discrimination.\n\nYour wound never heals and your hair never grows out, and to the chagrin of the vegetarian inside you, all you can eat is meat. The young man you rescued, Mark Cayman, remains a true friend and ally in the fight for zombie equality. A few days ago, he asked you to a restaurant with strong hints that it might be about more than politics, and you are excited. You feel elatedly triumphant about all you have accomplished."
    },
    {
        "text": "[Themes: Wordplay, wordplay, silly, surreal]\n\n> About yourself\nThere's no time to dawdle. You must do one of the following:\n\n>Go to the Shopping Bizarre\n>Play Jacks\n>Buy the Farm\n>Eat your Words\n>Act the Part\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n[Author's Note: You are standing at the edge of a barren field. A steady wind, having secreted away the topsoil, is now drifting sandy dirt across the plain. A scant sign of life here is a freshly-burrowed molehill on the ground. > MAKE A MOUNTAIN OUT OF THE MOLEHILL There is a tremendous rumbling in the distance, getting louder and louder, until it is deafening. The dirt around the molehill crumbles away as mighty, jagged granite peaks emerge from deep underground. The surrounding landscape transforms into a fertile valley before your very eyes. Infocom's first collection of short stories takes you to a place where nothing is quite as it seems. It's a place where you really can make a mountain out of a molehill, where \"the fur is flying\" is taken literally, and where a bow can be turned into a beau. Each of the eight stories in Nord and Bert Couldn't Make Head or Tail of It involves a different type of wordplay. You'll find yourself challenging your wits and your memory to come up with the clich\u00e9s, spoonerisms, and other verbal trickeries needed to complete the puzzles. But don't view this as a hard row to hoe. Nord and Bert contains built-in hints, which you can call upon when the going gets rough. All eight stories take place in the mixed-up town of Punster. However, no two contain the same people, locations, or objects. Each is played independently of the others, although you'll use passwords obtained in seven of the stories to get into the eighth. As for mapping, it's out of the window. You simply type where you want to go. The tall tales in Nord and Bert are every bit as fun and clever as Infocom's other interactive fiction stories. They can each be completed in one sitting, making them a highly entertaining way to spend an evening, alone or with friends. Nord and Bert was authored by Jeff O'Neill, whose mind is constantly working on artful new turns of phrase.]"
    },
    {
        "text": "> Shake tower\nIn the dark forest outside the town boundries of Punster, chaos has been the order of the day. On a recent afternoon the daughter of a leading citizen of our town, out for a stroll among the tall pines, disappeared without apparent trace. Rumor has it that one strange, stand-alone door is the only means of escape from the forest. But no volunteer has yet been found to face the oddball nature of the place. That is, until now.\n\nYou're in a clearing of a deep, dark forest.\n\nThe odd sight of a lead house stands here under the trees.\n\nThere is one door here that is not connected to any building and which is closed. Yet there is something radiant imbedded in it: A gritty pearl appears to shine on the door.\n\n> Pretty girl\nTiny grains of sand fall from the pearl as it begins to pulse slowly with radiant red light, whose brightness soon becomes blinding. When you're finally able to move your arms away from your face, you can see a beautiful girl before you.\n\nThe girl is radiantly pretty, but as she continues to \"shine on the door,\" she kicks her feet angrily in the air.\n\n> You dine on the shore\nThis is the shore of a river, between two tributaries of the Rhine. A pile of rocks jutting from the beach into the river blocks your path along the shore.\n\nA pretty girl is sitting on the beach, holding what appears to be a pan of keys.\n\n> Can of peas\nThe keys jingle together in the pan, as if simmering, and one key pops out of the pan onto the ground. Then in a sudden \"poof\" the pan is transformed into a can.\nThe girl takes a whiff of the can of peas and scowls at it. \"Yukko. Gag me with a spoonerism.\"\n\nFrom the looks of her very trim figure, the pretty girl is certainly in need of a square meal. But, being deprived of any kind of dining experience on the shore, she instead, by leaps and bounds, sprints toward the Rhine and dives headlong into the river.\n\n> You get the key\nTaken.\n\n> You look\nThis is the shore of a river, between two tributaries of the Rhine. A pile of rocks jutting from the beach into the river blocks your path along the shore.\n\nYou can see a can of peas here.\n\n> You examine the pile\nEach face of the rocks has the same hungry, crazed expression that says \"Feed me!\"\n\n> You give the peas to the rocks\nYou scatter the green peas among the hungry rocks, who crack heads with each other in their eagerness to gobble them up. When the peas are gone, they devour even the tin can, which is loudly crushed as it disappears between several of the fed rocks.\n\n> Red fox\nWith frightful expressions on the faces of the rocks, a loud rumbling avalanche sends them tumbling and splashing into the Rhine. Through the thick rock dust, you can make out a red fox trotting out of sight.\n\nWith a new section of the shore open to view, you now observe the following sight:\n\nA queer old dean here seems to be the subject of a rare hazing experience. A tall leopard, standing up on its hind legs, is shoving him up and down the shoreline, creating quite a scene and kicking up sand all along the way. The dean, with his long grey locks flaming out like Einstein's, is hopelessly mismatched by the leopard and continuously gives up sandy ground to him.\n\n> Dear old queen\nIn the distance you hear the first few bars of the British National Anthem as, before your very eyes, the dean is transformed into a reigning monarch in full regalia.\nOur shoving leopard stops to make a brief curtsy before the queen, then continues pushing her up and down the shoreline.\n\n> Loving shepherd\nThe leopard changes its appearance from beast into man and changes its spots into a black suit with a white, wraparound collar. He takes out a black book and intones solemnly in a guttural Germanic language for a few moments.\nClosing his book with a hollow thud, the shepherd uses a stick to scrawl a two-line message on the shore. And then, looking with grand vision toward the tributaries of the Rhine River, our loving shepherd turns tail, walks away from the shore, and disappears in the distance as he leads between the Rhines.\n\n> You read the message\nSince the two lines scrawled on the shore are written in the obscure language of sand-script, you're not able to comprehend their meaning.\n\nThe queen marches away down the beach.\n\n> You read between the the lines\nYou gather the gist of the sand-script message to be: Follow your Shepherd.\n\n> You follow the shepherd\nYou follow in the precise direction of the shepherd. It's trecherous going, since you're travelling over dill and hail -- that is, pickles strewn along the paths, and ice chunks hurling from the sky. You eventually come upon an out-of-the-way spot along the now quite polluted river. It's a prime location for such a flagrant violator of anti-pollution laws as the old factory, between whose grimy gates you suspiciously enter.\n\nThis is an old factory. A passage leads into a back room.\n\nThe shepherd has placed his black book on the floor of the factory.\n\nIn a seedy corner of the factory, you can observe a scuffle going on. As far as you can see, our loving shepherd is engaged in a tug-of-war with a large, man-sized rodent which appears to be a rat. The shepherd is struggling, with religious zeal, to pull some black-and-white cloth from the huge over-grown rat.\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor. Above the foam burning, an icicle is hanging down from the ceiling.\n\nThe shepherd keeps struggling against all odds, with religious zeal, attempting to extract the habit from the large rat, which is fiercely clenching it in his snout.\n\n> You examine the rat\nAt the thick-haired shoulder, the rat stands tall as you. In it's buck teeth, which are the size of cheese wedges, hangs a habit.\n\nThe shepherd keeps struggling against all odds, with religious zeal, attempting to extract the habit from the large rat, which is fiercely clenching it in his snout.\n\n> You pull the rabbit out of the hat\nThe big rat twitches its bewhiskered snout, and yawns a gap-toothed yawn, then incredibly shrinks down to the size, and now the shape, of a hat.\n\nYou can see the black-and-white cloth folding in upon itself and twisting and wringing itself in a laundry-like fashion. With a final turning inside-out and the emergence of floppy ears from the cloth, it blooms gradually into the fluffy body of a rabbit.\n\nAbracadabra, Alacazam! With nothing up your sleeve (with the exception of your knobby elbow) you yank the scruffy rabbit, which is pedaling its lucky feet in the air, out of the hat.\n\nThe shepherd turns into a leopard and, licking his chops, scampers away with the rabbit tucked under one claw."
    },
    {
        "text": "[Themes: Wordplay, wordplay, silly]\n\n> Look around\nThis is an old factory. A passage leads into a back room.\n\nThe shepherd has placed his black book on the floor of the factory.\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor. Above the foam burning, an icicle is hanging down from the ceiling.\n\nYou can see a hat here.\n\n> You get the hat\nTaken.\n\n> You look at the book\nIt looks like every other book of riddles you've ever seen.\n\n> You read the book\nYou riddle for a while and eventually grow tired of it.\n\n> You look at the hat\nThe hat seems to be crafted out of fine mohair.\n\n> You look at foam\nIt looks like every other foam burning you've ever seen.\n\n> You look at the icicle\nSuspended from the ceiling, the icicle makes a steady drip-dripping onto the fire. But, strangely, it seems not to be shrinking.\n\n> You go to the back room\n[Refer to the top of the screen to find out where you can go.]\n\n> Inventory\nYou have a book of riddles, a hat and a shiny key."
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> You look around\nThis is an old factory. A passage leads into a back room.\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor. Above the foam burning, an icicle is hanging down from the ceiling.\n\n> Oops bicycle\n[OOPS is useful only after the \"I don't know the word...\" response.]\n\n> Stock room\nYou're standing toward the rear of the factory, back in the jean stock. Jeans of every conceivable size, color, shape, and texture are stacked up along the walls, arranged into dozens of rows, piled high onto heaps. There is a dizzying effect, as if your point of view were from inside a large-capacity clothes dryer.\n\nA jean client, an intense-looking man wearing thick glasses, is impatiently rummaging through the haberdashery.\n\nYou can see, looming in the distance, the dwarfish figure of a man who appears to have been sold into slavery to weave fabric at this factory, even in its dilapidated condition.\n\nAs you approach, the sold elf awkwardly attempts to make a tall smock.\n\n> You go to the stock room\nYou've already arrived.\n\n> Clean giant\nMuch to his horror, the jean client begins to undergo a Hulkian transformation -- with popping buttons, ripping seams, and bug-eyed self-examination.\n\nSeemingly shamed by the revealing ordeal, the client, while he's still of a human size, demonstrates his dexterity and strength by clambering up the towering pile of jeans until he can no longer be seen.\n\n> Old self\nThe elf sprouts up and goes through the whole Dorian Grey thing, looking gradually more and more like you but a lot grayer.\n\n> Jack and the bean stalk\nThe mile-high stack of jeans slowly leans heavily into your direction and as it passes the point of no return in a chaos of color, fabric and rivets, all the jeans come tumbling down upon your head, burying you completely in blackness.\n\nWhen you come to, it's in a new environment...\n\nA page from the imagination of your childhood, an illustration of a country scene, an open field amid rolling hills under blue sky punctuated by cottony soft clouds, next to a simple story punctuated by exclamation points.\n\nAn overgrown bean stalk grows thick and tall up into the clouds. Nowadays, sadly, it seems the stalk would have to be rationalized, explained away somehow by experts, as an ominous instance of radioactive mutation, or as a patented, genetically manufactured hybrid -- rather than attributed to, as in the old days, simply, magic. Such a realization stirs a nostalgic longing for the days of yore when imagination reigned in all its grandeur and innocence.\n\nIn the distance you can hear the strange and unmistakable sound of a female horse attempting to imitate the sound of a pig.\n\nWalking around in circles here with its feathers ruffled is a crow, which is typically black except for its blushing red face. The crow seems embarrassed by the kind of strange behavior animals are capable of exhibiting in the vicinity.\n\n> Crushing blow\nThe crow squawks loudly, scratches at the dirt, and bounds into flight, soaring higher and higher into the sky. Then, tucking in its wings, the weird bird takes a sudden nose dive that ends smashingly in a cloud of dirt on the field. Dust settles around the crushing blow.\n\n> Square meal\nThe squealing of the mare becomes so increasingly strained and high-pitched that you are forced to cover your ears, lowering your head in squint-eyed pain. The instant the terrible noise shuts off, your eyes pop open and notice a rather angular meal at your feet."
    },
    {
        "text": "[Themes: Wordplay, surreal]\n\n> Look around\nA page from the imagination of your childhood, an illustration of a country scene, an open field amid rolling hills under blue sky punctuated by cottony soft clouds, next to a simple story punctuated by exclamation points.\n\nAn overgrown bean stalk grows thick and tall up into the clouds. Nowadays, sadly, it seems the stalk would have to be rationalized, explained away somehow by experts, as an ominous instance of radioactive mutation, or as a patented, genetically manufactured hybrid -- rather than attributed to, as in the old days, simply, magic. Such a realization stirs a nostalgic longing for the days of yore when imagination reigned in all its grandeur and innocence.\n\nYou can see a crushing blow here.\n\n> Blushing crow\nA crack appears upon the surface of the blow, and extends jaggedly down with a loud cracking noise. Out hops the crow, shedding its membrane with bristling feathers.\n\n> You get the blow\nThe crow squawks loudly, scratches at the dirt, and bounds into flight, soaring higher and higher into the sky. Then, tucking in its wings, the weird bird takes a sudden nose dive that ends smashingly in a cloud of dirt on the field. Dust settles around the crushing blow.\n\nTaken.\n\n> You check your inventory\nYou have a crushing blow, a square meal, a book of riddles, a hat and a shiny key."
    },
    {
        "text": "[Themes: Wordplay]\n\n> Look around\nA page from the imagination of your childhood, an illustration of a country scene, an open field amid rolling hills under blue sky punctuated by cottony soft clouds, next to a simple story punctuated by exclamation points.\n\nAn overgrown bean stalk grows thick and tall up into the clouds. Nowadays, sadly, it seems the stalk would have to be rationalized, explained away somehow by experts, as an ominous instance of radioactive mutation, or as a patented, genetically manufactured hybrid -- rather than attributed to, as in the old days, simply, magic. Such a realization stirs a nostalgic longing for the days of yore when imagination reigned in all its grandeur and innocence.\n\n> Shore\nIt's on a different plane of existence.\n\n> Stock room\nA swift cloud of dust blows up from the trackless wastes into your face, causing you to bring your fists to your eyes like binoculars. After much rubbing, your vision, though blurry at first, returns to reveal familiar surroundings...\n\nYour old self stands here.\n\n> You examine the self\nIt's you.\n\n> You talk to the self\nHe speaks slowly and deliberately, \"All I have to say: Don't end up like this. You still have time to avoid such a fate. Listen: mutual funds and long-term bonds.\"\n\n> Sold elf\nSelf to elf."
    },
    {
        "text": "> You look around\nYou're standing toward the rear of the factory, back in the jean stock. Jeans of every conceivable size, color, shape, and texture are stacked up along the walls, arranged into dozens of rows, piled high onto heaps. There is a dizzying effect, as if your point of view were from inside a large-capacity clothes dryer.\n\nA sold elf stands here.\n\n> Small talk\nWhom do you want to make small talk with?\n\n> You make the small talk with the elf\nYou lean over and onto whole cloth he stitches out precise directions for getting back to the clearing, which you commit to memory.\n\n\"But you'll never make it on foot. You need some transportation.\"\n\n> Old self\nThe elf sprouts up and goes through the whole Dorian Grey thing, looking gradually more and more like you but a lot grayer.\n\n> Bean stalk\nThe mile-high stack of jeans slowly leans heavily into your direction and as it passes the point of no return in a chaos of color, fabric and rivets, all the jeans come tumbling down upon your head, burying you completely in blackness.\n\nWhen you come to, it's in a new environment...\n\n> You look\nA page from the imagination of your childhood, an illustration of a country scene, an open field amid rolling hills under blue sky punctuated by cottony soft clouds, next to a simple story punctuated by exclamation points.\n\nAn overgrown bean stalk grows thick and tall up into the clouds. Nowadays, sadly, it seems the stalk would have to be rationalized, explained away somehow by experts, as an ominous instance of radioactive mutation, or as a patented, genetically manufactured hybrid -- rather than attributed to, as in the old days, simply, magic. Such a realization stirs a nostalgic longing for the days of yore when imagination reigned in all its grandeur and innocence.\n\n> You check your inventory\nYou have a crushing blow, a square meal, a book of riddles, a hat and a shiny key.\n\n> Up\nYou'd never make it up the stalk while holding anything in your hands.\n\n> Inventory\nYou have a hat (being worn), a crushing blow, a square meal, a book of riddles and a shiny key.\n\n> You look at the hat\nThe hat seems to be crafted out of fine mohair.\n\n> Factory\nYou walk into the factory.\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor. Above the foam burning, an icicle is hanging down from the ceiling.\n\n> Shore\nYou go there.\n\nLines of sand-script are scrawled on the shore.\n\n> Factory\nYou travel over hill and dale...\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor. Above the foam burning, an icicle is hanging down from the ceiling.\n\n> You riddle while the foam burns\nAs you while away the time in the grand manner of great decadent epochs of the historical past, the icicle overhead suddenly takes as much heat as it can stand, letting loose from the ceiling and dropping to the factory floor with a surprising \"Thud.\""
    },
    {
        "text": "> Look around\nThis is an old factory. A passage leads into a back room.\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor.\n\nYou can see a well-boiled icicle here.\n\n> Oiled bicycle\nThe icicle, though thoroughly boiled already, lets off a searing vertical wall of steam. As the white vapor clears, a shiny, brand new bicycle is revealed.\n\n> You get the bicycle\nTaken.\n\n> You drop the bike\nDropped.\n\n> Ride bike\nDecisively, you take the bike by the handlebars and swing the seat under you.\n\n> Clearing\nWith all the enthusiasm of a child actor in a Steven Spielberg movie with a percentage, you pedal away...\n\nClearing, on the bike\n\nThe odd sight of a lead house stands here under the trees.\n\nThere is one door here that is not connected to any building and which is closed.\n\n> Head louse\nThe house disappears before your very eyes, a situation that leaves you scratching your head in perplexity.\nMoments later, you feel the curious little head louse migrate from your skull into the mohair fabric of the hat.\n\n> You remove the hat\nYou remove the hat.\n\n> You look at the hat\nThe hat seems to be crafted out of fine mohair.\n\n> You examine the door\nThe door, is closed.\n\n> You stand\nYou get off the well-oiled bicycle.\n\n> You stand\nYou're already standing.\n\n> You open the door\nThe door is locked."
    },
    {
        "text": "[Themes: Wordplay, silly, wordplay, surreal]\n\n> Look around\nYou're in a clearing of a deep, dark forest.\n\nThere is one door here that is not connected to any building and which is closed.\n\nYou can see a well-oiled bicycle here.\n\n> You unlock door\nYou must indicate what to unlock the door with.\n\n> You unlock the door with the key\n\"Click.\" As you unlock the door it creaks open. A tunnel of darkness opens up to you, and you cautiously walk inside. You almost vanish into the darkness, it is so black.\n\nSo bone-chillingly penetrating is the vacancy of the tunnel, that you retreat out through the door, and lock it behind you.\n\n> You look at what you're carrying with you\nYou have a hat, a crushing blow, a square meal, a book of riddles and a shiny key.\nIt seems that the hat contains a head louse.\n\n> Factory\nYou travel over hill and dale...\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor.\n\n> You check your inventory\nYou have a well-oiled bicycle, a hat, a crushing blow, a square meal, a book of riddles and a shiny key.\nIt seems that the hat contains a head louse."
    },
    {
        "text": "[Themes: Wordplay, silly, surreal, wordplay]\n\n> Look around\nYou're in a clearing of a deep, dark forest.\n\nThere is one door here that is not connected to any building and which is closed.\n\n> Ride bike\nDecisively, you take the bike by the handlebars and swing the seat under you.\n\n> Factory\nPedaling madly away, you ride like the wind...\n\nOld Factory, on the bike\n\nSomeone has left a bonfire going, as a large pile of foam is burning in the middle of the factory floor.\n\n> Stock room\nPedaling madly away, you ride like the wind...\n\nJean Stock, on the bike\n\nYour old self stands here.\n\n> Jack and the bean stalk\nThe mile-high stack of jeans slowly leans heavily into your direction and as it passes the point of no return in a chaos of color, fabric and rivets, all the jeans come tumbling down upon your head, knocking the well-oiled bicycle away and burying you completely in blackness.\n\nWhen you come to, it's in a new environment...\n\n> Up\nYou'd never make it up the stalk while holding anything in your hands.\n\n> You drop all except the hat\ncrushing blow: The crushing blow falls harmlessly to the ground.\nsquare meal: Dropped.\nbook of riddles: Dropped.\nshiny key: Dropped.\n\n> Inventory\nYou have a hat.\nIt seems that the hat contains a head louse.\n\n> Up\nYou shinny up the bean stalk like a native. Soon your head's in the clouds, followed by your whole body...\n\nYou're on cloud 673. It's not exactly cloud nine but it's rather cushy, and certainly roomy enough to be the home of a giant, which it just so happens to be.\n\nBefore you stands a giant of exceptional cleanliness, hands on his hips, wearing an immaculately tailored and dazzlingly white tee shirt. So statuesque is the figure of the giant that the floor of the cloud on which he stands sags noticeably under his weight.\n\nOff to one side of the cloud, a great many beets are piled up inside a shed, evidently having been harvested from the green acres below in order to satisfy the cravings of one gigantic appetite.\n\nLaughing maliciously, the giant leans over and spills a large bucketful of thick, creamy butter on the bean stalk.\n\n> Bed sheet\nThe entire cloud becomes turbulently billowy, its vapors undulating around and enveloping the shed. As the cloud recedes back to form, a pile of sheets is revealed lying in place of the beets.\n\"Deny me my daily bread, will you, scoundrel!\" decries Mr. Clean in a stern voice.\n\nGlaring at you from high above are the giant's pair of sparkling eyes which are deep-set into his shiny bald head.\n\n> You give the hat to the giant\nYou'll have to remove the hat first.\n\nThe roar of a passing supersonic flight of fancy can be heard, and the wake of its exhaust ruffles the cloud for a few moments.\n\n> You remove the hat\n[I don't know the word \"halbred.\"]\n\nYou remove the hat.\n\n> You give the hat to the giant\nThe giant greedily snatches your offering and eyes it with suspicion. The big giant examines his fingernails, unfolds his massive arms and puts his hands on his hips.\n\n> Lead house\nYou can see the giant's feet sinking deeply into the cloud floor, which soon gives way to the weight of the giant holding a lead house at his chest. You get a close-up, front-row view of the horrified expression across his huge face as it passes down in front of you and through the cloud."
    },
    {
        "text": "> Look around\nYou're on cloud 673. It's not exactly cloud nine but it's rather cushy, and certainly roomy enough to be the home of a giant, which it just so happens to be.\n\nYou can see bed sheets here.\n\n> You examine sheets\nThe many bed sheets are soft and fluffy as the cloud, yet seem to be made of sturdy fabric.\n\n> You tie the sheet to the sheet\nOne by one, you tie together the bed sheets, testing each knot with a firm tug accompanied by a tight-lipped grunt. Now off the edge of the cloud gets thrown the line of sheets, which is strung out and down, looking like a long kite tail swaying gently in the breeze.\n\nThe last sheet you tie firmly to the cloud itself.\n\n> You examine the stalk\nIt's coated with melting butter."
    },
    {
        "text": "[Themes: Wordplay, wordplay, silly, surreal]\n\n> You go downward\nYou grip the line of sheets and begin your hand-over-hand descent from the sky, feeling the sharp winds against your back. As your biceps begin tightening to the point of pain, you are again close to the land. And none too soon, for a few feet above the ground the tension of the life line is broken, and you tumble down to earth, buried under a waterfall of sheets that comes streaming down upon your head. Restlessly you dig yourself out...\n\nThe jean client, having been smashed back into his currently thin man-sized shape, stands here looking disheveled and shaken.\n\nYou can see bed sheets, a shiny key, a book of riddles, a square meal and a crushing blow here.\n\nImpulsively, the client dashes nearer, whips a needle out of his pocket, and begins to maliciously sew you to a sheet.\n\n> You show yourself to a the seat\nBumped by the train of your thoughts, the client pokes himself sharply with his needle. To the accompaniment of ripping stitches and popping buttons, the client's ire, along with his stature, is raised to the great height of a giant. Between thumb and forefinger, he smashes the intervening chair into splinters, which drift away above the rural landscape. Almost in slow-motion the giant starts after you.\n\nThe giant's nearly upon you.\n\n> You get the crushing blow\nTaken.\n\nThe giant's nearly upon you.\n\n> You hit the giant with crushing blow\nKABOOM! The ground quakes with the staggering of the giant. Appearing like a punch drunk fighter, he weaves round and round, all the while shrinking in size, finally to the lowly hunched figure of the client. Humiliated at his defeat, the man makes a Chaplinesque exit, kicking dust as he walks crookedly away.\n\n> You get all\nshiny key: Taken.\nbook of riddles: Taken.\nsquare meal: Taken.\n\n> You look\nA page from the imagination of your childhood, an illustration of a country scene, an open field amid rolling hills under blue sky punctuated by cottony soft clouds, next to a simple story punctuated by exclamation points.\n\nAn overgrown bean stalk grows thick and tall up into the clouds. Nowadays, sadly, it seems the stalk would have to be rationalized, explained away somehow by experts, as an ominous instance of radioactive mutation, or as a patented, genetically manufactured hybrid -- rather than attributed to, as in the old days, simply, magic. Such a realization stirs a nostalgic longing for the days of yore when imagination reigned in all its grandeur and innocence.\n\n> You examine the stalk\nIt's coated with melting butter.\n\n> Jean Stock\nA swift cloud of dust blows up from the trackless wastes into your face, causing you to bring your fists to your eyes like binoculars. After much rubbing, your vision, though blurry at first, returns to reveal familiar surroundings...\n\nA sold elf stands here.\n\nYou can see a well-oiled bicycle here.\n\n> You look at River\nThis is the shore of a river, between two tributaries of the Rhine.\n\nLines of sand-script are scrawled on the shore.\n\n> Roar shine\n[I don't know the word \"roar.\"]\n\nexperience on the shore, she instead, by leaps and bounds, sprints toward the Rhine and dives headlong into the river.\n\n> Swim\nYou'll have to shake off your toes first.\n\n> You take off the shoes\nThough you feel like a real beach nut, it does the trick. You now dive deep into danger and pull out a gritty pearl from the bottom of the river and come back to shore.\n\n> Schep you're a the star\n[What do you want to tell?]\n\n> Pretty girl\nTiny grains of sand fall from the pearl as it begins to pulse slowly with radiant red light, whose brightness soon becomes blinding. When you're finally able to move your arms away from your face, you can see a beautiful girl before you.\n\n> You drop the bike\nDropped.\n\n> You give the meal to the girl\nWide-eyed, the girl turns the square meal in her hands, marveling at the exactitude of its right angles. She then hungrily devours it in several large neck-stretching gulps.\n\n> Gritty pearl\nThe girl withers down into a pearl.\n\n> Clearing\nWith all the enthusiasm of a child actor in a Steven Spielberg movie with a percentage, you pedal away...\n\nClearing, on the bike\n\nThere is one door here that is not connected to any building and which is closed.\n\n> You exit bike\nYou get off the well-oiled bicycle.\n\n> You unlock the door with the key\n\"Click.\" As you unlock the door the key is swallowed by the lock. A tunnel of darkness opens up to you, and you cautiously walk inside. You almost vanish into the darkness, it is so black.\n\nBut just now you can discern a fuzzy light beginning to shine from the pearl. It brightens to illuminate your upper body, creating a halo of pure white light around you. So astounding is the effect of the brightened pearl, that it spills from your hand and rolls vanishingly away from you, echoing grittily along the tunnel.\n\nCongratulations are in order. Having braved mutable strangeness and having made the heroic gesture of a rescue, you make possible the reuniting in joy of a grateful Punster family. This feat earns you the rank of Kinkering Cong.\n\nIt would be prudent to commit to memory this and all ranks you have achieved.\n\n(Truth is, there was one more thing that could've been accomplished shaking a tower.)\n\nYou now have the opportunity to do one of the following:\n\n>Go to the Shopping Bizarre\n>Play Jacks\n>Buy the Farm\n>Eat your Words\n>Act the Part\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> You buy the the farm\nThe farm crisis never seemed so desperate as it has this planting season in Punster. One such family farm on the edge of town, the McCleary's, has been especially blighted. The family, though well accustomed to hard work, suddenly lost the ability to perform even the simplist of chores necessary to scratch a living from the soil. They have since been driven from the land, and join with their fellow Punster neighbors in urging you to somehow save the family farm.\n\nThe telltail smell of grain and dung drifts by. You're on a dusty road in front of abandoned farm -- a nice-sized spread of land that stretches far out to meet the horizon.\n\nA wooden cart sits in the dusty road here.\n\nAn old dog sits in the dust at the side of the road, feeling all of the spirit of gravity, looking dog-eared and worn out by a lifetime on the farm.\n\n> You teach the old dog the new tricks\nThe old dog perks up one of its dog-eared ears, then the other. Its tail emerges from the surrounding dust and begins oscillating back and forth with such intensity that you'd think it was a case of the tail wagging the dog.\n\nIn turn the old boy goes through a series of back flips, chases its tail, walks around on his hind legs, and howls at the moon. The dog, bursting with energy through its shiny new coat, is no longer dry as the dust that surrounds it.\n\nSuddenly by leaps and bounds, the old dog bolts away, and comes back with one stone in its slobbery mouth."
    },
    {
        "text": "[Themes: Wordplay, silly, wordplay]\n\n> You look around\nThe telltail smell of grain and dung drifts by. You're on a dusty road in front of abandoned farm -- a nice-sized spread of land that stretches far out to meet the horizon.\n\nA wooden cart sits in the dusty road here.\n\nA youthful-looking old dog is here, chasing his tail.\n\n> Cast stone\nThe old dog tears out after the stone and retrieves it back to you, panting and holding it in his slobbery mouth.\n\n> You look at the cart\nThis is simple a wooden cart, made to be drawn by a beast of burden.\n\n> Barnyard\nYou trudge along and get there...\n\nYou're standing here in the barnyard, a meager patch of scratched earth. You can tell right away what a dog-eat-dog world the farm can be, as you see lying on the ground a sow's ear, and then some poor animal's tail.\n\nYou can see a full complement of swords leaning up against the broad side of the barn, looking very out of place here on the farm.\n\nYou can see a sow's ear and a tail here.\n\nThe old dog follows behind you.\n\n> You get all\nfull complement of swords: These implements of ancient warfare have nothing to do with your task on the farm.\nsow's ear: Taken.\ntail: Taken.\n\n> You beat the sword into ploughshares\nIf you only had a hammer...\n\n> You hit the the broad side of a the barn\nYou wind up, haul off, and throw a haymaker at the barn.\n\n\"Thump.\"\n\nNo one can ever challenge your accuracy after this.\n\n> Barn\nYou kick up a little sawdust as you enter the barn...\n\nYou're surrounded by the deep shade of a nearly abandoned barn, with very little activity but for an occasional hoot of an owl. Yet toward the rear of the barn, under the loft, a cascading spillage of grain is creating an ever-widening pile.\n\nA wooden ladder leads, presumably, up to the loft.\n\nOver near the wide entrance to the barn, there stands a canister of milk.\n\nThe old dog enthusiastically bounds into the barn after you, and heedless of where it's going crashes into the canister of milk, spilling it in a wide puddle on the floor of the barn.\n\nThe dog looks sheepish, and exits the barn with its tail between its legs.\n\n> You cry over the spilled milk\nIn throwing your fit, you can hear the poor ol' dog yowling in the distance.\n\n> You examine the grain\nYou can see, falling down within the silky stream of golden grain, a succession of little mice spread-eagled and smiling widely, some giggling, others tumbling head over heels. They each splash deeply into the ever-widening pile of grain, and then burrow out the side of it, and disappear somewhere in the barn.\n\n> Go upward\nIt's humid up here in the loft, muggy with the heavy smell of barley corn in summer. Bags of the pungent grain, all of them torn up and derelict, are strewn about the edge of the loft, creating a constant spillage over the side into which mice are leaping.\n\n> Up\nThis area at one time must have been used by a handyman, for against one wall a grindstone sits idle with a hammer next to it.\n\nA wooden ladder leads down from the loft.\n\n[Refer to the top of the screen to find out where you can go.]\n\n> You examine the mice\nThe mice are wildly enjoying the grain.\n\n> You get the bag\nWithout heavy farm machinery, you could never tidy up this mess.\n\n> You walk under the ladder\nYou bang your bean against the wooden ladder as you attempt this.\n\n> Road\nYou trudge along and get there...\n\nA wooden cart sits in the dusty road here.\n\n> Barnyard\nYou trudge along and get there...\n\nA youthful-looking old dog is here, sitting up.\nIt seems that the old dog has one stone.\n\nYou can see a full complement of swords leaning up against the broad side of the barn, looking very out of place here on the farm.\n\n> Stable\nYou follow your nose to the stable...\n\nThe strong, earthy smell in this wide-open area reminds you that you're on a farm. So meet the primary interior decorator of the stable: a very odd-looking horse who snorts when it sees you.\n\nYou can see a rusty tin trough here.\n\n> You lead the horse to the water\nYou lead the horse, suddenly trusting of you, over to the trough.\n\n> You make the horse drink\nNot only can you lead a horse to water, but contrary to popular belief, you CAN make him drink. He slurps his fill of water, and with unbridled energy, he trots away toward the road.\n\n> Road\nYou trudge along and get there...\n\nAn odd-looking horse stands here, nonchalantly shooing at flies with its tail.\n\nA wooden cart sits in the dusty road here.\n\n> You put cart before horse\nUsing perfectly backward logic, you put the cart before the horse.\n\n> You examine the horse\nThe horse, which is a hackney, is wearing a large red-ribbon bow in place of a saddle and is hooked up to the cart. It continues shooing at flies with its tail.\n\n> You look a gift horse in the the mouth\nIt looks like the horse has drunk a lot of water.\n\n> Market\nWith the horse pushing rather than pulling the cart, you follow a crooked and bumpy road for some time. You faintly hear sweet music from a woodwind drifting toward you, and sure enough, around the next bend you come upon a man playing music on a flute. You pull the cart to a rumbling halt, and the horse gives a snort.\n\nSeeing you, the piper plays a short flat note, draws the pipe from his mouth, and takes quick inventory of the wares he is peddling: a cart full of apples, a rumpled canvas bag, and some strong-smelling peppers.\n\n> Upset the apple cart\n[getting out of the cart first]\nVisibly perturbed, the stacked apples begin to tremble and quake, until one apple heaves up out of the pile and into the air. Your horsey companion eyeballs the apple, bares his teeth, tilts back his long mane, and catches it. He loudly chomps it into a pulp, and swallows.\n\n> You examine the bag\nThe piper quickly tells you there's a pig in the bag.\n\n> You look at the peppers\nWith narrowed eyes you take stock: There seems to be about a peck.\n\n> You pick a peck of the pickled peppers\n\"That's easy for you to say,\" says the piper, and with a sweep of his pipe, allows you to take away peppers.\n\n> You get the bag\nThe piper strikes a high shrill note, like that of a policeman's whistle. \"Hands off the merchandise,\" he says, and then goes on piping a merrier tune.\n\n> Inventory\nYou have peck of pickled peppers, a hammer, a tail and a sow's ear.\n\n> You feel bag\nKeeping in touch with the canvas bag doesn't do anything.\n\n\"It'll cost you a pretty penny, one fine sow, she is, she is,\" says the piper.\n\n> You pay the the piper\nYou have no money!\n\nYou have peck of pickled peppers, a hammer, a tail and a sow's ear.\n\n> You give the piper the tail\nBriskly, the piper refuses your offer.\n\n> Field\nIt's really too long a walk.\n\n> You get in the cart\nLook around you.\n\n> Road\nWith the horse pushing rather than pulling the cart, you follow a crooked and bumpy road for some time...\n\nRoad, in the wooden cart\n\n> You get out\n[What do you want to get out?]\n\n> You stand\nYou get out of the wooden cart.\n\n> You put the horse before the cart\nThe horse snorts and rears. It seems paranoid about having the cart behind it.\n\n> Field\nYou trudge along and get there...\n\nYou are standing at the edge of a barren field that is reminiscent of the dust bowl days. A steady wind, having secreted away the topsoil, is now drifting sandy dirt across the plain. A scant sign of life here is a freshly burrowed molehill on the ground.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> You search the haystack\nWhat on earth do you expect to find in a haystack?\n\n> Needle\nIt's hard, of course, because all those stalks of hay look like needles themselves. The needle is found twinkling brightly silver among the yellow stalks of hay grass. You grab it.\n\n> You make a the mountain out of a the molehill\nThere is a tremendous rumbling in the distance, getting louder and louder, until it is deafening. The ground shakes with violence from the mammoth pressures of the earth's crust. The dirt around the molehill crumbles away as mighty, jagged granite peaks begin to emerge from deep underneath it, and you are knocked back as the mountain continues to rise majestically.\n\nThe surrounding landscape, once bleak, now undergoes transformation into a fertile valley before your very eyes. Crops sprout and grow tall with the crisp snapping sound of fresh corn being husked.\n\nYet with the abundance comes new dangers, as two birds can be seen circling above, surveying the lush crops.\n\n> Inventory\nYou have a needle, peck of pickled peppers, a hammer, a tail and a sow's ear. You also notice a green tint to your thumb.\n\n> You look in the purse\nOpening the silk purse reveals a pretty penny.\n\n> You sow the wild oats\nYou can't see any wild oats here!\n\nYou have a pretty penny, a silk purse, a needle, peck of pickled peppers, a hammer and a tail.\n\n> You examine the tail\nIt looks like every other tail you've ever seen."
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay]\n\n> You look around\nYou are standing in a fertile valley among the tall and lush crops in the field. Mountains bordering the valley serve to shield the fields from damaging wind storms.\n\nTwo birds are circling high above, and every once in a while swoop down upon the field to despoil the green acres.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> You find the needle in haystack\nYou already have.\n\n> Barnyard\nYou trudge along and get there...\n\nA lot of plowshares are lying over by the broad side of the barn.\n\nA youthful-looking old dog is here, doing back flips into the air.\nIt seems that the old dog has one stone.\n\n> Field\nYou trudge along and get there...\n\nTwo birds are circling high above, and every once in a while swoop down upon the field to despoil the green acres.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> You kill two birds with one stone\nSensing their impending doom, the birds flutter down to take refuge within the dense, green acreage. Just now, the old dog, looking as spritely as ever, comes bouncing upon the scene. Intensely, the old boy scours back and forth between the furrows, finally scratching to a stop.\n\nHe freezes, raises one paw, and stiffens his tail parallel to the ground.\n\nThe flush is made! The birds pop up frantically from the cover, criss-crossing each other's heavenward flight path.\n\nYou take aim and throw, and the birds explode in rapid succession like clay pigeons.\n\nThe old dog lets out a long, wolfish howl which echoes thoughout the valley.\n\n> Stable\nYou follow your nose to the stable...\n\nYou can see a rusty tin trough here."
    },
    {
        "text": "[Themes: Wordplay, silly, surreal]\n\n> You look around\nThe strong, earthy smell in this wide-open area reminds you that you're on a farm.\n\nYou can see a rusty tin trough here.\n\n> You examine trough\nThe rusty old trough is divided into two parts, containing water and wild oats.\n\n> Field\nYou trudge along and get there...\n\nA youthful-looking old dog is here, tripping around on his hind legs.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> Road\nYou trudge along and get there...\n\nA wooden cart with a horse hooked up to it sits in the dusty road here.\n\nAs you stop in the road, suddenly a bucking donkey with a swarm of buzzing flies chasing it crosses the road in front of you and heads towards the stable.\n\n> Market\nWith the horse pushing rather than pulling the cart, you follow a crooked and bumpy road for some time...\n\nMarket, in the wooden cart\n\nAlong side the road stands a man playing a pipe and selling his wares.\n\nYou can see an applecart and a canvas bag here.\n\n> You pay the the piper\n[getting out of the cart first]\n\"It's a deal!\" says the man. \"I like the way you do business -- buying a pig in a poke.\" You pay the piper and he plucks the pretty penny from you. \"Okay, she's yours. Take it.\"\n\n> You take the bag\nAs you touch the bag you hear \"Meow... Meow.\" You gingerly pick up the bag. It continues moving slowly in your hands.\n\n> You let the the cat out of the the bag\n\"All sales are final!\" pipes the piper. Just now a furry cat appears out of one of the folds in the bag. But finding nothing of particular interest, it rolls itself back into the bag.\n\n> Road\nIt's really too long a walk.\n\n> Barn\nYou kick up a little sawdust as you enter the barn...\n\nA cascading grainfall is spilling onto the barn floor. Mice appear to be riding the grain down.\n\nOver near the wide entrance to the barn, there lies spilt milk.\n\n> You let the cat out of the the bag\nJust now a furry cat appears out of one of the folds in the bag. Suddenly the cat lets out an electrified scream in your arms. You feel keenly its needle claws emerge from hitherto cottony paws, and the cat shoots out of your arms. Now the feline makes a beeline toward the grain. Like a fiery pin ball, the cat ricochets around the barn until the place is rocked into full tilt.\n\nAs the excitement dies down, you see the grainfall slow to a trickle and then the last bits of grain hit the pile with a \"tick... tick.\"\n\nThe mice are no longer to be seen.\n\n> You go upwards\nYou can see a grindstone and bags of grain here.\n\n> You look at the bag\nIt's closed.\n\n> Stable\nYou follow your nose to the stable...\n\nA donkey is being chased willy-nilly around the stable being followed by a swarm of flies in hot and pesky pursuit.\n\nYou can see a rusty tin trough here.\n\n> You pin the tail to the donkey\nIt's so easy, you could do this blindfolded. Smarting from the sharpness of the needle, the donkey jacks its hooves into the air, narrowly missing your chin. But the beast of burden soon settles down, and starts shooing flies with its newly-won tail.\n\n> Inventory\nYou have a canvas bag, wild oats, a silk purse, peck of pickled peppers and a hammer.\n\n> Road\nYou trudge along and get there...\n\nA wooden cart with a horse hooked up to it sits in the dusty road here.\n\n> Field\nYou trudge along and get there...\n\nA youthful-looking old dog is here, wagging his tail.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> Barn\nYou kick up a little sawdust as you enter the barn...\n\nOver near the wide entrance to the barn, there lies spilt milk. A cat is licking up the milk.\n\n> You put the nose to grindstone\nNot again....\n\n> You buy the the farm\nYou've already arrived."
    },
    {
        "text": "[Themes: Wordplay, surreal]\n\n> Go down\nOver near the wide entrance to the barn, there lies spilt milk. A cat is licking up the milk.\n\n> Go outside\n[Refer to the top of the screen to find out where you can go.]\n\n> Field\nYou trudge along and get there...\n\nA youthful-looking old dog is here, baying at the moon.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> You look oats\nUse prepositions to indicate precisely what you want to do: LOOK AT the object, LOOK INSIDE it, LOOK UNDER it, etc.\n\n> You look\nYou are standing in a fertile valley among the tall and lush crops in the field. Mountains bordering the valley serve to shield the fields from damaging wind storms.\n\nA youthful-looking old dog is here, tripping around on his hind legs.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> Smell the hay\nIt smells just like a haystack.\n\n> You examine the crops\nThe lush crops, gently waving in the breeze, stretch far to the horizon.\n\n> You examine the field\nYou are standing in a fertile valley among the tall and lush crops in the field. Mountains bordering the valley serve to shield the fields from damaging wind storms.\n\nA youthful-looking old dog is here, doing back flips into the air.\n\nMarking the corner of the property is a large stack of hay, whose musty odor sticks in your nostrils.\n\n> You look at the dog\nThe dog has a shiny black coat, and displays the abundant energy of a hungry hunting dog.\n\n> You climb the mountain\nNo dice.\n\n> Harvest\n[What do you want to harvest?]\n\n> Harvest crops\nThat's best left for the professionals.\n\n> Barn\nYou trudge along and get there...\n\nA wooden cart with a horse hooked up to it sits in the dusty road here.\n\nYou kick up a little sawdust as you enter the barn...\n\nOver near the wide entrance to the barn, there lies spilt milk. A cat is licking up the milk.\n\n> Don'T cry over the spilled milk\nYou manage the ol' stiff upper lip, and the dog comes bounding back up to you.\n\nCongratulations for the completion of these 19 chores. You have transformed their abandoned husk of a farm into a horn of plenty. The McCleary's, under your tutelage, have learned much about how to manage their farm, coping with the tough realities of modern farming. After this long period of want, the townspeople of Punster will feast heartily upon the fruits of your labor. You shall be honored by them with the rank of Sodbuster.\n\nYou now have the opportunity to do one of the following:\n\n>Go to the Shopping Bizarre\n>Play Jacks\n>Eat your Words\n>Act the Part\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> Shopping bizarre\nOn a recent Friday night at the Supermarket, the usual shopping frenzy suddenly turned into shopping panic. Crazed bargain-hunters, recklessly pushing shopping carts before them, were observed to stream from the aisles and out the market, many of whom not even stopping to pause in the parking lot. Whatever it was that caused the panic, one thing's for sure -- business has never been the same. By restoring some semblance of order to this bizarre situation, and perhaps purchasing some item or another, you can begin to rebuild customer confidence.\n\nYou are all alone in a dessert aisle. The hum of a long freezer that runs the length of the aisle is monotonous and the air blows chilly upon your skin.\n\nAn imposing, broad-shouldered adult moose, dark chocolate from hoof to antler, stands here chewing its thick brown cud and blocking part of this narrow aisle.\n\n> Chocolate mousse\nThere's a sudden, belching \"poof\" of smoke, and the odor of burnt chocolate.\n\nWith the down-sizing of the big lug, you can see there are numbers inside your grocer's freezer, rather than goodies.\n\n> Pie\nThe thing undergoes a deafening amount of number crunching."
    },
    {
        "text": "[Themes: Wordplay, silly, surreal]\n\n> You look around\nYou are all alone in a dessert aisle. The hum of a long freezer that runs the length of the aisle is monotonous and the air blows chilly upon your skin.\n\nYou can see chocolate mousse here.\n\n> You put the pie in the freezer\nDone.\n\n> Meat\n[You'll have to be more specific.]"
    },
    {
        "text": "> Look around\nYou are all alone in a dessert aisle. The hum of a long freezer that runs the length of the aisle is monotonous and the air blows chilly upon your skin.\n\nYou can see chocolate mousse here.\nIt seems that your grocer's freezer contains a pie.\n\n> You examine the pie\nIt looks like every other pie you've ever seen.\n\n> Chocolate moose\n\"Poof!\" The moose is suddenly enveloped in a thick plume of chocolaty smoke. The large mammal lands awkwardly on the floor.\n\n> Chocolate mousse\nThere's a sudden, belching \"poof\" of smoke, and the odor of burnt chocolate.\n\n> Manicotti\nYou dash around the corner, sliding on the high-sheen surface of the well-waxed supermarket floor...\n\nAs its name indicates, this is the aisle where grains and cereals are stocked.\n\nAbout halfway down the aisle there is a sinister and pallid-looking gentleman in a dark tuxedo. He appears to be systematically destroying boxes of cereal, taking deep bites into them with his long fangs.\n\nSitting on the shelves is an infinite variety of cereals.\n\n> Pi\nPie to pi.\n\nThe pallid gentleman continues his rampage by tearing his fangs into a package of tortellini.\n\n> Serial killer\n(True, he is both a cereal and a SERIAL murderer, but just knowing his modus operandi doesn't defeat him.)\n\nThe pallid gentleman continues his rampage by murdering, in cold red dye #2, a package of Froot Loops.\n\n> Meets\nYou zip around the corner...\n\nThis is where people tend to run into each other....\n\nSitting on the shelf are a mince and a steak.\n\nYou notice a blur of colorful lace and flowing blond hair come rolling off one of the shelves. A little girl stands at your feet.\n\n> You get the steak\nTaken.\n\nTattooing your knee caps with her little fists, the little girl starts throwing a tantrum.\n\n> Stake\nUnder your gaze, the meat starts sizzling and smoking wildly, licking flames into the air till nothing is left to it but a charred and pointed stick.\n\nPracticing field goals upon your shins, the little girl continues testing your threshold of pain.\n\n> Mint\nYou catch a whiff of fresh little candies as the mince goes to pieces and becomes white before your eyes.\n\nThe little girl keeps on boxing your calves.\n\n> Bratwurst\nThe little girl begins running away in horror. She tumbles head over heels to the floor in a blur, and then you observe a sausage come rolling to a stop."
    },
    {
        "text": "> You describe your surroundings\nThis is where people tend to run into each other....\n\nSitting on the shelf are mints.\n\n> Mince\nYou hear the tortured \"moo\" of a cow in the distance.\n\n> Inventory\nYou have mince, bratwurst, a stake and 22/7.\n\n> Misc\nYou dash around the corner, sliding on the high-sheen surface of the well-waxed supermarket floor...\n\nThis aisle is filled with various and sundry items.\n\nSitting on the shelves are tacks, a sail and mussels.\n\n> Tax\nYou hear the distant ring-ring of cash registers.\n\n> Muscles\nYou feel yourself undergo a Hulkian physical transformation, with material ripping and buttons popping and the whole bit."
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay, silly]\n\n> Look around\nThis aisle is filled with various and sundry items.\n\nSitting on the shelves is a sale.\n\n> Smash\n[What do you want to smash?]\n\n> Manicotti\nYou zip around the corner...\n\nAbout halfway down the aisle there is a sinister and pallid-looking gentleman in a dark tuxedo.\n\nSitting on the shelves is an infinite variety of cereals.\n\nThe pallid gentleman continues his rampage by devilishly ripping into a package of pasta primavera.\n\n> Smash tax\nTrying to destroy the tax accomplishes nothing.\n\nThe pallid gentleman continues his rampage by tucking into a package of sugar-frosted flakes.\n\n> You attack the cereal killer with the stake\nThe cereal murderer faces you open-mouthed, and his bad breath caused by all his recent activity drives you back down the aisle.\n\nThe pallid gentleman continues his rampage by tearing his fangs into a package of linguini.\n\n> Mints\nYou catch a whiff of fresh little candies as the mince goes to pieces and becomes white before your eyes.\n\nThe pallid gentleman continues his rampage by murdering, in cold red dye #2, a package of Count Chocula.\n\n> You give the mints to the killer\nYou toss the mints down the aisle to him. He summarily bites them, then flings them away over the shelves. There's a noticable improvement in his breath, even from here.\n\nThe pallid gentleman continues his rampage by devilishly ripping into a package of rice crispies.\n\n> You kill the killer with the stake\nWith a powerful thrust, you drive the stake deep into the heart of the now horrified cereal murderer. He collapses to the floor, blood trickling out of the sides of his mouth. Then he vanishes with a puff of pale blue smoke."
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> You look around\nAs its name indicates, this is the aisle where grains and cereals are stocked.\n\nSitting on the shelves is an infinite variety of cereals.\n\n> You examine the cereals\nIt's dizzying to look at all the different brands. The shelf reaches a vanishing point at either end of the long aisle.\n\n> You write\nYou zip around the corner...\n\n\n\nThis is the stationery section.\n\nPowdery white flour has been spilled onto the floor alongside the shelves.\n\nThe far end of the aisle appears to be blocked off by a solid wall of quartz.\n\nSitting on the shelf are a large block of stationary and a bear clause.\n\n> Flower\nThe white powder drifts away like the shifting sands of the desert -- in its place, a flower.\n\n> Quarts\nThe surface of the wall crumbles away, revealing a tall and wide stack of quarts.\n\n> Stationery\nThe floor of the aisle rumbles and the shelf bounces a few inches off its foundation, as the \"stationary\" takes on the markings of many reams of stationery bundled together.\n\n> You sniff the flower\nThe flower contains a wonderful scent.\n\n> Bear claws\nThe paper dries up and blows away, replaced by -- bear claws!\n\n> Cent\nYou can hear it -- the penny drops."
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> Look around\nThis is the stationery section.\n\nThe far end of the aisle appears to be blocked off by a tall stack of quarts.\n\nSitting on the shelf are reams of stationery.\n\n> Bear clause\nThe hairy fist clenches itself so tightly that it becomes two-dimensional  -- paper.\n\n> You read the paper\n[Which paper do you mean, the reams of stationery or the bear clause?]\n\n> You look at the door\nIt's lined with many different kinds of locks.\n\n> Lox\nSmoke issues from each of the locks, as they turn into smoked salmon.\n\n> You take the lox\nYou \"unlox\" the door by gathering the smoked salmon.\n\n> You open the door\nAlthough you tug your hardest, you can see the door jamb is too tight against the door.\n\n> You read the clause\nWritten on a brittle, yellowing piece of paper are the words:\n\n\"A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and arm Bears, shall not be infringed.\"\n\n> Jam\nThe outline of the door smokes, and hot fresh jam oozes out from the outline of the door onto the floor.\n\n> You open the door\nThe door swings open.\n\n> Claws\nThe paper dries up and blows away, replaced by -- bear claws!\n\n> You get the claws\nYou already have the bear claws.\n\n> You enter door\nYou walk down the rickety stairs.\n\nThis is the empty cellar of the market.\n\n> Seller\nThe room starts spinning madly around, the four walls begin to close in on you. When it finally slows enough for you to open your eyes, you see a woman wearing a store uniform."
    },
    {
        "text": "[Themes: Wordplay, wordplay, silly]\n\n> You describe your surroundings\nThis is the empty cellar of the market.\n\nA seller stands here.\n\n> Cellar\nThe clerk's body becomes cubist, expands, and engulfs you."
    },
    {
        "text": "> Look around\nThis is the empty cellar of the market.\n\n> You sell the cellar\n[Whom do you want to sell the cellar to?]\n\n> Inventory\nYou have lox, bear claws, a cent, a flower, a sale, a tax, muscles, bratwurst and 22/7.\n\n> Pi\nYou can see the number 22 frozen over the number 7.\n\n> Pie\nThe thing undergoes a deafening amount of number crunching.\n\n> You sell the pie to the seller\nThe seller offhandedly rejects the pie.\n\n\"I'm a seller, not a receiver, damn it. You want to buy something, then buy it.\"\n\n> You give the sale to the seller\nThe seller offhandedly rejects the sale.\n\n\"I'm a seller, not a receiver, damn it. You want to buy something, then buy it.\"\n\n> You buy the cellar\nIf the cellar were only on sale, you might be able to afford it.\n\n> You drop sale\nDropped.\n\n> Seller\nThe room starts spinning madly around, the four walls begin to close in on you. When it finally slows enough for you to open your eyes, you see a woman wearing a store uniform.\n\n> You give cent to the seller\n\"Exactly what is it you want to buy?\"\n\n> British\nYou climb up the stairs, going to...\n\nThe floor here is richly painted in the bold colours of Brittania.\n\nUnder a large sign, a box boy is frantically filling and overfilling the shelves with boxes, which are spilling over into the aisle and blocking the way.\n\n> You examine the sign\nLarge block letters proclaim:\n\nPutting Section.\n\n> Box boy\nThe entire body of the boy is made out of various sized boxes.\n\n> Pudding\nThe boxes begin swirling into a dark, menacing whirlwind, causing you to cover yourself up defensively. In an instant there is again calm, with order having been restored to the aisle.\nHaving tidied up the place, you can now see a trail of ants crawling along the aisle floor.\n\n> Aunts\nInstantly, the little creatures become big creatures.\n\nThe aunts start milling.\n\n> You check what you're carrying\nYou have lox, bear claws, a cent, a flower, a tax, muscles, bratwurst and a pie.\n\nThe milling aunts are gawking and talking among themselves.\n\n> You listen to aunts\nThey sound just like aunts.\n\nThe milling aunts are gawking and talking among themselves.\n\n> You talk to the aunts\nThey are too busy gossiping among themselves.\n\nThe milling aunts are gawking and talking among themselves.\n\n> Worst brat\nThe sausage suddenly sprouts legs, and is transformed into the form of a small girl (thereby shattering the myth about sugar and spice and everything nice). She fiercely struggles from your grip and sprints away down the aisle into the waiting hands of her aunts. They thank you, then leave."
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> You look at your surroundings\nThe floor here is richly painted in the bold colours of Brittania.\n\nUnder a large sign, a wide variety of puddings are neatly stacked upon the shelves.\n\n> You get the pudding\nThey're best left on the shelf.\n\n> Cellar\nYou dash over to \"I'll Write...\" You walk down the rickety stairs.\n\nA seller stands here.\n\nYou can see a sale here.\n\n> You look at what you're carrying with you\nYou have lox, bear claws, a cent, a flower, a tax, muscles and a pie.\n\n> You get seller\nWhat a concept.\n\n> You put the pie on sale\nDone.\n\n> You buy the pie\nOkay, you buy the pie, handing the cent and the tax to the seller.\n\nBravo! Cheer! Kudos! With your feats of homonymic skill, you have shown the way to restoring customer confidence to the puzzled shoppers of Punster. Having broken the tape at the end of your Bizarre shopping spree, you thusly achieve the esteemed rank of Super Saver.\n\nYou now have the opportunity to do one of the following:\n\n>Play Jacks\n>Eat your Words\n>Act the Part\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> Play jacks\nThe oddities of language have been so prevalant in the town of Punster, that surrounding communities have been similarly affected. One such bordering town is Jackville, located in the northern backwoods region, but still well within the realm of possibilities.\n\nYou have come upon a region far to the north of Punster, but still within the realm of possibilities. A simple wood-plank house stands near.\n\n> You look at what you're carrying with you\nYou're empty-handed.\n\n> You enter the house\nThis drafty one-room cabin is so sparsely furnished as to be completely unfurnished. It looks like it has not been lived in for years and years.\n\nThere is a strange contraption leaning against one of the wood-plank walls.\n\n> You look at the contraption\nYou can see right away it's versatile.\n\nIt's sort of squarish, but sort of longish too and has a fluffy ball of cottony fur at one end. Its surface is made of thick cloth, except for one edge which is a long piece of metal that looks as if it can be pulled out.\n\nOn three different sides of the strange contraption you can see a hand crank, a water faucet, and an electrical switch. As if all that wasn't enough, there is also a pair of sleeves sticking out of the thing.\n\n> Wear contraption\nAs you slip on the jacket, you find that it fits you quite well. It feels a lot more comfortable than it looks.\n\n> Spin\n[What do you want to spin?]\n\n> You remove the jacket\nYou slip off what feels to be a jacket. All features return to the Jack of all Traits.\n\n> You turn the crank\nThe Jack of all Traits begins to play a simple plunkety tune, and as the music becomes louder and louder the strange contraption starts looking a lot more like a box and a lot less like anything else, and the music gets louder and louder until...\n\n\"Pop!\"\n\nThe lid springs open and a jester rears its jolly head.\n\n\"Boing... Boing\"\n\n> You put Jack in the box\nYou can almost swear that the jester winks at you as his head is lowered into the box and the lid is shut with a \"Click.\" All the other features of the Jack of all Traits come back.\n\n> You flip the switch\n\"Rata-tat-tat! Rata-rata-rata-rata Tat-tat-tat!\" The Jack of all Traits powerfully roars to life as you hang on the wildly chugging jackhammer like a rodeo cowboy.\n\n> You turn off the switch\nOne hand slips off the handle and hits the switch. The jackhammer coughs, wheezes and shudders to a halt. All the features of the Jack of all Traits return.\n\n> You stab yourself\nDone."
    },
    {
        "text": "> You look at your surroundings\nThis drafty one-room cabin is so sparsely furnished as to be completely unfurnished. It looks like it has not been lived in for years and years.\n\n> Pat ball of fur\nThe ball of fur twitches excitedly for a moment. Suddenly the Jack of all Traits seems to give birth as a full-grown jackrabbit is ejected from the contraption. His metabolism, following its winter of cooped-up discontent, seems to be racing away. But the furry mammal itself remains at your feet, all atremble. He pauses to look up at you. To the extent that his beady red eyes are able to emote, he seems to express gratitude. Then, with a jackrabbit start, he is gone.\n\n> You examine the contraption\nYou can see right away it's versatile.\n\nIt's sort of squarish, but sort of longish too. Its surface is made of thick cloth, except for one edge which is a long piece of metal that looks as if it can be pulled out.\n\nOn three different sides of the strange contraption you can see a hand crank, a water faucet, and an electrical switch. As if all that wasn't enough, there is also a pair of sleeves sticking out of the thing.\n\n> You pull the metal\nThe long piece of metal, in reality the glistening, razor-sharp blade of a jackknife, pivots out of its handle and with a \"snap!\" all the other features of the Jack of all Traits vanish.\n\n> You close the knife\nBeing careful that you don't lop off any fingers, you pivot the blade back and it closes with a \"snap!\" All the other dimensions of the Jack of all Traits return.\n\n> You turn on the faucet\nThere is a deep gurgling sound, then scalding hot water begins gushing out of the faucet, and you are surrounded by a thick cloud of steam. As the steam begins to thin out, you find yourself leaning back in a hot tub with Jacuzzi, and you can't remember when being in hot water ever felt so good.\n\n> You turn off the faucet\nThe washerless faucet spins round, and some hot, steamy water gurgles out.\n\n> You look at the jacuzzi\nThe well-insulated tub's full of hot steamy water and you. There's a plug at the bottom of the hot tub.\n\n> You pull the plug\nThe water, slowly at first, begins to swirl toward the plug, creating a whirl of water so loud that it's nightmarish. You close your eyes and cover your ears and when you hear the last loud slurp you find yourself standing again.\n\n> You look at what you're carrying with you\nYou're empty-handed.\n\n> Inventory\nYou have a jacket (being worn).\n\n> You take off jacket\nYou slip off what feels to be a jacket. All features return to the Jack of all Traits.\n\n> You flip the switch\n\"Rata-tat-tat! Rata-rata-rata-rata Tat-tat-tat!\" The Jack of all Traits powerfully roars to life as you hang on the wildly chugging jackhammer like a rodeo cowboy.\n\n> Leave\nYou walk along the trail a long way. With each uncertain step you take, it grows darker. Clouds gather. With large puffy white cheeks, they blow noisy cold across the sky, as will happen in this changeable realm.\n\nIt looks like a picture of a wedding gown in a snow storm.\n\nThe cold wind is breezing right through you.\n\n> You turn on the faucet\nYour fingers are so stiff with cold, it's impossible.\n\n> You wear the jacket\nAs you slip on the jacket, you find that it fits you quite well. It feels a lot more comfortable than it looks. It offers much shelter from the cold, which is now nipping at your nose.\n\n> Go west\n[Refer to the top of the screen to find out where you can go.]\n\nDespite the shelter of the jacket, you're still in the midst of a cold snap. You begin to smell the vague illusory odor of \"chestnuts roasting on an open fire.\"\n\n> You look at Jack\nSuddenly, all of the thick, nasty weather surrounding you begins to swirl, then lift, slowly at first, and then more rapidly up above your head, then up further to expose the large and many trunks of dense evergreen forest, and then up and past the high tops of the trees themselves and into the heavens.\n\nThe mountain air is still and cold. You are next to a frozen-over pond, ringed by dense forest.\n\nThere is an old wooden sign leaning slightly over.\n\nAn old man is next to the pond, standing bent like one of the age old trees of the forest, with the frost of storms past still clinging in its whiteness upon his dark overcoat. He holds in his hands a gnarled stick.\n\nThe man refuses to communicate with you, but stands still and silent as the mountain air.\n\n> You remove the jacket\nYou slip off what feels to be a jacket. All features return to the Jack of all Traits.\n\n> You examine the old man\nHe wears a permafrost frown upon his face, a face that betrays a lifetime of never any joy, never any surprise, never any sunshine.\n\n> You pull the plug\nThe water, slowly at first, begins to swirl toward the plug, creating a whirl of water so loud that it's nightmarish. You close your eyes and cover your ears and when you hear the last loud slurp you find yourself standing again.\n\n> You turn crank\nThe Jack of all Traits begins to play a simple plunkety tune, and as the music becomes louder and louder the strange contraption starts looking a lot more like a box and a lot less like anything else, and the music gets louder and louder until...\n\n\"Pop!\"\n\nThe lid springs open and a jester rears its jolly head.\n\n\"Boing... Boing\"\n\nThe jester winks at the frozen old man, and you can almost hear the rushing torrent of flood waters coming from deep within the heart of Jack Frost. Some human color suddenly rushes into his cheeks in a flush, reddening his face and thawing the frown into much dripping and wetness, which can scarcely be distinguished from tears of happiness.\n\nUnder a sunny disposition, a more quick and nimble Jack frolics down the path, making instant puddles out of his domain wherever he treads."
    },
    {
        "text": "[Themes: Wordplay, wordplay, silly]\n\n> You describe your surroundings\nThe mountain air is still and cold. You are next to a frozen-over pond, ringed by dense forest.\n\nThere is an old wooden sign leaning slightly over.\n\n> You read sign\nIt reads:\n\nNO DANGER! THICK ICE\n\n> You enter the ice\nYou walk out onto the middle of the frozen pond.\n\nYou're on a frozen pond covered by a thin layer of frost.\n\n> You look at the mermaid\nThe mermaid is tall, curvaceous and attractive, even with her long blond hair dripping wet. There is a large tangle of fishing line wrapped around her sizable tail fin. She's wearing a shark-tooth necklace.\n\n> You pull the metal\nThe long piece of metal, in reality the glistening, razor-sharp blade of a jackknife, pivots out of its handle and with a \"snap!\" all the other features of the Jack of all Traits vanish.\n\n> You cut the line\n[What do you want to cut the line with?]\n\n> You close the knife\nBeing careful that you don't lop off any fingers, you pivot the blade back and it closes with a \"snap!\" All the other dimensions of the Jack of all Traits return.\n\n> Hello mermaid\n[The proper way to talk to characters in the story is PERSON, HELLO.]\n\n> Hello\nThe mermaid gives you a slow smile and tilts her head slightly to one side.\n\n> Kiss mermaid\nYou drift near enough to feel the warmth of her breath, which carries barely a hint of brine but is not unpleasant. She turns gracefully away.\n\n> You turn on the faucet\nThere is a deep gurgling sound, then scalding hot water begins gushing out of the faucet, and you are surrounded by a thick cloud of steam. As the steam begins to thin out, you find yourself leaning back in a hot tub with Jacuzzi, and you can't remember when being in hot water ever felt so good.\n\nThe mermaid is also in the hot tub, smiling with her eyes closed as she swims luxuriously through the water.\n\n> You ask the mermaid about the necklace\nThe mermaid gives you a slow smile while effortlessly and relaxingly treading water."
    },
    {
        "text": "> Look around\nOn Frozen Pond, in the tub\n\nYou're on a frozen pond covered by a thin layer of frost. There is a hole in the ice.\n\n> You pull the plug\nThe water, slowly at first, begins to swirl toward the plug, creating a whirl of water so loud that it's nightmarish. You close your eyes and cover your ears and when you hear the last loud slurp you find yourself standing again.\n\nThe mermaid, having been warmed by the dip in the hot tub, and freed of the entanglement of the fishing line, appears ready to brave the frigid waters for a long swim to warmer regions. She hyperventilates for a few moments and braces herself with a frenetic self-hug, stopping to give you a smile with her thin lips.\n\nShe bids farewell, and slips back into the frigid water, causing a little plop of water as her tail fin disappears beneath the surface.\n\nCongratulations. You have been nimble and you have been quick. Punster will from here on out enjoy better relations with its northern neighbor, Jackville. The Citizen's Action Committee does hereby confer upon you the title of Jackster.\n\nYou now have the opportunity to do one of the following:\n\n>Eat your Words\n>Act the Part\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> You act the the part\nThe foremost star of stage and scream in Punster, Brad Watkins, has left behind our small-town difficulties in search of fame and fortune beyond the purple horizon. We of course wish him the very worst of luck. It has been very dashing of you to take the stage in his absence. With the proper make-up applied, you're a side-splitting image.\n\nGlaring bright lights bake down upon the stage.\n\nThe living room of your apartment is furnished in the drab period style of the 1950's situation comedy. Luckily, there's not much furniture on the set for you to bump into. However, one brass lamp with a rather ostentatious lamp shade stands here. A flimsy, union-constructed front door leads out of the apartment, another door leads to the bathroom. Both are closed. Your kitchen is at the other side of the stage.\n\nYour favorite chair sits here facing the television.\n\nYou hear a man's voice from the other side of your front door. \"Knock knock.\"\n\n> Who's there\n\"Bob.\"\n\n> Who's there\nGood question.\n\n> Bob who\n\"Ba ba ba, ba ba ba-ran....\"\n\nThe door swings open and in walks your irrepressible, long-lost (\"but not long enough\") brother-in-law Bob. \"Howdy, Sammy! Just flew in from Pittsburgh. Boy are my arms tired,\" he says, flapping and smiling goonily. Bob extends his hand to you in greeting...\n\n> You shake the hand\nBob enthusiastically grabs your hand in greeting.\n\n\"Bzzzzzzzzzzzzz!\"\n\nIt feels like you are shaking hands with a Hoover Dam generator, as the mega-voltages of power surging into the palm of your hand cause your entire body to writhe.\n\nBob doubles himself over with knee-slapping, gasping laughter. \"I guess I got you that time, eh?\" he says, flashing you the joy buzzer in his palm, and then skates into the kitchen.\n\n> Kitchen\nYou walk across the stage.\n\nThe kitchen suffers from the neglect so often decried by the 1950's sitcom husband in the presence of his 1950's sitcom wife.\n\nThere's a bottle in front of you. Your mind echos the phrase, \"a bottle in front of me,\" which gives you ideas...\n\nYou can see a scalpel-like knife, a blue sponge and yellow rubber gloves here.\n\nYour brother-in-law Bob swings open the refrigerator door, loads himself down, shuts the fridge door with his knee, and with his movable feast shuffles back into the living room.\n\n> You take all\nhot-water bottle: The hot-water bottle, which is devoid of water but puffed up with air, is squeezed and emits a rude Bronx cheer. scalpel-like knife: Taken.\nyellow rubber gloves: Taken.\n\n> Living room\nYou walk across the stage.\n\nWell, it seems that Bob has already taken the liberty of moving the lamp away from his TV viewing area and over near the kitchen entrance, where you now have the misfortune of tripping over the cord from the lamp.\n\nYou take a pratfall, landing heavily on the floor to the beat of a bass drum, and then a rim shot. The crowd loves it.\n\nMeanwhile, the live wire, ripped from the lamp but still plugged into the wall, snakes around the floor, spitting sparks out of the end that was torn from the lamp.\n\nBob, who is kicking back on your favorite chair, is too engrossed with the TV to notice any of this.\n\nGlaring bright lights bake down upon the stage.\n\nThe living room of your apartment is furnished in the drab period style of the 1950's situation comedy. Luckily, there's not much furniture on the set for you to bump into. However, one brass lamp with a rather ostentatious lamp shade stands here. A flimsy, union-constructed front door leads out of the apartment, another door leads to the bathroom. Both are closed. Your kitchen is at the other side of the stage.\n\nAn electrical cord is plugged into the wall, the other end having been torn from the lamp.\n\n> You take all\nelectrical cord: The audience sucks in its collective breath at your bare-handedness, which gives you pause.\nlamp: You've gotta be kidding.\nlamp shade: Taken.\n\nIn your nervous hand, the lamp shade's gold tassels shake, perceptible only to yourself, slightly back and forth.\n\n> You wear shade\nYou lower the gaudy lamp shade over your deadpan face, pretending to be part of the furniture, which is how your brother-in-law Bob has treated you. As the laughs die down, you remove the shade.\n\n> You take cord\nThe audience sucks in its collective breath, and you gingerly pick up the live wire, with its end resting in the palm of the glove.\n\n> You take the lamp\nNever in a thousand years.\n\n> Blow in bottle\nYou huff and puff until the hot-water bottle is full of hot air. Some members of the studio audience let out some anticipatory giggles.\n\nBob says, \"Hey Sammy, what is this fly doing in my soup?\"\n\n> Backstroke\nThe crowd eats it up.\n\n> The backstroke\nBob gets up and marches toward the kitchen, evidently to stock up on more goodies.\n\nIt looks like every other your shoulder you've ever seen.\n\n> The backstroke\nTalking to yourself is a sign of impending mental collapse.\n\n> You put the bottle in the chair\nIt would be visible there.\n\n> You take the cushion\nNice try.\n\n> You put the bottle under the cushion\nYou slip the whoopee cushion into position. The audience begins tittering.\n\nIn walks the unsuspecting Bob, who is loaded down with goodies. He plops onto YOUR comfy chair.\n\n\"Bbbthpppffffthppp!\" The crowd howls as poor Bob nearly loses his lunch in shock.\n\n> You touch the cord to bob\nBob reflexively extends his hand...\n\n\"Za za za za za za Zap!\" Electrified by the experience, with his hair sticking straight out and a frightful expression stamped on his face, your brother-in-law Bob is powered willy-nilly into the air, with an involuntarily tight grip on the cord. You're holding the other end with your yellow rubber gloves, smiling calmly, as if you had a fly on the end of a string. The crowd loves it.\n\nWith a yank on the cord, Bob lands in a heap back onto your chair, a little shaken but no worse for the scare.\n\n> You check what you're carrying\nYou have an electrical cord, yellow rubber gloves (being worn), a lamp shade, a scalpel-like knife, a blue sponge and a coat (being worn).\nIt seems that the coat contains a match stick.\n\n> Light match\nYou scratch the match behind your left ear and it flares up.\n\nThe match continues burning down.\n\n> You put the match under the foot\nSomebody yelling \"Fire\" in the crowded theater is enough to stop you.\n\nThe match continues burning down.\n\n> You put the match in the hole\nAs you slide the match neatly into the shoe hole, waves of knowing snickers ripple through the audience. With his eyes still glued to the television, your brother-in-law Bob tilts his head to one side, and sniffs the air twice. \"I smell something burning, Sammy. You better go into the kitchen and check it Ow-wow-wow-wow-wow-wow-wow-wowwy!\"\n\nIn a blur, the hot-footed Bob leaps from the chair and performs a Hiawathan rain dance to the insistent, rhythmic beat of Indian drums.\n\nThe crowd loves it.\n\nThere is the final sound effect of a thunder clap in the distance, and Bob hunkers paranoically back down in your chair, staring again at the TV.\n\nYou hear a woman's voice from the other side of your front door. \"Knock knock.\"\n\n> Who's there\n\"Gorilla.\"\n\n> Gorilla who\n\"Girl of your dreams!\"\n\nA lady enters the living room and, narrowing her eyes, begins sizing up the situation.\n\n> You look at lady\nThat's no lady, that is your wife.\n\nShe walks over to Bob and consoles him as he describes what a meanee you have been.\n\n> Inventory\nYou have an electrical cord, yellow rubber gloves (being worn), a lamp shade, a scalpel-like knife, a blue sponge and a coat (being worn).\n\nBob continues telling your wife how rotten you were to him.\n\n> You examine the sponge\n[Which sponge do you mean, your brother-in-law Bob or the blue sponge?]\n\n> You look at the blue sponge\nThere's nothing unusual about the blue sponge.\n\nShe throws a tantrum and storms out, to her mother's (that's next week's episode). Bob is falling apart emotionally as well, and goes and locks himself in the bathroom.\n\nBob stays in there several very tense minutes, without making a sound. Just when you think it's about time to call a professional, Bob's silence is suddenly broken by the words, \"Knock knock.\"\n\n> Who's there\n\"Dwayne.\"\n\n> Dwayne who\n\"Dwayne the bathtub, I'm dwownin'!\"\n\nYou hear a suppressed cackle from behind the bathroom door, which slowly opens to reveal the figure of your Bob, looking sheepish but with his hurt feelings mended. He shuts the door and slides back into your chair.\n\n> Who's there\nGood question.\n\n> Bob\nThe crowd erupts with laughter as you seem to equate your brother-in-law Bob with a sponge.\n\n> You check what you're carrying\nYou have an electrical cord, yellow rubber gloves (being worn), a lamp shade, a scalpel-like knife, a blue sponge and a coat (being worn).\n\n> You cut the sponge\n[What do you want to cut the sponge with?]\n\n> You put the coat on bob\nYou'll have to remove the coat first.\n\n> You take the coat\nYou're already wearing the coat.\n\n> You remove the coat\nYou remove the coat.\n\n> Poke Bob with knife\nThat'd be worse than a poke in the eye with a sharp stick.\n\n> Kitchen\n[dropping the cord first]\n\nYou walk across the stage.\n\nThe kitchen suffers from the neglect so often decried by the 1950's sitcom husband in the presence of his 1950's sitcom wife.\n\n> Inventory\nYou have yellow rubber gloves (being worn), a lamp shade, a scalpel-like knife, a blue sponge and a coat.\n\n> You open the fridge\nOpened.\n\n> Living room\nYou walk across the stage.\n\nGlaring bright lights bake down upon the stage.\n\nThe living room of your apartment is furnished in the drab period style of the 1950's situation comedy. Luckily, there's not much furniture on the set for you to bump into. However, one brass lamp stands here. A flimsy, union-constructed front door leads out of the apartment, another door leads to the bathroom. Both are closed. Your kitchen is at the other side of the stage.\n\nAn electrical cord is plugged into the wall, the other end having been torn from the lamp.\n\nYour brother-in-law Bob is kicking back on your favorite chair, feeding his face and staring at the television. With his feet jutting out into the air, you notice a small hole at the tip of one of his much-travelled shoes.\n\nYou can see a hot-water bottle here.\n\n> You look at the bottle\nThe hot-water bottle is empty and deflated.\n\n> You give the bottle to Bob\nBriskly, your brother-in-law Bob refuses your offer.\n\n> You put the bottle in the front of yourself\nWhy bother?\n\n> You remove the cushion\nYou've gotta be kidding."
    },
    {
        "text": "[Themes: Wordplay, silly]\n\n> Look around\nGlaring bright lights bake down upon the stage.\n\nThe living room of your apartment is furnished in the drab period style of the 1950's situation comedy. Luckily, there's not much furniture on the set for you to bump into. However, one brass lamp stands here. A flimsy, union-constructed front door leads out of the apartment, another door leads to the bathroom. Both are closed. Your kitchen is at the other side of the stage.\n\nAn electrical cord is plugged into the wall, the other end having been torn from the lamp.\n\nYour brother-in-law Bob is kicking back on your favorite chair, feeding his face and staring at the television. With his feet jutting out into the air, you notice a small hole at the tip of one of his much-travelled shoes.\n\n> You put the bottle in the front of yourself\nIt's not worth it. Believe me.\n\n> Kitchen\nYou walk across the stage.\n\nThe kitchen suffers from the neglect so often decried by the 1950's sitcom husband in the presence of his 1950's sitcom wife.\n\n> You put the bottle in the front of yourself\nYou're barking up the wrong tree.\n\n> You get the frontal lobotomy\nYou run the surgical-like instrument through the air an inch above your scalp. The crowd loves it. You've really got them eating out of your hand.\n\n\"Cut! Cut!\" booms an off-stage, directoral voice. \"It's a wrap.\" Drenched in the sweat of your comedic toil, you bask in the adoration of the cheerful Punster audience. Having milked this bit for the maximum number of cheap gags, namely 10, you have achieved the status of King of Comedy.\n\nYou now have the opportunity to do one of the following:\n\n>Eat your Words\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> You visit Manor\nThe sad truth here is that the Manor of Speaking once enjoyed the reputation as one of THE finest guest houses in the entire region around Punster. But queer indeed is the fate it has suffered. The various rooms of the house are actually possessed by the warped personalities of by-gone visitors. The experience of a present-day guest to each of the rooms is colored very strongly by the thoughts and indeed voice of each ghostly presence. Needless to say, vacancy rates have gone through the roof. Which leads us to the crucial problem with the Manor. Its attic, as you will notice, is radically out of joint, situated BELOW the level of the first floor. It has been theorized that if this misplacement could be dramatically rectified, the spirits who've worn out their welcome might flee in horror. This is our hope, may it be your quest.\n\nYou're standing in front of a large but oddly shaped manor house. From the outside, it looks as if its individual rooms have been haphazardly constructed and are out of proportion with each other. This has a slight disorienting effect.\n\n> Interior decorated\nYou go there...\n\nThe carpet! The carpet! Don't drag your feet on the carpet! It's a priceless hand-loomed Persian!\n\nWhew! Okay, you're now standing on the bone-white Louis-XV-inspired tile.\n\nThis room, with its modern sensibility yet also palpable feeling for the ancien regime, is unique in its elegant reflection of a confident, personal sense of style. The lines are lean and classic, the color is rich and distinctive.\n\nThe Louis XIV chair is plump, tufted, aristocratic -- it's styled with equal splashes of rococo and baroque. The piece definitely has charisma. Sitting on the chair: a multihued textured pillow.\n\nAgainst the far wall is an heroically proportioned, Mediterranean-crafted, intricately inlaid, Pre-Raphaelite limestone mantelpiece, circa 1838.\n\nAdorning the mantel is a resplendently virgin-ivory hand-embroidered, filet-patterned lace tablecloth, circle 924 on your Reader Service Card.\n\nA marble staircase of grand proportions leads down.\n\n> You examine the pillow\nThe pillow, complementary to the Louis XIV, is multihued and textured, displaying free-form squiggles, curlicues and brash brushstrokes with a primitive look to them.\n\n> You look at the tablecloth\nIt looks like every other lace tablecloth you've ever seen."
    },
    {
        "text": "> You look around\nThis room, with its modern sensibility yet also palpable feeling for the ancien regime, is unique in its elegant reflection of a confident, personal sense of style. The lines are lean and classic, the color is rich and distinctive.\n\nThe Louis XIV chair is plump, tufted, aristocratic -- it's styled with equal splashes of rococo and baroque. The piece definitely has charisma.\n\nAgainst the far wall is an heroically proportioned, Mediterranean-crafted, intricately inlaid, Pre-Raphaelite limestone mantelpiece, circa 1838.\n\nA marble staircase of grand proportions leads down.\n\n> You stand\nYou get out of the plump, tufted, aristocratic Louis XIV chair.\n\n> Doldrums\nYou go there...\n\nGo ahead, come on in and bore me.\n\nWalking into here is like driving across Nebraska. The place is neither bright nor dim, neither cool nor warm, neither this way nor that way. Even the air is unmoved by the experience of you entering the doldrums.\n\nIn the center of the room is a vast wasteland, which gradually blends into a wide patch of long pale-green grass that spills over into yawning chasms. Above the cliff hangs a shapeless cloud through which a line of sheep are jumping, one after the next, in slow motion.\n\nAll of the objects here have the aspect of salt-water taffy left out in the sun too long. Cobwebs enshroud a clock that has long since clocked out.\n\nOne wall appears to have been recently painted pea green. The weak smell of paint lingers in the air.\n\n> Sleep\nYou're not tired.\n\nThe paint on the wall continues to dry.\n\n> You watch the paint dry\nThe chasm yawns again. I've heard the word \"watch\" before.\n\n> Yawn\nYou've already arrived.\n\nThe grass here continues to grow.\n\n> You wait\nTime passes...\n\nThe paint on the wall continues to dry.\n\n> You look at the paint\nThe chasm yawns again. I've heard the word \"paint\" before.\n\n> You look\nGo ahead, come on in and bore me.\n\nWalking into here is like driving across Nebraska. The place is neither bright nor dim, neither cool nor warm, neither this way nor that way. Even the air is unmoved by the experience of you entering the doldrums.\n\nIn the center of the room is a vast wasteland, which gradually blends into a wide patch of long pale-green grass that spills over into yawning chasms. Above the cliff hangs a shapeless cloud through which a line of sheep are jumping, one after the next, in slow motion.\n\nAll of the objects here have the aspect of salt-water taffy left out in the sun too long. Cobwebs enshroud a clock that has long since clocked out.\n\nOne wall appears to have been recently painted pea green. The weak smell of paint lingers in the air.\n\nThe grass here continues to grow.\n\n> You pick up all\nclock: Taken.\nwinding key: You can't -- the winding key is an integral part of the clock.\nBut the key can still be used.\npaint: Never in a thousand years.\nyawning chasms: Nice try.\ngrass: What a concept.\ncloud: You've gotta be kidding.\nvast wasteland: Never in a thousand years.\n\nThe paint on the wall continues to dry.\n\n> Wind key\nYou wind the clock until the winding key stops.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\" If you couldn't see it was the clock making the noise, it would sound rather ominous.\n\nThe grass here continues to grow.\n\n> Cut grass\n[What do you want to cut the grass with?]\n\n> You jump in the chasm\nThe chasm yawns again. I've heard the word \"in\" before.\n\n> Kremlin\nYou go there...\n\n\"Tick... tick.\" I hear bomb ticking! Counter-Revolutionary spy! Hold on to our sable hats. Oh, we can see is only inferior Capitalist clock.\n\nThis room is painted entirely in bold, revolutionary red -- walls, floor, and ceiling -- surrounding you symbolically with the inescapability of the coming of the revolution.\n\nPresiding over the room, hanging from a high red wall, the portrait of the Grandfather of the Revolution, Karl Marx, looks down with furrowed brow upon your capitalist hide.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You examine Marx\nIt looks like every other portrait of Karl Marx you've ever seen.\n\nThe clock keeps ticking off the time.\n\n> You look behind the portrait\nYou can't reach the portrait of Karl Marx.\n\nThe clock keeps ticking off the time.\n\n> You buy the portrait\nThat's not for sale.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> Pharmacy\nYou go there...\n\nAaah... Choo! Oh, of course, in you come tracking your germs.\n\nSniff... sniff.\n\nYou're standing upon a rubberized non-slip bathroom mat. Handrails, installed here as an extra precaution, run along the walls.\n\nYou look a little peaked to yourself, reflected in the mirror of the medicine cabinet.\n\nA cardboard box, about one-foot square and empty of its value pack of medicines, sits on the floor.\n\nThe clock keeps ticking off the time.\n\n> Examine box\nInside the cardboard box you see nothing.\n\nThe clock keeps ticking off the time.\n\n> You get the box\nTaken.\n\nThe clock keeps ticking off the time.\n\n> You stand on the box\nYou're barking up the wrong tree.\n\nThe clock keeps ticking off the time.\n\n> You get the box\nYou already have the cardboard box.\n\nThe clock keeps ticking off the time."
    },
    {
        "text": "> Look around\nAaah... Choo! Oh, of course, in you come tracking your germs.\n\nSniff... sniff.\n\nYou're standing upon a rubberized non-slip bathroom mat. Handrails, installed here as an extra precaution, run along the walls.\n\nYou look a little peaked to yourself, reflected in the mirror of the medicine cabinet.\n\nThe clock gives off its last \"tick\" and stops.\n\n> You open the cabinet\nThe cabinet creaks on its hinges, some would say from overuse.\n\nThe cabinet is crowded to pharmaceutical proportions with a panoply of pills, lozenges and elixirs -- hey, you can't be too careful, with what's going around these days -- including some remedies for afflictions that, yes, haven't even afflicted anyone yet. But it's better to be safe than sorry.\n\n> You eat the pills\nThat's pretty nutty.\n\n> Attic\nYou walk to the Interior Decorated, and from there walk down the stairs...\n\nThe attic is where the oxymoron is rumored to have been locked up recently for years and years. There doesn't seem to be even a shred of hard evidence, though, for such a secret rumor. A funny thing though -- the place is upside-down: You're standing on the ceiling with the floor above as the roof over your head.\n\nA sturdy, rickety stairway leads up from here.\n\n> You examine the ceiling\nIt looks like every other ceiling you've ever seen.\n\n> Down\nBut the stairs lead up.\n\n> Inventory\nYou have a cardboard box, a clock, a lace tablecloth and a multihued textured pillow.\nIt seems that the clock contains a winding key.\n\n> Beginning\nYou are surrounded by a swirling, blinding cloud. You feel your limbs going relaxed and your eyelids are buffeted with sand from the cloud.\n\nYou now have the opportunity to do one of the following:\n\n>Eat your Words\n>Visit the Manor of Speaking\n>Shake a Tower\n>Meet the Mayor\n\n> You visit Manor\nThe sad truth here is that the Manor of Speaking once enjoyed the reputation as one of THE finest guest houses in the entire region around Punster. But queer indeed is the fate it has suffered. The various rooms of the house are actually possessed by the warped personalities of by-gone visitors. The experience of a present-day guest to each of the rooms is colored very strongly by the thoughts and indeed voice of each ghostly presence. Needless to say, vacancy rates have gone through the roof. Which leads us to the crucial problem with the Manor. Its attic, as you will notice, is radically out of joint, situated BELOW the level of the first floor. It has been theorized that if this misplacement could be dramatically rectified, the spirits who've worn out their welcome might flee in horror. This is our hope, may it be your quest.\n\nThe attic is where the oxymoron is rumored to have been locked up recently for years and years. There doesn't seem to be even a shred of hard evidence, though, for such a secret rumor. A funny thing though -- the place is upside-down: You're standing on the ceiling with the floor above as the roof over your head.\n\nA sturdy, rickety stairway leads up from here.\n\nYou can see a multihued textured pillow, a lace tablecloth and a cardboard box here.\nIt seems that the cardboard box contains a clock.\nIt seems that the clock contains a winding key.\n\n> You get all\nmultihued textured pillow: Taken.\nlace tablecloth: Taken.\ncardboard box: Taken.\n\n> Wind key\nYou wind the clock until the winding key stops.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> Close box\nOkay, the cardboard box is now closed.\n\nThe clock keeps ticking off the time.\n\n> Kremlin\nYou walk up the stairs to the Interior Decorated and continue walking...\n\n\"Tick... tick.\" I hear bomb ticking! Counter-Revolutionary spy! Hold on to our sable hats. My sturdy walls tremble with xenophobia of Western hegemony into Mother Country. Poor Marx is jolted and falls indignantly to the floor, revealing some kind of safe on the red wall where he had hung.\n\nThis room is painted entirely in bold, revolutionary red -- walls, floor, and ceiling -- surrounding you symbolically with the inescapability of the coming of the revolution.\n\nThere's a safe built into the wall where the picture once hung.\n\nYou can see a portrait of Karl Marx here.\n\nThe clock keeps ticking off the time.\n\n> You examine safe\nIn keeping with the spirit of international brotherhood and with the lofty theme of the Lennon's song \"Imagine,\" the safe is kept closed only by a very simple universal lock, which can be opened by any kind of key.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You examine pillow\nThe pillow, complementary to the Louis XIV, is multihued and textured, displaying free-form squiggles, curlicues and brash brushstrokes with a primitive look to them.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You open pillow\nYou can't open a multihued textured pillow!\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You get the portrait\nThe hero has suffered indignity enough. Never he to be taken away as capitalist booty!\n\nThe clock keeps ticking off the time.\n\n> You open the box\nOpening the cardboard box reveals a clock.\nIt seems that the clock contains a winding key.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You get the key\nYou can't -- the winding key is an integral part of the clock.\nBut the key can still be used.\n\nThe clock continues sounding out a steady \"Tick... tick... tick.\"\n\n> You unlock safe with the key\nYou can't reach the safe.\n\nThe clock keeps ticking off the time.\n\n> Interior\nYou go there...\n\nThis room, with its modern sensibility yet also palpable feeling for the ancien regime, is unique in its elegant reflection of a confident, personal sense of style. The lines are lean and classic, the color is rich and distinctive.\n\nThe Louis XIV chair is plump, tufted, aristocratic -- it's styled with equal splashes of rococo and baroque. The piece definitely has charisma.\n\nAgainst the far wall is an heroically proportioned, Mediterranean-crafted, intricately inlaid, Pre-Raphaelite limestone mantelpiece, circa 1838.\n\nA marble staircase of grand proportions leads down.\n\nThe clock gives off its last \"tick\" and stops.\n\n> You get the chair\nThis is not a rummage sale. No! I could never think of parting with such a priceless antique.\n\n> You look at what you're carrying with you\nYou have a cardboard box, a lace tablecloth and a multihued textured pillow.\nIt seems that the cardboard box contains a clock.\nIt seems that the clock contains a winding key.\n\n> Pharmacy\nYou go there...\n\nAaah... Choo! Oh, of course, in you come tracking your germs.\n\nSniff... sniff.\n\nYou're standing upon a rubberized non-slip bathroom mat. Handrails, installed here as an extra precaution, run along the walls.\n\nThe open medicine cabinet is cram packed full of a variety of medicines.\n\nIt seems that the medicine cabinet contains an old bottle.\n\n> You get the bottle\nYou can go ahead and have that old thing anyway. It was here before I moved in.\n\n> You examine bottle\nIt's a small and delicately sculpted glass bottle, looking to be hundreds of years old. The bottle is empty and has no lid.\n\n> Interior\nYou go there...\n\nOh, my goodness, that's a rare antique bottle you're holding. Very impressive indeed.\n\nThis room, with its modern sensibility yet also palpable feeling for the ancien regime, is unique in its elegant reflection of a confident, personal sense of style. The lines are lean and classic, the color is rich and distinctive.\n\nThe Louis XIV chair is plump, tufted, aristocratic -- it's styled with equal splashes of rococo and baroque. The piece definitely has charisma.\n\nAgainst the far wall is an heroically proportioned, Mediterranean-crafted, intricately inlaid, Pre-Raphaelite limestone mantelpiece, circa 1838.\n\nA marble staircase of grand proportions leads down.\n\n> You put the bottle on the mantel\nUmm... Do you really think it makes the right statement there?\n\n> Yes\nMmmmm. You know I really think you might be right. Yes, yes, the cherished memento look.\n\nYou carefully place the antique bottle upon the mantel.\n\nYes, heavens yes, it really SAYS something there. Oh, such a prized antique, what could I EVER give you in return?\n\n> You get the chair\nGIVE the plump, tufted, aristocratic Louis XIV chair to you -- never! Well, yes, you may borrow it. I don't even want to KNOW what you're going to use it for.\n\nIt's too heavy, considering your current load.\n\n> You get the chair\nIt's too heavy, considering your current load.\n\n> Inventory\nYou have a lace tablecloth and a multihued textured pillow.\n\n> You drop all\nlace tablecloth: Dropped.\nmultihued textured pillow: Dropped.\n\n> You get the chair\nGo ahead, but I can't bear to look. [With the proper reverence, you make a courtly bow in front of the priceless antique as you pick it up.]\n\n> Kremlin\nYou go there...\n\n\"Fellow traveller, welcome.\"\n\nThis room is painted entirely in bold, revolutionary red -- walls, floor, and ceiling -- surrounding you symbolically with the inescapability of the coming of the revolution.\n\nThere's a safe built into the wall where the picture once hung.\n\nYou can see a portrait of Karl Marx here.\n\n> Interior\nYou go there...\n\nThis room, with its modern sensibility yet also palpable feeling for the ancien regime, is unique in its elegant reflection of a confident, personal sense of style. The lines are lean and classic, the color is rich and distinctive.\n\nAgainst the far wall is an heroically proportioned, Mediterranean-crafted, intricately inlaid, Pre-Raphaelite limestone mantelpiece, circa 1838. Resting on the mantel: an old bottle.\n\nA marble staircase of grand proportions leads down.\n\nYou can see a multihued textured pillow, a lace tablecloth and a cardboard box here.\nIt seems that the cardboard box contains a clock.\nIt seems that the clock contains a winding key.\n\n> You get all\nmultihued textured pillow: Taken.\nlace tablecloth: Taken.\ncardboard box: Taken.\nold bottle: Hands off, Indian giver! That antique bottle is mine now.\n\n> Kremlin\nYou go there...\n\n\"Fellow traveller, welcome.\"\n\nThis room is painted entirely in bold, revolutionary red -- walls, floor, and ceiling -- surrounding you symbolically with the inescapability of the coming of the revolution.\n\nThere's a safe built into the wall where the picture once hung.\n\nYou can see a plump, tufted, aristocratic Louis XIV chair and a portrait of Karl Marx here.\n\n> You unlock safe with the key\nBy inserting the clock key into the safe and turning, the safe is unlocked.\n\n> You open safe\nOpening the safe reveals a revolution.\n\n> You revolve the attic\nYou get that long, drawn-out sudden feeling of movement in the pit of your stomach as the attic begins tilting straight up to one side, and it continues tilting until you're in a figurative sense literally climbing the walls and fall...\n\n\"CRUNCH!\" Your shoulders slam softly against the hardwood floor. Wobbly but with steadiness, you regain your feet. Wait! You can hear the screeching voices of disembodied spirits converge in a fright and then around the entrance to the manor, and then grow faint in the distance.\n\nCongratulations. Having rid the manor of its unwanted, if spirited, visitors you thereby, in the eyes of the Citizens' Action Committee, earn the title of Honored Guest.\n\nYou now have the opportunity to do one of the following:\n\n>Eat your Words\n>Shake a Tower\n>Meet the Mayor\n\n> You revolve Manor\nThere's no time to dawdle. You must do one of the following:\n\n>Eat your Words\n>Shake a Tower\n>Meet the Mayor\n\n> Order\n[What do you want to order?]\n\n> You examine the sign\nNext to the stairway, glowing blue neon letters read \"Comeuppance.\"\n\n> You get the sign\nThe waitress, though busy scurrying around and up and down, would be able to observe such a flagrant violation upon the premises.\n\n> You examine waitress\nShe is a hatchet-faced young woman, with a spiked purple mohawk and a pink woolen headband worn low on her forehead. A stray wood chip, apparently having been picked up from the kitchen, sits upon her shoulder, which is otherwise sprinkled amply with dandruff, or dander.\n\nShe eyes you suspiciously for a moment, as if you've done wrong.\n\n> You take the chip off the shoulder\nWhy bother?\n\n> You knock the chip off her shoulder\n\"Come on, knock it off!\" the waitress says defiantly, and the chip goes flying off into the air. She ducks out for a few seconds and returns to hurriedly set your table with something strange and crude for an eating instrument, a hatchet.\n\n> Raise dander\nThe waitress shrugs her shoulders in contempt of your pestering, and sure enough her dander is raised. Becoming agitated at your behavior, she disappears for a few moments, and comes back to serve you some pie by setting it on the table.\n\nThe waitress continues on, calculating her tips for the day.\n\n> You eat the humble pie\nAs gingerly as possible, nibbling around the edges and taking smallish guilty bites out of the pie, and chewing slowly and thoughtfully with wide eyes to prolong the expression of your humility, you gradually consume the pie until it is all gone.\n\n> You bury it\nInto whom do you want to bury the hatchet?"
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> Describe the surroundings\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway that is marked with a blue neon sign.\n\nYour table is only partially covered by a skimpy little tablecloth.\n\nA red velvet curtain appears to mark the entrance to the kitchen.\n\nA waitress here is trying to look busy.\n\n> You open the curtain\nAs you head toward the kitchen, the waitress heads you off at the pass. You don't have nearly enough gall to storm into the kitchen, but you're getting there.\n\n> Bury hatchet in waitress\nThe waitress firmly grips your forearm in defense of her mohawk. \"Come on now, enough of this hair-splitting, I'll get to you, just as soon as I can.\"\n\n> You look at the waitress\nShe is a hatchet-faced young woman, with a spiked purple mohawk and a pink woolen headband worn low on her forehead. You've knocked the chip off her shoulder. You've done your darndest to raise her dander.\n\nShe eyes you suspiciously for a moment, as if you've done wrong.\n\n> You pull the wool over her eyes\nThe headband slips lower upon the waitress's forehead, narrowing her vision to table-level and below.\nThe waitress steps away from you, performing a quick set of high-impact aerobics.\n\n> You get the sign\nHaving pulled the wool over the waitress's eyes, you snatch the neon sign, which glows warm in your hands.\n\n> You give her the Comeuppance\n[to the waitress]\nThe fuzzily glowing neon goes well with her dime-store face. Her eyes pick up the glow, and she storms away. She charges back into the kitchen, and brings to your table some strange meat that she briefly describes as being \"collective of lions.\" Strange indeed.\n\n> You give the pride to the waitress\nBriskly, the waitress refuses your offer.\n\n> Swallow pride\nIt's hard to swallow, but with determination and several long, Adam's apple-jacking gulps, you manage to do it.\n\n> You enter the kitchen\nAs you head toward the kitchen, the waitress heads you off at the pass. But you're on the right track."
    },
    {
        "text": "[Themes: Wordplay, surreal]\n\n> Look around\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nYour table is only partially covered by a skimpy little tablecloth.\n\nA red velvet curtain appears to mark the entrance to the kitchen.\n\nA waitress here is trying to look busy.\n\n> Up\nThis is the second floor of The Teapot Cafe. You're standing below a low-slung ceiling, upon a carpet, next to an official-looking sign on the wall. Across from you, built into a stone wall, lies a large open-air hearth which is filled with smoldering coals.\n\nSome food has been left here, no doubt by some impatient patrons of the cafe.\n\nLeaning against the stone wall is a rake.\n\nA decorative olive tree stands in the shadowy corner.\n\nThe waitress stalks after you.\n\n> You examine rake\nIt looks like every other rake you've ever seen.\n\n> You get the rake\nYou already have the rake.\n\n> You rake the waitress over coals\nNot a bad idea, since the waitress looked so much in need of a rake over. Of course, this only ends up in fanning the flames, and scorched\n\n> You look at the tree\nby your harshness, she stalks off.\nThe waitress resumes her duties, which seem to include clearing plates with her bristly hair.\n\n[I don't know the word \"ashes.\"]\n\nThere's one branch loose."
    },
    {
        "text": "[Themes: Wordplay, silly]\n\n> You look around\nThis is the second floor of The Teapot Cafe. You're standing below a low-slung ceiling, upon a carpet, next to an official-looking sign on the wall. Across from you, built into a stone wall, lies a large open-air hearth which is filled with smoldering coals.\n\nSome food has been left here, no doubt by some impatient patrons of the cafe.\n\nA waitress here is trying to look busy.\n\nA decorative olive tree stands in the shadowy corner.\n\n> You get the branch\n\"Snap!\" The branch comes off in your hands.\n\n> You offer olive branch\n[to the waitress]\nShe accepts the peace offering, leaves, then comes back.\n\n> You look at the food\nThey're just desserts.\n\n> You get the just desserts\nYou get your just desserts.\n\n> You give the just desserts\n[to the waitress]\nAt first, the waitress perks up, no doubt expecting a large tip. But when she gets the meanness of your offering, her face sours. She leaves, comes back and closes your hand gently around a fortune cookie along with a salt shaker.\n\nThe waitress stomps away in a huff and begins taking a standing coffee break.\n\n> Shake shaker\nJust one grain of salt spills out of the shaker onto the floor.\n\n> You open the cookie\nCrumbs from the cookie drift away upon a pungent smelling wind from the kitchen. That's the way the cookie crumbles. However, you are left with a piece of advice.\n\n> You take the advice with a the grain of the salt\nYou read the advice in a loud voice with much sarcasm, taking it so lightly that the slip of paper almosts drifts up into the air. The waitress seems snubbed that you don't seem to be taking the advice to heart. She flies the coop for a minute and comes back with a charred, dark-feathered bird which she puts in your arms.\n\n> You look at the crow\nIt looks like every other crow you've ever seen.\n\n> You eat the crow\nYou take a squeamish bite of it and chew slowly, finding the consistency to be NITTY-GRITTY.\n\n> You get down to ththe nitty-gritty\nYou do your best... but the attempt falls on the waitress's deaf ears. She makes a brief exit, and a briefer entrance to drop a white cloth napkin into your arms."
    },
    {
        "text": "[Themes: Wordplay, wordplay]\n\n> Look around\nThere's nothing eye-catching about the white cloth napkin.\n\n\n\nThis is the second floor of The Teapot Cafe. You're standing below a low-slung ceiling, upon a carpet, next to an official-looking sign on the wall. Across from you, built into a stone wall, lies a large open-air hearth which is filled with smoldering coals.\n\nA waitress here is trying to look busy.\n\nA decorative olive tree stands in the shadowy corner.\n\nYou can see a grain of salt here.\n\n> You examine the sign\n\"It is unlawful for this room to be occupied by more than 350 angry persons.\n-- Section 204D, paragraph 7-6, The Riot Act\"\n\n> You read the waitress the Riot Act\n\"How sweet,\" thinks the waitress. \"I haven't been read to since I was a child, before going to sleep.\" But when she suddenly realizes it's bedtime for Bonzo, her face reddens. She exits, then comes back and slips a rump roast to you.\n\nThe waitress continues on, munching on some pilfered salad makings.\n\n> You call waitress on the carpet\nBristling at your presumption of authority, the waitress stops in front of you for one brief moment. Then before you can open your mouth, she turns and leaves. She pretends not to be bothered, but you observe that she's reaching her boiling point, being driven into a tizzy as she walks in circles. Her dander is jumping up from her shoulders as she storms away, and the distant sound of a teapot whistling can be heard.\n\n> You look at the roast\nIt's primarily in two parts, one half charred, the other cheek merely well-done.\n\n> You turn other cheek\nYou mull over the food in front of you, with many thoughts. As you turn the other cheek, however noble your intention, the waitress still ignores you."
    },
    {
        "text": "[Themes: Wordplay, silly]\n\n> Go downward\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nYour table is only partially covered by a skimpy little tablecloth.\n\nA red velvet curtain appears to mark the entrance to the kitchen.\n\nThe waitress stalks after you.\n\n> You enter kitchen\nYou're drawn toward the kitchen amid the fast-paced, dramatic sounds of a big-band era orchestra -- matador music. As you make your entrance, the red velvet curtain, now appearing like a cape, comes off into your hands.\n\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nYou can immediately see there's a lot of bad blood between you and him.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\n> You put the nose to the grindstone\nOkay. Fine. You resolve to work harder.\n\n> Grind axe\nAfter all you've been through, you believe you have a legitimate axe to grind, and you do so, with relish. The blade of the axe twinkles with razor sharpness."
    },
    {
        "text": "[Themes: Wordplay, silly, surreal, wordplay]\n\n> Look around\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nYou can immediately see there's a lot of bad blood between you and him.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\n> You look at the blood\nIt looks like every other bad blood you've ever seen.\n\n> You wipe up bad blood\nDown on your hands and knees, you remove the bad blood by using the cape, which turns a deeper shade of red.\n\nYou shuffle toward him for a closer view, and for a moment you're standing toe to toe, but you don't see eye to eye. His nose is out of joint, which explains why he's cutting it off to spite his face. (He flings it into his concoction.) You can hear the volcanic roar of bitter bile in his throat, which is making him hot under the collar, and causing smoke to pour out of his ears.\n\nThe cook glares for moment at his recipe card, and apparently you're not on it, because he turns back in front of a large bowl and resumes madly throwing ingredients together.\n\n> You look at the bowl\nThe slimy admixture of entrails, small winged insects and the occasional fleshy ear, churns thickly within the pot...\n\nJust now, two of the cook's pet peeves wander up to him, and add to the confusion by begging loudly for scraps -- the goat bleating, and the goose honking.\n\nThe cook comes across a labeled can, picks it up, and continues scouring the kitchen for the right ingredients.\n\n> You examine Card\nThough the card is splattered with food, you can see the name of the concoction is \"Brew-hah-hah.\"\n\n> You get his goat\nThe cook's goat, its hooves clanking awkwardly on the kitchen floor, is nevertheless gotten. The cook, being steamed up, breaks your grip on the goat, which bleats a hasty retreat.\n\n> You cook his goose\nA burst of grease and flames spit up from the stunned bird, and the cook himself emotionally melts as his goose is cooked. (So it's safer to cook the goose than to goose the cook.)\n\n> Goose cook\nNo. Just flatly no.\n\n> You read the recipe card\n[I don't know the word \"heat.\"]\n\nThough the card is splattered with food, you can see the name of the concoction is \"Brew-hah-hah.\""
    },
    {
        "text": "> Look around\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\n> You examine the flour\nIt looks like every other god-awful mess you've ever seen.\n\n> You check what you're carrying\nYou're cross-eyed with anger, which means a jaundiced eye points this way, and an evil eye points that way. You can trace a strong burning sensation to the area of your spleen.\n\nYou have a red velvet curtain, a rump roast, a grain of salt, a white cloth napkin, nitty-gritty crow, advice, a salt shaker, a rake and a hatchet.\n\n> Vent spleen\n[on the cook]\nThe pun is mightier than the sword.\n\n> Grind axe\nYou already have.\n\n> You go outside\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nYour table is only partially covered by a skimpy little tablecloth.\n\nA waitress here is trying to look busy.\n\n> You give the waitress the the evil eye\nYou give her the evil eye, which is not as painful as you might have expected, and in fact brings you a good deal of satisfaction. As for the waitress, she seems ruffled, but continues about her business.\nThe waitress steps away from you, fingering her neck nervously.\n\n> Vent spleen on waitress\nOn a gut feeling, you let it all hang out, which brings you a general feeling of well-being. It seems to have struck a nerve in the waitress too, since she takes a rare glance in your direction. \"Well, if you've really reached the boiling point,\" shouts the waitress, \"why don't you take it up with the cook!\"\n\n> You turn a the jaundiced eye on the waitress\nImposterous!\n\n> About yourself\nYou're bright-eyed and bushy-tailed.\n\n> You look at what you're carrying with you\nYou're cross-eyed with anger, which means a jaundiced eye points this way, and an evil eye points that way. But you feel some justification in having vented your spleen. You have a red velvet curtain, a rump roast, a grain of salt, a white cloth napkin, nitty-gritty crow, advice, a salt shaker, a rake and a hatchet.\n\n> You look at waitress with the jaundiced eye\nUnder your nasty gaze, the waitress seems momentarily self-conscious, then hurriedly continues on with her work.\nThe waitress resumes her duties, which seem to include calculating her tips for the day.\n\n> Kitchen\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\n> You give the advice to the man\nBriskly, the cook refuses your offer.\n\n> You look at the cook\nThe cook appears to be a big man with a short fuse. His hulking figure is covered with prickly five-and-ten o'clock shadows of hair stubble. Blubbery hammocks of basting bicep hang from each upper arm, and swing heavily through the air, following the cook's mammoth frenzy of food preparation.\nIt seems that the cook has nothing.\n\n> You examine the flour\nIt looks like every other god-awful mess you've ever seen.\n\n> You look at what you're carrying with you\nYou're cross-eyed with anger, which means a jaundiced eye points this way, and an evil eye points that way. But you feel some justification in having vented your spleen. You have a red velvet curtain, a rump roast, a grain of salt, a white cloth napkin, nitty-gritty crow, advice, a salt shaker, a rake and a hatchet.\n\n> Roast cook\nToo many cooks spoil the broth."
    },
    {
        "text": "> Look around\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\n> Wave curtain\nBravo! Ole! Bravo! You wave the cape, and now you've got the cook seeing red.\n\n> You examine the meal\nThe slimy admixture of entrails, small winged insects and the occasional fleshy ear, churns thickly within the pot...\n\n> You look at what you're carrying with you\nYou're cross-eyed with anger, which means a jaundiced eye points this way, and an evil eye points that way. But you feel some justification in having vented your spleen. You have a red velvet curtain, a rump roast, a grain of salt, a white cloth napkin, nitty-gritty crow, advice, a salt shaker, a rake and a hatchet.\n\n> You put the roast in the pot\nThe cook gingerly slaps the back of your hand.\n\n> You take a grain of salt\nYou already have the grain of salt.\n\n> You look at the cook\nThe cook appears to be a big man with a short fuse. His hulking figure is covered with prickly five-and-ten o'clock shadows of hair stubble. Blubbery hammocks of basting bicep hang from each upper arm, and swing heavily through the air, following the cook's mammoth frenzy of food preparation.\nIt seems that the cook has nothing.\n\n> You shave the the cook\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nYour table is only partially covered by a skimpy little tablecloth.\n\nA waitress here is trying to look busy.\n\n[I don't know the word \"shave.\"]"
    },
    {
        "text": "[Themes: Wordplay]\n\n> You look at your surroundings\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nA waitress here is trying to look busy.\n\n> You give the short shrift to waitress\nThat's one way to turn the tables on the waitress. She accepts the short shrift gruffly and begins polishing glasses with it.\nThe waitress stomps away in a huff and begins performing a quick set of high-impact aerobics.\n\n> You take umbrage\nYou do so, and the Teapot cafe seems a little less dim, which unfortunately can't be said of its employees, not excluding the waitress.\nThe waitress continues on, clearing plates with her bristly hair.\n\n> You look at the table\nYou notice a slight swivel to it. On your table you see nothing.\n\n> You turn the the table\nWhom do you want to turn the tables on?\n\n> Waitress\nThe waitress steps quickly toward you, pressing her thighs against the table's opposite edge and staring coldly into your eyes.\n\nHer eyelashes are spidery with thick mascara, and the volume of white powder below each brow could open a ski season. Her cheeks are brazen with a raw swath of rouge, and the heavy lip blush is indeed embarrassing.\n\nYou muster a grimace of your own, and you both follow the table around as it makes one complete revolution and notches to a stop. You plop down on the chair, sweat draining from your temples.\nThe waitress steps away from you, taking a standing coffee break."
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay]\n\n> Describe the surroundings\nFirst floor, on the chair\n\nYou are on the first floor of The Teapot Cafe, sitting at your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nA waitress here is trying to look busy.\n\n> You feed crow to the waitress\nBriskly, the waitress refuses your offer.\n\n> You stand\nYou get out of your chair.\n\n> Up\nThis is the second floor of The Teapot Cafe. You're standing below a low-slung ceiling, upon a carpet, next to an official-looking sign on the wall. Across from you, built into a stone wall, lies a large open-air hearth which is filled with smoldering coals.\n\nA decorative olive tree stands in the shadowy corner.\n\nThe waitress stalks after you.\n\n> You stand\nYou're already standing.\n\n> You examine the hearth\nThe coals in the hearth glow red and white hot."
    },
    {
        "text": "[Themes: Wordplay]\n\n> You go downwards\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nThe waitress stomps after you.\n\n> You eat the crow\nYou find nitty-gritty crow to be inedible.\n\n> You get the recipe card\nHe rips it away from you.\n\n> You take the spleen\nNever in a thousand years.\n\n> Clean Card\nIt's not worth it. Believe me.\n\n> You ask the cook about the meal\nThe big guy is speechless.\n\n> You look at the cook\nThe cook appears to be a big man with a short fuse. His hulking figure is covered with prickly five-and-ten o'clock shadows of hair stubble. Blubbery hammocks of basting bicep hang from each upper arm, and swing heavily through the air, following the cook's mammoth frenzy of food preparation.\nIt seems that the cook has nothing.\n\n> You cut the hair\n[What do you want to cut the hair with?]\n\n> Hatchet\nWhy bother?\n\n> Hint\n[Warning: It is recognized that the temptation for help may at times be so exceedingly strong that you might fetch hints prematurely. Therefore, you may at any time during the story type HINTS OFF, and this will disallow the seeking out of help for the present session of the story. If you still want a hint now, indicate HINT.]\n\n> Hint\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\n> Eyes Have It        Olive Tree\nMicky Spleen        The Coals\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\n> Go north\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\n> Micky Spleen        The Coals\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\n> Go north\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\n> Tablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\n> Your Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\n> The Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\n> Lions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\n> Pie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\n> Crow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\n> A Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\n> Rump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\n> Headband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\n> Dander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\n> Woodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\n> A Fortune\nNeon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\n> Neon Sign\nRiot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\n> Riot Act\nDesserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\n> Desserts\n\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nEyes Have It      > Olive Tree\nMicky Spleen        The Coals\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\n> You go to the north\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nMicky Spleen      > The Coals\nTablecloth          Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\n> You go north\nN = nextP = previous\nRETURN = See hintQ = Resume story\n\nTablecloth        > Napkin\nYour Table          Ceiling\nThe Shadows         The Carpet\nLions' Share        Blood Caper\nPie                 Pet Peeves\nCrow                Can Can\nA Turkey            Frying Pan\nRump Roast          Own Devices\nHeadband            Ox-idental\nDander\nWoodchip\nA Fortune\nNeon Sign\nRiot Act\nDesserts\n\n> You hit the Ceiling\nThe full brunt of your impact is taken by your head and shoulders, and the entire teapot rattles loudly as you raise the roof.\nThe waitress resumes her duties, which seem to include munching on some pilfered salad makings."
    },
    {
        "text": "[Themes: Wordplay]\n\n> Go downwards\nYou are on the first floor of The Teapot Cafe, standing next to your table under the shadowy umbrage of the second floor balcony, which can be reached by a stairway.\n\nThe waitress trails after you.\n\n> Examine can\nThe label reads \"Laughing stock.\"\n\n> You make the laughing stock out of the cook\nYou get a lot of canned laughter coming from rows of cans, and the cook seems to take offense.\n\nNow you've really gotten him steamed up. He snatches you around the waist, laughs heartily into your face with marinated breath, and plops you down into the center of a large, family-size frying pan.\n\nThe cook begins gathering his own devices, as flames lick up around the rim of the frying pan.\n\n> You enter\nLook around you.\n\nYour feet are beginning to feel the heat.\n\n> You enter the fire\nYou avoid the fate of being merely a flash in the pan by leaping from the skillet, heedless of the heat outside it. As harmlessly as one's hand passing quickly over a lighted candle, your entire body falls through the large licking blue flame. Landing on the jet, you put out the fire, and fall to the floor. The cook angrily flings the pan into oblivion.\n\nThe cook backs you up into a corner, and begins sharpening his own devices, bent on destroying you.\n\n> You leave the cook to the own devices\nA wise move, it would seem, since the cook is not adept in the application of technology to the preparation of food. Truth will tell, he's already done away with a cousin in a Cuisinart, lost a friend in a blender, and microwaved a surfer.\n\nHe appears to hurt himself by his own devices, and you get out of the corner only to run into a big ox that happens to be wandering through the kitchen!\n\n> Inventory\nYou're cross-eyed with anger, which means a jaundiced eye points this way, and an evil eye points that way. But you feel some justification in having vented your spleen. You're empty-handed."
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay]\n\n> Look around\nThe dominating feature of the kitchen is the cook, who is dwarfish in dimension but gigantic in size.\n\nBut he's getting all worked up over the meal he's preparing and doesn't take notice of you. He is utterly beside himself, which takes up most of the floor space of the kitchen. The ruffled fur is flying, plumes of sifted flour are exploding, the briny sweat is raining through the steamy air, as the cook wreaks havoc while whipping something together.\n\nThe kitchen is equipped with, among other crude devices, a grindstone.\n\nYou can see an ox, a hatchet, a rake, a salt shaker, advice, nitty-gritty crow, a white cloth napkin, a grain of salt, a rump roast and a red velvet curtain here.\n\n> Bury hatchet in Ox\nOkay, you bury the hatchet in the animal and his ox is gored, leaving quite a mess, but also a bone of contention. Immediately, both you and the cook see an end to it, and each of you take a slimy end of the bone of contention. With your eyes closed, you make a wish, as does the burly cook.\n\n\"Snap!\" The bone breaks jaggedly, and the cook is left with the short end of the stick.\n\nHe drops to the floor, mopping up the entrails of the ox and apologizing profusely and promising never again to wield another kitchen utensil as long as he lives.\n\nCongratulations are in order. You're ranked as...\nSatisfied Customer.\n\nYou now have the opportunity to do one of the following:\n\n>Shake a Tower\n>Meet the Mayor\n\n> You meet Mayor\nOkay, you have proved to the Committee wide knowledge of the nature of our problems in Punster. You have now within your grasp the decree that would legislate against, ban from the town, outlaw forever, all the wordplayful shenanigans that have so tortured us. May our Mayor, the honorable Jimmy \"Fat Baby\" Kazooli, act in the best interest of his citizenry. You are sent...\n\nYou're in the public square. Facing one edge of the square stands an impressive looking neo-colonial town house, which is decoratively fronted by a row of laurel bushes.\n\nIn the middle of the public square stands a thick, ten feet tall stump of a tree. Attached to the stump is a sheet of paper and next to the paper hangs the horn of the town crier.\n\n> You examine paper\nThere is a list of \"Ten Laws of the Land.\" But the bottom of the sheet is torn off, leaving only nine laws, which are:\n\nNo Skipping\nReptilian Volleyball is O-u-t\nHonor Thy Fodder\nNo Chewing Gum\nDefend your Landmother\nNo Pepper\nRip What You Sew\n\n> Possession is nine tenths of the law\nThe horn begins to trumpet out a stuttering protest, but the logic of law is so compelling that it quits, and you take possession of the horn.\n\n> You examine the horn\nThe old brass horn is dinged up and tarnished from seemingly centuries of use by the town crier.\n\n> You blow your own horn\nYou give the horn a big, brassy toot; but no one is around to hear it.\n\n> You get the paper\nThat would be against the law.\n\n> You enter the house\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up and you can see steam drifting out of a room at the top of it. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\nA six-pack of beer -- the loyal constituency of cigar-chomping, back-room politicians -- sits on the floor beneath the document.\n\n> You examine document\nOn brittle, yellowing paper you read the following:\n\nThe World, verily, is proved to be flat!\n\nThe Rule of the Great Kazooli shall spread to the corners of the World!\n\nAnd beloved shall be Our Mayor in the eyes of the World!\n\nForsooth, His Rule shall endure a thousand years!\n\n> You look at the beer\nThe cans of beer are tall and thick, each labeled with the brand name \"Deep Six\" and each depicting the same bluish misty ocean scene.\n\n> You take the beer under the false pretenses\nYes, there's more than one way to steal a pack, but under false Pretenses is surely not the worst way. You cradle the six-pack in your arms like the mother's milk of local politics, which it is."
    },
    {
        "text": "> Describe the surroundings\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up and you can see steam drifting out of a room at the top of it. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\n> Up\nThe bathroom, thoroughly steamed up, is ample in space but untidy in appearance. A pile of dirty linen marks the entrance to the staircase.\n\nA comb lies in a puddle of water by the bathtub.\n\nAgainst the far wall you can see a bathtub. Inside is a duck, which is looking confused and swimming around in circles and figure-8's.\n\nStanding against one wall is the strange sight of a jar that stands nearly as high as the ceiling.\n\n> You examine the jar\nIt looks like every other \"a jar\" you've ever seen.\n\n> You look at door\nFrom inside the big jar there comes a flash of light which intensifies in several quick, increasingly brighter pulses. Prismatically, the large surface  of the jar glows with the colors of the rainbow. Then in a blink of your eyes, the light show is over and in the place of the jar you observe a quite ordinary closet door, which is now open.\n\n> You get the linen\nKeeping your nose at a distance from the soiled clothes, with an outstretched arm and with the tips of your thumb and finger, you daintily lift a garment off the top of the pile and then drop it. Some kind of disguise slides off the pile.\n\nReluctantly, you pick up the clothes.\n\n> You look at the disguise\nThis a grotesque, clownish, Punchinello mask, apparently worn by the mayor when he travels incognito.\n\n> You make a the clown of myself\n[Use the word \"out.\" For example, MAKE A VIRTUE OUT OF NECESSITY.]\n\n> You make a the clown out of myself\nThe Jack of all Traits begins to play a simple plunkety tune, and as the music becomes louder and louder the strange contraption starts looking a lot more like a box and a lot less like anything else, and the music gets louder and louder until...\n\n\"Pop!\"\n\nThe lid springs open and a jester rears its jolly head.\n\n\"Boing... Boing\""
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay]\n\n> Look around\nThe bathroom, thoroughly steamed up, is ample in space but untidy in appearance. A staircase leads down.\n\nA comb lies in a puddle of water by the bathtub.\n\nAgainst the far wall you can see a bathtub. Inside is a duck, which is looking confused and swimming around in circles and figure-8's.\n\nThe door to the closet is open.\n\n> You examine the comb\nThe comb is distinguished by having a series of exceptionally fine teeth.\n\n> You examine the duck\nYour first assumption, considering the circular swimming pattern, is that this is one duck which doesn't have both oars in the water. On closer examination, however, you determine that one of the duck's feet has been injured, no doubt in some boating accident.\n\n> Lame duck\nSlapping its white wings against the surface of the water and quacking up a storm, the angry duck creates nothing less than a raging cyclone in the bathtub. When the bad weather passes, you can see the rotund figure of the mayor, Jimmy \"Fat Baby\" Kazooli reclining in the tub."
    },
    {
        "text": "> Look around\nThe bathroom, thoroughly steamed up, is ample in space but untidy in appearance. A staircase leads down.\n\nThe mayor is sitting in the bathtub.\n\nThe door to the closet is open."
    },
    {
        "text": "> Go downwards\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up and you can see steam drifting out of a room at the top of it. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\n> Go outside\nYou're in the public square. Facing one edge of the square stands an impressive looking neo-colonial town house, which is decoratively fronted by a row of laurel bushes.\n\nIn the middle of the public square stands a thick, ten feet tall stump of a tree. Attached to the stump is a sheet of paper.\n\n> Air laundry\nYou manage to launder the mayor's dirty linen, working it over with the sinewy resoluteness of a peasant. Though not entirely a wholesome experience, you can feel from the stiff westerly breeze that it's serving to clear the air and bring about a cleansing effect on the mayor's reputation. The linen is finally caught up by one especially strong gust -- each piece is filled with air like a sail and drifts far away across the blue sky."
    },
    {
        "text": "> You look in the closet\nDarkness seems to radiate out of the closet.\n\n> You open the closet\nIt already is!\n\n> You search the closet with the fine tooth comb\nUsing the crack resources of the well-appointed sleuth, you painstakingly search the closet high and search the closet low. Sounds of chattering teeth and then of bones knocking together come out of the closet as you seem to have stirred something up. There is again quiet for a moment, and then a full skeleton is seen to feint out of the darkness, rattling to the floor in a heap.\n\n> Deep six the skeleton\nAs you give the skeleton the deep-six, the bones sink beneath the filmy surface of the water, slowly twisting and sinking much deeper than the tub would seem to be, until finally it disappears into the murky depths of Davey Jones' Locker. The mayor breathes a large foul-breathed sigh of relief.\n\n> Inventory\nYou have a comb, a disguise, a six-pack of beer, laurels, your own horn and a decree.\n\n> You blow your own horn\nYou give the horn a big, brassy toot. It seems to be music to the mayor's ears, since he for the first time really takes notice of you, and smiles upon your vainglorious trumpeting.\n\n> You examine decree\nThe decree would outlaw all language play in town. There is a line at the bottom for the mayor's signature.\n\n> You give decree to Mayor\nThe mayor seems to want to finish his bath before endeavoring in any official duties.\n\n> You give the laurels to Mayor\nBriskly, the mayor refuses your offer.\n\n> You look at the disguise\nThis a grotesque, clownish, Punchinello mask, apparently worn by the mayor when he travels incognito.\n\n> You throw the baby out with the bathwater\nFrom the consequential uproar, there seems to be a ring of truth in this phrase. In strong jets shooting at varying trajectories, the bathwater in the tub begins first to spout off. Suddenly, this messy but harmless spectacle of the spouts is over, and angry riptides ruffle the water's surface. Now with the tidal force of lunar determination, the bathwater polarizes itself around the edges of the tub and even higher, engulfing the mayor and leaving a wide funnel of air in the middle of the tub.\n\nAs the gathering water reaches a critical peak, it pauses for one brief moment, and now with an awful suddenness collapses into itself to form a fearful wave of tubular shape and seismic strength. It gushes in front of your face and toward the stairs in a torrent, through which you can see the strange slow-motion figure of the mayor swimming half in air and half in water. Following the mayor inside the wave and down the stairway is the tub itself, which, out of your sight, makes the terrible crashing noise of porcelain going to smithereens.\n\n> You beat it\n[Be specific: What object do you want to beat?]"
    },
    {
        "text": "[Themes: Wordplay, surreal, wordplay]\n\n> Go downwards\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\nThe mayor, wearing a white terry cloth robe with his initials stitched on it, is here pacing the floor and looking very philosophically concerned with the Big Problems of Our Time.\n\n> You examine the stump\nOn the tree stump you see laws of the land.\n\n> You search the bushes\nBeating around the bush, you come upon a ticket stub enmeshed in the dense lower branches of the laurel. You pick it up and dust it off.\n\n> You look at the ticket\nThe ticket is issued by the First Church of the Heavenly Ferris Wheel, the foremost religious institution in town. It decrees one blessing to be given by the bearer of the ticket to any individual.\n\n> You enter\nAs you approach the column-lined town house through the path dividing the  well-manicured lawn, you are overcome with fear and trembling and are forced to turn back toward the square. It seems the idea of entering such a reviled house of corruption with a blessing is spiritually and realistically impossible.\n\n> You remove the disguise\nYou remove the disguise.\n\n> Go inside\nFurtively, you pass through the yard into the town house.\n\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\nThe mayor, wearing a white terry cloth robe with his initials stitched on it, is here pacing the floor and looking very philosophically concerned with the Big Problems of Our Time.\n\n> Bless Mayor\nThe air surrounding the mayor gradually turns pure and bright. An expansive campaign-smile spreads across his face as he bathes in the saintliness of the blessing bestowed. As the halo effect fades, it seems to have lifted away the dread weight of the mayor's burdens."
    },
    {
        "text": "> Look around\nThis is the lobby of the town hall, looking stately and deeply lacquered. A boldly impressive staircase leads up. The main focus of attention in the lobby is an imposing, ornately framed document hanging on the wall.\n\nThe mayor, wearing a white terry cloth robe with his initials stitched on it, is here pacing the floor and looking very philosophically concerned with the Big Problems of Our Time.\n\n> You give the decree to Mayor\nThe mayor, finally convinced of the worthiness of the decree, breaks into a broad smile and slaps you endearingly on the back, nearly causing whiplash. He grabs the scrap of paper and signs it perfunctorily. He leaves, happily.\n\n> You rest on the laurel\nWith dreamy slowness you begin to fall back upon your laurels for the long, soulful respite you have so well deserved. In the enclave of your dreams the clarion voice of a herald is given forum:\n\n\"We, the members of the Citizens' Action Committee of Punster, do hereby honor your exploits in delivering our town of the nefarious crime of wordplay. Punster has once again returned to a life of trusting normalcy.\n\nFor the McCleary Farm, the cows have truly come home. Audiences once again revel in the gift of laughter. A pretty girl is rescued from the brink of tragedy. You have made our town safe for shopping. The Teapot Cafe is a homey hearth and nourishment to our supping folk. A house for guests has gained back its repute. A neighboring town must no longer live down its name.\n\nIn gratitude to your selfless dedication to our humble town, we present you with the Key to the City. May it unlock all the doors for you along life's path.\"\n\nYou fall still further into deep and luxurious sleep.\n\nWould you like to start over, restore a saved position, or end this session of the game?"
    },
    {
        "text": "[Themes: thriller]\n\nAmazing! After all these years some girl finally got Jack to propose. All you need to do is hop on a commuter plane, get the big lug to the church on time, and zip back. Piece of cake...\n\nWell, almost. Blasted El Ni?o has air traffic in an uproar. This daily commuter flight out of San Francisco was delayed three times, which will make life fun when you finally make it down to San Diego...\n\nAirplane (on Seat 4B)\nThe airlines claim that planes are getting bigger, but you don't believe a word of it. This cramped cabin feels about as roomy as a culvert, and has approximately the same decor.\n\nThere is a door south and a small kitchenette north.\n\nI beg your pardon?\n\nInstructions and Hints for \"The Best Man\"\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\n> How to play\nCredits\nHints"
    },
    {
        "text": "> Examine\nInstructions and Hints for \"The Best Man\"\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\n> Credits\nHints\n\n> Go north\nYou'll have to get off Seat 4B first.\n\n> About you\nAs good-looking as ever.\n\n> You look at what you're carrying with you\nYou are carrying:\na sport coat (being worn)\na small velvet box (which is closed)\n\n> You open the box\nYou open the small velvet box, revealing a diamond ring.\n\nThe plane shudders slightly.\n\n> You eat the ring\n(first taking the diamond ring)\nThat's plainly inedible.\n\n> You examine the ring\nWhat a rock! How did Jack ever afford such a thing?\n\n*** PING ***\n\n\"Ladies and gentlemen, we are experiencing some minor turbulence. Please return to your seat and fasten your seat belts.\"\n\n> Scream\nAaaaaaaaaaaaargh!\n\nFeel better now? Good.\n\nThe passenger next to you awakes with a start.\n\n> You wear the ring\nYou put on the diamond ring.\n\n\"I hate flying,\" your seat-mate bemoans.\n\n> You examine the passenger\nHe's wide awake, gripping the armrests with white-knuckled fear. You find his fixed-forward stare somewhat disturbing.\n\nThe plane lurches hard to the left. Your stomach churns.\n\n\"I always wonder if I'll ever see my daughter again.\"\n\n> You kill yourself\nViolence isn't the answer to this one.\n\n\"What would my wife do if I were to die?\"\n\n> You ask the passenger about the flying\nHe's too busy babbling to pay any attention to you.\n\nA bright blue flash illuminates the entire west side of the airplane, followed by the noise of a tremendous explosion. The wing is on fire!\n\nFor a brief moment, everything is silent as the situation slowly sinks into the minds of the passengers. Then pandemonium breaks out in the cabin as the plane goes into a near-vertical dive.\n\n\"It's all your fault, you know.\"\n\nYour traveling companion turns to face you, and you recoil in horror. The left side of his face is horribly mutilated, the skin torn and burnt. The empty eye socket stares at you accusingly.\n\n\"Why did you have to survive? I had a family, a child... they depended on me! You had nothing! You were nothing, and you still are nothing!\"\n\nHe leans forward, and you can smell the horrid odor of burnt flesh.\n\n\"Nothing...\"\n\nCrash positions be damned! You struggle at your seat belt, but the mechanism is jammed.\n\nHe's moving closer... reaching out... reaching toward you... the stumps of his fingers... twitching... touching you... shaking you...\n\n> You give the ring to Man\n...and you find yourself wrestling the station attendant.\n\n\"Sorry about that! Didn't mean to startle you, but by the sound of it you were having a dilly of a nightmare!\n\n\"Anyway, you best be going. I've written a note explaining the situation to the conductor; it's on the back of your ticket. Better hurry.\"\n\nYou take the ticket and a copy of the schedule and make your way out to the platform.\n\n> You examine ticket\nSole survivor syndrome.\n\nThat's what they call it. Psychological trauma after surviving an accident that killed so many others.\n\nYou still can't look at a plane without hearing the screaming or smelling the blood. The last time you tried to visit an airport-- just to pick up someone-- you left in an ambulance, catatonic.\n\nThings were looking bad when the old rust bucket died this morning. The mechanic said that the earliest he could get to it was first thing Monday morning, and the rental agency just laughed when you asked if you could get a car on short notice for the weekend. Flight was out of the question for obvious reasons, but rail had existed far earlier than planes. So you found yourself pleading your case to a sympathetic station manager, who managed to squeeze you onto a special charter train direct to San Diego.\n\nTwo years ago, the wedding was postponed indefinitely by your accident. You are determined that that will not happen again. The sun is shining, the tracks are clear, and in a few hours you'll be the star of the show. Come Hell or high water, nothing is going to stop you from being...\n\nAn Interactive Action-Adventure\n\nCar 3 (on seat 4B)\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\nYou can see the conductor here.\n\n> You hit the conductor\nViolence isn't the answer to this one.\n\n\"Ticket, please.\"\n\n> Inventory\nYou are carrying:\na sport coat (being worn)\na small velvet box (which is closed)\na train schedule\na ticket\n\n> You read the ticket\nIt's a hastily scrawled message:\n\nJohn,\n\nThe kid needs a ride down to San Diego. There should be a seat open on the Special. Just keep quiet about it and no one will be the wiser.\n\nThe conductor is getting impatient.\n\n> Examine\n(the conductor)\nHe's a handsome man, about 50, with an immaculate uniform. He stands straight and proud, driven by the conviction that he has an important job and that he does it very well.\n\nA small twitch near the side of his mouth hints at impatience.\n\n> You open the box\nYou open the small velvet box, revealing a diamond ring.\n\nThe conductor is getting very impatient.\n\n> You give ring to the conductor\n(first taking the diamond ring)\nThe conductor politely refuses your offer of marriage. Besides, it's not your ring to give.\n\n\"Very well, you leave me no choice.\"\n\nHe blows his whistle three times. Suddenly you are surrounded by burly security guards, who escort you unceremoniously off the train.\n\nAll for the best, it turns out. Only a few hours later, all of southern California is irradiated in a nuclear accident.\n\n> You show ring to him\nPlease give one of the answers above.\n\n> You give the ticket to the conductor\n(first taking the ticket)\nThe conductor reads the back of the ticket quickly. \"Ah, that explains why you're not on my list.\"\n\nCLUNK. The conductor punches the ticket and returns it you.\n\nHe walks north to the next car.\n\n> You give the ticket to the conductor\nYou can only do that to something animate.\n\n> You read the ticket\nIt's a hastily scrawled message:\n\nJohn,\n\nThe kid needs a ride down to San Diego. There should be a seat open on the Special. Just keep quiet about it and no one will be the wiser.\n\n> You go inside\nYou'll have to get off seat 4B first."
    },
    {
        "text": "[Themes: thriller]\n\n> You look around\nCar 3 (on seat 4B)\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\n> You examine the schedule\nIt's a hastily-printed train schedule, a photocopy smudged to near illegibility by your sweaty hands.\n\n\"Whoops!\"\n\nOne of the reporters was walking down the aisle with a large cup of coffee when the train jerked. Guess who was unlucky enough to be in front of him when that happened?\n\nYou better do something about this stain. While your jacket isn't especially stylish, it would look bad to show up dressed like a bum.\n\n> You examine jacket\nThreadbare, but serviceable. Better clothes await you in San Diego, which is good as these have a nasty stain. Inside the pocket you see a small velvet box (in which is a diamond ring) and a train schedule.\n\n> You stand up\nYou get off seat 4B.\n\n> You go north\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe closed door says \"Unoccupied.\"\n\n> You open the door then W\nYou open the lavatory door.\n\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe exit is east.\n\n> You cut the window with the ring\n(first taking the diamond ring)\nCutting that up would achieve little.\n\n> You examine the sink\nA small stainless-steel sink.\n\n> You turn on the sink\nYou turn on the faucet, allowing water to flow into the sink.\n\n> You turn on the light\nA cursory glance around the room fails to reveal a visible switch.\n\n> You examine the door\nIt's a lavatory door, with a sliding bolt that changes the indicator on the outside from \"Unoccupied\" to \"Occupied.\" High-tech stuff.\n\n> You lock the door\nYou click the door lock, and watch the little window change from \"Unoccupied\" to \"Occupied\" momentarily. Some spring mechanism in the door prevents you from keeping it locked while the door is open, however.\n\n> You drink yourself to the death\nYou can't see any such thing.\n\nI only understood you as far as wanting to drink yourself.\n\n> Light\nWhat do you want to light?\n\n> You examine the light\nThe light fixture is dark.\n\nThe flow from the faucet stops suddenly. (It must have one of those spring valves to prevent waste.)\n\n> You close the door\nYou close the lavatory door.\n\nSuddenly, a group of armed terrorists takes over the train. In the resulting confusion, you are \"accidentally\" shot, adding a rather nasty bloodstain to the coffee stain already on your old jacket."
    },
    {
        "text": "[Themes: thriller]\n\n> You stand\nYou get off Seat 4B.\n\n*** PING ***\n\n\"Ladies and gentlemen, we are experiencing some minor turbulence. Please return to your seat and fasten your seat belts.\"\n\n> You go north\nYou wander towards the back. After hovering around the galley for a bit, you return to the cabin.\n\nA flight attendant rushes up, escorts you back to your seat, clips you in, then disappears.\n\nAirplane (on Seat 4B)\nThe airlines claim that planes are getting bigger, but you don't believe a word of it. This cramped cabin feels about as roomy as a culvert, and has approximately the same decor.\n\nThere is a door south and a small kitchenette north.\n\nThe passenger next to you awakes with a start.\n\n> Kiss passenger\nHe's too busy babbling to pay any attention to you.\n\n\"I hate flying,\" your seat-mate bemoans.\n\n> You wait for a while\nTime passes.\n\nThe plane lurches hard to the left. Your stomach churns.\n\n\"I always wonder if I'll ever see my daughter again.\"\n\n> You wait for a while\nTime passes.\n\n\"What would my wife do if I were to die?\"\n\n> Wait\nTime passes.\n\nA bright blue flash illuminates the entire west side of the airplane, followed by the noise of a tremendous explosion. The wing is on fire!\n\nFor a brief moment, everything is silent as the situation slowly sinks into the minds of the passengers. Then pandemonium breaks out in the cabin as the plane goes into a near-vertical dive.\n\n\"It's all your fault, you know.\"\n\nYour traveling companion turns to face you, and you recoil in horror. The left side of his face is horribly mutilated, the skin torn and burnt. The empty eye socket stares at you accusingly.\n\n\"Why did you have to survive? I had a family, a child... they depended on me! You had nothing! You were nothing, and you still are nothing!\"\n\nHe leans forward, and you can smell the horrid odor of burnt flesh.\n\n\"Nothing...\"\n\nCrash positions be damned! You struggle at your seat belt, but the mechanism is jammed.\n\nHe's moving closer... reaching out... reaching toward you... the stumps of his fingers... twitching... touching you... shaking you...\n\n> Wait\n...and you find yourself wrestling the station attendant.\n\n\"Sorry about that! Didn't mean to startle you, but by the sound of it you were having a dilly of a nightmare!\n\n\"Anyway, you best be going. I've written a note explaining the situation to the conductor; it's on the back of your ticket. Better hurry.\"\n\nYou take the ticket and a copy of the schedule and make your way out to the platform.\n\n> You show the ticket to the conductor\nSole survivor syndrome.\n\nThat's what they call it. Psychological trauma after surviving an accident that killed so many others.\n\nYou still can't look at a plane without hearing the screaming or smelling the blood. The last time you tried to visit an airport-- just to pick up someone-- you left in an ambulance, catatonic.\n\nThings were looking bad when the old rust bucket died this morning. The mechanic said that the earliest he could get to it was first thing Monday morning, and the rental agency just laughed when you asked if you could get a car on short notice for the weekend. Flight was out of the question for obvious reasons, but rail had existed far earlier than planes. So you found yourself pleading your case to a sympathetic station manager, who managed to squeeze you onto a special charter train direct to San Diego.\n\nTwo years ago, the wedding was postponed indefinitely by your accident. You are determined that that will not happen again. The sun is shining, the tracks are clear, and in a few hours you'll be the star of the show. Come Hell or high water, nothing is going to stop you from being...\n\nAn Interactive Action-Adventure\n\nCar 3 (on seat 4B)\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\nYou can see the conductor here.\n\n> You show the ticket to the conductor\n(first taking the ticket)\n\"That's the one.\"\n\n\"Ticket, please.\"\n\n> You show the ticket to the conductor\n\"That's the one.\"\n\n> You give the ticket\n(to the conductor)\nThe conductor reads the back of the ticket quickly. \"Ah, that explains why you're not on my list.\"\n\nCLUNK. The conductor punches the ticket and returns it you.\n\nHe walks north to the next car.\n\n> You go to the north\n\"Whoops!\"\n\nOh dear, it seems that you bumped into a young man carrying an open container of coffee, most of which is now decorating the front of your jacket.\n\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe closed door says \"Unoccupied.\"\n\n> You close the door\nYou close the lavatory door.\n\n> You lock the door\nThe light above the sink flickers, then glows.\n\nThere seems to be a commotion outside.\n\n> Wash jacket\nAlas, all you do is spread the stain slightly. This job requires water.\n\nWait... was that gunfire...?\n\n> You turn on the sink\nYou turn on the faucet, allowing water to flow into the sink.\n\nYour Russian may be rusty, but a voice definitely said, \"Sergei, check the toilets.\"\n\n> You look at the window\nIt's a small window, but if you were feeling suicidal, you could probably squeeze through it. That's a pretty big if...\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door and you.\n\n> You get on the floor\nYou can't go that way.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door and you.\n\n> You enter the window\nYou can't, since the lavatory window is in the way.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door and you.\n\n> You open the window\nYou open the lavatory window.\n\nWait... was that gunfire...?\n\n> You enter the window\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\nYour Russian may be rusty, but a voice definitely said, \"Sergei, check the toilets.\"\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door, the thin metal wall of the car, and you.\n\n> Go upward\nUnfortunately, there are more than a few missing rungs in this ladder, making the roof of the car inaccessible.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door, the thin metal wall of the car, and you."
    },
    {
        "text": "> You look at your surroundings\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door, the thin metal wall of the car, and you.\n\n> You open the window\nYou open the lavatory window.\n\nThe door rattles for a second as the gunman tries to get in. Frustrated, he fires off a dozen bullets which pass easily through the door and you.\n\n> You open the window\nYou open the lavatory window.\n\n> You leave\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\n> Go upwards\nUnfortunately, there are more than a few missing rungs in this ladder, making the roof of the car inaccessible.\n\n> You go to the west\nThat looks like a particularly unsafe direction to go.\n\n> You go to the east\nThe exit is east.\n\n> Go east\nCar 3, Aft\n\nThe lavatory door is open.\n\n> Go upwards\nAll the seats in the upper deck are filled.\n\n> You look at what you're carrying with you\nYou are carrying:\na punched ticket\na stained sport coat (being worn)\na small velvet box (which is closed)\na train schedule\n\n> You search the coat\nIn the stained sport coat are a small velvet box and a train schedule.\n\n> You unlock door\nThe fluorescent light goes off.\n\nWait... was that gunfire...?\n\n> You go outside\nYour Russian may be rusty, but a voice definitely said, \"Sergei, check the toilets.\"\n\n> You wait\nTime passes.\n\nA voice outside the door says, \"Empty.\""
    },
    {
        "text": "> Look around\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\nThe screams have died down, so the gunmen have decided to start the usual diatribe. \"We now control this train... if you cooperate, you will be spared... attempt tricks and you will die...\""
    },
    {
        "text": "[Themes: thriller]\n\n> Go downward\nIt isn't that hopeless yet.\n\n\"Is everyone here?\"\n\n\"Everyone was here or in the press car,\" the conductor replies, strangely calm. \"As you can see, everyone in this car is also on this list.\"\n\n\"Da...\"\n\n> You enter\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe door is closed.\n\n\"Sergei, did you check the toilets?\"\n\n\"Da, I checked the toilets.\"\n\n\"Did you check inside the toilets?\n\nThere is a momentary pause, followed by a low curse.\n\n> Go outside\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\n\"Ready?\" asks a voice outside."
    },
    {
        "text": "> Go downward\nIt isn't that hopeless yet.\n\nThe door explodes inward.\n\n\"Good, nobody here.\"\n\nThe door is closed again.\n\n> Go inside\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe door is closed.\n\n\"Take everyone to the last car.\"\n\nThere is the sound of marching outside the door, then silence.\n\n> Wash jacket\nAlas, all you do is spread the stain slightly. This job requires water.\n\n> You open the door\nYou open the lavatory door.\n\n> Go inside\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe exit is east.\n\nWater is flowing into the sink.\n\n> You go east\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe lavatory door is open.\n\n> You go south\nWithout any passengers, this car takes on a definite tomb-like atmosphere. A sealed passageway leads south, while the junction to the next car leads north.\n\n> You go south\nThe metal plate sealing the door prevents movement south.\n\n> Go up\nBetter not. It would be very easy to be trapped up there.\n\n> You go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nThe train just rushed past the Salinas station.\n\nThe door to car 3 slides shut.\n\n> You examine the schedule\nIt's a hastily-printed train schedule, a photocopy smudged to near illegibility by your sweaty hands.\n\n> You read the schedule\nSalinas                        1:11 pm\nPaso Robles                    2:48 pm\nSan Luis Obispo                3:27 pm\nSanta Barbara                  5:24 pm\nOxnard                         6:01 pm\nSimi Valley                    6:31 pm\nGlendale                       7:02 pm\nLos Angeles                    7:08 pm\nFullerton                      7:34 pm\nAnaheim                        7:40 pm\nSanta Ana                      7:44 pm\nIrvine                         7:54 pm\nSan Juan Capistrano            8:06 pm\nEscondido                      8:20 pm\n\n> Go north\nYou open the door to car 4.\n\nCar 4, Fore\nSo this is the press car. Big deal. It's just a modified sleeper, with the compartments converted into miniature offices for the reporters. Compartments lie east and west, while the rest of the car lies north and the exit from this car is south.\n\nThe door to the car junction slides shut.\n\n> You go to the east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> You examine computer\nIt's an ancient VT100 terminal, which belongs more in a museum than in an office. These things haven't been used for, what, 50 years?\n\nThe computer terminal is currently switched off.\n\n> You switch on terminal\nThe computer comes to life, goes through its complex bootstrap procedure, then asks you for a user name and password. You turn the machine off in disgust.\n\n> You go to the west\nCar 4, Fore\nSo this is the press car. Big deal. It's just a modified sleeper, with the compartments converted into miniature offices for the reporters. Compartments lie east and west, while the rest of the car lies north and the exit from this car is south.\n\n> You go to the west\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies east.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\n> You examine computer\nYou start to approach the computer when suddenly a huge spider on the keyboard attacks you!\n\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies east.\n\nAfter you've gathered your wits together, you notice that the \"spider\" is actually a piece of black paper folded into the shape of a spider. Obviously one of the reporters was bored and decided to play a little prank.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\n> You examine the spider\n(A description of Wolfie is included in your game package.)\n\nIt's an origami wolf spider.\n\n> You get the spider\nTaken.\n\n> Open spider\nYou'd never get him back together again.\n\n> You look at the computer\nIt's an ancient VT100 terminal, which belongs more in a museum than in an office. These things haven't been used for, what, 50 years?\n\nA completely incomprehensible text editing program dominates the screen.\nThe computer terminal is currently switched on.\n\n> Go north\nCar 4, Mid\nThe middle of the press car is even less interesting than the rest. Compartments are to either side of you, and the rest of the car lies south and north.\n\n> You go to the east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> Go west\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies east.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> Go north\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe lavatory door is closed.\n\n> You go to the east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> You open the door\n(the lavatory door)\nYou open the lavatory door.\n\n> You go west\nThis lavatory has been converted into a makeshift darkroom. (I guess some photographers haven't joined the \"digital revolution.\") All the windows have been painted black, a loose conglomeration of items rest on a crude shelf, while a workbench sits under a naked electrical fixture.\n\nThe darkroom door allows exit east.\n\n> You get all\ndarkroom door: That's fixed in place.\nfaucet: That's fixed in place.\nsink: That's fixed in place.\nlight bulb socket: That's fixed in place.\nshelf: That's hardly portable.\nworkbench: That's hardly portable.\n\n> You get all from the shelf\nAs far as you can tell, it's just junk.\n\n> You search the junk\nOn the shelf are a bottle of hydroxide, a bottle of acid and a bottle of developing fluid.\n\n> You look at the bench\nA makeshift wooden table, stained with chemicals.\n\n> You remove the bulb\n(first taking the strange red bulb)\n(putting the punched ticket into the stained sport coat to make room) You unscrew the strange red bulb from the light bulb socket.\n\n> You get all from the shelf\nbottle of hydroxide: (putting Wolfie (the paper spider guardian of computers) into the stained sport coat to make room)\nRemoved.\nbottle of acid: (putting the strange red bulb into the stained sport coat to make room)\nRemoved.\nbottle of developing fluid: (putting the bottle of hydroxide into the stained sport coat to make room)\nRemoved.\nmiscellaneous junk: The rest of the stuff is just junk.\n\n> You look under bench\nA glass tube rolls out from under the workbench.\n\n> You examine tube\nA small glass tube used for protecting dry chemicals. There's a label on the tube.\n\n> You read label\nThe label reads LITMUS.\n\n> You examine the bulb\nIt's a light bulb that has been painted with a clear red enamel.\n\n> You search the coat\nIn the stained sport coat are a bottle of hydroxide, a strange red bulb, Wolfie (the paper spider guardian of computers), a punched ticket, a small velvet box and a train schedule.\n\n> Go east\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe darkroom door is west.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nThe door to car 4 slides shut.\n\n> You look at the floor\nSomething felt wobbly when you stepped into this area, and a quick investigation reveals the answer. It's a metal access panel embedded in the floor of the train, with a sawtooth-edge that makes it almost invisible against the pattern of the floor.\n\n> You look at the panel\nIt's a metal access panel embedded in the floor of the train, with a sawtooth-edge that makes it almost invisible against the pattern of the floor.\n\n> You open the panel\nYou open the maintenance access hatch."
    },
    {
        "text": "[Themes: thriller]\n\n> Go down\n(The maintenance access hatch slams shut after you pass through.)\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> You pull the lever\nIt's stuck tight.\n\n> You pour the acid on the lever\nThe bottle of acid is closed.\n\n> You open the bottle\nWhich do you mean, the bottle of developing fluid, the bottle of acid or the bottle of hydroxide?\n\n> Acid\nYou open the bottle of acid.\n\n> Examine acid\nA dark glass bottle with a screw cap. The label on the outside has a stylized hand being dissolved away.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\n> You go south\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 4.\n\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe darkroom door is west.\n\nThe door to the car junction slides shut.\n\n> You get all\ndarkroom door: That's fixed in place.\ndoor to the car junction: That's hardly portable.\n\n> You go to the east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> All\nSorry, you can only have one item here. Which exactly?\n\n> You go to the west\nThis lavatory has been converted into a makeshift darkroom. (I guess some photographers haven't joined the \"digital revolution.\") All the windows have been painted black, a loose conglomeration of items rest on a crude shelf, while a workbench sits under a naked electrical fixture.\n\nThe darkroom door allows exit east.\n\nYou can also see a small plastic tube (which is closed) (in which is some litmus powder) here.\n\n> You get the shelf\nThat's hardly portable.\n\n> You examine fixture\nThe light bulb socket is empty.\n\n> You take the fan\nThat's fixed in place.\n\n> You turn on the computer\nThat's already on.\n\n> You go north\nCar 4, Mid\nThe middle of the press car is even less interesting than the rest. Compartments are to either side of you, and the rest of the car lies south and north.\n\nThe train just rumbled past the Paso Robles station.\n\n> You drop all\nbottle of developing fluid: Dropped.\nbottle of acid: Dropped.\n\n> You go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nThe door to car 4 slides shut."
    },
    {
        "text": "[Themes: thriller]\n\n> Go down\nYou are unable to descend by the maintenance access hatch.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nCar 4, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 2, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just rumbled through the San Luis Obispo station.\n\n> You go north\nSlowly you crawl northwards along the length of the train...\n\nCar 4, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThere is the movement of feet above you.\n\n> Go upwards\nYou can't go that way.\n\nThere is the movement of feet above you.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 6, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThere is the nervous shuffling of feet above you.\n\n> Go north\nThis is the last car of the train. (It's a special, remember?)\n\nThere is the nervous shuffling of feet above you.\n\n> Go up\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\n> You go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (which is closed) here.\n\nThe door to the car junction slides shut.\n\n> Open chest\nYou open the tool chest, revealing a squirt bottle and a can of lubricant.\n\n> Open chest\nThat's already open.\n\n> Scream\nAaaaaaaaaaaaargh!\n\nScreaming is a good way to attract the unwanted attention of terrorists, you quickly find out.\n\n> You say hello\n(to the passengers)\nThe passengers are too scared to respond.\n\n> Inventory\nYou are carrying:\na stained sport coat (being worn)\na bottle of hydroxide (which is closed)\na strange red bulb\nWolfie (the paper spider guardian of computers)\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You examine the passengers\nThey look scared, and with good reason. Reporters report news; they aren't part of it.\n\n> You open the Wolfie\nYou'd never get him back together again.\n\n> You read wolfie\n(A description of Wolfie is included in your game package.)\n\nIt's an origami wolf spider.\n\n> You show the Wolfie to the passengers\n(first taking Wolfie (the paper spider guardian of computers))\nThey mumble amongst themselves, but the consensus is that they have no comment to make on Wolfie (the paper spider guardian of computers).\n\n> You pour the hydroxide on the Wolfie\nThe bottle of hydroxide is closed.\n\n> You open bottle\nWhich do you mean, the squirt bottle or the bottle of hydroxide?\n\n> You look at the squirt\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\n> You open the hydroxide\nYou open the bottle of hydroxide.\n\n> Close hydroxide\nYou close the bottle of hydroxide.\n\n> You take squirt\n(putting Wolfie (the paper spider guardian of computers) into the stained sport coat to make room)\nTaken."
    },
    {
        "text": "> You describe your surroundings\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (which is empty) here.\n\n> You go to the south\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nThe door to car 6 slides shut."
    },
    {
        "text": "[Themes: thriller]\n\n> Go down\nYou are unable to descend by the maintenance access hatch.\n\n> You open hatch\nYou open the maintenance access hatch.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na can of lubricant\na stained sport coat (being worn)\nWolfie (the paper spider guardian of computers)\na bottle of hydroxide (which is closed)\na strange red bulb\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You examine pale blue\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\n> Squirt lever\nWhat do you want to squirt the release lever on?\n\n> Squirt bottle\nWhat do you want to squirt the squirt bottle on?\n\n> Squirt lubricant on lever\nYou apply a liberal amount of lubricant to the release lever.\n\n> You pull the lever\nReleasing the car is certainly an irreversible action, and could result in an unpredictable chain of events. Are you sure you want to do that?\n\n> Y.\nThe connector opens with a loud clank.\n\nSlowly the cars begin to separate. The cables and hoses surrounding you complain loudly as they struggle to hold the cars together.\n\nThe junction shudders, creeks and groans.\n\n> You go to the south\nYou can't hold onto all the things you are carrying and crawl around underneath the train.\n\nThe junction shudders, creeks and groans.\n\n> Go up\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nThe metal plates shift unpleasantly underfoot.\n\n> Go south\n(The maintenance access hatch slams shut when you release it to move.) You start to open the door, but an ominous shadow across the window convinces you otherwise.\n\nWith a groan that shudders through the entire train, the cars separate.\n\nThis results in the floor beneath you opening up and dropping you unceremoniously onto the tracks. Not pleasant.\n\n> Go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (which is empty) here.\n\nThe door to the car junction slides shut.\n\n> Wait\nTime passes.\n\nWith a groan that shudders through the entire train, the cars separate.\n\nSuddenly the entire world is flame and noise as an explosion rips through the car. Your pain is, thankfully, brief."
    },
    {
        "text": "[Themes: thriller]\n\n> Look around\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na can of lubricant\na stained sport coat (being worn)\nWolfie (the paper spider guardian of computers)\na bottle of hydroxide (which is closed)\na strange red bulb\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You look at the blue liquid\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\n> You read the label\nWhat do you want to read in?\n\n> You read the squirt bottle\nWARNINC: Con ains ammo a. Do not m x wit oth r hfv sd d sb vcio\n\n> You look at the bottle\n(the squirt bottle)\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\n> You go south\n(The maintenance access hatch slams shut when you release it to move.) You start to open the door, but an ominous shadow across the window convinces you otherwise.\n\n> You take the hydroxide\n(putting the can of lubricant into the stained sport coat to make room)\nThere is no more room in the stained sport coat."
    },
    {
        "text": "[Themes: thriller]\n\n> Describe the surroundings\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\n> You drop the bulb and Wolfie\nstrange red bulb: You haven't got that.\nWolfie (the paper spider guardian of computers): You haven't got that.\n\n> You drop the bottle and the lubricant\nsquirt bottle: You carefully set the squirt bottle in the undercarriage.\ncan of lubricant: You carefully set the can of lubricant in the undercarriage.\n\n> You drop the lubricant\nThe can of lubricant is already here.\n\n> You take the bulb and Wolfie\nstrange red bulb: Taken.\nWolfie (the paper spider guardian of computers): (putting the bottle of hydroxide into the stained sport coat to make room)\nTaken.\n\n> You drop the bulb and Wolfie\nstrange red bulb: You carefully set the strange red bulb in the undercarriage.\nWolfie (the paper spider guardian of computers): You carefully set Wolfie (the paper spider guardian of computers) in the undercarriage.\n\n> You take the bottle and lubricant\nsquirt bottle: Taken.\ncan of lubricant: Taken.\n\n> Inventory\nYou are carrying:\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na stained sport coat (being worn)\na bottle of hydroxide (which is closed)\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You take the ticket\n(putting the squirt bottle into the stained sport coat to make room) Taken.\n\n> You drop the ticket\nYou carefully set the punched ticket in the undercarriage.\n\n> You put the bottle in the coat\nWhich do you mean, the squirt bottle or the bottle of hydroxide?\n\n> Squirt\nWhat do you want to squirt?\n\n> You check your inventory\nYou are carrying:\na can of lubricant\na stained sport coat (being worn)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is closed)\na small velvet box (which is closed)\na train schedule\n\n> You put the lubricant in the coat\nYou put the can of lubricant into the stained sport coat.\n\n> You go south\nSlowly you crawl southwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThere is the movement of feet above you.\n\n> You go south\nSlowly you crawl southwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\nThe train just rushed by the Santa Barbara station.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nCar 4, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You go south\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 3.\n\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe lavatory door is open.\n\nThe door to the car junction slides shut.\n\n> You enter the lavatory\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe exit is east.\n\n> You turn on the light\nA cursory glance around the room fails to reveal a visible switch.\n\n> You lock the door\nYou click the door lock, and watch the little window change from \"Unoccupied\" to \"Occupied\" momentarily. Some spring mechanism in the door prevents you from keeping it locked while the door is open, however.\n\n> You lock the door\nThe light above the sink flickers, then glows.\n\n> Wash jacket\nA quick wipe and the stain disappears.\n\n> You unlock door\nThe fluorescent light goes off.\n\n> You open the door\nYou open the lavatory door.\n\n> You leave\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\n> You go east\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe exit is east.\n\nWater is flowing into the sink.\n\nThe flow from the faucet stops suddenly. (It must have one of those spring valves to prevent waste.)\n\n> You go east\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe lavatory door is open.\n\n> You go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nThe door to car 3 slides shut.\n\n> You stand on the railing\nEven though every ounce of sanity left in your body tells you not to, you hop up on the railing. Your reward is the discovery of a well-concealed maintenance ladder climbing up the side of the car.\n\n> Up\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\n> You go to the north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rushed through the Oxnard station.\n\n> You go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\n> You examine vents\nThis is one of a number of screened portals, designed to allow fresh air to be drawn into the car as it moves.\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nYou hear noises from the car below.\n\n> You listen\nThat's definitely English from the car below.\n\nYou hear noises from the car below.\n\n> You open the vent\nThe metal screen is firmly attached to the portal.\n\nYou hear noises from the car below."
    },
    {
        "text": "> You go downwards\nDescending by the ladder here would drop you off the end of the train. Not a good idea.\n\nYou hear noises from the car below.\n\n> You look at the vents\nThis is one of a number of screened portals, designed to allow fresh air to be drawn into the car as it moves.\n\nYou hear noises from the car below.\n\n> Inventory\nYou are carrying:\na sport coat (being worn)\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\n\n> You open vents\na bottle of hydroxide (which is closed)\na small velvet box (which is closed)\na train schedule\n\nYou hear noises from the car below.\n\nThe metal screen is firmly attached to the portal.\n\nYou hear noises from the car below.\n\n> You remove the screen\n(first taking the air vent)\nThat's hardly portable.\n\nYou hear noises from the car below.\n\n> You put the lubricant on the vent\nYou need to be holding the can of lubricant before you can put it on top of something else.\n\nYou hear noises from the car below.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just zoomed past the Simi Valley station.\n\nYou hear noises from the car below.\n\n> Go north\nThis is the last car of the train. (It's a special, remember?)\n\nYou hear noises from the car below.\n\n> You open the vent\nThe metal screen is firmly attached to the portal.\n\n> You squirt the lubricant on the screen\nYou apply a liberal amount of lubricant to the air vent.\n\n> You squirt the lubricant on yourself\nYou'll have to remove the can of lubricant from yourself first.\n\n> You listen\nThat's definitely Russian from the car below.\n\n> Inventory\nYou are carrying:\na sport coat (being worn)\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is closed)\na small velvet box (which is closed)\na train schedule\n\n> You open the hydroxide\nYou open the bottle of hydroxide.\n\n> You pour the hydroxide in the box\nThe small velvet box is closed.\n\n> You open the box\nYou open the small velvet box, revealing a diamond ring.\n\n> You examine it\nWhat a rock! How did Jack ever afford such a thing?\n\nThe oil on the air vent evaporates away.\n\n> You wear it\nYou put on the diamond ring.\n\n> You cut screen with the ring\nCutting that up would achieve little.\n\n> You pour the hydroxide in the box\nThe bottle of hydroxide is empty already."
    },
    {
        "text": "> You go downward\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\n> Go south\nYou open the door to car 4.\n\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe darkroom door is west.\n\nYou can also see a bottle of acid (which is closed) (in which is a quantity of acid) and a bottle of developing fluid (which is closed) here.\n\nThe train just barreled through the Glendale station.\n\nThe door to the car junction slides shut.\n\n> You take the acid\nTaken.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 4 slides shut.\n\n> You check your inventory\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is open but empty)\na small velvet box (which is open but empty)\na train schedule\n\nThe train just barreled past the Los Angeles station.\n\n> You put the acid in the coat\nYou put the bottle of acid into the sport coat.\n\n> You wear the ring\nYou're already wearing that!\n\n> You pour the acid on the screen\nacid: The air vent is not designed to hold liquids.\n\n> Close acid\nYou close the bottle of acid.\n\n> You open the bottle\nWhich do you mean, the bottle of acid, the squirt bottle or the bottle of hydroxide?\n\n> You pour the acid in the box\nacid: The small velvet box is not designed to hold liquids.\n\n> You go to the south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just rumbled by the Fullerton station.\n\n> You look at the hatch\nIt's one of those industrial ventilation hatches. Obviously the car below isn't a passenger car.\n\n> You open hatch\nThat's already open."
    },
    {
        "text": "> You descend\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\nThe train just zoomed through the Anaheim station.\n\n> You open it\nYou pull off the front of the wooden crate. Horror grips your stomach as you survey the infernal contraption inside. It could be only one thing: a bomb.\n\n> You examine the bomb\nThe rose-colored glass hampers your ability to make out details...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nA glass dish sits under a thick metal coil, which dangles from another breadboard packed with electronics.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\n> You get the beaker\nWhich do you mean, the left beaker or the right beaker?\n\n> Both\nleft beaker: The left beaker is firmly attached to the pair of scales. right beaker: The right beaker is firmly attached to the pair of scales.\n\nThe train just rushed through the Santa Ana station.\n\n> You check your inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open)\na quantity of acid\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is open but empty)\na small velvet box (which is open but empty)\na train schedule\n\n> You examine the sphere\nIt's black and seamless.\n\n> You pour the ammonia in left beaker\nThe squirt bottle is closed.\n\n> Open ammonia\nYou open the squirt bottle.\n\n> You pour it in the left beaker\nliquid: The metal box isn't open.\n\n> You open the box\n(the metal box)\nTry as you might, the glass is securely affixed to the front of the box by some thick, gooey sealant. The sealant itself seems to be invulnerable to all of your attacks.\n\n> Close ammonia\nYou close the squirt bottle.\n\n> No\nThat was a rhetorical question.\n\n> You pour acid on the sealant\nIt's doubtful that the contents of the bottle of acid could damage the silicone caulking.\n\nThe train just rushed through the Irvine station.\n\n> You cut the caulk with the ring\nCutting that up would achieve little.\n\nThe train just rumbled by the Irvine station.\n\n> You spray the bottle on the sealant\nWhich do you mean, the left beaker, the right beaker, the bottle of acid, the squirt bottle or the bottle of hydroxide?\n\n> You pour the hydroxide on the sealant\nIt's doubtful that the contents of the bottle of hydroxide could damage the silicone caulking.\n\n> You take the tube\nWhich do you mean, the tube filled with gas or the can of lubricant?\n\n> You look at the door\nIt looks very strong.\n\n> You open the door\nTry as you might, you cannot open the door. It must be locked from the other side.\n\n> Go upward\nSome of the acid sloshes out of the bottle of acid.\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\n> Inventory\nYou are carrying:\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open)\na quantity of acid\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is open but empty)\na small velvet box (which is open but empty)\na train schedule\n\nThe train just barreled by the San Juan Capistrano station.\n\n> You drop liquid\nWhich do you mean, the bottle of acid or the squirt bottle?\n\n> You drop the coat\n(first taking the sport coat off)\nYou take off the sport coat.\nThe sport coat falls off the train and hits the ground. Within moments it is out of sight.\n\n> You drop all\nliquid: The liquid falls off the train and hits the ground. Within moments it is out of sight."
    },
    {
        "text": "> You look around\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car."
    },
    {
        "text": "> Go down\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above."
    },
    {
        "text": "> Go down\nYou are unable to descend by the maintenance access hatch.\n\nThe bomb detonates, vaporizing you instantly.\n\n> You wake up\nThis nightmare is all too familiar...\n\nA bright blue flash illuminates the entire west side of the airplane, followed by the noise of a tremendous explosion. The wing is on fire!\n\nFor a brief moment, everything is silent as the situation slowly sinks into the minds of the passengers. Then pandemonium breaks out in the cabin as the plane goes into a near-vertical dive.\n\n\"It's all your fault, you know.\"\n\nYour traveling companion turns to face you, and you recoil in horror. The left side of his face is horribly mutilated, the skin torn and burnt. The empty eye socket stares at you accusingly.\n\n\"Why did you have to survive? I had a family, a child... they depended on me! You had nothing! You were nothing, and you still are nothing!\"\n\nHe leans forward, and you can smell the horrid odor of burnt flesh.\n\n\"Nothing...\"\n\nCrash positions be damned! You struggle at your seat belt, but the mechanism is jammed.\n\nHe's moving closer... reaching out... reaching toward you... the stumps of his fingers... twitching... touching you... shaking you...\n\n> Fly plane\n...and you find yourself wrestling the station attendant.\n\n\"Sorry about that! Didn't mean to startle you, but by the sound of it you were having a dilly of a nightmare!\n\n\"Anyway, you best be going. I've written a note explaining the situation to the conductor; it's on the back of your ticket. Better hurry.\"\n\nYou take the ticket and a copy of the schedule and make your way out to the platform.\n\nSole survivor syndrome.\n\nThat's what they call it. Psychological trauma after surviving an accident that killed so many others.\n\nYou still can't look at a plane without hearing the screaming or smelling the blood. The last time you tried to visit an airport-- just to pick up someone-- you left in an ambulance, catatonic.\n\nThings were looking bad when the old rust bucket died this morning. The mechanic said that the earliest he could get to it was first thing Monday morning, and the rental agency just laughed when you asked if you could get a car on short notice for the weekend. Flight was out of the question for obvious reasons, but rail had existed far earlier than planes. So you found yourself pleading your case to a sympathetic station manager, who managed to squeeze you onto a special charter train direct to San Diego.\n\nTwo years ago, the wedding was postponed indefinitely by your accident. You are determined that that will not happen again. The sun is shining, the tracks are clear, and in a few hours you'll be the star of the show. Come Hell or high water, nothing is going to stop you from being...\n\nAn Interactive Action-Adventure\n\nCar 3 (on seat 4B)\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\nYou can see the conductor here.\n\n> You look at what you're carrying with you\nYou are carrying:\na sport coat (being worn)\na small velvet box (which is closed)\na train schedule\na ticket\n\n\"Ticket, please.\"\n\n> You give the ticket\n(to the conductor)\n(first taking the ticket)\nThe conductor reads the back of the ticket quickly. \"Ah, that explains why you're not on my list.\"\n\nCLUNK. The conductor punches the ticket and returns it you.\n\nHe walks north to the next car.\n\n> Go north\nYou'll have to get off seat 4B first."
    },
    {
        "text": "[Themes: thriller]\n\n> You look at your surroundings\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\n> You look under the seat\nWhich do you mean, the other seat or seat 4B?\n\n> You look under the other seat\n(the other seat)\nYou find nothing of interest.\n\n> You look\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe door is closed.\n\n> You examine the ticket\nIt's a strip of paper. Something has been written on the back. A round hole has been punched in it.\n\n> You examine the pockets\nThreadbare, but serviceable. Better clothes await you in San Diego, which is good as these have a nasty stain. Inside the pocket you see a small velvet box and a train schedule.\n\n> You open the box\nYou open the small velvet box, revealing a diamond ring.\n\n> Wait\nTime passes.\n\n> You wait\nTime passes.\n\nSuddenly, a group of armed terrorists takes over the train. In the resulting confusion, you are \"accidentally\" shot, adding a rather nasty bloodstain to the coffee stain already on your old jacket.\n\n> You enter\nThe door is closed.\n\nSuddenly, a group of armed terrorists takes over the train. In the resulting confusion, you are \"accidentally\" shot, adding a rather nasty bloodstain to the coffee stain already on your old jacket.\n\n> You get up\nYou'll need to undo your belt first.\n\nThe plane shudders slightly.\n\n> Inventory\nYou are carrying:\na sport coat (being worn)\na small velvet box (which is closed)\n\n*** PING ***\n\n\"Ladies and gentlemen, we are experiencing some minor turbulence. Please return to your seat and fasten your seat belts.\"\n\n> You open the box\nYou open the small velvet box, revealing a diamond ring.\n\nA breathless flight attendant rushes up and clips your belt closed for you, then disappears.\n\nThe passenger next to you awakes with a start.\n\n> You wear ring\n(first taking the diamond ring)\nYou put on the diamond ring.\n\n\"I hate flying,\" your seat-mate bemoans.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nThe plane lurches hard to the left. Your stomach churns.\n\n\"I always wonder if I'll ever see my daughter again.\"\n\n> You run north\nYou'll have to get off Seat 4B first.\n\n\"What would my wife do if I were to die?\"\n\n> You stand up\nYou'll need to undo your belt first.\n\nA bright blue flash illuminates the entire west side of the airplane, followed by the noise of a tremendous explosion. The wing is on fire!\n\nFor a brief moment, everything is silent as the situation slowly sinks into the minds of the passengers. Then pandemonium breaks out in the cabin as the plane goes into a near-vertical dive.\n\n\"It's all your fault, you know.\"\n\nYour traveling companion turns to face you, and you recoil in horror. The left side of his face is horribly mutilated, the skin torn and burnt. The empty eye socket stares at you accusingly.\n\n\"Why did you have to survive? I had a family, a child... they depended on me! You had nothing! You were nothing, and you still are nothing!\"\n\nHe leans forward, and you can smell the horrid odor of burnt flesh.\n\n\"Nothing...\"\n\nCrash positions be damned! You struggle at your seat belt, but the mechanism is jammed.\n\nHe's moving closer... reaching out... reaching toward you... the stumps of his fingers... twitching... touching you... shaking you...\n\n> Wait\n...and you find yourself wrestling the station attendant.\n\n\"Sorry about that! Didn't mean to startle you, but by the sound of it you were having a dilly of a nightmare!\n\n\"Anyway, you best be going. I've written a note explaining the situation to the conductor; it's on the back of your ticket. Better hurry.\"\n\nYou take the ticket and a copy of the schedule and make your way out to the platform.\n\nSole survivor syndrome.\n\nThat's what they call it. Psychological trauma after surviving an accident that killed so many others.\n\nYou still can't look at a plane without hearing the screaming or smelling the blood. The last time you tried to visit an airport-- just to pick up someone-- you left in an ambulance, catatonic.\n\nThings were looking bad when the old rust bucket died this morning. The mechanic said that the earliest he could get to it was first thing Monday morning, and the rental agency just laughed when you asked if you could get a car on short notice for the weekend. Flight was out of the question for obvious reasons, but rail had existed far earlier than planes. So you found yourself pleading your case to a sympathetic station manager, who managed to squeeze you onto a special charter train direct to San Diego.\n\nTwo years ago, the wedding was postponed indefinitely by your accident. You are determined that that will not happen again. The sun is shining, the tracks are clear, and in a few hours you'll be the star of the show. Come Hell or high water, nothing is going to stop you from being...\n\nAn Interactive Action-Adventure\n\nCar 3 (on seat 4B)\nTrains haven't changed much in the last 40 years. You could just imagine a furtive Cary Grant slipping from car to car or a diabolic Robert Walker plotting fiendishly in some corner.\n\nYou can see the conductor here.\n\n> You read the note\n(in the conductor)\nYou discover nothing of interest in the conductor.\n\n\"Ticket, please.\"\n\n> You give the ticket\n(to the conductor)\n(first taking the ticket)\nThe conductor reads the back of the ticket quickly. \"Ah, that explains why you're not on my list.\"\n\nCLUNK. The conductor punches the ticket and returns it you.\n\nHe walks north to the next car.\n\n> You unlock door\nThe fluorescent light goes off.\n\nYour Russian may be rusty, but a voice definitely said, \"Sergei, check the toilets.\"\n\n> You go window\nIt's quite breathtaking out here, and you'd probably enjoy the scenery if it weren't for the annoying fact that you're clinging to a flimsy metal ladder while being buffeted by sixty mile-per-hour winds. Safety lies inside, east.\n\nA voice outside the door says, \"Empty.\"\n\n> Go inside\nThe door is closed.\n\nThe screams have died down, so the gunmen have decided to start the usual diatribe. \"We now control this train... if you cooperate, you will be spared... attempt tricks and you will die...\"\n\n> You look\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe door is closed.\n\n\"Is everyone here?\"\n\n\"Everyone was here or in the press car,\" the conductor replies, strangely calm. \"As you can see, everyone in this car is also on this list.\"\n\n\"Da...\"\n\n> You listen\nYou hear nothing unexpected.\n\n\"Sergei, did you check the toilets?\"\n\n\"Da, I checked the toilets.\"\n\n\"Did you check inside the toilets?\n\nThere is a momentary pause, followed by a low curse.\n\n> You go window\n\"Ready?\" asks a voice outside.\n\n> Close window\nBetter not, you might not be able to get it open again.\n\nThe door explodes inward.\n\n\"Good, nobody here.\"\n\nThe door is closed again.\n\n> Go inside\nThe door is closed.\n\n\"Take everyone to the last car.\"\n\nThere is the sound of marching outside the door, then silence.\n\n> You turn the tap\nIt is fixed in place.\n\n> You turn on the tap\nYou turn on the faucet, allowing water to flow into the sink.\n\n> Clean coat\nA quick wipe and the stain disappears.\n\nThe flow from the faucet stops suddenly. (It must have one of those spring valves to prevent waste.)\n\n> You unlock door\nThe fluorescent light goes off.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nThe door to car 3 slides shut.\n\n> You examine the floor\nSomething felt wobbly when you stepped into this area, and a quick investigation reveals the answer. It's a metal access panel embedded in the floor of the train, with a sawtooth-edge that makes it almost invisible against the pattern of the floor.\n\nThe train just zoomed by the Salinas station.\n\n> You go west\n(The maintenance access hatch slams shut when you release it to move.) You can't go that way.\n\n> Go north\nYou open the door to car 4.\n\nCar 4, Fore\nSo this is the press car. Big deal. It's just a modified sleeper, with the compartments converted into miniature offices for the reporters. Compartments lie east and west, while the rest of the car lies north and the exit from this car is south.\n\nThe door to the car junction slides shut.\n\n> Go west\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies east.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> Go east\nCar 4, Fore\n\n> You go to the east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> You go west\nA computer sits on a makeshift desk, completely quiet.\n\n> You go to the east\nCar 4, Mid\n\n> Go east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\n> You turn on the computer\nYou start to approach the computer when suddenly a huge spider on the keyboard attacks you!\n\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nAfter you've gathered your wits together, you notice that the \"spider\" is actually a piece of black paper folded into the shape of a spider. Obviously one of the reporters was bored and decided to play a little prank.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\n> You get the computer\nThat's fixed in place."
    },
    {
        "text": "> You look around\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nAfter you've gathered your wits together, you notice that the \"spider\" is actually a piece of black paper folded into the shape of a spider. Obviously one of the reporters was bored and decided to play a little prank.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\n> Go west\nCar 4, Aft\n\nThe lavatory door is closed.\n\n> You go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nThe door to car 4 slides shut.\n\n> Go south\nYou open the door to car 4.\n\nCar 4, Aft\n\nThe lavatory door is closed.\n\nThe door to the car junction slides shut.\n\n> You open the door\n(the lavatory door)\nYou open the lavatory door.\n\n> You go west\nThis lavatory has been converted into a makeshift darkroom. (I guess some photographers haven't joined the \"digital revolution.\") All the windows have been painted black, a loose conglomeration of items rest on a crude shelf, while a workbench sits under a naked electrical fixture.\n\nThe darkroom door allows exit east.\n\n> You look under bench\nA glass tube rolls out from under the workbench.\n\n> You examine the shelf\nThere are a lot of things stored on the shelf. You could search through them if you want.\n\n> You remove the bulb\n(first taking the strange red bulb)\n(putting the punched ticket into the sport coat to make room)\nYou unscrew the strange red bulb from the light bulb socket.\n\n> You examine the junk\nIt's just junk."
    },
    {
        "text": "[Themes: thriller]\n\n> You look around\nThis lavatory has been converted into a makeshift darkroom. (I guess some photographers haven't joined the \"digital revolution.\") All the windows have been painted black, a loose conglomeration of items rest on a crude shelf, while a workbench sits under a naked electrical fixture.\n\nThe darkroom door allows exit east.\n\n> Acid and fluid\nbottle of hydroxide: (putting the small plastic tube into the sport coat to make room)\nTaken.\nbottle of acid: (putting the strange red bulb into the sport coat to make room)\nTaken.\nbottle of developing fluid: (putting the bottle of hydroxide into the sport coat to make room)\nTaken.\n\n> Hydroxide\nA clear bottle with a glass stopper. The label on the outside has a stylized hand being dissolved away.\n\n> Fluid\nThe bottle of developing fluid is closed.\n\n> You open the fluid bottle\nYou open the bottle of developing fluid, revealing a quantity of liquid.\n\n> You close the fluid bottle\nYou close the bottle of developing fluid.\n\n> Go east\nCar 4, Aft\n\nThe darkroom door is west.\n\n> Go north\nYou open the door to the car junction.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nThe door to car 4 slides shut.\n\n> Inventory\nYou are carrying:\na bottle of developing fluid (which is closed)\na bottle of acid (which is closed)\na quantity of acid\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome red powder\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You look at the powder\nA small quantity of red crystals, ground into a fine powder.\n\n> You check your inventory\nYou are carrying:\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You drop the coat\n(first taking the sport coat off)\nYou take off the sport coat.\nDropped."
    },
    {
        "text": "[Themes: thriller]\n\n> Go down\n(The maintenance access hatch slams shut after you pass through.)\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> You look at the brakes\nAlmost anything could be hidden in that mess.\n\nThere is the movement of feet above you.\n\n> You listen\nThe voices are too muffled to understand.\n\nThere is the movement of feet above you.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\nThe train just rushed by the Paso Robles station.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 5, underside\n\nThere is the movement of feet above you.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nA maintenance access hatch is open, leading downwards to darkness.\n\n> Go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 4.\n\nCar 4, Fore\n\nThe door to the car junction slides shut.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just rushed past the San Luis Obispo station.\n\n> You look at the mechanisms\nAlmost anything could be hidden in that mess.\n\n> You go to the north\nSlowly you crawl northwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You examine the railing\nThe metal railing is the only thing that keeps one from falling off the car to your death. That, and the common sense not to go too near the edge.\n\n> You examine the chest\nIt's long, heavy, made of metal, paint flaking off here and there. A tool chest.\n\n> You move chest\nNothing obvious happens.\n\n> You check what you're carrying\nYou are carrying:\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\n\n> You drop the squirt bottle\nDropped.\n\n> You drop blue liquid\nThe squirt bottle is already here.\n\n> You check your inventory\nYou are carrying:\na can of lubricant\n\n> You look at the can\nIt's a very large can of a popular brand of all-purpose lubricant, complete with the long pointy tube that allows delivery of chemicals into tight spaces.\n\nThe oil on the release lever evaporates away.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a squirt bottle (which is closed) (in which is a quantity of pale blue liquid) here.\n\n> Go up\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a can of lubricant here.\n\n> You drop the lubricant\nThe can of lubricant is already here.\n\n> You drop all\n(the squirt bottle)\nDropped.\n\n> Go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 4.\n\nCar 4, Fore\nSo this is the press car. Big deal. It's just a modified sleeper, with the compartments converted into miniature offices for the reporters. Compartments lie east and west, while the rest of the car lies north and the exit from this car is south.\n\nThe door to the car junction slides shut.\n\n> You go ladder\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just zoomed by the Santa Barbara station.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\n> You go hatch\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\n> You examine the fixture\nIn the light bulb socket is a 60-watt soft-white incandescent light bulb.\n\n> You get the bulb\nYou unscrew the 60-watt soft-white incandescent light bulb from the light bulb socket.\n\n> You examine the bulb\nIt's your average 60-watt soft-white incandescent light bulb, good for general purpose work in the home or office.\n\n> You move the box\n(the metal box)\nIt is fixed in place.\n\n> You check what you're carrying\nYou are carrying:\na 60-watt soft-white incandescent light bulb"
    },
    {
        "text": "[Themes: thriller]\n\n> You describe your surroundings\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\n> You go upwards\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just zoomed by the Oxnard station.\n\n> You listen\nThat's definitely Russian from the car below.\n\n> You speak through the vents\n(to yourself)\nThere is no reply.\n\nYou hear noises from the car below.\n\n> You go to the south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just zoomed through the Simi Valley station."
    },
    {
        "text": "> You go downward\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a sport coat (in which are a bottle of hydroxide (which is empty), a strange red bulb, a small plastic tube (which is closed) (in which is some litmus powder), a punched ticket, a small velvet box (which is closed) and a train schedule), a bottle of acid (which is closed) (in which is a quantity of acid) and a bottle of developing fluid (which is closed) here.\n\n> You wear the ring\n(first taking the diamond ring)\nYou're already wearing that!\n\n> You look at the acid\nA dark glass bottle with a screw cap. The label on the outside has a stylized hand being dissolved away.\n\n> Inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na train schedule\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder, a small velvet box (which is empty), a punched ticket, a bottle of acid (which is closed) (in which is a quantity of acid) and a bottle of developing fluid (which is closed) here.\n\n> You check your inventory\nYou are carrying:\na diamond ring (being worn)\n\nThe train just barreled through the Glendale station.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just barreled through the Los Angeles station.\n\nThere is the movement of feet above you.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder, a squirt bottle (which is closed) (in which is a quantity of pale blue liquid) and a can of lubricant here.\n\n> Go upward\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder and a can of lubricant here.\n\n> You stand on the railing\nNot again! It was nerve-wracking enough the first time!\n\n> You go south\n(The maintenance access hatch slams shut when you release it to move.) You start to open the door, but an ominous shadow across the window convinces you otherwise.\n\n> You go to the north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (which is empty) here.\n\nThe door to the car junction slides shut.\n\n> You go south\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 6 slides shut.\n\n> You check what you're carrying\nYou are carrying:\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na diamond ring (being worn)\n\n> Go north\nThe door is locked, and even if you could open it, you'd step out to empty space.\n\n> You drop all\ncan of lubricant: The can of lubricant falls off the train and hits the ground. Within moments it is out of sight.\nsquirt bottle: The squirt bottle falls off the train and hits the ground. Within moments it is out of sight.\n\n> Shit\nReal adventurers do not use such language.\n\nThe train just rumbled through the Fullerton station.\n\n> You look\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\n> You check what you're carrying\nYou are carrying:\na 60-watt soft-white incandescent light bulb\n\n> You go upwards\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\n> You go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rumbled by the Oxnard station.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just barreled through the Simi Valley station."
    },
    {
        "text": "> You go down\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\nYou can also see a 60-watt soft-white incandescent light bulb here.\n\n> You open hatch\nThat's already open.\n\n> You go upwards\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car."
    },
    {
        "text": "[Themes: thriller]\n\n> Go downwards\nDescending by the ladder here would drop you off the end of the train. Not a good idea.\n\nThe train just rumbled by the Glendale station.\n\nYou hear noises from the car below."
    },
    {
        "text": "[Themes: thriller]\n\n> Go downwards\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a squirt bottle (which is closed) (in which is a quantity of pale blue liquid) and a can of lubricant here.\n\nThe train just zoomed by the Los Angeles station.\n\n> You get all\nmaintenance access hatch: That's fixed in place.\nexternal ladder: That's fixed in place.\nsquirt bottle: Taken.\ncan of lubricant: Taken.\nmetal railing: That's hardly portable.\ndoor to car 5: That's hardly portable.\ndoor to car 6: That's hardly portable.\n\n> You stand on the railing\nNot again! It was nerve-wracking enough the first time!\n\n> Ascend\n(You pop open the maintenance access hatch as you go topside.)\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a sport coat (in which are a bottle of hydroxide (which is empty), a strange red bulb, a small plastic tube (which is closed) (in which is some litmus powder), a punched ticket, a small velvet box (which is closed) and a train schedule), a bottle of acid (which is closed) (in which is a quantity of acid) and a bottle of developing fluid (which is closed) here.\n\n> You get all\nmaintenance access hatch: That's fixed in place.\nsport coat: Taken.\nbottle of acid: Taken.\nbottle of developing fluid: (putting the bottle of acid into the sport coat to make room)\nThere is no more room in the sport coat.\nmetal railing: That's hardly portable.\ndoor to car 5: That's hardly portable.\ndoor to car 4: That's hardly portable."
    },
    {
        "text": "> You look around\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a bottle of developing fluid (which is closed) here.\n\n> You get the ticket\n(putting the bottle of acid into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na sport coat\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na punched ticket\na small velvet box (which is closed)\na train schedule"
    },
    {
        "text": "> Look around\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a punched ticket, a bottle of acid (which is closed) (in which is a quantity of acid) and a bottle of developing fluid (which is closed) here.\n\n> You check what you're carrying\nYou are carrying:\na sport coat\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na small velvet box (which is closed)\na train schedule\n\n> You get the acid\n(putting the bottle of developing fluid into the sport coat to make room)\nTaken."
    },
    {
        "text": "> Look around\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a small velvet box (which is closed) and a punched ticket here.\n\n> You open the bottle\n(the bottle of acid)\nYou open the bottle of acid.\n\nThe train just zoomed by the Paso Robles station.\n\n> Open fluid\nYou open the bottle of developing fluid, revealing a quantity of liquid.\n\n> You take the fluid\n(putting the bottle of acid into the sport coat to make room)\nTaken.\n\n> You put the fluid in the acid\n(I assume you mean to pour the bottle of developing fluid into the bottle of acid.)\n\nliquid: (putting the bottle of developing fluid into the sport coat to make room)\nYou pour some liquid into the bottle of acid.\n\n> You look at the acid\nA dark glass bottle with a screw cap. The label on the outside has a stylized hand being dissolved away.\n\nThe vapors coming out of the bottle of acid are swept away by the wind."
    },
    {
        "text": "> Look around\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a small velvet box (which is closed) and a punched ticket here.\n\nThe train just zoomed past the Paso Robles station.\n\n> You stand on the railing\nEven though every ounce of sanity left in your body tells you not to, you hop up on the railing. Your reward is the discovery of a well-concealed maintenance ladder climbing up the side of the car.\n\n> You go ladder\n(The maintenance access hatch slams shut when you release it to move.)\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface."
    },
    {
        "text": "> Go downwards\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a small velvet box (which is closed) and a punched ticket here.\n\n> You go to the south\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 4.\n\nCar 4, Aft\n\nThe darkroom door is west.\n\nThe train just rumbled through the Paso Robles station.\n\nThe door to the car junction slides shut.\n\n> You go north\nYou open the door to the car junction.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see a small velvet box (which is closed) and a punched ticket here.\n\nThe door to car 4 slides shut.\n\n> You check your inventory\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na sport coat\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na train schedule\n\n> You drop the bottle\n(the bottle of acid)\nDropped.\n\n> You get the bottle\n(the bottle of acid)\nTaken."
    },
    {
        "text": "> Describe the surroundings\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see a punched ticket and a small velvet box (which is closed) here.\n\n> You go south\nYou open the door to car 4.\n\nCar 4, Aft\n\nThe darkroom door is west.\n\nThe door to the car junction slides shut.\n\n> You go south\nCar 4, Mid\n\n> Go north\nCar 4, Aft\n\nThe darkroom door is west.\n\n> You go north\nYou open the door to the car junction.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see a punched ticket and a small velvet box (which is closed) here.\n\nThe door to car 4 slides shut.\n\n> You stand on the railing\nEven though every ounce of sanity left in your body tells you not to, you hop up on the railing. Your reward is the discovery of a well-concealed maintenance ladder climbing up the side of the car."
    },
    {
        "text": "> Go downwards\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is closed) here.\n\n> You check your inventory\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na sport coat\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na strange red bulb\na small plastic tube (which is closed)\nsome litmus powder\na train schedule\n\n> You drop the bottle\n(the bottle of acid)\nDropped.\n\n> You check your inventory\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na sport coat\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\na train schedule"
    },
    {
        "text": "[Themes: thriller]\n\n> Go downwards\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a strange red bulb, a punched ticket and a small velvet box (which is closed) here.\n\n> You get the schedule\n(putting the bottle of acid into the sport coat to make room)\nTaken.\n\n> Inventory\nYou are carrying:\na sport coat\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You get the coat\nTaken.\n\nThe train just zoomed past the San Luis Obispo station."
    },
    {
        "text": "> Descend\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a train schedule, a strange red bulb, a punched ticket and a small velvet box (which is closed) here."
    },
    {
        "text": "> Look around\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see a sport coat (in which are a bottle of acid (which is closed) (in which is a quantity of acid), a bottle of developing fluid (which is closed), a bottle of hydroxide (which is empty) and a small plastic tube (which is closed) (in which is some litmus powder)), an external ladder, a train schedule, a strange red bulb, a punched ticket and a small velvet box (which is closed) here.\n\n> You get all\nsport coat: Taken.\nmaintenance access hatch: That's fixed in place.\nexternal ladder: That's fixed in place.\ntrain schedule: Taken.\nstrange red bulb: (putting the train schedule into the sport coat to make room)\nTaken.\npunched ticket: (putting the strange red bulb into the sport coat to make room)\nTaken.\nsmall velvet box: (putting the punched ticket into the sport coat to make room)\nThere is no more room in the sport coat.\nmetal railing: That's hardly portable.\ndoor to car 5: That's hardly portable.\ndoor to car 4: That's hardly portable.\n\n> Hints\n[HINTS: It is strongly suggested that you experiment with the puzzles before resorting to hints. If the temptation to read the hints is too great, you can also disable the hints permanently with the HINTS OFF command. Note that you will always have the option of reading hints after you die.]\n\n> You keep going\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> The Plane\nThe Train\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> The Train\n\n> Inventory\nYou are carrying:\na punched ticket\na sport coat\na strange red bulb\na train schedule\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> Wear coat\nYou put on the sport coat.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train..."
    },
    {
        "text": "> Go downwards\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is closed) here."
    },
    {
        "text": "[Themes: thriller]\n\n> Go downward\n(The maintenance access hatch slams shut after you pass through.)\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> You listen\nYou hear nothing unexpected.\n\nThere is the nervous shuffling of feet above you.\n\n> You go to the south\nSlowly you crawl southwards along the length of the train...\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder here.\n\n> You go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (which is closed) here.\n\nThe door to the car junction slides shut.\n\n> You look at what you're carrying with you\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na sport coat (being worn)\na strange red bulb\na train schedule\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You get the squirt\nYou already have that.\n\n> You put the squirt in the coat\nYou put the squirt bottle into the sport coat.\n\n> You follow you\nThe passengers are too scared to respond.\n\n> Go south\nYou open the door to the car junction.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 6 slides shut.\n\n> You check what you're carrying\nYou are carrying:\na sport coat (being worn)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is closed)\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You pour the acid into the hydroxide bottle\nacid: You pour some liquid into the bottle of hydroxide.\n\n> You examine the fluid\nA tall metal flask, with a screw cap. The label on the outside has a skull-and-crossbones on it.\n\n> You examine the squirt bottle\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\n> You pour the blue liquid into the hydroxide bottle\nliquid: You pour some liquid into the bottle of hydroxide.\n\nThe liquid in the bottle of hydroxide turns pale blue.\n\n> Smell blue liquid\nWhich do you mean, the squirt bottle or the bottle of hydroxide?\n\n> You open the developing fluid bottle\nYou open the bottle of developing fluid, revealing a quantity of liquid.\n\n> You pour the developing fluid into the hydroxide bottle\nliquid: The bottle of hydroxide is already as full as possible.\n\n> Open tube\nYou open the small plastic tube.\n\n> You examine tube\nA small glass tube used for protecting dry chemicals. There's a label on the tube.\n\n> You pour the developing fluid into the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\n\n> You pour the acid into the hydroxide\nThe bottle of acid is closed.\n\n> Smell the hydroxide\nYou smell nothing unexpected.\n\nThe vapors coming out of the bottle of hydroxide are swept away by the wind.\n\n> You pour the hydroxide into the vents\nliquid: The air vent is not designed to hold liquids.\n\nThe vapors coming out of the bottle of hydroxide are swept away by the wind.\n\n> Examine vent\nThis is one of a number of screened portals, designed to allow fresh air to be drawn into the car as it moves.\n\nThe vapors coming out of the bottle of hydroxide are swept away by the wind.\n\n> You put the hydroxide in the vent\nYou need to be holding the bottle of hydroxide before you can put it on top of something else.\n\nThe vapors coming out of the bottle of hydroxide are swept away by the wind.\n\n> You get the hydroxide\nTaken.\n\nThe vapors coming out of the bottle of hydroxide are swept away by the wind.\n\n> You put the hydroxide in the vent\nThe bottle of hydroxide is easily wedged into the air vent so that it doesn't get blown off the train.\n\nThe vapors pouring out of the bottle of hydroxide are drawn into the air vent.\n\n> You listen\nThat's definitely Russian from the car below.\n\nThe vapors pouring out of the bottle of hydroxide are drawn into the air vent.\n\n> You look inside bulb\n(the light)\nYou find nothing of interest.\n\nThe vapors pouring out of the bottle of hydroxide are drawn into the air vent.\n\n> Examine vent\nThis is one of a number of screened portals, designed to allow fresh air to be drawn into the car as it moves.\n\nThe vapors pouring out of the bottle of hydroxide are drawn into the air vent.\n\nThe sound of multiple bodies falling to the floor comes from somewhere within the car.\n\n> You take the bottle\nWhich do you mean, the bottle of hydroxide, the squirt bottle, the bottle of acid or the bottle of developing fluid?\n\n> Empty bottle\n(the bottle of hydroxide)\nliquid: Liquid splashes all over the place, seeping through unseen cracks until it is gone.\n\n> You put the bottle in the coat\n(the bottle of hydroxide in the sport coat)\nYou put the bottle of hydroxide into the sport coat.\n\n> You go to the south\nSome of the acid sloshes out of the bottle of acid.\n\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface."
    },
    {
        "text": "[Themes: thriller]\n\n> Go down\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is closed) here.\n\n> You look at what you're carrying with you\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder"
    },
    {
        "text": "[Themes: thriller]\n\n> You go downwards\n(The maintenance access hatch slams shut after you pass through.)\nSome of the acid sloshes out of the bottle of acid.\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> Go north\nSome of the acid sloshes out of the bottle of acid.\n\nSlowly you crawl northwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\n> Go upwards\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder here.\n\n> Go south\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 5.\n\nThis car may have been a kitchen car, or perhaps it was temporarily converted into one for the purposes of this trip. In either case, the recent occupation by the terrorists has left it in shambles. Exits lead south and north.\n\nThe lifeless bodies of the terrorists lie scattered around the car.\n\nThe refrigerator must have been broken, as a heavy-duty ice chest sits in the corner.\n\nThe door to the car junction slides shut.\n\n> You look at bodies\nThey're draped over their weapons.\n\n> You search the bodies\nYou find nothing of interest.\n\nThe train just zoomed through the Santa Barbara station.\n\n> Open chest\nYou open the ice chest, revealing some cans of soda.\n\n> You look at the cans\nCheap bastards only sprang for generic cola.\n\n> You go south\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is empty) here.\n\nThe door to car 5 slides shut.\n\n> You go north\nYou open the door to car 5.\n\nThis car may have been a kitchen car, or perhaps it was temporarily converted into one for the purposes of this trip. In either case, the recent occupation by the terrorists has left it in shambles. Exits lead south and north.\n\nThe lifeless bodies of the terrorists lie scattered around the car.\n\nThe refrigerator must have been broken, as a heavy-duty ice chest sits in the corner.\n\nThe door to the car junction slides shut.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 5 slides shut.\n\n> Go north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see a train schedule, all of the passengers and a tool chest (in which is a can of lubricant) here.\n\nThe door to the car junction slides shut.\n\n> Terrorists are dead\nThe passengers are too scared to respond.\n\n> Search passengers\nThe passengers object to being frisked.\n\n> Go north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (in which is a can of lubricant) here.\n\nThe door to the car junction slides shut.\n\n> You get the lubricant\n(putting the cans of soda into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You get the chest\nIt's too bulky for you to lug around, so you leave it.\n\n> You go to the south\nYou open the door to car 4.\n\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe darkroom door is west.\n\nThe door to the car junction slides shut.\n\n> You check your inventory\nYou are carrying:\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is empty) here.\n\nThe door to car 4 slides shut.\n\n> Inventory\nYou are carrying:\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You go north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see all of the passengers and a tool chest (in which is a can of lubricant) here.\n\nThe train just rushed by the Oxnard station.\n\nThe door to the car junction slides shut.\n\n> You put the lubricant in the coat\nYou put the can of lubricant into the sport coat.\n\n> You put the lubricant in the coat\nYou need to be holding the can of lubricant before you can put it into something else.\n\nThe junction shudders, creeks and groans.\n\n> You check your inventory\nYou are carrying:\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na can of lubricant\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\nWith a groan that shudders through the entire train, the cars separate.\n\nThis results in the floor beneath you opening up and dropping you unceremoniously onto the tracks. Not pleasant."
    },
    {
        "text": "> You look around\nThis car may have been a kitchen car, or perhaps it was temporarily converted into one for the purposes of this trip. In either case, the recent occupation by the terrorists has left it in shambles. Exits lead south and north.\n\nThe lifeless bodies of the terrorists lie scattered around the car.\n\nThe refrigerator must have been broken, as a heavy-duty ice chest sits in the corner.\n\n> Go north\nYou open the door to the car junction.\nSome of the acid sloshes out of the bottle of acid.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 5 slides shut."
    },
    {
        "text": "[Themes: thriller]\n\n> You go downwards\nDeath. Nasty, oily, ground-to-a-pulp-under-the-wheels death. Best not to even consider it.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You go south\nSlowly you crawl southwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just rushed past the Oxnard station.\n\n> Go up\nThe maintenance access hatch seems to be blocked.\n\n> You open hatch\nYou can't. There's something on the other side preventing you from opening it.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 2, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You examine the hatch\nIt's a metal panel that provides access to the upper portion of the train.\n\n> You go to the north\nSlowly you crawl northwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\nThe train just rumbled through the Simi Valley station.\n\n> Go up\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see an external ladder here.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\nThe door to car 3 slides shut.\n\n> Break glass\nWhich do you mean, the tube filled with gas, the glass dish or the rose-colored glass pane?\n\n> Rose\nTry as you might, you can't break the glass. It's too thick.\n\n> Rose\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nYou can't get close enough to see the contents, however.\n\n> You stand on the box\n(the metal box)\nThat's not something you can stand on.\n\n> Go north\nYou can't go that way.\n\nThe train just rumbled through the Glendale station.\n\n> Inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You pour the blue liquid in the left beaker\nliquid: The metal box isn't open.\n\nThe train just barreled past the Los Angeles station.\n\n> You open the box\n(the metal box)\nTry as you might, the glass is securely affixed to the front of the box by some thick, gooey sealant. The sealant itself seems to be invulnerable to all of your attacks.\n\n> You pour the acid in the hydroxide bottle\nThe bottle of acid is closed.\n\n> You open the bottle\n(the bottle of acid)\nYou open the bottle of acid.\n\n> You pour acid in the hydroxide bottle\nacid: You pour some liquid into the bottle of hydroxide.\n\n> You pour the blue liquid in the hydroxide bottle\nliquid: You pour some liquid into the bottle of hydroxide.\n\nThe liquid in the bottle of hydroxide turns pale blue.\n\n> You examine the liquid\n(the bottle of hydroxide)\nA clear bottle with a glass stopper. The label on the outside has a stylized hand being dissolved away.\n\n> You examine the hydroxide\nA clear bottle with a glass stopper. The label on the outside has a stylized hand being dissolved away.\n\n> You pour the hydroxide on the sealant\nIt's doubtful that the contents of the bottle of hydroxide could damage the silicone caulking.\n\n> You get the bulb\nWhich do you mean, the 60-watt soft-white incandescent light bulb or the strange red bulb?\n\n> You go north\nYou can't go that way.\n\nThe train just zoomed by the Los Angeles station.\n\n> Inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You drop the bulb\n(the 60-watt soft-white incandescent light bulb)\nDropped.\n\n> You go to the north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rushed past the Fullerton station.\n\nYou hear noises from the car below."
    },
    {
        "text": "> You go downwards\nDescending by the ladder here would drop you off the end of the train. Not a good idea.\n\nYou hear noises from the car below.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just barreled past the Anaheim station."
    },
    {
        "text": "> You go downward\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder here.\n\n> You move chest\nIt is fixed in place.\n\nThe train just barreled through the Santa Ana station.\n\n> Go upward\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just barreled by the Irvine station.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just rumbled by the San Juan Capistrano station."
    },
    {
        "text": "[Themes: thriller]\n\n> You go downwards\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a 60-watt soft-white incandescent light bulb here.\n\n> You get the tube\nWhich do you mean, the tube filled with gas or the small plastic tube?\n\n> You go to the north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe bomb detonates, vaporizing you instantly.\n\n> You open acid bottle\nYou open the bottle of acid.\n\nThe train just rushed through the Los Angeles station.\n\n> You examine the wire\nFluorescent gas swirls around the inside of the tube.\n\n> You examine the plexiglas box\nIt's made a transparent plastic.\n\nThe thick plastic walls distort the box's contents.\n\n> You look at the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nYou can't get close enough to see the contents, however.\n\n> You pour the acid on the sealant\nIt's doubtful that the contents of the bottle of acid could damage the silicone caulking.\n\n> You pour the acid in the left beaker\nacid: The metal box isn't open.\n\n> You attach the bulb to the box\nWhich do you mean, the 60-watt soft-white incandescent light bulb or the strange red bulb?\n\n> White\n(the metal box)\nYou would achieve nothing by this.\n\n> Inventory\nYou are carrying:\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open but empty)\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> Open tube\n(the small plastic tube)\nYou open the small plastic tube.\n\n> You look at the powder\nWhich do you mean, the white powder or the litmus powder?\n\n> White\nIt's a white powder that sticks to itself in clumps, like flour that has been allowed to get damp.\n\n> You examine the litmus powder\nA small quantity of red crystals, ground into a fine powder.\n\n> You examine the glass tube\nFluorescent gas swirls around the inside of the tube.\n\n> You look under the box\n(the metal box)\nYou find nothing of interest.\n\n> Break box\n(the metal box)\nViolence isn't the answer to this one.\n\n> You look at the glass dish\nThe metal box isn't open.\n\nThe train just barreled by the Fullerton station.\n\n> You read the labels\nWhat do you want to read in?\n\n> You cut the box with diamond\n(the metal box with the diamond ring)\nCutting that up would achieve little.\n\n> Pane\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You feel the box\n(the metal box)\nYou feel nothing unexpected.\n\nThe train just rushed past the Anaheim station.\n\n> Search box\n(the metal box)\nThe rose-colored glass hampers your ability to make out details...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nA glass dish sits under a thick metal coil, which dangles from another breadboard packed with electronics.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\n> You check what you're carrying\nYou are carrying:\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open but empty)\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\nThe train just zoomed past the Santa Ana station.\n\n> You check what you're carrying\nYou are carrying:\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open but empty)\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> Close bottle\nWhich do you mean, the left beaker, the right beaker, the bottle of hydroxide, the squirt bottle, the bottle of acid or the bottle of developing fluid?\n\n> Inventory\nYou are carrying:\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is closed)\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> You open the bottle\nWhich do you mean, the bottle of hydroxide, the squirt bottle, the bottle of acid or the bottle of developing fluid?\n\n> You put the acid in the coat\nYou need to be holding the bottle of acid before you can put it into something else.\n\nThe train just rumbled past the Irvine station.\n\n> You put the acid in the bottle\n(the bottle of acid)\nYou can't put something inside itself.\n\n> Close bottle\n(the bottle of acid)\nThat's already closed.\n\n> You look at what you're carrying with you\nYou are carrying:\na bottle of acid (which is closed)\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> You put the bottle in the coat\n(the bottle of acid in the sport coat)\nYou put the bottle of acid into the sport coat.\n\n> You check your inventory\nYou are carrying:\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is closed)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> You drop all\nacid: Dropped."
    },
    {
        "text": "> Go downwards\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a quantity of acid here.\n\nThe train just rumbled by the San Juan Capistrano station.\n\n> You go to the north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe bomb detonates, vaporizing you instantly.\n\n> You go to the north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rushed past the Los Angeles station."
    },
    {
        "text": "> Go downwards\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, some cans of soda, a punched ticket and a small velvet box (which is empty) here.\n\n> You drop the red bulb\nDropped.\n\nThe train just rumbled through the Los Angeles station.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, some cans of soda, a punched ticket and a small velvet box (which is empty) here.\n\nThe door to car 4 slides shut.\n\n> You put the soda in the coat\nYou put the cans of soda into the sport coat.\n\n> You go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just zoomed past the Fullerton station.\n\n> Go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just barreled through the Anaheim station."
    },
    {
        "text": "> You go downward\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a strange red bulb here.\n\n> You open the soda\nIf you want to drink it, just say so.\n\nThe train just rushed through the Santa Ana station.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. And you still have 5 cans left.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. And you still have 4 cans left.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. And you still have 3 cans left.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. And you still have 2 cans left.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. And you still have 1 can left.\n\n> You drink the soda\nAaah! Quite refreshing, thank you. But that was the last can.\n\n> Puncture caulking with ring\nTry as you might, you cannot puncture the silicone caulking with the diamond ring.\n\nThe train just rumbled by the Santa Ana station.\n\n> Inventory\nYou are carrying:\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You examine the caulking\nThe centimeter-wide gap between the edge of the metal box and the glass pane has been filled with a rubbery sealant, probably silicone.\n\n> You open the bottle\n(the bottle of acid)\nYou open the bottle of acid.\n\n> You put the acid in the hydroxide bottle\n(I assume you mean to pour the bottle of acid into the bottle of hydroxide.)\n\nacid: (putting the cans of soda into the sport coat to make room)\nYou pour some liquid into the bottle of hydroxide.\n\n> You pour the soda in the hydroxide\nThe bottle of hydroxide is designed to hold liquids.\n\nThe train just barreled past the Irvine station.\n\n> You pour the blue in the hydroxide\nThe squirt bottle is closed.\n\n> You pour the blue in hydroxide\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the bottle of hydroxide.\n\nThe liquid in the bottle of hydroxide turns pale blue.\n\n> You examine the liquid\nWhich do you mean, the left beaker, the right beaker, the bottle of hydroxide or the squirt bottle?\n\n> Squirt bottle\nWhich do you mean, the left beaker, the right beaker, the bottle of acid, the bottle of hydroxide, the squirt bottle or the bottle of developing fluid?\n\n> Bottle of hydroxide\nWhat do you want to squirt the bottle of hydroxide on?\n\n> You drop all\ncans of soda: Dropped.\n\n> Go up\nSome of the liquid sloshes out of the bottle of hydroxide.\n\nSome of the liquid sloshes out of the squirt bottle.\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rushed past the San Juan Capistrano station.\n\n> You go to the north\nSome of the liquid sloshes out of the bottle of hydroxide.\n\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe bomb detonates, vaporizing you instantly.\n\n> You drop all\nWhat do you want to drop those things in?\n\n> Inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\nsome cans of soda\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is closed)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> You go upward\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just rushed past the Santa Ana station.\n\n> You go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rumbled past the Irvine station.\n\n> Go north\nSlowly you crawl northwards along the length of the train...\n\nCar 6, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just rushed by the San Juan Capistrano station.\n\nThere is the nervous shuffling of feet above you.\n\n> You go upwards\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe bomb detonates, vaporizing you instantly.\n\n> Break bulb\n(the strange red bulb)\nViolence isn't the answer to this one.\n\nThe train just zoomed by the Santa Ana station.\n\n> You examine the caulking\nThe centimeter-wide gap between the edge of the metal box and the glass pane has been filled with a rubbery sealant, probably silicone.\n\n> You look at chest\nIt's an insulated carrying case for sodas and the like. Numerous battle scars tell of a long history of withstanding abuse. The brand name \"Tuff-Stuf\" is emblazoned on the side.\n\n> You search the chest\nThe ice chest is empty.\n\n> Inventory\nYou are carrying:\na can of lubricant\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na bottle of developing fluid (which is open but empty)\na small plastic tube (which is closed)\nsome litmus powder\n\n> Inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\nsome cans of soda\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder"
    },
    {
        "text": "> You look at your surroundings\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see a bottle of developing fluid (which is empty), a can of lubricant and an external ladder here.\n\n> You go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just barreled past the Oxnard station.\n\n> Lubricate the caulking\nYou apply a liberal amount of lubricant to the silicone caulking.\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rumbled by the Simi Valley station."
    },
    {
        "text": "> Go down\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a bottle of hydroxide (which is empty) and a bottle of developing fluid (which is empty) here.\n\n> You put the hydroxide in the coat\nYou put the bottle of hydroxide into the sport coat."
    },
    {
        "text": "> Go downward\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\nYou can also see a can of lubricant here.\n\n> You pour the lubricant in hydroxide bottle\nThe bottle of hydroxide is designed to hold liquids."
    },
    {
        "text": "> Look around\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\n> You feel the door\nYou feel nothing unexpected.\n\nThe train just zoomed past the Glendale station.\n\n> Inventory\nYou are carrying:\na can of lubricant\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You smash the light bulb\n(the 60-watt soft-white incandescent light bulb)\nViolence isn't the answer to this one.\n\n> You examine the soda\nCheap bastards only sprang for generic cola.\n\n> You pour the soda on the sealant\n(putting the can of lubricant into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You open the soda\nIf you want to drink it, just say so."
    },
    {
        "text": "> You look around\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a can of lubricant here.\n\n> You check your inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You examine the bulb\n(the 60-watt soft-white incandescent light bulb)\nIt's your average 60-watt soft-white incandescent light bulb, good for general purpose work in the home or office.\n\n> You go north\nYou can't hold onto all the things you are carrying and move around the top of the train.\n\nThe train just barreled by the Fullerton station.\n\n> Go south\nYou open the door to car 4.\nSome of the acid sloshes out of the bottle of acid.\n\nCar 4, Aft\nThe north section of the car is a tight squeeze. Another compartment lies east, while the exit from the car lies to the north.\n\nThe darkroom door is west.\n\nThe door to the car junction slides shut.\n\n> You go south\nIt's a real struggle, but eventually you move southwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nA large metal hatch is embedded in the roof of the car.\n\nThe train just barreled by the Glendale station.\n\n> You go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just barreled through the Los Angeles station.\n\n> You check your inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You put the white bulb in the coat\nYou put the 60-watt soft-white incandescent light bulb into the sport coat.\n\n> You go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just barreled by the Glendale station.\n\n> Go north\nCar 4, Mid\nThe middle of the press car is even less interesting than the rest. Compartments are to either side of you, and the rest of the car lies south and north.\n\nThe train just rumbled past the Los Angeles station.\n\n> You put the white bulb in the socket\nYou screw the 60-watt soft-white incandescent light bulb into the light bulb socket.\n\n> You close the door\nYou close the darkroom door.\n\nIt is now pitch dark in here!\n\n> You lock the door\nYou lock the darkroom door.\n\n> You unlock door\nYou unlock the darkroom door.\n\n> You open the door\nYou open the darkroom door.\n\nThis lavatory has been converted into a makeshift darkroom. (I guess some photographers haven't joined the \"digital revolution.\") All the windows have been painted black, a loose conglomeration of items rest on a crude shelf, while a workbench sits under a naked electrical fixture.\n\nThe darkroom door allows exit east.\n\n> You examine the socket\nIn the light bulb socket is a 60-watt soft-white incandescent light bulb.\n\n> You turn on the light\n(the light bulb socket)\nThe 60-watt soft-white incandescent light bulb begins to glow.\n\n> You remove the white bulb\n(first taking the 60-watt soft-white incandescent light bulb)\nYou unscrew the 60-watt soft-white incandescent light bulb from the light bulb socket.\n\n> You put the red bulb in the socket\nYou screw the strange red bulb into the light bulb socket.\n\n> You turn on the light\n(the light bulb socket)\nThe strange red bulb begins to glow."
    },
    {
        "text": "> You look around\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nAn open metal hatch reveals the sun and sky above.\n\nThe beam of sunlight from the open metal hatch draws your eyes to a large wooden crate sitting at the north end of the car.\n\nYou can also see a can of lubricant here.\n\n> Left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nYou can't get close enough to see the contents, however.\n\nThe train just rumbled by the Glendale station.\n\n> You look at the light\n(the light bulb socket)\nIn the light bulb socket is a strange red bulb.\n\n> You turn on the light\n(the light bulb socket)\nThe strange red bulb begins to glow.\nThat's already on.\n\n> You look at what you're carrying with you\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You touch the bulb\n(the 60-watt soft-white incandescent light bulb)\nYou feel nothing unexpected.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nYou can't get close enough to see the contents, however.\n\nThe train just zoomed through the Los Angeles station.\n\n> Inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\n\n> You put the powder in the soda\nWhich do you mean, the white powder or the litmus powder?\n\n> You remove the bulb\n(the 60-watt soft-white incandescent light bulb)\nYou're not wearing that.\n\n> You get the bulb\n(the 60-watt soft-white incandescent light bulb)\nYou already have that.\n\n> You get the red bulb\nThe bulb is too hot to handle.\n\n> Inventory\nYou are carrying:\nsome litmus powder\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> Go north\nIt's a real struggle, but eventually you move northwards along the top of the train...\n\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nThe train just rumbled by the Glendale station."
    },
    {
        "text": "[Themes: thriller]\n\n> Go downward\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder, a punched ticket and a small velvet box (which is empty) here.\n\n> You cut box\nWhat do you want to cut the small velvet box with?\n\n> You go east\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies west.\n\nAfter you've gathered your wits together, you notice that the \"spider\" is actually a piece of black paper folded into the shape of a spider. Obviously one of the reporters was bored and decided to play a little prank.\n\nA computer sits on a makeshift desk, a quiet hum emanating from its fan.\n\nThe train just zoomed by the Los Angeles station.\n\n> You go south\nSome of the acid sloshes out of the bottle of acid.\n\nCar 4, Mid\nThe middle of the press car is even less interesting than the rest. Compartments are to either side of you, and the rest of the car lies south and north.\n\n> Go west\nThis is a tiny nondescript office, a hasty conversion from the original cabin that it was: the outlines of the bed and furnishings are still visible on the wall. A relief from claustrophobia lies east.\n\nA computer sits on a makeshift desk, completely quiet.\n\n> You examine computer\nIt's an ancient VT100 terminal, which belongs more in a museum than in an office. These things haven't been used for, what, 50 years?\n\nThe computer terminal is currently switched off.\n\n> You go to the south\nYou open the door to car 3.\n\nCar 3, Aft\nThis tiny space near the junction to the next car is unremarkable, save the cramped stairway to the upper level and the door to the tiny lavatory west.\n\nThe lavatory door is open.\n\nThe door to the car junction slides shut.\n\n> You go to the west\nSome of the acid sloshes out of the bottle of acid.\n\nThis compartment leaves very little room for movement, but you're not here to do the macarena. A stainless-steel lavatory sits next to a tiny sink. A window west provides some light, which is nice as the fluorescent fixture above the mirror is not on.\n\nThe exit is east.\n\nThe train just rushed past the Fullerton station.\n\n> You examine the fixture\nThe light fixture is dark.\n\n> You examine the lavatory\n(the lavatory door)\nIt's a lavatory door, with a sliding bolt that changes the indicator on the outside from \"Unoccupied\" to \"Occupied.\" High-tech stuff.\n\n> Shit\nReal adventurers do not use such language.\n\nThe train just rumbled by the Anaheim station.\n\n> Go upward\nBetter not. It would be very easy to be trapped up there.\n\nThe train just barreled past the Santa Ana station.\n\n> You go south\nWithout any passengers, this car takes on a definite tomb-like atmosphere. A sealed passageway leads south, while the junction to the next car leads north.\n\n> You examine the floor\nYou see nothing special about the floor.\n\nThe train just rumbled by the Irvine station.\n\n> You check your inventory\nYou are carrying:\nWolfie (the paper spider guardian of computers)\na small velvet box (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder and a punched ticket here.\n\nThe door to car 4 slides shut.\n\n> You examine the door\nWhich do you mean, the door to car 5 or the door to car 4?\n\n> Door 4\nIt's a sliding door, spring-loaded. The kind you have to hold open as you pass through.\n\n> You get the red bulb\n(putting the small velvet box into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You drop the velvet box\nDropped.\n\nThe train just zoomed past the San Juan Capistrano station.\n\n> You put the red bulb in the chest\nThe strange red bulb fits snugly in the ice chest.\n\n> Close chest\nYou close the ice chest.\n\n> You look\nThis car may have been a kitchen car, or perhaps it was temporarily converted into one for the purposes of this trip. In either case, the recent occupation by the terrorists has left it in shambles. Exits lead south and north.\n\nThe lifeless bodies of the terrorists lie scattered around the car.\n\nThe refrigerator must have been broken, as a heavy-duty ice chest sits in the corner.\n\nYou can also see a small velvet box (which is empty) here.\n\n> Go north\nYou open the door to the car junction.\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nYou see a concealed maintenance access hatch in the floor here.\n\nYou can also see an external ladder and a bottle of developing fluid (which is empty) here.\n\nThe door to car 5 slides shut.\n\n> Go north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see a train schedule, all of the passengers and a tool chest (which is empty) here.\n\nThe door to the car junction slides shut.\n\n> You ask the passengers about the terrorists\nOne woman speaks up. \"We haven't seen them since George stupidly went over to ask them for some water. Once they heard his knock, they made a big deal about marching up and down the train to make their point about who's in charge.\"\n\n> You check your inventory\nYou are carrying:\nWolfie (the paper spider guardian of computers)\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You show the cans to the passengerd\n(first taking the cans of soda)\nThey mumble amongst themselves, but the consensus is that they have no comment to make on the cans of soda.\n\nSomething just happened, because you were just vaporized by a nuclear explosion.\n\n> Left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nYou can't get close enough to see the contents, however.\nI beg your pardon?"
    },
    {
        "text": "> You look around\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a can of lubricant here.\n\n> You examine the light\n(the light bulb socket)\nIn the light bulb socket is a 60-watt soft-white incandescent light bulb.\n\n> You take the white bulb\nThe bulb is too hot to handle.\n\nThe train just rushed by the Glendale station.\n\n> Inventory\nYou are carrying:\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You turn off the light\n(the light bulb socket)\nThe 60-watt soft-white incandescent light bulb goes dark.\n\n> You put the red bulb in the socket\nYou screw the strange red bulb into the light bulb socket.\n\nThe train just rumbled through the Los Angeles station.\n\n> You turn on the light\n(the light bulb socket)\nThe strange red bulb begins to glow.\n\n> You open the pane\nTry as you might, the glass is securely affixed to the front of the box by some thick, gooey sealant. The sealant itself seems to be invulnerable to all of your attacks.\n\n> You pour it on the sealant\nThat would scarcely empty anything.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You read left beaker\nWritten on the side are the letters \"NaOH.\"\n\n> You read right beaker\nWritten on the side are the letters \"HCl.\"\n\n> You take the left beaker\nThe left beaker is firmly attached to the pair of scales.\n\n> You examine tube\n(the can of lubricant)\nIt's a very large can of a popular brand of all-purpose lubricant, complete with the long pointy tube that allows delivery of chemicals into tight spaces.\n\nThe train just barreled past the Fullerton station.\n\n> You squirt the lubricant on sealant\nYou apply a liberal amount of lubricant to the silicone caulking.\n\nThe train just barreled by the Fullerton station.\n\n> You pour the LITMUS on the sealant\nTry as you might, you cannot puncture the silicone caulking with the litmus powder.\n\nThe train just barreled past the Anaheim station.\n\n> Inventory\nYou are carrying:\nsome litmus powder\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You pour the ammonia on the LITMUS\nThe litmus powder can't contain things.\n\nThe train just rumbled past the Santa Ana station.\n\nThe oil on the silicone caulking evaporates away.\n\n> You pour the soda in the tube\n(the can of lubricant)\n(putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nThat can't contain things.\n\n> Go north\nYou can't hold onto all the things you are carrying and move around the top of the train.\n\nThe train just barreled through the Irvine station.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome cans of soda\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You look\nHandholds in the top of the car allow one to move carefully across the surface, but make no mistake about it: one slip means a short but unpleasant trip over the side. The handholds travel south or north along the length of the train, provided one does not get snagged on the numerous air vents and lights protruding from the surface.\n\nYou hear noises from the car below.\n\n> Examine vent\nThis is one of a number of screened portals, designed to allow fresh air to be drawn into the car as it moves.\n\nThe train just zoomed past the Simi Valley station.\n\n> Inventory\nYou are carrying:\na sport coat (being worn)\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is closed)\na small velvet box (which is closed)\na train schedule\n\n> Y.\nAmazing! After all these years some girl finally got Jack to propose. All you need to do is hop on a commuter plane, get the big lug to the church on time, and zip back. Piece of cake...\n\nWell, almost. Blasted El Ni?o has air traffic in an uproar. This daily commuter flight out of San Francisco was delayed three times, which will make life fun when you finally make it down to San Diego...\n\nAirplane (on Seat 4B)\nThe airlines claim that planes are getting bigger, but you don't believe a word of it. This cramped cabin feels about as roomy as a culvert, and has approximately the same decor.\n\nThere is a door south and a small kitchenette north.\n\n(First time players should type INFO for game-playing details.)\n\n> You go south\nYou'll have to get off Seat 4B first.\n\n> You wash the coat\nA quick wipe and the stain disappears.\n\nThe flow from the faucet stops suddenly. (It must have one of those spring valves to prevent waste.)\n\nWait... was that gunfire...?\n\n> You unlock door\nThe fluorescent light goes off.\n\nYour Russian may be rusty, but a voice definitely said, \"Sergei, check the toilets.\"\n\n> You open the window\nYou open the lavatory window.\n\nA voice outside the door says, \"Empty.\"\n\n> Go west\nThat looks like a particularly unsafe direction to go.\n\n\"Is everyone here?\"\n\n\"Everyone was here or in the press car,\" the conductor replies, strangely calm. \"As you can see, everyone in this car is also on this list.\"\n\n\"Da...\"\n\n> You wait\nTime passes.\n\n\"Sergei, did you check the toilets?\"\n\n\"Da, I checked the toilets.\"\n\n\"Did you check inside the toilets?\n\nThere is a momentary pause, followed by a low curse.\n\n> Continue\nTime passes.\n\n\"Ready?\" asks a voice outside.\n\n> Continue\nTime passes.\n\nThe door explodes inward.\n\n\"Good, nobody here.\"\n\nThe door is closed again.\n\n> Go east\nThe door is closed.\n\n> You open the door\nYou open the lavatory door.\n\n> You turn on the computer\nThe computer comes to life, goes through its complex bootstrap procedure, then asks you for a user name and password. You turn the machine off in disgust.\n\nThe train just rushed past the Salinas station.\n\n> You take the hydroxide\n(putting the punched ticket into the sport coat to make room)\nTaken.\n\n> You take the acid\n(putting Wolfie (the paper spider guardian of computers) into the sport coat to make room)\nTaken.\n\n> You take the fluid\n(putting the bottle of hydroxide into the sport coat to make room) Taken.\n\n> You go to the south\nYou open the door to the car junction.\n\nThe door to car 4 slides shut.\n\n> Go south\nYou open the door to car 3.\n\nCar 3, Aft\n\nThe lavatory door is open.\n\nThe door to the car junction slides shut.\n\n> You go south\nWithout any passengers, this car takes on a definite tomb-like atmosphere. A sealed passageway leads south, while the junction to the next car leads north.\n\n> You go south\nThe metal plate sealing the door prevents movement south.\n\n> Go north\nCar 3, Aft\n\nThe lavatory door is open.\n\n> Go north\nYou open the door to the car junction.\n\nThe door to car 3 slides shut.\n\n> You go north\nYou open the door to car 4.\n\nCar 4, Fore\n\nThe door to the car junction slides shut.\n\n> You open hatch\n(I assume you mean the concealed access hatch that you found out about in an earlier incarnation.)\nYou open the maintenance access hatch.\n\n> Inventory\nYou are carrying:\na small plastic tube (which is closed)\nsome red powder\na bottle of developing fluid (which is closed)\na sport coat (being worn)\na bottle of acid (which is closed)\na quantity of acid\na bottle of hydroxide (which is closed)\nWolfie (the paper spider guardian of computers)\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> You check what you're carrying\nYou are carrying:\na bottle of developing fluid (which is closed)\na sport coat (being worn)\na bottle of acid (which is closed)\na quantity of acid\na bottle of hydroxide (which is closed)\nWolfie (the paper spider guardian of computers)\na punched ticket\na small velvet box (which is closed)\na train schedule\n\n> Go upward\n(You pop open the maintenance access hatch as you go topside.)\n\nBetween each pair of cars is an area which has always frightened you. Maybe it's the fact that the area is open save for a flimsy metal railing across the gaps; maybe it's the constant shifting of the floor beneath your feet. Safer areas lie south and north.\n\nA maintenance access hatch is open, leading downwards to darkness.\n\nYou can also see a small plastic tube (which is closed) (in which is some red powder) here.\n\n> You put the fluid in the coat\nYou put the bottle of developing fluid into the sport coat.\n\n> You take the bottle\nWhich do you mean, the squirt bottle, the bottle of developing fluid, the bottle of acid or the bottle of hydroxide?\n\n> You check your inventory\nYou are carrying:\na can of lubricant\na squirt bottle (which is closed)\na quantity of pale blue liquid\na sport coat (being worn)\na bottle of developing fluid (which is closed)\na bottle of acid (which is closed)\na quantity of acid\na bottle of hydroxide (which is closed)\nWolfie (the paper spider guardian of computers)\na punched ticket\na small velvet box (which is closed)\n\n> You take the box\n(the tool chest)\nIt's too bulky for you to lug around, so you leave it.\n\n> You take the velvet box\n(putting the squirt bottle into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You check your inventory\nYou are carrying:\na can of lubricant\na sport coat (being worn)\na bottle of developing fluid (which is closed)\na bottle of acid (which is closed)\na quantity of acid\na bottle of hydroxide (which is closed)\nWolfie (the paper spider guardian of computers)\n\n> You go north\nYou open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see a punched ticket, a small velvet box (which is closed), all of the passengers and a tool chest (which is empty) here.\n\nThe door to the car junction slides shut.\n\n> Go north\n(The maintenance access hatch slams shut when you release it to move.) You open the door to car 6.\n\nCar 6, the last car\nThis is a tiny car-- a classic caboose, except it isn't red, and it doesn't have a potbelly stove. It's pretty much a lounge for the conductor and his assistants, except the conductor is conspicuously missing.\n\nYou can see a punched ticket, a small velvet box (which is closed), all of the passengers and a tool chest (which is empty) here.\n\nThe door to the car junction slides shut.\n\n> You check what you're carrying\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na can of lubricant\na sport coat (being worn)\na bottle of developing fluid (which is closed)\na bottle of acid (which is closed)\na quantity of acid\na bottle of hydroxide (which is closed)\nWolfie (the paper spider guardian of computers)\n\n> You put the squirt in the coat\nYou put the squirt bottle into the sport coat.\n\nThe train just zoomed by the Paso Robles station.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 5, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\nThe train just rushed by the Paso Robles station.\n\nThere is the movement of feet above you.\n\n> You go north\nSlowly you crawl northwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\nThe train just rushed past the San Luis Obispo station.\n\n> You open hatch\nYou can't. There's something on the other side preventing you from opening it.\n\n> You go to the north\nSlowly you crawl northwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You go south\nSlowly you crawl southwards along the length of the train...\n\nYou're in a small gap between the cars. Small maintenance tunnels lead south and north, although they are rather small and probably not safe when the train is in motion. A maintenance hatch above you offers more traditional passage on the train.\n\nA prominent lever is attached to the car junction. The lever has been pushed into the \"closed\" position.\n\nThe train just rumbled by the Paso Robles station.\n\n> Go south\nSlowly you crawl southwards along the length of the train...\n\nCar 3, underside\nFrom here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.\n\n> You put the LITMUS in the dish\nThe metal box isn't open.\n\nThe train just rumbled through the Glendale station.\n\n> You check what you're carrying\nYou are carrying:\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You take the bulb\nWhich do you mean, the 60-watt soft-white incandescent light bulb or the strange red bulb?\n\n> Close hatch\nYou close the metal hatch.\n\nIt is now pitch dark in here!\n\n> You open hatch\nYou open the metal hatch.\n\nOnce inside, you realize why this car wasn't accessible from the rest of the train: it's a mail transport car. Bags of letters and parcels fill the shelves around you, almost completely obscuring the one light fixture in the car. The sliding metal door east offers a possible exit.\n\nIn front of you stands a large metal box, closed on all sides save the front, which is protected by a pane of glass. The rose-tinting of the glass hints at rather than exposes the complicated machinery held within.\n\nAn open metal hatch reveals the sun and sky above.\n\nYou can also see a can of lubricant here.\n\n> You put the red bulb in light\n(the light bulb socket)\nThere is no more room in the light bulb socket.\n\nThe train just zoomed past the Los Angeles station.\n\n> You look in the socket\nIn the light bulb socket is a 60-watt soft-white incandescent light bulb.\n\n> You take the light bulb\n(the strange red bulb)\nYou already have that.\n\n> You take the incandescent bulb\n(putting the litmus powder into the sport coat to make room)\nYou unscrew the 60-watt soft-white incandescent light bulb from the light bulb socket.\n\n> Close hatch\nYou close the metal hatch.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You look at the scales\nA pair of antique brass scales, intricately carved.\n\nThe scales are balanced.\n\n> You check your inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You look at what you're carrying with you\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> Hints\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> The Plane\nThe Train\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> The Plane\nThe Train\nThe Plane\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> What's going on here?\nHow do I warn the stewardess?\nHow do I warn the pilot?\nI don't want to die in a crash!\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> The Train\nThe Train\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> The Prologue\nAfter the Attack\nUnder the Train\nOn Top of The Train\nThe Mail Car\n\n> Go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> After the Attack\nUnder the Train\nOn Top of The Train\nThe Mail Car\n\n> You go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> Under the Train\nOn Top of The Train\nThe Mail Car\n\n> You go to the north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nUnder the Train\n> On Top of The Train\nThe Mail Car\n\n> Go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nUnder the Train\nOn Top of The Train\n> The Mail Car\n\n> Go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> The Prologue\nAfter the Attack\nUnder the Train\nOn Top of The Train\nThe Mail Car\nThe Prologue\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> I got kicked off the train!\nWhat a mess! How do I clean my jacket?\nWhat's going on in the corridor?\nHow can I avoid being shot?\n\n> You check your inventory\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na strange red bulb\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You look at the socket\nIn the light bulb socket is a 60-watt soft-white incandescent light bulb.\n\nThe train just barreled through the Glendale station.\n\n> You take the incandescent bulb\nYou unscrew the 60-watt soft-white incandescent light bulb from the light bulb socket.\n\n> You take the red bulb\n(putting the squirt bottle into the sport coat to make room)\nTaken.\n\n> You put it in the socket\nYou screw the strange red bulb into the light bulb socket.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You open hatch\nThat's already open.\n\nThe train just barreled through the Los Angeles station.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You turn off  the light\n(the light bulb socket)\nThe strange red bulb goes dark.\n\nIt is now pitch dark in here!\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> P.\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nUnder the Train\nOn Top of The Train\n> The Mail Car\nThe Mail Car\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> How do I open the glass-fronted box?\nThe powder burst into flame!\n\n> You go to the north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nHow do I open the glass-fronted box?\n> The powder burst into flame!\n[Press H for another hint, any other key to exit]\n\n(1/17) The conductor may offer some insight on the white powder and the silicone caulking."
    },
    {
        "text": "[Themes: thriller]\n\nAmazing! After all these years some girl finally got Jack to propose. All you need to do is hop on a commuter plane, get the big lug to the church on time, and zip back. Piece of cake...\n\nWell, almost. Blasted El Ni?o has air traffic in an uproar. This daily commuter flight out of San Francisco was delayed three times, which will make life fun when you finally make it down to San Diego...\n\nAirplane (on Seat 4B)\nThe airlines claim that planes are getting bigger, but you don't believe a word of it. This cramped cabin feels about as roomy as a culvert, and has approximately the same decor.\n\nThere is a door south and a small kitchenette north.\n\n(First time players should type INFO for game-playing details.)\n\n> Inventory\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You look at the squirt\nIt's a squirt bottle. The label is so faded as to make it practically illegible.\n\nThe train just rumbled by the Los Angeles station.\n\n> You look at what you're carrying with you\nYou are carrying:\na squirt bottle (which is closed)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You open the squirt\nYou open the squirt bottle.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is closed)\nsome litmus powder\n\n> You look at the acid\nA dark glass bottle with a screw cap. The label on the outside has a stylized hand being dissolved away.\n\n> You take the acid\n(putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nTaken.\n\n> You look at the tube\n(the can of lubricant)\nIt's a very large can of a popular brand of all-purpose lubricant, complete with the long pointy tube that allows delivery of chemicals into tight spaces.\n\n> You put the tube in the sealant\n(the can of lubricant in the silicone caulking)\nYou need to be holding the can of lubricant before you can put it into something else.\n\n> You take the tube\n(the can of lubricant)\n(putting the squirt bottle into the sport coat to make room)\nTaken.\n\n> You put it in the sealant\nThe can of lubricant easily pierces the silicone caulking.\n\n> White\nYou apply a liberal amount of lubricant to the white powder.\n\n> You cut the glass with the diamond\nWhich do you mean, the tube filled with gas, the glass dish or the rose-colored glass pane?\n\n> Pane\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nNothing else happens, so you carefully remove the cut pane and set it to the side.\n\nThe tube filled with gas cracks with a loud pop, followed by a much larger explosion.\n\n> You lubricate it\nYou apply a liberal amount of lubricant to the tube filled with gas.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nNothing else happens, so you carefully remove the cut pane and set it to the side.\n\nThe tube filled with gas cracks with a loud pop, followed by a much larger explosion.\n\n> You look at what you're carrying with you\nYou are carrying:\na bottle of acid (which is open)\na quantity of acid\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is closed)\nsome litmus powder\n\n> You look at the socket\nIn the light bulb socket is a strange red bulb.\n\n> You turn on the light\n(the light bulb socket)\nThe strange red bulb begins to glow.\n\nThe train just barreled past the Fullerton station.\n\n> You cut the pane with the diamond\nAs you cut the glass, you hear a gentle hiss, as if gas is escaping.\n\nNothing else happens, so you carefully remove the cut pane and set it to the side.\n\n> You look at the bomb\nEven with the glass removed, it's still difficult to comprehend the box's contents all at once...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nA glass dish sits under a thick metal coil, which dangles from another breadboard packed with electronics.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You lubricate the white powder\nYou apply a liberal amount of lubricant to the white powder.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You turn on the light\n(the light bulb socket)\nNothing seems to happen.\n\n> You put it in the socket\nOuch! You get a nasty shock.\n\n> You turn on the light\n(the light bulb socket)\nThat's already on.\n\n> Close hatch\nYou close the metal hatch.\n\nThe train just rumbled through the Glendale station.\n\n> You put it in the sealant\nTry as you might, you cannot puncture the silicone caulking with the small plastic tube.\n\nThe train just rumbled past the Los Angeles station.\n\n> Inventory\nYou are carrying:\na small plastic tube (which is open)\nsome litmus powder\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\n\n> You take the bottle\nWhich do you mean, the left beaker, the right beaker, the bottle of hydroxide, the squirt bottle or the bottle of acid?\n\n> You take the acid\n(putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nTaken.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is closed)\na quantity of pale blue liquid\n\n> You take the squirt\n(putting the small plastic tube into the sport coat to make room) Taken.\n\n> You look at the bomb\nEven with the glass removed, it's still difficult to comprehend the box's contents all at once...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nA glass dish sits under a thick metal coil, which dangles from another breadboard packed with electronics.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\nThe train just rushed through the Los Angeles station.\n\n> You take the tube\nWhich do you mean, the tube filled with gas, the can of lubricant or the small plastic tube?\n\n> You put it on the sphere\nThe plexiglas box isn't open.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You open the box\n(the plexiglas box)\nIt seems to be locked.\n\nThe train just barreled through the Los Angeles station.\n\n> You look at the box\n(the metal box)\nEven with the glass removed, it's still difficult to comprehend the box's contents all at once...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nA glass dish sits under a thick metal coil, which dangles from another breadboard packed with electronics.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\n> You take naoh\nTaken.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You open the squirt\nYou open the squirt bottle.\n\nThe train just barreled by the Los Angeles station.\n\n> You squirt the white powder\nWhat do you want to squirt the white powder on?\n\n> You squirt the lubricant on white powder\nYou apply a liberal amount of lubricant to the white powder.\n\n> You put the ammonia in naoh\n(I assume you mean to pour the squirt bottle into the bottle of hydroxide.)\n\nliquid: (putting the bottle of hydroxide into the sport coat to make room)\nYou pour some liquid into the bottle of hydroxide.\n\n> You take the right beaker\nThe right beaker is firmly attached to the pair of scales.\n\n> You put the ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 100mL of liquid.\n\n> You read it\nWritten on the side are the letters \"HCl.\"\n\n> Inventory\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\n\n> You put it in the right beaker\nYou dissolve a few crystals in the liquid.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\nThe liquid in the right beaker turns bright red.\n\n> You put the soda in the right beaker\nThe right beaker is designed to hold liquids.\n\n> You put the LITMUS in right beaker\nYou dissolve a few crystals in the liquid.\n\nThe liquid in the right beaker turns bright red.\n\n> You look at the gas tube\nFluorescent gas swirls around the inside of the tube.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You look at what you're carrying with you\nYou are carrying:\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\n\n> You put the acid in the right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\n> You put it in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You put the acid in the right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\n> You put the LITMUS in right beaker\nYou dissolve a few crystals in the liquid.\n\nThe liquid in the right beaker turns bright red.\n\n> You put it in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the litmus powder into the sport coat to make room) You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You put the LITMUS in the left beaker\nYou dissolve a few crystals in the liquid.\n\nThe liquid in the left beaker turns dark blue.\n\n> You look at what you're carrying with you\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na bottle of acid (which is open but empty)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You put the dish on the left beaker\nThe left beaker is designed to hold liquids.\n\n> You pour the soda in the left beaker\n(putting the litmus powder into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You pour the soda in the left beaker\nThe left beaker is designed to hold liquids.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You take the LITMUS\n(putting the glass dish into the sport coat to make room)\nTaken.\n\n> You pour the ammonia in the right beaker\nliquid: You pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\nThe liquid in the right beaker turns dark blue.\n\n> You check what you're carrying\nYou are carrying:\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You pour the left beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb.\n\n> You pour the right beaker in the hydroxide\nliquid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the bottle of hydroxide.\nEmptying the right beaker was not a good idea. It seems to have triggered the bomb.\n\n> You put it in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the cans of soda into the sport coat to make room) You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You pour the right beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the right beaker was not a good idea. It seems to have triggered the bomb.\n\n> You look at the bomb\nEven with the glass removed, it's still difficult to comprehend the box's contents all at once...\n\nA curious glass tube sticks out of a mass of electronics glued to the back of the box. Inside the tube you see a swirling gas. A thin gold wire spirals its way around the outside of the tube.\n\nIn the center of the bomb is a Plexiglas box.\n\nSitting on a nest of electronics within the glass box is an ominous black sphere.\n\nAbove the glass box is an antique pair of brass scales, curiously out of place when compared to the high-tech components around them. The metal dishes normally associated with such scales have been replaced by two labeled Pyrex beakers.\n\n> You check your inventory\nYou are carrying:\nsome litmus powder\nsome cans of soda\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You pour it in the left beaker\nacid: (putting the cans of soda into the sport coat to make room) There is no more room in the sport coat.\n\n> You put the acid in the left beaker\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: (putting the litmus powder into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe pair of scales tilt to the left.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is open)\na quantity of pale blue liquid\na small plastic tube (which is open but empty)\n\n> You take the ammonia\nTaken.\n\nThe train just rumbled past the Fullerton station.\n\n> Left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\n> You pour the left beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb.\n\n> You put the acid in the right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the litmus powder into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\n> You put it in the the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the right beaker.\n\n> You put the ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\n> You pour the left beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb.\n\n> You wait\nTime passes.\n\nThe train just rumbled by the Fullerton station.\n\n> You wait\nTime passes.\n\nThe train just rushed through the Anaheim station.\n\n> You wait\nTime passes.\n\nThe train just barreled past the Santa Ana station.\n\n> You wait\nTime passes.\n\nThe train just rushed by the Irvine station.\n\n> You put the acid in the ammonia\n(I assume you mean to pour the bottle of acid into the squirt bottle.)\n\nacid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the squirt bottle.\n\n> You pour the gas tube in the hydroxide\nThat's fixed in place.\n\nThe train just rumbled by the Fullerton station.\n\n> You take the pane\nYou'd cut your hands to ribbons playing with that.\n\n> You cut pane with the diamond\nNo use cutting that up more.\n\n> You check what you're carrying\nYou are carrying:\na glass dish\na diamond ring (being worn)\na sport coat (being worn)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You put the acid in the left beaker\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: The left beaker is already as full as possible.\n\nThe train just barreled past the Fullerton station.\n\n> You read the scale\nA pair of antique brass scales, intricately carved.\n\nThe scales are tilting to the left.\n\n> You examine the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 500mL of pale blue liquid.\n\n> You put the acid in the right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the litmus powder into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\n> You pour the left beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb.\n\n> You pour the right beaker in the hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\nEmptying the right beaker was not a good idea. It seems to have triggered the bomb.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na squirt bottle (which is open)\na quantity of pale blue liquid\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is open but empty)\n\n> You take the ammonia\nTaken.\n\nThe train just barreled past the Anaheim station.\n\n> You put it in the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the right beaker.\n\n> You put the tube on the scale\nWhich do you mean, the tube filled with gas, the can of lubricant or the small plastic tube?\n\n> You take the plastic\nWhich do you mean, the plexiglas box, the silicone caulking or the small plastic tube?\n\n> You put it on the scale\nYou need to be holding the small plastic tube before you can put it on top of something else.\n\nThe train just zoomed by the Santa Ana station.\n\n> You check what you're carrying\nYou are carrying:\na small plastic tube (which is open but empty)\na squirt bottle (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\nsome litmus powder\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\n\n> You put the LITMUS in the right beaker\nYou dissolve a few crystals in the liquid.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 260mL of bright red liquid.\n\n> You put the diamond in the right beaker\nThe right beaker is designed to hold liquids.\n\n> You look at the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 500mL of pale blue liquid.\n\n> You look at the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 100mL of liquid.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 100mL of liquid.\n\n> You put ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You put the ammonia in the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: You pour some liquid into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 200mL of pale blue liquid.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 200mL of bright red liquid.\n\n> Inventory\nYou are carrying:\nsome litmus powder\na squirt bottle (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open but empty)\n\n> You put it in the left beaker\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe pair of scales tilt to the left.\n\n> Left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 160mL of liquid.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 100mL of bright red liquid.\n\n> You put the ammonia in the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\nThe liquid in the right beaker turns dark blue.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 500mL of dark blue liquid.\n\n> You look at left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 160mL of liquid.\n\n> You check your inventory\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is open but empty)\n\n> You put the ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\n> You look at the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 260mL of pale blue liquid.\n\n> You pour the right beaker on the dish\nliquid: The glass dish is not designed to hold liquids.\n\nThe train just rushed past the Fullerton station.\n\n> You put the ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nThe squirt bottle is empty already.\n\n> You put the ammonia in the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: You pour some liquid into the right beaker.\n\n> You put the acid in right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the squirt bottle into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 260mL of bright red liquid.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open but empty)\nsome litmus powder\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is open but empty)\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 160mL of bright red liquid.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 500mL of bright red liquid.\n\n> You put the ammonia in the left beaker\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\nsome litmus powder\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\na small plastic tube (which is open but empty)\n\nThe train just barreled through the Fullerton station.\n\n> You put it in the right beaker\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nacid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\n> You look at the right beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 160mL of liquid.\n\n> You put it in left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\n> You put the ammonia in right\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the squirt bottle into the sport coat to make room) You pour some liquid into the right beaker.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 260mL of bright red liquid.\n\n> You put it in the right beaker\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\n\nThe pair of scales tilt to the right.\n\n> Right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 500mL of pale blue liquid.\n\n> You look at the left beaker\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 200mL of pale blue liquid.\n\n> You put it in the left beaker\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: (putting the squirt bottle into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 260mL of dark blue liquid.\n\n> You pour right in the left\nliquid: You pour some liquid into the left beaker.\nEmptying the right beaker was not a good idea. It seems to have triggered the bomb.\n\n> Pour left in right\nliquid: You pour some liquid into the right beaker.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb.\n\n> Inventory\nYou are carrying:\na glass dish\nsome white powder\na 60-watt soft-white incandescent light bulb\na diamond ring (being worn)\na sport coat (being worn)\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 500mL of pale blue liquid.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You put it in right\nYou dissolve a few crystals in the liquid.\n\nThe oil on the white powder evaporates away.\n\nThe liquid in the right beaker turns bright red.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome litmus powder\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> You put the ammonia in right\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the squirt bottle into the sport coat to make room) There is no more room in the sport coat.\n\n> You put it in right\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the litmus powder into the sport coat to make room) There is no more room in the sport coat.\n\n> You squirt the ammonia in right\n(putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour 5mL into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\nYou squirt some liquid into the right beaker.\n\nThe pair of scales tilt to the right.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 105mL of bright red liquid.\n\n> You put the ammonia in right\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\nThe liquid in the right beaker turns dark blue.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 500mL of dark blue liquid.\n\n> You put ammonia in the left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 200mL of pale blue liquid.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open)\na quantity of acid\na small plastic tube (which is open)\nsome litmus powder\n\n> You put the acid in the left\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nThe bottle of acid is empty already.\n\n> You check your inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open but empty)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open)\nsome litmus powder\n\n> You put it in left\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe pair of scales tilt to the left.\n\n> Inventory\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open)\nsome litmus powder\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 160mL of dark blue liquid.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\nsome white powder\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na small plastic tube (which is open)\nsome litmus powder\n\n> You take the white powder\nIt would be easier to carry that around in the dish.\n\n> You pour the white powder in the left\nIt would be easier to carry that around in the dish.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You look at what you're carrying with you\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na small plastic tube (which is open)\nsome litmus powder\n\n> Keep going\nYou dissolve a few crystals in the liquid.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 160mL of dark blue liquid.\n\n> Inventory\nYou are carrying:\nsome litmus powder\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na small plastic tube (which is open but empty)\n\n> You take the ammonia\n(putting the bottle of acid into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You put it in right\n(I assume you mean to pour the bottle of acid into the right beaker.)\n\nThe bottle of acid is empty already.\n\n> You take the ammonia\n(putting the litmus powder into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> You put the ammonia in right\n(I assume you mean to pour the squirt bottle into the right beaker.)\n\nliquid: (putting the bottle of acid into the sport coat to make room) You pour some liquid into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\n\nThe pair of scales tilt to the right.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 500mL of pale blue liquid.\n\n> You put the ammonia in the left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\n\nThe train just rushed through the Fullerton station.\n\n> You check what you're carrying\nYou are carrying:\na squirt bottle (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na bottle of acid (which is open but empty)\na glass dish\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> You put it in left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the litmus powder into the sport coat to make room) You pour some liquid into the left beaker.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You take the dish\n(putting the litmus powder into the sport coat to make room)\nTaken.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You put the ammonia in the left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the squirt bottle into the sport coat to make room) There is no more room in the sport coat.\n\n> You put the ammonia in the left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the glass dish into the sport coat to make room) There is no more room in the sport coat.\nliquid: (putting the glass dish into the sport coat to make room) There is no more room in the sport coat.\n\n> You put the ammonia in the left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: You pour some liquid into the left beaker.\nliquid: You pour some liquid into the left beaker.\n\n> Left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 500mL of dark blue liquid.\n\n> You put it in left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe pair of scales tilt to the left.\n\n> You put it in left\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: The left beaker is already as full as possible.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 100mL of dark blue liquid.\n\n> You take the acid\n(putting the glass dish into the sport coat to make room)\nThere is no more room in the sport coat.\n\n> Left\n(I assume you mean to pour the bottle of acid into the left beaker.)\n\nacid: (putting the litmus powder into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\nThe pair of scales tilt to the left.\n\n> You check what you're carrying\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open)\na quantity of pale blue liquid\na small plastic tube (which is open but empty)\n\n> You put it in left\n(I assume you mean to pour the squirt bottle into the left beaker.)\n\nliquid: (putting the litmus powder into the sport coat to make room) You pour some liquid into the left beaker.\n\n> You squirt the ammonia in left\n(putting the litmus powder into the sport coat to make room)\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\n> Left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 165mL of dark blue liquid.\n\n> You pour 95 ML of the ammonia in the left\nliquid: You pour 95mL into the left beaker.\n\n> You look at what you're carrying with you\nYou are carrying:\na squirt bottle (which is open)\na quantity of pale blue liquid\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na bottle of acid (which is open but empty)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> You pour 160 ML of the ammonia in right\nliquid: (putting the squirt bottle into the sport coat to make room) You pour 160mL into the right beaker.\n\nThe train just rushed by the Fullerton station.\n\nThe pair of scales go into balance.\n\n> Inventory\nYou are carrying:\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open)\na quantity of pale blue liquid\na bottle of acid (which is open but empty)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> You pour 240 ML of the ammonia in right\nliquid: You pour 240mL into the right beaker.\n\nThe pair of scales tilt to the right.\n\nThe liquid in the right beaker turns dark blue.\n\n> You pour the acid in right\nThe bottle of acid is empty already.\n\n> You check your inventory\nYou are carrying:\nsome litmus powder\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open but empty)\na bottle of acid (which is open but empty)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> You put the LITMUS in right\nYou dissolve a few crystals in the liquid.\n\nThe train just rumbled by the Anaheim station.\n\n> You pour 400 ML of ammonia in the left\nliquid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour 400mL into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You pour 400 ML of the ammonia in right\nliquid: You pour 100mL into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 200mL of pale blue liquid.\n\n> Inventory\nYou are carrying:\na glass dish\nsome white powder\na diamond ring (being worn)\na sport coat (being worn)\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open)\na quantity of acid\nsome cans of soda\na squirt bottle (which is open but empty)\na bottle of acid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> You pour 100 ML of the acid in the left\nacid: You pour 60mL into the left beaker.\n\nThe pair of scales tilt to the left.\n\n> You squirt the ammonia in the the left beaker\n(putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour 5mL into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\nYou squirt some liquid into the left beaker.\n\n> You continue\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\n> Continue\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You take the dish\nTaken.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> Left\n(putting the squirt bottle into the sport coat to make room)\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\n> Continue\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\nThe train just zoomed through the Fullerton station.\n\n> Keep going\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\nThe train just rushed through the Anaheim station.\n\n> Continue\nYou pour 5mL into the left beaker.\nYou squirt some liquid into the left beaker.\n\nThe train just rumbled past the Santa Ana station.\n\n> You look at left\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the left beaker is about 320mL of pale blue liquid.\n\n> Inventory\nYou are carrying:\na glass dish\na diamond ring (being worn)\na sport coat (being worn)\na squirt bottle (which is open)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na bottle of acid (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> P.\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nUnder the Train\nOn Top of The Train\n> The Mail Car\nThe Mail Car\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\n> How do I open the glass-fronted box?\nThe Plexiglas box is locked, and I don't have a key!\n\n> You go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nHow do I open the glass-fronted box?\n> The Plexiglas box is locked, and I don't have a key!\n\n> You pour the ammonia in the left\nliquid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour some liquid into the left beaker.\n\nThe liquid in the left beaker turns pale blue.\n\nThe pair of scales tilt to the left.\n\n> You pour the ammonia in right\nliquid: You pour some liquid into the right beaker.\n\nThe liquid in the right beaker turns pale blue.\n\n> You pour the acid in right\nacid: (putting the glass dish into the sport coat to make room)\nYou pour some liquid into the right beaker.\n\n> Inventory\nYou are carrying:\na bottle of acid (which is open but empty)\na diamond ring (being worn)\na sport coat (being worn)\na glass dish\nsome white powder\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open but empty)\nsome cans of soda\na squirt bottle (which is open but empty)\na small plastic tube (which is open)\nsome litmus powder\n\n> You pour the soda on the white powder\nThat can't contain things.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe white powder quickly consumes itself.\n\n> You pour 240 ML of the left into the hydroxide\nliquid: (putting the cans of soda into the sport coat to make room) You pour 240mL into the bottle of hydroxide.\n\nThe pair of scales go into balance.\n\n> You pour 240 ML of the right in hydroxide\nliquid: You pour 240mL into the bottle of hydroxide.\n\nThe liquid in the bottle of hydroxide turns dark blue.\n\nThe pair of scales tilt to the left.\n\n> You pour 10 ML of the right in the hydroxide\nliquid: You pour 10mL into the bottle of hydroxide.\n\n> You look in the hydroxide\nIn the bottle of hydroxide is a quantity of dark blue liquid.\n\n> You look at right\nA glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.\n\nIn the right beaker is about 160mL of bright red liquid.\n\nThe oil on the white powder evaporates away.\n\nWhumpf! The white powder suddenly bursts into flame!\n\nThe resulting fire must have set off some sensor in the bomb. The subsequent explosion vaporizes you, the train, and a large portion of California instantaneously.\n\n> You pour 100 ML of the right in the hydroxide\nliquid: (putting the bottle of acid into the sport coat to make room) There is no more room in the sport coat.\n\n> You pour 100ml of the right in the hydroxide\nliquid: You pour 60mL into the bottle of hydroxide.\nliquid: You pour 100mL into the bottle of hydroxide.\nEmptying the right beaker was not a good idea. It seems to have triggered the bomb.\n\n> You pour 60 ML of right in the hydroxide\nliquid: You pour 60mL into the bottle of hydroxide.\nliquid: You pour 60mL into the bottle of hydroxide.\n\n> You pour 100 ML of the left in the hydroxide\nliquid: You pour 100mL into the bottle of hydroxide.\n\n> You look in the hydroxide\nIn the bottle of hydroxide is a quantity of bright red liquid.\n\n> You check your inventory\nYou are carrying:\na glass dish\na diamond ring (being worn)\na sport coat (being worn)\nsome litmus powder\na squirt bottle (which is open)\na quantity of pale blue liquid\na 60-watt soft-white incandescent light bulb\na bottle of hydroxide (which is open)\na quantity of bright red liquid\nsome cans of soda\na small plastic tube (which is open but empty)\n\n> Pour left in hydroxide\nliquid: You pour some liquid into the bottle of hydroxide.\n\nThe liquid in the bottle of hydroxide turns dark blue.\n\n> You pour 100 ML of the left in plastic tube\nliquid: The small plastic tube is not designed to hold liquids.\n\n> Pour left in hydroxide\nliquid: (putting the 60-watt soft-white incandescent light bulb into the sport coat to make room)\nYou pour some liquid into the bottle of hydroxide.\nEmptying the left beaker was not a good idea. It seems to have triggered the bomb."
    },
    {
        "text": "[Themes: Science Fiction]\n\nThe research had been going well. Perhaps too well. Genetic cloning, DNA re-sampling, facial morphing - you name it, the Merrowvale Institute in Bizan'Toll was doing it. You're just a small cog in the big wheel that is MI but you have a house in the hills, a company car and vacation for a month every year in the Balmoras. You also get to work in the twin cities of Bizan'Toll themelves, which is worth its weight in gold. A good life, in other words. You've made plans to stay here once your research is concluded. But like all plans...\n\nRival companies don't appreciate the leaps and bounds MI have been making, and enemies are quick to close in. Very deadly enemies. Some people scoffed at the idea of an attack by a rival company. Scott Talbot was one. He's not scoffing now. He's face down on the floor of his lab with a bullet hole between his eyes.\n\nYou they didn't kill. You they just grabbed, frog-marched out of the lab, past the still warm body of Scott Talbot, and up several flights of stairs to here. Your cell. What they're planning on doing with you next is anyone's guess, but something tells you that you're best getting out of here before you find out.\n\nYou and SADI.\n\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape. There is a door (locked) in the east wall, barring the room's only exit. There's also a window, but it's locked tight and, in any event, too small to climb out of.\n\nA rickety wooden chair sits on the floor.\n\n[Author's Note: Your lab partner has been shot dead and you've been locked in a room, likely to face a similar fate. Your chances of escape are pretty slim as you have no weapons or means of opening the door. But, of course, you have SADI...]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You check your inventory\nYou are carrying:\nSADI (being worn)\n\n> You examine Sadi\nSADI: Scenery Adjustment Device Interface. Ingenious device, bad title.\n\nThe rumour is that the guy who designed it had a girlfriend called Sadi and really wanted to name his device after her, and Scenery Adjustment Device Interface was the best he could come up with. Whether that's true or not you aren't sure.\n\nSADI is a watch-like device currently affixed to your wrist. Probably the only reason you still have it is that people assumed it\nwas a watch. Operating it is simple, though caution is\nadvised. Early prototypes left people without arms and legs, or even a head on one occasion, but this latest version (hopefully!) is incapable of harming a human. It is able to ABSORB {any} item you can see - within reason - and then RELEASE {any} item elsewhere - again within reason.\n\nThere is an icon on the side of SADI, but it is dull and greyed out.\n\n> You look at the icon\nDull and greyed out.\n\n> Absorb chair\nSADI emits a buzzing sound and the chair winks out of existence.\n\n> You look at Sadi\nSADI: Scenery Adjustment Device Interface. Ingenious device, bad title.\n\nThe rumour is that the guy who designed it had a girlfriend called Sadi and really wanted to name his device after her, and Scenery Adjustment Device Interface was the best he could come up with. Whether that's true or not you aren't sure.\n\nSADI is a watch-like device currently affixed to your wrist. Probably the only reason you still have it is that people assumed it\nwas a watch. Operating it is simple, though caution is\nadvised. Early prototypes left people without arms and legs, or even a head on one occasion, but this latest version (hopefully!) is incapable of harming a human. It is able to ABSORB {any} item you can see - within reason - and then RELEASE {any} item elsewhere - again within reason.\n\nThere is a flashing icon on the side of SADI in the shape of a chair.\n\n> About you\nWhat's to say? You're you. Twenty-five or so, spend way too long working in labs and not enough in the open air, prefer classical music to jazz, think it might be nice to have kids one day but don't want to jeopardise your career for them, and the crowning achievement of your life so far is being allowed to come to Bizan'Toll to study the remarkable things they're doing here - but, in light of what's happened today, you're seriously wishing you'd stayed at home. Your father wanted you to be a doctor, your mother a lawyer. Both professions that don't involve men with guns trying to kill you.\n\n> Absorb door\nSADI emits a groaning sound. By the look of things, it's reached its current capacity.\n\n> Release chair\nSADI emits a whistling sound, and the chair reappears in its original location.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone, leaving just the doorway behind.\n\n> You take the chair\nTaking items isn't easy with SADI on your wrist as she tends to try and absorb or alter any items you come into contact with. It took weeks to teach her not to absorb your clothes, and any meals you eat need to be eaten quickly before she has time to affect them.\n\nSometimes, AI isn't all it's cracked up to be."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. There's also a window, but it's locked tight and, in any event, too small to climb out of.\n\nA rickety wooden chair sits on the floor.\n\n> Go east\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. A large wooden panel covers the east wall.\n\nOf course, as you might imagine, not everyone can use a device\nlike SADI. Can you imagine the chaos if everyone was running around with their own little version of SADI, moving scenery at will and messing with the very building blocks of creation? No, you don't want to imagine what it would be like because it wouldn't be pleasant.\n\n> You release the door\nSADI emits a whistling sound, and the door reappears in its original location. The way into your cell is once more blocked, only this time you're outside the cell.\n\n> You examine the panel\nA metallic panel clinging the wall.\n\nEveryone who can use a device like SADI is special. You have\npowers. The powers are, alas, nothing very special in themselves. You can't leap tall buildings, or lift a car above your head, or cause bullets to bounce off your chin, but you can - though it doesn't always work - get a bad feeling about certain things. And it allows you to use SADI.\n\n> Absorb panel\nSADI beeps and the panel vanishes. A storage room is revealed on the other side.\n\n> You examine the storage room\nA storage room, previously hidden by the panel you absorbed.\n\nYour abilities have off days. Like today. Of all the days when you could really have benefited from them - when men with guns are coming for you! - and you don't get even a twinge warning you of danger.\n\nuse SADI. If not for that, you'd still be trapped in your cell.\n\n> You examine the alarm\nIt looks fairly innocent, but you get the distinct impression it's anything but. Leave the building with this still working, and you'll have alarms ringing from one side of Bizan'Toll to the other. You're fairly certain you can disable it if you need to, but you can't even reach it from down here.\n\n> Go east\nA small room, hidden until you removed the wooden panel in the western wall. A single shelf clings to the wall, its surface covered with dust. There is a table in the middle of the room but little else of interest. One odd thing you notice is the distinct lack of other exits - was this room sealed off at some point and simply forgotten?\n\n> You look at the table\nA rickety table, which looks to be very close to simply collapsing altogether. Atop it, someone has drawn a crude map. It appears to be of the very building you're standing in right now.\n\n> You look at the map\nA map of the very building you're currently trapped in. Ideally you shouldn't need a map of a building, especially one you work in every day, but the building is actually very large and it's easy to get lost. As most of the map details areas of the building that are inaccessible to you (unless you care to get shot), it's not of much use, but you see one oddity that draws your attention: namely, a jagged line drawn in the wall of the room which was originally your cell. And a symbol next to this indicating \"darkness\" in Bizan'Toll terms. You wonder what it means.\n\n> You absorb the southern wall\nSADI emits a frustrated beeping sound. Unfortunately, everything has limits, and SADI is no exception. Walls are one of the items of scenery it generally struggles with - as a rule because walls are attached to other walls, and often have foundations in the ground, so absorbing them is not as simple as absorbing, say, a pencil.\n\n> Go west\nThe panel is in the way.\n\n> Absorb panel\nSADI beeps and the panel vanishes. The exit to the west is now open once more.\n\n> Go west\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. To the east, you can see a previously hidden storage room.\n\n> Release panel\nSADI emits a whistling sound, and the panel reappears in its original location, once more blocking off the storage room to the east.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone. You can once more see your cell to the west.\n\n> You go west\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. There's also a window, but it's locked tight and, in any event, too small to climb out of.\n\nA rickety wooden chair sits on the floor.\n\n> You examine the window\nA dust-smeared window set into the wall.\n\n> You release the door\nSADI emits a whistling sound, and the door reappears in its original location.\n\n> Absorb window\nSADI emits a beep, and the window flickers out of existence, leaving behind a hole in the wall."
    },
    {
        "text": "> Look around\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape. There is a door (locked) in the east wall, barring the room's only exit. There's a hole in the wall left behind by the window.\n\nA rickety wooden chair sits on the floor.\n\n> You examine hole\nA gaping hole in the wall, left behind when you absorbed the window. If you were hoping to escape this way, think again. The hole is far too small to climb through.\n\n> You look through the hole\nYou see nothing much on the other side. Just emptiness. Pity. Even with the window out of the way, there's no chance you'll be able to escape out of the hole.\n\n> Release window\nSADI emits a whistling sound, and the window reappears in its original location.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone, leaving just the doorway behind.\n\n> Go east\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. A large wooden panel covers the east wall."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\nThe stairs continue further downwards, but there's a metal gate blocking the way. North of here is a doorway leading to the science labs, including the one you were taken from and where your colleague, Scott Talbot, was shot dead. You hear voices coming from that direction, and the sound of footsteps, but can see nothing aside from an empty corridor.\n\n> You release the door\nSADI emits a buzzing sound and the door is released. By happy coincidence, it's the same size and shape as the door which originally occupied this doorway, and, as the necessary parameters have been met, your cell door takes the place of the old one.\n\nThe northern corridor is now blocked off.\n\n> Release panel\nSADI beeps and the panel reappears. As it is meant to be attached to something, it gravitates towards the window, covering it entirely.\n\n> You go to the east\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. To the east, you can see a previously hidden storage room.\n\n> You look at the shelf\nA dusty shelf clinging to the wall.\n\n> You go to the west\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. The window is now blocked by the panel and the room is much darker as a result. Against one wall you can see a series of marks that you hadn't noticed before. Some chemical substance, no doubt, causing them to effectively \"glow in the dark\".\n\nA rickety wooden chair sits on the floor.\n\n> Go west\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. The window is now blocked by the panel and the room is much darker as a result. Against one wall you can see a series of marks that you hadn't noticed before. Some chemical substance, no doubt, causing them to effectively \"glow in the dark\".\n\n> You look at the marks\nRough scratch marks on the wall. Is something hidden away here?\n\n> Absorb marks\nSADI emits a confused buzzing sound. It seems it is having trouble distinguishing between the series of marks and the wall they're on, and as a result it is unable to absorb them.\n\n> You absorb the wall\nSADI emits a frustrated beeping sound. Unfortunately, everything has limits, and SADI is no exception. Walls are one of the items of scenery it generally struggles with - as a rule because walls are attached to other walls, and often have foundations in the ground, so absorbing them is not as simple as absorbing, say, a pencil.\n\n> Absorb chair\nSADI emits a buzzing sound and the chair winks out of existence.\n\n> Release chair\nSADI emits a whistling sound, and the chair appears on the floor.\n\n> You absorb the alarm\nAs you aim SADI at the security alarm, you experience the feeling that this is a bad, bad idea. What if the security alarm is linked to some external device? What if removing the security alarm causes that external device to sound an alert? Until you can be certain this won't happen, you daren't risk trying to absorb the security alarm."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go down\nThe stairs continue further downwards, but there's a metal gate blocking the way. North of here is the door from your cell, now blocking the corridor.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone. The corridor to the north is once more visible.\n\n> Up\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. To the east, you can see a previously hidden storage room.\n\nA rickety wooden chair sits on the floor.\n\n> You release door\nSADI emits a whistling sound, and the door from your cell appears against the far wall.\n\n> You absorb the map\nSADI emits a confused beeping sound. This is because the map is simply drawn on the table and as such it cannot be absorbed in this way.\n\n> Release map\nSADI emits a confused sound. It seems there's nothing in SADI to release right now.\n\n> Absorb table\nSADI emits a beep, and the table flickers out of existence. A trapdoor, previously hidden by the table, is revealed in the floor.\n\n> You look at the trapdoor\nThe surface is rusted and pitted with age. By the look of things, this hasn't been opened in a long, long time.\n\n> Release table\nSADI emits a whistling sound, and the table appears in the middle of the corridor.\n\n> Go east\nA small room, hidden until you removed the wooden panel in the western wall. A single shelf clings to the wall, its surface covered with dust. One odd thing you notice is the distinct lack of other exits - was this room sealed off at some point and simply forgotten? Set into the floor where the table originally stood is a trapdoor (currently closed).\n\n> You absorb the trapdoor\nSADI emits a frustrated buzzing sound. It seems that it is having trouble differentiating between the trapdoor and the floor and, as such, it is unable to absorb one without absorbing the other. And as SADI is unable to absorb something as large as the floor, it cannot absorb anything.\n\n> You go to the west\nYou're in a corridor just outside the room formerly known as your cell. It's a short corridor with nothing much to recommend it: just 20 feet in length with a flight of stairs at the north end leading downwards and your former cell to the west. Above your head, you see a security alarm fitted to the ceiling. Below the security alarm, you can see a table. To the east, you can see a previously hidden storage room.\n\nA rickety wooden chair sits on the floor.\n\n> Absorb table\nSADI emits a beep, and the table flickers out of existence.\n\n> Release table\nSADI emits a whistling sound, and the table appears in the middle of the room.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone.\n\n> Go west\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. The window is now blocked by the panel and the room is much darker as a result. Against one wall you can see a series of marks that you hadn't noticed before. Some chemical substance, no doubt, causing them to effectively \"glow in the dark\". There is a table in the middle of the cell."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape. There is a door (locked) in the east wall, barring the room's only exit. The window is now blocked by the panel and the room is much darker as a result. Against one wall you can see a series of marks that you hadn't noticed before. Some chemical substance, no doubt, causing them to effectively \"glow in the dark\". There is a table in the middle of the cell.\n\n> Absorb panel\nSADI emits a beep, and the panel flickers out of existence, allowing you to see the window once more."
    },
    {
        "text": "> Look around\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape. There is a door (locked) in the east wall, barring the room's only exit. There's also a window, but it's locked tight and, in any event, too small to climb out of. There is a table in the middle of the cell.\n\n> Release panel\nSADI beeps and the panel reappears. As it is meant to be attached to something, it gravitates towards the window, covering it entirely.\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone, leaving just the doorway behind.\n\n> Absorb shelf\nSADI emits a beep, and the shelf flickers out of existence.\n\n> You release shelf\nSADI emits a whistling sound, and the shelf appears and attaches itself to the nearest wall.\n\n> You enter the chair\nYou get onto the chair.\n\n> You stand on chair\nBut you're already on the chair.\n\n> You examine the alarm\nIt looks fairly innocent, but you get the distinct impression it's anything but. Leave the building with this still working, and you'll have alarms ringing from one side of Bizan'Toll to the other. You're fairly certain you can disable it, however. The design looks pretty straightforward.\n\n> You disable alarm\nYou haven't had much call to disable security alarms, but this one is of very basic design and it doesn't more than a minute or two to figure it out.\n\nAll done. One security alarm that will never cause you trouble again.\n\n> Go north\n(first getting off the chair)\nYou can't go that way.\n\n> Go north\nAs you start through the doorway, you hear the unmistakeable crackle of gunfire from that direction and someone cries out in pain. There are other shots followed by silence.\n\nOn second thoughts, you'd better not head that way.\n\n> You examine the gate\nA sturdy metal gate, currently locked. The stairs continue past it, but the gate itself prevents any further passage that way.\n\n> You go east\nA small room, hidden until you removed the wooden panel in the western wall. One odd thing you notice is the distinct lack of other exits - was this room sealed off at some point and simply forgotten? Set into the floor where the table originally stood is a trapdoor (currently closed).\n\n> Absorb door\nSADI emits a beep, and the door flickers once then is gone.\n\n> You release the door\nSADI emits a buzzing sound and the door is released. By happy coincidence, it's the same size and shape as the door which originally occupied this doorway, and, as the necessary parameters have been met, your cell door takes the place of the old one.\n\nThe northern corridor is now blocked off.\n\n> You go north\nThe door from your cell is in the way.\n\n> You go to the west\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. The window is now blocked by the panel and the room is much darker as a result. Against one wall you can see a series of marks that you hadn't noticed before. Some chemical substance, no doubt, causing them to effectively \"glow in the dark\". There is a table in the middle of the cell and a shelf hanging on the nearest wall.\n\n> Touch marks\nThe moment you touch the marks, there is a grinding noise from the wall and a previously hidden crawlspace opens up. A way out!"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You describe your surroundings\nYou don't like to think of this as your cell, but that's essentially what it is: a small room, pretty much devoid of decoration, a place secure enough for you to be locked in without any obvious means of escape... unless, of course, you happen to have used a certain ingenious device to absorb the previously locked door in the east wall. The window is now blocked by the panel and the room is much darker as a result. Set into one wall you can see a crawlspace. There is a table in the middle of the cell and a shelf hanging on the nearest wall.\n\n> You enter the crawlspace\nKnowing this is your best bet of getting out of here, you enter the crawlspace. It's cramped, and this does wonders for your age old dread of being in enclosed spaces, but you don't want to end up shot dead the way Scott Talbot was so you grit your teeth and keep on crawling.\n\nYou find the crawlspace sloping sharply downwards. A decision is called for. Go ahead or turn back?\n\nActually, it's not a decision at all. Turning back means returning to your cell, and that might well end with your death. Going ahead at least gives you a chance of getting out of this in one piece.\n\nSo you take a deep breath, cross your fingers for luck, and keep crawling.\n\nAs the crawlspace slopes down more and more sharply, you find yourself beginning to slide forward. You try to grab hold of the sides in an attempt to slow yourself down. No use.\n\nWith a cry, you fall...\n\nAnd land, hopefully unhurt, in an alley near Piedmont Square in\nthe centre of the twin cities of Bizan'Toll. What happens next to you and SADI will have to wait, however, as you've now reached the limits of this IntroComp entry."
    },
    {
        "text": "How would you like your text displayed?\n\n(a) Always easy reading.\n(b) Occasionaly dark and sinister.\n\n[Author's Note: Two men, one a brusque bowling ball; the other a murderous dandy, discuss their fate and the fate of the world. They've chosen someone to send. He's clever, but hopefully not too clever.]"
    },
    {
        "text": "> You check what you're carrying\nYou are carrying the iron key.\nSuddenly there's an explosion of breaking tree limbs nearby and you look up to see a gibbering shadow! You sprint like a cheetah with wings in the opposite direction, forging a painful trail through the forest. Given that you're so occupied with what's behind you, you miss the light quickly approaching in front. Before you realize what's happening, you cross a gravel road and run face-first into a door.\n\nYou claw at the knob and of course find it locked. You shove the key given to you by the mysterious stranger into the keyhole and, mercifully, it turns the lock. You burst through the door and bolt it shut.\n\nYour heart begins to slow down just as your eyes adjust to the light and you find yourself standing in a short hallway. The front door stands to the east and another door leads west. The only other adornments are several portraits lining the walls on either side of the room. All of the subjects in the pictures share common facial features hinting that they are closely related. Their most troubling feature is the eyes, piercing and violent; a malicious intelligence eager for blood. There can be no doubt that you have found Dr. Hugo's lab.\n\n> You examine the portraits\nThese are portraits of Dr. Hugo's dearly departed kin. Each of them share some version of a pointed chin and small, razor sharp nose. The hair is thin and in most cases slicked back. The eyes of each portrait burn thin holes through your clothing and into your soul. Each seems to watch you, eager to spring from the canvas and do murder in their preferred way. Dr Hugo himself is not represented here.\n\n> You look behind the portraits\nJostling one of the portraits causes something to fall out from behind it. You pick it up and discover that it is a copper key.\n\n> You examine the key\nWhich key do you mean, the iron key or the copper key?\n\n> Copper\nThis is a copper key.\n\n> You go west\n(opening the interior door first)\nOpened.\n\nThis is a hallway that runs north and south. A door is to the east\nand a set of double doors lead west.\n\n> You examine the double doors\nThese are an impresive set of heavy double doors. You see no sign that anything is wrong with them.\n\n> You go to the west\nThe double doors appear to be wedged shut, no matter how much you push they refuse to budge\n\n> You unlock the doors\n(with the iron key)\nUnlocked.\n\n> You open the doors\nThese doors seem to be wedged shut. No matter how much you push, they refuse to budge."
    },
    {
        "text": "> You look around\nThis is a hallway that runs north and south. A door is to the east\nand a set of double doors lead west.\n\n> Go north\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\n> You examine the door\nWhich door do you mean, the oak door or the small door?\n\n> You examine the oak door\nThis door is carved to depict some sort of scene. In the center is a great oak tree. At its base is a jagged rift with light spilling out of it. Near the rift, two creatures are fighting, one a snake and the other a thing with more heads than necessary. Circling the scene is a huge gear that appears to be meshed with the earth itself.\n\n> You look at the small door\nThe small door is closed.\n\n> You open the small door\nOpened.\n\n> You open the oak door\nThe oak door is locked.\n\n> You unlock the oak door with the copper key\nUnlocked.\n\n> You go to the east\nThis is a sparsely furnished pantry. A single shelf lines the wall.\nThe only door leads west.\n\nYou see a rectagular console sitting on a shelf here.\n\n> You examine the shelf\nThe shelf looks just like you would expect.\n\nYou see a rectagular console sitting on a shelf here.\n\n> You search the shelf\nYou see a rectagular console sitting on a shelf here.\n\n> You look at the console\nThis appears to some sort of hand-held console. Its a rectangle with two switches on one side, both of which are in the off possition.\n\n> You take the console\nTaken.\n\n> You examine the switch\nWhich switch do you mean, the top switch or the bottom switch?\n\n> You examine the top switch\nThis is a simple toggle switch. It is in the off possition.\n\n> You turn on the top switch\nYou set the top switch to the on possition.\n\n> You turn on the bottom switch\nYou set the bottom switch to the on possition.\n\n> You examine the console\nThis appears to some sort of hand-held console. Its a rectangle with two switches on one side, both of which are in the on possition.\n\n> You turn off the top switch\nYou set the top switch to the off position.\n\n> You turn off the bottom switch\nYou set the bottom switch to the off possition."
    },
    {
        "text": "> You look around\nThis is a sparsely furnished pantry. A single shelf lines the wall.\nThe only door leads west.\n\n> You go north\n(opening the oak door first)\nOpened.\n\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nLying among the debris is a damaged book that might be salvageable.\n\nA waste basket is here.\n\n> Examine book\nThis book has been badly damaged. What's left of its few remaining pages is hard to read. You're able to make out a single chapter heading:\n\n.........sho...be taken..extreme danger when pow....the....ine. ..........................................wrong..be disastrous!\n..to control..e..eatures...en...uting the port................... ............first...squ.....irc..hen...tr..gle...................\n.irst set..to...bl...en then red........not ..d..whit..een,.this... woul..free....eings from....other wor.......................... ......when ..dy ...lace th....block, the..snak...k,..he man...ck\nthen fin....ar block...will secu......ortal....................\n\nMP...ANT!....ke....uickly...clo..ikes...elve is ..too..ate!\n\nAnd that's all.\n\n> You take the book\nTaken.\n\n> You examine basket\nThis is a simple waste basket.\n\n> You look at the desk\nThis is a plain wooden desk. It's not the large, impressive, corporate-office desk you expected. This is a working-man's desk. The legs are worn and the surface is scarred with a multitude of pencil marks that found their way through paper. It has a single drawer.\n\nThe calm figure sits reading a book, its subject arcane and unknowable. His hands follow the words with intense focus. He often mouths the words and the syllables are alien and grotesque. The pacing figure's attention, on the other hand, is scattered. He stops to speak several times but, knowing his companion, chooses to remain silent. After some time the calm figure takes a break from his reading and looks up. He finds his friend staring at him with an expression reserved for suffocated fish.\nHe smiles for the first time. \"Try to Relax,\" he says.\n\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nA waste basket is here.\n\n> You examine the chair\nThe chair looks just like you would expect.\n\n> You open the drawer\nOpened.\n\n> You look at the drawer\nThe desk drawer looks just like you would expect.\n\n> You examine marks\nThese scarrs mar the surface of the desk.\n\n> You look at the portrait\nThis is the man himself, Doctor Hugo. His features are as sharp and thin as his ancestors, only more so. His hair is ice-skater slick and his nose could slice carrots. His eyes seem to scrutinize your every move. In the portrait he's wearing billowing clothes no man should wear. His posture is somewhat effeminate and this, along with his clothes, complete a twisted picture of menace.\n\n> You look behind the portrait\nYou don't find anything behind the portrait of Dr. Hugo.\n\n> Go south\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton is here. Slumped over and lifeless.\n\nA waste basket is here.\nYou see an ornately carved, wooden box sitting on one of the tables.\n\n> You examine the snake\nAt first this appears to be two snakes tangled together but, upon closer inspection, is a snake with two heads. Its body forks several inches below the heads, forming a grotesque natural obscenity. The snake is embalmed and sits on display.\n\n> You examine the automaton\nThis is a metal automaton. His body is a tangle of wires and gears. He has a human-like face made from some shiny metal. One of his hands closely resembles a broom while other is closer to a powerful looking claw. He has a single access panel in his mid-section.\n\n> You examine the panel\nThis is the automaton's control panel. It is currently closed.\n\n> You open the panel\nOpening the panel reveals a single button.\n\n[press any key to continue]\n\n> Space\n\"I wonder if we sent the right man?\"\nAt this the sedate man looks up and says nothing. His fingers mark a spot in his book. He's visibly annoyed.\n\"Be patient,\" he says, \"he needs time to adapt to his surroundings. Perhaps my personal servant can assist him if he's stuck.\"\nThe nervous man doesn't appear satisfied with his answer but says nothing more.\n\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton is here. Slumped over and lifeless.\n\nA waste basket is here.\nYou see an ornately carved, wooden box sitting on one of the tables.\n\n> Examine box\nThis is a wooden box with carvings of fantastical creatures on it. It is currently closed.\n\n> You open the box\nOpened.\n\nInside the wooden box are the snake block, the many-legs block, the tree block, and the gear block.\n\n> You take box\nTaken.\n\n> You look at the snake block\nThis block depicts a fierce snake. It is molded metal without any seam.\n\n> You examinthe snake many-legs block\nYou haven't encountered anything like that. (If you're sure you need to refer to that, try putting it another way.)\n\n> You examine the tree block\nThis block depicts an oak tree. The detail is amazing for something so small. It is molded metal without any seam.\n\n> You examine the gear block\nThis block depicts a gear in motion. It is molded metal without any seam.\n\n> You examine the legs\nThis block depicts a creature with more legs that hair follicles. It is molded metal without any seam.\n\n> You press the button\n\"Click.\" Nothing happens.\n\n> You go to the south\nThis is the southern end of the artifact room. Most of the displays\nare gone, their tables bare. One of the more striking items on display here is a bizarre animal skeleton. You also see what looks like a rocky pillar.The rest of the artifact room is to the north.\n\nYou see a glass case sitting on one of the tables.\n\n> You examine the case\nThis is a glass box that contains a rough rock. A small plaque is attached to its side that reads:\n\nThis is a rock that is considered to be cursed. Its first five owners fell sick and died unexpectedly shortly after gaining ownership of it. They were described as violently nauseous and lost all of their hair before perishing from the mystery illness. Since that time it has been safely contained within this protective glass case.\n\n> You examine the skeleton\nIt appears that someone took the skeletons of several animals and glued them all together. What you see is a confused tangle of legs and tails, claws and heads. What this creature was originally is anyone's guess. What you are sure of is that this creature couldn't exist in our world.\n\n> You look at the pillar\nThis at first appears to be a rocky pillar but is in fact a petrified tree. It is unlike any petrified tree you have every seen. It's bark is very similar to the oak trees that grow in this area and you could swear that you see the initials \"DH\" carved into it. This section of tree is massive, several tons at least.\n\n> You look at initials\nYou can't understand how initials could have been carved into anything like this. It's clear that they were not chiseled into the tree.\n\n> You read the book\n.........sho...be taken..extreme danger when pow....the....ine. ..........................................wrong..be disastrous!\n..to control..e..eatures...en...uting the port................... ............first...squ.....irc..hen...tr..gle...................\n.irst set..to...bl...en then red........not ..d..whit..een,.this... woul..free....eings from....other wor.......................... ......when ..dy ...lace th....block, the..snak...k,..he man...ck\nthen fin....ar block...will secu......ortal....................\n\nMP...ANT!....ke....uickly...clo..ikes...elve is ..too..ate!\n\nAnd that's all.\n\n> You check what you're carrying\nYou are carrying the iron key, the copper key, the console, the damaged book, and a wooden box. Inside the wooden box are four steel blocks (the snake block, the many-legs block, the tree block, and the gear block)."
    },
    {
        "text": "> You look at your surroundings\nThis is the southern end of the artifact room. Most of the displays\nare gone, their tables bare. One of the more striking items on display here is a bizarre animal skeleton. You also see a huge section of petrified tree.The rest of the artifact room is to the north.\n\nYou see a glass case sitting on one of the tables.\n\n> You look at the console\nThis appears to some sort of hand-held console. Its a rectangle with two switches on one side, both of which are in the off possition.\n\n> You open the panel\nThe panel is already open.\n\n> You put the console in the panel\nYou put the console in the panel.\n\n> You look at the broom\nOne of the automatons hands resembles a broom while the other looks more like a claw.\n\n> You examine the face\nThe automaton's face seems errily human.\n\n> You turn on top switch\nYou set the top switch to the on possition.\n\n\"Do you thing he found a key to your office?\" says the nervous figure. \"It's critical that he does,\" says the calm man, \"how else would he know how to operate the machine?\"\nThis causes the pacing man to pace faster.\n\"I've hidden them of course, but not so that he can't find them,\" says the calm figure.\n\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton is here. Slumped over and lifeless.\n\nA waste basket is here.\n\n> You press the button\n\"Click.\" The automaton's eyes light up and he starts to move. His control panel snaps shut and he scans the area.\n\n> You look at the automaton\nThis is a metal automaton. His body is a tangle of wires and gears. He has a human-like face made from some shiny metal. One of his hands closely resembles a broom while other is closer to a powerful looking claw. He has a single access panel in his mid-section.\n\nThe automaton lightly dusts the two-headed snake. He seemingly takes a moment to admire his work.\n\n> You turn on bottom switch\nYou set the bottom switch to the on possition.\n\nThe automaton heads off to the north.\n\n> You go to the north\nThis is a hallway that runs north and south. A door is to the east\nand a set of double doors lead west.\n\nThe automaton is here, moving with purpose.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here, moving with purpose.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nThe automaton is here, moving with purpose.\n\nA waste basket is here.\nThe Automaton picks up the wastebasket.\n\n> Wait\nTime passes...\n\nThe automaton heads off to the south.\n\n> Go south\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton heads off to the south.\n\n> You go south\nThis is a hallway that runs north and south. A door is to the east\nand a set of double doors lead west.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton attempts to go through the double doors. As he struggles you can hear grinding gears and whining motors. Finally the door makes a huge cracking sound and crashes to the floor.\n\nThe automaton heads off to the west.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here.\n\nThe automaton heads off to the north.\n\n> You examine the machine\nThis is a massive machine. It's a mass of gears and pulleys, wheels and cogs. The only obvious interface is a screen and three geometric shapes. The shapes are a black square, a black circle and a black triangle. There is also a small square slot in the machine and what looks like a clock above it.\n\n> You look at the clock\nThis looks like a clock. It has one hand that appears to be pointing to the eleven o'clock position.\n\nThe automaton arrives from the north.\n\n> Examine slot\nThis is a square hole in the machine.\n\nThe automaton heads off to the east.\n\n> You turn off the top button\nYou haven't encountered any \"top button\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You turn off the top switch\nFor some reason you are unable to flip the switch."
    },
    {
        "text": "> You look around\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\n> You examine basket\nThis is a simple waste basket.\n\n> You go east\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton arrives from the south.\n\n> Wait\nTime passes...\n\nThe automaton heads off to the west.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the northern part of the lab.\n\nThe automaton is here carrying a waste basket.\n\nYou see a heavy sledge hammer leaning against one wall.\nThe trash receptacle is here. Inside the trash receptacle is some garbage.\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\n> You look at the hammer\nThis is a heavy sledge hammer.\n\nThe automaton heads off to the south.\n\n> You go east\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\n> You go south\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton is here, moving with purpose.\n\nA waste basket is here.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here, moving with purpose.\n\nThe automaton heads off to the west.\n\n> You go west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here, moving with purpose.\n\nA waste basket is here.\nThe Automaton picks up the wastebasket.\n\n> You go north\nThis is the northern part of the lab.\n\nThe trash receptacle is here. Inside the trash receptacle is some garbage.\n\nThe automaton arrives from the south.\n\n> Search receptacle\nInside the trash receptacle is some garbage.\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\n> You search the garbage\nYou find nothing special in the garbage.\n\nThe automaton heads off to the south.\n\n> You examine the receptacle\nThis is a large trash receptacle.\n\nInside the trash receptacle is some garbage.\n\n> You empty it\n(I'll assume you mean the trash receptacle)\ngarbage: Dropped."
    },
    {
        "text": "> Look around\nThis is the northern part of the lab.\n\nThe trash receptacle and some garbage are here.\n\n> You examine the garbage\nThe garbage looks just like you would expect.\n\n> You search the garbage\nYou find nothing special in the garbage.\n\nYou notice that both switches on the console just automatically flipped to the off position.\n\n> You examine the receptacle\nThis is a large trash receptacle.\n\n> You examine the light\nThis is a red strobe light positioned directly above the steel door.\n\n> You examine the lever\nThe lever looks just like you would expect.\n\n> You examine the steel door\nThe steel door is closed.\n\n> You pull the lever\nWith some effort you pull the lever back. It clicks several times and locks into position. The strobe light above the steel door starts blinking and the steel door itself slides open with a painful sound.\n\n\"Your problem,\" says the dark figure, \"is that you can't take things in stride.\"\nThe pacing gentleman stops.\n\"How can certain death be taken in stride?\"\nThe calm gentleman's smile disappears. \"There are ways,\" he says, in a voice like a world without wholesome bread.\nThe nervous man, jittery as crickets, turns pale.\n\"Lets review what we know; there is a power source available, he should have a few clues as to how to operate the machine by now so the only question is whether he can adjust the portal settings properly.\"\n\"You don't think you left too much do you?\" says the nervous figure. \"What do you mean?\"\n\"I mean..........,\" says the nervous man, wondering how he can say this diplomatically. \"Did you, maybe, leave some clue as to how he might close the portal and........,\" he searches frantically for the right words, \"free the prisoners?\"\n\"Quiet you fool!\" says the other. There's fear in his dangerous tone and this abruptly ends the conversation.\n\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\n> You look at the clock\nThis looks like a clock. It has one hand that appears to be pointing to the eleven o'clock position.\n\n> You look at the shapes\nThese are three geometric shapes.The shapes are a black square, a black circle and a black triangle.\n\n> You examine the screen\nThis is a display screen that gives the status of the machine. It currently reads:\n\n\"LOW POWER\"\n\n> Examine book\nThis book has been badly damaged. What's left of its few remaining pages is hard to read. You're able to make out a single chapter heading:\n\n.........sho...be taken..extreme danger when pow....the....ine. ..........................................wrong..be disastrous!\n..to control..e..eatures...en...uting the port................... ............first...squ.....irc..hen...tr..gle...................\n.irst set..to...bl...en then red........not ..d..whit..een,.this... woul..free....eings from....other wor.......................... ......when ..dy ...lace th....block, the..snak...k,..he man...ck\nthen fin....ar block...will secu......ortal....................\n\nMP...ANT!....ke....uickly...clo..ikes...elve is ..too..ate!\n\nAnd that's all.\n\n> Examine slot\nThis is a square hole in the machine.\n\n> You go east\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\n> You go south\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nA waste basket is here.\n\n> Go south\nThis is the southern end of the artifact room. Most of the displays\nare gone, their tables bare. One of the more striking items on display here is a bizarre animal skeleton. You also see a huge section of petrified tree.The rest of the artifact room is to the north.\n\nYou see a glass case sitting on one of the tables.\n\n> Go north\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nA waste basket is here.\n\n> Go east\nYou stand in a short hallway. The front door stands to the east and another door leads west. The only other adornments are several portraits lining the walls on either side of the room. All of the subjects in the pictures share common facial features hinting that they are closely related. Their most troubling feature is the eyes, piercing and violent; a malicious intelligence eager for blood.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\n> Go north\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nA waste basket is here.\n\n> You go to the east\nThis is a sparsely furnished pantry. A single shelf lines the wall.\nThe only door leads west.\n\nThe automaton is here. Slumped over and lifeless.\n\n> Inventory\nYou are carrying the iron key, the copper key, the damaged book, a wooden box, the console, and a sledge hammer. Inside the wooden box are four steel blocks (the snake block, the many-legs block, the tree block, and the gear block).\n\n> You open the panel\nOpening the panel reveals a single button.\n\n> You open the panel\nIt's too difficult to open the panel while the automaton is moving.\n\n> You wait a while\nTime passes...\nThe automaton does a bit of dusting.\n\n> Go west\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here cleaning.\n\nThe automaton sweeps around the oak door.\n\n> You wait\nTime passes...\nThe automaton patrols the room, looking for trash.\n\n> Wait\nTime passes...\n\nThe automaton heads off to the south.\n\n> Go south\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here cleaning.\n\nThe automaton does a bit of dusting.\n\n> You wait a while\nTime passes...\nThe automaton bumps into you while gathering random debris. He gives you an electronic look.\n\n> You wait\nTime passes...\nThe automaton cleans the floorboards.\n\n> You wait awhile\nTime passes...\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here cleaning.\n\nThe automaton dusts the oak door.\n\n> You wait awhile\nTime passes...\nThe automaton dusts the oak door.\n\n> Wait\nTime passes...\nThe automaton dusts the small door.\n\n> You wait for a while\nTime passes...\nThe automaton sweeps up a bit of dust.\n\n> You wait a while\nTime passes...\nThe automaton does a bit of dusting.\n\n> You turn off the top switch\nYou set the top switch to the off position. The automaton immediately powers down."
    },
    {
        "text": "> You look around\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here. Slumped over and lifeless.\n\n> You turn on the bottom switch\nYou set the bottom switch to the on possition.\n\n> You open the panel\nOpening the panel reveals a single button.\n\n> You look at the hammer\nThis is a heavy sledge hammer.\n\n> You give the hammer to Automaton\nThe automaton is not switched on. He can do nothing.\n\n> You turn on bottom switch\nThe bottom switch's already turned on.\n\n> You turn off the bottom switch\nFor some reason you are unable to flip the switch.\n\nThe automaton heads off to the south.\n\n> Go south\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton heads off to the south.\n\n> Go south\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton heads off to the west.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the northern part of the lab.\n\nThe automaton is here carrying a waste basket.\n\nThe trash receptacle and some garbage are here.\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\n> You go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here.\n\nThe automaton heads off to the east.\n\n> Go east\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton heads off to the north.\n\n> You go north\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton heads off to the north.\n\n> Go north\nThis is the good doctor's study. It would appear that a tornado has been through here recently. Papers are scattered every where and you can see several destroyed books. There is wooden desk and a chair here. A single portrait hangs on the wall.\n\nThe automaton is here carrying a waste basket.\n\nThe automaton returns the waste basket to it's original spot.\n\n> You go south\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton arrives from the north.\n\n> You go to the south\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here, moving with purpose.\n\nThe automaton heads off to the south.\n\n> Go south\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton is here, moving with purpose.\n\nA waste basket is here.\nThe Automaton picks up the wastebasket.\n\n> You go north\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton arrives from the south.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\nThe automaton arrives from the east.\n\n> Go north\nThis is the northern part of the lab.\n\nThe trash receptacle and some garbage are here.\n\nThe automaton arrives from the south.\n\n> Wait\nTime passes...\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\n> You go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\nThe automaton arrives from the north.\n\n> You go east\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton arrives from the west.\n\n> You go to the south\nThis is the northern end of a room displaying arcane and bizarre artifacts. Notable among the items is a large, two-headed, embalmed snake. The rest of the artifact room is to the south. You can also go north.\n\nThe automaton arrives from the north.\n\n> Wait\nTime passes...\nThe automaton returns the waste basket to it's original spot.\n\n> You wait awhile\nTime passes...\n\nThe automaton heads off to the north.\n\n> Go north\nThis is a hallway that runs north and south. A door is to the east\nand a set of broken double doors lead west.\n\nThe automaton is here, moving with purpose.\n\nThe automaton heads off to the west.\n\n> You go to the west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here, moving with purpose.\n\nA waste basket is here.\nThe Automaton picks up the wastebasket.\n\n> You go to the south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton arrives from the north.\n\n> You go west\nThis is the reaction chamber for the machine. It is a small room with smooth steel walls. you can leave by going east.\n\n> You pull lever\nThe lever is pulled back as far as it will go.\n\n> You look at the light\nThis is a red strobe light positioned directly above the steel door. It is blinking urgently.\n\n> You take the case\nThe glass case is much heavier than you first expected. Taken.\n\n> Drop case\nDropped.\n\n> Smash case\nYou hit the glass a couple of times but it's impossible to do bare handed.\n\n> Smash case with hammer\nIt takes only a few blows with the hammer to smash your way through the glass. Suddenly a high pitched alarm sounds and the steel door slams shut. You have only a few moments of regret before the reactor heats up and cooks you alive.\n\n> You take the box\nThe glass case is much heavier than you first expected. Taken.\n\n> You go east\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here.\n\n> You put the case in the basket\nYou put the glass box in the waste basket.\n\n> You go west\nThis is the north end of the hallway. To the north is a richly carved oak door. The main hallway leads back south. A small door leads east.\n\nThe automaton arrives from the east.\n\n> You go west\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nA waste basket is here. Inside the waste basket is a glass box.\n\n> You wait for a while\nTime passes...\n\n> Go north\nThis is the northern part of the lab.\n\nThe trash receptacle and some garbage are here.\n\n> Wait\nTime passes...\n\nThe automaton arrives from the south.\n\n> Wait\nTime passes...\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\nThe glass container shatters and the rock sits exposed in the trash receptacle. The Automaton leaves and you begin to feel nauseous. You lay down to rest for just a minute. You wake up to violent projectile vomiting and stomach cramps from the pit of hell. It isn't long before you succumb to your illness.\n\n> Go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here. Inside the waste basket is a glass box.\n\nThe automaton heads off to the north.\n\n> Wait\nTime passes...\n\nThe automaton arrives from the north.\n\n> You wait awhile\nTime passes...\n\nThe automaton heads off to the east.\n\n> Wait\nTime passes...\n\nThe automaton arrives from the east.\n\n> You wait a while\nTime passes...\nThe Automaton picks up the wastebasket.\n\n> You wait awhile\nTime passes...\n\nThe automaton heads off to the north.\n\n> You go north\nYou bump into a wall. You can go south.\n\n> You take the receptacle\nYou're carrying too much to take that.\n\nThe automaton arrives from the south.\n\n> You drop all\niron key: Dropped.\ncopper key: Dropped.\ndamaged book: Dropped.\nwooden box: Dropped.\nconsole: Dropped.\nsledge hammer: Dropped.\nThe automaton empties the waste basket into the trash receptacle and smashes it down with surprising force.\n\n> You take receptacle\nTaken.\n\nThe automaton heads off to the south.\n\n> Go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and an open red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe automaton is here carrying a waste basket.\n\nA waste basket is here. Inside the waste basket is a glass box.\n\nThe automaton heads off to the east.\n\n> You go west\nThis is the reaction chamber for the machine. It is a small room with smooth steel walls. you can leave by going east.\n\n> You wait\nTime passes...\nAn alarm sounds just as the steel door slams shut. You hear the the pathetic bangs of your friend, the automaton, from inside the reactor but they quickly subside. The readout on the machine now reads:\n\nFULL POWER, SET PORTAL CONFIGURATION\n\nYou notice that the geometric symbols on the machine have all lit up.\n\n> Go north\nThis is the northern part of the lab.\n\nSome garbage, the iron key, the copper key, the damaged book, a\nwooden box, the console, and a sledge hammer are here. Inside the wooden box are the snake block, the many-legs block, the tree block, and the gear block.\n\n> You take all but the garbage\niron key: Taken.\ncopper key: Taken.\ndamaged book: Taken.\nwooden box: Taken.\nconsole: Taken.\nsledge hammer: Taken.\n\n> Go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe display now reads:\n\n> You look at the shapes\nThese are three geometric shapes.The shapes are a white square, a white circle and a white triangle.\n\n> Keep going\nThe square shape changes from red to green.\n\n> Continue\nThe square shape changes from green to blue.\n\n> Keep going\nThe circle shape changes from red to green.\n\n> You examine clock\nThis looks like a clock. It has one hand that appears to be pointing to the eleven o'clock position. It is rapidly counting down to midnight.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\n> You take all the blocks\nsnake block: Taken.\nmany-legs block: Taken.\ntree block: Taken.\ngear block: Taken.\nFULL POWER\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\n> You put the tree in the slot\nThe tree block slides into the hole.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\nthe clock is rapidly approaching midnight.\n\n> You put the snake in the slot\nThe snake block slides into the hole.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\n> You put the legs in the slot\nThe many-legs block slides into the hole.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\nyour time is running out.\n\n> You put the gear in the slot\nThe gear block slides into the hole.\n\nThe Pacing man is jumping for joy.\n\"I can't believe he did it!\"\n\"Yes,\" says the serene man, \"I have to admit that I was concerned he might open the portal or close it the wrong way, freeing my....captives. No matter, come with me, we have work to do.\"\n\nThe display reads:\n\n\"KEY SEQUENCE CORRECT, CLOSING PORTAL\"\n\nA terrible scream emits from somewhere and it sounds like a hurricane just struck outside. Suddenly you hear the front door burst open. thinking it was a gust of wind, you investigate, and run right into Dr. Hugo himself! The two of you tumble over in heap. The doctor's assistant helps him to his feet and you cower in his awful presence.\n\n\"Thank you for closing the portal,\" he says, \"I couldn't come near the lab because I lost control of the creatures that I had previously tormented to do my bidding.\"\n\"But now,\" he says, pausing for effect, \"I can re-open the portal safely and continue my work.\"\nDr. hugo then pulls a strange looking weapon from his clothes. It resembles an instrument of torture crossed with a squid. It almost looks alive.\nThank you again. I'm almost sorry I have to do this,\" he says.\n\n> You look at the shapes\nThese are three geometric shapes.The shapes are a white square, a white circle and a white triangle.\n\n> Continue\nThe triangle shape changes from red to green.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\nYou've noticed that the clock above the machine is starting to run.\n\n> You take all the blocks\nYou don't see that.\nFULL POWER\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\n> You take all blocks\nsnake block: Taken.\nmany-legs block: Taken.\ntree block: Taken.\ngear block: Taken.\n\n> Go south\nThis is Dr. Hugo's laboratory. A machine takes up most of the south side of the room and a closed red, steel door is to the west. A red strobe light is above the door, blinking rapidly, and a lever is near it. The rest of the lab is to the north or you can go east through a broken door.\n\nThe display now reads:\n\n> You put the tree in the slot\nThe tree block slides into the hole.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\n> You put the legs in the slot\nThe many-legs block slides into the hole.\n\nCONTAINMENT PROCESS INITIATED, INSERT KEY SEQUENCE\n\nthe clock is rapidly approaching midnight.\n\n> You put the gear in the slot\nThe gear block slides into the hole.\n\n\"Oh God!\" says the pacing man. He is curled into the fetal position on the plush carpeting, trembling a like rabbit.\n\"We knew the danger,\" says the calm man, now slightly less calm. He reaches into his shirt and pulls out a strange looking weapon. \"This might help us a little,\" he says, without confidence.\n\nThe display reads:\n\n\"KEY SEQUENCE CORRECT, CLOSING PORTAL\"\n\nA terrible scream emits from somewhere and it sounds like a hurricane just struck outside. You crouch in a corner for awhile and listen for sounds of danger. You hear none. After awhile, maybe minutes, maybe hours, you emerge from the lab to discovery brilliant sunshine. The portal is closed."
    },
    {
        "text": "[Themes: Collegiate]\n\nYou hear a knock. \"Max! Son!\"\n\nThe door opens. Pop nods determinedly. \"Son, we need to have a talk.\"\n\nget the general drift.)\n\n[Author's Note: In this game, you play as a male high school student who wants to be valedictorian. (Your Pop is even more keen on the idea.) Unfortunately, Harley Drotz got into honors Ceramics for his fine art elective which will push him into the lead by year's end. To best him, you'll have to get into the Art Appreciation Independent Study.]\n\n> 2\n\"No, no, no, son. This is about GRADES.\"\n\n> 2\n\"Bad news, son. You still want to be valedictorian?\" (yes or no)\n\n> You go north\n\"Not funny. But it's late, so I'll let it slide.\n\n\"Harley Drotz's ahead of you now, son. Or he will be, at year's end.\"\n\ntiebreaks!\nclasses!\ndeal.\n\n> 3\n\"Hate to say it, son, but his dad's got a little pull in the art department. Some of the mid-level administrators let him slip into honors Ceramics for his fine art elective.\"\n\ntiebreaks!\ndeal.\n\n> 5\n\"Not much. But enough to pass all the tests. And not piss off the teacher.\"\n\ntiebreaks!\ndeal.\nelective."
    },
    {
        "text": "> You look at your surroundings\nPop taps his foot as you stare around your room. (Note: type REPEAT to see how you can respond to him.)\n\n> You repeat\nThe available options are:\n\ntiebreaks!\ndeal.\nelective.\n\n> Inventory\nYou are carrying:\na spreadsheet\n\n> You look at the spreadsheet\nIt's got a comparison of your grades to Drotz's, a brief explanation of how Grubbyville awards GPA, and a listing of teachers and administrators with whom Pop has discussed your newfound interest in the study of art.\n\nThe math still makes sense. Harley's got an extra 4.5, which lowers his average from 4.6, but if you slip and get an A-, it's like he's got an extra 4.8.\n\n> Verbs\nYou can TAKE things, or TALK TO people. Typing I takes inventory. You can check your MOOD (synonym is SCORE,) see what you've DONE or GIVE people items. You can also see what this game is ABOUT, or CREDITS/CREDIT for people who helped. You can also THINK to figure what to do next, or see a rough MAP of the high school.\n\n> You look at the explanation\n4=A 3.7=A- 3.3=B+ 3=B 2.7=B- 2.3=C+ 2=C 1.7=C- 1.3=D+ 1=D 0=F 1 bonus for AP (advanced placement,) .5 for H (honors,) all averaged together.\n\n> Go east\nYou think about it. You almost can. It would be so easy, except it isn't. (Note: you really will leave if you try again.)\n\n> Go east\nYou leave Grubbyville behind. Pop asks why you came back empty-handed, and you come up with a mishmosh of moral misgivings and, well, if other kids found out it might be hard for you. Pop tells you he's heard Harley isn't as popular as he pretends to be, and you just blew a chance...well. You'll learn.\n\nThat June as Harley steps up to give his valedictorian speech, Pop looks at you pointedly to applaud. You two almost have a contest, who can applaud louder. After, some people congratulate you on your sportsmanship before segueing into complaining what a fake Harley is. It's not much consolation.\n\n> Mood\nDifferent dialogue choices will give you different intro-end text. In this playthrough...\n\nBusiness is business. Might as well beat Harley in the GPA stakes.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or see your final MOOD?\n\n> You look\nYou're staring around Entry Hall, though you're not sure why. The Help Hole to the north is closed for the summer, so you should be getting a move on to the west.\n\nOf course, you can always chicken out back east. That'd make everyone except Pop happy.\n\n> Go west\nYou can enter the teachers' lounge here. It's completely locked, since it's summer. You can also go west to X-Hall, the center of GHS, or east back to the Entry. There's also a rug here.\n\nYou can see a brochure rack (in which is a GHS brochure) here.\n\n> You take the brochure\n(the GHS brochure)\nYou already know enough about GHS. You understand the inner workings pretty well, and of course brochures never cover that.\n\n> You examine the rug\nSAY NO TO DRUGS is woven into it, but someone duct-taped over the D. In fact, a lot of people did, and the administrators just gave up getting the janitors to peel it off.\n\n> You look under the rug\nNothing is hidden in the game.\n\n> Wear rug\n(first taking the rug)\nYou wouldn't get far carrying it.\n\n> You take D.\n(the D)\nThat seems to be a part of the rug.\n\n> You look at D.\n(the D)\nYou see nothing special about the D.\n\n> You go to the north\nThere's a wall there. You should know GHS like the back of your hand after three years--and after a brief look, you see you can go east, west and inside.\n\n> Inside\n\n\n> Go west\nX-Hall is the center of GHS. Corridors head in diagonal directions to the various departments, the teachers' lounge is to the east, the upperclassmen's social area is south, and the testing room is to the north. Looks like people are still taking a standardized test right now. You can go inside to the library, and a rusted elevator panel lies to the west.\n\n> You look at panel\nYou don't need to do anything with the rusted elevator panel. You're not sure why it's there, and you don't have time to find out, now. It's being curious about that sort of thing that can distract you from your business here.\n\n> Inside\nWell, okay, I lied a bit. You can go inside in the full game.\n\n> You go to the south\nBack north is X-Hall. Ironically, you can go in to the Chess Hovel to the side of the social lounge, here.\n\n> You go to the east\nThere's a wall there. You should know GHS like the back of your hand after three years--and after a brief look, you see you can go north and inside.\n\n> Inside\nYou can really only go back outside from here.\n\nDennis Durfle paces here in front of a shelf of chess books, reading a chess book and mumbling to himself.\n\n> Examine book\nA dizzying array of books with weird names.\n\n> You look at Dennis\nYou remember being horrified when you barely placed above Dennis on both a female and male list of Who's Hot. He's not ugly, but he sure frowns a lot, so he might as well be.\n\n> You talk to Dennis\n\"Go away. I don't trust you.\"\n\n> You read books\nIt'd take too long to get started.\n\n> You ask Dennis about Chess\n[Use TALK TO to interact with characters.]\n\n> You go outside\nBack north is X-Hall. Ironically, you can go in to the Chess Hovel to the side of the social lounge, here.\n\n> Go north\nX-Hall is the center of GHS. Corridors head in diagonal directions to the various departments, the teachers' lounge is to the east, the upperclassmen's social area is south, and the testing room is to the north. Looks like people are still taking a standardized test right now. You can go inside to the library, and a rusted elevator panel lies to the west.\n\n> You go to the north\nYou shouldn't disrupt the testing. Nobody important may be taking those tests, but if people are distracted, GHS's average grades as a whole will suffer. That would make your valedictory less presitigious.\n\n> Northeast\nYou think about going northeast, but you're intimidated a bit--you don't really have anything resembling art to show off. Obviously, you'll need to get there, but you get the feeling they don't like tip-top students there. You need some street cred. (NOTE: the arts wing is beyond the scope of the introduction. The goal is to find something that will get you something resembling art.)\n\n> Northwest\nBig Ed, the security guard, is probably lying in wait. While he hated science in school, he's extra enthusiastic about guarding the science wing. You would be quite a scalp for his detention quota without a pass. Unfortunately, there are no teachers here to give you a pass.\n\n> Southeast\nThis is the Humanities Wing of Grubbyville High School. It has various activities you can't put a price on, and it encourages people to have careers that won't make much money.\n\nThe World Languages Sub-Wing is south, the Social Studies Sub-Wing is southeast, and the English Sub-Wing is east. The Social Studies Sub-Wing is actually open, because it houses the yearbook staff, too.\n\n> You go to the southwest\nThe life skills wing is beyond the scope of the introduction. Which is kind of ironic, because you find the skills therein a bit...introductory.\n\n> About yourself\nIn pretty good shape, but not dumb-jock shape. Pretty well-dressed, but not mindless preppie well-dressed. People wouldn't suspect you of being a valedictorian, til they talked to you.\n\n> Inventory\nYou are carrying:\na spreadsheet\n\n> Go south\nExotic languages won't help you with exotic art appreciation, here. Well, maybe they will once this game is more than an introduction. We'll see.\n\n> You go to the east\nThe school paper office is that way, but you don't need to influence anyone on the editorial staff. Maybe when you're older, you'll need to schmooze them. But nobody REALLY reads the school paper. Especially in the summer when it's not being published.\n\n> You go to the southeast\nThis sub-wing, part of a NW/SE hall, brings back bad memories of a teacher who couldn't quite find enough subjectively wrong with your work to give an A-. Still, it's an annoying memory.\n\nAn open door leads southeast into the yearbook office.\n\n> Go southeast\nAn open door leads northwest back out of the yearbook office.\n\nMyron Knurp fidgets and chews his nails here. At the sight of you, he hastily guards a yearbook pass.\n\n> You examine Knurp\nHe doesn't gaze right up at you. You're not surprised he had no nerve to tell his colleagues he doesn't want to do drudge work on a summer Saturday morning.\n\n> You talk to Knurp\n\n\n> 1\n\"The sky.\"\n\nThat joke's so bad, it'll never be so bad it's good.\n\nYou frown and glance meaningfully at the hall pass.\n\n\"No you don't. That's yearbook staff property. And you're not yearbook.\"\n\nrespectable?\"\n\n> 2\nYou explain you'd like to be on the yearbook, just because. Maybe you could help him with some of the drudgework. But you might need lunch first. Fair enough, says Myron, as he hands you a temporary pass for the day.\n\n> Mood\nYour current mood is UN-ALLIED. You've done 1 sly thing. You can list everything you've done with DONE.\n\n> You look\nAn open door leads northwest back out of the yearbook office.\n\nMyron Knurp fidgets and chews his nails here.\n\n> You go northwest\nThis is a NW/SE hall.\n\nAn open door leads southeast into the yearbook office.\n\n> Done\nYou haven't been nice to anyone.\nYou've been sly to Myron Knurp.\nYou haven't been nasty to anyone.\nYou've met Dennis Durfle, but you haven't done anything meaningful around them.\nYou've met pretty much everyone you're going to at Grubbyville today.\n\n> Inventory\nYou are carrying:\na yearbook pass\na spreadsheet\n\n> You look at the yearbook pass\nIt's laminated and neon-ish, and nobody questions its authority. Though it also expires at the end of the day.\n\n> You go northwest\nYou flash your hall pass at Big Ed, who's cleverly hidden in a drinking fountain recess like it's a speed trap, as you walk down the corridor. It works!\n\nMath/Science Wing\nAll the hard sciences are covered here: clockwise from south, you have Biology, Chemistry, Physics, Computer Science to the northwest (it's the only one open--independent study projects and all) and finally Math (math team off-season practice) to the north. The Earth Sciences department is upstairs.\n\n> You go to the northwest\nThis lab is full of computers that aren't quite as good as what you have at home. Most are off, but one PC is humming away. You see a backpack by it.\n\n> You look at the backpack\nThe backpack appears to be Tod Smoot's. He's kind of a jerk, from what you know but you don't want to look through his stuff without SERIOUS provocation. Maybe you'll find it.\n\n> Examine pc\nYou aren't expecting much, maybe some assignment on heap sorts or whatever. But wait! It's a game! A sort of cheap one, but a game nonetheless!\n\nIt's...PARTICIPATION POINTS, by the Disgruntled Intellectuals Club. It features Harley Drotz and...you! Play it? (yes or no)\n\n> Yes\nWHO WILL YOU PLAY AS?\n\n> 2\nWell, it's you against Harley Drotz. It's sort of like the two political parties, but you're going with outer weenieness over pure force.\n\n> 3\nYou and Harley argue for a bit, and Mr. Jones moans he wishes more students would participate so enthusiastically.\n\n> 1\nYou berate other students for not participating as much as you. Harley nods in agreement.\n\n> 2\nIt doesn't seem terribly detailed. And you're curious how it ends.\n\n> 1\nThe teacher appreciates your alternate view on life compared to Harley. It's a bold gambit, but not really, because you always manage to say people may not agree with you, but there you go.\n\nWOW! WHAT A BUSY DAY! ALTHOUGH IT WAS NOTHING SPECIAL FOR YOU, MAX! IT REALLY IS THAT EASY, IF IT'S EASY!\n\nHarsh.\n\nIF YOU HATED THIS GAME, THE DISGRUNTLED INTELLECTUALS CLUB DOESN'T CARE! OKAY, WE SORT OF DO!\n\nYou have to admit. You're curious now. And a little annoyed. Even without the ten control-g bells at the end of the game.\n\nYou groan and roll your eyes, and the backpack gets your attention. Whoah, a sequel, or something. You wouldn't normally mess with others' property, but hey, they baited you, and you aren't going to STEAL it.\n\n> Examine backpack\nThe backpack appears to be Tod Smoot's. You wouldn't normally look through it, but after playing that game...well, there are notes for others, including CASINO FUN by NO FUN CASEY.\n\nIt has with formulas for the probability of turning $50 into $100 playing craps, and if you play, you either go broke tonight or get hooked on gambling and go really broke ten years from now. The game will note playing it saved you three hours you would've wasted rolling dice and a headache from the noise, and it also lets the user see the formula used so it didn't have to bother actually simulating all those dice rolls.\n\nThere's also notes for a game called Being Dennis Durfle. It's light on the technical stuff but in-depth in the usual hit-piece ways.\n\n> You take the backpack\nThat's someone's property. Better not do much more than look.\n\n> You go southeast\nMath/Science Wing\nAll the hard sciences are covered here: clockwise from south, you have Biology, Chemistry, Physics, Computer Science to the northwest (it's the only one open--independent study projects and all) and finally Math (math team off-season practice) to the north. The Earth Sciences department is upstairs.\n\n> You go southwest\nThat area's beyond the scope of this introduction. You can go north to Math or northwest to Computer Science, though.\n\n> Go north\nYou can go inside the math study area, which doubles as the math team's training room, if you'd like. Pneumonia Alley connects the science wing with the Arts wing.\n\nYou can see list of birthdays here.\n\n> You look at the list\n(list of birthdays)\nYou look through today's, for curiosity's sake:\n\nThad Bings, Dennis Durfle, Pip O'Floppovich, Fredley Freydel, Simba Zabmis.\n\nThe only name you recognize is Dennis Durfle, the chess guy. Everyone knows who he is, but they don't know him.\n\n> You look up Dennis in the list\n(list of birthdays)\nYou discover nothing of interest in list of birthdays.\n\n> You go north\nThere's a wall there. You should know GHS like the back of your hand after three years--and after a brief look, you see you can go south, east and inside.\n\n> Inside\nThe Math Study Area is full of all kinds of mathy things that are supposed to make math fun.\n\nYou can see a Book of Modern Chess Strategy here.\n\n> You take Book\nTaken. Geez, it's as painful to slug around as a textbook.\n\nTaken.\n\n> Inside\nThere's a wall there. You should know GHS like the back of your hand after three years--and after a brief look, you see you can go outside.\n\n> You take list\n(list of birthdays)\nYou don't need to take it, but it maybe has useful information.\n\n> You give Book to Dennis\n(the Book of Modern Chess Strategy to Dennis Durfle)\n\"Hey! Wow! Where'd you...? But Big Ed... oh, man! I'd been missing that two months! Thanks! I...I was about to go buy a new one.\"\n\n> You talk to Dennis\nSCHOOL...\nClub wants to write about you?\n\n> 3\n\"Whoah. Those hacker types. They're pretty rough.\"\n\n\"Yeah,\" you say. \"They got me, already.\"\n\nDennis looks like he almost trusts you.\n\nSCHOOL...\n\n> 1\n\"How did you know?\" You explain something about the math team, and he launches into turf wars between the math and chess teams, and how people who are on both are extra annoying. You nod in agreement. He seems almost surprised.\n\n\"Man. I didn't know we were bummed by the same stuff. But you asked me what I'm doing here. What are YOU doing here?\"\n\nAfter you explain, Dennis continues, \"Well, enemy's enemy stuff, I guess. Still can't forgive Harley for, um...look, I have something that can help you. I wrote some really satirical protest poetry or something but if I submitted it to the school art magazine, they'd say I was just some bitter dork. You'd give it gravitas and stuff. What do you say? I just want to get the message out.\" (yes or no)\n\n> Yes\nYou take a closer look at Dennis's note. It's a lot more coherent and funny than you'd imagined. You're almost...jealous. You find yourself riffing on it--like you're not totally happy with Grubbyville. You wonder how serious he is about not really wanting any credit. Maybe he'll backstab you later. I mean, If you can think ten moves ahead in chess, what else can you plan?\n\nBut with this writing, you feel like you should be able to shmooze.\n\nLeaving the Chess Hovel behind, you feel like this grades thing is just business. You're not finding some huge tax loophole. Harley started it. Someone will find a new loophole next year.\n\n> Mood\nDifferent dialogue choices will give you different intro-end text. In this playthrough...\n\nYou've been nice to Dennis Durfle, particularly Dennis Durfle.\nYou've been sly to Myron Knurp.\n\nYou're looking forward to more than just getting a better GPA. It sounds a bit hokey, and it might not last, but there you go.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or see your final MOOD?\n\n> No\nThat was a rhetorical question.\n\n> You talk to Dennis\nSCHOOL...\n\n> 1\n\"How did you know?\" You explain something about the math team, and he launches into turf wars between the math and chess teams, and how people who are on both are extra annoying. You nod in agreement. He seems almost surprised.\n\n\"Man. I didn't know we were bummed by the same stuff. But you asked me what I'm doing here. What are YOU doing here?\"\n\nAfter you explain, Dennis continues, \"Well, enemy's enemy stuff, I guess. Still can't forgive Harley for, um...look, I have something that can help you. I wrote some really satirical protest poetry or something but if I submitted it to the school art magazine, they'd say I was just some bitter dork. You'd give it gravitas and stuff. What do you say? I just want to get the message out.\" (yes or no)\n\n> No\n\"Talk to me if you change your mind.\""
    },
    {
        "text": "[Themes: Horror]\n\nMaybe it was the cold or the sensation of emptiness to my side, but I was fully awake. I didn't dare to move, so I just lay there, very still, looking at the ceiling with my hands hidden under the sheets.\n\nI suppose it has happened to you some time. You wake up in the late hours in the night, with the sensation that there's someone in your room, and end up lightning a candle to find that there's nobody there, just a nocturnal mouse at most.\n\nOnly this time I knew he was nearby.\n\nHe came to collect an old debt, from when I was still young, from when I still believe in the future and run naked between the bindweeds.\n\n\"Five times five years has passed, my green-eyed child... five times five years of luck and fortune. A man who loves you, a son of hair like wheat in summer, coins slipping through your fingers, a house with a white gate and servants to attend it.\"\n\nFingers colder than white frost touch my face, while a cacophony of ten voices whispers on my ears, but I suppress the scream that struggles to escape from my throat and I lay still with eyes shut.\n\n\"Are you sleeping? I don't believe so. As you see, I keep my promises. Would you keep yours? The desire of my heart in exchange for a time of bliss.\"\n\nI hear the floorboards creak. He moves away. He is... he is near the cradle, I know it.\n\n\"I ask not for silver, nor gold, nor earthly wealth. I don't desire anything in vain, much less something you can't give me. I only ask for what a mortal can dispose of. Give it to me, and our contract will be folded, sealed and stored in the fourth drawer of the hundredth room inside the tallest tower of my inverted castle. Deny it from me, and I will take your son, your husband will suffer a terrible death, your servants will abandon you pouring venom upon your honor, and winter will nest in your home. Give me... give me the love of a mother and everything will be settled. Only five beats of your heart I grant you.\"\n\nWith a sigh, I stand.\nOnce upon a winter night, the ragman came singing under your window\n\nI am half sunken in the gloom of the room. The fireplace shines with dying embers that barely reach to illuminate the scene. Most of the light comes from the moon that penetrates, invasive, through the open window, along with some sporadic snow drifts like folds of cloth.\n\nIt must has been open for a while since some snow has accumulated over the harpsichord, in the space next to the window.\n\nThe Ragman is hunched over the cradle of my only son at the far corner of the room. I can hear him whisper a cradle song while he knits with his long, long fingers, complicated structures of thread, which my son tries to grasp with his little hands; he is crying quietly, irritated, either afraid or hungry.\n\nI am reclined on the bed, my back resting against the headboard. To my side there is an empty space. The sheets have been set aside.\n\n[Author's Note: Maybe it was the cold or the sensation of emptiness to my side, but I was fully awake. I didn't dare to move, so I just lay there, very still, looking at the ceiling with my hands hidden under the sheets. I suppose it has happened to you some time. You wake up in the late hours in the night, with the sensation that there's someone in your room, and end up lightning a candle to find that there's nobody there, just a nocturnal mouse at most. Only this time I knew he was nearby.]\n\n> About yourself\nThis is a body that carries thirty-seven years on its back, and still looking good. Let's say I still provoke some glances at social dances, in spite of having a baby recently (my mother said that my hips were not wide enough for it) and my breasts still swollen.\n\n\"One was the sun king.\"\n\n> Inventory\nI am carrying nothing.\n\n\"Two was the inhabitants of paradise.\"\n\n> You give the child\nMi child is hungry... but I can't reach him. It's getting colder.\n\n\"Three were the wise men, gift bearers.\"\n\n> You say yes\nWhom do you want to say that to?\n\n> Ragman\nI try to speak, but my breath escapes silently through my lips.\n\n\"Shhh, don't strain yourself, quiet, soon you will sleep. Just calm my thirst, and everything will end.\"\n\n\"Four, the misfortunes that will mark the end of the man reign.\"\n\n> You look at Ragman\nAn old shadow from my youth, from times of desires and crooked paths. He seems like an abandoned scarecrow, with broken and twisted limbs. His arms and legs adopt impossible angles when he moves, in a strange dance, like if he was controlled by a mad master of puppets. He dresses in a maelstrom of fabrics and patches, colours out of order, hanging with such disparate ornaments as a pocket watch, a rosary of marbled beads, a salmon's eye, a Grylloblatta, an earring from which an ear still hangs... What for ours is junk, for him is the most precious of jewels, a trophy devoid of banality.\n\nWorst of all are his head and hands. Instead of a cranium, he wears the empty semblance of a mannequin, plain, without trimmings, and as the only concession to a human figure wears a tangled wig, like the ones seen in the festivities of the high neighborhoods. His hands... are like metallic branches from which hang the threads with which he entertains, himself or an audience, creating strange shapes: a cradle, a boat, a bird... all while the tiny cherub faces that are the tips of his fingers do not cease to chatter.\n\n\"One was the sun king.\"\n\n> Hug ragman\nthe Ragman might not like that.\n\n\"Two was the inhabitants of paradise.\"\n\n> Kiss Ragman\nthe Ragman might not like that.\n\n\"Three were the wise men, gift bearers.\"\n\n> You examine baby\nMy precious, my life. Just when I thought it could not be possible... it happened. My joy and sadness. Joy because he was an unexpected gift, sadness because he was the rubric of a contract. Now, he is unwillingly playing with the thread figures that the Ragman is crafting for him. He cries and protests quietly.\n\n\"Four, the misfortunes that will mark the end of the man reign.\"\n\n> You look at the bed\nIt's a wide double bed of white sheets and a mattress of corn leaves. It seems far bigger with the space left behind by my husband. I touch that spot and the sheets are cold. Buried within them I find a copy of Son of Man.\n\n> You examine son of the man\nIt's an essay on the gospel written by Father Giovanni Lanfranco. Lately I have liked to read it before sleep, maybe as an expiation because of my past life.\n\n\"One was the sun king.\"\n\n> You read son of the man\nIt's an essay on the gospel written by Father Giovanni Lanfranco. Lately I have liked to read it before sleep, maybe as an expiation because of my past life.\n\n\"Two was the inhabitants of paradise.\"\n\n> You examine harpsichord\nOne of the few hobbies that I allow myself. I have been told that I play quite well, so I have placed it by the window, for aesthetic reasons and a point of vanity. There's a music sheet over the desk, it is: \"Piano and orchestra concert No 33, by B\ufffd\ufffdla Bart\ufffd\ufffdk\".\n\n\"Two was the inhabitants of paradise.\"\n\n> You examine the window\nThe window is open wide, maybe from the strong winter wind that preceded the Ragman's entrance. However, as far as I know, he has never had to enter any house, always just appearing when nobody is looking.\n\n\"Three were the wise men, gift bearers.\"\n\n> You take the book\nI extend my cold fingers, but my strenght fails to me. It's like if I had a slab over me. They are perhaps my sins.\n\n\"Four, the misfortunes that will mark the end of the man reign.\"\n\n> You take the harpsichord\nI extend my cold fingers, but my strenght fails to me. It's like if I had a slab over me. They are perhaps my sins.\n\n> You listen\nI hear nothing unexpected.\n\n\"One was the sun king.\"\n\n> Smell\nI smell nothing unexpected.\n\n\"Two was the inhabitants of paradise.\"\n\n> You give yourself\nMi child is hungry... but I can't reach him. It's getting colder.\n\n\"One was the sun king.\"\n\n> You enter the window\nThat's not something I can enter.\n\n\"One was the sun king.\"\n\n> You stand\nBut I am not in anything at the moment.\n\n\"One was the sun king.\"\n\n> You take the book\nI extend my cold fingers, but my strenght fails to me. It's like if I had a slab over me. They are perhaps my sins.\n\n\"One was the sun king.\"\n\n> You wake up\nThe dreadful truth is, this is not a dream.\n\n\"One was the sun king.\"\n\n> Sleep\nI am not feeling especially drowsy.\n\n\"Two was the inhabitants of paradise.\"\n\n> Y.\nMaybe it was the cold or the sensation of emptiness to my side, but I was fully awake. I didn't dare to move, so I just lay there, very still, looking at the ceiling with my hands hidden under the sheets.\n\nI suppose it has happened to you some time. You wake up in the late hours in the night, with the sensation that there's someone in your room, and end up lightning a candle to find that there's nobody there, just a nocturnal mouse at most.\n\nOnly this time I knew he was nearby.\n\nHe came to collect an old debt, from when I was still young, from when I still believe in the future and run naked between the bindweeds.\n\n\"Five times five years has passed, my green-eyed child... five times five years of luck and fortune. A man who loves you, a son of hair like wheat in summer, coins slipping through your fingers, a house with a white gate and servants to attend it.\"\n\nFingers colder than white frost touch my face, while a cacophony of ten voices whispers on my ears, but I suppress the scream that struggles to escape from my throat and I lay still with eyes shut.\n\n\"Are you sleeping? I don't believe so. As you see, I keep my promises. Would you keep yours? The desire of my heart in exchange for a time of bliss.\"\n\nI hear the floorboards creak. He moves away. He is... he is near the cradle, I know it.\n\n\"I ask not for silver, nor gold, nor earthly wealth. I don't desire anything in vain, much less something you can't give me. I only ask for what a mortal can dispose of. Give it to me, and our contract will be folded, sealed and stored in the fourth drawer of the hundredth room inside the tallest tower of my inverted castle. Deny it from me, and I will take your son, your husband will suffer a terrible death, your servants will abandon you pouring venom upon your honor, and winter will nest in your home. Give me... give me the love of a mother and everything will be settled. Only five beats of your heart I grant you.\"\n\nWith a sigh, I stand.\n\n> You feed Ragman\nOnce upon a winter night, the ragman came singing under your window\n\nI am half sunken in the gloom of the room. The fireplace shines with dying embers that barely reach to illuminate the scene. Most of the light comes from the moon that penetrates, invasive, through the open window, along with some sporadic snow drifts like folds of cloth.\n\nIt must has been open for a while since some snow has accumulated over the harpsichord, in the space next to the window.\n\nThe Ragman is hunched over the cradle of my only son at the far corner of the room. I can hear him whisper a cradle song while he knits with his long, long fingers, complicated structures of thread, which my son tries to grasp with his little hands; he is crying quietly, irritated, either afraid or hungry.\n\nI am reclined on the bed, my back resting against the headboard. To my side there is an empty space. The sheets have been set aside.\n\n> You feed Ragman\n\"D... Dri... Drink.\" I manage to articulate with an effort that almost depletes my waning strength. The Ragman jumps and dance and claps, then he pounces on me, tearing my nightdress, in his devouring thirst. His hands scream with joy while they take turns to snatch a piece of me. My son cries in a forgotten corner, confused, as now my world is reduced to this moment of loss and liberation.\n\nLittle by little the laugh of the Ragman fades away.\n\n\"Very good... satisfying and warm is the love of a mother. This will make my heart know summer for some time. Our account is settled, our pact completed. Now I retire, since other souls, craving for what they already have, require my care.\n\nI open my eyes. He is gone.\n\nMy son is still crying.\n\nI stand up and close the window. I stoke the fire.\n\nI cuddle and cradle my son. He is still hungry, but I am empty. I can only offer him... cold.."
    },
    {
        "text": "[Themes: Fantasy, Children's, toy, cute, nonhuman protagonist, kid-friendly, kids]\n\nSome nights, when people are fast asleep, teddy bears are just waking up.\n\nAnd some nights, those teddy bears make mischief.\n\nAnd some nights, things somehow turn out for the best...\n\n[Author's Note: Tomorrow is the big Teddy Bear party, and you must definitely not let your owner forget about it...]\n\n> Y.\nAn Interactive Children's Story\n\nBedroom (on the big bed)\nMoonlight plays through the window, softly illuminating the bedroom, full of comfortable memories.\n\nTo the west is the cupboard where you usually live, and the doorway to the northwest leads to the rest of the house.\n\nDavid, your owner, lies next to you on the bed, in a deep sleep.\n\nFirst time players may wish to try HELP.\n\nThat was a rhetorical question.\n\n> You hit David\nDavid continues to sleep, totally oblivious.\n\n> Shout\nWhom do you want to shout to?\n\n> You examine david\nDavid is handsome, debonair, forgetful and fast asleep. He also wrote this description.\n\n> About yourself\nQuite the most beautiful furry brown teddy bear.\n\n> You hug david\nA touching gesture, although your owner remains asleep and unaware.\n\n> Waylay david\n(jumping on then attacking David)\n\nJump on: What a curious idea.\n\nAttack: David continues to sleep, totally oblivious."
    },
    {
        "text": "> You describe your surroundings\nMoonlight plays through the window, softly illuminating the bedroom, full of comfortable memories.\n\nTo the west is the cupboard where you usually live, and the doorway to the northwest leads to the rest of the house.\n\nA big bed fills up most of the room.\n\nDavid lies on the bed, very much asleep.\n\n> You enter the bed\nYou struggle, but clamber up successfully.\n\n> Sleep\nYou settle down in the warm fabric and fall asleep. In time, morning comes. The day of your owner's big plan to take you along to the Teddy Bear Picnic! Unfortunately, the picnic requires some kind of reply card for entry, and David can't find it anywhere. Ah well, maybe next year.\n\n> You open the cupboard\nThe cupboard is out of reach.\n\n> You get down\nThe floor is out of reach.\n\n> You get off\nYou tumble down, but being a soft bear, that's ok.\n\n> You open the cupboard\nThat's already open.\n\n> You go to the west\nWhen you aren't lying on the bed, you usually stay in here, snug and safe with your friends atop the warm pile of clothes.\n\nThe cupboard opens eastward to the bedroom.\n\nOn the pile of clothes you can see your good friends Matt and Terry Moose.\n\nYour warm winter jacket is here, which may be just as well, it's a little chilly.\n\n> You look at Matt\nA beautiful plush toy moose, in a kneeling pose, and a loyal (if silent) friend.\n\n> You look at Terry\nA beautiful plush toy moose, in a standing pose, and a loyal (if silent) friend.\n\n> You take jacket\nTaken.\n\n> You wear it\nJust the thing for a cold night.\n\n> You go east\nA big bed fills up most of the room.\n\nDavid lies on the bed, very much asleep."
    },
    {
        "text": "> You describe your surroundings\nMoonlight plays through the window, softly illuminating the bedroom, full of comfortable memories.\n\nTo the west is the cupboard where you usually live, and the doorway to the northwest leads to the rest of the house.\n\nA big bed fills up most of the room.\n\nDavid lies on the bed, very much asleep.\n\n> Go northwest\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\nA yellow plastic ball, known as a favourite toy of the family cat, has been left here.\n\n> You look at the ball\nA spherical yellow plastic cage, with a shiny bell inside.\n\n> Shake ball\n(first taking the yellow ball)\nThe bell tinkles surprisingly loudly.\n\n> You look at what you're carrying with you\nYou are carrying:\na yellow ball\nyour green jacket (being worn)\nyour night shirt (being worn)\n\n> Go east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a blue disk through the thick glass.\n\nYou can also see an ergonomic chair here.\n\n> You look at the disk\nYou will have to get closer to the blue disk to see in detail.\n\n> You climb on the chair\nYou struggle, but clamber up successfully.\n\n> You climb on the table\nYou can't quite reach high enough to clamber up.\n\nYou can't quite reach high enough to clamber up.\n\n> You examine the chair\nA strange looking padded chair on casters, designed for people to kneel on. This is supposed to be comfortable for them."
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist, toy, cute]\n\n> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\n> You go to the west\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\n> You go southwest\nThe bathroom has recently been tiled in glaring white. A doorway to the northeast leads to the rest of the house.\n\nAlong the west wall is a large tub, which your owner apparently enjoys swimming in.\n\nTo the south is the bathroom sink, the next subject of renovation, with a new copper pipe installed, and a storage drawer below.\n\n> You examine the sink\nIn actual fact, the one thing this unit presently lacks is a sink. But it does have a sparkling new pipe and a working drawer.\n\n> You examine the drawer\nA nicely laminated white drawer, presently shut.\n\n> You open it\nThe drawer wobbles around, and seems quite loose as you pull it open, revealing a yoyo and a ukelele.\n\n> You get all from the drawer\nyoyo: Removed.\nukelele: Removed.\n\n> You play ukelele\nYou strum a few chords, unconvincingly. Which isn't surprising, considering your soft toy paws.\n\n> You examine yoyo\nA `Moose' brand glow in the dark yoyo, missing its string.\n\n> You look at the bath\nA large white tub, still with quite a bit of water from the last time your owner went swimming.\n\n> You enter the tub\nBut then you might get your fur wet.\n\n> You go northeast\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\n> Go north\nA small knot of doors leading every which way, this end of the hall can be a little confusing for small bears such as yourself.\n\nLet's try to make it easy: northwest to the living room, north to the study, east to the front entrance, and south to the rest of the hall.\n\n> Go east\nThe front entrance is unremarkable, but for the charming antique clock hanging on the south wall.\n\nA door to the east leads outside, and the hall lies to the west.\n\n> Go east\nThe door is locked. Besides, it's cold and dangerous outside at night.\n\n> You examine the clock\nThis is a timeless tale.\n\n> You go northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the comfortable sofa.\n\n> You enter the sofa\nYou struggle, but clamber up successfully.\n\n> You examine the cat\nHolly sleeps soundly, softly purring.\n\n> You hug Holly\nHolly purrs contendedly, and sleeps a little sounder.\n\n> You throw the ball at the cat\nHolly awakes with a start, eyes and ears alert, and bats the ball away.\n\n> You examine the cat\nHolly's eyes dart about, looking for a toy to chase.\n\nHolly playfully bites you.\n\n> You throw the ball at the cat\n(first taking the yellow ball)\nThe yellow ball is out of reach.\n\nHolly bats at you.\n\n> You check your inventory\nYou are carrying:\na ukelele\na yoyo\nyour green jacket (being worn)\nyour night shirt (being worn)\n\nHolly playfully bites you.\n\n> You give yoyo to Holly\nHolly sniffs the yoyo suspiciously."
    },
    {
        "text": "[Themes: Fantasy, Children's, nonhuman protagonist, cute]\n\n> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\nHolly leaps down from the comfortable sofa.\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone and an answering machine, if you step back and crane your neck a little.\n\nAn insulated wire cord emerges from a hole at the bottom of the bench, leading to a socket in the wall.\n\nA picnic basket has been left here, containing a baguette.\n\n> You examine basket\nA wicker picnic hamper (David picked it up from a toyshop about two years ago), in which you can see a baguette.\n\n> You examine the baguette\nA long, thin loaf of French bread.\n\n> You eat it\n(first taking the baguette)\nPerhaps it's best to save the baguette for later.\n\n> Inventory\nYou are carrying:\na baguette\na ukelele\na yoyo\nyour green jacket (being worn)\nyour night shirt (being worn)\n\n> You examine wire\nThe cord is thin, white and functional, and runs from a hole at the bottom of the bench to a socket in the wall.\n\n> You pull the wire\nThe cord comes away from the socket, and you lose grip as it recoils back through the hole. The answering machine tumbles to the floor with a loud thud, cracking open.\n\nA small tape drops out of the machine.\n\n> You examine the tape\nA small magnetic tape of the type used to record messages on.\n\n> You examine the machine\nA bulky, primitive, answering machine with no controls you seem to understand. A small red light is conspicuously not glowing.\n\n> You go to the south\nThe door is locked. Besides, it's cold and dangerous outside at night.\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly bats at the television.\n\n> You look at the tv\nA less than state of the art colour tv.\n\nThe television is currently switched off.\n\nHolly flicks her tail back and forth.\n\n> You turn the tv on\nThe television appears to be tuned to a home shopping show.\n\nHolly eyes you suspiciously.\n\nThe yoyo begins to glow brightly.\n\nAwful tacky home shopping show muzak can be heard.\n\n> You turn tv off\nThe television goes dark and quiet, much to your relief.\n\nHolly stares at the yellow ball.\n\n> You get the ball\n(putting the ukelele into the green jacket to make room)\nTaken.\n\nHolly pounces on an insect which isn't there.\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here.\n\nYou can also see an answering machine here.\n\n> You go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly stares at the comfortable sofa.\n\n> You go east\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\n> You examine the cabinet\nA dull grey metal filing cabinet, consisting of one drawer, firmly shut.\n\n> You open the drawer\nIt seems to be locked.\n\n> You examine papers\nA dreadfully messy pile of old exam papers, study notes, letters, junk mail, bills, walkthoughs for adventure games, recipes, newspaper articles, medical records, and who knows what else.\n\nNear the top of the pile you find a flyer for a Teddy Bear Picnic!\n\n> You read the flyer\nEveryone who is young, or just young at heart, will have a fine day out at the Teddy Bear Picnic. Bring along your teddy bear and partake in all the fun! Frolic in the woods, join the scavenger hunt, and you never know, a special guest may just turn up!\n\n(A picture of a famous teddy bear of print, stage and screen appears on the flyer here)\n\nFor more information about the Teddy Bear Picnic just dial 72 on your phone. Calls will be charged at... (The rest seems quite unimportant apart from the date- tommorow!)\n\nThe yoyo is glowing more faintly.\n\n> You take the flyer\nYou already have that.\n\nThe yoyo is glowing more faintly."
    },
    {
        "text": "[Themes: Fantasy, Children's, cute, kid-friendly, kids]\n\n> You look around\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\nThe yoyo is glowing more faintly.\n\n> Go west\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly stares at the television.\n\nThe yoyo is glowing more faintly.\n\n> You go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here.\n\nYou can also see an answering machine here.\n\nThe yoyo is glowing more faintly.\n\n> You climb the bench\nYou can't reach anywhere near that high.\n\nThe yoyo is glowing very faintly now.\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly winds around you.\n\nThe yoyo is glowing very faintly now.\n\n> You go southeast\nA small knot of doors leading every which way, this end of the hall can be a little confusing for small bears such as yourself.\n\nLet's try to make it easy: northwest to the living room, north to the study, east to the front entrance, and south to the rest of the hall.\n\nThe yoyo is glowing very faintly now.\n\n> Go south\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\nThe yoyo is glowing very faintly now.\n\n> Go east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a blue disk through the thick glass.\n\nYou can also see an ergonomic chair here.\n\nThe yoyo is glowing very faintly now.\n\n> You look at what you're carrying with you\nYou are carrying:\na flyer\na yellow ball\na small tape\na baguette\na yoyo\nyour green jacket (being worn)\na ukelele\nyour night shirt (being worn)\n\n> You examine the machine\nA bulky, primitive, answering machine with no controls you seem to understand. A small red light is conspicuously not glowing.\n\n> You examine phone\nYou will have to get closer to the telephone to see in detail.\n\n> You climb the chair\nYou struggle, but clamber up successfully.\n\n> You climb the bench\nStanding as tall as you can, the tops of your paws just reach the edge of the bench, and you struggle to the top.\n\n> Dial 72\n(on the telephone)\n`Hello and welcome to the Teddy Bear Picnic information service.'\n\n> You say hi\nWhom do you want to say that to?\n\n> You say hi to the phone\nThere's no point talking to a recorded message.\n\n`When you come to the Teddy Bear Picnic, please bring the following items.'\n\n> You wait awhile\nTime passes.\n\n`Your reply card, and do make sure a stamp is affixed.'\n\n> Wait\nTime passes.\n\n`A picnic basket full of goodies to eat.'\n\n> You wait a while\nTime passes.\n\n`And most importantly a teddy bear to share the fun.'\nTime passes.\n\n`Thankyou for calling. Get a good night of sleep, and see you there! *Click*'\nTime passes.\nTime passes."
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist, toy, cute]\n\n> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\n> You go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly stretches and yawns.\n\n> You turn the tv on\nThe television appears to be tuned to a home shopping show.\n\nHolly bats at you.\n\nThe yoyo begins to glow brightly.\n\nAwful tacky home shopping show muzak can be heard.\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here.\n\nYou can also see an ergonomic chair and an answering machine here.\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly sniffs at the television.\n\n`That's right, with this amazing device, the z-chip, any computer can be a z-machine!'\n\n> You look at the tv\nA less than state of the art colour tv, presently tuned to a home shopping show.\n\nThe television is currently switched on.\n\nHolly pointedly ignores you.\n\n`Your computer can become the interactive fiction machine of your dreams, and this week only you can have this miracle z-chip FREE!'\n\n> You wait a while\nTime passes.\n\nHolly bats at the comfortable sofa.\n\n`Just dial 95 on your phone, that's right, dial 95 on your phone, and give the operator our password...'\n\n> Wait\nTime passes.\n\nHolly sniffs at the television.\n\n`xyzzyplughellosailor'\n\n> You wait\nTime passes.\n\nHolly bats at you.\n\n`That password again...'\n\n> You wait for a while\nTime passes.\n\nHolly winds around you.\n\n`xyzzyplughellosailor'\n\n> You wait for a while\nTime passes.\n\nHolly peers at you expectantly.\n\n`So call us now. We deliver to your door!'\n\n> Wait\nTime passes.\n\nHolly sniffs at the comfortable sofa.\n\nAwful tacky home shopping show muzak can be heard.\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here.\n\nYou can also see an ergonomic chair and an answering machine here.\n\n> Dial 95\n(on the telephone)\n`Hello and welcome to the z-chip home shopping service.'\n\n> You say xyzzyplughellosailor\nWhom do you want to say that to?\n\n> Phone\nIt's a funny thing, but teddy bears have always had a tough time making themselves heard in the company of people.\n\n`Now just give the password, and you can have the fabulous z-chip delivered to your door!'\n\n> You hit the phone\nNow, that's hardly good bear behaviour, is it?\n\n`That is correct, just give us the password. No payment is required.'\n\n> You look at the tape\nA small magnetic tape of the type used to record messages on.\n\n`Your computer will be the interactive fiction machine of your dreams.'\n\n> You wait a while\nTime passes.\n\n`So, the password, if you would be so kind?'\n\n> Wait\nTime passes.\n\n`Obviously you don't know the password. No problem, you can still call us later when you find it. Bye! *Click*'"
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist, toy, cute]\n\n> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the floor.\n\n`Do you dream of saving bridges from iminent disaster during major storms rather than playing volleyball?'\n\n> You wait a while\nTime passes.\n\n`Have you ever wondered just how many designers of text adventures are obsessed with their cats?'\n\n> You wait for a while\nTime passes.\n\nA less than thrilling crescendo of over the top home shopping show muzak can be heard.\n\n> You wait\nTime passes.\n\n`Well want, wish and wonder no more!'\n\n> You wait for a while\nTime passes.\n\n`Because now, you too can thrill to the drama and excitement of interactive fiction!'\n\n> You wait\nTime passes.\n\n`That's right, with this amazing device, the z-chip, any computer can be a z-machine!'\n\n> You go east\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\n> You hit the cabinet\nNow, that's hardly good bear behaviour, is it?\n\n> You open the drawer\nIt seems to be locked.\n\n> You look at the door\nA tall and forbidding locked door, with a postage slot half way up.\n\n> You look at the slot\nA slim postage slot.\n\n> You open it\nThe postage slot is out of reach.\n\n> Go northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the floor.\n\n`Well want, wish and wonder no more!'\n\n> You enter the basket\nWhat a strange idea.\n\n> Examine tv\nA less than state of the art colour tv, presently tuned to a home shopping show.\n\nThe television is currently switched on.\n\n`That password again...'\n\n> You look under the sofa\nYou find nothing of interest.\n\n`xyzzyplughellosailor'\n\n> You climb the chair\nYou struggle, but clamber up successfully.\n\n> Open slot\nThe postage slot is out of reach.\n\n> You open the clock\nThe antique clock is out of reach.\n\n> Go west\nA small knot of doors leading every which way, this end of the hall can be a little confusing for small bears such as yourself.\n\nLet's try to make it easy: northwest to the living room, north to the study, east to the front entrance, and south to the rest of the hall.\n\n> You go north\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\n> Search papers\nDelving deep into the pile, you find a reply card for the Teddy Bear Picnic!\n\n> You examine the card\nNext to a picture of a famous teddy bear of print, stage and screen, it says `Please bring this card with you when you attend the Teddy Bear Picnic.' A square in the top right corner says `Affix stamp here.'\n\n> Search papers\nTowards the middle of the pile of papers you find a blueprint for the Chron-O-John, but this fails to hold your interest, and you place it back.\n\n> Continue\nNear the bottom of the pile of papers you find a free poster of Commander Borf, but this fails to hold your interest, and you place it back.\n\n> Continue\nTowards the middle of the pile of papers you find a Kevin Pope cartoon, but this fails to hold your interest, and you place it back.\n\n> You continue\nAt the top of the pile of papers you find an application form for Stellar Patrol, but this fails to hold your interest, and you place it back.\n\n> Continue\nAt the top of the pile of papers you find a Mathematical Statistics 823 exam from 1988, but this fails to hold your interest, and you place it back.\n\n> You continue\nNear the bottom of the pile of papers you find a copy of Tinsel World magazine, but this fails to hold your interest, and you place it back.\n\n> Continue\nAt the top of the pile of papers you find an Atom Bomb comic, but this fails to hold your interest, and you place it back.\n\n> Keep going\nAt the top of the pile of papers you find a free poster of Commander Borf, but this fails to hold your interest, and you place it back.\n\n> Continue\nAt the top of the pile of papers you find a yellowed scroll labelled `FROTZ', but this fails to hold your interest, and you place it back.\n\n> Continue\nTowards the middle of the pile of papers you find an exceedingly dull M.Sc. thesis, but this fails to hold your interest, and you place it back.\n\n> Continue\nTowards the middle of the pile of papers you find a map of Rockvil, South Dakota, but this fails to hold your interest, and you place it back.\n\n> Keep going\nTowards the middle of the pile of papers you find a Mathematical Statistics 823 exam from 1988, but this fails to hold your interest, and you place it back.\n\n> Keep going\nAt the top of the pile of papers you find a blueprint for the Chron-O-John, but this fails to hold your interest, and you place it back."
    },
    {
        "text": "[Themes: Fantasy, Children's, kid-friendly]\n\n> Look around\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\n> Go east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a blue disk through the thick glass.\n\n> You examine computer\nAn old home made computer with a green screen and a rickety disk drive, circuit boards and such sticking out at all angles.\n\nThe personal computer is currently switched off.\n\n> You turn on the computer\nThe personal computer is out of reach.\n\n> You climb the table\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\nYou can't see any such thing.\n\n> Go east\nThe front entrance is unremarkable, but for the charming antique clock hanging on the south wall.\n\nA door to the east leads outside, and the hall lies to the west.\n\nYou can see an ergonomic chair here.\n\n> You climb the chair\nYou struggle, but clamber up successfully.\n\n> Inventory\nYou are carrying:\na reply card\na flyer\na yellow ball\na small tape\na baguette\na yoyo (providing light)\nyour green jacket (being worn)\na ukelele\nyour night shirt (being worn)\n\n> You throw yoyo at the table\nThe yoyo bounces harmlessly away.\n\n> You examine table\nA tall, slightly battle scarred glass table, long home to your owner's faithful hobby computer, which sits atop.\n\n> You look\nComputer Room (on the ergonomic chair)\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a blue disk through the thick glass.\n\n> You examine the chair\nA strange looking padded chair on casters, designed for people to kneel on. This is supposed to be comfortable for them.\n\nThe yoyo is glowing more faintly."
    },
    {
        "text": "> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\nThe yoyo is glowing more faintly.\n\n> You go west\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\nThe yoyo is glowing more faintly.\n\n> You go southwest\nThe bathroom has recently been tiled in glaring white. A doorway to the northeast leads to the rest of the house.\n\nAlong the west wall is a large tub, which your owner apparently enjoys swimming in.\n\nTo the south is the bathroom sink, the next subject of renovation, with a new copper pipe installed, and a storage drawer below (which is open and empty).\n\nThe yoyo is glowing more faintly.\n\n> You look in the tub\nBut then you might get your fur wet.\n\nThe yoyo is glowing more faintly.\n\n> You examine the pipe\nA brand new sink pipe, still waiting to be connected, it leads from the floor to nowhere as yet.\n\nThe yoyo is glowing very faintly now.\n\n> You look in the pipe\nIt looks dark down there.\n\nThe yoyo is glowing very faintly now.\n\n> You enter the pipe\nThat's not something you can enter.\n\nThe yoyo is glowing very faintly now.\n\n> You put yoyo in the pipe\nThe yoyo won't fit in the pipe.\n\nThe yoyo is glowing very faintly now.\n\n> You take the drawer\nThat's not something a small bear can readily carry.\n\nThe yoyo is glowing very faintly now."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\n\nThe yoyo stops glowing.\n\n> You examine the drawer\nA nicely laminated white drawer, which is open.\n\n> You close the drawer\nThe drawer wobbles around, and seems quite loose as you push it shut.\n\n> You pull the drawer\nThe drawer wobbles around, and seems quite loose as you pull it open.\n\n> You pull the drawer\nThe drawer comes right off its runners, following you onto the floor with a crash, and revealing a deep hole underneath the new sink.\n\n> You look at the hole\nA rather gloomy looking deep hole, which appears to lead down into the foundations of the house.\n\n> You go to the north-west\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the floor.\n\nThe yoyo begins to glow brightly.\n\nAwful tacky home shopping show muzak can be heard.\n\n> You go to the south-west\nThe bathroom has recently been tiled in glaring white. A doorway to the northeast leads to the rest of the house.\n\nAlong the west wall is a large tub, which your owner apparently enjoys swimming in.\n\nTo the south is the bathroom sink, the next subject of renovation, with a new copper pipe installed.\n\nA storage drawer has been carelessly left lying about, revealing a deep hole beneath the sink unit."
    },
    {
        "text": "[Themes: Fantasy, Children's, cute, toy]\n\n> Go downwards\nThe hole is entirely lined with concrete. It gives the impression someone once created a small wine cellar, and forgot about it when they built the rest of the house.\n\nThe bathroom is up from here.\n\nAn old time capsule, of all things, has been left here on the floor.\n\nThe lower half of a sparkling new pipe descends from above, and appears to be blocked with sludge.\n\n> You open the capsule\nThe lid creaks dreadfully as you pry it open, revealing the wonders hidden all these years: a black disk and some mouldy newspapers.\n\n> You take the disk\n(putting the baguette into the green jacket to make room)\nTaken.\n\n> You take the newspapers\nNo thanks.\n\n> You read newspapers\nThe newspapers have been left down here rather too long to be readable.\n\n> You take the sludge\nYuck!\n\n> You look at the sludge\nAwful slimy sludge, blocking the pipe.\n\nThe yoyo is glowing more faintly.\n\n> You take the capsule\nThat's not something a small bear can readily carry.\n\nThe yoyo is glowing more faintly.\n\n> You hit the pipe\nThe pipe gives a resounding clang, and the sludge drops to the floor, followed by a brass key.\n\nThe yoyo is glowing more faintly.\n\n> You take the key\n(putting the small tape into the green jacket to make room)\nTaken.\n\nThe yoyo is glowing more faintly.\n\n> Go upwards\nFortunately you can get a solid grip on the rough surface, and with a mighty effort you pull yourself up.\n\nThe bathroom has recently been tiled in glaring white. A doorway to the northeast leads to the rest of the house.\n\nAlong the west wall is a large tub, which your owner apparently enjoys swimming in.\n\nTo the south is the bathroom sink, the next subject of renovation, with a new copper pipe installed.\n\nA storage drawer has been carelessly left lying about, revealing a deep hole beneath the sink unit.\n\nThe yoyo is glowing more faintly.\n\n> You go to the north\nYou can't go that way.\n\nThe yoyo is glowing more faintly.\n\n> You go to the northeast\nThis is the southern end of a plain carpeted hallway, which continues to the north.\n\nTo the east is the computer room and to the southeast the bedroom. A bathroom (in the English sense) lies to the southwest, and one in the American sense to the south.\n\nThe yoyo is glowing very faintly now.\n\n> Go north\nThis is more of a study-to-be than a study. A desk will one day grace the west wall, along with a comfortable study chair. One day.\n\nThe hall lies to the south, the living room to the west.\n\nOn the floor you can see a less than organised pile of papers. In one corner sits a lone filing cabinet.\n\nThe yoyo is glowing very faintly now.\n\n> You unlock the cabinet with the key\nThe tumblers in the lock click firmly back.\n\nThe yoyo is glowing very faintly now.\n\n> You open the cabinet\nIt's a big effort, but you manage to pull the drawer open, revealing a MessageMate (tm) dictaphone.\n\nThe yoyo is glowing very faintly now.\n\n> You take the dictaphone\n(putting the yellow ball into the green jacket to make room)\nTaken.\n\nThe yoyo stops glowing.\n\n> You examine it\nA small personal tape recorder, of the kind designed for making messages to oneself. It has a red button labelled `REC' and a white button labelled `PLAY.'\n\nThe slot at the side of the tape recorder is empty.\n\n> You put the tape in it\nYou would have to be holding both the small tape and the dictaphone to do that.\n\n> You take the tape\n(putting the yoyo into the green jacket to make room)\nTaken.\n\n> You put the tape in the dictaphone\nThe tape fits neatly in the slot, very neatly in fact. It appears to be quite permanent.\n\n> You go to the west\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the floor.\n\nThe yoyo begins to glow brightly.\n\n`That password again...'\n\n> Dial 92\n(on the telephone)\nThat number appears to be engaged.\n\n> You hang up\nWhat do you want to hang up?\n\n> Dial 95\n(on the telephone)\n`Hello and welcome to the z-chip home shopping service.'"
    },
    {
        "text": "> Go down\nYou tumble down, but being a soft bear, that's ok.\n\n`Now just give the password, and you can have the fabulous z-chip delivered to your door!'\n\n> You wait for a while\nTime passes.\n\n`Now just give the password, and you can have the fabulous z-chip delivered to your door!'"
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist, toy, cute]\n\n> Go downwards\nYou tumble down, but being a soft bear, that's ok.\n\n> Examine box\nA large cardboard box, with `Your new Z-CHIP!' neatly typed in a fixed pitch font on the label.\n\n> You open it\nThe box appears to have been packed rather too tightly with foam rubber. It springs out in all directions, knocking you to the floor.\n\n> You stand on the box\nThe box is too smooth for you to get a good grip.\n\n> You look at the rubber\nA large springy mass of foam rubber pieces, presumably designed to protect the more important contents of the box.\n\n> You look in the box\nJust near the top of the foam packing, you find a leaflet.\n\n> You take the leaflet\nYou already have that.\n\n> You read it\nCongratulations on ordering the z-chip. You should find enclosed in this package one (1) brand new, never before used, mint condition z-machine chip for use with any existing personal computer. Just put the chip in your computer and before you can say `xyzzy' it will be the Interactive Fiction machine of your dreams.\n\nAll you need to do is provide the software. And you need not even do that! We've provided you with a free sample game. Just put the enclosed disk in your computer and before you can say `away' you'll be storing treasures and annoying dragons just like a real adventurer would!\n\nBest of luck!\n\n> Xyzzy\nA hollow voice says `Obviously, you are in the wrong game.'\n\n> You examine the black disk\nA standard 5.25 inch computer disk, labelled `Dungeon.'\n\n> You open the box\nThat's already open.\n\n> You look in the box\nRight in the middle of the packing, you find a well protected silicon chip. This must be the z-chip you have heard so much about."
    },
    {
        "text": "> You look at your surroundings\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA large cardboard box stands open on the floor here, foam rubber packing sprawling in all directions.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a blue disk through the thick glass.\n\n> You jump on the box\nYou leap boldly onto the foam rubber, bouncing and spinning high in the air, finally coming to rest on the tall glass table.\n\n> You examine the blue disk\nA standard 5.25 inch computer disk, labelled `Curses.'\n\n> You look in the box\nThe cardboard box is out of reach.\n\n> You examine Computer\nAn old home made computer with a green screen and a rickety disk drive, circuit boards and such sticking out at all angles.\n\nThe personal computer is currently switched off.\n\n> You put chip in Computer\nCongratulations. Your computer is now a state of the art interactive fiction machine of your dreams. At least that's what the advertisement said.\n\n> You turn on the Computer\nThe computer beeps and hums a little. Presently a green screen saver begins its merry dance.\n\n> You look at the Computer\nAn old home made computer with a green screen and a rickety disk drive, circuit boards and such sticking out at all angles.\n\nThe personal computer is currently switched on.\n\n> You take the blue disk\n(putting the flyer into the green jacket to make room)\nTaken.\n\n> You put the blue disk in the Computer\nThis computer has been known in the past to cause electric shock. It is recommended you turn it off before mucking about with it, even if you are a teddy bear.\n\n> You turn off the Computer\nThe computer goes dark and quiet.\n\n> You put the blue disk in the Computer\nThe blue disk fits nicely in the disk drive.\n\n> You turn on the Computer\nIt's become a matter of pride now not to give up. That tourist map of Paris must be up here somewhere in all this clutter, even if it has been five years since your last trip. And it's your own fault. It looks as if your great-grandfather was the last person to tidy up these lofts...\n\n\n\nThe attics, full of low beams and awkward angles, begin here in a relatively tidy area which extends north, south and east. The wooden floorboards seem fairly sound, just as well considering how heavy all these teachests are. But the old wiring went years ago, and there's no electric light.\n\nA hinged trapdoor in the floor stands open, and light streams in from below.\n\n> About yourself\nAnyway, you play awhile and finish Curses, achieving the rank of Master Druid. You may now wear the official Druid's hat.\n\nNaturally, being a tidy sort of bear, you turn off the computer and remove the disk after you finish your game.\n\n> You put the black disk in the Computer\nThe black disk fits nicely in the disk drive.\n\n> You turn on the Computer\nWelcome to Dungeon. This version created 13-MAR-82. You are in an open field west of a big white house with a boarded front door.\nThere is a small mailbox here.\n\n> You open the mailbox\nAnyway, you play awhile and finish Dungeon, even scoring the last lousy point. This is particularly impressive, as your owner has read the source code and still never managed this.\n\nNaturally, being a tidy sort of bear, you turn off the computer and remove the disk after you finish your game.\n\n> You look under the Computer\nYou are carrying:\na last lousy point stamp\na night cap\na promotional leaflet\na MessageMate (tm) dictaphone\na brass key\na reply card\nyour green jacket (being worn)\na flyer\na yoyo (providing light)\na yellow ball\na baguette\na ukelele\nyour night shirt (being worn)\n\nYou find nothing of interest.\n\n> You examine hat\nA snappy night cap of blue and white stripes, which could, in a darker place, be mistaken for a druid's hat.\n\n> Lick stamp\nThat's not a room teddy bears are normally found in.\n\nTeddy bears, being soft toys, find such feats difficult.\n\n> You go to the south-west\nThe bathroom has recently been tiled in glaring white. A doorway to the northeast leads to the rest of the house.\n\nAlong the west wall is a large tub, which your owner apparently enjoys swimming in.\n\nTo the south is the bathroom sink, the next subject of renovation, with a new copper pipe installed.\n\nA storage drawer has been carelessly left lying about, revealing a deep hole beneath the sink unit.\n\n> You put the stamp in the tub\nBut then you might get your fur wet.\n\n> You wear the hat\nWhat a snug fit! Just the thing for those cold winter nights.\n\n> Go northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nHolly the calico cat is here, fast asleep on the floor.\n\n`Have you always wanted to plunder great underground empires?'\n\n> You show the stamp to the cat\nHolly appears not to notice, or perhaps care.\n\n`Do you dream of saving bridges from iminent disaster during major storms rather than playing volleyball?'\n\n> You throw the stamp at cat\nHolly appears not to notice, or perhaps care.\n\n`Have you ever wondered just how many designers of text adventures are obsessed with their cats?'\n\n> You throw the ball at Holly\n(first taking the yellow ball)\n(putting the reply card into the green jacket to make room)\nHolly awakes with a start, eyes and ears alert, and bats the ball away.\n\nA less than thrilling crescendo of over the top home shopping show muzak can be heard.\n\n> You show the stamp to cat\n(first taking the last lousy point stamp)\nHolly licks the stamp cautiously then shies away with distaste.\n\n`Well want, wish and wonder no more!'\n\n> You put the stamp on the card\nThe stamp sticks nicely to the reply card.\n\nHolly preens herself a little.\n\n> You look at the flyer\nEveryone who is young, or just young at heart, will have a fine day out at the Teddy Bear Picnic. Bring along your teddy bear and partake in all the fun! Frolic in the woods, join the scavenger hunt, and you never know, a special guest may just turn up!\n\n(A picture of a famous teddy bear of print, stage and screen appears on the flyer here)\n\nFor more information about the Teddy Bear Picnic just dial 72 on your phone. Calls will be charged at... (The rest seems quite unimportant apart from the date- tommorow!)\n\nHolly scrabbles at the wall with her paws.\n\n`That's right, with this amazing device, the z-chip, any computer can be a z-machine!'\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly sneaks up on you.\n\n`Just dial 95 on your phone, that's right, dial 95 on your phone, and give the operator our password...'\n\n> You enter the cat\nHolly bats you away with a strong paw.\n\n`xyzzyplughellosailor'\n\n> Go east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA large cardboard box stands open on the floor here, foam rubber packing sprawling in all directions.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a black disk and a blue disk through the thick glass.\n\nYou can also see an ergonomic chair here.\n\n> You look in the box\nScraping right at the bottom of the box, you find a green disk.\n\n> You take disk\nWhich do you mean, the black disk, the blue disk or the green disk?\n\n> You look at the green disk\nA standard 5.25 inch computer disk, labelled `Adventureland.'\n\n> You jump on the box\nYou leap boldly onto the foam rubber, bouncing and spinning high in the air, finally coming to rest on the tall glass table.\n\n> You put the green disk in the Computer\nThe green disk fits nicely in the disk drive.\n\n> You switch on the Computer\nA voice BOOOOMS out:\n\nWelcome to Adventure number: 1 \"ADVENTURELAND\"\nIn this Adventure you're to find *TREASURES* and store them away.\nTo see how well you're doing say: \"SCORE\"\nRemember you can always say \"HELP\"\n\nI'm in a forest.\n\nObvious exits: North, South, East, West, Up.\n\nI can also see: Trees\n\nWhat shall I do now?\n\n> Inventory\nYou are carrying:\n*ROYAL HONEY*\na night cap (being worn)\na promotional leaflet\na MessageMate (tm) dictaphone\na brass key\nyour green jacket (being worn)\na reply card\na flyer\na yoyo (providing light)\na baguette\na ukelele\nyour night shirt (being worn)\n\n> You examine Honey\nWait a moment...\n\nYou couldn't have taken the honey out of Adventureland, because to win you must have left it in the large hollow damp stump.\n\nThe Royal Honey disappears, sorry.\n\nNow don't be like that. Honey is bad for your teeth, anyway.\n\n> Inventory\nYou are carrying:\na night cap (being worn)\na promotional leaflet\na MessageMate (tm) dictaphone\na brass key\nyour green jacket (being worn)\na reply card\na flyer\na yoyo (providing light)\na baguette\na ukelele\nyour night shirt (being worn)\n\nOh stop sulking. It was just an example game, after all.\n\n> You check your inventory\nYou are carrying:\na night cap (being worn)\na promotional leaflet\na MessageMate (tm) dictaphone\na brass key\nyour green jacket (being worn)\na reply card\na flyer\na yoyo (providing light)\na baguette\na ukelele\nyour night shirt (being worn)\n\nOh alright. Have another look in the kitchen- you might find some honey there.\n\n> Go west\nYou'll have to get off the tall glass table first.\n\n> You go to the north-west\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly scrabbles at the wall with her paws.\n\n`Well want, wish and wonder no more!'\n\n> You go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a honey jar and a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here.\n\nYou can also see an answering machine here.\n\n> You take the jar\nThe honey jar is out of reach.\n\n> You go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, prowling menacingly.\n\nHolly paws the comfortable sofa.\n\n`Your computer can become the interactive fiction machine of your dreams, and this week only you can have this miracle z-chip FREE!'\n\n> You go to the east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA large cardboard box stands open on the floor here, foam rubber packing sprawling in all directions.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a green disk, a black disk and a blue disk through the thick glass.\n\nYou can also see an ergonomic chair here.\n\n> You go to the north\nYou'll have to get off the high bench first.\n\n> Go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, fast asleep on the floor.\n\n`xyzzyplughellosailor'\n\n> You go to the east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA large cardboard box stands open on the floor here, foam rubber packing sprawling in all directions.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a green disk, a black disk and a blue disk through the thick glass.\n\n> You go north\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, fast asleep on the floor.\n\n`Just dial 95 on your phone, that's right, dial 95 on your phone, and give the operator our password...'\n\n> You go southwest\nYou can't go that way.\n\n`xyzzyplughellosailor'\n\n> You enter the bed\nYou are on the big bed already.\n\n> Sleep\nTaking off your jacket, you settle down in the warm fabric and fall asleep. In time, morning comes. The day of your owner's big plan to take you along to the Teddy Bear Picnic! David finds the specially chosen baguette and the reply card eventually, and off you go. What a wonderful day. All the other teddy bears are there, playing games and making mischief. Everyone admires your beautiful brown fur, and smart clothes. And the mysterious jar of honey is enjoyed by all.\n\n*** You have won ***\n\nIn that game you scored 33 out of a possible 33, in 6063 turns, giving you the rank of lifelong companion.\n\n> Full\nIn that game you scored 33 out of a possible 33, in 6063 turns, giving you the rank of lifelong companion.\n\nThe score was made up as follows:\n\n4 for gastronomical gymnastics\n2 for constructive campanology\n3 for advanced aviation\n1 for matching millinery\n3 for silicon surgery\n1 for amateur archeology\n2 for feline philately\n2 for furry fashion\n2 for paper pile perusal\n3 for moving machinery\n3 for drawer derailment\n1 last lousy point\n\n33 total (out of 33)"
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist]\n\n> You look around\nPlease give one of the answers above.\n\n> You go northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\nYou can also see a yellow ball here.\n\nHolly the calico cat is here, fast asleep on the floor.\n\nA less than thrilling crescendo of over the top home shopping show muzak can be heard.\n\n> You get the ball\nTaken.\n\n`Well want, wish and wonder no more!'\n\n> Shake ball\nThis makes more of a noise than you might have thought, and Holly awakes with a start.\n\n`Because now, you too can thrill to the drama and excitement of interactive fiction!'\n\n> Shake ball\nThe bell tinkles surprisingly loudly.\n\nWith a flurry of paw steps, Holly rushes to investigate.\n\n> You go to the east\nThe computer room is neat but not often used. One day a new computer will arrive here, and surely then your owner will regain his enthusiasm. For now he keeps mumbling about bank accounts and expensive machines and repair bills.\n\nTo the west lies the south end of the hall.\n\nA tall glass table stands here, home to your owner's old hobby computer. Next to the computer you can make out a green disk, a black disk and a blue disk through the thick glass.\n\n> You jump on the cat\nHolly bats you away with a strong paw.\n\n> You hug the cat\nHolly winds around, curls up, and presently falls asleep.\n\n> You jump on the cat\nGently you climb onto Holly's back and cling on.\n\n> You throw the ball at the table\nHolly is jolted awake. Tracking the ball with lightning reflexes, she leaps and pounces with power and grace. The ball drops to the floor and Holly sniffs at it warily.\n\nIn the middle of all this you are flung away and land on the floor.\n\n> You get the ball\nTaken.\n\nHolly winds around you.\n\n> Shake ball\nHolly looks back and shakes you off with a brush of her tail.\nThis makes more of a noise than you might have thought, and Holly awakes with a start.\n\n> You throw the ball at the table\nHolly starts suddenly. Tracking the ball with lightning reflexes, she leaps and pounces with power and grace. The ball drops to the floor and Holly sniffs at it warily.\n\n> You get the ball\nTaken.\n\nHolly stretches and yawns.\n\n> You throw the ball at the Computer\nHolly is jolted awake. Tracking the ball with lightning reflexes, she leaps and pounces with power and grace. The ball drops to the floor and Holly sniffs at it warily.\n\nIn the middle of all this you are flung away and land on the tall glass table."
    },
    {
        "text": "[Themes: Children's, Fantasy, nonhuman protagonist, cute]\n\n> You go downward\nYou tumble down, but being a soft bear, that's ok.\n\nHolly stares at you.\n\n> You take the ball\nTaken.\n\nHolly winds around the tall glass table.\n\n> You go northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\n`Do you dream of saving bridges from iminent disaster during major storms rather than playing volleyball?'\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nA large cardboard box stands open on the floor here, foam rubber packing sprawling in all directions.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here, containing a honey jar.\n\nYou can also see an ergonomic chair and an answering machine here.\n\n> You go to the northwest\nThe local centre for entertainment and laziness, the living room is permanent home to a very comfortable sofa and a television set. Both of these are much in use, usually at the same time.\n\nFrom here you can go south to the kitchen, southeast to the hall, or east to the study.\n\n`xyzzyplughellosailor'\n\n> Go south\nThe kitchen manages to remain untidy, despite the fact that your owner tends to prefer home delivered pizza to anything else.\n\nA door to the south leads outside, and one to the north leads to the living room.\n\nAlong one wall stands a high bench, featuring a sink full of dirty dishes, next to which you can see a telephone, if you step back and crane your neck a little.\n\nAn empty looking hole at the bottom of the bench loiters suspiciously near a power socket on the wall.\n\nA picnic basket has been left here, containing a honey jar.\n\nYou can also see an ergonomic chair and an answering machine here.\n\n> You climb the chair\nYou struggle, but clamber up successfully.\n\nHolly darts about the Computer Room.\n\n> You jump on the box\nYou leap boldly onto the foam rubber, bouncing and spinning high in the air, finally coming to rest on the tall glass table.\n\nHolly stares at you in amazement.\n\n> Shake ball\nThis makes quite a noise. Holly looks around suspiciously, ears and eyes alert.\n\n> You throw the ball at the box\nHolly starts suddenly. Tracking the ball with lightning reflexes, she leaps and pounces with power and grace. The ball drops to the floor and Holly sniffs at it warily.\n\n> Drop box\nYou haven't got that.\n\nHolly swats away a mote of dust.\n\n> You drop the ball\nThe bell tinkles faintly.\n\nHolly swats away a mote of dust.\n\n> You take the ball\nTaken.\n\nHolly glares threateningly at the cardboard box.\n\n> You throw the ball at Holly\nHolly bats the ball away expertly, and pounces on it again for good measure.\n\n> Inventory\nYou are carrying:\na yellow ball\na night cap (being worn)\na promotional leaflet\na MessageMate (tm) dictaphone\na brass key\nyour green jacket (being worn)\na reply card\na flyer\na yoyo (providing light)\na baguette\na ukelele\nyour night shirt (being worn)\n\nHolly leaps onto the ergonomic chair.\n\n> You show ball to Holly\nHolly appears not to notice. Perhaps if you were a little closer?\n\nHolly leaps down from the ergonomic chair.\n\n> You show ball to Holly\nHolly appears not to notice. Perhaps if you were a little closer?\n\nHolly paws the tall glass table.\n\n> You get on the chair\n(tumbling off the tall glass table and onto the floor first)\nYou struggle, but clamber up successfully.\n\nHolly bats at the cardboard box.\n\n> You put the green disk in Computer\nThe personal computer is out of reach.\n\nHolly pointedly ignores you.\n\n> You show the ball to Holly\nHolly appears not to notice. Perhaps if you were a little closer?\n\nHolly flicks her tail back and forth.\n\n> You climb the chair\nYou are on the ergonomic chair already.\n\nHolly sneaks up on the ergonomic chair.\n\n> You jump on the box\nYou leap boldly onto the foam rubber, bouncing and spinning high in the air, finally coming to rest on the tall glass table.\n\nHolly stares at you in amazement.\n\n> You put the green disk in Computer\nYou need to be holding the green disk before you can put it into something else.\n\nHolly playfully bites the cardboard box.\n\n> You put the black disk in Computer\nYou need to be holding the black disk before you can put it into something else.\n\nHolly pounces on an insect which isn't there.\n\n> You take the black disk\n(putting the brass key into the green jacket to make room)\nTaken.\n\nHolly peers at you expectantly.\n\n> You put the black disk in Computer\nThe black disk fits nicely in the disk drive.\n\nHolly paws the tall glass table.\n\n> You turn on Computer\nWelcome to Dungeon. This version created 13-MAR-82. You are in an open field west of a big white house with a boarded front door.\nThere is a small mailbox here.\n\n> You open the mailbox\nAnyway, you play awhile and finish Dungeon again. Ho hum.\n\nNaturally, being a tidy sort of bear, you turn off the computer and remove the disk after you finish your game.\n\nHolly winds around the tall glass table.\n\n> You wait\nTime passes.\n\nHolly winds around the ergonomic chair.\n\n> Wait\nTime passes.\n\nHolly bats at the ergonomic chair.\n\n> You wait for a while\nTime passes.\n\nHolly sniffs at the ergonomic chair.\n\n> You wait for a while\nTime passes.\n\nHolly sniffs at the cardboard box.\n\n> You wait\nTime passes.\n\nHolly paws the ergonomic chair.\n\n> Wait\nTime passes.\n\nHolly swats away a mote of dust.\n\n> You wait for a while\nTime passes.\n\nHolly tires of this game, and curls up for a snooze."
    },
    {
        "text": "> You go down\nYou tumble down, but being a soft bear, that's ok.\n\nHolly winds around you.\n\n> You take Holly\nI don't suppose Holly the cat would care for that.\n\nHolly bats at the cardboard box.\n\n> You kiss holly\nHolly winds around, curls up, and presently falls asleep."
    },
    {
        "text": "[Themes: Fantasy, horror, fantasy, gender-neutral protagonist, dreams, telescopic descriptions, prince, gothic]\n\nEven after you ended your studies into the arcane, the nightmares continued to get worse.\n\nYou see Amaranth in these dreams - a small and distant land that claims some vague portion of your ancestry - and the tyrant of a prince who rules it. You see everyone you have ever loved, everything you have ever cherished, shrivel and wither and fade - touched by his corrupting shadow.\n\nThe Red Prince must die. You realise that now.\n\nOnly then will the dreams stop.\n\n[If you have not previously visited Amaranth, in dreams or otherwise, type ABOUT and press return.]\n\nWild forestland surrounds a quaint and shadowed village.\n\nA sheer cliff rises over the treetops, upon which is perched an ancient and gothic castle.\n\n(EXPLORE or X the land to find the means to the Red Prince's\nundoing.)\n\n[Author's Note: Welcome to Amaranth, foreigner. The Red Prince haunts your dreams, you say? If you want to overthrow our tyrant, you'll need to consider this whole blighted land at once.]\n\n> You look at the village\nYou follow deserted cobble roads between shuttered cottages and past a burnt-out church. Although barely a soul is to be found out of doors, there is movement in the windows of the local inn.\n\n> You explore\nWhat do you want to explore?\n\n> You look at the village\nYou follow deserted cobble roads between shuttered cottages and past a burnt-out church. Although barely a soul is to be found out of doors, there is movement in the windows of the local inn.\n\n(If you get stuck, SLEEP. Your dreams brought you to Amaranth and\nthey may still show you the way.)\n\n> You look at inn\nThe inn bears no name, only a hanging sign depicting an overflowing tankard. The windows are barred and the door is unusually heavyset, but the hearth within casts a friendly glow and the barstool is a welcome respite for your weary legs.\n\nThe innkeeper nods a silent greeting, while a drunken carouser stamps his feet and slurs boisterous songs.\n\n(You may find out important information if you TALK TO the\ninhabitants of Amaranth.)\n\n> You talk to the innkeeper\nThe innkeeper sizes you up. \"Don't get so many of your sort round here, least not these days. If you're looking for a drink, I have the best ale in all Amaranth.\"\n\n> You talk to the carouser\nThe carouser looms over you, his breath stinking of cheap ale. \"We don't need any more of your sort around here. Why don't you bloody well bugger off back where you came from?\"\n\n(ATTACK belligerent parties WITH any weapons you may have. If you\nhave yet to find anything more suitable, you can always resort to your FISTS.)\n\n> You examine the carouser\nBurly and red-nosed. He reeks of ale.\n\n> You talk to the carouser\nThe carouser slams his drink on the bar. \"Get out! Your kind aren't welcome here! Or are you looking for a fight?\"\n\n> About yourself\nOne who has spent too many nights studying forgotten lore, and too few days in the sunlight.\n\n> You attack the carouser with the fists\nYou raise your fists to attack, and the carouser suddenly falls to his knees. \"No, don't! I'm the last of my brothers and sisters left alive! This lighter's not worth much, but my father gave it to me. Take it, and we'll call it quits!\"\n\nYou pocket the lighter and lower your fists.\n\n> You examine lighter\nThe engraving reads, \"Be sober, be vigilant.\"\n\nWith this, you should be able to light anything suitably flammable.\n\n> You talk to the carouser\n\"I s'pose you'll be setting fire to all sorts of things now. You look the type.\"\n\n> You set the fire to the carouser\nThere seems little purpose in setting the carouser on fire.\n\n> You ask the innkeeper for the drink\nThe ale served in the inn proves lukewarm and watered down.\n\nThe innkeeper meets your eye and smiles. You smile back.\n\n> You talk to the innkeeper\n\"They say the Armoured Lady has haunted the church graveyard for a hundred years. Never seen her myself, mind.\"\n\nscurry back to their homes. You retire to the local inn.\n\nflapping of leathery wings. Come morning, another poor soul is found pale, weak and proclaiming her love for the Red Prince.\n\n> You look at the village\nYou follow deserted cobble roads between shuttered cottages and past a burnt-out church. Although barely a soul is to be found out of doors, there is movement in the windows of the local inn.\n\n> You examine the church\nOnce grand and reverently architected, the windows are now empty, the roof open and the walls blackened by smoke. The spire remains standing, but the stairs up were apparently burned away in the original conflagration.\n\nDespite this blasphemy, the graveyard seems untouched.\n\n> You examine the spire\nAn accusing claw, pointing at the sky.\n\n> You examine the graveyard\nEmerging from tangled weeds are a chaos of headstones topped with cherubs and angels. A mausoleum stands in one corner.\n\nWithin the gates of this graveyard you feel watched.\n\n> You examine the headstones\nThere seems to have been a long lasting tradition of angel headstones in Amaranth. These stone guardians seem both protective and resigned to mute sadness.\n\n> You move the headstone\nThose are fixed in place.\n\n> You examine the mausoleum\nA small and gabled building of mossy stone. The silence around it is unnatural and oppressive.\n\nAs soon as you step inside the mausoleum, a long-haired revenant stumbles shrieking from its depths, clad in chainmail and brandishing a gleaming sword. Her voice claws at your eardrums and you find yourself fleeing the graveyard in terror.\n\nShe stops at the threshold of the mausoleum and watches you with empty eye sockets.\n\n> You talk to the revenant\nTip of her sword at your throat, the revenant speaks through parched lips. \"Treachery at every turn. Betrayed by my own army. Failed by my heirs. Take this sword. Slay the one who trapped me in my own grave. Fail, and I shall recover it from your corpse and devour your heart. As I did with those who came before you.\"\n\nWith a flash of white-hot light from her empty eye sockets, the armoured lady retreats into the mausoleum and disappears. You find yourself holding her silver sword.\n\n> You examine the sword\nIts edge glints with an otherworldly light.\n\n> Inventory\nYou are carrying:\na silver sword\nan engraved lighter"
    },
    {
        "text": "[Themes: Fantasy, telescopic descriptions, gothic, horror]\n\n> You look around\nWild forestland surrounds a quaint and shadowed village.\n\nA sheer cliff rises over the treetops, upon which is perched an ancient and gothic castle.\n\n> You look at the houses\nFor a moment you are confused. You might know that item by another name, it might not be important, or perhaps you grasp at phantoms that exist on another plane.\n\n> You take the barstool\nYou decide to leave the barstool for now.\n\nscurry back to their homes. You retire to the local inn.\n\nflapping of leathery wings. Come morning, another poor soul is found pale, weak and proclaiming her love for the Red Prince.\n\n> You examine the forest\nThe forests of Amaranth are dark and wild. An unpaved path leads through the grasping branches, past an abandoned shack and an ancient stone shrine, and ends - seemingly at random - in a quiet glade.\n\n> You examine the shack\nClearing away the ivy that has overgrown its broken door, you discover that the abandoned shack is the entrance to an old mine shaft.\n\n> You look at the shaft\nThe mine shaft is lit only by an eerie phosphorescence. Deserted rails lead down through the subterranean passages and makeshift crosses protrude from cave-in debris.\n\nAmong the abandoned mine equipment, you see a stick of dynamite.\n\n(You can TAKE certain items and PUT them IN other locations. See\nwhat items you're carrying with INVENTORY or I.)\n\n> You look at the dynamite\nThe stick of dynamite is old, but dry and intact. It should make a reasonable bang several seconds after being lit.\n\n> You take the dynamite\nYou take possession of the stick of dynamite... carefully.\n\n> You look at the shrine\nA weather-smoothed stone that might once have been in the form of some obscure god.\n\nA horned skeleton is lying near the shrine.\n\n> You get the horn\nThose seem to be a part of the horned skeleton.\n\n> You get the skeleton\nYou gather up the horned skeleton. It maintains its form almost as though some inhuman will remains to hold it together.\n\n> You look at the stone\nA weather-smoothed stone that might once have been in the form of some obscure god.\n\n> You move the stone\nIt is fixed in place.\n\n> You examine the path\nThe path that leads through the forest has been worn into the dirt by many feet.\n\n> You examine the glade\nA quiet clearing in the forest, carpeted in daisies that gently sway in the wind.\n\nA ring of scorched earth is the only blot on the glade's idyll.\n\nscurry back to their homes. You retire to the local inn.\n\nflapping of leathery wings. Come morning, another poor soul is found pale, weak and proclaiming her love for the Red Prince.\n\n> You examine the ring\nYou step uneasily around the ring. It is a perfect, unnatural circle.\n\n> You enter the ring\nAs you step into the ring of scorched earth, the sky beings to acquire a green tint. The trees around you warp and change into species you have never seen before. Mellifluous voices carry on the wind, and you catch glimpses of naked, horned figures frolicking in the eerie light of two suns.\n\nWith the gasp of one who has been holding their breath, you step out of the ring and back into the everyday world, before you are completely lost.\n\n> You throw the skeleton into the ring\nYou place the horned skeleton within the ring of scorched earth, taking care not to enter it yourself.\n\nWith a sound like the ripping of flesh, a toothed maw opens in the ground, swallowing the skeleton whole.\n\nThe maw stretches wide, exuding sulphur and the sense of an immense appetite yet unfulfilled.\n\n> You look at the shack\nThe abandoned shack stands over the entrance to an old mine shaft.\n\n> You go castle\nA towering gothic structure of ancient stone. Its crumbling watchtower overlooks the village, and dim lights glow in the windows of the Great Hall.\n\nGaunt soldiers stand guard around the Great Hall.\n\n> You examine the soldiers\nThe gaunt soldiers of the Red Prince are haggard and emaciated. Their pallor speaks more of the grave than the battlefield.\n\n> You examine watchtower\nThe watchtower has a commanding view of the village below. Though built from huge stone bricks that have resisted weathering, it slants distinctly.\n\nThe air inside the watchtower is thick with flies. Rotting carcasses are shackled to the walls.\n\nA massive gong stands within the watchtower.\n\n> You examine carcasses\nVery little is left of these unfortunate prisoners.\n\n> You examine the gong\nHeavy and ornate, it will make quite a sound when rung.\n\n> You hit gong\nThe gong resounds with a mournful note that echoes throughout the castle.\n\nThe gaunt soldiers that guard the Great Hall leave their posts to file slowly into the watchtower. They shamble and crawl over its mouldy flagstone, picking at the carcasses chained to the walls.\n\n> You look at great Hall\nYou enter a domed hall of faded tapestries and tarnished gold. Cobwebs span the archways and dust coats every surface.\n\nA tall, pale figure emerges from the shadows. \"Welcome. I am known as the Red Prince. A fitting title, I feel. And who might you be? No, don't tell me.\"\n\nA chill runs down your spine as his dark eyes drill into yours. You hear subtle echoes of your recent thoughts and conversations, before he breaks the contact and smiles. \"A fellow student of the occult, I see. Do feel free to explore my library.\"\n\nFinding little fresh meat to sate their appetites, the gaunt soldiers march back to their posts in the Great Hall.\n\n> You examine the library\nShelves and shelves of books are crammed together in the tight space of the castle library. The air is musty with the smell of aging paper. You find any number of arcane and esoteric books, many of which you have previously read.\n\nA few rare titles catch your eye, however, books you had thought long lost to the world: a Treatise on Other Worlds, Analysis Of Evil, Ignorant Children, History of Greatness and a black book.\n\nA lantern has been cast aside in one corner.\n\n> You get the lamp\nFor a moment you are confused. You might know that item by another name, it might not be important, or perhaps you grasp at phantoms that exist on another plane.\n\n> You take the lantern\nTaken.\n\n> You examine the lantern\nA sturdy lantern in an old style. It is unlit.\n\n> Light lantern\nYou light the lantern. You can now explore places that are shrouded in darkness.\n\n> You look at the black book\nThis book is distinguished by only an embossed skull on its cover. Nevertheless, you recognise it immediately. You are unable to read the thin, inhuman scrawl within its pages, and would be reluctant to expose yourself to its horrors even if you could.\n\nscurry back to their homes. You retire to the local inn.\n\nflapping of leathery wings. Come morning, another poor soul is found pale, weak and proclaiming her love for the Red Prince.\n\n> You read Treatise on other Worlds\nYou thumb through the book looking for anything of interest, and find the following:\n\n\"...such 'Fairy Rings' have long been held in European folklore as passages to the realm of the Others. Doors left ajar, if you will, awaiting the return of visitors to our world.\n\n\"Experimentation reveals that such travellers need not return to their doorway in a state of life for it to open, albeit, in such cases, not quite to the place from which they originally came.\"\n\n> You read the analysis of the Evil\nYou thumb through the book looking for anything of interest, and find the following:\n\n\"Many myths and tales attribute various strengths and weaknesses to such evils - from the ability to turn to mist, to a variety of apotropaics thought to ward them away. In particular, the powers of evil are said to wane considerably during the daylight hours, although the notion that sunlight should result in the combustion of the demon is recent and apocryphal.\n\n\"Most reliable sources agree on the effectiveness of silver as anathema to evil. Those advocating iron instead are surely victim to ecumenical confusion between those that are Evil and those that are merely of the Other.\"\n\n> You read ignorant children\nYou skim the first chapter and pick out a passage at random:\n\n\"Moulded by foreign magicks into human form, these cuckoo chicks of outre parents may even reach adulthood unaware of their heritage and abilities.\"\n\n> You read the history of the Greatness\nYou read a page from the middle of the book:\n\n\"But recognising his magnificence, the invading army pledged their immortal souls to his throne. The betrayed jezebel fell into a fatal fit of rage and was said to have died of a heart too unrighteous to beat.\"\n\n> You place the dynamite in the castle\nAlthough you're unable to find an obvious weak point, you place the dynamite in the castle.\n\n> You examine the cliff\nThese treacherous cliffs of black rock project straight up from the banks of a raging river and cast a shadow over the village. A single narrow trail leads up to the castle.\n\n> You examine the trail\nIt winds up the cliff, starting from the banks of a raging river.\n\n> You examine the river\nA deep river of hidden undercurrents and nameless flotsam. Following it to its source, you find a waterfall cascading down the cliff face.\n\n> You look at the waterfall\nBehind the waterfall is a dark cave.\n\n> You examine the cave\nHolding your lantern high to illuminate your way, you edge into the cave.\n\nAlthough seemingly natural in origin, the cave intersects with the foundations of some structure. They're not substantial enough to be shoring up the entire castle, but you suspect that these foundations might underlie its watchtower.\n\n> You look at the foundations\nThick beams of damp and rotting wood that must support the castle watchtower.\n\n> You get the dynamite\nYou take possession of the stick of dynamite... carefully.\n\n> You put it in the foundations\nYou study the foundations for a while, working out where the point of greatest weakness is, and place the dynamite there.\n\n> Light dynamite\nYou light the fuse and quickly make your exit from the cave. Scant seconds later the dynamite explodes and the nearby foundations fold up like a concertina.\n\nWith a low rumble, the watchtower collapses into a pile of broken stone and dust, forever changing the skyline of Amaranth. Those few of the Prince's terrible soldiers to escape are in no state to return to their posts.\n\nscurry back to their homes. You retire to the local inn.\n\nflapping of leathery wings. Come morning, another poor soul is found pale, weak and proclaiming his love for the Red Prince.\n\n> You look at Hall\nYou enter a domed hall of faded tapestries and tarnished gold. Cobwebs span the archways and dust coats every surface.\n\nThe Red Prince lounges in a high-backed chair, a terrible and languid smile adorning his pale features.\n\n> You look at the tapestries\nThese faded tapestries depict battles whose combatants and outcomes have been obscured by age.\n\n> You talk to Prince\n\"Oh... you were expecting me to be perturbed that you intend to kill me? You think, perhaps, that you're the first to try? But that is not so. I have bested far greater warriors than you. Much braver souls have begged me for mercy. Whole armies have been broken to my will. Yes, carry out your futile designs. And the less you bore me, the less I shall make you suffer.\"\n\n> You wipe the smile off his face\nFor a moment you are confused. You might know that item by another name, it might not be important, or perhaps you grasp at phantoms that exist on another plane.\n\n> You kill Prince with the sword\nYou charge the Red Prince, swinging the silver sword. He easily evades your clumsy attack, at first, before you find a grace and prowess you had no idea you possessed. You duck beneath fingers wielded like talons and drive the silver sword through his heart. With a prolonged death rattle, he crumples into his chair.\n\nThe corpse of the Red Prince bears a strange and terrible smile.\n\n> You examine the corpse\nIn truth, he does not seem to have changed much from when he was alive.\n\nThe corpse of the Red Prince moves with the slightest twitch.\n\n> You take the corpse\nTaken.\n\nA shudder runs through the corpse of the Red Prince.\n\n> You put the corpse in the ring\nWhile you heft it towards the maw, the Red Prince's corpse seems to convulse with a renewed effort to tear through the thin albumen between death and unlife.\n\nAs you finally cast it into those terrible, subterranean jaws, the corpse's eyes flick open. \"No! You cannot! Wretch!\"\n\nBut the Red Prince's curses grow distant as he tumbles into oblivion.\n\nWith a satisfied, sulphurous growl, the maw's gangrenous lips draw closed and fade completely from this world. Behind you, the sinister castle that has for so long dominated the sky of Amaranth finally collapses in on itself.\n\nYou draw a deep breath of fresh air, and feel a weight lifted from your soul. Perhaps now you can return home and rest."
    },
    {
        "text": "[Themes: Historical, Scottish, birds, occult, cats, Historical]\n\nScotland, 1594:\nThe sea spray blasts your face, as you stand on the exposed\nclifftop,\nlooking towards Fast Castle on the outcrop ahead. Your master\nstands\nbeside you, leaning heavily on his stick, seemingly deep in\nthought.\nLittle wonder, given what faces him in there. What a hellish place. You pause to remember what Napier told you about the reasons for\nthis\nvisit ...\n\n\n\n6/12N)\n\nThis room in Napier's home, Gartness Castle, is where he spends\nmost\nof his waking hours, working on numerous projects and conducting strange experiments. Beside one wall, a desk and chair sit, the\ndesk\ncovered with papers lying haphazardly on the surface, though\nsomehow\nNapier always finds what he is looking for. A cupboard provides storage, and, on the floor, a rich rug provides warmth, one of the\nfew\nsigns of conventional comfort. A small window is the only source of natural light, though your master usually works late at night,\nburning\nmany a candle. Through a stone archway a staircase leads down to\nthe\nfloors below. A ladder is propped up near one wall, leading up to\nan\nopening in the ceiling.\n\nYou can see a handwritten note here.\n\n[Author's Note: Scotland, 1594: You're used to strange requests in your role as servant to John Napier. He's not just famous as a mathematician, but is also known for his occult skills and knowledge, still valued in these dangerous times. But the latest quest may be the toughest one yet, as you prepare to help him hunt for lost treasure in remote Fast Castle, home of the dangerous Logan of Restalrig. Will you find it? Or will you discover something else instead?]"
    },
    {
        "text": "> You get the note\nTaken.\n\n> You read it\nWritten in your master's barely legible handwriting, this is a list\nof\nthe items he needs you to find to take on the trip to Berwickshire. They are his grimoire, crystal ball, wooden chest, alchemical\nsupplies\nand his familiar.\n\n> You examine the window\nGazing through the window you see the Stirlingshire countryside outside, and wish you were out there, not stuck in here. But then\nyou\nnotice something on the window sill: a curious shape. You approach, and realise that it is a glass globe, your master's crystal ball.\n\n> You get the globe\nYou pick up the crystal ball carefully, reminded again of its surprising weight, and its unnerving power to pull your gaze\nwithin.\nYour master uses it to divine and scry for information. You do not understand how it works; it must be some strange power. You\nshudder,\nand put the object carefully on the desk, ready for the journey to Fast Castle. Perhaps he will find it useful there, in the hunt for\nthe\ncastle's hidden treasure.\n\n> You open the cupboard\nYou open the cupboard, revealing an ornate wooden box.\n\n> You get the box\nYou carefully pull out the highly ornate wooden box of alchemical supplies, chemicals and glassware, taking care not to damage its precious contents. There is a scientific method to much that your master does. He is highly skilled in techniques in chemistry,\nnatural\nphilosophy and biology, as well as in alchemy. But always alongside the more rational scientific approaches runs something darker, less acceptable to the authorities even in these dangerous times,\nsomething\nthat your master's \"clients\" like Logan of Restalrig know full well when they hire him to work for them. You decide to put the box on\nthe\ndesk for now, rather than carry it around.\n\n> You look at the papers\nA disorganised mess of varied sheets of paper, all covered with Napier's scribbles. You wonder, yet again, how he ever finds any\nold\nnotes again.\n\n> You search them\nYou consider looking through the papers, but Napier is obsessive\nabout\nwhat he writes on them, and their haphazard order. So you leave\nthem\nalone.\n\n> Go upward\nYou climb carefully up the ladder to the library.\n\nIt is no wonder your master sends you up to fetch the books now. Climbing that ladder is hazardous enough for anyone. This is a\ncramped\nspace, squeezed into the top of the castle turret, with a rickety ladder leading down to the workshop below. Gaps in the roof\nstructure\nallow shafts of light to slant through, but the room is just about watertight. Piles of books lie all around, in no particular order.\n\n> You search the books\nYou search thoroughly through the books, and after ages are about\nto\ngive up, then you spot something important poking out from one\npile.\nYou carefully ease it out. It is your master's grimoire.\n\n> You get the grimoire\nYou reach over for the grimoire, struck again by its weight and\nheft.\nIt is just one of many books that Napier uses to research solutions\nto\nproblems, but it is by far his most precious, containing notes and spells collected over many years. It is a large leather-bound\nvolume,\nwith a black cover, and his family crest on the front. The pages inside are fragile, and bear the signs of much use. All are covered with his rapid handwriting, as well as writing in other hands that\nyou\ndo not recognise.\n\nYou do not think the volume contains much information about Robert Logan of Restalrig, who invited your master to Berwickshire on this latest quest, though there may be some notes about Logan's ancestry and his connections with various noble and royal families. However, the grimoire will certainly contain other information that may help\non\nthe spot there."
    },
    {
        "text": "[Themes: Historical, birds, Scottish]\n\n> Go downward\nThis room in Napier's home, Gartness Castle, is where he spends\nmost\nof his waking hours, working on numerous projects and conducting strange experiments. Beside one wall, a desk and chair sit, the\ndesk\ncovered with papers lying haphazardly on the surface, though\nsomehow\nNapier always finds what he is looking for. A cupboard provides storage, and, on the floor, a rich rug provides warmth, one of the\nfew\nsigns of conventional comfort. A small window is the only source of natural light, though your master usually works late at night,\nburning\nmany a candle. Through a stone archway a staircase leads down to\nthe\nfloors below. A ladder is propped up near one wall, leading up to\nan\nopening in the ceiling.\n\nOn Napier's desk are an ornate wooden box and a round ball of multi-coloured glass.\n\n> Search desk\nYou cast your eyes over your master's desk. As well as a messy pile\nof\nvaried papers, all covered in his handwriting, you spot a corded\nrope\nlure that he uses for his pet bird.\n\n> You get the lure\nTaken."
    },
    {
        "text": "[Themes: Historical, cats, birds, Historical]\n\n> Go downward\nNapier's bedroom is a large room, but largely empty beyond the\nmodest\nbed in the middle of the room, and clearly little used, certainly\nno\nmore than necessary. Through a stone arch, the staircase of the\ntower\nruns up and down.\n\n> You look under the bed\nYou kneel down and look under the bed. Yes, there is something\nthere.\nYou reach in, and drag something out. It is a chest.\n\n> You get the chest\nYou pull the chest towards you, and throw it open. The smell of old wood and something else that you can't quite put your finger on assails you. This is the chest that Napier always takes on journeys and research trips, to store his equipment. Though of course it is you, the assistant, who has to carry it about. You know that where\nyou\nare going, Fast Castle, is remote and isolated, lashed by the waves and balanced precariously over the North Sea. You will have to make sure that Napier has all that he might need there, and the chest\nwill\nbe put to good use. You close the chest for now, relieved to have found it, ready for this latest journey. It is heavy, so you leave\nit\non the floor here for now. At least you know where it is."
    },
    {
        "text": "> Go downwards\nThis simple unfurnished space leads from the tower Napier\nappropriated\nfor his own use through the servant rooms to the more comfortable sections intended for the family. Steps lead back up to Napier's rooms, and an arched doorway leads east to the rest of the castle.\n\nYou can see a maid and a large black bird here.\n\n> Wave lure\nYou wave the lure towards the bird, and attract its attention. It flies over to you, and seems willing to go with you, perhaps\nrealising\nthat its master needs it to do this. You shudder as it approaches, reminded how much you despise it. Undoubtedly the truest physical representation of your master's dark arts, this jet black bird\nstrikes\nterror into all others who see it. Servants and neighbours mutter darkly of it, and even the local parish minister has preached\nagainst\nit none too subtly in the kirk pulpit. Yet your master seems to\nfind\nit helpful, even if all others loathe it. You now carry the bird.\n\nJust as you locate the last item on the list, Napier appears, a\nflurry\nof black cloak and long beard. \"Ah you found everything we need.\nGood!\nWe must leave soon for Fast Castle, though whether we will find the treasure Logan seeks I am not so sure. I certainly hope so. The\nreward\nwould be great.\"\n\nSome days later, you arrive at Fast Castle. Soon after entering the castle your master is admitted to the presence of Robert Logan. You accompany him.\n\nThis modestly-sized room is somewhat claustrophobic, an effect only slightly relieved by the candles burning rather erratically on the table in the middle of the room. Chairs for diners surround the\ntable,\nand you see plates of food.\n\nYou can see John Napier of Merchiston, Sir Robert Logan of\nRestalrig\nand Francis Stewart, Earl of Bothwell here.\n\n\"Sit down man!\" says Logan brusquely. Clearly addressing Napier.\nLogan\npays you no attention. You might as well be invisible.\n\n> You examine napier\nYour master is tall and imposing, with a fiercely intelligent gaze. Now in his forties, his brown hair and long beard are speckled with grey. He wears his usual outfit: a long, black robe. Often he\nreminds\nyou more of a rook than a man.\n\nYour master sits down. You stay standing, just behind him. \"My\nlords,\ngreetings,\" says Napier, nodding to both men in turn.\n\n> You look at Logan\nTall and red-haired, the laird of Restalrig and also, of course, of Fast Castle is smartly dressed, in trousers, shirt, jacket and even\na\nruff. At times you catch a brief glimpse of a sheathed blade, and remember how dangerous people say this man can be, however elegant\nhis\nattire here may be.\n\nThere is an explosion of laughter from the man you recognise as the Earl of Bothwell. \"Dinnae stand on ceremony man, even if it is good that you know your betters. Who's this with you, Napier?\" asks the Earl, looking keenly at you.\n\n> You examine stewart\nSmaller than his cousin Logan, Francis, Earl of Bothwell is of\nmedium\nsize, with dark hair, and slight build. You look at him\nuncertainly,\nwondering if he has inherited any of the character of his notorious uncle, Queen Mary's ill-fated last husband. But then you remember\nthat\nhe was recently outlawed by King James, so it is somewhat\nsurprising\nto find him here.\n\n\"My apprentice, your lordship,\" says your master. \"Bow to the\nlords!\"\nhe whispers sideways to you.\n\n> Bow\nLogan of Restalrig smiles grimly as you bow before him. You think\nhe\napproves.\n\nBothwell laughs again, but Logan looks fierce. \"You are lucky to\nmeet\nmy cousin Bothwell here,\" says Logan, nodding towards the Earl.\n\"But\ntell no-one else he is here, or else!\" and he makes a slicing\nmotion\nacross his throat. You quake with fear, and shake your head vigorously. You will tell no-one.\n\n> You look at table\nMade from a dark wood, the long table provides eating space for up\nto\neight diners.\n\nThere is a sudden sound of something falling over. Glancing to the table, you see that Napier has knocked over his glass of wine. Fortunately it was only part full, but a pool of red starts to\nspread\nacross the table. \"Clean it up then!\" barks Logan at you, while\nyour\nmaster trembles in terror.\n\n> Clean table\nYou don't have anything to hand to clean up the spill with. Perhaps there is something useful on the table?\n\n> You look at the table\nMade from a dark wood, the long table provides eating space for up\nto\neight diners. You notice a napkin lying on the table.\n\n> You get napkin\nTaken.\n\n> Clean table\nUsing the napkin you mop up the wine spill as best you can. Logan glowers throughout, while Bothwell laughs and Napier trembles with fear. Finally, you right the wine glass again, and step back.\n\"Anyway\nto business!\" says Logan fiercely, leaning to refill Napier's glass with wine, while at the same time staring sternly at Napier. \"Treasure! Yes you are here to find my missing fortune, supposedly hidden somewhere in the castle a century ago.\"\n\n> You examine the food\nThe food served is a mix of meats, including game, and vegetables.\n\n\"Is the story reliable, my lord?\" asks your master tentatively. \"Of course I am happy to look ...\"\n\"There's the challenge Robert!\" says Bothwell, laughing again. \"Oh you're right man,\" he continues, looking at Napier. \"It's a legend,\nno\nmore, but surely worth looking for. Possibly French gold, aye\nRobert?\"\nLogan nods. \"Or English silver,\" says Logan, \"supposedly somewhere\nin\nthe castle depths.\" He strokes his chin thoughtfully.\n\n> You examine the chairs\nA number of chairs sit around the table.\n\n\"Well yes, I can look,\" says Napier carefully. \"And hopefully I\nwill\nfind the treasure.\" Then a pause. \"But if I don't find it, I must\nhave\nyour guarantee that I can leave safely, and unharmed.\" He looks shakily towards Logan. Bothwell watches, keen to see what his temperamental cousin will say.\n\n> You look at the candles\nThe candles around the edge of the room flicker, as they provide much-needed illumination.\n\n\"Och man, have no fear,\" says Logan. \"We agreed in that contract\nyou\ndrew up. And I give you my word.\" But his expression is cold, especially his eyes. You feel scared, and worried.\n\n> You wait\nTime passes.\n\nThere is an awkward silence, that lasts for an uncomfortable length\nof\ntime. Then Bothwell claps his hands together. \"Go on then man! And\nmay\nGod be with you in your hunt.\" Napier rises, stepping backwards\nfrom\nthe table. \"My lords ...\" he says, bowing again, before leaving the room. You follow closely behind.\n\nAfter a night of poor sleep, you accompany your master to start to search for the hidden treasure. An ancient but surprisingly\nsprightly\nservant, Ralph, leads you both down to the cellar, while you drag\nyour\nmaster's chest behind you. The further down you go, the darker\nthings\nget, and you soon need the light from the lantern Ralph is carrying\nto\nsee properly.\n\nsits\non. It is not a large space, but probably large enough for the\nstorage\nneeds of this small castle. In the nooks and crannies around here\nyou\nglimpse bottles of wine, barrels of ale and other supplies.\n\nYou can see a heavy wooden chest (closed), Ralph and John Napier of Merchiston here.\n\n> You examine Ralph\nRalph is an old castle servant, probably in his fifties or so, and rather bent over with age. You wonder what secrets he has witnessed over the years.\n\n> You look at napier\nYour master is tall and imposing, with a fiercely intelligent gaze. Now in his forties, his brown hair and long beard are speckled with grey. He wears his usual outfit: a long, black robe. Often he\nreminds\nyou more of a rook than a man.\n\n> You look at the chest\nAbout three foot wide by two foot deep and another two foot tall,\nthis\nwooden chest is relatively compact and eminently suitable for travelling purposes.\n\n\"Get my alchemical kit out!\" says your master, suddenly. Ralph\nlooks\nalarmed for a moment, while Napier glares fiercely around.\n\n> Open chest\nYou open the heavy wooden chest, revealing a round ball of multi-coloured glass and an ornate wooden box.\n\n> You give the box to Napier\n(first taking the ornate wooden box)\nNapier grunts some words of gratitude, and takes the box. He lays\nit\ncarefully down, and throws it open, revealing the mass of\nmysterious\nchemicals and containers inside. He takes out a number of small\nglass\njars. \"Och, but we need oil!\" He turns to Ralph. \"Do you have any\nin\nthe castle, man?\" Ralph nods, mutely, seemingly uneasy at what\nNapier\nis doing. \"Go with him to fetch some,\" says Napier to you urgently. \"Here, take this.\" He hands you a glass jar to carry the oil. Ralph turns, then remembers to hand the lantern to Napier. Ralph steps\nback,\ninto the semi-shadow, and beckons to you to follow him back up into the castle.\n\n> You follow Ralph\nYou follow Ralph back up a gloomy winding staircase of rough-cut stones. You watch carefully as he steps ahead, and are confident\nthat\nyou can remember the route back. The walls beside you here are wet\nand\nglistening, reminding you of the castle's dangerous location above\nthe\nwild North Sea. Shortly the light increases, and you emerge into\nthe\nkitchen area. \"Just wait here a moment, and I will fill this jar up with oil,\" says Ralph, taking the jar, and scurrying off through a doorway to the east.\n\nA gloomy stone-lined chamber, this is where the castle's food is prepared. A fire and hearth are in one wall, with a chimney\nreaching\nup. A table is pushed against the opposite wall, and pots, pans and cooking utensils hang around. Exits lead to the west and east, and\nyou\ncan smell fresh air from both directions. Steps lead back down to\nthe\ncastle cellar.\n\n> You examine table\nThe kitchen table is empty, ready for cooking later.\n\n> You look at the utensils\nThe utensils look to be comprehensive, though you are too\nunfamiliar\nwith cooking to be able to identify them all.\n\n> You examine the chimney\nA fire burns brightly in the hearth in the kitchen, providing both heat and a way of cooking the food for the castle. A chimney\nstretches\nupwards.\n\n\"Ah there you are!\" says Ralph, returning. \"Here you are,\" he says, handing you the jar, now full of oil. \"You should get back to your master with that.\" Or alternatively perhaps you could take the\nchance\nto explore the castle a bit more first? Ralph scurries off,\nmuttering\nsomething about not being witness to ungodly things."
    },
    {
        "text": "[Themes: Historical]\n\n> Go downward\nYou retrace your steps back down to the cellar.\n\nsits\non. It is not a large space, but probably large enough for the\nstorage\nneeds of this small castle. In the nooks and crannies around here\nyou\nglimpse bottles of wine, barrels of ale and other supplies.\n\nYou can see a heavy wooden chest (in which is a round ball of multi-coloured glass) and John Napier of Merchiston here.\n\n> You give oil to Napier\n(the jar of oil to John Napier of Merchiston)\nYou hand the jar of oil to Napier, who nods brief thanks, before proceeding to dab spots of oil around the cellar. You watch, in silence, familiar with his methods. He pulls the grimoire out from\nhis\nrobes, and flicks through its pages quickly. \"Ah, but I need my\nbird\nfor this. Go and fetch it. Here, you'll need this,\" he says,\nreaching\ninto a pocket and pulling out the rope lure, which he hands to you. \"Go! Get it from our room.\"\n\n> You ascend\nA gloomy stone-lined chamber, this is where the castle's food is prepared. A fire and hearth are in one wall, with a chimney\nreaching\nup. A table is pushed against the opposite wall, and pots, pans and cooking utensils hang around. Exits lead to the west and east, and\nyou\ncan smell fresh air from both directions. Steps lead back down to\nthe\ncastle cellar.\n\nthe table. From the mess of flour all over her arms and down her front, you guess that she must be the castle cook.\n\n> You ask the cook about the room\nThe cook looks puzzled. Maybe ask about something else?\n\nThe cook shakes out some flour, and starts to pound some dough.\n\n> You ask the cook about napier\n\"Your master? I know nothing about him,\" says the cook, shaking her head.\n\nThe cook glances up at the kitchen tools, either deep in thought,\nor\nmore likely trying to decide what tool she needs next.\n\n> Go east\nHere you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well\nbeing.\nThe main part of the castle rises up to the north, by far the best built part of the castle complex. Other than that, the only way you can go from here is to the east, where you see the edge of the\ncastle\nplatform.\n\n> You examine the platform\nThe castle is built on a flat platform of land, high on this rocky promontory reaching out into the North Sea.\n\n> Go north\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\n> You go east\nThis is the sleeping area for guests to the castle. Your master and you slept here last night, him in the bed, you trying to get comfortable on the floor. The only exit is back out to the west.\n\nYou can see a large black bird here.\n\n> Wave lure\nUsing the lure, you reluctantly tempt the bird over to you. It\ncomes\nover, and seems willing to come with you. You now carry the bird.\n\n> You go west\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nAs you step back out into the hallway there is a sudden, sharp\nhissing\nnoise. Looking down, you see a fierce ginger cat, its fur on end, standing blocking the exit to the courtyard. It glares at the bird\nyou\nare carrying. The bird, by contrast, appears to have no interest in the cat, and sits calmly, preening itself.\n\n> You look at the cat\nThe cat is a fierce-looking animal. Must be some age too, and\nclearly\nit's been in some scraps over the years.\n\nThe cat growls, a low, disturbing sound.\n\n> Go south\nThe cat rises up fiercely, hissing and spitting. It won't let you past.\n\nThe cat glares fiercely at the bird.\n\n> Go west\nThe cat hisses, but lets you go in that direction.\n\nYou remember this place from your meeting with Logan and Bothwell earlier. Now it is deserted, and has a very different feel, with\nthe\ntable and chairs unoccupied. The only exit is to the east.\n\n> You look at what you're carrying with you\nYou are carrying:\na large black bird\na corded rope lure\na napkin\na handwritten note\nsome trousers (being worn)\na plain shirt (being worn)\n\n> You examine the napkin\nThe napkin is soaked with red wine. You touch it as little as possible.\n\n> You go to the east\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nYou can see a ginger cat here.\n\n> You remove the shirt\nBest not. Napier doesn't want you going around underdressed.\n\n> You give napkin to the cat\nThe ginger cat doesn't seem interested.\n\nThe cat growls, a low, disturbing sound.\n\n> You drop the bird\nBest not. Goodness only knows what might happen then, given how the cat feels about the bird.\n\n> Wave lure\nYou already have the horrible creature.\n\nFor a moment you think the cat is about to leave, as it turns on\nthe\nspot. But just as quickly it is back on guard, its hackles raised.\n\n> Pet cat\nThe cat hisses at you, and you think better of touching it.\n\n> You get the cat\nSure you like picking things up, but I don't suppose the ginger cat would care for that.\n\nThe cat growls, a low, disturbing sound.\n\n> Go upwards\nYou'd better not. That's Logan's own area, and you're pretty sure\nhe\nwouldn't want you snooping about.\n\n> You examine table\nMade from a dark wood, the long table provides eating space for up\nto\neight diners.\n\n> You look at what you're carrying with you\nYou are carrying:\na large black bird\na corded rope lure\na napkin\na handwritten note\nsome trousers (being worn)\na plain shirt (being worn)\n\n> Go east\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nYou can see a ginger cat here.\n\nFor a moment you think the cat is about to leave, as it turns on\nthe\nspot. But just as quickly it is back on guard, its hackles raised.\n\n> Go east\nThis is the sleeping area for guests to the castle. Your master and you slept here last night, him in the bed, you trying to get comfortable on the floor. The only exit is back out to the west.\n\n> You drop the bird\nThe bird hops around a bit, but still seems to be paying you attention.\n\n> You go west\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nYou can see a ginger cat here.\n\nThe cat glances up, but pays you little attention.\n\n> You go south\nThe cat relaxes, sits down, and starts washing itself. It seemingly has no interest in you any more, and you are able to pass.\n\nHere you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well\nbeing.\nThe main part of the castle rises up to the north, by far the best built part of the castle complex. Other than that, the only way you can go from here is to the east, where you see the edge of the\ncastle\nplatform.\n\n> Go west\nA gloomy stone-lined chamber, this is where the castle's food is prepared. A fire and hearth are in one wall, with a chimney\nreaching\nup. A table is pushed against the opposite wall, and pots, pans and cooking utensils hang around. Exits lead to the west and east, and\nyou\ncan smell fresh air from both directions. Steps lead back down to\nthe\ncastle cellar.\n\nYou can see a cook here.\n\n> You ask the cook about cat\n\"Oh that monster!\" she says, shaking her head. \"If he wasn't such a good mouser I'd rather he was in a pie.\" She pauses, her finger on\nher\nlips as she thinks. \"Here, take this. The cat likes it. Give it to him.\" She hands you a piece of beef steak, which you handle\ngingerly.\nSome diet this cat must get, at the lord's expense.\n\nThe cook glances up at the kitchen tools, either deep in thought,\nor\nmore likely trying to decide what tool she needs next.\n\n> Go east\nHere you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well\nbeing.\nThe main part of the castle rises up to the north, by far the best built part of the castle complex. Other than that, the only way you can go from here is to the east, where you see the edge of the\ncastle\nplatform.\n\n> Go north\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nYou can see a ginger cat here.\n\n> You give the steak to the cat\nThe cat glances up, but doesn't seem interested right now. Maybe\ntry\nagain when it might be feeling more hungry?\n\n> You go east\nThis is the sleeping area for guests to the castle. Your master and you slept here last night, him in the bed, you trying to get comfortable on the floor. The only exit is back out to the west.\n\nYou can see a large black bird here.\n\n> Wave lure\nUsing the lure, you reluctantly tempt the bird over to you. It\ncomes\nover, and seems willing to come with you. You now carry the bird.\n\n> You go west\nThis is the castle's main living area. A number of rooms lead off\nfrom\nhere, including stairs up to the family quarters. To the west is\nthe\ndining room you were in before, and sleeping quarters lie to the\neast.\nYour master and you slept there last night. An exit to the south\nleads\nback out to the castle courtyard.\n\nYou can see a ginger cat here.\n\nThe cat growls a low, worrying growl as you enter again with the\nbird.\n\n> You give the steak to cat\nThe cat looks up eagerly, and takes the meat from you. It glares at the bird before starting to eat the meat. You take this opportunity\nto\nescape back outside - with the bird.\n\nHere you find yourself in the open air again, in part of the castle grounds partially enclosed by other buildings. To the west is the kitchen, a small building, but essential to the castle's well\nbeing.\nThe main part of the castle rises up to the north, by far the best built part of the castle complex. Other than that, the only way you can go from here is to the east, where you see the edge of the\ncastle\nplatform.\n\n> You go west\nA gloomy stone-lined chamber, this is where the castle's food is prepared. A fire and hearth are in one wall, with a chimney\nreaching\nup. A table is pushed against the opposite wall, and pots, pans and cooking utensils hang around. Exits lead to the west and east, and\nyou\ncan smell fresh air from both directions. Steps lead back down to\nthe\ncastle cellar.\n\nYou can see a cook here.\n\nThe cook shakes out some flour, and starts to pound some dough."
    },
    {
        "text": "[Themes: Historical]\n\n> Go downward\nYou retrace your steps back down to the cellar.\n\nsits\non. It is not a large space, but probably large enough for the\nstorage\nneeds of this small castle. In the nooks and crannies around here\nyou\nglimpse bottles of wine, barrels of ale and other supplies.\n\nYou can see a heavy wooden chest (in which is a round ball of multi-coloured glass) and John Napier of Merchiston here.\n\n> You give bird to Napier\nNapier takes the bird gratefully. He places the lantern on the\nground,\nand steps into the area outlined by oil spots. \"Show the way, my familiar!\" he cries, releasing the bird. It flies around\nuncertainly.\nThere is a moment of silence, then Napier raises his arms, and\nstarts\nchanting. You know not what he says, or even what language he is speaking. The lantern flickers, and the bird swoops down\nrepeatedly,\nflying back up each time, before diving down again. \"Come on,\nbird!\"\nhe cries. But the bird just keeps swooping down through the air,\nthen\nrising again. \"Ach, it's not here!\" says Napier, lowering his arms, dejectedly. \"But it must be below this level somehow.\" He reaches\nout\nan arm to the bird, which settles on him, and caws quietly. Napier rubs his face, puzzled, then exclaims loudly \"We need to speak to Logan!\"\n\nagain,\nwith you beside him. \"Well, have you found it!\" demands Logan. \"No,\nmy\nlord, but I believe it is below the level of the cellar. What is\ndown\nthere?\" asks Napier. \"Just the sea, man. Though, now I think about\nit,\nthere is a cave below. It can only be reached by sea - the tides\nand\nrocks are treacherous,\" says Logan. \"But Ralph could take you there\nby\nboat.\" Logan bellows for his servant, who appears suddenly. \"Napier needs you to take him by boat to the cave beneath the castle. Do\nit,\nman!\"\n\nedge to a narrow inlet, where a rowing boat is moored. You climb in carefully, dragging aboard the chest that Napier insisted you\nbring.\nHe sits at the front of the boat, wrapped in his cloak, the wind blowing his hair and beard wildly. Most bizarre of all is the black bird sitting calmly on Napier's leg, looking keenly ahead, as if\nit,\ntoo, knows where you are going. Ralph pushes the boat into the sea, jumps in, and starts rowing with a confident stroke, belying his\nage.\n\nYou are in the boat, bobbing alarmingly on the water, which is all around you.\n\nYou can see Ralph and John Napier of Merchiston here.\n\nA wave of nausea rolls over you. Please let this boat journey end soon.\n\n> You look at the boat\nThe boat is worryingly small, or at least not large enough for you\nto\nfeel secure. It bobs unnervingly in the water, which splashes\nagainst\nthe timber. You remember how much you hate being on water.\n\n> You look at Ralph\nRalph is an old castle servant, probably in his fifties or so, and rather bent over with age. You wonder what secrets he has witnessed over the years.\n\nYou hear the sound of gulls all around.\n\n> You examine napier\nYour master is tall and imposing, with a fiercely intelligent gaze. Now in his forties, his brown hair and long beard are speckled with grey. He wears his usual outfit: a long, black robe. Often he\nreminds\nyou more of a rook than a man.\n\nThe boat edges slowly around the castle promontory. You suddenly\nsee a\ndark opening in the rock. \"Aye, that's where we're headed,\" says Ralph, as he steers the boat towards the cave.\n\n\"Come on,\" says Napier, climbing nimbly out of the boat. The bird rises into the air and flaps after him. Ralph helps you lift the\nchest\nonto the rocks. Internally cursing, you pick it up, and follow\nNapier\ninto the cave.\n\nYou stand at the entrance to a seemingly large, dark cave cut into\nthe\nrocks under the castle. Behind you, the sea water laps against the water-rounded rocks around you. Ahead, to the north, you can see little, and the place fills you with unease.\n\nYou can see a heavy wooden chest (closed), Ralph and John Napier of Merchiston here.\n\nNapier stands leaning on a staff, a tall figure buffeted by the\nwinds\nwhirling around. He lights a lantern and passes it to you. \"Go on then, see what you can find in there.\" You shiver.\n\n> You ask Ralph about the cave\n\"It's an eerie place indeed,\" says Ralph. \"I'd rather stay out of there.\"\n\n> Go north\nYou stand just inside the entrance to the cave. Behind you is the\nsea,\nwith the sound of water lapping against the rocks. Above you the arched cave entrance rises up. You can continue into the cave to\nthe\nnorth and west from here.\n\n> You look at the entrance\nThe entrance is a ragged arch shape, rising above you. It reminds\nyou\nof an animal's mouth. Maybe best not dwell on that thought.\n\n> Go north\nThis is the heart of the cave, and here its roof rises to the\nhighest\npoint. You can just barely feel the breeze from the air outside.\nThe\noverall impression is a strange combination of space and an uneasy sense of claustrophobia, how you always feel going underground.\nFrom\nhere you can go east and south, but a mound of rubble blocks\nfurther\naccess to the north.\n\n> You look at the rubble\nThe mound of rubble blocks your way further in to the north. You\nmight\nbe able to clear a way through though.\n\n> You move it\nYou start moving rocks aside. It is hard work, and takes time, but eventually it pays off. You can now go north, further in to the\ncave.\n\n> You go to the north\nHere the cave ends, at its deepest and darkest point, at a stone\nwall\nreaching upwards. Again you are uncomfortably aware of the mass of rock above you. Of course it should not suddenly fall onto you, but you can't help thinking uneasily of the possibility. From here the only obvious exit is back to the south, though your eyes are drawn\nto\nthe stone wall leading upwards.\n\n> You examine the wall\nRunning your hands over the rocky wall you can almost make out handholds. It might be possible to climb up here.\n\n> You climb the wall\nYou try to climb up, but your foot slips and you fall back quickly. Maybe give it another go?\n\n> You climb the wall\nFeeling a little more confident this time, you tackle the climb afresh. It's not easy, but you make it!\n\nThis cramped space is above the back of the cave. There is little\nroom\nto move here, and the only way out is back down where you came\nfrom.\nYou notice a small shelf jutting out from the wall.\n\n> You look at the shelf\nYou reach in tentatively. There is something here! But you can't\nquite\nreach far enough to pull it out.\n\n> You check what you're carrying\nYou are carrying:\na lantern (providing light)\na corded rope lure\na napkin\na handwritten note\nsome trousers (being worn)\na plain shirt (being worn)\n\n> Wave lure\nYou wave the lure around, rather ineffectually.\n\n> You jump\nYou jump on the spot. That was fun!\n\n> You climb the shelf\nLittle is to be achieved by that.\n\n> You go to the south\nThis is the heart of the cave, and here its roof rises to the\nhighest\npoint. You can just barely feel the breeze from the air outside.\nThe\noverall impression is a strange combination of space and an uneasy sense of claustrophobia, how you always feel going underground.\nFrom\nhere you can go north, east and south.\n\n> Go east\nThis part of the cave is a cramped area at the eastern edge. It is\na\ntight space, with a pile of rocks that have fallen down lying next\nto\nthe wall. From here you can only go back to the west.\n\n> You examine the rocks\nThe pile of rocks have fallen here, and lie against the wall.\n\n> You move the rocks\nIt is fixed in place.\n\n> Go west\nThis part of the cave ends abruptly at a craggy wall of rock,\nrising\nabove you. The only exit from here lies to the east, back towards\nthe\ncave entrance.\n\n> You examine the wall\nThe rocky wall reaches up here, at the western edge of the cave.\n\n> You climb it\nThe wall is a sheer surface, with no signs of handholds. You can't\ngo\nup there.\n\n> You go upward\nThis cramped space is above the back of the cave. There is little\nroom\nto move here, and the only way out is back down where you came\nfrom.\nYou notice a small shelf jutting out from the wall.\n\n> You go to the south\nYou stand at the entrance to a seemingly large, dark cave cut into\nthe\nrocks under the castle. Behind you, the sea water laps against the water-rounded rocks around you. Ahead, to the north, you can see little, and the place fills you with unease.\n\nYou can see a heavy wooden chest (closed), Ralph and John Napier of Merchiston here.\n\n> You tell napier about the shelf\n\"This might be useful?\" he asks, looking puzzled. \"Take it then.\"\nHe\nhands the staff to you.\n\n> You examine the shelf\nYou reach in tentatively. There is something here! It is just out\nof\nreach, but using the staff you can just poke in further to pull it out. It is a silver box. You pick it up carefully, feeling a\nstrange\ntingle as you do.\n\n> You look at the box\nObviously of some age, the silver box is just under a foot long,\nwith\nrusting metal edges.\n\n> You open it\nYou try to open it, but nothing you try works. It stays resolutely shut.\n\n> You give the box to Napier\n\"You found it!\" exclaims Napier, his hands reaching out eagerly for the box. He cradles it, lovingly. \"We must get back to shore.\nCome!\"\nand he strides over towards the boat.\n\nRalph rows you back to shore. As you approach the beach you see two figures waiting there. It is Logan and Bothwell! You feel a chill inside, and looking over to Napier he looks alarmed too.\n\n\"Well, did you find it?\" thunders Logan. Napier nods, trembling.\n\"Well\ncome on man, let's go indoors and see what you have.\"\n\nSoon after you are all gathered again in the castle's dining room. \"Hand it over then,\" says Logan, reaching out his hand fiercely. Napier pulls the box shakily from his pocket. \"Here, my lord,\" he says, as he hands it over.\n\n\"Is that it?\" asks Logan, wonderingly. Bothwell also reaches\nforward\nto have a look. \"That's quite something, Robert,\" he says to his cousin. \"What's inside, I wonder?\" Logan picks it up, and scrabbles\nat\nthe box, trying to open it, without success.\n\n\"Let me, my lord,\" says Napier. Logan nods, and your master\nstretches\nhis hand over the box, closes his eyes, and mutters an incantation. There is a pause, then a click, and the box opens. Napier's eyes\nshoot\nopen again as he pulls his hand back. You all peer towards the box,\nto\nsee what is inside.\n\nUnderneath old crinkly paper is a hint of gold! Logan reaches in eagerly. \"Bullion maybe, or coins?\" he says, then goes quiet as he fumbles among the cracking paper. Then his hand emerges, holding an ornate gold cross. About six inches long, it is exquisitely\ncrafted,\nwith rich decoration, and even jewels embedded in the gold. It must\nbe\ncenturies old, you think, and the most beautiful thing you have\never\nseen. \"A Christian cross!\" says Logan, laughing loudly. \"And to\nthink\nwhat the local minister says of me.\" He rubs his chin, thinking.\n\"Ah,\nbut it's a bonnie item. Maybe I'll no sell it or melt it down after all.\"\n\n\"And my fee?\" says Napier, shakily. \"Aye man, I'd no forgot,\" barks Logan. He reaches over to one side, and brings out a small bag. \"Here's the money I promised. I keep my word! Now begone, and\nremember\nsay nothing of Bothwell here, if you value your lives.\"\n\nWith the treasure found, your master and you are free to leave.\nThough\nyou enjoyed the treasure hunt, and found what you were seeking, you are glad to put Fast Castle and its owner far behind you. Even if\npart\nof you thinks yet of that cross ..."
    },
    {
        "text": "[Themes: Puzzle, Humor, Fantasy, nonhuman protagonist, humor, old school, non-human protagonist]\n\nBabe, I'm really sorry, but I'm going to have to cancel dinner.\nYeah, I've got to stop the boss from being executed.\n\nBeginner's Lessons from \"The Big Book of Financial Crimes\"\n\nNo! My shiniest of shiny objects! Don't fly aw--- Come back! I\nlove you!\n\nWell, now that my girlfriend's mad at me, where were we? Ah, right.\n\nIt's kind of boring here. I hear the king hasn't put anybody in the dungeon in over a year. Must make you feel special. It's drafty, being up in the tower, and the stones in the wall have chips and various--- do you really care? They're old. The door looks pretty sturdy. There's some light coming into the room from a window about, uh, twice your height up. Can we leave?\n\nI can see a tapestry, a bed, a vase, a mirror, and an annoying git in a dress here.\n\n[Author's Note: A puzzle about committing acts of financial skulduggery and exploiting ridiculous magical items.]"
    },
    {
        "text": "[Themes: Humor, Fantasy, Puzzle, humor, nonhuman protagonist]\n\n> You look at tapestry\nIt's a garish sight. I guess the artist might have been trying to do something in the Colorist style. (Purple and green dyes became cheap around the turn of the century, and there was a rainbow explosion in the art world for about a decade.) I don't know, though--- these colors don't really go together. Colorism usually involves more realistic pairings, and I don't think humans are supposed to be that shade of orange. I think the blobby thing is meant to be a unicorn, but that's speculation.\n\nThe tapestry was probably made by the late queen. I've heard stories about her prolific and unusual talent. I'm sure the old guy couldn't bear to throw it out, and nobody else could bear to look at it. There's a wobbly inscription woven into the corner.\n\n> You examine the inscription\n\"To my beloved on our twenty-fifth wedding anniversary. May our love always be as eternal as the flowing fountain.\"\n\nThat's a fountain? I guess this was made by the queen. Aw,\nthat's so sad. I mean, she had no taste, but they say the old guy really loved her and went mad with grief after she died. I guess that was good for us, with you getting the job here and him never caring what you did.\n\n> About yourself\nYou're a mediocre wizard. No, no, boss, don't look sad! Wait for me to finish! You're a great inventor! See, there was a compliment coming. You always have the best ideas. Remember Primo Eyeballs-in-a-Can? That was my personal favorite, for obvious reasons. But your ideas don't always, er, work right. That's why you took the wizarding job: 'cause it gets you money to work on your inventions until we hit it big. Which we will, as soon as we replace all that missing money and keep you from getting killed and, um, okay, this is probably not cheering you up as much as I'd hoped.\n\nRight now your body is in the corner, unconscious. You're wearing your completely awesome purple robe, but your hat got lost in the arrest fiasco. The stupid fat guy searched you and took all your stuff, but maybe there's something he missed. I don't know.\n\n> You examine you\nI'm W.D., your familiar, and I'm awesome. Check out these feathers!\n\n> You look at the feathers\nI have black feathers, which means I go with everything. They shine a little bit in the light. My lovely girlfriend says they look slightly blue in very bright light, but I don't see it.\n\n> You examine the bed\nIt's a wooden bed frame that would be big enough for one human with a mattress or pillows, but there aren't any around. It doesn't look particularly comfortable, and the wood's splintering.\n\n> You examine the mirror\nNothing but a bit of dust.\n\nIt's an oval mirror with a steel frame bolted to the wall. The frame has little diamond-shaped cutouts in it. The mirror itself is about as big as I am. It's got a big dent in it, but it still works as a reflective surface.\n\n> You look in mirror\nHey, it's me! I'm W.D., your familiar, and I'm awesome. Check out these feathers!\n\n> You look at the robe\nI love your robe. It's so stylish. It's purple and dark purple and darker purple and all swirly patterned and stuff, and it's covered in sequins and sparkles and shiny and glittery and glowy! It's mesmerizing. You look great, even unconscious. There are big floppy pockets sewn inside. You usually keep all kinds of stuff in there.\n\n> You examine the vase\nIt's a delicate glass vase with a narrow neck, although it widens at the bottom. It's the kind of vase that holds a few flowers instead of a whole bouquet.\n\n> You look in the pockets\nHey, hey, there's a magic wand in one of the pockets! Man, the fat guy didn't even think it was worth taking? That's just sad.\n\n> You take the wand\nTaken.\n\n> Inventory\nIn my bag of holding, I have:\na magic wand\nthe mind of a mediocre wizard\n\n> You look at the mind\nIt's...well...it's hard to describe what it's like to have someone else in your head.\n\n> You read the mind\nThat's just a joke, boss.\n\n> You examine the wand\nThis is the Aetheric Coin Generator Mark III! It turns air into faery coins. The Mark I only lasted through seven thousand uses or so, and Mark II backfired and turned coins into air.\n\n> You hug yourself\nNo can do, boss. No lips.\n\n> You look in the vase\nThe vase is empty.\n\n> You examine the vase\nIt's a delicate glass vase with a narrow neck, although it widens at the bottom. It's the kind of vase that holds a few flowers instead of a whole bouquet.\n\n> You get the git\nYou're way too bulky and heavy for me to lift with my little talons.\n\n> You look at the door\nIt's a big wooden door, wide enough for two humans to walk through it at once. Based on all the noise when they threw us in here, it's locked from the outside.\n\n> You examine the window\nThe \"window\" is just a space in the stones. It's smaller than a human but bigger than a raven, if you catch my drift.\n\n> You open the window\nIt's just an opening in the wall; there's no glass or anything.\n\n> You fly through the window\nWhooooosh! I'm flying out the window to sweet, delicious\nfreedom! And to sweet, delicious rotting meat, with any luck.\n\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n> You examine tree\nThis is a maple. It has some really nice branches higher up. It's got a good view and is relatively quiet, or it was until those stupid kids started climbing it all the time. When I settle down, my girlfriend and I are probably going to need something bigger--- maybe something where we can look out over Sandie's Hot Meats. But for now, it's where I tend to perch when I'm not doing anything for you.\n\n> You fly through the window\nMy hanging-out tree is here.\n\n> You enter the tree\nFrom here, I can see all sorts of things. Sandie's got her Hot Meats stall set up in the middle of Big Street. The castle (and your body) are off to the south. The bank sparkles faintly in the distance. There are streamers and balloons out in front of the magic shop. Farmland stretches off to the west.\n\nHey, there's a piece of red paper here. Argh. Humans. Get your own tree.\n\n> You examine the bank\nThe bank's probably our best bet for getting a lot of money at once. It's a fair distance north and then northeast of here.\n\n> You examine the shop\nThat's Mel's, a bit north of here and then east. We should go there to ask for advice.\n\n> You examine the stall\nSandie's Hot Meats is to the north. If we get some spare money, I'd love lunch.\n\n> Go north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\n> You examine the beggar\nHe's got no eyeballs. Man, that's the best part of the human. His clothes are old but mostly in one piece. He's holding out a cup for money.\n\n> You examine the cup\nInside the chipped cup is a strange coin.\n\n> You take the coin\n\"Don't think I can't hear you, birdie?\"\n\n...Sheesh. The story of my life is getting slapped by humans.\n\n> You put the mind in the cup\nIf only it was that easy.\n\n> Caw\n\"Caaaaw caaaaw!\"\n\nI'm not getting a response.\n\n> You examine the coin\nIt looks like it's made of gold and silver swirled together. The face I can see shows a lighthouse.\n\nHmm. This coin isn't our money. It's not any money I recognize. It looks vaguely familiar, though, like--- oh! I've seen that in a book before! This is a coin from the ancient Se--- Sevoran, maybe? Anyway, there was some kind of ancient empire, and this is a coin from it. It could be worth something to a collector.\n\n> You check your inventory\nIn my bag of holding, I have:\na vase\na magic wand\nthe mind of a foolish wizard\n\n> Wave wand\nPoof! A glittering coin materializes in the air in front of\nme and drops to the floor.\n\n> You take coin\n(the faery coin)\nTaken.\n\n> You examine faery coin\nThis is one of your majick faery coins. They were incredibly useful for a while, but then some wiseacre figured out that they explode if you put salt on them. Now everyone in town knows they're not real gold. The coins are useless as currency, at least until we find a new idiot.\n\n> You put the faery coin in the cup\n\"Thank you, birdi---\" He narrows the empty sockets where he delicious eyeballs should be. He takes the coin and taps against the side of his mug. \"This sounds wrong. This is one of those magic exploding coins!\"\n\nHe coldly tosses the faery coin back to me.\n\n> You take coin\n(the faery coin)\nI already have that.\n\n> You take the strange coin\n\"Don't think I can't hear you, birdie?\"\n\n...Sheesh. The story of my life is getting slapped by humans.\n\n> You ask the man about the strange coin\n\"Hello, birdie. You like shiny things, don't you? I like shiny things, too. Would you like to give me something shiny?\"\n\n\"What? No! I---\" Yeah, yeah, you don't speak Raven.\n\n> You go to the north\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\n> You ask Sandie about the hot meat\n\"Awk!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\n> You look pathetic\nThat's just a joke, boss.\n\nI can't see any such thing.\n\n> Wave wand\nNothing happens. I think Mel said something about having to destroy the last coin first. Conservation of energy, or something.\n\n> Go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nA red balloon is here, probably as part of some promotion.\n\nMel's at the counter.\n\nI can also see a pile of assorted trinkets here.\n\n> You examine the cockroaches\nMel notices me and greets me boisterously. \"Hey, W.D.! How's my favorite raven doing? How's your boss? Need more color-changing powder? I have to warn you, I don't think this 'Cow of a Different Color' project is going to catch on.\"\n\n\"Not good, Mel. The Perfectly Foolproof Illusion on the treasury...wasn't.\"\n\n\"Oh. Does that mean you are recently unemployed? Would you like a job? I've been meaning to branch out into delivery, but people are afraid of golems, so...\"\n\n\"No, no. The boss is still good, at least for a few hours. I may be back tomorrow, though. (No offense, boss.) We, er, figure the only thing that might save the chief's bacon is to, uh, turn the fake treasure into...er...\"\n\n\"Yes?\"\n\n\"...real treasure. Uh, you wouldn't happen to have a Midas potion just, you know, lying around?\"\n\nMel's normally placid face darkens, and he glowers at me. \"W.D., you know that I like you and your master, but I do not typically keep potions which are primarily composed of irreplaceable components just 'lying around'. Besides, their manufacture is highly illegal, and I have an unfortunate allergy to prison.\"\n\n\"I know, I know. It was a long shot. We just thought you might have something.\"\n\nMel sighs. \"I could possibly sell you some components, and then what you did with them would be up to you. But these ingredients are not cheap, and my favor to you would be selling them at all. You would have to come up with nearly enough money to repopulate the treasury on your own.\"\n\n\"Oh. Well, I'm sure we can come up with something. I like shiny objects, after all. I can probably scrounge up some money.\"\n\n\"All right. Good luck, W.D.\"\n\n...Oh, shoot, I forgot what you asked me to do. Sorry, boss.\n\n> You examine the cockroaches\nThey're amazingly realistic, except for the exploding part.\n\n> You eat the cockroach\n(first taking the Exploding Cockroaches)\nAs you well know, those little guys are extremely unstable.\nAlso, Mel's Magic Shop is you-break-it-you-buy-it.\n\n> You look at the trinkets\nMel's got a ridiculous quantity of, well, magical minutiae. There are the things over there with the...and the...and over there there's...uh, let me know if you want to search for something specific.\n\n> You examine the balloon\nIt's a shiny red balloon on a string, filled with that special air that makes things float. It's really shiny. We should keep it and look at it for a while.\n\n> You take the balloon\nTaken.\n\n> You ask Mel about the ingredients\n\"So, the boss told me I should be asking for a Midas potion, but I'm not really sure what that gets us. I mean, they clearly turn things to into gold. Do I just pour it on the treasury walls and poof!\nFull of treasure again?\"\n\n\"If you had a true Midas potion, then yes, anything the potion touched would turn to gold, so you could turn all of your employer's decoys into real treasure,\" answers Mel. \"Midas potions are an entire class of potions, though. There are simpler ones which turn wood to gold, or metal to gold, or silver to gold. There are also un-Midas potions, but I suspect that is not what you want.\n\n\"When you get enough money for the potion's ingredients,\" Mel continues, \"let me know.\"\n\n> You ask Mel about the list of the ingredients\nMel shakes his head. \"Sorry, I didn't catch that.\"\n\n> You ask Mel about the money\n\"So where do we get money?\"\n\n\"Typically, one gets a job and does work. I suppose this isn't an option, given the time. Well, there is trade, common theft, embezzlement (although your master already appears to be proficient there), insurance fraud, day-trading, kidnapping for ransom, throwing a birthday party for yourself, faking your own death, blackmail, counterfeiting, turning in a bounty to the city guard, finding lost kittens... \"\n\n> What are the the ingredients\n\"Pardon? I didn't follow that,\" says Mel.\n\n> You give the coin to Mel\n\"Your employer's counterfeit money is charming, but you know I don't accept it, W.D. If you need a reminder why, please watch as I sprinkle a pinch of salt on the coin. See? It explodes--- rather more forcefully than I remember, actually. I think it's scorched the counter.\"\n\n> Wave wand\nPoof! A glittering coin materializes in the air in front of\nme and drops to the floor.\n\n> Go southeast\nThis is the back corner of the magic shop, where Mel actually puts magical things together. He's got a giant oak workbench. Unlike your workbench, though, it's perfectly clean and shows no signs of ever having caught on fire.\n\nThe front counter's back to the northwest.\n\nI can see a workbench, a shelf (on top of which are three bottles of blue dye, and a bottle of clear fluid), and a spell book here.\n\n> You examine the workbench\nThey probably killed some really nice tree to make this thing. If it fell on you, it would kill you. It's spotless, and it's got a nice finish that glows just a little bit. I don't know whether it's magic or just really nice polish.\n\n> You look at the shelf\nAn ordinary shelf.\n\nOn top of the shelf are three bottles of blue dye, and a bottle of clear fluid.\n\n> You look at the dye\nThis is a bottle of blue dye. It contains, in my estimation, enough to dye two ravens. That is not a suggestion.\n\n> You examine the clear fluid\nThe bottle is filled with a colourless fluid. It's labelled, \"Problem Solvent: Misspelled a word? Problem Solve-it with Problem Solvent!\"\n\n> Examine book\nIt's a book entitled \"Transmutation Potions.\"\n\n> You read Book\nUh, I'm not going to read the whole book right this minute. Let me check the table of contents and see if there's anything interesting...Hey, Midas potions, page 78...mmhm...\n\nI'm just going to rip this page out and pray Mel doesn't kill me, all right?\n\n> Inventory\nIn my bag of holding, I have:\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na vase\na magic wand\nthe mind of a foolish wizard\n\n> You read the page\nThis is a list of Midas potions:\n\nComponents: unicorn fur, sapphire whiskey, and phoenix kidney\n\nComponents: sapphire whiskey, ivory runestone, and daffodil blood\n\nComponents: phoenix kidney, daffodil blood, and refined starmetal\n\nComponents: unicorn fur, phoenix kidney, daffodil blood, and wizard ash\n\nTransmute any inanimate object to gold (there's a smudge after\n'gold', and I can't read what's written there)\nComponents: unicorn fur, sapphire whiskey, ivory runestone, refined starmetal, and wizard ash\n\nComponents: sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash\n\nComponents: unicorn fur, sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash"
    },
    {
        "text": "[Themes: Fantasy, Humor, Puzzle, non-human protagonist, old school]\n\n> Look around\nThis is the back corner of the magic shop, where Mel actually puts magical things together. He's got a giant oak workbench. Unlike your workbench, though, it's perfectly clean and shows no signs of ever having caught on fire.\n\nThe front counter's back to the northwest.\n\nI can see a workbench and a shelf (on top of which are two bottles of blue dye) here.\n\n> You take dye\n(the bottle of blue dye)\nI already have that.\n\n> You go northwest\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a pile of assorted trinkets here."
    },
    {
        "text": "[Themes: Puzzle, Humor, Fantasy, old school]\n\n> Describe the surroundings\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a pile of assorted trinkets here.\n\n> Go west\nBig Street, Center\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\n> You ask Sandie about the phoenix kidney\n\"Awk awk caw!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\n> You ask Sandie about the money\n\"Awk!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\n> Go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\n> You examine the cord\nThere's a black cord running from the guard tower to the bank.\n\n> You pull the cord\nDone! Let's see if anything happens...\n\nA mob of guardsmen charge out of the Watchtower towards the bank. I think I'll follow them.\n\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a wanted poster on the wall by the table.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\nThree guys wearing identical green tunics and brandishing sticks rush in. The tallest shouts, \"Nobody move! This is the Guard!\" The middle one shouts, \"Where's the robber?\" They look around, confused. The teller shrugs. The short one complains about a false alarm.\n\nOkay, they're leaving. That was exciting!\n\nThe ordinary man grumbles under his breath.\n\n> Examine poster\nIt's a wanted poster offering five thousand florins for the capture of the infamous bank robber Two-Handed Bart (not to be confused with One-Handed Bart). He looks dashing with his shiny hair, his handlebar moustache, and his flapping green scarf. Is that dashing? That's the sort of thing you guys find dashing, right?\n\n> You examine the forms\nThey're covered in tiny lines and boxes to fill in. I suppose they're for applying for loans, or something.\n\n> You examine man\nHe looks like any other human, I guess. He's wearing grey pants, a grey fedora, and a grey shirt, and he has a wispy, pathetic moustache. He's cursing under his breath as he tries to fill out paperwork.\n\nHey, he looks vaguely like Two-Handed Bart from the poster. They both have noses, for example.\n\nThe ordinary man shivers slightly.\n\n> You take the forms\nI hate to break this to you, boss, but ravens don't have good credit. Neither do you, which is why you started funding your inventions with the royal treasury.\n\n> You ask the man about the robber\n\"Awk!\"\n\n> You give the coin to the man\nHey, this is hard-earned stuff. I'm not just giving it away here.\n\n> Inventory\nIn my bag of holding, I have:\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na vase\na magic wand\nthe mind of a mediocre wizard\n\n> You give the faery coin to the man\nHey, this is hard-earned stuff. I'm not just giving it away here.\n\nThe ordinary man crumples up his form and starts over on a clean one."
    },
    {
        "text": "[Themes: Puzzle, Humor, Fantasy]\n\n> You look around\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a wanted poster on the wall by the table.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\n> You go east\nThis part of the bank is cut off from the public by a gilded cage. There's a big, grey, solid-looking door back there, presumably a vault. The room is big and echoey, thirty or forty feet high and brightly lit from a huge gold chandelier overhead. The main lobby is back to the west.\n\nThere's a bored-looking teller behind the bars.\n\n> You examine the door\nIt's an imposing door, presumably leading to the bank's vault.\n\n> You open the door\nI can't actually get to the vault, boss. It's behind the walled-off area. I can't fit through the bars in front of the teller.\n\n> You examine teller\nThe teller's a young, female human wearing something white and floofy and staring off into space. She's sitting on a stool behind the gold cage area.\n\n> You look at the chandelier\nThis chandelier up here is pretty sweet. It must have been designed by a fan of late Moodism; it's made of about a hundred pieces of swooping, spiralling gold. Each element ends in a round light. Definitely late Moodism--- spirals were a sign of cheer. This chandelier is like a... a... a big nest of glowing rat tails! It's beautiful. Although from up here I can see it's not real gold; it's just iron or something with gold paint on it. Meh. Moodism always stressed using real materials.\n\nOh, hey, there's a black cord running along the ceiling.\n\n> You examine the cord\nYeah, there's some kind of cord running along the ceiling. There are rings every couple of feet holding it up. Where is it attached...? It looks like one end goes behind the area with the teller and the vault and the other end goes out a little round hole high up in the wall.\n\n> You pull the cord\nI can't reach it from the chandelier, and I can't get purchase on the ceiling. Sorry, boss, but it's out of reach.\n\n> You ask the teller about the coin\n\"Awk?\"\n\n\"Ack! A bird! Shoo shoo!\"\n\n...I've been shud.\n\n> You look at cage\nThey're gold--- sorry, gold-painted--- bars blocking off one\nhalf of the room. At person height, they're just straight up and down, but above that they turn into a lacy pattern. Psh. Whoever designed this bank doesn't know doesn't know Moodism at all; lace implies hunger, and that completely clashes with the chandelier.\n\n> Go west\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\n> You go north\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You examine the coffer\nIt's a strongbox full of stock certificates.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Reliable Bear Organization,\" he says. \"Any bids?\"\n\n> Bid\nWhat do you want to bid on?\n\n> Bid on stock\nWhat do you want to bid on the stock certificate with?\n\n> You examine the certificate\nIt's a stock certificate for 12 shares of Reliable Bear Organization.\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You look at the animals\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Royal Shad Bonds?\" he asks.\n\nA depressed horse mutters something about glue.\n\n> You look at the auctioneer\nThe auctioneer is wearing a fancy black suit. He seems faintly oily, but not in the delicious fried meats kind of way.\n\n\"One florin!\" declares a merchant.\n\n\"Two!\" declares another merchant.\n\n\"Four!\" declares a different merchant.\n\n\"Who wants to bid eight florins?\"\n\n> You ask the horse about the auction\nI perch near the livestock pens. \"Hello, I---\"\n\n\"No time to talk! Can't stop moooooooving! The farmer might come back!\"\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You look at the cows\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Majestic Snake Company?\" he asks.\n\nA depressed horse mutters something about glue.\n\n> You sell the vase\nThere's no place to sell anything here.\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> Go southwest\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\n> Go west\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\n> You examine the statue\nIt's a tall, skinny old man. He's wearing a suit that's definitely my style; it's got at least twenty buttons, and at least ten of them are superfluous. It's a suit that says, \"I would be in at least five different colors if I weren't made of stone.\" I already hate this guy less than I hate most humans. The stone itself is polished red granite, which implies to me that the statue is a few hundred years old; granite fell out of favor after the Neo-Blockade movement.\n\nOh, and there's also a plaque beneath the statue.\n\n> You read the plaque\nAccording to the plaque, the statue depicts Wingworm Mindo, Chancellor of the Kingdom from blah blah blah to blah blah. Founded the livestock markets yadda yadda, thus bringing Commerce to the city. He was apparently named in an ancient tradition in which children weren't given names until they survived their first disease. He had two sisters named Blue Fever and...Syphilis? What? Is this a joke? Oh, I guess it was; that last bit was in crayon.\n\n> Go west\nThis is where all the big ships coming in from Pancake Bay (pancakes are round) dock and unload goods. We primarily export fish and financial instruments. The rest of the Gordanian kingdoms send us textiles, livestock, and money. I can see several boats out on the bay, but there aren't any docked now. Mindo Street is back to the east.\n\nThere's a scarecrow on a stool here, wearing a sign around its neck. Next to it is a barrel with a suspicious chalk circle around it.\n\nSomeone has left a fishing rod here.\n\nI can also see a chalk circle (which contains a barrel) here.\n\n> You look at the circle\nThere's a chalk circle drawn on the dock around the fish barrel.\n\n> Examine barrel\nThis is an old wooden barrel. It smells slightly rotten, but the rot-smell is drowned out by the delicious smell of fish within.\n\n> You look in the barrel\nFish! Hey, is that a salmon?\n\n> You take the salmon\nI'll have to enter the circle first.\n\n> You enter the circle\nI can feel a faint eldritch humming in the air as I step into the circle.\n\n> You examine the sign\n\"No stealing fish! Seagulls, this means you!\"\n\nPssh. Seagulls can't read.\n\n> You pour dye on the circle\nHey, you made this! It's your Fishing-Rod-With-Self-Baiting-Hook! Somebody is using something you made! Or, well, maybe they were at some point; they've apparently abandoned it. It still counts as a sale, though. There's no line or hook on the fishing rod; it looks a lot like a tree branch.\n\nI don't think that will hold dye.\n\n> Rub circle\nGood idea; the circle's probably magical in some way.\n\n...Hmm. I can't actually erase it. That must not be normal chalk. It's like my wings pass right through it.\n\n> You examine the scarecrow\nThe scarecrow is a human-shaped and roughly human-sized figure made of cloth. It has a rough, cartoonish face painted on it, and a sign hangs around its neck. It's wearing some overalls, and it's not not wearing a hat.\n\n> You take the overalls\nI don't have the dexterity to remove the overalls from the scarecrow. Hey, boss, have you humans contemplated nudity? It's a lot simpler. Actually, now that I consider the image, don't do that.\n\n> You look at the hat\nHey, it's your un-hat! You created it by accident when you were trying to make your Infinite Closet. It's a hole in space shaped like a hat. I still remember the slogan, \"The Un-Hat: It's what the unfashionable people aren't wearing!\" I really thought that one was going to catch on.\n\n> You wear the hat\nHey! No clothes on the bird! I'm not one of those little yappy dogs.\n\n> Examine barrel\nThis is an old wooden barrel. It smells slightly rotten, but the rot-smell is drowned out by the delicious smell of fish within.\n\n> You take the salmon\nTaken.\n\nNow I can hear the humming and not just feel it. Something is rumbling beneath the circle.\n\n> Go outside\nSproing! Some sort of weird magical glowing beams are\nshooting up from the circle and--- help! They're surrounding me! The beams coalesce into a sphere barely large enough to contain me, then solidify into iron bars as their glow fades. Help, boss! I'm stuck in some sort of freaky magical cage! Let me out!"
    },
    {
        "text": "[Themes: Humor, Puzzle, Fantasy]\n\n> You look at your surroundings\nWharf (in the cage) (in the chalk circle)\nThis is where all the big ships coming in from Pancake Bay (pancakes are round) dock and unload goods. We primarily export fish and financial instruments. The rest of the Gordanian kingdoms send us textiles, livestock, and money. I can see several boats out on the bay, but there aren't any docked now. Mindo Street is back to the east.\n\nThere's a scarecrow on a stool here, wearing a sign around its neck. Next to it is a barrel with a suspicious chalk circle around it.\n\nI can also see a chalk circle (which contains a cage and a barrel) here.\n\nIn the chalk circle I can also see a barrel (which contains a fish).\n\n> You eat the salmon\nDone! Not bad.\n\n> You examine cage\nThis is some kind of magic cage, serenely floating about a foot off the ground. There's a very unserene raven trapped inside. The bars are still faintly glowing with an unnerving green light. You didn't make this, did you? It doesn't look like your work. Also, it hasn't exploded or turned me into cucumber or anything. I don't have a lot of room to move around. Help, I'm becoming claustrophobic here!\n\n> You open the cage\nI...don't know how. There's no lock or door. Oh no I am going to\ndie here haaaaaaaaaalp!\n\n> Go outside\nI'll have to open the cage first.\n\n> You go to the east\nI'll have to get out of the cage first.\n\n> You hit the cage\nOkay, I can do violence! Kapow! I snapped one of the bars.\nI'm almost through!\n\n> Continue\nOkay, okay. Right. Violence solves so many problems. Thud!\nThe cage has enough and disappears in a puff of green smoke.\n\n> Examine barrel\nThis is an old wooden barrel. It smells slightly rotten, but the rot-smell is drowned out by the delicious smell of fish within.\n\n> You take the fish\nTaken.\n\nNow I can hear the humming and not just feel it. Something is rumbling beneath the circle. Let's get out of here before I have to break out of that cage again.\n\n> You exit\nSproing! Some sort of weird magical glowing beams are\nshooting up from the circle and--- oh, no. Not this again. No no no no no! They're surrounding me and, once again, forming some sort of magical cage around me. Get me out of here!\n\n> You continue\nOkay, I can do violence! Kapow! I snapped one of the bars.\nI'm almost through!\nOkay, okay. Right. Violence solves so many problems. Thud!\nThe cage has enough and disappears in a puff of green smoke.\n\n> Leave\nOkay, I've gotten out of the chalk circle.\n\n> Inventory\nIn my bag of holding, I have:\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na vase\na magic wand\nthe mind of a foolish wizard\n\n> You look at the fish\nThis is an Eastern Spotted Shortfin. They're fairly plentiful in the bay. I find their meat a little spongy for my taste, but any fish is a a good fish."
    },
    {
        "text": "[Themes: Fantasy, Puzzle, Humor, non-human protagonist, humor]\n\n> You look at your surroundings\nThis is where all the big ships coming in from Pancake Bay (pancakes are round) dock and unload goods. We primarily export fish and financial instruments. The rest of the Gordanian kingdoms send us textiles, livestock, and money. I can see several boats out on the bay, but there aren't any docked now. Mindo Street is back to the east.\n\nThere's a scarecrow on a stool here, wearing a sign around its neck. Next to it is a barrel with a suspicious chalk circle around it.\n\nI can also see a chalk circle (which contains a barrel) here.\n\n> You examine the boats\nWhich do you mean, the fishing boats or the cargo ships?\n\n> You examine the fishing boats\nThose are little fishing boats, crewed by one or two people. They go out in the morning and come back in the evening.\n\n> You look at the cargo ships\nIt's one of the big trade ships from Caberry or High Point. I can't make out much detail from here. Those sorts of ships have crews of a couple of dozen people and all sorts of random stuff.\n\n> You examine the stool\nIt's a three-legged wooden stool.\n\n> You take the stool\nIt's too heavy for me to carry.\n\n> Go east\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\n> Go south\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n> You enter the tree\nFrom here, I can see all sorts of things. Sandie's got her Hot Meats stall set up in the middle of Big Street. The castle (and your body) are off to the south. The bank sparkles faintly in the distance. There are streamers and balloons out in front of the magic shop. Farmland stretches off to the west.\n\nHey, there's a piece of red paper here. Argh. Humans. Get your own tree.\n\n> You take the paper\n(the piece of red paper)\nTaken.\n\n> You read the paper\nWhich do you mean, the piece of red paper or the torn page?\n\n> You read the red paper\nThe note says:\n\n\"Greetings, my dearest love. I am away on sudden business and could not meet you here in our usual place. I have prepared a game for you in my absence. I promise you it will be worth following through to the end.\n\nYour next clue will be at the left elbow of Blue Fever's brother.\"\n\nUh, okay.\n\n> You look at the elbow\nWhich do you mean, the statue's left elbow or the statue's right elbow?\n\n> You examine the left elbow\nThe statue's left elbow is made of stone and not any more interesting than any other part. Oh, except for the piece of violet paper stuck to it.\n\n> You read the violet paper\nThe note says:\n\n\"As you know, I've been trying to expand the business lately. I've had to fill out so many forms. I think my favorite was the X1-FSB: Small Business Loan To Be Repaid Within Thirty Days. I think you should look at one, too. They're quite entertaining.\"\n\n> Go east\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\nThe ordinary man crumples up his form and starts over on a clean one.\n\n> You look at the forms\nThey're covered in tiny lines and boxes to fill in. I suppose they're for applying for loans, or something.\n\nThe ordinary man grumbles under his breath.\n\n> Search forms\nOkay, the business loans are in this box....Yep, there's a green note here.\n\n> You take the green\nTaken.\n\nThe ordinary man absently scratches his upper lip.\n\n> You read green\n\"Well, all of this travelling has made me hungry! You should follow me and look under the pan containing my favorite lunchtime meat!\"\n\n> You look under the pan\nWhich do you mean, the pork pan, the beef pan, or the Excitement pan?\n\n> You look under the excitement pan\nGood idea! Maybe there are some shiny coins or something!\n\nNo, sadly.\n\n> You look under the pork pan\nAnd now there's a yellow note. Boss, if the payoff of this is that we end up back at the tree and find a guy holding a bunch of roses, I'm going to be really cheesed off.\n\n> You read the yellow\n\"Do you remember our first date? We sat out under the stars, throwing toy bugs at the fence and laughing as they exploded. You'll find what you seek back where I bought the bugs, inside a cedar box.\"\n\n> You search the trinkets for the box\nThere are quite a few boxes in here, but I don't see anything interesting about them. They're not worth taking.\n\n> You search the trinkets for the cedar box\nThat's interesting. There's only one cedar box in the pile, and it's deliberately hidden in the back.\n\n> You open the box\nOkay, let's see what we--- whoa. That's a diamond ring here! The inside of the lid reads, \"Will You Marry Me?\"\n\n> You take the ring\nWell, mystery man, I hope she loves you more than she loves jewelry. Taken.\n\n> You say yes\n(to Mel)\nFrankly, boss, I don't think there's anything I can tell Mel that he doesn't already know. The man's a genius. We might have better luck asking questions, though.\n\n> You examine the ring\nThere's a large diamond set into the ring, and I can see all of the colors of rainbow reflected in its perfect, sparkly, perfect facets. For the rest of my life, every night I will dream of its resplendent beauty.\n\n> You eat the ring\nHold on. Still staring at perfection.\n\n> You ask Mel about the ring\nOkay, okay, I'll go back to the drab, non-sparkling real world.\n\nMel shakes his head. \"Sorry, I didn't catch that.\""
    },
    {
        "text": "[Themes: Puzzle, Fantasy, Humor, non-human protagonist, old school]\n\n> You look around\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a cedar box (which is open) and a pile of assorted trinkets here.\n\n> You take the cockroach\nAs you well know, those little guys are extremely unstable.\nAlso, Mel's Magic Shop is you-break-it-you-buy-it.\n\n> Go southeast\nThis is the back corner of the magic shop, where Mel actually puts magical things together. He's got a giant oak workbench. Unlike your workbench, though, it's perfectly clean and shows no signs of ever having caught on fire.\n\nThe front counter's back to the northwest.\n\nI can see a workbench and a shelf (on top of which are two bottles of blue dye) here.\n\n> You look under the workbench\nGood idea! Maybe there are some shiny coins or something!\n\nNo, sadly.\n\n> You take all\nExploding Cockroaches: As you well know, those little guys are extremely unstable. Also, Mel's Magic Shop is\nyou-break-it-you-buy-it.\npile of assorted trinkets: There are a million things here, and stealing from Mel would be suicidal.\nMel: I don't see how, and I would probably just get shooed away again.\n\n> You show ring to Mel\n\"Oh, W.D., I think I'm a little too old to marry you.\"\n\n\"Very funny. Is it real? Is it worth something?\"\n\nMel reaches under the counter and throws some sort of powder on the ring. \"Yes. Definitely.\" He frowns. \"W.D., I am going to ask you a question, and I want you to answer honestly. I will know if you are lying.\"\n\nUh oh. \"Okay, Mel.\"\n\n\"Did you rob a jewelry store?\"\n\n\"Mel, I can 100% say I did not rob a jewelry store.\"\n\n\"Okay.\" Mel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth an ingredient. All right, W.D., I'm impressed. Perhaps you will be able to get enough money.\"\n\nThis is wonderful, boss! I think we're well on our way to creating the potion and saving your bacon!\n\n> Inventory\nIn my bag of holding, I have:\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na vase\na magic wand\nthe mind of an annoying wizard\n\n> You put the mind in the box\nIf only it was that easy.\n\n> You show the vase to Mel\n\"Mel, did you make this?\"\n\n\"Ah, yes. I was experiment with unbreakable glass and ended up producing this vase. It's not unbreakable, unfortunately, but it does reform itself after a few minutes when it breaks. It is not really practical for protecting flowers, but it can lead to some entertaining parlor tricks.\"\n\n> You break the vase\nPloink! The vase cracks apart, and the shards of\nglass...disappear? Huh, weird.\n\n> You wait for a while\nAll right.\n\n> You wait\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\n> Wait\nAll right.\n\nKniolp! Shards of glass pop into existence and reform\nthemselves into a glass vase.\n\n> You show the rod to Mel\n\"Mel, this isn't yours, is it?\"\n\n\"W.D., I'm surprised you would forget one of your employer's inventions. That is his Fishing Wand, based off the Aetheric Coin Generator he liked so much. It was a surprisingly competent invention; it worked so well, in fact, that the bait attracted other animals, which scared away the fish. It was a decent try, though.\"\n\n> Go west\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\n> You go to the southwest\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You eat the hedgehog\nI wish I could, but he's just too pointy.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You show fish to the hedgehog\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You give the fish to the hedgehog\n\"Food! Food for meeeeee! Oh---\n\nIs a happy happy hooooog!\nIt's a good day for eating\nAnd singiiiiiiiing!\n\nGood job. Now he's singing louder.\n\nThe hedgehog sings happily:\n\nOh, being round is great,\nBut being fed is better!\nI love foods and foods\nAnd foods and foods\nAnd foods and foods!\n\nYou're the one who wanted to feed him.\n\n> You look at the barn\nIt's a bit far off to see very well.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Punch hedgehog\nI wish I could, but he's just too pointy.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n> You go west\nYep, big red barn. It's got a new paint job, too. It looks like it's in good condition, actually. I don't see any cobwebs in the corners or birds' nests, so either it's been freshly-built or they really cleaned the place out recently. Even the hay in the stalls is untrampled. The exit back to the fields is to the east.\n\nI can see a pile of hay and some stalls here.\n\n> You look at the hay\nThe hay is dry and clean, which is pretty atypical for hay in a barn. I wonder if they haven't moved the animals in yet.\n\n> You look at the stalls\nThis is a large barn, with space for ten or so horses and many cows.\n\n> You eat the hay\n(first taking the pile of hay)\nUntil we figure out how to spin straw into gold, I'd just as soon leave it here.\n\n> You go to the east\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go south\nThese little country houses are hit or miss. Sometimes they have good food to steal; sometimes their owners want to cook and eat you. This particular one is a one-room cottage with a thatched roof. The chimney's the nicest thing here. Unfortunately for us, there's nothing cooking on the fireplace. No fire either, so waiting around here isn't going to get us any food. Nobody's here, though the door to the north is ajar. The cottage continues to the west.\n\nA ramshackle table stands against the wall.\n\nThere are some farming tools in the corner of the cottage.\n\nI can also see a scarf here.\n\n> You look at the scarf\nThe scarf is very light. I think it's made of silk. It's yellow.\n\n> You look at the table\nIt's a round, wooden table. Six or seven people could fit around it. It's solid looking, but rough; it's functional rather than pretty. It has food stains that are several years old, giving it a pleasant aroma of meals past. Unfortunately, there's no actual food on it.\n\n> You look at the tools\nThey're some tools that you humans probably use to farm, uh, farm stuff. Some of them have pointy bits, if that helps.\n\n> Smell table\nWell, I tell you one thing, boss. Somewhere there is food, and I'm not eating it, and that's a sad, sad thing.\n\n> You check what you're carrying\nIn my bag of holding, I have:\nsome farming tools\na scarf\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na magic wand\nthe mind of a desperate wizard\n\n> You go north\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n> You go to the west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You go south\nThese little country houses are hit or miss. Sometimes they have good food to steal; sometimes their owners want to cook and eat you. This particular one is a one-room cottage with a thatched roof. The chimney's the nicest thing here. Unfortunately for us, there's nothing cooking on the fireplace. No fire either, so waiting around here isn't going to get us any food. Nobody's here, though the door to the north is ajar. The cottage continues to the west.\n\nA ramshackle table stands against the wall.\n\n> Go west\nThis is an alcove bordered by two sets of shelves. I think it's a food-storage area, based on the jars labeled \"FLOUR\" and such. There are assorted vegetables arranged in a few piles. The rest of the cottage is back east.\n\nThere's a hatch set into the wall, with a lever next to it and a basket underneath.\n\n> You look at the hatch\nIt's a small covered hatch, about a quarter of my size, built into the wall.\n\n> You look at the lever\nIt's a red lever attached to the wall by the hatch.\n\n> You look at the basket\nThere's a wicker basket lying directly below the hatch.\n\n> You examine the vegetables\nThere's a pile of potatoes and a pile of carrots. There are also a few radishes that look like they're about to go off. (Er, I mean \"rot\" and not \"explode.\" That would be great, though. You should invent an exploding radish.)\n\n> You pull the lever\nAn egg rolls out of the hatch into the basket, where it breaks.\n\nnarf narf nom nom...Man, I love eggs. Uh, sorry, boss.\n\n> You examine the shelves\nThe pantry is lined with shelves. There are various baking supplies and a few piles of vegetables.\n\n> You pull lever\nAn egg plops gently out of the hatch onto the scarf.\n\nnarf narf nom nom...Man, I love eggs. Uh, sorry, boss.\n\n> You take all\nlever: That's fixed in place.\nbasket: It's too bulky for me to carry around, and it's too large to put into my bag.\n\n> You pull the lever\nTaken.\n\nAn egg rolls out of the hatch into the basket, where it breaks.\n\nnarf narf nom nom...Man, I love eggs. Uh, sorry, boss.\n\n> You check what you're carrying\nIn my bag of holding, I have:\na scarf\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na faery coin\na red balloon\na magic wand\nthe mind of a desperate wizard\n\n> You examine the jars\nThere are spices and various baking supplies.\n\n> You pull the lever\nAn egg plops gently out of the hatch onto the scarf.\n\nOh, man, a magic faery just appeared and took away the egg.\nBurp. That's so sad.\n\n> You pull the lever\nAn egg plops gently out of the hatch onto the scarf.\n\nOh, man, a magic dragon just appeared and took away the egg with magic. No! Bad dragon! That mouth-wateringly enticing egg is for my boss, and its spectacular deliciousness is for him, not you! Go away!\n\nWell, I managed to scare the dragon off, but he left with your egg. Sorry, boss. Burp.\n\n> You go to the north\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n> You go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a vase and a pile of assorted trinkets here.\n\n\"Greetings, W.D.,\" says Mel. \"As a reminder, you still have one ingredient's worth of credit.\"\n\n> You pull the lever\nAn egg plops out of the hatch into the vase and breaks.\n\nAck! Can't...resist...must eat egg! Shoot! I can't get my beak in there. Stupid narrow vase with its stupid narrow neck.\n\n> You put the scarf in the vase\nDone. Well, sort of done. I've crammed it in, but the scarf's still sticking out a bit.\n\nMaybe if I tip the vase over...ah, no luck. Stupid vase designed for stupid humans with their stupid hands. My beak doesn't seem to be up to the task. Don't worry, delicious egg! I'll get to you eventually!\n\n> You pull lever\nI can hear something rattling around behind the hatch, but no further eggs are forthcoming. Don't worry, egg! I'll save you! Come to think of it, I should also save the last one we got.\n\nThe egg is calling to me...\n\n> You look in the vase\nIn the vase are a scarf and an egg.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You take vase\nTaken.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You break the vase\nPloink! The vase cracks apart, and the shards of glass\ndisappear.\n\nOh, no, the treasurer just walked in! No, evil treasurer, you can't have my boss's egg! I know it looks irresistably tasty, but he needs it for some unnecessarily complicated scheme involving financial skulduggery. You can't just---\n\nSorry, boss, he grabbed the egg and ran away. Man, that guy's horrible. Burp. Let's go stop him.\n\n> Wait\nAll right.\nAll right.\nAll right.\nAll right.\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nKniolp! Shards of glass pop into existence and reform\nthemselves into a glass vase. Ohhhh, it must be made out of Mel's self-repairing glass. It's cheaper than his unbreakable glass.\n\n> You put the scarf in the vase\nDone. Well, sort of done. I've crammed it in, but the scarf's still sticking out a bit.\n\n> You pull the lever\nAn egg rolls out of the hatch into the basket, where it breaks.\n\nOh, man, a magic faery just appeared and took away the egg.\nBurp. That's so sad.\n\n> You pull the lever\nAn egg plops out of the hatch into the vase, landing gingerly on the scarf.\n\nAck! Can't...resist...must eat egg! Shoot! I can't get my beak in there. Stupid narrow vase with its stupid narrow neck.\n\n> You look at the fireplace\nThis is a sad little fireplace. There's no fire and no food.\n\n> You look at the chimney\nIt's a red brick chimney. I'm not a great judge--- I don't know why anyone would ruin meat by setting it on fire--- but it looks nicer than the rest of the house. The bricks look like they're exactly the same size, and they're laid out in straight rows. Most of them, anyway; one is sticking out a bit. It looks like the mortar surrounding it has been cut away.\n\n> You examine the brick\nThere's one brick in the fireplace that's sticking out. It looks like the mortar around it's been cut away.\n\n> You take the brick\nOkay. It's a rough surface. I can probably get my claws in and drag it out. Rrrgh! Well, I didn't manage to pry it all the way out, but I did shift it a little. There's a parchment concealed under the brick.\n\n> You look at the parchment\nThis is...well...man, this is a lot of text. I didn't know humans could write letters that tiny. Give me a minute.\n\n...Okay, I'm pretty sure it's some kind of insurance policy. Bearer gets...um, hmm. I think it's an insurance policy on a barn west of town, but don't quote me on that.\n\n> You go west\nThis is an alcove bordered by two sets of shelves. I think it's a food-storage area, based on the jars labeled \"FLOUR\" and such. There are assorted vegetables arranged in a few piles. The rest of the cottage is back east.\n\nThere's a hatch set into the wall, with a lever next to it and a basket underneath.\n\nMaybe if I tip the vase over...ah, no luck. Stupid vase designed for stupid humans with their stupid hands. My beak doesn't seem to be up to the task. Don't worry, delicious egg! I'll get to you eventually!\n\n> You search the spices\nI don't see anything interesting or valuable.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You look at the basket\nThere's a wicker basket lying directly below the hatch.\n\nInside the basket is a vase.\n\nThe egg is calling to me...\n\n> You go to the west\nI can't go that way.\n\nThe egg is calling to me...\n\n> You go west\nThis is an alcove bordered by two sets of shelves. I think it's a food-storage area, based on the jars labeled \"FLOUR\" and such. There are assorted vegetables arranged in a few piles. The rest of the cottage is back east.\n\nThere's a hatch set into the wall, with a lever next to it and a basket underneath.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You look at the vase\nIt's a delicate glass vase with a narrow neck, although it widens at the bottom. It's the kind of vase that holds a few flowers instead of a whole bouquet.\n\nInside the vase are an egg and a scarf.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You go east\nThese little country houses are hit or miss. Sometimes they have good food to steal; sometimes their owners want to cook and eat you. This particular one is a one-room cottage with a thatched roof. The chimney's the nicest thing here. Unfortunately for us, there's nothing cooking on the fireplace. No fire either, so waiting around here isn't going to get us any food. Nobody's here, though the door to the north is ajar. The cottage continues to the west.\n\nA ramshackle table stands against the wall.\n\nThe egg is calling to me...\n\n> You go north\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You show the vase to the hedgehog\nI'm not getting any response. Pssh. I wish I had one of your Extremely Loud Icebreaker Crackers. Those always got a response, even if it was usually a violent one.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nThe egg is calling to me...\n\n> You give the vase to the hedgehog\nHey, this is hard-earned stuff. I'm not just giving it away here.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You drop the vase\nDropped.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\nThe egg is calling to me...\n\n> You take the vase\nTaken.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You go to the east\nI can't go that way.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You go to the north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThe egg is calling to me...\n\n> Go east\nI can't go that way.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You go north\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You ask Sandie about the salt\n\"Awk awk caw!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You look at the salt\nI'm told that humans put salt on things to make them taste salty. Psh. The only seasoning meat needs is more meat.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You take the salt\nTaken.\n\nThe egg is calling to me...\n\n> You eat the salt\nI don't like eating my spices plain. I usually want to put some eyeballs or a nice steak under them.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go south\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go south\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nThe egg is calling to me...\n\n> Go west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\nThe egg is calling to me...\n\n> You go to the north\nI can't go that way.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go north\nI can't go that way.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nThe egg is calling to me...\n\n> You go west\nYep, big red barn. It's got a new paint job, too. It looks like it's in good condition, actually. I don't see any cobwebs in the corners or birds' nests, so either it's been freshly-built or they really cleaned the place out recently. Even the hay in the stalls is untrampled. The exit back to the fields is to the east.\n\nI can see a pile of hay and some stalls here.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You put the coin in hay\nOkay, I've put the faery coin on the pile of hay.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You put the salt on the coin\nAll right.\n\nFwoooom! The faery coin explodes! Sparks everywhere!\n\nI think the hay is on fire. Yep, it's kind of smoking. Oooh, I see flame!\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You exit\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nOooh, I can see flames shooting out of the barn! There's a huge cloud of smoke going up!\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> Go north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You go east\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\nThe egg is calling to me...\n\n> Go east\nThis part of the bank is cut off from the public by a gilded cage. There's a big, grey, solid-looking door back there, presumably a vault. The room is big and echoey, thirty or forty feet high and brightly lit from a huge gold chandelier overhead. The main lobby is back to the west.\n\nThere's a black cord running from a hole in the wall.\n\nThere's a bored-looking teller behind the bars.\n\nThe egg is calling to me...\n\n> You show the parchment to the teller\n\"Hmm, yes, this is one of our policies. If anything unfortunate should...\" She trails off as she notices a rising plume of smoke in the distance. \"I see. Well, then. I suppose this is yours.\" She takes the parchment from me and hands me a check.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You look at the check\nWe got this check for burning down--- er, redeeming the policy on the barn at 1 Farmland Farm. Well, actually, we did both of those things.\n\nThe egg is calling to me...\n\n> You show the check to the teller\nAside from generally being nonplussed at serving a bird, the teller seems uninterested.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> Go west\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> Go west\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You go to the south\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a pile of assorted trinkets here.\n\n\"Greetings, W.D.,\" says Mel. \"As a reminder, you still have one ingredient's worth of credit.\"\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You show the check to Mel\nMel looks it over. \"Hm, made out to cash, even. All right.\" Mel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\nThe egg is calling to me...\n\n> You read the page\nThis is a list of Midas potions:\n\nComponents: unicorn fur, sapphire whiskey, and phoenix kidney\n\nComponents: sapphire whiskey, ivory runestone, and daffodil blood\n\nComponents: phoenix kidney, daffodil blood, and refined starmetal\n\nComponents: unicorn fur, phoenix kidney, daffodil blood, and wizard ash\n\nTransmute any inanimate object to gold (there's a smudge after\n'gold', and I can't read what's written there)\nComponents: unicorn fur, sapphire whiskey, ivory runestone, refined starmetal, and wizard ash\n\nComponents: sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash\n\nComponents: unicorn fur, sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go west\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nThe egg is calling to me...\n\n> Go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> Go west\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You go to the north\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a young guardsman here.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You look in the wastebasket\nIt's full of crumpled vellum pages.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the vellum pages\nTaken.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You read the vellum pages\nIn familiar handwriting, the text of the page reads:\n\nDear Guards,\n\nPlease return the machine you confiscated from the king's wizard, who is very powerful and very good at magic except for that one time with the pancakes, which was a reasonable accident that could happen to anyone. Also, I am stupid and I smell bad and my mother is a platypus.\n\nThe signature on this letter is somewhat unusual.\n\nThe egg is calling to me...\n\n> You examine the signature\nA poorly-executed forgery of the treasurer's signature. I suspect his name is not actually \"The Treasurer.\" I also suspect he knows how to spell \"treasurer.\" I wish your Spelling Wasp had caught on, boss. That one should have made us millionaires. Anaphylactic shock is a small price to pay for proper spelling.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You look at Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic. He's dozing lightly. He has an impressive moustache that makes him look older than I suspect he actually is, or at least it would if it weren't obviously glued on.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You take the moustache\nLet me just peel the glue off....got it! The guard stirs a bit, but goes back to sleep.\n\nThe egg is calling to me...\n\n> You wear the moustache\nHey! No clothes on the bird! I'm not one of those little yappy dogs.\n\nThe egg is calling to me...\n\n> You examine bell\nThere's a large (as in, about my size) bronze bell on the wall, tied to a cord going out the window. The bell's actually fairly interesting; its surface is covered with bronze dots making a floral pattern. I tend to associate Pre-Classical dots with sculpture, but there's no reason you couldn't cast a bell in that style.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You examine the cabinet\nA poorly-built but solid storage cabinet with \"EVIDENCE\" painted on the door. It's in bad shape; the wood is splintering in several places, and there's even a sizeable crack on top. It's padlocked.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You examine Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic. He's dozing lightly.\n\nThe egg is calling to me...\n\n> Examine poster\nIt's a wanted poster offering five thousand florins for the capture of the infamous bank robber Two-Handed Bart (not to be confused with One-Handed Bart). He looks dashing with his shiny hair, his handlebar moustache, and his flapping green scarf. Is that dashing? That's the sort of thing you guys find dashing, right?\n\nThe egg is calling to me...\n\n> You examine the crack\nThere's a large crack on the top of the evidence box.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You examine the padlock\nThe padlock's rusty. It looks like the latch is nearly rusted through.\n\nThe egg is calling to me...\n\n> Wave wand\nPoof! A glittering coin materializes in the air in front of\nme and drops to the floor.\n\nThe egg is calling to me...\n\n> You put the coin in the crack\nI'm not holding the faery coin.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the coin\nTaken.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You put the coin in the crack\nThe faery coin drops into the evidence cabinet through the crack.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You check your inventory\nIn my bag of holding, I have:\na mechanical moustache\na vellum page\na vase\nan egg\na scarf\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of an annoying wizard\n\nThe egg is calling to me...\n\n> You ring bell\nDing! The guard jumps up from his nap. \"Hey, get away from the alarm! Stupid bird.\" Yeah, well, get away from...your...face, you\nstupid human. Man, I'm going to think of a good comeback hours from now, when it won't do me any good.\n\nHe returns to his nap.\n\nThe egg is calling to me...\n\n> You take the padlock\nI'll have to unlock it first.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You put the salt in the crack\nThe salt drops into the evidence cabinet through the crack.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\nFwoooom! The faery coin explodes! Sparks everywhere!\n\nThe napping guard startles. \"Hr! What the?\"\n\n> You look at the box\n(the evidence box)\nA poorly-built but solid storage cabinet with \"EVIDENCE\" painted on the door. It's in bad shape; the wood is splintering in several places, and there's even a sizeable crack on top. It's padlocked.\n\nThe guard laboriously stands up and rubs his eyes. \"Why is the evidence locker smoking?\"\n\nThe egg is calling to me...\n\n> Wait\nAll right.\n\nThe guard unlocks and opens the evidence cabinet and stares stupidly at it, scratching his head. \"Hullo, what's this? Nothing seems to be on fire.\"\n\nThe egg is calling to me...\n\n> You look in the cabinet\nIn the evidence box are a scrap of paper and a metal device.\n\nThe guard closes up the evidence locker, locks it, and eagerly returns to his nap.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You take all\nblack cord: That's fixed in place.\nwastebasket: That's fixed in place.\nbronze bell: That's fixed in place.\nevidence box: That's fixed in place.\nyoung guardsman: I don't see how, and I would probably just get shooed away again.\n\nThe guard closes up the evidence locker, locks it, and eagerly returns to his nap.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You look in the box\n(the evidence box)\nLooking through the crack, I can see a scrap of paper and a metal device inside.\n\nThe guard unlocks and opens the evidence cabinet and stares stupidly at it, scratching his head. \"Hullo, what's this? Nothing seems to be on fire.\"\n\nThe egg is calling to me...\n\n> You take the scrap\nTime to use all my sneakiness and stealth to grab the scrap of paper while the guard's distracted! And...got it!\n\nThe guard closes up the evidence locker, locks it, and eagerly returns to his nap.\n\nThe egg is calling to me...\n\n> You examine the scrap\nIt reads, \"Give me the munny. I hav a bomm.\" Sheesh. I can\nspell better than that.\n\nThe egg is calling to me...\n\n> You take the metal\nThat's fixed in place.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You look at the box\n(the evidence box)\nA poorly-built but solid storage cabinet with \"EVIDENCE\" painted on the door. It's in bad shape; the wood is splintering in several places, and there's even a sizeable crack on top. It's padlocked.\n\nThe egg is calling to me...\n\n> Inventory\nIn my bag of holding, I have:\na scrap of paper\na mechanical moustache\na vellum page\na vase\nan egg\na scarf\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a foolish wizard\n\nThe egg is calling to me...\n\n> You look at Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic. He's dozing lightly.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You examine the tunic\nAll the guards have green tunics with a stylized unicorn on the front. This guard also has a key on his belt.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> Unlock box\nWhat do you want to unlock the evidence box with?\n\n> You unlock the box with the key\nSure, boss. I'll just hover three feet off the ground, delicately insert the key into the lock using my beak, and then spin around a couple of times in mid-air to open it. I can't perch on the lock or reach it from the ground, and keys are tricky to handle with beaks. I don't think this is a job for a raven, even one as fiendishly clever as me.\n\nThe egg is calling to me..."
    },
    {
        "text": "[Themes: Puzzle, Fantasy, Humor, old school, nonhuman protagonist, non-human protagonist, humor]\n\n> You look around\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a young guardsman here.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> Up\nThis must be where the guards sleep. There are a bunch of cots here. A tired guardsman is sitting before a pile of paperwork, with an inkpad and wastebasket next to him. There's a staircase leading down to the main part of the guardhouse.\n\nI can see some cots (on top of which is a coarse blanket) here.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Examine page\nWhich do you mean, the vellum page, the vellum page, or the torn page?\n\n> You examine the cots\nA row of spartan cots.\n\nOn top of the cots is a coarse blanket.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You examine the blanket\nA coarse woolen blanket. It smells like guard.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nThe egg is calling to me...\n\n> You take the blanket\nNghnghhngh! Sorry, boss, but the blanket is too heavy for me\nto budge. I did manage to tear a bit off the corner with my beak, though.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Smell blanket\nWell, I tell you one thing, boss. Somewhere there is food, and I'm not eating it, and that's a sad, sad thing.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the bit\n(the scrap of paper)\nI already have that.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You check what you're carrying\nIn my bag of holding, I have:\nan iron key\na scrap of paper\na mechanical moustache\na vellum page\na vase\nan egg\na scarf\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a desperate wizard\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take corner\nTaken.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nThe egg is calling to me...\n\n> You examine the stack\nThey look like various administrative forms. The guardsman is methodically stamping a signature onto each one.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You look at the forms\nThey look like various administrative forms. The guardsman is methodically stamping a signature onto each one.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nThe egg is calling to me...\n\n> You examine stamp\nIt's an oversized stamp with some sort of squiggly, almost illegible signature on its underside. If I had to guess, I'd say it was the treasurer's, but it could be yours. It might even be mine.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You take the stamp\nThat seems to belong to the tired guardsman.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You examine Guard\nHe looks wiped out. His tunic is rumpled. He's dully applying a squiggly signature to the pile of forms with an oversized stamp.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nThe egg is calling to me...\n\n> You look at the tunic\nAll the guards have green tunics with a stylized unicorn on the front. This guard also has a leather pouch on his belt.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You examine the unicorn\nAll the guards have green tunics with a stylized unicorn on the front. This guard also has a leather pouch on his belt.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You examine the pouch\nIt's a little leather bag. It's about the size of my Bag of Holding. It probably isn't magical, though.\n\nThe leather pouch is closed.\n\nThe egg is calling to me...\n\n> You open Bag\n(the leather pouch)\nOkay, I open the leather pouch, revealing a florin.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You look at florin\nThis is a one-florin coin. A florin is one twentieth of a mark. One florin will not save your bacon. But hey, you could buy me\nsome bacon.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You take the pouch\nTaken.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You go to the south\nI can't go that way.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Go south\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\nThe egg is calling to me...\n\n> You go to the east\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> Go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nThe egg is calling to me...\n\n> You go to the west\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You go north\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a young guardsman here.\n\nThe egg is calling to me...\n\n> Wave wand\nPoof! A glittering coin materializes in the air in front of\nme and drops to the floor.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the coin\n(the faery coin)\nThere are too many things in my bag of holding.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You put the coin in the crack\nThe florin drops into the evidence cabinet through the crack.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You put the salt in the crack\nThe salt drops into the evidence cabinet through the crack.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You wait for a while\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You check what you're carrying\nIn my bag of holding, I have:\nsome salt\na leather pouch (which is open but empty)\na florin\na torn bit of wool\nan iron key\na scrap of paper\na mechanical moustache\na vellum page\na vase\nan egg\na scarf\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\nthe Un-Hat\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a desperate wizard\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You drop the vase\nDropped.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You put the faery coin in crack\nThe faery coin drops into the evidence cabinet through the crack.\n\nThe egg is calling to me...\n\n> You put the salt in the crack\nThe salt drops into the evidence cabinet through the crack.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\nFwoooom! The faery coin explodes! Sparks everywhere!\n\nThe napping guard startles. \"Hr! What the?\"\n\n> You look in the box\n(the evidence box)\nLooking through the crack, I can see a metal device inside.\n\nThe guard laboriously stands up and rubs his eyes. \"Why is the evidence locker smoking?\"\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You wait\nAll right.\n\nThe guard fumbles around in his tunic, sighs, and sits back down.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You wait for a while\nAll right.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You examine Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic. He's dozing lightly.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You examine Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic. He's dozing lightly.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You put the key on the box\n(the evidence box)\nI don't think putting things on the evidence box would accomplish anything.\n\nThe egg is calling to me...\n\n> You put the key on Guard\nI don't think putting things on the young guardsman would accomplish anything.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You give the key to Guard\nThe guard's suspicion and sleepiness fight it out for a while. After a couple of moments of painful deliberation, he takes the key from me and goes back to sleep.\n\nThe egg is calling to me...\n\n> You take the faery coin\nTaken.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You put the faery coin in the crack\nThe faery coin drops into the evidence cabinet through the crack.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You put the salt in the crack\nThe salt drops into the evidence cabinet through the crack.\n\nThe egg is calling to me...\n\nFwoooom! The faery coin explodes! Sparks everywhere!\n\nThe napping guard startles. \"Hr! What the?\"\n\n> You look in box\n(the evidence box)\nLooking through the crack, I can see a metal device inside.\n\nThe guard laboriously stands up and rubs his eyes. \"Why is the evidence locker smoking?\"\n\nThe egg is calling to me...\n\n> Wait\nAll right.\n\nThe guard unlocks and opens the evidence cabinet and stares stupidly at it, scratching his head. \"Hullo, what's this? Nothing seems to be on fire.\"\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the device\nUrgh, this thing weights a ton. I obviously can't fly with it, so let's see if I can drag it out of the box. Huff puff puff.\n\nShoot! The noise must have altered the guard, or maybe it was when I accidentally dropped the device on his foot. \"You don't want that, bird,\" he says, taking it from me despite my caws of protestation and gingerly returning it to the box. \"It's not food. Leave it alone.\" Then he locks the cabinet and goes back to his nap.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You examine florin\nThis is a one-florin coin. A florin is one twentieth of a mark. One florin will not save your bacon. But hey, you could buy me\nsome bacon.\n\n> You show florin to Sandie\nI'm not getting any response. Pssh. I wish I had one of your Extremely Loud Icebreaker Crackers. Those always got a response, even if it was usually a violent one.\n\n> You take the meat\nWhich do you mean, the pork pan, the beef pan, or the Excitement pan?\n\n> You take the pork pan\nBoss, that is an excellent idea, but Sandie has a mean\nbackhand.\n\n> Xyzzy\nThomas, could you put a random joke here? --Diane\n\n> Sing\nOooohhhhh,\nI'm going to murder that hedgehog!\nThis is the hedgehog-murdering song!\n\nHmph.\n\n> You go to the north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a vase (which contains an egg and a scarf) and a young guardsman here.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You take the scarf\nHmm, that's going to be tricky. Let me tip it over, then lift up the neck like this, and...got it!\n\nThe egg is calling to me...\n\n> Examine poster\nIt's a wanted poster offering five thousand florins for the capture of the infamous bank robber Two-Handed Bart (not to be confused with One-Handed Bart). He looks dashing with his shiny hair, his handlebar moustache, and his flapping green scarf. Is that dashing? That's the sort of thing you guys find dashing, right?\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> Dye scarf\nAh, it turns a beautiful green. It reminds me of the leaves in my tree.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You look at Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You examine the mustache\nHey, this is one of your Multitudinous Mechanical Moustaches! You can wind it to change its shape. The first version was prone to stuck gears. It's too bad; I thought this was going to be a popular invention. Right now it's shaped like a giant, bushy, overgrown moustache.\n\n> You put the moustache on the man\n\"Well, I've always wanted to grow a better moustache, really...\"\n\nOh, oh, he's taking it...he's putting it on...yes! Moustache go! Aw, man, don't pat me on the head. I'm not a dog.\n\n> You put the scarf on man\n\"Well, thank you, little magpie. I am kind of cold.\"\n\nMagpie? I'm a raven! A raven! Stupid humans with their not\nknowing anything and their not speaking the language and their failing to look like proper bank robbers unless I do a bunch of stupid work...\n\n> You look at the man\nI'm not done yet. Stupid humans with their stupid lack of feathers and stupid weird beaks and stupid clothes. \"Ooh, look at me, I'm a human. I'm going to not fly all day, then sleep horizontally on the floor. I like to set perfectly good rotting meat on fire, then eat it with a delicate little fork so I don't get delicious grease on my weird, fleshy hands and oh-so-precious opposable thumbs.\" Bah.\n\nAll right, now I'm done. Let's go.\n\n> You examine man\nHe looks like any other human, I guess. He's wearing grey pants, a grey fedora, a scarf, and a grey shirt, and he has a handlebar moustache. He's cursing under his breath as he tries to fill out paperwork.\n\nThe ordinary man proudly rubs his moustache.\n\n> You take the fedora\nHmm, it is a pretty nice hat. Let me just swoop in and\ngrab--- Slap! Ow! Don't hit me! I just want to steal your\nhat!\n\nBoss, this isn't going to work. He's very attached to the hat.\n\nThe ordinary man grumbles under his breath.\n\n> You put un-Hat on fedora\nYeah, take that, Hat Boy! I'll just drop the unhat on his head and---\n\n!moobak\n\nEr, that's me trying to mimic the sound of a 'kaboom' going backwards. The hat and the unhat kind of shrank into each other and, well, no hat. I think some of the guy's hair went with it. Uh oh, I think he's kind of cheesed off. Okay, no need for that kind of violence! Whoa whoa! I'm retreating to the chandelier now.\n\nThe ordinary man grumbles under his breath.\n\n> You examine man\nHe looks like any other human, I guess. He's wearing grey pants, a scarf, and a grey shirt, and he has a handlebar moustache. He's cursing under his breath as he tries to fill out paperwork.\n\n> You ask the man about the hair\n\"Quork quork quork?\"\n\n> You pull cord\nDone!\n\nA mob of guardsmen charge out of the Watchtower towards the bank. I think I'll follow them.\n\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThere's a bored-looking man at the tables trying to fill out some forms.\n\nThree guards come rushing into the bank. \"Stop right there, Two-Handed Bart!\" shouts the tallest guard. \"You're under arrest!\" shouts the middle guard. \"Wait! I don't think that's Two-Handed Bart!\" cries the shortest guard.\n\n\"But he's got the moustache and the scarf and the no hat. He looks just like him!\" says the tallest guard.\n\n\"Isn't he the same guy we didn't arrest last time?\" says the short guard.\n\n\"I don't think so. He looks exactly like Two-Handed Bart,\" says the middle guard. \"Maybe you were just mistaken before.\"\n\n\"I ... guess ...\" says the short guard. \"He does look just\nlike the poster....Well, take him in. Good job, guys.\"\n\nThe three guards drag the man out of the bank, while he wails incoherently about just being here for a loan.\n\nHeh heh heh. Time to go collect our reward money!\n\n> Go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThere's a black cord running from the guard tower to the bank.\n\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's a statue of some ugly human here. The guard tower is north of here, a big, oppressive stone thing. I always feel like I'm about to fly into it even when I'm nowhere near it.\n\nThere's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east, and the wharf is to the west.\n\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a vase (which contains an egg) and a young guardsman here.\n\nThe egg is calling to me...\n\n> You examine Guard\nI think this guard is pretty young, although I'm not great at telling with you humans. He's wearing the standard-issue guard tunic.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You show the poster to Guard\n\"Caw!\" I brandish the poster and perch on the guard's head.\n\n\"Hello, uh, bird. Huh, Two-Handed Bart. You know, we just captured him.\"\n\n\"Caw!\" Yes, I was there.\n\n\"He's supposed to be a criminal mastermind, but he was just standing around idly in the middle of the bank.\"\n\n\"Awk awwwwk.\"\n\n\"I wonder who pulled the alarm,\" muses the guard. \"The teller insists she didn't do it.\"\n\n\"Caw caw!\" I hate you. I hate you I hate you I hate you.\n\n\"We'll get a bonus for being the guard shift that caught him. I guess nobody gets that five-thousand florin reward.\"\n\nMaybe I can kill this guy and cash in his body with Mel. \"Awk.\nAwk. Awk awk cawk awwwk awwk caww awk.\" Complicated pantomime\nensues.\n\nThe guard is incredulous. \"You? You're a bird.\"\n\n\"Awwwk quork awww.\" Yes, I am a bird waving a poster at you\nand miming pulling an alarm cord. Maybe I know what I am talking about.\n\nThe guard is still incredulous. \"Enh, we get our bonus anyway. Here's a credit slip.\" Finally, you people.\n\nThe egg is calling to me...\n\n> You examine the crack\nThere's a large crack on the top of the evidence box.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You look in the crack\nLooking through the crack, I can see a scarf, a mechanical moustache, and a metal device inside.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You look at the animals\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> Examine auctioneer\nThe auctioneer is wearing a fancy black suit. He seems faintly oily, but not in the delicious fried meats kind of way.\n\n\"...sold!\" The merchant steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nOne of the cows shifts around uncomfortably.\n\n> Examine merchant\nWhich do you mean, the merchant, the merchant, the merchant, the merchant, the merchant, the merchant, the merchant, or the merchant?\n\n...This clearly isn't working. To disambiguate the merchants, I'm going to give them human names. Let's see. I'm going to name that one Hortensia, and that one Percival, that one Rupertina, that one Elspeth, F'nyrx, Professor Demonspoon, Rombert, and Sunshine Gristlesplat.\n\n> You look at Hortensia\nHortensia is a sad-looking man carrying his hat before him and twisting its brim nervously.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Associated Rook Leverage,\" he says. \"Any bids?\"\n\n> You examine Rupertina\nRupertina is a tall, imposing woman.\n\n\"...sold!\" Hortensia steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You examine  Elspeth\nElspeth is a young, smartly-dressed woman missing an earring.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Kingdom Flounder Interests?\" he asks.\n\n> You examine professor\nProfessor Demonspoon is an elderly man in a rumpled three-piece suit, which he looks to have never changed.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You examine rombert\nRombert is a short, corpulent man.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Royal Ibis Bureau,\" he says. \"Any bids?\"\n\nA depressed horse mutters something about glue.\n\n> You ask the cows about the auction\nI perch near the livestock pens. \"Hey, animals, are---\"\n\n\"Aww, it's terrible here. Let's run around! I hate being cooped up.\"\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA small group of cows crowds together, their eyes darting around."
    },
    {
        "text": "> Look around\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nTwo pigs huddle together, shivering nervously.\n\n> You ask the pigs about the auction\nI perch near the livestock pens. \"Hey there, I---\"\n\n\"No time to talk! Can't stop moooooooving! The farmer might come back!\"\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Aggregate Sea Krait System?\" he asks.\n\n> You go south\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\n> Bite cord\nOkay. Fear the beak. Snap! All right, it's broken.\n\n> Go east\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nThis part of the bank is cut off from the public by a gilded cage. There's a big, grey, solid-looking door back there, presumably a vault. The room is big and echoey, thirty or forty feet high and brightly lit from a huge gold chandelier overhead. The main lobby is back to the west.\n\nThere's a black cord running from a hole in the wall.\n\nThere's a bored-looking teller behind the bars.\n\n> You show the scrap to the teller\nAll right. Deep breath, W.D. You can do this. I'm doing my serious face, boss. I look deadly. I have a bomm and I'm not afraid to use it. In fact, I'd love to use it. I'd rather blow this bank up than get my money! Just give me an excuse! One million florins or hot fiery death! One million florins AND hot fiery death! Forget the money; I'm taking you all with meeeeeeeeeee!\n\n...Darn it. I wish we had a real bomb. All the things you made that exploded by accident, and you never made a bomb on purpose?\n\nEr, right. I should actually give her the note. Okay, she's reading it. \"Just one minute, sir,\" she says. (Ooh, I'm a sir.) She's reaching under the counter--- ooh, she's going to try to pull the alarm! She looks surprised. She looks down at her hand. I bet you were expecting some tension in that cord, huh? She looks at me nervously. Oh yeah, I am two seconds away from kaboom, ma'am. Better get me my money.\n\nShe gets up and fumbles with the vault door. She pulls out several different keys. I keep glaring so she'll hurry up. She opens the door, reaches in, and grabs a sack. Then she comes back to me and unlocks something to open the bars. She tosses the sack at me and closes the bars.\n\nShe suddenly claps her hands over her mouth. \"Oh my god! You got Two-Handed Bart arrested just so you could rob the bank yourself! ...Pleasedon'tkillme.\"\n\nOh yeah. I am W.D., and I am the King of Moneyville.\n\n> You take the sack\n(the sack of bearer bonds)\nI already have that.\n\n> You go west\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\n\n> Inventory\nIn my bag of holding, I have:\na sack of bearer bonds\na reward chit\na leather pouch (which is open but empty)\na florin\na torn bit of wool\na vellum page\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a mediocre wizard\n\n> You show the reward chit to Mel\n\"You captured Two-handed Bart?\"\n\n\"Single-winged.\"\n\n\"How?\"\n\n\"He showed up in the bank, so I pulled the alarm.\"\n\n\"Well, that's something. I suppose I'll cash this in before I mention knowing that Two-Handed Bart is always in Caberry this time of year.\"\n\n\"Uh, yeah, you do that.\"\n\nMel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\n> You show the sack to Mel\nMel's eyes bug out slightly. \"How...?\"\n\n\"Lemonade stand.\"\n\n\"...I'm just going to not think about it.\" Mel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\nMel closes his account book. \"Well, W.D., I think you might have enough to make one of the simpler Midas potions I'm familiar with. I'll open the door to the alchemy laboratory.\" Mel makes a smooth but arcane gesture. In a seemingly empty space on the shop floor, a trapdoor abruptly pops into existence.\n\n\"Oh, so that was what a Perfectly Foolproof Illusion is\nsupposed to look like.\"\n\nMel says nothing as he crosses over to the trapdoor and opens it for me. \"There. You'll be able to use the equiment in the laboratory to brew a potion.\"\n\n\"Wow, Mel, thank you so much. I'll definitely bring the boss here to buy you lunch, or something.\"\n\nMel nods. \"I know you are in a hurry, W.D,. but you may want to look around a little more. I'm not entirely certain you have the right ingredients to make something useful.\"\n\n\"Oh. Well, I'll check the lab out.\"\n\n\"Good luck.\""
    },
    {
        "text": "[Themes: Fantasy, Humor, Puzzle, old school, nonhuman protagonist, non-human protagonist]\n\n> Go down\nThis is Mel's spooooky secret laboratory. I say \"spooky\" because it's lit bit a series of multicolored, floating orbs. Apart from the glowing elf balls, though, it's a relatively normal stone cellar. I can go up if you want to return to the shop proper.\n\nThere's a big pot on the floor and a sign on the wall.\n\n> You look at the balls\nGlowing balls in red and green and purple. They drift lazily around the room.\n\n> You examine the pot\nI'm sure it's technically an \"alchemical cauldron apparatus,\" but I will be referring to it as a \"pot.\" The pot is filled with some kind of thick liquid, and there's a sigil embossed on its side.\n\n> You look at the sign\nSave your notes! You do not like remaking potions from scratch.\n--Mel\n\n> You examine the sigil\nIt's some sort of intricate design. It means nothing to me, and it's way too complicated for me to describe to you. It looks impressively mystical and eldritch, though.\n\n> You examine the liquid\n(the bottle of blue dye)\nThis is a bottle of blue dye. It contains, in my estimation, enough to dye two ravens. That is not a suggestion.\n\n> You examine the thick liquid\nThis is some kind of gooey liquid. It resembles syrup, but it's not brown, and I don't detect any obvious odor from it. I'm assuming it's some sort of potion base, but that's really your department.\n\n> You read the page\nWhich do you mean, the vellum page or the torn page?\n\n> You read the torn page\nThis is a list of Midas potions:\n\nComponents: unicorn fur, sapphire whiskey, and phoenix kidney\n\nComponents: sapphire whiskey, ivory runestone, and daffodil blood\n\nComponents: phoenix kidney, daffodil blood, and refined starmetal\n\nComponents: unicorn fur, phoenix kidney, daffodil blood, and wizard ash\n\nTransmute any inanimate object to gold (there's a smudge after\n'gold', and I can't read what's written there)\nComponents: unicorn fur, sapphire whiskey, ivory runestone, refined starmetal, and wizard ash\n\nComponents: sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash\n\nComponents: unicorn fur, sapphire whiskey, phoenix kidney, ivory runestone, daffodil blood, refined starmetal, and wizard ash\n\n> Go upward\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast. Now there's also a trapdoor leading down.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a pile of assorted trinkets here.\n\n> You ask Mel about the credit\nMel checks his ledger. \"You've given me enough money and valuables for four spell ingredients.\"\n\n> You check what you're carrying\nIn my bag of holding, I have:\na leather pouch (which is open but empty)\na florin\na torn bit of wool\na vellum page\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a foolish wizard\n\n> Inventory\nIn my bag of holding, I have:\na leather pouch (which is open but empty)\na florin\na torn bit of wool\na vellum page\nsome farming tools\na cedar box (which is open but empty)\na piece of yellow paper\na piece of green paper\na piece of violet paper\na piece of red paper\na fish\na fishing rod\na wanted poster\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of an annoying wizard\n\n> You put yellow and the green and the violet and the red in the box\nWhich do you mean, the piece of red paper or the red balloon?\n\n> You put the yellow and green and the violet in the box\npiece of yellow paper: There is no more room in the cedar box.\npiece of green paper: There is no more room in the cedar box.\npiece of violet paper: There is no more room in the cedar box.\n\n> You put the yellow and green and the violet in the pouch\npiece of yellow paper: Done.\npiece of green paper: Done.\npiece of violet paper: Done.\n\n> You put red paper in the pouch\nTaken.\nThere is no more room in the leather pouch.\n\n> You take all from the pouch\npiece of violet paper: Removed.\npiece of green paper: Removed.\npiece of yellow paper: Removed.\n\n> You drop the violet and the green and the yellow\nDropped.\npiece of violet paper: Dropped.\npiece of green paper: Dropped.\npiece of yellow paper: Dropped.\n\n> You drop wanted\nDropped.\n\n> Inventory\nIn my bag of holding, I have:\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a foolish wizard\n\n> You examine the rod\nHey, you made this! It's your Fishing-Rod-With-Self-Baiting-Hook! Somebody is using something you made! Or, well, maybe they were at some point; they've apparently abandoned it. It still counts as a sale, though. There's no line or hook on the fishing rod; it looks a lot like a tree branch.\n\n> Wave rod\nPfwarmp! A cricket materializes in the air in front of me and\ndrops to the floor.\n\n> You look at the cricket\nI despise the way these guys chirp. It's always satisfying\nwhen you catch one and then it's crunch crunch crunch crunch\nand one fewer chirpy annoyance. Crickets have a milder taste than grasshoppers.\n\n> You eat the cricket\n(first taking the cricket)\nCrunch. Ah, always satisfying to do that.\n\n> Nfspecfic1\n%% Enter a save filename to read:\n\n> Specfic1\n[Restore failed.]\n\n> Nfspecfic1\n[Ok.]"
    },
    {
        "text": "[Themes: Humor, Puzzle, Fantasy, humor, non-human protagonist, nonhuman protagonist]\n\n> Look around\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast. Now there's also a trapdoor leading down.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a leather pouch (which is open), a cedar box (which is open), a wanted poster, a piece of yellow paper, a piece of green paper, a piece of violet paper, a piece of red paper, and a pile of assorted trinkets here.\n\n> You ask Mel about the credit\nMel checks his ledger. \"You've given me enough money and valuables for four spell ingredients.\"\n\n> Inventory\nIn my bag of holding, I have:\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na red balloon\na magic wand\nthe mind of a mediocre wizard\n\n> You go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\n\n> Go southwest\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nPfwarmp! A nightcrawler materializes in the air in front of\nme and drops to the floor."
    },
    {
        "text": "> You look around\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a nightcrawler and a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nNothing happens. I think Mel said something about having to destroy the last bait first. Conservation of energy, or something.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You give nightcrawler to the hedgehog\nI haven't got the nightcrawler.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You examine the balloon\nIt's a shiny red balloon on a string, filled with that special air that makes things float. It's really shiny. We should keep it and look at it for a while.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You give the balloon to the hedgehog\nThe hedgehog starts playing delightedly with the balloon. Whee.\n\n> You wait a while\nAll right.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You wait\nAll right.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You give the nightcrawler to the hedgehog\n\"Food! Food for meeeeee! Oh---\n\nIs a happy happy hooooog!\nIt's a good day for eating\nAnd singiiiiiiiing!\n\nGood job. Now he's singing louder.\n\n> Wave rod\nPfwarmp! A nightcrawler materializes in the air in front of\nme and drops to the floor.\n\n> Wave rod\nPfwarmp! An earthworm materializes in the air in front of me\nand drops to the floor.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You eat the earthworm\n(first taking the earthworm)\nChomp. Very tasty.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nPfwarmp! An earthworm materializes in the air in front of me\nand drops to the floor.\n\n> You take the earthworm\nTaken.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nThe hedgehog enters from the west.\n\n> You go north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThe hedgehog enters from the south.\n\n> You take the coin\nWhich do you mean, the faery coin, the florin, or the strange coin?\n\n> You give the hedgehog to the beggar\nI haven't got the hedgehog.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You take strange coin\n\"Hey, hedgehog, I---\"\n\n\"Hi! Got any food? Got any food? Iiiiiiiiii'm pointy!\"\n\nI think I'm done here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You take hedgehog\nHe's like a ball of needles. And not in a good way, like your Spherical Sewing Engine. Come to think of it, that wasn't so hot either.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go to the north\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\n> Inventory\nIn my bag of holding, I have:\nan earthworm\na red balloon\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\n> You look at the wool\nThe corner from a wool blanket.\n\n> You tell the beggar about the birthday\n\"Hello, birdie. You like shiny things, don't you? I like shiny things, too. Would you like to give me something shiny?\"\n\n\"What? No! I---\" Yeah, yeah, you don't speak Raven.\n\n> You look at the tools\nThey're some tools that you humans probably use to farm, uh, farm stuff. Some of them have pointy bits, if that helps.\n\n> You pop the balloon\nPop! Gah! That balloon is loud. Well, that was fun while it\nlasted.\n\n> You examine the shops\nThere's a wagon repair shop and a shoe store. I don't see anything useful to us.\n\n> You go southwest\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n> Go southwest\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You eat worm\nChomp. Very tasty.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nPfwarmp! A nightcrawler materializes in the air in front of\nme and drops to the floor.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You take the worm\nTaken.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go southwest\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n> Go west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Go west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You follow you\n\"Hey, hedgehog, I---\"\n\n\"Hi! Got any food? Got any food? Iiiiiiiiii'm pointy!\"\n\nI think I'm done here.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> You check what you're carrying\nIn my bag of holding, I have:\na nightcrawler\na red balloon\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a desperate wizard\n\n> You show the worm to the nightcrawler\nI can only do that to something animate.\n\n> You show the worm to the hedgehog\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> You give the balloon to the hedgehog\nThe hedgehog starts playing delightedly with the balloon. Whee.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> You take the balloon\nTaken.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You show the wool to the hedgehog\nI'm not getting any response. Pssh. I wish I had one of your Extremely Loud Icebreaker Crackers. Those always got a response, even if it was usually a violent one.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> Go north\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nThe hedgehog enters from the south.\n\n> Wave rod\nPfwarmp! A nightcrawler materializes in the air in front of\nme and drops to the floor.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go to the north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\n\nThe hedgehog enters from the south.\n\n> You show the worm to the hedgehog\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Go northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA depressed horse mutters something about glue.\n\n> You take the worm\nTaken.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> Go northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nThe hedgehog enters from the southwest.\n\nA depressed horse mutters something about glue.\n\n> You sell the hedgehog\n(first taking the hedgehog)\nHe's like a ball of needles. And not in a good way, like your Spherical Sewing Engine. Come to think of it, that wasn't so hot either.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Resolute Aardvark Leverage,\" he says. \"Any bids?\"\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Bid hedgehog\nWhat do you want to bid the hedgehog on?\n\n> You examine the animals\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You go to the southwest\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\n\nThe hedgehog enters from the northeast.\n\n> You give the worm to the hedgehog\n\"Food! Food for meeeeee! Oh---\n\nIs a happy happy hooooog!\nIt's a good day for eating\nAnd singiiiiiiiing!\n\nGood job. Now he's singing louder.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nPfwarmp! A cricket materializes in the air in front of me and\ndrops to the floor.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go south\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nThe hedgehog enters from the north.\n\n> Go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast. Now there's also a trapdoor leading down.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a leather pouch (which is open), a cedar box (which is open), a wanted poster, a piece of yellow paper, a piece of green paper, a piece of violet paper, a piece of red paper, and a pile of assorted trinkets here.\n\n\"Greetings, W.D.,\" says Mel. \"As a reminder, you still have four ingredients' worth of credit.\"\n\n> You go west\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Go south\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThe hedgehog enters from the north.\n\n> Go south\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nThe hedgehog enters from the north.\n\n> Go upwards\nIt's kind of boring here. I hear the king hasn't put anybody in the dungeon in over a year. Must make you feel special. It's drafty, being up in the tower, and the stones in the wall have chips and various--- do you really care? They're old. The door looks pretty sturdy. There's some light coming into the room from a window about, uh, twice your height up. Can we leave?\n\nI can see a tapestry, a bed, a mirror, and an annoying git in a dress here.\n\n> You take tapestry\nThat's fixed in place.\n\n> You look at the tapestry\nIt's a garish sight. I guess the artist might have been trying to do something in the Colorist style. (Purple and green dyes became cheap around the turn of the century, and there was a rainbow explosion in the art world for about a decade.) I don't know, though--- these colors don't really go together. Colorism usually involves more realistic pairings, and I don't think humans are supposed to be that shade of orange. I think the blobby thing is meant to be a unicorn, but that's speculation.\n\nThe tapestry was made by the late queen. I've heard stories about her prolific and unusual talent. I'm sure the old guy couldn't bear to throw it out, and nobody else could bear to look at it. There's a wobbly inscription woven into the corner.\n\n> You enter the tree\nFrom here, I can see all sorts of things. Sandie's got her Hot Meats stall set up in the middle of Big Street. The castle (and your body) are off to the south. The bank sparkles faintly in the distance. There are streamers and balloons out in front of the magic shop. Farmland stretches off to the west.\n\n> Go west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\n> You go west\nYou should have thought of that before you had me burn the barn down.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go south\nThese little country houses are hit or miss. Sometimes they have good food to steal; sometimes their owners want to cook and eat you. This particular one is a one-room cottage with a thatched roof. The chimney's the nicest thing here. Unfortunately for us, there's nothing cooking on the fireplace. No fire either, so waiting around here isn't going to get us any food. Nobody's here, though the door to the north is ajar. The cottage continues to the west.\n\nA ramshackle table stands against the wall.\n\n> You look at the table\nIt's a round, wooden table. Six or seven people could fit around it. It's solid looking, but rough; it's functional rather than pretty. It has food stains that are several years old, giving it a pleasant aroma of meals past. Unfortunately, there's no actual food on it.\n\n> Go north\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> Go north\nI can't go that way.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> You check your inventory\nIn my bag of holding, I have:\na nightcrawler\na red balloon\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\n> You give the balloon to the hedgehog\nThe hedgehog starts playing delightedly with the balloon. Whee.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go to the west\nI've stopped in front of a cottage to the south, which is the only interesting thing for miles. Fields of corn barely taller than I am surround me and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThe ruins of a red barn lie to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> You examine the hedgehog\nHedgehogs are, sadly, inedible, so there's not much to say about them. This one is frolicking, which is very undignified. In fact, I\nthink it's singing.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Inventory\nIn my bag of holding, I have:\na nightcrawler\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of an annoying wizard"
    },
    {
        "text": "[Themes: Puzzle, Humor, Fantasy, old school, humor]\n\n> You give the balloon to hedgehog\nThe hedgehog starts playing delightedly with the balloon. Whee.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\nThe hedgehog's playing with the stupid balloon. \"I love you, balloooooon! Have a hug!\"\n\nOh, seriously? Is he really going to---\n\nGah, those things are loud when they pop. The hedgehog looks dazed. \"Oh no! Where did my balloon friend go?\"\n\n> You pop the balloon\nPop! Gah! That balloon is loud. Well, that was fun while it\nlasted.\n\nHa ha. That was a great noise. Oh, hey, I think it scared one of the cows. She's trying to break the fence. Whoa whoa, she did\nbreak the fence and now all of the cows are mooing really loudly and kind of running and now the pigs are--- woohoo! It's a stampede! Oh, hey, maybe I shouldn't be just standi---- ack!\n\n> Wave rod\nNothing happens. I think Mel said something about having to destroy the last bait first. Conservation of energy, or something.\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\n\"Food! Food for meeeeee! Oh---\n\nIs a happy happy hooooog!\nIt's a good day for eating\nAnd singiiiiiiiing!\n\nGood job. Now he's singing louder.\n\n> Wave wand\nNothing happens. I think Mel said something about having to destroy the last coin first. Conservation of energy, or something.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Inventory\nIn my bag of holding, I have:\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\nPfwarmp! An earthworm materializes in the air in front of me\nand drops to the floor.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> Wave rod\n\"Food! Food for meeeeee! Oh---\n\nIs a happy happy hooooog!\nIt's a good day for eating\nAnd singiiiiiiiing!\n\nGood job. Now he's singing louder.\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\nI can't see any such thing.\n\n> Wave rod\nPfwarmp! An earthworm materializes in the air in front of me\nand drops to the floor.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n> You take the earthworm\nTaken.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n\"Oh oh! Hey! Hey! Can I have that? It looks delicious! I love food. Don't you love food? Oh hog oh hog I love food.\"\n\n> You go to the north-east\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a red balloon, a coffer (which is open), and an auction block here.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Reliable Gopher Group,\" he says. \"Any bids?\"\n\nThe hedgehog enters from the southwest.\n\n> You go south\nLet me tell you, these walls gleam. They're made of Marmoreal\nmarble, known for the gold lines running through it. The floors and ceilings are made of the same material. The lobby of the bank is fairly open. There are exits to the north and west leading outside, and the bank continues to the east. There's also a table with forms and stuff.\n\n> You eat the earthworm\nChomp. Very tasty.\nTo the the north, I hear a cow cry out, \"Augh, it's the Farmer! The Farmer is coming! It's the Farmer! Oh no oh no oh no oh no run run run run run runrunrunrunrun!\"\n\n> Go north\nThis the floor of the stock market, though the pen is sadly empty now. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"One!\" declares F'nyrx.\n\n\"Two!\" declares Elspeth.\n\n\"Four florins!\" bids Hortensia.\n\n\"Eight florins!\" bids Professor Demonspoon.\n\n\"How about sixteen florins? Do I hear sixteen?\"\n\nThis is great, boss! There are cows and pigs and ducks and sheep and more cows, and all of them are rushing towards me. Wow, it's a stampede! Oh, hey, maybe I shouldn't be just stand---- ack!\n\n> You go to the west\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\n\nAugh! It's a cow quake! Cows and dogs and pigs and chickens and at least one wildebeest charge in from the north, screaming and bleating.\n\n\"Help! We're running!\"\n\n\"Whee! We're running!\"\n\n\"I'm going to get stepped on!\"\n\n\"Panic! Panic panic panic!\"\n\n\"Freedom! Panic! Freedom!\"\n\nThis is a breathtaking, mouth-watering sight, boss, but it might be a bit dangerous to hang around a horde of stampeding animals.\n\n> You go south\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nThe stampede charges in from the south.\n\nSandie whips out a ladle and starts beating back some dogs that look more hungry than scared.\n\n> You go south\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThe stampede charges in from the south.\n\n> You wait for a while\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nThis is great, boss! There are cows and pigs and ducks and sheep and more cows, and all of them are rushing towards me. Wow, it's a stampede! Oh, hey, maybe I shouldn't be just stand---- ack!\n\n> You take the coin\nWhich do you mean, the strange coin, the faery coin, or the florin?\n\n> You take strange\nYeah, try to hear me through the stampede. Yoink!\n\nTaken.\n\nThis is great, boss! There are cows and pigs and ducks and sheep and more cows, and all of them are rushing towards me. Wow, it's a stampede! Oh, hey, maybe I shouldn't be just stand---- ack!\n\n> Up\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nThe stampede charges in from the south.\n\nIt's kind of boring here. I hear the king hasn't put anybody in the dungeon in over a year. Must make you feel special. It's drafty, being up in the tower, and the stones in the wall have chips and various--- do you really care? They're old. The door looks pretty sturdy. There's some light coming into the room from a window about, uh, twice your height up. Can we leave?\n\nI can see a tapestry, a bed, a mirror, and an annoying git in a dress here."
    },
    {
        "text": "> Look around\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThis is great, boss! There are cows and pigs and ducks and sheep and more cows, and all of them are rushing towards me. Wow, it's a stampede! Oh, hey, maybe I shouldn't be just stand---- ack!\n\n> You go to the southwest\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers--- you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nI can go west deeper into the city if you want me to get harrassed by guards. The bank's east of here and the stock market's northeast, and Big Street continues to the south.\n\nThe two halves of a broken black cord hang down from the guard tower and the bank.\nTo the the northeast, I hear a cow cry out, \"Augh, it's the Farmer! The Farmer is coming! It's the Farmer! Oh no oh no oh no oh no run run run run run runrunrunrunrun!\"\n\n> You go to the south\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\nThere's a deafening combination of mooing and bleating from the north.\n\n> Go south\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring, but the financial district is farther north, and the castle is to the south.\n\nI can see a beggar here.\n\nThere's a deafening combination of mooing and bleating from the north.\n\n\"Aieeee! My ears!\" cries the beggar, although I can barely hear him over the chaos.\n\n> You take strange\nYeah, try to hear me through the stampede. Yoink!\n\nTaken.\n\nAugh! It's a cow quake! Cows and dogs and pigs and chickens and at least one wildebeest charge in from the north, screaming and bleating.\n\n\"Help! We're running!\"\n\n\"Whee! We're running!\"\n\n\"I'm going to get stepped on!\"\n\n\"Panic! Panic panic panic!\"\n\n\"Freedom! Panic! Freedom!\"\n\nThis is a breathtaking, mouth-watering sight, boss, but it might be a bit dangerous to hang around a horde of stampeding animals.\n\n> Go south\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's sealed up while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors. There's a window above me leading to the room your body is in. There's farmland to the west, and Big Street is north.\n\nMy hanging-out tree is here.\n\nThe stampede charges in from the south.\n\n> You examine strange\nIt looks like it's made of gold and silver swirled together. One face shows some distinguished-looking older woman, and the other shows a lighthouse.\n\n> You eat strange\nHa ha, funny. I know you think I eat everything, but there are limits.\n\nI am kind of hungry, though. Let me know if you see any real food.\n\n> Wave rod\nNothing happens. I think Mel said something about having to destroy the last bait first. Conservation of energy, or something.\n\n> Inventory\nIn my bag of holding, I have:\na strange coin\nan earthworm\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a foolish wizard\n\n> You eat the earthworm\nChomp. Very tasty.\n\n> You go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place. We're here to ask Mel for a Midas potion specifically, which might save your\nbacon.\n\nThe exit to the street is to the west, and there's another, smaller area of the shop to the southeast. Now there's also a trapdoor leading down.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\nI can also see a red balloon, a leather pouch (which is open), a cedar box (which is open), a wanted poster, a piece of yellow paper, a piece of green paper, a piece of violet paper, a piece of red paper, and a pile of assorted trinkets here.\n\n> You show strange to Mel\nMel examines the coin. \"Where did you get a twenty septiva coin? Septivar was conquered and destroyed three hundred years ago.\"\n\n\"Well, I went and looked through my shiny object collection, and I didn't recognize this, so I figured it was probably valuable. Er, is it?\"\n\n\"Oh yes, definitely. Here.\" Mel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\n> You examine torn\nWhich do you mean, the torn bit of wool or the torn page?\n\n> You look at the torn page\nIt's a torn page from a book.\n\n> You read the vellum\nIn familiar handwriting, the text of the page reads:\n\nDear Guards,\n\nPlease return the machine you confiscated from the king's wizard, who is very powerful and very good at magic except for that one time with the pancakes, which was a reasonable accident that could happen to anyone. Also, I am stupid and I smell bad and my mother is a platypus.\n\nThe signature on this letter is somewhat unusual.\n\n> You examine the signature\nA poorly-executed forgery of the treasurer's signature. I suspect his name is not actually \"The Treasurer.\" I also suspect he knows how to spell \"treasurer.\" I wish your Spelling Wasp had caught on, boss. That one should have made us millionaires. Anaphylactic shock is a small price to pay for proper spelling.\n\n> Inventory\nIn my bag of holding, I have:\na faery coin\na florin\na torn bit of wool\na vellum page\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of an annoying wizard\n\n> You examine the clear fluid\nThe bottle is filled with a colourless fluid. It's labelled, \"Problem Solvent: Misspelled a word? Problem Solve-it with Problem Solvent!\"\n\n> You pour clear fluid on the signature\nOkay, let me sprinkle a few drops on it. Wow, the signature completely disappeared, and without the paper catching fire or turning into a swarm of angry bees or worse.\n\n> You examine vellum\nAn inexpert forgery on vellum, crumpled up a bit. It's unsigned.\n\n> Go northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block here.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Majestic Lynx Acquisitions,\" he says. \"Any bids?\"\n\n> You examine the tower\nIt's an oppressive stone building. I always feel like I'm going to fly into it even when I'm nowhere near it. It's only two stories high. I'm confident that in later years, art critics will point to this building as the quintessential Thuggist structure.\n\n> You enter the tower\nThe entrance is farther to the west.\n\n> Go north\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a vase (which contains an egg) and a young guardsman here.\n\nThe egg is calling to me...\n\n> You show vellum to guard\nThe guard reluctantly stirs. The guard reluctantly stirs. \"This form isn't signed. It's not valid.\" Glaring at me, he tears up the form and goes back to sleep.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Up\nThis must be where the guards sleep. There are a bunch of cots here. A tired guardsman is sitting before a pile of paperwork, with an inkpad and wastebasket next to him. There's a staircase leading down to the main part of the guardhouse.\n\nI can see some cots (on top of which is a coarse blanket) here.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\n> You put the vellum on the stack\nOkay, I've put the vellum page on the pile of paperwork.\n\n> You wait a while\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nThe sleepy guardsman picks up the vellum page and looks at it blearily. \"Heh, platypus.\" The guard dutifully stamps the page and sets it aside.\n\n> You take vellum\nTaken.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\n> You examine the vellum\nA slightly better forgery on vellum, crumpled up a bit. It's stamped with the treasurer's signature.\n\n> Down\nThe inside of the watchtower is even more oppressive than the outside. It's still a dark stone building, but now there's the smell of guard everywhere. I think bathing is illegal if you want to keep your job on the watch.\n\nIn addition to the stench, there's an evidence cabinet and a spiral staircase leading upwards. The street and fresh air are to the south.\n\nThere's a wastebasket in the corner.\n\nA large (as in, about my size) bronze bell is on the wall, tied to a cord going out the window.\n\nI can also see a vase (which contains an egg) and a young guardsman here.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You show the vellum to guard\nThe guard reluctantly stirs. He scans the form. \"Oh, you belong to the crazy wizard. That explains so much. Well, I suppose this looks legit.\" He fishes out his key, opens the cabinet, and drags out a metal device from it. After carefully relocking the cabinet while watching me suspiciously, he goes back to sleep.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You look at device\nI have no idea what this is, boss. It's a metal box with red, blue, and green buttons on its side and a narrow slot beneath them. There's a tray, also made of metal, mounted on the top. The machine looks great--- the metal is wonderfully shiny--- but there aren't any convenient labels or instructions. I don't think this is something you designed. Hey, maybe that means it'll work!\n\nEr, sorry, boss. That came out wrong.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> Open device\nThat's not something I can open.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Up\nThis must be where the guards sleep. There are a bunch of cots here. A tired guardsman is sitting before a pile of paperwork, with an inkpad and wastebasket next to him. There's a staircase leading down to the main part of the guardhouse.\n\nI can see some cots (on top of which is a coarse blanket) here.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\n> You enter the stack\nThat's not something I can enter.\n\nThe sleepy guardsman takes the top page off the stack, gives it a cursory glance, stamps it, and sets it aside.\n\n> You examine the tray\nThere's a metal tray mounted on top of the strange device.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You examine the pamphlet\n\"Thank you muchly for buyinged Super Wonderful Very Legal Money Device! For happy money time, please three of etherial fraction to take inside Device:\n- A wool (of clothing or not)\n- A blue of dye (inside bottle is happy-good also)\n- A egg (after breaked, is it acceptable? Very no!)\nThe blue of button is for to transport fraction from platform to inside the Device. The red of button is for to unmake transportation by eversion. The green of button is for to Device initiation money protocols. Let's money together in every day!\n\nNeither this company nor its subsidiaries assume any liability for misuse of this Device for anything other than its recommended novelty purposes.\"\n\nOh, that's right, this is that counterfeiting machine you sent away for a while ago. I'm surprised you had so many problems with it; it sounds reliable enough.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> Inventory\nIn my bag of holding, I have:\na vellum page\na faery coin\na florin\na torn bit of wool\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na bottle of blue dye\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\nThe egg is calling to me...\n\n> You put wool on the tray\nThe torn bit of wool is now inside the metal tray.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You press blue\n(the bottle of blue dye)\nOkay. Ngrrghnhgh! ...Nothing obvious happens.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You press the blue button\nThe top of the machine opens up as the tray splits apart into several pieces and dumps its contents into the interior of the machine. It then folds itself up again into a seamless box. Wow, boss. This thing is amazing. Are you getting all this? You need to make something like this.\n\nThe machine beeps, and a tinny voice issues from it. \"Bip bip! Wool reception!\" The talking creeps me out.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You put the blue dye on the tray\nThe bottle of blue dye is now inside the metal tray.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You put the egg on the tray\nI can't do that without holding it.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You put the vase on the tray\nI can't do that without holding it.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You put the vase on the tray\nThe vase is now inside the metal tray.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You press the blue button\nThe top of the machine opens up as the tray splits apart into several pieces and dumps its contents into the interior of the machine. It then folds itself up again into a seamless box.\n\nThe machine beeps. \"Bip! Bad reception causes very sadness.\" The top of the machine unfolds as it spits out the vase, then reassembles itself in a complicated way that gives me a headache just thinking about it.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You eat the fish\nDone! Not bad.\n\nThe egg is calling to me...\n\n> You break vase\nPloink! The vase cracks apart, and the shards of glass\ndisappear.\n\nWait, did I say there was an egg? Sorry, that was just a trick of the light. There was no mouth-wateringly delicious egg with the exact amount of staleness for perfect burp flavoring.\n\n> You take Device\nTaken. Urgh, this thing weights a ton.\n\nThe egg is calling to me...\n\n> You go south\nHuff puff puff. My load is too heavy to fly, or even hop,\nboss.\n\nIf I can just get my beak a bit further in to the vase...Caw! No, the egg is too far down.\n\n> You drop Device\nDropped.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you."
    },
    {
        "text": "[Themes: Fantasy, Puzzle, Humor]\n\n> You check your inventory\nIn my bag of holding, I have:\na vellum page\na faery coin\na florin\nsome farming tools\na fish\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a foolish wizard\n\n> You examine Device\nThis is apparently some sort of counterfeiting machine. It's a metal box with red, blue, and green buttons on its side and a narrow slot beneath them. There's a tray, also made of metal, mounted on the top.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You examine the tray\nThere's a metal tray mounted on top of the strange device.\n\nInside the metal tray is a vase.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the fish\nI already have that.\n\nThe egg is calling to me...\n\n> You eat the fish\nDone! Not bad.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the fish\nI'll have to enter the circle first.\n\nAck! Can't...resist....must eat egg! Shoot! I still can't get my beak in there!\n\n> You enter the circle\nI can feel a faint eldritch humming in the air as I step into the circle. Let's get out of here before the cage appears again.\n\nThe egg is calling to me...\n\n> You take the fish\nTaken.\n\nNow I can hear the humming and not just feel it. Something is rumbling beneath the circle. Let's get out of here before I have to break out of that cage again.\n\nThe egg is calling to me...\n\n> You break the vase\nPloink! The vase cracks apart, and the shards of glass\ndisappear.\n\nSproing! Some sort of weird magical glowing beams are\nshooting up from the circle and--- oh, no. Not this again. No no no no no! They're surrounding me and, once again, forming some sort of magical cage around me. Get me out of here!\n\nYou know what would make being stuck in this weird magic cage worth it, boss? That egg. Help me get out of here so I can get my talons on it.\n\n> You check your inventory\nIn my bag of holding, I have:\na fish\na vellum page\na faery coin\na florin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of an annoying wizard\n\nKniolp! Shards of glass pop into existence and reform\nthemselves into a glass vase. Ohhhh, it must be made out of Mel's self-repairing glass. It's cheaper than his unbreakable glass.\n\nOh no, the delectable egg is just out of reach! Don't worry, egg, I'll get out of here soon and will savor your eggy deliciousness."
    },
    {
        "text": "[Themes: Humor, Puzzle, Fantasy, nonhuman protagonist, old school, humor]\n\n> You enter the circle\nI can feel a faint eldritch humming in the air as I step into the circle. Let's get out of here before the cage appears again.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take the fish\nI already have that.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You eat the fish\nDone! Not bad.\n\nHey, egg. Get out of that vase and get into my break. Arrgh, I can't reach. Come on, egg, just crawl up here so I can eat you.\n\n> You take fish\nTaken.\n\nNow I can hear the humming and not just feel it. Something is rumbling beneath the circle. Let's get out of here before I have to break out of that cage again.\n\nTime for a delicious eggy snack! ...Oh crud. I still can't get to the egg at the bottom of the vase.\n\n> You break the vase\nPloink! The vase cracks apart, and the shards of glass\ndisappear.\n\nSproing! Some sort of weird magical glowing beams are\nshooting up from the circle and--- oh, no. Not this again. No no no no no! They're surrounding me and, once again, forming some sort of magical cage around me. Get me out of here!\n\nOh no, the delectable egg is just out of reach! Don't worry, egg, I'll get out of here soon and will savor your eggy deliciousness.\n\n> You hit the bars\nOkay, I can do violence! Kapow! I snapped one of the bars.\nI'm almost through!\n\n> Continue\nOkay, okay. Right. Violence solves so many problems. Thud!\nThe cage has enough and disappears in a puff of green smoke.\n\n> You examine Device\nThis is apparently some sort of counterfeiting machine. It's a metal box with red, blue, and green buttons on its side and a narrow slot beneath them. There's a tray, also made of metal, mounted on the top.\n\nKniolp! Shards of glass pop into existence and reform\nthemselves into a glass vase. Ohhhh, it must be made out of Mel's self-repairing glass. It's cheaper than his unbreakable glass.\n\n> You examine banknote\nThis is a note for one million florins! That's only fifty thousand marks, but it's still nothing to sneeze at. The paint's still a little tacky, so I'm being careful when touching it.\n\n> You take the banknote\nTaken.\n\n> You go east\nI'll have to get out of the chalk circle first.\n\n> You show the banknote to Mel\nMel looks at the note. Then he touches it lightly. I'm trying to look innocent, boss. I don't think he's buying it. Wait, wait. He shrugs.\n\n\"What the hell. It's funny, if nothing else.\"\n\nVictory is ours!\n\nMel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\n> You pop the balloon\nPop! Gah! That balloon is loud. Well, that was fun while it\nlasted.\nChecking a sigh, Mel incants \"Kadara!\", and a red balloon pops into existence. Man, that's handy.\n\n> Go northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nSome merchants crowd around an auctioneer, doing whatever it is that humans do.\n\nI can also see a coffer (which is open) and an auction block (on top of which is a stock certificate) here.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You examine the animals\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Contemporary Cardinal Interests,\" he says. \"Any bids?\"\n\n> You examine the coffer\nIt's a strongbox full of stock certificates.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer\nIt's full of all sorts of stock certificates for all kinds of animals. I can try looking for something specific, if you want.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Amalgamated Weasel Company?\" he asks.\n\n> You search the coffer for Raven\nThe auctioneer shoos me away. \"Those are just pictures of animals. They're not food--- oh, wait. You're that wizard's bird. Well, if you want to participate in the auction, I don't mind. It makes sense, I suppose,\" he says hesitantly. \"He's been trying to start his own businesses for a while without much luck, so why not invest in someone else's business instead, and why not send a magical bird to handle the transactions?\n\n\"All right, bird, you're welcome to join us. Just wait till this round is over.\"\n\n\"One!\" declares F'nyrx.\n\n\"Two florins!\" declares Sunshine Gristlesplat.\n\n\"Four!\" declares Elspeth.\n\n\"Eight!\" bids Percival.\n\n\"Sixteen florins!\" shouts Professor Demonspoon.\n\n\"Who wants to bid thirty-two florins?\"\n\n> You search the coffer for the crow\nThe auctioneer shoos me away. \"Not yet, I've got to finish this auction first.\"\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You search the coffer for the dog\nGot it! I hold it up for the auctioneer. \"Thanks. I'm not tipping you.\"\n\n\"Next up is Efficient Dog Unlimited,\" he says. \"Any bids?\"\n\n> You wait for a while\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\n\"...sold!\" Hortensia steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer for the hedgehog\nGot it! Ack! The auctioneer grabs me and takes the certificate. \"You have to actually buy the stock, bird.\" He shrugs. \"Well, I guess this one is as good as any other.\"\n\n\"Next up is Future Hedgehog Company,\" he says. \"Any bids?\"\n\nA small group of cows crowds together, their eyes darting around.\n\n> Bid one florin\nWhat do you want to bid the florin on?\n\n> You wait\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You check what you're carrying\nIn my bag of holding, I have:\na fish\na vellum page\na faery coin\na florin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a desperate wizard\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You examine florin\nThis is a one-florin coin. A florin is one twentieth of a mark. One florin will not save your bacon. But hey, you could buy me\nsome bacon.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Reliable Lamb Securities,\" he says. \"Any bids?\"\n\n> Wait\nAll right.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nTwo pigs huddle together, shivering nervously.\n\n> You search the coffer for the fish\nHmm. I can't find anything like that in the coffer.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Efficient Beaver Properties,\" he says. \"Any bids?\"\n\n> You ask Mel about the credit\nMel checks his ledger. \"You've given me enough money and valuables for six spell ingredients.\"\n\n> You buy unicorn fur\n\"All right, W.D., here you go.\" Mel hands me the unicorn fur and makes a note in his ledger.\n\n> Wait\nAll right.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer for the crocodile\nGot it! Ack! The auctioneer grabs me and takes the certificate. \"You have to actually buy the stock, bird.\" He shrugs. \"Well, I guess this one is as good as any other.\"\n\n\"Next up is Focused Crocodile Company,\" he says. \"Any bids?\"\n\nTwo pigs huddle together, shivering nervously.\n\n> You search the coffer for the worm\nThe auctioneer shoos me away. \"Not yet, I've got to finish this auction first.\"\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA depressed horse mutters something about glue.\n\n> Keep going\nHmm. I can't find anything like that in the coffer.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Next up is Amalgamated Spider Company,\" he says. \"Any bids?\"\n\n> Bid florin\nWhat do you want to bid the florin on?\n\n> You check your inventory\nIn my bag of holding, I have:\na fish\na vellum page\na faery coin\na florin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a foolish wizard\n\n\"...sold!\" Hortensia steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer for the dolphin\nGot it! I hold it up for the auctioneer. \"Thanks. I'm not tipping you.\"\n\n\"Next up is Majestic Dolphin Properties,\" he says. \"Any bids?\"\n\n> Wait\nAll right.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer for the bee\nGot it! I hold it up for the auctioneer. \"Thanks. I'm not tipping you.\"\n\n\"Now, who wants to own these fine shares of Majestic Bee Corporation?\" he asks.\n\n> You wait\nAll right.\n\n\"...sold!\" Hortensia steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nTwo pigs huddle together, shivering nervously.\n\n> You search the coffer for the horse\nGot it! Ack! The auctioneer grabs me and takes the certificate. \"You have to actually buy the stock, bird.\" He shrugs. \"Well, I guess this one is as good as any other.\"\n\n\"Next up is Global Horse Acquisitions,\" he says. \"Any bids?\"\n\n> You search the coffer for the turtle\nThe auctioneer shoos me away. \"Not yet, I've got to finish this auction first.\"\n\n\"...sold!\" Hortensia steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA depressed horse mutters something about glue.\n\n> You search the coffer for the turtle\nGot it! Ack! The auctioneer grabs me and takes the certificate. \"You have to actually buy the stock, bird.\" He shrugs. \"Well, I guess this one is as good as any other.\"\n\n\"Now, who wants to own these fine shares of Contemporary Turtle Properties?\" he asks.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You search the coffer for the manatee\nThe auctioneer shoos me away. \"Not yet, I've got to finish this auction first.\"\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nTwo pigs huddle together, shivering nervously.\n\n> You wait\nAll right.\n\n\"One!\" bids Hortensia.\n\n\"Two florins!\" declares Professor Demonspoon.\n\n\"How about four florins? Do I hear four?\"\n\nA depressed horse mutters something about glue.\n\n> You search coffer for the porpoise\nGot it! I hold it up for the auctioneer. \"Thanks. I'm not tipping you.\"\n\n\"Now, who wants to own these fine shares of Personal Porpoise Company?\" he asks.\n\nOne of the cows shifts around uncomfortably.\n\n> You wait\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> You search the coffer for the narwhal\nGot it! I hold it up for the auctioneer. \"Thanks. I'm not tipping you.\"\n\n\"Now, who wants to own these fine shares of Advanced Narwhal Organization?\" he asks.\n\n> Wait\nAll right.\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You search the coffer for herring\nThe auctioneer shoos me away. \"Not yet, I've got to finish this auction first.\"\n\n\"...sold!\" Professor Demonspoon steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> Keep going\nHmm. I can't find anything like that in the coffer.\n\nThe auctioneer fishes around in the coffer, pulls out a stock, and puts it on the auction block.\n\n\"Now, who wants to own these fine shares of Unified Mink Organization?\" he asks.\n\n> You keep going\nAll right.\n\n\"...sold!\" Percival steps up to the block, pays the auctioneer, takes the stock, and sits down again.\n\n> Wait\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nThe merchants are silent.\n\n\"Anyone? I'll take just one florin.\"\n\n> Bid florin on stock\n\"Sold to the bird!\" The auctioneer exchange the florin for the stock certificate.\n\nHe looks at me with a combination of confusion and suspicion. \"It's market close, everybody. Thanks for buying. We'll meet again in the morning. I'll set up the stock ticker if you want to see what's going on in the other markets, and I'll stick around for a while if you want to engage in any after-hours trading.\"\n\nThe crowd disperses. The auctioneer locks up the coffer and places a stock ticker on the auction block, then takes out a book and sits down to read.\n\nA depressed horse mutters something about glue.\n\n> You sell stock\n(the stock certificate)\nThere's no place to sell anything here.\n\n> You check your inventory\nIn my bag of holding, I have:\na stock certificate\na fish\na vellum page\na faery coin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\n> You look at the stock\n(the stock ticker)\nThe ticker's an upright brass tube. There's a glass bubble on top that's glowing intermittently. The ticker has a red and a yellow button on it, and there's also a panel on the back.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You examine the certificate\nIt's a stock certificate for a thousand shares of Consolidated Herring Securities. Wow, do you think that means it's good for one thousand herring? That's got to be at least five times as many as I could eat in a one sitting. This thing must be worth...hmm, I paid one florin for it, so....I have no idea.\n\n> You look at the bubble\nThe ticker's an upright brass tube. There's a glass bubble on top that's glowing intermittently. The ticker has a red and a yellow button on it, and there's also a panel on the back.\n\n> You examine the panel\nThe panel is currently closed.\n\n> You open the panel\nWhoa. Whoa. I'm not sure how to....This thing is complicated\non the inside. There's a mass of complex parts inside. I think I can see gears, flanges, gadgets, thingies, and doodads. The only part of it I can make sense of is a series of...wossnames...they're kind of like tubes, but they wind around the gears and twist around to...something....\n\nI'm confused, boss. The best I can do to explain this is that there are a bunch of wossnames connected to a bunch of receptacles: a black receptacle containing a black wossname, a brown receptacle containing a brown wossname, a red receptacle containing a red wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname."
    },
    {
        "text": "> You examine the green wossname\nIt's a thin green tube that's attached to the green socket.\n\nA depressed horse mutters something about glue.\n\n> You take the green tube\nDisconnected.\n\nA depressed horse mutters something about glue.\n\n> You connect the green tube to the brown\nWhich do you mean, the brown wossname or the brown receptacle?\n\n> You connect the green tube to the brown receptacle\nConnected.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You take the green tube\nDisconnected.\n\n> You take the brown tube\nIt's already disconnected, boss.\n\nTwo pigs huddle together, shivering nervously.\n\n> You connect the brown tube to brown receptacle\nConnected.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890-+ /1/2/3/4/5/6/7/8/9/10/11/12/13/14/15/16/17/18/19*,./?!\n\n> You press the yellow button\nClick!\n\n> You take the green tube and the brown tube\ngreen wossname: Disconnected.\nbrown wossname: Disconnected.\n\nThe stock ticker tape advances:\n|  IHT E3I  |  QPI D2Y  |  EUL D3U  |  DPL EY   |  AHP DYA  |\n\n> You wait\nAll right. Boss, I hate to rush you, but at some point the treasurer is going to figure out where the king wandered off to.\n\nThe stock ticker tape advances:\n|  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  AHP 819  |  KHP 71/3  |  SPI 8X1  |  CSH 8Y/11  |  BPJ 718  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABC ABCHIJKHIJKPQRSPQRSXYZ1XYZ16789678 9/2/3/4/5/2/3/4/5/10/11/12/13/10/11/12/13/18/19*,/18/19*,\n\nThe stock ticker tape advances:\n|  BPJ 718  |  AHP 819  |  KHP 71/3  |  SPI 8X1  |  CSH 8Y/11  |\n\n> You take the yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  CCH 8I7  |  B J 7K8  |  AH  8K9  |  KH  7K/3  |  C I 8HK  |\n\n> You press red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABC ABCHIJKHIJK ABC ABCHIJKHIJK6789678 9/2/3/4/5/2/3/4/567896789/2/3/4/5/2/3/4/5\n\nThe stock ticker tape advances:\n|  C I 8HK  |  CCH 8I7  |  B J 7K8  |  AH  8K9  |  KH  7K/3  |\n\n> You connect the red tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHP /111/3  |  C I /12XK  |  SSX /12Y/11  |  R Z /11K8  |  AH\n/12K9  |\n\n> You connect the yellow tube to red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  AHD /12O9  |  KHT /115/3  |  GDI /122O  |  SWX /123/15  |  RDZ /11O8  |\n\nOne of the cows shifts around uncomfortably.\n\n> You press the button\nWhich do you mean, the large red button or the large yellow button?\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABCPQRSHIJKXYZ1DEFGTUVWLMNO23456789/10/11/12 /13/2/3/4/5/18/19*,0-+/1/14/15/16/17/6/7/8/9./?!\n\nThe stock ticker tape advances:\n|  RDZ /11O8  |  AHD /12O9  |  KHT /115/3  |  GDI /122O  |  SWX /123/15  |\n\n> Go west\nI can't go that way.\n\nThe stock ticker tape advances:\n|  SWX /123/15  |  RDZ /11O8  |  AHD /12O9  |  KHT /115/3  |  GDI /122O  |\n\n> You show the stock to Mel\nMel looks at it. \"Sorry, W.D., but I don't accept stock; the price is too variable. But you've already established that you know how to day-trade. Why don't you go see if you can turn it into something more solid?\n\n> You go to the northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nAn auctioneer is here, although he's not auctioneering at the moment.\n\nI can also see a stock ticker, a coffer (which is closed), and an auction block here.\n\nThe stock ticker tape advances:\n|  KHT /115/3  |  GDI /122O  |  SWX /123/15  |  RDZ /11O8  |  AHD /12O9  |\n\n> You take the orange\nWhich do you mean, the orange wossname or the orange receptacle?\n\n> You take the orange tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  A D /12G9  |  C T /11W7  |  GDA /12TG  |  SWP /12U/15  |  RDR /11G8 |\n\n> You take the yellow tube and the red tube\nyellow wossname: Disconnected.\nred wossname: Disconnected.\n\nThe stock ticker tape advances:\n|  B B 7C8  |  A   8C9  |  C   7C7  |  C A 8 C  |  CC  8A7  |\n\n> You connect the yellow tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  CS  8Q/11  |  BPB 7S8  |  A P 8S9  |  C P 7S7  |  SPA 8PS  |\n\n> You connect red tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  SPA +TS  |  GWD +U/15  |  FPF -S8  |  A P +S9  |  C T -W7  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABCDEFG ABCDEFGPQRSTUVWPQRSTUVW67890-+ /167890-+/1/10/11/12/13/14/15/16/17/10/11/12/13/14/15/16/17\n\nThe stock ticker tape advances:\n|  C T -W7  |  SPA +TS  |  GWD +U/15  |  FPF -S8  |  A P +S9  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a black wossname, a brown receptacle containing a brown wossname, a red receptacle containing a red wossname, an empty orange receptacle, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname. There is also a disconnected orange wossname.\n\nThe stock ticker tape advances:\n|  A P +S9  |  C T -W7  |  SPA +TS  |  GWD +U/15  |  FPF -S8  |\n\n> You connect the orange tube to the orange receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  FPN -18  |  AHP +19  |  KHT -5/3  |  SPI +21  |  GWL +3/15  |\n\nA small group of cows crowds together, their eyes darting around.\n\n> You disconnect yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  GGL +M-  |  F N -K8  |  AH  +K9  |  KHD -O/3  |  C I +LK  |\n\nOne of the cows shifts around uncomfortably.\n\n> You press red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABCDEFGHIJKLMNO ABCDEFGHIJKLMNO67890-+ /1/2/3/4/5/6/7/8/967890-+/1/2/3/4/5/6/7/8/9\n\nThe stock ticker tape advances:\n|  C I +LK  |  GGL +M-  |  F N -K8  |  AH  +K9  |  KHD -O/3  |\n\n> You connect the yellow tube to yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |\n\n> You take the black tube\nDisconnected.\n\nThe stock ticker tape advances:\n|   HP +Z8  |  JHT 04/2  |  RPH +2Z  |  FVL +2/14  |  FPN 0Z8  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nBBDDFFHHJJLLNNPPRRTTVVXXZZ2244668800+ +/2/2/4/4/6/6/8/8/10/10/12/12/14/14/16/16/18/18**..??\n\nThe stock ticker tape advances:\n|  FPN 0Z8  |   HP +Z8  |  JHT 04/2  |  RPH +2Z  |  FVL +2/14  |\n\n> You connect the black tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  GWL +3/15  |  FPN -18  |  AHP +19  |  KHT -5/3  |  SPI +21  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You take the brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  QPI 02Y  |  EUL 03/15  |  DPL -Y6  |  AHP 0Y7  |  IHT -3/3  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nA ADEDEHIHILMLMPQPQTUTUXYXY232367670-0 -/2/3/2/3/6/7/6/7/10/11/10/11/14/15/14/15/18/19/18/19././\n\nThe stock ticker tape advances:\n|  IHT -3/3  |  QPI 02Y  |  EUL 03/15  |  DPL -Y6  |  AHP 0Y7  |\n\n> You connect the brown tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  AHP +19  |  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |\n\n> You take the green tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  FPN E1B  |  AHP F1C  |  KHT E5I  |  SPI F21  |  GWL F3U  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n\n\nThe stock ticker tape advances:\n|  GWL F3U  |  FPN E1B  |  AHP F1C  |  KHT E5I  |  SPI F21  |\n\n> You connect the green tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |  KHT -5/3  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890-+ /1/2/3/4/5/6/7/8/9/10/11/12/13/14/15/16/17/18/19*,./?!\n\nThe stock ticker tape advances:\n|  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |\n\n> You disconnect all\nstock ticker: That isn't really connected, boss.\ncoffer: That isn't really connected, boss.\nauction block: That isn't really connected, boss.\n\nThe stock ticker tape advances:\n|  CSH 8Y/11  |  BPJ 718  |  AHP 819  |  KHP 71/3  |  SPI 8X1  |\n\n> You examine the wossname\nWhich do you mean, the black wossname, the brown wossname, the red wossname, the orange wossname, the yellow wossname, or the green wossname?\n\n> You disconnect black\nWhich do you mean, the black wossname, the black receptacle, or the suit?\n\n> You disconnect the black wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|  RPH 8XZ  |  BRH 8X/10  |  BPJ 6Z8  |   HP 8Z8  |  JHP 6Z/2  |\n\n> You disconnect the brown wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|  HHP 6X/2  |  PPH 6XX  |   PH 6X/10  |   PH 6X6  |   HP 6X6  |\n\n> You disconnect the red wossname\nIt's already disconnected, boss.\n\nThe stock ticker tape advances:\n|   HP 6X6  |  HHP 6X/2  |  PPH 6XX  |   PH 6X/10  |   PH 6X6  |\n\nA depressed horse mutters something about glue.\n\n> You disconnect the orange wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|   P  6P6  |    P 6P6  |    P 6P6  |  PP  6PP  |   P  6P/10  |\n\n> You look at the ticker\nThe ticker's an upright brass tube. There's a glass bubble on top that's glowing intermittently. The ticker has a red and a yellow button on it, and there's also a panel on the back.\n\nThe stock ticker tape advances:\n|   P  6P/10  |   P  6P6  |    P 6P6  |    P 6P6  |  PP  6PP  |\n\nA depressed horse mutters something about glue.\n\n> You look at the panel\nInside the panel is an array of wossnames and receptacles: an empty black receptacle, an empty brown receptacle, an empty red receptacle, an empty orange receptacle, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname. There are also disconnected black, brown, red, and orange wossnames.\n\nThe stock ticker tape advances:\n|  PP  6PP  |   P  6P/10  |   P  6P6  |    P 6P6  |    P 6P6  |\n\n> You disconnect the yellow wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|      6 6  |      6    |      6 6  |      6 6  |      6 6  |\n\nA depressed horse mutters something about glue.\n\n> You connect red wossname to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|      0 6  |    D 0D6  |      0D   |  DDD 0D0  |  D D 0 6  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You disconnect the red wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|      6 6  |      6 6  |      6 6  |      6    |      6 6  |\n\n> You connect the red wossname to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  BBB 8B8  |  B B 8 6  |      8 6  |    B 8B6  |      8B   |\n\nTwo pigs huddle together, shivering nervously.\n\n> You press the red\nWhich do you mean, the large red button, the red wossname, or the red receptacle?\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n\n\nThe stock ticker tape advances:\n|      8B   |  BBB 8B8  |  B B 8 6  |      8 6  |    B 8B6  |\n\n> You press the yellow button\nClick!\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: an empty black receptacle, a brown receptacle containing a red wossname, an empty red receptacle, an empty orange receptacle, an empty yellow receptacle, and a green receptacle containing a green wossname. There are also disconnected black, brown, orange, and yellow wossnames.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You take red tube\nDisconnected.\n\nTwo pigs huddle together, shivering nervously.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You take the red tube\nIt's already disconnected, boss.\n\n> You take the green tube\nDisconnected.\n\n> You connect the black tube to the black receptacle\nConnected.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n\n\nA small group of cows crowds together, their eyes darting around.\n\n> You take the black tube\nDisconnected.\n\nA small group of cows crowds together, their eyes darting around.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n\n\nTwo pigs huddle together, shivering nervously.\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\n\n\nA depressed horse mutters something about glue.\n\n> You connect the yellow to the yellow receptacle\nWhich do you mean, the large yellow button, the yellow wossname, or the yellow receptacle?\n\n> You connect green tube to the green receptacle\nConnected.\n\nTwo pigs huddle together, shivering nervously.\n\n> You wait awhile\nAll right.\n\nThe stock ticker tape advances:\n|  GWL +3/15  |  FPN -18  |  AHP +19  |  KHT -5/3  |  SPI +21  |\n\n> Wait\nAll right.\n\nThe stock ticker tape advances:\n|  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |  KHT -5/3  |\n\n> Wait\nAll right.\n\nThe stock ticker tape advances:\n|  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |  AHP +19  |\n\n> You examine the stock\n(the stock ticker)\nThe ticker's an upright brass tube. There's a glass bubble on top that's glowing intermittently. The ticker has a red and a yellow button on it, and there's also a panel on the back.\n\nThe stock ticker tape advances:\n|  AHP +19  |  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |\n\n> Inventory\nIn my bag of holding, I have:\na stock certificate\na fish\na vellum page\na faery coin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a mediocre wizard\n\nThe stock ticker tape advances:\n|  FPN -18  |  AHP +19  |  KHT -5/3  |  SPI +21  |  GWL +3/15  |\n\n> You look at the stock certificate\nIt's a stock certificate for a thousand shares of Consolidated Herring Securities. Wow, do you think that means it's good for one thousand herring? That's got to be at least five times as many as I could eat in a one sitting. This thing must be worth...hmm, I paid one florin for it, so....I have no idea.\n\nThe stock ticker tape advances:\n|  GWL +3/15  |  FPN -18  |  AHP +19  |  KHT -5/3  |  SPI +21  |\n\nOne of the cows shifts around uncomfortably.\n\n> You take the brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  QPI 02Y  |  EUL 03/15  |  DPL -Y6  |  AHP 0Y7  |  IHT -3/3  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  IHP 7Y/3  |  QPI 6XY  |  AQH 6Y/11  |   PH 7Y6  |  AHP 6Y7  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You take the orange tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  A P 6Q7  |  A P 7Q7  |  QPA 6PQ  |  AQ  6Q/11  |   P  7Q6  |\n\nA depressed horse mutters something about glue."
    },
    {
        "text": "> You take the yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|      7A6  |  A   6A7  |  A   7A7  |  A A 6 A  |  AA  6A7  |\n\nOne of the cows shifts around uncomfortably.\n\n> You take the green tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  AA   AA  |      AA   |  A    AA  |  A   AAA  |  A A   A  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a black wossname, an empty brown receptacle, an empty red receptacle, an empty orange receptacle, an empty yellow receptacle, and an empty green receptacle. There are also disconnected brown, red, orange, yellow, and green wossnames.\n\nThe stock ticker tape advances:\n|  A A   A  |  AA   AA  |      AA   |  A    AA  |  A   AAA  |\n\n> You take the black tube\nDisconnected.\n\nThe stock ticker tape advances:\n|           |           |           |           |           |\n\n> You connect the yellow tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|    P  P   |    P  P   |  PP   PP  |   P   PP  |   P   P   |\n\n> You connect the orange tube to the orange receptacle\nConnected.\n\nThe stock ticker tape advances:\n|   PH  X   |   HP  X   |  HHP  XH  |  PPH  XX  |   PH  XP  |\n\n> You connect the red tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  DTL D2T  |  DPL DX   |   HP DX   |  HHT D2H  |  PPH D2X  |\n\n> You connect the green tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  PPH 02X  |  DTL 02/14  |  DPL 0X6  |   HP 0X6  |  HHT 02/2  |\n\n> You connect the brown tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  JHT 04/2  |  RPH +2Z  |  FVL +2/14  |  FPN 0Z8  |   HP +Z8  |\n\n> You connect black tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  AHP +19  |  KHT -5/3  |  SPI +21  |  GWL +3/15  |  FPN -18  |\n\n> You take brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  DPL -Y6  |  AHP 0Y7  |  IHT -3/3  |  QPI 02Y  |  EUL 03/15  |\n\n> Examine\nWhat do you want to examine?\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a black wossname, an empty brown receptacle, a red receptacle containing a red wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname. There is also a disconnected brown wossname.\n\nThe stock ticker tape advances:\n|  EUL 03/15  |  DPL -Y6  |  AHP 0Y7  |  IHT -3/3  |  QPI 02Y  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You take the black tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  PPH 02X  |  DTL 02/14  |  DPL 0X6  |   HP 0X6  |  HHT 02/2  |\n\n> You connect the black tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  JHT +4/4  |  RPJ 02Z  |  FVL 04/16  |  DPL +Z6  |  BHP 0Z8  |\n\n> You connect the brown tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nBACDFEGHJIKLNMOPRQSTVUWXZY1243568790+- /1/2/4/3/5/6/8/7/9/10/12/11/13/14/16/15/17/18*/19,.?/!\n\nThe stock ticker tape advances:\n|  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |\n\n> You take the brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  FVL 04/16  |  DPL +Z6  |  BHP 0Z8  |  JHT +4/4  |  RPJ 02Z  |\n\nA depressed horse mutters something about glue.\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  RPJ 6XZ  |  BRH 6Z/12  |   PH 8Z6  |  BHP 6Z8  |  JHP 8Z/4  |\n\n> You connect the red tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  JHQ 91/4  |  RPJ 7YZ  |  CSI 71/13  |  API 9Z6  |  BHP 7Z8  |\n\n> You connect the brown tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  BHP -4+  |  NHQ 95/4  |  VPJ -Y4  |  GWI -1/13  |  EPM 940  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a red wossname, a brown receptacle containing a black wossname, a red receptacle containing a brown wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  EPM 940  |  BHP -4+  |  NHQ 95/4  |  VPJ -Y4  |  GWI -1/13  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You take red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  FVH 0Z/12  |  DPL 840  |  BHP 04+  |  NHP 84/4  |  VPJ 0X4  |\n\n> You take the black tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  TPH 0X2  |  DTH 0X/10  |  DPL 620  |   HP 020  |  LHP 62/2  |\n\nA depressed horse mutters something about glue.\n\n> You connect black tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  MHP 73/3  |  UPI 0X3  |  EUH 0Y/11  |  DPL 730  |  AHP 03-  |\n\n> You connect the red tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  AHP +3-  |  MHR 95/3  |  UPI +Z3  |  GWJ +1/13  |  FPN 930  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You connect the brown tube to the red receptacle\nI'll have to empty it first.\n\nThe stock ticker tape advances:\n|  FPN 930  |  AHP +3-  |  MHR 95/3  |  UPI +Z3  |  GWJ +1/13  |\n\nA small group of cows crowds together, their eyes darting around.\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  EUH 0Y/11  |  DPL 730  |  AHP 03-  |  MHP 73/3  |  UPI 0X3  |\n\nA depressed horse mutters something about glue.\n\n> You connect the brown tube to the red receptacle\nI'll have to empty it first.\n\nThe stock ticker tape advances:\n|  UPI 0X3  |  EUH 0Y/11  |  DPL 730  |  AHP 03-  |  MHP 73/3  |\n\n> You connect the red tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  MHR 95/3  |  UPI +Z3  |  GWJ +1/13  |  FPN 930  |  AHP +3-  |\n\n> You look at the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a black wossname, a brown receptacle containing a red wossname, a red receptacle containing a brown wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  AHP +3-  |  MHR 95/3  |  UPI +Z3  |  GWJ +1/13  |  FPN 930  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  DPL 730  |  AHP 03-  |  MHP 73/3  |  UPI 0X3  |  EUH 0Y/11  |\n\n> You take the brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  AQH 6Y/11  |   PH 7Y6  |  AHP 6Y7  |  IHP 7Y/3  |  QPI 6XY  |\n\n> You connect the red tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  QPI 02Y  |  EUL 03/15  |  DPL -Y6  |  AHP 0Y7  |  IHT -3/3  |\n\nA depressed horse mutters something about glue.\n\n> You take the yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  AH  +K9  |  KHD -O/3  |  C I +LK  |  GGL +M-  |  F N -K8  |\n\n> You take the orange tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  F F -C8  |  A   +C9  |  C D -G7  |  C A +DC  |  GGD +E-  |\n\n> You connect the yellow tube to the orange receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  GOD +M/7  |  FHF -K8  |  A H +K9  |  C L -O7  |  KHA +LK  |\n\nA small group of cows crowds together, their eyes darting around.\n\n> You connect orange tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHQ +21  |  GOT +3/7  |  FHV -18  |  APH +19  |  SPL -5/11  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a black wossname, a brown receptacle containing a brown wossname, a red receptacle containing a red wossname, an orange receptacle containing a yellow wossname, a yellow receptacle containing an orange wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  SPL -5/11  |  KHQ +21  |  GOT +3/7  |  FHV -18  |  APH +19  |\n\n> You take the black\nWhich do you mean, the black wossname, the black receptacle, or the suit?\n\n> You take the black tube\nDisconnected.\n\nThe stock ticker tape advances:\n|   PH +Z8  |  RPL 04/10  |  JHP +2Z  |  FNT +2/6  |  FHV 0Z8  |\n\nA depressed horse mutters something about glue.\n\n> You take brown tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  DHT 0X6  |   PH 0X6  |  PPL 02/10  |  HHP 02X  |  DLT 02/6  |\n\nOne of the cows shifts around uncomfortably.\n\n> You connect the brown tube to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  EMT -2/6  |  EHU 0Y7  |   PH -Y7  |  QPL 03/10  |  IHP -2Y  |\n\n> You connect the black tube to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHR -21  |  GOT -4/8  |  EHU +17  |  BPH -19  |  SPL +5/12  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  SPH 81/12  |  KHR 7X1  |  CKP 7Z/4  |  AHQ 817  |  BPH 719  |\n\n> You take the green tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  BPH A1C  |  SPH B1R  |  KHR AX1  |  CKP AZJ  |  AHQ B1A  |\n\n> You connect the red tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  7H/11 81A  |  BPH 71C  |  SP/2 8,R  |  KHR 7/181  |  9/5/10 7*/4  |\n\nA depressed horse mutters something about glue.\n\n> You connect the green tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  9/5/10 -*/8  |  7H/11 +1E  |  BPH -1G  |  SP/2 +,V  |  KHR -/181  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  CKP AZJ  |  AHQ B1A  |  BPH A1C  |  SPH B1R  |  KHR AX1  |\n\n> You connect the green tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHR 7X1  |  CKP 7Z/4  |  AHQ 817  |  BPH 719  |  SPH 81/12  |\n\n> You connect the red tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  SPL +5/12  |  KHR -21  |  GOT -4/8  |  EHU +17  |  BPH -19  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a brown wossname, a brown receptacle containing a black wossname, a red receptacle containing a red wossname, an orange receptacle containing a yellow wossname, a yellow receptacle containing an orange wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  BPH -19  |  SPL +5/12  |  KHR -21  |  GOT -4/8  |  EHU +17  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  AHQ 817  |  BPH 719  |  SPH 81/12  |  KHR 7X1  |  CKP 7Z/4  |\n\nA depressed horse mutters something about glue.\n\n> You take the orange tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  CK  7J/4  |  AHA 8K7  |  B H 7K9  |  C H 8K8  |  KHB 7HK  |\n\nA depressed horse mutters something about glue.\n\n> You connect the orange tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KHF 7LO  |  CKD 7N/4  |  AHE 8O7  |  BDH 7O9  |  GDH 8O+  |\n\n> You take the yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  GD  8G+  |  C F 7DG  |  CCD 7F8  |  A E 8G7  |  BD  7G9  |\n\nA depressed horse mutters something about glue.\n\n> You connect the yellow tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  IPM /4W7  |  BDP /3W9  |  GDX /45+  |  SPF /32W  |  K1L /34*  |\n\n> You take the green tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  I M JGA  |  BD  IGC  |  GDH JOF  |  C F ILG  |  KKL INJ  |\n\n> You connect the green tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  KKL YNZ  |  I M ZGQ  |  BD  YGS  |  GDH ZOV  |  C F YLG  |\n\n> You connect the yellow tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  96F Y/6/1  |  K/5L Y/8*  |  I6M Z/1Q  |  BD6 Y/1S  |  GD/2 Z/9V  |\n\n> You take yellow tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  GDH ZOV  |  C F YLG  |  KKL YNZ  |  I M ZGQ  |  BD  YGS  |\n\n> You take the green tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  BD  IGC  |  GDH JOF  |  C F ILG  |  KKL INJ  |  I M JGA  |\n\nOne of the cows shifts around uncomfortably.\n\n> You connect the green tube to the green receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  I M /4G7  |  BD  /3G9  |  GDH /4O+  |  C F /3LG  |  KKL /3N/4  |\n\n> You connect the yellow tube to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  K1L /34*  |  IPM /4W7  |  BDP /3W9  |  GDX /45+  |  SPF /32W  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a brown wossname, a brown receptacle containing a black wossname, a red receptacle containing an orange wossname, an orange receptacle containing a red wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  SPF /32W  |  K1L /34*  |  IPM /4W7  |  BDP /3W9  |  GDX /45+  |\n\n> You take the red tube\nDisconnected.\n\nThe stock ticker tape advances:\n|  GDP 8W+  |  SPF 7TW  |  CSD 7V/12  |  APE 8W7  |  BDP 7W9  |\n\nA depressed horse mutters something about glue.\n\n> You connect the red tube to the red receptacle\nI'll have to empty it first.\n\nThe stock ticker tape advances:\n|  BDP 7W9  |  GDP 8W+  |  SPF 7TW  |  CSD 7V/12  |  APE 8W7  |\n\nA small group of cows crowds together, their eyes darting around.\n\n> You connect orange tube to the orange receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  API 817  |  BHP 719  |  KHP 81/4  |  SPJ 7X1  |  CSH 7Z/12  |\n\n> You examine the panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a brown wossname, a brown receptacle containing a black wossname, an empty red receptacle, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname. There is also a disconnected red wossname.\n\nThe stock ticker tape advances:\n|  CSH 7Z/12  |  API 817  |  BHP 719  |  KHP 81/4  |  SPJ 7X1  |\n\n> You connect the red tube to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |\n\n> Nfspecfic3\n[Ok.]\n> RESTORE\n%% Enter a save filename to read:\n\n> You disconnect the black wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|  IHT 03/2  |  QPH -2Y  |  EUL -2/14  |  EPM 0Y7  |   HP -Y7  |\n\n> You disconnect the brown wossname\nDisconnected.\n\nThe stock ticker tape advances:\n|   HP 0X6  |  HHT 02/2  |  PPH 02X  |  DTL 02/14  |  DPL 0X6  |\n\nA small group of cows crowds together, their eyes darting around.\n\n> You connect the brown wossname to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  EPM 0Y7  |   HP -Y7  |  IHT 03/2  |  QPH -2Y  |  EUL -2/14  |\n\n> You connect the black wossname to the brown receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |\n\n> You press the red\nWhich do you mean, the large red button, the red wossname, or the red receptacle?\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nBACDFEGHJIKLNMOPRQSTVUWXZY1243568790+- /1/2/4/3/5/6/8/7/9/10/12/11/13/14/16/15/17/18*/19,.?/!\n\nThe stock ticker tape advances:\n|  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |\n\n> Examine box\nIt's a closed strongbox.\n\nThe stock ticker tape advances:\n|  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |"
    },
    {
        "text": "[Themes: Humor, Fantasy, Puzzle]\n\n> You look around\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nAn auctioneer is here, although he's not auctioneering at the moment.\n\nI can also see a stock ticker, a coffer (which is closed), and an auction block here.\n\nThe stock ticker tape advances:\n|  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |\n\nTwo pigs huddle together, shivering nervously.\n\n> You look at panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a brown wossname, a brown receptacle containing a black wossname, a red receptacle containing a red wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |\n\n> You look\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just looking at their pen. From here, I can go south to the bank or southwest to Big Street.\n\nAn auctioneer is here, although he's not auctioneering at the moment.\n\nI can also see a stock ticker, a coffer (which is closed), and an auction block here.\n\nThe stock ticker tape advances:\n|  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |\n\n> You examine the ticker\nThe ticker's an upright brass tube. There's a glass bubble on top that's glowing intermittently. The ticker has a red and a yellow button on it, and there's also a panel on the back.\n\nThe stock ticker tape advances:\n|  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |\n\n> You look at panel\nInside the panel is an array of wossnames and receptacles: a black receptacle containing a brown wossname, a brown receptacle containing a black wossname, a red receptacle containing a red wossname, an orange receptacle containing an orange wossname, a yellow receptacle containing a yellow wossname, and a green receptacle containing a green wossname.\n\nThe stock ticker tape advances:\n|  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |\n\n> You press the red\nWhich do you mean, the large red button, the red wossname, or the red receptacle?\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nBACDFEGHJIKLNMOPRQSTVUWXZY1243568790+- /1/2/4/3/5/6/8/7/9/10/12/11/13/14/16/15/17/18*/19,.?/!\n\nThe stock ticker tape advances:\n|  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |\n\n> You ask the auctioneer about the ticker\n\"Quork quork quork!\"\n\n\"What's that, my friend? You want to buy some stock? Well, any person or bird with money is welcome to join my auction.\"\n\nThe stock ticker tape advances:\n|  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |  GWL -4/16  |\n\n> You ask the auctioneer abouthe day-trdaing\n\"Quork quork quork?\"\n\n\"What's that, my friend? You want to buy some stock? Well, any person or bird with money is welcome to join my auction.\"\n\nThe stock ticker tape advances:\n|  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |  SPJ -21  |\n\n> You ask the auctioneer abouthe day-trading\n\"Awk awk caw?\"\n\n\"What's that, my friend? You want to buy some stock? Well, any person or bird with money is welcome to join my auction.\"\n\nThe stock ticker tape advances:\n|  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |  KHT +5/4  |\n\n> You press the red button\nClick! The stock ticker churns and spews out a section of tape:\n\nBACDFEGHJIKLNMOPRQSTVUWXZY1243568790+- /1/2/4/3/5/6/8/7/9/10/12/11/13/14/16/15/17/18*/19,.?/!\n\nThe stock ticker tape advances:\n|  KHT +5/4  |  SPJ -21  |  GWL -4/16  |  EPM +17  |  BHP -19  |\n\n> You connect the orange wossname to the yellow receptacle\nConnected.\n\nThe stock ticker tape advances:\n|    P 6P6  |    P 6P6  |   P  6P6  |  PP  6P/10  |    P 6PP  |\n\n> You connect the yellow wossname to the orange receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  HHP 6XX  |   HP 6X/2  |   HP 6X6  |   PH 6X6  |  PPH 6X/10  |\n\n> You connect the black wossname to the red receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  TPH 02/14  |  LHT 6X2  |  DLP 62/6  |   HP 026  |  DPH 620  |\n\n> You connect the brown wossname to the black receptacle\nConnected.\n\nThe stock ticker tape advances:\n|  DPH 73-  |  UPH 03/14  |  MHT 7X3  |  EMP 72/6  |  AHQ 037  |\n\n> You connect red wossnamethe brown receptacleacle\nConnected.\n\nThe stock ticker tape advances:\n|  CHS +37  |  DPH 93-  |  UPJ +5/14  |  MHT 9Z3  |  GOR 94/8  |\n\n> You give the certificate to auctioneer\n\"Well, let's see how your stock is doing,\", says the auctioneer, picking up the ticker tape. \"Wow, your stock has gone up considerably. Herring's been down for months; I guess it was time. I suppose the Fish Festival in Aderbean is going to be big this year. Well, I don't have enough cash on me to cover you, obviously, so this sovereign bond will have to do. Here you go.\" He hands it to me.\n\nThe stock ticker tape advances:\n|  GOR 94/8  |  CHS +37  |  DPH 93-  |  UPJ +5/14  |  MHT 9Z3  |\n\n> You show bond to Mel\n\"Look, Mel! You can own one three thousand one hundred eighty-fifth of the country!\"\n\n\"Which entitles me to one three thousand one hundred eighty-fifth of the treasury?\"\n\n\"Yeah, exac--- no, no. I know why you're giving me that look. But think about it. If we keep the boss from getting killed, no one will ever know how much is in the treasury. Who cares what's\nreally there? Everybody in the kingdom believes that bond is worth mega moolah.\"\n\n\"...Fair enough.\" Mel takes out a ledger from underneath the counter and carefully makes a note in it. \"All right, that's certainly worth another ingredient.\"\n\n> Inventory\nIn my bag of holding, I have:\na fish\na vellum page\na faery coin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a foolish wizard\n\n> You buy the ingredients\nWhich do you mean, the Midas potion, the unicorn fur, the sapphire whiskey, the phoenix kidney, the ivory runestone, the daffodil blood, the refined starmetal, or the wizard ash?\n\n> You buy all the ingredients\nMidas potion: \"Mel, can I have the ingredients for the Midas potion?\"\n\n\"Sure, if you give me the money for them.\"\nunicorn fur: \"Okay, W.D. Be careful. That's the only one I have in stock.\" Mel hands me the unicorn fur and makes a note in his ledger. sapphire whiskey: \"Okay, W.D. Be careful. That's the only one I have in stock.\" Mel hands me the sapphire whiskey and makes a note in his ledger.\nphoenix kidney: \"Okay, W.D. Be careful. That's the only one I have in stock.\" Mel hands me the phoenix kidney and makes a note in his ledger.\nivory runestone: \"Here you go, W.D. Good luck.\" Mel hands me the ivory runestone and makes a note in his ledger.\ndaffodil blood: \"Okay, W.D. Be careful. That's the only one I have in stock.\" Mel hands me the daffodil blood and makes a note in his ledger.\nrefined starmetal: \"Here you go, W.D. Good luck.\" Mel hands me the refined starmetal and makes a note in his ledger.\nwizard ash: \"All right, W.D., here you go.\" Mel hands me the wizard ash and makes a note in his ledger."
    },
    {
        "text": "> Go down\nThis is Mel's spooooooky secret laboratory. I say \"spooky\" because it's lit bit a series of multicolored, floating orbs. Apart from the glowing elf balls, though, it's a relatively normal stone cellar. I can go up if you want to return to the shop proper.\n\nThere's a big pot on the floor and a sign on the wall.\n\n> You read the sign\nSave your notes! You do not like remaking potions from scratch.\n--Mel\n\n> You examine the pot\nI'm sure it's technically an \"alchemical cauldron apparatus,\" but I will be referring to it as a \"pot.\" The pot is filled with some kind of thick liquid, and there's a sigil embossed on its side.\n\n> You examine the sigil\nPUT UNICORN FUR, SAPPHIRE WHISKEY, IVORY RUNESTONE, REFINED STARMETAL AND WIZARD ASH IN POT\n\nWhat do you want to put those things in?\n\nIt's some sort of intricate design. It means nothing to me, and it's way too complicated for me to describe to you. It looks impressively mystical and eldritch, though.\n\n> You put the UNICORN FUR and the SAPPHIRE WHISKEY and the IVORY RUNESTONE and the refined starmetal and the WIZARD ASH in POT\nPUT UNICORN FUR AND SAPPHIRE WHISKEY AND IVORY RUNESTONE AND REFINED STARMETAL AND WIZARD ASH IN POT\n\nWhat do you want to put those things in?\n\n> You put the UNICORN FUR and the SAPPHIRE WHISKEY and the IVORY RUNESTONE and the refined starmetal and WIZARD ASH into the POT\nPUT UNICORN FUR AND SAPPHIRE WHISKEY AND IVORY RUNESTONE AND REFINED STARMETAL AND WIZARD ASH INTO POT\n\nWhat do you want to put those things in?\n\n> POT\nWhat do you want to put those things in?\n\n> You put the WIZARD ASH in the POT\nPUT UNICORN FUR IN POT. PUT SAPPHIRE WHISEY IN POT. PUT IVORY RUNESTONE IN POT. PUT REFINED STARMETAL IN POT. PUT WIZARD\n\nThe unicorn fur disappears under the surface of the liquid in the pot.\n\nThe sigil on the side of the pot begins glowing with a soft blue light.\nI didn't understand that sentence.\n\n> You put the WIZARD ASH in POT\nPUT SAPPHIRE WHISKEY IN POT. PUT IVORY RUNESTONE IN POT. PUT REFINED STARMETAL IN POT. PUT WIZARD ASH IN POT\n\nThe sapphire whiskey disappears under the surface of the liquid in the pot.\nI can't see any such thing.\n\n> You look at what you're carrying with you\nIn my bag of holding, I have:\nsome wizard ash\nsome refined starmetal\nsome daffodil blood\nan ivory runestone\na phoenix kidney\na fish\na vellum page\na faery coin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a foolish wizard\n\n> You put IVORY RUNESTONE in POT\nThe ivory runestone disappears under the surface of the liquid in the pot.\n\n> You put the refined starmetal in the POT\nThe refined starmetal disappears under the surface of the liquid in the pot.\n\n> You put the WIZARD ASH in the POT\nThe wizard ash disappears under the surface of the liquid in the pot.\n\n> You press sigil\nAs soon as I touch the sigil, all the glowing orbs stop moving. Uh oh. Has time frozen? No, I can still move. Now the orbs are growing smaller, and--- whoa! The orbs streak towards the pot and collide with the surface of the liquid with a giant poof of smoke!\n\nNow I'm somehow holding a vial. Wow. that was crazy.\n\nWe've done it, boss! Now all I need to do is get this back to you, so that you can restock the treasury and, more importantly, get out of my head.\n\n> You pour the vial on the spell book\nBoss? I have put up with a lot today. I wandered all around town following someone's love notes. I burned down a barn. I played Pretty Pretty Princess Dress-Me-Up with some random guy in order to get him arrested for a crime he didn't commit. I robbed a bank. I had to spend a good ten minutes with the world's stupidest hedgehog\nsinging at me just so you could rob a blind guy. I let you\nstick me in a cage just so you could make fake money. I had to learn how to play your incomprehensible stock market. There is no way I am letting you do anything with this potion until we get into\nthe treasury.\n\n> You look at the vial\nYeaugh! I'm sure there's a potion in there, but all I get is some shifting colors and an overwhelming smell of blue cheese.\n\n> You show vial to Mel\nLike I said, boss, let's get back to your body first.\n\n> Up\nAll right. Nearly back at the room with your body. Now you can get out of my head and take this potion, and I can have a nice meal with my girlfriend. Here you g---\n\nNo. No no nononnononononono! You're not here. Your body isn't here. Also the door is open. The treasurer must have found the king. We've got to get to the treasury--- oh man--- I hope they haven't killed you yet.\n\nOkay, okay, it's not over yet. I can see you. You're not dead. The king and the treasurer and some guards and some you are all here. Okay, okay. We can still work this out. We just have to get up to the treasury before they do.\n\nWe're at the bottom of the elevator leading up the tower to the vault. The lift itself is a giant stone disk operated by a magic key.\n\nI can see your comatose body, a treasurer, some guards, and a king here.\n\nThe treasurer fumbles with his key ring and holds up a bright blue key. \"Alakazam!\" he incants. Nothing happens.\n\n> You pour the vial on the spell book\nI don't think this will do anything, but okay. Done. Now the spell book is wet.\n\nThe treasures holds up the key again. \"Alakazoo!\" he incants. Nothing happens.\n\n\"It's 'Alakazar',\" says the king.\n\n\"I was getting there!\" shouts the treasurer. \"Alakazar!\" he cries triumphantly. The stone lift hums and starts moving upwards.\n\n> You wait for a while\nAll right.\n\nThe treasures holds up the key again. \"Alakazoo!\" he incants. Nothing happens.\n\n\"It's 'Alakazar',\" says the king.\n\n\"I was getting there!\" shouts the treasurer. \"Alakazar!\" he cries triumphantly. The stone lift hums and starts moving upwards.\n\n> Wait\nHey, boss! Death is imminent!\n\n\"I've always wanted to see the treasury,\" says one of the guards. \"This is so exciting.\"\n\n\"The treasury is empty!\" yells the treasurer. \"This is a\ntravesty.\"\n\n\"I've always wanted to see the treasury,\" repeats the guard. \"This is such an exciting travesty.\"\n\nThe lift rises steadily.\n\n> Wait\nAll right.\n\nThe king sneezes.\n\nThe lift rises steadily.\n\n> You wait\nHey, boss! Death is imminent!\n\nOne of the guards rifles through your pockets.\n\nThe lift rises steadily.\n\n> Wait\nAll right.\n\nThe lift arrives at the top of the tower.\n\n> You wait\nAll right.\n\nThe treasurer leads the way east towards the vault. You're going to die. Nice knowing you.\n\n> Wait\nHey, boss! Death is imminent!\n\n> Wait\nHey, boss! Death is imminent!\n\nBoss, please stop dawdl--- what the....I think that was your body sailing past us. Hmm, yeah, that's definitely a smashed you down there. Good job.\n\n> You check your inventory\nIn my bag of holding, I have:\nan iridescent potion\nsome daffodil blood\na phoenix kidney\na fish\na vellum page\na faery coin\nsome farming tools\na fishing rod\na bottle of clear fluid\na torn page\na spell book\na magic wand\nthe mind of a desperate wizard\n\nThe lift arrives at the top of the tower.\n\n> You pour the vial on Fish\nI don't think this will do anything, but okay. Done. Now the fish is wet.\n\nThe treasurer leads the way east towards the vault. You're going to die. Nice knowing you.\n\n> Up\nWe're already at the top of the tower; the vault is to the east.\n\n> Go east\nThis is the top of the treasure house tower. Notable features include the vault, to the north, and the bottom of the tower, to the, um, downward.\n\n> You go north\nThis room is supposed to be filled with treasure. Failing that, it's supposed to be filled with the illusion of treasure. But it's broken. If I tilt my head one way, the illusion's still there: a giant pile of gold and jewelry. If I tilt my head the other way, all I see is a pile of logs. It's making me dizzy. The exit from the vault is to the south.\n\nI can see your comatose body, a treasurer, some guards, a king, and a pile of logs here.\n\nThe king sighs. \"Just get rid of him. I don't care what you do.\" He sits on a log and puts his head in his hands.\n\nOh, man, we're such jerks.\n\nThe guards chop off your head and toss your body down the tower.\n\n> Go north\nI can't go that way.\n\nOne of the guards rifles through your pockets.\n\nThe lift rises steadily.\n\n> Up\nWe're already at the top of the tower; the vault is to the east.\n\nThe lift arrives at the top of the tower.\n\n> You go east\nThis is the top of the treasure house tower. Notable features include the vault, to the north, and the bottom of the tower, to the, um, downward.\n\nThe treasurer leads the king and his retinue here from the west. You're going to die. Nice knowing you.\n\n> You go north\nThis room is supposed to be filled with treasure. Failing that, it's supposed to be filled with the illusion of treasure. But it's broken. If I tilt my head one way, the illusion's still there: a giant pile of gold and jewelry. If I tilt my head the other way, all I see is a pile of logs. It's making me dizzy. The exit from the vault is to the south.\n\nI can see a pile of logs here.\n\nUh oh. They're here.\n\n> You pour the vial on the logs\nOkay. Here goes. I fly out of hiding and splash the potion around the room.\n\nThe room explodes. This is not quite what I expected. There's a crazy shower of birds everywhere. The pile of logs has become a swarm of...of goldfinches. Oops.\n\nI'm trying to get back in my hiding place, but there's too much chaos. The birds are going wild. They're all screaming at each other to get out of each other's way. The humans are throwing their hands up to protect their heads from the aerial assault. The guards drop you on the floor. I've got to try to get out of here before I--- oh, thank the meat gods, are you finally going back into your own head? Good luck, boss; good time to try running.\n\nI swear it happened exactly like that, babe. Goldfinches everywhere. Would I make something like that up? Well, then why do you think there are so many more birds around here lately?\n\nThe king and the treasurer? Well, they probably got pooped on a lot. You know how it is. The boss and I got out of the room as soon as possible. He ran off to a closet where he had some Anywhere-But-Here Dust stashed, and he poofed away. I have no idea where he went; I hope it was to some kingdom with with dumber treasurers.\n\nAnyway, as far as I know, he's gone for good. That means I'm yours for the foreseeable future, love. Want to go get some food? I've worked up a heck of an appetite saving the boss and all. Let's eat somewhere quiet; I'm going to go crazy if I hear one more finch asking where to get the good seeds.\n\n> You put all the ingredients in the POT\nwizard ash: The wizard ash disappears under the surface of the liquid in the pot.\n\nThe sigil on the side of the pot begins glowing with a soft blue light.\nrefined starmetal: The refined starmetal disappears under the surface of the liquid in the pot.\ndaffodil blood: The daffodil blood disappears under the surface of the liquid in the pot.\nivory runestone: The ivory runestone disappears under the surface of the liquid in the pot.\nphoenix kidney: The phoenix kidney disappears under the surface of the liquid in the pot.\nsapphire whiskey: The sapphire whiskey disappears under the surface of the liquid in the pot.\nunicorn fur: The unicorn fur disappears under the surface of the liquid in the pot.\n\n> You pour the vial on King\nWhoa. Harsh, boss, but okay: one solid-gold king, coming up. I hope you have plans for an exciting chess set.\n\nSploosh. Wow, he looks offended that I threw the potion at\nhim. I wouldn't want to be frozen with that face for all eternity.\n\nHey, boss, the treasurer looks even angrier, and the guards are still--- Oh, you seem to be leaving my head. Good luck with that. I'm out of here.\n\n> You pour the vial on Treasurer\nOoh, I like the way you think. I leave my perch and, like a streak of black lightning, I strike! The fat guy is still complaining about what a horrid little toad of a thief you are as I pour the potion on him. His lips continue whining even as the top of his head turns to gold. Well, that was--- oh, you seem to be leaving my mind finally. Good riddance.\n\nYeah, babe, it all happened just like that. After the treasurer got turned into a statue, the boss managed to convince the king that the new gold treasurer was far more valuable than the old one, and, you know, nobody really liked the old treasurer anyway.\n\nThe boss? Well, the boss decided he should probably skip town even though he wasn't in immediate danger of losing his legs, arms, eyeballs, or liver. Eventually the king's going to think about the moral implications of restocking the treasury with the\ntreasurer. I don't know where the boss has gone and I really don't want to know. But he gave me my freedom for my help, and...one other thing. He did one last enchantment before he left, and this one seems to actually work.\n\nSo, the bag of Marginal Holding? Well, he made it a little less and a little more useful. Now it only holds eyeballs. But there's always one more in the bag. Infinite Eyeballs--- more than we could ever possibly eat.\n\nCould I interest you in a little snack, my love?"
    },
    {
        "text": "[Themes: Humor, Fantasy, Puzzle, old school, humor]\n\n> You pour the vial on the WIZARD\n(your comatose body)\nHHAHAHHAA. Yes, sir! One wizard-to-gold potion, coming right up. Gloop. Gooey stuff, man.\n\nHahahahaha. Oh, man, I don't know why he wanted to kill himself, but the sight of his smug face turning to solid gold will keep me happy for yea---\n\nWhy are you still here? Shouldn't you be out of my head? Shouldn't you be dead? Shouldn't--- oh, oh god. Oh god. Why? Why--- now there is no body for you to get back to. Why would you do that to me? AAAAAAAHHHHHHHHHHHHHHHHHHHH\n\n> You pour the vial on yourself\nHHAHAHHAA. Yes, sir! One wizard-to-gold potion, coming right up. Gloop. Gooey stuff, man.\n\nHahahahaha. Oh, man, I don't know why he wanted to kill himself, but the sight of his smug face turning to solid gold will keep me happy for yea---\n\nWhy are you still here? Shouldn't you be out of my head? Shouldn't you be dead? Shouldn't--- oh, oh god. Oh god. Why? Why--- now there is no body for you to get back to. Why would you do that to me? AAAAAAAHHHHHHHHHHHHHHHHHHHH\n\n> You pour the vial on you\nAbsolutely not. Look, boss, I've done a lot for you today. I wandered all around town following someone's love notes. I burned down a barn. I played Pretty Pretty Princess Dress-Me-Up with some random guy in order to get him arrested for a crime he didn't commit. I robbed a bank. I had to spend a good ten minutes with the world's stupidest hedgehog singing at me just so you could rob a blind guy. I\nlet you stick me in a cage just so you could make fake money. I had to learn how to play your incomprehensible stock market. And I was happy to do so; all things considered, you're not the worst possible master for a bird to have. But if you think I'm going to spend eternity as a golden raven statuette just so you can skip the consequences of your embezzlement, I should have let the executioner chop your head off hours ago.\n\nThe treasures holds up the key again. \"Alakazoo!\" he incants. Nothing happens.\n\n\"It's 'Alakazar',\" says the king.\n\n\"I was getting there!\" shouts the treasurer. \"Alakazar!\" he cries triumphantly. The stone lift hums and starts moving upwards.\n\n> Drink vial\nAbsolutely not. Look, boss, I've done a lot for you today. I wandered all around town following someone's love notes. I burned down a barn. I played Pretty Pretty Princess Dress-Me-Up with some random guy in order to get him arrested for a crime he didn't commit. I robbed a bank. I had to spend a good ten minutes with the world's stupidest hedgehog singing at me just so you could rob a blind guy. I\nlet you stick me in a cage just so you could make fake money. I had to learn how to play your incomprehensible stock market. And I was happy to do so; all things considered, you're not the worst possible master for a bird to have. But if you think I'm going to spend eternity as a golden raven statuette just so you can skip the consequences of your embezzlement, I should have let the executioner chop your head off hours ago.\n\nThe king sneezes.\n\nThe lift rises steadily.\n\n> You pour the vial on the lift\nI don't think this will do anything, but okay. Done. Now the magic lift is wet.\n\n\"I've always wanted to see the treasury,\" says one of the guards. \"This is so exciting.\"\n\n\"The treasury is empty!\" yells the treasurer. \"This is a\ntravesty.\"\n\n\"I've always wanted to see the treasury,\" repeats the guard. \"This is such an exciting travesty.\"\n\nThe lift rises steadily.\n\n> You pour the vial on the guards\nI never liked those guys anyway. I fly out of my hiding space and splash both of the guards. They look briefly stunned but transform before they can do anything to me in retaliation. They don't release their grip on your body, though, so you're now squished between two beefy gold statues. That looks uncomfortable.\n\nThe treasurer starts screaming bloody murder about how you're a bloody murderer, and the king looks like he's trying to figure out where the guards went. Now the--- oh, thank the Meat Gods, are you finally leaving my head? Toodles.\n\nNo, babe, I swear it's all true. We goldificated both of the guards, but the boss was trapped between them. The treasurer wouldn't stop screaming about the guards. The boss wouldn't stop screaming about how he'd gotten the treasure back, and what more did they want? I thought the treasurer was going to strangle the chief himself, but the king said he had to get more guards, and they both left. The boss mostly managed to work his way free, but one of his fingers ended up wedged between the two statues. It was crazy. We could hear the treasurer coming back with a whole pile of guards, and the boss kept pulling at his hand, and...\n\nWell, of course you see where this is going. I heroically saved the day once again, and the boss (or, well, most of him) fled to where had some Anywhere-But-Here Dust stashed. I'm sure he's fine wherever he is.\n\nSo, anyway, I think I'm free for the foreseeable future, love. Want a snack? I saved you half a finger."
    },
    {
        "text": "[Themes: Humor, humor, communism, satire, political, silly, parody]\n\nToday is the day you've been waiting for! Today is the day when the Revolution arrives to sweep over this entire town, converting it to a worker's paradise! Your heart beats with trepidation and excitement and you can almost taste victory!\nBut victory's not here yet. You still have a lot of work to do. After all, it's like Marx said: It's one thing to interpret the world but the point is to change it. And today, change will come!\nNow if only you could find your Revolutionary To-Do List...\n\n\n\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west (how appropriate!) and a staircase leads downwards to the lab.\n\nA giant workers' flag hangs on the back wall, filling your heart with Revolutionary Pride.\n\nUnderneath the flag sits the committee's desk, upon which all Revolutionary Managerial Work is accomplished.\n\n[Author's Note: Sure, there's only five of you against a world full of reactionaries, but you have Revolutionary Spirit! You can't possibly fail. Nothing can stand in your way! Now if only you could find your Revolutionary to-do list...]\n\n> About you\nYou've known since you were 12 that it's fate that you share a name with the late, great Karl Marx. You've also been trying to grow out a beard like his but so far that hasn't gone very well.\n\nYour head itches beneath your papakha.\n\n> You check what you're carrying\nYou are carrying:\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> Salute flag\nYou salute the workers' flag.\n\n> Examine Bracelet\nA small bracelet with the words \"What Would Trotsky Do?\" as a reminder to always do the Revolutionary Thing.\n\n> Scratch head\nYou swore a solemn vow not to remove the papakha from your head until the Revolution is achieved!\nWell, on the other hand, your hair is getting really greasy and itchy. It probably wouldn't hurt to take your hat off for a minute or two. Tucked into the hollow of your papakha is your to-do list. So that's where it went!\n\nYou scratch your hair.\n\n> You read List\nYou look over your to-do list.\nsteps to glorious Revolution:\n( ) win hearts of proletariat\n( ) win minds of proletariat\n(-) win bodies of proletariat (don't do. that is disgusting.)\n( ) get parts for comrade semenov\n( ) ruin the good name of a major corporation\n( ) cripple capitalist government infrastructure\n( ) find supplies to throw a communist party!\n\n|          Bank of Freedonia           |\n|       #1 In Fixed Rate Loans! |"
    },
    {
        "text": "[Themes: Humor, humor, satire, parody, communism, political]\n\n> You look at your surroundings\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west (how appropriate!) and a staircase leads downwards to the lab.\n\nA giant workers' flag hangs on the back wall, filling your heart with Revolutionary Pride.\n\nUnderneath the flag sits the committee's desk, upon which all Revolutionary Managerial Work is accomplished.\n\n> You examine the flag\nA glorious red flag emblazoned with a yellow hammer and sickle. Just looking at it swells your heart with pride and anticipation.\n\n> You look at the desk\nA fine wooden desk, carved out of solid wood, no doubt by an oppressed worker. Luckily his work was turned to good use when the Committee liberated this desk from the basement of a nearby office building where it was wasting away as an example of capitalist decadence.\n\nThe desk has a single large drawer. The drawer is closed.\n\n> You open it\nYou open the drawer, revealing some borscht.\n\nGuiltily, you quickly put your papakha back on.\n\n> You look at the borscht\nAn bowl of old, rancid borscht. Who knows how long it was in that drawer?\n\n> You take the borscht\nTaken.\n\n> You take it\nYou already have that.\n\n> You eat the borscht\nThe borscht has really gone bad. There's no way you're going to even taste it.\n\n> Smell borscht\nIt smells terrible.\n\n> You look at the desk\nA fine wooden desk, carved out of solid wood, no doubt by an oppressed worker. Luckily his work was turned to good use when the Committee liberated this desk from the basement of a nearby office building where it was wasting away as an example of capitalist decadence.\n\nThe desk has a single large drawer. The drawer is open. It contains nothing."
    },
    {
        "text": "[Themes: Humor, silly, humor]\n\n> You look around\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west (how appropriate!) and a staircase leads downwards to the lab.\n\nA giant workers' flag hangs on the back wall, filling your heart with Revolutionary Pride.\n\nUnderneath the flag sits the committee's desk, upon which all Revolutionary Managerial Work is accomplished, drawer opened.\n\n> You examine the light\nA red light. It makes it a little difficult to read or write, but the Revolutionary Ambiance it provides is worth it.\n\n> You take the flag\nTaken."
    },
    {
        "text": "> You go downwards\nThis room is filled with all sorts of machines and inventions for the betterment of the lives of the proletariat.\nThe only exit is up the stairs back to the rest of the Headquarters.\n\nComrade Semenov sits at his workbench, hunched over an undoubtedly miraculous device.\n\nYou can also see Semenov's workbench (on which are the Marxist Ventriloquator Mk II, the Communistic Converter and some sleeping serum) here.\n\n> You look at Semenov\nComrade Semenov is a diligent worker, his life devoted to science. He is currently fiddling intently with the circuit board of his latest creation, his eyes hidden behind his impenetrably thick glasses.\n\n> You look at the mk\nThe Ventriloquator is a long plastic tube that widens at one end into a curved speaker.\n\n> You examine the device\nWhich do you mean, the Marxist Ventriloquator Mk II, the Communistic Converter or the miraculous device?\n\n> Miraculous\nThe device is currently in many small pieces. That, along with the fact that you have little to no knowledge of electronics, means you have no idea what it is or what it does.\n\nThe miraculous device is currently switched off.\n\n> You look at Converter\nThe Communistic Converter is a rather small cylinder with some nasty looking spikes coming out of one end.\n\n> You take it\nTaken.\n\n\"That's the Communistic Converter, Commissar,\" Semenov says. \"It's a very powerful piece of technology. Put it on someone and it will inject pure Revolutionary Spirit into them, instantly converting them to our side. Be very careful with it though, it can only be used once.\"\n\n> You ask the Comrade about the miraculous device\n\"What's that you're working on now, Comrade Semenov?\" you ask.\n\"This is going to be the greatest piece of Revolutionary Technology known to man, Commissar! It's so exciting I can't find ample words to describe it,\" Semenov jabbers as he pokes at the device with even more excitement.\n\n> You take Ventriloquator\nTaken.\n\n\"The Marxist Ventriloquator mark II is an amazing device,\" Semenov says. \"Simply point it at a person or object and he, she or it will be forced to shout out a glorious Marxist quote!\"\n\n> You take the serum\nTaken.\n\n\"That's a super-potent (but safe and nonaddictive!) sleeping serum, Commissar,\" Semenov says. \"I invented it so that a Revolutionary can get the sleep he or she needs in order to function for a full day's worth of Revolutionary Work. It tastes pretty bad by itself, though. You should probably put it into a food or drink if you want to have some.\"\n\n> Point ventriloquator at Semenov\nYou point the Ventriloquator at Comrade Semenov.\nComrade Semenov suddenly swells up with Revolutionary Pride and shouts \"Workers of the world, unite!\"\n\"I'm trying to work here, Commissar,\" Semenov frowns.\n\n> Point Ventriloquator at yourself\nYou point the Ventriloquator at yourself.\nYou suddenly swells up with Revolutionary Pride and shouts \"Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read!\"\n\n> You ask the Comrade about the parts\n\"What do you need for me to get for you?\" you ask.\nSemenov glances at the parts strewn across his workbench. \"I think that all I need to finish the device is a computer's motherboard, Commissar.\"\n\n> Point ventriloquator at flag\nYou point the Ventriloquator at the workers' flag.\nThe workers' flag suddenly acquires a voice. \"I never forget a face, but in your case I'll be glad to make an exception!\" it shouts.\n\n> You ask the Comrade about the motherboard\n\"Tell me about the motherboard you need, Comrade Semenov,\" you say. \"It's fairly simple,\" Semenov says, \"I just need a regular motherboard like you can find in any computer.\"\n\n> You ask Comrade about himself\n\"How are you doing, Comrade Semenov?\" you ask.\n\"I'm fine, Commissar,\" Semenov says. \"Right now I'm excited to finish this device.\""
    },
    {
        "text": "[Themes: Humor, humor, satire, communism]\n\n> Look around\nThis room is filled with all sorts of machines and inventions for the betterment of the lives of the proletariat.\nThe only exit is up the stairs back to the rest of the Headquarters.\n\nComrade Semenov sits at his workbench, hunched over an undoubtedly miraculous device.\n\nYou can also see Semenov's workbench here.\n\n> You look at the workbench\nThe workbench is cluttered with all manner of half-assembled gizmos, assorted electronic parts, tools and incomprehensible blueprints.\n\n> You ask the Comrade about Revolution\n\"Tell me, Comrade, how do you feel about the Revolution?\" you ask. Semenov looks at you, smiling. \"I'm ready for the Revolution to arrive as soon as possible, Commissar. I can't wait for the day when I can turn science to peaceful ends for the good of the proletariat.\"\n\n> You ask the Comrade about yourself\n\"What do you think of me as a Commissar, Comrade Semenov?\" you ask. Semenov looks up at you seriously. \"I think you're quite capable, and I'm glad to be working alongside you to bring about the Revolution,\" he says.\n\n> You ascend\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west and a staircase leads downwards to the lab.\n\nThe committee's desk sits against the back wall, drawer opened.\n\n> You go west\nJetski grins a dopey grin at you.\n\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\nComrade Jetski is here, reading a comic book.\n\n> Examine comic\nThe comic colorfully details the adventures of Captain Freedom as he fights the Red Menace. What garbage.\n\n> Point ventriloquator at Jetski\nYou point the Ventriloquator at Comrade Jetski.\nComrade Jetski suddenly swells up with Revolutionary Pride and shouts \"Workers of the world, unite!\"\nJetski grins stupidly.\n\n> Point ventriloquator at comic\nYou point the Ventriloquator at the comic.\nThe comic suddenly acquires a voice. \"Religion is the opium of the masses!\" it shouts.\n\n> You examine Jetski\nJetski may talk like an idiot and look like an idiot, but don't let that fool you. He really is an idiot. Luckily he seems to have a ridiculous amount of blind luck, avoiding both injury and arrest despite how out of his league the missions he usually attempts tend to be.\n\n> You ask Jetski about Revolution\n\"Comrade Jetski, how do you feel about the Revolution?\" you ask. Jetski grins a dopey smile at you. \"I tell ya, Commissar, I just can't wait!\"\n\n> You take the comic\nThat seems to belong to Comrade Jetski.\n\n> You ask Jetski for comic\n\"I need to requisition that comic book, Comrade Jetski,\" you say.\n\"But Commissar,\" Jetski whines, \"I'll get bored and fall asleep and then I can't guard the HQ! You can have it but first I need something else to keep me from getting bored...\"\n\n> You check what you're carrying\nYou are carrying:\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na workers' flag\nsome borscht\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You give the borscht to Jetski\n\"Are you hungry, Comrade Jetski?\" you ask. \"Would you like this borscht I found in the desk drawer?\"\n\"Oh hey, that's where that went!\" Jetski says, slapping himself in the forehead. \"Sure thing, Commissar, I'm pretty hungry.\" He grabs the borscht and gobbles it down, then lets out a hearty Revolutionary Belch. \"Wow, that's even better when it's a few days old,\" he says. \"I'm full of energy now, no chance of getting bored. Here, you can take the comic book I was reading.\"\n\n> You take the comic\nYou already have that.\n\n> You give the flag to Jetski\n\"Oh that's cool, Commissar!\" Jetski grins."
    },
    {
        "text": "[Themes: Humor, parody, satire, political]\n\n> You describe your surroundings\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\nComrade Jetski is here, reading a comic book.\n\n> Go north\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is an American flag) here.\n\nA construction worker walks past and salutes the flag.\n\n> You examine the flag\n(the workers' flag)\nA glorious red flag emblazoned with a yellow hammer and sickle. Just looking at it swells your heart with pride and anticipation.\n\n> You examine the american flag\nThis flag is the hateful symbol of the largest capitalistic nation in the world!\n\n> You examine the pole\nA large metal poll with a rope on it, designed to hoist up a symbol to remind those who pass by what they stand for.\n\nOn the flagpole is an American flag.\n\n> You pull pole\nIt is fixed in place.\n\n> You put the workers flag on the pole\nYou attach the flag to the line and hoist it into the air. A gust of wind catches it and it unfurls to its full length, proudly displaying the hammer and sickle. A few people nearby gaze at it in wonder, then slowly, carefully salute it.\n\nLooks like you've won the people's hearts!\n\nA passing mechanic looks up at the red flag and salutes it, grinning madly."
    },
    {
        "text": "[Themes: Humor, satire, silly, communism]\n\n> Look around\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is a workers' flag) here.\n\nA passing fast food worker looks up at the red flag and salutes it, grinning madly.\n\n> You examine List\nYou look over your to-do list.\nsteps to glorious Revolution:\n(X) win hearts of proletariat\n( ) win minds of proletariat\n(-) win bodies of proletariat (don't do. that is disgusting.)\n( ) get parts for comrade semenov\n( ) ruin the good name of a major corporation\n( ) cripple capitalist government infrastructure\n( ) find supplies to throw a communist party!\n\n|          Bank of Freedonia           |\n|       #1 In Fixed Rate Loans! |\n\n> You examine the american flag\nThis flag is the hateful symbol of the largest capitalistic nation in the world!\n\n> You burn it\nThat would be unpatriotic.\n\n> You wear the flag\n(the American flag)\nYou can't wear that!\n\n> You go to the north\nJust being on this street makes you shiver in disgust. You're standing east of the town hall, the central seat of the local capitalist government. The city center is to the south.\n\nA shady-looking peddler leans against an ice cream cart.\n\n> You examine peddler\nA shifty-looking independent capitalist. He stands with his hands deep in his pockets, slouching and grinning as people walk by.\n\n\"Tootsie Frootsie ice cream!\" shouts the peddler.\n\n> You look at the ice cream\nAn old Tootsie-frootsie Ice Cream cart.\n\nIn the ice cream cart are some books.\n\n> You look at the books\nBuried underneath copies of The Three Little Pigs and other pornographic, bourgeoisie trash, you see a copy of The Communist Manifesto\n\n> You take Manifesto\nThat seems to belong to the peddler.\n\n> You ask the peddler about it\n\"I think I have a book about it somewhere...\" mutters the peddler.\n\n> You ask peddler about Manifesto\n\"Tell me about The Communist Manifesto,\" you say.\n\"I'm sure you know more about it than I do, kid. It's yours for a dollar.\"\n\n\"Get your ice cream!\" shouts the peddler.\n\n> You buy Manifesto\nThe peddler laughs at you. \"You don't have any money. This is a capitalistic society, you know. You have to pay for things! But I tell you what,\" he says, scratching his chin, \"I can't see that ever getting bought, so I'll trade it for another book if you want.\"\n\n> Point ventriloquator at peddler\nYou point the Ventriloquator at the peddler.\nThe peddler suddenly swells up with Revolutionary Pride and shouts \"Religion is the opium of the masses!\"\n\n> You ask the peddler about Revolution\n\"Would you like to join the People's Glorious Revolution?\" you ask. The peddler shakes his head. \"No thanks. I'm happy where I am.\"\n\n> You give the borscht to Jetski\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is a workers' flag) here.\n\nA passing punk rocker looks up at the red flag and salutes it, grinning madly.\n\n\"Guten Tag, Commissar Karl!\" shouts Jetski as he sees you.\n\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\nComrade Jetski is here, reading a comic book.\n\n\"Are you hungry, Comrade Jetski?\" you ask. \"Would you like this borscht I found in the desk drawer?\"\n\"Oh hey, that's where that went!\" Jetski says, slapping himself in the forehead. \"Sure thing, Commissar, I'm pretty hungry.\" He grabs the borscht and gobbles it down, then lets out a hearty Revolutionary Belch. \"Wow, that's even better when it's a few days old,\" he says. \"I'm full of energy now, no chance of getting bored. Here, you can take the comic book I was reading.\"\n\n> You give the comic to the peddler\n\"Will this work for a trade?\" you ask, offering Jetski's comic to the peddler.\n\"Is that an original edition of Captain Freedom vs. The Red Menace?\" he says in shock, his eyes lighting up in greed.\n\"Maybe,\" you say, \"What's it worth?\"\n\"Oh, not much,\" he says, trying to keep his voice casual, \"Really, I'm still losing out by giving you the manifesto, but I guess we can make that trade.\"\nHe snatches the comic out of your hands and tosses The Communist Manifesto at you.\n\"So long, sucker,\" he says, rushing off with his newfound treasure.\n\n> You examine Manifesto\nYou have this great work memorized word-for-word. Within can be found the greatest wisdom the world has yet produced.\n\n> You get the ice cream\nThat's hardly portable.\n\n> You eat the ice cream\n(first taking the ice cream cart)\nThat's hardly portable."
    },
    {
        "text": "[Themes: Humor, silly, humor, satire, political, communism, parody]\n\n> Describe the surroundings\nJust being on this street makes you shiver in disgust. You're standing east of the town hall, the central seat of the local capitalist government. The city center is to the south.\n\n> Go west\nFreedonia's town hall bustles with the bureaucratic drones necessary to keep capitalism from collapsing under its unsustainable weight. There are some offices to the north, a bathroom to the south, and you can exit east to get back to the streets.\n\n> Go north\nThis large office is almost entirely filled with filing cabinets, no doubt containing the gathered bureaucratic detritus necessary to run a capitalistic government. The main section of the town hall is south.\n\nA government bureaucrat sits at a desk, contributing to the continuing operation of the capitalist system.\n\nYou can also see the bureaucrat's desk (on which are an Inbox (in which are some unstamped papers), an Outbox (in which are some stamped papers) and a stamp) here.\n\n> You take the stamp\nThe bureaucrat stops you. \"Please fill out form T36-B, 'Requisition of Government Office Supplies' before taking that.\"\n\n> You ask the bureaucrat about the form t36-the b.\nThe bureaucrat doesn't even look up. \"Please fill out form F2-A, 'Request for Intercourse with Government Employee' and then I'll talk to you.\"\n\n> Point ventriloquator at bureaucrat\nYou point the Ventriloquator at the bureaucrat.\nThe bureaucrat suddenly swells up with Revolutionary Pride and shouts \"Workers of the world, unite!\"\n\"Please fill out form 9A-T, 'Request to Force a Government Employee to Speak' before you do that again.\"\n\n> Continue\nYou point the Ventriloquator at the bureaucrat.\nThe bureaucrat suddenly swells up with Revolutionary Pride and shouts \"Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read!\"\n\"Please fill out form 9A-T, 'Request to Force a Government Employee to Speak' before you do that again.\"\n\n> Point ventriloquator at stamp\nYou point the Ventriloquator at the stamp.\nThe stamp suddenly acquires a voice. \"Religion is the opium of the masses!\" it shouts."
    },
    {
        "text": "[Themes: Humor, communism, political, humor]\n\n> You describe your surroundings\nThis large office is almost entirely filled with filing cabinets, no doubt containing the gathered bureaucratic detritus necessary to run a capitalistic government. The main section of the town hall is south.\n\nA government bureaucrat sits at a desk, contributing to the continuing operation of the capitalist system.\n\nYou can also see the bureaucrat's desk (on which are an Inbox (in which are some unstamped papers), an Outbox (in which are some stamped papers) and a stamp) here.\n\nThe bureaucrat gets up, takes a form out of a filing cabinet, and moves it to an identical filing cabinet.\n\n> You examine Inbox\nIn the Inbox are some unstamped papers.\n\n> You examine the unstamped papers\nA stack of unintelligible forms. There's a large box in the lower right corner of each, ostensibly to be stamped by a government bureaucrat.\n\nThe bureaucrat wonders aloud about when lunch is, before glancing at you balefully and getting back to work.\n\n> You examine stamped papers\nA stack of unintelligible forms. Each has a large box in the lower right corner and bears a red ink stamp.\n\n> You take unstamped\nThe bureaucrat stops you. \"Please fill out form H6-M5, 'Requisition of Unreviewed Government Forms' before taking that.\"\n\n> You take stamped\nThe bureaucrat stops you. \"Please fill out form RB-5, 'Requisition of Reviewed Government Forms' before taking that.\"\n\n> You check your inventory\nYou are carrying:\na Communist Manifesto\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You look at Converter\nThe Communistic Converter is a rather small cylinder with some nasty looking spikes coming out of one end.\n\nThe bureaucrat takes a form out of the inbox, looks at it, then crumples it up and throws it away.\n\n> Poke bureaucrat with Converter\nYou stick the Converter on the back of the bureaucrat's neck.\nHis eyes suddenly light up with Revolutionary Fervor. \"Commissar!\" he shouts, standing saluting you, \"What do you require of me?\"\n\"Um...I guess you can help me out by taking all these papers and destroying them, thereby throwing the capitalist government into confusion.\"\n\"Can do, Commissar!\" shouts the bureaucrat, and runs out, grabbing the papers and stamp on the way."
    },
    {
        "text": "[Themes: Humor, parody, silly, communism]\n\n> Look around\nThis large office is almost entirely filled with filing cabinets, no doubt containing the gathered bureaucratic detritus necessary to run a capitalistic government. The main section of the town hall is south.\n\nYou can see the bureaucrat's desk (on which are an Inbox (empty) and an Outbox (empty)) here.\n\n> Inventory\nYou are carrying:\na Communist Manifesto\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You look at the stamp\nA large rubber stamped marked \"APPROVED.\"\n\nThe bureaucrat takes a form out of the inbox, stamps it, and places it in the outbox.\n\n> You get outbox\nThat's fixed in place.\n\n> You go to the south\nFreedonia's town hall bustles with the bureaucratic drones necessary to keep capitalism from collapsing under its unsustainable weight. There are some offices to the north, a bathroom to the south, and you can exit east to get back to the streets.\n\n> Go south\nA simple bathroom, used by the government employees to refresh themselves in various ways.\nYou can exit to the north.\n\nYou can see a toilet and a sink here.\n\n> You examine toilet\nYou have to hand it to the capitalists. They can clean a mean toilet.\n\n> You examine the sink\nA white porcelain sink.\n\nThe sink is currently switched off.\n\n> Flush toilet\nYou flush the toilet.\n\n> You turn the sink on\nYou switch the sink on.\n\n> You examine the sink\nA white porcelain sink.\n\nThe sink is currently switched on.\n\n> You put the american flag in the toilet\nYou shove the American flag into the toilet. After flushing it a few times, it gets pretty seriously stuck deep in the plumbing. Nobody will be able to use this toilet until they call a plumber.\n\n> You go south\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is a workers' flag) here.\n\n> Go west\nYou are standing on Goldwater Lane, one of the main streets of the city. A small pawn shop to the south is dwarfed by the massive corporate edifice that looms to the north. Freedonia Park lies to the east.\n\n> Go south\nThis small shop is filled with all sorts of junk and miscellany. It's a disgusting testament to the excesses of capitalism.\nYou can exit to the north.\n\nThe shopkeeper stands behind the counter, glancing around at all his stuff.\n\n> You ask the shopkeeper about the stuff\nThe shopkeeper looks at you sadly.\n\n> You use Converter on the shopkeeper\nThe shock might kill him!\n\n> You sell Manifesto\n(to the shopkeeper)\nThe shopkeeper doesn't seem interested.\n\n> Point mk II at shopkeeper\nYou point the Ventriloquator at the shopkeeper.\nThe shopkeeper suddenly swells up with Revolutionary Pride and shouts \"Workers of the world, unite!\"\nThe shopkeeper looks surprised at hearing his missing voice again.\n\n> You look at the edifice\nThis office building is the tallest building in town, even bigger than the town hall. But that's capitalism for you.\n\n> Go north\nYou stand in the lobby of a massive office building. The workers here embody capitalism to its most extreme -- pointless nonphysical labor purely to increase wealth. To the north is a Bronco Coffee franchise. Its very presence seems to poison the air with its crass commercialism. To the east is an elevator nook and you can exit to the south.\n\n> You go north\nThe garish, decadent colors and decorations of this institution fill you with disgust. Being mid-afternoon, the building is mostly empty, but during the morning hours it is filled with the capitalist sheep seeking the dastardly psycho-stimulant that enables them to perform their meaningless drudge work. A door in the north wall leads back to the employee area and you can exit to the south.\n\nComrade Chambers lazes behind the counter, bored.\n\n> You examine Chambers\nComrade Chambers is your inside man. He's made the ultimate sacrifice -- exposing himself to the horrors of capitalistic work in order to help destroy the system from the inside.\n\n> You ask Chambers about Revolution\n\"Tell me your thoughts about the Revolution, Comrade Chambers,\" you say.\nChambers straightens up excitedly. \"It can't come soon enough, Karl. I'm sick and tired of this mind-numbing capitalist job, and totally ready for the worker's paradise!\"\n\n> You ask Chambers for coffee\n(Comrade Chambers first taking coffee)\n\"I'm working right now, Karl,\" Chambers says.\n\n> You look at the coffee\nYou can't actually see the coffee here. It's probably in the backroom.\n\n> Go north\nThis is the backroom of Bronco Coffee. Amidst the miscellaneous boxes and packages, A small couch sits in the corner, on which employees are allowed to sit during their pathetically short breaks.\nYou can exit to the south.\n\nA large vat sits in the corner, slowly percolating the coffee for the entire coffeehouse.\n\nYou can also see a greasy rag and some donuts here.\n\n> You examine the vat\nThis single vat brews the coffee for the customers. Look at this uncaring capitalism -- no custom-brewed drinks just for you, instead one draws all ones daily sustenance from the same murky puddle that's been sitting around all day.\n\n> You take the vat\nThat's fixed in place.\n\nFrom the front, you hear someone order a drink. The vat gurgles, pumping the coffee through a large pipe to deliver it to the discerning customer.\n\n> You examine the donuts\nA box containing dozens of donuts.\n\n> You put the donuts in the vat\nI don't think that would improve the flavor.\n\nFrom the front, you hear someone order a drink. The vat gurgles, pumping the coffee through a large pipe to deliver it to the discerning customer.\n\n> You put serum in the Coffee\nYou pour a significant amount of the serum into the vat. It's quickly mixed into the coffee.\n\nFrom the front, you hear someone order a drink. The vat gurgles, pumping the coffee through a large pipe to deliver it to the discerning customer. A few minutes pass, then the customer starts shouting.\n\"This coffee is only making me more tired, not awake! I didn't order decaf! You can be sure I'll tell everyone I know not to come here.\"\n\nWell, looks like you ruined the reputation of a major capitalist chain.\n\n> You read List\nYou look over your to-do list.\nsteps to glorious Revolution:\n(X) win hearts of proletariat\n( ) win minds of proletariat\n(-) win bodies of proletariat (don't do. that is disgusting.)\n( ) get parts for comrade semenov\n(X) ruin the good name of a major corporation\n( ) cripple capitalist government infrastructure\n( ) find supplies to throw a communist party!\n\n|          Bank of Freedonia           |\n|       #1 In Fixed Rate Loans! |\n\n> You give the donuts to Chambers\n\"That's interesting, Karl, but you'd better hold onto that,\" Chambers says.\n\n> You go south\nYou stand in the lobby of a massive office building. The workers here embody capitalism to its most extreme -- pointless nonphysical labor purely to increase wealth. To the north is a Bronco Coffee franchise. Its very presence seems to poison the air with its crass commercialism. To the east is an elevator nook and you can exit to the south.\n\n> Go east\nThis is a small elevator nook. They've installed a security card system since you were last here.\nConsidering that the last time you were here you stole a desk from the basement, that isn't very surprising.\nSince the elevators are apparently inaccessible, your only exit is to the west.\n\n> You look at the system\nIt looks complicated.\n\n> You go to the east\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is a workers' flag) here.\n\nA passing doctor looks up at the red flag and salutes it, grinning madly.\n\n> You go north\nJust being on this street makes you shiver in disgust. You're standing east of the town hall, the central seat of the local capitalist government. The city center is to the south.\n\n> Go west\nFreedonia's town hall bustles with the bureaucratic drones necessary to keep capitalism from collapsing under its unsustainable weight. There are some offices to the north, a bathroom to the south, and you can exit east to get back to the streets.\n\n> You give the donuts to the bureaucrat\nThe bureaucrat rejects your offering. \"Please fill out form 37-B, 'Request to Bribe a Government Employee' before you try that.\"\n\n> You eat the donut\nYou're not hungry. Plus, the donuts look kind of stale anyway.\n\nThe bureaucrat takes a form out of the inbox, looks at it, then files it in one of the many identical filing cabinets lining the room.\n\n> You put the donuts on the desk\nYou put the donuts on the bureaucrat's desk.\n\n> You wait for a while\nTime passes.\n\n> You go north\nThis large office is almost entirely filled with filing cabinets, no doubt containing the gathered bureaucratic detritus necessary to run a capitalistic government. The main section of the town hall is south.\n\nA government bureaucrat sits at a desk, contributing to the continuing operation of the capitalist system.\n\nYou can also see the bureaucrat's desk (on which are some donuts, an Inbox (in which are some unstamped papers), an Outbox (in which are some stamped papers) and a stamp) here.\n\nThe bureaucrat takes a form out of the inbox, stamps it, and places it in the outbox.\n\n> Burn papers\nWhich do you mean, the unstamped papers or the stamped papers?\n\n> Unstamped\nThis dangerous act would achieve little.\n\nThe bureaucrat gets up, takes a form out of a filing cabinet, and moves it to an identical filing cabinet.\n\n> You put the donuts in Inbox\n(first taking the donuts)\n\nYou put the donuts into the Inbox.\n\n> You wait\nTime passes.\n\nThe bureaucrat wonders aloud about when lunch is, before glancing at you balefully and getting back to work.\n\n> You take the donuts\nTaken.\n\nThe bureaucrat takes a form out of the inbox, looks at it, then crumples it up and throws it away.\n\n> You check what you're carrying\nYou are carrying:\nsome donuts\na Communist Manifesto\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\nThe bureaucrat takes a form out of the inbox, stamps it, and places it in the outbox.\n\n> Go east\nMcCarthy Boulevard stretches through Freedonia. To the north is J. Edgar Hoover High School and directly across the street to the south is Rand's Liquors. The city center is to the west.\n\n> You go south\nRand's Liquors is the main provider of alcoholic beverages in Freedonia.\nYou can exit to the north.\n\nThousands of varieties of bottles of every color imaginable sit upon the shelves.\n\nThe clerk leans on the counter, bored.\n\n> You examine clerk\nThe clerk looks absolutely bored and miserable. A sad victim of the meaningless capitalistic \"service economy\"!\n\n> You ask the clerk about Revolution\n\"Would you like to join the People's Glorious Revolution?\" you ask. \"Revolution?\" the clerk looks at you, confused. \"Isn't that the new dance club they're opening this fall?\"\n\n> You tell the clerk about Revolution\n\"The Revolution is going to be wonderful,\" you explain. \"There will be no more bosses, no more unjust wages, everyone will work for themselves!\"\n\"Sounds great,\" agrees the clerk. \"Lemme know when it happens and I'll be the first one there.\"\n\n> You look at the bottles\nThe many bottles of alcohol smile benevolently at you from the shelves.\nA particular bottle of Russian vodka catches your interest.\n\nIn the shelves is a bottle of vodka.\n\n> You look at the vodka\nA bottle of true Revolutionary Spirits: Perestroika brand authentic Russian wodka, fuel of the Revolution!\n\n> You take the vodka\nYou grab the vodka. The perfect thing for a Communist Party!\n\n> You go to the north\n\"Slow down there,\" says the clerk, pointing at the vodka bottle, \"You gotta pay for that.\"\n\n> You buy the bottle\n\"Put it on the counter,\" says the clerk.\n\n> You put the bottle on the counter\nThe clerk looks over at the vodka, sighs and straightens up. \"That'll be $20, please.\"\n\n> You go north\nMcCarthy Boulevard stretches through Freedonia. To the north is J. Edgar Hoover High School and directly across the street to the south is Rand's Liquors. The city center is to the west.\n\n> You go to the north\nJ. Edgar Hoover High School\nThe J. Edgar Hoover High School is the premier capitalist youth brainwashing facility in Freedonia. The main thoroughfare of the school stretches to the north. To the west you see the school offices, and to the east lies a dusty, forgotten corridor. To the south, you can exit back to (relative) sanity.\n\n> Go east\nJudging by the layer of dust on the floor of this hallway, it is mostly unused. Which is odd, considering the fact that you can hear a monotone voice droning steadily through the door to the north, marked \"Economics.\" There is also a small closet to the south. To the west lies the main hall.\n\n> Go south\nThis cramped closet is entirely empty except for Comrade Rosalia and a large cardboard box.\nYou can exit to the north.\n\nComrade Rosalia is looking through a box filled with copies of The Communist Manifesto.\n\n> You look at rosalia\nComrade Rosalia's harsh features and fierce eyes help to emphasize the burning passion she feels for the Revolution. All people are equal, of course, but you can't help but feel that Rosalia is the only comrade of yours who is actually your equal in both intelligence and activism.\n\n> You ask Rosalia about Revolution\n\"Tell me your thoughts about the Revolution, Comrade Rosalia,\" you say.\nRosalia looks at you, positively glowing. \"Commissar, I can't help but feel that victory is close at hand! I can barely stand the wait.\"\n\n> You ask Rosalia about Manifesto\n\"What's your status with the books?\" you ask Rosalia.\n\"Well, Commissar, right now I'm trying to slip copies of The Communist Manifesto to those poor students being brainwashed by capitalistic propaganda in the classroom just outside this closet.\"\n\"Wonderful!\" you exclaim. \"How's it going?\"\n\"Well, Commissar,\" Rosalia frowns thoughtfully, \"Turns out I'm one book short. It just wouldn't be right to give all but one of the students copies. That's not equal at all!\"\n\n> You give the book to Rosalia\nRosalia's eyes light up. \"Thanks, Commissar! This is perfect!\"\nShe puts it reverently in the box with the others, then takes the box outside. A few seconds pass by, then she comes back in looking dejected.\n\"Well, Commissar, I gave them the books. But they're all too apathetic to read them!\" She shakes her head. \"What a terrible society, churning out students too filled with ennui to even glance at Marx's grand ideas.\"\n\n> You go north\nThis classroom is one of the most depressing (and grey) places you've ever seen. The dilapidated desks and out-of date facilities look more than ten years older than the students using them. Dust and cobwebs have settled on every available surface, including in some cases its human inhabitants.\nThe exit is south.\n\nAn elderly teacher stands in front of his bored students, droning on about nothing in particular.\n\nYou can also see some students here.\n\n> You examine the students\nThe students slump in their seats, bored. Some of them are asleep, small puddles of drool pooling on their desks. They each have a copy of The Communist Manifesto on their desk, but none of them seem to have noticed it.\n\n> Point ventriloquator at teacher\nYou point the Ventriloquator at the teacher.\nThe teacher suddenly swells up with Revolutionary Pride and shouts \"Capital is dead labor!\"\nThe students wake up when they hear the Revolutionary Message. Looking down at their desks they notice the copies of The Communist Manifesto. They quickly read it, then look at each other with Revolutionary Fervor and run out the door.\n\nLooks like you've won the minds of the people!\n\n> You look at List\nYou look over your to-do list.\nsteps to glorious Revolution:\n(X) win hearts of proletariat\n(X) win minds of proletariat\n(-) win bodies of proletariat (don't do. that is disgusting.)\n( ) get parts for comrade semenov\n(X) ruin the good name of a major corporation\n( ) cripple capitalist government infrastructure\n( ) find supplies to throw a communist party!\n\n|          Bank of Freedonia           |\n|       #1 In Fixed Rate Loans! |"
    },
    {
        "text": "[Themes: Humor, humor]\n\n> You look around\nThis classroom is one of the most depressing (and grey) places you've ever seen. The dilapidated desks and out-of date facilities look more than ten years older than the students using them. Dust and cobwebs have settled on every available surface, including in some cases its human inhabitants.\nThe exit is south.\n\nAn elderly teacher stands in front of an empty classroom, droning on about nothing in particular.\n\n> You look at the teacher\nThis man is the spitting image of a capitalistic \"intellectual\" (if such a thing can exist!). His unfashionable suit covers his ample stomach, no doubt filled to bursting with the free thought of his brainwashed students (symbolically, of course).\n\n> Go south\nJudging by the layer of dust on the floor of this hallway, it is mostly unused. Which is odd, considering the fact that you can hear a monotone voice droning steadily through the door to the north, marked \"Economics.\" There is also a small closet to the south. To the west lies the main hall.\n\n> Go west\nJ. Edgar Hoover High School\nThe J. Edgar Hoover High School is the premier capitalist youth brainwashing facility in Freedonia. The main thoroughfare of the school stretches to the north. To the west you see the school offices, and to the east lies a dusty, forgotten corridor. To the south, you can exit back to (relative) sanity.\n\n> You go to the west\nA large desk blocks you from entering the offices of the school administrators, but a door leads back east to the main hallway. A placard on the front of the desk reads \"Ms. Daisy,\" and a small card placed on the desk reads \"Out to Lunch.\"\n\nA computer sitting on the desk hums quietly to the office.\n\nA security guard stands here, looking at you nastily.\n\nOn the desk are a placard and a card.\n\n> You look at the placard\nA placard that reads \"Ms. Daisy.\"\n\n> You examine the card\nA small card that reads \"Out to Lunch.\"\n\n> You give the donuts to the guard\n\"Hungry?\" you ask, offering the donuts to the security guard.\nHe eyes them hungrily, then grabs one of them and gobbles it down. \"T'anks,\" he says, crumbs flying out of his capitalist-piggish mouth.\n\nThe guard mumbles something about his lunch break.\n\n> You take the computer\nThat's hardly portable.\n\n> You open the computer\n\"Keep your hands off that!\" snarls the guard.\n\n> You check what you're carrying\nYou are carrying:\nsome donuts\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You put the serum on the donuts\nYou drip a few drops of the sleeping serum onto the donuts.\n\n> You give the donuts to the guard\n\"Hungry?\" you ask, offering the donuts to the security guard.\nHe eyes them hungrily, then grabs one of them and gobbles it down. \"T'anks,\" he says, crumbs flying out of his capitalist-piggish mouth.\n\nThe guard rubs his eyes.\n\n> Wait\nTime passes.\n\nThe guard yawns.\n\n> Wait\nTime passes.\n\nThe guard closes his eyes for a few seconds, then opens them reluctantly.\n\nSuddenly, the guard slumps over and starts snoring.\n\n> You open the computer\nYou open the computer, revealing a motherboard."
    },
    {
        "text": "[Themes: Humor, political, silly]\n\n> Look around\nA large desk blocks you from entering the offices of the school administrators, but a door leads back east to the main hallway. A placard on the front of the desk reads \"Ms. Daisy,\" and a small card placed on the desk reads \"Out to Lunch.\"\n\nA computer sits open on the desk, revealing its technological innards.\n\nA security guard stands here, asleep.\n\nOn the desk are a placard and a card.\n\n> You search guard\nIt's hard to search a conscious person.\n\n> You get all\nplacard: The glue that binds this placard to the desk is as strong as bond between all who believe in the Revolution! It's unbreakable! This \"Ms. Daisy\" is apparently expected to remain a part of this vile institution for all eternity.\ncard: Taken.\n\n> You examine the card\nA small card that reads \"Out to Lunch.\"\n\nThe guard snores.\n\n> You go to the east\nJ. Edgar Hoover High School\nThe J. Edgar Hoover High School is the premier capitalist youth brainwashing facility in Freedonia. The main thoroughfare of the school stretches to the north. To the west you see the school offices, and to the east lies a dusty, forgotten corridor. To the south, you can exit back to (relative) sanity.\n\n> Go north\nA security guard steps out of the shadows and places a hand on your shoulder. \"You're going to need a visitor's pass, friend,\" he says, pushing you back towards the door and vanishing just as he appeared.\n\n> You go to the west\nA large desk blocks you from entering the offices of the school administrators, but a door leads back east to the main hallway. A placard on the front of the desk reads \"Ms. Daisy.\"\n\nA computer sits open on the desk, revealing its technological innards.\n\nA security guard stands here, asleep.\n\nOn the desk is a placard.\n\n> You look at the desk\nThe desk is perfectly spotless. A computer sits open on the desk, revealing its technological innards.\n\nOn the desk is a placard.\n\nThe guard snores.\n\n> Kiss guard\nKeep your mind on the Revolution.\n\n> You go to the south\nJetski grins a dopey grin at you.\n\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\nComrade Jetski is here, smiling vacantly at you.\n\n> You put the card on the desk\nYou put the \"Out to Lunch\" card on the desk.\n\"Lunch time already?\" yawns the bureaucrat, getting up and leaving. For some reason, he takes his stamp with him. That's kind of weird.\n\n> You take all from Inbox\nThe capitalists will be waiting for these forms to be approved for quite a long time, causing their work to grind to a halt!\n\n> You take all from Outbox\nThe capitalists will have a hard time getting things done with all these approved forms missing.\n\nYou think you've caused enough chaos in the town hall to disrupt the government, at least for awhile.\n\n> You go to the south\nAs he sees you, Comrade Jetski throws up a salute, wincing as he accidentally hits himself in the forehead.\n\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\nComrade Jetski is here, smiling vacantly at you.\n\n> You go to the east\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west and a staircase leads downwards to the lab.\n\nThe committee's desk sits against the back wall, drawer opened."
    },
    {
        "text": "[Themes: Humor, silly, parody, political, humor]\n\n> Go downward\nThis room is filled with all sorts of machines and inventions for the betterment of the lives of the proletariat.\nThe only exit is up the stairs back to the rest of the Headquarters.\n\nComrade Semenov sits at his workbench, hunched over an undoubtedly miraculous device.\n\nYou can also see Semenov's workbench here.\n\n> You give motherboard to Semenov\nYou offer the motherboard to Semenov. \"Is this what you need?\"\nHe grabs it excitedly. \"This is exactly it, Commissar! Now I'll be able to finish the device. Oh Commissar, this is wonderful!\"\n\n> You look at List\nYou look over your to-do list.\nsteps to glorious Revolution:\n(X) win hearts of proletariat\n(X) win minds of proletariat\n(-) win bodies of proletariat (don't do. that is disgusting.)\n(X) get parts for comrade semenov\n(X) ruin the good name of a major corporation\n(X) cripple capitalist government infrastructure\n( ) find supplies to throw a communist party!\n\n|          Bank of Freedonia           |\n|       #1 In Fixed Rate Loans! |\n\n> Inventory\nYou are carrying:\nsome stamped papers\nsome unstamped papers\nsome donuts\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You read Bracelet\nA small bracelet with the words \"What Would Trotsky Do?\" as a reminder to always do the Revolutionary Thing.\n\n> Xyzzy\nYou idly wish that these was some kind of Revolutionary Magic Word you could say to instantly transform the world into the Worker's Paradise, but that's ridiculous. Only science can do that.\n\n> You look at the device\nWhich do you mean, the miraculous device, the Marxist Ventriloquator Mk II or the Communistic Converter?\n\n> You look at miraculous\nThe device is currently in many small pieces. That, along with the fact that you have little to no knowledge of electronics, means you have no idea what it is or what it does.\n\nThe miraculous device is currently switched off.\n\n> You ask Semenov about miraculous advice\n\"Have you found words to describe the greatness of your new invention?\" you ask Semenov.\nHe shakes his head. \"Sadly, Commissar, I am again flustered just thinking about it.\"\n\n> You go to the north\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nYou can see a flagpole (on which is a workers' flag) here.\n\nA passing punk rocker looks up at the red flag and salutes it, grinning madly.\n\n> You sell Bracelet\n(to the shopkeeper)\nThe shopkeeper takes the bracelet and hands you a dollar.\n\n(You can't help but feel a little dirty that you just resorted to capitalism.)\n\n> You sell papakha\n(to the shopkeeper)\n(first taking your papakha off)\nYou swore a solemn vow not to remove the papakha from your head until the Revolution is achieved!\nWell, on the other hand, your hair is getting really greasy and itchy. It probably wouldn't hurt to take your hat off for a minute or two.\n\nThe shopkeeper doesn't seem interested."
    },
    {
        "text": "> You look around\nThis small shop is filled with all sorts of junk and miscellany. It's a disgusting testament to the excesses of capitalism.\nYou can exit to the north.\n\nThe shopkeeper stands behind the counter, glancing around at all his stuff.\n\nGuiltily, you quickly put your papakha back on.\n\n> You put the card in the system\n(first taking the security card system)\n\nThat's hardly portable.\n\n> Point MK at system\nYou point the Ventriloquator at the security card system.\nThe security card system suddenly acquires a voice. \"Religion is the opium of the masses!\" it shouts.\n\n> You ask Chambers about the elevator\nChambers shrugs.\n\n> You go north\nThis is the backroom of Bronco Coffee. Amidst the miscellaneous boxes and packages, A small couch sits in the corner, on which employees are allowed to sit during their pathetically short breaks.\nYou can exit to the south.\n\nA large vat sits in the corner, slowly percolating the coffee for the entire coffeehouse.\n\nYou can also see a greasy rag here.\n\n> You look at the rag\nA disgusting rag, covered in grease and grime.\n\n> You look at the couch\nAn old, ratty couch. Bronco Coffee clearly cares little for their employees' comfort. But you didn't expect otherwise.\n\n> You go south\nThe garish, decadent colors and decorations of this institution fill you with disgust. Being mid-afternoon, the building is mostly empty, but during the morning hours it is filled with the capitalist sheep seeking the dastardly psycho-stimulant that enables them to perform their meaningless drudge work. A door in the north wall leads back to the employee area and you can exit to the south.\n\nComrade Chambers lazes behind the counter, bored.\n\n> Search chambers\nIt's hard to search a conscious person.\n\n> You ask Chambers about the security\nChambers shrugs.\n\n> Smell rag\nThe whole room smells delicious, like fresh coffee beans. You're positive it's some sort of air freshener, because you doubt there's many fresh coffee beans here.\n\n> You ask Jetski about Bank\nJetski scratches his head and shrugs.\n\n> Sing\nYour singing is abominable.\n\n> You go west\nA large desk blocks you from entering the offices of the school administrators, but a door leads back east to the main hallway. A placard on the front of the desk reads \"Ms. Daisy.\"\n\nA computer sits open on the desk, revealing its technological innards.\n\nA security guard stands here, asleep.\n\nOn the desk is a placard.\n\nThe guard snores.\n\n> You search guard\nIt's hard to search a conscious person.\n\nThe guard snores.\n\n> You move the desk\nIt is fixed in place.\n\n> Go south\nThis cramped closet is entirely empty except for Comrade Rosalia.\nYou can exit to the north.\n\nComrade Rosalia is standing here looking worried.\n\nRosalia smiles as you enter. \"That's why you're Commissar, Commissar,\" she says, \"You're brilliant! Those newly liberated students are sure to be a great asset to the Revolution.\"\n\"Yes,\" you say, \"Hopefully they won't just decide to side with cushy intellectual socialism though.\"\n\"Well Commissar, there are some things nobody can control,\" Rosalia sighs. \"I'll meet you back at Revolutionary HQ later.\"\n\n> You check your inventory\nYou are carrying:\na greasy rag\nsome stamped papers\nsome unstamped papers\nsome donuts\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)"
    },
    {
        "text": "[Themes: Humor, parody, political, silly, satire]\n\n> Look around\nThis cramped closet is entirely empty.\nYou can exit to the north.\n\n> You look at the desks\nThe furniture here looks to be several decades old, though it's in fairly good condition.\n\n> You take the desks\nThat's hardly portable.\n\n> You wake guard\nThat seems unnecessary.\n\n> Go south\nRand's Liquors is the main provider of alcoholic beverages in Freedonia.\nYou can exit to the north.\n\nThousands of varieties of bottles of every color imaginable sit upon the shelves.\n\nOn the counter is a bottle of vodka.\n\nThe clerk is standing with an irritated look on his face, waiting for you to pay for the vodka.\n\n> Doff papakha\nYou swore a solemn vow not to remove the papakha from your head until the Revolution is achieved!\nWell, on the other hand, your hair is getting really greasy and itchy. It probably wouldn't hurt to take your hat off for a minute or two.\n\n> You put the vodka in the hat\n(first taking the bottle of vodka)\n\nYou grab the vodka. The perfect thing for a Communist Party!\n\nYou put the bottle of vodka into your papakha.\n\n> You wear the hat\nYou put on your papakha.\n\n> You take the vodka\nYou grab the vodka. The perfect thing for a Communist Party!\n\nYou hear a loud commotion coming from the direction of Freedonia Park.\n\nAh, vodka liberated from the capitalists!\n\n> You get the vodka\n[Your score has just gone up by one point.]\n\nYou already have that.\n\n> Go south\nMcCarthy Boulevard stretches through Freedonia. To the north is J. Edgar Hoover High School and directly across the street to the south is Rand's Liquors. The city center is to the west.\n\nGuiltily, you quickly put your papakha back on.\n\n> Go west\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nA growing crowd sings Revolutionary Anthems and celebrates the coming Revolution.\n\nYou can also see a flagpole (on which is a workers' flag) here.\n\nYou are astounded at the huge crowd that has gathered in the park. They stand in a circle around the flag, celebrating and singing glorious inspirational Revolutionary Songs. Your heart swells with joy. Is this it? Has the Revolution truly begun?\n\n> Space\nYour happiness deflates immediately, however, as Rosalia runs up to you, panic in her eyes.\n\"Commissar!\" she shouts, \"Come quick! Something terrible's happened! The HQ has been attacked by reactionary scum!\"\nThe very word chills you to your core. Reactionaries. In your sanctum. Impossible.\nRosalia heads towards the HQ, leaving you in shock.\n\n> You go south\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\n> Go east\nThe room has been trashed! The desk has been overturned and papers are scattered everywhere. A giant green dollar sign has been spray painted on the wall.\n\nThe committee's desk lies flung against the wall, overturned, drawer opened."
    },
    {
        "text": "[Themes: Humor, political, silly]\n\n> You go downwards\nYou almost run into Rosalia as you enter. She's standing at the bottom of the stairs in utter shock, and you can see why. The destruction upstairs is nothing compared to here. The laboratory is barely recognizable anymore. All the instruments and documents of technology and progress have been destroyed and scattered. From a nearby pile of junk, you hear a groan. You and Rosalia rush over and quickly clear away the trash, revealing the battered form of Comrade Semenov. \"Commissar...\" he groans, \"It was Chambers! He...he sold us out to\nthe capitalists.\"\n\"That bastard!\" you shout, clenching your fist, \"We've got to...\" \"C-Commissar!\" Semenov coughs, \"It's worse than that! They...they\ntook my device! I had just f-finished it, and now...without it, I...I don't know...if the Revolution is possible.\" Semenov sighs and closes his eyes.\n\"Don't worry about that, Semenov,\" you say softly, as you stand up. \"I'll get it back. Comrade Rosalia, you stay here and take care of Semenov. I'm going to track down 'Comrade' Chambers, and teach him that those who make peaceful Revolution impossible, MAKE VIOLENT REVOLUTION INEVITABLE!\"\n\n> Space\nThe laboratory is completely trashed! Semenov's tools and plans are scattered all over the room in complete disarray. From the looks of it, it seems the reactionaries also destroyed several of his devices. The only exit is up the stairs back to the rest of the Headquarters.\n\nComrade Rosalia is crouching next to Semenov, cleaning his wounds.\n\nSemenov lies amidst the junk, unconscious.\n\nYou can also see Semenov's workbench here.\n\n> You ask Rosalia about Revolution\n\"Tell me your thoughts about the Revolution, Comrade Rosalia,\" you say.\nRosalia looks at you, worried. \"Commissar, I can't help but feel that victory is uncertain, now.\"\n\n> You put the rag in the vodka\nYou stick the greasy rag into the wodka bottle, creating a molotov cocktail.\n\n> Go upwards\nAs you reach the top of the stairs, you are almost knocked off your feet by Comrade Jetski.\n\"Commissar! Commissar! I'm so sorry! I couldn't take them all, they picked me up and threw me in a dumpster!\"\n\"Don't worry about it, Jetski,\" you say, shaking your head. \"Against the crushing force of capitalism, what can one man do?\"\n\"That's just it, Commissar! I did do something! I followed 'em back\nto their home base! They went way up north past the Town Hall, and went into this big mansion! But there were two guards at the door so I didn't try to go in just in case I got caught. I thought it was more important that I told you first.\"\n\"You thought right, Jetski,\" you say. \"Stay here and help Rosalia\ntake care of Semenov. I'll take a look at this mansion.\"\nRevolutionary Headquarters\nThe room has been trashed! The desk has been overturned and papers are scattered everywhere. A giant green dollar sign has been spray painted on the wall.\n\nThe committee's desk lies flung against the wall, overturned, drawer opened.\n\n> Go west\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\n> Go north\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nA growing crowd sings Revolutionary Anthems and celebrates the coming Revolution, unaware of how delicately it hangs in the balance.\n\nYou can also see a flagpole (on which is a workers' flag) here.\n\n> You go to the north\nJust being on this street makes you shiver in disgust. You're standing east of the town hall, the central seat of the local capitalist government. The city center is to the south, and according to Jetski, a large mansion is north.\n\n> You examine crowd\nThis large crowd, comprising all sorts of people, is standing around the red flag, singing, celebrating, and growing larger by the minute!\n\n> You go north\nYou stand before the gates of an enormous mansion. Many would find the dark colors, stark architecture and enormous size intimidating, but you just find it a disgusting testament to inequality.\nThe mansion is to the north, and you can return to the city to the south.\n\nA pair of jackbooted reactionary thugs guard the gates.\n\nOne guard turns to the other. \"What're we supposed to watch out for again?\"\n\"Revolutionaries, idiot,\" says the other, rolling his eyes.\n\"What's that?\" asks the first one.\n\"Obviously they're a kind of political group dedicated to the overthrow of the government and establishment of a communist state,\" sighs the second guard.\n\n> You look at the guards\nA pair of muscly, brainwashed (and braindead) reactionary enforcers, the use of their force no doubt purchased by the owner of this mansion, and likely for a sum that would embarrass them if they had any sense of pride.\n\nOne of the thugs yawns.\n\n> You examine the thugs\nA pair of muscly, brainwashed (and braindead) reactionary enforcers, the use of their force no doubt purchased by the owner of this mansion, and likely for a sum that would embarrass them if they had any sense of pride.\n\nOne guard turns to the other. \"What're we supposed to watch out for again?\"\n\"Revolutionaries, idiot,\" says the other, rolling his eyes.\n\"What's that?\" asks the first one.\n\"Obviously they're a kind of monster,\" sighs the second guard.\n\n> You ask the thugs about Revolution\nYou don't want to draw attention to yourself.\n\nOne of the thugs scratches himself.\n\n> You examine the mansion\nAn enormous gothic mansion, taunting you with its decadence and grandiosity.\n\nOne guard turns to the other. \"What're we supposed to watch out for again?\"\n\"Revolutionaries, idiot,\" says the other, rolling his eyes.\n\"What's that?\" asks the first one.\n\"Obviously they're a kind of political group dedicated to the overthrow of the government and establishment of a communist state,\" sighs the second guard.\n\n> Point mk ii at guard\nYou point the Ventriloquator at one of the guards. He swells up with Revolutionary Pride and shouts \"Last night I shot an elephant in my pajamas. How he got into my pajamas I'll never know!\"\n\"What'd you just say?\" snaps the other thug.\n\"I didn't say nothin',\" says your target, \"But what was that crap you were just spoutin'? Didn't sound very loyal to the good old US of A!\" \"Oh don't you try to blame your treason on me,\" shouts the other guard, lunging at the speaker. Soon the guards are tangled in a massive fight and are completely ignoring the gate.\n\nOne of the guards punches the other in the eye.\n\n> Go north\nAn enormous, grand foyer. Marble floor, chandelier, the works. It's strangely empty and quiet, so much so that it would make you feel very small, if you weren't so full of Revolutionary Spirit.\nA door leads to the north and you can exit to the south.\n\n> Go north\nAs you step forward into the mansion, the chandelier in the ceiling suddenly comes loose and crashes down on you. This is it. Your Revolution ends here. But at least your death can serve as a metaphor: crushed to death by capitalism, just as it crushes the spirits of the...\n\"Oh, please, stop being so melodramatic, Karl,\" laughs a familiar voice. Chambers steps into your field of vision, wearing a three-piece suit and smoking a cigar.\n\"Chambers! Why'd you do it?\" you cry in anguish.\n\"That's Mr. Whittaker Chambers, Esquire to you, comrade. And can't\nyou see? It's obvious!\" he waves his hand grandly, indicating his foyer and mansion. \"It's because of capitalism that I was able to buy and own all this.\"\n\"You were able to buy this with the money you made working at Bronco Coffee? That doesn't even make sense,\" you say.\n\"Of course it doesn't make sense to you, Karl,\" Chambers laughs, \"But any capitalist knows that pure hard work and dedication can take anyone from utter poverty to outstanding wealth, and anyone who doesn't make it is just too lazy. But I'm wasting time,\" he sighs. \"I need to get back to my workshop and figure out what Semenov's device was supposed to do. If I'm right, I think he might have just inadvertently given me the means to wipe out communism once and for all.\" He smirks. \"Take him away, boys, you know where.\"\nThe guards drag you out of the chandelier's wreckage and take you through the mansion to a large vault door. One whispers a password to the voice scanner on the door. The door opens and the guards toss you unceremoniously in.\n\nThis is Chambers' giant vault. In the center is a large pit filled to the brim with money. The vault extends to the north, and a massive vault door stands to the east.\n\nA diving board is bolted over the edge of the pit.\n\n> You burn money\nThis dangerous act would achieve little.\n\n> You examine board\nA regular diving board, like you might find at any swimming pool.\n\n> You dive into the money\nThat might be more fun from the diving board.\n\n> You get on the board\nYou get onto the diving board.\n\n> You get on the board\nBut you're already on the diving board.\n\n> You dive into the money\nYou plug your nose (to cover up the stench of the currency you're about to dive into, of course) and leap into the pool. You sink through the money and fall right into a drain! Crawling through the pipes, you soon emerge near the mansion.\n\nYou stand before the gates of an enormous mansion. Many would find the dark colors, stark architecture and enormous size intimidating, but you just find it a disgusting testament to inequality.\nThe mansion is to the north, and you can return to the city to the south.\n\nTwo reactionaries are lying here unconscious, apparently having knocked each other out.\n\n> Go north\nAn enormous, grand foyer. Millions of tiny pieces of glass lie scattered across the marble floor around a wrecked chandelier.\nA door leads to the north and you can exit to the south.\n\n> You examine the chandelier\nThe chandelier lies shattered on the floor, having fallen from the ceiling.\n\n> You take glass\nYou'd cut your hands.\n\n> You go north\nThis grand hallway stretches north to south, lined with various pieces of expensive-looking and exploitative artwork. You can hear Chambers' voice coming from the east. To the west is a vault door, and the mansion stretches to the north.\n\n> You go west\n(first opening the vault door)\nThe vault door is sealed tight and locked with a biometric scanner requiring a voice print. These capitalists take the security of their money seriously.\n\n> You say the swordfish\n(to yourself)\nThere is no reply.\n\n> You say the swordfish to the scanner\nYou can only do that to something animate.\n\n> Point ventriloquator at scanner\nYou point the Ventriloquator at the biometric scanner.\nThe biometric scanner suddenly acquires a voice. \"Workers of the world, unite!\" it shouts.\n\n> Go south\nAn enormous, grand foyer. Millions of tiny pieces of glass lie scattered across the marble floor around a wrecked chandelier.\nA door leads to the north and you can exit to the south.\n\n> Go south\nYou stand before the gates of an enormous mansion. Many would find the dark colors, stark architecture and enormous size intimidating, but you just find it a disgusting testament to inequality.\nThe mansion is to the north, and you can return to the city to the south.\n\nTwo reactionaries are lying here unconscious, apparently having knocked each other out.\n\n> Search reactionaries\nYou look through the guards' pockets and find a twenty-dollar bill. Well, that would have been useful about half an hour ago.\n\n> Inventory\nYou are carrying:\na twenty dollar bill\na molotov cocktail\nsome stamped papers\nsome unstamped papers\nsome donuts\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> Go east\nYou can't help but feel enveloped in the sense of decadent comfort this study is meant to provide. Plump furniture sits scattered haphazardly around the room, surrounded by large bookshelves filled with rare tomes. If only your Revolutionary Will wasn't so strong, you think you might begin to see Chambers' point.\nYou can exit the study to the west.\n\nChambers huddles over his desk, examining Semenov's miraculous device.\n\n> You look at the desk\nChambers' desk is almost as nice as the desk you liberated for the committee's desk.\n\n> You hit Chambers\nYou sneak up behind Chambers and hit him in the back of the head.\nHe spins around, startled. \"Useless brainless fools...\" he mutters, then shouts \"Guards! Intruder!\"\nQuickly, you find yourself thrown back into the vault.\n\nThis is Chambers' giant vault. In the center is a large pit filled to the brim with money. The vault extends to the north, and a massive vault door stands to the east.\n\nA diving board is bolted over the edge of the pit.\n\n> You examine the furniture\nOverstuffed couches and chairs lounge luxuriously around the room, inviting any and all to sit.\n\n> You examine the miraculous device\nThe device is deceptively simple. It bears only a single red button.\n\nThe miraculous device is currently switched off.\n\n> You put Converter on Chambers\nYou stick the Converter on the back of Chambers' neck. His eyes go wide and his mouth opens in shock. Slowly he slumps, then turns to you.\n\"Commissar...\" he says, haltingly, \"What...do you require of me?\"\n\"The device, Comrade Chambers,\" you say, sternly.\nChambers looks at the device, then at you. \"Of...of course, Commissar,\" he says, handing it to you. \"If you'll excuse me, I'd like to lie down.\"\n\"Of course, Chambers,\" you say sadly, \"It's been a long day for you.\" Your gaze strays to the device in your hand.\n\n> You take the miraculous device\nThat seems to belong to Comrade Chambers.\n\n> You throw the cocktail\nDropped.\n\n> You go north\nThis large office is almost entirely filled with filing cabinets, no doubt containing the gathered bureaucratic detritus necessary to run a capitalistic government. The main section of the town hall is south.\n\nYou can see the bureaucrat's desk (on which are a card, an Inbox (empty) and an Outbox (empty)) here.\n\n> You open the cabinets\nThe thought of exposing yourself to capitalist documents sends shivers up your spine.\n\n> You examine the toilet\nThe toilet is clogged and overflowing.\n\n> Go south\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nA growing crowd sings Revolutionary Anthems and celebrates the coming Revolution, unaware of how delicately it hangs in the balance.\n\nYou can also see a flagpole (on which is a workers' flag) here.\n\nA passing doctor looks up at the red flag and salutes it, grinning madly.\n\n> You tell the clerk about Revolution\n\"I get the feeling you don't take the Revolution seriously,\" you inform the clerk.\n\"No, no, trust me, I'm behind you 100%,\" he says, rolling his eyes.\n\n> You examine the bottles\nThe many bottles of alcohol smile benevolently at you from the shelves.\n\n> You ask clerk about the matches\nThe clerk yawns and shrugs. \"Don't know if we have that. Is 'matches' a kind of rum or tequila?\"\n\n> You ask the clerk about rum\nYou're only interested in wodka. You have no reason to ask the clerk about \"rum.\"\n\n> You ask the clerk about the wodka\n\"I'd like to buy some wodka,\" you say.\n\"It's $20,\" says the clerk.\n\n> Go west\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nA growing crowd sings Revolutionary Anthems and celebrates the coming Revolution, unaware of how delicately it hangs in the balance.\n\nYou can also see a flagpole (on which is a workers' flag) here.\n\nA passing businessman looks up at the red flag and salutes it, grinning madly.\n\n> Go north\nThe garish, decadent colors and decorations of this institution fill you with disgust. Being mid-afternoon, the building is mostly empty, but during the morning hours it is filled with the capitalist sheep seeking the dastardly psycho-stimulant that enables them to perform their meaningless drudge work. A door in the north wall leads back to the employee area and you can exit to the south.\n\n> You go to the north\nThis is the backroom of Bronco Coffee. Amidst the miscellaneous boxes and packages, A small couch sits in the corner, on which employees are allowed to sit during their pathetically short breaks.\nYou can exit to the south.\n\nA large vat sits in the corner, slowly percolating the coffee for the entire coffeehouse.\n\n> You examine the vat\nThis single vat brews the coffee for the customers. Look at this uncaring capitalism -- no custom-brewed drinks just for you, instead one draws all ones daily sustenance from the same murky puddle that's been sitting around all day.\n\n> You throw the molotov at the system\nFutile.\n\n> Light molotov\nBetter wait until you throw it.\n\n> Point MK II at crowd\nYou point the Ventriloquator at the crowd.\nThe crowd suddenly swells up with Revolutionary Pride and shouts \"I never forget a face, but in your case I'll be glad to make an exception!\"\n\nA passing fast food worker looks up at the red flag and salutes it, grinning madly.\n\n> You buy the junk\nContributing to capitalism, are we?\n\n> You show the cocktail to shopkeeper\nThe shopkeeper looks at the molotov cocktail, and shakes his head sadly.\n\n> No\nThat was a rhetorical question.\n\n> You examine Pigs\nA despicable \"children's\" book espousing the benefits of living in wealth while your brother lives in poverty.\n\n> Go north\nThis wing of the vault contains various riches and luxuries that Chambers has apparently collected. The main vault is to the south.\n\nA gold statuette of Chambers stands out among the junk.\n\n> You examine the hat\nYour pride and joy, this furry hat stands atop your head as a proud testament to your commitment to the Revolution!\n\n> You get the statuette\nOof, this is apparently actually made of real gold. It's pretty hefty.\n\nTaken."
    },
    {
        "text": "[Themes: Humor, parody, satire]\n\n> Look around\nThis wing of the vault contains various riches and luxuries that Chambers has apparently collected. The main vault is to the south.\n\n> You go south\nThis is Chambers' giant vault. In the center is a large pit filled to the brim with money. The vault extends to the north, and a massive vault door stands to the east.\n\nA diving board is bolted over the edge of the pit.\n\n> You examine the pit\nIn the center of the vault is a large pit filled with what looks like hundred-dollar bills.\n\n> Inventory\nYou are carrying:\na statuette\na twenty dollar bill\na molotov cocktail\nsome stamped papers\nsome unstamped papers\nsome donuts\nan American flag\nsome sleeping serum\nthe Marxist Ventriloquator Mk II\nthe Communistic Converter\na to-do list\nyour papakha (being worn)\na WWTD Bracelet (being worn)\n\n> You hit Chambers with the statuette\nYou raise the statuette high above you and slam it against the back of Chambers' head. He collapses like a sack of pickled herring, leaving the miraculous device yours for the taking.\n\nWow, that was almost too easy. Not that you're complaining.\n\n> You take the device\n(the miraculous device)\nTaken.\n\n> Search chambers\nYou look through Chambers' pockets and find a Bronco Coffee Employee Discount Card, which you take.\n\n> Go west\nThis grand hallway stretches north to south, lined with various pieces of expensive-looking and exploitative artwork.To the east is Chambers' study. To the west is a vault door, and the mansion stretches to the north.\n\n> Go south\nAn enormous, grand foyer. Millions of tiny pieces of glass lie scattered across the marble floor around a wrecked chandelier.\nA door leads to the north and you can exit to the south.\n\n> You go south\nJust being on this street makes you proud. You're standing east of the town hall, the central seat of the local communist government. The city center is to the south, and according to Jetski, a large mansion is north.\n\n> You go west\nThe town hall is currently closed while the Revolution is overturning the government.\n\n> You go south\nYou are standing in one of the few grassy places in Freedonia. The park is visited by a great deal of people daily due to the fact that it is in the exact center of the city. Roads lead in all four cardinal directions.\n\nA growing crowd sings Revolutionary Anthems and celebrates the coming Revolution.\n\nYou can also see a flagpole (on which is a workers' flag) here.\n\n> Sing\nYour singing is abominable.\n\n> You go south\nYou are standing on the street outside of the Committee's Headquarters, which are to the east. The central park of Freedonia is to the north.\n\n> You go east\nYou walk back into Revolutionary Headquarters and are astounded to see that it's back in pristine condition! Jetski and Rosalia support a weakly grinning Semenov as many members of the proletariat look on in joy.\n\"You did it, Commissar!\" Semenov says.\n\"No,\" you say, pausing for dramatic effect, \"We did it, Comrade.\" The onlookers erupt into applause, despite the utter cheesiness.\n\"Now it's time for a Communist party!\" shouts Jetski.\nYou grin sheepishly. \"About that...I used the wodka to make a molotov cocktail when I was attacking Chambers' mansion, so I'm afraid...\"\n\"No problem, Commissar!\" says the liquor store clerk, stepping forward with a cartful of wodka bottles.\nAt the end of the party, you are unanimously (and drunkenly) chosen to head the Committee in Charge of the Enlightened Guidance of Freedonia, the Worker's Paradise.\n\n> Go west\nYou are standing on Trotsky Lane, one of the main streets of the city. A small pawn shop to the south is dwarfed by the massive corporate edifice that looms to the north. The Worker's Plaza lies to the east.\n\n> You go north\nThe office building has closed down and barricaded its doors to protect against the inevitable looting that comes with any Revolution.\n\n> You turn the device off\nWhich do you mean, the miraculous device, the Marxist Ventriloquator Mk II or the Communistic Converter?"
    },
    {
        "text": "[Themes: Mystery, humor, murder, conversation, mystery]\n\n\"I assume you have gathered us here for a reason, Monsieur Saint Germain?\", says Shane Pearson.\n\n\"Is it not obvious?\" says the Doctor. \"The detective has figured out who killed the Colonel and intends to explain to us how he did it.\"\n\nYou twirl your moustache. \"The good Doctor is correct, Mademoiselle Pearson. I have indeed solved the case. The murderer was clever, but he proved no match for my gray matter.\" You tap a finger against the side of your head to illustrate the point.\n\nThey all stare at you expectantly, like children waiting to be told a bedtime story. And who can blame them? You are, after all, Anthony Saint Germain, the great French detective. No criminal has ever been a match for you, and everybody is looking forward to a description of your brilliant deductions.\n\nThere is just one small problem. One tiny detail that makes it different this time. A mere trifle, really. This time you have no idea who did it. An entire day of investigation have turned up nothing. No one even seems to have a damn motive.\n\nNo matter. Most of the time when you do this the murderer breaks down and confesses half way through your speech anyway. All you have to do is stall and wait for the guilty party to slip up. People love talking about themselves. If you wait long enough, they always end up revealing something you can use.\n\nIt is going to be fine.\n\nThe hotel lounge is small, but comfortable. A large couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nJames Garfield, the owner of Seafront Hotel, is standing by the clock, watching you expectantly.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, leaning forward with an inquisitive look in his eyes.\n\nCount Heinrich Von Carstein is leaning backwards in the reclining chair, sipping a glass of wine.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n\"Death Off the Cuff\" is a conversation based game where you need to talk about various things to move the plot forward. This is accomplished by typing \"TALK ABOUT SOMETHING\", or simply \"T SOMETHING\" for convenience. \"Something\" can be anything you can see in the environment. You will often have more than one thing to say about the same object.\n\nYou can only talk about visible objects, not just arbitrary topics.\n\nOccasionally, talking about something or someone will bring up a menu with various options for what to say. If you don't like any of the options, you can simply change the topic by talking about something else instead.\n\nTalking doesn't solve every problem, though. You may also need to physically interact with things and people to progress.\n\nMake sure you examine your surrounding regularly. You might notice new things.\n\nIf you get stuck, typing \"HINT\" or \"HELP\" will provide a hint on what to do in the current situation. There is usually more than one hint available for a given scene, so if the first one doesn't help the next one might.\n\nTyping \"WALKTHRU\" will provide detailed instructions on how to finish the game.\n\nLastly, I would like thank my testers: Katzy, Brooks Reeves and John Murphy.\n\n[Author's Note: They all stare at you expectantly, like children waiting to be told a bedtime story. Who can blame them? You are, after all, Antoine Saint Germain, the great French detective. No criminal has ever been a match for you, and everybody is looking forward to a description of your brilliant deductions. There is just one small problem. One tiny detail that makes it different this time. A mere trifle, really. This time you have no idea who did it.]\n\n> About yourself\nYou are as good looking as ever, but your confident demeanor hides a gnawing uncertainty. Hopefully, no one will notice. You are wearing your trademark black bowler hat, and your moustache is impeccably groomed.\n\n> You talk james\n(James Garfield)\n[1] Motive\n[2] Alibi\n[3] General comments\n\n> 3\n\"Mr. Garfield did not seem to have any connection to the victim. He had been running the hotel by himself since his wife died two years ago. Before starting the hotel he was a lieutenant in the british army. None of this information seemed to be of any use at first, but my investigation was not over.\"\n\n[1] Motive\n[2] Alibi\n\n> 1\n\"I considered Monsieur Garfield. In the days before the murder several witnesses overheard the two men furiously  arguing. Monsieur Garfield insists that the Colonel was simply impossible to please. I knew that Mr. Garfield had often complained of the stress of running the hotel. Was it possible that he had simply snapped during a later argument? It seemed almost too simple.\"\n\nJames sneers. \"Of course it is. If you really think I would kill a man over a simple disagreement then your reputation has been severely exaggerated.\"\n\nYou nod politely. \"As part of my investigation, I consider every option, Monsieur.\"\n\n[1] Alibi\n\n> 1\n\"Mr. Garfields alibi seemed to exclude him from the list of possible suspects. The Colonel's pocket watch had stopped at 02:30 when he was stabbed. Doctor Mole confirmed the time of death.\n\nAt 02:35 James Garfield was awoken by his employee, Mr. Allington, who informed him that one of the guests had had a terrible nightmare and had requested some medication to help her sleep. It is highly unlikely that mister Garfield could have sprinted back to his room after commiting the murder, washed off the blood, changed into his pajamas and gotten into bed. No, if Mr. Garfield had commited the murder, the Doctor was either wrong about the time of death, or Mr. Allington was in on it.\"\n\nJonathan Allington raises an eyebrow."
    },
    {
        "text": "[Themes: Mystery, conversation]\n\n> You look around\nThe hotel lounge is small, but comfortable. A large couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nJames Garfield, the owner of Seafront Hotel, is standing by the clock, watching you expectantly.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, leaning forward with an inquisitive look in his eyes.\n\nCount Heinrich Von Carstein is leaning backwards in the reclining chair, sipping a glass of wine.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You talk jonathan\n[1] Motive\n[2] Alibi\n[3] General comments\n\n> 3\n\"Jonathan Allington seemed like an inconspicuous waiter, but this did not stop me from from considering him as a suspect. Servants are often ignored, and savvy criminals have managed to exploit this fact.\"\n\n[1] Motive\n[2] Alibi\n\n> 1\n\"Monsieur Allington did not appear to have any motive for killing the Colonel. However, I knew that the Colonel had frequently complained about the hotel. Was it possible that the waiter might have taken that personally? A petty reason for murder, to be sure, but I have learned that human nature can be very petty indeed.\"\n\n[1] Alibi\n\n> 1\n\"Several people saw Mr. Allington at the time when the murder was commited. At around 02:30 he heard screaming from the room of Shane Pearson and went to investigate. It turned out she was having a nightmare. Afterwards, he went to his boss and told him what had happened. Both people have confirmed this story.\"\n\n> You examine James\n(James Garfield)\nHis impeccable business suit stands in stark contrast to his unruly hair and full beard. He seems perpetually stressed out from running the hotel by himself, but things seem to have worked out for him so far. The Seafront hotel has made itself a reputation as a place of respite, and several important people go here to relax.\n\n> You examine Jonathan\nHe is dressed in a tuxedo with a black bow tie. Unlike everyone else, his face betrays no curiosity, nor any other feelings.\n\n> You examine Shane\nShane Pearson is a tall slender woman with semi long blond hair that just barely reaches her shoulders. Her book, How Blue Was the Sky, recently hit the bestseller list. What she is doing in England is anyones guess.\n\n> 1\n\"Shane Pearson did not appear to have any motive for the crime, but Monsieur Saint Germain is never deceived by appearances. She is a writer, and a writer is always looking for new inspiration. Perhaps she had decided to take her research a step too far.\"\n\n\"I don't write crime novels,\" says Shane. \"I always found the genre rather tawdry.\"\n\n[1] Alibi\n[2] General comments\n\n> 2\n\"I investigated Mademoiselle Pearson. There did not seem to be anything suspicious about her. She had recently achieved a minor hit with her newest novel and had now gone to England on vacation. It seemed highly unlikely that she could have known the victim.\"\n\n[1] Alibi\n\n> 1\n\"At around 02:30 Mademoiselle Pearson was awoken by Jonathan Allington who told her she had been screaming. Apparently, she had been having a bad nightmare. There did not seem to be any way she could have been the murderer, unless she was working with Jonathan.\""
    },
    {
        "text": "[Themes: Mystery, conversation]\n\n> You look around\nThe hotel lounge is small, but comfortable. A large couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nJames Garfield, the owner of Seafront Hotel, is standing by the clock, watching you expectantly.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, leaning forward with an inquisitive look in his eyes.\n\nCount Heinrich Von Carstein is leaning backwards in the reclining chair, sipping a glass of wine.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> 3\n\"I turned my attention to the young Doctor. He was the one who had examined John McClaren. According to his examinations, the poor Colonel had been first sedated with laudanum in his wine, then stabbed three times with a knife. All fingerprints had been wiped from the knife after the grisly deed was done. His pocket watch had apparently been struck by the knife and had stopped at exactly 02:30. The doctors examinations confirmed that time of death could have occured at that hour. The Doctor himself had no alibi for the time of the murder.\"\n\n[1] Motive\n[2] Alibi\n\n> 1\n\"The Doctor did not at first seem to be a likely suspect. He was successful and had nothing to gain from the death of the Colonel.\"\n\n[1] Alibi\n\n> 1\n\"The Doctor had no alibi for the time of the murder. If he was the murderer, it would have been easy for him to simply estimate the time of death to a time where he couldn't possible have been there.\"\n\n> 3\n\"My inital investigations into the Count turned up little of interest. He seemed to be simply a rich member of the German nobility who had decided to take a vacation in england. However, sinister things are often hidden behind a mask of innocence.\"\n\n[1] Motive\n[2] Alibi\n\n> 1\n\"I could detect no conceivable reason why the Count might have wanted to kill the Colonel. They had been observed talking together several times, but their relationship seemed amicable.\"\n\n[1] Alibi\n\n> 1\n\"The Count had no alibi for the time of the murder. He claimed to have been fast asleep, but no one could confirm it. I kept him in mind as a possible suspect, but I still needed a motive.\"\n\n> 3\n\"Once the body had been discovered I phoned Scotland Yard and Detective Goodfellow showed up immediately. Unfortunately, he was unable to discover any clues to the identity of the murderer, leaving it up to me to solve the crime, as usual.\"\n\nDetective Goodfellow seems almost tempted to defend himself, but in the end he just shrugs and keeps quiet. The detectives of Scotland Yard have learned to respect your superior intellect.\n\n[1] Motive\n[2] Alibi\n\n> 1\n\"It hardly seemed likely that detective Goodfellow had anything to do with the murder, but I always consider every possibility, no matter how unlikely.\"\n\n[1] Alibi\n\n> You examine Doctor\nDoctor Elias Mole is a young handsome Doctor. Recently graduated from medical school, he has just opened his own practice in London.\n\n> You examine the moustache\nYour black moustache is impeccably groomed.\n\n> You talk it\n\"I have always felt that the quality of a persons character can be determined from how he takes care of his facial hair. I myself keep my moustache impeccably groomed.\"\n\n> Examine count\nThe German Count seems to be in his early sixties. He is relaxing in the reclining chair, sipping a glass of red wine, while watching the proceedings with a slightly bored look. Both his hair and his beard are almost entirely white.\n\n> You look at beard\n(Heinrichs beard)\nThe Count is regularly scratching his beard, almost as if he wasn't used to it.\n\n> You talk it\n\"I noticed the counts beard. He did not seem to be used to it, which aroused my curiosity. A full beard takes a while to grow and the Count claimed to have had it for years. Things did not add up.\"\n\nThe Count sighs. \"I figured we would get here sooner or later.\" His German accent seems to have mysteriously disappeared. \"It's obvious that Mr. Germain has seen through my disguise. I might as well come clean.\"\n\nWith a single smooth movement of his hand, he removes the beard revealing the face of a much younger man in his thirties. \"My real name is Sylvester Starfield. I am an investigative reporter with the London Tribune, currently doing a series of articles on the actions of the intelligence service during the war. After I realized that the Colonel had been working for MI6 during the war, I disguised myself as \"Count von Carstein\" and checked into the seafront hotel to get close to him. I had nothing to do with the murder, though. I just wanted to see if I could make him reveal some information.\"\n\n> You talk sylvester\n[1] Research\n[2] Motive\n[3] Accuse Sylvester Starfield\n\n> 1\n\"After I learned that Mr. Starfield had been researching the Colonel, I investigated his research. What I found put the case in a whole new light.\"\n\n\"I can imagine that it would,\" says Sylvester to your great relief. \"I discovered some pretty interesting things about the Colonel. He made many enemies during the war, in particular a certain German agent who swore revenge. Unfortunately, I was unable to discover the name of this agent. He is also supposed to have sired an illegitimate child which he subsequently abandoned.\"\n\n[1] Motive\n[2] Accuse Sylvester Starfield\n\n> 1\n\"After finding out the true identity of Sylvester Starfield, I considered him a viable suspect. Here was a journalist looking for a good story; what better way to get it than to make it himself? A lurid murder would be bound to sell papers.\"\n\n\"I resent that comment,\" says Sylvester. \"As a journalist, I report the news; I do not make them. And I am not a murderer.\"\n\n[1] Accuse Sylvester Starfield\n\n> You talk sylvester\n[1] Motive\n[2] Accuse Sylvester Starfield\n\n> 2\n\"There was no doubt in my mind; Sylvester Starfield had killed the Colonel to further his journalistic career. Detective, arrest the murderer.\"\n\n\"This is ridiculous,\" says Sylvester while being handcuffed. \"I will make sure this gets into all the papers. The people will know what a hack you are.\"\n\nHe does, but no one believes him. After all, who would doubt the word of the worlds greatest detective? Even though Sylvester Starfield is never convicted, his career is over, and a year later he is found hanging from the roof of his flat.\n\n> You examine Shane\nShane Pearson is a tall slender woman with semi long blond hair that just barely reaches her shoulders. Her book, How Blue Was the Sky, recently hit the bestseller list. What she is doing in England is anyones guess.\n\n> You talk the hair\n(Shanes hair)\n\"Mademoiselle Pearson's hair was blond. Perhaps a bit too blond.\"\n\nShane rolls her eyes. \"Ok, so I dye my hair. I am actually a brunette. Is that really germane to the case?\"\n\n> You talk the hair\n(Shanes hair)\nYou can't think of anything to say."
    },
    {
        "text": "[Themes: Mystery, mystery, conversation]\n\n> Look around\nThe hotel lounge is small, but comfortable. A large couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nJames Garfield, the owner of Seafront Hotel, is standing by the clock, watching you expectantly.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, leaning forward with an inquisitive look in his eyes.\n\nSylvester Starfield, the journalist, is sitting upright in the reclining chair taking notes on a notepad.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You talk the notepad\n\"As a Journalist, Mr. Starfield would of course be carrying a notepad.\"\n\n\"Of course,\" says Sylvester. \"I need to make sure I get all the details. This is going to make a great story.\"\n\n> You examine the reclining chair\nThe backrest is no longer tilted back. Instead of a decadent Count, the chair is now occupied by an inquisitive journalist.\n\n> You examine the couch\nA black leather couch. It looks pleasant enough, but you can't afford to relax right now.\n\n> You talk couch\n\"I noticed that the lounge contained what seemed to be a very expensive leather couch. The hotel appeared to be doing very well.\"\n\n\"It is,\" says James. \"I have managed to attract a very affluent clientele.\"\n\n> You examine James\n(James Garfield)\nHis impeccable business suit stands in stark contrast to his unruly hair and full beard. He seems perpetually stressed out from running the hotel by himself, but things seem to have worked out for him so far. The Seafront hotel has made itself a reputation as a place of respite, and several important people go here to relax.\n\n> You examine the suit\nA black pin striped business suit that fits him like a glove. There is a bump in the right pocket of his pants.\n\n> You examine the bump\nJames seems to be carrying something in the right pocket of his pants.\n\n> You talk bump\n\"I quickly noticed that Mr. Garfield seemed to be carrying something in his pocket. Unusual, since you are not supposed to carry large items in the pockets of a suit. It ruins the look.\"\n\nMr. Garfield seems embarrassed. \"Well, it seems you have discovered my little secret, Mr. German.\"\n\n\"Germain. And yes, I have. Perhaps you would like to show the others what it is you are carrying, Monsieur Garfield?\"\n\n\"I suppose I might as well, since you have obviously figured it out already.\" He puts his hand in his pocket and produces a gleaming 38 revolver.\n\n> You examine the revolver\nA 38 revolver. It seems to be loaded.\n\n> You talk revolver\n\"Based on the shape of the object in Mr. Garfields pocket, I quickly deduced that he was carrying a firearm. This was an interesting fact. Why would a peaceful hotel owner feel the need to be armed?\"\n\n\"You don't have to play with me any longer, Mr. Germain\", says James. \"I was not always just a hotel owner. In fact, I changed my name after the war to avoid my enemies. My original name was Brian Holmes. During the war I worked for MI6 doing Special Ops behind enemy lines. The Colonel was in my unit. When he was killed, I feared our enemies had finally caught up with us. So, naturally, I armed myself.\"\n\n\"I had reached a turning point in my investigation,\" you continue. \"Not only had the Colonel turned out to be a former secret agent, but his colleague was even running the hotel. Mr. Starfields research turned up several new avenues of investigation. It seemed likely that the Colonel's past had finally caught up with him. Perhaps his German nemesis had managed to track him down. Or maybe his illegitimate son had decided to seek revenge for being abandoned. I continued my investigations with renewed vigor.\""
    },
    {
        "text": "> You describe your surroundings\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes, the former secret agent, is standing by the clock.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, his arms crossed in front of him.\n\nSylvester Starfield, the journalist, is sitting upright in the reclining chair taking notes on a notepad.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You look at Holmes\nThe man you used to know as James Garfield. He looks much the same as he did before, but there is now a shrewd look in his eyes.\n\n> You talk holmes\n[1] War career\n[2] Motive\n[3] Accuse Brian Holmes\n\n> 1\n\"Once I realized that Mr. Garfield was not who he seemed to be, I quickly determined his true identity. The fact that he had worked with the Colonel during the war changed everything. It now seemed likely that the Colonel's untimely death was related to his clandestine career.\"\n\n\"How on earth did you discover these things?\" says Brian. \"Those records are still classified.\"\n\n\"I have my methods, Monsieur,\" you say, while tapping your finger against the side of your head. \"I observe everything, and what I cannot observe I deduce. Please allow me to finish my account and everything will soon become clear.\"\n\nEveryone will hopefully have forgotten about this by the time you are done.\n\n[1] Motive\n[2] Accuse Brian Holmes\n\n> 1\n\"Discovering the true identity of Brian Holmes shed new light on his possible motive. He had worked with the Colonel during the war. Was it possible that there might have been some disagreement between them?\"\n\nBrian is outraged. \"This is ridiculous. John McClaren was like a brother to me. Yes, we made enemies during the war, but we would both have died for the other if necessary.\"\n\n[1] Accuse Brian Holmes\n\n> You examine the bump\nJames seems to be carrying something in the right pocket of his pants.\n\n> You talk clock\n\"The ticking of the clock helped stimulate my neurons. The lounge was the ideal environment for doing my thinking.\"\n\n> You examine the clock\nThe clock is almost taller than you. An intricate system of brass and steel wheels, and gears is visible through the glass case in the front.\n\n> You talk the gears\n\"Building a case is a lot like designing a clock. All the gears must fit together.\"\n\n\"What a nice simile,\" says Shane. \"I must use that in one of my books some day.\""
    },
    {
        "text": "> You describe your surroundings\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes, the former secret agent, is standing by the clock.\n\nJonathan Allington stands next to Mr. Garfield, his employer. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Elias Mole is sitting next to Shane in the couch, his arms crossed in front of him.\n\nSylvester Starfield, the journalist, is sitting upright in the reclining chair taking notes on a notepad.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You examine Jonathan\nHe is dressed in a tuxedo with a black bow tie. Unlike everyone else, his face betrays no curiosity, nor any other feelings.\n\n> You talk tuxedo\n\"I had noticed that Mr. Allington was wearing a brand new tuxedo. Almost as if he was trying to make an impression on someone...\"\n\nJonathan interrupts you. \"Of course I am trying to make a good impression. I just got this job two weeks ago, and you never get a second chance to make a first impression.\"\n\nYou raise your finger. \"That's what I thought, Monsieur. Once I realized that Jonathan had only worked at the hotel for a short time I started thinking. Was it possible that he had taken the job to be close to the victim?\"\n\nThere is no reaction from Jonathan this time. Too bad, you had hoped you could provoke him into revealing some more information.\n\n> You talk the bow tie\n\"Jonathans bow tie was perfectly tied. He clearly had a lot of experience with formal clothing.\"\n\n\"Of course,\" says Jonathan. \"I have been working at many fine hotels. It becomes routine after a while.\"\n\n> You examine Doctor\nDoctor Elias Mole is a young handsome Doctor. Recently graduated from medical school, he has just opened his own practice in London. He is wearing a light blue buttons-up shirt and a pair of dark jeans. Now that he is no longer leaning forward, you notice a paperback lying in his lap.\n\n> You look at paperback\nHow Blue Was the Sky by Shane Pearson.\n\n> You talk paperback\n\"I noticed that the Doctor was reading a book by Shane Pearson. Was he simply an ordinary fan or was there a connection between them?\"\n\nThe Doctor nods enthusiastically. \"I am a huge fan of Mrs. Pearson. How Blue was The Sky is one of the most moving books I have ever read.\"\n\n> You look at the shirt\nA light blue casual shirt. Your sharp eyes notice the remnants of a small stain.\n\n> You look at the stain\nIt seems like someone has attempted to remove a stain from the shirt, with only partial success.\n\n> You talk stain\n\"A new breakthrough occurred when I noticed the stain on Doctor Moles shirt.\"\n\nEveryone looks at the Doctor.\n\n\"I ... Um... Have no idea what you are talking about,\" he says.\n\n\"It is no use denying it Doctor,\" you continue. \"An ordinary person would no doubt have missed it, but I see everything. You have clearly attempted to remove a stain from your shirt quite recently.\"\n\n\"You are right,\" he says. \"I did, in fact, get a bloodstain on my shirt when examining the Colonel. This is my favorite shirt, so i cleaned it very thoroughly. I didn't realize the stain was still visible.\"\n\nThe Doctor starts wringing his hands, his eyes darting from side to side. \"It's obvious that you know everything, Mr. Germain. Oh my god, what have I done. What was I thinking?\"\n\nHe puts his face in his hands and begins sobbing uncontrollably.\n\n> You wait awhile\nTime passes.\n\n> You talk doctor\n[1] Accuse Doctor Mole\n[2] Provoke him\n\n> About yourself\nYou are as good looking as ever, but your confident demeanor hides a gnawing uncertainty. Hopefully, no one will notice. You are wearing your trademark black bowler hat, and your moustache is impeccably groomed.\n\n> 2\n\"The Doctor was not a hardened criminal. I knew he would most likely break down as soon as he realized I was on to him. My prediction has proved true.\"\n\nThe Doctor keeps sobbing.\n\n\"Allow me to explain how I deduced that the Doctor had to be involved with the murder...\"\n\nThere is still no response from the Doctor. Dammit. If only you could make him snap out of it somehow.\n\n[1] Accuse Doctor Mole\n\n> You nudge Doctor with the elbow\nYou don't always need to specify what you're doing something with.\n\n(retrying as if you'd typed \"nudge doctor .\")\nI didn't understand that sentence.\n\n> You take the paperback\nThe Doctor seems very fond of it.\n\n> You examine Doctor\nHe has broken down completely. You are not getting anything more out of him unless you can get him to snap out of it.\n\n> You talk paperback\n\"I now knew that Doctor Mole was a fan of Shane Pearson. This put the case in a whole new light.\"\n\nDoctor Mole keeps sobbing in his hands. He doesn't seem to have heard what you said at all."
    },
    {
        "text": "[Themes: Mystery, murder, mystery, humor]\n\n> You describe your surroundings\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes, the former secret agent, is standing by the clock.\n\nJonathan Allington stands next to his employer, wearing his brand new tuxedo. His face reveals no emotions.\n\nShane Pearson is sitting in the couch with her legs crossed.\n\nDoctor Mole is sobbing hysterically with his face in his hands.\n\nSylvester Starfield, the journalist, is sitting upright in the reclining chair taking notes on a notepad.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You talk doctor\n[1] Accuse Doctor Mole\n\n> 1\n\"I knew the Doctor was not a hardened murderer. Once he realized I knew everything, he would no doubt break down and confess. As you can all plainly see, my predictions proved true. Detective, take him away.\"\n\nAs the Doctor is handcuffed, he looks at you with uncomprehending eyes. \"Wait... No... That's not what I meant. I am not a murderer.\"\n\nYou send him a comforting smile. \"It's okay, Doctor. It's all over now. A physical prison will no doubt be an improvement on the prison of guilt you had build for yourself.\"\n\nThere is no real evidence, so the Doctor is soon released. Everyone believes he is guilty, though. After all, who would doubt the word of the worlds greatest detective? His career is ruined, and a year later he is found hanging from the roof of his house.\n\n> You look at the Detective\nDetective Goodfellow is a tall, broad man well equipped for the job of apprehending criminals. If only he knew how to find them as well, he might be a pretty good detective. You haven't worked with him before, but he seems like a decent bloke.\n\n> You talk brian\n[1] Accuse Brian Holmes\n\n> You talk legs\n\"I noticed Shane Pearson's long beautiful legs.\"\n\n\"Because you are a dirty old man?\" says Shane with a raised eyebrow.\n\n\"Uh... No, because of the case. I am getting to that.\"\n\n> You talk table\n\"I couldn't help but notice that no one seemed to be using the couch table.\"\n\nThis provokes no response from your audience. Perhaps you should try talking about some more personal objects.\n\n> You examine Sylvester\nThe old German Count has been replaced by a young man in his thirties. The bored look is gone from his face; he now seems keenly interested in the proceedings. His hair is still white, but it has probably been dyed.\n\n> You talk the hair\n(Heinrichs hair)\n\"Mr. Starfields hair color was, of course, as fake as his beard.\"\n\n\"Yeah,\" says Sylvester. \"I dyed it to match the beard. I am afraid I can't just pull it off. You are gonna have to deal with it until the color washes out.\"\n\n> Slap doctor\nYou slap him hard across the face. \"Snap out of it, Doctor. We need you.\"\n\nThe Doctor blinks, as if he had just woken up from a bad dream. \"Right... I am sorry. It's obvious that you have found me out, Monsieur Germain,\" he sighs. \"I covered for Mrs. Pearson because I couldn't bear the thought that her talent would waste away in jail.\"\n\n\"I know,\" you say. \"You'll better tell the whole story, Doctor. For your own sake.\"\n\nHe nods. \"At midnight I was awoken by a noise in the hallway. When I peered out I saw Mrs. Pearson running down the hallway as if the devil himself was chasing her. I went downstairs to see what she might have been running from, and a terrible sight awaited me. The Colonel was lying on the floor with a bloody knife planted in his chest. Perhaps my mind was still clouded from tiredness, but I decided to cover for her. I wiped all the fingerprints off the knife, and when I was later made to examine the body I lied and said that he had been sedated with opium. I figured that would throw the police off the tracks.\"\n\nYou nod. \"I had quickly deduced that the opium story made no sense. Why would anyone sedate someone only to stab him right afterwards? Once I realised this, I knew that the Doctor had lied.\"\n\n\"I suppose you have already figured out the rest,\" says the Doctor. \"The drug in the Colonel's body was not opium. It was cyanide. The poison would have killed him anyway, even without the knife.\"\n\n\"Indeed, and that realisation changed everything. If the Colonel had been poisoned with a lethal poison, then the stabbing was clearly a red herring. But how? And why?\"\n\n> You examine Doctor\nCalm and composed. He is sitting upright in the couch paying keen attention to the events around him.\n\n> You look at Shane\nThe usually confident and extroverted writer is now looking like a deer caught in the headlights. She is currently resting her head in her hands, watching you with intense curiosity.\n\n> You talk shane\n[1] Accuse Shane Pearson\n[2] Alibi\n\n> 2\n\"The case was starting to unravel. The Doctor had seen Shane Pearson run from the scene of the crime around the time of the murder. However, Mr. Allington claimed that Mrs. Pearson was fast asleep at that time.\"\n\n\"Just stop, Monsieur Germain,\" says Shane Pearson. \"You don't have to say any more. It was foolish of me to try to hide the truth in the first place. I should have known that no one can hide anything from you.\n\nI did go down to the library at around midnight because I couldn't sleep. All of sudden the Colonel came running towards me from behind one of the shelves. I grapped a knife from one of the tables and held it in front of me, telling him to keep away. He just kept coming until he impaled himself on the knife and fell to the ground. It was horrible. I panicked and ran back to my bedroom. Some time later, I was awoken by Jonathan who told me I had been having a nightmare. Luckily, time of death was for some reason estimated to the time Jonathan woke me up so I had an alibi. I know I should have come clean sooner, but I just wasn't thinking straight.\"\n\n[1] Accuse Shane Pearson\n\n> You talk shane\n[1] Accuse Shane Pearson"
    },
    {
        "text": "> Look around\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes, the former secret agent, is standing by the clock.\n\nJonathan Allington stands next to his employer, wearing his brand new tuxedo. His face reveals no emotions.\n\nShane Pearson is looking nervous.\n\nDoctor Mole has recovered from his temporary breakdown and is sitting upright in the couch.\n\nSylvester Starfield, the journalist, is sitting upright in the reclining chair taking notes on a notepad.\n\nDetective Goodfellow is standing behind you, eagerly waiting to assist you in arresting the murderer.\n\n> You look at the table\nThe table is made of dark red mahogany. It looks expensive, but no one is using it at the moment.\n\n> You talk jonathan\n[1] Motive\n\n> 1\n\"Monsieur Allington had started working at the hotel mere weeks before the murder. This seemed too unlikely to be a coincidence. Was it possible that he had taken the job to get closer to the victim?\"\n\n\"Absurd,\" says Jonathan. \"I took the job because I needed work and this place was highly recommended. That's all there is to it.\"\n\nBut there is a hint of fear in his voice.\n\n> You examine Jonathan\nHe is standing with his hands behind his back, dressed in a tuxedo with a black bow tie. Unlike everyone else, his face betrays no curiosity, nor any other feelings.\n\n> You talk shane\n[1] Accuse Shane Pearson\n\n> You examine the hands\n(Jonathans hands)\nYou notice several small wounds where the skin has been scraped off, as if he had been scrubbing his hands too hard.\n\n> You talk the hands\n(Jonathans hands)\n\"Jonathan would often stand with his hands behind his back. I wondered if he was trying to hide something.\"\n\n\"I have no idea what you are talking about,\" says Jonathan.\n\n> You talk the hands\n(Jonathans hands)\nYou can't think of anything to say.\n\n> You take the hands\n(Jonathans hands)\nJonathan would probably not appreciate it.\n\n> You examine the wounds\nHe seems to have been scrubbing his hands way too hard. They look like they have been bleeding recently.\n\n> You talk wounds\n\"I noticed that Mr. Allington's hands were bruised, as if he had been scrubbing too hard or too long. What might he have been trying to hide?\"\n\nJonathan seems uncomfortable. \"Sir, as a waiter I need to keep my hands impeccably clean. I may have overdone it this time, but that is not a crime.\"\n\n> Just random guesses\nYou typed a rather long command and I didn't understand it. It's better to stick to simpler things like TAKE JAMES BEARD.\n\n> You examine the tuxedo\nThe tuxedo is spotless. It seems brand new.\n\n> You talk shane\n[1] Accuse Shane Pearson\n\n> You think\nYou have thought about the case all day with no results. Your last hope is that you can make the murderer reveal him or herself during your closing monologue.\n\n> Xyzzy\nYou don't need magic to solve the case; only logic.\n\n> You look at Holmes\nThe man you used to know as James Garfield. He looks much the same as he did before, but there is now a shrewd look in his eyes.\n\n> You look at the hands\n(Shanes hands)\nYou notice a light band around her ring finger.\n\n> Talk band\n\"It was then that I noticed something peculiar about Mrs. Pearson's hands. It looked like she had been wearing a ring, which she had subsequently taken off. People do not usually take off their engagement rings, so why would she do that?\"\n\n\"Nothing escapes your attention does it, Monsieur Germain?\" says Shane. \"I suppose I might as well admit that I am engaged to Jonathan.\"\n\nJonathan nods. \"We have been together for three months. We had hoped to keep our relationship private until we got married, but that idea doesn't seem realistic any more.\"\n\n\"It is obvious that you have figured it out, Mr. Germain,\" says Jonathan. \"I tried to help my fiancee by giving her an alibi. It was foolish thing to do. At around midnight, I heard Shane walk down the stairs and followed her down to the library where I saw what happened. She was clearly blameless - the Colonel had attacked her - but I couldn't take the chance that the police might not believe her. I found the Colonel's watch in his pocket and set it to 02:30. Then I took the knife and stabbed him several times myself, making sure I hit the watch so it would stop. I felt dirty afterwards, so I scrubbed my hands until they started bleeding. Afterwards, I made sure Shane would have an alibi for 02:30 AM by waking her up by then and then telling James about it. I made sure to make a lot of noise so plenty of people would hear me.\"\n\n\"Oh, Darling,\" says Shane. \"You shouldn't have done that.\"\n\n\"My love, I would do anything to prevent you from going to jail. Unfortunately, Mr. Germain saw right through me.\"\n\n> You examine Jonathan\nHis emotionless facade has dropped and he is now looking tenderly at Shane. His nose squats from his face like a beak.\n\n> You talk jonathan\n[1] Accuse Jonathan\n[2] Alibi\n\n> 2\n\"Figuring out that the time of death had been faked changed everything. It now seemed like no one had an alibi for the actual time of the murder. I knew who had stabbed the Colonel, but that had been a red herring all along. The true murderer was the one who had given him the cyanide. But it seemed like anyone could have done that.\"\n\n[1] Accuse Jonathan\n\n> You talk nose\n\"Monsieur Allington's long nose drew my attention.\"\n\nSylvester gasps. \"Of course. It looks just like the Colonel's. I can't believe I never noticed that before.\"\n\n\"Ok, I confess,\" says Jonathan. \"I am the Colonel's illegitimate son from the war. When I finally managed to track down my father, I took a job here to get to know him before confronting him. But I swear I didn't kill him. I just wanted to meet him.\"\n\n> You talk jonathan\n[1] Accuse Jonathan\n[2] Motive\n\n> 2\n\"It was now clear that Jonathan had a motive for the murder. His father had abandoned him. Was it possible that his anger could have driven him to murder? Or perhaps he expected to inherit the Colonel's estate after revealing his true identity?\"\n\n\"Never,\" says Jonathan. \"I did not hate my father. I understand why he couldn't stay; I just wanted to meet him.\"\n\n[1] Accuse Jonathan\n\n> 1\n\"After figuring out that Jonathan was the illegitimate son of the Colonel, everything became clear. His anger over being abandoned had driven him to murder. He had poisoned his father with cyanide, then intefered with the evidence to cover his tracks. Detective, arrest the murderer.\"\n\n\"This is outrageous,\" says Jonathan while being handcuffed. \"Why would I want to kill my father? I just wanted to meet him.\"\n\nYou shrug. \"I have better things to do than try to understand the motives of a homicidal maniac. Take him away.\"\n\nJonathan serves a short sentence for intefering with the investigation, but there is not enough evidence to convict him for the murder. Everyone believes he is guilty, though. After all, who would doubt the word of the worlds greatest detective? His career is ruined and a year later he is found hanging from the roof of his apartment."
    },
    {
        "text": "> Look around\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes, the former secret agent, is standing by the clock.\n\nJonathan Allington, the illegitimate son of Colonel McClaren, is standing by the wall, his long nose proudly protruding from his face.\n\nShane Pearson is relaxing in the couch.\n\nDoctor Mole has recovered from his temporary breakdown and is sitting upright in the couch.\n\nSylvester Starfield is staring at Jonathan, while scribbling furiously on a notepad.\n\nDetective Goodfellow is standing behind you, wearing the uniform of Scotland Yard. He seems to be getting impatient.\n\n> You talk uniform\n\"Detective Goodfellow looked great in his Scotland Yard uniform. \"\n\n\"Thanks,\" says Goodfellow. \"But why are you talking about my uniform? I think everyone is eager to hear who killed the Colonel.\"\n\n> You talk sylvester\n[1] Accuse Sylvester Starfield\n\n> You talk jonathan\n[1] Accuse Jonathan\n\n> You look at uniform\nThe uniform of Scotland Yard consists of a long dark blue trenchcoat and a peaked cap.\n\n> You talk the trenchcoat\n\"Detective Goodfellow was wearing the usual Scotland Yard trenchcoat. I wondered if it wasn't too hot to wear it indoors.\"\n\n\"A bit,\" says Goodfellow. \"But one must stick to the regulations, you know.\n\n> You talk the cap\n\"I noticed the detectives cap.\"\n\nThe detective shrugs. \"I should be wearing a bobby helmet, of course, but no one is perfect.\"\n\n> You look at the trenchcoat\nThe dark blue coat of Scotland Yard detectives have caused people to dub them \"The boys in blue\". The polished brass buttons gleam in the light of the lamp.\n\n> You examine the buttons\nThe buttons are spotless.\n\n> Talk buttons\n\"The buttons on detective Goodfellows uniform also aroused my curiosity.\"\n\n\"Well, we usually wear silver buttons, of course,\" says the Detective. \"But I had to get here in a hurry.\"\n\nYou turn around to see Goodfellow holding a gun with a murderous look in his eyes. \"That's quite enough, detective. I will not stand here idly while you toy with me. You have obviously figured out that none of the other people in this room commited the murder, so you must know it's me.\"\n\nEveryone gasps.\n\n\"When you tried to call Scotland Yard I intercepted the call and came here instead. There is no \"Detective Goodfellow\". I am Franz Lieberheim and I have spent years tracking down the Colonel so I could have my revenge. When I found out he was living here, I kept the place under surveillance until I finally got my chance.\n\nAbout half an hour before midnight, Colonel McClaren came down to get a drink. I approached him, claiming to be a recent arrival to the hotel. He did not recognize me and we struck up a conversation. I procured some wine, slipping the cyanide into the Colonel's glass while he wasn't watching. After he had drunk the wine, I made an excuse to leave and hid outside the window so I could watch him die. After a few minutes the American girl came down to the library as well. By that time, the Colonel must have started to feel the effects of the poison because he staggered towards her, desperately seeking assistance. The girl misinterpreted his approach as an attack; the rest you know.\"\n\n\"I know everything, Monsieur Lieberheim\", you say while twirling your moustache. \"It would be easiest for everyone if you gave up now and waited for the real police to arrive.\"\n\nHe sneers. \"I don't think so. I would have gotten away with this if it wasn't for you, and Franz Lieberhaim always gets his revenge. Do you have any last words before I kill you, you meddling frog?\"\n\n> Twirl moustache\n\"Time to die, detective.\" He squeezes the trigger; no amount of brilliant deductions will stop the bullet from entering your brain."
    },
    {
        "text": "> You look at your surroundings\nThe hotel lounge is small, but comfortable. A soft, expensive leather couch stands near one wall, with a mahogany couch table in front of it. Next to it is an old fashioned reclining chair. In the corner of the room, an old grandfather clock is steadily ticking away, lending a dignified air to the proceedings.\n\nBrian Holmes has raised his hands in a martial arts position, ready to jump Franz at the slightest chance.\n\nJonathan Allington is attempting to block the path to Shane, apparently so that any stray bullets will hit him instead of her.\n\nShane Pearson is standing behind Jonathan, trying to get a good look at the action.\n\nDoctor Mole is hiding behind the couch.\n\nSylvester Starfield looks overjoyed to be getting the scoop on such a great story. He is busily taking notes on his notepad.\n\nFranz Lieberheim is holding you at gunpoint. His face is distorted in a grimace of pure, German, evil.\n\n\"Time to die, detective.\" He squeezes the trigger; no amount of brilliant deductions will stop the bullet from entering your brain.\n\n> You talk brian\n[1] Accuse Brian Holmes\n\n> 1\n\"All the pieces finally came together. Brian Holmes had killed his former friend because he disagreed with his methods. Alas, how quickly friendship can turn to enmity. Detective Goodfellow, would you be so kind as to arrest the murderer.\"\n\nAs Brian is handcuffed he sneers at you. \"This is ridiculous. You have no proof whatsoever.\"\n\nYou twirl your moustache. \"It is over, Monsieur. Once the police start looking into your past, they will soon find the evidence they need to convict you.\"\n\nThey don't, and Brian Holmes is soon released. It makes no difference, though. Everyone still believes he is guilty. After all, who would doubt the word of the worlds greatest detective? The hotel shuts down, and a year later the former hotel owner is found hanging from the roof of his office.\n\n> You talk the gun\n\"Once I realized that Detective Goodfellow wasn't who he claimed to be, I could not, of course, allow him to be armed. It was a simple matter to ensure that he would be of no danger to anyone.\"\n\nHis eyes widen. \"You damned frog. What have you done with my gun?\" He furiously examines the gun, trying to determine how it might have been sabotaged.\n\n> You take the gun\nWhile Franz is distracted, you deftly grab the gun from his hands. He lunges at you, but is quickly overpowered by the other inhabitants of the hotel.\n\n\"I am going to kill you for this, detective,\" he shouts while being restrained by his own handcuffs. \"You are only putting off the inevitable.\"\n\n\"I suspect I will be dead long before you get out of jail, Monsieur,\" you reply. \"Mr. Holmes,\" you say to the man formerly known as James Garfield, \"Would you be so kind as to call the real Scotland Yard? I think they will be delighted to hear that we have managed to arrest the murderer without their help.\"\n\nThe mystery, for you, started two years ago.\n\"Come here, there's something I want to tell you,\" your old grandfather had said, \"Quick, before your mother comes back in the room.\"\nThe smell of antiseptic and an unidentifiable odor that seemed to emanate from the very walls of the old age home made you uncomfortable enough. The thought of your grandfather having a secret he wanted to share only made that unplanned visit to the Shady Pastures Convalescent Home all the more nerve-wracking.\n\"If you have any mind for it, go back to Dalton. Your Grandmother left something she wanted you to have.\" Before you could ask him specifics, he turned away as your Mom reentered the room with a bottle of water. The topic would not come up again, which was fine by you. No one in your family had been to the Dalton property since your grandmother died over eight years ago, and as far as you knew, the place could have burned down by now.\nWhen you thought back to your childhood, you could remember\nspending the summers with your grandmother at the old house in Dalton, located on the Texas Gulf Coast. Grandma Eleanor Sorich always had smiles for you, and made you feel that she understood you better than you did yourself. When she eventually passed away, you were deeply saddened, as if you had lost one of your best friends.\nGrandpa Sorich, on the other hand, was a different story. A bitter man who spent most of the time during your visits off by the Dalton Harbor with his drinking buddies. As far as you could tell, their marriage was more of convenience than love. At her funeral, he showed only the faintest hint of remorse. He spent the years after her death mostly silent in an old age home... until that visit.\nIt's been two years since your chat with Grandpa. In that time,\nyou have often reflected back on the conversation, curious as to what would make your grandfather act in such a mysterious fashion, and curious about what your grandmother could've possibly wanted you to have.\nFinally, an unexpected road trip across the country has allowed you\nto make a brief detour at the old family property. You find yourself back in the draining heat of Dalton, Texas, assessing the old Sorich property your family all but abandoned years ago. It hasn't burned down, but indeed stood patiently waiting for someone to return. The house, like your grandfather, has not aged gracefully, and looks as if it too is just waiting out the rest of it's years....\nThe Coast House\n\nType 'CREDITS' for behind the scenes tidbits.\nNew players may find 'INSTRUCTIONS' helpful.\n\nsummer vacations with your parents when you were young. A weathered fence which has long since given up it's white paint to hot Texas sun and salty coastal air surrounds the property. To the east lies Beach Street, as old as the town itself, separating the property from harbor and the bay. Across the road to the east you can make out the remains of the Dalton Fishing Pier and Dalton Harbor. The old house itself is to the west, facing the water like it has for the last 100 years. Though you are shin deep in weeds, you can make out a small path that winds around the house to the northwest and southwest. Crumbling cement stairs lead up to the porch of the house.\n\n> You look at the fence\nFrom what you remember, this old fence has been re-built several times over the lifetime of the house. The last time it was restored was around 1980. The fence extends for a ways north and south.\n\n> You check your inventory\nYou have an old house key.\n\n> You examine the key\nThe key to the coast house, given to you by your grandfather ages ago.\n\n> You go west\nThe deck of this house seems to be of newer construction than the rest. As a younger child you remember sitting on the deck chairs and telling ghost stories long into the night while watching the boats sway in the harbor. A deteriorating plastic lawn chair remains as a reminder of those days. The sliding glass door to enter the house is to the west.\n\n> You sit\n(the plastic lawn chair)\nYou sit down in the old chair. You're not sure it likes your weight having been left stranded in the elements for the last ten years, but it supports you. You look out across the yard towards the water. The view of the boats docked in the harbor moving rocking softly in the breeze is breathtaking.\nOkay, you're now sitting on the plastic lawn chair.\n\n> You examine the boats\nOff in the distance you can make out some shrimp boats tied-off to a dock. They gradually sway in the calm harbor. Beyond that is a small bay that opens into the Gulf of Mexico.\n\n> Rock\nYou rock back and forth on your heels. You consider putting 'yer thumb in 'yer britches and yelling `Yeehaw!'\n\n> You examine the door\nThe sliding glass door of your grandparents house has been shut for the last ten years since your grandmother passed away. Years of rain, humidity, dust, and wind-blown dirt have caked the outside of the door, making it difficult to see inside. The door is warm to the touch, much like everything else here. There is a small keylock close to the top.\n\n> You examine the lock\nThe lock is quite small and rusty, obviously having weathered the elements since anyone last put anything into it ten years ago.\n\n> You open the door\nIt's locked.\n\n> You unlock door\nThe key fits into the rusty slot with some difficulty but after a few grunts and some tasteful profanity, the lock gives way. The door is now unlocked.\n\n> Go west\nYou'll have to open the sliding glass door first.\n\n> You open the door\nThe door gives quite a fight, but you pull hard on the handle opening the door. As the glass door slides open, a burst of stale hot air trapped in the house for the last decade rushes past you. You're momentarily overwhelmed with scents of mold, mothballs and your grandmother's old perfume. A quick wind robs you of her memory.\n\n> You go west\na youth. A giant air conditioner is mounted into the north wall, next to a small utility closet. In the opposite corner there is a small television with a rocking chair facing it. The kitchen is to the west, the sliding glass door to the porch is east. The musty hot air in this room makes it difficult to breathe.\nOh man.. it is hot in here!\n\n> You turn on the air conditioner\nNothing happens. The AC is as silent as ever. It's mocking silence makes you feel even hotter.\nI'm not joking.. it is seriously hot in this house. You are\nsuddenly dripping with sweat and feeling a bit woozy.\n\n> You go west\nSmall kitchen.. It has tacky furnishings from the 1950s to\nmid-70's. A grease-stained refrigerator takes up what little walking space there actually is.\nYou see a calendar here.\nYou can't take it anymore. The heat in the house is horrible even\nfor Texas standards. You bolt out the door.\nFront Porch\n\n> You go west\nOh man.. it is hot in here!\n\n> Go west\nYou see a calendar here.\nI'm not joking.. it is seriously hot in this house. You are\nsuddenly dripping with sweat and feeling a bit woozy.\n\n> You open the fridge\nOpening the refrigerator reveals a piece of withered meat.\nYou can't take it anymore. The heat in the house is horrible even\nfor Texas standards. You bolt out the door.\nFront Porch\n\n> You close the door\nYou grab the handle and tug the door shut.\nI'm not joking.. it is seriously hot in this house. You are\nsuddenly dripping with sweat and feeling a bit woozy.\n\n> You lock the door\n(with the old house key)\nLocked.\nYou can't take it anymore. The heat in the house is horrible even\nfor Texas standards. You force the door back open and dart outside. Front Porch"
    },
    {
        "text": "[Themes: Mystery, conversation, humor, mystery]\n\n> Describe the surroundings\na youth. A giant air conditioner is mounted into the north wall, next to a small utility closet. In the opposite corner there is a small television with a rocking chair facing it. The kitchen is to the west, the sliding glass door to the porch is east.\nI'm not joking.. it is seriously hot in this house. You are\nsuddenly dripping with sweat and feeling a bit woozy.\n\n> You look at the air conditioner\nAh, they don't make them like they used to. This giant wall-mounted hulk of an air conditioner had the prime responsibility of cooling down the entire house. You remember your uncles always fretting that it was going to give out at any moment and then the house would be doomed. Standing now in the sweltering heat of the abandoned house you can appreciate why they were so worried!\nYou can't take it anymore. The heat in the house is horrible even\nfor Texas standards. You bolt out the door.\nFront Porch\n\n> You switch on the air conditioner\nIt's already turned on!\nI'm not joking.. it is seriously hot in this house. You are\nsuddenly dripping with sweat and feeling a bit woozy.\n\n> You go east\nYou feel a bit cooler.. relatively speaking for Texas standards... Front Porch\n\n> Go east\nBeach Road.. in front of house\nUnevenly paved, Beach Road separates your house from the small\nharbor and pier to the east. A light coat of sand blows across the pavement in lazy swirls. Beach road doesn't see much traffic. The old family house lies to the west. The road continues up a small hill to the north and down towards the edge of town to the south. To the east a small service road heads towards an old fishing pier.\n\n> You go to the east\nWhen you were a youngster, you remember this pier being a lot\nlonger, but that was two hurricanes ago. Mother Nature has taken the pier and had her way with it. The pier extends out into the water but the wood is broken and splintered farther out stopping well short of it's original length. A second, inaccessible section of the pier is visible even farther out; the area that connected the two having been washed away.\nOn this side of the pier, only one guardrail remains, the other\nlost to the elements. Choppy water splashes against the few remaining supports beneath the pier sending plumes of water shooting up through the planks. The constant splashes has made the planks of the pier mossy and slick. A sign nearby advised that the pier is closed until storm damage can be repaired. What remains of the pier extends to the east. The service road leads away to the west.\n\n> You jump\nWheeee!\n\n> You go east\nIgnoring the warnings, you boldly start down the pier...\n\nThe waves splash around you shooting up through the planks, the\nfoamy spray offering temporary relief from the Texas heat. You pause gripping the remaining guardrail with your hands and the planks with your toes. With this cat like grip, you slowly inch your way to the end of the pier.\n\nYou're at the end of the pier, well, what now acts as the end of\nthe pier. You can see the original end of the pier off like a small platform about 20 yards out to the east. From here, you can make out that there is some large object wedged within its supports.\nBeneath you, the planks end suddenly where they were ripped from\nthe supports. The warm water of the bay is just eight feet below you. The waves roll by you as if they were on some perpetual northern pilgrimage.\nThe wind blows in from the south whipping your hair and putting a salty taste in your mouth."
    },
    {
        "text": "> Go downward\nYou put down all your stuff, take a deep breath, pinch your nose\nshut and....\nSplash!\nThe coastal waters envelop you. The taste of the salty water makes you grimace, not to mention the stinging effect it has on your eyes! Instinctively you start kicking towards the surface where you start gasp for air. Did I forget to mention earlier that you're not the strongest swimmer?\nYou dog paddle for a while, but it takes so much energy just to\nstay afloat. Panic slowly rises as you begin remember reading stories about how drowning is considered one of the more gruesome ways to expire. You flail your arms ineffectually, your weight pulling you down... when you realize that water here is only about four feet deep. You quickly realize that it gets deeper towards the east and instead of pressing your luck you manage to work your way back to shore. It takes a while but you eventually manage to find a good spot to berth yourself.\n\nA small driveway descends into the murky green water of the Texas Gulf. Above the land, scores of black bugs scurry out of your way disappearing into crevices you didn't even notice. In the shallow part of the water you can see the ghostly images of small fish and crabs darting just under the surface. Several tires are securely fastened against the ramp wall to prevent boats from bumping against the breakwater.\nYou see a pair of white fishing boots here.\n\n> You examine the boots\nThese old wading boots are so old and sunbleached they're almost brittle. If you distrusted your fashion sensibilities enough to put them on they would come up to your mid-thigh. If boots could talk, no doubt this pair would have some good fishing stories.\n\n> You get them\npair of white fishing boots: Taken."
    },
    {
        "text": "[Themes: Mystery, mystery, humor]\n\n> You describe your surroundings\nA small driveway descends into the murky green water of the Texas Gulf. Above the land, scores of black bugs scurry out of your way disappearing into crevices you didn't even notice. In the shallow part of the water you can see the ghostly images of small fish and crabs darting just under the surface. Several tires are securely fastened against the ramp wall to prevent boats from bumping against the breakwater.\n\n> You look at the tires\nPartially submerged in the salty water, the tires are mostly covered in mult-colored barnacles, dead crabs, remains of jellyfish and a fungus or two. They are hung to protect boats from bumping the ramp wall.\n\n> Go west\nBeach Road.. near the boatramp\nIn addition to the usual weeds and sand, this section of Beach Road has a few road-kill crabs squished into the pavement. A small boat ramp lies to the east. The road continues north and south.\n\n> Go north\nBeach Road.. near the harbor\nThe Texas heat seems to bounce right off of Beach Road. Dry\nwithered weeds line the sides of the street. To the east you see the entrance to the harbor. To the north and south lie more sandy road.\n\n> Go east\nYou remember stories your grandfather would tell you about Dalton Harbor back in his day - the shrimp industry supported the town and boats could be seen leaving early in the morning with seagulls circling closely overhead as their nets were drawn up. Now, however, one would uses the term harbor loosely when viewing this small dock. Today's harbor is nothing more than a couple of rotted wooden poles being used to tie old shrimp boats against. The shrimp boats hardly look seaworthy with their hulls scraped and their nets faded and tattered. A small A-shaped sign offers tourist bargains.\nA fisherman is sitting on an old bucket near a sink de-veining\nshrimp.\nThe fisherman notices you as you walk up the harbor. `You must be\none of Eleanor Sorich's kin. You look just like her.'\n\n> Hello\nThe fisherman doesn't appear interested.\nThe fisherman continues to slice through the backs of shrimp\nflinging the offal into the water where it's quickly snarfed by hardheads.\n\n> You sit\nWhat do you want to sit on?\n\n> You look at the fisherman\nThe old leathery fisherman is wearing rubber boots and an old flannel shirt covered in old fish-gut stains. His hands are hard and calloused and his hair is bleached and thin. He has the haggard look of a man who has gotten up every morning at 4:30 A.M. for the last 45 years.\nThe fisherman pauses, wipes sweat from his lined forehead, sighs heavily, and resumes carving the shrimp.\n\n> You look at the shrimp\nPink and veiny, just the way you like them.\n`Squall of '67 blew down the whole town,' mumbles the fisherman.\n\n> You ask the fisherman about the shrimp\n`Lifeblood of the town... and tasty too!'The fisherman glances\nyour way, `Nice boots,' he comments with a trace of sarcasm.\n\n> You ask the fisherman about the boots\n`A good pair of waders is a fisherman's best friend. Most of the local boys have a pair.'\n`Damn, it's hot!'\n\n> You ask the fisherman about the weather\nThe old fence isn't important.\n`The sea buries her secrets,' mumbles the fisherman.\n\n> You ask the fisherman about the sea\n`Schnoif! Can't y'all see I'm busy here?'\nThe fisherman mumbles something about a north wind blowing through.\n\n> You ask the fisherman about house\n`Schnoif! Can't y'all see I'm busy here?'\nThe fisherman continues to slice through the backs of shrimp\nflinging the offal into the water where it's quickly snarfed by hardheads.\n\n> You ask the fisherman about the key\n`Schnoif! Can't y'all see I'm busy here?'\nThe fisherman pauses, wipes sweat from his lined forehead, sighs heavily, and resumes carving the shrimp."
    },
    {
        "text": "[Themes: Mystery, humor, murder]\n\n> You describe your surroundings\nYou remember stories your grandfather would tell you about Dalton Harbor back in his day - the shrimp industry supported the town and boats could be seen leaving early in the morning with seagulls circling closely overhead as their nets were drawn up. Now, however, one would uses the term harbor loosely when viewing this small dock. Today's harbor is nothing more than a couple of rotted wooden poles being used to tie old shrimp boats against. The shrimp boats hardly look seaworthy with their hulls scraped and their nets faded and tattered. A small A-shaped sign offers tourist bargains.\nA fisherman is sitting on an old bucket near a sink de-veining\nshrimp.\n`Squall of '67 blew down the whole town,' mumbles the fisherman.\n\n> You ask fisherman about Harbor\n`Schnoif! Can't y'all see I'm busy here?'The fisherman glances your way, `Nice boots,' he comments with a trace of sarcasm.\n\n> Go east\nYou can't go that way.\n`Damn, it's hot!'\n\n> Go west\nThe fisherman eyes you as you leave and whispers, `I hope you find what you're looking for.'\n\nBeach Road.. near the harbor\n\n> You go to the north\nBeach Road.. in front of house\n\n> You go south\nBeach Road.. near the harbor\n\n> You go south\nBeach Road.. near the boatramp\n\n> Go south\nBeach Road.. out yonder\nThis is the south side of town, where Beach Road enters Dalton.\nNot much around these parts but weeds and more weeds. The road continues to the north and south.\n\n> You examine the weeds\nThey're just weeds. Maybe someday they'll be tumbleweeds.\n\n> Go south\nBeach Road.. south side of town\nYou certainly seem to be on the road less traveled now. You can\nsee small town of Dalton off in the distance to the north. A heat mirage bubbles up from the road to the south. An equally small and lonely road trails off towards the old cemetery to the west.\n\n> You go to the west\nThe humidity and the gray sky make the already ominous pair of old rusty gates appear even creepier. The town's founding fathers, what's left of them anyhow, as well as quite a few of your own ancestor's lie beyond the gates to the west. There is a historical marker here. The cemetery lies beyond the gates to the west, the road back to the town is east.\n\n> You look at the marker\nThe historical marker stands firmly planted into the ground with etched out lettering holding up surprisingly rust-free.\n\n> You read the marker\n`The Dalton cemetery has provided a comforting resting place for the towns citizens for over a century. The oldest marked grave is that of Helen McHenry (d.1819), the only child of Port Dietrich resident Lionel McHenry. Dalton co-founder Col. Clyde Dalton also rests here. Col. Clyde Dalton is credited for, amongst other things, the Dalton Mansion, the Dalton Library, and the Dalton Firehouse. He was entered into the cemetery in 1949.\nA large number of burials occurred in 1918 from a wide-spread Influenza Epidemic. The Dalton Cemetery contains graves of the veterans of the Texas Revolution, Civil War, World War I, World War II, Korea, Vietnam and the Gulf War. The Dalton Estates Association maintains the cemetery.'\n\n> You go west\nYou'll have to open the old rusty gates first.\n\n> You open the gates\nOpened.\n\n> Go west\nThe Dalton Cemetery is one of the oldest fixtures of the town. To\nthe right of the path, you can see the cement mausoleum of the Dalton brothers. From the looks of it, it has not been cleared of its weeds in some time. You look around at some of the other stones, some buried by the grass, some with dying flowers, and a few with small American Flags hanging limply in the heat, providing just enough shade for a few noisy crickets. A path leads deeper into the cemetery towards the west. An old rusty gate is to the east.\n\n> You examine the mausoleum\nFor as wealthy as the Dalton's were, their tomb is not overly spectacular. Based on it's overgrown appearance, you guess that the Daltons don't get many visitors. If it weren't for the names and dates carved into it's doors, it could pass for a large cement toolshed.\n\n> Go west\nIt would seem the deeper you travel into the cemetery, the less maintained the graves become. Your eyes are drawn to a particular set of graves before you. Two headstones stand before two graves - one of which covered by a large stone grave cover. On the left lies your grandmother, and on the right the place where your grandfather will eventually be buried. Your grandmother's grave cover, mostly concealed beneath sand and weeds, seems to be suffering in the humid climate.\n\n> You examine cover\nSome accident has caused the grave cover to break down the center! A crevice runs about 7 inches across and nearly a foot long down the cover breaching the sanctuary of your ancestor's earthly remains. The entire slab seems to be slowly collapsing into the grave. You suspect it's just a matter of time before the entire slab collapses down upon your grandmother!\n\n> You examine the headstone\nWhich headstone do you mean, Grandpa's headstone, or Grandma's headstone?\n\n> You examine the grandma's headstone\nGrandma's headstone.. chipped with age...\n\n> You examine grandpa's headstone\nYour grandfather's headstone was bought at the same time that your grandmother passed away. As your grandfather is still alive, it waits patiently for the inevitable.\n\n> Go east\nBeach Road.. south side of town\n\n> Go south\nYou take a few steps towards the south before figuring it's just way too hot to continue.\n\n> You go north\nBeach Road.. out yonder\n\n> Go north\nBeach Road.. near the boatramp\n\n> Go north\nBeach Road.. north side of town\nThe northern entrance to the town, from this vantage point you have\na nice view of bleak scenery. Down the hill you can make out the modest houses that make up Dalton, the old harbor, fishing pier, and the Gulf of Mexico stretching out beneath gray clouds to the east.\nThe road travels off some distance to the north, with not a whole lot between where you stand and Houston some 300 miles away. To the west lies a small driveway leading towards the largest house in Dalton.\n\n> You go north\nHouston is a pretty far walk. Probably better to stay in town.\n\n> You go to the west\nWhile not necessarily a mansion by modern standards, the structure\nwas one of the first houses in the area to have such modern conveniences as indoor plumbing. The two-story house is freshly painted - a stark contrast to the rest of the dwellings in the area. The front door has a brass placard and there is a small stone memorial nearby. The path back to the road is off to the east.\n\n> You examine memorial\nThe simple stone memorial has an old picture of Col. Clyde Dalton along with a colorful biography.\n\n> You read the memorial\n`The house on this property was built by town co-founder Col. Clyde Beauregard Dalton in 1933. Clyde Dalton was born in 1898, the second of two children from Beauregard and Esther Lynn Dalton, wealthy cattle ranchers from Lubbock, Texas. Clyde and his brother, Claude, came to what was then known as Port Dietrich in 1922. From an inheritance left by their parents, Claude opened a meat-packing plant while Clyde began investing money to local businesses. The meat-packing plant and the businesses funded by Clyde helped the growth of Port Dietrich. In 1925, the increasing port population and growth of the economy, despite nationwide depression, made Port Dietrich eligible for \"town\" status. With considerable influence from the Dalton brothers, Port Dietrich was renamed \"Dalton.\" Claude left the Dalton estate in 1930. Clyde Dalton, an influential Board member and businessman himself, remained. Clyde Dalton passed in 1949 and is buried in Dalton Cemetery.'\n\n> You read the placard\n`Mansion closed for restoration. Please come visit us in the Spring.'\n\n> You go west\nYou'll have to open the mansion door first.\n\n> You go east\nBeach Road.. north side of town\n\n> Go south\nBeach Road.. in front of house"
    },
    {
        "text": "[Themes: Mystery, conversation]\n\n> Look around\nsummer vacations with your parents when you were young. A weathered fence which has long since given up it's white paint to hot Texas sun and salty coastal air surrounds the property. To the east lies Beach Street, as old as the town itself, separating the property from harbor and the bay. Across the road to the east you can make out the remains of the Dalton Fishing Pier and Dalton Harbor. The old house itself is to the west, facing the water like it has for the last 100 years. Though you are shin deep in weeds, you can make out a small path that winds around the house to the northwest and southwest. Crumbling cement stairs lead up to the porch of the house.\n\n> You go northwest\nYou stand shin deep in weeds and ankle deep in mud. A small trail towards the old boat shed goes off to the north, and the small path that circles the house continues to the southeast and southwest.\n\n> You go to the north\nthe boatshed. The air swarms around you as the mosquitoes grow thicker with each step through the tall grass. To the south you can see the path back to the old house. Between you and the boat shed visible to the west lies a great puddle which seems to be the mosquito breeding grounds.\n\n> Go west\nThe mosquitoes feverishly attempt to use your legs for their blood feast, but the old rubber boots protect you. Waving your hand in front of you to keep them from roosting on your face, you continue across the path.\n\nYou're standing outside the boatshed. The overgrown weeds and sand build up around the large corrugated sliding door indicate that the door hasn't been opened in some time. A nasty looking puddle breeding mosquitoes lies in the middle of the path to the east.\n\n> You check your inventory\nYou have a pair of white fishing boots (being worn).\n\n> You look at the door\nThe door is large enough to accommodate the passage of a small boat, which is indeed what used to be stored in the boatshed. There is a small keyhole in the boatshed door.\n\n> You go to the east\nThe mosquitoes feverishly attempt to use your legs for their blood feast, but the old rubber boots protect you. Waving your hand in front of you to keep them from roosting on your face, you continue across the path.\n\n> You go to the southwest\nporch of the old house to the east. The screen door to the old back porch sways noisily on rusted hinges. The small path that circles the house towards the northeast and southeast.\n\n> You go to the east\nYou are in the back porch of the house. It stinks like dead\nanimal, though you cannot see any nearby. A small metal box about the size of a shoebox is affixed to the wall of the house.\n\n> You look at the box\nOn the cover of the box is imprinted `TX Gulf Coast Power'. It's currently closed.\n\n> You open the box\nOpened. There is an important-looking red power panel inside the utility box.\n\n> You examine the panel\nThe power panel is currently turned off.\n\n> You switch the panel on\nYou turn on the panel. A couple of quick sparks and a pop startle you, but then you hear a faint reassuring hum.\nSomewhere off in the distance, you hear hear tired machinery reluctantly coming to life.\nOkay, it's now turned on.\n\n> You look under the porch\nIt's too far away.\n\n> You go southeast\nStill shin deep in weeds. The small path that circles the house\nleads off to the northeast and northwest."
    },
    {
        "text": "> Look around\na youth. A giant air conditioner is mounted into the north wall, next to a small utility closet. In the opposite corner there is a small television with a rocking chair facing it. The kitchen is to the west, the sliding glass door to the porch is east.\n\n> You close the door\nYou grab the handle and tug the door shut.\n\n> You examine the chair\nAn old rocking chair with a small foamy cushion for marginal comfort.\n\n> You sit\n(the rocking chair)\nOkay, you're now sitting on the rocking chair.\n\n> You look at the television\nThe evenings from your childhood summers that didn't take place sitting on the porch took place watching this television. As the nearest broadcasting station was 60 miles away station the images were usually just scratchy ghosts. The TV has long gone silent and can now basically be considered merely a bulky paperweight with fake wooden paneling.\n\n> You look\nDen, in the rocking chair\nStanding in this room conjures shadows of your summer vacations as\na youth. A giant air conditioner is mounted into the north wall, next to a small utility closet. In the opposite corner there is a small television with a rocking chair facing it. The kitchen is to the west, the sliding glass door to the porch is east.\n\n> You turn on television\nYou try to turn on the television but it has long since burned out. You make a mental note to yourself to get this fixed if you're going to spend any true quality time here or else suffer from boredom.\n\n> You examine the closet\nThe utility closet is closed.\n\n> You open the closet\nOpening the utility closet reveals a bag and a keyrack.\n\n> You examine the bag\nAn old Piggly Wiggly grocey bag.\n\n> You look in the bag\nIn the bag you see a small key.\n\n> You take the small key\nTaken.\n\n> You examine the keyrack\nA small keyrack with small hooks for hanging small keys. On the keyrack is a picture of man fishing and reads, `Old fisherman never die, they just smell that way.'\n\n> Inventory\nYou have a pair of white fishing boots (being worn), a small key, a bag, and a keyrack.\n\n> You look at the closet\nThe utility closet is open. There's nothing in the utility closet.\n\n> You go to the west\nYou see a calendar here. The refrigerator seems to contain a piece\nof withered meat.\n\n> You examine the meat\nThis dark hunk of meat is a couple inches long, thin, and really tough. You're not sure if it's bacon, jerky, or part of a belt.\n\n> You examine refrigerator\nSmall white refrigerator. Probably hasn't been turned on since Reagan was president.\nThe refrigerator is currently open.\n\n> You close the refrigerator\nClosed.\n\n> Examine calendar\nAn old calendar dated back from 1987. It looks like there's something scribbled on the page hanging open.\n\n> You read the calendar\n`Don't forget McHugh's hat.'"
    },
    {
        "text": "> You look around\nSmall kitchen.. It has tacky furnishings from the 1950s to\nmid-70's. A grease-stained refrigerator takes up what little walking space there actually is.\n\n> You go west\nYou are in a cramped hallway. There are several framed photos on\nthe wall some of whom you recognize as family members with the others being too old for you to remember. The kitchen is to the east with other rooms lying to the north and south. The door to the back porch is to the west.\nYou see the first photograph, the second photograph, the third photograph, and the fourth photograph here.\n\n> You examine first\nThe first photograph is of your grandfather and seems to have been taken prior to him going off to World War II. Your Grandfather is standing tall in his new Army uniform, you guess he's no more than seventeen years old. His face is beaming with youthful pride and excitement but with an underlying nervousness. Behind him is the old house that once stood on this property.\n\n> You examine second\nAnother photograph of your young Grandfather in his army uniform, this time with your Grandmother at his side. She has short hair in this photo with no signs of aging. You briefly pause to appreciate the odd sensation of looking at pictures of persons long deceased who look younger and healthier than yourself.\n\n> You examine third\nYour Grandmother, with longer hair, with her arms around several other girls at the beach. One of them you think is your aunt based on the strong family resemblance, but you can't be sure. The photographer's shadow has snuck into the bottom of the picture; a man wearing a cowboy hat.\n\n> You look at fourth\nYour Grandfather, older now.. obviously taken after the War, is standing next to your Grandmother holding their first child - your mother Gwen Sorich. Your Grandfather has a beard in this photo and early streaks of gray. His eyes are not as exuberant as in the first photo, he looks guarded and weary. Your Grandmother is looking away while your Grandfather looks straight at the camera. Your Mom looks as goofy as ever."
    },
    {
        "text": "[Themes: Mystery, murder, humor, conversation]\n\n> You look around\nYou are in a cramped hallway. The kitchen is to the east with\nother rooms lying to the north and south. The door to the back porch is to the west.\nYou see the first photograph, the second photograph, the third photograph, and the fourth photograph here.\n\n> Inventory\nYou have a pair of white fishing boots (being worn), a small key, a bag, a keyrack, a piece of withered meat, and a calendar.\n\n> You go north\nThis tiny room contains little more than a commode and a sink, the less glamorous side of the house. The bathtub had been removed years ago leaving only a small, unfinished space.\n\n> You examine the sink\nThe bowl of the sink long ago gave up it's white brilliance to rusty calcium deposits.\n\n> You examine the commode\nWhy do people feel compelled to look into toilets? What were you really hoping to find? Let's just say that after ten years of non-use, the toilet has dark calcium stains from the stagnant coastal water collected at the bottom of the bowl.\n\n> You go to the south\nYou see the first photograph, the second photograph, the third photograph, and the fourth photograph here.\n\n> Go south\nYou are in your grandparents old room. There is an antique bed\nalong the south wall dressed with cheap sheets and pillows. A sun-stained small carpet covers the floor in the center. Along the east wall there is a wooden dresser and a matching nightstand.\nSitting on the nightstand is a photo of Grandma.\n\n> You examine photo\nThis was the last picture taken of your grandmother. She is sitting alone on the cement stairs at the front of the house looking quite frail. Her tired smile and weary look makes you think she must have known she didn't have much time left. You notice she's wearing an ornate silver locket that you had never noticed her wearing during your visits together.\n\n> You examine the carpet\nThe rug is multi-colored with circular patterns that would look tacky anywhere but a coast house owned by your grandparents.\n\n> You look at the bed\nThis ornate bed seems to date back from early in the 20th century. It smells faintly of mothballs and has generations of drool stains on it's sheets. (At least you hope that's drool...)\n\n> You open the dresser\nOpening the wooden dresser reveals Sammy Seal Water Wings and a cotton jacket.\n\n> You take the Wings\nWoohoo! Your score has increased.\n\nTaken.\n\n> You look at Wings\nThese vinyl inflatable floats were probably bought by your grandparents years ago to help teach your young niece to swim. They have repeating prints of Sammy The Seal doing dives and tricks on them. There is a small warning tag on them.\nThere is a small tear in one of the Water Wings.\nThe water wings are currently deflated.\n\n> You read the tag\n`For ages 4-8. Provides enough flotation for a child up to 75 lbs.'\n\n> You examine the jacket\nA green cotton jacket. It looks like the one your grandfather is wearing in some of the older photos.\n\n> You wear the jacket\nYou are looking sharp now!\n(First taking the cotton jacket)\nTaken. Okay, you're now wearing the cotton jacket.\n\n> You examine the nightstand\nA handsome piece to match the dresser.\n\n> You search the nightstand\nOn the nightstand you see a photo of Grandma.\n\n> You check your inventory\nYou have a pair of white fishing boots (being worn), a small key, a bag, a keyrack, a piece of withered meat, a calendar, Sammy Seal Water Wings, and a cotton jacket (being worn).\n\n> You go north\nYou see the first photograph, the second photograph, the third photograph, and the fourth photograph here.\n\n> Go west\nYou'll have to open the back door first.\n\n> You unlock the back door\nUnlocked."
    },
    {
        "text": "[Themes: Mystery, mystery, humor]\n\n> You look around\nYou're standing outside the boatshed. The overgrown weeds and sand build up around the large corrugated sliding door indicate that the door hasn't been opened in some time. A nasty looking puddle breeding mosquitoes lies in the middle of the path to the east.\n\n> Unlock boatshed\n(with the small key)\nUnlocked.\n\n> You open door\nOpened.\n\n> You go west\nEven in broad daylight, the interior of the boatshed gives you the spook. The walls and rafters are covered in cobwebs and you catch spiders and other crawling nastiness lurking in the dark spaces that heretofore had been undisturbed for years. Your grandfather's boat is not here - your Uncle Alexander had sold it shortly after he was put into the rest home.\nYou see a sturdy tacklebox here.\n\n> You open the tacklebox\nOpening the sturdy tacklebox reveals a fish hook, a bicycle tire repair kit, and a Daiwa baseball cap.\n\n> You fix Wings\nWhat do you want to repair them with?\n\n> You fix Wings with the kit\nWith a steady hand and skills honed years ago in the Scouts, you manage to repair the small hole in Sammy with the bicycle repair kit. No doubt, Sammy is sea-worthy again.\n\n> You look at the cap\nAn old baseball cap with the Daiwa logo embossed on the front. It seems well worn - and by someone with a sweaty head at that! Someone has scrawled their name inside the hat.\n\n> You read the cap\n`McHugh'\n\n> You wear the hat\n(First taking the Daiwa baseball cap)\nYou've already got your hands full.\n\n> You look at what you're carrying with you\nYou have a pair of white fishing boots (being worn), a small key, a bag, a keyrack, a piece of withered meat, a calendar, Sammy Seal Water Wings, a cotton jacket (being worn), and a sturdy tacklebox. The sturdy tacklebox seems to contain a fish hook, a bicycle tire repair kit, and a Daiwa baseball cap.\n\n> You drop the keyrack\nDropped.\n\n> You put the key in the bag\nDone.\n\n> You check what you're carrying\nYou have a pair of white fishing boots (being worn), a bag, a calendar, Sammy Seal Water Wings, a cotton jacket (being worn), and a sturdy tacklebox. The bag seems to contain a small key and a piece of withered meat. The sturdy tacklebox seems to contain a fish hook, a bicycle tire repair kit, and a Daiwa baseball cap."
    },
    {
        "text": "[Themes: Mystery, mystery, murder, humor]\n\n> You look at your surroundings\nEven in broad daylight, the interior of the boatshed gives you the spook. The walls and rafters are covered in cobwebs and you catch spiders and other crawling nastiness lurking in the dark spaces that heretofore had been undisturbed for years. Your grandfather's boat is not here - your Uncle Alexander had sold it shortly after he was put into the rest home.\nYou see a keyrack here.\n\n> You wear the cap\n(First taking the Daiwa baseball cap)\nTaken. Okay, you're now wearing the Daiwa baseball cap.\n\n> Go east\nA fisherman is sitting on an old bucket near a sink de-veining\nshrimp.\n`The sea buries her secrets,' mumbles the fisherman.\n\n> Inventory\nYou have a pair of white fishing boots (being worn), a bag, a calendar, Sammy Seal Water Wings, a cotton jacket (being worn), a sturdy tacklebox, a Daiwa baseball cap (being worn), and a keyrack. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\nThe fisherman mumbles something about a north wind blowing through.\n\n> You show the cap to the fisherman\nThe fisherman looks at the hat long and hard for a moment before speaking, this time quite clearly. `I never really expected to see that hat again. I loaned it to your grandfather the last time we went out fishing together. Your grandfather and I were once very, very close friends. The old coot in his youth was one of the nicest, friendliest guys you could know. Everything changed after we got back from the war. He pulled away from us all for years. Only in the last few years of your grandmother's life did he seem to open up again to us. This hat goes back to the days of our friendship, if it's all the same to you, I'd like it when you're done - if it's no trouble.'\nThe fisherman continues to slice through the backs of shrimp\nflinging the offal into the water where it's quickly snarfed by hardheads.\n\n> You ask the fisherman about Grandfather\n`George Sorich and I grew up practically brothers. Both of us had\nto work on the harbor emptying nets, neither of our parents could afford to hire much help. South was much different then. He was a good mam, but got too stubborn for his own good. Dwelled too much on the past - wasn't was good for him.'\nThe fisherman pauses, wipes sweat from his lined forehead, sighs heavily, and resumes carving the shrimp.\n\n> You ask the fisherman about Grandmother\n`Lovely woman she was, and made the best fried shrimp y'ever had as well! Probably the sweetest woman I ever met. Having her husband away during the war was hard on her, Hell, on everyone!'\n`Squall of '67 blew down the whole town,' mumbles the fisherman.\n\n> You give the cap to the fisherman\nMcHugh looks sentimental as he takes the hat. He admires it closely and then says, `You know, I believe I have something for you too. Are you going to be in town for awhile? Yes? Well, then, I'll be back in a hour or so with something you may find interesting. I'll know where to find you.' With that thought, the fisherman grabs his belongings and walks away.\n\n> Inventory\nYou have a pair of white fishing boots (being worn), a bag, a calendar, Sammy Seal Water Wings, a cotton jacket (being worn), a sturdy tacklebox, and a keyrack. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> You go west\nBeach Road.. near the harbor\n\n> You go to the north\nBeach Road.. in front of house\n\n> You drop all\npair of white fishing boots: (Taking off the pair of white fishing boots first)\nDropped.\nbag: Dropped.\ncalendar: Dropped.\nSammy Seal Water Wings: Dropped.\ncotton jacket: (Taking off the cotton jacket first)\nDropped.\nsturdy tacklebox: Dropped.\nkeyrack: Dropped.\n\n> Inflate Wings\nYou take a deep breath and blow hard into the air nipples on the Sammy Seal Water Wings.\n\n> You examine Wings\nThese vinyl inflatable floats were probably bought by your grandparents years ago to help teach your young niece to swim. They have repeating prints of Sammy The Seal doing dives and tricks on them. There is a small warning tag on them.\nThere is a small rubber patch on one of the wings.\nThe water wings are currently inflated.\n\n> You wear Wings\n(First taking the Sammy Seal Water Wings)\nTaken. Okay, you're now wearing the Sammy Seal Water Wings.\n\n> Go east\nBeach Road.. in front of house\n\n> Go east\nIgnoring the warnings, you boldly start down the pier...\n\nThe waves splash around you shooting up through the planks, the\nfoamy spray offering temporary relief from the Texas heat. You pause gripping the remaining guardrail with your hands and the planks with your toes. With this cat like grip, you slowly inch your way to the end of the pier.\n\nYou see an old house key here.\n\n> You take the key\nTaken.\n\n> You go west\nClinging to the rail, you humbly inch your way back towards land. Entrance to Fishing Pier\n\n> Go west\nYou see a pair of white fishing boots, a bag, a calendar, a cotton jacket, a sturdy tacklebox, and a keyrack here. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> You drop the key\nDropped.\n\n> You go east\nIgnoring the warnings, you boldly start down the pier...\n\nThe waves splash around you shooting up through the planks, the\nfoamy spray offering temporary relief from the Texas heat. You pause gripping the remaining guardrail with your hands and the planks with your toes. With this cat like grip, you slowly inch your way to the end of the pier.\n\n> Down\nYou put down all your stuff, take a deep breath, pinch your nose\nshut and....\nSplash!\nThe coastal waters envelop you. The taste of the salty water makes you grimace, not to mention the stinging effect it has on your eyes! Instinctively you start kicking towards the surface where you start gasp for air. Did I forget to mention earlier that you're not the strongest swimmer?\nYou felt ridiculous putting them on, but now the water wings are paying off. Their buoyancy gives you the extra boost you need to dog-paddle towards the lost section of pier.\n\nYou are now bobbing in the Gulf's rolling long swells; your patched Sammy the Seal wings helping you to stay afloat. Above you is the remains of the original end of the pier supported by old wooden poles covered with barnacles and starfish. Wedged into the supports is the wreckage of a small fishing boat. It must have blown into the pier during the last storm. The shoreline is visible to the west.\n\n> You examine the boat\nOnly a small portion of the bow remains above water. While you're not a boating expert, you would guess that the boat is about 19-feet long, give or take a few inches now missing from it's hull. Most of the contents of the boat seem to have been salvaged or sank long ago, but the water is so murky it really is hard to tell.\n\n> Down\nI don't know... sharks could be beneath the surface, and you can't hold your breath very long.\n\n> You enter the boat\nDidn't you see JAWS? Bad idea!\n\n> Go east\nNothing but miles of water in that direction."
    },
    {
        "text": "[Themes: Mystery, mystery, conversation]\n\n> You look at your surroundings\nYou are now bobbing in the Gulf's rolling long swells; your patched Sammy the Seal wings helping you to stay afloat. Above you is the remains of the original end of the pier supported by old wooden poles covered with barnacles and starfish. Wedged into the supports is the wreckage of a small fishing boat. It must have blown into the pier during the last storm. The shoreline is visible to the west.\n\n> Up\nYou give a half-hearted attempt quickly realizing you'd rip your hands to shreds on the barnacles if you tried to climb any of the supports.\n\n> You examine the poles\nThe supports extend up about 8-feet above you holding up the sad remains of the original end of the pier. They are made of some dark wood and are covered with barnacles. As the middle of the pier has washed away, their main function now is to give the local heron a place to roost.\n\n> Go west\nBobbing like a wounded manatee, you gradually make your way towards shore.\nBoat Ramp"
    },
    {
        "text": "[Themes: Mystery, mystery, humor]\n\n> You describe your surroundings\nA small driveway descends into the murky green water of the Texas Gulf. Above the land, scores of black bugs scurry out of your way disappearing into crevices you didn't even notice. In the shallow part of the water you can see the ghostly images of small fish and crabs darting just under the surface. Several tires are securely fastened against the ramp wall to prevent boats from bumping against the breakwater."
    },
    {
        "text": "[Themes: Mystery, murder, humor]\n\n> Look around\nYou remember stories your grandfather would tell you about Dalton Harbor back in his day - the shrimp industry supported the town and boats could be seen leaving early in the morning with seagulls circling closely overhead as their nets were drawn up. Now, however, one would uses the term harbor loosely when viewing this small dock. Today's harbor is nothing more than a couple of rotted wooden poles being used to tie old shrimp boats against. The shrimp boats hardly look seaworthy with their hulls scraped and their nets faded and tattered. A small A-shaped sign offers tourist bargains.\n\n> You look at the sign\nThe sign seems to be hand-painted, and badly at that. Guessing by the amount of wear and seagull guano around it's edges, one could probably call it authentic... or junk.. or both.\n\n> You read the sign\nCaptain McHugh's Scenic Bay Tours! $40\n\n> Go west\nYou see a pair of white fishing boots, a bag, a calendar, a cotton jacket, a sturdy tacklebox, a keyrack, and an old house key here. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> You take all\npair of white fishing boots: Taken.\nbag: Taken.\ncalendar: Taken.\ncotton jacket: Taken.\nsturdy tacklebox: Taken.\nkeyrack: Taken.\nold house key: Taken.\n\n> Inventory\nYou have Sammy Seal Water Wings (being worn), a pair of white fishing boots, a bag, a calendar, a cotton jacket, a sturdy tacklebox, a keyrack, and an old house key. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> Examine kit\nDespite it's age, the contents all seem to be intact. According to the label, the bicycle tire repair kit is a must have for anyone taking on the open road on two wheels.\n\n> You unlock door\n(with the old house key)\nIt doesn't fit the lock.\n\n> Xyzzy\nCan you say that here? I thought that was copyrighted or something...?\n\n> You drop all\nSammy Seal Water Wings: (Taking off the Sammy Seal Water Wings first) Dropped.\npair of white fishing boots: Dropped.\nbag: Dropped.\ncalendar: Dropped.\ncotton jacket: Dropped.\nsturdy tacklebox: Dropped.\nkeyrack: Dropped.\nold house key: Dropped.\n\n> You wear Wings\n(First taking the Sammy Seal Water Wings)\nTaken. Okay, you're now wearing the Sammy Seal Water Wings."
    },
    {
        "text": "> Go downwards\nYou put down all your stuff, take a deep breath, pinch your nose\nshut and....\nSplash!\nThe coastal waters envelop you. The taste of the salty water makes you grimace, not to mention the stinging effect it has on your eyes! Instinctively you start kicking towards the surface where you start gasp for air. Did I forget to mention earlier that you're not the strongest swimmer?\nYou felt ridiculous putting them on, but now the water wings are paying off. Their buoyancy gives you the extra boost you need to dog-paddle towards the lost section of pier.\n\n> Go east\nNothing but miles of water in that direction."
    },
    {
        "text": "[Themes: Mystery, mystery, conversation]\n\n> You look at your surroundings\nYou are now bobbing in the Gulf's rolling long swells; your patched Sammy the Seal wings helping you to stay afloat. Above you is the remains of the original end of the pier supported by old wooden poles covered with barnacles and starfish. Wedged into the supports is the wreckage of a small fishing boat. It must have blown into the pier during the last storm. The shoreline is visible to the west.\n\n> You examine the boat\nOnly a small portion of the bow remains above water. While you're not a boating expert, you would guess that the boat is about 19-feet long, give or take a few inches now missing from it's hull. Most of the contents of the boat seem to have been salvaged or sank long ago, but the water is so murky it really is hard to tell.\n\n> You look in the boat\nAy matey.. could there be booty?\nYou find a boat hook!\n\n> You take the hook\nWoohoo! Your score has increased.\n\nTaken.\n\n> Go west\nBobbing like a wounded manatee, you gradually make your way towards shore.\nBoat Ramp\n\n> You go north\nBeach Road.. in front of house\nYou see a pair of white fishing boots, a bag, a calendar, a cotton jacket, a sturdy tacklebox, a keyrack, and an old house key here. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key."
    },
    {
        "text": "[Themes: Mystery, conversation, murder, humor]\n\n> You look around\nWhen you were a youngster, you remember this pier being a lot\nlonger, but that was two hurricanes ago. Mother Nature has taken the pier and had her way with it. The pier extends out into the water but the wood is broken and splintered farther out stopping well short of it's original length. A second, inaccessible section of the pier is visible even farther out; the area that connected the two having been washed away.\nOn this side of the pier, only one guardrail remains, the other\nlost to the elements. Choppy water splashes against the few remaining supports beneath the pier sending plumes of water shooting up through the planks. The constant splashes has made the planks of the pier mossy and slick. A sign nearby advised that the pier is closed until storm damage can be repaired. What remains of the pier extends to the east. The service road leads away to the west.\n\n> You take all\npair of white fishing boots: Taken.\nbag: Taken.\ncalendar: Taken.\ncotton jacket: You've already got your hands full.\nsturdy tacklebox: You've already got your hands full.\nkeyrack: You've already got your hands full.\nold house key: You've already got your hands full.\n\n> Inventory\nYou have Sammy Seal Water Wings (being worn), a boat hook, a pair of white fishing boots, a bag, and a calendar. The bag seems to contain a piece of withered meat.\n\n> You drop Wings\n(Taking off the Sammy Seal Water Wings first)\nDropped.\n\n> Inventory\nYou have a boat hook and a bag. The bag seems to contain a piece of withered meat.\n\n> You wear the boots\n(First taking the pair of white fishing boots)\nTaken. Okay, you're now wearing the pair of white fishing boots."
    },
    {
        "text": "> You look around\nBeach Road.. in front of house\nUnevenly paved, Beach Road separates your house from the small\nharbor and pier to the east. A light coat of sand blows across the pavement in lazy swirls. Beach road doesn't see much traffic. The old family house lies to the west. The road continues up a small hill to the north and down towards the edge of town to the south. To the east a small service road heads towards an old fishing pier.\nYou see a sturdy tacklebox, a keyrack, an old house key, Sammy Seal Water Wings, and a calendar here. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> You take all\nsturdy tacklebox: Taken.\nkeyrack: Taken.\nold house key: Taken.\nSammy Seal Water Wings: You've already got your hands full.\ncalendar: Taken.\n\n> You check what you're carrying\nYou have a boat hook, a bag, a pair of white fishing boots (being worn), a cotton jacket (being worn), a sturdy tacklebox, a keyrack, an old house key, and a calendar. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key."
    },
    {
        "text": "> Look around\nBeach Road.. in front of house\nUnevenly paved, Beach Road separates your house from the small\nharbor and pier to the east. A light coat of sand blows across the pavement in lazy swirls. Beach road doesn't see much traffic. The old family house lies to the west. The road continues up a small hill to the north and down towards the edge of town to the south. To the east a small service road heads towards an old fishing pier.\nYou see Sammy Seal Water Wings here.\n\n> You go north\nBeach Road.. in front of house\nYou see Sammy Seal Water Wings here."
    },
    {
        "text": "> Look around\nBeach Road.. in front of house\nUnevenly paved, Beach Road separates your house from the small\nharbor and pier to the east. A light coat of sand blows across the pavement in lazy swirls. Beach road doesn't see much traffic. The old family house lies to the west. The road continues up a small hill to the north and down towards the edge of town to the south. To the east a small service road heads towards an old fishing pier.\nYou see Sammy Seal Water Wings here.\n\n> You examine the door\nThe door to the mansion looks to be made out of oak. It's very nice. There's a plaque on it.\n\n> You examine house\nThe two-story house is freshly painted - a stark contrast to the rest of the dwellings in the area. The front door has a brass plaquard and there is a small stone memorial nearby.\n\n> You examine the chair\nOne of Walmart's finest, a single piece of molded plastic; perfect for giving someone a sore ass while they scope out the water.\n\n> Go west\nYou'll have to open the sliding glass door first.\n\n> You open the door\nIt's locked.\n\n> You unlock door\n(with the old house key)\nUnlocked.\n\n> You open it\nThe door slides open with some effort.\n\n> You look at the air\nAh, they don't make them like they used to. This giant wall-mounted hulk of an air conditioner had the prime responsibility of cooling down the entire house. You remember your uncles always fretting that it was going to give out at any moment and then the house would be doomed. Standing now in the sweltering heat of the abandoned house you can appreciate why they were so worried!\nThe behemoth air conditioner pumps out cool air in laborious grunts.\n\n> You look at the closet\nThe utility closet is open. There's nothing in the utility closet.\n\n> You look at the tv\nThe evenings from your childhood summers that didn't take place sitting on the porch took place watching this television. As the nearest broadcasting station was 60 miles away station the images were usually just scratchy ghosts. The TV has long gone silent and can now basically be considered merely a bulky paperweight with fake wooden paneling.\n\n> You examine the rocking\nWhich rocking do you mean, the rocking chair, or the chair cushion?\n\n> Both\nrocking chair: An old rocking chair with a small foamy cushion for marginal comfort.\nchair cushion: You poke the cushion... it might be comfortable enough to get you through one movie, but not a marathon.\n\n> You examine the fridge\nSmall white refrigerator. Probably hasn't been turned on since Reagan was president.\nThe refrigerator is currently closed.\n\n> You examine the screen\nThe back porch was actually a separate addition to the house a few years after the last construction. The screen door doesn't seem to be doing a good job of keeping out the mosquitoes.\n\n> You open door\nIt's already open."
    },
    {
        "text": "> You describe your surroundings\nEven in broad daylight, the interior of the boatshed gives you the spook. The walls and rafters are covered in cobwebs and you catch spiders and other crawling nastiness lurking in the dark spaces that heretofore had been undisturbed for years. Your grandfather's boat is not here - your Uncle Alexander had sold it shortly after he was put into the rest home.\n\n> You read the mausoleum\n` Claude Dalton\nb. 1900 d. 1947\nForever in our Hearts ---\nColonel Clyde Beauregard Dalton\nb. 1898 d. 1949\nTown Father and World War 1'\n\n> You examine gate\nThe gates are indeed old and rusty.\n\n> You examine the shiny object\nIt's hard to tell from here, but it looks like a small round silver locket. It seems to have a small clasp so that it can be opened.\n\n> You take the locket\nYou reach through crack in the grave cover but Grandma, and her locket, are about 4-feet beyond your reach.\n\n> You check what you're carrying\nYou have a boat hook, a bag, a pair of white fishing boots (being worn), a cotton jacket (being worn), a sturdy tacklebox, a keyrack, an old house key, and a calendar. The bag seems to contain a piece of withered meat. The sturdy tacklebox seems to contain a fish hook and a bicycle tire repair kit. The keyrack seems to contain a small key.\n\n> You take the locket with hook\nWhich hook do you mean, the boat hook, or the fish hook?\n\n> Boat\nWoohoo! Your score has increased.\n\nReaching through the cracked grave cover with the boat hook, you manage to snag the hook around the locket. With some subtle maneuvering and no small amount of awkward fumbling, you manage to wrangle the locket over the skull of your grandmother and pull it up through the crevice!\n\nlocket. Inside, you see two small black and white photos: on the left is a picture of your grandfather George Sorich and on the right Col. Clyde Dalton!\n\n`So I guess now you know.'\n\nThe sudden voice startles you! With a jump you turn about to see\nthe old fisherman McHugh looking at you with an odd expression of shame and pity. `I figured you'd probably suspected something, otherwise why would you've come? When your grandfather was away on the war old Dalton was running the numbers on everyone in town. When poor Eleanor couldn't afford the house payments or food for her and her mother, old man Dalton started taking liberties. When George came home from the war, he found his young wife carrying another man's child.'\n\nwithin the pendant. You take a closer look at the tiny portrait of Dalton. A knot starts forming in your stomach as you now realize you share a resemblance to the man - your real grandfather.\n\n`Yeah, well, here's what I came to give you. It's a copy of\nDalton's will. You'll see, that if you're really Gwen's oldest child, it looks like you probably have claim the Dalton estate, what's left of it anyway. It was passed down to his heirs, but your grandmother was too proud to claim it. I know your grandma never wanted to touch the money while she was alive - she never wanted your mom to know who her real father was. I suppose your grandfather sent you out here?\nHe must've had his reasons...'\n\ndirection of the Mansion.\n\n*** You have won.. if you can consider defiling your grandmother's eternal rest really winning ***\n\nIn a total of 451 turns, you have achieved a score of 50 points out of a possible 50.\n\nYou may restore a saved game, start over, undo the last move, or quit. Please enter RESTORE, RESTART, UNDO, or QUIT: >"
    },
    {
        "text": "[Themes: Zorkian, Zork, fan fiction]\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\n\"Hello. You have reached the Frobozz Magic Support Company hotglyph. All our adepts are busy at present, but if you keep chanting the invocation you used to summon this image, a support clerk will be with you shortly. In the meantime, please relax while the Accardia Barbershop Musicians Guild presents Movements VIII-XVI of 'Ode to Belboz'. Thank you for summoning Frobozz Magic Support.\"\n\n\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\n[Author's Note: You play as a novice glyph support clerk but no one's around but an animated burin. It seems the more experienced support clerks are either lost, got themselves un-implemented, or got stuck in a timeloop. And, of course, everyone else in Zork wants assistance too. No one said your first day on the job would be easy!]\n\n> You look at the bar\nIt's a bar of everyone's favourite snack food, granola. Stamped into its side are the words \"Product of the Frobozz Magic Granola Mining Company Antharia.\"\n\n> You look at Book\nThe book is leather-bound and bears the title \"My Log Book\" in flowing gilt lettering. It is currently closed.\n\n> Xyzzy\nUnfortunately, you never quite finished Elementary Enchanting 101, so you have no idea how to cast, or even learn, that spell. If indeed it is a spell.\n\n> You open Book\nAs you open the log book, an animated burin flutters out.\n\n\"Hi there,\" says the burin cheerfully. \"You must be the new support clerk everyone's been talking about. No, don't say it, I know what you're going to ask. What's such a smart and attractive burin like me doing in a low paid job like Magic Support? Well, I've asked myself that same question many times, believe me, and the best answer I've come up with is that I love my work. Yes sir, I just love task logging. Give me a task to log, any task, and I'll have it written down before you can say Zebulon's your uncle!\"\n\n> Yes\n\"Great! I can see we're going to get along famously, Zog the mighty.\" The burin buzzes around excitedly, then settles into a casual hovering pattern over your head.\n\n> You look at burin\nThis burin looks much every other burin you've seen, except for the small wings protruding from its pen-like body, and the tiny glowing eyes on its nib.\n\n> Log task\nThe burin blinks at you. \"I don't see any task worth logging here.\"\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> You look at the pedestal\nThe compass rose is so beautiful it would bring tears to the eyes of a grue. Oddly enough, it seems to float perfectly centred in the middle of the room.\n\n> You read Log\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n\n> You ask burin about Sorkin\nThe burin launches into a lengthy exposition on the meaning of life, with special consideration to the role of sentient burins as its prime representatives. After discussing and refuting all imaginable challenges to this thesis, the burin abruptly stops and says, \"I'm sorry, what was the question again?\"\n\nThe burin practises its penthingship.\n\n> You ask burin about Log\n\"It's a log book,\" explains the burin patiently. \"Used for logging Magic Support tasks. When you finish a task, just tell me to log it and I'll write all the details up for you. I'm really very good at it. It's almost as if I were born to log tasks, and nothing else.\"\n\n> You ask burin about the job\nThe burin thinks for a moment and replies, \"Tuesday.\"\n\n> You ask burin about the rose\nThe burin flaps thoughtfully and replies, \"According to the traditional Thardon the Deep interpretation of Blorbaz the Seer, which was of course completely rejected by Antrodon, advisor to Duncanthrax himself, there are such an infinite number of potential frames of reference that it is quite impossible for two individuals to discourse intelligently about a compass rose without losing all touch with reality. But I don't believe a word of that myself.\"\n\n> You take burin\nThe burin flits out of reach.\n\n> You ask burin about the helistar\nThe burin thinks for a moment and replies, \"The butler, in the Double Fanucci room, with the wand of polymorphism.\"\n\n> You ask burin about Zuzvuz\nThe burin thinks for a moment and replies, \"No.\"\n\nThe burin nibbles softly at your ear.\n\n> Turn rose\nYou feel a strong desire to go somewhere, anywhere.\n\n> You ask burin about yourself\nThe burin stretches its wings and preens. \"Of course, I'm sure I could tell you everything ever written about yourself, but that would spoil all the fun, wouldn't it?\"\n\nThe burin flies a slow loop around your shoulder.\n\n> You take the sphere\nA warning nymph appears before you, writes \"You do know you're not allowed to take company property, don't you?\" in the air with her finger, then vanishes with a broad wink.\n\n> Go north\nOddly enough, you find your way blocked by an invisible barrier.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You look at the rose\nThe compass rose is so beautiful it would bring tears to the eyes of a grue. Oddly enough, it seems to float perfectly centred in the middle of the room.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on a barren, windswept plain. A knight in black armour clatters past toward a foreboding stone tower, and from the distance, a beautiful maiden's voice calls out. \"Help me! My rezrov scroll is gone and I must flee before the Dark Lord comes!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> Go north\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n\"You aren't lost, are you?\" quips the burin worriedly.\n\n> Log task\nThe burin blinks at you. \"I don't see any task worth logging here.\"\n\n> Go east\nYou have stumbled into the camp of some invading army. Tents, battering rams and hand weapons are stacked neatly all around, awaiting the coming attack. Nobody appears to have noticed you yet, but you have the distinct feeling that novice magic support clerks are not highly regarded around here. The plain opens to the west.\n\nYou see a black cube here.\n\nAn animated burin hovers over your head.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\n> You examine cube\nThe cube is about an inch on a side, and is featureless black, apart from a tiny legend embossed on one face.\n\n> You look at the legend\n\"Frobozz Magic Defence Research Company Weapons Grade Antimagic.\"\n\n> You get the cube\nTaken.\n\n> Go west\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\n> You touch the white cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nThe black cube vaporises instantly!\nThe crystal sphere tumbles to the floor!\nThe compass rose bursts into a flower of flame!\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"Why.\"\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"walk.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"when.\"\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"you.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"can.\"\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"take.\"\n\n> You go to the south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"a.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"cube?.\"\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"Frobozz.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"Magic.\"\n\n> You go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"Billboard.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"Company.\"\n\n> Go south\nThis north-south highway seems to lead forever through a barren wilderness. Distant mountains to the south remain constantly on the horizon. A billboard to the side of the road reads \"....\"\n\n> You go north\nYou see a white cube here.\n\nYou wander across the plain for a while, but find nothing of interest, so you return to the road.\n\nYou wander across the plain for a while, but find nothing of interest, so you return to the road.\n\nYou wander across the plain for a while, but find nothing of interest, so you return to the road.\n\n> Go northwest\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is shut and bolted fast. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\n> You look at the door\nIt's firmly shut, and plans to stay that way.\n\n> You examine Tower\nIt looks like a Frobozz Magic Castle Company Princess Peril (TM) Tower For Her, as advertised in last month's catalog edition of \"Better Keeps and Dungeons\".\n\n> You look at the steps\nThe steps lead upward.\n\n> Go upwards\n(climbing the steps)\nAtop the Tower\nYou are crouched on a minnaret at the top of a menacing stone tower. Rough stone steps lead down around the outside and vanish somewhere near the ground. A dark chimney opening to the northwest seems the only way in - but once inside, you could not climb back out."
    },
    {
        "text": "> Go downwards\n(climbing down the steps)\nOutside the Tower\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is shut and bolted fast. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\n> You drop the black cube\nDropped.\n\n> Go southeast\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are swimming in the depths of an unfathomable ocean. A dark shape with sleek fins and hundreds of shiny white teeth looms toward you and thinks, \"Eat eat hungry eat, er, this is most embarrassing, but my snavig spell appears to have jammed on. Could you possibly help?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You open Log\nOpened. The burin flutters out again.\n\n> You ask burin about the snavig\nThe burin thinks for a moment and replies, \"Tuesday.\""
    },
    {
        "text": "[Themes: Zorkian, Zork, fan fiction]\n\n> Look around\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin is perched on your head.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> Go east\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing on a tiny rock islet, barely more than a few feet across, in the middle of a vast ocean. No land is visible in any direction, and the water swirls threateningly about your feet.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You examine the ocean\nYou see a circling fin far below.\n\n> You examine the fin\nIt has a fishy kind of look to it.\n\n> No\nYou wisely decide to stay high and dry.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin flies in small circles around your head.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are in pitch darkness. From all around you can hear horrible lurking droolings, and a single sudden metallic clatter. A nervous voice says, \"Hello? Can you bring a new battery? I don't know for sure, but I think these might be gr - \"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on the peak of a mountain reaching high above the rim of the world. Dazzling light fills your eyes, and a hollow voice booms down:\n\"Don't try to match wits with us, Zuzvuz. We'll consider your request for reimplementation in the next beta release, not a single compile before.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> You go upwards\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing on the apex of a towering rock pinnacle high in the southern mountains. Before you, to the northeast, stands the unfinished shell of a building, presumably a temple of some kind.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You look at the temple\nThe temple, or what parts of have been built, appears to have been carved out of perfectly white rock, but its age or purpose is unguessable. An elaborate ornamental frieze runs around the temple's outside walls, covered with cryptic runes.\n\n> You look at the frieze\noqg974 qhe 5y3 d9j0o353e g99i 9r 548qow 0oqd3 5y3j\n9h 5y3 d7g3 8h 5yq5 94e34 5y3h dqw5 123456 r974\n58j3w e9h5 t35 85 249ht w8th3e 5y3 8j0o3j3h594w\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\n\"Hello. You have reached the Frobozz Magic Support Company hotglyph. All our adepts are busy at present, but if you keep chanting the invocation you used to summon this image, a support clerk will be with you shortly. In the meantime, please relax while the Accardia Barbershop Musicians Guild presents Movements VIII-XVI of 'Ode to Belboz'. Thank you for summoning Frobozz Magic Support.\"\n\n\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\n> You open Book\nAs you open the log book, an animated burin flutters out.\n\n\"Hi there,\" says the burin cheerfully. \"You must be the new support clerk everyone's been talking about. No, don't say it, I know what you're going to ask. What's such a smart and attractive burin like me doing in a low paid job like Magic Support? Well, I've asked myself that same question many times, believe me, and the best answer I've come up with is that I love my work. Yes sir, I just love task logging. Give me a task to log, any task, and I'll have it written down before you can say Zebulon's your uncle!\"\n\n> Yes\n\"Great! I can see we're going to get along famously, Krosk lord of blood.\" The burin buzzes around excitedly, then settles into a casual hovering pattern over your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on a barren, windswept plain. A knight in black armour clatters past toward a foreboding stone tower, and from the distance, a beautiful maiden's voice calls out. \"Help me! My rezrov scroll is gone and I must flee before the Dark Lord comes!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are swimming in the depths of an unfathomable ocean. A dark shape with sleek fins and hundreds of shiny white teeth looms toward you and thinks, \"Eat eat hungry eat, er, this is most embarrassing, but my snavig spell appears to have jammed on. Could you possibly help?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are in pitch darkness. From all around you can hear horrible lurking droolings, and a single sudden metallic clatter. A nervous voice says, \"Hello? Can you bring a new battery? I don't know for sure, but I think these might be gr - \"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on the peak of a mountain reaching high above the rim of the world. Dazzling light fills your eyes, and a hollow voice booms down:\n\"Don't try to match wits with us, Zuzvuz. We'll consider your request for reimplementation in the next beta release, not a single compile before.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You enter the temple\nYou are inside the temple, which seems to be built roughly in a square; the roof, still unfinished, is open to the sky. In the centre of the room stands a transparent crystalline cube, about a metre a side. A doorless archway leads out to the southwest.\n\nAn animated burin flies in small circles around your head.\n\nThe burin flies a slow loop around your shoulder.\n\n> You examine cube\nThe crystal cube is perfectly transparent.\n\n> You enter the cube\nI don't know how to enter the crystal cube.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> You examine the archway\nThe archway leads out to the southwest.\n\n> Qwerty\nUnfortunately, you never quite finished Elementary Enchanting 101, so you have no idea how to cast, or even learn, that spell. If indeed it is a spell.\n\n> Exit\nYou are standing on the apex of a towering rock pinnacle high in the southern mountains. Before you, to the northeast, stands the unfinished shell of a building, presumably a temple of some kind.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You examine the mountains\nThe rock pinnacle that you're on stands tall and alone among the mountains."
    },
    {
        "text": "> Go down\nThere is no apparent way down the pinnacle.\n\nThe burin flutters around your head.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin flies in small circles around your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are clinging to the edge of a bridge above a vast chasm. A thundering waterfall cascades through a rainbow below, while from behind a bored voice yawns, \"So tell me then, how do I get that pot of gold?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You go south\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You examine the bridge\nThe bridge is off to the south.\n\n\"You aren't lost, are you?\" quips the burin worriedly.\n\n> You examine the sign\n\"Notice: The Forest of Eternal Chaos is temporarily under enchantment while we alter local reality to comply with new Quendor Tourism Guild guidelines. We apologise for any inconvenience this may cause.\nFrobozz Magic Conservation Company.\"\n\nThe sign seems to have a small arrow carved into one edge, and casts a deep shadow beside the footprint-covered path.\n\n> You examine the shadow\nThe shadow points due north, into the forest. A small clump of moss is growing in the shadow, at the base of the sign.\n\n> You look at sun\nThe sun is visible to the south of here.\n\n> You look at the moss\nThe moss is on the north side of the sign.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> You go south\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nAn animated burin flies in small circles around your head.\n\n> You go north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You go north\nThe forest seems to change subtly as you enter it.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\nThe burin practises its penthingship.\n\n> You examine the tree\nThese towering forest giants block most of the sky. There's a small patch of moss on the nearest tree.\n\n> You go northwest\nThe forest seems to change subtly as you move to the northwest.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\nA bored tourist wanders around looking lost.\n\nThe tourist looks up at you with a faint flicker of interest. \"Frobozz Magic Support? At least something works around here. Look, I'll do anything you ask, just get me out of this stupid forest!\"\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> You follow you\n\"Huh?\" says the tourist.\n\n> You look at the tourist\nThe tourist wears a gaudy flower print T-shirt and a pair of shorts, and is carrying nothing. He scratches his head and yawns every few minutes.\n\n> You examine the sun\nThe sun is obscured by the trees here.\n\n> You look at the trees\nThese towering forest giants block most of the sky.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> You look at vines\nThe undergrowth rustles disturbingly, as if it's alive."
    },
    {
        "text": "> You look around\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\nA bored tourist leans against a tree.\n\n> You look at tree\nThese towering forest giants block most of the sky.\n\n> You look at the trail\nThe trail seems to lead in all directions at once, but you can almost make out a faint set of footprints.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> You examine the footprints\nThe footprints are very faint, and seem to have been made by many people some time in the past. They lead northwest.\n\n> Go northwest\nThe forest seems to change subtly as you move to the northwest.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin is perched on your head.\n\n> You look at the sun\nThe sun is obscured by the trees here.\n\n\"You aren't lost, are you?\" quips the burin worriedly.\n\n> You examine the moss\nThe moss appears to be growing on the west side of the tree.\n\n> Go east\nThe forest seems to change subtly as you move to the east.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\n> You go to the west\nThe forest seems to change subtly as you move to the west.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\nA bored tourist wanders around looking lost.\n\n> You examine the vines\nThe undergrowth rustles disturbingly, as if it's alive.\n\nThe burin flies a slow loop around your shoulder.\n\n> You examine the trees\nThese towering forest giants block most of the sky. Someone seems to have carved an arrow into the nearest tree.\n\n> You examine the arrow\nThe arrow appears to point to the east.\n\n> You ask Tourist,  to go east\nThe forest seems to change subtly as the tourist heads off to the east.\n\n> You look at vines\nThe undergrowth rustles disturbingly, as if it's alive.\n\n> You look at the sun\nThe sun is obscured by the trees here.\n\nThe burin flies a slow loop around your shoulder.\n\n> You examine the trees\nThese towering forest giants block most of the sky.\n\n> You examine the trail\nThe trail seems to lead in all directions at once, but you can almost make out a faint set of footprints.\n\n> You examine the footprints\nThe footprints are very faint, and seem to have been made by many people some time in the past. They lead west.\n\n> You go west\nThe forest seems to change subtly as you move to the west.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin is perched on your head."
    },
    {
        "text": "[Themes: Zorkian]\n\n> Look around\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin is perched on your head.\n\nA bored tourist wanders around looking lost.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> East\nThe forest seems to change subtly as the tourist heads off to the east.\n\n> You look at tree\nThese towering forest giants block most of the sky.\n\n> You examine the sun\nThe sun is obscured by the trees here.\n\n> You examine the footprints\nThe footprints are very faint, and seem to have been made by many people some time in the past. They lead southeast.\n\n> You go to the south-east\nThe forest seems to change subtly as you move to the southeast.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin is perched on your head.\n\n> Go northwest\nThe forest seems to change subtly as you move to the northwest.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin hovers over your head.\n\nA bored tourist leans against a tree.\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> You examine the tree\nThese towering forest giants block most of the sky. There's a small patch of moss on the nearest tree.\n\n> You look at the moss\nThe moss appears to be growing on the east side of the tree.\n\n> West\nThe forest seems to change subtly as the tourist heads off to the west.\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> You examine the sun\nThe sun is obscured by the trees here.\n\n> You examine the moss\nThe moss appears to be growing on the southwest side of the tree.\n\n> Go northeast\nThe forest seems to change subtly as you move to the northeast.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin flies in small circles around your head.\n\nA bored tourist leans against a tree.\n\n> You examine the tree\nThese towering forest giants block most of the sky. Someone seems to have carved an arrow into the nearest tree.\n\n\"You aren't lost, are you?\" quips the burin worriedly.\n\n> You examine the arrow\nThe arrow appears to point to the southwest.\n\n> You ask Tourist,  to go southwest\nThe forest seems to change subtly as the tourist heads off to the southwest. You hear something crash through the undergrowth in the distance.\n\n> You examine the footprints\nThe footprints are very faint, and seem to have been made by many people some time in the past. They lead northeast.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> Go southwest\nYou stumble out into the open air.\n\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> Go south\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nA bored tourist leans against the bridge.\n\nThe tourist leans on the bridge railing and stares greedily across the chasm. A gleam of gold sparkles through the mist as he mutters, \"Now there's a souvenir I could be proud of. I'd do anything to get my hands on it!\"\n\nAn animated burin flies in small circles around your head.\n\n> You examine the rainbow\nThe rainbow passes through the mist thrown up by the waterfall. It seems to span the entire width of the chasm, arcing southeast from the bridge to the far sidewhere you see a gleam of gold.\n\nThe tourist wanders off to the north.\n\n> Log task\nThe burin shakes its wings. \"I can't log this task until we've completed it.\"\n\n> You touch the rainbow\nIt's too far away.\n\nThe burin whistles a few bars of the national anthem.\n\n> You climb waterfall\nIt's too far away.\n\nThe tourist approaches from the north.\n\n> You touch the waterfall\nIt's too far away.\n\n> You close eyes\nThe burin flits out of reach.\n\nThe burin recites a few choice passages from the Rites of the Implementors, then laughs at them."
    },
    {
        "text": "[Themes: Zorkian, Zork]\n\n> You look around\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nAn animated burin is perched on your head.\n\nA bored tourist leans against the bridge.\n\nThe tourist wanders off to the north.\n\n> You examine the rainbow\nThe rainbow passes through the mist thrown up by the waterfall. It seems to span the entire width of the chasm, arcing southeast from the bridge to the far sidewhere you see a gleam of gold.\n\n> You examine the mist\nThe waterfall cascades down from a higher level of the chasm to the southwest, filling the air below with mist. A rainbow arch gleams through the mist, spanning the chasm.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> No\nWisely, you back away from the chasm.\n\n> No\nWisely, you back away from the chasm.\n\nThe tourist approaches from the north.\n\n> You close the eyes\n\"Huh?\" says the tourist.\n\n> You ask Tourist,  to go to the southeast\nThe tourist takes a step off the bridge to the southeast, walking on the rainbow. Two thirds of the way across the chasm, he looks down, realises that he's standing on nothing but coloured light, and plummets into the chasm.\n\n> You examine burin\nThis burin looks much every other burin you've seen, except for the small wings protruding from its pen-like body, and the tiny glowing eyes on its nib.\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You examine the eyes\nThis burin looks much every other burin you've seen, except for the small wings protruding from its pen-like body, and the tiny glowing eyes on its nib.\n\nThe tourist wanders off to the north.\n\n> Go north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nA bored tourist wanders around looking lost.\n\nAn animated burin is perched on your head.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are at the bottom of an immense smouldering crater gashed out of bare rock. Stars flicker slowly in a midnight sky, and through the eerie silence a single voice wails over and over again, \"Yek wen eht ton! Yek dlo eht esu!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You go west\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> You look at the mailbox\nThe white mailbox is closed.\n\n> You open it\nOpening the white mailbox reveals a red envelope and a syllabus.\n\n> You take all from it\nred envelope: Taken.\nsyllabus: Taken.\n\nThe burin flutters around your head.\n\n> You examine the envelope\nThe envelope is bright red, and appears to be addressed to The School of Remedial Magic, GUE Tech, Quendor. It is closed.\n\n> You open it\nOpening the red envelope reveals a crisp vellum scroll and a packing slip.\n\n> You examine the vellum\nThe scroll appears to have been freshly written.\n\n> You read it\nUnfortunately, you never studied Elementary Spellcoding 101, so the contents of the scroll are completely incomprehensible to you.\n\n> You examine the packing slip\nContents: One (1) Rezrov Spell Scroll, Educational License Only\n\nFor your safety and convenience, this spell has been hand-inscribed on finest enchanting grade vellum and packaged in our special Spel-Gard (tm) Resealable Magic-Proof Envelope, guaranteed to prevent magic leakage for up to 30 days, or double your zorkmids back! Thank you for purchasing your magic supplies from the Frobozz Magic Magic Supply Company.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You examine Envelope\nThe envelope is bright red, and appears to be addressed to The School of Remedial Magic, GUE Tech, Quendor. It is open, and contains a crisp vellum scroll and a packing slip.\n\n> You look at Syllabus\nThe Great Underground Empire (Memorial) Institute of Magickal Techknowledgies, Artes and Psiences, School of Remedial Magic Syllabus\n\nOn completing this course, the student shall be capable of defining the following terms and their usage in modern enchanting:\n\nAntharia   island province famed for its granola mines, survive field trip\nantimagic  theoretical opposite of magic, inhibits or annihilates spells\nblorple    spell, opens a dimension gate\nBorphee    industrial capital of modern Quendor, list leading spell merchants\nburin      pen-like instrument needed for magical inscriptions, own and use\nFlathead   Dimwit, worst ruler of the GUE, describe in excessive detail gaspar     spell, prepares caster for resurrection\ngolmac     spell, causes time travel\ngranola    tasty and highly nutritious food source, write poetic praise epic\ngrue       lurking menace in dark places, avoid getting eaten by\nGUE        Great Underground Empire, describe history, fall and excavations\nInfocom    aka Implementors, mythical godlike beings, dismiss as fallacy\nlleps      spell, reverses effect of memorised spell\nmalyon     spell, brings inanimate objects to life\nnymph      small magical fairy-like creatures often used as secretaries, hire\nQuendor    our homeland, analyse socio-political ramifications of granola tax\nqwerty     spell (mythical), student must logically refute its existence\nraif       minor modern cult of Infocom, of no significance whatsoever rezrov     spell, opens closed or locked objects\nrose       compass rose, oh sweet compass rose, etc, national anthem, sing\nsnavig     spell, causes caster to assume another shape at will timeloop   highly dangerous phenomenon, describe how to avoid creating vellum     leather-based scroll substrate, explain advantages over parchment\nwork       part-time jobs in magic support, readily available for students\nZork       common name for Quendor and the GUE, also an epic saga zorkmid    national unit of currency, pay all tuition fees promptly\n\n> You examine void\nVoid, n. Absence of matter; nothingness.\n\n> Go west\nHere, in what was once the centre of campus, what little reality is left has condensed into a grue-black, rock-blasted crater hammered out of existence by some unimaginable power. The stars distort overhead in a strange demented dance; you can barely remember seeing a white mailbox to the east.\n\nAn iron vault floats calmly in the void, apparently unscathed.\n\nAn animated burin hovers over your head.\n\n> You examine the stars\nThe stars above seem weirdly distorted.\n\n> You take stars\nIt's too far away.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> Go upwards\nUnfortunately, you failed Elementary Levitation 101.\n\n> Examine vault\nThe vault is about twice your height, forged from cast iron and imprinted with an ornate logo that appears to date back to the early Flathead Dynasty. The vault is closed. A shiny iron key sits in the keyhole, with a note attached.\n\n> You examine the note\n\"Gorgax: Here's the replacement master key you requested. We didn't have time to test it, hope it works okay, some of these old vaults can be a mite touchy. I'll get the dwarves in Technical to look at it next week. Sorkin.\"\n\n> You turn the key\nThe shiny iron key turns stiffly in the lock. As the last tumbler clicks into place, an alarm nymph flies out of the keyhole, writes \"You do know there's no way you can fool a genuine Frobozz Magic Vault Company vault with such a patently fraudulent imitation of a master key, don't you?\" in the air with her finger, then vanishes with a loud raspberry. The vault explodes.\n\nNothing happens. It would seem that you are dead.\n\n> You look\nGUE Tech, Old Quendor\nMoments earlier, you find yourself falling backward through a strangely familiar college campus. A vague premonition tugs at your mind about some great deed left undone - or was it a memory? As you watch, buildings dismantle and shed moss, spells implode on their casters, and stars spin down across the oscillating sky.\n\nA woman in a senior Enchanter's robe steps away from you, gathers a cloud of green lightning with a wave of her hands, and runs into the distance saying \"Nialpxe ot emit on. Tfel evah I cigam ylno eht si siht. Poolemit siht fo tuo su kearb nac ohw tfel eno ylno eht er'uoy diarfa m'I tub, siht otni uoy gard ot yrros. Krelc troppus wen eht eb tsum uoy, Ratsileh m'I...\"\n\nWith a wrench, the universe turns itself inside out..."
    },
    {
        "text": "[Themes: Zorkian, Zork]\n\n> You look at your surroundings\n\"Hello. You have reached the Frobozz Magic Support Company hotglyph. All our adepts are busy at present, but if you keep chanting the invocation you used to summon this image, a support clerk will be with you shortly. In the meantime, please relax while the Accardia Barbershop Musicians Guild presents Movements VIII-XVI of 'Ode to Belboz'. Thank you for summoning Frobozz Magic Support.\"\n\n\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\n> You take the key\n[taking the note as well]\nTaken.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> Inventory\nYou have a granola bar, a log book, a red envelope, a syllabus, a note, and a shiny iron key. The red envelope seems to contain a crisp vellum scroll and a packing slip.\n\n> You examine the vellum\nThe scroll appears to have been freshly written.\n\n> You go south\nEven if you could fly, reaching the cliff would be uncertain.\n\nThe burin nibbles softly at your ear.\n\n> You go to the east\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You go to the southwest\nThe path ends here at a newly formed cliff face, looking down over a strangely distorted crater to the north. Inky black void shivers around your feet, and trickles in small eddies from the crater's rim, nearly obscuring the single crumbling line of reality that leads northeast.\n\nA yellow signpost balances on the crater's edge.\n\nAn animated burin is perched on your head.\n\n> You examine signpost\n\"The Lord Dimwit Flathead (the Excessive) Memorial Wabe.\nPositively NO littering.\"\n\n> You drop the key\nThe shiny iron key distorts weirdly as the void swallows it. You see it slowly fall toward the distant vault, then vanish.\n\n> You go northeast\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> Go west\nHere, in what was once the centre of campus, what little reality is left has condensed into a grue-black, rock-blasted crater hammered out of existence by some unimaginable power. The stars distort overhead in a strange demented dance; you can barely remember seeing a white mailbox to the east.\n\nAn iron vault floats calmly in the void, apparently unscathed.\n\nAn animated burin hovers over your head.\n\nOut of the corner of your eye, you see a rusty iron key fall from above.\n\n> You take the key\nTaken.\n\n> You examine the key\nIt looks like an ordinary rusty iron key to me.\n\n> You open the vault\nIt's locked.\n\nThe burin nibbles softly at your ear.\n\n> Unlock vault\n(with the rusty iron key)\nThe rusty iron key turns smoothly in the lock. As the last tumbler clicks into place, an alarm nymph flies out of the keyhole, writes \"Your master key has been age-verified. Thank you for using genuine Frobozz Magic Vault Company security products\" in the air with her finger, then vanishes with a broad wink.\n\n> You open the vault\nOpening the vault reveals a silver slide rule.\n\n> You examine the rule\nIt's a slide rule crafted from pure silver, inscribed with the initials \"L.D.F.\". Must be worth a fortune for antiquity value alone.\n\n> You go east\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\n> Log\nWhat do you want the burin to write?\n\n> You examine Log Book\nThe book is leather-bound and bears the title \"My Log Book\" in flowing gilt lettering. It is currently open.\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You read it\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar."
    },
    {
        "text": "[Themes: Zorkian, Zork]\n\n> Log task\nThe burin scribbles something into the logbook.\n\n> You read Book\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are plunging over a cliff, and suddenly halt in midair. Letters written in fire beneath you spell out, \"No more messages.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You go north\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> Go northwest\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is shut and bolted fast. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin is perched on your head.\n\n> Up\n(climbing the steps)\nAtop the Tower\nYou are crouched on a minnaret at the top of a menacing stone tower. Rough stone steps lead down around the outside and vanish somewhere near the ground. A dark chimney opening to the northwest seems the only way in - but once inside, you could not climb back out.\n\nAn animated burin hovers over your head.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> Yes\nVery well. You scramble into the chimney, sliding down and landing heavily...\n\nThis circular room at the base of the tower is surprisingly small for its size. An unlit fireplace to the northwest, and a sturdy oak door to the southeast, (which is shut and bolted), are its only points of interest.\n\nA captive princess paces around the room impatiently.\n\nA white cotton blindfold, apparently flung off by the princess after she arrived here, lies crumpled in a corner.\n\nAn animated burin flies in small circles around your head.\n\nThe princess jumps as you stumble clumsily out of the fireplace. \"With an entrance like that, you've got to be Frobozz Magic Support,\" she laughs. \"Hope you brought that rezrov scroll. We don't have any time to waste.\"\n\n> You get the blindfold\nTaken.\n\n\"Hurry up!\" says the princess. \"The Dark Lord will be coming soon.\"\n\n> You examine princess\nThe princess has the kind of fragile, ethereal beauty normally associated with diamonds, scimitars, and hellhound puppies.\n\nYou hear the distant sound of marching boots.\n\n> You get the scroll\nTaken.\n\n\"Solved it yet?\" chirps the burin cheerfully.\n\nThe sounds outside grow louder and closer. The princess shudders, and looks for a weapon.\n\n> You give it to the princess\nThe princess takes the scroll, reads it, and flashes you a beaming smile. \"That's just what I wanted,\" she says, and begins reading it aloud.\n\nThe door explodes outwards in a blast of luminous energy. Waving a hasty goodbye, the princess runs outside and vanishes down the road to the southeast.\n\n> You leave\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is standing wide open. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin is perched on your head.\n\n> You go southeast\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> Go east\nYou have stumbled into the middle of a pitched battle, with enchanters, trolls, elves and the occasional cyclops swapping sword blows and warrior's incantations. The battle appears to be going badly for a princess, whose forces are having difficulty getting their spells to work against an onslaught of highly trained, black-armoured knights.\n\nDeciding that discretion is the better part of valour, you beat a tactical withdrawal to the west.\n\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are plunging over a cliff, and suddenly halt in midair. Letters written in fire beneath you spell out, \"No more messages.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on a barren, windswept plain. A knight in black armour clatters past toward a foreboding stone tower, and from the distance, a beautiful maiden's voice calls out. \"Help me! My rezrov scroll is gone and I must flee before the Dark Lord comes!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You read Log\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n\n> You go east\nYou have stumbled into the camp of some invading army. Tents, battering rams and hand weapons are stacked neatly all around, awaiting the coming attack. Nobody appears to have noticed you yet, but you have the distinct feeling that novice magic support clerks are not highly regarded around here. The plain opens to the west.\n\nYou see a black cube here.\n\nAn animated burin is perched on your head.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\n> You get rezrov\nThe finer points of spellcasting are, at present, beyond your grasp.\n\n> You put the cube in Envelope\nDone.\n\n> You close Envelope\nClosed.\n\n> You open Book\nOpened. The burin flutters out again.\n\n> Go west\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You go to the northwest\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is shut and bolted fast. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin hovers over your head.\n\n> You go up\n(climbing the steps)\nAtop the Tower\nYou are crouched on a minnaret at the top of a menacing stone tower. Rough stone steps lead down around the outside and vanish somewhere near the ground. A dark chimney opening to the northwest seems the only way in - but once inside, you could not climb back out.\n\nAn animated burin flies in small circles around your head.\n\n\"You aren't lost, are you?\" quips the burin worriedly.\n\n> Yes\nVery well. You scramble into the chimney, sliding down and landing heavily...\n\nThis circular room at the base of the tower is surprisingly small for its size. An unlit fireplace to the northwest, and a sturdy oak door to the southeast, (which is shut and bolted), are its only points of interest.\n\nA captive princess paces around the room impatiently.\n\nA white cotton blindfold, apparently flung off by the princess after she arrived here, lies crumpled in a corner.\n\nAn animated burin is perched on your head.\n\nThe princess jumps as you stumble clumsily out of the fireplace. \"With an entrance like that, you've got to be Frobozz Magic Support,\" she laughs. \"Hope you brought that rezrov scroll. We don't have any time to waste.\"\n\n> You give the scroll to the princess\nThe princess takes the scroll, reads it, and flashes you a beaming smile. \"That's just what I wanted,\" she says, and begins reading it aloud.\n\nThe door explodes outwards in a blast of luminous energy. Waving a hasty goodbye, the princess runs outside and vanishes down the road to the southeast.\n\n> You go south\nIt appears the southeast door is the only way out.\n\n> You leave\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is standing wide open. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin flies in small circles around your head.\n\n> You go to the southeast\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You go east\nYou have stumbled into the middle of a pitched battle, with enchanters, trolls, elves and the occasional cyclops swapping sword blows and warrior's incantations. The battle appears to be going well for a princess, whose forces are using the latest Frobozz Magic Defence Research Company spells to turn an onslaught of black-armoured knights into small amphibians.\n\nDeciding that discretion is the better part of valour, you beat a tactical withdrawal to the west.\n\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> Go northwest\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is standing wide open. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin hovers over your head.\n\n> Log task\nThe burin scribbles something into the logbook.\n\nThe burin practises its penthingship.\n\n> You read logbook\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n30/5   Princess imprisoned without rezrov scroll. Delivered.\nKrosk lord of blood.\n\n> Go southeast\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on the peak of a mountain reaching high above the rim of the world. Dazzling light fills your eyes, and a hollow voice booms down:\n\"Don't try to match wits with us, Zuzvuz. We'll consider your request for reimplementation in the next beta release, not a single compile before.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are clinging to the edge of a bridge above a vast chasm. A thundering waterfall cascades through a rainbow below, while from behind a bored voice yawns, \"So tell me then, how do I get that pot of gold?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> Go north\nThe forest seems to change subtly as you enter it.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin is perched on your head.\n\n> You go south\nThe forest seems to change subtly as you move to the south.\n\nYou are deep in the forest, surrounded by towering trees and sticky clinging vines. A trail winds through the trees at this point, but then seems to fade into the undergrowth without a trace. Your sense of direction feels strangely altered.\n\nAn animated burin hovers over your head.\n\nThe burin flies a slow loop around your shoulder.\n\n> You go to the south\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nA bored tourist stares greedily across the chasm.\n\nThe tourist wanders off to the north.\n\nAn animated burin is perched on your head.\n\n> Go north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nA bored tourist wanders around looking lost.\n\nAn animated burin hovers over your head.\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> You give the blindfold to the tourist\nThe tourist takes the blindfold.\n\n> You wear the blindfold\nThe tourist gives you a strange look, but puts the blindfold on.\n\n> You go south\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nAn animated burin is perched on your head.\n\n> You go to the north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nA blindfolded tourist wanders around looking lost.\n\nAn animated burin hovers over your head.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> You remove the blindfold\nThe tourist takes the blindfold off.\n\n> You ask Tourist,  to go south\nThe tourist heads off to the south.\n\n> Go south\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nA bored tourist stares greedily across the chasm.\n\nAn animated burin hovers over your head.\n\n> You ask Tourist,  to go southeast\nThe tourist takes a step off the bridge to the southeast, guided across the rainbow by your voice. Reaching the other side, he tears the blindfold off and grabs the pot of gold. You see him stop dancing around for a few moments to throw something in your direction, then he runs off into the mist. Half a minute later you hear a distant squeal followed by a splash, then silence.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> You look\nChasm, on the bridge\nYou are standing on a wooden bridge, which stretches halfway across a vast chasm to the south. Beyond the bridge, a rainbow arcs across the chasm through clouds of mist from a spectacular waterfall.\n\nAn animated burin hovers over your head.\n\nA gold zorkmid coin lands at your feet, head side up.\n\n> You get coin\nTaken.\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> Log task\nThe burin scribbles something into the logbook.\n\n> Go north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin flies in small circles around your head.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are at the bottom of an immense smouldering crater gashed out of bare rock. Stars flicker slowly in a midnight sky, and through the eerie silence a single voice wails over and over again, \"Yek wen eht ton! Yek dlo eht esu!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are standing on a barren, windswept plain. A knight in black armour clatters past toward a foreboding stone tower, and from the distance, a beautiful maiden's voice calls out. \"Help me! My rezrov scroll is gone and I must flee before the Dark Lord comes!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\nThe burin flutters around your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are swimming in the depths of an unfathomable ocean. A dark shape with sleek fins and hundreds of shiny white teeth looms toward you and thinks, \"Eat eat hungry eat, er, this is most embarrassing, but my snavig spell appears to have jammed on. Could you possibly help?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are in pitch darkness. From all around you can hear horrible lurking droolings, and a single sudden metallic clatter. A nervous voice says, \"Hello? Can you bring a new battery? I don't know for sure, but I think these might be gr - \"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment."
    },
    {
        "text": "[Themes: Zorkian, Zork]\n\n> You go downwards\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> Go west\nThe eastern passage ends here in a sizeable chamber carved out of solid bedrock. A dull orange glow (probably the natural phosphorescence of rich granola seams nearby) fills the room with memories of sulphur and smelting flames, long consigned to history.\n\nA dented vending machine still sits proudly against one wall.\n\nAn animated burin flies in small circles around your head.\n\n\"Oooh!\" squeals the burin, darting toward the vending machine. \"A genuine Frotzen Vend-O-Magic! I've always wanted to play with one of these vintage originals. They really push my buttons, y'know?\"\n\n> You examine the machine\nThe machine is about twice your height, dull metallic gold in tone, crusted with years of neglect. It seems to have a slot, a red button, a black button, a plaque, and two chutes near its base.\n\n> You examine the plaque\n\"Frobozz Magic Vending Machine Company 'Frotzen' Vend-O-Magic\n\nThis state of the ar. automagi. .endi.. machi.e is .ua.a.tee. n...r to j.m, fau.. or mi.fee. duri.. a fu.l min..g sea.on, .r .o...l. .ou. .or....d. .a..!\"\n\n(The rest of the plaque is obscured by claw marks.)\n\n> You look in the chute\nWhich chute do you mean, the left chute, or the right chute?\n\n> Left\nThe left chute contains a complex mechanism.\n\n> You examine the mechanism\nInside each chute is a fantastically complex mechanism, presumably for delivering vended goods. You have no idea how it works, but you can tell that it was designed to look very impressive.\n\n> You look in the right chute\nThe right chute contains a complex mechanism.\n\nThe burin practises its penthingship.\n\n> You push blakc\n\"Sure!\" squeaks the burin, hurling itself at the black button. There's a soft click as the button depresses, but nothing else happens.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\nI don't know the word \"blakc\".\n\n> You put the coin in the slot\nThe gold zorkmid vanishes into the slot with a metallic rattle.\n\n> You push black\n\"Sure!\" squeaks the burin, hurling itself at the black button. There's a soft click as the button depresses, but nothing else happens.\n\n> You look in the right chute\nThe right chute contains a complex mechanism, and a battery.\n\n\"This reminds me of Old Quendor,\" muses the burin to itself. \"Or was it Kroz? Anyways, thems were the days, they had real adventurers back then, yessiree.\"\n\n> You hit the machine\n(with your bare hands)\nAttacking the vending machine doesn't appear productive."
    },
    {
        "text": "> Look around\nThe eastern passage ends here in a sizeable chamber carved out of solid bedrock. A dull orange glow (probably the natural phosphorescence of rich granola seams nearby) fills the room with memories of sulphur and smelting flames, long consigned to history.\n\nA dented vending machine still sits proudly against one wall.\n\nAn animated burin flies in small circles around your head.\n\n> Go east\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You go south\nIt's pitch black.\n\nA sudden clattering echoes through the corridor.\n\n> Yell\nIt's pitch black.\n\nA dank, rancid breeze wafts up the corridor.\n\n> You listen\nIt's pitch black.\n\nYou hear a muffled scream from below."
    },
    {
        "text": "[Themes: Zorkian, fan fiction, Zork]\n\n> Go downward\nOh no! Something lurked into the room and horribly devoured you!\n\nNothing happens. It would seem that you are dead.\n\n> You examine the timbers\nThe timbers are stamped with the words \"Frobozz Magic Granola Mining Company.\"\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> Go west\nThe eastern passage ends here in a sizeable chamber carved out of solid bedrock. A dull orange glow (probably the natural phosphorescence of rich granola seams nearby) fills the room with memories of sulphur and smelting flames, long consigned to history.\n\nA dented vending machine still sits proudly against one wall.\n\nAn animated burin is perched on your head.\n\n> You take the glow\nThe orange glow isn't important.\n\nThe burin practises its penthingship.\n\n> You read the plaque\n\"Frobozz Magic Vending Machine Company 'Frotzen' Vend-O-Magic\n\nThis state of the ar. automagi. .endi.. machi.e is .ua.a.tee. n...r to j.m, fau.. or mi.fee. duri.. a fu.l min..g sea.on, .r .o...l. .ou. .or....d. .a..!\"\n\n(The rest of the plaque is obscured by claw marks.)\n\n> You look in the left chute\nThe left chute contains a complex mechanism.\n\n> Go north\nYou are standing at the end of a path running north into dense forest. A small sign casts a shadow beside the path, while just to the south, a wooden bridge leads across a massive chasm.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin flies in small circles around your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are plunging over a cliff, and suddenly halt in midair. Letters written in fire beneath you spell out, \"No more messages.\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> You touch sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are in pitch darkness. From all around you can hear horrible lurking droolings, and a single sudden metallic clatter. A nervous voice says, \"Hello? Can you bring a new battery? I don't know for sure, but I think these might be gr - \"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\nThe burin flutters around your head."
    },
    {
        "text": "[Themes: Zorkian]\n\n> Go downwards\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> Go west\nThe eastern passage ends here in a sizeable chamber carved out of solid bedrock. A dull orange glow (probably the natural phosphorescence of rich granola seams nearby) fills the room with memories of sulphur and smelting flames, long consigned to history.\n\nA dented vending machine still sits proudly against one wall.\n\nAn animated burin is perched on your head.\n\n\"Oooh!\" squeals the burin, darting toward the vending machine. \"A genuine Frotzen Vend-O-Magic! I've always wanted to play with one of these vintage originals. They really push my buttons, y'know?\"\n\n> You put the coin in the slot\nThe gold zorkmid vanishes into the slot with a metallic rattle.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> You push black\n\"Sure!\" squeaks the burin, hurling itself at the black button. There's a soft click as the button depresses, followed by a whirr, then something clatters into the left chute.\n\n> You examine the granola bar\nIt's a bar of everyone's favourite snack food, granola. Stamped into its side are the words \"Product of the Frobozz Magic Granola Mining Company Antharia.\"\n\n> You read the plaque\n\"Frobozz Magic Vending Machine Company 'Frotzen' Vend-O-Magic\n\nThis state of the ar. automagi. .endi.. machi.e is .ua.a.tee. n...r to j.m, fau.. or mi.fee. duri.. a fu.l min..g sea.on, .r .o...l. .ou. .or....d. .a..!\"\n\n(The rest of the plaque is obscured by claw marks.)\n\n> You check what you're carrying\nYou have two granola bars, a log book, a red envelope, a syllabus, a note, a rusty iron key, and a silver slide rule.\n\nThe burin flutters around your head.\n\n> Inventory\nYou have a granola bar, a log book, a red envelope, a syllabus, a note, a rusty iron key, a silver slide rule, and a gold zorkmid.\n\nThe burin nibbles softly at your ear.\n\n> You look at the black button\nThe black button is on the left side of the machine and labelled \"Granola\". It appears to have jammed while being pressed, and is now recessed a good two inches deeper than your finger can reach.\n\n> You look at the red button\nThe red button is on the right side of the machine and labelled \"Batteries\".\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You put Granola in the left\nAs you attempt to put the granola bar into the left chute, the chute's complex mechanism pushes back creakily, crumbling the bar into thick unpleasant globs of granola which smear it to a halt. Guess it wasn't designed to cope with dissatisfied customers.\n\n> You put the coin in the slot\nThe gold zorkmid vanishes into the slot with a metallic rattle.\n\n> You push the black button\n\"Sure!\" squeaks the burin, hurling itself at the black button. There's a soft click as the button depresses, followed by a whirr and a loud thumping from the left chute, then something clatters into the right chute.\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You look in the right chute\nThe right chute contains a complex mechanism, a gold zorkmid and an iron disk.\n\n> You get all from right chute\ngold zorkmid: Taken.\niron disk: Taken.\n\n> You look at the disk\nIt's a thin disk of iron about the size of a zorkmid coin, stamped with the words \"zm1 Credit Refund, Not Exchangeable for Cash\".\n\nThe burin traces an intricate Double Fanucci figure in midair.\n\n> You put the disk in the slot\nThe iron disk vanishes into the slot with a metallic rattle.\n\n> Go east\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are clinging to the edge of a bridge above a vast chasm. A thundering waterfall cascades through a rainbow below, while from behind a bored voice yawns, \"So tell me then, how do I get that pot of gold?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You go east\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing on a tiny rock islet, barely more than a few feet across, in the middle of a vast ocean. No land is visible in any direction, and the water swirls threateningly about your feet.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\nThe burin flies a slow loop around your shoulder.\n\n> You look at the islet\nIt looks like an ordinary rock islet to me.\n\n> You examine the ocean\nYou see a circling fin far below.\n\n> You examine the fin\nIt has a fishy kind of look to it.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> Yes\nVery well. You splash out and take a dive..\n\nYou are swimming, or to be more precise, sinking, in a vast ocean. The water is icy cold on your skin, and your breath quickly bubbles out through your nose.\n\nA blue shark glides past.\n\nUnfortunately, you have no time to enjoy the experience, as a misplaced gulp of seawater finds its way to your lungs.\n\nNothing happens. It would seem that you are dead.\n\n> You hold the breath\nI don't know the word \"hold\".\n\nI don't know the word \"hold\".\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin is perched on your head.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are clinging to the edge of a bridge above a vast chasm. A thundering waterfall cascades through a rainbow below, while from behind a bored voice yawns, \"So tell me then, how do I get that pot of gold?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\nThe burin nibbles softly at your ear.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are at the bottom of an immense smouldering crater gashed out of bare rock. Stars flicker slowly in a midnight sky, and through the eerie silence a single voice wails over and over again, \"Yek wen eht ton! Yek dlo eht esu!\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n> You go to the west\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You go to the southwest\nThe path ends here at a newly formed cliff face, looking down over a strangely distorted crater to the north. Inky black void shivers around your feet, and trickles in small eddies from the crater's rim, nearly obscuring the single crumbling line of reality that leads northeast.\n\nA yellow signpost balances on the crater's edge.\n\nAn animated burin is perched on your head.\n\n> You open Envelope\nOpening the red envelope reveals a packing slip and a black cube.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\n> You drop it\nThe black cube distorts weirdly as the void swallows it. You see it slowly fall toward the distant vault, then vanish.\n\n> You go to the northeast\nYou are standing at the entrance to a large, familiar college campus. At least, it would be large and familiar if it existed, which it apparently doesn't anymore. The only solid things remaining are a white mailbox and two paths leading west and southwest. Everything else seems to be swallowed by a black, swirling void.\n\nYou see a white cube here.\n\n> Go west\nHere, in what was once the centre of campus, what little reality is left has condensed into a grue-black, rock-blasted crater hammered out of existence by some unimaginable power. The stars distort overhead in a strange demented dance; you can barely remember seeing a white mailbox to the east.\n\nAn iron vault floats calmly in the void, apparently unscathed.\n\nOut of the corner of your eye, you see a black cube fall from above.\n\n> You examine cube\nThe cube is about an inch on a side, and is featureless black, apart from a tiny legend embossed on one face.\n\n> You open Envelope\nOpening the red envelope reveals a packing slip and a black cube.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\n> You put it in the water\nThe black cube falls into the water, and drifts out of sight.\n\n> Wait\nTime passes...\n\n> Inventory\nYou have a log book, a red envelope, a syllabus, a note, a rusty iron key, a silver slide rule, a gold zorkmid, and a battery. The red envelope seems to contain a packing slip.\n\n> You open Envelope\nOpening the red envelope reveals a packing slip and a black cube.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\n> You get the cube\nWhich cube do you mean, the black cube, or the white cube?\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\n> You listen\nIt's pitch black.\n\n> Wait\nTime passes...\n\nA dank, rancid breeze wafts up the corridor.\n\n> You drop the battery\nDropped.\n\nYou hear a low growl, followed by silence.\n\n> Go north\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin hovers over your head.\n\nThe burin whistles a few bars of the national anthem.\n\n> You open Envelope\nOpening the red envelope reveals a packing slip and a black cube.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\nThe black cube trembles briefly inside the unsealed envelope, then vaporises!\nThe crystal sphere tumbles to the floor!\nThe compass rose bursts into a flower of flame!"
    },
    {
        "text": "[Themes: Zorkian, Zork, fan fiction]\n\n> Look around\nThe six interior walls of this white cubical room are shaking and disintegrating as you watch.\n\nYou see a crystal ball and a flaming compass rose (providing light) here.\n\nThe room shudders violently, rocked by explosions all around.\nThe crystal sphere vibrates ominously.\n\n> You examine the sphere\nYou see an image of a novice glyph support clerk peering into the future.\n\nThe compass rose continues to burn.\n\nThe walls sway with terrifying disregard for physics.\nThe sphere spits out several tiny shards with a crystalline -ping-.\n\n> You get rose\nTaken.\n\nThe compass rose continues to burn.\n\nThe walls sway with terrifying disregard for physics.\nThe sphere spits out several tiny shards with a crystalline -ping-."
    },
    {
        "text": "> Go downwards\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe compass rose continues to burn.\n\nThe white cube trembles softly.\n\n> You go to the south\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose continues to burn.\n\n> You go southeast\nA narrow crawl to the northwest opens here into a wide natural chamber, showing signs of later excavation and even later collapse. Tortured fragments of rock and rusted equipment lie scattered among piles of human-looking bones that crunch horribly underfoot.\n\nA terrified adventurer crouches among the rubble, frantically waving a pair of unlit brass lanterns.\n\nThe compass rose continues to burn.\n\n> You give the battery to the adventurer\nThe adventurer takes the battery with trembling hands, and fumbles it into the shiny new lantern. As the lamp switches on, he wipes the sweat from his brow and relaxes visibly. Tossing the battered old lantern aside, he starts walking around the chamber examining objects.\n\nThe compass rose continues to burn.\n\nThe adventurer tries to push the battered old brass lantern.\n\n> You examine the equipment\nThe equipment is battered and rusty, but appears to have been used for mining in the distant past. It is of little use now, although the scrawled lettters scratched into some of the pieces might prove interesting to a historian.\n\nThe compass rose continues to burn.\n\nThe adventurer licks the battered old brass lantern.\n\n> You get the lantern\nTaken.\n\nThe compass rose continues to burn.\n\nThe adventurer looks hopefully at the equipment.\n\n> You examine it\nThe battered brass lantern looks old enough to have survived the rise and fall of the entire Great Underground Empire, but it's certainly quite useless now.\n\nThe compass rose sputters urgently.\n\nThe adventurer tries to break the equipment.\n\n> You read the equipment\nAncient scratches among the wreckage spell out: \"Frobozz Magic GRUE GRUE GRUE ing Com FLEE FOR YOUR LIFE ny.\"\n\nThe compass rose sputters urgently.\n\n> Go northwest\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose blows apart in a soft shower of petals.\n\nA dank, rancid breeze wafts up the corridor.\n\n> Go north\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe white cube trembles softly.\n\n> You open Book\nOpened. The burin flutters out again.\n\nThe white cube trembles softly.\n\n> Log task\nThe burin scribbles something into the logbook.\n\nThe white cube trembles softly.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this white cubical room are shaking and disintegrating as you watch.\n\nYou see a crystal ball here.\n\nBlack writhing cracks appear in the walls, with endless night beyond. The crystal sphere explodes into a thousand splinters!\n\nAn animated burin hovers over your head.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> You read Log\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n30/5   Princess imprisoned without rezrov scroll. Delivered.\nKrosk lord of blood.\n30/5   Tourist lost at rainbow chasm. Pushed off cliff blindfold. Krosk lord of blood.\n30/5   Adventurer low on batteries. Improvised with vending machine. Krosk lord of blood.\n\nThe room crumbles into nonexistence, and you with it.\n\nNothing happens. It would seem that you are dead.\n\n> Go north\nOddly enough, you find your way blocked by an invisible barrier.\n\nThe room crumbles into nonexistence, and you with it.\n\nNothing happens. It would seem that you are dead."
    },
    {
        "text": "[Themes: Zorkian, Zork]\n\n> Go downward\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe white cube vaporises in a miniature thunderclap.\n\nAn animated burin is perched on your head.\n\n> You get rose\nTaken.\n\nThe room shudders violently, rocked by explosions all around.\nThe crystal sphere vibrates ominously."
    },
    {
        "text": "> Go downwards\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe compass rose continues to burn.\n\nThe white cube trembles softly.\n\n> Go south\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose continues to burn.\n\nYou hear a low growl, followed by silence.\n\n> You give battery to the adventurer\nThe adventurer takes the battery with trembling hands, and fumbles it into the shiny new lantern. As the lamp switches on, he wipes the sweat from his brow and relaxes visibly. Tossing the battered old lantern aside, he starts walking around the chamber examining objects.\n\nThe compass rose continues to burn.\n\nThe adventurer mutters an incantation over the scrawled lettering.\n\n> You get the lantern\nTaken.\n\nThe compass rose continues to burn.\n\n> You go to the north-west\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose continues to burn.\n\n> Go north\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe compass rose continues to burn.\n\nThe white cube trembles softly.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this white cubical room are shaking and disintegrating as you watch.\n\nYou see a crystal ball here.\n\nThe compass rose sputters urgently.\n\nThe walls sway with terrifying disregard for physics.\nThe sphere spits out several tiny shards with a crystalline -ping-.\n\n> Drop rose\nDropped.\n\nThe compass rose sputters urgently.\n\nBlack writhing cracks appear in the walls, with endless night beyond. The crystal sphere explodes into a thousand splinters!\n\n> You turn off rose\nI don't know how to turn the flaming compass rose off.\n\nThe compass rose sputters urgently.\n\nThe room crumbles into nonexistence, and you with it.\n\nNothing happens. It would seem that you are dead.\n\n> You look at rose\nThe compass rose is burning with a bluish-red flame.\n\nThe compass rose sputters urgently.\n\nBlack writhing cracks appear in the walls, with endless night beyond. The crystal sphere explodes into a thousand splinters!\n\n> You examine Syllabus\nThe Great Underground Empire (Memorial) Institute of Magickal Techknowledgies, Artes and Psiences, School of Remedial Magic Syllabus\n\nOn completing this course, the student shall be capable of defining the following terms and their usage in modern enchanting:\n\nAntharia   island province famed for its granola mines, survive field trip\nantimagic  theoretical opposite of magic, inhibits or annihilates spells\nblorple    spell, opens a dimension gate\nBorphee    industrial capital of modern Quendor, list leading spell merchants\nburin      pen-like instrument needed for magical inscriptions, own and use\nFlathead   Dimwit, worst ruler of the GUE, describe in excessive detail gaspar     spell, prepares caster for resurrection\ngolmac     spell, causes time travel\ngranola    tasty and highly nutritious food source, write poetic praise epic\ngrue       lurking menace in dark places, avoid getting eaten by\nGUE        Great Underground Empire, describe history, fall and excavations\nInfocom    aka Implementors, mythical godlike beings, dismiss as fallacy\nlleps      spell, reverses effect of memorised spell\nmalyon     spell, brings inanimate objects to life\nnymph      small magical fairy-like creatures often used as secretaries, hire\nQuendor    our homeland, analyse socio-political ramifications of granola tax\nqwerty     spell (mythical), student must logically refute its existence\nraif       minor modern cult of Infocom, of no significance whatsoever rezrov     spell, opens closed or locked objects\nrose       compass rose, oh sweet compass rose, etc, national anthem, sing\nsnavig     spell, causes caster to assume another shape at will timeloop   highly dangerous phenomenon, describe how to avoid creating vellum     leather-based scroll substrate, explain advantages over parchment\nwork       part-time jobs in magic support, readily available for students\nZork       common name for Quendor and the GUE, also an epic saga zorkmid    national unit of currency, pay all tuition fees promptly\n\nThe burin preens itself, licking traces of ink from its nib.\n\n> You read Book\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n30/5   Princess imprisoned without rezrov scroll. Delivered.\nKrosk lord of blood.\n30/5   Tourist lost at rainbow chasm. Pushed off cliff blindfold. Krosk lord of blood.\n\n> You touch the sphere\nThe sphere vibrates in your hands, and an image takes form in your mind:\n\nYou are clinging to the edge of a bridge above a vast chasm. A thundering waterfall cascades through a rainbow below, while from behind a bored voice yawns, \"So tell me then, how do I get that pot of gold?\"\n\nSlowly, the vision fades. You feel vaguely disoriented for a moment.\n\n\"If you can pick it up, it's yours,\" the burin sniggers sagely.\n\n> Go northwest\nThis circular room at the base of the tower is surprisingly small for its size. An unlit fireplace to the northwest, and a sturdy oak door to the southeast, (which is standing wide open), are its only points of interest.\n\nAn animated burin hovers over your head.\n\n\"Make sure you get a good look at everything,\" cheeps the burin helpfully.\n\n> You enter the fireplace\nYou poke your head into the fireplace, and discover that climbing back up that way is indeed impossible. As you wriggle back into the room, something crunches underfoot."
    },
    {
        "text": "[Themes: Zorkian, fan fiction]\n\n> Look around\nThis circular room at the base of the tower is surprisingly small for its size. An unlit fireplace to the northwest, and a sturdy oak door to the southeast, (which is standing wide open), are its only points of interest.\n\nAn animated burin flies in small circles around your head.\n\n\"Come on! Let's go exploring!\" chirps the burin excitedly.\n\n> You look in the fireplace\nThe grand fireplace, opening to the northwest, is large enough to walk into. In the fireplace you see a grey cube.\n\n> You examine the grey cube\nThe cube is about an inch on a side, and is featureless grey, apart from a tiny legend embossed on one face.\n\nThe cube is about an inch on a side, and is featureless grey, apart from a tiny legend embossed on one face.\n\n> You read it\n\"Frobozz Magic Bubble Bath Company.\"\n\n> You go to the southeast\nYou are standing beneath a menacing black stone tower. The only entrance at ground level seems to be a sturdy oak door which is standing wide open. However, rough stone steps wind up around the outside and vanish somewhere near the top. The road leads back across a barren plain to the southeast.\n\nAn animated burin hovers over your head.\n\nThe burin flutters around your head.\n\n> Go southeast\nThe road bends here, running northwest to a distant tower and south to the mountains. Across a barren plain to the east, a wide rutted cart track bears the scars of recent heavy troop movements.\n\nYou see a white cube here.\n\nAn animated burin hovers over your head.\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin flies in small circles around your head.\n\nThe burin recites a few choice passages from the Rites of the Implementors, then laughs at them.\n\n> You go to the east\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing on a tiny rock islet, barely more than a few feet across, in the middle of a vast ocean. No land is visible in any direction, and the water swirls threateningly about your feet.\n\nYou see a white cube here.\n\nAn animated burin flies in small circles around your head.\n\n> You put the grey cube in the water\nThe grey cube falls into the water, and immediately is engulfed in a mass of swirling foam, undulating higher and higher until it seems certain to smother you. But the foam storm eventually subsides, to reveal a single giant bubble.\n\n> You enter the bubble\nThe bubble rocks slightly as you squeeze inside, but remains intact.\n\nOcean, in the giant bubble\nYou are floating in a giant soap bubble, on the surface of a vast ocean. Apart from a tiny rock islet, barely more than a few feet across, no land is visible in any direction.\n\nYou see a white cube here.\n\nAn animated burin is perched on your head."
    },
    {
        "text": "[Themes: Zorkian]\n\n> You go downwards\nAt your touch, the bubble glides gently downward.\n\nUnder the Ocean, in the giant bubble\nYou are floating in a vast ocean, surrounded by a giant soap bubble full of damp but breathable air. Faint light from the distant surface overhead refracts off the bubble's walls into the mysterious depths beyond.\n\nA blue shark glides past.\n\nAn animated burin hovers over your head.\n\n> You examine the shark\nThe shark gives you a fishy, toothy, kind of stare which you somehow find vaguely disturbing.\n\nThe burin flutters around your head.\n\n> You open Envelope\nOpening the red envelope reveals a packing slip and a black cube.\n\nThe burin gives a screech of agony and dives back into the log book, which snaps closed after it.\n\nThe bubble shimmers soapily.\n\n> You give the cube to the shark\nThe black cube slips through the bubble's wall and into the water. In a single smooth movement, the shark darts forward and swallows it.\n\nA dull black glow shimmers over the shark's body for a moment, and in its place a surprised-looking enchanter appears. He waves at you briefly and swims up toward the light.\n\nThe bubble's walls tremble softly.\n\n> Up\nAt your touch, the bubble glides gently upward.\n\nOcean, in the giant bubble\nYou are floating in a giant soap bubble, on the surface of a vast ocean. Apart from a tiny rock islet, barely more than a few feet across, no land is visible in any direction.\n\nYou see a white cube here.\n\nA man in enchanter's robes stands on the islet, drying himself off.\n\nThe bubble's walls tremble softly.\n\n> You examine man\nThe enchanter looks about as old as you are young, with the profession's typical air of lofty mystique, but he seems to be having a bad day so far.\n\nWith a liquid 'thwap', the bubble bursts, tossing you back onto the islet.\n\nYou are standing on a tiny rock islet, barely more than a few feet across, in the middle of a vast ocean. No land is visible in any direction, and the water swirls threateningly about your feet.\n\nYou see a white cube here.\n\nA man in enchanter's robes stands on the islet, drying himself off.\n\n> You ask man about the shark\nThe enchanter, deep in thought, doesn't respond.\n\nThe enchanter raises a hand in greeting. \"Well met, young clerk. I see you face a dangerous puzzle, and you must not do that unaided.\" He hands you back the black cube, which appears from thin air, and frowns in deep concentration.\n\n> You put the cube in Envelope\nDone.\n\nThe enchanter stares into the distance, brow furrowed. \"But no, that would be utter foolishness. Such an ancient power in the hands of...\" he breaks off and studies you thoughtfully.\n\n> You close Envelope\nClosed.\n\nThe enchanter shakes his head. \"It is decided. What was, must be. Listen to me carefully. I shall grant you one spell, only one, the oldest and most sacred of all the lore of Quendor. I dare not speak its name or tell you its purpose. That, you alone must discover. Look at me now, and steel your heart with virtue.\"\n\n> You look at the enchanter\nYou feel the enchanter's eyes boring deep into your soul. A burst of power fills you, and a single spell leaps into existence at the back of your mind. The enchanter smiles, swirls his cloak, and is gone.\n\n[You can now use the word SPELLS to check what spells you know.]\n\n> Spells\nYou have the qwerty spell (whatever that is), stamped indelibly on your mind.\n\n> You open Book\nOpened. The burin flutters out again.\n\n> Log task\nThe burin scribbles something into the logbook.\n\n\"Isn't this fun?\" giggles the burin. \"By the Quill, 'twill make a tall tale to tell thy tykes.\"\n\n> You get the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this perfectly cubical room are perfectly white and featureless. A single silver compass rose, balancing a delicate crystal sphere on its bloom, floats like a pedestal above the floor.\n\nAn animated burin is perched on your head.\n\n> You go south\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose continues to burn.\n\nA dank, rancid breeze wafts up the corridor.\n\n> You go southeast\nA narrow crawl to the northwest opens here into a wide natural chamber, showing signs of later excavation and even later collapse. Tortured fragments of rock and rusted equipment lie scattered among piles of human-looking bones that crunch horribly underfoot.\n\nA terrified adventurer crouches among the rubble, frantically waving a pair of unlit brass lanterns.\n\nThe compass rose continues to burn.\n\n> You give the battery to the adventurer\nThe adventurer takes the battery with trembling hands, and fumbles it into the shiny new lantern. As the lamp switches on, he wipes the sweat from his brow and relaxes visibly. Tossing the battered old lantern aside, he starts walking around the chamber examining objects.\n\nThe compass rose continues to burn.\n\nThe adventurer tries to turn the collection of rocks.\n\n> You open Book\nOpened. The burin flutters out again.\n\nThe compass rose continues to burn.\n\nThe adventurer listens to the collection of rocks.\n\n> Log task\nThe burin scribbles something into the logbook.\n\nThe compass rose continues to burn.\n\nThe adventurer mutters an incantation over the collection of rocks.\n\n> You get the lantern\nTaken.\n\nThe compass rose continues to burn.\n\nThe adventurer tries to turn the scrawled lettering.\n\nThe burin practises its penthingship.\n\n> You go northwest\nThe flickering light of the compass rose picks out the curve of this grimy corridor as it twists from north to southeast.\n\nThe compass rose sputters urgently.\n\nAn animated burin flies in small circles around your head.\n\n> Go north\nYou are in a gently sloping underground passage which curves upwards to the west, and down into darkness to the south. A dim light filters in through cracked timbers overhead.\n\nYou see a white cube here.\n\nThe compass rose sputters urgently.\n\nThe white cube trembles softly.\n\nAn animated burin flies in small circles around your head.\n\n> You touch the cube\nAs you touch the cube, the universe abruptly turns itself inside out.\n\nThe six interior walls of this white cubical room are shaking and disintegrating as you watch.\n\nYou see a crystal ball here.\n\nThe compass rose blows apart in a soft shower of petals.\n\nThe walls sway with terrifying disregard for physics.\nThe sphere spits out several tiny shards with a crystalline -ping-.\n\nAn animated burin is perched on your head.\n\n> You touch the sphere\nAs you touch the sphere, a faint, flickering image forms in your mind:\n\nYou are standing on the peak of a mountain reaching high above the rim of the world. Dazzling light fills your eyes, and a hollow voice booms down:\n\"Don't try to match wits with us, Zuzvuz. We'll consider your request for reimplementation in the next beta release, not a single compile before.\"\n\nThe vision abruptly cuts to black, as the crystal sphere explodes into a thousand splinters!\n\nBlack writhing cracks appear in the walls, with endless night beyond.\n\n> Up\nAs you move in that direction, the universe abruptly turns itself inside out.\n\nYou are standing on the apex of a towering rock pinnacle high in the southern mountains. Before you, to the northeast, stands the unfinished shell of a building, presumably a temple of some kind.\n\nYou see a white cube here.\n\nThe white cube vaporises in a miniature thunderclap.\n\nAn animated burin hovers over your head.\n\n> You read the logbook\nThe opened log book contains a list of previous magic support problems and solutions, signed and dated by the clerk on duty at the time.\n\n24/4   Malyon spell backfired; burin accidentally animated. Oops. Zuzvuz.\n27/4   Adventurer eaten by stray grues. Resurrected with gaspar. Zuzvuz.\n32/4   Trolls ravaging village. Applied two-handed axe; resolved. Felenar.\n6/5    Some trouble communicating with cyclops. See legend 2001. Zuzvuz.\n13/5   Adventurer llepsed gaspar. Summoned Implementors. Zuzvuz.\n17/5   Implementors de-implemented Zuzvuz. Attempted blorple to Old Quendor. Felenar.\n20/5   Felenar and Zuzvuz missing. Sent replacement job application to GUE Tech. Sorkin.\n23/5   GUE Tech gated to Old Quendor. Llepsed golmac might work. Sorkin.\n29/5   Two words: why me? New support clerk arrives tomorrow. Must train\nbefore (after) breaking Sorkin's time loop. Assuming\ncounterspell\nexists, if not... Helistar.\n30/5   GUE Tech Vault jammed. Took time to open it. Krosk lord of blood.\n30/5   Princess imprisoned without rezrov scroll. Delivered.\nKrosk lord of blood.\n30/5   Enchanter permanently snaviged. Broke spell with antimagic. Krosk lord of blood.\n30/5   Tourist lost at rainbow chasm. Pushed off cliff blindfold. Krosk lord of blood.\n30/5   Adventurer low on batteries. Improvised with vending machine. Krosk lord of blood.\n\nThe burin recites a few choice passages from the Rites of the Implementors, then laughs at them.\n\n> You enter the temple\nYou are inside the temple, which seems to be built roughly in a square; the roof, still unfinished, is open to the sky. In the centre of the room stands a transparent crystalline cube, about a metre a side. A doorless archway leads out to the southwest.\n\nAn animated burin hovers over your head.\n\n> You put the lamp on cube\nAs you put the battered old brass lantern on the crystal cube, it glows white and vanishes.\n\n> You put the ruler on the cube\nAs you put the silver slide rule on the crystal cube, it glows white and vanishes.\n\n> You put the coin on the cube\nAs you put the gold zorkmid on the crystal cube, it glows white and vanishes.\n\nThe burin makes a lunge at its shadow, and misses.\n\n> You put Book on the cube\nAs you put the log book on the crystal cube, it glows white and vanishes.\n\nThe burin vanishes in a flurry of white sparkles.\n\n> Qwerty\nA bolt of thunder rumbles overhead.\n\n> Qwerty\nThe sky darkens, and thunder rolls again.\n\n> Qwerty\nJagged forks of lightning crackle through the swollen sky.\n\n> Qwerty\nA single lurid sheet of blue lightning arcs through the roof and strikes the crystal cube. The universe turns white.\n\nYou are standing inside a very strangely dimensioned room, which appears to be composed of the plane surfaces between sixteen white cubes arranged at right angles to each other. It's the sort of thing you've had nightmares about while sleeping through Elementary Hyperspatial Topology 101. There are no visible exits.\n\n> You check your inventory\nYou are empty-handed.\n\nA white-shadowed figure walks through a wall that isn't there, looks you up and down absently, and speaks to someone who patently doesn't exist.\n\n\"Dave? Looks like one of the NPCs has gone and tripped the invocation subroutine again. I'd better comment it out before... No, it can't be a player, we haven't had anyone get to the temple since we added the forest puzzle in the last beta. Maybe we should put in some more... okay, okay, I'll check. I'm telling you, though, there's not the slightest chance...\"\n\n> You examine the figure\nThe Implementor looks vaguely author-shaped.\n\nThe Implementor continues talking to his unseen partner.\n\n\"Hey, what do you know? It's got the whole invocation right, and even logged all the support jobs! That's one smart NPC. Maybe we should take a copy of the object code and... yeah, okay, so it might be a player after all. Sure, hang on, I'll just check the trace file.\"\n\n> Qwerty\nA bolt of thunder rumbles overhead.\n\n\"Oops. Looks like deleting Zuzvuz broke the whole GUE Tech timewarp simulation. It's running in an endless loop now. No, there's no way I'm coding that up again, there's some really hairy hacks in there. Easiest thing's just to put Zuzvuz back in and recompile from the last source backup. That should fix... oh, yeah, sure, I think I can reward the player somehow. Just give me a moment...\"\n\nAbruptly, the universe goes dark.\n\nNothing happens. It would seem that you are dead.\n\n> Wait\nAbruptly, the universe returns.\n\nGUE Tech, Modern Quendor\nYou are walking through a familiar college campus. Enchanters and students mingle around the ancient moss-covered buildings, and every few minutes you hear the thumps and yelps of spells misfiring in the labs. Bright sunlight shines down from a cloudless blue sky.\n\n> Go west\nYou enter the Interactive Mythology lab.\n\nA woman in senior Enchanter's robes runs up to you, gives you an informal hug, and grins. \"Well done, Krosk lord of blood. You've saved the entire known universe with a single spell. That's a tale which will be long remembered in the Encyclopedia Frobozzica. Oh, but before I forget, this just came for you.\"\n\nHelistar hands you an envelope marked \"Hero, Inc. Special Introductory Offer.\" With trembling hands, you eagerly tear it open...\n\nBut that's another story."
    },
    {
        "text": "[Themes: Slice of life, flashback, Australian, contemplative]\n\nYou're seated comfortably, hunched forward in your armchair. The frame rests on your lap, cradled in both hands, the continuing focus of your attention.\n\nYou no longer sense change...\n\nIn the periphery of your vision you see something of the room - the wood stove, a window. Beyond your field of view there is nothing but clutter and increasing irrelevance. You're pleased that you'll never have to look on any of it again.\n\nThe initial euphoria has subsided. Replaced by a sense of ease, of place, of things being, well... right.\n\nIt can't be long now...\n\n\n\nLiving Room (in the armchair)\nThe frame rests on your lap.\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nImportant information - Please read before playing\nBackground\nCredits\nRelease History\nWalkthrough\nRedisplay Opening Text\n\n[Author's Note: A story-driven, almost puzzleless work about a man obsessed with what he perceives to have been a wrong turn in his life. The story has dark themes with elements that are either fantasy, or delusion on the part of the protagonist.]"
    },
    {
        "text": "> You examine the frame\nThe frame is made from Baltic pine. Within the frame is a rectangle of pure and unrelieved white. You think that perhaps you can discern some flicker of motion there, but then again it may only be your imagination.\n\n> You look at the motion\nIt's probably just wishful thinking on your part. There seems to be nothing there but a white rectangle.\n\n> You examine the window\nThe window (now closed) looks out over the yard. The afternoon sunlight streams through. You see a bird sitting on the outside sill.\n\n> You look at the bird\nThe bird is a starling. It stands unmoving, with its head slightly cocked, beak open. Starlings are common enough, but you are certain you've seen this particular bird before.\n\n> You listen\nYou hear the high-pitched sound of the bird.\n\n> You open the window\nYou lose yourself in thought...\nYou stand on a balcony looking out over treetops and distant roofs to the river and the hills beyond. The sky is pink and blue pastels, the sun barely risen above the late morning mists and woodsmoke haze. A fog rolls down the river valley like a lazy cloud.\n\nAs you move to pull your coat closer about you against the cold a startled bird takes flight from the eaves above your head. You follow its progress to a nearby blue gum.\n\nYou are on a wooden balcony that looks out over a river valley. An open door to the west leads back into the house. You are cold.\n\n> About yourself\nYour coat is old and weathered. The pockets are empty.\n\nYou are 55 years old, but look (and feel) much older. Although you aren't planning on going far away from your wood fire today, you are nevertheless rugged up in a thick coat.\n\n> You look at the valley\nA dense fog fills the river valley.\n\n> You examine the gum\nIt's a tall blue gum eucalyptus tree. A bird sits on a high branch.\n\n> You examine the bird\nThe bird is a starling. It looks agitated.\n\n> Sing\nYour singing is abominable.\n\n> About yourself\nYou are 55 years old, but look (and feel) much older. Although you aren't planning on going far away from your wood fire today, you are nevertheless rugged up in a thick coat.\n\n> You go west\nYou take a deep breath of the smoke-laden air (the chill cutting your lungs like little knives), then enter the house.\n\nLiving Room (East)\nOn entering the living room you find yourself oppressed by the clutter and do your best to ignore it. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west.\n\n> You say piu piu\n[The story read that as \"say it it\"].\n(to yourself)\nThere is no reply.\n\n> You examine the clutter\nThe room is full to bursting with all manner of items scavenged or bought at auctions or fire-sales; furniture, paintings, tools, bric-a-brac and junk. Most are covered in a substantial layer of dust. You wonder what possessed you. The only thing here that still holds any interest for you rests on an old pine mantel near the window.\n\n> You close the door\nYou close the back door.\n\n> You examine the mantel\nYour attention inevitably shifts to the mantel and you're reassured by the sight of the picture sitting where you left it.\n\n> You examine the picture\nThe picture-frame is made of Baltic pine. The photograph it contains is slightly overexposed and was taken using a flash.\n\nDepicted are a young man and young woman leaning with their backs to the rail of a rough wooden deck, backed by the spray of a narrow waterfall cascading down two tiers of mudstone outcrop. Bordering the waterfall is thick temperate rainforest vegetation: a canopy of tall myrtle and sassafras trees, beneath which are leatherwood and tree-ferns, all covered in moss, lichen, shell-fungus. The boy has his arm around the girl's shoulder. Both are wearing light bushwalking clothes, and he carries a day pack. The boy looks cocky and confident and wears an idiotic 'say cheese' grin. The girl is not smiling. This was not, as you recall it, that she had been unhappy, just unused to having her picture taken.\n\n\"It's like giving away a piece of your soul,\" she had once joked.\n\nAs it happens she had smiled just after the shot was taken; a small, nervous smile of relief (you mimic the smile at the memory).\n\n> You look at the man\nA fool, clearly.\n\n> You smile\nYou smile, again.\n\n> You examine girl\nThe girl has a stern, set expression.\n\n> Kiss frame\nYou can only do that to something animate.\n\n> You examine the touch picture\nThe girl has a stern, set expression.\n\nYou can't see any such thing.\n\n> You consider the girl\nIn your mind you can still picture her clearly as she was on that day - with that long raven hair and those big brown eyes.\n\n> You take the photo\nTaken.\n\n> You consider the boy\nYou were young then, and too cock-sure for your own good."
    },
    {
        "text": "[Themes: Slice of life, flashback]\n\n> Look around\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> You look at armchair\nYour armchair is old and threadbare. You have spent a lot of time in this chair.\n\n> You examine the stove\nThe mantel came from the home of one of your neighbours. He was going to throw it out but you thought it too good to waste. It now takes up space, resting against your wall.\n\nIt's a pot-bellied wood stove. A fire blazes within and there is a supply of firewood beside it.\n\n> You look at the fire\nIt's a pot-bellied wood stove. A fire blazes within and there is a supply of firewood beside it.\n\n> You sit on the chair\nYou turn up your jacket collar and sink back into the faded armchair, elbow patches neatly covering matching holes in the upholstery. You soon begin to feel the warmth radiating from the wood stove.\n\n> You throw the picture in the fire\nThe photograph belongs on the mantel.\n\n> You consider the fire\nThe fire is blazing, but you still feel a chill.\n\n> About yourself\nYou are 55 years old, but look (and feel) much older. Although you aren't planning on going far away from your wood fire today, you are nevertheless rugged up in a thick coat.\n\n> Up\nYou'll have to get out of the armchair first.\n\n> Go outside\nYou get out of the armchair.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> Go north\nAs you enter your bedroom you see a large spider, nearly the size of your hand, crawl under the bed.\n\nYour bedroom is small and comparatively tidy. The only furnishings are a wardrobe and the bed itself. There is a window here facing north and the living room is to the south.\n\n> You look under the bed\nIt was a huntsman spider, but it is now nowhere to be seen. Those things can hide anywhere. You'd be lucky to find it without taking the bed apart. But it's best left alone in any case. They aren't dangerous, and they help keep down the flies. There is a metal box here under your bed.\n\n> You look at the box\nIt's a closed metal box.\n\n> You get it\nYou pull the metal box out from under the bed.\n\n> You open it\nYou open the metal box, revealing some rolls of $50 notes.\n\n> You consider the money\nYou ended up with a lot of cash when you sold the business, more than enough to meet your simple needs for the rest of your life. You've never trusted banks.\n\n> You consider the the economy\nNothing of interest occurs to you.\n\n> Close box\nYou close the metal box.\n\n> You look at the wardrobe\nIt's a large solid piece of furniture, made of blackwood. Right now, it's closed.\n\n> You open it\nYou open your wardrobe. It contains clothing.\n\n> You open it\nThat's already open.\n\n> You examine the clothing\nYou're already wearing your coat. There is nothing here that you need.\n\nYou're already wearing your coat. There is nothing here that you need.\n\n> Wear clothing\n(first taking the clothes)\nYou are already dressed. You don't need the clothing.\n\n> You examine the coat\nYour coat is old and weathered. The pockets are empty.\n\n> Close wardrobe\nYou close the wardrobe."
    },
    {
        "text": "> You look around\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> You look at the bed\nYour bed is unmade. The top sheet is pulled back and the blankets are strewn about.\n\n> You make the bed\nIt's a bit late to start changing the habits of a lifetime.\n\n> You look through the window\nIt's a small window. Through it you see your four-wheel-drive parked outside.\n\n> You examine the car\nA battered old Landcruiser. You've had it for years.\n\n> You lie in the bed\nYou lie down on the bed.\n\n> You get up\nYou get off the bed.\n\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> Go west\nLiving Room (West)\nThis is the other half of your living area (again heavily cluttered). This space also serves as your kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\n> You open the cupboard\nYou open the cupboard.\n\n> You examine the clutter\nYour living area is full of all manner of items scavenged or bought over the years.\n\n> You go north\nYour bathroom is small but functional. There is a bath, toilet and a hand basin. The room also has a small wall-mounted mirror. The living room is to the south.\n\n> You examine sink\nIt's just a hand basin.\n\n> You examine the mirror\nIt's a small shaving mirror, mounted over the hand basin.\n\n> Was the hands\nI beg your pardon?\n\n> Uc nadia\n[The story read that as \"c nadia\"].\nShe was not the one for you.\n\n> You wonder about the health\n[The story read that as \"wonder about head\"].\nNothing of interest occurs to you."
    },
    {
        "text": "[Themes: Slice of life, contemplative, flashback]\n\n> You look at your surroundings\nYour bathroom is small but functional. There is a bath, toilet and a hand basin. The room also has a small wall-mounted mirror. The living room is to the south.\n\n> You go to the south\nLiving Room (West)\nThis area of your living room doubles as a kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\n> Go west\nIt's cold outside. You have no wish to leave the house right now.\n\n> Go east\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> You take the mantel\nThe mantel is too heavy to lift.\n\n> You examine the mantel\nThe pine mantel stands propped up against the wall, near the window.\n\n> You sit on it\nYou sit back in your armchair.\n\n> You search the cushions for the change\n[The story read that as \"search cushions for each\"].\nYou see no cushions here.\n\n> You examine the fire\n[The story read that as \"set\"].\nWhat do you want to set?\n\nIt's a pot-bellied wood stove. A fire blazes within and there is a supply of firewood beside it.\n\n> You wait\nTime passes.\n\n> You gaze into the fire\n[The story read that as \"z into fire\"].\nI only understood you as far as wanting to wait.\n\n> You think\nTo think about an item or topic, you should use the form \"THINK ABOUT item/topic\".\n\n> You think about illness\nNothing of interest occurs to you.\n\n> You shiver\n[The story read that as \"shine\"].\nWhat do you want to shine?\n\n> You examine the door\nThe door to the balcony is closed.\n\n> You warm yourself\n[The story read that as \"wear yourself\"].\nYou see no yourself here.\n\n> Go outside\nYou get out of the armchair.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> You go to the east\n(first opening the back door)\n\nYou are on a wooden balcony that looks out over a river valley. An open door to the west leads back into the house.\n\n> You jump\nIt's a long way down. Jumping from here would only further complicate your day.\n\n> You examine the bird\nThe bird has gone.\n\n> You search the clutter\nYou rummage around in the junk for a while. You get as far as the dusty cardboard carton you found last time you decided to have a clean-up. It was in this same box that you found the photograph, and once more you get no further.\n\nThere is a cardboard carton here.\n\n> You examine the carton\nThe carton contains a number of old possessions scattered loose, including a pile of photographs and various unrelated oddments. The only things there that hold any interest for you right now are a rather moth-eaten animal skin hat and a small brass ornament.\n\n> You examine the photos\nSome of the photos date from your days at the office, and all feature people or places you either don't remember or would rather forget. The rest of the items are an eclectic mix of bits and pieces that are of no particular interest or worth. The most bizarre of these items is a jar containing your appendix, which was removed when you were a child.\n\n> You examine the ornament\nThe ornament is an ankh. A gift from Nadia.\n\n> You examine the hat\nThe hat is made from possum skin. You remember it well.\n\n> You look at  appendix\nIt's a glass jar containing your appendix. You have no idea why you kept it.\n\n> You take the hat\nTaken.\n\n> Inventory\nYou are wearing your possum skin hat.\n\n> You look at the hat\nIt's your favourite hat. You wear it almost wherever you go.\n\n> You remove the hat\nYou take off your possum skin hat.\n\n> You wear it\nYou put on your possum skin hat.\n\n> About yourself\nYou're a scrawny kid, wearing as ever, your possum skin hat and a thick duffel coat. Thin pipe-cleaner legs are visible below your shorts - \"Hollow legs\", your grandmother calls them, although you wonder how anything so thin could be hollow. On your feet are rather worn leather walking boots.\n\n> Vu\n[The story read that as \"c\"].\nWhat do you want to c?\n\n> You go upward\nYou are on a rocky track, surrounded by eucalypt forest. The track rises steeply to the northwest and winds back down the slope to the east. Another narrower path, not much more than an animal trail, leads away to the south.\n\n> You go south\nPart way along the track you spot an echidna, digging for ants on the path. At your approach it abandons its labour and shuffles with surprising speed off the track and into the undergrowth. As you pass you hear it furiously digging itself into the earth, spraying sod and\n\n> Go south\ndirt over the long quills on its back.\n\nYou have entered a small, familiar clearing surrounded in all directions except to the south by stands of white gum eucalypt trees and dense undergrowth. To the south rises a large lichen-covered rock. The air here is damp and close - heavy with the scents of eucalyptus and wild flowers. A narrow trail leads back to the north.\n\nYou clamber up the side of the rock, deftly finding those hand and footholds that you know so well.\n\nThis rock is your favourite place - a place where you like to come to sit and think, or just to be alone. It's only after making the short climb from the clearing that you can see the rock for what it is - and get some idea of its magnitude. Before you it drops away sharply, towering over the trees of the forest below, giving you a superb view out over of the rolling foothills of the mountain and the wide river valley beyond. Out on the rock you're exposed to the full force of the Southerly wind and you brace yourself against it. As you do so, you catch sight of something you hadn't noticed before in a crack near the rock's far edge.\n\n> You examine crack\nThere's a small white gum seedling growing in the dirt that has collected in the crack. On seeing the seedling you immediately feel an affinity with it, and can't help feeling concerned for its predicament. It has no chance of growing into a tree where it is.\n\n> You go north\nYou carefully climb back down to the clearing.\n\nYou are in a small, familiar clearing surrounded in all directions except to the south by stands of white gum eucalypt trees and dense undergrowth. To the south rises a large lichen-covered rock. The air here is damp and close - heavy with the scents of eucalyptus and wild flowers. A narrow trail leads back to the north.\n\n> Plant seed\n[The story read that as \"plant me\"].\n(first taking yourself)\nYou are always self-possessed.\n\n> Plant tree\nThe ground here is too rocky.\n\n> You check what you're carrying\nYou are wearing your possum skin hat.\nYou are carrying a white gum seedling.\n\n> Go northwest\nVerge (beside the road)\nYou've come up a steep incline onto a cleared dirt verge beside the mountain summit road. This is a bend in the gravel road, which runs on and up towards the north like a ragged scar across the face of the mountain, and back to the southwest where it winds its way steadily down through the foothills and towards the city. On the far side of the road is a ditch, etched out over the years by the elements and run-off. Just beyond the ditch is a sheer cliff several times your height, marking where this part of the road has been cut into the mountain-side. A rocky track leads back down to the southeast.\n\nYou hear your grandmother calling. Your lunch must be ready.\n\n> Plant gum\n(the seedling)\nYou dig a small hole and carefully plant the seedling.\n\n> Go east\nYou are on a rocky track, surrounded by eucalypt forest. The track leads down a gentle slope to the northeast towards your house and continues higher up the mountain to the west.\n\n> You go to the north-east\nYou are at the back door to your grandparents' house which is to the east. The forest extends almost down to the back veranda and a rocky track to the southwest leads back into the bush. Through a window you can see into the kitchen, where your grandmother and grandfather are sitting at the table having lunch. They seem to be arguing about something. You can hear their raised voices. You could probably listen without being noticed.\n\n> You listen\nYou hear your grandparents arguing. As usual, it is your grandmother who has the most to say. She is angry as it seems your grandfather has loaned a lot of money to Mr Timpson, who runs the local store. Your grandmother doesn't think they can spare the money and obviously doesn't think they'll ever see it again. You've never liked Mr Timpson, but you know his father and your grandfather were friends.\n\n> Go east\nAs you open the back door and enter the kitchen your grandparents abruptly stop their argument. Your grandfather looks up from his food, and gives you a conspiratory wink. Your grandmother snorts, and points towards your seat. The air at the table is tense, but you barely notice as you hungrily eat your lunch.\n\nThose days seem such a long time ago now...\n\n> Inventory\nYou are carrying a possum skin hat and the picture-frame.\n\n> You look at the carton\nThe carton contains a number of old possessions scattered loose, including a pile of photographs and various unrelated oddments. The only thing there that holds any interest for you right now is a small brass ornament.\n\n> You examine the ornament\nThe ornament is an ankh. A gift from Nadia.\n\n> You open the frame\nYou lose yourself in thought...\nIt's Saturday and as usual you're at your market stall. You make the journey here once a week to sell old tools, books and assorted junk. The weekly market is set outdoors among the convict-built sandstone buildings near the city's waterfront - once warehouses, seedy pubs and brothels, but now mostly converted to art galleries, craft shops and caf?s. Beyond these colonial buildings and the modest high-rises behind them, you see the mountain - a stark and imposing backdrop to the city, and for once not covered in clouds. The surrounding stalls have brightly coloured awnings, making yours appear somewhat drab in comparison. To the south a busker plays a violin, while from the north come the strains of South American folk music played on guitar and pan-pipes. Nearby, a man dressed as a clown twists balloons into animal shapes.\n\nIt's a hot day and the place is busy, though not for you. You haven't sold a thing all morning. To top it off, Nadia should be here helping with the stall, but you haven't seen her in nearly two days. You wonder what her excuse might be, this time.\n\nAt the Market (behind your stall)\nYou are tending your stall at the weekly outdoor market near the city's waterfront. Nearby, a man dressed as a clown is making balloon animals.\n\n> About you\nAlthough well into your thirties, you're still pretty fit.\n\n> You look at the stall\nYour stall consists of two covered wooden trestle tables, set out with the old tools, books and assorted junk you've brought along to sell.\n\n> You look at the books\nThere is nothing remarkable about any of the items you have for sale. You sometimes have rare, or sought-after stuff, but not today. It's therefore small wonder that you haven't sold anything.\n\n> You sell the books\nI beg your pardon?\n\n> You look at the man\nWhich do you mean, the clown or the busker?\n\n> Clown\nThe clown is twisting helium-filled balloons into the shape of a dog. To entertain the waiting children he sings a nursery rhyme.\n\n\"Hey, diddle, diddle,\nThe cat and the fiddle,\nThe cow jumped over the moon,\nThe little dog laughed to see such sport,\nAnd the dish ran away with the spoon.\"\n\nOn noticing your attention the clown winks, then waves, accidentally bursting one of the balloons in the process and uttering a very un-clown-like exclamation.\n\nAn elderly lady arrives at your stall and begins carefully considering an 'antique' porcelain cat. She looks up as though about to ask something, then changes her mind and hobbles away.\n\n> You examine the busker\nThe busker is an old man, raggedly dressed. He is dancing and playing a jig on a violin. A battered violin case lies open on the ground in front of him. The area around the busker is one of the few uncrowded spaces at the market. The lack of an audience doesn't seem to be concerning him one bit.\n\n> You talk to the busker\nTo talk to someone you should use the form \"TALK TO person ABOUT topic\".\n\nYou can't help noticing that the clown is having more problems with his balloon animals. It's always reassuring to see someone having a worse day than you.\n\n> You talk to the clown about the balloons\nThe clown is preoccupied and doesn't respond.\n\nThings are going very slowly. You really do wonder where Nadia is. You could do with a break.\n\n> You talk to the busker about the violin\nThe busker smiles and plays a little faster."
    },
    {
        "text": "> Look around\nAt the Market (behind your stall)\nYou are tending your stall at the weekly outdoor market near the city's waterfront. It's a bright, sunny day and the place is bustling with activity. Beyond the colonial sandstone buildings that line the marketplace and the modest high-rises behind them, you see the mountain. Nearby, a man dressed as a clown is making balloon animals. To the south a raggedly dressed busker plays a violin, while further away to the north a crowd gathers around a band playing South American folk music.\n\n> You examine the crowd\nThe market is a lively place today. It's bustling with people from all walks of life.\n\n> You look at the band\nThe band are dressed in traditional South American costume, brightly coloured woollen hats and ponchos, and must be sweltering on a day like today. There is a large crowd gathering to hear their music."
    },
    {
        "text": "[Themes: Slice of life, Australian]\n\n> Look around\nAt the Market (behind your stall)\nYou are tending your stall at the weekly outdoor market near the city's waterfront. It's a bright, sunny day and the place is bustling with activity. Beyond the colonial sandstone buildings that line the marketplace and the modest high-rises behind them, you see the mountain. Nearby, a man dressed as a clown is making balloon animals. To the south a raggedly dressed busker plays a violin, while further away to the north a crowd gathers around a band playing South American folk music.\n\nA man dressed in overalls walks by. He suddenly notices something among the old tools you've laid out on a trestle table. \"Hey, I haven't seen one of those in years!\" he exclaims. Then he laughs and disappears back into the crowd.\n\nThrough the crowds you catch a glimpse of Nadia. She seems to be heading your way, and has someone with her.\n\n> You examine him\nThe busker is an old man, raggedly dressed. He is dancing and playing a jig on a violin. A battered violin case lies open on the ground in front of him. The area around the busker is one of the few uncrowded spaces at the market. The lack of an audience doesn't seem to be concerning him one bit.\n\nNadia pushes her way through the crowd and arrives at your stall. She's wearing a thin, ankle-length blue dress and is well bedecked with jewellery - gaudy paste rings, gold-coloured bangles and bands coiled around her bare arms and large lapis lazuli earrings shaped like asps. At her side is someone you haven't met. He's a youngish man, perhaps in his early twenties, tall and athletic - all chin, with a physique that looks as though it could have been carved from marble - and a crop of short dark curly hair. Nadia has a firm grip on his elbow.\n\n\"Hello, Jack.\" (There's that smile.)\n\n\"'lo, Nadia. It's been a while. Are you going to introduce us?\" You glance towards her companion.\n\n\"This is Mark,\" says Nadia. \"He's an artist. Mark, meet Jack. Jack Downer.\"\n\n\"Hello, Mark.\"\n\n\"Er...It's Michael, actually...,\" stammers Nadia's friend.\n\n\"You're Mark Anthony,\" corrects Nadia, and he nervously shifts his feet.\n\n\"I see,\" you reply, then turning to Nadia - \"And you are...?\"\n\n\"I was Cleopatra, of course. Time moves on, Jack, and we must move with it. We had our share of good times, but now it's over. You know it as well as I. Mark and I are going up to the house to get my stuff. I came to say good-bye.\"\n\nFor once you find yourself lost for words. Looking away from Nadia's face your attention is drawn to the brass ankh she wears around her neck. She once bought it for you as a present, a symbol, as she put it, \"of the life-energy we share\". Needless to say, you thought it looked better on her.\n\n> You ask Mark about her\n(Nadia)\n\"Don't you worry about Nadia. I'll look after her.\"\n\n> You ask Nadia about us\n\"We had our time, Jack. Some of it was fun. I'm with Mark now.\"\n\n> You beat the the shit out of mark\n[The story read that as \"eat the shit out of mark\"].\nYou see no the here.\n\n> You give the ankh to Nadia\n(first taking the ankh)\n\n\"Hey, if you wanted the ankh back, you only had to ask.\" Nadia takes off the ankh, unthreads it from its chain and hands it to you. \"Good-bye, Jack.\" She turns and walks back into the crowd, 'Mark' in tow.\n\nYou'd considered throwing the thing away. But, of course you never did...\n\n> You press the space\nEverything melts away...\n\n...and you find yourself back in your living room.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\nIt is getting late in the day. The shadows in the room are lengthening.\n\n> You hit Mark\nYou take a wild swing at 'Mark' and manage to get a lucky punch right on that marble chin of his. Buoyed by this success and barely able to resist a gleeful cackle, you circle him looking for another opening. But that's where everything starts to go pear-shaped. Within a few seconds you're lying flat on your back in front of your stall, bleeding profusely from the nose. Nadia looks totally disgusted with both of you and turns to leave. As she does so she takes off the ankh, unthreads it from its chain and drops it on your blood stained T-shirt. \"You always were a fool, Jack. I think you've got more need of this than me.\" She turns and walks back into the crowd, alone.\n\nIt didn't happen that way, of course, but hey, perhaps it should have...\n\nYou'd considered throwing the ankh away. But, you never did...\n\n> You look at the carton\nThe carton contains a number of old possessions scattered loose, including a pile of photographs and various unrelated oddments. There is nothing there that holds any interest for you right now."
    },
    {
        "text": "[Themes: Slice of life, flashback]\n\n> You look at your surroundings\nAt the Market (behind your stall)\nYou are tending your stall at the weekly outdoor market near the city's waterfront. It's a bright, sunny day and the place is bustling with activity. Beyond the colonial sandstone buildings that line the marketplace and the modest high-rises behind them, you see the mountain. Nearby, a man dressed as a clown is making balloon animals. To the south a raggedly dressed busker plays a violin, while further away to the north a crowd gathers around a band playing South American folk music.\n\nThrough the crowds you catch a glimpse of Nadia. She seems to be heading your way, and has someone with her.\n\n> You find the weapon\n[The story read that as \"in weapon\"].\nI only understood you as far as wanting to in.\n\n> You examine the stall\nYour stall consists of two covered wooden trestle tables, set out with the old tools, books and assorted junk you've brought along to sell.\n\nNadia pushes her way through the crowd and arrives at your stall. She's wearing a thin, ankle-length blue dress and is well bedecked with jewellery - gaudy paste rings, gold-coloured bangles and bands coiled around her bare arms and large lapis lazuli earrings shaped like asps. At her side is someone you haven't met. He's a youngish man, perhaps in his early twenties, tall and athletic - all chin, with a physique that looks as though it could have been carved from marble - and a crop of short dark curly hair. Nadia has a firm grip on his elbow.\n\n\"Hello, Jack.\" (There's that smile.)\n\n\"'lo, Nadia. It's been a while. Are you going to introduce us?\" You glance towards her companion.\n\n\"This is Mark,\" says Nadia. \"He's an artist. Mark, meet Jack. Jack Downer.\"\n\n\"Hello, Mark.\"\n\n\"Er...It's Michael, actually...,\" stammers Nadia's friend.\n\n\"You're Mark Anthony,\" corrects Nadia, and he nervously shifts his feet.\n\n\"I see,\" you reply, then turning to Nadia - \"And you are...?\"\n\n\"I was Cleopatra, of course. Time moves on, Jack, and we must move with it. We had our share of good times, but now it's over. You know it as well as I. Mark and I are going up to the house to get my stuff. I came to say good-bye.\"\n\nFor once you find yourself lost for words. Looking away from Nadia's face your attention is drawn to the brass ankh she wears around her neck. She once bought it for you as a present, a symbol, as she put it, \"of the life-energy we share\". Needless to say, you thought it looked better on her.\n\n> Smack nadia\n[The story read that as \"ask nadia\"].\nWhat do you want to ask Nadia about?\n\n> Punch nadia\nNothing would be gained from resorting to violence against Nadia.\n\nAn elderly lady arrives at your stall and begins carefully considering an 'antique' porcelain cat. She looks up as though about to ask something, then changes her mind and hobbles away.\n\n> Kiss nadia\n\"It's too late for that now, Jack.\" Nadia keeps her distance.\n\n> You ask Nadia about the stall\n\"I'm sorry about leaving you in the lurch with the stall, but nobody buys this junk any more anyway. Perhaps you should give it up.\"\n\n> You ask Nadia about the ankh\n\"The ankh? Sorry, Jack. I'd forgotten It was yours.\" Nadia takes the chain from around her neck, unthreads the ankh and hands it to you. \"Good-bye, Jack.\" She turns and walks back into the crowd, 'Mark' in tow.\n\nYou'd considered throwing the thing away. But, of course you never did...\nEverything melts away...\n\n...and you find yourself back in your living room.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> You ask Michael about himself\n[The story read that as \"ask michael about smile\"].\n'Mark' has nothing to say about that.\n\n> You ask Mark about Mark\n'Mark' has nothing to say about that.\n\nNadia seems to recall your attention on the ankh. \"Oh, I nearly forgot. This is yours.\" She takes the chain from her neck, unthreads the ankh and hands it to you. \"Good-bye, Jack.\" Nadia turns and walks back into the crowd, 'Mark' in tow.\n\nYou'd considered throwing the thing away. But, of course you never did...\nEverything melts away...\n\n...and you find yourself back in your living room.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\n> Inventory\nYou are carrying a cardboard carton, an ankh, a possum skin hat and the picture-frame.\n\n> You wear the ankh\nThere is no obvious way of putting it on. It has no chain.\n\n> Kiss melanie\n\"Get off, Jack. No time for that. Get going. It'll be dark soon.\"\n\nMel pushes you away.\n\n> Curse\n[The story read that as \"curses\"].\nHaving vented your frustration, you feel a little better.\n\n> Xyzzy\nNothing happens.\n\nMelanie looks at you impatiently.\n\n> You hit melanie\n\"I'm sorry about the picture. You know I don't like having my photo taken.\"\n\nViolence is rarely the answer.\n\n> You ask Melanie about the smile\n\"I'm sorry about the picture. You know I don't like having my photo taken.\"\n\n> You ask Melanie about the waterfall\n\"This place is okay, I guess. I know it's special to you, but give me the city any day.\""
    },
    {
        "text": "[Themes: Slice of life, flashback, Australian]\n\n> You look at your surroundings\nYou are carrying a day pack (which is closed).\n\nWooden deck (near the waterfall)\nYou stand on a wooden deck at the base of a waterfall. A walking track heads east to the car park. A narrower track leads north towards the top of the falls. Melanie is here with you.\n\nMelanie is looking angry.\n\n> You look at Melanie\nYou open the day pack, revealing your camera and some sandwiches.\n\nMelanie avoids your gaze and looks out over the rail towards the falls. She is frowning.\n\n> You look at falls\nThe waterfall is tall, narrow, and bordered by thick rainforest vegetation. The water cascades down two outcrops of mudstone into a shallow pool at the base. Below the observation deck the pool narrows into a swift-flowing stream running east.\n\n\"Well, go on then. Up you go. What are you waiting for?\"\n\nMelanie stamps her foot.\n\n> You give the sandwiches to Melanie\n(first taking the sandwiches)\n\"I'm not that hungry right now,\" says Melanie. \"Save them for later.\"\n\n> Go north\nYou hand Melanie the day pack, smile broadly, then turn and start towards the top of the falls. You're able to set a brisk pace initially but are forced to slow as the path narrows and becomes more steep and slippery. The last few metres are a scramble and you clutch at roots and ferns to gain purchase.\n\nOnce at the top, you inch your way out along a fallen log towards the edge of the falls and look down through the spray to the observation deck. You are about to wave, but Melanie is nowhere in sight.\n\nTop of falls (on the log)\nYou stand precariously on a fallen log jutting out over the edge of the falls.\n\n> You look at the falls\nIt looks like a long way down from here.\n\n> You jump\nJumping from the top of the waterfall would certainly make a dramatic statement. But \"of what\", you are not sure.\n\n> You look at the log\nThe log is wide but slippery. It juts out over the edge of the falls.\n\n> Yell\n[The story read that as \"tell\"].\nI didn't understand that sentence.\n\n> You examine the deck\nYou can see the observation deck through the spray below. Melanie is no longer there.\n\n> You look at the forest\nThe rainforest is dark, still and damp. A canopy of giant myrtle-beeches and sassafras arches overhead, above leatherwoods and tree-ferns. Both the trunks of trees and the forest floor are covered in mosses and lichens. The rainforest floor is dappled with brightly coloured fungi. Undergrowth prevents you from straying far from the paths.\n\n> You jump\nJumping from the top of the waterfall would certainly make a dramatic statement. But \"of what\", you are not sure.\n\n> Inventory\nYou are carrying some sandwiches.\n\n> You cry\n[The story read that as \"c\"].\n(the sandwiches)\nNothing of interest occurs to you.\n\n> You eat the sandwiches\nYou eat the sandwiches. Not bad."
    },
    {
        "text": "[Themes: Slice of life, contemplative, Australian]\n\n> Look around\nTop of falls (on the log)\nYou stand precariously on a fallen log jutting out over the edge of the falls."
    },
    {
        "text": "> Go downwards\nYou leave the log and scramble back down the path.\n\nWooden deck (near the waterfall)\nYou stand on a wooden deck at the base of a waterfall. A walking track heads east to the car park. A narrower track leads north towards the top of the falls. Melanie is no longer here.\n\n> You go east\nAs you start back along the path towards the car park you hear a rustle in the undergrowth nearby, and catch a quick glimpse of something moving away. You're out of breath by the time you catch up to Melanie, part way back along the track. She is crouched on one knee, examining the other, which seems to have been grazed.\n\n\"Hey, Melanie! What's happened? What have you done to yourself?\" There is little sympathy in your voice.\n\nMelanie looks up, startled. \"What do you care, you bastard? Look at this,\" she gestures at her knee. \"This is your fault. I was ready to go, Jack. And if you'd listened, I wouldn't have been scared half out of my wits. There was some creature back there, near the waterfall - in the bush. It charged out at me.\"\n\n\"It was a pademelon, Mel. I saw it.\"\n\n\"A what?\"\n\n\"A pademelon. A wallaby.\"\n\n\"Look Jack, I don't care what it was. I'm a city girl, remember. At least in town if something jumps at me I've a fair idea what it is and what it's after. I've had enough of this bush shit for one day. Let's get back to the cottage, ok?\"\n\nYou are on a walking track that leads east to the car park. Melanie is here, crouched on one knee. The day pack is on the ground beside her.\n\n> You examine the knee\nThe knee has a nasty graze.\n\n> You look in it\nIn the day pack is your camera.\n\n> You kiss knee\n\"Ouch! That hurts.\" Melanie winces. \"Just help me up will you?\"\n\n> You look at the fire\nIt's a pot-bellied wood stove. A fire blazes within and there is a supply of firewood beside it.\n\n> You examine the shadows\nThey are eerie.\n\n> You stand\nYou are already standing.\n\n> You go to the west\nLiving Room (West)\nThis area of your living room doubles as a kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\n> Sleep\nYou can keep awake no longer.\nBut you know you can't go to bed until you've seen to the fire. So you drag yourself up from the bed, walk wearily to the wood stove and build up the fire before heading back to your bedroom. After climbing into bed you toss and turn for a while then settle into an uneasy sleep...\nAnd in this sleep, you dream...\nIn your dream you are Akhnaten, the pharaoh of Nadia's fancy, standing on a sandy shore gazing out over dark waters. You are dressed in white robes, in your right hand is a flail, and in your left is a shepherd's crook. The night sky is a terrible serpent that slithers and uncoils above you, blood leaching from its foul skin into the waters of the East. There are four sealed jars laid out on the sand before you, and from your side come the guttural sounds, the snufflings and snarls, of some kind of animal, or worse. Reeds grow about you, wrapping themselves around your feet, tugging at your ankles.\n\nBut you know that you must not shift your gaze from the horizon, not at any cost.\n\nYou stand on a sandy shore, gazing out through darkness to the horizon in the East. There are four sealed jars set on the sand before you. Something is growling beside you, and reeds grow about your feet, wrapping themselves around your ankles.\n\n> You watch the horizon\nYou are watching the eastern horizon for Matet, the boat of Ra the sun god, that will take you to the afterlife. And not without some trepidation. With the benefit of hindsight you wonder at the wisdom, during your reign, of banning the worship of Ra and the rest of the panoply of Egyptian gods in favour of Aten, a single god of your own invention.\n\nThen again, even pharaohs make mistakes.\n\nHow long must you wait? Surely, it can't be long now.\n\n> About yourself\nYou are wearing white robes and carrying a shepherd's crook and a flail.\n\nYou are becoming aware of a burning sensation in your chest.\n\n> You touch the chest\nYou drop the flail and reach beneath your robes with your right hand. You can feel the jagged edges of the flesh of your chest-wall, and beneath that, nothing, an empty cavity. This doesn't auger well for your meeting with Osiris (the weigher of hearts).\n\n> You touch the heart\nSurely, morning must come soon...\n\nYou awake before dawn and lie in your bed in the dim half-light of early morning listening to the gentle spattering of sleet or snow against the windowpane. You are lying on your back with your arms folded across your chest. Normally, you sleep curled on your side, or sprawled on your stomach. You are also bathed in sweat.\n\nBedroom (on the bed)\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> About yourself\nYou are 55 years old, but look (and feel) much older. You are wearing your coat.\n\nYour stomach rumbles. There's no food in the house. Like it or not, you know you'll have to brave the cold today and go to the store to buy some supplies.\n\n> You feel yourself\nIf you think that'll help.\n\n> You pull the box\n(the cardboard carton)\nNothing obvious happens.\n\n> You look under the bed\nThere is a metal box under your bed.\n\n> You take the roll\nYou take a roll of fifties.\n\n> Close box\n(the metal box)\nYou close the metal box.\n\n> You put the roll in the pocket\nYou put the roll of $50 notes in your coat pocket.\n\n> Inventory\nYou are carrying a cardboard carton, an ankh, a possum skin hat and the picture-frame.\nIn a coat pocket you have a roll of $50 notes.\n\n> PUT ANKH, HAT, FRAME IN CARTON\nankh: Done.\npossum skin hat: Done.\nphotograph: The photograph belongs on the mantel.\n\n> You drop the carton\nYou place the picture back on the mantel.\nDropped.\n\n> You go west\nWith barely a backwards glance at the photograph on the mantel, you step out of the door and onto the path. Fresh snow is beginning to settle on the gravel. It crunches under your feet as you walk, and dark clouds billow up over the mountain, obscuring the stars.\n\nYou are on the gravel path near your front door, which is to the east. The path leads north to your driveway and continues south to your yard. The trees of the surrounding forest come nearly to the edge of the path.\n\n> Go north\nYou are standing at the bottom of your driveway. The drive heads up to the northwest. Leading off the driveway to the south is a path that takes you around to the front of the house. Your old Landcruiser is parked here, near the house.\n\n> You enter the car\n(the Landcruiser)\nYou get into the Landcruiser.\n\n> You examine the car\n(the Landcruiser)\nThe inside of your Landcruiser is as tatty as the outside. The front seats are torn and dirty, and those of the rear have long since been removed altogether to give you more carrying capacity.\n\n> You drive\nYou'll have to say which compass direction to go in.\n\n> Go northwest\nThe Landcruiser coughs into life and in a shower of gravel, rattles on up towards the road, windscreen wipers waving noisily. At the top of your drive you turn and start the winding descent towards the store. As you drive you sit forward, hunched over the steering wheel, pot-holes jarring your craned neck as you struggle to make out the line of the road. The snow is falling more heavily now, making visibility poor.\n\nMountain road (in the Landcruiser)\nYou're heading south along a narrow stretch of the mountain summit road. This part of the road has been cut from the mountain-side. It has rocky cliffs rising on its western edge and drops away sharply into the forest to the east. The road here is badly corrugated, making driving difficult.\n\n> Go south\nSuddenly, out of nowhere, a wallaby jumps onto the road in front of you, is caught briefly in the headlights and then is gone, in one bound, back into the bush. As you swerve to avoid it the Landcruiser leaves the road, coming to rest heavily in a ditch. You gun the engine and press the accelerator to the floor, a spray of yellow mud erupting from the wheel-arches as the vehicle slues further from the road.\n\nFor a while you sit rigid and unmoving in the cabin of the Toyota, then with a deep sigh, you kill the engine and relax your white-knuckled grip on the wheel. With resignation you begin to feel all tension and panic drain away, and with them, all resolve and sense of purpose. \"Bloody wallaby,\" you mutter to yourself. You gaze absently at the criss-crossed patterns of ice forming in the arcs of the still screeching wiper-blades, and at the sleet and snow hitting the windscreen like glass bugs.\n\n> You examine the tree\nIt's a tall white gum tree.\n\n> You go outside\nAs you step from the Landcruiser you find yourself thankful for the fact that it is equipped with a winch.\n\nYou are standing near your Landcruiser. The vehicle rests precariously with one rear wheel in a ditch and the opposing front wheel high in the air. Near the Landcruiser, to the west, rises a cliff and on the opposite side of the road is a dirt verge. The gravel road heads back to the north, and leads on around the bend to the southwest. There is a tall white gum eucalypt growing on the verge.\n\n> Go southwest\nIt is too far to walk to the store from here.\n\n> You get the cable\nYou take the end of the winch cable.\n\n> You attach winch to the tree\nHaving attached the winch to the tree, you pull the four-wheel-drive free of the ditch. Then in a flurry of gravel and snow you continue down the road towards Timpson's store. You drive carefully, but still have to fight for grip on the ice and snow. By the time you swing into the small parking bay at the front of the store you're sweating profusely and your fingers ache from gripping the wheel. It would be well into the morning by now, but the weather has closed right in and it is still quite dark. The mountain slopes above you are completely obscured by clouds.\n\nOutside Timpson's store (in the Landcruiser)\nYou are sitting in your Landcruiser parked at the front of Timpson's store which is to the west. The store is a somewhat dilapidated double-storey weatherboard building with a veranda, and an old advertising hoarding out the front. The shop itself is on the ground floor. Bill Timpson lives above it. The summit road heads back to the northeast and continues as a sealed road towards the small local township to the south.\n\n> You enter shop\n(the store)\nI don't think Bill Timpson would appreciate a ram-raid on his store. Perhaps you should get out of the four-wheel-drive first.\n\n> Go outside\nYou turn off the engine, jump from the Landcruiser, and quickly climb the two steps up to the front veranda of the shop. It's only when you get to the door that you notice the rough cardboard sign tacked to it.\n\n> You read the sign\nThe sign says, \"CLOSED\".\n\nThe wind whistles through the uprights of the veranda, whipping the falling snow into circles that dance at your feet as you stand staring at the sign. You feel your temper rising.\n\n> You look at the sign\nThe sign says, \"CLOSED\".\n\n> You knock on the door\n(the front door)\nYou pound at the door, perhaps more vigorously than was necessary. Several moments later you hear the sound of a window being opened above you.\n\n\"Go, away! It's Sunday. We're closed.\" It's Timpson. In frustration, you pound the door again.\n\n\"Look, I mean it, whoever you are. Get lost. Now!...or I call the police.\"\n\nYou step back from the veranda and look up to the second-storey window where you see, glaring down at you, a tiny wisp of a man, dressed in pyjamas.\n\n\"Oh, it's you, Downer y'mad bugger. Well, we're closed. So you'd better go back to that mud hut of yours.\"\n\n> You tell him about the hunger\n\"I can't help you, Jack. It's Sunday. Go home.\"\n\n> You ask him about the grandpa\nAt the mention of your grandfather Timpson softens noticeably. He hesitates for a moment, then glances skywards, before saying, \"Yeah okay, Jack. Just this once, for your granddad's sake. I owe him. But if you've damaged my door with all that banging, I'll take it outta ya hide. I'll be down in a minute.\" He steps back from the window, pulls it shut and draws the curtain. A short time later you hear the front door being unlocked and opened.\n\n> You go to the west\nTimpson keeps a musty, old-style, general store. The place hasn't changed much since you first came here with your grandparents all those years ago. Then, he used to keep a sweet jar on the counter, and you wondered whether one day he might offer you one. But, of course, he never did. You somehow still feel like that child whenever you come here. The old man doesn't keep a lot of stock, but he generally has most of the basic food and hardware items you need. Timpson is standing behind the counter, still in his pyjamas.\n\n\"Well?\" he asks.\n\n> You buy the food\nYou quickly select the supplies you need, pay for them with a couple of the fifties from the roll you carry in your coat pocket and turn to leave the store. As you reach the veranda with your bag of purchases you suddenly become disoriented, and falter in your step. For an instant your vision blurs and a wave of nausea sweeps over you. Beads of sweat form on your brow. Timpson comes out from behind his counter.\n\n\"You alright, Downer? You look as though you seen a ghost.\"\n\nThe feeling passes.\n\n\"Yeah, Bill. I'm fine. See you, Timpson.\" You step down from the veranda as Bill Timpson shakes his head, then closes and locks the door to his store.\n\nYou are at the front of Timpson's store which is to the west. The store is a somewhat dilapidated double-storey weatherboard building with a veranda, and an old advertising hoarding out the front. The shop itself is on the ground floor. Bill Timpson lives above it. There is a sign tacked to the front door (which is closed). The summit road heads back to the northeast and continues as a sealed road towards the small local township to the south. Your Landcruiser is parked nearby.\n\n> Inventory\nYou are carrying a large paper bag.\nIn a coat pocket you have a roll of $50 notes.\n\n> You eat the food\nYou think about getting something out of the bag and eating it on the spot, but then decide you should wait until you get into your house at least.\n\n> You enter car\n(the Landcruiser)\nYou climb into the Landcruiser and put your supplies on the passenger's seat beside you.\n\n> You drive\nYou'll have to say which compass direction to go in.\n\n> You drive ne\nThe drive home is not going to be easy. You drive cautiously, at a crawl. Your progress is not only threatened by the weather, but by something else as well - you are having trouble maintaining your concentration, sweat from your palms loosens your grip on the wheel and there is a pounding in your head. You wonder if you might be going mad. Eventually you make it safely back to your driveway.\n\nBottom of driveway (in the Landcruiser)\nYou are sitting in your Landcruiser parked at the bottom of your driveway. The drive heads up to the northwest. Leading off the driveway to the south is a path that takes you round to the front of the house. Your bag of supplies is on the passenger's seat beside you.\n\n> You get the food\nTaken.\n\n> Leave\nYou step from the vehicle with your bag of supplies. You are feeling very unwell.\n\nYou are standing at the bottom of your driveway. The drive heads up to the northwest. Leading off the driveway to the south is a path that takes you around to the front of the house. Your old Landcruiser is parked here, near the house.\n\n> You enter the house\nThe front door to the house is to the south.\n\n> You go south\nYou are on the gravel path near your front door, which is to the east. The path leads north to your driveway and continues south to your yard. The trees of the surrounding forest come nearly to the edge of the path.\n\n> You go east\nAs you enter the house you find yourself breathing heavily and fighting back fatigue. You put the bag of supplies down on the kitchen floor, then look towards the mantel and feel some composure return at the sight of the photograph sitting there. But you quickly begin to feel uneasy. Something about the photograph isn't right.\n\nLiving Room (West)\nThis area of your living room doubles as a kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\nThere's a bag of supplies on the floor near the door.\n\n> You go to the east\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nThere is a cardboard carton here.\n\nAn old pine mantel leans against the wall near the window. On the mantel you see a photograph.\n\n> You look at the picture\nYou take the frame in both hands, then as you stand there your hands begin to tremble, sweat pours into your eyes and your mind is numbed by the clamour of your racing heart and the rattle in your chest. You stare in disbelief at the photograph, rub the sweat and tears from your eyes with your sleeve, then look again - at the smile.\n\nWith a grimy, callused finger you prod the picture trying to wipe away the smile on Melanie's face, that small nervous smile of relief so often recalled in your memory, the smile that you know can not be there, because it happened after the picture was taken. But the smile is not the only change in the photograph. You can also see your own arm reaching towards the camera.\n\n> You look at the arm\nIn horror, you drop the photograph, the frame smashing on contact with the floor, then you back away towards the bedroom. Lying in a foetal position, your body heaving, you fall into a long, deep dreamless sleep - the sleep of the dead...\n\n> You press the space\nThe discovery of the photograph had been largely fortuitous. Some time after the onset of your depression, you had been sitting in your armchair feeling choked by the clutter that surrounded you and had resolved to do something about it. Your clean up began with a dust covered cardboard box of old possessions from before your return to the mountain, and that was as far as you got. As you went through the contents of the box you came across a number of photographs scattered loose, among them the photo of Melanie and yourself at the waterfall. For a moment you had trouble recalling the photograph, where it had been taken, and even who the girl was that you were with. Then you remembered, and were instantly overwhelmed by feelings of melancholy and nostalgia. It was an almost palpable experience, like breaking open an exotic fruit and being immersed in the smell of its rich fleshy pulp - sickly sweet, but turning at the core. The scene in the photograph, which you had barely given a thought for years, was instantly transformed into a pivotal moment; while only one point in the millions that had made up your life, for you it became the critical one, the point where your life had started to go wrong.\nYou made a frame for the photograph, and set it in a prominent position on the mantel. Over the following months you became more and more drawn to the picture, spent increasing amounts of time looking at it, running the frame through your hands, and running the events of that day and evening through your mind, thinking about how they might have been different. In time, you came to reinterpret everything that had happened before the day of the photograph as preparation for that moment and everything after as a mistake. Your waking hours were spent striving to regain the moment, and set it to rights in your mind. The world and your needs within it paled into insignificance, were merely inconvenient distractions from your true focus. And you became increasingly frustrated by the fact that with each passing hour you were a little further from the only junction in your life that had mattered, the only point where you could have put your life back on track...\n\nYou open your eyes to find that you are once more lying on your back, feet together with arms folded across your chest. It is daylight and bright. You can hear the calls of birds outside. You feel strangely calm and rested, your breath coming easily and without pain. Even your hunger has abated. You have not forgotten the photograph lying in its shattered frame in the next room, but you don't feel pressed to do anything about it. There is no rush.\n\nA huntsman spider crawls along the beam above your head, towards a fly at the opposite end. The fly is caught in the strand of another spider's web, and it spins noisily and stupidly, like a fish on a hook. You are resigned to the fly's fate well before it is, and look away no longer interested before the spider reaches it.\n\nBedroom (on the bed)\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> You check what you're carrying\nYou are carrying nothing, but in a coat pocket you have a roll of $50 notes.\n\n> You get up\nAs you climb out of bed, you feel well in yourself but your movements seem impeded, as though the air around you had taken on a viscous quality - not requiring any extra effort to move through but somehow slowing your progress nonetheless.\n\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> You go to the south\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThe picture-frame is lying broken on the floor.\n\nThere is a cardboard carton here.\n\n> You look at the photo\nTaking care to avoid the broken glass you bend down to look at the photograph. You brace yourself for what you might see, anticipating that your heart may skip a beat. The smile is still there, although it is different, the angle of Melanie's head having altered. And there in your right hand is your camera that the German tourist used to take the shot.\n\n> You take the photo\nCarefully avoiding the broken glass you bend down and pick up the picture-frame. While the glass has shattered and the frame itself is broken, you realise that they would be repairable.\n\n> You examine melanie\nMelanie is smiling.\n\n> You examine Jack\nA fool, clearly."
    },
    {
        "text": "> You look at your surroundings\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\n> You examine photo\nThe smile is still there, although it is different, the angle of Melanie's head having altered. And there in your right hand is your camera that the German tourist used to take the shot.\n\n> You examine the hat\nThe hat is made from possum skin.\n\n> You listen\nYou hear birds singing."
    },
    {
        "text": "[Themes: Slice of life, flashback]\n\n> You stand\nYou get out of the armchair.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\n> Go outside\n(first opening the back door)\n\nYou are on a wooden balcony that looks out over a river valley. An open door to the west leads back into the house. The ground beneath the balcony is covered with snow, but it is a bright sunny day.\n\n> You examine tree\n(the tree)\nIt's a tall blue gum eucalyptus tree.\n\n> You check your inventory\nYou are carrying the picture-frame (which is broken).\nIn a coat pocket you have a roll of $50 notes.\n\n> You take the photo\nYou already have that.\n\n> You look at the frame\n(the photograph)\nThe smile is still there, although it is different, the angle of Melanie's head having altered. And there in your right hand is your camera that the German tourist used to take the shot.\n\n> Tear photo\n[The story read that as \"eat photo\"].\nThat's plainly inedible.\n\n> Go west\nLiving Room (West)\nThis area of your living room doubles as a kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\nThere's a bag of supplies on the floor near the door.\n\n> Cook\nWhat do you want to cook?\n\n> You cook food\nYou have other things on your mind at present.\n\n> You eat food\nYou are quite hungry, but there's no rush. You're content to wait until after you've repaired the picture-frame.\n\n> You fix the frame\n(the photograph)\nThere is nothing here to repair it with.\n\n> You search the clutter\nYou'd never be able to find anything amongst this junk.\n\n> Empty bag\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\nYou see no bag here.\n\n> You search clutter\nYou rummage around in the junk for a while. But you find nothing of interest.\n\n> You go to the south\nYard (West)\nYou are in the yard that runs along the side of the house. It's a rough, steep bush block, and scattered about are the rusting carcasses of motorbikes, broken machinery and other past follies. The yard slopes down to the east and the path leading to the front door is to the north. There is a thick covering of snow on the ground.\n\n> Go east\nYard (East)\nYou are in the yard that runs along the side of the house. It's a rough, steep bush block, and scattered about are the rusting carcasses of motorbikes, broken machinery and other past follies. The yard falls away very sharply further to the east. To the north is the door to your workshop which is under the house, and the yard extends back to the west. There is a thick covering of snow on the ground.\n\n> You go east\nThe slope to the east is steep and slippery. You don't feel inclined to go down there right now.\n\n> Go north\n(first opening the workshop door)\n\nYour workshop has an old wooden workbench, paint spattered and generally well used. The walls and almost every surface of the room are covered with tools, tins and containers. There is a single grimy window near the only exit, which is to the south.\n\n> You look at the bench\nIt's a large solid wooden workbench, that is covered with spatters of paint and other scars of past work. It was on this bench that you made the frame for the photograph.\n\n> You examine the tools\nThe workshop is full of tools of every size and type. Many are hung from the walls on wire hooks.\n\n> You fix the frame\n(the photograph)\nYou put the frame down on the workbench and get the tools you'll need. Having selected your tools, you begin by removing the remaining shards from the picture-frame, then you carefully fix the joins in the wood of the frame and cut and fit a new piece of glass.\n\n> Repair frame\nAs you work you glance at the photo, trying to discern movement in the scene. While not noticing any changes in the picture as you watch it, you find that after looking away to get a piece of glass or a tool and returning to the scene there seem to be minute differences in detail in the spray from the waterfall, the refraction of light through the trees, or the features or posture of Melanie and yourself.\n\nYou work slowly, wanting to make it as good as it was, and when finished you put away your tools and pick up the restored frame.\n\n(the photograph)\nYou have already mended the picture-frame.\n\n> Go south\nYard (East)\nYou are in the yard that runs along the side of the house. It's a rough, steep bush block, and scattered about are the rusting carcasses of motorbikes, broken machinery and other past follies. The yard falls away very sharply further to the east. To the north is the door to your workshop which is under the house, and the yard extends back to the west. There is a thick covering of snow on the ground.\n\n> You cook the food\nYou take what you need from the bag of supplies and prepare a good solid breakfast, your first decent meal in weeks. You feel relaxed and in control as you prepare, then eat your meal. You feel as though you've been relieved of all your worries. Your approach to the activities of the day has been unhurried, and conducted with a degree of ceremony, as though in deference to fate. You really feel like Nadia's Egyptian king, with your final die cast and with organs safely tucked into jars, awaiting the arrival of the boat of Ra.\n\nYou finish your meal and pick up the photograph. The changes in the scene have now become obvious - your head is fully turned towards the waterfall and your left arm is extended, pointing towards the top of the falls, while the smile on Melanie's face has gone, replaced by the beginnings of a frown.\n\n> You look at photograph\n(the photograph)\nIn the photograph, you are now standing with your left arm pointing towards the waterfall. Melanie has begun to frown.\n\n> You look at the frown\nMelanie is frowning.\n\n> You put the frame on the mantel\n(the photograph on the mantel)\nYou don't want to let the photograph out of your grasp right now.\n\n> You sit\nYou sit back in your armchair.\n\nYou're becoming increasingly conscious of an odour of stale sweat from your clothes.\n\n> You stand\nYou get out of the armchair.\n\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\n> Go west\nLiving Room (West)\nThis area of your living room doubles as a kitchen. There is a small sink here, a gas stove, refrigerator and a cupboard. Your bathroom is to the north and a door to the west leads outside.\n\nThere's a bag of supplies on the floor near the door.\n\n> You take the shower\n[The story read that as \"take her\"].\nYou can't see \"her\" (Melanie) at the moment.\n\n> You look at the fire\nIt's a pot-bellied wood stove. The fire has almost burned out. There is a supply of firewood beside it.\n\n> You tend fire\n[The story read that as \"mend fire\"].\nThat is not in need of repair.\n\n> You take the firewood\nYou take the firewood, set the fire then close the stove and sit back in the armchair with the photograph.\n\nThroughout the rest of the day you sit there following the couple's slow progress back along the track. You afford yourself a wry chuckle as the startled pademelon bounds across the path in front of them - Melanie jumping and the boy comforting her, then their laughter at the episode. You can almost feel the shape of her through her clothes, the sparkle and comfort of her presence beside you. The rate of change in the photograph has increased steadily through the day, more a slow motion movie than portrait by day's end.\n\nWhile it is hard to drag yourself away, in time you find yourself too tired to go on watching the scene.\n\nLiving Room (East) (in the armchair)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window.\n\nThere is a cardboard carton here.\n\n> You examine photo\nThe scene in the photo continues to unfold. But you are now too tired to follow it.\n\n> Sleep\nYou get up from your bed and put the photograph on the mantel. Then you close the balcony and front doors, before heading back to your bed. You sleep fitfully. While awake you toss and turn, noticing the increasing lag in your movements and feeling like an insect caught in a web or trapped in hardening resin. But you understand the reason for this feeling, and are not concerned. The one thing that does concern you is missing something in the developing scene in the next room, and so you leave your bed well before dawn.\n\nThis is your bedroom. The only furnishings are a wardrobe and your bed. There is a window facing north and the living room is to the south.\n\n> You go south\nLiving Room (East)\nYour living room is full of clutter. Your armchair is here in front of the wood stove. A doorway to the north leads to your bedroom and the living area continues west. The back door is to the east.\n\nAn old pine mantel leans against the wall near the window. On the mantel you see a photograph.\n\nThere is a cardboard carton here.\n\n> You look at the photo\nYou take the photograph, sit back down in the armchair and look to the scene in the picture.\n\nMelanie and your younger self are eating a meal in the cottage. You watch every mouthful of food as it leaves the plate to their mouths, then the empty forks return to the plate, and you see Melanie's inquiring gaze well before it is noticed by the boy. Then you smile to yourself as the boy looks up into those big dark eyes you know he must drown in, and follows the girl to the bedroom. As voyeur you are with them as they make love, and afterwards you watch them talk in soft tones and laugh at shared jokes as they lie in each other's arms. By the time they are packing the car ready to return to town the scene in the picture is changing at life speed, and you feel as though you are there as they chat and joke on the journey in the car. You tense as they approach a forested turn, anticipating the screech of brakes and thud of impact, but then relax as they round the bend without incident. The pace of the unfolding scene continues to increase. And as the world in the photograph gains momentum you are increasingly aware of things around you slowing down. You have no difficulty in following the couple's return to the city, the boy moving in with Melanie, and something of their first days of living together. While the scene is soon moving too quickly to follow, you know what will happen. You know that you will stay in your legal practice, that you and Melanie will have children, that your lives together will be happy. You have been there many times in your mind and don't need the visual confirmation.\nThe photograph is now only a blur, a rectangle of unrelieved white, and you sit staring and motionless before it, as though embedded in a world of amber...\nEpilogue\nHeather Downer regretted that she had never really got to know her father, and now of course it was too late. It had been two weeks since his death and still she hadn't cried. She knew she should feel guilty, but somehow was more angry that he had chosen her eighteenth birthday as the day to have a massive cardiac arrest. She was also angry that all chance had now gone for him to make up for those broken promises; of getting back from work in time to help with her homework, or of spending some time with her, or just showing some interest in her life. Instead he had spent all his time working himself into an early grave at age forty-two. Heather sat cross-legged on the floor, helping her mother sort through her dad's things. She had before her a cardboard box of some of his older possessions, childhood books, photos, a tennis racquet, and was saddened to think that he once had a life like anybody else's, with interests and hobbies. If only things could have been different. She brushed away strands of her long black hair that had fallen forward into her eyes, and a tear with them.\n\n\"Hey, mum. Who's this old wrinkly?\"\n\nMelanie Downer was on the other side of the room and came across to look at the framed photograph in her daughter's hand. \"I don't know, dear. Perhaps it was a relative of your father's. I can certainly see a resemblance. Although, I don't remember Jack ever talking about having close family.\"\n\n\"A relative? Do you think so? Look at the way he's sitting there in that disgusting old chair, with all that junk everywhere, just staring like that. It gives me the creeps. I don't want it in the house. Can I toss it?\"\n\n\"I suppose so, we can't keep all his things. It's a nice frame though, Baltic pine by the look of it. Keep that. You can put the photograph over there with his appendix. I don't know why he kept that either,\" Melanie said pointing to a jar containing a small shrivelled object. \"They can go out together.\"\n\n...and await the arrival of the boat of Ra."
    },
    {
        "text": "[Themes: Surreal, Horror, Historical, Time Travel, dysfunctional families, complicity, violence, strong profanity, experimental, narrative, American Civil War, time travel, war, surreal, male protagonist]\n\nYou came all this way and the door is boarded?\n\nIs this supposed to be some sort of game?\n\n> About yourself\nYou are Bill Blake, co-founder of Whitman & Blake Dry Goods, one of the leading such outfits in all of Dixie. It was Whitman, your partner, who convinced you to come all the way out here to his estate tonight -- he'd been increasingly concerned that there might be trouble. Trouble from whom? God only knows. That mumbling milquetoast has been jumping at shadows lately.\n\n> You look\nYou are standing in an open field west of a white house with a boarded front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\nIt occurs to you that you have no memory at all of how you got here.\n\n> You go northeast\nYou walk around to the north side of the house...\n...but before you can take more than a few steps, a trio of frenzied attack dogs comes bursting out from behind the house and tears you to pieces.\n\n> You go northeast\nYou walk around to the north side of the house...\nNorth of the house\nYou are standing north of a white house. There is no door here, and all the windows are boarded. To the north a narrow path winds through the trees.\n\n> About yourself\nIntrospection is Whitman's stock in trade. You are a man of action.\n\n> You go to the north\nYou set off into the forest...\nIn the pines\nAs you proceed along the path, the light trickling in through the treetops seems to grow brighter, as if it had been sunrise and not sunset when you began. And the trees... this isn't North Carolina anymore. This is, what? Maryland? Pennsylvania? You'd think a man would notice walking two hundred miles, but apparently not.\nYou hear voices in the distance.\n\n\"Hey, Green,\" says the first one. Even this is enough for you to pinpoint the accent: Carolina. So you're not caught behind enemy lines. Good to know.\n\n\"Yeah?\" says someone, presumably Green. There was a Green in your regiment, you recall. Common enough name to be coincidence, though. \"Have you been helped?\"\n\n> You listen\nYou'll have to specify what to listen to.\n\nThe voices resume.\n\n\"How come you're here?\" asks the first voice, in less a drawl than a whine. \"You're no Southerner...\"\n\n\"I'm a substitute, Einstein,\" Green says. \"You get drafted, you shoot a couple creds to the local op, and some poor ellhead gets to dodge artillery shells in your place. And chances are this ellhead in't gonna be from the landed gentry of old Virginny, hm?\"\n\nThe thing is, you vaguely remember this exchange. This is certainly the same idiot you remember from the war; at least the other immigrant substitutes just shit their pants when they got scared and didn't jibber in broken English. The strange thing is, with each passing moment you remember the conversation you've just heard more and more clearly -- but you still have zero recollection of what came next.\n\n> You listen to the voices\nYou can't tell where the voices came from; they seemed to echo all around you.\n\n\"Now,\" Green says, \"the real question is, what are you two doing here? You're rich, educated... and you weren't even drafted, reh? So what gives? Just wanted to get fragged?\"\n\n\"Well, it's not...\" says the first man, trailing off into mumbling. \"...duty to your homeland and...\"\n\n\"Shut up,\" barks a third voice.\n\n> You wait a while\n...\n\n\"It's got nothing to do with 'duty,'\" growls the third voice after a moment. \"It's the exact opposite. It's about liberty. Freedom. Freedom to do as you please in your own house. A man's home is his castle, and if the state tries to stick its nose into the way you run your house, you cut the damn thing off. And it's the same thing one level out -- every state does things its own way, and if the federal government tries to change that, you burn it to the ground and set up one that'll let your state do as it damn well pleases.\"\n\n> Wait\n...\n\nThe voices cease."
    },
    {
        "text": "[Themes: Time Travel, Horror, Surreal, Historical, narrative, surreal, experimental, dysfunctional families, time travel]\n\n> You look around\nYou are walking through a forest nestled among low-lying hills somewhere north of the Mason-Dixon. The air is full of birdsong and the smell of gunpowder.\n\n> You listen to the birdsong\nThe sound of birdsong is all around you. Apparently the robins don't realize there's a war on.\n\nYou hear a rustling behind you.\n\n\"Hey!\" says a voice. You turn around -- it's Whitman, only much younger, as babyfaced as he was during the war. \"Identify yourse--\" he begins, then cuts himself off. \"You look familiar. Do I know you?\"\n\nBefore you can answer, there is another rustling, and a tall man and some sort of foreigner come running up behind Whitman. \"What the hell are you doing here, you fool?\" the tall man shouts. \"Hurry, damn it! There's a hill just on the other side of those trees and it's covered with Unio--\"\n\nThe tall man doesn't get to finish; there is a loud roar and he is ripped to pieces before your eyes. Broken trees are hurtling toward you and it looks like the end, but before they can reach you, something explodes in the foreigner's pocket, and the light of a billion suns makes the world go white before everything suddenly goes black.\n\n> restart\n\nYou are standing north of a white house. There is no door here, and all the windows are boarded. The forest to your north, though thinner here than elsewhere, is nonetheless impenetrable; the path you took earlier has vanished.\n[Please type a command before pressing Enter.]\n\n> Go east\nYou walk around to the back of the house...\nBehind the house\nYou are behind the white house, where the husks of the other buildings on the estate stand: the stables, carriage house, outhouse, niggers' quarters, all are just collapsed heaps of weathered wood now. The house itself stands to the west, the back door slightly ajar.\n\n> You enter door\nYou open the back door and step inside...\n...and are immediately blown back out the door by a shotgun blast that rips a gaping hole through your chest.\n\n> restart\n\nYou are behind the white house, where the husks of the other buildings on the estate stand: the stables, carriage house, outhouse, niggers' quarters, all are just collapsed heaps of weathered wood now. The house itself stands to the west, the back door hanging from the doorframe by one hinge.\n\nYour corpse lies sprawled on an expanse of blood-stained grass, a gaping hole through its torso.\n[Please type a command before pressing Enter.]\n\n> You take the door\nYou tug at the door, but the last hinge still holds.\n\n> You examine the corpse\nEnh, you saw worse during the war.\n\n> You take corpse\nThe corpse is too cumbersome to handle by yourself.\n\n> You enter door\nYou open the back door and step inside...\nInside the house\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point... is that large shape in the corner the stove?\nNot that you have much time to dwell on this -- the man who shot you before is silhouetted in front of you, wild-eyed and hissing, and he still has one blast left in his shotgun. And before you can react -- your reflexes aren't a tenth what they used to be -- he uses it, jamming the barrel into his mouth and pulling the trigger. You close your eyes just before the blast. After a moment, you hear a thump, and open them again.\n\nA headless corpse lies at your feet.\n\n> About yourself\nIntrospection is Whitman's stock in trade. You are a man of action.\n\n> You examine the corpse\nYou-- you can't stand to look at it. You've seen worse, yes. But you just... can't."
    },
    {
        "text": "[Themes: Horror, Historical, Time Travel, Surreal, violence, surreal, time travel]\n\n> Look around\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point. The door is to the east, while a larger room lies west. A staircase once led upward, but most of the stairs are now missing.\n\nA headless corpse lies at your feet.\n\n> You go west\nYou proceed further into the house...\nInside the house\nThis... living room?... is just as empty as the kitchen before it. All the furniture is gone, save for a case where Whitman used to store his war memorabilia, now empty and thoroughly smashed. There is also a large, threadbare rug in the center of the room. Exits lead east and--\n\nWait a minute. This door was boarded shut. It would've taken an hour and created a huge racket to get that doorway clear. But here it is, door wide open, the last light before dusk streaming into the room.\n\nThis has ceased to be remotely amusing. Who the hell opened that goddamn door?\n\n> You look at rug\nThe pitter-patter of little feet has worn this rug down to little more than a rag.\n\n> You open the door\n(the trap door)\nThe trap door is barred; you unbar it and take a look inside, but it's too dark to see much of anything. You let the door go and it swings shut with a heavy thud.\n\n> Go west\nYou step outside...\nWest of the house\nYou are standing in an open field west of a white house, illuminated by the bright light streaming through the open front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\n> Go southeast\nYou walk around to the south side of the house...\nSouth of the house\nYou are standing south of a white house. There is no door here, and all the windows are boarded. However, one window upstairs is unevenly boarded, and you can see light shining through a crack between two boards.\n\n> You look in the window\nThrough the crack you see an attic, converted into a girl's bedroom -- Betsy Whitman's bedroom, if you're not mistaken, and you know you're not. The same dolls on the dresser, the same splashes of pink. Except... except...\nAnyway, it makes no sense that there would be a lamp burning if the house has been abandoned, especially not in that room.\n\n> You go to the south\nThe forest is too thick in that direction to permit you to travel more than a few steps. It seems to thin out on the other side of the house, though.\n\n> Go east\nYou walk around to the back of the house...\nBehind the house\nYou are behind the white house, where the husks of the other buildings on the estate stand: the stables, carriage house, outhouse, niggers' quarters, all are just collapsed heaps of weathered wood now. The house itself stands to the west, the back door hanging from the doorframe by one hinge.\n\nYour corpse lies sprawled on an expanse of blood-stained grass, a gaping hole through its torso.\n\n> You go to the west\nYou open the back door and step inside...\nInside the house\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point. The door is to the east, while a larger room lies west. A staircase once led upward, but most of the stairs are now missing.\n\nA headless corpse lies at your feet.\n\n> You move stove\nIt's much too heavy.\n\n> You climb stove\nYou are carrying nothing.\n\nThat cannot be climbed.\n\n> You go north\nThere is a wall in that direction.\n\n> You move corpse\nThe corpse has nothing that you want.\n\nNothing obvious happens.\n\n> Go west\nYou proceed further into the house...\n\n> West\nThis... living room?... is just as empty as the kitchen before it. All the furniture is gone, save for a case where Whitman used to store his war memorabilia, now empty and thoroughly smashed. Exits lead east and west.\n\nThere is also a trap door in the center of the room.\n\n> You open the trap door\nYou open the trap door and take a look inside, but it's too dark to see much of anything. You let the door go and it swings shut with a heavy thud.\n\n> You look at the trap door\nFor a moment you'd forgotten about this trap door, even though you installed it yourself. How? Maybe it has something to do with the bunkum going on around here... or maybe you just wanted to forget.\n\n> You think\nYou try to think back, but every moment of the recent past slips away before your mind can take hold.\n\n> Xyzzy\nYou open the trap door and climb down the rickety staircase into the darkness...\n\nIt is pitch black.\n\nYou hear something growl in the darkness.\n\n> Go north\nThe growling intensifies to a terrible roar as you are torn apart.\n\n> restart\n\nYou are standing in an open field west of a white house with a boarded front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\nThree snarling attack dogs fight with one another over the remains of your corpse.\n[Please type a command before pressing Enter.]\n\n> You examine the outhouse\nThese heaps of wood are all that is left of what was once a small village of secondary buildings. Splintery, weathered, rotten wood. It's not good lumber -- hell, it isn't even decent firewood.\n\n> You go to the west\nYou open the back door and step inside...\nInside the house\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point. The door is to the east, while a larger room lies west. A staircase once led upward, but most of the stairs are now missing.\n\nA headless corpse lies at your feet.\n\n> You go to the west\nYou proceed further into the house...\nInside the house\nThis... living room?... is just as empty as the kitchen before it. All the furniture is gone, save for a case where Whitman used to store his war memorabilia, now empty and thoroughly smashed. Exits lead east and west.\n\nThere is also a trap door in the center of the room.\n\n> You enter the trap\nYou open the trap door and climb down the rickety staircase into the darkness...\nUnder the house\nIt is pitch black.\n\nYou hear something growl in the darkness.\n\n> Go upwards\nThe growling intensifies to a terrible roar as you are torn apart.\n\n> restart\n\nYou are standing in an open field west of a white house with a boarded front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\nThree snarling attack dogs fight with one another over the remains of your corpse.\n\n> You look at the dogs\nThe dogs are ferocious Bull-and-Terriers, exactly the breed you'd choose if you were selecting guard dogs for your own home.\n\n> About you\nBy all rights, you should be dead. You are dead, if the corpse before you is any indication. Yet you feel fine. As fine as you ever get, at any rate -- half-deaf and half-crippled, but not bad, considering.\n\n> You go to the west\nThe forest is too thick in that direction to permit you to travel more than a few steps. It seems to thin out to the north, though.\n\n> Go southeast\nYou walk around to the south side of the house...\nSouth of the house\nYou are standing south of a white house. There is no door here, and all the windows are boarded. However, one window upstairs is unevenly boarded, and you can see light shining through a crack between two boards.\n\n> You open the window\nThe windows are boarded shut. They cannot be opened.\n\n> You knock on the window\nThis seems like a waste of energy.\n\n> You go to the northeast\nYou walk around to the north side of the house...\nNorth of the house\nYou are standing north of a white house. There is no door here, and all the windows are boarded. The forest to your north, though thinner here than elsewhere, is nonetheless impenetrable; the path you took earlier has vanished.\n\n> Go southwest\nYou return to the front of the house...\nWest of the house\nYou are standing in an open field west of a white house, illuminated by the bright light streaming through the open front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\n> You look through the crack\nThrough the crack you see the bedroom of Betsy, your business partner's youngest daughter. Why a lamp is burning in an abandoned house you cannot guess.\n\n> You take corpse\nThe corpse is too cumbersome to handle by yourself.\n\n> Go east\nYou return to the kitchen...\nInside the house\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point. The door is to the east, while a larger room lies west. A staircase once led upward, but most of the stairs are now missing.\n\nA headless corpse lies at your feet.\n\n> You close the door\nYou try to close the door, but it swings open again. The latch isn't catching.\n\n> You go east\nYou return to the yard behind the house...\n\n> You go east\nYou are behind the white house, where the husks of the other buildings on the estate stand: the stables, carriage house, outhouse, niggers' quarters, all are just collapsed heaps of weathered wood now. The house itself stands to the west, the back door hanging from the doorframe by one hinge.\n\nYour corpse lies sprawled on an expanse of blood-stained grass, a gaping hole through its torso.\n\n> Go north\nYou walk around to the north side of the house...\nNorth of the house\nYou are standing north of a white house. There is no door here, and all the windows are boarded. The forest to your north, though thinner here than elsewhere, is nonetheless impenetrable; the path you took earlier has vanished.\n\n> Go west\nYou return to the front of the house...\nWest of the house\nYou are standing in an open field west of a white house, illuminated by the bright light streaming through the open front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\n> You go east\nYou walk into the house...\nInside the house\nSo this is what Whitman was afraid of, the reason he summoned you all the way out here -- he was afraid of his own brats. Three of them this time, busy clearing the table after what seems to have been a small banquet: William Junior, nearing thirty and still a menial bank clerk; Ann, the ugly daughter, twenty-five and still unmarried; and your old friend Johnny, younger now than when he blew his head off, but still twitching like a damn Shaker. Good God, what a sorry lot.\n\n\"Where have you been?\" Junior asks, pouring you a glass of wine. \"You missed dinner entirely! And after we went to all the trouble of making you this meal...\" He shakes his head. \"But at least there's some wine left,\" he says, pressing the glass into your hand.\n\n> You examine junior\nWilliam Jr. was always a bookish little worm, more concerned with the schoolmarm's opinion than his own father's -- not that Whitman was much better than the schoolmarm. Setting aside money that could've been used for the business to send Junior to Hahvahd... took a damn war to convince him of the idiocy of that plan. The cash infusion really helped the business. And dipping into the money Junior made from his work at the bank? Well, you didn't hear him whining about all the free meals he ate growing up. Little ingrate.\n\n> You examine the wine\nIf you were Whitman, you'd have drained this glass already -- he was never a big drinker before the war, but he picked up the habit quickly enough, even before he had any physical pain to dull. By the time the two of you got to the hospital, he was drinking more than even the surgeons. Your own tastes ran more to chloroform.\n\n> You look at the table\nWhatever it was that the others had for dinner has been carried into the kitchen.\n\n> You examine the rug\nThis rug has seen better days, but it is still in far better condition than it was when last you saw it.\n\n> You move the rug\n\"GET AWAY FROM THERE!\" Johnny shrieks.\n\n> You look at case\nWhitman used to keep his memorabilia from the war in this case... no telling where it went.\n\n> You look at Ann\nIt's hard to believe that Whitman's younger daughter and this one come from the same stock. It was clear from the time she was a small child that Betsy was going to become just the model of the perfect Southern belle, but Ann -- one minute she's an annoying snotnosed kid always in your face with the questions and then you get back from the war and she's turned into an old maid overnight. And now with her chances of ever getting a husband dwindling, it looks like she's going to be a drain on the household and, more importantly, the business, for the rest of her days. Useless.\n\n> About yourself\nYou're feeling quite well for someone who's died several times over.\n\n> Go east\nJohnny produces a pistol and points it at you. \"You're not going anywhere,\" he says, his voice shaking violently.\n\n> You throw the wine at Johnny\nThe shrapnel in your body makes throwing things too painful to be worth the effort.\n\n> You examine shrapnel\nMost of the shrapnel is in your lower body -- your hips, your thighs, your knees. But there's a smattering in other places. A small spur in the back of your hand, for instance, right above the knob of your wrist: it's thickly calloused over, a deadened bump you can poke and prod, but every time you flex your wrist just so, the metal slices through a nerve and it is all you can do to keep from trying to tear the shard out with your fingernails.\n\n> You drink the wine\nYou take a swig of the wine and slump down deep into the easy chair. After a couple of minutes you start to feel very tired.\n\nAs your eyes begin to droop, Junior walks up to you, his steps tentative. \"Father,\" he says, \"please try to understand what is happening to you...\"\n\nYou start to protest -- do I look like your goddamn father, you imbecile? -- but stop short. All these resurrections, and the way the house is different every time you turn around... could you be inhabiting Whitman's body? You try to look at yourself, but you're just so damn tired...\n\n\"This isn't about stealing my money,\" Junior says. You squint: suddenly there are two of them, then four. \"This isn't about me at all,\" they say. \"Or about Mother, or even Gregory. No, this is about Betsy. Betsy was the last...\"\n\nJunior no doubt has a lengthy harangue memorized for this occasion, but his voice grows quiet in your ears and soon he is talking to himself.\n\n> You drink the wine\nWest of the house\nYou are standing in an open field west of a white house, illuminated by the bright light streaming through the open front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\n[Please type a command before pressing Enter.]\n\n> You go to the east\nYou walk into the house...\nInside the house\nYou walk back into the house to find the three Whitman children sitting around the table, talking quietly. They don't seem to notice you until you slam the door behind you. Then, in unison, they all look up.\nJohnny looks at you, then down at your corpse slumped in the living room chair, then back at you. He screams. He screams, and runs through the back door out into the yard and the woods beyond. You can hear his inhuman caterwauling even as the back door slams shut.\n\n> You kill Johnny\nJunior faints dead away.\nAnn, however, seems curiously unaffected. \"So,\" she says. \"There really are two of you. So which are you really? Whitman or Blake? Or is that even a meaningful qu\n\nestion is, do you really want to know? It takes a while to drop the phat info-b0mbz, and chances are your scattered little nineteenth-century brane couldn't begin to comprehend the tale. But it's your call -- want the story?\n\n> Yes\nYou are in a dim, empty living room, with only a corpse slumped in chair for company. A rug adorns the center of the room. Exits lead east and west.\n\n> Go east\nYou proceed further into the house...\nInside the house\nIt is almost too dim inside to see anything, but you can make out enough to tell that there isn't much to see. You're reasonably sure this was the kitchen at one point. The door is to the east, while a larger room lies west. A staircase once led upward, but most of the stairs are now missing.\n\nA headless corpse lies at your feet.\n\n> About yourself\nYou're feeling quite well for someone who's died several times over.\n\n> You go east\nYou return to the yard behind the house...\nBehind the house\nYou are behind the white house, where the husks of the other buildings on the estate stand: the stables, carriage house, outhouse, niggers' quarters, all are just collapsed heaps of weathered wood now. The house itself stands to the west, the back door hanging from the doorframe by one hinge.\n\nYour corpse lies sprawled on an expanse of blood-stained grass, a gaping hole through its torso.\n\n> Go north\nYou walk around to the north side of the house...\nNorth of the house\nYou are standing north of a white house. There is no door here, and all the windows are boarded. The forest to your north, though thinner here than elsewhere, is nonetheless impenetrable; the path you took earlier has vanished.\n\n> Go west\nYou return to the front of the house...\nWest of the house\nYou are standing in an open field west of a white house, illuminated by the bright light streaming through the open front door. Towering Carolina pines loom all around this clearing, silhouetted in the dusk; soon it will be night.\n\n> You go to the east\nYou walk into the house...\nInside the house\nYou are in a dim, empty living room, with only a corpse slumped in chair for company. A rug adorns the center of the room. Exits lead east and west.\n\n> You examine corpse\nThe corpse stirs as you approach. And that's when you realize: this isn't you, it's Whitman. And he's not even dead. Merely drunk.\n\n\"...goddamn brats always making such a goddamn racket...\" he mutters. You don't hear anything, but then, you rarely hear much of anything over the constant roar in your ears.\n\nBut a moment later you see what he must be talking about, as the boys, Johnny and Gregory, come tearing into the front room, fighting as always -- this time it's not an exchange of blows but just a frantic wrestling match, over, what? A toy? Or are they just\n\nYou're doubled over. The pain, god damn it the pain -- that kid smacked right into your leg, drove the shrapnel right through half a dozen nerves, like the whole limb was being blown open all over again... and you, you seem to have thrown him across the room, and he hit the wall... that's a load-bearing wall. His head is bleeding... must have hit a wall stud...\n\nA doctor, Johnny is crying. Gregory needs a doctor.\n\nA doctor, a doctor, Whitman whimpers. He is doubled up next to you and for a moment you are back in the forest with Union shells going off around you. Except they're not called doctors in wartime, they're called surgeons. And making noise and thrashing around just means you'll get a bayonet in the gut from some goddamn Yank. Oh god, my son, Whitman mewls, and you punch him in the face to shut him up.\n\nThat gets Johnny's attention. Someone has to take control here, and though you can barely see from the pain, Whitman sure as hell isn't up to the task.\n\nSo there will be no goddamn doctors. No one is to know about this. You, Johnny, are to take little Gregory down to the basement. If he dies, he dies. If he recovers, he recovers. If he ends up somewhere in between, well, Johnny, that's your responsibility. I'm not cleaning up after some idiot kid.\n\nOh, now Whitman's picking himself up off the floor. See here, he's saying. This is my house, and you aren't going to--\n\nShut your goddamn mouth. This is my house. I built it. You just sat there. The same way you just sit there while your bastard children are running amok, have to keep calling me over anytime you need to establish a little discipline. That means I make the rules. Got it?\n\nAnyone else want to order me around?\n\nHow about you?\n\nWell, to hell with you too. I don't care what you want. Nobody messes with Bill Blake, and nobody orders him around. Not snotnosed kids, not impotent cripples, not the nigger-loving Union government, not God the fucking Almighty. The Grim Reaper has no say over Bill Blake, and neither do you. If your commands and what he wants to do happen to coincide, well zip-a-dee-goddamn-doo-dah.\n\nAnd right now he's getting the hell out of here.\n\nThe dogs are back, still chewing on that corpse... but wait. If the corpse in the easy chair was actually Whitman, alive, then this one... need a closer look...\n\nBut the dogs are gone.\n\nThe dogs are gone, and the sun is bouncing around in the sky like a rubber ball. And... it was so clear a moment ago... had a plan in mind, but now... don't know what to do, where to go... don't even know who's asking the question...\n\nHelp... please, help...\n\n> About yourself\nThis body, these hands... these hands are full of shrapnel, but whose are they?\n[Please type a command before pressing Enter.]"
    },
    {
        "text": "[Themes: Horror, Surreal, Historical, Time Travel, violence, time travel, strong profanity, complicity, American Civil War]\n\n> Describe the surroundings\nA white house with a boarded front door lies to the east. Forest is all around. Little else can be said for certain.\n\n> Go west\nYou open the back door and step inside...\nInside the house\nYou are back in the kitchen of the house, as empty and desolate as ever--\n\nWait. The staircase is intact. How did that happen?\n[Please type a command before pressing Enter.]\n\n> Up\nYou climb the stairs...\n\nWhen you get to Betsy's room, you find her sitting on her bed, crying her eyes out. Whitman is sitting next to her. His belt is undone and he is smeared with blood. \"It wasn't me, it wasn't me,\" he is saying.\n\n\"It was him!\" He is pointing at you.\n\nYou look down. You are also covered in blood.\n\nYou are standing in the front room of a white house. You know this because you are staring at yourself from across the room. He doesn't see you, though; he's looking at someone else. And though you can't see that person's face, it seems to be--\n\n\"Tycho Green,\" he says. \"You may remember me from such wars as the American Civil War. I'm betting you've been wondering what's been happening to you. The question is, do you really want to know? It takes a while to drop the phat info-b0mbz, and chances are your scattered little nineteenth-century brane couldn't begin to comprehend the tale. But it's your call -- want the story?\n\n\"Yes,\" says the man with your face.\n\nAnd then he vanishes.\n\n\"Frag,\" Green mutters. Then he turns around and spots you.\n\n\"Dammit, stop bi-locating,\" he says. \"All right, here's the scoop. I am from what you would call the 22nd century. We'd call it something more like Window 2101-2200 Sphere 123488.59588 Track ZZ9, but then, reckoning of the date got vastly more complicated once time travel was invented. Little thingawhoozits about the size of a hockey puck -- have they invented hockey yet? is that 19th century or 20th? I always get those confused. Anyway, you key in your temporal coordinates, blip back to wherever you want to go. Only goes backwards, y'skate. Can't go forward because there's branching. Bifurcation? Try bajillionifurcation. At any moment there are something like seven point six times ten to your mom little subatomic blips that could blip some other way. It's like a tree -- you can follow any branch back to the trunk, no decision-making necessary. But finding the right branch from the trunk, well, you have to choose wisely. The hockey puck can't choose because the calculations would take quite literally forever and also it would melt and also it can't just pick at random because most combinations of subatomic blips lead to the universe spontaneously combusting without so much as a 'Bye bye, grandpa loves you.'\"\n\nYou are standing east of a white house, surrounded by smaller buildings which are collapsing and building themselves back up before your eyes. A carriage wheezes out of the carriage house, then vanishes. Green emerges from the outhouse and taps you on the shoulder.\n\n\"So most people don't bother blipping back in time,\" he continues, \"because they can't get back. But me, I met this girlie and I decided that she would be mine. Except that she'd been dead for two hundred years and I didn't want to dig her up because, eww, gross. I'm talking about Ann Whitman here. Not too shabby, hmm? You've got your Homer, your Bill Shakespeare, your Ann Whitman and I guess now your Thu Minh Tran though, just between you and me, I think she's overrated. But Ann, now, her littachur just struck a chord with me. Me and eleven billion other people, key, but still. So I decided I'd review some tapes, learn your dialect, blip back, sweep her off her feet, the whole bit. Key, that means she'd never actually get around to writing her books, but no paradoxes here -- soon as you show up in the past and start changing stuff, you get bifurcated off the tree right away and can't hurt the original branch. Unless...\"\n\nThe same dolls on the dresser, the same splashes of pink. Betsy is hanging from a noose tied to the crossbeam. She is fourteen forever.\n\n> You examine betsy\nGreen arrives at the top of the stairs. \"Well, I'm getting ahead of myself,\" he says. \"See, the reason Annie was able to crank out these incredible Southern Gothic novels is because she'd lived this incredible Southern Gothic life. Like, her little brother had his head thumped with all sorts of brane damage and got locked in the basement like a monkey -- with another brother assigned to feed him and clean up his shit... that guy blew his head off, gee I wonder why... oh, and her little sister had been raped by her father and then hanged herself.\" He glances over at Betsy's dangling body and shakes his head. \"So the leftover kids got together and offed Daddykins... oh, yeah, and let's not forget Daddykins himself. He wasn't just some random monster -- see, he got tagged by an artillery shell in the war, lived the rest of his life in excruciating pain, and spun off this whole second personality based on some dreadnok thug who actually got fragged by the shell. Bill Blake, big ol' tuff guy. Tuff enuff to stand the pain that Whitman couldn't. So Whitman spent more and more time as 'Blake' -- even brought him into the business, presented himself as Whitman to the people he needed to kiss up to and as Blake to the people he had to browbeat into submission, wrote himself two different paychecks and deposited them at two different banks. But then 'Blake' started showing up at home, and, well, we all know how that turned out...\"\n\n\"So I blip back in time to when Ann's beginning her literary career,\" Green says, \"but while she's a freakin' sooper-jeenius, she's also completely psycho, I mean mental to the point that you can't conduct a conversation with her without the whole thing ending in tears and maybe some blood. So, no smoochies with Ann while she's like buried under the bell jar, so back some more, this time to get Pops out of the way of the shell so that she can actually live a happy smurfy life with a sane parental unit. Except...\n\n\"See, there's one teensy little problem with these hockey pucks -- you break 'em, you've bought it. It's like, take a piece of paper and draw a line on it. Then from the end of that line draw a bunch of branches. Then from the end of each of those branches, draw a bunch more. That's time.\n\n\"Now take that tree you've just drawn. Put in on a desk. And empty your inkwell onto it. That's what happens when a time machine blows up.\n\n\"When I went back to the war to keep you from getting tagged by the shell, I took a piece of shrapnel right in the ol' hockey puck,\" Green says. \"And when that exploded, this whole timeline got stuck inside the blast zone. The timelines that are enough bifurcations away from us'll be fine, but for us, time is in smithereens and there's no piecing it back together. From here on out it's just fragments, past, future, present, future, past, all jumbled together. No cause and effect, so choice dissolves.\" He shrugs. \"If it's any consolation, I'm stuck here t\n\nYou are standing west of a white house with a boarded front door.\n\nYou are standing west of a white houseYou are standing westYouhere on out it's just fragmentsYou are standing westtrio of frenzied attack dogsthe same splashes of pinkmumbling milquetoast has been jumping at shadowsman's home is his castleI make the rulesleast there's some wine leftchoice dissolves*** You have died***\n\nv qbag npghnyyl guvax guvf vf n tbbq tnzrvgf svsgl qvssrerag vqrnf penzzrq gbtrgureabar bs gurz vzcyrzragrq irel jryygur cebwrpg fbegn yrncg sebz zl tenfc naq rkcybqrqohg creuncf gungf nccebcevngrnaq jub xabjffbzrbar zvtug svaq vg vagrerfgvatkbkb nqnz"
    },
    {
        "text": "[Themes: vampire, teenage protagonist, female protagonist, mirrors]\n\nLoading game...\n\nAn ADRIFT text adventure by revgiblet (revgiblet@gmail.com). This is v1.0 (2007)\n\nType story at any time for the backstory.\n\nType thanks for a list of credits.\n\nI am standing in a room that has been meticulously constructed from cold, grey stones in a very simple manner. My eyes are hypnotically drawn to the main feature in the west wall, a large double window that swings open in the evening breeze. A wide single bed sits in the centre of the room. I know from experience that the bed is incredibly comfortable and it is currently taking all of my willpower to resist the temptation to lie down and drift into oblivion. The bed is made up with a soft looking pillow and has a blanket wrapped round it.\n\nIt appears to me that this room once served a less sinister purpose, for there is a fireplace built into the north wall. The fireplace is as empty as my heart. A thick wooden shelf is fixed to the wall above, on which rests a burning candle that gives the room an eerie glow. The low stone ceiling separates me from the heavens and God above. In the south wall is a thick metal door; the only way out of the tower alive.\n\nA full-length portrait mirror is afixed to the east wall, opposite the window. It reflects the horizon scene, creating the illusion that the room is larger than it is. A rickety wooden chair has been placed beside the mirror. The air is musty and offends my nostrils. My remaining life can be measured in heartbeats. I must act!\n\n[Author's Note: You play a young girl, trapped in a tower room and in fear for her life.]\n\n> Story\nMy mother told me the story of the curse when I was seven. Every child knew it off by heart, for it was the reason that the village was shunned by even the poorest beggar and cripple. It was the reason why we were alone and downcast.\n\nMy mother wept as she told it. I didn't know why then, but I do now. She feared that I would be The Offering, the one who must die to buy peace from The Count. It turned out that she was right. My mother could often see these things coming.\n\nThe Count is what we, in the old tongue, call a vampyre; the undead. He used to be a nobleman but fell into darkness in some way. The legends are not clear, though my mother told me that she believed it was because of a woman. As a child this was something else that I did not understand, but I am beginning to know what she might have meant.\n\nThe cause of his curse is irrelevant, as is the reason why he chose our village to be the one he torments. All that matters is that he did choose us. He made a bargain with the elders of our village many generations ago. He promised that he would leave us in peace on one condition. Every fifteen years the purest and most beautiful maiden in the village must be delivered over to him. I was born the night of his last visit to the village. Many considered it an omen; a prophetic gesture that I was to be his next victim.\n\nAs I grew my parents prayed that I would fall ill and become weak, or that I would be ugly. The prayers of the villagers have remained unanswered for years and years now, and the prayers of my parents were no different. I grew strong and, as I am often told, blossomed into beauty.\n\nAs the years passed and the dread night approached my parents begged me to flee the village. They offered to marry me off to a farmer in the next village, but the elders opposed them. It seemed that, to protect their own daughters, they had already decided that the timing of my birth meant I was to be the one. My parents were powerless, for was it not true that of all the young girls in the village I was amongst the finest and prettiest?"
    },
    {
        "text": "[Themes: female protagonist, vampire]\n\n> Look around\n(Press a key)\n\nAt that moment the guards entered the room. My mother stepped back, looking anxious.\n\n\"I'm sorry. It is time,\" Bogdan, the eldest guard, spoke apologetically.\n\n\"I understand,\" my mother said, biting her bottom lip. She looked at me again, willing me to understand and to fight my fate. The world seemed to pass in slow motion as I gazed at the men who had come to escort me to the place of my death. Bogdan was a friend of my father, and I could see in his eyes the anguish that only a man with the imagination to picture his own daughter could feel. Enric was a few years older than me, and the regret in his eyes was the loss of what could have been.\n\n\"Goodbye Marika, and may God go with you.\" My mother kissed me on the cheek, gently ran her hand through my hair and fled from the room. Bogdan nodded at me and took me by the hand. The men led me from the room and out into the twilight of the empty village. It was considered bad luck to see the Offering on the night of her departure. It was safer to stay at home behind closed doors and pretend that nothing terrible was about to happen. Overcome, I stumbled and fell to my knees. I felt the gentle hands of Enric under my arms.\n\n\"I do not...I do not know if I can do it,\" I whispered, every word an effort.\n\n\"I will carry you.\" Enric lifted me gently as Bogdan patted his shoulder. I looked into Enric's face as he began to walk towards the Tower that lay just outside the village and felt the darkness of sleep cover me for the first time in about thirty six hours. In my dreams Enric's face changed into that of my mother as she mouthed the same words at me over and over again - Keep him out!"
    },
    {
        "text": "[Themes: teenage protagonist]\n\n> You look at your surroundings\n(Press a key)\n\nI awoke with a start to find that I was lying on a comfortable bed. Enric was leaning over me, a single tear rolling down his cheek.\n\n\"I'm sorry. I did not mean to wake you. I wanted...I wanted you to stay asleep. I thought it would be...better.\"\n\n\"I am glad that you did,\" I murmered, recalling my mother's final words.\n\nEnric kissed me on the cheek and stood up. He wiped the eye from his face and turned away.\n\n\"Marika...I must tell you something...\" Enric spoke, weighing his words carefully.\n\n\"Enric!\" barked Bogdan, \"Remember what the Elders said! You will not say anything!\"\n\nEnric's shoulders stiffened and, even though I couldn't see his face, I could tell that he was wrestling with something heavy. Finally his shoulders slumped and he began to walk towards the door.\n\n\"Goodbye Marika. I'm sorry,\" he said with conviction.\n\nBogdan stood in the doorway, looking at me with grim regret. In a moment they were both gone. The door slammed shut and I heard the scraping of a key in the lock and the grinding of several bolts being shut. I listened for a moment longer to the clatter of their feet on the stone stairwell and then I was alone.\n\nThe tower had been a feature of the village for generations before my birth. It stood, tall and imposing, on the outskirts of our land as a permanent reminder of our bargain. It remained locked and bolted for years until the single room at its summit was needed. The only ones who ever saw the room were the guards and The Offering.\n\nEverything in me wanted to sink back into the comfort of the bed and let death overtake me. My body ached for sleep and my heart longed for numbness. But just as I thought I would lose the battle I felt my mother's spirit arc through my heart. I am a Bojin and I will NOT give up! I willed my legs to respond and I lifted myself from the bed until I found myself standing in the room that was supposed to be my mortuary. I glanced out of the window to see the sun slowly slipping behind the hills. My head throbbed and my legs wavered. I did not have much time, but I formed a grim resolve to try and change my fate. I would not accept this. I would be alone here until the morning, when Bogdan and Enric would return expecting to remove my corpse. I would prevent The Count from gaining entrance to the Tower, and when Bogdan and Enric returned I would leave with them. I would show myself to be my mother's daughter. My life depended on it.\n\nI forced myself to focus on the room and gazed around, battling against slumber. My fate will be decided in the next half an hour."
    },
    {
        "text": "[Themes: mirrors]\n\n> You look around\n(Press a key)\n\nI am standing in a room that has been meticulously constructed from cold, grey stones in a very simple manner. My eyes are hypnotically drawn to the main feature in the west wall, a large double window that swings open in the evening breeze. A wide single bed sits in the centre of the room. I know from experience that the bed is incredibly comfortable and it is currently taking all of my willpower to resist the temptation to lie down and drift into oblivion. The bed is made up with a soft looking pillow and has a blanket wrapped round it.\n\nIt appears to me that this room once served a less sinister purpose, for there is a fireplace built into the north wall. The fireplace is as empty as my heart. A thick wooden shelf is fixed to the wall above, on which rests a burning candle that gives the room an eerie glow. The low stone ceiling separates me from the heavens and God above. In the south wall is a thick metal door; the only way out of the tower alive.\n\nA full-length portrait mirror is afixed to the east wall, opposite the window. It reflects the horizon scene, creating the illusion that the room is larger than it is. A rickety wooden chair has been placed beside the mirror. The air is musty and offends my nostrils. My remaining life can be measured in heartbeats. I must act!\n\n> You look under the bed\nI clamber onto my knees and look under the bed but I see nothing but more bare flagstones. I stand, feeling dizzy as I do so.\n\n> You look in the mirror\nI look at myself in the mirror; standing against the backdrop of the countryside that can be seen from the window. I barely recognise myself. The linen frock clings to my lithe frame like a sack. My complexion has always been pale, but tonight lack of sleep and overdose of fear have made my skin almost translucent. The blood has drained from my usually scarlet lips and my large brown eyes peer into the face of a stranger. My long hair, raven and fine, hugs my face and shoulders almost as if it were looking for a companion in this dark time. A sensation at the back of my thoughts is nagging me, trying to tell me something. Something about my hair...\n\nI run my fingers around the mirror but it seems to be fixed firmly to the wall and there appears to be nothing unusual about it.\n\n> You feel the hair\nDriven by some unknown prompting I begin to run my hand through my hair. As my finger touches something sharp I withdraw it hastily. A second, more cautious check reveals a hairpin that shouldn't be there. Unbidden, the memory comes to me of my final meeting with my mother. As we parted she touched my hair. At the time I thought it nothing more than a tender gesture but it seems that she had ulterior motives. Thanking God for her ingenuity I place the hairpin carefully on the shelf above the fireplace and ponder on a use for it.\n\n> You look at the chair\nThe chair is clearly a once-loved heirloom that has fallen into a state of disrepair. Intricate patterns swirl over the legs and seat. It seems to wobble even as I look at it. I would not trust it to hold my weight.\n\n> You sit on the chair\nDespite the urgency of my situation I am highly aware of my aching feet and weary legs. I decide to rest for a second, and not trusting myself to get up again if I use the bed I opt to use the chair.\n\nI drag it away from the wall and sit, but the chair is nearly as old as the tower itself and is no longer able to stand the strain. There is a creaking noise for a moment before the chair self-destructs and deposits me on the stone floor. I crack my knee painfully on the floor and cry out in discomfort.\n\nAfter a little while I am able to stand again. The chair has been reduced to a pile of wood. I rub my knee and regret my chosen action.\n\n> You look at the wood\nThe wood is formed in a chaotic pile consisting of a variety of shapes and sizes. Although some parts appear to have rotted there is a fair amount of sound wood here.\n\n> You get the wood\nThere is no need for me to take anything. If I need to use an object then I will do so as appropriate.\n\n> You look at the shelf\nThe shelf is made of thick oak and fixed firmly to the wall.\n\n> You look at the fireplace\nA quick investigation of the empty stone fireplace reveals that it hasn't been used in a long time. I peer cautiously up into the chimney; a dark tunnel that ends in a square of twilight.\n\n> You make the fire\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> You put the wood in the fireplace\nI pile up an armful of wood and carry it across the room to deposit it in the fireplace. I repeat the process two more times to complete the task.\n\nThe fireplace now contains a pile of wood ready to be burnt. I look at the candle and the pile of wood and my experience tells me that, as it stands, the flame is not furious enough to catch the wood. If I want to start a fire I will need to find something that will burn well and provide a more substantial conflagration.\n\n> You examine the bed\nWary, for it is almost as if the bed whispers a siren song as I look at it, I begin to examine the cot. The blanket is tucked in tightly but yields to a sharp tug from me. I find nothing unusual under it. The mattress is thick and tightly packed with soft and springy innards. It would be easy to sink into it and forget all of my troubles. As I lift the pillow a small piece of paper wafts out from underneath it and floats gently to the ground. I replace the pillow and turn my attention back to the room.\n\n> You read the paper\nI reach down and take the piece of paper in my hands. I force my gaze to focus on the neat handwriting that has been marked on the paper. The message reads...\n\nMarika. I am unable to say goodbye to you as I would wish to. I want you to gaze into your own beautiful eyes and breathe yourself a goodbye from me.\n\nThe paper drops from my limp grasp and settles again on the hard floor. This message was clearly meant for me to find, but who left it? And why? My head aches but I have the feeling that within the message is a hidden meaning that I must endeavour to find.\n\n> You breathe on the mirror\nDriven by a sudden flash of inspiration I move over to the mirror and, as the message on the paper predicted, find myself gazing into my own eyes.\n\nPrompted by the rest of the message I breathe in deeply and exhale over the mirror. I repeat the gesture. As the mirror mists over I notice marks; marks where the mirror is not fogging up. My heart skips a beat as I continue to breathe out over the rest of the mirror, revealing more and more of what seems to be a hidden message.\n\nBy the time that I have finished I am feeling light-headed and unsteady on my feet, but I appear to have uncovered a message.\n\nI commit it to memory as the mirror slowly clears.\n\n> You read the note\nI see nothing that will help me.\n\nMarika. I am unable to say goodbye to you as I would wish to. I want you to gaze into your own beautiful eyes and breathe yourself a goodbye from me.\n\n> You look under the mattress\nI prod the mattress. It is thick and packed tightly with something soft but dense. This makes it deceptively heavy. I manage, with some difficulty, to get my hands into a position to facilitate the lifting of the mattress and begin to strain.\n\nThe exertion shortly begins to make me feel light-headed and under normal circumstances I would cease this activity. These, however, are not normal circumstances. The words on the mirror drive me to this action, and I will not let it be in vain.\n\nDriven by a desire to solve the mystery of the message I call on reserves of hidden strength and manage to lift the mattress enough to see, tucked out of sight between it and the frame, a thin metal rod. With reflexes born of desperation I reach down and roll the rod onto the floor as the mattress drops back onto the bedframe with a thud. Panting heavily I lean against the wall to regain some strength before considering the role that the metal rod will play in my survival.\n\n> You open the door\nI try the door. It is locked and does not budge.\n\n> You look at the window\nThe window opens out of the tower providing a superlative view of the sun setting over the surrounding countryside. Under different circumstances I would probably consider it one of the most romantic scenes I had ever seen. Instead I see it for what it is - an opportunity for The Count to enter the room. The window itself is constructed of very thick glass and seems quite secure in its wooden frame. It swings gently in the breeze. There are handles on the window that allow it to be opened from both the inside and - unusually - the outside. Below me is a considerable drop to the rough ground.\n\n> Close window\nIt seems like the most obvious thing to do. I walk over to the window, reach out and shut it.\n\n> You put the rod in the handles\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> You put the rod through the handles\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> You look at the handles\nA thin wooden handle is built into the frame of the window. In the handle I can see a small keyhole, presumably to allow the window to be locked. There is another handle on the outside of the window. It seems that this window was built with deadly intent, for it may also be opened from the outside.\n\n> You use rod\nI reach out and take the hairpin from the shelf. The hairpin is too small to use on the door so I make my way across the room to the window and, having pulled the window so it is as shut as I can make it, I begin to work on the lock.\n\nMy hand is shaking through exhaustion and I do not rightly know what I am doing but God is with me. After a few moments of fumbling and twisting there is a tiny click. I remove the hairpin from the tiny keyhole to see that my labour has bent and warped it. I then hesitantly push the window. It remains firm. Again I try, this time with as much force as I can muster in my weakened state. The window does not move. I have successfully secured it against The Count. Hopefully the thick glass will be sufficient to thwart his entry.\n\nI respectfully place the hairpin back on the shelf and ponder my next move.\n\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> You examine the door\nThe door appears to be locked and bolted from the outside. It also seems extremely sturdy. There is a large keyhole for, it would suggest, a very large key. The door doesn't quite reach the floor, leaving a large gap between the stones and the bottom of the metal. The most chilling thing that I discover are what appear to be deep scratches engraved in the metal - as though someone had tried to claw their way out of the room. I shudder as I think about it.\n\nI yawn. I am finding it difficult to fight off sleep.\n\n> You examine the keyhole\nA flash of inspiration strikes me and with a great sense of urgency I yank the thick blanket from the bed and pull it over to the door. The gap under the door is nowhere big enought for a human to crawl under but until I have a better understanding of what The Count is capable of I will err on the side of caution.\n\nThe blanket is thick and heavy, and with some effort I manage to force it under the door making a barrier of sorts. As it stands nothing will be able to come through the breach and I pray that The Count will lack the necessary strength to remove it swiftly.\n\nI need to decide if I wish to examine the door lock or the window lock.\n\n> You open the pillow\nOpen what?\n\n> You put the paper in the fireplace\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> Light paper\nI wonder about burning some paper to start a fire but I don't seem to have enough paper to achieve my goal. The paper that I found under the pillow is not large enough to burn for more than a fraction of a second."
    },
    {
        "text": "[Themes: mirrors]\n\n> You describe your surroundings\nI am standing in a room that has been meticulously constructed from cold, grey stones in a very simple manner. The large window in the west wall has been shut and I have managed to lock it. If my mother is right then the thick glass should be sufficient to keep The Count at bay. A wide single bed sits in the centre of the room. I know from experience that the bed is incredibly comfortable and it is currently taking all of my willpower to resist the temptation to lie down and drift into oblivion. The bed is currently without a blanket, but that makes it no less inviting. A flat and sturdy looking length of iron rod lies on the floor beside the bed. A small piece of paper is situated on the stone floor.\n\nIt appears to me that this room once served a less sinister purpose, for there is a fireplace built into the north wall. A pile of broken and twisted wood lies in the fireplace, imploring me to light it. A thick wooden shelf is fixed to the wall above, on which rests a burning candle that gives the room an eerie glow. Having been used to lock the window, the hairpin on the shelf is bent and twisted beyond recognition. The low stone ceiling separates me from the heavens and God above. In the south wall is a thick metal door; the only way out of the tower alive. The bulky woollen blanket from the bed is crammed under the door.\n\nA full-length portrait mirror is afixed to the east wall, opposite the window. It reflects the horizon scene, creating the illusion that the room is larger than it is. The air is musty and offends my nostrils. My remaining life can be measured in heartbeats. I must act!\n\n> You put rod in the door keyhole\nThe picture of me trying to unlock the door using the iron rod is so absurd that it almost brings a smile to my face. Almost.\n\n> You examine the floor\nThe tightly-packed, perfectly square flagstones are cold and hard under my bare feet. I kneel and run my fingers across the stones, searching for something unusual. My breath catches in my throat as my fingers stumble carelessly across a flagstone that seems to be slightly raised in comparison to its neighbours. I check again. This flagstone is the twin of the others except for the fact that it is definitely loose. However, it's too heavy and my fingers are too thick to prise it up. There must be something in here that can help me!\n\n> Lift flagstone with rod\nI decide to try and move the loose flagstone and it occurs to me that the iron rod might be perfectly suited to this task. I grip it tightly and slowly work the flat end into the thin gap between the flagstones.\n\nWhen I believe that I have inserted the rod as far as I can I take a deep breath and begin to apply pressure. Lifting the stone is much easier than I thought it would be and within a few seconds I have managed to tip it enough to prise it out of the floor.\n\nI cast the rod aside and begin to wonder what, if anything, might be contained within the dark cavity that I have uncovered..."
    },
    {
        "text": "[Themes: teenage protagonist, mirrors, female protagonist]\n\n> You look in the cavity\nI lie beside the hole in the floor and, with due prudence, put my hand into the darkness.\n\nI have to rely purely on my sense of touch to discern if there is anything of interest in the hole. For a few seconds all I am able to feel is the cold, wet density of damp stone and a soft breeze, but after a moment of maneouvering I brush against something rough and soft. Nervously I grab the object and begin to pull it towards me.\n\nAs I do so I hear a tinkling noise. I pause as the sound moves away from me, but it is too late. I listen as something metallic slithers away, sounding like it's falling through a fissure below me. There is a further moment of silence before something clatters to the ground on the level below me. My imagination ponders the events that these sounds proclaim but I am not quite sure what to make of them. After this second of contemplation I continue my action and pull the object that I have grasped into the light.\n\nI climb onto my knees with my prize, which appears to be a grubby old rag. As I unfold it a roll of parchment falls to the floor in front of me; the sole inhabitant of the cloth. I toss the rag to one aside, as it appears to have had no other purpose than to serve as a container for the parchment. I wipe my hand across my tired eyes and consider my next decision.\n\n> You read the parchment\nI pick up the parchment from the floor and begin to read...\n\nMy Dearest Marika,\n\nForgive me for the complicated path that you must have walked to obtain this letter. I had no other choice and knew that your resourcefulness would be equal to the task. The elders of the village know well your mother's views on the subject of The Count and feared that she might attempt to intervene in events. As a result they declared it a capital offence for anyone to try and aid you in your plight. I desired greatly to help you but was afraid that Bogdan would hold me to account and that I would be forced to pay the ultimate price for aiding you. Bogdan is a good man, but he fears the elders and he fears The Count even more. I left a message for you on the mirror and a clue under your pillow. I had to phrase the clue as though it were a simple farewell message that wouldn't incriminate me - just in case it were seen by someone other than you. Again, forgive me but I knew that you would be able to solve the puzzle. You are a remarkable girl. I will try and speak with you before I must leave and hope that Bogdan allows it.\n\nI pray that your mother is right; that The Count can be beaten but I do not know how. I have heard many amazing things about him. I have heard that he has the ability to turn into a bat as well as the capability to scale vertical surfaces.\n\nI am sorry that I did not have the chance to say farewell properly.\nTo this end I wrote this letter and wrapped it in a rag with my silver crucifix. As you know, I hid the package under the loose flagstone and I hope that the crucifix will be of some comfort, if nothing else. I will be praying for you. Do not let my fear dampen your remarkable spirit.\n\nEnric.\n\nMy head swims with the information. Enric! Of course! Only a guard would have the freedom to leave items for me in the tower. The message on the mirror was his doing, leading me to find the metal rod so that I could discover this letter under the flagstone. But Enric didn't only intend for me to find a letter. He made reference to his silver crucifix. It would be a helpful weapon in a fight against a vampyre, but it was not present with the parchment. I recall my actions as I discovered the letter and my imagination replays the sounds that I heard as I pulled the rag free from its prison. The metallic tinkling sound. The sound of something slithering away from me. My heart sinks as I piece everything together. Enric's silver crucifix must have fallen free of the rag as I moved it and dropped down a fissure in the stones to the stairwell below this room. It will do me little good down there. My one chance to turn the tables and I have lost it before I even knew what it was that I was losing!\nI scream in frustration and throw the letter to the ground. What hope do I have now?\n\n> Light parchment\nIt suddenly occurs to me that the parchment could be very useful, just not in the way that was originally intended. I scoop the parchment from the floor and hold it over the candle on the shelf for a second. It catches and produces a reasonable flame. I then bend down and cast the burning parchment amongst the pyre that I have constructed in the fireplace.\n\nI pray for it to produce flames amongst the wood and, after what feels like an eternity, I am heartened to see that the wood is indeed burning. I linger for another anxious minute to ensure that the blaze will continue and before long I am coughing on a plume of smoke.\n\nI throw the candle onto the fire for the sake of it and rub my weeping eyes. I am feeling warmer already, and my body is driven even closer to the dangerous state of slumber.\n\nMy body aches with weariness. I don't think that I can resist sleep for much longer!\n\n> You put the rag in the keyhole\nI remember a rumour that The Count possesses the ability to change his shape. The keyhole in the door is sizeable, possibly big enough to allow him entry through it.\n\nWith this in mind I scoop up the rag that I retrieved from under the floor and move purposely over to the door. Using all my strength I cram the rag into the keyhole until I am sure that it will no easy task to remove it. I can only pray that The Count will not be resourceful enough or strong enough to excavate it.\n\n> You look at the candle\nThe candle has long been consumed by the flames.\n\n> You put the flagstone on the hole\nGrabbing the corners of the stone and heaving mightily I manage to return it to the hole in the floor. It crashes back to its original place with a satisfying crack. For some reason performing this action settles an unease that I had in my spirit.\n\n> You examine the walls\nI run my hands along the wall, mesmorised by the sensation of the rough hewn stone under my fingertips. They are uneven and crude, and the mortar between them flakes under my touch. Despite this each single stone I examine seems to be fixed firmly in place.\n\nThe floor is a different matter, constructed from evenly cut and shaped flagstones that bear further examination.\n\n> You examine the rod\nThe metal rod is fairly thin and tapers into a flat end at one tip.\nIt is surprisingly light and clatters on the stones as I roll it over. I believe it to be made of iron and it seems to be fairly strong. I'm sure that it could serve a useful purpose in my quest to secure the room.\n\n> You examine the ceiling\nI look to the heavens and see nothing but rock. The symbolic thought makes me wonder if even God has abandoned me.\n\n> Pray\nFeeling lost and without hope I throw myself to my knees and begin to pour out my heart to God. I have not been praying for more than a minute when I suddenly get the sense that I am not alone.\n\nI look around the room and see nothing, but get the feeling that I am not facing this challenge by myself. With renewed faith I stand again and begin to think about how to survive this night.\n\nI am feeling dizzy and weak. My body is giving in to the demand for rest. I have just enough time and strength to drag myself over to the bed and collapse on it before the darkness overcomes me..."
    },
    {
        "text": "> Look around\n(Press a key)\n\nMy eyes open and drink in the sunlight but my ears are deafened by the sound of hammering fists and yelling voices outside the door. I lie paralysed by fear, expecting The Count to burst through the doorway at any second...but then I listen to the words.\n\n\"Marika! Marika! Are you all right?\" screams a voice that I recognise.\n\nI sit up and watch the door for a second. Someone has tried to remove the rag and the blanket and failed. My sluggish brain slowly pieces together the facts. I am alive, it is morning and someone is trying to get into the room but unable because I have secured it. As this last piece of information sinks in I jump off the bed with a gasp and rush over to the door.\n\nWith a sense of elation I pull the rag from the keyhole and bang on the door.\n\n\"It's me! Marika!\"\n\n\"Marika!\" a voice I recognise almost screams, and then I hear the scraping of a key being fumbled in the lock. The door swings open. Enric stands there, tears streaming down his cheeks, with Bogdan behind him looking astonished.\n\nUnable to contain my delight I throw myself into Enric's shocked arms and he holds me tightly, neither of us speaking. The silence is broken by Bogdan grabbing my shoulder roughly.\n\n\"What have you done girl! You've doomed us all!\" he yells, his face contorted with rage. Enric breaks the embrace to shove Bogdan away.\n\n\"She has shown more courage than anyone else in this village!\" Enric shouts, fists clenched tightly.\n\n\"We'll need more than courage to disuade The Count from his terrible revenge!\" Bogdan shrieks back.\n\nIgnoring the confrontation I rush past them both and down the stairs, thrilling at the feel of wood under my feet.\n\n> You take the crucifix\n(Press a key)\n\nI push the door open and burst out into the daylight with Bogdan and Enric hot on my heels. I stumble around the base of the tower as though intoxicated, searching desperately for something to confirm the suspicions of my dream. I find it on the opposite side of the tower, on the grassy ground below the room's window.\n\nEnric and Bogdan catch up shortly afterwards and stutter to a halt behind me, staring at same sight as me.\n\n\"What...what is that?\" Bogdan whispers.\n\nWe are looking at a corpse, a twisted mess of bones and thick fluid. Decaying flesh hangs from the skeleton and two sharp teeth protrude obscenely from the skull. In my head I imagine a warped creature of the night striving to enter the room, struggling and failing but so absorbed in the task that he fails to see the sun rising over the horizon until it is too late...\n\n\"I think,\" I begin, a huge smile creeping across my face, \"that it is over...\"\n\nI feel Enric's gentle hand on my shoulder and hear Bogdan begin to weep behind me. I look up into the sky. It seems to me the bluest and purest horizon that I have seen for a long while.\n\nI plan to enjoy every second of it.\nCongratulations!"
    },
    {
        "text": "[Themes: mirrors, teenage protagonist]\n\n> You lie on the bed\nMy head is swimming with exhaustion. I have been running on adrenaline for the past twelve hours and it has finally caught up with me.\n\nNo longer able or willing to fight I decide to lie down on the bed and give myself the sleep that I so eagerly desire, regardless of whether or not I have completed my task.\n\nWithin seconds I am asleep...\n\nAs I sleep I dream. In my dream I see the room as though I was a disembodied spirit floating against the ceiling. In my unconscious state I see a hideous apparition appear at the open window. Time seems to slow as the beast clambers through into the room and paces deliberately across the floor towards my slumbering figure. In my dream the horrific creature leans over my sleeping form and, with savage intent, sinks its fangs into my neck.\n\nI wake, in futility trying to scream. It is no longer a dream but reality. The Count is draining the life from my body.\n\nMy dying action is to turn my head towards the west wall and wonder why I didn't make more effort to secure the window...\n\nAs I sleep I dream. In my dream I see the room as though I was a disembodied spirit floating against the ceiling. I hear the sound of someone shaking the door, trying to open it. I see a small, inoffensive shape crawl through the gap under the door and squeak its way across the room. In my dream the small, dark mass becomes a terrible humanoid apparition standing beside my bed. In my dream the horrific creature leans over my sleeping form and, with savage intent, sinks its fangs into my neck.\n\nI wake, in futility trying to scream. It is no longer a dream but reality. The Count is draining the life from my body.\n\nMy dying action is to turn my head towards the south wall and the large metal door that kept me trapped while allowing the vampyre access...\n\nAs I sleep I dream. In my dream I see the room as though I was a disembodied spirit floating against the ceiling. I hear the sound of someone shaking the door, trying to open it. I see a creature of some kind make it's way into the room through the gaping keyhole in the door. In my dream the small, dark mass becomes a terrible humanoid apparition standing beside my bed. In my dream the horrific creature leans over my sleeping form and, with savage intent, sinks its fangs into my neck.\n\nI wake, in futility trying to scream. It is no longer a dream but reality. The Count is draining the life from my body.\n\nMy dying action is to turn my head towards the south wall and the large metal door that kept me trapped while allowing the vampyre access...\n\n> You look under the mattress\nCuriosity, for some reason, leads me to consider whether there might be something under the mattress. With some difficulty I manage to get a grip on the underside of the mattress and heave with all my strength - but my strength has abandoned me. The mattress is abominably heavy, and with no real motivation other than curiosity to drive me I am destined to fail. Breathing heavily, I quickly abandon this course of action and elect to choose a less strenuous path.\n\n> You jump out the window\nA desperate thought fills my head. If my mother is right and The Count is weak until he has feasted then maybe depriving him of his food will be enough to prevent him recovering. Perhaps my death will force his?\n\nI catch myself in shock. Suicide? The worst of sins? But desperate times call for desperate measures. My death is imminent regardless, perhaps my sacrifice can buy the freedom of my people. If I no longer have the strength to fight then maybe I have the strength to choose my own fate.\n\nSick to the pit of my stomach and weary to the point of death I slowly push the window open as wide as it will go; an act that seems to take all my remaining strength. I find within myself, however, the resolve to clamber onto the ledge and stand.\nThe blazing sunset seems to me the most beautiful thing that I have ever seen, and without daring to look down I take the step into oblivion and welcome the darkness...\n\nThe darkness doesn't last. My eyes flicker open and I am staring into the sky, the stars twinkling in the night-time panorama. I do not have the time to wonder how long I have been unconscious because the first thing that I register in my mind is tremendous pain. I fell to the ground but in the cruelest twist of fate I was denied death. The sharp, agonising stabbing pain in my legs suggests that they have been shattered by the fall. My right arm lies twisted and useless by my side. Dark red fluid smeared over my face obscures my view. As a gulp each breath my chest rattles like dice being rolled in a cup. I try to scream to express my mental and physical torment, but the only sound that I can expel is the feeble mewing of a cat seeking his mother's milk. I do not even have the energy to cry.\n\nThen I catch something on the edge of my hearing. It sounds like...footsteps crunching through the undergrowth. My chest constricts as a figure appears at the edge of my peripheral vision. I cannot even move my head to get a better look, but I do not need to. The figure crouches beside me and a hideous face is thrust into my vision. A black haired elderly man, rotting skin stretched tightly over his skull, leers at me. His breath smells of decaying flesh and as he grins he reveals two razor sharp fangs. A guttural laugh begins in his throat and I finally find my scream. But my scream quickly becomes a bubbling wheeze as The Count begins to savage my jugular...\n\n> You enter the fireplace\nI carefully bend down and enter the fireplace, standing once I get inside.\n\nAfter a few moments of reflection I decide that this is serving no useful purpose. There is nowhere to go from here and it will not function as an effective hiding place. I re-enter the room, brushing my frock down as I go.\n\n> You climb up the chimney\nI wonder if it might be possible to climb to freedom through the fireplace. Carefully, I clamber into it and push hard against the sides of the chimney. With an effort of strength I lift my legs and try to find some kind of foothold but there is nothing forthcoming.\n\nAfter a minute of trying I am forced to admit defeat and remove myself from the fireplace. I gather my thoughts and rest my trembling legs for a second. I lack the strength and ability to escape this way.\n\n> You enter mirror\nAs a thought forms in my mind drowsiness begins to overcome me. I shake my head to rouse myself, after which the words seem meaningless to me.\n\n> You breathe on the mirror\nFrom somewhere comes the suggestion that I should breathe on the mirror, though from where I know not. It seems so random and unnecessary at this time that I blame it on exhaustion and try to formulate a more rational path of action.\n\n> You get the blanket\nThere is no need for me to take anything. If I need to use an object then I will do so as appropriate.\n\n> You read the letter\nA thought that I don't fully understand instructs me to take a closer look at something that I don't see in the room. What is going on?\n\n> You search the bed\nWary, for it is almost as if the bed whispers a siren song as I look at it, I begin to examine the cot. The blanket is tucked in tightly but yields to a sharp tug from me. I find nothing unusual under it. The mattress is thick and tightly packed with soft and springy innards. It would be easy to sink into it and forget all of my troubles. As I lift the pillow a small piece of paper wafts out from underneath it and floats gently to the ground. I replace the pillow and turn my attention back to the room.\n\n> You read the note\nI reach down and take the piece of paper in my hands. I force my gaze to focus on the neat handwriting that has been marked on the paper. The message reads...\n\nMarika. I am unable to say goodbye to you as I would wish to. I want you to gaze into your own beautiful eyes and breathe yourself a goodbye from me.\n\nThe paper drops from my limp grasp and settles again on the hard floor. This message was clearly meant for me to find, but who left it? And why? My head aches but I have the feeling that within the message is a hidden meaning that I must endeavour to find.\n\n> You breathe on the mirror\nDriven by a sudden flash of inspiration I move over to the mirror and, as the message on the paper predicted, find myself gazing into my own eyes.\n\nPrompted by the rest of the message I breathe in deeply and exhale over the mirror. I repeat the gesture. As the mirror mists over I notice marks; marks where the mirror is not fogging up. My heart skips a beat as I continue to breathe out over the rest of the mirror, revealing more and more of what seems to be a hidden message.\n\nBy the time that I have finished I am feeling light-headed and unsteady on my feet, but I appear to have uncovered a message.\n\nI commit it to memory as the mirror slowly clears.\n\n> You open the door with rod\nI grab the iron rod from the floor and charge at the door.\n\nScreaming with rage I bring the rod round in an arc and into contact with the door with as much power as I can muster. There is a deafening clang and the rod is jarred from my hands and thrown across\n\n> You hit the fireplace\nthe room, just missing my head. I stumble back, hands shaking and ears ringing.\n\nI am not the violent type.\n\n> You look at the hair\nDriven by some unknown prompting I begin to run my hand through my hair. As my finger touches something sharp I withdraw it hastily. A second, more cautious check reveals a hairpin that shouldn't be there. Unbidden, the memory comes to me of my final meeting with my mother. As we parted she touched my hair. At the time I thought it nothing more than a tender gesture but it seems that she had ulterior motives. Thanking God for her ingenuity I place the hairpin carefully on the shelf above the fireplace and ponder on a use for it.\n\n> Lock window\nI reach out and take the hairpin from the shelf. The hairpin is too small to use on the door so I make my way across the room to the window and, having pulled the window so it is as shut as I can make it, I begin to work on the lock.\n\nMy hand is shaking through exhaustion and I do not rightly know what I am doing but God is with me. After a few moments of fumbling and twisting there is a tiny click. I remove the hairpin from the tiny keyhole to see that my labour has bent and warped it. I then hesitantly push the window. It remains firm. Again I try, this time with as much force as I can muster in my weakened state. The window does not move. I have successfully secured it against The Count. Hopefully the thick glass will be sufficient to thwart his entry.\n\nI respectfully place the hairpin back on the shelf and ponder my next move.\n\n> You put the blanket under the gap\nA flash of inspiration strikes me and with a great sense of urgency I yank the thick blanket from the bed and pull it over to the door. The gap under the door is nowhere big enought for a human to crawl under but until I have a better understanding of what The Count is capable of I will err on the side of caution.\n\nThe blanket is thick and heavy, and with some effort I manage to force it under the door making a barrier of sorts. As it stands nothing will be able to come through the breach and I pray that The Count will lack the necessary strength to remove it swiftly.\n\n> Lift flagstone\nThere are many flagstones in the floor and they all look alike. I wouldn't know which one to lift, if any, without prior investigation.\n\n> You examine the floor\nThe tightly-packed, perfectly square flagstones are cold and hard under my bare feet. I kneel and run my fingers across the stones, searching for something unusual. My breath catches in my throat as my fingers stumble carelessly across a flagstone that seems to be slightly raised in comparison to its neighbours. I check again. This flagstone is the twin of the others except for the fact that it is definitely loose. However, it's too heavy and my fingers are too thick to prise it up. There must be something in here that can help me!\n\n> Lift flagstone\nI decide to try and move the loose flagstone and it occurs to me that the iron rod might be perfectly suited to this task. I grip it tightly and slowly work the flat end into the thin gap between the flagstones.\n\nWhen I believe that I have inserted the rod as far as I can I take a deep breath and begin to apply pressure. Lifting the stone is much easier than I thought it would be and within a few seconds I have managed to tip it enough to prise it out of the floor.\n\nI cast the rod aside and begin to wonder what, if anything, might be contained within the dark cavity that I have uncovered...\n\n> You look in cavity\nI lie beside the hole in the floor and, with due prudence, put my hand into the darkness.\n\nI have to rely purely on my sense of touch to discern if there is anything of interest in the hole. For a few seconds all I am able to feel is the cold, wet density of damp stone and a soft breeze, but after a moment of maneouvering I brush against something rough and soft. Nervously I grab the object and begin to pull it towards me.\n\nAs I do so I hear a tinkling noise. I pause as the sound moves away from me, but it is too late. I listen as something metallic slithers away, sounding like it's falling through a fissure below me. There is a further moment of silence before something clatters to the ground on the level below me. My imagination ponders the events that these sounds proclaim but I am not quite sure what to make of them. After this second of contemplation I continue my action and pull the object that I have grasped into the light.\n\nI climb onto my knees with my prize, which appears to be a grubby old rag. As I unfold it a roll of parchment falls to the floor in front of me; the sole inhabitant of the cloth. I toss the rag to one aside, as it appears to have had no other purpose than to serve as a container for the parchment. I wipe my hand across my tired eyes and consider my next decision.\n\nI yawn. I am finding it difficult to fight off sleep.\n\n> You put the candle in the hole\nI carefully take the candle across the room and kneel down beside the hole. The flickering flame allows me to see something that looks like a piece of cloth that I could probably reach.\n\nI yawn. I am finding it difficult to fight off sleep.\n\n> You examine the cloth\nI feel the urge to examine a rag. I am do not see anything that fits that description. I push the useless urge away.\n\n> You reach in the hole\nI lie beside the hole in the floor and, with due prudence, put my hand into the darkness.\n\nI have to rely purely on my sense of touch to discern if there is anything of interest in the hole. For a few seconds all I am able to feel is the cold, wet density of damp stone and a soft breeze, but after a moment of maneouvering I brush against something rough and soft. Nervously I grab the object and begin to pull it towards me.\n\nAs I do so I hear a tinkling noise. I pause as the sound moves away from me, but it is too late. I listen as something metallic slithers away, sounding like it's falling through a fissure below me. There is a further moment of silence before something clatters to the ground on the level below me. My imagination ponders the events that these sounds proclaim but I am not quite sure what to make of them. After this second of contemplation I continue my action and pull the object that I have grasped into the light.\n\nI climb onto my knees with my prize, which appears to be a grubby old rag. As I unfold it a roll of parchment falls to the floor in front of me; the sole inhabitant of the cloth. I toss the rag to one aside, as it appears to have had no other purpose than to serve as a container for the parchment. I wipe my hand across my tired eyes and consider my next decision.\n\n> You put the rag in the door keyhole\nI remember a rumour that The Count possesses the ability to change his shape. The keyhole in the door is sizeable, possibly big enough to allow him entry through it.\n\nWith this in mind I scoop up the rag that I retrieved from under the floor and move purposely over to the door. Using all my strength I cram the rag into the keyhole until I am sure that it will no easy task to remove it. I can only pray that The Count will not be resourceful enough or strong enough to excavate it.\n\n> You examine the door lock\nI examine the keyhole in the metal door that obstructs the exit. It is the largest keyhole that I have ever seen, almost big enough for me to put my slender hand through. Almost big enough, but not quite.\nThe best I can do is put three fingers in it. Bending down and peering through it reveals to me the dark stairwell just outside this room. So close to freedom and yet so far...\n\n> You wait\nI wait for my death.\n\n> Sleep\nMy head is swimming with exhaustion. I have been running on adrenaline for the past twelve hours and it has finally caught up with me.\n\nNo longer able or willing to fight I decide to lie down on the bed and give myself the sleep that I so eagerly desire, regardless of whether or not I have completed my task.\n\nWithin seconds I am asleep...\n\nAs I sleep I dream. In my dream I see the room as though I was a disembodied spirit floating against the ceiling. I picture the sound of a rustling wind that begins near me, up in the roof, but moves along and down until it seems as if it comes from the walls. It moves closer and closer and closer to my sleeping figure until it seems to burst from the fireplace in the form of a small bat. In my dream the small, dark mass becomes a terrible humanoid apparition standing beside my bed. In my dream the horrific creature leans over my sleeping form and, with savage intent, sinks its fangs into my neck.\n\nI wake, in futility trying to scream. It is no longer a dream but reality. The Count is draining the life from my body.\n\nMy dying action is to turn my head towards the north wall and the fireplace from whence my killer came...\n\n> Light parchment\nIt suddenly occurs to me that the parchment could be very useful, just not in the way that was originally intended. I scoop the parchment from the floor and hold it over the candle on the shelf for a second. It catches and produces a reasonable flame. I then bend down and cast the burning parchment amongst the pyre that I have constructed in the fireplace.\n\nI pray for it to produce flames amongst the wood and, after what feels like an eternity, I am heartened to see that the wood is indeed burning. I linger for another anxious minute to ensure that the blaze will continue and before long I am coughing on a plume of smoke.\n\nI throw the candle onto the fire for the sake of it and rub my weeping eyes. I am feeling warmer already, and my body is driven even closer to the dangerous state of slumber.\n\n> Sleep\nMy head is swimming with exhaustion. I have been running on adrenaline for the past twelve hours and it has finally caught up with me.\n\nNo longer able or willing to fight I decide to lie down on the bed and give myself the sleep that I so eagerly desire, regardless of whether or not I have completed my task.\n\nWithin seconds I am asleep...\n\nAs I sleep I dream. In my dream I see the room as though I was a disembodied spirit floating against the ceiling. I hear the sound of footsteps on the stairwell below me, getting closer and closer. There is a pause and sound of rushing wind. Then something slowly flies into the room from a hole in the floor. In my dream the small, dark mass becomes a terrible humanoid apparition standing beside my bed.\nIn my dream the horrific creature leans over my sleeping form and, with savage intent, sinks its fangs into my neck.\n\nI wake, in futility trying to scream. It is no longer a dream but reality. The Count is draining the life from my body.\n\nMy dying action is to turn my head towards the floor, cursing myself for overlooking something so obvious..."
    },
    {
        "text": "[Themes: kid-friendly, gender-neutral protagonist, nature, treasure, kids, teenage protagonist, island, cave, beach]\n\nYou were reluctant to undertake another adventure with Professor d'Squarius, especially after the last near-catastrophe. Escaping from the Tomb of the Screaming Mummies had been treacherous enough, but then to have to go back inside because the professor lost his keys in some snake pit? Frankly, you had begun to question whether his treasure hunts were worth it.\n\nBut the professor spoke persuasively about this new quest -- \"for untold riches!\" he claimed -- and, in the end, you agreed to join the expedition. Since then, things have gone exactly the way they always do: horribly.\n\nYou tried to tell the professor that bringing a harpoon into an inflatable lifeboat was a bad idea. But, like always, he dismissed your objections with the usual \"you're just the teenage sidekick\" line. And now YOU are the one stranded on a remote tropical island with no clear way of getting back to civilization.\n\nAnd the amazing treasure you were originally seeking? The professor never explained precisely what it was.\n\nYou are on a deserted beach, alone except for the salty breeze, the waves splashing rhythmically on the sand, and a single palm tree that provides very little shade from the harsh sun. The beach extends to the southeast, and a path to the west leads into the rainforest.\n\nThe flat husk of a once-inflatable lifeboat has washed up nearby.\n\n[Author's Note: You were reluctant to undertake another adventure with Professor d'Squarius (especially after the last near-catastrophe, in the Tomb of the Screaming Mummies), and from the moment you agreed to join the expedition, things have gone exactly the way they always do: horribly. Now YOU are the one stranded on a remote tropical island with no clear way of getting back to civilization. And the amazing treasure you were originally seeking? The professor never explained precisely what it was.]\n\n> About you\nYou are the young assistant to Professor Edsger d'Squarius, adventurer-archaeologist.\n\nYou and the professor have been through a lot together. You bravely charted the Grave of the Headless Vikings (at least until the swamp gases started to make you hallucinate). You ventured into the secret network of catacombs beneath Stonehenge in search of the Lost Codex of Zethar the Druid (it's still lost; you never found it). You have even seen the summit of Mount Everest (from a distance).\n\nAnd every time the professor has gotten into some bizarre or dangerous predicament (which is most of the time), you've been there to bail him out.\n\n> Inventory\nYou are carrying:\nthe silver whistle (being worn)\n\n> You examine the whistle\nThe silver emergency whistle hangs from a nylon lanyard that you are wearing around your neck.\n\nThe whistle was one piece of emergency equipment that the professor put you in charge of (the other was the emergency beacon, which seems to be missing).\n\n> Blow whistle\nThe shrill sound of the emergency whistle is both loud and irritating.\n\n> You look\nYou are on a deserted beach, alone except for the salty breeze, the waves splashing rhythmically on the sand, and a single palm tree that provides very little shade from the harsh sun. The beach extends to the southeast, and a path to the west leads into the rainforest.\n\nThe flat husk of a once-inflatable lifeboat has washed up nearby.\n\n> You get the lifeboat\nThe deflated lifeboat has outlived all usefulness. There's no point in carrying it around.\n\n> You examine the tree\nThe smooth trunk of the palm tree stretches up about twenty feet and ends in a fan of wide, green leaves.\n\n> You climb the tree\nYou're quite skilled at climbing trees -- and it's a good thing. When the professor was captured by the Cannibal Warriors, you scrambled up a tree and avoided detection. Later (but still before brunch!) you climbed down and helped the professor escape.\n\nUnfortunately, climbing this particular tree doesn't yield any new information. You climb back down.\n\n> Swim\nYou and the professor once traveled in search of the Ukrainian Falcon, a golden bird encrusted from beak to claw with the rarest jewels. The professor learned that it had been left behind in the exclusion zone around the Chernobyl nuclear reactor. You journeyed up the Pripyat River, but you had to turn around when your boat was attacked by a school of giant, phosphorescent catfish.\n\nSince then, you've avoided recreational swimming.\n\n> Xyzzy\nYou recall a different tropical archipelago, far from here, which you and the professor traversed in hope of finding the Chachapoyan Fertility Idol. After that, whenever he needed a vacation, the professor would sometimes go back to Zabba, Deffe, Hijji, Noppo, and Tuvvu (and sometimes Xyzzy).\n\n> You look at the sand\nThe white sands extend to the southeast.\n\n> Dig\nThat's going to be hard to do without a shovel.\n\n> Inventory\nYou are carrying:\nthe silver whistle (being worn)\n\n> Go southeast\nThis part of the beach probably floods completely when the tide comes in: all the sand has been washed away and only large rocks remain. Their many pockets and indentations are filled with pools of seawater. The beach becomes more sandy to the northwest and to the west, a large crack in the rocks leads down into a dark cave.\n\nA reddish-brown crab scuttles from pool to pool, its pointy legs clicking faintly on the stones.\n\nThere is a long plastic tube here. It must have been left behind the last time the tide went out.\n\n> You get the tube\nTaken.\n\n> You look at the tube\nThe long, waterproof tube has a tight-fitting cap. Large documents, like blueprints and maps, can be rolled up and slid inside for protection.\n\n> Open tube\nYou open the waterproof case, revealing the professor's treasure map!\n\nWhen the pirates were starting to close in, you tried to convince the professor that you should be the one to carry both the map and the key. Instead, the professor took the map himself and, inexplicably, tied the key to Aziz's leg. He put you in charge of the emergency kit: the whistle (which you're wearing) and the beacon (which seems to be missing).\n\nThe fact that the map case has washed up on the beach might indicate bad news for the professor, maybe even worse than that time he was almost devoured by man-eating spiders in the Shrine of the Cursed Knights.\n\n> You read the map\n(first removing the map from the waterproof case)\nThe sheet of yellowing parchment shows the outline of an island, hand-drawn in black ink. Most of the terrain is just sketched in, but the northwest region is mapped out in great detail and shows some unusual red symbols.\n\nIt looks a little like the map the professor had that time you drove a dog sled through the arctic in search of the lost city of Tuktuyaaqtuuq. That's probably just a coincidence, though.\n\n> You examine the symbols\nThe symbols in the northwest region of the map are drawn in red ink. (At least, you think it's red ink?) They depict a face looking directly west at a seven-pointed star.\n\n> You get the crab\nThe crab snaps at your fingers with its sharp little claws. You back away, aware that your hands are completely unprotected.\n\n> You talk to the crab\nTo communicate with other characters, use the command 'talk to someone about something'.\n\n> You eat the crab\nYou ate raw crab with the professor at a Kyoto sushi bar. (Well, your ordered some. Before the food came, some Yakuza strongmen showed up and you had to sneak out the back door.) This crab is still alive, though!\n\n> Go west\nYou pass from the bright, warm sunlight of the tide pool to the cool darkness of the cave.\n\nYou can see nothing.\n\nIt's as dark as the ocean floor. (You know that's a valid comparison because you and the professor once journeyed by submersible to the wreck of the Titanic in order to retrieve a blue diamond necklace once owned by Louis XVI.) You hear the occasional drip of water into some distant subterranean puddle.\n\n> You listen\nYou hear the occasional drip of water echoing from the walls.\n\n> Dig\nThat's going to be hard to do without a shovel.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe map\na waterproof case (open but empty)\nthe silver whistle (being worn)\n\n> Blow whistle\nThe squeal of the whistle causes the crab scurry away, snapping its claws even more aggressively than usual.\n\n> You examine the sun\nYou have to squint a bit against the bright sunlight and blue sky.\n\n> You go west\nJust as you are about to continue exploring the island, a large wave crashes with a spray of foam, and something unusual catches your eye.\n\nWhen the water recedes, you see the emergency beacon rolling in the surf. What luck!\n\n> You take beacon\nTaken.\n\n> You look at beacon\nThe beacon was one piece of emergency equipment that the professor put you in charge of (the other was the emergency whistle).\n\nIt's designed to float, but more importantly, to make you visible at night. It won't be of much use in the bright sunlight.\n\n> You go to the west\nYou can see nothing. You hear the occasional drip of water into some distant subterranean puddle.\n\n> You turn on the beacon\nYou switch the beacon on.\n\nThe yellow light of the emergency beacon reflects wetly off the irregular, black walls of the cave. Drips of water echo from some dank corner through the chilly underground air.\n\nA path exits this chamber to the east, and a rusty iron gate leads west. A long ladder stretches up, past the limit of the beacon's weak light and into the darkness.\n\nLeaning in the corner is an old shovel.\n\n> You get the shovel\nAfter that time you and the professor got buried alive in the tomb of Pharaoh Humnatune you said you never wanted to use a shovel again... but it's been a while and you've calmed down quite a bit.\n\nYou pick up the shovel.\n\n> Dig\nThe ground here is too rocky for digging. You'd need a pickaxe or something to even make a dent, and you haven't seen one of those since the professor had you chip through the floor of the Biblioteca di San Barnaba on a hunch that it would uncover a secret passage. He was wrong, of course, and had to pay the library big bucks to repair the tile.\n\n> Go upwards\nYou climb the ladder for a long time. After a while the rough rock walls of the cave smooth out and you find yourself ascending through the interior of a smooth stone cylinder. A minute later you emerge in a room filled with bright sunlight.\n\nThis room is at the very top of the island's lighthouse. The walls of this octagonal room are all made of glass, and you have a panoramic view. From here you can see that this island is just one of many that make up an archipelago. You notice a ship several miles away sailing in and out of sight among the many islands.\n\nIn the center of the room is the lantern: a high-powered electric lamp nested inside a set of massive rotating lenses. Underneath the lens array, on the lantern's support pedestal, is a large power button.\n\nYou can also see a tub of grease here.\n\n> You turn off the beacon\nYou switch the beacon off.\n\n> You get the grease\nThe professor once dangled you by your feet over the La Brea tar pits so that you could pull out a crate filled with twenty-eight pounds of stolen diamonds. You got it just moments before it sank forever into the sea of sticky, black gloop. The grease in the tub looks just like that tar, which you were cleaning out from under your fingernails for weeks.\n\nAnyhow, you pick up the tub of grease.\n\n> You look at the tube\nThe long, waterproof tube has a tight-fitting cap. Large documents, like blueprints and maps, can be rolled up and slid inside for protection.\n\n> You examine tub\nThis tub contains a thick, black grease used to lubricate the gears of the mechanism that causes the bright beam of the lighthouse to sweep across the night sky. (Of course, that only happens if it's nighttime and if the lighthouse is operational, neither of which is currently the case.) The grease is applied using the paintbrush whose bristles are stuck in the goo.\n\n> You look\nThis room is at the very top of the island's lighthouse. The walls of this octagonal room are all made of glass, and you have a panoramic view. From here you can see that this island is just one of many that make up an archipelago. You notice a ship several miles away sailing in and out of sight among the many islands.\n\nIn the center of the room is the lantern: a high-powered electric lamp nested inside a set of massive rotating lenses. Underneath the lens array, on the lantern's support pedestal, is a large power button.\n\n> You turn on the beacon\nYou switch the beacon on.\n\n> Down\nThe yellow light of the emergency beacon reflects wetly off the irregular, black walls of the cave. Drips of water echo from some dank corner through the chilly underground air.\n\nA path exits this chamber to the east, and a rusty iron gate leads west. A long ladder stretches up, past the limit of the beacon's weak light and into the darkness.\n\n> You go to the west\nThe rusty gate is closed.\n\n> You open gate\nThe hinges of the gate are frozen with rust. You'll need some kind of oil or grease to loosen them up again.\n\n> Lube gate\nYou paint the hinges of the rusty gate with a healthy smear of grease.\n\n> You open gate\nThe hinges of the gate let out an abrupt, metallic bark as they finally twist free of the rust.\n\n> You go to the west\nThis cave has been turned into a small workshop with an assortment of furniture on one side and an array of machinery on the other. Everything in the room is damp from the constant mist churned up by the cascade of falling water at the cave's entrance, which lies to the west. There is a rusty iron gate in the eastern wall.\n\nAmong the machinery is the room's most impressive feature: a massive water wheel, which is attached to a long horizontal track in the wall. At the near end of the track you see a crank and a kind of display panel.\n\n> You examine the furniture\nThe cramped workshop includes a drafting desk, stool, and a sleeping cot.\n\n> You examine the desk\nThe desk is tall and has a single drawer. Some papers are scattered across its surface.\n\n> You read papers\nThe papers show engineering sketches for an electrical network which connects five structures on the island. The design shows a cable starting at the water wheel, running through three intermediate power stations, and terminating at the top of the lighthouse.\n\n> You lie on the cot\nYou get onto the cot.\n\n> You open the drawer\nYou open the drawer, revealing some gloves.\n\n> You take gloves\nTaken.\n\n> You examine the gloves\nThe heavy canvas work gloves would be useful for protecting your hands.\n\n> You sit on the stool\n(getting off the cot)\nYou get onto the stool.\n\n> You examine crank\nThe big metal crank juts from the wall at the near end of the track. Mounted on the wall above it is a control panel.\n\n> You examine the panel\nThe control panel displays five small light bulbs in a horizontal line. Currently, all of the lights are off.\n\n> You examine the wheel\nThe water wheel is enormous: it reaches almost all the way to the ceiling, and its blades are wider than your armspan. It is currently motionless, though it is obviously designed to spin on its axle. The axle connects the wheel to the track that runs horizontally along the wall.\n\n> Turn wheel\nThe water wheel is far too big and heavy to be turned by hand. The force of the falling water, though, may be strong enough to get it spinning.\n\n> You look\nWorkshop (on the stool)\nThis cave has been turned into a small workshop with an assortment of furniture on one side and an array of machinery on the other. Everything in the room is damp from the constant mist churned up by the cascade of falling water at the cave's entrance, which lies to the west. There is a rusty iron gate in the eastern wall.\n\nAmong the machinery is the room's most impressive feature: a massive water wheel, which is attached to a long horizontal track in the wall. At the near end of the track you see a crank and a kind of display panel.\n\n> You pull the crank\nThe water wheel doesn't budge. Instead, your effort elicits a dry, rusty grinding noise from the crank. It sounds like it could use some lubrication.\n\n> Grease crank\nYou paint the crank with a healthy smear of grease.\n\n> You pull the crank\nThe water wheel doesn't budge. Instead, your effort elicits a dry, rusty grinding noise from the track. It sounds like it could use some lubrication.\n\n> Grease track\nYou smear grease along the whole length of the track: from the crank at one end to the waterfall at the other end.\n\n> You pull the crank\nThe water wheel doesn't budge. Instead, your effort elicits a dry, rusty grinding noise from the axle of the water wheel. It sounds like it could use some lubrication.\n\n> Grease axle\nYou paint the axle of the water wheel with a healthy smear of grease.\n\n> You pull the crank\nAt last! The crank lets out a nasty screech and finally makes its first full rotation. The water wheel rumbles along the track toward the waterfall. As the blades of the huge wheel are struck by the water, it starts turning -- slowly at first, but it gradually picks up speed until it is spinning rapidly.\n\nYou notice that the first bulb on the control panel has lit up.\n\n> You look\nWorkshop (on the stool)\nThis cave has been turned into a small workshop with an assortment of furniture on one side and an array of machinery on the other. Everything in the room is damp from the constant mist churned up by the cascade of falling water at the cave's entrance, which lies to the west. There is a rusty iron gate in the eastern wall.\n\nAmong the machinery is the room's most impressive feature: a massive water wheel, which is attached to a long horizontal track in the wall. At the near end of the track you see a crank and a kind of display panel.\n\n> You go east\n(first getting off the stool)\n\nThe yellow light of the emergency beacon reflects wetly off the irregular, black walls of the cave. Drips of water echo from some dank corner through the chilly underground air.\n\nA path exits this chamber to the east, and a rusty iron gate leads west. A long ladder stretches up, past the limit of the beacon's weak light and into the darkness.\n\n> Go east\nThis part of the beach probably floods completely when the tide comes in: all the sand has been washed away and only large rocks remain. Their many pockets and indentations are filled with pools of seawater. The beach becomes more sandy to the northwest and to the west, a large crack in the rocks leads down into a dark cave.\n\nA reddish-brown crab scuttles from pool to pool, its pointy legs clicking faintly on the stones.\n\n> Dig\nThe ground here is too rocky for digging.\n\n> Dig\nAll of the clues at this point suggest you should be digging in the grassy plain.\n\n> You examine the map\nThe sheet of yellowing parchment shows the outline of an island, hand-drawn in black ink. Most of the terrain is just sketched in, but the northwest region is mapped out in great detail and shows some unusual red symbols.\n\n> Go west\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nYou also see something quite out of place in the natural surroundings: a mechanical device is poking out from among the ferns.\n\nPerched on the thick-stemmed leaf of a nearby banana tree sits Aziz, the professor's parrot. His blue and yellow feathers contrast brightly with the green forest backdrop.\n\n> You get the parrot\nAziz lets out a loud squawk, and swipes at you with a claw. Then he bobs his head back and forth a few times while uttering an angry hiss.\n\n> You examine the device\nBased on the look of it, the device must be some kind of power station that routes electricity to another part of the island: The device has a glass dome on top and a single button labeled ON/OFF. At the base, thick electrical cables snake both southwest and southeast (up the slope).\n\n\"Snack!\" says the parrot.\n\n> Grease device\nPutting grease on the power station would achieve nothing.\n\n\"Crab snack?\" asks the parrot.\n\n> You go east\nYou are on a deserted beach, alone except for the salty breeze, the waves splashing rhythmically on the sand, and a single palm tree that provides very little shade from the harsh sun. The beach extends to the southeast, and a path to the west leads into the rainforest.\n\nThe flat husk of a once-inflatable lifeboat has washed up nearby.\n\n> You go west\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nA power station is poking out from among the ferns.\n\nPerched on the thick-stemmed leaf of a nearby banana tree sits Aziz, the professor's parrot. His blue and yellow feathers contrast brightly with the green forest backdrop.\n\n> Inventory\nYou are carrying:\nsome gloves\na tub of grease\na shovel\nthe beacon (providing light)\nthe map\na waterproof case (open but empty)\nthe silver whistle (being worn)\n\n> You examine ferns\nThe moss and ferns make a thick carpet across the floor of the rainforest.\n\n> Go west\nThe dense forest thins and becomes a wide plain. There are no trees here. Instead, this whole area is covered with coarse grasses as tall as your waist. Trails east and south lead back into the jungle.\n\nStanding alone in the center of the wide plain is an enormous stone head.\n\n> You wear the gloves\nWow, do you wish you'd had a pair of gloves like these that night all the donkeys got sick while you were trekking down into the Canyon of the Ancient Monks. You told the professor not to let them eat so many blackberries, but he wouldn't listen.\n\nAnyhow, you put on the gloves.\n\n> You get the crab\nYou pick up the crab. It pinches away at you furiously, but the thick canvas gloves protect your hands.\n\n> Go west\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nA power station is poking out from among the ferns.\n\nPerched on the thick-stemmed leaf of a nearby banana tree sits Aziz, the professor's parrot. His blue and yellow feathers contrast brightly with the green forest backdrop.\n\nThe parrot scratches at the ribbon tied to its leg.\n\n> You give the crab to the parrot\n\"CRAB SNACK!\" the parrot caws with joy.\n\nAziz jumps off the banana leaf and sails toward the crab, wings and talons outstretched. Before you know it, the bird has snapped its claws around the crab and started flapping up into the canopy of the rainforest. You hear a soft, metallic thump on the ground nearby, and then the parrot is gone.\n\n> You get the key\nIf you had a dollar for each little key you've had to keep track of over the years. In fact, the Carnegie Museum of Natural History recently requested to borrow the professor's key collection for a public exhibition. That's been put on hold, however, until the professor can find the key to the safe in which he keeps his key collection.\n\nAnyhow, you pick up the key.\n\n> You look at the key\nThe brass key is about as long as your finger. Professor d'Squarius was sure this key would grant you access to the vast riches he spoke so vaguely about.\n\n> Go west\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nA power station is poking out from among the ferns.\n\n> You examine the head\nThe monolithic sculpture, made of pitted red stone, is in the shape of an enormous head with a long nose. The statue's eyes, two bright copper plates embedded in the stone, gaze southeast over the waving grasses.\n\n> You examine the plates\nThe monolith's copper eyes catch and focus the bright sun. Together they project a brilliant beam of light on the ground to the southeast of the statue.\n\n> You examine the map\nThe sheet of yellowing parchment shows the outline of an island, hand-drawn in black ink. Most of the terrain is just sketched in, but the northwest region is mapped out in great detail and shows some unusual red symbols.\n\n> Dig\nThe monolithic sculpture is facing southeast, whereas the symbols on the map show a face looking west. Perhaps it is possible to turn the statue so that it faces in that direction.\n\n> You turn the head\nTo turn the scuplture so that it faces a particular direction, use the command 'turn sculpture to direction'.\n\n> Dig\nYou dig at the precise location where the light from the monolith's eyes hits the ground. After a few minutes of working, your shovel clanks hard against stone! A few minutes later you have cleared off a mysterious stone circle in midst of the grassy sea.\n\n> You examine the circle\nThe circular stone reminds you of a manhole cover. Its surface is engraved with a seven-pointed star.\n\n> Inventory\nYou are carrying:\nthe brass key\nsome gloves (being worn)\na tub of grease\na shovel\nthe beacon (providing light)\nthe map\na waterproof case (open but empty)\nthe silver whistle (being worn)\n\n> You examine the star\n(the stone circle)\nThe circular stone reminds you of a manhole cover. Its surface is engraved with a seven-pointed star.\n\n> You move the cover\nYou are able to pry the stone loose and open it just like a manhole in the street. When you do, a gasp of stale air escapes the chamber beyond. It smells ancient, like the air inside the Mausoleum of the First Qin Emperor, a necropolis guarded by the Terra Cotta Army, which you and the professor entered in your search for an intricately-carved jade funeral urn containing the ashes of Qin Shi Huang. (You couldn't find it.)\n\n> You examine the chamber\nThe circular stone has been dragged aside to reveal a circular hole and a dim chamber below."
    },
    {
        "text": "[Themes: teenage protagonist]\n\n> Go downward\nYou lower yourself through the circular hole and drop to the floor. It's not a long drop (you can easily climb back out) but your impact kicks up a cloud of dust that has been undisturbed for a long time.\n\nYou are in a cylindrical chamber. The floor and curved walls of this subterranean room have been lined with smooth stones. Light falls in through the circular opening in the low ceiling, glinting off the specks of dust that drift in the air.\n\nIn the center of the room squats a wooden chest wrapped in iron bands.\n\n> You look at the chest\nThe wooden chest and its rounded lid are striped with bands of iron. An ornamental key plate surrounds an oblong keyhole.\n\nAdventuring with the professor has landed you in front of many treasure chests just like this one. You recall one that contained a huge hoard of Aztec gold, and another that contained nothing but a single platinum teaspoon (which, rumor had it, once belonged to Crown Prince Rupprecht of Bavaria).\n\nThe fact that this chest looks exactly like all the others makes you that much more curious about what's inside.\n\n> Open chest\nIt seems to be locked.\n\n> You unlock the chest with the key\nThe brass key clicks perfectly into place and turns with a gentle twist of your wrist. You've done a lot to get here, and only one simple step stands between you and the professor's amazing treasure (whatever it is).\n\n> Open chest\nGingerly you open the chest, revealing its contents.\n\nInside, you behold an object so magnificent it defies description. No wonder Professor d'Squarius didn't get into detail about this amazing treasure! It's too incredible for words.\n\n> You examine the treasure\nIt's amazingly lifelike. Except for the number of feet, of course.\n\n> Continue\nIt's as though a blind jeweler carved it based on a poet's description.\n\n> Keep going\nIt stirs up a complex set of emotions in you, the way only true art can. You find yourself simultansously drawn to it and repulsed by it.\n\n> Continue\nYou study all the interlocking pieces, each one more delicate than the last... When you snap out of it, you're not sure how much time as gone by.\n\n> You take the treasure\nYou carefully remove the object from its container. It is certainly a piece that curators and collectors from Amsterdam's Rijksmuseum to the British Museum will be clamoring for. Plus, the professor (if he's still alive) would be immensely proud of you for finding it.\n\nNone of that matters, though, if you can't get off the island. So, onward!"
    },
    {
        "text": "[Themes: island, treasure, gender-neutral protagonist, beach, kids, nature]\n\n> You describe your surroundings\nYou are in a cylindrical chamber. The floor and curved walls of this subterranean room have been lined with smooth stones. Light falls in through the circular opening in the low ceiling, glinting off the specks of dust that drift in the air.\n\nIn the center of the room squats a wooden chest wrapped in iron bands.\n\n> Go upwards\nYou pull yourself up through the circular hole in the ceiling.\n\nThe dense forest thins and becomes a wide plain. There are no trees here. Instead, this whole area is covered with coarse grasses as tall as your waist. Trails east and south lead back into the jungle.\n\nStanding alone in the center of the wide plain is an enormous stone head. In the ground, under the watching eyes of the statue, is the stone circle.\n\n> You examine the sun\nYou have to squint a bit against the bright sunlight and blue sky.\n\n> You go east\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nA power station is poking out from among the ferns.\n\n> You look at the power station\nThe device has a glass dome on top and a single button labeled ON/OFF. At the base, thick electrical cables snake both southwest and southeast (up the slope).\n\n> You go southeast\nYou climb up the steep slope toward the top of the cliffs. After a while, you emerge into the sunlight.\n\nYou are on a rocky point that rises up through the canopy of the trees. Steep cliffs drop into the rainforest in every direction except to the northwest, where a steep path leads down. From this high perch you can see many of the other small islands that make up the archipelago.\n\nA tall, cylindrical lighthouse rises into the sky next to you, overlooking the ocean and the jungle below. Snug up against the curved stone wall is another power station.\n\nThe area around the lighthouse is populated with a troop of playful monkeys who hoot and screech as they chase each other around.\n\n> You look at the power station\nThe device has a glass dome on top and a single button labeled ON/OFF. At the base, thick electrical cables snake northwest (down the slope).\n\n> You press the button\nThe monkeys react when you approach the power station. Howling in fear and aggression, they gather up into a tight pack between you and the lighthouse before you can get anywhere close to it.\n\n> You examine the monkeys\nThe monkeys, tense and aggressive, crouch in a cluster between you and the lighthouse. Thirty pairs of eyes scrutinize your movements.\n\n> You check your inventory\nYou are carrying:\nthe amazing treasure\nthe brass key\nsome gloves (being worn)\na tub of grease\na shovel\nthe beacon (providing light)\nthe map\na waterproof case (open but empty)\nthe silver whistle (being worn)\n\n> Blow whistle\nThe piercing scream of the emergency whistle causes the monkeys to panic! Terrified, they scramble across the rocky ground, jump off into the trees, and go leaping and swinging down through the jungle. In just a few seconds, they are all gone.\n\n> South\nThe tall cliff blocks your way in the that direction.\n\n> You climb the cliff\nYour wall-climbing skills are quite good. Otherwise you never would have been able to infiltrate the headquarters of the Clan of the White Lotus in order to recapture the San Tilapian crown jewels. But you had ropes that time. There's no way the vines here will hold your weight. You might instead try the path to the southeast.\n\n> You examine the vines\nThe steep cliff is taller than the tallest rainforest trees. Clinging vines snake their way up the rocky wall, here and there dangling long chains of magenta flowers. A trail toward the top of the cliffs rises steeply to the southeast.\n\n> Smell flowers\nYou smell sweet perfume from the flowers.\n\n> West\nThe dense forest thins and becomes a wide plain. There are no trees here. Instead, this whole area is covered with coarse grasses as tall as your waist. Trails east and south lead back into the jungle.\n\nStanding alone in the center of the wide plain is an enormous stone head. In the ground, under the watching eyes of the statue, is the stone circle.\n\n> South\nYou are in a lush rainforest clearing, surrounded by steep cliffs. Clinging vines snake their way up the rocky wall, here and there dangling long chains of magenta flowers. Trails lead north and northeast. A large waterfall to the east roars and churns up a dense cloud of mist.\n\nAnother power station is poking out from among the dense foliage beside the waterfall.\n\n> You press the button\nYou press the button on the power station. With a puff of ozone, the glass dome flickers with green light and the device begins to emit a low hum.\n\nYou have a brief flashback to that time in Philadelphia when the professor found, and then cranked up, Ben Franklin's original lightning machine. The main difference this time is that the power station doesn't explode.\n\n> East\nBe careful: Carrying the treasure map through the waterfall would certainly destroy it.\n\n> You put the map in the tube\nYou roll up the treasure map slide it into the tube.\n\n> Close tube\nYou close the waterproof case.\n\n> Go east\nYou walk through the curtain of water, getting pelted and soaked in the process.\n\nThis cave has been turned into a small workshop with an assortment of furniture on one side and an array of machinery on the other. Everything in the room is damp from the constant mist churned up by the cascade of falling water at the cave's entrance, which lies to the west. There is a rusty iron gate in the eastern wall.\n\nAmong the machinery is the room's most impressive feature: a massive water wheel, which is attached to a long horizontal track in the wall. At the near end of the track you see a crank and a kind of display panel.\n\n> You look at the panel\nThe control panel displays five small light bulbs in a horizontal line. Currently, the first two lights are lit.\n\n> You go to the east\nThis part of the beach probably floods completely when the tide comes in: all the sand has been washed away and only large rocks remain. Their many pockets and indentations are filled with pools of seawater. The beach becomes more sandy to the northwest and to the west, a large crack in the rocks leads down into a dark cave.\n\n> You press the button\nYou press the button on the power station. With a puff of ozone, the glass dome flickers with green light and the device begins to emit a low hum.\n\n> You go southeast\nYou are on a rocky point that rises up through the canopy of the trees. Steep cliffs drop into the rainforest in every direction except to the northwest, where a steep path leads down. From this high perch you can see many of the other small islands that make up the archipelago.\n\nA tall, cylindrical lighthouse rises into the sky next to you, overlooking the ocean and the jungle below. Snug up against the curved stone wall is a power station.\n\n> Go northwest\nThe dense canopy of leaves breaks up the sunlight. The ground is covered with a spongy layer of moss and ferns. The humid air smells of both flowering and decaying plants.\n\nTrails to the west and southwest meander through the trees, and the way back to the beach is east. A steep cliff rises up directly to the south, and to the southeast you see a steep climb that goes up towards its summit.\n\nA power station is poking out from among the ferns. Its glass dome is glowing with green light, and it is humming quietly.\n\n> You look at the panel\nThe control panel displays five small light bulbs in a horizontal line. Currently, the first four lights are lit.\n\n> You press the button\nYou flip the lamp's switch and the room is immediately filled with the brightest light your eyes have ever squinted to avoid seeing. It shines out from the lighthouse and soon attracts the attention of the passing ship.\n\nFortunately, it is Captain Atlee's ship and within an hour or two, you find yourself safely back among her crew. You also find yourself reunited with Professor d'Squarius!\n\n\"You found it!\" he cries when he sees you holding the amazing treasure. \"Fascinating,\" he says as he studies the piece. \"I had read about it having handles. But why would it need so many?\"\n\nBack in his cabin, the professor tucks the amazing treasure into a padded crate and tells the story of how, after the lifeboat deflated, he got caught in a current that carried him away from the island. At some point he was spotted and scooped from the sea by Atlee, who had managed to escape the pirates with her skillful maneuvering.\n\n\"While you were away, I had a look at that.\" He gestures to one of several maps piled up on the table. The parchment shows a maze of twisty little passages, all alike. \"Seems like there's loads of good stuff squirreled away in there.\"\n\nThe story of what happens next -- your confusing trek through that network of caves, the unlikely method by which you slay the fearsome dragon, the clever way you recover the priceless (but impossibly delicate) Ming vase -- is a story that must wait for another day."
    },
    {
        "text": "[Themes: Lovecraftian, Literary, alchemy, horror, drugs, male protagonist, homage, Lovecraftian, adaptation, Edgar Allan Poe]\n\nStudy (on the velvet couch)\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nNEVERMORE is a work of Interactive Fiction by Nate Cull (culln@xtra.co.nz), written for the 2000 IF Competition, and based very loosely on the poem \"The Raven\" by Edgar Allan Poe. All box quotes are from the www.eserver.org text of the poem. Everything else is original, bears no relation to any known literary work or historical fact, and is quite probably indicative of some deep unresolved psychological trauma in the author's childhood.\n\nFor help at any time, type HINT. To see if the game is still winnable, type WINNABLE.\n\nThanks to: the ifMUD gang at http://ifmud.port4000.com for support with Inform coding lore and a constant supply of monkey jokes; Admiral Jota and the Emily who is not called Emily, for help with Latin; and various betatesters including Peter Berman, Doug Jones and Nick Montfort. Also, to L. Ross Raszewski for his wonderful Hints.h hint library.\n\nYou are granted unconditional right to freely copy and distribute this game, in any form, as long as it remains unaltered. This includes the right to commercial redistribution. If you obtained this game on a CD-ROM, or as part of any other commercial distribution, you should be aware that you do not owe the author or any other entity anything for playing or copying it.\n\nIf you have difficulty finding the latest version, or you would simply like to talk to a human about this game, post a message on the Usenet newsgroup rec.games.int-fiction, or failing that, feel free to email the author.\n\nDedicated to: Alex. Want corknut! Awwk!\n\n[Author's Note: A short tale of mystery and madness inspired by Poe's \"The Raven\".]\n\n> You look at the desk\nA relic from Byzantine days, perhaps. It was the first piece of furniture you touched as a child, and the oldest you have seen in all your travels. Simply a slab of polished oak, with four curiously carved legs, and nothing more. On the desk are a paper sachet, an oil-lamp and Concerning Immortality.\n\nYou hear the tapping sound again.\n\n> You check what you're carrying\nYou are carrying:\na gold ring (being worn)\n\nA staccato rap echoes through the room.\n\n> You examine the sachet\nA thin paper envelope, of the kind in which exotic substances are stored. The sachet is closed.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> You open the sachet\nYou open the paper sachet, revealing coca powder.\n\nThe gentle tapping sounds again.\n\n> You examine the Immortality\n\"Some Thoughts Concerning Immortality and The Means Thereof\", by Ambrosius of Cyrene (a copy, not the original, as the pages of this slim volume date no earlier than the fifteenth century). A most difficult book, but you have returned to its pages many times; surely, the key to the whole process must be here, if only you could read its meaning.\n\nA staccato rap echoes through the room.\n\n> You look at the coca\nA white powder consisting of an extract of the South American coca leaf, which an acquaintance in Mexico has found a new process of refining.\n\n> You sniff the coca\nYou inhale a quantity of coca powder.\n\nA sense of raw alertness rushes through your nerves, setting them all on edge.\n\n> About yourself\nYou look like a gentleman of ease, but that is not how you feel.\n\nA staccato rap echoes through the room.\n\nThe coca rush fades, but the sense of alertness remains.\n\n> You open the window\nYou swing wide the shutters, letting the cold night air gust into the room.\n\nA staccato rap echoes through the room.\n\nThe curtains move softly, caressed by the breeze.\n\n> You examine the curtains\nPurple silken curtains hang down each side of the window, and extend around the room to soften the harsh stonework. A cold draft from the window is billowing the curtains outward into the room, leaving a slight gap between them and the wall.\n\nA staccato rap echoes through the room.\n\nThe curtains move softly, caressed by the breeze.\n\n> You look at lamp\nAn oil-lamp of copper and glass, warm to the touch and old as time. Like the desk it is a family heirloom, predating perhaps even the tower itself. It burns with a soft, subtle light, casting strange shadows in all directions.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You look in the gap\nYou find nothing of interest.\n\nThe gentle tapping sounds again.\n\n> Close window\nYou pull the shutters closed, sealing out the cold night air.\n\n> You look behind the curtains\nThe curtains are flush against the stone walls, concealing whatever might be there.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> You take the lamp\nTaken.\n\nThe gentle tapping sounds again.\n\n> You look behind the curtains\nYou swing wide the shutters, letting the cold night air gust into the room.\n\nThe gentle tapping sounds again.\n\nThe curtains move softly, caressed by the breeze.\nThere seems to be a substantial gap between the curtains and the stone wall, into which with a little effort you could insinuate yourself.\n\nThere is silence for a moment; then the soft rapping returns.\n\nThe curtains move softly, caressed by the breeze.\n\n> You listen\nIt is hard to pinpoint the sound; it seems to shift as you listen.\n\nThe curtains move softly, caressed by the breeze.\n\n> You touch the curtains\nYou feel nothing unexpected.\n\nA staccato rap echoes through the room.\n\n> You stand\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\n> You look at Pallas\nThe eyes of Pallas, Greek goddess of Wisdom, stare back at you from white unblinking marble, under locks of pale sculpted hair. She of all the Classical pantheon was your patron; though now after the horror your studies have wrought, it is hard to look her in the face.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> You take Pallas\nThat's hardly portable.\n\nThe gentle tapping sounds again.\n\n> You touch the couch\nYou feel nothing unexpected.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> Kiss pallas\nYou can only do that to something animate.\n\n> You get the hair\nThat's hardly portable.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You move the hair\nYou tip back the goddess' sculpted hair, revealing a hollow space inside the bust, inside which you can see a peyote button, an opium pipe and opium resin.\n\nA staccato rap echoes through the room.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You look at the peyote\nA small round button of dried peyote cactus, obtained from a South American shaman.\n\nThe gentle tapping sounds again.\n\nAn icy gust from the window sends the curtains reeling.\n\nA dull, dark weariness drifts over you.\n\n> You take all from Pallas\npeyote button: Removed.\nopium pipe: Removed.\nopium resin: Removed.\n\nThere is silence for a moment; then the soft rapping returns.\n\nThe curtains move softly, caressed by the breeze.\n\nA dull, dark weariness drifts over you.\n\n> You eat the peyote\nYou chew a little of the bitter cactus slowly. Most of the button remains intact.\n\nThere is silence for a moment; then the soft rapping returns.\n\nAn odd, visionary feeling stabs at your eyelids.\n\nA dull, dark weariness drifts over you.\n\n> You open the window\nThat's already open.\n\nYour surroundings shift weirdly; a vision forms itself before your eyes.\n\nThe room is much larger; or you are much younger. Your father sits at the writing desk, poring over obscure books. His hair is grey, his face lined with care. The purple curtains, vast and shadowy, billow above you in a draft from the window; the gap between them and the floor seems cavernous. You toddle toward the gap. Somewhere, a raven caws...\n\nThe visionary sense fades, and normal sight returns.\n\nA dull, dark weariness drifts over you.\n\n> You put the resin in the pipe\nYou put opium resin into the opium pipe.\n\nA dull, dark weariness drifts over you.\n\n> You examine the curtains\nPurple silken curtains hang down each side of the window, and extend around the room to soften the harsh stonework. A cold draft from the window is billowing the curtains outward into the room, leaving a slight gap between them and the wall.\n\nThere is silence for a moment; then the soft rapping returns.\n\nAn icy gust from the window sends the curtains reeling.\n\nA dull, dark weariness drifts over you.\n\n> You put the resin in the pipe\nYou need to be holding opium resin before you can put it into something else.\n\nA staccato rap echoes through the room.\n\nThe sense of awful weariness grows stronger and heavier every moment.\n\n> You enter the gap\nYou step cautiously behind the curtains...\n\nHere behind the curtains, you have discovered a tiny alcove of stonework, hidden from the rest of your study. The purple silk billows out around you, dim firelight casting strange disturbing shadows onto the ancient masonry. Old memories rise, of hiding here as a child while your father worked at his books. Those days are long gone, but something urges you to stay and watch the play of light and colour.\n\nThe sense of awful weariness grows stronger and heavier every moment.\n\n> You get the resin\nYou remove the opium resin from the pipe.\n\nThe gentle tapping sounds again.\n\nThe sense of dreadful weariness has nearly overpowered you. You must revive yourself, urgently.\n\n> You sniff the coca\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> Go outside\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nA staccato rap echoes through the room.\n\nA bone-deep weariness seizes you, and you are unable to take another step. Your eyes close, you slump against the stone, and darkness overwhelms your mind.\n\nSlowly, the dream begins to darken. There are screams, echoes, footsteps running down nameless corridors. Your feet are cold on haunted stone, forever following Lenore's distant echo, forever pursued...\n\nThe dream fades to reality. A confusion of images; a precipice, falling... and then your head strikes stone, and reality ends.\n\nIt is a dangerous place, this tower, to dream alone.\n\nPlease give one of the answers above.\n\n> You stand\nYou get off the velvet couch.\n\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nYou hear the tapping sound again.\n\n> You examine the couch\nA velvet-inlaid couch -- what the Italians call a loveseat -- from the early Renaissance period, a souvenir of your travels in Rome. You bought it to please Lenore, and it was a wise choice.\n\n> About yourself\nYou look like a gentleman of ease, but that is not how you feel.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> You look at the desk\nA relic from Byzantine days, perhaps. It was the first piece of furniture you touched as a child, and the oldest you have seen in all your travels. Simply a slab of polished oak, with four curiously carved legs, and nothing more. On the desk are a paper sachet, an oil-lamp and Concerning Immortality.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> Xyzzy\nThe name of old, lost magic briefly echoes, then is gone.\n\nThe gentle tapping sounds again.\n\n> You take all from the desk\npaper sachet: Removed.\noil-lamp: Removed.\nConcerning Immortality: Removed.\n\n> You say lenore\n(to yourself)\nThere is no reply.\n\nThere is silence for a moment; then the soft rapping returns.\n\n> You take all from Pallas\nYou tip back the goddess' sculpted hair, revealing a hollow space inside the bust, inside which you can see a peyote button, an opium pipe and opium resin.\n\nThe gentle tapping sounds again.\npeyote button: Removed.\nopium pipe: Removed.\nopium resin: Removed.\n\nA dull, dark weariness drifts over you.\n\n> You open the sachet\nYou open the paper sachet, revealing coca powder.\n\nThere is silence for a moment; then the soft rapping returns.\n\nA dull, dark weariness drifts over you.\n\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nThere is silence for a moment; then the soft rapping returns.\n\nA dull, dark weariness drifts over you.\n\n> You go southeast\nStone columns, either side of the northwest arch to your study, brace the ceiling, whose upper reaches are lost in darkness that your lamp cannot pierce. The hallway winds deeper into the tower to the northeast; but a faint wisp of draft seeps in from the south.\n\nA dull, dark weariness drifts over you.\n\n> You sniff the coca\nYou inhale a quantity of coca powder.\n\nThe gentle tapping sounds again.\n\nA sense of raw alertness rushes through your nerves, setting them all on edge.\n\n> South\nThe great iron gate to the south, black as time, stands here to seal the tower's entrance. A dark corridor, worn by countless centuries of forgotten feet, leads back north into the cryptic maze which you -- and in those brief, happy, vanished days, Lenore -- once called a home.\n\nThere is a sudden scratching and scrabbling beyond the iron gate, as of some creature seeking admittance. Then the sound is gone as quickly as it came.\n\nThe coca rush fades, but the sense of alertness remains.\n\n> You open gate\nYou unbolt the great iron gate and swing it slowly open, revealing the night outside.\n\nThe gentle tapping sounds again.\n\n> You go south\nHere at the tower's brink, a sheer staircase carved into the living rock falls down the cliff into blackness. Behind you, to the north, stands the great iron gate. The tower rises above you, shapeless and gaunt; the night is bleak, windy, with all moon and stars fled, leaving only the unfathomable emptiness of the distant plain, invisible far below.\n\nA small bright object glitters halfway down the cliff, well out of reach.\n\nOut of the silence comes a quiet sense of motion, as if some creature were circling further around the tower, searching for a more subtle approach. The lamp gutters erratically for a moment. The sound retreats; perhaps it was simply your fevered imagination.\n\n> Down\nEven with a lamp, you would not chance these stairs in the darkness. The merest slip would send you plummeting.\n\n> You look at the opium\nWhich do you mean, opium resin or the opium pipe?\n\n> Resin\nA black wad of opium resin for smoking, prepared to a closely-guarded Tong formula for maximum potency and speed.\n\n> You examine the coca\nA white powder consisting of an extract of the South American coca leaf, which an acquaintance in Mexico has found a new process of refining.\n\nLightning forks the sky overhead, followed immediately by clamouring thunder.\n\n> You look at the peyote\nA small round button of dried peyote cactus, obtained from a South American shaman.\n\nYou try to read, but the strange words blear and swirl in the lamplight. Perhaps in your study you will be able to make more sense of them."
    },
    {
        "text": "[Themes: Lovecraftian, Literary, homage, drugs, Edgar Allan Poe, horror, adaptation, male protagonist]\n\n> Go down\nEven with a lamp, you would not chance these stairs in the darkness. The merest slip would send you plummeting.\n\nThe coca rush fades, but the sense of alertness remains.\n\n> You jump\nThe cold night beckons seductively, but you resist. There is work you must be about.\n\nLightning forks the sky overhead, followed immediately by clamouring thunder.\n\n> You go north\nThe great iron gate to the south, black as time, stands here to seal the tower's entrance. A dark corridor, worn by countless centuries of forgotten feet, leads back north into the cryptic maze which you -- and in those brief, happy, vanished days, Lenore -- once called a home.\n\n> You go north\nYou pause. The wind is cold, and a storm is brewing. It would not be prudent to leave the gate ajar, on such a night as this.\n\n> You close the gate\nYou pull the great iron gate to and bolt it carefully.\n\n> Go north\nStone columns, either side of the northwest arch to your study, brace the ceiling, whose upper reaches are lost in darkness that your lamp cannot pierce. The hallway winds deeper into the tower to the northeast; but a faint wisp of draft seeps in from the south.\n\n> Go northwest\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nThe room is still for a moment, and then the gentle rapping continues.\n\n> You open window\nYou swing wide the shutters, letting the cold night air gust into the room.\n\nIn a sudden flurry of wings, a night-black raven flits through the lattice and into the room. It circles silently, fixing you with a baleful stare, then folds its wings and roosts on the bust of Pallas, above the archway. Her marble hair moves with a slight 'chink' as it lands.\n\n> You examine Raven\nA bird of night-black plumage, stern and lordly in its bearing, the raven returns your stare with an unwinking eye, and gives no hint of what it might signify.\n\nThe raven preens its feathers.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You ask Raven about Lenore\nThere is no reply.\n\nThe raven watches you silently from the bust of Pallas.\n\nThe curtains billow gently in the draft.\n\n> You give the peyote to Raven\nThe raven doesn't seem interested.\n\nThe raven shifts slightly on the bust of Pallas, with a soft 'chink'.\n\n> You ask Raven about the key\nThere is no reply.\n\nThe raven caws. \"Nevermore!\"\n\nThe curtains move softly, caressed by the breeze.\n\n> Go south\nCold stone blocks your way.\n\nThe raven eyes you balefully.\n\n> You go to the southeast\nStone columns, either side of the northwest arch to your study, brace the ceiling, whose upper reaches are lost in darkness that your lamp cannot pierce. The hallway winds deeper into the tower to the northeast; but a faint wisp of draft seeps in from the south.\n\nThe raven flutters after you.\n\n> You go south\nThe great iron gate to the south, black as time, stands here to seal the tower's entrance. A dark corridor, worn by countless centuries of forgotten feet, leads back north into the cryptic maze which you -- and in those brief, happy, vanished days, Lenore -- once called a home.\n\nThe raven flutters after you.\n\n> You open gate\nYou unbolt the great iron gate and swing it slowly open, revealing the night outside.\n\n> You go to the south\nHere at the tower's brink, a sheer staircase carved into the living rock falls down the cliff into blackness. Behind you, to the north, stands the great iron gate. The tower rises above you, shapeless and gaunt; the night is bleak, windy, with all moon and stars fled, leaving only the unfathomable emptiness of the distant plain, invisible far below.\n\nA small bright object glitters halfway down the cliff, well out of reach.\n\nThe raven flutters after you.\n\n> You get the object\nThe raven has better things to do.\n\nThe raven flutters into the air, circling the rock stairs, then dives for the tiny glittering object. It rises, circles, and with a self-satisfied flurry returns to your side, dropping a small silver key at your feet.\n\n> You get the key\nTaken.\n\nLightning forks the sky overhead, followed immediately by clamouring thunder.\n\n> You look at the key\nIt is the small silver key to your laboratory, that you threw away last night in a fit of terror and now has been recovered by the raven. Perhaps that grim bird is an omen of good, after all. Perhaps you now have a chance to reverse the disaster you caused.\n\nThe raven preens its feathers.\n\nThe great iron gate to the south, black as time, stands here to seal the tower's entrance. A dark corridor, worn by countless centuries of forgotten feet, leads back north into the cryptic maze which you -- and in those brief, happy, vanished days, Lenore -- once called a home.\n\nThe raven flutters after you.\n\nA dull, dark weariness drifts over you.\n\n> You sniff the coca\nYou inhale a quantity of coca powder.\n\nThe raven caws. \"Nevermore!\"\n\nA sense of raw alertness rushes through your nerves, setting them all on edge.\n\n> Go north\nYou pause. The wind is cold, and a storm is brewing. It would not be prudent to leave the gate ajar, on such a night as this.\n\nThe raven preens its feathers.\n\nThe coca rush fades, but the sense of alertness remains.\n\n> You close the gate\nYou pull the great iron gate to and bolt it carefully.\n\nThe raven screeches discordantly.\n\n> You go northeast\nThe dust of ages -- and of your family for so many generations -- clings to crooked stone walls, here in this gallery that twists from southwest to east as it winds through the tower and ends at a stout wooden door. Wider archways open to the north and southeast.\n\nA portrait of Lenore, radiant on your wedding day, adorns the wall.\n\nThe raven flutters after you, and perches on the portrait.\n\n> You look at the portrait\nIt is Lenore as she was and as you always wish to remember her -- and though memory is cruel, it is all that now remains of the most joyous time in your life. The portrait was painted by a master in Venice on finest canvas,  and it is worth a princely sum, though you care little for its value in gold.\n\nTears flow unbidden from your eyes, at the sight of what -- if tonight you fail -- you have lost forever.\n\nThe raven screeches discordantly.\n\n> Go north\nThe stacks of obscure volumes tower to the vaulted ceiling. Your father had eclectic tastes in literature, and you have extended his collection with your own research. Many of these manuscripts are originals, costly in both getting and reading. A dark archway to the south leads back out to the gallery.\n\nThe raven swoops into the room, and perches on the stacks.\n\nYour tears continue to flow.\n\n> Examine books\nThe stacks of books fill the spaces all around you. Your eye is drawn chiefly to Ex Sanguine Vita, Adams' Pharmacopia, Inhumanities, Principia Caelestium Mysteriorum and Arts of the Chaldean Magi.\n\nThe raven screeches discordantly.\n\nYour tears run dry, but the grief remains.\n\n> You examine the pharmacopia\n\"Pharmacopia\", a recent monogram by the Reverend Doctor Charles Fitzworth Adams of Oxford, is a brief scholarly investigation of the reputed properties of certain notable herbal and chemical substances, and their association with religious rituals. It is useful mainly as a general guide to the field; you have found practical experience to be a more enlightening path of research.\n\nThe raven screeches discordantly.\n\n> You look up the peyote in the pharmacopia\nYou discover nothing of interest in Adams' Pharmacopia.\n\nThe raven caws. \"Nevermore!\"\n\n> You read the pharmacopia\nYou try to read, but the strange words blear and swirl in the lamplight. Perhaps in your study you will be able to make more sense of them.\n\nThe raven preens its feathers.\n\n> You take the books\nThere are far too many books to remove them all. You should select a volume by name.\n\nThe raven stares down from the stacks.\n\n> You take all from the shelves\nEx Sanguine Vita: Removed.\nAdams' Pharmacopia: Removed.\nInhumanities: Removed.\nPrincipia Caelestium Mysteriorum: Removed.\nArts of the Chaldean Magi: Removed.\n\nThe raven pecks at a dusty volume.\n\n> Go south\nThe dust of ages -- and of your family for so many generations -- clings to crooked stone walls, here in this gallery that twists from southwest to east as it winds through the tower and ends at a stout wooden door. Wider archways open to the north and southeast.\n\nA portrait of Lenore, radiant on your wedding day, adorns the wall.\n\nThe raven flutters after you, and perches on the portrait.\n\n> You go east\nThe wooden door is closed, and bars your way.\n\nThe raven caws. \"Nevermore!\"\n\n> You open the door\nIt seems to be locked.\n\nThe raven preens its feathers.\n\n> You unlock the door with the key\nYou unlock the wooden door.\n\nThe raven shifts its grip on the portrait.\n\n> Go east\nThe wooden door is closed, and bars your way.\n\nThe raven eyes you balefully.\n\n> You open the door\nYou open the wooden door.\n\nThe raven screeches discordantly.\n\n> Go east\nThe place of your secret labor and craft, where even Lenore did not lightly enter -- oh, if only she had not! -- and no other friends have ever been invited. The room is small, though not cramped, for all the elements and reagents are precisely in their places on the low wooden table. A space extends a little beyond, to the southeast, and there the darkness is complete. The wooden door is to the west.\n\nThe raven swoops into the room, perching on the table.\n\nA dull, dark weariness drifts over you.\n\n> You sniff the coca\nYou inhale a quantity of coca powder.\n\nThe raven caws. \"Nevermore!\"\n\nA sense of raw alertness rushes through your nerves, setting them all on edge.\n\n> You examine table\nThe wooden table is simple, hewn from a single slab of living oak, representing the unity of all things and the constant striving for growth and knowledge in the craft. It is also old, an artifact from a certain French metaphysical society whose roots, some scholars believe, go back to Solomon the Wise.\n\nOn the table are a skull mortar, a glass retort, a cask of aqua vitae, a bottle of aqua regis, a flask of quicksilver, a vial of brimstone, a porcelain platter and a lightning cage.\n\nThe raven preens its feathers.\n\nA faint tingling runs down your spine.\n\nThe coca rush fades, but the sense of alertness remains.\n\n> You read pharmacopia\nYou try to read, but the strange words blear and swirl in the lamplight. Perhaps in your study you will be able to make more sense of them.\n\nThe raven leers at you from the table.\n\nThe lightning-cage sparks faintly for a moment. A storm must be gathering outside; but either it is too distant, or the lightning-trap is too ineffectual, to capture more than a ghost of its power.\n\n> You go to the north-west\nStone walls, wreathed in shadows and velvet curtains, rise into the gloom overhead. The old oak writing desk -- once your father's, now your own -- is wedged beneath the window lattice, with a velvet couch before it. A low fire smoulders in its ancient hearth. To the southeast, a bust of Pallas sits atop an arch with darkness beyond.\n\nThe raven follows you through the archway, and roosts on the bust of Pallas.\n\n> Inventory\nYou are carrying:\nArts of the Chaldean Magi\nPrincipia Caelestium Mysteriorum\nInhumanities\nAdams' Pharmacopia\nEx Sanguine Vita\na silver key\nopium resin\nan opium pipe\na peyote button\nConcerning Immortality\nan oil-lamp (providing light)\na paper sachet (which is open)\ncoca powder\na gold ring (being worn)\n\nThe raven watches you silently from the bust of Pallas.\n\n> You read the inhumanities\nYou hunt feverishly through the pages of Inhumanities, and discover:\n\n\"The Death of the Messenger: this is how it came to be. The Bright Messenger did travel to the Temple in search of Living Water, but he found neither King nor Queen. When the Weight of the World did press upon him sorely, and after three days and nights he fell into the Pit. This is the Death of the Messenger.\"\n\nThe raven screeches discordantly.\n\nThe curtains billow gently in the draft.\n\n> You read the Arts\nYou hunt feverishly through the pages of Arts of the Chaldean Magi, and discover:\n\n\"Concerning Signs, Seals and Sigils: let the Scholar of these Arts be Warned most Sorely that he Obey all the Law as Instructed, with no Shade of Turning nor Repentance. For the Spirit be Strong, and the Flesh Weak. This is the Greatest Error in the Art.\"\n\nThe raven preens its feathers.\n\nThe curtains move softly, caressed by the breeze.\n\n> You read principia\nYou hunt feverishly through the pages of Principia Caelestium Mysteriorum, and discover:\n\n\"Water of the King; most rare, most deadly. Tears, and Grief, and Ruin of Great Houses are its part. Yet may it Move the Highest to Compassion.\"\n\nThe raven eyes you balefully.\n\n> You read the pharmacopia\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"The properties of the cola nut are as yet unknown, although some personal research in the South Seas suggests that when combined with coca leaf and the juice of the sugar cane, it may make for a potent and greatly addictive tonic, whose use could rival alcohol in the future. This, however, is merely the author's speculation and has no basis in scientific prediction.\"\n\nThe raven screeches discordantly.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You read the pharmacopia\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"The leaves of the hasheesh or hemp, when dried and smoked, may produce a sensation of relaxation and general suggestibility. In combination with certain rhythmical musical ceremonies such as the drumming rituals of Africa or the dances of Jamaica, these leaves have been long associated with the sprit world.\"\n\nThe raven watches you silently from the bust of Pallas.\n\nAn icy gust from the window sends the curtains reeling.\n\n> You read the pharmacopia\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"Peyote, a cactus found on the American continent, when dried in \"button\" form has remarkable properties of provoking visionary states of mind and has been used extensively by native shamans in magical rituals, where it is said to provide great wisdom and insight. It does not induce sleep, however, which makes its use all the more controversial.\"\n\nThe raven caws. \"Nevermore!\"\n\n> You continue\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"The leaf of the coca plant is a mild stimulant and is most effective when prepared as a herbal tonic for the refreshment of body and mind during times of great fatigue. However, excessive use without pause for recuperation of stamina may cause mental or bodily collapse.\"\n\nThe raven eyes you balefully.\n\n> You keep going\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"Opium is beneficial generally as an hypnotic and sedative; it induces a state of sleepfulness and promotes vivid and imaginative dreams. It has few side effects beyond the occasional tendency toward hallucinations and sleepwalking, though care should be taken not to prescribe it for long periods. In times of extreme stress and panic it can be an essential restorative to calm the mind.\"\n\nThe raven caws. \"Nevermore!\"\n\nThe curtains billow gently in the draft.\n\n> You keep going\nYou hunt feverishly through the pages of Adams' Pharmacopia, and discover:\n\n\"The leaf of the coca plant is a mild stimulant and is most effective when prepared as a herbal tonic for the refreshment of body and mind during times of great fatigue. However, excessive use without pause for recuperation of stamina may cause mental or bodily collapse.\"\n\nThe raven eyes you balefully.\n\nThe curtains move softly, caressed by the breeze.\n\n> You read vita\nYou hunt feverishly through the pages of Ex Sanguine Vita, and discover:\n\n\"That \"the Life is in the Blood\" is no idle saying; it is the Foundation of all that the Art seeks to work on Earth, under the Heavens.\"\n\nThe raven preens its feathers.\n\n> Continue\nYou hunt feverishly through the pages of Ex Sanguine Vita, and discover:\n\n\"Blood of the Sacrifice, being a most Efficacious Remedy for the Restitution of things Lost and the means of their Return; it is Substance of Absence, Substance of Presence, Water of the Heart, and the Beloved Ash, all upon Desire.\"\n\n(This entire paragraph has been heavily underlined.)\n\nThe raven preens its feathers.\n\n> You continue\nYou hunt feverishly through the pages of Ex Sanguine Vita, and discover:\n\n\"The Elements of the Earth, that is, of the Life, are not to be mixed with those of Heaven; they are to remain Apart, in a Vessel called and chosen for themselves. That is their place and portion.\"\n\nThe raven caws. \"Nevermore!\"\n\nAn icy gust from the window sends the curtains reeling.\n\n> Hint\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\n> Beginnings\nStudy\nHall\nDrugs\nBooks\nRaven\nLightning\nBlood and Tears\nLaboratory\nRitual\nEndgame\n\n> No\nHOME ]"
    },
    {
        "text": "[Themes: Science Fiction, city]\n\nan [auto mata] release\n\n>I  Introduction to interactive fiction\n>A  Author's note and acknowledgments\n>L  License information\n\n>R  Restore a previous session\n>B  Begin a new session\n\n> B.\nYour pager tickles you awake.\n\nUpstairs in the house of your childhood, in your room, and it must be time for school because -- no, it's the weekend, you remember, but your alarm is going off anyway. You should have been awake already. You're going to miss the bus. Your mother climbs in the window. You're dreaming.\n\nYou're a grown-up: It opens to you again, a sluggish window summoned by a mouse click. Waking up now in your own apartment, your new apartment. Your pager is buzzing and vibrating both, serious. It is in fact the weekend, but you're not in elementary school. No one is crawling in through the window. You're a system administrator for nWare. Waking up urgently, here in nTopia.\n\nThe constellations on the ceiling are as you left them: Pisces, Cetus, Aquarius, and the ones without celestial referent, left by some crazed astronomer in residence here before you. What could you call them? The Cradle, The Way, The Burning Book...\n\nThey're still glowing, too. Must not have napped for long.\n\n> You examine the Pisces\nIf your milky memories of astronomy class serve, the glow-in-the-dark stars seem not just slapped on at random but willfully misconfigured. They lend the place some sort of character, though an Escher poster would be hip in comparison.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention. This is no Harry Potter broomstick.\n\n> You get up\nYou get off the couch.\n\nThe pager vibrates like it's repeatedly tapping you to get your attention, and it buzzes gratingly.\n\n> You answer pager\nYou can't help but listen to the buzzing. As for listening to messages, you usually do that by manipulating the pager's elegant user interface.\n\nThe buzzing of the pager continues. You are tooth to the dental drill of the device.\n\n> You examine pager\nIt's too dark too see, like inside of a dog.\n\n> You look at the pager\nIt's too dark too see, like inside of a dog.\n\nYou return to lucidity for what is going to be a very brief moment, unless you make the pager stop buzzing and vibrating.\n\n> You turn on the light\nYou switch the light on.\n\nAlthough almost unfurnished, since you've been here only a few days and haven't had time to settle in, the place is more Fight Club than Shade: young, urbane, professional. It's yours, though. It's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have your nLap 500 and a heap of clothes.\n\n> You look at the pager\nCell phones are ubiquitous in nTopia, and your pager is a sort of funky, retro sheriff's badge among them. Press the gray button there, and any voice messages you have will play; hold the button to erase them. The vibration and buzzing mean that an urgent message, or one the sender thought was urgent, has arrived and has not yet been played.\n\nYour nRich cybercash chip is installed in your pager, along with your nPediment identifier tag for keyless entry, the same one that most of your co-workers have installed in their phones, wallets, or upper arms.\n\nThe pager's buzzing and vibration seems to have set up a sort of resonance in your body, which reacts like the Tacoma Narrows Bridge.\n\n> You press the button\nA beep issues from the pager, then a voice:\n\nNet extremely hoseled. Engine team being hideously masticated by this outage. Demo rapidly approaching. Get to the cages. Reboot the servers. Hasten. Do not rest. Please. All five of them. Email me to confirm you're heading out to do this. Please. Engine boys are going to run off and leap the railing if the network isn't restored.\n\nThe frenetic voice is definitely that of your boss, Wilbur."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nIt's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have your nLap 500 and a heap of clothes.\n\n> You turn on nLap\nIt is already on, although it's in sleep mode.\n\n> You look at nLap\nIt's the nLap 500, tool of legend. Built-in Blacktooth and 811.02, twelve hours of battery life, Optidrive, ten-inch Crispicleer display and a tasty butterfly keyboard. Best to not even think about the processor and memory, since you'd rather not fall to your knees immediately in grateful tears.\n\nYour computer is ergonomically closed.\n\n> You wake nLap\nThat can only be done to a higher organism.\n\n> You open the computer\nYou open the nLap 500, which wakes the moment it begins to unfold. A window slams open. Ass. Complete ass. The red stapler appears.\n\nWelcome to nSys! I'm Stan! Oop, I don't know your name yet! Please tell me your first name!\n\n:\n\n> Floyd montfort\nThe desktop flashes light blue for a moment.\n\n\"Stan\" steadies his metal jaw and winks out of sight.\n\nYour boon companion \"Stan\" has somehow reset himself like that three times already. Fortunately he -- it -- only forgets your name in the process.\n\n> You use the computer\nYou dash off a quick and reassuring email to Wilbur.\n\nA compulsive glance at the text file that holds your notes reassures you about the locations of the five servers: Wendy, at RelOfCoTn, Abalone and Second; Nora, in the airport; Ester, in the East Berm; Sophie, in City Hall, on the south end of Main; and Cindy, in F7 on the main campus.\n\nNot that you have a great sense of direction and remember exactly how to get to all of those places, but nTopia is pretty small -- you'll find them.\n\n> You get up\nYou switch the light off as you leave. The door swings shut after you.\n\nThe palate-cleansing corridor that leads to your apartment.\n\n> You check your inventory\nYou are carrying your pager and your key.\n\n> You get nLap\nYou conduct the acquisition."
    },
    {
        "text": "[Themes: Science Fiction, city]\n\n> Describe the surroundings\nIt's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have a heap of clothes.\n\n> Inventory\nYou are carrying your nLap 500, your pager, and your key.\n\n> You go outside\nYou switch the light off as you leave. The door swings shut after you.\n\nThe palate-cleansing corridor that leads to your apartment.\n\n> You lock the door\n... What do you want to lock the door with?\n\n> You lock the door with the key\nThe door conveniently locks when it is closed.\n\n> You go north\nThe old-style lock opens to you with already-practiced ease, and you walk in. You switch the light on.\n\nIt's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have a heap of clothes.\n\n> You go outside\nThere's more than one exit. Specify a direction to take one of them."
    },
    {
        "text": "> Go downwards\nClean, if not homey. The doorman waits in a Plexiglas cube that looks curiously bulletproof.\n\n> You examine the doorman\nYou've seen him here before. An intensely distracted and friendly-looking guy of middle age, probably of New Mexican or Mexican ancestry.\n\n> You examine the doorman\nHe's staring at the far wall intently, as if deciphering SETI data.\n\n> You go to the northeast\nOnward, into the intentional city. nWare crafted it well -- built from the ground up with security and scalability in mind, it's fully pedestrianized but hums, almost full-size, like a city center.\n\nThe night sky is completely cloudless. The dry warmth of the air hints at the desert that surrounds nTopia.\n\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nI see you're outside! Hey, the nice thing about this city is that it uses the grid system, so you can just go NORTH, EAST, SOUTH, or WEST, and you'll pretty much always end up somewhere else!\n\nThe window winks away.\n\n> You go north\nYou head north on Abalone...\n\nA multi-level grocery store dominates the northeast corner, occupying the whole side of the block from here to Second. A windowless building, this one with a logo like a fork of lightning, is southeast. A shrouded establishment called \"Gelatinous Cube\" is southwest. On the final corner is a Starbucks.\n\n> You go to the north\nYou head north on Abalone...\n\nA familiar whiff rustles a flood of memories free.\n\nWell, not a flood, maybe. But there was that pepperoni and mushroom thin-crust you consumed right after moving in, after solving the difficult solid geometry puzzle posed by your doorway and your one piece of legacy, non-flat-pack furniture. The movers went away shaking their heads that afternoon. You did the Snoopy dance of triumph.\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\nA bicyclist hurtles by, speaking Spanish on a hands-free phone.\n\n> Go southwest\nYou head into the building and over to the server room.\n\nThere are racks and racks, with the usual drop ceiling and raised floor one finds in the upscale server room. And it looks like we also have Wendy.\n\n> You examine wendy\nIt's a box that powers Engine's network, an nSure 3000. Bristling like a brain in a vat, this 10U monster can perform the functions of a few racks full of specialized Crisco hardware with herculean ease. Except it can't do that after it has crashed. A red button, deeply recessed to avoid accidental activation, is the only visible control.\n\n> Examine button\n( That is, \"examine the server's red button.\" )\n\nJust as the trash can is the one essential piece of office furniture, the reset switch is the one essential feature of an nWare server.\n\n> You press the button\n( That is, \"press the server's red button.\" )\n\nThe button clicks in. As you release it, the box falls silent and dark for a moment, then begins to power back up.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> You look at Wendy\nThis is an nSure 3000, one of five that powers Engine's network. It's got a red button on it.\n\n> You go to the northeast\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> You go north\nYou head north on Abalone...\n\nThe clothing store Niche Threads is to the northeast, while a fire station, sporting the double oddity of two garage doors, is across from it on the southeast corner. To the southwest is the tall, cylindrical, and multicolored Medical Center Plaza. What dominates the intersection, though, is that even more striking and unusual pushpin of the swooping MuseRoom, to the northwest.\n\n> You go north\nYou head north on Abalone...\n\nYou haven't been missing anything in this corner of town. The earth of the West Berm is heaped right up against the tall airport wall to the north, making this just a big dead-end alley.\n\nTwo indistinguishable warehouses flank Abalone Street to the south.\n\nCarrie Fisher appears more or less in front of you, in flowing robes, and begins to crouch down.\n\n> You look at Carrie\nTo all appearances, it's actually Carrie Fisher.\n\nCarrie Fisher seems to go out of tune for a moment. Quite suddenly, she's wearing a slave-girl costume and looking rather surprised.\n\n> Kiss carrie\nThis occurrence is absolutely stunning.\n\nCarrie Fisher flickers and disappears.\n\nA woman wearing some small display on her glasses pushes herself past on a Razor scooter, dictating Python into a headset.\n\n> Go north\nThe immense metal wall of the airport is interposed as if there were Palestinians on the other side. Or perhaps you're the Palestinian. You won't get over it.\n\n> Go east\nYou head east on Front Street...\n\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey! Just letting you know! If you're not tickling the user interface or doing something like compiling a program, you can, you know, close the computer and save the battery a bit.\n\nThe window winks away.\n\n> Close computer\nYou close the nLap 500.\n\n> Go north\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> Go east\nYou head through the door and into the server room.\n\nRaised floor, drop ceiling, and racks all around instead of walls make this place seem pretty comfy, at least if you're a patch cable. And it looks like we also have Nora.\n\n> You examine Nora\nThis nSure 3000 looks a lot like Wendy."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nRaised floor, drop ceiling, and racks all around instead of walls make this place seem pretty comfy, at least if you're a patch cable. And it looks like we also have Nora.\n\n> Go west\nYou head out through the door.\n\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> Go south\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\nAn enormous but rather well-behaved gorilla strides to the middle of the area, brandishing what looks like a giant can of Jolt Cola.\n\n> You go east\nYou head east on Front Street...\n\nEven Main Street has nothing but a pair of warehouses on this end, where it meets Front Street. The airport wall is north.\n\nA bicyclist hurtles by, speaking Spanish on a hands-free phone.\n\n> You go to the east\nYou head east on Front Street...\n\nFront Street continues its run alongside the airport. There is a warehouse on the southwest corner. Excitement is in store on the southeast corner, where a walled-off construction site is plastered with \"Coming Soon: Mall of nTopia!\" signs.\n\n> Go east\nYou head east on Front Street...\n\nGhetto, hood, barrio -- they all seem a lot catchier than \"housing for construction and infrastructure employees.\" If your skill at rebooting computers had been classified differently, you might have ended up living in this part of town. With the empty strip of sand there. And so much farther away from the arcade.\n\nIn a seedier version of this city, a version of you that was skilled in martial arts might come here for some practice before tournaments. The city goes no further north or east. There's just Front Lodge to the southwest.\n\n> Go east\nThere's nowhere to go. Past a small patch of desert that is no doubt reserved for future construction, the city ends at the East Berm.\n\n> Go south\nYou head south on Urchin...\n\nFirst Lodge is on the northwest corner. The nWare Media Campus is southwest of here, but there's no way onto campus from this intersection.\n\n> You go to the south\nYou head south on Urchin...\n\nThe path to the west looks as nice as all the other campus walkways, but this is clearly an alley at the edge of town.\n\n> Go south\nYou head south on Urchin...\n\nThe eastern edge of the city looks like a long, empty parking lot. The path onto campus to the west is typically impressive, though. There's a subtle brown door to the east here, set right in the dirt of the East Berm.\n\n> Go east\nYou head through the door and into the server room.\n\nMuch like other server rooms in this world of ours: racks, raised floor, drop ceiling. It seems to have been made a bit more spacious than it needs to be. Perhaps that was done to keep you from thinking about the fact that the room is buried in a large heap of earth for no apparent reason. And it looks like we also have Ester.\n\n> You look at Ester\nThis nSure 3000 looks a lot like Wendy.\n\n> You go to the west\nYou head out through the door.\n\nThe eastern edge of the city looks like a long, empty parking lot. The path onto campus to the west is typically impressive, though. There's a subtle brown door to the east here, set right in the dirt of the East Berm.\n\n> Go south\nYou head south on Urchin...\n\nThis particularly desolate spot on the eastern edge of town has an empty lot to the southwest and the boundary of the nWare Media Campus, offering no entrance, to the northwest. The lot has a chain link fence around it.\n\n> Go south\nYou head south on Urchin...\n\nA convenience store, ShopLite, is on the southwest corner, here at the eastern end of nTopia. There's an empty lot, ringed with a chain-link fence, to the northwest.\n\nA bearded figure wearing glasses and a Hawaiian shirt is very suddenly standing aways to your left, as if he just appeared there.\n\n> You examine the figure\nTo all appearances, it's actually a bearded guy.\n\nAt the second glance, there's no mistaking it. You recognize him from that Con however many years ago. It's Gary Gygax.\n\n> You hit Gygax\nThis occurrence is absolutely stunning.\n\nGary Gygax twists one hand over the other and, somehow, vanishes.\n\n> You go to the west\nYou head west on Fifth Street...\n\nThe eastern corners are occupied by the two nicest residential options in town, The Maple Copse and Yew Village. City Hall has a face turned this way to the southwest. On the northwest corner are the colors and leafy tufts of the city gardens.\n\n> Go southwest\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and nWare's monarchically wealthy founder, shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You go southeast\nYou head through the door and into the server room.\n\nThere are just the usual racks here. The rest of the room is bare, with the usual drop ceilings and the usual raised floor providing a contrast to the unusual wooden walls outside. And it looks like we also have Sophie.\n\n> You press the button\n( That is, \"press the server's red button.\" )\n\nThe button clicks in. As you release it, the box falls silent and dark for a moment, then begins to power back up.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> Go northwest\nYou head out through the door.\n\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You look at diorama\nAh, yes. The diorama. There it is.\n\nYou notice that it has a brass button on it.\n\n> You look at the stick\nIt's an nStick, a proprietary memory storage device. You haven't seen this particular sort before, and it's not going to fit into any of the usual computer suspects -- your nLap or the servers you manage.\n\n> You take the stick\nAs you remove the stick from the diorama, the slot or plug or whatever this thing was in unhelpfully seals itself closed.\n\n> Go northwest\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nA blue-white cloud rapidly coalesces in the middle of the intersection. As it dissipates, an elegant yet thuggish man steps from it, casually wielding a huge sword.\n\n> You examine man\n( That is, \"examine the elegant thug.\" )\n\nTo all appearances, it's actually an elegant thug.\n\nAs the thug looks around without seeming to see you or anything else, something assures you, as blatantly as a Queen soundtrack would, that this is Christopher Lambert.\n\n> You examine Lambert\nTo all appearances, it's actually Christopher Lambert.\n\nA tremendous lightning strike suddenly intersects Christopher Lambert and either toasts him, or, if you're inclined to a more generous interpretation of the event, teleports him away.\n\n> Go north\nYou head north on Main...\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. A Starbucks is on the southeast corner. There is a coffeehouse called \"Independent Grounds\" to the southwest. Another Starbucks is on the northwest corner.\n\n> You go northeast\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\nYour stomach speaks to you in twangs of pain. Although you don't know Morse code, the jist of the message is that it would be a good idea to get something to eat soon.\n\n> You go to the northwest\nThe raised floor is charcoal in color -- it's the sort seen in all nWare buildings that house really official business. The racks all around are also especially businesslike. And it looks like we also have Cindy.\n\n> You examine the pager\nCell phones are ubiquitous in nTopia, and your pager is a sort of funky, retro sheriff's badge among them. Press the gray button there, and any voice messages you have will play; hold the button to erase them.\n\nYour nRich cybercash chip is installed in your pager, along with your nPediment identifier tag for keyless entry, the same one that most of your co-workers have installed in their phones, wallets, or upper arms.\n\n> Go southwest\nYou can't go that way.\n\nHere we go again. Your pager goes off in its usual buzzing, vibrating fit.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\n> You open the laptop\nYou open the nLap 500, which wakes the moment it begins to unfold. You hear a cheery robot voice almost immediately.\n\nIt looks like you're trying to open -- oop! You got it.\n\nAs you swing the screen into place, you catch a glimpse of a window blinking away.\n\n> You use the computer\n( That is, \"use Cindy.\" )\n\nCindy hasn't been dumbed down enough to be used in only one way.\n\n> Leave\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\nA metallic sound, a twinkling like a dozen will-o-the-wisps, and then Leonard Nimoy is standing about three feet above the ground, wearing jeans and a black turtleneck.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey, this looks like the nWare media campus! This place is where other helpful entities like me are being developed, along with a lot of other really cool stuff!\n\nThe window winks away.\n\n> You use computer\nComplete ass. An automated email tells you that a new very critical internal intensive update has been issued, which means you'll have to download it, compile it here on the nLap -- the only place you've got the build environment set up -- and then apply it to all five servers. Fortunately you can do that remotely. Unfortunately this thing will probably take ten minutes to download and four hours to compile.\n\nOkay, that's an exaggeration. It will probably take eight minutes to download and maybe two and a half hours to compile.\n\nYou start the download.\n\nLeonard Nimoy looks around calmly and raises an eyebrow. His whole body raises and lowers itself, too, finally coming to rest on the ground.\n\n> Go west\nYou head west on Third Street...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> Go southwest\nThe Supreme Food Court is not open right now. Looks like it opens at ten.\n\n> You go west\nYou head west on Third Street...\n\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\n> You go west\nYou head west on Third Street...\n\nA multi-level grocery store dominates the northeast corner, occupying the whole side of the block from here to Second. A windowless building, this one with a logo like a fork of lightning, is southeast. A shrouded establishment called \"Gelatinous Cube\" is southwest. On the final corner is a Starbucks.\n\n> Go north\nYou head north on Abalone...\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> Go northeast\nMagenta color. A bouquet of dough and cheese with smoky nuance and a touch of pepper. Hints of oak, leather, and plastic. The finish is long and satisfying.\n\nSince you were here last, they seem to have installed a man-sized stuffed mouse in one corner.\n\n> You examine mouse\nAfter you pull your attention away from the hideous rictus the mouse wears, you notice that there's a panel on the creature's back that is open and streaming with wires. It must be some sort of robot entertainer.\n\n\"Man, we ordered DDR and they sent that thing,\" some guy calls from behind the counter. \"Can you believe it?\"\n\nThat must have been a rhetorical question, as the guy proceeds to slip away out of sight."
    },
    {
        "text": "[Themes: Science Fiction, city]\n\n> You look at your surroundings\nSo, it's a pizza place. With a huge fake mouse in one corner. And it smells pretty nice.\n\n> You use the computer\nGreat, great. Downloaded. You fiddle with the makefile a bit and then kick off the build.\n\nYour nTerm fills with the kind of stuff that viewers of The Matrix thought was sexy, for some reason. Hopefully this will go without a hitch and be done in ... whenever.\n\n> You buy the food\nFood does seem like a good idea. You order some and prepare to focus completely on the meal, like Martha Stewart on her salad...\n\nA guy you met during new employee reorientation -- Knut, you think his name is -- furtively joins you as you're dining. He looks even more feverish and high-strung than he did a few days ago.\n\n\"Hi. Hi again. Gotta tell. Tell you something.\"\n\n\"Reality. Illusion. Theme is reality versus illusion. Must discern reality. And illusion.\"\n\n\"Behind a small plate I have placed it. In F2, the downstairs lab. Hopefully you can get into F2. I have placed the device. The device you will need. The magic helmet.\"\n\nKnut tilts forward as if he was going to relate to you some ultimate secret, then, surprisingly, bolts away and out the door. He's long gone before you even manage to conceive of pursuing him, so you turn back to your meal.\n\nYou conclude your culinary experience.\n\n> You use nLap\nYour nTerm is still flickering along, so the update must be compiling properly. You read a bit more of that fascinating thread about the ethics of patenting an overclocking technique.\n\n> You go southwest\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> Go east\nYou head east on Second Street...\n\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\n> Go east\nYou head east on Second Street...\n\nMain runs along the west edge of the nWare Media Campus. To the northwest is a Starbucks. The glass cube of the nWare Store sits on a park-like plot to the southwest.\n\n> Go east\nYou head east on Second Street...\n\nYou didn't get a great look around here during your on-site interview, since the wiry guy walking with you was enthusiastically posing an elaborate problem in queueing theory. Luckily you were able to convince him that your mind can flex in the nWare way.\n\nThe north part of the campus is deceptively pleasant, with nWare Media buildings scattered about.\n\n> You go east\nYou head east on Second Street...\n\nThe path to the west looks as nice as all the other campus walkways, but this is clearly an alley at the edge of town.\n\n> Go south\nYou head south on Urchin...\n\nThe eastern edge of the city looks like a long, empty parking lot. The path onto campus to the west is typically impressive, though. There's a subtle brown door to the east here, set right in the dirt of the East Berm.\n\n> Go west\nYou head west on Third Street...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\n> Go south\nYou head south on Octopus...\n\nThe nWare Media Campus is north; Octopus turns into the campus's main path on the north side of Fourth Street. To the southwest are the city's gardens, complementing the green of the campus with other herbifarous colors. A store called \"Beverage Rack\" is to the southeast.\n\nA man and woman ride by on a tandem bicycle, with a toddler riding in a sidecar.\n\n> You go north\nYou head north on Octopus...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\n> Go northwest\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\nSleep attempts to settle down upon you like a blanket that you keep kicking off. If the time leading up to the demo wasn't so hectic, you'd be hitting the sack about now.\n\n> Go northeast\nYou're not cleared to enter the building over there. Although you work for nWare, the subdivisions of the Media division are pretty much walled off from each other.\n\n> You examine the buildings\nUpon closer inspection, the city's buildings still seem to be buildings. To look at a particular one, specify one.\n\n> You go to the south\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\n> You go to the northwest\nThe raised floor is charcoal in color -- it's the sort seen in all nWare buildings that house really official business. The racks all around are also especially businesslike. And it looks like we also have Cindy.\n\n> Open floor\nThe raised floor is made to open up, but you would have to have the appropriate tool for the job.\n\n> Inventory\nYou are carrying an nStick, your nLap 500, your pager, and your key.\n\n> You use nLap\nYour nTerm is still flickering along, so the update must be compiling properly. You download and watch another hilarious reality-based video snippet of mobile robots guarding a warehouse.\n\n> Go northwest\nThe nWare Store is not open right now. Looks like it opens at ten.\n\n> You go south\nYou head south on Main...\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. A Starbucks is on the southeast corner. There is a coffeehouse called \"Independent Grounds\" to the southwest. Another Starbucks is on the northwest corner.\n\n> Go south\nYou head south on Main...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go northwest\nThe Mailboxes Ultra is not open right now. Looks like it opens at seven thirty.\n\n> You examine the pager\nThere's nothing really wacky about it. Press the gray button: messages play. Hold it: they are erased.\n\n> You ask nLap for the time\nThat can only be done to a higher organism.\n\n> You hold the button\nThe pager emits a low beep after you hold the button down for about a second and a half.\n\n> Go west\nYou head west on Fifth Street...\n\nA wisp of grilled beast lingers around Public Char, to the northeast. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\n> Go west\nYou head west on Fifth Street...\n\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\n> You go southeast\nThe white, high-ceilinged place is run through with cliffs of boxed-up blister packs. Around the edges are toys, books, even a selection of electronic gadgets and gizmos and such, along with small appliances. Ringed within these are household and personal supplies, while nearest the core -- by the enclosure where the pharmacists and their attendants no doubt circulate -- are the brand-name over-the-counter philters of vibrant color, along with the alternatives: vitamins, herbs, and homeopathic dilutions.\n\nAs you walk in, some punky-looking teenagers file out past you.\n\n\"That is totally what my mom has been doing,\" one of them says, \"Crazy weird apocalypse stuff. It's entirely a Watchmen situation, what else could it be? Best thing would be to clear out before whoever the Ozymandias dude is lays down the smack. Maybe go to Tokyo.\"\n\n> You buy the painkiller\nYou are gripped by paralysis, unable to decide where to begin or end your shopping spree. After you breathe for a moment, the panic subsides. Perhaps you'll be able to go and shop after the stress of the demo has passed."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You describe your surroundings\nAt the center is the inner pharmacy of prescription drugs, with over-the-counter medicine and more traditional remedies around it and soaps and such in the next ring. Various other goods, ranging from books to toasters, are displayed along the walls.\n\n> You use computer\nYour nTerm is still flickering along, so the update must be compiling properly. You play a quick game of Minefield, losing, as always.\n\n> You use the computer\nYour nTerm is still flickering along, so the update must be compiling properly. You download and watch another hilarious reality-based video snippet of mobile robots guarding a warehouse.\n\n> Go northwest\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\n> You go southwest\nClean, if not homey. The doorman waits in a Plexiglas cube that looks curiously bulletproof.\n\nYou're now really pretty tired, such that the phrase \"keel over\" keeps running through your hazy mind.\n\n> Up\nThe palate-cleansing corridor that leads to your apartment.\n\n> You go inside\nThe old-style lock opens to you with already-practiced ease, and you walk in. You switch the light on.\n\nIt's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have a heap of clothes.\n\n> Sleep\nSleep is a great idea, and would be a great state of being for you right now. But even if you have the time to sleep, you aren't on an appropriately cushioned surface.\n\n> You get on the couch\nYou get onto the couch.\n\n> Sleep\nYou release yourself into slumber.\n\nYou feel a bit more rested, at least.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\n> You use the computer\nYour nTerm is still flickering along, so the update must be compiling properly. You attempt to reset Gus's password, but get \"UNABLE [562] to acquire resources [e.g., 472, 83] for password reset during download/compile progression\" as a response.\n\n> You stand\nYou get off the couch.\n\n> Down\nClean, if not homey. The cube by the doorway is unattended.\n\n> Go northeast\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\nTwo men on unicycles, the larger one with a third unicycle over his shoulder, wobble along the street and away.\n\n> Go east\nYou head east on Fifth Street...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\n> You go to the east\nYou head east on Fifth Street...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> You go to the east\nYou head east on Fifth Street...\n\nThe eastern corners are occupied by the two nicest residential options in town, The Maple Copse and Yew Village. City Hall has a face turned this way to the southwest. On the northwest corner are the colors and leafy tufts of the city gardens.\n\n> You go north\nYou head north on Octopus...\n\nThe nWare Media Campus is north; Octopus turns into the campus's main path on the north side of Fourth Street. To the southwest are the city's gardens, complementing the green of the campus with other herbifarous colors. A store called \"Beverage Rack\" is to the southeast.\n\n> You go north\nYou head north on Octopus...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\n> You go to the north\nThe north part of the campus is deceptively pleasant, with nWare Media buildings scattered about. Specifically, F2 is to the northeast.\n\n> You go to the northeast\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\nAn unwashed hacker paces here fretfully. Noticing you, he freezes and turns. \"I AM GUS,\" he says feverishly, \"AND YOU MUST BEAR MY NEW PASSWORD!\"\n\n> You ask GUS for the the time\n\"PASSWORD DESIRED NOW,\" he says. He does some quick exercises designed to relax his lumbar region.\n\n> You use the computer\nRighteous. Everything actually compiled and built successfully. You install the update.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> You use the computer\nDeftly you request a photo of Gus for purposes of positive ID, reset his account, and store in your short-term memory his cryptic-yet-memorable temporary password. Now you just need to share this important bit of information with Gus, and you'll have executed your responsibilities most gloriously.\n\nAnd people wonder why you fantasize about being a astronaut.\n\n> You give password to Gus\nYou tell Gus his cryptic-yet-memorable temporary password.\n\nHis face lights up with some combination of relief and prophetic rapture. He pulls a miniscule PDA from one of the pockets on his photographer's vest and taps happily, presumably gaining access.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\nSome glitch, neurological or digital, causes Gus to scream \"ODYSSEUS\" and run toward the exit. This involves his running right over you, knocking you down. Your head strikes the floor in a painless and consciousness-eliminating way.\n\n\"... tests were, again, all just fine,\" some woman in a doctor costume tells you. Or maybe she is a doctor. You're both walking along an aqua-colored corridor now. There are pictures of semi-rigid airships on the walls. \"You shouldn't have any problems except perhaps for a bit of short-term memory loss, but if you do have any other trouble, come back and tell it to the kiosk. Oh, and you'll want this back.\" She hands you your pager, which, annoyingly, is buzzing and vibrating. \"Take care!\"\n\nYou find yourself here in the lobby.\n\nThe shuffling of those in despair, the rapid, professional pace of the strained nurses and assistants, the occasional groan -- all of these are absent, since this pale green lobby, curiously, holds no one besides yourself. It's also completely without furnishings, except for a kiosk, placed dead center.\n\nRemembering the menu of health insurance options that you were presented, you congratulate yourself on buying the extended warranty on yourself.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey, this looks like the hospital! This is where you can go if you're sick! If you're really sick, sometimes emergency medical workers will helpfully bring you here!\n\nThe window winks away.\n\n> Close computer\nYou close the nLap 500."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nLike a new and never-used aquarium, the lobby. Featuring a kiosk.\n\n> You go southeast\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\n> You go east\nYou head east on First Street...\n\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\n> Go southeast\nThe north part of the campus is deceptively pleasant, with nWare Media buildings scattered about. Specifically, F2 is to the northeast.\n\n> Go northeast\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\n> You go to the north\nThis is a large, open, and curiously empty workspace. Presumably employees come in here with their own laptops and work in some sort of hoteling arrangement, but the place seems rather desolate at the moment. Perhaps the team that uses this space isn't working feverishly for the demo, the way Engine team is. Or perhaps they're just elsewhere, who knows?\n\nThere are racks all around the place. And it looks like we also have the F2 server.\n\n> You look at the server\nThis nSure 3000 looks a lot like Wendy.\n\nOne thing seems pretty funny, though. The machine is hooked up in a completely ass-reversed fashion, or, actually, in a way that's even worse. It just seems to be plugged into itself all over the place. It couldn't actually be doing anything useful, set up like this. This is a fake server, the equivalent of a blank book that is used for interior decorating purposes.\n\n> You pull the server\nYou pull the server towards you a bit and then release it. It falls back into place. The rack next to it slides aside to reveal a stairway, leading down, as if it were the most natural thing in the world.\n\n> Down\nYou are at one end of a vast hall stretching out of sight to the east. The walls are liquid rivers of orange stone, except for one dark patch where the stairway traces a path upward. The hall is filled with wisps of white mist that sway like Voldo from Soul Calibur.\n\n> Go east\nThe orange pulsing walls and sadomasochistic ripples of mist that so disturbingly livened up the west side of this huge room are absent here. This part of the underground space is pretty much bare and white, shaped like a giant Bose speaker. One notable feature is the large black button with a right-pointing triangle on it. Curiously, you also notice a small plate on one of the walls here -- there must have been some method to Knut's madness.\n\n> Examine button\n( That is, \"examine the black button.\" )\n\nAh, yes. The black button. There it is.\n\n> You open the plate\nYou open the plate, revealing a futuristic helmet.\n\n> You examine the helmet\nIt's a head-enclosing helmet, mirrored on the front. Not the thing you'd want to wear to a formal dinner. Here in nTopia, though, it would probably be a perfectly acceptable accessory. It's discretely labeled \"SimulacCam.\"\n\n> Wear helmet\nYou enclose your head in the blackness of the helmet. An instant and a soft beep later, you can somehow see and hear again. You don't seem to have any trouble breathing in the strange device, and it isn't as uncomfortable as one would imagine.\n\n> You look\nThis part of the underground space is pretty much bare and white, shaped like a giant Bose speaker. One notable feature is the large black button with a right-pointing triangle on it. The metal plate Knut mentioned is here, tilting open.\n\n> You press the button\n( That is, \"press the black button.\" )\n\nVery well. That was one of the least interesting button-pressing experiences of the past week.\n\n> Go west\nThis is the west end of a cavernous space, all white and oddly-angled. Some sort of studio or research facility, no doubt. A stairway leads up.\n\n> Up\nThis is a large, open, and curiously empty workspace. There are racks all around.\n\nThe one next to the F2 server has moved aside to reveal a stairway leading down.\n\n> You pull the server\nYou give the server a tug towards you. The rack unit slides closed, and it's now as if the hidden stairway were a figment of your imagination.\n\n> Leave\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\n> Go northwest\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\nA gray and black designer herd hurries past you, almost at a trot, brandishing picapoles.\n\n> Go north\nYou head north on Main...\n\nEven Main Street has nothing but a pair of warehouses on this end, where it meets Front Street. The airport wall is north.\n\n> You go to the west\nYou head west on Front Street...\n\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> Go north\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> You press the button\n( That is, \"press the server's red button.\" )\n\nThe button clicks in. As you release it, the box falls silent and dark for a moment, then begins to power back up.\n\nNow it's really rebooted.\n\n> You examine server\nThis nSure 3000 looks a lot like Wendy. Unfortunately, this server is probably now serving as a massive repository of pirated ninja movies. You sure wish you could remember how to turn these things off.\n\n> You check your inventory\nYou are carrying the SimulacCam (being worn), an nStick, your nLap 500, your pager, and your key.\n\n> You unplug the server\nPlugging and unplugging things is so 1997.\n\n> Open nLap\nYou open the nLap 500, which wakes the moment it begins to unfold.\n\n> You use computer\n( That is, \"use Nora.\" )\n\nNora hasn't been dumbed down enough to be used in only one way.\n\n> You examine Nora\nThis nSure 3000 looks a lot like Wendy. Unfortunately, this server is probably now serving as a massive repository of pirated ninja movies. You sure wish you could remember how to turn these things off.\n\nA crackling sound comes, somehow, from all around.\n\nThis is a test of the nTopia civil alert system. If this were actually a --\n\nThe recorded voice breaks off.\n\nATTENTION. This is actually not a test. This is an alert. Severe dust and wind conditions are anticipated. In a calm and orderly fashion, please find shelter indoors, or remain indoors if you are there already, and refer from going outside until further notice. Refrain. Refrain from going outside. Don't be nervous. High risk of death if you don't get indoors. Calmly. Get indoors. Immediately.\n\nThen there is quiet.\n\n> You turn off Nora\nOnce you figure out how to turn this server off, you can do whatever it is that turns this server off, and, as a result, the server will be turned off.\n\nThere's a granular howl from outside.\n\n> You hold button\n( That is, \"hold the server's red button.\" )\n\nYou hold the server's button in a for a while, and the box whines to a halt, falling silent. When you release the button, the server remains lifeless.\n\nThe harsh whistling sound continues.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> Go south\nYou can't go that way.\n\nThe harsh whistling sound continues.\n\n> Exits\nFrom here, it looks like it's possible to go west and out.\n\n> Exit\nYou head out through the door.\n\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\nThe harsh whistling sound continues. The city outside remains obscured by dust.\n\n> Go outside\nThere's more than one exit. Specify a direction to take one of them.\n\nThe harsh whistling sound continues. The city outside remains obscured by dust.\n\n> Exits\nFrom here, it looks like it's possible to go east and south.\n\n> Go south\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\nA wall of shifting orange-brown slams through the space and around you. What you were breathing is quickly as thick as an hourglass. First grit -- then stupor -- then the letting go --\n\n> Go southwest\nYou can't go that way.\n\nThe harsh whistling sound continues. The city outside remains obscured by dust.\n\n> Go north\nAt airport security they find that you are without a boarding pass. After a quick strip search, they politely turn you away.\n\nThe harsh whistling sound continues. The city outside remains obscured by dust.\n\n> You go to the east\nYou head through the door and into the server room.\n\nRaised floor, drop ceiling, and racks all around instead of walls make this place seem pretty comfy, at least if you're a patch cable. And it looks like we also have Nora.\n\nThe harsh whistling sound continues.\n\n> You use the computer\n( That is, \"use Nora.\" )\n\nNora hasn't been dumbed down enough to be used in only one way.\n\nThe harsh whistling sound continues.\n\n> You use nLap\nYour nLap 500 is portable, but not very usable, when closed.\n\nThe harsh whistling sound continues.\n\n> Open nLap\nYou open the nLap 500, which wakes the moment it begins to unfold.\n\nThe harsh whistling sound continues.\n\n> You go to the west\nYou head out through the door.\n\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey, this looks like the airport! You can get on a plane here and go somewhere else! After you purchase a ticket, after you get your manager's approval for vacation time, and so forth!\n\nThe window winks away.\n\n> Close nLap\nYou close the nLap 500.\n\n> You go south\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\nThere seems to be no trace of whatever sand was blowing all around, unless some of the buildings now have a slightly glossier finish.\n\n> Go southwest\nHey, it's Starbucks. Just like in You've Got Mail.\n\n> You buy tea\nThey only really have stuff like coffee for sale here.\n\n> You buy the coffee\nYou purchase your caffeine solution and gratefully slurp it down.\n\n> Go northeast\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> You go southeast\nWords cut out of dark wood cover most of the walls, although a central space has a triptych of enormous video panels. A woman who exceeds the conventional standards of beauty is standing around cheerfully.\n\n> You ask the woman about nTopia\n\"Lovely place we live in,\" she says.\n\n> You ask the woman about the date\n\"Um, I'm not sure. They haven't really told me much. I mostly just stand here and smile,\" she replies.\n\n> You ask the woman about the triptych\n\"Um, I'm not sure. They haven't really told me much. I mostly just stand here and smile,\" she says.\n\n> You go out\nIf you're trying to communicate, try asking about something specific. If you're trying to give orders, you don't seem to be in much of a position to do that.\n\n> You examine the panels\nThe video panels display cheerful promotional views of nTopia.\n\n> Go northwest\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> You go south\nYou head south on Eel...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\nA very important-looking person wearing a green visor speeds by on a golden Sinclair C5.\n\n> You go to the northeast\nHey, it's The Gap. Just like in Minority Report.\n\n> You go south\nYou head south on Eel...\n\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\n> You go to the south\nYou head south on Eel...\n\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\n> Go northwest\nHey, this is just like in War Games, pretty much, except for the loads of games where you can control 3D figures that kick each other's ass, and the games where you dance or play a drum or fire shotguns, and the section of retro games. That section is just like in War Games, actually, except now it's all retro.\n\nThere's a din of digitized sound. What's visible of the walls is covered with multicolored squares, presumably in an attempt to make the atmosphere even more festive.\n\n> You examine the Games\nThere are loads of games that look familiar but uncompelling. Looking through them, you find only one standout: LlamaFight 2000, a true classic.\n\n> You look at the llamafight 2000\nYou remember LlamaFight 2000 as being totally awesome, and by totally awesome, you mean totally sweet. One or two players can participate in hard-hitting, bare-hoofed combat. In Europe the game was released under the name \"Yie Ar Kung Llama.\"\n\nThis righteous coin-op doesn't seem to use the nPediment payment system, as it has a lit coin slot that simply says \"1\".\n\n> You go southeast\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\n> You go to the north\nYou head north on Eel...\n\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\n> Go southwest\nIt's just a cheesy bank lobby, with indoor-outdoor carpet. A teller waits behind a counter.\n\n> You examine teller\nDressed like a bank teller, standing behind a counter in a bank -- she almost certainly is a bank teller.\n\n> You ask the teller for the money\nThe teller produces some sort of tethered handheld device and begins tapping on it.\n\n\"Yes, I see you've started the process of establishing an account with us. While your account has not yet been approved, as a courtesy to new residents of nTopia, and to remind you about how enjoyable personal financial transactions can be, we can convert one dollar from your nRich account into a physical representation of value.\"\n\nThe device produces a coin, which the teller hands to you. She then puts the device away and tells you to have a nice day.\n\n> You examine the coin\nIt's one of those new dollar coins with an armadillo on one side and half the head of Thomas Edison on the other.\n\n> You go to the north-east\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\nA bicyclist hurtles by, speaking Spanish on a hands-free phone.\n\n> You go northwest\nThere's a din of digitized sound. What's visible of the walls is covered with multicolored squares, presumably in an attempt to make the atmosphere even more festive.\n\n> You play the llamafight 2000\nThe coin does seen like an obvious thing to put into the coin slot, but it's too thick to fit in there.\n\n> Go south\nYou head south on Eel...\n\nThe local elementary school sits beside a gated playground to the northeast. Plywood closes off the site on the southeast corner, hiding whatever is being built there. The Pine and Elm, an apartment building you checked out and found just about identical to the Wild Palms, is southwest. On the northwest corner is an upscale variety store, MarMart.\n\n> Go south\nYou head south on Eel...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\n> Go west\nYou head west on Fifth Street...\n\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\n> You go to the northwest\nSomeone, perhaps shellf, really got into Dark City. There couldn't be any other excuse for this combination vending machine and cafeteria, even though it may strain to look modern and appetizing. Pixelated smiley faces in an urgent red decorate everything, even the edges of the food-dispensing wall.\n\nThe opportunity to avoid social contact during food selection is appealing.\n\n> You look at the wall\nThe food-grid features various sorts of ready-made edibles.\n\n> You look at the edibles\nAh, yes. The food. There it is.\n\n> You buy the food\nFood does seem like a good idea. You select something palatable from the food-dispensing wall and begin to consume it, face flickering with mammalian happiness.\n\nYou conclude your culinary experience.\n\nHere we go again. Your pager goes off in its usual buzzing, vibrating fit.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\n> You press the pager's button\nA beep issues from the pager, then a voice:\n\nGus needs his password reset now. Immediately. At the current time. Sorry it's so early. Also, be nice to him when you walk over and deliver his new password, since this weekend has been rough on everyone. He's in F2 and I'm now having your nPediment privileges set so you can walk right in there and find him. Thanks for rebooting the machines, by the way.\n\nIt is, of course, Wilbur.\n\nA beep issues from the pager, then a voice:\n\nThis is an automatic report about how you got owned, champ. That's right, one of your machines is puking out denial of service packets and needs to be offlined immediately. Better get it off your network before somebody other than a robot tells you about it. The victim is Nora.\n\nIt sounds like the perky cousin of that stupid stapler.\n\nA beep issues from the pager, then a voice:\n\nDisk failure. Disk hesitant, corrupted, ready for immolation. Replace the disk. Must be replaced prior to demo. Almost there. Almost at demo. We will make it. Replace the disk. Follow the procedure and incinerate the old disk once it has been replaced. The disk of the main server in F9. Access to F9 is currently being provided you. Go.\n\nObviously, the message is from Wilbur.\n\n> Go east\nYou head east on Third Street...\n\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\n> Go east\nYou head east on Third Street...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> Go northwest\nThe products are incidentally on hand here. Usually nGeniuses are about to discuss tips and tricks that further enhance the virtues of nWare hardware and software, preaching to the clergy. Today, perhaps because of the impending demo, the place seems barren.\n\n> You take the disk\nThis seems a likely place to find an nWare hard disk drive, but you don't notice any. If you wanted to buy one, though, you could try to -- somebody might be able to help you.\n\n> You go southeast\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\nThree people covered with flour and ink run down the street in tears, disappearing.\n\n> You go to the east\nYou head east on Third Street...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\n> You go southeast\nThe building seems to be almost completely occupied by this one huge room. A flat screen blinks on the east wall. You can't tell where the server room might be.\n\n> You look at the screen\nYou read a curious message there: \"All 'sensitives' on the Book Team should have been evacuated by now! If any are left consult the appropriate contact regarding evacuation ASAP IKYN!\"\n\nA superannuated manager rushes in, fiddling with some sort of extremely advanced laser pointer. He casts an embarrassed glance at the flat panel and manipulates the laser pointer; the screen blinks off. With some other twist or twiddle of the device, the east wall slides open, and the flat panel moves with it, out of sight.\n\n\"Come. In here.\"\n\nHe ushers you east.\n\nYou're getting to that point in your life where all the server rooms start to look the same. And it looks like we also have the F9 server.\n\nThe gentleman of great senectitude dashes off at an amazing pace, disappearing.\n\n> You examine server\nThe remarkable thing here is the hard disk drive that is jutting out of a slot in the machine.\n\n> You look at the drive\nFixed to the side of the charred hard disk is a purchase order for a replacement disk and a curt notice: DESTROY UPON FAILURE.\n\n> You take the order\nThat seems to be a part of the defective disk.\n\n> You take the disk\nYou withdraw the defective disk.\n\n> You go out\nThe building seems to be almost completely occupied by this one huge room. There's an opening to the east.\n\n> You go to the east\nYou're getting to that point in your life where all the server rooms start to look the same. And it looks like we also have the F9 server.\n\n> You go outside\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\n> Go west\nYou head west on Third Street...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> Go northwest\nThe products are incidentally on hand here. Usually nGeniuses are about to discuss tips and tricks that further enhance the virtues of nWare hardware and software, preaching to the clergy. Today, perhaps because of the impending demo, the place seems barren.\n\n> You buy the disk\n( That is, \"buy the merchandise.\" )\n\nBy brandishing the busted disk drive, you manage to flag down a salesperson. The guy assisting you expertly produces a new and identically-shaped drive, stamping the old one with something red and indelible as he hands the new one to you and tells you what kind of day to have.\n\n> Go southeast\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\nA man with the demeanor of a middle manager skips by in a long gray cape, peeling a banana at both ends.\n\n> You go to the east\nYou head east on Third Street...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\n> You go to the southeast\nThe building seems to be almost completely occupied by this one huge room. There's an opening to the east.\n\n> You go to the east\nYou're getting to that point in your life where all the server rooms start to look the same. And it looks like we also have the F9 server.\n\n> You put the disk in the server\n... Are you referring to the new disk or the defective disk?\n\n> New\nAs you insert the new hard disk drive, the slot seals itself closed, and the server looks the way that usual, fully functional server looks.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> Go northeast\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\n> Go southwest\nThe scooters, Segways, bikes, sport utility tricycles, and suchlike are all lined up here in supposedly appealing configurations.\n\n> You buy the unicycle\nYou are gripped by paralysis, unable to decide where to begin or end your shopping spree. After you breathe for a moment, the panic subsides. Perhaps you'll be able to go and shop after the stress of the demo has passed.\n\n> Go northeast\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nThe scheme of the city, and your previous wanderings, suggest to you that the incinerator isn't likely to be plopped down here in the middle of town.\n\n> Go west\nYou head west on Fifth Street...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\n> Go south\nYou head south on Eel...\n\nTwo uncannily clean but industrial-looking buildings sit on either side of Eel to the north. Back Street runs right along the railing that bounds the city to the south.\n\nYou have come to the edge of the plateau on which nTopia is built. Far below, past the railing, is the desert plain, stretching from reddish white to white, scraggled here and there with gray. The sky is lapis lazuli. Some highway stretches far off from east to west, as if it were an imperfect reflection of a line on a map.\n\n> Go northwest\nThere's some corrugated steel-with-cinderblock-accents thing going on here. The floor ends to the west, where smoke and wailing rise from a pit. And it looks like we also have a double-cup panel lifter.\n\n> You look in the pit\nThe pit from which smoke and wailing arises is empty.\n\n> You look at the lifter\nAh yes. The double-cup panel lifter. An ungainly little widget. There it is.\n\n> You use the lifter\nThe double-cup panel lifter can only be used to open and close floor panels.\n\n> You take the lifter\nYou conduct the acquisition.\n\n> You throw the disk in the pit\nYou gingerly fling the defective disk into the pit, where it almost certainly goes the way of the gold standard.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> You go outside\nTwo uncannily clean but industrial-looking buildings sit on either side of Eel to the north. Back Street runs right along the railing that bounds the city to the south.\n\n> You go to the east\nYou head east on Back Street...\n\nBack Street runs east behind City Hall here at the south end of nTopia. Eel is to the west. A warehouse is on the northwest corner.\n\n> Go north\nYou head north on Main...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nA cute little fire truck careers down the street, letting loose an occasional bottle rocket.\n\n> Go northwest\nWhile most of the retail spaces are minimal or postmodern, this package pickup and dropoff point has more of the sense of a Hoboken everything 99 cents store.\n\n> Leave\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go northeast\nIt's all orange inside, too, with rounded booths of different sizes cut into the walls. The place is a sort of large-scale bento box, outfitted so that it will be safe during hunting season.\n\nHere we go again. Your pager goes off in its usual buzzing, vibrating fit.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\n> You press the pager's button\nA beep issues from the pager, then a voice:\n\nGus needs his password reset now. Immediately. At the current time. Sorry it's so early. Also, be nice to him when you walk over and deliver his new password, since this weekend has been rough on everyone. He's in F2 and I'm now having your nPediment privileges set so you can walk right in there and find him. Thanks for rebooting the machines, by the way.\n\nIt is, of course, Wilbur.\n\nA beep issues from the pager, then a voice:\n\nThis is an automatic report about how you got owned, champ. That's right, one of your machines is puking out denial of service packets and needs to be offlined immediately. Better get it off your network before somebody other than a robot tells you about it. The victim is Nora.\n\nIt sounds like the perky cousin of that stupid stapler.\n\nA beep issues from the pager, then a voice:\n\nDisk failure. Disk hesitant, corrupted, ready for immolation. Replace the disk. Must be replaced prior to demo. Almost there. Almost at demo. We will make it. Replace the disk. Follow the procedure and incinerate the old disk once it has been replaced. The disk of the main server in F9. Access to F9 is currently being provided you. Go.\n\nObviously, the message is from Wilbur.\n\nA beep issues from the pager, then a voice:\n\nGratitude. Appreciation. Systems working within adequate tolerances. Mental hygiene triage of team evidently complete. Programmers and artists working harmoniously together. Sky rent like sackcloth. Please remain on call. Productivity obtains. A time of peace is near.\n\nYour loving boss. It seems the guy reacts well to stress, once it gets past a certain level.\n\n> You hold pager's button\nThe pager emits a low beep after you hold the button down for about a second and a half.\n\n> You buy the food\nYour hacker frame can sustain itself for at least half a day on a single meal; you certainly aren't ready to have another one just yet.\n\n> Go southeast\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You go southeast\nYou head through the door and into the server room.\n\nThere are just the usual racks here. The rest of the room is bare, with the usual drop ceilings and the usual raised floor providing a contrast to the unusual wooden walls outside. And it looks like we also have Sophie.\n\n> Open floor\nUsing the double-cup panel lifter somewhat more strenuously than you really should have to, you wiggle part of the floor open.\n\n> You look at the floor\nThere's the floor. Right down there. Wide open.\n\n> Doff simulaccam\nYou take off the SimulacCam."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nThere's a curious amount of space under the floor to the north. You scoot into it.\n\nThe darkness here may be the only profound thing in nTopia.\n\n> You go outside\nThere's more than one exit. Specify a direction to take one of them.\n\n> Open nLap\nYou open the nLap 500, which wakes the moment it begins to unfold.\n\nSometimes a horrifying conspiracy lives beneath the surface of reality. Sometimes, just a cramped crawlspace like this one, lacking even the dust that most such spaces have. And it looks like we also have an overhead ventilation grill.\n\n> You look at the grill\nIt seems to be fastened with some screws or bolts, whatever the difference is, that are of surreal or alien design. No mass-market device is going to open this.\n\n> You check what you're carrying\nYou are carrying a double-cup panel lifter, a dollar coin, the SimulacCam, an nStick, your nLap 500, your pager, and your key.\n\n> Exits\nFrom here, it looks like it's possible to go south.\n\n> Go south\nYou make your way south and crawl out.\n\nThere are just the usual racks here. The rest of the room is bare, with the usual drop ceilings and the usual raised floor providing a contrast to the unusual wooden walls outside. And it looks like we also have Sophie.\n\n> You go northeast\nThe eastern corners are occupied by the two nicest residential options in town, The Maple Copse and Yew Village. City Hall has a face turned this way to the southwest. On the northwest corner are the colors and leafy tufts of the city gardens.\n\n> You go north\nYou head north on Octopus...\n\nThe nWare Media Campus is north; Octopus turns into the campus's main path on the north side of Fourth Street. To the southwest are the city's gardens, complementing the green of the campus with other herbifarous colors. A store called \"Beverage Rack\" is to the southeast.\n\n> You go north\nYou head north on Octopus...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\n> Open floor\n( That is, \"open the surroundings.\" )\n\nThat's not something you can open.\n\n> You enter the floor\nYou muddle around under the raised floor a bit, encountering only conduits and claustrophobia, not really even needing a lamp for the full experience. Then you get back out of there.\n\n> Close nLap\nYou close the nLap 500.\n\n> You exit\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\nTwo modified Segways, driven by school children, scream past each other at top speed, missing by inches. Then they career off.\n\n> You go to the north\nThe north part of the campus is deceptively pleasant, with nWare Media buildings scattered about. Specifically, F2 is to the northeast.\n\n> Go northeast\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\n> You go north\nThis is a large, open, and curiously empty workspace. There are racks all around the place. And it looks like we also have the F2 server.\n\n> Wear helmet\nYou once again don the strange helmet.\n\n> You go to the southwest\nYou're not cleared to enter the building over there. Although you work for nWare, the subdivisions of the Media division are pretty much walled off from each other.\n\nA sizable crowd of people wearing tye-dyed bedsheets babbles loudly, running past and away from you.\n\n> Go south\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\n> You go to the northwest\nThe raised floor is charcoal in color -- it's the sort seen in all nWare buildings that house really official business. The racks all around are also especially businesslike. And it looks like we also have Cindy.\n\n> You go northwest\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\n> You go west\nYou head west on First Street...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\nA gray and black designer herd hurries past you, almost at a trot, brandishing picapoles.\n\n> You go to the north\nYou head north on Eel...\n\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> Go north\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> You go to the south\nYou head south on Eel...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\nSomething that looks like a parade float slides down the street. You notice some tonsured and robed man dancing on it. Then it turns away and continues on, out of sight.\n\n> Go west\nYou head west on First Street...\n\nThe clothing store Niche Threads is to the northeast, while a fire station is across from it on the southeast corner. To the southwest is the tall, cylindrical, and multicolored Medical Center Plaza. What dominates the intersection, though, is the swooping MuseRoom, to the northwest.\n\n> Go southwest\nThe Medical Center Plaza is not open right now. Looks like it opens at nine.\n\nA young couple runs past solemnly, wearing only Nikes and diapers.\n\n> You go to the south\nYou head south on Abalone...\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> Wear helmet\nYou once again don the strange helmet.\n\nSomeone in sixteenth century Japanese armor goes by on a horse, red banner flapping.\n\n> You wait for a while\nTime goes by.\n\n> Wait\nTime goes by.\n\n( You can also use commands such as WAIT 10 MINUTES and WAIT UNTIL 10 AM. )"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> You go to the east\nYou head east on Second Street...\n\nThe north part of the campus is deceptively pleasant, with nWare Media buildings scattered about. Specifically, F2 is to the northeast.\n\nA bald man runs screaming past you, pants on fire, pursued by a man without pants whose hair is on fire. They disappear around a corner.\n\n> You go east\nYou head east on Second Street...\n\nThe path to the west looks as nice as all the other campus walkways, but this is clearly an alley at the edge of town.\n\nYou've barely noticed it, thanks to the way the streetlights have gradually filled in for the departing sun, but night has fallen.\n\n> Go south\nYou head south on Urchin...\n\nThe eastern edge of the city looks like a long, empty parking lot. The path onto campus to the west is typically impressive, though. There's a subtle brown door to the east here, set right in the dirt of the East Berm.\n\n> Go east\nYou head through the door and into the server room.\n\nMuch like other server rooms in this world of ours: racks, raised floor, drop ceiling. It seems to have been made a bit more spacious than it needs to be. And it looks like we also have Ester.\n\n> You enter the floor\nThere's no way you're going to be able to get into the raised floor wearing the SimulacCam.\n\nThere's a loud and sudden microphone-tapping sound, followed by the shriek of feedback.\n\nATTENTION, this is not an emergency. But there will be a demonstration of a project involving new technologies in just a few minutes. It may possibly result in some unusual irregularities. Don't be alarmed. Thank you.\n\nThe civil alert system crackles back into silence.\n\n> Wear helmet\nYou once again don the strange helmet.\n\nA warning shriek sounds, almost inside your head -- it's the helmet. \"OVERLOAD,\" a stupidly calm voice says. The SimulacCam splits right down the middle, along the line of your nose, and falls, shattering on the ground.\n\nA coming screams across the ceiling.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last.\n\n> You drop the helmet\nYou perform the relinquishment.\n\nA coming screams across the ceiling.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last.\n\n> You examine the helmet\nAh, yes. The SimulacCam. There it is.\n\nA coming screams across the ceiling.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last.\n\n> Xyzzy\nYou suddenly utter a great word of power known to you from your youth. Nothing happens.\n\n> You wait for a while\nTime goes by.\n\nA warning shriek sounds, almost inside your head -- it's the helmet. \"OVERLOAD,\" a stupidly calm voice says. The SimulacCam splits right down the middle, along the line of your nose, and falls, shattering on the ground.\n\nA coming screams across the ceiling.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last."
    },
    {
        "text": "> You look at your surroundings\nYou're getting to that point in your life where all the server rooms start to look the same. And it looks like we also have the F9 server.\n\n> You look at what you're carrying with you\nYou are carrying the defective disk, a dollar coin, the SimulacCam (being worn), an nStick, your nLap 500, your pager, and your key.\n\n> Go west\nYou head west on Third Street...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\nA man plods down the street and away from you, carrying an elderly man on his back and a Cabbage Patch doll in his arms.\n\n> You show nStick\nYou look ridiculous waving the nStick.\n\n> You examine nStick\nIt's an nStick, a proprietary memory storage device. You haven't seen this particular sort before, and it's not going to fit into any of the usual computer suspects -- your nLap or the servers you manage.\n\n> Go southeast\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> You buy the watchmen\nYou check all over for Alan Moore and Dave Gibbons's Watchmena graphic novel you happen to really like, in which a sinister conspiracy is at work in an alternate but recognizable reality -- but there doesn't seem to be a copy anywhere around here. Too bad.\n\n> You go to the south\nYou head east on Fourth Street...\n\nThe local elementary school sits beside a gated playground to the northeast. Plywood closes off the site on the southeast corner, hiding whatever is being built there. The Pine and Elm is southwest. On the northwest corner is an upscale variety store, MarMart.\nYou head east on Fourth Street...\n\nThe sudden clamor and rush of a crowd sends you helplessly to the ground. With a grinding pull, a battalion in green aprons hurls itself over you and into the structure on the southwest corner. Perhaps you glimpse a pair of stunned figures in black T-shirts inside, shivering behind a counter. Your vision seems to be obscured for a moment by a milky steam.\n\nYou stand, finally, unsure about what you seem to have witnessed, unsure about whether or not to hope it was real.\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\nA sizable crowd of people wearing tye-dyed bedsheets babbles loudly, running past and away from you.\nYou head south on Main...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go southeast\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You look at diorama\nAh, yes. The diorama. There it is.\n\nYou notice that it has a brass button on it.\n\n> You press the brass button\nThat seems like it might do something. But it doesn't.\n\n> Go south\nYou head south on Main...\n\nBack Street runs east behind City Hall here at the south end of nTopia. Eel is to the west. A warehouse is on the northwest corner.\n\nYou have come to the edge of the plateau on which nTopia is built. Far below, past the railing, is the desert plain, stretching from reddish white to white, scraggled here and there with gray. The sky is lapis lazuli. Some highway stretches far off from east to west, as if it were an imperfect reflection of a line on a map.\n\n> You go to the west\nYou head west on Back Street...\n\nTwo uncannily clean but industrial-looking buildings sit on either side of Eel to the north. Back Street runs right along the railing that bounds the city to the south.\n\nA very important-looking person wearing a green visor speeds by on a golden Sinclair C5.\n\n> Go northwest\nThere's some corrugated steel-with-cinderblock-accents thing going on here. The floor ends to the west, where smoke and wailing rise from a pit. And it looks like we also have a double-cup panel lifter.\n\n> Go east\nYou head east on Back Street...\n\nBack Street runs east behind City Hall here at the south end of nTopia. Eel is to the west. A warehouse is on the northwest corner.\n\nA gang of perhaps twenty people on souped-up Segways powers past and disappears.\n\n> You go north\nYou head north on Main...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go southeast\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You go southeast\nYou head through the door and into the server room.\n\nThere are just the usual racks here. The rest of the room is bare, with the usual drop ceilings and the usual raised floor providing a contrast to the unusual wooden walls outside. And it looks like we also have Sophie.\n\n> You look at the ceiling\nThere's the ceiling. Right up there.\n\n> Go northwest\nYou head out through the door.\n\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You go northwest\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nA cute little fire truck careers down the street, letting loose an occasional bottle rocket.\n\n> Go north\nYou head north on Abalone...\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\nA miniature ambulance pulls up. A bystander is quickly hoisted inside by two people clad in padded suits, and the ambulance drives off.\n\n> Go southwest\nYou head into the building and over to the server room.\n\nThere are racks and racks, with the usual drop ceiling and raised floor one finds in the upscale server room. And it looks like we also have Wendy.\n\n> Go northeast\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\nA young couple runs past solemnly, wearing only Nikes and diapers.\n\n> You go north\nYou head north on Abalone...\n\nThe clothing store Niche Threads is to the northeast, while a fire station is across from it on the southeast corner. To the southwest is the tall, cylindrical, and multicolored Medical Center Plaza. What dominates the intersection, though, is the swooping MuseRoom, to the northwest.\n\n> You go to the east\nYou head east on First Street...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\n> You go to the north\nYou head north on Eel...\n\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> Go north\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> Go east\nYou head through the door and into the server room.\n\nRaised floor, drop ceiling, and racks all around instead of walls make this place seem pretty comfy, at least if you're a patch cable. And it looks like we also have Nora.\n\n> You examine the racks\nRaised floor, drop ceiling, and racks all around instead of walls make this place seem pretty comfy, at least if you're a patch cable. And it looks like we also have Nora.\n\n> Go west\nYou head out through the door.\n\nnAir flies direct from here to Seattle, San Jose, Austin, and Boston, with trips to less geeky destinations being more circuitous. They seem to have forgotten to give this place the air of a big-city airport. It looks more like a large metal barn, with little but a kiosk in this main space.\n\nPast security, to the north, you can see a handful of gates, which are actually gates in a fence. A subtle door to the east leads to the Airport's server room.\n\n> Go south\nYou head east on Front Street...\n\nEven Main Street has nothing but a pair of warehouses on this end, where it meets Front Street. The airport wall is north.\nYou head east on Front Street...\n\nFront Street continues its run alongside the airport. There is a warehouse on the southwest corner. The mall is under construction to the southeast.\nYou head east on Front Street...\n\nThe city goes no further north or east. There's just Front Lodge to the southwest.\nYou head south on Urchin...\n\nFirst Lodge is on the northwest corner. The nWare Media Campus is southwest of here, but there's no way onto campus from this intersection.\nYou head south on Urchin...\n\nThe path to the west looks as nice as all the other campus walkways, but this is clearly an alley at the edge of town.\nYou head south on Urchin...\n\nThe eastern edge of the city looks like a long, empty parking lot. The path onto campus to the west is typically impressive, though. There's a subtle brown door to the east here, set right in the dirt of the East Berm.\n\n> Go east\nYou head through the door and into the server room.\n\nMuch like other server rooms in this world of ours: racks, raised floor, drop ceiling. It seems to have been made a bit more spacious than it needs to be. And it looks like we also have Ester.\n\n> You look at the ceiling\nThere's the ceiling. Right up there.\n\n> You examine the panel\nThere's the floor. Right down there.\n\n> You go north\nYou head north on Urchin...\n\nThe path to the west looks as nice as all the other campus walkways, but this is clearly an alley at the edge of town.\n\n> You go to the north\nYou head north on Urchin...\n\nFirst Lodge is on the northwest corner. The nWare Media Campus is southwest of here, but there's no way onto campus from this intersection.\n\n> Go west\nYou head west on First Street...\n\nThe main north-south path of the nWare Media Campus meets Octopus on the south side. Roy's, a favorite hacker hangout and supplier of takeout, is on the northwest corner. The mall is under construction to the northeast.\n\n> Go north\nYou head north on Octopus...\n\nFront Street continues its run alongside the airport. There is a warehouse on the southwest corner. The mall is under construction to the southeast.\n\n> You go southwest\nThe warehouse isn't open to the public, or to you.\n\nA woman hurries by, loudly reciting art criticism by John Ashbery and occasionally making some sort of nonhuman primate sound.\n\n> Go west\nYou head west on Front Street...\n\nEven Main Street has nothing but a pair of warehouses on this end, where it meets Front Street. The airport wall is north.\n\n> You go to the west\nYou head west on Front Street...\n\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\n> You go to the southeast\nThe visitor center is not open right now. Looks like it opens at ten.\n\nA man plods down the street and away from you, carrying an elderly man on his back and a Cabbage Patch doll in his arms.\n\n> You examine the airport\nUpon further inspection, the only things that stand out are the tall, rectangular nature of the arch, and the fact that it is topped with red flashing lights.\n\n> You examine the lights\nUpon further inspection, the only things that stand out are the tall, rectangular nature of the arch, and the fact that it is topped with red flashing lights.\n\nTwo modified Segways, driven by school children, scream past each other at top speed, missing by inches. Then they career off.\n\n> You go north\nYour intimate friends at airport security recognize you, find that you still lack a boarding pass, and look at you with concern. You do not get to go in.\n\n> You look at the kiosk\nNice kiosk.\n\n> You go south\nYou head south on Eel...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\nYou think you catch a glimpse of someone down the street leaping out a window and deploying a parachute, but a second glance finds nothing out of the ordinary going on.\n\n> Go northeast\nThe Gap is not open right now. Looks like it opens at ten.\n\nYou've barely noticed it, thanks to the way the streetlights have gradually filled in for the departing sun, but night has fallen.\n\n> You examine MuseRoom\nCultural hub of nTopia, this peripheral building holds both the city's museum and the only library. Like the Medical and Professional Center across from it, it is radially symmetric. While lacking colored stripes, it does have the shape of an alien chesspiece and a facade entirely made of rose-colored glass. Someone very famous designed it and cackled gleefully when it was completed.\n\n> Go northwest\nThe MuseRoom is not open right now. Looks like it opens at nine.\n\nOne guy on Rollerblades and one in a racing wheelchair whisper past, both with hockey sticks.\n\n> Go southwest\nThe Medical Center Plaza is not open right now. Looks like it opens at nine.\n\nThere's a loud and sudden microphone-tapping sound, followed by the shriek of feedback.\n\nATTENTION, this is not an emergency. But there will be a demonstration of a project involving new technologies in just a few minutes. It may possibly result in some unusual irregularities. Don't be alarmed. Thank you.\n\nThe civil alert system crackles back into silence.\n\nA bald man runs screaming past you, pants on fire, pursued by a man without pants whose hair is on fire. They disappear around a corner.\n\n> You go to the south\nYou head south on Abalone...\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\n> You go south\nYou head south on Abalone...\n\nA multi-level grocery store dominates the northeast corner, occupying the whole side of the block from here to Second. A windowless building, this one with a logo like a fork of lightning, is southeast. A shrouded establishment called \"Gelatinous Cube\" is southwest. On the final corner is a Starbucks.\n\nA warning shriek sounds, almost inside your head -- it's the helmet. \"OVERLOAD,\" a stupidly calm voice says. The SimulacCam splits right down the middle, along the line of your nose, and falls, shattering on the ground.\n\nA coming screams across the sky.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last.\n\n> You go south\nIt's the gateway to nTopia. The airport is north through a tall rectangular arch that is topped with red flashing lights. On the southeast corner is the visitor center. Southwest is a Starbucks.\n\nThere seems to be no trace of whatever sand was blowing all around, unless some of the buildings now have a slightly glossier finish.\n\n> You examine the helmet\nSome of the most difficult things to look at are those that are currently enclosing your head.\n\n> You examine the helmet\nAh, yes. The SimulacCam. There it is.\n\n> You examine the panels\nThe video panels display cheerful promotional views of nTopia.\n\n> You ask the woman about nTopia\n\"Lovely place we live in,\" she replies.\n\n> You ask the woman about the help\n\"I wish I could help, but if I could, I'd probably have a messy job like yours and would regret it,\" she says.\n\n> You ask the woman about the demo\n\"Um, I'm not sure. They haven't really told me much. I mostly just stand here and smile,\" she tells you.\n\n> You go to the west\nYou head west on Front Street...\n\nFront Street is wide here, at the edge of nTopia. The airport is north, while two indistinguishable warehouses flank Abalone Street to the south.\n\n> Go south\nYou head south on Abalone...\n\nThe clothing store Niche Threads is to the northeast, while a fire station is across from it on the southeast corner. To the southwest is the tall, cylindrical, and multicolored Medical Center Plaza. What dominates the intersection, though, is the swooping MuseRoom, to the northwest.\n\n> You go to the northwest\nThe swelling space of the MuseRoom is flooded with light from above and ringed with hypermodern paintings. A stairway curls along the far wall, leading up to the library on the second floor.\n\n> You look at the paintings\nThey are pixorealist paintings that look like beautiful backgrounds you could use on your desktop.\n\n> Up\nA large, circular room forms the library, radiating with shelves and lit by sunlights. The floor seems to be a grating, allowing light to filter to the gallery below.\n\n> You examine the shelves\nUnsurprisingly, the shelves have books on them.\n\n> You examine the floor\nThere's the floor. Right down there.\n\n> Examine books\nYou pick a book off the shelf and read for a bit.\n\n... The head and in frontal attack on an English writer that the character of this point is therefore another method for the letters ...\n\nThen you replace it.\n\n> Examine books\nYou pick a book off the shelf and read for a bit.\n\n... The quench and in aye attack on some obtain writer that the sign of this point is therefore another bite for the restore ...\n\nThen you replace it."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nThe swelling space of the MuseRoom is flooded with light from above and ringed with hypermodern paintings. A stairway curls along the far wall, leading up to the library on the second floor.\n\n> Go southeast\nThe clothing store Niche Threads is to the northeast, while a fire station is across from it on the southeast corner. To the southwest is the tall, cylindrical, and multicolored Medical Center Plaza. What dominates the intersection, though, is the swooping MuseRoom, to the northwest.\n\n> Shout\nYou allow yourself a moment to get in touch with your inner screaming maniac.\n\n> You go southeast\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\n> Go southeast\nThe greenery is effusive. The uneven terrain here was no doubt shaped by the landscapers, but the trees, hills, and open areas are pretty pleasing, however artificial they are.\n\n> Go south\nYou head south on Abalone...\n\nYour apartment building is on the southwest corner. Opposite it is a windowless, blocky building. On the southeast corner Pharmicopia sprawls. Otto's Automat is to the northwest.\n\n> You go to the south-west\nClean, if not homey. The cube by the doorway is unattended.\n\n> You examine Cube\nAh, yes. The empty Plexiglas cube. There it is.\n\n> You look in Cube\nThe empty Plexiglas cube is empty.\n\n> Up\nThe palate-cleansing corridor that leads to your apartment.\n\n> You go inside\nThe old-style lock opens to you with already-practiced ease, and you walk in. You switch the light on.\n\nIt's your residential canister. Your lime-green couch is against the longest wall. And it looks like we also have a heap of clothes.\n\n> You go east\nYou head east on Fifth Street...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\nA woman wearing some small display on her glasses pushes herself past on a Razor scooter, dictating Python into a headset.\n\n> You go to the east\nYou head east on Fifth Street...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go northwest\nWhile most of the retail spaces are minimal or postmodern, this package pickup and dropoff point has more of the sense of a Hoboken everything 99 cents store.\n\n> Go southeast\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nHere we go again. Your pager goes off in its usual buzzing, vibrating fit.\n\n> You press the button\nA beep issues from the pager, then a voice:\n\nGus needs his password reset now. Immediately. At the current time. Sorry it's so early. Also, be nice to him when you walk over and deliver his new password, since this weekend has been rough on everyone. He's in F2 and I'm now having your nPediment privileges set so you can walk right in there and find him. Thanks for rebooting the machines, by the way.\n\nIt is, of course, Wilbur.\n\nA beep issues from the pager, then a voice:\n\nThis is an automatic report about how you got owned, champ. That's right, one of your machines is puking out denial of service packets and needs to be offlined immediately. Better get it off your network before somebody other than a robot tells you about it. The victim is Nora.\n\nIt sounds like the perky cousin of that stupid stapler.\n\nA beep issues from the pager, then a voice:\n\nDisk failure. Disk hesitant, corrupted, ready for immolation. Replace the disk. Must be replaced prior to demo. Almost there. Almost at demo. We will make it. Replace the disk. Follow the procedure and incinerate the old disk once it has been replaced. The disk of the main server in F9. Access to F9 is currently being provided you. Go.\n\nObviously, the message is from Wilbur.\n\nA woman on an oversized skateboard zooms past, pulling a Jack Russell terrier on a normal-sized skateboard.\n\n> You go north\nYou head north on Main...\n\nThe sudden clamor and rush of a crowd sends you helplessly to the ground. With a grinding pull, a battalion in green aprons hurls itself over you and into the structure on the southwest corner. Perhaps you glimpse a pair of stunned figures in black T-shirts inside, shivering behind a counter. Your vision seems to be obscured for a moment by a milky steam.\n\nYou stand, finally, unsure about what you seem to have witnessed, unsure about whether or not to hope it was real.\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\n> Go north\nYou head north on Main...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> You go southeast\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\nSomething that looks like a parade float slides down the street. You notice some tonsured and robed man dancing on it. Then it turns away and continues on, out of sight.\n\n> You examine the coin slot\nAh, yes. The coin slot. There it is.\n\n> You look at what you're carrying with you\nYou are carrying the SimulacCam, an nStick, your nLap 500, your pager, and your key.\n\n> You ask the teller for the coin\nThe teller produces some sort of tethered handheld device and begins tapping on it.\n\"We cannot dispense old-style funds to you at this point until you have an approved account,\" she replies.\n\n> Inventory\nYou are carrying a dollar coin, the SimulacCam, an nStick, your nLap 500, your pager, and your key.\n\n> You go to the northeast\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\n> You go north\nYou head north on Eel...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\nA gang of perhaps twenty people on souped-up Segways powers past and disappears.\n\n> You go to the south-west\nFor a marble-coated civic bunker, it's a rather homey place. The one service window on a wall of mailboxes is shuttered with dull brass. An APM is installed opposite the window.\n\n> You look at APM\nNice kiosk.\n\n> You use APM\nYou touch the screen to get started, and a progression of several dozen windows pop up over each each other, as if you've just won a game of nSolitare. The one that freezes on top for a moment says \"nSys for Kiosk Error Number n + 7. Rebooting.\"\n\nThe machine blinks and returns to its original state.\n\n> You look at Mailboxes\nLooking at the wall reminds you that you're supposed to get assigned a mailbox sometime soon. After that's done and mail forwarding begins, you can continue receiving those hand-written, ink-spattered poetry submissions that various prisoners in a facility in North Dakota have been sending you for no apparent reason.\n\n> You go to the northwest\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\nYou head west on First Street...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\nYou head south on Eel...\n\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\nYou head south on Eel...\n\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\nA cute little fire truck careers down the street, letting loose an occasional bottle rocket.\n\nThere's a din of digitized sound. What's visible of the walls is covered with multicolored squares, presumably in an attempt to make the atmosphere even more festive.\n\n> You put the coin in the machine\nThe coin does seen like an obvious thing to put into the coin slot, but it's too thick to fit in there.\n\n> You go to the east\nYou head east on Third Street...\n\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest. And to the southeast is the enigmatic F9.\n\nA man with the demeanor of a middle manager skips by in a long gray cape, peeling a banana at both ends.\n\n> You go northwest\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\nA bald man runs screaming past you, pants on fire, pursued by a man without pants whose hair is on fire. They disappear around a corner.\n\n> You open the computer\nYou open the nLap 500, which wakes the moment it begins to unfold.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey, this looks like the post office! In the old days, people used to go here to send mail and stuff!\n\nThe window winks away.\n\n> You press the apm button\nOne of the things you liked about this job is the relative absence of heavy lifting.\n\n> You look\nFor a marble-coated civic bunker, it's a rather homey place. The one service window on a wall of mailboxes is shuttered with dull brass. An APM is installed opposite the window.\n\nYour stomach speaks to you in twangs of pain. Although you don't know Morse code, the jist of the message is that it would be a good idea to get something to eat soon.\n\n> You look at the window\nSuch service windows have been used in the past to assist postal customers. This one is probably only opened for historical reenactments. You had best visit the APM if you'd like to interface with the postal system.\n\n> Wear helmet\nYou once again don the strange helmet.\n\n> Exit\nA Starbucks is to the northeast. The post office on the southwest corner looks as distinguished as a mausoleum. The urban idiom fails on the northwest corner, where a restaurant sits like a ranch house on a little plot of desert. Opposite it, a path leads onto the nWare Media Campus.\n\nThe scheme of the city, and your previous wanderings, suggest to you that the incinerator isn't likely to be plopped down here in the middle of town.\n\n> Go west\nYou head west on First Street...\n\nThe Gap gapes on the northeast corner. A place called \"Ice Planet\" is southeast. To the southwest is a convenience store, ShopLite. The cheerful block of the nTopia Hospital occupies the remaining corner, to the northwest.\n\n> You go to the south\nYou head south on Abalone...\n\nProud Pie is on the northeast corner. The multi-level grocery store to the southeast spans the block down Abalone. To the southwest is the concrete RelOfCoTn building, a typical nWare structure. An apartment building, The Peachtree, is northwest.\n\nA miniature ambulance whisks by at a frightening speed, doing a donut before it peals out of sight.\n\n> Go northeast\nSo, it's a pizza place. With a huge fake mouse in one corner. And it smells pretty nice.\n\n> You take the mouse\nThat's not detachable.\n\nThat's not detachable.\n\n> You hug the mouse\nYou tenderly cuddle the mouse.\n\n> You touch the mouse\nTangible, and pretty ordinary-feeling.\n\n> Kiss mouse\nYou plant a smackeroo on the mouse.\n\n> You open the laptop\nThat's already open.\n\n> You buy the pizza\nFood does seem like a good idea. You order some and prepare to focus completely on the meal, like Martha Stewart on her salad...\n\nYou conclude your culinary experience.\n\n> Go northwest\nYou'd think the sun never set on Azatlan from the interior of this sort of English-style pub that serves lots of food made of blue cornmeal. Behind the bar, the place is festooned with Union Jack bandanas, and there are tequila bottles and British and Irish beer taps.\n\n> You look at the bandanas\nAh, yes. The bad decor. There it is.\n\n> You buy the tequila\nYou never drink on the job, which is too bad, because you could be paged at any time of day.\n\n> Go outside\nThe marquee of the Bastion Theater is northeast and the blank stare of 0th Bank diagonally across to the southwest. Speaking of the Southwest, the bad Southwestern art of the Coyote and Crown howls from the northwest corner. A pleasant absence of city is southeast, where the fake hills of nTopia's park roll.\n\nThree people covered with flour and ink run down the street in tears, disappearing.\n\n> Go south\nYou head south on Eel...\n\nThe local elementary school sits beside a gated playground to the northeast. Plywood closes off the site on the southeast corner, hiding whatever is being built there. The Pine and Elm, an apartment building you checked out and found just about identical to the Wild Palms, is southwest. On the northwest corner is an upscale variety store, MarMart.\n\nA sizable crowd of people wearing tye-dyed bedsheets babbles loudly, running past and away from you.\n\n> Go southeast\nA dark gray interior has never been so reassuring. There's a long black desk in the center of the room, centered on a long metal sculpture that is behind it. And it looks like we also have a desk.\n\n> You open it\nIt doesn't open. It's art.\n\n> Go outside\nTo the northeast are the miniature tree-spotted hills of nTopia's park. On the southeast corner is the police station. A Starbucks is on the southwest corner. Neon signs and flashing screens glint from the establishment to the northwest, Arcadia Ego.\n\n> Go south\nYou head south on Eel...\n\nThe local elementary school sits beside a gated playground to the northeast. Plywood closes off the site on the southeast corner, hiding whatever is being built there. The Pine and Elm, an apartment building you checked out and found just about identical to the Wild Palms, is southwest. On the northwest corner is an upscale variety store, MarMart.\n\n> Go northwest\nMarMart is not open right now. Looks like it opens at ten.\n\nA sizable crowd of people wearing tye-dyed bedsheets babbles loudly, running past and away from you.\n\n> Go southwest\nThe door, not recognizing you as a resident or previously cleared guest, politely turns you away.\n\nSomeone in sixteenth century Japanese armor goes by on a horse, red banner flapping.\n\n> You go south\nYou head south on Eel...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\nYou've barely noticed it, thanks to the way the streetlights have gradually filled in for the departing sun, but night has fallen.\n\n> Go northwest\nThe shoe store is not open right now. Looks like it opens at ten.\n\n> You go to the northeast\nThe dining room strikes an admirable balance between elegance and comfort, making this a delicious and elegant escape from the hustle and bustle of nTopia.\n\n> You go outside\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\nThere's a loud and sudden microphone-tapping sound, followed by the shriek of feedback.\n\nATTENTION, this is not an emergency. But there will be a demonstration of a project involving new technologies in just a few minutes. It may possibly result in some unusual irregularities. Don't be alarmed. Thank you.\n\nThe civil alert system crackles back into silence.\n\n> You go to the east\nYou head east on Fifth Street...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\n> Go northeast\nIt's all orange inside, too, with rounded booths of different sizes cut into the walls. The place is a sort of large-scale bento box, outfitted so that it will be safe during hunting season.\n\nA warning shriek sounds, almost inside your head -- it's the helmet. \"OVERLOAD,\" a stupidly calm voice says. The SimulacCam splits right down the middle, along the line of your nose, and falls, shattering on the ground.\n\nA coming screams across the ceiling.\n\nAll that you can see flickers into reverse video; even worse is the reverse audio, pure sound everywhere except for the globs of silence shrieked from innumerable mouths, your own one of these. The tongue cannot say what tastes and smells visit you. Your skin is crawling all over the ants. The round is world.\n\nSixteen years later you arise from catatonia to play a single game of ping pong against a silentious Native American. It is a moment that Oliver Sacks would have written touchingly about. But the moment does not last.\n\n> You look at the walls\nActually the squares covering the walls aren't all squares. You now see that one of them is a rectangle.\n\n> You examine the rectangle\nThis panel really looks a lot like the rest of the wall, but close inspection allows you to make out a faint trace of the word \"TOKENS,\" apparently painted on using some pigment that isn't quite in the visible spectrum.\n\nIn the center of the token panel you notice a small, dark maw.\n\n> You put the coin in the maw\nThe coin vanishes into the maw. Below it, a tray pops open and a token flips out into the air. In a feat of tremendous physical prowess, you manage to catch it.\n\n> You put the token in the slot\nYou drop the token into the slot and hear the satisfying giggle of the machine registering a credit. Eagerly, you press the player one button and watch the introductory sequence.\n\nJust as the first fight is about to begin, some twelve-year-old kid with a bowl haircut slips into place beside you, deposits a token, and presses the player two button.\n\n\"ENTERING SMACKDOWN MODE,\" the machine says.\n\n\"My mouth says hello,\" says the boy.\n\n> You play the game\nYou're playing it, oh yeah.\n\nYou select Llamo, your favorite avatar. The kid chooses the sissiest, lamest llama fighter there is, Floofta. The fight begins.\n\nThe kid's hands slap against the controllers with remarkable dexterity, and Floofta begins wailing on Llamo.\n\n\"Perhaps you are wondering what the purpose of all this is,\" the kid says calmly.\n\n> You play the game\nYou're playing it, oh yeah.\n\nYou're just barely able to crouch and block as Floofta powers into a helicopter kick.\n\n\"Governments are pesky,\" the kid says. \"Sure, corporations are ascendant, but governments still have some power, and nWare would love to be able to command that power.\"\n\n> You play the game\nYou're playing it, oh yeah.\n\nFloofta executes a swift axe hoof, which you barely parry, using the Calf Worshipping Goddess technique.\n\n\"As you may remember from history, overthrowing regimes is a messy business,\" the kid says.\n\n> You play game\nYou're playing it, oh yeah.\n\nYou manage to land a feeble punch. Then, Floofta grapples you and throws you painfully to the ground.\n\n\"But if you could simulate political leaders, simulate appreciative crowds,\" the kid muses, \"have your doppelgangers move among the people, sowing confusion...\"\n\n> You look at the kid\nThe kid stands impassively facing his side of the arcade cabinet, face lit by the psychedelic glow of the machine.\n\nFloofta hurls an enormous hairball which flattens and stupefies you.\n\n\"You get the idea,\" the kid says. \"That's what everyone is working on here. That's what you're working on, although you almost certainly don't know it.\"\n\n> You play the game\nYou're playing it, oh yeah.\n\nYou rally. It's like Ali in round eight against Foreman. You're landing all sorts of kicks and punches on Floofta.\n\n\"Rallies, meetings, the State of the Union address -- it will all be simulated,\" the kid, still oddly calm, tells you. \"And nWare will run it all.\"\n\n> You play the game\nYou're playing it, oh yeah.\n\nFloofta spins around and answers with a series of punishing blows that prove decisive.\n\n\"FINISH HIM!\" the game proclaims, as poor Llamo wobbles there non-interactively.\n\n\"I'm not telling you that you should do anything differently, that you should try to look around and stop what's going on,\" they kid says. \"No, no. But just so you know what you've gotten yourself into.\"\n\n> You play the game\nYou're playing it, oh yeah.\n\nRather than delivering the coup de grace, the kid slaps a token down on the machine and runs off, disappearing.\n\n\"GAME OVER,\" the machine says. Even the winner doesn't get to continue after a game in smackdown mode. Just like in real life.\n\n> You examine the token\nActually, how could you have mistaken this for a token, even though that's the only thing that a normal person would slap down on a video game cabinet? It's not a token at all. It's some sort of high proprietary Allen wrench.\n\nYou can't even describe the strange polygon through which this Allen wrench has been extruded, and which it is designed to fit into.\n\n> Inventory\nYou are carrying an Allen wrench, the defective disk, the SimulacCam (being worn), an nStick, your nLap 500, your pager, and your key.\n\n> You go south\nYou head south on Eel...\n\nThe local elementary school sits beside a gated playground to the northeast. Plywood closes off the site on the southeast corner, hiding whatever is being built there. The Pine and Elm is southwest. On the northwest corner is an upscale variety store, MarMart.\n\n> Go south\nYou head south on Eel...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\nA miniature ambulance whisks by at a frightening speed, doing a donut before it peals out of sight.\n\n> Go southeast\nWhile there is a great view over there, the sheer drop of a hundred feet or so makes it impossible to go in that direction, except fatally.\n\n> You go to the north\nYou head north on Eel...\n\nTo the northeast is Public Char. A Starbucks is on the southeast corner. A complex of tall apartment buildings, The Planar Forest, is southwest. To the northwest is a shoe store.\n\n> You go east\nYou head east on Fifth Street...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra.\n\nA sizable crowd of people wearing tye-dyed bedsheets babbles loudly, running past and away from you.\n\n> Go southeast\nThe interior walls are of parquet hardwood, which would be the most remarkable thing about most city halls, but here we have this full-size diorama in the middle of the lobby with animatrons of Benjamin Franklin, John von Neumann, and shellf.\n\nThere's also a subtle door here to the southeast, which wouldn't be noticeable to an onlooker who wasn't in the know.\n\n> You open the grill with the wrench\nYou wield the highly proprietary Allen wrench for a while, alternating between hope and frustration, and finally manage to open the grill.\n\n> You enter grill\nYou break into the office above like a tech support commando. Time to fix those wiretaps so the boss can figure out what the Democrats have been up to! Or, time to steal back that list of Resistance members' names! Or, time to enter yet another uninteresting commercial, retail, or institutional space!\n\nThis would be an impressive and luxurious office, if it had some furniture and stuff in it. It doesn't look like the place is occupied -- except, occasionally, by trespassers. There's an exit underneath you and a door through which a bit of light filters in. Disturbing the minimalist appearance of the room is a garish fake bookcase."
    },
    {
        "text": "> You look around\nThis would be an impressive and luxurious office, if it had some furniture and stuff in it. It doesn't look like the place is occupied -- except, occasionally, by trespassers. There's an exit underneath you and a door through which a bit of light filters in. Disturbing the minimalist appearance of the room is a garish fake bookcase.\n\n> You open the door\nThe door won't open. This must be some kind of fire code violation.\n\n> You examine the door\nThe frosted glass door seems to have \"ROYAM\" painted on it, although the \"R\" is backwards.\n\n> Wear helmet\nYou once again don the strange helmet.\n\nSomething seems to have changed."
    },
    {
        "text": "[Themes: Science Fiction, city]\n\n> Describe the surroundings\nThis would be an impressive and luxurious office, if it had some furniture and stuff in it. It doesn't look like the place is occupied -- except, occasionally, by trespassers. There's an exit underneath you and a door through which a bit of light filters in. Where the bookcase used to be is a person-sized cylinder, open on the front.\n\n> You examine the cylinder\nThe sight awakens one of your few pleasant childhood memories: Sitting in comfort in the forward-facing car seat on the passenger side, you went to the drive-through bank and received a delicious blue candy, which arrived in a pneumatic tube that looked like a smaller version of this cylinder.\n\nAnyway. If this is where the Controller is supposed to reside in suspended animation, directing the city, then the genie is out of the bottle -- the lunatics are running the asylum -- there is no man behind the curtain.\n\n> You enter cylinder\nYou enter the cylinder. A voice is cued: \"Escape canister will be ready for departure at approximately NINETEEN FORTY FIVE.\"\n\n> You wait\nTime goes by.\n\n> You look\nSo much depends upon a featureless cylinder, filled with you, moving through some indeterminate location.\n\n> Sing\nA few verses from the Yoyodyne Songbook well outward from your being and into the air, which surprises even you.\n\n> You jump\nYou jump a good half inch, which is all there's room for.\n\n> Close nLap\nYou close the nLap 500.\n\nThe cylinder shudders as if coming to a halt. It does something a bit less graceful than sliding open and a bit more graceful than blowing open.\n\n> Pray\nSeems like as good a time as any to embrace the supernatural. You mutter a quick petition to Azathoth.\n\nThe floor-part of this cylinder tips, urging you to exit. So you trip out of the canister.\n\nOnce you've extricated yourself, the cylinder, bereft of payload, seals itself again. It wooshes away, perhaps so as to be ready for another very important passenger.\n\nYou learned in college geography that the desert is actually teeming with life. Except that isn't true of this place, which is simply a plain of white, barren sand. The desert is exceedingly empty. It seems that in the whole expanse there is nothing but one rock.\n\nOn the rock is one man.\n\nMaybe he brought the rock himself.\n\n\"Hi,\" says the man. He gestures to your head. \"Do you mind? That's a bit threatening.\"\n\n> You take off the helmet\nYou take off the SimulacCam.\n\n\"I suppose you're the only one who made it out this way,\" the man says. He shrugs. \"Maybe the others will cope.\"\n\n> You ask Man about nTopia\n\"Save the questions,\" he says.\n\n> You look at Man\nHe is wearing a Hugo Boss suit, legs crossed, fingers steepled in front of him. He looks at you with care. His features and complexion suggest that his ancestors lived in this country thousands of years ago.\n\nYou feel a tug within you, a subtle but literal reconfiguration of your system. Whatever it is that gripped you cannot hold you from here, however.\n\nOn the high and far plateau nTopia pulses and swarms with realities, a time-lapse, space-lapse sculpture, root and rhizome. The city does not shape itself into some urban battlefield for the pleasure of unseen generals, or into some all-maddening hilarious face to be put on by warfighter and advertiser alike. No bread, no circuses, no clockwork demagogues can be discerned. If these are to be the true products of the nWare Media Division, the demo that transpires does not appear to promote them.\n\nInstead, the chessboard of the city sets itself into positions, the brick and mortar structures at play with ones more liquid. There are sprawling markets and office buildings like Jehovas, but also slums and huge estates, parks and wastes, a stadium and churches, water treatment plants, jails and prisons, pyramids, military bases, factories, all cities the city, one Babel of configurations, as if some intellect or algorithm, or both, were looking through them all to find the one most perfect.\n\n\"Come on,\" the business-shaman says, \"my car's at the Dairy Queen. Keep up a decent pace and we'll get there by nine, before they close. I'll buy you a Blizzard.\"\n\nPisces, Cetus, Aquarius -- above nTopia churning are the constellations as you have seen them many times before. One moment of hesitation before turning to go, and the sky shudders. With that, the final touch is added, the augmentation complete. The dark has been pierced through again by some artist, some fellow employee, and you see them just as you saw them laid out before: The Cradle, The Way, The Burning Book.\n\n> You wait\nTime goes by.\n\nThe floor-part of this cylinder tips, urging you to exit. So you trip out of the canister.\n\nOnce you've extricated yourself, the cylinder, bereft of payload, seals itself again. It wooshes away, perhaps so as to be ready for another very important passenger.\n\nYou learned in college geography that the desert is actually teeming with life. Except that isn't true of this place, which is simply a plain of white, barren sand. The desert is exceedingly empty. It seems that in the whole expanse there is nothing but one rock.\n\nOn the rock is one man.\n\nMaybe he brought the rock himself.\n\n\"Hi,\" says the man. He gestures to your head. \"Do you mind? That's a bit threatening.\"\n\n> Wait\nTime goes by.\n\n( You can also use commands such as WAIT 10 MINUTES and WAIT UNTIL 10 AM. )\n\nWithout standing, the man reaches inside his suit coat and immediately produces something pistol-like but plastic, with a bright yellow tip. Several hours later you awaken in this same spot, alone and quite uncertain about your future.\n\n> Close nLap\nYou close the nLap 500.\n\nA gang of perhaps twenty people on souped-up Segways powers past and disappears.\n\n> You check your inventory\nYou are carrying the SimulacCam (being worn), an nStick, your nLap 500, your pager, and your key.\n\n> You put stick in the wires\nYou put the nStick into the panel.\n\n> You turn on the mouse\nPresumably there is some way to turn the mouse on and off, yes.\n\n> You look at the nose\nParts is parts. You don't usually need to worry about your body very much detail, and today does not seem to be an exception in that regard.\n\n> You look at the panel\nThe panel is open and has an nStick stuck in it. It's sparking a bit.\n\n> Close panel\nYou close the panel.\n\n\"In my spare time, I founded the postal police,\" the mouse asserts.\n\n> You wait for a while\nTime goes by.\n\n\"Early to bed and early to rise gets a programmer lots of uninterrupted time in the cubicle!\" the mouse proclaims.\n\n> Wait\nTime goes by.\n\n( You can also use commands such as WAIT 10 MINUTES and WAIT UNTIL 10 AM. )\n\n\"Help stop software pirates, rapists, arsonists, and child molesters,\" the mouse implores.\n\n> You wait\nTime goes by.\n\nThe mouse jerks spasmodically. \"Join the army, kids!\" it exclaims.\n\n> You wait for a while\nTime goes by.\n\n\"nTopia is the first city to be built from more than 25% recycled post-consumer content,\" explains the mouse.\n\n> You wait\nTime goes by.\n\nThe mouse does a horrible and probably unlicensed approximation of the Moonwalk.\n\n> You open the panel\nThe shuffling mouse both dodges and blocks, preventing you from opening the panel.\n\n\"Did you know that the first mouse pointer was actually called a bug?\" the mouse asks, obviously rhetorically. \"And the first mouse was called -- a mouse!\"\n\n> Wait\nTime goes by.\n\n\"In nTopia,\" the mouse says, \"you can worship the creator any way you like. Or not at all!\"\n\n> You wait for a while\nTime goes by.\n\n\"I invented the stored-program computer!\" says the mouse, as if it expected you to believe that.\n\n> You wait\nTime goes by.\n\n\"The business of nWare is business,\" the mouse says.\n\n> Wait\nTime goes by.\n\n\"In my spare time, I founded the postal police,\" the mouse asserts.\n\n> You go south\nYou head south on Main...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> Go south\nYou head south on Main...\n\nThe sudden clamor and rush of a crowd sends you helplessly to the ground. With a grinding pull, a battalion in green aprons hurls itself over you and into the structure on the southwest corner. Perhaps you glimpse a pair of stunned figures in black T-shirts inside, shivering behind a counter. Your vision seems to be obscured for a moment by a milky steam.\n\nYou stand, finally, unsure about what you seem to have witnessed, unsure about whether or not to hope it was real.\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\nThe sun beats down mercilessly, straining against nTopia's municipal climate control system.\n\n> You look\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\nGus stands here. His eyes dart around as if tracing deep scratches on the walls, perhaps made by an imaginary axe.\n\n> You go west\nYou head west on Second Street...\n\nMain runs along the west edge of the nWare Media Campus. To the northwest is a Starbucks. The glass cube of the nWare Store sits on a park-like plot to the southwest.\n\n> You go south\nYou head south on Main...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> You go south\nYou head south on Main...\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. A Starbucks is on the southeast corner. There is a coffeehouse called \"Independent Grounds\" to the southwest. Another Starbucks is on the northwest corner.\n\n> Go southwest\nA bunch of overstuffed furniture, shipped in from somewhere other than Sweden, sits askew in here. There's a big sculptural object toward one corner that must be used for roasting coffee beans or something.\n\n> You sit\nYou take a comfy seat.\n\nAs you sat down you noticed a woman in a smart suit and guy who is wearing a trucker cap, apparently ironically. You can't see them now, but you catch a snippet of their conversation.\n\n\"Apparently there's an escape system for government officials. The mayor and so on.\"\n\n\"We don't have any government officials here.\"\n\n\"Right. I bet they all escaped.\"\n\nInvoluntarily, you turn to look at the pair. They are already standing, and quickly head outside and out of sight.\n\n> You use the computer\nRighteous. Everything actually compiled and built successfully. You install the update.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> You use the computer\nDeftly you request a photo of Gus for purposes of positive ID, reset his account, and store in your short-term memory his cryptic-yet-memorable temporary password. Now you just need to share this important bit of information with Gus, and you'll have executed your responsibilities most gloriously.\n\nAnd people wonder why you fantasize about being a astronaut.\n\n> You go outside\nYou get off the overstuffed furnishing.\n\nA bunch of overstuffed furniture, shipped in from somewhere other than Sweden, sits askew in here. There's a big sculptural object toward one corner that must be used for roasting coffee beans or something.\n\n> You go to the northeast\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. A Starbucks is on the southeast corner. There is a coffeehouse called \"Independent Grounds\" to the southwest. Another Starbucks is on the northwest corner.\n\n> You go to the northeast\nThe south part of the campus is deceptively pleasant, with nWare Media buildings scattered about. You particularly note F7, which you're cleared to enter, to the northwest.\n\n> You go northeast\nThis particularly uninviting room may have been included simply to reassure those without proper clearance that they are in the wrong place. To the north is the building's main floor.\n\nGus stands here. He laughs at your puny gesture.\n\n> You tell Gus about the password\nYou tell Gus his cryptic-yet-memorable temporary password.\n\nHis face lights up with some combination of relief and prophetic rapture. He pulls a miniscule PDA from one of the pockets on his photographer's vest and taps happily, presumably gaining access.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\nSome glitch, neurological or digital, causes Gus to scream \"ODYSSEUS\" and run toward the exit. This involves his running right over you, knocking you down. Your head strikes the floor in a painless and consciousness-eliminating way.\n\n\"... tests were, again, all just fine,\" some woman in a doctor costume tells you. Or maybe she is a doctor. You're both walking along an aqua-colored corridor now. There are pictures of semi-rigid airships on the walls. \"You shouldn't have any problems except perhaps for a bit of short-term memory loss, but if you do have any other trouble, come back and tell it to the kiosk. Oh, and you'll want this back.\" She hands you your pager, which, annoyingly, is buzzing and vibrating. \"Take care!\"\n\nYou find yourself here in the lobby.\n\nThe shuffling of those in despair, the rapid, professional pace of the strained nurses and assistants, the occasional groan -- all of these are absent, since this pale green lobby, curiously, holds no one besides yourself. It's also completely without furnishings, except for a kiosk, placed dead center.\n\nRemembering the menu of health insurance options that you were presented, you congratulate yourself on buying the extended warranty on yourself.\n\nThe pager buzzes and jars you, its motor driven to disrupt and demand attention.\n\nA window pops up in the lower right corner of your nLap. In it, the uncanny red stapler wiggles its hinged head to the accompaniment of a cheery robot voice:\n\nHey, this looks like the hospital! This is where you can go if you're sick! If you're really sick, sometimes emergency medical workers will helpfully bring you here!\n\nThe window winks away.\n\n> You touch Kiosk\nAs you approach, the kiosk says \"If you are here because of an emergency, say 'EMERGENCY' or press the corresponding button.\"\n\nYou touch the screen to get started, and a progression of several dozen windows pop up over each each other, as if you've just won a game of nSolitare. The one that freezes on top for a moment says \"nSys for Kiosk Error Number n + 7. Rebooting.\"\n\nThe machine blinks and returns to its original state.\n\nThe pager vibrates like it's repeatedly tapping you to get your attention, and it buzzes gratingly.\n\n> You hold the button\nThe pager emits a low beep after you hold the button down for about a second and a half.\n\n> You examine text file\nA compulsive glance at the text file that holds your notes reassures you about the locations of the five servers: Wendy, at RelOfCoTn, Abalone and Second; Nora, in the airport; Ester, in the East Berm; Sophie, in City Hall, on the south end of Main; and Cindy, in F7 on the main campus.\n\n> You go south\nYou head south on Main...\n\nMain runs along the west edge of the nWare Media Campus. To the northwest is a Starbucks. The glass cube of the nWare Store sits on a park-like plot to the southwest.\n\n> Go south\nYou head south on Main...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\nA woman on an oversized skateboard zooms past, pulling a Jack Russell terrier on a normal-sized skateboard.\n\n> Go south\nYou head south on Main...\n\nThe sudden clamor and rush of a crowd sends you helplessly to the ground. With a grinding pull, a battalion in green aprons hurls itself over you and into the structure on the southwest corner. Perhaps you glimpse a pair of stunned figures in black T-shirts inside, shivering behind a counter. Your vision seems to be obscured for a moment by a milky steam.\n\nYou stand, finally, unsure about what you seem to have witnessed, unsure about whether or not to hope it was real.\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\n> You hold the button\n( That is, \"hold the server's red button.\" )\n\nYou hold the server's button in a for a while, and the box whines to a halt, falling silent. When you release the button, the server remains lifeless.\n\nYou get that satisfied feeling that you usually get after accomplishing a work-related task.\n\n> You go north\nYou head north on Main...\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners.\n\n> Go north\nYou head north on Main...\n\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive.\n\n> You go southwest\nThe food court is of the same vintage as the other buildings in nTopia, and seems not yet drinkable. Product and process have been licensed all around the main chamber, where people can sit, mostly alone, engaging their oral arguments.\n\n> You buy the food\nFood does seem like a good idea. You order some and prepare to focus completely on the meal, like Martha Stewart on her salad...\n\nA crackling sound comes, somehow, from all around.\n\nThis is a test of the nTopia civil alert system. If this were actually a --\n\nThe recorded voice breaks off.\n\nATTENTION. This is actually not a test. This is an alert. Severe dust and wind conditions are anticipated. In a calm and orderly fashion, please find shelter indoors, or remain indoors if you are there already, and refer from going outside until further notice. Refrain. Refrain from going outside. Don't be nervous. High risk of death if you don't get indoors. Calmly. Get indoors. Immediately.\n\nThen there is quiet.\n\nYou conclude your culinary experience.\n\nThere's a granular howl from outside.\n\n> You wait for a while\nTime goes by.\n\nThe harsh whistling sound continues.\n\nAn intriguing stranger dressed in black suddenly appears next to you and begins whispering, without turning to face you.\n\n\"Don't look over. They'll see us talking.\"\n\n> You wait\nTime goes by.\n\n( You can also use commands such as WAIT 10 MINUTES and WAIT UNTIL 10 AM. )\n\nThe harsh whistling sound continues.\n\n\"Now, listen closely. This is important. You're new here, still not too damaged. I must tell you the terrible secret of nTopia.\"\n\n> Continue\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"This whole place was built on military land -- some missile testing range or something.\"\n\n> Continue\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"You've probably noticed what's going on. They're driving us insane. We're here as mental crash test dummies.\"\n\n> Keep going\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"It's part of the business model. Goes along with the painfully designed end-user application, the self-molesting hardware that calls the mother ship when it manages to break itself.\"\n\n> Keep going\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"They're using more advanced annoyances now. Monitoring you at all times to maximally bother you. Broadcasting on certain electromagnetic frequencies...\"\n\nYou glance over at your interlocutor and notice, for just a moment, a sheet of something shiny and silvery poking out from beneath the trendy black cap that she wears.\n\n> You examine the cap\n\"Hey, hey. Stop looking at me. They'll notice.\"\n\nThe harsh whistling sound continues.\n\n\"Systematically, they're figuring out how to drive us crazy. Non-lethal warfare. Market domination. All sorts of ways to use this to increase shareholder value.\"\n\n> Wait\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"I'm too far gone to help out on this one. I just gotta get out. Gotta escape. I think I have a way, but I can't take anyone with me.\"\n\n> You wait a while\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"I had to tell you about it before I went, though. Had to track you down. You're the last hope.\"\n\n> Continue\nTime goes by.\n\nThe harsh whistling sound continues.\n\n\"Save the planet, kid! The city! Company! Neighborhood! Save your profit center! Shut 'em down somehow!\"\n\n> Go outside\nMain runs along the western edge of the nWare Media Campus. Northwest of here, a bit of parkland holds the nWare store, a multi-story glass cube. The concrete structure to the southwest, labeled \"Supreme Food Court,\" is less impressive. And it looks like we also have an enigmatic person in black.\n\nThere seems to be no trace of whatever sand was blowing all around, unless some of the buildings now have a slightly glossier finish.\n\nThe strange person who spoke to you rushes away to the south.\n\n> You go south\nYou head south on Main...\n\nOne corner of the nWare Media Campus is to the northeast, where a path affords entrance. There are Starbuckses on the other three corners. And it looks like we also have an enigmatic person in black.\n\nThe strange person who spoke to you rushes away to the south.\n\n> You go to the south\nYou head south on Main...\n\nThe building to the northeast houses \"Scales,\" a restaurant. The government-looking neo-something architecture of City Hall offers an entryway to the southeast. On the southwest corner is \"Wheel-Man,\" a personal transportation dealer. The final business here, to the northwest, is Mailboxes Ultra. And it looks like we also have an enigmatic person in black.\n\nThe strange person who spoke to you rushes away to the south.\n\n> Go south\nYou head south on Main...\n\nBack Street runs east behind City Hall here at the south end of nTopia. Eel is to the west. A warehouse is on the northwest corner.\n\nYou have come to the edge of the plateau on which nTopia is built. Far below, past the railing, is the desert plain, stretching from reddish white to white, scraggled here and there with gray. The sky is lapis lazuli. Some highway stretches far off from east to west, as if it were an imperfect reflection of a line on a map. And it looks like we also have an enigmatic person in black.\n\nThe strange person who spoke to you picks up an odd-looking parcel from somewhere. It instantly inflates around her and forms a sort of giant, clear hamster-ball. Your informant moves a bit and the curious conveyance tips over the railing. When you look down after it -- after her -- there is nothing there to be seen.\n\n> You jump\nYou swing yourself over, like the distinguished gymnast you once were in your youth, to your parents' pride. Fortunately for your shattered corpse, the final destructive arc of your pager leads a search team to what used to be you, and, thanks to the marvels of technology, those remnants are given a proper burial."
    },
    {
        "text": "[Themes: Slice of life, Humor, female protagonist, party, escape]\n\nRemember, you can always type About or Hint at any point in the game if you wish to be reminded about general commands, or want to get game specific hints.\n\nWould you like to continue with the tutorial on?\n\n[Author's Note: You're cornered, trapped. There seems to be no escape. You aren't in a jail cell. No, you're in the cocktail party from hell and only by using your wits and luck are you going to get out of this suburb alive.]\n\n> No\nYou were helpless. She cornered you at the grocery store between the honeydew and the squash. \"Amy dear! How are you?\" she asked. And before you knew it she had invited you to a party at her house later that night.\n\nYou couldn't say no. Nobody says no to Abbey Fincher, neighborhood watch president and queen of the cocktail party.\n\nIt was supposed to be a short visit. Fifteen minutes and out. But here you are, two hours later roped into a never-ending conversation with Frank Quinlivan. God knows where your husband, Mark, is. As you stand mere feet from the front door, wine glass in hand, listening to the same story over and over again, all you can think about is getting your coat, your casserole dish, your husband and going home...\nParty Foul\nAn Exercise in Frustration by Brooks Reeves\n\nYou're standing in the same spot you were an hour ago, listening to the same jokes and stories. If you don't extract yourself from this conversation soon, you're going to scream.\n\n> About yourself\nIf you knew you were going to be standing around for hours, you would have worn more comfortable shoes. As it is, you're wearing a serviceable blue dress and a pair of four inch heels that are killing your toes. If you don't get out of this party soon, you're going to murder someone.\n\n\"And then I say, who cares? Let's play another round of golf!\" Frank finishes and then explodes with laughter.\n\n> Scream\nI know you're frustrated, but let's not make a scene, okay?\n\n\"Hey,\" Frank begins again, \"I ever tell you the time I went to Disney World and puked on the Dumbo ride? True story!\"\n\n> You ask Frank about the bathroom\nYou start to open your mouth, but Frank blazes ahead. It looks like you're going to have to get Frank to shut up before you can ask any questions.\n\n\"Course,\" he continues, \"I probably shouldna gotten so wasted on Pina Coladas in the Tiki Room, if you know what I'm sayin'.\" He pats you slyly on the shoulder and you feel a small part of you die on the inside.\n\nThis isn't that kind of party.\n\n\"Hey!\" he says, \"Speakin' of which, bartender! Gimme another scotch and soda! Easy on the soda.\"\n\nRon barely looks Frank's way, saying, \"I think we can all agree you've had enough, Frank.\"\n\n> Inv\nYou are carrying a wine glass, a blue dress (being worn) and a pair of black heels (being worn).\n\nFrank elbows you on your side, \"Can you believe this guy? I mean can you BELIEVE it? Ole cheapskate can't even afford more booze? I mean what kinda party is this supposed to be? Reminds me of that time I went to Salt Lake. I ever tell you about that?\"\n\n> You drink wine\nOne glass of wine is your limit for these kinds of parties. You're just carrying this one around so people think you're having a good time.\n\n\"Well, see a bunch of the fellas and me were goin' to Lost Vegas fer a weekend, and we got waylayed in Utah on account of thish blizzard, see?\" says Frank.\n\n> You smell the wine\nWell, you could say that you detect hints of plum and burgundy with a dab of rosemary that marks this particular vintage as originating from southern france, near the hills of Le Puy... but honestly, it just smells like wine.\n\n\"And let me tell you, my friend,\" Frank brays, \"Salt Lake City is NO Las Vegas!\n\n> You spill the wine\nAre you sure that's the best use of that wine glass?\n\n\"I mean Lost Vegas... wait, did I jess say Lost Vegas? Wow! Thash crazy! I mean Las Vegas,\" he clarifies, \"Well, you know what I mean, I mean I meant. I meant I mean. Woah, are these floors tilted or is it jess me?\n\n> Kiss frank\nYou're half tempted. If only because it might shut him up a few seconds. But then your gag reflex kicks in and you think better of it.\n\n\"Hey,\" says Frank, \"You're not drinking that wine are you?\" He looks at the glass in your hand like a starving man looks at a ham sandwich.\n\n> You give the wine to Frank\nAn idea crosses your mind and before Frank can continue, you offer him your glass. \"Here\", you say, \"It looks like you could use another drink, and I haven't even touched this wine.\"\n\nRon's eyes widen in alarm from behind the bar. \"I-I don't think that's such a good idea,\" he warns.\n\n\"Nonesense!\" snaps Frank, ripping the glass from your hand. \"Ish jess a night cap, Ron. Fer chrissakes.\"\n\n\"So where was I?\" he resumes, \"Oh yeah, Lost Vegas! Well, they got magic shows there. You know I used to do magic back when I was a kid. Ish true!\"\n\nIn one gulp, Frank downs half the contents of your glass. Ron looks at you gravely from behind the bar.\n\n> Exit\nBut you aren't in anything at the moment.\n\n\"I could do all sorts of things. Pennies. Cards. I could make all sores of things disappear!\" Frank says.\n\n\"Well you certainly had success with my bourbon collection,\" notes Ron.\n\nFrank tips the rest of the wine down his throat and wipes his mouth with his sleeve.\n\n> You order the wine\n\"Wait,\" says Frank, before you can order a drink, \"Lemme finnish!\" It looks like you're going to have to get rid of frank before ordering another cocktail.\n\nOnce, I knew this trick where you take a shot glass and you make it vanish under thish napkin, see,\" says Frank, \"Of course you need an empty shot glass. And believe you me, I can empty shot glasses like there's no tomorrow!\"\n\nSuddenly Frank puts his hands to his stomach. \"Oh...\" he says. \"I done feel so well.\" He sloppily puts the glass down on the bar and wanders off in the direction of the guest room, mumbling, \"I'm gonna lie down fer a biit.\"\n\nYou turn to look at Ron who glares at you pensively. \"If he vomits on anything,\" he says, \"I'm holding you responsible.\"\n\n> You order the wine\n\"I'm afraid I'm I'll out,\" he says.\n\n> Examine bar\nMore of a high oak table than an actual bar, it's nonetheless a fine example of craftsmanship, like pretty much everything else in the house. On the surface is an array of liquor bottles, a line of glasses and a cocktail book. Ron stands behind it like a guard at a sentry. You guess it gives him an excuse not to talk to people."
    },
    {
        "text": "[Themes: Humor, Slice of life]\n\n> You look around\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\n> Examine book\nA book of cocktail recipes lies open in display across the top of the bar. It currently displays the very complicated recipe for a drink called a Singapore sunrise. \"You know,\" Ron says as he notices your interest in the book, \"If you'd like a drink all you have to do is order one.\"\n\nRon sighs from behind the bar.\n\n> You look at Ron\nRon Fincher is technically the host of the party, but his wife, the hostess seems to be more in the party spirit. He is a tall man with an ashen face and an even grayer expression. He wears a thin black suit that fits like it was painted on him, and he stoically mans the makeshift bar with the bearing of someone who would rather be anywhere else. He casually stirs his bloody mary with a stalk of celery.\n\n> Order sunrise\n\"Give me a singapore sunrise,\" you say.\n\n\"Right away,\" Ron tells you putting his glass on the bar, \"This is my favorite drink to mix. It's a complicated process, you know.\"\n\nRon turns around and grabs a bottle from behind him.\n\n> You examine the paintings\nWhich do you mean, the painting of a cabin or the abstract painting?\n\n> You examine abstract\nIt's a wooded landscape with a little too-cute cabin situated deep in the forest. Its lovely frame stands level with the wall.\n\nRon, his back to you, pours that bottle, plus several others into a shaker.\n\nA tornado of ketchup reds, mustard yellows, and relish greens. You're not sure what it means, but it looks like an explosion at a condiment factory. The black frame of the painting stands level with the wall.\n\nRon shakes the concoction together.\n\n> Murder ron\nDon't take out your frustrations on poor Ron. He's already married to Abbey. Hasn't he suffered enough?\n\nRon pours the contents out into a glass.\n\n\"Here you are,\" begins Ron as he turns around and puts the drink on the bar. \"One singapore sunrise. Enjoy.\"\n\n> Smell sunrise\nThe oddly colored drink has a strange odor; a mixture of rubbing alcohol, hand lotion, and burnt tires.\n\n> You play the piano\nYou know how to play the kazoo. But that, sadly, is the limit of your musical ability.\n\nRon looks at you strangely.\n\n> Drink sunrise\nWhile it would be easy to drink your worries away, you've got to stay focused on your objectives. Namely: Getting the hell out of this party!\n\n> You take the sunrise\nYou take the singapore sunrise.\n\n> Spill sunrise\nYou drop the glass and the singapore sunrise spills all across the floor.\n\nRon looks at you pensively, \"Sorry,\" you say.\n\n\"I'm sure it was unavoidable,\" he says doubtfully.\n\nRon takes a sip from his bloody mary.\n\n> You throw sunrise at Ron\n(first taking the spilled drink)\nYou've already made the commitment to spill your drink. Let it go. This is somebody else's problem now.\n\n> Order sunrise\n\"Give me a singapore sunrise,\" you say.\n\n\"Really?\" he asks, \"Are you going to spill this one on the carpet like you did the last one?\"\n\n\"Umm...\" you stammer.\n\n\"Never mind,\" he says, putting down his glass, \"Why else am I behind the bar?\"\n\nRon turns around and grabs a bottle from behind him.\n\n> You go to the northwest\n\"Please don't leave,\" Ron says. \"I'm almost finished with your drink.\"\n\nRon, his back to you, pours that bottle, plus several others into a shaker.\n\n> Go northwest\n\"Please don't leave,\" Ron says. \"I'm almost finished with your drink.\"\n\nRon shakes the concoction together.\n\n> You remove the shoes\nSure, you could take them off and have Abbey see you running around in your blistered bare feet, but you'd rather be miserable than give her that satisfaction.\n\nRon pours the contents out into a glass.\n\n\"Here you are,\" begins Ron as he turns around and puts the drink on the bar. \"One singapore sunrise. Enjoy.\"\n\n> You take the sunrise\n(the spilled drink)\nYou've already made the commitment to spill your drink. Let it go. This is somebody else's problem now.\n\n> You get sunrise\n(the spilled drink)\nYou've already made the commitment to spill your drink. Let it go. This is somebody else's problem now.\n\n\"You know there's no escape,\" says Ron, looking at you seriously, \"The cocktail parties never end. You know, tomorrow we're hosting another one. Another One!\""
    },
    {
        "text": "> Look around\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is a singapore sunrise, an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\nOn the bar is a singapore sunrise.\n\n> You take all from the bar\nsingapore sunrise: You take the singapore sunrise.\n\n> You go to the northwest\nYou step into the brightly lit gray kitchen where you find Barb Mason and Sandy Quinlivan gathered around the kitchen island. All you need to do is grab the casserole dish you brought and get out of here. Barb, who sits at a stool in front of your dish, eating one of your rice crispy treats, turns to you.\n\n\"Amy, oh my god. I cannot tell you how good these rice crispie treats are. You know, I have been getting the weirdest cravings recently,\" she says, pointedly rubbing her swollen belly, \"And these are to die for. Seriously. I am not letting you leave until I finish these off. They're that good.\"\n\n\"Well,\" you say, gritting your teeth, \"I'm glad you like them.\"\nKitchen\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a butter knife, a toaster, a bottle of cleaning fluid and a scrub brush on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"God,\" Barb tells Sandy, \"I am so sick of being pregnant. I just want it out of me already!\"\n\n> Punch barb\nYou check your impulses. Even pregnant, you're pretty sure Barb could take you in a fight.\n\nAbbey Fincher struts in from the den. \"And how is everyone in this room, hmmm?\" She inquires.\n\n> You talk to Abbey\nIf you'd like to talk to someone, try to ASK them ABOUT something or TELL them ABOUT something instead!\n\n\"You are positively glowing!\" exclaims Abbey to Barb.\n\n\"It's probably the sheen on my skin,\" says Barb, \"I can't help it. I sweat like a pig.\"\n\n> You ask Barb about the baby\n\"How's the pregnancy coming?\" you ask.\n\n\"Oh, Jesus,\" she says, \"I don't care how bad the labor is, it can't be worse than nine months of having your hormones go all schizophrenic on you, while you have an enormous beach ball full of sand filling up in your gut at the same time!\"\n\n\"Hey,\" says Barb, \"You need any help?\"\n\n\"Oh no! Not at all! You just sit right there and enjoy yourself,\" commands Abbey.\n\n> You eat the rice\nYou and your husband already polished off the first batch before you came to party. You really don't feel like having any more.\n\n\"Goodness! I wonder how everyone else is doing?\" exclaims Abbey and with that she struts to the den.\n\n> You ask Barb about the treats\n\"Barb,\" you say, \"I need my casserole dish. I'm leaving.\"\n\n\"You know, Amy, I'm hearin' ya, I really am,\" she says, \"But I can't help these cravings. In fact, the only thing I'm craving more than these rice crispie goodies is a good old fashioned ants on a log. Like in girl scouts!\"\n\n> You ask Barb about Ants on a Log\n\"What exactly is an Ants on a Log?\" you ask her.\n\n\"Oh, they're amazing,\" Barb says, \"You take a celery stalk, put peanut butter in the middle of it, and line the thing with raisins!\" You look at her blankly for a moment. \"The sum is greater than the whole, Amy,\" she says, \"believe me.\"\n\n\"Do you know if it's going to be a boy or a girl?\" asks Sandy.\n\n\"Nah,\" Barb says, \"I'd rather be surprised. Course, with my luck it'll be a freakin' hermaphrodite.\"\n\n> You open the fridge\nYou open the fridge and a draft of cold air circulates around the room.\n\n\"Hey!\" shout Barb, \"Shut that thing! You're letting cold air in!\"\n\nYou quickly shut it.\n\n> You take the casserole\nBarb does not look prepared to let you have it. She's still eating your rice crispie treats.\n\nAbbey Fincher struts in from the den. \"You know, Amy,\" she says, \"I shouldn't have to tell you how thrilled I am you could make it to our little shindig.\"\n\n> You ask Abbey about the husband\n\"Oh darling!\" she says, \"Do stop asking so many questions! Enjoy the party!\"\n\n\"Great party,\" Barb says to Abbey.\n\n\"Oh yes,\" chimes in Sandy, \"It's... It's very nice.\"\n\n> Punch abbey\nIt's tempting. Very tempting. But somehow she'd manage to block you with the power of her passive aggression.\n\n> Go southeast\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\nRon checks his watch.\n\n> You ask Ron about the celery\n\"Is that bloody mary good?\" you ask Ron.\n\n\"Yes,\" he says, \"It's very good.\"\n\nAbbey Fincher walks in from the kitchen. \"Don't mind me! Don't mind me!\" she cries, \"I'm just making sure everyone is having a good time!\"\n\n\"Oh dear!\" Abbey says hurrying over to inspect the damage, \"Did you spill your glass? Don't worry. I'll take care of that.\"\n\n> You order Bloody Mary\n\"Could I have one of those?\" you ask Ron, pointing to his Bloody Mary.\n\n\"I'm sorry,\" he says unapologetically, \"We're all out of Clamata.\"\n\n\"Well, let me go fetch some cleaning supplies,\" Abbey says as she disappears into the kitchen.\n\n> You take the celery\nYou can't reach over the bar and nab the celery stalk. First, your arms aren't that long, and second, Ron would probably stop you.\n\nRon frowns at you.\n\n> You give you the celery\n(Ron Fincher first taking the celery stalk)\nIf you'd like Ron to make you a drink, simply say \"order something\".\n\nAbbey enters the room, armed with a scrub brush and a bottle of cleaning fluid. \"Time to tackle that stain!\" she crows.\n\n> You look up the celery in the book\nYou begin to flip the pages of the book, but Ron puts his fingers down. \"Please stop touching things that don't belong to you,\" he chides, \"If you want me to make you a drink, you can simply order one.\"\n\n\"Abbey crouches down and begins to scrub the floor where you spilled your drink. \"Don't worry,\" she tells you, \"With enough bleach and elbow grease anything is possible!\"\n\n> You order the celery\nYou should do something with the drink he already gave you, first.\n\n\"Abbey scrubs the floor with a vengence.\n\nRon casually stirs his bloody mary with a celery stalk.\n\n> You ask Abbey about the celery\n\"Why does your husband drink bloody marys?\" you ask, \"I've never found them very tasty.\"\n\n\"He considers it his daily intake of vegetables,\" she tells you.\n\n\"Out, out, damn spot!\" Abbey commands the stain, as she continues to scrub it.\n\n> Spill sunrise\n(the singapore sunrise)\nYou drop the glass and the singapore sunrise spills all across the floor.\n\n\"Have you heard of a coaster?\" Ron asks you, \"They're wonderful inventions. Perhaps in the future you could try using them.\n\nSatisfied with her work, Abbey stands back up. \"There!\" she says, \"It's mostly out.\"\n\n> Order sunrise\n\"Give me a singapore sunrise,\" you say.\n\n\"You want another one?\" he asks you.\n\n\"Yes,\" you say,\n\nHe pointedly sets his glass down on the bar, \"Well,\" he says, \"I hope you enjoy it.\"\n\n\"Well, my work here is done,\" Abbey says proudly, and brandishing the scrub brush and the cleaner, she exits back into the kitchen.\n\nRon turns around and grabs a bottle from behind him.\n\n> You look up the celery in the book\nYou begin to flip the pages of the book, but Ron puts his fingers down. \"Please stop touching things that don't belong to you,\" he chides, \"If you want me to make you a drink, you can simply order one.\"\n\nRon, his back to you, pours that bottle, plus several others into a shaker.\n\n> You take the celery\nYou pluck the celery stalk from the bloody mary. It drips with tomato juice.\n\nRon shakes the concoction together.\n\n> Smell the celery\nIt smells like a fresh spring garden drowned in tomato juice.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\n\"May I have my stalk of celery back?\" he asks.\n\n\"What stalk of celery?\" you ask demurely.\n\n\"The one you have right there in your left hand,\" he says. Without comment you sheepishly give him back the celery.\n\n> You put celery in the dress\nThat can't contain things.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\n\"May I have my stalk of celery back?\" he asks.\n\n\"What stalk of celery?\" you ask demurely.\n\n\"The one you have right there in your left hand,\" he says. Without comment you sheepishly give him back the celery.\n\n> You drop the celery\nYou set the stalk of celery on the bar.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\nHe looks down and sees the celery stalk lying on the bar. \"My, my,\" he says, \"My stalk of celery must have leapt from my glass when I wasn't looking,\" he says, picking it back up and putting it in his drink, \"Suicidal vegetables. How probable.\"\n\n> Xyzzy\n\"Gesundheit,\" says Ron.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\n\"May I have my stalk of celery back?\" he asks.\n\n\"What stalk of celery?\" you ask demurely.\n\n\"The one you have right there in your left hand,\" he says. Without comment you sheepishly give him back the celery.\n\n> Go west\nYou step into the guest room to find Frank wobbling around the room. Ooh, perhaps you shouldn't have given him that last glass of wine. \"Frank,\" you ask, \"Are you doing okay? Do you want me to get you some water?\"\n\n\"Nah, I'm fine,\" he says, clearly lying. He slumps over to the bed and begins to crawl on top of the pile of coats.\n\n\"Wait, no, Frank,\" you say, \"What are you doing? Get off those coats!\"\n\nHe looks up at you and smiles a stupid crooked smile. \"Shay goodnight, Gracie!\" he slurs almost imcomprehensibly and then passes out, belly down on top of your coat and everyone else's.\n\nYou frown and bite your lower lip. It looks like getting your coat is going to take a bit of effort. \"Goodnight Gracie,\" you mutter beneath your breath.\nGuest Room\nThis small guest room is quaintly furnished, with a large king sized bed taking up most of the space. Sprawled across it lies Frank in a deep slumber. A small closet is tucked into the corner next to the dresser, and a miniature space heater rests at the foot of the bed. On the dresser is an alarm clock. The only exit is back east into the living room.\n\nYour purse lies against the foot of the bed.\n\n\"I swear, officer,\" Frank mutters in his sleep, \"I only had one beer. I swear...\"\n\n> You take the purse\nYou sling the purse over your shoulder.\n\n> You search the purse\nIn your purse are a tube of lipstick and billfold.\n\n> You put the lipstick on Frank\nYou know you shouldn't. You know it's wrong. But you can't quite help yourself. You take out your tube of lipstick and paint a bright red circle around Frank's lips. Hee Hee.\n\nAs he sleeps, Frank lets out a large and messy sounding fart. You make a mental note: First thing tomorrow morning you're getting your coat dry-cleaned.\n\n> You search the dresser\nYou open the drawers one by one. They're all empty. Abbey keeps a tidy home.\n\n> You open the dresser\nYou open the guest room closet, revealing a hair dryer.\n\nYou open the drawers one by one. They're all empty. Abbey keeps a tidy home.\n\nFrank shifts, restlessly on the bed, but does not roll off the pile of coats.\n\n> You turn on heater\nYou switch on the space heater. Gradually it begins to quietly hum and the front of it turns a pretty amber. You feel warmer already.\n\nThe lights quiver and dim.\n\n> You plug in the dryer\nWhat do you want to plug in the hair dryer?\n\n> Go east\n\n\n> You go east\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is a singapore sunrise, an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nAbbey Fincher walks around the room, inspecting the furniture.\n\nOn the bar is a singapore sunrise.\n\n\"My goodness!\" Abbey says, cornering you by the piano, \"You spent so much of your time talking to Frank that we never got a chance to chat. How are things?\"\n\n\"Fine,\" you say, \"Just fine.\"\n\n> Go north\nYou walk into the den where you find your husband along with Chuck Whitman watching the television. \"Come on,\" you say, \"We're going.\"\n\n\"Aw, babe,\" he says, his eyes imploring you, \"It's in the middle of the game! You gotta let us finish.\"\n\n> Punch abbey\nYou purse your lips in annoyance. \"How far along is it?\" you ask.\n\n\"Second Quarter,\" he says, \"But don't worry. It should be over soon. Unless it gets into overtime. Well and the Steelers are playing the Packers right after so... I don't know.\" He stuffs some more chips into his mouth and looks back to the screen.\n\nYou frown. It's obvious your husband isn't leaving without some firm persuasion.\n\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a jar of peanut butter, a bowl of chips, a stack of napkins and a remote control on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, avidly watching a football game.\n\nChuck stands up, excitedly, \"He's going for it! He's going for it!\" he yells, \"And...\"\n\nThe lights in the room pulse a tad brighter.\n\nHmm... It seems as if someone has just turned something off in another room.\n\n> Kiss husband\nOh, what? You're going to reward this kind of behavior? I think not.\n\n> You take the remote control\nAs you reach down to take the remote control, your husband quickly moves it out of your grasp. \"No, no, no,\" he says, \"No touchie. You can watch Top Chef when the game is over.\"\n\n> Kiss chuck\nChalk it up to your sore feet, but you aren't in the kissing mood.\n\nThe football player on the television is tackled on the thirty yard line. \"Oh! Snap!\" cries Chuck.\n\n> You unplug the tv\n\"Boy's,\" you say severely, \"You've driven me to this. I just want you to know that.\" You look behind the television to find the plug, but can't find a thing.\n\n\"The T.V.\"s attached through the floor,\" says your husband Mark, \"But nice try.\n\n> Inv\nYou are carrying your purse (being worn and open), inside which are a bag of raisins, a tube of lipstick and billfold, a blue dress (being worn) and a pair of black heels (being worn).\n\n> You take the napkin\nYou pick up a small napkin from the top of the stack.\n\nOn the screen, one team has apparently called a time-out.\n\n> You ask the husband about the game\n\"Uh, huh,\" he says, \"That's nice. Hmm..\" His eyes then glance over to the television screen and he screams, \"Oh my god! Did you just see that interception?!!\"\n\n> You take the peanut butter\nYou pick up the jar of peanut butter, making sure to keep your fingers away from the sticky rim.\n\n> You go to the south\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is a singapore sunrise, an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nOn the bar is a singapore sunrise.\n\nRon looks at you and says, \"You know, if you'd like another drink, all you have to do is order one.\"\n\n> Spill sunrise\nIt might look more natural if you were holding the cocktail.\n\n> You spill it\nYou've already made the commitment to spill your drink. Let it go. This is somebody else's problem now.\n\n\"Well, let me go fetch some cleaning supplies,\" Abbey says as she disappears into the kitchen.\n\nThe spilled drink can't be spilled.\n\n> Order sunrise\n\"Give me a singapore sunrise,\" you say.\n\nRon looks at you for a long beat with a searching stare. He finally puts his glass on the bar and silently begins to mix your drink.\n\nAbbey enters the room, armed with a scrub brush and a bottle of cleaning fluid. \"Time to tackle that stain!\" she crows.\n\nRon turns around and grabs a bottle from behind him.\n\n> You put it in the purse\nYou pluck the celery stalk from the bloody mary. It drips with tomato juice.\n\n\"Abbey crouches down and begins to scrub the floor where you spilled your drink. \"Don't worry,\" she tells you, \"With enough bleach and elbow grease anything is possible!\"\n\nRon, his back to you, pours that bottle, plus several others into a shaker.\n\nThe celery is dripping with Tomato juice! You're going to need to wipe it off, first.\n\n\"Out, out, damn spot!\" Abbey commands the stain, as she continues to scrub it.\n\nRon shakes the concoction together.\n\n> You put the celery in the purse\nGingerly you wipe off the celery with the paper napkin, and throw the napkin into the trash. There! Good as new!\n\nSort of.\n\nWell, look at it this way: At least it's not dripping with Tomato juice.\n\n\"Abbey scrubs the floor with a vengence.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\n\"May I have my stalk of celery back?\" he asks.\n\n\"What stalk of celery?\" you ask demurely.\n\n\"The one you have right there in your left hand,\" he says. Without comment you sheepishly give him back the celery.\n\nYou need to be holding the celery stalk before you can put it into something else.\n\nSatisfied with her work, Abbey stands back up. \"There!\" she says, \"It's mostly out.\"\n\nRon shifts his weight to the other leg.\n\n> Go south\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a bowl of chips, a stack of napkins and a remote control on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, avidly watching a football game.\n\n\"Aw, dude,\" says Chuck to your husband, \"Did you see that play? Man, that was sweet!\"\n\nYou pick up a small napkin from the top of the stack.\n\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is a singapore sunrise, an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nOn the bar is a singapore sunrise.\n\nRon puts his hand on his chin and looks at you in a suspicious manner.\n\nAbbey Fincher saunters in from the kitchen. \"I do hope you're enjoying the party!\" she says.\n\n\"Amy dear,\" Abbey says, plucking the jar of peanut butter from your hands, \"I appreciate you helping out, but the spreads belong on the coffee table with the rest of the snacks!\"\n\nAbbey Fincher walks away to the den, carrying the jar of peanut butter.\n\n> Order sunrise\n\"Give me a singapore sunrise,\" you say.\n\nRon looks at you for a long beat with a searching stare. He finally puts his glass on the bar and silently begins to mix your drink.\n\nRon turns around and grabs a bottle from behind him.\n\n> You put the celery in the purse\nYou pluck the celery stalk from the bloody mary. It drips with tomato juice.\n\nRon, his back to you, pours that bottle, plus several others into a shaker.\n\nGingerly you wipe off the celery with the paper napkin, and throw the napkin into the trash. There! Good as new!\n\nSort of.\n\nWell, look at it this way: At least it's not dripping with Tomato juice.\n\nRon shakes the concoction together.\n\nYou put the cleaned off stalk of celery into your purse. Now nobody can see it! It's your little secret.\n\nRon pours the contents out into a glass.\n\n\"Here we are,\" Ron says, turning around and placing your drink on the bar, \"One singapore sunrise.\" He picks up his glass gingerly and is about to take a sip from it when he notices the celery missing.\n\n\"Where is it?\" he asks you.\n\nYou raise your hands, as if equally dumbfounded. \"Search me!\" you say.\n\nRon frowns at you. \"I'll pass,\" he says coldly.\n\n> You take the sunrise\n(the spilled drink)\nYou've already made the commitment to spill your drink. Let it go. This is somebody else's problem now.\n\nRon runs his fingers around his celery-less glass.\n\n> You take all from the bar\nsingapore sunrise: You take the singapore sunrise.\n\nAbbey Fincher saunters in from the kitchen. \"And how is everyone in this room, hmmm?\" She inquires.\n\nAbbey gives a short grunt of annoyance and then walks over to you. \"You know, dear,\" she says, \"That's the third drink I've seen you spill. Perhaps you've had enough, hmm?\"\n\n> You take knife\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a bottle of cleaning fluid, a scrub brush, a butter knife and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\nAbbey waltzes into the kitchen. \"It looks like somebody had an accident,\" she says.\n\n\"I told you, Sandy,\" Barb says, \"You should've made Frank wear diapers!\".\n\n\"No,\" Abbey says. \"Somebody spilled a drink.\"\n\n\"So of course Chuck expects Dad to pay for everything,\" Barb tells Sandy, \"But I'm like, we're not living in the freaking middle ages! Cough up some dough. We'll go dutch!\"\n\n\"Dear, please leave the utensils alone,\" she says, \"All of the snacks are bite sized. You don't need to cut anything! Except for perhaps a rug!\" She laughs. You do not.\n\nAbbey sets down her plate of appetizers and picks up the bottle of cleaning fluid and the scrub brush.\n\n> You eat the appetizers\n(first taking the an appetizer)\nYou look at the unguarded plate of hors d'oeuvres and decide to try one. You pick up one of the toast wedges and plop it in your mouth. And then wish you hadn't. It tastes like a brined sock. You somehow manage to get it down, but you're not happy about it. Blech.\n\n\"Well,\" Abbey says, holding up the bottle of cleaner, \"Time to make myself useful!\" and with that she exits the kitchen.\n\n> You take knife\nYou take the butter knife.\n\n\"Look at me!\" Barb tells Sandy, \"It's like I swallowed a goddamn watermelon! The baby's due next month and we're not getting married 'til May. If I'm still this size by spring then shoot me. Just shoot me.\"\n\n> You take the butter\n(the jar of peanut butter)\nYou pick up the jar of peanut butter, making sure to keep your fingers away from the sticky rim.\n\n> You spread the butter on the celery\nWhich do you mean, the jar of peanut butter or the butter knife?\n\n> Jar\nYou dip the knife into the jar and spread a nice long line of peanut butter along the line of the celery stalk.\n\n> You put the raisins on the celery\nYou carefully place a line of raisins down the line of the celery stalk. They stick to the swath of peanut butter and hold fast. Congratulations! You've officially made Ants on a Log!\n\n\"Touch down!!\" scream both the men and they give each other high fives.\n\n> You give Ants on a Log to Barb\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is an an appetizer and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nAbbey Fincher stands against the wall, smiling with an unnerving fervor.\n\nOn the kitchen counter is an an appetizer.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\nAbbey carefully puts back the bottle and the scrub brush back on the counter and picks back up the tray of appetizers.\n\n\"Hey, you ever been pregnant?\" Barb asks Sandy.\n\n\"Oh, uh... no,\" says Sandy, a bit meekly. \"I would have loved to, but Frank doesn't want children so...\"\n\n\"Well it's over-rated. You're not missing anything,\" retorts Barb.\n\nYou show Barb the Ants on a Log you made. \"Oh. My. God.\" she says, clearly astonished, \"You are, like, the best friend ever!\" She takes it from you and takes a slow bite from the end, clearly in heaven.\n\n\"Oh, it wasn't any trouble,\" you lie.\n\n\"Here\" she says, pushing the casserole dish towards you, \"Take them. Who needs rice crispie treats when you can get the real thing! Oh! This is yummy!\"\n\nCongratulations! You can now leave with your caserol dish! That's one step closer to getting the hell out of this party!\nKitchen\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a bottle of cleaning fluid, a scrub brush and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nAbbey Fincher stands against the wall, smiling with an unnerving fervor.\n\nBarb Clover sits at the kitchen island, slowly eating the celery stalk you gave her. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"Dear, I hate to bring this up,\" Abbey tells Sandy, her arm on her shoulder, \"But I think your husband may have had a bit too much to drink tonight.\"\n\n\"Oh, ha. ha.\" laughs Sandy unconvincingly, \"He sometimes does that. Ha. Ha.\"\n\n\"Goodness! I wonder how everyone else is doing?\" exclaims Abbey and with that she ambles to the den.\n\n> You look at sandy\nA slight woman, Sandy Quinlivan blends into the background no matter where she is. This seems to be deliberate, as even now she smiles at you nervously as you look at her. She's very pretty with blond highlighted hair, but you've never really had occasion to talk with her. You wish you could say the same about her husband.\n\n> You tell Sandy about Frank\n\"You know,\" you tell Sandy, \"Frank fell asleep on all of the coats.\"\n\n\"Good luck waking him up, then!\" she laughs nervously, \"The only thing that'll do it at our house is the dog!\"\n\n> You go west\nThe only exits are southeast and east.\n\n\"I'm not supposed to wear pure white, because... well look at me!\" exclaims Barb, \"But screw that. It's my wedding. I'll wear whatever the hell I want.\"\n\n> You ask Sandy about the dog\n\"That little poodle is very cute. We have a border collie. Her name is Sylvia. She's Frank's favorite, really. She wakes him up every morning. Pouncing on the bed and licking his face.\" She grimaces slightly thinking about it.\n\nAbbey Fincher dances in from the den. \"You know, Amy,\" she says, \"I shouldn't have to tell you how thrilled I am you could make it to our little shindig.\"\n\n\"Darling, dear,\" Abbey says, taking you by the shoulders, \"I thought we talked about this. Peanut Butter is for eating, not for picking up!\" and before you can stop her, she's snatched the jar from your hands.\n\nAbbey leave the kitchen for the den, carrying the jar of peanut butter with her.\n\n> Go east\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a jar of peanut butter, a bowl of chips, a stack of napkins and a remote control on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nAbbey Fincher stands to the side of the room, carrying a tray of hors d'oeuvres.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, avidly watching a football game.\n\n\"Men.\" Abbey whispers to you. \"They do love their football, don't they?\"\n\n\"Oh dear,\" Abbey says, looking at you worriedly, \"It's best not to run around with these things,\" she says taking the knife from your hand. \"We don't want you tripping on something and falling on it, now do we? Think of the liability!\"\n\nAbbey walks into the kitchen, carrying the knife.\n\n> You examine the door\nThe sliding glass door looks out onto the back porch. Or it would, if it wasn't so dark outside. A small black poodle yips at you from behind the glass.\n\n\"Do you play fantasy football?\" your husband asks Chuck.\n\n\"Do I??\" asks Chuck back excitedly, \"Only, like, every day!\"\n\n> You open the door\nThinking a bit of fresh air might help you think, you open the sliding door a crack. From between your legs shoots a small black dog into the house.\n\nAbbey rushes in to the room. \"Oh!\" she says, \"Has somebody opened the door and let in my little Reggie?\"\n\nThe dog stands momentarily and sniffs the air and then races over to the coffee table and begins barking excitedly.\n\n\"Oh dear,\" says Abbey, \"A host's work is never done!\" and with that she ambles to the kitchen.\n\n> You wait\nTime passes.\n\nAbbey kneels down and picks up the poodle.\n\n> You close the door\nAs Abbey stands outside on the porch, dropping off her poodle, you quickly shut the porch door. It locks itself with a satisfying CLICK!\n\n> Go south\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\nRon emits a tired sigh.\n\n> You tell Ron about Abbey\n\"You sure are lucky to be married to such a happy spirit!\" you suggest to Ron.\n\n\"Yes,\" he says with a dark quiet voice, \"I'm very lucky.\"\n\n> You go east\nThe only exits are north, northwest, and west. And obviously south, to your freedom.\n\n> You go to the west\nThis small guest room is quaintly furnished, with a large king sized bed taking up most of the space. Sprawled across it lies Frank in a deep slumber. A small closet is tucked into the corner next to the dresser, and a miniature space heater rests at the foot of the bed. On the dresser is an alarm clock. The only exit is back east into the living room.\n\nFrank begins to snore louder and louder, until suddenly he stops. It seems like he's having trouble breathing, and then he begins to snore regularly again.\n\n> You turn on the clock\nYou quickly turn on the alarm clock, and set it so that it rings right now.\n\nSuddenly a large ringing emits from the clock. You look at the sleeping man on the bed. Nothing. You turn the alarm clock back off. It seems as if nothing is going to wake this man.\n\n> You hit Frank\nYou lean over the bed and smack Frank on the face. He doesn't even stop snoring. It seems as if his jowls have deflected your blows.\n\n> You plug the heater in\nWhat do you want to plug the space heater in?\n\n> You look at the heater\nA small space heater lies against the wall near the bed. The chord lies uplugged against the wall.\n\nFrank shifts in his sleep.\n\n> You plug the heater in the outlet\nYou plug the space heater back into the outlet.\n\n> Close closet\nYou take the hair dryer.\n\nFrank lets out a loud snort, but continues sleeping.\n\nYou close the guest room closet.\n\n> You examine the toaster\nIt's a gleaming modern toast making machine. It's even big enough to fit bagels!\n\n> You plug the toaster in the outlet\nYou plug the toaster into the outlet.\n\n\"So how did you and Frank get together?\" asks Barb.\n\n\"Oh, I don't know,\" replies Sandy, \"He's much nicer when he's sober, you know.\"\n\n> You turn on toaster\nYou press down on the toaster lever and the inside coals begin to glow bright orange.\nThe lights grow even dimmer. One more energy-draining machine should push the electrical system to the max.\n\n> You turn on the microwave\nYou set the microwave for three minutes and press enter.\n\nSuddenly, the entire house goes dark. It looks like you've pushed the electrical system over the edge.\n\n\"Way to go, Amy,\" you hear Barb snark in the darkness, \"I told you not to mess with that microwave!\"\n\n\"Don't worry,\" you hear Ron say from another room, \"I think we've blown a fuse.\"\n\nIt is now pitch dark in here!\n\n> You go east\nIt is pitch dark, and you can't see a thing.\n\nAbbey taps the porch door, from outside.\n\n\"I'll be right back,\" you hear a distant call from Ron, \"I'm going to repair the fuse.\"\n\n> You wait\nTime passes.\n\nAbbey looks at you and smiles. She gestures to the door knob, indicating she's locked out.\n\nYou hear some scuttling around from beneath you. It must be Ron in the basement.\n\n> You wait\nTime passes.\n\nAbbey shivers from the other side of the glass door.\n\nSuddenly the lights return and the sounds of electrical devices whirring back on flood the house, along with relieved sighs from everyone in the room. Don enters the room and examines the television.\n\n\"Thank God!\" says Chuck, lunging for the remote and turning the teleivision back on. Only, the screen floods with blue and an error message displays. \"What the hell's wrong with this thing?\" he asks outraged.\n\n\"Yes,\" says Ron. \"I was afraid this would happen. A power outtage disrupts the signal. We'll have to call the cable company to get the cable reset.\"\n\n\"Well how long is that going to take?\" asks Chuck.\n\n\"Oh goodness!\" Don replies dourly, \"Several hours, probably. If it's anything like last time.\" And with that he exits back into the living room.\n\nChuck and your husband give a collective groan, and then Mark turns to you and says glumly, \"Well, I'm ready to go whenever you are.\n\nCongratulations! Your husband is prepared to leave the party! That's one step closer to getting the hell out of this party!\nDen\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a jar of peanut butter, a bowl of chips and a stack of napkins on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, looking around restlessly.\n\n> You take the Butter\nYou pick up the jar of peanut butter, making sure to keep your fingers away from the sticky rim.\n\nAbbey begins to frantically pound on the glass. Both, your husband and Chuck look at the door in alarm. Chuck stands up and opens up the door. \"Got locked out?\" he asks as Abbey steps back inside from the cold, closing the door behind her.\n\n\"Yes,\" she says eyeing you suspiciously, \"The wind must have blown it shut...\"\n\n\"Dear,\" Amy says seeing the jar of peanut butter, \"You know the rules. Donnez moi!\" And with that she takes the jar of peanut butter from you.\n\nAbbey places the jar of peanut butter back on the coffee table.\n\n> Inv\nYou are carrying a hair dryer, a singapore sunrise, your purse (being worn and open), inside which are a bag of raisins, a tube of lipstick and billfold, a blue dress (being worn) and a pair of black heels (being worn).\n\n> You take the jar\n\"Amy, dear,\" Abbey Fincher says as your hands go near the jar, \"Please leave that jar where it is. I don't want peanut butter smudges all over the house.\"\n\n\"Now what are these glum faces I see?\" Abbey asks Mark and Chuck, \"Why there are plenty of things to do that don't involve watching television! Why, we could play a game of charades!\"\n\n\"Could we just wait a bit on that one?\" asks Chuck.\n\n\"Well, all right, Mr. Party Pooper,\" she says, \"But nobody is leaving until we play a party game!\"\n\n> You wait\nTime passes.\n\n\"Oh dear,\" says Abbey, \"A host's work is never done!\" and with that she saunters to the kitchen.\n\n> You take the jar\nYou pick up the jar of peanut butter, making sure to keep your fingers away from the sticky rim.\n\n\"Amy,\" your husband whines, \"I wanna go now!\"\n\n\"I don't want to hear it, mister,\" you scold.\n\n> Go west\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a butter knife, a bottle of cleaning fluid, a scrub brush and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nAbbey Fincher stands to the side of the room, carrying a tray of hors d'oeuvres.\n\nBarb Clover sits at the kitchen island, slowly eating the celery stalk you gave her. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"My! My! Those men love their football, don't they?\" asks Abbey.\n\n\"It's worse during the summer,\" says Barb, \"My Chuckie is a Cubs fan.\" All three of you nod sympathetically.\n\n\"Amy dear,\" Abbey says, plucking the jar of peanut butter from your hands, \"I appreciate you helping out, but the spreads belong on the coffee table with the rest of the snacks!\"\n\nAbbey leave the kitchen for the den, carrying the jar of peanut butter with her.\n\n> You go west\nTime passes.\n\nTime passes.\n\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a butter knife, a bottle of cleaning fluid, a scrub brush and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nAbbey Fincher walks around the room, inspecting the furniture.\n\nBarb Clover sits at the kitchen island, slowly eating the celery stalk you gave her. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"My! My! Those men love their football, don't they?\" asks Abbey.\n\n\"It's worse during the summer,\" says Barb, \"My Chuckie is a Cubs fan.\" All three of you nod sympathetically.\n\n\"Goodness! I wonder how everyone else is doing?\" exclaims Abbey and with that she saunters to the den.\n\n> You take the knife\nYour hands are full!\n\n\"So of course my mom is thrilled about the wedding,\" Barb tells Sandy, \"Of course she would have been more thrilled if I would have tied the knot before I got knocked up, you know.\"\n\n> You take the knife\nYou place the hair dryer on the counter.\n\nYou take the butter knife.\n\n> You go to the south-east\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\nRon blinks his eyes and takes another sip from his drink.\n\n> Go west\nThis small guest room is quaintly furnished, with a large king sized bed taking up most of the space. Sprawled across it lies Frank in a deep slumber. A small closet is tucked into the corner next to the dresser, and a miniature space heater rests at the foot of the bed. On the dresser is an alarm clock. The only exit is back east into the living room.\n\nFrank wiggles his legs in his sleep. So that's what Restless Leg Syndrome looks like, you think.\n\n> You put the jar on Frank\nYou take the knife and spread a nice swath of peanut butter on Frank's cheek and around his mouth. Strangely, he appears no less appetizing.\n\n> You open door\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\nRon licks his thin lips.\n\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a bowl of chips and a stack of napkins on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, looking around restlessly.\n\n\"So...\" Chuck says, \"How about them Cowboys, huh?\"\n\nYou decide to try opening the door again. Sure enough, the little black poodle races across the room.\n\nYou eagerly follow him from the living room into the guest room, where he stands on the bed licking peanut butter from Frank Quinlivan's face.\n\nAbbey follows you close behind and screams. \"Oh no! Oh  no!\" she cries, \"What have we told you about giving kisses to strangers Reggie!\" She reaches over and scoops Reggie up and exits the room scolding the poodle, but the work is done. Frank's eyes flutter and he groans as he lifts himself from the bed.\n\n\"Where am I?\" he asks, his eyes slowly adjusting to consciousness, \"What time is it?\"\n\n\"Time for me,\" you say, picking up and putting on your coat, \"to be leaving.\"\n\nWell, you've done it! It took manipulating a dog, causing a power outtage, and using peanut butter in creative and disturbing ways. But, with your coat on, your casserole dish in your right hand, and your husband on your left, you walk through the living room and begin to the open door...\nAnd the door slams shut again. You turn to your side and there stands Abbey, a little worse for the wear, her hand holding the door closed. Bright red curls dangle from her usually kempt brow. \"You can't leave yet!\" she says with a manic glint to her eye, \"We haven't played any party games!\"\n\nYou stand at an impass. Abbey blocking you from the door.\n\n> You play the hide and the seek\nAnd then you say calmly and clearly, \"Abbey, please don't take this badly, but: Get the hell out of my way.\"\n\nCongratulations! You have gotten the hell out of this party!"
    },
    {
        "text": "[Themes: Humor, Slice of life]\n\n> You look around\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is an an appetizer, a butter knife and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nAbbey Fincher stands to the side of the room, carrying a tray of hors d'oeuvres.\n\nOn the kitchen counter is an an appetizer.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"Well,\" Abbey says, holding up the bottle of cleaner, \"Time to make myself useful!\" and with that she exits the kitchen.\n\n> Xyzzy\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nAbbey Fincher stands against the wall, smiling with an unnerving fervor.\n\nYour empty glass lies in the corner of the carpet next to a nasty spill.\n\n\"Abbey crouches down and begins to scrub the floor where you spilled your drink. \"Don't worry,\" she tells you, \"With enough bleach and elbow grease anything is possible!\"\n\nRon emits a tired sigh.\n\n\"Dear,\" Abbey says in a hushed tone, \"I'd appreciate it if you didn't use witchcraft in the house. We don't even let our grandchildren read Harry Potter!\"\n\n\"Abbey scrubs the floor with a vengence.\n\n> You examine abstract\nAs you reach for the painting, Abbey rushes over and stops you. \"Please, dear,\" she says, \"Paintings are for looking, not for touching.\"\n\n\"Out, out, damn spot!\" Abbey commands the stain, as she continues to scrub it.\n\nYou can't see any such thing.\n\n> Plover\n\"Dear,\" Abbey says in a hushed tone, \"I'd appreciate it if you didn't use witchcraft in the house. We don't even let our grandchildren read Harry Potter!\"\n\nSatisfied with her work, Abbey stands back up. \"There!\" she says, \"It's mostly out.\"\n\nRon taps his fingers against the bar.\n\n> You wait\nTime passes.\n\n\"Well, my work here is done,\" Abbey says proudly, and brandishing the scrub brush and the cleaner, she exits back into the kitchen.\n\n> Smell Ron\nYou can smell a hint of musty books and pipe tobacco. \"What are you doing?\" he asks you, \"Why are you sniffing at me?\"\n\n> You examine abstract\nYou look at the painting for a moment and consider that what the landscape really needs is a tilted horizon line. You grab the frame by the edges and tilt it against the wall.\n\nRon blinks his eyes and takes another sip from his drink.\n\nAbbey Fincher walks in from the kitchen. \"I do hope you're enjoying the party!\" she says.\n\n\"Oh dear!\" Abbey says looking at the landscape painting, \"Somehow the frame has become crooked!\" She walks over to it and straightens it out. \"There!\" she says, \"Much better!\"\n\nAs you reach for the painting, Abbey rushes over and stops you. \"Please, dear,\" she says, \"Paintings are for looking, not for touching.\"\n\n\"Darling, honey,\" Abbey asks her husband, \"How are things at the bar?\"\n\n\"Fine, dear,\" he says without emotion.\n\nIt's a wooded landscape with a little too-cute cabin situated deep in the forest. Its lovely frame stands level with the wall.\n\nA tornado of ketchup reds, mustard yellows, and relish greens. You're not sure what it means, but it looks like an explosion at a condiment factory. The black frame of the painting stands level with the wall.\n\n\"I do hope you're planning on staying,\" Abbey tells you, \"Because later on, we'll be playing party games!\"\n\n> Wait\nTime passes.\n\n\"Well,\" says Abbey, \"I should really check on the rest of the party,\" and with that she struts to the kitchen.\n\n> You smell yourself\nYou can't smell anything. It's a curse, never to know what we smell like.\n\n> Wait\nTime passes.\n\nRon emits a tired sigh.\n\n> Smell sandy\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a bottle of cleaning fluid, a scrub brush, a butter knife and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"Look at me!\" Barb tells Sandy, \"It's like I swallowed a goddamn watermelon! The baby's due next month and we're not getting married 'til May. If I'm still this size by spring then shoot me. Just shoot me.\"\n\nIt smells like cereal and marshmallows.\n\nBarb smells like body oil and sweat.\n\nYou try and make out something, a hint of an odor, a whisp of a scent. But nothing. Sandy doesn't seem to smell like anything at all.\n\n\"Hey, you ever been pregnant?\" Barb asks Sandy.\n\n\"Oh, uh... no,\" says Sandy, a bit meekly. \"I would have loved to, but Frank doesn't want children so...\"\n\n\"Well it's over-rated. You're not missing anything,\" retorts Barb.\n\nAbbey Fincher walks in from the living room. \"Don't mind me! Don't mind me!\" she cries, \"I'm just making sure everyone is having a good time!\"\n\n> Smell Abbey\nYou wish you couldn't. Her perfume enters a room five minutes before she does and it lingers long after she leaves. It's a mix between cough syrup and a compost heap of pot-pourri.\n\n\"Dear, I hate to bring this up,\" Abbey tells Sandy, her arm on her shoulder, \"But I think your husband may have had a bit too much to drink tonight.\"\n\n\"Oh, ha. ha.\" laughs Sandy unconvincingly, \"He sometimes does that. Ha. Ha.\"\n\n> Smell dog\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a jar of peanut butter, a bowl of chips, a stack of napkins and a remote control on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, avidly watching a football game.\n\n\"Do you play fantasy football?\" your husband asks Chuck.\n\n\"Do I??\" asks Chuck back excitedly, \"Only, like, every day!\"\n\nThinking a bit of fresh air might help you think, you open the sliding door a crack. From between your legs shoots a small black dog into the house.\n\nAbbey rushes in to the room. \"Oh!\" she says, \"Has somebody opened the door and let in my little Reggie?\"\n\nThe dog stands momentarily and sniffs the air and then races over to the coffee table and begins barking excitedly.\n\n\"If there's anything I can do for you,\" says Abbey, putting her arm on your shoulder, \"Please don't hesitate to ask,\" and with that she dances to the kitchen.\n\nReggie actually smells like lavender shampoo. Undoubtedly the best smelling member of the party.\n\nAbbey kneels down and picks up the poodle.\n\n> You close the door\nAs Abbey stands outside on the porch, dropping off her poodle, you quickly shut the porch door. It locks itself with a satisfying CLICK!\n\n> Smell raisins\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nRon sighs from behind the bar.\n\nThe only exits are north, northwest, and west. And obviously south, to your freedom.\n\nYou can't see any such thing.\n\n> Smell raisins\nThis small guest room is quaintly furnished, with a large king sized bed taking up most of the space. Sprawled across it lies Frank in a deep slumber. A small closet is tucked into the corner next to the dresser, and a miniature space heater rests at the foot of the bed. On the dresser is an alarm clock. The only exit is back east into the living room.\n\nFrank begins to snore louder and louder, until suddenly he stops. It seems like he's having trouble breathing, and then he begins to snore regularly again.\n\nThe man reeks of alcohol and aftershave.\n\nThey smell moist and yummy, that is if you're someone who likes raisins. Which you are. So they do.\n\n> You eat the raisins\n(first taking the bag of raisins)\nYou take the bag of raisins.\n\nYou take a raisin from the bag and plop it in your mouth. Hmm! Surprisingly plump and fresh!\n\nFrank's sleeping face twists in anguish. \"No,\" he mutters in his sleep, \"Don't do that. Stop. No...\"\n\n> Smell bottles\nThe ceiling lofts high into a round arch in the Fincher's front living room. Paintings tastefully line the southern wall, and a large window looks out into the night. A piano is in one corner of the room and a bar is in the other. Ron stands here behind the bar, on top of which is an array of liquor bottles, a line of glasses and a cocktail book. An archway north leads to the den, a hallway northwest connects to the kitchen, and the guest room, where the coats have been placed, lies to the west. The front door waits invitingly to the south.\n\nRon looks at you strangely.\n\nA strange blend of sweet and sour.\n\n> You open the window\nIt's one single pane. It doesn't even look like it opens. Besides, it's too cold outside to open any window!\n\n> Smell mary\nYou smell nothing unexpected.\n\nRon puts his hand on his chin and looks at you in a suspicious manner.\n\n> Smell celery\nIt smells like a fresh spring garden drowned in tomato juice.\n\n> Smell the toaster\nThe Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a bottle of cleaning fluid, a scrub brush, a butter knife and a toaster on the kitchen counter. The living room is to the south east, and the den is immediately to the east.\n\nBarb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.\n\n\"I'm not supposed to wear pure white, because... well look at me!\" exclaims Barb, \"But screw that. It's my wedding. I'll wear whatever the hell I want.\"\n\nYou smell nothing unexpected.\n\n> Smell the lipstick\nLet's leave the make-up huffing until after the party, okay?\n\n> Smell purse\nYou smell nothing unexpected.\n\n\"Did you know that Chuck wants his band to play the reception?\" Barb asks Sandy, \"Yeah, him and two of his washed out college buddies still hang out and play this 'music' once a month. They sound more like an industrial factory malfunction than any band I've ever heard. I told him, Chuck honey, if you so much as bring your drum set within a hundred feet of my reception, I'll call a divorce lawyer so fast it'll make your metronome explode.\"\n\n> You examine billfold\nYour billfold is thick and almost bursting at the seams. Credit cards, club cards, identification cards, your library card and more pictures of your dog than a sane person ought to own are to blame.\n\n> Inv\nYou are carrying a bag of raisins, a singapore sunrise, your purse (being worn and open), inside which are a celery stalk, a tube of lipstick and billfold, a blue dress (being worn) and a pair of black heels (being worn).\n\n> You remove the dress\nThis isn't that kind of party.\n\n\"So how did you and Frank get together?\" asks Barb.\n\n\"Oh, I don't know,\" replies Sandy, \"He's much nicer when he's sober, you know.\"\n\n> You put raisins in the purse\nYou put the bag of raisins into your purse.\n\n> You put jar on the celery\nYou take the butter knife.\n\nThe only exits are southeast and east.\n\n\"So of course my mom is thrilled about the wedding,\" Barb tells Sandy, \"Of course she would have been more thrilled if I would have tied the knot before I got knocked up, you know.\"\n\nYou can't see any such thing.\n\n> You put the jar on the celery\nSet in soft wood paneling, the Fincher's Den screams comfort and class. A couch sits in front of a cherry wood coffee table with a view to their big screen television. There is a jar of peanut butter, a bowl of chips, a stack of napkins and a remote control on the table. A large glass sliding door, leading out to the porch, stands closed to the north. You could walk back south to the living room, or west to the kitchen.\n\nYour husband, Mark, and Chuck Whitman sit on the couch, avidly watching a football game.\n\nAbbey taps the porch door, from outside.\n\n\"Go! Go! Go! Go! Go!\" screams Chuck at the television.\n\nYou dip the knife into the jar and spread a nice long line of peanut butter along the line of the celery stalk.\n\nAbbey looks at you and smiles. She gestures to the door knob, indicating she's locked out.\n\n> You put the raisins on the celery\nYou carefully place a line of raisins down the line of the celery stalk. They stick to the swath of peanut butter and hold fast. Congratulations! You've officially made Ants on a Log!\n\nAbbey shivers from the other side of the glass door.\n\n> Smell Ants\nIt smells like a fresh spring garden drowned in tomato juice, covered in peanut butter and littered with dried fruit.\n\nAbbey gestures at you frantically to open the door, from outside the porch.\n\n\"Dammit!\" says Chuck at the television, \"Don't you morons know how to intercept??\"\n\n> You eat Ants\nYou don't like celery. You don't like eating it. You don't like touching it. You don't like looking at it. This is your kind of night, huh?\n\nAbbey exhales from behind the glass door. You can see steam coming from her breath.\n\n> You cry\nYou laugh to yourself with an uneasy gallows humor, at the absurdity of it all."
    },
    {
        "text": "[Themes: sacrifice, Gay/queer protagonist, sexual innuendo]\n\nThe zeppelin lurches suddenly and I tumble forward, spilling my books on the deck. Peyton laughs sympathetically and holds out his hand.\n\n\"I know you're out of your element, Nicky,\" he says, as he helps me to my feet, \"but try to go five minutes without falling over.\"\n\nI feel myself blushing as I release his fingers. \"I'm not used to air travel. I'll be better on the... ground.\"\n\nHis sensual lips broaden into a smile. \"Not ground, perhaps, but sturdier purchase for sure.\"\n\nI can see it ahead. Rising from the ocean. Just like Peyton, it's striking and tall and impossible.\n\nLove, Hate and the Mysterious Ocean Tower\nA weird romance by C.E.J. Pacian\n\n[If this is your first visit to the tower, type ABOUT and press return.]\n\nThe great windows of the gondola offer a commanding view of the ruddy sun as it sets into the darkening sea. The only landmark in sight is the great Gothic tower the airship is tethered to: an incredible stack of columns, arches and buttresses stretching far down into the roiling waves.\n\nA narrow gangway leads down to the top of the tower.\n\nThe captain watches over the bridge - at least, what parts of it he can see over his great, bushy beard. \"The air is calm, sirs,\" he says. \"We should be able to hold here 'til sunrise.\"\n\nPeyton gazes out at the view, arms folded. \"Thank you, captain. Trust that our mission is an important one, and your vessel shall soon return to the fight against the squidmen.\"\n\n> Inventory\nI clutch a number of reference books to my chest.\n\n> Examine books\nJust a few handy reference books: Morphology and Syntax in Modern Languages; Common Human Phonemes; Semiotics Across the Tree of Life; The Symbology of Squidmen, Cuttles and Other Aquatics; Ouroborous: Retro-Causality and Language. You know, the usual suspects.\n\n> About yourself\nOh, hello. So... I'm Nicholas St John: pan-human, inhuman and aquatic linguist. Slight of build, low on confidence and, well, generally too modest for my own good.\n\n> You look at Peyton\nDr Peyton Cross III: the notorious anthropologist, pursuer of the arcane, ambassador to the Ebu Gogo, biographer of Spring Heeled Jack, rumoured to be the bastard son of the Count of St. Germain. A tall, slender, upright and elegant gentleman. His long hair - white as ice, at odds with his ageless features - always covers his left eye.\n\nHe's wearing a tailored suit, white gloves, a scabbard and pink trainers.\n\n> You examine the trainers\nI've never seen such shoes before. I can only presume that Peyton has been travelling in Africa.\n\n> You examine the scabbard\nIn the scabbard is a sabre.\n\n> You look at the sabre\nOn closer inspection, this is definitely a sabre.\n\n> You examine the suit\nOn closer inspection, this is definitely a tailored suit.\n\n> You look at Tower\nOne struggles to imagine how something like this was even built. Does it rest on the deep bed of the sea?"
    },
    {
        "text": "[Themes: Gay/queer protagonist]\n\n> Describe the surroundings\nThe great windows of the gondola offer a commanding view of the ruddy sun as it sets into the darkening sea. The only landmark in sight is the great Gothic tower the airship is tethered to: an incredible stack of columns, arches and buttresses stretching far down into the roiling waves.\n\nA narrow gangway leads down to the top of the tower.\n\nThe captain watches over the bridge - at least, what parts of it he can see over his great, bushy beard.\n\nPeyton gazes out at the view, arms folded."
    },
    {
        "text": "> You go downwards\nPeyton takes my hand and places it in the crook of his arm. \"It wouldn't do to stumble on the gangway, Nicky,\" he says cheerfully.\n\nI risk a glance over the side, at the turbulent waves beating against the distant base of the tower, and hang on to him tightly.\n\nGrey and turbulent, the clouds above and ocean below stretch off towards the blood-red setting sun. We are atop a simple circle of mildewed stone, seemingly suspended in mid-air without guardrail or balustrade. A low dome stands at the circle's centre.\n\nThe HMS Pegasus has been tethered to several of the metal loops that protrude from the stone.\n\nA number of airmen stand guard around the dome, rifles resting on their shoulders.\n\nPeyton disengages from my arm and peers around the dome. \"Fascinating. There must be some way to get inside.\"\n\n> You look at the dome\nA weathered stone dome, stained with mould and guano. Bold characters are engraved around the dome's base.\n\n\"I don't recognise this language,\" Peyton says. \"You're the linguist, Nicky. Can you read the engraving?\"\n\n> You read the engraving\nI walk once around the dome, taking in the strange script engraved around its base.\n\n\"Not aquatic,\" Peyton says.\n\n\"Not aquatic,\" I agree. \"Related to Latin, perhaps. A dialect of Harpese or Sirench. I think it says...\"\n\n\"How marvelous,\" Peyton says. \"How singularly unhelpful.\"\n\n\"Hello,\" he adds, a moment later. \"I think I've found the way in. A small metal door with a fiendish puzzle lock.\"\n\n> You examine the door\nRusted by exposure to the sea air.\n\n> You look at the lock\nThere are a large number of small moving parts.\n\n\"Yes, quite fiendish indeed,\" Peyton says. \"And very intricate.\"\n\nHe draws back a foot and then kicks the door hard. The puzzle lock comes apart with a twang. \"Too intricate to be fit for purpose, really. Let's head down when you're ready.\"\n\n> You examine the airmen\nBurly and uncouth."
    },
    {
        "text": "> You go downward\nLight lances into the darkness through arched windows, casting terrible shadows from inhuman statues. The floor of this age-ruined atrium lies far below and there is no obvious route down.\n\nA rusted lever protrudes from the floor at the edge of the drop.\n\nA handful of airmen accompany us into the tower, rifles at the ready, glancing around nervously.\n\nPeyton stands suitably statuesque, given the surroundings.\n\n> You look at the lever\nA large and sturdy mechanism, but the sea air has clearly been gnawing at the iron. It shouldn't be that hard to pull, although I suppose it might snap.\n\nPeyton steps to the edge of the drop. As on the roof, there are no barriers or guardrails. \"I can see light down there,\" he says. \"I'm afraid we may have to conquer your fear of heights directly, Nicky.\"\n\n> You pull the lever\nI grip the lever with both hands and pull. It hardly moves. I lean back, pulling with all my weight.\n\nPeyton sees what I'm doing and exclaims, \"Nicky, no!\"\n\nBut it's too late. The lever suddenly gives, and clunks into a new position. A low thumping resounds from somewhere distant, followed by a rumbling that grows in volume.\n\n\"For all we know, you may have killed us all,\" Peyton says, touching my elbow affectionately. \"I don't hold it against you, of course. I just want you to know the facts.\"\n\nThe rumbling gives way to a quieter, higher pitched sound. The rattling of chains, I think.\n\n> Wait\nTime passes.\n\nUnseen chains rattle in the darkness.\n\n\"Possibly a false alarm,\" Peyton says. \"Although I wouldn't relax just yet.\"\n\n> You wait\nTime passes.\n\nThe rattling grows louder, and a baroque cage rises up from below, swinging to a halt at the edge of the drop.\n\n\"Oh,\" Peyton says. \"I suppose we can ride this down.\"\n\n> You look at the self\nI'm Nicholas St John: pan-human, inhuman and aquatic linguist. Slight of build, low on confidence and, well, generally too modest for my own good."
    },
    {
        "text": "[Themes: sexual innuendo]\n\n> Go downward\n\"You fellows stay here,\" Peyton tells the airmen.\n\n\"Sorry sir,\" the lead airman says, \"but there's no telling what's down there. We'll provide an armed escort.\"\n\nPeyton smiles with impossible charm, and places himself between the airman and the rest of us. \"I'm sure you've seen terrible things,\" he says. \"Your friends torn limb from limb by squidmen, perhaps, and coastal villages laid waste by their galvanic land ironclads. Or maybe you've seen the fungal terrors of the comet-spawn, or the molten warriors of Vesuvius. But I ask you to imagine-\" he sweeps back his hair \"-what I have seen with this eye.\"\n\nFor perhaps a second, the airman stares at Peyton uncomprehending. And then his eyes widen, his jaw hangs slack, and his legs begin to tremble. \"Y-y-yes sir,\" he stammers, sweat standing out on his brow, \"we'll stay here, whatever you say, sir!\"\n\nPeyton adjusts his hair and smiles gracefully. \"Good man.\" He extends a hand towards the cage. \"Shall we, Nicky?\"\n\nGripping Peyton's hand tightly, I step gingerly into the cage. There's not much room in here, and we're forced close together. My heart races. Fear of heights, of course. The trip on the Pegasus did nothing to cure me.\n\nThe lead airman - still wide-eyed and sweating - nods and throws the lever. We begin to descend.\n\nPeyton slips my arm into his. \"You're not frightened, are you?\"\n\n(I could say yes or no.)\n\n> Yes\n\"Only of heights, the dark and squidmen.\"\n\nPeyton grins. \"You shouldn't be afraid of those things, Nicky. There's far worse out there.\"\n\n\"I can always trust you to put me at ease, Peyton.\"\n\nHe glances down at my hand in the crook of his arm. \"You know, I put myself at ease by thinking of moments spent with you in carefree days. Punting on the Cam; summer picnics; when you taught me to waltz - and the rest.\"\n\nHis hair was raven black back then, not so many years ago.\n\n\"But the only defence we have against horror is to learn about it, don't you agree, Nicky?\"\n\n> Yes\n\"Of course. It's difficult for the ignorant to do good, and easy for them to blunder into doing harm.\"\n\nPeyton pats my hand. \"You've always been a man after my own heart - supporting me when others told me that no good could come of my work. I don't know where I'd be without you.\"\n\nI shrug, turning my face to hide my blushing cheeks.\n\nWe ride in silence for a while. Bright arches rise into view and the cage slows to a stop.\n\nThe setting sun glares through the wide, arched windows that look down on this circular floor, illuminating the complex engravings on the walls. A steep staircase spirals around the circumference, descending into shadow.\n\nThe baroque cage we rode down sits here, at the end of lengthy chains that dangle from pitch darkness.\n\nPeyton waves a hand at the engravings. \"Good thing I brought a linguist, don't you think?\"\n\n> You examine the engravings\n\"They're simple pictographs, Peyton. You can probably interpret them as well as I can.\"\n\n\"I'm interested in your perspective.\"\n\nI look from one stylised image to the next. \"It's some sort of history. There was a beautiful woman, she fell in love with a man who lived under a hill or mountain, she stole his heart, the mountain spewed fire, but she was long gone. A rather jaded love story, I'd say.\"\n\n\"Perhaps. But valuing one person over all others... there can be something selfish about love, don't you agree?\"\n\n(I could say yes or no.)\n\n> Yes\n\"When you put it like that, I suppose so. Looking at all the bad things going on in the world, choosing one person over everyone else seems rather unfair. I suppose.\"\n\nPeyton considers my response in thoughtful silence."
    },
    {
        "text": "[Themes: sexual innuendo]\n\n> You describe your surroundings\nThe setting sun glares through the wide, arched windows that look down on this circular floor, illuminating the complex engravings on the walls. A steep staircase spirals around the circumference, descending into shadow.\n\nThe baroque cage we rode down sits here, at the end of lengthy chains that dangle from pitch darkness.\n\nI hang on Peyton's arm."
    },
    {
        "text": "> Go downwards\nThis wide space is dark and filthy, fading daylight oozing in through slitted windows. A massive stone heart occupies the vaulted ceiling, looming over the raised throne below.\n\nCollapsed upon the throne is the stiff, leathery corpse of a woman clad in faded rags and a tall, dust-caked head-dress. Unkempt, dessicated feathers dangle from her bony arms.\n\nBefore the throne is a low table or altar, upon which lies a cobwebbed ceremonial dagger.\n\nSmall objects crunch and snap beneath my feet and I realise with a gasp that the floor is littered with yellowed, crumbling bones.\n\nPeyton keeps a wary eye on the bethroned corpse.\n\n> You examine the corpse\nI approach the mummified corpse warily, reluctant to stray far from Peyton's side.\n\nBefore I realise what he's doing, Peyton has wrapped an arm around my waist and taken my chin in his hand.\n\nI try to turn my face from his. \"W-what are you-\"\n\nHe silences me with his lips. With one last anxious glance at the taut skull-face of the mummy, I am lost in the kiss. My heart races. My heart pounds. My heart-\n\nNot my heart. I open my eyes and break free of Peyton. The room has changed."
    },
    {
        "text": "> You look at your surroundings\nThis wide space glows with a warm and impossible light. A slowly beating heart of molten stone occupies the vaulted ceiling, looming over the raised throne below.\n\nA regal woman reclines on the throne, her voluptuous figure draped in fine silk, a towering gold headdress affixed to her voluminous hair. Lustrous feathers sweep back from her bare arms.\n\nLiquid iron belches up through cracks in the floor, assuming the vaguely human forms of molten warriors.\n\nBefore the throne is a low table or altar, upon which lies a gleaming ceremonial dagger.\n\nPeyton faces the throne.\n\n> You look at the woman\nInhumanly beautiful. Something about her is very off. Not just the feathers - the proportions, the way she carries herself, her fiery eyes.\n\n\"Supplicants,\" the woman says. Her words seem to squirm in my ear, in no language I should be able to understand. \"It has been a very long time.\"\n\n\"I know who you are,\" Peyton says. \"You stole one of the Blood God's seventeen hearts, and much more besides.\"\n\n\"And I know who you are,\" the woman purrs. \"A troublesome ant that does not know its place.\"\n\nShe turns her fire-bright eyes on me. \"And I know who you are. The question is, do you?\"\n\n(I could say yes or no.)\n\n> No\n\"Maybe I don't. Does anyone really know who they are? Can a mind comprehend itself?\"\n\n\"Trust me,\" the woman purrs. \"Your role here is clear to me. I will entertain your supplication.\"\n\nPeyton steps forward. \"I know what's happening,\" he says. \"The squidmen, the comet-spawn, Mount Vesuvius and the time-traveller army of the Africas. The Lunar Triplets and their seductive death cult. The Invisible Ripper and his bloody trail of assassinated heads of state. All these things right now? All of a sudden?\"\n\nHe takes a deep breath. \"We're on the brink of something terrible, some great cataclysm. And, yes, I know what it is. But I don't know how to stop it.\"\n\n\"Stopping it is quite beyond your feeble means,\" the woman says. \"But I can tell you what would be required anyway. You know the price of my favour, of course. Does your companion?\"\n\n(I could say yes or no.)\n\n> No\n\"Really, Peyton is in charge here.\"\n\nHer lips curve into a predatory smile. \"He certainly is.\"\n\nI notice that Peyton is avoiding my gaze. \"The price,\" he says, letting his hand fall to the hilt of his sabre, \"is the heart of the one I love most.\"\n\nI feel faint. \"Peyton! You can't mean-\"\n\n\"To save the world,\" he says. \"This is to save the world. Are you prepared to die for that? So that countless others can live?\"\n\n(I could say yes or no.)\n\n> No\n\"I don't want to die. Perhaps its selfish, but I don't want to die.\"\n\nPeyton draws his sabre. \"It is selfish. I'm selfish. I love you, and I don't want to kill you. Even to save the world.\"\n\nThe woman on the throne sighs. \"Unfortunately, the heart needs blood.\"\n\nThe molten warriors close in around us, white hot spears raised.\n\n> You take the dagger\n(First dropping the reference books.)\n\nTaken.\n\nPeyton drives his sabre into the heart of one of the molten warriors. Unexpectedly, it sprays out great gouts of blood before batting Peyton away. The wound in the molten metal reseals.\n\n> Attack woman\nAttack the Usurper Bride with my dainty hands? Hardly.\n\nAs one of the molten warriors turns towards me, Peyton darts in front of it. \"Run, Nicky!\"\n\n> You attack the woman with the dagger\nI try to enter the fray, but Peyton pushes me back. \"Nicky, run!\"\n\nBut there must be something I can do!\n\nPeyton drives his sabre into the heart of one of the molten warriors. Unexpectedly, it sprays out great gouts of blood before batting Peyton away. The wound in the molten metal reseals.\n\n> You attack peyton\nAttack Peyton with my dainty hands? Hardly.\n\nPeyton parries a molten spear with a shower of sparks.\n\n> You attack Peyton with the dagger\nI try to enter the fray, but Peyton pushes me back. \"Nicky, run!\"\n\nBut there must be something I can do!\n\nAs one of the molten warriors turns towards me, Peyton darts in front of it. \"Run, Nicky!\"\n\n> You examine the dagger\nOn closer inspection, this is definitely a ceremonial dagger.\n\nPeyton drives his sabre into the heart of one of the molten warriors. Unexpectedly, it sprays out great gouts of blood before batting Peyton away. The wound in the molten metal reseals.\n\n> You throw the dagger at the woman\nI have too weak a throwing arm.\n\nPeyton parries a molten spear with a shower of sparks.\n\n> Attack heart\nIt's too far away.\n\nPeyton drives his sabre into the heart of one of the molten warriors. Unexpectedly, it sprays out great gouts of blood before batting Peyton away. The wound in the molten metal reseals.\n\n> You look at the heart\nWell, the pictographs did say that the woman stole someone's heart. Massive and sinister, it  throbs with thickly flowing magma. Pulsating blood vessels loop down to the floor.\n\nPeyton parries a molten spear with a shower of sparks.\n\n> Attack vessels\nAttack the blood vessels with my dainty hands? Hardly.\n\nPeyton drives his sabre into the heart of one of the molten warriors. Unexpectedly, it sprays out great gouts of blood before batting Peyton away. The wound in the molten metal reseals.\n\n> Attack vessels with dagger\nI slash at the blood vessels with the dagger. To my surprise, the blade passes easily through the molten stone and blood - red, human blood - begins to spray at high pressure from the wound, bowling me backwards.\n\nThe molten warriors seem to become cooler and more viscous, retreating from the swings of Peyton's now red hot blade.\n\nThe Usurper Bride of the Vesuvian Blood God curls her lip in contempt. \"A low blow, and fruitless. You have made a new enemy from one who might have been your most powerful ally.\"\n\nPeyton meets my eye. I'm not sure things will ever be the same between us again. \"No, I almost lost my most valuable ally,\" he says. \"And I have already made enemies more powerful than you.\"\n\nWith a final glare, the woman fades into the growing shadows. The throne room descends into darkness.\n\nWhen we emerge from the tower, soaked in blood, the airmen greet us with wide eyes. \"Did you find what you were looking for?\"\n\n\"No,\" Peyton says. \"Perhaps elsewhere. Let's go.\"\n\nI slip my arm in his, and we board the zeppelin.\n\nIn our stateroom we strip off our blood-dyed clothes and soak away the smell of smoke and ash. I let my fingers play through his long white hair, running up his cheek to the lashes of his left eye.\n\nI don't know where we go from here. Peyton and I. But it's important that we're both still alive.\n\nMaybe he'll save the world.\n\nBut, right now, I don't really care.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nPeyton parries a molten spear with a shower of sparks.\n\n> Go upwards\nWith a brief glance back, I run from the throne room.\n\nThe last I ever see of Peyton is surrounded by molten warriors, beating them back in vain with his sabre, while the Usurper Bride of the Vesuvian Blood God watches with a prurient smile.\n\nFor the rest of my life, I wonder if there was something I could have done.\n\nAnd now, as the darkening skies herald the arrival of horror on a cosmic scale, and people cast about for someone who might have the first idea how to protect us, I know that our only hope, my only love, was lost.\n\n> Yes\n\"Just make it quick.\"\n\nHe draws his sabre. \"Of course.\"\n\nHe presses the tip of the blade to my chest and draws me into his arms. \"Close your eyes.\"\n\nHe kisses me. I taste tears. And then blood."
    },
    {
        "text": "[Themes: Humor, gender choice, cave crawl, female protagonist, magic, cave, wizard, Comedy, dwarf, silly, spells, child protagonist, spaceship, mad scientist, castle, carnival]\n\nWould you like to start a NEW game, RESTORE a saved game, start a SCRIPT, or QUIT?\n\n[Author's Note: Now you too can GUESS THE VERB for fun and prizes! Read evocative and amusing room descriptions while manipulating interesting objects! Interact with the simulated motives and desires of quirky NPCs! No thesaurus required!]\n\n> Girl\n\"And what's your name, little girl?\"\n\n> You look at Lalrry\nThe parser looks much the way Peter Norton would look if Peter Norton were made of stainless steel and had, instead of a head, an Ethernet hub with two small surveillance cameras attached on top and a speaker attached underneath. I guess what I'm trying to say is that the parser is wearing a shirt and a tie.\n\nHe's also wearing a straw hat and a nametag that says \"Hello! My name is LALRRY.\" A series of lights in his forehead monitor the traffic that flows through an Ethernet cable plugged into where Peter Norton's left cheek would be, which cable disappears down into the booth.\n\nAs a natural language parser, Lalrry can deal with a reasonable subset of some human language (English, in his case), through some combination of recursive grammars and ad-hoc tricks. Most such parsers were created in the 1980s to answer queries and to help people find treasures and kill trolls. Nowadays, most parsers are working at Web start-ups. The fact that Lalrry is working as a carnival barker does not say much for his language handling capabilities.\n\n\"Step right up, step right up!\", says Lalrry with perfectly synthesized heartiness.\n\n> About yourself\nYou are a perfectly normal eleven-year-old girl, not yet aware of anything more interesting than video games or dinosaurs.\n\n\"One shiny quarter gets you a spin of the wheel!\"\n\n> You check your inventory\nYou are carrying:\na tarnished quarter\na corn dog\nyour identity bracelet (being worn)\n\n> You give quarter to Lalrry\nLalrry takes the quarter and scrutinizes it carefully. \"Sorry, Isqui,\" he says, handing the coin back to you. \"This is not a shiny quarter.\"\n\n> You look at the box\nThe metal box is about the size of a deck of cards and is decorated with black plastic trim. An LED and two switches (one orange, the other blue) are mounted on the front of the box, and a cord runs from either end up into the booth.\n\nThe LED is currently glowing green. Both switches are in the on position.\n\n> You examine the moon\nThe light from the harvest moon seems magical tonight. If Neil Young were here, he would undoubtedly write a song about it.\n\n> You get the moon\nYou are insane.\n\n> You press the orange switch\nIt is fixed in place.\n\n> You examine the cord\nThe cords run from either end of a metal box up into the booth.\n\n> You turn off the orange switch\nYou switch the orange switch off.\n\n> You examine the machine\nThe quarter shining machine sits in the middle of a line of similar machines which accept coins of smaller denomination, like pennies, and do more interesting things to them, like smush them up and imprint them with touristy slogans. In the face of such intense competition, the quarter shining machine has taken to mimicry, hoping to trap unsuspecting coins intended for a less boring (if also less shiny) fate in another machine.\n\nIts innards are exposed, an unnecessarily complicated mesh of shiny gears and pistons. A prominent notice on the side of the machine assures you with alarming urgency that the practice of quarter-shining is legal under federal statute BH-2510958. The coin tray has two quarter-shaped slots; the left one to contain payment and the right to contain the quarter you want shined and dropped into the receptacle near the bottom of the machine.\n\nThe left coin slot is empty. The right coin slot is also empty. The receptacle is also also empty.\n\n> You examine the left slot\nA small, round slot in the coin tray. It would just hold a quarter.\n\n> You examine the corn dog\nThe corn dog is a curious creature. Its life cycle begins when the larval corn dog is cooked and put on a stick. The corn dog is dipped in batter to form a cocoon and fried. Inside the batter cocoon, the baby corn dog metamorphoses into an adult phase which is then purchased, slathered with mustard, and eaten. The rumbling of your stomach tells you that the end is near for this particular corn dog. We will miss you, corn dog.\n\n> You eat corn dog\nMy, that was a yummy corn dog!\n\n> You examine the stand\nThe concession stand offers a variety of deep-fried and/or sugary items, for a price.\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu\n\nWhat am I trying to do?\n> Why won't Lalrry accept my quarter?\nHow can I shine my tarnished quarter?\nSo how do I get to play the game?\nSo I win every time, is that your little game?\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu\n\nWhat am I trying to do?\nWhy won't Lalrry accept my quarter?\n> How can I shine my tarnished quarter?\nSo how do I get to play the game?\nSo I win every time, is that your little game?\n(Press H for another hint, or SPACE to return.)\n\nYou need to use the quarter shining machine on the midway.\n\n> You look at the box\nThe metal box is about the size of a deck of cards and is decorated with black plastic trim. An LED and two switches (one orange, the other blue) are mounted on the front of the box, and a cord runs from either end up into the booth.\n\nThe LED is currently glowing green. The blue switch is in the on position, and the orange switch is in the off position.\n\n> You give quarter to Lalrry\n\"Yuck!\", says Lalrry, rejecting your offer. \"A tarnished!\"\n\n> You turn off the blue switch\nAs you flip the switch, the LED suddenly goes dark.\n\n> You turn on the orange switch\nAs you flip the switch, the LED suddenly lights up green.\n\n> You guess reconfigure\n\"Hey, guess! And so I spin the wheel...\"\n\nLalrry gives the wheel a good push and it begins rapidly rotating, spinning faster now, now slowly winding down until it...stops...on...\n\nLalrry shrugs and says \"Luck next time!\"\n\nYou shrug too, and try to look nonchalant, but you feel a hollowness in the pit in your stomach which is something more than simple disappointment. The lights of the midway seem uncomfortably close, the music incessant and loud. You wonder if you aren't coming down with something, and blink to clear the glare from your eyes.\n\nSuddenly you are falling.\n\nYou claw at the air, then at the unidentifiable blurs that race past you, then at your own body, which is unaccountably absent from this mad scene. You open your hypothetical mouth and emit a potential scream which never quite materializes, and then with the feeling of suddenly waking up from a nightmare, you are somewhere else.\n\nAnd a little dwarf is in the room with you.\n  \n\nHe's relatively young, as dwarves go; only about a hundred or so. At first he starts, surprised to meet a human one-on-one, but he quickly remembers his manners, and, doffing his miner's helmet, bows low. \"Duran son of Czadhan, at your service.\"\n\nYou return the bow to the extent your heavy sack will allow. \"Isqui, at yours.\"\n\n\"By the load you bear,\" says he, indicating his own bulging backpack, \"I see the factors that brought me to scenic Wyrmsworth Caverns have been at work upon you as well.\"\n\n\"Love of the underground realms,\" you reply.\n\nDuran nods, and, with a twinkle in his eye, acknowledges the one strongest commonality, so often unstated, between human and dwarf.\n\n\"And greed.\"\n\nThe floor of this room is covered with shattered pieces of slate, peeled off from the ceiling above. The glow of your lantern is swallowed up by the dark material of which the ceiling, floor, and walls are made. There is a wide, rounded portal to the northwest, a narrower entrance to the south, and a passage to the north which opens up after a little way.\n\nDuran the dwarf stands beside you.\n\n> You ask Duran about the lantern\n\"Nice brass.\"\n\n> You ask Duran about the slate\n\"Fairly low-grade slate.\"\n\n> You ask Duran about the orthoclase\nThere is no reply.\n\nDuran rests his hand momentarily on the haft of his axe.\n\n> Inventory\nYou are carrying:\na wristwatch with compass (being worn)\na canister of vintage celluloid\na copy of the Clamshell Book\na Sack of Infinite Capacity (which is open)\na jade idol\nthe McGuffin\na brass lantern (providing light)\n\n> You examine the wristwatch\nA combination wristwatch and compass, indispensable for any adventurer. The current time is 184.50 AST.\n\n> You examine the canister\nA canister of celluloid, labeled \"Nov. 1921 - B. Keaton.\" Not the sort of treasure one normally expects to find in a cave, but valuable nonetheless.\n\n> You look at the copy\nA white book with a blue spine, entitled \"Dungeon Exploration\". There's a picture of a giant clamshell on the cover, thus the nickname. Flipping through the book brings nothing to your eye that seems relevant to your current situation.\n\nYou hear echoing voices from the north.\n\n> You look at Sack\nThe Sack of Infinite Capacity is truly a wondrous device. No matter how many things you put into it, it never fills or becomes too heavy to carry. The depressing thing is that this makes the sack much more valuable than just about anything you might find to put in it.\n\nYou hear echoing voices from the north.\n\n> You examine the idol\nA jade idol of a great and terrible god, probably once an integral part of some ritual ceremony. Oh well, defilement is all in a day's work!\n\nYou hear echoing voices from the north.\n\n> You look at McGuffin\nIt seems to shift under your gaze--now an ankh-shaped amulet, now the deed to an orphanage, now a piece of futuristic machinery. In another world, perhaps, this item would complete your quest. Now, however, it is merely one of many treasures you wish to find.\n\nA group of tourists, led by a trollish guide, enters from the north.\n\nDuran strokes his beard a moment in thought.\n\n> You look at the tourists\nA group of fat, belching tourists congregates around a frazzled trollish tour guide who reluctantly explains the wonders of treasure-laden Wyrmsworth Caverns. Most of the tourists are dwarves or orcs, and each appears to have won his or her local Loudest Hawaiian Shirt competition before moving on to the regionals here in the cave.\n\n\"The slate room, here, was once a mine which provided much of the state's slate, from 1941 until the cave complex was made a national park in 1973.\"\n\n> You look at the troll\nA young bleary-eyed troll points out interesting formations to the spellbound tourists, occasionally dropping hints relating to the wondrous treasures to be found in the Wyrmsworth complex. His flip-flop sandals slap against the cave floor as he walks slowly backwards, gesturing and pointing.\n\nA dwarvish child trips over a thick slab of slate, skinning her knees. The guide and the child's parents help her up and dust her off.\n\n\"Um, to the northwest, here,\" says the guide, \"we have one of the most spectacular sights to grace Wyrmsworth Caverns.\"\n\n> You wait awhile\nTime passes.\n\nThe tour leaves to the northwest.\n\n\"Tourists!\" Duran snorts derisively, lowering his voice. \"They come to the caverns and what do they do? They take pictures! I don't know why the cave trolls put up with it. These orcs and Southern dwarves know nothing of a good adventure.\"\n\n> You go to the northwest\nThe large quartz crystals that cover the rounded walls of this small room give you the feeling of being inside an oversized geode. The lamplight reflects, and reflects, and reflects again from the glittering display that surrounds you. The crystals are clear near the ceiling at the far end of the room, but gradually take on a purplish sheen towards the exit to the southeast.\n\nA group of tourists sloughs its way through the caverns.\n\n\"This is what we call the 'geode room', because it resembles the inside of a geode. It's not really a geode, though. The quartzite crystals are part of a quartz vein that runs through this area, and were caused by dwaeomer-oxidization as this whole section of rock was undergoing magical erosion about twenty thousand years ago.\"\n\nDuran whistles appreciatively at the crystals, even though they are valueless quartz. Apparently dwarves can appreciate beauty even unalloyed by riches.\n\n> You examine the crystals\nMyriad glittering crystals cover the walls and ceiling of this room. An awesome sight.\n\n\"I'd like to point out that the stunning beauty of the geode room is reminiscent of the great riches that are hidden within Wyrmsworth, waiting to be discovered by intrepid adventurers. In fact, as recently as 1996, a diamond the size of a cockatoo's egg was found near here.\" The guide pauses, searching his audience for signs of interest.\n\n> You ask the guide about the diamond\n\"The Cockatoo's Egg Diamond is a flawless blue diamond, considered priceless by many,\" says the guide. \"It's indicative of the many treasures still to be found in the caves.\" He gives you a theatrical wink.\n\n\"Well,\" says the guide. \"This is just about the halfway point on our tour... follow me, please.\"\n\n> You wait for a while\nTime passes.\n\nThe tour leaves to the southeast.\n\n> Go southeast\nThe floor of this room is covered with shattered pieces of slate, peeled off from the ceiling above. The glow of your lantern is swallowed up by the dark material of which the ceiling, floor, and walls are made. There is a wide, rounded portal to the northwest, a narrower entrance to the south, and a passage to the north which opens up after a little way.\n\nA group of tourists sloughs its way through the caverns.\n\n\"Will we be seeing any stalagmites on this tour?\", asks an elderly orc.\n\nDuran follows you.\n\n> You ask the guide about the stalagmites\n\"Those form on the cave floor.\"\n\n\"Yes, of course,\" says the guide. \"After all, what would a cave tour be without stalagmites? Actually, we're on our way to the stalagmites right now, if you'll just follow me up this slope.\" The guide glances behind him, not anxious to trip over a chunk of slate as he walks.\n\n> You take the slate\nThe slate stains your fingers, and is insufficiently valuable to carry around anyway.\n\nThe tour leaves to the south.\n\n> You go to the south\nYou are in a chasm, studded with stalagmites, running from the north to the southeast. A swaying rope bridge runs from west to east, far above your head.\n\nA group of tourists sloughs its way through the caverns.\n\n\"Here are, uh, the stalagmites,\" says the guide, waving in their direction. \"These were formed by gradual accretion of--\"\n\n\"Excuse me,\" says an elf, pointing a delicate finger toward a stalagmite nearly as tall and thin as she is, \"I thought these were stalactites, these on the bottom.\"\n\nDuran follows you.\n\n> 13\nA particularly large stalagmite. Apart from its size and the crude \"13\" carved into it, it is unremarkable.\n\n\"No, that's a common misconception,\" says the troll. \"Stalactites are formations that accrete from the ceiling. Stalagmites are those that accrete on the cave floor, such as this one, Stalagmite 13.\"\n\n> You ask the troll about 13\n\"No one knows the real meaning of the carving. Or if they do, they're not telling.\"\n\n\"This chasm we're in extends a little to the south,\" says the guide, pointing down the narrowing gulf. \"Er, southeast, I suppose. But we'd never all fit down there, so this is as far as we'll go there. We'll start making our way back to the stairs, now.\"\n\n> You examine the bridge\nMade of ropes and wood, the bridge sways high above your head.\n\nThe tour leaves to the north.\n\n> Go southeast\nThe chasm ends here, its walls narrowing to nothing. You can only proceed back to the northwest.\n\nThere are rare stamps here!\n\nDuran follows you.\n\n> You take the stamps\nTaken.\n\n> You examine the stamps\nMisprints, first-day covers, you name it.\n\nDuran takes a lump of coal out of his pocket and offers you a piece. When you decline, he shrugs and bites into it, chewing with gusto.\n\n> Go northwest\nYou are in a chasm, studded with stalagmites, running from the north to the southeast. A swaying rope bridge runs from west to east, far above your head.\n\nDuran follows you.\n\n> You go north\nThe floor of this room is covered with shattered pieces of slate, peeled off from the ceiling above. The glow of your lantern is swallowed up by the dark material of which the ceiling, floor, and walls are made. There is a wide, rounded portal to the northwest, a narrower entrance to the south, and a passage to the north which opens up after a little way.\n\nDuran follows you.\n\n> You go northwest\nThe large quartz crystals that cover the rounded walls of this small room give you the feeling of being inside an oversized geode. The lamplight reflects, and reflects, and reflects again from the glittering display that surrounds you. The crystals are clear near the ceiling at the far end of the room, but gradually take on a purplish sheen towards the exit to the southeast.\n\nDuran follows you.\n\n> You go to the north\nThis room is so large, it makes you claustrophobic. You cannot help but think how far underground you must be, that a cave ceiling might be so impossibly high without opening to blue sky. The tremendous mass of empty air above you seems to press harder than mere rock ever could. But you cannot look away, for running down the walls are breathtaking waterfalls of stone, enormous calcite formations that seem to have been formed from the discarded candles of a million million visitors. Sloping arches form stone awnings over paths to the south and northeast, and a tight crawl leads west.\n\nYou hear echoing voices from the northeast.\n\nAs Duran enters the room, he lets out a chuckling roar. \"By the gods!\", he murmurs. \"This splendid room would make a dining hall worthy of the dwarves of old!\"\n\n> You go to the north-east\nA winding stairway reaches up into the blackness here. Another natural chimney; about a hundred feet up, it opens up to a large room to the southwest (accessible to you through an arch). Far above you, you can hear the sounds of someone, as yet invisible, slowly rappeling down.\n\nA group of tourists sloughs its way through the caverns.\n\nAs the old tour group begins to disappear into the darkness above, the new guide clears his throat, preparing to begin his tour.\n\nDuran follows you.\n\n> Go upwards\nYou and Duran climb the stairway for several minutes, but seem no closer to the cave exit than before. Winded, the two of you rest a while and come back down.\n\n\"Okay,\" says the new guide, \"here we are near the winding stair, where our tour of the lower levels will begin and end -- should take about thirty turns.\"\n\nDuran rests his hand momentarily on the haft of his axe.\n\n> Go southwest\nThis room is so large, it makes you claustrophobic. You cannot help but think how far underground you must be, that a cave ceiling might be so impossibly high without opening to blue sky. The tremendous mass of empty air above you seems to press harder than mere rock ever could. But you cannot look away, for running down the walls are breathtaking waterfalls of stone, enormous calcite formations that seem to have been formed from the discarded candles of a million million visitors. Sloping arches form stone awnings over paths to the south and northeast, and a tight crawl leads west.\n\nYou hear echoing voices from the northeast.\n\nDuran follows you.\n\n> You go to the west\nA stooped, gravely crawl that tightens to the west. The sloping tunnel at the west end would be impassable for an adult, but a determined eleven-year-old should be able to squeeze through it. (What luck! You happen to be a determined eleven-year-old!) Even if you weren't, you'd still be able to back out to the east, where the crawl abruptly opens up into a much larger room.\n\nThere is a bowling trophy here!\n\nDuran follows you.\n\n> You take the bowling trophy\n(putting the rare stamps into the Sack of Infinite Capacity to make room)\n(putting the canister of vintage celluloid into the Sack of Infinite Capacity to make room)\n(putting the copy of the Clamshell Book into the Sack of Infinite Capacity to make room)\n(taking the rare stamps back out of the Sack of Infinite Capacity because we didn't really need that much room after all)\n(taking the canister of vintage celluloid back out of the Sack of Infinite Capacity because we didn't really need that much room after all)\nTaken.\n\n> Go west\nYou and Duran scramble through a short crawl, and find yourselves...\n\nFew people ever visit this subterranean clifftop, since few can get here in the first place--the wandering children of tourists, perhaps, or of the trolls who inhabit these caves. Hopefully, none are too young to know that those who play too close to the edges of cliffs inevitably end up as object lessons to others.\n\nAbout thirty feet below, your light glints off metal. There's no way down there, though; only east into a tight crawl.\n\nA rusted iron hook protrudes from the wall above the cliff.\n\nDuran leans over the ledge, shining his headlamp into the murky darkness below. \"Gold!\" he exclaims, rubbing his hands together. \"Thousands of points worth!\"\n\nThe dwarf pulls a coil of rope from his backpack. \"I knew this would come in handy,\" he says, hefting the coil in his hands.\n\n> You examine the hook\nOddly enough, this hook is a completely natural iron precipitation. Although rusty, its fusion to the rock wall stands any test of strength you can think to apply to it.\n\n\"Perfect!\", says Duran, spotting the iron hook and gauging the distance between it and the cliff bottom. \"I'll just tie rope to hook, here...\" Hastily tying a loop into one end of the rope, Duran slips it over the hook and begins to tighten the knot.\n\n> You wait\nTime passes.\n\nDuran peers at the rope in his hands, which has inexplicably slipped off the hook and become untied. \"That's odd...\" Retying the knot, Duran mutters the incantation \"Tie rope to hook!\"\n\n> Wait\nTime passes.\n\nAgain Duran finds himself holding an untied knot. \"Okay, let's try another one,\" he mutters. \"Put rope on hook!\"\n\n> Wait\nTime passes.\n\nDuran looks dismayed, and pokes at his ill-behaved rope. \"That's always worked before,\" he mutters, \"so there can't be anything wrong with the rope. Don't worry, I'll figure it out.\"\n\n> You fasten the rope to the hook\nDuran shrugs and hands you the rope. You quickly tie a rudimentary knot and loop it over the hook. Amazingly, the knot holds!\n\n\"Astounding!\" exclaims Duran. \"'Fasten'--who would have thought?\"\n\nDuran gestures at the rope.\n\n> You check what you're carrying\nYou are carrying:\na candy bar\na shiny trophy\nyour identity bracelet (being worn)\n\n> Examine candy bar\nA sugar-packed Buttertonsils bar, in its characteristic golden wrapper. You're not sure how you got ahold of it, but they're not bad.\n\n> You examine trophy\nA dented but shiny bowling trophy of bronze. Inscribed on the base are the words, \"LEAGUE CHAMPIONS 1992\".\n\n> You give the trophy to Lalrry\n\"You earned that trophy, you should keep it,\" says Lalrry.\n\n> You eat the bar\nThe candy bar slides down your throat, and your stomach quickly is full.\n\n> You give the candy to Lalrry\nLalrry politely declines your offer.\n\nLalrry mumbles to himself.\n\n> Inventory\nYou are carrying:\na shiny trophy\nyour identity bracelet (being worn)\n\n> Dance\nYou perform a little jig. The producers of Riverdance won't be calling you anytime soon.\n\n> Sing\nYour singing is abominable.\n\n> You examine the machine\nThe quarter shining machine sits in the middle of a line of similar machines which accept coins of smaller denomination, like pennies, and do more interesting things to them, like smush them up and imprint them with touristy slogans. In the face of such intense competition, the quarter shining machine has taken to mimicry, hoping to trap unsuspecting coins intended for a less boring (if also less shiny) fate in another machine.\n\nIts innards are exposed, an unnecessarily complicated mesh of shiny gears and pistons. A prominent notice on the side of the machine assures you with alarming urgency that the practice of quarter-shining is legal under federal statute BH-2510958. The coin tray has two quarter-shaped slots; the left one to contain payment and the right to contain the quarter you want shined and dropped into the receptacle near the bottom of the machine.\n\nThe left coin slot is empty. The right coin slot is also empty. The receptacle is also also empty.\n\n> Search machine\nIn the quarter shining machine are a small receptacle, a coin tray, a left coin slot and a right coin slot.\n\n> You examine the coin tray\nThe coin tray has two slots for quarters. The left one contains payment for the shining service, the right contains the quarter to be shined.\n\n> You examine the iD\nA white plastic embarassment which your parents make you wear on those rare occasions on which you are allowed off on your own. In little red letters just above your wrist, it says \"My name is _ISQUI_. In case of emergency, call my mother's cell phone at (210) 603-3999.\"\n\n> You examine the orange\nIt's orange.\nThe orange switch is currently switched on.\n\n> You turn the orange off\nAs you flip the switch, the LED suddenly goes dark.\n\n> You examine the booths\nThe canvas walls of the booths are constructed according to an ancient carnival ritual involving a variety of swear words and a certain amount of duct tape. They look a bit rickety, but they'll hold until the carnival moves on.\n\n> You read the boots\n(in the metal box)\nYou discover nothing of interest in the metal box.\n\n> You look at box\nThe metal box is about the size of a deck of cards and is decorated with black plastic trim. An LED and two switches (one orange, the other blue) are mounted on the front of the box, and a cord runs from either end up into the booth.\n\nThe LED is currently dark. The blue switch is in the on position, and the orange switch is in the off position.\n\n> You examine the cord\nThe cords run from either end of a metal box up into the booth.\n\n> You look at the blue switch\nIt's blue.\nThe blue switch is currently switched on.\n\n> You give the trophy to Lalrry\nLalrry gladly takes the trophy from your outstretched hands. With the flair of a showman, he tosses it into the air and fails to notice as it crashes to the ground inside the booth. Stepping back, Lalrry indicates the wheel.\n\n\"Guess a, any!\", says Lalrry, indicating the wheel of fortune.\n\n> You guess undo\n\"Hey, good! And so spin the...\"\n\nLalrry gives the wheel a good push and it begins rapidly rotating, spinning faster now, now slowly winding down until it...stops...on...\n\n\"Sorry!\", says Lalrry with a shrug. \"Better luck next!\"\n\nYou close your eyes and brace yourself for the fall you feel is inevitable. It isn't until your body fades away, leaving your consciousness without any eyelids to shield it, that you realize that you have been falling for quite a while. Before you have time to get properly panicked again, though, you are somewhere else.\n  \n\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\n\"I have this bizarre feeling that I keep saying the same things over and over again,\" muses Dan. \"And I know I've written this function before. Maybe there's something to Nietzsche's idea of eternal recurrence.\"\n\nMark loads the Cruel Site of the Day into his web browser, and laughs hysterically.\n\n> You examine Fred\nIf a character as unlikely as Frederick Lee did not exist, it would be necessary to invent him. Computer science students are common enough, but Fred possesses that most uncommon trait among computer science students, a lust for free software. Indeed, he has gone so far as to swear eternal vengeance against any and all forms of proprietary code--a move previously unheard of. His thick glasses, buzz cut, and casual mode of dress give him a look unlike any nerd you have ever seen.\n\nFred is currently logged into fire, sweating over the nameserver configuration.\n\n\"Actually,\" Leonard confides to you, \"this scenario setup is perfect. It lets me write a college game in the manner of Save Princeton without opening me up to charges of actually having written a college game.\"\n\n\"Did I tell you about my internship with VA Linux?\", asks Mark of the room in general. No one seems interested, and Mark soon goes back to his terminal.\n\nDan toys with the idea of starting his paper on Berkeley, but decides against it. \"It'd only disappear when I wasn't working on it,\" he says resignedly.\n\n> You look at the whiteboard\nA rollable whiteboard, intended for scratch work, mounted on casters so as to be pushed about. It's covered with geometric diagrams on one side and the de facto API for a group project on the other. There is also a scoreboard of some sort: \"DAN 7 LUG 2\".\n\n\"Okay, it should work now,\" says Fred.\n\nMark types in a command and shakes his head. \"Nope.\"\n\n> You examine Leonard\nIn addition to being a sensitive yet manly human being, Leonard Richardson is a musical genius and a coding god. This is primarily due to the fact that, as the author of this game, it fell upon him to write the previous sentence. His T-shirt advertises the Second Annual Lake Arrowhead Rubber Ducky Race (1988).\n\n\"I can't figure out what's wrong with the configuration,\" says Fred, pounding on fire's keyboard.\n\n> You ask Leonard about himself\nLeonard shrugs. \"What's to say?\"\n\n\"What's the volume of the intersection of a cone and a circle?\", asks Dan, in case someone has this fact memorized. No one has.\n\n\"This part of the game is a little too self-referential for my taste,\" says Leonard, indicating an especially indulgent monologue on his screen. \"In fact, I shouldn't be here at UCLA in the first place, since I graduated before I even started this game--so did Adam, incidentally. But authorial self-insertion is a time-honored IF trope, and it seemed a shame to miss such a golden opportunity to make use of it.\"\n\n> You examine the fire\nfire.csua.ucla.edu is CSUA's main machine, and hosts hundreds of user accounts. From the way Fred keeps frantically switching between configuration files, you get the feeling that something is wrong with that machine.\n\nDan sketches a diagram on some scratch paper."
    },
    {
        "text": "[Themes: Humor, castle, gender choice, spaceship]\n\n> Look around\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\nLeonard makes a frustrated noise. \"Look at this,\" he says, quoting from his screen. \"'Unlike C, Inform uses a colon to divide parts of a 'for' loop specification.' Why?\"\n\n> Go east\nA balcony to your east overlooks the garden at the center of Boelter Hall. Palm trees planted there reach for the sky but are dwarfed by the brick structure that surrounds them on all sides. An open double door to your west bears a sign saying \"CSUA - We Make the Digital Future Happen\". Another doorway lies to the north.\n\n> You look at what you're carrying with you\nYou are carrying:\na digital watch (being worn)\n\n> Go north\nSomewhere, deep inside Boelter Hall, there is a hallway that passes by the lab for CS152B, the dreaded digital design class. Somehow you have found your way to this foreboding place, a place so desolate that there is a door leading east and a hallway leading west to the balcony. (I know that made no sense, but I had to tell you that somewhere.) The walls are covered with posterboards which detail the work of UCLA's computer science graduate students.\n\n> You look at the posterboards\nSome are dry and technical, some flush with the thrill of discovery; some use flashy graphics to try to cover up the fact that the research in question is something a sophomore might cook up over winter break.\n\n> You go to the east\nTables line the walls of this room, illuminated by intrusive fluorescent lights on the ceiling; tables that bear twenty identical computers; computers that bear the Windows NT login banner, enticing passers-by to make use of the cut-rate circuit simulation software within. The only exit is to the west, and it looks quite inviting.\n\nA shiny paperclip lies unnoticed on the floor.\n\nAdam Kaplan seethingly regards the schematic on his screen.\n\nAdam curses under his breath as the circuit design software, predictably, does The Wrong Thing.\n\n> You examine Adam\nNormally, Adam is an amiable and pleasant fellow. But now, he is at war. At war with a hypothetical piece of hardware, and an all-too-real piece of software. The workstation he has claimed is surrounded by empty coffee cups and apple juice bottles, and his head hangs heavy as he contemplates the mess of pixelated wires on the screen. He has not slept for a while.\n\nAdam tries to check his email, but fails. \"I guess fire is still down,\" he says.\n\n> You ask Adam about the fire\n\"That's where I get my email,\" says Adam. \"Usually, I mean.\"\n\n\"Y'know,\" says Adam, casting his eye in your direction, \"I may or may not have items you might find valuable which I might or might not trade for certain services once performed in the classic text adventure fashion.\" Somewhat embarrassed, he looks back at his screen.\n\n> Inventory\nYou are carrying:\na shiny paperclip\na digital watch (being worn)\n\nAdam drags some wires around with his mouse.\n\n> You ask Adam about the paperclip\n\"Yeah, it's a paperclip, all right.\"\n\nAdam consults a notebook filled with hand-drawn schematics.\n\n> You ask Adam about Leonard\n\"He's a cool dude. I've played a couple sets with him. Wish he was here helping me with this.\"\n\n> You go to the west\nSomewhere, deep inside Boelter Hall, there is a hallway that passes by the lab for CS152B, the dreaded digital design class. Somehow you have found your way to this foreboding place, a place so desolate that there is a door leading east and a hallway leading west to the balcony. (I know that made no sense, but I had to tell you that somewhere.) The walls are covered with posterboards which detail the work of UCLA's computer science graduate students."
    },
    {
        "text": "> You go downwards\nI suppose you think there are stairs or something.\n\n> You examine the trees\nThe palm trees rear up into the sky like excited French poodles.\n\n> You climb the trees\nThe trees are out of reach, and too thin to climb anyway.\n\n> You go to the west\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\n\"You know,\" says Leonard, \"I could write a better IF language than Inform.\"\n\n\"That's the spirit!\", says Dan.\n\n> You examine the whiteboard\nA rollable whiteboard, intended for scratch work, mounted on casters so as to be pushed about. It's covered with geometric diagrams on one side and the de facto API for a group project on the other. There is also a scoreboard of some sort: \"DAN 7 LUG 2\".\n\nMark stifles a laugh.\n\n\"What are you laughing at?\", asks Leonard.\n\n\"This post on Slashdot.\"\n\n\"Ah yes,\" says Fred.\n\n\"I didn't think it was that funny,\" says Leonard.\n\n\"It was all right,\" says Dan.\n\n> You ask Mark about the fire\n\"You can't get onto fire yet,\" says Mark. \"Fred's fu--uh, messing around with the configuration files.\"\n\n\"It must be something in the host configuration,\", says Fred.\n\nMark loads the Cruel Site of the Day into his web browser, and laughs hysterically.\n\n> You examine the fire\nfire.csua.ucla.edu is CSUA's main machine, and hosts hundreds of user accounts. From the way Fred keeps frantically switching between configuration files, you get the feeling that something is wrong with that machine.\n\n\"No, that didn't work,\" says Fred to himself.\n\n\"What's the volume of the intersection of a cone and a circle?\", asks Dan, in case someone has this fact memorized. No one has.\n\n> You ask Dan about the fire\n\"Fred's working on it,\" says Dan. \"The stupid network is always going down.\"\n\nMark obsesses about the next UCLA LUG meeting.\n\n\"This part of the game is a little too self-referential for my taste,\" says Leonard, indicating an especially indulgent monologue on his screen. \"In fact, I shouldn't be here at UCLA in the first place, since I graduated before I even started this game--so did Adam, incidentally. But authorial self-insertion is a time-honored IF trope, and it seemed a shame to miss such a golden opportunity to make use of it.\"\n\nDan toys with the idea of starting his paper on Berkeley, but decides against it. \"It'd only disappear when I wasn't working on it,\" he says resignedly.\n\n\"I don't understand it,\" says Fred. \"I thought I'd set up fire's configuration to rid of this problem, the last time this happened.\"\n\n> You ask Fred about the fire\n\"It'll be up in a minute,\" says Fred. \"I just have to fix the DNS configuration.\"\n\nDan toys with the idea of starting his paper on Berkeley, but decides against it. \"It'd only disappear when I wasn't working on it,\" he says resignedly.\n\nMark curses the 405 freeway, bane of his commute.\n\n\"Hey, I want to be in the game,\" declares a man whom you suddenly notice is standing in the room. \"Okay,\" says Leonard, and the man abruptly disappears.\n\n> Xyzzy\nA grown-up with curly blond hair and glasses appears out of thin air, shouts \"I like beans!\", and promptly vanishes.\n\n> About yourself\nYou are a perfectly normal eleven-year-old girl on a field trip to UCLA.\n\nMark stifles a laugh.\n\n\"What are you laughing at?\", asks Leonard.\n\n\"This post on Slashdot.\"\n\n\"Ah yes,\" says Fred.\n\n\"I didn't think it was that funny,\" says Leonard.\n\n\"It was all right,\" says Dan.\n\n> You eat the paperclip\nThat's plainly lacking the \"edible\" flag.\n\n\"Stupid web browser,\" says Mark, killing his X session and restarting.\n\n\"Use lynx,\" suggests Fred.\n\nA confused light show erupts from xorn's monitor as Dan runs his game with a gravitational constant of 0.59. Dan smiles the manic grin of one who enjoys tormenting his data structures.\n\n> Examine xorn\nxorn, aka linux.ucla.edu, is the hosting machine for the UCLA Linux Users Group, and for the standing LUG Nethack tournament. Green shapes flicker on its screen as Dan tests the latest additions to his game.\n\n\"When was the last time anybody managed to get onto fire?\", asks Fred.\n\n\"Last night,\" says Mark.\n\n\"Earlier this morning,\" says Dan.\n\nFred shakes his head.\n\n> You look at the mac\nplasma, an old Macintosh.\n\n\"Did I tell you about my internship with VA Linux?\", asks Mark of the room in general. No one seems interested, and Mark soon goes back to his terminal.\n\n\"I wonder if something's wrong with the firewall,\" says Fred.\n\n> Inventory\nYou are carrying:\na shiny paperclip\na digital watch (being worn)\n\nMark loads the Cruel Site of the Day into his web browser, and laughs hysterically.\n\n\"This part of the game is a little too self-referential for my taste,\" says Leonard, indicating an especially indulgent monologue on his screen. \"In fact, I shouldn't be here at UCLA in the first place, since I graduated before I even started this game--so did Adam, incidentally. But authorial self-insertion is a time-honored IF trope, and it seemed a shame to miss such a golden opportunity to make use of it.\"\n\n> You look at fire\nfire.csua.ucla.edu is CSUA's main machine, and hosts hundreds of user accounts. From the way Fred keeps frantically switching between configuration files, you get the feeling that something is wrong with that machine.\n\n\"Oops!\", says Leonard, and taps some keys. \"There was no way to get from the balcony to the snack bar. I put in some stairs. Sorry about that.\"\n\n\"No, that didn't work,\" says Fred to himself.\n\n> Go south\nYou can't go that way.\n\n\"I wonder if something's wrong with the firewall,\" says Fred."
    },
    {
        "text": "[Themes: Humor, mad scientist, cave, wizard, spells, magic, Comedy, female protagonist, cave crawl]\n\n> Describe the surroundings\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\nMark obsesses about the next UCLA LUG meeting.\n\n\"It must be something in the host configuration,\", says Fred.\n\n> You go east\nA balcony to your east overlooks the garden at the center of Boelter Hall. Palm trees planted there reach for the sky but are dwarfed by the brick structure that surrounds them on all sides. Stairs lead up here, and an open double door to your west bears a sign saying \"CSUA - We Make the Digital Future Happen\". Another doorway lies to the north."
    },
    {
        "text": "[Themes: Humor, spaceship, child protagonist, cave crawl, female protagonist, cave, gender choice]\n\n> Go downward\nThe downwards stairs lead only to classrooms and maintenance rooms.\n\n> Go up\nYou climb the stairs a bit, and end up...\n\nThe strains of punk rock emanate from the door to your west, the entrance to the SEAS Cafe. A bulletin board nearby is covered in flyers, posted by people who share the quixotic goal of making engineering students think about something other than classes and projects. A hallway to your east leads into the South Campus quad, and stairs lead down.\n\n> You look at the flyers\nThe flyers on the bulletin board attempt to entice students to play broomball, attend a job fair, or join the Marines.\n\n> Go west\nThe Cafe is normally a busy, boisterous place, but midterms have brought a horde of students swarming in to lay waste to the land, purchasing practically everything on the large wire racks and in the refrigerated containers, and otherwise reducing the number of objects which must be implemented in this game. Only the arcade games in the corner and the geeky drawings on the walls bear witness to the Cafe's previous glory.\n\nA bottle of cola is the only item of merchandise remaining.\n\nA surly cashier sits beside the cash register, studying for her midterms.\n\n> You examine the games\nThis is the enumeration of the arcade games: Street Fighter, Galaga (in a Ms. Pac-Man casing, oddly enough), and the old favorite Bust A Move. All of them are currently in demo mode.\n\n> You look at the cashier\nShe is sitting behind the counter near the cash register, reading a book on soil mechanics. Her primary concern right now seems to be passing her midterms.\n\n> You ask the cashier about the soil mechanics\n\"Dull as dirt.\"\n\n> You ask the cashier about the soda\nTaken.\n\n\"It's cold. It's caffeinated. It's brown. It's also eighty cents,\" she responds, not looking up from her book.\n\n> You take the cola\nYou already have that.\n\n> You buy the cola\nYou have no money. Yet the cola is not free.\n\n> You give the watch to the cashier\n\"The soda costs eighty cents,\" says the cashier disinterestedly.\n\n> You examinthe pac-man\nThis is the enumeration of the arcade games: Street Fighter, Galaga (in a Ms. Pac-Man casing, oddly enough), and the old favorite Bust A Move. All of them are currently in demo mode."
    },
    {
        "text": "[Themes: Humor, mad scientist, wizard, silly, spaceship, spells, carnival, cave, dwarf, female protagonist]\n\n> Look around\nThe Cafe is normally a busy, boisterous place, but midterms have brought a horde of students swarming in to lay waste to the land, purchasing practically everything on the large wire racks and in the refrigerated containers, and otherwise reducing the number of objects which must be implemented in this game. Only the arcade games in the corner and the geeky drawings on the walls bear witness to the Cafe's previous glory.\n\nA surly cashier sits beside the cash register, studying for her midterms.\n\n> You examine the drawings\nMostly renditions in marker of popular anime characters. A few American comic strip characters also make their appearance. Pretty good, artistically speaking.\n\n> You examine the racks\nSome of the wire racks reach close to the ceiling. They normally contain candy bars, trail mix, muffins, potato chips, styrofoam bowls of ramen noodles, over-the-counter medications, and other necessities for studying. They are completely bare, and will be until restocking tomorrow.\n\n> Go east\nThe cashier blocks your way and will not let you leave! Maybe you should pay for that cola first.\n\n> You drop the cola\nDropped.\n\n> Go east\nThe strains of punk rock emanate from the door to your west, the entrance to the SEAS Cafe. A bulletin board nearby is covered in flyers, posted by people who share the quixotic goal of making engineering students think about something other than classes and projects. A hallway to your east leads into the South Campus quad, and stairs lead down.\n\n> You go east\nYou walk briefly down the hallway for a bit, but turn back, feeling that you still have some important task to perform in the engineering building.\n\n> Go west\nThe Cafe is normally a busy, boisterous place, but midterms have brought a horde of students swarming in to lay waste to the land, purchasing practically everything on the large wire racks and in the refrigerated containers, and otherwise reducing the number of objects which must be implemented in this game. Only the arcade games in the corner and the geeky drawings on the walls bear witness to the Cafe's previous glory.\n\nA surly cashier sits beside the cash register, studying for her midterms.\n\nYou can also see a bottle of cola here.\n\n> You examine the register\nIt's a thirty-two-bit register, holding multiples of four dollars.\n\n> You take the cola\nTaken."
    },
    {
        "text": "[Themes: Humor, female protagonist, carnival, dwarf, magic, wizard, spells, gender choice, cave, spaceship]\n\n> Go down\nYou take the stairs down a bit, and end up on the...\n\nA balcony to your east overlooks the garden at the center of Boelter Hall. Palm trees planted there reach for the sky but are dwarfed by the brick structure that surrounds them on all sides. Stairs lead up here, and an open double door to your west bears a sign saying \"CSUA - We Make the Digital Future Happen\". Another doorway lies to the north.\n\n> You go to the east\nTables line the walls of this room, illuminated by intrusive fluorescent lights on the ceiling; tables that bear twenty identical computers; computers that bear the Windows NT login banner, enticing passers-by to make use of the cut-rate circuit simulation software within. The only exit is to the west, and it looks quite inviting.\n\nAdam Kaplan seethingly regards the schematic on his screen.\n\n> You ask Adam about the cashier\nAdam seems on the verge of losing patience.\n\n\"I wonder what's wrong with fire,\" says Adam. \"I'd really like to check my email.\"\n\n> You ask Adam about the cola\nAdam seems on the verge of losing patience.\n\n> You look at the computers\nThe identical computers all seem to be running Windows NT. To the north, Bill Gates is counting his money.\n\nAdam curses under his breath as the circuit design software, predictably, does The Wrong Thing.\n\n> You go to the north\nYou can't go that way.\n\n\"Y'know,\" says Adam, casting his eye in your direction, \"I may or may not have items you might find valuable which I might or might not trade for certain services once performed in the classic text adventure fashion.\" Somewhat embarrassed, he looks back at his screen.\n\n> You go to the west\nSomewhere, deep inside Boelter Hall, there is a hallway that passes by the lab for CS152B, the dreaded digital design class. Somehow you have found your way to this foreboding place, a place so desolate that there is a door leading east and a hallway leading west to the balcony. (I know that made no sense, but I had to tell you that somewhere.) The walls are covered with posterboards which detail the work of UCLA's computer science graduate students.\n\n> Go west\nA balcony to your east overlooks the garden at the center of Boelter Hall. Palm trees planted there reach for the sky but are dwarfed by the brick structure that surrounds them on all sides. Stairs lead up here, and an open double door to your west bears a sign saying \"CSUA - We Make the Digital Future Happen\". Another doorway lies to the north.\n\n> You go west\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\nMark curses the 405 freeway, bane of his commute.\n\n\"This part of the game is a little too self-referential for my taste,\" says Leonard, indicating an especially indulgent monologue on his screen. \"In fact, I shouldn't be here at UCLA in the first place, since I graduated before I even started this game--so did Adam, incidentally. But authorial self-insertion is a time-honored IF trope, and it seemed a shame to miss such a golden opportunity to make use of it.\"\n\n> You go west\nYou can't go that way.\n\nMark obsesses about the next UCLA LUG meeting.\n\n> You check what you're carrying\nYou are carrying:\na shiny paperclip\nyour identity bracelet (being worn)\n\nLalrry mumbles to himself."
    },
    {
        "text": "> Look around\nThe UCLA Computer Science student lounge is a hacker's paradise: a line of Linux machines and X terminals runs parallel to the south and west wall, ending in a Windows machine and an old Macintosh (for contrarians) in the northwest corner. A couch makes the environment conducive to overnighters and software design bull sessions. The exit is to the east.\n\nFour computer geeks are here; Fred, Mark, Dan, and Leonard, by name.\n\nYou can also see a rollable whiteboard here.\n\n\"I wonder if something's wrong with the firewall,\" says Fred.\n\nDan expresses his regret that Descartes and Hume were not contemporaries of the pay-per-view cage match.\n\n> You give the paperclip to Lalrry\nLalrry gladly takes the paperclip from your outstretched palm. With the flair of a showman, he tosses it into the air and catches it in his shirt pocket. Stepping back, he indicates the wheel.\n\n\"Guess a, any!\", says Lalrry, indicating the wheel of fortune.\n\n> You guess scrutinize\n\"Hey, good! And so spin the...\"\n\nLalrry gives the wheel a good push and it begins rapidly rotating, spinning faster now, now slowly winding down until it...stops...on...\n\n\"Hey, win!\" Lalrry seems genuinely excited as he hands you your prize--a large plush doll made in the unauthorized image of a certain tap-dancing animated frog.\n\n\"I love that little!\", Lalrry confides in you. \"Always makes laugh!\"\n\n\"Now guess another, Isqui!\"\n\n\"Guess a, any!\", says Lalrry, indicating the wheel of fortune.\n\n> You examine the frog\nA green and yellow plush copyright violation: a cartoon frog wearing a top hat.\n\n\"Guess a, any!\", says Lalrry, indicating the wheel of fortune.\n\n> Guess disembark\n\"Hey, good! And so spin the...\"\n\nLalrry gives the wheel a good push and it begins rapidly rotating, spinning faster now, now slowly winding down until it...stops...on...\n\n\"Sorry!\", says Lalrry with a shrug. \"Better luck next!\"\n\nYou watch, only slightly disconcerted, as the fairgrounds waver and fade away. You fall, but the fall is no longer frightening; it is exhilarating. All the same, it is worrying just how far you are falling--it seems much longer than last time--just as you begin to wonder whether something has gone wrong, you are somewhere else.\n  \n\nUh-oh, you can see your hands. The invisibility potion must have worn off! Your tactic for getting past the giant crab quickly changes from quietly sneaking to running like mad for the oaken door on the opposite side. Hearing the crunch of your sneakers against the shell-ridden floor, the crab frantically scuttles around toward you, but you have reached the door. It's unlocked! You open the door a crack, dart through, and slam it shut again.\n\nA dull thud echoes from the other side of the door, followed by a soft scratching. Breathing a sigh of relief, you turning around, noticing for the first time just how close you are to the end of your quest. For this is the...\n\nThe stone walls on either side of you reach high into the darkening sky--the smell of fresh air is exhilarating after your travails within the depths of the castle. This short hallway was once covered in lush red carpet, but its exposure to the elements and its proximity to a trigger-happy warlock have scorched and rotted it, exposing the cobblestones beneath. Black mold grows on the few patches of carpeting that remain. West is the large oaken door you so recently fled through; east you can see into the the lighted study of the dread warlock Do'papoc.\n\n> You check your inventory\nYou are carrying:\na plush frog\na Bracelet of Citrus Resistance (being worn)\na school-issue spellbook\na manual of demonology\na stuffed parrot\na Carelka quarter (providing light)\na shapeless blob of brown wax\na book of lore\na bag of Eldritch Farm cookies\n\n> You look at Bracelet\nDrawing its power from the Kinda-Sorta-Semi-Quasi-Para-Elemental Plane of Citrus, this magical bracelet grants you immunity to all citrus-based attacks. Its gemstones sparkle the color of lemons, grapefruits, and oranges.\n\n> You examine spellbook\nThis slight, spiral-bound tome has \"Isqui's Spellbook\" written on the blue cover. It contains seven spells, laboriously copied from your school textbook. Unfortunately, your school textbook, \"Harry Potter and the 2000 Middle School Magical Education Standards\", tends to focus less on the \"cause mighty warlock to tremble in fear\" type spells and more on the \"subject target to sharp kick in pants\" type spells. In fact, \"subject target to sharp kick in pants\" is probably your best spell, apart from \"open even locked or enchanted objects\", which you can't even memorize anymore, since you got strawberry jam all over the runes.\n\nYour spellbook contains the following spells:\nfunyun spell: cause spell caster to memorize wrong spell.\ngeordi spell: bring simulacrum of animal to life.\nfoobar spell: make the inedible edible.\nrekn0g spell: Bj*e,ev%n.l/((-%d o(fen.na5t*d o2*l70.\nbismol spell: subject target to sharp kick in pants.\nformic spell: summon being's mother.\neldspa spell: sharpen pencil.\n\n> You learn the rekn0the g.\nUsing your best study habits, you commit the rekn0g spell to memory.\n\n> You rekn0g yourself\n** Run-time error: rekn0g_spell (object number 242)  has no property magic to send message **\n\n> You learn the bismol\nUsing your best study habits, you commit the bismol spell to memory.\n\n> You learn the funyun\nUsing your best study habits, you commit the funyun spell to memory.\n\n> You look at the manual\n\"How To Summon Demons and Influence People\" concerns itself primarily with powerful and dangerous fiends like the iCthulu, summonable in eight deadly colors. The spells of summoning have bizarre names like \"lexyacc\" and \"perlsed\", and are very complicated, some requiring material components. Only one spell near the beginning seems even remotely comprehensible to you:\n\nawkgrep spell: summon extremely minor demon.\n\n> You learn the foobar\nUsing your best study habits, you commit the foobar spell to memory.\n\n> Foobar frog\nThe plush frog suddenly looks edible. In fact, it looks downright tasty.\n\n> You eat the frog\nYou eat the plush frog. Not bad.\n\n> You examine the lore\nIt looks like a normal book, \"Lup's Compendium of Tales Most Ancient\". Opening it up, however, reveals that the book is completely blank, except for a few lines of verse in the middle of a page near the beginning:\n\nYe Hound of Cern imprisoned be\nFrom now until ye End of Time\nAnd naught but 'tis a flaming Snail\nWill break his curse, and bring to thee\nA refreshing Splash of Lemon-Lyme\nPlace Snail on Stone where Hound is kep't\nAnd he for whome all Nature wep't\nA Prisoner no more will rise:\nREQUIRE, BEND, and CAUTERIZE\n\n> You examine the frog\nA green and yellow plush copyright violation: a cartoon frog wearing a top hat.\n\n> You examine the wax\nA blob of wax about six inches in diameter, the melted remains of the snail candle. The wick is probably still in there somewhere.\n\n> You look at the cookies\nIt's a bag of Eldritch Farm cookies -- \"Remember when the sun guttered out and inky slithering blackness engulfed the earth? Eldritch Farm remembers.\" The instructions on the bag indicate that the chocolatey cookies may be eaten, or used as spell components when summoning demons of unimaginable power. There are four cookies left.\n\n> You look at the parrot\nThis parrot looks real enough to have been alive at one point, but it may simply be a well-crafted construction. In any event, it's not alive right now. Lovely plumage, though; brilliant blues, greens, and yellows. Now that you've separated it from its perch, it has no particular orientation, and dangles upside-down from your hand. Its glass eye stares at you balefully, blaming you for subjecting it to the rigors of gravity.\n\n> Examine quarter\nA quarter from the sprite nation of Carelka. It glows with a magical light."
    },
    {
        "text": "[Themes: Humor, spaceship, carnival, mad scientist, gender choice, silly, female protagonist, magic, spells]\n\n> Look around\nThe stone walls on either side of you reach high into the darkening sky--the smell of fresh air is exhilarating after your travails within the depths of the castle. This short hallway was once covered in lush red carpet, but its exposure to the elements and its proximity to a trigger-happy warlock have scorched and rotted it, exposing the cobblestones beneath. Black mold grows on the few patches of carpeting that remain. West is the large oaken door you so recently fled through; east you can see into the the lighted study of the dread warlock Do'papoc.\n\n> You examine the mold\nThe black mold is in an advanced state of growth.\n\n> You examine the carpet\nThe surviving bits of the red carpet are covered in mold.\n\n> You look at cobblestones\nThe exposed cobblestones are smooth and worn by the passage of time.\n\n> Smell\nFresh air with a hint of ozone. Damp mold and rotting wood, the kind of smell found under logs.\n\n> You go east\nThe sumptuously decorated study of Do'papoc is decorated in bookshelves, full of tomes radiating power. A large, bone-white candle drips wax onto an oaken table, shedding light on a large, ancient spellbook and a terribly inaccurate globe.\n\nAn aged man dressed in black robes sits at the table. Looking up from his book, he chuckles, shaking his head.\n\n\"You poor, miserable fool!\", he says. \"If only you had found the obnoxious parrot, preparing beforehand with the funyun, bismol, and formic spells... then you may have stood a chance against me! But now, the might of the brussel spell will turn you into 7,904 individually wrapped jawbreakers!\"\n\nBefore you can react, the warlock casts a spell at you! It tingles a bit, but its most noticeable effect is its complete and utter failure at turning you into so many as ten individually wrapped jawbreakers.\n\nDo'papoc looks extremely embarrassed and hastily consults the online documentation for the brussel spell. \"Blast!\", he spouts, tearing at his beard. \"The brussel spell is for ages 12 and up! Local Sorcerers 503 was clever to send a mere child to do battle with me!\" Reaching for his spellbook, the warlock becomes calmer and more pensive. \"No matter,\" he muses with a snarl. \"I'll simply make use of 'brussel junior', the brussel spell for the younger set!\"\n\nDo'papoc turns to his book and begins furiously memorizing a spell! You've only got one shot at this--whatever you do, it'd better be good!\n\n> You learn the formic\nUsing your best study habits, you commit the formic spell to memory.\n\n> Spells\nYou have the formic spell, funyun spell and bismol spell memorized.\n\n> Spellbook\nThis slight, spiral-bound tome has \"Isqui's Spellbook\" written on the blue cover. It contains seven spells, laboriously copied from your school textbook. Unfortunately, your school textbook, \"Harry Potter and the 2000 Middle School Magical Education Standards\", tends to focus less on the \"cause mighty warlock to tremble in fear\" type spells and more on the \"subject target to sharp kick in pants\" type spells. In fact, \"subject target to sharp kick in pants\" is probably your best spell, apart from \"open even locked or enchanted objects\", which you can't even memorize anymore, since you got strawberry jam all over the runes.\n\nYour spellbook contains the following spells:\nfunyun spell: cause spell caster to memorize wrong spell.\ngeordi spell: bring simulacrum of animal to life.\nfoobar spell: make the inedible edible.\nrekn0g spell: Bj*e,ev%n.l/((-%d o(fen.na5t*d o2*l70.\nbismol spell: subject target to sharp kick in pants.\nformic spell: summon being's mother.\neldspa spell: sharpen pencil.\n\n> You learn the geordi\nUsing your best study habits, you commit the geordi spell to memory.\n\n> You learn the rekn0the g.\nUsing your best study habits, you commit the rekn0g spell to memory. You have so much buzzing around in your head, though, that it's likely something may have been forgotten in the shuffle.\n\n> You learn the bismol\nUsing your best study habits, you commit the bismol spell to memory once again. You have so much buzzing around in your head, though, that it's likely something may have been forgotten in the shuffle.\n\n> Spells\nYou have the bismol spell (twice), formic spell and funyun spell memorized.\n\n> You learn the eldspa\nUsing your best study habits, you commit the eldspa spell to memory. You have so much buzzing around in your head, though, that it's likely something may have been forgotten in the shuffle.\n\n> Spells\nYou have the eldspa spell, bismol spell, formic spell and funyun spell memorized.\n\n> You learn the geordi\nUsing your best study habits, you commit the geordi spell to memory. You have so much buzzing around in your head, though, that it's likely something may have been forgotten in the shuffle.\n\n> Geordi parrot\nThe parrot suddenly comes alive in your hands! Squawking and swearing in the gravelly tongue of the parrots, it wrests free from your grasp and perches on your head.\n\n> You examine the parrot\nWhile a humble simulacrum, the parrot was a genteel if unwieldy companion. Your gift of life seems wasted on it, as the animate parrot is smelly, raucous, prone to shed feathers, and fond of perching on your head.\n\n> Spells\nYou have the bismol spell, formic spell and funyun spell memorized.\n\n> Formic parrot\nYou're the closest thing the parrot has to a mother, and you're already here.\n\n> You examine spellbook\nThis slight, spiral-bound tome has \"Isqui's Spellbook\" written on the blue cover. It contains seven spells, laboriously copied from your school textbook. Unfortunately, your school textbook, \"Harry Potter and the 2000 Middle School Magical Education Standards\", tends to focus less on the \"cause mighty warlock to tremble in fear\" type spells and more on the \"subject target to sharp kick in pants\" type spells. In fact, \"subject target to sharp kick in pants\" is probably your best spell, apart from \"open even locked or enchanted objects\", which you can't even memorize anymore, since you got strawberry jam all over the runes.\n\nYour spellbook contains the following spells:\nfunyun spell: cause spell caster to memorize wrong spell.\ngeordi spell: bring simulacrum of animal to life.\nfoobar spell: make the inedible edible.\nrekn0g spell: Bj*e,ev%n.l/((-%d o(fen.na5t*d o2*l70.\nbismol spell: subject target to sharp kick in pants.\nformic spell: summon being's mother.\neldspa spell: sharpen pencil.\n\n> You learn the awkgrep\nUsing your best study habits, you commit the awkgrep spell to memory. The parrot squawks woodenly.\n\n> Awkgrep\nThere is a puff of smoke, and Tim the demon appears next to your shoulder. Noticing the parrot on your head, Tim buzzes frantically and vanishes back into his native plane.\nWith a final screech, the obnoxious parrot reverts to its inanimate form and plummets lifeless to the ground.\n\n> Wait\nTime passes.\nWith a final screech, the obnoxious parrot reverts to its inanimate form and plummets lifeless to the ground.\n\n> Awkgrep\nIn a puff of smoke, Tim the demon appears next to your shoulder. \"Tim!\", he says, indicating himself. He shows no sign of recognizing you from previous summons, but begins buzzing around your head, awaiting your instructions.\n\n> Hi\nBzzzz!\n\n> Kiss tim\nKissing a demon is a federal offense.\n\n> You eat tim\n(first taking Tim the demon)\nTim buzzes out of your reach.\n\nTim whistles a demonic tune.\n\n> You ask Tim about the rekn0g\nThere is no reply.\n\nTim buzzes urgently.\n\n> You make you a the sandwich\nBzzzz!\n\nThere is a pop, and Tim is gone from this plane.\n\n> You learn the geordi\nUsing your best study habits, you commit the geordi spell to memory.\n\n> Geordi parrot\nThe parrot suddenly comes alive! Squawking and swearing in the gravelly tongue of the parrots, it flaps into the air and perches on your head.\n\n> Funyun do'papoc\nDo'papoc seems confused momentarily, and shakes his head as if to clear his eyes, then goes back to his book and finishes the preparations for his spell.\n\nDo'papoc points at you and utters a word of power: \"bokbar!\"\n\nUnsurprisingly, nothing happens. The bokbar spell is \"turn human into parrot\", and since there is already a parrot in the vicinity, the enchantment has no effect. (Wow, I guess those arbitrary, inconvenient limitations on spells cut both ways!)\n\nDo'papoc is not pleased, and, shamelessly disregarding the rules of turn-based magical combat, casts another spell at you. Suddenly, a sheepish-looking goblin carrying a dagger appears and cowers in the corner. \"Kill!\", demands the warlock, pointing at you, and the whimpering goblin begins a valiant attempt to approach you menacingly without ever reducing the distance between you and him.\n\n> Bismol goblin\nThe goblin squeals and leaps into the air, clutching his posterior. Waving his knife, he flees through a side passageway into the depths of the keep.\n\"Bah!\", expectorates the warlock. \"Enough of this! I will destroy you and your pathetic but exceedingly well-chosen spells with one mighty blow!\"\n\nReaching into his pocket, Do'papoc tosses a handful of magical dust into the air, speaking a summons of great power -- \"borax!\"\n\nThe dust explodes, filling the air with smoke, and from the billowing black clouds emerges a bronzed warrior, clad in equally bronze mail and carrying a decidedly steely bast--er, broadsword. He looks at you with a smirk, and, nodding his head in acknowledgement of an unheard order, begins to stride purposefully towards you.\n\n> Spells\nYou have the bismol spell and funyun spell memorized.\n\n> You learn the formic\nUsing your best study habits, you commit the formic spell to memory.\n\n> Inventory\nYou are carrying:\na Canadian quarter\na spelling book\na plush frog\nyour identity bracelet (being worn)\n\n> You look at the canadian\nA newly minted millennial Canadian quarter. You're not sure how you ended up with it.\n\n> You examine the spelling\nA sixth-grade spelling book, with lists of words and definitions. Words that are spelled oddly--one or two per lesson--are for some reason given the name of 'snurks'. You're not really sure how you ended up with the book.\n\n> Spells\nHuh?\n\nLalrry makes a long-winded, heartfelt speech which you can't understand at all.\n\n> You give quarter to Lalrry\n\"I don't understand what you're trying to do,\" says Lalrry, rejecting your offer.\n\n\"Fabulous, fabulous, fabulous!\"\n\n> Guess disembark\n\"Sorry,\" says Lalrry, \"but I need a shiny from before can GUESS THE!\"\n\nLalrry briefly pulls you aside. \"The crowned of have guessed at my,\" he says confidentially. \"The Queen was quite on, although the of would hear of but, rather, should say.\" You nod in what you hope looks like agreement.\n\n> You turn on blue\nThat's already on."
    },
    {
        "text": "[Themes: plague, ghost hunt, house setting, male protagonist, sleep, rat, gothic, horror, pillow]\n\n\"Poh! I'm short a hundred florins on rent money!\"\n\nLorenzo snickers. \"I'll give you a hundred to spend the night in Count Ruggino's house.\"\n\n\"I'll do it! Wait. Why Ruggino's?\"\n\n\"He's a suicide. They say his house is haunted.\"\n\n\"Haunted? I don't believe in ghosts.\"\n\n\n\nCount Ruggino's house lours in the dim air like a gathering of gravestones. The road makes a circle before it, then runs north back to Firenze.\n\nA heavy wooden door leads in to the south.\n\nA statue stands in the center of a dry fountain.\n\n[Author's Note: A distressing episode in the life of Rinaldo di Gorgonzola.]\n\n> You look at the statue\nA statue in grey stone, of a grim-faced angel with arms crossed over chest.\n\n> You look at the fountain\nIt's cracked all around and scaled with green-black scum.\n\nIn the fountain is a brass key.\n\n> You take key\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of Lorenzo\n\n> You examine the poniard\nA short dagger with a plastic handle. It would be useless against ghosts, but you don't believe in ghosts anyway.\n\n> You look at Worm\npaperback, written by your friend Viviana. It is just the kind of tale to take your mind off this current outbreak of the Pestilence.\n\n> You examine the sachet\nThe scent of the herbs is meant to block out any pestilential fumes you might encounter.\n\n> You remember Lorenzo\nLorenzo, left arm akimbo, is holding out his right to shake on\nyour wager. His hair is looking particularly shiny this morning.\n\nYou remember Lorenzo's hair.\n\n> You check your inventory\nYou are carrying:\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of Lorenzo's hair\na memory of Viviana writing\n\n> You remember the viviana writing\nViviana is crouched over her typewriter in the tower garret of Lorenzo's father's mansion. She looks up and shouts at you: \"Get out! Unless you have coffee.\"\n\nYou remember Viviana's typewriter.\n\n> You remember viviana's typewriter\nIt's a stormy evening, and Viviana's typewriter has a broken key.\nShe is kind enough to let you try to fix it, though you actually only manage to damage it further. \"It's okay,\" she says, \"Lorenzo's going to buy me a new one.\" There's a smudge of ink on the bridge of her nose, and your hands are likewise stained.\n\nYou remember your first sight of Viviana.\n\n> You remember your first sight of Viviana\nYour first glimpse of Viviana is in a coffee shop stained red with setting sunlight. She has a sheaf of manuscript pages with her, and is holding a red pen in her mouth while she shuffles them. The pen is leaking, so it looks like a drop of blood is tracking down the side of her chin.\n\nYou remember first meeting Viviana."
    },
    {
        "text": "[Themes: male protagonist, pillow, house setting, rat, gothic, ghost hunt]\n\n> Look around\nCount Ruggino's house lours in the dim air like a gathering of gravestones. The road makes a circle before it, then runs north back to Firenze.\n\nA heavy wooden door leads in to the south.\n\nA statue stands in the center of a dry fountain.\n\n> You look at the statue\nA statue in grey stone, of a grim-faced angel with arms crossed over chest.\n\n> You open door\n(first unlocking the heavy wooden door)\n(with the brass key)\nYou open the heavy wooden door.\n\n> You go to the south\nA high-ceilinged hall whose walls press close side to side. The wallpaper hangs in moldy strips. The floor is warped and heaved like a road in winter. A staircase goes up.\n\nA heavy wooden door leads out to the north.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\n> You examine the painting\nThe painting is comprised of green, blue, pink and yellow arcs and wedges, and it seems to represent... hmm... a bouquet of flowers?\n\n> Keep going\nThe painting is comprised of green, blue, pink and yellow arcs and wedges, and it seems to represent... hmm... a bowl of fruit?\n\n> You close the door\nYou close the heavy wooden door.\n\n> Go upwards\nDusty beams slant overhead like the branches of some neglected, geometric forest. The carpet sags in divots where the floor beneath has subsided. There is a stairway down, and a dusty room to the east.\n\n> Go east\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is a forbidding portrait.\n\nAcross from the bed is an armchair.\n\nOn the armchair are a dusty, desiccated corpse and a gold-plated automatic pistol.\n\n> You examine the pistol\nAn expensive-looking, if also ridiculous-looking, gun.\n\n> You examine the corpse\nThis must be the unfortunate Count Ruggino. He's dried out and fragile as a mummy.\n\n> You take the pistol\nTaken.\n\n> You look under the bed\nUnder the bed you find a suitcase. You fish it out.\n\n> You open the suitcase\nYou open the suitcase, revealing a travel pillow.\n\n> You look at the pillow\nA slip of foam inside a rag, or, a pathetically thin travel pillow.\n\n> You look at the portrait\nAn old man with an expression of steely confidence. Perhaps one of the more frightening Popes?\n\n> Shoot portrait\n(first taking the forbidding portrait)\nTaken.\n\nA horrifying stain, formerly hidden by the forbidding portrait, is revealed on the wallpaper below the hook.\n\nThe forbidding portrait lacks a trigger.\n\n> You look at the stain\nIt is the blackish green of mildew and shaped like satan holding a pitchfork.\n\n> Go west\nDusty beams slant overhead like the branches of some neglected, geometric forest. The carpet sags in divots where the floor beneath has subsided. There is a stairway down, and a dusty room to the east."
    },
    {
        "text": "> Go downwards\nA high-ceilinged hall whose walls press close side to side. The wallpaper hangs in moldy strips. The floor is warped and heaved like a road in winter. A staircase goes up.\n\nA heavy wooden door leads out to the north.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\n> You take abstract\nTaken.\n\n> You put forbidding on the hook\nYou hang the forbidding portrait on the hook.\n\n> You go to the east\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. A horrifying stain, shaped a little bit like satan holding a pitchfork, mars the wallpaper beneath the hook.\n\nAcross from the bed is an armchair.\n\nOn the armchair is a dusty, desiccated corpse.\n\n> You put abstract on the hook\nYou hang the abstract painting on the hook, hiding the satanic stain from sight.\n\n> You shoot the pistol\nNothing happens. It looks like the safety is on.\n\n> You check the safety\nThe safety is currently switched on.\n\n> Examine dome\nFine plasterwork, though it could do with a cleaning.\n\n> Switch safety\nYou switch the safety off.\n\n> Switch safety\nYou switch the safety on.\n\n> You shoot the pistol\nClick. It must be out of bullets."
    },
    {
        "text": "[Themes: ghost hunt]\n\n> Look around\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\nOn the armchair is a dusty, desiccated corpse.\n\n> Go east\nThis little railed platform sticks out like a wart from the top of Count Ruggino's house. What a view!\n\n> You look at the view\nAway to the east stretch dark hills dotted with stands of poplar, and the sky is speckled with glittering stars.\n\n> You remember\nYou recall:\na memory of meeting Viviana\na memory of Lorenzo's hair\n\n> You remember lorenzo's hair\nLorenzo's hair, shiny with gel, is slicked back, except for one\ncurved strand which keeps falling across his eyes almost--but not quite--as if against his wishes.\n\nYou remember Lorenzo's eyes.\n\n> You remember lorenzo's eyes\nexperimental drinking with Viviana, Camilla, and you.\n\nYou remember a night of drinking.\n\n> You remember meeting Viviana\nViviana looks up at you from her manuscript. \"Yes?\" A bit\nbrusque... Still: \"I believe this is yours,\" you say, and hold up the page she dropped outside. And you don't see her for another six months, until she is hired to ghost-write the memoir of your old friend Lorenzo's father.\n\nYou remember meeting Camilla.\n\n> You remember meeting Camilla\nA hot, wilted afternoon. Viviana has brought her friend Camilla to\nher garret. Camilla is holding a flask of pale green liqueur. Camilla smiles at you before even learning your name. \"Want a sample?\"\n\n> You remember a the night of the drinking\nMidnight is dead and in its grave. You are holding some dreadful potion of Camilla's up to the light bulb: it looks like a cocktail of antifreeze and rosewater. Camilla is laughing, already drunk out of her skull on the concoction.\n\nYou remember Camilla laughing.\n\n> About yourself\nYou are Rinaldo di Gorgonzola. About you, above all, let it be said that you do not believe in ghosts.\n\n> You remember Camilla laughing\nCamilla's mouth is wide, her head tilted back in the shadows, her pupils dilated. She is laughing, with chemical assistance, at a joke just told by Viviana.\n\nYou remember Viviana's joke, and Camilla's workshop.\n\n> You remember the viviana's joke\nIn the carpeted rec-room basement of Lorenzo's father's mansion, Viviana has just told a joke: \"How is a plague doctor like an elderly heir? They are both running out of patients.\"\n\nYou remember Doctor Giallo's office.\n\n> You remember the camilla's workshop\nCamilla in her workshop, lit by harsh fluorescent light. Flasks\nand alembics clutter the wooden surfaces. Camilla's white coat is speckled with holes from acid. She casts you a quick smile from behind a rack of test tubes, and tells you about a gift she whipped up for you.\n\nYou remember Camilla's gift.\n\n> You remember the camilla's gift\nthe top of her head. \"I know you've been having trouble sleeping, so I made you a special little something. Do not take it just before operating heavy machinery, Rinaldo! Now we just need something to hide it in from Lorenzo...\" She leans down towards a drawer tucked beneath her workbench.\n\nYou remember Camilla's drawer.\n\n> You remember the camilla's drawer\nCamilla opens a drawer in her workbench and takes out a cheap, plastic-handled poniard. \"Ah. Here.\" She shows you how to open the secret compartment: first twist and then pull the handle.\n\n> Inventory\nYou are carrying:\na suitcase (open)\na travel pillow\na gold-plated automatic pistol\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of Doctor Giallo's office\n\n> Twist poniard\nNothing obvious happens.\n\n> Twist handle\nThe poniard's handle twists around with a click.\n\n> You pull the handle\nThe handle pulls an inch away from the blade, revealing a small cavity inside the poniard.\n\nIn the cavity is a tiny pill.\n\n> You look at the pill\nA tiny yellow pill with a pink \"C\" marked on it.\n\n> You remember the doctor giallo's office\nIt is a golden afternoon, and in his musty office, the famed\nDoctor Giallo is lecturing you about the medicinal value of dried toads. But it is hard to concentrate due to his distracting teeth--are they carved of agate?--and to the fact that your Uncle has just died of the Pestilence.\n\nYou remember Uncle Guglielmo.\n\n> You remember the uncle guglielmo\nIt is a summer day smeared with pollen. You are a boy, and Uncle Guglielmo has just galloped into the millpond in which you think you are drowning. It turns out the water only comes up to his waist, and your chest. Lorenzo is laughing on the bank.\n\nYou remember Uncle Guglielmo's funeral, and first hearing about Lorenzo.\n\n> You remember the uncle guglielmo's funeral\nUncle Guglielmo is being buried. Under clouds like a seal of lead,\nthe cemetery is a mess of holes and bulging graves. The priest stumbles over his lines. He misstates Guglielmo's name and keeps checking his watch. He has a nasty cough, himself.\n\nYou remember a bottomless grave.\n\n> You remember a the bottomless grave\nThe grave seems bottomless. Damp soil stretching down, down, down, little white flags of gravecloth whipping in a subterranean wind.\n\nThe image is stuck in your mind's eye like a thorn.\n\n> You remember first hearing about Lorenzo\nYou are very small, and holding your Uncle Guglielmo's hand.\nTogether you are walking through a field towards the mansion he has just been hired on at, as director of security. \"There's even a little boy who lives there. His name is Lorenzo.\"\n\nYou remember your first sight of Lorenzo.\n\n> You remember the first sight of Lorenzo\nThe mansion towers above you. \"Hey!\" comes a shout, and you look\nup reflexively. The apple hits you in the forehead. Through tears you see a small laughing face peering through an open attic window. Yes, that's Lorenzo.\n\nYou remember Lorenzo's father.\n\n> You remember the lorenzo's father\nA dour man comes out of the front door to meet you and your uncle.\nHe leans on a skull-handled cane. He eyes the apple lying in the dust and then stares at you as if appalled at your wastage of food. \"To begin with, Guglielmo,\" says Lorenzo's father, \"while you are in my employ, I'll expect better discipline from the child.\"\n\n> You check what you're carrying\nYou are carrying:\na suitcase (open)\na travel pillow\na gold-plated automatic pistol\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of a bottomless grave\n\n> Smell sachet\nIt smells of medicinal herbs which are highly rare, expensive, and efficacious (according to the doctor who sold it to you).\n\n> You read the book\nYou brought it along to read in bed to help you fall asleep.\n\n> You go inside\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\nOn the armchair is a dusty, desiccated corpse.\n\n> You take the corpse\nYou gently lift the desiccated corpse of Count Ruggino from the armchair.\n\nIts arm falls off and hits the floor, then rolls out of sight beneath the bed.\n\n> Go east\nAs you carry the torso out the door, it crumbles further. You end up up hanging onto the leg; the rest of the torso falls to the ground and is left behind in the bedchamber.\n\nThis little railed platform sticks out like a wart from the top of Count Ruggino's house. What a view!\n\n> You check your inventory\nYou are carrying:\na withered leg\na suitcase (open)\na travel pillow\na gold-plated automatic pistol\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of a bottomless grave\n\n> You examine leg\nA withered leg, light as papier-m\u00e2ch\u00e9.\n\n> You throw the leg\nDropped.\n\n> Go inside\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\nYou can also see a torso here.\n\n> You examine the torso\nA torso, light as papier-m\u00e2ch\u00e9.\n\n> You check what you're carrying\nYou are carrying:\na suitcase (open)\na travel pillow\na gold-plated automatic pistol\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of a bottomless grave\n\n> You take the torso\nYou gently lift the desiccated torso.\n\nThe head falls off and hits the floor.\n\n> You examine the head\nA withered head, light as papier-m\u00e2ch\u00e9.\n\n> You take the head\nThese body parts are slippery little devils! As you grab the head the torso slips out of your grasp.\n\n> Go east\nThis little railed platform sticks out like a wart from the top of Count Ruggino's house. What a view!\n\nYou can see a withered leg here.\n\n> You drop the head\nDropped.\n\n> You go west\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\nYou can also see a torso here.\n\n> Go east\nThis little railed platform sticks out like a wart from the top of Count Ruggino's house. What a view!\n\nYou can see a withered head and a withered leg here.\n\n> Go west\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\n> You get on the bed\nYou get onto the four poster bed.\n\n> You check what you're carrying\nYou are carrying:\na suitcase (open)\na travel pillow\na gold-plated automatic pistol\na brass key\na poniard\na sausage\nThe Return of the Worm\nan herbal sachet\n\nYou are wearing:\na shiny black raincoat\na silk shirt\na pair of slacks\na pair of wingtip shoes\n\nYou recall:\na memory of a bottomless grave\n\n> You eat the pill\nYou dry swallow the pill.\n\nAfter a few moments your mind drains empty of anxiety. You feel still and slow and cool, like an undisturbed pond.\n\n> You read the book\ndebauched bank vice-president Cesare, having been bitten by a venomous spider hidden inside a cash bag by the duplicitous teller Otto and doomed to death within the day, dooms in turn his lover Astrid's secret lover's second lover by tricking her into touching a poison-coated safety deposit box key.\n\nYour eyelids have grown heavy, and you think you are ready to fall asleep.\n\n> Sleep\nBut you're still wearing your pair of slacks!\n\n> Undress\nYou take off the shiny black raincoat.\n\nYou take off the pair of wingtip shoes.\n\nYou take off the silk shirt.\n\nYou take off the pair of slacks.\n\n> Sleep\nYou're a little hungry. You'll need a snack before you can fall asleep.\n\n> You eat the sausage\nThat was spicy and delicious.\n\n> Sleep\nYou'll never be able to fall asleep while holding that pair of slacks.\n\n> You drop all\nsuitcase: Dropped.\ngold-plated automatic pistol: Dropped.\nbrass key: Dropped.\nponiard: Dropped.\npaperback book: Dropped.\nherbal sachet: Dropped.\nshiny black raincoat: Dropped.\nsilk shirt: Dropped.\npair of slacks: Dropped.\npair of wingtip shoes: Dropped.\n\n> Sleep\nYour eyes close. Your breathing slows. You start to drift off. Then you roll over onto the poniard, which for some reason is in the bed with you, and you come fully awake again.\n\n> You take all\npair of wingtip shoes: Taken.\npair of slacks: Taken.\nsilk shirt: Taken.\nshiny black raincoat: Taken.\nherbal sachet: Taken.\npaperback book: Taken.\nponiard: Taken.\nbrass key: Taken.\ngold-plated automatic pistol: Taken.\nsuitcase: Taken.\ntravel pillow: Taken.\n\n> You get up\nYou get off the four poster bed.\n\n> You drop all\ntravel pillow: Dropped.\nsuitcase: Dropped.\ngold-plated automatic pistol: Dropped.\nbrass key: Dropped.\nponiard: Dropped.\npaperback book: Dropped.\nherbal sachet: Dropped.\nshiny black raincoat: Dropped.\nsilk shirt: Dropped.\npair of slacks: Dropped.\npair of wingtip shoes: Dropped.\n\n> Sleep\nA horripilation comes over you... You'll never be able to fall asleep while that horrible withered withered arm is under the bed.\n\n> You take the arm\nThat's fixed in place.\n\n> You look under the bed\nUnder the bed you find a withered arm. You fish it out.\n\n> You take the arm\n(the armchair)\nThat's fixed in place.\n\n> You go east\nThis little railed platform sticks out like a wart from the top of Count Ruggino's house. What a view!\n\nYou can see a torso, a withered head, and a withered leg here.\n\n> Go west\nA chamber with a stifling atmosphere. The ceiling is a plaster dome, still intact, though marbled with ghostly mold. The floor is invisible beneath layered carpets and dust clots. The hall is west, and to the east is a doorway to a tiny balcony.\n\nIn the center of the room is a four-poster bed.\n\nOn the four poster bed is a travel pillow.\n\nThere is a small hook on the wall. Hanging on the hook is an abstract painting.\n\nAcross from the bed is an armchair.\n\nYou can also see a pair of wingtip shoes, a pair of slacks, a silk shirt, a shiny black raincoat, an herbal sachet, a paperback book, a poniard, a brass key, a gold-plated automatic pistol, and a suitcase (empty) here.\n\n> You get on the bed\nYou get onto the four poster bed.\n\nOn the four poster bed you can see a travel pillow.\n\n> Sleep\nYour eyes close. Your breathing slows. Your cheek deadens against the travel pillow. You drift off and experience a hectic dream...\n\nCount Ruggino is as good-looking as ever. Count Ruggino is\ncarrying a gold-plated pistol. Count Ruggino shoots himself with the gold-plated pistol. Click. It must be out of bullets. Click. Count Ruggino's arm falls off and rolls under the bed. Click. Count Ruggino looks under the bed and fishes out his arm. Count Ruggino's leg falls off. Count Ruggino picks up his leg and his head falls off. Click. Count Ruggino sees a rat, a rat, a rat, and a rat here. Count Ruggino picks up a rat and his head, and his nose falls off. Click. Click. Count Ruggino eats a sausage and a sleeping pill. Count Ruggino picks up a rat and a rat and drops a rat. Count Ruggino unlocks his head. Count Ruggino opens his head, revealing a rat. Count Ruggino unlocks his leg. Count Ruggino opens his leg, revealing a rat. Count Ruggino picks up a rat, a rat, and a rat. Count Ruggino drops his head and it rolls under the bed. Click. A rat picks up a rat and a rat and drops a rat. A rat opens a rat, revealing a rat. A rat jumps up and down on the spot, fruitlessly. A rat wouldn't like that. A rat wouldn't like that. It is pitch black, and Count Ruggino can't see a thing!\n\nYou awaken at sunrise to find the bedchamber filled with rosy light.\n\nSunrise (on the bed)\nYou can't see much of anything due to the reddish light that floods the room via a narrow doorway to the east.\n\n> You get up\nYou get off the bed."
    },
    {
        "text": "[Themes: house setting, plague, rat]\n\n> Look around\nSunrise?\nYou can't see much of anything due to the reddish light that floods the room via a narrow doorway to the east.\n\n> Go east\nFrom the east shines an overpowering roseate light, though the sky is still dark, and speckled with stars like freckles of pestilential blood.\n\nA gleaming red form flies towards you through the air.\n\nThat's not the sun.\n\nWhen the form comes closer you see that it is an angel dressed all in red gauze. A plague angel! Its scarves flutter behind like stage flames as it drifts closer.\n\nThe angel hovers several yards past the railing of the balcony. Its androgynous smile is hard, carved from rock candy. It reaches into a red box tucked beneath its arm, and then casts its hand towards you, like it is feeding grain to chickens. Red-black flakes fall on your face, sink into your skin. So this is how the plague is spread. You always thought it had something to do with bad night air or snakes.\n\n(At least it's not ghosts.)\n\nMid-morning.\n\nLorenzo is laughing so hard he's about to throw up. \"You should see your face!\"\n\n\"I don't have to see my face,\" you say. \"I have my face.\"\n\n\"I'm really sorry,\" says Camilla, and she seems almost sincere.\n\n\"About what? The, the spiked pill you gave me? Or the, what was that thing, a store mannequin rigged up with a red spotlight and dangling on a zip line?\"\n\n\"The fake plague angel was totally Lorenzo's idea,\" says Camilla.\n\n\"I made the papier-m\u00e2ch\u00e9 corpse, too.\" Lorenzo shakes his\nhead, wipes away tears of laughter.\n\n\"My money,\" you say, holding out your hand.\n\nLorenzo snorts. \"You think I have that kind of cash? My dad keeps me on a strict allowance. I'm more broke than you.\"\n\nWhat a rotten day.\n\nBut a month later Lorenzo's dead, of the real Pestilence, and you are driving his father's cherry-red Aceto west towards Avignon. Supposedly Avignon is plague free, which leaves just a pesky anti-pope to put up with. Viviana is sitting in the passenger seat, her hair blowing every which way, a manuscript in her lap. Camilla is squeezed in between you. And that you don't mind at all.\n\n> Note\nIn John Webster's play The White Devil, the poisoned\ncharacter Bracciano hallucinates on his deathbed. After seeing the devil, who wears a blue bonnet, breeches, and a great cod-piece \"stuck full of pins with pearls o'th' head of them,\" he cries out: \"Look you, six gray rats that have lost their tails crawl up the pillow; send for a rat-catcher.\" Of the many creepy, weird images in the play, the rats on the pillow might be my favorite. The phrase, which also sounds a little like the title of a giallo, struck me enough to borrow\nhere. If Rinaldo manages to fall asleep with the travel pillow on the bed the connection to this story is made a little less tenuous.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or read the author's NOTE?"
    },
    {
        "text": "[Themes: Children's, Fantasy, children, kids, kids children, dragon, kid-friendly]\n\nThe faces of the council members look grim. Gilgern continues to speak.\n\"Of course, something must be done soon,\" he says in that gruff, hearty voice you have come to dislike so much. \"Must restore public confidence and encourage the return of people to the land. Can't just leave the place to the likes of dragons and trolls. We must all make money again. Isn't as though it's just arrived, dragon's been there for years. Just that people found out about it, that's all.\"\nMarzipam looks round nervously at the others in the so-called Council of the Wise.\n\"Of course, we can't afford to pay you much. We are just poor men ourselves. Think of this more as a civic duty...\" he wheezes.\nAround you the other travellers and adventurers shift nervously. Gilgern hurriedly adjusts his glasses and glances down at the scroll in front of him. \"Says here that the Great Worm can be beaten,\" he goes on. \"Sword of Erondil is the only weapon which can penetrate a dragon's scaly hide. Enchanted weapon, you see. Last seen many years ago in the Castle of Abercorn. Big, ugly place. Near the sea, I think, if memory serves me right. Dragon must be getting a bit careless and lazy by now. Been there all that time. Stands to reason. Might get in a lucky hit or something.\"\nMarzipam breaks in. \"Or there's the spell, I suppose. The dragon is supposed to be held in place under an old enchantment, though that's perhaps just an old tale. Break the spell and the dragon will leave, the story goes...\"\n\"Well, which of you is interested?\" Gilgern looks across at you and the other adventurers. You begin to wish you had never set foot in the town - it just happened to be on your journey, that's all. You've no wish to tangle with dangerous dragons or anything else.\nAs Gilgern looks down, you suddenly find that the other adventurers have all quietly taken a couple of steps back, leaving you out in the front.\n\"Splendid\", chortles Gilgern before you can say anything, \"We've one brave soul willing to risk their all for our little cause. Welcome, stranger...\"\nBefore you know it, you have been whisked away from the town square in a donkey and cart and deposited beside a track.\n\"Good luck - you'll need it!\" calls the driver over his shoulder, as he hurries away.\n\nWelcome to Dragon Adventure. You start your quest on a mountain path in the North-East...\n\nIt is a clear, bright morning and all seems peaceful. A tiny sparrowhawk wheels and soars lazily in the cool empty air above. There is a steep pathway to the south leading down into dense woodland, and you can make out an old building by the path. In the distance you can just glimpse the steel-grey of the sea, far away to the west.\n\nYou can go north, south, east or west."
    },
    {
        "text": "[Themes: Fantasy, Children's, kids children]\n\n> About yourself\nYou are wearing the traditional clothing of an adventurer...\n\n> Go south\nAn old, thatched building stands near the path. It seems to be an abandoned inn or tavern, as a faded sign reads 'Troll's Arms'. The walls are a dirty white and the paintwork is starting to peel and blister. The windows are covered in cobwebs and there is the faint odour of mildew and decay. Weeds grow between the flagstones of the path leading up to the door, which leans open. No-one seems to have lived here for years. A path leads north into the mountains and there seems to be some swampy ground to the west.\n\nYou can go north (to the mountains), west (towards a swamp) or east (into the inn).\n\n> Go east\nThere are a few patches of mould on the walls and the floorboards creak slightly, but the building seems safe enough. As you move you disturb a thin layer of dust. There are some stone steps leading down, and an open doorway to the outside to the west. You see some tables and chairs. There is a dark, intricately-carved wooden chair in the corner behind you.\n\nYou can go west (back outside) or down some steps.\n\nYou can see a magnificently carved chair here.\n\n> You look at the chair\nYou see the back of one chair is covered with fine carvings...\n\n> You examine the carvings\nThere is a carving of a goblin...\nHe seems to be holding something...\n\n> You examine the goblin\nThe goblin seems to be blowing a hunting horn...\nWait a minute...\nThere is a dragon carved next to the goblin!\n\n> You look at the floorboards\nThe floor is made of large, rather uneven rough floorboards, on which lie the remains of the scattered rushes once used as a floor covering.\n\n> You move the floorboards\nIt is fixed in place."
    },
    {
        "text": "[Themes: Children's, Fantasy, kid-friendly, children]\n\n> Go downwards\nThe cellar seems to have been formed from a natural cavern in the rock under the inn, which has been smoothed and extended to form a storage area for the sorts of things inns need to keep - casks and bottles and the like, which will remain cool in the slightly chill air. There are the remains of some old barrels, but almost everything else seems to have been removed from here long ago. Dim daylight filters down the open stairwell from the inn above, where there is a flight of steep stone steps. By the far west wall stand thick stalagmites which rise out of the floor like dragon's teeth, behind which is a dark opening. It might be your imagination, but you think you can just catch an occasional dry, rustling sound coming from deep inside the darkness. The uneven floor is covered in dust, and at first glance you see no signs of life apart from your own boot-prints.\n\nYou can go up (to the inn) or west (into the dark tunnel).\n\nYou can see an ancient silver coin and some barrels here.\n\n> You examine the coin\nThe coin is very old and made of silver. On one side you see the portrait of an ancient king, on the other there is a picture of a galloping horse. It looks quite valuable.\n\n> You take it\nTaken.\n\n> You look at the barrels\nThe barrels are now no more than rotten staves of dry wood, held together by the woodworm holding hands.\nYou have found a pewter mug...\n\n> You look at the mug\nYou see a plain, empty metal beer mug. It looks watertight.\n\n> Go east\nThe cellar seems to have been formed from a natural cavern in the rock under the inn, which has been smoothed and extended to form a storage area for the sorts of things inns need to keep - casks and bottles and the like, which will remain cool in the slightly chill air. There are the remains of some old barrels, but almost everything else seems to have been removed from here long ago. Dim daylight filters down the open stairwell from the inn above, where there is a flight of steep stone steps. By the far west wall stand thick stalagmites which rise out of the floor like dragon's teeth, behind which is a dark opening. It might be your imagination, but you think you can just catch an occasional dry, rustling sound coming from deep inside the darkness. The uneven floor is covered in dust, and at first glance you see no signs of life apart from your own boot-prints.\n\nYou can go up (to the inn) or west (into the dark tunnel).\n\nYou can see some barrels (which are empty) here.\n\n> Dig\n(the barrels)\nDigging would achieve nothing here.\n\n> You move the barrels\nThose are fixed in place.\n\n> You check your inventory\nYou are carrying:\na pewter mug\nan ancient silver coin\n\n> You examine the steps\nA flight of shallow stone steps leads downwards.\n\n> Go west\nAn old, thatched building stands near the path. It seems to be an abandoned inn or tavern, as a faded sign reads 'Troll's Arms'. The walls are a dirty white and the paintwork is starting to peel and blister. The windows are covered in cobwebs and there is the faint odour of mildew and decay. Weeds grow between the flagstones of the path leading up to the door, which leans open. No-one seems to have lived here for years. A path leads north into the mountains and there seems to be some swampy ground to the west.\n\nYou can go north (to the mountains), west (towards a swamp) or east (into the inn).\n\n> You examine the flagstones\nA narrow pathway of rough stone slabs leads through a small overgrown garden up to the inn doorway to the east. There are weeds growing between the flagstones. To the north you see a steep path up to the mountains, and the pathway continues into the dense woodlands to the south.\n\n> Go west\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\nA little man comes up to you and asks if you want to buy a box.\nYou can see a little man and a large cardboard box here.\n\n> Examine box\nYou see a large cardboard box on the ground by the little man's feet.\n\n> You examine man\nYou see a little man with a large cardboard box.\n\n> You buy the box\nThe little man takes the coin and leaves you the cardboard box.\nHe runs off, laughing...\n\n> You open the box\nYou see a lot of parts and an instruction sheet.\n\n> You examine sheet\nThe sheet reads...\n'Acme EASY-FIT Hang-Glider kit. All you need is a screwdriver...'\n\n> You examine the parts\nYou see an open cardboard box full of metal struts and pieces of canvas...\nThe label reads... 'Acme Hang-Glider Kit'.\n\n> You go to the south\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\n> You look at the cave\nYou see the dark opening of a cave amongst some rocks to the east. The air near the mouth of the cave smells a little fetid and stale, as you imagine might the lair of a wild animal such as a bear or mountain lion.\n\n> You go south\nNestling in a clearing amongst the trees is a tiny, thatched cottage. Smoke rises gently from the chimney. The little garden is badly overgrown, but the path leading to the doorway is fairly clear. You notice that the peeling door stands slightly open, but it has no knob or handle. The path leads south deeper into the trees, and continues north.\n\nYou can go north (along a path), south (deeper into the trees) or east (into the cottage).\n\n> You examine garden\nThe cottage has a small garden, though it is badly overgrown. Brambles and thistles now grow where once there must have been neat flower beds.\n\n> You examine the chimney\nThe cottage has a roof of thick thatch and a small brick chimney, from which you see a thin wisp of woodsmoke.\n\n> You examine the door\nThe cottage has a little wooden door, painted brown. There is no knocker. The door seems to be open...\n\n> Go east\nAs you go in, there is a crash and the door slams shut behind you...\n\nThe cottage has a homely, lived-in feel but is a little untidy. A fire burns in the grate. Someone has obviously been here recently,  but there is no-one around. The door is somehow shut tight, and you see no keyhole or door-knob.\n\nThere is no obvious way to get out.\n\nYou can see a wooden table and a nail behind the door (on which is a large iron key) here.\n\n> You examine table\nThe table has a fresh, white tablecloth.\nOn it you see a bunch of bananas...\n\n> You examine the bananas\nYou see a bunch of ripe, yellow bananas. They all seem quite fresh.\n\n> You examine the cloth\n(the wooden table)\nThe table has a clean, white tablecloth.\n\n> You examine the key\nYou see a large, dull iron key that must be for an ancient door.\n\n> You look at the nail\nA large, iron key is hanging on a nail behind the door.\n\n> You take the tablecloth\n(the wooden table)\nThat's fixed in place.\n\n> You take the nail\nIt's fixed in the door.\n\n> You examine grate\nA small fire is burning in the grate. Above the fireplace is a heavy stone mantelpiece with little shelves at the sides which hold some china pots. Across the top of the fireplace is a short line, on which two dishcloths are hung to dry (perhaps something of a fire hazard). By the side of the fire hangs an old, copper warming pan.\n\n> You examine the pots\nOn a small shelf by the side of the fireplace are some little china jars. They are all empty.\n\n> You look at the line\nThere is a short line running across the top of the fireplace. Pegged onto it are two small dishcloths, set out to dry (perhaps something of a fire hazard).\n\n> You look at the pan\nBy the side of the fireplace hangs a copper warming pan, of the type you might have seen in pictures in books. The idea is you put hot ashes in the pan and use it to warm up a cold bed before you get in.\n\n> You take the pan\nThe warming-pan has no use in this game...\n\n> You examine the floor\n(the floor)\nThe floor is made of large, irregular slabs of stone. It is slightly uneven. Near the fire is a thick, red rug.\n\n> You look at the rug\nThe floor is made of large, irregular slabs of stone. It is slightly uneven. Near the fire is a thick, red rug.\n\n> You move the rug\nIt is fixed in place.\n\n> You take the rug\nThat's hardly portable.\n\n> You examine the walls\nThe cottage has plain, whitewashed walls. There are a few cobwebs and a fine layer of dust on some of the surfaces. Whoever lives here has little interest in housework.\n\n> You examine the ceiling\n(the roof)\nThe ceiling above you is made of cream plasterwork, supported by dark wooden beams running the length of the room.\n\n> You examine the door\nThe door is shut tight. There is no keyhole, and no doorknob or handle. You see no way it can be opened. There is an old nail sticking out behind the door.\n\n> You check what you're carrying\nYou are carrying:\na bunch of bananas\na large iron key\na large box full of parts (which is open)\nan instruction sheet\na pewter mug\n\n> You eat the banana\nMmmm, lovely...\n\n> Inventory\nYou are carrying:\nsome banana skins\na large iron key\na large box full of parts (which is open)\nan instruction sheet\na pewter mug\n\n> You look at the skins\nYou see several banana skins.\n\n> You drop the skins\nDropped.\n\n> You fill the mug\nOK... you fill the mug with water from the lake.\n\n> You examine water\nIt just looks like ordinary water... it looks clean enough to drink or cook with.\n\n> You throw the water at fire\n(first taking the water)\nThat's hardly portable.\n\n> Inventory\nYou are carrying:\nsome banana skins\na large iron key\na large box full of parts (which is open)\nan instruction sheet\na pewter mug (full)\nsome water\n\n> You pour the water\nYou're not carrying anything you can pour...\n\n> Burn table\nThis dangerous act would achieve little.\n\n> You eat the skins\nThey're plainly inedible.\n\n> You look at the table\nThe table has a clean, white tablecloth.\n\n> Drink water\nGlug, glug... You drink the water in the mug...\n\n> You pull the dishcloths\nIt doesn't do much in this game...\n\n> You take the pots\nThey all seem to be glued to the shelf. Perhaps some clumsy person got tired of knocking them over...\n\n> You look at the tablecloth\n(the wooden table)\nThe table has a clean, white tablecloth.\n\n> You jump\nYou jump up and down...\n\n> Sing\nYour singing is abominable.\n\n> Pray\nNothing practical results from your prayer.\n\n> You buy the box\nThe little man takes the coin and leaves you the cardboard box.\nHe runs off, laughing...\n\n> You go to the south\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\n> You go south\nNestling in a clearing amongst the trees is a tiny, thatched cottage. Smoke rises gently from the chimney. The little garden is badly overgrown, but the path leading to the doorway is fairly clear. You notice that the peeling door stands slightly open, but it has no knob or handle. The path leads south deeper into the trees, and continues north.\n\nYou can go north (along a path), south (deeper into the trees) or east (into the cottage).\n\n> You go to the south\nGrey-green ferns brush your ankles as you move along the path, and the light filters dimly through the branches and leaves overhead. You hear the soft calls of woodland birds. The pathway leads north and continues west, deeper into the forest.\n\nYou can go north (along the path) or west (into the forest).\n\nYou can see an empty stone bird bath here.\n\n> You examine the bath\nYou see an empty stone bird bath.\n\n> You fill the mug\nOK... you fill the mug with water from the lake.\n\n> You pour the water\nYou fill the bird bath...\n\nA little bird flies down and uses the bath...\nIt drops a small candle stub at your feet...\n\n> You look at it\nYou see a small candle stub.\n\n> Full\nYou have so far scored 3 out of a possible 25, in 48 turns.\n\nThe score is made up as follows:\n\n\n\n3 total (out of 25)\n\n> Go west\nThe twisting path leads through an ancient forest. Red and blue butterflies dance above the grass and you can hear the soft calls of wood-pigeons in the trees. The leaves rustle gently in the morning breeze. The pathway leads east deeper into the forest and continues north, winding into the trees. There is an old tree-stump next to the path where once a great oak tree must have stood. It seems to be hollow in the centre.\n\nYou can go north (along a path) or east (further into the forest).\n\nYou can see a hollow tree stump here.\n\n> You look at the butterflies\nYou see some red and blue butterflies which dance in the still morning air of the forest.\n\n> You examine the stump\nYou look carefully at the hollow tree stump.\nYou have found a box of matches...\n\n> Examine box\nYou see a box of matches.\n\n> You go north\nDragonflies hum and hover, and you hear the occasional splash of feeding fish. You have a feeling of tranquility instilled by the placid, lazy waters. There is a little path winding between dense trees towards the south. You can see the start of a deserted gravel road to the north, and you can just make out the sea to the west.\n\nYou can go south (further into the trees), north (towards the road) or west (towards the sea).\n\nYou can see some long reeds here.\n\n> You examine the reeds\nYou see a mass of reeds that sway gently in the shallow water.\nLooking in the reeds, you find a sack. There is something inside...\n\n> You open the sack\nYou open the sack...\nInside is a reed flute...\n\n> You examine the flute\nThe flute is made of carved wood. It has a wide bulge near the mouthpiece, with two thin pipes coming down. One pipe is plain - the other one looks a little like a child's recorder, with small finger holes. There is a vibrating reed at the end where you blow. It looks quite hard to play.\n\n> You play the flute\nOK... squeeeak...\n(You don't know how to play it properly - perhaps you should find an instruction booklet...)\n\n> You look at the fish\nYou see some ripples in the surface of the water where fish seem to be feeding.\n\n> Go west\nYou hear the crashing sound of waves in your ears. White gulls wheel and play in the sky above, and you can taste the salt-spray on your lips. Pebbles crunch beneath your feet as you move. You can see the ruins of an old stone lighthouse to the south. There is a wasteland of sand dunes to the north, and forest trees to the east.\n\nYou can go north (towards wasteland), south (towards a lighthouse) or east (towards trees).\n\nYou can see a parachute here.\n\n> You examine the parachute\nYou see an old, rather alarming-looking parachute.\n\n> You examine the pebbles\nThe beach is composed of small pebbles and shingle, rather than sand. The small stones scrunch beneath your feet as you walk. The beach slopes gently down to the waves which rhythmically crash and hiss, and you hear the cries of gulls.\n\n> Go south\nThe ferocious power of ancient storms has long ago broken down and collapsed the lighthouse tower. There are the dense trees of a forest to the east, and more mountains in the far distance. Towards the north is a beach where the white surf hisses on the shingle and pebbles. The entrance to the ruined lighthouse is south. You can hear the cry of gulls in the cool, clear air.\n\nYou can go north (towards the beach) or south (into the lighthouse).\n\n> You look at the lighthouse\nYou see the ruins of an old lighthouse to the south.\n\n> You examine the trees\nYou see salty scrub and a few low bushes which somehow cling to the rocky and windswept ground. You see the ruined building of an old lighthouse, with its open entrance to the south\n\n> Go south\nYou stand in the ruins of a round room which is open to the sky. There are several narrow windows, and the floor is of rough, grey flagstones. Everywhere seems to be deserted. There is a narrow passageway in the eastern wall, leading into darkness. The passage roof looks a little unsafe.\n\nYou can go north (back outside) or east (into the dark passage).\n\nYou can see a mouldy old boot here.\n\n> You look at the boot\nYou see an old, mouldy boot.\nSomething is rattling in the bottom.\n\n> Empty boot\nA small screwdriver falls out of the boot...\n\n> You take the screwdriver\n(putting the pewter mug into the brown hessian sack to make room) Taken.\n\n> You look at the screwdriver\nYou see a small screwdriver.\n\n> You go east\nThe slight movement of your passing causes the unstable tunnel roof to collapse just behind you once you enter...\n\nIt is pitch dark, and you can't see a thing.\n\n> Go north\nYou hear the crashing sound of waves in your ears. White gulls wheel and play in the sky above, and you can taste the salt-spray on your lips. Pebbles crunch beneath your feet as you move. You can see the ruins of an old stone lighthouse to the south. There is a wasteland of sand dunes to the north, and forest trees to the east.\n\nYou can go north (towards wasteland), south (towards a lighthouse) or east (towards trees).\n\n> You go to the north\nA stretch of uneven waste ground stands closeby to a castle. There are old dunes covered in spiky patches of marram and couch grass. You can make out the old castle and its buildings away to the north. The blue-grey of the sea curves around in a wide arc to a beach towards the south.\n\nYou can go north (towards the castle), south (to the beach) or east (towards the trees).\n\nYou can see an old delivery bicycle here.\n\n> You examine the bicycle\nYou see an old-fashioned bicycle that might once have been used to deliver groceries for a small corner shop. It's painted black and seems quite an antique, though the wheels and chain look well-oiled and in good order. There is a small bicycle lamp firmly fixed to the front. Some gold lettering on the side of the large front basket reads, 'We Deliver'.\n\n> Ride bike\nAs you sit on the saddle the bicycle lamp comes on...\nThe bicycle suddenly moves off by itself...\n\nHelp! It's a magic bicycle!\nIt just goes by itself... you can't stop!\n\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a signpost here.\n\nYou just can't stop!\n\nA country road stretches to the south, its gravelled surface crunching slightly beneath your boots. It is bordered by trees and old hedgerows. Towards the east is a patch of swampy ground.\n\nYou can go east (towards the swamp) or south (along the road).\n\nYou can see a wooden signpost here.\n\nHelp! It's a magic bicycle!\n\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\nYou can see a large cardboard box here.\n\nAaaargh!! You splash through the swamp...\n\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\nHelp! You hurtle into the cave opening!\n\nYou are deep inside a cave. You are moving too quickly and hanging on too tightly to take much notice of anything...\n\nYou zoom through the tunnels!\nYou can't stop!\n\nYou whizz through a rock chamber...\n\nYou finally skid to a halt under the Dragon's nose...\nYou can feel its foul, fetid breath on your cheek...\n\nYou are underneath the (now slightly bruised) nose of an immense dragon which towers above you. It starts to move...\n\nYou can see an old delivery bicycle (providing light), a huge dragon and a pile of bones here.\n\n> Inventory\nYou are carrying:\na small screwdriver\na mouldy old boot\na parachute\na brown hessian sack containing:\na pewter mug\na reed flute\na box of matches\na small candle stub (unlit)\n\n> Go east\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a signpost here.\n\n> You examine signpost\nThe sign reads...\n'To the Castle of Abercorn'.\nThe sign points west...\n\n> You go north\nA country road stretches to the south, its gravelled surface crunching slightly beneath your boots. It is bordered by trees and old hedgerows. Towards the east is a patch of swampy ground.\n\nYou can go east (towards the swamp) or south (along the road).\n\nYou can see a wooden signpost here.\n\n> You examine signpost\nThe sign reads...\n'To the Castle of Abercorn'.\nThe sign points south...\n\n> Go east\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\nYou can see a large cardboard box here.\n\n> You take the box\n(the large cardboard box)\n(putting the small candle stub (unlit) into the brown hessian sack to make room)\nTaken.\n\n> You put it in the sack\nYou put the large cardboard box into the brown hessian sack.\n\n> You go to the north\nThe ruined forge stands just outside the castle. There is no roof, and the remains of thick stone walls are open to the sky. The castle itself is closeby to the north, its stone towers soaring upwards. There is desolate wasteland stretching away to the south.\n\nYou can go north (towards the castle itself), or south (to some wasteland).\n\nYou can see a brass lamp here.\n\n> You examine the lamp\nThe lamp is made of brass, and seems very old. It looks a little dirty, and could probably do with a good clean. There is some old writing engraved on the bottom... you can just make out a short inscription. It reads,\n'Alladin's Lamp Company'...\n\n> You rub lamp\nEverything seems to be spinning round...\nYou gaze around at your new surroundings...\n\nThe lamp flies out of your hand and disappears from sight...\n\nNestling in a clearing amongst the trees is a tiny, thatched cottage. Smoke rises gently from the chimney. The little garden is badly overgrown, but the path leading to the doorway is fairly clear. You notice that the peeling door stands slightly open, but it has no knob or handle. The path leads south deeper into the trees, and continues north.\n\nYou can go north (along a path), south (deeper into the trees) or east (into the cottage).\n\n> You put the lamp in the sack\nYou put the brass lamp into the brown hessian sack.\n\n> Go north\nThe hulk of a massive, stone castle towers into the sky above you. The walls are covered in grey lichen and moss, and seem to have stood here since the beginning of time itself. Set into the wall to the north you can see a large oak door, dark and weathered. There is a keyhole surrounded by a black iron plate. The ruins of the castle forge lie to the south. The door is locked, and there is no other way inside.\n\nThe only way you can go is south (to the forge).\n\nYou can see a small silver bell here.\n\n> You examine the bell\nYou see a delicate-looking, small silver bell, engraved with intricate swirling patterns.\n\n> You examine the door\nThe door is set deep into a thick archway in the massive walls. The door itself is made of oak, weathered dark over the centuries it has stood here at the castle entrance. There is a plain, black wrought-iron plate surrounding a keyhole. There is no knocker or handle.\nThe door is locked.\n\n> You ring bell\nYou ring the bell...\nYou hear the note of a horn answering in the distance...\n\n> You wait for a while\nTime passes.\n\n> You put the bell in the sack\nYou put the small silver bell into the brown hessian sack.\n\n> You go south\nYou can see an old delivery bicycle here.\n\n> Go east\nYou can see a signpost here.\n\n> You go north\nYou can see a wooden signpost here.\n\n> Go north\nIt is a clear, bright morning and all seems peaceful. A tiny sparrowhawk wheels and soars lazily in the cool empty air above. There is a steep pathway to the south leading down into dense woodland, and you can make out an old building by the path. In the distance you can just glimpse the steel-grey of the sea, far away to the west.\n\nYou can go north, south, east or west.\n\n> You examine the hawk\nYou see a little sparrowhawk gliding and soaring in the clear morning sky high above.\n\n> You go west\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\n> You look at what you're carrying with you\nYou are carrying:\na large iron key\na small screwdriver\na mouldy old boot\na parachute\na brown hessian sack containing:\na small silver bell\na large cardboard box\na small candle stub (unlit)\na pewter mug\na reed flute\na box of matches\n\n> You go to the south\nGrey-green ferns brush your ankles as you move along the path, and the light filters dimly through the branches and leaves overhead. You hear the soft calls of woodland birds. The pathway leads north and continues west, deeper into the forest.\n\nYou can go north (along the path) or west (into the forest).\n\nYou can see a stone bird bath (full of water) here.\n\n> Go west\nThe twisting path leads through an ancient forest. Red and blue butterflies dance above the grass and you can hear the soft calls of wood-pigeons in the trees. The leaves rustle gently in the morning breeze. The pathway leads east deeper into the forest and continues north, winding into the trees. There is an old tree-stump next to the path where once a great oak tree must have stood. It seems to be hollow in the centre.\n\nYou can go north (along a path) or east (further into the forest).\n\nYou can see a hollow tree stump (which is empty) here.\n\n> You go north\nThe Troll is chasing after you!\n\nDragonflies hum and hover, and you hear the occasional splash of feeding fish. You have a feeling of tranquility instilled by the placid, lazy waters. There is a little path winding between dense trees towards the south. You can see the start of a deserted gravel road to the north, and you can just make out the sea to the west.\n\nYou can go south (further into the trees), north (towards the road) or west (towards the sea).\n\nYou can see a huge Troll with a club and some long reeds here.\n\n> Go west\nThe Troll is chasing after you!\n\nYou hear the crashing sound of waves in your ears. White gulls wheel and play in the sky above, and you can taste the salt-spray on your lips. Pebbles crunch beneath your feet as you move. You can see the ruins of an old stone lighthouse to the south. There is a wasteland of sand dunes to the north, and forest trees to the east.\n\nYou can go north (towards wasteland), south (towards a lighthouse) or east (towards trees).\n\nYou can see a huge Troll with a club here.\n\n> You take the bell\n(putting the box of matches into the brown hessian sack to make room) Taken.\n\n> You go south\nThe ruined forge stands just outside the castle. There is no roof, and the remains of thick stone walls are open to the sky. The castle itself is closeby to the north, its stone towers soaring upwards. There is desolate wasteland stretching away to the south.\n\nYou can go north (towards the castle itself), or south (to some wasteland).\n\n> You take the bananas\n(putting the parachute into the brown hessian sack to make room) Taken.\n\n> You check what you're carrying\nYou are carrying:\na bunch of bananas\na large iron key\na small silver bell\na small screwdriver\na mouldy old boot\na brown hessian sack containing:\na parachute\na box of matches\na large cardboard box\na small candle stub (unlit)\na pewter mug\na reed flute\n\n> Go north\nThe hulk of a massive, stone castle towers into the sky above you. The walls are covered in grey lichen and moss, and seem to have stood here since the beginning of time itself. Set into the wall to the north you can see a large oak door, dark and weathered. There is a keyhole surrounded by a black iron plate. The ruins of the castle forge lie to the south. The door is locked, and there is no other way inside.\n\nThe only way you can go is south (to the forge).\n\n> You unlock the door with the key\nYou unlock the door to the castle.\n\n> You go north\nThe floor under your boots is made of smooth stone slabs, and you breathe air that is cold and chill. Your footsteps echo though the empty building. There is a fragile-looking spiral staircase of stone leading upwards.\n\nYou can go south (back outside) or up the stairway.\n\n> Go south\nThe hulk of a massive, stone castle towers into the sky above you. The walls are covered in grey lichen and moss, and seem to have stood here since the beginning of time itself. Set into the wall to the north you can see a large oak door, dark and weathered. There is a keyhole surrounded by a black iron plate. The ruins of the castle forge lie to the south. The castle door to the north is unlocked.\n\nYou can go south (to the forge), or north (into the castle).\n\n> You take the lamp\n(putting the mouldy old boot into the brown hessian sack to make room) Taken.\n\n> Go upwards\nThe stairs collapse behind you just as you reach the top...\n\nHigh on the tallest tower in the castle, the wind tugs and snatches at your clothing and hair. The ground is far below you. Heavy stone battlements edge the parapet, and you have an excellent view across the surrounding countryside.\n\nThere is no obvious way to get down.\n\nYou can see a monkey waving a sword and a booklet here.\n\n> You give the bananas to the monkey\nThe monkey takes a keen interest in the bananas, and inspects them carefully. He starts munching them, dropping the sword...\n\n> You take Sword\nThe ancient sword seems to come to life in your hand as you pick it up. The metal looks brighter, and the brass of the handle looks almost golden now. The sword seems to fit and balance in your hand as if it was made for you, and seems almost weightless in your grasp. It may be your imagination, but the whole blade seems to have a gentle blue glow, and you suddenly notice some strange runic lettering engraved on the blade in a language unfamiliar to you...\nTaken.\n\n> You take the booklet\n(putting the small screwdriver into the brown hessian sack to make room)\nTaken.\n\n> You read it\nYou see a detailed instruction booklet. On the front cover are the words:\n'How to Play - learn how to charm serpents and other dangerous reptiles with a reed pipe, and how to break old entrancements'...\nYou read through the booklet carefully...\n\n> You read the Sword\nYou see a very old sword. It has a thick, straight blade of dull grey metal, and a hilt of intricately-worked brass. It looks very sharp."
    },
    {
        "text": "> You describe your surroundings\nHigh on the tallest tower in the castle, the wind tugs and snatches at your clothing and hair. The ground is far below you. Heavy stone battlements edge the parapet, and you have an excellent view across the surrounding countryside.\n\nThere is no obvious way to get down.\n\nYou can see some banana skins and a monkey (munching the bananas) here.\n\n> You take the skins\n(putting the small silver bell into the brown hessian sack to make room)\nTaken.\n\n> Ride bike\nAs you sit on the saddle the bicycle lamp comes on...\nThe bicycle suddenly moves off by itself...\n\nHelp! It's a magic bicycle!\nIt just goes by itself... you can't stop!\n\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a signpost here.\n\nYou just can't stop!\n\nA country road stretches to the south, its gravelled surface crunching slightly beneath your boots. It is bordered by trees and old hedgerows. Towards the east is a patch of swampy ground.\n\nYou can go east (towards the swamp) or south (along the road).\n\nYou can see a wooden signpost here.\n\nHelp! It's a magic bicycle!\n\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\nAaaargh!! You splash through the swamp...\n\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\nHelp! You hurtle into the cave opening!\n\nYou are deep inside a cave. You are moving too quickly and hanging on too tightly to take much notice of anything...\n\nYou zoom through the tunnels!\nYou can't stop!\n\nYou whizz through a rock chamber...\n\nYou finally skid to a halt under the Dragon's nose...\nYou can feel its foul, fetid breath on your cheek...\n\nYou are underneath the (now slightly bruised) nose of an immense dragon which towers above you. It starts to move...\n\nYou can see an old delivery bicycle (providing light), a huge dragon and a pile of bones here.\n\n> You play the flute\nIt seems to be a very strange flute... it almost feels like it's playing all by itself...\nIt produces a beautiful and haunting, rhythmical melody...\n\nThe music seems to have a strange effect on the dragon... its great head gently sways, and its eyes lose their faraway, faded look and come to focus on you.\nThe magical sound of your playing has woken the Dragon from its deep enchantment...\n\nAll is quite silent, but a honeyed voice of ancient darkness creeps deep into your head.\n\n\"Who are you who disturbs my sleep?\" the creature asks slowly.\n\"I was imprisoned here by wicked charms in this cave where the water seeps, in the cold, dark heart of the mountain.\nI must guard gold, where caverns hold the lost treasure of ancient kings and other beings long since vanished from this world.\nI have been here so long I have forgotten why.\nThat evil entrancement is at last broken, and I am now free to leave this place.\nYou have done this thing for me. In return, any gold you may find here is now yours.\nGreetings, Traveller...\"\n\nNow you need to find the treasure..."
    },
    {
        "text": "[Themes: Children's, Fantasy, kid-friendly]\n\n> Look around\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see an old delivery bicycle (providing light), a huge (no longer enchanted) dragon and a pile of bones here.\n\n> You look at the bones\nYou see occasional groups of white bones in shadowy crevices, and crunch fragments under your boots. You wonder whether these bones are just those of animals which once foolishly wandered into these tunnels.\nYou notice a bottle amongst the bones...\n\nThe bicycle lamp finally flickers and goes out.\n\nIt is now pitch dark in here!\n\n> Light match\nThis dangerous act would achieve little.\n\n> You take the candle\n(putting the large iron key into the brown hessian sack to make room) Taken.\n\n> You take the matches\n(putting the ancient, enchanted sword into the brown hessian sack to make room)\nTaken.\n\n> Light candle\nOK... you light the candle using the matches...\n\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see a green glass bottle, an old delivery bicycle, a huge (no longer enchanted) dragon and a pile of bones here.\n\n> You take bottle\n(putting the booklet into the brown hessian sack to make room)\nTaken.\n\n> You examine it\nYou see a closed green glass bottle.\nLooking through the dark glass, you can just see something stuffed inside...\n\n> Go north\nThe emptiness of a natural cathedral of living rock rises high into darkness above you, far beyond the reach of your candlelight. The sound of your footsteps echoes strangely. There are many stalactites and stalagmites, some of which have joined to form delicate pillars, others just hang like creamy icicles in the still, crisp air. Frozen rivers of snow-white rock spill down from the ceiling beside a dark fissure that spits the southern wall. Occasionally you see fireflies dancing and darting between the columns of pale stone. You are aware of the immense mass of the ancient mountains above.\n\nOpenings lead north and south.\n\n> Go north\nThe cave floor is moist from condensation, and your flickering candle casts pools of pallid light which sway and dance through the shadows. Here and there on the walls you notice strange, ugly designs and runes crudely drawn in red and brown ochre. Two pillars of rock seem to cascade from the roof, one streaming down like lumpy, white icing and the other formed from many tight needles of pinkish-brown stalactites. Between them is an opening that leads towards the south, and there are passages leading east and west.\n\nTunnels lead east, west and south.\n\n> You go to the south\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see an old delivery bicycle, a huge (no longer enchanted) dragon and a pile of bones here.\n\n> Go west\nYou need to stoop, then crawl in a low underground passageway, covered in dust and cobwebs.\n\nThe passage leads east and west.\n\n> Go west\nYou stand in the ruins of a round room which is open to the sky. There are several narrow windows, and the floor is of rough, grey flagstones. Everywhere seems to be deserted. There is a narrow passageway in the eastern wall, leading into darkness. The passage roof looks a little unsafe.\n\nYou can go north (back outside) or east (into the dark passage).\n\n> You take the scroll\nYou can't get it out. The bottle neck is too narrow.\n\n> You read the scroll\nThere is a tightly rolled up piece of parchment inside the bottle. The neck of the bottle is too narrow to get it out.\n\n> You look at the stub\nThe candle is lit and shining brightly.\n\n> Empty bottle\nscroll of parchment: (putting the banana skins into the brown hessian sack to make room)\nDropped.\n\n> Inventory\nYou are carrying:\na green glass bottle (which is open but empty)\na box of matches\na small burning candle stub (providing light)\na brass lamp\na brown hessian sack containing:\nsome banana skins\na booklet\nan ancient, enchanted sword\na large iron key\na small silver bell\na small screwdriver\na mouldy old boot\na parachute\na large cardboard box\na pewter mug\na reed flute"
    },
    {
        "text": "> Look around\nYou stand in the ruins of a round room which is open to the sky. There are several narrow windows, and the floor is of rough, grey flagstones. Everywhere seems to be deserted. There is a narrow passageway in the eastern wall, leading into darkness. The passage roof looks a little unsafe.\n\nYou can go north (back outside) or east (into the dark passage).\n\nYou can see a scroll of parchment here.\n\n> You check your inventory\nYou are carrying:\na brass lamp\nsome banana skins\na booklet\nan ancient, enchanted sword\na large iron key\na brown hessian sack containing:\na small silver bell\na small screwdriver\na mouldy old boot\na parachute\na box of matches\na large cardboard box\na small candle stub (unlit)\na pewter mug\na reed flute\n\n> You look at the bones\nYou see occasional groups of white bones in shadowy crevices, and crunch fragments under your boots. You wonder whether these bones are just those of animals which once foolishly wandered into these tunnels.\nYou notice a bottle amongst the bones...\n\n> You take bottle\n(putting the large iron key into the brown hessian sack to make room) Taken.\n\nThe bicycle lamp finally flickers and goes out.\n\nIt is now pitch dark in here!\n\n> You go north\nThe Dragon suddenly attacks you...\n(apparently, dragons can see quite well in the dark!)\nYou have just been lightly fried by the Dragon, but you magically return back to life for another go...\n(You still have a bit of a headache, though...)\n\nYou did something slightly fatal...\n\nYou can see a way out to the south...\n\n> You take the candle and the matches\nsmall candle stub (unlit): (putting the ancient, enchanted sword into the brown hessian sack to make room)\nTaken.\nbox of matches: (putting the booklet into the brown hessian sack to make room)\nTaken.\n\n> Light candle\nOK... you light the candle using the matches...\n\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see an old delivery bicycle, a huge (no longer enchanted) dragon and a pile of bones here.\n\n> Ride bike\nIt won't budge...\n\n> Go north\nThe emptiness of a natural cathedral of living rock rises high into darkness above you, far beyond the reach of your candlelight. The sound of your footsteps echoes strangely. There are many stalactites and stalagmites, some of which have joined to form delicate pillars, others just hang like creamy icicles in the still, crisp air. Frozen rivers of snow-white rock spill down from the ceiling beside a dark fissure that spits the southern wall. Occasionally you see fireflies dancing and darting between the columns of pale stone. You are aware of the immense mass of the ancient mountains above.\n\nOpenings lead north and south.\n\n> You examine runes\nHere and there on smoother areas of the tunnel walls you see rather ugly designs, both scratched into the rock and drawn crudely with what looks like charcoal and red ochre. The designs seem to make little sense to you, though some look like they may be some sort of lettering.\n\n> You ring bell\nOK... You ring the bell...\n\n> Go south\nThe Troll is chasing after you!\n\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a huge Troll with a club and a signpost here.\n\n> You kill Troll\nWhat with?\nYou try, but the angry Troll attacks you...\nHis huge club just misses you...\n\n> You take the Sword\nThe ancient sword seems to come to life in your hand as you pick it up. The metal looks brighter, and the brass of the handle looks almost golden now. The sword seems to fit and balance in your hand as if it was made for you, and seems almost weightless in your grasp. It may be your imagination, but the whole blade seems to have a gentle blue glow, and you suddenly notice some strange runic lettering engraved on the blade in a language unfamiliar to you...\n(putting the banana skins into the brown hessian sack to make room) Taken.\n\n> You kill Troll\nYour enchanted sword luckily strikes the Troll and slays it...Your enchanted sword strikes the Troll and slays it...\n\n> You examine troll\nYour enchanted sword luckily strikes the Troll and slays it...You see a huge dead troll.\n\n> You search troll\nYour enchanted sword luckily strikes the Troll and slays it...You find nothing of interest.\n\n> You put Sword in the sack\nYour enchanted sword luckily strikes the Troll and slays it...You put the ancient, enchanted sword into the brown hessian sack.\n\n> Go west\nThe Troll attacks you...\nHis huge club just misses you...\n\nA stretch of uneven waste ground stands closeby to a castle. There are old dunes covered in spiky patches of marram and couch grass. You can make out the old castle and its buildings away to the north. The blue-grey of the sea curves around in a wide arc to a beach towards the south.\n\nYou can go north (towards the castle), south (to the beach) or east (towards the trees).\n\n> You take the Sword\nThe Troll attacks you...\nAs his club comes crashing down, you notice a hunting horn at his belt...\n\nTechnically, you are now dead, but you have magically returned back to life for another attempt...\n(You still have a slight ringing in your ears, though...)\n\nYou did something slightly fatal...\n\nYou can see a way out to the south...\n\n> Inventory\nYou are carrying:\na box of matches\na small burning candle stub (providing light)\na green glass bottle\na brass lamp\nsome banana skins\na brown hessian sack containing:\na booklet\nan ancient, enchanted sword\na large iron key\na small silver bell\na small screwdriver\na mouldy old boot\na parachute\na large cardboard box\na pewter mug\na reed flute\n\n> Go north\nA stretch of uneven waste ground stands closeby to a castle. There are old dunes covered in spiky patches of marram and couch grass. You can make out the old castle and its buildings away to the north. The blue-grey of the sea curves around in a wide arc to a beach towards the south.\n\nYou can go north (towards the castle), south (to the beach) or east (towards the trees).\n\n> You go north\nThe floor under your boots is made of smooth stone slabs, and you breathe air that is cold and chill. Your footsteps echo though the empty building. A spiral stone staircase leads upwards a short way, but ends abruptly where the steps have recently collapsed.\n\nYou can only go south (back outside).\n\n> You go up\nThe stairs have collapsed part-way. There is no way up.\n\n> You throw bottle\nThe bottle smashes into a thousand fragments on the ground, which melt sway to nothing before your eyes.\nYou see a small scroll of parchment on the ground...\n\n> You read it\nYou see an old parchment scroll. It has writing on it. It says... 'Search the Mountain Inn with care,\nTo find an answer lying there'...\n\n> You take skins\nYou already have those."
    },
    {
        "text": "[Themes: Fantasy, Children's, children]\n\n> Look around\nDragonflies hum and hover, and you hear the occasional splash of feeding fish. You have a feeling of tranquility instilled by the placid, lazy waters. There is a little path winding between dense trees towards the south. You can see the start of a deserted gravel road to the north, and you can just make out the sea to the west.\n\nYou can go south (further into the trees), north (towards the road) or west (towards the sea).\n\nYou can see some banana skins and some long reeds here.\n\n> Go south\nThe Troll is chasing after you!\n\nDragonflies hum and hover, and you hear the occasional splash of feeding fish. You have a feeling of tranquility instilled by the placid, lazy waters. There is a little path winding between dense trees towards the south. You can see the start of a deserted gravel road to the north, and you can just make out the sea to the west.\n\nYou can go south (further into the trees), north (towards the road) or west (towards the sea).\n\nYou can see a huge Troll with a club, some banana skins and some long reeds here.\n\n> You take skins\n(putting the brass lamp into the brown hessian sack to make room) Taken.\n\n> You throw skins at Troll\nYou lack the nerve when it comes to the crucial moment.\n\n> You throw the skins\nYour enchanted sword luckily strikes the Troll and slays it...Your enchanted sword luckily strikes the Troll and slays it...Dropped.\n\n> You get the horn\nYour enchanted sword luckily strikes the Troll and slays it...Taken.\n\n> Blow horn\n(first taking the big hunting horn)\nYour enchanted sword luckily strikes the Troll and slays it...(putting the box of matches into the brown hessian sack to make room)\nYour enchanted sword luckily strikes the Troll and slays it...Your enchanted sword luckily strikes the Troll and slays it...OK... you blow the mighty horn and manage to make a tiny noise...\n... toot...\n\n> You go north\nYour enchanted sword luckily strikes the Troll and slays it...\nSouth End of a Road\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a signpost here.\n\n> You check what you're carrying\nYour enchanted sword luckily strikes the Troll and slays it...You are carrying:\nsome banana skins\nan ancient, enchanted sword\na scroll of parchment\na small burning candle stub (providing light)\na brown hessian sack containing:\na box of matches\na brass lamp\na booklet\na large iron key\na small silver bell\na small screwdriver\na mouldy old boot\na parachute\na large cardboard box\na pewter mug\na reed flute\n\n> You go north\nYour enchanted sword luckily strikes the Troll and slays it...\nNorth End of a Road\nA country road stretches to the south, its gravelled surface crunching slightly beneath your boots. It is bordered by trees and old hedgerows. Towards the east is a patch of swampy ground.\n\nYou can go east (towards the swamp) or south (along the road).\n\nYou can see a wooden signpost here.\n\n> Go east\nYour enchanted sword luckily strikes the Troll and slays it...\nSwampy Ground\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\n> Go south\nYour enchanted sword luckily strikes the Troll and slays it...\nCave Entrance\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\n> You go east\nYour enchanted sword luckily strikes the Troll and slays it...\nDamp Tunnel\nThe cave floor is moist from condensation, and your flickering candle casts pools of pallid light which sway and dance through the shadows. Here and there on the walls you notice strange, ugly designs and runes crudely drawn in red and brown ochre. Two pillars of rock seem to cascade from the roof, one streaming down like lumpy, white icing and the other formed from many tight needles of pinkish-brown stalactites. Between them is an opening that leads towards the south, and there are passages leading east and west.\n\nTunnels lead east, west and south.\n\n> Go south\nYour enchanted sword luckily strikes the Troll and slays it...\nRock Chamber\nThe emptiness of a natural cathedral of living rock rises high into darkness above you, far beyond the reach of your candlelight. The sound of your footsteps echoes strangely. There are many stalactites and stalagmites, some of which have joined to form delicate pillars, others just hang like creamy icicles in the still, crisp air. Frozen rivers of snow-white rock spill down from the ceiling beside a dark fissure that spits the southern wall. Occasionally you see fireflies dancing and darting between the columns of pale stone. You are aware of the immense mass of the ancient mountains above.\n\nOpenings lead north and south.\n\n> You go to the south\nYour enchanted sword luckily strikes the Troll and slays it... Dragon's Lair\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see an old delivery bicycle, a huge (no longer enchanted) dragon and a pile of bones here.\n\n> Go west\nYour enchanted sword luckily strikes the Troll and slays it...You can't go that way.\n\n> You go south\nYour enchanted sword luckily strikes the Troll and slays it...\nCottage\nNestling in a clearing amongst the trees is a tiny, thatched cottage. Smoke rises gently from the chimney. The little garden is badly overgrown, but the path leading to the doorway is fairly clear. You notice that the peeling door stands slightly open, but it has no knob or handle. The path leads south deeper into the trees, and continues north.\n\nYou can go north (along a path), south (deeper into the trees) or east (into the cottage).\n\n> You go south\nYour enchanted sword luckily strikes the Troll and slays it...\nForest Pathway\nGrey-green ferns brush your ankles as you move along the path, and the light filters dimly through the branches and leaves overhead. You hear the soft calls of woodland birds. The pathway leads north and continues west, deeper into the forest.\n\nYou can go north (along the path) or west (into the forest).\n\nYou can see a stone bird bath (full of water) here.\n\n> You go west\nYour enchanted sword luckily strikes the Troll and slays it...\nTree Stump\nThe twisting path leads through an ancient forest. Red and blue butterflies dance above the grass and you can hear the soft calls of wood-pigeons in the trees. The leaves rustle gently in the morning breeze. The pathway leads east deeper into the forest and continues north, winding into the trees. There is an old tree-stump next to the path where once a great oak tree must have stood. It seems to be hollow in the centre.\n\nYou can go north (along a path) or east (further into the forest).\n\nYou can see a hollow tree stump (which is empty) here.\n\n> You go to the north\nYour enchanted sword luckily strikes the Troll and slays it...\nLake in the Forest\nDragonflies hum and hover, and you hear the occasional splash of feeding fish. You have a feeling of tranquility instilled by the placid, lazy waters. There is a little path winding between dense trees towards the south. You can see the start of a deserted gravel road to the north, and you can just make out the sea to the west.\n\nYou can go south (further into the trees), north (towards the road) or west (towards the sea).\n\nYou can see some long reeds here.\n\n> You go north\nYour enchanted sword luckily strikes the Troll and slays it...\nSouth End of a Road\nA gravelled country road leads north. A white-painted wooden signpost points west, where you can make out the sea. You can just glimpse the glint of more water through the trees, far to the south.\n\nYou can go north (along the road), south (into the trees) or west (towards the sea).\n\nYou can see a signpost here.\n\n> Go west\nYour enchanted sword luckily strikes the Troll and slays it...\nPebbled Beach\nYou hear the crashing sound of waves in your ears. White gulls wheel and play in the sky above, and you can taste the salt-spray on your lips. Pebbles crunch beneath your feet as you move. You can see the ruins of an old stone lighthouse to the south. There is a wasteland of sand dunes to the north, and forest trees to the east.\n\nYou can go north (towards wasteland), south (towards a lighthouse) or east (towards trees).\n\n> You go north\nYour enchanted sword luckily strikes the Troll and slays it... Wasteland by a Castle\nA stretch of uneven waste ground stands closeby to a castle. There are old dunes covered in spiky patches of marram and couch grass. You can make out the old castle and its buildings away to the north. The blue-grey of the sea curves around in a wide arc to a beach towards the south.\n\nYou can go north (towards the castle), south (to the beach) or east (towards the trees).\n\n> You ring bell\nYour enchanted sword luckily strikes the Troll and slays it...You ring the bell...\nYou hear the note of a horn answering in the distance...\n\n> You take the matches and the candle\nbox of matches: (putting the ancient, enchanted sword into the brown hessian sack to make room)\nTaken.\nsmall candle stub (unlit): (putting the booklet into the brown hessian sack to make room)\nTaken.\n\n> Go north\nThe Troll is chasing after you!\n\nA country road stretches to the south, its gravelled surface crunching slightly beneath your boots. It is bordered by trees and old hedgerows. Towards the east is a patch of swampy ground.\n\nYou can go east (towards the swamp) or south (along the road).\n\nYou can see a huge Troll with a club and a wooden signpost here.\n\n> You go to the east\nThe Troll is chasing after you!\n\nWater seeps around the soles of your boots and fills your recent footprints. You can hear the croaking of frogs and the occasional bubble of marsh-gas coming to the surface. There is an abandoned inn to the east, and a path leads south into the forest. To the west there seems to be a little country road.\n\nYou can go south (along a forest path), east (towards an inn) or west (towards a road).\n\nYou can see a huge Troll with a club here.\n\n> You go south\nThe Troll is chasing after you!\n\nThe opening to a deep cave leads eastwards into darkness. The air near the entrance smells rather stale and musty, and altogether rather unpleasant. The path into the forest winds south, and to the north is some swampy ground.\n\nYou can go north (to a swamp), south (into the trees) or east (into the dark cave)\n\nYou can see a huge Troll with a club here.\n\n> You go east\nThe Troll is chasing after you!\n\nThe cave floor is moist from condensation, and your flickering candle casts pools of pallid light which sway and dance through the shadows. Here and there on the walls you notice strange, ugly designs and runes crudely drawn in red and brown ochre. Two pillars of rock seem to cascade from the roof, one streaming down like lumpy, white icing and the other formed from many tight needles of pinkish-brown stalactites. Between them is an opening that leads towards the south, and there are passages leading east and west.\n\nTunnels lead east, west and south.\n\nYou can see a huge Troll with a club here.\n\n> Go east\nThe Troll is chasing after you!\n\nThe cellar seems to have been formed from a natural cavern in the rock under the inn, which has been smoothed and extended to form a storage area for the sorts of things inns need to keep - casks and bottles and the like, which will remain cool in the slightly chill air. There are the remains of some old barrels, but almost everything else seems to have been removed from here long ago. Dim daylight filters down the open stairwell from the inn above, where there is a flight of steep stone steps. By the far west wall stand thick stalagmites which rise out of the floor like dragon's teeth, behind which is a dark opening. It might be your imagination, but you think you can just catch an occasional dry, rustling sound coming from deep inside the darkness. The uneven floor is covered in dust, and at first glance you see no signs of life apart from your own boot-prints.\n\nYou can go up (to the inn) or west (into the dark tunnel).\n\nYou can see a huge Troll with a club and some barrels (which are empty) here.\n\n> You go south\nThe Troll is chasing after you!\n\nThe emptiness of a natural cathedral of living rock rises high into darkness above you, far beyond the reach of your candlelight. The sound of your footsteps echoes strangely. There are many stalactites and stalagmites, some of which have joined to form delicate pillars, others just hang like creamy icicles in the still, crisp air. Frozen rivers of snow-white rock spill down from the ceiling beside a dark fissure that spits the southern wall. Occasionally you see fireflies dancing and darting between the columns of pale stone. You are aware of the immense mass of the ancient mountains above.\n\nOpenings lead north and south.\n\nYou can see a huge Troll with a club here.\n\n> You go to the south\nThe Troll is chasing after you!\n\nThis place, deep in the mountain heart, seems dreamlike and somehow magical. Distorted formations of twisted rock rise from the cave floor, while gossamer traceries of stone seems to float in the air to create delicate screens and alcoves. Everywhere hang pale stalactites. The floor of the chamber is covered in red dust and pieces of broken white bone.\n\nThe great creature itself is lying coiled in the corner, its slate-coloured flanks slowly heaving and falling as it breathes. Its immense wings are tightly folded on its back and look as if they have been carved from polished copper. One of the beast's horny claws is resting on a pile of ivory-coloured bones. The air is sickly-sweet and dank.\nThe beast seems to be emerging from a deep, long sleep.\n\nTunnels lead north and west.\n\nYou can see a huge Troll with a club, an old delivery bicycle, a huge (no longer enchanted) dragon and a pile of bones here.\n\n> You wait\nYour enchanted sword luckily strikes the Troll and slays it...Time passes.\n\n> You take the horn\nYour enchanted sword luckily strikes the Troll and slays it...(putting the brass lamp into the brown hessian sack to make room)\nYour enchanted sword luckily strikes the Troll and slays it...Taken.\n\n> Inventory\nYour enchanted sword luckily strikes the Troll and slays it...You are carrying:\nan ancient, enchanted sword\na small burning candle stub (providing light)\na box of matches\na green glass bottle\na brown hessian sack containing:\na brass lamp\nsome banana skins\na booklet\na large iron key\na small silver bell\na small screwdriver\na mouldy old boot\na parachute\na large cardboard box\na pewter mug\na reed flute\n\n> You take the horn\nYour enchanted sword luckily strikes the Troll and slays it...Taken.\n\n> Blow horn\nYour enchanted sword luckily strikes the Troll and slays it...You try to blow the mighty horn...\nYou manage a tiny squeak, but it is just enough...\n\nYou hear a grinding sound and a secret door swings open in the east wall...\n\n> You go east\nYour enchanted sword luckily strikes the Troll and slays it... Dragon's Treasure Store\n\nThe Dragon's secret hoard is open before you. By the flickering light of your little candle, you can make out a heaps of treasure stacked untidily around the floor.\nYou can see piles of gold and heaps of jewels, many rising higher than the top of your head. The Dragon has told you it has no use for the treasure and it is now yours.\n\nYou are rich beyond your wildest dreams!"
    },
    {
        "text": "[Themes: Logic Puzzle, based on songs, logic]\n\nStandard interpreter 1.0 (6b) / Library serial number 080126\nStandard Rules version 2/090402 by Graham Nelson\nCommon Game Code by Eggerich Von Eggermond\nBasic Screen Effects version 7 by Emily Short\n\nYou're relaxing at home, adjusting your deer stalker when you hear knocking on what sounds like a wooden wall coming from the row of five houses opposite your own. You can't quite recall which of your neighbours has woodworking as a hobby. Fortunately you remember that each house has a unique colour and the owners have a unique name, have a unique nationality, play a different preferred IF game and have a different hobby. You also remember these facts pertaining to your neighbours:\n\n1. Shepherd is Galician.\n2. The person who is Italian is directly to the left of the person who is Norwegian.\n3. The person who is Italian has a Teal House.\n4. The person who likes juggling lives next to the person who plays Violet.\n5. River lives in the first house.\n6. Fessel plays The Chinese Room.\n7. The person who plays Curses has a Navy House.\n8. The person who is Bulgarian plays Violet.\n9. The person who plays Colossal Cave Adventure has a neighbour who has a White House.\n10. Moriarty has a Black House.\n11. The person living in the centre house has a Fuchsia House.\n12. River lives next to the person who is Turkish.\n13. Smith likes dancing.\n14. The person who plays Colossal Cave Adventure lives next to the person who likes boating.\n15. The person who plays Aotearoa likes camping.\n\nSo, who is knocking on the wall?\n\n[Author's Note: You live in a vibrant international community, in all senses of the word 'vibrant'. But who is that knocking on the wall?]\n\n> Fessel\nYou head confidently over to the row of houses and see someone working on a wooden wall and making knocking sounds in the process. It is of course Fessel, as you so rightly predicted! Once you have ruled out the impossible, whatever woodworker that remains, however improbable, must be the one."
    },
    {
        "text": "[Themes: Mystery]\n\nWritten using the Hugo Compiler v2.5\n(New players should type \"help\".)\n\nMorning sunlight filters through the gauzy drapes. Old wooden night table, fan overhead, the usual trappings. The door leads out into the hallway. The neatly made bed looks exactly the same as it did when you saw it this morning--from where you woke up slumped in the chair in the corner.\nThe desk clerk must've slipped an envelope under the door sometime early this morning."
    },
    {
        "text": "[Themes: Mystery]\n\n> You take the envelope\nYou scoop the envelope up off the floor.\n\n> About yourself\nLooking good.\n\n> You check your inventory\nYou are carrying an envelope.\n\n> You examine the envelope\nIt's addressed to you in handwriting. Plain white envelope, no return address, no postmark.\n\n> You open it\n(Assuming you mean the envelope.)\nOpened.\n\nInside the envelope are a small note and a studio pass.\n\n> You read the note\nHandwritten, again, but this time on Rocket Pictures stationery.\n\n\"8:30 at the studio.\n\n--MW\"\n\n(which of course stands for Milt Walker)\n\n(Footnote 1)\n\n> Footnote\nWhat?\n\nTry \"footnote (number)\".\n\n> Footnote 1\nMilt Walker, the head of Rocket Pictures, is one of those people you've met in passing (since you don't exactly run in the same social circles) and under somewhat shady circumstances. It was a couple years ago and involved Milt's son and a boatload of South American marijuana. Grass, he kept calling it. You remember finding it vaguely funny sitting across a table from this austere-looking studio head in a seedy Los Angeles bar while he speculated in a low voice about how he was going to \"get rid of that much grass.\" How he did get his son out of that jam and what part you played in the whole imbroglio you swore never to reveal, not even here.\n\n(Footnote 2)\n\n> Footnote 2\nYes, it's true: the author heisted the idea for these footnotes from the Infocom game \"The Hitchhiker's Guide to the Galaxy\". But they are a pretty nifty idea.\n\n> You examine the pass\nIt's a drive-on parking pass for the Rocket Pictures Studios lot dated today."
    },
    {
        "text": "[Themes: Mystery]\n\n> You take the envelope\nYou scoop the envelope up off the floor.\n\n> Footnote 1\nMilt Walker, the head of Rocket Pictures, is one of those people\nyou've met in passing (since you don't exactly run in the same social circles) and under somewhat shady circumstances. It was a couple\nyears ago and involved Milt's son and a boatload of South American marijuana. Grass, he kept calling it. You remember finding it\nvaguely funny sitting across a table from this austere-looking studio head in a seedy Los Angeles bar while he speculated in a low voice about how he was going to \"get rid of that much grass.\" How he did\nget his son out of that jam and what part you played in the whole imbroglio you swore never to reveal, not even here.\n\n(Footnote 2)\n\n> Footnote 2\nYes, it's true: the author heisted the idea for these footnotes from the Infocom game \"The Hitchhiker's Guide to the Galaxy\". But they are a pretty nifty idea.\n\n> You go outside\nYou open the door and leave, closing the door behind you, then head down the stairs and outside to the street.\n\nThe exterior of the Pelican has been painted so many times that its peeling shell is probably suitable protection against radioactive fallout. Warm Los Angeles sunlight glows through the hazy blue-gray\nof the summer sky. The rather quiet street outside the hotel runs south toward Sunset Blvd.\nYour cousin's Volvo is parked here.\n\n> You examine table\nThe night table is off to the left of the door, set along the wall. Sitting on the night table are your cousin's car keys.\n\n> You take the keys\nYou grab the keys off the night table.\n\n> You examine the bed\nThere's nothing too remarkable about the bed. It's comfortable\nenough, from what you remember.\n\n> You get in Volvo\nYou climb into the Volvo.\n\n> You drive to the studio\nYou drive midtown to the main gate of Rocket Pictures Studios and park in Visitor Parking.\n\nStudio gate, in your cousin's Volvo\nWelcome to Rocket Pictures Studios. It's everything a Hollywood\nstudio should be: it has a bold, impressive gate; the grounds of the lot extending to the north are lined with rows of pale hangar-like soundstage buildings and ceramic-roofed bungalows; there's a\nstaggering abundance of motorhomes; it has its own watertower; and\nit's not actually in Hollywood at all.\n(This last is demonstrated by the fact that there are one- and two-story shopping plazas and office buildings stretching as far as\nthe eye can see instead of souvenir shops and T-shirt stands.)\n\n(Footnote 8)\n\n> Footnote 8\nLet's face it: Maybe Hollywood never was what it used to be.\n\n> You get out\nYou get out of the Volvo."
    },
    {
        "text": "[Themes: Mystery]\n\n> Look around\nWelcome to Rocket Pictures Studios. It's everything a Hollywood\nstudio should be: it has a bold, impressive gate; the grounds of the lot extending to the north are lined with rows of pale hangar-like soundstage buildings and ceramic-roofed bungalows; there's a\nstaggering abundance of motorhomes; it has its own watertower; and\nit's not actually in Hollywood at all.\nYour cousin's Volvo is parked here.\n\n> You go to the north\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\n\n> Go north\nYou're just in front of the main administrative building. Somewhere behind these walls are the executive offices of Rocket Pictures: a motley assemblage of manic creative near-genius, mediocre posturing, epidemic insecurity, monumental bravado, white-knuckle risk-taking, milquetoast acquiescence, stark paranoia, and great leather furniture. Milt Walker is here, standing outside the building.\n\nMilt speaks in a fairly low voice, straight and to the point, looking around, careful not to be overheard. \"Maybe you already guessed this, but I asked you here to talk about Cindy Painter's death. I don't\nknow if there's anything that you can find out that the cops haven't\nor won't, but I'm willing to give you twelve hours to see what you can do.\"\n\n> You ask Milt about Cindy\n\"It's such a goddamned tragedy,\" Milt says, pulling his glasses down and rubbing his eyes. \"I've known her for years, since long before\nshe came here, tried to break in. Knew her father, her parents are in Detroit. She was just on the verge; she was making a picture for us--Stuart Fina was the executive on it.\" He points over toward the side building.\n\n\"Here,\" Milt says. He hands you a report marked \"LAPD Homicide Report\". \"A contact of mine at the Police Department managed to procure this. I don't know if it will be of any help.\"\n\n> You read REPORT\nThe report is titled \"LAPD HOMICIDE REPORT\". It describes how on May 23, Cindy Painter, a twenty-four year-old actress, was found strangled in her apartment on National Boulevard. Forensics suggest that she opened the door to have the intruder burst in on her. The body was found in the bedroom; there were no signs of assault other than strangulation.\n\n> You ask Milt about Fina\n\"He's a pretty sharp kid,\" he says. \"Been with us about a year,\nworked on a couple of medium-sized pictures. This picture Cindy was doing--Hugs and Kisses--was his first as Executive in Charge\nof Production. Sounds like he's done a good job on it.\"\n\n\"You might want to go to her apartment--I don't know if the police are still there or not. Maybe you can find something they're missing.\"\nHe hands you a single apartment key.\n\n> You ask him about Police\n(Assuming you mean Milt.)\nMilt doesn't seem to know anything about the police.\n\n\"I'm going to be in and out today--I've still got a damned studio to run, even with all this mess going on. I'll try to keep checking back out here for you after an hour or so.\""
    },
    {
        "text": "[Themes: Mystery]\n\n> You look around\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\n\n> You go west\nthat one day they'll end up working in the other building. Not that this building is bad--not that it's a fire hazard or anything like that--although the budget allocated for repairs to the roof probably went into new oak paneling inside the main building. And maybe this place someone like you could at least get into. Probably just by leaving the shade of this tree and climbing up the set of three stairs that leads to the door.\n\n> Go up\nYou could plunk yourself down in one of the two comfy-looking high-backed chairs while waiting for someone. The minty-blue hospital tint to the walls could take some getting used to, though. A hallway of office doors extends to the west, or you can go back outside to the south.\nThe building's receptionist is sitting at her desk. Her nameplate\nsays her name is Anne.\n\nThe phone rings. Anne answers it and takes down a message.\n\n> You ask Anne about Fina\n\"Who shall I say is here?\" Anne asks, looking you up and down. \"Um...forget it. I'll just buzz him.\" She punches a couple of\nbuttons on her phone and speaks very briefly into it before hanging\nup.\n\n> Go west\nNow, seeing as you don't know your way around here, the best you can hope for is to wind up wandering the halls and maybe getting security called on you. Better to wait here if there's someone you need to\nsee.\n\n> You ask Anne about Cindy\n\"I think it's horrible what happened to her! I was so upset when I heard--I didn't know her, though.\" Anne looks at you. \"What do you have to do with it? Is that why you're here?\"\n\n> Yes\nThat was a rhetorical question. (Although you sound rather positive.)\n\n> You ask Anne about Fina\n\"I just called him for you.\" She seems a little annoyed with your impatience. \"You're welcome to have a seat.\"\n\n> You ask Anne about Anne\nAnne looks at you in a way that says, hey, I'm just the receptionist--I'm not bothering you, am I?\n\nStuart Fina appears from somewhere down the hallway. He obviously doesn't recognize you, but he manages to greet you with one of those practised smiles that suggests you're the best thing that's happened\nto him all day. \"Hi there. Stuart Fina.\"\n\n> You ask Fina about Cindy\n\"Yeah, well, geez...\" Stuart trails off, shaking his head. \"God, I really don't know what to say...I mean it's terrible, absolutely terrible. She had such a bright future. She was going to be a huge star. Her picture, the one she was doing with us--it's going to be a hit. A huge hit. When people see it they're going to think\nabout James Dean and Marilyn Monroe and all wonder 'What if...?'\"\n\n> You ask Fina about the movie\n\"Oh, it's going to be a big, big hit. It's testing through the roof--test audiences are just loving it. Cindy's perfect in it: this sweet, adorable girl plotting all these terrible ways to kill her cheating lover.\" Stuart sighs heavily. \"It just makes what happens\nto Cindy that much sadder...that much more of a tragedy.\"\n\n> You ask Fina about Milt\n\"Milt? I idolize Milt,\" Stuart says. \"You know what he is in this business? The godfather. The king. Milt talks and people don't even question it. If there's one guy you don't want to look like an idiot in front of it's Milt Walker.\"\n\n> You drive to the apartment\nYou drive south to National Blvd. and pull over to the curb next to Cindy Painter's apartment building.\n\nNational Boulevard, in your cousin's Volvo\nThe sidewalk leads south from the street to Cindy Painter's\nbuilding, which is a three-story apartment complex. Maybe it's not Beverly Hills, but you know, it's not bad. National extends to the east, and also to the west before curving away to the north.\n\n> You go to the south\nThe sidewalk leads south from the street and under the thick\ngreenery hanging lazily from a concrete overhang to the base of the stairs leading up.\n\n> Go upwards\napartment. At least you assume it's hers on account of all the yellow \"POLICE LINE--DO NOT CROSS\" tape crisscrossing the door, which is closed. The doors to the other apartments are closed, too. You can\ngo back down to the ground from here.\n\n> You enter the apartment\nYou unlock the door and go in, ducking under the tape and closing the door quietly behind you.\n\n(Now keep in mind that this is a crime scene, and you may want to be fairly judicious about what you disturb--or at least leave disturbed.)\n\nRather sparsely decorated: a fairly new sofa sitting in the middle\nof the hardwood floor commands your attention. There's a television\nin the corner. The sole bedroom is to the north. East takes you into the kitchen, or you can go back out into the stairwell.\n\n> You examine the sofa\nThe sofa is cloth-covered, off-white, relatively new, low almost to\nthe floor, and not the cheapest you could possibly find.\n\n> You look under the sofa\nA cassette tape is half-sticking out from under the sofa, probably overlooked by the police.\n\n> You get the tape\nTaken.\n\n> You examine tape\nHandwritten on the cassette label is \"New Songs - May 15\". If the the tape player in the Volvo worked, you'd even be able to give it a listen. The contact address on the tape is in Santa Monica.\n\n> You examine the television\nThe fairly expensive television is sitting on the floor in the way in of a fairly expensive television just purchased by someone who has yet to buy a nice wall-unit for it. The TV is turned off.\n\n> You go north\nNot a good idea: everything in the bedroom has been covered with plastic--presumably to protect the crime scene from contamination--so you'd be best not to go tromping around all over it.\n\n> Go east\nRefrigerator, stove, sink, kitchen window. An empty carton of grapefruit juice sitting on the counter. The living room is back out to the west.\n\n> You examine the fridge\nDone in the same style and color as the stove: part of a matching\nset. The fridge is closed.\n\n> You open the fridge\nOpened.\n\n> You look in the fridge\nThe refrigerator is curiously empty of anything edible.\n\n> You close the fridge\nClosed.\n\n> You look through the window\nThrough the window you can see behind the building, where a narrow alley plays host to a garbage dumpster.\n\n> You examine the sink\nIt's pretty much your average stainless-steel kitchen sink and faucet combo. Entirely appropriate for washing dishes or rinsing vegetables or anything like that. The boring tangle of plumbing is likely concealed in the cupboard beneath the sink.\n\n> You search the cupboard\nThe cupboard is closed.\n\n> You open the cupboard\nOpened.\n\nYou can see the kitchen sink's plumbing in the cupboard.\nVarious cleaning supplies--rags, cleansers, disinfectants, etc.--are tucked away in the cupboard in the space around and behind the plumbing.\n\n> You search the cupboard\nYou can see the kitchen sink's plumbing in the cupboard.\nVarious cleaning supplies--rags, cleansers, disinfectants, etc.--are tucked away in the cupboard in the space around and behind the plumbing.\n\n> Search rags\nYou find a box of garbage bags tucked away behind the pipes.\n\n> Inventory\nYou are carrying an envelope, your cousin's car keys, a police report, Cindy Painter's apartment key, and a cassette tape. Inside the envelope are a small note and a studio pass.\n\n> You take the bags\nTaken.\n\n> You open the stove\nYou're either hungry or you've suddenly been struck by the urge to cook. Neither is really what you should be thinking about right now.\n\n> You close the cupboard\nClosed.\n\n> Go west\nRather sparsely decorated: a fairly new sofa sitting in the middle\nof the hardwood floor commands your attention. There's a television\nin the corner. The sole bedroom is to the north. East takes you into the kitchen, or you can go back out into the stairwell.\n\n> You go outside\nYou go out, ducking under the police tape before closing and locking the door behind you again.\n\napartment. At least you assume it's hers on account of all the yellow \"POLICE LINE--DO NOT CROSS\" tape crisscrossing the door, which is closed. The doors to the other apartments are closed, too. You can\ngo back down to the ground from here.\n\n> Go north\nbuilding, which is a three-story apartment complex. Maybe it's not Beverly Hills, but you know, it's not bad. National extends to the east, and also to the west before curving away to the north.\nYour cousin's Volvo is parked here.\n\n> Lock apartment\nIt's already locked.\n\n> You go north\nYou unlock the door and go in, ducking under the tape and closing the door quietly behind you.\n\nRather sparsely decorated: a fairly new sofa sitting in the middle\nof the hardwood floor commands your attention. There's a television\nin the corner. The sole bedroom is to the north. East takes you into the kitchen, or you can go back out into the stairwell.\n\n> You go east\nGoing east will just get you further away from your car and where you want to be.\n\n> You go west\nGoing west will just take you past the back of the building to the south, away from your car and where you want to be.\n\n> You examine the bags\nThe garbage bags are stretchy plastic and dull orange in color.\n\n> You drive to the santa monica\nYou drive to Santa Monica and park along Ocean Avenue.\n\nSanta Monica, in your cousin's Volvo\nThis is about as far west as you can get on the mainland United\nStates and not be driving on the sand. Ocean Avenue extends north and south, lined with palm trees and brightly colored, Santa Monica-ish buildings. You can get a better view of the beach to the west.\n\n> You read the cassette\nHandwritten on the cassette label is \"New Songs - May 15\". If the the tape player in the Volvo worked, you'd even be able to give it a listen. The contact address on the tape is in Santa Monica.\n\n> You go west\nTo get anywhere by driving, try something along the lines of \"drive to my hotel\". (Or, if you plan to walk, you'll have to get out of the car.)\n\n> You go west\nand the long curve of the coastline north past Malibu. A cement stairway descends to the beach from here, or you can go back east to where the Volvo is parked."
    },
    {
        "text": "[Themes: Mystery]\n\n> Go downwards\nYou climb down the cement steps to the sandy beach below.\n\nYou're facing south on a walking/running/rollerblading/whatever path that parallels the beach north-south along the ocean. Quite a few people are involved in beach-ish activities. You could follow the coastline further to the south, or go back up to the higher ground overlooking the beach.\n\n> Go south\nThe house is archetypically tall and thin--the norm for houses along this row on the Santa Monica beach. A balcony looks out from the second story--you can hear music from above. There's a doorbell here at path level.\n\n> You ring bell\nYou push the doorbell and hear a muffled ring indoors.\n\n> You wait\nTime passes...\n\nAfter a minute or so, Billy Van Earl comes ambling down from somewhere upstairs. \"Hey,\" he says, squinting. He obviously doesn't know you.\n\nDo you want to keep waiting (YES or NO)?\n\n> You talk to Billy\nBilly is listening.\n\n> You ask Billy about Cindy\nBilly raises his eyebrows. \"Geez...I never heard of her, you know? Wish I could help you out.\"\n\n> You ask Billy about the cassette\nBilly shrugs. \"It's just a tape of some of our songs. We make, like, dozens of 'em, give 'em out all over the place. Who knows where that one came from?\"\n\n> You ask Billy about Fina\n\"Never heard of the guy.\"\n\n> You ask Billy about the movie\n\"I've never heard of that.\"\n\n> You ask Billy about Milt\n\"Should I know who that is?\" Billy asks.\n\n> You ask Billy about the music\n\"That's my band, Funkzilla. It's our new CD.\"\n\n> You ask Billy about the funkzilla\n\"Funkzilla's my band. We just put out a new CD: El Thump.\"\n\n> Go north\nYou're facing south on a walking/running/rollerblading/whatever path that parallels the beach north-south along the ocean. Quite a few people are involved in beach-ish activities. You could follow the coastline further to the south, or go back up to the higher ground overlooking the beach.\n\n> Go up\nand the long curve of the coastline north past Malibu. A cement stairway descends to the beach from here, or you can go back east to where the Volvo is parked.\n\n> You go east\nStates and not be driving on the sand. Ocean Avenue extends north and south, lined with palm trees and brightly colored, Santa Monica-ish buildings. You can get a better view of the beach to the west.\nYour cousin's Volvo is parked here.\n\n> You get in the car\nYou climb into the Volvo.\n\n> You drive to the studio\nYou drive midtown to the main gate of Rocket Pictures Studios and park in Visitor Parking.\n\nStudio gate, in your cousin's Volvo\nWelcome to Rocket Pictures Studios. It's everything a Hollywood\nstudio should be: it has a bold, impressive gate; the grounds of the lot extending to the north are lined with rows of pale hangar-like soundstage buildings and ceramic-roofed bungalows; there's a\nstaggering abundance of motorhomes; it has its own watertower; and\nit's not actually in Hollywood at all.\n\n> You go north\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\nJohnny LaFleure, French-Canadian movie star, is outside one of the soundstages having a smoke.\n\n> You examine LaFleure\nJohnny LaFleure, French-Canadian movie star, looks at you over the top of his sunglasses and a fresh Players Light. His demeanor both puts you at ease and creeps you out: it seems to say both \"Hey, how you doing?\" and \"Hey, got any younger sisters?\" at the same time in that smooth Quebecoise accent.\n\n> You ask LaFleure about Cindy\n\"It is sad what happened to her,\" Johnny said. \"I would be very upset if that happened to me.\"\n\n> You ask LaFleure about Milt\n\"I like Milt Walker,\" Johnny tells you, nodding. \"When I was down a little, when my movies weren't doing so good, Milt he didn't give up\non me. And now look at me I'm a star again! You believe me, it's\ngood to be me.\"\n\n> You ask LaFleure about the funkzilla\nJohnny LaFleure doesn't seem to know anything about Funkzilla.\n\nJohnny drops the butt of his cigarette onto the ground and flattens it under his toe. \"Back to work,\" he says, and disappears back into the soundstage.\n\n> You ask Johnny about Johnny\nJohnny LaFleure would probably rather not talk about himself.\n\nJohnny drops the butt of his cigarette onto the ground and flattens it under his toe. \"Back to work,\" he says, and disappears back into the soundstage.\n\n> Go north\nYou're just in front of the main administrative building. Somewhere behind these walls are the executive offices of Rocket Pictures: a motley assemblage of manic creative near-genius, mediocre posturing, epidemic insecurity, monumental bravado, white-knuckle risk-taking, milquetoast acquiescence, stark paranoia, and great leather furniture. Milt Walker is here, standing outside the building.\n\n> You ask Johnny about the movie\n\"Well, I've heard good things and I've heard bad things. There's no sure things, you know?\"\n\nJohnny drops the butt of his cigarette onto the ground and flattens it under his toe. \"Back to work,\" he says, and disappears back into the soundstage.\n\n> You ask Milt about Billy\nMilt shakes his head, frowning slightly. \"I may have heard of him--he's, what, in some kind of band? I don't see what that has to\ndo with Cindy's death.\"\n\n> You ask Milt about Johnny\n\"That's a tough one,\" Milt says. \"I mean, I like Johnny--he's a star and I think despite making some terribly shitty movies he's a good actor--but he can be tough to handle, to say the least. Especially where other people's wives are involved and such.\"\n\n> You ask Milt about Anne\n\"That girl who works over in the other building? She's the niece of one of our shareholders.\"\n\n> Go north\nSure, you could go for a stroll now, but what would that\naccomplish?\n\n> You enter\nBe a little more specific about what you'd like to enter.\n\n> You enter the apartment\nYou unlock the door and go in, ducking under the tape and closing the door quietly behind you.\n\nRather sparsely decorated: a fairly new sofa sitting in the middle\nof the hardwood floor commands your attention. There's a television\nin the corner. The sole bedroom is to the north. East takes you into the kitchen, or you can go back out into the stairwell.\n\n> You turn on the tv\nYou turn the television on. The local L.A. news is on the current channel. There's a brief mention of Cindy Painter's death, with no details other than that police are investigating.\n\n> Wait\nTime passes...\n\n> You turn off the tv\nSwitched off.\n\n> You go outside\nYou go out, ducking under the police tape before closing and locking the door behind you again.\n\napartment. At least you assume it's hers on account of all the yellow \"POLICE LINE--DO NOT CROSS\" tape crisscrossing the door, which is closed. The doors to the other apartments are closed, too. You can\ngo back down to the ground from here.\n\n> You get in\nBe a little more specific about where you'd like you to get.\n\n> You go behind the building\nA narrow sliver of pavement between two buildings, one of them being Cindy Painter's. The kind of narrow sliver that would be hell trying to maneuver through for parking, not to mention the miracle that the guys driving the garbage truck to get that dumpster must have to perform.\n\n> Examine dumpster\nDented and beaten-up and closed at the moment. Scattered on the\nground around the dumpster are sundry bits and traces of garbage.\n\n> You search dumpster\nThe dumpster is closed.\n\n> You open the dumpster\nWith a bit of effort you manage to force the lid of the dumpster open.\n\n> You search the dumpster\nThe dumpster contains, well, a lot of garbage, including an ordinary green garbage bag, a bright green garbage bag, a bright red garbage bag, a black garbage bag, a dark gray garbage bag, a bright yellow garbage bag, a reddish brown garbage bag, a white garbage bag, a light gray garbage bag, a bright orange garbage bag, a olive garbage bag, a dull orange garbage bag, a dark brown garbage bag, a light brown garbage bag, a bluish-green garbage bag, a yellowy brown garbage bag,\na charcoal-colored garbage bag, a maroon garbage bag, a dark blue garbage bag, and an ordinary red garbage bag.\n\n> You search dull orange garbage bag\nThe dull orange garbage bag is closed.\n\n> You open the dull orange garbage bag\nOpened.\n\nInside the dull orange garbage bag are a birthday card and a torn business card.\n\n> You read the card\nMore like the tattered corner of what used to be a business card. The only word you can really make out is \"...Bixby\".\n\n> You read birthday card\nA birthday card with bright cartoon balloons drawn all over the front. Inside:\n\n\"Cindy Baby,\n\nHappy birthday, baby! You're a real inspiration for me and my\nmusic and the whole band. Me and Funkzilla wouldn't be the same without you.\n\nBilly xoxo\"\n\n> You drive to the studio\nYou drive midtown to the main gate of Rocket Pictures Studios and park in Visitor Parking.\n\nStudio gate, in your cousin's Volvo\nWelcome to Rocket Pictures Studios. It's everything a Hollywood\nstudio should be: it has a bold, impressive gate; the grounds of the lot extending to the north are lined with rows of pale hangar-like soundstage buildings and ceramic-roofed bungalows; there's a\nstaggering abundance of motorhomes; it has its own watertower; and\nit's not actually in Hollywood at all.\n\n> Go north\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\nJohnny LaFleure, French-Canadian movie star, is outside one of the soundstages having a smoke.\n\nJohnny drops the butt of his cigarette onto the ground and flattens it under his toe. \"Back to work,\" he says, and disappears back into the soundstage.\n\n> Go north\nYou're just in front of the main administrative building. Somewhere behind these walls are the executive offices of Rocket Pictures: a motley assemblage of manic creative near-genius, mediocre posturing, epidemic insecurity, monumental bravado, white-knuckle risk-taking, milquetoast acquiescence, stark paranoia, and great leather furniture.\n\n> Wait\nTime passes...\n\n> Go north\nIt's by trying to get into the main building that you learn--if you didn't know already--that trying to get into an office on a studio lot is like a maximum security jailbreak in reverse. The Pentagon would\nbe easier to get into. Especially looking like a potential wannabe filmmaker, starved of sleep and cash the way you are. Milt Walker's assistant has never heard of you, and the friendly yet stern gentleman behind the security desk suggests you get yourself on an appointment list.\n\n> Go south\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\n\n> You go south\nWelcome to Rocket Pictures Studios. It's everything a Hollywood\nstudio should be: it has a bold, impressive gate; the grounds of the lot extending to the north are lined with rows of pale hangar-like soundstage buildings and ceramic-roofed bungalows; there's a\nstaggering abundance of motorhomes; it has its own watertower; and\nit's not actually in Hollywood at all.\nYour cousin's Volvo is parked here.\n\n> You wait awhile\nTime passes...\n\nAfter a minute or so, Billy Van Earl comes ambling down from somewhere upstairs. \"Hey,\" he says, squinting.\n\nDo you want to keep waiting (YES or NO)?\n\n> You ask him about the birthday card\n(Assuming you mean Johnny LaFleure.)\nJohnny LaFleure isn't here.\n\n> You show the card to Billy\nWhich card do you mean, the birthday card or the torn business card?\n\n> You show the birthday card to Billy\nBilly looks at the card, surprised. Then not-so-surprised. Then he swallows. \"Well, that could be any Billy, right?\" He reconsiders. Deep breath. \"Well...okay, so I did know her. Look, can you blame\nme? For lying, I mean? I'm pretty freaked out here.\"\n\n> You ask him about Cindy\n(Assuming you mean Billy.)\n\"Look, man,\" Billy says, \"You don't think I'm broken up over what happened? Maybe I even, like, loved her, you know? You think I don't miss Holly? Well I do.\"\n\n> You ask him about Holly\n(Assuming you mean Billy.)\nBilly's eyes widen. \"What? Holly--? Did I say Holly? You mean...well, um. God...damn...\" He blows his breath out. You caught him.\n\n\"Aw, geez, man...\" Billy begins. \"Yeah, right--it sounds\ngreat to have all these chicks, right? But it's a nightmare, you\nknow? I'm lying to Cindy, I'm making up excuses for where I've been, where I'm going, I'm sitting there in Malibu listening to Holly bitch and whine--and God, she can bitch and whine--all the time thinking 'Cindy's gonna kill me...Cindy's gonna kill me...'\" Really trying his best to get your sympathy. \"But what was I supposed to do? Dump Holly? She's Holly Golden, man.\"\n\n> You ask him about Johnny\n(Assuming you mean Billy.)\nBilly doesn't seem to know anything about Johnny LaFleure.\n\n> You ask him about Milt\n(Assuming you mean Billy.)\n\"Exactly! Milt Walker, man!\" Billy says excitedly. \"If you want to find out what happened to Cindy, that's one dude you should talk to--Milt Walker's one of those guys who knows everything and everybody.\"\n\n> You ask him about the murder\n(Assuming you mean Billy.)\nBilly looks perplexed. \"Well, I don't know who killed her.\nI didn't have anything to do with it.\" Then he suddenly clues in that maybe that's not the first thing on anyone's mind. \"You know, not\nthat anybody'd even think I did, right?\"\n\n> You ask Billy about the bixby\n\"Oh, I know who you're talking about,\" Billy says, \"but I don't know much about him. Other than he was Cindy's agent and she talked about him once in a while. I think he may've liked her, too. In a way that's more than just her agent, you know? Like, she said something once about how he said something that made her uncomfortable. I don't really remember, though...\"\n\n> Go north\nYou're facing south on a walking/running/rollerblading/whatever path that parallels the beach north-south along the ocean. Quite a few people are involved in beach-ish activities. You could follow the coastline further to the south, or go back up to the higher ground overlooking the beach.\n\n> Go up\nand the long curve of the coastline north past Malibu. A cement stairway descends to the beach from here, or you can go back east to where the Volvo is parked.\n\n> You go east\nStates and not be driving on the sand. Ocean Avenue extends north and south, lined with palm trees and brightly colored, Santa Monica-ish buildings. You can get a better view of the beach to the west.\nYour cousin's Volvo is parked here.\n\n> Go upwards\nYou could plunk yourself down in one of the two comfy-looking high-backed chairs while waiting for someone. The minty-blue hospital tint to the walls could take some getting used to, though. A hallway of office doors extends to the west, or you can go back outside to the south.\nAnne, the building's receptionist, is sitting at her desk.\n\n> You ask Anne about Fina\n\"Again? Okay,\" she says, and calls Stuart Fina in his office.\n\n> You wait\nTime passes...\n\nStuart Fina appears from somewhere down the hallway. He smiles a\n\"You, again\" smile. \"Oh, you again,\" he says.\n\nDo you want to keep waiting (YES or NO)?\n\n> You ask Fina about Holly\n\"Holly Golden was the hot thing for quite a while,\" Stuart tells you. \"But, you know, people always want a new hot thing. She even tried\nfor the role in Hugs and Kisses, but we went with Cindy\nPainter.\"\n\n> You ask Fina about the bixby\n\"He's Cindy's agent. He was, I mean. I never really had any dealings with him.\"\n\n> Leave\nthat one day they'll end up working in the other building. Not that this building is bad--not that it's a fire hazard or anything like that--although the budget allocated for repairs to the roof probably went into new oak paneling inside the main building. And maybe this place someone like you could at least get into. Probably just by leaving the shade of this tree and climbing up the set of three stairs that leads to the door.\n\n> Go east\nIt wouldn't be the hardest thing in the world to get lost back here among the soundstages, each of them nearly identical to the next\nexcept for the identifying number stenciled on it in faded white\npaint. If you keep going straight to the north, eventually you'll get to the main building. Or you could turn around and head back to the parking lot. More buildings of an administrative flavor are over to the west.\nJohnny LaFleure, French-Canadian movie star, is outside one of the soundstages having a smoke.\n\n> You ask Johnny about Holly\n\"A sexy peach!\" Johnny exclaims. \"Yes, I was her man not too long\nago, but, you know, things did not work out. My career got back on track and suddenly there were lots of other girls around and that was\na cause of stress.\"\n\n> You ask Johnny about the bixby\n\"That guy is a bastard,\" Johnny says. \"He punched me in the eye once. In the eye! And when I was talking to him to be my agent! What do\nyou think about that, then? I don't want to do business with no character like that.\"\n\n> You ask Milt about the bixby\n\"He's been Cindy's agent since she came out here,\" Milt says. \"But he's what you'd call small time. Cindy was starting to break out. We talked about if, after her movie opened, she should be thinking about moving up to a bigger agent.\"\n\n> You ask Milt about Holly\n\"She's a famous actress. She's been in some pictures for us. A bit\nof a prima donna, too, for what it's worth. I don't know what else to tell you.\"\n\n> You show the birthday card to Milt\nMilt nods. \"Van Earl must've given that to her. Good for her for throwing it out.\"\n\nMilt sighs. \"All right. I should have told you--I knew that Cindy\nwas seeing this...this Billy Van Earl. But he's not capable of\nmurder. What he is is a goddamned deadbeat, and I just\nwanted to...show some respect for Cindy and not have this kind of\nthing get out. He's not capable of murder.\" Milt pauses. \"Or do you think he is?\"\n\n> You show the business card to Milt\nMilt looks at the card for a second. \"Might be Chuck Bixby. He was Cindy's agent. Got an office out on Wilshire.\"\n\n> You drive to the wilshire\nYou drive east along Wilshire, away from Beverly Hills and toward downtown. You pull off onto a quiet side street and park.\n\nJust off Wilshire Blvd., in your cousin's Volvo\nThis quiet, palm-tree-lined street runs south toward Wilshire Blvd.\nand the old office building at the corner.\n\n> Go south\nWilshire Blvd. building lobby\nYou're standing right in the entrance to an old sunwashed stone\noffice building at the corner of Wilshire and, well, somewhere just west of La Brea. The lobby is about what you'd expect to find:\noffice directory on one wall, small maintenance closet, fire alarm, ventilation grill. Actually, of some interest but little use is the out-of-commission movie theater here on the ground level. Other than that, you can go up and in to the offices.\n\n> You read the directory\nThe directory is made up of those plastic letters stuck in a grooved backing mounted on the wall. It looks like the listings haven't been updated since the mid-1980s or so, and a few of the letters are\nmissing so the names are a little bastardized:\n\nDr. Emile Johns n - Br ast Enla gment\nGreenhorn & Smi h - I migration Law ers\n\n(and the one you're looking for:)\n\n(Footnote 20)\n\n> Footnote 20\nIf you're thinking, \"Golly, that's an odd cross-section,\" think again. This is Hollywood. Those are probably the top three essential services.\n\n> Go up\nYou climb the stairs until you find the door to \"Chuck Bixby - Talent Agent\".\n\nThe office is fairly bright--lots of windows. The most notable\nthing in it is a big wooden desk on which, along with a bunch of other stuff, sits a computer. The other most notable thing is a small, solid-looking safe visible under one side of the desk--notable in that \"Hey, there's a safe here\" sort of way.\nChuck Bixby is sitting at his desk.\n\n> You examine bixby\nChuck is in his late thirties, graying hair clipped short, hanging\nonto cool for as long as he can. He regards you for the most part\nwith a bemused raised eyebrow--but then you get the impression he regards pretty much everyone this way.\n\n> You examine safe\nIt's a solid-looking gray safe sitting on the floor by Chuck's desk. The safe is closed and has a dial to open the combination lock on the front.\n\n> You ask Bixby about safe\n\"That's a good safe,\" Chuck tells you. \"Paid top dollar for it.\"\n\n> You ask Bixby about Cindy\n\"Cindy? I thought the world of her,\" Chuck says. \"I still do. I was as proud of her as of anybody I've ever represented. She was going to go far--and she was such a good person, too.\"\n\n> You ask BIXBY about having the the hots for Cindy and how she was going to fire his ass\nASK BIXBY ABOUT HAVING THE HOTS FOR CINDY AND HOW SHE WAS GOING TO FIRE HIS ASS\n\nYou can't use the word \"having\".\n\n> You ask BIXBY about the movie\n\"Well, I've never seen it--not even a test screening,\" Chuck says.\n\"The studio's really, really close-lipped about it. What, do I think she would've moved on, got a new agent? Maybe.\" Chuck shrugs.\n\"These things happen. You lose clients, you get new clients. You can't let it really affect you one way or the other.\" A beat. \"Waitasec--you weren't really asking about me, were you?\"\n\n> You ask BIXBY about Holly\nChuck shrugs. \"She's a movie star. I don't know her. I probably don't know much more than you.\"\n\n> You ask BIXBY about Fina\n\"He was the studio guy in charge of Cindy's movie, but I've really\nonly talked to him a couple of times,\" Chuck tells you.\n\n> You ask BIXBY about Milt\n\"Milt Walker is a tough guy, a good guy, an honest guy, a bastard of a tough negotiator,\" Chuck tells you. \"You ask around this town, you'll get all sorts of opinions on what people think of Milt Walker.\"\n\n> You show the business card to BIXBY\n\"Yeah, that's mine.\"\n\n> You ask BIXBY about Johnny\n\"I was almost his agent once,\" Chuck tells you. \"A few years ago,\nhe'd done about nine lousy movies in a row and no one in town would even talk to him. So we went out to dinner and he tried to sleep with my wife and I ended up punching him in the eye and, hey, today I'm not his agent.\"\n\n> You examine computer\nThe computer is turned on and currently running some sort of Windows scheduler program showing Bixby's appointments--you don't recognize\nany of the names."
    },
    {
        "text": "> You go down\nWilshire Blvd. building lobby\nYou're standing right in the entrance to an old sunwashed stone\noffice building at the corner of Wilshire and, well, somewhere just west of La Brea. The lobby is about what you'd expect to find:\noffice directory on one wall, small maintenance closet, fire alarm, ventilation grill. Actually, of some interest but little use is the out-of-commission movie theater here on the ground level. Other than that, you can go up and in to the offices.\n\n> You examine the alarm\nA little red fire alarm mounted on the wall, with a handle to pull in case of fire.\n\n(Footnote 19)\n\n> Alarm\nSAVESaved.\n\n> Footnote 18\nJake Duffy is the younger brother of Sergeant Duffy, who ably assisted the player in Infocom's mystery games Deadline and The Witness, and\nwas quick to slap the cuffs on him or her in Suspect. (In other\nwords, this is another case where the author has borrowed cheerfully from an interactive-fiction classic.)  Sergeant Duffy's key trait was his ability to appear instantly whenever needed, never overstaying his welcome, and subsequently disappearing just as instantly without a trace. Now, Jake Duffy may not exactly be a cop like his big brother, but in a rare gesture of generosity toward the player's plight, at least that curious ability has here been made hereditary.\n\n> Footnote 19\nIt is, of course, an offense to pull a fire alarm if there's no fire. Just in case you were thinking of doing anything of the sort.\n\n> You pull the alarm\nYou reach up, give the fire alarm a tug, and it starts ringing. Building security (actually just one old guy in a shabby navy blazer) arrives shortly and--after giving you a suspicious once-over--escorts you and everyone else across the street.\n\nJust off Wilshire Blvd.\nThis quiet, palm-tree-lined street runs south toward Wilshire Blvd.\nand the old office building at the corner.\nYour cousin's Volvo is parked here.\n\nThe building empties out as the fire department arrives, sirens wailing, lights flashing.\n\n> Go south\nThe fire department is making everyone stay across the street from the building while the alarm is going off."
    },
    {
        "text": "[Themes: wolves, multiple protagonists, telepathy, nonhuman protagonist, wilderness, animal protagonist]\n\nMay 27th, 2011\n\nSo, I'm glad you picked me as your study buddy for the final. I'd\njust like to warn you first that my methods of studying Latin are not what you would call normal. But I at least would call them effective, and that's what counts in the end. Now, to get started, let's imagine you are a wolf living in Siberia...\n\nAnd that would be enough solid travel for tonight. You still have the energy to get a drink and a bite to eat around here, though, so it isn't yet time for sleep.\n\nThe key landmark of this area is a pine whose span is decidedly more horizontal than those that surround it. No creatures have been around here: the only tracks are your own pawprints. You could go in any direction from here, but in terms of what is actually interesting you smell a stream not far to the east.\n\nSnowish precipitation is slowly falling from the night sky.\n\nType ABOUT for further information about this game.\n\n[Author's Note: So, I'm glad you picked me as your study buddy for the final. I'd just like to warn you first that my methods of studying Latin are not what you would call normal. Now, to get started, let's imagine you are a wolf in Siberia...]\n\n> You go east\nYou make your way towards the stream.\n\nYou are on the west side of a somewhat shallow stream that continues as far as you can sense to the north and south. On the other side of the stream there is an unfamiliar structure. The fallen pine should be back to the west.\n\nA reindeer carcass lies near the stream, far too old to consume.\n\nA sniff around confirms that the river creature responsible for your scars has not been here anytime recently and most certainly isn't here now.\n\nYou hear the hooting of an owl break the silence.\n\n> You examine the reindeer\nThe reindeer carcass is the work of a lynx long since gone. Unfortunately it would not be a good idea to eat this.\n\n> You check what you're carrying\nYou are carrying nothing in your mouth.\n\nA bit of sleet gets in your eyes.\n\n> You look at the structure\nYou've never sensed anything like this before: it's a structure you could go inside that blocks precipitation. A human has been inside and around it in the past, but it is safe at this moment. There's nothing inside, though, so there's no real point in entering.\n\n> You examine the stream\nThe stream is fresh and safe to drink. It also should be crossable without trouble.\n\n> Go east\nYou cross the stream, getting slightly wet in the process.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The forest on this side of the river and whatever lives in it are now readily accessible eastward.\n\nThere is an unfamiliar structure slightly bigger than you on this side of the stream. A human was around it for long periods of time in the past.\n\n> Enter\nYou can't go that way.\n\nYou feel a slight pain from one of your slash scars.\n\n> You examine the scars\nThe slash scars from that river creature tilt your posture towards the right. Not enough to be a real issue, though.\n\nLooking back at them, you notice that they are exactly the same. Injuries don't normally work that way.\n\n> About yourself\nYour speed and stamina make up for your relatively weak bite. You should be able to get by, even without company and with those slash scars on your left side, assuming that river creature doesn't lay another tentacle on you [1].\n\nTo read footnotes, use FOOTNOTE followed by the number of said footnote.\n\n> Footnote 1\nBy the way, if you want to know what the character you're playing\nas looks like, you should check out Mrs. Linoz's biology room. She has a lot of pictures of wolves on the front wall, and one of them\u2014black on top, white on bottom, sitting like a sphinx with most of its body to the right of the photo\u2014looks like the wolf you currently are. Except you have light blue eyes and, at least right now, those slash scars on your right side. Although the right side of the wolf in the picture isn't visible so, in theory...\n\n> Go east\nAfter a short walk you find yourself at a clearing.\n\nYou have arrived in a part of the forest suspiciously lacking in trees. There's more snow on the ground and in the air here, and the sky is more visible. Should none of this be of relevance, the trees on the edge of the clearing to the north form a cluster of evergreens, and the ground grows uneven towards the south. The stream should be back west.\n\nYou catch a scent of hare in the air. It's coming from the evergreens to the north.\n\n> Sniff\nYou have arrived in a part of the forest suspiciously lacking in trees. There's more snow on the ground and in the air here, and the sky is more visible. Should none of this be of relevance, the trees on the edge of the clearing to the north form a cluster of evergreens, and the ground grows uneven towards the south. The stream should be back west.\n\n> You go north\nYou sneak into the evergreen cluster.\n\nEvergreen Cluster (hiding from the hare)\nThis is a place in the taiga where the trees keep most of their leaves even now in winter. You lie in the shadows at the moment, focused on your quarry.\n\nThe hare is hopping a bit in the center of the cluster. Hopefully this will be an easy catch.\n\n> You wait\nAs you wait, you find yourself craving some refreshing water.\n\n> You catch the hare\nBefore going for that hare, it's best to really consider about what you're doing. You think that it's best to...\n\n1) chase the hare towards the stream.\n2) chase the hare towards the uneven ground south of the clearing.\n3) go for a very quick spring to end it all quickly.\n4) explore around a bit more before going for the hare.\n\n> 3\nYou spring straight for the hare...\n...but just as you reach the hare's location with a sprint and a jump, you wind up grasping only snow with your jaws: the hare was quicker than you thought. By the time you finally get yourself back together and shake off the snow your quarry has already made its getaway. There's not really a hope of catching up at this point.\n\n> 1\nYou sneak east and with quick movement spook the hare towards running southwest. You give chase and arrive back near the stream.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The clearing is to the east.\n\nThere is an unfamiliar structure slightly bigger than you on this side of the stream. A human was around it for long periods of time in the past.\n\nThe hare is trying to escape you by crossing the stream. You aren't close enough for the kill yet, but the stream should slow it down more than you.\n\n> Go west\nYou cross the stream, getting slightly more wet in the process.\n\nYou are on the west side of a somewhat shallow stream that continues as far as you can sense to the north and south. On the other side of the stream there is an unfamiliar structure. The fallen pine should be back to the west.\n\nA reindeer carcass lies near the stream, far too old to consume.\n\nYou hear some movement up in the treetops.\n\nWhile you were crossing the stream, it appears that the hare managed to make a getaway to the southwest far faster than you could ever hope to catch up.\n\n> Drink water\nYou bend your head down towards the stream, noticing your reflection, and then proceed to lap the water. You find yourself taking a bit longer than usual, and not for lack of speed but for a desire for more and more.\n\n> Continue\nYou have already satiated your thirst. The stream is merely an obstacle now.\n\n> Go east\nYou cross the stream, getting slightly more wet in the process.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The clearing is to the east.\n\nThere is an unfamiliar structure slightly bigger than you on this side of the stream. A human was around it for long periods of time in the past.\n\nA particularly speedy falling pellet of snow attracts your attention briefly before you realize it isn't prey.\n\n> You look at the snow\nThe amount of snow is such that the entire forest floor is covered, yet it isn't hard to walk through. Nothing could hide in this snow.\n\n> Go south\nYou head south, but find nothing but more stream nearby and soon make your way back to the bizarre structure.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The clearing is to the east.\n\nThere is an unfamiliar structure slightly bigger than you on this side of the stream. A human was around it for long periods of time in the past.\n\nYou feel a slight pain from one of your slash scars.\n\n> You go east\nAfter a short walk you find yourself at the clearing.\n\nYou have arrived in a part of the forest suspiciously lacking in trees. There's more snow on the ground and in the air here, and the sky is more visible. Should none of this be of relevance, the trees on the edge of the clearing to the north form a cluster of evergreens, and the ground grows uneven towards the south. The stream should be back west.\n\nIt occurs to you that the forest has suddenly become quiet, except a rumbling of sorts to the southeast heading towards the clearing. Once it arrives all at once, it becomes quite clear indeed what it is. You are now in the midst of a blizzard, complete with shaking trees, lost visibility, and the extra sleet in your scars.\n\n> Go west\nYou make your way back towards the stream.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The clearing is to the east.\n\nThe structure has collapsed in the face of the blizzard.\n\nA sheet of snow falls off from a nearby tree.\n\n> Go west\nYou cross the stream, getting slightly more wet in the process.\n\nYou are on the west side of a somewhat shallow stream that continues as far as you can sense to the north and south. On the other side of the stream there is an unfamiliar structure. The fallen pine should be back to the west.\n\nA reindeer carcass lies near the stream, far too old to consume.\n\nA lot of sleet gets in your eyes.\n\n> You go west\nYou find your way back to the pine.\n\nThe key landmark of this area is a pine whose span is decidedly more horizontal than those that surround it. No creatures have been around here: the only tracks are your own pawprints. You could go in any direction from here, but in terms of what is actually interesting the stream is not far to the east.\n\nYou feel quite some pain from one of your slash scars.\n\n> You look at the pine\n(the fallen pine)\nThe tree has lost almost all of its distinguishing characteristics: the leaves are either gone or wilted, and the flying squirrels haven't been on it.\n\nOh, and let's not forget to mention that no other wolves have suggested that this place is important to their territory.\n\n> You enter fallen Pine\nYou climb up the fallen pine.\n\nNear the Fallen Pine (on the fallen pine)\nThe key landmark of this area is a pine whose span is decidedly more horizontal than those that surround it. No creatures have been around here: the only tracks are your own pawprints. You could go in any direction from here, but in terms of what is actually interesting the stream is not far to the east.\n\nYou feel quite some snow buffeting your side.\n\n> You pee on fallen Pine\nYou are not going to be here long, but there isn't really anything wrong with marking your territory. So you lift your leg near the fallen pine and establish your domain.\n\n> Go east\nYou make your way back towards the stream.\n\nYou are on the west side of a somewhat shallow stream that continues as far as you can sense to the north and south. On the other side of the stream there is an unfamiliar structure. The fallen pine should be back to the west.\n\nA reindeer carcass lies near the stream, far too old to consume.\n\n> You enter the reindeer\nIt's too old for that to be effective.\n\nYour legs quiver. If you don't get out of this blizzard you may be in trouble.\n\n> Go southwest\nYou find your way back to the pine.\n\nThe key landmark of this area is a pine whose span is decidedly more horizontal than those that surround it. No creatures have been around here: the only tracks are your own pawprints. You could go in any direction from here, but in terms of what is actually interesting the stream is not far to the east.\n\n> You go east\nYou cross the stream, getting slightly more wet in the process.\n\nYou are on the east side of a somewhat shallow stream that continues as far as you can sense to the north and south. A reindeer carcass is on the other side of the stream. The clearing is to the east.\n\nThe structure has collapsed in the face of the blizzard.\n\nYou hear some fast movement up in the treetops.\n\nA cool waft of air reminds you that time is running out.\n\n> Go east\nAfter a short walk you find yourself at the clearing.\n\nYou have arrived in a part of the forest suspiciously lacking in trees. There's more snow on the ground and in the air here, and the full extent of the blizzard is clear. Should none of this be of relevance, the trees on the edge of the clearing to the north form a cluster of evergreens, and the ground grows uneven towards the south. The stream should be back west.\n\nA sheet of snow falls off from a nearby tree.\n\n> You go south\nYou head into the uneven ground.\n\nThe protruding rocks and sporadic holes turn into a complete descent the further south they go, providing entrance into a maw underneath the southern forest floor.\n\n> Go south\nYou enter the cave, taking shelter from the blizzard.\n\nMany passageways are around this cavern, the biggest one being the one to the west, which leads into a strange room with a bizarre glow.\n\nYou are distracted by a glow to the west.\n\n> You examine the glow\nVery peculiar.\n\n> Go west\nThis cavern's shape is peculiar: the floor and the south, west, and north walls are all flat, while the way out back to the east retains the regular cave structure.\n\nPure power is emanating all around the cavern from a glowing circle on the west cave wall.\n\n> You look at the circle\nThe closer you are to the glowing circle, the more wise you feel. There are markings on the circle, which you understand are there to retain information for the future.\n\n> You touch the circle\nAs you put your paw on the circle, darkened lightning fires from the circle into you!\nNew thoughts flash before you. Dots upon dots connected by lines, split into two territories. Humans, in a great city (where, when\ndid you learn what that a city is?), and then the entire world at once, with lines connecting at a landmass that looks like a leg in the sea...\n\nYou remember the summer day that The Tide came very well: first the flood reports, then the reports of walking black cephalopod creatures laying waste to all in their path, then the redundant confirmation that said creatures weren't really cephalopods. And now, five months later, the naval powers of the world are down for the count, the coasts of the Americas and Europe are miles inland from where they used to be, and the showdown of the underdog militias versus the alien invaders is simply not going the way it does in the movies.\n\nThere's really only one hope that remains: communication. From their strategic groupings to the biological weapons they use with their tentacles, it's clear that the creatures are intelligent. But, despite all the work you've been involved with, there hasn't been the slightest improvement in bridging the gap.\n\nNow, however, a dispatch has informed you that you were selected to join a secret government project that has been said to be the best hope yet. The details weren't given out, but, now that you are in the facility, you will soon be familiarized with the new plan.\n\nYou've wanted to communicate across species as long as you can remember, and now you may just get your chance.\n\nA featureless west-east hallway located somewhere underneath Nebraska, ending to the west in a doorway marked 11-14-09.\n\nThe man opens up the west doorway, revealing a viewing room of some sort beyond, and beckons you inside. \"I trust that you understand that what you are about to see is highly classified.\"\n\n> About yourself\nDr. Huncel Clark, young, apparently bright geneticist. Bright enough that you were invited to be involved with this project.\n\n> You go to the west\nTopics: wolf\n\nThe man closes the door behind you.\n\nYou survey the room around you. There are several desks with new (for once) computers on top, set up so that those using the computers would be able to make glances at the viewing window on the west end of the room, where noted ethologist Miranda Heather currently stands.\n\nYou glance into the cell beyond the viewing window. You spy a\nwolf, curled up, facing the back wall of its prison.\n\n> You look at man\nThe man with you is one of those people who you are supposed to never talk to anyone about. You don't even know his name even with your newfound security clearance.\n\n> Wolf\nTopics: none\n\n\"What is this wolf here for?\"\n\nMiranda Heather is the first to respond: \"You wouldn't believe me if I told you. Try knocking on the window.\"\n\n> You knock on the window\nTopics: yes or no\n\nYou give a few solid knocks on the barrier that separates you and the wolf, but, aside from the predictable slight ear movement, it doesn't react.\n\nHowever, you do experience sudden feelings of apathy for no apparent reason at all. It's as if some incorporeal person is nagging you to pay attention to a topic you don't care about in the slightest.\n\n\"Did you feel that?\" Miranda asks.\n\n> Yes\nTopics: telepathy\n\n\"The apathy?\"\n\n\"That would be the wolf's feeling. He has the astonishing ability to broadcast his thoughts and feelings to other beings. Unless we want to sound more refined than science fiction and parapsychology, I do dare say that telepathy is the term to use.\"\n\n> Telepathy\nTopics: commune and new to us\n\n\"Telepathy? What sort of mechanism could cause such a concept? Why hasn't anything like this been observed before?\"\n\n\"Such questions are amongst those we're seeking answers for: he's still very new to us, a week or so. He has been dubbed 'The Ambassador' since we hope his abilities could lead us to a way to commune with The Tide. He doesn't like The Tide, much like us,\nbut he's our option.\"\n\n> New to us\nTopics: mind and commune\n\n\"Where and how was he found?\"\n\n\"He was found in Siberia during the search for a missing hiker named Clarence Pankov. Mr. Pankov was found wounded and out of his\nmind, as told on the news. What wasn't reported was that this\nwolf was only a kilometer away.\"\n\n> Mind\nTopics: overload and commune\n\n\"And I assume The Ambassador is the culprit in Clarence's insanity?\"\n\n\"Almost certainly. He's known to telepathically overload\nothers, leaving them quite a mess for some time. This appears to be very taxing on the body, for he is tired or even swoons shortly afterwards.\"\n\n> Overload\nTopics: commune\n\n\"Is there still-\"\n\n\"-a risk of being overloaded? We hope not.\" She smiles. \"He's been conditioned to understand that overloading humans means no treats.\"\n\n> Commune\nTopics: none\n\n\"Do you know if his telepathy works with Tide creatures?\"\n\n\"It doesn't at the moment. His telepathy works especially well with humans and probably other wolves in his rare subspecies Canis\nlupus flaukulla [2], judging by his weakened telepathy with dogs.\nIf there's a way for him to communicate with humans, I think we have a shot at extending it all the way to The Tide.\"\n\nThe man interrupts. \"Now that the extent of The Ambassador's abilities have been established, I think it is time that Dr. Clark try a conversation with The Ambassador. He should open up the channel after another knock [3].\"\n\n> Footnote\nsoundtrack and started playing it a lot on the way to school and in other trips. One of the songs she played the most is called \"Help Yourself.\" I was thinking about the first meeting of The\nAmbassador and Huncel at about the same time, and rather quickly I noticed the thematic similarities between the song's lyrics and their meeting. Whenever I heard the song I would bend the lyrics in my head to better correspond to the scene.\n\n> Footnote 2\nAnd there's some Latin via scientific naming! Canis, canis,\nmasculine, meaning dog, and lupus, lupi, masculine, meaning wolf. Flaukulla (flaw-cola) is a word I made up\u2014supposedly the surname of a fictional 19th-century naturalist, but that's not too relevant. What's also not too relevant but is pretty interesting is that when I was first thinking of all this back last year in 8th grade I had never written or typed the word Flaukulla down anywhere, so I just sort of imagined what it looked like typed out, and it turned out to look nothing like I imagined even though I knew the spelling. Interesting psychological effect, eh?\n\nAnyways, the serious Latin and Roman culture has yet to come.\n\n> You examine the wolf\nBlack on top, white on bottom, with three slash scars on his side. He seems very bored and disinterested with his surroundings.\n\n> You look\nA room with several desks with computers on top, set up so that those using the computers would be able to make glances at the viewing window on the west end of the room, where Miranda Heather currently stands along with the man.\n\nThe Ambassador continues to stare at nothing with his back to you.\n\n> You look at the computers\nCompletely blank: not even screensavers.\n\n> You knock on the window\nTopics: greeting, curiosity, and amazement\n\nYou knock on the glass once more. This time, you feel more than just an emotion: you feel a sudden new ability to put your thoughts into a different channel, one that leads away from your mind. Clearly The Ambassador is allowing you to send information to him. What to send, though? Thoughts of curiosity, amazement, or maybe you\ncould work out some sort of interspecies greeting?\n\n> Curiosity\nTopics: feed, hunger, etiquette, and\namazement\n\nWhat better emotion to open up with than the foundation of scientific inquiry?\n\nYou broadcast questions about how and why, questions both about his abilities and more classical lupine life. He ignores the former and responds to the latter with a request for some tasty reindeer. Or perhaps he just wants reindeer. Either way, he still is curled up and not facing you. They may have convinced him to not overload anyone, but it seems human communication etiquette has yet to be worked in.\n\nYou think (to yourself, you hope and suspect) of some ways to go further. You could invoke his desire for reindeer, either by asking the man to feed him or asking The Ambassador about\nhunger. Suggesting he obey proper etiquette might make\neverything easier if he complies, or, lastly, you could try to see if your amazement at him can lead somewhere interesting.\n\n> Feed\nTopics: health, hunger, etiquette, and\namazement\n\nYou turn to the man. \"He's asking for some reindeer. Can you comply?\"\n\n\"Unfortunately I cannot. Although the vet did say that The Ambassador appears to require more sustenance than is normal for a wolf of his size and age, we have already taken that into account. He seems to have other health issues too, so we don't want to take any\nchances.\"\n\n> Health\nTopics: hunger, etiquette, and amazement\n\n\"He has health issues of what sort?\"\n\nThe man takes a paper and clipboard from one of the desks and hands it to you. \"Here, read the vet's notes when you have time.\"\n\n> You look at the notes\nA quick skim suggests The Ambassador requires more food, drink, and sleep than is considered healthy, has periods of intense fatigue right next to periods of hyperactivity, and is injured across his right side (presumably the slash scars you see before you). His telepathic powers are then listed in the same space as everything else as if they were a health problem too, which they may very well be depending on your definitions.\n\n> Etiquette\nTopics: dominance, humanity, and amazement\n\nLet's see if he complies.\n\nYou insist to The Ambassador that he face you because then you might have a better chance at understanding him. To establish the idea further in both of your heads, you cite some of your own socializing problems from your childhood. In the midst of all, though, The Ambassador abruptly fills your mind with thoughts along the human lines of \"You don't control me.\"\n\nPossible ways to respond to this new conversational twist would be to talk about the problems of dominance in conversation and\nelsewhere, or maybe you could tell him all about some of the greatness of humanity.\n\n> Dominance\nTopics: Tide, humanity, and amazement\n\nYou try to visualize that sort of communication-feedback loop you'd find in a textbook in your mind and explain how proper communication works and why proper communication is important. You then apologize for trying to force etiquette into him so early. The Ambassador abruptly decides to speak about how much he hates a quite familiar kind of creature that he encountered that is responsible for his distinctive scars.\n\nAh, so you both have troubles with The Tide. That's another\npossible topic.\n\n> Tide\nThe moment your mind makes the slightest reference to The Tide, The Ambassador turns around to face you, and for the first time you notice his snout and his light blue eyes...\nTopics: displeasure\nAmbassador\nhis snout and his light blue eyes...Cell (trapped)\nA room with nothing of interest for you at the moment (sometimes there's delicious food and water). There is another inaccessible room to the east, which has a few humans in it, one of whom you don't know yet.\n\nYou get up on your legs. Feelings of displeasure towards The\nTide are about, both from you and the new human.\n\n> Displeasure\nTopics: decrease and increase\nAmbassador\n\nYou voice your displeasure towards The Tide to the new human. Strangely, he seems bizarrely disturbed by your desire, even though he is an enemy of The Tide too. You could increase the intensity\n(always pleasurable) or decrease the intensity (more likely to\nget a treat).\n\n> Decrease\nTopics: increase\nAmbassador\n\nThe Tide's obliteration is far more important than treats.\n\n> Increase\nYou ignore the human's lack of comfort with your feeling and just continue the onslaught. He starts to panic, and the other humans rush to him. But he isn't The Tide's ally: why would he be panicked?\n\nThe other humans give a look towards you, the look they give when they don't give you anything. You've had your delicious fill of anger for now, so now it's probably time to avoid losing delicious food. Since closing the channel on a newbie also makes you lose food, the best idea is probably to strike up some other topic...\nTopics: yes or no\nidea is probably to strike up some other topic...## Viewing Room\nYour focus is only on the man, Miranda, and The Ambassador.\n\n\"He 'doesn't like' The Tide? You mean, he'd kill us all just to do the slightest bit of damage to it?\"\n\nThe man tries to calm you down. \"Relax, Huncel, relax. The Tide is the greatest threat to civil society that has ever appeared in all of history. Shouldn't we share his anger?\"\n\n> Yes\nTopics: job\n\n\"I suppose.\"\n\nThe Ambassador continues the conversation. He is now wondering what your job is. It appears he has been taught a bit about human\nsociety, then.\n\n> Job\nTopics: relatives\n\nIt feels like you are getting more used to telepathic conversation.\n\n\"Ambassador, I'm someone who studies inheritance. Why you share\ntraits with your parents, and why your progeny would share traits with you. That's my job.\"\n\nHe doesn't seem to know how to respond properly, which you infer from his thoughts rather than out of telepathic silence. Progress! Maybe more talk about his relatives is warranted.\n\n> Relatives\nTopics: hatred and reach\n\n\"What do you remember about your parents?\"\n\n\"They cared for me a long time ago. My mother died shortly before\nI left the pack.\" The voice in your mind sounds a bit like a\nteenage voice to you, maybe because that's the sort of voice you'd imagine saying something along those lines. You also infer that his mother's death was natural and unrelated to The Tide.\n\nWell, now feels like a good time to talk about the mighty reach\nof humanity. Then again, the reach of humanity is being torn down by The Tide, so maybe you should focus the conversation towards his hatred of The Tide again, assuming you are less squeamish.\n\n> Hatred\n\"Ambassador, although I'm not sure you should hate The Tide at the level you do, it is a grave threat to both our livelihoods. We are having troubles fighting The Tide directly: perhaps with your help we can understand The Tide and convince it to leave us alone. You are our hope, and we will make sure that your livelihood is far beyond what you would previously dream of.\"\n\nYou sense some happiness and contentment from The Ambassador, but then he starts to send some fatigue. Soon, you feel the telepathic channel closing, and your mind snaps back fully into conventional reality, where you notice The Ambassador starting to lie down once more.\n\n\"Seems The Ambassador is taking a nap. Is that scheduled?\"\n\nThe man looks down at his watch quickly and then says, \"About right. Remember that everything that happened in this room is classified. Not that anyone would believe you, anyway...\"\n\nThe wilderness vanishes again as you awaken.\n\nSleeping Cell (on the sleeping cushion)\nThis is the cell where you sleep. Really, you'll sleep wherever the cushion is, but the humans insist that you should do tasks in the rooms designated for them.\n\nA bell cord is hanging from the door out to the west.\n\nYou can also smell a chew toy here.\n\n> You look at the toy\nThe chew toy smells a bit like reindeer hide but is shaped like a bone.\n\n> You examine the cord\nPulling the bell cord will ring the bell on the other side of the door which will summon Huncel who will open the door which will allow you to walk into the main room where Huncel will run some 'experiments' on you which will result in you getting treats.\n\nHuncel throws out a bunch of human names like 'Pavlov' and 'Goldberg' in his absent-minded telepathic mumblings describing the process.\n\n> Chew toy\n(first taking the chew toy)\nIt's just not the same without the Tide scent that Huncel put on the prior chew toys before you destroyed them. You chew a bit anyways, though the center of your attention is the bell cord.\n\n> You stand\nYou get off the sleeping cushion.\n\nThis is the cell where you sleep. Really, you'll sleep wherever the cushion is, but the humans insist that you should do tasks in the rooms designated for them.\n\nYour sleeping cushion occupies the center of the room.\n\nA bell cord is hanging from the door out to the west.\n\n> You drop the toy\nYou open your mouth a little and the chew toy falls to the ground.\n\n> You go west\n(first opening the facility door)\nOnly Huncel is able to open this door.\n\n> You pull cord\nYou pull the cord as far as it goes and hear the bell ringing. Next up is Huncel's arrival.\n\n> You wait a while\nTime passes."
    },
    {
        "text": "[Themes: nonhuman protagonist, multiple protagonists]\n\n> You look around\nThis is the cell where you sleep. Really, you'll sleep wherever the cushion is, but the humans insist that you should do tasks in the rooms designated for them.\n\nYour sleeping cushion occupies the center of the room.\n\nA bell cord is hanging from the door out to the west.\n\nYou can also smell a chew toy here.\n\n> Go west\n(first opening the facility door)\nOnly Huncel is able to open this door.\n\nYou hear Huncel's footsteps from the other side of the door.\n\n> You wait for a while\nTime passes.\n\n\"The door opens. Huncel [4], clearly tired and a bit clumsy, walks through it and activates the light. You open the telepathic channel shortly after he pets you around the ears.\n\n\"Good dusk, Ambassador! Everything is ready in the main room. I'm\nsure you are ready to walk in!\"\n\n> Footnote 4\nBack in November 2009 in Social Studies everyone in my class did a report on an important figure in early 19th century American history. We all found a quote and made a trinket concerning our chosen person. I ended up doing a report on William Clark, with his legendary misspelled journal entry \"Ocian in view! O! The Joy!\" and a simple cardboard telescope. I was focused enough on the report that I suddenly started calling that as-of-yet-unnamed scientist in that as-of-yet-unnamed story I was making \"Dr. Clark.\"\n\nThen, in late April 2010, I had a bizarre dream that gave me Dr. Clark's first name: the unusual name of Huncel (Hon-cell, with hon as in honey). I believe I came up with the name of Beyond\nDivision at about the same time.\n\n> You go west\nTopics: straight and treats\n\nThe first thing you notice is a lack of any temporary features in the room this time: all that is here is the usual canine accoutrements and human furniture. The sleeping cell is east and the rest of this place is to the north.\n\nHuncel takes a seat on the recliner and gestures you to get on the rug below it if you want.\n\n\"So, in lieu of what we normally do, how about we talk a bit? I believe at this point you are more willing than previously to just talk about you and your feelings.\"\n\nQuery as to whether this will still lead to treats, or jump\nstraight in?\n\n> You sit on the rug\nTopics: straight and treats\n\nYou get onto the rug.\n\n> Treats\nTopics: food, mate, and opportunities\n\n\"Will you still give treats?\"\n\n\"Yes, this counts as an experiment. And the first part of the test\nwas whether you'd question the possibility of treats due to the significant change. Good job, you've earned an extra eventual\ntreat!\" Huncel sends you a weird vision, and then, detecting your\nlack of understanding, assures you that it is supposed to represent a human smiling.\n\n\"So, Ambassador, are you content at this moment?\"\n\nLament the lack of opportunities to tear The Tide up, or lament\nthe lack of a mate? It feels like Huncel is hinting something\nmore around the food end of things, though.\n\n> Opportunities\nTopics: interloping, injured, and damage\n\nYou send all the messages you can that imply that you'd want to spend the rest of your life at war with The Tide, but Huncel sends exasperation and his emotional memories of the glass incident: how he was worried he couldn't control and that you would endanger everyone in the facility including yourself, plus the paternal feelings he's trying and failing to hide. Seems Huncel will never give that up.\n\n\"That does bring us elsewhere though. We humans often ask why. Why\nis the sky blue, why do you have your abilities, why do we do what we do? So I ask you: why do you hate The Tide the way do you?\"\n\nWell, Huncel hates The Tide because of its damage to humanity,\nand The Tide injured you. What reason do you need though? The\nTide is an interloping force.\n\n> Injured\nTopics: yes or no\n\nYou repeat your encounter with The Tide.\n\n\"There's still something more, Ambassador. Maybe you don't know it yourself, but something unprecedented must have happened to you. In the entire history of humanity there is not one case of a wolf or anything at all with telepathy like yours, and other animals pretty much never get that angry at the species of something that attacked them.\"\n\nThe back of your mind screams at a possible reason for it all, but you just can't bring it up into something concrete.\n\n\"Well, I know you're against The Tide and all, but aren't you\nhappy that you don't have to hunt anymore? This would be a paradise for you if your motivations were that of a typical wolf.\"\n\n> No\n\"It just doesn't make me that happy.\"\n\n\"Well, it should. You do like treats at least. Speaking of which,\nI'll go get them now. Just stay here for a bit and maybe play with one of your chew toys.\"\n\nAnd Huncel leaves north and closes the door behind him. You cut the channel and have your mind entirely to yourself once again.\n\nHuncel is The Tide's enemy. You are The Tide's enemy. But Huncel still doesn't understand your actions. Next glass incident, you'll actually break through the glass and bite the creature beyond it. You know it already."
    },
    {
        "text": "[Themes: Superhero]\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nCONGRATULATIONS!\nYou may already be a winner!\n\nHave you ever wondered what life is about? Do you look for happiness but never find it? Does joy, fulfilment, and the answer to world peace always slip right through your fingers? Are you thinking right now, \"I'm a born loser?\"\n\nWell, we at Hero, Inc once thought that too! Until we found the ultimate answer to all of these questions and more. And, for a limited time only, we've decided to make OUR happiness YOURS! Yes, you can be a hero too! Simply fill out the handy Special Introductory Offer Form attached and all your dreams could be about to come true!\n\nOne lucky winner will receive a FREE all-expenses paid Passport to the Heroic Adventure of a lifetime! (*) Runners up receive thousands of dollars (**) worth in prizes! There are NO STRINGS ATTACHED! NONE! (***)\n\nSincerely yours,\nThe Manager,\nHero, Inc\n\n(*) - Actual length of lifetime may vary depending on participant.\n(**) - Dollar values are an estimated equivalent only.\n(***) - None that can be considered legally binding.\n\nHERO, INC Part One\n\"Calling All Heroes\"\nAn Interactive Fantasy\n\nThis is your bedroom. It would be hard to find a more ordinary room, or a more ordinary house, than this. It contains a perfectly normal bed, a completely everyday desk, and a decidedly un-heroic cupboard. A door to the north leads out to the quite average hallway beyond.\n\nSitting on the desk is a letter.\n\n[Author's Note: You play as J. Random Hero, Fairhaven's newest hero if you answer the call to duty from Hero, Inc. by entering their contest and performing several feats of heroism. Don't wait! Enter the contest now and you may win their Grand Prize!]\n\n> You examine desk\nOn the desk you see a letter.\n\n> You examine the letter\nThe letter, which you read in the introduction, is addressed to J. Random Hero. There appears to be a Special Introductory Offer form attached.\n\n> You get it\nTaken.\n\n> You read it\nCONGRATULATIONS!\nYou may already be a winner!\n\nHave you ever wondered what life is about? Do you look for happiness but never find it? Does joy, fulfilment, and the answer to world peace always slip right through your fingers? Are you thinking right now, \"I'm a born loser?\"\n\nWell, we at Hero, Inc once thought that too! Until we found the ultimate answer to all of these questions and more. And, for a limited time only, we've decided to make OUR happiness YOURS! Yes, you can be a hero too! Simply fill out the handy Special Introductory Offer Form attached and all your dreams could be about to come true!\n\nOne lucky winner will receive a FREE all-expenses paid Passport to the Heroic Adventure of a lifetime! (*) Runners up receive thousands of dollars (**) worth in prizes! There are NO STRINGS ATTACHED! NONE! (***)\n\nSincerely yours,\nThe Manager,\nHero, Inc\n\n(*) - Actual length of lifetime may vary depending on participant.\n(**) - Dollar values are an estimated equivalent only.\n(***) - None that can be considered legally binding.\n\nThere does indeed appear to be a Special Introductory Offer form attached.\n\n> Examine form\nTo make your choice, tick either the first or second box.\n\nYES! I WANT TO BE A GUARANTEED WINNER! Please rush me IMMEDIATELY your Special Introductory Offer Pack with all the information I need to enter Hero, Inc's amazing once-in-a-lifetime adventure opportunity!\n\nI understand there is ABSOLUTELY NO OBLIGATION and that I can withdraw from the contest at any time if I am in any way disappointed.\n\n(There is a large box about 1 inch square beside this statement).\n\nNO, I AM A WIMP. I don't even want to think about heroic deeds, let alone try something I know I'm going to fail at horribly. In fact, I think I'll jump off the Post Office Tower right now and end my miserable life. I'm not signing anything. Just go away and leave me alone.\n\n(There is no second box).\n\n> Tick box\nWhat do you want to tick it with?\n\n> Inventory\nYou have a letter."
    },
    {
        "text": "[Themes: Superhero]\n\n> You look around\nThis is your bedroom. It would be hard to find a more ordinary room, or a more ordinary house, than this. It contains a perfectly normal bed, a completely everyday desk, and a decidedly un-heroic cupboard. A door to the north leads out to the quite average hallway beyond.\n\n> You examine the cupboard\nThe cupboard is closed.\n\n> You open it\nOpening the cupboard reveals a ballpoint pen.\n\n> You get the pen\nTaken.\n\n> Tick box\n(with the ballpoint pen)\nYou carefully tick the large box with the ballpoint pen. No sooner is the ink dry than the letter begins to vibrate! As you watch, it shrinks, warps, and turns itself inside out, sealing the enclosed Special Introductory Offer form into a cleverly pre-printed envelope.\n\n> You go to the north\nThis hallway connects the various rooms which make up your perfectly ordinary house. Your bedroom is south, the bathroom is east, the kitchen is north, and the lounge is west.\n\n> You go to the west\nThe lounge is the most impressive room in your house. A giant large-screen TV takes pride of place against one wall, and an equally imposing soft and comfy sofa sits facing it. To the west is your front door (closed), and smaller doors lead northeast to the kitchen and east to the hall.\n\nSitting on the TV set is a video cassette.\n\nWith a sudden pang of terrible guilt, you remember that the videotape is overdue. You move unconsciously to pick the cursed thing up before you forget it again.\n\n> You open the door\nOpened.\n\n> You go west\nYou are outside your ordinary house, the front door of which is open to the east. It is a bright sunny day, and birds are singing happily from the trees at each side of the street. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\n> Go west\n(Closing your front door)\nPost Office Park\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a dingy old dribbling fountain.\n\nA child runs past, laughing.\n\n> You go north\nYou are standing outside the very new and extremely modern Post Office Tower, a shining monument to Fairhaven's progress, standing a full fifteen stories tall. You can enter the lobby to the north, or walk into the equally famous (though much older) Post Office Park to the south. Elm Street continues east and west.\n\n> Go north\nPost Office Tower, lobby\nYou are in the shining new ground-floor lobby of the Post Office Tower. The sheer size and architectural elegance of this room takes your breath away. A plaque and call button are mounted on the north wall, next to the lift doors (which are closed). The grand entrance doors to the south lead back out to the street.\n\n> You examine the plaque\nFloor  1 ........... Lobby\nFloor  3 ........... Post Office\nFloor  8 ........... Fairhaven Bank\nFloor 15 ........... Observation Deck\n\nAll other floors are off-limits to the public.\n\n> Go north\nYou are in the Post Office Tower's sleek, ultra-modern lift car.\nBeside the doors to the south (currently open) is a sleek, futuristic keypad and display.\n\n> You go to the south\nPost Office Tower, Floor 3\nThis large, bustling room must be the new Post Office. A steady flow of customers make their way up to the counter, where a lone mail clerk stands ready to serve them. The sleek, ultra-modern lift opens to the north.\n\nThe mail clerk shuffles some papers.\n\n> You give the envelope to the clerk\nThe clerk takes the envelope, nods, and drops it into a bin. \"Same day delivery, I see. We'll have the reply delivered to you before you know it. Thanks for using the Post Office!\"\n\n> You go to the south\nPost Office Tower, lobby\nYou are in the shining new ground-floor lobby of the Post Office Tower. The sheer size and architectural elegance of this room takes your breath away. A plaque and call button are mounted on the north wall, next to the lift doors (which are open). The grand entrance doors to the south lead back out to the street.\n\n> Go east\nYou are on the pavement outside Fairhaven's public school, which runs to the northeast. Elm Street runs west of here, and Maple Drive starts to the south.\n\n> You go south\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a dingy old dribbling fountain.\n\nSome birds chirrup as you walk past.\n\n> Go south\nYou are outside a small garage which sells petrol and services motor vehicles. The workshop opens to the south, and Oak Street continues east and west. To the north, Post Office Park is visible.\n\n> You go to the east\nYou are on a quiet street corner in the little town of Fairhaven.\nMaple Drive runs north from here to your house, while Oak Street runs west. A rusty old manhole (closed) is set squarely in the middle of the road.\n\n> Go north\nYou are outside your ordinary house, the front door of which is closed to the east. It is a bright sunny day, and birds are singing happily from the trees at each side of the street. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\n> You go east\n(Opening your front door)\n(Closing your front door)\nLounge\nThe lounge is the most impressive room in your house. A giant large-screen TV takes pride of place against one wall, and an equally imposing soft and comfy sofa sits facing it. To the west is your front door (closed), and smaller doors lead northeast to the kitchen and east to the hall.\n\nYou see a parcel here.\n\n> You examine the parcel\nIt's addressed to:\n\nJ. Random Hero\nMaple Drive\nFairhaven\n\nand stamped: URGENT! HERO, INC SPECIAL INTRODUCTORY OFFER PACK!\n\nThe parcel is closed.\n\n> You open it\nOpening the parcel reveals a pair of 3D glasses, a digital watch, a yellow Magic Marker, a plastic cape, and a packing slip.\n\n> You look at the slip\nHERO, INC SPECIAL INTRODUCTORY OFFER PACK\n\nPlease find enclosed the following:\n1 x Sword of Virtue\n1 x Amulet of Counsel\n1 x Cape of Many Things (Deluxe Hero Edition)\n1 x Nth-Dimensional Imager (pair)\n\nGeneral Instructions:\n\nCongratulations on entering the Hero, Inc Adventure Of A Lifetime Contest. In order to qualify for the Grand Prize, all applicants must report to the Convention Site in their local town with proof of their heroic exploits, no later than midnight on the date of the contest.\nThe Hero equipment enclosed is provided for your safety and comfort, please use it. New applicants may experience some disorientation adjusting to dimension shifts, this is quite normal and does not in any way indicate a fault in the imaging equipment. Hero, Inc shall not be liable in any way, legal or otherwise, for loss of health, existence or sanity caused by taking part in this Contest.\n\n> You get Amulet\nYou've already got your hands full.\n\n> You look at what you're carrying with you\nYou have a ballpoint pen, a video cassette, and a yellow Magic Marker.\n\n> You drop the pen\nDropped.\n\n> You wear it\nYou slip the cape over your shoulders. Suddenly your hands feel light and free.\n\n> You wear it\nAs you slip the watch over your wrist, it slides to an exact comfortable fit. The watch beeps and displays: \"GOOD MOVE\".\n\n> You wear it\nAs you put the glasses over your eyes, you feel a faint tingling sensation down your spine. Everything somehow looks sharper than before.\n\nThe TV suddenly switches itself on! The sofa begins crackling with a red glow.\n\nA deep sinister chuckle rolls out from the TV set. Black clouds and lightning flash across the screen, and a station logo appears. Choir girls chorus the words: \"NYTV, The Nytemare Channel. We're Only A Scream Away.\""
    },
    {
        "text": "[Themes: Superhero]\n\n> Look around\nThe lounge is the most impressive room in your house. A giant large-screen TV takes pride of place against one wall, and an equally imposing soft and comfy sofa sits facing it. To the west is your front door (closed), and smaller doors lead northeast to the kitchen and east to the hall.\n\nYou see a parcel and a ballpoint pen here. The parcel seems to contain a packing slip.\n\nThe sofa is surrounded by a crackling red glow. You feel a strong static force pulling you towards it.\n\n\"Hey there, this is Drac Thornwood telling YOU to watch NYTV, The Nytemare Channel. Don't even THINK of touching that dial, 'cos have we got one HELL of a great lineup for you tonight! But first, a word from our sponsor!\"\n\n> You get the pen\nTaken.\n\nThe screen goes to an ad break.\n\n\"When you see crime, pollution, toxic waste, social breakdown, and nuclear Armageddon, who do you think of? The Nytemare Corporation, that's who. We're the world leader in all these fields and more. So remember, next time you need a disaster of Biblical proportions in your neighbourhood, call us. The Nytemare Corporation. Because we know where you live.\"\n\n> Go east\nThis hallway connects the various rooms which make up your perfectly ordinary house. Your bedroom is south, the bathroom is east, the kitchen is north, and the lounge is west.\n\nYou hear the TV playing in the lounge.\n\n> You go to the east\nThe bathroom seems normal enough. There's a sink, toilet, and shower, and two doors leading west to the hall and north to the laundry.\n\nThere is a very strange creature in the room. It is a huge bloated balloon of a thing, covered in translucent black skin, with a puffy face and watery, bloodshot eyes which try to focus on you with some difficulty. The creature yawns and waddles drunkenly. It appears to be filling the entire laundry and most of the bathroom, as only its head and upper body is visible here. A bright red glow surrounds it.\n\nThe watch beeps and displays: \"HYDROPHOBIA\".\n\nThe Sword of Virtue tingles in your hands.\n\nThe Hydrophobia slurps noisily and bangs on a nearby waterpipe.\n\n> You examine the HYDROPHOBIA\nIt is a huge bloated balloon of a thing, covered in translucent black skin, with a puffy face and watery, bloodshot eyes which try to focus on you with some difficulty. The creature yawns and waddles drunkenly. It appears to be filling the entire laundry and most of the bathroom, as only its head and upper body is visible here. A bright red glow surrounds it.\n\nThe Hydrophobia dribbles in your general direction.\n\n> You attack it with Sword\nYou swing the shining yellow sword at the Hydrophobia. The sword's blade strikes the creature in a shower of yellow sparks.\n\nThe Hydrophobia does a double take.\n\n\"'Ullo, wot's this ere? An 'Ero with a bloomin' Sword of Virtue?\nWell, I was just leaving anyway. I'll be seein' you around, matey. Next time, MY place.\"\n\nThe creature oozes at you for a moment then shrinks into the laundry and gurgles down a pipe. There is a burp from somewhere underground, followed by silence. The laundry door slowly swings open.\n\nYou hear the TV playing in the lounge.\n\n> You go north\nThe laundry is one of the least-visited rooms in your house, and it's not hard to see why. The single washing machine (glowing yellow) is nearly buried under a huge pile of unwashed clothes. Doors lead out to the west and south.\n\nYou hear the TV playing in the lounge.\n\n> You examine the machine\nIt shines with a soft yellow glow. The washing machine is closed.\n\nYou hear the TV playing in the lounge.\n\n> You open the machine\nOpening the washing machine reveals a glowing spray bottle.\n\nYou hear the TV playing in the lounge.\n\n> You examine bottle\nIt's a spray bottle. The label reads:\n\nNew Improved WHITO!\nAnti-Static Spray and Heavy-Duty Stain Remover\nProduct of Hero, Inc.\n\nThe bottle shines with a soft yellow glow.\n\nStrange. You don't remember seeing this bottle before.\n\nYou hear the TV playing in the lounge.\n\n> You get the bottle\nTaken.\n\nYou hear the TV playing in the lounge.\n\n> You go to the south\nThe bathroom seems normal enough. There's a sink, toilet, and shower, and two doors leading west to the hall and north to the laundry.\n\nYou hear the TV playing in the lounge.\n\n> You go west\nThis hallway connects the various rooms which make up your perfectly ordinary house. Your bedroom is south, the bathroom is east, the kitchen is north, and the lounge is west.\n\nYou hear the TV playing in the lounge.\n\n> Go south\nThis is your bedroom. It would be hard to find a more ordinary room, or a more ordinary house, than this. It contains a perfectly normal bed, a completely everyday desk, and a decidedly un-heroic cupboard. A door to the north leads out to the quite average hallway beyond.\n\nYou hear the TV playing in the lounge.\n\n> You go north\nThis is the kitchen. A bench, microwave and refrigerator all appear to be their usual selves. Doors lead south to the hall, southwest to the lounge, and east to the laundry.\n\nYou hear the TV playing in the lounge.\n\n> You go southwest\nThe lounge is the most impressive room in your house. A giant large-screen TV takes pride of place against one wall, and an equally imposing soft and comfy sofa sits facing it. To the west is your front door (closed), and smaller doors lead northeast to the kitchen and east to the hall.\n\nYou see a parcel here. The parcel seems to contain a packing slip.\n\nThe sofa is surrounded by a crackling red glow. You feel a strong static force pulling you towards it.\n\n\"Drac Thornwood back again. Just take a look at this season's new offerings, and I do mean OFFERINGS! We've got the Wall to Wall Horror Movie Festival, the crazy Slash 'n Chop Song Show, and of course our old favourite, the Genocide Game! All that and more, beamed right to your homes on The Nytemare Channel! But now, a bulletin from the NYTV newsroom.\"\n\n> You go to the west\nYou try to reach the door, but can't. The static force from the sofa is too strong. The presenter laughs.\n\n\"Isn't it great to stay indoors and watch your favourite channel, NYTV! We'll be here to keep you company right through till midnight.\"\n\n\"Yes, Drac, the rumours from Fairhaven have been confirmed. Apparently a major Hero Convention is being held in that town as we speak. Our sources are still vague but we believe this may pose the first real threat to Nytemare Corp's operations in several years. Over to you, Drac.\"\n\n> You spray the sofa with the bottle\nYou spray some Whito onto the sofa and it begins to smoke! Years of built-up static electricity absorbed from the TV set are released in an explosion of sparks and flames! Finally it cools down, a little singed but looking much cleaner.\n\n\"Well, scary stuff there indeed. We'll certainly be bringing you the latest on this story as it continues to develop. But I'm sure the Corporation will be quite able to handle this new challenge. Stay glued to your seats, viewers, while we take a short break.\"\n\n> Go west\nAs you reach the door, a gust of freezing wind and rain comes blasting in! The television image flickers.\n\n\"Hey, you folks down in Fairhaven better not go too far away from your nice comfortable houses, 'cos when that storm hits it's gonna blow - \"\n\nA thunderclap drowns his words, as a bolt of lightning strikes the TV aerial on top of your house. You hear the sound of shattering glass, then an impossibly loud explosion. Diving to the ground, you narrowly avoid being hit by shards of brick and burning wood. When you get up and look back, you see that your house has been completely demolished.\n\nYou are outside your formerly ordinary house, which is now a smouldering pile of rubble to the east. Clouds gather ominously in the sky overhead. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\n> Go west\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see the ruins of your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a dingy old dribbling fountain.\n\n> You look at the fountain\nIt's disgustingly old and dingy, and hardly even dribbling. Just looking at the stagnant water flow sends strange shivers of fear down your spine. In the fountain you see a glowing green Magic Marker.\n\n> Green\nIt's green. A message is engraved on the side:\n\nIf lost, return to:\nSally Knight\nRoom 13\nFairhaven Public School\n\nThe Magic Marker shines with a pale green glow.\n\n> You get it\nThe fountain is really icky and horrible. As you touch the dirty water you feel a sudden overwhelming sense of terror which makes you draw back your hand in disgust. You can hardly bring yourself to look at it again, let alone reach into it.\n\nDark clouds roll across the sky.\n\n> You hit the water with Sword\nYou swing the shining yellow sword at the fountain. The sword's blade passes through the fountain with no visible effect.\n\n> You go west\nYou are outside the Fairhaven Library, a worn-down old brick building with a faded billboard outside. A door leads in to the west. Beech Avenue continues north and south of here, and you can see Post Office Park to the east.\n\n> Go west\nYou are inside the Fairhaven library, which seems to be a refuge from another time. An electric chandelier hangs from Victorian rafters, lighting a wooden counter on which sits a computer terminal and card scanner. A stack of bookshelves is lost in deep shadow, while the main doorway opens east out to the street. The librarian sits behind his counter, reading.\n\nThe librarian jumps to his feet as you enter, and points to something you're carrying. \"Get that accursed thing out of here!\", he roars, pushing you towards the door. \"Can't you see it's a hazard to literacy?\"\n\nYou are outside the Fairhaven Library, a worn-down old brick building with a faded billboard outside. A door leads in to the west. Beech Avenue continues north and south of here, and you can see Post Office Park to the east.\n\nA cold wind blows briefly.\n\n> You examine Video\nIt's a remake of \"Nightmare on Elm Street Part XIII\", rented from the Video Plaza, and it's overdue. You feel strangely compelled to return it as soon as possible. The tape is surrounded by a dull red glow.\n\n> You go to the south\nYou are on the pavement outside the Fairhaven General Store, one of the oldest shops still trading in the town. The store is open to the southwest. Beech Avenue runs off to the north, and Oak Street to the east.\n\n> You go to the south-west\nYou are in the town's old General Store. The shelves hold only a small selection of items, but the charming old-world atmosphere more than makes up for the lack of variety. The shopkeeper stands behind her counter ready to serve you.\n\nYou see an electric torch and a newspaper here.\n\nThe shopkeeper counts the change in her cash register.\n\n> You look at the shopkeeper\nThe shopkeeper checks her shelves.\n\n> You ask the shopkeeper about Video\nThe shopkeeper seems unable to see you.\n\n> You get the torch\nThat would be shoplifting. You must buy the electric torch first.\n\n> You go south\nYou are in the town's old General Store. The shelves hold only a small selection of items, but the charming old-world atmosphere more than makes up for the lack of variety. The shopkeeper stands behind her counter ready to serve you.\n\nYou see an electric torch and a newspaper here.\n\nThe shopkeeper dusts the counter.\n\n> Go east\nYou are outside a small garage which sells petrol and services motor vehicles. The workshop opens to the south, and Oak Street continues east and west. To the north, Post Office Park is visible.\n\nPeople scurry indoors for shelter.\n\n> You go to the east\nYou are on a quiet street corner in the little town of Fairhaven.\nMaple Drive runs north from here to your house, while Oak Street runs west. A rusty old manhole (closed) is set squarely in the middle of the road.\n\n> You open the manhole\nGood idea, but it's too rusty to move at the moment.\n\n> You go east\nYou can go north to Maple Drive, west to Oak Street, or northwest to the park.\n\nA stranger bumps into you, and mutters something rude.\n\n> Go north\nYou are outside your formerly ordinary house, which is now a smouldering pile of rubble to the east. Clouds gather ominously in the sky overhead. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\n> Go north\nYou are on the pavement outside Fairhaven's public school, which runs to the northeast. Elm Street runs west of here, and Maple Drive starts to the south.\n\n> You go west\nYou are standing outside the very new and extremely modern Post Office Tower, a shining monument to Fairhaven's progress, standing a full fifteen stories tall. You can enter the lobby to the north, or walk into the equally famous (though much older) Post Office Park to the south. Elm Street continues east and west.\n\n> You go west\nYou are on the pavement outside the Nytemare Video Plaza, one of a chain of stores which has moved into Fairhaven recently. The window is full of movie posters, and a door leads in to the northwest. Beech Avenue runs off to the south, and Elm Street to the east of here.\n\n> You go to the northwest\nYou are inside the new Nytemare Video Plaza. The walls are lined with recent hit movies, mostly dark fantasy and thriller titles. The clerk is nowhere to be seen, but a small drop box, nearly hidden behind a life-size cardboard cutout of an action superhero, bears the words RETURN VIDEOS HERE. The door to the street opens to the southeast.\n\nBefore your eyes, the cardboard cutout comes alive, transforming into a strange creature! It seems to be part man, part machine, and all monster, wearing a black gangster suit and metallic sunglasses. A gleam of red comes from one eye, and instead of hands it has metallic claws, in which it holds an arsenal of lethal weapons and a strangely sparking video camera. A bright red glow surrounds it.\n\nThe watch beeps and displays: \"VIDEO NASTY\".\n\nThe Whito bottle gives a pulse of yellow light.\n\nThe Sword of Virtue tingles in your hands.\n\nThe Video Nasty brandishes its weapons fearsomely.\n\n> You examine nasty\nIt seems to be part man, part machine, and all monster, wearing a black gangster suit and metallic sunglasses. A gleam of red comes from one eye, and instead of hands it has metallic claws, in which it holds an arsenal of lethal weapons and a strangely sparking video camera. A bright red glow surrounds it.\n\n\"Go ahead,\" suggests the Video Nasty. \"Make my day.\"\n\n> You attack nasty with Sword\nYou swing the shining yellow sword at the Video Nasty. The blade bounces wildly, as if deflected by a static force field. The creature ducks, and your blow goes wide.\n\nThe Video Nasty yawns and tosses a grenade at you. \"Wanna play catch?\"\n\n> You spray nasty with bottle\nYou spray some Whito onto the Video Nasty and it begins to spark! An invisible static force field generated by the video camera collapses, exploding in flashes of red lightning. Finally the effect dies down, leaving the Video Nasty still standing. With a VERY annoyed look in its eyes.\n\n> You attack nasty with Sword\nYou swing the shining yellow sword at the Video Nasty. The sword's blade strikes the creature in a shower of yellow sparks.\n\nThe Video Nasty gasps at you. \"I'm hit! You hit me! Arrgghh! You'll never take me alive! I'll be back! See you in the re-runs, sucker!\" Overacting wildly, it flips open an arm panel and pushes a secret button.\n\nThe Video Nasty fades away in a blaze of yellow light!\n\nThe watch beeps and displays: \"NICE GOING\".\n\n> You put Video in the slot\nThe video cassette slides into the slot, and you suddenly feel as if a great weight has been lifted from your shoulders. You hear a muffled clunk from the bottom of the box.\n\n> You go to the south-east\nYou are on the pavement outside the Nytemare Video Plaza, one of a chain of stores which has moved into Fairhaven recently. The window is full of movie posters, and a door leads in to the northwest. Beech Avenue runs off to the south, and Elm Street to the east of here.\n\n> You go to the west\nYou are inside the new Nytemare Video Plaza. The walls are lined with recent hit movies, mostly dark fantasy and thriller titles. The clerk is nowhere to be seen, but a small drop box, nearly hidden behind a life-size cardboard cutout of an action superhero, bears the words RETURN VIDEOS HERE. The door to the street opens to the southeast.\n\n> Go west\nYou are inside the Fairhaven library, which seems to be a refuge from another time. An electric chandelier hangs from Victorian rafters, lighting a wooden counter on which sits a computer terminal and card scanner. A stack of bookshelves is lost in deep shadow, while the main doorway opens east out to the street. The librarian sits behind his counter, reading.\n\nThe librarian looks up as you enter. \"Welcome to the Hero Convention,\" he says. \"I see you've had a harder time getting here than I thought. But perhaps it is just as well. This contest is not for the faint-hearted. Now, I'll need some proof of your exploits, to see if you are qualified to begin.\" He holds out his hand expectantly.\n\n> Spray fountain\n(with the glowing spray bottle)\nYou spray some Whito onto the fountain but nothing much happens.\n\nA few drops of rain splatter on the ground.\n\n> Go south\nPost Office Tower, Floor 8\nThe Fairhaven Savings & Investment Bank has a much more sober and reserved atmosphere than the rest of the Post Office Tower. Expensively-dressed Assistant Branch Managers stride around making important decisions, and ignoring you. A cash-card machine on one wall offers instant withdrawals, and the sleek, ultra-modern lift opens to the north.\n\nThere is a very strange creature in the room. It seems to be nothing more than a hat, tie and business suit floating in midair; the thing has no face or hands, yet somehow manages to move and act like a person. A briefcase, stuffed full of papers, floats at one side. Despite its apparent lack of substance, the creature manages to make you feel insignificant. A bright red glow surrounds it.\n\nThe watch beeps and displays: \"SERIOUS FRAUD\".\n\nThe Sword of Virtue tingles in your hands.\n\nThe Serious Fraud solemnly stuffs a quantity of banknotes into its briefcase.\n\n> Attack Fraud with Sword\nYou swing the shining yellow sword at the Serious Fraud. The creature blocks the sword's motion with a wave of its wrist.\n\nThe Serious Fraud restrains a ghostly chuckle, and suggests that you return when you have enough experience to be more than a minor nuisance.\n\nThe Serious Fraud tries to arrest you for impersonating a human being.\n\n> You go to the south\nPost Office Tower, Observation Deck\nYou are standing on the roof of the fifteen-storey Post Office Tower, with a breathtaking view of the entire town of Fairhaven. A guardrail on the edge is all that stands between you and the Post Office Park far below. High-altitude winds buffet you as you peer over. The lift doors (open) to the north are the only way down.\n\n> You examine Park\nIt's a long way down to the Post Office Park.\n\n> You examine the rail\nIt looks like an ordinary guardrail to me.\n\n> Go northeast\nYou are in a drab and rundown schoolyard, with pavement to the southwest. Featureless concrete walls block the way north, but a classroom opens to the east. A sign on the door reads \"Room 13: S. Knight\".\n\nLightning flashes on the horizon.\n\n> Go east\nFairhaven Public School, Room 13\nYou are in a school classroom. There is a large whiteboard on the east wall, and the door opens to the west. The teacher, Miss Knight, stands beside the whiteboard, struggling vainly to teach an unruly class.\n\nThe class appears to be in a manic frenzy.\n\nThere is a very strange creature in the room. It seems to have several heads, although the exact number is hard to determine since they are all moving and talking at once. The creature also has a large and disturbing quantity of tentacles, which are busily engaged in ripping shreds off every object in the room, and each other. A bright red glow surrounds it.\n\nThe watch beeps and displays: \"BEDLAM\".\n\nThe Sword of Virtue tingles in your hands.\n\nThe Bedlam punches itself in three eyes.\n\n> You examine Bedlam\nIt seems to have several heads, although the exact number is hard to determine since they are all moving and talking at once. The creature also has a large and disturbing quantity of tentacles, which are busily engaged in ripping shreds off every object in the room, and each other. A bright red glow surrounds it.\n\nThe Bedlam performs a brief hula dance.\n\n> You attack Bedlam with Sword\nYou swing the shining yellow sword at the Bedlam. The sword's blade strikes the creature in a shower of yellow sparks.\n\nThe Bedlam staggers away from you, and freezes."
    },
    {
        "text": "[Themes: Superhero]\n\n> You look at your surroundings\nFairhaven Public School, Room 13\nYou are in a school classroom. There is a large whiteboard on the east wall, and the door opens to the west. The teacher, Miss Knight, stands beside the whiteboard, staring at her suddenly silent class.\n\nThe class is sitting unnaturally still, as if frozen.\n\nThere is a Bedlam here.\n\nThe Bedlam sits very still, eyeing you cautiously.\n\n> You look at Bedlam\nThe creature seems to be stunned. A bright red glow surrounds it.\n\nThe Bedlam quietly rubs four of its heads with a tentacle.\n\n> You look at the whiteboard\nIt's covered with Miss Knight's teaching notes, written in barely visible green ink. The board shimmers with a pale green glow.\n\nThe Bedlam begins to stir again.\n\n> You read the board\nIt's covered with Miss Knight's teaching notes, written in barely visible green ink. The board shimmers with a pale green glow.\n\nThe Bedlam wakes up fully, and charges back into action.\n\n> Spray board\n(with the glowing spray bottle)\nYou spray some Whito onto the whiteboard but nothing much happens.\n\nThe Bedlam gleefully shreds a desk.\n\n> You go southwest\nYou can only go out to the west.\n\nThe Bedlam gleefully shreds a desk.\n\n> You go west\nYou are in a drab and rundown schoolyard, with pavement to the southwest. Featureless concrete walls block the way north, but a classroom opens to the east. A sign on the door reads \"Room 13: S. Knight\".\n\n> Go west\nYou are standing outside the very new and extremely modern Post Office Tower, a shining monument to Fairhaven's progress, standing a full fifteen stories tall. You can enter the lobby to the north, or walk into the equally famous (though much older) Post Office Park to the south. Elm Street continues east and west.\n\nYou hear dogs howling in the distance.\n\n> You go south\nOak Street Garage, in workshop\nYou are in a small dirty workshop where the Oak Street Garage mechanics fix cars and sell motoring equipment. The workshop is empty at the moment except for one mechanic. There is a small door in the south wall marked \"Wrecking Yard\", and the workshop opens back onto Oak Street to the north.\n\nYou see an oil can here.\n\nThe mechanic tinkers with an engine.\n\n> You look at the can\nIt costs 4 dollars.\n\n> You examine the mechanic\nThe mechanic tests some spark plugs.\n\n> You get can\nThat would be shoplifting. You must buy the oil can first.\n\n> Go south\n(Opening the workshop door)\nWrecking Yard\nThis vacant lot is presumably the Oak Street Garage wrecking yard. Strange pieces of metal which once were cars are scattered all over the weed-ridden ground in apparent chaos. One car body is newer, almost intact. The workshop door to the north is the only way back.\n\nSitting on the car body is a water valve.\n\nThere is a large, mean and hungry guard dog here.\n\nThe guard dog snarls at you.\n\n> You look at the valve\nIt looks like some important part of the town's water supply system.\n\nThe guard dog sniffs at you and bares its teeth.\n\n> You examine the dog\nIt's large, mean and very hungry.\n\nThe guard dog barks loudly.\n\n> You check your inventory\nYou have a shining yellow sword, a sparkling cape (being worn), a digital watch (being worn), a pair of 3D glasses (being worn), a ballpoint pen, and a glowing spray bottle.\n\nThe guard dog growls menacingly.\n\n> Examine watch\nIt's a Counsellor (R) brand digital watch, with standard time display but strangely no buttons. The watch shines with a soft yellow glow.\nIt says the time is 11:57 pm.\n\nThe guard dog patrols the area."
    },
    {
        "text": "> You look around\nThis vacant lot is presumably the Oak Street Garage wrecking yard. Strange pieces of metal which once were cars are scattered all over the weed-ridden ground in apparent chaos. One car body is newer, almost intact. The workshop door to the north is the only way back.\n\nSitting on the car body is a water valve.\n\nThere is a large, mean and hungry guard dog here.\n\nThe guard dog growls menacingly.\n\n> You get the valve\nThe dog charges, barking furiously, as you try to take the valve. You back away slowly and it calms down.\n\nThe guard dog snarls at you.\n\n> Attack dog\n(with the shining yellow sword)\nYou swing the shining yellow sword at the guard dog. The sword's blade passes through the guard dog with no visible effect.\n\nThe guard dog sniffs at you and bares its teeth.\n\n> You go north\nOak Street Garage, in workshop\nYou are in a small dirty workshop where the Oak Street Garage mechanics fix cars and sell motoring equipment. The workshop is empty at the moment except for one mechanic. There is a small door in the south wall marked \"Wrecking Yard\", and the workshop opens back onto Oak Street to the north.\n\nYou see an oil can here.\n\nThe mechanic wipes his hands on a rag.\n\n> Go north\nYou are outside a small garage which sells petrol and services motor vehicles. The workshop opens to the south, and Oak Street continues east and west. To the north, Post Office Park is visible.\n\n> You go north\nYou are outside your formerly ordinary house, which is now a smouldering pile of rubble to the east. Clouds gather ominously in the sky overhead. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\nA cold shiver runs down your spine for a moment.\n\n> You go to the east\nCharred bricks and cinders are all that remains of your formerly ordinary house. Your yard is to the west.\n\nYou see a raw steak and a cash card here.\n\n> You examine CARD\n\"Fairhaven Savings and Investment Bank\nCASH CARD\nJ. Random Hero\"\n\n> Go west\nYou are outside your formerly ordinary house, which is now a smouldering pile of rubble to the east. Clouds gather ominously in the sky overhead. Maple Drive leads north and south from here, and Post Office Park is to the west.\n\nDark clouds roll across the sky.\n\n> Go south\nOak Street Garage, in workshop\nYou are in a small dirty workshop where the Oak Street Garage mechanics fix cars and sell motoring equipment. The workshop is empty at the moment except for one mechanic. There is a small door in the south wall marked \"Wrecking Yard\", and the workshop opens back onto Oak Street to the north.\n\nYou see an oil can here.\n\nThe mechanic tests some spark plugs.\n\n> You go to the south\nThis vacant lot is presumably the Oak Street Garage wrecking yard. Strange pieces of metal which once were cars are scattered all over the weed-ridden ground in apparent chaos. One car body is newer, almost intact. The workshop door to the north is the only way back.\n\nSitting on the car body is a water valve.\n\nThere is a large, mean and hungry guard dog here.\n\nThe guard dog growls menacingly.\n\n> You give the steak to the dog\nThe dog snaps up the steak and walks away to devour it.\n\nThe guard dog whines contentedly.\n\n> You get the valve\nTaken.\n\nThe guard dog chews on the steak.\n\n> You look at it\nIt looks like some important part of the town's water supply system.\n\nThe guard dog chews on the steak.\n\n> You examine valve\nIt looks like some important part of the town's water supply system.\n\n> Go north\nYou are outside a small garage which sells petrol and services motor vehicles. The workshop opens to the south, and Oak Street continues east and west. To the north, Post Office Park is visible.\n\n> You go north\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see the ruins of your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a dingy old dribbling fountain.\n\nA cold wind blows briefly.\n\n> You go south\nPost Office Tower, Floor 8\nThe Fairhaven Savings & Investment Bank has a much more sober and reserved atmosphere than the rest of the Post Office Tower. Expensively-dressed Assistant Branch Managers stride around making important decisions, and ignoring you. A cash-card machine on one wall offers instant withdrawals, and the sleek, ultra-modern lift opens to the north.\n\nThere is a Serious Fraud here.\n\nThe Serious Fraud sells parking space on the Brooklyn Bridge to one of the bank managers.\n\n> You look at the machine\nIt's a very new and modern 'FastCash' machine, with ultra simple controls. There is a slot to insert a cash card, a screen to display instructions, and a single button marked 'Withdraw $10'. It doesn't even need a PIN number, since the Fairhaven Savings & Investment Bank is such a respectable organisation that there is absolutely no chance of fraud.\n\nThe Serious Fraud sells parking space on the Brooklyn Bridge to one of the bank managers.\n\n> You put the CARD in the machine\nDone. The screen shows:\n\nJ. Random Hero\nWarning - account is low.\nYour account balance is $10.00.\n\nOdd. Your account certainly wasn't that low last time you checked.\n\nThe Serious Fraud murmurs that the Mayor is taking bribes.\n\n> You withdraw\nThe machine beeps, and produces 10 dollars. Taken.\nThe screen shows:\n\nJ. Random Hero\nWARNING! Account is EMPTY!\nYour account balance is $0.00.\n\nThe Serious Fraud attempts to convince you that black is white.\n\n> You get CARD\nTaken.\n\nThe Serious Fraud whispers that everything you have just heard, including this sentence, is false.\n\n> Go north\nYou are in the Post Office Tower's sleek, ultra-modern lift car.\nBeside the doors to the south (currently open) is a sleek, futuristic keypad and display.\n\n> You buy can\nThe mechanic seems unable to see you.\n\n> You remove glasses\nAs you remove the glasses, you feel a faint sense of numbness. Everything somehow looks dull and flat.\n\n> You buy can\nThe mechanic thanks you, and sells you the oil can for 4 dollars. Taken.\n\n> Go west\nYou are on the pavement outside the Fairhaven General Store, one of the oldest shops still trading in the town. The store is open to the southwest. Beech Avenue runs off to the north, and Oak Street to the east.\n\nA stranger bumps into you, and mutters something rude.\n\n> You go south\nYou are in the town's old General Store. The shelves hold only a small selection of items, but the charming old-world atmosphere more than makes up for the lack of variety. The shopkeeper stands behind her counter ready to serve you.\n\nYou see an electric torch and a newspaper here.\n\nThe shopkeeper counts the change in her cash register.\n\n> You buy the torch\nThe shopkeeper thanks you, and sells you the electric torch for 5 dollars. Taken.\n\n> You buy paper\nThe shopkeeper thanks you, and sells you the newspaper for 1 dollar. Taken.\n\n> You read the paper\nSerious Fraud Suspected In Fairhaven Bank!\n\nRumours are spreading that the Fairhaven Savings and Investment Bank is under investigation for serious fraud. Many customers are complaining that their bank balances have mysteriously run into overdraft. Bank officials are hotly denying the rumours, blaming them on mass hysteria caused by the water shortage.\n\nBedlam in School!\n\nTeachers from the Fairhaven Public School are complaining that shrinking budgets and lack of resources have turned classes into a nightmare. \"I don't know what to say,\" said the teachers' spokesperson, Sally Knight. \"I can't control my students, and it's getting worse. We need help desperately!\"\n\n'Hydrophobia' Grows As Water Shortage Worsens!\n\nFairhaven is heading into the third dry week of the longest-running water shortage in town history. The Council met today to decide urgent solutions to the problem which has their best experts baffled. \"We have no idea what's happening,\" observed the Mayor. \"All our pumping equipment seems to be breaking down for no reason. It's just plain bizarre.\"\n\nThe paper ends with a series of full-colour advertisements for the Nytemare Video Plaza.\n\n> You go east\nYou are outside a small garage which sells petrol and services motor vehicles. The workshop opens to the south, and Oak Street continues east and west. To the north, Post Office Park is visible.\n\nA few drops of rain splatter on the ground.\n\n> Oil manhole\nYou pour some oil onto the rusty manhole and it frees up a little.\n\n> You wear the glasses\nAs you put the glasses over your eyes, you feel a faint tingling sensation down your spine. Everything somehow looks sharper than before."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go down\nYou'll have to open the manhole first.\n\n> You open the manhole\nOpened.\n\nLightning flashes on the horizon."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downwards\nLadder, under the manhole\nYou are on a cramped metal ladder extending down from the manhole to darkness far below. A little light filters in from above, but you would probably want to switch the torch on before descending any further.\n\n> You turn on the torch\nYou switch on the electric torch."
    },
    {
        "text": "> Look around\nLadder, under the manhole\nYou are on a cramped metal ladder extending down from the manhole to darkness far below. A little light filters in from above, but the electric torch in your hand is much more comforting."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downwards\nYou are at the base of a deep access shaft under Maple Drive and Oak Street. A cramped metal ladder leads up to a barely visible manhole far overhead, and a dark passage opens to the northwest.\n\nYou hear a quiet rumbling in the distance.\n\n> You go northwest\nYou are in a dark passage running northwest-southeast. Slimy mould grows on the walls around you.\n\n> You look at the mould\nThe mould isn't important.\n\nSomething drips onto your head.\n\n> You go to the northwest\nYou are a junction. A dark passage leads off to the southeast, while small dark tunnels run north and west.\n\n> Go west\nYou are in a small dark tunnel bending sharply from north to east. The walls are clammy to the touch.\n\n> Go north\nYou are in a wide open space with a hard concrete floor. Small dark tunnels lead south and east, and a metal door marked \"Central Pump Room\" (closed) leads down between them to the southeast.\n\n> Go east\nYou are in a small dark tunnel bending sharply from south to west. The walls are clammy to the touch.\n\nYou smell a dank, mouldy scent.\n\n> Go southeast\nYou are in a large concrete room which seems to house pumping equipment for Fairhaven's water supply. A mass of pipes, gauges and controls fills the room. One particularly large wheel is marked \"Master Water Feed\", and it is currently turned off. A nearby pipe is open to the air, and appears to be missing a valve. The pump room door (open) leads up to the northwest.\n\nThe Hydrophobia is here. It is a huge bloated balloon of a thing, covered in translucent black skin, with a puffy face and watery, bloodshot eyes which try to focus on you with some difficulty. The creature yawns and waddles drunkenly. It is much larger than it appeared on your first encounter, and seems to fill the entire pump room. A bright red glow surrounds it.\n\nThe Sword of Virtue tingles in your hands.\n\nThe Hydrophobia dribbles in your general direction.\n\n> Inventory\nYou have a shining yellow sword, a sparkling cape (being worn), a digital watch (being worn), a ballpoint pen, a glowing spray bottle, a water valve, a cash card, an oil can, an electric torch (providing light), a newspaper, and a pair of 3D glasses (being worn).\n\nThe Hydrophobia dribbles in your general direction.\n\n> You attack Hydrophobia with Sword\nYou swing the shining yellow sword at the Hydrophobia. The sword's blade strikes the creature in a shower of yellow sparks!\n\nThe Hydrophobia looks annoyed. \"I oughta clobber you for that, 'Ero.\"\n\n> You attack Hydrophobia with Sword\nYou swing the shining yellow sword at the Hydrophobia. The sword's blade strikes the creature in a shower of yellow sparks.\n\n\"Now look wot you've done!\" grumbles the Hydrophobia, shrinking. \"You an' your flamin' 'Ero stuff. I'm gonna tell the boss everythin', and he ain't gonna like it, not one little bit. You'll see.\"\n\nThe Hydrophobia fades away in a blaze of yellow light!\n\nThe watch beeps and displays: \"GOT 'EM\".\n\n> You put the valve on the pipe\nAfter some fiddling, you manage to fit the valve onto the pipe."
    },
    {
        "text": "> Look around\nYou are in a large concrete room which seems to house pumping equipment for Fairhaven's water supply. A mass of pipes, gauges and controls fills the room. One particularly large wheel is marked \"Master Water Feed\", and it is currently turned off. A nearby pipe now has its valve attached and appears to be in good working order. The pump room door (open) leads up to the northwest.\n\n> Turn wheel\nYou turn the wheel, and suddenly the room is filled with the sound of water flowing through pipes. Looks like you've solved the town's water shortage!\n\n> You go northwest\nYou are in a wide open space with a hard concrete floor. Small dark tunnels lead south and east, and a metal door marked \"Central Pump Room\" (open) leads down between them to the southeast.\n\n> You go to the east\nYou are in a small dark tunnel bending sharply from south to west. The walls are clammy to the touch.\n\nA low squeaking echoes from the darkness.\n\n> You go to the south\nYou are a junction. A dark passage leads off to the southeast, while small dark tunnels run north and west.\n\n> Go west\nYou are in a small dark tunnel bending sharply from north to east. The walls are clammy to the touch.\n\n> Go north\nYou are in a wide open space with a hard concrete floor. Small dark tunnels lead south and east, and a metal door marked \"Central Pump Room\" (open) leads down between them to the southeast.\n\nThere is a faint hiss from overhead.\n\n> You go to the east\nYou are a junction. A dark passage leads off to the southeast, while small dark tunnels run north and west.\n\nYou smell a dank, mouldy scent.\n\n> You go to the southeast\nYou are in a dark passage running northwest-southeast. Slimy mould grows on the walls around you.\n\n> Go southeast\nYou are at the base of a deep access shaft under Maple Drive and Oak Street. A cramped metal ladder leads up to a barely visible manhole far overhead, and a dark passage opens to the northwest.\n\n> Go upwards\nLadder, under the manhole\nYou are on a cramped metal ladder extending down from the manhole to darkness far below. A little light filters in from above, but the electric torch in your hand is much more comforting.\n\n> Go upwards\nYou are on a quiet street corner in the little town of Fairhaven.\nMaple Drive runs north from here to your house, while Oak Street runs west. A well-oiled manhole (open) is set squarely in the middle of the road.\n\n> You turn off the torch\nYou switch off the electric torch.\n\nYou hear dogs howling in the distance.\n\n> You go to the north\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see the ruins of your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a clear bubbling fountain.\n\n> You examine the fountain\nIt's sparkling clear and bubbling, giving you a sense of wonder and innocence as you look at it. In the fountain you see a glowing green Magic Marker.\n\n> Go northeast\nYou are in a drab and rundown schoolyard, with pavement to the southwest. Featureless concrete walls block the way north, but a classroom opens to the east. A sign on the door reads \"Room 13: S. Knight\".\n\nA cold shiver runs down your spine for a moment.\n\n> Go east\nFairhaven Public School, Room 13\nYou are in a school classroom. There is a large whiteboard on the east wall, and the door opens to the west. The teacher, Miss Knight, stands beside the whiteboard, struggling vainly to teach an unruly class.\n\nThe class appears to be in a manic frenzy.\n\nThere is a Bedlam here.\n\nThe Bedlam performs a brief hula dance.\n\n> Green\nMiss Knight seems unable to see you.\n\nThe Bedlam performs a brief hula dance.\n\n> You examine green Marker\nIt's green. A message is engraved on the side:\n\nIf lost, return to:\nSally Knight\nRoom 13\nFairhaven Public School\n\nThe Magic Marker shines with a pale green glow.\n\nThe Bedlam takes a running jump at itself, and misses.\n\n> You examine the board\nIt's covered with Miss Knight's teaching notes, written in barely visible green ink. The board shimmers with a pale green glow.\n\nThe Bedlam gleefully shreds a desk.\n\n> You remove the glasses\nAs you remove the glasses, you feel a faint sense of numbness. Everything somehow looks dull and flat.\n\nThe Bedlam vanishes."
    },
    {
        "text": "> Look around\nFairhaven Public School, Room 13\nYou are in a school classroom. There is a large whiteboard on the east wall, and the door opens to the west. The teacher, Miss Knight, stands beside the whiteboard, struggling vainly to teach an unruly class.\n\nThe class appears to be in a manic frenzy.\n\n> You give Marker to Knight\nWhich marker do you mean, the yellow Magic Marker, or the green Magic Marker?\n\n> Green\nAt the sight of the green Magic Marker, the class suddenly bursts into complete mayhem, distracting the teacher's attention and forcing you away from her. They calm down a little when you retreat.\n\n> You wear the glasses\nAs you put the glasses over your eyes, you feel a faint tingling sensation down your spine. Everything somehow looks sharper than before.\n\nThe Bedlam appears before you.\n\nThe Bedlam performs a brief hula dance.\n\n> You attack Bedlam with Sword\nYou swing the shining yellow sword at the Bedlam. The sword's blade strikes the creature in a shower of yellow sparks.\n\nThe Bedlam staggers away from you, and freezes."
    },
    {
        "text": "[Themes: Superhero]\n\n> Look around\nFairhaven Public School, Room 13\nYou are in a school classroom. There is a large whiteboard on the east wall, and the door opens to the west. The teacher, Miss Knight, stands beside the whiteboard, staring at her suddenly silent class.\n\nThe class is sitting unnaturally still, as if frozen.\n\n> You give the green to Knight\nMiss Knight takes the green Magic Marker with a sudden flash of recognition. \"Thank you!\" she exclaims. \"I was wondering where that had got to.\" As she turns back to the whiteboard and begins writing on it, you almost think you see a green light fill the room for a moment. The class calms down noticably.\n\n\"Oh, before I forget,\" she adds, \"I was told to give you this.\" She hands you a report card. Taken.\n\nThe watch beeps and displays: \"NICE GOING\".\n\n> You examine the CARD\nWhich card do you mean, the cash card, or the report card?\n\n> Report\nJ. Random Hero\nAchievement Report\n\nVideo Nasty         x 1\n\nTotal monsters slain   = 3\n\n> You wear the glasses\nAs you put the glasses over your eyes, you feel a faint tingling sensation down your spine. Everything somehow looks sharper than before.\n\n> You go to the southwest\nYou can only go out to the west.\n\n> You go west\nYou are in a drab and rundown schoolyard, with pavement to the southwest. Featureless concrete walls block the way north, but a classroom opens to the east. A sign on the door reads \"Room 13: S. Knight\".\n\n> You go to the west\nYou are on the pavement outside the Nytemare Video Plaza, one of a chain of stores which has moved into Fairhaven recently. The window is full of movie posters, and a door leads in to the northwest. Beech Avenue runs off to the south, and Elm Street to the east of here.\n\nDark clouds roll across the sky.\n\n> You go to the west\nYou are inside the Fairhaven library, which seems to be a refuge from another time. An electric chandelier hangs from Victorian rafters, lighting a wooden counter on which sits a computer terminal and card scanner. A stack of bookshelves is lost in deep shadow, while the main doorway opens east out to the street. The librarian sits behind his counter, reading.\n\nThe librarian looks up expectantly as you approach, as if waiting for something.\n\n> You give the CARD to librarian\nWhich card do you mean, the cash card, or the report card?\n\n> Report\nThe librarian takes the card and examines it closely. \"That's very impressive,\" he sighs, \"but I'm afraid it's not quite good enough.\nCome back when you've got some more experience.\" He hands the card back regretfully.\n\n> You go to the east\nYou are outside the Fairhaven Library, a worn-down old brick building with a faded billboard outside. A door leads in to the west. Beech Avenue continues north and south of here, and you can see Post Office Park to the east.\n\nA cold wind blows briefly.\n\n> You go to the south\nPost Office Tower, Floor 8\nThe Fairhaven Savings & Investment Bank has a much more sober and reserved atmosphere than the rest of the Post Office Tower. Expensively-dressed Assistant Branch Managers stride around making important decisions, and ignoring you. A cash-card machine on one wall offers instant withdrawals, and the sleek, ultra-modern lift opens to the north.\n\nThere is a Serious Fraud here.\n\nThe Serious Fraud murmurs that the Mayor is taking bribes.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud. The creature ducks, and your blow goes wide.\n\nThe Serious Fraud sues you for libel, slander, and wilful misguided heroism.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud. The creature ducks, and your blow goes wide.\n\nThe Serious Fraud hands you a High Court summons, dated yesterday.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud. The creature ducks, and your blow goes wide.\n\nThe Serious Fraud indignantly writes an angry letter to the Mayor.\n\nOvercome by the force of the creature's logic, you stumble from the room.\n\nThe watch beeps and displays: \"DONT QUIT\".\n\nYou are in the Post Office Tower's sleek, ultra-modern lift car.\nBeside the doors to the south (currently open) is a sleek, futuristic keypad and display.\n\n> You go south\nPost Office Tower, Floor 8\nThe Fairhaven Savings & Investment Bank has a much more sober and reserved atmosphere than the rest of the Post Office Tower. Expensively-dressed Assistant Branch Managers stride around making important decisions, and ignoring you. A cash-card machine on one wall offers instant withdrawals, and the sleek, ultra-modern lift opens to the north.\n\nThere is a Serious Fraud here.\n\nThe Serious Fraud solemnly stuffs a quantity of banknotes into its briefcase.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud. The sword's blade strikes the creature in a shower of yellow sparks!\n\nThe Serious Fraud takes a cautious step backwards.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud. The sword's blade strikes the creature in a shower of yellow sparks!\n\nThe Serious Fraud anxiously checks its suit for rips.\n\n> Attack fraud\n(with the shining yellow sword)\nYou swing the shining yellow sword at the Serious Fraud.\n\nA cold wind suddenly whips through the room, unravelling the creature's clothing stitch by stitch. As the serious business suit falls into a heap on the floor, the air inside it begins to glow with an ominous red tinge. It moulds itself into a looming, shapeless black shadow which fills the entire room. Two blazing red eyes stare down at you.\n\n\"You think you can defeat ME?\" screams the Serious Fraud's voice, somewhat hysterically. \"You don't know NOTHING, Hero, do ya? I'm not going down alone. I got friends in high places, I got connections. You're dead, man! You're dead! You're...\"\n\nThere is a sudden explosion from the lift shaft, and then silence. The shadow dissipates in a soft glow of yellow light which reluctantly fades.\n\nThe watch beeps and displays: \"ONE DOWN\".\n\n> You examine the report card\nJ. Random Hero\nAchievement Report\n\nVideo Nasty         x 1\nFraud, Serious      x 1\n\nTotal monsters slain   = 4\n\n> You go south\nAs you step out of the lift car, there is an explosion from inside and the doors slam shut! You narrowly avoid being crushed!\n\nPost Office Tower, Observation Deck\nYou are standing on the roof of the fifteen-storey Post Office Tower, with a breathtaking view of the entire town of Fairhaven. A guardrail on the edge is all that stands between you and the Post Office Park far below. High-altitude winds buffet you as you peer over. The lift doors (closed) to the north are the only way down.\n\nDark thunderclouds swirl menacingly overhead, and rain splatters loudly on the roof.\n\n> Go north\nThe lift doors are closed.\n\nThe storm seems to be growing more intense every second. Lightning arcs skywards all around you.\n\n> Wait\nTime passes...\n\nHuge gusts of wind and rain are making it difficult to walk upright. The roof seems to be sloping downwards toward the guardrail.\n\n> You examine the guardrail\nIt looks like an ordinary guardrail to me.\n\nA sudden bolt of lightning smashes into the guardrail, burning a jagged hole in it. Hurricane winds hurl you off balance, pushing you closer to the edge. Hail and sleet beat down on your back.\n\n> You jump\nUh... is that a good idea? But before you can change your mind, a freak gust of wind catches you and sends you tumbling over the side of the roof...\n\nYou're falling in mid-air, high above the sleepy little town of Fairhaven. The air is clear, the view is stunning, and you feel light, boyant and suprisingly peaceful, given that you're about to be splattered on the pavement in a few seconds.\n\nThe suddenness of your descent takes your breath away.\n\n> Yell\nYour throat is a bit sore now.\n\nYour cape begins to billow out in the slipstream.\n\n> Wait\nTime passes...\n\nYou seem to be falling less swiftly now.\n\n> You wait for a while\nTime passes...\n\nYou drift gently down towards the Post Office Park.\n\n> You wait a while\nTime passes...\n\nYour cape puffs out like a parachute as you touch down in the middle of the Post Office Park. As soon as your feet are on the ground, it folds away again. Hmm, wonder what else this Cape of Many Things does?\n\nYou are walking in Post Office Park, a quaint old grassy field extending to the road in all directions. In the distance you can see the ruins of your house, a garage, some stores, the library and school, and of course the very new and modern Post Office Tower to the north. Before you, in the centre of the park, is a clear bubbling fountain.\n\n> You look at Cape\nIt's a cape made of some thin transparent material that feels strangely light yet tougher than steel. It sparkles with an iridescent yellow glow, and hugs your body like a glove, but your hands feel free and unencumbered. The cape seems to attract any objects you're holding, so they remain within easy reach at all times.\n\nPeople scurry indoors for shelter.\n\n> You go west\nYou are outside the Fairhaven Library, a worn-down old brick building with a faded billboard outside. A door leads in to the west. Beech Avenue continues north and south of here, and you can see Post Office Park to the east."
    },
    {
        "text": "[Themes: Religious, Afterlife, Time Travel, moral choice, devil, moral dilemma, ethics]\n\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nYour sight fails you. For that matter, you don't know if your eyes are opened or closed. Concepts like time and place have no meaning here. Your mind attempts to impose something, some order, some structure, upon the space in which you exist, and fails. There is only the void. For all you know, that is all there ever was.\n\n[Author's Note: You were born; you lived; you died. Not everyone gets a second chance to go back and change crucial decisions. You have been granted one and must go back to critical moral dilemmas; but do you change the course of your life, or daren't you?]\n\n> Inventory\nThere is only Nothing.\n\n> You wake up\nThere is only Nothing.\n\nNo, wait. There is ... something, moving in the darkness. It dances at the edge of your new-found vision, teasing you. You turn your head toward the shape, when your neck suddenly gives out and your head lolls backward. Blinding pain explodes from the back of your head.\n\nYour eyes flutter open...\n\n\n\nA small room, with circular walls and a floor of pale white stone. There are no apparent exits, other than a small slit of a window off to one side.\n\nAn angelic-looking young man looks upon you with concern.\n\nAlong the far wall opposite the window hangs a tapestry.\n\nThe young man smiles.\n\n\"Ah, you are all right. You had me worried, my friend,\" he says.\n\n> You look at the man\nA face almost harsh in its perfection, with crystal-clear blue eyes half-covered by a flowing mane of gold. He wears a gown of white, about his neck is a silver pendant, and in his left hand he carries the long graceful curve of an ivory torch.\n\n> About yourself\nFrom what you can tell, you're as you've always been.\n\nThe young man's smile suddenly fades and he sighs.\n\n\"There is much we must speak of my friend,\" he says. He turns and points at the tapestry. \"And there are choices which must be made.\"\n\n> You ask the man about yourself\n\"Ah, yes ... you have no memory of yourself.\" The young man pauses a moment. \"You, lost traveler, are Timothy Hunter, recently a mortal, now dead. Because of your actions in life and what has just happened at the moment of your death, the fate of your soul is in doubt.\"\n\n\"But here, I have not even introduced myself. Forgive me,\" he says, bowing with a flourish. \"I am ... Morningstar.\"\n\n> Kiss man\nThat would be pointless.\n\nMorningstar turns to the window and looks out it.\n\n> You examine the window\nApproaching the opening, you realize it is hardly more than a slit in the wall. Peering through it, you see the night sky, brilliant with innumerable stars. Straining your vision, you can make out the landscape, far below, covered with trees. You are in a tower of some sort, in the center of a forest that goes on for as far as the eye can see.\n\nRunning your hand against the wall you realize that it is not the stone you took it for. It is far too smooth, and feels warm to the touch. For a moment, the confused image of your hands running over piano keys runs through your mind. And then it hits you: you've felt this before. It's ivory. An ivory tower...\n\n> You ask the man about death\n\"What is there to say that you already do not know, Timothy? You are dead, and your soul is in jeopardy.\"\n\n> You ask man about Morningstar\n\"I am no one of consequence. All you need know is that I am your friend and guide, and I shall do all in my power to help you.\"\n\n> You ask the man about the soul\n\"What is there to say that you already do not know, Timothy? You are dead, and your soul is in jeopardy.\"\n\nHe stares at you for a short while, his eyes shining in the near-darkness, then he seems to reach a decision and takes you by the hand.\n\n\"Come Timothy,\" he says, leading you toward the tapestry. \"There is much I must show you, and I fear there will be much you do not wish to see.\"\n\n> You examine the tapestry\nA large, intricately woven tapestry which depicts three tableaus on three different panels.\n\nYou stare at the swirling colors of the wall-hanging as Morningstar places the torch in his right hand while still clinging to your own, and then places his left upon the tapestry. His hand, pale as the ivory of the torch he carries, caresses the first panel, running up and down its length.\n\n\"Come Timothy, your destiny, past, present, and future, awaits.\"\n\n> You look at the first panel\nUpon the first panel is a scene of an elderly woman in a hospital, with a doctor looking sadly down upon her.\n\n> You examine the second panel\nUpon the second panel is a scene of a middle-aged woman lying in a bed, with what appears to be her soul halfway in and half-way out of her body.\n\nThe rumbling shakes you from your contemplation of the tapestry. At first, you can feel it more than hear it, but as the vibration of everything around you increases, so does the volume of the noise behind it. The room, the tapestry, the young man at your side, everything begins to sway and shake at the behest of the ferocious sound. You try to wrest your hands from Morningstar's and clamp them against your skull, anything to blot out the terrible song which fills your ears and shakes your bones, but he holds fast.\n\nThen, with a sudden forward rush, a universe of multi-colored threads leaps from the hanging, flooding your vision. They wrap themselves about you in a spinning dance that, combined with the noise, threatens to overwhelm your senses. Just when you think the din will drive you mad, there is a flash of light, again the sense of weightlessness, as if you have been separated from the rest of the world, and then, somehow, you are somewhere else..."
    },
    {
        "text": "> Look around\nAnother room of white walls, but where the walls of the Ivory Tower seemed to contain a vitality, these walls are cold and dead. A patina of sickness and decay stains everything and the room reeks of hospital disinfectant. This place is clean, yes, but a manmade clean, a futile attempt to wash away the odor of sickness and death which will inevitably return.\n\nAn elderly woman lies here in a hospital bed. A doctor looking down upon her.\n\nMorningstar is here.\n\n\"Mercy Hospital,\" he says, \"where you left her, Timothy, for all those months. Where you left her to forget her.\"\n\n> You examine the woman\nThe old woman lies still in the bed, her eyes closed. Her grey hair falls in long locks over her face and from her arm protrudes the clear line of an IV-tube, leading to a machine which stands at the bedside. There is something vaguely familiar about her.\n\n> You ask Morningstar about the woman\n\"Alicia, your mother, Timothy. She'd been ill for a very long time, and, I suppose, you could not deal with it any longer. You'd taken care of her for so long, and it seemed as though she'd never bow out gracefully. So, you sent her here. Out of sight, out of mind. You could finally get on with your life.\"\n\nMorningstar sighs deeply.\n\n> Kiss mother\nShe is motionless. At first, you thing she is asleep, but then you see that the doctor does not move either. It would appear that time has somehow stopped.\n\n\"Except, it didn't work out that way, did it Timothy? When the doctor called you, told you that she had died, crying for you, it all came flooding back. The guilt at leaving her, at abandoning her finally overtook you. And then the final insult of not being there when she died.\" He shakes his head.\n\n> You look at the doctor\nA middle aged man, in the obvious uniform of a doctor, looks down upon your mother. He stands frozen with a look of pity on his face. About his neck is a silver pendant.\n\n\"You were working with a major client at the time, just about to leave for an important meeting, when you got the call. You'd been working so hard, so caught up in your own life, forgetting her had been so easy.\"\n\n> You look at the pendant\nA pendant in the shape of a silver sunburst hanging from a silver chain.\n\n> You ask Morningstar about the pendant\nMorningstar looks at you with incomprehension for a moment and then looks from his own pendant to the other. He stares at you.\n\n\"You can see this?\" he whispers.\n\nYou nod dumbly. He stands in shock for a moment, then seems to recover his wits.\n\"It is nothing, Timothy. A symbol, perhaps, nothing more.\"\n\nMorningstar looks at the figure on the bed, then up to you.\n\n\"Come,\" he says, taking you by the hand again. \"There is more to see...\"\n\n> You examine the woman\nYou brush the hair lightly from the woman's face. Her eyes are closed, but for some reason you know her eyes are the most beautiful jade green. Her expression is locked in one of grimacing pain. You know her, no, that's wrong ... you SHOULD know her.\n\nMorningstar sees the look of shock on your face. He sighs.\n\n\"So you have forgotten even her ... her whom you promised you never would forget.\"\n\n> You ask Morningstar about the woman\nMorningstar pointedly ignores you.\n\n\"Yes, Timothy ... murder. Oh you may have other names for it: mercy-killing, euthanasia. There have always been words to soothe the conscience. But you know them for what they are. Excuses, rationalizations. You've always known you murdered her. Your Sarah, your beloved wife. But perhaps not so beloved when she became a burden?\"\n\n> You wake woman\nThere is no response. In fact, you notice for the first time that nothing moves. Time has stopped.\n\n\"She'd been ill for so long, hadn't she?\" He runs the back of his hand delicately along her cheek. \"It seemed as if it never would end, the doctor's visits, the second opinions, all of them useless. And she just kept clinging to this vague existence she called life, refusing to bow out gracefully ... just like your mother. Oh how like her she was!\"\n\n> You hit Morningstar\nAnd what would that accomplish?\n\n\"And so, going financially bankrupt from the bills and emotionally bankrupt from the constant strain of taking care of her, you decided to take the path of least resistance.\"\n\n> You shut up\nMorningstar has better things to do.\n\n\"It was easy. You remember that much, do you not? The pills to cloud her mind, the whispering of nonsense in her ear to calm her, and then the pillow. It was as simple as snuffing out a candle, was it not? But the words you placed upon the act afterward did nothing to release you from the guilt of what you'd done.\"\n\n> You touch the woman\nKeep your hands to yourself.\n\n\"Come,\" he says, taking you by the hand once again. \"The story does not end here...\"\n\nA darkened street, a snapshot of a city held frozen for a brief instant. Streetlamps line the walk you stand upon, lighting the night with their blinding shafts of radiance. In the surrounding gloom, you can make out dim figures frozen mid-step.\n\nThe sudden halt in the flow of time has caught a car in midair, about to strike a young woman who has stumbled into its path.\n\nMorningstar is here.\n\n\"But it does end here,\" he says, \"where you died.\" He surveys the scene. \"Ignominious, is it not?\"\n\n> You look at the woman\nThe poor thing is barely an adult, her face still scarred by the rigors of adolescence. Her eyes are turned upward into the lights of the car bearing down upon her, just realizing its existence. One hand has dropped before her, trying to stop her fall, while her other is outstretched back. Looking behind her, you catch a glimpse of a figure standing on the sidewalk ... a figure that looks as if it's pushed her.\n\n\"You were trying to run away from it all, the memories, the guilt. You'd been running away for so long that it seemed second nature.\"\n\n> You look at the figure\nA young man with raven black hair. He has apparently just shoved the young woman into the street, his silver pendant flying backwards as he stumbles back to view the result of his actions.\n\n\"It affected everything. First you lost her, then you lost your faith in life and yourself, you lost your dignity, your self-respect. Then your job.\"\n\n> You look at the pendant\nA pendant in the shape of a silver sunburst hanging from a silver chain.\n\n\"And so it all came to this night, when you went driving for no reason at all.\"\n\n> You ask Morningstar about the pendant\n\"I have already told you, mortal. It is nothing you need concern yourself with.\"\n\n\"And it seemed that perhaps you weren't content to leave this world alone. You had to drag an innocent along with you.\"\n\n> You ask Morningstar about the figure\nMorningstar looks to the figure, then back to you. He shrugs. \"What of him?\"\n\nMorningstar turns to you, a mask of mixed pity and disgust.\n\n\"And so this is your legacy.\" He smirks, then sighs deeply. \"Look ye on your works and despair.\"\n\n> You look at car\nLooking more closely, you recognize it as an old Dodge, almost falling apart. It has apparently struck the curb, which is what caused it to go flying. A streetlamp's beam strikes the windshield squarely. cutting off your view of the interior. Shifting over and squinting, you can make out a figure in the driver's seat. Wait a minute, it can't be ... it's ... it's ...\n\n...you.\n\nAgain the rumbling and the threads throw you into their heaving embrace, and leave you gasping on another strange and distant shore...\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\nMorningstar is here.\n\nHe stands motionless, a statue in white ice, his eyes glowing in the near-darkness.\n\n> You examine the stars\nWhatever apocalypse destroyed the Tower has rent the ceiling from the room. Above, you see innumerable stars in strange constellations.\n\nAn ethereal chuckle erupts from nowhere and everywhere. A low, female voice follows it, the hint of the laughter still in its voice.\n\n\"And so you would leave him here, Phosphoros? With the tale half-finished, as is your wont?\"\n\n> You look at the third panel\nThe third panel is a scene of a young woman, hardly a child, stumbling into a road, arms flailing, eyes open in shock at the sight of your car barreling down upon her.\n\nMorningstar seems as startled as you, but quickly recovers. He smiles and speaks to the air.\n\n\"You find me an inadequate storyteller, Parcae?\" he says, bowing deeply. \"What more would you have him know?\"\n\n> You look at the fires\nThe woods that blanket the landscape for miles around are apparently on fire. Plumes of smoke fill the sky as the fires slowly spread outward from the Tower.\n\nThe voice speaks again, but this time all frivolity from it is lost. You catch an odd echo in it, as if it were multiple voices speaking in chorus.\n\n\"You know that is not Our way, do not think to mock Us.\"\n\n> You listen\nMorningstar motions to you to be still and silent.\n\n\"I, Lady of the Skein, you think I would mock you?\" Morningstar places his hand to his heart, all innocence.\n\n> You listen\nMorningstar motions to you to be still and silent.\n\n\"There is many a thing We would put past you not, Son of the Morning, but We come here not to speak of you...\"\n\nA gust of wind startles you and you turn to see a shining filament suspended in midair. Its light falters for a brief moment, rendering it immaterial, and then begins to solidify.\n\nA shimmering pattern of webs begins to weave itself into being from the central thread, its beams crisscrossing in increasingly complex shapes. At its apex, a brighter light begins to shine: a small, slender spider, also made of light, with an hourglass symbol etched in golden radiance upon its back.\n\n> You examine the webs\nThe spider flickers at it moves down the web, one moment solid, the next, insubstantial.\n\nThe arachnid slowly makes its way down the web, its delicate legs running over the threads. As it descends, its light begins to pulse, masking it from view, then reappearing. Their rate increases as it continues its course, its shape becoming more and more indistinct. One moment the legs look like tiny human arms, hands grasping at the threads, the next, immaterial shafts of light. As the spider touches the ground, there is a blinding flash, and a human figure stands in its place.\n\n> You examine Parcae\nThe figure is made of an ever-shifting pattern of golden light, its face constantly changing.\n\nThe figure's face shimmers, revealing a middle-aged woman.\n\n\"Greetings, traveler,\" she says in the same odd voice, bowing slightly. She turns her attention to Morningstar. \"To you as well, King of Tyre.\" Morningstar returns her greeting with a nod of his head.\n\n> You examine her\nThe figure is made of an ever-shifting pattern of golden light, its face constantly changing.\n\nThe figure's shimmering reveals the visage of an old hag.\n\n\"Know, mortal, that we are Fate, the Parcae, alloters of Man's destiny. I am Atropos, the inflexible Cutter, who did sever the thread of your life at the moment of your death.\" The figure shimmers again, revealing a very young-looking woman. She smiles at you shyly.\n\n\"I am Clotho, the Spinner, who spun your destiny thread at the moment of your birth.\" Another shimmer and the middle-aged woman appears again.\n\n\"Lachesis,\" she says, \"the Alloter. It was I who did measure the length of your thread, and with it, your life.\"\n\n> You ask her about the thread\nClotho appears, looking pained. \"Please, you must listen to Us.\"\n\nAtropos reappears.\n\n\"The Lightbringer speaks truthfully when he says you are in a precarious position, Timothy, but not for the reasons he gives.\" You see Morningstar scowl at this. \"Your destiny is finished mortal, its threads played out upon the skein of Fate, but powers beyond your comprehension have thrown this foregone conclusion into doubt. The offer the Angel of Light has given you denies the rules of Moira.\" Lachesis appears and watches your confused expression with interest, then turns her attention to Morningstar.\n\n\"I have not had time to tell the mortal my offer,\" he growls through gritted teeth. \"You have not even given me the chance.\" Lachesis grins broadly.\n\n\"Then do so, Son of the Dawn,\" she offers graciously.\n\n> Wait\nTime passes.\n\nMorningstar turns to you and looks deep into your eyes.\n\n\"Timothy Hunter, you have seen the pain and suffering your actions have wrought. You have seen the anguish you have caused in those around you, and you have seen how the guilt of what you have done has eaten away at you. Knowing this, I offer you something which very few are given, yet many hope for ... a second chance. You have the opportunity to go back and change the past. This I offer to you before you leave the world you know forever.\"\n\n> You ask Parcae about the rules of Moira\n\"You must keep quiet, Timothy, please!\" says Clotho.\n\nAtropos frowns.\n\n\"But know mortal, that defying your Moira, your fate, is not without its price. Perhaps Morningstar is willing to pay it, but are you? The boundaries of your Moira have we clearly marked, and it is not proper that you exceed them. Your destiny has been shaped by your choices, and this fate you have seen is the destiny you have chosen. But again, your choices are everything, and it shall be yours to decide if you shall follow Morningstar's path or mine.\"\n\n\"But Morningstar is correct in that this will be your only opportunity to change your Moira, Timothy,\" says Lachesis. \"If you refuse this, there will never be another chance.\"\n\n> Wait\nTime passes.\n\n\"But this, still, is not the whole tale, Timothy,\" says Clotho. \"While I do concur with Atropos that your choices should remain the same, however difficult they are, your choices now can be more than a mere replaying of events as you know them. Perhaps this second chance will allow you to examine the pain and guilt you have felt, and, if you have strength enough, perhaps to face them. But, as always, the choice is yours to make.\"\n\n> Wait\nTime passes.\n\nThe rumbling returns suddenly and without warning and with it the threads. You flail madly, trying to find your way. The voice of the Parcae cuts through the sound, echoing around you. \"Look to the Tapestry, Timothy. With it, you shall weave your Destiny.\" The threads heave a final time...\n\n> You ask him about the choice\nAn Interactive Destiny\n\nAn entry in the 2nd Annual Interactive-Fiction Competition\n\nStandard interpreter 1.0\nInterpreter 2 Version N / Library serial number 951024\nThe Prologue can be skipped by using the \"begin\" command.\nPlease use the \"help\" command before beginning.\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> You look at Tapestry\nDespite the devastation about you, it remains unchanged, its three panels mocking reminders of your recently remembered past.\n\n> You touch the first panel\nSuddenly the rumbling returns, and the threads throw you into their heaving embrace. After a time they leave you gasping on another strange and distant shore...\n\nThe living room of your small home lies in disarray, as usual. Between work and your mother's condition, you haven't had much time to think about house cleaning. To the west is your bedroom; the doorway to the north leads to the driveway. The workroom lies to the south.\n\nOff to one side lies the old fireplace, its soot rolling out onto the dirty carpet.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> You examine Tapestry\nThe tapestry's single panel depicts an old woman in a long flowing gown. In one hand, she holds a long thread which she prepares to cut with the large pair of scissors she holds in the other.\n\n> You examine the fireplace\nThe chimney being totally clogged with soot, you haven't used it in ages. You've been so busy at work lately, you haven't given much thought to it. You haven't given much thought to anything...\n\n> You examine the soot\nIt's spilled all over the floor, making a mess of the carpet. You've really got to clean this place up sometime.\n\n> You get the soot\nThat's hardly portable.\n\n> You ask the woman about the thread\nYou can only do that to something animate.\n\n> You look at the carpet\nIt's a total mess. You've been thinking about replacing it lately, but just haven't had the time.\n\n> You go west\nThe bedroom isn't much cleaner than the den, with piles of clothes covering most of the floor. You wish you had the time to even try to make the place look like a human being lives here, but you just never seem to. To the east is the den and a small bathroom lies to the south.\n\nThe bed is unmade, as usual.\n\n> You look at the clothes\nThey're everywhere. It'd take forever just to sort them, much less thinking of washing them.\n\n> You wear the clothes\n(first taking the piles of clothes)\nThey're everywhere. It'd take forever just to sort them, much less thinking of washing them.\n\n> About yourself\nFrom what you can tell, you're as you've always been.\n\n> Go east\nOff to one side lies the old fireplace, its soot rolling out onto the dirty carpet.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> Go south\nYou've only recently converted this spare room to a workroom to try and play catch-up in the evenings and on the weekends. \"Converted\" isn't exactly the right word, since all you did was stick a small table in it. The way back to the den lies to the north.\n\nYour work papers lie in disarray beside the telephone.\n\nAlso on the desk is a small appointment/address book.\n\n> You examine papers\nThe unorganized heap covers most of the table, some of it even extending over the edge, threatening to fall at any moment. You've had such a backlog of things to do that it's become harder and harder just to keep up and not fall even further behind.\n\n> You read the papers\nThe papers cover a variety of cases. You have no idea where to begin.\n\n> You examine the telephone\nA standard push-button telephone.\n\n> You take the book\nTaken.\n\n> You look at it\nFlipping through the address book you see that you've only had time to write in two well-used numbers: Mike Stevens at work and Dr. Hughes at Mercy Hospital, the doctor who's handling your mother's care. The only information of any importance in the appointment section appears to be a notice reading: \"Thompson account MUST BE CLOSED BY THIS MONDAY.\" It's written in red ink and underlined five times.\n\nThe Thompson account? What on Earth is that? You try and remember, but for the life of you you can't recall ever writing down this notice. And today's Sunday...\n\n> You call Mike Stevens\nThe phone rings for a moment, then Mike's secretary answers.\n\n\"Hello, Foley Consultants, can I help you?\"\n\n\"Can I speak with Mr. Stevens please?\"\n\n\"Sure Tim, hold on a second.\" You hear the click of the line being switched over, then Mike picks up.\n\n\"Yeah Tim? What can I do for you?\"\n\n> You ask Mike about Thompson\nMike sounds shocked.\n\n\"The THOMPSON account? You mean the charity bit?\"\n\nYou have no idea what he's talking about and tell him so.\n\n\"The charity bit! Come on, you couldn't have FORGOTTEN that? It was your freakin' idea! The whole problem with the firm's bad press last year about the orphanage foreclosure? So we were going to do a few cases for charity ... people who couldn't normally afford us...\"\n\n\"...and I offered to take the Thompson account.\"\n\n\"'xactly, Tim, where's your head BEEN, man?\"\n\n\"Oh my God, I totally forgot about it.\"\n\nYou hear Mike sigh and then a shuffle of papers.\n\n\"Hmm ... let's see. Standard blahblahblahblah, it doesn't look more than a two or three day thing. No real need to wo...\" He cuts off. \"MONDAY Tim? It's due MONDAY?! Are you crazy? Have you even STARTED it?!\"\n\n\"I've ... I've had a lot on my mind, Mike.\"\n\n\"Damn, Tim, we all know that, but ... if you couldn't handle it you should have said so! You're the only one who knows anything about the account, and you've got all the important papers there!\"\n\n\"But, Mike, I've got ... I've got stuff I have to do here.\"\n\n\"Yeah, like the Thompson account! Look Tim, I'm not going to tell you what to do, and I know that your job's not in the balance here; you've been doing too good a job for too long for one little screw up to ruin you, especially under these circumstances. But the Thompson's are totally depending on the firm here. Don't you realize the reason we took the case? They'll lose everything unless YOU can find a loophole that'll at least delay the foreclosure for a while.\"\n\n\"But couldn't someone ... could you...?\"\n\n\"Look Tim, I can't, I've got so much work here that I couldn't even look at the account if I wanted to. Not to mention the fact that all the important stuff is THERE. No Tim, it's going to be you or no one.\" He pauses. \"Look, I've got to go. Call again if you need help with something, but the ball's in your court now.\" He hangs up.\n\nYou hang up the phone.\n\n> You call the doctor\nThe phone rings a moment and then a female voice answers the phone.\n\n\"Mercy Hospital, how may I help you?\"\n\n\"Dr. Hughes please.\"\n\n\"May I ask who's calling?\"\n\n\"Timothy Hunter.\"\n\n\"One moment, please.\" You're put on hold. After a moment, the line picks up again.\n\n\"Yes Tim? How can I help you?\"\n\n> You ask the doctor about the mom\nDr. Hughes laughs.\n\n\"For the millionth time, Tim, she's fine. Seriously, I'm starting to think you don't have any faith in us. What is this, the second week in a row you've called at least once a day? You've got to stop worrying. Your mother's condition is stable and there's been no sign that would lead us to believe we should expect any change. If there were, we'd call you.\" He pauses. \"Look Tim, I'm busy here. Just trust me and relax, OK?\"\n\nAmid your protests, he gently hangs up.\n\nYou hang up the phone.\n\n> You take the papers\nThere are far too many papers to lug around with you, better leave them here.\n\n> You eat the papers\n(first taking the work papers)\nThere are far too many papers to lug around with you, better leave them here.\n\n> You read the papers\nThe papers cover a variety of cases. You have no idea where to begin.\n\n> You consult the papers about Thompson\nYou spread the papers out and try to get them organized. You vaguely remember that the Thompson account deals with a small family business that might be going under. Apparently they don't have enough money to hire someone to handle the backlog of taxes that they've been accumulating and can't handle it themselves. The papers are broken up into several sections: the back records, this year's intake, and the forms which need to be filled out.\n\n> You call Mike\nThe phone rings for a moment, then Mike's secretary answers.\n\n\"Hello, Foley Consultants, can I help you?\"\n\n\"Can I speak with Mr. Stevens please?\"\n\n\"Sure Tim, hold on a second.\" You hear the click of the line being switched over, then Mike picks up.\n\n\"Yeah, Tim?\" Mike says, \"What do ya need?\"\n\n> You look\nYou've only recently converted this spare room to a workroom to try and play catch-up in the evenings and on the weekends. \"Converted\" isn't exactly the right word, since all you did was stick a small table in it. The way back to the den lies to the north.\n\nYour work papers lie in disarray beside the telephone.\n\n> Go north\nThe living room of your small home lies in disarray, as usual. Between work and your mother's condition, you haven't had much time to think about house cleaning. To the west is your bedroom; the doorway to the north leads to the driveway. The workroom lies to the south.\n\nOff to one side lies the old fireplace, its soot rolling out onto the dirty carpet.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> Go north\nIt's a beautiful spring day, the sun is shining and a soft breeze blows. Taking in the idyllic scene, it's easy to forget all the pressures on you; to forget, if for the briefest of moments, your mother's illness and the work you have to do. The front door back into the house lies to the south.\n\n> Go north\nYou consider a stroll around the neighborhood, but think better of it. You have more important things to do.\n\n> Sing\nIf you really want to...\n\n> You call the taxi\nThe taxi service...now what was that number again...?\n\n> You call Mike\nThe phone rings for a moment, then Mike's secretary answers.\n\n\"Hello, Foley Consultants, can I help you?\"\n\n\"Can I speak with Mr. Stevens please?\"\n\n\"Sure Tim, hold on a second.\" You hear the click of the line being switched over, then Mike picks up.\n\n\"Yeah, Tim?\" Mike says, \"What do ya need?\"\n\n> You ask Mike about the taxi\n\"So come on, Tim ... what do you want?\"\n\n> You hang up\nYou hang up the phone.\n\n> You examine table\nYou shoved it in here when you convered this into a work room. It's overflowing with your workpapers, almost completely covering the telephone.\n\n> You look up yourself in the phone book\n(in the work papers)\nYou discover nothing of interest in the work papers.\n\n> You consult the book about Thompson\nYou discover nothing of interest in the address/appointment book.\n\n> Examine book\nFlipping through the address book you see that you've only had time to write in two well-used numbers: Mike Stevens at work and Dr. Hughes at Mercy Hospital, the doctor who's handling your mother's care. The only information of any importance in the appointment section appears to be a notice reading: \"Thompson account MUST BE CLOSED BY THIS MONDAY.\" It's written in red ink and underlined five times.\n\n> You examine the back records\nThe records go back quite a few years. You start reading through them, trying to get an impression of what needs to be done. The Thompson's have obviously been trying to keep on top of the paperwork, but they just didn't have the expertise. Although there's a lot, you realize that Mike was right, it's a routine job.\n\nSeveral hours later and almost finished with the back-paperwork, you realize that an entire year is missing from the records. You can't finish the forms without it!\n\n> You ask Mike about the records\nYou explain about the missing records from the papers you have for the Thompson account.\n\n\"Hmm ... ok, hold on, let me see if they're up here.\" You hear Mike put down the phone and then a few minutes of silence. Suddenly, he's back on the line. \"Yeah Tim, got 'em right here. I don't know how they got muffed up like that. Here, let me give you the numbers.\" He proceeds to help you update the records you need.\n\n\"Thanks Mike, you're a lifesaver.\"\n\n\"No prob, and good luck on the account!\"\n\nYou hang up the phone.\n\n> You look at the intake\nYou begin scanning on the records for the current year, on which the Thompsons have done no work at all. You sigh deeply and get"
    },
    {
        "text": "to work.\n\nIt seems to take forever, the numbers just don't want to work out. Finally, after scanning your work for errors a third time, you decide you've got it done as well as you'll ever get it.\n\n> You examine the forms\nWith the completed records in hand, you begin filling out the forms. By this point, you're so sick of numbers you find it harder and harder not to give up. As you press on, you become worried. You've got to stay awake, aware, because any mistakes at this point could be disastrous...\n\nFour hours later, you're finished. Your hands are cramped from all the writing, your mind spinning from the columns of data, but it's done. You separate the forms from the rest of papers with a sigh of relief.\n\nSuddenly you stop short. You forgot about the signatures! You frantically begin scanning the bottom of the forms, praying you won't find that they have to be signed with a witness...\n\n...and you find that they do. What the hell are you going to do? It's Sunday! How on Earth are you going to get in touch with a notary public this late on a Sunday afternoon?\n\n> You call the doctor\nThe phone rings a moment and then a female voice answers the phone.\n\n\"Mercy Hospital, how may I help you?\"\n\n\"Dr. Hughes please.\"\n\n\"May I ask who's calling?\"\n\n\"Timothy Hunter.\"\n\n\"One moment, please.\" You're put on hold. After a moment, the line picks up again.\n\n\"Look Tim, I told you I'm very busy here. Is there something you need to ask?\"\n\n> You ask the doctor about the mom\nThe laughter is gone from Dr. Hughes's voice.\n\n\"Look Tim, we've been through this too many times. She's fine. I have more important things to deal with right now than getting that through that thick skull of yours. Goodbye.\"\n\nYou hang up the phone.\n\n> You ask Mike about the notary\nYou frantically tell Mike about the signatures you need and that you have no idea how to get in touch with the notary public.\n\n\"God-damnit Tim ... I'd totally forgotten. And it's Sunday, shit...\"\n\n\"What'r we gonna do, Mike?\"\n\nSilence.\n\n\"No, wait a minute! I got it! Look, I've got a friend down a City Hall, owes me a couple of favors. I bet I can get the public down in his office long enough to get the stuff signed. Listen, I'll call up the Thompsons, and my friend. I'll tell 'em to meet you down there in one hour. You got that? Anything over that and we're screwed.\"\n\n\"Got it, Mike. Oh, and thanks again. You really saved me.\"\n\n\"No prob, just remember you owe me one.\"\n\n\"Sure,\" you say, \"I'll see them down there in an hour.\"\n\nYou hang up the phone.\n\nAs suddenly as you place the receiver back in the cradle, the phone rings. You hastily lift the receiver to your ear.\n\n\"Hello?\"\n\n\"Yes, hello, may I please speak to Mr. Timothy Hunter?\"\n\n\"This is he.\"\n\n\"Mr. Hunter? I'm Doctor Feiner, an associate of Doctor Hughes?\"\n\n\"Yes, Doctor Feiner, what can I do for you?\"\n\n\"Well, Mr. Hunter, it's ... it's about your mother.\" A sick certainty overcomes you.\n\n\"She's dying,\" you whisper.\n\n\"Yes, Mr. Hunter, and I'm afraid she won't be lasting much longer. Not more than an hour...\"\n\n\"Oh God... I'll, I'll...\"\n\n\"Whatever you do, Mr. Hunter, please do it quickly. There's not much time.\"\n\nWith trembling hands, you put the phone back down.\n\n> You call Hospital\nThe phone rings a moment and then a female voice answers the phone.\n\n\"Mercy Hospital, how may I help you?\"\n\n\"Dr. Hughes please.\" There's a slight pause.\n\n\"I'm terribly sorry, but Dr. Hughes is currently tending to an emergency. Would you like to leave a message?\"\n\nYou don't have to ask whose emergency it is. \"No, thank you\".\n\nYou hang up the phone.\n\n> You call Mike\nThe phone rings for a moment, then Mike's secretary answers.\n\n\"Hello, Foley Consultants, can I help you?\"\n\n\"Can I speak with Mr. Stevens please?\"\n\n\"Sure Tim, hold on a second.\" You hear the click of the line being switched over, then Mike picks up.\n\n\"Look Timmy-boy, I'm making contacts and half-way outta the office. What do you want?\"\n\n> You tell Mike about the mom\n\"Look, Mike, it's about my mother.\"\n\n\"What about her, Tim?\"\n\n\"Well, she's ... you know she's not been well, and...\"\n\n\"What happened Tim? She's all right, isn't she?\" You can hear the concern in Mike's voice.\n\n\"Well, yes, but it's ... it's...\"\n\nMike sighs. \"Look, Tim, I don't know what's up here, but are you trying to tell me that you're NOT going to be able to the Thompson account because of your mother?\"\n\n> Yes\nMike sighs. \"Well Tim, it's your decision. Good luck, I hope she'll be ok.\"\n\n\"Thanks Mike, and I'm sorry but ... I've got to do this.\"\n\n\"Like I said, it's your decision, man. I'll see you later.\"\n\nYou hang up the phone.\n\n> You examine the bed\nIt's hard to believe this will be the bed on which Sarah will spend all that time, dying. WAS the bed where she SPENT all that time ... this is so confusing. It's in a shambles, the sheets hidden under one of the numerous piles of clothing scattered about the room.\n\nOn the bed you see your wallet.\n\n> You get the wallet\nTaken.\n\n> You open the wallet\nYou peek inside your wallet and see some money and a small, white business card.\n\n> You examine the card\nIt's a business card from a local taxi agency complete with their telephone number.\n\n> You call the taxi\nThe phone rings several times, and then the line picks up.\n\n\"Hello, BK Taxi, can I help you?\"\n\nYou quickly explain that you need a taxi sent around to your house as soon as possible.\n\n\"Certainly sir, it'll be there as soon as possible.\"\n\nYou hang up the phone.\n\n> Wait\nTime passes.\n\n> You wait\nTime passes.\n\nYou notice a cab slowly making its way up the street, its driver peering at house numbers. Apparently seeing yours, the cab quickly pulls into your driveway and the driver gives the horn three quick blasts.\n\n> You enter the cab\nYou're sitting in the back seat of an old and dirty taxi cab. The seat springs squeak rustily beneath you, litter covers the floor and the windows are covered with grime.\n\nIn the front seat, a cabbie sits waiting impatiently.\n\n\"Where ya wanna go, mac?\" he asks as you slip inside.\n\n> You ask the cabbie about Hospital\n\"You got it, mac\" says the cabbie as he hits starts the meter and pulls out of the driveway...\n\nThe trip seems interminable, the cabbie babbling throughout it. Talk of nothing: the weather, the ball game on television last night. You hardly hear him. All you can think about is your mother in that vile smelling white room, breathing her last. You close your eyes and hope you'll get there in time.\n\nThe sunlight flickers over your closed eyelids, making a shadow-dance beneath, and you pause, lost for a moment in their flickering patterns. Let her be ok ... please, just let her be ok.\n\nThe sudden stop in front of Mercy rudely breaks your reverie.\n\n\"That'll be 15 bucks,\" says the cabbie, hitting the meter's flag.\n\n\"I'm sorry,\" you say, handing him your last fifteen dollars, \"I don't have enough for a tip.\"\n\nThe cabbie looks at you for a moment, and then slowly smiles.\n\n\"Forget it, buddy. You look like you could use a break.\" You profusely thank him as you open the taxi's door and rush into the building...\n\nYou rush past the front desk, running for the elevators and slip between the doors just as they're closing. You frantically stab at the buttons, and then slump against the back wall. First, second, third, fourth, hurry god-damn you hurry ... please ... please ... fourth, come on ... come on you ... fifth! The doors slide back and you rush down the corridor, almost slipping on the tiles and finally come to a screeching halt at the door to your mother's room...\n\nLike a horribly cycling nightmare, you find yourself back in this white room stinking of disinfectant. How many times have you been here before, in your mind, replaying this possible scene of being here with your mother when she died? And now, it looks as if perhaps you'll get your second chance after all...\n\nHere, unmoving on the hospital bed, lies your mother.\n\n> You examine the mother\nShe lies still in the bed, her eyes closed. Her grey hair falls in long locks over her face and from her arm protrudes the clear line of an IV-tube, leading to a machine which stands at the bedside.\n\nFor a brief, horrible moment, you think that you're too late ... she's gone. But then, you see her chest slowly lift, then lower. She's breathing ... she's alive.\n\nHer eyes flutter for a moment, then slowly open. Her pupils unfocused, she looks around the room, finally catching sight of you. She pauses, then smiles.\n\"Oh Timmy...\" she says. You heart catches in your throat as you hear how weak her voice is; barely a whisper, hardly stronger than a soft breeze. You must have flinched, because her brow furrows and she looks at you, concerned. \"What's wrong...?\"\n\nWrong! Everything, everything's wrong. You're dying and I don't know what to do, you're leaving and I don't know how to say goodbye...\n\n\"Nothing, Mama.\" You slowly approach the bed and grasp her hand. It's cold, and her skin is almost translucent, revealing her tiny bones beneath. She's so fragile and so helpless. And she was such a vibrant woman, so full of life ... just like Sarah.\n\nSarah. The thought makes you pause. Why? Why did this happen? They were both so wonderful, so caring. They didn't deserve this. She had so many years ahead of her, so much to live for.\n\nShe smiles again. \"Oh. That's good. You know I worry...\" she pauses, catching her breath. \"You know I worry so much about you...\"\n\nYou stroke her hand, biting your lip to stop from crying. \"Yeah, yeah I know.\"\n\nShe lifts her head to look up at you, and suddenly you can see a little bit of a glint in her eye, a hint at the vibrance that she was so known for. She peers at you. \"Why ... why aren't you at work? Aren't you always busy at...\" The rest is lost in a wheeze as she sags back into her pillow.\n\n\"Don't worry, Mom. It's fine. I just thought ... I, I just wanted to visit you.\"\n\nShe smiles. \"Well, that's ok, but you've got to take...\" She suddenly stops.\n\n\"Mom? Mama? Can you hear me? Are you all...\" Oh no please ... please ...\n\nHer jaw goes slack, then she blinks once or twice. \"Oh, oh Timmy ... I think ... I think it's time...\"\n\nYou begin babbling, not even realizing what you're saying. \"No, no please. No! No, you're fine, everything's fine, you'll be ok. Please, please! You're fine!\" Hands grasp your shoulders and begin pulling you backwards, you can vaguely hear Doctor Hughes's voice telling you that there's nothing you can do, that it's her time, but you don't listen to him. You can't. You struggle forwards, trying to get closer to the bed. \"Please ... please, you're all right, aren't you? Tell me you're all right!\"\n\nShe looks up to you serenely, seemingly unaware of your panic. \"Shhh. It'll be ok, Timmy. Everything will be ok.\" She pauses again, then closes her eyes, and whispers \"I love you Timmy...\"\n\nAnd then she's gone. You can feel it, she's gone...the room's empty now. And then you're falling, clutching her cold form against you and crying, lost and alone.\n\nYou don't know how long you've been lying there crying when the hand touches you gently on the shoulder. You look up, about to angrily berate Dr. Hughes for telling you that she was all right when she wasn't, when you see that it's not the doctor at all...\n\n\"Well done, Timothy,\" says Morningstar. \"You have changed your path, and found a way to be here for your mother when she needed you. Leave her be now, she goes to a better place.\" He gently helps you get to your feet.\n\nHe sighs. \"But this is only the first step on my path, Timothy. There are dangers which still lie ahead. But fear not. You have begun my path, and you shall not leave it until it is complete. I shall be here to guide you, as you need me.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\n> You look at Tapestry\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> You look at Tapestry\nDespite the devastation about you, it remains unchanged, its three panels mocking reminders of your recently remembered past.\n\n> You touch the first panel\nYou are finished there Timothy, go elsewhere.\n\n> You look at the first panel\nThe first panel is a scene of your mother in the hospital, a doctor looking sadly down upon her.\n\n> You touch second panel\nSuddenly the rumbling returns, and the threads throw you into their heaving embrace. After a time they leave you gasping on another strange and distant shore...\n\nThe living room of your small home has changed little since your bachelor days, although Sarah's being here has altered it in some small ways. She keeps saying how the place needs more of \"a woman's touch,\" but for all her talk, her work kept her too busy to do much, and now ... well, she can't do much at all. To the south lies your office, and to the west is the bedroom. The doorway to the north leads outside to the driveway.\n\nOff to one side, built into the wall, is a small fireplace.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> You look at the fireplace\nYou remember the innumerable winter nights you and Sarah sat curled up in front of it as you gazed into the fire. God, when was the last time you did that? It's so hard to remember a time before her being bedridden.\n\nOn the mantel you notice a small snapshot in a frame.\n\n> You examine snapshot\nIt's a photograph of you and Sarah out on the lake. She's got her arms wrapped around your neck while the two of you grin like maniacs at the camera from the little boat you're in. You remember when it was taken. Five seconds later, the boat capsized and you and she laughed so hard about it you nearly drowned. God, it's been at least a year since last you were up there.\n\n> You examine Tapestry\nThe tapestry's single panel depicts a middle-aged woman in a long flowing gown. In one hand she holds a slender black rod, which she holds up to a long thread which she holds in the other.\n\n> About yourself\nFrom what you can tell, you're as you've always been.\n\n> You go west\nYour bedroom has been one of the few areas where Sarah's influence has been at work. You felt the presence of her long after she had gone, and a few months after her death put it back the way it had been. A door to the east leads back to the den and to the south is the bathroom.\n\nSomehow, in this strange world of the past, Sarah still lives. She's lying, half asleep, in bed.\n\nBeside the bed is a small endtable.\n\n> You look at Sarah\nYour slowly-returning memories do little justice to her. You'd almost forgotten how achingly beautiful she was ... is. God, this is so confusing. The illness she's battling has taken its toll, but with her resting like that, it's almost possible to believe she'll be ok.\n\nBeside her on the bed, unused, is a large pillow.\n\n> You look at the pillow\nA large, white pillow. Apparently Sarah doesn't need this one.\n\n> You get the pillow\nTaken.\n\n> Examine endtable\nA small endtable that used to hold Sarah's endless supply of medicines. None of them did any good, though. Some may have eased the pain she's going through, but the doctors have told you again and again there's no cure.\n\nBuilt into the endtable is a small drawer.\n\n> You open drawer\nSarah suddenly becomes animated.\n\n\"Timothy, please ... don't do that, ok? For me? Just don't open it, ok?\" She seems so worried. You nod and she relaxes.\n\n> You ask Sarah about herself\nSarah stirs as you approach. She smiles faintly.\n\n\"Hi honey. I'm feeling ok, I guess. I'm just having trouble getting to sleep. It's just really hard to go on sometimes.\" She pauses, takes your hand and looks at you, concerned. \"Are you all right?\" she asks. You nod, and she smiles again.\n\n> You ask her about drawer\n\"Please Timothy,\" she begs. \"Please, just humor me...?\"\n\n> You ask Sarah about the future\nSarah looks at you, confused. She yawns. Poor thing, better not tax her too much.\n\n> You ask Sarah about the illness\nShe opens her eyes and shrugs.\n\n\"It comes and goes. Some days I feel better than others, but...\" she pauses. \"I'm ok, I guess.\" She sees the concern in your eyes. \"Now don't you worry about me,\" she says, smiling. \"I'll be just fine.\"\n\nShe closes her eyes again.\n\n> You look at the bed\nYour slowly-returning memories do little justice to her. You'd almost forgotten how achingly beautiful she was ... is. God, this is so confusing. The illness she's battling has taken its toll, but with her resting like that, it's almost possible to believe she'll be ok.\n\n> You kiss her\nSarah grins and tweaks your nose. \"I love you.\"\n\n\"I love you too.\" you whisper back.\n\n> Go south\nThis small bathroom lies to the south of your bedroom. Ever since Sarah fell ill, it's been a storehouse of false hopes. Every miracle the doctors said might have helped, every drug that might have eased her pain has been kept here. And each and every one did nothing.\n\nOver the sink is a small, mirrored medicine cabinet.\n\n> You look at the cabinet\nAs you approach the cabinet, you catch a glimpse of yourself in the mirror. God, is that really you? You haven't slept well in weeks and your pale, haggard reflection looks like a stranger to you.\n\nThe cabinet has a hinged door which is closed.\n\n> You open the cabinet\nYou open the medicine cabinet, revealing a small bottle of pills.\n\n> You look at the pills\nThe majority of Sarah's supply of drugs is gone. The doctors have pretty much given up by this point, as nothing they've tried has been of any use. All that remains is this solitary bottle of pills Sarah uses to help her sleep.\n\n> You give the pills to Sarah\nSarah looks at the pills. \"That's a good idea, honey, but could you get me a glass of water too?\"\n\n> Go south\nThis small bathroom lies to the south of your bedroom. Ever since Sarah fell ill, it's been a storehouse of false hopes. Every miracle the doctors said might have helped, every drug that might have eased her pain has been kept here. And each and every one did nothing.\n\nOver the sink is a small, mirrored medicine cabinet.\n\n> You examine the glass\nA small, empty drinking glass.\n\n> You look at sink\nAn ordinary sink with an ordinary tap. The tap is currently off.\n\nOn the edge of the sink is a small drinking glass.\n\n> You get the glass\nTaken.\n\n> You turn on the tap\nWater begins flowing from the tap into the sink.\n\n> You fill the glass\nYou carefully fill the glass with water and then shut off the tap.\n\n> You turn off tap\nThe tap's already off.\n\n> You go to the north\nYour bedroom has been one of the few areas where Sarah's influence has been at work. You felt the presence of her long after she had gone, and a few months after her death put it back the way it had been. A door to the east leads back to the den and to the south is the bathroom.\n\nSomehow, in this strange world of the past, Sarah still lives. She's lying, half asleep, in bed.\n\nBeside the bed is a small endtable.\n\n> You give the glass to Sarah\nSarah looks up at you and smiles.\n\n\"Aww ... how sweet, my knight in shining armor come to take me to dreamland?\" You help her up and she swallows the pills with a sip of water. She takes hold of your hand. You see her lower lip trembling slightly. \"Thank you Timmy,\" she whispers, \"for everything.\"\n\nShe lies back down and closes her eyes, but she still has trouble falling asleep. God, you wish she could sleep forever, away from the sickness and the pain.\n\n> You open the drawer\nSarah becomes severely agitated this time.\n\n\"Please, please ... don't ... please.\" You can't understand what about the drawer has gotten her so worked up. To keep her calm, you agree not to.\n\n> You give pills to Sarah\nYou already gave Sarah the pills.\n\n> Go east\nThe living room of your small home has changed little since your bachelor days, although Sarah's being here has altered it in some small ways. She keeps saying how the place needs more of \"a woman's touch,\" but for all her talk, her work kept her too busy to do much, and now ... well, she can't do much at all. To the south lies your office, and to the west is the bedroom. The doorway to the north leads outside to the driveway.\n\nOff to one side, built into the wall, is a small fireplace.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> Go south\nYou've had a place to do work for years, but only recently have you used it enough to actually call it an office. Even at that, it's not much of one, with your desk as the only furniture. The door to the north leads into the living room.\n\nThe remainder of your work papers lie on your desk, next to the telephone.\n\nBuilt into your desk is a small desk drawer.\n\n> You open the drawer\nYou open the desk drawer, revealing an address book.\n\n> You examine the address book\nYou just recently got this address book and for the most part, it's empty. There are a few numbers of family and friends, and a few work numbers. The most important one you notice as you scan through the book is Sarah's doctor, Dr. Albero at Mercy Hospital.\n\n> You call Albero\nThe phone rings a moment and then a female voice answers the phone.\n\n\"Mercy Hospital, how may I help you?\"\n\n\"Dr. Albero please.\"\n\n\"May I ask who's calling?\"\n\n\"Timothy Hunter.\"\n\n\"One moment, please.\" You're put on hold. After a moment, the line picks up again.\n\n\"Yes Tim? How can I help you?\"\n\n> You ask Albero about Sarah\n\"No change in her condition? I'm not surprised, Tim. We've been through this before and I've told you again and again: there's nothing we can do for her now.\"\n\n> You ask Albero about the cancer\n\"Look Tim, I've very busy here. Is there something you wanted?\"\n\n> No\nThat was a rhetorical question.\n\nDr. Albero's voice turns angry. \"I know you're under a lot of stress here, Tim, but this is inexcusable.\" He hangs up.\n\nYou hang up the phone.\n\n> You examine papers\nThese papers are the remainder for you work for this week. You've been working on a couple of different cases for the firm, mostly taking care of backlog paperwork. Mind-numbing stuff to be sure, but at least it's the kind you can do at home. The last case left is for, of all places, Mercy Hospital.\n\n> You examine the budget\nYou flip through the project papers and find the budget proposal for the experimental research project. Looking at it, everything seems to be in order, but then something odd catches your eye. The funding request is exceedingly large, but then again, that's expected for so important a project. The oddity comes out in the net results. There's a huge difference between what they're spending on equipment and the like and what's being given to the good doctor for costs. Checking further, you find that he in fact has cut out a good portion of the subjects for the test, no reason given. And yet the money for those subjects is still figured in the budget. Where the hell did the money go?\n\n> You ask Albero about the budget\nDr. Albero remains silent as you point out the differences in his project's budget and doesn't answer when you ask about what happened to the money for the additional subjects. Without warning, he begins shouting at you.\n\n\"Bastard,\" he hisses. \"What the hell is this?! I'm handling the project as I see fit. Who the hell are you to question what I'm doing with the funding?! Who told you to do this, tell me!\"\n\nYou don't answer.\n\n\"Damn you! Why are you doing this?! What the hell do you want?\"\n\n> You ask Albero about Sarah\nDr. Albero is silent for a moment.\n\n\"What the hell does Sarah have to do with the project's budget?\" he asks.\n\n> You ask Albero about the treatment\n\"So it's to be blackmail, is it? You want Sarah on that list. God-damnit, I never expected this of you, Tim.\" He pauses, thinking. \"Fine!\" he says, \"I'll pull something off. Bring her down here to sign the release forms and she'll be in. And in return, you tell no one about what you know, agreed?\"\n\n\"Agreed, and no placebos.\"\n\n\"Fine, fine, but I warn you Tim, no doublecrossing, or you'll regret it. Accidents have a way of happening in experiments like this.\" He hangs up.\n\nYou hang up the phone.\n\n> You tell Sarah about the treatment\nSarah sits up as you approach. She sees how excited you are.\n\n\"What is it, Tim?\" Excitedly, you tell her about the program at Mercy Hospital and how Dr. Albero has agreed to let her on the subject list as one of the ones who will really receive the treatment. You omit how you got him to agree to this.\n\nSarah's reaction surprises you. Rather than being happy, she seems sad.\n\n\"Really? A possible cure. I never thought of that.\" She shakes her head. \"No, Timmy, I don't think I could go through that. Not another false hope. You said yourself it's experimental, they don't even know how it would affect me.\" She seems to reach a decision. \"No Timmy, thank you, but it's too late for me.\"\n\nYou sigh. You wish there was some way you could convince her that life was worth living.\n\n> You show the photo to Sarah\n\"Oh Timmy. We had so much fun up there, didn't we? 'The Sweet Audrina.'\" She laughs. God, we we almost drowned, didn't we?\" You laugh with her for a moment, then you both fall silent. She takes your hand. \"We had some pretty good times, didn't we? Tell me a story, Timmy.\" she says, \"tell me about the lake.\n\n> You tell Sarah about the lake\nYou tell Sarah the story, embellishing what really happened. That always made her laugh, the way you used to exaggerate everything until it became bigger than life. She smiles, remembering.\n\n\"Oh, we had so much fun, didn't we?\" She yawns, then pats your hand. \"I think I've had enough excitement for one day, I'm going to take a nap, ok?\" You nod, and tuck her in as her breathing becomes slow and regular.\n\n> You open the drawer\nYou promised Sarah you wouldn't. Why is she so upset by what's in there?\n\n> You call the Doctor\nDr. Albero's already agreed to let Sarah in the program. Better leave him be.\n\n> You look at what you're carrying with you\nYou are carrying:\na snapshot\nan address book\na small drinking glass\na small bottle of pills\na large pillow\n\n> You open the drawer\nIt's already open.\n\n> You go west\nYour bedroom has been one of the few areas where Sarah's influence has been at work. You felt the presence of her long after she had gone, and a few months after her death put it back the way it had been. A door to the east leads back to the den and to the south is the bathroom.\n\nSarah lies sleeping on the bed.\n\nBeside the bed is a small endtable.\n\n> You look at the bed\nThe pills you gave her have finally set in and she's sleeping peacefully. If only she could be like that always.\n\n> You lie on the bed\nYou don't want to disturb Sarah. Anyway, you're not tired and you have far too much to do.\n\n> Kiss sarah\nYou gently kiss her on her forehead.\n\n> You wake sarah\nSarah stirs in her sleep and opens her eyes.\n\n\"What is it Timmy?\" she asks.\n\n> You ask Sarah about the program\n\"I know Tim, you told me about it.\"\n\nSarah looks at you a mom"
    },
    {
        "text": "ent, smiles, and then closes her eyes. After a moment, her steady breathing tells you she's fallen back asleep.\n\n> You ask Sarah about drawer\nSarah stirs in her sleep and opens her eyes.\n\n\"What is it Timmy?\" she asks.\n\n\"Please Timothy,\" she begs. \"Please, just humor me...?\"\n\nSarah looks at you a moment, smiles, and then closes her eyes. After a moment, her steady breathing tells you she's fallen back asleep.\n\n> You go north\nThe driveway you stand in is somewhat useless, as neither you nor Sarah own a car. Still, it's nice to get out of the house for a moment. The gloom that seems to have settled over the house since Sarah's falling ill is lessened slightly here. You can almost fool yourself into thinking she's well again. The entrance to the house lies to the south.\n\nYou can see today's newspaper here.\n\n> You read it\nNothing new ... a riot at the downtown picket lines yesterday, national tension over the budget settlements, yet another war breaking out somewhere abroad... You've lost track of the world outside for a long time now. The whole thing seems like some far-away dream.\n\nYou're about to fold the paper back up when a familiar name catches your eye...\n\n> You look at the desk\nYou haven't been into work in weeks because you wanted to stay here with Sarah, so you've been working at home. You've been throwing yourself into it a lot lately, maybe to stave off your increasing feeling of helplessness.\n\n> You examine the fireplace\nYou remember the innumerable winter nights you and Sarah sat curled up in front of it as you gazed into the fire. God, when was the last time you did that? It's so hard to remember a time before her being bedridden.\n\n> You go west\nYour bedroom has been one of the few areas where Sarah's influence has been at work. You felt the presence of her long after she had gone, and a few months after her death put it back the way it had been. A door to the east leads back to the den and to the south is the bathroom.\n\nSarah lies sleeping on the bed.\n\nBeside the bed is a small endtable.\n\n> Go south\nThis small bathroom lies to the south of your bedroom. Ever since Sarah fell ill, it's been a storehouse of false hopes. Every miracle the doctors said might have helped, every drug that might have eased her pain has been kept here. And each and every one did nothing.\n\nOver the sink is a small, mirrored medicine cabinet.\n\n> You look at the cabinet\nAs you approach the cabinet, you catch a glimpse of yourself in the mirror. God, is that really you? You haven't slept well in weeks and your pale, haggard reflection looks like a stranger to you.\n\nThe cabinet has a hinged door which is open.\n\n> Inventory\nYou are carrying:\ntoday's newspaper\na snapshot\nan address book\na small drinking glass\na small bottle of pills\na large pillow\n\n> You show the newspaper to Sarah\nBut you've already done that.\n\nSarah looks at you a moment, smiles, and then closes her eyes. After a moment, her steady breathing tells you she's fallen back asleep.\n\n> You tell Sarah about Albero\nSarah looks at you, confused. She yawns. Poor thing, better not tax her too much.\n\nSarah looks at you a moment, smiles, and then closes her eyes. After a moment, her steady breathing tells you she's fallen back asleep.\n\n> You ask Sarah about the drawer\n\"Please Timothy,\" she begs. \"Please, just humor me...?\"\n\nSarah looks at you a moment, smiles, and then closes her eyes. After a moment, her steady breathing tells you she's fallen back asleep.\n\n> You look\nYou're sitting in the back seat of an old and dirty taxi cab. The seat springs squeak rustily beneath you, litter covers the floor and the windows are covered with grime.\n\nIn the front seat, a cabbie sits waiting impatiently.\n\n> You look at the cabbie\nA non-descript man who seems almost as old and decrepit as the car he drives. He drums the steering wheel in an angry rhythm, obviously impatient at having to wait.\n\n> You ask the cabbie about Hospital\n\"You got it, mac\" says the cabbie as he hits starts the meter and pulls out of the driveway...\n\nThe trip seems interminable, the cabbie babbling throughout it. Talk of nothing: the weather, the ball game on television last night. You hardly hear him. All you can think about is your mother in that vile smelling white room, breathing her last. You close your eyes and hope you'll get there in time.\n\nThe sunlight flickers over your closed eyelids, making a shadow-dance beneath, and you pause, lost for a moment in their flickering patterns. Let her be ok ... please, just let her be ok.\n\nThe sudden stop in front of Mercy rudely breaks your reverie.\n\n\"That'll be 15 bucks,\" says the cabbie, hitting the meter's flag.\n\n\"I'm sorry,\" you say, handing him your last fifteen dollars, \"I don't have enough for a tip.\"\n\nThe cabbie looks at you for a moment, and then slowly smiles.\n\n\"Forget it, buddy. You look like you could use a break.\" You profusely thank him as you open the taxi's door and rush into the building...\n\nYou rush past the front desk, running for the elevators and slip between the doors just as they're closing. You frantically stab at the buttons, and then slump against the back wall. First, second, third, fourth, hurry god-damn you hurry ... please ... please ... fourth, come on ... come on you ... fifth! The doors slide back and you rush down the corridor, almost slipping on the tiles and finally come to a screeching halt at the door to your mother's room...\n\nLike a horribly cycling nightmare, you find yourself back in this white room stinking of disinfectant. How many times have you been here before, in your mind, replaying this possible scene of being here with your mother when she died? And now, it looks as if perhaps you'll get your second chance after all...\n\nHere, unmoving on the hospital bed, lies your mother.\n\n> You look at the mother\nShe lies still in the bed, her eyes closed. Her grey hair falls in long locks over her face and from her arm protrudes the clear line of an IV-tube, leading to a machine which stands at the bedside.\n\nFor a brief, horrible moment, you think that you're too late ... she's gone. But then, you see her chest slowly lift, then lower. She's breathing ... she's alive.\n\nHer eyes flutter for a moment, then slowly open. Her pupils unfocused, she looks around the room, finally catching sight of you. She pauses, then smiles.\n\"Oh Timmy...\" she says. You heart catches in your throat as you hear how weak her voice is; barely a whisper, hardly stronger than a soft breeze. You must have flinched, because her brow furrows and she looks at you, concerned. \"What's wrong...?\"\n\nWrong! Everything, everything's wrong. You're dying and I don't know what to do, you're leaving and I don't know how to say goodbye...\n\n\"Nothing, Mama.\" You slowly approach the bed and grasp her hand. It's cold, and her skin is almost translucent, revealing her tiny bones beneath. She's so fragile and so helpless. And she was such a vibrant woman, so full of life ... just like Sarah.\n\nSarah. The thought makes you pause. Why? Why did this happen? They were both so wonderful, so caring. They didn't deserve this. She had so many years ahead of her, so much to live for.\n\nShe smiles again. \"Oh. That's good. You know I worry...\" she pauses, catching her breath. \"You know I worry so much about you...\"\n\nYou stroke her hand, biting your lip to stop from crying. \"Yeah, yeah I know.\"\n\nShe lifts her head to look up at you, and suddenly you can see a little bit of a glint in her eye, a hint at the vibrance that she was so known for. She peers at you. \"Why ... why aren't you at work? Aren't you always busy at...\" The rest is lost in a wheeze as she sags back into her pillow.\n\n\"Don't worry, Mom. It's fine. I just thought ... I, I just wanted to visit you.\"\n\nShe smiles. \"Well, that's ok, but you've got to take...\" She suddenly stops.\n\n\"Mom? Mama? Can you hear me? Are you all...\" Oh no please ... please ...\n\nHer jaw goes slack, then she blinks once or twice. \"Oh, oh Timmy ... I think ... I think it's time...\"\n\nYou begin babbling, not even realizing what you're saying. \"No, no please. No! No, you're fine, everything's fine, you'll be ok. Please, please! You're fine!\" Hands grasp your shoulders and begin pulling you backwards, you can vaguely hear Doctor Hughes's voice telling you that there's nothing you can do, that it's her time, but you don't listen to him. You can't. You struggle forwards, trying to get closer to the bed. \"Please ... please, you're all right, aren't you? Tell me you're all right!\"\n\nShe looks up to you serenely, seemingly unaware of your panic. \"Shhh. It'll be ok, Timmy. Everything will be ok.\" She pauses again, then closes her eyes, and whispers \"I love you Timmy...\"\n\nAnd then she's gone. You can feel it, she's gone...the room's empty now. And then you're falling, clutching her cold form against you and crying, lost and alone.\n\nYou don't know how long you've been lying there crying when the hand touches you gently on the shoulder. You look up, about to angrily berate Dr. Hughes for telling you that she was all right when she wasn't, when you see that it's not the doctor at all...\n\n\"Well done, Timothy,\" says Morningstar. \"You have changed your path, and found a way to be here for your mother when she needed you. Leave her be now, she goes to a better place.\" He gently helps you get to your feet.\n\nHe sighs. \"But this is only the first step on my path, Timothy. There are dangers which still lie ahead. But fear not. You have begun my path, and you shall not leave it until it is complete. I shall be here to guide you, as you need me.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> You ask him about the experimental treatment program\nDr. Albero seems in shock that you know about the treatment. He listens silently as you angrily berate him for not telling you about it, or putting Sarah on the test list. After a moment, he speaks.\n\n\"I'm sorry Tim, I really am, but we checked her out against the criteria for the program and she just didn't fit. That's why I didn't tell you about it. I knew you'd be upset. There isn't even a guarantee that it will work; it's experimental, after all. And even if I did get her in the program, there's a good chance she'd have been in the group receiving the placebo. I'm sorry, but I just can't help you.\"\n\nAmid your protests, Dr. Albero gently hangs up.\n\nYou hang up the phone.\n\n> You look up Albero in the papers\nYou flip through the papers until you find Dr. Albero's section. Apparently he's quite prominent at the hospital, since he's done quite a few projects over the years. They're listed in chronological order, and the most recent one, an experimental drug treatment program, catches your eye.\n\n> You read about the program\nWhat do you want to read about that in?\n\n> Papers\nThe treatment program is the same one that you read about in today's newspaper. The papers contain information on the proposed method, the budget proposal, and the expected results.\n\n> You read the budget in the papers\nYou flip through the project papers and find the budget proposal for the experimental research project. Looking at it, everything seems to be in order, but then something odd catches your eye. The funding request is exceedingly large, but then again, that's expected for so important a project. The oddity comes out in the net results. There's a huge difference between what they're spending on equipment and the like and what's being given to the good doctor for costs. Checking further, you find that he in fact has cut out a good portion of the subjects for the test, no reason given. And yet the money for those subjects is still figured in the budget. Where the hell did the money go?\n\n> You call Albero\nThe phone rings a moment and then a female voice answers the phone.\n\n\"Mercy Hospital, how may I help you?\"\n\n\"Dr. Albero please.\"\n\n\"May I ask who's calling?\"\n\n\"Timothy Hunter.\"\n\n\"One moment, please.\" You're put on hold. After a moment, the line picks up again.\n\n\"I told you Tim, I can't help you. Is there something else you wanted to ask about?\"\n\n> You ask him about the budget\nDr. Albero remains silent as you point out the differences in his project's budget and doesn't answer when you ask about what happened to the money for the additional subjects. Without warning, he begins shouting at you.\n\n\"Bastard,\" he hisses. \"What the hell is this?! I'm handling the project as I see fit. Who the hell are you to question what I'm doing with the funding?! Who told you to do this, tell me!\"\n\nYou don't answer.\n\n\"Damn you! Why are you doing this?! What the hell do you want?\"\n\n> You ask him about Sarah\nDr. Albero is silent for a moment.\n\n\"What the hell does Sarah have to do with the project's budget?\" he asks.\n\n> You show the snapshot\n(to Sarah)\n\"Oh Timmy. We had so much fun up there, didn't we? 'The Sweet Audrina.'\" She laughs. God, we we almost drowned, didn't we?\" You laugh with her for a moment, then you both fall silent. She takes your hand. \"We had some pretty good times, didn't we? Tell me a story, Timmy.\" she says, \"tell me about the lake.\n\n> You tell Sarah about the lake\nYou tell Sarah the story, embellishing what really happened. That always made her laugh, the way you used to exaggerate everything until it became bigger than life. She smiles, remembering.\n\n\"Oh, we had so much fun, didn't we?\" You nod.\n\n\"Remember when we were happy, Sarah? Remember how it was before all of this? We can be like that again, I swear it ... please ...\"\n\nSarah seems lost in thought, her feelings torn between the hopelessness she has felt for so long and the possible release that lies before her. She pauses, sighs, and then look up to you.\n\n\"Ok, Timothy. For you .. for you, I'll try one last time.\"\n\nYou smile and kiss her. \"This will work, Sarah, I swear it ... you'll see.\"\n\nSarah looks at you oddly for a moment, then closes her eyes.\n\n\"I know, Tim, I know ... now, let me get some sleep, ok? We'll go to the hospital later.\"\n\nYou sneak out of the room, and close the door silently. Morningstar is waiting for you in the living room. He smiles broadly.\n\n\"Well done, my friend. You have fought the evil that you planted so long ago in the past. You have saved your wife's life, and your own soul.\"\n\n\"Two steps now, Timothy, along my path. You have done well, and a greater challenge still lies ahead. But I have faith in you Timothy, and I know I shall see you again at the end of this Path.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> You touch third\nSuddenly the rumbling returns, and the threads throw you into their heaving embrace. After a time they leave you gasping on another strange and distant shore...\n\nYou turn the corner with a sigh, glancing at the street sign in a feeble, half-hearted attempt to figure out where you are. You've left the old familiar neighborhood far behind you tonight, as you have almost every night. Each outing seems to take you a little further, to an area a little stranger and more dangerous.\n\nTonight, you didn't even bother giving yourself an excuse. Before, it had been that you had somewhere to go, something to do. Not tonight. Some indeterminate time ago, you stumbled out of the house, stuck the key in the ignition, and just started driving.\n\nThe sharp honk of a nearby car breaks your musings. You glance upward to see a pair of girls, jump ropes under their arms, pigtails flying behind them, run across the street, right in front of your car...\n\nTime slows as you slam down on your brakes. For a moment, you don't think you'll make it, but with a squeal of the tires, your old Dodge manages to grind to a halt in time. The girls make it across, laughing all the while, unaware of how close death has come.\n\nThe old hunk of junk has served you pretty well in the past few years. You could probably afford something better, but why bother? It runs, it gets you to work and back. What more could you want? What more do you need?\n\nThe buildings outside seem mostly tenements, their residents escaping the sweltering evening by sitting outside on the stone porches, the sidewalks. The girls continue on their way, and soon enter a tenement.\n\nWith a sigh a relief, you step on the gas and continue on your way.\n\n> You examine the car\nThe further you go, the more convinced you're only getting yourself more lost. If anything, the neighborhoods are getting worse. The homeless are more and visible, and the buildings are more decrepit.\n\n> You go north\nYou can't go that way.\n\nAs your mind begins to wander, your attention to the road slips. It's been so long since you've been able to just stop; to put all that's happened and all you've done behind. The scars that are left won't fade that easily.\n\n> Turn wheel\nThe wheel spins in your hands wildly as you futilely attempt to control it.\n\nYou rebound, sending the car into the air. Closer now, you see her slowly lifting her head, about to realize the flying mass of metal that will end her life. Beyond, on the curb, you can make out the figure you saw in the tableau, eyes ablaze and mouth agape, attempting to scramble to its feet.\n\n> You examine the figure\nHe's terrified for some reason, while crawling his way across the pavement towards the helpless girl.\n\nThe car strikes the pavement with a resounding force, the tires squealing as they touch ground. Your headlights strike the girl full in the face, illuminating her in a blinding halo.\n\n> Turn wheel\nThe tires spin and squeal wildly as you turn the wheel sharply, sending the car into a tailspin. Somehow, by some miracle, it's enough. Practically flipping over, the car somehow manages to swerve around the girl.\n\nBut it's too much, the car is listing dangerously to the right, and in an attempt to stop from tipping over, you turn the wheel sharply to the left.\n\nBefore you can react, the light flashes again, and time contracts to its normal pace, just as the car spins out of control, heading directly for the figure on the sidewalk...\n\n> Turn wheel\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nChaos, complete and utter. While the threads of the Tapestry gave you some sense of closure, of being contained, the place where you are now is paradoxically vast and empty, and yet somehow filled. Filled with images and sound, form and motion, a shifting menagerie with neither rhyme nor reason. A filled void, an ever-changing structure whose bounds you can not even begin to imagine. Your senses reel at the assault from every angle.\n\n> You look\nThere is only Everything.\n\n\"Well done...\"\n\nThe voice behind you startles you, causing you to swiftly turn around. Your vision blurs sickeningly for a moment, as you take in the chaotic panorama that surrounds you. Then, your eyes clearing, you see Morningstar standing before you, smiling and obviously unaffected by the confusion that he is at the center of.\n\n\"Beautiful, is it not?\" he asks, looking about. \"The whole of creation is here, Timothy, all existence, all possibility. Pure change lies here, mortal, for to be all forms at all times is to be no form at all. It is from here that the threads of creation are woven, from whence the Tapestry of your life springs. It is here that we are able to bend those threads to our whim, to change your destiny for the better.\" He pauses, then smiles. \"Forgive me,\" he says. \"I merely wished you to see this, to understand some part of the great work we do.\"\n\n\"And with this, we are finished. Well done, traveler! You have looked upon the evil of your ways and done your best to mend them and you have wisely taken advantage of your second chance. The Path you have followed is now at an end; the Tapestry is finished, its threads rewoven. And now, the time has come to leave this place of indecision, and face whatever destiny lies before you. I wish you well.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace...\n\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nYour sight fails you. For that matter, you don't know if your eyes are opened or closed. Concepts like time and place have no meaning here. Your mind attempts to impose something, some order, some structure, upon the space in which you exist, and fails. There is only the void. For all you know, that is all there ever was.\n\n> You wake up\nThere is only Nothing.\n\nNo, wait. There is ... something, moving in the darkness. It dances at the edge of your new-found vision, teasing you.\n\nNo, you were wrong...\n\nThere is only Nothing.\n\n\n\nTimothy Hunter was born, he lived, he died.\n\nThis was only natural, being mortal. The life he led was probably most unusual in its normalcy; his childhood so much so as to be mundane. Neither praised nor reviled, neither a leader nor an outcast, he was simply another face in the crowd. He went to school, he studied, he did well enough to get by. After graduation he found a job he was good at and paid well enough. He bought a little house and lived there, a bother to no one, and the days just flowed one into the other...\n\nIn fact, the first event of any importance in his life was the death of his mother.\n\nShe had been ill for some time, but Timothy tried not to think about it. He'd placed her in Mercy Hospital mostly to forget about her, to get on with his life. Apparently, however, it wasn't good enough. His work suffered, his productivity slipped. On the Sunday that she died, he realized that the charity case he had been doing for the firm wasn't yet finished. Half-way through his frantic working, he received a phone call from Mercy Hospital. They gave her an hour at the most.\n\nSomething must have happened then; the guilt that Timothy had felt at putting her in the Hospital must have caught up with him. On the spot, he decided that he couldn't finish the Thompson account.\n\nCalling his friend Mike at the firm, he quickly described his mother's condition and that the Thompson account would not be finished on time. Racing to his mother's side, he was there in her final moments, comforting her as best he could, apologizing for what he had done.\n\nThe Thompson's lost everything they had ever worked for.\n\nThe time after his mother's death was a lonely one for Timothy, perhaps because, for the first time, he realized he was truly alone. Then, he met Sarah, and everything changed. She was so loving, so full of life, so willing to drag him from the small, empty world he had built for himself. They complemented each other so well: her spontaneity to his structure, her boundless energy to his complacency. Their whirlwind romance caught him totally unawares, and when she accepted his proposal of marriage, he thought himself the happiest man on earth.\n\nTruly, their first five years together were the happiest time of his life. The experience of having his life so intricately tied to another was exhiliarating; he built his entire existence around her.\n\nWhich is why her falling ill struck him so hard.\n\nIt was agonizing for Timothy to see her wasting away. \"Apentrylic Syndrome\" they called it, a metabolic disorder carried in a recessive gene. There wasn't a cure, they told him, and they didn't think she'd last more than a year.\n\nThey were wrong. For five years, Timothy watched his wife slowly rotting away from the inside. Her energy faded, her strength tapped away. The similarity to his mother was horrifying, both women clinging to life in a way that was almost unnatural. The strain on Timothy was telling, and when he happened upon the article discussing a possible cure to the Syndrome, he was overjoyed.\n\nBut, upon realizing it was Dr. Albero who was running the program, he fell into a rage. Calling the hospital, he angrily demanded why Sarah had not been entered into the program. The doctor's excuses of placebos and control groups meant nothing to him and, in an attempt to make the bastard agree to let her in the program, happened upon the project's budget. Calling the good doctor back, he causally mentioned the discrepancy in the monies.\n\nUnder the threat of blackmail, Albero agreed to allow Sarah the treatment. And, miraculously, it worked. Sarah got better, although she was never again the vibrant woman Timothy remembered.\n\nHalfway through the program, Dr. Albero mysteriously committed suicide, for reasons unknown.\n\nThe time after Sarah's crisis was much like it had been before his mother's death; his life mundane, his existence centered around his work. The disease had taken away much of Sarah's vitality, and her zest for life was never the same. His time devoted more and more to himself and his work, he began to withdraw more and more from the world at large. At night, he drove around the city alone, trying to find the meaning of what had happened to him, of why such things had happened to him.\n\nThe night he died was such a night. He had been driving for hours, only half paying attention to what was going on. Then, from nowhere, a young girl ran into the middle of the road. With a cry and acting purely on what must have been instinct, he wrenched the wheel to the right, narrowly missing the young woman and almost flipping the car over. In an attempt to right himself, he swerved to the left ... and struck a young man standing on the sidewalk. Both he and Timothy were killed on impact. Afterwards, it was revealed that the young man was the woman's boyfriend. They had had an argument and in an attempt to get away from him, she had half pushed, half been pushed into the the road. Timothy's quick thinking had merely exchanged the death of one of the lovers for the other.\n\nTimothy Hunter was born, he lived, he died. To say anything more would be futile speculation."
    },
    {
        "text": "[Themes: Religious, Afterlife, Time Travel, devil, moral choice]\n\n> You examine the intake\nBut you've already completed the Thompson's records for this year's intake.\n\n> You examine the forms\nWith the completed records in hand, you begin filling out the forms. By this point, you're so sick of numbers you find it harder and harder not to give up. As you press on, you become worried. You've got to stay awake, aware, because any mistakes at this point could be disastrous...\n\nFour hours later, you're finished. Your hands are cramped from all the writing, your mind spinning from the columns of data, but it's done. You separate the forms from the rest of papers with a sigh of relief.\n\nSuddenly you stop short. You forgot about the signatures! You frantically begin scanning the bottom of the forms, praying you won't find that they have to be signed with a witness...\n\n...and you find that they do. What the hell are you going to do? It's Sunday! How on Earth are you going to get in touch with a notary public this late on a Sunday afternoon?\n\n> You look at the card\nYou peek inside your wallet and see some money and a small, white business card.\n\nIt's a business card from a local taxi agency complete with their telephone number.\n\n> You go south\nYour work papers lie in disarray beside the telephone.\n\n> You call the taxi\nThe phone rings several times, and then the line picks up.\n\n\"Hello, BK Taxi, can I help you?\"\n\nYou quickly explain that you need a taxi sent around to your house as soon as possible.\n\n\"Certainly sir, it'll be there as soon as possible.\"\n\nYou hang up the phone.\n\n> You ask the cabbie about City Hall\n\"You got it, mac\" says the cabbie as he hits starts the meter and pulls out of the driveway.\n\n> You examine the litter\nThe trip seems interminable, the cabbie babbling throughout it. Talk of nothing: the weather, the ball game on television last night. You hardly hear him. All you can think about is your mother in that vile smelling white room, breathing her last. You close your eyes and hope you'll be finished with this in time.\n\nThe sunlight flickers over your closed eyelids, making a shadow-dance beneath, and you pause, lost for a moment in their flickering patterns. Let her be ok ... please, just let her be ok.\n\nThe sudden stop in front of the Hall rudely breaks your reverie. \"That'll be 15, bucks\", says the cabbie, hitting the meter's flag.\n\n\"I'm sorry,\" you say, handing him your last fifteen dollars, \"I don't have enough for a tip.\"\n\nThe cabbie looks at you for a moment, and then a smile breaks slowly across his face. He sighs. \"Forget it, buddy. You look like you could use a break.\" You profusely thank him as you open the taxi's door and rush up the long marble steps into the building...\n\nCity Hall is a veritable labyrynth of cold, marble corridors and your breathing echoes about you as you run, searching for the notary public's office. You almost miss it when the writing on the door catches your attention out of the corner of your eye. Practically knocking it down, you rush into the office.\n\n\"... and here he is!\" Mike says, seeing you. \"Come on, Timmy-boy, let's get this show on the road!\" He quickly introduces you to Mrs. Thompson, a middle-aged woman with graying hair, and the notary public. The signatures are done in a flash, with Mrs. Thompson thanking your profusely the entire time, telling you how much this means to them, that they won't be losing the family business, about how afraid they were.\n\nYou hardly hear her. All you can think about is your mother, lying there in that room.\n\n\"... Mr. Hunter? Are you all right?\" Mrs. Thompson's question snaps you back to reality.\n\n\"Mike, Mike ... did you bring your car?\" you ask him frantically.\n\nYour fear suddenly breaks through his bravado.\n\n\"Yeah, Tim. It's out back. What's the matter?\"\n\n\"It's, it's my mom, we ... I've got to get to the hospital...\"\n\nMike grabs you by the shoulder and the next thing you know, you're running down the corridor again, heading for the back parking lot. Behind you, you can hear Mrs. Thompson calling.\n\n\"Thank you again, Mr. Hunter! I hope your mom's all right...!\"\n\nYou remember nightmares as a child like this, where no matter how fast you went, you knew it was never quite fast enough...\n\nMike's driving like a maniac, but some part of you already knows that it's too late. You've already been through this and it's too late. And yet...\n\nAnd yet there's some part of you that's hoping that somehow, someway, she'll be ok, that it won't be the same this time ... it won't ... just somehow.\n\nMike pulls up in front of Mercy with a screech, yelling at you as you slam into the front doors to go ahead, he'll be up right behind you.\n\nYou rush past the front desk, running for the elevators and slip between the doors just as they're closing. You frantically stab at the buttons, and then slump against the back wall. First, second, third, fourth, hurry god-damn you hurry ... please ... please ... fourth, come on ... come on you ... fifth! The doors slide back and you rush down the corridor, almost slipping on the tiles and finally come to a screetching halt at the door to your mother's room.\n\n\"I'm sorry, Tim,\" says Doctor Hughes. He's standing in over your mother's bed ... just like in the Tapestry.\n\n\"No!\" But it's too late. She's dead. It takes a moment for you to comprehend this. And then you're rushing forward, falling on your knees next to her, clutching her hand and crying out that you didn't mean to. You didn't mean to abandon her. You wanted to be here...\n\nBut now it's too late.\n\n> You look at Doctor\nONE WEEK LATER...\n\nThe past few days have been a blur; the funeral arrangements, the reading of the will, the unending visits by family and friends, offering their condolences, all of it running and smearing together in a confused muddle...\n\nYour mother specified in her will exactly how she wanted everything: the open-casket viewing, whom she wanted to speak the eulogies. It's almost over now, the last of the remaining mourners (mostly old friends of your mother's you haven't seen in years) having already spoken with you. Some stragglers are still making their way past the coffin. As for you, you've been in the back of the room, shaking hands, saying thanks for their condolences, and feeling utterly numb. You haven't had the courage all afternoon to head to the north end of the parlor and see your mother lying there...\n\n> Go north\nA cold gust of wind arises from nowhere as you attempt to cross the room. The wind rises in intensity and a swirling smoke begins to rise from the ground. A dark writing cloud forms before you and from it a cloaked figure emerges. Its face lost in the swirling mists behind its hood, the figure speaks:\n\n\"Hail mortal! We know each other well, though perhaps you remember me not. I have been at your side for many a year, your closest friend, your worst enemy. Familiar lover and bitter adversary. You know me!\nYou sense it deep inside where your guilt grows in the darkness like the twisted weed it is!\" he laughs. \"And now! After all this time! At last, a reckoning! Will you face me? Have you hubris enough to commit the breaking of your Moira? Are you fool enough to face your crimes?\n\n> You examine the figure\nThe Wraith is a fearsome figure, indeed. Draped in a cloak of darkest night, its face hidden from sight, its hands lost in the folds of its cloak, what is not seen is far more frightening than what might be.\n\n> You ask Wraith about Moira\n\"Answer, fool! Hast thou courage enough to face me?\"\n\n> Yes\n\"Fool! You dare deny me?! You, mere mortal, dare to sunder the Moira set for you? How can you deny what you have done?!\"\n\n\"Admit defeat, fool! Admit the evil you have done!\"\n\n> No\n\"How CAN YOU?! You KILLED her, your MOTHER, whom you owe your life to! MURDERER! What rationalization do you have this time??\"\n\n\"What excuse have you?!\"\n\n> You tell Wraith about Thompsons\nYou tell the Wraith about the Thompson account, about how badly they needed your help and of how they would have gone bankrupt without it. You tell it of Mrs. Thompson's tears, of her thanks.\n\n\"LIES! You care for no one but YOURSELF! How DARE you lie as such, to make me believe that you would care for another so much! You left her there!\"\n\n\"You abandoned her, monster, left her for dead!\"\n\n> Go north\nThe Wraith silently glides between you and the casket, blocking you from approaching it.\n\n\"You abandoned her, monster, left her for dead!\"\n\n> No\n\"BASTARD! LIAR! Your golden tongue shall not save you!\"\n\n\"Why were you not there for her at the last? Where WERE you?\"\n\n> You tell Wraith about the Doctor\n\"Why were you not there for her at the last? Where WERE you?\"\n\n> You tell Wraith about City Hall\nCrying, half-reliving it, you tell the Wraith of the trip to City Hall, of how you wished you could have been in two places at once, of the nightmare trip back, only to find out it was too late.\n\nThere is no response...\n\nAs suddenly as it appeared, the Wraith vanishes, and in its place stands Clotho of the Parcae.\n\n\"You have chosen well, Timothy,\" she says. \"You have learned of your Moira and chosen, as you should, to live within it. You have learned to stand by your decisions, and you have faced your fears with strength and courage.\"\n\nShe gently takes you by the hand and leads you through the frozen crowd towards the casket. Once there, she steps back, waiting. You step forwards, fearful of what you're about to face, but take a deep breath and peer inside.\n\nShe looks beautiful. Her hair falls across her face, just covering her eyes, and the dress she wears was always one of her favorites. \"I'm sorry, Mom, I'm sorry...\" you whisper. And suddenly, somehow, you know. You know that she understands, that it wasn't your fault. She knows that you didn't abandon her, that you were trying to help. You turn to Clotho, eyes bright with tears, and she nods.\n\n\"Yes, Timothy. She always knew. And, perhaps in a way, you did as well. But your fear, your irrational guilt, blocked that, stopped you from seeing the truth. And now, now that your Moira has changed, now that you have faced the Wraith, you have stopped what happened before.\"\n\nMemory floods back. The funeral. How you fled, how you couldn't face seeing her after what had happened ... it's changed.\n\nClotho nods once more. \"Yes, Timothy. Well done.\"\n\n\"You have taken the first step along my path, Timothy. Once chosen, it cannot be abandoned. You shall follow it to its conclusion, with the choices you shall make elsewhere. I shall be near, to guide you as you shall need.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact."
    },
    {
        "text": "> No\nWithout a face, the Spectre nonetheless grins. \"Victory! You are wise to know when you are outmatched. To know that your guilt is not without cause, and that to live with it is your course. Your Moira remains unbroken, the path you chose so long ago remains unchanged. Farewell, mortal, for we shall meet again...\"\n\nAs suddenly as it appeared, the Wraith vanishes, and in its place stands Atropos of the Parcae.\n\n\"You have chosen well, Timothy,\" she says. \"You have faced the temptation of hubris and not committed excess. You have learned of your Moira and chosen, as you should, to live within it. You have stood by your decisions and not dared to face the Spectre of your guilt.\"\n\nShe turns and looks towards the waiting casket. \"There are some things that simply cannot be faced, Timothy. Remember this.\"\n\nAtropos turns back to you. \"You have taken the first step along my path, Timothy. Once chosen, it cannot be abandoned. You shall follow it to its conclusion, with the choices you shall make elsewhere. I shall be near, to guide you as you shall need.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower..."
    },
    {
        "text": "> Look around\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> Go west\nOff to one side, built into the wall, is a small fireplace.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\nYour bedroom has been one of the few areas where Sarah's influence has been at work. You felt the presence of her long after she had gone, and a few months after her death put it back the way it had been. A door to the east leads back to the den and to the south is the bathroom.\n\nSomehow, in this strange world of the past, Sarah still lives. She's lying, half asleep, in bed.\n\nBeside the bed is a small endtable.\n\n> Smother sarah\nClutching the pillow, you consider it. It would be so simple. She would die in her sleep, painless, quiet. And she'd be free of it forever. Your hands tremble as you think of it...\n\nSarah looks up at you with wide open eyes. You turn away horrified. You can't do it, you just can't do it. You take a deep breath and try and calm yourself.\n\n> Go north\nSomehow, in this strange world of the past, Sarah still lives. She's lying, half asleep, in bed.\n\nBeside the bed is a small endtable.\n\n> Go east\nOff to one side, built into the wall, is a small fireplace.\n\nA strange new addition to the room is the small tapestry hanging on the eastern wall.\n\n> Smother sarah\nClutching the pillow, you consider it. It would be so simple. She would die in her sleep, painless, quiet. And she'd be free of it forever. Your hands tremble as you think of it...\n\nGently, tenderly, you stroke her cheek and kiss her forehead. Then, you silently place the pillow over her face and wait. Nothing happens for a few moments, then Sarah's breathing suddenly becomes irregular. For a brief moment you're seized with panic. You want to take the pillow away, make her breathe again.\n\nYou bite your lip painfully and take a deep breath. Sarah's breathing is still irregular. She gasps once, and then her breathing slows. Slower and slower the breaths come, until, at last they stop altogether.\n\nYou gently remove the pillow. Her eyes are closed and her face is, for the first time since the illness, peaceful. Your vision blurs as tears fill your eyes and you collapse, crying unashamedly. You go on and on, all the pain and sorrow of what has happened pouring out of you. After what seems an eternity, you recover enough to stand again.\n\n> You open the drawer\nA cold gust of wind arises from nowhere and your hand is violently forced back from the endtable. The wind rises in intensity and a swirling smoke begins to rise from the ground. A dark writing cloud forms before you and from it a cloaked figure emerges. Its face lost in the swirling mists behind its hood, the figure speaks:\n\nThe wraith laughs coldly. \"So, we meet again!\"\n\n\"And, so again, you flee before me! Know you now well enough that it is folly to face MY likes! Get you gone, you have no more business here!\"\n\nAgain, the Wraith vanishes, and Atropos of the Parcae stands before you.\n\n\"Once again, you have chosen rightly, mortal. Hubris discarded, you have followed you Moira, as well you should. The Spectre of your guilt stays appeased.\"\n\nShe turns and looks at the endtable. \"What is there shall remain unknown, as it should be.\"\n\nAtropos turns back to you. \"The second step is now complete, Timothy. One more along my path remains, once more along the threads of your Moira you must travel. Go now.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\nThe Ivory Tower, where you started this strange adventure, now lies in ruins. Its walls lie scorched about you, the roof rent to the open sky. The stars, in their impassive brilliance, illuminate the devastation below. Over the Tower's remains you catch glimpses of the fires below, trees smoldering in the darkness.\n\nThe Tapestry seems to have survived the Tower's destruction intact.\n\n> You touch third\nSuddenly the rumbling returns, and the threads throw you into their heaving embrace. After a time they leave you gasping on another strange and distant shore...\n\nYou turn the corner with a sigh, glancing at the street sign in a feeble, half-hearted attempt to figure out where you are. You've left the old familiar neighborhood far behind you tonight, as you have almost every night. Each outing seems to take you a little further, to an area a little stranger and more dangerous.\n\nTonight, you didn't even bother giving yourself an excuse. Before, it had been that you had somewhere to go, something to do. Not tonight. Some indeterminate time ago, you stumbled out of the house, stuck the key in the ignition, and just started driving.\n\nThe sharp honk of a nearby car breaks your musings. You glance upward to see a pair of girls, jump ropes under their arms, pigtails flying behind them, run across the street, right in front of your car...\n\nTime slows as you slam down on your brakes. For a moment, you don't think you'll make it, but with a squeal of the tires, your old Dodge manages to grind to a halt in time. The girls make it across, laughing all the while, unaware of how close death has come.\n\nThe old hunk of junk has served you pretty well in the past few years. You could probably afford something better, but why bother? It runs, it gets you to work and back. What more could you want? What more do you need?\n\nThe buildings outside seem mostly tenements, their residents escaping the sweltering evening by sitting outside on the stone porches, the sidewalks. The girls continue on their way, and soon enter a tenement.\n\nWith a sigh a relief, you step on the gas and continue on your way.\n\n> You wait\nTime passes.\n\nAs your mind begins to wander, your attention to the road slips. It's been so long since you've been able to just stop; to put all that's happened and all you've done behind. The scars that are left won't fade that easily.\n\n> Wait\nTime passes.\n\nYou withdraw even further into yourself and soon lose all track of time and place. Wandering the ruin of your life and the wreckage of your past, you find yourself lost in more than one way.\n\n> Wait\nTime passes.\n\n\"Now...\"\n\nA whisper calls you back, breaking your reverie. Your eyes focus again, seeing through the window.\n\n\"No...\"\n\nIt's all you can get out before the flash. Yet in that instant you see the scene with perfect clarity: the curb, far too close, the front wheels about to strike it. And there, a little further: the young woman falling. She's still looking downward, still unaware of her impending death.\n\nAnd then the flash, and time slows. The few seconds left before your death stretch, lengthen, and twist about on themselves. It seems you have a moment of reprieve ... but a single moment only.\n\n> You wait\nTime passes.\n\nThe car inches closer to the curb, striking it. You see the car dip, sparks flashing out onto the pavement, yet you feel nothing. You are detached, separated somehow. And still the girl sees nothing.\n\n> Wait\nTime passes.\n\nYou rebound, sending the car into the air. Closer now, you see her slowly lifting her head, about to realize the flying mass of metal that will end her life. Beyond, on the curb, you can make out the figure you saw in the tableau, eyes ablaze and mouth agape, attempting to scramble to its feet.\n\n> You wait\nTime passes.\n\nThe car strikes the pavement with a resounding force, the tires squealing as they touch ground. Your headlights strike the girl full in the face, illuminating her in a blinding halo.\n\n> Wait\nTime passes.\n\nThe car continues its lurch forward, carried by its momentum. Both your ends are a heartbeat away.\n\n> You wait\nTime passes.\n\nIt's too late. Tumbling out of control, the last thing you see is the car's headlights inches in front of the young woman's face...\n\n> Wait\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nA dark cliff overlooking an even darker landscape. Above, a full, sullen moon hangs, half-hidden by a mass of dark clouds; below, jagged rocks cover the bank of a black river which flows from a fount in the hillside. You know this place instinctively, the image of it frozen in some primal memory, hidden from view. You realize you've been here before ... in your nightmares.\n\n> You examine the river\nIt's too hard to make out the river from here...\n\n> You examine cliff\nAs you peer down the cliff-side, your heart begins to beat wildly. You've always had a fear of heights, and you've had this nightmare many times. You know there's no way to leave short of jumping ... yet you're terrified to.\n\n> You jump\nTaking a deep breath and, closing your eyes, you attempt to overcome your panic. Slowly, you step to where you know the cliff edge lies. Standing straight, arms akimbo, you steady yourself and then hurl your body forward with all your might.\n\nFor the briefest of moments, you feel like you're floating, flying, but then gravity asserts itself and you're tumbling out of control. You force your eyes open against the driving wind and see the dark landscape come rushing forward, the stones of the lake shore ready to catch you and break your bones.\n\nYou scream incoherently as you're about to hit...\n\n...when a sudden upward rush of air slows your fall and gently leaves you on the bank of the dark river.\n\nThe moon is brighter here, lighting the scene with an eerie, surreal glow. From a fount in the hillside, a river of black, brackish liquid flows, forming the source of a river which flows out into the distance.\n\n> You look at the river\nThe black, oily liquid flows sluggishly downward from the fount in the cliff-side, spilling onto the ground and out into the distance.\n\n> Drink river\nAs your thrust your hands under the fount and the waters flow over them, you are struck by how frigid it is. Then, in horror, you watch as the waters begin reaching outwards, climbing over your arms and making their way towards your face.\n\nYou scream, attempting to wrest your way free, and as the foul material continues its progress, you realize that the invasion is mental as well as physical. You can feel the waters reaching deep into your mind, freeing the dark counterparts they find there: fear, guilt, hate and self-loathing.\n\nWith a cry, you wrench yourself backwards, falling upon the soft river bank. But the waters do not give up so easily, and the psychic pull continues for a moment afterwards before releasing you. Left numb and empty, you resolve never to touch the foul stuff again.\n\n> You look\nThe moon is brighter here, lighting the scene with an eerie, surreal glow. From a fount in the hillside, a river of black, brackish liquid flows, forming the source of a river which flows out into the distance.\n\n> Go north\nYou find yourself unable to leave this place.\n\n> Drink water\nYou never want to touch that again for as long as you live.\n\n> You examine the moon\nThe moon seems closer here than it did on the cliff top. Somehow, you feel as if you could just reach out and touch it...\n\n> You touch the moon\nYour hand tingles strangely as you pass it in front of your view of the moon...\n\n> You get the moon\nFeeling foolish, you raise your hands, trying to catch the moon between them. You remember how, as a child, you used to think that if you stood tall enough, you could catch it like a ball and hold it in your arms. You strain further and further, reaching upwards ... and then you catch hold. Gently, unbelieving, you pull the orb down from the now-darkened skies.\n\n> You examine the moon\nThe silvery orb glows brightly in your hands, a small but perfect replica of the moon.\n\n> You put the moon in the river\nAs you approach the river with the sphere, you notice it shining even more brightly, even as the river begins to bubble and swirl. Gently, carefully, you toss the moon onto the river's surface. It floats serenely for a moment, then begins to sink into the mire. The waters roil and twist about it, trying to pull it downwards, and for a moment they appear to be succeeding. But then a shining beam of light flies upwards, fighting against the current and eddies and the orb makes its way to the surface again.\n\nAs darkness and light continue their struggle, you notice streams of ichor flying upwards from the river, swirling over the surface. A hideous keening noise fills the air as these ghost shapes surround you, flowing upwards and out, screaming into the night. Before you, between you and the banks of the now violent flow, a swirling mass of darkness forms itself into a cloaked figure. Standing forth, it speaks:\n\nThe wraith laughs coldly. \"So, we meet again!\"\n\n\"Three times have me met, mortal, and three times have you fled! Know you the master of your Moira, know you the Spectre of your guilt!\" The creature throws back its hidden head and laughs, the sound chilling your blood. Still laughing, it vanishes, and a Atropos of the Parcae stands before you.\n\n\"The circle is now complete, Timothy. You have acted rightly, and the end of your journey along my Path draws near. Your Moira remains whole and intact, and your destiny within its boundaries firmly set. The crisis is past, disaster no longer looms near.\"\n\nShe turns and looks towards the churning waters. As she does so, the orb's light fades, and the black waters rise. Sinking from sight, the now-dead moon vanishes, and the waters are quiet, still and dark.\n\n\"Some places should stay hidden in darkness, Timothy,\" she whispers. \"Illumination is not always a good thing.\"\n\nAtropos turns back to you. \"The final step has been taken, Timothy. The Tapestry is finished, your Moira secure. The time has come to leave this place of indecision, mortal, and face whatever destiny lies before you. I wish you well.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace...\n\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nYour sight fails you. For that matter, you don't know if your eyes are opened or closed. Concepts like time and place have no meaning here. Your mind attempts to impose something, some order, some structure, upon the space in which you exist, and fails. There is only the void. For all you know, that is all there ever was.\n\n> You get the photo\nYou already have that.\n\n> You go west\nSomehow, in this strange world of the past, Sarah still lives. She's lying, half asleep, in bed.\n\nBeside the bed is a small endtable.\n\n> You get the bottle\nYou open the medicine cabinet, revealing a small bottle of pills.\n\nTaken.\n\n> You fill the glass\nTaken.\n\nWater begins flowing from the tap into the sink.\n\nYou carefully fill the glass with water and then shut off the tap.\n\n> You show the paper to Sarah\nYou're about to tell Sarah about the experiment, but then think better of it. What's the point of depressing her? She'll never get in it.\n\n> You give the pills to Sarah\nSarah looks up at you and smiles.\n\n\"Aww ... how sweet, my knight in shining armor come to take me to dreamland?\" You help her up and she swallows the pills with a sip of water. She takes hold of your hand. You see her lower lip trembling slightly. \"Thank you Timmy,\" she whispers, \"for everything.\"\n\nShe lies back down and closes her eyes, but she still has trouble falling asleep. God, you wish she could sleep forever, away from the sickness and the pain.\n\n> You show the photo to Sarah\n\"Oh Timmy. We had so much fun up there, didn't we? 'The Sweet Audrina.'\" She laughs. God, we we almost drowned, didn't we?\" You laugh with her for a moment, then you both fall silent. She takes your hand. \"We had some pretty good times, didn't we? Tell me a story, Timmy.\" she says, \"tell me about the lake.\n\n> You tell Sarah about the lake\nYou tell Sarah the story, embellishing what really happened. That always made her laugh, the way you used to exaggerate everything until it became bigger than life. She smiles, remembering.\n\n\"Oh, we had so much fun, didn't we?\" She yawns, then pats your hand. \"I think I've had enough excitement for one day, I'm going to take a nap, ok?\" You nod, and tuck her in as her breathing becomes slow and regular.\n\n> You open the drawer\nWorry about the drawer later. You have more important things to do now.\n\n> You open the drawer\nA cold gust of wind arises from nowhere and your hand is violently forced back from the endtable. The wind rises in intensity and a swirling smoke begins to rise from the ground. A dark writing cloud forms before you and from it a cloaked figure emerges. Its face lost in the swirling mists behind its hood, the figure speaks:\n\nThe wraith laughs coldly. \"So, we meet again!\"\n\n\"And again, you dare to defy me? I shall destroy you, fool!\"\n\n\"Admit defeat, Timothy! Admit that you never loved her!\"\n\n> No\n\"Liar! Admit that she never loved you!\"\n\n> No\n\"You dare to still say this be love after her murder?! How can you? Tell me of her, this one you murdered!\"\n\n\"Tell me of Sarah!\"\n\n> You tell Wraith about the lake\n\"Tell me of Sarah!\"\n\n> You tell Wraith about Sarah\nMortally afraid and shaking, you nonetheless face the Wraith. You tell it of Sarah's sickness, of her suffering. You explain that you wished to free her from all of it, that she herself found living impossible. You tell the Spectre that your act was one of love.\n\n\"You LIE! You cannot prove you were even ONCE happy together!\"\n\n> You tell Wraith about the lake\n\"Proof, fool! Your words are not enough!\"\n\n\"You LIE! You cannot prove you were even ONCE happy together!\"\n\n> You show the photo to Wraith\nThe Wraith listens, a silent judge, as you tell him of your marriage. Of the happy times you had together, of the story of the lake, and how happy Sarah was then, and how happy she was when you shared it with her now.\n\nThere is no response...\n\nAs suddenly as it appeared, the Wraith vanishes,and in its place stands Clotho of the Parcae.\n\n\"Well done, Timothy! Once again, you have faced your fears and been victorious!\"\n\nClotho turns from you and approaches the endtable. Silently, she opens the drawer within it, rather anticlimactically revealing a small, folded note. She retrieves it and hands it to you. You see that it bears your name written on the front in Sarah's hand.\n\nIt reads:\n\nMy Dearest Timothy,\n\nIf you are reading this then either I have taken my own life, or\nyou have helped me to. In either case, there are things I wish you to understand. Please do not think me selfish, my love, to do this. The pain we have both suffered is needless and my choice was to relieve us both of it. [9]If you have helped me to do this, then I know you have done so out of love. Do not let guilt get in the way of your knowing this, for I go to a better place, where I know someday you will join me. I will always love you, dearest, as I know you love me.\n\nYours always,\nSarah\n\nYou stand there, silent for a moment. You don't remember ever reading this note. Maybe your facing the Wraith changed something.\n\nClotho nods, as if reading your thoughts. \"Yes, Timothy. While you have followed your choices for the most part, your Moira has, in fact, been changed. Your confrontation with your guilt has allowed you to see the truth. To see that Sarah was in pain and she wanted you to do this.\"\n\n\"And so, you have taken the second path along your altered Moira. The threads of your Destiny are changing Timothy ... do not falter now. Be brave, for the final step you do not take alone.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace. They leave you, gasping, back in the Tower...\n\n> Wait\nTime passes.\n\nThe further you go, the more convinced you're only getting yourself more lost. If anything, the neighborhoods are getting worse. The homeless are more and visible, and the buildings are more decrepit.\n\n> You wait\nTime passes.\n\nAs your mind begins to wander, your attention to the road slips. It's been so long since you've been able to just stop; to put all that's happened and all you've done behind. The scars that are left won't fade that easily.\n\n> Wait\nTime passes.\n\nYou withdraw even further into yourself and soon lose all track of time and place. Wandering the ruin of your life and the wreckage of your past, you find yourself lost in more than one way.\n\n> Turn wheel\nMorningstar's laughter echoes about you.\n\n\"I am afraid not, my friend. You were foolish enough not to take my offer and that is one choice you must live with.\"\n\nYou rebound, sending the car into the air. Closer now, you see her slowly lifting her head, about to realize the flying mass of metal that will end her life. Beyond, on the curb, you can make out the figure you saw in the tableau, eyes ablaze and mouth agape, attempting to scramble to its feet.\n\n> Pray\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nA dark cliff overlooking an even darker landscape. Above, a full, sullen moon hangs, half-hidden by a mass of dark clouds; below, jagged rocks cover the bank of a black river which flows from a fount in the hillside. You know this place instinctively, the image of it frozen in some primal memory, hidden from view. You realize you've been here before ... in your nightmares.\n\n> You jump\nTaking a deep breath and, closing your eyes, you attempt to overcome your panic. Slowly, you step to where you know the cliff edge lies. Standing straight, arms akimbo, you steady yourself and then hurl your body forward with all your might.\n\nFor the briefest of moments, you feel like you're floating, flying, but then gravity asserts itself and you're tumbling out of control. You force your eyes open against the driving wind and see the dark landscape come rushing forward, the stones of the lake shore ready to catch you and break your bones.\n\nYou scream incoherently as you're about to hit...\n\n...when a sudden upward rush of air slows your fall and gently leaves you on the bank of the dark river.\n\nThe moon is brighter here, lighting the scene with an eerie, surreal glow. From a fount in the hillside, a river of black, brackish liquid flows, forming the source of a river which flows out into the distance.\n\n> You look at the river\nThe black, oily liquid flows sluggishly downward from the fount in the cliff-side, spilling onto the ground and out into the distance.\n\n> You put the moon in the river\nAs you approach the river with the sphere, you notice it shining even more brightly, even as the river begins to bubble and swirl. Gently, carefully, you toss the moon onto the river's surface. It floats serenely for a moment, then begins to sink into the mire. The waters roil and twist about it, trying to pull it downwards, and for a moment they appear to be succeeding. But then a shining beam of light flies upwards, fighting against the current and eddies and the orb makes its way to the surface again.\n\nAs darkness and light continue their struggle, you notice streams of ichor flying upwards from the river, swirling over the surface. A hideous keening noise fills the air as these ghost shapes surround you, flowing upwards and out, screaming into the night. Before you, between you and the banks of the now violent flow, a swirling mass of darkness forms itself into a cloaked figure. Standing forth, it speaks:\n\nThe wraith laughs coldly. \"So, we meet again!\"\n\n\"And it shall be for the FINAL time! You shall not escape me so easily!\"\n\n\"MURDERER! So you kill again! Slaughtering an innocent in cold blood!\"\n\n> You tell Wraith about the accident\n\"MURDERER! So you kill again! Slaughtering an innocent in cold blood!\"\n\n> No\n\"How say you so?! Not murder?!\"\n\n\"How do you explain away your action?!\"\n\n> You tell Wraith about car\n\"An accident? HA! You killed that poor child in your haste to flee! You butchered in your panicked flight from the guilt of your evil!\"\n\n\"You are a fool and a coward!\"\n\n> You tell Wraith about the figure\n\"You are a fool and a coward!\"\n\n> No\n\"Liar! What bravery have you shown?!\"\n\n\"What adversary have YOU stood against!?\"\n\n> You tell Wraith about Wraith\nThe wraith stands silent as you shout that you have have bravery enough to stand against it and the fear and guilt you have felt. Then, as suddenly as it appeared, the Wraith vanishes, and in its place stands Clotho of the Parcae.\n\n\"You have done it!\" she cries, her face and eyes bright with tears. \"Oh Timothy, you have defeated the Wraith, the guilt and darkness within yourself, the embodiment of all you feared ... \"\n\nShe turns and faces the battling forces behind her. As you both watch, the glow from the orb slowly begins to increase in intensity, flooding the buckling waters with shafts of brilliant light. Wailing in pain and defeat, the blackness begins to subside, and the river begin to brighten. In moments, there is nothing left of the foul substance, and the waters flowing outward from the font are crystal-clear.\n\nApproaching the edge of the bank, Clotho reaches out and grasps the orb in both hands. With a sly smile, she places it in her robes, where it vanishes between the folds.\n\n\"Come Timothy,\" she says as she motions you towards the fount. \"Come drink...\"\n\nThe water is cold as it passes your lips and after drinking deeply, you find the water quenching a deep thirst you never knew you had. As you continue, gulping draught after draught, you find your mind opening, the light of the illuminating water brightening some hidden darkness deep within you. As you stand and turn back to Clotho, you reach an epiphany: that the guilt you felt for the accident was unwarranted. Certainly, you should have paid more attention, but that would not have saved the girl. Attention or not, her sudden appearance in the middle of the road is what caught you by surprise.\n\nClotho nods. \"Yes Timothy, the light you have drawn down from the skies has illuminated the the secrets you have kept from yourself. Well done.\"\n\n\"The final step has been taken, Timothy. The Tapestry is finished, your Moira secure. The fear and guilt of your past you have faced bravely, and perhaps this fate you have woven for yourself is better then the one We originally wove for you. The time has come to leave this place of indecision, mortal, and face whatever destiny lies before you. I wish you well.\"\n\nThe whirling threads appear, and tear you from where you stand into their heaving embrace...\n\nFleeting glimpses of faces half-remembered in the gloom. Screams, the sound of squealing tires, a sudden thump, a sickening crunch and a violent jolt, followed by a sense of weightlessness and disassociation. The last thing you remember is an overwhelming feeling of guilt and regret, forcing its way through the chaos that surrounds you and then there is...\n\nYour sight fails you. For that matter, you don't know if your eyes are opened or closed. Concepts like time and place have no meaning here. Your mind attempts to impose something, some order, some structure, upon the space in which you exist, and fails. There is only the void. For all you know, that is all there ever was."
    },
    {
        "text": "[Themes: Afterlife, Religious, Time Travel, moral dilemma, ethics, moral choice]\n\n> You look around\nThere is only Nothing.\n\n> You wait for a while\nThere is only Nothing.\n\nNo, wait. There is ... something, moving in the darkness. It dances at the edge of your new-found vision, teasing you.\n\nNo, you were wrong...\n\nThere is only Nothing.\n\n\n\nTimothy Hunter was born, he lived, he died.\n\nThis was only natural, being mortal. The life he led was probably most unusual in its normalcy; his childhood so much so as to be mundane. Neither praised nor reviled, neither a leader nor an outcast, he was simply another face in the crowd. He went to school, he studied, he did well enough to get by. After graduation he found a job he was good at and paid well enough. He bought a little house and lived there, a bother to no one, and the days just flowed one into the other...\n\nIn fact, the first event of any importance in his life was the death of his mother.\n\nShe had been ill for quite a while, and during this time, Timothy was under a great deal of stress. His small, comfortable world fell apart around him as he realized that something had ended; an innocent part of his life where he had thought she would always be with him was over.\n\nThe Thompson account had totally slipped his mind, and he had been frantically trying to finish it when he heard the news that she was dying. An hour they gave her at the most. Faced with the agonizing choice of being with her in her final moments on this earth, or helping the Thompson's from losing everything they had, he chose to go to City Hall to get the papers that were necessary signed.\n\nAs quickly as he could, he rushed to his mother's side, only to realize it was to late. The guilt and self-loathing he felt for what he thought to be abandoning her were terrible. It took him a long time to realize that it was probably what his mother would have wanted him to do. He had stayed with her as much as he could when she was alive, had checked up on her at every opportunity, and the Thompsons had a great deal more to lose than she. He was very glad that he had a last opportunity to say farewell to her at the funeral. He knew she understood.\n\nThe time after his mother's death was a lonely one for Timothy, perhaps because, for the first time, he realized he was truly alone. Then, he met Sarah, and everything changed. She was so loving, so full of life, so willing to drag him from the small, empty world he had built for himself. They complemented each other so well: her spontaneity to his structure, her boundless energy to his complacency. Their whirlwind romance caught him totally unawares, and when she accepted his proposal of marriage, he thought himself the happiest man on earth.\n\nTruly, their first five years together were the happiest time of his life. The experience of having his life so intricately tied to another was exhiliarating; he built his entire existence around her.\n\nWhich is why her falling ill struck him so hard.\n\nIt was agonizing for Timothy to see her wasting away. \"Apentrylic Syndrome\" they called it, a metabolic disorder carried in a recessive gene. There wasn't a cure, they told him, and they didn't think she'd last more than a year.\n\nThey were wrong. For five years, Timothy watched his wife slowly rotting away from the inside. Her energy faded, her strength tapped away. The woman who had filled his life with motion and vitality now could barely lift her head to take the countless pills the doctors prescribed. But she never complained, she never once told him how much pain she was in, how tired she was. But Timothy knew just the same.\n\nAfter five years, it seemed as though it would never end. Not wishing to see her suffer further, not understanding why she had to continue such an agonized existence, he tried his best to help her. Putting her to sleep, he smothered her, praying that her death had been peaceful and painless. There was never any investigation of her death, the report said she died in her sleep.\n\nThe guilt of Sarah's death on his hands was horrible for Timothy, especially in the face of a possible cure. Facing his fears and his guilt, Timothy forced himself to face his wife's suffering, to realize that he had helped her in the best way he knew how, and that he hoped she would understand why he had done it. When he found a final note among Sarah's possessions, he knew she had.\n\nThe time after Sarah's death was much like it had been before his mother's; his life mundane, his existence centered around his work. But Timothy's experiences irrevocably changed him; he was no longer the same man. Timothy thought a great deal of his life, of what he'd seen and what he had done. It seemed so unfair that bad things happened again and again to good people. Some nights he would go driving, trying to ease his mind, trying to find an answer to a question he couldn't formulate.\n\nThe night he died he had been driving for hours, hardly aware of the world around him. When the young girl came flailing into the middle of the street, it was too late to stop in time. Both of them were killed instantly.\n\nIt turned out that the young woman had been arguing with her boyfriend, and in a struggle, had half been pushed, half pushed herself into the road.\n\nTimothy Hunter was born, he lived, he died. To say anything more would be futile speculation.\n\n> You look at Tapestry\nA large, intricately woven tapestry which depicts three tableaus on three different panels.\n\n> You examine the torch\nA torch made of pure ivory, with three silver rings up its length.\n\n\"But here, I have not even introduced myself. Forgive me,\" he says, bowing with a flourish. \"I am ... Morningstar.\"\n\n> You examine the lucifer\nA voice in your ear remarks, \"So educated.\"\n\nMorningstar looks away from you for a moment.\n\n\"Know now, mortal, that your life is over. You no longer are counted among the living, but you are not yet among the dead. Know thyself, Timothy Hunter, and know that because of your actions in life and what has just happened at the moment of your death, the fate of your soul is in doubt.\"\n\n> You take the pendant\nMorningstar watches you reaching out for the pendant in shock. Just as you are about to take it, he grasps your hand in an iron grip.\n\n\"What are you doing?\" he whispers. He stares at the pendant for a moment, his face blank.\n\n\"You can see this?\" he whispers to you. You can only no dumbly. He suddenly recovers himself.\n\n\"It is unimportant, Timothy. Pay attention to matters of more import.\"\n\n> Break pendant\nAnd what would that accomplish?\n\n> You eat the pendant\n(first taking the Morningstar's silver pendant)\n\"I told you that was unimportant, mortal,\" Morningstar growls. \"Leave it be.\""
    },
    {
        "text": "[Themes: Slice of life, television, dog, nonhuman protagonist, cute, recommended for children, animal protagonist, kid-friendly]\n\n<RRROWWGRROWL> Your stomach growls.\n\nYou've been vegging out in front of that flickering screen for hours, your pet by your side. Now your complaining stomach sets you up on your feet, and on a mission.\nSnack Time!\nAn Interactive Break for a Bite\n\n(For more information please type ABOUT)\n\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\nYour pet is here, all stretched out on the long soft thing and snoring.\n\n[Author's Note: Can you help one hungry bulldog in his quest to find something good to eat? He would like that. A lot.]\n\n> You examine the pet\nHe's not very hairy, poor thing, so he has to cover up to stay warm. But he is good at tricks like standing up on his hind legs and putting together tasty foods.\n\nRight now he's sleeping with his arm hanging over the side of the long soft thing.\n\n> About yourself\nYou're short and stocky, and, to be honest, rather hairy. You're also rather hungry.\n\n> You examine the tall thing\nIt almost could touch the ceiling if it would stand on its hind legs which it doesn't seem to be able to do. Maybe if it weren't weighed down with all that stuff it holds.\n\n> Examine can'T scratch\nWell, really you can't scratch any of the things inside the house. But your pet seemed especially emphatic about this one when you tried it. Which is a shame, because it smells like something to scratch.\n\n> Smell can'T scratch\nIt smells itchy.\n\n> You examine the couch\nOn the long soft thing are a bunch of smaller soft things that together make up a comfy place for sitting or sleeping.\n\n> You examine table\nIf this were alive, it would be one patient animal to stand so still all the time. But you're pretty sure it's not alive. Anyway you've never seen it move, even when the box of light it holds gets really loud and unpleasant.\n\n> You look at the tv\nSometimes the box sleeps but a lot of the time it is loud and noisy and bright. Sometimes you've seen things like the outside inside it or yummy-looking food or even little dogs in there. But everything is the wrong size and doesn't smell right, so you're not sure what that's about.\n\nRight now it looks like some little people inside are yapping at each other.\n\n> You check your inventory\nRight now you aren't carrying anything. (It's not like you need a lot of stuff, anyway.)\n\n> About yourself\nYou're short and stocky, and, to be honest, rather hairy. You're also rather hungry.\n\n> Sleep\nYou're hungry now, remember? Not sleepy.\n\n> Go west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there. A cloth hangs down from the door of the cold box.\n\n> You pull the cloth\nThis is a good trick!\n\nYou pull on the cloth with your teeth and back up as the door opens. Inside you can see various leftovers, some jars, some sandwich fixings and one shiny can.\n\n> You look at the shiny can\nIt's shiny and filled with some liquid that your pet really likes.\n\n> You examine the leftovers\nSometimes your pet makes something and saves some of it in the cold box to see how long it takes to grow fuzzy stuff on it. It's an interesting experiment, but not much good to you when you are hungry.\n\n> You take the sandwich fixings\nAll the food in the cold box is up too high for you or closed away. Looks like you will need your pet to help you get a snack.\n\n> You look at the cloth\nThis cloth is wrapped around part of the cold box door that sticks out for pulling.\n\n> You examine the bowl\nYour bowl has two sides, one for food and one for water. Right now both spots are empty.\n\n> You wake pet\nThat's a good idea. Maybe if you make some noise or disturb him somehow he would wake up.\n\n> Bark\nYou try a few short, sharp barks.\n\nYour pet gets one eye open and half-heartedly pets at you. You're making progress.\n\n> Bark\nYou try a few short, sharp barks.\n\nHmm, your pet seems to have turned that into part of his dream or something, because he sure didn't move this time when you barked.\n\n> You bite him\nYou love your pet too much to bite him!\n\n> Lick pet\nYou love on your pet with some little licks.\n\nYour pet shifts and stretches, blinking. He moves around until he is mostly sitting up.\n\n\"Hey Hardy,\" he mumbles.\n\nIt might take a little more to get him up and moving, but at least now his eyes are open!\n\n> Bark\nYou try a few short, sharp barks.\n\nYour pet says, \"Shh, Hardy, it's OK.\"\n\n> You jump\nYou lean back on your haunches, ready yourself, and... jump! Sure, it was just a little jump, but it's not like you're a rabbit or something jumpy like that.\n\n> Whine\nYou have tried many times and many ways to get your pet to understand you. But no matter how you vocalize, he just doesn't get it.\n\n> You pull the pet\nYou carefully use your teeth to get a hold of your pet's arm and pull it towards you.\n\nYour pet pulls away from you.\n\n> You take the bowl\nThe bowl is set up in a frame to make it just as tall as your face. The frame makes it easier to eat and drink from, but it also makes it heavy and stuck in one place.\n\n> Lick pet\nYou love on your pet with some little licks.\n\nHe smiles down at you and gives you a little head pat.\n\n> You get on the couch\nYou climb up unto the long soft thing, happy that it is low enough for you to get on all by yourself.\n\nOn the long soft thing are a bunch of smaller soft things that together make up a comfy place for sitting or sleeping.\n\n> You examine the cushions\nThese smaller soft things make up the long soft thing. Sometimes they must get hungry because they try to eat things that get left on the long soft thing. Sometimes they get separated from the long soft thing. But mostly they just all hang out together. They must be friends.\n\n> Sleep\nYou're hungry now, remember? Not sleepy.\n\n> You take the cushion\nYou tug and pull at the little soft things until finally one breaks free from the bunch. As you dislodge it, something clatters to the floor. Ah ha! You've found the magic wand! Those little soft things were trying to eat it!\n\n\"So that's where that got away to,\" says your pet, snatching up the magic wand. He points it at the box of light and makes it even louder.\n\n> Go west\nYou'll have to get off the long soft thing first.\n\n> Down\nYou get off the long soft thing.\n\nYour pet is here, staring at the box of light, holding on tight to the magic wand.\n\n> You drop the cushion\nYou release your hold and let the square soft thing fall down.\n\n> Go east\nYour pet is here, staring at the box of light, holding on tight to the magic wand.\n\n> You examine wand\nA magical, bumpy thing your pet uses to control the box of light.\n\n> You take the wand\nYour pet likes to be in charge of the box of light. You don't have a chance with it as long as he's around.\n\n> You look at the tv\nSometimes the box sleeps but a lot of the time it is loud and noisy and bright. Sometimes you've seen things like the outside inside it or yummy-looking food or even little dogs in there. But everything is the wrong size and doesn't smell right, so you're not sure what that's about.\n\nRight now it looks like some little people inside are yapping at each other.\n\n> You go north\nMost of the time when you are in here it is dark and quiet because that is the best way to sleep and this is the room made for sleeping. There is a high bed here that is not your bed although it is where you sleep usually to keep your pet company. The sitting room is south of here and the room with the water is to the west.\n\nYour low bed is here, looking all soft and cushy.\n\nDino is here!\n\n> You eat the Dino\nYou stick your head under the bed for a closer look and discover... a sock! Your pet has probably been looking for this, since socks usually stick together. You wonder why this one ran away.\n\nThat's not tasty.\n\n> You take the sock\nYou snatch up the sock with your mouth and hold on tight.\n\n> You look at the high bed\nThe high bed is pretty comfy. It is up high because your pet has a hard time getting all the way down to the floor and back up again.\n\n> You look at the low bed\nThe low bed is round and soft and meant to make you comfy and cozy after you turn around in it three times and lie down.\n\n> You turn around\nYou run around in a circle for a bit in a mad chase for your tail. But you can't quite get it. You never can.\n\n> You go north\nYou can go south to the sitting room or west to the water room.\n\n> You go to the south\nYour pet is here, staring at the box of light, holding on tight to the magic wand.\n\n> You show the sock to the pet\nYour pet takes the sock from you and looks at it. \"Thanks, Hardy,\" he says, before dropping it.\n\n> Shake sock\nYou shake the sock for all you're worth.\n\n> Wave sock\nYou look ridiculous waving the sock.\n\n> Chew sock\nWhen you were younger, you used to chew on everything. Now you are more discriminate, saving your chewing for a few special things.\n\n> Smell sock\nIt smells kinda clean.\n\n> Go north\nYour low bed is here, looking all soft and cushy.\n\nDino is here!\n\n> You go west\nThis is the room with a lot of water. There's water that sits in a bowl and there's water that falls from up high to fill up a bigger bowl and lots of times when your pet is in here you hear the sounds of water.\n\nThis room would be more fun if you liked water more. Anyway, you like the sleeping room to the east much better.\n\n> You put the sock in the bowl\nWhat do you want to put things in: the small bowl or the large bowl?\n\n> Small\nYou drop the sock into the small bowl. It starts soaking up the water right away.\n\n> You get the sock\nYou snatch up the wet sock with your mouth and hold on tight.\n\n> You show the sock to the pet\nYour pet takes the sock from you and looks at it. \"Ew, Hardy, what did you do to this?\" he says, dropping it quickly.\n\n> Bark\nYou try a few short, sharp barks.\n\nYour pet says, \"Shh, Hardy, it's OK.\"\n\n> Scratch\nYou take a second to give yourself a quick scratch.\n\n> Shake\nYou mechanically hold out your paw for a shake. Feeling foolish, you put it back down again.\n\n> You roll over\nYou roll over onto your back, kicking your feet up into the air. When it becomes apparent that no belly rubs are forthcoming, you get back up on your feet.\n\n> You play dead\nYou start by rolling over and then give your legs one last kick for drama. You let your tongue hang out and try to be as still as possible.\n\nYour pet doesn't seem impressed with your trick.\n\n> You take the sock\nYou snatch up the wet sock with your mouth and hold on tight.\n\n> You shake it\nYou shake the wet sock for all you're worth.\n\n> You throw the sock at the pet\nYou're more of a catcher than a thrower.\n\n> You examine table\nIf this were alive, it would be one patient animal to stand so still all the time. But you're pretty sure it's not alive. Anyway you've never seen it move, even when the box of light it holds gets really loud and unpleasant.\n\n> You search sofa\nYou already pulled a square soft thing out of the bunch.\n\n> Go west\nYou can see a square soft thing here.\n\n> You take the bowl\n(As you open your mouth, you drop the wet sock.)\n\nThe bowl is set up in a frame to make it just as tall as your face. The frame makes it easier to eat and drink from, but it also makes it heavy and stuck in one place.\n\n> You examine the frame\nIt's a heavy frame that holds your bowl at the perfect height.\n\n> You examine the cupboards\nThe secret places seem to be all flat like a wall of wood but then they magically open at your pet's touch to reveal food and stuff.\n\n> You pull the cloth\nYou pull on the cloth with your teeth and back up as the door opens. Inside you can see various leftovers, some jars, some sandwich fixings and one shiny can.\n\n> You examine the jars\nSeveral jars and bottles of various things that always hang out in the cold box.\n\n> Examine can\nIt's shiny and filled with some liquid that your pet really likes.\n\n> You get can\nYou snatch up the shiny can with your mouth and hold on tight.\n\n> Go east\nBefore you leave the food room, you push the cold box door with your nose to close it. (It's important to conserve energy.)\n\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\nYour pet is here, staring at the box of light, holding on tight to the magic wand.\n\n> You show can to pet\nYour pet smiles as he reaches for the can. \"Good boy, Hardy,\" he says, scratching you behind the ears. Your tail starts wagging; you just can't help it. (You've always been a fool for a good behind-the-ears scratch.)\n\nThe can hisses with releasing air as the top pops, and then your pets takes a few good gulps. He must have been really thirsty, because soon he stands up and walks off to the other room.\n\nFrom the other room, you hear your pet banging around and yelling about the dino. Your pet must have almost tripped on it. He's always almost tripping on little stuff like that.\n\nAfter a second, you hear a click as the door to the water room closes. Now you have the long soft thing all to yourself!\n\n> You get on the couch\nYou climb up unto the long soft thing, happy that it is low enough for you to get on all by yourself.\n\nOn the long soft thing are a bunch of smaller soft things that together make up a comfy place for sitting or sleeping. The magic wand is hanging out here too, even though it got eaten by the little soft things before. No hard feelings.\n\n> You take the wand\nYou snatch up the magic wand with your mouth and hold on tight."
    },
    {
        "text": "[Themes: Slice of life, cute, dog, kid-friendly, recommended for children]\n\n> Go down\nYou get off the long soft thing.\n\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\n> Continue\nOnce again you chomp down to change what's inside the box. This time there are these guys poking at each other, kinda fighting and joking around and all.\n\nThis is the sort of thing your pet seems to enjoy watching sometimes, people getting hit with food and slipping and falling down and stuff. Everybody is laughing and nobody ever seems to really get hurt, so you guess it's OK.\n\n> You continue\nYou've got the hang of this trick now for sure! One more bite on the wand brings up something new.\n\nThis is more like it! Inside the box now is this lady putting together some tasty looking food! You're almost drooling just watching. This has got to make your pet think about eating!\n\n> You drop the wand\nYou release your hold and let the magic wand fall down.\n\nYou finally hear a familiar rush of water from the little water room and, after a second, the sound of the door opening.\n\n> Wait\nYou pause for a second. Your stomach growls.\n\nFrom the other room, you hear your pet banging around and yelling about the dino. Your pet must have almost tripped on it. He's always almost tripping on little stuff like that.\n\nYour pet walks in. He starts to sit down on the long soft thing but stops when he sees what's in the box of light. That lady cooking is doing her job! You pet stands and watches, transfixed. He must be thinking of food!\n\n> You wait for a while\nYou pause for a second. Your stomach growls.\n\nYour pet almost trips on the magic wand, sending it flying right at you!\n\nYour pet makes his way to the food room.\n\nYour pet starts rattling around in the food room. Yes! He must be making a snack!\n\n> You go north\nMost of the time when you are in here it is dark and quiet because that is the best way to sleep and this is the room made for sleeping. There is a high bed here that is not your bed although it is where you sleep usually to keep your pet company. The sitting room is south of here and the room with the water is to the west.\n\nYour low bed is here, looking all soft and cushy.\n\nDino is here!\n\nFrom the other room you can hear the happy sound of the cold box being opened.\n\n> You go to the west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there. A cloth hangs down from the door of the cold box.\n\nYour pet is here, working on making a snack.\n\nYou can also see a wet sock and a square soft thing here.\n\nYour pet looks in the cold box and stands for a moment staring at the contents. Then he starts taking out some of the sandwich fixings!\n\n> Bark\nYou try a few short, sharp barks.\n\nYour pet says, \"Shh, Hardy, it's OK.\"\n\nNow, with that magic touch, your pet starts going through the secret places, opening and closing them as he finds what he needs to make a sandwich.\n\n> Smell sandwich\nYou sniff around a bit but all the smells are normal.\n\nOne by one, your pet starts pulling the sandwich fixings out of the cold box and turning them into a sandwich.\n\n> You examine the cold box\nThe cold box hums softly. It must be happy because it has a lot of food inside it. That always makes you happy.\n\nRight now it's open and blasting you with cold air. Inside you can see various leftovers, some jars and some sandwich fixings.\n\nYour pet starts putting stuff away and soon closes the cold box. You're sure that in just a minute he will be taking the sandwich out to the sitting room to eat it.\n\n> You roll over\nYou roll over onto your back, kicking your feet up into the air. When it becomes apparent that no belly rubs are forthcoming, you get back up on your feet.\n\nYour pet seems to have finished cleaning up after making the snack. He turns to leave. Now is the moment of truth.\n\n> Beg\nYou sit up with your paws in front of you and try to look pitiful.\n\n\"OK, Hardy,\" says your pet, tossing you a nibble of the sandwich fixings. You gobble it up right away. Such a tease! It makes you want a sandwich even more!\n\nSandwich in hand, your pet heads for the sitting room.\n\nYou follow your pet as he makes his way to the long soft thing and starts munching away on the sandwich. In a moment, it is gone, along with your dream of the perfect snack. Looks like you'll have to wait until dinner to eat. Poor hungry puppy!\n\n> You go to the west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there. A cloth hangs down from the door of the cold box.\n\nYour pet is here, working on making a snack.\n\nYou can also see a wet sock and a square soft thing here.\n\nYour pet looks in the cold box and stands for a moment staring at the contents. Then he starts taking out some of the sandwich fixings!\n\n> You take Dino\nYou snatch up the dino with your mouth and hold on tight.\n\nFrom the other room you can hear the sound of secret places opening and closing.\n\n> Go south\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\nYou can see a magic wand here.\n\nYou don't hear anything from the food room. But then, making a sandwich is not a very noisy job.\n\n> Go west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there.\n\nThe door is open and cold air is coming out of the box.\n\nYour pet is here, working on making a snack.\n\nYou can also see a wet sock and a square soft thing here.\n\nOne by one, your pet starts pulling the sandwich fixings out of the cold box and turning them into a sandwich.\n\n> You drop Dino\nYou know, leaving the dino here puts it in just the right spot for tripping your pet when he tries to walk out with the sandwich. What a great trick!\n\nYour pet starts putting stuff away and soon closes the cold box. You're sure that in just a minute he will be taking the sandwich out to the sitting room to eat it.\n\n> Wait\nYou pause for a second. Your stomach growls.\n\nYour pet seems to have finished cleaning up after making the snack. He turns to leave. Now is the moment of truth.\n\n> You wait awhile\nYou pause for a second. Your stomach growls.\n\nSandwich in hand, your pet heads for the sitting room.\n\nBusy taking a bite of the sandwich, your pet doesn't see the dino underfoot, and is soon airborne. For a moment, everything seems to slow down as if time has almost stopped. You can see it all clearly: your flailing pet, the sandwich sailing out of his hand, your chance for your snack. With one giant leap, you rise to meet the snack of your dreams, snatching it out of the air and wolfing it down in one great gulp. Yum! It was an awesome sandwich!\n\nAs your pet falls, he manages to land on the square soft thing. Picking himself up, he shakes his head at you. \"Wow, Hardy,\" he laughs, \"you must have wanted that sandwich bad. Guess I'll be making another one for me.\"\n\nYou're sure glad your pet has a sense of humor. You lick your chops happily. And wonder what's for dinner...\n\n> Lick pet\nSnack Time!\nAn Interactive Break for a Bite\n\n(For more information please type ABOUT)\n\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\nYour pet is here, all stretched out on the long soft thing and snoring.\n\n> Lick pet\nYou love on your pet with some little licks.\n\nYour pet twitches a little and stirs, then is still again. It's a start at waking him up.\n\n> Keep going\nYou love on your pet with some little licks.\n\nHmm, your pet seems to have turned that into part of his dream or something, because he sure didn't move this time when you licked him.\n\n> Go west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there. A cloth hangs down from the door of the cold box.\n\n> You pull the cloth\nThis is a good trick!\n\nYou pull on the cloth with your teeth and back up as the door opens. Inside you can see various leftovers, some jars, some sandwich fixings and one shiny can.\n\n> Shake can\nYou shake the can for all you're worth. That should make it nice and fizzy inside.\n\n> Go east\nBefore you leave the food room, you push the cold box door with your nose to close it. (It's important to conserve energy.)\n\nYour pet is here, blinking and staring, not yet fully awake.\n\n> You give the can to the pet\nYour pet smiles as he reaches for the can. \"Good boy, Hardy,\" he says, scratching you behind the ears. Your tail starts wagging; you just can't help it. (You've always been a fool for a good behind-the-ears scratch.)\n\nAs your pet pops the top, the liquid starts spouting out in a big rush and getting all over your pet. He jumps up, yelling, and runs off.\n\nFrom the other room, you hear your pet banging around and yelling about the dino. Your pet must have almost tripped on it. He's always almost tripping on little stuff like that.\n\nAfter a second, you hear the water room door slam. Well, that was one way to get your pet off the long soft thing!\n\n> Y.\n<RRROWWGRROWL> Your stomach growls.\n\nYou've been vegging out in front of that flickering screen for hours, your pet by your side. Now your complaining stomach sets you up on your feet, and on a mission.\nSnack Time!\nAn Interactive Break for a Bite\n\n(For more information please type ABOUT)\n\nThis is the room where you sit a lot. Well, you sleep here sometimes too. But there is a different room that is just for sleeping, and it is to the north. There's another room to the west. It's the room with the food. That is a good room.\n\nEven though this is the sitting room you can't sit on everything. There are a lot of \"no\"s here, like the thing you can't scratch, and the tall thing and the four-legged thing that isn't alive but that stands still with the box of light on its back.\n\nYour pet is here, all stretched out on the long soft thing and snoring.\n\n> Go west\nFood room, glorious food room!\n\nYour bowl for food and water is here, but that's only the beginning. There's also a lot of secret places where your pet keeps food and things that go with food and things that make food better. There's a thing that gets hot and a box that stays cold, and that is your favorite because you know there is always food inside there. A cloth hangs down from the door of the cold box.\n\n> You go north\nMost of the time when you are in here it is dark and quiet because that is the best way to sleep and this is the room made for sleeping. There is a high bed here that is not your bed although it is where you sleep usually to keep your pet company. The sitting room is south of here and the room with the water is to the west.\n\nYour low bed is here, looking all soft and cushy.\n\nDino is here!\n\n> Drink water\n(the still water)\nYou lean in and take a nice, cool drink. Ahh!\n\n> You enter the bigger bowl\nYou can't get in there without help. And anyway, you don't like it in there much.\n\n> You go south\nYour low bed is here, looking all soft and cushy.\n\nDino is here!\n\nYour pet is here, all stretched out on the long soft thing and snoring.\n\n> You bite the hand\nBut that's the hand that gets you a snack!"
    },
    {
        "text": "[Themes: Afterlife, riddle, Egypt, dead protagonist, poetry, afterlife, Mythology]\n\nSuddenly...gradually...the sleep of death is pierced by a strange awakening...\n\n...the priest opening your mouth...\n\n...senses rushing back: taste, smell, sight, hearing, touch...\n\n...but not pain, not heat or cold, not quick emotion...\n\n...not breath...\n\n(Players new to interactive fiction may wish to type \"about\".)\n\nIt is pitch dark, and you can't see a thing.\nYou can feel that you are surrounded by cold metal.\n\n[Author's Note: For an Egyptian mummy's soul - or \"Ka\" - death is but the first step on a puzzling and perilous journey. The second step? Getting out of all those coffins....]\n\n> About yourself\nYou feel...dead."
    },
    {
        "text": "[Themes: Afterlife, Mythology, riddle, afterlife, dead protagonist]\n\n> You look at your surroundings\nIt is pitch dark, and you can't see a thing.\nYou can feel that you are surrounded by cold metal.\n\n> Inventory\nYou are carrying:\na papyrus scroll\n\n> You touch the metal\nThe darkness is complete, but nothing else feels quite like solid gold. It fits the shape of your body like...well, like a coffin.\n\n> You read the scroll\nThough it is dark, somehow you can read - or perhaps you merely recall reading in life - the first spell-song in the Book of the Dead: Cat Eyes.\n\nThe words of that song fill your mind, and now you sense the power behind them:\n\nTwin moons\nLight the way.\nBlack cat's eyes\nReveal runes;\nTurn night to day.\n\nThose lyrics call to mind a half-remembered melody.\n\n> Sing Cat Eyes\nVoicelessly you voice Cat Eyes.\n\nIt is still pitch dark, but the darkness no longer hinders your vision.\n\nYour innermost coffin is fashioned of solid gold. Not bad!\n\nIn the Solid Gold Coffin you can see your body.\n\n> About yourself\nA shadow of your former self, more or less literally.\n\n> You examine the body\nBound tight, protected with amulets, anointed with arcane oils: your body can rest safely here for eternity, though your own labors and dangers are not yet done.\n\nOr so you have always been told.\n\n> Open Coffin\nIt is beyond your strength to open that.\n\n> You search the body\nHundreds of protective amulets are still in place. Good.\n\n> You look at Coffin\nNothing else feels quite like solid gold."
    },
    {
        "text": "[Themes: Afterlife, riddle, Mythology]\n\n> Look around\nYour innermost coffin is fashioned of solid gold. Not bad!\n\nIn the Solid Gold Coffin you can see your body.\n\n> You examine scroll\nIt is a Book of the Dead, a richly illustrated grimoire, teaching spell-songs reputed to be of aid to the newly deceased in their eldritch travels. This one is dedicated to you and titled The Book of Songs of Getting Through The Day.\n\nWhat could that mean?\n\n> You check your inventory\nYou are carrying:\na Book of Songs of Getting Through the Day\n\n> You read the scroll\nThe Book of Songs of Getting Through the Day is a richly illustrated scroll on virgin papyrus; its chapters are spell-songs prepared to help you survive this most unusual day. As you read, you sense the power behind these ancient verses...\n\nTwin moons\nLight the way.\nBlack cat's eyes\nReveal runes;\nTurn night to day.\n\nWest of west\nFrom every tomb,\nEach soul marches\nTo its rest\nOr to its doom!\n\nOf a holy shrine\nRequires respect.\nHe who just ate\nAnd drank much wine\nThe doors reject.\n\nStar-gems flow\nIn your brazier;\nWhat a grand\nSkill you know,\nMaster Glazier!\n\nslips through a wood\nbathed in golden light\nUp or down a slope\nany way is good\nfeet as fleet as flight\n\nI closed myself\nOut of my own.\nBefore myself\nI beg myself:\nLeave myself alone.\n\nSand of the Nile\nHardens to stone;\nTime the betrayer\nHeld in denial:\nHardness is gone\n\nDays of your youth,\nTimes you regret,\nDon't like to face\nUnpleasant truth,\nSo you forget.\n\nDeep underground\nMining for gold\nDig ore with bare hands\nSpeak without sound\nTen thousand years old\n\n> You sing gold digger\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\n> Open Coffin\nYour hands pass through the Solid Gold Coffin, meeting no resistance.\n\nThe mood of Gold Digger fades.\n\n> You go outside\nYou get out of the Solid Gold Coffin.\n\nA dazzling inlaid mosaic of glass and gems covers the middle coffin.\n\nIn the Glass Mosaic Coffin you can see a Solid Gold Coffin.\n\nThe mood of Gold Digger fades.\n\n> You examine Glass\nA dazzling inlaid mosaic of glass and gems covers the middle coffin.\n\n> You sing master glazier\nVoicelessly you voice Master Glazier.\n\nYou sense how glass can flow like water.\n\n> Go outside\nYou get out of the Glass Mosaic Coffin.\n\nThe outer coffin is gold leaf over wood, richly embossed.\n\nIn the Gilt Cypress Coffin you can see a Glass Mosaic Coffin.\n\nThe mood of Master Glazier fades.\n\n> You examine the cypress\nThe outer coffin is gold leaf over wood, richly embossed.\n\n> You sing the golden forest runner\nVoicelessly you voice Golden Forest Runner.\n\nYou feel nimble, like an antelope slipping through a wood bathed in golden light.\n\n> Go outside\nYou get out of the Gilt Cypress Coffin.\n\nA heavy block of quartzite carved into a burial vessel. The heavy, close-fitting lid seals out time.\n\nIn the Quartzite Sarcophagus you can see a Gilt Cypress Coffin.\n\nThe mood of Golden Forest Runner fades.\n\n> You sing letting myself come through\nVoicelessly you voice Letting Myself Come Through.\n\nYou feel a strange sympathetic awareness from somewhere nearby.\n\n> You sing the sandstone sifter\nVoicelessly you voice Sandstone Sifter.\n\nSandstone - even quartzite - feels just like loose sand to you.\n\nThe mood of Letting Myself Come Through fades.\n\n> Go outside\nYou get out of the Quartzite Sarcophagus.\n\nA sturdy vault to guard your body and its royal adornments from thieves and drafts.\n\nIn the First Burial Shrine you can see a Quartzite Sarcophagus.\n\nThe mood of Sandstone Sifter fades.\n\n> Examine vault\nA sturdy vault to guard your body and its royal adornments from thieves and drafts.\n\n> You sing silent supplicant\nVoicelessly you voice Silent Supplicant.\n\nYou feel fit to pass the threshold of a shrine.\n\n> Go outside\nYou get out of the First Burial Shrine.\n\nA sturdy vault to guard your body and its royal adornments from thieves and drafts.\n\nIn the Second Burial Shrine you can see a First Burial Shrine.\n\nThe haunting melody of Silent Supplicant lingers in your mind.\n\n> Leave\nYou get out of the Second Burial Shrine.\n\nA sturdy vault to guard your body and its royal adornments from thieves and drafts.\n\nIn the Third Burial Shrine you can see a Second Burial Shrine.\n\nThe haunting melody of Silent Supplicant lingers in your mind.\n\n> Go outside\nYou get out of the Third Burial Shrine.\n\nA sturdy vault to guard your body and its royal adornments from thieves and drafts.\n\nIn the Fourth Burial Shrine you can see a Third Burial Shrine.\n\nThe haunting melody of Silent Supplicant lingers in your mind.\n\n> You exit\nYou get out of the Fourth Burial Shrine.\n\nThis small stone chamber is nearly filled by your nested Burial Shrines. The walls are richly (if hastily) painted with scenes of your recent funeral. A wide gap in the stone leads east; a passage to the south is narrow and guarded by two stern stone statues of yourself. The west wall is carved with a false door: a shallow bas-relief simulation of an inviting archway leading to the perils and rewards of the afterlife.\n\nThe mood of Silent Supplicant fades.\n\n> You look at the paintings\nThe scenes are all too familiar: the body anointed and wrapped; the priest opening the mouth; the Ka rising, walking, taking up its true regalia, and departing the tomb at last: through the False Door that leads past challenges undreamed toward a promise of eternal rest.\n\nSeeing it in rich earth tones and bright gold brings back, somehow, corpse-memories of your embalming: The Grand Vizier wearing the Jackal-head himself to preside over your immortalization...then taking up the crook and flail, and declaring himself your heir and immediate successor to the throne! Typical! You feel a slow wave of anger...no, of envy: an itch to wield those royal implements again yourself.\n\n> You examine the statue\nTwo stone statues, in your own image, guard the narrow passage that separates your private chambers from the more public spaces of your tomb.\n\n> You examine false Door\nAn inviting arch leading to the lands west of life...but it is merely carved stone.\n\n> Go south\nThe twin statues stoically bar your way.\n\n> You sing letting myself come through\nVoicelessly you voice Letting Myself Come Through.\n\nThe statues guarding the door to the south turn their expressionless faces toward you.\n\n> You go south\nThe statues gravely let you pass.\n\nThis chamber is smooth bare stone. Two stone statues guard the narrow passage to the north; rough rectangular holes in the stone lead east and west.\n\nYour Coronation Crook lies abandoned in the dust.\n\nThe mood of Letting Myself Come Through fades.\nThe statues no longer seem aware of you.\n\n> You take Crook\nTaken.\n\n> You examine it\nThis is the royal crook you used at your coronation.\n\nWhy was it taken from its case? Why was it cast aside in the outer tomb? Such disrespect for a god-king's symbol of authority seems unthinkable.\n\n> You check your inventory\nYou are carrying:\nyour Coronation Crook\na Book of Songs of Getting Through the Day\n\n> You go east\nThis crude corridor leads west into your tomb - which already feels like home. To the east, the stairs that led here from the world of the living are sealed off above by thick stone.\n\n> Go west\nThis chamber is smooth bare stone. Two stone statues guard the narrow passage to the north; rough rectangular holes in the stone lead east and west.\n\n> You go west\nThis crude hollow holds more of your worldly goods. None seems to matter much now. The only break in the walls leads east.\n\n> You examine the goods\nThese things seem to have been disturbed, then hastily straightened. You sense that items are missing that ought to be here. Rage takes you for a moment, but it flows slowly, like cold mud, not the familiar hot fire of living anger. Has my grave, then, been robbed by the very men hand-picked to seal it? What use are amulets? what use are tombs? a cat may look at us, but where is safety in the world, when an undertaker may rob a king?\n\n> You examine the stone\nYesterday those stairs led here from the living world. Now they lead nowhere.\n\n> Sing Sandstone\nVoicelessly you voice Sandstone Sifter.\n\nSandstone - even quartzite - feels just like loose sand to you.\n\n> You go upwards\nYou can't go that way.\n\nThe mood of Sandstone Sifter fades.\n\n> You sing the lost Memories\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago, but nothing you see here sparks a particular memory.\n\n> Go west\nThis chamber is smooth bare stone. Two stone statues guard the narrow passage to the north; rough rectangular holes in the stone lead east and west.\n\n> You go west\nThis crude hollow holds more of your worldly goods. None seems to matter much now. The only break in the walls leads east.\n\n> You sing letting myself\nVoicelessly you voice Letting Myself Come Through.\n\nThe statues guarding the door to the north turn their expressionless faces toward you.\n\n> Go north\nThe statues gravely let you pass.\n\nThis small stone chamber is nearly filled by your nested Burial Shrines. The walls are richly (if hastily) painted with scenes of your recent funeral. A wide gap in the stone leads east; a passage to the south is narrow and guarded by two stern stone statues of yourself. The west wall is carved with a false door: a shallow bas-relief simulation of an inviting archway leading to the perils and rewards of the afterlife.\n\nThe mood of Letting Myself Come Through fades.\nThe statues no longer seem aware of you.\n\n> You sing the lost Memories\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. But you find yourself staring at the painted walls, reminded of something more recent....\n\nThe scenes are all too familiar: the body anointed and wrapped; the priest opening the mouth; the Ka rising, walking, taking up its true regalia, and departing the tomb at last: through the False Door that leads past challenges undreamed toward a promise of eternal rest.\n\nSeeing it in rich earth tones and bright gold brings back, somehow, corpse-memories of your embalming: The Grand Vizier wearing the Jackal-head himself to preside over your immortalization...then taking up the crook and flail, and declaring himself your heir and immediate successor to the throne! Typical! You feel a slow wave of anger...no, of envy: an itch to wield those royal implements again yourself.\n\n> You go to the east\nThis chamber is dominated by a grim statue of Anubis, judge of the newly dead, in jackal form. Around it are arrayed a decade's worth of kingly gifts. Little of it seems to matter much now. On the other hand, your Canopic Shrine and Sceptre Case are here, too. A wide gap in the west wall is the only exit.\n\n> Open Case\nYou open your Sceptre Case, revealing your replacement Coronation Flail, an Impolitic Spare Crook, a Large Paternal Crook, and a Large Paternal Flail.\n\n> You examine Anubis\nThe statue's grim visage seems to reserve judgment.\n\n> You examine Shrine\nA sturdy vault for your most fragile internal organs. External, now.\n\n> You examine the coronation flail\nThis royal Flail looks just like the one you were given for your coronation...almost. But no: it lacks your cartouche. It is a replica, a fake! Now - now that you're dead - somehow you can't remember what that could mean, but it makes you uneasy.\n\n> You look at paternal\nWhich do you mean, the Large Paternal Crook, or the Large Paternal Flail?\n\n> Flail\nThis is your father's best ceremonial flail: now your prized heirloom.\n\n> You examine paternal Crook\nThis is your father's best ceremonial crook: now your cherished heirloom.\n\n> You examine impolitic Crook\nThis is a spare ceremonial crook you have never used. It was a gift from an unpopular functionary whose favor you dared not acknowledge.\n\n> You take all\nyour replacement Coronation Flail: Taken.\nImpolitic Spare Crook: Taken.\nLarge Paternal Crook: Taken.\nLarge Paternal Flail: Taken.\nkingly gifts: None of these things interests you anymore.\n\n> You open the jar\nYour viscera are probably safest where they are.\n\n> You sing the lost Memories\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. Your glance catches on that subtly, naggingly inauthentic Coronation Flail, and suddenly a clear memory rushes back...\n\n...Your coronation. You were only nine...of course you were nervous. But god-kings are infallible, your father-friend warned you, and then had to explain his words: admit no mistakes today!\n\nYou prayed you would simply make no mistakes, but of course disaster struck almost immediately. During your solemn investiture ceremony, the Royal Flail, in your young, infallible hand, brushed against a nearby man, a faithful attendant.\n\nA trivial accident, caused by the slight shaking of your own nervous hand. But tradition says it is an offense against the gods for an attendant to touch a royal sceptre during such a ceremony, and the penalty is death....\n\nThe throne room where you've spent so much of your life this past decade...but as it looked to you the first time you saw it, as a child: rich and strange and big.\n\nThe blameless attendant is watching you, wide-eyed with fear.\n\nEveryone else is watching you both with concern, wondering if you will indeed condemn this faithful servant to death as your first official act.\n\nI must save this blameless man from my mistake, you remember thinking then, without taking the blame myself. But how?\n\n> You condemn yourself\nMy fault, you want to say, an accident! But a god-king can say no such thing.\n\n> You check your inventory\nYou are carrying:\nyour Royal Crook\nyour Royal Flail\n\n> You look at the man\nThe man watches you in terror; he was not at fault, but his brief contact with your sceptre is a death sentence only you can rescind.\n\n> You examine Flail\nThe Royal Flail represents your responsibility to separate the wheat from the chaff among your subjects. Too literally, today.\n\n> You look at Crook\nThe royal Crook represents your responsibility to keep your flock from straying.\n\n> You touch the man with Crook\nHe shies back in horror.\n\n> Condemn man\nYou feel a sudden pridefulness, and your fist grips the flail's handle. Let him die, then, and thereby prove my power! But you sense that this is not kingly wisdom, and suppress the confirming gesture.\n\n> You forgive man\nNervously, you favor the blameless attendant with the only gesture of royal forgiveness you can recall, though it is intended for less serious matters.\n\nThe tension in the room diminishes slightly. Your gesture helped, but it seems not to be enough.\n\n> Hug man\nThe tension in the room diminishes slightly. Your gesture helped, but it seems not to be enough."
    },
    {
        "text": "> You look around\nThe throne room where you've spent so much of your life this past decade...but as it looked to you the first time you saw it, as a child: rich and strange and big.\n\nThe blameless attendant is watching you, wide-eyed with fear.\n\nEveryone else is watching you both with concern, wondering if you will indeed condemn this faithful servant to death as your first official act.\n\n> About yourself\nYoung, alive, king: only in memory, alas.\n\n> Wave crook\nYou look ridiculous waving your Royal Crook.\n\n> Wave flail\nYou look ridiculous waving your Royal Flail.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You hit the man\nYou feel a sudden pridefulness, and your fist grips the flail's handle. Let him die, then, and thereby prove my power! But you sense that this is not kingly wisdom, and suppress the confirming gesture.\n\n> You look at the man\nThe man watches you in terror; he was not at fault, but his brief contact with your sceptre is a death sentence only you can rescind.\n\n> You look at Sceptre\nWhich do you mean, the better flail, your Royal Crook, or your Royal Flail?\n\n> You sing the lost Memories\nNervously you hum a half-remembered mnemonic chant, hoping to recall some forgotten ritual from your hasty training...\n\n...but all that comes to mind is your father in a rage, smashing his razor when it cut him...\n\n...the day he died."
    },
    {
        "text": "> You look around\nThe throne room where you've spent so much of your life this past decade...but as it looked to you the first time you saw it, as a child: rich and strange and big.\n\nThe blameless attendant is watching you, wide-eyed with fear.\n\nEveryone else is watching you both with concern, wondering if you will indeed condemn this faithful servant to death as your first official act.\n\n> You bow to the man\nWhich do you mean, the better flail, your Royal Crook, or your Royal Flail?\n\nI only understood you as far as wanting to bow.\n\n> You smash better flail\nStupid flail! If a royal sceptre got broken, they'd have to bring another one, right?\n\n> Go west\nThis small stone chamber is nearly filled by your nested Burial Shrines. The walls are richly (if hastily) painted with scenes of your recent funeral. A wide gap in the stone leads east; a passage to the south is narrow and guarded by two stern stone statues of yourself. The west wall is carved with a false door: a shallow bas-relief simulation of an inviting archway leading to the perils and rewards of the afterlife.\n\n> You sing down under\nVoicelessly you voice Down Under.\n\nThe false door opens, revealing a seemingly infinite series of arches leading west.\n\n> You go to the east\nThis chamber is dominated by a grim statue of Anubis, judge of the newly dead, in jackal form. Around it are arrayed a decade's worth of kingly gifts. Little of it seems to matter much now. On the other hand, your Canopic Shrine and Sceptre Case are here, too. A wide gap in the west wall is the only exit.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\na Large Paternal Flail\na Large Paternal Crook\nan Impolitic Spare Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\n> You put large paternal Flail in Case\nYou put the Large Paternal Flail into your Sceptre Case.\n\n> You put all but the replacement flail into Case\nyour Coronation Crook: Done.\nLarge Paternal Crook: Done.\nImpolitic Spare Crook: Done.\nBook of Songs of Getting Through the Day: You are reluctant to risk damaging the Book: it seems both useful and beautiful.\n\n> You go to the west\nThis small stone chamber is nearly filled by your nested Burial Shrines. The walls are richly (if hastily) painted with scenes of your recent funeral. A wide gap in the stone leads east; a passage to the south is narrow and guarded by two stern stone statues of yourself.\n\nThe false door carved into the west wall has become a real archway, leading west into absolute darkness.\n\n> You go west\nYou approach the arch that leads to the unknown lands west of life itself; but you hesitate. Looking around again at the somber paintings of this very moment on the burial chamber walls, you are suddenly homesick for mortality and kingship. You feel reluctant to leave your old life without some token, some remembrance...some talisman against the unknown challenges that lurk perhaps only a step beyond the arch.\n\n> You go west\nWith your best sceptres crossed protectively before you, you step out through the westward arch.\n\n...for an instant you percieve the universe as an infinity of arches. Each step in any direction is a step through another arch, into another world...\n\n...but even as the possibilities expand around you, the paths you have already walked fade away...\n\n...you feel, more than see, a distant glimpse of paradise; but an instant later it is wrapped...no, you are surrounded in layers of obscuring mist that solidify one by one around you: huge confusing shapes, each smaller and simpler than the one surrounding it, until you find yourself inside the simplest shape of all, still enormous, and dark....\n\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper, perhaps thrice your height, and as far above you.\n\nSurely those gems lack their full glory in such darkness.\n\nA man-sized clockwork scarab is pushing a lacy metal ball east along the bottom arc of the chamber. As the scarab chugs past you, crossing the low arc and heading up toward the east side of the spherical chamber, you catch a flickering glimpse of some strange mechanism inside the golden cage.\n\n> About yourself\nHere beyond the false door, you feel much more yourself than you did in your tomb. Still dead, though.\n\nThe sound of gears gets louder: now the clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You examine the cage\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. A strange mechanism is barely visible inside.\n\nNow the clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You examine the mechanism\nFrom outside the wire ball, you can only tell that some small objects are woven into the wire near the center.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber. (In a moment it will pass you again as it crosses the bottom of the chamber.)\n\n> You look at the amulet\nThe mosaic is a map: you perceive that the jewelled globe is a map of the entire world, although the part you recognize as your own kingdom - marked by a small white obelisk - seems impossibly tiny.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You examine the obelisk\nA pyramid-capped square column, about the size of your thumb, carved from some fine-grained white stone. Fine inscriptions describe your nation's worth, but in no language you have ever seen.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You examine ball\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. A strange mechanism is barely visible inside.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You look at the ball\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. A strange mechanism is barely visible inside.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber. (In a moment it will come within your reach again as it crosses the bottom of the chamber.)\n\n> You look at the scarab\nThe giant scarab beetle, finely crafted of copper and bronze, works its six leg-cams tirelessly along two thin grooves that circle this chamber. Between the polished plates of its carapace you can see gears turning inside.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You touch ball\nThe cage-ball is out of reach: the mechanical scarab is pushing it up the east arc of the chamber....\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You put Crook in scarab\nThat can't contain things.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber. (In a moment it will come within your reach again as it crosses the bottom of the chamber.)\n\n> You take the ball\nThe cage-ball is out of reach: the mechanical scarab is pushing it down the west arc of the chamber....\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You jump\nYou jump, but the jewelled globe remains out of your reach.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You take the ball\nThat's too heavy to move.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber."
    },
    {
        "text": "[Themes: Afterlife, riddle, dead protagonist, Mythology]\n\n> You look around\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper, perhaps thrice your height, and as far above you.\n\nSurely those gems lack their full glory in such darkness.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You examine the gems\nThe mosaic is a map: you perceive that the jewelled globe is a map of the entire world, although the part you recognize as your own kingdom - marked by a small white obelisk - seems impossibly tiny.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber. (In a moment it will come within your reach again as it crosses the bottom of the chamber.)\n\n> Sing cats eyes\nVoicelessly you voice Cat Eyes.\n\nIt is still pitch dark, but the darkness no longer hinders your vision.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You sing the lost Memories\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. You glance at your royal sceptres in doubt. These served me well for a decade, among men. But here amidst the machinery of the gods?\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> Wait\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber. (In a moment it will come within your reach again as it crosses the bottom of the chamber.)\n\n> You sing gold digger\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You take the mechanism\nThat is out of reach inside the cage-ball.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You examine the mechanism\nFrom outside the wire ball, you can only tell that some small objects are woven into the wire near the center.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You touch ball\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. A strange mechanism is barely visible inside.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You take the ball\nThat's too heavy to move.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You examine the scarab\nThe giant scarab beetle, finely crafted of copper and bronze, works its six leg-cams tirelessly along two thin grooves that circle this chamber. Between the polished plates of its carapace you can see gears turning inside.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> Wait\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You kick the scarab\nViolence isn't the answer to this one.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You enter the ball\nThe cage-ball is out of reach: the mechanical scarab is pushing it up the east arc of the chamber....\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You enter the ball\nYou slip through the yielding gold wire.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\nThe mood of Gold Digger fades."
    },
    {
        "text": "[Themes: Afterlife, poetry, afterlife]\n\n> You look at your surroundings\nSolar Sphere (in the golden cage)\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper, perhaps thrice your height, and as far above you.\n\nSurely those gems lack their full glory in such darkness.\n\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. Near the center a strange mechanism is woven into the wire.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You look at the mechanism\nSimple, yet enigmatic. A metal framework - an outgrowth of the cage's wire lacework - suspends a few mechanical parts close together near the ball's center:\n\nA little spool, hanging from a pivot of twisted wire, with a leather strap wound several times around it and a square hole in the bottom.\n\nA hand's width below the hole in the spool, a cone of some unknown gray material, singed yellow-brown in the center.\n\nBeside the cone, a tiny bellows, like a smith's child's toy.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> You look at the spool\nA little spool is woven into the mechanism such that it can spin. It is wrapped with a leather strap, and there is a small square hole in the spool's bottom face.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> Press bellows\nA fine mist sprays from the tiny bellows, blowing across the singed cone. A sharp, unfamiliar aroma fills the cage.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> Smell\nThe golden cage isn't open.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> Smell cone\nThe cone smells singed.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> Sing lost\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. You glance at your royal sceptres in doubt. These served me well for a decade, among men. But here amidst the machinery of the gods?\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside."
    },
    {
        "text": "> You describe your surroundings\nSolar Sphere (in the golden cage)\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper, perhaps thrice your height, and as far above you.\n\nSurely those gems lack their full glory in such darkness.\n\nThe scarab is pushing a man-high, lacy ball through the darkness: a spherical cage woven of fine gold wire. Near the center a strange mechanism is woven into the wire.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> You examine the mechanism\nSimple, yet enigmatic. A metal framework - an outgrowth of the cage's wire lacework - suspends a few mechanical parts close together near the ball's center:\n\nA little spool, hanging from a pivot of twisted wire, with a leather strap wound several times around it and a square hole in the bottom.\n\nA hand's width below the hole in the spool, a cone of some unknown gray material, singed yellow-brown in the center.\n\nBeside the cone, a tiny bellows, like a smith's child's toy.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You get all\nMiniature Obelisk: You can't reach that from here.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> You look at the spool\nA little spool is woven into the mechanism such that it can spin. It is wrapped with a leather strap, and there is a small square hole in the spool's bottom face.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> You look at the cone\nA rounded block of some hard gray substance, with a conical pit in the top. The cone is unevenly discolored.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> You get the spool\nThat seems to be a part of the strange mechanism.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You look at the leather\nThe strap is wrapped several times around the spool. Its free end is clearly a handle.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> You pull the strap\nPulling the strap spins the spool, fast. The strap pulls out of your hand and wraps itself around the spool again.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> Smell cone\nThe cone smells singed.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> You examine the bellows\nIt appears that pushing on the little bellows will puff its contents at the singed cone.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You squeeze bellows\nA fine mist sprays from the tiny bellows, blowing across the singed cone. A sharp, unfamiliar aroma fills the cage.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> Smell cone\nThe cone smells singed.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> You look at the hole\nA little spool is woven into the mechanism such that it can spin. It is wrapped with a leather strap, and there is a small square hole in the spool's bottom face.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You put Flail in the hole\nThat doesn't fit the hole in the spool.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> You put Crook in the hole\nThat doesn't fit the hole in the spool.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> You put the scroll in the hole\nThat doesn't fit the hole in the spool.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> You get the cone\nThat seems to be a part of the strange mechanism.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You get the bellows\nThat seems to be a part of the strange mechanism.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber with you inside.\n\n> You get the mechanism\nThat's too heavy to move.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You leave\nYou slip through the yielding gold lace. As the ball is just rolling across the top of the chamber, you fall out and tumble down onto the jewelled globe.\n\nSolar Sphere (on the Jewelled Globe)\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper.\n\nSurely those gems lack their full glory in such darkness.\n\nA miniature obelisk about the size of your thumb rests on the jewelled globe, marking your own capital city.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You get the obelisk\nTaken.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You examine it\nA pyramid-capped square column, about the size of your thumb, carved from some fine-grained white stone. Fine inscriptions describe your nation's worth, but in no language you have ever seen.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You check your inventory\nYou are carrying:\na Miniature Obelisk\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber."
    },
    {
        "text": "[Themes: Afterlife]\n\n> You describe your surroundings\nSolar Sphere (on the Jewelled Globe)\nYou are in a large spherical vault of polished stone, black as night, though your feline vision reveals all. In the exact center a magnificent amulet of tremendous size hangs in the darkness: a spherical mosaic of emerald and lapis lazuli and brown jasper.\n\nSurely those gems lack their full glory in such darkness.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber.\n\n> You climb the ball\nThe cage-ball is out of reach: the mechanical scarab is pushing it down the west arc of the chamber....\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> Examine\nWhat do you want to examine?\n\n> You wait awhile\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You wait\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber.\n\n> You enter the ball\nThe cage-ball is out of reach: the mechanical scarab is pushing it down the west arc of the chamber....\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber.\n\n> You wait a while\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber.\n\n> Wait\nTime passes.\n\nThe clockwork scarab is pushing its lacy metal ball east along the bottom arc of the chamber.\n\n> You enter ball\n(getting off the Jewelled Globe)\nYou slip through the yielding gold wire.\n\nThe clockwork scarab is pushing its lacy metal ball up the east arc of the chamber with you inside.\n\nThe mood of Gold Digger fades.\n\n> You put the Obelisk in the spool\nThe little obelisk fits firmly into the square hole in the spool.\n\nThe clockwork scarab is pushing its lacy metal ball west across the top arc of the chamber with you inside.\n\n> You pull leather\nPulling the strap spins the spool, fast. The obelisk spins with it; its point whines against the singed cone, which begins to glow dull red.\n\nThe clockwork scarab is pushing its lacy metal ball down the west arc of the chamber with you inside.\n\n> Press bellows\nA fine mist sprays from the tiny bellows, blowing across the glowing cone. The mist becomes a spray of fire, and in an instant the wire of the cage is all aflame. The ball burns bright as the sun; its light scintillates among the lands of the jewelled globe.\n\nDawn has come.\n\nNear the west pole of this spherical chamber, the dawn-light reveals an arched doorway that was not there before this moment.\n\nThe clockwork scarab is pushing its fiery metal ball east along the bottom arc of the chamber with you inside.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe clockwork scarab is pushing its fiery metal ball up the east arc of the chamber with you inside.\n\n> Exit\nYou slip through the yielding gold lace. As the ball is rolling up the side of the chamber, you fall out and tumble back down to the low point.\n\nThe clockwork scarab is pushing its fiery metal ball west across the top arc of the chamber.\n\nThe mood of Gold Digger fades.\n\n> You go to the west\nConfidently crossing your sceptres before you, you step out through the westward arch.\n\nThis chamber is a cube almost too big to see. A hole in the apex admits a single, broad beam of sunlight which stabs down to the floor, sparkling dust and making a bright circle on the floor, in the exact center of the dim space.\n\nIn the circle of light, a life-sized doll, finely crafted to resemble a learned old man, sits on a three-legged stool before a game board. Beneath his robes you can hear gears and flywheels whirring and ticking. His gaze follows you with uncanny smoothness.\n\n> You look at the game board\nThe game is Hounds and Jackals, but this is some complex variant you've never seen before. You have played on a small hand-held board, with two short trails of peg-holes mirrored side by side. But this is a large, elaborately carved oval table on a thin pedestal. It has separate, identical trails of peg-holes at each end of the oval; between them is a bowl shape holding two very large knucklebone dice. Each side's trail is criss-crossed with dozens of the short-cut paths that can so rapidly change a player's fortunes.\n\nSeven Jackal pegs wait in the starting holes beneath the clockwork sage's hand; seven Hound pegs wait in the starting holes at your side of the game board.\n\n> You play the game\nYou pick up the dice and throw...\n\n...the doll plays its side of the board with steely concentration, humming mechanically as it weighs its tactics...\n\n...you find you can adapt to the wildly complex board, but before long you are losing. The clockwork sage's silver fingers throw the knucklebones with musical precision; he knows the peg-paths like the back of his hand...\n\n...in fact, you see that the board's layout is indeed engraved upon the back of the doll's hand...\n\n...he exploits every opportunity and pulls ahead rapidly; at length your position seems completely hopeless. You study the board once more: the sage needs but one more indifferently lucky throw to bring home his last Jackal, while your Hounds would need at least a dozen turns to catch up...\n\n...it is your move, but it seems futile even to pick up the dice.\n\n> Sing lost\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. You glance at your sceptres again in growing doubt. These served me well among men. But against a blind genius automaton?\n\n> You get the dice\nDreading the result, you pick up the dice again...\n\n...sure enough, the mechanical master handily defeats you...\n\n...silently (but for a faint ticking) he begins to reset his pegs for a fresh game. Silently, you do the same."
    },
    {
        "text": "> You look around\nThis chamber is a cube almost too big to see. A hole in the apex admits a single, broad beam of sunlight which stabs down to the floor, sparkling dust and making a bright circle on the floor, in the exact center of the dim space.\n\nIn the circle of light, a life-sized doll, finely crafted to resemble a learned old man, sits on a three-legged stool before a game board. Beneath his robes you can hear gears and flywheels whirring and ticking. His gaze follows you with uncanny smoothness.\n\n> You look at the man\nA clockwork sage sits rigidly upon a three-legged stool, facing you across a game table. His skin is silver; his eyes sparkling jewels; his clothes dyed silk; even his sandals are solid gold. Within him you can hear fine machinery working; his gemstone gaze never leaves your face.\n\nThe clockwork sage's silver hand waits above the Jackal pegs.\n\n> You get the hand\nThat seems to be a part of the Clockwork Sage.\n\n> You sing master glazier\nVoicelessly you voice Master Glazier.\n\nYou sense how glass can flow like water.\n\n> You examine Hounds\nThe game is Hounds and Jackals, but this is some complex variant you've never seen before. You have played on a small hand-held board, with two short trails of peg-holes mirrored side by side. But this is a large, elaborately carved oval table on a thin pedestal. It has separate, identical trails of peg-holes at each end of the oval; between them is a bowl shape holding two very large knucklebone dice. Each side's trail is criss-crossed with dozens of the short-cut paths that can so rapidly change a player's fortunes.\n\nSeven Jackal pegs wait in the starting holes beneath the clockwork sage's hand; seven Hound pegs wait in the starting holes at your side of the game board.\n\nThe mood of Master Glazier fades.\n\n> You look at the hand\nThe clockwork sage's silver hand waits above the Jackal pegs. The paths of the game board are engraved on the back of his hand. You try to imagine the sage becoming forgetful, stealing a quick glance at the diagram...\n\n...but the doll's gemstone gaze never leave your face.\n\n> You go to the west\nYou look for an arch to the west, but it seems plain that you must first beat this automaton at his own game.\n\n> You look at the dice\nKnucklebones...big ones.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\n> Play\nYou begin another game, briskly throwing the dice into the pit between the paths...\n\n...again you improve as you play...\n\n...but again the clockwork sage outpaces your best efforts, bringing you rapidly to the brink of defeat, his Jackal pegs all brought home but one, while your Hounds have barely left the foothills of their twisting path...\n\n...it is your move, but you seem to have little chance to win.\n\n> Play\nGamely you roll again, but it is no use. Soon the Jackal pegs have their victory over your Hounds, and the doll sets them up for another game.\n\n> You take the Jackals\nThe table rotates easily; now the sage's hand waits above the Hound pegs. He doesn't seem to care.\n\n> Play\nYet again you pick up the dice...\n\n...your Jackal pegs set out on their journey...\n\n...you play more skillfully than ever, using every shortcut along the path...\n\n...but the machine sees no distractions, hears nothing, feels nothing...\n\n...his sense of the pegs is instinctual, ingrained. Engraved. You can gain no purchase against the doll's tactics...\n\n...and once again you find your Jackal pegs impossibly far behind the Hounds."
    },
    {
        "text": "> You look around\nThis chamber is a cube almost too big to see. A hole in the apex admits a single, broad beam of sunlight which stabs down to the floor, sparkling dust and making a bright circle on the floor, in the exact center of the dim space.\n\nIn the circle of light, a life-sized doll, finely crafted to resemble a learned old man, sits on a three-legged stool before a game board. Beneath his robes you can hear gears and flywheels whirring and ticking. His gaze follows you with uncanny smoothness.\n\n> You look at the Eyes\nTwin moons\nLight the way.\nBlack cat's eyes\nReveal runes;\nTurn night to day.\n\n> You examine man\nA clockwork sage sits rigidly upon a three-legged stool, facing you across a game table. His skin is silver; his eyes sparkling jewels; his clothes dyed silk; even his sandals are solid gold. Within him you can hear fine machinery working; his gemstone gaze never leaves your face.\n\nThe clockwork sage's silver hand waits above the Hound pegs.\n\n> You take Hounds\nYou turn the table; now the sage's hand waits above the Jackal pegs. He doesn't seem to notice the difference; he is still waiting patiently for you to pick up the dice again.\n\n> You look at the sandals\nA clockwork sage sits rigidly upon a three-legged stool, facing you across a game table. His skin is silver; his eyes sparkling jewels; his clothes dyed silk; even his sandals are solid gold. Within him you can hear fine machinery working; his gemstone gaze never leaves your face.\n\nThe clockwork sage's silver hand waits above the Jackal pegs.\n\n> Play\nYou roll the bones again and easily bring \"your\" last peg home.\n\nThe doll sits back heavily on his three-legged stool, defeated.\n\nBeyond him, you notice an arch leading west; you are certain that it was not there until this moment.\n\n> You go west\nYou raise your crook and flail as you approach the westward arch, but you hesitate. Is that really necessary?\n\nYou lower the sceptres and step out through the arch.\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> You examine the mercury\nThe familiar life-giving river is represented by fast-flowing quicksilver, fed by some pumping equipment at the southern edge of the landscape.\n\nEvery few moments, the liquid metal river overflows its banks, filling the flood plain. For a breath, most of the landscape is a perfect mirror.\n\n> You examine the pump\nThe miniature river is supplied by a waist-high water wheel at the southern edge. Hundreds of tiny cups are mounted all around the rim of this wheel. As it turns - motivated by a force you can't discern - the cups pour a continuous flow of liquid metal into the miniature river.\n\nNext to the water wheel is a shadouf: a lever arm with a scoop attached at one end, opposed by a counterweight at the other end. The arm rocks slowly up and down - motivated by no force you can discern - pouring an extra scoopful of quicksilver into the miniature river every few moments.\n\n> You look at the shadouf\nNext to the water wheel is a shadouf: a lever arm with a scoop attached at one end, opposed by a counterweight at the other end. The arm rocks slowly up and down - motivated by no force you can discern - pouring an extra scoopful of quicksilver into the miniature river every few moments.\n\n> You take the counterweight\nThe shadouf stops moving when you take hold of it: it is easy to resist the gentle, mysterious impetus that drives it. The periodic flooding abates, of course."
    },
    {
        "text": "> You describe your surroundings\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it, fed by the slowly turning water wheel; while you hold the scoop-lever, the flow is steady and even.\n\n> You check your inventory\nYou are carrying:\na shadouf\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\n> Sing Sandstone\nVoicelessly you voice Sandstone Sifter.\n\nSandstone - even quartz - feels just like loose sand to you.\n\n> You drop the counterweight\nYou release the shadouf. It slowly resumes moving.\n\nThe mood of Sandstone Sifter fades.\n\n> You wait\nTime passes."
    },
    {
        "text": "[Themes: Afterlife, dead protagonist, riddle]\n\n> Look around\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> You examine the flames\nFar above you, at the center of the ceiling, a red fire blazes inside something crystalline.\n\n> You get the crystal\nThat is high above you, far out of reach.\n\n> You drop it\nYou release the shadouf. It slowly resumes moving.\n\n> Sing lost\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago. Your royal sceptres catch your eye once more, now seeming like something from a half-forgotten dream. A long-ignored memory rushes back...\n\nYour father's funeral. A stranger in an anubis mask, so frightening to you as a child. Endless attendants and functionaries. The old king's sceptres retired: their symbolic power extinguished like spent candles before they passed to you as mere heirlooms. And I took up my own soon after. His body shown, honored, then wrapped, anointed, sealed away...\n\nThe mood of Lost Memories fades.\n\nThe vision recedes, leaving you holding the sceptres up to the light. Perhaps it is time to be free of these mortal tools. You wonder how you might retire them respectfully in this alien place.\n\n> You drop the sceptres in the river\nWhich do you mean, your Coronation Crook, or your replacement Coronation Flail?\n\n> Crook\nYou dip your Coronation Crook into the quicksilver, but the liquid metal flows off again instantly.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\n> You examine wheel\nThe miniature river is supplied by a waist-high water wheel at the southern edge. Hundreds of tiny cups are mounted all around the rim of this wheel. As it turns - motivated by a force you can't discern - the cups pour a continuous flow of liquid metal into the miniature river.\n\n> You stop wheel\nThe water wheel stops moving when you take hold of it: it is easy to resist the gentle, mysterious impetus that drives it. Its supply interrupted, the river drains in an instant. Quicksilver lingers only in a complex series of grooves along the river-bed: schematic animals that you recognize after a moment: writing.\n\n> You read the landscape\nMight is rarely right:\nTemper law with love,\nReaping what you sow.\nDay becomes the night:\nAs it is above,\nSo it is below.\n\n> Sing inversions\nVoicelessly you voice Inversions.\n\nYou lose your grip on the wheel as the floor and ceiling seem to change places....\n\nThe Dodecahedron (on the ceiling)\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. Beside you on the ceiling, red flames blaze inside a glittering crystalline shell.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, high above your head. Every few moments you can see yourself, walking on the ceiling, reflected in a flood of quicksilver.\n\n> You get the crystal\nThat's fixed in place.\n\nThe haunting melody of Inversions lingers in your mind.\n\n> You touch the crystal\nThe shell around the fire is an angular box, clear as distilled water. It seems to be made of smooth-grown slabs of pure quartz crystal, grown together at the edges.\n\nThe haunting melody of Inversions lingers in your mind.\n\n> You sing glazier\nVoicelessly you voice Master Glazier.\n\nYou sense how glass can flow like water.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> Sing inversions\nVoicelessly you voice Inversions.\n\nThe floor and ceiling seem to change places....\n\nThe Dodecahedron (on the ceiling)\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. Beside you on the ceiling, red flames blaze inside a glittering crystalline shell.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, high above your head. Every few moments you can see yourself, walking on the ceiling, reflected in a flood of quicksilver.\n\nThe mood of Master Glazier fades.\n\n> You sing glazier\nVoicelessly you voice Master Glazier.\n\nYou sense how glass can flow like water.\n\nThe haunting melody of Inversions lingers in your mind.\n\n> You take fire\nThe crystalline shell isn't open.\n\nThe mood of Master Glazier fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You look at the crystal\nThe shell around the fire is an angular box, clear as distilled water. It seems to be made of smooth-grown slabs of pure quartz crystal, grown together at the edges.\n\nThe mood of Master Glazier fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You hit the shell\nYour strength is insufficient to damage it.\n\n> You open crystal\nThe mood of Master Glazier fades.\nThe haunting melody of Inversions lingers in your mind.\n\nIt is beyond your strength to open that.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> Sing inversions\nVoicelessly you voice Inversions.\n\nThe floor and ceiling seem to change places....\n\nThe Dodecahedron (on the ceiling)\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. Beside you on the ceiling, red flames blaze inside a glittering crystalline shell.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, high above your head. Every few moments you can see yourself, walking on the ceiling, reflected in a flood of quicksilver.\n\n> Sing Sandstone\nVoicelessly you voice Sandstone Sifter.\n\nSandstone - even quartz - feels just like loose sand to you.\n\nThe haunting melody of Inversions lingers in your mind.\n\n> You hit the shell\nYour hands pass through the crystalline shell, meeting no resistance.\n\nThe mood of Sandstone Sifter fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You take fire\nThe crystalline shell isn't open.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> You take the fire\nThe crystalline shell isn't open.\n\nThe mood of Sandstone Sifter fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You open the shell\nIt is beyond your strength to open that.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, red flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> Inventory\nYou are carrying:\nyour Coronation Crook\nyour replacement Coronation Flail\na Book of Songs of Getting Through the Day\n\n> You touch the fire\nIn the center of a shell of solid quartz crystal, red fire blazes out in all directions from something like a tangle of gold wire.\n\nThe mood of Sandstone Sifter fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You put Crook in the fire\n(first entering the crystalline shell)\nFire engulfs your Coronation Crook. It has served you well, but you feel rightly free of it now.\n\nThe fire darkens strangely as it consumes your Coronation Crook, the bright red flames turning to dark purple with fringes of black.\n\nThe mood of Sandstone Sifter fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You wait a while\nTime passes.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, purple flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor. A quicksilver river flows through the middle of it; every few moments the landscape floods, becoming a perfect mirror just for an instant.\n\nThe liquid metal collects somewhere beneath the landscape at the northern corner, then recirculates by means of some pumping equipment near the southern edge.\n\n> Sing inversions\nVoicelessly you voice Inversions.\n\nThe floor and ceiling seem to change places....\n\nThe Dodecahedron (on the ceiling)\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. Beside you on the ceiling, purple flames blaze inside a glittering crystalline shell.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, high above your head. Every few moments you can see yourself, walking on the ceiling, reflected in a flood of quicksilver.\n\n> You put Flail in the fire\n(first entering the crystalline shell)\nFire encloses your replacement Coronation Flail and darkens, darkens until the flames are black as night. Sparks like stars fly from the flame-tips, swirl within the shell, strike the crystal walls and fade. Darkness spreads throughout the chamber, reflected in polished copper and flowing quicksilver.\n\nYou feel the ending of a day of mysteries; a decade of rule; a lifetime of joys and pains. Now the sun has set on my reign. Let my successor have his day in the sun....\n\nThis time you almost see the westward arch flick into existence.\n\nThe mood of Sandstone Sifter fades.\nThe haunting melody of Inversions lingers in your mind.\n\n> You wait\nTime passes.\n\nThe mood of Inversions fades.\nThe ceiling and floor seem to change places....\n\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, black flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, details shrouded by the black firelight.\n\nA serene arch leads west.\n\n> You go west\nIn a sudden whirr of metal sliding on metal, a clockwork lioness leaps from some unseen perch and blocks your way!\n\n> You examine the lioness\nA lioness crafted of jointed plates of bronze, accented with precious stones. (The eyes are polished cat's-eye, of course.) You can hear gears purring inside its muscular chest.\n\nThe clockwork lioness returns your attention, redoubled. Something inside it spins faster and suddenly it speaks, in a voice like wet fingers stroking a dozen glass bowls:\n\nA king may look at a cat, but none may pass without answering my riddle:\n\nWhat is supported by six legs in the morning, five legs at midday, and four legs in the evening?\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You examine the lioness\nA lioness crafted of jointed plates of bronze, accented with precious stones. (The eyes are polished cat's-eye, of course.) You can hear gears purring inside its muscular chest.\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You go to the west\nThe clockwork lioness steps firmly into your path with a growl of grinding gears. In musical tones it repeats its question: What is supported by six legs in the morning, five legs at midday, and four legs in the evening?\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You sing Gold\n(Gold Digger)\nVoicelessly you voice Gold Digger.\n\nGold seems like such a yielding material....\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You enter the lioness\nYou can't ride that.\n\nThe feline device paces impatiently, waiting for your answer.\n\nThe mood of Gold Digger fades.\n\n> You check what you're carrying\nYou are carrying:\na Book of Songs of Getting Through the Day\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You ask the lioness about the riddle\nThere is no reply.\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You say yourself\n(to the Clockwork Lioness)\nThe clockwork cat looks up abruptly, whirring. It bares its polished fangs, and shakes its head slightly before beginning to pace again.\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You eat lioness\n(first taking the Clockwork Lioness)\nI don't suppose the Clockwork Lioness would care for that.\n\nThe feline device paces impatiently, waiting for your answer."
    },
    {
        "text": "[Themes: Afterlife, dead protagonist, Mythology, afterlife]\n\n> You describe your surroundings\nThis chamber's walls, ceiling, and floor are a dozen identical copper tiles, pentagonal, huge, that meet at insane angles yet somehow fit seamlessly together into an angular ball shape. High above you, black flames blaze inside something crystalline; their flickering reflections redouble at every wall.\n\nThe lioness watches you impatiently.\n\nA marvelously detailed miniature landscape in carved ivory covers most of the floor, details shrouded by the black firelight.\n\nA serene arch leads west.\n\nThe feline device paces impatiently, waiting for your answer.\n\n> Sing lost\nVoicelessly you voice Lost Memories.\n\nThe song evokes a mood of long ago.\n\n...This feline construct surely reminds you of nothing else in your experience.\nBut something in her words seems familiar.\nThe feline device paces impatiently, waiting for your answer.\n\n> You say you\n(to the Clockwork Lioness)\nThe cat stops pacing for a moment and stares at you. You hear gears spinning faster inside the bronze breastplate for a moment. It tilts its head back and forth, examining you from several angles. Confused? But after a moment it resumes pacing.\n\nThe feline device paces impatiently, waiting for your answer.\n\n> You say Clockwork\n(to the Clockwork Lioness)\nThe cat looks up at you abruptly, then nods, satisfied, gears softly purring.\n\n> Go west\nThe bronze cat steps aside, and you step through the arch.\n\nYou feel your journey drawing to a close at last....\n\nThis grand hall is long and tall and white. Translucent marble columns march west, two by two, as far as you can see, seemingly lit from every side, and from within as well.\n\nHere your heart is to be weighed against the feather of truth and justice. (You knew it would come to this, sooner or later.)\n\nFar more glorious than the finest mask or statue, a living god stands before you: Anubis.\n\nAmmit, a legendary demon, menaces you from behind a large balance-scale.\n\n> You examine Anubis\nNot a jackal or a jackal-headed man, after all, but something new, combining and transcending the two forms. A god.\n\n> You look at the ammit\nA horrid mix of three vicious beasts, the bone devourer watches you impatiently. She is slavering.\n\n> You examine scale\nTwo large balance pans balance each other: one for the feather, one for your heart.\n\n> You examine the feather\nThe little white feather looks...very light.\n\n> Inventory\nYou have mastered the inanimate playthings of the gods...but here among the living gods you are helpless. Before you can move, Anubis reaches into you, reaches through you...back into your tomb, your shrines, your coffins, your body!\n\nHe grips your heart! You cannot move!\n\nNow he steps back, holding your heart, red and vital, in his hand. You see it miss a beat in fear.\n\nNow he is placing it on a balance pan, opposite a diminutive feather.\n\nThe balance is tilting...rocking...settling...\n\nYour heart just balances the feather!"
    },
    {
        "text": "[Themes: Space Exploration, science fiction]\n\nYou are on an abandoned planet again. Not content with almost killing you the last time, the Captain has delegated you again to investigate another out-of-contact colony. Apparently you impressed him with your survival instincts, by evading thousands of insect-like creatures before the ship finally sent down enough people to wipe them out. Maybe your job description should just be renamed as the Expendable Explorer. Unfortunately, you have no choice but to obey the Captain's orders.\n\nAn hour ago you were sent down into a thick jungle. When you made contact with the ship you found out that they had missed the clearing where you were supposed to land. The intervening hour was spent cutting through the energetic plant-life until you finally reached your destination.\n\nIt is time to start your investigation. One strange fact that you have already noticed is that there was no sign of any animals in the jungle.\n\nThis clearing used to be the site of a house, where a team of scientists, who were studying the planet, lived. This is no longer the case, as the house has burned down. The fire is probably the reason for the colony being out of contact, but you are not sure it is the whole reason, as something does not feel right here. The ashes from the house cover the ground, along with various twisted metal pieces. Weeds are popping up everywhere, as the jungle reclaims the area. The clearing, and ruins, continues to the north and west.\n\n> About you\nYou look good in your new black all-purpose uniform. It's not surprising, as you always look good in your opinion. And as you keep telling yourself, your opinion is the only opinion that matters.\n\n> You check your inventory\nYou are carrying:\na backpack (being worn and closed)\n\n> You open backpack\nYou open the backpack, revealing five rations, a communicator and an utility tool.\n\n> You look at the tool\nThis thin cylinder can turn into several useful tools by turning the dial on the end.\n\n> You examine dial\nThis dial changes the form of the utility tool.\n\n> You turn the dial\n(first taking the utility tool)\nYou turn the dial and the utility tool turns into a shovel.\n\n> Keep going\nYou turn the dial and the shovel turns into a scythe.\n\n> Keep going\nYou turn the dial and the scythe turns into a utility tool.\n\n> You continue\nYou turn the dial and the utility tool turns into a shovel.\n\n> You examine the house\nThe remains of the house litter the area.\n\n> You examine ashes\nThe ashes from the burned down house are all over the ground in this clearing.\n\n> You examine weeds\nThere are weeds all around the area, growing in the remains of the house and clearing.\n\n> You go north\nThe ashes from the house only cover a small segment of this corner. Weeds and dirt patches cover most of the ground instead, with what looks like the remains of a garden. There is nothing left to tell what was growing here before the fire, as any crops have completely disappeared. Maybe the scientists were not very good gardeners, and there were no crops. However, you think that this is unlikely, as the crops they use on new colonies are virtually unkillable. The clearing, and ruins, continues to the south and west.\n\nAn abandoned metal table on wheels in the garden looks in poor condition, but still useable.\n\n> You examine table\nThis metal table is not in good condition, as the top looks heavily dented and one of the wheels is missing. However, it has survived far more intact than anything else. It even looks like it can still be pushed around.\n\n> You look at the garden\nThe dirt patches look like they used to be a garden before the weeds took over.\n\n> You turn the dial\nYou turn the dial and the utility tool turns into a shovel.\n\n> You go to the west\nA large tree dominates this section of the clearing, with a low hanging, yet out of reach, branch above where the house used to be. It would have been just above the roof of a one-storey section of the house. However, it is now only above ashes. This tree must be tough and strong to have survived the chemical process used to create a clearing. The chemicals are supposed to clear everything in preparation for the houses and gardens of any colonists. The clearing, and ruins, continues to the south and east.\n\nOn the branch you see a nest. This is the first sign of any animal life that you have seen. You wonder if it is empty like everywhere else.\n\n> You examine the nest\nThere must have been a bird here at some stage, but not anymore. It is at least a sign of animal life and maybe the nest is not empty.\n\n> You examine the tree\nThis tree is separate from the jungle at the moment, but will probably be integrated back in soon. A thick branch hangs over where the house used to be.\n\n> You look at the branch\nThis thick low hanging branch is right over where the house used to be. There is a nest on the branch.\n\n> Go east\nThe ashes from the house only cover a small segment of this corner. Weeds and dirt patches cover most of the ground instead, with what looks like the remains of a garden. There is nothing left to tell what was growing here before the fire, as any crops have completely disappeared. Maybe the scientists were not very good gardeners, and there were no crops. However, you think that this is unlikely, as the crops they use on new colonies are virtually unkillable. The clearing, and ruins, continues to the south and west.\n\nAn abandoned metal table on wheels in the garden looks in poor condition, but still useable.\n\n> You get on the table\nYou get onto the table.\n\n> Go upward\nBut you're already on the table.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You examine the house\nThe remains of the house litter the area.\n\n> Down\nYou get off the table.\n\nA large tree dominates this section of the clearing, with a low hanging, yet out of reach, branch above where the house used to be. It would have been just above the roof of a one-storey section of the house. However, it is now only above ashes. This tree must be tough and strong to have survived the chemical process used to create a clearing. The chemicals are supposed to clear everything in preparation for the houses and gardens of any colonists. The clearing, and ruins, continues to the south and east.\n\nA metal table on wheels is here.\n\nOn the branch you see a nest.\n\n> You hit the nest with the shovel\nYou push the nest off the branch with the shovel. It quickly falls down and smashes onto the ground. You get off the table and look inside the remains to find a pink egg, which you take. As you look at the egg, for some reason, you feel an overwhelming hunger coming over you.\n\n> You examine the egg\nThis is a delicious looking bright pink egg.\n\n> You go south\nThe ruins continue in this corner of the clearing. A puddle of leaking water has formed in a hole. It is probably where the water storage for the kitchen and bathroom was located. It has been policy for water to be brought in from off-planet, since an unfortunate incident with an alien species that mainly consisted of water. The wetness of the area seems to have protected the wood a little better here than in the other corners, with a few portions lying on the ground. The clearing, and ruins, continues to the north and east.\n\nIn the remains you see a surprisingly whole piece of wood.\n\n> You look at the wood\n(the piece of wood)\nThis piece of wood is damp, but it has a decent size and weight behind it. It is several feet long and almost looks like a shelf.\n\n> You take it\nTaken.\n\nYou cannot stop your sudden urge to eat the egg for much longer.\n\n> You examine the hole\nThe pool of water in the hole is almost black from the ashes that have been washed into it.\n\n> You eat egg\nYou break open the egg and quickly eat its contents. You are not sure what just possessed you, but you somehow knew that you had to eat the egg. Suddenly you feel strange and fall to the ground.\n\nWhen you finally wake up the world looks different. You soon realise what has happened, but not how.\n\nYOU HAVE BEEN INFECTED BY PINKNESS!\n\nThe world has gone pink. Absolutely everything is coloured with varying shades of pink. Looking down this even includes yourself. This cannot be good.\n\n(Please type \"about\" for further information about the game.)\n\nIn this corner, a puddle of leaking water has formed in a hole. Despite ashes from the ruins having been washed in, the water almost looks drinkable when it is coloured pink. However, it is probably only the colour that is different, so it is not a good idea to try. A few small portions of wood are lying in the pink ashes next to the pool. The clearing, and ruins, continues to the north and east.\n\n> About yourself\nYou look strange, as you are now pink like everything else around here. Pink does not look good on you. It doesn't look good on anything else either to be honest. However, you don't appear to have a choice.\n\n> Inventory\nYou are carrying:\na piece of wood\na shovel\na backpack (being worn and open)\nfive rations\na communicator\n\n> You go to the north\nIn this new world state the large tree is still the main feature of this corner, although it is now pink. So is the low hanging branch that the nest was previously on. With the tree being the same colour as the ground, it is difficult to tell where one starts and the other ends. It is the same for the jungle and the edge of the clearing. If you concentrate, you can see the difference in shading, but if you don't, it looks like the jungle has already swallowed up this area. The clearing, and ruins, continues to the south and east.\n\nA metal table on wheels is here.\n\n> You stand\nYou get off the table.\n\nIn this new world state the large tree is still the main feature of this corner, although it is now pink. So is the low hanging branch that the nest was previously on. With the tree being the same colour as the ground, it is difficult to tell where one starts and the other ends. It is the same for the jungle and the edge of the clearing. If you concentrate, you can see the difference in shading, but if you don't, it looks like the jungle has already swallowed up this area. The clearing, and ruins, continues to the south and east.\n\nA metal table on wheels is here.\n\n> Go southeast\nThere is more to this location than before you ate the egg. It is not just that the ashes, ground, jungle and everywhere else is now coloured pink. It is the fact that there is a tunnel sloping downwards. You are sure that it wasn't there previously. You don't know where it came from, but tunnels do not just appear out of nowhere. However, there used to be more than one colour in the world, so you guess anything is possible here. The clearing, and ruins, continues to the north and west."
    },
    {
        "text": "[Themes: Space Exploration, science fiction]\n\n> Go downwards\nAs you walk down, the world shimmers and returns to normal colours.\n\nYou are standing at the entrance to a laboratory. It looks like it has been regularly used, although not in the last few weeks. The laboratory has not escaped the destruction from above. The floor is cracked, with a long, thin hole leading deep into the earth. The crack extends to the north, but can be easily stepped over. A tunnel slopes upward back towards the surface. The laboratory continues to the north and west.\n\n> You examine the hole\nWhich do you mean, the crack or the tunnel?\n\n> Crack\n(the all-purpose uniform)\nViolence isn't the answer to this one.\n\n> You examine the tunnel\nThe tunnel entrance leads upwards.\n\n> Go north\nA large, rectangular machine takes up most of the space in this corner of the laboratory. It looks like it could be used to mix ingredients and make evil concoctions, or not-so-evil depending on the mood. There is a control panel on the machine's side, with a closed compartment on top. Unfortunately, there are no helpful labels to describe any functions. A crack in the floor extends to the south. The laboratory continues to the south and west.\n\n> You look at the machine\nA closed compartment is visible on top of the mixing machine. The machine can be controlled by either a pink or yellow button situated on a control panel.\n\n> You go west\nThis corner of the laboratory looks more like the mad scientist's lair that you were expecting from a hidden laboratory. There is a workbench, which is covered by various papers and unusual coloured potions. You can just imagine a mad scientist cackling as he or she mixed together potions in crazy experiments throughout the night. A strange device is attached to the workbench, and it has a cable sticking out of it. This corner is less damaged than the rest of the laboratory, which continues to the south and east.\n\n> You look at device\nThis small electronic device is attached to the workbench. There is a screen on the top, with a red button sitting next to it. A cable sticks out of the back of the machine.\n\n> You examine the screen\nThe screen is blank at present.\n\n> Examine button\n(the communicator's button)\nThis button activates the X7ACIO87 communication unit.\n\n> You examine red button\nThe red button is on the device attached to the workbench.\n\n> You examine the cable\nThe cable sticks out from the device on the workbench. The other end is loose.\n\n> You examine the workbench\nThe top of the workbench is a mess, but unlike the rest of the laboratory, it probably is how it was left rather than being caused by the disaster. Within the mess are papers, scattered from one end of the workbench to the other, interspersed with the occasional potion. There is also an unusual device, which is built into the workbench.\n\n> You examine papers\nThe papers on the workbench contain information on many different formulae, but none that explain your situation. However, you do notice references to other papers that you cannot find on the workbench.\n\n> You examine the potions\nThere is a range of brightly coloured liquids, kept in flasks, lying on the workbench. You have no idea what any of them contain, so they will probably not be much use.\n\n> Password\nThe device beeps twice, with a message of \"NO CONNECTION\" flashing up on the screen.\n\n> You examine the screen\nThe screen is blank at present.\n\n> You go south\nIt looks like the laboratory's owner is more of a reader than you, as there is a very large bookcase in this corner. The bookcase is currently empty, but the library is still here, with a high pile of books sitting on the floor in front of the bookcase. The books look like they could be hiding something. Either the owner was careless, or the disaster caused the books to be knocked off the shelves. The titles mainly suggest that the contents of the pile are too technical to be interesting. You suppose finding fictional books would be too much to ask for in a laboratory. The laboratory continues to the north and east.\n\n> Examine books\nThe pile of books almost look like they are covering something. In this pile are scientific texts and research mainly concentrating on the areas of psychology, biology and chemistry. You do not have time to place these books back in the shelves, so they are going to have to stay on the floor for now.\n\n> You search the books\nYou move the books slightly to reveal a heavy metal chest.\n\n> You look at the chest\nThe metal chest looks very heavy and secure. It is closed, with no obvious way to open it, apart from a socket on the lid.\n\n> You examine the socket\nThis socket is on the lid of the chest.\n\n> You take the cable\nTaken.\n\n> You put the cable in the socket\nYou plug the cable into the socket.\n\n> Pink\nThe device beeps once, with a message of \"INVALID PASSWORD\" flashing up on the screen.\n\n> You examine communicator\nThere is a button on the X7ACIO87 communication unit, so you can talk to the ship via the communicator.\n\n> Go south\nIt looks like the laboratory's owner is more of a reader than you, as there is a very large bookcase in this corner. The bookcase is currently empty, but the library is still here, with a high pile of books sitting on the floor in front of the bookcase. Either the owner was careless, or the disaster caused the books to be knocked off the shelves. The titles mainly suggest that the contents of the pile are too technical to be interesting. You suppose finding fictional books would be too much to ask for in a laboratory. The laboratory continues to the north and east.\n\n> You move the bookcase\nThe bookcase is too heavy to move.\n\n> You look at it\nThe bookcase is now empty of the books previously shelved in it. It covers most of the western wall in this corner.\n\n> You read the books\nYou pick up a book and read the title; \"Not Neurological\". You do not have time to read it, so you put it back down.\n\n> You keep going\nYou pick up a book and read the title; \"The Chemistry of Elements\". You do not have time to read it, so you put it back down.\n\n> Continue\nYou pick up a book and read the title; \"Easy Personality Profiling\". You do not have time to read it, so you put it back down.\n\n> Go east\nYou are standing at the entrance to a laboratory. It looks like it has been regularly used, although not in the last few weeks. The laboratory has not escaped the destruction from above. The floor is cracked, with a long, thin hole leading deep into the earth. The crack extends to the north, but can be easily stepped over. A tunnel slopes upward back towards the surface. The laboratory continues to the north and west.\n\n> Go upwards\nAs you walk back up, the world shimmers and returns to being all pink.\n\nThere is more to this location than before you ate the egg. It is not just that the ashes, ground, jungle and everywhere else is now coloured pink. It is the fact that there is a tunnel sloping downwards. You are sure that it wasn't there previously. You don't know where it came from, but tunnels do not just appear out of nowhere. However, there used to be more than one colour in the world, so you guess anything is possible here. The clearing, and ruins, continues to the north and west.\n\n> Go north\nIt looks like a garden should fill most of this corner, but there are only weeds where there should be crops. However, you have to look carefully to notice this, as the weeds are more indistinguishable from whatever should be in the garden when they are coloured pink. Everything is actually a lot more indistinguishable to be honest. It is difficult to tell the ashes from the dirt patches, with the clearing looking a lot less damaged when in pink. The clearing, and ruins, continues to the south and west.\n\nA diary is lying on the ground.\n\n> You take the diary\nTaken.\n\n> You examine it\nThis diary is bound within a pink cover and belongs to one of the scientists. Luckily, the text is in a dark shade of pink when compared to the background.\n\n> You read the diary\nThe diary belonged to one of the scientists, Dr. Mark Simmons. Most of the entries are filled with jargon and scientific data, which may be interesting to people back at the ship, but not to you. However, the last entry, which is dated several weeks ago, is different:\n\n...I don't know why, but the world has suddenly become crazy. Everything was fine yesterday (apart from my usual complaint that with the increasing periods of absence for James, I have been forced away from my studies too much). However, today everyone and everything seems to have gone insane. At the moment I am hiding in the jungle away from the madness. I think I will go back soon though. No, I won't. Maybe. The only thing stopping me is this writing. I have to keep writing to stop the temptation. The need. No, it is not a need. I am stronger than this. Maybe if I write what I know, then it will satisfy the craving. Maybe I shouldn't though, as I need to forget. No, I can't forget or think of anything else. I need to figure out what is going on.\n\nWhat I know, my diary, is that it all started this morning. It started with Jane. She has been acting strangely in recent days, almost paranoid whenever anyone approaches her. I have been avoiding the issue, as this is not my specialty. If James had been there, he would have known what to do. He is always good with the psychological aspects. He couldn't have helped this morning. I have never seen anything like it before. Jane was coloured bright pink. Yes, bright pink. Maybe she was infected with some local disease. I don't know. It seems likely though, as I cannot think of any other explanation. She looked strange, but she looked beautiful, irresistible even. She has always been attractive, but even more so today. Right now, I can't explain how this is true. I only know that it is. She seemed in a daze, mumbling something about how the \"PSYCHE\" was the key. The key to what, I don't know.\n\nWhat happened next? I was walking over to treat her condition. Yes, treat her condition. That's why, I think. Anyway, one of the junior scientists, Simon, reached her first. He kissed her. He actually kissed her. And she did not just slap and reject him. I don't understand. Why wasn't it me? I saw Simon change before my eyes. There were ripples in the air, almost like the air was as thick as water. But it isn't. But it was. Simon turned pink as well. I saw ecstasy in his eyes. Or was it just a love of life. I don't know. I didn't stay. I'm ashamed to say that I ran. I shouldn't be too ashamed though, as it is the only reason I am here.\n\nI admit that I have gone back once. I saw everyone standing in a circle holding hands. They were all pink. All of them except me. And maybe James. I didn't see him there. They then just disappeared. They vanished and I don't know where. I noticed that the house was burning. Someone must have left something on. It was too late. It is still too late. Everyone is gone, and the pinkness has not disappeared. I noticed in the garden that the fruit had gone pink as well. There were pink native flies, which have blighted our crops, but now it did not seem to matter. Animals were moving in from all directions to eat. I feel no better than those animals at the moment.\n\nI can't go back, but I need food. And that food is the only food I know. Maybe it will be all right by now. I hope so. I'll just have a quick look...\n\n> You go to the south\nThere is more to this location than before you ate the egg. It is not just that the ashes, ground, jungle and everywhere else is now coloured pink. It is the fact that there is a tunnel sloping downwards. You are sure that it wasn't there previously. You don't know where it came from, but tunnels do not just appear out of nowhere. However, there used to be more than one colour in the world, so you guess anything is possible here. The clearing, and ruins, continues to the north and west."
    },
    {
        "text": "[Themes: Space Exploration, science fiction]\n\n> Go downwards\nAs you walk down, the world shimmers and returns to normal colours.\n\nYou are standing at the entrance to a laboratory. It looks like it has been regularly used, although not in the last few weeks. The laboratory has not escaped the destruction from above. The floor is cracked, with a long, thin hole leading deep into the earth. The crack extends to the north, but can be easily stepped over. A tunnel slopes upward back towards the surface. The laboratory continues to the north and west.\n\n> Go northwest\nThis corner of the laboratory looks more like the mad scientist's lair that you were expecting from a hidden laboratory. There is a workbench, which is covered by various papers and unusual coloured potions. You can just imagine a mad scientist cackling as he or she mixed together potions in crazy experiments throughout the night. A strange device is attached to the workbench, and it has a cable sticking out of it. This corner is less damaged than the rest of the laboratory, which continues to the south and east.\n\nYou can see a heavy metal chest (which is closed) here.\n\n> Psyche\n\"ACCEPTED\" flashes up on the screen. The chest then pops open, with the cable being pulled out by the lid's movement. Inside the chest you find some notes, a gold watch, a silver bracelet, a black potion and an iron nail. You take all of these items and glance through the notes.\n\nReading through the notes, a few comments stick out:\n\n...She doesn't like me. I don't understand why, but she doesn't like me. That has never happened to me before, and I will not allow it to happen now...\n\n...I have developed a new project called \"Eros\". No one else knows about it and I need someplace secret so no one will find out about it in the future. Funding is not an issue, as being the leader of this settlement makes it easy to divert funds. The aim of this project is to shift reality. If Jane will not like me in this reality maybe I can shift us slightly to a reality where she will...\n\n...With my previous research and a native substance called Kahrz, I have developed the love potion. It has some strange effects that I have discovered by trying it out on myself. The new reality looks strangely pink, but I don't need the new reality to be perfect, I only need it to work. Love does not seem to be the only emotion amplified. The perception of reality changes on any strong emotions. One advantage from having a shifted reality is that it has provided an excellent hiding spot for a laboratory to develop the potion without any distractions...\n\n...I now have a machine to develop both the potion and the antidote. To generate the antidote I need to firstly add silver, iron, Vitamin X, Vitamin Y, Vitamin Z and Kahrz. The machine will remove any impurities from the mixture. After pressing the pink button again to mix the ingredients I open the machine for a second time with the yellow button and add some gold...\n\n...The potion is still not perfect, but I am running out of time before I have no more Kahrz. I have decided to start the next stage. I administered the potion to Jane's drink this morning, and took some myself. She has to meet me very soon now, and I will see the results. I will make a new batch of the antidote and administer it after we are finished...\n\n...I have a problem. I have collected some of the ingredients in my chest, but I cannot complete the recipe. I have been using the vitamin supplements from upstairs for the antidotes, but I just found out that native animals raided our supply last night and ate them all. There won't be any more until the next ship arrives. I guess I am now going to find out what happens when there is long exposure to the potion...\n\n...Jane is gone who knows where and I've almost left this reality several times. This laboratory is breaking up around me. I think this is the end of my time here. It is too late to get any help. Too late...\n\n> Examine ration\nEach standard ration contains every vitamin, mineral and whatever else you need to stay healthy. Obviously taste is not a necessary component of healthiness though.\n\n> Inventory\nYou are carrying:\na silver bracelet\na flask of Kahrz\nan iron nail\na gold watch\nsome notes\na diary\na communicator\na piece of wood\na scythe\na backpack (being worn and open)\nfive rations\n\n> You examine flask\n(the flask of Kahrz)\nThis black potion is known as Kahrz according to the notes. It is a substance taken from one of the native animals on this planet.\n\n> Go east\nA large, rectangular machine takes up most of the space in this corner of the laboratory. It looks like it could be used to mix ingredients and make evil concoctions, or not-so-evil depending on the mood. There is a control panel on the machine's side, with an open compartment on top. Unfortunately, there are no helpful labels to describe any functions. A crack in the floor extends to the south. The laboratory continues to the south and west.\n\n> You put the silver in the machine\nYou put the silver bracelet into the compartment.\n\n> You put the iron in the machine\nYou put the iron nail into the compartment.\n\n> You put the ration in the machine\n(the ration in the mixing machine)\nYou put the ration into the compartment.\n\n> You put Kahrz in machine\nYou put the flask of Kahrz into the compartment.\n\n> You put the gold in the machine\nYou begin to put the gold watch in the machine, but suddenly the ground rumbles beneath you. You drop the gold watch in surprise and it slips down the crack. You can see it hanging off a ledge, almost within arm's reach. Unfortunately the crack is not wide enough though.\n\n> You examine the gold\nThe watch no longer seems to be working, with the date stopped several weeks back. It has a gold case and strap. The strap is missing a few links and is no longer wearable.\n\n> You turn the dial\nYou turn the dial and the scythe turns into a utility tool.\n\n> You continue\nYou turn the dial and the utility tool turns into a shovel.\n\n> You dig the crack with the shovel\nYou dig with the shovel to widen the crack, so you can reach in and grab the gold watch. However, when you do try to reach in, it does not go as planned. The ground suddenly rumbles again, and knocks you off balance to send you tumbling into the deep hole.\n\nYou fall and fall until you smack into the ground. The impact knocks you unconscious.\n\nWhen you wake up, lying on the ground, everything has changed again. You are on a new world, which is almost cartoonish. The sky is pink and you wonder if you are dreaming. It is probably the continuing effects of the potion though. As you look around, you suddenly notice that you are no longer carrying anything.\n\nThe base of the Red Tower (on the ground)\nTo the south a very tall tower reaches up into the pink sky, with the man-made structure providing a counterpoint to the surrounding forest and mountains. Near the top of the tower you can see an open window. The tower must be dark and airless, as the only other visible opening is a large set of closed wooden doors, which block the entrance into the tower. A path leads to the north.\n\n> You examine the gargoyle\nOn first glance the gargoyle looks monstrous, with a fierce facial expression and large wings, but when you notice that he is wearing glasses, he looks less intimidating. You think that he is made of stone, but he is clearly alive, so you are not sure. The gargoyle has not stopped staring at you since you first appeared.\n\n> You ask the gargoyle about Tower\nTo talk to someone or something, please type TALK TO OBJECT.\n\n> You talk to the gargoyle\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where am I?\"\n(3) \"Why won't you let me in the tower?\"\n(4) \"Who was the golden-haired lady?\"\n(5) \"Isn't guard duty boring?\"\n(6) \"Would you accept any bribes?\"\n(7) \"Why do you need glasses?\"\n(8) \"Goodbye.\"\n\n> 1\n\"All you need to know about me is that it is my duty to stop anyone from entering this tower. You don't even need to know my name, as I gave it up long ago to dedicate myself to this job. I am very diligent in my duty.\"\n\nWhat would you like to say?\n(1) \"Where am I?\"\n(2) \"Why won't you let me in the tower?\"\n(3) \"Who was the golden-haired lady?\"\n(4) \"Isn't guard duty boring?\"\n(5) \"Would you accept any bribes?\"\n(6) \"Why do you need glasses?\"\n(7) \"Goodbye.\"\n\n> 1\n\"You are standing in front of the Red Tower. If you want to know in more general terms, you are here in this province. It is not named, it just is.\"\n\nWhat would you like to say?\n(1) \"Why won't you let me in the tower?\"\n(2) \"Who was the golden-haired lady?\"\n(3) \"Isn't guard duty boring?\"\n(4) \"Would you accept any bribes?\"\n(5) \"Why do you need glasses?\"\n(6) \"Goodbye.\"\n\n> 1\n\"The Red Tower is not a place for mortals to walk through. It is a cursed place, as reality is thinner inside. People who enter rarely come out the same. I think I entered a long time ago, but I do not remember fully. I would never enter now, and no one else will either.\"\n\nWhat would you like to say?\n(1) \"Who was the golden-haired lady?\"\n(2) \"Isn't guard duty boring?\"\n(3) \"Would you accept any bribes?\"\n(4) \"Why do you need glasses?\"\n(5) \"Goodbye.\"\n\n> 1\n\"You mean the inhabitant of the tower. I do not know anything about her. It is not my business to know. It is only my business to be the guard of this tower. Other concerns are for other people.\"\n\nWhat would you like to say?\n(1) \"Isn't guard duty boring?\"\n(2) \"Would you accept any bribes?\"\n(3) \"Why do you need glasses?\"\n(4) \"Goodbye.\"\n\n> 1\n\"No, I find it rewarding. I have become used to maintaining my concentration. I like being successful, and I always spot people like you who are thinking of entering.\"\n\nWhat would you like to say?\n(1) \"Would you accept any bribes?\"\n(2) \"Why do you need glasses?\"\n(3) \"Goodbye.\"\n\n> 1\n\"No! I am dedicated to this job. I will admit though that I really like how that Amulet of Air worn by the shopkeeper looks.\"\n\nWhat would you like to say?\n(1) \"Why do you need glasses?\"\n(2) \"What do you know about the Amulet of Air?\"\n(3) \"Goodbye.\"\n\n> 1\n\"Why do you think? My eyesight is not as good as I would like it to be. You don't think I am wearing them for fun, do you?\"\n\nWhat would you like to say?\n(1) \"What do you know about the Amulet of Air?\"\n(2) \"Goodbye.\"\n\n> 1\n\"I don't know much. I just saw it once and really liked it. You should go ask the shopkeeper, if you want to know more, as he's the one who owns it.\"\n\nWhat would you like to say?\n(1) \"Goodbye.\"\n\n> You look at Tower\nThis is a very tall tower, with only a window near the top and a door next to you, breaking up the solid red walls.\n\nThe gargoyle's unwavering stare is beginning to unsettle you.\n\n> You look at the glasses\nThe gargoyle is surprisingly wearing glasses. You did not know that stone creatures could have trouble with their eyesight.\n\n> You examine doors\nThe two closed doors are the entrance to the tower. The doors are large and much taller than your height.\n\n> You go north\nThe boulder, at the base of a hill\nYou are standing at the base of a hill, which you can climb to the north. The undulating, grassy Arcadia almost makes you feel poetic, although your favoured style of limericks does not really fit the mold. A boulder, sitting in the middle of the path leading from the south, diverts the path around it and the hill to the northeast and northwest.\n\nYou suddenly remember that you were searching for a gold watch, and you have just seen a golden-haired Princess. Are they the same, although does it even matter if they are? This is a new reality, you think. You hope it isn't a hallucination.\n\nSticking out of the boulder is a sword hilt.\n\n> You examine hilt\nThis is a simple, unadorned hilt. You vaguely remember legends of magical swords in stones, but not clearly. You wonder if your subconscious is shaping this world or not.\n\n> You take it\nYou pull on the sword and it slides out easily. As the sword is withdrawn from the rock, you hear a strange melody, which builds to a crescendo when the sword is finally out. The hole in the boulder closes up again, after the sword is removed. That was very strange, but at least you have the sword now.\n\n> You look at the sword\nThe sword does not look very effective. The blade is blunt and the overall design is much more simple than you expected from your knowledge about legendary swords in stones.\n\n> You look at the boulder\nThe large boulder is the most distinctive feature of this location, sitting in the centre of the three diverging parts of the path. There do not appear to be many other rocks around, so you are not sure why the boulder is here. You don't think it is a natural occurrence, but who put it here?\n\n> Go northwest\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. Unfortunately the pipe is leaking heavily at the moment and most of the water is instead rolling back into the lake. The lake is slowly expanding due to the pump not working adequately and the river flowing aggressively. The river's speed means that it is impossible for you to swim north. Next to the pump is a closed chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\nA dolphin appears from beneath the lake's surface. He looks at you and almost beckons you to follow, as he dives back underneath.\n\n> You examine the chest\nA chest is sitting next to the pump and it is currently closed.\n\n> You open it\nYou open the chest, revealing an oxygen tank and a hose.\n\n> You look at tank\nThe oxygen tank is useful for when you need to breathe in places with no air. It has a tube, which can be attached to a helmet.\n\n> You look at the hose\nThe hose could be attached to a tap to direct the water's movement.\n\n> You examine the pump\nThe machinery of the pump removes water from the lake, and pumps it through the pipe.\n\nA dolphin appears from beneath the lake's surface. He looks at you and almost beckons you to follow, as he dives back underneath.\n\n> You examine the pipe\nThe pipe travels from the machine to underground. Above the ground a joint on the pipe is loose and lots of water is leaking out.\n\n> You go to the northwest\nA steep cliff marks the start of the mountain range to the west. The mountains continue to the north and south, with no path through above ground in sight. There is a cave in the west cliff wall that may provide a path underground. The cave does not look too dark, as a faint light emanates inside, although you cannot make out any details. You are glad that you are not claustrophobic, although you are not fond of dark holes ever since you had to hide in one on your last mission. A path curves around a water tank, passing from the northeast to the southeast. The water tank has a tap on one side, with a sign above it saying \"Area Water Storage\".\n\nOn close inspection the cave entrance unfortunately reminds you more and more of the cave from your last mission.\n\n> You look at the tank\nThe tank is labeled \"Area Water Storage\" and it has pipes sticking out of it. The pipes head underground in both the northeast and southeast directions. You guess that the creatures around here get their water via the lake.\n\n> You turn the tap\nYou turn the tap on, but no water comes out. The tank must be empty.\n\n> You turn tap off\nThe tap is already off.\n\n> You look at the cave\nYou can see that the cave heads deep into the mountains. Inside the entrance are some rock formations such as stalagmites and stalactites. The way the cave is situated within the cliff and the shape of the entrance reminds you of a cave from your last mission. Walking into that cave when you were retreating temporarily, you were almost burned alive by a fire trap set for the bugs. Luckily you were the wrong shape and avoided most of the damage. Once behind the trap you had a chance to rest up and formulate a strategy that you used to defeat several swarms. However, staying inside the cramped darkness for a long period was an experience you would not like to repeat.\n\n> Go northeast\nThe bridge, over the river\nA river flows from the mountains in the north to a lake in the south. The water is clear and rushes swiftly underneath the wooden bridge that you are standing on. The speed of the water means that without the bridge you would not be able to get across. A path from the northeast to the southwest travels over the bridge. A hill is to the southeast. Next to the bridge on the river's western side, a fruit tree is surrounded by a pile of sharp rocks. There is no fruit left in the tree, but the remains of the past fruit can be found stuck on the rocks.\n\nA small bird lands and attempts to get the fruit, but it is immediately forced into the air by the sharpness of the rocks underneath it. You feel sorry for the bird and think that there is something odd about the situation.\n\n> You look at the tree\nYou can tell that this is a fruit tree by the fruit lying underneath it, but it is difficult for you to tell what kind of fruit it is. The fruit is orange and purple, and you have never seen it before. You wish one of the colonists were here to help identify the fruit.\n\n> You examine the rocks\nThe pile of sharp rocks surrounds the base of the fruit tree. The remains of some fruit from the tree are stuck to the pile.\n\n> Examine remains\nThe remains of the fruit are on the sharp rocks below the tree.\n\n> You take the remains\nYou do not need the fruit.\n\nAnother small bird, trying to get the fruit, lands on the rocks. The bird takes off straight after landing, as the rocks are too sharp underneath it.\n\n> You move the rocks\nYou can pick up rocks, but moving the whole pile is too difficult.\n\n> You look at what you're carrying with you\nYou are carrying:\na small sharp rock\na sword\n\n> You examine the river\nThe river is moving swiftly from the north to the south under the bridge. Unlike many rivers you have seen on other planets, the relative primitiveness here has meant that the river has been left far cleaner and more attractive to look at.\n\n> You look at the lake\nYou can see that the river heads to a lake to the south.\n\n> You examine bridge\nThis is a sturdy wooden bridge, which crosses over the river.\n\nAnother small bird, trying to get the fruit, lands on the rocks. The bird takes off straight after landing, as the rocks are too sharp underneath it.\n\n> You examine the bridge\nThis is a sturdy wooden bridge, which crosses over the river.\n\n> You examine the hill\nA hill rises to the southeast of your location.\n\n> You go to the southeast\nThe top of this hill, is a good vantage point, as you can see everywhere from here. Luckily, as you do not want to walk too far, the area surrounding the hill is not that large. It is enclosed by a forest, which you cannot see the end of, to the east, and a mountain range, which you cannot see over, to the west. The two extremes meet at the north and south points of the area. In between you can see a farm to the east, a cave to the west, the Red Tower to the south and a shop to the north. A blanket of grass covers the whole hill, although the grass at the top does look a little flattened.\n\nThe white rabbit is hopping around the area.\n\nThe white rabbit bounds up to you and asks, \"Who are you? Come on, you can tell me. Are you from nearby? Are you rich? Are you hungry? Give me some answers now!\"\n\nWhat would you like to say?\n(1) \"I am an explorer from a spaceship, who somehow made it to here.\" (2) \"I am a rich royal from another land.\"\n(3) \"It is none of your business!\"\n(4) \"Yes, I am hungry.\"\n\n> 1\n\"So, you are an alien. You do look funny. Where are your long ears? Are you going to experiment on me? You don't want to. Are you really an alien? I'm not sure. You don't look funny enough. Shouldn't you be green or something.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You examine the rabbit\nThe white rabbit is very exuberant and is hopping crazily in strange patterns around the area. He looks very hyperactive, as he cannot seem to stop moving. Just watching him begins to give you a headache.\n\nThe white rabbit is wearing a four leaf clover.\n\n> You talk to the rabbit\nYou call the rabbit over to you.\n\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where am I?\"\n(3) \"Do you want to take a break?\"\n\n> 2\n\"Look around. You can see everything from here. Not everything in this province, but everything in this area. I have not left for a while, so I cannot say what else is around. You should look for yourself.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You talk to the rabbit\nYou call the rabbit over to you.\n\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where did you get the four leaf clover?\"\n(3) \"Do you want to take a break?\"\n\n> 2\n\"This clover was a present. It was given to me when I was young. That was a while ago. I was happier back then. The clover reminds me of when I was happier. Now I just feel lost. Hopefully, the clover will bring good luck, so I can find my way.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You talk to the rabbit\nYou call the rabbit over to you.\n\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Do you want to take a break?\"\n(3) \"Go away!\"\n\n> 1\n\"I'm not sure anymore. I just don't know. I know I'm in a hurry. I'm a white rabbit now, but was I always this way. I must have been.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You talk to the rabbit\nYou call the rabbit over to you.\n\nWhat would you like to say?\n(1) \"Why are you hopping around here?\"\n(2) \"Do you want to take a break?\"\n(3) \"Go away!\"\n\n> 1\n\"I'm looking for something. Or someone. Or somewhere. I don't know, but I think it is here. I hope. Maybe I can see it from here. I used to be able to focus, but not anymore. Ever since the War, I just cannot think straight.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You talk to the rabbit\nYou call the rabbit over to you.\n\nWhat would you like to say?\n(1) \"Do you want to take a break?\"\n(2) \"What happened in the War?\"\n(3) \"Go away!\"\n\n> 2\n\"I don't know. I don't remember. I don't want to remember.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\nThe white rabbit bounds up to you again, in order to start a conversation.\n\nWhat would you like to say?\n(1) \"Do you want to take a break?\"\n(2) \"Go away!\"\n\n> 1\n\"I could use a break, but not yet. I am not that tired. A snack might be nice though. Not that I have any food to eat. The carrots in the shop look nice though.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> Go north\nThe shop entrance, at the base of a hill\nThe paths from the southeast and southwest intersect at a shop. A sign hangs over the shop's entrance to the north, proclaiming it as \"Stegosaurus Supplies\". You can climb the hill to the south, after walking past a sculpture. The sculpture is labeled as \"Man on Bird\", and it is life-size in scale. At least the man is life-size, and you did not know that birds could be that big. The man is armed with a lance and a shield, although he looks very close to dropping the shield. A regular ear-splitting screech emanating from the bird is threatening to give you a headache. A flash of light catches your attention from under the bird.\n\n> You look at the light\nThere is a small closed door, which is coloured gold and sits on the underside of the bird.\n\n> You open the gold door\nIt seems to be locked.\n\n> You take the shield\n(first climbing the ladder that is attached to the side of the sculpture)\nYou pull the shield loose from the man's grasp. You then climb back down to the ground.\n\n> You look at the shield\nThis shield looks very effective and solid. It might even be possible to use it as an actual shield.\n\n> You examine the sculpture\nA label at the base of the statue says \"Man on Bird\", which is an accurate description of what you are seeing. The man is armed with a lance, and he looks ready for battle on the giant bird. You wonder whom he was battling. That is, of course, if this is a historically motivated rather than an artistically motivated sculpture. It is difficult to tell when you have not been in this land for long. On close inspection you notice a ladder built into the side of the bird.\n\n> You go north\nThis shop is almost empty. Business looks to have been very bad, as the heavy and undisturbed layer of dust means that no stock has been sold here for too long. On the eastern side are shelves, which only contain a few books and a tin of blue paint. On the western side is a table of food, on which small piles of carrots, mulberry tree leaves and steak sit. The glass counter looks a bit more full and houses some shiny objects, with the most eye-catching being a gold key, a silver wrench and a bronze diving helmet. A sign is next to these objects. The only exit is back to the south.\n\nThe Stegosaurus is standing behind the counter. He is wearing the Amulet of Air.\n\n> You read the sign\nWhat would a store be without exciting looking items at the counter to catch your attention for last-minute purchases? The shininess works well here in attracting your attention to a gold key, a silver wrench and a bronze diving helmet. A sign next to the items says \"Special Lucky Offer Available Now!\".\n\n> You look at the stegosaur\nIt is lucky that there is plenty of room behind this counter, as otherwise the Stegosaurus would not fit. In fact it looks like there is more store behind than in front of the counter. Despite his large size, the Stegosaurus does look helpful, although a little worried, which is probably due to the lack of business at this store. He is wearing the Amulet of Air.\n\n> You examine Amulet\nThe Amulet of Air is made of pumice. The head of the Princess you saw earlier is carved into the shape of the amulet. A cord allows the amulet to be worn around someone's neck.\n\n> You talk to the stegosaur\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where am I?\"\n(3) \"How is the business going?\"\n(4) \"What is the special lucky offer?\"\n(5) \"Can I have the Amulet of Air?\"\n(6) \"What are the Amulets?\"\n(7) \"Goodbye.\"\n\n> 1\n\"I am the owner of this store and, in case you can't figure it out, I am a dinosaur. I am unique around here, as dinosaurs are extinct. I must have been so lucky in surviving that I have only been unlucky since.\"\n\nWhat would you like to say?\n(1) \"Where am I?\"\n(2) \"How is the business going?\"\n(3) \"What is the special lucky offer?\"\n(4) \"Can I have the Amulet of Air?\"\n(5) \"What are the Amulets?\"\n(6) \"Goodbye.\"\n\n> 1\n\"You are standing in my store, so hopefully you are a customer. There aren't that many other customers left around here, as this region has been abandoned by many creatures in recent times.\"\n\nWhat would you like to say?\n(1) \"How is the business going?\"\n(2) \"What is the special lucky offer?\"\n(3) \"Can I have the Amulet of Air?\"\n(4) \"What are the Amulets?\"\n(5) \"Goodbye.\"\n\n> 1\n\"Business has been poor since the War. The strange thing is that no one can really remember what happened during or before the War. I don't even know whether we won or lost, apart from that I think everyone lost. There was too much magic and it has had strange effects on everything. The only thing I remember is that the Princess became locked in the Red Tower late in the War. The Red Tower has been affected most by the magic and is not a safe place to enter. No one dares go there to let the Princess out. This shop used to house a lot more products, so there have to have been more creatures, but I guess too many creatures died or left this area.\"\n\nWhat would you like to say?\n(1) \"What is the special lucky offer?\"\n(2) \"Can I have the Amulet of Air?\"\n(3) \"What are the Amulets?\"\n(4) \"Goodbye.\"\n\n> 1\n\"The special lucky offer is that I am willing to trade any of these items in this counter for a lucky item. Dinosaurs became extinct a long while ago, yet here I am. I don't know how, but I do know I must have used up all my luck in surviving, as this shop has been a disaster. So, if you give me a four leaf clover, horseshoe, rabbit's foot, or so on, then you can have one of these items. That is not all though, as I will swap whatever you take for any of the items remaining, if you later change your mind.\"\n\nWhat would you like to say?\n(1) \"Can I have the Amulet of Air?\"\n(2) \"What are the Amulets?\"\n(3) \"Goodbye.\"\n\n> 1\n\"No! This Amulet is mine, and I like it. I am not going to give it away. Not cheaply anyway. I am not willing to trade it for one of the other Amulets, but if you give me two of them, then I will consider it. I think most of the other residents in this area have found an Amulet at some stage.\"\n\nWhat would you like to say?\n(1) \"What are the Amulets?\"\n(2) \"Goodbye.\"\n\n> 1\n\"There are four Amulets for Air, Earth, Fire and Water. I don't know how, but they appeared at the end of the War, and I think they are related to the Princess in some way. They are made in her image, so that is a fairly safe assumption. I don't think there is any magic in them, but it could be just that I cannot access it. I'm told that the Amulets appeal most to creatures with affinities to the elements. I couldn't tell you for sure though.\"\n\nWhat would you like to say?\n(1) \"Goodbye.\"\n\n> You take the carrot\nWhen you reach for the food, the shopkeeper says, \"You would need money to pay for that, and I do not think that you have any. We do have a special lucky offer on the items in the counter though.\"\n\nThe shopkeeper tells you, \"Take your time in looking around.\"\n\n> You look at the carrot\nThere is not much of a range of food here, but what is here does look new. At least these items look like they sell more regularly. The few items piled on the table include carrots, mulberry tree leaves and steak.\n\n> You look at helmet\nThe bronze helmet could be used for diving underwater, if it is attached to an oxygen tank.\n\n> You look at key\nThis small key is golden coloured.\n\n> You examine the wrench\nThe silver wrench looks a useful tool for tightening or loosening objects.\n\n> Go south\nThe shop entrance, at the base of a hill\nThe paths from the southeast and southwest intersect at a shop. A sign hangs over the shop's entrance to the north, proclaiming it as \"Stegosaurus Supplies\". You can climb the hill to the south, after walking past a sculpture. The sculpture is labeled as \"Man on Bird\", and it is life-size in scale. At least the man is life-size, and you did not know that birds could be that big. The man is armed with a lance. A regular ear-splitting screech emanating from the bird is threatening to give you a headache. There is a small gold door in the underside of the bird.\n\n> Go southeast\nThe field, on the farm\nThis section of the farm has a fenced off field, which is full of carrot plants. There is no access to the field, but there is a mechanical dog inside in the northeast corner. The metal on the dog is no longer shiny, and is in fact a little rusty. Next to the southwest corner is a machine with a funnel on top and a control panel on its side. A pipe leads from the machine to the southern wall. There is an open door in the wall as well. A path leads from the southeast to the northwest. A hill can be climbed to the southwest.\n\n> You examine the dog\nYou can see that the mechanical dog has the name Rover written on its side. You wonder why it has a name, when no one else seems to. The dog is made of metal, although this metal is no longer new and shiny. It has been neglected and is rusty in places. There is a basket on the dog's back. The dog is standing still, waiting for its next command. It is currently in the northeast corner of the field.\n\n> You examine basket\nThe basket on the dog's back is empty.\n\n> You look at the plants\nThe carrot plants in the field can presumably be harvested to get carrots.\n\n> You look at the machine\nThere is a machine attached to the fence in the southwest corner of the field. The machine has a funnel on top and a control panel on one side. The panel has two buttons and a dial on it. A pipe leads from the machine to the southern wall.\n\n> You examine the panel\nThe control panel has two buttons, one labeled dig and the other labeled empty. There is also a dial. The dial is currently centred, and can be turned to CL1 or CL2 on one side, and CCL1 or CCL2 on the other side.\n\n> You look at the pipe\nOne end of the pipe is attached to the machine. The pipe then progresses until it enters the wall to the south.\n\n> You examine the wall\nThe wall to the south contains a door and is part of a shelter.\n\n> You look at the door\nThis door allows access from the field for the farm to the shelter. It is currently open.\n\n> You go to the east\nA forest blocks your progress in that direction.\n\n> Go south\nThe shelter, on the farm\nYou are standing under a shelter, with the roof and northern wall protecting a pile of carrots. The end of a pipe is on the wall above the pile. Strangely there is also a container under the shelter labeled poison, which has a green liquid bubbling out of it. It does not seem to fit the mood of the place, and almost blurs out of your vision occasionally. There is an open door in the northern wall, with a path also progressing from the southwest to the northeast. The hill can be climbed to the northwest.\n\n> You examine the liquid\nYou can tell that the poison is out of place, but you are not really sure why. You wonder if you are fully happy with this reality, or if your doubts are changing it. Whatever the reason for the poison, it definitely looks deadly.\n\n> You look at the carrots\nThis is a huge pile of carrots under the shelter. It must be the main vegetable produced on the farm. In fact it looks like the only product.\n\n> Smell the carrot\n(the pile of carrots)\nYou smell nothing unexpected.\n\n> Go southwest\nThe boulder, at the base of a hill\nYou are standing at the base of a hill, which you can climb to the north. The undulating, grassy Arcadia almost makes you feel poetic, although your favoured style of limericks does not really fit the mold. A boulder, sitting in the middle of the path leading from the south, diverts the path around it and the hill to the northeast and northwest.\n\n> Go northeast\nThe shelter, on the farm\nYou are standing under a shelter, with the roof and northern wall protecting a pile of carrots. The end of a pipe is on the wall above the pile. Strangely there is also a container under the shelter labeled poison, which has a green liquid bubbling out of it. It does not seem to fit the mood of the place, and almost blurs out of your vision occasionally. There is an open door in the northern wall, with a path also progressing from the southwest to the northeast. The hill can be climbed to the northwest.\n\n> You go to the west\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. Unfortunately the pipe is leaking heavily at the moment and most of the water is instead rolling back into the lake. The lake is slowly expanding due to the pump not working adequately and the river flowing aggressively. The river's speed means that it is impossible for you to swim north. Next to the pump is an open chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\n> Go northeast\nThe top of this hill, is a good vantage point, as you can see everywhere from here. Luckily, as you do not want to walk too far, the area surrounding the hill is not that large. It is enclosed by a forest, which you cannot see the end of, to the east, and a mountain range, which you cannot see over, to the west. The two extremes meet at the north and south points of the area. In between you can see a farm to the east, a cave to the west, the Red Tower to the south and a shop to the north. A blanket of grass covers the whole hill, although the grass at the top does look a little flattened.\n\nThe white rabbit is hopping around the area.\n\nThe white rabbit bounds up to you again, in order to start a conversation.\n\nWhat would you like to say?\n(1) \"Why don't you just take the carrots from the shop?\"\n(2) \"Go away!\"\n\n> 1\n\"I have no money. That would be stealing. I'm not a bad rabbit. I'm a good rabbit. Don't even suggest that.\"\n\nThe rabbit becomes distracted, and begins hopping around the area again.\n\n> You give the carrot to the rabbit\nThe white rabbit looks surprised at your offering, but he gratefully takes it. The rabbit quickly eats all of the carrot, but immediately afterwards he yawns widely. He thanks you and gives you his lucky four leaf clover as a reward, before lying down on the ground and going to sleep. It is the first time that you have seen him peaceful, and you hope that he can get some good rest.\n\n> You take the rabbit\nThe rabbit looks tired, so you decide to let him sleep.\n\n> You go north\nThe shop entrance, at the base of a hill\nThe paths from the southeast and southwest intersect at a shop. A sign hangs over the shop's entrance to the north, proclaiming it as \"Stegosaurus Supplies\". You can climb the hill to the south, after walking past a sculpture. The sculpture is labeled as \"Man on Bird\", and it is life-size in scale. At least the man is life-size, and you did not know that birds could be that big. The man is armed with a lance. A regular ear-splitting screech emanating from the bird is threatening to give you a headache. There is a small gold door in the underside of the bird.\n\n> You go north\nThis shop is almost empty. Business looks to have been very bad, as the heavy and undisturbed layer of dust means that no stock has been sold here for too long. On the eastern side are shelves, which only contain a few books and a tin of blue paint. On the western side is a table of food, on which small piles of carrots, mulberry tree leaves and steak sit. The glass counter looks a bit more full and houses some shiny objects, with the most eye-catching being a gold key, a silver wrench and a bronze diving helmet. A sign is next to these objects. The only exit is back to the south.\n\nThe Stegosaurus is standing behind the counter. He is wearing the Amulet of Air.\n\n> You give the clover to Stegosaurus\nThe shopkeeper gratefully accepts your gift and puts it behind the counter. He says \"You can take any of the items in the counter if you wish, and remember that you can always trade the item back later, if you want a different one.\"\n\n> You take the key\nThe shopkeeper gives you the gold key.\n\n> You unlock the gold door with the key\n(first unlocking the door with the gold key)\nYou open the gold compartment, revealing a sound box.\n\n> Examine box\nThis box looks like it is the source of the screeching. It is currently switched on.\n\n> You turn off the box\nYou turn off the box.\n\n> You check what you're carrying\nYou are carrying:\na sound box\na gold key\na shield\na small sharp rock\na sword\n\n> Go north\nThis shop is almost empty. Business looks to have been very bad, as the heavy and undisturbed layer of dust means that no stock has been sold here for too long. On the eastern side are shelves, which only contain a few books and a tin of blue paint. On the western side is a table of food, on which small piles of carrots, mulberry tree leaves and steak sit. The glass counter looks a bit more full and houses some shiny objects, with the most eye-catching being a silver wrench and a bronze diving helmet. A sign is next to these objects. The only exit is back to the south.\n\nThe Stegosaurus is standing behind the counter. He is wearing the Amulet of Air.\n\n> You give the key to Stegosaurus\nThe shopkeeper puts the gold key back into the counter and tells you that you can take any of the items in there.\n\n> You take the wrench\nThe shopkeeper gives you the silver wrench.\n\n> Go south\nThe shop entrance, at the base of a hill\nThe paths from the southeast and southwest intersect at a shop. A sign hangs over the shop's entrance to the north, proclaiming it as \"Stegosaurus Supplies\". You can climb the hill to the south, after walking past a sculpture. The sculpture is labeled as \"Man on Bird\", and it is life-size in scale. At least the man is life-size, and you did not know that birds could be that big. The man is armed with a lance. There is a small gold door in the underside of the bird.\n\n> You go southwest\nThe bridge, over the river\nA river flows from the mountains in the north to a lake in the south. The water is clear and rushes swiftly underneath the wooden bridge that you are standing on. The speed of the water means that without the bridge you would not be able to get across. A path from the northeast to the southwest travels over the bridge. A hill is to the southeast. Next to the bridge on the river's western side, a fruit tree is surrounded by a pile of sharp rocks. There is no fruit left in the tree, but the remains of the past fruit can be found stuck on the rocks.\n\n> You go southwest\nA steep cliff marks the start of the mountain range to the west. The mountains continue to the north and south, with no path through above ground in sight. There is a cave in the west cliff wall that may provide a path underground. The cave does not look too dark, as a faint light emanates inside, although you cannot make out any details. You are glad that you are not claustrophobic, although you are not fond of dark holes ever since you had to hide in one on your last mission. A path curves around a water tank, passing from the northeast to the southeast. The water tank has a tap on one side, with a sign above it saying \"Area Water Storage\".\n\n> Go south\nA mountain range blocks your progress in that direction.\n\n> You fix the pipe\nYou tighten the pipe as best you can with the silver wrench. Soon the water has almost stopped leaking. Your quick fix isn't completely successful, but the slight drip left will, you hope, not have much effect.\n\n> You turn the tap\nYou turn the tap on, and water starts dripping on the ground under it. There seems little need to waste water, so you turn the tap back off.\n\n> You go to the northeast\nThe bridge, over the river\nA river flows from the mountains in the north to a lake in the south. The water is clear and rushes swiftly underneath the wooden bridge that you are standing on. The speed of the water means that without the bridge you would not be able to get across. A path from the northeast to the southwest travels over the bridge. A hill is to the southeast. Next to the bridge on the river's western side, a fruit tree is surrounded by a pile of sharp rocks. There is no fruit left in the tree, but the remains of the past fruit can be found stuck on the rocks.\n\n> Go northeast\nThe shop entrance, at the base of a hill\nThe paths from the southeast and southwest intersect at a shop. A sign hangs over the shop's entrance to the north, proclaiming it as \"Stegosaurus Supplies\". You can climb the hill to the south, after walking past a sculpture. The sculpture is labeled as \"Man on Bird\", and it is life-size in scale. At least the man is life-size, and you did not know that birds could be that big. The man is armed with a lance. There is a small gold door in the underside of the bird.\n\n> You go north\nThis shop is almost empty. Business looks to have been very bad, as the heavy and undisturbed layer of dust means that no stock has been sold here for too long. On the eastern side are shelves, which only contain a few books and a tin of blue paint. On the western side is a table of food, on which small piles of carrots, mulberry tree leaves and steak sit. The glass counter looks a bit more full and houses some shiny objects, with the most eye-catching being a gold key and a bronze diving helmet. A sign is next to these objects. The only exit is back to the south.\n\nThe Stegosaurus is standing behind the counter. He is wearing the Amulet of Air.\n\n> You give the wrench to Stegosaurus\nThe shopkeeper puts the silver wrench back into the counter and tells you that you can take any of the items in there.\n\n> You take the helmet\nThe shopkeeper gives you the bronze diving helmet.\n\n> You go southeast\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. The pump is now removing water at a similar rate to the river rushing towards the lake. The river's speed means that it is impossible for you to swim north. Next to the pump is an open chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\n> You connect the tank to the helmet\nYou attach the oxygen tank to the diving helmet.\n\n> Wear helmet\nYou put on the bronze diving helmet (with oxygen tank attached).\n\n> You look at what you're carrying with you\nYou are carrying:\na bronze diving helmet (with oxygen tank attached) (being worn)\na sound box\na shield\na small sharp rock\na sword"
    },
    {
        "text": "[Themes: Space Exploration]\n\n> You descend\nYou dive into the lake and swim out to the middle.\n\nThe bottom of the lake, southwest corner\nAs you swim around, you notice an old treasure chest lies on the floor in the southwest corner of the lake. It is closed and its base has become embedded in the ground beneath it. You wonder who left their treasure in the lake long ago, and why it was abandoned. Maybe it was too difficult to retrieve, or maybe it was lost not hidden. Whatever happened, it's ancient history now. The lake continues to the east and north, but you could also return back up to the surface.\n\nThe dolphin swims up to you and says, \"I need your help. I can't get into my home. I'm sure that you can think of something, and I would be very grateful.\"\n\nThe dolphin is currently swimming in the area.\n\n> Open chest\nWhen you open the treasure chest you do not find the gold, jewels or amulets that you were hoping for. In fact you do not find anything at all. It is completely empty.\n\n> Close chest\nYou close the treasure chest.\n\n> You talk to the dolphin\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where am I?\"\n(3) \"What are you doing?\"\n(4) \"How did your home get blocked off?\"\n(5) \"Have you noticed the treasure chest?\"\n(6) \"Goodbye.\"\n\n> 1\n\"I can't tell you that much about myself, as I was separated from any other dolphins a long while ago. In fact I cannot even remember any others. All I remember is waking up in here. I wonder if I was kidnapped, but I have found no kidnappers. Still, it doesn't really matter, and it is better not to dwell on the past.\"\n\nWhat would you like to say?\n(1) \"Where am I?\"\n(2) \"What are you doing?\"\n(3) \"How did your home get blocked off?\"\n(4) \"Have you noticed the treasure chest?\"\n(5) \"Goodbye.\"\n\n> 1\n\"This lake is where I live now. I had an accident, I think, a while back, and I have lost a lot of my memory. To be honest, I do not know how I got here. I have tried exploring up the river, but it does not lead to the sea. I would like a little more space. However, the only thing left to do, is to make the best of the situation and live here.\"\n\nWhat would you like to say?\n(1) \"What are you doing?\"\n(2) \"How did your home get blocked off?\"\n(3) \"Have you noticed the treasure chest?\"\n(4) \"Goodbye.\"\n\n> 1\n\"I am swimming around the area. I like swimming around in nice loops down here, as it is good exercise. I need to keep in shape, as you never know when an opportunity to leave will arise. I want to be ready to fit in wherever I go. I have some secret ambitions, but I am too nervous to discuss them yet. I know everything will work out, if I just do my best.\"\n\nWhat would you like to say?\n(1) \"How did your home get blocked off?\"\n(2) \"Have you noticed the treasure chest?\"\n(3) \"Goodbye.\"\n\n> 1\n\"I'm not sure, as I wasn't there when it happened. I am grateful that I wasn't there inside to become stuck inside my home. The construction on the tunnel has not been as well done, as I would have liked. There were a few cracks in the ceiling above the entrance, and I guess that the roof just collapsed whilst I was away.\"\n\nWhat would you like to say?\n(1) \"Have you noticed the treasure chest?\"\n(2) \"Goodbye.\"\n\n> 1\n\"Yes, I noticed it fairly quickly. It is easy to spot, as I'm sure you have found. The chest was originally full of jewels, but I sold them off. They paid for the construction of my nice home, and allowed me to help a few other people around the area.\"\n\nWhat would you like to say?\n(1) \"Goodbye.\"\n\n> Go north\nThe bottom of the lake, northwest corner\nThe northwest corner has some unusual underwater plant life, with what looks like a tree growing out of the lake floor. It is surprising, as you would expect a tree like that to be growing on land, but maybe this tree is lost. You can see to the east a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the east. You can also swim through the lake to the south, or back up to the surface.\n\nThe dolphin is currently swimming in the area.\n\n> You examine the tree\nYou have not heard of underwater trees like this one, but there is a lot about this land that is new to you. The unusual seems to happen regularly here. The tree has leaves, branches and everything you would expect, but you still keep thinking that you must be wrong somehow.\n\n> You climb the tree\nYou could just swim back up to the surface.\n\n> Go upwards\nYou swim back up to the surface of the lake at the edge. You pull yourself out of the water and return to dry land.\n\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. The pump is now removing water at a similar rate to the river rushing towards the lake. The river's speed means that it is impossible for you to swim north. Next to the pump is an open chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\n> You examine the tunnel\nThe tunnel does not look like a natural hole in the cliff. It looks like someone has drilled through the cliff at some stage to create it.\n\nThe dolphin swims off to the south.\n\n> You go east\nThe tunnel, west end\nThe tunnel has been carved into the rock, curving around from the south to the west. It slopes downwards in each direction. Unfortunately you can only see a little of the tunnel to the south as the boulder from the roof falling down is blocking the tunnel at its highest point. There is a crack that you can see slightly through. The boulder also appears to be blocking the entrance to a room. At the moment you can only exit to the west.\n\n> You examine the crack\nYou can see the other side of the tunnel through the crack.\n\n> You look at the boulder\nThis large chunk of rock came from the roof of the tunnel, but you have no idea why it fell down. Maybe the tunnel was not very well made. The chunk is fairly round and could roll.\n\n> Go west\nThe bottom of the lake, northwest corner\nThe northwest corner has some unusual underwater plant life, with what looks like a tree growing out of the lake floor. It is surprising, as you would expect a tree like that to be growing on land, but maybe this tree is lost. You can see to the east a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the east. You can also swim through the lake to the south, or back up to the surface.\n\n> Go southeast\nThe bottom of the lake, southeast corner\nWhilst swimming around the southeast corner of the lake, the most noticeable object is a sunken rowboat. The reason for the sinking you would guess has something to do with the crack along the boat's bottom, which probably would not have kept out the water very well. It does not look like the boat was well maintained, although being abandoned at the bottom of the lake wouldn't have helped. You can see to the north a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the north. You can also swim through the lake to the west, or back up to the surface.\n\n> You look at the oar\nThe long wooden oar could once be used to row a boat. However, you do not have a boat, and the oar is not in good condition anymore. It is still a reasonably strong piece of wood though.\n\n> You look at the boat\nThe rowboat has deteriorated sitting on the bottom of the lake, although it probably wasn't in great condition before then. There is a crack in the bottom, and the lake floor has begun to come through it to start burying the boat in the ground. The boat is not large and could not have held more than a few passengers.\n\n> You go to the north\nThe tunnel, south end\nThe tunnel has been carved into the rock, curving around from the south to the west. It slopes downwards in each direction. Unfortunately you can only see a little of the tunnel to the west as the boulder from the roof falling down is blocking the tunnel at its highest point. There is a crack that you can see slightly through. The boulder also appears to be blocking the entrance to a room. At the moment you can only exit to the south.\n\n> You check what you're carrying\nYou are carrying:\nan oar\na bronze diving helmet (with oxygen tank attached) (being worn)\na sound box\na shield\na small sharp rock\na sword\n\n> Go west\nThe bottom of the lake, southwest corner\nAs you swim around, you notice an old treasure chest lies on the floor in the southwest corner of the lake. It is closed and its base has become embedded in the ground beneath it. You wonder who left their treasure in the lake long ago, and why it was abandoned. Maybe it was too difficult to retrieve, or maybe it was lost not hidden. Whatever happened, it's ancient history now. The lake continues to the east and north, but you could also return back up to the surface.\n\nThe dolphin is currently swimming in the area.\n\n> You go north\nThe bottom of the lake, northwest corner\nThe northwest corner has some unusual underwater plant life, with what looks like a tree growing out of the lake floor. It is surprising, as you would expect a tree like that to be growing on land, but maybe this tree is lost. You can see to the east a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the east. You can also swim through the lake to the south, or back up to the surface.\n\n> You go east\nThe tunnel, west end\nThe tunnel has been carved into the rock, curving around from the south to the west. It slopes downwards in each direction. Unfortunately you can only see a little of the tunnel to the south as the boulder from the roof falling down is blocking the tunnel at its highest point. There is a crack that you can see slightly through. The boulder also appears to be blocking the entrance to a room. At the moment you can only exit to the west.\n\n> You stay\nTo talk to someone or something, please type TALK TO OBJECT.\n\nThe dolphin swims off to the west.\n\n> You go to the north\nThe tunnel, south end\nThe tunnel has been carved into the rock, curving around from the south to the west. It slopes downwards in each direction. Unfortunately you can only see a little of the tunnel to the west as the boulder from the roof falling down is blocking the tunnel at its highest point. There is a crack that you can see slightly through. The boulder also appears to be blocking the entrance to a room. At the moment you can only exit to the south.\n\n> You examine the chest\nThe chest is on the floor near the bed. It is closed.\n\n> Open chest\nYou open the chest, revealing the Amulet of Water.\n\n> You examine Amulet\nThe Amulet of Water is made of seashell. The head of the Princess you saw earlier is carved into the shape of the amulet. A cord allows the amulet to be worn around someone's neck.\n\n> Close chest\nYou close the chest.\n\n> You go to the west\nThe bottom of the lake, northwest corner\nThe northwest corner has some unusual underwater plant life, with what looks like a tree growing out of the lake floor. It is surprising, as you would expect a tree like that to be growing on land, but maybe this tree is lost. You can see to the east a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the east. You can also swim through the lake to the south, or back up to the surface.\n\nThe boulder from the tunnel is on the ground here.\n\nThe dolphin is currently swimming in the area.\n\n> Go east\nThis room is jovial in mood, with a hoop and rubber ball abandoned on the floor next to a bed. The bed's covers are adorned with images of a circus, including clowns and acrobats performing in the picture of the show. When you were young, you wanted to be in the circus, until you found out how little it paid compared to your current job. It would have helped if you had been a little more agile as well. There is also a closed chest in the room. Tunnels head to the south and west. A chunk is missing from the ceiling near the entrance of the room.\n\nThe dolphin swims in from the west.\n\n> You take Amulet\nTaken.\n\n> You examine the bed\nThe circus pictures on the covers of the bed, along with the ball and hoop on the floor, lead you to believe that the dolphin is interested in show business. Whether he has any talent is another matter, which you don't know the answer to.\n\n> You look at the ball\nThe rubber ball is about the size of your diving helmet. It has been abandoned on the floor, along with the hoop.\n\nThe dolphin swims off to the south.\n\n> Go west\nThe bottom of the lake, northwest corner\nThe northwest corner has some unusual underwater plant life, with what looks like a tree growing out of the lake floor. It is surprising, as you would expect a tree like that to be growing on land, but maybe this tree is lost. You can see to the east a steep underwater cliff that almost reaches the surface. The water's shallowness separates the northeast corner from the rest of the lake. There is a tunnel in the cliff that you can swim into to the east. You can also swim through the lake to the south, or back up to the surface.\n\nThe boulder from the tunnel is on the ground here.\n\n> Go upwards\nYou swim back up to the surface of the lake at the edge. You pull yourself out of the water and return to dry land.\n\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. The pump is now removing water at a similar rate to the river rushing towards the lake. The river's speed means that it is impossible for you to swim north. Next to the pump is an open chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\n> You remove the helmet\nYou take off the bronze diving helmet (with oxygen tank attached).\n\n> You put the helmet in the chest\nYou put the bronze diving helmet (with oxygen tank attached) into the chest.\n\n> Go west\nYou try to walk into the cave, but you stop when a gust of fire is blown out. A voice apologises from inside, \"Sorry about that. I'm a dragon, and I have been having a little trouble with my fire breathing recently. Ok, a lot of trouble. That's why I'm hiding in here, and don't want to see anyone. We can talk, but don't come in, without something to protect you from the flames. I just can't stop at the moment.\"\n\nYou lift your shield and try again to enter. This time the shield deflects the flames. You slowly step inside the cave and walk towards the lit area you see inside.\n\nThere is not much left in this cave apart from ashes scattered around the area. It looks like the dragon's uncontrollable fire breathing problems have not been healthy for the furniture. All that is left is one table and a bed. You could guess that they were lucky, but looking at their pristine condition, a better guess might be that they are brand new. Sunlight is coming in from a hole in the ceiling of the cave that penetrates through to outside the mountain. The cave continues further to the west, but it is too dark to continue. The exit back outside is to the east.\n\nThe dragon is lying on his stomach on the bed, facing towards you.\n\n> You examine dragon\nThe green dragon is not looking well and is lying on the bed. He looks very nervous, and his fire breathing problems are obviously affecting him. He looks uncomfortable and is regularly shifting around in the bed, almost as if there was something hidden in the small gap between the dragon and the bed. The dragon's wings and tail are tightly curled around him, as he looks to be trying to hide from the world.\n\n> You look at the bed\nThis is a long bed, which is close to the floor. It is not much better than just being a mattress.\n\n> You examine table\nThe table is the only piece of furniture in here apart from the bed. It is not that large and sits next to the bed.\n\n> You talk to the dragon\nWhat would you like to say?\n(1) \"Who are you?\"\n(2) \"Where am I?\"\n(3) \"Do you have any amulets?\"\n(4) \"Is there any way I can help you?\"\n(5) \"Goodbye.\"\n\n> 1\n\"I am the dragon, who is stuck inside this cave. It started several months ago, when I accidentally set a table on fire in here. It has only become worse since, and I cannot control the fire coming out of my mouth. I just seem to be on fire inside. I'm scared to leave this cave. I may hurt someone, and I don't want to hurt anyone. I need the fire inside me to be put out!\"\n\nWhat would you like to say?\n(1) \"Where am I?\"\n(2) \"Do you have any amulets?\"\n(3) \"Is there any way I can help you?\"\n(4) \"Goodbye.\"\n\n> 1\n\"You are standing inside my home in this cave. I like having the company, but I am afraid of hurting you with my flames, so it might be a good time for you to leave. Not that you have to, but I think it would be a good idea. Sorry, maybe you can wander around other more interesting places.\"\n\nWhat would you like to say?\n(1) \"Do you have any amulets?\"\n(2) \"Is there any way I can help you?\"\n(3) \"Goodbye.\"\n\n> 1\n\"Yes I do actually. I have one somewhere on this bed, but at the moment I don't feel healthy enough to get up and let you look for it. Maybe another time.\"\n\nWhat would you like to say?\n(1) \"Is there any way I can help you?\"\n(2) \"Goodbye.\"\n\n> 1\n\"I don't know. If I knew a way to help myself, I would have done it already. I just feel like I'm burning up inside and the fire keeps spilling out to the outside of me. I wish I knew other dragons who had survived the same condition, but I only know a few and none of them have a clue.\"\n\nWhat would you like to say?\n(1) \"Goodbye.\"\n\n> Wear Amulet\nYou put on the Amulet of Water.\n\nThe dragon accidentally blows out some fire, which you deflect with the shield.\n\n> Go east\nYou stumble back until you find your way out of the cave.\n\nA steep cliff marks the start of the mountain range to the west. The mountains continue to the north and south, with no path through above ground in sight. There is a cave in the west cliff wall that may provide a path underground. The cave does not look too dark, as a faint light emanates inside, although you cannot make out any details. You are glad that you are not claustrophobic, although you are not fond of dark holes ever since you had to hide in one on your last mission. A path curves around a water tank, passing from the northeast to the southeast. The water tank has a tap on one side, with a sign above it saying \"Area Water Storage\".\n\n> You go southeast\nThe lake, at the end of the river\nThe river from the north reaches its final destination in the lake that you are standing next to. The lake is clean and sparkling in the daylight. The reflected pink sky gives it an unusual colouration. A pump is whirring next to the lake, moving water into a pipe, which leads northwest underground. The pump is now removing water at a similar rate to the river rushing towards the lake. The river's speed means that it is impossible for you to swim north. Next to the pump is an open chest. A path curves around the lake from the northwest to the southeast. A hill can be seen to the northeast.\n\n> You attach the hose to the tank\nYou attach the hose to the tap.\n\n> You turn on the tap\nYou turn the tap on, and the water soon starts spraying out of the end of the hose on the ground. You pick up the hose and aim it into the cave. A burst of fire comes out, but the water cuts through and dissipates it. Soon you can see steam coming from inside the cave, as the water continues to be fired in. You continue for a long while, until eventually when the steam stops, you wait for a few more seconds to make sure, and then turn off the tap.\n\nThe dragon emerges from the cave, and says, \"Thank you so much. I feel a lot better now. I think I can even go see some friends that I haven't seen for ages. There are a few other dragons in this world, although not many outside this region, as there are mainly people elsewhere. Take something from my cave as a reward. I've got to go now.\"\n\nAfter saying this, the dragon takes off and flies in a northerly direction.\n\n> Go west\nWhen you walk inside, you see a lit area, which you stumble in the dark towards.\n\nThere is not much left in this cave apart from ashes scattered around the area. It looks like the dragon's uncontrollable fire breathing problems have not been healthy for the furniture. All that is left is one table and a bed. You could guess that they were lucky, but looking at their pristine condition, a better guess might be that they are brand new. Sunlight is coming in from a hole in the ceiling of the cave that penetrates through to outside the mountain. The cave continues further to the west, but it is too dark to continue. The exit back outside is to the east.\n\nOn the bed is the Amulet of Fire.\n\n> You take Amulet\n(the Amulet of Water)\nYou already have that.\n\n> You take Fire\nTaken.\n\n> You examine it\nThe Amulet of Fire is made of obsidian. The head of the Princess you saw earlier is carved into the shape of the amulet. A cord allows the amulet to be worn around someone's neck.\n\n> You wear it\nYou put on the Amulet of Fire.\n\n> Inventory\nYou are carrying:\nthe Amulet of Fire (being worn)\nthe Amulet of Water (being worn)\nan oar\na sound box\na shield\na small sharp rock\na sword\n\n> Go east\nYou stumble back until you find your way out of the cave.\n\nA steep cliff marks the start of the mountain range to the west. The mountains continue to the north and south, with no path through above ground in sight. There is a cave in the west cliff wall that may provide a path underground. The cave does not look too dark, as a faint light emanates inside, although you cannot make out any details. You are glad that you are not claustrophobic, although you are not fond of dark holes ever since you had to hide in one on your last mission. A path curves around a water tank, passing from the northeast to the southeast. The water tank has a tap on one side, with a sign above it saying \"Area Water Storage\".\n\nA hose is attached to the tap.\n\n> You hit the fruit with the oar\nWhich do you mean, the fruit tree or the fruit remains?\n\n> You go north\nThis shop is almost empty. Business looks to have been very bad, as the heavy and undisturbed layer of dust means that no stock has been sold here for too long. On the eastern side are shelves, which only contain a few books and a tin of blue paint. On the western side is a table of food, on which small piles of carrots, mulberry tree leaves and steak sit. The glass counter looks a bit more full and houses some shiny objects, with the most eye-catching being a silver wrench and a gold key. A sign is next to these objects. The only exit is back to the south.\n\nThe Stegosaurus is standing behind the counter. He is wearing the Amulet of Air.\n\n> You give Fire to the stegoaurus\nYou can only do that to something animate.\n\n> You give Fire to Stegosaurus\nThe shopkeeper accepts the Amulet of Fire, and puts it around his neck. He then tells you that you have one more Amulet to go, before he will give you the Amulet of Air.\n\n> You give Water to him\nThe shopkeeper accepts the Amulet of Water, and puts it around his neck. After staring at his new possession for a few seconds, he sighs and says \"I suppose you can have this now.\"\n\nThe shopkeeper then takes off the Amulet of Air, and gives it to you. You are glad to have finally obtained the Amulet of Air. However, something is bothering you about the situation you are in. Solving puzzles, carrying out tasks, it all reminds you of something, but you cannot quite place it. You almost wonder if your subconscious is shaping this world from past experiences.\n\n> You go south\nThe top of this hill, is a good vantage point, as you can see everywhere from here. Luckily, as you do not want to walk too far, the area surrounding the hill is not that large. It is enclosed by a forest, which you cannot see the end of, to the east, and a mountain range, which you cannot see over, to the west. The two extremes meet at the north and south points of the area. In between you can see a farm to the east, a cave to the west, the Red Tower to the south and a shop to the north. A blanket of grass covers the whole hill, although the grass at the top does look a little flattened.\n\nThe white rabbit is lying asleep on the ground.\n\n> Go south\nThe boulder, at the base of a hill\nYou are standing at the base of a hill, which you can climb to the north. The undulating, grassy Arcadia almost makes you feel poetic, although your favoured style of limericks does not really fit the mold. A boulder, sitting in the middle of the path leading from the south, diverts the path around it and the hill to the northeast and northwest.\n\n> You go to the south\nTo the south a very tall tower reaches up into the pink sky, with the man-made structure providing a counterpoint to the surrounding forest and mountains. Near the top of the tower you can see an open window. That window was where you saw the blonde Princess, and where you consequently want to go. The tower must be dark and airless, as the only other visible opening is a large set of closed wooden doors, which block the entrance into the tower. A path leads to the north.\n\nThe gargoyle is standing in front of the tower's entrance, looking at you.\n\n> You give Amulet to the gargoyle\nWhen you show the Amulet of Air to the gargoyle, you can see a momentary greedy expression in his gaze, but it is soon replaced by a masked look of indifference. The gargoyle says, \"That is a very nice looking Amulet you have there. I have wanted one just like that for a long, long while. I think it would look good on me. Don't you? Of course you do, and you look like a generous kind of person. Not that I am asking for it. I would never do that.\"\n\nYou smile, as you twirl the Amulet around your hand. Suddenly you toss the Amulet up in the air above the gargoyle. He takes off quickly and grabs it in mid-air. You see him look down at the Amulet, then continue flying upwards. The gargoyle lands on the roof of the Red Tower and disappears from sight.\n\n> You open the doors\nYou open the doors.\n\n> You go south\nThere is not much on the inside of this tower. Only stairs are visible, curling upwards around the walls. The amount of stairs does make up for the absence of anything else though. You cannot even see the top of the stairs in this dim light. The light is strange, as it looks artificial and coming from far above, but you have not seen any artificial light in this world. Apart from walking up the stairs, you could always return back outside to the north.\n\n> You look at the stairs\nThere is an impressive quantity of stairs heading upwards. It would be even more impressive to have an elevator instead, but it looks like there aren't any in this place.\n\n> You go upward\nYou climb up and up until you are almost exhausted. When you finally reach the top you take a short break to catch your breath. For a second in your exhaustion, you almost think that you are on a small ledge in a cave, with walls all around you and a faint light coming from near above you. However, when you look around more carefully you see none of this.\n\nYou cannot believe that you have climbed all of the stairs you can see descending into the near-bottomless dark depths below. You are standing on a small ledge, which connects the stairs with a door to the north. The door is closed, with a piece of wood placed across it to prevent anyone opening it from the other side. There is a dim light here, but you cannot figure out where it is coming from, as you cannot see a light on the ceiling. You estimate that you have about reached the level of the window where you saw the Princess earlier. You hope that you can finally reassure yourself that she is real. Or that she is not real. You do not know what you really want.\n\nYou can see a stone dart here.\n\n> You move the wood\nYou take the wood off the door and place it on the floor.\n\n> You examine the wood\nThe piece of wood is lying next to the door.\n\n> You open the door\nYou open the door.\n\n> Go north\nWith a four poster bed, an elegant bedside cabinet and an armoire, this is a beautifully attired room, but it is still not nearly as beautiful as the Princess. She is looking at herself in a full-length mirror hanging on the wall, fixing her long golden hair. You glance into the mirror, but to your surprise you see something that has to be completely different to what she is seeing. You can see a rocky darkness, with a faint light shining from above.\n\nThe Princess glances away from the mirror at the noise of the door opening. She smiles at you, and says, \"Hi, my name is Princess Circe. I have been waiting a long while for someone to come through that door. The last trap that nasty wizard set was triggered a long while ago but no one has come since. Until you, my hero. Now that I am free, I can reclaim my kingdom, but I can't do it alone. Will you help? Will you stay here with me?\"\n\nWhat would you like to say?\n(1) \"Yes, I'd like to stay.\"\n(2) \"No, I don't want to stay.\"\n(3) \"No, I don't believe you exist.\"\n\n> 3\nYou see a quizzical look start to emerge on the face of the Princess, but you close your eyes to ignore her reaction. You focus inwards, willing yourself to see the real world, not this fake dream. Suddenly you feel yourself falling, and you grab out wildly. Unlike earlier when this whole mess started, you manage to grab hold of something. As your eyes adjust to the darkness you can see that you are in a hole, with the laboratory above you. You haul yourself upwards to a ledge, where you find the gold watch you lost earlier. You pick up the watch and continue to climb upwards until you escape.\n\nBack in the laboratory you place the gold watch in the machine and turn it on. A strange gold liquid remains after it is all mixed together. You find an empty flask and fill it with the liquid. You suddenly realise that you are actually holding your missing communicator. You will need it to get back in contact with the ship. You ensure that you are outside the laboratory before drinking all of the gold liquid.\n\nEverything begins to change around you...\n\nYou are finally back in the real world, with everything looking normal again. You have never been as relieved in your life to be finally free of the nightmare. All you have to do is to report back to the ship and get out of here. As you press the button on the communicator and ask for the Captain, you wonder what you should conclude in your report.\n\nWhat would you like to say?\n(1) There is nothing seriously wrong here.\n(2) There are a few problems, but they should be resolved in a few years.\n(3) This place is not safe to be colonised.\n\n> 3\nUnfortunately, there is no way of knowing when this planet will be safe. You have the bad feeling that the pinkness is going to spread, not disappear. You cannot allow the planet to be colonised in this condition. It needs to be quarantined, so the pinkness does not spread off-planet. Having made this decision, you gather up your evidence, and report back to the ship.\n\nWhen you talk to the Captain, you tell him about all your adventures. He is skeptical, but he eventually accepts your point of view that the planet is too dangerous to colonise, and he endorses your recommendations. Your stories are put on record with the other evidence. Whilst you may have convinced the Captain, other reviewers of the file feel it is more likely that you hallucinated from a local disease. That disease may make the planet more dangerous, but it may also have left a permanent effect on your health.\n\nIn future years, whenever you try for a promotion, you find yourself rebuffed, as you are too risky. You wonder if you made the right decision. You hope you did, as there is no way you can change it now.\n\n> Notes\nThank you for playing my IF competition entry. I hope you enjoyed it. If you did, then I advise you to try some of my other games, which are listed in the \"about\" section that can be accessed during the game. There are seven possible endings. The one you received, plus four others, can still be easily reached by typing \"undo\" and choosing a different option. However, the other two endings can only be reached by acting differently in the fantasy land.\n\nThere are two paths in the game; the Path of Daedalus (a great inventor from Greek myth) and the Path of Diomedes (a great warrior from Greek myth). These paths correspond to solving puzzles with inventive/helpful solutions or violent solutions. The game starts on the Path of Daedalus, but it is possible to completely change the nature of everything to the differently themed parallel world of the Path of Diomedes. Each world better suits the respective method of puzzle solving.\n\nThe first change to the Path of Diomedes is triggered by the decision to persevere with violent solutions to puzzles, rather than helpful solutions. The game will seek to dissuade you from this course of action, but if you persevere then you will succeed, and receive the consequences. The opposite is true in returning the world to the Path of Daedalus. There are a number of points where you can switch, and depending on which path you reach the end on, there will be differences to some of the possible endings.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game, read the author's NOTES or QUIT?\n\n> 1\nAs the happy smile of the Princess lights up the room, you notice that the darkness in the mirror fades, until it is replaced by the reflection of the room. You walk out of the tower together, as you accept this world as your own.\n\nAs the months pass, you become friends with the Princess. You soon realise that she is not as perfect as she appears. She regrets some actions that she took to protect herself against the evil wizard. Her trap killed the wizard soon after he sealed her in the tower, but it changed some of the other locals in various ways. You reassure her, and soon there is a general feeling of forgiveness and joy, as she retakes her throne to become Queen.\n\nThis is not quite the end of your story though. Your cleverness soon wins you a position of power, which you use to make sure that the land is governed fairly. With all of her jewels stolen and lost long ago, her reign is hard work at the beginning, but you do not mind. Your friendship with the Queen endures and eventually blossoms into more. Two years after you first met, you are married in front of all the inhabitants of the land. You occasionally wonder what is happening in the world you left long ago, but you have no way of finding out.\n\n> 2\nThe Princess looks disappointed at your reply. She asks, \"Why?\".\n\nYou answer that you want to go home. The Princess looks sympathetic to your plight, then she brightens up and tells you that she knows a way. She walks over and searches around in her cabinet until she finally pulls out a potion. She gives it to you and says, \"Drink this, and you will be home.\"\n\nYou look at the unmarked potion and hope that it can do what she says. It is worth a try. You drink down the potion in one gulp. As it begins to take effect, you find your mind is going blank, and all your memories are fading.\n\nYou wake with no idea of who you are. All you know is that you are stuck in some room, and you want to get outside where there is more space. As you stretch your four legs, you hear a squeal behind you, as a blonde woman says, \"I always wanted a pony.\"\n\n> 1\nYou think to yourself that none of what you saw could be real. Even if it was, then no one would believe you. You carefully destroy any evidence to the contrary of this position. The evidence was probably only significant in your imagination anyway. It was all due to eating a tainted native egg, which caused an adverse reaction. You can't remember why you wanted to eat it in the first place.\n\nYou report back to the ship that there was a fire, with no survivors. On your return you promise yourself that you will try to avoid strange places in the future. The ship soon returns to your home planet, and you decide to take a long-deserved holiday in the familiar surroundings. You need a break to relax and catch up on all the latest computer games that have been released during your time at work. It is lucky that you are out of contact when the news filters through of disappearances all over a newly colonised planet. That would really not look good on your record, and negligence is not looked upon kindly.\n\n> 2\nThe planet is clearly not safe to be colonised in the short term, but you figure that if everything that is touched by the pinkness soon passes from this world, the problems will soon be resolved. This is the recommendation you pass back to the ship, along with the evidence that you have accumulated. You avoid talking about your own exploits, as the Captain is a very serious person, who you think will only believe evidence he sees for himself.\n\nThe Captain is doubtful about the truthfulness of the documents you bring back, but on your advice, he agrees that it is not worth taking a chance. He reluctantly passes your recommendation through the hierarchy, and this planet is taken off the colonisation agenda for the next twenty years.\n\nOver the next few years you continue your rapid rise up the ranks, with sterling performances in both the physical and mental aspects of your roles. Eventually you are placed into training for a top position, and on completion you win a role as a Captain of your own ship. It is only a small ship, but you are finally in charge. You barely notice when the twenty year mark is passed, having long put your earlier adventures out of mind.\n\nAt least your adventures are forgotten until one day you are called in by your commanding officer. He shows you a report of disappearances on a newly colonised planet, along with your recommendation for the planet. He tells you that he is very disappointed in you, and he cannot support you continuing in your current role. Your exemplary service will save you from being stripped of your rank, but you have been re-assigned to the planetside division.\n\n> You throw the dart\nDropped.\n\n> 3\nUnfortunately, there is no way of knowing when this planet will be safe. You have the bad feeling that the pinkness is going to spread, not disappear. You cannot allow the planet to be colonised in this condition. It needs to be quarantined, so the pinkness does not spread off-planet. Having made this decision, you gather up your evidence, and report back to the ship.\n\nWhen you talk to the Captain, you tell him about all your adventures. He is skeptical, but he eventually accepts your point of view that the planet is too dangerous to colonise, and he endorses your recommendations. Your stories are put on record with the other evidence. Whilst you may have convinced the Captain, other reviewers of the file feel it is more likely that you hallucinated from a local disease. That disease may make the planet more dangerous, but it may also have left a permanent effect on your health.\n\nIn future years, whenever you try for a promotion, you find yourself rebuffed, as you are too risky. You wonder if you made the right decision. You hope you did, as there is no way you can change it now.\n\n> You turn on the box\nYou turn on the box briefly, and a loud screech echoes around the area. Nothing happens, so you decide to shut down the noise before it starts again."
    },
    {
        "text": "[Themes: Space Exploration]\n\n> Go down\nThere is not much on the inside of this tower. Only stairs are visible, curling upwards around the walls. The amount of stairs does make up for the absence of anything else though. You cannot even see the top of the stairs in this dim light. The light is strange, as it looks artificial and coming from far above, but you have not seen any artificial light in this world. Apart from walking up the stairs, you could always return back outside to the north.\n\n> You go to the north\nTo the south a very tall tower reaches up into the pink sky, with the man-made structure providing a counterpoint to the surrounding forest and mountains. Near the top of the tower you can see an open window. That window was where you saw the blonde Princess, and where you consequently want to go. The tower must be dark and airless, as the only other visible opening is a large set of open wooden doors. A path leads to the north.\n\n> You go west\nA mountain range blocks your progress in that direction.\n\n> You throw the dart at the Bird\nFutile.\n\n> Go southwest\nA steep cliff marks the start of the mountain range to the west. The mountains continue to the north and south, with no path through above ground in sight. There is a cave in the west cliff wall that may provide a path underground. The cave does not look too dark, as a faint light emanates inside, although you cannot make out any details. You are glad that you are not claustrophobic, although you are not fond of dark holes ever since you had to hide in one on your last mission. A path curves around a water tank, passing from the northeast to the southeast. The water tank has a tap on one side, with a sign above it saying \"Area Water Storage\".\n\nA hose is attached to the tap.\n\n> You go west\nWhen you walk inside, you see a lit area, which you stumble in the dark towards.\n\nThere is not much left in this cave apart from ashes scattered around the area. It looks like the dragon's uncontrollable fire breathing problems have not been healthy for the furniture. All that is left is one table and a bed. You could guess that they were lucky, but looking at their pristine condition, a better guess might be that they are brand new. Sunlight is coming in from a hole in the ceiling of the cave that penetrates through to outside the mountain. The cave continues further to the west, but it is too dark to continue. The exit back outside is to the east."
    },
    {
        "text": "[Themes: Surreal Fantasy, wordplay, gender-neutral protagonist]\n\n> You examine professor\nNo doubt the good professor would have loved to be the one to fill his alphabet case, but the man was always more of an academic. He has always been an inspiration to you, even now that his age is catching up to him.\n\n[Author's Note: You still remember well the moment that the professor shocked the orthographic community by announcing that there were, somewhere out there, 26 letters in all. Harness the alphabet's power to find the 23 letters that no living human has ever seen.]\n\n> Inventory\nYou are carrying:\nyour alphabet case (A, E, and T)\na three-letter frame\n\n> You look at the case\nYour alphabet case holds your collection of letters. Currently, it has the letters A, E, and T.\n\n> Spell tea\nYou deftly arrange the letters in the frame, just like you've practiced a thousand times. You produce a cup of bergamot, the professor's favorite.\n\nBetween sips, the professor begins reminiscing. \"You know, I've been studying the alphabet for most of a lifetime now. I always knew I wouldn't be the one to hunt down the unknown letters -- I'm not much for traveling, as you know. So I've kept my eyes open for the one who would fulfill my ambition. In all these years, I have only met a handful of people that showed the passion and aptitude for spelling that would be required for such a venture.\"\n\nProfessor Spruce takes a final swill of his teacup and looks you square in the eyes. \"You should know that this is not our first attempt at an expedition to Phoenicia. There was one other, a colleague of mine, that we were preparing to send. The expedition ended in failure before it could even begin. No orthographer has ever set foot in Phoenicia.\" He takes a look at you before continuing. \"I don't mean to alarm you. I only want you to understand the significance of your journey. You know as well as I do the importance and power of the alphabet. The Institute exists to ensure that the alphabet is used responsibly, and -- well, I'm preaching to the choir, aren't I? I wish you the best of luck on your voyage. We are all counting on you to return with the complete alphabet.\"\n\n> Exit\nToday may be the most important day of your life, but for the rest of Aleph City, it's Tuesday. The streets are busy as ever, and you see a few familiar faces among the hustle and bustle. None of that matters to you. You have a mission.\n\nThe Institute of Orthographic Studies is north of here, and far to the east is the wilderness of Phoenicia, theorized by Professor Spruce to contain the unknown letters.\n\n> Spell tea\nYou enjoy a cup of oolong.\n\n> Spell tea\nYou enjoy a cup of Earl Grey.\n\n> Spell tea\nYou enjoy a cup of peppermint tea.\n\n> Spell tea\nYou enjoy a cup of jasmine.\n\n> Spell tea\nYou enjoy a cup of rooibos.\n\n> Spell tea\nYou enjoy a cup of iced tea.\n\n> You go east\nAll of Phoenicia lies before you, ready for you to explore. You're not the first to explore Phoenicia -- that honor goes to Jerome Phoenix, for whom the region is named -- but you are the first orthographer to come here in search of the alphabet.\n\nThis particular area is a little bare, though. Undoubtedly, there's something more interesting to the northeast, east, and southeast. Aleph City is far away to the west.\n\nThe ground shakes a little beneath your feet.\n\n> You examine the ground\nThere's very little I can tell you about the ground that won't come across as incredibly patronizing.\n\nThe ground shakes a little beneath your feet.\n\n> Go east\nYou find yourself in a grassy clearing. The landscape is thoroughly unremarkable here, but you can see the edge of Phoenicia Forest to the south, Lake Phoenicia to the east, and a large brick structure to the north. To your west is the area where you first set foot here.\n\nThe ground shakes a little beneath your feet.\n\n> Go east\nYou stand at the bank of Lake Phoenicia. It's certainly not as majestic as you might have hoped: the water is a dank brown and the whole thing smells vaguely swampy. The lake is certainly vast, though: the only way forward from here is back to the west where you came from.\n\nA log floats in the water nearby.\n\nThe letter C -- one of the unknown letters -- floats in the water a little ways from the shore.\n\n> You get the C\nHold on -- that log is a crocodile!\n\n> You look at the C\nYou'd have to get a little wet in the process, but otherwise only the crocodile is stopping you from taking the letter C.\n\n> You eat the crocodile\nThat's plainly inedible.\n\n> You examine the crocodile\nThe crocodile lies in wait, looking very much like a log. Only on careful inspection do you notice that the crocodile is very much alert.\n\n> Spell aet\n\"aet\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> Shout\n(to the crocodile)\nThe crocodile has nothing to say."
    },
    {
        "text": "[Themes: Surreal Fantasy, wordplay, gender-neutral protagonist]\n\n> Look around\nYou stand at the bank of Lake Phoenicia. It's certainly not as majestic as you might have hoped: the water is a dank brown and the whole thing smells vaguely swampy. The lake is certainly vast, though: the only way forward from here is back to the west where you came from.\n\nA crocodile is in the water nearby, keeping intruders away.\n\nThe letter C -- one of the unknown letters -- floats in the water a little ways from the shore.\n\n> Go west\nYou find yourself in a grassy clearing. The landscape is thoroughly unremarkable here, but you can see the edge of Phoenicia Forest to the south, Lake Phoenicia to the east, and a large brick structure to the north. To your west is the area where you first set foot here.\n\nThe ground shakes a little beneath your feet.\n\n> You go south\nThe trees are sufficiently sparse to allow grass to grow in this area, but there are still enough of them to consider this part of the forest. The forest continues to the southeast. You can also head north or northwest from here.\n\nAn elephant is relaxing here.\n\n> You examine elephant\nA large, gray pachyderm with floppy ears, ivory tusks, and a long, prehensile trunk. You're no zoologist, but it seems like any other elephant, really.\n\n> You climb the tree\nYou spend a few minutes climbing to the top of a tree, which affords you a marginally nicer vantage point of the area you were already able to see. At least you had fun.\n\n> Spell tea\nYou enjoy a cup of iced tea.\n\n> You go to the south-east\nThe trees are incredibly dense in this area, and there's no trail to follow. Were it not for your innate talent at recognizing cardinal directions, you could easily get lost in here.\n\nTo the northwest and northeast, the forest begins to thin out. You see a small tunnel leading underground to the south.\n\n> You go south\nYou wriggle and crawl through the cramped tunnel. Whatever's on the other side had better be worth it and not, like, a giant fleshworm or something.\n\nOh, great. It's a hole full of rat-dragons. This was so not\nworth it. To make matters worse, this place isn't quite tall enough to stand in, so you're hunched over just a bit. This is giving you a neckache. But wait -- the letter G is here. One of the unknown letters!\n\nA large fire lights the room from the western wall, and to the side is a large pile of sticks. The tunnel leading to the surface is to the north.\n\nThe kobolds are huddled around the letter G on the southern edge of this little hole.\n\nThe letter G -- one of the unknown letters -- sits unguarded at the south end of the warren.\n\n> You get the g.\nYou edge closer to the south end of the warren where the kobolds are congregated, and they begin to notice you. A chorus of hisses makes its way through the crowd, then the kobolds begin to bark at you.\n\n\"The human can't have our treasure!\"\n\n\"The human wasn't invited here!\"\n\n\"The human came in without knocking!\"\n\n\"We don't have a door, dummy!\"\n\n\"How did the human get in here if we don't have a door?\"\n\n\"The human must be a wizard!\"\n\nAnd then the voices become muddled as the kobolds talk amongst themselves. After several seconds, they all quiet down at once. One of them calls out, \"Show us your magic, wizard!\" The other kobolds roar in approval.\n\n> Spell tea\nYou enjoy a cup of peppermint tea.\n\nThe kobolds seem puzzled. Clearly, your remarkable mastery of the alphabet was not \"magical\" enough.\n\n> Inventory\nYou are carrying:\nyour alphabet case (A, E, and T)\na three-letter frame\n\n> Spell eat\nYou don't need the alphabet's help to eat, and if you don't have something to eat, then this isn't the word you're looking for.\n\nThe kobolds seem puzzled. Clearly, your remarkable mastery of the alphabet was not \"magical\" enough.\n\n> You get the g.\nThe throng of kobolds blocks your way. You hear several cries of \"Show us your magic, wizard!\"\n\n> Go northeast\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby on which lies the letter S -- one of the unknown letters!\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\nThe letter S sits on the outcropping.\n\n> You get the south\nAs you approach the outcropping, a small man dressed in green hops up from the other side and snatches the letter! You're torn between being annoyed and wondering how long he was hanging there.\n\n> You look at the man\nA small man with curly red hair and an outfit of dark green holds the letter S. He dances manically, hopping to and fro as if he weighed nothing.\n\n> You talk to the man\nThe leprechaun responds by blowing a raspberry and laughing derisively.\n\n> Spell tea\nYou enjoy a cup of green tea.\n\n> You look\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby, which is bare now that the leprechaun has taken the letter S.\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\nA sprightly leprechaun dances around you waving the letter S.\n\nThe sight of the leprechaun fills you with annoyance.\n\n> Go north\nThe forest gives way to reveal a lofty brick structure. There is a large archway facing you, through which you could access the interior were it not for a massive hole underneath. No, wait, holes can't be massive -- that doesn't make sense. Let's just call it a big hole.\n\nThe path ends here: any further north and you'll have left Phoenicia, and the cliff is still to your east. You'll have to head back south.\n\n> You enter the hole\nYou'd get stuck. Isn't that the pits?\n\n> You go to the west\nYou're back at the area where you first set foot in Phoenicia. There's little worth mentioning here. Undoubtedly, there's something more interesting to the northeast, east, and southeast. Aleph City is far away to the west.\n\nThe ground shakes a little beneath your feet.\n\n> Go north\nThis clearing is notable for the great wall that occupies its eastern edge, where an archway connects this clearing to the Phoenician ruins that lie beyond. Oh, and there is an enormous cyclops moping listlessly here, which is probably worth mentioning.\n\nBesides the ruins to the east, you can travel southwest to where you first arrived or south to a more open area.\n\nThe cyclops occupies the entire archway and then some.\n\nThe ground shakes as the cyclops's stomach roars.\n\n> Spell tea\nYou enjoy a cup of chamomile.\n\nThe ground shakes as the cyclops's stomach roars.\n\n> Spell eat\nThe cyclops looks around for something to eat, but he only finds one thing that might possibly be edible.\n\nYears of orthographic training should have driven home the correct way to use the known letters for satiation, but hey, we all make mistakes.\n\n> Spell ate\nThe ground shakes one last time as the cyclops delivers a thundering burp that knocks you from your feet. He stands up and stretches, then collapses in a deep sleep, but not before moving just enough to allow passage into the ruins.\n\nThe cyclops snores loudly."
    },
    {
        "text": "[Themes: Surreal Fantasy, wordplay, gender-neutral protagonist]\n\n> You look at your surroundings\nThis clearing is notable for the great wall that occupies its eastern edge, where an archway connects this clearing to the Phoenician ruins that lie beyond.\n\nBesides the ruins to the east, you can travel southwest to where you first arrived or south to a more open area.\n\nThe cyclops is sleeping just to the side of the archway.\n\nThe cyclops snores loudly.\n\n> Go east\nThe air is stale, and the walls are netted with cobwebs, but otherwise, these ruins are in marvelous condition. You're here for orthography, though, not archaeology, so your eyes are immediately drawn to the wall mural that clearly depicts the letter R -- one of the unknown letters! If you take it from the wall, you can add it to your alphabet case.\n\nThe archway to the west leads back outside, and a staircase leads down into the dark subterrain of the ruins.\n\nThe letter R is yours for the taking.\n\n> You take r.\nYou insert R into your alphabet case, adding its power to the three letters you already possess.\n\nYou can now spell words that contain the letter R."
    },
    {
        "text": "[Themes: Surreal Fantasy, gender-neutral protagonist]\n\n> You go downwards\nIt's very dark down here. The top staircase is illuminated from the sunlight up above, but aside from that, you can't see a thing down here."
    },
    {
        "text": "[Themes: Surreal Fantasy, wordplay]\n\n> Look around\nThese halls have been your home for the past several years. It was here that you learned how to arrange the known letters into words, to recognize the unknown letters, and to introduce them to your alphabet case. These skills are sure to come in handy very soon.\n\nThe entrance doors are south of here, through which you can see the bustle of the city.\n\nYou can see Professor Spruce here.\n\n> You examine Spruce\nNo doubt the good professor would have loved to be the one to fill his alphabet case, but the man was always more of an academic. He has always been an inspiration to you, even now that his age is catching up to him.\n\n> You go south\nToday may be the most important day of your life, but for the rest of Aleph City, it's Tuesday. The streets are busy as ever, and you see a few familiar faces among the hustle and bustle. None of that matters to you. You have a mission.\n\nThe Institute of Orthographic Studies is north of here, and far to the east is the wilderness of Phoenicia, theorized by Professor Spruce to contain the unknown letters.\n\n> You listen to the ground\nYou hear nothing unexpected.\n\nThe ground shakes a little beneath your feet.\n\n> You go northeast\nThis clearing is notable for the great wall that occupies its eastern edge, where an archway connects this clearing to the Phoenician ruins that lie beyond. Oh, and there is an enormous cyclops moping listlessly here, which is probably worth mentioning.\n\nBesides the ruins to the east, you can travel southwest to where you first arrived or south to a more open area.\n\nThe cyclops occupies the entire archway and then some.\n\nThe ground shakes as the cyclops's stomach roars.\n\n> You look at cyclops\nEasily twice and probably three times your height, this is one of the one-eyed giants known as cyclopes. They're not as stupid or mean as ogres or trolls, although it's common for a cyclops to have trouble concentrating on more than one thing at a time. This one is just sitting there looking despondent, probably on account of his empty stomach that's been causing these minor earthquakes.\n\nThe ground shakes as the cyclops's stomach roars.\n\n> You talk to cyclops\nThe forlorn cyclops fixes his eye on you. \"No talk,\" he says. \"Huuungry.\"\n\nThe ground shakes as the cyclops's stomach roars.\n\n> Spell tea\nYou enjoy a cup of green tea.\n\nThe ground shakes as the cyclops's stomach roars.\n\n> Spell eat\nThe cyclops looks around for something to eat, but he only finds one thing that might possibly be edible.\n\nYears of orthographic training should have driven home the correct way to use the known letters for satiation, but hey, we all make mistakes.\n\n> You examine ruins\nThe ruins are in remarkably good shape given their age. The vines crawling up the bricks of the outer walls are the biggest indication that the ruins have been long abandoned.\n\nThe cyclops snores loudly.\n\n> Inventory\nYou are carrying:\nyour alphabet case (A, E, and T)\na three-letter frame\n\nThe cyclops snores loudly.\n\n> You examine the vines\nThe vines run in jagged lines up the outer edge of the Phoenician ruins.\n\nThe cyclops snores loudly.\n\n> You climb the vines\nYou've never been much of a climber, and the vines isn't really made for climbing.\n\nThe cyclops snores loudly.\n\n> Go east\nThe air is stale, and the walls are netted with cobwebs, but otherwise, these ruins are in marvelous condition. You're here for orthography, though, not archaeology, so your eyes are immediately drawn to the wall mural that clearly depicts the letter R -- one of the unknown letters! If you take it from the wall, you can add it to your alphabet case.\n\nThe archway to the west leads back outside, and a staircase leads down into the dark subterrain of the ruins.\n\nThe letter R is yours for the taking.\n\n> Spell rat\nA rodent of modest size appears out of thin air. After getting its bearings, it scampers off.\n\n> Spell ear\nYou produce a third ear, square on your forehead. It's unsightly and it feels really weird, so you send it back with a poof."
    },
    {
        "text": "[Themes: Surreal Fantasy, gender-neutral protagonist]\n\n> You go downwards\nIt's very dark down here. The top staircase is illuminated from the sunlight up above, but aside from that, you can't see a thing down here.\n\n> Go up\nThe air is stale, and the walls are netted with cobwebs, but otherwise, these ruins are in marvelous condition. You're here for orthography, though, not archaeology, so you're unequipped to fully appreciate this.\n\nThe archway to the west leads back outside, and a staircase leads down into the dark subterrain of the ruins.\n\n> Spell at\n\"at\" is too short; you have to completely fill a letter frame in order for it to work.\n\n> You go west\nThis clearing is notable for the great wall that occupies its eastern edge, where an archway connects this clearing to the Phoenician ruins that lie beyond.\n\nBesides the ruins to the east, you can travel southwest to where you first arrived or south to a more open area.\n\nThe cyclops is sleeping just to the side of the archway.\n\nThe cyclops snores loudly.\n\n> You go southwest\nYou're back at the area where you first set foot in Phoenicia. There's little worth mentioning here. Undoubtedly, there's something more interesting to the northeast, east, and southeast. Aleph City is far away to the west.\n\n> Go east\nYou find yourself in a grassy clearing. The landscape is thoroughly unremarkable here, but you can see the edge of Phoenicia Forest to the south, Lake Phoenicia to the east, and a large brick structure to the north. To your west is the area where you first set foot here.\n\n> Spell tar\nBetter not. Your hands and pockets would get sticky -- it'd be a real mess.\n\n> Swim\nYou remove your shoes and socks and wade into the water a little, keeping an eye on the crocodile. It doesn't move, so you hesitantly edge towards the letter C. As you reach for it, the crocodile springs into action, moving more freely in the water than you could hope to. It turns out to be a better aquatic combatant than you, too.\n\n> You go to the south\nYou can't go that way. From here, you can go west.\n\n> You go west\nYou find yourself in a grassy clearing. The landscape is thoroughly unremarkable here, but you can see the edge of Phoenicia Forest to the south, Lake Phoenicia to the east, and a large brick structure to the north. To your west is the area where you first set foot here.\n\n> Spell rat\nYou produce a rodent of modest size. The elephant notices it and runs off to the north in abject terror. The rat, not too fond of the elephant, runs off in the opposite direction.\n\n> You go north\nYou find yourself in a grassy clearing. The landscape is thoroughly unremarkable here, but you can see the edge of Phoenicia Forest to the south, Lake Phoenicia to the east, and a large brick structure to the north. To your west is the area where you first set foot here.\n\nThe elephant is here, looking a bit spooked.\n\n> Spell rat\nYou produce another rat. The elephant raises its front feet off the ground in surprise, then stomps off to the east.\n\n> Go east\nYou stand at the bank of Lake Phoenicia. It's certainly not as majestic as you might have hoped: the water is a dank brown and the whole thing smells vaguely swampy. The lake is certainly vast, though: the only way forward from here is back to the west where you came from.\n\nThe elephant has taken up residence in the lake.\n\nA crocodile is swimming through the lake far from here. It seems to be keeping its distance from the elephant.\n\nThe letter C -- one of the unknown letters -- floats in the water a little ways from the shore.\n\n> You take the C\nYou remove your shoes and socks and wade into the water. With the elephant nearby, the crocodile keeps its distance, and you easily reach the letter. You insert C into your alphabet case, adding its power to the four letters you already possess.\n\nYou can now spell words that contain the letter C.\n\n> Spell cat\nYou produce a colorful calico. It's a skittish thing, and it darts away as it notices you.\n\n> Spell ace\nA card (the ace of diamonds) appears in your hand. It would bend in your pockets, so you send it back with a poof. Nice trick, though.\n\n> Spell act\nYou put on a small play, using your hands as puppets. The crocodile is unamused.\n\n> Spell arc\nThe image of a curve shimmers briefly in the air.\n\n> Spell car\nYou produce a shiny red Ferrari. It's impressive, but the automobile won't be invented for quite some time still, so you have no clue how to operate it. You send it back with a poof.\n\n> Spell rec\nYou enjoy a little recreation. Happy now?\n\n> Spell art\nYou produce a copy of The Scream. It's good, but is it art?\n\nWell, in this case, it's a forgery, and it's too big to carry around, so you send it back with a poof.\n\n> Go south\nThe trees are sufficiently sparse to allow grass to grow in this area, but there are still enough of them to consider this part of the forest. The forest continues to the southeast. You can also head north or northwest from here.\n\n> You take the stick\nTaken.\n\n> Spell art\nYou produce a copy of Persistence of Memory. It's good, but is it art?\n\nWell, in this case, it's a forgery, and it's too big to carry around, so you send it back with a poof.\n\n> Light stick\nThe stick as it stands would burn out quickly. If you want a light source, you'll need a proper torch.\n\n> Spell cat\nYou produce a poofy Scottish Fold. It's a skittish thing, and it darts away as it notices you.\n\n> Spell rat\nA rodent of modest size appears out of thin air. After getting its bearings, it scampers off.\n\n> You check your inventory\nYou are carrying:\na stick\nyour alphabet case (A, C, E, R, and T)\na three-letter frame\n\n> You examine kobolds\nKobolds are to dragons what chihuahuas are to golden retrievers, except that some people find chihuahuas endearing. The kobolds are gathered around the letter G, ignoring you.\n\n> You look at fire\nThe fire suggests some method of exhaust, since the warren isn't filled with smoke, but you didn't notice anything above ground. This makes you a little curious, but not curious enough to attempt a conversation with the kobolds.\n\n> Spell tar\nBetter not. Your hands and pockets would get sticky -- it'd be a real mess.\n\n> Spell ear\nYou produce a third ear, square on your forehead. It's unsightly and it feels really weird, so you send it back with a poof.\n\n> Spell act\nYou put on a small play, using your hands as puppets. The leprechaun is unamused.\n\n> Spell arc\nThe image of a curve shimmers briefly in the air.\n\n> Spell cat\nYou produce a colorful calico. It's a skittish thing, and it darts away as it notices you.\n\n> Go north\nThe forest gives way to reveal a lofty brick structure. There is a large archway facing you, through which you could access the interior were it not for a massive hole underneath. No, wait, holes can't be massive -- that doesn't make sense. Let's just call it a big hole.\n\nThe path ends here: any further north and you'll have left Phoenicia, and the cliff is still to your east. You'll have to head back south.\n\n> Spell tar\nBetter not. Your hands and pockets would get sticky -- it'd be a real mess.\n\n> You examine the hole\nThe hole is large and deep, and the edges are sheer enough to make it very difficult to escape. There's nothing in the hole, fortunately, so you can just avoid it.\n\n> You check your inventory\nYou are carrying:\na stick\nyour alphabet case (A, C, E, R, and T)\na three-letter frame\n\n> You look at the archway\nA tall archway provides entrance to the ruins.\n\n> Spell car\nYou produce a shiny white Lamborghini. It's impressive, but the automobile won't be invented for quite some time still, so you have no clue how to operate it. You send it back with a poof.\n\n> You go north\nYou can't go that way. From here, you can go south."
    },
    {
        "text": "[Themes: Surreal Fantasy, gender-neutral protagonist]\n\n> You look around\nThe forest gives way to reveal a lofty brick structure. There is a large archway facing you, through which you could access the interior were it not for a large hole underneath.\n\nThe path ends here: any further north and you'll have left Phoenicia, and the cliff is still to your east. You'll have to head back south.\n\n> You go east\nThat's a long way down, friend.\n\n> You go to the south\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby, which is bare now that the leprechaun has taken the letter S.\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\nA sprightly leprechaun dances around you waving the letter S.\n\nThe sight of the leprechaun fills you with annoyance.\n\n> Spell are\nYou are. At least you think so.\n\n> Spell ear\nYou produce a third ear, square on your forehead. It's unsightly and it feels really weird, so you send it back with a poof.\n\n> Spell tac\n\"tac\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> Spell rac\n\"rac\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> You check your inventory\nYou are carrying:\na stick\nyour alphabet case (A, C, E, R, and T)\na three-letter frame\n\n> You look\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby, which is bare now that the leprechaun has taken the letter S.\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\nA sprightly leprechaun dances around you waving the letter S.\n\nThe sight of the leprechaun fills you with annoyance.\n\n> You examine the river\nFar below, the river heads east for a bit before snaking in a northwesterly direction. The water is calm outside the occasional eddy."
    },
    {
        "text": "> Go downward\nThat's a long way down, friend.\n\n> Spell tar\nYou produce a pile of sticky goo directly under the leprechaun. He jumps out of it as quickly as possible and resumes his annoying dance, but his shoes are coated in tar, making his jumps slightly awkward.\n\n> You take the south\nThe leprechaun is unable to escape your grasp, and you easily take the letter from him. You insert S into your alphabet case, adding its power to the five letters you already possess.\n\nYou can now spell words that contain the letter S.\n\nThe leprechaun is dispirited at the loss of his treasure. He trudges back to the cliff and jumps off. How awfully dramatic! You rush to stop him, but he's already gone -- disappeared off to wherever leprechauns go when they're not tormenting poor explorers, it seems, and not a suicide after all.\n\n> Spell sat\nYou suddenly recall sitting in a lecture by Professor Spruce. You sat like a real professional.\n\n> You check what you're carrying\nYou are carrying:\na stick\nyour alphabet case (A, C, E, R, S, and T)\na three-letter frame\n\n> Go north\nThe forest gives way to reveal a lofty brick structure. There is a large archway facing you, through which you could access the interior were it not for a large hole underneath.\n\nThe path ends here: any further north and you'll have left Phoenicia, and the cliff is still to your east. You'll have to head back south.\n\n> Spell sea\nWhatever problem you're having is unlikely to be helped by millions of gallons of water.\n\n> Spell ace\nA card (the ace of clubs) appears in your hand. It would bend in your pockets, so you send it back with a poof. Nice trick, though.\n\n> You go to the south\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby where you found the letter S.\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\n> Go southwest\nThe trees are incredibly dense in this area, and there's no trail to follow. Were it not for your innate talent at recognizing cardinal directions, you could easily get lost in here.\n\nTo the northwest and northeast, the forest begins to thin out. You see a small tunnel leading underground to the south.\n\n> Go south\nYou're back in the kobold warren, despite your preference to be almost literally anywhere else. As always, this place isn't quite tall enough to stand in, so you're hunched over just a bit. This is giving you a neckache. But wait -- the letter G is here. One of the unknown letters!\n\nA large fire lights the room from the western wall, and to the side is a large pile of sticks. The tunnel leading to the surface is to the north.\n\nThe kobolds are huddled around the letter G on the southern edge of this little hole.\n\nThe letter G -- one of the unknown letters -- sits unguarded at the south end of the warren.\n\n> Spell ace\n\"Wanna see some magic?\" you say. The kobolds stop what they're doing and look your way. You produce an ace of spades from thin air, and the kobolds ooh and ahh. When you send the card back with a poof, there is a wave of gasps. The kobolds applaud and gather around you.\n\n> Spell act\nYou put on what is surely the worst magic act ever performed, spelling various words and sending them back. The kobolds are highly entertained, though, since this might as well be magic to them.\n\n> You take the g.\nNow that the kobolds are enthralled by your, ahem,\nperformance, you have no trouble budging through to the\nletter G. You insert G into your alphabet case, adding its power to the six letters you already possess.\n\nYou can now spell words that contain the letter G.\n\n> Spell gas\nHmm. That didn't do anything obvious, but you can smell something in the air now.\n\n> Spell sag\nYou feel your cheeks droop a bit.\n\n> Spell tag\nYou tag the kobolds.\n\n> Spell rag\nYou produce dirty scrap of cloth. Good for you?\n\n> You tie the rag to stick\nYou wrap the rag tightly around the stick. If you soaked it in something more flammable, then it would make a good torch.\n\n> Spell tar\nBetter not. Your hands and pockets would get sticky -- it'd be a real mess.\n\n> Spell art\nYou produce a copy of the Creation of Adam. It's good, but is it art?\n\nWell, in this case, it's a forgery, and it's too big to carry around, so you send it back with a poof.\n\n> Inventory\nYou are carrying:\na stick\na rag\nyour alphabet case (A, C, E, G, R, S, and T)\na three-letter frame\n\n> Spell car\nYou produce a shiny red Ferrari. It's impressive, but the automobile won't be invented for quite some time still, so you have no clue how to operate it. You send it back with a poof.\n\n> Spell gar\nA needlefish appears out of thin air. You have no need for it at the moment and it would be cumbersome to carry around, so you send it back with a poof.\n\n> Go east\nYou stand at the bank of Lake Phoenicia. It's certainly not as majestic as you might have hoped: the water is a dank brown and the whole thing smells vaguely swampy. The lake is certainly vast, though: the only way forward from here is back to the west where you came from.\n\nThe elephant has taken up residence in the lake.\n\nA crocodile is swimming through the lake far from here. It seems to be keeping its distance from the elephant.\n\n> Spell gar\nYou produce a needlefish, which splashes into the lake and swims off. It wants nothing to do with the crocodile or elephant, nor they with it.\n\n> Spell rat\nYou produce another rat, startling the elephant once again. The elephant trumpets loudly and, seeing no other exit, storms off to the west.\n\nHey, that's where you were standing, wasn't it? Oops!\n\n> You take the hole\nThat's hardly portable."
    },
    {
        "text": "> You go downward\nWhether you meant down the hole or down the cliff, you'd have a hard time getting back up.\n\n> You look at the wall\nThe ruins are in remarkably good shape given their age. The vines crawling up the bricks of the outer walls are the biggest indication that the ruins have been long abandoned.\n\n> You go to the south\nThe trees clear out on the east to reveal a precipice overlooking a beautiful rainbow. Far below, you see a waterfall flowing from a gap in the cliff wall that turns into a winding river. There is an outcropping nearby where you found the letter S.\n\nYou can return to the denser area of the forest to your southwest, or you can follow the cliff edge to the north.\n\n> You go north\nYou can't go that way. From here, you can go northwest, south, and northeast.\n\n> Spell sac\nYou produce an anal sac. It's really gross and not obviously useful, so you send it back with a poof and a grimace.\n\n> Go south\nYou're back in the kobold warren, despite your preference to be almost literally anywhere else. As always, this place isn't quite tall enough to stand in, so you're hunched over just a bit. This is giving you a neckache.\n\nA large fire lights the room from the western wall, and to the side is a large pile of sticks. The tunnel leading to the surface is to the north.\n\nAs the kobolds notice you enter, they gather around you once again.\n\n> Inventory\nYou are carrying:\na stick\na rag\nyour alphabet case (A, C, E, G, R, S, and T)\na three-letter frame\n\n> You take the stick\nYou already snagged one. It's probably best to limit the amount you steal from the kobolds.\n\n> Spell set\nUnbelievable! You've produced a complete set of those wooden soldiers that your parents would never buy for you. These are worth a fortune nowadays. You have no use for them at the moment, of course, so you send them back with a poof and make a mental note to make another set once you get back to Aleph City.\n\n> Spell etc\n\"etc\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> Spell arg\n\"arg\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> Spell get\nYou could, you know, just take whatever you're after. This is one word that you don't need to spell.\n\n> Spell reg\nYou reminisce on the Institute's \"Regulations for Proper Alphabet Use.\"\n\nRule #2: No one shall engage in spelling while intoxicated.\n\n> Spell erg\nReaching deep to the bottom of our vocabulary barrel, are we? Obscure words aren't required to win.\n\n> Spell ret\nThat word isn't especially helpful unless you're playing a certain board game.\n\nYou're not.\n\n> HINT\nTry HINT TOPIC for hints on a specific topic. For example, if\nyou're having trouble slaying the dragon, try HINT DRAGON.\n\n> Hint torch\nA torch is more than just a stick. Before you can light it, you need to put an accelerant onto some kind of absorbent material -- such as cloth -- and wrap it around one end. Try HINT ACCELERANT or\nHINT CLOTH if you're still stuck.\n\nYou'll also need a source of fire to get it going. You've seen one somewhere already.\n\n> Hint accelerant\nAn accelerant is a highly flammable substance, like lighter fluid. There's something matching this description that you can spell.\n\n> Hint tar\nYou're already off to a good start!\n\n> Spell gas\nYou produce a cloud of gasoline and soak the stick in it. Just add fire and you've got a light source.\n\n> You put the stick in fire\nBefore the torch even touches the dancing flames, the fumes ignite and the torch bursts into life. Congratulations: you've got a light."
    },
    {
        "text": "> Go downwards\nThe light of your torch dances on the walls of the walls of the Phoenician underground. To step down into these ruins is to step into history itself.\n\nThe stairs lead up to the surface, and this corridor continues to the east.\n\n> You go to the east\nThe air down here is dry. From your admittedly limited exposure to spelunking, you had expected humid air and the occasional drip, but the Phoenician architecture holds watertight after all these years.\n\nThe corridor continues to the west and east.\n\nThe letter O hangs on a mural on the stone wall.\n\n> You take the o.\nYou begin to approach the mural when your ears perk up. What was that noise? You stand still and listen. Footsteps, coming from the other direction.\n\nTo the east, another light approaches. You strain to see a human woman who appears just as surprised to see you. You are considerably more surprised, however, when you notice what she's carrying: an alphabet case and a letter frame. An orthographer? But you're the only one the Institute authorized to explore Phoenicia!\n\nDumbfounded as you are, you have no time to react as the woman arranges letters into her frame. The first two letters are unfamiliar, and you can barely see her slide T into the last slot when a gaping hole opens beneath you, dropping you into...\n\nYour landing was hardly comfortable, but you have only scrapes and bruises to show for it. The real problem is that the walls of the pit offer no means of purchase. Fortunately, you've retained your possessions, and you even managed to avoid burning yourself with the torch. All told, you're in great shape aside from being in this pit.\n\nThe overall look of this hole brings to mind the one that you saw in the eastern ruins entrance. It occurs to you that your rival orthographer was probably responsible for that as well, meaning she's had more time than you to explore the ruins. Judging from the word she spelled, your new friend has at least two of the unknown letters. This is a serious problem: you're going to need those letters. You'd better be on your toes next time the two of you meet.\n\n> You check what you're carrying\nYou are carrying:\na torch (providing light)\nyour alphabet case (A, C, E, G, R, S, and T)\na three-letter frame\n\n> Spell sea\nYou inhale sharply, hold your breath, and arrange the letters. You are slammed to the ground by a crushing load of water, and it's all you can do to keep your breath from being knocked out of you. Suddenly, you question the wisdom of this course of action. The torch has been extinguished and your possessions have been scattered. The wet torch is easy enough to find, but you spend precious seconds groping the floor for the case and frame. Seizing them, you swim as quickly as you can in the direction of the only light you can now see. Your breath gives out before you make it there, and just as you inhale a lungful of sea water, it occurs to you to dismiss the sea, sending it back with a poof.\n\nYou cough and strain for air, but as you do, you hear a distant howl echoing through the tunnels. As you gather your things and head back to the surface, a grin reaches your lips. Somewhere deep in the catacombs below, the woman who tried to thwart your mission is fumbling around in the darkness. Being dropped in a pit was unpleasant for you, and having to rekindle your torch is a little inconvenient, but you have dealt her a major setback. After making sure your alphabet case survived the ordeal and returning to the kobold warren to relight your torch, you're ready to go."
    },
    {
        "text": "[Themes: Surreal Fantasy]\n\n> Describe the surroundings\nThe air is stale, and the walls are netted with cobwebs, but otherwise, these ruins are in marvelous condition. You're here for orthography, though, not archaeology, so you're unequipped to fully appreciate this.\n\nThe archway to the west leads back outside, and a staircase leads down into the dark subterrain of the ruins.\n\n> Go east\nThe air down here is dry. From your admittedly limited exposure to spelunking, you had expected humid air and the occasional drip, but the Phoenician architecture holds watertight after all these years.\n\nThe corridor continues to the west and east. There's also a gaping hole in the ground here which you have no desire to revisit.\n\nThe mural on the wall is unsurprisingly bare. Your new acquaintance has taken its letter.\n\n> You go to the east\nThe relatively tight corridor makes way here to a cavernous stairway that descends south into abyssal darkness. The dust and cobwebs fail to conceal the majesty of the stonework. You can't help but be awestruck.\n\nThe north wall is decorated by a mural bare of any letter. The other orthographer came from this direction; she must have taken this mural's letter.\n\nBesides the staircase, you can go east and west from here.\n\n> You go east\nThe corridor once again narrows to the east of the staircase. The corridor seems to be east-west symmetric about the staircase: a mural (once again bare) adorns the north wall again, and far to the east, you see a glimmer of sunlight.\n\n> Go east\nAs you'd expected, a staircase here ascends into daylight. The corridor ends here otherwise; the grand staircase is clearly the focus of this corridor.\n\n> Go upwards\nYou find yourself on the other side of the large hole that you discovered earlier. There is a mural on the wall here, too, unsurprisingly bereft of its letter. No prizes for guessing what happened here.\n\nWith the large hole effectively blocking the archway, your only option is to head back down into the ruins.\n\n> Go south\nAs you descend the gigantic staircase, your jaw drops. And it keeps dropping.\n\nThe ceiling is no longer visible with the light from your torch. Through its inadequate glow, great structures rise to meet you. An entire city is down here.\n\nThe heart of the underground city is south of here, and the staircase rises to the north.\n\nOn the polished stone ahead is a four-letter frame, covered with the same centuries of dust as everything else.\n\n> You take the frame\n(the four-letter frame)\nYour hands tremble in anticipation as you pick up the four-letter frame. You blow the dust off of it and polish it with your sleeve. Hundreds of years ago, a real, living Phoenician spelled words with this, using all twenty-six letters of the alphabet. Now, that power is yours.\n\nYou can now spell four-letter words.\n\nTaken.\n\n> Spell seat\nYou produce a seat, something like a chair but with no legs. It doesn't stay up on its own, which makes it pretty useless. You send it back with a poof.\n\n> Spell gear\nYou produce a small brass cog.\n\n> You examine the cog\nA small, thick brass disc with teeth around the side to interlock with other, similar items.\n\n> Spell sega\n\"Sega\" isn't a word. Don't you know the dangers of reckless alphabet usage?\n\n> You go south\nYou've reached the end of the IntroComp release of Spellbound. I hope you have enjoyed your time in Phoenicia. If you are anxious to see more of the game, you can experiment with the four-letter frame (as long as you don't take it into the Underground City) or explore the Underground City (as long as you don't take the four-letter frame). Thanks for playing!\n\n> Spell cage\nYou produce a large iron cage.\n\n> You examine the cage\nA large cage made of iron bars painted black.\n\n> You check what you're carrying\nYou are carrying:\na gear\na four-letter frame\na torch (providing light)\nyour alphabet case (A, C, E, G, R, S, and T)\na three-letter frame\n\n> You take the cage\nTaken.\n\n> Spell cats\nNo need for plurals; let's not be greedy, now.\n\n> Spell star\nSomewhere, far, far away, a new star blinks into existence. In a few hundred years, its light will reach this planet. Do this a few more times and you'll really confuse a lot of astronomers down the line.\n\n> Spell scat\nThat's a really crappy idea.\n\n> Spell cast\nA hard plaster cast covers your leg. It's quite uncomfortable, and your leg is in good condition, so you send it back with a poof.\n\n> Spell tear\nYou shed a single tear.\n\n> Spell rate\nYou give the cage a 5 out of 10.\n\n> Spell rage\nYou feel really angry! But your anger subsides.\n\n> Spell sage\nYou produce a handful of Salvia officinalis.\n\n> You look at the sage\nSage has a long tradition of culinary and medicinal usage. You're not a chef or doctor, so it's little more than a plant to you.\n\n> Inventory\nYou are carrying:\nsome sage\na cage (open but empty)\na gear\na four-letter frame\na torch (providing light)\nyour alphabet case (A, C, E, G, R, S, and T)\na three-letter frame\n\n> You go south\nYou've reached the end of the IntroComp release of Spellbound. I hope you have enjoyed your time in Phoenicia. If you are anxious to see more of the game, you can experiment with the four-letter frame (as long as you don't take it into the Underground City) or explore the Underground City (as long as you don't take the four-letter frame). Thanks for playing!"
    },
    {
        "text": "[Themes: Fantasy, death, female protagonist, strong profanity, male protagonist, multiple protagonists, strong NPCs]\n\nBeats the fuck out of cleaning toilets.\n\nShopping cart duty gets me outta the store for a while, which is cool even on a shit day like today. It's that gross, grey slush that gets me talking about just moving down to California this time every year -- hey, they need groceries bagged down there too, don't they?\n\nMom usually agrees with me, but this morning she said that the Mexicans got all those jobs down there. Way to piss on my dreams, Mom. But she's been bitchy ever since the fire in the basement. Whatev. These things happen.\nEverybody Dies\n\nType CREDITS for the full credits, HELP if you need it, and QUIT to exit the game.\n\nAt least outside I can smoke. With all the cars puking exhaust behind me it's not like anyone can complain.\n\nThe Rouge River's kind of awesome from the bridge, its strong and heavy current making it look like a sea snake. Brutal. I like how then when I'm looking at it I can't see Cost Cutters, even though it's directly west. Means I can forget about work for a while.\n\nEast of here is the neighbourhood where most of our customers come from.\nWhat was that?\nWhat was that?\n\n[Author's Note: It starts with a metalhead, Graham, realizing that throwing that shopping cart over the bridge was not the great idea he thought it was. Even if it did get him out of washroom duty at Cost Cutters.]"
    },
    {
        "text": "> About yourself\nI'm Graham, your standard variety skid, rocker, or metalhead depending on which suburb you grew up in.\n\nThe river's really raging today. The water level's so high I can barely see the shopping cart. Actually, is it even there? Did the Indian kid get that one too?\n\nOh, wait, there it is. Thank fuck. Lisa'll have me cleaning toilets all month if I come back empty handed.\n\nI finish my smoke and flick the butt over the edge. I imagine it hitting the river below with a gnarly pssssshhhht.\n\n> You look at what you're carrying with you\nI am carrying:\na pair of jeans (being worn)\na sweatshirt (being worn)\na pack of Gauloise cigarettes\na matchbook\na lumberjack jacket (being worn)\na pair of Kodiaks (being worn)\n\n> You look at the Kodiaks\nGot 'em the summer I was working planting trees. Worst job ever, but the boots are awesome.\n\n> You examine the jeans\nThese guys have been getting looser every year, but I've been gettin' bigger so they're still as tight as they were when I got 'em at nineteen.\n\n> You examine the matchbook\nPurple, with OOOH LA LA printed on the side. It's out of matches.\n\n> You examine River\nIt winds through the ravine, kind of a charcoal grey with all the runoff. The cart's wheels are just visible as a far-away glint.\n\n> You look at the cart\nIt's waaaaay down there.\n\n> You get the cart\nI can barely see it, it's that far off.\n\n> You go to the east\nNaw, the new Indian kid cleaned out the 'hood yesterday. Heard he came back with something like eighteen carts. I am gonna have to have a talk with him -- he's making the rest of us look bad."
    },
    {
        "text": "> Go downwards\nThe visible exits are east and west.\n\n> You go west\nThe bridge rail stops here and the brush takes over. It's pretty thick, but I know there's a path north that goes down to the river. I could find my way there shitfaced... who am I kidding, I always found my way there 'faced.\n\nFurther west is Cost Cutters.\n\nAcross the road the guy from the city is in his little go-cart clearing the snow off the sidewalk. He gives me a chin nod and I do the same. Don't know him but it's the Mustache Brotherhood.\n\nThey motor on those things. Next time I look up he's gone.\n\n> You examine the brush\nA brambly overgrown mess.\n\n> You go to the north\nShit's so overgrown that for a second I'm like, maybe I have to be wasted to find the Pit, maybe it's got some kind of magical... But then I find it.\n\nEverything's got a wet blanket of snow on it but I can make out the log we usually sat on, the little hole where we'd burn shit, and feel the crinkle of an empty under my Kodiak.\n\nIt's been a couple years since I came out here -- fuck, must have been two years ago, 'cause Ricky left for school that fall. We were celebrating my first Cutters pay cheque with our friend Jack Daniels and we ran into the cart in the dark and we decided to push it over the bridge into the river.\n\nI was like, it'll be awesome, it'll be my get-out-of-jail free card. Like if it's a great day I can always say I saw one of our carts in the river. My ace in the hole.\n\nRicky was like, your ass has a hole? Why you telling me that? Faaaaag.\n\nThe river's louder than the cars down here, just to the east.\n\n> You take empty\nI came out here to AVOID cleaning, dude.\n\n> You examine empty\nIt's an Export. Dunno if I can go back to Ex after drinking Fin du Monde... but I probably can.\n\n> You take log\nNaw. It's basically log-shaped mud now.\n\n> You go east\nYeah. Wow. That is one serious fucking river. I'm getting wet just standing near it. The wheels of the cart are just visible a good piece to the east. The water would be nearly up to my waist if I was dumb enough to enter it.\n\nThe bottom of the bridge is high above, festooned with graffiti.\n\n> You examine graffiti\nThe graffiti is nothing special, though the taggers must have had to hang over the edge to do their thing.\n\nThey're lucky they weren't doing it the night we threw the cart over the rail.\n\n> You examine the cart\nIt's well out of reach, in the river to the east.\n\n> Swim\nI'm no expert, but... don't you need to be in a bunch of water for that?\n\n> You enter the water\nSeriously? I'm no pussy, but... seems dangerous.\n\n> Continue\nAlright, voice-in-my-head. If anything happens, it's your fault.\n\nI wade into the river.\n\nHoly fuck is it cold. Goes from bad to worse. Boots: soaked. Jeans: soaked.\n\nThe shopping cart is submerged in the river here, a lot rustier and grottier than when I saw it last.\n\n> You remove the jeans\nHey, I put together this ensemble for a reason, dude.\n\n> You take the cart\nIt's stuck there pretty good, but I manage to flip it over. A bunch of other crap that was trapped comes up too, and floats to the surface: six pack rings, something that looks like a clump of hair, and a fish.\n\nPretty gross.\n\nI can't feel my nads any more, but I've got the stupid cart.\n\n> You go to the west\nI start to pull the cart out of the river, but it pushes all the crap my way too. The fish kind of flips over and it's much worse on the other side -- it's got a huge hole eaten in it, and I can see into its stomach. And I'm pretty sure what's in the fish is another fish that it's eaten.\n\nI can't take my eyes away. I tell myself that it would make an amazingly brutal tat or even an album cover but I also feel like I'm gonna hurl. And then I see the little fish, the one inside, open its eye.\n\nI sort of stumble back away from the cart but at this point my legs are so numb that the cart is the only thing that's holding me up.\n\nSo I fall.\n\nIt's a slow, fat-assed falling, and I'm kind of pissed at myself and finding it kind of hilarious at the same time, thinking about how I'll tell Mom about it when my head hits the rock.\n\n*** YOU HAVE DIED ***\n\nAnd yet, somehow, the game continues.\n\n> About yourself\nThere is no action here. Only waiting.\n\n> You wait for a while\nTime passes.\n\nThe void is definitely taking on a porcelain texture.\n\nI am looking down on a toilet.\n\nI don't feel like myself. In fact, I'm sure my forearms weren't as... dark as that, last time I looked. Or as skinny.\n\n> About yourself\nThere's a toilet here. The exit's to the southeast.\n\nI catch a glimpse of something moving in the toilet water.\n\n> You look at the toilet\nFor a second, I see what looks like a tiny fish tail and then it disappears.\n\n> About you\nUh, my name's Ranni. Sikh family. Almost old enough to drive.\n\n> Inventory\nI am carrying:\nblack work slacks (being worn)\nan apron (being worn)\na kirpan (being worn)\na Cost Cutters golf shirt (being worn)\n\n> You look at kirpan\nIt's my ceremonial dagger. I'm a Sikh, OK? It's my religion.\n\n> You examine the apron\nIt was clean at the beginning of the shift. Not so much now.\n\n> Go outside\nFortunately for the shoppers, and unfortunately for us who have to clean up after them, Cost Cutters has a public washroom.\n\nI've managed to avoid cleaning duty up 'til now by going on cart duty -- which had the added bonus of getting me away from that psycho Patrick -- but today the slobby old guy (Graham, I think his name is) pulled one over on our manager Lisa and now here I am.\n\nThere is a pair of sinks, a long mirror above them and three battered stalls to the northwest, north and northeast. The exit's south of here.\n\n> You look at the shirt\nOne of those ones with the logo embroidered on it. Lisa has her name embroidered on it too, but I don't know if she got that when she became manager or if she did it herself because she's really into her job.\n\n> You examine the mirror\nI check myself out in the chipped and scratched mirror. Even with the cheesy work shirt, my new haircut looks sharp: I got some lines buzzed on my sides. I thought the b-boys at my school might hassle me for biting their style but nothing yet.\n\n> You go north\nThis toilet is dingy. The exit's to the south.\n\n> You look at the toilet\nIt looks cleaner -- oh god, there's a floater. I avert my eyes and flush.\n\nPeople are animals.\n\n> Clean toilet\nI adjust my kirpan so that it doesn't poke me.\n\nThinking about the car I'm gonna get the day I turn 16, I start scrubbing. My dad would hate to know I was doing this -- he just wouldn't say \"untouchable\" because we're all supposed to be equal, but he'd be thinking it. Then he'd probably start in on the turban thing again... he doesn't know how hard it is to get a job, any job.\n\n> You look at the toilet\nThank god, it went down in one flush.\n\n> You look at the toilet\nA clean and empty bowl.\n\n> Go northeast\nThis toilet has a crack in it. The exit's to the southwest.\n\n> You look at the toilet\nOh wait, that's not a crack. It's a... streak.\n\n> Clean toilet\nPicturing myself cleaning my car-to-be on a summer day -- specifically the one I saw for super cheap on Craigslist today -- I manage to wipe the streaks off.\n\nDone. Finally, I can get out of here.\n\nI get up, but before I can leave I hear someone come in.\n\n\"So Lisa sent me to help you, brown noser...\"\n\nThat racist shithead Patrick must be right outside the stall from the sound of it.\n\n\"I tol' her that you dirty pakis like scrubbing up shit, but she didn't care. Mmm-mmm. I think she's got a bit of sand nigger fever.\"\n\nI hear the adjoining stall door shut. \"Better check out this toilet,\" I can hear Patrick heading into one of the stalls.\n\n> You listen\nI hear nothing unexpected.\n\n\"Ohhhh man,\" Patrick crows from the stall, followed by a juicy braaaaap.\n\n> Go south\nThe only visible exit is southwest (to cost cutters bathroom).\n\n> You go to the southwest\nPatrick kicks the stall door open, buckling up. The bastard doesn't even flush.\n\n\"Left ya a present, brown noser,\" he says. He imitates the intercom: \"Clean up in stall 3.\"\n\nI'm not inclined to get mad. I've lost my temper twice, maybe three times in my life. But then the smell hits me like a slap. I look at his horrible, scarred face and his idiotic grin as he waits for me to react, and I'm amazed that I'm keeping it together.\n\nSomething causes his eyes to flick down to my waist, and then his smile vanishes. I look down and realize that after I finished cleaning I hadn't returned my kirpan to its usual position, so it's making my apron poke out a bit.\n\n\"What's that,\" he says, not really asking. I've got to show him or hide it.\n\n> You hide kirpan\nAs I turn around to adjust it, I hear Patrick gagging in disgust.\n\n\"Is that a boner?\"\n\nI turn around to explain, but he's already at the doorway on his way out.\n\n\"The sound of me shitting gave you a boner? You're--\" And then he's gone.\n\nIt's weird. It wasn't true, but just the fact that he thought that makes me ashamed in the pit of my stomach.\n\n> Clean toilet\nIt's already clean.\n\n> You look at the toilet\nThank god, it went down in one flush.\n\n> You look at the toilet\nThe crack/streak is gone, and it's clean.\n\n> You go northwest\nThere's a toilet here. The exit's to the southeast. What a shitsplosion. God, Patrick is a diseased animal.\n\n> You clean it\nPatrick has been downright artistic. He's managed to get shit on every part of the toilet except for the water.\n\nHe's sharpied a swastika on the stall wall but he's gotten it backwards. Which, ironically, makes it a Hindu symbol.\n\nI imagine running him over in my new car again and again until the job is finished.\n\n> You look at the toilet\nA clean and empty bowl.\n\n> You go to the southeast\nI step out of the stall to see Patrick standing there silently.\n\nHe has a look on his face like I've never seen before. He's not going to... apologize, is he?\n\nBehind him Lisa, the manager shows up. She looks reluctant to step into the washroom -- probably because it's the Men's.\n\n\"Ranni, is it true you made a lewd gesture towards Patrick?\"\n\nOh, crap.\n\n\"I'll have to refer to the chapter on sexual harassment in the training manual--\" She looks downright hurt by the situation.\n\nI notice Patrick move suddenly. There is a gun in his hand.\n\n\"Fucking sick fuck,\" he says, right before he shoots me.\n\n> You examine Patrick\nI try, but a coughed-up blood bubble is the best I can do.\n\nI can't move.\n\nI think I'm on the floor. I must have fallen. I can feel water pooling against my face from somewhere. Or is that water?\n\nPatrick leans over me, his face a wasteland of acne. \"What, getting shot doesn't give you a hard-on too?\"\n\nLisa is screaming, screaming. Patrick's head whips her way. I hear a pop and the screaming stops.\n\nI close my eyes.\n\n*** YOU HAVE DIED ***\n\nAnd yet...\n\n> Wait\nTime passes.\n\n> Inventory\nThere is no action here. Only waiting.\n\nI open my eyes.\n\nI'm looking down on a river. I immediately think: Styx. I mean, I knew I was gonna miss out on the virgins not being Islam but how'd I end up in white-person hell? And where would I get money for the boatman? I remembered something about coins from my English class...\n\nThey put 'em on your eyes, I hear a familiar voice say. But that's not the River Styx, as brutally awesome as that would be.\n\nBut a few seconds later I hear the cars behind me, and I realize the voice is right. It's just the...\n\nI walk over this bridge every day to get to Cost Cutters, to the west, but I just recently noticed that it crossed a river. To the east is my neighbourhood.\n\nThere's a neat little train of shopping carts on the sidewalk here.\n\n> About yourself\nUh, my name's Ranni. Sikh family. Almost old enough to drive.\n\nThere's something weird here.\n\nThen it occurs to me: no snow.\n\nIt snowed last night.\n\nNo, it snowed tomorrow night, another voice in my head says. A woman's voice, this time.\n\n> You examine the carts\nThe shopping carts are pushed into the backs of each other to form a train 3 carts long.\n\n> You examine River\nIt's funny I've passed over this a million times going to school and work without stopping to look at it, but I guess I usually have my music on.\n\nGraham makes an impatient noise but Lisa shushes him.\n\n> You look at Graham\nHe's got a mustache, and always seems to be going out for a smoke instead of working.\n\n> You examine Lisa\nShe's pretty, but she's way older than me. Seventeen at least.\n\n> You ask Lisa about the carts\nWe're prohibited from giving you advice, Lisa says as if she's reading from a Cost Cutters manual.\n\n> Go east\nI wander around the neighbourhood laneways and find a cart wedged between two houses.\n\nI return to the bridge with it.\n\n> You go to the east\nI run into a friend's mom and ask her if she's seen any carts, and she sheepishly gives up one from her garage. \"Otherwise I always get one with a stuck wheel,\" she explains.\n\nI trundle it over to the other carts on the bridge.\n\n> You go to the east\nSome kids are using one on its side as a street hockey net. They claim it's theirs until I point to the Cost Cutters logo.\n\nI add it to the cart train on the bridge.\n\n> You go to the east\nI've cleared out the neighbourhood. Maybe that's all there is?\n\nOne more, Lisa's voice echoes in my head. Just not in the neighbourhood.\n\n> Go west\nOnce I saw a pretty bad accident here. It put me off cycling forever.\n\nFurther west is the Cost Cutters building, the bridge is back east. The way north is barred by pretty dense brush.\n\n> You go west\nCall me weird, but I'm not anxious to go back to the place I died. Might as well get the job done first.\n\n> You go east\nI walk over this bridge every day to get to Cost Cutters, to the west, but I just recently noticed that it crossed a river. To the east is my neighbourhood.\n\nThere's a neat little train of shopping carts on the sidewalk here.\n\n> You examine River\nIt's funny I've passed over this a million times going to school and work without stopping to look at it, but I guess I usually have my music on.\n\nGraham makes an impatient noise but Lisa shushes him.\n\n> GRAHAM, ,LOOK AT RIVER\nI feel my eyes focus on a section of river -- is that a glint of steel?\n\nThere's a cart down there! How the heck did it...?\n\nDoesn't matter how, interrupts Graham. That's our ace in the hole. We just have to play it earlier in the game.\n\n> LISA, ,EXAMINE RIVER\nLisa peers through my eyes...\n\nIt's just a grey blur to me. I can't really see that far -- my eyes aren't the best.\n\n...my eyes are my own again.\n\n> You examine the cart\nWhich do I mean, the faroff shopping cart or the shopping cart train?\n\n> Go north\nI gotta get down to the river if I'm going to get that cart, so I push through the brush. Pretty quickly I find a trail that leads to...\n\nThe trail continues east to the river, and I can return back to civilization to the south.\n\nThere's a bunch of empty beer cans and a pit for a fire.\n\n> You look at the cans\nMaybe some hoboes might have lived here.\n\nNerd! Graham hisses for some reason. I ignore him.\n\n> You take log\nNaw. It's basically log-shaped mud now.\n\n> GRAHAM, ,EXAMINE PIT\nGraham peers through my eyes...\n\nAh, the firepit that gave the Pit its name. Some McDonald's bags, newspapers, a lighter and a can of hairspray and, foomp! You had yerself some instant ambiance.\n\n...my eyes are my own again.\n\n> LISA, ,EXAMINE PIT\nLisa peers through my eyes...\n\n...my eyes are my own again.\n\n> LISA, ,LOOK AT EMPTY\nLisa peers through my eyes...\n\nA bunch of trash. People have no respect for nature.\n\n...my eyes are my own again.\n\n> You take empty\nIt smells rank, even from here.\n\n> GRAHAM, ,LOOK AT EMPTY\nGraham peers through my eyes...\n\nIt's an Export. Dunno if I can go back to Ex after drinking Fin du Monde... but I probably can.\n\n...my eyes are my own again.\n\n> GRAHAM, ,EXAMINE LOG\nGraham peers through my eyes...\n\nIt beat sitting on the ground, but not by much.\n\n...my eyes are my own again.\n\n> Go east\nIt's more impressive up close, just to the east, but it ain't no Ganges.\n\nGraham chimes in: Dude, it's reeeeally cold --\n\nColder than being dead forever, Graham? Lisa snaps.\n\nJust brace yourself.\n\n> GRAHAM, ,EXAMINE RIVER\nGraham peers through my eyes...\n\nIt winds through the ravine, kind of a charcoal grey with all the runoff.\n\n...my eyes are my own again.\n\n> LISA, ,EXAMINE RIVER\nLisa peers through my eyes...\n\nIt's just a grey blur to me. I can't really see that far -- my eyes aren't the best.\n\n...my eyes are my own again.\n\n> You look at the bridge\nThe graffiti on the bridge is just tags, pretty boring compared to some of the burners I've seen in Scarborough.\n\n> You go east\nGraham was not lying. It's painfully cold.\n\nLand awaits to the west.\n\nYou can see a rusty shopping cart here.\n\n> You take the cart\nI yank it up from the river bed and manage to flip it over. A dead fish and some other debris floats up.\n\nOK, I almost forgot, the fish --\n\nThe fish flips over, and it's rotted through. There's a smaller fish inside, partially digested.\n\nGraham makes a retching sound. Did he just vomit inside my head?\n\nHe wouldn't last long in my mom's kitchen.\n\n> You examine the fish\nJust a dead fish, the only weird part being that I can see the other fish inside it. Newsflash: fish eat fish.\n\n> Go west\nI drag the cart to the side of the river, taking care to leave the debris behind.\n\nIt's more impressive up close, just to the east, but it ain't no Ganges. The path winds west from here.\n\n> You go to the west\nI trundle the cart up to...\n\nThe trail continues east to the river, and I can return back to civilization to the south.\n\nThere's a bunch of empty beer cans and a pit for a fire.\n\n> You go to the south\nIt takes about ten minutes to wrestle the cart to the road.\n\nOnce I saw a pretty bad accident here. It put me off cycling forever.\n\nFurther west is the Cost Cutters building, the bridge is back east. The way north is barred by pretty dense brush.\n\n> Go east\nCa-chunk! With some effort, I add the rusty cart for a total of 7.\n\nWhoohoo! Lisa says. That's the lot.\n\n> Wait\nTime passes.\n\n> You look at what you're carrying with you\nThere is no action here. Only waiting.\n\n> You wait for a while\nThe void starts to glow with a familiar unrelenting light -- a fluorescent light -- and I realize I'm in..."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nI'm at work. There are people shopping around me.\n\nAlive! I'm alive! In my own body It was all a --\n\nDream? interrupts Ranni from somewhere in the back part of my head. No.\n\nOh, crumbs.\n\nMy office is to the south, and the exit is to the east.\n\n> About yourself\nLisa. I'm the manager. I'm pretty normal-looking, but a boy at leadership camp said I was cute without my glasses.\n\n> Inventory\nI am carrying:\na pair of glasses (being worn)\ndark green work slacks (being worn)\na Cost Cutters blouse (being worn)\n\n> You examine the people\nThe usual mix: every type of human being except the cute teenaged boy type. Which is good. I need to focus on my job.\n\n> Go south\nI start out but immediately am accosted by a customer.\n\n\"Excuse me miss,\" the old man asks. \"Is this coupon good here?\"\n\nHe presses a coupon into my hand.\n\n> No\nThat was a rhetorical question.\n\n> You look at the coupon\nThe coupon died on Tuesday. \"Sorry sir, but this coupon expired yesterday.\"\n\nHe grabs it back. \"What?\" He stares at it through his thick glasses. \"But it's Monday, isn't it?\"\n\nI give him a little smile that lets him know: he's old.\n\nHe wanders off, confused.\n\nGraham chuckles. Way to mess with the old coot's head, Lise.\n\n> Go south\nI get a few aisles closer this time before a mom and daughter stop me.\n\n\"Do both of these have peanuts? My daughter has an allergy.\"\n\nShe hands me a package of Savoury Snax and a package of Peanut Puffs.\n\nSeriously! This is so not my job.\n\n> You say yes\n(to the mother)\nThere is no reply.\n\n> You look at snax\nA hideously coloured package with, unfortunately, one word in English, two if you count \"Snax\". I can't read the ingredients. It looks like birdfood... gross.\n\nIt's pretty tasty, actually, says Ranni.\n\n> You look at Peanut\nIngredients: Whole peanuts, peanut paste, vaporized peanuts, peanut dust... I skip to the end where it says. Warning, may contain --\n\nTraces of peanuts? Ranni suggests.\n\nNo. Traces of heavy metals.\n\nBruuuuuuuutal! moans Graham.\n\nI put the Peanut Puffs back on the shelf, far out of the little girl's reach. It quickly disappears into the blur of colourful products.\n\n> You give Snax to mom\nI can't. I can't help imagining the little girl choking to death. She looks a bit bratty, but still.\n\n> GRAHAM, ,EXAMINE SNAX\nGraham peers through my eyes...\n\nSeriously, what is wrong with this store? You can barely find ketchup and dill pickle potato chips and now they're stocking these, these...\n\nPaki foods? says Ranni.\n\nI was gonna say \"weird foods.\"\n\n...my eyes are my own again.\n\n> RANNI, ,EXAMINE SNAX\nThat is so cool! The ingredients go from squiggly letters to real letters.\n\nI read them through. Lots of weird stuff and tongue twisters, but no peanuts. I hand it to the mom and she leaves without even thanking me.\n\nPeople are so rude. That's why I got into being a manager. I hate being on the frontlines.\n\n> You go south\nFinally I make it unaccosted to...\n\nWell, OK, it's not just my office. But I've got my nook, a desk in the corner of the staffroom.\n\nThe staffroom has lockers along one wall, a soda machine, and a bench.\n\nOn the desk is a calendar.\n\n> Examine calendar\nIMPENDING is the word for Monday. Monday? But...\n\nIt's two days before the shooting, Ranni says impatiently. You gotta get rid of that psycho, Lisa.\n\nAlso on the calendar for today is a 4pm locker inspection from central office.\n\nAnd it is, of course, 4pm.\n\n> You examine the lockers\nThey're the kind that have the combo locks built into the doors, so central office can access them at any time.\n\nMost of them have clearly printed labels stuck on to indicate their owners: JILL, PATRICK, PAUL, RANNY (this was before I knew it was spelt RANNI, so sue me). GRAHAM, JASON, and my own were all written in the sloppy handwriting of my predecessor.\n\nAll of a sudden Tim from main office rushes in.\n\n\"I'm soooo late,\" he says. He unlocks the soda machine and takes a can out, then slams it shut.\n\nJerkwad. Just 'cause he used to work here he acts like he owns the place. \"Um, why do you still have a key for--\" I start.\n\n\"Gotta check the meat room temp,\" he says, pulling out a thermometer from his windbreaker. \"Back in a jiff. Then I'll do the locker check.\"\n\nAwww, crapsicles! blurts Graham.\n\n\"Won't have time for them all, just the new hires -- Patrick, Ranni and Paul,\" Tim says on his way out the door.\n\nThank you, Satan! Graham crows.\n\nWhat are you so happy about? says Ranni. He said he'd be back in a jiff, and we've got to make sure Patrick gets canned today before he gets back!\n\n> You examine the desk\nIt's a big clunky beast left by my predecessor. Other than a nasty paint stain, the only thing on it is the word-a-day calendar.\n\n> You examine the stain\nFrom Tim's time. He has no respect for Cost Cutters property.\n\n> You open the patrick's locker\nI don't know the combo, and they're not in today so I can't ask them. Of course, main office has all the combinations.\n\n> You open the ranni's locker\nMy hands move of their own (well, I guess, of Ranni's) accord and flick through the combination.\n\nRanni's locker has his work slacks, a balled up apron and the WHMIS safety regulations taped to his door.\n\nGraham snorts at this. Mr. Worky-work.\n\nIt's my work locker! Ranni retorts. What, I'm supposed to have a, a, six pack of beers in there or something?\n\nGraham is silent. (Shocker!)\n\nI shut the locker.\n\n> You open the graham's locker\nNope, Graham says.\n\nJust open it! Ranni says, as exasperated as I feel.\n\nSorry, kids, ain't gonna happen.\n\nI shake the locked door, noticing as I do that there's some kind of smell coming from the door vents.\n\n> You smell it\nThat's weird. It smells like my brother's room in the basement. He always keeps it locked, too.\n\n> You smell the graham's locker\nI can't be that hands-on, Graham says. But two pairs of eyes are better than one.\n\n> You open the lisa's locker\nI unlock it. Inside are my school bag and my normal clothes including --\n\nMmm, black lacy bra, Graham says, I never would have figured you--\n\nI slam the locker shut and ignore Graham's creepy laugh.\n\nTim bustles in and counts the lockers and looks up the combos. \"Paul...\" he starts twirling the combos. \"It's not Paul Sorenson, is it? Come back for another hitch?\"\n\n\"No, it's Chin. Paul Chin.\"\n\n\"It wouldn't be, it wouldn't be. Be in his twenties now. But that guy was hilarious -- he would just crack -- us -- up!\"\n\nHe yanks the door open. It's empty except for an apron with a nametag and a book called World War Z. He flips through it, staring at it intently, before throwing it back and shutting the locker.\n\n> You open the patrick's locker\nBelieve me, if I start talking to him he'll start talking about the good ol' days when \"managment was of a different quality.\" He actually said that. Best to just wait the old windbag out.\n\n\"OK, Ranni, let's see what you got hiding... yeah, the neighbourhood, the neighbourhood's really changed,\" Tim laments, opening Ranni's locker.\n\nYeah. Everything was sooo much better when he worked here, for one.\n\nI don't think that's what he means, says Ranni.\n\nTim checks the pockets of Ranni's work clothes and looks approvingly at the WHMIS regs taped to the door.\n\nHe finishes his inspection and shuts the locker.\n\n> You look at Tim\nHe's a gawky guy with a bright orange Cost Cutters windbreaker.\n\nTim opens Patrick's locker. I look over his shoulder to see if I can spot the gun, but the only thing in it is a magazine.\n\nTim picks it up -- it's an issue of Glocks and Grenades -- and flips through it. For a second he seems to be disturbed, and I have a flicker of hope that he's gonna fire Patrick.\n\n\"Don't know... if I have this issue...\" he says, looking at the front. \"Maybe my subscription's run out.\"\n\nHe tosses it back in and shuts the locker.\n\nI guess he doesn't bring the gun in til tomorrow, says Ranni.\n\nWell, there goes the only chance to change what happened, says Graham.\n\n*** WE DIED FOR GOOD ***\n\nThis time there's no visit to the Void. Tim disappears, I feel a nauseating flip in my stomach and I find myself moved a few feet away but still in...\n\nWell, OK, it's not just my office. But I've got my nook, a desk in the corner of the staffroom.\n\nThe staffroom has lockers along one wall, a soda machine, and a bench.\n\nOn the desk is a calendar.\n\n> About yourself\nLisa. I'm the manager. I'm pretty normal-looking, but a boy at leadership camp said I was cute without my glasses.\n\nAll of a sudden Tim from main office rushes in.\n\n\"I'm soooo late,\" he says. He unlocks the soda machine and takes a can out, then slams it shut. Soooo predictable.\n\n\"Gotta check the meat room temp,\" he says, pulling out a thermometer from his windbreaker. \"Back in a jiff. Then I'll do the locker check. Just the new hires -- Patrick, Ranni and Paul,\" he says on his way out the door.\n\nOK, don't fuck it up this time, Lisa. We don't know if we've got unlimited lives, or what, says Graham.\n\nAnd we've got like, nine-tenths of a jiff left, says Ranni.\n\n> You open the graham's locker\nRanni has better things to do.\n\n> You open the graham's locker\nNope, Graham says.\n\nJust open it! Ranni says, as exasperated as I feel.\n\nSorry, kids, ain't gonna happen.\n\nI shake the locked door, noticing as I do that there's some kind of smell coming from the door vents.\n\n> You ask Graham about the pot\nSorry man, I can't just tell you what to do, Graham says. There're these stupid rules.\n\n> You open the ranni's locker\nMy hands move of their own (well, I guess, of Ranni's) accord and flick through the combination.\n\nRanni's locker has his work slacks, a balled up apron and the WHMIS safety regulations taped to his door.\n\nGraham snorts at this. Mr. Worky-work.\n\nIt's my work locker! Ranni retorts. What, I'm supposed to have a, a, six pack of beers in there or something?\n\nGraham is silent. (Shocker!)\n\nI shut the locker.\n\n> You open the ranni's locker\nI don't know his combo.\n\nI don't really know the numbers, either, says Ranni. My hands just do it automatically now.\n\n> You examine the lockers\nThey're the kind that have the combo locks built into the doors, so central office can access them at any time.\n\nMost of them have clearly printed labels stuck on to indicate their owners: JILL, PATRICK, PAUL, RANNY (this was before I knew it was spelt RANNI, so sue me). GRAHAM, JASON, and my own were all written in the sloppy handwriting of my predecessor.\n\n> You take the graham's label\nThe label's been there for a few years, so some of the glue's dried up. I manage to get it off without ripping it.\n\nTaken.\n\n> You take the patrick's label\nIt was applied so recently it peels off smoothly.\n\nTaken.\n\nTim bustles in and counts the lockers and looks up the combos. \"Paul...\" he starts twirling the combos. \"It's not Paul Sorenson, is it? Come back for another hitch?\"\n\n\"No, it's Chin. Paul Chin.\"\n\n\"It wouldn't be, it wouldn't be. Be in his twenties now. But that guy was hilarious -- he would just crack -- us -- up!\"\n\nHe yanks the door open. It's empty except for an apron with a nametag and a book called World War Z. He flips through it, staring at it intently, before throwing it back and shutting the locker.\n\n> You put the patrick's label on the graham's locker\nBut Tim would totally see me!\n\n\"OK, Ranni, let's see what you got hiding... yeah, the neighbourhood, the neighbourhood's really changed,\" Tim laments, opening Ranni's locker.\n\nYeah. Everything was sooo much better when he worked here, for one.\n\nI don't think that's what he means, says Ranni.\n\nTim checks the pockets of Ranni's work clothes and looks approvingly at the WHMIS regs taped to the door.\n\nHe finishes his inspection and shuts the locker.\n\n> You put the patrick's label on the graham's locker\nBut Tim would totally see me!\n\n\"Can't see a locker for this Patrick McGuire here,\" Tim says. \"Oh well, I'm sure it's fine.\"\n\nI am shocked speechless by his lack of professionalism as he sails out the door.\n\nI guess he doesn't bring the gun in til tomorrow, says Ranni.\n\nWell, there goes the only chance to change what happened, says Graham.\n\n*** WE DIED FOR GOOD ***\n\nThis time there's no visit to the Void. Tim disappears, I feel a nauseating flip in my stomach and I find myself moved a few feet away but still in...\n\nWell, OK, it's not just my office. But I've got my nook, a desk in the corner of the staffroom.\n\nThe staffroom has lockers along one wall, a soda machine, and a bench.\n\nOn the desk is a calendar.\n\n> You take the patrick's label\nTaken.\n\nAll of a sudden Tim from main office rushes in.\n\n\"I'm soooo late,\" he says. He unlocks the soda machine and takes a can out, then slams it shut. Soooo predictable.\n\n\"Gotta check the meat room temp,\" he says, pulling out a thermometer from his windbreaker. \"Back in a jiff. Then I'll do the locker check. Just the new hires -- Patrick, Ranni and Paul,\" he says on his way out the door.\n\nOK, don't fuck it up this time, Lisa. We don't know if we've got unlimited lives, or what, says Graham.\n\nAnd we've got like, nine-tenths of a jiff left, says Ranni.\n\n> You take the graham's label\nTaken.\n\n> You put the patrick's label on the graham's locker\nI put Patrick's label on Graham's locker.\n\n> You put the graham's label on patrick's locker\nI put Graham's label on Patrick's locker.\n\n> You wait\nTime passes.\n\nTim bustles in and counts the lockers and looks up the combos. \"Paul...\" he starts twirling the combos. \"It's not Paul Sorenson, is it? Come back for another hitch?\"\n\n\"No, it's Chin. Paul Chin.\"\n\n\"It wouldn't be, it wouldn't be. Be in his twenties now. But that guy was hilarious -- he would just crack -- us -- up!\"\n\nHe yanks the door open. It's empty except for an apron with a nametag and a book called World War Z. He flips through it, staring at it intently, before throwing it back and shutting the locker.\n\n> You wait for a while\nTime passes.\n\n\"OK, Ranni, let's see what you got hiding... yeah, the neighbourhood, the neighbourhood's really changed,\" Tim laments, opening Ranni's locker.\n\nYeah. Everything was sooo much better when you worked here, Tim.\n\nI don't think that's what he means, says Ranni.\n\nTim checks the pockets of Ranni's work clothes and looks approvingly at the WHMIS regs taped to the door.\n\nHe finishes his inspection and shuts the locker.\n\n> Wait\nTime passes.\n\nTim opens \"Patrick's\" locker and immediately grabs a big garbage bag. \"What the heck...?\"\n\nHe opens the bag and the smell fills the room. \"I do believe we have ourselves some Wacky Tobacccy, Lisa.\"\n\nThe grin on his face is positively wolfish. Within seconds he's talking to the police on the phone.\n\nPatrick is sooooo fired.\n\nFired? Graham says. For a bale like that he's going to juvie.\n\nWhat the hell do you need that much weed for, anyway? Ranni says.\n\nThe grow-op in my mom's basement caught fire, one of the lamps, Graham says, I needed to store the stuff I salvaged somewhere.\n\nAn unbelievable ending to an unbelievable day. The cops show up and then Patrick shows up and then Patrick's scary uncle shows up -- a big nightmare, needless to say.\n\nBut you know what I thought when I was locking up for the night? Could have been worse. Nobody died.\n\n> Kiss tim\nI should keep my mind on the game.\n\nTim opens \"Patrick's\" locker and immediately grabs a big garbage bag. \"What the heck...?\"\n\nHe opens the bag and the smell fills the room. \"I do believe we have ourselves some Wacky Tobacccy, Lisa.\"\n\nThe grin on his face is positively wolfish. Within seconds he's talking to the police on the phone.\n\nPatrick is sooooo fired.\n\nFired? Graham says. For a bale like that he's going to juvie.\n\nWhat the hell do you need that much weed for, anyway? Ranni says.\n\nThe grow-op in my mom's basement caught fire, one of the lamps, Graham says, I needed to store the stuff I salvaged somewhere.\n\nAn unbelievable ending to an unbelievable day. The cops show up and then Patrick shows up and then Patrick's scary uncle shows up -- a big nightmare, needless to say.\n\nBut you know what I thought when I was locking up for the night? Could have been worse. Nobody died.\n\n> You check what you're carrying\nI am carrying:\nGraham's label\na pair of glasses (being worn)\ndark green work slacks (being worn)\na Cost Cutters blouse (being worn)\n\n> You get jill's label\nIt's like part of the metal now. Can't get it off without ripping it."
    },
    {
        "text": "[Themes: Romance, snow, romance, war, conversation]\n\nIt only takes a moment of inattention. The snowstorm draws thicker and the faint grey silhouette of the reconnaissance plane fades away completely. You bank hard, yanking on the control column with mild panic, but it's too late. Your paths have diverged, unlikely to cross again as long as this lethal weather continues.\n\nThe lumbering two-seater plane you were supposed to be escorting is alone and unprotected. And she is out there: lightning fast, deadly accurate and cold as ice. You'd consider turning back to the airbase right away.\n\nIf, that is, you even knew where you were.\n\n[Type 'About' if this is your first time playing.\nType 'Credits' to learn who's responsible for this drivel.]\n\nBiplane Cockpit (sitting in the pilot's seat)\nYou're seated in the cockpit of your Swordfish biplane, exposed to the elements. The small windscreen ahead does little to keep the harsh, icy wind from cutting right through you, and you're surrounded on all sides by blinding white mist.\n\nThe plane's control column juts up in front of you.\n\n[Author's Note: Two aces shelter from a snowstorm under the wing of a biplane. They've duelled and played in the air for years. Love is inevitable. But what kind of relationship will they end up in?]\n\n> Examine column\nYour Swordfish's trusty joystick features a tempting red button on the top. Pushing or pulling the column will adjust your pitch.\n\nYou suppress a shiver.\n\n> You pull the joystick\nThe control column moves loosely, clearly having no effect on the plane's ailerons.\n\nThe control column twitches spasmodically.\n\n> You check your inventory\nYou are carrying a revolver, and you're wearing a pair of goggles, a parachute pack, a white scarf, a fur-lined jacket, some breeches, and some sheepskin boots.\n\nThe propeller flickers in its motion, struggling to keep turning.\n\n> You shoot yourself\nYou miss.\n\nYou glance over your shoulder in time to see something go flying backwards from beneath the plane. Hopefully nothing too important...\n\n> Examine column\nYour Swordfish's trusty joystick features a tempting red button on the top. Pushing or pulling the column will adjust your pitch.\n\nYou glance over your shoulder in time to see something go flying backwards from beneath the plane. Hopefully nothing too important...\n\n> You look at the seat\nYou are sitting in the pilot's seat.\n\nYou glance over your shoulder in time to see something go flying backwards from beneath the plane. Hopefully nothing too important...\n\n> You stand\nYou check your parachute and climb up onto your seat. After you throw your leg over the side, it's surprisingly easy to push yourself away from the plane and leap into the mist.\n\nNot quite as aerodynamic as your Swordfish, you drop like a stone, plummeting into the murky white void below. Ice and fog crowd close around you, obscuring every direction. The only reason you know you're falling is because of the way your stomach seems to still be a hundred metres above you somewhere. Remembering the single parachute jump you performed in basic training, you fumble with the chord and yank hard, the harness suddenly seeming to pull you upwards.\n\nYou're hanging from a parachute, descending slowly into a blank white void. Without the sound of your plane's engine, everything seems shockingly silent.\n\n> You wait for a while\nTime passes...\n\nYour plane will have hit the ground by now, shattering into pieces, bursting into flames.\n\n> You wait a while\nTime passes...\n\nBut you're okay. You made it.\n\n> You wait awhile\nTime passes...\n\nThe hard part is over.\n\n> You wait\nTime passes...\n\nThe mist beneath you parts. Below you are thick, evergreen trees, garnished with snow, clinging to sharp black rocks.\n\nNow you have a frame of reference, you realise just how fast you're falling.\n\nYou open your eyes. You feel remarkably well given the circumstances. The air is fresh and invigorating, the sound of birdsong and rustling leaves is like soothing music. Time to get moving - for all you know, you might be behind enemy lines.\n\nForest Clearing (lying on the ground)\nSnow-coated evergreen trees surround you on all sides, their roots tangling into rugged black rocks. Snow falls from the bright white sky above.\n\nThe canopy of your parachute is suspended in the branches of a tree, like a giant, tattered spider's web.\n\n> You remove the chute\nYou just cheated death. If you wanted to commit suicide, you missed your chance.\n\nThe mist beneath you parts. Below you are thick, evergreen trees, garnished with snow, clinging to sharp black rocks.\n\nNow you have a frame of reference, you realise just how fast you're falling.\n\nYou open your eyes. You feel remarkably well given the circumstances. The air is fresh and invigorating, the sound of birdsong and rustling leaves is like soothing music. Time to get moving - for all you know, you might be behind enemy lines.\n\nForest Clearing (lying on the ground)\nSnow-coated evergreen trees surround you on all sides, their roots tangling into rugged black rocks. Snow falls from the bright white sky above.\n\nThe canopy of your parachute is suspended in the branches of a tree, like a giant, tattered spider's web.\n\n> You get the chute\nYou are already carrying the parachute pack.\n\n> You check your inventory\nYou are carrying a revolver, and you're wearing a pair of goggles, a parachute pack, a white scarf, a fur-lined jacket, some breeches, and some sheepskin boots.\n\nAn icy breeze passes through the clearing, the soft rustling of leaves following in its wake.\n\n> You examine the trees\nThe trees seem unperturbed by the cold. You envy them."
    },
    {
        "text": "[Themes: Romance, snow, romance]\n\n> Describe the surroundings\nForest Clearing (lying on the ground)\nSnow-coated evergreen trees surround you on all sides, their roots tangling into rugged black rocks. Snow falls from the bright white sky above.\n\nThe canopy of your parachute is suspended in the branches of a tree, like a giant, tattered spider's web.\n\nA bird chirrups melodically.\n\n> You stand\nYou sit up, feeling a lot weaker than you thought you were. As you start to shift your legs, something inside your left calf moves. White lightning bolts of pain jolt across your vision and you collapse back with a scream of pain.\n\nYou've broken your leg. You're lying in the freezing snow, and you're not going anywhere.\n\n> You examine the tree\nThe trees seem unperturbed by the cold. You envy them.\n\nYou hear something rustling among the trees.\n\n> You examine the leg\nIt doesn't look like that would achieve much.\n\nA feral icekin blunders into the clearing, looking around with its empty black eyes. Probably attracted by your scream of pain. Nice going, Lucas.\n\nYour left leg looks normal enough, but something feels very wrong inside it. The slightest movement is agony.\n\nThe icekin looks around, breathing heavily through its sharp, uneven teeth.\n\n> You listen\nYou hear the icekin's rasping breaths.\n\nThe icekin fixes its lifeless black eyes on you, emitting a low growl.\n\n> You look at the icekin\nA lumbering, bipedal creature, its shaggy white coat stained with blood. It clutches a long, rusted blade.\n\nThe icekin lumbers towards you.\n\n> You shoot the icekin\nYou level your revolver at the icekin and squeeze the trigger. It grunts, and takes a few shuffling steps towards you, as if it hasn't even noticed what's happened.\n\nAfter the third step, blood begins to drip from its mouth, and it collapses face-down into the snow.\n\nA dark figure strides into the clearing, a flare gun in her hand. She slips it into her belt and rests a hand on her hip, surveying you with her one good eye. \"I heard a scream,\" she says wryly, \"But it seems you can handle yourself.\" She looks disapprovingly at your gun.\"You don't need to point that thing at me, Lucas. They pay us to shoot planes and we're both grounded after our little airborne contretemps, aren't we?\"\n\nYou smile in spite of the pain. \"The Scarlet Baroness.\"\n\nShe allows herself a carnivorous grin. \"Yes. The two great aces, face to face at last.\"\n\n(You could tell her it feels like you already know her, or play it cool.)\n\n> You look at Baroness\nThe Scarlet Baroness is a tall, imposing woman with long, fiery red hair and an eyepatch. She's clad in black leather and a thick fur coat. You have her full attention.\n\nAn awkward silence hangs between the two of you.\n\n> You tell her it feels like i already know her\n\"Yes,\" you say. \"It doesn't feel like an introduction. You and I, we know one another better than many friends. Than many lovers, even.\"\n\n\"Exactly,\" she says with a crooked grin. \"I know I've consumed every snippet of information that might give me an advantage over you, I've learnt your flying style, your weaknesses and quirks. I expect no less from you. And we're certainly dance partners of the most intimate kind. There's no-one else I'd be happier to have shoot me out of the sky.\"\n\nYour eyes meet. Her's is icy green, studying you in a way you find difficult to fathom - catlike, perhaps, or aloof.\n\n\"Imelda,\" she says suddenly. \"Maybe you just know me as the Scarlet Baroness, but my name's Imelda von Strassenbach.\"\n\n\"Come on,\" she adds, \"I think it's going to really get snowing soon.\nWe need to get to shelter.\""
    },
    {
        "text": "[Themes: Romance, conversation]\n\n> You describe your surroundings\nForest Clearing (lying on the ground)\nSnow-coated evergreen trees surround you on all sides, their roots tangling into rugged black rocks. Snow falls from the bright white sky above.\n\nThe canopy of your parachute is suspended in the branches of a tree, like a giant, tattered spider's web.\n\nA dead icekin lies in the snow, steam rising from its pooling blood.\n\nImelda watches you intently.\n\nImelda looks down at your leg. \"Are you okay? Can you walk?\"\n\n\"I think it's broken.\"\n\nShe kneels down by your side. \"Let me take a look.\"\n\n\"Be sure to look twice as long,\" you advise her, \"since you just have the one eye.\"\n\nShe purses her lips. \"You're right. I'll do that.\"\n\n\"Ow!\"\n\n\"Yeah, it's broken alright.\"\n\n\"Thanks, doctor.\"\n\n\"I'll have to see about making a splint. And then I guess you'll have to lean on me, if you don't mind.\"\n\n\"Anything to help you feel useful.\"\n\nDowned Triplane (lying on the ground)\nA scarlet triplane lies half-buried in the snow, leaning to one side. You're huddled beneath its slanting wing, mostly sheltered from the freezing wind and falling snow.\n\nImelda is huddled close by your side.\n\n\"It's getting dark,\" Imelda says. \"We'll have to stay here at least for tonight, and then move on tomorrow morning if the weather lets up.\"\n\n> About yourself\nYou're Lucas Thane: daredevil fighter ace, knight of the air.\n\n\"By the way,\" Imelda says, \"why exactly did you feel the need to fly into me?\"\n\n\"That's funny,\" you reply. \"I thought that you were the one who flew into me.\"\n\nThe triplane rocks slightly in the wind.\n\n> Kiss imelda\nYou're not about to kiss the enemy without at least a hint that she'd like you to.\n\nImelda sighs, her breath hanging in front of her like a delicate cloud.\n\n> You ask Imelda about the splint\nYou meet Imelda's eye and she looks at you expectantly.\n\nYou chat briefly with Imelda, but find out nothing important.\n\n> You ask Imelda about the leg\n\"Is my leg going to be okay, do you think?\"\n\nImelda affects nervousness. \"Well, I was trying not to let you know, but I think it's going to be fatal. If you have any last minute confessions of love to tell to someone, you should probably do it sooner rather than later.\"\n\nYou shrug. \"No, nothing like that.\"\n\nShe folds her arms. \"Oh. I see.\"\n\nYour breath leaves little clouds in the air.\n\n> You ask Imelda about the love\nYou clear your throat. \"So, Imelda, how are things with the men in your life?\"\n\n\"Do you mean my male friends among the Sky Mercenaries? Or are you sneakily trying to ask about us?\"\n\nSnow continues to drift down from above.\n\n> You ask Imelda about us\n\"Imelda, about us...\"\n\nShe looks down at her feet. \"What about us?\"\n\n\"Well, what's your take on it? Why do we keep circling around one another? In the air or otherwise.\"\n\nStill without looking at you, she says, \"I can't really remember how we first met, except that I suddenly realised this plane from the 5th Imperial Air Squadron kept seeking me out to duel with me, probably because I'm an obvious target in my scarlet plane. I usually brought down every enemy plane I came across, but you always managed to escape. I only shot you down that once. I started to research you, found out who you were, started to learn your flying style, had a chance to kill you, but didn't take it, and then flew into you in the middle of a snowstorm. And now here we are.\"\n\nThere's a pause, and then she adds, \"But that's not what you asked, really, is it? That's just the story of us - I didn't mention my feelings at all.\" She smiles apologetically.\n\nA chill wind passes under the wing, making you both shiver.\n\n> You ask Imelda about the feelings\n\"So what are your feelings for me?\"\n\nImelda remains strangely silent, just looks at you with an ambiguous expression. If you want to press the matter, perhaps you should tell her about your feelings.\n\n> You tell Imelda about your feelings\nYou cough. \"Imelda, I just wanted to say that...\"\n\n(You could tell her you're in love with her, or tell her she's like your best friend.)\n\n> You tell Imelda about the feelings\nYou cough. \"Imelda, I just wanted to say that...\"\n\n> You tell Imelda about the love\nYou chat briefly with Imelda, but find out nothing important.\n\nYou rub your hands together to try to keep them warm.\n\n> You tell Imelda you're in the love\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n\"By the way,\" Imelda says, \"you're not really dying.\"\n\n\"I know,\" you reply.\n\n\"Just thought I'd check.\"\n\nA chill wind passes under the wing, making you both shiver.\n\n> You tell Imelda you're in the love with her\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> You ask Imelda about the love\nYou clear your throat. \"So, Imelda, how are things with the men in your life?\"\n\n\"Do you mean my male friends among the Sky Mercenaries? Or are you sneakily trying to ask about us?\"\n\n> You tell Imelda about your feelings\nYou cough. \"Imelda, I just wanted to say that...\"\n\nThe triplane rocks slightly in the wind.\n\n(You could tell her you're in love with her, or tell her she's like your best friend.)\n\n> You tell Imelda you're in love with her\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\nYou rub your hands together to try to keep them warm.\n\n> You ask Imelda about the icekin\n\"You know, I'd never seen an icekin up close before today.\"\n\nImelda laughs. \"Count yourself lucky. Icekin come in all shapes and sizes, but they all have pointy teeth and empty stomachs. Just be glad this was a feral with a blunt knife. It'd gut you and eat you, and that's it. The Ice Queen's trained icekin soldiers, on the other hand, now you really don't want them to take you prisoner.\"\n\nYour breath leaves little clouds in the air.\n\n> You tell Imelda about the feelings\nYou cough. \"Imelda, I just wanted to say that...\"\n\n(You could tell her you're in love with her, or tell her she's like your best friend.)\n\n> You tell her you're in the love with her\nYou decide to just say it. You don't even look at her. \"Imelda, I'm in love with you.\"\n\nShe refrains from looking at you either. \"I'm in love with you too,\" she states, matter-of-factly. \"It makes perfect sense, I think. We're young, we're forced to deal with one another repeatedly in intense, passionate, but graceful and playful circumstances, we understand the stresses, the fears we each experience, we both love flying... and so we grow attracted to one another.\"\n\nThe two of you lean closer as she speaks, your lips brushing together. \"My lips are numb,\" you complain.\n\nShe shushes you. \"Let me warm them up.\"\n\nAfter a while, you lean back, faces flushed, sitting perhaps a little closer than before.\n\nImelda straightens her hair and exhales slowly. \"That was almost as satisfying as shooting you down.\"\n\n> Kiss imelda\nYou lean over to Imelda and kiss her on the lips. She kisses you back, forcefully.\n\n> Inventory\nYou are carrying a revolver, and you're wearing a pair of goggles, a white scarf, a fur-lined jacket, some breeches, some sheepskin boots, and a makeshift splint.\n\n> You remove the jacket\nThe risk of hypothermia is too great.\n\n> You remove breeches\nIt's extremely cold. You don't really have much to show off right now.\n\n> You screw imelda\nYou see no way to screw Imelda.\n\nImelda's attention drifts away from you.\n\n> Shoot jacket\nIt doesn't look like that would achieve much.\n\nImelda meets your eye briefly.\n\n> You ask Imelda about the eyepatch\nYou meet Imelda's eye and she looks at you expectantly.\n\nYou meet Imelda's single eye. \"Um...\" you say, \"so how did you...?\"\n\n\"How did I what, Lucas?\" she replies innocently.\n\nYou clear your throat. \"You know... the eye patch...\"\n\n\"What about it, Lucas?\"\n\n\"Well, I was just wondering what happened to your eye.\"\n\n\"I was shot,\" she says simply. \"It's an occupational hazard when you're around planes with machineguns strapped to them.\"\n\n\"Yes, I've noticed.\"\n\n> You ask Imelda about the ice queen\n\"So, as the Ice Queen's pet fighter pilot I bet you've had tea with her and everything?\"\n\nImelda raises her chin. \"She did personally present a medal to me.\nHer hands were really cold... But I'm hardly her pet. The Sky Mercenaries always retain full autonomy. We're merely under contract to her and the Northern Territories.\"\n\n> You ask Imelda about Sky Mercenaries\n\"What exactly are you Sky Pirates all about then?\"\n\nImelda looks at you with her good eye and sighs theatrically.\n\n\"Sky Mercenaries,\" you correct yourself, \"whatever.\"\n\n\"We're the children of Aerocity, born in the skies, at home there, understanding wind, gravity and inertia the way most people understand walking.\"\n\n\"You're not afraid of heights then?\"\n\nShe smiles. \"No, Lucas, not really.\" After a moment she adds, \"Look, I know we get a bad rap in the southern newspapers, but we're people just like anyone else. I couldn't wish for better friends than those I have on the zeppelin.\"\n\n> You ask Imelda about the predicament\n\"This is quite a situation we're in,\" you say.\n\n\"Yep,\" Imelda agrees.\n\n\"Any idea what to do?\"\n\nImelda tips her head to one side. \"Maybe.\"\n\n\"Care to share?\"\n\n\"Well, as I see it, we have two main problems. We need to get to safety tomorrow, and we need to keep warm.\"\n\nSnow continues to drift down from above.\n\n> You ask Imelda about the zeppelin\n\"So you guys are based on a zeppelin?\" you ask Imelda.\n\n\"Of course,\" she says smugly. \"There's no quicker way to get your planes in the air than to have them in the air already.\"\n\n> You get the eyepatch\nTaken.\n\n> You ask Imelda about the safety\n\"I was thinking,\" you tell Imelda.\n\n\"Did it hurt?\" she asks.\n\n\"A little. Mostly it was just an unfamiliar sensation. What I was thinking was that we should head south from here. We'll probably reach the Imperial lines in no time. After that, a hot bath, some steaming soup...\"\n\nImelda seems unconvinced. \"Or we could head north. We'll probably reach the Northern lines in no time, after which etcetera, etcetera.\"\n\n\"Hang on,\" you say, \"Weren't you telling me I didn't ever want to end up a prisoner of the Ice Queen's icekin soldiers?\"\n\n\"You won't be a prisoner of the icekin soldiers. You'll be my prisoner.\"\n\n\"Sounds a bit kinky for my tastes.\"\n\nImelda smiles slyly. \"You have no idea.\"\n\n\"Maybe we should just split up,\" you suggest. \"I bet we could both make it by ourselves. Then no-one has to be anyone's prisoner.\"\n\nImelda shrugs. \"Look, I'm heading north. I'd love it if you'd come with me, but...\"\n\n(You could agree to go north with her, ask her to go south with you, tell her you should split up, or tell her you can't decide.)\n\n> You wear the eyepatch\nOkay, you're now wearing the eye patch.\n\nYou rub your hands together to try to keep them warm.\n\n> You ask Imelda about Ice Queen\n\"So, as the Ice Queen's pet fighter pilot I bet you've had tea with her and everything?\"\n\nImelda raises her chin. \"She did personally present a medal to me.\nHer hands were really cold... But I'm hardly her pet. The Sky Mercenaries always retain full autonomy. We're merely under contract to her and the Northern Territories.\"\n\n> You ask Imelda about keeping warm\n\"I've got an idea to keep us warm,\" you tell Imelda.\n\nShe takes a break from breathing into her hands. \"Sounds great to me. What is it?\"\n\n(You could suggest thinking warm thoughts, suggest sharing body heat, or suggest making a fire.)\n\n> You suggest thinking the warm thoughts\n\"Well,\" you begin uncertainly, \"we could think warm thoughts.\"\n\nImelda offers you a very condescending look. \"So even as our bodies freeze to death, we'll be warm in our minds?\"\n\n\"Exactly. We just need to picture ourselves sitting in front of a roaring fire, or lying on a sunny beach, or... uh, inside the stomach of a feral icekin...\"\n\nImelda pats you on your unbroken leg. \"It's a good thing you have looks,\" is all she says.\n\n> You suggest sharing body heat\n\"I was just thinking how we're both so cold, and yet we're both full of red hot blood...\"\n\nImelda raises an eyebrow. \"Cannibalism?\"\n\nYou grimace. \"Hugging?\"\n\nImelda smiles evilly. \"Oh, I see. Can't bear to keep your hands to yourself for much longer?\"\n\n\"It would take an iron will.\"\n\nShe slips her arms around your waist and presses herself against you. \"Still, it's a small price to pay to avoid freezing to death.\"\n\nYou wrap your arms around her in turn. \"Yes,\" you say austerely, \"we must be brave.\"\n\n> You ask Imelda about keeping warm\n\"I've got an idea to keep us warm,\" you tell Imelda.\n\nShe takes a break from breathing into her hands. \"Sounds great to me. What is it?\"\n\nThe triplane rocks slightly in the wind.\n\n(You could suggest thinking warm thoughts, suggest sharing body heat, or suggest making a fire.)\n\n> You ask Imelda to go south\nImelda refuses your request.\n\n> You ask Imelda about the safety\n\"About where we're headed...\" you begin.\n\n\"Have you reached a decision yet?\" Imelda asks you.\n\n(You could agree to go north with her, ask her to go south with you, tell her you should split up, or tell her you can't decide.)\n\n> Agree to go north\n\"Okay,\" you say. \"I'll go north with you.\"\n\n> You tell the imedla about the empire\nImelda squeezes you around the waist. \"I'm glad. And... I know what a sacrifice this must be for you. Thank you.\"\n\nThe word \"imedla\" is not necessary in this story.\n\n> You ask Imelda about newspapers\n\"Have you read any newspapers recently?\" you ask Imelda.\n\n\"You mean like the Northern Financial Times?\"\n\n\"I mean like the Weekly Mirror or the Mail News.\"\n\n\"I thought as much. A shocking amount of those papers is about us, isn't it? According to one, I'm irresponsible for continuing to fly into combat while blatantly pregnant with your love child.\"\n\n\"I wonder what they'd make of all this...\" You wave your hand around at your cosy little love nest in the freezing snow.\n\n\"If we don't make it,\" Imelda says, \"they'll turn it into our lovers' suicide pact.\"\n\n\"Headline: They couldn't bring themselves to fight any more!\""
    },
    {
        "text": "[Themes: Romance, war]\n\n> Look around\nDowned Triplane (lying on the ground)\nA scarlet triplane lies half-buried in the snow, leaning to one side. You're huddled beneath its slanting wing, mostly sheltered from the freezing wind and falling snow.\n\nImelda is huddled close by your side, watching you intently.\n\nA chill wind passes under the wing, making you both shiver.\n\n> You ask Imelda about the safety\n\"About where we're headed...\" you begin.\n\n\"Have you changed your mind?\" Imelda asks you. \"We were both going to head north.\"\n\n(You could ask her to go south with you, tell her you should split up, or tell her you haven't changed your mind.)\n\n> You ask Imelda about the Aerocity\n\"I've heard of Aerocity, but I'm not sure I believe in it. It's supposed to be a city suspended from balloons?\"\n\nImelda bursts out with laughter. It's nice to see her be so familiar with you, but you can't help but feel a bit embarrassed. \"That's a good one, I'll have to remember that. No, Lucas, Aerocity is not a city suspended from balloons, but it is high up in a mountain range. We're quite familiar with the concept of falling, and our efforts to avoid it have made us the best in the world at flying.\"\n\n> You go to the north\nThe slanting triplane wing is in the way.\n\nImelda laughs suddenly. \"A city suspended from balloons. That's brilliant.\"\n\n> You look at the plane\nA plane with three wings, one on top of the other. Bit extravagant, really.\n\n> You ask Imelda about northern Territories\nYou look around at the thick snowfall. \"The climate's nice in the Northern Territories this year.\"\n\n\"I guess this is why they call her the Ice Queen.\"\n\n> You ask Imelda about herself\n\"So...\" you begin, \"why not tell me a little about yourself, Imelda?\"\n\nImelda looks thoughtful. \"I suppose... it's a bit of a broad topic. Tell you what, why don't we start with you telling me about myself.\"\n\n\"You want me to tell you about yourself?\" you repeat. \"Don't you already know yourself quite well?\"\n\n\"I'm interested to know what you think of me. Come on, tell me.\"\n\n> You tell Imelda about herself\nYou take a deep breath. \"Okay. You're the notorious ace Sky Mercenary known as the Scarlet Baroness, real name Imelda von Strassa- von Strassenba-\"\n\n\"Von Strassenbach.\"\n\n\"Who's telling this story? Imelda von Strassenbach. A fiery redhead with an ice cold temperament.\"\n\n\"More than my temperament is ice cold at the moment.\"\n\n\"You've racked up over seventy confirmed kills-\"\n\n\"Seventy-six.\"\n\n\"You're an outstanding pilot, who can best even the most elite southern pilots, and you're hopelessly in love, according to the scandal sheets, with one Lucas Thane, the Benevolent Empire's ace of aces.\"\n\nImelda seems happy with your little report. \"Is that so,\" she purrs. \"Although: hopelessly in love, pursuing in a predatory fashion... it's a thin line, I think.\"\n\n> You ask Imelda about benevolent Empire\n\"You're surely a fan of the Benevolent Empire and its attempts to civilise the world?\"\n\nImelda scoffs. \"It's hard to consider an empire benevolent when it thinks that rearranging the world to suit its own economic needs is 'civilising' it.\"\n\n\"You don't think the people of the Northern Territories would benefit from giving us all their noxious petroleum?\"\n\n\"I think they've benefited best by giving it to us Sky Mercenaries.\"\n\n> You ask Imelda about yourself\n\"Do you know much about me?\" you ask Imelda.\n\n\"All the important stuff,\" she says. \"Your flying style, your weaknesses.\"\n\nYou study her carefully. \"My weaknesses?\"\n\n\"You always underestimate your ability to fly in a crosswind, you're too afraid of stalling, and you've balked at two separate opportunities to shoot me down because the bullets would probably have passed through my body.\"\n\n\"I see.\"\n\nSnow continues to drift down from above.\n\n> You ask Imelda about keeping warm\n\"I've got an idea to keep us warm,\" you tell Imelda.\n\nShe takes a break from breathing into her hands. \"Sounds great to me. What is it?\"\n\n(You could suggest thinking warm thoughts, suggest sharing body heat, or suggest making a fire.)\n\n> You suggest making a the fire\nYou look around. \"I think we could build a fire. If we put it right there it should be close enough to warm us up, but the wind will blow the smoke away from us.\"\n\nImelda crawls out from under the wing and stands up, snow crunching beneath her feet. \"Okay, I'll go find some wood, or anything else that looks like it'll burn. Give me your gun. I'd hate to have to face down a feral icekin with nothing but a couple of pine branches.\"\n\n\"Don't you still have that flare gun?\" you ask her.\n\n\"Yeah, but I'd rather save its one shot for summoning help. Come on, hand it over.\"\n\n(You could agree, or politely refuse.)\n\n> You ask Imelda for the flare gun\n\"We can talk after I get back,\" Imelda says. \"In the meantime, just tell me: are you going to give me your gun?\"\n\n> You tell her you can do better\nYou shift your broken leg so that you can grab a couple of sticks from the pile. \"I think the Boy Scouts need to take over here,\" you tell Imelda.\n\nShe gives you a very doubtful look. \"Excuse me? The Sky Guides are more than capable of rubbing two sticks together. Unless you can think of a way an all-male group might have gained extra practice in that regard?\"\n\n\"Clearly you don't have enough confidence in your abilities to just get on with it.\"\n\n\"I'm just trying to get you to save your energy.\"\n\nYou both tend to the sticks in intense silence from then on. But the fire doesn't suddenly spark to life, it forms slowly from a wisp of smoke, and it's hard to tell which of you is more responsible for it. When it's crackling away nicely, you both sit back, shoulder-to-shoulder.\n\n\"I told you to save your energy,\" Imelda says. \"That was clearly my spark that lit it.\"\n\nYou shake your head. \"My sparks were much more vibrant. You could tell they had the Lucas Thane never-give-up attitude.\"\n\n\"Fine, keep lying to yourself. We both know the truth.\"\n\n\"I agree that one of us is in denial, but I don't think it's me.\"\n\nImelda holds out her hands to the fire. \"It's nice that we got it done, though.\"\n\nYou hold out your own hands. \"I don't dispute that.\"\n\n> You ask Imelda about the newspaper\n\"Have you read any newspapers recently?\" you ask Imelda.\n\n\"You mean like the Northern Financial Times?\"\n\n\"I mean like the Weekly Mirror or the Mail News.\"\n\n\"I thought as much. A shocking amount of those papers is about us, isn't it? According to one, I'm irresponsible for continuing to fly into combat while blatantly pregnant with your love child.\"\n\n\"I wonder what they'd make of all this...\" You wave your hand around at your cosy little love nest in the freezing snow.\n\n\"If we don't make it,\" Imelda says, \"they'll turn it into our lovers' suicide pact.\"\n\n\"Headline: They couldn't bring themselves to fight any more!\"\n\n> You ask Imelda about northern Territories\nYou look around at the thick snowfall. \"The climate's nice in the Northern Territories this year.\"\n\n\"I guess this is why they call her the Ice Queen.\"\n\n> You ask Imelda about the hair\n\"Your hair is the most striking colour,\" you tell Imelda.\n\nShe runs her fingers through her curls. \"Thank you.\"\n\n\"Is it natural?\"\n\nShe suddenly glares at you. \"You might maintain the most fleeting hope of one day finding out for sure.\"\n\n> You ask her about the the chance to kill yourself\n\"That one time you came out of the sun...\" you begin. \"It was perfect. You had me.\"\n\n\"Yes,\" Imelda says. \"I had you. Not just your plane, but you. I couldn't take the shot. You've done the same yourself.\"\n\nYou lightly touch her arm. \"Well, we're the only ones who know.\"\n\n> You ask Imelda about the kill count\n\"What was that number again?\"\n\n\"I've downed seventy six aircraft,\" she says.\n\nYou sniff. \"A lot of balloons and two-seaters, though...\"\n\n> You hug her\nYou wrap your arms around Imelda and squeeze her tightly.\n\n\"Why Lucas,\" she says wryly, hugging you back, \"you must contain your obvious desire for me.\"\n\n\"I'm just trying to keep warm,\" you reply.\n\n\"Yes, keep telling yourself that.\"\n\n> You ask Imelda about the ace of Aces\nYou look around the snowy environs. \"It's interesting when you think about it... here we both are, two aces of aces...\"\n\n\"Aces of aces? There's the ace of aces, which is myself. And then there are a few regional titles like southern ace of aces, like this fellow who's all looks and no brains. You'd like him. But it's not really a concept that makes sense when you pluralise it.\"\n\n\"Sure it does,\" you insist. \"There's room for more than one at the top.\"\n\n\"Not much room. It'd be pretty cramped.\"\n\n\"You have some sort of objection to being physically close to me?\"\n\nShe reaches over to toussle your hair. \"Only in the abstract.\"\n\n> Sleep\nYou let your head rest on Imelda's shoulder, and sleep descends like a dark blanket.\n\nThe night is cold, and the two of you cling to one another for warmth, but the snow has finally stopped falling and the fire burns until morning.\n\nThen the two of you struggle to your feet, Imelda just contending with aches and cramps while you have to worry about your broken leg.\nLooking around at the pristine forest, everything covered in thick sheets of snow, you begin to make your way north, Imelda encouraging you to lean on her as much as you can. Eventually, the bright scarlet wingtip of her triplane has disappeared from view.\n\nNot long after that...\n\nYou sit by the window, looking down on the clouds, feeling the throbbing of the zeppelin's engine. The door opens and Imelda enters.\n\n\"Is this a conjugal visit?\" you ask her.\n\nShe looks puzzled. \"Have I ever made any other kind of visit?\"\n\nShe walks across your improbably luxurious cabin - not that you're allowed to leave it - and sits on the window sill next to you.\n\n\"Are you okay?\" she asks. \"I thought they'd be a little more lenient with you, but it seems you're going to be in here til the war ends.\"\n\nYou shrug. \"The view's nice. The company's great. I've caught up on my reading.\"\n\n\"Wouldn't you be more comfortable lying on the bed?\" she asks.\n\nYou look at her with mock naivety. \"Why do you ask?\"\n\nYears later...\n\nImelda rolls off of you and sparks up a cigarette, the sheets around her hips. You study her silhouette in the twilight.\n\n\"The air race tomorrow,\" she says.\n\n\"Everyone will be there,\" you say proudly. \"Everyone wants to see the world's most famous aces competing against one another.\"\n\nShe takes a deep drag and lets the smoke curl slowly from her lips before speaking. \"I just want to make sure you know I won't hold back, just because it's you.\"\n\nYou laugh. \"You're not going to get a chance to. You'll have to be flat out just to be able to spot me on the horizon.\"\n\nShe holds out her hand and you take it. \"May the best woman win,\" she says.\n\n\"May she come second, after me,\" you counter.\n\nThere's a moment's pause. The quiet sounds of evening drift in through an open window.\n\n\"Lucas...\" Imelda takes a deep breath. \"There's something I need to ask you. After the race, what... what's going to happen?\"\n\n\"Easy,\" you say. \"I go where you go. As always.\"\n\nShe smiles. \"That's going to be difficult. I'll be going where you're going. We'll be chasing one another in circles.\"\n\n\"Like dogfighting all over again.\"\n\nShe kisses the corner of your mouth. \"I love you.\"\n\nYou kiss her back, passionately. \"I love you too.\"\n\nMany years later...\n\nThe champagne cork pops explosively and you both jump.\n\n\"Careful,\" Imelda says, \"you'll have someone's eye out.\"\n\nYou pour out two glasses. \"Yes, you have to be careful in that regard.\"\n\n\"Thank you,\" Imelda says, taking a glass and bringing it to her lips.\n\n\"Hold on, we haven't had a toast yet.\"\n\n\"That's easy,\" she says, raising her glass. \"To us. And another twenty years of fucking, flying and friendship.\"\n\n\"To the three 'F's,\" you agree, tapping your glass against hers.\n\n\"The three 'F's.\"\n\nYou take a deep breath of mountain air. The precarious buildings of Aerocity surround you, glistening with frost. \"It's quite a view,\" you say, looking across the world from up high.\n\n\"As good as flying,\" Imelda says. \"Almost as good as love.\"\n\nYou lean together and kiss, the setting sun glinting on snow-topped mountains.\n\n> Xyzzy\nThe word \"xyzzy\" is not necessary in this story. Honest.\n\nYou suppress a shiver.\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> Sleep\nParagon of irresponsibility, you decide to rest your weary eyes while at the controls of your plane. You never find out just what it was that you hit in mid-air, in the midst of this intense snowstorm, but by the time you hit the ground you're wide awake.\n\n> Sleep\nThat isn't one of the options.\n\nWould you like to RESTORE a saved position, RESTART the story, UNDO the last move, see your FULL SCORE, or QUIT?\n\n> Xyzzy\nThe word \"xyzzy\" is not necessary in this story. Honest.\n\nThe propeller catches and restarts.\n\n> You remove the parachute\nNot that you expect to bail out, but you never know...\n\nThe engine judders briefly.\n\n> Inventory\nYou are carrying a revolver, and you're wearing a pair of goggles, a parachute pack, a white scarf, a fur-lined jacket, some breeches, and some sheepskin boots.\n\nThe engine wheezes mechanically.\n\n> You remove the breeches\nIt's extremely cold. You don't really have much to show off right now.\n\nA strong gust of wind rocks the plane.\n\n> You eat them\nLucas not chew on pants. Lucas officer and gentleman, not hungry orc.\n\n> You look at the goggles\nThe goggles allow you to keep your eyes open when travelling at high speed through subzero skies.\n\nYou feel the buffeting of the wind against your plane subtly changing its heading.\n\n> You jump\nYou're not going to abandon a perfectly good plane in mid-air!\n\nA faint shadow flickers in the corner of your eye, but when you look, there's nothing in that direction but mist."
    },
    {
        "text": "[Themes: Romance, war, conversation, romance]\n\n> You look around\nBiplane Cockpit (sitting in the pilot's seat)\nYou're seated in the cockpit of your Swordfish biplane, exposed to the elements. The small windscreen ahead does little to keep the harsh, icy wind from cutting right through you, and you're surrounded on all sides by blinding white mist.\n\nThe plane's control column juts up in front of you.\n\nThe engine stalls for a second before lurching back to life, something loose and metallic grating inside it.\n\n> You pull the stick\nThe control column moves loosely, clearly having no effect on the plane's ailerons.\n\nThe control column twitches spasmodically.\n\n> Wait\nTime passes...\n\nYou feel the plane's nose dropping as your airspeed slows.\n\nTime passes...\n\nYour altimeter reads 200m. You should seriously consider bailing out.\n\nTime passes...\n\nYour altimeter reads 100m. You should seriously consider bailing out.\n\nTime passes...\n\nThe mists below part, and you see the ground for the first time in hours, sharp black rocks breaking through the snow. Thankfully, you don't even feel it when you hit.\n\n> Xyzzy\nThe word \"xyzzy\" is not necessary in this story. Honest.\n\nYour plane will have hit the ground by now, shattering into pieces, bursting into flames.\n\n> You shoot yourself\nYou miss.\n\nBut you're okay. You made it.\n\n> Sleep\nYou don't think it would be a good idea to sleep right now.\n\nYour plane will have hit the ground by now, shattering into pieces, bursting into flames.\n\n> You jump\nJust as soon as you're standing on the ground.\n\nBut you're okay. You made it.\n\n> You shoot yourself\nYou miss.\n\nThe hard part is over.\n\n> Canopy\nThe parachute canopy is too far away.\n\nThe mist beneath you parts. Below you are thick, evergreen trees, garnished with snow, clinging to sharp black rocks.\n\nNow you have a frame of reference, you realise just how fast you're falling.\n\nYou open your eyes. You feel remarkably well given the circumstances. The air is fresh and invigorating, the sound of birdsong and rustling leaves is like soothing music. Time to get moving - for all you know, you might be behind enemy lines.\n\nForest Clearing (lying on the ground)\nSnow-coated evergreen trees surround you on all sides, their roots tangling into rugged black rocks. Snow falls from the bright white sky above.\n\nThe canopy of your parachute is suspended in the branches of a tree, like a giant, tattered spider's web.\n\n> Examine pack\nA bulky backpack that will let you descend gracefully to the ground.\n\nA bird chirrups melodically.\n\n> You search it\nThere's nothing unusual in the parachute pack.\n\nYou hear snow crunching nearby. Probably nothing.\n\n> You open it\nThat is not something you can open.\n\nAn icy breeze passes through the clearing, the soft rustling of leaves following in its wake.\n\n> You remove it\nOkay, you're no longer wearing the parachute pack.\n\nYou hear snow crunching nearby. Probably nothing.\n\n> About yourself\nYou're Lucas Thane: daredevil fighter ace, knight of the air.\n\nAn icy breeze passes through the clearing, the soft rustling of leaves following in its wake.\n\n> You look at leg\nYep, one functional left leg. Good for standing on and walking with.\n\n> You jump\nJust as soon as you're standing on the ground.\n\n> You stand\nYou sit up, feeling a lot weaker than you thought you were. As you start to shift your legs, something inside your left calf moves. White lightning bolts of pain jolt across your vision and you collapse back with a scream of pain.\n\nYou've broken your leg. You're lying in the freezing snow, and you're not going anywhere.\n\n> You look at the pack\nA worthless piece of crap that couldn't slow down a feather in an updraft.\n\nYou hear something rustling among the trees.\n\n> You shoot yourself\nYou miss.\n\nA feral icekin blunders into the clearing, looking around with its empty black eyes. Probably attracted by your scream of pain. Nice going, Lucas.\n\n> Wait\nTime passes...\n\nThe icekin looks around, breathing heavily through its sharp, uneven teeth.\n\nTime passes...\n\nThe icekin fixes its lifeless black eyes on you, emitting a low growl.\n\nTime passes...\n\nThe icekin lumbers towards you.\n\n> You wait awhile\nTime passes...\n\nThe icekin raises its furry white paw. The jagged edge of the rusty blade is brought into sharp relief against the white mists above.\n\n> You wait a while\nTime passes...\n\nA loud report shatters the quiet, resounding through the forest.\nFlocks of black birds rise in flurries from the trees. The icekin sways slightly on the spot, its blank expression shifting to one of vague confusion. And then it slumps to the ground, almost as if falling suddenly asleep.\n\nA dark figure strides into the clearing, a smoking flare gun in her hand. She lets it fall to the snow and rests a hand on her hip, surveying you with her one good eye. \"So,\" she says. \"It's you. I imagine your plane fared as badly as mine.\"\n\nYou smile in spite of the pain. \"And it's you. Aiding and abetting the enemy. What a poor example of patriotism.\"\n\n\"I'm a mercenary, Lucas, and you're not really one to talk yourself, are you?\" She pauses and sighs. \"After all this time,\" she says softly, \"here we are. Face to face on the ground. It's...\" She trails off.\n\n(You could tell her it feels like you already know her, or play it cool.)\n\n> You shoot imelda\nYou could never! Well, if you were both in planes, certainly. Quite frequently in fact. But not face to face!\n\nAn awkward silence hangs between the two of you.\n\n> You play it cool\nYou offer her a cordial smiles. \"It's a pleasure to meet you, Baroness.\"\n\nShe laughs. \"Imelda. Just call me Imelda. Come on, we need to get to shelter.\"\n\n> You ask Imelda about the shelter\nImelda looks around apprehensively. \"Actually, I think we should get moving rather than hang around chatting. The snowfall's getting thicker all the time.\"\n\n\"I'm not going anywhere,\" you say. \"I think my leg's broken.\"\n\nShe kneels down by your side. \"Let me take a look.\"\n\n\"Be sure to look twice as long,\" you advise her, \"since you just have the one eye.\"\n\nShe purses her lips. \"You're right. I'll do that.\"\n\n\"Ow!\"\n\n\"Yeah, it's broken alright.\"\n\n\"Thanks, doctor.\"\n\n\"I'll have to see about making a splint. And then I guess you'll have to lean on me, if you don't mind.\"\n\n\"Anything to help you feel useful.\"\n\nDowned Triplane (lying on the ground)\nA scarlet triplane lies half-buried in the snow, leaning to one side. You're huddled beneath its slanting wing, mostly sheltered from the freezing wind and falling snow.\n\nImelda is huddled close by your side.\n\n\"It's getting dark,\" Imelda says. \"We'll have to stay here at least for tonight, and then move on tomorrow morning if the weather lets up.\"\n\n> You ask Imelda about the fire\nYou meet Imelda's eye and she looks at you expectantly.\n\nYou chat briefly with Imelda, but find out nothing important.\n\nYour breath leaves little clouds in the air.\n\n> You ask Imelda about the warmth\nYou chat briefly with Imelda, but find out nothing important.\n\nYou rub your hands together to try to keep them warm.\n\n> You ask Imelda about Imelda\n\"So...\" you begin, \"why not tell me a little about yourself, Imelda?\"\n\nImelda looks thoughtful. \"I suppose... it's a bit of a broad topic. Tell you what, why don't we start with you telling me about myself.\"\n\n\"You want me to tell you about yourself?\" you repeat. \"Don't you already know yourself quite well?\"\n\n\"I'm interested to know what you think of me. Come on, tell me.\"\n\n> You ask Imelda about the thunderbolt\nYou look over your shoulder at the fuselage of Imelda's plane. \"So, you think you're too good for just two wings, then?\"\n\n\"Rate of climb,\" she says assuredly. \"Gaining and losing height will win and lose dogfights for you. Three wings give you the capability to climb at an incredible rate. And when you roll, that translates to maneuvrability in any direction. I know there's pilots who like durability or speed, but to me, nothing beats being able to turn to constantly keep your guns on an opponent, especially if they're also struggling to keep their nose up.\"\n\nYou make an ambiguous noise. \"Sounds like it might be alright for some, I suppose.\"\n\nImelda looks at you, fixedly. \"After the war, I'll put you in the pilot's seat of one of these things, and you'll see just what I mean.\"\n\n> You ask Imelda about Swordfish\n\"I hear the Swordfish has a pretty good reputation on the other side of the lines.\"\n\nImelda suppresses a smile. \"It kick-started development of the Thunderbolt triplane, I'll give it credit for that.\"\n\n> You ask Imelda about the predicament\n\"This is quite a situation we're in,\" you say.\n\n\"Yep,\" Imelda agrees.\n\n\"Any idea what to do?\"\n\nImelda tips her head to one side. \"Maybe.\"\n\n\"Care to share?\"\n\n\"Well, as I see it, we have two main problems. We need to get to safety tomorrow, and we need to keep warm.\"\n\n> You ask Imelda about safety\n\"I was thinking,\" you tell Imelda.\n\n\"Did it hurt?\" she asks.\n\n\"A little. Mostly it was just an unfamiliar sensation. What I was thinking was that we should head south from here. We'll probably reach the Imperial lines in no time. After that, a hot bath, some steaming soup...\"\n\nImelda seems unconvinced. \"Or we could head north. We'll probably reach the Northern lines in no time, after which etcetera, etcetera.\"\n\nYou draw a breath through your teeth. \"I'm not sure I want to end up a prisoner of those icekin soldiers.\"\n\n\"You won't be a prisoner of the icekin soldiers. You'll be my prisoner.\"\n\n\"Sounds a bit kinky for my tastes.\"\n\nImelda smiles slyly. \"You have no idea.\"\n\n\"Maybe we should just split up,\" you suggest. \"I bet we could both make it by ourselves. Then no-one has to be anyone's prisoner.\"\n\nImelda bites her lip. \"I think we should stay together. At the least you need someone to lean on. If you aggravate your broken leg you might end up severing an artery or something...\"\n\n(You could agree to go north with her, ask her to go south with you, tell her you should split up, or tell her you can't decide.)\n\n> You ask Imelda to go south\nImelda refuses your request.\n\nSnow continues to drift down from above.\n\n> You ask Imelda about benevolent Empire\n\"You're surely a fan of the Benevolent Empire and its attempts to civilise the world?\"\n\nImelda scoffs. \"It's hard to consider an empire benevolent when it thinks that rearranging the world to suit its own economic needs is 'civilising' it.\"\n\n\"You don't think the people of the Northern Territories would benefit from giving us all their noxious petroleum?\"\n\n\"I think they've benefited best by giving it to us Sky Mercenaries.\"\n\nA chill wind passes under the wing, making you both shiver.\n\n> You ask Imelda about benevolent Empire\n\"You're surely a fan of the Benevolent Empire and its attempts to civilise the world?\"\n\nImelda scoffs. \"It's hard to consider an empire benevolent when it thinks that rearranging the world to suit its own economic needs is 'civilising' it.\"\n\n\"You don't think the people of the Northern Territories would benefit from giving us all their noxious petroleum?\"\n\n\"I think they've benefited best by giving it to us Sky Mercenaries.\"\n\n> You tell her we should split up\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n\"By the way,\" Imelda says, \"why exactly did you feel the need to fly into me?\"\n\n\"That's funny,\" you reply. \"I thought that you were the one who flew into me.\"\n\nThe triplane rocks slightly in the wind.\n\n> You ask Imelda about the safety\n\"About where we're headed...\" you begin.\n\n\"Have you reached a decision yet?\" Imelda asks you.\n\nA chill wind passes under the wing, making you both shiver.\n\n(You could agree to go north with her, ask her to go south with you, tell her you should split up, or tell her you can't decide.)\n\n> You tell her we should split up\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> You tell her you should split up\n\"We're still technically enemies,\" you say. \"We'll just have to go our separate ways.\"\n\nImelda shakes her head. \"No, I can't leave you limping through the snow on a broken leg. Look, if you really want me to, I'll go south with you. But I'd much rather you came north with me.\"\n\n(You could agree to go north with her, ask her to go south with you, tell her you should split up, or tell her you can't decide.)\n\n> You ask Imelda to go south\nImelda refuses your request.\n\nYour breath leaves little clouds in the air.\n\n> You ask Imelda about the Tiger Sauce\n\"Have you ever had Tiger Sauce?\" you ask.\n\nImelda looks puzzled. \"You mean sauce made from tigers?\"\n\n\"I think it's tiger milk, actually.\"\n\nShe turns her nose up. \"No thanks.\"\n\n\"Oh, you'd be surprised.\"\n\n> You ask Imelda to go south with you\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\nSnow continues to drift down from above.\n\n> You ask her to go south with you\n\"I think you should come south with me,\" you say. \"The Benevolent Empire always treats its prisoners well, and I have plenty of clout. We'd be able to spend quite a bit of time together.\"\n\nImelda looks a bit conflicted for a moment. And then she nods. \"Okay. I've looked after you for a while, now maybe it's your turn. I won't be sorry to leave the war behind, either. So, yes, let's go south.\"\n\nThe triplane rocks slightly in the wind.\n\n> You suggest making a the fire\nYou look around. \"I think we could build a fire. If we put it right there it should be close enough to warm us up, but the wind will blow the smoke away from us.\"\n\nImelda crawls out from under the wing and stands up, snow crunching beneath her feet. \"Okay, I'll go find some wood, or anything else that looks like it'll burn. Give me your gun. I'd hate to have to face down a feral icekin with nothing but a couple of pine branches.\"\n\n(You could agree, or politely refuse.)\n\n> You tell her you can do better\nYou shift your broken leg so that you can grab a couple of sticks from the pile. \"I think the Boy Scouts need to take over here,\" you tell Imelda.\n\nShe gives you a very doubtful look. \"Excuse me? The Sky Guides are more than capable of rubbing two sticks together. Unless you can think of a way an all-male group might have gained extra practice in that regard?\"\n\n\"Clearly you don't have enough confidence in your abilities to just get on with it.\"\n\n\"I'm just trying to get you to save your energy.\"\n\nYou both tend to the sticks in intense silence from then on. But the fire doesn't suddenly spark to life, it forms slowly from a wisp of smoke, and it's hard to tell which of you is more responsible for it. When it's crackling away nicely, you both sit back, shoulder-to-shoulder.\n\n\"I told you to save your energy,\" Imelda says. \"That was clearly my spark that lit it.\"\n\nYou shake your head. \"My sparks were much more vibrant. You could tell they had the Lucas Thane never-give-up attitude.\"\n\n\"Fine, keep lying to yourself. We both know the truth.\"\n\n\"I agree that one of us is in denial, but I don't think it's me.\"\n\nImelda holds out her hands to the fire. \"It's nice that we got it done, though.\"\n\nYou hold out your own hands. \"I don't dispute that.\"\n\n> Kiss imelda\nYou're not about to kiss the enemy without at least a hint that she'd like you to.\n\nSnow continues to drift down from above.\n\n> You ask Imelda about the love\nYou clear your throat. \"So, Imelda, how are things with the men in your life?\"\n\n\"Do you mean my male friends among the Sky Mercenaries? Or are you sneakily trying to ask about us?\"\n\nYou rub your hands together to try to keep them warm.\n\n> You ask Imelda about us\n\"Imelda, about us...\"\n\nShe looks down at her feet. \"What about us?\"\n\n\"Well, what's your take on it? Why do we keep circling around one another? In the air or otherwise.\"\n\nStill without looking at you, she says, \"I can't really remember how we first met, except that I suddenly realised this plane from the 5th Imperial Air Squadron kept seeking me out to duel with me, probably because I'm an obvious target in my scarlet plane. I usually brought down every enemy plane I came across, but you always managed to escape. I only shot you down that once. I started to research you, found out who you were, started to learn your flying style, had a chance to kill you, but didn't take it, and then flew into you in the middle of a snowstorm. And now here we are.\"\n\nThere's a pause, and then she adds, \"But that's not what you asked, really, is it? That's just the story of us - I didn't mention my feelings at all.\" She smiles apologetically.\n\n> You ask Imelda about keeping warm\nYou hold your hands out to the fire. \"This is nice.\"\n\n\"Yes,\" Imelda agrees, \"my fingers don't feel quite ready to snap off anymore.\"\n\n> You hug imelda\nYou wrap your arms around Imelda and squeeze her tightly.\n\n\"Why Lucas,\" she says wryly, hugging you back, \"you must contain your obvious desire for me.\"\n\n\"I'm just trying to keep warm,\" you reply.\n\n\"Yes, keep telling yourself that.\"\n\nA chill wind passes under the wing, making you both shiver.\n\n> Kiss imelda\nYou lean over to Imelda and kiss her on the lips. She kisses you back, forcefully.\n\n> You ask Imelda about duelling\n\"It's a strange past-time, really, trying to shoot one another out of the air.\"\n\n\"Yes,\" Imelda agrees, \"we should take up chess or ballroom dancing instead.\"\n\nThe triplane rocks slightly in the wind.\n\n> You ask Imelda about what she's doing after the the war\n\"Aside from sticking me in a triplane, you got any plans for after this all blows over?\"\n\nImelda scratches her ear. \"I don't know. I really don't know. I went straight from aristocracy to being a fighter pilot. This is preferable, believe it or not. But you'd have to be insane to want to do this forever. Or maybe I am insane, I don't know. I just don't know.\"\n\n> You ask Imelda about the ballroom dancing\n\"Do you dance?\" you ask.\n\n\"Not when I'm this cold,\" Imelda says. \"But I learnt ballroom dancing when I was young. I can be as graceful on my feet as in the air.\"\n\n\"We'll have to dance some time,\" you suggest.\n\n\"Certainly,\" she says mischievously, \"but I warn you, my hands have been known to wander.\"\n\n\"I'll keep a careful eye on you, don't worry.\"\n\n> You ask Imelda about the chess\n\"Do you play chess?\" you ask.\n\n\"More than that,\" Imelda says. \"I win at chess.\""
    },
    {
        "text": "[Themes: Science Fiction, dog, conversation, coming of age, child protagonist, science fiction, pulp]\n\nof Earth Alliance rocket ships blasting the vile Martian Rebels with their Atomic Heat Rays might have been a rocket ship blasting off from the mainland, or it might have been a late summer thunderstorm. You open your eyes to the velvety darkness of your bedroom, lit only by\nthe slightly less black square of the window, which is pulsing by\nfaint flashes of light in the sky. You think about getting up and finding your binoculars, but your eyelids are heavy and you drift back to sleep. By the morning, all this is forgotten.\n\n\n\nStory, Photos & Coding: Janos Honkonen\n\nTesting & proofreading: Susi Vaasjoki, Laura Kalli, Will\nEllwood, Nikodemus Siivola, Ilmari Jysk\u00c3\u00a4, Melvin Rangasamy, Joey Jones\n\nmanual, Emily Short for great extensions and Eric Eve & others for\nhelp in rec.arts.int-fiction throughout the years I've been tinkering with IF.\n\n\"Are you sure he will be alright?\" asks mother, struggling under the weight of the crate she's lifting to the boat. Your father glances at you, one foot on the side of the boat, and harrumphs.\n\n'When I was his age I minded the station alone for days' he says, taking the crate effortlessly from your mother, who leans back\npressing her palms against the small of her back. \"And there were\nships back then.\" The weight of the crate makes the boat rock\nlazily, and you glance at the scummy black water between the boat's side and the concrete pier.\n\n\"You will do alright, won't you, son?\" You look up quickly and meet your father's gaze. He has that expression you don't like, his eyes make you squirm and feel nervous; like you have already disappointed him and there will be a belt or a switch in store for you when they\nget back home.\n\n\"No sir! I mean yes sir, I will do my best,\" you stammer over the\ncreak and squeal of the seagulls circling above you, hopeful for a\nfish or an unminded crate of food. Father sighs and helps your mother into the boat. Gogol is on the pier, looking at your parents and the seagulls, tail wagging and tongue lolling out in the breeze.\n\nThe engine roars to life, hitting you with a quickly dissipating headachy and sweet cloud of exhaust, and as it does, for a moment you feel really scared and alone. Mother waves at you, you wave back and spend a few long minutes watching the boat pull off towards the mainland.\n\n[Author's Note: On the old pilot station island, where you live with your parents, the war fought with Earth and Martian rocket-ships and Atomic Heat Rays exist only in the sonorous voice of the newscaster on the radio, and as food for your imagination. Today your parents have left you alone to mind the station while they head for the mainland for some supplies. A big job for a six year old, who is about to have an encounter that changes his life forever.]"
    },
    {
        "text": "[Themes: Science Fiction, dog, conversation, science fiction, child protagonist, coming of age]\n\n> About yourself\nThe pier is built in the end of a breakwater that protects the natural bay of the island from northerly winds. There's room for a couple of sailboats or yachts in addition to your motor boat, which is now just\na small dot on the sunlit sea, heading towards the mainland.\n\nThe sky and the sea is hazy, there is a hard westerly wind and you can hear waves whipping and beating the rocky shore on the other side of the island. On the island the only landmark is your house - a lone, tall yellow building used by the pilots in your grandfather's time. Well, there's the navigational cairn on the high northern end of the island, just a pile of rocks painted white. There are only a couple of trees in your yard, otherwise the island has just smooth bare stone, low brushes, lichen and other such hardy plants.\n\nOn the pier there's a windbeaten equipment shack, where you store supplies and fuel for the boat. To the south-east, through the haze\nand across the churning sea, you can make out the towers and buildings of Astro City One, the world's largest rocket base.\n\nGogol looks up at the wheeling seagulls.\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the astro city\nThe air is hazy today, but you can still make out the distant\nbuildings and towers in the mainland. Astro City One is the largest\nand most active rocket base on Earth, usually there are five or six launches per year but now, with all the trouble with the traitorous Martians, there has been almost one launch every month! You remember all the launches you have seen, the sharp ripping sound of the Atomic Pile ripping the world itself, that blinding light and the pillar of smoke that rises higher and higher until your mind and the world goes all weird, because you really see and understand that the\nsmoke and the light go right through the clouds and into the dark of space!\n\nOne day you will travel to Astro City One, step into one of the rocket-ships as a Rocket-Man, and head out to the universe!\n\n> You look at Gogol\nGogol is an Alsatian and you have the same birthday. He's your friend and he's very good at fetching things and catching seagulls!\n\n> Pet Gogol\nYou scratch Gogol behind the ears and stroke his bag, he closes his eyes with pleasure.\n\n> You look at shack\nsupplies. The door of the shack is closed.\n\n> You open the door\nYou open the equipment shack, revealing a large orange life vest, a child size life vest, boating supplies and a boat hook.\n\n> You look at the supplies\nThere are ropes, cans of oil, tools, spare parts and all kinds of things like that in the shack, all neat and in order hanging on the walls or set on shelves. Your father will tan your hide if you mess with them.\n\n> You examine the hook\nIt's a long wooden pole, at least twice your height, with a hook and a spike in the end. It's used in pulling in equipment, ropes and other things that have fallen in to the water.\n\n> You examine the vest\nWhich do you mean, the large orange life vest or the child size life vest?\n\n> Child\n(first taking the child size life vest)\n\nPutting things on Gogol would achieve nothing.\n\n> Wear child\n(Gogol first taking the child size life vest)\nGogol looks at you, vaguely puzzled.\n\n> You wear large\n(first taking the large orange life vest)\nIt's too big for you, better leave it where it is. Father has always said that you shouldn't mess with safety equipment.\n\n> You close the door\nYou close the equipment shack.\n\n> You look at what you're carrying with you\nYou are carrying:\na child size life vest\n\n> You open the door\nYou open the equipment shack, revealing a large orange life vest, boating supplies and a boat hook.\n\n> You put the child in the shack\nYou put the child size life vest into the equipment shack.\n\n> Go west\nThe wavebreak is a concrete causeway built over a big long pile of rocks to break the waves coming from the north during wintertime. It protects the little bay to the south, which is nice to swim in when\nthe weather is a bit better. The boat shore and the island are to the west, and the pier is to the east.\n\nGogol trots after you.\n\n> You look at the bay\nThere is a small bay in the eastern edge of the island, where you usually swim. There's also a small boat there nobody has used in ages.\n\n> You look at the rocks\nYour home island is almost completely covered by bare rock, with some hardy lichen and small brushes for vegetation.\n\n> You take the boat\nMaybe you'll be able to do that when your superpowers kick in!\n\n> Go west\nThe boat shore is actually the innermost nook of the small bay where you swim in the summertime. It's a small nook with some reeds and\nwater plants, and a nice gravely sea bottom without any sharp rocks to hurt your bare feet on. The wavebreak protects the bay, so the water\nis usually pretty calm and sometimes it gets really warm in the\nsummer. There's a small wooden boat, but nobody has used it in a long time since you can't go to the sea with it, just row around the bay\nand very close to the island.\n\nstretches to the east, towards the mainland. Straight to the west are your mother's rose bushes, that hug the side of the house, but you really don't want to go through them because the thorns are sharp enough to bite even through your clothes. The roses are in bloom and gusts of wind wafts their sweet smell to you. You can see something white and plasticky behind the bushes.\n\nGogol trots after you.\n\n> You look at the white\nWhich do you mean, the navigational cairn or something white?\n\n> Something\nYou peel apart a few leaves and branches of the rose bushes, careful\nof their thorns, to get a better look. It's a small spray can your mother uses to spray the plants and flowers with. She must have\ndropped it behind the rose bushes.\n\n> Go northwest\nUp close the bushes look quite thorny, and the sweet smelling summer roses are full of buzzing, hairy bumblebees. You tried going through them once, last year, and you are not going to repeat that mistake any time soon.\n\n> Go southwest\nThe front yard of the house is full of color. Mother has dotted the place with flowerpots and crates, and even small patches of grass. Mother takes very good care of the yard, she says it's her small patch of paradise. There are two small and gnarly trees with needles and a brown bark that shadow the yard a bit.\n\nOn the other side of the yard there is an outbuilding, which is\npainted red and white. The double doors to the outbuilding are open, it's very dark in there and you don't really want to go inside. Next\nto the outbuilding is the red outhouse.\n\nTo the south is the bare rocky center of the island with all the moss and stuff, and you can get to the boat shore and the pier by going northeast. By going northwest you get to the back yard, from where you can climb to the tall hill behind the house, where the navigational cairn is.\n\nGogol trots after you.\n\n> You examine the flowerpots\nThere are all kinds of colourful flowers. You are forbidden to touch them, and your father once took the switch to you when you fell over the flowers while playing recklessly.\n\n> You examine the trees\nThey are pines, you think, you have never been good with trees since you have really seen only two of them. Of course you have been to the mainland, but not that many times. They are rather small and gnarly, and they drop small cones that open their scales when they fall and hurt a lot if you step on them barefooted.\n\n> You examine the cones\nThey are small pine cones, you think. On the trees they are shaped\nlike a tear drop, but on the ground they open into a spiky ball that hurts a lot when you step in it.\n\n> You take the cones\nYou pick up a few pine cones.\n\n> You fetch the spray can\nGogol looks at you and makes a sound that's the canine equivalent of \"hmm?\".\n\n> You drop the cones\n(the handful of pine cones)\nYou don't want to leave them lying around.\n\n> You throw the cone to Gogol\n(the handful of pine cones to Gogol)\nNo use throwing that thing around.\n\n> Smell cones\n(the handful of pine cones)\nThe handful of pine cones smells of nothing unexpected.\n\n> You examine the outbuilding\nIt's a red and white small building where you store firewood,\ngardening tools and stuff like that. The double doors of the outbuilding are open, revealing the pitch black indoors. You never\nwant to look at there for too long, because\u00e2\u00a6 what if, right when you look away, you see a glimpse of glowing eyes in there?\n\n> You examine the outhouse\nThe outhouse is painted red and there's a little heart shaped hole on the door. It's downwind so you don't catch the stink. It's getting\nfull and father will make you help him empty it soon.\n\n> You enter it\nYou don't need to go right now, and it's really not a place you want\nto just hang in."
    },
    {
        "text": "[Themes: Science Fiction, child protagonist, science fiction, dog]\n\n> You look around\nThe front yard of the house is full of color. Mother has dotted the place with flowerpots and crates, and even small patches of grass. Mother takes very good care of the yard, she says it's her small patch of paradise. There are two small and gnarly trees with needles and a brown bark that shadow the yard a bit.\n\nOn the other side of the yard there is an outbuilding, which is\npainted red and white. The double doors to the outbuilding are open, it's very dark in there and you don't really want to go inside. Next\nto the outbuilding is the red outhouse.\n\nTo the south is the bare rocky center of the island with all the moss and stuff, and you can get to the boat shore and the pier by going northeast. By going northwest you get to the back yard, from where you can climb to the tall hill behind the house, where the navigational cairn is.\n\nGogol stands next to you, looking at you questioningly.\n\n> You go to the northwest\nThe back yard of the house is actually on the western side of the building. You just call it the back yard, since right behind the house there's the rocky hill with the navigational cairn on top of it.\n\nThere is a series of clothes lines here tied to metal posts, and there are some of your father's work clothes flapping in the wind. They must be totally dry by now.\n\nThere's a very narrow and steep path to the top of the hill to the north, and there's a ladder leading up to the balcony where the pilots used to keep an eye for approaching ships.\n\nGogol trots after you.\n\n> You look at the lines\nThere are a couple of posts drilled into the rocky ground, and on top of them there are horizontal pieces of pipe, so each of them look like a big letter \"T\" There are some laundry lines tied to them, and your mother has hung up some of your father's work clothes up to dry. There's a dozen or so of overalls, jackets and trousers. They must already be bone dry with all the sunshine and the wind.\n\n> You take the clothes\nBetter not mess with the laundry. If you mess them up, you'll have to wash them by hand. This isn't a mistake you'll want to do more than once.\n\n> You examine the ladder\nIt's a ladder that leads up to the balcony on the third floor of the house. It's meant to be an escape route in case there is a fire, and\nit goes right past the radio room window.\n\n> You examine the balcony\nOn the eastern side of your house there's a small balcony, big enough for one man, chair and a telescope. It's where the pilots of the olden times stood watching for incoming ships.\n\n> You go north\nThe top of the hill is almost on the level of the roof of your house, and you have a beautiful view over the whole island. The navigational cairn is eye-blindingly bright seen up close, the white paint really shines and reflects the hazy sunlight. There is not much vegetation in here, except for some patches of crunchy and dry lichen.\n\nGogol trots after you.\n\n> You look at the rocks\nYour home island is almost completely covered by bare rock, with some hardy lichen and small brushes for vegetation.\n\n> You look at the island\nYour home island is pretty small, you can run from its one end to another in a few minutes. Almost in middle of the island is your\nhouse, where pilots used to live in your grandfather's time. Not\npilots like rocket-pilots, but men who guided big ships to the\nharbour. You live there with mother, father and Gogol, who is a dog. There are only a couple of trees on the island, and they are in your yard. Otherwise it's just rock and moss and lichen and things like that.\n\nThere's a hill on the north side of the island and there is this navigational cairn, which is just a pile of rocks that are painted white. It's for the ships, so that they don't run to the rocks. In the eastern side of the island there's a small bay and a wavebreak, which leads to your pier. Usually there's just your boat at the pier, but sometimes sailboats come to visit. To the west of the island is the open sea, and there are usually big waves that make a loud noise.\n\n> You look at the cairn\ntop of it. The cairn is a pile of rocks that get painted white every year, and in the sunshine it's almost bright enough to hurth your\neyes. It's for the ships so that they know where to go.\n\n> You go south\nThe back yard of the house is actually on the western side of the building. You just call it the back yard, since right behind the house there's the rocky hill with the navigational cairn on top of it.\n\nThere is a series of clothes lines here tied to metal posts, and there are some of your father's work clothes flapping in the wind. They must be totally dry by now.\n\nThere's a very narrow and steep path to the top of the hill to the north, and there's a ladder leading up to the balcony where the pilots used to keep an eye for approaching ships.\n\nGogol trots after you.\n\n> Up\nYou are on the ladder, right under the balcony and next to the window to the radio room. It's bright outside and the light reflects from the window pane, but you can just about make out the outline of the table and the radio in the corner of the room.\n\nGogol is below you on the ground, waiting for you to come back down.\n\n> You examine the window\n(the radio room window)\nThrough the window you can see some of the furniture of the room, like a table and a radio, but nothing much. The window is latched shut from the inside.\n\n> You examine table\nBy cupping your hand to block the light and leaning closer to the window, you can just about make out the outline of the radio and the table it's on. The unlike the one in the living room, this radio can\nbe used to talk to people too, like the ships.\n\n> Up\nThis is the balcony where the pilots of the days of yore scanned the seas for incoming ships, and flashed light signals to them. Your\nfather has told you how your grandfather spent his nights and days in here, looking at the horizon with a telescope, and your father had to do that sometimes too. He claims that he had to do it when he was as young as you are, but your mother has said that you shouldn't always believe what your father says.\n\nThere was once a telescope here, you kind of remember seeing it when you were young, but you don't know where it has gone. You'd really\nwant to find it, so you could look at the Moon and Mars, and maybe see some rocket ships!\n\nA ladder leads down from here, and to the east are the doors that lead to the pilots\" room inside the house.\n\nAs you start climbing up, Gogol barks at you and runs around the\ncorner towards the front door of the house. When you climb over the railing of the balcony, you can hear the sound of Gogol's claws as he runs up the stairs, and appears next to you on the balcony. Smart dog!"
    },
    {
        "text": "[Themes: Science Fiction, conversation, child protagonist]\n\n> You go downwards\nYou are on the ladder, right under the balcony and next to the window to the radio room. It's bright outside and the light reflects from the window pane, but you can just about make out the outline of the table and the radio in the corner of the room.\n\nGogol is above you in the balcony, looking down, his head squeezed through the rungs of the balcony's railing."
    },
    {
        "text": "[Themes: Science Fiction, conversation, dog]\n\n> Go downwards\nThe back yard of the house is actually on the western side of the building. You just call it the back yard, since right behind the house there's the rocky hill with the navigational cairn on top of it.\n\nThere is a series of clothes lines here tied to metal posts, and there are some of your father's work clothes flapping in the wind. They must be totally dry by now.\n\nThere's a very narrow and steep path to the top of the hill to the north, and there's a ladder leading up to the balcony where the pilots used to keep an eye for approaching ships.\n\nAs you climb down, Gogol's head vanishes from between the rungs of the balcony's railing. When your feet touch the ground, you can hear Gogol running around the corner to meet you on the back yard.\n\n> You go southeast\nThe front yard of the house is full of color. Mother has dotted the place with flowerpots and crates, and even small patches of grass. Mother takes very good care of the yard, she says it's her small patch of paradise. There are two small and gnarly trees with needles and a brown bark that shadow the yard a bit.\n\nOn the other side of the yard there is an outbuilding, which is\npainted red and white. The double doors to the outbuilding are open, it's very dark in there and you don't really want to go inside. Next\nto the outbuilding is the red outhouse.\n\nTo the south is the bare rocky center of the island with all the moss and stuff, and you can get to the boat shore and the pier by going northeast. By going northwest you get to the back yard, from where you can climb to the tall hill behind the house, where the navigational cairn is.\n\nGogol trots after you.\n\n> Go inside\nYou ponder going inside for a moment, but maybe not quite yet -\nthere's the whole day to spend playing outdoors!\n\n> You go to the northwest\nThe back yard of the house is actually on the western side of the building. You just call it the back yard, since right behind the house there's the rocky hill with the navigational cairn on top of it.\n\nThere is a series of clothes lines here tied to metal posts, and there are some of your father's work clothes flapping in the wind. They must be totally dry by now.\n\nThere's a very narrow and steep path to the top of the hill to the north, and there's a ladder leading up to the balcony where the pilots used to keep an eye for approaching ships.\n\nGogol trots after you.\n\n> Go south\nAnd this is of course WHEN THE MARTIANS ATTACK!\n\nThe crafty bastards were waiting for the command personnel to leave - you can still see the Atomic Engine flame of their ship in the red Martian sky. They have landed ground troops and made fortifications around Firebase Bravo, your main outpost in the war against the filthy Martians. Their command post is on a hill behind the base.\n\nYour mission, soldier, is to destroy that base! You need weapons and explosives to complete the mission, and of course your Robotic Attack Hound Go601!\n\nYou are standing in front of Firebase Bravo under the harsh Martian sky. The winds whip around you and in the horizon you can see the a massive sand storm closing in. The intelligence reports tell of enemy presence and fortifications on the east and west flanks of the base, and on the hill behind the base there is a bunker.\n\nThe best places for supplies are the firebase itself and the Orbital Station, where you can go by the space elevator that's in the easterly direction from the base. You will need at least armor and a helmet,\nand a weapon of some kind!\n\nGo601 is venting excess heat through the snout interface.\n\n> Inventory\nYou are carrying:\na laser caltrop mines\n\n> You look at the mines\nThey are named after an ancient weapon, which was a spiky thing they dropped in the olden times to slow down horses and men. Laser caltrop mines shoot out hundreds of laser beams that fill your feet with\nholes.\n\n> You look at go601\nGo601 is a Cyber Hound with titanium teeth and razor sharp claws!\n\n> Go northwest\nThe western flank of Firebase Bravo is totally overrun with the enemy. There is a group of Martians guarding the only road leading up to the mountain and their bunker to the north. There are six of them and they look vigilant, their eye-stalks turning around and their tentacled hands waving around their assault rifles. Some of the Martians are yammering to a communications device in their filthy lingo - they must be jammed before an attack!\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You examine the device\nThe soldiers are nattering in their handheld communications devices.\n\n> You go southeast\nYou are standing in front of Firebase Bravo under the harsh Martian sky. The winds whip around you and in the horizon you can see the a massive sand storm closing in. The intelligence reports tell of enemy presence and fortifications on the east and west flanks of the base, and on the hill behind the base there is a bunker.\n\nThe best places for supplies are the firebase itself and the Orbital Station, where you can go by the space elevator that's in the easterly direction from the base. You will need at least armor and a helmet,\nand a weapon of some kind!\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You go northeast\nThere is a small rocket base next to Firebase Bravo, it's meant for emergencies only, and the lone rocket ship standing on its launch pedestal has seen better days. It's unlikely to fly anymore - not that you would be thinking of escape, no sir!\n\nThe dastardly Martians have set up fortifications to the west and northwest of here, blocking the way to their bunker on top of the\nhill. There are rolls and rolls of razor wire that will tear a man to shreds.\n\nYou can see a piece of equipment behind the fortifications.\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You examine the equipment\nYou peer through the rolls of razor wire and damn - there is a flame thrower behind the fortifications! It must have been left there by one of the Martians!\n\n> You examine the fortifications\nThere are coils and coils of laser sharpened razor wire, there's no\nway you can weave your way through it.\n\n> You go to the east\nleads all the way up to the orbit of Mars. The elevator vanishes up to the pink sky as an impossibly tall and impossibly sharp needle.\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> Go up\nThe orbital station is high above the surface and the atmosphere of Mars, and it's used to launch the larger rocket ships that are just\ntoo heavy to land on the planet. There is an equipment storage locker in here.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You open the locker\nYou open the equipment storage locker, revealing a battle armor and a tactical armor.\n\n> You wear the battle armor\n(first taking the battle armor)\nYou are not qualified to use a full size battle armor, better not mess with unfamiliar equipment!\n\n> You wear the tactical armor\n(first taking the tactical armor)\nYou put on the tactical armor."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, conversation]\n\n> You look at your surroundings\nThe orbital station is high above the surface and the atmosphere of Mars, and it's used to launch the larger rocket ships that are just\ntoo heavy to land on the planet. There is an equipment storage locker in here.\n\nGo601 assesses the tactical situation.\n\n> You search the locker\nIn the equipment storage locker is a battle armor.\n\n> Go west\nThere is a small rocket base next to Firebase Bravo, it's meant for emergencies only, and the lone rocket ship standing on its launch pedestal has seen better days. It's unlikely to fly anymore - not that you would be thinking of escape, no sir!\n\nThe dastardly Martians have set up fortifications to the west and northwest of here, blocking the way to their bunker on top of the\nhill. There are rolls and rolls of razor wire that will tear a man to shreds.\n\nThere is a flame thrower on the ground behind the fortifications.\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> Go west\nThe laser sharpened razor wire of the fortifications will tear you to bits if you try to go through it!\n\n> You go to the south-west\nYou are standing in front of Firebase Bravo under the harsh Martian sky. The winds whip around you and in the horizon you can see the a massive sand storm closing in. The intelligence reports tell of enemy presence and fortifications on the east and west flanks of the base, and on the hill behind the base there is a bunker.\n\nThe best places for supplies are the firebase itself and the Orbital Station, where you can go by the space elevator that's in the easterly direction from the base. You will need at least armor and a helmet,\nand a weapon of some kind!\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> Enter\nThe airlock is designed to keep out the dust and poisons of Martian air, and keep the good, healthy Earth air in. It has turned into a storage for all kinds of junk.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> Go north\nThis is the main intersection of the base. The mess is to the west of here, and the rec room is to the east. The airlock that leads outside is south, and there are stairs going up.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You go west\nbase, but it has evolved into an impromptu equipment storage as well. There's an equipment closet in here, and a refrigerated food storage where the chef stores all the horrible goop she forces the soldiers to eat.\n\nSomeone has left a time bomb sitting on the sink! How irresponsible!\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You examine the bomb\nIt's a grenade sized explosive that has a timer. You use it by setting the bomb and taking cover.\n\n> You take it\nTaken.\n\n> You open it\nYou open the equipment closet, revealing a battle helmet.\n\n> You look at the helmet\nIt's a state of the art NG-80 battle helmet and it can take a machine gun bullet!\n\n> You wear it\n(first taking the battle helmet)\nYou put on the battle helmet."
    },
    {
        "text": "[Themes: Science Fiction, child protagonist, pulp, coming of age, conversation, dog]\n\n> You look at your surroundings\nbase, but it has evolved into an impromptu equipment storage as well. There's an equipment closet in here, and a refrigerated food storage where the chef stores all the horrible goop she forces the soldiers to eat.\n\nGo601 is scanning the surroundings for enemy activity.\n\n> Close closet\nYou close the equipment closet.\n\n> Open storage\nYou open the refrigerated food storage, revealing a packet of canine motivational treats and some disgusting goop.\n\n> You take both\npacket of canine motivational treats: Taken.\n\n> Close storage\nYou close the refrigerated food storage.\n\n> You look at the treats\nIt's a packet of treats that are used in conditioning the Robotic Attack Hounds. They are used as an incentive and as a reward.\n\n> Go east\nThis is the main intersection of the base. The mess is to the west of here, and the rec room is to the east. The airlock that leads outside is south, and there are stairs going up.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> Go east\nThe rec room is where the soldiers and the officers relax after a hard day of conquering Mars back for humans. The room also houses the jamming device, which can be used to eavesdrop and jam the Martian broadcasts.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You examine the jamming\nIt's a state of the art electronic eavesdropping and jamming device, which can be used to eavesdrop the Martian broadcasts or to jam their signals. There's a knob in the front panel with two labels. The device itself is currently switched off.\n\n> You examine the knob\nIt's a knob with two settings: Eavesdrop and Jam. It's set on Eavesdrop.\n\n> You turn the jamming on\nYou switch the jamming device on.\n\nThe jamming device is in the eavesdrop mode. You can hear the horrible gobbledygook the Martians call a language spouting out from it.\n\n> You turn the knob\nYou turn the knob on the jamming device, and the Martian\ncommunications turn into a screech of static.\n\nThe jamming device emits a horrible hiss and screech as it's jamming the Martian communications."
    },
    {
        "text": "[Themes: Science Fiction, pulp, science fiction]\n\n> Describe the surroundings\nThe rec room is where the soldiers and the officers relax after a hard day of conquering Mars back for humans. The room also houses the jamming device, which can be used to eavesdrop and jam the Martian broadcasts.\n\nGo601 stands next to you, in attention, waiting for orders.\n\nThe jamming device emits a horrible hiss and screech as it's jamming the Martian communications.\n\n> You go west\nThis is the main intersection of the base. The mess is to the west of here, and the rec room is to the east. The airlock that leads outside is south, and there are stairs going up.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\nYou can hear the jamming device hiss and crackle in the Rec Room.\n\n> Go upward\nThe eastern end of the upstairs hallway is illuminated by the dim red light coming through the windows. To the north is the door to the barracks, and the hallway continues to the west.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You go west\nThe western half of the upstairs hallway ends at the door of the communications room, which you don't have clearance to enter. Theres a door to the officers' lounge to the north, and a narrow staircase\nleads up to the observatory.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You go to the north\n(first opening the barracks door)\n\nThis is the barracks where you live. There is a sparse bunk in here, a shelf with some educational tapes, and a boot locker with your weapons and equipment.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You look at the bunk\nIt's where you sleep in between missions.\n\n> You examine tapes\nThere are educational and entertaining tapes of all kinds of subjects, like rocketry, nature and training animals. There's also a manual for operating Cyber Hounds like Go601. It knows a lot of dull and ordinary tricks, but you are really proud that last summer you programmed it to fetch things when you throw canine motivational treats at them. Your moth\u00e2\u00a6 commanding officer was really angry when all of her garden gear was covered with dog drool.\n\n> You open the locker\nYou open the boot locker, revealing a smoke bomb.\n\n> You take the bomb\n(the smoke bomb)\nTaken.\n\n> You examine the locker\nIt's a storage locker for your personal equipment.\n\n> You look at the bomb\nWhich do you mean, the smoke bomb or the time bomb?\n\n> Smoke\nIt's a small explosive which will burst into a cloud of smoke when you throw it against something hard. It's the last one you have.\n\n> You close locker\nYou close the boot locker."
    },
    {
        "text": "[Themes: Science Fiction, pulp, science fiction, conversation]\n\n> Look around\nThis is the barracks where you live. There is a sparse bunk in here, a shelf with some educational tapes, and a boot locker with your weapons and equipment.\n\nGo601 assesses the tactical situation.\n\n> You go south\nThe eastern end of the upstairs hallway is illuminated by the dim red light coming through the windows. To the north is the door to the barracks, and the hallway continues to the west.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> You go west\nThe western half of the upstairs hallway ends at the door of the communications room, which you don't have clearance to enter. Theres a door to the officers' lounge to the north, and a narrow staircase\nleads up to the observatory.\n\nGo601 follows you, its titanium claws rattling against the floor."
    },
    {
        "text": "> You look around\nThe western half of the upstairs hallway ends at the door of the communications room, which you don't have clearance to enter. Theres a door to the officers' lounge to the north, and a narrow staircase\nleads up to the observatory.\n\nGo601 is scanning the surroundings for enemy activity and vents its nasal sensors.\n\n> Go up\nThis is the room where the scientists come to warm up and rest after long days and nights out in the cold air of Mars. The observatory, which is open to the Martian air, is to the west, and a narrow staircase leads back down to the upstairs hallway.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\n> Go west\nThis is the outdoors observatory where the scientists and other eggheads explore the secrets of the cosmos. Your mission is to protect them and their studies. A door to the east leads back into the base.\n\nThe squad of Martian soldiers guarding the road to the mountain base are almost right below you. They keep scanning the horizon, not thinking about looking up. Stupid Martians!\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You examine Martians\nMartians are horrible betentacled monsters with eye stalks, drooling mouths and sharp teeth!\n\n> Inventory\nYou are carrying:\na smoke bomb\na packet of canine motivational treats\na battle helmet (being worn)\na time bomb\na tactical armor (being worn)\na laser caltrop mines\n\n> You throw the smoke bomb at the soldiers\nYou throw the smoke bomb at the squad of Martian monstrosities, and it lands smack in middle of them with a loud crack and a BANG. The smoke envelopes the betentacled monsters, who try in vain to call for help\non their radios!\n\n> You examine time bomb\nIt's a grenade sized explosive that has a timer. You use it by setting the bomb and taking cover.\n\n> You go south\nThe airlock is designed to keep out the dust and poisons of Martian air, and keep the good, healthy Earth air in. It has turned into a storage for all kinds of junk.\n\nGo601 follows you, its titanium claws rattling against the floor.\n\nYou can hear the jamming device hiss and crackle in the Rec Room.\n\n> Go south\nYou can't go that way.\n\nYou can hear the jamming device hiss and crackle in the Rec Room.\n\n> You throw the motivational treat at the thrower\nGo601's head snaps up when you take out the packet of treats, and\nbreak away a small piece. You throw the piece over the fortifications, and Go601 is up in the air almost before the piece has left your fingers. The Cyber Hound soars over the fortifications, landing on all fours on the slippery rock.\n\nThe treat has landed right next to the flame thrower, and Go601 snuffles around it for a moment before grabbing it in his jaws and looking at you questioningly. 'Here, boy, come on!' you shout at it, and Go601 trots behind the Firebase, arriving around the corner a moment later and dropping the fire thrower at your feet. Good boy!\n\n> You take it\nYou already have that.\n\n> Go northwest\nThe western flank of Firebase Bravo is still occupied by the Martian menace, but the soldiers who were guarding the road are now coughing\nin the cloud of smoke and trying to figure out what caused it! The filthy Martians are babbling and gargling into their communications devices, which you have jammed. Hahaa!\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You attack Martians with the flamethrower\nYou burst out of your hiding place, and with a blood curdling battle cry you fall on your enemies, spraying around liquid fire that fries the tentacled Martian monsters to bits. They are so distracted by the smoke bomb and their malfunctioning communications that you take three of them out before they even realize what is happening. The rest of them are an easy prey for your flame thrower.\n\nIn mere seconds you are standing amidst the smoking and crackling corpses of the Martian horrors, and the road to their base is open!\n\n> Go north\nThe Martian base is a huge bunker built atop the mountain next to Firebase Bravo. The cowardly Martians have sealed themselves in, no doubt waiting for reinforcements to take over the Firebase and the whole area. That must not happen, this foothold has to be destroyed at any cost! The problem is, the bunker has really thick walls.\n\nGo601 follows you, its titanium claws rattling against the ground.\n\n> You examine the bunker\n(the martian bunker)\nUp close it's even more massive and hideous than seen from afar. They have built it from their concrete-like spit, combined with electrics and electronics. There's a weird device assembly on the top of the bunker, and although it's otherwise seamless, there's something that looks like an entrance: a totally featureless slab with slight seams.\n\n> You examine slab\nThe bunker entrance is a totally featureless slab, with a seam that's so narrow it could as well be a line drawn with a pen.\n\n> You look at the device\nYou can't fathom most of the functions of the devices, but some of\nthem are quite obvious: there are motion detectors all around the bunker. If you get within a few meters of it, no doubt an alarm will ring inside and you will get swarmed by dozens and dozens of Martian monstrosities pouring out of the entrance. You will need something to slow them down a bit!\n\n> You look at the caltrops\nThey are named after an ancient weapon, which was a spiky thing they dropped in the olden times to slow down horses and men. Laser caltrop mines shoot out hundreds of laser beams that fill your feet with\nholes.\n\n> You drop the caltrops\nYou run to the bunker door, and hear a whirring sound from the device assembly on top of the bunker, shortly followed by an alert klaxon inside. You place the mines quickly on the ground, toss a few pieces\nof lichen on top of them, and duck around the corner and out of the blast radius. There! Now you have only a few seconds to set the time bomb!\n\n> You set the time bomb\nYou dash towards the Martian bunker, wary of gunnery holes, secret doorways or other ambushes, but the cowardly Martians are totally sealed in. But oh no, what is this - there are gliders above you and they have spotted you! You have only a few seconds to act, and you decide to make the biggest sacrifice a soldier can make.\n\nYou set the timer for a few seconds and leap on the bunker! You can hear the lasers of the gliders squeawking above you as the Martian glider pilots zero in to you.\n\n\"FOR EARTH!\" you scream and press the bomb against the wall of the bunker, and BOOOOOOOM!\n\nYou fly through the air and land on the ground, blown to shreds by the bomb, but the Martian bunker is destroyed! Now the Earth Command can retake the area and Firebase Bravo, you have lost your life but you will be a hero, maybe they will name the base after you and build you\na statue!\n\nYou stay on your back on the crunchy but soft patch of lichen, and\nlook at the skies. That was an intense game, and a little bit sad, since the hero had to die in the end. But that's war, people die, but they die for their planet and they die as heroes.\n\nGogol walks next to you, sniffs your ear and lies down next to you - a big, hairy warm animal. Although it's windy, the sun is warm and the navigational cairn next to you provides some cover. You turn your head and look past your house to the southern end of the island. For a moment you think there's something silvery and glittery in there, but having been running outside the whole morning, you suddenly realize\nyou are very sleepy.\n\nYou wake up to Gogol licking your face. You splutter and get up,\nwiping the dog drool off your face. You have no idea how long you have slept, your back is a bit sore from lying on the rocky ground, even with the soft lichen. The sun has moved in the sky, you must've slept at least a couple of hours! You feel all groggy and messy, but well rested. Time to go back in, I guess.\n\nWait a minute, is it just sun glinting on the waves\u00e2\u00a6? No, there\nis something shiny in the sea in the southern end of the\nisland!\n\nThe top of the hill is almost on the level of the roof of your house, and you have a beautiful view over the whole island. The navigational cairn is eye-blindingly bright seen up close, the white paint really shines and reflects the hazy sunlight. There is not much vegetation in here, except for some patches of crunchy and dry lichen.\n\nGogol looks up at the wheeling seagulls.\n\n> You go south\nThe center of the island is covered by low hardy shrubs whose roots manage to cling to the rocks in the harsh winter winds. Here and there rocks poke through the undergrowth, covered with gray and orange lichen. There's a narrow path through the area to the south of the island - wading through the brush is a good way to rip your clothes\nand turn your ankle on the rocks.\n\nGogol trots after you.\n\n> You go to the south\nIn the southern tip of the island the vegetation has lost the fight against the winds, and the rocks are almost bare here. There are several pools of water that almost never dry out. Some of them are close enough to the shore that when the tide is in, the waves can fill them up again, but you are not sure where all of them get their water.\n\nThe waves are hammering the shore to the west and south of you, their noise is loud enough to drown the sound of the seagulls. In the east, in the lee side of the island, the waves are much more quiet.\n\nGogol trots after you.\n\n> You go south\nIt takes you a moment to really understand what you are seeing, what\nis the thing that's bobbing up and down with the waves, tangled in the rocks a couple of meters from the shore.\n\nOh my god!\n\nIT'S A SPACE SUIT!\n\nA silvery wrinkled space suit and a large helmet, with a visor that glints in hues of gold, being bashed against the rocks by the waves, it's so bright in the sunshine that it almost hurts your eyes.\n\nNo, wait, oh my god!\n\nIT MOVED, IT JUST MOVED! THERE'S A PERSON IN THERE, IT'S A ROCKET-MAN!\n\nHe's in trouble, he's trying to grab the rocks while clutching a large suitcase to his chest! I must help him!\n\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nThere's a rocket pilot fighting for his life amidst the waves that are pounding him against the rocks. The stubby gloves of his suit can't\nget a purchase on the slimy rocks, and he's trying to hang on to a small suitcase with one hand.\n\nGogol trots after you.\n\n> You look at what you're carrying with you\nYou are carrying:\na white plastic spray can\nan egg timer\na pasta strainer (being worn)\na child size life vest (being worn)\na packet of wieners"
    },
    {
        "text": "> Look around\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nGogol stands next to you, looking at you questioningly.\n\nThere's a rocket pilot fighting for his life amidst the waves that are pounding him against the rocks. The stubby gloves of his suit can't\nget a purchase on the slimy rocks, and he's trying to hang on to a small suitcase with one hand.\n\n> You go northeast\nThe boat shore is actually the innermost nook of the small bay where you swim in the summertime. It's a small nook with some reeds and\nwater plants, and a nice gravely sea bottom without any sharp rocks to hurt your bare feet on. The wavebreak protects the bay, so the water\nis usually pretty calm and sometimes it gets really warm in the\nsummer. There's a small wooden boat, but nobody has used it in a long time since you can't go to the sea with it, just row around the bay\nand very close to the island.\n\nstretches to the east, towards the mainland. Straight to the west are your mother's rose bushes, that hug the side of the house, but you really don't want to go through them because the thorns are sharp enough to bite even through your clothes. The roses are in bloom and gusts of wind wafts their sweet smell to you.\n\nGogol trots after you.\n\n> Go east\nThe wavebreak is a concrete causeway built over a big long pile of rocks to break the waves coming from the north during wintertime. It protects the little bay to the south, which is nice to swim in when\nthe weather is a bit better. The boat shore and the island are to the west, and the pier is to the east.\n\nGogol trots after you.\n\n> Go east\nThe pier is built in the end of a breakwater that protects the natural bay of the island from northerly winds. There's room for a couple of sailboats or yachts in addition to your motor boat.\n\nThe sky and the sea is hazy, there is a hard westerly wind and you can hear waves whipping and beating the rocky shore on the other side of the island. On the island the only landmark is your house - a lone, tall yellow building used by the pilots in your grandfather's time. Well, there's the navigational cairn on the high northern end of the island, just a pile of rocks painted white. There are only a couple of trees in your yard, otherwise the island has just smooth bare stone, low brushes, lichen and other such hardy plants.\n\nOn the pier there's a windbeaten equipment shack, where you store supplies and fuel for the boat. To the south-east, through the haze\nand across the churning sea, you can make out the towers and buildings of Astro City One, the world's largest rocket base.\n\nGogol trots after you.\n\n> You open the shack\nYou open the equipment shack, revealing a large orange life vest, boating supplies and a boat hook.\n\n> You take the hook\nIt takes some effort to yank the long, unwieldy and surprisingly heavy boat hook out of the shack. It's so heavy you have to hold it in the middle when you walk so you don't topple over.\n\n> You take the vest\n(the child size life vest)\nYou already have that.\n\n> You take large\nIt's too big for you, better leave it where it is. Father has always said that you shouldn't mess with safety equipment.\n\n> Go south\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nThere's a rocket pilot fighting for his life amidst the waves that are pounding him against the rocks. The stubby gloves of his suit can't\nget a purchase on the slimy rocks, and he's trying to hang on to a small suitcase with one hand.\n\nGogol trots after you.\n\n> Hook man\nYou step into the shallow ice-cold water, almost slipping on the slimy rocks under the surface. The boat hook is surprisingly unwieldy, it's heavy and far longer than you are. You try to push it forward to catch the rocket man, but the tip just keeps sinking under the surface\nbefore it reaches him - you are just not strong enough to lift it up.\n\nAn idea! You lift the pole almost straight up, and let it fall towards the suit. Too late you realize, that the hook is quite sharp, you\nmight actuall hurt-\n\nThe hook hits the rocket man straight in the helmet visor, leaving a star shaped crack. You yelp and let go of the shaft, the rocket man jolts and grabs the boat hook, pulling it out of your reach. A wave catches it, flips it around the rocks, and it vanishes amidst the\nsurf. Oh my god, father is going to kill you for losing the hook!\n\n> Go east\nOn the eastern shoreline the waves almost die away, and the rocks shelter you from the sound of the sea a bit. A lot of junk and flotsam makes its way to this shore, pushed in by the winds. Now there are\nsome long and sturdy branches in here, floating in a tangle near the shoreline.\n\nGogol trots after you.\n\n> You take the branches\nYou tug at a branch, but it just makes the whole tangle move. There's no way you can untangle one of them from the others!\n\n> You examine the branches\nYou are not sure from where these branches have come from. They are quite long and all squiggly and in a big mess.\n\n> Go west\nThe westernly winds are pretty high today and the waves keep shooting up to far over your head. The western shore is just slippery rocks,\nyou don't want to go there and get wet or hurt yourself like you did last summer.\n\n> Go south\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nThere's a rocket pilot fighting for his life amidst the waves that are pounding him against the rocks. The stubby gloves of his suit can't\nget a purchase on the slimy rocks, and he's trying to hang on to a small suitcase with one hand.\n\nGogol trots after you.\n\n> You throw the vest to the pilot\nNo use throwing that thing around.\n\n> You look at the gloves\nThe rocket man is trying to grab an hold of the rocks, but the gloves are just too thick and clumsy!\n\n> You ask Pilot,  to go east\nThe rocket man has better things to do."
    },
    {
        "text": "> You enter the boat\n(the small wooden row boat)\nYou step into the boat and sit down."
    },
    {
        "text": "> You look around\nThe wavebreak is a concrete causeway built over a big long pile of rocks to break the waves coming from the north during wintertime. It protects the little bay to the south, which is nice to swim in when\nthe weather is a bit better. The boat shore and the island are to the west, and the pier is to the east.\n\nGogol sniffs something on the ground.\n\n> You examine the boat\n(the small wooden row boat)\nIt's a small wooden boat, which still seems to be intact, although it has gathered some rain water and leaves. It hasn't been used in ages.\n\n> Search boat\n(the small wooden row boat)\nThe small wooden row boat is empty.\n\n> You look at the suitcase\nThe rocket man is holding on to a black suitcase which he's trying to keep on his chest and out of the water. It looks kind of heavy, but it must be important!\n\n> You remove the vest\nYou take off the child size life vest.\n\n> You wear the vest\nYou put on the child size life vest.\n\n> You get man\nHe is too far to reach even if you step into the shallow water. Any further and the large waves will push you down and pull you out into the sea!\n\n> You examine the water\nIt's salty Baltic seawater, churned frothy on the shoreline by the waves.\n\n> You look at what you're carrying with you\nYou are carrying:\na white plastic spray can\nan egg timer\na pasta strainer (being worn)\na child size life vest (being worn)\na packet of wieners\n\n> You go to the south-west\nThe water is a bit too cold for swimming.\n\n> Go west\nThe boat shore is actually the innermost nook of the small bay where you swim in the summertime. It's a small nook with some reeds and\nwater plants, and a nice gravely sea bottom without any sharp rocks to hurt your bare feet on. The wavebreak protects the bay, so the water\nis usually pretty calm and sometimes it gets really warm in the\nsummer. There's a small wooden boat, but nobody has used it in a long time since you can't go to the sea with it, just row around the bay\nand very close to the island.\n\nstretches to the east, towards the mainland. Straight to the west are your mother's rose bushes, that hug the side of the house, but you really don't want to go through them because the thorns are sharp enough to bite even through your clothes. The roses are in bloom and gusts of wind wafts their sweet smell to you.\n\nGogol trots after you.\n\n> You look at the man\nHe's clad in a crinkly silvery space suit with a large helmet. His movements are slow, he must be really tired!\n\n> You look at the helmet\nThe helmet is large and it looks really heavy. The visor of the helmet is covered with gold, so the rocket men won't burn their eyes if they look at the Sun or the flames of the Atomic Engines.\n\n> Inventory\nYou are carrying:\na boat hook\na white plastic spray can\nan egg timer\na pasta strainer (being worn)\na child size life vest (being worn)\na packet of wieners\n\n> Hook man\nYou step into the shallow ice-cold water, almost slipping on the slimy rocks under the surface. The boat hook is surprisingly unwieldy, it's heavy and far longer than you are. You try to push it forward to catch the rocket man, but the tip just keeps sinking under the surface\nbefore it reaches him - you are just not strong enough to lift it up.\n\nAn idea! You lift the pole almost straight up, and let it fall towards the suit. Too late you realize, that the hook is quite sharp, you\nmight actuall hurt-\n\nThe hook hits the rocket man straight in the helmet visor, leaving a star shaped crack. You yelp and let go of the shaft, the rocket man jolts and grabs the boat hook, pulling it out of your reach. A wave catches it, flips it around the rocks, and it vanishes amidst the\nsurf. Oh my god, father is going to kill you for losing the hook!\n\n> You examine the brush\n(the shrubs)\nThey are a hardy mess of all kinds of low lying plants, that are\nreally hard to rip up from the ground. Sometimes there are beautiful small yellow and purple flowers on them, but not now.\n\n> You enter the outbuilding\nIt's a little bit dark in there\u00e2\u00a6 It's not like you were afraid of the dark, no, but you just don't need anything from there right now. Really!\n\n> You enter the outhouse\nYou don't need to go right now, and it's really not a place you want\nto just hang in.\n\n> You examine house\nIt's a three storey yellow wooden house, with a steep roof and a balcony looking out to the west. According to father that is where the pilots used to stand in the olden times to look for incoming ships. He says that he had to do that also when he was a child, and grandfather was sick or out getting supplies.\n\n> Go inside\nThe porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.\n\nGogol trots after you.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> You go inside\nYou can't go that way.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Go north\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nGogol trots after you.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Go east\nThe living room is dark and cozy, even in the middle of the day. In\nthe air there's an aroma of your father's pipe tobacco, which covers any other scents. Against the wall there's a bookcase with a few of your father's books, and some of yours. There's your father's comfy chair, and the dark green sofa where you and mother sit. On the side table there's the radio.\n\nGogol trots after you.\n\nThe untuned radio is hissing and crackling, catching the cosmic radiation between the stations.\n\n> You examine the radio\nIt's the large tube radio, from which you listen to the news and radio plays. You are not supposed to touch it without father's or mother's permission.\n\nThe untuned radio is hissing and crackling, catching the cosmic radiation between the stations.\n\n> You touch the radio\nYou're really not supposed to touch it without permission. If\nsomething happens to it, you'll get your hide tanned.\n\nThe untuned radio is hissing and crackling, catching the cosmic radiation between the stations.\n\n> Tune radio\nYou turn the knobs frantically, making the radio hiss and howl\u00e2\u00a6\nthere,\nsome speech! Oh no, can't find it again\u00e2\u00a6 Music! Fast swinging Jazz music!\n\nJazz music is blaring out of the radio.\n\n> Keep going\nNow that you've found a station, better not mess with it!\n\nJazz music is blaring out of the radio.\n\n> You take the radio\nYou're really not supposed to touch it without permission. If\nsomething happens to it, you'll get your hide tanned.\n\nJazz music is blaring out of the radio."
    },
    {
        "text": "> Look around\nThe living room is dark and cozy, even in the middle of the day. In\nthe air there's an aroma of your father's pipe tobacco, which covers any other scents. Against the wall there's a bookcase with a few of your father's books, and some of yours. There's your father's comfy chair, and the dark green sofa where you and mother sit. On the side table there's the radio.\n\nGogol trots around, sniffing at things.\n\nJazz music is blaring out of the radio.\n\n> Go west\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room.\n\n> Go up\nThe stairs coming from downstairs curve around and lead up to the eastern end of the upstairs hallway, which is dark and shadowy. The only light comes from two small windows on the southern wall. To the north is the door to your bedroom, which is closed,  and the hallway\nto the west leads into your parents\" bedroom and father's radio room.\nA very narrow and steep staircase leads up to the attic.\n\nGogol trots after you.\n\n> You go to the west\nroom, where you are not allowed. To the north is the door to your parents\" bedroom.\n\nGogol trots after you.\n\n> You go to the west\n(first opening the radio room door)\nIt seems to be locked.\n\n> You go to the west\nThe kitchen is the domain of your mother. The spice rack is full of small bags and glass jars, the fridge hums to itself in the corner and the door to the pantry is covered with flower stickers. There are flower patterned drapes in the window, and the kitchen table is full\nof pots, pans and baking implements. There's some flour still on the table from yesterday night, when your mother baked some cinnamon\nrolls. The air in the kitchen smells of a mix of dozens of yesterdays\" meals, breads and pastries.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, conversation, child protagonist, dog]\n\n> You look at your surroundings\nThe kitchen is the domain of your mother. The spice rack is full of small bags and glass jars, the fridge hums to itself in the corner and the door to the pantry is covered with flower stickers. There are flower patterned drapes in the window, and the kitchen table is full\nof pots, pans and baking implements. There's some flour still on the table from yesterday night, when your mother baked some cinnamon\nrolls. The air in the kitchen smells of a mix of dozens of yesterdays\" meals, breads and pastries.\n\nGogol sniffs something on the ground.\n\nThe radio plays some Jazz in the living room.\n\n> You examine the fridge\nYou see nothing special about the fridge.\n\nThe radio plays some Jazz in the living room.\n\n> You open it\nYou open the fridge, revealing Foodstuffs.\n\nThe radio plays some Jazz in the living room.\n\n> You examine the foodstuffs\nCans and pots and pans full of your mother's cookings.\n\nThe radio plays some Jazz in the living room.\n\n> You search the foodstuffs\nYou are not hungry right now, and you aren't supposed to sneak snacks between meals anyway!\n\nThe radio plays some Jazz in the living room.\n\n> You close the fridge\nYou close the fridge.\n\nThe radio plays some Jazz in the living room.\n\n> You go east\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room.\n\n> You go to the south\nThe porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room.\n\n> You look at the benches\nIt's just all kinds of stuff someone set down on the bench for a moment, and forgot it there.\n\nThe radio plays some Jazz in the living room.\n\n> Go south\nYou can't go that way.\n\nThe radio plays some Jazz in the living room.\n\n> Attack window\n(the radio room window)\nI have no ill will towards radio room window.\n\n> You go to the east\n(first opening the radio room window)\nIt is latched shut from the inside. Better not mess with it, you are not allowed to be in there or even peek through the window. Or to\nclimb on the ladder, for that matter.\n\n> You examine the latch\nIt's a simple latch that closes the window from the inside. There's a bit of a crack on the window pane, and you have many times wondered if you could jimmy it open somehow\u00e2\u00a6 But there's no way you would ever dare to try that, you'll father would tan your hide and no mistake if you ever got caught.\n\n> You look at what you're carrying with you\nYou are carrying:\na white plastic spray can\nan egg timer\na pasta strainer (being worn)\na child size life vest (being worn)\na packet of wieners\n\n> You look at the crack\npane, and if the light is right, you can see the latch there. You just might be able to lift it up with a suitable tool\u00e2\u00a6 But no way you'd ever dare to try that.\n\n> You examine the pasta\nIt's the little round-bottomed kettle mother uses to strain water out of pasta.\n\n> You examine the timer\nIt's yellow and shaped like a lemon. When you twist it, you can make\nit ring in a few seconds or a few minutes."
    },
    {
        "text": "> Go downward\nThe back yard of the house is actually on the western side of the building. You just call it the back yard, since right behind the house there's the rocky hill with the navigational cairn on top of it.\n\nThere is a series of clothes lines here tied to metal posts, and there are some of your father's work clothes flapping in the wind. They must be totally dry by now.\n\nThere's a very narrow and steep path to the top of the hill to the north, and there's a ladder leading up to the balcony where the pilots used to keep an eye for approaching ships.\n\nGogol trots around, sniffing at things.\n\n> Search benches\nThere's really nothing there I need or want to touch.\n\nThe radio plays some Jazz in the living room.\n\n> You look at the stuff\nIt's just all kinds of stuff someone set down on the bench for a moment, and forgot it there.\n\nThe radio plays some Jazz in the living room."
    },
    {
        "text": "> You look around\nThe porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.\n\nGogol is sitting near you, panting with his tongue out.\n\nThe radio plays some Jazz in the living room.\n\n> You go north\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room.\n\n> You open the closet\nYou open the front hall closet, revealing a cleaning rag.\n\nThe radio plays some Jazz in the living room.\n\n> You look at the rag\nIt's a big dirty piece of cloth, an old cover of something, which your mother uses when cleaning the floors.\n\nThe radio plays some Jazz in the living room.\n\n> You take the rag\nMother makes me clean stuff all the time, I'm not doing it if I don't have to!\n\nThe radio plays some Jazz in the living room."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nGogol sniffs something on the ground.\n\nThe radio plays some Jazz in the living room.\n\n> You look at the staircase\nAccording to dad this is the old original staircase of the house, made of oak. The stairs are thick and they are so worn their corners are\nall round.\n\nThe radio plays some Jazz in the living room.\n\n> You go to the west\nThe kitchen is the domain of your mother. The spice rack is full of small bags and glass jars, the fridge hums to itself in the corner and the door to the pantry is covered with flower stickers. There are flower patterned drapes in the window, and the kitchen table is full\nof pots, pans and baking implements. There's some flour still on the table from yesterday night, when your mother baked some cinnamon\nrolls. The air in the kitchen smells of a mix of dozens of yesterdays\" meals, breads and pastries.\n\nGogol trots after you.\n\nThe radio plays some Jazz in the living room.\n\n> Twist timer\nYou'd rather not listen to it making a horrible racket.\n\nThe radio plays some Jazz in the living room.\n\n> You go to the east\nThe living room is dark and cozy, even in the middle of the day. In\nthe air there's an aroma of your father's pipe tobacco, which covers any other scents. Against the wall there's a bookcase with a few of your father's books, and some of yours. There's your father's comfy chair, and the dark green sofa where you and mother sit. On the side table there's the radio.\n\nGogol trots after you.\n\nJazz music is blaring out of the radio.\n\n> You look at the books\nThe living room bookcase is full of your and your father's books. You don't feel like reading now, though.\n\nJazz music is blaring out of the radio.\n\n> You look at chair\nFather's comfy chair is large and made out of leather and dark green plush. The seat is worn, you father has spent his evenings sitting there as long as you  can remember.\n\nJazz music is blaring out of the radio.\n\n> Search chair\nThere is nothing on the comfy chair.\n\nJazz music is blaring out of the radio.\n\n> You sit on the chair\nIt feels surprisingly hard, father's weight has flattened all the stuffing.\n\nThe radio plays some Jazz in the living room.\n\n> You stand\nYou get off the comfy chair.\n\nThe living room is dark and cozy, even in the middle of the day. In\nthe air there's an aroma of your father's pipe tobacco, which covers any other scents. Against the wall there's a bookcase with a few of your father's books, and some of yours. There's your father's comfy chair, and the dark green sofa where you and mother sit. On the side table there's the radio.\n\nGogol stands next to you, looking at you questioningly.\n\nJazz music is blaring out of the radio.\n\n> You move it\nIt's really not smart to mess around with the bookcase.\n\nJazz music is blaring out of the radio.\n\n> You hit the radio\nYou're really not supposed to touch it without permission. If\nsomething happens to it, you'll get your hide tanned.\n\nJazz music is blaring out of the radio.\n\n> Go upward\nThe attic is a cluttered, low space with a slanted roof. It's a scary place with dark nooks and crannies, piles of boxes and all kinds of weird junk. The only light is a lone bulb that has gone dim and yellow with age.\n\nGogol trots after you.\n\n> Examine boxes\nThe are boxes and boxes of old magazines, toys and other stuff in the attic. You are not really supposed to dig into them, because the piles of boxes can topple over.\n\n> You search the junk\nBetter let all that dusty stuff lie, mother will flip if you make a bigger mess in here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You describe your surroundings\nThe attic is a cluttered, low space with a slanted roof. It's a scary place with dark nooks and crannies, piles of boxes and all kinds of weird junk. The only light is a lone bulb that has gone dim and yellow with age.\n\nGogol is sitting near you, panting with his tongue out.\n\n> You go north\n(first opening the door to your room)\n\nYour room is a small but very nice. It has a slanted ceiling and there's just enough space for your bed, your desk and a closet with your toys and clothes. There's a shelf for your books.\n\nGogol trots after you.\n\n> You open the closet\nYou open your closet, revealing your stuff.\n\n> You examine the bed\nYour bed is starting to get a bit short for you.\n\n> You look at the desk\nIt's your desk at which you read, draw and do your home work."
    },
    {
        "text": "[Themes: Science Fiction, dog, child protagonist, science fiction]\n\n> You look around\nYour room is a small but very nice. It has a slanted ceiling and there's just enough space for your bed, your desk and a closet with your toys and clothes. There's a shelf for your books.\n\nGogol sniffs something on the ground."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, pulp, coming of age]\n\n> Look around\nYour room is a small but very nice. It has a slanted ceiling and there's just enough space for your bed, your desk and a closet with your toys and clothes. There's a shelf for your books.\n\nGogol is sitting near you, panting with his tongue out.\n\n> You go to the south\nThe stairs coming from downstairs curve around and lead up to the eastern end of the upstairs hallway, which is dark and shadowy. The only light comes from two small windows on the southern wall. To the north is the door to your bedroom, which is open,  and the hallway to the west leads into your parents\" bedroom and father's radio room. A very narrow and steep staircase leads up to the attic.\n\nGogol trots after you.\n\n> You go up\nGogol trots after you."
    },
    {
        "text": "> Look around\nGogol stands next to you, looking at you questioningly.\n\n> Go west\n(first opening the balcony door)\n\nThis is the balcony where the pilots of the days of yore scanned the seas for incoming ships, and flashed light signals to them. Your\nfather has told you how your grandfather spent his nights and days in here, looking at the horizon with a telescope, and your father had to do that sometimes too. He claims that he had to do it when he was as young as you are, but your mother has said that you shouldn't always believe what your father says.\n\nThere was once a telescope here, you kind of remember seeing it when you were young, but you don't know where it has gone. You'd really\nwant to find it, so you could look at the Moon and Mars, and maybe see some rocket ships!\n\nA ladder leads down from here, and to the east are the doors that lead to the pilots\" room inside the house.\n\nGogol trots after you."
    },
    {
        "text": "> You look at your surroundings\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nGogol sniffs something on the ground.\n\nThere's a rocket pilot fighting for his life amidst the waves that are pounding him against the rocks. The stubby gloves of his suit can't\nget a purchase on the slimy rocks, and he's trying to hang on to a small suitcase with one hand.\n\n> You get man\nGogol looks at you, vaguely puzzled.\n\n> You throw the wiener at the man\nThere's no way you can swim in the crashing waves but\u00e2\u00a6 Maybe Gogol can! He's a very good swimmer! Gogol quiets down as he notices you digging out the wieners and breaking off a piece. The treat arcs through the air and BULLSEYE, it hits the rocket man straight on his tummy. Gogol turns to look at you, as if saying \"are you serious?\",\nbut leaps after the treat. He splashes through the low water and leaps into the waves, reaching the rocket man in seconds.\n\nThe rocket man doesn't seem to realize what's happening, he keeps fighting Gogol who is pushing and dragging him towards the shore.\n\nThen, finally, his feet and back hit the rocky shore underwater - he crawls around on all fours up to the shore, dragging the suitcase\nafter him, and rolls over to his back.\n\nGogol shakes himself dry, and resumes barking and circling the supine rocket man.\n\n> Hello\nThere are tons of things you would like to ask rocket man about, like the universe, the war, his rocketship. You could also tell him about something.\n\non the seal of his helmet.\n\n> You ask the man about suitcase\nHe won't probably hear you with his helmet on, especially with the roaring of the waves.\n\nThe rocket man is fiddling with the clasps of his helmet, opening them one by one, slowly with his stubby thick gloves.\n\n> You wait\nTime passes.\n\nThere is a hiss and a pop, as the rocket man unfastens the last clamp holding his helmet shut, and pulls it off. It is a man - a pale young man with black hair that's matted down from sweat. His cheeks are all flushed and his eyes are red.\n\nGogol jumps forward and starts barking. The eyes of the rocket man widen and he gets half up, trying to crawl away from Gogol.\n\n> You ask the man about the man\nThe rocket man can't tear his eyes off Gogol, who's barking ferociously! The man looks really scared!\n\n> You look at the man\nHe looks quite pale, but flushed. His dark hair is all sweaty and\nflat, and he looks really tired.\n\n> You throw the wieners to Gogol\nYou break off a piece and throw it at Gogol, who snaps it off straight from the air."
    },
    {
        "text": "[Themes: Science Fiction, coming of age, dog, child protagonist]\n\n> Look around\nThe thundering of the waves is ear-splitting in this end of the\nisland, and the air is full of the salty mist of their breaking. In\nthe south the island has no clear waterline (except at high tide),  it just gradually vanishes under the sea, leaving tall rocks jutting up from the sea meters and meters from the shore. Father says that there are many shipwrecks close to the south tip because careless captains and sailors came too close to the shore. Often there's all kinds of flotsam floating between the rocks. Now there are only slimy and old sticks, leaves and algae mats, but sometimes you have found cans, bottles and once even plastic doll. In spite of the high winds,\nthere's a stink of rotting seaweed and old fish.\n\nThe rocket man is lying on the shore, looking scared and bewildered, hunching against a rock and away from Gogol.\n\nGogol is barking his head off at the rocket man, who looks horrified!\n\n> You examine the suitcase\nIt's not really a suitcase, like you have for traveling. It's more of\na black metal case with some letters you can't read, and it looks really heavy.\n\n> You look at the helmet\nThe helmet is large and it looks really heavy. The visor of the helmet is covered with gold, so the rocket men won't burn their eyes if they look at the Sun or the flames of the Atomic Engines.\n\n> You sit\nGogol looks at you, it's tail end doing a restless jig, and touching the ground long enough to it almost count as sitting. Sigh.\n\n> You lie down\n\"Be quiet Gogol!\" you scream loud enough to get the dog's attention.\nHe quiets down and walks to you, eyeing the rocket man suspiciously.\n\n> You talk to the man\nAs you speak up, the rocket man finally seems to notice you. He eyes your head and furrows his brow.\nYou realize you are still wearing the pasta strainer you used for a helmet.\n\n\"So\u00e2\u00a6 kid, what are you supposed to be?\" the rocket man says. His\nvoice\nis gravelly, like he had a sore throat, and he has a strange accent.\n\n\"I'm a rocket man!\" you say.\n\n> Keep going\nThe rocket man seems to be lost in thought for a moment, and then he raises his eyes at you. \"Hey kid, is there any place you could help me hide in? I'm on a really secret mission, and I need to stay somewhere until it's dark outside. You can't tell anyone about me, you hear me! So, do you know anywhere?\" A secret mission! Wow!\n\nYou can think of several hiding places. You could tell the rocket man about the outbuilding, the equipment shack, living room (it's easy to hide under the table there), your room or the attic.\n\n> You ask the man about the mission\n\"Yeah, I'm on a secr\u00e2\u00a6\" he begins, but then blinks a couple of times and shakes his head, as if to clear his mind. \"Hey, kid, just please help me.\"\n\n> You tell the man about the table\nThe rocket man listens to you for a moment, and then interrupts. \"Really, kid, you've got to help me hide somewhere!\"\n\n> You tell man about the living room\n\"Our living room table is pretty big, I once hid an hour under it and my mother couldn't find me!\" you tell the rocket man, who just stares at you for a moment. \"I\u00e2\u00a6 I don't think I can really fit under a\ntable,\nkid.\" he finally says.\n\n> You tell the man about your room\nYou think for a moment before saying \"I could hide you in my room!\"\nThe rocket man rubs his eyes, that are all red.\n\n\"Are you really sure that your parents don't find me there? It's very important that nobody knows I'm here!\" the rocket man says.\n\n> Yes\nThe rocket man walks like he was carrying a ton of bricks on his shoulders, and he has to stop to catch his breath a couple of times.\nIt takes you a good while to walk across the island and into the front yard. The house is cool on the inside, and you need to stop and blink for a moment before you can see anything in the indoor gloom.\n\nFor a moment you think that the rocket man won't be able to get up the stairs, and when you finally get him in your room, he collapses on\nyour bed that creaks in protest. He falls asleep almost immediately when his head hits the pillow. You happen to glance out of the window, and see your family ship a few minutes out of the pier. You run down\nto meet your parents.\n\nFather always wants you to help with unloading the supplies, and you work up a good sweat carrying the boxes of tomatos and flour and potatos from the boat to the cool air of the kitchen. When you are heading out, you bump into mother who's heading upstairs. To this day you don't know what happened - you make it barely to the front door when you can hear her scream.\n\nThe next few moments are a panicky blur. Mother grabbing you and screaming for your father, the rocket man and father wrestling on the yard. Much later the serious men in uniforms, the endless questions from them and your parents, and the worst thrashing your father has ever given you.\n\nNot a day has gone by since without you thinking about who the rocket man was, and what happened to him.\n\n> You tell the man about the attic\n\"Well, our house has a big attic. But it's pretty scary place especially when it's dark. Oh, there's a lamp there, so it's not dark like that\", you say. The rocket man coughs and wipes sweat and salt water spray from his face. \"That sounds pretty good, kid,\" he says. \"You have family, don't you? Are you sure your parents won't find us there?\"\n\n> Yes\nIt takes some time for the rocket man to get to his feet, and whoa - he's tall, way taller than your father. Not a big man, though, like dad, but now that his suit isn't all full of air, he looks quite lean.\n\nIt takes you quite some time to reach the house, since the rocket man walks like he was carrying a ton on bricks on his shoulder. He has to lean on the door frame for a while when you reach the porch. His skin is quite pale, and but his cheeks are all red. He looks like you did when you had the high fever last summer.\n\nIt takes a long time for the rocket man to climb up the stairs to the second floor, and even longer to get to the attic. When you get there, he almost falls down on the floor, and crawls to a corner next to a\nbig pile of boxes. Oh man, he must be really tired!\n\nYou take a step towards the rocket man, and catch a glimpse outside of the window. Oh, the family ship is just a few minutes out!\n\nThe attic is a cluttered, low space with a slanted roof. It's a scary place with dark nooks and crannies, piles of boxes and all kinds of weird junk. The only light is a lone bulb that has gone dim and yellow with age.\n\nboxes."
    },
    {
        "text": "> Go downward\nThe stairs coming from downstairs curve around and lead up to the eastern end of the upstairs hallway, which is dark and shadowy. The only light comes from two small windows on the southern wall. To the north is the door to your bedroom, which is closed,  and the hallway\nto the west leads into your parents\" bedroom and father's radio room.\nA very narrow and steep staircase leads up to the attic.\n\nOH NO! There are dirty and muddy footprints that lead to the\nattic staircase!\n\nGogol trots after you."
    },
    {
        "text": "[Themes: Science Fiction, dog, conversation, coming of age]\n\n> You go downwards\nThe front hall is cool and dark with the wood paneled walls and the dark red rugs. There is a closet in the corner with some of your mother's stuff in there. A staircase leads upstairs, and there are\nopen doorways to the kitchen in the west and to the living room to the east.\n\nThere are huge muddy bootprints leading upstairs!\n\nGogol trots after you.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> You open the closet\nYou open the front hall closet, revealing a cleaning rag.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\nYou can already hear the sound of the boat engine outdoors.\n\n> You take rag\nTaken.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Go up\nThe stairs coming from downstairs curve around and lead up to the eastern end of the upstairs hallway, which is dark and shadowy. The only light comes from two small windows on the southern wall. To the north is the door to your bedroom, which is closed,  and the hallway\nto the west leads into your parents\" bedroom and father's radio room.\nA very narrow and steep staircase leads up to the attic.\n\nThere are dirty and muddy footprints that lead to the attic staircase!\n\nGogol trots after you.\n\n> Clean footprints\nYou wipe the mud and water, or rather just smear it wider. At least\nthe big bootprints aren't visible anymore!\n\n> Clean bootprints\nYou wipe the floor quickly, smearing the outlines of the big bootprints. Well, at least they aren't recognizable anymore!\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\nThe boat engine growls and purrs, father must be maneuvering it to the dock already!\n\n> Go south\nThe porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.\n\nThere are huge muddy and wet bootprints on the porch floor!\n\nGogol trots after you.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Clean bootprint\nYou mop the floor with the rag, which can't absorb much of the mess, but at least it can obscure the footprints.\n\nThat's it! You have the time to return the cleaning rag to the closet and run to meet your parents, before they barge in. You did it!\n\nYour mother comes in first, stops when she hears the radio, and clucks her tongue. \"You know your dad doesn't like it if you mess with the radio, go and turn it off before he comes in!\" your mother says. You skip obediently to the living room, feeling a weird mix of relief and excitement.\n\nUnloading the supplies from the ship, unpacking them and storing all the items keeps you busy for most of the afternoon, and after that mother asks you to help her with the dinner. You try to sneak a minute or two to go to the attic, but without success - it seems that when\nyou get one of your tasks done, the next one is already waiting. Soon the sun kisses the horizon and the evening draws in. Your excitement turns into scared and tense anticipation; there's no telling when the rocket man will wake up, and what will he do when he does.\n\n\"The conflict between the Earth Alliance and the rebels of Mars has escalated, and there has been heavy fighting in the low Earth orbit,\nas well as around the Mars orbital stations.\"\n\nThe radio murmurs in the corner of the living room, while you poke at the dinner with your fork. Father is sitting in his chair, smoking his pipe. The smoke curls around the yellow bulbs on the ceiling, making the air hazy. Your mother gives the radio a hostile look, and another to your father. \"The news is so horrible these days. Turn it off, you're upsetting the boy.\"\n\n\"Last night there were reports of small one man rockets, classified as shuttles, breaking through the lines of the Earth defense vessels. It is believed that all of them-\"\n\nThe radio goes silent with a deep clunk. Your dad looks up\nfrom his newspaper to your mom, who turned it off. \"I don't want to hear a single word about the war today!\", mother huffs. Your father grunts in displeasure, but lifts up his magazine while mom walks to\nthe table. \"You, if you are not hungry, go for a wash and then off to bed!\" she says.\n\nYou try to take every chance to sneak up to the attic, but it's no use - your mother is sorting linen upstairs, and she ushers you directly\nto your room, and turns off the lights after you. You lie down in the bed, staring at the rectangle the moonlight draws on the ceiling, absolutely sure that you just can't fall asleep tonight-\n\nYou jolt awake, not sure if if you were just dreaming\u00e2\u00a6 but then you can hear it again. Slight shuffling, a muffled clank, the creak of the boards as someone is moving upstairs. The rocket man is awake! You\nhold your breath and listen for a moment, but the house is otherwise silent. Hopefully Gogol is outside, so he won't start barking. This is your chance!\n\nYour room is small and dark, and now it's illuminated only by the silvery moonlight coming through the window. You can barely make out your bookshelf and your closet.\n\n> You go to the south\n(first opening the door to your room)\n\nThe eastern end of the upstairs hallway is almost completely dark. To the north is the door to your room, and the hallway to the west leads to your parents' bedroom and the radio room. You can hear your father snoring even here. The main staircase winds down to the front hall,\nand the narrow attic staircase leads up.\n\n> You go upwards\nWhen you start to climb up the narrow attic stairs, almost on all fours, you can see the faint light of the single bulb upstairs. You poke your head out of the hatch on the floor, and see the rocket man\non the other side of the attic. He has the suitcase on his lap. Something alerts him, you don't know what, and his head snaps up with\na click. It takes you a moment to realize that the sound was him slamming the case shut.\n\nAfter a second he smiles, and whispers quite loudly: \"Hello, kid, thanks for helping me. Could you sit with me for a while, there's something I'd like to ask you.\" The rocket man opens the suitcase and starts tinkering with whatever he has in there.\n\nThe attic is a cluttered, low space with a slanted roof. It's a scary place with dark nooks and crannies, piles of boxes and all kinds of weird junk. The only light is a lone bulb that has gone dim and yellow with age.\n\nThe rocket man is sitting up in the end of the attic, leaning against the wall. The rocket man has peeled off the top part of his suit and his shirt, revealing his upper body. He's really pale and also lean, like a gymnast.\n\n> You wait\nTime passes.\n\n> You talk to the man\nYou don't really know what to say. There is a ton of things you'd like to ask the rocket man about - like the war, Mars, his mission, and a million other things!\n\n> You ask the man about the suitcase\nYou can think of a million things you would like to ask about from rocket man: his rocket, the martians, his mission\u00e2\u00a6 Before you get any of them out of your mouth, the rocket man looks up from his work and smiles at you.\n\n\"So, kid, thanks for not telling your parents about me. I'm on a very very secret mission, and nobody but you and me should know about it.\" The rocket man shoots you a stern glance, and you find yourself\nnodding vigorously.\n\n\"Now, then, this is an island if I'm not mistaken. Is there any way\nout here? Like a ship or such? I need to get to Astro City One in a hurry!\"\n\n> You ask man about the mars\n\"I bet you have been to Mars!\" you say to the rocket man. \"What kind\nof a place is it?\" The rocket man pauses his work with the suitcase\nfor a moment, and looks up. He has a weird expression on his face,\nlike he was sad.\n\n\"There's lots of empty space in Mars, these red fields of rock and sand. In the seas and the lakes the waves are tens of meters high, and much slower than in here. The sky is reddish gray on the daytime, and blazes red and violet in the mornings and evenings\u00e2\u00a6\" He falls quiet for a moment, and resumes working with the suitcase.\n\n> You examine the suitcase\nThe rocket man is hunched over the open suitcase. You try to peer around the open lid, but you can't see much, only some wires and weird stuff you can't make out.\n\n> You ask the man about the war\n\"It's great that we have people like you to fight the vile Martians\nwho threaten our freedom!\" you say. The rocket man is quiet for a moment and doesn't look up from his work. \"How exactly do they do\nthat? From Mars?\" he asks, quietly. You get a feeling that you said something stupid, but you don't really know why.\n\n> You ask the man about Earth\n\"Astro City One is certainly the greatest place on Earth, isn't it!\" you say enthusiastically. \"Well, I've seen bigger bases. They are in zero-G, though\u00e2\u00a6\" the rocket man mutters while concentrating on tinkering with the suitcase. \"Where?\" you ask, and he seems to snap\nout of his concentration. \"Nowhere, never mind.\"\n\n> You ask the man about Gogol\n\"Why were you so afraid of Gogol, he's a nice dog?\" you ask. The\nrocket man clears his throat. \"Well, I just am, okay?\" he replies almost angrily.\"\n\n> You ask the man about the name\nHe seems to be really concentrating on the suit case. You wait for his reply, but after a while you start to think that he didn't hear you.\n\n> You ask man about yourself\n\"Do you think I can ever be a rocket man?\" you ask. The rocket man looks at you for a couple of seconds. \"I don't see why not, if you are healthy. Just remember to exercise a lot and do what your parents tell you to.\" he replies.\n\n> You ask the man about the mission\n\"What is your mission, is it about that suitcase?\" you ask, with your heart beating like crazy. The rocket man bites his lips for a moment and glances up at you. \"In this suitcase I have some enemy\nintelligence I caught from the... the vile Martians. I need to get these to Astro City one as soon as possible.\"\n\n> You ask man about the rocket\n\"How did you end up in the sea? Where's your rocket ship?\" you ask. \"I got\u00e2\u00a6 there was an accident, I had to crash land.\" the rocket man\nsaid.\n\n\"Okay, I'm ready to leave,\" the rocket man says and closes the\nsuitcase with a snap. He gets up, grunting and pressing his hand against his side. You watch as he pulls on his undershirt, which is some kind of thermal space material, and zips up his space suit.\n\nGetting out of the house is nerve wracking, especially in the attic stairs where the clumsy space suit makes all kinds of noise. Luckily your father's snoring covers it all up.\n\nNot even Gogol launches into a barking attack when you go outside.\n\nThe Moon is bright and the sea is calm. You watch over the sea towards the glittering towers of the Astro City one.\n\n\"Well, that's it then\", rocket man says, giving the last evaluating glance to the family ship on the pier. \"I guess I'll have to swim for it.\" He gives you one last smile and a wave, fastens his helmet and lowers himself to the water in the end of the pier.\n\nYou stay on the pier, watching his small bobbing form vanish to the glitter of moon light on the sea.\n\nYou never told anyone about the weird encounter you had that day. Not even 40 years later, when they make the marine archaeological find of the century just a couple of kilometers away from your childhood's\nhome island.\n\n\"The one that got away.\" A find that could have changed the whole history of Earth-Mars relations.\n\n> You open closet\nYou open the front hall closet, revealing a cleaning rag.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> You take rag\nTaken.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Go up\nThe stairs coming from downstairs curve around and lead up to the eastern end of the upstairs hallway, which is dark and shadowy. The only light comes from two small windows on the southern wall. To the north is the door to your bedroom, which is closed,  and the hallway\nto the west leads into your parents\" bedroom and father's radio room.\nA very narrow and steep staircase leads up to the attic.\n\nThere are dirty and muddy footprints that lead to the attic staircase!\n\nGogol trots after you.\n\nYou can already hear the sound of the boat engine outdoors.\n\n> You wipe footprints\nYou wipe the mud and water, or rather just smear it wider. At least\nthe big bootprints aren't visible anymore!\n\n> You wipe footprints\nYou wipe the floor quickly, smearing the outlines of the big bootprints. Well, at least they aren't recognizable anymore!\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> Go south\nThe porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.\n\nThere are huge muddy and wet bootprints on the porch floor!\n\nGogol trots after you.\n\nYou heard the hiss and the crackle of an untuned radio in the living room.\n\n> You tell the man about the boat\nYou can think of a million questions to ask from rocket man, his rocket, the martians, his mission\u00e2\u00a6 Before you get any of them out of your mouth, the rocket man looks up from his work and smiles at you.\n\n\"So, kid, thanks for not telling your parents about me. I'm on a very very secret mission, and nobody but you and me should know about it.\" The rocket man shoots you a stern glance, and you find yourself\nnodding vigorously.\n\n\"Now, then, this is an island if I'm not mistaken. Is there any way\nout here? Like a ship or such? I need to get to Astro City One in a hurry!\"\n\n> You tell the man about the boat\n\"Well, we have this old row boat on the shore. We usually don't go out on the sea with it, because it's dangerous.\" you say. \"Old wooden boat\u00e2\u00a6\" the rocket man rubs his chin and you hear the rasping sound of a beard stubble. \"You know, kid, that's perfect! That's absolutely perfect, if it can stay afloat that is. Just a moment now, I'll have\nto finish with this damn thing.\" he continues, twisting something inside the suitcase.\n\n> You tell the man about the ship\n\"We have a nice ship which father always takes to the mainland. It has a good engine, although father always curses about it.\" you say. \"A large ship, with an engine\u00e2\u00a6 with a metal hull, I guess?\" the rocket man says and raises is eyebrows. You nod. \"Ah, that won't do, sorry. Don't you have anything smaller?\"\n\n> You wait\nTime passes.\n\n> You ask man about the man\n\"So\u00e2\u00a6 who are you?\" you ask. The rocket man pauses his work for a moment. \"I'm\u00e2\u00a6 a commando operative. Do you know what that is?\" After seeing your enthusiastic nod, he continues. \"I'm on a very secret mission that can define the result of the whole war. I really need\nyour help on this, kid\"\n\n> You tell the man about the war\n\"We have always supported our valiant troops against the vile Martian menace!\" you say, trying to remember how the man in the radio always said it. \"Listen, kid. It's a great universe out there, full of all kinds of wonders, and we are just shooting at each other? Where's the sense in that?\" the rocket man says, looking at you sternly. You\nreally don't know what to say to that.\n\n> You tell the man about Earth\n\"Earth rocket men are really kicking the butts up there in space, aren't they!\" you say feeling proud to be in the presence of one them. \"Yeeah, it's quite a scrap up there\" the rocket man says."
    },
    {
        "text": "[Themes: Science Fiction, pulp]\n\n> Go downward\nThe eastern end of the upstairs hallway is almost completely dark. To the north is the door to your room, and the hallway to the west leads to your parents' bedroom and the radio room. You can hear your father snoring even here. The main staircase winds down to the front hall,\nand the narrow attic staircase leads up."
    },
    {
        "text": "[Themes: Science Fiction, coming of age, child protagonist, pulp, dog]\n\n> Go downward\nYou look at the stairs for a moment, but it's dark downstairs\u00e2\u00a6 and\nthe\nrocket man is waiting for you in the attic.\n\n> Go upwards\nThe attic is a cluttered, low space with a slanted roof. It's a scary place with dark nooks and crannies, piles of boxes and all kinds of weird junk. The only light is a lone bulb that has gone dim and yellow with age.\n\nThe rocket man is sitting up in the end of the attic, leaning against the wall. The rocket man has peeled off the top part of his suit and his shirt, revealing his upper body. He's really pale and also lean, like a gymnast.\n\n> You tell the man about the boat\n\"That boat sounds just like what I need. Thanks kid!\" the rocket man says grinning at you.\n\n> You ask the man about the mission\n\"Why do you need to go to Astro City one?\" you ask the rocket man. \"I told you, to deliver these documents.\"\n\n\"Okay, that's it.\" the rocket man says and closes the suitcase with a snap. He gets up, grunting and pressing his hand against his side. You watch as he pulls on his undershirt, which is some kind of thermal space material, and zips up his space suit.\n\nGetting out of the house is nerve wracking, especially in the attic stairs where the clumsy space suit makes all kinds of noise. Luckily your father's snoring covers it all up.\n\nNot even Gogol launches into a barking attack when you go outside.\n\nThe Moon is bright and the sea is calm. The old boat glides to the water, and the rocket man starts to row, so clumsily that you just\nhave to laugh. He waves at you when he clears the wavebreak, and you sit on the concrete ledge to watch him go - and for a small eternity until his boat has vanished into the glitter of the moonlight on the sea, towards the brightly lit spires of Astro City One in the\nmainland.\n\nMuch later, when you are already shivering with cold and almost in tears because the feeling of loss, you start to make your way toward the house. It's slow going in the dark - and you're almost to the\nhouse when the impossibly bright flash and the sound of tearing metal in the distance wash over you.\n\nEven now, forty years later, you can remember that moment; the instant when you stopped being a child and ended up being an adult with a horrible burden to bear. When Astro City One went up, it started as a couple of bright flashes. The bangs reached you several seconds later, right before the blinding flash that sent pieces of fuel filled\nrockets and containers arcing through the sky in fiery fireballs. The blastwave of the explosion swept over the sea so fast it was almost\ntoo quick to see, and the bang almost struck the air out of your lungs and made your ears go beep.\n\nYou still remember the moment when you realized that Martians weren't tentacled monsters: they were human beings just like you and your parents. Humans, who just wanted to live free. That's what they got, thanks to one stupid kid. The loss of Astro City one was a huge blow\nto the Earth Alliance, and it turned the tide of the war. In three months there was a peace treaty, and Mars had seceded, leaving Earth with the burden of reparations for the long years of interplanetary war.\n\nAll because of one stupid little kid, who wanted to become a rocket man."
    },
    {
        "text": "[Themes: Mythological, poetry, dance, dancing, Source Code, fantasy, female protagonist, adverbs, experimental, Historical, Mythology]\n\nIt is always twilight in Ingelheim,\nin the forest the lady slides across\nthe crumpled leaves entranced by Elbegast.\nHer nightclothes sweep the same old lemniscate,\nwith Elbegast's wood gauntlets at her waist.\nTired eyes gaze listlessly, with lips shut tight.\nThe lady longs to end the dance but she\ncannot. The only thing she does is dance\nand dance and dance. But oh how she can dance!\nGracefully and sweetly; solemnly or\nperkily; eagerly, or most often,\nreluctantly. However she dances,\nshe always dances inevitably.\n\n[Author's Note: Interactive blank verse, based on one of the legends of Charlemagne.]"
    },
    {
        "text": "> Jauntily\nOne two three steps, beneath the willow tree.\nRight foot forward, eyes staring straight through him.\n\nThe lady dances many other ways.\n\n> Gracefully\nA swan is just a swan, an angry bird.\nThe moon is just the moon, a glowing rock.\nBut the lady is a graceful swan and\nwhen dancing she becomes his moon and stars.\n\n> Coyly\nThe lady dances many other ways.\n\n> Reluctantly\nThe black knight clasps the lady tighter still.\n\"Sweet,\" he whispers, \"did I not win you fair?\"\n\n> Fairly\n\"Well, you are just my wife,\" says Elbegast.\n\"You're just my partner, sharing life and death.\"\n\n> Angrily\nWith vicious strides the lady looks around,\nand hopes to find, observe, the means to kill.\n\n> Badly\n\"Is this how you once danced with Eggerich?\"\nsays Elbegast a tad resentfully.\n\n> Resentfully\nacross the leaves that lie beneath their treading feet.\n\n> Energetically\nFour five six steps along the trickling stream.\nHer spine aligned: left turn, right turn, now twist.\n\n> Gracefully\nAlthough he is afixed by beauty clearly,\nhe could not love a mortal woman, could he?\n\n> Lovingly\nWas Eggerich a violent plotting man?\nShould now the lady thank Elbegast?\n\n> Gratefully\nThe lady holds her brand new husband dear,\nalthough his hands once slew a man she'd loved.\n\n> Pointedly\nthat shines out even Elbegast himself.\n\n> Well\nThe lady always dances well, except\nwhen she's attempting sprightly twisting turns.\n\n> Sprightly\nQuite gaily she forgets her Eggermond!\nThis brand new man in hand: she eggs him on.\n\n> Slowly\na man she's meant to love, does reason fill\nher sleepy head or has she met defeat?\n\n> Sleepily\nIs she sleepwalking in her waking life?\nOr twilight dreaming in her sleeping time?\n\n> Defeatedly\nThe lady lets herself be led across,\n\n\"Finally love, are you acquiescent?\"\n\n> Acquiescently\nHer shoulders slump. Does she accept defeat?\n\n> Observantly\nthe mismatched partners shuffle slowly past.\nA vicious branch oft points towards the back\nof Elbegast who tugs his newly wed.\nA newly wed who's stronger than she looks...\n\n> Strongly\nThe time has come the noble lady thinks,\nto end for good this horrifying dance.\nThey dance a final lemniscate across\nthe twilight forest floor of Ingelheim.\nShe dances \"til his back is to the spike\nwith strength so hideous she shoves him hard!\nHe cries a tear, the spike ripping a tear\nthrough now bloodstained gut besmirched evening wear.\nHer second husband dead before her hands,\nthe sun now rises first on Ingelheim.\n\nIt is always twilight in Ingelheim,\nin the forest the lady slides across\nthe crumpled leaves entranced by Elbegast.\nHer nightclothes sweep the same old lemniscate,\nwith Elbegast's wood gauntlets at her waist.\nTired eyes gaze listlessly, with lips shut tight.\nThe lady longs to end the dance but she\ncannot. The only thing she does is dance\nand dance and dance. But oh how she can dance!\nGracefully and sweetly; solemnly or\nperkily; eagerly, or most often,\nreluctantly. However she dances,\nshe always dances inevitably.\n\n> Inevitably\nThe lady lets herself be led across,\n\n\"Finally love, are you acquiescent?\"\n\n> Defeatedly\nthat Elbegast knows her to be his wife.\n\"A fitting prize you were from Charlemagne,\"\nhe says and smiles as she forgets the name\nand face of Eggerich von Eggermond."
    },
    {
        "text": "[Themes: Humor, based on songs]\n\nThe footsteps behind you seem to be getting louder, closer, as you run. You're reaching the end of your breath, legs burning with the effort. You don't know if you should keep running or stop, wait here or even turn around and fight.\n\nlife.\n\nfingertips: what's that blue thing doing here\n\nThe road rolls on in front of you. To the north the road continues, to the east, a set of stairs descends and there is a doorway to the west. Make your move wisely, you only get one.\n\n[Author's Note: Each step of this one-move game takes you into an entirely different, very short, story. Often, there's a blue thing. What's it doing here?]\n\n> Inventory\nYou're carrying nothing but your ideas of linear storytelling, which you drop immediately. Also this blue thing. What's it doing here?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You eat the blue thing\nIt tastes remarkably blue.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You examine the blue thing\nWhat's that blue thing doing here?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You wear blue\n(first taking the blue thing)\nWhat's that blue thing doing here?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Xyzzy\nYou are in a twisty maze of passages, all alike. It is dark, and you are likely to be eaten by a blue thing\n\nOk, you're not, but what did you expect?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You throw the blue\nThe blue thing is already here.\n\n> You go to the north\nYou keep running, it feel like you've hit some sort of wall, and the footsteps behind you are getting closer. But then you see it, the finish line, a bright blue banner just ahead. You put on a burst of speed, ignoring the screaming of your legs, the pain in your lungs and make it. A split second later, the owner of the footsteps that dogged yours for the last half mile crosses the line behind you. Although second place is not so shabby, she looks glum and you feel embarassed and a little guilty.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Go west\nYou try the doorknob on the roughly painted door and find it locked. In panic, you shove it hard and the lock releases, the door squealing open to reveal a darkened hallway. You slam the door shut again and listen, pressing your ear to the wood as the pounding footsteps go by. You breathe a sigh of relief and look in the bag you've been clutching, all the way from the jewelry store. In the dim light of an emergency exit electric bulb, it's hard to see what's in there, but it doesn't look, or feel right. You pull out a strand of what you thought were pearls but to your fingers, they're clearly made of plastic. What were supposed to be gold chains are suspiciously light. And something in the bag is blinking a tiny blue light. You realize it's some sort of tracker when you hear the footsteps return.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You go east\nYou cascade down the stairs, praying not to slip on the steps, wet from last night's rain, hoping there's someone staffing the subway entrance. A quick look over your shoulder shows that the man who's been chasing you since you left work is still behind you, but the look costs you seconds as you have to grab for the handrail to keep from falling. He calls out to you: \"Miss? Miss! You dropped your bag!\"\n\nYou stand there panting, wairly looking at the stranger as he holds a bag out to you. Indeed, it looks like your purse and, now standing still for the moment, you notice you're not carrying yours anymore. Gratefully, you reach out for it.\n\n\"Thank you,\" you say and take it. The man nods and jogs back up the stairs out of sight. The bag is strangely heavy. You reach inside and find a gun, which gleams bluely in the harsh fluorescents of the subway station.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Go south\nSaying \"enough is enough\" to yourself, you turn and face the crowd of people, including your maid of honor and the man you had promised to marry, trailing behind you as you fled the church in your shiny silver heels and long white dress.\n\n\"I'm sorry,\" you say to them all, \"I can't go through with it.\" Tears are flowing down your cheeks as you give back the ring to your intended groom, and take off the earrings belonging to your no-longer-to-be-mother-in-law, handing them to the maid of honor, who stands gaping.\n\n\"Here's the something borrowed, you can see they get back to her.\"\n\nYou take off your garter, practically groping your own leg in the process of worrying it off down your knee and past your shoe and throw it at her. \"I'm sure you'll be very happy,\" you scream, as the blue ribbon of cloth hits her hair and bounces to the ground.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You go northeast\nYou take off through the fields, zigzagging to avoid the occasional arrow what's left of the army manages to get off in your general direction. Maybe you shouldn't have insulted thier leader, wasn't that like one of the first things they taught you in time travel school?\n\nNo, that was \"get to the damn transfer point before the portal closes.\"\n\nYou see the glimmer of the portal in front of you and dive toward it, feeling a sharp pain in your side as you fall through. Landing hard on the retrieval platform increases the pain a hundredfold and you look down to see your blood pouring out over the shaft of a slim blue arrow.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You go upward\nYou think you're finally going fast enough. You spread your wings and *WHOOSH*, the sound is nearly deafening, but you can feel your feet leaving the ground, dangling beneath you, before you remember to tuck them like you'd practiced and flap, flap, flap.\n\nYou look down, and the crowd below has stopped running and all are staring up at you, waving the pitchforks and torches they were carrying to run you and your experiments out of town. They are starting to look as small and insigificant as they are. Ahead of you is only blue sky.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Sing\nYou burst out into song, belting out \"I'm your only friend, I'm not your only friend, but I'm a little glowing friend, but really I'm not actually your friend.\"\n\nWhen you get to the chorus, the group of people behind you join in at the harmony.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You wake up\nOk, honestly, you're really sitting in front of a computer, laptop, tablet or smartphone playing a text adventure loosely inspired by the songs of They Might be Giants. Better?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Go southwest\nThe complicated shadows of the taller buildings in this part of town give you hope and an idea. You double back, using a broken lamppost as an anchor to quickly change direction and loop around the building, sneaking around the side and emerging from behind the crowd as they pass, running as if to keep up with the stragglers in the crowd of cops and city folk that were chasing you after your latest exploits had come to light. In the dark nobody notices, not even the people you're running head to head with, you're dressed alike in the the same kind of raggedy clothing. As the crowd begins to disperse, making noises of frustration, you duck down a side street and head for one of your safehouses, to live to taunt the regime yet again. In the gutter you see a blue kazoo, which gives you an excellent idea.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You wait\nYou hit pause and the game stops; you realize you've been playing for hours, so absorbed your heart really is pounding like you're being chased and your mouth is cottony-dry. You stumble off to the kitchen and grab some gatorade, your least favorite flavor -- blue.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Pray\nYou pray. Blue bolts from heaven strike down your enemies. Wow! Should have tried that earlier.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Xyzzy\nYou are in a twisty maze of passages, all alike. It is dark, and you are likely to be eaten by a blue thing\n\nOk, you're not, but what did you expect?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You play the blue\nI don't understand you. Perhaps you'd like to play \"fingertips: I don't understand you\" instead.\n\n> Dance\nAt the cue, synchronized watches quietly beeping, you and the rest of your flash mob break into a well-rehearsed dance routine, waving blue scarves around your heads as you stomp and whirl to the Bollywood-style music blaring from synchronized iPhones. You can't wait to see this on YouTube!\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You eat\nWhat do you want to eat?\n\n> Curse\nYou curse a blue streak. It makes you feel better and you speed up, your pursuers falling behind. Words are powerful!\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You jump\nYou think you're finally going fast enough. You spread your wings and *WHOOSH*, the sound is nearly deafening, but you can feel your feet leaving the ground, dangling beneath you, before you remember to tuck them like you'd practiced and flap, flap, flap.\n\nYou look down, and the crowd below has stopped running and all are staring up at you, waving the pitchforks and torches they were carrying to run you and your experiments out of town. They are starting to look as small and insigificant as they are. Ahead of you is only blue sky.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Sleep\nYou wake up with a start, covered in sweat.\n\nDamn you hate these being-chased-in-the-dark can't-move-in-molasses don't-know-why-you're-running dreams. Also, you need to pee, bad. Maybe next time you'll skip the jalapeno, garlic and feta toppings on your pizza. You're thankful for your blue canary night light to keep you company at times like these.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Smell blue\nMostly you smell your own sweat, you've been running so long.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You listen\nYou hear the noise of the crowd as they jeer at you, calling you names like \"Smurf\" and \"little blue riding hood\" and \"meanie\". It's not fair! It's not your fault you fell in the vat of dye just before your coming out party. You're so embarrassed, you're never coming back to town again.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> You wear blue thing\n(first taking the blue thing)\nWhat's that blue thing doing here?\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world.\n\n> Kiss blue thing\nYou can only do that to something animate.\n\n> Wave\nYou wave, feeling foolish.\n\n> Yes\nThat was a rhetorical question.\n\n> Bother\nQuite.\n\n> You buy the blue thing\nNothing is on sale.\n\n> You throw the blue\nThe blue thing is already here.\n\n> You think\nAs you run, you're doing as complex of math calculations in your head as you can, it's the only way you can keep the telepaths behind you from knowing which direction you're planning to run.\n\nEach step takes you in a completely new direction. Here's another\ngo at a fresh world."
    },
    {
        "text": "[Themes: Children's, house setting, witch, magic, kid-friendly, child, gender-neutral protagonist, magic-object, Skateboard]\n\nWalking home from school is mostly okay, except for one big problem: Every day you have to pass right by Mrs. Pepper's house. She may not actually be a witch, but she sure acts like one. She's ugly and crabby, and she seems to go out of her way to cause trouble for you. The time she came at you with the garden rake, swinging it like it was a giant claw ... you still shudder when you think of it.\n\nLast Friday was a new low. You would never, ever skateboard in her driveway -- that would be practically suicidal. But somehow when you got to the driveway your skateboard swerved, all by itself, as if somebody had put a spell on it. And then you fell off.\n\nWhile you were picking grit out of the ugly scrape on your skinned elbow, Mrs. Pepper appeared out of nowhere and snatched up your skateboard! She screeched something about rowdy children, trespassing, and needing to be taught a lesson. She swung the skateboard at you like it was a bat, and then ran off with it, cackling. Afterward you rang her doorbell for what seemed like an hour, begging her to give the skateboard back, and she wouldn't even come to the door.\n\nAnd now it's Monday afternoon, and here you are, on your way home from school as usual (but with no skateboard). Just up ahead is Mrs. Pepper's driveway....\n\nMrs. Pepper's Nasty Secret\n\nThis stretch of sidewalk runs more or less east-west between the busy street to the south and a tall, water-stained fence to the north.\nJust a few yards further west the fence ends where Mrs. Pepper's driveway thrusts into the roadway. Unfortunately there's no option but to cross that driveway if you want to get home.\n\n[Author's Note: Walking home from school is mostly okay, except for one big problem: Every day you have to pass right by Mrs. Pepper's house. She may not actually be a witch, but she sure acts like one. And now she's stolen your skateboard!]"
    },
    {
        "text": "> Inventory\nYou are empty-handed.\n\n> Pray\nThe word \"pray\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You jump\nYou jump up and down a few times. It doesn't achieve anything, but the exercise can't have done you any harm."
    },
    {
        "text": "> Look around\nThis stretch of sidewalk runs more or less east-west between the busy street to the south and a tall, water-stained fence to the north.\nJust a few yards further west the fence ends where Mrs. Pepper's driveway thrusts into the roadway. Unfortunately there's no option but to cross that driveway if you want to get home.\n\n> You climb the fence\nOn any other day, you might consider it. Today you have more important things on your mind.\n\n> You examine fence\nThe fence is tall, and made of solid vertical boards. Once they were painted white, but by now they're gray and a bit water-stained.\n\nYou don't seem to be making much progress. If you feel you could use a little help, enter the command HELP.\n\nBonus Tip: To move around the map use compass directions: NORTH, SOUTH, EAST, WEST, NORTHEAST etc. (which can be abbreviated to N, S, E, W, NE etc.), or UP, DOWN, IN or OUT. Try going WEST now.\n\n[To turn these bonus tips off, use the command EXTRA OFF]\n\n> Extra off\nOkay; extra hints are now off.\n\n> You go to the south\nThere's too much traffic for you to consider crossing the street.\n\n> Go west\nYou step gingerly off the sidewalk into the mouth of Mrs. Pepper's driveway. There's no way of avoiding it, but that doesn't make it any less hazardous. More than once the nasty old woman has backed her car out quite rapidly just as you were crossing, as if bent on running you over, so this step across Mrs. Pepper's driveway is the part of your daily walk home that you've most come to dread....\n\nBut today you're in luck. Her car isn't moving, and she's not in it.\n\nYou're at the outer end of Mrs. Pepper's driveway, which extends to the north alongside her house. Her old gray car is parked beside the house, and before the house is a square of sadly neglected lawn. The sidewalk runs east and west from here, and the street is to the south.\n\n> You examine the car\nThe car is an Oldsmobile, a boxy model that's at least 20 years old. It's slate-gray, and the rear fender droops at one side, as if perhaps Mrs. Pepper has succeeded in hitting something -- or someone -- with it.\n\n> You examine the lawn\nThe lawn is patchy and mostly dead, mottled with patches of bare dirt.\n\n> You enter the car\nThe car is too far away.\n\n> You examine the driveway\n(the driveway)\nThe driveway runs northward along the right side of Mrs. Pepper's house. Standing in the drive next to the house is Mrs. Pepper's old gray car.\n\n> Go west\nTo the north, across a sadly dried-up and decrepit yard, stands Mrs. Pepper's house. You can also go east or west along the sidewalk. The busy street is to the south. A telephone pole plastered with the scraps of old posters stands here.\n\n> You examine the posters\nMany are faded, many are torn, and many are both. The ones that remain legible advertise everything from last year's flower show to the merits of the Independent Candidate in some long-forgotten election. Amongst this mass of posters well past their read-by date is an advertising flyer that looks crisp and new.\n\n> You examine the advertising flyer\nThe flyer is crisp, new, and colorful. In big bright letters it advertises a special sale at Flogg & Grabby's Stufftown, a shopping mall that lies just half a mile down the road. If the flyer is to be believed, the sale ends this very afternoon. \"INCREDIBLY LOW PRICES ON GORGEOUS LADIES' WIGS!!!\" it promises.\n\nMrs. Pepper is not your idea of a gorgeous lady (if anything, just the opposite). But she certainly is fond of wigs. Every time you see her, it seems, her wig is a different color and style, each more outlandish and ill-fitting than the last. What they all have in common is that they look as if she bought them in a thrift shop.\n\n> You get the flyer\nYou pick up the advertising flyer.\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> You look at the house\nMrs. Pepper's house is two stories tall, and narrow. It hasn't been painted in a long time. A small covered porch is attached to the front, and the driveway runs along the right side. A short flight of steps leads up from the yard to the porch.\n\n> Go east\nYou're at the outer end of Mrs. Pepper's driveway, which extends to the north alongside her house. Her old gray car is parked beside the house, and before the house is a square of sadly neglected lawn. The sidewalk runs east and west from here, and the street is to the south.\n\n> Go north\nYou take a cautious step onto Mrs. Pepper's property. When nothing terrible happens, you take another, your curiosity overcoming your apprehension of the batty old woman.\n\nThe driveway continues northward along the side of the house, where an old gray car is parked, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> You open car\nThe car is too far away.\n\n> You go north\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nA trash can is standing in the driveway.\n\nA battered old car is parked in the drive, just under an open window.\n\n> Examine can\nThe old, dented trash can is made of gray metal, and has a sturdy lid.\n\n> You open can\nYou remove the lid from the trash can.\n\n> You look at the can\nThe old, dented trash can is made of gray metal.\n\n> You open the car\nThere's nothing in the trash can.\n\nYou can't; it's locked.\n\n> You pick up can\nYou pick up the trash can.\n\n> You drop the trash\nYou set down the trash can.\n\n> You enter the trashcan\nTossing yourself into the wastebin at such a young age? You contemplate the idea for a moment, and reject it with a shudder.\n\n> You enter the car\nYou rattle the car's door handle, but the door is securely locked.\n\n> Smash window\nPainful experience has taught you that breaking things quite often gets you into trouble.\n\n> You examine the window\nThe window is standing open, and doesn't appear to have a screen.\nIt's six or seven feet up the wall from the paved surface of the driveway.\n\n> You jump\nThat is not something you can climb.\n\nYou jump off the car and land back on the ground."
    },
    {
        "text": "[Themes: Children's, kid-friendly, child, witch]\n\n> You go downwards\n(off of the car)\nOkay, you're no longer on the car.\n\n> You get the lid\nYou are already carrying the trash can lid.\n\n> Close can\nYou put the lid back on the trash can.\n\n> You go to the north\n(first trying to open the garage door)\nIt seems to have been shut for so long that the most recent layer of paint has sealed it up.\n\n> You open the door\nIt seems to have been shut for so long that the most recent layer of paint has sealed it up.\n\n> Go south\nThe driveway continues northward along the side of the house, where an old gray car is parked, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> Go west\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\nAs you're crossing the front yard, a momentary lull in the traffic noise allows you to hear something very odd. Weakly, somewhere in the near distance, a voice is crying, \"Help me! Oh, please, help me!\" The voice is high-pitched and very hoarse, as if whoever is calling for help can barely speak at all.\n\nYou stop dead in your tracks, looking around to see where the voice might be coming from. It seems to be coming from the upstairs window in Mrs. Pepper's house. You stare hard at the window, and for a moment it seems something might be moving there -- but you can't make out what it might be. After a moment the movement stops, and the voice falls silent.\n\nCould it have been your imagination? No, you're certain you heard something. And it was coming from inside the house.\n\n> Go north\nThe front door lies immediately to the north; the front yard is to the south. There's a doorbell button just by the front door.\n\n> Inventory\nYou are carrying an advertising flyer and a trash can.\n\n> You drop can\nYou set down the trash can.\n\n> You take the can\nYou pick up the trash can.\n\n> You go south\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\n> You go east\nThe driveway continues northward along the side of the house, where an old gray car is parked, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> You go to the north\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nA battered old car is parked in the drive, just under an open window.\n\n> You wait\nPrecious time slips by, never to be recovered.\n\nAfter a somewhat longer delay than the first time, the door flies open. Mrs. Pepper snarls at you. \"Why are you bothering me? Do you want me to call the police?\" The door slams again, leaving you on the outside and Mrs. Pepper on the inside.\n\n> You go south\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\n> Go north\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nA battered old car is parked in the drive, just under an open window.\n\nYou see a trash can here.\n\n> Go northwest\nThe back yard is in a dreadful state. Except for a few sorry weeds, nothing grows here. Someone has dug holes of various sizes, leaving mounds of dirt and gravel everywhere. A concrete birdbath stands in the center of the yard. The back porch of the house lies directly to the south.\n\nThe driveway is off to the southeast, past the corner of the garage. The garage itself stands directly to the east.\n\nA neighbor is working in the garden next door.\n\n> You look at the birdbath\nThe gray concrete birdbath is thick and ugly, and looks as if it hasn't held water for a long time. The bottom of the basin is coated with a thin layer of grime.\n\n> You examine the neighbor\nShe's tall and thin, and is wearing a big floppy hat of straw. She has rather a kindly look.\n\n> You look at the holes\nHoles of various sizes have been dug across the lawn, seemingly at random, as if some demented fortune-seeker were desperately seeking buried treasure. The more prosaic explanation, given the state of the back yard, is that the holes are due to energetic but incompetent gardening efforts.\n\n> You examine the porch\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The crawl space beneath it is deep in shadow.\n\n> You talk to the neighbour\n\"Hi,\" you say. \"Who are you?\"\n\n\"I'm Mrs. Dogwood, Mrs. Pepper's neighbor,\" she replies.\n\n(You could ask her about Mr. Pepper, gardening, Mrs. Pepper's old car, herself, or Mrs. Pepper. You could also ask or tell her about various other things that might occur to you.)\n\n> You ask about Pepper\n\"Do you know Mrs. Pepper well?\" you ask.\n\n\"As well as I want to!\" Mrs. Dogwood replies. Lowering her voice, she adds in a near whisper, \"I don't normally go in for tittle-tattle, but she really is the meanest.... Well, I dropped a fine gold brooch one day when I was working near the fence. At least, I don't know where else I could have dropped it. A few minutes later I'm sure I saw her arm snaking right through the fence, down near the ground. By the time I put down my shears and came to take a closer look, she was trotting into the house. I never did find that brooch. I'm sure she took it, but when I asked, quite politely, if she might have seen it or know where it could be, she got all huffy and claimed not to know what I was talking about. Swears she never saw it, she does!\"\n\n> You ask about the gardening\n\"I was just admiring your wonderful garden,\" you tell Mrs. Dogwood politely.\n\n\"Why, thank you, dear!\" she replies.\n\n\"It's much nicer than Mrs. Pepper's,\" you add.\n\n\"I don't like to speak ill of anyone,\" Mrs. Dogwood says piously, \"but I think it's fair to say Mrs. Pepper doesn't have a green thumb.\"\n\nA fat toad that you hadn't noticed before hops away under the back porch.\n\n> You take the toad\nThe toad is gone -- it hopped away under the porch.\n\n> You look under the porch\nDeep in the shadows beneath the porch, you spy your skateboard!\n\n> You take the skateboard\nIt's clear back against the wall of the house. Even when you stretch your arm as far as you can, the skateboard is still at least three feet out of reach.\n\nMrs. Dogwood returns to her gardening.\n\n> You ask about the car\nYou are carrying an advertising flyer.\n\n\"Hello again,\" you say.\n\n\"Hi there, youngster,\" she replies.\n\n\"I saw Mrs. Pepper's old car in her driveway,\" you remark. \"Is it always there?\"\n\n\"If she's home, it is,\" Mrs. Dogwood replies promptly. \"Sometimes in the afternoon she goes out driving, if there's a special sale on at the mall. You know, Flogg & Grabby's, down the road?\"\n\n> You ask about the mr pepper\n\"What happened to Mrs. Pepper's husband,\" you ask.\n\n\"Such a tragic accident,\" the neighbor replies. \"If it was an accident. I've always wondered about that. But really, I mustn't gossip.\"\n\n> You ask about herself\n\"You seem to be quite a fine gardener,\" you venture. \"Have you lived in that house for a long time?\"\n\n\"Oh, long enough,\" she replies vaguely. \"I daresay I'm not a very interesting person.\"\n\n> You ask about the skateboarding toad\n\"Some other time, perhaps,\" she suggests, with a lopsided smile.\n\n> You ask about the toad\nShe bends over a little bush to inspect it, and then straightens up when you start to speak. \"I'm sorry, dear, I didn't quite catch that. I thought I saw an aphid. Horrid things, aphids.\"\n\n\"Do you know anything about frogs and toads?\" you ask Mrs. Dogwood.\n\n\"My goodness, what a question! Not so very much, no. I've noticed a fat old toad hopping about from time to time. I believe he lives under Mrs. Pepper's back porch. If you find him, I do hope you won't catch him in a jar or anything. That would be very cruel.\"\n\n> Go southeast\nMrs. Dogwood returns to her gardening.\n\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nA battered old car is parked in the drive, just under an open window.\n\nYou see a trash can here.\n\n> You look at the tree\nA few green leaves cling to the crooked branches of the tree, but really it looks more dead than alive. Mrs. Pepper calls it her orange tree -- in fact, one of your more memorable run-ins with her occurred when she accused you of stealing oranges from the tree. But in truth you've never seen an orange growing on the tree. The idea that it's an orange tree is purely a theory, as far as you're concerned.\n\n> You take branch\nAs sickly as the orange tree looks, its branches are still firmly attached to it.\n\n> Break branch\nPainful experience has taught you that breaking things quite often gets you into trouble.\n\n> You climb the tree\nThe tree is too spindly to support your weight.\n\n> Examine flyer\nThe flyer is crisp, new, and colorful. In big bright letters it advertises a special sale at Flogg & Grabby's Stufftown, a shopping mall that lies just half a mile down the road. If the flyer is to be believed, the sale ends this very afternoon. \"INCREDIBLY LOW PRICES ON GORGEOUS LADIES' WIGS!!!\" it promises.\n\nMrs. Pepper is not your idea of a gorgeous lady (if anything, just the opposite). But she certainly is fond of wigs. Every time you see her, it seems, her wig is a different color and style, each more outlandish and ill-fitting than the last. What they all have in common is that they look as if she bought them in a thrift shop.\n\n> You examine the door\nThe door is of solid wood, except for a tiny peephole covered with a filigree of wrought iron. It's closed.\n\n> You put the flyer under door\nThe door is tightly fitted to its frame. There's not even a tiny gap at the bottom.\n\n> You look at the peephole\nThe peephole would be used by someone on the inside to see who's at the door. At the moment, it's closed.\n\n> You drop the flyer\nYou set down the advertising flyer.\n\n> Go south\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\nAfter a brief pause, the front door opens. Mrs. Pepper ventures out on the porch, looks around to make sure no one is close enough to sneak past her into the house, and then bends to retrieve the flyer. For long seconds, she peers at it closely, holding it in both hands. Maybe it's only your imagination, but it looks as if her hands are actually trembling with desire. Then she turns on her heel and dives back into the house.\n\nA moment later she bursts out again, a large purse over her arm.\nAfter carefully locking the door, she strides off in the direction of the driveway. You hear her car coughing to life, and in a squeal of tires it backs down the driveway, careens into the street, reverses direction, and roars away in a cloud of blue exhaust vapors.\n\n> Go east\nThe driveway continues northward along the side of the house, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> Go north\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nYou see a trash can here.\n\n> You throw the can\nWhat do you want to throw it at?\n\n> At the window\nThe trash can hits the window without any obvious effect, and falls to the ground.\n\n> You enter window\nYou manage to clamber through the window -- but as you do so, you accidentally knock the lid off the can.\n\nYou glance nervously around as your feet land on the floor, but so far as you can tell the house really is empty now -- at least, you can't hear anybody about.\n\nCompared to your parents' kitchen, Mrs. Pepper's seems, well, a bit mean and cramped, just like its owner. Most of the space is taken up by the old wooden table standing right in the middle. Beneath the lip of the table is a wide, shallow drawer. Completing the furnishings are a cupboard, a sink, a stove, and a refrigerator. The back door leads out to the north, while to the south is an open doorway, its door long since removed. The window through which you've just climbed is set in the east wall, and on the opposite side of the room a flight of steps leads down into darkness.\n\n> You examine the drawer\nIt's just a plain wooden drawer. It's closed.\n\n> You open the drawer\nOpening the drawer reveals a small flashlight.\n\n> You get it\nYou can't have that; it's part of the kitchen table.\n\n> You get the torch\nYou pick up the small flashlight.\n\n> You examine table\nIt's a big square wooden table, old and scratched. Beneath one edge is a single drawer.\n\n> You look under the table\nThe only thing under the table is its drawer.\n\n> You open the cupboard\nOpening the cabinet reveals a glass and a butter knife.\n\n> You look at the glass\nIt's chipped on one edge. It's currently empty.\n\n> You get all\nfridge: You can't take that.\nkitchen table: The kitchen table is too heavy.\nglass: You pick up the glass.\nbutter knife: You pick up the butter knife.\n\n> You fill the glass\n(from the faucet)\n(first turning on the faucet, then putting the glass under it)\nYou hold the glass under the faucet until it fills up with water.\n\n> You open the fridge\nOpening the fridge reveals a stale loaf of bread and a large wedge of blue cheese.\n\nThere's an overpowering smell of over-ripe cheese.\n\n> You examine the cheese\nThe cheese is runny in some spots and dried and crusty in other spots, all at the same time. Its odor is remarkable: If it gets much riper, it'll probably come when you call it. Phewww! It smells horrible.\n\n> You get the cheese and the bread\nlarge wedge of blue cheese: You'd rather leave it where it is.\nstale loaf of bread: You'd rather not touch it.\n\n> You examine the bread\nIt looks like one of your more successful school biology experiments -- the one where you're meant to grow a culture of mold.\n\n> You smell the cheese\nPhewww! It smells horrible.\n\n> You look at the stove\nThe stove is not as nice as the one your family has, and not as clean either. Bits of this and that have dribbled down the front and dried there. It's closed.\n\n> You examine it\nOpened.\n\nThe stove is not as nice as the one your family has, and not as clean either. Bits of this and that have dribbled down the front and dried there. It's open.\n\n> You examine the sink\nThe large porcelain sink is built against the east wall, near the window. A faucet is mounted above the sink.\n\n> You turn on the flashlight\nYou thumb the switch, but the flashlight fails to turn on.\n\n> You open the flashlight\nOpened.\n\n> You examine the flashlight\nThe flashlight is slim, and about four inches long. There's a switch on one side, and an opening in the end through which a battery can be inserted. It's open.\n\n> You go south\nThis hall is little more than a narrow passage connecting the rooms to north and south. On the east side a flight of stairs leads up to the floor above, and there's an opening to the west, with a black button next to it at waist height.\n\n> Examine button\nIt's an ordinary black button, set in a little brass plate.\n\n> Go upwards\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is closed.\n\n> You go north\nThis small, square room is furnished in a plain, unattractive style. Opposite the bed stands a dressing table, on which is a row of styrofoam heads. Arranged on the heads are some rather ugly wigs.\nThe way out is to the south, and there's a bathroom to the east.\n\n> You examine the wigs\ngreen wig: The green wig is a mass of greasy green ringlets. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: TGPXH XKHHW.\n\nauburn wig: The auburn wig is short and balloon-shaped. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: ZGBH YAHHKHU EHAQTKHX XYHFEH.\n\nblond wig: The hair of the blond wig sticks straight out, as if it's made of clumps of straw. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: XPZZDS FGQS.\n\nblack wig: The black wig is very long, and the curls are tangled. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: ZGOQTGK KDTBQSO.\n\n> You take the wigs\ngreen wig: You pick up the green wig.\nauburn wig: You pick up the auburn wig.\nblond wig: You pick up the blond wig.\nblack wig: You pick up the black wig.\n\n> You look at the table\nThe dressing table is unusually large. A mirror is mounted above it, and a single drawer is tucked away beneath. A row of white styrofoam heads stands on the table.\n\n> You open the drawer\nOpening the dressing table reveals a brush and a musical score.\n\n> You look at the score\nIt appears to be the score for an opera called Die Zauberokarina by A.W. Trazom.\n\n> You look at the brush\nJudging from the multi-colored strands caught in its bristles, Mrs. Pepper uses this cheap black plastic brush on her wigs. There's some kind of emblem on the back of the brush.\n\n> You examine the emblem\nIt's fairly schematic, but it looks like a scarlet fish. Underneath it is some tiny lettering.\n\n> You read the lettering\nYou can't make it out. It appears to be in Arabic or some other alphabet you have no idea how to read.\n\n> You look at the bed\nThe king-size bed is covered with a brown comforter.\n\n> You examine the comforter\nIt's a brown quilted coverlet.\n\n> Inventory\nYou are carrying a small flashlight, a glass (full of water), a butter knife, and four wigs (one green, one auburn, one blond, and one black).\n\n> Go east\nThe way out is to the west. The normal bathroom stuff is here, including a bath, a washbasin and a toilet.\n\n> You look at the bath\nIt's a plain white enamel bath, matching the sink; at least, it was white once, it's now mostly off-white with a number of distinctly brown stains.\n\n> You examine the basin\nIt's just a plain white enamel basin, matching the bath. A faucet is mounted above it.\n\n> You look behind the toilet\nYou don't need to use it right now, and you're not so sure of Mrs. Pepper's standards of hygiene that you want to mess with this part of her plumbing.\n\n> You get the toilet brush\nYou see nothing unusual about it.\n\nYou see no toilet brush here.\n\n> You go to the west\nThis small, square room is furnished in a plain, unattractive style. Opposite the bed stands a dressing table, on which is a row of styrofoam heads. The way out is to the south, and there's a bathroom to the east.\n\nThe dressing table contains a brush and a musical score.\n\n> You look at the heads\nThe four white styrofoam heads stand stiffly on the dressing table. They look rather ominously ghostly, as they have no faces.\n\n> You get brush\nYou pick up the brush.\n\n> You get the score\nYou pick up the musical score. Moving the musical score reveals an ocarina underneath.\n\n> You get the ocarina\nYou pick up the ocarina.\n\n> You get the ocarina\nThe plastic ocarina is about the shape and color of a potato. There are a few holes across the top, and a sort of mouthpiece at one side for blowing into.\n\nYou are already carrying the ocarina.\n\n> Play score\nThe score is far too complex for you to cope with -- hemisemidemiquavers by the bushel!\n\n> Brush hair\nYou give your hair a good brush. Maybe it ends up just a little tidier.\n\n> Go south\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is closed.\n\n> You examine the steel door\nThe door has no visible knob or handle. It's recessed slightly in the wall.\n\n> You open the door\n(the bedroom door)\nThe bedroom door won't budge; it resists your attempts to open it with almost supernatural determination.\n\n> You look at the score\nIt appears to be the score for an opera called Die Zauberokarina by A.W. Trazom.\n\n> Play score\nThe score is far too complex for you to cope with -- hemisemidemiquavers by the bushel!\n\n> You play the okerina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. You fancy you detect a momentary shimmering across the surface of the bedroom door, but possibly your eyes are playing tricks on you.\n\n> You knock on the door\n(the bedroom door)\nYou think you hear a faint answering croak on the other side of the door, but you can't be quite sure.\n\n> You go north\nThis small, square room is furnished in a plain, unattractive style. Opposite the bed stands a dressing table, on which is a row of styrofoam heads. The way out is to the south, and there's a bathroom to the east.\n\n> You look in the mirror\nYou look almost exactly the same as the last time you looked in a mirror.\n\n> You hold the brush\nYou are already carrying the brush.\n\n> You examine the knife\nIt's a small knife, made of stainless steel. It looks as if it should cut through butter readily enough, but it probably wouldn't make much of an impression on a rump steak."
    },
    {
        "text": "[Themes: Children's, house setting, gender-neutral protagonist, magic, kid-friendly]\n\n> Go downwards\nYou can't go that way. Obvious exits lead south, back to the landing; and east, to the bathroom.\n\n> Go south\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is closed."
    },
    {
        "text": "> Go downward\nYou can't go that way. Obvious exits lead north, to the kitchen; south; west; and up, back to the landing.\n\n> Go north\nThe kitchen is small, and equipped with the usual appliances, including a cupboard, a sink, a stove, and a refrigerator, though most of the space is taken up by the unusually bulky wooden table standing in the middle of the room. The back door leads north, while to the south is an open doorway. A flight of stairs on the west side of the room leads down, roughly opposite the window in the east wall.\n\nThe fridge contains a large wedge of blue cheese and a stale loaf of bread.\n\nThere's an overpowering smell of over-ripe cheese."
    },
    {
        "text": "[Themes: Children's, witch]\n\n> You go down\nYou tiptoe down the stairs into the cellar. It certainly is dark down here....\n\nCellar (in pitch darkness)\nYou can't see anything in here, apart from the dim outline of the stairs leading back up.\n\n> You go south\nThis boxy little room is furnished in a fussy, old-fashioned style. The one modern touch is a wide-screen TV, with a couch facing it. A low coffee table sits in front of the couch, and a fireplace is set in another wall. There's a door to the south, and the open doorway to the hall is on the north.\n\nOn the mantel is a framed photo. On the coffee table are a yellow book and a remote control.\n\n> You examine the control\nThe remote is studded with buttons, but two of them are especially large and appear well-thumbed. One is red, the other blue. Around the back is a sort of plastic hatch cover.\n\n> You examine the fireplace\nThe fireplace has an artificial gas log in it, and a mantel above.\n\n> You look at log\nThe gas log is gray. Its bark is wrinkled in an unconvincing way.\n\n> You look at the buttons\nThe main buttons of interest are the red button marked ON and the blue button marked CHAN.\n\n> You examine table\nThe coffee table is made of dark wood. On the coffee table are a yellow book and a remote control.\n\n> Examine book\nThe book is a thick paperback with a yellow cover. It's entitled Spell-Casting for Dummies.\n\n> You take remote\nYou pick up the remote control.\n\n> You open the remote\nOpening the remote control reveals an AA battery.\n\n> You read the book\n(first taking the yellow book)\nAs you open the book, a piece of paper falls out and flutters to the floor.\n\n> You take the battery\nYou pick up the AA battery.\n\n> You put the battery in the flashlight\nYou put the battery in the flashlight and close it.\n\n> You take the paper\nYou pick up the piece of paper.\n\n> You take all\nframed photo: You pick up the framed photo.\nwide-screen TV: The wide-screen TV is too heavy.\ncouch: The couch is too heavy.\ncoffee table: The coffee table is too heavy.\n\n> You examine couch\nThe couch, which is easily long enough for you to lie on, is set facing the wide-screen TV. It's covered in a rather depressing shade of brown leather, which has become more than a little shiny in some places, and scuffed in others.\n\n> You turn on the tv\nIt looks like you have to use the remote to do that.\n\n> You open the flashlight\nOpening the small flashlight reveals an AA battery.\n\n> You close flashlight\nClosed.\n\n> You get the paper\nYou are already carrying the piece of paper.\n\n> You examine paper\nOn the piece of paper someone has written, in block capitals with a stubby pencil, the phrase \"THE MIND POWER OF GLAMOROUS HAIR CLUSTERS.\" Below this is another phrase, which oddly enough is total gibberish: \"JAH ZQSU WDYHF DI OKGZDFDPX AGQF TKPXJHFX.\"\n\n> You look at the green wig\nThe green wig is a mass of greasy green ringlets. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: TGPXH XKHHW.\n\n> You check what you're carrying\nYou are carrying a small flashlight (providing light), a glass (full of water), a butter knife, four wigs (one green, one auburn, one blond, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, and a framed photo.\n\n> You read the book\nThere's an index at the back of the book, where you might be able to look up specific topics if any interest you. Ignoring the index for the moment, you flip through the book at random, and encounter a recipe for a love potion, the principle ingredients of which seem to be onions and vacuum cleaner lint.\n\n> You look up toads\n(in the yellow book)\nThe yellow book doesn't seem to have much to say on that subject -- nothing you can find in the index, at any rate.\n\n> You read the index\nThere's an index at the back of the book, where you might be able to look up specific topics if any interest you. Ignoring the index for the moment, you flip through the book at random, and encounter a numbingly complex description of Polynesian astrology, complete with pages of smudgy diagrams.\n\n> You look up wig\n(in the yellow book)\nYou thumb through the index. There's nothing under \"wigs,\" but purely by chance you spot an entry for \"garments, magical, uses of.\" This section of the book proves to be devoted almost entirely to full-page, exotically lighted photos of pointed black hats with wide brims -- but a short paragraph reveals that the working of a spell usually requires both the wearing of a magically enhanced garment and the performance of some other action, such as shooting off firecrackers or plucking the feathers from a recently deceased chicken.\n\n> You look up the sleep\n(in the yellow book)\nYou thumb through the index and find a listing for \"sleep, inducing.\" On the indicated page, the book explains that to put someone to sleep, you need to be wearing a magically prepared garment or head-covering and chant a brief incantation while wielding the Sign of the Scarlet Fish. Unfortunately, the incantation is written in an alphabet you've never seen before, although it may be in the same script as the writing on the hairbrush. It looks rather like Arabic, but with a lot more squiggles.\n\n> You look up wheeled vehicles\n(in the yellow book)\nYou thumb through the index and after hunting for a bit, find a listing for \"vehicles, wheeled, causing to swerve.\" The indicated page seems to have been torn out, however.\n\n> You look up rain\n(in the yellow book)\nYou thumb through the index and find a listing for \"rain, summoning.\" On that page, the book explains that rain can be induced to fall by wearing a garment or head-covering imbued with the proper power while pouring water on the ground and holding a bamboo stick. The spell for adding this power to an ordinary garment is quite intimidatingly complex, sad to say, and requires several ingredients that you not only don't have but have never even heard of.\n\n> You look up locking\n(in the yellow book)\nYou thumb through the index and find a listing for \"locks, magical.\" On that page is printed the following verse:\n\nTo free the lock that I was glad\nTo conjure up when rightly clad.\n\n> You look at the blond wig\nThe hair of the blond wig sticks straight out, as if it's made of clumps of straw. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: XPZZDS FGQS.\n\n> You check what you're carrying\nYou are carrying a small flashlight (providing light), a glass (full of water), a butter knife, four wigs (one green, one auburn, one blond, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, and a framed photo.\n\n> You look at the auburn wig\nThe auburn wig is short and balloon-shaped. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: ZGBH YAHHKHU EHAQTKHX XYHFEH.\n\n> You examine the green\nThe green wig is a mass of greasy green ringlets. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: TGPXH XKHHW.\n\n> You examine black\nThe black wig is very long, and the curls are tangled. Attached to the elastic band at the back is a little hand-lettered cardboard tag, which reads: ZGOQTGK KDTBQSO.\n\n> Play score\nThe score is far too complex for you to cope with -- hemisemidemiquavers by the bushel!\n\n> You play ocarina\nYou tootle a few sour notes on the ocarina. The front door vibrates for a moment in a dull, heavy way, as if it's becoming darker and more massive."
    },
    {
        "text": "[Themes: Children's, child, magic-object, gender-neutral protagonist, kid-friendly]\n\n> Go downwards\nYou can't go that way. Obvious exits lead north, to the kitchen; south, back to the sitting room; west; and up, to the landing."
    },
    {
        "text": "[Themes: Children's, child, kid-friendly, house setting, gender-neutral protagonist]\n\n> Go down\nThe cellar is dim and dismal. A flight of stairs leads up. Near the foot of the stairs a slim chain dangles from the ceiling. Off to one side squats a heavy piece of machinery, and a plank shelf has been built into the opposite wall.\n\nA battered old wheelchair slumps in one corner.\n\n> You pull the chain\nYou pull the chain, and the cellar is illuminated by a bare lightbulb mounted on a rafter at the upper end of the chain.\n\n> You look at the chari\n(x chair)\n\nIt may still be functional, but it has clearly seen better days, and has hardly been treated with tender loving care. Part of the fabric is torn, and several spots of rust are appearing, not least on the brake lever.\n\nYou recall your mother telling you how poor Mr. Pepper was found dead at the foot of the cellar stairs following a tragic accident involving his wheelchair. After your various encounters with his widow, you find yourself wondering just how accidental his accident actually was.\n\n> You look at the chair\nIt may still be functional, but it has clearly seen better days, and has hardly been treated with tender loving care. Part of the fabric is torn, and several spots of rust are appearing, not least on the brake lever.\n\n> You examine the lever\nIt's just a short lever with a worn rubber grip at the end. The exposed metal part is beginning to look a bit rusty. Apparently the brake is on. It looks as if something may be jamming the lever from underneath, but you can't quite see what's back there without looking behind the lever.\n\n> You look behind the lever\nBehind the brake lever is a bunch of keys. It looks like they must have fallen there from the owner's pocket.\n\n> You get the keys\nThe keys seem to be stuck behind the lever; you'll need something to move them with, something thin enough to fit behind the lever but sturdy enough to dislodge the keys.\n\n> You get the keys with the knife\nYou poke the knife behind the brake lever, and manage to dislodge the bunch of keys, which promptly falls onto the ground.\n\n> You take the keys\n(first standing up)\nYou pick up the bunch of keys.\n\n> You look at the shelf\nThe shelf is built high against one wall. On the shelf is a glass jar (which contains a small metallic object).\n\n> You look at the jar\nThe glass jar seems to have been used at one time to hold paint. The interior surface is splattered with flecks of white, and a few dribbles have flowed down the outside and dried. The jar is quite dusty on the outside. It contains a small metallic object.\n\n> You get jar\n(first getting off of the wheelchair)\nYou can't reach the glass jar because the shelf is too high.\n\n> You pull the lever\nYou pull the brake lever to its stop.\n\n> You remove the brake\n(from the wheelchair)\nYou can't have that; it's part of the wheelchair.\n\n> You pull the lever\nThe innards of the machine are concealed by a metal housing. On one side is a large vertically mounted wheel, around both sides of which a sturdy cable runs up through the ceiling. Not far from the cable a black-coated wire dangles down from the ceiling. The lower end of the wire swings free not far from a screw that protrudes from the top of the machine. Mounted in the north wall just behind the machine is a small metal door.\n\nYou pull the brake lever to its stop.\n\n> You stand on the wheelchair\nThe wheelchair starts to roll away as soon as you try to stand on it.\n\n> You get the jar\nYou pick up the glass jar.\n\n> You examine JR\n(x jar)\n\nThe glass jar seems to have been used at one time to hold paint. The interior surface is splattered with flecks of white, and a few dribbles have flowed down the outside and dried. The jar is quite dusty on the outside. It contains a small metallic object.\n\n> You open the jar\nThe lid seems to be stuck.\n\n> You open lid with the knife\nThe jar's lid proves too stubborn for that to work.\n\n> You take the jar\nYou are already carrying the glass jar.\n\n> You drop jar\nSaved.\n\nThe jar plummets to the floor and breaks."
    },
    {
        "text": "[Themes: Children's, house setting, Skateboard, kid-friendly, magic, gender-neutral protagonist]\n\n> You look around\nCellar (standing on the wheelchair)\nThe cellar is dim and dismal. A flight of stairs leads up. Near the foot of the stairs a slim chain dangles from the ceiling. Off to one side squats a heavy piece of machinery, and a plank shelf has been built into the opposite wall.\n\nThe old wheelchair is resting just by the shelf.\n\nYou see a glass jar (broken) (which contains a small metallic object) here.\n\n> You get the jar\n(first getting off of the wheelchair)\nYou pick up the glass jar.\n\n> You take the object\nYou pick up the small metallic object.\n\n> You examine object\nIt's an antique gold brooch, roughly round and about an inch and a half in diameter.\n\n> You examine the machine\nThe innards of the machine are concealed by a metal housing. On one side is a large vertically mounted wheel, around both sides of which a sturdy cable runs up through the ceiling. Not far from the cable a black-coated wire dangles down from the ceiling. The lower end of the wire swings free not far from a screw that protrudes from the top of the machine. Mounted in the north wall just behind the machine is a small metal door.\n\n> You examine the door\nIt's a small, gray, metal door set into the north wall. A thick cable runs up from the door to the ceiling. It's closed.\n\n> You open the door\nOpening the metal door reveals a small box containing a large red switch.\n\n> You pull the wire\nTouching the wire gives you a severe shock, so you let go of it at once.\n\n> You hit switch\nWhich switch do you mean, the large red switch, or the small flashlight?\n\n> Red switch\n(the large red switch)\nYou cannot attack that.\n\n> You press the red\nWhich red do you mean, the red button, or the large red switch?\n\n> You pull the wire\nYou grip the end of the wire between two fingers and give it a little tug. It seems to be securely attached to something up in the ceiling, but this end is dangling loose -- not the usual situation, with electrical wires.\n\n> You look at the screw\nThe screw protrudes from the top plate of the machine housing.\n\n> Turn wheel\nIt proves to be too stiff to turn by hand.\n\n> Screw\nWhat do you want to screw?\n\n> You examine the red button\nThe red button says \"ON\" in large square letters.\n\n> Inventory\nPlease select a file in which to save the current position >\nSaved.\n\nYou are carrying a small flashlight, a glass (full of water), a butter knife, three wigs (one green, one auburn, and one blond), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a bunch of keys, a glass jar (broken), and a gold brooch. You're wearing a black wig.\n\n> Go upwards\nThe kitchen is small, and equipped with the usual appliances, including a cupboard, a sink, a stove, and a refrigerator, though most of the space is taken up by the unusually bulky wooden table standing in the middle of the room. The back door leads north, while to the south is an open doorway. A flight of stairs on the west side of the room leads down, roughly opposite the window in the east wall.\n\nThe fridge contains a large wedge of blue cheese and a stale loaf of bread.\n\nThere's an overpowering smell of over-ripe cheese.\n\n> You go north\n(first unlocking the back door, then opening it)\n\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The back door leading into the house is just to the south.\n\nMrs. Dogwood is working in the garden next door.\n\n> You examine the ramp\nThe ramp ascends smoothly from the ground to the porch.\n\n> You give the brooch to Dogwood\nMrs. Dogwood doesn't appear to hear you. Perhaps if you were closer to her....\n\n> Go north\nThe back yard is in a dreadful state. Except for a few sorry weeds, nothing grows here. Someone has dug holes of various sizes, leaving mounds of dirt and gravel everywhere. A concrete birdbath stands in the center of the yard. The back porch of the house lies directly to the south.\n\nThe driveway is off to the southeast, past the corner of the garage. The garage itself stands directly to the east.\n\nMrs. Dogwood is working in the garden next door.\n\n> You give the brooch to Dogwood\n\"Hello again,\" you say.\n\n\"Hi there, youngster,\" she replies.\n\n\"Do you recognize this brooch, by any chance, Mrs. Dogwood?\" you ask.\n\n\"Yes! That's it! It's mine! I thought it was gone forever. Thank you so much for finding it for me.\" She takes the brooch and pins it to her jacket.\n\n> You ask about the ocarina\n\"My, but you're inquisitive!\" she exclaims. \"Just a regular little chatterbox.\"\n\n> You ask Dogwood about the spells\n\"You don't believe in magic, do you?\" you ask.\n\nShe titters. \"Magic? You mean like spells and witchcraft and such muck? Certainly not! I'm a sensible modern woman. All the same, one hears tales....\"\n\n> You ask Dogwood about the music\n\"I hardly know what to say!\" she declares.\n\n> You ask about the wigs\n\"Can you tell me anything about Mrs. Pepper's wigs?\" you ask.\n\n\"Hideous, aren't they?\" Mrs. Dogwood responds promptly. \"I don't know why she's so fond of them, or where she buys them, but I daresay there's no accounting for taste.\"\n\n> You ask about writing on the brush\n\"Well...\" she begins, then shakes her head, \"No, I don't have time to explain all that now.\"\n\n> You ask about the mozart\n\"To tell you the truth,\" she begins, and then goes off into a rambling explanation you lose the thread of somewhere in the middle of the third sentence.\n\n> You give the ocarina to Dogwood\nYou show the ocarina to Mrs. Dogwood, and her face wrinkles in a disgusted frown. \"That awful thing? I've heard Mrs. Pepper tootling on it, though I don't think she could carry a tune in a basket. She only plays it inside the house, thank goodness -- and I fancy the noise comes from upstairs.\"\n\n> You ask Dogwood to play the ocarina\nYou suspect that trying to boss Mrs. Dogwood around may not be the best way to secure her friendly co-operation.\n\n> Given the brush to dogwood\n(give brush to dogwood)\n\n\"I'm afraid I'm not all that interested in that right now, dear,\" she replies, with a quick glance at the brush.\n\n> You wear the green wig\nOkay, you're now wearing the green wig.\n\n\"My goodness,\" Mrs. Dogwood exclaims. \"What's that on your head? It looks just like one of Mrs. Pepper's awful wigs. It looks rather silly on you, I must say, but I suppose young people's sense of what's fashionable or trendy is not quite the same as mine.\"\n\n> You look up the sleep\n(in the yellow book)\nYou thumb through the index and find a listing for \"sleep, inducing.\" On the indicated page, the book explains that to put someone to sleep, you need to be wearing a magically prepared garment or head-covering and chant a brief incantation while wielding the Sign of the Scarlet Fish. Unfortunately, the incantation is written in an alphabet you've never seen before, although it may be in the same script as the writing on the hairbrush. It looks rather like Arabic, but with a lot more squiggles.\n\n> You give the book to Dogwood\nThe word \"sdzzpx\" is not necessary in this story.\n\n\"I'm afraid I'm not all that interested in that right now, dear,\" she replies, with a quick glance at the yellow book.\n\n> Go south\nMrs. Dogwood returns to her gardening.\n\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The back door leading into the house is just to the south.\n\nMrs. Dogwood is working in the garden next door.\n\n> You wear the black wig\n(first taking off the green wig)\nOkay, you're now wearing the black wig.\n\n> You press the button\n(the black button)\nYou push the black button, but nothing happens.\n\n> Go upwards\nYou can't go that way. Obvious exits lead north, to the back porch; south, back to the hall; east, to the section of driveway beside the house; and down, to the cellar.\n\n> You play ocarina\nYou tootle a few sour notes on the ocarina. The bedroom door shimmers pleasantly for a moment, as if a rainbow of light is passing across it.\n\n> You open the door\n(the bedroom door)\nOpened.\n\n> Go south\nThis boxy room is mostly unfurnished. Its most interesting feature is a large pot or planter -- the sort of thing you'd expect to see a potted palm growing in. In this pot, however, is a small brownish-green person.\n\nThe door is to the north, and there's a window in the opposite wall.\n\nA pamphlet is lying on the floor.\n\n> You read the pamphlet\n(first taking the pamphlet)\nYou flip through the pamphlet. A lot of it is both boring and unlikely, but you manage to pick up one or two tidbits of information that might somehow be useful. First, the odd-looking little man in the pot is undoubtedly a garden elf, and not a pixie, leprechaun, or hobbit. The illustrations, though crudely drawn, make that pretty clear. Second, garden elves are reputed to be a type of plant, not an animal at all, though they look like little people. In the wild they're quite mobile: They can pop up out of the soil, duck down, and pop up again a hundred yards away in the blink of an eye -- but they can never venture more than a step or two away from the soil, as they have roots, not feet.\n\n> You examine the window\nThe window is narrow, consisting of a single pane of glass in a wooden frame. Curtains hang beside it. It's closed.\n\n> You pull the curtains\nYou pull the curtains closed, thereby shutting out much of the light.\n\n> You open the window\n(first opening the curtains)\nOpened.\n\n> You look at the window\nThe window is narrow, consisting of a single pane of glass in a wooden frame. Curtains hang beside it. It's open.\n\n> You look through the window\nThe window affords a view over the front yard and the busy street beyond.\n\n> You talk to the garden elf\n\"Hi there!\" you say.\n\nIn reply, the elf makes soft croaking, choking noises. With an effort, he finally manages to force out a few intelligible words: \"Water -- thirsty. Need water....\"\n\n> Inventory\nYou are carrying a small flashlight, a glass (full of water), a butter knife, three wigs (one green, one auburn, and one blond), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a bunch of keys, a glass jar (broken), and a pamphlet. You're wearing a black wig.\n\n> You pour the water on the elf\nWhen you lean over the pot and start to tip the glass of tap water into it, the elf writhes and convulses as if an electrical current were shooting through him. \"Nooooo!\" he cries in a quivering little voice. \"Nasty chemicals! Nooo, please. Need nice fresh water, not nasty chemical water.\" He falls back, sobbing.\n\n> You go to the north\nThe elf looks at you regretfully.\n\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is open.\n\n> You go north\nThis small, square room is furnished in a plain, unattractive style. Opposite the bed stands a dressing table, on which is a row of styrofoam heads. The way out is to the south, and there's a bathroom to the east.\n\n> Empty glass\nEmptying the glass here would only make a mess.\n\n> Drink water\nYou drink all the water in the glass; it tastes stale, flat, and rather bitter.\n\n> You fill the glass\n(from the faucet)\n(first turning on the faucet, then putting the glass under it)\nYou hold the glass under the faucet until it fills up with water.\n\n> Go south\nYou can't go that way. The only obvious exit leads west, back to the back bedroom.\n\n> You go south\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is open.\n\n> Go south\nThis boxy room is mostly unfurnished. Its most interesting feature is a large pot or planter -- the sort of thing you'd expect to see a potted palm growing in. In this pot, however, is a small brownish-green person.\n\nThe door is to the north, and there's a window in the opposite wall.\n\n> Go south\nYou could easily break an ankle jumping out the window.\n\n> You pour the water\nEmptying the glass here would only make a mess.\n\n> You give the water to the elf\n\"Hi there!\" you say.\n\nWhen you lean over the pot and start to tip the glass of tap water into it, the elf writhes and convulses as if an electrical current were shooting through him. \"Nooooo!\" he cries in a quivering little voice. \"Nasty chemicals! Nooo, please. Need nice fresh water, not nasty chemical water.\" He falls back, sobbing.\n\n> You wear the green wig\n(first taking off the black wig)\nOkay, you're now wearing the green wig.\n\n> You wear blond\n(first taking off the green wig)\nOkay, you're now wearing the blond wig.\n\n> You look up rain\n(in the yellow book)\nYou thumb through the index and find a listing for \"rain, summoning.\" On that page, the book explains that rain can be induced to fall by wearing a garment or head-covering imbued with the proper power while pouring water on the ground and holding a bamboo stick. The spell for adding this power to an ordinary garment is quite intimidatingly complex, sad to say, and requires several ingredients that you not only don't have but have never even heard of.\n\n> Inventory\nYou are carrying a small flashlight, a glass (full of water), a butter knife, three wigs (one green, one auburn, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a bunch of keys, a glass jar (broken), and a pamphlet. You're wearing a blond wig.\n\n> You ask the elf about the bamboo\nIn reply, the elf makes soft croaking, choking noises. With an effort, he finally manages to force out a few intelligible words: \"Water -- thirsty. Need water....\"\n\n> You take the elf\nHis legs seem to be firmly rooted in the soil in the pot.\n\n> You drop all\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\n\nblond wig:\n(first taking off the blond wig)\nYou set down the blond wig.\n\nblack wig: You set down the black wig.\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nbunch of keys: You set down the bunch of keys.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\n\n> You get the pot\nYou pick up the heavy pot.\n\n> You get the keys\nYou find that it's impossible to carry anything else while holding the heavy pot.\n\nThe elf looks at you regretfully.\n\n> Go north\nThe pot is far too heavy for you to carry any distance.\n\n> You drop the elf\nYou set down the heavy pot.\n\n> You look at the curtains\nThe curtains are made of some thin material printed in a predominantly blue chintzy pattern. They're open.\n\n> You close the curtains\nYou pull the curtains closed, thereby shutting out much of the light.\n\n> You examine the curtains\nThe curtains are made of some thin material printed in a predominantly blue chintzy pattern. They're closed."
    },
    {
        "text": "[Themes: Children's, witch, house setting]\n\n> Look around\nThis boxy room is mostly unfurnished. Its most interesting feature is a large pot or planter -- the sort of thing you'd expect to see a potted palm growing in. In this pot, however, is a small brownish-green person.\n\nThe door is to the north, and there's a window in the opposite wall.\n\n> You look at the pot\nThe fat brown pot looks to be made of earthenware. It's full of dirt, and a small, wrinkled, brownish-green person is lying curled up in it.\n\n> Go north\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is open.\n\n> Go north\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The back door leading into the house is just to the south.\n\nMrs. Dogwood is working in the garden next door.\n\n> You look at the garden\nOver the fence you can see that the garden next door is very well tended. Growing in one corner is a spectacular patch of bamboo shoots.\n\nMrs. Dogwood is working in the garden next door.\n\n> You get skateboard\nYour skateboard is too far away.\n\n> You get shoot\nThe patch of bamboo shoots is too far away.\n\n(get short)\n\nYou have better things to do than mess with your hair right now.\n\n> You ask Dogwood about the bamboo\n\"Hello again,\" you say.\n\n\"Hi there, youngster,\" she replies.\n\n\"That's a very impressive patch of bamboo you have there, Mrs. Dogwood,\" you say.\n\n\"Oh, you like my bamboo,\" she replies. \"I'm quite proud of it. It's not as easy to grow in this climate as you might suppose.\"\n\n> You get shoot\n(get short)\n\nYou have better things to do than mess with your hair right now.\n\n> You ask Dogwood about the bamboo\n\"That's a very impressive patch of bamboo you have there, Mrs. Dogwood,\" you say.\n\n\"Oh, you like my bamboo,\" she replies. \"I'm quite proud of it. It's not as easy to grow in this climate as you might suppose.\"\n\n> You ask Dogwood for the bamboo\n\"That's a very impressive patch of bamboo you have there, Mrs. Dogwood,\" you say. \"I've always thought it would be fun to have a walking cane made of bamboo. I don't suppose there's any chance you could cut off one of the pieces for me? You'd hardly miss it!\"\n\n\"Oh, you like my bamboo,\" she replies. \"I'm quite proud of it. Normally I dislike cutting it, but...\" She pauses.\n\n\"One good turn deserves another!\" she adds with a grin. \"Now that you've returned my brooch, I'd be happy to cut you a piece of bamboo!\"\n\nShe crosses her garden and returns a few moments later bearing a stick of bamboo, which she hands to you over the fence. \"Well, I believe I've done enough gardening for this afternoon,\" she finishes. \"I'm going to go inside now and phone Gladys to tell her all about how a nice young person found my brooch and returned it to me.\" With that, she strips off her gardening gloves and trots off toward her back door.\n\n> You pour the water on the ground\nThe word \"gloves\" is not necessary in this story.\n\nYou pour all the water from the glass onto the ground.\n\n> You pour the water\nYou pour all the water from the glass onto the ground. Within moments after the water splashes onto the ground, a very small but dense gray cloud gathers over your head. The brief rumble of thunder sounds more like the rattling of a sheet of tin in a cheap theatrical production than like real thunder -- but all the same, the cloud dumps a downpour of rain onto the ground for about ten seconds before dissipating as abruptly as it gathered. As the day is warm, the water on the ground swiftly evaporates in tendrils of steam. A good bit of water has fallen into the birdbath, however -- so much that it's in no danger of evaporating. The birdbath is now full of fresh rainwater.\n\n> You fill the glass with the water\nYou fill the glass with fresh rainwater from the birdbath.\n\n> You fill the glass\n(from the birdbath)\nThe glass is already full.\n\n> Drink glass\nYou drink all the water in the glass; it tastes nice and fresh.\n\n> You fill the glass\n(from the birdbath)\nYou dip the glass in the birdbath and fill it with fresh rainwater.\n\n> Go south\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The back door leading into the house is just to the south.\n\n> You give the water\n(to the elf)\n\"Hi there!\" you say.\n\nAs the fresh rainwater trickles into the soil of the pot, the elf begins to uncurl and stretch. No longer a shriveled ball cowering in the pot, he stands up straight, his eyes bright. \"Ahh ... ahh! You don't know how wonderful that feels! I think maybe I won't die today after all. I'd hug you if I could, but --\" He bends his knees as if trying to lift his feet free of the soil in the pot. \"-- I've been rather planted, you see. I'm an elf, by the way, in case you hadn't guessed.\"\n\n> You talk to the elf\nYou already have the elf's attention.\n\n(You could ask him about himself, Mrs. Pepper, your skateboard, or the pot, or tell him about your skateboard. You could also ask or tell him about various other things that might occur to you.)\n\n> You ask the elf about the skateboard\n\"Can you tell me how I might be able to get my skateboard out from under the porch?\" you ask. \"I think the space under there is just too small for me to crawl in.\"\n\n\"If you could get me downstairs and outdoors, I could certainly retrieve it for you,\" the elf replies. \"I did notice that beneath the porch is only bare soil, not pavement, so I could go there. But how you'll be able to get me downstairs I don't know. This pot looks awfully heavy!\"\n\n> You ask elf for the page\n\"Could you give me...?\" you begin.\n\n\"I doubt it,\" the elf replies, before you can even complete your request. \"My powers are very limited, you see.\"\n\n> You give the brush to the elf\n\"I don't have any use for that, I'm afraid,\" the elf says. \"Thank you for showing it to me, though.\"\n\n> You look up swerve\n(in the yellow book)\nYou thumb through the index and after hunting for a bit, find a listing for \"vehicles, wheeled, causing to swerve.\" The indicated page seems to have been torn out, however.\n\n> You ask about the car\n\"I'm not much of a conversationalist,\" he admits. \"You've stumped me ... if you'll forgive the term.\"\n\n> You ask the elf about the black button\n\"That's not something I know very much about,\" he responds. \"I'm very sorry.\"\n\n> You ask the elf about the machine\n\"You humans must lead such interesting lives,\" the elf says. \"You're just bursting with questions and comments!\"\n\n> You ask the elf about the bamboo\n\"Have you noticed the beautiful bamboo plant growing in the neighbor's yard?\" you ask.\n\n\"Oh, yes,\" the elf replies. \"From time to time I've seen humans using bamboo sticks for magical purposes, but I really don't know anything about how that might work. Perhaps you could look it up in the Encyclopedia Enchantica, if you can find a copy.\"\n\n> You take soil\nYou can't have that; it's part of the heavy pot.\n\n> You put the elf in the glass\n(first trying to take the elf)\nHis legs seem to be firmly rooted in the soil in the pot.\n\n> You put the soil in the glass\nYou can't put that anywhere; it's part of the heavy pot.\n\n> You drop all\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\n\nblond wig:\n(first taking off the blond wig)\nYou set down the blond wig.\n\nblack wig: You set down the black wig.\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\nbunch of keys: You set down the bunch of keys.\nbamboo stick: You set down the bamboo stick.\n\n> You take the pot\nYou pick up the heavy pot.\n\n> You drop the pot\nYou set down the heavy pot.\n\n> You take all\nsmall flashlight: You pick up the small flashlight.\nglass: You pick up the glass.\nbutter knife: You pick up the butter knife.\ngreen wig: You pick up the green wig.\nauburn wig: You pick up the auburn wig.\nblond wig: You pick up the blond wig.\nblack wig: You pick up the black wig.\nbrush: You pick up the brush.\nmusical score: You pick up the musical score.\nocarina: You pick up the ocarina.\nremote control: You pick up the remote control.\nyellow book: You pick up the yellow book.\npiece of paper: You pick up the piece of paper.\nframed photo: You pick up the framed photo.\nglass jar: You pick up the glass jar.\npamphlet: You pick up the pamphlet.\nbunch of keys: You pick up the bunch of keys.\nbamboo stick: You pick up the bamboo stick.\n\nheavy pot: To pick up the pot, you'll need both hands free.\n\n> You find the screwdriver\n(in the yellow book)\nThe yellow book doesn't seem to have much to say on that subject -- nothing you can find in the index, at any rate.\n\n> You play ocarina\nYou tootle a few sour notes on the ocarina. The bedroom door slams shut.\n\n> You look\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is closed."
    },
    {
        "text": "> Go downward\nThe cellar is dim and dismal. A flight of stairs leads up. Near the foot of the stairs a slim chain dangles from the ceiling. Off to one side squats a heavy piece of machinery, and a plank shelf has been built into the opposite wall.\n\nThe old wheelchair is resting just by the shelf.\n\n> You examine the machine\nThe innards of the machine are concealed by a metal housing. On one side is a large vertically mounted wheel, around both sides of which a sturdy cable runs up through the ceiling. Not far from the cable a black-coated wire dangles down from the ceiling. The lower end of the wire swings free not far from a screw that protrudes from the top of the machine. Mounted in the north wall just behind the machine is a small metal door.\n\n> You look at the screw\nThe screw protrudes from the top plate of the machine housing.\n\n> You examine the wire\nThe wire dangles down from the ceiling. It's covered with black insulating material, except for an inch or so at the lower end, which has the gleam of bare metal.\n\n> You examine photo\nThe photo is of Mrs. Pepper and a man you've never seen. She is standing with her hand on his shoulder; he is sitting in a wheelchair, gazing up at her with an expression that's hard to read -- something between fondness and brave dread. She's grimacing at the camera, showing her teeth in a way that was probably meant to be a smile.\n\n> You go south\nThis boxy little room is furnished in a fussy, old-fashioned style. The one modern touch is a wide-screen TV, with a couch facing it. A low coffee table sits in front of the couch, and a fireplace is set in another wall. There's a door to the south, and the open doorway to the hall is on the north.\n\n> You open the flashlight\nOpening the small flashlight reveals an AA battery.\n\n> You put the battery in the remote\n(first taking the AA battery from the small flashlight)\nDone.\n\n> You turn on the tv\nIt looks like you have to use the remote to do that.\n\n> You turn on the tv\nIt's already on.\n\n> Change channel\nThe display on the TV changes to show an episode of the long-running sitcom \"Fiends,\" about a flat-sharing coven of witches.\n\nThe word \"change\" is not necessary in this story.\n\n> You search the couch\nSearching your settee at home can frequently prove rewarding, since there's often the odd dime or quarter or lost bunch of keys fallen behind the cushions, but Mrs. Pepper's couch proves obstinately devoid of such interesting finds.\n\n> You look\nThis boxy little room is furnished in a fussy, old-fashioned style. The one modern touch is a wide-screen TV, with a couch facing it. A low coffee table sits in front of the couch, and a fireplace is set in another wall. There's a door to the south, and the open doorway to the hall is on the north.\n\n> You examine the mantel\nThe mantel is a shelf about four feet long, which runs along the wall above the fireplace.\n\n> You pull mantel\nIt's firmly fixed in place.\n\n> Inventory\nYou are carrying a small flashlight, a glass, a butter knife, three wigs (one green, one auburn, and one blond), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a glass jar (broken), a pamphlet, a bunch of keys, and a bamboo stick. You're wearing a black wig. The remote control contains an AA battery."
    },
    {
        "text": "[Themes: Children's, witch, child]\n\n> You describe your surroundings\nThis boxy little room is furnished in a fussy, old-fashioned style. The one modern touch is a wide-screen TV, with a couch facing it. A low coffee table sits in front of the couch, and a fireplace is set in another wall. There's a door to the south, and the open doorway to the hall is on the north.\n\n> You go to the south\n(first unlocking the front door, then trying to open it)\nThe front door won't budge; it resists your attempts to open it with almost supernatural determination.\n\n> You wear the black\nYou're already wearing it.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The front door shimmers pleasantly for a moment, as if a rainbow of light is passing across it.\n\n> You go to the south\n(first opening the front door)\n\nThe front door lies immediately to the north; the front yard is to the south. There's a doorbell button just by the front door.\n\n> Go east\nYou can't go that way. Obvious exits lead north, back to the sitting room; and south, to the front yard.\n\n> You go south\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\n> You examine weeds\nThe weeds look parched and withered.\n\n> You pull the weeds\nYou've never had any time for weeds.\n\n> Go north\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nYou see a trash can and a trash can lid here.\n\n> You go to the north\n(first trying to open the garage door)\nIt seems to have been shut for so long that the most recent layer of paint has sealed it up.\n\n> You cut the door with the knife\nThe butter knife doesn't have much of an edge to it. You'd probably have a hard time cutting butter with it, let alone the garage door.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. You hear something slam shut nearby. The window slams shut. The garage door vibrates for a moment in a dull, heavy way, as if it's becoming darker and more massive.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The garage door and the windowboth shimmer pleasantly for a moment, as if a rainbow of light is passing across them.\n\n> You examine the garage\nThe single-car garage is built of weathered planks, which are painted an unlikely shade of avocado green.\n\n> You go northwest\nThe back yard is in a dreadful state. Except for a few sorry weeds, nothing grows here. Someone has dug holes of various sizes, leaving mounds of dirt and gravel everywhere. A concrete birdbath stands in the center of the yard. The back porch of the house lies directly to the south.\n\nThe driveway is off to the southeast, past the corner of the garage. The garage itself stands directly to the east.\n\n> You look at the garage\nThe garage is pretty much just a wooden shed. It's painted green, and there's a plain wooden door on this side.\n\n> You examine the holes\nWhich holes do you mean, the excavations, or the ocarina?\n\n> You open door\n(first unlocking the garage door)\nOpened.\n\n> You go east\nThe interior of the garage smells dank and musty. A little sunlight leaks in through cracks and knotholes, and a pile of clutter occupies one corner. A workbench runs along the wall.\n\nA long-handled rake leans against the wall.\n\nOn the workbench is a toolbox.\n\n> You look at the clutter\nThe pile of clutter in the corner seems to consist mostly of discarded cardboard cartons, which are covered with dust and cobwebs.\n\n> You get the spider\n(get side)\n\nYou can't take that.\n\n> You get the toolbox\nYou pick up the toolbox.\n\n> You open it\nOpening the toolbox reveals a screwdriver."
    },
    {
        "text": "[Themes: Children's, kid-friendly, magic-object]\n\n> You look around\nThe interior of the garage smells dank and musty. A little sunlight leaks in through cracks and knotholes, and a pile of clutter occupies one corner. A workbench runs along the wall.\n\nA long-handled rake leans against the wall.\n\n> You examine workbench\nThe workbench is built along one wall of the garage. It's rather stained and nicked, as if someone used it at one time, but now it's entirely bare of tools.\n\n> You get the rake\nYou pick up the rake.\n\n> You examine the wall\n(the north wall)\nYou see nothing unusual about it.\n\n> You examine the garage door\n(the garage side door)\nIt's an ordinary door. It's open.\n\n> You get the screwd\nYou pick up the screwdriver.\n\n> You attach the wire\nWhat do you want to attach it to?\n\n> To screw\nIt appears you'll need both hands. Trying to hold anything other than the screwdriver while doing that is just too awkward.\n\n> You drop all except the screwdriver\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\nblond wig: You set down the blond wig.\n\nblack wig:\n(first taking off the black wig)\nYou set down the black wig.\n\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\nbunch of keys: You set down the bunch of keys.\nbamboo stick: You set down the bamboo stick.\ntoolbox: You set down the toolbox.\nrake: You set down the rake.\n\n> You attach the wire to the screw\nUsing the screwdriver, you attach the bare metal end of the wire to the screw on the top of the machine.\n\n> You examine machine\nThe innards of the machine are concealed by a metal housing. On one side is a large vertically mounted wheel, around both sides of which a sturdy cable runs up through the ceiling. Not far from the cable a black-coated wire dangles down from the ceiling. The wire is attached to a screw on the top of the machine. Mounted in the north wall just behind the machine is a small metal door.\n\n> You press the switch\n(the large red switch)\nA low humming sound starts coming from the machinery."
    },
    {
        "text": "[Themes: Children's, magic-object, child]\n\n> Go down\nThe cellar is dim and dismal. A flight of stairs leads up. Near the foot of the stairs a slim chain dangles from the ceiling. Off to one side squats a heavy piece of machinery, and a plank shelf has been built into the opposite wall.\n\n> You get all\nThe old wheelchair is resting just by the shelf.\n\nYou see a small flashlight, a glass, a butter knife, four wigs (one green, one auburn, one blond, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a glass jar (broken), a pamphlet, a bunch of keys, a bamboo stick, a toolbox, and a rake here. The remote control contains an AA battery.\n\nwheelchair: The old wheelchair would be far too awkward to carry. small flashlight: You pick up the small flashlight.\nglass: You pick up the glass.\nbutter knife: You pick up the butter knife.\ngreen wig: You pick up the green wig.\nauburn wig: You pick up the auburn wig.\nblond wig: You pick up the blond wig.\nblack wig: You pick up the black wig.\nbrush: You pick up the brush.\nmusical score: You pick up the musical score.\nocarina: You pick up the ocarina.\nremote control: You pick up the remote control.\nyellow book: You pick up the yellow book.\npiece of paper: You pick up the piece of paper.\nframed photo: You pick up the framed photo.\nglass jar: You pick up the glass jar.\npamphlet: You pick up the pamphlet.\nbunch of keys: You pick up the bunch of keys.\nbamboo stick: You pick up the bamboo stick.\ntoolbox: You pick up the toolbox.\nrake: You pick up the rake.\n\n> You play the okarna\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The toolbox slams shut.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The toolbox shimmers pleasantly for a moment, as if a rainbow of light is passing across it.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The small metal box slams shut. The toolbox vibrates for a moment in a dull, heavy way, as if it's becoming darker and more massive.\n\n> You play okarina\n(play ocarina)\n\nYou tootle a few sour notes on the ocarina. The small metal door and the toolboxboth shimmer pleasantly for a moment, as if a rainbow of light is passing across them.\n\n> You look at the wheel\nYou push the red button, but nothing happens.\n\nThe wheel is mounted vertically on the side of the machine. A thick metal cable loops around it, extending upward through the ceiling.\n\n> Examine box\nWhich box do you mean, the small metal door, or the toolbox?\n\n> You pull the switch\n(the large red switch)\nThe machinery falls silent.\n\n> You pull the switch\n(the large red switch)\nA low humming sound starts coming from the machinery.\n\n> You feel the machine\nIt feels pretty solid.\n\n> You use the rake\nI don't recognize the command USE, because it's a bit too vague; please be more specific about what you want to do.\n\n> You examine the holes\nWhich holes do you mean, the excavations, or the ocarina?\n\n> Excavation\nHoles of various sizes have been dug across the lawn, seemingly at random, as if some demented fortune-seeker were desperately seeking buried treasure. The more prosaic explanation, given the state of the back yard, is that the holes are due to energetic but incompetent gardening efforts.\n\n> Go south\nThe kitchen is small, and equipped with the usual appliances, including a cupboard, a sink, a stove, and a refrigerator, though most of the space is taken up by the unusually bulky wooden table standing in the middle of the room. The back door leads north, while to the south is an open doorway. A flight of stairs on the west side of the\n\n> Go south\nroom leads down, roughly opposite the window in the east wall.\n\nThe fridge contains a large wedge of blue cheese and a stale loaf of bread.\n\nThere's an overpowering smell of over-ripe cheese.\n\nThis hall is little more than a narrow passage connecting the rooms to north and south. On the east side a flight of stairs leads up to the floor above, and there's an opening to the west, with a black button next to it at waist height.\n\n> You go south\nThis boxy little room is furnished in a fussy, old-fashioned style. The one modern touch is a wide-screen TV, with a couch facing it. A low coffee table sits in front of the couch, and a fireplace is set in another wall. There's a door to the south, and the open doorway to the hall is on the north.\n\n> Go south\nThe front door lies immediately to the north; the front yard is to the south. There's a doorbell button just by the front door.\n\n> You go south\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\n> You look at the tree\nA few green leaves cling to the crooked branches of the tree, but really it looks more dead than alive. Mrs. Pepper calls it her orange tree -- in fact, one of your more memorable run-ins with her occurred when she accused you of stealing oranges from the tree. But in truth you've never seen an orange growing on the tree. The idea that it's an orange tree is purely a theory, as far as you're concerned.\n\n> You throw the rake at the the nutter\n(throw rake at the outer)\n\nThe rake falls to the lawn well short of the at the end of the driveway.\n\n> You get the rake\nYou pick up the rake.\n\n> You examine the fence\nThe fence is tall, and made of solid vertical boards. Once they were painted white, but by now they're gray and a bit water-stained.\n\n> Go east\nThe driveway continues northward along the side of the house, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> You go to the west\n(first trying to stand on the trash can)\nYou can't stand on the can after removing the lid.\n\n> You look at the fence\nThe fence to the north is tall and solid. The fence to the west is somewhat lower, allowing you to look over it into the adjoining yard, where a neighbor is at work in her garden.\n\n> You get the skateboard with the rake\nBy groping with the rake under the porch, you manage to drag your skateboard close enough to get your hands on it -- and then you pick it up. Success!\n\n> You examine the skateboard\nThe flame decals are starting to peel off, but that's because you've spent so many happy hours zipping around town on your skateboard."
    },
    {
        "text": "[Themes: Children's, witch, child, magic-object, magic]\n\n> Go upwards\nYou can't go that way. Obvious exits lead north, back to the back porch; south, to the hall; east, to the section of driveway beside the house; and down, to the cellar.\n\n> You go south\nThis hall is little more than a narrow passage connecting the rooms to north and south. On the east side a flight of stairs leads up to the floor above, and there's an opening to the west, with a black button next to it at waist height.\n\n> Go upwards\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is open.\n\n> Go south\nThis boxy room is mostly unfurnished. Its most interesting feature is a large pot or planter -- the sort of thing you'd expect to see a potted palm growing in. In this pot, however, is a small brownish-green person.\n\nThe door is to the north, and there's a window in the opposite wall.\n\n> You drop all\nscrewdriver: You set down the screwdriver.\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\nblond wig: You set down the blond wig.\n\nblack wig:\n(first taking off the black wig)\nYou set down the black wig.\n\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\nbunch of keys: You set down the bunch of keys.\nbamboo stick: You set down the bamboo stick.\ntoolbox: You set down the toolbox.\nrake: You set down the rake.\nyour skateboard: You set down your skateboard.\n\n> You put the pot on the skateboard\nDone."
    },
    {
        "text": "[Themes: Children's, kid-friendly, Skateboard, magic-object, house setting]\n\n> Go downward\nroom leads down, roughly opposite the window in the east wall.\n\nThe fridge contains a large wedge of blue cheese and a stale loaf of bread.\n\nThere's an overpowering smell of over-ripe cheese.\n\nThe cellar is dim and dismal. A flight of stairs leads up. Near the foot of the stairs a slim chain dangles from the ceiling. Off to one side squats a heavy piece of machinery, and a plank shelf has been built into the opposite wall.\n\nThe old wheelchair is resting just by the shelf.\n\n> You get the machine\nIt looks impossible to move the machinery and unwise to try.\n\n> Go up\nThe landing runs north-south past a steel door to the west. A staircase leads down to the floor below, and there's a black button low on the west wall. Immediately to the south the bedroom door is open.\n\nYour skateboard is lying on the floor.\n\nThe elf is standing in the pot that's on your skateboard.\n\n> You press the button\nThere's a short hum and then the steel door slides open.\n\n> You press the button\nThe steel door slides shut; a few moments later there is a brief humming noise, accompanied by a momentary sensation of lightness.\nThen the steel door slides open."
    },
    {
        "text": "> You look around\nThe back yard is in a dreadful state. Except for a few sorry weeds, nothing grows here. Someone has dug holes of various sizes, leaving mounds of dirt and gravel everywhere. A concrete birdbath stands in the center of the yard. The back porch of the house lies directly to the south.\n\nThe driveway is off to the southeast, past the corner of the garage. The garage itself stands directly to the east.\n\nYour skateboard is lying on the floor in the back porch.\n\nOn your skateboard is a heavy pot.\n\nThe elf is waiting for you to follow him to the southeast.\n\n> Go south\n\"No! No! Not that way!\" the elf stops you, his voice strangely compelling, \"We must go that way!\" He nods towards the section of driveway beside the house.\n\n> You go to the southeast\nThe elf leads the way to the side of the house.\n\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nYou see a trash can and a trash can lid here.\n\nThe elf beckons you to follow him south along the driveway.\n\n> You go south\nThe elf strides ahead of you into the drive.\n\nThe driveway continues northward along the side of the house, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\nThe elf nods towards the front yard, indicating that you are to follow him westwards.\n\n> Go west\nThe elf accompanies you into the front yard.\n\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\nThe elf stops in the middle of the front yard and nods towards the tree. \"Do you see that poor bedraggled orange tree there? It hasn't borne fruit in years, and may never again, unless someone else buys this house and nurtures it back to health. But it's not quite dead, no indeed. Watch closely now.\"\n\nHe gestures at the nearest branch with his long, slim, gnarled fingers. As you watch, a single bud bursts forth at the end of the branch. At first no more than a tiny green nub, it swells rapidly.\nIn a few seconds a plump, ripe orange is hanging from the branch.\n\n\"Go ahead,\" says the elf. \"Pick the orange and enjoy it. It's yours. Oh,\" he adds, handing you your skateboard, \"you nearly forgot this.\" Before you can stammer your thanks -- before you can blurt out the dozen questions jostling in your head about what it's like being an elf, and where he came from, and whether you'll ever see him again -- the elf has somehow folded himself inward, like a fast-motion film of a growing plant when the film is run backwards. He shrinks and runs downward into the soil, and he's gone.\n\n> Go east\nThe driveway continues northward along the side of the house, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\n> Go south\nYou're at the outer end of Mrs. Pepper's driveway, which extends to the north alongside her house. Before the house is a square of sadly neglected lawn. The sidewalk runs east and west from here, and the street is to the south.\n\n> You look at what you're carrying with you\nYou are carrying your skateboard.\n\n> You go east\nThis stretch of sidewalk runs more or less east-west between the busy street to the south and a tall, water-stained fence to the north.\nJust a few yards further west the fence ends where Mrs. Pepper's driveway thrusts into the roadway.\n\n> You go to the south\nThere's too much traffic for you to consider crossing the street.\n\n> Go west\nAfter taking a hurried detour to put Mrs. Pepper's possessions back where you found them, lock her house and garage, and toss the keys under the back porch, you head home, happy as can be: Not only did you meet an elf and save him from certain death, but you got your skateboard back too."
    },
    {
        "text": "[Themes: Children's, Skateboard, child, kid-friendly, magic-object]\n\n> You pick the orange\nThe orange tree is not something you can pick. Possibly you meant to type 'pick up'.\n\n> You get orange\nThe orange tree is too far away.\n\n> You get orange\nYou pick the orange.\n\n> You eat it\nYou peel the orange carefully, remove a section, and bite into it. Quite possibly it's the best-tasting orange you've ever had in your life!\n\n> You throw the orange\n(at Mrs. Pepper's house)\nThe orange hits Mrs. Pepper's house without any obvious effect, and falls to the lawn.\n\n> Go west\nAfter taking a hurried detour to put Mrs. Pepper's possessions back where you found them, lock her house and garage, and toss the keys under the back porch, you head home, happy as can be: Not only did you meet an elf and save him from certain death, but you got your skateboard back too.\n\n> You check your inventory\nYou are carrying a small flashlight, a glass, a butter knife, three wigs (one green, one auburn, and one blond), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a glass jar (broken), a pamphlet, a bunch of keys, and a bamboo stick. You're wearing a black wig.\n\n> Go east\n(first unlocking the garage door, then opening it)\n\nThe interior of the garage smells dank and musty. A little sunlight leaks in through cracks and knotholes, and a pile of clutter occupies one corner. A workbench runs along the wall.\n\nA long-handled rake leans against the wall.\n\nOn the workbench is a toolbox.\n\n> You open the toolbox\nThe word \"debris\" is not necessary in this story.\n\nOpening the toolbox reveals a screwdriver.\n\n> Examine box\nThe toolbox is made of metal, and has a hinged lid. Except for a few dents and dribbles of paint, it appears to be in good condition. It's open, and contains a screwdriver.\n\n> You take the screwdriver\nYou pick up the screwdriver.\n\n> You examine the workbench\nThe workbench is built along one wall of the garage. It's rather stained and nicked, as if someone used it at one time, but now it's mostly bare of tools. On the workbench is a toolbox.\n\n> You get the rake\nYou pick up the rake.\n\n> You take the rake\nYou are already carrying the rake.\n\n> You look at the rake\nThis is the long-handled rake that Mrs. Pepper tried to claw you with. Its long metal tines are filthy.\n\n> You look under the porch\nDeep in the shadows beneath the porch, you spy your skateboard!\n\n> You get the skateboard with the rake\nBy groping with the rake under the porch, you manage to drag your skateboard close enough to get your hands on it -- and then you pick it up. Success!\n\n> You examine the skateboard\nThe flame decals are starting to peel off, but that's because you've spent so many happy hours zipping around town on your skateboard.\n\n> Go south\nThe back porch is a plain wooden structure, with no railing or decoration. It looks as if it was tacked onto the house as an afterthought. It's several feet above the ground, with a ramp leading up to one side. The back door leading into the house is just to the south.\n\n> You turn the screw with the screwdriver\nYou give the screw a little twist with the screwdriver.\n\n> You remove the screw\n(from the machinery)\nYou can't have that; it's part of the machinery.\n\n> You examine the door\nIt's a small metal box, recessed into the wall behind a small gray door, and containing a large red switch. A thick cable runs up from the box to the ceiling. It's open.\n\n> You look at the switch\nWhich switch do you mean, the large red switch, or the small flashlight?\n\n> Large red switch\n(the large red switch)\nIt's a large red switch, mounted on the wall in a gray box, and currently in the 'down (off)' position.\n\n> You open the metal door\nThe small metal box is already open.\n\n> You look at the cable\n(the braided metal cable)\nThe thick braided metal cable loops around the wheel on the side of the machine. From both sides of the wheel, it extends upward through small holes in the ceiling.\n\n> You enter the metal door\n(the ocarina)\nThe plastic ocarina is about the shape and color of a potato. There are a few holes across the top, and a sort of mouthpiece at one side for blowing into.\n\nYou're not an ant!\n\n> You touch the wire\nThe wire fails to shock you. Evidently the switch on the wall is the circuit breaker.\n\n> You drop all\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\nblond wig: You set down the blond wig.\n\nblack wig:\n(first taking off the black wig)\nYou set down the black wig.\n\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\nbunch of keys: You set down the bunch of keys.\nbamboo stick: You set down the bamboo stick.\nscrewdriver: You set down the screwdriver.\nrake: You set down the rake.\n\n> You attach the wire to the screw\nyour skateboard: You set down your skateboard.\n\nTo do that, you'll need a screwdriver.\n\n> You take the screwdriver\nYou pick up the screwdriver.\n\n> You attach the wire to the screw\nUsing the screwdriver, you attach the bare metal end of the wire to the screw on the top of the machine.\n\n> You take all\nwheelchair: The old wheelchair would be far too awkward to carry. small flashlight: You pick up the small flashlight.\nglass: You pick up the glass.\nbutter knife: You pick up the butter knife.\ngreen wig: You pick up the green wig.\nauburn wig: You pick up the auburn wig.\nblond wig: You pick up the blond wig.\nblack wig: You pick up the black wig.\nbrush: You pick up the brush.\nmusical score: You pick up the musical score.\nocarina: You pick up the ocarina.\nremote control: You pick up the remote control.\nyellow book: You pick up the yellow book.\npiece of paper: You pick up the piece of paper.\nframed photo: You pick up the framed photo.\nglass jar: You pick up the glass jar.\npamphlet: You pick up the pamphlet.\nbunch of keys: You pick up the bunch of keys.\nbamboo stick: You pick up the bamboo stick.\nrake: You pick up the rake.\nyour skateboard: You pick up your skateboard.\n\n> You turn on the red switch\nA low humming sound starts coming from the machinery.\n\n> You examine machine\nThe innards of the machine are concealed by a metal housing. On one side is a large vertically mounted wheel, around both sides of which a sturdy cable runs up through the ceiling. Not far from the cable a black-coated wire dangles down from the ceiling. The wire is attached to a screw on the top of the machine. Mounted in the north wall just behind the machine is a small metal door.\n\n> You open the door\nThe small metal box is already open.\n\n> You get in the door\n(the bedroom door)\nYou can't board that.\n\n> You enter the elevator\nThis chamber is not much larger than a closet. The way out is to the east, next to a waist-height black button.\n\n> You go to the west\n(first trying to open the steel door)\nThe steel door seems to be locked.\n\n> Go upwards\nYou can't go that way. Obvious exits lead north, to the back bedroom; south, to the front bedroom; west; and down, back to the hall.\n\n> Go west\nThis chamber is not much larger than a closet. The way out is to the east, next to a waist-height black button.\n\n> You press the button\n(the black button)\nThe steel door slides shut; a few moments later there is a brief humming noise, accompanied by a momentary sensation of lightness.\nThen the steel door slides open.\n\n> You ask the elf about the skateboard\nWith some pride, you tell the elf how you got your skateboard out from under the porch using the rake. \"I'm very happy for you,\" he says, not sounding particularly happy. \"I've seen young humans racing down the walk on skateboards, and it does look like fun. But I've never been on one myself, nor am ever likely to be, since I have roots in place of feet.\"\n\n> You ask the elf about the elevator\n\"Did you know there's an elevator in this house?\" you ask the elf.\n\n\"What's an elevator?\" he replies. \"I'm a creature of the Great Outdoors, you'll understand. I know very little about what's inside houses.\"\n\n\"It's ... well, it's a little room that goes up and down,\" you explain.\n\n\"You mean, like a bird?\"\n\n\"Well, no,\" you admit. \"An elevator isn't really very much like a bird. It's more like ... oh, never mind.\"\n\n> You ask the elf about the elf\n\"I don't know very much about ... little people,\" you venture. \"Are you by any chance an elf?\"\n\n\"Why, that I am. A good guess. Not a very important elf, though, just a common garden elf. My name is Turlix.\" He bows.\n\n> You ask the elf about yourself\n\"That's not something I know very much about,\" he responds. \"I'm very sorry.\"\n\n> You ask Turlix about the mr pepper\n\"I'm not much of a conversationalist,\" he admits. \"You've stumped me ... if you'll forgive the term.\"\n\n> You ask the elf about the mr pepper\n\"You humans must lead such interesting lives,\" the elf says. \"You're just bursting with questions and comments!\"\n\n> You ask the elf about the elves\n\"Do all garden elves live in pots in houses?\" you ask. \"I mean, I wouldn't have guessed.\"\n\n\"Oh, no,\" he says, shaking his head sadly. \"I'm being held captive by that awful woman. It was my own fault,\" he says, looking chagrined. \"Her garden is such a disaster, so dreadful and dismal and abysmal. Day after day I would see her out there raking, and nothing to rake but rocks! Finally, one day it was too much for me. I popped up and told her in no uncertain terms what a shameful mess she'd made of it.\n\n\"She asked for my help. Demanded it, truth be told. I told her, there's not much I can do with a garden so decrepit. I can encourage a seed to sprout, or perhaps coax a tree to bring forth a few extra blossoms, but fill a garden of gravel with flowers and vegetables? It would take a hundred elves a hundred days to do it.\n\n\"She listened to me, nodding all the while. I thought she understood. But then she did -- something, I'm not sure what, except that I think it was a magic spell that came from the absurd thing she was wearing on her head. I felt myself getting sleepy, and when I awoke I was up here in this room, in this pot, completely cut off from the soil of the Earth.\n\n\"And then she told me if I wouldn't promise to make her garden grow, she would never let me go! I told her it was beyond my poor powers, but she didn't want to believe me. Lately she's begun tormenting me by not watering me. As if that would convince me to promise something I can't possibly achieve. We elves know better than to make promises we can't keep. If you hadn't come along, I'm sure I would have dried up and blown away before another day had gone by.\"\n\n> You check your inventory\nYou are carrying a screwdriver, a small flashlight, a glass, a butter knife, four wigs (one green, one auburn, one blond, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a glass jar (broken), a pamphlet, a bunch of keys, a bamboo stick, a rake, and your skateboard.\n\n> You ask him about the pot\n\"Are you comfortable in that pot?\" you ask the elf.\n\n\"Oh, it's not too bad,\" he replies. \"It will be months before I'm root-bound, and if I can't escape from here before then I'm sure I'll be dead.\""
    },
    {
        "text": "[Themes: Children's, witch, house setting]\n\n> Look around\nThis boxy room is mostly unfurnished. Its most interesting feature is a large pot or planter -- the sort of thing you'd expect to see a potted palm growing in. In this pot, however, is a small brownish-green person.\n\nThe door is to the north, and there's a window in the opposite wall.\n\n> You look at the cupboard\nIt's seen better days, but it still appears functional. It's open.\n\n> You examine the cheese\nThe cheese is runny in some spots and dried and crusty in other spots, all at the same time. Its odor is remarkable: If it gets much riper, it'll probably come when you call it. Phewww! It smells horrible.\n\n> You take the cheese\nYou'd rather leave it where it is.\n\n> You open the fridge\nThe fridge is already open.\n\n> You look in fridge\nThe fridge contains a stale loaf of bread and a large wedge of blue cheese.\n\n> You look\nThe kitchen is small, and equipped with the usual appliances, including a cupboard, a sink, a stove, and a refrigerator, though most of the space is taken up by the unusually bulky wooden table standing in the middle of the room. The back door leads north, while to the south is an open doorway. A flight of stairs on the west side of the room leads down, roughly opposite the window in the east wall.\n\nThe fridge contains a stale loaf of bread and a large wedge of blue cheese.\n\nThere's an overpowering smell of over-ripe cheese.\n\n> You examine birdbath\nThe gray concrete birdbath is thick and ugly. Its basin is brimming with fresh rain water.\n\n> You fill the glass with the water\nYou fill the glass with fresh rainwater from the birdbath.\n\n> Go upwards\nYou can't go that way. Obvious exits lead north, to the back bedroom; south, to the front bedroom; west, to the small compartment; and down, back to the hall.\n\n> You pour the water on the elf\n\"Oh, I don't need any more water,\" the elf assures you. \"I'm fine now, thanks to your very kind help!\"\n\n> You ask the elf about the native soil\n\"Where do you usually live?\" you ask the elf. \"Or grow, or whatever it is you do?\"\n\n\"Almost anywhere there's a bit of soil,\" he replies. \"Even if it's gravelly or parched, I don't mind too much.\"\n\n> You look at the pot\nThe fat brown pot looks to be made of earthenware. It's full of dirt, and a small, wrinkled, brownish-green person is standing in it.\n\n> You take the dirt\nYou can't have that; it's part of the heavy pot.\n\n> You dig elf\nWhat do you want to dig in him with?\n\n> You look at what you're carrying with you\nYou are carrying a screwdriver, a small flashlight, a glass (full of water), a butter knife, four wigs (one green, one auburn, one blond, and one black), a brush, a musical score, an ocarina, a remote control, a yellow book, a piece of paper, a framed photo, a glass jar (broken), a pamphlet, a bunch of keys, a bamboo stick, a rake, and your skateboard."
    },
    {
        "text": "[Themes: Children's, witch, Skateboard, gender-neutral protagonist, kid-friendly]\n\n> Go downwards\nYou can't go that way. Obvious exits lead north, to the kitchen; south, to the sitting room; west, to the small compartment; and up, back to the landing.\n\n> Go west\nThis chamber is not much larger than a closet. The way out is to the east, next to a waist-height black button.\n\n> You get the wheelchair\nThe old wheelchair would be far too awkward to carry.\n\n> You pull the wheelchair east\nSomething is stopping the wheelchair from moving -- probably the brake.\n\n> You look at the brake\nIt's just a short lever with a worn rubber grip at the end. The exposed metal part is beginning to look a bit rusty. Apparently the brake is on.\n\n> You pull the lever\nYou pull the brake lever to its stop.\n\n> You examine the brake\nIt's just a short lever with a worn rubber grip at the end. The exposed metal part is beginning to look a bit rusty. Apparently the brake is off.\n\n> You pull the wheelchair east\nYou can't go that way. The only obvious exit leads up, back to the kitchen.\n\n> You pull the wheelchair u.\nYou can hardly push the wheelchair up the stairs.\n\n> You drop the skateboard\nYou set down your skateboard.\n\n> You put the pot on the skateboard\n(first trying to take the heavy pot)\nTo pick up the pot, you'll need both hands free.\n\n> You drop all\nscrewdriver: You set down the screwdriver.\nsmall flashlight: You set down the small flashlight.\nglass: You put the glass down carefully.\nbutter knife: You set down the butter knife.\ngreen wig: You set down the green wig.\nauburn wig: You set down the auburn wig.\nblond wig: You set down the blond wig.\nblack wig: You set down the black wig.\nbrush: You set down the brush.\nmusical score: You set down the musical score.\nocarina: You set down the ocarina.\nremote control: You set down the remote control.\nyellow book: You set down the yellow book.\npiece of paper: You set down the piece of paper.\nframed photo: You set down the framed photo.\nglass jar: You set down the glass jar.\npamphlet: You set down the pamphlet.\nbunch of keys: You set down the bunch of keys.\nbamboo stick: You set down the bamboo stick.\nrake: You set down the rake.\n\n> You put the pot on the skateboard\n(first taking the heavy pot)\nDone.\n\n> You go to the southeast\nThe elf leads the way to the side of the house.\n\nMrs. Pepper's house lies directly to the west; the drive continues to the south, and a gravel path leads around the house to the northwest. Standing directly to the north is a detached garage.\n\nYou see a trash can and a trash can lid here.\n\nThe elf beckons you to follow him south along the driveway.\n\n> You go south\nThe elf strides ahead of you into the drive.\n\nThe driveway continues northward along the side of the house, and leads south out to sidewalk and beyond it the street. On the east the driveway is bordered by a high fence, and Mrs. Pepper's front yard lies to the west.\n\nThe elf nods towards the front yard, indicating that you are to follow him westwards.\n\n> Go west\nThe elf accompanies you into the front yard.\n\nThe front yard is mostly bare dirt and burned-out brown lawn, except for a few hardy weeds. A paved walkway crosses it, leading from the sidewalk on the south up to the front porch on the north. The driveway runs past the yard on the east side, and a tall fence guards what must be the neighbors' yard on the west. Growing next to the walkway is a scraggly, half-dead tree.\n\nThe elf stops in the middle of the front yard and nods towards the tree. \"Do you see that poor bedraggled orange tree there? It hasn't borne fruit in years, and may never again, unless someone else buys this house and nurtures it back to health. But it's not quite dead, no indeed. Watch closely now.\"\n\nHe gestures at the nearest branch with his long, slim, gnarled fingers. As you watch, a single bud bursts forth at the end of the branch. At first no more than a tiny green nub, it swells rapidly.\nIn a few seconds a plump, ripe orange is hanging from the branch.\n\n\"Go ahead,\" says the elf. \"Pick the orange and enjoy it. It's yours. Oh,\" he adds, handing you your skateboard, \"you nearly forgot this.\" Before you can stammer your thanks -- before you can blurt out the dozen questions jostling in your head about what it's like being an elf, and where he came from, and whether you'll ever see him again -- the elf has somehow folded himself inward, like a fast-motion film of a growing plant when the film is run backwards. He shrinks and runs downward into the soil, and he's gone.\n\n> You look at what you're carrying with you\nYou are carrying your skateboard.\n\n> You get orange\nYou pick the orange.\n\n> You eat the orange\nYou peel the orange carefully, remove a section, and bite into it. Quite possibly it's the best-tasting orange you've ever had in your life!\n\n> You examine the orange\nThe orange is round and juicy.\n\n> You eat the orange\nYou finish off the last of the orange, lick your fingers, and toss the peel away. Yum!\n\n> Go south\nTo the north, across a sadly dried-up and decrepit yard, stands Mrs. Pepper's house. You can also go east or west along the sidewalk. The busy street is to the south. A telephone pole plastered with the scraps of old posters stands here.\n\n> Go west\nAfter taking a hurried detour to put Mrs. Pepper's possessions back where you found them, lock her house and garage, and toss the keys under the back porch, you head home, happy as can be: Not only did you meet an elf and save him from certain death, but you got your skateboard back too."
    },
    {
        "text": "[Themes: Humor, combat]\n\nThis is a try-to-win-on-the-first-attempt game. The point of the game is to try to win on the first attempt. Or, failing that, to win in as few attempts as possible. You are not supposed to use \"undo\" or \"restore\" if things are going badly. (Though it is OK to use \"save\" and then later \"restore\" if you have to leave the game for a while. And it is OK to save the game as often as you like.)\nGet it? Yes or no?\n\n> No\nOk, I will give an example. Say you are playing a game where you start in a burning building. If this were a normal game maybe you would want to search the building. Maybe you would find things. If you died you could just restart. But if you where playing a try-to-win-on-the-first-attempt game, you would probably want to run out, otherwise you might burn and die and then you would probably not win on the first attempt.\nNow do you understand? Yes or no?\n\n> No\nWell I give up. Just play the game.\n\nNorway 1994. The country is overrun by yeti robot zombies! Death tolls are high. The cities are particularly strongly infested, and many people have fled to more desolate places. You too have escaped from a city, and have traveled to your cabin in Jotunheimen.\n\nThose who care can type CREDITS.\nExamine, look at, look inside, look under, look behind, look <direction> and search have not been implemented. You can still use look, inventory and read.\nNo time passes when you use \"look\" or \"inventory\".\nYou communicate by \"talk to [whatever]\".\nShould you wish to re-read the above information during the game, type ABOUT.\n\nHigh up in Jotunheimen, on a path going west (where you came from) and east. To the north of you is your cabin, to the south a long drop. Behind your cabin is a steep tall mountain wall. The door to your cabin is gone. Bullet holes show it has been shot away. It must have been done by humans; yeti robot zombies don't carry guns."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nHigh up in Jotunheimen, on a path going west (where you came from) and east. To the north of you is your cabin, to the south a long drop. Behind your cabin is a steep tall mountain wall. The door to your cabin is gone. Bullet holes show it has been shot away. It must have been done by humans; yeti robot zombies don't carry guns.\n\n> About you\nIn this game examine, look at, look in, look under, look behind and search have not been implemented. You can still use look, inventory and read.\n\n> You go to the north\nIt looks like some very heavy fighting has taken place here; all the furniture has been smashed to bits. Your bedroom is west, the outside south.\n\n> You go west\nAll the furniture has been smashed here too, except for the large closet. It is open and empty. An extremely dead soldier lies all over the floor. A cell phone and a plasma rifle lie here. They are not yours. Maybe they belonged to the soldier. The only exit is east.\n\n> You take the cell phone and the rifle\ncell phone: Taken.\nplasma rifle: You take the rifle. You notice it has 6 shots left.\n\nThe cell phone rings. You answer it. \"Hello?\" you say.\n\"Private H?rland is that you?\" says a voice.\n\"No, I'm afraid he is dead. I found him in my cabin, it looks like he was torn apart by a yeti robot zombie.\"\n\"Fytti katta!\" the voice curses.\n\"Who is this?\"\n\"This is general Hansen.\"\n\"And why is there a dead man in my cabin?\"\n\"He probably broke in to look for provisions. The yeti robot zombies have attacked our bases and eaten all our food. And the army. Private H?rland and me were the last ones left. And I can't fight much. My arms and legs have just been eaten. I barely managed to bite through the throat of the yeti robot zombie who attacked me. Then I dialed the phone with my nose.\"\n\"Then... we have lost?\" you say.\n\"Maybe not. I have found out who the evil boss is that is behind all the yeti robot zombies. His headquarters are in Drammen.\"\n\"Great. But who can stop him?\"\n\"It will have to be you.\"\n\"Me? But I can't.\" you say.\n\"You have to. There is nobody else left. But don't worry; I will guide you whilst slowly bleeding to death. First, do you have a gun?\"\n\"Yeah I have a rifle. There are six shots left.\"\n\"That is is not enough. You are bound to encounter many yeti robot zombies on your mission. You must try to find a way to get past them without shooting them.\"\n\"But how? I can't fight them with my hands. And I certainly can't talk to them.\"\n\"I know. You just have to think of something. Now listen up. There is a cave east of your cabin. Go there. We have a small military base hidden inside it.\"\n\"Very well.\"\n\nJust then you hear a Chewbaccaesque roar from the living room. There is a yeti robot zombie in your cabin! It could walk into the bedroom any minute now!"
    },
    {
        "text": "[Themes: Humor, combat]\n\n> You describe your surroundings\nAll the furniture has been smashed here too, except for the large closet. It is open and empty. An extremely dead soldier lies all over the floor. The only exit is east.\n\n> You enter the closet\nYou get into the closet.\n\nYou hear the roar of a yeti robot zombie in the living room.\n\n> Close closet\nYou close the closet and wait. Not long after you can hear something heavy walk into the room. You hold your breath. It sounds as if it is kicking the remains of the furniture around. Then you hear the roar of the yeti robot zombie. Then it hits the closet! The closet shakes. Have you been discovered? But then you hear the monster leave. You breathe out. You wait a while, then open the closet again.\n\n> You take the soldier\nYuck! You don't want to move a corpse around!\n\n> You go to the east\nYou'll have to get out of the closet first.\n\n> You get out\nYou get out of the closet.\n\n> You go east\nIt looks like some very heavy fighting has taken place here; all the furniture has been smashed to bits. Your bedroom is west, the outside south.\n\n> You go to the south\nHigh up in Jotunheimen, on a path going west (where you came from) and east. To the north of you is your cabin, to the south a long drop. Behind your cabin is a steep tall mountain wall. The door to your cabin is gone. Bullet holes show it has been shot away. It must have been done by humans; yeti robot zombies don't carry guns.\n\n> You go east\nJust a couple of meters east of your cabin, and what do you know, there is a cave here! You had no idea! You can enter it by going north. To the south and east is a long drop.\n\n> You go north\nPassages go northeast and northwest. South leads out.\n\nYou speak into the cell phone. \"Ok, I'm in the cave now.\"\n\"Good. The entrance to our base should not be hard to find. It will however be locked. There is a soldier in the cave who has a ring of keys. One of the keys fits the lock. The soldier is off course dead. Torn apart by yeti robot zombies.\"\n\"Yikes! That means there could be yeti robot zombies in the cave right now?\"\n\"Yes.\"\n\nJust then you hear a yeti robot zombie roar from the northeast. It seems to be getting closer.\n\n> Go northwest\nPassages go southeast and northeast. A heavy-looking iron door leads west. It is closed.\n\n> You open the door\nIt seems to be locked.\n\nYou hear a roar from the southeast. It seems to be getting closer.\n\n> Go northeast\nPassages go southwest and southeast.\n\n> You go southeast\nPassages go northwest and southwest. Another dead soldier lies all over the place.\n\nA ring of keys lies here. There must be at least sixty keys on it!\n\nYou hear a roar from the southwest. It gets further and further away, then disappears.\n\n> You get the keys\nTaken.\n\n> Go southwest\nPassages go northeast and northwest. South leads out.\n\nYou hear a roar from the northwest. It gets further and further away, then disappears.\n\n> You go to the northwest\nPassages go southeast and northeast. A heavy-looking iron door leads west. It is closed.\n\nYou hear a roar from the northeast.\n\n> You unlock door\nYou try one of the keys. It does not fit.\n\nYou hear a roar from the northeast. It gets further and further away, then disappears.\n\n> You continue\nYou try another key. It does not fit.\n\n> Keep going\nYou try a new key. It does not fit.\n\nYou hear a roar from the southeast. It seems to be getting closer.\n\n> Go northeast\nPassages go southwest and southeast.\n\n> You go to the southeast\nPassages go northwest and southwest. Another dead soldier lies all over the place.\n\nYou hear a roar from the southwest. It gets further and further away, then disappears.\n\n> You go to the south-west\nPassages go northeast and northwest. South leads out.\n\nYou hear a roar from the northwest.\n\n> You go to the northwest\nPassages go southeast and northeast. A heavy-looking iron door leads west. It is closed.\n\nYou can see a yeti robot zombie here.\n\nThe yeti robot zombie roars when it sees you.\n\n> You go to the south-east\nYou try to leave, but the yeti robot zombie grabs you and drags you back. You manage to shake loose from its grip.\n\nThe yeti robot zombie roars.\n\n> You shoot the yeti\n\"Have a taste of plasma!\" you say. A plasma beam evaporates the yeti robot zombie. Five shots left.\n\n\"Did I hear a shot?\" says the general on the phone. \"Careful son, you gotta save the ammo. Find some way to avoid shooting the monsters.\"\n\n> You unlock door\nYou try a new key. It does not fit.\n\n> You unlock door\nYou try a new key. It fits. What luck! You unlock the door.\n\n> You open the door\nYou open the door.\n\n> Go west\nTo the north is a doorway. To the east is a heavy-looking iron door. It is open.\n\nYou speak into the cell phone \"I am inside the base.\"\n\"Excellent. On the second floor is a cabinet. It is locked, but one of your keys will open it. Inside the cabinet is an experimental teleporting device. Just push the button, and it will teleport you to our main base, on the other side of the mountain.\"\n\"Very well.\"\n\nSuddenly you hear a roar to the east. A yeti robot zombie must be just outside the door!\n\n> You close the door\nYou close the door.\n\nYou hear a roar from the east.\n\n> You lock the door\nYou lock the door.\n\nThere comes a loud bang from the door, as if something large is being smashed against it.\n\n> You go north\nTo the south and north are doorways. Lots of useless debris blocks the north doorway. It is going to take several minutes to move it away.\n\nYou hear a bang from the south.\n\n> Clear debris\nAs you begin to move the debris, the bangs from the south get louder and more frequent. You hurry up. Soon the debris is out of the way.\n\nYou hear loud bangs and angry roaring from the south.\n\n> You go north\nTo the south is a doorway. Stairs goes up.\n\nYou hear a roar behind you and turn. A yeti robot zombie was standing up against the wall, besides the door. Now it moves in front of the door, blocking it. But the stairs are clear. And you know yeti robot zombies are really bad at walking up stairs.\n\n> Up\nStairs go down. A glass cabinet is here. It is closed. Inside it is a small black box with a round red button.\n\nYou hear the clamor of a yeti robot zombie trying to walk up the stairs.\n\n> You break the cabinet\nYou smash the cabinet to pieces with your fists. The small black box falls on the floor.\n\nYou hear the clamor of a yeti robot zombie trying to walk up the stairs.\n\n> Up\nStairs go down. There is a glass door to the east, and another one to the west. Both are closed.\n\nYou hear the clamor of two yeti robot zombies trying to walk up the stairs.\n\n> Go east\nThe door is locked.\n\nYou hear the clamor of two yeti robot zombies trying to walk up the stairs.\n\n> You break the east door\nYou smash the door to pieces with your fists.\n\nYou hear the clamor of two yeti robot zombies trying to walk up the stairs.\n\n> Go east\nA doorway leads west. Stairs go up.\n\n> Up\nA small flat roof above/on the side of a large military base in the mountains. Stairs go down. You can enter a chopper to the north. In all other directions is a long drop.\n\n> Go north\nThere is a control panel here. The only thing interesting about it at the moment is the big button that starts the chopper. It is going to take several minutes to start up the chopper. You can leave south.\n\n> Go outside\nThe fat yeti robot zombie blocks the way.\n\nThe yeti robot zombies shake their heads from side to side, roaring.\n\nYou hear the hum of the chopper starting up."
    },
    {
        "text": "> Look around\nThere is a control panel here. The only thing interesting about it at the moment is the big button that starts the chopper. You have pushed it, and you can hear the chopper starting up. You can leave south.\n\nYou can see a thin yeti robot zombie and a fat yeti robot zombie here.\n\n> You talk to fat\nYou have no idea about how to communicate with a yeti robot zombie.\n\nThe yeti robot zombies roar. Then they try to hit you. You just manage to jump to the side instead of being sliced to small chunks. Then the yeti robot zombies roar some more.\n\nYou hear the hum of the chopper starting up.\n\n> You talk to phone\nYou speak into the phone \"What was I supposed to do?\"\nHansen says \"Upstairs you will find two doors. It doesn't matter which one you take, both will lead to a roof. On each roof there will be a helicopter. Fly it to Drammen.\"\n\nWhile roaring, the yeti robot zombies continue to try and hit you with their claws. You realize they are going to succeed real soon. BETTER DO SOMETHING!\n\nYou hear the hum of the chopper starting up.\n\n> You shoot fat\n\"I'll show you how to lose some weight, REAL QUICK!\" you shout. A plasma beam evaporates the fat yeti robot zombie. Four shots left.\n\nThe thin yeti robot zombie roars.\n\nYou hear the hum of the chopper starting up.\n\n> You shoot thin\n\"You found the wrong guy to mess with!\" you say. A plasma beam evaporates the thin yeti robot zombie. Three shots left.\n\nAfter waiting a while the chopper takes off.\n\nA couple of hours later you speak into the phone: \"Ok, I am now flying over Drammen.\"\n\"You are doing great. The headquarters of the evil boss is in a new building. It's the tallest one in Drammen, close to the middle of the city. Can you see it?\"\n\"Yes.\"\n\nIt must be over a hundred stories tall, and it easily dwarfs any of the other buildings. On the sides it has huge neon pentagrams. On the roof is a 30-meter tall statue of a yeti robot zombie.\n\n\"Be careful.\" says General Hansen. \"There are rumors that the closest servants of the evil boss are a group of Satanists!\"\n\"Holy crap!\"\n\"Indeed. They are very deadly in combat. And don't think for a minute that you can reason with them. They are at least as dangerous as the yeti robot zombies.\"\n\"Understood.\"\n\nYou fly closer to the building. You notice that the eyes of the statue of the yeti robot zombie are moving. They are following your chopper!\n\nThe statues mouth opens. A rocket shoots out, straight towards you! You steer the chopper down. You avoid a full hit. Instead the rocket explodes against the propeller. The chopper is going down fast!\n\nFrantically, you steer the chopper towards the building. It smashes into, and goes halfway through, the roof! The impact makes the chopper door open, and you fall out! You land painfully on the floor below.\n\nGroaning, you slowly get up. You look around.\n\nYou are on the west side of large black hall. Above you the chopper is sticking halfway through the ceiling. You can go east.\n\nOn the east side of the hall you can see the following:\nA large red metal barrel stands on the floor. On it is written, in large black letters: \"DANGER! HIGHLY EXPLOSIVE!\" A yeti robot zombie stands on one side of the barrel, a man on the other. He is wearing a hooded brown robe, which conceals his face. For some reason the yeti robot zombie shows no sign of wanting to attack the man. A doorway leads north.\n\nThe man says \"Ah, excellent. Another sacrifice to our master. But first a prayer.\" He begins to mutter something in Latin.\n\n> You check your inventory\nYou have a plasma rifle (with three shots left) and a cell phone.\n\n> You look\nYou are on the west side of large black hall. Above you the chopper is sticking halfway through the ceiling. You can go east.\n\nOn the east side of the hall you can see the following:\nA large red metal barrel stands on the floor. On it is written, in large black letters: \"DANGER! HIGHLY EXPLOSIVE!\" A yeti robot zombie stands on one side of the barrel, a man on the other. He is wearing a hooded brown robe, which conceals his face. For some reason the yeti robot zombie shows no sign of wanting to attack the man. A doorway leads north.\n\n> Pray\nNothing practical results from your prayer.\n\nThe man continues to mutter something in Latin.\n\n> You shoot barrel\n\"I love me some good fireworks!\" you shout. The plasma beam hits the barrel and the barrel explodes. The man and the yeti robot zombie get thrown through the air in opposite directions. Both smash into a wall. Sparks start shooting out from all over the body of the yeti robot zombie, and then it explodes into nothing. The man slides down on the floor, dead. Two shots left.\n\nHappily you speak into the phone \"Hey general Hansen! I just killed my fist human!\"\n\"I am proud of you, boy. When I argh. Blahaghr. Grablahaharghragghrablagragh. Glb.\"\n\"General Hansen? GENERAL HANSEN?!\"\nThere is no answer. You realize he has bled to death. You look up and shout in anger: \"CURSE YOU EVIL BOSS!\"\n\n> You take the robe\nYou are too far away.\n\n> You go east\nYou are on the east side of a large black hall. You can go west. A doorway leads north. The corpse of a man lies on the floor. He is wearing a hooded brown robe, which conceals his face.\n\nOn the west side of the hall you can see the following:\nThe chopper is sticking halfway through the ceiling.\n\nSuddenly you hear humming from the north. After a while you recognize the tune. It's a Metallica song! That means there must be another Satanist through the north doorway!\n\n> You take the robe\nYou take the robe. The dead guy doesn't look familiar.\n\nYou hear more satanic humming from the north.\n\n> You wear the robe\nYou put on the brown robe. Your face is hidden in the shadow of the hood.\n\nYou hear more satanic humming from the north.\n\n> You go north\nA man stands here. He is wearing a black robe, without a hood. He has tall white hair. Doorways lead south and north.\n\nThe man nods at you.\n\n> Go north\nA man sits behind a desk, on one of them office chairs with little wheels. He is wearing a suit and a tie. He must be the boss! A steaming cup of coffee stands on the desk. A heavy-looking bookshelf stands against a wall, close to the desk. The shelf reaches almost to the ceiling. It is filled with old, black tomes. Directly behind the man is a large window going from floor to ceiling. Outside is Drammen. A doorway leads south.\n\nThe man says \"First of all, do not think for a moment that your disguise will work against me. Secondly, welcome to my humble abode.\"\n\n> You throw the coffee on him\n\"You should be careful; coffee can be DANGEROUS TO YOUR HEALTH!\" you shout grabbing the scalding coffee and throwing it at the man's head. Screaming he clutches at his face. He stands up, and stumbles backwards. He hits the window. It breaks and he falls through. You run over to the window and look down. The man is screaming and falling downwards in slow motion. He lands with a wet thud against the pavement.\n\n\"He is dead.\" you think.\n\nThe body transforms. The horns grow longer, tentacles shoots out from its head, and his shoes and pants burst as his legs grow huge and round like the legs of an elephant. He uses his tentacles to climb up the wall; they must have suckers on them. Soon he is at the window. He has to bend his head forward to get through, his horns are so long. He no longer looks remotely human. The boss sits down on his chair behind the desk.\n\nA tentacle shoots out and grabs the empty cup from your hand. The tentacle crumbles the cup and throws it out the window.\n\nThe man says \"I will enjoy killing such a worthy opponent.\""
    },
    {
        "text": "[Themes: Humor, combat]\n\n> You look at your surroundings\nA man sits behind a desk, on one of them office chairs with little wheels. He is wearing a suit and a tie. He must be the boss! He has green skin, long horns and long claws. Also: elephant legs and tentacles. Directly behind the man is a large broken window going from floor to ceiling. Outside is Drammen. A doorway leads south."
    },
    {
        "text": "[Themes: Humor]\n\n> Go downwards\nYou walk down, manage to sneak past a few Satanists and you are out."
    },
    {
        "text": "[Themes: Slice of life, nature, nonhuman protagonist, cat, animal protagonist, outdoor]\n\nEver since the Provider's sickness began, he's been all hisses and growls. Even the slightest misstep annoys him. Maybe that's why your bowl has held nothing but hard food lately. And not much of that.\n\nYou awaken to a faint twitter. Perhaps a trick of the rising light, you pinpoint a fluttering shape. Your quickened breath frosts the window pane, the dawn promising no ordinary day.\n\nOpposite a billowy wall, a window looks east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\n[Author's Note: Ever since the provider's sickness began, he's been all hisses and growls. Even the slightest misstep seems to annoy him. Perhaps that's why your bowl has held nothing but hard food lately. And not much of that.]"
    },
    {
        "text": "> About yourself\nYou hear snoring to the west.\n\nTo the east, a shape flutters out of view.\n\n> You go east\nYou bump your nose on the glass.\n\nYou hear snoring to the west.\n\nYour stomach growls.\n\n> You check your inventory\nYou carry nothing between your teeth. You are also quite hungry, and your dark fur is well-groomed.\n\nYou hear snoring to the west.\n\n> Paw glass\nYou feel nothing unexpected.\n\nYou hear snoring to the west.\n\n> Meow\nYou mew loudly, plaintively.\n\nYou hear snoring to the west.\n\n> Hiss\nYou growl and hiss, but to no avail.\n\nYou hear snoring to the west."
    },
    {
        "text": "[Themes: Slice of life, outdoor]\n\n> Look around\nOpposite a billowy wall, a window looks east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou hear snoring to the west.\n\n> Go west\nYou nose your way under the billowy wall...\n\nYou enjoy curling up in the blankets' warm folds, though when the Provider is here, you do so with care. He is mean enough when un-provoked, and does not appreciate being woken. A cord hangs beside a billowy wall to the east. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\n> Meow\nYou mew loudly, plaintively.\n\nThe Provider grumbles as he rises from the blankets and seizes you by the scruff of the neck. Moments later, you find yourself tumbling head over heels into a bank of snow. You hear the latch click inside the cottage, knowing you've been sentenced to a day in the cold--hardly bearable without even the hope of soft food.\n\n> Examine Provider\nThe Provider lies asleep on his side. He faces east, snorfling loudly.\n\nYour stomach growls.\n\n> You pull the cord\nYou tentatively paw at the cord, then reconsider. Idle play this close to the Provider may have serious consequences. [You have been warned.]\n\nThe Provider snores beside you.\n\n> You play with the cord\nWith a deft swat of your paw, you tug on the cord. The billowy wall parts, and a stream of sunlight illuminates the blankets below. His face bathed in light, the Provider blinks and stirs. He notices you standing suspiciously beside the swaying cord.\n\nThe Provider grumbles as he rises from the blankets and seizes you by the scruff of the neck. Moments later, you find yourself tumbling head over heels into a bank of snow. You hear the latch click inside the cottage, knowing you've been sentenced to a day in the cold--hardly bearable without even the hope of soft food.\n\n> You go to the north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Up\nYou leap up onto the ledge."
    },
    {
        "text": "> Look around\nFood Room (on the ledge)\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You look at the cupboard\nYou might be able to open the cupboard above you.\n\n> You open it\nYou pry open the cupboard with your paw.\n\n> You search it\nYou might be able to enter the cupboard above you.\n\n> You enter it\nYou leap up into the cupboard...\n\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Bite bag\nYou scratch futilely at the monstrous sack.\n\n> You open the bag\nThe sack is too tightly bound.\n\nYour stomach gurgles and groans.\n\n> You look at the sack\nThe monstrous sack contains a seemlingly limitless supply of hard food."
    },
    {
        "text": "> Go downwards\nYou leap down from the cupboard to the ledge."
    },
    {
        "text": "> Look around\nFood Room (on the ledge)\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You lick yourself\nThat's out of reach.\n\n> You groom\nWhat do you want to groom?\n\n> About yourself\nYour insides feel quite hollow.\n\n> You look at the whiskers\nYou've a handsome set of highly sensitive whiskers."
    },
    {
        "text": "> Look around\nFood Room (on the ledge)\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Down\nYou leap from the ledge to the floor.\n\n> You groom the tail\nYou groom yourself until your dark fur has a nice sheen, and your whiskers are grease-free and properly alligned.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nA yellow-feathered bird flies high above.\n\nAn orange light rises in the east.\n\n> You hunt bird\nAlas. It's high in the sky.\n\nA yellow-feathered bird flies high above.\n\n> You look at the bird\nIts golden feathers and careless chirping make it all but irresistable.\n\nThe yellow-feathered bird alights on the fence.\n\n> You get on the fence\nThe slats are too slippery, the fence too tall.\n\nThe yellow-feathered bird hops along the fence.\n\n> You hide\nYou attempt to conceal yourself as best as possible.\n\nThe yellow-feathered bird hops along the fence.\n\n> You wait\nTime passes.\n\nThe yellow-feathered bird hops lightly on the snow.\n\n> You get bird\nCreeping forward, you attempt to conceal your dark fur in the shadows of the tree stump, but when you leap forward, the yellow-feathered bird easily anticipates you.\n\nThe yellow-feathered bird flies off to the west.\n\n> You examine the stump\nAn axe is embedded in the stump.\n\n> You examine the axe\nIt makes up for the Provider's lack of sharp claws.\n\n> You get the axe\nThat's hardly portable.\n\n> Sharpen claws\nYou sharpen your claws on the tree stump.\n\n> Full\nYou have so far scored 2 out of a possible 100, in 43 turns, earning you the rank of pussyfooter.\n\nThe score is made up as follows:\n\n2 total (out of 100)\n\n> Sharpen claws\nYou sharpen your claws on the tree stump."
    },
    {
        "text": "> Describe the surroundings\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\n> You hide in the hole\nYou try hiding near the hole, but you feel as exposed as ever.\n\nA yellow-feathered bird flies high above.\n\nYour stomach aches with hunger.\n\n> You enter the hole\nYou get into the hole.\n\nA yellow-feathered bird flies high above.\n\n> You hide\nYou attempt to conceal yourself as best as possible.\n\nThe yellow-feathered bird alights on the fence.\n\nEver since the Provider's sickness began, he's been all hisses and growls. Even the slightest misstep annoys him. Maybe that's why your bowl has held nothing but hard food lately. And not much of that.\n\nYou awaken to a faint twitter. Perhaps a trick of the rising light, you pinpoint a fluttering shape. Your quickened breath frosts the window pane, the dawn promising no ordinary day.\n\nOpposite a billowy wall, a window looks east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\n> You hide\nYou attempt to conceal yourself as best as possible.\n\nThe yellow-feathered bird hops along the fence.\n\n> You examine the bird\nIts golden feathers and careless chirping make it all but irresistable.\n\nThe yellow-feathered bird glides nimbly to the snowy ground.\n\n> You examine the bird\nIts golden feathers and careless chirping make it all but irresistable.\n\nThe yellow-feathered bird hops lightly on the snow.\n\n> You examine the bird\nIts golden feathers and careless chirping make it all but irresistable.\n\nThe yellow-feathered bird pecks at the snow.\n\n> You look at the bird\nIts golden feathers and careless chirping make it all but irresistable.\n\nThe yellow-feathered bird flies off to the west.\n\n> You go south\nYou duck through the flap in the front door...\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of pale ash here.\n\nYour stomach gurgles and groans.\n\n> You examine the ash\nThe pile of light grey ash is fine and powdery.\n\n> Roll in ash\nYou roll in the pile of ash, transforming your dark coat into a pale, light grey.\n\n> Go east\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Go north\nYou duck through the flap in the front door...\n\nYou can see a hole (which is empty) here.\n\n> You enter the hole\nYou get into the hole.\n\n> You hide\nYou attempt to conceal yourself as best as possible.\n\nA yellow-feathered bird flies high above.\n\n> Wait\nTime passes.\n\nA yellow-feathered bird flies high above.\n\n> Wait\nTime passes.\n\nThe yellow-feathered bird alights on the fence.\n\n> Wait\nTime passes.\n\nThe yellow-feathered bird hops along the fence.\n\n> You wait\nTime passes.\n\nThe yellow-feathered bird hops along the fence.\n\nYour insides feel quite hollow.\n\n> Wait\nTime passes.\n\nThe yellow-feathered bird glides nimbly to the snowy ground.\n\n> You wait\nTime passes.\n\nThe yellow-feathered bird hops lightly on the snow.\n\n> You wait\nTime passes.\n\nThe yellow-feathered bird pecks at the snow.\n\n> You get the bird\nYou creep forward, your ashen coat providing perfect camouflage against the snow. You're nearly upon the yellow-feathered bird when he cocks a jittering eye. You leap with all your heart as he takes flight, one claw finding its mark. But in a flurry of golden feathers, he soars out of reach and is gone.\n\n> Full\nYou have so far scored 8 out of a possible 100, in 29 turns, earning you the rank of pussyfooter.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n\n8 total (out of 100)"
    },
    {
        "text": "[Themes: Slice of life]\n\n> Look around\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a yellow feather and a hole (which is empty) here.\n\n> You take the feather\nYou gingerly pick up the yellow feather with your teeth.\n\n> You examine the feather\nIt's your only prize from an arduous hunt. You thank your whiskers you've got a Provider.\n\n> You groom\nWhat do you want to groom?\n\n> Yourself\nYou groom yourself until your dark fur has a nice sheen, and your whiskers are grease-free and properly alligned.\n\n> You go south\nYou duck through the flap in the front door...\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go to the south\nThe Provider snores beside you.\n\nYou're starving!\n\n> Tickle Provider with feather\nYou tickle the Provider with the feather.\n\nThe Provider sighs heavily and rolls over. Facing west, he resumes his snoring.\n\n> Tickle Provider with feather\nYou tickle the Provider with the feather.\n\nThe Provider sighs heavily and rolls over. Facing east, he resumes his snoring.\n\n> You examine the blankets\nThe warm shadows under the blankets are inviting.\n\nThe Provider snores beside you.\n\n> Tickle Provider\nYou tickle the Provider.\n\nThe Provider stirs and sighs heavily.\n\n> You pull the cord\nWith a deft swat of your paw, you tug on the cord. The billowy wall parts, and a stream of sunlight illuminates the blankets below. Fortunately, the Provider is facing away from the light.\n\nThe Provider snores beside you.\n\n> Full\nYou have so far scored 14 out of a possible 100, in 44 turns, earning you the rank of mouser.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n4 finding sundry items\n\n14 total (out of 100)\n\n> You search the blankets\nThe warm shadows under the blankets are inviting.\n\nThe Provider snores beside you."
    },
    {
        "text": "[Themes: Slice of life, outdoor, cat, nature]\n\n> Look around\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou hear snoring to the west.\n\nYour stomach aches with hunger.\n\n> You open the window\nYou insert a paw into the gap, but can't get enough leverage.\n\nYou hear snoring to the west.\n\n> You examine the landscape\nJust beyond the window is a cluster of aspens. Below, a stream rushes through the grove.\n\nYou hear snoring to the west.\n\n> You examine the window\nA slight breeze flows through a gap beneath the window.\n\nYou hear snoring to the west.\n\n> You examine the gap\nJudging by your whiskers, there's no way through the gap.\n\nYou hear snoring to the west.\n\n> You go to the west\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\n> You look at the bowl\nChecking your food bowl is your greatest pastime. On rare days, it contains soft food--dreamy blends of salmon and turkey giblets, chicken livers and beef, that the Provider scoops from flat, shiny eggs. More often, it contains hard food--dry, drab stuff from a monstrous sack. Unfortunately, your bowl is utterly empty.\n\n> You go to the east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a flannel shirt here.\n\n> You examine the shirt\nA bit smelly, perhaps, but you love to nap in its soft folds.\n\n> Examine box\nTwo silvery antenae extend from this peculiar animal.\n\nYou're beginning to feel dizzy.\n\n> You pull the shirt\nNothing obvious happens.\n\n> You get the shirt\n(first dropping the yellow feather)\nDropped.\n\nYou gingerly pick up the flannel shirt with your teeth.\n\n> You eat shirt\nThat's plainly inedible.\n\n> You enter the shirt\nYou can only get into something freestanding.\n\n> You drop the shirt\nDropped.\n\n> You enter the shirt\nYou get onto the flannel shirt.\n\n> Go west\nYou'll have to get off the flannel shirt first.\n\n> Scratch shirt\nYou get off the flannel shirt.\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a flannel shirt and a yellow feather here.\n\nYou're not going to be able to carry on without food.\n\nViolence isn't the answer to this one.\n\n> Go west\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go upward\nYou leap up onto the ledge.\n\n> You open the cupboard\nYou pry open the cupboard with your paw.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, cat, outdoor, animal protagonist]\n\n> You describe your surroundings\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of pale ash here.\n\n> You check your inventory\nYou carry nothing between your teeth. You are also quite hungry, and covered in pale ash.\n\n> Full\nYou have so far scored 2 out of a possible 100, in 19 turns, earning you the rank of pussyfooter.\n\nThe score is made up as follows:\n\n2 total (out of 100)\n\n> Go east\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go upward\nYou leap up onto the ledge.\n\n> You open the cupboard\nYou pry open the cupboard with your paw.\n\n> You enter it\nYou leap up into the cupboard...\n\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You examine the sack\nThe monstrous sack contains a seemlingly limitless supply of hard food.\n\nYour insides feel quite hollow.\n\n> You open the sack\nThe sack is too tightly bound.\n\n> You cut the sack\nCutting that up would achieve little."
    },
    {
        "text": "> You look at your surroundings\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go north\nYou'll have to get off the ledge first."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, nature, cat, animal protagonist, outdoor]\n\n> Go downward\nYou leap from the ledge to the floor.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\n> Go north\nA slatted fence bars your way.\n\n> Oops fence\nYou can see through gaps in this slatted fence, even insert a paw or two, but your acute sense of spacial intuition tells you there's no way over or through it.\n\nYou're starving!\n\n> You look through the fence\nBeyond the fence is a neighboring farmhouse.\n\n> You go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\n> Blow balloon\n(first taking the red balloon)\nThe red balloon is up in the tree.\n\n> You climb the tree\nThere are too few branches to climb very far up. Tearing away a piece of bark, you leap back to the ground.\n\n> You go to the north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nThe yellow-feathered bird alights on the fence.\n\n> Go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nThe yellow-feathered bird hops along the fence.\n\n> Go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\nYou can also see a sizable piece of bark here.\n\n> You examine the stream\nThe stream is swift. And cold.\n\n> You examine the bark\nIt's shaggy, thin, and still intact.\n\n> You go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour stomach aches with hunger.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\nA yellow-feathered bird flies high above.\n\n> You look at the log\nThe rotting log is roughly the size of the Provider's leg. A few insects appear to be buzzing nearby.\n\nA yellow-feathered bird flies high above.\n\n> You eat the insect\nOuch!\n\nThe yellow-feathered bird alights on the snowy maw.\n\n> Wait\nTime passes.\n\nThe yellow-feathered bird chirps atop the snowy maw.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\n> Go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\nYou can also see a sizable piece of bark here.\n\n> Drink stream\nYou can tell from here that the stream is too cold to even make the attempt.\n\n> You go to the north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nA yellow-feathered bird flies high above.\n\n> You go to the east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\nYou can also see a sizable piece of bark here.\n\nYou're beginning to feel dizzy.\n\n> You go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\n> Go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\nYou can also see a sizable piece of bark here.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\n> You go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou hear a distant rumbling approaching from the south.\n\n> You go north\nYou wander north a ways before turning back.\n\nTo the south, a glinting beast comes into view.\n\n> You climb the tree\nYou scramble up a chestnut tree.\n\nBelow, the glinting beast roars onward.\n\n> You eat the chestnut\nThat's plainly inedible.\n\nBelow, the glinting beast whizzes out of view.\n\n> You examine the chestnut\nChestnut trees border the trail."
    },
    {
        "text": "[Themes: Slice of life, cat, nature]\n\n> Go downward\nYou leap down off the chestnut tree.\n\nYou hear a distant rumbling approaching from the north.\n\nYou're not going to be able to carry on without food.\n\n> Go south\nYou wander south a ways before turning back.\n\nTo the north, a glinting beast comes into view.\n\n> You go west\nThe way is slippery and steep. You slide back onto the trail.\n\nThe glinting beast bears down on you!\n\n> Go east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\nThe yellow-feathered bird pecks at the snow.\n\n> Scratch log\nViolence isn't the answer to this one.\n\nThe yellow-feathered bird flies off to the north.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> You check your inventory\nYou carry nothing between your teeth. You are also quite hungry, and covered in pale ash.\n\n> Go east\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> Wait\nTime passes.\n\nThe yellow-feathered bird alights on the fence.\n\n> You go to the south\nYou enjoy curling up in the blankets' warm folds, though when the Provider is here, you do so with care. He is mean enough when un-provoked, and does not appreciate being woken. A cord hangs beside a billowy wall to the east. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\n> You climb the tree\nThere are too few branches to climb very far up. Tearing away a piece of bark, you leap back to the ground.\n\nYou're starving!\n\n> You take the bark\n(first dropping the yellow feather)\nDropped.\n\nYou gingerly pick up the bark with your teeth.\n\n> You go west\nThe cottage window is too high to reach.\n\n> Go east\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou hear snoring to the west.\n\n> You put the bark in the gap\nYou coax the bark into the gap. Oh, no! It falls through.\n\nYou hear snoring to the west.\n\n> You open the window with the bark\nThat doesn't seem to be something you can unlock.\n\nYou hear snoring to the west.\n\n> You drop the bark\nDropped.\n\nYou hear snoring to the west.\n\n> Go west\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\nYour stomach aches with hunger.\n\n> You go to the north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\n> You go to the east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a flannel shirt here.\n\n> You get shirt\nYou gingerly pick up the flannel shirt with your teeth.\n\n> Go east\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou can see a sizable piece of bark here.\n\nYou hear snoring to the west.\n\n> You put the shirt in the gap\nThat doesn't fit.\n\nYou hear snoring to the west.\n\n> You drop the shirt\nDropped.\n\nYou hear snoring to the west.\n\n> You stand on shirt\nYou get onto the flannel shirt.\n\nYou hear snoring to the west.\n\n> You put the bark in the gap\nYou need to be holding the bark before you can put it into something else.\n\nYou hear snoring to the west.\n\n> You get the bark\nYou gingerly pick up the bark with your teeth.\n\nYou hear snoring to the west.\n\nYou're beginning to feel dizzy.\n\n> Open gap\nThat's not something you can open.\n\nYou hear snoring to the west.\n\n> You open the window\nYou insert a paw into the gap, but can't get enough leverage.\n\nYou hear snoring to the west.\n\n> You put the bark in the gap\nYou coax the bark into the gap. Oh, no! It falls through.\n\nYou hear snoring to the west.\n\n> You get the bowl\nYou'll have to get off the flannel shirt first.\n\nYou hear snoring to the west.\nYou'll have to get off the flannel shirt first.\n\nYou hear snoring to the west.\nYou can't see any such thing.\n\n> You get the bowl\nYou get off the flannel shirt.\n\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou can see a flannel shirt here.\n\nYou hear snoring to the west.\n\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach. Both you and your Provider know where your bowl is. It's an arrangement that suits you just fine.\n\n> You get the bowl\nBoth you and your Provider know where your bowl is. It's an arrangement that suits you just fine.\n\n> Go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of pale ash here.\n\nYou're not going to be able to carry on without food.\n\n> You go chute\nYou claw your way up the stone chute...\n\nThe pitched roof of the Provider's cottage affords an excellent view of the surrounding valley. A stream winds through forest to the east and south, while a woodland trail to the west links scattered farmhouses, such as the neighboring one beyond a fence to the north.\n\nThe wind blows south.\n\n> About yourself\nThe wind blows south.\n\n> You check your inventory\nYou carry a sizable piece of bark between your teeth. You are also quite hungry, and covered in pale ash.\n\nThe wind blows south.\n\n> You eat the bark\nThat's plainly inedible.\n\nThe wind blows south.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> You look at the aspen\nSlender, silvery aspens climb straight toward the sky. Caught in the branches of an aspen, is a red balloon.\n\n> Break branch\nYou sharpen your claws on the trunk of a tree.\n\n> You get log\nThe log has rotted away much of its weight. It's still too heavy to lift, but you might be able to get it rolling.\n\n> Roll log\nYou roll the log over. It's humming with insects.\n\nYou're starving!\n\n> You eat the insects\nThe rotting log is roughly the size of the Provider's leg. Buzzing insects are swarming around it!\n\nOuch!\n\n> You move the insects\nYou are unable to.\n\n> You get the insect\nOuch!\n\n> Roll log\nYou roll the log over. It's humming with insects.\n\n> Roll log east\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\nYou can't, since the huge door is in the way.\n\n> You look at the door\nThe huge door seems relatively featureless.\n\n> You examine the maw\nInside the snowy maw is a huge door.\n\nInside the snowy maw is a huge door.\n\nYour stomach aches with hunger.\n\n> You enter the hole\nYou get into the hole.\n\n> Go upward\nYou'll have to get out of the hole first.\n\n> Go outside\nYou get out of the hole.\n\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYou can see a hole (which is empty) and a buzzing log here.\n\n> Roll log west\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou hear a distant rumbling approaching from the south.\n\n> Roll log east\nYou can't even go that way!\n\nTo the south, a glinting beast comes into view.\n\n> Go up\nYou scramble up a chestnut tree, pieces of bark falling beneath you.\n\nBelow, the glinting beast roars onward.\n\n> Wait\nTime passes.\n\nBelow, the glinting beast whizzes out of view."
    },
    {
        "text": "[Themes: Slice of life, nature]\n\n> Go downward\nYou leap down off the chestnut tree.\n\nYou hear a distant rumbling approaching from the south.\n\n> You go to the east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYou can see a hole (which is empty) here.\n\nYou're beginning to feel dizzy.\n\n> Go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou can also see a sizable piece of bark and a buzzing log here.\n\n> You get the bark\n(first dropping the yellow feather)\nDropped.\n\nYou gingerly pick up the bark with your teeth.\n\nYou hear a distant rumbling approaching from the south.\n\n> Roll log east\nYou can't even go that way!\n\nYou hear a distant rumbling approaching from the north.\n\n> You roll the log north\nYou can't even go that way!\n\nTo the north, a glinting beast comes into view.\n\n> Go north\nYou wander north a ways before turning back.\n\nThe glinting beast bears down on you!\n\n> You climb tree\nYou scramble up a chestnut tree.\n\nBelow, the glinting beast whizzes out of view."
    },
    {
        "text": "> Go downwards\nYou leap down off the chestnut tree."
    },
    {
        "text": "[Themes: Slice of life, nature, outdoor, nonhuman protagonist]\n\n> You look at your surroundings\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou can also see a sizable piece of bark and a buzzing log here.\n\nYou hear a distant rumbling approaching from the north.\n\n> You roll the log north\nYou can't even go that way!\n\nYou stand frozen in the middle of the trail. In your final moment, you listen with peculiar detatchment to the roar of the onrushing beast as it swerves to avoid you. Just when you think you might be spared, you're smashed into oblivion.\n\n> You climb up\nI don't think much is to be achieved by that.\n\nYou stand frozen in the middle of the trail. In your final moment, you listen with peculiar detatchment to the roar of the onrushing beast as it swerves to avoid you. Just when you think you might be spared, you're smashed into oblivion.\n\n> Roll log west\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou hear a distant rumbling approaching from the north.\n\n> Roll log north\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\n> Roll log east\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\n> You go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou hear a distant rumbling approaching from the south.\n\n> Go east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYou're starving!\n\n> You go to the north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a buzzing log and a hole (which is empty) here.\n\n> You examine the stump\nAn axe is embedded in the stump.\n\n> You put the log in the hole\nYou roll the buzzing log into the hole.\n\n> You get the axe\nThat's hardly portable.\n\n> You go east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a flannel shirt here.\n\nYour stomach aches with hunger.\n\n> Go east\nThe only way out of this corner is toward your food bowl to the west.\n\n> Scratch provider\nYou rake the Provider with your claws!\n\nThe Provider grumbles as he rises from the blankets and seizes you by the scruff of the neck. Moments later, you find yourself tumbling head over heels into a bank of snow. You hear the latch click inside the cottage, knowing you've been sentenced to a day in the cold--hardly bearable without even the hope of soft food.\n\n> Go east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a yellow feather here.\n\nYou're beginning to feel dizzy.\n\n> Drat\nQuite.\n\n> You get the feather\n(first dropping the flannel shirt)\nDropped.\n\nYou gingerly pick up the yellow feather with your teeth.\n\n> You get in the blankets\nIt's warm and snug beaneath the blankets, though you find the Provider's prodigious hind paws to be grotesquely hairless, smelly, and just a bit ticklish when brushed by your whiskers.\n\nThe Provider snores beside you.\n\n> Examine Provider\nThe Provider lies asleep on his side. He faces west, snorfling loudly.\n\n> Tickle Provider with feather\nYou tickle the Provider with the feather.\n\nThe Provider sighs heavily and rolls over. Facing east, he resumes his snoring.\n\n> Go outside\nYou nudge your way toward fresher air....\n\nYou enjoy curling up in the blankets' warm folds, though when the Provider is here, you do so with care. He is mean enough when un-provoked, and does not appreciate being woken. A cord hangs beside a billowy wall to the east. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\n> You examine the cord\nThe long, thin cord hangs lifelessly above the blankets.\n\nThe Provider snores beside you.\n\nYou're not going to be able to carry on without food.\n\n> You pull the cord\nYou tentatively paw at the cord, then reconsider. Idle play this close to the Provider may have serious consequences. [You have been warned.]\n\nThe Provider snores beside you.\n\n> You enter the blankets\nIt's warm and snug beaneath the blankets, though you find the Provider's prodigious hind paws to be grotesquely hairless, smelly, and just a bit ticklish when brushed by your whiskers.\n\nThe Provider snores beside you.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> Close window\nThe window won't budge.\n\nYou hear snoring to the west.\n\n> You examine gap\nJudging by your whiskers, there's no way through the gap.\n\nYou hear snoring to the west.\n\nYou're starving!\n\n> Tickle Provider with feather\nYou tickle the Provider with the feather.\n\nThe Provider sighs heavily and rolls over. Facing east, his face is bathed in streaming light. He notices you nearby, a feather hanging suspiciously from your mouth.\n\nThe Provider grumbles as he rises from the blankets and seizes you by the scruff of the neck. Moments later, you find yourself tumbling head over heels into a bank of snow. You hear the latch click inside the cottage, knowing you've been sentenced to a day in the cold--hardly bearable without even the hope of soft food.\n\n> Meow\nYou mew loudly, plaintively.\n\nThe Provider grumbles as he rises from the blankets and seizes you by the scruff of the neck. Moments later, you find yourself tumbling head over heels into a bank of snow. You hear the latch click inside the cottage, knowing you've been sentenced to a day in the cold--hardly bearable without even the hope of soft food.\n\n> Examine box\nTwo silvery antenae extend from this peculiar animal.\n\n> You get the shirt\n(first dropping the yellow feather)\nDropped.\n\nYou gingerly pick up the flannel shirt with your teeth.\n\n> You examine the mountain\nAh, you could loll here all day.\n\n> You put the shirt in the gap\nThat doesn't fit.\n\nYou hear snoring to the west.\n\nYour stomach aches with hunger.\n\n> You examine the gap\nJudging by your whiskers, there's no way through the gap.\n\nYou hear snoring to the west.\n\n> You wear the shirt\nYou can't wear that!\n\nYou hear snoring to the west.\n\n> You put the shirt on the window\nPutting things on the window would achieve nothing.\n\nYou hear snoring to the west.\n\n> You go south\nYou can't go that way.\n\nYou hear snoring to the west.\n\n> Go east\nYou bump your nose on the glass.\n\nYou hear snoring to the west.\n\n> You drop the shirt\nDropped.\n\nYou hear snoring to the west.\n\nYou're beginning to feel dizzy.\n\n> You drop the shirt\nThe flannel shirt is already here.\n\nYou hear snoring to the west."
    },
    {
        "text": "> Look around\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou can see a flannel shirt here.\n\nYou hear snoring to the west.\n\n> You go to the west\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\nYou're starving!\n\n> You open cupboard\nThe cupboard is unreachable from here.\n\n> You go upward\nYou leap up onto the ledge.\n\n> You open the cupboard\nYou pry open the cupboard with your paw.\n\n> You enter the cupboard\nYou leap up into the cupboard...\n\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\nYou can also see a flannel shirt here."
    },
    {
        "text": "> Go east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a yellow feather here.\n\nYour stomach aches with hunger.\n\n> You go west\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\nYou can also see a flannel shirt here.\n\n> Go east\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nYou hear snoring to the west.\n\nYou're beginning to feel dizzy.\n\n> Meow\nYou mew loudly, plaintively.\n\n> You climb the tree\nYou scramble up a large tree, pieces of bark falling beneath you.\n\nYou're not going to be able to carry on without food."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, animal protagonist, cat, nature, outdoor]\n\n> Go downward\nYou leap down off the large tree.\n\n> Go south\nYou growl and hiss, but to no avail.\n\nYou encounter a swift-flowing stream. However, there may be a way over an embankment to the southwest.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> Roar\nPlease give one of the answers above.\n\n> You drop all\n(the yellow feather)\nDropped.\n\nYou're starving!\n\n> You go south\nYou encounter a swift-flowing stream. However, there may be a way over an embankment to the southwest.\n\n> You go to the southwest\nYou better satisfy your hunger before making any extended explorations.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\n> Roll log south\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\n> You stand on the log\nHarrassed by a gathering swarm of insects, you cautiously retreat from the log.\n\n> Go up\nYou scramble up a large tree, pieces of bark falling beneath you.\n\n> You examine the bark\nIt's shaggy, thin, and still intact.\n\n> You get the bark\nBut you're up in the tree!"
    },
    {
        "text": "[Themes: Slice of life, cat, nonhuman protagonist]\n\n> Go down\nYou leap down off the large tree.\n\nYour stomach aches with hunger.\n\n> You get the bark\nYou gingerly pick up the bark with your teeth."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist]\n\n> You look at your surroundings\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYou can also see a buzzing log here.\n\n> You go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a yellow feather and a hole (which is empty) here.\n\n> You take the blanket\nThat's hardly portable.\n\nThe Provider snores beside you.\n\nYou're beginning to feel dizzy.\n\n> Scratch blanket\nViolence isn't the answer to this one.\n\nThe Provider snores beside you.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a yellow feather and a hole (which is empty) here.\n\n> You take the shirt\n(first dropping the bark)\nDropped.\n\nYou gingerly pick up the flannel shirt with your teeth.\n\n> You put the shirt on Provider\nYou try to put the flannel shirt over the Provider, but he stirs in his sleep and waves you away.\n\n> You put the blanket on Provider\nYou need to be holding the blankets before you can put it on top of something else.\n\nThe Provider snores beside you.\n\n> You enter the blanket\nIt's warm and snug beaneath the blankets, though you find the Provider's prodigious hind paws to be grotesquely hairless, smelly, and just a bit ticklish when brushed by your whiskers.\n\nThe Provider snores beside you.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> You take the shirt\n(first dropping the yellow feather)\nDropped.\n\nYou gingerly pick up the flannel shirt with your teeth.\n\nYou're starving!\n\n> You enter the cupboard\nThe cupboard is currently shut.\n\n> You close the cupboard\nYou lack the dexterity.\n\n> You get the sack\nYou clamp your teeth on the monstrous sack, but it's too heavy to lift.\n\n> You eat sack\nThat's plainly inedible.\n\nYour stomach aches with hunger."
    },
    {
        "text": "> Go downwards\nYou'll have to get out of the cupboard first."
    },
    {
        "text": "[Themes: Slice of life, outdoor, animal protagonist]\n\n> You examine the ledge\nOn the ledge beneath the cupboard, the Provider often creates food. You're not supposed to be here, but who will it hurt if you nose around a little?\n\nYou're beginning to feel dizzy."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, nature, cat, animal protagonist, outdoor]\n\n> Go downward\nYou leap from the ledge to the floor.\n\n> You take the shirt\nYou gingerly pick up the flannel shirt with your teeth.\n\n> You look\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\nIn the cupboard you can see a flannel shirt."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, animal protagonist]\n\n> You go downwards\nYou leap from the ledge to the floor.\n\nYou're not going to be able to carry on without food.\n\n> You drop all\n(the flannel shirt)\nDropped.\n\nThe Provider snores beside you.\n\nYour hunger has become unbearable. With your last remaining energy you curl up to sleep. When you awake, night has fallen. You set out in search of the Provider, hoping for his kindness. If that fails, there are always insects.\n\n> Tickle paws\nWhich do you mean, the claws or the Provider's hind paws?\n\n> Hind\nYou tickle the Provider's hind paws.\n\nThe Provider stirs and sighs heavily.\n\n> Examine Provider\nThe Provider lies asleep on his side. He faces west, snorfling loudly.\n\n> You go outside\nYou nudge your way toward fresher air....\n\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nThe Provider snores beside you.\n\nYou're starving!\n\n> Tickle hind with feather\nYou tickle the Provider's hind paws with the feather.\n\nThe Provider sighs heavily and rolls over. Facing east, he grumbles and moans. The world around you heaves as he hauls his hind paws out from under the blanket.\n\n> You go outside\nBut you aren't in anything at the moment.\n\nThe Provider sits on the bed, yawning and scratching his head.\n\n> You go north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, as bare and empty as your stomach.\n\nThe Provider grumbles at you. You're not sure if this is because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> Wait\nTime passes.\n\nThe Provider taps you on the nose, knocking the yellow feather from your mouth.\n\nYour stomach aches with hunger.\n\n> You wait\nTime passes.\n\nThe Provider is preparing food.\n\n> Meow\nStaring mournfully into your food bowl, you mew. The Provider glances at your empty bowl, grumbles, and fills it from a sack of hard food, which he returns to the cupboard.\n\n> You examine Food\n(the morsel of hard food)\nThe hard food looks and smells like a piece of clay soaked in chicken grease.\n\nThe Provider heads toward the Lumpy Mountain.\n\n> You eat Food\nIt's filling, but so is sawdust. If you could only get your paws on some soft food!\n\n> Full\nYou have so far scored 26 out of a possible 100, in 54 turns, earning you the rank of domestic.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n8 waking the Provider unawares\n4 eating hard food\n4 finding sundry items\n\n26 total (out of 100)\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nThe sun rises ever higher in the eastern sky.\n\n> You go to the east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nCaught in the branches of an aspen, is a red balloon.\n\nThere are too few branches to climb very far up. Tearing away a piece of bark, you leap back to the ground.\n\n> You get the bark\nYou gingerly pick up the bark with your teeth.\n\n> You go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour Rival leaps down from an ancient elm!\n\n> You look at Rival\nYour Rival has a thick coat, huge frame, slavering fangs, and claws like eagle's talons. In short, you're no match for your Rival in size or ferocity.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> Growl\nYou growl and hiss, but to no avail.\n\nYour Rival charges, grazing you with his claws!\n\n> Go upward\nYou scramble up a large tree.\n\nYour Rival waits for you at bottom of the tree.\n\n> Wait\nTime passes.\n\nYour Rival waits for you at bottom of the tree.\n\n> Meow\nYou mew loudly, plaintively.\n\nThe Provider arrives from the Aspens.\n\nYour Rival waits for you at bottom of the tree.\n\n> Wait\nTime passes.\n\nThe Provider is gathering wood.\n\nYour Rival waits for you at bottom of the tree."
    },
    {
        "text": "[Themes: Slice of life, nature]\n\n> Go downwards\nYou leap down off the large tree.\n\nThe Provider is gathering wood.\n\nYour Rival charges, grazing you with his claws!\n\n> You hit Rival\nWith one huge paw, he bats you aside like a fly.\n\nThe Provider is gathering wood.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive.\n\n> Go north\nThe Provider's cottage is that way, but you can't enter it from here.\n\nThe Provider is gathering wood.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive.\n\n> You go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nYour Rival arrives from the Aspens.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nYour Rival enters through the flap!\n\n> You go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of pale ash here.\n\nLooking back, you notice your Rival slavering over your food bowl.\n\n> You go to the east\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nYour Rival is eating from your food bowl.\n\n> Scratch rival\nWith one huge paw, he bats you aside like a fly.\n\nYour Rival is eating from your food bowl.\n\n> Growl\nYou growl and hiss, but to no avail.\n\nYour Rival is eating from your food bowl.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nSplinters fly as the Provider splits wood with an axe.\n\nLooking back, you notice your Rival slavering over your food bowl.\n\n> You go to the south-west\nYour Rival arrives from the Aspens, interrupting your explorations.\n\n> Go south\nYou encounter a swift-flowing stream. However, there may be a way over an embankment to the southwest.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> You go to the north\nThe Provider's cottage is that way, but you can't enter it from here.\n\nYour Rival charges, grazing you with his claws!\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\nYour Rival arrives from the Rival's Wood.\n\n> Go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nLooking back, you notice your Rival has abandoned the chase.\n\nYou hear a distant rumbling approaching from the north.\n\n> You go to the east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA rotting log lies half-exposed in the snow.\n\nYour Rival crouches in the snow.\n\n> Roll log north\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nThe Provider cries out as he squashes an insect against his arm.\n\nYour Rival arrives from the Snowy Maw.\n\nYou hear high-pitched laughter beyond the fence.\n\n> Wait\nTime passes.\n\nThe Provider growls at you. You're not sure if this is because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\nYour Rival walks casually around the snow hole.\n\n> You look through the fence\nBeyond the fence is a neighboring farmhouse. Nearby, a boy plays in the snow.\n\nThe Provider taps you on the nose, knocking the bark from your mouth.\n\nYour Rival growls menacingly. You'd better leave soon.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You wait for a while\nTime passes.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYour Rival charges, grazing you with his claws!\n\nYou hear high-pitched laughter beyond the fence.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nYour Rival enters through the flap!\n\n> Wait\nTime passes.\n\nThe Provider arrives from the Clearing.\n\nYour Rival is eating from your food bowl.\n\n> You wait for a while\nTime passes.\n\nThe Provider kicks at your Rival, who reluctantly retreats through the flap.\n\n> You wait\nTime passes.\n\nThe Provider glares at you. You're not sure if this is because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> You wait awhile\nTime passes.\n\nThe Provider siezes you in his giant paws, and hurls you toward the Clearing...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a sizable piece of bark, a buzzing log, a pile of wood and a hole (which is empty) here.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You examine the pile\nThere's an assortment of limbs and spintery wedges of aspen, oak, and elm.\n\n> You get the pile\nYou pick out a freshly hewn strip of kindling.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You examine the kindling\nThis solid spear of kindling would burn readily in a hot fire.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider growls at you. You're not sure if this is because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> Wait\nTime passes.\n\nThe Provider siezes you in his giant paws, and hurls you toward the Blankets...\n\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\n> Go north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider heads toward the Lumpy Mountain.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a sizable piece of bark, a buzzing log, a pile of wood and a hole (which is empty) here.\n\n> You climb fence\nThe slats are too slippery, the fence too tall.\n\n> You go to the south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\n> Go east\nYou leap up onto the lumpy mountain...\n\nThere is just enough room in this cozy corner for the lumpy mountain and the confusing black box that faces it. The lumpy mountain is home to some of your finest claw and scratch marks, though your Provider has never shared much enthusiasm for the art. The scent of your food bowl wafts in from the west.\n\nYou can see a flannel shirt here.\n\nThe Provider lies here, gazing into the confusing box.\n\n> You wait for a while\nTime passes.\n\nThe Provider heads toward the Food Room.\n\n> Go west\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider is fumbling with the front door.\n\n> You take Food\n(first dropping the kindling)\nDropped.\n\nYou gingerly pick up the morsel of hard food with your teeth.\n\nThe Provider heads toward the Clearing.\n\n> You get kindling\n(first dropping the morsel of hard food)\nPerhaps some unfortunate critter will enjoy it more than you.\n\nYou gingerly pick up the kindling with your teeth.\n\n> You go to the south\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\n> You go to the north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a morsel of hard food and a yellow feather here.\n\n> You go east\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\n> You put the kindling in gap\nYou wedge the kindling into the gap.\n\n> You look\nFrom the inner sill of a window, you look east over a snowy landscape. Although the window's light warms you, a cold breeze emanates from its base.\n\nWedged into a gap beneath the window is a piece of kindling.\n\n> You open the window with the kindling\n(first taking the kindling)\nThat doesn't seem to be something you can unlock.\n\n> You jump on the kindling\nYou step cautiously onto the kindling. It creaks and bends under your weight, raising the window. Suddenly, the kindling pulls free, and you tumble westward...\n\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nYou can see a strip of kindling here.\n\n> Go east\nFrom the inner sill of a window, you look east over a snowy landscape.\n\nA stiff breeze rushes through the open window.\n\n> You go to the east\nYou leap for the nearest aspen...\n\nAspens (on the aspen)\nThe sky never seemed so vast, the wind so angry, the ground so remote. Facing upwards,  you cling with all four claws to a slender trunk. West of you, the winds whistles through an open window. Water rushes far below, but you can hardly bear to look.\n\nCaught in the branches of an aspen, is a red balloon.\n\n> You examine the balloon\nA string dangles from an obviously buoyant balloon.\n\n> You take the string\nThe balloon dances in the air as you snare its string in your teeth.\n\n> Full\nYou have so far scored 30 out of a possible 100, in 121 turns, earning you the rank of domestic.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n8 waking the Provider unawares\n4 eating hard food\n8 finding sundry items\n\n30 total (out of 100)\n\n> You go west\nYou leap for the window, catching the sill with your claws...\n\nFrom the inner sill of a window, you look east over a snowy landscape.\n\nA stiff breeze rushes through the open window."
    },
    {
        "text": "[Themes: Slice of life, outdoor, cat, nonhuman protagonist, animal protagonist]\n\n> Go downwards\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nYou can see a strip of kindling here.\n\n> You check your inventory\nYou carry a red balloon, its string between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\n> You drop all\n(the red balloon)\nThe balloon floats up to the ceiling.\n\n> You look\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nHovering against the ceiling is a red balloon.\n\nYou can also see a strip of kindling here.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYou hear high-pitched laughter beyond the fence.\n\n> Inventory\nYou carry nothing between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\n> You go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour Rival crouches in the snow.\n\n> Go southwest\nIt's not so easy to traipse past your Rival.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> Go west\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile\n\n> Go north\nof blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a morsel of hard food and a yellow feather here.\n\n> Go east\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nThe Provider is resting on the stump.\n\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\n> You go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour Rival crouches in the snow.\n\n> You check what you're carrying\nYou carry a red balloon, its string between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> You hit the balloon\nViolence isn't the answer to this one.\n\nYour Rival charges, grazing you with his claws!\n\n> You hit the balloon\nViolence isn't the answer to this one.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYour Rival arrives from the Rival's Wood.\n\n> Go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour Rival arrives from the Snowy Maw.\n\n> You go to the north\nThe Provider's cottage is that way, but you can't enter it from here.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nLooking back, you notice your Rival has abandoned the chase.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\n> You go south\nYou squeeze the balloon through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a morsel of hard food and a yellow feather here.\n\n> You get Food\n(first dropping the red balloon)\nThe balloon floats up to the ceiling.\n\nYou gingerly pick up the morsel of hard food with your teeth.\n\nThe Provider arrives from the Lumpy Mountain.\n\n> You go to the north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\n> You drop Food\nPerhaps some unfortunate critter will enjoy it more than you.\n\nYour Rival notices the hard food morsel, and swallows it whole.\n\n> You give Food to Rival\nHe snatches the morsel from you, and swallows it whole."
    },
    {
        "text": "> Look around\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> You go south\nYou encounter a swift-flowing stream. However, there may be a way over an embankment to the southwest.\n\nThe Provider arrives from the Aspens.\n\nYour Rival charges, grazing you with his claws!\n\n> Meow\nThe Provider grunts at you. You're not sure if this is because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive."
    },
    {
        "text": "> You look around\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nThe Provider is gathering wood.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive.\n\n> You drop the balloon\nThe balloon floats up to the ceiling.\n\n> You go to the north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a morsel of hard food and a yellow feather here.\n\n> You take Food\nYou gingerly pick up the morsel of hard food with your teeth.\n\n> Inventory\nYou carry a morsel of hard food between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\n> Go north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider heads toward the Lumpy Mountain.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nYou hear high-pitched laughter beyond the fence.\n\n> Wave food\nYou look ridiculous waving the morsel of hard food.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> You drop the morsel\nPerhaps some unfortunate critter will enjoy it more than you.\n\nTo the north, a glinting beast comes into view.\n\n> You wait\nTime passes.\n\nThe glinting beast bears down on you!\n\n> You go upward\nYou scramble up a chestnut tree.\n\nBelow, the glinting beast whizzes out of view.\n\n> You take morsel\nYou gingerly pick up the morsel of hard food with your teeth.\n\nYou hear a distant rumbling approaching from the north.\n\n> Go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nThe Provider arrives from the Aspens.\n\nYour Rival crouches in the snow.\n\n> You drop morsel\nPerhaps some unfortunate critter will enjoy it more than you.\n\nThe Provider is gathering wood.\n\nYour Rival notices the hard food morsel, and swallows it whole.\n\n> You go to the southwest\nIt's not so easy to traipse past your Rival.\n\nThe Provider is gathering wood.\n\nYour Rival growls menacingly. You'd better leave soon."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, animal protagonist, nature]\n\n> You look at your surroundings\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival makes his home. You can't help hunching your shoulders, and bracing for a sudden attack.\n\nThe Provider is gathering wood.\n\nYour Rival charges, grazing you with his claws!\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYour Rival arrives from the Rival's Wood.\n\n> You go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nLooking back, you notice your Rival has abandoned the chase.\n\n> You go east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nYour Rival crouches in the snow.\n\n> You go to the north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nThe Provider arrives from the Aspens.\n\nYour Rival arrives from the Snowy Maw.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nSplinters fly as the Provider splits wood with an axe.\n\nLooking back, you notice your Rival slavering over your food bowl.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You check your inventory\nYou carry nothing between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You take the bark\nYou gingerly pick up the bark with your teeth.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYour Rival arrives from the Food Room.\n\nYou hear high-pitched laughter beyond the fence.\n\n> Up\nYou leap up onto the ledge.\n\nYour Rival is eating from your food bowl.\n\n> You enter the cupboard\nThe cupboard is currently shut.\n\nYour Rival is eating from your food bowl.\n\n> You open the cupboard\nYou pry open the cupboard with your paw.\n\nYour Rival is eating from your food bowl.\n\n> You enter the cupboard\nYou leap up into the cupboard...\n\nFood Room (in the cupboard)\nWithin the close, heavy shadows, it's difficult to separate the commingled scents. Most of the arranged boxes appear to contain a Provider version of hard food. Indeed, your very own monstrous sack of hard food stands nearby.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nYour Rival is eating from your food bowl."
    },
    {
        "text": "[Themes: Slice of life, nature, outdoor]\n\n> Go downwards\nYou leap down from the cupboard to the ledge.\n\nYour Rival is eating from your food bowl.\n\n> You go north\nYou'll have to get off the ledge first.\n\nYour Rival is eating from your food bowl."
    },
    {
        "text": "> Go downwards\nYou leap from the ledge to the floor.\n\nYour Rival is eating from your food bowl.\n\n> You go to the north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a buzzing log and a hole (which is empty) here.\n\nThe Provider heads toward the Food Room.\n\nLooking back, you notice your Rival slavering over your food bowl.\n\n> You take the log\nThe log has rotted away much of its weight. It's still too heavy to lift, but you might be able to get it rolling.\n\n> Roll log east\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\n> Roll log sw\nYou can't even go that way!\n\nYour Rival arrives from the Aspens.\n\n> You give the log to Rival\n(first taking the buzzing log)\nThe log has rotted away much of its weight. It's still too heavy to lift, but you might be able to get it rolling.\n\nYour Rival crouches in the snow.\n\n> You roll the log rival\n** Run-time error: Rival's Wood (object number 98)  has no property <number 0> to read **\nThat's not a direction.\n\nYour Rival growls menacingly. You'd better leave soon.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a sizable piece of bark, a buzzing log and a hole (which is empty) here.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> You drop all\n(the morsel of hard food)\nPerhaps some unfortunate critter will enjoy it more than you.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider is preparing food.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a buzzing log and a hole (which is empty) here.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You go to the east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a morsel of hard food and a hole (which is empty) here.\n\n> You put the bark on the hole\nYou cover the hole with the piece of bark.\n\n> You put Food on bark\nYou put the morsel of hard food on the bark."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist]\n\n> You look at your surroundings\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nA sizable piece of bark nearly conceals a hole in the snow. Resting on the bark is a morsel of hard food.\n\n> You put the snow on the hole\nBut the bark is covering the hole.\n\n> You get the snow\nIt only melts in your mouth."
    },
    {
        "text": "[Themes: Slice of life, outdoor]\n\n> You look at your surroundings\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a mound of snow here.\n\nThe Provider arrives from the Clearing.\n\n> You remove the mound\n(first taking the mound of snow)\nThat's fixed in place.\n\nThe Provider is gathering wood.\n\n> You take the snow\nIt only melts in your mouth.\n\nThe Provider is gathering wood.\n\n> Dig\nYou scrape away the mound of snow, revealing the bark.\n\nThe Provider stumbles into the snow hole!\n\n> Wait\nTime passes.\n\nThe Provider glares at you. You're not sure if this is because he fell into a snow hole, because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> You go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood, a buzzing log and a hole (which is empty) here.\n\n> Roll log east\nYou roll the log in front of you, carefull to avoid the gathering swarm of insects.\n\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nA sizable piece of bark nearly conceals a hole in the snow. Resting on the bark is a morsel of hard food.\n\n> You get Food\n(first dropping the bark)\nDropped.\n\nYou gingerly pick up the morsel of hard food with your teeth.\n\nThe Provider arrives from the Rival's Wood.\n\n> You take Food\nYou gingerly pick up the morsel of hard food with your teeth.\n\nThe Provider is gathering wood.\n\n> You put the bark on the hole\nYou cover the hole with the piece of bark.\n\nThe Provider is gathering wood.\n\n> You cover the hole with the bark\nBut the bark is covering the hole.\n\nThe Provider heads toward the Clearing."
    },
    {
        "text": "> You describe your surroundings\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nA sizable piece of bark nearly conceals a hole in the snow.\n\nYou can also see a buzzing log here.\n\n> You get the bark\n(first dropping the morsel of hard food)\nPerhaps some unfortunate critter will enjoy it more than you.\n\nYou pick up the bark, revealing the hole in the snow.\n\n> Full\nYou have so far scored 30 out of a possible 100, in 166 turns, earning you the rank of domestic.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n8 waking the Provider unawares\n4 eating hard food\n8 finding sundry items\n\n30 total (out of 100)\n\n> You look\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a mound of snow (on which is a morsel of hard food) here.\n\n> Wait\nTime passes.\n\nYour Rival charges, grazing you with his claws!\n\n> You go to the north\nThe Provider's cottage is that way, but you can't enter it from here.\n\nYou falter in the face of your Rival's ferocious charge. He pins you to the ground, mauling your face and underbelly. You struggle, but are helpless beneath him. You're dimly aware of him as he saunters away, leaving you for dead in the reddening snow. You only hope you freeze to death before the vermin and insects arrive.\n\n> Go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a mound of snow (on which is a morsel of hard food) here.\n\nYour Rival arrives from the Rival's Wood.\n\n> Go south\nA shadowy, east-west path snakes through a tangle of gnarled oaks and elms. Somewhere in this ancient forest, your Rival once made his home. It's a pleasure to explore it unhindered.\n\n> Go southwest\nAs you climb over the embankment, something scuttles behind a stone.\n\nNestled under a southfacing embankment, there are actually patches of bare sand along this stony beach. The stream runs swiftly past, buffeting ice floes against the shore.\n\nSomething scurries nearby.\n\nThe sun shines high overhead.\n\n> Growl\nYou growl and hiss, but to no avail.\n\nYou detect an earthy draft.\n\n> Smell\nThe scent of animal life is strongest near a jumble of boulders.\n\n> You keep going\nThe scent of animal life is strongest near a jumble of boulders.\n\nYou detect an earthy draft.\n\n> Smell\nThe scent of animal life is strongest near a jumble of boulders.\n\nSomething scurries nearby.\n\n> You examine the boulders\nBoulders and stones lie jumbled under an overhang. It's difficult to decide which of the innumerable interconnecting nooks and shadows to explore.\n\n> You listen\nNot focussing on anything in particular, the rush of the stream predominates.\n\nSomething scurries nearby.\n\n> You listen to boulders\nAn earthy draft emanates from somewhere in the shadows.\n\nYou detect an earthy draft.\n\n> You examine something\nThe shadows beneath the jumble of boulders faintly echo with tiny, pitter-pattering feet.\n\nSomething scurries nearby.\n\nWhatever it was, it's undetectable now.\n\n> You get the rocks\nThe stones are too heavy to carry.\n\nYou detect an earthy draft.\n\n> Smell shadows\nYou sniff out a dung-scented nook.\n\nSomething scurries nearby.\n\n> You enter the nook\nYou squeeze into a small opening...\n\nThrough a network of burrows and tiny side-passages, a larger tunnel winds northward. Your whiskers indicate even it may be impassable. The air is scarce, the earth close and unstable. With no room to turn around, perhaps you should just back out the way you came in.\n\n> You go north\nThe tunnel bends upward. You welcome the plentiful, if musty, air...\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect a sliver of light beneath a huge western door. Various cartons and barrels are stacked against the opposite wall.\n\n> You examine the carton\nNumerous cartons, barrels, and other useless containers are haphazardly arranged beneath a high shelf. A wicker basket does, however, catch your eye.\n\n> You examine basket\nIt's compact yet capacious, and currently contains a small white box and a jangly ring. You might be able to get your teeth around its sturdy handle.\n\n> You look at the box\nIts central (and only) feature is a large button.\n\n> You look at the handle\nIt's compact yet capacious, and currently contains a small white box and a jangly ring. You might be able to get your teeth around its sturdy handle.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> You examine the glint\nSeveral bolts protrude near the bottom of the door.\n\n> You get the bolt\nThe protruding bolts are up near the ceiling.\n\n> You get the box\nYou gingerly pick up the small white box with your teeth.\n\n> You examine the shelf\nSteeped in shadow.\n\n> You get the handle\n(first dropping the small white box)\nDropped.\n\nClamping down on its handle, you pick up the wicker basket.\n\nAs the huge door comes to a close, the mechanical growl abruptly ceases.\n\n> You put box in the basket\nYou put the small white box into the wicker basket.\n\n> You get the basket\nClamping down on its handle, you pick up the wicker basket.\n\n> You examine beast\nYou've heard such beasts rumble, sigh, bleat, and stampede. This one is quiet, and perhaps ill. He appears to be bleeding from his underside.\n\n> You look under the beast\nYou crawl under the beast for a closer look...\n\nShiny, intertwined tubes--presumably his exposed entrails--hang from the underside of the beast. From one of his stomachs, he slowly bleeds.\n\nA pool of clear liquid shimmers on the floor.\n\n> You look at the liquid\nThe pool is slowly fed by the beast's dripping entrails.\n\n> Full\nYou have so far scored 50 out of a possible 100, in 215 turns, earning you the rank of stalker.\n\nThe score is made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n8 waking the Provider unawares\n4 eating hard food\n15 driving off your Rival\n8 finding sundry items\n5 visiting various places\n\n50 total (out of 100)\n\n> You look\nShiny, intertwined tubes--presumably his exposed entrails--hang from the underside of the beast. From one of his stomachs, he slowly bleeds.\n\nA pool of clear liquid shimmers on the floor.\n\n> You examine the underside\nIntertwining tubes connect four rubbery legs to the underside of the beast. His many stomachs are also linked by knots of shiny entrails.\n\n> Go upward\nThe beast's entrails are intertwined too tightly.\n\n> Go outside\nYou crawl out from under the glinting beast...\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect a sliver of light beneath a huge western door. Various cartons and barrels are stacked against the opposite wall.\n\n> You examine the shelf\nSteeped in shadow.\n\n> Examine barrel\nNumerous cartons, barrels, and other useless containers are haphazardly arranged beneath a high shelf.\n\n> You stand on the barrel\nYou get onto the cartons.\n\n> You hold the door\nThe huge door is currently out of reach.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> You look at what you're carrying with you\nYou carry a wicker basket between your teeth.\nIn the wicker basket are a small white box and a jangly ring.\nYou are also sated (though not satisfied), and covered in pale ash.\n\n> You look at the ring\nA dozen or more jagged, silvery leaves jangle on a ring. You find it to be a compelling toy.\n\n> You get the door\nThe huge door is currently out of reach.\n\nAs the huge door comes to a close, the mechanical growl abruptly ceases.\n\n> Hang\nWhat do you want to hang?\n\n> Yourself\nWhat do you want to hang yourself on?"
    },
    {
        "text": "[Themes: Slice of life, outdoor, nonhuman protagonist]\n\n> You look around\nBeast's Cave (on the cartons)\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the sunlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> You wait for a while\nTime passes.\n\nAs the huge door comes to a close, the mechanical growl abruptly ceases.\n\n> You hang the basket on the bolts\nYou hang the basket on one of the protruding bolts.\n\n> You wait\nTime passes.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> You enter the basket\n(getting off the cartons)\nYou get into the wicker basket.\n\nIn the wicker basket you can see a jangly ring.\n\n> Oops button\n\"Click.\"\nYou hear a low mechanical growl as the huge door begins to slide upward, and bend beneath the ceiling. You are being carried towards the ceiling!\n\n> Inventory\nYou carry a small white box between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases.\n\nCave Ceiling (in the wicker basket)\nSuspended by runners on either side, the huge door lies flat. There's enough space to walk on top of it, although the ceiling is damp and cluttered with cobwebs. To the east, something glimmers on a shadowy shelf.\n\nIn the wicker basket you can see a jangly ring.\n\n> You go to the east\nYou'll have to get out of the wicker basket first.\n\n> You go outside\nYou scramble out of the basket, and up onto the huge door.\n\n> You go east\nYou leap onto the shelf...\n\nStack upon stack, row upon row, of flat, shiny eggs crowd this dark shelf. The eggs shimmer like magic vessels. You can't help but contemplate their sealed contents.\n\nYou can see a fresh drop of saliva here.\n\n> You examine the egg\nThey're flat on the top and bottom, and round on the sides. You're certain they contain soft food, but not sure how to crack open their cold shells.\n\n> You get the egg\nYou pick up an egg by clamping on a shiny ring attached to its top.\n\n> You go west\nYou leap atop the huge door...\n\nSuspended by runners on either side, the huge door lies flat. There's enough space to walk on top of it, although the ceiling is damp and cluttered with cobwebs. To the east, something glimmers on a shadowy shelf.\n\nA wicker basket hangs from the west end of the door.\n\n> You run it over with the the car\nThat could be dangerous.\n\nYou can't see \"it\" (the wicker basket) at the moment.\n\n> You jump\nYou spring into the air, and just for the joy of jumping!\n\n> You enter the basket\nYou get into the wicker basket.\n\nIn the wicker basket you can see a small white box and a jangly ring.\n\n> You open the egg\nWhisker and paw! You're not sure how!\n\n> You open the can with ring\n(the jangly ring)\n(first taking the jangly ring)\n(first dropping the flat shiny egg)\nDropped.\n\nThat doesn't seem to be something you can unlock.\n\n> You take the box\n(first dropping the jangly ring)\nDropped.\n\nYou gingerly pick up the small white box with your teeth."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist]\n\n> You enter the basket\nYou get into the wicker basket.\n\nIn the wicker basket you can see a jangly ring and a flat shiny egg.\n\n> You go outside\nThe motion of the basket knocks you off-balance.\n\nAs the huge door comes to a close, the mechanical growl abruptly ceases.\n\nBeast's Cave (in the wicker basket)\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect a sliver of light beneath a huge western door. Various cartons and barrels are stacked against the opposite wall.\n\nIn the wicker basket you can see a jangly ring and a flat shiny egg.\n\n> You get the egg\n(first dropping the small white box)\nDropped.\n\nClamping your teeth on its shiny ring, you pick up the egg.\n\n> Leave\nYou get out of the wicker basket.\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect a sliver of light beneath a huge western door. Various cartons and barrels are stacked against the opposite wall.\n\nA wicker basket is hooked onto a bolt near the bottom of the door.\n\n> You get the egg\n(first dropping the small white box)\nDropped.\n\nClamping your teeth on its shiny ring, you pick up the egg.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> You put the egg in the door\nThe huge door is up near the ceiling.\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nA cloud shields the sun in the western sky.\n\n> You check your inventory\nYou carry a flat shiny egg between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nThe Provider grumbles at you. You're not sure if this is because he spotted you with the shiny egg, because he fell into a snow hole, because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You go to the south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\n> You go south\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nHovering against the ceiling is a red balloon.\n\nYou can also see a strip of kindling here.\n\n> Go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a hole (in which are a morsel of hard food and a buzzing log) here.\n\nThe Provider is gathering wood.\n\n> You give can to Provider\nThe Provider seems surprised that you're carrying around the flat shiny egg.\n\n> Meow\nThe Provider growls at you. You're not sure if this is because he spotted you with the shiny egg, because he fell into a snow hole, because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nThe Provider arrives from the Aspens.\n\n> You put the can on the axe\nPutting things on the axe would achieve nothing.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> Go north\nA slatted fence bars your way.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> You put the can on the stump\nYou put the flat shiny egg on the stump.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You take the egg\nClamping your teeth on its shiny ring, you pick up the egg.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> You listen\nYou hear a boy laughing and frolicking beyond the fence.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> You get the balloon\n(first dropping the flat shiny egg)\nDropped.\n\nThe balloon dances in the air as you snare its string in your teeth.\n\n> Go north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nThe Provider is resting on the stump.\n\n> You drop the balloon\nThe balloon begins to float away!\n\nSplinters fly as the Provider splits wood with an axe.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You examine the balloon\nA string dangles from an obviously buoyant balloon.\n\nSplinters fly as the Provider splits wood with an axe.\n\nThe balloon rises up and away, disappearing to the south.\n\nYou hear high-pitched laughter beyond the fence."
    },
    {
        "text": "[Themes: Slice of life, nature, cat]\n\n> You look around\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a pile of wood and a hole (which is empty) here.\n\nSplinters fly as the Provider splits wood with an axe.\n\nYou hear high-pitched laughter beyond the fence.\n\n> You check your inventory\nYou carry a red balloon, its string between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\nSplinters fly as the Provider splits wood with an axe.\n\n> You go south\nYou squeeze the balloon through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\n> You go to the south\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nYou can see a flat shiny egg and a strip of kindling here.\n\n> You get the egg\n(first dropping the red balloon)\nThe balloon floats up to the ceiling.\n\nClamping your teeth on its shiny ring, you pick up the egg.\n\n> You tie the egg to the balloon\nClumsily, you coax the twig through the shiny ring. After several attempts, the twig pops through and catches hold. The flat shiny egg is now fastened to the balloon.\n\n> You go to the north\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider is bent over the alcove.\n\n> Go south\nYou enjoy curling up in the blankets' warm folds. Light streams down through an eastern window. A mingling of faded scents lure you northward.\n\nHovering nearby is a weighted balloon.\n\nYou can also see a strip of kindling here.\n\n> You get balloon\nThe balloon dances in the air as you snare its string in your teeth.\n\n> You wait awhile\nTime passes.\n\nThe Provider is bent over the alcove.\n\n> Go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of wood here.\n\nThe Provider reaches in from the east, arranging the pile of wood.\n\n> You wait for a while\nTime passes.\n\nThe Provider reaches in from the east, arranging the pile of wood.\n\n> Go up\nYou claw your way up the stone chute...\n\nThe pitched roof of the Provider's cottage affords an excellent view of the surrounding valley. A stream winds through forest to the east and south, while a woodland trail to the west links scattered farmhouses, such as the neighboring one beyond a fence to the north.\n\nYou can see the boy to the north.\n\nThe wind blows west.\n\n> You wait\nTime passes.\n\nYou can see the boy to the north.\n\nThe wind blows south.\n\n> Wave\nYou wave, feeling foolish.\n\nYou can see the boy to the north.\n\nThe wind blows south.\n\n> Inventory\nYou carry a weighted balloon, its string between your teeth. You are also sated (though not satisfied), and covered in pale ash.\n\nYou can see the boy to the north.\n\nThe wind blows west.\n\n> Meow\nYou mew loudly, plaintively.\n\nYou can see the boy to the north.\n\nThe wind blows north.\n\n> You drop the balloon\nThe wind carries the red balloon north towards the Clearing. The flat shiny egg slowly pulls it earthward. You watch with fascination as the shiny egg clears the fence by the width of your whiskers. A delighted boy runs to capture the descending red balloon.\n\n> You jump\nYou spring into the air, and just for the joy of jumping!\n\nYou can see the boy to the north.\n\nThe wind blows west.\n\n> You jump off the roof\nBut you aren't in anything at the moment.\n\nYou can see the boy to the north.\n\nThe wind blows south.\n\nThe sun sets behind a pink cloud in the western sky.\n\n> Go north\nThe roof slopes steeply in every direction.\n\nYou can see the boy to the north.\n\nThe wind blows south."
    },
    {
        "text": "[Themes: Slice of life, outdoor]\n\n> You go down\nYou come crashing down the chute into a pile of wood...\n\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a pile of wood here.\n\nThe Provider grumbles at you. You're not sure if this is because you disrupted his wood pile, because he spotted you with the shiny egg, because he fell into a snow hole, because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> Go east\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider lunges after you, then clutches his breast and steadies himself.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nWas that a dark shape scuttling in the snow?\n\n> Wait\nTime passes.\n\nThe Provider lunges after you, but looks rather whoozy.\n\n> Meow\nThe Provider growls at you. You're not sure if this is because you disrupted his wood pile, because he spotted you with the shiny egg, because he fell into a snow hole, because you stole a strip of kindling, because you tracked snow into the cottage, because you failed to defend your food bowl, because you stirred up a swarm of insects, because he suspects you brought a bird into the house, because you mewed excessively, or because you scattered ash everywhere.\n\n> You wait\nTime passes.\n\nThe Provider lunges after you, only to be overcome by a fit of hacking and wheezing.\n\n> Go north\nYou bump into a sooty stone wall.\n\nThe Provider reaches in from the east, arranging the pile of wood.\n\n> Go east\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider is bent over the alcove.\n\n> You look at the shape\nThere's nothing there now, if there ever was.\n\nYou hear a low-pitched growl.\n\nThe sun sets behind a pink cloud in the western sky.\n\n> You listen\nPerhaps the growl was only your stomach.\n\nA faint, improbable scent rides the wind.\n\n> Go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nOn the floor, lies your food bowl, full of hard food.\n\nYou can also see a yellow feather here.\n\nThe Provider is bent over the alcove.\n\n> You get kindling\nYou gingerly pick up the kindling with your teeth.\n\n> You go to the north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nDid a dark shape scuttle behind you?\n\n> You go to the east\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the sunlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a small white box here.\n\n> You look under the basket\nThe wicker basket is up near the ceiling.\n\n> You look under the car\nYou crawl under the beast for a closer look...\n\nShiny, intertwined tubes--presumably his exposed entrails--hang from the underside of the beast. From one of his stomachs, he slowly bleeds.\n\nA pool of clear liquid shimmers on the floor.\n\n> You put kindling in the liquid\nYou drop the kindling into the pool.\n\n> Go outside\nYou crawl out from under the glinting beast...\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the sunlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a small white box here.\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\n> You go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a hole (which is empty) here.\n\nDid a dark shape scuttle behind you?\n\n> You look at the shape\nThere's nothing there now, if there ever was.\n\nYou hear a malicious, low-pitched growl.\n\n> You wait awhile\nTime passes.\n\n> You hit the fence\nViolence isn't the answer to this one.\n\nYour nostrils detect that improbable scent again.\n\n> Smell\nThat's strange. For a moment you thought you smelled your Rival.\n\n> Go north\nA slatted fence bars your way.\n\nYou hear a malicious, low-pitched growl.\n\n> You go east\nOverlooked by a high window of the Provider's cottage, a trail follows a north-south stream through a grove of aspens.\n\nYou can also see a hole (in which are a morsel of hard food and a buzzing log) here.\n\n> Meow\nYou watch the boy through the fence. He runs crazy circles in the snow, tugging the red balloon behind him. With a cry of joy the boy runs toward you. You hear a familiar \"Thuck!\" as he cracks open the shiny egg. Clambering halfway up, the boy is barely able to reach over the fence. Your eyes never leave the open shell of soft food as it falls and lands upright in the snow beside you.\n\nYour nostrils detect that improbable scent again.\n\n> You get Food\nThat's plainly inedible.\n\n> You eat Food\n(first dropping the kindling)\nDropped.\n\nA blend of tuna and chicken livers, your entire consciousness swims in its taste, texture, and smell. You lap up its succulent juices, and slaver down every delectable mouthful. After a moment of complete rapture, you find yourself staring into an empty shell, grease dripping from your whiskers.\n\nSmoke rises from the cottage chimney.\n\n> Examine can\nAlas, it's empty.\n\nSmoke rises from the cottage chimney.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nHearing the flap close behind you, the Provider rises from his newly lit fire, and angrily approaches. You wonder if you've finally driven him insane. As you turn to retreat, both you and your Provider are startled by what emerges through the flap.\n\nFirst, a creature's swollen head pushes through, then its matted, bloodied body. Its eyes burn with hatred as it drags a lame leg through the opening. Thorns and stingers are knotted in its fur, embedded and broken off in numerous sores.\n\nThe Provider shoos the hideous creature toward the flap, but it only growls with increasing resolve. The Provider lunges for the creature, then pauses dreamily as if staring at something distant. He gasps, clutches his breast, and collapses on the floor.\n\nThe creature sniffs your fallen Provider, then closes in on you.\n\n> You eat provider\nThe creature's relentless claws interrupt you.\n\nSprawled on the floor is your Provider.\n\nThe creature rakes you, drawing fresh blood.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a strip of kindling, a shiny empty shell and a hole (which is empty) here.\n\nThe creature follows you.\n\nA thousand stars shimmer in a moonlit sky.\n\n> Meow\nYou watch the boy through the fence. He runs crazy circles in the snow, tugging the red balloon behind him.\n\nThe creature closes in on you.\n\n> You get kindling\nThe creature's relentless claws interrupt you.\n\nThe creature rakes you, drawing fresh blood.\n\n> You get kindling\nThe creature's relentless claws interrupt you.\n\nThe creature closes in on you.\n\n> You get kindling\nYou gingerly pick up the kindling with your teeth.\n\nSmoke rises from the cottage chimney.\n\nYour nostrils detect that improbable scent again.\n\n> Go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nHearing the flap close behind you, the Provider rises from his newly lit fire, and angrily approaches. You wonder if you've finally driven him insane. As you turn to retreat, you are so startled by what emerges through the flap that you drop the kindling.\n\nFirst, a creature's swollen head pushes through, then its matted, bloodied body. Its eyes burn with hatred as it drags a lame leg through the opening. Thorns and stingers are knotted in its fur, embedded and broken off in numerous sores.\n\nThe Provider shoos the hideous creature toward the flap, but it only growls with increasing resolve. The Provider lunges for the creature, then pauses dreamily as if staring at something distant. He gasps, clutches his breast, and collapses on the floor.\n\nThe creature sniffs your fallen Provider, then closes in on you.\n\n> Go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a crackling wood fire here.\n\nThe creature follows you.\n\n> You examine creature\nIts swollen eyes burn with hatred. Though mingled with an otherworldliness, and a stewing putrefaction, its scent is unmistakably your Rival's.\n\nSprawled on the floor is your Provider.\n\nNo match for the creature claw to claw, its relentless attack overwhelms you. You are numbly aware of your belly being lashed open. You smell the monster's putrefying flesh, and the rot of its breath. Its swollen eyes glower for a moment before its jaws close on your throat.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\nThe creature follows you.\n\nA thousand stars shimmer in a moonlit sky.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nThe creature follows you.\n\n> Go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nThe creature follows you.\n\nYou hear a distant rumbling approaching from the north.\n\n> Wait\nTime passes.\n\nThe creature closes in on you.\n\nTo the north, a pair of headlights comes into view.\n\n> You wait awhile\nTime passes.\n\nThe creature rakes you, drawing fresh blood.\n\nThe pair of headlights bears down on you!\n\n> Go up\nYou scramble up a chestnut tree, pieces of bark falling beneath you.\n\nBelow, the creature stands frozen in the oncoming headlights. You catch a glint of fear in his swollen, tortured eye as the thundering headlights close in on him, carrying him swiftly and mercifully into oblivion."
    },
    {
        "text": "> Go downwards\nYou leap down off the chestnut tree.\n\n> You go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\n> You go to the south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a strip of kindling and a yellow feather here.\n\nSprawled on the floor is your Provider.\n\n> You get kindling\nYou gingerly pick up the kindling with your teeth.\n\nThe Provider gasps.\n\n> You wake provider\nBut how?\n\nThe Provider gasps.\n\n> Meow\nThe Provider hardly stirs.\n\nThe Provider is turning blue.\n\n> Nuzzle provider\nYou nudge the Provider, but he doesn't stir.\n\nThe Provider is turning blue.\n\n> You go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a crackling wood fire here.\n\n> You put the kindling in the fire\nYou put the kindling on the crackling wood fire.\nThe kindling begins to burn.\n\n> Go upwards\nThe fire is too hot to risk the climb.\n\n> You go east\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nThe Provider is turning blue.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\n> Light Provider\nThere's no obvious fire source.\n\nThe Provider is turning blue.\n\n> You examine the kindling\nThe kindling smoulders on one end.\n\nThe Provider is turning blue.\n\n> Light Provider with kindling\nThe smouldering kindling is not a fire source.\n\nThe Provider is turning blue.\n\n> Hit provider\nFirst you take a tentative bite. Several more bites, and the Provider sleeps on. He's fairly tasty! Over the next few days, you manage to eat most of him. But when the insects arrive you flee to Rival's old wood to hunt fresh game. It's a savage fate for your poor master. But you have to admit that--even to the bitter end--he was always a Provider.\n\n> You go to the east\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a small white box here.\n\n> You look under the car\nYou crawl under the beast for a closer look...\n\nShiny, intertwined tubes--presumably his exposed entrails--hang from the underside of the beast. From one of his stomachs, he slowly bleeds.\n\nA pool of clear liquid shimmers on the floor.\n\n> You put the kindling in the liquid\nYou hear a tremendous rush and roar of wind as the flames leap to life. You feel an unbearable heat as you're consumed by the fire. There's nowhere to go, no air to breath, and the flames are all around you.\n\n> Go outside\nYou crawl out from under the glinting beast...\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a small white box here.\n\n> You look under the car\nYou crawl under the beast for a closer look...\n\nShiny, intertwined tubes--presumably his exposed entrails--hang from the underside of the beast. From one of his stomachs, he slowly bleeds.\n\nA pool of clear liquid shimmers on the floor.\n\nYou can also see a strip of smouldering kindling here.\n\n> You get kindling\nYou gingerly pick up the smouldering kindling with your teeth.\n\n> Go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nThe Provider is turning blue.\n\n> You put the shirt on the fire\nYou put the flannel shirt on the crackling wood fire.\nThe flannel shirt begins to burn.\n\n> You get the shirt\nYou retrieve the flannel shirt from the fire. It's a little scorched, but essentially undamaged.\n\n> Inventory\nYou carry a flannel shirt between your teeth. You are also well-fed, and bleeding badly.\n\n> You look at the shirt\nThe flannel shirt is engulfed in flame.\n\n> Go east\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nThe Provider's breath grows faint.\n\n> Go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\n> You go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\n> Go east\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a strip of smouldering kindling and a small white box here.\n\n> You put the shirt in the pool\nThe flannel shirt soaks up much of the clear pool's liquid.\n\n> You get the shirt\nYou already have that.\n\n> Go outside\nYou crawl out from under the glinting beast...\n\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a strip of smouldering kindling and a small white box here.\n\n> You hang the shirt on the bolts\nThe protruding bolts are up near the ceiling.\n\n> You examine the shirt\nA bit smelly, perhaps, but you love to nap in its soft folds. The sodden flannel shirt is drenched with a noxious liquid.\n\n> Go north\nYou can't go that way.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases. You notice a glint of light near the bottom of the door.\n\n> Go east\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a sodden flannel shirt, a strip of smouldering kindling and a small white box here.\n\n> You go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a sodden flannel shirt, a shiny empty shell and a hole (which is empty) here.\n\n> You get the shirt\n(first dropping the smouldering kindling)\nDropped.\n\nYou gingerly pick up the sodden flannel shirt with your teeth.\n\n> Go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nThe Provider's breath grows faint.\n\n> You go west\nCharcoal-stained stones form a shadowy alcove that culminates in a chute overhead. The strong smell of smoke is rivalled by more savory scents to the east.\n\nYou can see a crackling wood fire here.\n\n> You put the shirt on the fire\nYou put the sodden flannel shirt on the crackling wood fire.\n\nYou're nearly knocked off your paws by the rush of wind as the sodden flannel shirt ignites. Great greedy tongues of flame reach for the walls and ceiling. You're lucky to escape with only your whiskers singed.\n\nSoon a great mewing beast arrives to fight the flames. It seems that everyone in the valley comes to watch the inferno that was your home. You slink guiltily into the woods, surprised at how deeply you miss your Provider.\n\n> You look at the wood\nThe kindling smoulders on one end.\n\n> You get the shirt\nYou singe you whiskers before you even get close to the fire.\n\nA flaming shirt is ablaze with hungry, high-reaching flames.\n\n> Go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou can also see a sizable piece of bark here.\n\n> You drop the shirt\nDropped.\n\nYou hear a distant rumbling approaching from the north.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a strip of smouldering kindling, a shiny empty shell and a hole (which is empty) here.\n\n> You get kindling\nYou gingerly pick up the smouldering kindling with your teeth.\n\n> You go west\nA north-south trail runs beneath a canopy of chestnut trees. You've seen giant glinting beasts stampede here, especially in the mornings and evenings. A lesser track leads east.\n\nYou can also see a sodden flannel shirt and a sizable piece of bark here.\n\nYou hear a distant rumbling approaching from the south.\n\n> You put the kindling on shirt\nThe sodden flannel shirt bursts into flame!\n\nTo the south, a pair of headlights comes into view.\n\n> Go upwards\nYou scramble up a chestnut tree.\n\nA flaming shirt is ablaze with hungry, high-reaching flames.\n\nThe approaching pair of headlights slows down.\n\n> You wait awhile\nTime passes.\n\nThe flaming shirt is ablaze with hungry, high-reaching flames.\n\nThe headlights cease their approach, and a figure emerges from the darkness."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist]\n\n> Go downward\nYou leap down off the chestnut tree.\n\nThe flaming shirt burns heartily.\n\nA figure is here, waving around a beam of light.\n\n> You look at the figure\nThe figure wields a beam of light.\n\nThe flaming shirt burns heartily.\n\n> You eat figure\nHe's plainly inedible.\n\nThe flaming shirt still illuminates the area, but is burning itself out.\n\nA figure is here, waving around a beam of light.\n\n> You hit figure\nViolence isn't the answer to this one.\n\nThe flaming shirt still illuminates the area, but is burning itself out.\n\nA figure is here, waving around a beam of light.\n\n> Growl\nYou growl and hiss, but to no avail.\n\nThe flaming shirt consumes itself, its ashes scattering into nothing.\n\nA figure is here, waving around a beam of light.\n\n> Meow\nShining his light on you, the figure bends over, and strokes you behind the ears.\n\n> Go north\nYou wander north a ways before turning back.\n\nThe figure scans the area near you with a beam of light.\n\n> You go east\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nThe figure follows you from the Canopy Trail.\n\n> Go north\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\nThe figure follows you from the Snowy Maw.\n\n> You go to the south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYou can see a yellow feather here.\n\nThe Provider's breath grows faint.\n\nSomeone is rattling the front door.\n\n> You go north\nYou duck through the flap in the front door...\n\nA tree stump pokes through the otherwise unbroken blanket of soft, powdery snow. A slatted fence traverses the snow to the north, while the cottage entrance lies southward.\n\nYou can see a shiny empty shell and a hole (which is empty) here.\n\nThe figure scans the area near you with a beam of light.\n\n> You go to the west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nThe figure follows you from the Clearing.\n\n> Go east\nBeside an open crack in the floor stands a glinting beast, the centerpiece of this dusty vault. Its glassy eyes and shiny skin reflect the moonlight that streams through an opening to the west. Various cartons and barrels are stacked against the opposite wall.\n\nAbove, a wicker basket dangles from the huge door.\n\nYou can see a small white box here.\n\nThe figure follows you from the Snowy Maw.\n\n> Wait\nTime passes.\n\nAs the huge door comes to a close, the mechanical growl abruptly ceases.\n\nThe figure scans the area near you with a beam of light.\n\n> You get the keys\nYou gingerly pick up the jangly ring with your teeth.\n\nThe figure scans the area near you with a beam of light.\n\n> Go west\nTo the east, icicles hang like fangs within a giant maw of snow. A large pair of matching tracks lead out of shadows of the snowy mouth and to the west. A path loops north and south.\n\nAs the huge door opens completely, the mechanical growl abruptly ceases.\n\nThe figure follows you from the Beast's Cave.\n\n> You give the keys to the figure\nThe figure accepts the keys.\n\n> You go south\nYou duck through the flap in the front door...\n\nHere the Provider divines food from the cupboard's magic containers, and prepares it on the ledge above you like only a Provider can. It seems that all roads lead to your food bowl: there's an alcove to the west, a small flap northward, a lumpy mountain to the east, and a pile of blankets southward.\n\nYour fallen Provider lies oddly still.\n\nAs the figure steps through the door, he turns toward your fallen Provider, and hurries to his side. A short while later, a loud and horrible mewing approaches, and the white-furred ones come to take your Provider away. You're sorry to see him go. He was all hisses and growls, but he was a Provider nonetheless.\n\nYou eventually devour the mountain of hard food, and take to Rival's old wood. As the weeks pass, you hunt with greater relish; in the shadows, or from an overhanging limb, you watch and you wait with heightened senses. One day, having nearly forgotten him, you spy your Provider rolling into the cottage on a shiny stool. He no longer grunts or glares at you; instead, he sits all day on his shiny stool, gazing sadly into the confusing box.\n\nAs winter warms over, the Provider begins to invite you onto his lap for a ride to the aspens, or through the ferns emerging on the forest floor. You hunt the golden-feathered bird and chase new rivals from across the stream. He strokes your fur, even croons to you. During such moments, you do something you haven't done in a long time. You purr.\n\n> Full\nIn that game you scored 100 out of a possible 100, in 501 turns, earning you the rank of contentment.\n\nThe score was made up as follows:\n\n6 hunting a bird (and nearly being successful)\n2 safely opening the blinds\n8 waking the Provider unawares\n4 eating hard food\n15 driving off your Rival\n5 ascending a garage door\n15 eating soft food\n8 leading your Rival to a merciful end\n8 building a beacon in the road\n10 saving your Provider\n12 finding sundry items\n5 visiting various places\n\n100 total (out of 100)\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?"
    },
    {
        "text": "[Themes: Adventure, treasure hunt, Fallen London]\n\n6/12N)\n\nThe rain falls south onto the roof of your home - a pentagon, just\nlike the home of every other shape in the city. On a night like\ntonight, there's nothing you want to do more than sit back and relax\nwith a nice cup of tea.\n\nA small mirror hangs on your wall.\n\non.\n\nYou can also see a mug (in which is some tea) here.\n\nof commands, or type 'ABOUT' to see legal information.\n\n[Author's Note: Unravel the secrets of the third dimension and search for treasure in a wholly bizarre setting \u0097 a crossover between the worlds of Fallen London and Flatland. Keep your wits about you in this sprawling parser-based game, and remember: There's no such thing as down.]"
    },
    {
        "text": "> You look around\nThe rain falls south onto the roof of your home - a pentagon, just\nlike the home of every other shape in the city. On a night like\ntonight, there's nothing you want to do more than sit back and relax\nwith a nice cup of tea.\n\nA small mirror hangs on your wall.\n\non.\n\nYou can also see a mug (in which is some tea) here.\n\n> About yourself\nYou make acute equilateral triangle, if you do say so yourself.\n\n> You look at the mirror\nYou check yourself out in the mirror. You make acute equilateral\ntriangle, if you do say so yourself.\n\n> You take the mug\nTaken.\n\n> You read the paper\nYou never could read in dreams. Despite this, you find yourself\ncompelled to pick up the note and shove it in your pocket.\n\n> You drink the tea\nYou take a small sip. The tea tastes earthy, and vaguely sweet. You\nhold the warm mug and prepare for a pleasant evening at home.\n\n[PRESS ANY KEY TO CONTINUE]All of a sudden, things begin to shake. You\nfind yourself being tossed back and forth, and you're pretty sure you\nhear your mug shatter. When the shaking subsides, you stagger out from\nthe ruins of your home to find London in complete disorder.\n\nThe great shift that befell London was ten years ago, and everything\nis different now. Hell, devils included, is a real place to the west\nof London, and impossible creatures live and work among ordinary\nshapes. Some believe London went DOWN, to a cavern beneath the earth,\nbut any well regarded citizen knows those are little more than\nrumours.\n\nAfter all, there's no such thing as down.\n\n[PRESS ANY KEY TO CONTINUE]## Your Lodgings\nYou are in your small apartment. It's a cool London morning, and your\nwindows are ever so slightly fogged up. A door is set into the west\nwall of your home.\n\nA spare towel covers a small hand mirror lying in your room. It's been\nsanitized, of course, but one can never be too careful.\n\nIn one corner of the room is an old wooden trophy case.\n\nA rack stands in the corner, brimming with hats.\n\nYou wake up, shivering, the note still heavy in your pocket.\n\n> You look at the note\nGreetations,\nSincere apologetics for the intrusion into your dream-world, but\ninterception of this message would have been most introublematic. Your\npresence in my ancient store is thusly requirsted posthaste - I have\nneed of your services, and am prepared to offer a colossiderable\nreward.\n\nJudging from the many portmalteaus, this was written by Mr. Pages -\none of the Masters, the cabal of shadowy creatures that 'bought'\nLondon ten years ago. You aren't sure what store he's referring to,\nbut many of London's older shops are on a street southwest of your\nlodgings. Perhaps Mr. Pages expects you to show up soon.\n\n> You look at the hats\nown. It is the most important part of your identity, after all.\n\nIn the rack are a detective's fedora, a captain's cap, a doctor's\nheadpiece and a footpad's mask.\n\n> You look at the case\nAn old trophy case, with thirteen slots of specific sizes and shapes.\nThe case is empty.\n\n> You look at the windows\nMorning fog obscures the hustle and bustle of London.\n\n> You examine the towel\nMud, blood, mirrors. This towel does it all.\n\n> Clean windows\nWhat do you want to clean the windows with?\n\n> You take the towel\nTaken.\n\n> You wear the fedora\n(first taking the detective's fedora)\nSo you're a detective, then?\n\n> Yes\nTaken. Your other hats disappear.\n\nYou put on the detective's fedora.\n\n> Go west\nA public road. A muddy river connects with the street to the west, and\nMoloch Street is accessible in the north. The street is empty in the\nsouthwest and alien in the south. Your lodgings are to the east.\n\n> You go southwest\nMost people prefer the wide, well-maintained main street to this dull,\nempty road. Most of the storefronts are vacant, windows boarded up,\nwith the exception of one cozy-looking storefront. The lane connects\nwith some broad streets in the northeast. South is the entrance to the\ncity's archeological district. An antique shop is embedded in a wall\nof shops to the east. A horse statue is on display in the window.\n\n> You look at the statue\nA valuable statue of a horse made from silver, apparently made by\nLondon's predecessors. It's on sale.\n\n> Go east\nThe place has a rather homey atmosphere. Ancient objects of all shapes\nand sizes are for sale along the walls, though most of them just look\nlike junk. Outside, the desolate lane awaits. In the east wall of the\nshop is the door to a back room.\n\nRunning the shop is a weary antiquarian.\n\nA rusty lamp catches your eye.\n\nA silver statue of a horse is on display.\n\n> You examine the lamp\nAn old fashioned oil lamp.\n\n> You examine antiquarian\nA square who looks like she'd like nothing better than a nap. She\noccasionally looks up from the counter to check on you.\n\n> You talk to the antiquarian\n\"This used to be the busiest antique shop in the city, you know. At\nleast, until they cleaned the rubble up from main street and I stopped\ngetting foot traffic. These days, I'm lucky to get a customer.\" She\nlooks briefly sad. \"I'm technically in the antiques business, but this\nplace is just a glorified pawnshop, so feel free to ask me about any\ntreasures you find - I might just have an answer.\"\n\n> You ask the antiquarian about the lamp\n\"What, that? It's just a lamp, really. Basically worthless. You can\nhave it, if you want.\"\n\n> You take the lamp\nThe antiquarian shrugs. \"Sure. Not like it was going to sell anyway.\nNo one wants to buy a rusty antique.\"\n\n> You ask the antiquarian about horse\n\"I'm afraid I can't tell you much about this piece. Probably from the\nfourth city, they did like horses. It's also rather valuable,\nand it's yours if you can give me something to replace it.\"\n\n> You ask the antiquarian about the note\nThe antiquarian sighs. \"He's in the back.\"\n\n> You go east\n(first opening the back room door)\n\nThe Lair Of Mr. Pages\nInstead of the back room of an antique shop, you appear to have\nstumbled onto some kind of chair warehouse. A chairhouse, if you will.\nAntique furniture has been placed in neat piles around the room. The\nantique shop proper is west.\n\nMr. Pages himself, conspicuously without his usual flock of guards and\nassistants, lounges in an old Queen Anne seat. This must be important.\n\n> You talk to Pages\n\"Ah, Detective. I do hope my missive wasn't too perplusing.\" Pages\nspeaks in an urgent, grating screech. \"After two thousand years, an\nentity has returned to the city. Back to spread its\nuntruthidious gospel of the third dimension, no doubt.\" He\nspits. \"I would have you perform a small task for me.\"\n\nPages watches you carefully. \"Well, Detective? Are you going to ASK me\nabout it?\"\n\n> You ask Pages about the entity\n\"A perfidious shape,\" Pages hisses. \"It has lied to us, and now it has\nreturned, to lie to other shapes about the existence of the 'third\ndimension'. Disharmodious falsehoods, I assure you.\"\n\n> You ask Pages about the third dimension\n\"The traitor would have us all believe that another dimension\nexists, beyond the two,\" Pages explains. \"A square is to a line as\nthis new plane is to us.\" You ask the obvious question. Does the third\ndimension exist? \"No!\" Pages screeches. His claws squeeze the armrest\nof his chair tightly, causing it to splinter. \"It does not!\"\n\nMaybe asking someone else will be more helpful.\n\n> You ask Pages about the task\n\"He is writing a book,\" Pages spits. He says it with such force that\nyou are, for a moment, convinced that he hates all books. \"A foul\ndoctrine of third-dimensional lies. Your task is to track the entity\nto its lair-\" And kill it? \"No\". Trained shapes have tried\nand failed to kill this creature. No, Pages just wants the book, so he\ncan be sure it is destroyed properly. \"There will be a\nreward\", he adds when he sees you hesitate.\n\n> You ask Pages about the lair\n\"Its lair is undecealed,\" Pages says. \"Incognonymous. Hobscure.\" He\nhands you a piece of paper. \"You will need this.\"\n\n> You ask Pages about the reward\n\"I should think that proving yourself to my imsteemed individuality\nwould be reward enough,\" says Pages, puffing out his chest. \"But I can\noffer you money. A plenteous sum. Enough to make you a very rich\nshape.\"\n\n> You check your inventory\nYou are carrying:\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You look at the location\nA messy list that looks like it was written by someone with claws.\nDifferent parts of the city that the entity you're tracking might live\nin, though it's not clear what they all have in common. The document\nreads:\nThe Shuttered Palace (in the west)\nThe Forgotten Quarter (in the southwest)\nThe Bazaar (in the south)\n\n> You examine the chair\nAn antique chair. Well-loved, if the heavy scratches on the cloth are\nany indication.\n\n> You ask Pages about the horse\nMr. Pages says nothing. Perhaps he's attempting to communicate with\nyou telepathically. More likely, though, he doesn't know what you're\ntalking about and is too proud to say it.\n\n> Go west\nThe place has a rather homey atmosphere. Ancient objects of all shapes\nand sizes are for sale along the walls, though most of them just look\nlike junk. Outside, the desolate lane awaits. In the east wall of the\nshop is the door to a back room.\n\nRunning the shop is a weary antiquarian.\n\nA silver statue of a horse is on display.\n\n> Go west\nMost people prefer the wide, well-maintained main street to this dull,\nempty road. Most of the storefronts are vacant, windows boarded up,\nwith the exception of one cozy-looking storefront. The lane connects\nwith some broad streets in the northeast. South is the entrance to the\ncity's archeological district. An antique shop is embedded in a wall\nof shops to the east. A horse statue is on display in the window.\n\n> Go south\nYou stand at the edge of an ancient city - The Forgotten Quarter. Or\nwhat's left of it, anyway. What wasn't destroyed by London was\nstripped away by looters, making the whole place feel rather empty. To\nthe north, the empty ruins connect to an empty street. Far to the\nwest, you can see a pavilion that seems more or less untouched. South\nis an archeological dig site.\n\n> You go to the south\nA magnificent dig site, heading into the stone that encases a lot of\nthe ruins. This one is almost abandoned, though. The excavation seems\nto have stopped at a large chunk of rock with a building embedded in\nit. The way out of the Forgotten Quarter is to the north. In the\ndistance, looking almost translucent in the mist, is a pavilion.\n\nA bored archaeologist lies on a crate, worn out.\n\nA pickaxe rests on the ground nearby.\n\n> You examine the rock\nIt seems progress stopped on the excavations at the exact wrong time.\nA little more digging, and the ruin's front door would have been\naccessible.\n\n> You examine the archaeologist\nA square, dressed in the neat clothing of an archaeologist. She looks\ntired.\n\n> You talk to the archaeologist\nThe last archaeologist squints at you. \"You won't find anything here,\"\nshe says. \"That third dimension stuff is just talk.\" She sighs. \"Not\nthat it matters whether or not I was going to find anything, seeing as\nmy crew quit. And when I was only a few pickaxe-swings away\nfrom victory, too.\"\n\n> You ask the archaeologist about crew\nThe archaeologist sighs. \"I suppose I should have told them up front\nthat this expedition had to do with the third dimension. And\nthey were right to be scared of getting arrested on the slim chance\nthat we found something interesting. Only when they quit, my\ncolleagues went too, and all the dockworkers, and now there's no one\nin London that'll even consider helping me with this. Shame, too. It's\na good job.\"\n\n> You ask the archaeologist about the expedition\n\"I'm digging for a ritual site,\" the archaeologist explains. \"We were\nmaking great progress until- well, until my team walked out on me.\"\nShe shrugs. \"I did what I could on my own, but I think I sprained\nsomething. It's frustrating. Now that I've found the damn building, I\ncan't get through to it.\"\n\n> You look at the pickaxe\nA cheap metal pickaxe.\n\n> You take it\nThe archaeologist watches you take the pickaxe. \"Sure, take it,\" she\nsays. \"And do let me know what you find.\"\n\n> You hit the rock with the pickaxe\nYou hit the chunk, hard. Flecks of stone fly off of it, exposing more\nof the door.\n\n> You keep going\nYou hit the chunk again. You've managed to get most of the way\nthrough.\n\n> Keep going\nYou chip away at the last of the rock blocking the door. The entrance\nto an ancient temple is now visible to the south.\n\n> Go south\nYou stand in a grand hall, built from a rich marble. Even weathered by\ntime, it's magnificent. The exit is to the north. A side-room, so\nsmall that it seems like an afterthought, is to the west. Presumably\nthere were other chambers here, but they've long since been buried in\ndebris.\n\n> You look at the debris\nSolid, heavy rubble prevents your passage.\n\n> Go west\nthan constructed. East, a jagged tunnel leads back into the temple you\ncame from.\n\nA nodule of amber is here, in the center of the room. Whoever put it\nhere obviously thought it was important.\n\n> You look at the amber\nIf you listen, you can almost hear the distant sound of gurgling. This\nlump of amber fills you with a warm, fuzzy feeling when you hold it.\nThat makes it valuable, at least to you.\n\n> You check your inventory\nYou are carrying:\na lump of friendly amber\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You hit the debris with the pickaxe\nanything. Even after a few moments of digging, you can tell that this\nstone goes all the way through. You haven't a chance in or out of hell\nat getting through all that.\n\n> Go north\nA magnificent dig site, heading into the stone that encases a lot of\nthe ruins. This one is almost abandoned, though. The way out of the\nForgotten Quarter is to the north. In the distance, looking almost\ntranslucent in the mist, is a pavilion. The entrance to an ancient\ntemple is visible to the south.\n\nA bored archaeologist lies on a crate, worn out.\n\n> Examine crate\nA crate of supplies.\n\n> You ask the archaeologist about Amber\n\"Amber, huh?\" The archaeologist irritably smashes into a pebble,\nsending it flying. \"Figures the temple I've been searching for for\nfive odd years would turn out to just be some... Hive for a bunch of\nirregulars. And I was so sure it would be somewhere in this area, too.\nCircles damnit.\"\n\n> Go north\nYou stand at the edge of an ancient city - The Forgotten Quarter. Or\nwhat's left of it, anyway. What wasn't destroyed by London was\nstripped away by looters, making the whole place feel rather empty. To\nthe north, the empty ruins connect to an empty street. Far to the\nwest, you can see a pavilion that seems more or less untouched. South\nis an archeological dig site.\n\n> You go west\nYou stand in a grand pavilion. The other buildings on this street are\nweathered and broken, but here not a single thing is out of place.\nOutside and to the east is the way out of the Forgotten Quarter.\n\nAn ornate rug covers most of the pavilion's southern side.\n\n> You examine the rug\nAn antique rug from the people who came before, in excellent\ncondition. You're sure they wouldn't mind you having this.\n\n> You take the rug\nThe rug seems to have been covering a tunnel in the south.\n\n> You go south\nA long, serpentine hallway. The floor is covered in a rather detailed\nmural. To the north, the passage returns to the pavilion. South, the\nhallway continues.\n\n> You examine the mural\nA large group of triangles is gathered around an unusual shape in what\nlooks like worship. But that can't be right. Who in their right mind\nwould worship a line?\n\n> You go south\nYou are still in a hallway that runs north-south. Another mural is\netched into the floor.\n\n> You look at the mural\nof circles. Despite the advantage granted to them by their points, the\ntriangles appear to be losing. A rectangle stands in the distance,\npassively watching. It is the same color as the line in the previous\nmural, and is in the same location.\n\n> Go south\nThe hallway north ends in an oak door to the south. Near the door, and\nall around you, is a mural.\n\n> You examine the mural\nIn the mural, a small group of triangles gather around a circle in\nexaltation. Apart from the dead triangles, scattered around the mural,\nall is well. The lower classes are in their proper places at last.\n\n> You look at the door\nA solid oak door. After hundreds of years, you'd expect it to be\nrotten, but it seems well-maintained.\n\n> Go south\n(first opening the oak door)\n\nA huge chamber with an exit to the north. It smells faintly of smoke,\nand apart from an odd carving near the far wall, is completely empty.\nSomething else about the room feels off, though you can't say what\nexactly.\n\nEight candles have been placed at odd intervals around the room.\n\nThe bones of a long-dead triangle rest against the far wall, clutching\na bell.\n\n> You look at the carving\nA dot, then a line, then a square. Then some kind of irregular shape,\nlike two squares crushed and smashed together. Next to it, something\nis written. ???????? ???????????? - PERFECTION in mongolian. But you\nnever\nlearned to read mongolian. So why do you know what that says?\n\n> You examine bones\nYou get the sense that the dead triangle is watching you.\n\n> You examine the candles\nOld tallow candles. Flammable.\n\n> You examine the bell\nAn old bell.\n\n> You rub lamp\nYou rub the rusty lamp.\n\n> Light lamp\nWhat do you want to light the rusty lamp with?"
    },
    {
        "text": "[Themes: Adventure]\n\n> Look around\nA huge chamber with an exit to the north. It smells faintly of smoke,\nand apart from an odd carving near the far wall, is completely empty.\nSomething else about the room feels off, though you can't say what\nexactly.\n\nEight candles have been placed at odd intervals around the room.\n\nThe bones of a long-dead triangle rest against the far wall.\n\n> You ring bell\nA sudden gust of wind causes the candles to go out.\n\nThe bell makes a pleasant ringing sound.\n\n> You go to the north\nYou stand in a grand pavilion. The other buildings on this street are\nweathered and broken, but here not a single thing is out of place.\nOutside and to the east is the way out of the Forgotten Quarter.\nDespite the fact that you've seen the pavilion from the outside, there\nis a tunnel leading south.\n\n> Go east\nYou stand at the edge of an ancient city - The Forgotten Quarter. Or\nwhat's left of it, anyway. What wasn't destroyed by London was\nstripped away by looters, making the whole place feel rather empty. To\nthe north, the empty ruins connect to an empty street. Far to the\nwest, you can see a pavilion that seems more or less untouched. South\nis an archeological dig site.\n\n> Go north\nMost people prefer the wide, well-maintained main street to this dull,\nempty road. Most of the storefronts are vacant, windows boarded up,\nwith the exception of one cozy-looking storefront. The lane connects\nwith some broad streets in the northeast. South is the entrance to the\ncity's archeological district. An antique shop is embedded in a wall\nof shops to the east. A horse statue is on display in the window.\n\n> Go east\nThe place has a rather homey atmosphere. Ancient objects of all shapes\nand sizes are for sale along the walls, though most of them just look\nlike junk. Outside, the desolate lane awaits. In the east wall of the\nshop is the door to a back room.\n\nRunning the shop is a weary antiquarian.\n\nA silver statue of a horse is on display.\n\n> You show Amber to the antiquarian\nThe weary antiquarian is unimpressed.\n\n> You ask the antiquarian about Amber\n\"Yeah, that's amber alright. That seems like a pretty rare piece,\ntoo.\"\n\n> You ask the antiquarian about the rug\n\"I like it,\" the antiquarian says. \"Give it here.\"\n\n> You give the rug to the antiquarian\nThe antiquarian takes the rug with poorly contained excitement. \"A\ngenuine fourth city rug? And look at that detail. Where did you even\nfind a thing like this? Wait, on second thought, don't tell me. I\ncould care less if it's stolen, it's mine now.\" There is a pause. \"Oh\nright, you probably want something in return. Take the horse statue.\nLeave me to my prize.\"\n\n> You ask the antiquarian about the bell\n\"That's just a bell. It does seem pretty old, though. Fourth city\ncraftsmanship, if I'm not mistaken.\"\n\n> You go west\nMost people prefer the wide, well-maintained main street to this dull,\nempty road. Most of the storefronts are vacant, windows boarded up,\nwith the exception of one cozy-looking storefront. The lane connects\nwith some broad streets in the northeast. South is the entrance to the\ncity's archeological district. An antique shop is embedded in a wall\nof shops to the east.\n\n> Go east\nYou are in your small apartment. It's a cool London morning, and your\nwindows are ever so slightly fogged up. A door is set into the west\nwall of your home.\n\nIn one corner of the room is an old wooden trophy case.\n\nYou can also see a sanitized mirror here.\n\n> You put Amber in the case\nThe trophy case is closed.\n\n> Open case\nYou open the trophy case.\n\n> You put Amber in the case\nThe lump of friendly amber fits perfectly.\n\n> You put the horse in the case\nThe horse statue fits perfectly.\n\n> Close case\nYou close the trophy case.\n\n> You read the location\nA messy list that looks like it was written by someone with claws.\nDifferent parts of the city that the entity you're tracking might live\nin, though it's not clear what they all have in common. The document\nreads:\nThe Shuttered Palace (in the west)\nThe Forgotten Quarter (in the southwest)\nThe Bazaar (in the south)\n\n> Go south\nThe industrial bustle of London peaks here, not at the center of town\nbut in the Bazaar that effectively owns the city. Something alien is\nhere, thrumming at the edge of your consciousness and living inside\nthe ground. A more ordinary street is to the north, and an alleyway is\nto the west. East is the door to a land agency.\n\nAn out-of-work clay triangle is here, lounging in front of a door to\nthe east.\n\n> You examine the triangle\nA triangle, but made from sturdy clay. One of the creatures that began\nto appear here and there after the shift, albeit to fill a role\nLondon's had for centuries. This one looks bored.\n\n> You talk to the triangle\n\"I WAS NOT MADE FOR DOOR-WATCHING,\" says the clay triangle. \"I WILL\nFOLLOW YOU, IF YOU CAN LEAD ME TO WORK.\"\n\n> You go to the east\nThe clay triangle stops you. \"MR. PENSTOCK HAS INSTRUCTED ME TO\nPREVENT TRESPASSERS,\" he says. \"AND FOR A LACK OF ADEQUATE WORK, I\nWILL CONTINUE TO DO SO.\"\n\n> You give the pickaxe to the triangle\n\"KEEP IT.\"\n\n> You ask triangle about the archaeologist\nThe clay triangle looks at you blankly. \"WHAT.\"\n\n> You tell the archaeologist about the triangle\nWhich do you mean, the triangle's bones or the out-of-work clay\ntriangle?\n\n> Clay\nThe archaeologist frowns. \"I'm afraid I can't help you there.\"\n\n> You follow you\nThe out-of-work clay triangle begins to follow you.\n\n> Go north\nA public road. A muddy river connects with the street to the west, and\nMoloch Street is accessible in the north. The street is empty in the\nsouthwest and alien in the south. Your lodgings are to the east.\n\nThe out-of-work clay triangle arrives from the south.\n\n> You go southwest\nMost people prefer the wide, well-maintained main street to this dull,\nempty road. Most of the storefronts are vacant, windows boarded up,\nwith the exception of one cozy-looking storefront. The lane connects\nwith some broad streets in the northeast. South is the entrance to the\ncity's archeological district. An antique shop is embedded in a wall\nof shops to the east.\n\nThe out-of-work clay triangle arrives from the northeast.\n\n> Go south\nYou stand at the edge of an ancient city - The Forgotten Quarter. Or\nwhat's left of it, anyway. What wasn't destroyed by London was\nstripped away by looters, making the whole place feel rather empty. To\nthe north, the empty ruins connect to an empty street. Far to the\nwest, you can see a pavilion that seems more or less untouched. South\nis an archeological dig site.\n\nThe out-of-work clay triangle arrives from the north.\n\n> Go south\nA magnificent dig site, heading into the stone that encases a lot of\nthe ruins. This one is almost abandoned, though. The way out of the\nForgotten Quarter is to the north. In the distance, looking almost\ntranslucent in the mist, is a pavilion. The entrance to an ancient\ntemple is visible to the south.\n\nA bored archaeologist lies on a crate, worn out.\n\na moment. The archaeologist takes in the triangle's strong, capable\nangles. The triangle takes in the vast amount of work to be done.\n\"IT'S PERFECT,\" says the triangle. \"When can you start?\" says the\narchaeologist, already taking out her wallet.\n\n> You wait\nTime passes."
    },
    {
        "text": "[Themes: Adventure, Fallen London, treasure hunt]\n\n> Look around\nA magnificent dig site, heading into the stone that encases a lot of\nthe ruins. This one is almost abandoned, though. The way out of the\nForgotten Quarter is to the north. In the distance, looking almost\ntranslucent in the mist, is a pavilion. The entrance to an ancient\ntemple is visible to the south.\n\nA clay triangle is hard at work at the dig site.\n\nA bored archaeologist lies on a crate, worn out.\n\n> Go south\nThe industrial bustle of London peaks here, not at the center of town\nbut in the Bazaar that effectively owns the city. Something alien is\nhere, thrumming at the edge of your consciousness and living inside\nthe ground. A more ordinary street is to the north, and an alleyway is\nto the west. East is the door to a land agency.\n\n> Go east\nThe land agency of Penstock, a heptagon realtor with better things to\ndo than man his own shop. The air in here is still and dusty. A door\nto the west leads back out to the bazaar, and an elevator shaft is to\nthe east.\n\nA brass key is tucked away past the counter here.\n\nA metal cage-elevator looms in the back of the shop, situated\nprecariously at the top of a long shaft south.\n\n> You examine the key\nA small key, made from a sharp red brass. M.S. is written on\na tag attached to it.\n\n> You examine the shaft\nA long elevator shaft, the right shape and size for a cage-elevator to\ngo through. Of course, the elevator is mostly a matter of convenience,\nas the force of gravity isn't nearly strong enough to keep you from\ngoing north."
    },
    {
        "text": "> You look around\nThe land agency of Penstock, a heptagon realtor with better things to\ndo than man his own shop. The air in here is still and dusty. A door\nto the west leads back out to the bazaar, and an elevator shaft is to\nthe east.\n\nA metal cage-elevator looms in the back of the shop, situated\nprecariously at the top of a long shaft south.\n\n> You look at the cage\nA rickety cage-elevator on a chain. It won't fall, but you can't be\nsure of that.\n\n> You go east\nElevator Shaft (in the cage-elevator)\nYou are in a rickety metal cage-elevator, with a lever attached to it.\nThe elevator is still. An elevator shaft is visible to the south, and\nthe land agency is back to the west.\n\n> You look at lever\nA plain lever, waiting to be pulled.\n\n> Go south\nThe elevator blocks your path.\n\n> You pull lever\nYou pull the lever. The elevator starts to move.\n\nThe elevator rushes south, past what looks like a shelf carved into\nthe side of the shaft.\n\n> You look at the shelf\nA niche in the side of the elevator shaft. Something wooden is inside.\n\nThe elevator rushes south."
    },
    {
        "text": "[Themes: Adventure, treasure hunt]\n\n> You describe your surroundings\nElevator Shaft (in the cage-elevator)\nYou are deep in the earth.\n\nThe elevator stops in a vast cavern, far south of the ground."
    },
    {
        "text": "[Themes: Adventure, Fallen London]\n\n> You look at your surroundings\nElevator Shaft (in the cage-elevator)\nYou are deep in the earth.\n\nThe elevator rushes north, past what looks like a shelf carved into\nthe side of the shaft.\n\n> You look at the cage\nA rickety cage-elevator on a chain. It won't fall, but you can't be\nsure of that.\n\n> Go outside\nThe shaft is just wide enough to fit the elevator. You can't get out.\n\nThe elevator rushes south.\n\n> You wait\nTime passes.\n\nThe elevator stops in a vast cavern, far south of the ground.\n\n> You wait\nTime passes.\n\nThe elevator rushes north, past what looks like a shelf carved into\nthe side of the shaft.\n\n> You look at the shelf\nA niche in the side of the elevator shaft. Something wooden is inside.\n\nThe elevator screeches to a halt at the top of the shaft.\n\n> You wait for a while\nTime passes.\n\nThe elevator screeches to a halt at the top of the shaft.\n\n> You take the shelf\nTaken.\n\nThe elevator rushes south.\n\n> Inventory\nYou are carrying:\na shelf\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\nThe elevator stops in a vast cavern, far south of the ground.\n\n> You examine the shelf\nA niche in the side of the elevator shaft. Something wooden is inside.\n\n> Inventory\nYou are carrying:\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\nThe elevator screeches to a halt at the top of the shaft.\n\n> You wait\nTime passes.\n\nThe elevator rushes south.\n\n> You wait\nTime passes.\n\nThe elevator stops in a vast cavern, far south of the ground.\n\n> Go outside\nYou get out of the cage-elevator.\n\nThe room is a vast, yawning cavern, a secret warehouse south of the\nground. Fiery glyphs set into the walls illuminate deep pools and pits\nof ivory foam around you, and the scent of ammonia is thick in the\nair. North is an elevator shaft leading out, and east is an altar.\n\nA metal cage-elevator is here, attached to a chain.\n\n> You look at the glyphs\nLetters in the impossible language of above, spitting small\nshowers of sparks into the room below. You don't even try to read\nthem. They weren't intended for you.\n\n> You examine the pools\nA foamy white substance sits in pits and pools here. You might call it\nsnow if you didn't know any better, but you do know better, so you\ncall it lacre. Better not get too close.\n\n> You go to the east\nHere in a broad cavern, across a sea of foamy pits, is a stone altar.\nWest is a cage-elevator, situated on a flat stone clearing. A\nstairwell south leads even further into the bowels of the earth.\n\nA large pail rests next to the altar.\n\n> You look at the altar\nA large stone altar, about your size. Some writing has been carved\ninto it.\n\n> You read the writing\nOne part lacre, one part shape. Add shape to lacre, combine in\npail. Wait. Enjoy.\n\nthemselves. They say the snow-foam likes that. You don't have a knife,\nbut theoretically, any 'aspect of the self' will do.\n\n> You examine the pail\nAn old metal pail. The bottom is crusted with a snowy residue.\n\n> You go south\nA passageway running north-south through the rock. The scent of\nammonia wafts in from the north, and to the south, the tunnel gets\ndarker.\n\n> You go north\nHere in a broad cavern, across a sea of foamy pits, is a stone altar.\nWest is a cage-elevator, situated on a flat stone clearing. A\nstairwell south leads even further into the bowels of the earth.\n\n> You go west\nThe room is a vast, yawning cavern, a secret warehouse south of the\nground. Fiery glyphs set into the walls illuminate deep pools and pits\nof ivory foam around you, and the scent of ammonia is thick in the\nair. North is an elevator shaft leading out, and east is an altar.\n\nA metal cage-elevator is here, attached to a chain.\n\n> You go to the north\nYou are in an elevator shaft. A great chain is here, spanning north to\nsouth.\n\n> Go north\nYou are in an elevator shaft. A great chain is here, spanning north to\nsouth.\n\nA discrete casket is here, nestled into a shelf carved into the rock.\n\n> You look at the casket\nA plain casket, made from cheap wood. On its hinged lid, the phrase\n\"SOOTHE & COOPER\" is stencilled.\n\n> You open it\nYou open the discrete casket, revealing a heartmetal disc.\n\n> You look at the disc\nA milky lump of silvery metal, about the size of a heart and quite\nsmooth. You've never seen anything like this before, but there's no\ndoubt it's valuable.\n\n> You go north\nYou are at the top of an elevator shaft. It continues to the south,\nand the land agency is back to the west.\n\n> You go west\nThe land agency of Penstock, a heptagon realtor with better things to\ndo than man his own shop. The air in here is still and dusty. A door\nto the west leads back out to the bazaar, and an elevator shaft is to\nthe east.\n\n> Go west\nIf you remember correctly, the garbage bin you found your trophy case\nin is somewhere around here. Sigils that hurt to look at gleam on the\nwalls, and the alley exits to the east.\n\n> You examine the sigils\nThey say that huge, fiery entities exist - not north, but\nabove your fragile world. They say the stars have their own\nlanguage, and that it looks something like this. But this is just\ngraffiti, a cheap imitation of the real thing. Either way, it's enough\nto set a part of your shirt on fire. You pat it out.\n\n> You take the bin\nThat's hardly portable.\n\n> Open case\nYou open the trophy case, revealing a horse statue and a lump of\nfriendly amber.\n\n> You put the disc in the case\nThe heartmetal disc fits perfectly.\n\n> Close case\nYou close the trophy case.\n\n> You check your inventory\nYou are carrying:\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> Go west\nYou've got an excellent view of the stolen river, which is accessible\nto the south. The shuttered palace looms in the west, the entrance to\nthe university is north, and east is a series of broad streets.\n\n> You examine river\nThe former Thames is still a fixture of London life, and it still\nregularly spits up muddy garbage. It's just that now it spits up dead\npeople, too. They say it runs straight through hell.\n\n> Go west\nThe palace is shuttered, and its windows are boarded up. That's really\nall there is to say on the matter. The road you are on continues\naround the palace to the north and south. The Stolen River's banks are\nto the east. The palace looms in the west, but two gates prevent you\nfrom going any further.\n\n> Go west\nThe gates stop you.\n\n> You examine the gates\nWrought-iron gates. Only a miracle could get you through the tight\nbars, and you don't think one is forthcoming.\n\n> You go south\nYou are south of the palace. A red brick wall extends from the palace\nfloor and continues south for a while. You could follow it, if you\nwanted.\n\n> You look at the wall\nA sturdy looking wall made from red bricks. It clashes violently with\nthe smooth limestone of the palace.\n\n> You go south\nA red brick wall to your west comes from the shuttered palace, far to\nthe north, and ends in a large mass of rock to your immediate south.\nEast, you recognize the distant ruins of the Forgotten Quarter, which\nare at least less empty than this place.\n\n> You look at the wall\nA sturdy looking wall made from red bricks. It goes on for quite a\nwhile.\n\n> Go south\nThe mass of rock is too wide to be easily bypassed.\n\n> You hit the wall with the pickaxe\nThe wall resists your attempts to dig through it.\n\n> Go north\nYou are north of the palace, past the roof. You get the feeling that\nHer Most Circular Majesty doesn't particularly care for warmth,\nbecause all the chimneys have been covered up. The palace's front\ngates are east, and its more discreet back entrance is west. A barrier\nto the south keeps you away from the shingles.\n\n> You look at the barrier\nA spiked, wrought-iron fence.\n\n> You go to the west\nYou are west of the palace, where the back entrance to the building is\nlocated. North is the roof, and to the south, you can see a basalt\nwall.\n\n> You look at the back entrance\nThis is the door the servants use - the ones that don't live in the\npalace, anyway. It is locked.\n\n> You go south\nYou are south of the shuttered palace, following a basalt wall in the\neast. Further to the south, the wall disappears into a large mass of\nrock. Here, the wall has a small crack in it.\n\n> You look at the crack\nA minor weakness in the wall. It's not nearly large enough to fit\nyourself through, but it's a good place to start.\n\n> You hit the crack with the pickaxe\nWith a few well-placed swings, you reduce this section of the wall to\nrubble.\n\n> Go west\nYou are south of the shuttered palace, following a basalt wall in the\neast. Further to the south, the wall disappears into a large mass of\nrock.\n\nA hole in the wall reveals a tunnel to the east.\n\n> You go north\nYou are west of the palace, where the back entrance to the building is\nlocated. North is the roof, and to the south, you can see a basalt\nwall.\n\n> Go north\nYou are north of the palace, past the roof. You get the feeling that\nHer Most Circular Majesty doesn't particularly care for warmth,\nbecause all the chimneys have been covered up. The palace's front\ngates are east, and its more discreet back entrance is west. A barrier\nto the south keeps you away from the shingles.\n\n> You go east\nThe palace is shuttered, and its windows are boarded up. That's really\nall there is to say on the matter. The road you are on continues\naround the palace to the north and south. The Stolen River's banks are\nto the east. The palace looms in the west, but two gates prevent you\nfrom going any further.\n\n> You go east\nYou've got an excellent view of the stolen river, which is accessible\nto the south. The shuttered palace looms in the west, the entrance to\nthe university is north, and east is a series of broad streets.\n\n> You go north\nthe university lawn. Paths to the south and east both lead back into\nthe city. North is the entrance to the only public library in the\ncity, and what looks like an engineering building is situated to the\nwest.\n\n> Go north\nYou are at the library's front desk, to which a sign has been taped.\nThe exit is in the south wall. A forest of bookshelves is accessible\nto the north.\n\nA librarian sits at the front desk, ignoring you.\n\n> You examine the sign\nFOOD IS NOT ALLOWED IN THE LIBRARY, the sign reads. BUT YOU MAY:\nASK ABOUT DIRECTIONS\nCHECK OUT A BOOK\nSTUDY QUIETLY\n\nIT IS RECOMMENDED THAT YOU COME TO THE LIBRARY WITH AN IDEA AS TO WHAT\nYOU SEEK, the sign adds, OR YOU MAY BE HERE A WHILE.\n\n> You ask the librarian about the third dimension\nThe librarian shrugs. \"Check geometry. Five hundred and ten.\"\n\n> You go north\nA long path, walled in by shelves, goes from west to east, and the\nexit is to the south. All around you are bookshelves.\n\n> You examine the bookshelves\nStars and a copy of On Gravity.\n\n> You read Stars\nMost of the book is scorched beyond recognition. The parts you can\nread claim that not only do celestial beings beyond comprehension\nexist, but that their language has the power to 'substantially alter'\na person's biology. It goes on to claim that those aspects of their\nlanguage can be reproduced by ordinary shapes, with sufficiently\npowerful materials and a knowledge of what to write.\n\nYou shut the book, tired of hearing more unsubstantiated claims by the\nhoney-addled and the delusional. And afraid for your clothing, which\ntends to catch fire when you think about that sort of thing too hard.\n\n> You read Gravity\n\"By a Law of Nature with us, there is a constant attraction to the\nSouth; and, although in temperate climates this is very slight-yet the\nhampering effect of the southward attraction is quite sufficient to\nserve as a compass in most parts of our earth. Moreover, the rain\n(which falls at stated intervals) coming always from the North, is an\nadditional assistance; and in the towns we have the guidance of the\nhouses, which of course have their side-walls running for the most\npart North and South, so that the roofs may keep off the rain from the\nNorth.\" - Edwin A. Abbott.\n\nMost of this has remained true even after London's change, though the\nrain comes from somewhere else now.\n\n> Go west\nA long path, walled in by literature, goes from west to east. All\naround you are bookshelves, packed with books.\n\n> Examine books\nIn the bookshelves are a copy of Cults And Rituals: A History\nand a copy of On The Politics of London.\n\n> You read the Cults\nThe book is rather dry, but perhaps you'll get something out of it.\n\nAccording to this book, a small cult in the fourth city once chose to\nbreak off from the doctrines laid out for them by the circle, instead\nworshipping \"third-dimensional beings\", in clear defiance of\nscientific fact. When gathering, these cults would often perform\nelaborate rituals in attempts to summon these entities, though none\nhave of these have been proven to work. In the year 1796, such a cult\nattempted an elaborate ritual, but they were massacred by fourth city\nauthorities, and their ritual site reduced to ash.\n\nAs you read, a set of instructions falls out from between the pages.\n\n> You examine instructions\nThe instructions to some kind of rite, in shaky writing.\n\n1. The shape the sacred shape never more never less always eight the\nsacred shape LIGHT THEM.\n2. Ring the bell to get the audience's attention\n3. Repeat after me.\n\nOn the back is an incantation, though much of the ink is smudged.\n\n> You examine incantation\nThe instructions are written in the queen's english, but the\nincantation is written in mongolian - the language of the fourth city.\nBut it's not really the right time for mongolian conjuring, so you\ndecide not to.You don't understand a word of it. Maybe if you did\nyou'd be able to read it out loud.\n\n> You examine Politics\nThis \"book\" is nothing more or less than a series of rants about\nLondon's mayoral elections, which the author claims are both rigged\nand pointless. London, the author argues, is controlled by the\nchiropteran beasts that abducted London in the first place, not by\nsome democratically elected mascot. Not to mention, Her Most Circular\nMajesty ought to be in charge, even if she did sell the city to them\nin a kind of elaborate devil's paw scenario.\n\nYou shut the book with disgust. Monarchists.\n\n> Go west\nA long path, walled in by literature, goes from west to east. All\naround you are bookshelves, packed with books.\n\n> You look at the books\nand a copy of A Dream I Had Last Saturday.\n\n> You look at the shapes\n\"Soldiers and the lowest classes of workmen are isosceles triangles.\nThe middle class consists of equilateral triangles. Professional men\nand gentlemen are squares and pentagons. Next above these come the\nnobility, of whom there are several degrees, beginning at hexagons,\nand from thence rising in the number of their sides till they receive\nthe honourable title of polygonal, or many-sided. Finally when the\nnumber of the sides becomes so numerous, and the sides themselves so\nsmall, that the figure cannot be distinguished from a circle, he is\nincluded in the circular or priestly order; and this is the highest\nclass of all.\" - Edwin A. Abbott\n\nYou shut the encyclopedia. You knew all this already.\n\n> You look at Dream\nnonsense. In it, the author describes a dream they had about a\ndimension of straight, one-dimensional lines. He was apparently\ninvisible to them, and was unable to explain the existence of the\nsecond dimension. That's the only part of the book you can make out,\nanyway. Censorship seems to have hit it hard, and more than half of\nthe book is torn out or covered up. Shame.\n\n> Go west\nA cozy-looking study nook is at the end of a long corridor of books to\nthe east.\n\n> Examine books\nMedicinal Uses.\n\n> You look at the chess\nYou crack open your copy of The Devil Went South To London: How To\nWin At Chess Against Immortal Entities.\n\nRenowned correspondant and chessmaster Letitia P. Eaglethorpe claims\nto have beaten Death at chess, not once but several times. She claims\nthat anyone can do the same, provided they follow these instructions,\nwith the first taking precedence over the last.\n\n1. The circle is a powerful opponent, but pointless. Use something\nsharp.\n2. The ideas and constructs of civilization can always be brought low\nby the wild animal's grand designs.\n3. A stops B and B stops C. All things shall return to me.\n4. Infinity stopped with a shot from a gun. To hinder a catspaw, move\ninto a- *the ink is smudged too badly to read*\n5. If all else fails, go north, into the edge and the black.\n\n> Examine books\nSquid-Creature Servant.\n\n> You look at the maze map\nSo the geometer stood at the ready, pacing nervously around his\nstudy. Soon, he'd been promised, it would all be complete. Even if\nhe'd contacted them first, he hadn't expected them to actually\nrespond, and he couldn't be more anxious if he tried. Not Eating,\nbarely sleeping, even, in case the chiropterans wanted to make the\nexchange at night. Whether or not they could even give him what he'd\nasked for was unclear as well. Such Entities as them were not to be\ntaken lightly, if they really wanted his entire city in exchange - and\nthat was another thing. What he'd promised them he didn't own, and if\nthey discovered they'd been tricked, they might not uphold their end\nof the bargain. Euclid shuddered at the thought.\n\nYou shut the book. That's not a map at all. Must have been an error at\nthe printer's.\n\n> You look at the Servant\nACT I, SCENE III\nPRINCESS: Here to clean my chambers? I certainly hope your\ntentacles will be up to the task. My chambers are quite large, you\nsee.\nSQUID-CREATURE: Hrshbrglargh.\nPRINCESS: Oh my. Do you think you could polish... this?\nSQUID-CREATURE: Blathrgthlgle.\nPRINCESS (Blushing): Well.\n\n> Go east\nto the west.\n\nA missing library card is here, neglected and crumbled up.\n\n> You examine the card\nThis library card belonged to Allen Rutherford, a pentagon in his 20s.\nNow it belongs to you.\n\n> You ask the librarian about card\nThe librarian glances at the library card. \"Yup, that looks like one\nof our students.\" She gives you a shrug. \"If I were you, I'd try to\nreturn it to its owner. Maybe they'll give you something nice.\"\n\n> Go south\nthe university lawn. Paths to the south and east both lead back into\nthe city. North is the entrance to the only public library in the\ncity, and what looks like an engineering building is situated to the\nwest.\n\n> You go west\nIn London, as it is everywhere else, the whole world is evenly lit\nduring the day with little regard to walls or veils. The rules seem to\nbe different here, and the whole room is like night apart from a\ngaslight on the wall. West is a door leading to a hallway, and east is\nthe way back to the quad.\n\n> You examine gaslight\nA bright, flickering thing. Mounted to the wall.\n\n> You take it\nThat's hardly portable.\n\n> You go west\nA long hallway extends from a door to the east, and continues west for\na while. A wall-mounted torch illuminates the room.\n\n> You take the torch\nIt is firmly attached to the wall.\n\n> Go west\nA long hallway continues through a patch of darkness in the east, and\nends in a door to the west labelled \"TESTING LAB\". A dull light flows\nout from the muddled glass windows of the door.\n\n> You go west\n(first opening the testing lab door)\n\nhere. A few small fires can be seen, and the scent of gasoline is\nheavy in the air. The exit is a nondescript door to the east. Welcome\nto the Laboratory of Manufactured Light.\n\nA pentagon sits in the lab, looking distressed.\n\n> You examine pentagon\nThe pentagon - A.R. according to his name tag - probably shouldn't\nhave all that oil-stained clothing so close to an open flame. But you\nwon't tell.\n\n> You talk to pentagon\nThe pentagon turns to greet you. \"It's hopeless,\" he says. \"My\nacademic career, completely down the drain.\"\n\n> You give the card to pentagon\nAllen thanks you profusely. \"Finally, I can check out books again.\" He\ndigs around in his pockets for a bit before pulling something out.\n\"Here,\" he says. \"I found this in the lab the other day. You can have\nit.\" He hands you a stone.\n\n> You look at the stone\nA smooth, jagged rock, about the size of a small pebble. A hole has\nbeen bored in its center.\n\n> You ask Allen about the stone\n(the sharp stone)\n\"Flint, I think. It must have fallen off one of my inventions.\nWhatever. It's yours now.\"\n\n> You ask Allen about the academic career\n\"I've been working on something,\" the pentagon explains. \"A\ncomprehensive analysis of fire that's sure to get me published. Only\nthing is, I need a particular compendium from the library.\nAnd the library's way too far away.\"\n\n> You ask Allen about the compendium\n\"Fire And Its Medicinal Uses\", the pentagon says fondly. \"Oh,\nI can just see the title now.\"\n\n> You ask Allen about the fire\n\"Yeah, that's the one I'm talking about.\"\n\n> You go east\nMoloch Street, where shapes who have traded away their mortal souls\nbegin their journeys towards hell. North is the entrance to the\nLabyrinth of Tigers, and west is the university. South, the street\nbecomes less menacing.\n\nAn old house with a brass-plated door stands in the east, passing\njudgement on everyone it sees.\n\n> Go west\nhere. A few small fires can be seen, and the scent of gasoline is\nheavy in the air. The exit is a nondescript door to the east. Welcome\nto the Laboratory of Manufactured Light.\n\nA pentagon sits in the lab, looking distressed.\n\n> You give the fire to Allen\nThe pentagon takes the book from you. \"My research is saved,\" he says.\n\"This is truly a great day for science. Why don't you take this as\npayment?\" He hands you some kind of experimental device.\n\n> You examine the device\nA metal device resembling an open-ended safety pin. One of its points\nhas a metal disc screwed onto it, and one of its points is empty -\nit's missing something. When you click the ends together, nothing\nhappens.\n\n> You ask Allen about device\n\"What, that?\" The pentagon shrugs. \"Part of a new invention I'm\nworking on. The power of fire, at the tip of your fingertips. Or I\nguess the power of sparks.\"\n\n> You put the flint on the device\nYou slide the flint into place on the flint-and-steel lighter.\n\n> You talk to Allen\nAllen ignores you. He's busy reading not one but three books.\n\n> Go south\nWhat was once the river Thames cuts through the middle of the city,\ndepositing the dead and detritus alike on its muddy banks. The river\nitself is immediately south. The street is north, and the beach\nstretches on for a while to the west.\n\n> You examine river\nThe former Thames is still a fixture of London life, and it still\nregularly spits up muddy garbage. It's just that now it spits up dead\npeople, too. They say it runs straight through hell.\n\n> You examine the object\nA small, hard-to-make-out item, dripping with mud. You think you can\ncatch the gleam of brass, but beyond that, you can't identify it\nthrough the muck.\n\n> You clean it\nWhat do you want to clean the lumpy object with?\n\n> Towel\nYou make short work of the mud, revealing a brass ring. Your towel,\nhowever, is ruined.\n\n> Clean towel\nWhat do you want to clean the spare towel with?\n\n> You look at the ring\nA shiny brass ring, of the kind often given by devils to their human\nadmirers. Valuable, though perhaps not the sort of thing to be seen\nflaunting.\n\n> You examine the mud\nthat makes it impossible to go around. If you want to get anywhere in\nthis mud field, you're forced to let it splatter against one of your\nsides. Circles, you hate mud.\n\n> You read the maze\nSo the geometer stood at the ready, pacing nervously around his\nstudy. Soon, he'd been promised, it would all be complete. Even if\nhe'd contacted them first, he hadn't expected them to actually\nrespond, and he couldn't be more anxious if he tried. Not Eating,\nbarely sleeping, even, in case the chiropterans wanted to make the\nexchange at night. Whether or not they could even give him what he'd\nasked for was unclear as well. Such Entities as them were not to be\ntaken lightly, if they really wanted his entire city in exchange - and\nthat was another thing. What he'd promised them he didn't own, and if\nthey discovered they'd been tricked, they might not uphold their end\nof the bargain. Euclid shuddered at the thought.\n\nYou shut the book. That's not a map at all. Must have been an error at\nthe printer's.\n\n> You go to the south\nYou kick and thrash, trying to keep the muddy water from filling your\nlungs.\n\n> Go south\nYou can't go that way.\n\nThe water stings your eyes and burns your throat. Every breath you\ntake just brings you closer to the river. If you can't get out now,\nit's over for you.\n\n> Leave\nBut you aren't in anything at the moment.\n\nAs the waves take you, the last thing you hear is the roar of water.\n\nA slow boat drifts down a silent river. Your surroundings are dark,\nbut you can see everything with awful clarity. You can see the far\nshore in the distance, out of reach.\n\nA skeleton in robes sits at the front of the boat, guiding it along\ndown the river.\n\nAn ancient chess set is tucked away in a far corner of the boat.\n\n> You look at the chess\nA battered chess set. The pieces are made of what looks like crystal.\n\n> You play the chess\nThe boatman looks at you inquisitively, and you think you see\nsomething glint in his empty eyes. \"Would you care for a game of\nchess?\"\n\n> Yes\nThe boatman moves a rook to F2. He grins, saying nothing.\n\nIt's your turn.\n\n1: Circle to B7\n2: Bishop to A8\n3: Catspaw to D5\n\n> 2\nIt's clear that the boatman has you at a disadvantage. It's as though\nhe's playing 3D chess.\n\nThe boatman moves a catspaw to B6. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Circle to B2\n2: Catspaw to A1\n3: Bishop to E5\n\nsharp.\"\n2. The ideas and constructs of civilization can always be brought low by the wild animal's grand designs.\"\n\n> 2\nYou've got him on the ropes with that last move, you're sure of it.\n\nThe boatman moves a circle to H2. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Square to D3\n2: Bishop to B2\n3: Flint to E6\n\n3. A stops B and B stops C. All things shall return to me.\"\n4. Infinity stopped with a shot from a gun. To hinder a catspaw, move into a- *the ink is smudged too badly to read*\" 5. If all else fails, go north, into the edge and the black.\"\n\n> 1\nYou watch passively as the boatman captures several of your pieces.\n\nThe boatman moves a flint to B4. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Rook to C5\n2: Bishop to E4\n3: Square to A2\n\n> 3\nYou knock another of the boatman's pieces from the board triumphantly.\nHe sighs.\n\nof one who's done it a thousand times. \"You never had a chance,\" he\nhisses. \"I've only ever lost once to a Londoner. Strange woman,\" the\nboatman muses. \"I think she actually wrote a book about the\nexperience.\" His gaze lingers on you for a moment, before turning back\nto the river. \"We've arrived, by the way. You might as well get out.\"\n\n> You leave\nThe sound of waves becomes louder and louder, until it is almost\ndeafening. Just like that, you return to yourself.\n\nWhat was once the river Thames cuts through the middle of the city,\ndepositing the dead and detritus alike on its muddy banks. The river\nitself is immediately south. The street is north, and the beach\nstretches on for a while to the west.\n\nYour whole body aches. You must have washed onto the beach - they do\nsay that the stolen river takes a trip through hell. Your brain is on\nfire. But at least you're alive.\n\n> You check what you're carrying\nYou are carrying:\na brass ring\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You examine the house\nA grandiose old home, with a brass-plated door and boarded up windows.\nAs far as you can tell, the only people that have been here in the\nlast ten years have been squatters.\n\n> You go to the east\n(first opening the brass-plated door)\nIt seems to be locked.\n\n> You unlock door with the key\nYou unlock the brass-plated door.\n\n> You go east\n(first opening the brass-plated door)\n\nThe house abandoned. Locked or not, anything of any real value has\nbeen long since ransacked. A door to the west leads outside.\n\nAn unspeakably hideous painting is still here - there's not a looter\nin London that would be caught dead with that thing.\n\n> You look at the painting\nThe wild asymmetry in the devil's face is bad enough. Together with\nthe threatening swarm of crows in the background and the way the\npainting manages to suggest that Her Most Circular Majesty is a whore,\nthis is by far the worst painting you've ever seen. The employment of\nlead-based paints means it's not even good kindling. No, the only way\nthis painting might ever be useful would be as some sort of theft\ndeterrent, placed in front of your chiefest treasures to ensure no one\never comes near them.\n\n> You take painting\nNothing obvious happens."
    },
    {
        "text": "> You look at your surroundings\nThe house abandoned. Locked or not, anything of any real value has\nbeen long since ransacked. A door to the west leads outside.\n\nA gold brick is here.\n\n> You drop the painting\nDropped.\n\n> You examine the brick\nA brick made from solid gold. Valuable, as gold bricks usually are.\n\n> Go north\nPreviously, one saw tigers at the zoo. Now, the tigers run the zoo.\nSome of the more mundane exhibits are to the west. The geometrical\ncells are east, and north is the Labyrinth's gift shop. South is the\nexit to Moloch Street.\n\nA tiger in a janitor's uniform can be seen scrubbing the walls.\n\n> Examine janitor\nA large, magnificent tiger, quietly mopping what looks like a\nbloodstain.\n\n> You talk to janitor\n\"Hey,\" the tiger says. \"I'm a little busy right now. After I clean\nthis, I need to go feed the penguins - and on top of that, the\nCervine Shuffler in the next exhibit over won't take his\npills.\"\n\n> You ask the janitor about the Cervine Shuffler\nThe tiger sighs. \"I don't know what's wrong with him,\" he says. \"I put\nhis pills in his tray, but he won't take them. How am I supposed to\ntake care of these animals if they won't even take their pills?\"\n\n> You ask the janitor about the pills\n\"They're supposed to get it to throw up,\" the tiger explains. \"Just in\ncase he ate something he wasn't supposed to. Or someone.\" The tiger\nshrugs. \"To be fair, I wouldn't take them either if I were him. He\nonly eats meat and meat-adjacent foods.\"\n\n> You go west\nOut of the many animal exhibits here, this one seems the least likely\nto maim you. A tiger mopping the floors outside reassures you that\nthat 'doesn't usually' happen. But why take chances?\n\nA large beast that only vaguely resembles a deer is here, shuffling\nmorosely around its cage. Every so often, it makes a sickening rattle\nthat could charitably be described as a cough.\n\nA scattering of pills is in the Shuffler's feeding trough, untouched.\n\n> You look at the beast\nA huge, hairy creature with antlers and razor-sharp teeth. Its\ncoughing sounds like the wheeze of a dying man.\n\n> You examine the pills\nLarge, slightly greasy pills. They might just cure the Shuffler of\nwhatever ails it. That is, if it actually wanted to eat them.\n\n> You talk to the beast\nThe Cervine Shuffler looks at you balefully. It grunts.\n\n> You go to the east\nPreviously, one saw tigers at the zoo. Now, the tigers run the zoo.\nSome of the more mundane exhibits are to the west. The geometrical\ncells are east, and north is the Labyrinth's gift shop. South is the\nexit to Moloch Street.\n\nA tiger in a janitor's uniform can be seen scrubbing the walls.\n\n> Go north\nTigers hate cheap trinkets, and visitors to the labyrinth are too\nenthralled with the wonders of the natural world to pay a gift shop\nany mind. Nevertheless, the gift shop remains, gathering dust. South\nis the way out.\n\nof the shop. Today, they are distributing free samples.\n\n> You examine the cart\nLUMPS! The sign reads. RUBBERY! ENIGMATIC! FREE OF CHARGE! You suppose\nthose are decent qualities for lumps to have.\n\n> You examine the lumps\nHot, greasy, fried food. As usual, you aren't quite sure what it is\nthat's been fried, only that it came from something living.\n\n> You take the lump\nAs you take the lumps, something catches on one of your sides, and\nbefore you know it, the cart has completely collapsed. Oil pools at\nthe base of the cart.\n\n> You fill the lamp\nWhat do you want to fill the rusty lamp with?\n\n> Oil\nYou pour the pint of fry oil into the rusty lamp.\n\n> You check your inventory\nYou are carrying:\nsome rubbery lumps\na solid gold brick\na brass ring\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na pint of fry oil\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note"
    },
    {
        "text": "> Look around\nTigers hate cheap trinkets, and visitors to the labyrinth are too\nenthralled with the wonders of the natural world to pay a gift shop\nany mind. Nevertheless, the gift shop remains, gathering dust. South\nis the way out.\n\nA pile of rubble is all that remains of a food cart.\n\n> Go south\nPreviously, one saw tigers at the zoo. Now, the tigers run the zoo.\nSome of the more mundane exhibits are to the west. The geometrical\ncells are east, and north is the Labyrinth's gift shop. South is the\nexit to Moloch Street.\n\nA tiger in a janitor's uniform can be seen scrubbing the walls.\n\n> You go west\nOut of the many animal exhibits here, this one seems the least likely\nto maim you. A tiger mopping the floors outside reassures you that\nthat 'doesn't usually' happen. But why take chances?\n\nA large beast that only vaguely resembles a deer is here, shuffling\nmorosely around its cage. Every so often, it makes a sickening rattle\nthat could charitably be described as a cough.\n\nA scattering of pills is in the Shuffler's feeding trough, untouched.\n\n> You put the pills in the lumps\n(first taking the pills)\nYou stuff the pills into the lumpy mass. Hopefully this will do\nsomething towards disguising their taste.\n\n> You put lumps in the trough\nThe Shuffler sniffs the lumps cautiously. Then it opens its mouth and\nswallows them, not even bothering to chew.\n\n> You wait\nTime passes.\n\nSuddenly, the Cervine Shuffler begins to cough loudly. It gags and\nwheezes, straining to push something out from its throat.\n\n> You wait awhile\nTime passes.\n\nAfter what feels like an eternity of hacking and sputtering, the\nCervine Shuffler spits a smooth grey stone onto the floor.\n\n> You take the grey stone\nTaken.\n\n> You look at it\nA smooth, grey stone. Valuable, and only occasionally hairy.\n\n> Go east\nAnimals aren't the only thing kept in the Labyrinth of Tigers. You are\nin a wide room, the walls lined with various cells behind curtains. A\nsign reminds visitors not to bring mirrors into the exhibit. West is\nthe exit.\n\nA plain green curtain covers a cage.\n\n> You pull the curtain\nIt is fixed in place.\n\n> You move the curtain\nYou open the curtain. A scruffy-looking square is behind it.\n\n> You examine the square\ncage. You're sure it's noticed you. It's just not interested.\n\n> You talk to the square\nThe square keeps its back turned. \"Don't want to talk to you,\" it\nmutters. \"Don't need to talk to you. We want to leave.\" It hisses.\n\"Come back when you've got what we want.\"\n\n> You examine the sign\nNO MIRRORS BEYOND THIS POINT, the sign reads. FOR YOUR OWN SAFETY AND\nFOR THE EFFICACY OF OUR PRISON, KEEP MIRRORS AND REFLECTIVE SURFACES\nAWAY FROM THE EXHIBITS, NO MATTER HOW THEY MIGHT PROTEST.\n\n> Open case\nYou open the trophy case, revealing a heartmetal disc, a horse statue\nand a lump of friendly amber.\n\n> You put the gold in the case\nThe solid gold brick fits perfectly.\n\n> You put the bezoar in the case\nThe bezoar fits perfectly.\n\n> Inventory\nYou are carrying:\na brass ring\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp\na pint of fry oil\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You wear the ring\nYou put on the brass ring.\n\n> You remove the ring\nYou take off the brass ring.\n\n> Light lamp with device\nYou light the rusty lamp.\n\nThis small, cramped tunnel runs from north to south between two\nparallel walls. A hole in the western wall leads outside.\n\n> Go north\nThe palace's wine cellar is supposed to be intruder-free, but the\ntrapdoor was left unlocked. Strangely, racks and racks of expensive\nwines still line the walls. South, the trapdoor leads back to the\ntunnels. West is a back door out.\n\nOn one wall is a jeweled sword, apparently used to uncork wine.\n\n> You examine the wine\ncan't get anywhere else. But the wines made after are rich, and taste\nlike home. Many, many bottles are arranged here.\n\n> You examine it\nA large, curving thing with a gem-encrusted handle. ...Is that a\ndiamond? It certainly looks valuable. It's also decorative, not to\nmention blunt.\n\n> You go west\n(first opening the back door)\nYou unlock the door from the inside.\n\nYou are west of the palace, where the back entrance to the building is\nlocated. North is the roof, and to the south, you can see a basalt\nwall.\n\n> Go east\nThe palace's wine cellar is supposed to be intruder-free, but the\ntrapdoor was left unlocked. Strangely, racks and racks of expensive\nwines still line the walls. South, the trapdoor leads back to the\ntunnels. West is a back door out.\n\n> Go south\nThis small, cramped tunnel runs from north to south between two\nparallel walls. A hole in the western wall leads outside.\n\n> You go south\nThis small, cramped tunnel runs from north to south between two\nparallel walls. North is a hint of daylight. South, you see the ruins\nof an archway.\n\n> Go south\nYou stand in the ruins of an archway, made from ancient stone. There\nis a complex series of tunnels to the south, and north is the way you\ncame.\n\n> You go to the south\nA complex system of tunnels forms a winding labyrinth, with exits in\nall directions.\n\n> Go east\nThe maze of tunnels in the west ends here, at a fancy door to the\neast. You can sense a presence behind the door, thrumming with power.\nYou're close.\n\n> You examine the door\nAn ornate door, made from wood.\n\n> Go east\n(first opening the fancy door)\n\nA small room with rough cave walls, but an inhabited one. Cave\npaintings near the wall serve as decorations, and empty wine bottles\nare scattered all over the room. West is the exit.\n\nAn old wooden desk is here, next to a chair.\n\n> You examine the paintings\nThe paintings are crude, but it's clear someone spent a lot of time on\nthem. What they're of is anyone's guess - lines intersect each other\nat seemingly random intervals, shapes overlap one another and fold\ninwards.\n\n> You look at the bottles\nEmpty bottles of the cheapest alcohol you've ever seen. There must be\nhundreds of them.\n\n> You look at the desk\nA plain wooden writing desk that contains a set of drawers.\n\n> You open the drawers\nYou open the drawers, revealing a handwritten book.\n\n> You take the book\n(the handwritten book)\nAs if on cue, a line- no, a square- appears out of nowhere behind you.\n\n> You examine the square\nHe is an infinitely thin straight line - no, some kind of rectangle.\nOr is he a square? He keeps changing. Whatever he is, he is dressed in\na simple robe, and has the look of someone from another time. As a\nsquare, he smiles sadly at you.\n\n> You talk to the square\n\"It hurts, being like this.\" The entity blinks at you, as though he's\njust realizing you're here. \"But I'm being rude. You're here for the\nbook, right?\"\n\n> Yes\nThat was a rhetorical question.\n\n> You ask the square about book\n(the handwritten book)\n\"This was supposed to be my life's work,\" he says softly. \"I wanted to\nprove that the third dimension was real so very badly. Back when I was\nEuclid the geometer, instead of being... like this.\" As he says this,\nhe vanishes, only to reappear moments later. \"I'm sorry, Detective.\nIt's so hard to keep myself flat. My body just wants to drift up into\nspace, I suppose. Add that to my list of regrets.\"\n\n> You ask square about the regrets\n\"This book was supposed to be a log of my travels. The places\nI saw, the things I learned. I wanted to enlighten people, wake them\nup to the glories of the third dimension. And even now, I\nstill do. But I don't know if it was worth it, and I certainly don't\nwant anyone trying to follow in my footsteps.\"\n\n> You ask square about the travels\n\"I spent hundreds of years travelling the third dimension,\" Euclid\nsays. \"Even if I couldn't really get it, I figured I'd have a look.\nThought I might find another civilization, resources, something. I\nfound two things - You people, in that cavern the bats like to send\npeople to, and nothing. Absolutely nothing. We're all alone in the\nuniverse.\" He shivers. \"It was all for nothing.\"\n\n> You ask the square about the third dimension\n\"Yes, the third dimension is real. Not that anyone wants to listen.\nThey're all so scared that there could be something out there they\ndon't understand, so they try to suppress it. The bats are in\non it too, trying to keep people in the dark.\" He perks up. \"But my\nbook can change all that! Spread the truths of the third dimension to\nthe common man.\"\n\nEuclid clears his throat. \"I want my book to go public, so people will\nknow the truth, but at the same time, I'm not sure if we even should\nbe meddling with the third dimension. Maybe it's better to keep people\nin the dark.\" He gives you a serious look. \"I want to let you have my\nbook, Detective. Give it to a library, sell it - hell, you could even\nburn the damn thing, it's in your hands now. I know you'll do the\nright thing with it, in the end.\"\n\n> You ask square about the bats\n\"I heard they bought cities. Pages and the rest. I asked them\nfor help with my research, and we made a deal. Of course, they only\nfound out I wasn't the owner of Athens after.\" He shivers. \"I still\ndon't know if what they did was my payment, or my punishment for lying\nto them, but I can't say they didn't give me what I asked for.\"\n\n> You ask the square about Pages\n\"I remember him.\" Euclid glares. \"Listen, Detective, I don't care what\nhe offers you - you can't let him have my book. He helped take down\nLondon, and he's not even fully three dimensional. If he had\na guide to the third dimension, who knows what else he'd be able to\ndo.\"\n\n> You ask the square about London\n(London)\n\"I like this city. The mongolian city - the one before you guys - was\nalright, don't get me wrong, but they really had it out for me. Don't\nthink they agreed with just how... irregular I am. Still, what\nhappened to them was-\" Euclid shudders. \"I'll miss your city, when\nit's your turn to be replaced.\"\n\n> You ask square about the footsteps\n\"I don't know how it happened, exactly. The bats showed me a\nletter, or maybe it was a word, but something was wrong with\nit - it was too strong, or it wasn't made right or something. It made\nme pass out, and when I woke up, I could see so much more.\" Euclid\nsighs. \"I can't stop seeing it, though. Even when I try, the third\ndimension is always right there, giving me one hell of a headache. I'd\nget rid of it, if I could.\"\n\n> You ask square about the letter\n\"It looked like a letter, but it was more like a brand. Some burning\nthing, more or less seared itself into my consciousness. I tried to\nrecreate it once, but I ended up throwing out the cast because I\ncouldn't get anything better than scrap metal. Something that\nimportant needs expensive, sentimental objects I just couldn't quite\nfind.\"\n\n> You read the book\nWhich do you mean, the handwritten book or the maze map?\n\n> Handwritten\nThe book contains many detailed mathematical illustrations. Every page\nis filled to the brim with small, neat handwriting. Half of it is\nwritten in ancient greek, and the rest is in mongolian. Shame. It\nprobably would have been fascinating.\n\nYou find a small bookmark, tucked away between the pages.\n\n> Examine bookmark\nA thin bookmark with detailed geometrical patterns. The solid gold\ninlay makes it quite valuable.\n\n> You take it\nYou already have that.\n\n> You ask Euclid about gold\nThe entity just stares at you. One of his lines fades in and out of\nreality.\n\n> Inventory\nYou are carrying:\na bookmark\na handwritten book\na jeweled sword\na brass ring\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note"
    },
    {
        "text": "[Themes: Adventure, Fallen London]\n\n> Look around\nA small room with rough cave walls, but an inhabited one. Cave\npaintings near the wall serve as decorations, and empty wine bottles\nare scattered all over the room. West is the exit.\n\nAn entity stands in the room, giving you a headache.\n\nAn old wooden desk is here, next to a chair.\n\n> You examine chair\nAn old chair with a curved back. It is made of wood, but surprisingly\nlight.\n\n> Go west\nYou are in the middle of a broad hallway from east to west. Some unlit\nglass tubes are here.\n\n> You look at tubes\nAn ordinary glass tube. If you look closely, you can see a colorful\ngas inside.\n\n> You take the tubes\nThat's hardly portable.\n\n> You go to the west\nhere. A few small fires can be seen, and the scent of gasoline is\nheavy in the air. The exit is a nondescript door to the east. Welcome\nto the Laboratory of Manufactured Light.\n\nA pentagon sits in the lab, reading.\n\n> You go east\nAnimals aren't the only thing kept in the Labyrinth of Tigers. You are\nin a wide room, the walls lined with various cells behind curtains. A\nsign reminds visitors not to bring mirrors into the exhibit. West is\nthe exit.\n\nBeneath the green curtain, a scruffy-looking square is in a cage.\n\n> You give the mirror to the square\nThe square thanks you, snatching the mirror. \"Sanitized,\" it remarks\ncoolly. \"Disgusting, but we can work with that.\" The scruffy-looking\nsquare shoves itself into the mirror with a sickening crack and is\ngone. Your mirror falls to the south side of the cage, but something\nis different about it.\n\n> You examine the mirror\nA small mirror with green-tinted glass. When you touch the surface, it\never so slightly gives way. You could enter it, if you wanted to.\n\n> You go to the east\nYou are in your small apartment. It's a cool London morning, and your\nwindows are ever so slightly fogged up. A door is set into the west\nwall of your home.\n\nIn one corner of the room is an old wooden trophy case.\n\n> You enter it\nYou push yourself into the mirror, cutting yourself slightly on jagged\nedges you didn't know were there.\n\n[PRESS ANY KEY TO CONTINUE]## Amber Woods\nYou are in a thick forest, where the ambient light is a soft shade of\namber. You are in the land-behind-mirrors, home of the glass serpents.\nYou are nowhere that is real. The forest stretches out in every\ndirection.\n\n> You look\nYou are in a thick forest, where the ambient light is a soft shade of\namber. You are in the land-behind-mirrors, home of the glass serpents.\nYou are nowhere that is real. The forest stretches out in every\ndirection.\n\n> Go north\nA path from west to east snakes through the thick foliage. Off the\npath to the north, you can see something gleam.\n\n> Go north\nYou've never heard of an orchard with just one tree. Here it is,\nthough. Densely packed trees surround you on all sides, but open up\never so slightly to the south.\n\nA gorgeous tree stands at the center of a wide clearing, lush with\npromises it may yet keep.\n\n> You examine the tree\nThe most beautiful tree you've ever seen shines when you look at it,\nforcing you to squint. Shining, silver sap drips slowly from the tree\nin rivulets, ready for collection. A glassy cluster of fruit hangs on\nthe tree, waiting to be plucked.\n\n> You examine the sap\nSilver sap, from the place that is not. It shines brightly, but isn't\nenough to provide any real light. Perhaps if you were to put it\nsomewhere.\n\n> You look at the fruit\nA glassy cluster of fruit, like a fly's eye hewn from crystal.\nSolacefruit is rare, valuable, and entirely toxic.\n\n> You take the fruit\nYou remove the fruit. Without it, the tree doesn't catch the light as\nnicely as it used to.\n\n> Go west\nA path from the northwest bends around to the east. The trees here\nseem to grow in strange directions.\n\n> Go northwest\nNorth is the entrance to a sinuous structure of wood and thorns.\nSomething shapeless lives here, you're sure of it. What remains to be\nseen, however, is whether or not they'll be able to catch you\ntrespassing. Southeast, a path leads back into the forest.\n\n> Go north\nLeafy walls make up a large entry hall. Tapestries can be seen on\neither side of the room. Off to the west, a passageway lined with\nthorns can be seen. East, the walls change from leaves to mahogany.\nOther, smaller passages pepper the wall like holes, but they are far\ntoo small for you to enter.\n\n> You look at the tapestries\nsurrounding jungle. Each one depicts a writhing mass of snakes.\n\n> Go west\nA cavernous room, with thorny walls and no windows. Cages made from\nstiff briars are here, wrapping painfully around their dead-eyed\nprisoners. Most of them are motionless, but one stirs to look at you\nwhen you enter the room. To the east, the rest of the castle beckons\nyou.\n\nAn imprisoned heptagon watches the room with its too-many eyes.\n\n> You examine the heptagon\nEach one of his seven eyes is fixed on you with rapt attention. He\nsees you looking at him, and coughs, politely.\n\n> You talk to the heptagon\n\"Hello, Detective. I believe, taking into account the\npredicament I am in-\" The briars squeeze the heptagon\ntighter, as if in response. \"-that you can help me with a problem of\nmine.\" He smiles wearily. \"And maybe, I can do you a favor as\nwell.\"\n\nOut of the corner of your eye, you see a flash of green. A trick of\nthe light. It's nothing. Don't worry about it.\n\n> You ask the heptagon about predicament\n\"I've been their prisoner for quite a while now,\" the heptagon\nexplains. \"The kings behind mirrors. I can't say for how\nlong, time is funny here.\" He continues as if he's talking about what\nhe had for breakfast this morning. \"They prefer more normal-looking\nshapes, so they've left me alone. But I'm tired of living in their\ncastle, eating their 'food', watching the things they do to decent\nshapes.\" He leans towards you. \"I want to escape, Detective.\nAnd I want you to help me.\n\n> You ask the heptagon about kings\n\"They're nothing more than snakes,\" The heptagon spits. \"Literal\nsnakes. And the things that live in the corners of your eyes. You'll\nhave to be careful around them, or they'll take your skin and wear it.\nPompous bastards,\" he mutters to himself. \"Trapped in some imaginary\nwasteland, and they call themselves kings.\"\n\n> You ask the heptagon about the escape\n\"Getting out's possible, in theory,\" the heptagon says. \"Not as easy\nas getting in, but possible, using the same, ah, methods. This is the\nland-behind-mirrors, after all.\"\n\n> You ask the heptagon about the land\n(land-behind-mirrors)\n\"The nature of the place is that it defies nature.\" The heptagon\nshrugs. \"They can't exist in the real world, not without their\nborrowed geometry, so they've resigned themselves to be the kings only\nof dreams, and all things behind mirrors.\"\n\n> You ask the heptagon about tree\n\"I can't help you there, Detective. All this time behind the glass\nhasn't been good for my mind.\"\n\nYou think you hear a hissing sound. Quiet, at first, but getting\nlouder.\n\n> You go to the east\nLeafy walls make up a large entry hall. Tapestries can be seen on\neither side of the room. Off to the west, a passageway lined with\nthorns can be seen. East, the walls change from leaves to mahogany.\nOther, smaller passages pepper the wall like holes, but they are far\ntoo small for you to enter.\n\n> You go to the east\nThe castle's treasure vault is located to the east. The imposing door\nhas a small plaque attached to it. West is the exit.\n\nSix gas lamps are embedded in the vault door.\n\nA piano is set into one wall.\n\n> You examine the plaque\nPLAY THE SEQUENCE TO ENTER THE VAULT, the plaque reads. A piece of\nscratch paper is taped next to it.\n\n> You look at the scratch paper\nSome notes in borderline illegible handwriting.\nGREEN = RIGHT NOTE, RIGHT PLACE\nBLUE = RIGHT NOTE, WRONG PLACE\nPLAY SIX NOTES AT A TIME (A-G)\n\n> You look at the piano\nA small mahogany piano that can play notes from A-G. Most of the keys\nare wood, but one is made from ivory.\n\nThe hissing won't stop. Not even when you plug your ears.\n\n> You go to the south\nAs you pass through the threshhold, the hissing stops abruptly.\n\nNorth is the entrance to a sinuous structure of wood and thorns.\nSomething shapeless lives here, you're sure of it. What remains to be\nseen, however, is whether or not they'll be able to catch you\ntrespassing. Southeast, a path leads back into the forest.\n\n> Go east\nA path from the west winds around to the south. It is easy to get lost\nhere."
    },
    {
        "text": "> You go north\nThe jungle is too thick for you to take more than a couple of steps in\nthat direction.\n\n> You examine the tree\nThe most beautiful tree you've ever seen shines when you look at it,\nforcing you to squint. Shining, silver sap drips slowly from the tree\nin rivulets, ready for collection.\n\n> You examine the sap\nSilver sap, from the place that is not. It shines brightly, but isn't\nenough to provide any real light. Perhaps if you were to put it\nsomewhere."
    },
    {
        "text": "[Themes: Adventure]\n\n> You look around\nYou've never heard of an orchard with just one tree. Here it is,\nthough. Densely packed trees surround you on all sides, but open up\never so slightly to the south.\n\nAn ordinary tree is here.\n\n> You go south\nA path from west to east snakes through the thick foliage.\n\n> You talk\n(to the sevenfold panoptic)\n\"Listen, Detective, I really do need your help with my little\npredicament.\" He swats at a strand of thorns\nconversationally. \"Please? I might be able to do you a favor,\nin return.\"\n\n> You give the sap\n(to the sevenfold panoptic)\nThe heptagon declines. \"You'll want to keep your possessions about\nyou, Detective. Unless you want to wake up as less than you were.\"\n\nOut of the corner of your eye, you see a flash of green. A trick of\nthe light. It's nothing. Don't worry about it.\n\n> You play DFFGBB\nYou play 'DFFGBB' on the piano.\nThree of the gas lamps light up blue.\n\n> You play AAAAAA\nYou play 'AAAAAA' on the piano.\nOne of the gas lamps lights up green.\n\n> You play BBBBBB\nYou play 'BBBBBB' on the piano.\nOne of the gas lamps lights up green.\n\nYou think you hear a hissing sound. Quiet, at first, but getting\nlouder.\n\n> You play the CCCCCC\nYou play 'CCCCCC' on the piano.\nOne of the gas lamps lights up green.\n\n> You play the DDDDDD\nYou play 'DDDDDD' on the piano.\nOne of the gas lamps lights up green.\n\n> You play EEEEEE\nYou play 'EEEEEE' on the piano.\nOne of the gas lamps lights up green.\n\n> You play GGGGGG\nYou play 'GGGGGG' on the piano.\nOne of the gas lamps lights up green.\n\nThe hissing won't stop. Not even when you plug your ears.\n\n> You play abcdeg\nYou play 'ABCDEG' on the piano.\nThree of the gas lamps light up green.\nThree of the gas lamps light up blue.\n\n> You play abcfff\nYou play 'ABCFFF' on the piano.\nOne of the gas lamps lights up green.\nTwo of the gas lamps light up blue.\n\n> You play abffff\nYou play 'ABFFFF' on the piano.\nTwo of the gas lamps light up blue.\n\nOut of the corner of your eye, you see a flash of green. A trick of\nthe light. It's nothing. Don't worry about it.\n\n> You play the FFFDFG\nYou play 'FFFDFG' on the piano.\nTwo of the gas lamps light up green.\n\n> Play beffaf\nYou play 'BEFFAF' on the piano.\nThree of the gas lamps light up green.\n\n> Play becdag\nYou play 'BECDAG' on the piano.\nSix of the gas lamps light up green.\nYou hear a click in the vault door. One of the keys in the piano pops\nout.\n\n> You examine it\nIf a piano's key were to exist, it would be made out of valuable\nivory.\n\nYou think you hear a hissing sound. Quiet, at first, but getting\nlouder.\n\n> You go east\n(first opening the vault door)\n\nRiches beyond your wildest imagination are here. Precious stones,\nartifacts, even gold coins float around in your peripheral vision. To\nthe west is the door out of the vault.\n\n> You examine the coins\nBeautiful masterworks, silver and jewels. But they're all out of\nfocus, and thinking about them too hard gives you a headache.\n\n> Go west\nThe castle's treasure vault is located to the east. The imposing door\nhas a small plaque attached to it. West is the exit.\n\nSix gas lamps are embedded in the vault door.\n\nA piano is set into one wall.\n\n> Go west\nLeafy walls make up a large entry hall. Tapestries can be seen on\neither side of the room. Off to the west, a passageway lined with\nthorns can be seen. East, the walls change from leaves to mahogany.\nOther, smaller passages pepper the wall like holes, but they are far\ntoo small for you to enter.\n\nThe hissing won't stop. Not even when you plug your ears.\n\n> Go south\nYou are in the jungle. Thick, leafy vines surround you, and in the\ndistance, you can hear the chirping of many-throated birds. The region\nto the west is blocked off by densely-packed trees.\n\n> Go west\nThe jungle is too thick for you to take more than a couple of steps in\nthat direction.\n\n> You go to the south\nYou stand at the center of a ruined structure. Bright green vines\ntwist around bits of rubble. There was something for you here, once.\nBut not any more. A path leads north, and to the east, the jungle\nbecomes impassable.\n\n> You examine the rubble\nCareful, geometrical lines carved into the ancient bricks mark this as\na shape-made structure. It must have been something to behold, in its\ntime.\n\n> Go south\nThe jungle is thick, and the air is heavy and warm. All around you are\ntrees. Far to the south, through a curtain of leaves, you can see\nsomething shine with borrowed light.\n\n> You go to the south\nYou are in a field of mirrors at the edge of the jungle, each one\nfixed in the ground. Many reflect parts of London you recognize, but\nmany don't reflect places at all.\n\n> You look at mirrors\nIn the sea of mirrors, you find yourself drawn to two - a dark mirror\nand a red mirror.\n\n> You look at the dark mirror\napproach it. Reflected in the mirror is someone else's dream - A\nseven-eyed shape sits in a cage. Thorns twist around and around the\nheptagon, burying it, but it does not react.\n\n> Keep going\napproach it. Reflected in the mirror is someone else's dream - A shop\nowner walks through stacks upon stacks of ancient junk. She fishes\nsomething out of a pile: A child's doll, with a thin dusting of\nsomething that could be mistaken for snow. She weeps. Oh, how she\nweeps.\n\n> You keep going\napproach it. Reflected in the mirror is someone else's dream - A clay\ntriangle drinks a beer that begs for its life from a mug that's always\nscreaming. It's not enough to forget. It's never enough to forget.\n\n> Keep going\napproach it. Reflected in the mirror is someone else's dream - A\npentagon searches his missing library card. But no matter how hard he\nlooks, he can't seem to find it.\n\n> You continue\napproach it. Reflected in the mirror is someone else's dream - A\ntriangle is born. A triangle grasps the horror of its brief existence.\nA triangle is gone.\n\n> Keep going\napproach it. Reflected in the mirror is someone else's dream - A\nlibrarian is handed a book that details the exact time and date of an\naccident that will kill thousands. She assigns it a number, and\nshelves it. She moves on.\n\n> Continue\napproach it. Reflected in the mirror is someone else's dream - A snake\nwatches shapes go about their lives from a distance. It could not get\ncloser to them, even if it wanted to.\n\n> You continue\napproach it. Reflected in the mirror is someone else's dream - An\narchaeologist digs through rock. It doesn't matter how long she digs\nfor, the only thing she ever finds is stone.\n\n> Continue\napproach it. Reflected in the mirror is someone else's dream - A\ngeometer prepares to make a bargain it knows it cannot uphold. It\nthinks, perhaps it hopes, that by the time its deception is\ndiscovered, it will be long gone from this dimension.\n\n> Continue\napproach it. Reflected in the mirror is someone else's dream - A tiger\nmops blood from a nondescript wall, but it keeps coming back. There is\nso much blood on his paws.\n\n> You look at the red mirror\nThe mirror reflects a boat, drifting slowly down a quiet river. The\nsurface ripples, concealing something sharp.\n\n> You go north\nThe jungle is thick, and the air is heavy and warm. All around you are\ntrees. Far to the south, through a curtain of leaves, you can see\nsomething shine with borrowed light.\n\n> You talk\n(to the sevenfold panoptic)\n\"Listen, Detective, I really do need your help with my little\npredicament.\" He swats at a strand of thorns\nconversationally. \"Please? I might be able to do you a favor,\nin return.\"\n\nOut of the corner of your eye, you see a flash of green. A trick of\nthe light. It's nothing. Don't worry about it.\n\n> You ring bell\nThe bell makes a pleasant ringing sound.\n\n> Inventory\nYou are carrying:\nan ivory key\nsome brilliant sap\na solacefruit\na chair\na bookmark\na handwritten book\na jeweled sword\na brass ring\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note"
    },
    {
        "text": "[Themes: Adventure]\n\n> You describe your surroundings\nA cavernous room, with thorny walls and no windows. Cages made from\nstiff briars are here, wrapping painfully around their dead-eyed\nprisoners. Most of them are motionless, but one stirs to look at you\nwhen you enter the room. To the east, the rest of the castle beckons\nyou.\n\nAn imprisoned heptagon watches the room with its too-many eyes.\n\nAn image comes to you. A ball of serpents, twisted together and the\npurest green. You can't stop thinking about them. You'd like to stop\nthinking about them.\n\n> You cut the briars\nCutting it up would achieve little.\n\n> You wait\nTime passes.\n\nA seething mass has lodged itself in your mind. Visitors aren't\nwelcome in their castle.\n\n> Wait\nTime passes.\n\nYou're not quite sure if your mind is your own. You're not quite sure\nif your body is your own. The longer you stay in this castle, the more\nof your geometry belongs to the snakes. Get out. Get out now.\n\n> You wait\nTime passes.\n\nWe are the kings behind mirrors. We are the glass serpents. We rule\nunreality, and soon, we will rule reality too. This triangle is ours,\nand will be ours, and has always been ours.\n\nThe last thing you hear before you lose consciousness is high,\nmany-voiced laughter.\n\nA slow boat rests in a silent river. Your surroundings are dark, but\nyou can see everything with awful clarity. The far shore is in the\ndistance, out of reach.\n\nA skeleton in robes sits at the front of the boat, guiding it along\ndown the river.\n\nAn ancient chess set is tucked away in a far corner of the boat.\n\n> Yes\nThe boatman moves a catspaw to E8. He watches for your next move.\n\nIt's your turn.\n\n1: Rook to B6\n2: Catspaw to G5\n3: Bishop to C1\n\nPlease enter a number, 1-3.\n\n> 3\nYou try a move you vaguely recall hearing about. To your surprise, it\nworks perfectly.\n\nThe boatman moves a flint to E1. He grins, saying nothing.\n\nIt's your turn.\n\n1: Flint to D2\n2: Rook to H9\n3: Bishop to A3\n\n> 3\nYou watch passively as the boatman captures several of your pieces.\n\nThe boatman moves a square to A1. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Flint to B7\n2: Catspaw to H9\n3: Square to A3\n\n> 1\nYou capture one of the boatman's pieces, and he captures three of\nyours. The game progresses.\n\nThe boatman moves a circle to D8. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Square to H6\n2: Flint to E5\n3: Bishop to A3\n\n> 2\nYou knock another of the boatman's pieces from the board triumphantly.\nHe sighs.\n\nof one who's done it a thousand times. \"You never had a chance,\" he\nhisses. \"I've only ever lost once to a Londoner. Strange woman,\" the\nboatman muses. \"I think she actually wrote a book about the\nexperience.\" His gaze lingers on you for a moment, before turning back\nto the river. \"We've arrived, by the way. You might as well get out.\""
    },
    {
        "text": "[Themes: Adventure]\n\n> You look at your surroundings\nA slow boat rests in a silent river. Your surroundings are dark, but\nyou can see everything with awful clarity. The boat is parked on the\nshore to the north.\n\nA skeleton in robes sits at the front of the boat, guiding it along\ndown the river.\n\nAn ancient chess set is tucked away in a far corner of the boat.\n\n> You take chess\nThe boatman growls at you. \"If you'd like to play,\" he spits, \"you can\nask.\"\n\n> You go north\nThe sound of waves becomes louder and louder, until it is almost\ndeafening. Just like that, you return to yourself.\n\nWhat was once the river Thames cuts through the middle of the city,\ndepositing the dead and detritus alike on its muddy banks. The river\nitself is immediately south. The street is north, and the beach\nstretches on for a while to the west.\n\nYour whole body aches. You must have washed onto the beach - they do\nsay that the stolen river takes a trip through hell. Your brain is on\nfire. But at least you're alive.\n\n> Go east\nYou are in your small apartment. It's a cool London morning, and your\nwindows are ever so slightly fogged up. A door is set into the west\nwall of your home.\n\nIn one corner of the room is an old wooden trophy case.\n\nYou can also see a green-glass mirror (empty) here.\n\n> You examine the case\nAn old trophy case, with thirteen slots of specific sizes and shapes.\nFive of the case's slots have been filled.\n\n> Open case\nYou open the trophy case, revealing a bezoar, a solid gold brick, a\nheartmetal disc, a horse statue and a lump of friendly amber.\n\n> You put fruit in case\nThe solacefruit fits perfectly.\n\n> You put the bookmark in the case\nThe bookmark fits perfectly.\n\n> You put the ring in the case\nThe brass ring fits perfectly.\n\n> You look in the case\nIn the trophy case are a brass ring, a bookmark, a solacefruit, a\njeweled sword, a bezoar, a solid gold brick, a heartmetal disc, a\nhorse statue and a lump of friendly amber."
    },
    {
        "text": "> You go down\nThat's impossible.\n\n> You take the lacre\nThere's no way you're going to touch that stuff. Not with your bare\nhands, anyway.\n\n> You use the pail\n'Use' isn't specific enough. Why don't you try:\nLighting\nDrinking\nAttaching\nDigging\nPulling\nPlaying\nUnlocking\nReading\nDrying\n\n> You look at the ritual\nThe instructions to some kind of rite, in shaky writing.\n\n1. The shape the sacred shape never more never less always eight the\nsacred shape LIGHT THEM.\n2. Ring the bell to get the audience's attention\n3. Repeat after me.\n\nOn the back is an incantation, though much of the ink is smudged.\n\n> You examine incantation\nThe instructions are written in the queen's english, but the\nincantation is written in mongolian - the language of the fourth city.\nBut it's not really the right time for mongolian conjuring, so you\ndecide not to.You don't understand a word of it. Maybe if you did\nyou'd be able to read it out loud.\n\n> You go to the east\nHere in a broad cavern, across a sea of foamy pits, is a stone altar.\nWest is a cage-elevator, situated on a flat stone clearing. A\nstairwell south leads even further into the bowels of the earth.\n\n> Inventory\nYou are carrying:\nan ivory key\nsome brilliant sap\na chair\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na pail\na brass key\na bell\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\na detective's fedora (being worn)\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> Go east\nA small room with rough cave walls, but an inhabited one. Cave\npaintings near the wall serve as decorations, and empty wine bottles\nare scattered all over the room. West is the exit.\n\nAn entity stands in the room, giving you a headache.\n\nAn old wooden desk is here.\n\n> You ask the archaeologist about temple\n\"The amber is weird,\" the archaeologist admits. \"Doesn't look like any\nfourth city temple I know about.\" She sighs. \"I guess I'd better get\nback to applying for grants.\n\n> You examine the clay\nA triangle, but made from sturdy clay. One of the creatures that began\nto appear here and there after the shift, albeit to fill a role\nLondon's had for centuries. This one looks bored.\n\n> Go south\nYou stand in a grand hall, built from a rich marble. Even weathered by\ntime, it's magnificent. The exit is to the north. A side-room, so\nsmall that it seems like an afterthought, is to the west. Presumably\nthere were other chambers here, but they've long since been buried in\ndebris.\n\n> You look at the debris\nSolid, heavy rubble prevents your passage.\n\n> Go west\nthan constructed. East, a jagged tunnel leads back into the temple you\ncame from.\n\n> Light candles\nWhat do you want to light the candles with?\n\n> Lighter\nThe candle's flames roar to life as you light them. Each one is a\nbright point of light, and for a moment, you can almost see the shape\nthey form.\n\n> You ring bell\nThe bell makes a loud, hollow sound that makes contact with your lines\nand stays there. Your vision blurs.\n\n> You read the incantation\n\"I address you, who live in the directions of up and down.\" You begin\nto read aloud in a voice that is not your own, and in a language\nyou've never heard before. \"I call upon a world I will never be able\nto see, in its grand infinities, that it may speak to me, and that for\na moment, that I might begin to understand. There is a shape beyond a\ncircle, and it is you, it is Euclid, the square that has been squared,\nspare me your fate and give me your lines.\" You raise your voice. \"I\nopen the door!\"\n\n[PRESS ANY KEY TO CONTINUE]You feel the world shake around you, hear\nthe distant cry of an unfamiliar animal, but nothing appears. The\ntriangle, resting against the wall behind you, stands shakily.\n\n> You examine triangle\nUnlike the skeleton you remember seeing, this triangle is alive. Even\nif they are bleeding slightly.\n\n> You talk\n(to the three-sided occultist)\n\"I always wondered if it would have worked,\" the occultist says. \"We\nwere so close to completing the ritual, before- well, before. And we\ntried so hard. Our cult, that is.\" They sigh. \"But after\nseventy years of waiting, I guess this was what I was waiting for.\"\nThe occultist hands you a wooden comb, carved to resemble a hawk.\n\"Thanks for trying, I suppose. For tying up that last loose end.\"\n\nYou smell smoke, and feel the temperature start to rise. \"Our time's\nalmost up,\" the occultist says. \"I don't have anything to keep me\nhere, not any more.\"\n\n> You look at the comb\nA wooden comb, carved and painted to look like a hawk. The fact that\nit's a genuine fourth city relic, albeit one in suspiciously good\ncondition, makes it rather valuable.\n\nbefore your eyes. \"Goodbye,\" says the occultist quietly. \"And thank\nyou.\"\n\nA clearing full of old, burnt rubble. Any structure that might have\nbeen here has been long since destroyed, but perhaps a few relics\nremain. East is the entrance to the Forgotten Quarter.\n\nThe memory of smoke stings your eye.\n\n> Go east\nYou stand at the edge of an ancient city - The Forgotten Quarter. Or\nwhat's left of it, anyway. What wasn't destroyed by London was\nstripped away by looters, making the whole place feel rather empty. To\nthe north, the empty ruins connect to an empty street. Far to the west\nis a nondescript pile of rubble. South is an archeological dig site.\n\n> Go west\nA clearing full of old, burnt rubble. Any structure that might have\nbeen here has been long since destroyed, but perhaps a few relics\nremain. East is the entrance to the Forgotten Quarter.\n\n> Go south\nA magnificent dig site, heading into the stone that encases a lot of\nthe ruins. This one is almost abandoned, though. The way out of the\nForgotten Quarter is to the north. The entrance to an ancient temple\nis visible to the south.\n\nA clay triangle is hard at work at the dig site.\n\nA bored archaeologist lies on a crate, worn out.\n\n> You talk to the archaeologist\n\"I can't thank you enough,\" the archaeologist says. \"After my\ncrew quit, I didn't know what to do, but Brick's been a\nlifesaver. I call him Brick, since they're made of clay- we've been\ngetting along great. Sometimes, we even finish each other's...\" The\nclay triangle stares into space. \"...Sentences.\"\n\n> You ask the archaeolo about the pavilion\nWhich do you mean, the pavilion or the distant pavilion?\n\n> First\nabout the first mural.\n\n> Dig\nWhat do you want to dig?\n\n> You put the comb in the case\nThe accipitrine comb fits perfectly.\n\n> You put it in the case\nTaken.\n\nThe green-glass mirror doesn't seem to fit.\n\n> Light tubes\nWhat do you want to light the arc light with?\n\n> Go east\nThe house abandoned. Locked or not, anything of any real value has\nbeen long since ransacked. A door to the west leads outside.\n\nYou can see an unspeakably hideous painting here.\n\n> Climb bin\nLittle is to be achieved by that.\n\n> You go east\nThe place has a rather homey atmosphere. Ancient objects of all shapes\nand sizes are for sale along the walls, though most of them just look\nlike junk. Outside, the desolate lane awaits. In the east wall of the\nshop is the door to a back room.\n\nA beautiful old rug is spread out across the floor of the shop. There\nis no price tag.\n\nRunning the shop is a weary antiquarian.\n\n> Show painting\n(to the weary antiquarian)\nThe weary antiquarian is unimpressed.\n\n> You go east\nThe Lair Of Mr. Pages\nInstead of the back room of an antique shop, you appear to have\nstumbled onto some kind of chair warehouse. A chairhouse, if you will.\nAntique furniture has been placed in neat piles around the room. The\nantique shop proper is west.\n\nMr. Pages himself, conspicuously without his usual flock of guards and\nassistants, lounges in an old Queen Anne seat. This must be important.\n\n> You give the chair\n(to Mr. Pages)\nMr. Pages does not move or speak for a long time. When he does, it is\nto grab you in a tight hug, pressing his leathery bulk against your\nlines. \"My passion for furnishments!\" He squeals. \"You recallembered!\"\n\n> Go west\nThe place has a rather homey atmosphere. Ancient objects of all shapes\nand sizes are for sale along the walls, though most of them just look\nlike junk. Outside, the desolate lane awaits. In the east wall of the\nshop is the door to a back room.\n\nA beautiful old rug is spread out across the floor of the shop. There\nis no price tag.\n\nRunning the shop is a weary antiquarian."
    },
    {
        "text": "[Themes: Adventure, Fallen London]\n\n> Go downwards\nIf anyone hears you talking that way, you'll be done for.\n\n> Light lacre\nWhat do you want to light the lacre with?\n\n> You fill the pail\nWhat do you want to fill the pail with?\n\n> Lacre\nYou shovel some lacre into the pail.\n\n> You put fedora in the pail\n(first taking it off)\nYou drop the detective's fedora into the pail.\n\nThe liquid in the pail fizzes, sparks, and dissipates, turning a dull\nred.\n\n> You wait awhile\nTime passes.\n\nThe surface of the snow-foam warps and bubbles. The pail disintegrates\nand a snow-triangle, much smaller than you but with the same\nproportions, crawls out from its remains.\n\n> You look athe snow-triangle\nAn exquisite rendition of a shape, made from dense white foam. It\nmakes acute equilateral triangle, if you do say so yourself.\n\nYou see your snow-triangle start to unravel. A dusting of ivory powder\nfalls from one of its sides.\n\n> You wait\nTime passes.\n\nYour snow-triangle watches as one of its sides caves in. Snow-foam\npools around it, viscous and thick.\n\n> You wait\nTime passes.\n\nThe snow-triangle stumbles towards you. It tries to cling to you, but\nits lines collapse.\n\n> You takthe snow-triangle\nI don't suppose the snow-triangle would care for that.\n\nThe snow-triangle looks at you with what's left of its eye. Something\nshines there, bitter and sharp. \"Goodbye,\" it says, and melts\ncompletely."
    },
    {
        "text": "[Themes: Adventure]\n\n> Look around\nHere in a broad cavern, across a sea of foamy pits, is a stone altar.\nWest is a cage-elevator, situated on a flat stone clearing. A\nstairwell south leads even further into the bowels of the earth.\n\nA puddle is here, fizzing ever so slightly. A shard glints out from\nthe middle of it.\n\n> You examine the shard\nA glistening ivory shard. It is as cold and hard as ice, but it won't\nmelt. You know it won't. It is valuable, whatever else it might be.\n\n> You check your inventory\nYou are carrying:\na snow shard\na jeweled sword\na brass ring (being worn)\nan unspeakably hideous painting\na green-glass mirror\nan ivory key\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You put the ring in the case\n(first taking it off)\nThe brass ring fits perfectly.\n\n> You look at the case\nAn old trophy case, with thirteen slots of specific sizes and shapes.\nEleven of the case's slots have been filled.\n\nIn the trophy case are a snow shard, a jeweled sword, a brass ring, an\naccipitrine comb, a bookmark, a solacefruit, a bezoar, a solid gold\nbrick, a heartmetal disc, a horse statue and a lump of friendly amber.\n\n> You check what you're carrying\nYou are carrying:\nan unspeakably hideous painting\na green-glass mirror\nan ivory key\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You put the book in the case\nWhich do you mean, the handwritten book or the maze map?\n\n> Go south\nYou can't go that way.\n\nAs the waves take you, the last thing you hear is the roar of water.\n\nA slow boat rests in a silent river. Your surroundings are dark, but\nyou can see everything with awful clarity. The far shore is in the\ndistance, out of reach.\n\nA skeleton in robes sits at the front of the boat, guiding it along\ndown the river.\n\nAn ancient chess set is tucked away in a far corner of the boat.\n\n> You play the chess\nThe boatman looks at you inquisitively, and you think you see\nsomething glint in his empty eyes. \"Would you care for a game of\nchess?\"\n\n> Yes\nThe boatman moves a flint to D2. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Square to D8\n2: Rook to B9\n3: Bishop to H5\n\n> 2\nYou've got him on the ropes with that last move, you're sure of it.\n\nThe boatman moves a rook to E7. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Catspaw to D6\n2: Bishop to C3\n3: Circle to G2\n\n> 1\nYou knock another of the boatman's pieces from the board triumphantly.\nHe sighs.\n\nThe boatman moves a catspaw to C4. His moves are smooth, confident.\n\nIt's your turn.\n\n1: Rook to C2\n2: Square to G4\n3: Circle to B5\n\n> 3\nYou try a move you vaguely recall hearing about. To your surprise, it\nworks perfectly.\n\nThe boatman moves a circle to G3. He grins, saying nothing.\n\nIt's your turn.\n\n1: Bishop to D6\n2: Circle to H4\n3: Flint to B1\n\n> 3\nYou knock another of the boatman's pieces from the board triumphantly.\nHe sighs.\n\nThe boatman just stares when you finally capture his circle. He hands\nyou one of his catspaws, to your surprise. \"Take this,\" he says. \"I\ndon't often get a real opponent.\" His gaze lingers on you for a moment\nwith something like respect, and then he turns back to the river.\n\"We've arrived, by the way. You might as well get out.\"\n\n> You examine Catspaw\nA catspaw. It can move diagonally, or in an L, or not at all, but\nnever all at once. This one is made of a valuable coral that gleams\nlike a brilliant gem.\n\nApart from the boat, drifting gently down the river, nothing moves.\n\n> You leave\nThe sound of waves becomes louder and louder, until it is almost\ndeafening. Just like that, you return to yourself.\n\nWhat was once the river Thames cuts through the middle of the city,\ndepositing the dead and detritus alike on its muddy banks. The river\nitself is immediately south. The street is north, and the beach\nstretches on for a while to the west.\n\nYour whole body aches. You must have washed onto the beach - they do\nsay that the stolen river takes a trip through hell. Your brain is on\nfire. But at least you're alive.\n\n> You put Catspaw in the case\nbuilt to hold it, the pieces start to fall into place. This was never\na trophy case, it was a mold. And you have filled it - painstakingly,\nlovingly - with the treasures of the world. Brass from the devils,\nfoam from the deepest pits, even the idea of ivory, stolen from the\nserpent lords themselves. The shape that you have made is not fire,\nbut it burns.\n\n> You look\nThe only thing in the room is the burning symbol. Everything else is\njust background noise.\n\nexist - sits in your room and smolders.\n\n> You examine the sigil\nAn Unmappable Direction. A raging inferno at the edge of your\nconsciousness. A dot, then a line, then a square, and then you, as you\nwere always meant to be.\n\nThe sigil is a command, an exigent order followed by a shower of\nsparks. The sigil is two words. The sigil is:\n\nGO UP.\n\n> You go up\nYou are not north of London but above it. Shapes go about their daily\nlives in little pentagonal buildings, and from here they might as well\nbe ants. Only the Bazaar is anything other than flat, its spines and\nspires somehow managing to point up in ways you never noticed before\nnow. You can see the rest of the world, the one London was stolen from\nso many years ago, as another flat plane far above you. When people\nclaimed that London went down, they might have been right. And above\nall that? Space, an infinite cosmos of secrets, and the only way to go\nis up.\n\n> Up\nYou're going to leave them in the dust. Flat, puny shapes, with flat,\npuny dreams. Yours is the third dimension now, and the greater\nuniverse, and abilities beyond mortal comprehension. It doesn't hurt\nyou like it does Euclid because your awakening wasn't some poorly\ndrawn sketch, given to a lazy liar by bats living large on borrowed\npower. You took the long road and built your own third-dimensional\npath with the things you've gathered, and now you're ready to leave\nthis world behind for the cosmic wilderness.\n\nEnd your journey here? (You will be able to reverse this decision, but\nwhy would you want to?)"
    },
    {
        "text": "[Themes: Adventure]\n\n> Go downwards\nYou can do a lot of things now, but you can't phase through a solid\nplane.\n\n> You check your inventory\nYou are carrying:\nan unspeakably hideous painting\na green-glass mirror\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> Yes\nUp past the gate, and up a little further. You depart for the infinite\ncosmos feeling giddy, but quickly decide it's not for you. There's\nnothing for you in this grand, empty place. What would you\ndo? Live as a thrall to a monstrous star, burn both ends of the candle\nand yourself to a crisp? You return, reluctantly, to London, and to\nyour life as a shape. Even with the money you later find on your\ndoorstep, thanking you for the beauticious chair, you can't live off\nyour savings forever. You once again take up your day job. Taking your\nnew perspective with you, of course.\n\nAs for the book? Well, it's yours, isn't it? Euclid gave it to you.\nAnd once you can get it translated, you'll know everything he knows\nabout the third dimension. All the secrets and little tricks that come\nfrom two thousand years of exploration, tucked securely away in your\npocket.\n\nCrime demands your attention now. You can see it all from above. Every\ntheft, every murder. What was concealed behind closed doors is so very\nvisible from above. Not that you could ever tell the constables that.\nInstead, you spin them a tale - you knew they were the murderer from\nthe mud on their boots. Their handwriting can attest to their guilt,\nsurely. And so on and so forth. Pretty quickly, people begin to take\nnotice, but not nearly as much as you notice them. You see everything\nthat happens in the city all the time, sometimes even in dreams. You\nare the panopticon that is forever staring into space. You watch a\nthousand tiny shapes commit a thousand tiny sins a day, and you cannot\npossibly punish all of them. There's not enough time. There's never\nenough time.\n\nYou are the greatest detective London has ever seen."
    },
    {
        "text": "[Themes: Adventure, Fallen London, treasure hunt]\n\n> You give the handwritten book\n(to Mr. Pages)\nMr. Pages snatches the book from you, squirrelling it away in the\nfolds of his robes. \"You'll get your reward in due time,\" he hisses.\n\"All in due time.\" He doesn't seem like he's planning on destroying it\nany time soon. Perhaps he really is the book collector his name makes\nhim out to be.\n\nWith the book firmly in the claws of Mr. Pages, your job is done. Your\nreward should arrive in 5-7 business days, and after that? Well, you\ndon't know. Perhaps Pages will simply add the book to his collection,\nand it will never again see the light of day. Perhaps he's got bigger\nplans in store. Or perhaps the book didn't contain anything he didn't\nalready know. This hardly matters to you, though. You're about to be a\nvery rich Detective.\n\nEnd your journey here? (You will be able to reverse this decision.)\n\n> Yes\nassuaged when the money from Mr. Pages arrives on your doorstep, crate\nby heavy crate. It's a drop in the bucket for something like him, but\nfor you it's enough to live not only comfortably, but glamorously. And\nthat's only the beginning of it. Soon, other high-profile individuals\nstart to make requests of you, each one taking you ever higher, ever\ncloser to the shadowy bats at the very top.\n\nYou don't hear from Euclid again. If he's happy with what happened to\nhis book, if he feels betrayed, you never do find out. Not that it's\nreally his book any more. It belongs to Mr. Pages now, along with the\nvaluable knowledge inside. You're useful to the bats, and that means\nPages trusts you enough to show you a little of what he's learned. He\ncan move like Euclid, when he wants to.\n\nThey talk about new cities sometimes. About bringing them 'down' to\nwherever London is, crushing it and its citizens 'under' their\nmetropolitan weight. But that's not for a long time. You take another\nswig from your glass of expensive champagne, and close your eye.\n\n> Light handwritten book with lighter\nMaybe the public is better off in two dimensions. Maybe you just want\nto deny Pages his prize. Either way, ancient paper makes excellent\nkindling, and the book goes up in flames.\n\nWith the book destroyed, the city is the same as it ever was. No\nancient entity stumbles in, espousing the glories of the third\ndimension, and the lives of London's citizens are not uprooted in the\nslightest. Perhaps it's for the best. Change can be hard, and new\ndimensions can be dangerous.\n\nEnd your journey here? (You will be able to reverse this decision.)\n\n> Yes\nYou never get the money you were promised for a job well done. Mr.\nPages does, however, pay you for the chair you brought him. It's a\nlot, but not enough to last, and you soon find yourself returning to\nwork. Luckily for you, even just being hired by Mr. Pages is a serious\nboost to your career, and you soon find yourself deeply enmeshed in\nThe Case Of The Missing Goldfish, and dozens of other small\nmysteries from wealthy clientele. You make a peaceful living, and live\na quiet life.\n\nEvery so often, you hear stories about a strange shape cropping up\naround London. If it's Euclid, though, he certainly isn't there for\nyou, because you never see him again.\n\nThe third dimension doesn't exist. Maybe it never has.\n\n[PRESS ANY KEY TO CONTINUE]\n\n> You give the handwritten book to the librarian\nThe librarian takes the book gently, like she's afraid she'll hurt it.\nShe says nothing for a long time. Then, as though it were the most\nordinary thing in the world, she assigns it a number, and dumps it in\na basket for shelving. What happens next is up to the librarian now.\nYou can't be sure that Pages won't get his hands on it, or the church,\nor Her Most Circular Majesty. But it's a step in the right direction\nfor math and science - a step not north or south, but up.\n\nEnd your journey here? (You will be able to reverse this decision.)\n\n> Yes\nYou never get the money you were promised for a job well done. Mr.\nPages does, however, pay you for the chair you brought him. It's a\nlot, but not enough to last, and you soon find yourself returning to\nwork. Luckily for you, even just being hired by Mr. Pages is a serious\nboost to your career, and you soon find yourself deeply enmeshed in\nThe Case Of The Missing Goldfish, and dozens of other small\nmysteries from wealthy clientele. You make a peaceful living, and live\na quiet life.\n\nA few months after the book is placed in the library, a bored student\nchecks it out. He takes it to his friend, who studies ancient\nlanguages, and realizes the value of what he has. The book spreads\nrapidly around campus - Translations are made, and study groups\nformed. Progress is slow, of course, and it's still more or less\nillegal to discuss the third dimension as if it were real, but the\nbook continues to seep into the public consciousness. Perhaps one day,\nEuclid's legacy will be complete.\n\n> Inventory\nYou are carrying:\nan apocyan catspaw\nan unspeakably hideous painting\na green-glass mirror\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> Go north\nA path from west to east snakes through the thick foliage.\n\n> Go west\nA path from the northwest bends around to the east. The trees here\nseem to grow in strange directions.\n\n> Go west\nA cavernous room, with thorny walls and no windows. Cages made from\nstiff briars are here, wrapping painfully around their dead-eyed\nprisoners. Most of them are motionless, but one stirs to look at you\nwhen you enter the room. To the east, the rest of the castle beckons\nyou.\n\nYou sit placidly in a cage of thorns, looking dead ahead. You don't\nremember what happened, the last time you were here.\n\nAn imprisoned heptagon watches the room with its too-many eyes.\n\n> Show mirror\n(to the sevenfold panoptic)\nThe sevenfold panoptic is unimpressed.\n\n> You give the mirror\n(to the sevenfold panoptic)\nThe heptagon takes the mirror tenderly. \"Thank you,\" he says. \"You've\ndone a good thing.\" With that he hurls himself into the mirror, not\neven bothering to pick his way around the sharp parts, and is gone,\nleaving the mirror behind.\n\n> You take the mirror\nTaken.\n\nOut of the corner of your eye, you see a flash of green. A trick of\nthe light. It's nothing. Don't worry about it.\n\n> You enter the mirror\nAs you step out from the mirror, you wake up in a cold sweat.\n\n[PRESS ANY KEY TO CONTINUE]\n\n> You examine the looking glass\nA green-tinted mirror with a real eye embedded in its handle.\nPresently, it is closed.\n\n> You open it\nYou try to pry it open, but the eye remains shut.\n\n> You look in the mirror\nThe looking glass is empty.\n\n> You enter the mirror\nIt's difficult, but you manage to force yourself through the glass.\n\n[PRESS ANY KEY TO CONTINUE]## Amber Woods\nYou are in a thick forest, where the ambient light is a soft shade of\namber. You are in the land-behind-mirrors, home of the glass serpents.\nYou are nowhere that is real. The forest stretches out in every\ndirection.\n\n> You check what you're carrying\nYou are carrying:\na looking glass\nan apocyan catspaw\nan unspeakably hideous painting\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note\n\n> You enter mirror\nAs you step out from the mirror, you wake up in a cold sweat.\n\n[PRESS ANY KEY TO CONTINUE]## Your Lodgings\nYou are in your small apartment. It's a cool London morning, and your\nwindows are ever so slightly fogged up. A door is set into the west\nwall of your home.\n\nIn one corner of the room is an old wooden trophy case.\n\n> You put catspaw in Case\nbuilt to hold it, the pieces start to fall into place. This was never\na trophy case, it was a mold. And you have filled it - painstakingly,\nlovingly - with the treasures of the world. Brass from the devils,\nfoam from the deepest pits, even the idea of ivory, stolen from the\nserpent lords themselves. The shape that you have made is not fire,\nbut it burns."
    },
    {
        "text": "[Themes: Adventure, treasure hunt]\n\n> Look around\nThe only thing in the room is the burning symbol. Everything else is\njust background noise.\n\nexist - sits in your room and smolders.\n\n> You examine the sigil\nAn Unmappable Direction. A raging inferno at the edge of your\nconsciousness. A dot, then a line, then a square, and then you, as you\nwere always meant to be.\n\nThe sigil is a command, an exigent order followed by a shower of\nsparks. The sigil is two words. The sigil is:\n\nGO UP.\n\n> Go west\nA cavernous room, with thorny walls and no windows. Cages made from\nstiff briars are here, wrapping painfully around their dead-eyed\nprisoners. To the east, the rest of the castle beckons you.\n\nYou sit placidly in a cage of thorns, looking dead ahead. You don't\nremember what happened, the last time you were here.\n\n> You enter the mirror\nAs you step out from the mirror, you wake up in a cold sweat.\n\n[PRESS ANY KEY TO CONTINUE]## Your Lodgings\nThe only thing in the room is the burning symbol. Everything else is\njust background noise.\n\nexist - sits in your room and smolders.\n\n> Wave mirror\nYou wave the looking glass.\n\n> You go to the east\nHere in a broad cavern, across a sea of foamy pits, is a stone altar.\nWest is a cage-elevator, situated on a flat stone clearing. A\nstairwell south leads even further into the bowels of the earth.\n\nA puddle is here, fizzing ever so slightly.\n\n> Go south\nThe eye on the handle of your looking glass opens.\n\nYou stand in the ruins of an archway, made from ancient stone. There\nis a complex series of tunnels to the south, and north is the way you\ncame.\n\n> You examine the eye\nA green-tinted mirror with a real eye embedded in its handle. The eye\nis looking south.\n\n> You examine the eye\nA green-tinted mirror with a real eye embedded in its handle. The eye\nis looking east.\n\n> You look at the eye\nA green-tinted mirror with a real eye embedded in its handle. The eye\nis looking northeast.\n\n> You look at the eye\nA green-tinted mirror with a real eye embedded in its handle. The eye\nis looking west.\n\n> You examine the eye\nA green-tinted mirror with a real eye embedded in its handle. The eye\nis looking southeast.\n\n> Inventory\nYou are carrying:\na looking glass\nan unspeakably hideous painting\nsome brilliant sap\na handwritten book\na flint-and-steel lighter\na maze map\na set of ritual instructions\na brass key\na pickaxe\nthe theoretical location of a hideout\na rusty lamp (providing light)\na pint of fry oil\nthe spare towel\na knapsack (open but empty)\na compelling note"
    },
    {
        "text": "[Themes: Slice of life, Travel, female protagonist, landscape]\n\n\"You're certain that you'll be okay on your own?\" he asks.\n\nYou smile at him, tightening the pack around your waist. A slight\nlaugh creeps into your voice - it's not as if you haven't done this before. \"Yes, dear. I'll be fine. It's nothing personal, I just...\"\nYou take in the concerned expression on his face and your voice\nsoftens slightly. \"I just need a break. Not from you, necessarily, but from everything: work, responsibilities, friends. I just need a day to myself, you know?\"\n\nHe nods. \"Yeah. Yeah, I guess I do. No worries; I get like that myself sometimes. Just in case something happens, what route do you plan to take? Your usual?\"\n\nYou nod. \"Yeah. I'll head up the long way, on the Lower Mt. Cammerer trail, hit the Appalachian trail to get to the tower, then descend by going further down the AT towards Low Gap. I'll take the Low Gap trail back to the campground.\"\n\nHe smiles at you. \"Like I said, 'Your usual.' Listen, I'll be back to pick you up about... Hm, what time?\"\n\n\"Well, if I were just hiking, I could be out by mid-afternoon, but I really want to take my time and enjoy things. I guess it gets dark about... what? Half past nine these days?\" He nods. \"I should be out\nby then. I'll meet you right back here at nine-thirty, okay?\" you\noffer up your most reassuring smile.\n\n\"Sure,\" he says. \"I love you. Be careful, and have a great hike.\"\n\nWith that, he kisses you lightly on the lips and gets back in the car. He waves out the driver's side window and heads off toward the north end of the parking lot, towards home. Soon, the car is out of sight entirely.\n\n> Inventory\nFor hints and information, type \"about.\"\n\nEnjoy your walk, and thank you for playing.\n\nStanding alone at the edge of the deserted parking lot, you take in a deep breath of fresh air and glance about. An inviting trail beckons from the forest to the east; that path quickly curves among the hemlocks and out of sight. Two roads depart from the parking lot: one leads north, towards home, the other south, toward the campground not quite half a mile distant.\n\nToday's hike is one you've done many times before, and you're intimately familiar with the ground you'll cover. You know without the aid of a map that you can proceed either east or south, and that\neither route will bring you toward the Lower Mt. Cammerer trail. From there it's a slow and steady climb to the fire tower.\n\n> You check what you're carrying\nYou are carrying:\nsome socks (being worn)\nsome hiking shorts (being worn)\na shirt (being worn)\nsome hiking boots (being worn)\na hip pack (being worn and closed)\na watch (being worn)\n\n> Examine watch\nYou glance down at your watch, a rather chunky and unstylish accoutrement purchased for fifteen dollars at the drugstore. Fashion critiques aside, it's a functional, water-resistant, glow in the dark timepiece.\n\nAt present, it indicates that the time is 7:02 AM.\n\n> You examine yourself\nYou glance down and the first thing you see are your hiking boots. They're serious hiking boots - eight inches high, all leather exterior with Gore-Tex lining; so long as you don't walk through water more than, say, seven or seven and a half inches deep, your feet will stay dry. These boots consume most of your lower calves in a rather unladylike but not altogether unattractive way, and bits of your thick Thorlo socks are just visible.\n\nYour legs, feminine but muscular, are revealed to the world because you're wearing shorts, which, let's be honest, is probably silly, because you'll no doubt end up covered in bug bites and scratches, but it's sooo warm and you simply couldn't resist - it will give you something to complain about tomorrow, but only to the people who won't say, \"Why didn't you wear pants?\"\n\nAt any rate, a long sleeved t-shirt rounds out the ensemble. You're comfortable, and you're ready to hike.\n\n> Examine pack\nYou don't know what you'd do without your wonderful hip pack on day hikes like this. It's compact, it's capable of carrying everything you could really need (even in an emergency), it holds a water bottle, and it's your favorite color (green!).\n\nA slight breeze blows out of the east.\n\n> You remove the watch\nYou take off the watch."
    },
    {
        "text": "[Themes: Slice of life, Travel]\n\n> You look around\nwhile exploring the nearby trail system in the national park, but this morning it's devoid of vehicles. A grassy hill, recently mown, lines the western edge of the parking lot, while a forest abuts it to the east. From the parking lot there are two roads: one departing north, toward the park exit, and one leading south toward the campground just under half a mile away. A trail enters the woods to the east, quickly disappearing amongst the hemlocks.\n\nFor your hike, you can proceed either east or south. Either route will take you to the Lower Mt. Cammerer trail.\n\n> Go east\nYou put your watch back on before walking away, just to make certain that you don't lose it.\n\nYou decide it's best to leave the pavement as quickly as possible, and opt for the trail into the woods. The path, lined with wildflowers, curves south, then southeast, before joining with the Lower Mt. Cammerer trail.\n\nTrail Junction (Lower Mt. Cammerer & Access trails)\nYou're standing at the junction of two trails, and two signs are\nnailed to a single post here to orient you. The Lower Mt. Cammerer trail heads northeast, toward the Sutton Ridge Overlook and, eventually, to the Appalachian Trail. Alternately, the trail continues southwest toward the campground, about two tenths of a mile away. A second trail, unnamed, runs northwest, toward the parking area where you began, or southeast, toward the Low Gap Trail.\n\nA patch of yellow flowers is growing at the base of the signpost.\n\n> You pick the flowers\nAs much as you might love to pick some of the flowers, you'd prefer to leave them for the next hiker to enjoy. And besides, this is a\nNational Park; things should be left untouched and in their natural state so that everyone can enjoy the beauty. There are flowers to pick in the garden back home.\n\nAs much as you might love to pick some of the flowers, you'd prefer to leave them for the next hiker to enjoy. And besides, this is a\nNational Park; things should be left untouched and in their natural state so that everyone can enjoy the beauty. There are flowers to pick in the garden back home.\n\n> Smell flowers\nHm... you can't really detect much of a scent from these flowers.\nTheir delicate beauty makes up for the lack of scent.\n\n> Blow flowers\n(first taking the wildflowers)\nAs much as you might love to pick some of the flowers, you'd prefer to leave them for the next hiker to enjoy. And besides, this is a\nNational Park; things should be left untouched and in their natural state so that everyone can enjoy the beauty. There are flowers to pick in the garden back home.\n\n> Examine nw\nYou jump up and down, but the weight of your pack banging around on your hips is rather uncomfortable, so you quickly cease your hopping.\n\nAn insect lights upon your ear, but a wave of your hand sends it away.\n\nYou can't see any such thing.\n\n> You examine the path\nYou're standing at the junction of two trails, one running northwest-southeast, the other running northeast-southwest. At the north corner of the junction, two signs are nailed to a single post indicating where each trail leads.\n\n> You examine the signs\nThere are two signs on the post. The uppermost sign faces southeast, and is oriented so that you know it pertains to the trail that runs northeast-southwest; it reads:\n\nSutton Ridge Overlook 1.2 >\nAppalachian Trail 7.3 >\n< Cosby Campground 0.2\n\nThe other sign faces southwest and pertains to the access trail from the parking lot, which has no name; the sign reads:\n\nLow Gap Trail 0.4 ->\n<- Hiker Parking 0.4\n\n> You rest\nTime passes."
    },
    {
        "text": "[Themes: Travel, Slice of life]\n\n> Look around\nTrail Junction (Lower Mt. Cammerer & Access trails)\nYou're standing at the junction of two trails, one running northwest-southeast, the other running northeast-southwest. At the north corner of the junction, two signs are nailed to a single post indicating where each trail leads.\n\n> You go northwest\nYou take a look at the trail sign and confirm that that way just leads back to the parking area where you began. Your route heads northeast, up the Lower Mt. Cammerer trail.\n\n> Go northeast\nYou head northeast. A quarter mile or so down the path you encounter a shallow stream, easily crossed by hopping from one rock to the next without getting your boots wet.\n\nBefore long, the trail narrows from a road to a trail. The vegetation closes in on each side as well as overhead, forming a darkened tunnel of rhododendron. It's a pleasant stroll along this section, quiet,\nwith only the smallest shafts of sunlight penetrating the thick\ncanopy, but you're evidently the first person to break trail today and you keep hitting unseen strands of spider web. Eventually the tunnel disappears, the canopy opens up, and as you pick the last wispy cob\nweb from your hiking shorts, you notice that you've arrived at the footbridge.\n\nSunlight pours forth into a large opening in the trees here, illuminating bits of pollen floating in the air and sparkling on the surface of Tom's Creek. The stream flows northwest, gurgling beneath a rustic but sturdy log footbridge.\n\nYou hear the distinctive sound of a woodpecker in the distance.\n\n> You look at the stream\nTom's Creek is wide, perhaps thirty feet across, and sufficiently deep enough to merit the presence of a foot bridge. The water slides over rocks, slips over semi-submerged boulders into small white cascades, pauses near the bank in tiny eddies, and seemingly stops in darkened pools. Eventually, it flows off to the northwest, giggling and whispering its secrets to the forest as it goes.\n\n> Taste stream\nYou're sure the cold, clear water would taste fantastic, but you also know that it might make you sick. Looks are deceiving, and despite its clarity there might be bacteria present. You've no filter, no way to boil it, and besides all that, you have some perfectly acceptable\nwater in your water bottle.\n\n> You enter stream\nYou splash your boots about at the edge of the stream, but ultimately decide to stand on the bank so as to keep from accidentally getting your socks wet. You forgot to bring a spare pair. You forgot a few things in your rush to get out the door. Oh well."
    },
    {
        "text": "[Themes: Travel, Slice of life, female protagonist]\n\n> You describe your surroundings\nTom's Creek flows across the path here, beneath a sturdy log footbridge. The path continues on the other side of the bridge, to the northeast.\n\n> You examine log\nThe stream is fairly wide and a bit too deep to cross without getting your socks wet, and so a foot bridge has been installed. It's a simple structure, half of a log with its flat side facing up for a walking surface. A hand rail affixed to one side allows will help you maintain your balance as you cross. It's functional, yet blends in well with\nthe natural surroundings.\n\n> Go northeast\nYou climb onto the footbridge over Tom's Creek, walk halfway across, and pause. One hand on the railing for balance, you close your eyes, feel the coolness of the water running beneath you, and concentrate on the sound of the water as it ripples along over unseen rocks. You\nstand there for perhaps two minutes, enjoying the water's song, but eventually the cool air coming off the creek is too much for your uncovered legs and you decide to continue up the trail.\n\nAfter walking about a third of a mile, you come to a trail junction.\n\nThe trail crests the first of many ridges along the northern side of Mt. Cammerer here. Sutton Ridge, as it's called, is dry and exposed - perhaps not the loveliest spot for a rest break. But from here, a tiny spur trial scrambles up the ridge to the southeast, and the clearing\nat the top generally provides an lovely view of the surrounding mountains.\n\nYou pause to contemplate whether you'd like to check out the spur trail, or to simply continue east, toward the fire tower.\n\n> Go southeast\nYou decide to make the scramble up to the overlook. It's only two-hundred yards, but the climb is steep and leaves you winded once you reach the top.\n\nThe Sutton Ridge Overlook is a very formal name for a very informal clearing on the side of a hill. The ground here remains bare from people such as yourself coming up here to take in the view; evenings\nin particular are a great time to visit, because this is a wonderful vantage point from which to take in the sunset over Gabes Mountain, across the valley to the west. Though perhaps not quite so stunning as at sunset, the clearing is still quite beautiful during the day. To\nthe north, the Cosby Valley stretches out lush and green, and mountain laurel dots the surrounding hillsides, pink and in full bloom. Galax and arbutus line the edges of the clearing at ground level.\n\nYou sit down on the ground in the clearing to catch your breath and take in the view.\n\n> You examine Valley\nThe Cosby Valley rests between Mt. Cammerer and Gabes Mountain, lush and green. Though you can't see within its depths, you know that the Pigeon River courses along its floor, far below you.\n\n> You look at the galax\nThe galax is a lovely shade of green with round, waxy leaves. They\nstay green all winter.\n\n> You stand\nYou get back up and brush off your clothes. Break's over.\n\n> You examine the ground\nThe ground, where it lacks vegetation, is brown and dry."
    },
    {
        "text": "> Go downward\nYou work your way carefully down the steep spur trail.\n\nYou're standing at a bend in the trail on the crest of Sutton Ridge. The trail turns from south to east here, and a spur trail scrambles through the arbutus and galax to the southeast.\n\n> Up\nMrm... no, you've already had that diversion. Probably best to trek on east, toward the fire tower.\n\n> You go to the east\nYou leave the spur trail behind and head down the eastern side of the ridge. The path is a long, narrow straightaway, and the walking is easy. After less than a quarter mile you come to a lovely little waterfall, and pause to admire its beauty.\n\nWhereas Sutton Ridge was a high spot, dry and exposed, this is a tiny creek draw between two ridges. Riding Fork Creek cascades down a\nseries of mossy dark gray rocks here, southeast of the trail. You can continue on toward the fire tower by hopping across the creek to the north.\n\nA gentle breeze brushes your skin.\n\n> You look at the waterfall\nRiding Fork Creek may be small, but that doesn't make it any less majestic: a narrow stream of water tumbles down over a series of chiseled, squarish, dark grey rocks, almost like a contrived fountain, and yet it's natural.\n\nYou feel the coolness coming off the water and close your eyes. A\nsmile touches your lips, and you breathe in the refreshingly chilled air. You take a moment to contemplate how even in the driest of years this tiny stream persists, flowing ever on, regardless of who's here\nto admire its beauty. You think like that sometimes... wondering about purpose, about process. About the way in which everything moves on regardless of your presence or concerns.\n\n> You think\nYou take a moment to consider your next move.\n\nA gnat is momentarily caught in your eyelashes, but you blink it away.\n\n> You go east\nThe ridge climbs sharply upward in that direction, with no path. You'd tear up a great deal of vegetation trying to make the climb. It would be better, perhaps, to remain on the trail. From here, you can go north.\n\n> Go north\nYou cross Riding Fork Creek and continue weaving over and between ridges, making the long, slow climb along the northern face of Mt. Cammerer.\n\nAfter a mile and a half or so, you come to Campsite 35, the only developed backcountry campsite along the trail today. There's no one present, so you rest at one of the scorched fire rings, nibble on some trail mix, and watch a squirrel as he goes about his business.\n\nAfter a pleasant break, you continue on toward the tower. The gradual nature of the climb gives way to a steeper ascent, and after an additional two and three-quarter miles, you reach the next landmark of today's hike.\n\nTrail Junction (Lower Mt Cammerer and Appalachian trails)\nThe Lower Mt. Cammerer trail ends here at a junction with the famous Appalachian Trail. Commonly referred to simply as the \"AT,\" the trail covers nearly the entire length of the Appalachian Mountains, from Maine to Georgia - a distance of over two thousand miles. You wish\nthat you'd taken a summer off during college to hike the length of it, but there's no point in regretting that now. There's always retirement to look forward to, right? You sigh wistfully at the thought and plop down onto the ground among the roots of a large tulip poplar growing\nin the center of the junction.\n\nThe AT runs east-west here. According to the sign, it's only another three miles to the tower.\n\nA gentle breeze caresses your skin.\n\n> You go east\nYou'll have to get off the ground first.\n\n> You stand\nYou get back up and brush off your clothes. Break's over."
    },
    {
        "text": "[Themes: Travel, Slice of life, female protagonist]\n\n> You look around\nTrail Junction (Lower Mt Cammerer and Appalachian trails)\nThe AT climbs from east to west here, ascending toward the peak of the mountain and the fire tower. The Lower Mt. Cammerer trail, from which you accessed the AT, descends out of the junction to the northwest.\n\nof a grouse. As you stand there with your hand to your chest it flies off, equally as startled by your presence.\n\n> Go west\nThere appear to be only woods in that direction, with no path among\nthe trees. The AT continues to the southwest, or you can visit the\nfire tower by heading north.\n\n> You go north\nYou set off toward the fire tower. The trail runs along the top of a rocky ridge, but it's well-used and, for the most part, easily walked. The last few feet are a bit of a scramble, but you effortlessly manage the boulders and find yourself standing triumphantly on the porch of the fire tower.\n\nMt. Cammerer, Outside the Fire Tower\nThe Mt. Cammerer fire tower sits atop a jagged, rocky peak with a commanding view of the surrounding mountains. It's a fantastic\nlocation for such a structure, really, because you can see for miles\nin every direction and it would be easy to spot a plume of smoke, particularly if you used binoculars.\n\nYou lean against the railing and take in the landscape. Gorgeous, and so worth the effort.\n\nA hawk cries in the sky above you, momentarily drawing your attention.\n\n> You examine the hawk\nThe hawk circles high overhead, seemingly without effort.\n\n> You fly\nYou wish to have the freedom of a bird. Why not settle for the freedom of your feet?\n\n> Down\nYou take a quick peek over the edge of the railing and decide that falling to the rocks below might be bad for your health.\n\n> You go south\nFortunately, the railing prevents you from toppling over the edge toward certain injury and possible death. You can leave the tower by going southwest."
    },
    {
        "text": "> You look around\nMt. Cammerer, Outside the Fire Tower\nThe fire tower has a commanding view of the surrounding mountains. You can enter the tower or simply return back the way you came. The trail departs to the southwest.\n\n> You examine Mountains\nYou walk to the railing, lean against it, and take in the view. It's a wonderfully clear day, and it feels as if you're able to see the\nentire world from here - mountain after mountain, sprawling to the horizon. You can see Webb Mountain to the north, where your house is nestled somewhere in the trees. Beyond is Bays Mountain and, further still and slightly west, Clinch Mountain.\n\nYou walk around the tower and look to the east. Snowbird Mountain lies just the other side of the Pigeon River gorge. Beyond that, the Unakas and, further still, the Blue Ridge.\n\nTraversing the porch to the south, you see the Mt. Sterling Lookout on a distant ridge, barely visible without binoculars.\n\nFinally, you step to the western railing and look out onto peaks of whose names you are not certain. The names aren't important, really, merely random designations of natural landmarks. First the Cherokee gave them names, then the Europeans, and perhaps someday someone else will call them something new. But the mountains will endure\nregardless. Or so you hope.\n\nA small purple butterfly flits across the trail in front of you and disappears among the trees.\n\n> Go east\nThere appear to be only woods in that direction, with no path among\nthe trees. The AT continues to the southwest, or you can visit the\nfire tower by heading north.\n\n> Go north\nNah... you've already been there, done that, and heading back out to the tower would add an additional mile to your hike, which, quite frankly, is long enough already. Best to head back to the parking lot now. The AT departs to the southwest, toward Low Gap.\n\n> You go southwest\nYou recommence climbing the Appalachian Trail. Just as with the previous stretch, it's littered with roots and rocks and excessive steepness, and makes you not such a happy hiker. \"Oh well,\" you think to yourself, \"it's making me stronger. Stronger. Yes. Stronger.\" You continue this rather ineffective little pep talk for about a half a mile, at which point the trail graciously levels out along the crest\nof a ridge.\n\nYou find an easy, confident pace, and begin to notice how effortlessly your legs move on this type of terrain. The lack of obstructions in\nthe trail allows you to take in the view as you hike, and incredible mountain vistas are present on both sides of the trail for a short while - successive waves of blue, smoky ridges trailing off into the distance.\n\nAfter a bit, the trail begins to descend off the ridge and into the trees... gradually at first, then steeper, and your pace finds a decrescendo as you carefully navigate the slope. Many people prefer a strenuous uphill to this, because descending can be fairly hard on\nyour knees and ankles, but after the beating your lungs and legs took on the AT earlier, you are inclined to respectfully disagree.\n\nAfter a total walk of just over two miles, you encounter another trail junction.\n\nTrail Junction (Appalachian and Low Gap trails)\nTwo trails cross here, in the center of what's called Low Gap, so\nnamed because it's the lowest pass through the mountains for over\nfifty miles if you were traveling along the Appalachian Trail headed north. The AT runs from northeast to southwest here, climbing toward Cosby Knob and beyond - all the way to Georgia. The Low Gap trail crosses perpendicular to the AT, descending in both directions: southeast, toward Walnut Bottoms and Big Creek, or northwest, toward the Cosby Campground and, for you, home.\n\nA sign at one side of the junction points the way and provides the mileage to nearby landmarks.\n\nYour socks have shifted uncomfortably in your boots, so you take a\nseat in the clearing to readjust them. Once you're finished, you\ndecide the ground feels good enough to simply rest there for a bit.\n\nA cool breeze builds momentarily from the east, cooling your skin.\n\n> Yes\n\"You're certain that you'll be okay on your own?\" he asks.\n\nYou smile at him, tightening the pack around your waist. A slight\nlaugh creeps into your voice - it's not as if you haven't done this before. \"Yes, dear. I'll be fine. It's nothing personal, I just...\"\nYou take in the concerned expression on his face and your voice\nsoftens slightly. \"I just need a break. Not from you, necessarily, but from everything: work, responsibilities, friends. I just need a day to myself, you know?\"\n\nHe nods. \"Yeah. Yeah, I guess I do. No worries; I get like that myself sometimes. Just in case something happens, what route do you plan to take? Your usual?\"\n\nYou nod. \"Yeah. I'll head up the long way, on the Lower Mt. Cammerer trail, hit the Appalachian trail to get to the tower, then descend by going further down the AT towards Low Gap. I'll take the Low Gap trail back to the campground.\"\n\nHe smiles at you. \"Like I said, 'Your usual.' Listen, I'll be back to pick you up about... Hm, what time?\"\n\n\"Well, if I were just hiking, I could be out by mid-afternoon, but I really want to take my time and enjoy things. I guess it gets dark about... what? Half past nine these days?\" He nods. \"I should be out\nby then. I'll meet you right back here at nine-thirty, okay?\" you\noffer up your most reassuring smile.\n\n\"Sure,\" he says. \"I love you. Be careful, and have a great hike.\"\n\nWith that, he kisses you lightly on the lips and gets back in the car. He waves out the driver's side window and heads off toward the north end of the parking lot, towards home. Soon, the car is out of sight entirely.\n\n> You go to the south\nAs you enter the campground, you realize that it's early yet - none of the campers seem to be stirring. You attempt to make as little noise\nas possible with your boots against the pavement, and after about four tenths of a mile you reach the trailhead.\n\nLower Mt. Cammerer Trailhead\nYou're standing at the edge of the road on the eastern edge of the Cosby Campground. A familiar wooden sign, painted brown with bright white lettering stands here, just off the pavement and to the left of the trail. As with all of the National Park Service's trail signs, it gives you the name of the trail and the distance to the nearest important junctions. This one reads:\n\nLow Gap Trail 0.2\nSutton Ridge Overlook 1.4\nAppalachian Trail 7.5\n\nThe dirt trail is wide enough here to accommodate a full-size vehicle, and begins behind a locked gate.\n\nA slight breeze blows out of the east."
    },
    {
        "text": "[Themes: Travel, Slice of life, female protagonist]\n\n> Look around\nLower Mt. Cammerer Trailhead\nA standard NPS trail sign indicates that the Lower Mt. Cammerer trail begins here, leaving the pavement and entering the woods to the northeast.\n\n> You go to the northeast\nYou step behind the gate and begin walking the wide trail. Tire tracks are evident here and there where the soil is softer; the rangers have been back here recently for some reason. There's a gentle uphill\ngrade, though it's barely noticeable, and before too long you come to another trail sign.\n\nTrail Junction (Lower Mt. Cammerer & Access trails)\nYou're standing at the junction of two trails, and two signs are\nnailed to a single post here to orient you. The Lower Mt. Cammerer trail heads northeast, toward the Sutton Ridge Overlook and, eventually, to the Appalachian Trail. Alternately, the trail continues southwest toward the campground, about two tenths of a mile away. A second trail, unnamed, runs northwest, toward the parking area where you began, or southeast, toward the Low Gap Trail.\n\nA patch of yellow flowers is growing at the base of the signpost.\n\n> Go northeast\nYou head northeast. A quarter mile or so down the path you encounter a shallow stream, easily crossed by hopping from one rock to the next without getting your boots wet.\n\nBefore long, the trail narrows from a road to a trail. The vegetation closes in on each side as well as overhead, forming a darkened tunnel of rhododendron. It's a pleasant stroll along this section, quiet,\nwith only the smallest shafts of sunlight penetrating the thick\ncanopy, but you're evidently the first person to break trail today and you keep hitting unseen strands of spider web. Eventually the tunnel disappears, the canopy opens up, and as you pick the last wispy cob\nweb from your hiking shorts, you notice that you've arrived at the footbridge.\n\nSunlight pours forth into a large opening in the trees here, illuminating bits of pollen floating in the air and sparkling on the surface of Tom's Creek. The stream flows northwest, gurgling beneath a rustic but sturdy log footbridge.\n\nYou hear the distinctive sound of a woodpecker in the distance.\n\n> Go north\nThe water appears to be too deep to cross in that direction. It's perhaps best to instead use the footbridge.\n\n> Go northeast\nYou climb onto the footbridge over Tom's Creek, walk halfway across, and pause. One hand on the railing for balance, you close your eyes, feel the coolness of the water running beneath you, and concentrate on the sound of the water as it ripples along over unseen rocks. You\nstand there for perhaps two minutes, enjoying the water's song, but eventually the cool air coming off the creek is too much for your uncovered legs and you decide to continue up the trail.\n\nAfter walking about a third of a mile, you come to a trail junction.\n\nThe trail crests the first of many ridges along the northern side of Mt. Cammerer here. Sutton Ridge, as it's called, is dry and exposed - perhaps not the loveliest spot for a rest break. But from here, a tiny spur trial scrambles up the ridge to the southeast, and the clearing\nat the top generally provides an lovely view of the surrounding mountains.\n\nYou pause to contemplate whether you'd like to check out the spur trail, or to simply continue east, toward the fire tower.\n\n> Up\nYou decide to make the scramble up to the overlook. It's only two-hundred yards, but the climb is steep and leaves you winded once you reach the top.\n\nThe Sutton Ridge Overlook is a very formal name for a very informal clearing on the side of a hill. The ground here remains bare from people such as yourself coming up here to take in the view; evenings\nin particular are a great time to visit, because this is a wonderful vantage point from which to take in the sunset over Gabes Mountain, across the valley to the west. Though perhaps not quite so stunning as at sunset, the clearing is still quite beautiful during the day. To\nthe north, the Cosby Valley stretches out lush and green, and mountain laurel dots the surrounding hillsides, pink and in full bloom. Galax and arbutus line the edges of the clearing at ground level.\n\nYou sit down on the ground in the clearing to catch your breath and take in the view.\n\n> You stand\nYou get back up and brush off your clothes. Break's over.\n\n> Down\nYou work your way carefully down the steep spur trail.\n\nYou're standing at a bend in the trail on the crest of Sutton Ridge. The trail turns from south to east here, and a spur trail scrambles through the arbutus and galax to the southeast.\n\n> You go east\nYou leave the spur trail behind and head down the eastern side of the ridge. The path is a long, narrow straightaway, and the walking is easy. After less than a quarter mile you come to a lovely little waterfall, and pause to admire its beauty.\n\nWhereas Sutton Ridge was a high spot, dry and exposed, this is a tiny creek draw between two ridges. Riding Fork Creek cascades down a\nseries of mossy dark gray rocks here, southeast of the trail. You can continue on toward the fire tower by hopping across the creek to the north.\n\n> You go north\nYou cross Riding Fork Creek and continue weaving over and between ridges, making the long, slow climb along the northern face of Mt. Cammerer.\n\nAfter a mile and a half or so, you come to Campsite 35, the only developed backcountry campsite along the trail today. There's no one present, so you rest at one of the scorched fire rings, nibble on some trail mix, and watch a squirrel as he goes about his business.\n\nAfter a pleasant break, you continue on toward the tower. The gradual nature of the climb gives way to a steeper ascent, and after an additional two and three-quarter miles, you reach the next landmark of today's hike.\n\nTrail Junction (Lower Mt Cammerer and Appalachian trails)\nThe Lower Mt. Cammerer trail ends here at a junction with the famous Appalachian Trail. Commonly referred to simply as the \"AT,\" the trail covers nearly the entire length of the Appalachian Mountains, from Maine to Georgia - a distance of over two thousand miles. You wish\nthat you'd taken a summer off during college to hike the length of it, but there's no point in regretting that now. There's always retirement to look forward to, right? You sigh wistfully at the thought and plop down onto the ground among the roots of a large tulip poplar growing\nin the center of the junction.\n\nThe AT runs east-west here. According to the sign, it's only another three miles to the tower.\n\nIn the distance, you hear a woodpecker's familiar drilling.\n\n> You look at the sign\nThere are two signs on the post. The uppermost sign faces south, and\nis oriented so that you know it pertains to the trail that runs east-west; it reads:\n\nDavenport Gap 2.8 ->\n<- Mt Cammerer Fire Tower 2.9\n<- Low Gap 4.4\n\nThe other sign faces west and reads:\n\n<- Cosby Campground 7.5\n\nSeven and a half miles back to the campground and parking area... you've already come quite a way!\n\n> You examine the toad\nYou've seen a few amphibians here and there, but you don't see any\njust now.\n\nYou hear a sound in the underbrush off to your left, but see nothing.\n\n> You go north\nYou set off toward the fire tower. The trail runs along the top of a rocky ridge, but it's well-used and, for the most part, easily walked. The last few feet are a bit of a scramble, but you effortlessly manage the boulders and find yourself standing triumphantly on the porch of the fire tower.\n\nMt. Cammerer, Outside the Fire Tower\nThe Mt. Cammerer fire tower sits atop a jagged, rocky peak with a commanding view of the surrounding mountains. It's a fantastic\nlocation for such a structure, really, because you can see for miles\nin every direction and it would be easy to spot a plume of smoke, particularly if you used binoculars.\n\nYou lean against the railing and take in the landscape. Gorgeous, and so worth the effort.\n\nA hawk cries in the sky above you, momentarily drawing your attention.\n\nThe wind picks up for a moment, cooling your skin in the growing heat of the day.\n\n> You enter\nYou open the door to the fire tower and walk inside, closing it behind you.\n\nThe interior of the fire tower is simple and unadorned. A plain wooden floor stretches from wall to wall, and windows stretch from about\nwaist high to just short of the ceiling. Despite the sun, the warmth\nof the day, and the large windows that allow a 360-degree view of the surrounding landscape, the air is surprisingly cool inside the tower, no doubt due to the stone foundation you saw outside. You're thankful for the break from the heat.\n\n> You look through the window\nYou walk to the edge of the room, lean gently against the window, and take in the view. It's a wonderfully clear day, and it feels as if you're able to see the entire world from here - mountain after mountain, sprawling to the horizon. You can see Webb Mountain to the north, where your house is nestled somewhere in the trees. Beyond is Bays Mountain and, further still and slightly west, Clinch Mountain.\n\nYou turn and walk across the room a bit, and look to the east.\nSnowbird Mountain lies just the other side of the Pigeon River gorge. Beyond that, the Unakas and, further still, the Blue Ridge.\n\nTurning south, you see the Mt. Sterling Lookout on a distant ridge, barely visible without binoculars.\n\nFinally, you step to the western portion of the room and look out onto peaks of whose names you are not certain. The names aren't important, really, merely random designations of natural landmarks. First the Cherokee gave them names, then the Europeans, and perhaps someday someone else will call them something new. But the mountains will endure regardless. Or so you hope.\n\n> You examine the Webb Mountain\nThe mountain is a sea of trees, dark green waves rolling over a weathered landscape. These mountains are considered by some to be less majestic than the Rockies or other, younger, unweathered mountain chains, but you think of them as wise and old, containing secrets."
    },
    {
        "text": "[Themes: Slice of life, Travel, landscape]\n\n> Look around\nThe interior of the fire tower is simple and unadorned. A plain wooden floor stretches from wall to wall, and windows stretch from about\nwaist high to just short of the ceiling. Despite the sun, the warmth\nof the day, and the large windows that allow a 360-degree view of the surrounding landscape, the air is surprisingly cool inside the tower, no doubt due to the stone foundation you saw outside. You're thankful for the break from the heat.\n\n> You check what you're carrying\nYou are carrying:\nsome socks (being worn)\nsome hiking shorts (being worn)\na shirt (being worn)\nsome hiking boots (being worn)\na hip pack (being worn and closed)\na watch (being worn)\n\n> You open the pack\nYou wiggle around a bit, and manage to pull the zipper open. It's so much easier to do that when you're not actually wearing the thing.\n\n> You look in the pack\nIn the hip pack are a headlamp, a first aid kit, a water bottle and a massive bag of trail mix.\n\n> You eat the trail mix\n(first taking the massive bag of trail mix)\nIt's sort of difficult to get stuff out of your pack when you're still wearing it, but somehow you manage to get your hands on the trail mix.\n\n> You eat the trail mix\nYou snack on a few bites of the trail mix.\n\n> You examine it\nIt's a massive bag of trail mix, full of all sorts of goodies. Not the sort of food one would want to rely on for sustenance all the time,\nbut it'll provide plenty of energy for today's hike.\n\n> You smell it\nThe bag emits an aroma of yummy nutty goodness. Mmmm.\n\nFor the first time, you realize that the sun is now directly overhead.\n\n> You put it in the pack\nYou seal the bag of trail mix and tuck it neatly away in your pack.\n\n> Close pack\nYou wiggle around a bit, and manage to pull the zipper closed. It's so much easier to do that when you're not actually wearing the thing.\n\n> Stretch\nWhat do you want to stretch?\n\n> You stretch calves\nYour calves feel a bit tight, so you walk over to a nearby tree and place your palms against the bark, enjoying the rough texture beneath your hands. You bend your left leg in a lunge and step back with your right foot, leg straight. Closing your eyes, you take a pleasantly\ndeep breath and wait for some of the tension to subside in your calf, which it does.\n\nAfter stretching both legs a couple of times, you decide it's probably time to move on down the trail.\n\n> You look at the socks\nYour Thorlos are designed specifically for hiking, with extra padding beneath the heel and ball of your foot for comfort. This particular pair of Thorlos are white; just the very tops of them are visible.\n\n> Smell feet\nThe exterior off the boots smell like leather. You'd rather not smell in the inside of the boots.\n\n> You look at the shirt\nYou're wearing a dark brown long-sleeved t-shirt, the color of chocolate. It's cotton, which isn't always a wise thing to wear when hiking - fantastic when it's hot, but is miserable in the rain - however there's a brilliant blue sky and a favorable forecast, so you're risking it.\n\n> Smell shirt\nYou glance at the sun climbing in the sky, then lift your arm and take a sniff of your arm pit. Not too bad... yet.\n\n> Leave\nYou open the door to the fire tower and walk out onto the porch, closing it behind you.\n\nMt. Cammerer, Outside the Fire Tower\nThe fire tower has a commanding view of the surrounding mountains. You can enter the tower or simply return back the way you came. The trail departs to the southwest.\n\n> You stretch the hips\nYou're not quite sure how to stretch those bits. Maybe you should look into yoga.\n\n> You stretch the legs\nYour calves feel a bit tight, so you walk over to a nearby tree and place your palms against the bark, enjoying the rough texture beneath your hands. You bend your left leg in a lunge and step back with your right foot, leg straight. Closing your eyes, you take a pleasantly\ndeep breath and wait for some of the tension to subside in your calf, which it does.\n\nAfter stretching both legs a couple of times, you decide it's probably time to move on down the trail.\n\n> Go northeast\nThere appear to be only woods in that direction, with no path among\nthe trees. The AT continues to the southwest, or you can visit the\nfire tower by heading north.\n\n> You go southwest\nYou recommence climbing the Appalachian Trail. Just as with the previous stretch, it's littered with roots and rocks and excessive steepness, and makes you not such a happy hiker. \"Oh well,\" you think to yourself, \"it's making me stronger. Stronger. Yes. Stronger.\" You continue this rather ineffective little pep talk for about a half a mile, at which point the trail graciously levels out along the crest\nof a ridge.\n\nYou find an easy, confident pace, and begin to notice how effortlessly your legs move on this type of terrain. The lack of obstructions in\nthe trail allows you to take in the view as you hike, and incredible mountain vistas are present on both sides of the trail for a short while - successive waves of blue, smoky ridges trailing off into the distance.\n\nAfter a bit, the trail begins to descend off the ridge and into the trees... gradually at first, then steeper, and your pace finds a decrescendo as you carefully navigate the slope. Many people prefer a strenuous uphill to this, because descending can be fairly hard on\nyour knees and ankles, but after the beating your lungs and legs took on the AT earlier, you are inclined to respectfully disagree.\n\nAfter a total walk of just over two miles, you encounter another trail junction.\n\nTrail Junction (Appalachian and Low Gap trails)\nTwo trails cross here, in the center of what's called Low Gap, so\nnamed because it's the lowest pass through the mountains for over\nfifty miles if you were traveling along the Appalachian Trail headed north. The AT runs from northeast to southwest here, climbing toward Cosby Knob and beyond - all the way to Georgia. The Low Gap trail crosses perpendicular to the AT, descending in both directions: southeast, toward Walnut Bottoms and Big Creek, or northwest, toward the Cosby Campground and, for you, home.\n\nA sign at one side of the junction points the way and provides the mileage to nearby landmarks.\n\nYour socks have shifted uncomfortably in your boots, so you take a\nseat in the clearing to readjust them. Once you're finished, you\ndecide the ground feels good enough to simply rest there for a bit.\n\nA cool breeze builds momentarily from the east, cooling your skin.\n\n> You remove the boots\nYou take your boots off and remove your socks. It feels great to get some air on your feet, but after a bit of a rest you decide it's best to get going again. You put your socks and boots back on, tie the\nlaces securely.\n\n> You examine the sign\nThere are two signs on the post. The uppermost sign faces southeast, and is oriented so that you know it pertains to the trail that runs northeast-southwest; it reads:\n\nMt Cammerer 2.1 ->\nLwr Mt Cammerer Trail 4.4 ->\n<- Cosby Knob Shelter 0.8\n\nThe other sign faces southwest and reads:\n\nWalnut Bottoms 2.5 ->\n<- Cosby Campground 2.9\n\n> You look at the soles\nWonderfully durable boots, size seven narrow. Their heavy leather exterior protects your feet from rocks and roots, they're tall for proper ankle support over rough terrain, the soles tend to keep you from slipping even on slick rocks, and they're lined with Gore-Tex to keep you dry. Your only complaint is that the company claims that the boots 'breathe,' when in fact they seem to keep your feet hot in the summer, freezing cold in the winter. So far, though, they're the best boots you've ever owned.\n\n> You check what you're carrying\nYou are carrying:\nsome socks (being worn)\nsome hiking shorts (being worn)\na shirt (being worn)\nsome hiking boots (being worn)\na hip pack (being worn and closed)\na watch (being worn)\n\n> You look at the watch\nYou glance down at your watch, a rather chunky and unstylish accoutrement purchased for fifteen dollars at the drugstore. Fashion critiques aside, it's a functional, water-resistant, glow in the dark timepiece.\n\nAt present, it indicates that the time is 1:59 PM.\n\nThe sun seems to glare down upon you, hot and unrelenting. When will\nit start to sink in the sky? Mid-afternoon is always the harshest time of day to be hiking on a clear day."
    },
    {
        "text": "[Themes: Slice of life, Travel]\n\n> Describe the surroundings\nTrail Junction (Appalachian and Low Gap trails) (on the ground)\nYou stand in the center of Low Gap, where two trails intersect. For\nthe Appalachian Trail, this is a low spot, and the trail climbs both\nto the southwest, toward Cosby Knob, and northeast, back toward the fire tower. Conversely, this is high spot on the Low Gap trail, which descends into Walnut Bottoms to the southeast and, to the northwest, toward home.\n\n> You go southwest\nYou'll have to get off the ground first.\n\n> Xyzzy\nIf that actually could work, you'd certainly miss out on some\nbeautiful scenery.\n\n> You go to the southwest\nAccording to the sign, the AT climbs toward Cosby Knob in that direction. Not only is that out of your way, but it's also uphill, and you're just not down with anymore uphill today.\n\n> Go southeast\nThe Low Gap trail drops down into Walnut Bottoms in that direction. It's a lovely area, but completely out of your way. Home is in the opposite direction, to the northwest.\n\n> Go northwest\nWith a lightness in your heart at the realization that you're on the downhill stretch, you set off toward the campground. At first, the going is rather steep, but the trail soon begins to switchback upon itself, snaking slowly downhill toward flatter ground. Though the\ntight switchbacks reduce the angle of descent, they also make the\ntrail longer and limit the space for trees. There seems to be little\nor no shade, and the sun beats down relentlessly upon you as you descend the west-facing ridge. It's tempting to simply cut off-trail and travel crosscountry to save time, but you realize that if everyone did that the erosion along this ridge would be terrible.\n\nAfter about two miles, the switchbacks disappear and you find yourself comforted by the shade of the woods once again. The air is cool here, chilled further by the presence of Cosby Creek, which flows parallel\nto the path for a quarter mile or so. Larger than the other streams you've encountered today, Cosby Creek is full of white-foamed cascades and deep, dark pools. The water of the stream feeds life into the forest, and everything along this stretch is green and moist and\nmossy. From time to time the landscape seems rather surreal, as if you're strolling through a fairytale rather than a real place. After a time, the stream flows off into the forest, out of sight, and you're somewhat sad to see it go. No matter, this means you're even closer to home.\n\nThe trail begins to widen, from a path to a road, and you come to another junction.\n\nTrail Junction (Low Gap & Access trails)\nYou smile as you enter the junction and see the sign in the northeast corner of the clearing:\n\n<- Cosby Campground 0.4\nLow Gap 2.5 ->\n\nLess than half a mile to the campground! Of course, the parking area's another half mile beyond that, but that's of little consequence... you're very close to home now.\n\nSomewhere in the distance, a woodpecker drills in search of insects.\n\n> Go east\nNo, there's only forest in that direction, with no path amongst the trees. You can return to the parking lot by going either north or\nwest.\n\n> You go north\nYou decide to take the access trail back, seeing as how it's a\nslightly shorter walk in that direction. This portion of the access trail isn't very heavily used and is slightly overgrown; grass brushes against your legs as you walk. After not quite half a mile, you find yourself back in the same clearing you passed through earlier today.\n\nTrail Junction (Lower Mt. Cammerer & Access trails)\nYou're standing at the junction of two trails, one running northwest-southeast, the other running northeast-southwest. At the north corner of the junction, two signs are nailed to a single post indicating where each trail leads.\n\nA previously unseen skink on a nearby log is startled by your presence and skitters under the bark.\n\n> You go south\nTo the south lie dense woods, with no path among the trees. Two trails bisect the standard cardinal directions here, one running northeast-southwest, the other northwest-southeast. Your quickest route, back to the parking lot, is northwest.\n\n> You go to the northeast\nNo, you've already been down that trail today. It's time to go home. The hiker parking area is just under a half mile to the northwest.\n\n> You go to the southwest\nThat's the longer route back. Not that it matters, really - your feet are up for an extra quarter of a mile. You head down the wide trail (it's more of a road than a trail, really), and quickly find yourselfback in the campground.\n\nLower Mt. Cammerer Trailhead\nA standard NPS trail sign indicates that the Lower Mt. Cammerer trail begins here, leaving the pavement and entering the woods to the northeast.\n\n> Go north\nTo the north lie dense woods, with no path among the trees. The trail leads into the forest to the northeast.\n\n> Go northwest\nYou continue walking northwest, through the campground. Parents at a nearby site are setting up their tents for the evening, one for them, and a smaller one for their children. A young boy and girl are\nlaughing and throwing a frisbee (and not throwing it very well)\nnearby. Suddenly, the frisbee comes flying right toward you! Fortunately, you see it coming and deftly toss it to the little girl, who thanks you and runs back to play with her brother. Another quarter mile finds you back in the parking lot.\n\nYou stroll into the parking lot, light on your feet despite the\nsixteen miles behind you, and glance at your watch. It reads three twenty-nine in the afternoon. Not bad time, really, considering all\nthe stops along the way to check things out. You take off your pack\nand plop down on a grassy hill at the western edge of the parking lot. Lying back, angled with your head uphill of your feet, you watch the clouds that are gathering overhead. One of them reminds you of a galax leaf. You smile to yourself, thinking of the wonderful day you've had, close your eyes, listen to the birds the nearby woods, and eventually drift off to sleep in the grass. What a fantastic day.\n\nAs darkness falls, the serenity is broken by the sound of an approaching car, and you open your eyes to see your ride pulling into the parking lot, right on time."
    },
    {
        "text": "[Themes: Superhero, superhero, science fiction]\n\nAre you sure you want to quit? \n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\nIt's been quite a week.\n\nWas it just two nights ago that you found the suits? You were searching through your parents' lab as usual, desperate for clues to explain their recent disappearance, when you found a latch on one of the machines. It opened, revealing two bodysuits crammed inside. One fit you perfectly. The other seemed to be made for your sister Emily. Hers, the \"skysuit\", gives her the power to fly, to generate thick fog, and to fire blasts of intense electrical energy, while your \"earthsuit\" has granted you the strength of a giant, and the invulnerability of a mountain.\n\nThe powers came in handy the next morning, when your parents' best friend, Dr. Nina Icolari, found herself transformed into a raging, hundred-foot-tall monster. Aunt Nina had been working with some ancient bacteria, trapped for eons in a salt crystal, when an untimely earthquake shattered the crystal. She inhaled the microbes, became a behemoth, and only the power of your suits and your brains saved the campus from destruction.\n\nYou employed a fast-acting antibiotic to reverse the transformation, and when she changed back, Aunt Nina realized that her memories of your parents' disappearance had been mysteriously altered... and that the trauma of metamorphosis had somehow restored them. Those memories have led you here, to a remote cabin in the Sierra Nevadas. Here, you hope that where the police have failed, Earth and Sky may succeed.\n\nThe air is vivid and cold here, deep in the Sierra Nevada mountains. Evergreens surround you, except to the north, where a gravel driveway leads back to the main road, and to the south, where a small cabin occupies a clearing. Beyond the cabin, and above it, the observatory's domed roof casts a long, round shadow.\n\nEmily is here, having just hiked up the driveway with you. \"Thanks for driving us up here, Austin,\" she says. \"Remember, though: I get control of the CD player on the way back down!\"\n\n> You look at Emily\nLike you, Emily is decked out in her superhero regalia, a blue skysuit with cloudy white streaks.\n\n> You ask Emily about the cabin\nYou are carrying:\nan earthsuit (being worn)\na cabin key\n\n>\"Pretty tiny, when you look at it.\"\n\n> You examine the earthsuit\nIt's a form-fitting grey bodysuit, peppered with black speckles and shot through with streaks of yellow and orange, and it grants you immense strength and near-invulnerabilty to impact. The earthsuit is made of a thick, flexible material that you suspect must conceal an amazing array of enhancer circuitry. A combination cowl and mask rises from the collar to cover your head and eyes.\n\n> You blast you\n\"I'd better not. We don't know that your suit's electrical resistance is working, remember?\"\n\n> You ask Emily about your suit\n\"I have to say I prefer mine. I'm sure super-strength is great, but your colors are just a little too drab.\"\n\n> You ask Emily about her suit\n\"The superpowers are great and everything, but I'd really prefer something a little less... skintight.\"\n\n> You ask Emily about Nina\n\"Seems like she's recovering OK. I know she really wants to look into how that bacteria was able to do what it did, but I'm not sure if she has any other samples.\"\n\n> You examine the cabin\nWhen an alum of modest means and solitary habits bequeathed this cabin and its small parcel of mountain land to the University, Administration was faced with a choice. They could either sell off the land and put the money into the general fund, or they could try to find some use for it. Enter Dr. Thaddeus Andrews, who offered to use his own inheritance to build an observatory on the land, and to christen it the High Sierra Research Station. Indeed, that's what the sign on this humble little cabin reads. The cabin's door is closed.\n\n> Lift cabin\nThat's hardly portable.\n\n> You lift Emily\n\"Hey. Hey!\" protests Emily. \"Hands off!\"\n\n> Unlock cabin\n(with the cabin key)\nYou unlock the wooden door.\n\n> You ask Emily about the cabin\n\"Pretty tiny, when you look at it.\"\n\n> You enter the cabin\n[first opening the cabin door]\nYou step into the relative dimness of the small cabin."
    },
    {
        "text": "[Themes: Superhero, superhero, science fiction]\n\n> You look around\n[Please press a key to continue]\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\n\"The Owner of this House\nA Stranger He must be --\nEternity's Acquaintances\nAre mostly so -- to me.\"\n\nEmily follows you.\n\nSome people might describe the interior of this cabin as \"cozy\", but you're more inclined to face facts and call it what it is: cramped. Furnishings are minimal: a table, a few chairs, a hotplate, and a television that probably hasn't worked since the mid-1980s. The back door is south and the front door north, and two doors on the eastern wall lead northeast and southeast, to the bedroom and bathroom respectively.\n\nEmily stands here, looking around.\n\nOn the table are some loose papers.\n\nEmily takes a quick glance at the papers on the table, and exhales.\n\n\"Listen, Austin,\" she says, \"I find all these diagrams and observatories and whatnot a bit exhausting, so I'd like for you to take the lead for a while, if that's OK. Let me know if there's anything specific you'd like me to do -- otherwise I'm just going to follow you around and offer my help if I think of anything that seems significant.\"\n\nPlease select a reply:\n\n1) \"No problem.\"\n2) \"Don't sell yourself short. Just because you're not a scientist doesn't mean you can't comprehend this stuff.\"\n3) \"Oh sure. When it comes to flying around and fighting monsters, you're all over it, but things like diagrams just tucker you out.\"\n\n> 3\nSelect an option or 0 to say nothing >> 3\n\nShe laughs. \"Well, I could probably do diagram-reading and then monster-fighting, but for some strange reason I find the other way round just a wee bit more taxing.\"\n\n> You enter the cabin\n[first opening the cabin door]\nYou step into the relative dimness of the small cabin.\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\n\"The Owner of this House\nA Stranger He must be --\nEternity's Acquaintances\nAre mostly so -- to me.\"\n\nEmily follows you.\n\nSome people might describe the interior of this cabin as \"cozy\", but you're more inclined to face facts and call it what it is: cramped. Furnishings are minimal: a table, a few chairs, a hotplate, and a television that probably hasn't worked since the mid-1980s. The back door is south and the front door north, and two doors on the eastern wall lead northeast and southeast, to the bedroom and bathroom respectively.\n\nEmily is here, watching you.\n\nOn the table are some loose papers.\n\nEmily takes a quick glance at the papers on the table, and exhales.\n\n\"Listen, Austin,\" she says, \"I find all these diagrams and observatories and whatnot a bit exhausting, so I'd like for you to take the lead for a while, if that's OK. Let me know if there's anything specific you'd like me to do -- otherwise I'm just going to follow you around and offer my help if I think of anything that seems significant.\"\n\nPlease select a reply:\n\n1) \"No problem.\"\n2) \"Don't sell yourself short. Just because you're not a scientist doesn't mean you can't comprehend this stuff.\"\n3) \"Oh sure. When it comes to flying around and fighting monsters, you're all over it, but things like diagrams just tucker you out.\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\n\"I never said I couldn't comprehend it, just that it annoys and tires me to mess with it. I need a break, okay? I had a pretty rough day yesterday -- it's your turn to be the leader of this outfit.\"\n\n> You read papers\nThese papers are torn from a legal pad, and you recognize your father's handwriting and his extremely minimalist notation style on them. Most of them contain diagrams and equations that look quite similar to those you found with the suits, but there is one paper that seems to have notes on an unrelated topic:\n\nWWK: [This you recognize as Dad's abbreviation for \"What We Know\" -- he's in the habit of making \"What We Know\" lists when trying to figure out a problem.]\n\n1) Al. thru port.\n2)T gone\n3)T cont. by Al. (4 help?)\n4)Al. prob. OK, but ???\n5)N's mic. maybe invol.?\n\nMust purs. -- Claire agr.\n\nClaire is your mom's name, but that's all you can say for sure about this note.\n\n> You show the papers to Emily\n(first taking the loose papers)\n\"I'm horrible at figuring out Dad's notes, but I bet this last word is 'agree.' I wonder what Mom agreed to?\"\n\n> You ask Emily about the papers\n\"That's pretty definitive proof that at least Dad was here.\"\n\n> Examine tv\nThis dilapidated old wreck of a TV appears to have been cannibalized for spare parts some time ago.\n\n> You look at the table\nThis battered table looks like it's seen many a meal.\n\n> You look at the hotplate\nHere you thought it was only college students whose only culinary equipment consisted of a hotplate and a saucepan. Turns out at least one college professor shares the predilection.\n\n> You look under the table\nDust. Ancient scraps of food. The occasional ant. In short, nothing interesting or useful.\n\n> Go northeast\nEmily follows you.\n\nDusty, golden light seeps in through the closed curtains, further highlighting the various earth tones that adorn this sparse room. The wallpaper is brownish-orange, the nightstand is dark oak, the bedspread burnt sienna, and so on. The cabin's main room is west.\n\n\"Wow,\" says Emily. \"Somebody hasn't redecorated since the 1970s.\"\n\nEmily is alongside you, resplendent in blue and white.\n\nThe nightstand has a drawer, which is closed.\n\n> You open drawer\nThe drawer is locked.\n\n> Break drawer\nCRRASH! You hammer your fist on the oak tabletop, and the nightstand splinters into pieces. A notepad and a legal pad appear to be lying amid the debris.\n\n\"If I ever open an antique store,\" says Emily, \"you aren't allowed in.\"\n\n> You examine the notepad\nFrom the unfamiliar handwriting and the nature of the notes, you surmise that this notepad must belong to Dr. Andrews. Amid pages of detail about the orbital periods of various planets, telescope azimuths and elevations, spectroscope readings, and suchlike, you find a crude drawing of an apparently artificial sphere, with a cross-section showing an inner circle connected to its outer shell by two long columns.\n\nBeneath these pictures is a swarm of equations, some of which appear to be calculations of density, gravitational pull, and surface temperature. The temperature equations in particular are interesting, as it appears that Dr. Andrews was either unable to come up with a solution, or unable to settle on one of many.\n\n> You take the notepad and the legal pad\nnotepad: Taken.\nlegal pad: Taken.\n\n> You examine the debris\nThese are the remains of a once-proud nightstand. Well, maybe not proud. A once-intact nightstand.\n\n> You examine legal\nThis is one of those legal pads that your Dad is known for filling with his cryptic notations, and indeed, this one bears his signature style. The notes are for a process that looks utterly unfamiliar to you. The most you can piece together is that it takes the dumbbell-shaped wave function of an electron at a particular energy state and splits it into two bubbles (though how a wave function can even be treated as a physical entity, let alone split, is left unexplained), allowing \"half-electrons\" to jump instantaneously from one bubble to the next along some extra-dimensional quantum pathway. Dad's laconic note-taking style doesn't make clear whether this is just a thought experiment, but knowing him, he's probably found some physical use for it.\n\n> You show the notepad to Emily\nShe scratches her head. \"Yikes,\" she says. \"That thing looks like a hamster wheel.\"\n\n> You examine the bed\nThe bed is unmade, and you suspect that's its natural state.\n\n> You look under the bed\nPeering under the bed, you discover... that Thaddeus Andrews apparently was not big on the concept of \"dusting.\"\n\n> You ask Emily about Andrews\n\"I never met him. Small wonder, really, considering how much time he spent up here.\"\n\n> Dust\nWhat do you want to dust?\n\n> You open the curtains\nYou open the curtains, letting light through the window.\n\n> You look through the window\nYou see the driveway and evergreens outside.\n\n> You examine the bedspread\nThis bedspread is rumpled and messy, and obviously many years old.\n\n> Go outside\nEmily follows you.\n\nSome people might describe the interior of this cabin as \"cozy\", but you're more inclined to face facts and call it what it is: cramped. Furnishings are minimal: a table, a few chairs, a hotplate, and a television that probably hasn't worked since the mid-1980s. The back door is south and the front door north, and two doors on the eastern wall lead northeast and southeast, to the bedroom and bathroom respectively.\n\nEmily stands here, looking around.\n\n> You go outside\nThere are several ways out. Please specify a direction.\n\n> Go south\n[first opening the back door]\nIt seems to be locked.\n\n> You unlock the back door\nYou unlock the back door from the inside.\n\n> You open it\nYou open the back door.\n\n> Go south\nEmily follows you.\n\nThe view from behind the cabin is spectacular. The research station isn't situated in the highest part of the mountain range -- it isn't even above timberline -- but it's high enough to afford an expansive panorama of the valley below. The observatory is a little further up the incline to the south, and the cabin stands to the north, its back door open.\n\nEmily is nearby, waiting for you to do something interesting.\n\n> You fly\nEmily rockets upward, swooping out over the valley. \"Whooooooo!\" she cries. \"It's just beautiful up here!\" After a few more aerial fillips, she returns to earth. \"I didn't see anything alarming, but it is a heckuva view.\"\n\n> You ask Emily about the roof\n\"It keeps the rain out, I guess.\"\n\n> Go south\nEmily follows you.\n\nA rocky path ends here, just north of the door to the concrete, rectangular portion of the observatory. Unlike the small observatory on the main campus, this one makes no particular concessions to aesthetics, and its door wouldn't be out of place on a bank vault. The path leads back down and north to the cabin.\n\nEmily is nearby, waiting for you to do something interesting.\n\n> You look at the door\nThe observatory door is an imposing affair, with a large U-shaped handle and a very serious-looking lock. It's hard to be sure, but you're guessing the door's made of solid steel, no doubt with a massive deadbolt. It's currently shut tight.\n\n> You unlock door\n(with the cabin key)\nThat doesn't seem to fit the lock.\n\n> You fly\nShe nods, and floats upwards. When she alights on the ground again, she says, \"The telescope dome is closed, and there are a bunch of solar panels on the roof, but that's about all I noticed.\"\n\n> You break the door\nBANG! You slam your fist into the door, denting it a little.\n\n> Zap door\n\"Yeah! I'll give it my fastball,\" says Emily. She goes into an exaggerated windup, and as her hand comes forward for the pitch, brilliant blue electricity crackles between her fingertips and the steel door. An explosive KER-POW splits the air, and the steel door is left standing, scorched but unmoved.\n\n\"Well, that was anticlimactic,\" she says.\n\n> Lift observatory\nThat's hardly portable.\n\n> You pull the door\nSKREEEEEEEK! Planting your feet firmly, you pull at the handle. The door strains, then buckles, and the handle comes partway detached. But by then you can grip the door itself, and a mighty heave pulls it the rest of the way free, tearing it right off its hinges.\n\n> You give door to Emily\n(first taking the mangled steel door)\nYou've already rendered the door useless. Let it go.\n\n> Enter\nEmily follows you.\n\nThe observatory is astonishing. It's not the desk, or the computer, or the other laboratory accoutrements that make it so, but rather the staggeringly complex mass of ornate machinery that smothers every wall. Tubes, readouts, and gleaming metal plates swarm together in a lunatic collage, every lever and dial shouting your parents' design influence as surely as if they had autographed their work. You've known these sights all your life, but their presence here is a shock -- clearly, Mom and Dad were collaborating far more closely with Dr. Andrews than they ever revealed. The newly opened entranceway leads back north, and a doorway leads east to the telescope dome.\n\nEmily leans against the wall here.\n\nIn front of the dome doorway, seemingly generated by the room's prodigious gadgetry, is a curious projection: a curtain of light, within which coruscate ever-shifting patterns and colors. The curtain covers the doorway completely -- there doesn't seem to be any way to cross the threshold into the dome without first crossing the flickering barrier.\n\n> You look at the curtain\nThe patterns of light that define the curtain refuse to stay still. Symmetrical fluorescent squiggles travel from the edges to the center, only to dissolve into sparkling dots that dance in Brownian ecstasy, adhering into gentle pastel waves, which in turn become spinning geometric designs, and so on.\n\n> Inventory\nYou are carrying:\na legal pad\na notepad\nsome loose papers\nan earthsuit (being worn)\na cabin key\n\n> You go east\nGingerly, you reach out to touch the sparkling curtain, and feel a force pull sharply on your fingers, drawing you further into the light. Startled, you yank your hand out and back away from the curtain, with a clammy suspicion that it was only the power of the earthsuit that allowed you to break free of that inexorable pull.\n\n> You ask Emily about the the curtain\n\"Freaky, isn't it? I feel like the Jefferson Airplane should be playing in front of it.\"\n\n> You throw Emily at the curtain\n(first taking Emily)\n\"Hey. Hey!\" protests Emily. \"Hands off!\"\n\n> You throw the key at the curtain\nThe cabin key sails toward the curtain of light, and disappears. The barrier is only semi-transparent, but you don't see the cabin key land on the other side.\n\n> You examine the desk\n\"I think I'd prefer to stick together.\"\n\n>Unlike the corporate, modular furniture popular in university offices, this is an honest-to-goodness desk: huge, made of wood, big file drawer... the works. There is a computer on the desk.\n\n> You examine computer\nA cursory examination of the computer reveals that it is password-locked, and you haven't got a clue what Andrews' password might be. Looks like this is one lock that you won't be able to tear open.\n\n> You examine file drawer\nThe drawer is closed, but doesn't appear to have a lock. Apparently Dr. Andrews thought that the immense steel door was security enough. So much for that theory!\n\n> You open it\nYou open the drawer, revealing a headset.\n\n> You look at the headset\nIt's clear that this device is meant to be worn on the head, but that's the only obvious thing about it. It's got one piece that seems intended to fit over the ear, and another that arcs over the head and balances out the other side. The earpiece bristles with electronics.\n\n> You take it\nTaken.\n\n> You wear it\nYou put on the headset.\n\n> You turn the headset on\nYou don't see an on/off switch on the headset. Unless you miss your guess, Mom and Dad probably outfitted it with a permanent, long-lasting power supply, so it's always on.\n\n> You examine the machinery\nSometimes, growing up, you suspected that Mom and Dad's designs were deliberately ornate, exposing their complexity in order to impress or intimidate. As you've gotten older, though, and learned more from them, you've realized that the reason the complexity isn't covered is because neither one of them wants to waste time on making things pretty.\n\n> You search the notepad\nWhat do you want to type that on?\n\n>You find nothing of interest.\n\n> You type Andrews on the computer\nNice try."
    },
    {
        "text": "> Look around\nThe observatory is astonishing. It's not the desk, or the computer, or the other laboratory accoutrements that make it so, but rather the staggeringly complex mass of ornate machinery that smothers every wall. Tubes, readouts, and gleaming metal plates swarm together in a lunatic collage, every lever and dial shouting your parents' design influence as surely as if they had autographed their work. You've known these sights all your life, but their presence here is a shock -- clearly, Mom and Dad were collaborating far more closely with Dr. Andrews than they ever revealed. The newly opened entranceway leads back north, and a doorway leads east to the telescope dome.\n\nEmily leans against the wall here.\n\nThe patterns of light flicker hypnotically in front of the dome doorway.\n\n> You ask Emily about the password\n\"A good question. A very good question. Okay, I actually have no idea what you mean.\"\n\n> You ask Emily about the headset\n\"Looks like one of Mom and Dad's gadgets to me. Not that I have a clue what purpose it might serve. Still, might be good to have along.\"\n\n> You examine the lever\nSometimes, growing up, you suspected that Mom and Dad's designs were deliberately ornate, exposing their complexity in order to impress or intimidate. As you've gotten older, though, and learned more from them, you've realized that the reason the complexity isn't covered is because neither one of them wants to waste time on making things pretty.\n\n> You look through the curtain\nThere is only the doorway beyond.\n\n> You look at doorway\nThe doorway seems to twist and flash behind the translucent light patterns.\n\n> You touch the doorway\nNot after last time.\n\n> Fog curtain\n\"You got it,\" says Emily, and stares intently at the curtain of light. Nothing happens at all, and her face scrunches in frustration. \"It's not working,\" she says.\n\n> Blast curtain\nEmily nods, and extends her hand towards the curtain of light. Nothing happens. \"Well, that's a gyp,\" she says.\n\n> You say open the sesame\n(to Emily)\nThere is no reply.\n\n> Go east\nYou take a decisive step towards the curtain of light, and Emily catches your arm. \"Austin, wait!\" You turn to face her.\n\n\"We don't know what will happen when you try to cross that curtain,\" she says. \"I think we should stop and think a moment before we do it. Do you think we should really take the risk?\"\n\nPlease select a reply:\n\n1) \"I think we have to, Em. I think this curtain has everything to do with Mom and Dad's disappearance.\"\n2) \"You're right. Let's back off for now and I'll consider what else we can do here.\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\n\"Fair enough.\"\n\n> You throw Emily\nEmily is already here.\n\n> You go to the east\nYou take a decisive step towards the curtain of light, and Emily catches your arm. \"Here we go again,\" she says. \"Look, let's talk about this instead of you just charging off. Do you really think it's worth the risk to cross this curtain?\"\n\nPlease select a reply:\n\n1) \"I think we have to, Em. I think this curtain has everything to do with Mom and Dad's disappearance.\"\n2) \"You're right. Let's back off for now and I'll consider what else we can do here.\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"I guess you're right,\" she says, \"but shouldn't we make a team decision about it? We have no idea what it does, or if it even does anything. Austin, what if it's broken, or a trap, or something? It could kill us to go through there!\"\n\nPlease select a reply:\n\n1) \"And what are the alternatives? Call the police, or the Army or something, and have them charge through there? If Mom and Dad have been kidnapped, we could be putting them in greater danger by doing that. And they did say not to involve the authorities unless absolutely necessary. No, I'm going to try it.\"\n2) \"My god, that's true. You're right. I need to take a little more time to think this over.\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"Okay, I accept all that,\" says Emily. \"Still, if it is dangerous, should I go through with you, or stay here in case you don't come back?\"\n\nPlease select a reply:\n\n1) \"I can't make that decision for you, Em. But if you're asking my opinion, I think we should go through together. It might take all the power both of us can muster to face whatever's across that barrier.\" 2) \"I can't make that decision for you, Em. If it were my call, I'd say you should stay here. No sense both of us taking such a huge risk, and maybe if I don't come back, you can go ahead and get the Army or whatever, and send the cavalry my way.\"\n3) \"I can't make that decision for you, Em. I see pros and cons either way. But I'm walking through that curtain, and whether or not you follow me is up to you.\"\n\n> 3\nSelect an option or 0 to say nothing >> 3\n\nEmily sets her jaw. \"Then I'm coming with you. We may need all the power that both of us possess to face whatever's on the other side of that curtain.\"\n\n\"Watch,\" you say. \"We'll walk right through and nothing will happen at all.\"\n\n\"That would be great,\" she replies grimly, \"but somehow I doubt it.\" She grabs your hand, and the two of you step into the light together.\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\n\"How soft this Prison is\nHow sweet these sullen bars\nNo Despot but the King of Down\nInvented this repose\"\n\n. . .\n\n. . .\n\nSleepily, you open your eyes. What's that pinkish glow? Sunrise? Did you leave the bedroom window open? Wait, this isn't your bedroom. Where...?\n\nWait -- the curtain! You stepped through with Emily, and that's the last thing you remember before awakening on this... floor. And Emily -- she's gone!\n\nYou find yourself in a small, square room, perhaps eight feet on a side. The ceiling is high, maybe fifteen feet above your head, but what's even stranger is that it and all the walls are glowing with a bright pink energy field.\n\nYou can see a cabin key here.\n\n> You get the key\nTaken.\n\n> You examine the field\nA bright pink field of energy glows from the walls and ceiling, radiating about six inches from them. It hurts your eyes to look at the field too long, but it's also sort of hard not to.\n\n> You touch the field\nThe energy yields momentarily to your touch, then repels your fingers as gently as you applied them.\n\n> You hit the field\nPicking a wall at random, you aim a punch at the energy field. The field slows your fist, stops it, and then propels it back outward with kinetic force equal to that of your blow. You never penetrated the field more than an inch or two.\n\n> You hit the floor\nTHOOM! You bring your mighty foot down on the polymer floor, causing a minor tremor. The floor seems completely unaffected.\n\n> You check your inventory\nYou are carrying:\na cabin key\na headset (being worn)\na legal pad\na notepad\nsome loose papers\nan earthsuit (being worn)\n\n> Shout\nAAAAAAAAAAAAAAAAAAAARRRRRRRRRRRRRRRGGGGGHHHHHHHHHHHHH!\n\n> You jump\nYou crouch, then launch yourself at the ceiling. As you expected, the energy field absorbs your momentum, then propels you back downward with equal force. You hurtle towards the floor, hitting it with a tremendous CRRUNCH! Beneath your feet, a spiderwebbed network of hairline cracks radiates from the point of impact.\n\n> Continue\nOnce again, you leap upwards, bouncing off the ceiling's energy field to smack into the floor with a resounding CRRUNCH! The cracks have grown larger, and light filters through some of them.\n\n> You continue\nBracing yourself for a final assault on the weakening floor, you vault upward, then plummet down again. This time, when your feet slam into the polymer, there is a deafening KA-THUNKK! as the floor splits, and you find yourself falling.\n\nAnd falling. Air buffets your face and whistles past your ears, as you try to take in the situation. You appear to be falling to Earth, from a great height, as if you had just jumped out of a plane, sans parachute. The ground below you, though... there's something strange about it. You can see its curvature, as if you were much farther away from the planet than you seem to be. Or as if the planet itself had shrunk.\n\nAs the ground comes closer, you can see that the planet itself seems demarcated into clearly defined zones -- a bluish-white Arctic, a sandy desert, a blue-green ocean, and others -- all tidily encased in separate regions of the globe. Even stranger, you're catching glimpses of a huge metal cylinder that rises up from the ground and far into the sky above you. This isn't Earth you're falling towards. Either that, or Earth has changed a lot since the last time you were above it. Gravity feels about the same, though -- the ground is still rushing towards you at alarming speed. Actually, you're rushing towards it. Funny, how many thoughts can pass through your brain in a situation like this. The suit is supposed to make you invulnerable to impact, but will it really protect you from this kind of fall? Guess you're about to find--\n\nW  H  A  M  M  O  !\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\n\"I saw no Way -- The Heavens were stitched --\nI felt the Columns close --\nThe Earth reversed her Hemispheres --\nI touched the Universe --\"\n\nArctic (in the ice hole)\nYou remember the ground, blinding white, reaching up to clobber you. Then blackness. Then cold. Serious cold. As you gather your senses back to you, several things become clear. One, you're not dead -- in fact, not even hurt, though a little dazed. Two, you've landed in a cold place. And three, your landing has created a deep pit with icy walls, and you're at the bottom of it.\n\n> Up\nYou spring upwards and fly out of the hole more quickly than you expected. Landing softly in the snow, you estimate that gravity must be around 0.8G on this planetoid.\n\nIcy monoliths, ridged with frozen rivulets, rise up around you. Your suit's insulation feels distressingly meager in the freezing, stinging wind, and the light glistens white as the snow reflects the distant sun. For all you know, you're at the pole of this little world, so compass directions don't mean much, but you invent some just to keep your bearings. The faraway blue-green smudge is north, the faraway tan smudge south. Your views east and west are blocked by huge, rugged breccia hills.\n\nA deep crater is here, which is what happens when an immovable object like this glacier meets an irresistible force like a plummeting superhero.\n\nBeside the crater, a long metal tube reaches into the sky. The bottom of the tube has been entirely dislodged from its base, no doubt wrecked by your recent impact.\n\nThat impact also appears to have exposed some sort of access panel.\n\n> You examine tube\nA metal cylinder, wide enough that you could comfortably fit inside it -- if you could figure out how to enter it, that is. As your eyes follow it upward, you can see that it terminates alongside a glowing, pink hole in the sky. Its other end, at your feet, has been wrenched free from the ground, exposing a base rife with wrecked machinery.\n\n> You look at the access panel\nThe panel is set directly into the ground. It's acquired a light dusting of snow, leading you to conclude that your cataclysmic entrance probably removed the panel's cover. Its only control is a square touchplate, colored indigo and emblazoned with an upwards-pointing triangle.\n\n> You examine the base\nThe base of the tube contains a great deal of intricate machinery, some of it obviously crushed or torn by its forced separation from the tube proper.\n\nIn the distance, you can see a rookery of penguins waddling blissfully around the ice. Or, wait. Are they penguins? They appear to be throwing snowballs at each other. Penguins can't throw, can they? Taking a closer look, you fancy that their heads are larger than those of normal penguins, and that you can make out gripping fingers at the edge of their wings."
    },
    {
        "text": "[Themes: Superhero]\n\n> Look around\nIcy monoliths, ridged with frozen rivulets, rise up around you. Your suit's insulation feels distressingly meager in the freezing, stinging wind, and the light glistens white as the snow reflects the distant sun. For all you know, you're at the pole of this little world, so compass directions don't mean much, but you invent some just to keep your bearings. The faraway blue-green smudge is north, the faraway tan smudge south. Your views east and west are blocked by huge, rugged breccia hills.\n\nA deep crater is here, which is what happens when an immovable object like this glacier meets an irresistible force like a plummeting superhero.\n\nBeside the crater, a long metal tube reaches into the sky. The bottom of the tube has been entirely dislodged from its base, no doubt wrecked by your recent impact.\n\nThat impact also appears to have exposed some sort of access panel.\n\n> You examine the crater\nThe hole is probably twenty feet deep. If you were Wile E. Coyote, it would be shaped like an outline of your body, but instead it's more generally crater-like, though a deep crater rather than a wide one.\n\n> You look at the pink hole\nLike a punctured eggshell, the sky is missing a piece, letting pink light shine through.\n\n> Go north\nYou begin trudging northwards for a few minutes, but the landscape changes little. This planet may be much smaller than Earth, but it'll still take you ages to get anywhere on foot. So you head back to where you stared from, thinking that there's got to be an easier way.\n\n> Leap north\nYou take a running start, get up to top speed, and then vault upwards. The ground drops away beneath you -- gravity is definitely less than 1G on this planetoid, though your mind boggles to think how dense the core must be in order to even come close. Your thoughts return to the present as the border of the arctic area approaches -- the demarcation between it and the adjoining areas is distinct and sharp. Incredibly, you've traveled almost 45 degrees across the sphere already, and your trajectory will take you another 45, to the side of the sphere, before you land. Always assuming, of course, that the borders are permeable.\n\nAs the border passes beneath you, a momentary nausea sweeps over you, gone as soon as you enter the next area.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, uncluttered by islands or land masses. As the water approaches, you suddenly realize that some of the things you're carrying will be ruined if they get wet. Frantically running your hands along your costume searching for a pouch, your finger slides over a line that splits into an opening. Thinking quickly, you stuff the items inside, and run your finger along the line to close it again. Just in time, too, because you hit the water with a massive SPLOOSH!\n\nOnce your head is submerged, a plastic sheath emerges from the sides of your cowl, covering your nose and mouth. You take a hesitant breath, and realize that the suit must be filtering oxygen from the water. Mom and Dad sure planned ahead when they made this thing! Unfortunately, they apparently weren't able to make it very lightweight, and you quickly sink to the ocean floor.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nA large circular door, apparently a hatch, is set in the ground here.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate embedded in rock about ten yards away from the hatch.\n\n> You look at the hatch\nThe hatch is of a rather generous diameter, and appears to be made of the same polymer as the floor of your former cell. In its center is a turquoise touchplate. The hatch is closed.\n\n> Go inside\nThe walls are close and smooth in this utterly nondescript, cylindrical room, currently filled with water. The only noteworthy feature is that a couple of touchplates adorn one wall, one crimson and one turquoise.\n\n> You look at what you're carrying with you\nYou are carrying:\na cabin key\na headset\na legal pad\na notepad\nsome loose papers\nan earthsuit (being worn)\n\n> Wear headset\nYou put on the headset.\n\n> Enter\nYou're now standing beneath the mirrored bubble. The air in this room feels rather stale, and the only light comes from the plants outside the bubble. That bubble gives an excellent view of the ocean floor, and you surmise that this room must have been built for observation of that area. The waterlock is west of here.\n\n> You examine the plants\nYou see the ocean floor, dimly illuminated by bioluminescent plants.\n\n> You examine bubble\nThe bubble must act as a sort of one-way glass, though it's clearly made from something much tougher than glass.\n\n> Go west\nThe walls are close and smooth in this utterly nondescript, cylindrical room. The only noteworthy feature is that a couple of touchplates adorn one wall, one crimson and one turquoise. There's also an exit to, oh let's call it the east.\n\n> You move it\nYou push some of the sand more toward the center of the dome, but more flows in through the gap.\n\n> You examine the platforms\nIf you had to guess, you'd say these platforms serve as furniture for whoever built this dome.\n\n> You look at the pedestal\nThis is just a small, cylindrical pedestal, about four feet high. Atop its angled surface is a crimson touchplate."
    },
    {
        "text": "> You describe your surroundings\nYou're in a dome, probably about ten feet high at its zenith and twenty feet in diameter at its base. The wall is transparent, but that's not too useful, since the entire dome appears to be buried in sand. There are several platforms on the ground, reaching to your hip and covered with a soft bedding on top, and to one side of these is a pedestal with a crimson touchplate. You can see no exits.\n\nOn one side of the dome, a large pile of sand covers the floor, drifting to its highest point at a junction of dome wall and floor.\n\n> Dig\n(the pile of sand)\nThe pile of sand is fairly shallow, and there's nothing buried in it.\n\n> You examine the gap\nThere's about a six-inch gap between the dome wall and floor, through which has spilled an impressive quantity of sand.\n\n> You eat the sand\n(first taking the pile of sand)\nThere's no particular reason to carry around a bunch of sand.\n\n> You hit the dome\nYour punch bounces ineffectually off the dome wall, though you do hear a creak, and the sound of the sand shifting.\n\n> Open gap\nYou bend your knees, work your fingers into the gap, and heave. You can feel the earthsuit augmenting your muscles, its amazing strength struggling against the weight of the dome and the sand surrounding it. You feel it give, just a little, and you redouble your efforts, shaking with the strain. Sand flows between your feet as the dome edge inches ever higher, and finally, with a mighty CREEEAK!, the rest of the seal gives way, and a tsunami of sand smacks you in the face. Spluttering and coughing, you dig yourself out of the dune, and pull the dome the rest of the way free. The pedestal and platforms are buried -- all that's left of the dome is its shell, upended into the big bowl beside you.\n\nThe first thing you notice is the heat. It is punishing, astonishing, like standing inside an inferno that burns without flames. Your suit insulates you somewhat, and a lucky thing, too, because otherwise you wouldn't last long under a sun that feels like it's just a few feet away. It's hard to tell which direction is which, since you emerged from the dome rather than landing here -- you'll need to invent some directions based on gut instinct and hope they work out. So let's say that the cool, distant greenness is east, and the gentler, golden hue is west. Sand dunes block your view north and south.\n\nA large, Y-shaped cactus stands nearby.\n\nYou can also see an enormous bowl (which is empty) here.\n\n> You look at the cactus\nThis sturdy cactus looks like a headless, prickly, green referee signaling a touchdown. Hmm, maybe extreme heat affects your brain's ability to come up with good metaphors. The sun is shining directly between the arms of the cactus.\n\n> You get the bowl\nThe bowl is too big and awkward to carry while you're holding anything else.\n\n> You drop all\ncabin key: Dropped.\nlegal pad: Dropped.\nnotepad: Dropped.\nloose papers: Dropped.\n\n> You get the bowl\nYou heft the bowl over your head. Taken.\n\n> You put the bowl on the cactus\nThe bowl is way, way, way too big to fit between the cactus' arms.\n\n> You get all\nYou set the bowl down near the cactus.\nenormous bowl: You heft the bowl over your head. Taken.\nloose papers: You can't pick up anything else while you're carrying the bowl.\nnotepad: You can't pick up anything else while you're carrying the bowl.\nlegal pad: You can't pick up anything else while you're carrying the bowl.\ncabin key: You can't pick up anything else while you're carrying the bowl.\ncactus: You can't pick up anything else while you're carrying the bowl.\n\n> You drop the bowl\nYou set the bowl down near the cactus.\n\n> You get all except the bowl\nloose papers: Taken.\nnotepad: Taken.\nlegal pad: Taken.\ncabin key: Taken.\ncactus: Somehow, you don't have the heart to uproot the only sign of life you see here."
    },
    {
        "text": "[Themes: Superhero, science fiction, superhero]\n\n> Describe the surroundings\nThe first thing you notice is the heat. It is punishing, astonishing, like standing inside an inferno that burns without flames. Your suit insulates you somewhat, and a lucky thing, too, because otherwise you wouldn't last long under a sun that feels like it's just a few feet away. It's hard to tell which direction is which, since you emerged from the dome rather than landing here -- you'll need to invent some directions based on gut instinct and hope they work out. So let's say that the cool, distant greenness is east, and the gentler, golden hue is west. Sand dunes block your view north and south.\n\nA large, Y-shaped cactus stands nearby.\n\nYou can also see an enormous bowl (which is empty) here.\n\n> You jump east\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nFrom the zenith of your jump, it looks like a lush, green carpet is spread below you, but as you fall, the landscape soon resolves itself into treetops, with occasional glimpses of tall, thick trunks below the canopy, and one clearly artificial tower that is even taller than the surrounding forest. By now, you've gotten the hang of steering your descent a little, so you aim towards that tower, crashing through the branches and landing solidly at its base.\n\nThe air is cool and quiet down here, far beneath the treetop canopy. On every side of you, massive trunks rise majestically. These trees are enormous, like old-growth redwoods but growing higher than Earth gravity would ever permit. The trees completely block the horizon, and you feel quite disoriented as to where the compass directions are.\n\nBeside you is the base of a tower that's even taller than the trees.\n\n> You examine the trees\nThe sheer height of these trees is absolutely breathtaking. Their bark is smooth and tan, and even their lowest branches are a hundred feet above your head.\n\n> You examine the tower\nThis tower appears to be made of the same familiar polymer from the floor of your cell, and its sides are perfectly smooth. It rises well out of sight, past the treetops.\n\n> Go upwards\nYou launch yourself straight upward, shooting above the treetops and hanging in space above the forest for a moment. You catch a glimpse of icy whiteness -- the Arctic area -- so that's where north is. Then you're hurtling down once more, landing heavily at the tower base.\n\n> You climb the tree\nNot a chance -- even the lowest branches are far above you. Also, since these trees grew in a low-grav environment, you have your doubts that their branches would support you all that well.\n\n> You hit the tower\nThe tower seems utterly impervious to your hammering fists.\n\n> You listen\nYou can make out the sounds of complex, varied birdsong from high above you.\n\n> Smell\nThe air smells crisp and clean here.\n\n> You jump east\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, uncluttered by islands or land masses. As you fly through the air, you tuck your non-waterproof possessions into the suit pouch. Soon, you hit the water with a massive SPLOOSH!\n\nAs you sink, the suit begins supplying oxygen to you.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nA large circular door, apparently a hatch, is set in the ground here.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate embedded in rock about ten yards away from the hatch."
    },
    {
        "text": "> You look around\nIn the funnies, all deserted islands are barely large enough to fit two people, and always have a palm tree in the middle. This island is just like that, except without the palm tree. Orienting yourself by the distant smudges, you decide that the Forest is west, the beige smudge is east, and the bright green smudge is south.\n\n> You jump south\nYou can't get much of a running start in such a tiny area, but you crouch and launch yourself upwards, and that seems to provide sufficient momentum.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYour landing spot is entirely obscured by thick, grey clouds, pierced by a long, metal tube that reaches far into the sky. You fall into the clouds, soaked in rain, thinking of Emily -- please, let her be okay. Suddenly a thick, broad leaf strikes you across the face, and you're crashing through slick, wet vegetation. One bouncing, awkward, and destructive fall later, you pick yourself up from damp ground, brush the mud off your costume, and look around.\n\nYou stand amidst a symphony of green. Deep jade moss covers the trunks of trees, whose leaves far above filter mottled avocado light over emerald bushes and green grass -- adjectives run out long before the shades of green do. The air is warm, muggy, and filled with the sounds of wildlife.\n\nBeside you is the bottom of a long steel tube that rises into the sky and past the clouds.\n\nOne small square at your feet appears free of moss, or at least it might, if you could see past the swarming mass of slugs that infest it.\n\nA closed metal canister sits next to the slug-infested square.\n\nIn a rare patch of foliage-free ground near you, the mirrored surface of a dome reflects the surrounding greenery.\n\n> You examine canister\nThis is a small canister, about twice the size of a beer can.\n\nYou hear voices in conversation above you -- no language you've ever heard, but clearly a dialogue -- and look up to see two parrots on a nearby branch, vocalizing to each other with occasional glances at you. Their tones make you feel like you've just crashed a very exclusive party, and are terribly underdressed to boot.\n\n> You examine the parrots\nYou can't be sure that these birds are actually parrots, of course, but that's what they most resemble, with perhaps somewhat larger heads, and feet that more closely resemble articulated fingers. One of the birds sports the sort of blue, yellow, and green plumage that accompany your mental default image of a parrot, while the other is a uniform shade of grey.\n\n> You ask the parrots about Emily\nThere is no reply.\n\nYou hear a crashing, thumping sound from above, and jump out of the way. No one falls, though, and in a moment it becomes clear that one of the parrots was imitating the sound of your galumphing descent through the rainforest vegetation.\n\n> You look at the slugs\nYou've never seen this behavior in slugs before -- they're crawling over, under, and around each other in a slimy, pale mass. They're covering the panel almost completely.\n\nYou hear a crashing, thumping sound from above, and jump out of the way. No one falls, though, and in a moment it becomes clear that one of the parrots was imitating the sound of your galumphing descent through the rainforest vegetation.\n\n> You examine the panel\nWhat with the slugfest, it's difficult to discern anything about the square. You do occasionally see a tiny corner of indigo underneath the slimy swarm.\n\n> You examine tube\nThis tube is an exact duplicate of the one from the Arctic area, with one salient difference: it hasn't been wrecked by a massive impact. It looks easily wide enough to fit yourself into -- if you can figure out how to enter it, that is.\n\nOne of the parrots squawks loudly and indignantly, but you're not sure whether its outrage is directed at you, at the other parrot, or at the world in general.\n\n> You examine the moss\nWater runs down the sides of these trees in a continual trickle, feeding the moss that grows on every trunk.\n\n> You look at the trees\nWater runs down the sides of these trees in a continual trickle, feeding the moss that grows on every trunk.\n\nIn unison, the parrots fly to a different branch, and resume their conversation from there.\n\n> You examine the parrots\nYou can't be sure that these birds are actually parrots, of course, but that's what they most resemble, with perhaps somewhat larger heads, and feet that more closely resemble articulated fingers. One of the birds sports the sort of blue, yellow, and green plumage that accompany your mental default image of a parrot, while the other is a uniform shade of grey.\n\n> You open the canister\nYou open the canister, revealing a few crystal grains.\n\n> You examine the grains\nThese are a few grains of a white, crystalline substance.\n\n> You taste the grains\nA bit reluctantly, you shake the grains onto your tongue, and swallow. They were common table salt.\n\n> Close canister\nYou close the canister.\n\n> You look in the canister\nYou can't see inside, since the canister is closed.\n\nYou hear a crashing, thumping sound from above, and jump out of the way. No one falls, though, and in a moment it becomes clear that one of the parrots was imitating the sound of your galumphing descent through the rainforest vegetation.\n\n> You open the canister\nYou open the canister.\n\n> You look in the canister\nThe canister is empty.\n\n> Inventory\nYou are carrying:\na canister (which is open but empty)\na cabin key\na legal pad\na notepad\nsome loose papers\na headset\nan earthsuit (being worn)\n\n> You jump\nIf this is the opposite pole from the Arctic area, everything is north of here, in a sense. However, that doesn't do you much good -- you'll need to decide on some arbitrary directions, preferably ones that correspond with the ones you've been using so far. So you launch yourself straight upward, punching through the rainclouds and hanging for a moment in the sunshine above them. Quickly, you look around: the sand dunes of the Desert area are visible from here, so that would be north. You fall back through the clouds and trees, with an improved sense of direction.\n\n> You jump west\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou're descending towards a broad savannah, sparsely dotted with tall trees. For a second, you think you spot movement, the grasses parting and dark shapes darting away over the gentle hills, but once you land and look around, everything seems perfectly still.\n\nTall grasses of faded gold reach past your knees, swaying; here and there, baobab trees pose elegantly against a brilliant blue sky. Soft hills ripple through this prairie, and the hot, thick air buzzes with the sounds of distant insects. You can see blue-whiteness in one direction -- the Arctic area -- so that's north, and the Rainforest area is south. Far on the eastern horizon is the tan haze of the Desert area, and the blue-green Ocean shimmers in the distant west.\n\nBeside you is a dome, its mirrored surface reflecting the sun.\n\n> Examine dome\nThe dome is about ten feet high at its zenith, and perhaps twenty feet in diameter at its base. Its surface is reflective, but you don't recognize the material it's made of -- no doubt another miracle polymer from the same technology that produced your cell floor.\n\n> Dance\nYou briefly boogie to music only you can hear.\n\n> Sing\nYour singing is abominable.\n\n> Xyzzy\nYou're a superhero, not a magician.\n\nSomething tickles your peripheral vision, and you turn. A feline face is peeking over one of the ridges, and its eyes lock with yours for a moment. Then it disappears, leaving the tall grass rocking behind it. The moment passed quickly, but you did notice that the head was more oval than triangular, and that the space between the eyes and ears was enough to contain a brainpan larger than that of any earth cat. In fact, the size of the head seemed to imply a rather large creature overall.\n\nYou stealthily approach the ridge and look over. About a hundred yards away, there are perhaps a half-dozen cat-creatures, feline bodies covered with fur but walking upright on their hind legs, and with articulated gripping fingers on their front paws, from which you can see claws occasionally extending. They are indeed large, probably about eight feet tall and impressively muscled. The cat-people notice you immediately, and retreat to a safe distance, but from there regard you with equal curiosity.\n\n> You examine the cats\nThese creatures are definitely feline, but don't appear to derive from any animal you recognize. They stand about eight feet tall, walking upright without awkwardness. Each wears a crude skin loincloth and has a small, apparently vestigial tail. The patterns in their fur are unique to each, but you suspect you can see some genetic inheritance among two or three of them.\n\n> Wear headset\nYou're already wearing that!\n\nYou hear the cats speaking to each other in a series of growls, trills, and vocalizations that is occasionally overridden by your mother's voice in the headset, whispering in your ear words like \"food\", \"stranger\", and \"child.\"\n\n> You talk to the headset\nYou can only do that to something animate.\n\n> You jump west\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, dotted by just one tiny island. As you fly through the air, you tuck your non-waterproof possessions into the suit pouch. Soon, you hit the water with a massive SPLOOSH!\n\nAs you sink, the suit begins supplying oxygen to you.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nA large circular door, apparently a hatch, is set in the ground here.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> You examine the bubble\nThe bubble is made of a substance you don't recognize, and reflects your face back at you, distorted into shapes that would startle Chester Gould.\n\nYou sense a presence behind you. Whirling, you find yourself face-to-eye with an enormous squid, at least fifty feet long. The squid is regarding you, not with aggression, but with curiosity.\n\n> You examine the squid\nThis squid is one of the most astonishing living creatures you've ever seen. Its dark, mesmerizing eye is as big as a hubcap. Eight long tentacles and two even longer feeding arms trail from its maroon, torpedo-shaped body, and at the center of that body is a formidable-looking beak. The squid is keeping a safe distance from you, examining you and your possessions with keen interest.\n\n> Hello\n\"Uh, hi there.\" you begin gamely. \"I'm Austin Colborn.\"\n\nThe squid just looks at you, its tentacles swaying slowly.\n\n\"You, uh, come here often?\" you say.\n\nThe squid continues to look at you.\n\n\"Hey wait,\" you say, \"I'm encased in a suit. I'll bet you can't even hear me. Tell you what, if you can't hear me, or can't understand me, just stare at me and do absolutely nothing.\"\n\nThe giant squid just stares at you. It does absolutely nothing.\n\nThe squid taps you, then points one tentacle at the beige touchplate while waving the others in an urgent but uninterpretable pattern.\n\n> You touch beige\nYou lay your hand on the touchplate, and it lights up briefly. The silvery column begins sliding downward, retreating back into the ground. Soon, the ocean floor is flat once again, looking as undisturbed as if nothing had ever happened.\n\n> You touch beige\nWhen you lay a finger on the touchplate, nothing happens, but when you press it with your whole hand, it lights up briefly, and once again, nothing happens. At least, nothing happens at first, but in a moment, you hear a rumbling, and suddenly the bit of ocean floor you're standing on begins to rise! Soon, you find yourself shooting upward on a small plot of land, spearing through tons of water that would surely crush you if not for the earthsuit.\n\nYou break the surface with a terrific SPLOOSH! And then it's over. You find yourself standing on a small island as water sluices off its surface and back into the ocean. By all rights, you should have a serious case of the bends after such a rapid ascent from deep underwater, but you feel fine -- the earthsuit must somehow have fooled your body into thinking it was still at one atmosphere of pressure, thus preventing nitrogen absorption. The plastic sheath over your nose and mouth retreats back into the cowl.\n\nIn the funnies, all deserted islands are barely large enough to fit two people, and always have a palm tree in the middle. This island is just like that, except without the palm tree. Orienting yourself by the distant smudges, you decide that the Forest is west, the Veldt area is east, and the Rainforest is south.\n\nNow that you're dry again, you unzip the suit pouch and retrieve your delicate items.\n\n> Dive\nBefore diving in, you tuck your non-waterproof possessions into the suit pouch. Then you dive into the water, and sink like a cinderblock until you reach the bottom.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large circular door, apparently a hatch, is set in the ground here.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> You examine the squid\nYou see the ocean floor, dimly illuminated by bioluminescent plants. A giant squid floats calmly near the bubble, exploring its environment with tentacles and enormous eyes.\n\n> You touch the cat\nYou lay your hand on the cat touchplate, and the bubble begins spinning smoothly. You have the sensation of swift, effortless movement. With surprising suddenness, the energy transport deposits you elsewhere, then dissolves around you.\n\nYou're in a dome, probably about ten feet high at its zenith and twenty feet in diameter at its base. The wall is transparent, and on the other side of it is a wide grassland, creased with gentle hills and the occasional baobab tree. There are several platforms inside the dome, reaching to your hip and covered with a soft bedding on top, and to one side of these is a pedestal with a crimson touchplate. You can see no exits.\n\nA white cylinder sits atop one of the platforms.\n\n> You examine the white cylinder\nThis cylinder is about the size and shape of a paint can. Its entire surface is white except for a small black button on one of its flat faces.\n\n> You take it\nThe device is surprisingly heavy, as if its core is quite dense. Taken.\n\n> You examine the black button\nThe black button bears the icon of an oval with some indecipherable scribbles inside.\n\n> You examine the touchplate\nThis crimson touchplate sports the icon of a circle from which six spokes radiate.\n\n> You touch it\nYou lay your hand on the touchplate, and a field of crimson energy materializes next to the pedestal, surrounding you in a glowing shell. The floor beneath you opens, and the energy field carries you downwards, hurtling through darkness until you reach the...\n\nYou hang suspended within a translucent crimson bubble of energy, with nothing but inky darkness beyond. Also suspended by the energy field are six touchplates, each bearing an icon. The icons are: a snowflake, ocean waves, a cactus, a broad leaf, an evergreen tree, and one you don't recognize, which looks a bit like an abstract rendition of a cat's face.\n\n> You touch the evergreen\nYou lay your hand on the tree touchplate, and the bubble begins spinning smoothly. You have the sensation of swift, effortless movement. With surprising suddenness, the energy transport deposits you elsewhere, then dissolves around you.\n\nYou're in a dome, probably about ten feet high at its zenith and twenty feet in diameter at its base. The wall is transparent, and through it you can see that you're about twenty yards above the treetops of a magnificent forest. There are several platforms on the ground, reaching to your hip and covered with a soft bedding on top, and to one side of these is a pedestal with a crimson touchplate. You can see no exits.\n\nIn the center of the dome, an odd device rests atop an eight-foot pole.\n\n> You examine device\nYou're not sure exactly what this device is, but given that it has a large lens on one end and a face-shaped indentation on the other, you're inclined to believe it's somehow intended for long-distance viewing -- a \"viewscope\", you decide provisionally. Sadly, it's at the top of an eight-foot pole in the center of the dome, and the indentation doesn't appear to be shaped to accommodate a human face, so it's not exactly tourist-friendly.\n\n> You examine the lens\nThis is a large, convex lens meant for focusing light to view distant objects. It is currently screwed onto the viewscope.\n\n> You look in the viewscope\nIt's too far above you.\n\n> You climb the pole\nIt would probably be easier just to climb up on one of the platforms.\n\n> Climb platform\nYou climb onto the platform nearest the viewscope.\n\n> You unscrew the lens\nIt takes a fair amount of strength, but you unscrew the lens from the viewscope.\n\n> You take the lens\nYou already have that.\n\n> Down\nYou get off the platform.\n\nYou're in a dome, probably about ten feet high at its zenith and twenty feet in diameter at its base. The wall is transparent, and through it you can see that you're about twenty yards above the treetops of a magnificent forest. There are several platforms on the ground, reaching to your hip and covered with a soft bedding on top, and to one side of these is a pedestal with a crimson touchplate. You can see no exits.\n\nYou can see a viewscope here.\n\n> You look through the lens\nTry looking through the eyepiece instead.\n\n> You look through the eyepiece\nIt's hard to get a steady view, and it's a bit blurry looking through only one eyepiece, but you can see creatures in the treetops. They're humanoid, in fact almost human-like -- mostly standing upright but crouching occasionally, large front teeth tearing into their food, interacting with each other in what appear to be fairly social ways. In fact, if you didn't know that you were in the present, staring at a world that isn't Earth, you'd have identified them as Australopithecus.\n\n> You unscrew the lens\nIt takes a fair amount of strength, but you unscrew the lens from the viewscope.\n\n> You touch the leaf\nYou lay your hand on the leaf touchplate, and the bubble begins spinning smoothly. You have the sensation of swift, effortless movement. With surprising suddenness, the energy transport deposits you elsewhere, then dissolves around you.\n\nYou're in a dome, probably about ten feet high at its zenith and twenty feet in diameter at its base. The wall is transparent, and through it you can see a verdant jungle, its colors only a little bit muted by the interposing dome. There are several platforms inside the dome, reaching to your hip and covered with a soft bedding on top, and to one side of these is a pedestal with two touchplates. You can see no exits.\n\n> You examine the pedestal\nThis is just a small, cylindrical pedestal, about four feet high. Atop its angled surface are two touchplates, one crimson and one indigo. The indigo one has a very thin sponge attached to it.\n\n> You examine the sponge\nDepending on how you look at it, this is either a very thin sponge, or a fairly thick piece of spongy paper -- it certainly wouldn't be useful for absorbing much of anything, except perhaps odor. In any case, it's white and adorned with patterned ink scrawls. You surmise that these scrawls may be some sort of writing, but you haven't a clue how to decipher them.\n\n> You look at the indigo\nThe icon on this indigo touchplate is an upward-pointing triangle, identical to the one you saw in the Arctic area.\n\n> Go upwards\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large, open hatch leads downward.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> Ascend\nYou spring upwards, shooting through the water like a torpedo, but it's no good. By the time you reach the surface, the water resistance has drained your jump of its inertia, leaving you to sink back down to the ocean floor.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large, open hatch leads downward.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> You jump west\nYou can't get much of a running start in such a tiny area, but you crouch and launch yourself upwards, and that seems to provide sufficient momentum.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you hurtle through the canopy of leaves and land more or less at your previous arrival point.\n\nThe air is cool and quiet down here, far beneath the treetop canopy. On every side of you, massive trunks rise majestically. These trees are enormous, like old-growth redwoods but growing higher than Earth gravity would ever permit. The trees completely block the horizon, and you can only keep yourself oriented by remembering the direction you were facing when you jumped up and saw the Arctic area.\n\nBeside you is the base of a tower that's even taller than the trees.\n\n> You jump west\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you land in the sandy, sweltering desert.\n\nThe first thing you notice is the heat. It is punishing, astonishing, like standing inside an inferno that burns without flames. Your suit insulates you somewhat, and a lucky thing, too, because otherwise you wouldn't last long under a sun that feels like it's just a few feet away. Orienting yourself based on the direction you came from, you can see enormous sand dunes rising north and south of you, creating no shade but blocking your vision. Through the heat haze, you can barely perceive the Forest to the east, and the Veldt to the west.\n\nA large, Y-shaped cactus stands nearby.\n\nYou can also see an enormous bowl (which is empty) here.\n\n> You put the lens in the cactus\nYou wedge the lens between the arms of the cactus, and it fits perfectly, catching the sunlight and creating an intense, concentrated beam aimed directly at the bowl.\n\n> You take the bowl\nThe bowl is too big and awkward to carry while you're holding anything else.\n\n> You drop all\nvery thin sponge: Dropped.\nwhite cylinder: Dropped.\ncanister: Dropped.\ncabin key: Dropped.\nlegal pad: Dropped.\nnotepad: Dropped.\nloose papers: Dropped.\nheadset: Dropped.\n\n> You jump east\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you hurtle through the canopy of leaves and land more or less at your previous arrival point.CRRASH! The bowl upends when it hits the trees, and you just manage to grab its lip and drag it down with you so it doesn't get stuck in the treetops.\n\nThe air is cool and quiet down here, far beneath the treetop canopy. On every side of you, massive trunks rise majestically. These trees are enormous, like old-growth redwoods but growing higher than Earth gravity would ever permit. The trees completely block the horizon, and you can only keep yourself oriented by remembering the direction you were facing when you jumped up and saw the Arctic area.\n\nBeside you is the base of a tower that's even taller than the trees.\n\nYou can also see an enormous bowl (which is empty) here.\n\n> You jump east\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, dotted by just one tiny island. You hit the water with a massive SPLOOSH!\n\nAs you sink, the suit begins supplying oxygen to you.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large, open hatch leads downward.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\nA sizable fish floats by, and the squid conceals itself behind an outcropping. Then, with startling speed, one of its feeding arms darts out and ensnares its prey. The squid takes the fish into its tentacles, tearing and crunching with its sharp beak, and then returns its attention to you.\n\n> Inventory\nYou are carrying:\nan earthsuit (being worn)\n\n> You jump west\nYou can't get much of a running start in such a tiny area, but you crouch and launch yourself upwards, and that seems to provide sufficient momentum.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you hurtle through the canopy of leaves and land more or less at your previous arrival point.\n\nThe air is cool and quiet down here, far beneath the treetop canopy. On every side of you, massive trunks rise majestically. These trees are enormous, like old-growth redwoods but growing higher than Earth gravity would ever permit. The trees completely block the horizon, and you can only keep yourself oriented by remembering the direction you were facing when you jumped up and saw the Arctic area.\n\nBeside you is the base of a tower that's even taller than the trees.\n\nYou can also see an enormous bowl (which is empty) here.\n\n> You jump east\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, dotted by just one tiny island. You hit the water with a massive SPLOOSH! You can't manage to hang onto the bowl, and leave it floating at the surface while you sink downward.\n\nAs you sink, the suit begins supplying oxygen to you.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large, open hatch leads downward.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> You take the bowl\nYou heft the bowl over your head (which is significantly harder now that it's full of water.) Taken.\n\n> You jump east\nYou can't get much of a running start in such a tiny area, but you crouch and launch yourself upwards, and that seems to provide sufficient momentum.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou land in the tall grasses once again. A few hundred gallons of water slosh from the bowl before you can steady it, but your landing in the grass is soft enough that you don't lose too much.\n\nTall grasses of faded gold reach past your knees, swaying; here and there, baobab trees pose elegantly against a brilliant blue sky. Soft hills ripple through this prairie, and the hot, thick air buzzes with the sounds of distant insects. You can see blue-whiteness in one direction -- the Arctic area -- so that's north, and the Rainforest area is south. Far on the eastern horizon is the tan haze of the Desert area, and the blue-green Ocean shimmers in the distant west.\n\nBeside you is a dome, its mirrored surface reflecting the sun.\n\nThe cat-people startle as one for no apparent reason, and retreat a little further from you.\n\n> You check your inventory\nYou are carrying:\nan enormous bowl\na massive quantity of salt water\nan earthsuit (being worn)\n\n> You jump east\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you land in the sandy, sweltering desert. A few hundred gallons of water slosh from the bowl before you can steady it, but your landing in the sand is soft enough that you don't lose too much.\n\nThe first thing you notice is the heat. It is punishing, astonishing, like standing inside an inferno that burns without flames. Your suit insulates you somewhat, and a lucky thing, too, because otherwise you wouldn't last long under a sun that feels like it's just a few feet away. Orienting yourself based on the direction you came from, you can see enormous sand dunes rising north and south of you, creating no shade but blocking your vision. Through the heat haze, you can barely perceive the Forest to the east, and the Veldt to the west.\n\nA large, Y-shaped cactus stands nearby, with a lens between its arms, creating a beam of concentrated sunlight aimed at the ground.\n\nYou can also see a headset, some loose papers, a notepad, a legal pad, a cabin key, a canister (which is empty), a white cylinder and a very thin sponge here.\n\n> You put the bowl in the beam\nJust dropping the bowl here will put it in the path of the beam.\n\n> You drop the bowl\nYou set the bowl down near the cactus, intercepting the beam. Within minutes, you can see bubbles forming on the sides of the bowl.\n\nWith the beam hitting the water like this, it's sure to boil sometime soon. On the other hand, as overheated as you feel right now, you're not at all certain you can handle standing around waiting for it.\n\n> You take all but the bowl and the cactus\nheadset: Taken.\nloose papers: Taken.\nnotepad: Taken.\nlegal pad: Taken.\ncabin key: Taken.\ncanister: Taken.\nwhite cylinder: The device is surprisingly heavy, as if its core is quite dense. Taken.\nvery thin sponge: Taken.\n\n> You jump west\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou land in the tall grasses once again.\n\nTall grasses of faded gold reach past your knees, swaying; here and there, baobab trees pose elegantly against a brilliant blue sky. Soft hills ripple through this prairie, and the hot, thick air buzzes with the sounds of distant insects. You can see blue-whiteness in one direction -- the Arctic area -- so that's north, and the Rainforest area is south. Far on the eastern horizon is the tan haze of the Desert area, and the blue-green Ocean shimmers in the distant west.\n\nBeside you is a dome, its mirrored surface reflecting the sun.\n\n> Wear headset\nYou put on the headset.\n\n> You show the sponge to the cats\nThe cat people are unimpressed.\n\nYou notice that one of the cats is obviously female, and carries a child. (Or kitten, perhaps.) She licks the child clean with obvious affection, and coos to it.\n\n> You show the button to the cats\n(first taking the black button)\nThat seems to be a part of the white cylinder.\n\n> You show the cylinder to the cats\nThe cat people are unimpressed."
    },
    {
        "text": "> You jump east\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nOnce again, you land in the sandy, sweltering desert.\n\nThe first thing you notice is the heat. It is punishing, astonishing, like standing inside an inferno that burns without flames. Your suit insulates you somewhat, and a lucky thing, too, because otherwise you wouldn't last long under a sun that feels like it's just a few feet away. Orienting yourself based on the direction you came from, you can see enormous sand dunes rising north and south of you, creating no shade but blocking your vision. Through the heat haze, you can barely perceive the Forest to the east, and the Veldt to the west.\n\nA large, Y-shaped cactus stands nearby, with a lens between its arms, creating a beam of concentrated sunlight aimed at the bowl.\n\nYou can also see an enormous bowl (in which is a pile of sea salt) here.\n\n> Wear headset\nYou're already wearing that!\n\n> You open canister\nThat's already open.\n\n> You wait a while\nTime passes.\n\n> You put the salt in canister\nYou scoop up the sea salt with the canister.\n\n> You jump south\nOnce again, you get a running start and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nThis time, you're a little more ready for the rainclouds and vegetation, but that doesn't stop your fall from being a careening, wet one.\n\nYou stand amidst a symphony of green. Deep jade moss covers the trunks of trees, whose leaves far above filter mottled avocado light over emerald bushes and green grass -- adjectives run out long before the shades of green do. The air is warm, muggy, and filled with the sounds of wildlife.\n\nBeside you is the bottom of a long steel tube that rises into the sky and past the clouds.\n\nOne small square at your feet appears free of moss, or at least it might, if you could see past the swarming mass of slugs that infest it.\n\nIn a rare patch of foliage-free ground near you, the mirrored surface of a dome reflects the surrounding greenery.\n\n> Inventory\nYou are carrying:\na very thin sponge\na white cylinder\na canister (which is closed)\na cabin key\na legal pad\na notepad\nsome loose papers\na headset (being worn)\nan earthsuit (being worn)\n\n> You open canister\nYou open the canister, revealing a pile of sea salt.\n\nYou hear a crashing, thumping sound from above, and jump out of the way. No one falls, though, and in a moment it becomes clear that one of the parrots was imitating the sound of your galumphing descent through the rainforest vegetation.\n\n> You pour the salt on slugs\nYou pour the salt onto the slugs, and they shrivel in droves. More rush in to replace them, but you keep pouring, and they keep desiccating. In the end, it takes all the salt you have, but you get rid of all the slugs, and no others arrive.\n\n> You look at the touchplate\nThe touchplate is indigo and emblazoned with an upwards-pointing triangle.\n\n> You touch it\nThe pad lights up briefly, and the tube's once-seamless face splits; a ten-foot tall section slides open, revealing a clean, lighted interior.\n\n> You jump south\nThere isn't a great deal of room to run, but you do your best, and launch yourself upwards.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nYou've reached the arc of your parabola, and have begun to descend. An ocean sloshes below you, dotted by just one tiny island. As you fly through the air, you tuck your non-waterproof possessions into the suit pouch. Soon, you hit the water with a massive SPLOOSH!\n\nAs you sink, the suit begins supplying oxygen to you.\n\nYou're standing on silty ground, deep underwater. The light is dim, but you can still see well enough, thanks to bioluminescence from plants that make their home here. Judging from the time you spent sinking, your rough estimate is that you're about two thousand feet below the surface. Happily, the suit seems equipped to handle such extreme pressures, and although you feel like you're moving in slow motion, you're experiencing no discomfort.\n\nAn incredible giant squid floats alongside you, just out of reach.\n\nA large, open hatch leads downward.\n\nJust alongside the hatch is a large, mirrored half-bubble, like a glassy eye in the sand.\n\nYou also notice a beige touchplate next to a towering silver cylinder about ten yards away from the hatch.\n\n> You show the sponge to the squid\nThe squid takes the very thin sponge and examines it with great interest, passing it from tentacle to tentacle and even biting down tentatively with its beak. Finally, its curiosity satisfied, it gently deposits the very thin sponge back at your feet.\n\nApparently startled, the squid jets away, only to return in a few seconds.\n\n> You take the sponge\nTaken.\n\n> You put the sponge on the beige\nPutting things on the beige touchplate would achieve nothing.\n\nThe squid taps you, then points one tentacle at the beige touchplate while waving the others in an urgent but uninterpretable pattern.\n\n> Inventory\nYou are carrying:\na very thin sponge\na white cylinder\na canister (which is open but empty)\na cabin key\na legal pad (stashed inside your costume)\na notepad (stashed inside your costume)\nsome loose papers (stashed inside your costume)\na headset (stashed inside your costume)\nan earthsuit (being worn)\n\n> You jump south\nYou can't get much of a running start in such a tiny area, but you crouch and launch yourself upwards, and that seems to provide sufficient momentum.\n\nThe familiar flash-nausea passes as you cross the barrier.\n\nThis time, you're a little more ready for the rainclouds and vegetation, but that doesn't stop your fall from being a careening, wet one.\n\nYou stand amidst a symphony of green. Deep jade moss covers the trunks of trees, whose leaves far above filter mottled avocado light over emerald bushes and green grass -- adjectives run out long before the shades of green do. The air is warm, muggy, and filled with the sounds of wildlife.\n\nBeside you is the bottom of a long steel tube that rises into the sky and past the clouds.\n\nThe newly slug-free access panel winks up at you from the ground.\n\nIn a rare patch of foliage-free ground near you, the mirrored surface of a dome reflects the surrounding greenery.\n\nThe parrots jabber some more, and you could swear you just heard one of them snicker.\n\n> You examine tube\nThis tube is an exact duplicate of the one from the Arctic area, with one salient difference: it hasn't been wrecked by a massive impact. It looks easily wide enough to fit yourself into -- if you can figure out how to enter it, that is.\n\n> You touch the tube\nYou feel nothing unexpected. Of course, you're wearing gloves, but you probably wouldn't feel anything unexpected anyway.\n\n> You enter the tube\nYou step into the tube and it closes around you. A second later, your stomach lurches and your feet leave the ground -- this isn't an elevator whose floor lifts you to your destination, it's some sort of levitation device. What's more, although it's opaque from the outside, from in here the tube is perfectly transparent, so you see yourself punching through the clouds of the rainforest and hurtling upward at an alarming rate. Just as it's crossing your mind to be grateful that Emily got the flying power instead of you, the barrier of the sky passes, and the tube expels you into new surroundings.\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\n\"Perhaps I asked too large --\nI take -- no less than skies --\nFor Earths, grow thick as\nBerries, in my native town --\n\nThe walls of this corridor reflect your image back at you, mazed with the outlines of machinery built into their surfaces. After the tube ride, your sense of direction is confounded once again, so you posit that the tube entrance is west, the corridor continues east, and the large door is to your south. There is also a pink touchplate next to the door.\nI beg your pardon?\n\n> You look at the pink\nThe icon on this touchplate exactly matches the shape of the door beside it.\n\n> You examine door\nThis isn't a traditional door, with knob and hinges and such, but its outline in the wall makes its function plain. It is currently closed, and pink light seeps around its edges.\n\n> You wait a while\nTime passes.\n\n> Go south\nThis cell is exactly identical to the one that imprisoned you, with three critical differences. First, there's no pink energy field -- the walls are simply bare. Second, there's an open doorway in the north wall. And finally, there's no giant, gaping hole in the floor.\n\nYour sister is here, sitting in a corner and looking dejectedly at the floor.\n\nEmily scrambles to her feet. \"Austin!\" she shouts. \"Woo hoo! Boy, am I glad to see you!\" She rushes over and hugs you.\n\nPlease select a reply:\n\n1) \"Likewise! So have you been in here ever since stepping through the curtain?\"\n2) \"Well, considering you'd probably be trapped in there forever if not for me, I'm not surprised at the warm reception.\"\n3) \"Thanks. You have no idea what I had to go through to get here.\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"Pretty much,\" she replies. \"What happened to you?\"\n\nPlease select a reply:\n\n1) \"Well, actually, it was quite interesting. I was in a cell just like this one...\"\n2) \"Oh, you know... stuff.\"\n3) \"I'll tell you the whole story, but not right now.\"\n\n> 3\nSelect an option or 0 to say nothing >> 3\n\n\"Now there's a plan I can support. Let's get to work.\"\n\n> Go north\nEmily follows you.\n\nThe walls of this corridor reflect your image back at you, mazed with the outlines of machinery built into their surfaces. After the tube ride, your sense of direction is confounded once again, so you posit that the tube entrance is west, the corridor continues east, and the large door is to your south. There is also a pink touchplate next to the door.\n\nEmily stands a few feet away from you, looking bored.\n\n> You tell Emily about the cylinder\n\"Um... right! Good point! Okay, I actually have no idea what you mean.\"\n\n> You give the headset to Emily\nEmily takes the headset from you. \"Looks like one of Mom and Dad's gadgets to me. Not that I have a clue what purpose it might serve. Still, might be good to have along.\"\n\n> You take the headset\nThat seems to belong to Emily.\n\n> You give the headset to you\n\"Sure,\" she says, handing you the headset.\n\n> You tell Emily about the headset\n\"Looks like one of Mom and Dad's gadgets to me. Not that I have a clue what purpose it might serve. Still, might be good to have along.\"\n\n> You tell Emily about the cats\n\"Interesting. I wonder why that touchplate had the creature rather than the landscape inscribed on it?\"\n\n> You tell Emily about the squid\n\"Yow. I'm glad it was you and not me -- that would have freaked me out a bit.\"\n\n> You tell Emily about the penguins\n\"Aww, that sounds cute! Then again, the whole 'oversized head' thing cuts down on the cuteness factor quite a bit.\"\n\n> You tell Emily about parrots\n\"That sounds irritating. I probably woulda blasted 'em.\"\n\n> You tell Emily about the slugs\n\"Ew. Next topic, please.\"\n\n> Go east\nEmily follows you.\n\nThis section of corridor shows the signs of a recent battle. Scorch marks mar the gleaming machinery, and the grey carpet is distressed by bloodstains and rips. The hallway continues east to an intersection and west to the tube entrance.\n\nEmily is nearby, waiting for you to do something interesting.\n\n> You look at the marks\nThe machinery inset into the metal walls appears still functional, but somewhat the worse for wear, assailed by dents and scorch marks.\n\n> Go east\nAs you enter the intersection, a shrill alarm begins to peal throughout the halls, bright lights flash, and polymer walls slam down on either side of you, leaving only small niches to the north and south. Matters deteriorate quickly from bad to worse as a portal opens in the corridor east of here, releasing a stream of broad, tall security robots that cut off the corridor completely. The robots see you, and are advancing menacingly towards you!\n\nEmily follows you.\n\nThis intersection appears to have borne the brunt of the earlier fighting, with its walls dented, its carpet decimated, and even its ceiling showing a mark or two. Moments ago, passageways led north and south here, but they have just been closed off by impenetrable polymer walls, leaving just a small niche on either side of the corridor, which continues east and west.\n\nEmily hovers a few feet above the ground here.\n\nA piercing alarm shrieks through the hallways, accompanied by bright, flashing lights.\n\nSecurity robots are advancing on you from the east in an imposing column.\n\n> Zap robots\n\"It would be my pleasure,\" says your sister, and blue lightning arcs from her fingers with a shattering KER-POW, frying the circuits of the robotic regiment and scattering them like bowling pins. As more robots emerge from the portal, you jump in to do your part, sending sentinels flying with the SKRANG  of your fists and feet colliding with their more frangible bodies. Finally, the two of you have cut a wide swath through the mechanical guardians, and find yourself east of the intersection, fried and smashed robots littering the ground at your feet.\n\nThe hallway dead-ends here at the portal that released the robots. It has since closed, and its robots litter the ground, soundly defeated by you and your sister. A doorway leads north, and the intersection is west.\n\nA piercing alarm shrieks through the hallways, accompanied by bright, flashing lights.\n\nEmily stands a few feet away from you, looking smug.\n\n\"Woo hoo! Yeah!\" shouts Emily, and pumps her fist several times for good measure.\n\n> Go north\nEmily follows you.\n\nThis room appears to serve several purposes, at least one of which is to be an observation center for the various environments below. You draw this conclusion from the six large panels arranged along the north wall, four of which display rotating views of the Ocean, Veldt, Forest, and Rainforest environments, while the other two are blank. On the western wall, a transporter curtain shimmers through its endless pattern changes, and to the east, a lavish arrangement of cushions suggests sleeping quarters of some sort. Control panels of various sorts dot the walls, and the only exit is to the south.\n\nEmily is nearby, waiting for you to do something decisive.\n\nYou can also see a giant, catlike alien here.\n\nAs you enter, the huge, humanoid cat-creature stabs a button, and the alarm falls into sudden, tense silence. The creature glowers at you, oval-slitted eyes burning with a combination of fury, frustration, and fear. Its toothy mouth gapes, and a stream of angry, hissing syllables flows forth: \"mr mrrowuoiiaow ssao aow urr mrr iaow<throat-clearing sound>eowff uaoweeoom<hiss> mrrm rr rrrrmrreou aowmrr rrmrao fffteeaouw !\"\n\nSeeing the look of incomprehension on your face, it stalks over to the other side of the room and twists a dial. When it speaks again, a hidden speaker broadcasts an English translation over its words.\n\n\"You stupid, clumsy, vomit-brained, simian cub!\" it resumes, \"You did this, didn't you?\" It gestures angrily at one of the blank screens. \"You wrecked my Arctic equipment, and tramped your filthy body through every other environment! You've destroyed my work!\"\n\nPlease select a reply:\n\n1) \"Uh, well... You don't... I mean... That is...\"\n2) \"Hey, back off Sylvester! All I did was escape from a prison cell! What was I supposed to do, just sit there and rot away?\"\n3) \"Um... I'm sorry.\"\n4) \"What? I don't know what you're talking about!.\"\n5) \"Hello. My name is Austin Colborn. You killed my father. Well, maybe not, but do you know where he is?\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\nThe creature seems to deflate under the sting of your tirade. It slumps against the wall and begins preening its fur nervously. \"Oh, stink. You're right, apeling. Owrr was right to insist that the transport channels be shunted to security cells. I ignored you from impatience and must take the blame of destruction.\"\n\nPlease select a reply:\n\n1) \"Well, I'm sorry all the same. I had no idea what would happen when I broke through the floor of that cell. What is this place, anyway?\" 2) \"You see how I had no choice. Still, those environments are fascinating -- are you trying to evolve intelligent species?\"\n3) \"Who is Owrr? What are you? What is this place? What in the world is going on?\"\n4) \"Fine. Have you seen any other 'simians' around here lately?\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\nThe creature tilts its head, giving you an odd look. \"Not exactly, cub. Not for its own sake. I study the origin of my species, called iueeoorr. We have a gap in our fossil record, between feline ancestors and proto-iueeoorr.\"\n\n\"We have the same problem in ours,\" you say. \"We call it the missing link.\"\n\n\"I know, cub. Quiet, now. I found ancient bacteria in salt deposits, and extracted it. Those beasts you saw were ordinary before infection. There is no missing link -- infection moves a species to sentience. Such is my theory, and this environment is to test it, but my rival Esrrua has sabotaged it with his spy-creature. That creature killed my... my pridemate, Owrr, escaped to your planet, and now endless strings of apes tramp through here to chase it.\"\n\nPlease select a reply:\n\n1) \"Wait, are you telling me that some alien creature is on my world, and that my parents and their friend are chasing it?\"\n2) \"I'm sorry for your loss. This spy-creature... it's on my planet? Is it dangerous?\"\n3) \"That's all I needed to know, and since you're obviously so eager to be rid of me, I'm going to go find my parents.\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"Yes,\" says the cat-creature, still preening its fur. \"Probably Esrrua as well.\"\n\n\"Could they be dangerous to the people on my world?\"\n\n\"Very likely. That's why those others pursued it. Myself, I have more important priorities, like repairing the damage you caused.\"\n\n\"Yeah, you work on those priorities,\" snarls Emily, \"and we'll work on ours. Okay, Austin, this curtain takes us one step closer to Mom and Dad. Let's head back home, shall we?\" Without waiting for an answer, she grabs your hand and pulls you into the curtain with her. The familiar, sleepy feeling of teleportation engulfs you immediately.\n\nEpisode 2:\nANOTHER EARTH, ANOTHER SKY\n\nComing in 2003 to an IF Archive near you!\n\n> You press the space\n[Please press a key to continue]\n\n1) Al. thru port.\n2)T gone\n3)T cont. by Al. (4 help?)\n4)Al. prob. OK, but ???\n5)N's mic. maybe invol.?\n\nMust purs. -- Claire agr."
    },
    {
        "text": "[Themes: Fantasy, entertainment, haunted house, devil]\n\n' at every line of Floyd's output? That is very annoying as a speech synthesizer user.\" GlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nUncle Zebulon's Will by Magnus Olsson (mol@df.lth.se)\n\nThe news of your uncle Zebulon's death came as a shock. You've been\nout of touch lately, and since you left for college a year ago you\nhaven't heard a word from him. During your childhood, however, your\neccentric uncle - once the black sheep of the family, an unsuccessful\nalchemist and self-proclaimed wizard, reputed to be a very wealthy man\n- was your favourite relative. Perhaps you were his favourite nephew\nas well. You miss his stories of distant realms and the magic gadgets\nhe loved to demonstrate...\n\nYou leave for home immediately on receiving the message, but the\ntrip is long and you're delayed by the inevitable train strikes. When\nyou finally arrive, you find your family in a state of frustrated\nconfusion. Not only is your uncle's will written in a quite unsuitably\nsarcastic tone, seriously insulting most of your relatives, but it\nturns out there isn't much of an inheritance to fight over; despite a\nthorough search of your uncle's house, no fabulous treasures are found.\nThe bequests for you and your cousins are almost pathetic: one small\nmemento each, to be selected after everybody else have made their\nchoices. Yet what is there to lose? At least you'd like to have one\nlast look at uncle Zeb's house; maybe you'll find some treasure\noverlooked by the others, perhaps something magical...\n\nFirst Annual IF Competition, 1995\n\nYou are standing just inside the gate of uncle Zebulon's garden, on\nthe weed-infested gravel path that leads east up to the porch of the\nhouse. On the north side of the lawn, almost hidden behind the huge,\nunkempt rosebushes, is the garden shed. The bright summer sun glistens\non the wet grass, and the air, fresh from the recent rain, is alive\nwith the buzzing of insects and filled with sweet fragrances.\n\n[Author's Note: Your eccentric Uncle Zebulon considered himself a wizard, and was rumoured to be very wealthy. But when he died, he only left you one single object in his will...]"
    },
    {
        "text": "[Themes: Fantasy, haunted house]\n\n> You look around\nYou are standing just inside the gate of uncle Zebulon's garden, on\nthe weed-infested gravel path that leads east up to the porch of the\nhouse. On the north side of the lawn, almost hidden behind the huge,\nunkempt rosebushes, is the garden shed. The bright summer sun glistens\non the wet grass, and the air, fresh from the recent rain, is alive\nwith the buzzing of insects and filled with sweet fragrances.\n\n> You examine the rosebushes\nUncle Zebulon wasn't very much of a gardener, so the garden isn't\nexactly a showpiece: the lawn is shaggy, the flower beds full of\nweeds, the rose bushes would need some trimming. Still, it's a\npleasant place on a summer morning like this.\n\n> Inventory\nYou are empty-handed.\n\n> Xyzzy\nAre you sure you're playing the right game?\n\n> About yourself\nYou look about the same as always.\n\n> You look at the shed\nThere's nothing unusual about Uncle Zebulon's garden shed: it's a\nwindowless, ramshackle building that could do with a new coat of paint.\n\n> Go north\nThe shed door opens only reluctantly, with a creaking sound from the\nrusty hinges.\n\nThis shed was used by uncle Zebulon for his goldmaking: strange\nexperiments that could often be smelt from across town, even occasional\nexplosions. Your uncle spoke very little of his experiments, and never\nshowed any signs of making money out of them, yet people generally\nassumed that they were successful and a source of great wealth. In all\nother matters, your family regarded uncle Zebulon as a useless dreamer,\neven an embarrassment, but they took a certain reluctant pride in his\nreputation as a goldmaker.\n\nAs a consequence of your relatives' frantic search for valuables,\nthe place is in an even greater mess than you remember. The workbench\nhas been cleared of the usual odds and ends, and all even remotely\nuseful tools or utensils have been removed. Large heaps of junk and\nbroken glass remain in the corners, and in the centre of the room is a\nlarge, hideous statue of a three-eyed dog - probably some exotic idol\nbrought home from your uncle's travels. You can't remember ever seeing\nit before.\n\nOn the workbench you see a scrap of paper.\n\n> You look at the paper\nIt seems to be a torn-out page from a notebook, with a few lines of\nwriting on it.\n\n> You examine the dog\nThe statue is made of some dark, hard wood that must once have been\nnicely polished but is now rather scratched and dented. It depicts a\nhuge, hideous dog - even though it's sitting on its haunches, it's\nstill taller than you are - that seems to be staring in a slightly\nmelancholy way at the workbench, as if lamenting the mess. It looks\nvery much out of place in this shed.\nApart from its general ugliness, one thing about the dog immediately\ncatches your attention: for some unfathomable reason, it has three\neyes - two in the normal places, and one in the centre of its forehead.\nThere is also something very strange about its ears.\n\nThe centre eye socket contains a blue glass lens.\n\n> You take the lens\nHowever much you try, you can't pry it loose from the statue's eye\nsocket.\n\n> You examine the ears\nYou can only look at one thing at a time.\n\n> You examine the ear\nWhich ear do you mean, the dog's left ear, or the dog's right ear?\n\n> Left ear\nThe dog's ears look as if they don't really belong to the statue, but\nwere added as an afterthought - and in a rather curious way as well.\nIn fact, it seems as if both ears are fastened so that they can turn\naround their own axes. Curious indeed.\n\n> You take the scrap\nTaken.\n\n> You read it\n\"I'm a great step closer to the goal: I have discovered an acid\nthat actually transmutes noble metals into base ones. If only the\nprocess could be reversed!\"\n\n> You turn the left ear\nAs you turn the ear there is a distinct click. A loud humming noise\ncomes from inside the statue, and a beam of blue light shoots out from\nits centre eye, illuminating a circle in the centre of the workbench.\nAfter a while, however, the light flickers and goes out, and the\nhumming sound stops.\n\n> You turn the right ear\nNothing happens.\n\n> You examine workbench\nThe marble surface of the workbench is pitted by acids, discoloured by\nstrange chemicals and still sooty in places from the explosions that\nall too often ended uncle Zeb's experiments. In the exact centre of\nthe workbench, a small bronze stand has been fastened to the surface.\n\n> You put the scrap on the bench\nDone.\n\n> You examine the junk\nYou search through the junk for a while, but find nothing interesting,\njust lots of broken glassware, old newspapers, fragments of burned\nwood, large clumps of slag, you name it.\n\n> Go east\nOn this rickety porch, uncle Zebulon used to spend the long summer\nevenings, relaxing in his rocking chair and smoking his pipe. Your\nparents used to sneer at his laziness; why couldn't he use all that\nspare time to make his garden look a little more respectable?\nThe rocking chair is still there, right outside the front door of\nthe house. It is not occupied by uncle Zebulon, though, but by a\nsneering, rather mean-looking demon.\nThe demon is picking his claws with a rather nasty-looking dagger.\n\n> You look at the demon\nIf you remember your Basic Demonology classes correctly, he must be a\nmember of one of the lower castes of familiar demons, usually employed\nas servants by wizards. As demons go, this one isn't very big or\ndangerous-looking. Indeed, he looks positively benign (for a demon,\nthat is: he still looks pretty mean by human standards). Of course,\nall this still doesn't mean that he's to be messed with.\n\n> Hi\nThe demon quite pointedly ignores you, apparently preferring to study\nsome interesting spots on the floor.\n\n> You ask demon about the demon\n\"Oh, don't mind me. Just pretend I'm the milkman or something.\"\n\n> You ask the demon about yourself\nThe demon looks at you a bit quizzically and starts to say something,\nbut changes his mind and just shrugs instead.\n\n> You ask the demon about the gold\nThe demon starts humming a merry little demon song, pretending not to\nhear you.\n\n> You ask the demon about the dagger\nThe demon puts his dagger away (seemingly into thin air), pulls out a\nnewspaper (also out of thin air) and opens it. \"Sorry, did you say\nsomething?\"\n\n> You ask the demon about the newspaper\nshoulder, where it disappears with a loud pop, and instead pulls out a\ndagger out of thin air and starts picking his claws. He gives no sign\nof having heard you.\n\n> You look at the door\nIt's closed.\n\n> You open it\nOpened.\n\n> Go east\nAs you walk past the demon (slightly apprehensively, of course, you\nnever know with demons), he nods at you. \"Let's see, you must be\nRichard, right? My late master hasn't treated you very generously in\nhis will, has he?\" He quickly checks a list.\n\"Let's see. You're allowed to take one thing - not more - from the\nhouse through this door. Of course, your relatives have pretty much\nscoured the place for valuables, so I'm afraid there's not very much\nleft for you.\" For a moment, you imagine you can trace some genuine\npity in the demon's expression; however, it soon returns to his usual\nsneer. \"Not that they found very much of value, either. You should\nhave seen their faces when they realized the house wasn't filled with\ngold...\"\nThe demon starts to wave you past, when he suddenly seems to\nremember something. \"Ah, yes, this is for you,\" he says off-handedly,\nholding out a letter towards you.\n\n> You take the letter\nTaken.\n\n> You read it\nThe letter is written in uncle Zebulon's familiar hand.\n\"My dear Richard,\nWhen you read this, I'm afraid I'll have left this world for good. By\nnow you should have heard of my will and of the little jokes I have\nplayed on your relatives. I am sure they are all furious; they had\nhoped for far more. Perhaps you too are angry with me, perhaps you\nthink I should have been more generous towards you?\nWell, let me tell you this: you've always been my favourite nephew,\nbecause we share (I hope) the same basic outlook on life: it's all a\nrather cruel game, with rules that are there to be circumvented.\nPlaying fair doesn't mean you shouldn't do the unexpected! I don't\nwant to openly favour you before your cousins, but I think you're far\nmore likely than they are to exploit the advantages of the situation.\nYou may call it a little test, or game, or whatever. My final advice\nto you is: follow the rules by the letter and you may find that new\npossibilities open up.\n\nYour affectionate uncle, Zeb.\"\n\n[Your score just went up 5 points]\n\n> You drop all\nletter: Dropped.\n\n> Go east\nThe demon lets you past with a slightly amused sneer.\n\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\nYou see a lead coin here.\n\nAs soon as you enter you realize, with a sinking feeling, just how\nthoroughly your relatives have searched the house for valuables -\nbasically everything of value has been removed. The coin on the floor\nmust have been dropped there by oversight.\n\n> You examine the coin\nLead may not the most practical of materials for coinmaking, but this\ncoin is actually made of grey, soft lead. Not only the metal, but also\nthe shape, of the coin is unusual: it's octagonal. It bears the image\nof a trident, surrounded by curious letters you can't read.\n(In fact, this coin happens to be a genuine quarter-frob piece from\nthe country of Frobnizzia. The Frobnizzian coins are notable for the\ngreat variety of materials used in making them; especially notable is\nthe one-gnark coin (one gnark being equal to 27 2/3 frobs), which was a\ngranite disk two feet in diameter. The size and weight of this coin\nwere intended to deter purse-snatchers; unfortunately, they had other\neffects as well, such as being the major cause of the collapse of the\nFrobnizzian economy.)\n\n> You go north\n(Opening the kitchen door)\nKitchen\nThe kitchen is probably tidier now than it ever was during uncle\nZebulon's lifetime. The well-worn pine table and the large cupboard\nare still there, but all traces of atmosphere seem to have vanished\nalong with the piles of unwashed dishes. Your relatives have evidently\nbeen hard at work, removing all the kitchenware and utensils, even the\niron stove. They've left the kitchen sink behind, though - probably by\noversight.\nYou see a large carrot here.\n\n> You eat it\nThe large carrot looks rather dry and doesn't seem very appetizing. It\ndoesn't smell very appetizing either. Come to think of it, you're not\nvery hungry.\n\n> You look at the sink\nIt's just an old, rather dirty, kitchen sink of galvanized iron. There\nare no taps - uncle Zebulon never bothered to install running water,\nbut used to fetch his from the village well.\n\n> You open cupboard\nOpening the cupboard reveals a blue bottle.\n\n> You look at it\ndiameter - and is made of thick glass of a beautiful, deep blue colour.\nYou estimate that it will hold about half a litre of liquid. It seems\nto contain a silver coin.\n\n> You examine it\nThis coin, a Frobnizzian nineteen-frob piece, is hexagonal and made of\nsilver. It bears the picture of a crescent.\n\n> You go to the north\nThe only exit is the door back to the hall, to the south.\n\n> You go to the south\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\n\n> Go south\n(Opening the south door)\nStudy\nYou are in what uncle Zebulon used to call his study, but which also\ndoubled as his bedroom. You remember this room as being full of books:\nbookshelves crammed with them, books on the overflowing desk, stacks of\nbooks on the floor.\nNow, the bookshelves gape empty; the narrow, rickety bed is gone, as\nare the soft carpets. Only your uncle's desk remains, along with the\nsmell of old books and stale tobacco smoke. The only door leads north,\nback into the hall.\nOn the desk you see a book and a crystal ball.\n\n> You take book\nAs you open the book and flip through the pages, you find that it's a\n\nthe entire story changes in response to choices made by the reader.\nThis particular one happens to be one of the great classics of the\ngenre: 'Dork', the story of a young man entering a great underground\ncomputing centre, vanquishing the evil Hacker of Foobar, and finally\nbecoming System Manager. Of course, the story may sound a bit childish\n- everyone knows that computers only exist in fairytales and that\nhackers are purely mythical creatures - but it's still immensely\npopular.\n\nAs you close the book again, a sheet of paper falls out of it and\nflutters to the ground.\n\n[Your score just went up 5 points]\n\nTaken.\n\n> You look at it\nOn the paper, the following text is written in uncle Zebulon's neat,\nregular hand:\n\nA perfect match! Yet all illusion\nA total likeness! And yet\nAs different as left from right\nForever kept apart by glass\nUntil the touch of magic stars\nTurns glass to air\nAnd image to reality\n\nThen open will the SECOND PORTAL\nA dark, forbidding one, that scares\nAnd rightly so! Yet victory\nAwaits the one who enters it\n\nGateway to great adventures\nGuarded by Gods of Time and War and Love\nAn offering for each, and you may pass\nEach gift should match one guardian.\n\nYou can't help thinking that while Uncle Zebulon may have been a great\nstoryteller, he was clearly an inferior poet.\n\n> You look at the ball\nIt's about fifteen centimetres in diameter. Unlike ordinary crystal,\nit doesn't sparkle in the light; instead, it seems to glow with a misty\nradiance. You feel an almost irresistible urge to gaze into it, as if\nyou were some common fortune-teller.\n\n> You look in the ball\nThe interior of the crystal ball is surprisingly cloudy, almost as if\nyou were looking into murky water. Soon, however, the mist seems to\nclear, giving place to an image of uncle Zebulon putting coins into a\nbottle.\nPresently, the vision fades away, and the crystal gets cloudy again.\n\n> You look in the ball\nThe interior of the crystal ball is surprisingly cloudy, almost as if\nyou were looking into murky water. Soon, however, the mist seems to\nclear, giving place to an image of yourself searching through a large\npacking crate.\nPresently, the vision fades away, and the crystal gets cloudy again.\n\n> You look in the ball\nThe interior of the crystal ball is surprisingly cloudy, almost as if\nyou were looking into murky water. Soon, however, the mist seems to\nclear, giving place to an image of a young girl throwing a coin into a\nwell, making a wish with her eyes closed.\nPresently, the vision fades away, and the crystal gets cloudy again.\n\n> You look in the ball\nThe interior of the crystal ball is surprisingly cloudy, almost as if\nyou were looking into murky water. Soon, however, the mist seems to\nclear, giving place to an image of uncle Zebulon aiming a wand at a\nlarge carrot. The carrot turns into a very surprised-looking rabbit.\nUncle Zebulon chuckles.\nPresently, the vision fades away, and the crystal gets cloudy again.\n\n> You look in the ball\nThe interior of the crystal ball is surprisingly cloudy, almost as if\nyou were looking into murky water. Soon, however, the mist seems to\nclear, giving place to an image of yourself looking into a crystal\nball.\nPresently, the vision fades away, and the crystal gets cloudy again.\n\n> You examine the desk\nthat used to cover it (uncle Zebulon always had to clear off part of it\nwhen he wanted to write). It is made of oak and has a single drawer,\nwhich is closed.\nOn the desk you see a crystal ball.\n\n> You open the drawer\nOpening the drawer reveals a green glass lens.\n\n> You look at the lens\nIt's about ten millimetres in diameter.\n\n> Search desk\nthat used to cover it (uncle Zebulon always had to clear off part of it\nwhen he wanted to write). It is made of oak and has a single drawer,\nwhich is open.\nOn the desk you see a crystal ball.\n\n> You put the coins in the bottle\nYou can only do that to one thing at a time.\n\n> You put the silver coin in the bottle\nDone.\n\n> You examine the door\nIt's open.\n\n> Go north\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\n\n> You go east\n(Opening the east door)\nSitting room\nAfter your relatives have gone over it, uncle Zebulon's sitting room\nlooks curiously empty. Most of the furniture has been removed. Of all\nthe things that used to give the room its atmosphere, just a few,\nobviously not very valuable ones, remain: the old armchair where you\nused to sit and watch uncle Zebulon entertain you with his magic (or\n\"conjuring tricks\", as your down-to-earth parents preferred to call\nit), your uncle's pipe rack, the large mirror on the north wall.\nYou see a green bottle here.\n\n> You examine rack\nIt's empty. Apparently, there's a keen smoker among your relatives.\n\n> You examine the green\nWhich green do you mean, the green glass lens, or the green bottle?\n\n> Bottle\ndiameter - and is made of thick glass of a beautiful, sea-green colour.\nYou estimate that it will hold about half a litre of liquid. A neatly\nhandwritten label says 'FILL ME'. The bottle is empty.\n\n> You look at the chair\nIt may not be a great looker, but this battered old armchair has always\nbeen your fave piece of furniture. On stormy autumn nights you'd relax\nin its comfy depths, cosy in front of the roaring fire, while your\nuncle would tell you the most hair-raising ghost stories or entertain\nyou with some magic tricks (which you steadfastly insisted were real\nmagic, even though your parents tried hard to convince you they were\njust sleight of hand).\nEven today, a decade later, you feel an almost irresistible urge to\nsit in that armchair once more, just to recall the feeling of those\nlong-gone days.\n\n> You sit in the chair\nsigh. However, it doesn't seem as comfortable as you recall it.\nStrange...\nAfter a while, you realize that you're sitting on something hard.\nThere seems to be something hidden within the armchair.\n\n> Search chair\nYou find a magic wand hidden deep inside the armchair.\n\n(Don't feel too smug about it, though; I suppose nobody could have sat\nin the armchair without feeling the wand.)\n\n> You examine the wand\naround the country: a narrow, tapering rod, about thirty centimetres\nlong, and made of some dark wood, probably ebony. Your uncle used to\nhave several, and you've often seen him point them at things, with\nvarious interesting results.\n\n> You point the wand at the carrot\nThe wand sputters, emitting a stream of brilliantly shining stars. The\nstars collect in a cloud around the carrot, which starts to undergo a\ncurious transformation, growing smaller and rounder and redder and...\nWhen the stars gradually fade away, you see that the carrot has turned\ninto a big, succulent tomato. Amazing - you must have found a wand of\nVegetable Polymorphism!\n\n> You point the wand at the tomato\nThe wand sputters, emitting a stream of brilliantly shining stars that\nstrike the tomato and explode with little popping noises. The tomato\nstarts to elongate, its colour changing into orange, and has sooned\nturned back into a carrot. Those wands of Vegetable Polymorphism may\nbe pretty useless, but they are great fun, aren't they?\n\n> You examine the mirror\nYou're a bit surprised that your relatives left this mirror behind,\nsince it's probably quite valuable, or at least old. Perhaps its size\nhas something to do with it: it's almost a metre wide and taller than\nyou are. When you were a kid you used to fantasize about this being a\nmagic mirror, and you imagined that when looking into it you could see\ninto another world.\n\n> You look in the mirror\nThe glass is old and slightly flawed, so the image isn't as crisp as\nyou'd expect from a newer mirror. Your reflection looks like you, yet\nsomehow like a different person, more cynical, with a slightly cunning\nlook. The old glass makes it hard to make out all the detail, but the\nreflection of the room behind you looks slightly different, too.\n\n> You point the wand at the mirror\nThe wand sputters, emitting a stream of brilliantly shining stars.\nAmazingly, the stars seem to pass straight through the mirror. They\nstrike your mirror image, which is standing there with a wand in its\nhand, looking at you with a slightly silly expression. With a strange,\ntearing sound, your mirror image wavers and disappears.\nShocked, you look again. Sure, you can see the mirror image of the\nroom, and everything in it, but not your own image. You take a quick\nlook down at yourself, just to check - yes, you're still visible.\nRunning up to check the mirror, you realize that the glass is gone; the\nempty frame forms a portal into a room behind, where no room ought to\nbe.\n\n[Your score just went up 10 points]\n\n> Go inside\n(the mirror)\nFeeling like Alice in Wonderland, you step through the empty mirror\nframe. A curious wrenching sensation passes through your body, as if\nyou've been disassembled into atoms and then rapidly put together\nagain.\n\nWell, what do you call a perfect mirror image of a sitting room?\nSuperficially, this room looks exactly like its counterpart on the\nother side of the mirror, except for the eerie fact that everything's\ninverted, of course; there's an armchair, and a pipe rack, an empty\nmirror frame on the south wall, and a wooden door leading west.\nYou see a small glass flask here.\n\nThis room shouldn't be here at all. After all, you've seen your\nuncle's house from the outside many times, and it simply isn't large\nenough to accommodate one more room...\n\n> You look at the flask\nThis is a small glass flask, of the type often found in alchemistry\nlabs. It contains a quantity of greenish liquid.\n\n> You look at rack\nIt looks exactly like its counterpart on the other side of the mirror.\n\n> You look at the chair\nIt looks exactly as its counterpart on the other side of the mirror,\nonly inverted. For example, the large stain on the right armrest is on\nthe left one - or is it the other way round?\n\n> Go west\nmirror image of the hall, but to a narrow spiral staircase that leads\nup a circular stairwell with stone walls, and through a hole in the\nceiling.\n\nYou are in a rather small, circular room that seems to be the top\nfloor of a high tower. Four large windows, one in each compass\ndirection, give you a panoramic view of a wild and marvellous\nlandscape: a mountain range of impossibly steep crags to the north; to\nthe west, the sea; to the south and east a wide, sandy desert. Far\naway to the southwest, where the sea meets the desert, stands a\nfantastic fairy-tale city of marble and shimmering gold, needle-sharp\nspires and bulbous crystal domes. The scene is illuminated not by the\nsun, but by cold starlight from a sky like black velvet studded with\ndiamonds; nameless stars in constellations you don't recognize.\n\na curious mechanism. A spiral staircase leads down.\nYou see a scroll here.\n\n> You examine the mechanism\nThis beautiful piece of intricate machinery seems to be a model of the\nsolar system. On a large disk of black marble, studded with silver\nstars, the orbits of the planets are laid out as narrow tracks. The\nplanets are represented by small disks of precious stones that move,\never so slowly, along their tracks, driven by some hidden clockwork.\nIn the centre of the disk is the sun: a golden ball, resting on a\nsmall bronze stand.\n\n> You look at the ball\nWhich ball do you mean, the crystal ball, or the gold ball?\n\n> Gold\nIt's the size of a large marble - about a centimetre and a half in\ndiameter - and surprisingly heavy. Surely it can't be made of solid\ngold?\n\n> You examine the city\nThe city is too far away for you to see very much detail, but it\ndoesn't resemble any city you've ever seen. Despite its breathtaking\nbeauty, something about it seems wrong; it's brightly lit, yet seems\ncuriously devoid of life. If only you could get there to\ninvestigate...\n\n> You examine the scroll\nThe scroll is a rolled-up piece of rather thick paper. To your\namazement, you notice that there's something written on it, and in\nuncle Zebulon's handwriting (what a surprise!).\n\n> You read it\nMy dear nephew,\n\nI'm glad that you've discovered the way through the mirror, and into\nmy secret tower. It's here, in the realm you can see from the windows,\nthat I've spent most of my time the last few years, the time you and\nyour relatives thought I was just pent up inside my house. I may not\nhave collected much gold and belongings in your world, but in the world\nof Vhyl and the city of Cyr-Dhool are treasures beyond belief and\nadventures that surpass your wildest dreams.\n\nThe portal to Vhyl is hidden, but I have no doubt that you will find\nit. Once you've opened it, and passed the portal that's beyond it,\nyour true inheritance awaits you, at the end of a quest I shall never\nhave the time to finish. Your relatives have no doubt already removed\nwhat little there is of value in my house; what they have left behind,\nhowever, may be of more use to you.\n\nWith hope of your success,\nyour affectionate uncle,\nZebulon\n\n> You examine the pedestal\nThe pedestal is about a metre high and not very interesting; the\nmechanism that's resting on top of it is, though.\n\n> You examine the stars\nYou don't recognize the constellations. You must be very far indeed\nfrom home.\n\n> Go east\nThe only way out is via the stairs."
    },
    {
        "text": "> You go downwards\nWell, what do you call a perfect mirror image of a sitting room?\nSuperficially, this room looks exactly like its counterpart on the\nother side of the mirror, except for the eerie fact that everything's\ninverted, of course; there's an armchair, and a pipe rack, an empty\nmirror frame on the south wall, and a wooden door leading west.\n\n> You look at rack\nIt looks exactly like its counterpart on the other side of the mirror.\n\n> You go to the west\nYou are in a rather small, circular room that seems to be the top\nfloor of a high tower. Four large windows, one in each compass\ndirection, give you a panoramic view of a wild and marvellous\nlandscape: a mountain range of impossibly steep crags to the north; to\nthe west, the sea; to the south and east a wide, sandy desert. Far\naway to the southwest, where the sea meets the desert, stands a\nfantastic fairy-tale city of marble and shimmering gold, needle-sharp\nspires and bulbous crystal domes. The scene is illuminated not by the\nsun, but by cold starlight from a sky like black velvet studded with\ndiamonds; nameless stars in constellations you don't recognize.\n\na curious mechanism. A spiral staircase leads down.\n\n> Go south\nFeeling like Alice in Wonderland, you step through the empty mirror\nframe. A curious wrenching sensation passes through your body, as if\nyou've been disassembled into atoms and then rapidly put together\nagain.\n\nAfter your relatives have gone over it, uncle Zebulon's sitting room\nlooks curiously empty. Most of the furniture has been removed. Of all\nthe things that used to give the room its atmosphere, just a few,\nobviously not very valuable ones, remain: the old armchair where you\nused to sit and watch uncle Zebulon entertain you with his magic (or\n\"conjuring tricks\", as your down-to-earth parents preferred to call\nit), your uncle's pipe rack, the large mirror on the north wall.\n\n> Go up\n(Opening the trapdoor)\nAttic\nYou remember spending long hours as a child exploring the mysterious\ntreasures of uncle Zebulon's attic: looking through old sea-chests\nfull of exotic souvenirs from your uncle's travels, trying on curious\nold clothes, hiding under strange pieces of furniture - and upsetting\nyour mother when returning home covered in dust and with cobwebs in\nyour hair. That was long ago, however; now, the attic just seems like\na depressingly untidy storage space full of old junk and devoid of any\nmystery. Besides, it seems as if anything even remotely interesting or\nvaluable has been carried away. A trapdoor in the floor leads down.\nYou see a packing crate and an old brass plate here.\n\nAs your head emerges through the trapdoor, you are greeted by a cloud\nof dust that makes you sneeze.\n\n> You look at the crate\nThe packing crate is closed.\n\n> You open it\nOpening the packing crate reveals some wood shavings.\n\n> Search shavings\nYou burrow through the wood shavings, raising a lot of dust in the\nprocess, when your hand touches something hard. It seems you've found\na small teak box.\n\n> You look at it\nThis small box is made of exquisitely crafted teak wood, with a highly\npolished surface. It is closed.\n\n> You open it\nOpening the small teak box reveals a red glass lens.\n\n> You examine the plate\nIt's an old, rather thin plate of Indian brass, slightly dented and\nprobably not worth very much. On the tarnished surface you can just\nbarely make out a rather clumsy depiction of a scorpion and some stars\n- probably an astrological reference, since the following text is\nengraved on the back side:\n\nGOLD    The Sun, Ruler of the Daylit Sky\nSILVER  Luna, Mistress of the Night\nMERCURY Wing-footed Messenger of the Gods\nCOPPER  Venus, Carnal Love\nIRON    Mars, Blood-red Bringer of War\nTIN     Jupiter, Ruler of the Gods\nLEAD    Saturn, Lord of Time Itself\n\n> You look at what you're carrying with you\nYou have a blue bottle, a book, a sheet of writing paper, a green glass\nlens, a crystal ball, a green bottle, a magic wand, a large carrot, a\nsmall glass flask, a gold ball, a scroll, and a small teak box. The\nblue bottle seems to contain a silver coin and a lead coin. The small\nteak box seems to contain a red glass lens.\n\n> You take the plate\nYou've already got your hands full.\n\n> You examine the liquid\nThe liquid is rather thick, faintly greenish, and has a decidedly\nunpleasant smell.\n\n> You put the silver in the liquid\nThe silver coin falls into the greenish liquid, which begins to foam\nand bubble with a hissing sound. Acrid green fumes billow out of the\nflask, making your eyes water. The reaction doesn't stop until all the\nliquid has boiled away. The silver coin seems to have grown darker and\nduller. In fact, it doesn't look like silver at all any more, but more\nlike iron.\n\n> You look at the iron coin\nThis coin, a Frobnizzian two-frob piece, is hexagonal and made of iron.\nIt bears the picture of a sword.\n\n> You check what you're carrying\nYou have a blue bottle, a book, a sheet of writing paper, a green glass\nlens, a crystal ball, a green bottle, a magic wand, a large carrot, a\nsmall glass flask, a gold ball, a scroll, a small teak box, and an iron\ncoin. The blue bottle seems to contain a lead coin. The small teak\nbox seems to contain a red glass lens.\n\n> You put the green lens in the box\nWhich box do you mean, the small teak box, or the packing crate?\n\n> You look at the teak\nThis small box is made of exquisitely crafted teak wood, with a highly\npolished surface. It is open. Inside it, you see a red glass lens and\na green glass lens.\n\n> Small\nClosed."
    },
    {
        "text": "> Go down\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\n\n> You drop all but the teak\nblue bottle: Dropped.\nbook: Dropped.\nsheet of writing paper: Dropped.\ncrystal ball: Dropped.\ngreen bottle: Dropped.\nmagic wand: Dropped.\nlarge carrot: Dropped.\nsmall glass flask: Dropped.\ngold ball: Dropped.\nscroll: Dropped.\niron coin: Dropped.\n\n> You go west\nOn this rickety porch, uncle Zebulon used to spend the long summer\nevenings, relaxing in his rocking chair and smoking his pipe. Your\nparents used to sneer at his laziness; why couldn't he use all that\nspare time to make his garden look a little more respectable?\nThe rocking chair is still there, right outside the front door of\nthe house. It is not occupied by uncle Zebulon, though, but by a\nsneering, rather mean-looking demon.\nYou see a letter here.\nThe demon is reading a newspaper, occasionally keeping an eye on the\ndoor.\n\n> Go west\nThe demon looks hard at what you're carrying. \"Hey, there's something\nhidden inside that small teak box! You're not trying to cheat, are\nyou?\" With a scaly arm, he blocks your passage. \"I'm only going to\nlet you carry one thing through this door!\"\n\n> Go east\nThe demon lets you past with a slightly amused sneer.\n\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\nYou see a blue bottle, a book, a sheet of writing paper, a crystal\nball, a green bottle, a magic wand, a large carrot, a small glass\nflask, a gold ball, a scroll, and an iron coin here. The blue bottle\nseems to contain a lead coin.\n\n> Empty blue bottle\nYou will have to remove things from the blue bottle one at a time.\n\n> You open teak\nlens.\n\n> You take green lens\nTaken.\n\nTaken.\n\n> You put red lens in the green bottle\nAs soon as it hits the bottom of the bottle, the red glass lens\nvanishes with a popping sound. The bottle is now empty. A split\nsecond later, you hear a pinging noise from the blue bottle.\n\n[Your score just went up 5 points]\n\n> You look in the blue bottle\ndiameter - and is made of thick glass of a beautiful, deep blue colour.\nYou estimate that it will hold about half a litre of liquid. It seems\nto contain a red glass lens.\n\n> You drop all but the blue bottle\nsmall teak box: Dropped.\nlead coin: Dropped.\ngreen glass lens: Dropped.\nred glass lens: Dropped.\n\n> Go west\nOn this rickety porch, uncle Zebulon used to spend the long summer\nevenings, relaxing in his rocking chair and smoking his pipe. Your\nparents used to sneer at his laziness; why couldn't he use all that\nspare time to make his garden look a little more respectable?\nThe rocking chair is still there, right outside the front door of\nthe house. It is not occupied by uncle Zebulon, though, but by a\nsneering, rather mean-looking demon.\nYou see a letter here.\nThe demon is picking his claws with a rather nasty-looking dagger.\n\n> You go to the west\nThe demon gives you a penetrating glance, but lets you pass without\ncomment.\n\nYou are standing just inside the gate of uncle Zebulon's garden, on\nthe weed-infested gravel path that leads east up to the porch of the\nhouse. On the north side of the lawn, almost hidden behind the huge,\nunkempt rosebushes, is the garden shed. The bright summer sun glistens\non the wet grass, and the air, fresh from the recent rain, is alive\nwith the buzzing of insects and filled with sweet fragrances.\n\n> You go north\nThis shed was used by uncle Zebulon for his goldmaking: strange\nexperiments that could often be smelt from across town, even occasional\nexplosions. Your uncle spoke very little of his experiments, and never\nshowed any signs of making money out of them, yet people generally\nassumed that they were successful and a source of great wealth. In all\nother matters, your family regarded uncle Zebulon as a useless dreamer,\neven an embarrassment, but they took a certain reluctant pride in his\nreputation as a goldmaker.\n\nAs a consequence of your relatives' frantic search for valuables,\nthe place is in an even greater mess than you remember. The workbench\nhas been cleared of the usual odds and ends, and all even remotely\nuseful tools or utensils have been removed. Large heaps of junk and\nbroken glass remain in the corners, and in the centre of the room is a\nlarge, hideous statue of a three-eyed dog - probably some exotic idol\nbrought home from your uncle's travels. You can't remember ever seeing\nit before.\nOn the bronze stand you see a scrap of paper.\n\n> Go east\nThe demon lets you past with a slightly amused sneer.\n\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\nYou see a blue bottle, a book, a sheet of writing paper, a crystal\nball, a green bottle, a magic wand, a large carrot, a small glass\nflask, a gold ball, a scroll, an iron coin, a small teak box, a lead\ncoin, a green glass lens, and a red glass lens here.\n\n> Go west\nThe demon gives you an amused look. \"So, you've made your choice, have\nyou?\" Producing a clipboard out of thin air, he proceeds to tick off\nyour name. \"Let's see... Richard: a blue bottle. Well, I suppose\nthat might prove useful some day. Or perhaps not. But who am I to\nquestion your choice?\" With an air of seriously doubting your\njudgement, he lets you pass. \"Have a nice day.\"\n\nYou are standing just inside the gate of uncle Zebulon's garden, on\nthe weed-infested gravel path that leads east up to the porch of the\nhouse. On the north side of the lawn, almost hidden behind the huge,\nunkempt rosebushes, is the garden shed. The bright summer sun glistens\non the wet grass, and the air, fresh from the recent rain, is alive\nwith the buzzing of insects and filled with sweet fragrances.\n\n> You go north\nThis shed was used by uncle Zebulon for his goldmaking: strange\nexperiments that could often be smelt from across town, even occasional\nexplosions. Your uncle spoke very little of his experiments, and never\nshowed any signs of making money out of them, yet people generally\nassumed that they were successful and a source of great wealth. In all\nother matters, your family regarded uncle Zebulon as a useless dreamer,\neven an embarrassment, but they took a certain reluctant pride in his\nreputation as a goldmaker.\n\nAs a consequence of your relatives' frantic search for valuables,\nthe place is in an even greater mess than you remember. The workbench\nhas been cleared of the usual odds and ends, and all even remotely\nuseful tools or utensils have been removed. Large heaps of junk and\nbroken glass remain in the corners, and in the centre of the room is a\nlarge, hideous statue of a three-eyed dog - probably some exotic idol\nbrought home from your uncle's travels. You can't remember ever seeing\nit before.\nOn the bronze stand you see a scrap of paper.\n\n> You drop the blue bottle\nDropped.\n\n> Go east\nAs you step onto the porch, the demon looks pointedly at you. \"What?\nBack already? Aren't you satisfied with your blue bottle? Remember\nthat you're not allowed to change your mind!\"\n\nOn this rickety porch, uncle Zebulon used to spend the long summer\nevenings, relaxing in his rocking chair and smoking his pipe. Your\nparents used to sneer at his laziness; why couldn't he use all that\nspare time to make his garden look a little more respectable?\nThe rocking chair is still there, right outside the front door of\nthe house. It is not occupied by uncle Zebulon, though, but by a\nsneering, rather mean-looking demon.\nYou see a letter here.\nThe demon is reading a newspaper, occasionally keeping an eye on the\ndoor.\n\n> Go east\nThe demon shrugs and lets you past.\n\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\nYou see a book, a sheet of writing paper, a crystal ball, a green\nbottle, a magic wand, a large carrot, a small glass flask, a gold ball,\na scroll, an iron coin, a small teak box, a lead coin, a green glass\nlens, and a red glass lens here.\n\n> You put it in the green bottle\nAs soon as it hits the bottom of the bottle, the red glass lens\nvanishes with a popping sound. The bottle is now empty.\n\n> You put it in the bottle\nWhich bottle do you mean, the green bottle, or the small glass flask?\n\n> Green\nAs soon as it hits the bottom of the bottle, the green glass lens\nvanishes with a popping sound. The bottle is now empty.\n\n> You examine flask\nThis is a small glass flask, of the type often found in alchemistry\nlabs.\n\n> Go north\nThis shed was used by uncle Zebulon for his goldmaking: strange\nexperiments that could often be smelt from across town, even occasional\nexplosions. Your uncle spoke very little of his experiments, and never\nshowed any signs of making money out of them, yet people generally\nassumed that they were successful and a source of great wealth. In all\nother matters, your family regarded uncle Zebulon as a useless dreamer,\neven an embarrassment, but they took a certain reluctant pride in his\nreputation as a goldmaker.\n\nAs a consequence of your relatives' frantic search for valuables,\nthe place is in an even greater mess than you remember. The workbench\nhas been cleared of the usual odds and ends, and all even remotely\nuseful tools or utensils have been removed. Large heaps of junk and\nbroken glass remain in the corners, and in the centre of the room is a\nlarge, hideous statue of a three-eyed dog - probably some exotic idol\nbrought home from your uncle's travels. You can't remember ever seeing\nit before.\nYou see a blue bottle here. On the bronze stand you see a scrap of\npaper. The blue bottle seems to contain a red glass lens and a green\nglass lens.\n\n> You put red lens in the left socket\nAs you move the red glass lens close to the statue's eye socket, you\nnotice that it seems attracted to it with a surprising force, like a\npiece of iron to a magnet. It fits perfectly and stays put - in fact,\nyou doubt that you could remove it again.\n\n[Your score just went up 5 points]\n\n> You put green lens in the right socket\nAs you move the green glass lens close to the statue's eye socket, you\nnotice that it seems attracted to it with a surprising force, like a\npiece of iron to a magnet. It fits perfectly and stays put - in fact,\nyou doubt that you could remove it again.\n\n> You turn the left ear\nAs you turn the ear there is a distinct click. A loud humming noise\ncomes from inside the statue, and a beam of blue light shoots out from\nits centre eye, illuminating a circle in the centre of the workbench.\nThe blue beam is immediately joined by a red one from the dog's left\neye socket and a green one from the third eye, all focusing on the same\narea.\n\nThe beams flicker for a few moments, and then seem to gain in\nbrightness. To your great astonishment, a clear, sharp image of your\nuncle Zebulon forms in the centre of the illuminated circle. This must\nsurely be some powerful magic at work!\n\n[Your score just went up 5 points]\n\n> You look at image\nZebulon, crowned by the caption TEST PICTURE.\n\n> You turn the right ear\nTo your great astonishment, the image of your uncle disappears, and is\nreplaced by one of fishes in an aquarium. To your even greater\nastonishment, the image comes to life, showing the fishes swimming back\nand forth.\n\n> You look at image\nThe image on the workbench shows colourful fish swimming placidly back\nand forth in an aquarium. It's all very beautiful, but it strikes you\nas being rather pointless.\n\n> You turn right ear\nThe image changes into one of a lone adventurer, carrying a sword, a\nbrass lantern and a curious collection of sundry items, exploring a\ngreat cave system of twisting passages all alike. You recognize the\nscene as one from a popular historic novel called 'Zork'.\n\n> You continue\nThe image changes into one of a field of stars on a totally black sky.\nSuddenly, a strange-looking contraption appears in the middle of the\nimage: it looks almost, but not quite, like a flattened ellipsoid\njoined to a flashlight. The scene changes to what is apparently the\ninside of the contraption, where people in ugly red and blue jumpsuits\nare running around.\n\n> Continue\nThe image changes into one of again, a field of stars. This time,\nhowever, nothing more happens. You recognize the constellation of\nGemini, with the twin stars Castor and Pollux.\n\n> You look at the image\nThe image on the workbench shows again, a field of stars. This time,\nhowever, nothing more happens. You recognize the constellation of\nGemini, with the twin stars Castor and Pollux.\n\n> You turn the right ear\nThe image changes into one of a huge, purple, dinosaur (or, rather, an\nactor dressed up in a shockingly ugly dinosaur suit) walking around\nwith an insipid smile on his face, surrounded by singing children.\nCuriouser and curiouser, indeed!\n\n> You turn the right ear\nThe image changes into one of the full moon, shining like a giant\ncheese in the middle of a dark, star-studded sky. The moon's image\nfalls just on the bronze stand on the workbench, illuminating the scrap\nof paper.\n\n> You take the ball\nWhich ball do you mean, the crystal ball, or the gold ball?\n\n> You put the gold ball in the green bottle\nAs soon as it hits the bottom of the bottle, the gold ball vanishes\nwith a popping sound. The bottle is now empty.\n\n> You examine the image\nThe image on the workbench shows the full moon, shining like a giant\ncheese in the middle of a dark, star-studded sky. The moon's image\nfalls just on the bronze stand on the workbench.\n\n> You put the ball on the stand\nYou place the gold ball right in the middle of the image of the moon,\nwhose light reflects off it with a weird glitter.\n\nYou notice a sudden, cold draught, and a gust of wind slams the door\nshut.\n\n> You open the door\nOpened.\n\nThe light from the image of the moon seems to have a strange effect on\nthe gold ball: it's almost as if it had started to glow by itself.\n\n> You go to the south\nYou start moving towards the door, but the strange things happening to\nthe gold ball are too hard to ignore.\n\nThe gold ball is most definitely glowing, with a warm, golden, slightly\npulsating light.\n\n> You close the door\nClosed.\n\nThe light from the gold ball has reached an almost painful intensity,\nand continues to grow stronger and stronger. Suddenly, there's a small\nexplosion, and you're temporarily blinded. When you can see again, the\ndog has stopped shining, the gold ball is gone, and in the centre of\nthe workbench there's a large hole.\n\n[Your score just went up 15 points]\n\n> You look at the hole\nThe hole is almost a metre in diameter and seems very deep. Inside is\njust darkness; you try to look down into it but can't see a thing.\nWhat's even stranger is that the hole doesn't extend through the\nworkbench - the lower surface of the workbench is intact. You've read\nof gateways into other universes, but only in fantasy books. For a\nmoment, you get a crazy notion that you should enter the hole to see\nwhere it leads..."
    },
    {
        "text": "[Themes: Fantasy, devil]\n\n> Go downward\nAs you enter the hole, you are engulfed by total darkness. For what\nseems like an eternity, you sink through a dark void, until, finally,\nyour feet touch solid ground. The darkness is replaced by greyish\nlight, and you find yourself in a strange place...\n\nAround you, a seemingly limitless expanse of flat, greyish ground,\nstretching away in all directions, uninterrupted by any mountains or\neven hills, unadorned by any tree, flower or even a blade of grass.\nAbove you, the uniformly overcast sky, like the inside of a perfect\nleaden bowl, merging with the plain at the curiously indistinct\nhorizon, a horizon that could be a mile away or a million. The air is\nstill and dry, almost dead, with a faint smell of timeless dust. Not\neven the faintest breath of wind breaks the absolute silence. Nothing\nmoves, nothing changes, nothing happens.\nIn front of you, seemingly in the exact centre of this dismal world,\nis a perfectly round, marble basin, filled with still, clear water. In\nthe centre of the basin three colossal Greek statues stand looking out\nover the plain with their unseeing eyes, backs together, faces forever\nfixed in expressions of serene detachment.\n\n> You look at the statues\nThe three statues stand with their backs together, forever looking out\nover the desolate plain with unseeing eyes. Letters chiseled into the\npedestal give their names: Venus, with robes flowing in an imagined\nbreeze, long hair held together by a copper circlet; Mars, stony-faced,\nmuscular, dressed in armour, an iron spear in his hand; Saturn, older\nthan time, grim-faced under a dull leaden crown.\n\n> You look at the basin\nwater. At its centre there is a low pedestal with three marble\nstatues. The surface of the water is perfectly still, like a sheet of\nglass through which you can see a gold coin resting on the bottom.\nThere is an inscription on the rim of the basin.\n\n> You read it\n\"IN THIS BASIN, O STRANGER, IS BOTH OBLIVION AND ADVENTURE; DRINK MY\nWATER AND THY QUEST SHALL END IN SAFETY; SACRIFICE AND THOU SHALT\nCONQUER.\"\n\n> Drink water\nYou scoop up some water in your hand and drink it. It's quite\ntasteless. After a short while, your head starts to spin. Reeling,\nyou grasp for support, but find yourself sinking through an endless,\ngrey void, recalling the last day's happenings backwards, realizing\nthat your memories are being erased...\n\nuncle Zebulon's house. Just as you suspected, there was nothing worth\nhaving in the house; your parents were right after all, and your uncle\nwas just an ordinary old man with a vivid imagination.\n\nAfter attending your uncle's funeral, you go back to college and\ncomplete your education as an accountant, embarking on a successful and\nsatisfying career. Sometimes, your thoughts go flashing back to uncle\nZebulon, and you have a nagging sense that you've missed something\nimportant. Those feelings soon pass; after all, you have more\nimportant things to deal with.\n\n You have failed \n\nIn a total of 236 turns, you have achieved a score of 50 points out of\na possible 75, and visited 11 locations out of 12.\n\nYou may restore a saved game, start over, quit, or undo the current\ncommand.\n\n> You get the gold coin\nAn invisible force prevents you from touching the water.\n\n> You examine the sky\nThe sky is uniformly grey, like the inside of a great leaden bowl.\n\n> You examine the gold coin\nThrough the clear water, you can see it shimmering on the bottom of the\nbasin. Have there been other visitors before you to this place? Has\nsomebody thrown in the coin to have a wish granted?\n\n> You enter the basin\nAn invisible force stops you from entering the water.\n\n> You put it in the green bottle\nAs soon as it hits the bottom of the bottle, the lead coin vanishes\nwith a popping sound. The bottle is now empty.\n\n> You put it in the green bottle\nThat's too large to fit in the green bottle.\n\n> You drop the wand\nDropped.\n\n> You put the coin in green bottle\nAs soon as it hits the bottom of the bottle, the iron coin vanishes\nwith a popping sound. The bottle is now empty."
    },
    {
        "text": "[Themes: Fantasy, devil]\n\n> You look around\nhall, but at least there is this small room, with just enough space for\na coathanger and a narrow staircase up to a trapdoor in the ceiling.\nWooden doors lead north, east, west and south.\nYou see a book, a sheet of writing paper, a crystal ball, a green\nbottle, a large carrot, a small glass flask, a scroll, a small teak\nbox, and a magic wand here.\n\n> You eat it\nThe tomato is just as delicious as it looks. As you take the last bite\nout of it, you feel something hard between your teeth. Surprised, you\nremove a copper coin from your mouth. How on earth did that get into\nthe tomato?\n\n[Your score just went up 5 points]\n\n> You look at the copper coin\nEven though it's from Frobnizzia, a country that's renowned for its\ncurious currency, there's nothing remarkable whatsoever about this coin\n(in fact, it's remarkable for being the only non-remarkable Frobnizzian\ncoin). It's small, round, made of copper, and bears the picture of a\nheart.\n\n> You put the coin in the green bottle\nAs soon as it hits the bottom of the bottle, the copper coin vanishes\nwith a popping sound. The bottle is now empty.\n\n> You drop all\nscrap of paper: Dropped.\nmagic wand: Dropped.\n\n> Go north\nThis shed was used by uncle Zebulon for his goldmaking: strange\nexperiments that could often be smelt from across town, even occasional\nexplosions. Your uncle spoke very little of his experiments, and never\nshowed any signs of making money out of them, yet people generally\nassumed that they were successful and a source of great wealth. In all\nother matters, your family regarded uncle Zebulon as a useless dreamer,\neven an embarrassment, but they took a certain reluctant pride in his\nreputation as a goldmaker.\n\nAs a consequence of your relatives' frantic search for valuables,\nthe place is in an even greater mess than you remember. The workbench\nhas been cleared of the usual odds and ends, and all even remotely\nuseful tools or utensils have been removed. Large heaps of junk and\nbroken glass remain in the corners, and in the centre of the room is a\nlarge, hideous statue of a three-eyed dog - probably some exotic idol\nbrought home from your uncle's travels. You can't remember ever seeing\nit before.\n\nThere is a mysterious dark hole in the middle of the workbench.\nYou see a blue bottle here. The blue bottle seems to contain a lead\ncoin, an iron coin, and a copper coin.\n\n> You put the LEAD in the basin\nThe lead coin falls into the water with a faint splash and sinks to the\nbottom.\n\nAs soon as the coin has come to rest on the bottom, something\nstrange happens: the statue of Saturn comes to life. The marble seems\nto soften somewhat; the aged head turns towards you, and Saturn speaks\nin a deep, hoarse voice. \"Welcome, stranger, to the Portal between\nWorlds. A long way hast thou come, and yet the way that lies before\nthee is even longer.\"\nHe makes a gesture with one hand, and a sound like a whisper is\nheard; a faint breeze sets the still air in motion, carrying a smell of\nsalt to your nostrils. For a moment you imagine hearing booming surf\nin the distance.\n\n[Your score just went up 10 points]\n\nThe statue returns to its previous form, flesh hardening into stone\nagain, the colour draining away.\n\n> You put the IRON in basin\nThe iron coin falls into the water with a faint splash and sinks to the\nbottom.\n\nThe statue of Mars comes to life with a clanging of armour. Mars'\ngaze remains as hard as before as he looks at you, saying in an\nincredibly powerful voice: \"Thou hast come to claim thy inheritance,\nand claim it thou shalt; but know that thy quest has barely begun.\"\nRaising both arms towards the leaden sky, he brings them down again\nin a motion that somehow seems to tear the sky down as a curtain. The\nleaden overcast is gone, replaced by a glorious night sky, sprinkled\nwith thousands of stars bright enough to read by.\n\nThe statue returns to its previous form, flesh hardening into stone\nagain, the colour draining away.\n\n> You put COPPER in the basin\nthe bottom.\n\nThe statue of Venus undergoes a startling transformation: hard,\nwhite marble turning into soft, pale-olive flesh, frozen stone hair\nstarting to flow like a waterfall, white, unseeing eyes suddenly filled\nwith life. \"The end of the beginning has come. The land of Vhyl\nawaits thee!\"\nShe makes a sweeping gesture with one arm. Around you, the plain\nstarts to fade away, as when a painting is washed from a glass pane.\nGradually, another landscape takes shape in front of your eyes: the\ngreyish plain is replaced by sand dunes, the featureless horizon\nbecomes dotted with palms...\n\nYou find yourself standing on a desert road under a magnificent,\nstar-studded night sky. Your hair is ruffled by a cold wind that\nsmells of sand and salt; in the distance you hear the booming sound of\nsurf. You recognize the view from uncle Zebulon's tower. Not a trace\nremains of your previous surroundings.\n\nYou let your gaze wander around the distant horizon, where palm\ntrees are outlined against the starry sky. It is drawn to the\nsilhouette of the fabulous city of Cyr-Dhool, a dreamlike mirage at the\nfar end of a narrow road that winds across the desert of Noori. Drawn\nby a strong feeling that your inheritance awaits you inside the city,\nyou start walking along the road, through the strange country of Vhyl.\n\nYou walk for an hour or so, feeling the cold, invigorating breeze\nagainst your face, letting the dry smells of the desert and the salty\ntang of the distant sea fill your nostrils. In front of you, now and\nthen obscured by intervening dunes, steadily growing larger, you see\nthe city of Cyr-Dhool, its many spires and cupolas glittering in the\nstarlight like some gigantic piece of jewelry. As you get closer, you\nbegin to wonder about the total stillness of Cyr-Dhool; not a single\nlight shows in its windows, not a single movement is seen. Yet the\ncity somehow doesn't seem dead, but rather asleep.\n\nFinally, you reach the end of the road, in an open place just in\nfront of the city's gates. The polished marble walls tower above you,\ngleaming coolly with reflected starlight. Not a single sentry hails\nyou. As you approach the tall bronze gates, they swing open to leave\nthe passage open into a broad, empty street. With a feeling of elation\nyou enter the city to claim your inheritance.\n\n[Your score just went up 10 points]\n\nAnd thus ends the story of uncle Zebulon's will. Many adventures\nawait you in the city of Cyr-Dhool, but they belong to a different\ngame.\n\n You have won \n\nIn a total of 260 turns, you have achieved a score of 75 points out of\na possible 75, and visited 12 locations out of 12.\n\nYou may restore a saved game, start over, quit, or undo the current\ncommand."
    },
    {
        "text": "[Themes: Superhero, superhero, multiple protagonists, female protagonist, science fiction]\n\nEpisode 3:\nLUMINOUS HORIZON\n\nWelcome to LUMINOUS HORIZON!\n\n1) Information about this game\n2) If you've played other Earth And Sky games...\n3) Disable conversation menus\n4) Restore a saved game\n5) Start a new game\n6) Quit the game\n\n> 2\nPlease make a selection: 2\n\nIt's Continuity Time! Please answer a few questions to help establish what happened in your sessions with earlier Earth And Sky games:\n\nHave you played Part 1, Earth And Sky, to completion?\n\n> Y.\nPlease answer yes or no.>\nGreat! Was Aunt Nina blinded at the end of your game session?\n\n> Yes\nPlease answer yes or no.>\n\nHave you played part 2, Another Earth, Another Sky, to completion?\n\n> Yes\nPlease answer yes or no.>\nExcellent! Were Emily and Austin together at the end of your game session?\n\n> Yes\nPlease answer yes or no.>\n\nAnd that marks the end of the continuity questions. Thanks for your participation!\n\nWelcome to LUMINOUS HORIZON!\n\n1) Information about this game\n2) If you've played other Earth And Sky games...\n3) Disable conversation menus\n4) Restore a saved game\n5) Start a new game\n6) Quit the game\n\n> 5\nPlease make a selection: 5\n\nThere is heat. There is glaring light outside your closed eyes. You are aware of uneven, rocky ground beneath you, its prickles and points muffled by the thick earthsuit that covers your body. You slowly sit up, opening your eyes to an arid landscape of rocks and scrub. How did you get here?\n\nThen the memories erupt. Your parents' disappearance a month ago. Your discovery of their creations, suits that give you and your sister Emily fantastic superpowers. Using those powers to save your campus when longtime family friend Nina Icolari turned into a raging behemoth, transformed by a prehistoric bacteria sample gone amok. When Aunt Nina recovered, she also recovered memories that had been suppressed by mysterious interlopers, memories that led you and Emily to Professor Thaddeus Andrews' remote observation post in the Sierra Nevadas. There, you found an astonishing teleportation device, apparently built by your parents. The device took you to another world entirely, an artificially constructed planetoid built solely for the purpose of testing hyper-evolutionary bacteria, perhaps related to the microbes that affected Aunt Nina.\n\nEmily was transported to the other side of the planetoid's outer structure, where you found the alien scientist in charge of the experiment. That scientist explained to the two of you that his rival Esrrua had stowed a spy-creature aboard the experiment, and that Andrews had tried to intervene in the ensuing fight, only to be captured by Esrrua himself. Your parents had followed to rescue Andrews, pursuing the spy-creature through another teleportation portal... the same one that brought you here. But although Emily is beside you, struggling to her feet and no doubt reliving her own memories, your parents are nowhere to be seen. In fact, besides the bushes and the distant mountains, the area is quite featureless.\n\nWhere are you?\n\nEarth And Sky: Episode 3\n\nScrub bushes and sparse grasses provide a little ground cover for the otherwise rocky, sandy soil of this area. Other than the jagged mountains looming a few miles to the east, this spot seems entirely barren.\n\nA damaged road sign lies at your feet.\n\nEmily hovers a few inches above the ground here.\n\n> You read the sign\nThis highway sign reads ALAMOGORDO 23. Its steel post appears to have been twisted and deformed by some incredible force, so much so that you can't tell where the sign originally stood.\n\n> About yourself\nSporting your earthsuit, you look every inch the superhero. Well, except without the caricatured physique.\n\n> You talk to Emily\n\"That teleportation thing is so strange, isn't it?\" you say. \"I feel like I just woke up from this amazing dream right into another dream.\"\n\nEmily snorts. \"Yeah, some amazing dream. I pretty much spent the entire time in a prison cell.\"\n\n\"Okay, sure, but come on, how often do you see aliens and robots and space stations and all that kind of stuff?\"\n\n\"I guess,\" she says sullenly.\n\nTime to change the subject. \"So,\" you ask, \"any ideas on what we should do next?\"\n\n\"Well, if it were me, I'd probably explore around this area a bit first, at least do what we can to figure out where we are.\"\n\n\"What do you mean, if it were you? You planning to just hang out and let me do all the work again?\"\n\nEmily glares at you. \"Fine. We should explore this area first. I think we were sent here for a reason, and we just need to find out what's special about this spot.\""
    },
    {
        "text": "[Themes: Superhero, multiple protagonists]\n\n> You look at your surroundings\nScrub bushes and sparse grasses provide a little ground cover for the otherwise rocky, sandy soil of this area. Other than the jagged mountains looming a few miles to the east, this spot seems entirely barren.\n\nA damaged road sign lies at your feet.\n\nEmily hovers a few inches above the ground here.\n\n> You examine the mountains\nThe mountains are a few miles distant. Their sharp, jagged peaks feel different, harsher than the solemn ridges of your familiar Sierra Nevadas.\n\n> Go east\nYou consider heading towards the mountains, but something just feels wrong about that. If you were supposed to find your parents there, why wouldn't the teleporter have sent you there to begin with?\n\nWhat the--? For a second there you could swear you saw the air shimmer in the heat, except that there's no heat.\n\n> You go to the north\nYou can see nothing but more scrub in that direction. You take a few steps, then turn around when you realize the uselessness of aimless wandering.\n\n> You go east\nYou consider heading towards the mountains, but something just feels wrong about that. If you were supposed to find your parents there, why wouldn't the teleporter have sent you there to begin with?\n\n> You jump\nYou leap straight up to get a higher perspective on your surroundings. At the zenith of your leap, you can see a black, winding stripe of road some distance to the west. The mountains to the east are craggy and forbidding, and the rest of the landscape is desolate. Then gravity pulls you back down to where you started.\n\n> You jump west\nWith practiced ease, you launch yourself up and westwards, soaring over acres of terrain and landing by a decaying road. Emily follows your trajectory, and lands alongside you.\n\nYou are standing on a decrepit country highway, just barely paved, and even that probably happened twenty years ago. The road is deserted -- it's obviously seldom used, if at all. The crumbling asphalt leads north and south in a distracted, wandering fashion.\n\nEmily stands here, looking around.\n\n> You look at the asphalt\nIf you were hoping to give some new shock absorbers a really good test, this is the road you'd want to visit. It's twisty, uneven, and littered with potholes.\n\n> You talk to Emily\n\"This doesn't make any sense!\" you exclaim. \"Why would our parents have followed Professor Andrews into the middle of nowhere? Why would he have been here in the first place?\"\n\n\"Danged if I know,\" says Emily, \"but maybe there's more here than meets the eye. We are talking about aliens, after all -- maybe they're able to conceal things in ways we don't understand. You know, like the Klingon cloaking device or something.\"\n\n\"Better not tell any of your academia friends you know that much about Star Trek.\"\n\n\"Oh, it's okay. I can just claim I'm being a cultural critic.\"\n\n> You go to the north\nIt's likely you'd find somebody after following the road, but it might take a long, long time, and would probably take you off the trail of your parents, too.\n\n> You talk to Emily\n\"I hate to admit it,\" you say, \"but I'm stumped.\"\n\nEmily smirks. \"Well, even though you know more about superheroes and science than I do, looks like it's up to me to get us out of this one. Lucky for you, I have an idea.\n\n\"Follow me,\" she says, and flies back to your original landing place. With a prodigious leap, you arrive next to her a moment later.\n\nScrub bushes and sparse grasses provide a little ground cover for the otherwise rocky, sandy soil of this area. Other than the jagged mountains looming a few miles to the east, this spot seems entirely barren.\n\nA damaged road sign lies at your feet.\n\nShe closes her eyes, and fog begins to coalesce around her. Within moments, a thick cloud of vapor swirls around you both, thinning a minute or two later to a light mist, refracting the sunlight and clinging persistently to the outlines of a structure you can just barely see.\n\n> You look at the structure\nThe remnants of your sister's fog cloud cling tenaciously to the outlines of a mid-sized fortress, cloaked almost imperceptibly among the shrubs and grasses. The fog is particularly thick around the doors, which look quite solid indeed.\n\n> You enter the structure\nNot while those doors bar your way.\n\nWhat the--? For a second there you could swear you saw the air shimmer in the heat, except that there's no heat.\n\n> You open door\nThe doors seem to be quite locked.\n\n> You smash the door\nSLAMMO! You rear back and direct a roundhouse punch at the doors, which fly open and warp on their hinges with the force of your blow! The cloak of invisibility around the fortress flickers, then blinks out altogether, revealing the entirety of the building, standing incongruously in the middle of the empty landscape.\n\n> You examine the structure\nNow that it's visible, the fortress doesn't look nearly as mysterious, though it certainly still looks quite solid. Basically, it's more or less a large bunker, made of the same indestructible polymer that constituted the cat-alien's research station. The fortress doors have been smashed open.\n\n> You enter the structure\nYou and Emily step into the fortress, hoping for the best.\n\nMaerr's ears swiveled to attention at the distant crash. He locked eyes with Science Master Esrrua, and leaned towards the microphone. \"Should we halt the procedure?\"\n\n\"Of course not, you tail-raiser,\" hissed Esrrua over the com-link. \"It's likely nothing, and besides, there are security robots. Seal the room.\"\n\nMaerr's eyes narrowed. He growled low in his throat, but said nothing. His gaze still on Esrrua, he moved the vertical lever downwards. The sound of servos and a resonant thump told him that the lab was now sealed from the outside world, even as the glass partition separated himself and Esrrua. \"Sealed.\""
    },
    {
        "text": "[Themes: Superhero, superhero, multiple protagonists]\n\n> You look around\n[Please press a key to continue]\n\nEpisode 3:\nLUMINOUS HORIZON\n\n> You press the green\n[Please press a key to continue]\n\nSKREE! SKREE! SKREE!\n\nThe instant you cross the threshold, an earsplitting, discordant screech begins repeating through the corridor, and security robots emerge at the end of the hall, skittering towards you with alarming rapidity!\n\n\"Holy crap!\" shouts Emily over the din. \"I'll keep the robots busy, Austin -- you figure out a way to shut off that godawful noise!\" With that, she goes to work, frying robot after robot with her electrical blasts, even as more and more emerge to replace their fallen comrades.\n\nThe entry corridor of the fortress looks innocent enough, just a simple passageway leading north, with some mangled iron doors at the south end. At the moment, though, what with the rampaging horde of security robots, maybe it doesn't seem so innocent after all. Down the length of the corridor, alarms shriek and red lights flash in perfect synchronization.\n\nA transparent bubble on the wall protects a panel of electronics and urgent-looking lights, lights that pulse with the rhythm of the screeching alarm.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> You jump\nYou can't think of a compelling reason to wreck the ceiling.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> You examine the robots\nThe robots are insectile and frightening, gliding swiftly towards you on four articulated limbs attached to a central platform. Rising from this platform is a central body-stem, from which extend two arms that end in glittering needle points. There seems to be an inexhaustible supply of these things.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> You examine the bubble\nThe bubble is clear but looks quite strong. It completely covers the panel, and shows no sign of being openable.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> You punch it\nCRRASH! Your piledriver fist shatters the bubble into thousands of tiny shards!\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> You examine the panel\nThe lights of the panel flash in perfect synchronization with the sounds of the alarm. Although you can discern no obvious operating mechanism, you have a hunch that this panel somehow controls the alarm.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\nEmily slips for a moment, almost slamming to the ground before finally catching herself and floating upward again!\n\n> Punch panel\nTHUNK! You put a significant dent in the alarm panel, but the alarm plays on.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> Switch\nWhat do you want to switch?\n\n> You switch emily\nShe's not something you can switch.\n\nSKREE! SKREE! SKREE!\n\nYour sister is here, fiercely tossing lightning bolts and fogging the robots. The automatons are piling up, but there seems to be an endless stream of replacements, and Emily can't manage to gain any ground.\n\n> Blast panel\nKER-POW! ZZZORK! The alarm panel's casing splits with the force of your lightning bolt, and for a moment all the lights in the corridor flash at strobe intensity. Then they go out, and the alarm sound abruptly stops as the lights flicker back to life. Instantly, the security robots cease their attack and scuttle out of sight, leaving their fallen comrades behind.\n\nThe last dead robot clanks to the ground, and then the corridor is silent, except for a low hum that seems to come from far beneath you.\n\n> You examine the robots\n[Please press a key to continue]\n\nWhen the alarm stopped, Science Master Esrrua flicked his tail in Maerr's direction without looking up from his work. \"You see? The security bots have solved whatever problem was occurring.\"\n\n\"I regret that you are wrong, pridemate. My displays indicate that living, non-iueeoorr creatures roam the first level.\"\n\nEsrrua scowled. \"Piss! Very well, then, let us make sure they remain there. This procedure is too important to interrupt. Shut down the transport tubes!\"\n\nMaerr's paws raced over the panel. \"They are disabled,\" he said.\n\n\"Good! Now, let us continue. Open containment chamber.\"\n\nMaerr moved the horizontal lever from left to right, and the containment chamber on the other side of the glass partition between Esrrua and himself slid open. \"Opening.\"\n\nEpisode 3:\nLUMINOUS HORIZON\n\nThe entry corridor looks quite the worse for wear from the recent battle. Not only are the southern doors warped and mangled, but the extent of the passageway leading north is scorched, scratched, dented, and littered with nonfunctional security robots.\n\nAn alarm panel adorns the wall here, thoroughly fried by your lightning bolt.\n\nAustin taps his foot nervously beside you.\n\n> Go north\nAustin follows you.\n\nHere, away from the battle scars of the entry corridor, it's easier to see the patterns that dance along the walls: graceful black swirls laid over a softly glowing grey background. From where you stand, paths lead east, west, and south.\n\nAustin is alongside you, his earthsuit nearly blending in with the surroundings.\n\nDirectly opposite the southern corridor, a tall cylinder interrupts the north wall. The tube runs floor to ceiling, with an opening in the front, a foot or two taller than you are.\n\n> You look at the cylinder\nThe tube is made of the same material as the walls, and is the same color, light grey with black swirls.\n\n> You enter the tube\nConfidently, you step into the tube. You stand there. You wait. Nothing happens, and there's no space above or below you to fly into, so you step back out again.\n\n> You talk to Austin\n\"Nice job on that bubble,\" you say.\n\n\"And my compliments on your panel-electrocution,\" replies Austin.\n\nAn awkward silence follows.\n\n> Change\n[now controlling Austin]\n\nFrom where you stand, paths lead east, west, and south.\n\nEmily is nearby, waiting for you to do something interesting.\n\nDirectly opposite the southern corridor, a tall cylinder interrupts the north wall. The tube runs floor to ceiling, with an opening in the front, a foot or two taller than you are.\n\n> You talk to Emily\n\"So listen,\" you say, \"about this tube... the design of it looks a little familiar to me. I think it might be related to these transportation tubes I saw on the alien sphere. You step inside it and some kind of gravity control mechanism raises or lowers you to another level. It's really a rather fascinating technology, and I have some ideas as to how it might have been accomplished. Certain subatomic particles have been theorized, and to some extent observed, to have anti-gravitic properties, and it's possible that--\"\n\n\"So,\" Emily interrupts, \"you're saying we should step into this tube?\"\n\n\"We already tested the tube, remember? I have a feeling that it won't be taking us anywhere. We'll have to find some other way into the lower levels.\"\n\n> Punch floor\nTHOOM! You bring your mighty foot down on the ground, causing a minor tremor. Nothing useful seems to result.\n\n\"Whoa!\" says Emily, settling back down to the ground. \"Thought you could knock me off my feet, huh? Too bad for you I can fly.\" She sticks her tongue out at you."
    },
    {
        "text": "[Themes: Superhero, female protagonist]\n\n> Look around\nFrom where you stand, paths lead east, west, and south.\n\nEmily is here, watching you.\n\nDirectly opposite the southern corridor, a tall cylinder interrupts the north wall. The tube runs floor to ceiling, with an opening in the front, a foot or two taller than you are.\n\n> Go east\nEmily follows you.\n\nThis is a short corridor, leading west to the T junction and dead-ending in a blank wall to the east. Light in these corridors is ambient, radiating evenly from the walls, floor, and ceiling.\n\nEmily is nearby, waiting for you to do something interesting.\n\nAn archway leads south into shadow.\n\n> Go south\nEmily follows you.\n\nThis is a huge room, thousands of square feet, with its ceiling high enough to be invisible in the darkness -- in other words, a room very much like your parents' lab back home, and pain pierces you at the thought. However, where your parents' lab is occupied by clutter and machinery, this room is rather bare, except for the large device in the center. At least, you suppose it's bare, but the only light in here is what leaks through the archway leading north; shadows rule everywhere else.\n\nEmily stands a few feet away from you, looking stricken for a moment, then composing herself.\n\nA sizable machine dominates the room, two stories tall and covered in a nest of pipes. It has the unmistakable appearance of a vehicle. You tell Emily so, and she just nods and says, \"Whatever you say, Austin,\" in that way she has.\n\n> You look at the vehicle\nThe vehicle is large and sleek, roughly rectangular in shape but tapering a bit at one end. Its entire surface is covered in a mazy tangle of pipes. Pipes wind around each other and down every side and edge, some terminating in a flare at the ground and others opening dark holes at the ship's untapered end. The whole thing looks a bit like an unfortunate collision between a shoebox and a French horn. No entrance is apparent anywhere.\n\n> You examine the pipes\nBased on their configuration, you surmise that these pipes must have something to do with propulsion and stabilization of the craft.\n\n> You enter the pipes\nUnless you manage to acquire a shrinking power, the pipes are too small to enter.\n\n> You talk to Emily\nYou've said all you can think of to say to Emily for the moment.\n\n> You go to the north\nEmily follows you.\n\nThis is a short corridor, leading west to the T junction and dead-ending in a blank wall to the east. Light in these corridors is ambient, radiating evenly from the walls, floor, and ceiling.\n\nEmily is here, watching you.\n\nAn archway leads south into shadow.\n\n> You go west\nEmily follows you.\n\nFrom where you stand, paths lead east, west, and south.\n\nEmily is nearby, waiting for you to do something interesting.\n\nDirectly opposite the southern corridor, a tall cylinder interrupts the north wall. The tube runs floor to ceiling, with an opening in the front, a foot or two taller than you are.\n\n> You go west\nEmily follows you.\n\nThis is a short corridor, leading east to the T junction and dead-ending in a blank wall to the west. Light in these corridors is ambient, radiating evenly from the walls, floor, and ceiling.\n\nEmily leans against the wall here.\n\nA tall archway provides an exit to the south.\n\n> You go to the south\nBefore you break the plane of the archway, you look where you're going, and what you see stops you cold. The room beyond the archway is home to rank upon rank of security robots. There must be hundreds of them, standing alertly in thick regiments. The robots have clearly noticed you -- their bodies swivel to follow your every movement, but they do not advance. Down one of the aisles formed by the regiments, far at the back of the room, the lights of a large machine march in perfect rhythm.\n\n> You look at the machine\nThe machine is at the back of a big room, so you can't make out much -- mostly just that it's large and festooned with flashing lights. The whole thing is maybe the size of a concession stand, with yellow sliding doors on its front, flanked by black walls that curve smoothly away. Given its placement and its shape, you suspect that it serves the purpose of creating the security robots, and perhaps controlling them as well.\n\n> Punch machine\nThe large machine is too far away.\n\n> You go south\n\"Austin!\" shouts Emily. \"What's the matter with you? You saw how tough it was to fight off those robots in a narrow corridor -- stepping into that room would be suicide!\"\n\nPlease select a reply:\n\n1) \"Oh, right. Good point.\"\n2) \"I can take 'em! I've got SUPER-POWERS!\"\n3) \"But how do we know they'll attack?\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\n\"Super-powers maybe, but you're not invincible, dummy. Those robots would massacre you, and I'd like you around for a while longer.\"\n\n> Go south\nEmily just says, \"Think again, Austin.\"\n\n> Blast machine\nYou look at the machine. It seems so far away, but the robots prevent you from getting any closer. If you're going to blast it, you'll have to do it from here.\n\nYou thrust your hand toward it, willing the skysuit to do its lightning bolt thing. There's a tiny tingle, then a little more, but no lightning. Dammit. Just too far away. You drop your hand.\n\nNo! You've come through an incredible amount of craziness to find your parents, and here you are, and you are not going to be stopped by this! You thrust your hand out again, and this time you keep your arm extended, feeling yourself starting to sweat within the skysuit.\n\n\"My God, of course!\" says Austin. \"You're holding the charge, aren't you? But Emily, be careful! I think your suit's insulation should protect you, but don't push it too far! What you're doing could be dangerous!\"\n\nSuddenly, with a crackle and a bright flash of light, arcs of electricity are dancing between your fingers and the floor near the machine. They're still a few yards away from the big device, but they begin to creep closer... closer...\nI beg your pardon?\n\n> Continue\nYou can't bear to let the charge build any further, and you drop your arm, steeling your resolve to start over. The electrical arcs vanish, and you can breathe again. So you take a deep breath, close your eyes, and extend your arm.\n\n\"Careful, Em,\" says Austin.\n\nSuddenly, with a crackle and a bright flash of light, arcs of electricity are dancing between your fingers and the floor near the machine. They're still a few yards away from the big device, but they begin to creep closer... closer...\n\n> You fly\nYou can't bear to let the charge build any further, and you drop your arm. The electrical arcs vanish, and you can breathe again.\n\nThe ceiling is low enough that all you could do is hover a foot or so above the ground, so you don't bother.\n\n> Blast machine\nSo you take a deep breath, close your eyes, and extend your arm.\n\n\"Careful, Em,\" says Austin.\n\nSuddenly, with a crackle and a bright flash of light, arcs of electricity are dancing between your fingers and the floor near the machine. They're still a few yards away from the big device, but they begin to creep closer... closer...\n\n> Wait\nYou wait, letting the charge build, and soon the air swims with acrid ozone. Your tongue feels like it's been coated in copper, and your breath comes in quick gasps. The electrical arcs brighten, inching ever closer to the machine, until they're just a few feet away from making contact.\n\n> You wait for a while\nYou can barely keep your arm straight as your muscles begin spasming of their own accord. The buzz of the electricity drones relentlessly in your ears, and through the red mist that's rapidly obscuring your vision, you can see that your electrical charge is just inches away from the huge machine.\n\nDistantly, you can hear Austin shouting encouragement. \"You're almost there, Emily! If you can just hang on a few seconds more, you'll get it!\"\n\n> Wait\nZZZORK!\nKA-BOOM!\n\nYour blast reaches the machine, which explodes in a gratifying shower of sparks, like a special effect on the old Star Trek. I did this amazingly hard thing, and the image that comes to my mind is of Star Trek? These are your last thoughts as you slip out of consciousness.\n\n[now controlling Austin]\n\nThis is a short corridor, leading east to the T junction and dead-ending in a blank wall to the west. Light in these corridors is ambient, radiating evenly from the walls, floor, and ceiling.\n\nA tall archway provides an exit to the south.\n\nThe bright current flowing from Emily's fingertips vanishes, and she crumples to the floor.\n\n\"Emily!\" you cry, rushing to her. She doesn't respond. You reach down to pick her up -- she feels light as a sheet of paper in your earthsuited arms. Her head lolls, and then her eyelids begin to twitch.\n\n\"All that electroshock, and I'm still in a rotten mood,\" she says, opening her eyes and smiling weakly up at you. You release the breath you didn't know you were holding, and lower her back down to the ground, steadying her until she can stand up on her own. She looks tired, but none the worse for wear after her ordeal.\n\nThe same can't be said for the distant machine, its lights extinguished and smoke pouring from between its doors. Every robot in the room seems to have been affected by the machine's destruction -- they all slump slightly forward in the same inactive, defeated pose.\n\n> Go south\nEmily follows you.\n\nThe lights are still ambient and sourceless but much brighter in this room, a cavernous space housing hundreds of security robots. The sound and vibration you felt in other rooms of the fortress is quite a bit stronger here, so much so that you can't hear or feel your own footsteps. At the south end of the room, a ruined robot controller sends plumes of noisome black smoke up to the high ceiling. A tall archway leads north.\n\nEmily is here, watching you.\n\n> You look at the controller\nThis machine is about the size of a concession stand, with yellow double-doors in the front and black polymer walls that curve smoothly away. It is structurally intact, more or less, but it is obviously quite defunct. Its lights have gone out, and black smoke seeps from between its doors. Now that you're closer to it, you can see that the machine isn't just resting on the ground, but instead rises up from it, almost as if it were a part of the floor.\n\n> You open doors\nYou step up to the doors, prying your fingers into the seam between them. With muscles made mighty by the power of the earthsuit, you pull, and the doors slide apart with an earsplitting SKREEEK! of protest, releasing a cloud of evil-smelling black smoke directly into your face. By the time your coughing fit ends, the smoke has dissipated, and you can see a small, dim space beyond the open doors.\n\n> You enter the controller\nEmily follows you.\n\nHere in the guts of the former robot controller, there's barely room for two people to stand up, and even then, they have to be hunched over. Disappointingly, the walls are just more reflective polymer, betraying no information about the inner workings of the device. In fact, the only complicated-looking thing in here at all is the floor, which is a small metropolis of gleaming, interlocking metal pieces, with handle-like protrusions rising prominently from each edge. It's hard to find anywhere to put your feet where you won't be crushing something. The noise and vibration you felt in the outer room are even stronger in here. You can exit through the aperture made by the wrenched-open doors.\n\nEmily is alongside you, resplendent in blue and white.\n\n> Smash floor\nTHOOM! You flatten some of the gears and blocks with a potent stomp, but the floor remains in place.\n\n> You pull protrusions\nThese cramped quarters make it difficult for you to find a place to stand where you can pull the floor up. The fact that Emily is crammed in here with you makes it impossible.\n\n> You ask Emily,  to go outside\n\"Okay, but just this once, because it is way too cramped in here.\" She floats serenely out.\n\n> You pull the protrusions\nWith one knee bent and your other foot resting almost all the way outside the chamber, you lean forward, gripping the handles at the furthest edge from the door. You brace yourself, and strain against the floor, willing it upward with every ounce of power in your tired muscles. At first, the floor seems immobile and your effort hopeless, but then you hear the sounds of metal pieces grinding against each other, and you feel the seam begin to give. There is a tearing, then another, and suddenly, an enormously satisfying KKKKRRRKK! as thousands of tiny clockwork pieces smash together and the floor peels backwards like a banana skin, folding into an inviting carpet in front of the robot controller.\n\nThe lights are still ambient and sourceless but much brighter in this room, a cavernous space housing hundreds of security robots. The sound and vibration you felt in other rooms of the fortress is quite a bit stronger here, so much so that you can't hear or feel your own footsteps. At the south end of the room is the robot fabricator, whose former floor is now folded in front of it like a welcome mat. A tall archway leads north.\n\nEmily leans against the wall here.\n\n> You enter\nEmily follows you.\n\nHere in the guts of the former robot controller, there's barely room for two people to stand up, and even then, they have to be hunched over. Disappointingly, the walls are just more reflective polymer, betraying no information about the inner workings of the device. You're balancing precariously on a thin metal rafter joist, all that's left of the floor you ripped away. Loud, constant machine noise comes from below, where you can see small, blocky robots milling about purposefully, on a floor that's at least five stories down from here. As well as the obvious way down, you can also exit through the aperture made by the wrenched-open doors.\n\nEmily hovers above the hole you've made in the floor."
    },
    {
        "text": "> Go downward\nYou step off the joist and plummet towards the floor below...\n\nTwo sets of ears snapped alert. \"Something has been torn,\" said Maerr.\n\n\"Status,\" growled Esrrua, his back hunched and his narrow-slitted eyes focused on the crystal held sterile in its transparent container.\n\n\"The intruders have reached the drilling room.\"\n\nScience Master Esrrua emitted a strangled sound. \"This is intolerable!\" he spat. \"Reactivate the transport tubes and send the simian-hunters through them. Instruct them to exterminate the prey immediately. No sport.\"\n\n\"I shall so instruct, though you know their independent natures.\"\n\n\"They will obey or die. These interruptions must cease! Open transfer chamber.\"\n\nOnce again Maerr manipulated the panel, and a quick symphony of servos played. \"Simian-hunters released. Transfer chamber opened.\"\n\nEpisode 3:\nLUMINOUS HORIZON\n\nYou land on the floor with a WHUMP that you can barely hear due to the incredibly high noise level in here.\n\nEmily follows you.\n\nA low, teeth-rattling vibration and a deafening hum fill this room, so loud you feel like you've got knitting needles jammed in your ears. The sonic barrage makes it difficult to concentrate on anything else, but the huge apparatus dominating the north half of the room demands your notice. It's a giant, threaded cone, pointed towards the ground and held by a sturdy frame -- obviously a drill, even if it wasn't poised above an immense hole in the floor, which in fact it is. The drill's operating mechanism isn't readily visible, as you're finding is typical of this alien technology. On the opposite wall, a pile of polished crystals reaches up towards the high ceiling. Between these two monoliths, dozens of small, squarish robots buzz around you constantly, frenetically working at various tasks. A wide archway leads west, and a hole in the distant ceiling provides access to the upper level of the fortress.\n\nEmily stands here, looking around.\n\n> You examine the robots\nThe robots mill around you constantly, each busily working at its prescribed task. Some float up from inside the hole, hauling rocks; others polish these rocks until crystal shines through; others cut the larger crystals into rectangular blocks; and still others sort the crystals into their respective piles.\n\n> You examine the crystals\nThe pile of crystals is actually two adjoining piles. One consists of larger specimens, hewn roughly into rectangles, stacked atop one another, and refracting the light quite beautifully. Oddly, the crystals aren't particularly gemlike, looking more like polished glass trinkets with air-bubbles trapped inside them. The other pile appears to be remnants from the first, and ranges from fair-sized, irregularly shaped hunks to powdery heaps.\n\n> Punch drill\nWHAM! You can't hear the impact, but you certainly feel it as you slam a powerful fist into the frame that supports the drill. It bends perilously, setting the auger at a crazy angle to the ground.\n\n> You keep going\nWHAM! You can't hear the impact, but you certainly feel it as you slam a powerful fist into the frame that supports the drill. It breaks the rest of the way, and the drill topples to the ground with a CRRASH that looks a lot more impressive than it sounds in this earsplitting room. Your action seems to have affected neither the activity level of the robots nor the noise level of the room.\n\n>WHAM! You can't hear the impact, but you certainly feel it as you slam a powerful fist into the frame that supports the drill. It breaks the rest of the way, and the drill topples to the ground with a CRRASH that looks a lot more impressive than it sounds in this earsplitting room. Your action seems to have affected neither the activity level of the robots nor the noise level of the room."
    },
    {
        "text": "[Themes: Superhero, science fiction]\n\n> Look around\nA low, teeth-rattling vibration and a deafening hum fill this room, so loud you feel like you've got knitting needles jammed in your ears. The sonic barrage makes it difficult to concentrate on anything else, but the huge apparatus dominating the north half of the room demands your notice. It's a giant, threaded cone, pointed at the wall and lying on its side, thanks to the action of your super-strength and violent tendencies. Apparently, it used to be a drill, but it seems unlikely that it'll be doing any drilling in the near future. The results of its handiwork are still evident in the immense pit that it dug. On the opposite wall, a pile of polished crystals reaches up towards the high ceiling. Between these two monoliths, dozens of small, squarish robots buzz around you constantly, frenetically working at various tasks. A wide archway leads west, and a hole in the distant ceiling provides access to the upper level of the fortress.\n\nEmily is nearby, waiting for you to do something interesting.\n\n> You look in the pit\nDarkness.\n\n> You say the echo\n(to Emily)\nThere is no reply.\n\n> You get the crystal\nIt would be easy enough to haul around one of these big hunks of crystal. It would be difficult to find a reason to do so.\n\n> You take the drill\nThat's hardly portable.\n\n> You take the robot\nThey're hardly portable.\n\n> Punch crystals\nYou aim a devastatingly powerful blow at one of the crystals, which shatters dramatically into fragments.\n\n> Blast crystals\nYou extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the crystals. With a thundering KER-POW, one of the crystals disintegrates, leaving only a smoking scorch mark.\n\n> You go west\nAustin follows you.\n\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a wide archway emits loud, droning noise.\n\nSLAM! says the archway, and suddenly an implacable black barrier fills it, blocking your way back to the drill room.\n\n\"Oh dear,\" says Austin.\n\nThere is a WHOOSHing sound at both ends of the corridor, and bright colors overpower the hall's neutral tones. At the north end, it's a petite Asian woman hovering just above the floor in a bodysuit of fiery orange and yellow, intricate flame patterns curling across it that mirror the fire dancing around her hands. Opposite her, at the corridor's south end, stands a tall, fair-skinned man, also in a bodysuit, this one a swirling grey latticed with thin streaks of bright purple.\n\nAt this point, three realizations hit you. One, these bodysuits are just like yours, right down to the cowls and masks. Two, if you and your brother represent air and earth, these two must represent fire and water. And three, these are your parents. You've found your parents at last. Alive. But your joy turns to dread as you see the malice in their eyes.\n\n\"Humans!\" shouts your mother imperiously, \"You have invaded the facilities of Science Master Esrrua! Prepare to suffer the consequences! You will meet your death at the hands of FIRE AND RAIN!\n\nPlease select a reply:\n\n1) \"Mom! It's us! It's Austin and Emily! We're here to rescue you!\"\n2) \"Snap out of it, you guys! You're Claire and Scott Colborn! We're your kids!\"\n3) \"Wait. What?\"\n4) \"You named your super-team after a James Taylor song? That is so Baby Boomer!\"\n\n> 4\nSelect an option or 0 to say nothing >> 4\n\nA burst of flame from your mother's hands is her only answer, and you dodge just in time.\n\n> You get the oedipal\n[Please press a key to continue]\n\nDeep Corridor (facing north)\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a reflective black barrier seals the archway.\n\nYour father is behind you, facing Austin.\n\nYour mother is in front of you, her firelit eyes glaring at you with naked hatred.\n\nYou and Austin are standing back-to-back, each of you facing off against one parent.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father from behind you.\n\n> You kill the fire\n(Mom)\nThat action doesn't fit your code of ethics.\n\nMom floats a little higher into the air, and throws her hands above her head.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> Blast fire\n(Mom)\nA blast of lightning from you would stop her, alright. It would probably kill her. The thought sickens you; even though she's out of her mind, she's still your mother. You have to find another solution.\n\nFSSSH! Mom aims an open hand at you, and a gout of flame shoots outward from it. You manage to avoid the brunt of the blast, but some of the flames still touch your shoulder! The skysuit seems to be holding up pretty well so far, but the sooner you can get out of this, the better.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from behind you. Apparently Mom and Dad have spent the last month enrolled in a crash course at the School Of Supervillain Clich?s.\n\n> Fog mom\nYou concentrate, but even as the mist forms around your mother, the waves of heat that pulsate from her burn it off immediately.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\nFrom behind you comes the sound of water swirling and crashing, like a waterfall in a fast river.\n\n> Blast pipes\nYour lightning powers don't normally work on objects that far away. You know now that if you hold a charge for a very long time, you can sometimes go further, but in this instance it hardly seems worth it.\n\nMom floats a little higher into the air, and throws her hands above her head.\n\nSPLORSH! You can hear one of Dad's water jets behind you, and there's a WHOOSH as Austin leaps upward to avoid it. Unfortunately, that means that the water jet hits you squarely in the back, sending you sprawling towards Mom! You manage to recover in the air and float backwards again, but your bones are still aching from the impact. The skysuit seems to be holding up pretty well so far, but the sooner you can get out of this, the better. A moment later, Austin returns to his former location.\n\n> You go up\nYou launch yourself upward, and at the zenith of your leap, you grab one of the pipes that runs along the ceiling.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You, in turn, hang suspended from the pipes. The earthsuit lets you grip them tirelessly, but you still need both arms to do it.\n\nFSSSH! You can hear one of Mom's flame jets behind you, and there's a WHOOSH as Emily flies upward to avoid it. A moment later, Emily returns to her former location.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father from below you, and while he speaks, moisture coalesces seemingly from nowhere to form an aura around his body, covering everything except his head in a watery shell. As it collects, the water spins with incredible speed, effectively becoming kinetic armor.\n\n\"And I thought they repeated themselves a lot before they turned into supervillains!\" shouts Emily.\n\n> Blast pipes\nYour lightning powers don't normally work on objects that far away. You know now that if you hold a charge for a very long time, you can sometimes go further, but in this instance it hardly seems worth it.\n\nMom floats a little higher into the air, and throws her hands above her head.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from behind you.\n\n> You talk to em\nIt's true that lots of the great superheroes talk to themselves, but you don't have any exposition you need to do at the moment.\n\nFSSSH! Mom aims an open hand at you, and a gout of flame comes too fast to avoid, nailing you square in the chest! Cracks are beginning to show in the skysuit's outer covering as its insulation wears away under the strain of the attacks.\n\nFrom behind you comes the sound of water swirling and crashing, like a waterfall in a fast river.\n\n> You talk to Austin\nHe is too far away.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\nSPLORSH! You can hear one of Dad's water jets behind you, and there's a WHOOSH as Austin drops downward to avoid it. A moment later, Austin returns to his former location.\n\n> You fly\nEasily, you soar upwards.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You're floating just beneath them.\n\nAustin is next to you, hanging onto one of the pipes that runs along the ceiling.\n\nMom floats a little further to the north, and throws her hands above her head.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father from behind and below you.\n\n> Blast pipes\nKER-POW! Lightning arcs from your fingers to the pipes, but they are unaffected.\n\nFSSSH! Mom aims an open hand at you and fire jets upward. There's no room to maneuver up here, and the fire hits you directly in the legs! Cracks are beginning to show in the skysuit's outer covering as its insulation wears away under the strain of the attacks.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind and beneath you, \"and now you will face the consequences!\"\n\n> You talk to Austin\n\"Austin!\" you cry, \"I don't know what to do!\"\n\n\"I know!\" he shouts in an anguished voice. \"They're obviously being controlled somehow! We can't use our powers against them! We have to find a way to snap them out of this state!\"\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from below you, as the flames from her hands spread to encompass the rest of her body.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from the ground behind you.\n\n> You talk to Austin\n\"What did you have in mind?\" you yell over the din.\n\n\"Try talking to them!\"\n\nMom floats a little further to the north, and throws her hands above her head.\n\nUnderneath you and to the south comes the sound of water swirling and crashing, like a waterfall in a fast river.\n\n> You talk to Mom\nShe is too far away.\n\nFSSSH! Mom aims an open hand at you and fire jets upward. There's no room to maneuver up here, and the fire hits you directly in the legs! A few pieces of the skysuit's insulation have started to flake off altogether, revealing a freaky mesh of organics and circuitry beneath.\n\nSPLORSH! You can hear one of Dad's water jets behind you, and there's a WHOOSH as Austin drops downward to avoid it. Unfortunately, that means that the water jet hits you squarely in the back, sending you sprawling towards Mom! You manage to recover in the air and float backwards again, but your bones are still aching from the impact. A few pieces of the skysuit's insulation have started to flake off altogether, revealing a freaky mesh of organics and circuitry beneath. A moment later, Austin returns to his former location."
    },
    {
        "text": "[Themes: Superhero, multiple protagonists, science fiction]\n\n> Go downwards\nWith a mental command, you descend. Taking his cue from you, Austin plummets back to the floor.\n\nDeep Corridor (facing north)\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a reflective black barrier seals the archway.\n\nYou and Austin are standing back-to-back, each of you facing off against one parent.\n\nYour father is behind you, facing Austin.\n\nYour mother is in front of you, her firelit eyes glaring at you with naked hatred.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father from behind you.\n\n> You talk to Mom\n\"Mom!\" you cry. \"Wait! Wake up! Stop!\"\n\n\"SILENCE!\" shouts your mother. \"None may command us save Esrrua himself!\"\n\nMom floats a little higher into the air, and throws her hands above her head.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> Continue\nYou already know how useless that is. Better think of something else.\n\nFSSSH! Mom aims an open hand at you, and you just manage to dodge the gout of flame that flies out from it!\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from behind you.\n\n> You talk to Dad\nYou'd have to be facing him to do anything like that.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\nFrom behind you comes the sound of water swirling and crashing, like a waterfall in a fast river."
    },
    {
        "text": "> You talk to Austin\nIt's true that lots of the great superheroes talk to themselves, but you don't have any exposition you need to do at the moment.\n\nFSSSH! You can hear one of Mom's flame jets behind you, and there's a WHOOSH as Emily flies upward to avoid it. Unfortunately, that means that the firebolt hits you squarely in the back, its heat washing over the earthsuit! The earthsuit seems to be holding up pretty well so far, but the sooner you can get out of this, the better. A moment later, Emily returns to her former location.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father, and while he speaks, moisture coalesces seemingly from nowhere to form an aura around his body, covering everything except his head in a watery shell. As it collects, the water spins with incredible speed, effectively becoming kinetic armor.\n\n> You talk to em\n\"Talking didn't work!\" you say. \"What else you got?\"\n\n\"Okay, okay -- wait! Look at Dad's costume!\"\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from behind you.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones, \"and now you will face the consequences!\"\n\n> You look at mom's costume\nYou'd have to be facing her to do anything like that.\n\nIt feels a little hotter behind you.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad.\n\n> You look at the dad's costume\nDad's superhero suit is designed like yours, a skintight body stocking with a cowl and mask attached. Unlike the firesuit, its patterns don't directly represent its powers, but the thin streaks of bright purple on its opalescent grey background suggest rainfall well enough. One thing looks out of place, though: a black circle covering the top of his head, looking like nothing so much as a thick plastic yarmulke.\n\nFSSSH! You can hear one of Mom's flame jets behind you, and there's a WHOOSH as Emily flies upward to avoid it. Unfortunately, that means that the firebolt hits you squarely in the back, its heat washing over the earthsuit! Cracks are beginning to show in the earthsuit's outer covering as its insulation wears away under the strain of the attacks. A moment later, Emily returns to her former location.\n\nDad throws his arms high into the air, and the water that had coalesced around his body gathers itself into a gravity-defying ball above his head.\n\n> You punch the yarmulke\nWhich do you mean, Dad's skullcap or Mom's skullcap?\n\n> Dad'S\nYour muscles tense, but you know you can't do it. Even though he seems to have gone insane, he's still your father; a hit from you might kill him, and you're not that Oedipal. You have to find a way to save him instead.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from behind you.\n\nSPLORSH! Dad leans forward, thrusting both arms towards you, and the ball of water that was suspended above his head elongates itself, coming at you with the force of a firehose! There's no time to dodge, and the blast hits you directly in the chest! You don't feel the impact of the water, but you have a feeling that it's wreaking havoc on the parts of the earthsuit whose insulation has been burned away by Mom's firebolts. Cracks are beginning to show in the earthsuit's outer covering as its insulation wears away under the strain of the attacks.\n\n> You take the dad's yarmulk\nWhich do you mean, the rainsuit or Dad's skullcap?\n\n> You take the dad's skullcap\nYou lunge at Dad, trying to snatch the cap from his head, but he pivots fluidly, and your hand snatches at air.\n\nIt feels a little hotter behind you.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father, and while he speaks, moisture coalesces seemingly from nowhere to form an aura around his body, covering everything except his head in a watery shell. As it collects, the water spins with incredible speed, effectively becoming kinetic armor.\n\n> You take mom's skullcap\nYou lunge at Mom, trying to snatch the cap from her head, but she flies neatly and rapidly out of your way, leaving you grasping at air.\n\nFSSSH! Mom aims an open hand at you, and you just manage to dodge the gout of flame that flies out from it!\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> Blast the mom's skullcap\nA blast of lightning from you would stop her, alright. It would probably kill her. The thought sickens you; even though she's out of her mind, she's still your mother. You have to find another solution.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from behind you.\n\n> Inventory\nYou are carrying:\na skysuit (being worn)\n\nMom floats a little higher into the air, and throws her hands above her head.\n\nFrom behind you comes the sound of water swirling and crashing, like a waterfall in a fast river.\n\n> You talk to Emily\nIt's true that lots of the great superheroes talk to themselves, but you don't have any exposition you need to do at the moment.\n\nFSSSH! Mom aims an open hand at you, and a gout of flame shoots outward from it. You manage to avoid the brunt of the blast, but some of the flames still touch your leg! The skysuit is definitely being affected by Mom and Dad's attacks. The sense of lightness you usually feel is wavering intermittently and you can feel your command of fog and electricity slipping from you.\n\nSPLORSH! You can hear one of Dad's water jets behind you, and there's a WHOOSH as Austin leaps upward to avoid it. Unfortunately, that means that the water jet hits you squarely in the back, sending you sprawling towards Mom! You manage to recover in the air and float backwards again, but your bones are still aching from the impact. The skysuit is definitely being affected by Mom and Dad's attacks. The sense of lightness you usually feel is wavering intermittently and you can feel your command of fog and electricity slipping from you. A moment later, Austin returns to his former location.\n\n> You talk to Austin\n\"What are you talking about?\" you bellow.\n\n\"They're bearing attachments that are obviously foreign to the powersuits! The skullcaps! Look!\"\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father from behind you.\n\n> You talk to Austin\n\"What are you talking about?\" you bellow.\n\n\"They're bearing attachments that are obviously foreign to the powersuits! The skullcaps! Look!\"\n\nMom floats a little higher into the air, and throws her hands above her head.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> You go up\nUnsteadily, you soar upwards.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You're floating just beneath them.\n\nFSSSH! A fiery bolt from your mother cooks the spot where you were just standing!\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from the ground behind you.\n\n> You jump\nAustin has better things to do.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from below you, as the flames from her hands spread to encompass the rest of her body.\n\nUnderneath you and to the south comes the sound of water swirling and crashing, like a waterfall in a fast river.\n\n> You examine dad\nDad was always the quieter parent, usually lost in his own thoughts or deeply absorbed in his work. Now he's wearing a skintight grey bodysuit with bright violet streaks, leaping about wild-eyed, and shouting as if he's channeling Laurence Olivier's Hamlet. His attacks may be robotic, but they are nonetheless ruthless; you have no doubt that he will kill you if he can.\n\nSomething about the rainsuit he's wearing seems a little odd.\n\nIt feels a little hotter behind you.\n\nSPLORSH! Dad leans forward, thrusting both arms towards you, and the ball of suspended above his head elongates itself, coming at you with the force of a firehose! You nimbly dodge the brunt of the blast, but part of the spout still hammers at your  leg. You don't feel the impact of the water, but you have a feeling that it's wreaking havoc on the parts of the earthsuit whose insulation has been burned away by Mom's firebolts. Cracks are beginning to show in the earthsuit's outer covering as its insulation wears away under the strain of the attacks.\n\n> Go upwards\nYou launch yourself upward, and at the zenith of your leap, you grab one of the pipes that runs along the ceiling.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You, in turn, hang suspended from the pipes. The earthsuit lets you grip them tirelessly, but you still need both arms to do it.\n\nEmily floats nearby.\n\nYou feel increased heat radiate up at you from the north.\n\nSPLORSH! The water that was above Dad's head shoots outward with the force of a firehose into the spot you just vacated, then rains harmlessly to the ground."
    },
    {
        "text": "[Themes: Superhero, superhero, female protagonist, science fiction]\n\n> Go downward\nYou let go of the pipes and plummet back down to the floor. Taking her cue from you, Emily swoops down as well.\n\nDeep Corridor (facing south)\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a reflective black barrier seals the archway.\n\nYou and Emily are standing back-to-back, each of you facing off against one parent.\n\nYour father is in front of you, his face flushed with bloodlust.\n\nYour mother is behind you, facing Emily.\n\nFSSSH! You can hear one of Mom's flame jets behind you, and there's a WHOOSH as Emily drops downward to avoid it. A moment later, Emily returns to her former location.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father, and while he speaks, moisture coalesces seemingly from nowhere to form an aura around his body, covering everything except his head in a watery shell. As it collects, the water spins with incredible speed, effectively becoming kinetic armor."
    },
    {
        "text": "[Themes: Superhero, superhero, science fiction, female protagonist]\n\n> Go downwards\nYou're on the ground already!\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother, as the flames from her hands spread to encompass the rest of her body.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> Go up\nUnsteadily, you soar upwards.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You're floating just beneath them.\n\nMom floats a little further to the north, and throws her hands above her head.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad from the ground behind you.\n\n> You jump\nYou launch yourself upward, and at the zenith of your leap, you grab one of the pipes that runs along the ceiling.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You, in turn, hang suspended from the pipes. The earthsuit lets you grip them tirelessly, but you still need both arms to do it.\n\nEmily floats nearby.\n\nFSSSH! You can hear one of Mom's flame jets behind you, and there's a WHOOSH as Emily drops downward to avoid it. Unfortunately, that means that the firebolt hits you squarely in the back, its heat washing over the earthsuit! A few pieces of the earthsuit's insulation have started to flake off altogether, revealing a strange mesh of organics and circuitry that would be fascinating if your life wasn't in immediate danger. A moment later, Emily returns to her former location.\n\nDad throws his arms high into the air, and the water that had coalesced around his body gathers itself into a gravity-defying ball underneath you.\n\n> You switch places\n(with Emily)\nNot while you're hanging on to the pipe.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from behind and below you.\n\nSPLORSH! Dad thrusts his hands upward at you, and the ball of water elongates itself, coming at you with the force of a firehose! Hanging from the pipes, you can't avoid the waterspout, and it hits your legs! You don't feel the impact of the water, but you have a feeling that it's wreaking havoc on the parts of the earthsuit whose insulation has been burned away by Mom's firebolts. A few pieces of the earthsuit's insulation have started to flake off altogether, revealing a strange mesh of organics and circuitry that would be fascinating if your life wasn't in immediate danger."
    },
    {
        "text": "[Themes: Superhero, superhero, science fiction]\n\n> Go downward\nYou let go of the pipes and plummet back down to the floor. Taking her cue from you, Emily swoops down as well.\n\nDeep Corridor (facing south)\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a reflective black barrier seals the archway.\n\nYou and Emily are standing back-to-back, each of you facing off against one parent.\n\nYour father is in front of you, his face flushed with bloodlust.\n\nYour mother is behind you, facing Emily.\n\nIt feels a little hotter behind you.\n\n\"You have infected the outer layers of Science Master Esrrua's Mind Outpost, but its core must remain inviolate!\" declaims your father, and while he speaks, moisture coalesces seemingly from nowhere to form an aura around his body, covering everything except his head in a watery shell. As it collects, the water spins with incredible speed, effectively becoming kinetic armor.\n\n> You switch the places\nWhat do you want to switch places with?\n\n> Emily\n\"Emily!\" you shout. \"Change partners!\"\n\nYour sister understands you immediately, and the two of you execute a neat simultaneous turn, leaving you now facing Mom to the north, while Emily looks south to square off against Dad.\n\nFSSSH! Mom aims an open hand at you, and a gout of flame comes too fast to avoid, nailing you square in the stomach! The earthsuit is definitely being affected by Mom and Dad's attacks. You're getting the sense that sometimes it's impeding your movements rather than aiding them, and the power in your limbs definitely seems to be waning.\n\n\"You have awakened the Hounds Of Esrrua,\" Dad intones from behind you, \"and now you will face the consequences!\"\n\n> Fog dad\nYou concentrate, and a thick mist forms around your father, which he immediately absorbs into his watery aura.\n\n\"Those who dare to disturb the work of Science Master Esrrua must feel the heat of his displeasure!\" snarls your mother from behind you.\n\n\"You shall feel the power of Science Master Esrrua rain down upon you!\" shouts Dad.\n\n> You examine the skullcap\nWhich do you mean, Dad's skullcap or Mom's skullcap?\n\n> You look at the dad's skullcap\nIt's a black circle, maybe an inch thick and six inches in diameter, crowning the top of Dad's head. Something about seeing him wearing that little plastic yarmulke just strikes a deep chord of wrongness in you. And it's not just the fact that you know he's an atheist.\n\nIt feels a little hotter behind you.\n\nDad throws his arms high into the air, and the water that had coalesced around his body gathers itself into a gravity-defying ball above his head.\n\n> Up\nUnsteadily, you soar upwards.\n\nSmooth black pipes the diameter of SUV tires hang suspended from the ceiling in this cramped space, running parallel down its length, north and south. You're floating just beneath them.\n\nSSSSSSS!\n\nBlazing flames meet the onrushing torrent below you, and steam boils angrily upwards. In moments, the heat is intense, and you have to shut your eyes as you try to protect your exposed facial skin from the scalding vapor. Just as the pain reaches a crescendo, the hissing sounds stop, replaced by peaceful silence and the gradual ebbing of the mist. When you open your eyes, the corridor is clear of steam and your parents lie below, unconscious.\n\n> Repair suit\n(the skysuit)\nThe skysuit appears to be in perfect working order already.\n\n> Repair suit\n(the earthsuit)\nNot while you're hanging on to the pipe."
    },
    {
        "text": "[Themes: Superhero, superhero, female protagonist, science fiction, multiple protagonists]\n\n> You go downwards\nYou let go of the pipes and plummet back down to the floor. Taking her cue from you, Emily swoops down as well.\n\nYou are at the bottom of a tall, narrow, north-south niche in the earth, like a slice taken out of the warehouse-like drill room. The slice gets narrower towards the top, though, where thick pipes run along the length of the ceiling. To the east, a reflective black barrier seals the archway.\n\nEmily is nearby, waiting for you to do something interesting.\n\nBoth your parents are sprawled on the floor here, defeated and out cold.\n\n> Repair suit\n(the earthsuit)\nThe earthsuit appears to be in perfect working order already.\n\n> You take the dad's skullcap\nGingerly, you kneel down and pull on the cap, trying not to exert too much pressure on your father's body, which suddenly seems very fragile in the face of your earthsuited strength. The adhesive resists at first, but then the cap pops free, and your father's eyes flutter open. You pull back, ready for another attack, but the hatred that was in his face is gone, replaced by recognition and relief.\n\n\"Kids!\" he cries, embracing you each in turn. \"Where's Claire?\" he says, turning around and answering his own question. \"Austin, please take that thing off of her.\"\n\nYou oblige, and in moments, your mother is awake and herself again.\n\n\"Austin, give me those skullcaps, please,\" says your mother in a tone that permits no dissent. She takes them from you, lays them on the ground together, and fires a fierce, sustained blast of heat at them, melting both into one anonymous lump of black plastic.\n\nPlease select a response:\n\n1) \"Don't you want to study those rather than destroy them?\"\n2) \"What were those things?\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"I never, ever want to see those things again, Austin. I desperately hope that humanity never discovers that particular technology.\"\n\nThen she turns to your father. \"Are you okay, honey?\"\n\n\"Yes, I think so,\" he answers. \"The worst part was having to call that alien 'Science Master' -- he's anything but.\"\n\nMom smiles. \"Well, your ego seems to have survived the experience intact.\" Her expression turns grim again. \"Listen kids, something terrible is going on here.\"\n\nPlease select a response:\n\n1) \"You know, Mom, we are in college. We're not really kids anymore.\" 2) \"Wait, wait, wait. What happened to you guys? You've been missing for a month!\"\n3) \"Yeah, what is going on here? What are these guys drilling for?\"\n\n> 3\nSelect an option or 0 to say nothing >> 3\n\n\"Salt,\" she says, grimacing. \"See, bizarre as this sounds, our kidnapper is from an extraterrestrial, nonhuman race. He's named Esrrua, and he thinks of himself as a scientist, though he seems to be somewhat of a laughingstock in his own planet's scientific community. He's formed a bizarre plan to redeem himself by perverting an experiment your Aunt Nina was working on -- he's extracting ancient bacterial samples from salt crystals, and plans to release them into the Earth's atmosphere. We have no clue what effect this will have, but it sure seems like a bad idea.\"\n\nEmily chimes in before you can say anything: \"If they're the same bacteria Aunt Nina was working with, they're liable to turn everybody into gigantic green monsters!\"\n\n\"WHAT?!\" say your parents in unison. You and Emily explain the incident with the earthquake, the bacteria, the monster, the antibiotic, and the crushed football stadium. Hesitantly, you also explain that Emily fired lightning into Nina's eyes, and that she remained blind even after she transformed back into her human self.\n\nDad closes his eyes. \"Oh. Oh, poor Nina. I don't know how I can ever forgive myself for creating the thing that did this to her.\" Then he snaps to attention again. \"So this experiment is even more dangerous than we knew. If those bacteria get out, it could mean the end of humanity as we know it!\"\n\nPlease select a response:\n\n1) \"Oh man, I knew there was a downside to this superhero thing. Couldn't we just call the Avengers at this point?\"\n2) \"Great Scott! We've got to stop him! Where is he?\"\n3) \"Does this have anything to do with the alien bacteria lab that I inadvertently wrecked?\"\n4) \"What theory is he trying to test with this experiment?\"\n\n> 3\nSelect an option or 0 to say nothing >> 3\n\n\"The what, now?\"\n\n\"Oh boy,\" says Emily, \"I smell another recap.\"\n\nYou quickly summarize your experiences on the artificial planetoid with the different environments.\n\n\"So that's what Mrrueao was working on!\" exclaims Dad. \"He was far too arrogant ever to share any information with us. How fascinating that both he and Nina... well, time enough to ponder that later.\"\n\nPlease select a response:\n\n1) \"But Dad, the bacteria I saw didn't turn anything monstrous! They just enhanced intelligence and dexterity!\"\n2) \"Point taken. What do we do next?\"\n\n> 1\nSelect an option or 0 to say nothing >> 1\n\n\"Really?\" says Dad. \"I wonder if the heightened radiation levels from the nearby nuclear tests somehow--\"\n\n\"People, PLEASE!\" says Mom. \"Right now we've got to stop Esrrua, rescue Thad Andrews, and get the heck out of here!\"\n\n\"Good point, dear.\" Dad examines your suits. \"Austin, come here for a moment. Emily, you too.\"\n\nYour father sizes up the damage to both your suits, and opens a previously seamless panel on the back of each. He moves behind you first, and though you can't feel anything, you know he is manipulating parts of the suit that only he understands. Then he turns to Emily, rapidly tapping relays and touchpads built into the skysuit and seeing the muscles and tendons within the suit twitch in response. \"There,\" he says. \"I've accelerated the self-healing process and run a quick hack to restore functionality, albeit temporarily. We've got to get you back home as quickly as possible, but first, we have some business to take care of here.\"\n\nMom says, \"Honey, do you want to upload the--?\"\n\n\"Ah, right, of course,\" says your father. He faces each of you in turn, pressing at the nape of each suit's neck until two ports open, then plugging fingers into the ports for a few seconds each. As he's doing this, he explains, \"In the time that we stayed here, our suits were upgraded with translation software that enabled us to understand the alien's speech patterns. It cared little about ours, but wanted us to understand its commands. We actually prototyped such a thing in hardware, but that's been left in Thad's observatory back home. The advantage of this software version is that I can transfer it directly into your suits... and there, it's done. You'll need it, because I'm afraid it's going to be up to you to face Esrrua.\"\n\nPlease select a response:\n\n1) \"I understand. What would you like us to do?\"\n2) \"What? Why? Can't we at least face him together?\"\n3) \"What are you two going to do?\"\n\n> 2\nSelect an option or 0 to say nothing >> 2\n\n\"The risk is too great, Austin,\" says Mom. \"He's had us under mental control for some time, and if he were to regain it at a crucial moment, you two would be doomed. Besides, we know this fortress, and can take care of some important tasks while you're stopping the experiment. Thad Andrews has to be rescued from his prison, those salt crystals need to be melted so that the bacteria inside can be killed, and we need to prepare the vehicle in the hangar so that we can finally get out of here.\"\n\n\"So here are your tasks,\" says Dad. \"Stop that experiment! Subdue and capture Esrrua and his assistants, if you can. Then meet us in the Hangar on the top level of the fortress -- we'll have the escape vehicle ready.\"\n\nEach of your parents gives you one last hug, then they send you south, down a final transport tube, finally to face the creature behind all this.\n\n> Space\n[Please press a key to continue]\n\n\"I have lost contact with the simian-hunters,\" said Maerr. \"They are either killed or free.\"\n\nThe hairs rose on Science Master Esrrua's neck, and for the first time, he detected a faint smell of fear on himself. \"No!\" he said. \"Not when the experiment is almost ready! Begin extraction!\"\n\nMaerr keyed in a sequence on his control panel, and said, \"Extraction begun.\" Then his head whipped towards the door, ears at full alert.\n\n\"Outside the door, Science Master Esrrua,\" he said. \"I hear something.\"\n\nEpisode 3:\nLUMINOUS HORIZON\n\nThis is a small, sterile room, about the size of a walk-in closet. The floor here seems to be made of bare rock. You're facing a doorway blocked by a smooth sheet of grey polymer. Behind you is a transport tube entrance.\n\nEmily stands a few feet away from you, looking fierce.\n\n> You examine the door\nA smooth sheet of polymer completely fills the doorway to the north. It even seems to have cut into the rock beneath it to create an effective seal.\n\n> Blast door\nKER-POW! Lightning arcs from your fingers to the grey polymer barrier, but it is unaffected.\n\n> You examine the rock\nUnlike the other parts of the fortress, the floor here isn't made of alien polymer. Instead, the walls seem to rest on bare, uneven rock.\n\n> You hit the rock\nYou drive your mighty fingers into the stone beneath the door, pulling them back to cut deep grooves into the living rock. You could easily grip the bottom of the door now.\n\n> Lift door\nYou squat, reaching into the grooves you've made in the stone floor to grip the polymer sheet's bottom edge. With a deep breath, you unbend your knees and thrust your arms upward. The lab door resists your efforts with incredible power, but you manage to create an aperture large enough for you and Emily to go through. You're not sure how much longer you can hold the door up, though.\n\n> You go north\nYou scamper through the aperture, and Austin wrenches himself to the other side of the door. It slams shut when he lets go of it.\n\nEven though this room is filled with clutter and equipment, it still has about as much open floor space as half a basketball court. A large window occupies much of its west wall, through which you can see another room, where one of the cat-aliens stands before a broad control panel. Byzantine machinery dominates all the other walls, and at the far north end of both rooms, a teleportation curtain shimmers and pulsates. Just behind you, to the south, the unbreakable polymer sheet once again blocks the exit. A monitor window floats in the air, displaying a view of the dilapidated road that winds just west of this fortress. Several clear chambers, one of which is filled with a swirling green cloud, reach to the ceiling.\n\nAustin stands next to you, his eyes taking in everything.\n\nIn the center of the room stands another of the cat-aliens: a humanoid figure, well over seven feet tall and heavily muscled. It whirls to face you, and its oval-slitted eyes glare savagely. The creature bares its teeth, flattens its ears, and drops into a crouch. This can be none other than Esrrua.\n\n\"SO!\" shouts Esrrua imperiously. \"Still more apelings come to plague the progress of science! But you are too late! TOO LATE!\"\n\nHe turns toward the window and points at the control panel. \"Maerr, release the bacteria!\"\n\nTurning back to you, he curls his lip. \"I will not taint my paws with your stink, dirty apelings, when my niarr can destroy you instead!\"\n\n\"DEVOUR THEM!\" he shouts, and the white blob surges forward, long pseudopods writhing at its perimeter!\n\n> Zap blob\nKER-POW! Blue lightning flows from your fingertips into the niarr, and for a moment, the creature grows rigid, processing the incredible energy of your blast. Then it swells, expanding to almost double its previous size. The niarr extends its tentacles again, apparently hungrier than ever!\n\nMeanwhile, your brother is pummeling the niarr, and the creature seems to swell with every blow. It's now about quadruple the size it was when you came in.\n\nSimultaneously, Maerr's paws skitter rapidly across the control panel, and a hissing sound fills the air. \"Bacteria released!\" he shouts triumphantly over an intercom, and the green gas roils upwards, disappearing from its chamber. A moment later, the monitor displays a hidden hatch opening in the ground next to the road, and a noxious cloud of viridian vapor spews forth! The cloud expands in all directions, not dissipating but rather multiplying, heading inexorably towards the towns and cities of New Mexico, ground zero for the upcoming worldwide infection.\n\n> Fog maerr\nYou concentrate, and a thick cloud of grey fog envelopes Maerr. You see the cloud moving frantically, and hear the alien's voice over an intercom, crying, \"Science Master Esrrua, I... I cannot see! I cannot trigger the release sequence!\"\n\n\"NOOOOO!\" screams Esrrua. \"I cannot be thwarted when I am so close! Apeling, I shall kill you myself!\" With this, he springs forward, claws extended and reaching for your face!\n\nMeanwhile, you hear Austin's fist slam into the niarr with a muffled WHUMP! The skysuit's mask doesn't leave you much peripheral vision, but it's enough to tell you that the white mass is growing at an alarming rate, swelling in proportion to the force of your brother's blows. It's now about double the size it was when you came in. So why does he keep hitting it?\n\n> You fly\nThe ceiling is low enough that all you could do is hover a foot or so above the ground, so you don't bother.\n\nIn an instant, Esrrua is upon you, his claws slashing through the skysuit to tear open your throat with unerring precision. Consciousness flows out of you as fast as the blood gushes from your jugular vein. Your last sight is of Austin looking with horror at your prone form and screaming, \"NO!\"\n\nYour brother's fists fly at your alien assassin... the bloated niarr looms to consume him... blackness descends.\n\n> Zap esrrua\nYou extend both your hands, and KER-POW! A huge blast of lightning jumps from your fingers, hitting Esrrua directly in the chest! His body flies backwards, its fur all stood on end, and lands in a heap just short of the teleportation curtain, still convulsing.\n\nSimultaneously, your brother directs a fierce karate kick at the niarr, and it lands with a booming WHUMP! Once again, the creature absorbs his blow, expanding like a water balloon hooked to a firehose! The niarr now takes up almost half the room, and it practically vibrates with absorbed energy. A thousand pseudopods shoot out from its edges, grasping at him!\n\nYou hear an anguished, inarticulate scream over the intercom, and the sound of shattering glass. The cloud of fog is on the move, flowing through the broken window, and a screeching voice emerges from within it. \"I cannot see you, murdering simians, but your stench is unmistakable!\"\n\n\"Okay, so powersuit fabric isn't very breathable!\" shouts Austin.\n\nThen the cloud charges at you, covering the distance with alarming speed!\n\n> Fog cloud\n(cloud of fog)\nYou concentrate on fogging cloud of fog, but nothing happens.\n\nSimultaneously, your brother directs a fierce karate kick at the niarr, and it lands with a booming WHUMP! Once again, the creature absorbs his blow! The thing is standing still, vibrating, obscuring your view of the entire room now, all of its attention apparently focused on keeping itself intact.\n\nWith astonishing speed, Maerr's claws reach your face. You feel lacerating pain as your flesh splits and tears, you hear your brother's distant shouts, and quickly enough, you slip into blessed unconsciousness.\n\n> Zap blob\nKER-POW! Blue lightning flows from your fingertips into the niarr, and for a moment, the creature grows rigid, processing the incredible energy of your blast. Then it swells, to fill almost the whole room! The thing is standing still, vibrating, all of its attention apparently focused on keeping itself intact.\n\nWHAM! Austin's fist hurtles into the cloud and connects with Maerr's chest! The alien's body flies out the back of the fog cloud, dispersing the vapor and skidding backwards to land alongside Esrrua.\n\nKA-BLAMMO!\n\nThe explosion was so sudden, so overwhelming that there was no time to protect yourself, no time for anything but flying backwards into the wall. When the blackness in your head lifts, the room is much changed.\n\nThe niarr is gone, though the walls are smeared with white goo and a sour smell hangs in the air. Gone as well are Esrrua and Maerr, apparently blown through the teleportation curtain shortly before it, too, disappeared. And now the room itself seems to be unraveling, while a series of yowls repeat in the air, conveniently translated by the software in your suit:\n\n\"Critical state reached... Self-consumption sequence commenced... Critical state reached... Self-consumption sequence commenced...\"\n\nAll of the equipment that was in this room is gone, and even the walls themselves seem to be rapidly dissolving, melting away before your eyes like film over a candle. Chunks of dirt and large rocks are falling through the rapidly opening holes, and the room seems to be a hair's breadth from collapsing outright!\n\nOne beneficial side-effect of the ongoing room-erasure is that the passage to the south has reopened, and a lucky thing, too, since that's the only way out of here.\n\nAustin is beside you, looking deeply alarmed.\n\n> Go south\nAustin follows you.\n\nHoles are appearing in the walls of this room, but it's still more or less retaining its shape for the moment. The doorway to the north is blocked by thousands of tons of caved-in earth, but the transport tube is unscathed, at least for now.\n\nAustin is running right behind you.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> You enter the tube\nYou step into the tube, and there is a WHOOSH of air with the sensation of upward motion; you step out into new surroundings.\n\nYou were last in this corridor on your way to battle Esrrua, and now it is unraveling along with the rest of the fortress. The dissolution has begin with the transport tube, which pretty much disappeared the moment you stepped out of it, and the walls continue to eat themselves with each passing moment! The corridor continues north, at least for the moment.\n\nAustin steps out of the tube a second behind you.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> You go north\nAustin follows you.\n\nThe corridor has almost collapsed already -- the only things keeping the ceiling from caving in are the pipes above you, which have bowed to an alarming degree, dipping to less than a foot above your head. Dirt and rocks fall between them in a constant rain. The south end of the corridor has caved in completely. Even worse, a huge boulder has rolled into the corridor, blocking your path completely!\n\nAustin is running right behind you.\n\nAn enormous piece of rocky debris fills the corridor.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> FDKJFKD\nEnter saved game to store: Ok.\n\n> Hit debris\nSMASH! With a mighty blow, you shatter the great rock into gravel! With the boulder gone, you can see that as the walls continue to unravel, the barrier to the east has melted away. A northern route into unknown territory is also open.\n\nThe room is just seconds away from collapsing!\n\n> You go north\nEmily follows you.\n\nLike the rest of the fortress, this corridor is about to cease existing. The self-consumption virus is spreading from the south, and coming closer and closer to the transportation tube at the north end of the corridor. Rubble blocks the path south, and what looks like it might have been another tube on the west wall, so that remaining tube is looking like your best and only option.\n\nEmily is flying right behind you.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> You enter the tube\nYou step into the tube, and there is a WHOOSH of air with the sensation of upward motion; you step out into new surroundings.\n\nThe decay has advanced considerably around you, and the entire fortress looks on the verge of disintegration. Collapsed ceilings block the way west and south, and the ongoing cave-in continues to force you eastwards. The walls keep liquefying, and the ceiling here is shuddering unsteadily.\n\nEmily floats out of the tube a second behind you.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> Go east\nEmily follows you.\n\nAlarming holes keep blooming in the walls, and the ceiling sways drunkenly. An archway offers escape to the south.\n\nEmily is flying right behind you.\n\nAn archway leads south into shadow.\n\nThe walls continue to dissolve before your eyes, and that eerily calm alien voice keeps advising you:\n\n\"Critical state reached... Self-consumption sequence continues... Critical state reached... Self-consumption sequence continues...\"\n\n> You go south\nYou and Emily dash through the archway as the room falls apart behind you!\n\nThe fortress is disintegrating all around you, but the ceiling here is open, and the pipe-covered vehicle hovers about eight feet off the ground. The vehicle's floor is transparent, and through it you can see Mom and Dad, along with an older man who must be Thaddeus Andrews, urging you to enter via a large hatch. A quick jump and you're in, with Emily swooping right behind you. The hatch closes, Dad manipulates an alien device, and the vehicle rises higher. Through its floor, you can see the last of the fortress consume itself into nonexistence, with only a sinkhole in the desert to suggest anything of Earth's first contact with an extraterrestrial species.\n\n\"Austin!\" says Emily, grabbing your arm, \"We did it! We found Mom and Dad, and basically saved the world in the process! The freaking world, Austin! We are superheroes! We are a family of superheroes, and my GOD, we rock!\"\n\nYeah. Saved the world. You did, didn't you?\n\nLife is going to be a whole lot different now. That's the thought that keeps going through your head as you sail westward, in an alien vehicle, with your super-powered family, into the luminous horizon."
    },
    {
        "text": "[Themes: music, fantasy]\n\nYour interpreter doesn't support volume control.\nYour interpreter doesn't support volume control.\nYour interpreter doesn't support sound reproduction.\nYour interpreter doesn't support sound reproduction.\nLight My Way Home\n\nVast metal towers stand in silhouette against the stars, backlit by the full moon. Their skeletal arms hold dozens of cables aloft between them, a dozen lines running across the sky like a great celestial loom. You feel energy play across them overhead. Little stands below. Carefully pruned vegetation, low to the ground, covers the undeveloped land beneath the towers.\n\nThere's a stump here, on which sits an old portable radio.\n\nSuburban housing stands in neat rows to the North and South. The flat micro-savannah of the corridor gives way to a tall field of grain to the East, and to the West is a small riverside park.\n\n> About yourself\nYou don't know what you look like. You can't seem to see yourself.\n\n> You examine the stump\nPitted and cracked, this stump is older than many of the living trees nearby.\n\n> You examine the radio\nAn old radio with an empty cassette deck. It seems to be switched on, but the battery compartment on the back is missing its cover and its batteries as well.\n\n> You look at the tower\nThe cable towers loom above, marking the path of the hydroelectric company's power corridor.\n\n> You look at the moon\nThe moon is bright tonight.\n\n> You examine the vegetation\nPatches of grass and vegetation grow in sparse clumps throughout the cleared space of the Hydro Corridor.\n\n> Go east\nThe grain stalks stand over a meter tall, allowing you only a low vantage point across them. Gentle breezes set the surface of the field rippling like cloth.\n\nThe field ends to the West, leading to an undeveloped section of the corridor. Further to the East you see a cluster of containers and haulage equipment.\n\n> You look at the grain\nTall stalks of grain, waving gently in the breeze. You can barely see over them.\n\n> You eat the grain\n(first taking the grain)\nYou can't touch it and you're not sure why.\n\n> Go east\nThe grassy ground marking the hydro corridor ends abruptly at a large gravel lot within a copse of thick trees that blot out the sky. A forklift stands in the middle of the lot as though abandoned in the middle of its use. Near it is a standing floodlight. Miniature warehouses line the North side of the corridor. The trees have been cleared to the South, forming a field with several hay bales in a row. To the East, half a dozen sets of train tracks cluster together.\n\n> You look at the forklift\nThe forklift stands alone and still.\n\n> You examine the hay\nCylindrical bales of hay.\n\n> You look at the trees\nThe trees here are taller than elsewhere in the corridor, blotting out the sky.\n\n> You examine the floodlight\nA pair of bright halogen lights on a stand. It doesn't appear to be plugged in."
    },
    {
        "text": "> Go downwards\nYou approach the tracks, but the power running through them is overwhelming. You find yourself having to turn away.\n\n> You enter the trees\nYou'd rather stay out here.\n\n> You go to the north\nSmall, makeshift warehouses stand here in a row. Most are little more than adapted shipping containers, each with heavy steel doors.\n\nA storage unit, older and larger than the other units is here.\n\n> You examine unit\nThis storage unit seems older, heavier, and a bit larger than the others here. Instead of doors that swing open, the unit has a retracting shutter controlled by a switch.\n\n> You examine the switch\nAn electrical shutter controlled by a switch that powers it. You feel as though you can't touch the switch, but you think you could\npower the shutter.\n\n> Power switch\nYou feed energy to the shutter, and it flies open with a loud rattle.\n\nA huddled figure, crouched against the inside wall of the container, looks up with surprise as the shutter opens. The shutter squeals as it retracts fully, a loud buzz coming from the device.\n\nThe person unfolds themself from their crouched position and stands slowly. You watch them, entranced. They are the most beautiful person you have ever seen.\n\nAppearing slightly dazed, the beautiful person looks around the area.\n\n> You examine the person\nThe most beautiful person you have ever seen.\n\nThe beautiful person flicks the switch on the inside of the shipping container and frowns.\n\n> You enter the container\nYou'd rather stay out here.\n\nThe beautiful person scans the area, brow knit.\n\nA beautiful person wanders South, toward the gravel lot.\n\n> You go south\nThe grassy ground marking the hydro corridor ends abruptly at a large gravel lot within a copse of thick trees that blot out the sky. A forklift stands in the middle of the lot as though abandoned in the middle of its use. Near it is a standing floodlight. Miniature warehouses line the North side of the corridor. The trees have been cleared to the South, forming a field with several hay bales in a row. To the East, half a dozen sets of train tracks cluster together.\n\nYou can see a beautiful person here.\n\nThe beautiful person squints in the darkness.\n\n> Power floodlight\nYou feel the energy dissipate from the shutter.\n\nThe floodlight flares to life.\nThe beautiful person blinks, momentarily blinded by the floodlight.\n\nAfter a moment, they regain their bearings and walk West, through the field of grain.\n\n> You go west\nThe grain stalks stand over a meter tall, allowing you only a low vantage point across them. Gentle breezes set the surface of the field rippling like cloth.\n\nThe field ends to the West, leading to an undeveloped section of the corridor. Further to the East you see a cluster of containers and haulage equipment.\n\n> Go west\nVast metal towers stand in silhouette against the stars, backlit by the full moon. Their skeletal arms hold dozens of cables aloft between them, a dozen lines running across the sky like a great celestial loom. You feel energy play across them overhead. Little stands below. Carefully pruned vegetation, low to the ground, covers the undeveloped land beneath the towers.\n\nThere's a stump here, on which sits an old portable radio.\n\nSuburban housing stands in neat rows to the North and South. The flat micro-savannah of the corridor gives way to a tall field of grain to the East, and to the West is a small riverside park.\n\nYou can see a beautiful person here.\n\nThe beautiful person is playing with the radio, a frown marring their perfect face. They turn the radio off and on several times, sigh, and place the radio back on the stump. They stand and walk South, toward a ruined house.\n\n> Power radio\nYou feel the energy dissipate from the floodlight.\n\nThe radio crackles to life, crooning a quiet ballad.\n\n> You go south\nRows of houses, similar but not the same, line the edge of the corridor. Amidst the intact houses, one ruin stands out.\n\nLittle more than a burned-out husk, what was once a house is now little more than a foundation and debris, any furniture reduced to a lump of ash. A tall room fan lies on its side here.\n\nThe Hydro Corridor is to the North.\n\nYou can see a beautiful person here.\n\nAs you approach, you see the beautiful person lift the fan gingerly from the ground and set it upright. They dust off their hands, sigh, and lean on the top of the fan.\n\nThe beautiful person perks up, hearing a faint sound in the distance.\n\n> You wait\nTime passes.\n\nThe beautiful person squints, trying to figure out whether the sound was real or imagined.\n\n> Wait\nTime passes.\n\nThe beautiful person turns toward the North.\n\nA beautiful person walks North toward the sound of the music.\n\n> You go to the north\nVast metal towers stand in silhouette against the stars, backlit by the full moon. Their skeletal arms hold dozens of cables aloft between them, a dozen lines running across the sky like a great celestial loom. You feel energy play across them overhead. Little stands below. Carefully pruned vegetation, low to the ground, covers the undeveloped land beneath the towers.\n\nThere's a stump here, on which sits an old portable radio. The radio plays a quiet tune.\n\nSuburban housing stands in neat rows to the North and South. The flat micro-savannah of the corridor gives way to a tall field of grain to the East, and to the West is a small riverside park.\n\nYou can see a beautiful person here.\n\nThe beautiful person is crouched on the stump next to the radio. They take deep breaths, eyes closed, as they listen to the music.\n\n> You examine the person\nThe most beautiful person you have ever seen.\n\nThe beautiful person is crouched on the stump next to the radio. They take deep breaths, eyes closed, as they listen to the music.\n\n> Wait\nTime passes.\n\nThe beautiful person is crouched on the stump next to the radio. They take deep breaths, eyes closed, as they listen to the music.\n\n> You examine the moon\nThe moon is obscured by thick foliage.\n\n> You go south\nThis field is nearly empty, save for a few scattered hay bales.\n\n> Go south\nYou fear getting lost if you go that way.\n\n> You go north\nRows of houses, similar but not the same, line the edge of the corridor.\n\nThe Hydro Corridor is to the South.\n\n> Go south\nRows of houses, similar but not the same, line the edge of the corridor. Amidst the intact houses, one ruin stands out.\n\nLittle more than a burned-out husk, what was once a house is now little more than a foundation and debris, any furniture reduced to a lump of ash. A tall room fan stands here.\n\nThe Hydro Corridor is to the North.\n\n> Power fan\nYou feel the energy dissipate from the radio.\n\nUpright and pointed directly at the ash-covered hulk, the fan immediately kicks up a storm of gray particulate.\n\nAfter only a few moments, most of the ash is gone. An end table is revealed, on which sits a framed photo and a lamp.\n\n> You examine photo\nA framed photo. One of the people in the photo is the beautiful person you found. The other is familiar, but you don't know that you know them.\n\nThe photo makes you feel strange.\n\n> Power lamp\nYou feel the energy dissipate from the fan.\nThe fan stops blowing, its blades winding down to a gradual stop.\nThe lamp flares to life, illuminating the photo.\nA beautiful person returns from the North.\n\nThe beautiful person sees that the lamp has come on and walks to the end table. They bend down slightly and pick up the framed photo. They use their sleeve to wipe some of the ash from the surface. They look at the photo for several moments.\n\nCovering their face with one hand, they hurry North.\n\n> Go north\nVast metal towers stand in silhouette against the stars, backlit by the full moon. Their skeletal arms hold dozens of cables aloft between them, a dozen lines running across the sky like a great celestial loom. You feel energy play across them overhead. Little stands below. Carefully pruned vegetation, low to the ground, covers the undeveloped land beneath the towers.\n\nThere's a stump here, on which sits an old portable radio.\n\nSuburban housing stands in neat rows to the North and South. The flat micro-savannah of the corridor gives way to a tall field of grain to the East, and to the West is a small riverside park.\n\nYou can see a beautiful person here.\n\nThe most beautiful person you have ever seen weeps silently, clutching a photo to their chest.\n\n> Power radio\nYou feel the energy dissipate from the lamp.\n\nThe radio crackles to life, crooning a quiet ballad.\nThe most beautiful person you have ever seen weeps silently, clutching a photo to their chest.\n\n> You look at the photo\nA framed photo. One of the people in the photo is the beautiful person you found. The other is familiar, but you don't know that you know them.\n\nThe photo makes you feel strange.\n\nThe most beautiful person you have ever seen weeps silently, clutching a photo to their chest.\n\nA beautiful person walks away to the West.\n\n> Go west\nAt the feet of the cable-bearing towers stands a little park, cleared grass leading to the bank of a river. The river is so slow-moving as to seem still, its glassy surface reflecting the moon.\n\nThe cables of the hydro corridor stretch West over the water, and East toward a clearing.\n\nYou can see a beautiful person here.\n\nThe beautiful person turns their tear-streaked face up toward the moon, still clutching the photo to their chest, and closes their eyes.\n\nYou feel yourself grow lighter.\n\n> Power person\nYou reach out to a beautiful person, but you receive no response to your energy.\n\nYou feel yourself grow lighter.\n\n> You look at the river\nA still, glassy expanse of water.\n\nYou feel yourself grow lighter.\n\nThe most beautiful person you have ever seen gently pulls the photo away from their chest and sets it on the ground, face up. They lean back to lie on the ground and take a deep breath, which they let out slowly.\nYou feel yourself let go.\nYour interpreter doesn't support sound stopping.\n\n> Go upward\nYou cannot cross the water.\n\nYou feel yourself grow lighter.\n\nThe most beautiful person you have ever seen gently pulls the photo away from their chest and sets it on the ground, face up. They lean back to lie on the ground and take a deep breath, which they let out slowly.\nYou feel yourself let go.\nYour interpreter doesn't support sound stopping."
    },
    {
        "text": "[Themes: Literary, Children's, Humor, fairy tale, female protagonist]\n\nADRIFT \nVisit J. J. Guest's website at: www.groundchuck.co.uk\nInform port by ralphmerridew (ralphmerridew@gmail.com)\nInform version 1.0, April 2006\nType ZOOM IN, ZOOM OUT, or ZOOM AWAY to toggle automapping. (Do not use with Gargoyle due to bugs.)\n\nMan, what a party! That was a night to remember - actually it'll be a miracle if I remember it at all tomorrow! Oh, by the way, I'm Goldilocks. I'm a nineteen year old blonde bombshell and I'm on my way back from yet another crazy art school party. It's about five AM and the sun's already up, as are the birds, who are doing their level best to aggravate my hangover with their bloody singing! I could really use something to eat and somewhere to sleep off this hangover, but something tells me I shouldn't have taken this shortcut through the forest. I have a really baaad feeling about it...\nGoldilocks is a FOX!\n\nA large wooden sign informs me that I'm in the Enchanted Forest. What it doesn't tell me is how the hell I get out! Everywhere I look there are trees, trees, trees. This place definately has a 'tree' theme going. A clearly marked path leads south and west, whilst in every other direction are, well, trees.\nAn old pedlar is sitting on a log here, tending to his bunions.\n\n[Author's Note: Staggering back from yet another wild student party, blonde bombshell Goldilocks decides to take a shortcut through the enchanted forest. All she really wants is a nice hot bowl of porridge and somewhere to sleep off her hangover - but something tells her that quaint little cottage isn't as innocent as it seems... Goldilocks is a FOX! is a zany romp through the world of fairy tales. Along the way you'll meet a host of familiar characters, albeit not quite how you remember them!]\n\n> You check your inventory\nI am carrying:\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You examine the pedlar\nHe looks distictly shifty - he'd look more at home on a market stall in Hackney Wick than wandering around an enchanted forest.\nThe pedlar is carrying a battered suitcase.\n\n> Examine watch\nIt is about 5:04 AM.\n\n> You ask the pedlar about the wares\n'Beans! Get your magic beans! Only one cow a packet!'\n\n> You ask the pedlar about the cow\n'That's right love, just one cow for a whole packet. Bargain.'\n\n> You ask the pedlar about the beans\n'That's right love, magic, they are. Not your ordinary beans, these.'\n\n> About yourself\nI'm about 5' 10\", 19 years old with stripey tights and Doc Martens, and I'm named after my really cool strawberry blonde dreadlocks. Basically I'm a Fox, but you knew that already."
    },
    {
        "text": "[Themes: Children's, Humor, Literary, female protagonist, fairy tale]\n\n> You look around\nA large wooden sign informs me that I'm in the Enchanted Forest. What it doesn't tell me is how the hell I get out! Everywhere I look there are trees, trees, trees. This place definately has a 'tree' theme going. A clearly marked path leads south and west, whilst in every other direction are, well, trees.\nAn old pedlar is sitting on a log here, tending to his bunions.\n\n> Go south\nI'm on a path winding through the Enchanted Forest. The path winds its way from the north towards the west. In every other direction there are dark, sinister looking trees that wave their branches at me in an anthropomorphic kind of way. Ooh, I'm soooo scared!\n\n> Wave\nI wave, feeling foolish.\n\n> You climb the tree\nI don't see much point in doing that. Besides, I'd only ladder my tights!\n\n> You go south\nI'm wandering in the forest lost and completely disorientated! Everywhere I look there are strange, twisted trees, and what's more they all look exactly the same! I'm beginning to think it was a really bad idea to leave the path...\n\n> You climb the tree\nI don't see much point in doing that. Besides, I'd only ladder my tights!\n\nCan't help feeling I'm being watched...\n\n> Sing\nMy singing is abominable.\n\n> Smell\nI smell nothing unexpected.\n\nUh-oh - what's that? I could have sworn I saw a pair of big, yellow eyes staring at me through the leaves...\n\n> You go west\nI'm walking in a trackless wilderness of tall, straight trees whose mighty trunks remind me of the time I got lost among the Axminsters at CarpetWorld aged six. I can go in just about any direction, but they all look the same to me.\n\n> You go north\nI'm on a path winding through the Enchanted Forest. The path winds its way from the north towards the west. In every other direction there are dark, sinister looking trees that wave their branches at me in an anthropomorphic kind of way. Ooh, I'm soooo scared!\n\n> You go west\nAs I head off along the path a pathetic, mangey looking wolf jumps out from behind a bush and slobbers at me in what he probably hopes is a menacing way.\n'I am the Big Bad Wolf!' says he. Then, after an awkward pause he\nadds 'well, what are you waiting for? Aren't you going to ask me the way to Grandma's house?' He looks at me quizzically for a moment and then slaps his forehead.\n'My humblest apologies!' he says. 'You are not the young woman I\nseek. She of the crimson shawl must needs be elsewhere!' He darts back into the forest.\n\nI'm at a fork in the path. Not the kind of fork you eat with, the sort where the path forks; you know, like a fork. To the north the path widens into a clearing. To the west it disappears into the forest.\n\n> You ask the pedlar about Wolf\n'Lots of wolves around here, love. Got to be careful, you have. Nearly got eaten by one myself, I did. But see, I'm clever. Canny. Outsmarted him, love. They're none too bright, your average wolf.'\n\n> You ask the pedlar about the beans\n'That's right love, magic, they are. Not your ordinary beans, these.'\n\n> You ask the pedlar about the cow\n'That's right love, just one cow for a whole packet. Bargain.'\n\n> You ask the pedlar about the tree\n'Do you know what? I hadn't even noticed them. Want to buy some beans?'\n\n> Go west\nI'm pretty sure that's the direction I came from when I entered the forest, so let's go a different way.\n\n> You go west\nI'm at a fork in the path. Not the kind of fork you eat with, the sort where the path forks; you know, like a fork. To the north the path widens into a clearing. To the west it disappears into the forest.\n\n> You go to the north\nI'm in a clearing. There is a teeny tiny cottage here complete with a thatched roof and leaded windows. It's just like something out of a fairy tale, funnily enough, except for the large hand-painted sign designed to deter trespassers. Just to the north is the front porch. A little path lined by rows of white-painted stones leads around the side of the house to the west.\n\n> You read the sign\nTrespassers will be prostrate.\n\n> You look at the cottage\nTalk about bijou! It's not much bigger than a shoebox. There's a little chimney on the roof.\n\n> You examine the stones\nA crazy-paving path that leads around the side of the house towards a small garden. It's lined by rows of large stones that have for some reason been painted white. Somebody's been watching too many of those gardening programmes on TV.\n\n> You take stones\nThat's hardly portable.\n\n> You go to the west\nI'm in a little garden alongside the cottage. There's a vegetable plot in a sunny spot by the wall and on the other side of the garden a somewhat neglected ornamental pond. There's obviously been some attempt at landscaping but the effect is less Capability Brown and more incapable bruin. A ramshackle potting shed completes the image of horticultural incompetence. To the north, an overgrown pergola leads into a meadow.\n\n> You look at the plot\nIt's in a sunny spot by the side of the cottage. There's a bunch of leaves sticking out of the ground there; weird! Also in the plot is an overripe pumpkin.\n\n> You examine the pond\nThe Three Bears' attempt at a 'water feature' is rather small and choked with pond weed. I think I see something small and green moving below the surface!\n\n> You get the pumpkin\nTaken.\n\n> Examine leaves\nJust sticking out of the ground. Wacky. I wonder who put them there.\n\n> You get the leaves\nI take hold of the leaves and give them a good yank. Something pops out of the ground in a great shower of earth! There seems to be some kinda root vegetable actually attached to the leaves. Weird; I always thought these things came from tins!\n\n> You examine the root\nIt's big and lumpy and covered in mud. Do people actually eat these things?\n\n> Inventory\nI am carrying:\na turnip\nan overripe pumpkin\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You examine the pond\nThe Three Bears' attempt at a 'water feature' is rather small and choked with pond weed. I think I see something small and green moving below the surface!\n\nThe Three Bears' attempt at a 'water feature' is rather small and choked with pond weed. I think I see something small and green moving below the surface!\n\n> Drink pond\nThere's not enough water to swim in.\n\nThere's nothing suitable to drink here.\n\n> You enter the pond\nTwo things: One; the pond is only two feet deep. Two; I'm not swimming in a murky bloody pond. Okay?\n\n> You eat the pumpkin\nI think I'll pass on that, thankyou.\n\n> You examine the pergola\nIt leads into a small meadow bounded by a rickety fence.\n\n> You enter the shed\nI'm in the potting shed, a ramshackle structure that was obviously cobbled together in five minutes some idle Sunday afternoon. I didn't know bears had green fingers. In fact I didn't know they had fingers at all. Plant pots of all sizes are scattered about the shed untidily and the whole place is festooned with cobwebs.\nIn the corner is an old metal trunk marked 'FISHING TACKLE.'\n\nI can also see a pair of secateurs and a ratty old paintbrush here.\n\n> You examine the secateurs\nA pair of pruning clippers, for pruning things I guess. What does pruning have to do with prunes? The pair of secateurs are covered in rust.\n\n> You get it\nThat's hardly portable.\n\n> You look at it\nI've seen more hair on a skinhead but at a pinch it's probably still serviceable.\n\n> You examine the trunk\nIt's a battered old thing with the words 'FISHING TACKLE' crudely painted on the lid. The old metal trunk is closed.\n\n> You open it\nI open the trunk. It contains some sticks of dynamite. If this is what Papa Bear thinks of as fishing tackle I dread to think what he uses for hunting - a Sherman tank, perhaps?\n\n> You look at pots\nThe plant pots are piled precariously against the wall of the shed.\n\n> Search pots\nI find a trowel and a pair of gardening gloves, which I take.\n\n> You move the pots\nThose are fixed in place."
    },
    {
        "text": "[Themes: Humor, Children's, Literary, female protagonist]\n\n> You look at dynamite\nThere are three sticks, each about six inches long and an inch in diameter. The fuses are extremely short, as though some evil rodent has been nibbling at them!\n\n> Light dynamite\nI'm sorry, I don't know how to do that without matches. I was in the girl scouts, but they kicked me out after two weeks.\n\n> You go to the north\nI'm in a small meadow at the back of the cottage, separated from the forest by a rickety fence. In the middle of the meadow is what appears to be a homemade wind turbine! To the south, through the tangled pergola, is the garden.\nDaisy the cow is standing here, chewing disinterestedly on a mouthful of hay.\n\n> You examine the turbine\nIt appears to be a 5 KW battery-charging turbine made from wood, old tractor parts and a washing machine motor, probably connected to the cottage by an underground cable. See - I'm not just a pretty face! (Though you have to admit, I am pretty.) The sails are not currently moving since the air is completely still.\n\nThere is what appears to be an oil can sitting on a platform near the top of the turbine.\n\n> You get can\nI can't reach it from here! It's all the way up on top of that rickety structure!\n\n> Climb turbine\nThere's no way I'm going up there! It's a deathtrap!\n\n> You look at Daisy\nMust be the oddest looking cow I've ever seen! She has four knees! I strongly suspect that it might be two men in a suit, but it is to all intents and purposes, a cow.\n\n> You ask Daisy about the turbine\n\"Mooooo!\"\n\n> You ask Daisy,  to go south\nDaisy the cow has better things to do.\n\n> You show the turnip to Daisy\nDaisy jumps up and down excitedly when she sees the turnip. I don't think I've ever seen a cow do that before!\n\n> You pull Daisy\nThat would be less than courteous.\n\n> You give the turnip to Daisy\nDaisy gobbles down the turnip excitedly before sidling over to me and nuzzling my chest. I get impression she thinks I've got more turnips hidden somewhere about my person. I can't imagine where she gets that idea.\n\n> Go south\nI'm in a little garden alongside the cottage. There's a vegetable plot in a sunny spot by the wall and on the other side of the garden a somewhat neglected ornamental pond. There's obviously been some attempt at landscaping but the effect is less Capability Brown and more incapable bruin. A ramshackle potting shed completes the image of horticultural incompetence. To the north, an overgrown pergola leads into a meadow.\nDaisy the cow walks towards me from the north.\n\n> You go south\nI can't go in that direction, but I can move north, east and in.\n\nDaisy curtsies towards some imaginary audience.\n\n> Go east\nI'm in a clearing. There is a teeny tiny cottage here complete with a thatched roof and leaded windows. It's just like something out of a fairy tale, funnily enough, except for the large hand-painted sign designed to deter trespassers. Just to the north is the front porch. A little path lined by rows of white-painted stones leads around the side of the house to the west.\nDaisy the cow walks towards me from the west.\n\n> You go east\nI can't go in that direction, but I can move north, south and west.\n\nDaisy curtsies towards some imaginary audience.\n\n> Go south\nI'm at a fork in the path. Not the kind of fork you eat with, the sort where the path forks; you know, like a fork. To the north the path widens into a clearing. To the west it disappears into the forest. Daisy the cow walks towards me from the north.\n\n> You go west\nI'm lost in the forest, surrounded on all sides by dense foliage. I knew it was a bad idea to stray from the path! I can go in any direction, but I haven't a clue which is the right one!\n\nFrom somewhere comes the blood-curdling howl of a wolf...\nDaisy the cow walks towards me from elsewhere.\n\n> Go east\nI'm on a path winding through the Enchanted Forest. The path winds its way from the north towards the west. In every other direction there are dark, sinister looking trees that wave their branches at me in an anthropomorphic kind of way. Ooh, I'm soooo scared!\nDaisy the cow walks towards me from the west.\n\n> Go north\nA large wooden sign informs me that I'm in the Enchanted Forest. What it doesn't tell me is how the hell I get out! Everywhere I look there are trees, trees, trees. This place definately has a 'tree' theme going. A clearly marked path leads south and west, whilst in every other direction are, well, trees.\nAn old pedlar is sitting on a log here, tending to his bunions.\nDaisy the cow walks towards me from the south.\n\n'Ah, now there's a lovely specimen!' says the Pedlar, getting up from his log and feeling Daisy's knees. He seems satisfied. 'all present and correct! Here you go love - you'll be cured in no time!' He opens his suitcase and hands me a small packet, then leads Daisy off into the forest.\n\n> You look at the packet\nIt's a packet of magic beans. There are some instructions written on the back of the packet.\n\n> You read the packet\n'For a giant beanstalk, plant bean in a sunny spot and water well. As a cure for non-rabbit-head-itis, take one bean daily, preferably with a meal. If symptoms persist, consult your local wizard. BEST BEFORE: MARCH 1976'\n\n> About yourself\nI'm about 5' 10\", 19 years old with stripey tights and Doc Martens, and I'm named after my really cool strawberry blonde dreadlocks. Basically I'm a Fox, but you knew that already.\n\n> Go north\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door is closed. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\nI can also see a milkbottle (in which is a crumpled note) here.\n\n> You read the note\n'Dear Snookums, three pints tomorrow please - one regular, one skimmed and one semi-skimmed. From your little Fuzzy-wuzzy'\n\n> You look at the dustbin\nAn environmentally sound way of disposing of all the objects I'm finished with. The battered old dustbin is empty.\n\n> You put the bottle in the dustbin\nI put the empty milkbottle into the battered old dustbin.\n\n> You open the packet\nI open the small packet, revealing a magic bean.\n\n> You eat the bean\nI'd have to be holding it.\n\n> You eat the bean\nI have a feeling that non-rabbit-head-itis is an affliction that mainly affects rabbits. I'm not sure what kind of effect the bean would have on a human being. Are you sure you want me to go through with this?\n\n> No\nThat was a rhetorical question.\n\n> You fill the bottle\nOkay, I filled the bottle with water from the pond. Yeeurrggh! My hand is covered in pondslime now! Thanks a lot!\n\n> Plant bean\nOkay, I planted it in the vegetable plot. Nothing seems to be happening. So much for the \"magic.\"\n\n> You pour the water on the bean\n(the bottle of water on the magic bean)\nOkay, I watered the magic bean. After a few moments there is a low rumble from underground. The ground begins to shake violently...\n\nAaah! Something shot out of the ground and knocked me flying! I'm lying spreadeagled on the ground beneath this MASSIVE beanstalk! Well, I say massive, actually it stops abruptly just above the roof of the cottage.\n\nDamn, I seem to have dropped all my stuff...\n\n> You get all\nbroken bottle: Taken.\noverripe pumpkin: Taken.\npair of secateurs: Taken.\nratty old paintbrush: Taken.\nsome sticks of dynamite: Taken.\ntrowel: Taken.\npair of gardening gloves: Taken.\nsmall packet: Taken.\ncrumpled note: Taken.\n\n> Climb beanstalk\nIf Jack can do it, so can Goldilocks!\nAt the top of the beanstalk\nI'm at the top of the beanstalk. I was under the impression that these giant beanstalks all had castles at the top of them, but not this scrawny specimen. However I can almost touch the roof of the cottage from here.\n\n> You examine the roof\nThere's a little chimney stack attached to which is a TV aerial. The roof is a little too high for me to reach."
    },
    {
        "text": "[Themes: Literary, Children's, Humor, fairy tale]\n\n> You look at your surroundings\nI'm at the top of the beanstalk. I was under the impression that these giant beanstalks all had castles at the top of them, but not this scrawny specimen. However I can almost touch the roof of the cottage from here.\n\n> You jump\nOkay... Oof! Fortunately for you I had a soft landing on the thatched roof of the cottage...\nOn the roof\nI'm perched precariously on the roof of the cottage, trying desperately not to look down. There is a chimney here attached to which is a TV aerial. It kind of spoils the chocolate box look of the place if you know what I mean. The top of the beanstalk can be seen poking up above the roofline.\n\n> You examine aerial\nIt looks a little out of place on such a picturesque little cottage.\n\n> You take it\nThat's hardly portable.\n\nThat's hardly portable.\n\n> You turn it\nOkay - that should improve the picture!\n\n> You enter the chimney\nOkay here goes... Wheee! I slid right down the chimney and out of the fireplace! That was fun. Can I do it again?\nIn the kitchen\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a spoon, a large bowl of hot porridge, a medium-sized bowl of cold porridge and a tiny little bowl of just-right porridge.\n\n> You examine the dresser\nIt's an olde worlde pine number. Looks like it's seen quite a bit of use over the years. The kitchen dresser is closed.\n\n> You open it\nI open the kitchen dresser, revealing a gigantic bowl.\n\n> You examine the gigantic bowl\nAn earthenware bowl with the word \"GRAMPA\" glazed on it. It's bigger than the large and medium bowls put together. The gigantic bowl is empty.\n\n> You take the gigantic bowl\nTaken.\n\n> You pour large into gigantic\n(the large bowl into the gigantic bowl)\nlarge quantity of hot porridge: I pour the large quantity of hot porridge into the gigantic bowl.\n\n> You pour the medium into gigantic\n(the medium-sized bowl into the gigantic bowl)\nmedium quantity of cold porridge: Okay, I poured the cold porridge and the hot porridge into the gigantic bowl. Now I have one gigantic bowl of JUST-RIGHT porridge! Now why didn't the Three Bears think of that? I guess I must be smarter than the average bear!\n\n> You look at tiny\nWhich do you mean, the tiny little bowl or the tiny quantity of just-right porridge?"
    },
    {
        "text": "[Themes: Humor, Children's, Literary, fairy tale]\n\n> Look around\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You go to the north\nI'm in the pantry, a small claustrophobic room which smells faintly of cinammon, honey and the mouse droppings that are liberally sprinkled across the tiled floor. There is an upright freezer in the corner and some sturdy shelves stacked high with box after box of McScottie's porridge oats. The kitchen lies to the south.\n\nOn the shelf is a matchbox.\n\nOver in the corner of the pantry, underneath the shelves is a mousetrap.\n\n> You get the matchbox\nGoldilocks and the Three Bears; the sad tale of a kleptomaniac who went too far and collapsed under the weight of her own inventory. Taken!\n\n> You look at the oats\nThe bears must spend a fortune on porridge oats - there must be three hundred cartons here! I wonder if they save the coupons?\n\n> You examine the mousetrap\nA simple little gadget designed to deliver swift and painless death to harmless little rodents. There's a dead mouse in it right now. He seems to have been lured there by a large wedge of cheese.\n\n> You get the mousetrap\nFine, fine, no problem - I'll just balance it on top of my head. What did your last slave die of?\n\n> You open the freezer\nI open the freezer, revealing a packet of frozen pork chops.\n\n> You look at the chops\nThere are three pork chops in the packet. Why am I not surprised?"
    },
    {
        "text": "[Themes: Children's, Literary, Humor, fairy tale]\n\n> Look around\nI'm in the pantry, a small claustrophobic room which smells faintly of cinammon, honey and the mouse droppings that are liberally sprinkled across the tiled floor. There is an upright freezer in the corner and some sturdy shelves stacked high with box after box of McScottie's porridge oats. The kitchen lies to the south.\n\n> You examine the shelves\nOne of the bears is obviously into DIY.\n\n> You get the pork\nI already have that.\n\n> You check your inventory\nI am carrying:\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl of just-right porridge\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You examine the cheese\nIt's stale and hard as a rock!\n\n> Go south\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You go to the east\nMy first impression upon entering the entrance hall of the Three Bears' cottage is of hundreds of eyes staring glassily down at me from every corner. Virtually every forest creature from the tiniest shrew to the largest moose is represented in a macabre collection of hunting trophies. And not just forest creatures either; I'd swear that some of these heads are human! On one wall is a full length portrait of the bear clan. A narrow staircase leads upwards, and there are doors to the north and west. Completing the morbid ambiance is a motheaten bearskin rug.\n\n'Ding-Dong!' The doorbell rings. A booming voice can be heard from the direction of the front door: 'Little pigs, little pigs, LET ME IN, or I'll huff and I'll puff and I'll BLOW YOUR HOUSE IN!'\n\n> You open door\nI open the door a tiny crack. As I do so, the mangy looking wolf I encountered on the path barges into the hall, his beady eyes darting this way and that.\n'I'm going to eat you little piggies!' he snarls. 'Don't worry, it won't hurt a bit.' Then he notices me and his expression turns to one of bewilderment. 'My dear girl,' he says 'we really must stop meeting like this. It is not you I seek, but the Three Little Pigs. I waited two whole weeks for Little Red Riding Hood, after devouring her grandmother who was exceedingly tough and chewy and quite frankly I have had enough of the taste of humans. Go tell those snivelling pigs it's breakfast time!!'\n\n> You give the pork to Wolf\n'Here you go, Wolfie!' I say, shoving the pork chops under his quivering nose. He recoils in amateur-dramatic horror.\n'Cretinous child!' He roars, 'I can't possibly eat those! Do I look like an arctic fox? Am I similar in appearance to a polar bear? Nay, I am a wolf! A wily wanderer of the woodlands! Were I to attempt to eat those my delicate jaws would shatter like glass! Take them away, and don't bring them back until they're medium rare!'\n\n> Go north\n'Now then,' says the wolf, 'if you've quite finished interrogating me, I shall be off in search of those elusive ungulates.'\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Three chairs are arranged around a small coffee table; a large chair, a medium-sized chair and a tiny little chair.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\n> You look at the copy\nAll the latest gossip on the Fairyland royal family. Let's see; \"Who's going to be at the Royal Ball?\" Hmm. \"How to get the Rapunzel look.\" Ho hum. Wait, what's this; \"It's the latest craze that's sweeping the nation - the must-have toy that every real princess won't want to be without. Golden Balls have become the bestselling plaything at Geppetto's toy superstore...\" Oh, please - what's a princess going to do with a ball made of solid gold - she'd only drop it in a pond or something!\n\n> You examinthe knick-knacks\nOh, you know, the usual things - glass animals, plaster models of peeing cherubs; the sort of things I would take to a car-boot sale rather than bring back from one. They're of no interest to me.\n\n> You gethe knick-knacks\nThat's hardly portable.\n\n> You examine the chair\nWhich do you mean, the large chair, the medium-sized chair or the tiny little chair?\n\n> Large\nIt's a huge overstuffed leather affair covered with leather buttons. It looks well worn, as though the person it belongs to has nothing better to do than sit on a horrible hard chair all day. A filthy antimacassar is draped over the back of the chair.\n\nOne of the buttons on the arm looks slightly different from the others...\n\n> You examine the antimacassar\nA nasty, frilly lacy thing that old people drape over the backs of chairs for no good reason. It's old and grubby and is embroidered with the initials P.B. There's something underneath it...\n\n> You move it\nNothing obvious happens.\n\n> You take it\nBloody hell! There are electrodes concealed underneath it! Papa Bear must be a little tetchy about other people using his chair - he's wired it up to the mains! There's a cable connected to the electrodes which presumably supplies the juice.\n\n> You get the antimacassar\nI already have that.\n\n> You examine the cable\nI guess Papa Bear's a bit touchy about other people sitting in his chair! A cable attached to the electrodes disappears into the back of the chair. I think it must supply the power to those electrodes!\n\n> You look at the medium chair\nIt's a disgusting shade of pink with orange flowers but it looks really comfortable! If someone really heavy sat on that they'd sink without trace!\n\n> You examine the tiny chair\nA small self-assembly chair of Swedish design that evokes the wholesome, healthy lifestyle of the Scandinavian people. On the bottom it says 'Made in China.'"
    },
    {
        "text": "> Look around\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Three chairs are arranged around a small coffee table; a large chair, a medium-sized chair and a tiny little chair.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\n> You go south\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Completing the morbid ambiance is a motheaten bearskin rug.\n\n> You examine the rug\nA slightly motheaten pelt with wildly staring glass eyes, previously worn by Grampa bear I presume. Waste not want not, I suppose, but kind of icky all the same. Someone has rather creatively shaved the word 'welcome' on his back. I wonder if they waited until after he was dead...?\n\n> You move the rug\nNothing obvious happens.\n\n> You take the rug\nI pick up the bearskin rug. Oh,  wow, there's a trapdoor hidden underneath the rug! What a stupid place to put it - right in front of the front door. Someone could have a nasty accident if they didn't know it was there!\n\n> You open the trapdoor\nI open the trapdoor. A set of rickety wooden stairs lead down into darkness.\n\n> Go upwards\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Just inside the front door is an open trapdoor.\n\n> Wear rug\nI put on the bearskin rug.\n\n> Go upwards\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a huge bed. A narrow staircase leads down to the hall.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\n> You look at the window\nIt affords a view of the clearing in front of the house. The window is painted shut and doesn't look as though it's been opened in years. There's a tiny point of light flitting about outside the window!\n\n> Light\nWhat do you want to light?\n\n> You open the window\nGenerations of careless decorators have repeatedly painted over the catch making it impossible to turn. No matter how hard I try I can't open it with my bare hands!\n\n> You open the window with the trowel\nDo you want me to break a nail or something?\n\n> You look at the sleeping Beauty\nShe's sprawled across Baby Bear's bed, fast asleep and still wearing her party dress. Drunk, I shouldn't wonder. Oi! Beauty! This is my fairytale! Hoppit!\n\n> You wake her\nI shake her violently and yell in her ear; 'Wakey wakey!' but to no avail. She murmurs something in her sleep about a kiss, and then resumes snoring. The lazy cow.\n\n> You kiss her\nOkay - but this had better work, bozo!\n\n(I pucker up and give her a big sloppy kiss on the cheek.)\n\nYeuch! That was vile! And it didn't work either - it looks as\nthough only a kiss from a handsome prince will wake her! Typical bloody princess - too fussy for her own good if you ask me!\nThe Big Bad Wolf strolls out of the room downwards.\n\n> You look at the tiny bed\nOoh, what a sweet 'ickle bed! It looks just big enough for 'ickle ole' me, but somebody got there first! It's that lazy cow Sleeping Beauty! There's no way I'm snuggling up next to that bimbo!"
    },
    {
        "text": "> You look around\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a huge bed. A narrow staircase leads down to the hall.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\n> You examine the huge bed\nIt's very large and very uncomfortable looking, and is covered by a single rather thin looking blanket. Is this guy some kind of masochist or what?\nThe Big Bad Wolf prowls into the room from below.\n\n> You examine the blanket\nIt's threadbare and patched in several places, but otherwise quite uninteresting.\n\n> You examine the medium bed\nThis thing has so many quilts and eiderdowns piled on it that I fear the frame will give way under the weight. Mama Bear is heading for some real back trouble in later life.\n\n> You search the huge bed\nOn the huge bed is a rather thin blanket.\n\n> You take the blanket\nWow! Now I understand why the huge bed felt so hard! What better way to conceal from your wife the fact that you've spent your family's entire annual porridge budget on a full sized snooker table than to give up your conjugal rights altogether and disguise it as a bed! Boy, could this couple use some marriage guidance!\nThe Big Bad Wolf strolls out of the room downwards.\n\n> You look at the snooker table\nNo wonder it was so hard! The \"bed\" was actually a full sized snooker table with pockets and everything...\n\n> Search pockets\nIn one of the pockets is a cue ball.\n\n> You take the cue ball\nOh great. More junk. We're building up quite a collection, aren't we?\n\n> Yes\nThat was a rhetorical question.\nThe Big Bad Wolf prowls into the room from below.\n\n> You look at the cue ball\nShiny, round and white.\n\n> You examine Wolf\nWhat big eyes he has! What big teeth he has!! And what a big...\n...oh, never mind. For some reason he is dressed as an old woman in a bonnet and nightgown, but each to their own, I say.\n'Here, piggy piggy piggy!' says the wolf, wandering off downwards.\n\n> You look at what you're carrying with you\nI am carrying:\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl of just-right porridge\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)"
    },
    {
        "text": "> Go downward\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\n> You ask Wolf about the Beauty\n'Enough talk! There are more important matters at hand - such as lunch! Where are those pigs?'\n\n> Close trapdoor\nI close the trapdoor.\n\n> You examine the trophies\nOn one of the walls there are several animal heads mounted on wooden plaques. It's hard to tell given the appalling quality of the taxidermy job, but I'd swear that some of these heads were once human. No cuddly teddy bears, these three!\n\n> You look at the portraits\nOne wall is dominated by a rather amateurish painting of the Three Bears signed by Mama Bear herself. I can't see her winning the Turner Prize anytime soon! The rest are portraits of more distant members of the bear clan, including Grampa Bear and Grandma Bear. I guess even the three bears have forbears!\n\nThat's odd; for some reason Papa Bear is only wearing one sock.\n\n> Go outside\n'Well,' says the wolf, 'it was nice talking to you, but I really must be off. Those piggies won't get eaten all by themselves.'\n\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door is closed. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\ndoor shut behind me!\n\n> You go west\nI'm in a little garden alongside the cottage. There's a vegetable plot in a sunny spot by the wall and on the other side of the garden a somewhat neglected ornamental pond. There's obviously been some attempt at landscaping but the effect is less Capability Brown and more incapable bruin. A ramshackle potting shed completes the image of horticultural incompetence. To the north, an overgrown pergola leads into a meadow. A gigantic beanstalk rises out of the vegetable plot and stops abruptly just above the level of the roof.\n\n> Climb beanstalk\nIf Jack can do it, so can Goldilocks!\nAt the top of the beanstalk\nI'm at the top of the beanstalk. I was under the impression that these giant beanstalks all had castles at the top of them, but not this scrawny specimen. However I can almost touch the roof of the cottage from here.\n\n> You go to the west\nI'm lost in the forest, surrounded on all sides by dense foliage. I knew it was a bad idea to stray from the path! I can go in any direction, but I haven't a clue which is the right one!\n\n> You examine the trees\nThere's an arrow carved into the bark of one particular tree! It's pointing to the west!\n\n> You go west\nA large wooden sign informs me that I'm in the Enchanted Forest. What it doesn't tell me is how the hell I get out! Everywhere I look there are trees, trees, trees. This place definately has a 'tree' theme going. A clearly marked path leads south and west, whilst in every other direction are, well, trees.\n\n> You go north\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door is closed. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\n> Go north\nI'm in a small meadow at the back of the cottage, separated from the forest by a rickety fence. In the middle of the meadow is what appears to be a homemade wind turbine! To the south, through the tangled pergola, is the garden.\n\n> You climb the fence\nNo thanks, I'd only get lost in the forest.\n\n> You examine the turbine\nIt appears to be a 5 KW battery-charging turbine made from wood, old tractor parts and a washing machine motor, probably connected to the cottage by an underground cable. See - I'm not just a pretty face! (Though you have to admit, I am pretty.) The sails are not currently moving since the air is completely still.\n\nThere is what appears to be an oil can sitting on a platform near the top of the turbine.\n\n> You look at what you're carrying with you\nI am carrying:\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl of just-right porridge\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You throw cue ball at the oil can\nI hurl the cue ball at the can of oil in the hope of knocking it off the platform, but I've never been much good at that sort of thing. the cue ball misses the oil can completely and lands a short distance away.\n\n> You eat the porridge\nMmmmm! That porridge tasted JUST RIGHT! I feel thoroughly invigourated; in fact I could toss a few cabers myself if you know what I mean. Wait, that sounded really dodgy. Forget I said it.\n\n> You take the cue ball\nYeah, sure, whatever - I'll just tuck it under my chin or something. Taken.\n\n> You wear the gloves\nI put on the gloves, but they're much too big for me and feel just a little loose!\n\n> You examine the pond\nThe Three Bears' attempt at a 'water feature' is rather small and choked with pond weed. I think I see something small and green moving below the surface!\n\n> You ask the pond about the pond\nI can only do that to something animate.\n\n> You take Ball\nI already have that.\n\nDamn! The gloves just dropped off my hands! Yes, both of them, at the same time! What are the chances of that?\n\n> You take the gloves\nThis could be the pair of gardening gloves that broke Goldilocks' back, you know! Taken.\n\n> Inventory\nI am carrying:\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Light dynamite\nWowee! Who'd have thought some sticks of dynamite would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 21 out of a possible 100, in 281 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You get hair\nThat's fixed in place.\n\n> Light hair\nWowee! Who'd have thought my dreadlocks would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 21 out of a possible 100, in 284 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Light paintbrush\nWowee! Who'd have thought the ratty old paintbrush would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 21 out of a possible 100, in 285 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You look at trowel\nIt's a thingy for digging little holes in the garden.\n\n> You examine the pergola\nThrough the pergola to the south is the garden.\n\n> You throw Ball in the pond\nRight idea, I think - just wrong kind of ball.\n\n> You enter the shed\nI'm in the potting shed, a ramshackle structure that was obviously cobbled together in five minutes some idle Sunday afternoon. I didn't know bears had green fingers. In fact I didn't know they had fingers at all. Plant pots of all sizes are scattered about the shed untidily and the whole place is festooned with cobwebs.\nIn the corner is an old metal trunk marked 'FISHING TACKLE.'\n\n> You examine the cobwebs\nThey're absolutely everywhere. It doesn't look as though this place gets a lot of use.\n\n> You examine Ball\nShiny, round and white.\n\n> Inventory\nI am carrying:\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You examine the blanket\nIt's threadbare and patched in several places, but otherwise quite uninteresting.\n\n> You cut the blanket\n(with the pair of secateurs)\nCutting that up would achieve little.\n\n> You examine the porch\nA little thatched porch over the front door. It would be quite pretty except that someone has seen fit to paint it gold. Whoever it was has obviously seen one too many episodes of \"Changing Rooms.\"\n\n> You open door\nUnfortunately the door locked automatically when it blew shut.\n\n> You enter the chimney\nOkay here goes... Wheee! I slid right down the chimney and out of the fireplace! That was fun. Can I do it again?\nIn the kitchen\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge. 'Here, piggy piggy piggy!' says the wolf, wandering off to the north.\n\n> You look at the fireplace\nMust be where Mama bear cooks all her porridge. I don't know why she doesn't just get herself a microwave. The hearth is cold and full of ash. Something glints among the embers...\nThe Big Bad Wolf prowls into the room from the north.\n\n> You search the ash\nI fish around in the embers until I find an old brass key. What a ridiculous place to keep it! I pick it up in case it comes in useful. The Big Bad Wolf strolls out of the room to the east.\n\n> You examine table\nIt looks rather rustic, which is to say that it looks like a bunch of logs crudely nailed together.\n\n> Go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is a closed trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. The Big Bad Wolf strolls out of the room to the west.\n\n> Up\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\n> You look at the Beauty\nShe's sprawled across Baby Bear's bed, fast asleep and still wearing her party dress. Drunk, I shouldn't wonder. Oi! Beauty! This is my fairytale! Hoppit!\n\n> Kiss Beauty\nForget it! Once was more than enough, thankyou!\n\n> You look at the table\nNo wonder it was so hard! The \"bed\" was actually a full sized snooker table with pockets and everything...\n\n> You look in the pockets\none of the pockets is empty."
    },
    {
        "text": "> Go downward\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is a closed trapdoor.\n\n> You open the trapdoor\nI open the trapdoor. A set of rickety wooden stairs lead down into darkness.\nThe Big Bad Wolf prowls into the room from the north.\n\n> Light match\nI take a match from the box and strike it. The match flares briefly...\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\nand then goes out.\n\n> Up\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf prowls into the room from the north.\n\n> Inventory\nI am carrying:\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You look at the portraits\nOne wall is dominated by a rather amateurish painting of the Three Bears signed by Mama Bear herself. I can't see her winning the Turner Prize anytime soon! The rest are portraits of more distant members of the bear clan, including Grampa Bear and Grandma Bear. I guess even the three bears have forbears!\n\nThat's odd; for some reason Papa Bear is only wearing one sock."
    },
    {
        "text": "[Themes: Children's, Literary, Humor]\n\n> Look around\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\n> You examine the trophies\nOn one of the walls there are several animal heads mounted on wooden plaques. It's hard to tell given the appalling quality of the taxidermy job, but I'd swear that some of these heads were once human. No cuddly teddy bears, these three!\n\n> Go west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You go to the north\nI'm in the pantry, a small claustrophobic room which smells faintly of cinammon, honey and the mouse droppings that are liberally sprinkled across the tiled floor. There is an upright freezer in the corner and some sturdy shelves stacked high with box after box of McScottie's porridge oats. The kitchen lies to the south.\n\n> You examine the fireplace\nMust be where Mama bear cooks all her porridge. I don't know why she doesn't just get herself a microwave. The hearth is cold and full of ash.\nThe Big Bad Wolf prowls into the room from the east.\n\n> Inventory\nI am carrying:\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You put the note in the fireplace\n...\n\n> You put the trowel in the fireplace\n...\nThe Big Bad Wolf strolls out of the room to the north.\n\n> You enter fireplace\nThat's not something I can enter.\nThe Big Bad Wolf prowls into the room from the north.\n\n> You go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is an open trapdoor.\n\n> Go east\nI can't go in that direction, but I can move north, west, up and down. The Big Bad Wolf prowls into the room from the west.\n\n> You sit in the medium chair\nWow - this chair is soooo soft it's unbelievable! A little too soft! Lucky I'm so light or I'd sink right into it.\n\n> You stand\nI get out of the medium-sized chair.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Three chairs are arranged around a small coffee table; a large chair, a medium-sized chair and a tiny little chair.\nThe Big Bad Wolf prowls into the room from the south.\n\n> You sit in the medium chair\nThe Big Bad Wolf has better things to do.\n\n> You examine the large chair\nIt's a huge overstuffed leather affair covered with leather buttons. It looks well worn, as though the person it belongs to has nothing better to do than sit on a horrible hard chair all day. As if it wasn't uncomfortable enough already, the chair is fitted with electrodes!\n\nOne of the buttons on the arm looks slightly different from the others...\n\n> You examine the electrodes\nI guess Papa Bear's a bit touchy about other people sitting in his chair! A cable attached to the electrodes disappears into the back of the chair. I think it must supply the power to those electrodes!\n'As much as I've enjoyed chewing the fat with you,' says the wolf, 'I'd rather be chewing on some crackling. Now where are those pigs?' 'Here, piggy piggy piggy!' says the wolf, wandering off to the south.\n\n> You look at the button\nWhereas all the other buttons look like part of the upholstery, this one is bright red and has the word \"activate\" written on it!\nThe Big Bad Wolf prowls into the room from the south.\n\n> You tell Wolf about the windmill\nThis provokes no reaction.\nThe Big Bad Wolf strolls out of the room to the south.\n\n> You go south\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\n> You go upwards\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\n> You open the window\nDo you want me to break a nail or something?\n\n> You look at the window\nIt affords a view of the clearing in front of the house. The window is painted shut and doesn't look as though it's been opened in years. There's a tiny point of light flitting about outside the window!\n\n> You break the window\nI'm not sure that would be a good idea. I might frighten away that tiny point of light, whatever it is.\n\n> You look at what you're carrying with you\nI am carrying:\na copy of 'Hail!' magazine\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na wedge of cheese\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)"
    },
    {
        "text": "[Themes: Humor, Literary, Children's]\n\n> Descend\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is closed. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. The Big Bad Wolf strolls out of the room to the west.\n\n> You open the door\nThe front door is open. It creaks slightly in the draught.\n\n> You look at the door\nThe front door is open, but a strong draught threatens to blow it shut at any moment.\n\n> Leave\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door is closed. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\ndoor shut behind me!\n\n> You look at the dustbin\nAn environmentally sound way of disposing of all the objects I'm finished with. The battered old dustbin is empty.\n\n> You put the bottle in the dustbin\nI put the broken bottle into the battered old dustbin.\n\n> You look at the plot\nIt's in a sunny spot by the side of the cottage.\n\n> Light pork\nWowee! Who'd have thought the packet of frozen pork chops would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 24 out of a possible 100, in 385 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You open the packet\nWhich do you mean, the packet of frozen pork chops or the small packet?\n\n> You cook the pork\nHow?\n\n> Examine can\nIt's out of my reach I'm afraid. Papa Bear must have left it up there when he built the turbine.\n\n> You throw Ball at the can\nI hurl the cue ball at the can of oil in the hope of knocking it off the platform, but I've never been much good at that sort of thing. the cue ball misses the oil can completely and lands a short distance away.\n\n> 2\nYou need to find something to wedge it open with.\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I stop the front door from blowing shut?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> 3\nIf you really want to know, don't ask me. Watch TV and read a magazine.\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I stop the front door from blowing shut?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> You enter the chimney\nOkay... Oof! Fortunately for you I had a soft landing on the thatched roof of the cottage...\nOn the roof\nI'm perched precariously on the roof of the cottage, trying desperately not to look down. There is a chimney here attached to which is a TV aerial. It kind of spoils the chocolate box look of the place if you know what I mean. The top of the beanstalk can be seen poking up above the roofline.\nOkay here goes... Wheee! I slid right down the chimney and out of the fireplace! That was fun. Can I do it again?\nIn the kitchen\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge. The Big Bad Wolf prowls into the room from the north.\n\n> Wedge door with cheese\nOkay, I wedged the door open with the stale cheese.\nThe Big Bad Wolf prowls into the room from the west.\n\n> You give the mouse to Wolf\n(first taking the dead mouse)\nThe Big Bad Wolf doesn't seem interested.\n\n> You tell Wolf about the windmill\nThis provokes no reaction.\n'Little pigs! Little pigs!' calls the Big Bad Wolf as he disappears upwards. 'Come on out, there's nothing to be afraid of!'\n\n> Go west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> Go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\n> You go to the north\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Three chairs are arranged around a small coffee table; a large chair, a medium-sized chair and a tiny little chair.\n\n> Inventory\nI am carrying:\na dead mouse\na copy of 'Hail!' magazine\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open but empty)\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Light magazine\nWowee! Who'd have thought the copy of 'Hail!' magazine would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 27 out of a possible 100, in 408 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Hint\n(1) Why doesn't the button on the large chair do anything?\n(2) What should I do with the pond?\n(3) How do I make sure the bears don't find me when they get home?\n(4) How do I get rid of Sleeping Beauty?\n(5) Is there any way to extend the time limit?\n\n> 1\nYou need to generate some power first.\nAnother Hint? [Y/N]\n\n> Y.\nWith a little help from an old friend...\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) What should I do with the pond?\n(3) How do I make sure the bears don't find me when they get home?\n(4) How do I get rid of Sleeping Beauty?\n(5) Is there any way to extend the time limit?\n\n> 4\nRemember your fairy tales!\nAnother Hint? [Y/N]\n\n> Y.\nOnly a kiss from a handsome prince can wake her!\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) What should I do with the pond?\n(3) How do I make sure the bears don't find me when they get home?\n(4) How do I get rid of Sleeping Beauty?\n(5) Is there any way to extend the time limit?\n\n> Inventory\nI am carrying:\na dead mouse\na copy of 'Hail!' magazine\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open but empty)\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf prowls into the room from above.\n\n> You feel\nWhat do you want to feel?\n\n> Up\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. 'Little pigs! Little pigs!' calls the Big Bad Wolf as he disappears upwards. 'Come on out, there's nothing to be afraid of!'\n\n> You check your inventory\nI am carrying:\na dead mouse\na copy of 'Hail!' magazine\nan old brass key\na pair of gardening gloves\na cue ball\na rather thin blanket\na bearskin rug (being worn)\nan antimacassar\na packet of frozen pork chops\na mousetrap (which is open but empty)\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\nThe Big Bad Wolf prowls into the room from above.\n\n> Examine watch\nIt is about 11:55 AM.\n\n> You examine the dress\nIt's the latest in charity shop chic. Okay, so the hemline used to be a little bit lower. I got a bit scissor-happy, okay?\nI'm feeling really sleepy...\n\n> You examine the rug\nA slightly motheaten pelt with wildly staring glass eyes, previously worn by Grampa bear I presume. Waste not want not, I suppose, but kind of icky all the same. Someone has rather creatively shaved the word 'welcome' on his back. I wonder if they waited until after he was dead...?\n'Here, piggy piggy piggy!' says the wolf, wandering off to the north. I can hardly keep my eyes open...\n\n> Up\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\nSo tired...\n\n> You lie on medium bed\nSorry, what was that you said? I'm having trouble concentrating...\nA large shadow looms over me...\n\nBefore I can turn around, someone lays a large heavy paw on my shoulder. I turn my head to see three shaggy forms bearing down on me, if you'll excuse the pun, their hot, fetid breath in my face.\n'Who's been eating my porridge?' snarls Papa Bear.\n'Who's been sitting in my chair?' growls Mama Bear.\n'Who's been planning to sleep off her hangover in my bed, but\ndidn't quite get around to it yet?' says Baby Bear. 'Left it a little too late, didn't you Goldilocks? Should have kept an eye on the time - it's noon and we're back from our walk now, and we're very, very upset! What shall we do with her, Pater?'\n'I think she'd look lovely on our trophy wall,' says Papa Bear. 'especially with all that lovely hair.'\nHe produces a red hot poker from behind his back. 'But first I\nthink we'll take her down to the dungeon and have ourselves a little fun...'\n\nUh-oh. There's no getting out of this one! Somehow, I think the adventure is over...\nI have so far scored 27 out of a possible 100, in 420 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Examine watch\nIt is about 11:49 AM.\n\n> 2\nIf you really want to know, don't ask me. Watch TV and read a magazine.\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) What should I do with the pond?\n(3) How do I make sure the bears don't find me when they get home?\n(4) How do I get rid of Sleeping Beauty?\n(5) Is there any way to extend the time limit?\n\n> 0\nThe Big Bad Wolf prowls into the room from the east.\n\n> You lie on the tiny bed\nI'm not snuggling up next to her! There's not enough room, for one thing, and she snores, for another!\n\n> You lie on the medium bed\nI lie down on the medium-sized bed and immediately begin to sink into its suffocating folds. I manage to claw my way out, gasping for breath. There's no way I'm sleeping in that bed tonight!\n\n> You go to the west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge. 'Here, piggy piggy piggy!' says the wolf, wandering off to the north. I'm feeling really sleepy..."
    },
    {
        "text": "[Themes: Humor, Children's, Literary, fairy tale]\n\n> Descend\nIt is pitch dark, and I can't see a thing.\nI'm feeling really sleepy...\n\n> You go south\nI can't go in that direction, but I can move north, west, up, down and out.\nThe Big Bad Wolf prowls into the room from the west.\nI'm feeling really sleepy...\n\n> Exit\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\nI can hardly keep my eyes open...\n\n> Go west\nI can't go in that direction, but I can move south and in.\nSo tired...\n\n> You go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. The Big Bad Wolf strolls out of the room to the west.\n\n> You go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\n> Go inside\nI'm in the potting shed, a ramshackle structure that was obviously cobbled together in five minutes some idle Sunday afternoon. I didn't know bears had green fingers. In fact I didn't know they had fingers at all. Plant pots of all sizes are scattered about the shed untidily and the whole place is festooned with cobwebs.\nIn the corner is an old metal trunk marked 'FISHING TACKLE.'\nI'm feeling really sleepy...\n\n> Search pots\nI find nothing of interest.\nI can hardly keep my eyes open...\n\n> You examine the pots\nThe plant pots are piled precariously against the wall of the shed.\nSo tired...\n\n> You search the cobwebs\nSorry, what was that you said? I'm having trouble concentrating...\nA large shadow looms over me...\n\nBefore I can turn around, someone lays a large heavy paw on my shoulder. I turn my head to see three shaggy forms bearing down on me, if you'll excuse the pun, their hot, fetid breath in my face.\n'Who's been eating my porridge?' snarls Papa Bear.\n'Who's been sitting in my chair?' growls Mama Bear.\n'Who's been planning to sleep off her hangover in my bed, but\ndidn't quite get around to it yet?' says Baby Bear. 'Left it a little too late, didn't you Goldilocks? Should have kept an eye on the time - it's noon and we're back from our walk now, and we're very, very upset! What shall we do with her, Pater?'\n'I think she'd look lovely on our trophy wall,' says Papa Bear. 'especially with all that lovely hair.'\nHe produces a red hot poker from behind his back. 'But first I\nthink we'll take her down to the dungeon and have ourselves a little fun...'\n\nUh-oh. There's no getting out of this one! Somehow, I think the adventure is over...\nI have so far scored 27 out of a possible 100, in 420 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Wedge door with cheese\nOkay, I wedged the door open with the stale cheese.\nThe Big Bad Wolf strolls out of the room to the west.\n\n> You go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\n> Break pots\nNow why would I want to do a thing like that?\n\n> You pull the pots\nI can't reach the ones at the top, so I try to pull one out from near the bottom. Moments later the entire pile is lying all over the floor in fragments."
    },
    {
        "text": "> Look around\nI'm in the potting shed, a ramshackle structure that was obviously cobbled together in five minutes some idle Sunday afternoon. I didn't know bears had green fingers. In fact I didn't know they had fingers at all. The floor is littered with pieces of broken plant pot and the whole place is festooned with cobwebs.\nIn the corner is an old metal trunk marked 'FISHING TACKLE.'\n\n> You get the trunk\nThat's fixed in place.\n\n> You look in trunk\nThe old metal trunk is empty.\n\n> Hint\n(1) Can I eat the porridge in the large and medium-sized bowls?\n(2) What should I do with the pond?\n(3) How do I make sure the bears don't find me when they get home?\n(4) Is there any way to extend the time limit?\n\n> 4\nThere is, but it is cheating; you won't get the best ending if you do this.\nAnother Hint? [Y/N]\n\n> You examine Forest\nIt's really quite pretty - the way the early morning sun shines through the treetops dappling the forest floor. I'd like to be able to tell you what kinds of trees there are but I got kicked out of the Girl Scouts for - let's just say - gross misconduct - with one of the Boy Scout leaders...\n\n> You examine sign\nNO TRESPASSING IN STRANGE LITTLE COTTAGES\nDO NOT STRAY FROM THE PATHS\n(Unless you want to get seriously lost, that is!)\n\nDO NOT FEED THE WOLVES!\n\n> Dig\nWhat do you want to dig?\n\n> You examine the beanstalk\nAren't these things supposed to lead to castles in the clouds with giants and stuff? I guess that bean must have been past it's sell-by date, but then so was the cow I exchanged it for...\n\n> You enter the chimney\nOkay here goes... Wheee! I slid right down the chimney and out of the fireplace! That was fun. Can I do it again?\nIn the kitchen\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You go to the north\nI'm in the pantry, a small claustrophobic room which smells faintly of cinammon, honey and the mouse droppings that are liberally sprinkled across the tiled floor. There is an upright freezer in the corner and some sturdy shelves stacked high with box after box of McScottie's porridge oats. The kitchen lies to the south.\n\n> You go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Completing the morbid ambiance is a motheaten bearskin rug.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. 'Little pigs! Little pigs!' calls the Big Bad Wolf as he disappears upwards. 'Come on out, there's nothing to be afraid of!'\n\n> Go south\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Completing the morbid ambiance is a motheaten bearskin rug.\n\n> Up\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a huge bed. A narrow staircase leads down to the hall.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n'Little pigs! Little pigs!' calls the Big Bad Wolf as he disappears downwards. 'Come on out, there's nothing to be afraid of!'"
    },
    {
        "text": "[Themes: Humor, Literary, Children's]\n\n> Go downward\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Completing the morbid ambiance is a motheaten bearskin rug.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\n> Go west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge. The Big Bad Wolf prowls into the room from the east.\n\n> Go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Completing the morbid ambiance is a motheaten bearskin rug.\nThe Big Bad Wolf prowls into the room from the west.\n\n> You get the rug\nI pick up the bearskin rug. Oh,  wow, there's a trapdoor hidden underneath the rug! What a stupid place to put it - right in front of the front door. Someone could have a nasty accident if they didn't know it was there!\n'Here, piggy piggy piggy!' says the wolf, wandering off to the west.\n\n> You open the trapdoor\nI open the trapdoor. A set of rickety wooden stairs lead down into darkness.\n\n> You check what you're carrying\nI am carrying:\na bearskin rug\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl of just-right porridge\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You eat the porridge\nMmmmm! That porridge tasted JUST RIGHT! I feel thoroughly invigourated; in fact I could toss a few cabers myself if you know what I mean. Wait, that sounded really dodgy. Forget I said it.\n\n> Go west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You look at the dresser\nIt's an olde worlde pine number. Looks like it's seen quite a bit of use over the years. The kitchen dresser is empty.\n\n> You eat oats\nThat's plainly inedible.\n\n> Hint\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> 2\nThe right tool for the right job.\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> You go east\n'Well,' says the wolf, 'it was nice talking to you, but I really must be off. Those piggies won't get eaten all by themselves.'\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\n> You check what you're carrying\nI am carrying:\nan old brass key\na bearskin rug\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You open window with the key\nGenerations of careless decorators have repeatedly painted over the catch making it impossible to turn. No matter how hard I try I can't open it with my bare hands!\n\n> You wear the gloves\nI put on the gloves, but they're much too big for me and feel just a little loose!\n\n> You open window with the key\nEven with thick leather gloves on I still can't turn the catch! I'm going to need something a bit more heavy duty!\n\n> You check your inventory\nI am carrying:\nan old brass key\na bearskin rug\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves (being worn)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You open the window\nEven with thick leather gloves on I still can't turn the catch! I'm going to need something a bit more heavy duty!\n\nDamn! The gloves just dropped off my hands! Yes, both of them, at the same time! What are the chances of that?\n\n> You get the gloves\nThis could be the pair of gardening gloves that broke Goldilocks' back, you know! Taken.\n\n> You wear the gloves\nI put on the gloves, but they're much too big for me and feel just a little loose!\n\nDamn! The gloves just dropped off my hands! Yes, both of them, at the same time! What are the chances of that?\n\n> You check what you're carrying\nI am carrying:\na pair of gardening gloves\nan old brass key\na bearskin rug (being worn)\na packet of frozen pork chops\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You look at the watch\nIt is about 9:35 AM.\n\n> Hint\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> 2\nThe right tool for the right job.\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> 1\nYou need to generate some power first.\nAnother Hint? [Y/N]\n\n> Y.\nWith a little help from an old friend...\nNo more hints!\n\n(1) Why doesn't the button on the large chair do anything?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> Light catch\nWowee! Who'd have thought the catch would burn so well! Uh-oh; the flames are spreading like wildfire - I burned down the cottage, the entire forest and everything in it, including me. That'll teach me to play with matches!!\nOh, bollocks. I'm dead!\nI have so far scored 27 out of a possible 100, in 277 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Go upward\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\n> You sit on the tiny chair\nWow, this chair feels just right! Oh, crap!! The stupid thing collapsed right under me! I guess that's what happens if you buy self-assembly."
    },
    {
        "text": "[Themes: Humor, Children's, Literary]\n\n> Look around\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it.\n\nA small pile of firewood is all that remains of the tiny little chair.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\n> You get the firewood\nOh, so you want me to pick up the pile of firewood now, on top of everything else? Fine! I'll just tuck it between my knees, shall I?\n\n> You go south\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf prowls into the room from above.\n\n> You put the firewood in the fireplace\nI put the pile of firewood into the fireplace.\n\n> Light firewood\nI strike a match and set fire to the remains of Baby Bear's chair...\n\nAlright! There's a blazing fire in the hearth now. Who says I'm not domesticated? That's only one step away from cooking! And to think they kicked me out of the Girl Scouts!\n\n> You cook the pork\nI put the pork chops on the hearth. Wow, they defrosted quickly!\n\n> You examine the pork\nThere's a picture of three little pigs on the packet. Kinda sick when you think about it. I think I'll become a vegetarian.\n\n> You get the pork\nThis could be the packet of medium rare pork chops that broke Goldilocks' back, you know! Taken.\n\n> You wait a while\nTime passes.\n\n> You give pork to Wolf\nThe wolf grabs the packet of pork chops and tears off the wrapper, then rolls on the floor gnawing at them like a dog with an old slipper. Moments later, when he has recovered his dignity, he rises to his feet and says\n'My dear girl, that was simply exquisite! I am indebted for you for that delectable dish! If there is anything I can do in return, simply name it, and it will be done! Huffing and puffing a speciality...'\n\n> You tell Wolf about the windmill\nThis provokes no reaction.\n\nThe Big Bad Wolf taps his foot impatiently.\n\n> You ask Wolf about the windmill\n'No more of this idle banter! If there is something you wish me to do for you, let us attend to it immediately. I am a cunning hunter of the wilderness, and have no time to waste in frivolous conversation!'\n\nThe Big Bad Wolf scratches his ear.\n\n> Go south\nI can't go in that direction, but I can move north, west, up, down and out.\n\nThe Big Bad Wolf taps his foot impatiently.\n\n> You go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\nThe Big Bad Wolf follows me.\n'Ah, my natural habitat!' says the wolf, 'There really is nothing quite like the forest!'\n\n> You go west\nI can't go in that direction, but I can move south and in.\n\nThe Big Bad Wolf taps his foot impatiently.\n\n> You go south\nI'm in a clearing. There is a teeny tiny cottage here complete with a thatched roof and leaded windows. It's just like something out of a fairy tale, funnily enough, except for the large hand-painted sign designed to deter trespassers. Just to the north is the front porch. A little path lined by rows of white-painted stones leads around the side of the house to the west.\nThe Big Bad Wolf follows me.\n\n> You go to the west\nI'm in a little garden alongside the cottage. There's a vegetable plot in a sunny spot by the wall and on the other side of the garden a somewhat neglected ornamental pond. There's obviously been some attempt at landscaping but the effect is less Capability Brown and more incapable bruin. A ramshackle potting shed completes the image of horticultural incompetence. To the north, an overgrown pergola leads into a meadow. A gigantic beanstalk rises out of the vegetable plot and stops abruptly just above the level of the roof.\nThe Big Bad Wolf follows me.\n\n> Go north\nI'm in a small meadow at the back of the cottage, separated from the forest by a rickety fence. In the middle of the meadow is what appears to be a homemade wind turbine! To the south, through the tangled pergola, is the garden.\nThe Big Bad Wolf follows me.\n\n> Blow\nWhat do you want the Big Bad Wolf to blow?\n\n> Turbine\n'Ah, so you wish to make use of my prodigious talents! I shall huff, and I shall puff, and I shall have that turbine turning in a jiffy!' True to his word, the wolf huffs, and he puffs, and he blows the turbine with a gale-force blast of air that sends it spinning like a toy windmill.\n'My debt is paid, dear child - I shall now return to the forest\nwhich is the natural habitat of a fearsome predator such as I. I bid you adieu!' With that he gives a low bow, at which point the oil can falls from the top of the turbine and bops him on the head. With a cluck of annoyance he hitches up the hem of his nightdress, hops over the fence and disappears into the forest.\n\n> You look at the turbine\nIt appears to be a 5 KW battery-charging turbine made from wood, old tractor parts and a washing machine motor, probably connected to the cottage by an underground cable. Faint wisps of smoke are still issuing from the overheated generator!\n\n> You go to the north\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine."
    },
    {
        "text": "[Themes: Literary, Humor, Children's, fairy tale]\n\n> You sit in the large chair\nThe second I plump myself down on the large chair I go into convulsions as 240 volts sear through my body! The room is filled with an odour reminscent of barbequed ribs. When the bears come home they find my blackened skeleton grinning at them from the armchair...\nOh, bollocks. I'm dead!\nI have so far scored 39 out of a possible 100, in 315 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You put the rug on the large chair\n(first taking it off)\n\nI take off the bearskin rug.\nI put the bearskin rug on the large chair.\n\n> You sit in the large chair\nThe second I plump myself down on the large chair I go into convulsions as 240 volts sear through my body! The room is filled with an odour reminscent of barbequed ribs. When the bears come home they find my blackened skeleton grinning at them from the armchair...\nOh, bollocks. I'm dead!\nI have so far scored 39 out of a possible 100, in 316 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You sit in the large chair\nThe second I plump myself down on the large chair I go into convulsions as 240 volts sear through my body! The room is filled with an odour reminscent of barbequed ribs. When the bears come home they find my blackened skeleton grinning at them from the armchair...\nOh, bollocks. I'm dead!\nI have so far scored 39 out of a possible 100, in 318 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You unplug the cable\nIt is fixed in place.\n\n> You cut the cable\n(with the pair of secateurs)\nNo, no good - I couldn't even cut my hair with these secateurs - too rusty.\n\n> Oil secateurs\nOkay, a dash of SUPERLUBE and these babies are as good as new!\n\n> You cut the cable\n(with the pair of secateurs)\nThe secateurs cut through the insulation like a knife through butter...\n\n...Unfortunately I forgot to turn off the power supply first! 240 volts sear through my body filling the room with an odour not dissimilar to roast pork. The bears come home to find my blackened skeleton grinning at them from behind the armchair! I'm dead, and it's all your fault!\nOh, bollocks. I'm dead!\nI have so far scored 39 out of a possible 100, in 321 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You go south\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up"
    },
    {
        "text": "> Go downward\nto the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\n> You look at the wardrobe\nAn old wooden wardrobe with brass handles that looks like it's seen better days. Probably why it's in the cellar. There's a gentle breeze coming from behind the wardrobe! The wardrobe is locked.\n\n> Unlock wardrobe\nWhat do you want to unlock the wardrobe with?\n\n> Key\nI unlock the wardrobe.\n\n> You open the wardrobe\nI open the wardrobe, revealing a set of dumbells.\n\n> You get the dumbells\nYeah, sure, whatever - I'll just tuck them under my chin or something. Taken."
    },
    {
        "text": "> Look around\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\n> You open the machine\nThe door of the washing machine is jammed shut! Don't you just hate it when that happens?\n\n> You look at the machine\nIt doesn't seem to have been used in a while, probably because it's missing it's motor. The door is tightly shut.\n\n> You examine the fusebox\nThere is a volt meter inside, and two switches marked A and B.\n\n> You turn off a.\n(switch A)\nOkay, Switch A is in the OFF position.\nThe lights go off!\n\nIt is now pitch dark in here!\n\n> You turn off the b.\nOkay, Switch B is in the OFF position.\n\n> You cut the cable\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the large chair is a bearskin rug.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n(with the pair of secateurs)\nOkay, I use the secateurs to cut the cable connecting the electrodes to the power supply. Let's see Papa Bear try to fry me now!\n\n> Go north\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\nOkay, Switch B is in the ON position.\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the large chair is a bearskin rug.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\n> You sit in large\nBloody hell! This has got to be the hardest chair I've ever sat in! I've only been here two seconds and my buttocks are as numb as a pair of frozen fishcakes!\n\n> You look at the remote\nThere are two buttons, marked \"Channel\" and \"Buy.\"\n\n> You get the remote\nWhat do you think I am, a packhorse? Oh, alright then; taken."
    },
    {
        "text": "> Look around\nI'm in an underground cave. From the decor I'd say this was Papa Bear's private den, a place of sanctuary away from the rigours of family life. The walls are plastered with posters of football teams and pin-ups from 'Playbear.' A solid metal door, set into the western wall of the cave looks almost impenetrable. There's an electric socket in the wall next to the door. The large chair is now facing a television set and there's a fridge within easy reach of the chair.\n\n> Examine watch\nIt is about 10:49 AM.\n\n> You look at door\nThe door looks as though it has been designed to withstand anything short of a nuclear blast! There's a sign on the door which reads \"Papa Bear's workshop - STRICTLY NO ADMITTANCE to anyone other than Papa Bear!\" Just next to the door at floor level is an electric socket.\n\n> You open door\nThe solid metal door has no doorhandle or keyhole and there is no other visible means of opening it. The secret is known only to Papa Bear!\n\n> You open the fridge\nI open the refridgerator, revealing a can of beer.\n\n> You get the beer\nYeah, sure, whatever - I'll just tuck it under my chin or something. Taken.\n\n> You close the fridge\nI close the refridgerator.\n\n> You wait a while\nTime passes.\n\n> Up\nI can't go in any direction!\n\n'Ding-Dong!' A bell rings somewhere.\n\n> You go to the south\nI'll have to get off the large chair first.\n\n> You go south\nI get off the large chair.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\n> Go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\nI can also see a package (which is closed) here.\n\n> You look at the package\nIt's addressed to \"Goldilocks, c/o 3 Bears' Cottage, Enchanted Forest, Fairyland FL3 7ER.\" It's a wonder that they managed to find me. In fact it's a wonder I even managed to order it in the first place considering that the bears don't have cable!\n\n> You open the package\nI open the package, revealing an electric toaster and a leaflet.\n\n> You read the leaflet\n\"Thankyou for purchasing the toast-o-mastic 3000 atomic 3 - slot toaster. This revolutionary gadget allows you to toast not one but three slices of bread at the same time... blah blah blah.\" There is some smallprint, but it is illegible to the naked eye.\n\n> You examine the toaster\nIt's a stylish chrome affair with three slots, each about an inch wide, and a control lever which can be depressed to activate it. The lever is in the off position. The toaster is not plugged in.\n\n> You unplug the tv\nOkay, I pulled the plug out of the wall socket.\n\n> You plug the toaster\nOkay, I put the plug in the wall socket.\n\n> You examine the socket\nWhich do you mean, the wall socket or the electric socket?\n\n> You look at the electric socket\nFor plugging electrical appliances into. I believe it's known as an outlet across the pond. The toaster is currently plugged into the wall socket.\n\n> You examine the toaster\nIt's a stylish chrome affair with three slots, each about an inch wide, and a control lever which can be depressed to activate it. The lever is in the off position. The toaster is plugged into the wall socket.\n\n> You check your inventory\nI am carrying:\na package (which is open)\na leaflet\na can of beer\na bearskin rug\na TV remote control\na set of dumbells\nan antimacassar\nan oil can\na pair of gardening gloves\nan old brass key\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You put the dynamite in the toaster\nHmmm... they seem to fit quite snuggly. I jammed them in upside down so that the fuses are touching the heating elements of the toaster.\n\n> You examine the toaster\nIt's a stylish chrome affair with three slots, each about an inch wide, and a control lever which can be depressed to activate it. The lever is in the off position. A stick of dynamite has been wedged into each of the slots. The toaster is plugged into the wall socket."
    },
    {
        "text": "> You get the dynamite\nThe dynamite is of more use to me inside the toaster than out!\n\n> You check your inventory\nI am carrying:\na package (which is open)\na leaflet\na can of beer\na bearskin rug\na TV remote control\na set of dumbells\nan antimacassar\nan oil can\na pair of gardening gloves\nan old brass key\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)"
    },
    {
        "text": "[Themes: Humor, Children's, Literary, fairy tale]\n\n> You look around\nI'm in an underground cave. From the decor I'd say this was Papa Bear's private den, a place of sanctuary away from the rigours of family life. The walls are plastered with posters of football teams and pin-ups from 'Playbear.' A solid metal door, set into the western wall of the cave looks almost impenetrable. There's an electric socket in the wall next to the door. The large chair is now facing a television set and there's a fridge within easy reach of the chair.\n\nI can see an electric toaster (in which are some sticks of dynamite) here.\n\n> You examinthe pin-ups\nForget it, pervert! For one thing, I'm not a bear and for another I'm not that way inclined!\nHel-lo - look at the knockers on that one!\n\n> You drink the beer\nDown in one! (Glug, glug glug!) God, that hits the spot! (Burp!)\n\n> You look at print\nI can't - it's written in the most microscopic type I've ever seen; in fact I nearly didn't see it. Seems the toaster company really don't want anyone to read this!\n\n> Inventory\nI am carrying:\na fine print\na package (which is open)\na leaflet\na can of beer\na bearskin rug\na TV remote control\na set of dumbells\nan antimacassar\nan oil can\na pair of gardening gloves\nan old brass key\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na trowel\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Hint\n(1) How do I get into Papa Bear's workshop?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> 1\nYou need to create a nuclear explosion.\nAnother Hint? [Y/N]\n\n> Y.\nBlow up the atomic toaster!\nNo more hints!\n\n(1) How do I get into Papa Bear's workshop?\n(2) How do I open the window?\n(3) What should I do with the pond?\n(4) How do I make sure the bears don't find me when they get home?\n(5) How do I get rid of Sleeping Beauty?\n(6) Is there any way to extend the time limit?\n\n> You search the toaster\nIn the electric toaster are some sticks of dynamite.\n\n> You examine the lever\nIt activates the toaster. You push it down, the toaster toasts. Provided it's plugged in and the power's on. The lever is in the off position.\nI'm feeling really sleepy..."
    },
    {
        "text": "> You sit on the chair\nBloody hell! This has got to be the hardest chair I've ever sat in! I've only been here two seconds and my buttocks are as numb as a pair of frozen fishcakes!\nI can hardly keep my eyes open...\n\n> You stand\nSorry, what was that you said? I'm having trouble concentrating...\nA large shadow looms over me...\n\nBefore I can turn around, someone lays a large heavy paw on my shoulder. I turn my head to see three shaggy forms bearing down on me, if you'll excuse the pun, their hot, fetid breath in my face.\n'Who's been eating my porridge?' snarls Papa Bear.\n'Who's been planning to sleep off her hangover in my bed, but\ndidn't quite get around to it yet?' says Baby Bear. 'Left it a little too late, didn't you Goldilocks? Should have kept an eye on the time - it's noon and we're back from our walk now, and we're very, very upset! What shall we do with her, Pater?'\n'I think she'd look lovely on our trophy wall,' says Papa Bear. 'especially with all that lovely hair.'\nHe produces a red hot poker from behind his back. 'But first I\nthink we'll take her down to the dungeon and have ourselves a little fun...'\n\nUh-oh. There's no getting out of this one! Somehow, I think the adventure is over...\nI have so far scored 48 out of a possible 100, in 420 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You look at the watch\nIt is about 7:50 AM.\n\n> You look at the box\nAnyone for pyromania? The matchbox contains just two matches.\n\n> You get the oats\nOne of the cartons has the words \"FREE GIFT\" splashed all over the side of it, so I grab that one. I always was a sucker for those little plastic gizmos. The carton is surprisingly light.\n\n> You open the oats\n(the carton of porridge oats)\nI open the carton of porridge oats, revealing a pendant.\n\n> You get the pendant\nFine, fine, no problem - I'll just balance it on top of my head. What did your last slave die of?\n\n> You wear it\nOh wow! As soon as I put it on it becomes a glow-in-the-dark pendant! How cool is that?\n\n> You drop the oats\n(the carton of porridge oats)\nDropped.\n\n> You put rug on the trapdoor\nOkay, I placed the rug over the trapdoor, so that it looks exactly as before - except that the trapdoor is open!\n\nSomebody is banging on the front door!\n\n> You open the door\nI open the door a tiny crack. As I do so, the mangy looking wolf I encountered on the path barges into the hall, his beady eyes darting this way and that. Unfortunately he fails to notice the open trapdoor concealed under the rug and falls headlong into the cellar with a loud crash. Moments later he re-emerges looking meaner than ever.\n'I'm going to eat you little piggies!' he snarls. 'Don't worry, it won't hurt a bit.' Then he notices me and his expression turns to one of bewilderment. 'My dear girl,' he says 'we really must stop meeting like this. It is not you I seek, but the Three Little Pigs. I waited two whole weeks for Little Red Riding Hood, after devouring her grandmother who was exceedingly tough and chewy and quite frankly I have had enough of the taste of humans. Go tell those snivelling pigs it's breakfast time!!'"
    },
    {
        "text": "[Themes: Children's, Humor, Literary, fairy tale]\n\n> You look at your surroundings\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous."
    },
    {
        "text": "[Themes: Children's, Literary, Humor, female protagonist]\n\n> You go down\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\nI can see a bearskin rug here.\n\n> You get the rug\nYeah, sure, whatever - I'll just tuck it under my chin or something. Taken.\n\n> You open the wardrobe\nIt seems to be locked.\n\n> Unlock wardrobe\nWhat do you want to unlock the wardrobe with?\n\n> You go upward\n(first taking the up above)\nThat isn't available.\n\n> Search ashes\nI fish around in the embers until I find an old brass key. What a ridiculous place to keep it! I pick it up in case it comes in useful."
    },
    {
        "text": "[Themes: Children's, Literary, Humor, fairy tale]\n\n> Go downwards\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous. 'Little pigs! Little pigs!' calls the Big Bad Wolf as he disappears to the west. 'Come on out, there's nothing to be afraid of!'\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\n> You get the dumbbells\nNormally I could just about lift those, but I'm so weak with hunger at the moment I doubt I could bench press a feather duster. When am I going to get my bloomin' breakfast?\n\n> You eat the porridge\nMmmmm! That porridge tasted JUST RIGHT! I feel thoroughly invigourated; in fact I could toss a few cabers myself if you know what I mean. Wait, that sounded really dodgy. Forget I said it.\n\n> You get the dumbbells\nFine, fine, no problem - I'll just balance them on top of my head. What did your last slave die of?\n\n> Up\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door is open, but a strong draught threatens to blow it shut at any moment. Just inside the front door is an open trapdoor.\n\n> You sit on the medium chair\nWow - this chair is sooooo soft! I feel as though I'm sinking into a black hole! Oh my god, I am!\nInside the medium-sized chair\nI seem to have sunk deep within the soft, enveloping folds of the medium-sized chair, the place where biscuit crumbs, loose change and other lost items normally accumulate. I can just see a small window of light, the only way out of this warm, stifling floral-print cocoon.\n\nI can see a pair of very thick spectacles here.\n\n> You leave\nI can't move! Something I'm carrying keeps dragging me back into the chair! I don't know how Mama Bear puts up with this!!\n\n> You drop the dumbells\nDropped.\n\n> Wedge door with cheese\nOkay, I wedged the door open with the stale cheese.\n\n> Go west\nI am in the bears' tiny kitchen, a cosy little room that could have come straight from the pages of Country Living. It's big on original features and totally lacking in \"mod cons.\" A large dining table sits in the centre of the room and there is a dresser against the wall. Opposite the dresser is an enormous brick fireplace that seems to fill half the room.\nThe Big Bad Wolf is here, doing his best to look mean and dangerous.\n\nOn the dining table are a large bowl (which is empty), a medium-sized bowl (which is empty) and a tiny little bowl of just-right porridge.\n\n> You put the firewood in the fireplace\nI put the pile of firewood into the fireplace.\n\n> Light firewood\nI strike a match and set fire to the remains of Baby Bear's chair...\n\nAlright! There's a blazing fire in the hearth now. Who says I'm not domesticated? That's only one step away from cooking! And to think they kicked me out of the Girl Scouts!\n'Here, piggy piggy piggy!' says the wolf, wandering off to the north.\n\n> You cook the pork\nI put the pork chops on the hearth. Wow, they defrosted quickly!\nThe Big Bad Wolf prowls into the room from the north.\n\n> You give the pork to Wolf\n(first taking the packet of medium rare pork chops)\nThe wolf grabs the packet of pork chops and tears off the wrapper, then rolls on the floor gnawing at them like a dog with an old slipper. Moments later, when he has recovered his dignity, he rises to his feet and says\n'My dear girl, that was simply exquisite! I am indebted for you for that delectable dish! If there is anything I can do in return, simply name it, and it will be done! Huffing and puffing a speciality...'\n\n> Go east\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\nThe Big Bad Wolf follows me.\n\n> You go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\nThe Big Bad Wolf follows me.\n'Ah, my natural habitat!' says the wolf, 'There really is nothing quite like the forest!'\n\n> Inventory\nI am carrying:\nan oil can\na pair of very thick spectacles\nan old brass key\na bearskin rug\na pendant (providing light and being worn)\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Oil secateurs\nOkay, a dash of SUPERLUBE and these babies are as good as new!\n\n> Go east\nI'm in a clearing. There is a teeny tiny cottage here complete with a thatched roof and leaded windows. It's just like something out of a fairy tale, funnily enough, except for the large hand-painted sign\n\n> You go to the north\ndesigned to deter trespassers. Just to the north is the front porch. A little path lined by rows of white-painted stones leads around the side of the house to the west.\n\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\n> You cut the cable\n(with the pair of secateurs)\nOkay, I use the secateurs to cut the cable connecting the electrodes to the power supply. Let's see Papa Bear try to fry me now!\n\n> You turn on the b.\nOkay, Switch B is in the ON position.\n\n> You get remote\nThis could be the TV remote control that broke Goldilocks' back, you know! Taken.\n\n> Leave\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\n'Ding-Dong!' A bell rings somewhere."
    },
    {
        "text": "[Themes: Children's, Humor, Literary, fairy tale]\n\n> Look around\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\nI can also see a package (which is closed) here.\n\n> You open the package\nI open the package, revealing an electric toaster and a leaflet.\n\n> You get the toaster and leaflet\nelectric toaster: Oh, so you want me to pick up the electric toaster now, on top of everything else? Fine! I'll just tuck it between my knees, shall I?\nleaflet: Oh, so you want me to pick up the leaflet now, on top of everything else? Fine! I'll just tuck it between my knees, shall I?\n\n> Examine watch\nIt is about 9:17 AM.\n\n> Wear spectacles\nI put on the pair of very thick spectacles.\n\n> You read the fine print\nThrough the glasses I can actually read the microscopic print at the bottom of the page:\n'The Toast-O-Matic 3000 uses a small nuclear reactor for\ninstantaneous toasting satisfaction. However, the unit still requires electricty to initiate the reaction. Under normal circumstances there is no danger of nuclear meltdown. Refer all servicing to a qualified nuclear physicist. The manufacturers take no responsiblity for injury or death resulting from the misuse of this product.'\n\n> Enter\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up\n\n> You turn off the a.\n(switch A)\nOkay, Switch A is in the OFF position.\nThe lights go off!\n\n> Inventory\nI am carrying:\na leaflet\nan electric toaster\na TV remote control\nan antimacassar\nan oil can\na pair of very thick spectacles (being worn)\nan old brass key\na bearskin rug\na pendant (providing light and being worn)\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\nsome sticks of dynamite\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> Examine tv\nHmm... The TV's plugged in but the set is completely dead.\n\n> You go outside\nI get off the large chair.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\n> You turn on a\n(switch A)\nOkay, Switch A is in the ON position. Down in the cave the toaster elements heat up igniting the fuses on the sticks of dynamite...\n\n...which explode causing a chain reaction...\n\n\"KABOOOOM!!!\"\n\nNUCLEAR EXPLOSION which rocks the whole cottage!\n\n> You go west\nThis must be where Papa Bear does all his D.I.Y. It's a small but tidy workshop with a bench and an old filing cabinet in the corner. Pinned to the walls are what appear to be the blueprints for various devices.\n\nOn the bench are a wrench and a tin of gold paint.\nSitting in the middle of the floor is a huge wooden crate, stencilled with the words: \"DANGER: PROTOTYPE!\"\n\n> You look at the crate\nA mysterious wooden crate... Looks like Papa Bear does more in his workshop than simply assemble Ikea furniture. The huge wooden crate is nailed shut.\n\n> Examine watch\nIt is about 9:49 AM.\n\n> You examine the bench\nIt's old and worn, splattered with paint and full of grooves and dents.\n\n> You open the cabinet\nIt seems to be locked.\n\n> Unlock cabinet\nWhat do you want to unlock the battered old filing cabinet with?\n\n> Open crate\nHow? With my bare hands? I just got these nails done you know!\n\n> You check your inventory\nI am carrying:\na tin of gold paint\na wrench\na leaflet\na TV remote control\nan antimacassar\nan oil can\na pair of very thick spectacles (being worn)\nan old brass key\na bearskin rug\na pendant (providing light and being worn)\na mousetrap (which is open)\na dead mouse\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\na ratty old paintbrush\na pair of secateurs\nan overripe pumpkin\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You remove the gloves\nI take off the pair of gardening gloves.\n\n> Go east\nThe cave has been completely devastated by the explosion! Where the door used to be there is now a gaping hole in the western wall. The walls of the cave, melted by the intensive heat of my homemade atomic bomb are still glowing faintly. Of the television set there is no sign. The fridge is lying on its side, smoking slightly.\n\n> Go upwards\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a huge bed. A narrow staircase leads down to the hall.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\n> You examine the huge bed\nIt's very large and very uncomfortable looking, and is covered by a single rather thin looking blanket. Is this guy some kind of masochist or what?\n\n> You open the window with the wrench\nTaking the wrench in both hands, I give the catch a good sharp twist. The layers of ancient paint crack and flake off allowing me to open the window. As I do so, a tiny point of light zips into the room from outside! It whizzes two or three times around my head and then, with a sharp 'ping' transforms itself into a tiny little old lady with wings. 'Fear not, Cinderella!' She says, staggering slightly as she\nrecovers from her exertions, 'I am your Fairy Godmother and you shall go to the... to the... oh, what was it now?' She looks up at me, bewildered. 'Who are you? Is it time for my medicine?'\n\n> You give the pumpkin to Godmother\n(my Fairy Godmother)\n'Thankyou dear,' says my Fairy Godmother as I hand her the pumpkin. 'With a wave of my wand I shall transform this pumpkin into a lovely golden coach. Now let me see...' She takes out her wand and waves it over the pumpkin a couple of times, somewhat uncertainly. After a short time the pumpkin begins to swell as though someone were pumping it full of air. Then there is a soft, damp 'plop' as the pumpkin explodes, showering the two of us with orange goo.\n'Oh dear,' says my Fairy Godmother 'that wasn't quite right! Never mind, we'll have to make do without a coach. Perhaps you can ride one of the coach horses...'\n\n> You give the mouse to Godmother\n(my Fairy Godmother)\n(first taking the dead mouse)\n'He's a jolly little chap, isn't he?' Says my Fairy Godmother as I hand over the dead mouse. With a wave of her magic wand she transforms it into a dead coach horse. She seems perfectly satisfied with this outcome. 'Now, child, that's the transport sorted out. Now for the other thing. What was it now...?'\n\n> Inventory\nI am carrying:\na can of beer\na tin of gold paint\na wrench\na leaflet\na TV remote control\nan antimacassar\nan oil can\na pair of very thick spectacles (being worn)\nan old brass key\na bearskin rug\na pendant (providing light and being worn)\na mousetrap (which is open but empty)\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\na ratty old paintbrush\na pair of secateurs\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You examine the horse\nIt's as stiff as a board. One for the glue factory I'm afraid. And to think this noble beast died whilst trying to steal a peice of cheese.\n\n> You give the dress to Godmother\n(my Fairy Godmother)\nMy Fairy Godmother doesn't seem interested.\n\n> You lie on the huge bed\nI lie down on the huge \"bed\" and try to get some sleep, but it's hopelessly uncomfortable. I'd have better luck sleeping on a flagpole.\n\n> You stand\nI get off the huge bed.\n\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a\n\n> You look at bed\ntiny little bed, a medium-sized bed and a huge bed. A narrow staircase leads down to the hall.\nLying in the middle of the floor with all four legs pointing heavenward is a dead coach horse.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\nI can also see my Fairy Godmother here.\n\nWhich do you mean, the huge bed, the medium-sized bed or the tiny little bed?\n\n> Huge\nIt's very large and very uncomfortable looking, and is covered by a single rather thin looking blanket. Is this guy some kind of masochist or what?\n\n> You get the blanket\nWow! Now I understand why the huge bed felt so hard! What better way to conceal from your wife the fact that you've spent your family's entire annual porridge budget on a full sized snooker table than to give up your conjugal rights altogether and disguise it as a bed! Boy, could this couple use some marriage guidance!\n\n> You paint the cue ball\nOkay, I painted the cue ball gold.\n\n> You go outside\nI'm standing on the porch of the Three Bears' cottage. It would be quite pretty in a rustic sort of way had someone not seen fit to paint it gold. The front door has been wedged open. Just south of me is the clearing in the forest.\nA battered old dustbin sits to one side of the porch.\n\nI can also see a package (which is empty) here.\n\n> You put Ball in the pond\nThe ball lands in the pond with a dull plop. A few moments later a small green frog emerges from the pond clutching it in one of his slimy flippers. He drops it on the grass in front of me and puckers up expectantly...\n\n> Kiss frog\nYeeeuch! Actually he's not a bad smoocher, I've never kissed anyone before with such a flexible tongue...\nWhoa! There was a flash of light and the frog just turned into a handsome prince!\n'Thanks, babe,' he says, looking me up and down, 'I'd love to hang around but I'm off to find me a real princess - I simply must have a date for the Royal Ball tonight. Maybe we can do lunch sometime!'\nHe runs off towards the forest. I think I preferred him as a frog - less slimy!\n\n> Go upwards\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nLying in the middle of the floor with all four legs pointing heavenward is a dead coach horse.\nA tiny dormer window looks out onto the clearing.\nFor some unaccountable reason, Sleeping Beauty is lying fast asleep on the tiny little bed.\n\nI can also see my Fairy Godmother here.\n\n> Kiss frog\nYeeeuch! Actually he's not a bad smoocher, I've never kissed anyone before with such a flexible tongue...\nWhoa! There was a flash of light and the frog just turned into a handsome prince!\n'Thanks, babe,' he says, looking me up and down, 'I'd love to hang around but I'm off to find me a real princess - I simply must have a date for the Royal Ball tonight. Maybe we can do lunch sometime!' Suddenly he notices Sleeping Beauty sprawled across Baby Bear's\nbed. 'Now that's what I call a REAL princess!' A quick kiss wakes Beauty, and the happy couple are off to the cathedral. That's no basis for a lasting relationship!\n\n> Examine watch\nIt is about 10:39 AM.\n\n> You remove the dress\nOh, yeah, sure. Look, I'm not that kind of girl, okay? Despite what people say.\n\n> You look at what you're carrying with you\nI am carrying:\na rather thin blanket\na can of beer\na tin of gold paint\na wrench\na leaflet\na TV remote control\nan antimacassar\nan oil can\na pair of very thick spectacles (being worn)\nan old brass key\na bearskin rug\na pendant (providing light and being worn)\na mousetrap (which is open but empty)\na matchbox\na spoon\na gigantic bowl\na crumpled note\na small packet (which is open but empty)\na pair of gardening gloves\na trowel\na ratty old paintbrush\na pair of secateurs\na broken bottle\na wristwatch (being worn)\na \"distressed\" Laura Ashley dress (being worn)\n\n> You give the blanket to Godmother\n(my Fairy Godmother)\nMy Fairy Godmother doesn't seem interested.\n\n> You ask Godmother about yourself\n(my Fairy Godmother about that)\n'Agnes, is that you? Oh, dear...'\n\n> You examine Godmother\n(my Fairy Godmother)\nOkay, so technically she's Cinderella's Fairy Godmother, but what she doesn't know won't hurt her. She's a tiny little woman who must be ninety years old if she's a day. She's wearing what I can only describe as a heavily sequined ballerina's outfit which looks hideously wrinkled on her shrivelled frame. Top this off with surgical support stockings and a pair of cardboard wings stuck on with sellotape, and you get the picture.\nMy Fairy Godmother is carrying a magic wand.\n\n> Hint\n(1) How do I open the crate?\n(2) How do I open the window?\n(3) What should I do with Cinderella's Fairy Godmother?\n(4) How do I make sure the bears don't find me when they get home?\n(5) Is there any way to extend the time limit?\n\n> 3\nPretend you're Cinderella.\nAnother Hint? [Y/N]\n\n> Y.\nGive her what she wants!\nNo more hints!\n\n(1) How do I open the crate?\n(2) How do I open the window?\n(3) What should I do with Cinderella's Fairy Godmother?\n(4) How do I make sure the bears don't find me when they get home?\n(5) Is there any way to extend the time limit?\n\n> 1\nYou need a little leverage.\nNo more hints!\n\n(1) How do I open the crate?\n(2) How do I open the window?\n(3) What should I do with Cinderella's Fairy Godmother?\n(4) How do I make sure the bears don't find me when they get home?\n(5) Is there any way to extend the time limit?\n\n> You go west\nThis must be where Papa Bear does all his D.I.Y. It's a small but tidy workshop with a bench and an old filing cabinet in the corner. Pinned to the walls are what appear to be the blueprints for various devices. Sitting in the middle of the floor is a huge wooden crate, stencilled with the words: \"DANGER: PROTOTYPE!\"\n\n> You get the crate\nThat's fixed in place.\n\n> You examine the bench\nIt's old and worn, splattered with paint and full of grooves and dents.\n\n> You open it\nIt seems to be locked.\n\n> Pry crate\nWhat do you want to pry the huge wooden crate with?\n\n> Leave\nI get off the large chair.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of\n\n> Go south\nroom that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine."
    },
    {
        "text": "[Themes: Literary, Children's, Humor]\n\n> Go downwards\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\n> You look at the wardrobe\nAn old wooden wardrobe with brass handles that looks like it's seen better days. Probably why it's in the cellar. There's a gentle breeze coming from behind the wardrobe! The wardrobe is completely empty.\n\n> You move it\nOkay.... Oof! I moved it. Oh, wow! There's a gothic archway behind here leading into some kind of hidden room! The words 'Baby Bear's Playroom' are painted above the arch!\n\n> Go west\nI'm in a dark passage carved into the rock. It curves around to the north.\n\n> Go north\nThis seems to be a small annex to the main part of the cellar. Everything about the decor of this place says 'dungeon' to me, from the guttering torches to the ragrolled paint effect on the walls that's meant to look like ancient stonework. Unfortunately the rotting skeleton manacled to the wall is only too real. A sign on the wall opposite the skeleton says 'When we say NO TRESPASSERS we mean NO TRESPASSERS!' Something for the bears' victims to think about while they languish in this dump. The passage leads south back to the cellar.\n\n> You examine the skeleton\nIt's wearing a red cape with a hood. I guess this must be the elusive Little Red Riding Hood! No wonder she never made it to Grandma's house - she must have called at the wrong cottage by mistake, poor little twerp!\nHmm, what's this? There appears to be a blackened metal poker\nshoved up her, um, actually you don't want to know where it was shoved. Ouch.\n\nI've taken the poker in case it comes in useful.\n\n> You go east\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. There's a gothic archway leading out of the cellar to the west. A battered old wardrobe stands close to the archway.\n\n> You sit in the chair\nIt is about 11:22 AM.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\nWhich do you mean, the large chair, the medium-sized chair or the tiny little chair?\n\n> You pry the crate with the poker\nUsing the poker like a crowbar I wrench the crate apart at the seams. It collapses to reveal a strange cauldron-like contraption inside.\n\n> You examine the cauldron\nIt's a huge Heath-Robinson-esque contraption that looks like a cross between a witch's cauldron and Stevenson's Rocket. The cauldron part is covered in arcane symbols and looks big enough to boil an elephant! The magic porridge pot is empty.\n\n> You get the pot\nThe magic porridge pot is far too big and heavy for me to carry! There must be another way of moving it.\n\n> Go east\nThe cave has been completely devastated by the explosion! Where the door used to be there is now a gaping hole in the western wall. The walls of the cave, melted by the intensive heat of my homemade atomic bomb are still glowing faintly. Of the television set there is no sign. The fridge is lying on its side, smoking slightly."
    },
    {
        "text": "> Go downwards\nroom that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. There's a gothic archway leading out of the cellar to the west. A battered old wardrobe stands close to the archway.\n\n> You open the washing machine with the poker\nI jam the poker in the door of the machine and give it a good hard push. There is a sharp crack and the door flies open! Who was it said that brute force never achieved anything?\n\nHowever, the washing machine contains nothing but sludge.\n\n> You search the sludge\nHidden in the sludge at the bottom of the drum, I find a small key, which I take.\n\n> You look at the key\nWhich do you mean, the tiny metal key or the old brass key?\n\n> Go east\nBloody hell! This has got to be the hardest chair I've ever sat in! I've only been here two seconds and my buttocks are as numb as a pair of frozen fishcakes!\n(the chair's button)\nWhoa! A hole just opened up in the floor and the chair is carrying me down into the bowels of the earth! It's just like something out of a James Bond film!\n\nOuch! - it's stopped...\n\nThe cave has been completely devastated by the explosion! Where the door used to be there is now a gaping hole in the western wall. The walls of the cave, melted by the intensive heat of my homemade atomic bomb are still glowing faintly. Of the television set there is no sign. The fridge is lying on its side, smoking slightly.\n\nThe jolt threw me out of the chair - I guess the mechanism was designed for someone much heavier than me!\nI can't go in that direction, but I can move west.\n\n> Go west\nThis must be where Papa Bear does all his D.I.Y. It's a small but tidy workshop with a bench and an old filing cabinet in the corner. Pinned to the walls are what appear to be the blueprints for various devices. Sitting amidst the wreckage of the crate is a magic porridge pot.\n\n> Tiny\nI unlock the battered old filing cabinet.\n\n> You open the cabinet\nI open the battered old filing cabinet, revealing a warranty and a set of instructions.\n\n> You read warranty\nIt's a year's warranty for a small self-assembly chair. Looks like it expired yesterday, what a shame!\n\n> You read the instructions\nIt appears to be the operating instructions for a magic porridge pot. They seem to be fairly straightforward. \"To start the pot, say ALAKAZAM. To stop the pot, say ALAKAZOO.\" There's a note at the bottom to the effect that the stop spell is extremely tempermental and that the pot should under no circumstances be used in confined spaces!\n\n> ALAKAZAM\n'ALAKAZAM!'\nImmediately the magic porridge pot begins to fill up with extremely hot porridge. It just sort of swirls up from the bottom of the pot like an expensive special effect. Within seconds the pot is full and the porridge begins to run down the sides...\n\n> You go to the east\nNot only has Papa Bear's secret den been devastated by a nuclear explosion, but it is also rapidly filling up with porridge which is gushing in through the ravaged doorway to the west. Of the television set there is no sign. The fridge is lying on its side, smoking slightly.\nThe room is rapidly filling up with boiling-hot porridge! I think it might be a good idea to get the hell out of here!\n\n> You sit in the chair\nBloody hell! This has got to be the hardest chair I've ever sat in! I've only been here two seconds and my buttocks are as numb as a pair of frozen fishcakes!\nThe porridge level creeps steadily higher until finally it is up to my neck! Like quicksand it gradually sucks me under...\nOh, bollocks. I'm dead!\nI have so far scored 78 out of a possible 100, in 417 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You go to the east\nNot only has Papa Bear's secret den been devastated by a nuclear explosion, but it is also rapidly filling up with porridge which is gushing in through the ravaged doorway to the west. Of the television set there is no sign. The fridge is lying on its side, smoking slightly.\n\n> You sit in the chair\nBloody hell! This has got to be the hardest chair I've ever sat in! I've only been here two seconds and my buttocks are as numb as a pair of frozen fishcakes!\nThe room is rapidly filling up with boiling-hot porridge! I think it might be a good idea to get the hell out of here!"
    },
    {
        "text": "> Alakazoo\nNothing happens. I think that's the spell to stop the pot from boiling!\n\n> Alakazoo\n'ALAKAZOO!' I shout at the top of my lungs. At first nothing seems to be happening, but after a few moments the flow of porridge slows down, and finally stops. The remaining porridge trickles away through cracks in the cave floor.\n\n> You eat the porridge\nThat's plainly inedible.\nI'm feeling really sleepy...\n\n> You get the pot\nThe magic porridge pot is far too big and heavy for me to carry! There must be another way of moving it.\nI can hardly keep my eyes open...\n\n> You pry the cauldron with the poker\nThat doesn't seem to be something I can unlock.\nSo tired...\n\n> Examine watch\nIt is about 11:28 AM.\n\n> Examine watch\nIt is about 10:39 AM."
    },
    {
        "text": "[Themes: Literary, Children's, Humor, female protagonist]\n\n> You describe your surroundings\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nLying in the middle of the floor with all four legs pointing heavenward is a dead coach horse.\nA tiny dormer window looks out onto the clearing.\n\nI can also see my Fairy Godmother here.\n\n> You ask Godmother about the dress\n(my Fairy Godmother about that)\n'Oh, yes dear - that was it,' says my Fairy Godmother, 'You can't possibly go to the ball looking like that!' I'm a little offended by this but decide to bite my lip. 'Wait a second while I reprogram my wand.' After a few moments she raises the wand and waves it frantically as though it were stuck to her hand and she were desperate to get rid of it. There is a sudden, bright flash and my dress disappears in a puff of smoke!\n'Oh dear,' says my Fairy Godmother with a frown, 'that's not the rags-to-ballgown spell, it's the one for moving stuff down to the cellar, I used it last weekend when I cleared out the spare room. I'm sorry my dear, I shall have to go home and get my spell book. I'd forget my wings if they were't sellotaped on.' There is another flash and she turns back into a tiny point of light, before flitting back out of the window. As she does so, something silvery clatters to the floor."
    },
    {
        "text": "[Themes: Children's, Literary, Humor, female protagonist]\n\n> You descend\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. A battered old wardrobe stands against the western wall of the cellar.\n\nI can see a \"distressed\" Laura Ashley dress here.\n\n> You wear it\nI put on the \"distressed\" Laura Ashley dress.\n\n> You go east\nI'm in a dark passage carved into the rock. It curves around to the north.\n\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. There's a gothic archway leading out of the cellar to the west. A battered old wardrobe stands close to the archway.\n\n> You open the machine with the poker\nI jam the poker in the door of the machine and give it a good hard push. There is a sharp crack and the door flies open! Who was it said that brute force never achieved anything?\n\nHowever, the washing machine contains nothing but sludge.\n\n> You examine the sludge\nHidden in the sludge at the bottom of the drum, I find a small key, which I take.\n\n> You wave the wand at the pot\nThere is a bright flash and the magic porridge pot vanishes in a puff of smoke!\n\n> You go to the south\nI'll have to get off the large chair first.\n\n> You look at watch\nIt is about 11:07 AM.\n\n> You go south\nI get off the large chair.\n\nFrom its floral carpet to its lovingly dusted knick-knacks, The Three Bears' sitting room is a chintzy abomination of taste, the sort of room that would make any sane bear want to go back and live in a cave. Two chairs are arranged around small coffee table; a large chair and a medium-sized chair. There used to be a tiny little chair but I'd rather not talk about it. There's a low-pitched hum coming from somewhere.\n\nOn the small coffee table is a copy of 'Hail!' magazine.\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor."
    },
    {
        "text": "[Themes: Humor, Children's, Literary]\n\n> Go downward\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. There's a gothic archway leading out of the cellar to the west. A battered old wardrobe stands close to the archway.\nThe magic porridge pot is sitting in the middle of the room.\n\n> ALAKAZAM\n'ALAKAZAM!'\nImmediately the magic porridge pot begins to fill up with extremely hot porridge. It just sort of swirls up from the bottom of the pot like an expensive special effect. Within seconds the pot is full and the porridge begins to run down the sides...\n\n> Go up\nI scramble up the rickety steps just in time - a moment later the lower part of the staircase is smashed to splinters by a wave of bubbling porridge. I look back to see the cellar completely submerged in boiling oatmeal.\n\nI'm in the entrance hall of the Three Bears' house. Hung around the walls are portraits of various members of the Bear clan, along with some highly disturbing hunting trophies. A narrow staircase leads up to the bears' bedroom. The front door has been wedged open. Just inside the front door is an open trapdoor.\n\n> You wait a while\nTime passes.\n\n> You look at the trapdoor\nThe trapdoor is open. Steps lead down into darkness."
    },
    {
        "text": "> Go down\nI'm in a dingy cellar with bare brick walls and the musty smell of a laundry room. There is an old upright washing machine in the corner and a fusebox on the wall. Steps lead up to the trapdoor in the ceiling. There's a gothic archway leading out of the cellar to the west. A battered old wardrobe stands close to the archway. The room is rapidly filling up with boiling-hot porridge. The washing machine and the wardrobe are already half submerged!\nThe magic porridge pot is sitting in the middle of the room.\nThe porridge level creeps steadily higher until finally it is up to my neck! Like quicksand it gradually sucks me under...\nOh, bollocks. I'm dead!\nI have so far scored 87 out of a possible 100, in 376 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> Alakazoo\nNothing special happens.\n\n> You put the rug on the trapdoor\nOkay, I placed the rug over the trapdoor, so that it looks exactly as before - except that the trapdoor is open!\n\n> Up\nI'm in the Three Bears' bedroom, a small attic room with steeply sloping walls. They have the weirdest sleeping arrangements. There's a tiny little bed, a medium-sized bed and a full sized snooker table. A narrow staircase leads down to the hall.\nLying in the middle of the floor with all four legs pointing heavenward is a dead coach horse.\nA tiny dormer window looks out onto the clearing.\n\n> You lie on the tiny bed\nThe tiny little bed is so comfortable that I fall into a deep sleep the instant my head hits the pillow. Not even the muffled cry as the Three Bears fall through the trapdoor into the cellar and drown in a mire of their own porridge can rouse me from my sleep.\nAt just after noon I have a strange dream. Three ghostly bears, each with a pair of wings and holding a golden harp, float up through the bedroom floorboards. Papa Bear hovers above me like a translucent bear-shaped cloud, glaring at me through baleful yellow eyes.\n'Who's been sleeping in my bed?' he growls, his hot, stinky breath\non my face.\n'Who's been sleeping in my bed?' snarls Mama Bear nudging her\nhusband out of the way.\n'Mater, Pater,' says Baby Bear who has obviously had the benefit of\na public school education, 'it's patently obvious who has been sleeping in our beds, eating our porridge and destroying our furniture, since the shameless hussy is still sprawled across my cot. But it's all academic now - we're dead! The little monster got the better of us this time! Come, parents, I hear that heaven is full of succulent young ladies such as this and that the clouds are made of porridge!' With that the Three Bears float up through the ceiling and on to paradise.\n\nA few moments later, they're back again, wingless now and dropping like stones towards the fires of hell. The last I hear of them is the anguished cry\n\n'No! Please! Not the poker!'\n\nI awake at around six, having had a full night's, or rather day's sleep, fresh as a daisy and ready for another night of partying!\n\nThat's if I can ever find my way out of the enchanted forest...\n\n...but that's another story! The important thing is, our plan\nworked! The Three Bears are no more and foxy young chicks are free to roam the forest and break into quaint little cottages without fear of ending up as a Bondage Barbie for a family of furry freaks! Thanks for all your help, I sure as hell couldn't have done it without you!\n\nI have so far scored 91 out of a possible 100, in 780 turns.\n\nWould I like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?"
    },
    {
        "text": "[Themes: Fantasy, dog, East Asian setting]\n\nSeveral weeks of travel have brought me to Mount Shanshan. The last ride I was able to get was a goods truck to a small village at the base of the mountain. Then it was a long hike up the mountain along badly maintained roads and footpaths.\n\nThe road ends here at an abandoned cable car platform. The cableway leads directly to my destination. I must get it running, somehow.\n\n\n\n\n\nA rickety wooden platform is built on the edge of a cliff to serve as an station for a cable car ride up to the mountain. It overlooks a beautiful waterfall rumbling below.\n\nThe road leads back east and the cableway's engine is in a shack just to the south.\n\nA cable car is docked to the platform.\n\n[Author's Note: My search for the Pattern has brought me to Mount Shanshan. Now it's just a matter of a short cable car ride up to the top.]\n\n> You look at the cable car\nThe cable car is large enough to comfortably fit about four passengers. The red paint coating is peeling away in large flakes and rust is corroding the body.\n\nIt's hard to see through the dirty windows but it seems like there's a simple control panel inside.\n\nA iron bar attaches the car to the platform and at the same time locks the door.\n\n> You open door\nThe iron bar blocks the door from opening.\n\n> You move the bar\nIt's attached with large bolts. It can't be removed without tools.\n\n> You examine the platform\nThe wooden platform serves as a docking and embarkment area for the cable car.\n\n> You examine the waterfall\nThe waterfall rumbles down the mountainside and raises a cloud of mist where it hits the water.\n\n> Go south\nThe wooden shack houses a large diesel generator that moves the cableway. The shack's walls are rotten and patchy. The exit leads back out to the north.\n\nThe diesel generator looks like it hasn't been used in quite some while.\n\n> Examine generator\nThe diesel generator is currently switched off.\n\n> You turn on the generator\nThe engine coughs a few times but refuses to start. A quick troubleshooting indicates that the cylinders are so dirty that the engine can't run. They need to be cleaned first.\n\n> Clean cylinders\n(with the shack walls)\nThe shack walls isn't suitable for cleaning the cylinders with.\n\n> You go north\nA rickety wooden platform is built on the edge of a cliff to serve as an station for a cable car ride up to the mountain. It overlooks a beautiful waterfall rumbling below.\n\nThe road leads back east and the cableway's engine is in a shack just to the south.\n\nA cable car is docked to the platform.\n\n> Go east\nI walk the road back to an old hotel I passed on the way here.\n\nI am at the gates of an old country-style mansion that has at some point served as a hotel. At the moment there are no signs of it being in use. The garden has overgrown, there are no cars about and the building itself is in a dilapidated state.\n\nThe hotel gates are to the north, the cable car platform to the west, and the hiking path leading back down the mountain is to the east.\n\nAn angry dog is barking at me behind the gate.\n\n> You examine the dog\nThe dog is big and menacing, a mutt or perhaps even a Chongqing. He's barking viciously behind the gates. His short fur is filthy and largely covered in dirt.\n\nThere must be a way.\n\n(Find a quiet place to MEDITATE.)\n\n> You meditate\nThe rumbling of the waterfall makes it impossible to meditate here.\n\n> Go south\nThe wooden shack houses a large diesel generator that moves the cableway. The shack's walls are rotten and patchy. The exit leads back out to the north.\n\nThe diesel generator looks like it hasn't been used in quite some while.\n\n> Go east\nI am at the gates of an old country-style mansion that has at some point served as a hotel. At the moment there are no signs of it being in use. The garden has overgrown, there are no cars about and the building itself is in a dilapidated state.\n\nThe hotel gates are to the north, the cable car platform to the west, and the hiking path leading back down the mountain is to the east.\n\nAn angry dog is barking at me behind the gate.\n\n> Go east\nA scenic hiking path leads back down the mountain. I know it all too well, having walked it up here in the first place. The way back to the hotel is to the west.\n\nTwo small stone statues depicting a lion and a dragon are greeting visitors on both sides of the path.\n\n> You examine the lion\nThe statue is not very tall and is carved from solid black stone. It's set here by the path as a decoration for passersby. This one depicts a lion.\n\n> You look at the dragon\nThe statue is not very tall and is carved from solid black stone. It's set here by the path as a decoration for passersby. This one depicts a dragon.\n\n> You meditate\ncheapglulxe quit with exit status: 1\n\nSeveral weeks of travel have brought me to Mount Shanshan. The last ride I was able to get was a goods truck to a small village at the base of the mountain. Then it was a long hike up the mountain along badly maintained roads and footpaths.\n\nThe road ends here at an abandoned cable car platform. The cableway leads directly to my destination. I must get it running, somehow.\n\n\n\n\n\nA rickety wooden platform is built on the edge of a cliff to serve as an station for a cable car ride up to the mountain. It overlooks a beautiful waterfall rumbling below.\n\nThe road leads back east and the cableway's engine is in a shack just to the south.\n\nA cable car is docked to the platform.\n\n> Go south\nThe wooden shack houses a large diesel generator that moves the cableway. The shack's walls are rotten and patchy. The exit leads back out to the north.\n\nThe diesel generator looks like it hasn't been used in quite some while.\n\n> You meditate\n\"What do you seek?\"\n\n\"I seek the truth, shifu.\"\n\nShe hit me on the fingers with the head of her cane, like many\ntimes before.\n\n\"You say you seek the truth, but only lies come out your own\nmouth. What do you seek?\"\n\nThe memory fades and the mind is silent.\n\nMeditation revealed the following truth:\n\n(With this information you can CHANGE things INTO their\ncounterpart identities. You can also THINK to recall previously learned information.)\n\n> Go west\nI am at the gates of an old country-style mansion that has at some point served as a hotel. At the moment there are no signs of it being in use. The garden has overgrown, there are no cars about and the building itself is in a dilapidated state.\n\nThe hotel gates are to the north, the cable car platform to the west, and the hiking path leading back down the mountain is to the east.\n\nAn angry dog is barking at me behind the gate.\n\n> You change the dog into the flute\nI clear my mind and concentrate on the dog, imagining its counterpart nature. The truth becomes obvious -- a dog is a flute, and a flute is a dog, and there is no difference between the two. Sparkles start flying from all over the dog as the Universe bends to accept the reality I have discovered.\n\nThe sparkling stops and where the dog used to stand, there's a small koudi flute lying on the grass.\n\n> You take the flute\nThe flute is in the garden behind the gate, beyond my reach.\n\n> You open gate\nI open the gate.\n\n> Go north\nWeeds have taken over the garden, which seems to have been designed in a distinctly Japanese style. It must have been very beautiful in its heyday.\n\nThe hotel entrance is to the north and the gates to the south.\n\nA flute lies on the grass near the gate.\n\nIn the center of the garden is a murky pond.\n\n> You take flute\nTaken.\n\n> You examine the pond\nThe pond is full of muddy water, but I can see a fish, probably a koi, swimming around in it.\n\n> You look at the koi\nThe koi swims around in the pond, looking a bit lonely.\n\n> You wash flute in the pond\nI clean the flute the best I can using the water from the pond.\n\n> You play the flute\nRemembering what it used to be, I reluctantly put the flute on my lips and blow. The air escapes through the fingerholes. There must be a blockage inside the flute somewhere.\n\n> You go north\nThe view in the hotel lobby confirms that the establishment has been deserted for a long time. The lobby has an abandoned reception desk, some sofas and dead house plants. There's a layer of dust everywhere.\n\nThere's a staircase to the north leading up and a closed door leading east.\n\nA large wardrobe for coats has fallen over near the entrance.\n\n> You look at the plants\nThe leaves have fallen off the plants and are now only dead branches. They're beyond resuscitation.\n\n> You open the wardrobe\nIt's fallen over on its door. I can't open it.\n\n> You meditate\n\"What do you seek?\"\n\n\"I seek power, shifu.\"\n\nThere is no slap on the fingers this time.\n\nThe memory fades and I am ready to learn.\n\nMeditation revealed the following truths:\n\n> Go up\nThis is the corridor where the hotel's guest rooms are. There are seven doors in total. To the south the staircase leads back down.\n\n> You open the door\nWhich do you mean, door 101, door 102, door 103, door 104, door 105, door 106 or door 107?\n\n> You open 101\nThe door seems to be locked. Brief testing confirms that the same is true for every door here.\n\n> You go D\nThe lobby has an abandoned reception desk, some sofas and dead house plants. There's a layer of dust everywhere.\n\nThere's a staircase to the north leading up and a closed door leading east.\n\nA large wardrobe for coats has fallen over near the entrance.\n\n> You go east\n(first opening the door)\nI try the doorknob, but the door is locked.\n\n> You change the doorknob into the umbrella\nThe doorknob sparkles and turns into an umbrella. The umbrella is now sticking out the door where the knob used to be.\n\n> Go east\n(first opening the door)\nI pull on the umbrella, but it comes loose.\n\nThe door's lock mechanism has nothing to support it anymore and falls apart. The door should be unlocked now.\n\nA large dining hall full of empty tables is a sad sight. Some rays of light filter in through the dirty windows.\n\nThere's a pair of dumbwaiters on the farthest wall and a hand crank in the space between them.\n\n> You examine the dumbwaiter\nWhich do you mean, the left dumbwaiter or the right dumbwaiter?\n\n> You examine the left dumbwaiter\nThe dumbwaiters are an old elevator system for lifting food from the kitchen and then lowering dirty dishes back. They are small wooden compartments running inside the wall and supported by a rope.\n\nThe single crank on the wall suggests that they are connected with a common rope and pulley system and lowering one will raise the other.\n\nIn the left dumbwaiter is a chopstick.\n\nThere's a closed grid door in front of the compartment.\n\n> You take chopstick\nI put a finger through one of the holes in the grid door, manage to reach the chopstick and pull it out.\n\n> You put the chopstick in the flute\n(clearing the flute with the chopstick)\nUsing the chopstick, the wad of dirt that was blocking the flute pops cleanly out. That must be a relief to the dog as well.\n\n[Achievement unlocked: Veterinarian]\n\n(Command ACHIEVEMENTS to see a list of your achievements.)\n\n> You open the door\n(the grid door)\nThe door is rusted stuck. It's unlikely that I can get it open.\n\n> You remember\nMeditation has revealed the following truths:\n\ndoorknob equals umbrella\n\n> You go to the west\nThe lobby has an abandoned reception desk, some sofas and dead house plants. There's a layer of dust everywhere.\n\nThere's a staircase to the north leading up and a door leading east to the dining hall.\n\nA large wardrobe for coats has fallen over near the entrance.\n\n> You go east\nA large dining hall full of empty tables is a sad sight. Some rays of light filter in through the dirty windows.\n\nThere's a pair of dumbwaiters on the farthest wall and a hand crank in the space between them.\n\n> You go south\nWeeds have taken over the garden, which seems to have been designed in a distinctly Japanese style. It must have been very beautiful in its heyday.\n\nThe hotel entrance is to the north and the gates to the south.\n\nIn the center of the garden is a murky pond.\n\n> You change the koi into the tornado\nThe fish starts to sparkle under the water. It soon disappears and a tall water spout forms in its place. The spout makes it out of the pond and manages to travel a meter or two before dissipating and releasing the water as a rain on the garden, getting my clothes wet.\n\nI look in the now almost empty pond and see a glint of metal. There seems to be a key stuck in the mud. Some hotel guest must have dropped it there by accident.\n\n> Unlock 101\n(with the room key)\nThat doesn't seem to fit the lock.\n\n> Unlock 102\n(with the room key)\nI unlock door 102.\n\n> You examine the key\nA wooden key fob is attached to the key. Water has turned it almost illegible but I can still make out the number \"102\".\n\n> Open 102\nI open door 102.\n\n> Inside\nThe hotel room is spartan, with only the most necessary furniture. The scene through the window is beautiful, though. There's a direct view to the waterfall I saw earlier.\n\nI can see a bedside table (on which are a sanitary napkin and a tube of lipstick) here.\n\n> You take all\nsanitary napkin: Taken.\nlipstick: Taken.\n\n> You meditate\n\"The Universe has shown you some of its secrets,\" she says,\ncasually turning a flower into a guitar, as if to underline a point. \"But the key to true enlightenment is to observe the Pattern and to understand it.\"\n\nFinally I push aside the distracting memories.\n\nMeditation revealed the following truth:\n\n> You remember\nMeditation has revealed the following truths:\n\ndoorknob equals umbrella\nsanitary napkin equals monkey wrench\n\n> You examine the bed\nThe bed is made and a layer of dust is on the covers.\n\n> You leave\nThis is the corridor where the hotel's guest rooms are. There are seven doors in total, of which I've unlocked door 102. To the south the staircase leads back down.\n\n> You go south\nI am at the gates of an old country-style mansion that has at some point served as a hotel. At the moment there are no signs of it being in use. The garden has overgrown, there are no cars about and the building itself is in a dilapidated state.\n\nThe hotel gates are to the north, the cable car platform to the west, and the hiking path leading back down the mountain is to the east.\n\n> You play the flute\nThe flute has a low, dark sound to it.\n\n> You drop the flute\nDropped.\n\n> You close the gate\nI close the gate.\n\n> You turn the flute into the Dog\nThe flute sparkles and is soon changed back into the dog, who resumes barking after noticing me.\n\n[Achievement unlocked: Clean Dog]\n\n> Examine pad\nThe sanitary napkin is, thankfully, unused.\n\n> You turn the pad into the wrench\nThe sanitary napkin sparkles for a brief moment before changing into a monkey wrench.\n\n> You remove the bar\nThe iron bar is attached to the cable car and to the platform with large bolts.\n\n> You turn the bolts with the wrench\nI put the monkey wrench on a bolt, adjust it to fit and turn. The bolt snaps with a cloud of rust flakes and starts to turn free. The nut on the other side turns with the bolt. I try to hold the nut still but can't get a good grip; I need a glove or something.\n\n> You check your inventory\nI am carrying:\na monkey wrench (which equals sanitary napkin)\na tube of lipstick\na room key\na chopstick\nan umbrella (which equals doorknob)\n\nI have some information about the nature of the universe.\n\n> You turn wrench into the pad\nThe monkey wrench sparkles for a brief moment before changing into a sanitary napkin.\n\n> Clean the generator with the pad\nThe sanitary napkin would be perfect for cleaning the cylinders, but the grit is too sturdily stuck. I need something to soften it first.\n\n> Wet pad\nWhat do you want to wet the sanitary napkin with?\n\n> Waterfall\nThe waterfall is too far away.\n\n> You turn the Dog into the flute\nThe dog sparkles for a brief moment before changing into a flute.\n\n> You open gate\nI open the gate.\n\n> You go north\nWeeds have taken over the garden, which seems to have been designed in a distinctly Japanese style. It must have been very beautiful in its heyday.\n\nThe hotel entrance is to the north and the gates to the south.\n\nIn the center of the garden is a murky pond.\n\nI can also see a flute here.\n\n> Wet pad with water\nThere's still enough water in the pond to wet the sanitary napkin. It's now soaked with muddy pond water.\n\n> Clean generator with the pad\nThe dirt is stuck to the parts too hard. I need something stronger than water to clean it.\n\n> You look at the crank\nThe crank is placed so that it's evidently used to raise and lower the dumbwaiters.\n\n> You turn the crank\nThe crank seems to be stuck and after applying some more force it snaps off into my hand. I place it down and curse my bad luck.\n\n> You look at the crank\nThe crank was apparently used to raise and lower dumbwaiters in the dining hall. Now it's broken.\n\n> Inside\nThe hotel room is spartan, with only the most necessary furniture. The scene through the window is beautiful, though. There's a direct view to the waterfall I saw earlier.\n\nI can see a bedside table here.\n\n> You examine the waterfall\nThe waterfall rumbles down the mountainside and raises a cloud of mist where it hits the water.\n\n> You check your inventory\nI am carrying:\na crank\na flute (which equals dog)\na sanitary napkin (which equals monkey wrench)\na tube of lipstick\na room key\na chopstick\nan umbrella (which equals doorknob)\n\nI have some information about the nature of the universe.\n\n> You play the flute\nThe flute has a low, dark sound to it.\n\n> You look at the window\nThere's a view of the waterfall through the window.\n\n> You examine the dust\nThere's a layer of dust on every surface.\n\n> You look at the lipstick\nIt's a tube of red lipstick, a bit too bright shade for my tastes.\n\n> You examine the wardrobe\nA wardrobe, presumably meant for storing casual visitors' coats, has fallen over.\n\nA single leather glove has been pinned under the top corner of the wardrobe.\n\n> You take the glove\nThe glove is pinned under the wardrobe. I can't get it loose.\n\n> You meditate\nMeditation revealed the following truth:\n\n> You change the glove into the cantaloupe\nI concentrate and focus on changing the glove. There's more resistance than usual, but finally the glove gives in. A cantaloupe appears in its place and half of it is immediately squashed under the wardrobe.\n\n> You take all\ncantaloupe: Taken.\n\n> You change the cantaloupe into the glove\nThe cantaloupe sparkles for a brief moment before changing into a glove.\n\n> You examine the glove\nA part of the glove is cut off, but most of it is still intact. Wearing it won't be very fashionable, though.\n\n> Wear glove\nI put on the glove.\n\n> You examine the bolt\nLarge bolts attach the iron bar to the platform.\n\n> You turn the bolt with the wrench\nThe sanitary napkin sparkles for a brief moment before changing into a monkey wrench.\n\nWith the gloved hand holding the nuts opposite the bolts in place I am able to unscrew the bolts and free the car.\n\n> You look at the car\nThe cable car is large enough to comfortably fit about four passengers. The red paint coating is peeling away in large flakes and rust is corroding the body.\n\nIt's hard to see through the dirty windows but it seems like there's a simple control panel inside.\n\n> You open the door\nI open the cable car.\n\n> You enter car\nI get into the cable car.\n\nA control panel has been set to the wall opposite the door. It has a lever that most likely gets the thing moving.\n\n> You examine panel\nA control panel has been set to the wall opposite the door. It has a lever that most likely gets the thing moving.\n\n> You pull the lever\nNothing happens. I must get the engine that moves the cableway running first.\n\n> You leave\nI get out of the cable car.\n\nA rickety wooden platform is built on the edge of a cliff to serve as an station for a cable car ride up to the mountain. It overlooks a beautiful waterfall rumbling below.\n\nThe road leads back east and the cableway's engine is in a shack just to the south.\n\nA cable car is docked to the platform.\n\n> You put the lipstick on the pad\n(applying the lipstick to the sanitary napkin)\nThere's no real reason to smear the lipstick on the sanitary napkin.\n\n> You turn the glove into the cantaloupe\nThe glove sparkles for a brief moment before changing into a cantaloupe.\n\n> You examine the cantaloupe\nThe other half of the cantaloupe has been crushed by a wardrobe, after it had already been toppled. Deep.\n\n> You go north\nThe lobby has an abandoned reception desk, some sofas and dead house plants. There's a layer of dust everywhere.\n\nThere's a staircase to the north leading up and a door leading east to the dining hall.\n\n> You examine the wardrobe\nA wardrobe, presumably meant for storing casual visitors' coats, has fallen over.\n\n> You go east\nA large dining hall full of empty tables is a sad sight. Some rays of light filter in through the dirty windows.\n\nThere's a pair of dumbwaiters on the farthest wall.\n\n> You examine the dumbwaiters\nWhich do you mean, the left dumbwaiter or the right dumbwaiter?\n\n> You examine right dumbwaiter\nThe dumbwaiters are an old elevator system for lifting food from the kitchen and then lowering dirty dishes back. They are small wooden compartments running inside the wall and supported by a rope.\n\nThe single crank on the wall suggested that they are connected with a common rope and pulley system and lowering one will raise the other.\n\nThe right dumbwaiter is lowered beyond reach.\n\n> You fix the crank\nThe crank is beyond repair.\n\n> You examine the left dumbwaiter\nThe dumbwaiters are an old elevator system for lifting food from the kitchen and then lowering dirty dishes back. They are small wooden compartments running inside the wall and supported by a rope.\n\nThe single crank on the wall suggested that they are connected with a common rope and pulley system and lowering one will raise the other.\n\nThe left dumbwaiter is empty.\n\nThere's a closed grid door in front of the compartment.\n\n> You check your inventory\nI am carrying:\na cantaloupe (which equals glove)\na sanitary napkin (which equals monkey wrench)\na crank\na flute (which equals dog)\na tube of lipstick\na room key\na chopstick\nan umbrella (which equals doorknob)\n\nI have some information about the nature of the universe.\n\n> You put the flute in the left dumbwaiter\nI put the flute into the left dumbwaiter.\n\n> You change the flute into the Dog\nThe flute sparkles and turns back into the dog. The dog seems a bit confused, but before he can orient himself his weight pushes the dumbwaiter down and the right dumbwaiter rises. There's a sausage on a plate and a bottle in the revealed compartment.\n\nI can hear the dog barking somewhere below.\n\n> You take all\nbottle of gin: Taken.\nplate: Taken.\nsausage: Taken.\n\n> You examine the gin\nThere's still some gin left in the bottom of the bottle.\n\n> You examine the plate\nThe plate is tastefully decorated with a flower theme.\n\n> You meditate\nIt's some kind of long salami-style sausage. Salt has preserved it comparably well, but it's still rancid enough to not be edible.\n\nThe barking of the dog makes it impossible to meditate here.\n\n> You change the Dog into the flute\nThe dog is in the left dumbwaiter, which is out of my reach at the moment.\n\n> You check what you're carrying\nI am carrying:\na sausage\na plate\na bottle of gin\na cantaloupe (which equals glove)\na sanitary napkin (which equals monkey wrench)\na crank\na tube of lipstick\na room key\na chopstick\nan umbrella (which equals doorknob)\n\nI have some information about the nature of the universe.\n\n> You pour the gin on the pad\nI squeeze the water out of the sanitary napkin and pour what's left of the gin on it. It soaks it all up.\n\n> Clean cylinder with pad\nCleaning the generator is hard work, but after a while the moving parts look clean enough. After spending some considerable amount of additional tinkering the generator starts to look like it could work again.\n\n> You turn on the generator\nThe generator makes some suspicious noises but then comes to life. The cableway starts moving again.\n\n> Go north\nA rickety wooden platform is built on the edge of a cliff to serve as an station for a cable car ride up to the mountain. It overlooks a beautiful waterfall rumbling below. The cableway is moving.\n\nThe road leads back east and the cableway's engine is in a shack just to the south.\n\nA cable car is docked to the platform.\n\n> Go inside\n(inside the cable car)\nI get into the cable car.\n\nA control panel has been set to the wall opposite the door. It has a lever that most likely gets the thing moving.\n\n> You pull the lever\nThe mechanism on top of the car latches on to the cableway and the car jolts on moving.\n\nAfter a brief but scenic ride the car stops.\n\nMountain top (in the cable car)\nThe cable car has reached its destination.\n\n> Go outside\n(first opening the cable car door)\nI step out the cable car and see the shrine a short way from the platform. To my surprise the Master is sitting cross-legged in front of the shrine.\n\n\"Shifu,\" I greet and bow deep.\n\n\"Welcome, apprentice,\" she says. \"Have you learned the Pattern?\"\n\n1) Everything has both good and evil in them\n2) Things can be turned into their exact opposites\n3) Reality is an illusion\n4) There is no pattern\n5) I don't know the answer\n\n?\n\n> 3\nShe swings her cane faster than I can react and hits me hard on my left shin.\n\n\"Did that feel like an illusion? What is the Pattern?\"\n\n1) Everything has both good and evil in them\n2) Things can be turned into their exact opposites\n3) Reality is an illusion\n4) There is no pattern\n5) I don't know the answer\n\n?\n\n> 4\n\"I really don't know,\" I say. \"I turned a dog into a flute, and a fish into a tornado, and a sanitary pad into a monkey wrench, and I just can't see what the pattern is. There's nothing that connects them, it's as if it's all completely random. Anything can be changed into anything and...\"\n\nThe Master closes her eyes and nods.\n\nUnderstanding comes to me. \"Anything can be changed into anything.\"\n\nAt that moment I am enlightened.\n\n> Achievements\nYou have unlocked the following achievements:\n\nClean Dog: Washed the dog.\nVeterinarian: Cured the dog.\n\nThese achievements are still unlocked:\n\n- Art Collector\n- Clown Dog\n- First Guess\n- Full Belly\n- Not a Drop\n- Ride with a Friend\n- Wet Dog\n\nUnlock all achievements for a bonus extended ending.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or list your ACHIEVEMENTS?\n\n> You enter the car\n[Please answer with a number between 1 and 5]\n\n?\n\n> 5\nShe closes her eyes. \"You do know the answer. Try again.\"\n\n1) Everything has both good and evil in them\n2) Things can be turned into their exact opposites\n3) Reality is an illusion\n4) There is no pattern\n5) I don't know the answer\n\n?"
    },
    {
        "text": "[Themes: Fantasy, divine protagonist, religion, music]\n\nYou are about to play the text-only version of Ex Nihilo. If\n\nfrom the multimedia features, this version is missing a \"magic ingredient\" which is impossible to replicate offline.\n\nThe usual parser is replaced by a keyword interface. Play by typing capitalized keywords or as otherwise instructed.\n\nIn the beginning there was nothing.\n\nFrom nothing LIGHT and DARKNESS were born.\n\n[Author's Note: In the beginning there was nothing. From nothing light and darkness were born.]"
    },
    {
        "text": "[Themes: Fantasy, music, religion, divine protagonist]\n\n> Light\nI watched the universe define itself around me. Particles, atoms and molecules engaged in an intricate dance formed more and more complex structures.\n\nFor eons I was ALONE."
    },
    {
        "text": "[Themes: Fantasy, divine protagonist, music]\n\nYou are about to play the text-only version of Ex Nihilo. If at all possible, you are encouraged to play the full online version at\n\nthe multimedia features, this version is missing a \"magic ingredient\" which is impossible to replicate offline.\n\nThe usual parser is replaced by a keyword interface. Play by typing capitalized keywords or as otherwise instructed.\n\nIn the beginning there was nothing.\n\nFrom nothing LIGHT and DARKNESS were born.\n\n> Alone\n\"ALONE\" is not a valid keyword at the moment.\nI beg your pardon?\n\n> Anxious\nI was anxious to find a purpose.\n\nI scoured the universe but found no solace.\n\nUntil I stumbled upon a world home to a curious kind of creatures who were ready to accept CONTROL and INFLUENCE.\n\n> Influence\nThey were like clay in my grip, fulfilling my every wish while believing they did it in their own free will. I guided them to wage WAR and spread CHAOS around them.\n\n> Lonely\nBeing lonely was what defined me.\n\nI sought the company of my kind, even though I knew there was no-one else. I was craving for SOLITUDE and desperate for CONTACT.\n\n> Contact\nI travelled the universe to find an escape from the loneliness. Ages passed and I found a world that was inhabited by creatures much unlike me. Still, they were there for me.\n\nNow that I had found them, I wanted to both EMBRACE and SHUN them."
    },
    {
        "text": "[Themes: Religious, Romance, Historical, France, male protagonist, Christianity, well written, victorian era, romance]\n\nMUSE: An Autumn Romance\n\nThe late summer of 1886 found me on the continent for the purpose of regaining my health and spirits. These had been in decline for the past few months, and it was Dr Thorne's suggestion that the best cure for me might be a change of scenery. A short stay in Ramsgate, perhaps. Or better yet, a visit to the Alps in France or Switzerland, where the fresh mountain air would do me no end of good.\n\nI had declined at first to do any such thing. I was, after all, a staid, solid clergyman of 59 years, mature enough to weather any foolish fluctuations of temper. Besides which, these frivolities cost money.\n\nThe doctor's recommendation eventually reached the ears of my dear sister Emma, however, and she immediately took up the task of convincing me of the necessity of such a trip. But it was not until I obtained news about relatively inexpensive alpine destinations that I relented, and found myself packed off to the continent for a month.\n\nThe month's sojourn improved my health tremendously. However, without the distraction of my usual work, I found the mountains did little to raise my spirits. And so I made my journey homeward in a state of mute distraction, even as the first brilliance of Autumn began to make itself known among the trees.\n\nAll in all, it had been a smooth and uneventful trip, but for a slight pause at the channel. This was at a small French coastal village from which I chose to make my crossing, it being less expensive than the usual ferry at Calais. Here I stopped for a meal at the local inn, and then waited as my trunk was transferred from the train to pier where the boatman was waiting.\n\nIt was only a minor pause....\n\nMUSE: An Autumn Romance\n\n(Please type \"help\" for background and documentation.)\n\nThe pier stretched out into the cold waters of the English Channel from the village east of here. Overhead, I could hear the gulls swoop and cry. The brisk seaside air blew in my face, carrying with it the scent of salt. Far away, across the waves, the white cliffs of Dover could barely be seen in the grey clouded light.\n\nMy trusty old steamer trunk lay here.\n\nA fishing boat was moored beside the pier and its boatman was waiting.\n\n[Author's Note: Early September, 1886. Autumn. The Victorian Era. The Rev. Dawson, 59, is off to the Continent and an unexpected Romance...]\n\n> About yourself\nRev Stephen Dawson, vicar of St Swithin's in the diocese of Barchester. I was 59, an Anglican clergyman and a confirmed bachelor. I wore my clerical collar out of both duty and habit, and my hair and whiskers were grey with respectability. My clothes were old and my cuffs were frayed, but as I so often told my sister Emma, sometimes the old things are by far the best.\n\n> You look at what you're carrying with you\nI had on my person the following items:\nmy pocket New Testament\n\n> You examine Testament\nStop.\n\nFrom the corner of my eye, I saw her. Like an angel descended from heaven, she stood on the cobbles at the other end of the pier. Her head was partially turned away from me; I caught a flash of a delicate throat and lustrous chestnut-brown hair....\n\n> You examine the Testament\nTime stood still, arrested by her presence. I had no desire to move, lest I lose sight of her. For an aching second, her parasol shielded her face from my sight.\n\n> You examine the woman\nThe old German gentleman, whom I recognised from the train, walked slowly up. She had been waiting for him. They walked together off towards the inn, and I lost sight of them.\n\nI was suddenly brought back to earth by the boatman's voice. \"Monsieur, we must go now.\"\n\n> You enter the boat\nWell, I could hardly leave without my trunk, could I?\n\n> You examine the trunk\nI'd had this old steamer trunk since my college days. It had always served me well.\n\n> You take the trunk\nOh, but the trunk was heavy! I managed to lift it just high enough for the purpose of moving it around, but I was getting far too old for this sort of thing.\n\n> You check your inventory\nI had on my person the following items:\nmy trunk (which was closed)\nmy pocket New Testament\n\nThe boatman began to show signs of impatience.\n\n> You enter boat\nI was 59, not 29, and the trunk was unwieldy. I couldn't possibly get in the boat while carrying the trunk myself.\n\n\"Monsieur, I cannot wait. Tomorrow.\" And with that, the boatman turned, and set out across the channel.\n\n> You enter the boat\nI was 59, not 29, and the trunk was unwieldy. I couldn't possibly get in the boat while carrying the trunk myself.\n\n> You take the trunk\n\"Pardon, Monsieur?\" The boatman seemed to have been thrown into a state of utter linguistic confusion.\n\n> You give the trunk to the boatman\nI passed the trunk to the boatman, who loaded it carefully on the boat.\n\nThe boatman began to show signs of impatience.\n\n> You enter boat\nSighing, I got into the boat and took a seat. As we set out across the waves, I realized how much I dreaded looking back, lest I catch sight of her once more ... knowing that if I did, my heart would probably burst....\n\n\"Stephen, do cheer up.\"\n\nEmma's voice was laced with concern. I didn't know what to tell her, what to say.... I was 59. A mature, respectable clergyman of conservative tastes. Could I say that I'd fallen in love, in the space of a second, with the merest glimpse of a lady less than half my age?\n\nCould I? I don't know.\n\nI can't concentrate on my work. When I close my eyes, all I can see is that shimmering angel at the other end of the pier....\n\nAnd I wonder...."
    },
    {
        "text": "[Themes: Religious, Historical, Romance, well written, victorian era, Christianity]\n\n> Look around\nThe pier stretched out into the cold waters of the English Channel from the village east of here. Overhead, I could hear the gulls swoop and cry. The brisk seaside air blew in my face, carrying with it the scent of salt. Far away, across the waves, the white cliffs of Dover could barely be seen in the grey clouded light.\n\nMy trusty old steamer trunk lay here.\n\nA fishing boat was moored beside the pier and its boatman was waiting.\n\n> You go away\n\"Pardon, Monsieur?\" The boatman seemed to have been thrown into a state of utter linguistic confusion.\n\n> You are bad at the customer service and i no longer wish to employ your services\nBOATMAN, YOU ARE BAD AT CUSTOMER SERVICE AND I NO LONGER WISH TO EMPLOY YOUR SERVICES\n\n\"Pardon, Monsieur?\" The boatman seemed to have been thrown into a state of utter linguistic confusion.\n\n> Hit boatman\nViolence was not the answer to this one.\n\nThe boatman began to show signs of impatience.\n\n> Kiss boatman\nA hundred years from now, when the world goes through the sexual revolution and women get ordained in the Anglican church, then maybe.\n\n\"Monsieur, I cannot wait. Tomorrow.\" And with that, the boatman turned, and set out across the channel.\n\n> Go east\nThis wide cobblestone square marked the heart of the little village. A large well stood in its centre, obviously the focal point of local day-to-day life. To the east stood the church of St Pierre, a small grey stone building with its doors invitingly open. A salt breeze blew from the pier to the west, and the cobbles continued southwards to an open terrace and the village inn. The north side was lined with commercial buildings, including a telegraph office.\n\nA young gentleman stood in front of an easel, trying to paint a landscape.\n\n> You look at the painting\nThe painting looked like an excellent piece of work, to my untrained eye. I wondered why the young artist seemed so unenthusiastic about it.\n\n> You look at the man\nThe young artist was a tall, fine-looking fellow, if a bit threadbare and underfed. His clothes were stained with oil paint. He was currently attempting a painting, but the worried look in his eyes suggested little hope of success. A sketchbook peeked out from one capacious pocket.\n\n> Hug man\nNot in this day and age!\n\n> You ask the man about the painting\nIt would have hardly been proper or polite to begin without introductions. For all I knew, he might not understand a word of English, and I was hardly conversant in French.\n\n> Hello\n\"Pleased to meet you. I'm John Austin. I've got a room above the newsagent's for the season, but the way things are going I might have to stay here for the Autumn and Winter as well. Economy, you know.\"\n\n> You ask the man about the painting\n\"It ... it's not really working. I have this dream of ... of perfection, and, I don't know, my heart's just not in it.\"\n\n> You ask the man about the sketchbook\n\"Oh, it's nothing. Just something I use to sketch things and ideas in, whenever the inclination hits me.\"\n\n> Sketch woman\nJohn shook his head. \"I'd rather not, really.\"\n\n> You go south\nThe cobbles from the north widened out here into a terrace outside the inn to the south. A low stone wall to the west overlooked the beach some twenty feet below. Hugging the wall, a steep and narrow flight of stone steps led down to the sand. Opposite, another high wall defined the eastern side of the terrace, broken only by a small wrought-iron gate.\n\n> Go south\nThe lobby of the inn was small and dim, but seemed respectable enough. A desk sat in a corner where guests might check in or out, and stairs led up to the rooms. Through a doorway to the east, the modest dining hall and public house could be seen.\n\nRene, the innkeeper, stood by the door.\n\nThe old German gentleman leaned on his cane nearby.\n\nThe young lady was saying something to the German. Listening, I heard her addressing him as \"Papa\". So he was her father after all ... the sense of relief that I felt was overwhelming. Could I possibly be in love? It was ridiculous: I was far too old for that sort of thing.\n\nThere had to be a logical reason for the way I felt. I should probably extend my stay by a day or two ... establish a friendship with the beautiful young lady and her father ... propose....\n\nNo, wait, that wasn't right. I wasn't sure what to think. But I was sure of one thing: my heart would break if she should so much as shed a single tear....\n\n> You ask Rene about the rooms\n\"Certainly, Monsieur ... here, let us put you in number 3, overlooking the channel. It is good, no?\"\n\n> Yes\nThat was a rhetorical question.\n\n> Go upwards\nA narrow and dimly lit hallway ran the length of the building from the stairway at the south to a door (labelled with the number 2) at the north. The walls were untreated stone and, being windowless, suggested more an underground passage than an upstairs hallway. Other doors were east and west: they were labelled 1 and 3 respectively.\n\n> Go west\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the beach and the pier. The air was warm and stuffy and still in the closed room.\n\nThe musty lack of ventilation in this small, enclosed room was getting fairly uncomfortable.\n\n> You drop the trunk\nI set it down.\n\n> You open the trunk\nI opened the trunk, revealing my clothes.\n\n> You examine the clothes\nMy clothes had been neatly packed, and it would have been a shame to mess them up right now.\n\nThe musty lack of ventilation in this small, enclosed room was getting fairly uncomfortable.\n\n> You open the window\nI opened the window and looked out. What's this? From my window, I could see the German gentleman hefting one of the ropes from the pier, and stealthily creeping back! Curiously, I watched him until he entered the inn. A few moments later, I heard his door across the hallway open and shut.\n\n> You go to the east\nMy attention was caught by the sound of wood sliding across wood, behind the door to Room 1. A moment later, the ominous clump and creak of someone climbing onto a chair.\n\n> You knock on the door\nWhich did I mean, the first door, the third door or the second door?\n\n> Go east\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the French countryside. The air was warm and stuffy and still in the closed room.\n\nThe old German gentleman was hanging from one of the overhead rafters. Death was but a few moments away!\n\n> Lift man\nI grabbed a hold of the German gentleman by the legs and struggled to support him. His breathing was easier now, but only barely. And there was no way I could preserve his life in this manner for long!\n\n> Scream\nI shouted once for help. Had anyone heard me? I wasn't sure.\n\n> Scream\nI shouted again. This time, I was sure I heard running footsteps. But would they be here in time?\n\n> Scream\nAgain I called out. They were coming, I was sure of it.\n\nAll at once, the innkeeper burst into the room, followed by various other people whom I did not recognise. There was an uproar of shouting voices, and then the old German sagged down into my arms as someone cut down the rope. More hands, running feet....\n\nThrough the noisy hubbub, I thought I saw the young fraulein standing for a brief moment in the doorway, before turning and quickly leaving the scene.\n\nThe rest of the day was lost in the general confusion. The German gentleman was fussed over, the priest was called in to have a few words with the poor gentleman, a watch was placed outside his door to ensure he didn't attempt anything foolish later.... It was with a dizzy relief that I fell into bed later that night.\n\nAs the next morning dawned, I could only look back at those events as being vaguely unreal in their potentially tragic consequences....\n\nRoom 3 (on the bed)\n\nMy trusty old steamer trunk lay here.\n\n> Go east\nI'd have to get off the bed first.\n\n> You get up\nI got off the bed.\n\nMy trusty old steamer trunk lay here.\n\n> Go east\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the French countryside. The air was warm and stuffy and still in the closed room.\n\nThe old German gentleman reclined in his chair, lost in thought.\n\n> You talk to the man\nWe chatted a while, but soon digressed.\n\n> You ask the man about the suicide\nIt would have hardly been proper or polite to begin without introductions. For all I knew, he might not understand a word of English, and I had no knowledge at all of the German language.\n\n> Hello\nHe spoke perfect English but for a slight accent. He was Viktor Von Goethe, a widower; the young lady was his daughter Konstanza. They were here on a sort of pilgrimage. This was where he'd met his late wife, Konstanza's mother, twenty-five years ago.\n\n> You ask the man about the suicide\n\"I met Klara, my wife, here twenty-five years ago. I was on my way to England, and her family was on the way back ... we fell in love.... So you see I am sentimental about this little French town. In my mind, my life began here, when I met Klara. It seemed fitting that it should end here as well....\"\n\n> Wait\nTime passed.\n\n> You ask the man about the daughter\nHerr Goethe looked away. \"We have never communicated much, my daughter and I. And even less since my late wife's passing. She is, of course, an independent young lady....\"\n\n> You open the window\nI opened the window and looked out. From here, I found myself looking directly down into the lonely churchyard. It was a charming, if fairly morbid, view. Looking more closely, I thought I caught a glimpse of Konstanza Von Goethe wandering among the twisted churchyard trees below.\n\n> Go west\nA narrow and dimly lit hallway ran the length of the building from the stairway at the south to a door (labelled with the number 2) at the north. The walls were untreated stone and, being windowless, suggested more an underground passage than an upstairs hallway. Other doors were east and west: they were labelled 1 and 3 respectively.\n\n> Go south\nThe lobby of the inn was small and dim, but seemed respectable enough. A desk sat in a corner where guests might check in or out, and stairs led up to the rooms. Through a doorway to the east, the modest dining hall and public house could be seen.\n\nRene, the innkeeper, stood by the door.\n\nRene waved and wished me a good morning. \"It was a good thing that you were there yesterday, Monsieur Dawson. Poor Monsieur Goethe ... it is unfortunate that his room overlooks the graveyard. It will only make him think of dying again. But how to change rooms, when all the rooms are full? It is indeed difficult. And Mademoiselle Goethe ... she has gone out, for a walk, she says. But I can see she is troubled. The Goethe family is not a happy one.\"\n\n> You ask Rene about the rooms\n\"Your room is satisfactory, n'est pas?\"\n\n> No\nThe innkeeper looked crestfallen as his moustache drooped even lower. \"By some miracle, all the rooms are taken this week. But if you really wish to change rooms, you have only to say it.\"\n\n> Change rooms\n\"Of course,\" said Rene, sympathising, \"and it would be far better for Monsieur Goethe to be put in a different room, no? I shall speak to him, and have you both transferred at once.\"\n\nAnd with that, the good fellow bustled off, returning a few minutes later with a broad smile to tell me that it was done.\n\n> Go north\nThe cobbles from the north widened out here into a terrace outside the inn to the south. A low stone wall to the west overlooked the beach some twenty feet below. Hugging the wall, a steep and narrow flight of stone steps led down to the sand. Opposite, another high wall defined the eastern side of the terrace, broken only by a small wrought-iron gate.\n\n> You go east\nIn the true gothic-romantic spirit, twisted yew trees provided cool shade to the many simple graves that filled this quiet churchyard. To the north rose the grey stone church, its solitary outline silhouetted in the grey skies of Autumn. Its door was half-obscured by the yews, as was the small wrought-iron gate leading out to the west. Incongruously, the inn formed part of the west wall, and some of its windows looked out onto this sombre scene.\n\nFraulein Konstanza Von Goethe lingered nearby, quietly surveying the scene.\n\n> Hello\nHer voice was like music, with a faint German accent ... \"You are a friend of Papa's? I am very pleased to meet you, Herr Dawson.\"\n\n> You ask Konstanza about the father\n\"I know nothing about what Papa thinks or wants,\" she said, a bit stiffly, \"we are ... not very close, Papa and I. But thank you all the same.\"\n\nCould it be that there was some form of disharmony between Konstanza and her father? I wondered if there were anything in it, or if her relations with other family members were similarly strained.\n\n> You ask Konstanza about the mother\n\"Mama and I were very close, partly I suppose because Papa was away so often. She and Papa were very much in love, and they came here together last year to mark their anniversary. I did not accompany them then, as they needed the private time together.\"\n\nIn spite of everything, I received the impression that there was something which Konstanza was not telling me. Had I been too demanding in my questioning? It was an embarrassing idea, and yet I wondered if someone else might not be able to tell me more.\n\n> You ask Konstanza about the suicide\n\"I don't know why Papa would do such a thing,\" said Konstanza, shaking her head sadly, \"he'd always been so ... so reserved, so much in control.\"\n\n> You look at the graves\nOld, crumbling gravestones crowded in on each other. Most were barely readable, and many were so overgrown that they were well-nigh invisible.\n\n> You look at her\nKonstanza Von Goethe possessed an unearthly, almost angelic, beauty that made my heart ache. But what was I thinking ... she was young enough to be my daughter....\n\n> Go north\nL'eglise St-Pierre\nLight shone in through clear glass windows that the community had been too poor to have stained, illuminating the altar under the large wooden crucifix. It was quiet, hushed, filled with an air of reverence. To the west, the doors opened out onto the cobbled square, and a smaller door stood tucked away to the south.\n\nI could see the parish priest hovering near at hand.\n\n> You look at the priest\nThe old parish priest was a short, stumpy, greying frenchman in the usual black habit and clerical collar. His eyes twinkled with benevolence and warmth.\n\n> Hello\nWe introduced ourselves. He was Father Antoine LeBrun, he spoke English, and he'd been the priest of this parish for the past twenty years.\n\n> You ask the priest about the suicide\n\"Suicide is the ultimate sin of despair. It is sad to think of how many normally good, faithful people would give up their places in Heaven for this.\"\n\n> You ask priest about konstanza\nFather LeBrun frowned, perplexed. \"Pardon, I'm afraid I do not quite understand.\"\n\n> You ask priest about Viktor\n\"I will tell you what it is: ever since his wife passed on, the poor man has given up hope. He seems very lonely....\"\n\n> You ask the priest about Klara\n\"Madame Goethe was here with her husband last year. She was a fine, Christian woman, Monsieur Dawson, and it was sad that she passed away only a few days after her arrival. She was buried here in our churchyard, and I wrote back to inform Mademoiselle Goethe about it.\"\n\n> You read the graves\n\"Klara Von Goethe, 1837-1885\"\n\nThis must be Konstanza Von Goethe's mother, Viktor Von Goethe's late wife. The nature of their journey here was beginning to look very much more like a pilgrimage.... In fact, it now looked as though Viktor Von Goethe had deliberately come here for the specific purpose of dying.\n\n> Go west\nThe English Channel washed up against this narrow strip of sand, now accessible at low tide. Come high tide, the water level would rise a few feet up the stone wall to the east, covering the sand. Steep and narrow steps were cut into that wall, leading up to the terrace space above.\n\n> You look at Channel\nThe waters of the English Channel separate England and France. It being the end of summer, the waves were beginning to take on a colder, more menacing nature.\n\n> Go west\nThe dim memory of an old youthful whim pricked me ... but no, at 59, there were better ways of crossing the Channel.\n\n> Go south\nThe lobby of the inn was small and dim, but seemed respectable enough. A desk sat in a corner where guests might check in or out, and stairs led up to the rooms. Through a doorway to the east, the modest dining hall and public house could be seen.\n\nRene, the innkeeper, stood by the door.\n\n> You look at Rene\nRene was a tall man, somewhat on the corpulent side. He wore a drooping moustache, and though apparently harried by the stress of running an inn, seemed friendly and wonderfully obliging.\n\n> Go east\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the French countryside. A soft breeze wafted through the open window.\n\nMy trusty old steamer trunk lay here.\n\n> You open the dresser\nI opened the dresser, revealing a journal.\n\n> You take the journal\nI picked it up.\n\n> You read the journal\nThe letters were all in German, and seemed to be part of a correspondence between Viktor and a woman named Klara. It meant nothing to me. As for the journal itself, there was from a week to a year between individual entries: Herr Goethe did not seem to be a keen diarist. Most of these entries were in German, too, but a few were in Latin, and of these I could make some sense. The last few entries, for example. Curious, I scanned through them....\n\nHe spoke of his grief over Klara's death ... the distance that seemed to have sprung up between himself and his daughter since then... \"She is my only child, and my business has always kept me away from her. It was always Klara who linked us, and now Klara is gone. I realise now that my Konstanza is a young woman, and that comes as a complete surprise to me. I fear that it is too late to know her, or to tell her how dear she is to me. It is too late for apologies. She is her own woman now, independent of me, and she will perhaps be better off without my presence....\"\n\n> You check your inventory\nI had on my person the following items:\na journal\nmy pocket New Testament\n\n> You go east\nReminiscent of old-fashioned mediaeval inns, the dining hall of this particular inn also doubled as the local pub. Fairly adequate lighting came through the windows which ranged along two sides of the room, though I would have preferred a bit more sun. Bare wooden tables were placed here and there, and a bar counter ran along one wall of the room.\n\nJohn Austin sat at a table in a corner, idly sketching random objects into his sketchbook.\n\nThe serving maid, Yvette, bustled about, keeping things in order.\n\n> Hello\n\"Oui, bonjour.\"\n\n> You ask Yvette about Rene\n\"Monsieur Artois is a good man, but always so worried about the inn ... it would be nice if we had more people visiting this part of France.\"\n\n> You ask the maid about Viktor\nYvette made a few standard comments, but seemed too busy to tell me anything new.\n\n> Hello\n\"Yes, and a good day to you too, sir.\"\n\n> You ask John about John\n\"What's there to tell? I studied painting in Rome, and now I'm just struggling to get some sort of work done before my money runs out.\"\n\n> You look at the counter\nThe counter was old and sturdy, but well-polished.\n\n> You show the journal to Konstanza\n\"Those are Papa's private papers,\" said Konstanza, glancing over the journal, \"he writes in Latin sometimes, to maintain his privacy.\"\n\n\"I think you had better know what this one says,\" I said.\n\n\"Mein Herr!\" she cried, interrupting me, \"surely you cannot have been reading Papa's private journal? Mein Herr, you hardly even know us! Please, I would prefer it if you would not meddle in our private affairs, of which you know nothing!\"\n\nTurning, she strolled deliberately away from me. She was angry with me, and this distressed me much. But she was right: I had indeed been too forward in showing her the journal, especially at this early stage of our acquaintance.\n\n> You check your inventory\nI had on my person the following items:\na journal\nmy pocket New Testament\n\n> Go north\nL'eglise St-Pierre\nLight shone in through clear glass windows that the community had been too poor to have stained, illuminating the altar under the large wooden crucifix. It was quiet, hushed, filled with an air of reverence. To the west, the doors opened out onto the cobbled square, and a smaller door stood tucked away to the south.\n\nI could see Father LeBrun hovering near at hand.\n\n> You show the journal to LeBrun\nFather LeBrun glanced at one or two of the Latin passages towards the end, then returned the journal to me. \"That is interesting, Monsieur. I wonder if Mademoiselle would feel as she does if she knew of her father's true feelings concerning her.\"\n\n> You go west\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the beach and the pier. A soft breeze wafted through the open window, carrying with it a hint of the sea.\n\nHerr Viktor Von Goethe reclined in his chair, lost in thought.\n\n> You show the journal to Viktor\n\"Thank you, Mein Herr. I suppose I must have left it behind when we changed rooms.\"\n\n> You look at what you're carrying with you\nI had on my person the following items:\nmy pocket New Testament\n\n> You read Testament\nI practically knew its contents by heart.\n\n> You ask Viktor about Yvette\nI mused aimlessly for a while on various unrelated topics.\n\n> You ask Viktor about the journal\nHerr Goethe frowned and looked at me suspiciously. \"Let us talk about something else, Herr Dawson.\"\n\n> You ask Viktor about LeBrun\n\"I've had a few words with him, the last time I was here. He's a kind, compassionate man.\"\n\n> Go east\nA small, square room, with grey stone walls and exposed rafters. Very simple, very spartan. A long, narrow bed lined one wall. An old wooden dresser stood beside it, directly under a tall casement window looking out onto the French countryside. A soft breeze wafted through the open window.\n\nMy trusty old steamer trunk lay here.\n\nThe dresser drawer was standing open.\n\n> Go west\nThis wide cobblestone square marked the heart of the little village. A large well stood in its centre, obviously the focal point of local day-to-day life. To the east stood the church of St Pierre, a small grey stone building with its doors invitingly open. A salt breeze blew from the pier to the west, and the cobbles continued southwards to an open terrace and the village inn. The north side was lined with commercial buildings, including a telegraph office.\n\n> You look at well\nThe village well was a stone octagon in the exact centre of the square. It was large, and deep, and uncovered, its sides wide enough and low enough to serve as a seat. Peering within, I could see nothing but darkness.\n\n> Go north\nThis was the village's connection with the outside world. The walls were plastered and whitewashed to brighten the room, but this instead created an air of impersonal detachment.\n\nOne side of the room was taken up by a long desk, on which sat a telegraph machine. The other side was stocked with newspapers. In the back, beyond the telegraph, a shadowy doorway opened onto a flight of stairs leading up.\n\nThe postmaster sat near the telegraph, reading a newspaper and generally ignoring everything else.\n\n> Hello\nMaurice Roget was a well-educated man, speaking fluent English and German with barely a hint of an accent. \"It is good to be able to communicate in as many ways as possible, Monsieur Dawson, especially in my line of work. I am, in fact, now studying the Italian language.\"\n\n> You ask Maurice about Viktor\n\"Now that I think about it, I do believe he was here last year, with his wife. That was a tragic story.... the poor woman died, I think from Consumption. She was buried in the churchyard here, in fact. Father LeBrun had me send word about her passing back to the daughter in Germany.\"\n\n> You ask Maurice about Klara\nI mused aimlessly for a while on various unrelated topics.\n\n> You ask Maurice about John\n\"Monsieur Austin has been lodging with me over the summer. Poor fellow, he can barely afford it. But he is proud, and will not accept charity from me or from anyone.\"\n\n> You ask Maurice about LeBrun\n\"He is a good fellow, as far as priests go. He has been trying for the past several years to convert me, though not with very much success, I'm afraid.\""
    },
    {
        "text": "> You look around\nThis was the village's connection with the outside world. The walls were plastered and whitewashed to brighten the room, but this instead created an air of impersonal detachment.\n\nOne side of the room was taken up by a long desk, on which sat a telegraph machine. The other side was stocked with newspapers. In the back, beyond the telegraph, a shadowy doorway opened onto a flight of stairs leading up.\n\nMaurice Roget sat near the telegraph, reading a newspaper and generally ignoring everything else.\n\n> You examine the telegraph\nThe telegraph machine was, to my eyes at least, a rather strange contraption with wires all over the place. I had no idea how it worked, but I did know that it was a means for me to communicate with the people back home in Barchester.\n\n> You read the newspaper\n(the English newspapers)\nI was pleased to note that a selection of English newspapers was available. The selection was not particularly extensive, however, and I doubted if there was anything of importance to be gleaned from them at the moment. Maurice Roget was reading one of them, as a matter of fact, and seemed quite absorbed in it.\n\n> You take the newspaper\n(the English newspapers)\nThat would have been unnecessary. Emma would no doubt have a copy of that paper waiting for me back at the vicarage, and a few days' delay was not going to make much of a difference on what I did or did not know about the world.\n\n> Go south\nThis wide cobblestone square marked the heart of the little village. A large well stood in its centre, obviously the focal point of local day-to-day life. To the east stood the church of St Pierre, a small grey stone building with its doors invitingly open. A salt breeze blew from the pier to the west, and the cobbles continued southwards to an open terrace and the village inn. The north side was lined with commercial buildings, including a telegraph office.\n\n> You ask John about Maurice\n\"He's a jolly fellow, and so full of life. He's always asking me to join him for a few drinks at the inn. I hate having to turn him down time after time, but that sort of luxury is really somewhat beyond my means at the moment.\"\n\n> You ask John about the job\n\"I never did have much of a head for business. It's one of the reasons I took to art instead. I could do some odd jobs and assort menial work, though, if I had to. But not on a long-term scale, I hope.\"\n\n> You ask John about the money\n\"I had a small inheritance that allowed me to pursue my artistic interests. I tried to make it last as long as possible, of course, but funds are getting low. I'm almost all out now, and I don't know if anyone would even look at my work. I guess it's what you'd call a bad investment.\"\n\n> Paint\nWhat did I want John Austin to paint?\n\n> You paint Klara\nJohn shook his head. \"I'd rather not, really.\"\n\n> Paint konstanza\nJohn glanced out of the window and paused for a long moment. \"Yes ... she is quite the beauty, isn't she?\" he murmured as he began a pencil sketch of Konstanza Von Goethe as seen through the window.\n\n> You buy the sketch\nNothing was on sale.\n\n> You look at the sketch\nA thoroughly unremarkable sketchbook, of cheap paper and cheaper cardboard binding. It was filled with pencil and charcoal sketches of scenery, animals, and people.\n\nThe last sketch was a lovely pencil drawing of Konstanza Von Goethe wandering in the peaceful churchyard, framed by the twisted yew trees.\n\n> You take sketch\nThat seemed to belong to John Austin.\n\n> You give the sketch to you\nJohn shrugged as he handed me his sketchbook. \"You want to look at my old sketches? Certainly, if that is what you want. You probably won't find much of interest, I'm afraid.\"\n\n> You take the sketch\nI already had that.\n\n> You go west\nI stopped, thinking it would probably be best if I returned John Austin's sketchbook to him before leaving.\n\n> You search the sketchbook\nThe name \"John Austin\" was signed at the bottom of each sketch, along with the date.\n\n> You ask John about the sketchbook\nJohn blushed somewhat embarrassedly. \"It's not much, is it?\"\n\n> You pay John\nWhom did I want to pay John Austin to?\n\n> You give the sketchbook to John\nJohn smiled wryly as he took back his sketchbook. \"Not much, is it?\"\n\n> You tell Viktor about the sketch\nHerr Goethe listened politely, but had little to add.\n\n> You tell Viktor about John\n\"If this Herr Austin wants to paint my daughter, he is quite welcome. If, of course, she consents.\"\n\n> You tell Konstanza about the sketch\n\"Herr Dawson, please, I do not feel like speaking with you ... or anyone ... right now.\"\n\n> You apologize\nWhom did I want to apologize to?\n\n> You apologize to Konstanza\nKonstanza glanced at me and relented. \"Very well then. Let us forget that it ever happened.\"\n\n> You tell Konstanza about John\n\"The two of you must enjoy being able to talk about English politics with each other. I always think it is nice to meet a fellow countryman when one is abroad.\"\n\n> Go west\nThe cobbles from the north widened out here into a terrace outside the inn to the south. A low stone wall to the west overlooked the beach some twenty feet below. Hugging the wall, a steep and narrow flight of stone steps led down to the sand. Opposite, another high wall defined the eastern side of the terrace, broken only by a small wrought-iron gate.\n\n> You ask Konstanza about John\n\"I've seen him around. I have not spoken to him as yet, but he seems to be a gentleman. Even if he is covered in paint.\n\n> You show the sketch to  Konstanza\nJohn looked doubtful, and shook his head. \"To tell the truth, I'd really rather not.\"\n\n> You give the book to you\nJohn shrugged as he handed me his sketchbook. \"You want to look at my old sketches? Certainly, if that is what you want. You probably won't find much of interest, I'm afraid.\""
    },
    {
        "text": "[Themes: Religious, Romance, Historical, male protagonist, well written, Christianity, France]\n\n> You look around\nReminiscent of old-fashioned mediaeval inns, the dining hall of this particular inn also doubled as the local pub. Fairly adequate lighting came through the windows which ranged along two sides of the room, though I would have preferred a bit more sun. Bare wooden tables were placed here and there, and a bar counter ran along one wall of the room.\n\nJohn Austin was watching the world go by from his table in a corner.\n\nThe serving maid, Yvette, bustled about, keeping things in order.\n\n> You go west\nI stopped, thinking it would probably be best if I returned John Austin's sketchbook to him before leaving.\n\n> You throw the sketchbook at John\nI unfortunately found I lacked the nerve when it came to the crucial moment.\n\n> You hold the sketchbook up to the window and beat on the the glass until KONSTANZA comes to look\nHOLD SKETCHBOOK UP TO WINDOW AND BEAT ON THE GLASS UNTIL KONSTANZA COMES TO LOOK\n\nIt only occured to me that I should try to hold the sketchbook.\n\n> You show the sketchbook to KONSTANZA\n(first taking the sketchbook)\nInteresting though that might be, she was currently quite out of reach.\n\n> You follow you\nI fell into step beside Konstanza, and we strolled along side by side for a while. It was a both comforting and comfortable experience while it lasted, and it seemed -- or so I hoped -- she felt the same way."
    },
    {
        "text": "[Themes: Horror, health inspector, restaurant setting, supernatural]\n\nThis has never been your favorite part of the city. Nor is this neighborhood the safest one. But as a city sanitarian, you are charged with completing an annual health and safety inspection of every restaurant in your district.\n\nEach day you visit three or four restaurants. During those visits you take note of potential health code violations in your trusty notepad. Today's first target: Nikolai's Bar and Grill.\n\nA hazy sun barely peeks above the three-story tenements.\n\nType \"About\" at any time to see game instructions and other notes from the author.\n\nYou are standing in front of Nikolai's Bar and Grill on 19th Street.\nA green awning shades the smudged window into Nikolai's dining room. The front entrance is north of you.\n\nThe east/west sidewalk here is cracked and uneven, pocked by clumps of crabgrass. A storm gutter is built into the curb, littered with broken bottles. Across the street a neon sign flickers erratically.\nA few cars are parked nearby (including yours), but otherwise you see no evidence that anyone visits this neighborhood past daybreak.\n\nAn aluminum placard is fixed to the front door.\n\nA damp sheet of newspaper has blown up against the curb.\n\n[Author's Note: This isn't the safest neighborhood. A young woman was abducted near here only recently. But as a city sanitarian you are obligated to complete your annual inspection of the local dive.]"
    },
    {
        "text": "[Themes: Horror, restaurant setting, supernatural]\n\n> Examine newspaper\nThe newspaper scrap is worn and damp, rendering it almost unreadable.\n\n> You look at the placard\nAn aluminum placard, printed in red, is fixed to the front door.\n\n> You read it\nYou read: (in big red letters) CLOSED\n\n> You examine the gutter\nThe gutter is designed to carry storm water off the road. It extends west and east.\n\nIn storm gutter is some broken glass.\n\n> About yourself\nYou are the city health inspector, looking quite natty in your polyester shirt and vintage knit tie.\n\n> Inventory\nYou are carrying:\na notepad\n\n> You examine the notepad\nThis notebook is for recording health code violations when you inspect a restaurant. Nikolai's is likely to have a number of infractions.\nTo record them, \"note [something]\". Later in the day, back at the office, you will refer to these notes to write your official report.\n\n> Go east\nA street-front window looks into Nikolai's bar. If you want into the bar, you'll have to go back to the restaurant entrance, which is west of here. There are no cars on this end of 19th Street. The sidewalk is uneven. A curb-side storm gutter empties here into a grated storm drain.\n\n> You examine the drain\nThe openings in the storm drain are barely wide enough to insert three fingers. You'll have to search more carefully to see what lies below.\n\n> You search the drain\nStaring up at you, from a few inches below the grate, are a pair of eyes.\n\n> You examine the eye\nOn careful examination, the eyes are dismembered. They float in a dark pool several inches beneath the grate.\n\n> You examine sidewalk\nThe sidewalk buckles to such a degree, one might think it had been hit by an earthquake.\n\n> You examine the window\nThe window is marked by dozens of greasy finger prints and years of accumulated scratch marks. It should certainly be cleaned, if not replaced. But you can still see through well enough.\n\n> You note the window\nYou write, \"Exterior windows are filthy-- should be cleaned.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look through the window\nThrough the window you see the Bar.\n\nA trapezoid of light falls on the cork dance floor.\n\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is some ice.\n\nA middle-aged woman, slight in build, is seated at the bar counter. She has fallen fast asleep.\n\nYou also see a stereo.\n\n> You look at the woman\nAngela is Nikolai's day shift waitress. She doesn't have the endurance any longer to work the night shift. Angela is a thin woman not quite 50 with salt and pepper gray hair. Her skin is pale as a ghost. She is asleep.\n\n> You examine stereo\nThe stereo is one of those big, barely portable, over-the-shoulder models popular back in the day when Michael Jackson was undergoing his first plastic surgery. This one is held together by duct tape and wire. One of the bartenders probably brought it in to entertain themselves during the slow periods.\n\nThe stereo is switched off.\n\n> You wake woman\nYou knock. Angela wakes, looking startled. When she sees you motioning at the window, she stands.\n\n> You note the stereo\nYou can only look from this distance.\n\nAngela moves to the dining room.\n\n> Go west\nAn aluminum placard is fixed to the front door.\n\nA damp sheet of newspaper has blown up against the curb.\n\nAngela opens the door.\n\n> You go to the north\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela is gaunt and anemic. She struggles to remain alert.\n\nAn obese man (Nikolai, the owner?) watches you from the balcony.\n\n\"Who's there? Tell him we're closed\" Nikolai growls in disgust.\n\nAngela cowers, \"I think he's the man from the health department.\" She looks at you \"We're not open right now.\"\n\nNikolai growls again, \"We were just inspected six months ago. Tell him to go away.\" Without waiting for an answer from either you or Angela, Nikolai turns back into his office and closes the door.\n\nAngela shrugs helplessly, and begins cleaning the dining room.\n\n[Nikolai's sanitation rating has dropped three points.]\n\n> You tell Angela about yourself\nAngela says, \"You seem like sharp young fellow. Maybe Nikolai would let you work in the restaurant.\"\n\nAngela takes a short break.\n\n> You look at Angela\nAngela is Nikolai's day shift waitress. She doesn't have the endurance any longer to work the night shift. Angela is a thin woman not quite 50 with salt and pepper gray hair. Her skin is pale as a ghost.\n\nAngela says, \"You mustn't take Nikolai too seriously. He's really a very good man. It's just... he acts kind of grumpy sometimes because of his affliction.\n\n> You ask Angela about the affliction\nAngela whispers, \"When Nikolai started gaining a lot of weight, about fifteen years ago, his doctor diagnosed him with the affliction. You know, that blood sugar disease? He takes insulin for it, I think.\"\n\nAngela begins wiping tables.\n\n> You ask Angela about the diabetes\n\"Right, that's the name of Nikolai's affliction.\"\n\nAngela is pausing to rest. Nikolai pokes his head out of his office momentarily to shout, \"If there's time to lean, there's time to clean\".\n\n> You ask Angela about the restaurant\n\"Nikolai only pays the cooks five dollars an hour. They don't use recipes, because they can't read.\"\n\n> You examine the tables\nThe tables are four tops. None of twelve tables have been cleaned since last night.\n\n> You note the tables\nYou write, \"Dining room tables require cleaning.\" in the notebook.\n\nAngela begins sweeping the floor.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You examine the floor\n(the cork dance floor)\nThe dance floor isn't very large but you imagine it doesn't need to be. People don't come to Nikolai's to dance. They come to get soused. The floor is discolored by water marks and mold.\n\n> You note the floor\n(the cork dance floor)\nYou can only look from this distance.\n\n> You note the mold\nYou can only look from this distance."
    },
    {
        "text": "[Themes: Horror, health inspector]\n\n> Look around\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela is gaunt and anemic. She struggles to remain alert.\n\n> You look at the placard\nAn aluminum placard, printed in red, is fixed to the front door.\n\n> You read the placard\nYou read: (in big red letters) CLOSED\n\n> You examine the mirror\nIn the mirror you see The window is scratched, but intact.\n\nAn aluminum placard is fixed to the front door.\n\nAngela is gaunt and anemic. She struggles to remain alert.\n\nAbout twelve tables are closely spaced within the small location.\n\nDozens of identical chairs are pushed snug against the four top tables.\nYou also see yourself.\n\n> You look at the window\nThe window is marked by dozens of greasy finger prints and years of accumulated scratch marks. It should certainly be cleaned, if not replaced. But you can still see through well enough.\n\nAngela begins wiping tables.\n\n> You ask Angela about the anemia\nAngela seems a little confused.\n\n> You ask Angela about Angela\n\"I came to this country when I was 19, from Czechoslovakia. Uncle Nikolai helped me to escape. I've been working for him ever since.\"\n\n> Go east\nSunlight from the 19th Street window (south) casts an bright trapezoid across the cork dance floor. In every other corner, the brick walls of this unpretentious watering hole are marked by shadows. If you don't mind risking ptomaine poisoning, Nikolai's dining room is to the west. Otherwise, the unisex lavatory is north through a low ceiling tunnel.\n\nA set of Naugahyde stools are pushed against the linoleum bar.\n\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is some ice.\n\nBeside the sink is a personal stereo (held together largely with duct tape).\n\n> Smell\nThe odor of stale beer and sweat threatens to overwhelm you. You imagine it must smell even worse when the local mill workers are packed in here during happy hour.\n\n> You look in the wash basin\nThe wash basin is empty.\n\n> You look in rinse basin\nIn the rinse basin is some ice.\n\n> You examine the ice\nRounded chips of melting ice drain in the sink. The pile of ice has a red streak through its center. Sloe Gin, or perhaps grenadine would make that color streak.\n\n> You search the ice\nWhile sifting through the ice in the rinse basin, you pause in horror. Buried near the drain is a severed human hand.\n\n> You note the hand\n(the severed left hand)\nThe severed left hand is likely evidence of a ghastly crime, but you falter when trying to assign it as a particular health code violation in your notebook.\n\n> You examine the hand\n(the severed left hand)\nThe hand is pale and cold as ice. It is cut cleanly at the wrist, as if by a cleaver. The hand appears to be human. It appears to be the real thing.\n\n> You look at the stools\n(the cork dance floor)\nThe dance floor isn't very large but you imagine it doesn't need to be. People don't come to Nikolai's to dance. They come to get soused. The floor is discolored by water marks and mold.\n\nThe beet red Naugahyde stools are torn, revealing the rotting yellow foam beneath.\n\n> You note the floor\n(the cork dance floor)\nYou write, \"Dance floor covered with carcinogenic mold-- apply fungicide.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You note the stools\nYou write, \"Repair bar stools and replace foam padding.\" in the notebook.\n\nThe ice has completely melted.\n\n[Nikolai's sanitation rating has dropped two points.]"
    },
    {
        "text": "[Themes: Horror, restaurant setting, health inspector]\n\n> You look at your surroundings\nSunlight from the 19th Street window (south) casts an bright trapezoid across the cork dance floor. In every other corner, the brick walls of this unpretentious watering hole are marked by shadows. If you don't mind risking ptomaine poisoning, Nikolai's dining room is to the west. Otherwise, the unisex lavatory is north through a low ceiling tunnel.\n\nA set of Naugahyde stools are pushed against the linoleum bar.\n\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is a severed left hand.\n\nBeside the sink is a personal stereo (held together largely with duct tape).\n\n> You examine walls\n(the brick)\nThe walls are made of the same black and red brick which covers the building's exterior.\n\n> Oops shadows\nCreeping shadows fall everywhere, creating a sensation of permanent dusk.\n\n> You examine the faucet\nThe faucet is turned off, though it drips intermittently.\n\n> You turn on the faucet\nNo water comes out.\n\n> You note the faucet\nYou write, \"Replace bar sink with something larger. And clean the damn thing.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You turn off the faucet\nThe faucet continues to drip.\n\n> You look at the counter\nThe bar's linoleum counter top is green, with a marbelesque pattern. Brown stains give it the appearance of a rotted apple.\n\n> You note the counter\nYou write, \"Linoleum counter top is stained-- clean with an abrasive oxidizing solution.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at the notebook\nThis notebook is for recording health code violations when you inspect a restaurant. Nikolai's is likely to have a number of infractions.\nTo record them, \"note [something]\". Later in the day, back at the office, you will refer to these notes to write your official report.\n\n> You read it\nwindow -- Exterior windows are filthy-- should be cleaned.\ncrumbs -- Dining room tables require cleaning.\ncork dance floor -- Dance floor covered with carcinogenic mold-- apply fungicide.\nbar stool -- Repair bar stools and replace foam padding.\nsink -- Replace bar sink with something larger. And clean the damn thing.\nlinoleum counter -- Linoleum counter top is stained-- clean with an abrasive oxidizing solution."
    },
    {
        "text": "[Themes: Horror, restaurant setting]\n\n> You look around\nSunlight from the 19th Street window (south) casts an bright trapezoid across the cork dance floor. In every other corner, the brick walls of this unpretentious watering hole are marked by shadows. If you don't mind risking ptomaine poisoning, Nikolai's dining room is to the west. Otherwise, the unisex lavatory is north through a low ceiling tunnel.\n\nA set of Naugahyde stools are pushed against the linoleum bar.\n\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is a severed left hand.\n\nBeside the sink is a personal stereo (held together largely with duct tape).\n\nA cockroach scurries across the floor.\n\n> You examine the cockroach\nThe cockroach has escaped your view.\n\n> You note the cockroach\nYou write, \"Call exterminator.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You take the duct tape\nThe stereo would probably fall apart if you removed the wire and tape.\n\n> You turn on the stereo\nThe radio emits a staticy rendition of \"That'll be the Day\" by Buddy Holly.\n\nThe song on the radio changes to \"Long Tall Sally\" by Little Richard.\n\n> You turn off the stereo\nYou switch the stereo off.\n\n> Go north\nThe low ceiling restroom is painted yellow, the color of urine and bile. Its only fixtures are a porcelain toilet, hand sink, soap dispenser and automatic hand dryer, all mounted low to the floor as if they were reclaimed from an abandoned grade school, or this lavatory was designed for alcoholic ten-year-olds.\n\nA Jackson Pollack pattern of vomit is splashed across the back wall of the bathroom, certainly nowhere near the toilet where it was presumably aimed.\n\nYou hear a mouse scurrying through the wall.\n\n> You note the vomit\nYou write, \"Please, please, please, clean the barf off the bathroom wall.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at the vomit\nThe bilious material was probably spewed there last night after a few rounds of drinks. It is now dried, with undigested lumps of green pepper and onion plastered in place. Remains of a cheese steak sandwich, maybe?\n\n> You look at the toilet\n(the toilet)\nThe toilet has a five (possibly ten or fifteen) gallon tank. Who knew that such monumental water guzzlers still existed? But the size of the tank is less your concern than contents of the basin. A massive quantity of shit and toilet paper threaten to overflow the rim. This toilet probably hasn't been flushed since yesterday's happy hour.\n\nA tiny brown mouse dashes out of view.\n\n> You note the toilet\n(the toilet)\nYou write, \"Clogged toilet-- call plumber.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at tank\nThe toilet has a five (possibly ten or fifteen) gallon tank. Who knew that such monumental water guzzlers still existed? But the size of the tank is less your concern than contents of the basin. A massive quantity of shit and toilet paper threaten to overflow the rim. This toilet probably hasn't been flushed since yesterday's happy hour.\n\n> Flush toilet\n(the toilet)\nThat would just cause the toilet to overflow. Better to document this in your notepad.\n\nA cockroach scuttles up the wall.\n\n> You look at the sink\nA cracked porcelain sink is mounted about two feet above the floor. Its handles have been removed, rendering it useless.\n\n> You note the Sink\nYou write, \"Sink handles missing-- call plumber.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at the soap\nThe cracked, wall mounted soap dispenser is equipped with a lever for dispensing-- well, for dispensing whatever the hell Nikolai puts in there.\n\nA tiny brown mouse dashes out of view.\n\n> You examine dryer\nThis stainless steel automatic hand dryer is the same model that was common in American service station restrooms half a century ago. A silver button in front invites you to push it.\n\nThe hand dryer is switched off.\n\n> You note dispenser\nYou write, \"The dispenser is empty-- replace soap.\" in the notebook.\n\nA mouse runs in circles, then races away.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You note the dryer\nYou write, \"Must repair the hand dryer.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> Smell\nYou're almost unable to breath, it smells so foul in here."
    },
    {
        "text": "[Themes: Horror, health inspector, restaurant setting]\n\n> Look around\nThe low ceiling restroom is painted yellow, the color of urine and bile. Its only fixtures are a porcelain toilet, hand sink, soap dispenser and automatic hand dryer, all mounted low to the floor as if they were reclaimed from an abandoned grade school, or this lavatory was designed for alcoholic ten-year-olds.\n\nA Jackson Pollack pattern of vomit is splashed across the back wall of the bathroom, certainly nowhere near the toilet where it was presumably aimed.\n\n> Smell\nYou're almost unable to breath, it smells so foul in here.\n\nYou note a rat out of the corner of your eye.\n\n> You note rat\nYou write, \"Call exterminator.\" in the notebook.\n\nA tiny brown mouse dashes out of view.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You search the toilet\n(the toilet)\nIn the toilet are a wad of toilet paper and some excrement.\n\n> You examine the wad\nSwaths of tissue, entire rolls perhaps, clog the toilet.\n\n> You look at the excrement\nAs a health inspector, you're cautious about examining other people's excrement.\n\n> Go south\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is a severed left hand.\n\nBeside the sink is a personal stereo (held together largely with duct tape).\n\n> Go west\nNothing obvious happens.\n\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela is gaunt and anemic. She struggles to remain alert.\n\nNikolai pokes his head out from the top office, \"Angela, be a peach and pick up some bread from the food pantry.\"\n\nAngela looks puzzled \"You mean the 5th Avenue Mission?\"\n\n\"Of course that's where I mean. Our regular bread company won't deliver here anymore. Just go to the food pantry and fill up your car.\"\n\n\"I can't take food from a homeless shelter.\"\n\nNikolai's face turns red, \"We need bread, and you can get it free from the mission. Tell them you're a homeless wench. Tell them you've got twelve screaming brats to feed. I don't care. If you won't go there, then go to the store and pay for the bread with your own money, but don't come back without it!\"\n\nAngela lowers her head. She looks like she's about to cry.\n\nAs Angela leaves the restaurant, you notice a small flashlight fall off of her key chain.\n\n> Go west\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela is gaunt and anemic. She struggles to remain alert.\n\nNikolai pokes his head out from the top office, \"Angela, be a peach and pick up some bread from the food pantry.\"\n\nAngela looks puzzled \"You mean the 5th Avenue Mission?\"\n\n\"Of course that's where I mean. Our regular bread company won't deliver here anymore. Just go to the food pantry and fill up your car.\"\n\n\"I can't take food from a homeless shelter.\"\n\nNikolai's face turns red, \"We need bread, and you can get it free from the mission. Tell them you're a homeless wench. Tell them you've got twelve screaming brats to feed. I don't care. If you won't go there, then go to the store and pay for the bread with your own money, but don't come back without it!\"\n\nAngela lowers her head. She looks like she's about to cry.\n\nAs Angela leaves the restaurant, you notice a small flashlight fall off of her key chain.\n\n> You take the flashlight\nTaken.\n\n> You examine it\nThe flashlight is a pocket size model, which fell off of Angela's key chain.\n\nThe flashlight is switched off.\n\n> You go north\nYou are in a galley kitchen about eight feet long, and just wide enough for one person to turn around. On the south side facing the dining room is a wooden prep table. On the left end of the prep table is a mini fridge, and on the right end is a steam table.\n\nOpposite the prep table is a flat grill. Dried rivulets of grease ooze down the wall from the overhead vents. A narrow aisle winds north into darkness.\n\n> You note the grease\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Use a grill brick to clean the flat grill.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You examine the prep table\nThis prep table looks like it may have been nailed together on site, from two by fours and plywood. The cutting surface is scarred with knife marks and grime, providing multiple rich environments for bacterial growth. Beneath the  prep table is a storage shelf.\n\n> You note the prep table\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Replace prep table with a fresh undamaged cutting board.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at the storage shelf\nA warped plywood shelf below the prep table provides space for the grill cook to cast off his soiled cooking implements.\n\nOn the storage shelf are a pair of tongs, a pot and a fry pan.\n\n> You look at the tongs\nA pair of 10 inch stainless steel fry tongs.\n\nYou note a rat out of the corner of your eye.\n\n> You note the pot\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Clean the spaghetti pot\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You look at the fry pan\nA black, cast iron fry pan.\n\nIn the fry pan are some blackened chips of bacon.\n\nA cockroach scuttles up the wall.\n\n> You note the pan\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Fry pan is soiled with bacon grease.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You examine the fridge\nThe mini fridge sits on the floor, near the left end of prep table.\n\n> You look at the steam table\nA curved aluminum lid covers the steam table.\n\n> You examine the lid\nthe lid curves over the steam table, keeping the heat inside. The lid is closed.\n\n> You open the lid\nA cloud of hot steam rises out of the table. The table contains a kettle.\n\n> You note the kettle\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Gravy kettle has not been washed.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You close lid\nYou close the steam table.\n\n> You examine the fridge\nThe mini fridge sits on the floor, near the left end of prep table.\n\n> You open it\nThe fridge is a few degrees colder than the rest of the room. It contains a rotting head of lettuce.\n\n> You examine the lettuce\nThe lettuce is more brown than green, and barely a solid.\n\n> You note the lettuce\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Produce has been stored past its expiration.\" in the notebook.\n\nA large rat turns to look at you, then runs away.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You move the lettuce\nNothing obvious happens.\n\n> You close the fridge\nYou close the mini fridge."
    },
    {
        "text": "> You look around\nYou are in a galley kitchen about eight feet long, and just wide enough for one person to turn around. On the south side facing the dining room is a wooden prep table. On the left end of the prep table is a mini fridge, and on the right end is a steam table.\n\nOpposite the prep table is a flat grill. Dried rivulets of grease ooze down the wall from the overhead vents. A narrow aisle winds north into darkness.\n\n> You look at the Grill\nThe blackened surface of the flat grill hasn't been cleaned in some time. A dial in front controls the temperature.\n\n> You look at dial\nThe printed numbers on the dial have worn away. The grill is switched off.\n\nThe dial is switched off.\n\n> You turn the dial\nYou turn the dial. The grill begins to warm.\n\n> You turn the dial off\nYou turn the dial. The grill begins to cool.\n\n> You look under the prep table\nA warped plywood shelf below the prep table provides space for the grill cook to cast off his soiled cooking implements.\n\nOn the storage shelf are a pair of tongs, a pot and a fry pan.\n\n> You turn on flashlight\nA narrow beam of light pierces the dusty air.\n\nA narrow hall twists and winds from the prep kitchen (south) to the dish room (north). A walk-in refrigerator is west of here. During every dinner shift, smoke from the kitchen drifts down this hall and deposits an oily film against the brown wall.\n\nMounted on the wall is a first aid kit.\n\nA formidable buffalo chopper is parked against one corner of this twisting labyrinth. This machine probably harbors more than a hundred varieties of pathogens and therefore deserves quite careful attention.\n\n> You look at the chopper\nThe chopper is old, covered in rust. Drops of fresh blood leak out from the food trough in places where it has rusted completely through. The device has an on/off button, and the rotating trough which is designed to carry large volumes of food past a stationary blade. It isn't quite large enough to accommodate a full size buffalo. But a rabbit or a small dog, perhaps.\n\nThe buffalo chopper is switched off.\n\n> You examine the trough\nThe trough is circular, pocked with rust, and contains some variety of ground meat. Only about a third of the trough is visible. The rest is hidden beneath a cover which protects you from the blade in back.\n\nIn the trough is ground meat.\n\n> You examine the meat\nA soupy puree of ground organ meat.\n\n> You open the chopper\nThe cover is held in place by a large screw."
    },
    {
        "text": "[Themes: Horror, restaurant setting, health inspector]\n\n> You look around\nA narrow hall twists and winds from the prep kitchen (south) to the dish room (north). A walk-in refrigerator is west of here. During every dinner shift, smoke from the kitchen drifts down this hall and deposits an oily film against the brown wall.\n\nMounted on the wall is a first aid kit.\n\nA formidable buffalo chopper is parked against one corner of this twisting labyrinth. This machine probably harbors more than a hundred varieties of pathogens and therefore deserves quite careful attention.\n\n> Examine kit\nThe first aid kit is an opaque plastic box with a red cross on the cover.\n\n> You open the kit\nYou open the first aid kit, revealing a tourniquet.\n\n> You take the tourniquet\nTaken.\n\nYou hear a mouse scurrying through the wall.\n\n> You look at the wall\n(the oily film)\nAn oily film is deposited almost evenly over every exposed surface.\n\nA cockroach stares at you boldly, challenging you to smash it.\n\n> You note wall\n(the oily film)\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Power wash the winding hall-- remove oily film.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You examine the tourniquet\nA tourniquet is a curious thing to find in a restaurant first aid kit. It would only ever be useful to stop major arterial bleeding.\n\n> Go west\nNikolai's walk-in refrigerator is kept at a few degrees above zero Celsius. The tight dimensions of this poorly lit unit induce a sense of claustrophobia. The textured metal walls are splashed with now dry remnants of long ago dinner specials. The exit back to the winding hall is east.\n\nA five gallon soup cauldron is pushed carelessly into one corner.\n\nA four tier wire shelf supports an assortment of hotel pans in varied sizes and depths.\n\n> You examine the remnants\nStreaks of broken eggs, tomato sauce, goulash and other unidentified soups have been reduced to a form of colorful glue against the metal wall.\n\n> You examine cauldron\nThe soup cauldron is made of aluminum. It is covered.\n\n> You note the remnants\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Clean refrigerator walls.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You open the cauldron\nYou are aghast to discover a severed foot festering in the bottom of the cauldron.\n\n> You examine the foot\nThe left foot is cut cleanly at the ankle, as if by an ax.\n\n> You close it\nYou close the soup cauldron.\n\n> You examine the shelf\nThe tiered wire shelf takes up the back wall of the tight walk-in. That is to say, it's not very wide.\n\n> You examine the pans\nThe refrigerator is loaded with hotel pans, carrying left-overs from long ago.\n\n> You note the pans\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Label, date and organize the refrigerated left-overs.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> Go east\nA narrow hall twists and winds from the prep kitchen (south) to the dish room (north). A walk-in refrigerator is west of here. During every dinner shift, smoke from the kitchen drifts down this hall and deposits an oily film against the brown wall.\n\nMounted on the wall is a first aid kit.\n\nA formidable buffalo chopper is parked against one corner of this twisting labyrinth. This machine probably harbors more than a hundred varieties of pathogens and therefore deserves quite careful attention.\n\n> Inventory\nYou are carrying:\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\n> Go north\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nA manhole-size drain cover is set in the floor.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\n> You examine the servingware\nPlates, cups, saucers and silverware populate the dish rack. None of it looks as if it has been cleaned recently.\n\n> You note it\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Dish racks are piled up around both sides of the dish machine.\" in the notebook.\n\nFrom somewhere below your feet, you hear a muffled thump.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You open the drain cover\nYou open the drain cover.\n\n> You look in the drain\n(the drain cover)\nYou find nothing of interest."
    },
    {
        "text": "[Themes: Horror, restaurant setting, health inspector]\n\n> Look around\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware)."
    },
    {
        "text": "> Go downwards\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot sealed crate, composed mostly of particle board.\n\n> You look at the door\nThe alley door is warped from moisture. The door is closed.\n\n> You note the bleach\nYou've already made enough observations to have Nikolai's place condemned. One more note is just another nail in the coffin.\n\nYou write, \"Bleach used in dishroom is over concentrated.\" in the notebook.\n\n[Nikolai's sanitation rating has dropped two points.]\n\n> You examine the machine\nThe dish machine is a stainless steel contraption, with a top mounted cabinet just large enough to accommodate one dish rack at a time. It has an on/off switch to start each cycle, which then lasts just over two minutes. This model is designed to be much faster than a home dish washer, but is still pretty small as far as commercial machines go.\n\nThe dish machine is switched off.\n\n> You open it\nYou are alarmed to find a severed right foot in the dish machine.\n\n> You examine foot\nThe right foot is burned away from the leg, as if by a plasma torch.\n\n> Close machine\nYou close the cabinet.\n\nFrom somewhere below your feet, you hear a muffled thump.\n\n> You look at the table\nThe dish table is made of stainless steel. It is made to the same width as the dish machine, allowing tray racks to slide easily in one side and out the other. The lip and back splash are designed to channel water into the dish machine, and keep it off the floor. Both sides of the table are so thoroughly soiled, you can only guess which side the dishes go in, and which they come out. Racks of dirty dishes are piled on either side.\n\nFrom somewhere below your feet, you hear a muffled thump.\n\n> You open the door\n(first unlocking the alley door)\nYou lack a key that fits the alley door.\n\n> Smell\nThis place is a tomb. All around you, the putrid nauseating smell of death.\n\n> You examine the pylons\nThe pylons offer support to the floor above, preventing the building from falling into the ground.\n\n> Examine boxes\nThe liquor boxes are so thoroughly decayed, they almost crumble to your touch.\n\n> You look at the crate\nJudging from the absence of mold or rot, it must have been placed here only recently. The particle board crate is tightly sealed.\n\n> You examine the bottles\nThe bottles come in various shades of green and brown. Many are broken.\n\n> You listen\nWhen you are very quiet, you can hear mice crawling through the walls.\n\n> Examine box\n(the particle board crate)\nJudging from the absence of mold or rot, it must have been placed here only recently. The particle board crate is tightly sealed.\n\n> Inventory\nYou are carrying:\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\n> You look at the floor\nYou see nothing special about the floor.\n\nA large rat turns to look at you, then runs away.\n\n> You open the box\n(the particle board crate)\nYour first reflex is to gag. Inside is the dismembered body of an adult female. Her arms and legs have been removed, her abdomen sliced open and disemboweled. Where her eyes were once, empty sockets remain. Having been drained entirely of blood, her skin is now as pale as the clean cotton bed sheet draped across her pelvis.\n\nShe lifts her head, and knocks it three times against the bottom of the box. But no, you must have imagined that. She is dead. Quite dead.\n\n> You examine the body\nThe woman has been butchered. Her arms and legs have been removed. Both legs are cut off at the hip. Her abdomen is sliced wide and disemboweled. Where her eyes were once, empty sockets remain. She's been drained of blood leaving her skin as white as the clean cotton bed sheet draped across her pelvis.\n\n> You take the sheet\nShe is naked, except for the sheet. Out of respect for the dead, you leave it in place.\n\nA tiny brown mouse dashes out of view.\n\n> You search the abdomen\nHer abdomen is empty.\n\n> You take the sheet\nShe is naked, except for the sheet. Out of respect for the dead, you leave it in place.\n\n> You examine the abdomen\nHer abdomen is sliced wide. Many of the internal organs have been removed. Others are mutilated.\n\n> You put the tongs in the abdomen\nYou put the pair of tongs into her abdomen.\n\n> You take the tongs\nThat seems to belong to the mutilated corpse.\n\n> You search the abdomen\nIn her abdomen is a pair of tongs.\n\n> You give the tongs to you\n(The mutilated corpse first taking the pair of tongs)\nEven in the better establishments, restaurant people are seldom receptive to your commands. You might try asking them about something or showing them something instead.\n\n> You ask the body about the restaurant\nYou are startled to watch her jaw quiver a bit, but without a working set of lungs the woman can't reply to your questions.\n\nThe body's lips tremble, but no sound comes out.\n\n> You check your inventory\nYou are carrying:\na tourniquet\na flashlight (providing light)\na notepad\n\nThe woman looks mournfully toward the vacant cavity in her severed abdomen."
    },
    {
        "text": "[Themes: Horror, restaurant setting, health inspector]\n\n> Look around\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\n> Inventory\nYou are carrying:\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\n> You open the machine\nYou open the cabinet, revealing a severed right foot.\n\n> You take foot\nTaken.\n\n[Nikolai's sanitation rating has dropped five points.]"
    },
    {
        "text": "> Go downwards\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot sealed crate, composed mostly of particle board.\n\n> Open crate\nYour first reflex is to gag. Inside is the dismembered body of an adult female. Her arms and legs have been removed, her abdomen sliced open and disemboweled. Where her eyes were once, empty sockets remain. Having been drained entirely of blood, her skin is now as pale as the clean cotton bed sheet draped across her pelvis.\n\nShe lifts her head, and knocks it three times against the bottom of the box. But no, you must have imagined that. She is dead. Quite dead.\n\n> You put foot on the corpse\nYou put the severed right foot into the particle board crate.\n\nA mouse runs in circles, then races away.\n\n> You talk to the woman\nYou are startled to watch her jaw quiver a bit, but without a working set of lungs the woman can't reply to your questions.\n\nThe woman looks mournfully toward the vacant cavity in her severed abdomen.\n\n> You give foot to the corpse\nThe woman is both blind and mute.\n\n> You put foot in the box\n(the particle board crate)\nYou put the severed right foot into the particle board crate.\n\n> You attach foot to the body\nBut Sofia is still missing her right leg.\n\n> You go to the south\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\n> Go south\nYou are standing in front of Nikolai's Bar and Grill on 19th Street.\nA green awning shades the smudged window into Nikolai's dining room. The front entrance is north of you.\n\nThe east/west sidewalk here is cracked and uneven, pocked by clumps of crabgrass. A storm gutter is built into the curb, littered with broken bottles. Across the street a neon sign flickers erratically.\nA few cars are parked nearby (including yours), but otherwise you see no evidence that anyone visits this neighborhood past daybreak.\n\nAn aluminum placard is fixed to the front door.\n\nA damp sheet of newspaper has blown up against the curb.\n\n> Go east\nA street-front window looks into Nikolai's bar. If you want into the bar, you'll have to go back to the restaurant entrance, which is west of here. There are no cars on this end of 19th Street. The sidewalk is uneven. A curb-side storm gutter empties here into a grated storm drain.\n\n> You take the eyes with the tongs\nThe eyes bob on the surface of the dark pool each time you stab them with the tongs, but after a bit of practice you succeed in removing them from the sewer.\n\n[Nikolai's sanitation rating has dropped five points.]\n\n> You take the paper\nThe newspaper scrap is worn and damp, rendering it almost unreadable.\n\nTaken.\n\n> You read the paper\nYou read: \"Sofia Kozyar, a dancer at Hannibal's Exotic Revue, disappeared early Friday morning after leaving her place of employment. Ms Kozyar immigrated to the US from the Ukraine on a student visa seven years ago, then remained in this country illegally after completing her Bachelor's degree in the fine arts. Police have no leads in this investigation.\"\n\nThe other articles on the page are illegible.\n\n> You take the glass\n(the broken glass)\nA street sweeper comes down 19th Street on the third of every month. Let them pick up the bottles.\n\n> You go to the west\nYou are walking past the window to Goldschmidt's Pawnshop (on the north side of 19th Street). Although the shop is closed right now, the window provides a neat display of hocked merchandise. Nikolai's Bar and Grill is east. To the west, the neighborhood becomes even seedier.\n\nGoldschmidt's is closed for the day. The door is locked.\n\n> You examine the pawnshop\nThe carefully arranged display includes a letter opener, a saxophone and a baby's crib.\n\n> You look at the opener\nThe letter opener appears to be made of sterling silver. A crucifixion scene is cast in the handle.\n\n> You examine the window\nThe window is marked by dozens of greasy finger prints and years of accumulated scratch marks. It should certainly be cleaned, if not replaced. But you can still see through well enough.\n\n> You open the door\n(first unlocking Goldschmidt's door)\nYou lack a key that fits Goldschmidt's door.\n\n> You knock on the door\nYou tap lightly on Goldschmidt's door.\n\n> You go to the west\nYou probably shouldn't wander too far from your car. Go finish your inspection at Nikolai's so you can leave this god-forsaken part of town."
    },
    {
        "text": "[Themes: Horror, restaurant setting, supernatural]\n\n> Look around\nYou are walking past the window to Goldschmidt's Pawnshop (on the north side of 19th Street). Although the shop is closed right now, the window provides a neat display of hocked merchandise. Nikolai's Bar and Grill is east. To the west, the neighborhood becomes even seedier.\n\nGoldschmidt's is closed for the day. The door is locked.\n\n> You examine the crib\nThe crib is painted blue. It appears to be hand-made.\n\n> You go east\nYou are standing in front of Nikolai's Bar and Grill on 19th Street.\nA green awning shades the smudged window into Nikolai's dining room. The front entrance is north of you.\n\nThe east/west sidewalk here is cracked and uneven, pocked by clumps of crabgrass. A storm gutter is built into the curb, littered with broken bottles. Across the street a neon sign flickers erratically.\nA few cars are parked nearby (including yours), but otherwise you see no evidence that anyone visits this neighborhood past daybreak.\n\nAn aluminum placard is fixed to the front door.\n\n> You examine awning\nThe green awning is made of canvas. It's faded and torn from age, and has hand painted letters across the front.\n\n> You read it\nFaded yellow letters across the awning once said \"Nikolai's Bar and Grill\", though a more recent graffiti artist has replaced the last two letters in black spray paint to read \"Nikolai's Bar and Grist\". A more appropriate moniker, perhaps.\n\n> You examine the neon\nA thin tube of glowing red neon curls around itself to form words.\nThe light flickers on and off erratically. Just looking at it is almost seizure inducing. It says, \"Hanibal's Exotic Revue.\"\n\n> You go south\nAll your business is on the north side of the street. Finish your inspection so you can go home.\n\n> You go to the east\nYou probably shouldn't wander too far from your car. Go finish your inspection at Nikolai's so you can leave this god-forsaken neighborhood.\n\n> You examine the crabgrass\nEverywhere the sidewalk is broken, crabgrass grows tenaciously.\n\n> You look at the cars\nThere are a small number of cars parked nearby, some likely abandoned. One has been locked with the boot.\n\n> You examine the boot\nA boot is a device used by the police to lock cars which have accrued too many unpaid fines. The boot is secured to one of the the car's tires, and is less expensive than having the car towed. Fortunately parking violations are outside your jurisdiction, and your position as a city health inspector enables you to park in many locations for free.\n\n> You search the car\nYour car is empty.\n\n> You take the boot\nEven if you could, the boot is police property.\n\n> You go to the north\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\n> Go east\nSunlight from the 19th Street window (south) casts an bright trapezoid across the cork dance floor. In every other corner, the brick walls of this unpretentious watering hole are marked by shadows. If you don't mind risking ptomaine poisoning, Nikolai's dining room is to the west. Otherwise, the unisex lavatory is north through a low ceiling tunnel.\n\nA set of Naugahyde stools are pushed against the linoleum bar.\n\nBehind the bar is a dinky two basin sink with an attached faucet. In the rinse basin is a severed left hand.\n\nBeside the sink is a personal stereo (held together largely with duct tape).\n\n> You take the hand\n(the severed left hand)\nTaken.\n\n[Nikolai's sanitation rating has dropped five points.]\n\n> You go west\nNikolai's walk-in refrigerator is kept at a few degrees above zero Celsius. The tight dimensions of this poorly lit unit induce a sense of claustrophobia. The textured metal walls are splashed with now dry remnants of long ago dinner specials. The exit back to the winding hall is east.\n\nA five gallon soup cauldron is pushed carelessly into one corner.\n\nA four tier wire shelf supports an assortment of hotel pans in varied sizes and depths.\n\nA mouse runs in circles, then races away.\n\n> You open the cauldron\nYou open the soup cauldron, revealing a severed left foot.\n\n> You take foot\n(the severed left foot)\nTaken.\n\n[Nikolai's sanitation rating has dropped five points.]\n\n> You check your inventory\nYou are carrying:\na severed left foot\na severed left hand\na newspaper\nsome pair of eyes\na severed right foot\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\n> Go east\nA narrow hall twists and winds from the prep kitchen (south) to the dish room (north). A walk-in refrigerator is west of here. During every dinner shift, smoke from the kitchen drifts down this hall and deposits an oily film against the brown wall.\n\nMounted on the wall is a first aid kit.\n\nA formidable buffalo chopper is parked against one corner of this twisting labyrinth. This machine probably harbors more than a hundred varieties of pathogens and therefore deserves quite careful attention.\n\n> You go north\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\nA large rat turns to look at you, then runs away."
    },
    {
        "text": "[Themes: Horror, health inspector]\n\n> Go downwards\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot crate, composed mostly of particle board. A mutilated corpse lies in state.\n\n> You put the eyes in the sockets\nYou slip each eye into its socket with a plop. The eyes rotate around independently until they are both pointing directly toward you. Her lips tremble. But without a working set of lungs, she can not speak.\n\n> You look at flashlight\nThe flashlight is a pocket size model, which fell off of Angela's key chain.\n\nThe flashlight is switched on.\n\nThe woman bangs her head against the crate, desperate to communicate.\n\n> You examine the body\nThe woman has been butchered. Her arms and legs have been removed. Both legs are cut off at the hip. Her abdomen is sliced wide and disemboweled. Yet even in death, her eyes are unnaturally animated. They blink and track your movements intently. She's been drained of blood leaving her skin as white as the clean cotton bed sheet draped across her pelvis.\n\n> You show the newspaper to the woman\nHer eyes look at you imploringly, but without a working set of lungs her voice is mute.\n\n> You drop right foot and left foot and the hand\nsevered right foot: Dropped.\nsevered left foot: Dropped.\nsevered left hand: Dropped.\n\n> You look at the tongs\nA pair of 10 inch stainless steel fry tongs.\n\n> Inventory\nYou are carrying:\na newspaper\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\n> You take the screw with the tongs\nThe screw can safely be grasped without the aid of the pair of tongs, so you try taking the screw without the pair of tongs.\n\nYou'd need to unscrew that to take it.\n\n> You unscrew the screw\nThe screw is rusted in place. Your only other alternative for inspecting the blade is to reach in the trough.\n\n> You reach in the trough\nYou reach under the cover of the trough and cautiously poke around. Wedged against the blade is a pulpy mass of sinewy entrails. With some effort, you jerk the entrails free from the blade.\n\nSuddenly, and without warning, the buffalo chopper roars to life.\nYour sleeve catches against the rusty blade, which stalls momentarily, but seizes your arm deeper into the device. Then the blade spins once again. At first you're not even sure what has happened, but you hear a crunching noise, and feel faint from a sudden drop in blood pressure. With a rush of endorphins, you yank your arm free from the buffalo chopper, and collapse on the floor.\n\nYou are missing a hand. If you don't act quickly, you will die.\n\n[Nikolai's sanitation rating has dropped ten points.]"
    },
    {
        "text": "[Themes: Horror, supernatural]\n\n> Go downward\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot crate, composed mostly of particle board. A mutilated corpse lies in state.\n\nYou can also see a severed left hand, a severed left foot and a severed right foot here.\n\n> You take the hand\n(the severed left hand)\nTaken.\n\n> You take the meat with the tongs\nGround meat can safely be grasped without the aid of the pair of tongs, so you try taking ground meat without the pair of tongs.\n\nThe lukewarm puree drips through your fingers.\n\n> You examine the meat\nA soupy puree of ground organ meat.\n\n> You take off the shirt\nYou are carrying:\na severed left hand\na newspaper\na tourniquet\na pair of tongs\na flashlight (providing light)\na notepad\n\nSo long as you represent the city health department, you'd best keep your clothes on.\n\n> You use tourniquet\nYou can't see any such thing.\n\nI didn't understand that sentence.\n\n> You look at what you're carrying with you\nYou fight against excruciating pain to perform even the simplest actions.\n\nYou are carrying:\na severed left hand\na newspaper\na tourniquet\n\n> You wear the tourniquet\na flashlight (providing light)\na notepad\n\nFighting against the most severe pain, you twist the tourniquet into place. The flow of blood gradually ceases.\n\nA moment later your right hand and the entrails which had been blocking the blade are ejected from the chopper at high velocity.\nThey land on the floor nearby.\n\n> Entrails\nsevered right hand: Taken.\nentrails: Taken.\n\n[Nikolai's sanitation rating has dropped ten points.]\n\n> You examine the entrails\nThe entrails have been through a buffalo chopper, rendering the specific organs almost indistinguishable. A muscular tube which resembles sausage casing might be the intestines. A bit of gray matter might be some lung. A darker spot of pulp could be the heart.\n\n> You wear the hand\nWhich do you mean, the severed right hand or the severed left hand?"
    },
    {
        "text": "[Themes: Horror, health inspector, restaurant setting]\n\n> Go downwards\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot crate, composed mostly of particle board. A mutilated corpse lies in state.\n\nYou can also see a severed left foot and a severed right foot here.\n\n> Oops entrails\nYou hear the slurp and gurgle of aspirating fluids as each organ settles into its proper location. Peristaltic waves shiver through the newly reformed intestines. The heart murmurs. Even the lungs gasp for another breath. Then, as if these miracles weren't startling enough, The entire abdomen zips shut, leaving nothing more than a scar.\n\nTo your shock and horror, the woman whispers \"Thank you. My name is Sofia Kozyar. I would appreciate if you could find the rest of me.\"\n\n> You ask Sofia about Sofia\n\"I am Sofia Kozyar. But enough about me, Darling. Tell me a little more about yourself.\"\n\n> You tell Sofia about yourself\nSofia coos, \"You're an attractive fellow. Why don't you lean in and give me a little kiss?\"\n\n> You ask Sofia about the restaurant\nSofia laughs, \"Have you sampled the food here? Simply abysmal.\"\n\nSofia remarks, \"You're a pretty one, my pet.\"\n\n> You ask her about the right hand\nSofia examines the severed right hand carefully. \"You carry around so many curious things.\"\n\n> You ask her about Nikolai\n\"Nikolai is a dying brute, but even with his affliction I fear he is still more powerful than you, Darling. You must help me escape. I can subdue him, then we can rule his roost as Queen and King. Won't that be delightful?\"\n\n> Kiss sofia\nYou lean in to offer the woman a soft peck on the cheek. Quite\n\n> Kiss sofia\nsuddenly her head spins, and her teeth seize your neck. You struggle to keep her from pulling you into her coffin. A moment later you are released.\n\nYou feel a warm trickle of blood on your neck, but she merely smiles as if nothing had happened.\nShe coos, \"Darling, you kiss marvelously.\"\n\nOnce bitten, twice shy.\n\n> You ask her about Angela\nSofia says, \"Nikolai feeds on her like she's a trough. I pity that worn out serving wench.\"\n\n> You ask her about vampirism\nSofia says, \"I like talking to you. Why don't you lean in and give me a little kiss?\"\n\n> You ask Sofia about the vampire\n\"The world is wide open and mysterious. Anything is possible, don't you think?\"\n\n> You show the newspaper to Sofia\nSofia scans the article. \"I'm so happy you discovered me in this tomb, when even the police could not.\"\n\nSofia says, \"I like when you talk to me.\"\n\n> Inventory\nYou are carrying:\nyour severed right hand\na severed left hand\na newspaper\na tourniquet (being worn)\na pair of tongs\na flashlight (providing light)\na notepad\n\n> You show the tourniquet to Sofia\nSofia examines the tourniquet carefully. \"You carry around so many curious things.\"\n\nSofia moves her head to follow your motions."
    },
    {
        "text": "> You look at your surroundings\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot crate, composed mostly of particle board. Sofia lies in state.\n\nYou can also see a severed left foot and a severed right foot here.\n\n> Go south\nA narrow hall twists and winds from the prep kitchen (south) to the dish room (north). A walk-in refrigerator is west of here. During every dinner shift, smoke from the kitchen drifts down this hall and deposits an oily film against the brown wall.\n\nMounted on the wall is a first aid kit.\n\nA formidable buffalo chopper is parked against one corner of this twisting labyrinth.\n\n> You go to the south\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nSince the last time you were here, Nikolai has managed to transport himself down those treacherous steps to the Dining Room. He sits on one of those tiny dining room chairs, which appears barely capable of supporting his weight. Angela has returned from her bread run. She sits across Nikolai's lap, scarcely conscious, with just a trace of blood dribbling from twin teeth marks in her neck. Nikolai looks up from her neck, with blood stains on his own fat face, \"You're next, Mr. Health Inspector. I knew you'd cause me trouble when you walked in here.\"\n\nSince your last tour through the dining room, Nikolai has locked and barred the front door to prevent your escape.\n\n> You look at the mirror\nIn the mirror you see The window is scratched, but intact.\n\nAn aluminum placard is fixed to the front door.\n\nAbout twelve tables are closely spaced within the small location.\n\nDozens of identical chairs are pushed snug against the four top tables.\nYou also see Angela's body, Nikolai and yourself.\n\nNikolai grins at you and licks his lips.\n\n> You ask Nikolai about Sofia\nNikolai pales. \"I don't know who you're talking about.\"\n\n> You ask Nikolai about the key\n\"She'd be better with a little catsup. Watch out, you're next.\"\n\nNikolai growls, \"I lose a lot of business because of you.\"\n\nA tiny brown mouse dashes out of view.\n\n> You examine Angela\nAngela is a dark haired woman, not quite 50, now unconscious. Her neck and shoulders are marked by numerous scars.\n\nNikolai shifts his weight. The chair creaks.\n\n> Go upwards\nNikolai pursues you up the stairs, huffing and wheezing from the effort. You double your speed just in time to escape his reach. Nikolai is left stranded and out of breath back on the fifth step.\n\nNikolai's office is an ill-maintained balcony sky box above his restaurant. A window looks out over the restaurant. But as you could see earlier, the dining room side is mirrored such that employees and guests can't see in. A rickety set of steps leads back to the main floor. The plaster walls are water stained and cracked. A single unfrosted bulb hangs from the ceiling by a loose wire. Mounds of unpaid invoices litter Nikolai's wooden desk.\n\nOn Nikolai's desk are a brass key and a book.\n\nA plastic pitcher sits on the floor in the corner of the office, filled with some foamy amber liquid.\n\nYour heart is racing.\n\nYou hear a mouse scurrying through the wall.\n\n> Examine book\nThe volume is small and weather-beaten. The cover is so dark you can scarcely read the title: \"Lore of the Vampires\". Chapters are written in several different languages. Many of the pages are stained.\n\n> You look at the pitcher\nThis is a one quart plastic pitcher, just like those used in the bar or dining room for delivering beer to customers.\n\nIn the plastic pitcher is an amber liquid.\n\n> Smell liquid\nYou are overwhelmed by an ammonia odor.\n\n> You take the key\nYou already have that."
    },
    {
        "text": "> You look around\nNikolai's office is an ill-maintained balcony sky box above his restaurant. A window looks out over the restaurant. But as you could see earlier, the dining room side is mirrored such that employees and guests can't see in. A rickety set of steps leads back to the main floor. The plaster walls are water stained and cracked. A single unfrosted bulb hangs from the ceiling by a loose wire. Mounds of unpaid invoices litter Nikolai's wooden desk.\n\nOn Nikolai's desk is a book.\n\nA plastic pitcher sits on the floor in the corner of the office, filled with some foamy amber liquid.\n\n> You look at the window\nThis window allows Nikolai to observe his staff and customers from the privacy of his own office. A man his size, and in such poor physical condition, can't easily navigate those steps. To communicate, Nikolai barks insults at the people in his Dining Room below.\n\n> You examine the desk\nNikolai's has an old aluminum desk. It is painted olive drab in places, and gray where the enamel has chipped away.\n\nOn Nikolai's desk are mounds of unpaid invoices and a book.\n\nA cockroach scurries across the floor.\n\n> You examine the invoices\nSome of these invoices are dated from months ago. It seems that Nikolai isn't very timely about paying his bills.\n\n> You examine the desk\nNikolai's has an old aluminum desk. It is painted olive drab in places, and gray where the enamel has chipped away.\n\nOn Nikolai's desk are mounds of unpaid invoices and a book.\n\n> You open it\nThat's not something you can open.\n\nA tiny brown mouse dashes out of view.\n\n> You read it\nYou read: \"Lore of the Vampires\". Two chapter titles catch your attention: \"Vampire Culture\" and \"Killing Vampires\". Most of the remaining chapters are written in an unfamiliar Slavic language.\n\n> You read the Vampire Culture\nYou read: Vampire Culture.\n\nBratislavan vampires, like their Transylvanian cousins, require nightly aliquots of blood for their continued immortality. But unlike the Transylvanians, who are mostly solitary in habit, the Bratislavan vampires fight actively amongst themselves for territory, a stable of victims and general dominance. The most dominant vampire in a given territory is the arch-vampire.\n\n> You read killing Vampires\nYou read: Killing Vampires\n\nMethods for warding or killing a vampire are so widely known, they are now almost clich?. For warding: either a wreath of garlic or a wooden cross worn around the neck should effectively ward off both the Bratislavan and Transylvanian type vampires. For killing, only a weapon made of silver has any permanent effect.\n\nOf course one is not likely to find these implements (garlic, crosses, or silver weapons) in the vampire's own abode. This creates a problem for Bratislavan vampires who desire nothing so much as to kill and dominate their rivals. They achieve this without the use of silver (which might be turned against them) by dismembering their opponents and scattering the remaining parts as widely as possible. Yet even this gruesome ritual is impermanent. The dismembered parts of a vampire retain their own force of will, and strive to reassemble themselves by whatever means available."
    },
    {
        "text": "[Themes: Horror, restaurant setting, health inspector]\n\n> You go downward\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela's unconscious body is propped like a rag doll across Nikolai's corpulent lap.\n\nNikolai is here, lapping blood from Angela's neck. He shoots you a look of contempt.\n\n> You go north\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is sealed tight.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\nA cockroach scuttles up the wall.\n\n> You unlock the door with key\nYou unlock the alley door.\n\nYou hear a mouse scurrying through the wall.\n\n> You open door\nYou open the alley door.\n\n> Go north\nWindowless brick walls rise three stories on either side of you, blocking out most of the sunlight. The cobbled alley slopes down hill at a dangerous pitch. You won't be able to get back to the street from here however, as the top of the alley ends in a dead end, and the bottom is securely gated, locked from the other side\n\nA warped wooden door is set into the brick. It leads south back to the dish room. The door is open.\n\nA rectangular green dumpster is parked at the dead end. Greasy effluent leaks from the sides and bottom, meandering downhill between the cobbles to form a slick but irregular path.\n\n> You note effluent\nYour writing hand has been amputated. You need to find a way back to your car and get some help!\n\n> You open it\nYou open the green dumpster, revealing a tangled mound of putrefying human limbs: a severed left arm, a severed right arm, a severed left leg and a severed right leg.\n\n> You take all from it\nsevered left arm: Taken.\nsevered right arm: Taken.\nsevered left leg: Taken.\nsevered right leg: Taken.\n\n[Nikolai's sanitation rating has dropped twenty points.]\n\n> You look at the left arm\nA bloodied left arm, hacked off at the shoulder and at the hand.\n\n> Go south\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nA warped wooden door is set into the cement north wall. The door is open.\n\nYou step cautiously around the open drain cover.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware)."
    },
    {
        "text": "[Themes: Horror, health inspector]\n\n> Go down\nThe edges and corners of this brown room are rounded by accumulated cobweb nets, making it look more like a small cave than an urban underground. Moldy pylons and concrete extrusions resemble stalagmites. Wet cardboard boxes stacked along the wall contain empty unrecycled liquor bottles. The humid air smells of death.\n\nYou could escape through the drain pipe in the ceiling.\n\nAt the center of the room is a three foot by six foot crate, composed mostly of particle board. Sofia lies in state.\n\nYou can also see a severed left foot and a severed right foot here.\n\n> You take left foot and right foot\nsevered left foot: Taken.\nsevered right foot: Taken.\n\n> You put the left arm on Sofia\nAlmost before you release it, the left arm wriggles snakelike into location near the woman's shoulder. Muscle and sinew, then skin all regenerate between the disjointed limb and body. The air crackles. Your nose burns with the stench of cauterized flesh.\n\nThe woman flexes her left arm. She coos, \"it still tingles. But Darling, you must still bring me my hand.\"\n\n> You put the right arm on Sofia\nYou hear a sudden crack, like bone breaking in reverse. Skin and tissue then grow over the freshly attached right arm at stop-action speed.\n\nThe woman flexes her right arm. She coos, \"it still tingles. But Sweetie, you must still bring me my hand.\"\n\n> You put the left leg on Sofia\nThe left leg doesn't fit into its socket at quite the right angle. Sofia grimaces as it twists into place. The skin which grows over is purple and gangrenous. But not a moment later the gangrenous stench has disipated and the skin color fades to a mottled bruise.\n\nThe woman flexes her left leg. She coos, \"it still tingles. But Darling, you must still bring me my foot.\"\n\n> You put the right leg on Sofia\nSofia looks with excitement as you lower the final limb into her coffin. She leans toward you so that the right leg locks into exactly the right place. The air crackles more loudly than before, filling the entire room with the smoke and stench of cauterization.\n\nThe woman flexes her right leg. She coos, \"it still tingles. But Sweetie, you must still bring me my foot.\"\n\n> You put left foot on Sofia\nThe air is filled with a smell of searing flesh. Muscle and tissue regenerate unnaturally to produce a whole working leg.\n\nA large rat turns to look at you, then runs away.\n\n> You put right foot on Sofia\nThe air is filled with a smell of searing flesh. Muscle and tissue regenerate unnaturally to produce a whole working leg.\n\nSofia says, \"I like when you talk to me.\"\n\n> You put the left hand on Sofia\nThe air is filled with a smell of searing flesh. Muscle and tissue regenerate unnaturally to produce a whole working arm.\n\n> You put the right hand on Sofia\nThe air is filled with a smell of searing flesh. Muscle and tissue regenerate unnaturally to produce a whole working arm.\n\nSofia's body levitates out of her coffin until she has risen nearly to the ceiling. Then she rotates upright to face you, still suspended at least four feet above the ground.\n\n\"You have done good work today, my little hero. And since I fancy you, I will now help you escape.\"\n\"You are a sharp fellow. By now I expect you've figured out the situation on your own and I don't have to belabor my strained relationship with Nikolai. We are both, to put it crudely, vampires. When I moved into the neighborhood a few years ago, he still had the power to subordinate me. But I knew he was being weakened by diabetes and it would not be long before I would inherit his territory.\nNikolai knew this as well. So to prevent my challenge to his dominance he had me abducted and slaughtered.\"\n\nSofia smiles. \"Now, I suppose, is the time for my revenge.\" She levitates out of this location to the dish room, then out of sight.\n\n> Go up\nOn entering the dish room you are overwhelmed by the astringent smell of fresh bleach. You would welcome this as evidence of sanitation, except that in such high concentrations bleach is actually toxic. Already you're feeling a little nauseous. A hall winds south into the darkness.\n\nYou step cautiously around the open drain cover.\n\nA warped wooden door is set into the cement north wall. The door is open.\n\nThe largest fixture in this location is a straight unit dish machine, with a stainless steel dish table on either side.\n\nOn the dish table is a dish rack (in which are some servingware).\n\n> You look in crate\nThe particle board crate is empty.\n\n> Go south\nAngela is dead on the floor, her life force sucked dry. Blood and other pieces of Nikolai are scattered around the room as if he had swallowed a hand grenade. The front door is blasted open. Yet there was no hand grenade which did this. The largest part of his remains have landed on a table. Sofia levitates magically above them, lapping the blood from his various wounds.\n\nShe is, at present, unaware that you've entered the room.\n\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela lies dead on the floor.\n\nNikolai's remains are scattered throughout the room.\n\nSofia hovers several feet above the dining room tables, lapping blood from Nikolai's remains.\n\n> Examine remains\nNikolai's Remains cover nearly every exposed surface of the room.\n\n> You examine the mirror\nIn the mirror you see The window is scratched, but intact.\n\nAn aluminum placard is fixed to the front door.\n\nAngela lies dead on the floor.\n\nAbout twelve tables are closely spaced within the small location.\n\nDozens of identical chairs are pushed snug against the four top tables.\nYou also see yourself, Nikolai and Sofia.\n\n> Go south\nYou are standing in front of Nikolai's Bar and Grill on 19th Street.\nA green awning shades the smudged window into Nikolai's dining room. The front entrance is north of you.\n\nThe east/west sidewalk here is cracked and uneven, pocked by clumps of crabgrass. A storm gutter is built into the curb, littered with broken bottles. Across the street a neon sign flickers erratically.\nA few cars are parked nearby (including yours), but otherwise you see no evidence that anyone visits this neighborhood past daybreak.\n\nAn aluminum placard is fixed to the front door.\n\n> You take the placard\nThat seems to be a part of the front door.\n\n> You break the window\nThe window shatters, dropping shards of glass on both sides.\n\n> You take the letter opener\nTaken.\n\nYou hear the wail of distant sirens.\n\n> Go north\nThe restaurant area of Nikolai's is relatively small: no more than a dozen four top tables, many still littered with yesterday's crumbs. A larger bar area--the primary source of revenue here--lies to the east. A rickety staircase leads to small balcony outside Nikolai's office loft. A wide mirror is mounted on the wall high above, right near his office entrance.\n\nOn the south end of the room, a long window provides an unattractive view of the street. The galley kitchen is north of here.\n\nAn aluminum placard is fixed to the front door.\n\nAngela lies dead on the floor.\n\nNikolai's remains are scattered throughout the room.\n\nSofia hovers several feet above the dining room tables, lapping blood from Nikolai's remains.\n\n> You kill Sofia with the letter opener\nThough it feels awkward to strike with your left hand, the letter opener slides into Sofia's chest as easily as a hot knife through butter. Sofia's mouth drops. Her expression speaks a sense of betrayal. Then her body is overcome with epileptic seizures. You are deafened by a momentary blast of thunder. Sofia has disintegrated. Nothing remains but fly-size specks of blood and tissue painted against walls and ceiling. You race to your car to vacate the neighborhood before police arrive.\n\nYou read in the newspaper the next day that police are unable to explain the carnage and gore they discovered at Nikolai's Bar and Grill that morning. Police are still looking for the culprit.\n\nAs for you, you are happy to have destroyed a coven of vampires. It is a shame that you became afflicted by the means of Sofia's kiss.\nNow every night you find yourself trolling the streets for your own stable of victims.\n\n> You kill yourself with the opener\nYou are surprised at how easily the letter opener pierces your body, and shocked at how much pain it causes. Your body convulses in epileptic fits. That pain seems to continue for an eternity."
    },
    {
        "text": "[Themes: Humor, humor, homage, death]\n\nLoading game...\n\n1 : Read Me First\n\n2 : Credits and Thanks\n\n3 : Begin Reaping\n\nPlease Choose an Option.\n\nVer 1.0 2007.\nWritten in ADRIFT by James Webb (aka revgiblet)\nPlease feel free to send any feedback to revgiblet@gmail.com\nAny similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.\n\n[Author's Note: Step into the bare feet of the Grim Reaper for a day and make sure that five pesky souls keep their appointment with the afterlife.]\n\n> 1\nIt's a fairly easy life being the Grim Reaper. People often make the mistake of assuming that you appear at every death. Of course, that's a mistake that they only tend to make once. The reality is quite different. Death tends to happen to people whether you are there or not, you actually only show up for the more unusual cases. Every now or then someone will put up a fight and not take death lying down. That's when you show up to make sure that they play by the rules. Essentially, you're a high stakes baliff.\n\nEvery day your Supervisors mail you a list of the difficult cases.\nYou have twelve hours to make sure that souls are reaped and the wages of sin are paid. Welcome to a day in the life of Death.\n\nThis will tell you how long you have left before the day ends. You don't want to know what happens if you don't finish reaping the alloted souls within the time limit.\n\nWhere 'X' equals your destination. You own a skeletal horse, named Horse (you are not known for your imagination). Tell him/her where you want to go and he/she (it's difficult to sex skeletal horses) will take you there. To return to your home then use the simple command say home to horse\n\nThe ultimate command. Provided that you are holding your scythe and can get to your client, this will send the death-shy soul to the afterlife. You must utilise this command on all clients to complete the game.\n\n1 : Read Me First\n\n2 : Credits and Thanks\n\n3 : Begin Reaping\n\nPlease Choose an Option.\n\nVer 1.0 2007.\nWritten in ADRIFT by James Webb (aka revgiblet)\nPlease feel free to send any feedback to revgiblet@gmail.com\nAny similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.\n\n> 2\nI owe the following people something, so I thought a 'Thank You' here would do. Most of them will probably never read it anyway. Still, it's the thought that counts.\n\nThanks to...\n\nCampbell Wild for the ADRIFT generator. Now the stories in my head can come to life. And is that your real name? It's kind of cool.\n\nwelcome and giving (mostly) good advice.\n\nDavid Whyld, de budding and Ren for beta testing my first game, The Sisters. The advice they gave and changes they suggested made it ten times better than it originally was (before it was only worth 0.5 out of 10)\n\nAll the people who played, reviewed and voted for The Sisters during the 12th Annual IF Competition. The whole experience encouraged me to keep writing. So this game is mostly your fault.\n\nrotter for Unauthorized Termination and inspiration for text formatting.\n\nLumin for beta testing this game and pointing out my clumsy punctuation skillz.\n\nwww.strange-facts.com for giving me some...err...strange facts.\nTerry Pratchett for the Discworld books. I could make a convincing case for the fact that my anthropomorphic Death is very different from his anthropomorphic Death, but seeing as I got the idea for this game when I was reading Reaper Man it's a futile exercise.\n\n1 : Read Me First\n\n2 : Credits and Thanks\n\n3 : Begin Reaping\n\nPlease Choose an Option.\n\nVer 1.0 2007.\nWritten in ADRIFT by James Webb (aka revgiblet)\nPlease feel free to send any feedback to revgiblet@gmail.com\nAny similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.\n\n> 3\nYou are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.\n\nExits: East\n\n> Inventory\nYou are carrying the Golden Hourglass.\n\n> You examine Hourglass\nThe grains of sand tell you that you have twelve hours left to complete your contract.\n\n> About you\nYou are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.\n\n> You look at the cds\nYou're not sure if two CDs can rightly be called a collection, but if they can then this is your CD collection. You have The Eagles: Greatest Hits 1971-1975 and the CD single of Candle in the Wind 1997 by Elton John.\n\n> You look at the books\nYou pick up a diary at random and flick to a page.\n\nWhen I saw that it was Friday the 13th I should have known that I was in for a bad day. I accidentally materialised in the middle of the ladies changing room at a swimming pool. People were throwing things at me and screaming. It doesn't take much to discourage me. Perhaps I'm not cut out for this job after all? Well, I'm sure something good will come along soon. Chin up and all that!\n\nYou put the book back on the shelf. You can see no need to take any of them with you."
    },
    {
        "text": "[Themes: Humor, death, homage]\n\n> Look around\nYou are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.\n\nExits: East\n\n> Go east\nYou move east.\n\nThe hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.\n\nExits: East, South and West\n\nYou can see some mail.\n\n> You read the mail\nYou bend down and scoop up your mail. It's one of life's great mysteries. If you have any work that day your Supervisors mail it to you in the morning. In all your time you have never once met the postman. Sometimes you wonder if you should get a dog just to see what would happen. Something big and evil. A hellhound or a pitbull. Something like that.\n\nYou have two letters today. The first is a white envelope addressed to a \"Mr. G. Raper\" and bearing the stamp of \"Blackbury Banking Services\". Puzzled, you tear it open and read.\n\nDear Mr GRaper.\nHave we got an offer for you!!?? You, and others in your specially selected postcode region, have been chosen to take part in our amazing, introductory offer! We're offering you a free - that's right FREE - credit card with GBP10,000 limit*! ARE WE CRAZY??\n\nAt this point you throw the letter in the bin. You live in the darkest, emptiest void of time and space in this reality; you are the only living (using the term loosely) soul in this dimension and yet you still get junk mail. It's enough to make you livid! You turn to the other letter, which comes in the unmarked, large brown envelope that your Supervisors use when they want to contact you. It looks like you've got some work to do today. You open it and begin to read.\n\nYou have five clients today. Four standard cases and one administrative error...\n\nYou roll your eyes. Administrative errors are the worst. It means that the paperwork has got screwed up somewhere along the line and some poor idiot is not where they should be when they're fated to die. As usual, it's up to you to clear up somebody else's mess. You carry on reading, though you know the words off by heart now.\n\nPlease find attached the details of the clients. These clients will die, as fated, but for some reason will refuse or be unable to progress to their destination. Reap their souls to complete the cycle. You must complete this task by the end of the day. Thank you.\n\nYou discard the letter and read the attached list.\n\nLord Nigel McWorthington - Himilayas, Nepal\n\nErnest Busset - Manchester, England\n\nJimiyu Wangai - Wajir, Kenya\n\nAgathe Laurent - Paris, France\n\nSplong5b - Nevada, USA\n\nYou pocket the list. Let's go to work.\n\n> You examine bin\nIt's a small, metal bin. Lying in the bin is a letter from Blackbury Banking Services.\n\n> You look in the mirror\nYou'd be surprised, but being a very tall, very thin, apparition of terror doesn't attract as much attention as you'd think. As most people don't believe in you, the first thought that goes through their heads doesn't tend to be \"Is that the Grim Reaper? IT IS THE GRIM REAPER! I'M GOING TO DIE! I'M GOING TO DIE!\" but rather something more mundane about a fancy dress party or the current government's lax attitude to mental health care. You tend to move about the world of mortals attracting hardly any attention at all. This perplexes you a little bit.\n\nYou give a grunt of approval as you check yourself in the mirror. Looking good!"
    },
    {
        "text": "[Themes: Humor]\n\n> You describe your surroundings\nThe hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.\n\nExits: East, South and West\n\n> You go east\nYou move east.\n\nYou are standing in your kitchen. To this day you can't think why you made this room into a kitchen. You don't actually eat. The back window, over the kitchen sink, looks out into the void. The washing machine sits against one wall and a wooden table in the centre of the room. It has only a single chair. You don't get any visitors. On one wall there is a cork pinboard in the shape of an elephant (with the words Don't Forget! playfully inscribed on it). There are several notes pinned to it.\n\nExits: West\n\n> You look at the washing machine\nYou gave up trying to wash your own robes a long time ago. It's just easier to take them to a dry cleaner.\n\n> You open the washing mashine\nOpen what?\n\n> You look at the notes\nYou scan the notes. - Remember Horse's birthday present!!! -, - Wrote in wrong diary yesterday! Correct it! -, - Get more paper for notes!!! - and - Out of cheese. -  You don't remember writing that last one. There is also a ticket pinned to the board from the dry cleaners in San Fransisco. You left a robe with them for a clean.\n\n> You take the ticket\nYou unpin the ticket from the board and put it in your pocket.\n\n> You look at the window\nYou don't really need a window. A hole in the wall would have done just as well. It's never too cold or too hot and you never get any visitors. It just seemed like a good idea at the time...\n\n> You examine the sink\nIt's a kitchen sink.\n\n> You look in the sink\nIt's a kitchen sink.\n\n> You read ticket\nIt's a small piece of paper informing you that Happy Go Lucky Dry Clean in San Fransisco currently has a black dress belonging to a Mr. G. Reaper. The ticket also says Please present ticket to collect item.\n\n> Go west\nYou move west.\n\n> Go south\nYou move south.\n\nYou are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.\n\nExits: North and South\n\n> You examine void\nYou see nothing special. In fact you don't see anything at all.\n\n> Go south\nYou move south.\n\nYou are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.\n\nExits: North\n\nYou can see The Grim Reaper's Scythe.\n\nHorse waits here, looking quite majestic.\n\n> You look at the scythe\nWickedly sharp and imposing, this is your weapon of choice for reaping souls. It's a metaphor for your ability to harvest people from the land of the living, so it doesn't actually need to be a scythe but you find that people expect it. It's the look of the thing. Your Supervisors have gone to the trouble of making it invisible to mortal eyes after that embarrasing incident at JFK airport six months ago.\n\n> You take it\n[take The Grim Reaper's Scythe]\nYou pick up the Grim Reaper's Scythe.\n\n> You look at Horse\nHorse is a skeletal steed. S/He has been your faithful companion from the beginning, whenever that was. It's hard to come across as being noble when you're nothing but a collection of bones held together by some unknown, mysterious force but Horse manages it quite well. An equine skeleton is not something that most people would expect to see, so they don't.\n\n> You examine the whetstone\nIt's a large whetstone for sharpening blades. You use it to keep your scythe sharp, though you don't really need to bother. It's always as sharp as it needs to be. You just got into the habit of sharpening it every now and then, and you tend to be a very habitual person.\n\n> You examine Hourglass\nThe grains of sand tell you that you have eleven and a half hours left to complete your contract.\n\n> Sharpen scythe\nYou check your scythe. It's sharp enough as it is. No need to waste time sharpening it.\n\n> About you\nYou are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.\n\n> You examine the list\nThe list of your clients for today. It reads...\n\nLord Nigel McWorthington - Himilayas, Nepal\n\nErnest Busset - Manchester, England\n\nJimiyu Wangai - Wajir, Kenya\n\nAgathe Laurent - Paris, France\n\nSplong5b - Nevada, USA\n\n> You say nepal to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nMountain Pass (Himilayas)\n\nYou are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic.\n\nLord Nigel McWorthington gazed out over the crisp, snowy scene and smiled. He was glad that he'd decided to do this; that he'd decided to celebrate his sixtieth birthday by trekking through the Himilayas. His family had insisted on a surprise party, despite the fact that his doctor had warned them against giving him any sudden shocks. Then again, his doctor had warned him against mountain climbing too. But he wouldn't trade this for anything. The view was splendid and stretched for miles, and it almost made him shake off the nagging feeling that he really should have been at that surprise party. Sure, the family would be disappointed when he didn't show up, but they should have made a better effort to make sure that he wouldn't find out. He wasn't stupid. Leaving the guest list out where he could find it wasn't too clever for a start. But that didn't really explain the feeling. It wasn't guilt but rather something else. Something he couldn't quite put his finger on.\n\nHe pushed the feeling back again and looked into the sunshine, lifting his hands above his head. He felt so alive! He almost let out a cry of triumph, but stopped just in time. There's no telling what might cause an avalanche in this part of the world. Just then he heard a rush of wind behind him, he turned and...\n\n...found himself staring at a skeletal horse, ridden by a tall, ghastly apparition of horror, who seemed to be reading a list...\n\nLord Nigel McWorthington screamed at the top of his voice and gripped his chest. The scream rebounded off the mountain walls and was suddenly silenced by an ominous rumbling sound from above. He looked up at the avalanche descending rapidly, turned once again to the horrifying apparition and managed the words \"You complete and utter...\" before he was buried under a crushing weight of snow.\n\nYou shrug and climb off Horse. This was clearly Nigel McWorthington, and you suspect that he is (you mean was) the administrative error. Seems that death caught up with him after all. You smile at the double entendre and turn your attention to the scene. To reap his soul you have to get to the body, which is currently under thirty foot of snow. You scratch your head in puzzlement. Why are these things never easy?\n\nMountain Pass (Himilayas)\n\nYou are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic.\n\n> You dig the snowdrift\nWith what? Your bare hands? No way.\n\n> You say homedepot to Horse\nNo-one pays any attention to you.\n\n> You say the Manchester to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nCellar (Manchester)\n\nThis is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.\n\nExits: Up\n\nYou can see Ernest Busset's shoe.\n\nHorse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.\n\n\"If this works we'll be famous!\" chattered Ernest Busset, excitedly.\n\n\"That's understating it slightly, Ernest.\" said Thomas Brewer, sardonically.\n\n\"Just think of it, man! Time travel! We'll be...famous!\" Ernest Busset could barely contain his excitement.\n\n\"Are you sure this will work? I'm not confident myself. I know we've run through the figures a million times but...well, I've just got a bad feeling about this. What if it doesn't work?\" Thomas sounded very, very worried.\n\n\"Nonsense! This must work! As you said yourself, we've gone through the figures a million times. Now. Stand back.\"\n\nErnest sat himself into the contraption. It looked like the cockpit of a glider, surrounded by a mass of wires and bits and pieces of metal. Ernest fiddled with the controls in front of him. They looked like they had been cobbled together from bits and pieces of old games consoles. A digital readout flashed excitedly in front of his eyes.\n\n\"Yes, yes. See, that's what I'm talking about. If you're so confident it will work then why are you telling me to 'stand back'?\" Thomas did, however, take several large steps backwards as he said this.\n\n\"Just in case! Who knows what will happen? Who knows if the field will be purely contained to the machine? I wouldn't want you getting sucked back through time with me! You need to stay here and document our success from this end!\" Ernest was idly flipping a switch back and forth.\n\n\"See, you're doing it again. 'Who knows what will happen?' Is that supposed to inspire confidence?\"\n\n\"Just relax, old boy. Think about what you're going to do when we are no longer constrained by time! What will you do with this power?\"\n\n\"I'm going to go back in time and kill Hitler's parents.\" Thomas looked grim, his lips set in a firm line. Ernest looked puzzled.\n\n\"I wouldn't do that, old boy. That sort of thing would just make Hitler really angry, wouldn't it? I wouldn't have thought he was the sort of fellow you'd want to get on the bad side of.\"\n\n\"No. You've misunderstood.\" 'Again' Thomas added mentally, \"I would kill them before he was born.\"\n\n\"That doesn't make sense, man! I mean, how can they be Hitler's parents until they have had a baby called Hitler? Stands to reason!\" said Ernest, cheerfully.\n\n\"Never mind,\" Thomas muttered, \"Look. Be careful\" he added, surprised at how much he meant it.\n\n\"No problem! Just watch this!\" Ernest cheered, as he reached out and pushed a button.\n\nThere was a whirring noise, which increased in intensity until it ended abruptly in a rather large explosion. Thomas Brewer was thrown back against the far wall, and crumpled to a heap on the floor. He looked up from his prone position to see a tattered, charred shoe fall in front of him.\n\"Oh dear.\" he said, with rather considerable constraint.\n\nHe then climbed to his feet and turned to find you watching him from the other end of the room.\n\"Oh dear oh dear.\" he trembles, \"Look. Just tell me. Am I dead?\"\nYou gaze at the List.\n\n\"Ith your name Ernetht Buthet?\" you intone.\n\nThomas Brewer looks at you blankly. It's hard enough for a man to be on the verge of humanity's greatest scientific breakthrough and then to suddenly be confronted with the possibility that he might be dead, let alone to find that the Gatekeeper of the Afterlife has a speech impediment.\n\n\"I'm sorry, did you say 'Erneth Buffet'? Ummm...Do you mean Ernest Busset?\" Thomas brushed himself down. You nod irritably. You've had a lisp for as long as you can remember and it's not your fault. It certainly doesn't make your job any easier. \"No. No. I'm Thomas Brewer. Ernest Busset is...oh. Oh no! Oh no! Ernest is dead?\" Thomas exclaims, shocked. You nod again.\n\n\"Where ith he then?\" you ask, looking round the room in annoyance. Thomas grins and points at the charred heap of metal in the centre of the room.\n\n\"I think the question really should be 'when is he?' We built a time machine, he and I did. And as there's no sign of a corpse I'm guessing that it worked! It worked! Do you realise what this means?\" Thomas was jubilant, forgetting the situation for a moment.\n\nYou shrug. You personally suspect that it means that they won't be selling anything other than one-way tickets but you say nothing.\n\n\"Ha! He might have survived! You can't know for certain!\"\n\nYou sigh. You've had to recover your clients from some very strange places in the past, but never a different time. There has to be a way to solve this one.\n\nCellar (Manchester)\n\nThis is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.\n\nExits: Up\n\nYou can see Ernest Busset's shoe.\n\nHorse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.\n\n> You examine the shoe\nA single brown shoe. It's seen better days. Namely days when it hasn't been at the heart of a large explosion.\n\n> You take it\n[take Ernest Busset's shoe]\nYou pick up Ernest Busset's shoe.\n\n> You ask Thomas about the time machine\n\"It worked,\" Thomas smiles, manically \"It really worked! Just like he said it would! We will be famous...when he gets back that is. When I've rebuilt the machine...\" He looks worried, as if trying to figure out if this task is beyond him.\n\n> You examine the tools\nYou've never been one for DIY (other than in the scythe department) so you don't have a clue what most of the tools here are even called, let alone what they do. The only things you have any confidence about are a large roll of masking tape and a small magnet. You decide that the magnet might come in useful and slip it into your robe. As you'll still exist when this building has rotted to ruins, all things - in a metaphorical way - belong to you. At least that's what you tell yourself whenever your rampant kleptomania overtakes you.\n\n> You take the tape\nNormally you would, but you decide that stealing a magnet is bad enough. You leave the masking tape where it is. If you ever need it then you know where to find it.\n\n> Go upwards\nYou move up.\n\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down\n\n> You examine the telephone\nIt's a cheap, black plastic telephone with little number buttons that you push.\n\n> You go to the north\nYou move north.\n\nBathroom (Manchester)\n\nYou have no need of a bathroom so you never feel comfortable about what goes on in one. This means that you never feel comfortable standing in one. The lino under your feet is worn and in need of repair and the tiled walls are covered with mildew and mould. The kindest thing that you could say about the mirror is that it isn't broken, and the sink only has one tap. As for the bath - well, it's a great advert for fitting a shower. And you daren't even look at the toilet...\n\nExits: South\n\n> You examine the toilet\nI said YOU DAREN'T EVEN LOOK AT THE TOILET!\n\n> You examine the mirror\nYou look into the mirror. In this room, even your reflection looks dirty.\n\n> Go south\nYou move south.\n\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down\n\n> Go south\nYou move south.\n\nLiving Room (Manchester)\n\nThe living room is as grotty as the rest of the house. The wallpaper and carpets are clearly refugees from the era when flares were fashionable the first time round. The floor is covered in scientific papers and engineering sketches. Two sleeping bags lie, rolled out, in the far corner of the room. A window, with one pane boarded up, gazes out onto a Manchester high street. This is the kind of living room where you could imagine someone sitting and saying \"You call this living?\".\n\nExits: North\n\n> You look at the papers\nYou don't see anything that will help you.\n\nYou shuffle through the pages. Some of the papers and drawings make perfect sense to you (such as the angry red bill from the telephone company  threatening to cut off service, or the sketched picture of a man with an arrow through his head) but most of them are gibberish. There are equations and diagrams that you can't even begin to understand. It takes you a few minutes but you eventually sort some of the more important looking ones to one side. They form a small pile of paperwork that seem to detail some of the most significant facts concerning time travel. You include with them several detailed drawings of the machine that Ernest and Thomas built. Having done this you file your collection of paperwork into one of the pockets in your robe. This stuff might help you get your scythe on Ernest's soul.\n\n> You examine the sleeping bags\nSleeping bags that belonged, you guess, to Thomas and Ernest. They don't look like they've been slept in much. They've obviously made a lot of sacrifices in trying to build the machine. You shake your head, wondering if this passion for knowledge was worth it.\n\n> Go north\nYou move north.\n\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down\n\n> Go west\nYou move west.\n\nKitchen (Manchester)\n\nIt's a filthy kitchen, and vastly underequipped for it's purpose.\nYour kitchen might be nothing special but at least you keep it clean, and you don't even prepare food in it. The people who use this kitchen are playing the odds. The worksurfaces are covered with dirt and bits of food. There are three rusty old garden chairs against one wall, a cooker and a cupboard against another.\n\nExits: East\n\n> You open the cupboard\nYou open the cupboard. Inside is a tin of beans, some rice and a packet of After Eight mints. A varied diet, it seems.\n\n> You take the mints\nCompared to the other items in the cupboard, the still-sealed packet of After Eights is a luxury item. You would feel bad about taking them.\n\n> You take the beans\nA tin of economy beans. As tempting as it is, you resist the lure of the tin.\n\n> Go east\nYou move east.\n\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down"
    },
    {
        "text": "[Themes: Humor]\n\n> Go downward\nYou move down.\n\nCellar (Manchester)\n\nThis is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.\n\nExits: Up\n\nHorse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.\n\n> You give the papers to Thomas\nGive what?\n\n> Inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet and the time machine plans.\n\n> You ask Thomas about the time machine\n\"It worked,\" Thomas smiles, manically \"It really worked! Just like he said it would! We will be famous...when he gets back that is. When I've rebuilt the machine...\" He looks worried, as if trying to figure out if this task is beyond him.\n\n> You ask Thomas about Ernest\n\"He's my mentor and friend.\" Thomas shrugs, \"We've done something amazing here. I can't believe he's dead. I won't believe it.\"\n\n> You say nevada to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nYou can see a shovel blade.\n\nHorse waits here, looking quite majestic.\n\nPrivate Kline yawned. Guard duty was so unbelievably boring. He knew that he wouldn't have normally pulled this duty for six days in a row but recent events with the General's daughter had resulted in this sorry state of affairs. He didn't regret a thing, but...this was really boring. Nothing ever happened. He was guarding a single door in the most heavily protected military faculty in the United States.\n\nHe moved his rifle to the other shoulder and shrugged. Maybe he should play The Game again. His time on guard duty had been spent developing the rules to The Game. It helped pass the time. The Game involved him seeing how many times he could spin his rifle above his head in a minute. It couldn't be any old spin, however, as the rules made quite clear. The gun had to be held a certain distance above his head, at a certain angle. The spin had to be at a certain velocity. It was pretty complicated, which probably explained why - after five days - his personal best was only two. The rules were being reviewed yet again. Maybe version 1.6 of The Game would see some major changes. He didn't want a repeat of version 1.3, where he was very lucky not to have shot himself in the face.\n\nCRASH!\n\nPrivate Kline stopped in mid-thought. What was that?\n\nCRUNCH!\n\nIt sounded like it was coming from the storage cupboard just down the corridor.\n\n\"I jutht trod in paint or thomething!\" a muffled (but raised) voice sounded. It was definitely coming from the storage cupboard. \"Honethtly! You could land anywhere in the whole building and you chooth to land in a cupboard! Thtupid animal!\"\n\n\"Who's in there!\" shouted Kline, his rifle raised. The door opened and out stepped an incredibly tall and gaunt figure...\n\n..You turn and see the young soldier with his gun raised.\n\n\"Excuth me, but thouldn't you be pointing the other end at me?\" you offer, helpfully. You have no need to be afraid of firearms.\n\nPrivate Kline hurridly turns his rifle the right way round and looks at you, almost apologetically.\n\n\"Identify yourself!\" he barks.\n\n\"Me? I'm the Grim Reaper,\" you explain, checking The List, \"And you wouldn't happen to be Thplong5b would you?\"\n\n\"Huh? What?\" Private Kline tried to compose himself. He'd wanted some excitement, but this was a lot more confusing than he'd thought it would be.\n\n\"No. I gueth not. You don't look like a Thplong5b. I think I need to go through that door behind you.\" you look up from The List, certain that your Client is in the room that this soldier is guarding.\n\n\"The door behind me?\" Kline's resolve hardens, \"No. No I think not. I've got one job in this place - guard this door. I don't care who you are. You are not getting through.\"\n\nYou sigh, but then look into Kline's face and realise that you've never come across a man with such single-minded determination before. Neither have you ever met someone with such total confidence that whatever he happens to face he can solve it with his gun. Your own conviction wavers. Most people, when faced with the Grim Reaper, simply give up. This is new territory for you.\n\nAs a creature formed and given shape by belief you begin to wonder if Kline's faith in his gun is so great that it might actually cause you a problem were you to try and force your way past him. You're not certain, but neither are you prepared to take the risk. You didn't get this far by taking risks. This really is very annoying, but you're going to have to find a way past Private Kline.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\n> You go west\nYou move west.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nYou can see a shovel blade.\n\nHorse waits here, looking quite majestic.\n\n> You take the blade\nYou pick up the shovel blade.\n\n> You examine it\n[examine a shovel blade]\n\nThis is the blade from a shovel. There's a clean break where the handle has been snapped or sawn off, but the blade is dented as though it's seen a fair amount of service. It's unusable in this state.\n\n> You examine the bottles\nYou read the labels of some of the objects in the cupboard. Cleaning fluids, powders, plastic bags and all kinds of things to make sure that this base is kept very, very clean. It's almost as if the most terrible thing that the US Military could imagine was for the base to be attacked and the invaders to say \"Look at this place, will you. It's disgusting!\"\n\n> You go to the east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\n> Go north\nYou move north.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> You ask Kline about the doors\nUse the format \"ask [character] about [subject]\".\n\n> Go west\nYou try the door but it refuses to open. It's locked and you can't see a lock or any obvious way of unlocking it.\n\n> Go east\nYou move east.\n\nBarracks (Area 51, Nevada)\n\nYou are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.\n\nExits: West\n\n> You look at the duct\nThe air duct is covered by a thick mesh which could be easily removed by the right tool. It would be a tight squeeze but you could fit inside it if you had to. A beeping noise emanates from the duct.\n\n> You remove the mesh\nYou lack the right tool to open the air duct.\n\n> You listen\nThere is definitely a beeping coming from the air ducts.\n\n> You examine the posters\nThere are a variety of posters, only one of which catches your attention (it would be more, but you lack some of the same basic urges as the common military man). It's a large poster of the Golden Gate Bridge, with a comment written beneath it.\n\nStuck in a rut? Don't know what your next step should be? Simply just bored?\n\nSome things will become a lot clearer...\n\n> Go west\nYou move west.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> Go north\nYou move north.\n\nSecurity Room (Area 51, Nevada)\n\nYou are standing in a darkened room with one wall totally given over to monitors, computers and various dials, switches and buttons. This seems to be some kind of surveillance room. There is also a noticeboard on another wall with pieces of paper stuck to it, a variety of obviously important comments circled and underlined in red pen. To the east of the room is a heavy door marked Armory.\n\nExits: South and East\n\nYou can see the cigarette lighter.\n\n> You examine the noticeboard\nA very plain and unimpressive noticeboard. Not like the elephant one in your kitchen. That's classy.\n\n> You take lighter\nYou pick up the cigarette lighter.\n\n> You take the postcard\nTake what?\n\n> You look at the monitors\nThe displays flicker between a selection of images from security cameras set up over the site. Big Brother is watching you indeed.\n\n> You examine buttons\nAn assortment of things to turn, flick and press. You don't know what any of them do, but they look tempting.\n\n> You press the button\nYou begin to fiddle with the various controls on the panel. Nothing particularly interesting happens until you press one button and a message flickers on one of the computer screens briefly - LABORATORY DOOR UNLOCKED\n\n> Go east\nThe door is locked by a keypad, swipe card, fingerprint scanner and deadbolt. You try it anyway. Nope. It's definitely locked. You'll need a special key to get in here.\n\n> Go south\nYou move south.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> You go to the west\nLaboratory (Area 51, Nevada)\n\nYou are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.\n\nExits: East\n\n> Examine experiments\nThere are a couple of basic looking experiments that, according to the attached notes, seem to be releated to the mechanics of time travel. Further paperwork seems to identify one other experiment that is currently (and thankfully) only at the theoretical stage. It's seems to be about finding out what would happen if you stapled a piece of toast (butter side up) to the back of a cat and then threw it out of a window.\n\n> You look at machine\nYou look at it. It seems to be all angles and gleaming metal surfaces in the shape of a sphere. It looks like an orange that's been passed through a pencil sharpener. You've never seen anything like it before, but you instinctively recognise it as some kind of machine for travelling through time. You shrug. It doesn't surprise you that an eternal being would recognise that. Some wag has hung a sign over the machine that says Out of Order. There is some kind of entrance in the side. Maybe you could tell more about it from the inside.\n\n> You examine Hourglass\nThe grains of sand tell you that you have ten hours left to complete your contract.\n\n> You enter the Time Machine\nYou awkwardly clamber inside the time machine.\n\nInside Time Machine (Area 51, Nevada)\n\nThe time machine is clearly meant for someone a lot shorter than you. You feel like a pen in a matchbox. From the outside the machine looked complicated, but from the inside the task of understanding what's going on is positively herculean. You can see a large number of lights and dials, none of which you can understand. It doesn't help that any instructions written in the machine are in some kind of alien dialect. The things that you think might be significant are a digital readout which says '2007', the buttons next to this readout, an open panel revealing a mix of wires and a pile of paper which is chained to the inside of the machine, clearly to avoid theft.\n\nExits: Exit\n\n> You examine paper\nThere are two sets of documents here. The first is entirely in an alien language and you cannot read it, but it appears to be some kind of set of instruction manual for using the time machine. You can guess at this because the second set of papers appears to be an unfinished English translation of the alien manual. They've been chained to the machine to stop people walking off with them.\n\n> You read paper\nYou begin reading the translation...\n\nCONGRATULATIONS ON PURCHASING THE CHRONOMATIC 3500!\n\nWe are confident that you will not regret your purchase. Please take the time to read this instruction manual and familiarise yourself with all of the features offered by this new model of an old favourite.\n\nNEW FEATURES INCLUDE...\n\n- FREE 'and space' upgrade. That's right! Your Chronomatic 3500 is able to move not just through time, but through time AND space!\n\n- Failsafe Homing Feature. Your Chronomatic will automatically return you to your starting destination when you have finished your business in other time zones\n\n- New Leather Interior. Time Travel in comfort!\n\n- 3 Year Warranty.\n\n(Please note - warranty immediately becomes invalid in the following cases.\n\n- If the owner tries to use an expired warranty machine to travel back in time to a year when the warranty is valid.\n\n- If the owner allows this technology to fall into the hands of humanity.)\n\nQUICKSTART:\n\nFor those of you who just want to get on with the fun business of time travel you can simply begin your experience with the following simple combination of instructions...\n\nStep 1)  If appropriate select the time era you wish to visit using the RED BUTTON.\n\nStep 2) Simply enter the year that you wish to visit (no need to use any combination of commands such as 'type year' or 'enter year  into machine' - simply type the year that you wish to visit!)\n\n...and that's it! The machine will do the rest!\n\nWe hope that you have a GREAT time and many happy years with the Chronomatic 3500. Remember - Have the time of your life!\n\n(and we really mean it about not letting the humans get their hands on this technology. Seriously.)\n\nYou also notice that someone has scrawled '5500 AD' at the bottom of the translation. You put the manual down. The original has many, many more pages but clearly the translators haven't got around to working on that yet. Still, it seems that you have enough to actually use the machine - if you can get it working.\n\n> 5500\nNothing happens. The time machine isn't working.\n\n> You press the red button\nNothing happens. The machine is not working properly.\n\n> You look at the wires\nYou don't have a clue what all the inner workings of the time machine are. The fact that there are at least twelve different colours of wire is enough to make you break out into a cold sweat. Oh, all right, make you think about breaking out into a cold sweat.\n\n> Inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet, the time machine plans, a shovel blade and the cigarette lighter.\n\n> You exit the Time Machine\nYou manage, with some difficulty, to extract yourself from the time machine.\n\nLaboratory (Area 51, Nevada)\n\nYou are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.\n\nExits: East\n\n> You examine the tools\nA variety of scientific instruments and tools are on the shelves.\nSome of them have wires coming out of them and everything. You haven't a clue what purposes they would serve.\n\n> You look at the bottles\nChemical compounds and stuff like that. Your knowledge of science is limited enough for you to lose interest quickly.\n\n> Go east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> You go south\nYou move south.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\n> You examine Kline\nPrivate Kline is a young Hispanic man with a crew cut, dressed in uniform and carrying an M-16 assault rifle. He has a look of steely-eyed determination on his face, as though he's willing to give up everything to make up for some past indiscretion. This would be admirable were it not directed against you. That just makes it really annoying.\n\n> You talk to Kline\nNo-one pays any attention to you.\n\n> Go south\nPrivate Kline blocks your approach.\n\n\"I'm sorry but you may not pass.\"\n\n> You look at the door\nYour considerable detective skills suggest to you that things are stored behind this door.\n\n> You reap Kline\nNo. You only usher the already dead into the next world. You are forbidden to make new Clients. Besides, Kline is only doing his duty and you can understand that.\n\n> Go west\nYou move west.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nHorse waits here, looking quite majestic.\n\n> You say wajir to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\nJimiyu Wangai sat at the table, a thoughtful look on his face. He was dead. He wasn't surprised by this - in fact he'd been fairly certain it was going to happen anytime soon. He enjoyed being proved right. Well, he'd lived a long and full life but had no intention of giving it up quite yet. His youngest granddaughter was getting married in two weeks and he had been looking forward to that for ages. So he'd decided that he wasn't going to go, and had made arrangements accordingly. It had been surprisingly easy to work out. He'd found the answer in a book in a library in Nairobi. He'd spent the past few weeks at this table, waiting. Now he was nearly there. He looked at the entrance to his hut...\n\n...and as if right on cue, you stride in.\n\n\"Jimiyu Wangai?\" you ask\n\nJimiyu laughs. \"Do you really need to ask? Has anyone ever said, 'No. That's someone else?'\"\n\nYou nod. \"They do. It never workth.\"\n\n\"I suppose not.\" Jimiyu laughs again. You're torn between two emotions - gratitude that he has yet to point out that you have a lisp, and confusion. Most people aren't really that happy to see you. You sigh. Time to see what he's got up his sleeve.\n\n\"Your time ith up, Jimiyu.\"\n\n\"What's the rush? Haven't we time for a quick game first...\" Jimiyu's grin is really beginning to get on your nerves. He gestures at the table in front of him. You notice, for the first time, that he is sitting in front of a chess set.\n\n\"Oh...bother,\" you mutter.\n\nIt's the rules. If they challenge you, you have to play. If they win then you've got to leave them alone. If you win they have to come quietly. It's the rules. The universe likes rules. The problem is that you're not actually much good at chess. It's never really been a problem before. Most people don't even think of it, let alone being foresighted enough to make sure that they die sitting at a chess set. You possess a little more foresight however, and have a contingency plan. You committed to memory a failsafe way of winning a chess match, an unbeatable strategy, a foolproof way to victory. With just one potential flaw...\n\n\"Bagthy being white then,\" you offer, trying not to sound too nervous.\n\n\"Ha! I'm sitting at the white pieces. I'm going first. You can play as the black pieces.\"\n\n\"Oh...bother.\" you mutter again. Your strategy all hinged on going first. You knew that you should have asked Samuel Reshevsky more questions when you met him.\n\n\"Come on. I haven't got all day...oh wait. I have.\" Jimiyu laughs again \"I have two weeks actually! My granddaughter is due to get married and I'm not missing it for anything - not even death.\"\n\nYou don't have two weeks. You have until the end of the day. If you lose, or if you don't play then it's all over. You'll have failed. And you can't have that.\n\nHut (Near Wajir, Kenya)\n\nIt's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.\n\nExits: South\n\nJimiyu Wangai is grinning at you from his chair.\n\n> You look at Jimiyu\nJimiyu is an elderly, white-haired Kenyan man whose weather-beaten face tells a story. Probably one about how some young fellow gets tricked out of everything he owns by a wise, elderly man. The teeth that aren't missing are crooked and yellow. You can tell this because he's grinning at you.\n\n> You examine stool\nYou look suspiciously at the uneven, wooden stool that Jiniyu intends you to sit on. It looks like a sure way to get cramp in your back muscles.\n\n> Go south\nYou move south.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> Go west\nYou move west.\n\nLarge Hut (Near Wajir, Kenya)\n\nYou are standing in a large hut which seems to double as a place of worship. There are mats on the floor, presumably for sitting on and at the end of the hut is a lectern. A wooden cross is attached to one of the walls.\n\nExits: East\n\nAbuya Wangai is standing here, looking thoughtful.\n\n> You examine Abuya\nAbuya is a young women in, you would guess, her late teens or young twenties. She wouldn't catch your attention if it weren't for the sparkling eyes and cheeky grin that identifies her as Jimiyu's granddaughter.\n\n> You ask Abuya about the wedding\nAbuya looks at you, perhaps wondering why such a strange-looking man would show an interest in her wedding.\n\n\"I would marry this very hour if only I could arrange two things. I would want a beautiful wedding dress like the ones that I have seen in the magazines. And I would want a gift for my future husband. He doesn't like my cooking so perhaps I could give him something so that he wouldn't have to eat it...\"\n\nShe has a twinkle in her eye, suggesting that perhaps she knows that you have a vested interest in this wedding...\n\n> You look at the lectern\nIt's a fragile wooden stand for the preacher to put his sermon notes on. You wobble it back and forth, wondering if even the extra weight of paper would be enough to topple it over.\n\n> You look at the cross\nA large, lovingly crafted wooden cross. It's nailed to the wall opposite the doorway. It's been designed and placed to draw your attention as soon as you enter the building.\n\n> Go east\nYou move east.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> You go to the east\nYou move east.\n\nBy a Lake (Near Wajir, Kenya)\n\nYou are standing in a grassy clearing at the end of a winding path that has climbed slowly out of the village. Right in front of you is a large lake of dirty water.\n\nExits: West\n\nYou can see a sturdy branch.\n\n> You examine the branch\nThe branch has clearly been snapped from a tree. It's a good branch, long and sturdy. A prince amongst tree flotsam.\n\n> You get the branch\nYou pick up the sturdy branch.\n\n> You look at Lake\nIt's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered \"Yes\" to the question \"Fancy a swim?\" This is not the cleanest water that you've seen but it's far from the dirtiest either.\n\n> Swim\nThe Grim Reaper? Go swimming? That's a good one!\n\n> You look in Lake\nIt's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered \"Yes\" to the question \"Fancy a swim?\" This is not the cleanest water that you've seen but it's far from the dirtiest either.\n\n> Go west\nYou move west.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> You sit\nYou're not going to sit on the ground. It's hard enough keeping these robes clean as it is.\n\n> Go east\n(Standing up first)\nYou move east.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> Go north\nYou move north.\n\nHut (Near Wajir, Kenya)\n\nIt's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.\n\nExits: South\n\nJimiyu Wangai is grinning at you from his chair.\n\n> You ask Jimiyu about the chess\n\"Do you want me to tell you the rules?\" laughs Jimiyu.\n\n> You go south\n(Standing up first)\nYou move south.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> You say the Manchester to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nCellar (Manchester)\n\nThis is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.\n\nExits: Up\n\nHorse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.\n\n> You fix the shovel\nYou have a crazy idea. They're often the best kind. Reaching into your robe you pull out the shovel blade and the sturdy branch.\nPlacing the items on the workbench you grab the masking tape and begin work.\n\nIn a few minutes you have firmly attached the shovel blade to the branch with masking tape. You examine your work and grunt in approval. Not a bad job if you do say so yourself. Of course, it looks like an ancient torture device but at least it should work.\n\n> You say himalayas to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nMountain Pass (Himilayas)\n\nYou are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic.\n\n> You check your inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet, the time machine plans, the shovel and the cigarette lighter.\n\n> Dig\nYou roll up your sleeves and grab your shovel.\n\n\"Don't thay anything,\" you speak sternly to Horse, who you suspect is laughing at you.\n\nAfter half an hour of hard work you've managed to pile away most of the snow and revealed the body of Lord Nigel McWorthington. As an administration error, Nigel is dead but needs to be reaped"
    },
    {
        "text": "to ensure that the passage of his soul continues.\n\nMountain Pass (Himilayas)\n\nYou are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. In front of you is a snowdrift, most of which has been dug away to reveal a body.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic. Lord Nigel McWorthington is here, lying on the rocky ground.\n\n> Reap soul\nYou swing your scythe in a downward arc, slicing through Lord Nigel McWorthington. There is a tinkling noise in the background and the departed soul of Lord McWorthington rises from his body. He stands and looks down at his feet.\n\n\"Oh. So you killed me then?\" he asks.\n\n\"Actually, the thnow killed you,\" you object, but the shade of Nigel vanishes. It really annoys you when people blame you for their death. Maybe in this case Lord McWorthington had a point, but still. You're just doing your job. And now you're one soul closer to finishing for the day.\n\n> You read List\nLord Nigel McWorthington - Himilayas, Nepal\n\nErnest Busset - Manchester, England\n\nJimiyu Wangai - Wajir, Kenya\n\nAgathe Laurent - Paris, France\n\nSplong5b - Nevada, USA\n\n> You say the san francisco to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\nHorse touches down on a grubby San Francisco sidewalk, crowded with people. That would be the sort of thing that usually draws attention to itself but seeing as no-one particularly wants to be the first person to say \"Did you just see a flying horse?\" it seems to pass by unnoticed.\n\nAs you clamber down from Horse you look from side to side, wary of all the people milling about. No-one seems to be paying any attention to you and once again you wonder how it's possible for humanity to be so blatant about ignoring the issues of cosmic significance right on their doorstep. Still, this is a commercial centre and that tends to have a lot to do with it.\n\nYou look at the various shops around you. There must be some here that can help you with your task...\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\n> Go south\nYou move south.\n\nCostume Shop (San Francisco)\n\nYou are standing in a costume shop, knee deep in discarded masks, costumes and various disguise related items. The walls are mostly bare, except for a few items still hanging up on hooks and racks that scatter the store. This shop is clearly undergoing some kind of stock take, either that or the owner has strangely decided that the floor is the best place to showcase his wares.\n\nExits: North\n\nThe owner of the shop is here, rummaging through various piles of clothing and checking them against a list.\n\n> You examine the costumes\nThere are only a few scattered costumes hanging from the walls and in the shop window. Other than the Grim Reaper costume the only one that catches your attention appears to be a simple brown courdroy suit combination.\n\n> You look at suit\nA plaque by the suit informs you that it's a genuine \"Mad Professor Outfit\". You notice that one of the shoes is missing.\n\n> You ask the owner about the suit\nThe man looks up from his stock taking and glances at a brown suit in the wall. A look of annoyance crosses his face.\n\n\"The last person to borrow that costume returned it with one shoe missing! Can you believe the nerve of some people.\"\n\nYou empathise with his anger. You often feel like your whole life is spent chasing up shoes that someone else has lost.\n\n\"I can't rent out the costume like that,\" the man continues \"It was highly popular as well. If only I could find a shoe that matched the feel of the costume.\"\n\nHe sighs and returns to his list.\n\n> You give the shoe\nWithout saying a word you pull out the shoe that you found in Manchester and offer it to the shop owner. He looks up from his list and pauses. Slowly he reaches out and takes the shoe from you.\n\n\"Why,\" he peers at the shoe over the top of his glasses \"this shoe is remarkable! \"\n\nYou smile and nod. Your smile freezes awkwardly as you watch the owner smell the shoe.\n\n\"This is incredible,\" a huge grin bursts on to his features \"this even smells like I'd expect a mad professor's shoe to smell! How did you do it?\"\n\nBefore you can answer (which is good because you weren't sure how to answer anyway) the shop owner wades through piles of costume items and places the shoe very carefully by the brown suit hanging on the wall.\n\n\"Yes, yes. This completes the costume once again!\" he exclaims, happily, \"How can I repay you? I have a couple of surplus items that I would be very happy to give you in exchange for the shoe.\"\n\n\"Itemth?\" you ask, interested despite yourself.\n\n\"Why yes. I could let you have either...hmmm...here, this alien mask or...or...aha...here we are. Yes, this lovely white wedding gown. Would you like the mask or the gown?\" the man asks.\n\n> You say the gown\nThe costume shop owner smiles and hands you a neatly folded wedding dress.\n\n> You examine the dress\nIt's a beautiful white wedding dress. There's lace and velvet and all kinds of things. It seems an unlikely thing to find in a costume shop, but in your experience unlikely things often turn up in the unlikeliest of places.\n\n> You examine Hourglass\nThe grains of sand tell you that you have eight hours left to complete your contract.\n\n> Go north\nYou move north.\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\n> You say kenya to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> You give the gown to Abuya\nAbuya's eyes light up as you pass the wedding dress to her.\n\n\"This is perfect! Just what I've always wanted! Thank you!\"\n\n> You say the san francisco to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\n> You go east\nYou move east.\n\nHigh Street (San Francisco)\n\nThe street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.\n\nExits: East, West, South and North\n\n> You go to the south\nYou move south.\n\nDry Cleaners (San Francisco)\n\nYou are standing in a very dirty looking dry cleaning shop, which is somewhat ironic. The wallpaper is faded and the carpet badly worn. Around the walls are various photos of famous people who have, allegedly, had clothes dry-cleaned here in the past. There is a counter at the wall furthest from the door.\n\nExits: North\n\nAn elderly Chinese lady gives you a toothless grin and nods at you from behind the counter. An attractive woman is reclining against the counter, with a bored look in her eyes. She is clearly a customer, waiting for an item.\n\n> You give the ticket\nGive the dry cleaning ticket to who?\n\n> You give the ticket to lady\nYou hand over the dry cleaning ticket without a word. The elderly lady squints at the ticket and shouts into the dark recesses of a back room \"Dress for Mr Reaper!\"\n\n\"It'th not a dreth!\" you hiss loudly, conscious of the other customer's amused glance in your direction, \"It'th a robe!\"\n\nThe elderly lady looks at you, nods and grins, as though you had just paid her a compliment. This is usually how this particular exchange goes.\n\nAfter about a minute of awkward waiting a hand appears from the doorway of darkness clutching a large plastic dry cleaning bag. The elderly lady takes the bag, squints at the attached ticket and finally passes the bag over the to the female customer. She takes the dry cleaning, turns on her heels and marches out of the shop into the crowd.\n\nA further minute passes before the hand appears again, this time clutching a smaller dry cleaning bag, which the lady takes and offers to you. It's with grim inevitability that you receive the bag. You know how this goes. The universe is once again having a laugh with you, it's own personal whipping boy. You sigh as, sure enough, you look at the attached ticket and see that you have the dry cleaning that belongs to a Ms. Victoria Salmon - probably the customer who had just left.\n\n\"You've given me the wrong item,\" you thunder at the lady behind the counter. She grins and nods.\n\n\"That lady hath my black robe. Thith ith herth!\" You wave the plastic bag in anger. The lady grins and nods.\n\n\"I...I...I thall thmite you! Thmite you mightily!\" you holler in frustration. Grins and nods.\n\nThis is going nowhere. With another sigh you open the bag to see what items Victoria Salmon had been expecting to pick up. To your surprise there is a full U.S. military uniform in the bag. You remove it from the dry cleaning sack and give it the once over. It looks very clean. Boy, is Ms. Salmon going to be angry when she opens her bag and finds your black robe instead of her uniform. You look meaningfully at the elderly lady behind the counter who surely now must see the mix up. She just grins. And nods.\n\n> You examine the uniform\nThe uniform belonging to a female Captain in the United States Armed Forces. A feeling of dread descends over you as you realise that, at some point today, you're probably going to have to wear it.\n\n> Go north\nYou move north.\n\nHigh Street (San Francisco)\n\nThe street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.\n\nExits: East, West, South and North\n\n> You go to the east\nYou move east.\n\nBook Shop (San Francisco)\n\nYou can tell from the books gathered around you that the book shop obviously specialises in second-hand goods. It follows the basic laws of second-hand bookshops in that shelves and shelves of books tower over you, hemming you in and creating the impression that you are actually standing at the entrance to a maze. You peer around but see no sign of anything or anyone except dark corners and bookcases. You dare not try and navigate this shop for fear of getting lost forever. You'll have to be content with examining the books that you can see.\n\nExits: West\n\n> Examine books\nYou can see countless old books scattered around the shelves. Some of them, by their condition, seem to be just hanging in there as far as this life is concerned. Others are in better condition, but there's certainly nothing that you could class as new - or even nearly new. The books are also dusty, suggesting that no-one has looked at them for a long time, except for two. One is a thick encyclopedia, sitting on one shelf. By the look of it it's been well-thumbed pretty recently. The other book is a thin paperback called The Ombudsman Guide to Chess Mastery (Sponsored by George W. Bush).\n\n> You look at the encyclopedia\nYou reach out and pull the encylopedia from the shelf. Turning to a random page you read...\n\nIn 2004 archaeologists found a strange set of human footprints outside a cave in Follina, northern Italy. The footprints date back about 12,000 years. What makes it strange is that the footprints seemed to belong to a person who was wearing socks and only one shoe! The prints led to a cave, the entrance blocked by a rockfall. The archaeologists have yet to obtain permission to open the cave.\nImagine what you could find in there, eh? In the cave in Follina.\n\nHmmm. Interesting. You return the book to the shelf. You don't want to take it with you.\n\n> You look at Guide\nYou pick up the chess guide and flick through the pages. It only takes about five minutes to read the entire pamphlet but after having done so you feel that you've got a much better grasp of the game of chess. You feel confident about your ability to play the game and win, even as black...\n\n> Go west\nYou move west.\n\nHigh Street (San Francisco)\n\nThe street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.\n\nExits: East, West, South and North\n\n> You go north\nYou move north.\n\nHardware Store (San Francisco)\n\nYou enter the hardware shop, your feet thudding against the cold tiled floor. The store is divided into different sections, each section containing a display of appropriate tools. You feel lost. In the middle of the store is a large drum which appears to be full of thousands of the tiny polystyrene chips that breed in appliance boxes. Written on the drum in large red letters is \"Lucky Dip. Ask a staff member for details\". At the far end of the store is a counter.\n\nExits: South\n\nStanding behind the counter is a fat bearded man wearing overalls.\n\n> You ask the Man about the lucky Dip\nThe hardware store owner explains that all customers are allowed one free turn at the lucky dip. He invites you to go ahead and have a go.\n\n> You look in the drum\nA large, old oil drum that has been roped into service as a makeshift lucky dip. It seems to be a bit rusty and might contain the odd sharp edge inside. It certainly seems like a proper lucky dip, as in \"You put your hand in that? My goodness, you were lucky not to get tetanus!\".\n\n> You take from the drum\nTake what?\n\n> You use the drum\nYou wander over to the drum and roll-up your sleeve, trying not to look too excited about the prospect. After a second composing yourself you reach into the drum and begin feeling around.\n\n\"Hmmmmm,\" you mutter. It's at times like this that your unusually long arms come into their own. After all, everyone knows the universal law of the lucky dip. The best prizes are at the bottom.\n\nAfter about thirty seconds of scraping around your fingertips reach the bottom of the drum and you begin sweeping left and right. You glance over at the counter to see the store owner looking at you as though you were some kind of lunatic. Ignoring him you turn your attention back to the task at hand, and are rewarded by coming across a reasonably sized wrapped parcel. After a second's reflection on whether or not to continue searching you decide to take what you've found and you haul the package out of the drum, sending polystyrene chips all over the floor. The store owner tuts loudly.\n\n\"Thory,\" you apologise before examining your prize. With a thrill of anticipation you tear the paper off the parcel to reveal...a blunt saw.\n\n\"Ith thith it?\" you turn to the man behind the counter. \"Thith thaw ith blunt,\" you exclaim, wondering if there was a way of making that statement without using so many 's'es.\n\n\"That's why it's called a lucky dip, sir,\" the man shrugs. \"Luck as in 'bad'.\"\n\nYes. Of course. For you there is no other type of luck. You sigh as you put the blunt saw away in your robe. Maybe it will come in use somewhere down the line.\n\n> Go south\nYou move south.\n\nHigh Street (San Francisco)\n\nThe street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.\n\nExits: East, West, South and North\n\n> Go west\nYou move west.\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\n> You say nevada to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nHorse waits here, looking quite majestic.\n\n> You wear the uniform\nYou take a look at the uniform. You come to the conclusion that it's just not enough by itself. If you want to use it as a disguise you'll need something form of identification to go with it.\n\n> You go to the east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\n> Go north\nYou move north.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> Go east\nYou move east.\n\nBarracks (Area 51, Nevada)\n\nYou are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.\n\nExits: West\n\n> You say home to Horse\nYou climb onto Horse's back and mutter the words. Horse stamps his/her foot and then, without a sound, leaps into the air. There is a rush of air, a moment of dizziness and then with a bump Horse lands in the stable. You climb down.\n\nYou are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.\n\nExits: North\n\nHorse waits here, looking quite majestic.\n\n> Sharpen saw\nYou try the blunt saw against the whetstone. As you know what you are doing, (and are using the finest whetstone in existence) it only takes about a minute to wear the saw blades to extreme sharpness. Nicely done.\n\n> You look at the saw\nThe blades on this saw have been sharpened on the whetstone of Death. As a result it's pretty sharp. OK. It's really sharp.\n\n> You say nevada to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nHorse waits here, looking quite majestic.\n\n> Go east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\nYou move north.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\nYou move east.\n\nBarracks (Area 51, Nevada)\n\nYou are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.\n\nExits: West\n\n> You open the duct\nYou lack the right tool to open the air duct.\n\n> Go west\nYou move west.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\nYou move south.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\nYou move west.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nHorse waits here, looking quite majestic.\n\n> You say paris to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\nAgathe Laurent lay on the bed, smiling to herself. Death hadn't been as unpleasant as she'd feared, but she would still rather cling on to life. She knew where she was with life. If there was one thing that Agathe had always been afraid of it was the unknown. Well, perhaps afraid was too strong a word. Agathe was loathe to admit that anything frightened her, but she was sufficiently troubled to be moved to action.\n\nIt had cost her a lot to get to this stage, but she thought it would all be worth it if it worked. She'd have done something that - as far as she knew - no-one had ever done before. She'd have cheated death.\n\nStanding in the doorway was an impossibly tall and lanky figure, wreathed in black and as pale as boiled rice.\n\n\"Come in,\" said Agathe...\n\n..you enter the hotel room, bending to get through the door as you go. You give Agathe a nod out of professional courtesy and stride forward towards her. She is still smiling. You wish that people wouldn't do that. It really unnerves you. You are a few feet from the bed when THUD! You stagger back, rubbing your nose.\n\n\"Ouch!\" you exclaim. That hurt! Gingerly, you reach out and find your hand pressing against some kind of invisible barrier.\n\n\"It works! Ha!\" Agathe gives a delighted little squeal and claps her hands together. You gaze down to the floor and see, etched on the wooden floor in a circle around the bed, a white chalk line. It seems to mark the location of the transparent wall.\n\n\"What the Dickenth ith thith?\" you demand, gesturing at the floor.\n\n\"Pardon? I'm sorry? What did you say?\" Agathe screams, staring at you with wide mouth. You stay silent, your face burning with embarrassment (or at least it would be if your body had the circulation and blood to perform such a function).\n\n\"I demand to know what thi...what i...what you have done.\"\n\n\"You have a lisp?\" Agathe cackles, \"Oh this is just wonderful! It gets better and better! Death has a lisp! The Grim Reaper has a speech impediment! How perfect!\"\n\n\"I haven't got all day, you know.\"\n\n\"Is that your horse?\" Agathe is leaning off the bed, peering through the doorway into the corridor outside, where Horse stands to attention. You stay silent. She'll explain eventually. They always do. When people think they've actually got one over you they can't help but crow about it.\n\n\"You've got a proper skeletal horse. That's amazing. A skeletal steed. Can you say that? Skeletal steed. Let me hear you say that.\" There is a glint in her eye.\n\nThis is not going well. In fact, you think that this is one of the the worst things that's ever happened to you, and you've got a long memory.\n\n\"Well, I may as well tell you. It took me long enough to find out about it, after all.\" Agathe shrugs \"I've spent most of my time and not inconsiderable fortune trying to find out how to cheat you. I built up a library of old, forgotten and - in at least two cases - forbidden books, pooling the knowledge of the centuries. I pieced together in several tomes the answer. Have you ever met Andre Theras, the man who wrote How to Avoid Death?\"\n\n\"That joker?\" You roll your eyes \"Jutht the onth. He got it wrong it seemth.\" You don't take much pleasure in your work but you'd quite enjoyed that day.\n\n\"Well, it turns out that he was partly right. And so was Dr. Ulan Buntil. And so was Madame Elizabeth Fairy. They all had bits and pieces of it right. I put it together and voila! I have created a barrier around myself that you cannot pass! And it works! So you can just sit on your skeletal steed and scram, sir!\" Agathe is enjoying herself immensely.\n\n\"Are you planning to thi...thpen...wait here on your bed for eternity?\"\n\n\"I can think of worse places to be.\" Agathe twinkles, winking at you.\n\nSo. What now? You can't reap her soul until you can get past the invisible barrier - or convince her to leave it. This is definitely one of your worst days ever.\n\nRoom 247 (Paris)\n\nYou are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There is a four-poster double bed against the far wall, which is circumferenced by a thick, chalk line.\n\nExits: East\n\nAgathe Laurent lounges on the bed, pouting playfully at you.\n\n> You examine the alarm\nA bulky white box that clashes with the room decor. The alarm has a blinking red light which lets you know that it's fully functioning.\n\n> You check your inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the military uniform, the shovel, the cigarette lighter and the saw.\n\n> Light lighter\nYou casually move over to the smoke alarm while Agathe watches you like a hawk.\n\n\"What are you doing?\" she asks, but you don't answer.\n\nYou reach out for a wad of tissues from a desk and then use the lighter to set them on fire. Within seconds smoke is billowing into the alarm, which a few moments later is beeping like R2-D2 trapped in a washing machine spin cycle.\n\n\"What? WHAT?\" Agathe screams as the sprinkler system in the room kicks into life. Water gushes from the ceiling in thick streams and splatters all over the room - including the chalk circle around the bed.\n\nAgathe realises with horror that her work is being washed away and she screams in frustration as you discard the lighter.\n\nIt doesn't take long for the chalk circle to be totally erased, and as the sprinkler suddenly ceases its job Agathe looks terrified. You are grinning.\n\n> Reap soul\nYou swing your scythe through the screaming Agathe Laurent. Her lifeless body falls back onto the bed and leaves her departed soul standing behind. She looks at you in terror as she vanishes.\n\nAnother soul reaped and one step closer to the end of the job.\n\n> Go east\nYou move east.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\n> You press the button\nType either 0,1,2 or 3 depending on whether you want to go to the lobby, first or second floor or simply exit the lift at the floor you are already on.\n\n> 1\nYou press the button"
    },
    {
        "text": "to move to the first floor. The lift jolts and moves down.\n\nThe lift stops, the doors open and you step out on to the first floor.\n\nFirst Floor Corridor (Paris)\n\nYou are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\n> You go west\nYou try the handle but the door is locked. You need a keycard to get in. People are so suspicious these days.\n\n> You examine the receptionist\nA young man with short black hair, small glasses, a thin moustache and a severe look gazes out over the hotel lobby looking for trouble like an old-time sheriff. His almost-militaristic features are in total contrast to his hideous fluorescent uniform, making him look like the grim veteran from several campaigns of leading a circus clown militia.\n\n> You examine the plaques\nThe plaques tell you that this hotel has won awards for being generally excellent and has provided a bed for many different famous people and members of various royal families. People all end up the same way to you.\n\n> You go to the south\nYou move south.\n\nDining Room (Paris)\n\nAn elegant room is spread before you. A large mirror fills one entire wall, creating the impression of a room twice as big as it actually is. Soft, plush scarlet carpet softens the floor, and the high ceiling is painted black with white specks to resemble a night sky. Dining tables laid for use fill the room. A few kitchen staff are milling around, but other than that the room is very quiet compared to the relative busyness of the lobby.\n\nExits: North\n\n> You get the cutlery\nYou never cease to be surprised by how many of your Clients, when faced with the news of their own demise, find nothing more pressing than their concern about which relative is going to steal their silverware. Since having heard such vitriol directed at family members you've taken a personal vow never to steal cutlery.\n\n> Examine menu\nYou risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.\n\n> You sit\nYou're not going to sit on the ground. It's hard enough keeping these robes clean as it is.\n\n> You order the food\nI don't understand what you want me to do with the dining tables.\n\nThat didn't make any sense to me.\n\n> You read the menu\nYou risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.\n\n> You get menu\nYou take one of the table menus.\n\n> Go north\n(Standing up first)\nYou move north.\n\nHotel Lobby (Paris)\n\nYou are standing in a busy, very expensive looking hotel lobby. It's a large room, with pillars propping up the high ceiling every few metres. One wall is lined with decorative plaques detailing awards and commendations, and right in the middle of the lobby is a selection of comfy-looking chairs. Everything is made out of marble or some other very shiny rock. In the distance you see large revolving doors leading out onto the streets of Paris and by the doors is a reception desk, manned by a person wearing a garish uniform seemingly pieced together from individual items salvaged from a fight between a cinema usher and an ice cream salesman. A lot of people seem to be milling about aimlessly. There is an archway to the south. The only other way out of here is to press the button that summons the lift.\n\nExits: South\n\nYou can see the hotel receptionist, his hawk-like gaze asserting his authority over everything that he can see.\n\n> You say the blue sparrow\nNo-one pays any attention to you.\n\n> You ask the receptionist about Room 147\nThe receptionist looks at you with disgust.\n\n\"As much as we'd love to have you as a guest at this hotel, sir, we only have one room available - room 147 - and I am not sure that you have the resources to meet our exclusive prices. In fact...yes...yes, while I have been talking to you the price of one night in room 147 has just tripled. Have a nice day.\"\n\nThe man's gaze moves beyond you to the lobby behind you.\n\n> You examine the revolving doors\nYou have only ever used revolving doors once before. It had pretty much the same effect as trying to use a whisk on a chopstick. They had to call the fire brigade to get you out. These are certainly very fine revolving doors but you have no intention of using them.\n\n> You examine the people\nYoung and old, male and female. Much like everywhere that you go, these people seem to be willing to do anything to ignore you. More so than usual, because these people are clearly from the higher echelons of society and have much more to lose.\n\n> You press the button\nYou press the silver button, which yields gently under your finger.\n\nAfter a few seconds the doors slide open and you are standing in front of an empty lift. You step inside.\n\nLift (Paris)\n\nYou are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.\n\nThe lift is currently on the ground floor.\n\n> 2\nYou press the button to move to the second floor. The lift jolts and moves up.\n\nThe lift stops, the doors open and you step out on to the second floor.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\n> 3\nYou press the button to open to the door and step out in to the lobby.\n\nHotel Lobby (Paris)\n\nYou are standing in a busy, very expensive looking hotel lobby. It's a large room, with pillars propping up the high ceiling every few metres. One wall is lined with decorative plaques detailing awards and commendations, and right in the middle of the lobby is a selection of comfy-looking chairs. Everything is made out of marble or some other very shiny rock. In the distance you see large revolving doors leading out onto the streets of Paris and by the doors is a reception desk, manned by a person wearing a garish uniform seemingly pieced together from individual items salvaged from a fight between a cinema usher and an ice cream salesman. A lot of people seem to be milling about aimlessly. There is an archway to the south. The only other way out of here is to press the button that summons the lift.\n\nExits: South\n\nYou can see the hotel receptionist, his hawk-like gaze asserting his authority over everything that he can see.\n\n> You say the Follina to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nOutside a Cave (Follina, Italy)\n\nAround you, in every direction, stretches fields, hills and beautiful countryside. In the distance you can see picturesque red brick walls and a farmhouse. Right beside you, however, is a large pile of rocks rolled up against the side of a hill. It looks like the rocks are blocking the entrance to a cave.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic.\n\nHorse skids to a halt on a rocky field, his boney hooves churning up small stones and pebbles. One hits you on the side of the head, which makes you curse. Horse neighs in apology or so you guess.\n\nYou climb down from Horse and check your surroundings. It doesn't take too long. You're standing in a barren Italian field, the nice view spoilt by the huge pile of rocks right in front of you.\n\nOutside a Cave (Follina, Italy)\n\nAround you, in every direction, stretches fields, hills and beautiful countryside. In the distance you can see picturesque red brick walls and a farmhouse. Right beside you, however, is a large pile of rocks rolled up against the side of a hill. It looks like the rocks are blocking the entrance to a cave.\n\nExits: No Exits\n\nHorse waits here, looking quite majestic.\n\n> You examine the rocks\nHundreds of mishapen rocks form a pile by the hill. They were clearly formed by some kind of rockfall and it's going to take more than a rock..err...rise to clear them.\n\n> You move the rocks\nMaybe, just maybe, if you had an unlimited army of trained monkeys you could clear this cave before the end of the day. But you don't. So there. You'll have to think of something else.\n\n> You give the menu\nGive the hotel menu to who?\n\n> You ask Abuya about the wedding\nAbuya looks at you, perhaps wondering why such a strange-looking man would show an interest in her wedding.\n\n\"I would marry this very hour if only I could arrange two things. I would want a beautiful wedding dress like the ones that I have seen in the magazines. And I would want a gift for my future husband. He doesn't like my cooking so perhaps I could give him something so that he wouldn't have to eat it...\"\n\nShe has a twinkle in her eye, suggesting that perhaps she knows that you have a vested interest in this wedding...\n\n> You play the Chess\n\"I'm ready. Let'th play,\" you take your seat behind the black pieces.\n\nJimiyu makes his first move. You mentally cycle through the pages of the chess guide in your head and the respond. Jimiyu nods and makes his second move. Once again you recall what you have read and make a move. A frown crosses Jimiyu's face as he makes a third move. You respond appropriately. This is going well...\n\nHalf an hour later the game moves to its completion. As Jimiyu knocks his king over he looks up at you. Then in a split second his frown transforms into a huge grin.\n\n\"I really thought that would work,\" he laughs.\n\n\"If it'th any contholation, you're the betht opponent that I've ever had,\" you say graciously, hoping that he doesn't ask you how many opponents you've ever had.\n\n\"I've been ready for you for a while,\" he sighs, \"It was just a shame that I couldn't see my granddaughter finally wed.\"\n\nYou nod in sympathy but say nothing. You've never really understood human affection for these rites of passage, but you like to make people feel like you care.\n\n\"I'm ready then. Let us do this.\" Jimiyu smiles again.\n\n> Examine magnet\nIt's a small metal magnet.\n\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the hotel menu, the military uniform, the shovel and the saw.\n\n> Go south\nYou move south.\n\nVillage (Near Wajir, Kenya)\n\nYou are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.\n\nExits: North, East and West\n\nHorse waits here, looking quite majestic.\n\n> You say nevada to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nStorage Cupboard (Area 51, Nevada)\n\nYou are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the \"Most Uncomfortable I Have Ever Been\" stakes.\n\nExits: East\n\nHorse waits here, looking quite majestic.\n\n> You go to the east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\nPrivate Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.\n\n> Go west\nYou move west.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> You go to the west\nLaboratory (Area 51, Nevada)\n\nYou are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.\n\nExits: East\n\n> You examine papers\nYou sift through the various papers. It appears that they all relate to the curious machine in the middle of the room. It seems that it's some kind of time travel device salvaged from alien technology. There are pencil notes in the margins and everything. The hand-writing seems to be that of someone who is intensely frustrated, and you can see why. The notes tell you that no-one can seem to get the machine working.\n\n> You enter the Machine\nYou awkwardly clamber inside the time machine.\n\nInside Time Machine (Area 51, Nevada)\n\nThe time machine is clearly meant for someone a lot shorter than you. You feel like a pen in a matchbox. From the outside the machine looked complicated, but from the inside the task of understanding what's going on is positively herculean. You can see a large number of lights and dials, none of which you can understand. It doesn't help that any instructions written in the machine are in some kind of alien dialect. The things that you think might be significant are a digital readout which says '2007', the buttons next to this readout, an open panel revealing a mix of wires and a pile of paper which is chained to the inside of the machine, clearly to avoid theft.\n\nExits: Exit\n\n> You read the papers\nYou begin reading the translation...\n\nCONGRATULATIONS ON PURCHASING THE CHRONOMATIC 3500!\n\nWe are confident that you will not regret your purchase. Please take the time to read this instruction manual and familiarise yourself with all of the features offered by this new model of an old favourite.\n\nNEW FEATURES INCLUDE...\n\n- FREE 'and space' upgrade. That's right! Your Chronomatic 3500 is able to move not just through time, but through time AND space!\n\n- Failsafe Homing Feature. Your Chronomatic will automatically return you to your starting destination when you have finished your business in other time zones\n\n- New Leather Interior. Time Travel in comfort!\n\n- 3 Year Warranty.\n\n(Please note - warranty immediately becomes invalid in the following cases.\n\n- If the owner tries to use an expired warranty machine to travel back in time to a year when the warranty is valid.\n\n- If the owner allows this technology to fall into the hands of humanity.)\n\nQUICKSTART:\n\nFor those of you who just want to get on with the fun business of time travel you can simply begin your experience with the following simple combination of instructions...\n\nStep 1)  If appropriate select the time era you wish to visit using the RED BUTTON.\n\nStep 2) Simply enter the year that you wish to visit (no need to use any combination of commands such as 'type year' or 'enter year  into machine' - simply type the year that you wish to visit!)\n\n...and that's it! The machine will do the rest!\n\nWe hope that you have a GREAT time and many happy years with the Chronomatic 3500. Remember - Have the time of your life!\n\n(and we really mean it about not letting the humans get their hands on this technology. Seriously.)\n\nYou also notice that someone has scrawled '5500 AD' at the bottom of the translation. You put the manual down. The original has many, many more pages but clearly the translators haven't got around to working on that yet. Still, it seems that you have enough to actually use the machine - if you can get it working.\n\n> You examine the panel\nYou look behind the panel. You then pull out the wad of papers you borrowed from the house in Manchester. A quick comparison between the papers and the workings behind the panel tells you that there's something missing from the time machine - which is probably why it isn't working. You think there's a gap in here where a small coil of wire should be inserted.\n\n> You examine the readout\nEither the aliens lack imagination or the local scientists here have rewired this readout to display numeric characters. Either way, you feel confident about guessing that this tells you what year you are in or are planning to visit.\n\n> You examine the surface\nIt's a plain, metallic surface for carrying out experiments on. Easy to wipe clean. At the moment it's covered in papers, notes and diagrams.\n\n> You look at the terminals\nThe machines are all switched off, except one  - which seems to be running a game of Adventure.\n\n> You play Game\nOh wouldn't that be very post-modern and ironic. One game at a time please.\n\n> Go north\nYou move north.\n\nYou are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.\n\nExits: North and South\n\n> You go to the north\nYou move north.\n\nThe hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.\n\nExits: East, South and West\n\n> You get the letter\nYou bend down and scoop the letter from Blackbury Banking Services out of the bin. This might come in useful.\n\n> Go west\nYou move west.\n\nYou are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.\n\nExits: East\n\n> You sit in the armchair\nYou sit down on your leather armchair.\n\n> You look at armchair\nYou've had this for about forty years. It is, without a shadow of a doubt, the comfiest chair that you have ever owned. And you should know. You had to sit on the floor until someone got around to inventing the chair.\n\n> You examine void\nYou see nothing special. In fact you don't see anything at all.\n\n> You get the cds\nIf you wanted to listen to music on the go you would have bought yourself an iPod.\n\n> You examine the bookcase\nThe bookcase is full of diaries. Your diaries. Early on you decided that you would keep a record of your duties. There are hundreds of volumes here.\n\n> You get the diary\nYou pick up a diary at random and flick to a page.\n\nMaterialised at a fancy dress party today. It hardly ever happens but it's really nice when it does. I'd only been there three seconds before someone pushed a drink into my hand and a girl tried to kiss me. It was a shame that I was only there because the host was due to fall out of a window.\n\nYou put the book back on the shelf. You can see no need to take any of them with you.\n\n> You get the diary\nYou pick up a diary at random and flick to a page.\n\nThursday 18th July 956 (BC)\nHorse's birthday. I had two jobs to do. On the way home I accidently dropped my scythe into the sea. Have to get a new one now, which means filling out the relevant forms. I was so annoyed about it that I forgot to wish Horse a happy birthday until the evening, and now I feel really guilty. Will apologise tomorrow.\n\nYou put the book back on the shelf. You can see no need to take any of them with you.\n\n> You examine Hourglass\nThe grains of sand tell you that you have four and a half hours left to complete your contract.\n\n> You examine the player\nYour CD player. It's fully working despite not being plugged in. The flashing LED display blinks '----' at you. You've lost the instruction manual and have no idea how to set the time.\n\n> Play cd\nYou are not in the mood for music right now. You tend to listen to it at the end of the day, when you want to unwind a bit.\n\n> Go east\n(Getting off your leather armchair first)\nYou move east.\n\nThe hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.\n\nExits: East, South and West\n\n> Go south\nYou move south.\n\nYou are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.\n\nExits: North and South\n\n> You go to the south\nYou move south.\n\nYou are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.\n\nExits: North\n\nHorse waits here, looking quite majestic.\n\n> You check what you're carrying\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the credit card letter, a small magnet, the time machine plans, the hotel menu, the military uniform, the shovel and the saw.\n\n> You take the hay\nNo.\n\n> You read the letter\nDear Mr GRaper.\nHave we got an offer for you!!?? You, and others in your specially selected postcode region, have been chosen to take part in our amazing, introductory offer! We're offering you a free - that's right FREE - credit card with GBP10,000 limit*! ARE WE CRAZY?? To claim your FREE Credit Card simply turn up at our NEW Swindon branch and present this letter! That's it! That's all you have to do! No strings attached!**\n\nWe look forward to meeting you!\n\nMr. B. Jones (Manager)\n\n* 67.5% APR may apply\n\n** Strings attached\n\n> You say the Swindon to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nOutside Blackbury Bank (Swindon)\n\nYou are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.\n\nExits: North\n\nHorse waits here, looking quite majestic.\n\nHorse descends from the clouds and makes a perfect landing in the carpark of the new Blackbury Bank in Swindon, attracting brief attention from two employees who are on a smoking break. The human survival instinct kicks in and they soon turn their focus back to happier things, such as filling their lungs with tar. You clamber down from Horse, accidently kicking the door of a black BMW in the process. It hurts a lot, but if people don't pay much attention to the sight of a skeletal horse descending from the heavens then they're not likely to care at all if they happen to see the Grim Reaper hopping on one foot and cursing like a trooper.\n\nAfter taking a few deep breaths you compose yourself and turn your attention to the task at hand.\n\nOutside Blackbury Bank (Swindon)\n\nYou are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.\n\nExits: North\n\nHorse waits here, looking quite majestic.\n\n> Go north\nYou move north.\n\nInside Blackbury Bank (Swindon)\n\nYou are standing inside the brand new Blackbury Bank branch. The plush red carpet tickles your feet and the air conditioning makes you feel cold even under your robe. You don't often get to visit the bank, so there's not much here that interests you.\n\nExits: South\n\nA female bank clerk stares at you from behind a counter, shielded by protective glass.\n\n> You give the letter to the clerk\nThe bank clerk's face lights up as she sees the letter. You slide it under the glass and she reads it.\n\n\"That's fine, Mr...Raper.\" she says.\n\n\"Reaper.\" you correct her, \"Grim Reaper.\"\n\nShe looks at you for a second and then grabs a pen, with which she makes a note on the letter that you received. She then slides you a form and the pen.\n\n\"Please fill this in, Mr. Reaper.\" she smiles at you.\n\nYou stare at the form for a minute. It simply asks you to sign if you are happy with the terms and conditions. The terms and conditions include graphic threats about what Blackbury Bank will do to you if you don't keep up with the card repayments, but seeing as pretty much all of the threats don't affect you (except possibly the one about the branding iron and the glue) you feel no reason to be concerned. You sign the form and slide it back under the glass.\n\n\"Thank you Mr...\" the bank clerk studies your signature for a second, \"Mr. Groper?\"\n\n\"Reaper!\" you state again, more firmly this time\n\n\"But you've signed it...\" the woman shows you the form through the glass.\n\n\"No! That thayth Mr. G. Reaper, not Mr. Groper!\"\n\nThe bank clerk looks at you as though you're the crazy one and then taps away on her computer for a second. A few minutes later she presents you with a credit card in your name. She passes you the pen and the sign the back of the card, feeling a wave of pride in your new possession and statue as bank customer.\n\n\"Thank you.\" you say, turning to leave.\n\n\"Ah, Mr. Reaper?\" the bank clerk waves her hand at you, \"My pen?\"\n\n\"Ah, thorry.\" you respond meekly, returning her pen to her.\n\n> You examine clerk\nThe young, spectacled woman looks a little nervous. I imagine that you're not the usual type of customer that she deals with.\n\n> You look at Card\nThe credit card is marked BLACKBURY TITANIUM CUSTOMER CARD. There is a hologram on the bottom which informs you that you have a ten thousand pound credit limit. You have signed the rear of the card with your name.\n\n> You go south\nYou move south.\n\nOutside Blackbury Bank (Swindon)\n\nYou are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.\n\nExits: North\n\nHorse waits here, looking quite majestic.\n\n> You look at the employees\nThere is a smartly-dressed man sitting on the wall with a cigarette in his hand, trying to look casual. A business woman stands next to him, standing and sitting as though she cannot decide what to do. She is smoking too. Neither of them pay you any notice.\n\n> Examine bmw\nThe red Mazda looks pretty new and shiny. The license plate says \"BANK 1\". The black BMW also looks impressive, but one of the doors has a dent from where something struck it hard. Coincidentally, your foot also has a dent in it from where it struck something hard.\n\n> You say paris to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\n> Go west\nYou move west.\n\nRoom 247 (Paris)\n\nYou are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There is a four-poster double bed against the far wall. Everything is very wet from the sprinkler, and the chalk-line has been erased.\n\nExits: East\n\nAgathe Laurent's corpse lies on the bed.\n\n> You examine corpse\nNow that life has left her she looks like she died a long time ago and was only holding on to this life through sheer willpower.\n\n> Go east\nYou move east.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\n> You press the button\nYou press the silver button, which yields gently under your finger.\n\nAfter a few seconds the doors slide open and you are standing in front of a bald man wearing a long, black jacket and sunglasses. He conveys the air of one who is desperately trying to avoid looking suspicious and failing miserably. He nods at you in greeting as you step inside the lift.\n\nLift (Paris)\n\nYou are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.\n\nThe lift is currently on the ground floor.\n\nThere is a bald man in a black coat and sunglasses in the lift with you. He hops from foot to foot nervously.\n\n> 1\nYou press the button to move to the first floor. The lift jolts and moves up.\n\nThe lift stops, the doors open and you step out on to the first floor.\n\nThe man nods at you as you leave the lift.\n\nFirst Floor Corridor (Paris)\n\nYou are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\n> You press the button\nYou press the silver button, which yields gently under your finger.\n\nAfter a few seconds the doors slide open and you are standing in front of an empty lift. You step inside.\n\nLift (Paris)\n\nYou are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.\n\nThe lift is currently on the first floor."
    },
    {
        "text": "[Themes: Humor, homage]\n\n> Look around\nLift (Paris)\n\nYou are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.\n\nThe lift is currently on the ground floor.\n\nThere is a bald man in a black coat and sunglasses in the lift with you. He hops from foot to foot nervously.\n\n> You look at Man\nHe looks about mid-thirties and seems to be very self-conscious. He's clearly worried but trying not to look like he's worried. Also, he's wearing a black trenchcoat and sunglasses indoors so he's clearly an idiot.\n\n> You say the blue sparrow\nThe man looks at you, scrutinising your face. He nods, seeming satisfied.\n\n\"You are thinner and taller than I remember. And you were wearing shoes last time we met. Still, it's good to meet you again Agent Fellows.\"\n\n\"Ummm...\" you say\n\n\"This should be all that you need to get into the base. You know what to do,\" the man explains, thrusting a brown envelope into your hand.\n\nYou slowly open the envelope and peer inside. It appears to be full of false identification documents. The man nods.\n\n\"It should all be there. I will see you again when the time is right. Perhaps we could go on another date?\"\n\n\"Thank you,\" you say. There is not much else to be said.\n\n> 1\nYou press the button to move to the first floor. The lift jolts and moves up.\n\nThe lift stops, the doors open and you step out on to the first floor.\n\nThe man nods at you as you leave the lift.\n\nFirst Floor Corridor (Paris)\n\nYou are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\n> You go to the west\nYou use your key to open the door and enter room 147.\n\nRoom 147 (Paris)\n\nYou are standing inside a hotel room. This room is identical to room 247. So identical, in fact, that you might as well reuse the room description. You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There are two large single beds against one wall.\n\nExits: East\n\n> You lie on the beds\nThey're immaculately made. You can't bring yourself to disturb that - you'd feel like you were walking over someone's grave.\n\n> You examine the alarm\nA bulky white box that clashes with the room decor. The alarm has a small dull red bulb that isn't doing anything. This alarm isn't working.\n\n> You open it\n[open the smoke alarm]\nYou can't open the smoke alarm!\n\n> You unscrew the bulb\n[fix the smoke alarm]\nI don't think you can fix the smoke alarm.\n\nThat didn't make any sense to me.\n\n> You look at the fittings\nHideous. And seeing as how you've got the taste of a smoked mackeral that's saying something.\n\n> You check your inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, some false ID papers, the keycard for room 147, a credit card, the hotel menu, the military uniform, the shovel and the saw.\n\n> You examine the keycard\nA keycard with a magnetic strip that allows you access to room 147.\n\n> You examine wallpaper\nHideous. And seeing as how you've got the taste of a hatstand that's saying something."
    },
    {
        "text": "[Themes: Humor, humor]\n\n> You look at your surroundings\nRoom 147 (Paris)\n\nYou are standing inside a hotel room. This room is identical to room 247. So identical, in fact, that you might as well reuse the room description. You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There are two large single beds against one wall.\n\nExits: East\n\n> You look at the beds\nThe beds are well-made and in pristine condition. This room is waiting for a guest (or two).\n\n> Go east\nYou move east.\n\nFirst Floor Corridor (Paris)\n\nYou are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\n> You wear the uniform\nYou dress yourself in the military uniform. It doesn't even pretend to fit, but you're hoping that this - coupled with the identity papers that you have - will be enough to fool Private Kline.\n\nAfter taking a few deep breaths you stroll casually along the corridor and end up outside the autopsy room with Private Kline. He looks at you, as though he can't believe what he's seeing.\n\n\"At eath...I mean at eath private,\" you try to sound like a female captain in the United States Army. Your impression isn't bad, even if you do so yourself.\n\n\"Captain?\" Kline seems a little unsure.\n\n\"Yeth. Ahem. Private Kline, why don't you take a break. You've been doing a good job at...what ith it you're doing?\"\n\n\"Guarding this door, ma'am.\" Kline stands to attention.\n\n\"Yeth. Guarding thith door. You've done a good job. Take a break for the retht of the day.\"\n\n\"Are you sure that you're Captain Salmon?\" Kline seems unconvinced.\n\nYou pull out the false ID papers and wave them at him. Private Kline takes one look and his eyes open wide. You can see the process of the military brain behind his stare.\n\n\"Yes ma'am,\" he eventually says, \"Thank you.\"\n\nHe casually strolls off, probably thinking of ways to improve on The Game as he goes. You wait for him to disappear out of view before you hastily remove the uniform (which was really uncomfortable) and discard it and the papers."
    },
    {
        "text": "[Themes: Humor, homage, humor, death]\n\n> Look around\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\n> About you\nYou are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.\n\n> Go south\nAutopsy Room (Area 51, Nevada)\n\nYou are in a gleaming metallic room. Various computers and pieces of equipment beep loudly at you, as if they were offended by your presence. Low, subdued light flows from a single, large fitting in the middle of the ceiling. In the middle of the room is a single low metal table, beside which is a trolley on which lie a selection of medical instruments. High in the ceiling you can see the opening of an air duct.\n\nExits: North\n\nSplong5b lies on the table in a pool of yellow blood, totally still.\n\n> You examine Splong5b\nThere's something unusual about Splong5b. It's not the fact that he's lying on a table with a single incision from chin to groin, his internal organs exposed for all to see - you've seen some ripe old things in your days. It's something else. Maybe it's the yellow blood, the pale grey skin, stumpy body, big black bulbous eyes, elongated head or the fact that he seems to have at least three hearts (as well as a whole bunch of organs that you don't recognise).\n\n> You examine the instruments\nA selection of stainless steel medical instruments. There are items for grabbing, prodding and pointing but there definitely seems to be a bias towards 'cutting'. Most of the instruments are coated with thick, yellow blood.\n\n> You take them\n[take the medical instruments]\nYou can't take the medical instruments!\n\n> You clean them\n[clean the medical instruments]\nYou can't clean the medical instruments.\n\n> You look at the trolley\nA gleaming metal trolley which can be wheeled around the room at will. It's much like an air hostess' trolley, but a little more macabre.\n\n> Reap soul\nYou bring your Scythe round in a sweep and slice through Splong5b's corpse. There is the usual tinkling sound that you associate with the task, and then silence.\n\nTurning round you see the shade of Splong5b standing behind you. You give him a friendly nod. He waves back.\n\n\"Cheers mate,\" he says, before vanishing into the ether.\n\nAnother name to be crossed off the list."
    },
    {
        "text": "[Themes: Humor, humor, homage]\n\n> You look around\nAutopsy Room (Area 51, Nevada)\n\nYou are in a gleaming metallic room. Various computers and pieces of equipment beep loudly at you, as if they were offended by your presence. Low, subdued light flows from a single, large fitting in the middle of the ceiling. In the middle of the room is a single low metal table, beside which is a trolley on which lie a selection of medical instruments. High in the ceiling you can see the opening of an air duct.\n\nExits: North\n\nSplong5b's corpse lies on the medical table, his soul having departed.\n\n> You examine equipment\nYou've never really got on with technology. They seem to be processing biochemical data. You press a couple of buttons at random but all you succeed in doing is making the room light change in intensity for a few seconds.\n\n> You examine the fitting\nThe light seems to be able to fluctuate between intense and dim. I guess it depends on whether you really want to see what's happening on the table or not.\n\n> Examine duct\nThe opening in the ceiling leads into an air duct. It's too high up for you to reach, so don't even try.\n\n> You examine Splong5b\nSplong5b's soul is no longer in this body. It's just a corpse.\n\n> Go north\nYou move north.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\n> Go north\nYou move north.\n\nCorridor (Area 51, Nevada)\n\nAnother featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.\n\nExits: North, South, East and West\n\n> You go to the north\nYou move north.\n\nSecurity Room (Area 51, Nevada)\n\nYou are standing in a darkened room with one wall totally given over to monitors, computers and various dials, switches and buttons. This seems to be some kind of surveillance room. There is also a noticeboard on another wall with pieces of paper stuck to it, a variety of obviously important comments circled and underlined in red pen. To the east of the room is a heavy door marked Armory.\n\nExits: South and East\n\n> Go east\nThe door is locked by a keypad, swipe card, fingerprint scanner and deadbolt. You try it anyway. Nope. It's definitely locked. You'll need a special key to get in here.\n\n> You swipe the keycard\nI don't understand what you want me to do with the small magnet.\n\nI don't understand what you want me to do with the keycard for room 147.\n\n> You wake soldier\nNo. That wouldn't be a good idea.\n\n> You examine soldier\nSeveral men are sleeping soundly. It would probably be in your best interest to not wake them,\n\n> You say paris to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nSecond Floor Corridor (Paris)\n\nYou are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.\n\nExits: West\n\nHorse waits here, looking quite majestic.\n\n> Go south\nYou move south.\n\nDining Room (Paris)"
    },
    {
        "text": "[Themes: Humor, humor]\n\n> You look at your surroundings\nDining Room (Paris)\n\nAn elegant room is spread before you. A large mirror fills one entire wall, creating the impression of a room twice as big as it actually is. Soft, plush scarlet carpet softens the floor, and the high ceiling is painted black with white specks to resemble a night sky. Dining tables laid for use fill the room. A few kitchen staff are milling around, but other than that the room is very quiet compared to the relative busyness of the lobby.\n\nExits: North\n\n> You get the menu\nYou can't sit on that.\n\nYou've already got the hotel menu!\n\n> You read the menu\nYou risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.\n\n> You examine the staff\nI don't think that is for sale.\n\nA handful of smartly dressed men and women are scurrying around making sure that this room is presentable and that the cutlery and tables are spotless. They're too busy to pay much attention to you.\n\n> You give Credit Card to the staff\nGive the credit card to who?\n\n> Go north\n(Standing up first)\nYou move north.\n\nHotel Lobby (Paris)\n\n> You say the Manchester to Horse\nYou climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.\n\nCellar (Manchester)\n\nThis is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.\n\nExits: Up\n\nHorse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.\n\n> You examine the wires\nYou rummage through the destroyed time machine. The only thing of note that turns up is the digital readout, which remains - surprisingly - undamaged. It is blinking 10,097 BC at you.\n\n> You take the readout\nThat didn't make any sense to me.\n\nTake what?\n\n> You examine the workbench\nYou've never been one for DIY (other than in the scythe department) so you don't have a clue what most of the tools here are even called, let alone what they do. You guess that these were used to build the time machine. There's a large roll of masking tape here.\n\n> Go upward\nYou move up.\n\nHallway (Manchester)"
    },
    {
        "text": "> You look around\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down\n\n> You examine the telephone\nYou lift the phone and listen for a dialing tone. There isn't one. Either the phone is broken or it's been cut off. Either way it's useless to you, so you put it back on the table.\n\nIt's a cheap, black plastic telephone with little number buttons that you push.\n\n> You get the telephone\nYou lift the phone and listen for a dialing tone. There isn't one. Either the phone is broken or it's been cut off. Either way it's useless to you, so you put it back on the table.\n\n> You look at the table\nIt's a small, sturdy table. It has no purpose in life other than to provide a place for you to put a telephone, but it does that very well.\n\n> Examine cooker\nAn old gas cooker. A quick check of the oven reveals it to be empty. You are thankful.\n\n> You examine the chairs\nThe material that forms the seat of these chairs is dirty and almost worn through. At some time in their distant past you used to be able to fold these chairs up for easy storage. The accumulated rust looks like it would make that a herculean task now.\n\n> You examine the worksurfaces\nYou don't want to touch them so you look at them from a distance.\nIt's probably a nice worksurface, but you can't tell under the stains and crumbs.\n\n> You examine the stains\nThe worksurfaces are covered with the ghosts of old food. You feel quesy just looking at them - and you don't even know what it's like to feel quesy.\n\n> Go east\nYou move east.\n\nHallway (Manchester)\n\nYou've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.\n\nExits: North, South, West and Down\n\n> You go to the north\nYou move north.\n\nBathroom (Manchester)\n\nYou have no need of a bathroom so you never feel comfortable about what goes on in one. This means that you never feel comfortable standing in one. The lino under your feet is worn and in need of repair and the tiled walls are covered with mildew and mould. The kindest thing that you could say about the mirror is that it isn't broken, and the sink only has one tap. As for the bath - well, it's a great advert for fitting a shower. And you daren't even look at the toilet...\n\nExits: South\n\n> You examine the sink\nThe sink is actually hanging away from the wall slightly. A stream of limescale marks the path of water from the dripping tap.\n\n> You go to the east\nYou move east.\n\nBy a Lake (Near Wajir, Kenya)\n\nYou are standing in a grassy clearing at the end of a winding path that has climbed slowly out of the village. Right in front of you is a large lake of dirty water.\n\nExits: West\n\n> You look at Lake\nIt's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered \"Yes\" to the question \"Fancy a swim?\" This is not the cleanest water that you've seen but it's far from the dirtiest either.\n\n> You go to the north\nYou move north.\n\nHut (Near Wajir, Kenya)\n\nIt's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.\n\nExits: South\n\nJimiyu Wangai is sitting on a chair, looking thoughtfully at you.\n\n> Reap soul\nYou swing the scythe and it cleaves through Jimiyu Wangai. He is still smiling as his body crumples to the floor, leaving behind the shade of his soul.\n\n\"Is that it?\" he asks.\n\nYou nod.\n\nHe begins to fade out of sight, gives one last laugh and waves at you. You wave back. Another soul reaped.\n\n> You look at the body\nNow that Jimyu is divested of his vigour he seems very, very old indeed. There is a smile on his face. You appreciate that. You don't meet too many people who leave you with a smile on their faces."
    },
    {
        "text": "[Themes: Humor, death]\n\n> You look around\nHut (Near Wajir, Kenya)\n\nIt's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.\n\nExits: South\n\nJimiyu Wangai's empty body is lying on the ground.\n\n> You examine the Chess\nThe board is old and has clearly seen a lot of use. The pieces have all been lovingly carved from wood by someone of moderate skill. It's far from polished or elaborate, but it has in abundance the charm possessed by such hand-carved object d'art. None of this information is going to prevent you from getting your bottom kicked though.\n\n> You ask Abuya about Jimiyu\n\"You know Grandfather Wangai? He is ill and I am not sure that he will live to see my wedding,\" she seems crestfallen.\n\n> You look at Hourglass\nThe grains of sand tell you that you have just over one hour left to complete your contract.\n\n> You look at Costume\nIt's not very realistic. You have never, for example, needed to wear a mask.\n\n> You look at the mask\n[x -> examine]\n\n> You ask the owner about Costume\nYou don't see anything that will help you.\n\nThe costume shop owner does not respond to your question.\n\n> You go south\nYou move south.\n\nDry Cleaners (San Francisco)\n\nYou are standing in a very dirty looking dry cleaning shop, which is somewhat ironic. The wallpaper is faded and the carpet badly worn. Around the walls are various photos of famous people who have, allegedly, had clothes dry-cleaned here in the past. There is a counter at the wall furthest from the door.\n\nExits: North\n\nAn elderly Chinese lady gives you a toothless grin and nods at you from behind the counter.\n\n> You look at the photos\nYou look at the various photos somewhat dubiously. At first you were really impressed by the photo wall, and it was one of the reasons why you decided to give this dry cleaners a try in the past. On reflection you have come to the conclusion that you would be very surprised if, for example, Tom Hanks really had had some dry cleaning done here. You are, however, prepared to believe that maybe, just maybe Tom Selleck has.\n\nYou feel a pang of annoyance that the owners have never asked to put a photo of you on the wall, despite the fact that every single man, woman and child in the world has been told all about you.\n\n> You examine the notepad\nThe notepad is a collection of dry cleaning tickets. You give your order, someone writes it down on the pad and then hands you the ticket. This high-tech system is supposed to limit the chances of you picking up someone else's laundry.\n\n> You get the notepad\nYou have no reason to take the notepad or any of the individual tickets. So you don't.\n\n> You examine till\nA till, which probably contains some money or something.\n\n> You open till\nYou aren't really interested in the till or its contents. It's bad enough that you go around ensuring that people die at the right time, you wouldn't want to start depriving people of their livliehood as well. Your reputation is poor enough as it is.\n\n> You ask the lady about the woman\nThe dry cleaning lady grins at you, nods, ignores your question and says \"You got ticket? You got item?\"\n\n> You remove cloak\nRemove what?\n\n> Inventory\nYou are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the keycard for room 147, a credit card, the hotel menu, the shovel and the saw.\n\n> You look at Scythe\nWickedly sharp and imposing, this is your weapon of choice for reaping souls. It's a metaphor for your ability to harvest people from the land of the living, so it doesn't actually need to be a scythe but you find that people expect it. It's the look of the thing. Your Supervisors have gone to the trouble of making it invisible to mortal eyes after that embarrasing incident at JFK airport six months ago.\n\n> Hints\nThere are no hints available for this adventure.\nYou're just going to have to work it out for yourself...\n\n> You get the wire\nFor some reason you feel a strong urge to take the coil of wire, as though some sixth sense is warning you that you might need it later on. A cunning plan formulates in your mind.\n\n\"What'th that? Over there?\" You point to a random space behind the counter, relying on the fact that everyone is always telling you that the old ones are the best,\n\n\"What?\" says the store owner, turning round and proving once again that people can be really stupid.\n\nWhilst the store owner is turned you scoop up the coil of wire and put it in your robe.\n\n\"I don't see anything.\" says the man, turning back. He doesn't even notice that the wire is gone.\n\n\"Never mind. It wath nothing.\" You feel very pleased with yourself. You shouldn't. That whole thing was lame.\n\n> You examine the tools\nOne part of the shop is given over to paint, another to tools and so on. You can't really be bothered to spend too much time looking through the items in the store, especially as you have no money.\n\n> You look at the counter\nThe counter, like all counters everywhere, is home to a till. As well as the till you can see a sign which says \"CASH ONLY. NO CREDIT CARDS OR OTHER FORMS OF ELECTRONIC PAYMENTS ACCEPTED\".\n\n> Go south\nYou move south.\n\nHigh Street (San Francisco)\n\nThe street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.\n\nExits: East, West, South and North\n\n> Go west\nYou move west.\n\nHigh Street (San Francisco)\n\nIn front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.\n\nExits: East and South\n\nHorse waits here, looking quite majestic.\n\n> You go east\nYou move east.\n\nCorridor (Area 51, Nevada)\n\nA very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for \"Hospital White\" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.\n\nExits: North, South and West\n\n> You look at buttons\nThe buttons next to the digital readout are all blue except for the red one. Above the red one are two lights, one lit and one not. Next to the lights are, scrawled in biro on the machine itself, are the initials 'BC' and 'AD'. The light that is currently lit is the one next to 'AD'.\n\n> 10097\nThe time machine hums but nothing happens. You must have selected the wrong era.\n\n> 10097\nThe lights inside the machine dim, the door slides closed and something inside the machine begins to hum. There is a flash of light, a momentary sensation of movement and then silence. The door slides open and you step out of the time machine into the past...\n\n10,097 BC (A jungle or something somewhere)\n\nIn the distance you hear the roar of some angry beast. Flies buzz around you. Thick jungle threatens to  crush you from every side. Still, it could be worse. The time machine sits in a pile of crushed vegetation beside you, and a man appears to be examining some of the native plant life just in front of you.\n\nExits: No Exits\n\nErnest Busset is standing, marvelling at the sights and sounds around him. He doesn't seem at all worried.\n\nYou clamber from the time machine, feeling like a stick insect escaping from a tennis ball. Only when you've stretched and composed yourself do you look at where the machine has sent you. You appear to be in the middle of a sweltering jungle somewhere. You're no expert on time travel but you think that this probably is about 10,097 BC.\n\n10,097 BC (A jungle or something somewhere)\n\nIn the distance you hear the roar of some angry beast. Flies buzz around you. Thick jungle threatens to  crush you from every side. Still, it could be worse. The time machine sits in a pile of crushed vegetation beside you, and a man appears to be examining some of the native plant life just in front of you.\n\nExits: No Exits\n\nErnest Busset is standing, marvelling at the sights and sounds around him. He doesn't seem at all worried.\n\n> Reap soul\nYou swing the scythe in a circular motion, slicing right through Ernest Busset. He looks down at himself and then crumples to the ground in a heap. The shade of Ernest Busset remains behind, looking first down at his body and then at you.\n\n\"At least I saw my time machine work before I died,\" he reasons, \"Not many men get to see the result of their life's work.\"\n\n\"On the contrary,\" you state. \"Everyone theeth the rethulth of their life before they die.\"\n\n\"Good point,\" says the ghost of Ernest, thoughtfully, as he vanishes before your eyes.\n\nAnother soul reaped. Another soul closer to finishing work.\n\nSir Allan Jones looked at the document again and coughed nervously.\n\n\"Um, yes, Lady McWorthington I have the final report on your husband's death right here. It's been compiled from all of the evidence we found at the scene and...ummm...it makes for interesting reading. I'm not sure if it would help for you to know what it says.\"\n\n\"Please. I have to know,\" says Lady McWorthington.\n\n\"Well. OK.\" Sir Allan Jones coughed again, wishing he could be anything other than the British diplomat to Nepal right now. \"We've constructed the last moments of your husband and it seems that...that...that he was climbing the mountain and had reached the pass. And he died there.\"\n\n\"I know this,\" Lady McWorthington is annoyed, \"Tell me what happened!\"\n\n\"From what we can tell, he...he...appeared to have taken off his boots and socks and wondered around in bare, size fifteen feet. Then...then a horse came along and stood for a while near him. Then it appears that he put his socks and boots back on and there was an avalanche. Which killed your husband...\"\n\n\"Oh.\" Lady McWorthington gasps, \"Wait. What was that about his size fifteen feet?\"\n\n\"Ummm. It doesn't quite finish there. It appears that after that...he...he...he dug himself out of the snowdrift and then lay down again. Errrrr. So. That's what happened.\"\n\nThere is silence. A clock ticks in the background. Sir Allan coughs again and waits. Suddenly Lady McWorthington breaks the silence.\n\n\"Size fifteen feet?\"\n\nThomas Brewer sat in the office of the university, his palms sweating nervously. Professor Johnson peered at him over the rim of his glasses.\n\n\"You must understand that while we are all very sorry to hear about the death...\"\n\n\"He's simply missing at this point.\" Thomas stressed.\n\n\"...death of Doctor Busset,\" stressed Johnson \"I must insist that you return to the university and resume teaching. This whole notion of a time machine must be put behind you.\"\n\n\"It works! I was there! And so was...\" Brewer stood and gestured wildly.\n\n\"And so was who?\" Professor Johnson sounded curious.\n\n\"Ummm...\" Thomas sat down again, remembering the tall stranger who had appeared at the cellar \"Nobody. No. It was just me.\"\n\n\"Hmmmm...\" said Johnson, unconvinced \"Still. I must insist...\"\n\nAt that moment they were interrupted by a student barging into the office.\n\n\"Professor Johnson! Professor Johnson! Quick! Turn on the television!\" the young man shouted, breathless.\n\n\"What is the meaning of this?\" Professor Johnson intoned.\n\n\"Oh...let me!\" the student stumbled across the room and flicked on the television sitting on a shelf. The 'BBC' news logo flashed across the bottom of the screen along with the scrolling words BREAKING NEWS.\n\nThe reported was speaking animatedly, his microphone shaking with barely contained excitement.\n\n\"...the most amazing thing is, despite these human bones being over ten thousand years old, the fact that this man had glass ionomer cement fillings in his teeth! Scientists are baffled by modern composite being found in ancient teeth and have refused to make any further comment at the moment - other than to confirm that the skeleton has been christened 'Ernest'...\"\n\nProfessor Johnson turned and simply stared at Thomas Brewer, who was grinning from ear to ear...\n\n\"So how's it going?\" the girl asked.\n\n\"Pretty good. Pretty good.\" the man replied, looking up from his laptop computer.\n\n\"So what are you writing now?\" the girl responded after a pause which suggested that she was going to have do all the work in this conversation.\n\n\"I'm writing a guide to Battleships.\" the man didn't even look up from the screen.\n\n\"What, like warships you mean?\"\n\n\"No, the game 'Battleships'. Oh no! You sunk my battleship. That kind of thing.\"\n\n\"Is there strategy for that game? I thought it was just random guessing until you got lucky.\" the girl didn't really seem that interested.\n\n\"Luck?\" the man looked up from his computer for the first time in the conversation \"Luck doesn't come into it. It's all about the strategy. Do I pick this coordinate, do I pick that coordinate? It's the ultimate game of cat and mouse.\"\n\n\"That's what you said about chess when you were writing your chess guide,\" the girl objected, examining her fingernails.\n\n\"So. What's your point?\"\n\n\"Are you going to pretend that it's sponsored by the President again?\" the girl looked out of the window.\n\n\"What? I never said it was sponsored by the President,\" the man seemed offended by the suggestion.\n\n\"It's kind of misleading though. You definitely imply that the President is behind your guides,\" the girl sounded disapproving.\n\n\"It's all totally above board. I'm not breaking any laws,\" said the man, who happened to be called George W. Bush.\n\n\"Still, I suppose this one's different anyway,\" the girl looked at him.\n\n\"Why?\" the man had gone back to typing away.\n\n\"At least you actually know the rules of 'Battleship'.\"\n\n\"As long as people keep buying my guides, I'm happy baby,\" the man concluded, as he switched his laptop off.\n\n\"One of your systems went off and contacted us.\" the fire officer explained again to the manager of the hotel.\n\n\"A malfunction. Nothing more.\" the manager assured the fireman, escorting him to the door. This was not going so well. It was only the sprinkler going off that had alerted him to the fact that one of his guests had died in the room. It was going to take ages to clean up the mess and deal with this unfortunate incident. And he had absolutely no clue why the corridor outside room 247 smelt of horses.\n\n\"Can we at least check?\" the fireman objected as he was pushed through the revolving door.\n\n\"No need, I assure you.\" the manager grinned and waved at the firemen gathered outside the hotel. One of them gave him a two-fingered wave back. Passers-by were stopping to look at the fire engine. The manager clicked his fingers and one of the staff came running.\n\n\"I need you to clear up room 247.\" he barked.\n\n\"...yes sir.\" said the staff member without much enthusiasm. He had seen what had happened in room 247.\n\n\"I'm going to call the police. Ms. Laurent was a valued customer.\" he sounded almost sad, which he was - especially because the bit of Ms. Laurent that he valued most was her seemingly limitless credit card.\n\n\"Yes sir.\" sighed the staff member, shuffling off to undertake the thankless task. To think that he'd given up a promising career at McDonald's for this...\n\nThe manager turned his attention back to the situation outside the hotel.\n\n\"At least the sprinklers work.\" he mused, waving again to the firemen - who seemed to be arguing amongst themselves. Honestly. Who'd be a hotel manager?\n\nVictoria Salmon stood in front of the Major, inwardly seething.\n\n\"There is no doubt that the uniform found was yours, Captain, and the papers - though a forgery - were very convincing.\" the Major was reading from a report.\n\n\"Yes sir,\" snarled Salmon.\n\n\"The papers seem to bear all the hallmarks of being a forgery by Agent Sunglasses and the uniform...you say that there was a mix-up at the dry cleaners?\"\n\n\"That's right sir.\" Salmon snapped.\n\n'Well. I think that the combination of uniform and papers would clearly have been enough to fool Private Kline - he's hardly the sharpest tool in the box, is he?\" the Major chuckled. Salmon said nothing.\n\n\"So, I think that wraps it up. It appears that nothing was sabotaged or stolen, so I assume that the only reason the spy was here was to find out what was in the autopsy room. No surprise there - you can read all about what we're up to here on the Internet anyway can't you, Captain?\" the Major smiled.\n\n\"Yes sir.\" growled Victoria.\n\n\"You're dismissed Captain. Thank you for your time.\"\n\nVictoria Salmon didn't move. The Major didn't notice for a minute or two, but he eventually did. He looked up and read the look on Captain Salmon's face.\n\n\"Is something wrong Captain?\" he asked.\n\n\"Sir. I read Private Kline's report. How could he think that it was me?\" she fumed.\n\n\"I thought we'd cleared that up, Captain. The spy was in your uniform and with some convincing papers.\"\n\n'It's not that sir. His report...\" she recalled from memory \"...described the person he spoke to as a ghastly apparition from the pits of hell  Freakishly sized, terrifyingly pale and with the breath of a hellhound. How can he confuse me with that?\"\n\nThe Major thought for a while.\n\n\"Maybe he thought you'd forgotten to put your make-up on?\" he ventured.\n\nVictoria Salmon screamed, turned on her heels and stormed out of the room. The Major waited for a minute and then picked up the phone and made a call.\n\n\"Yes, yes. Hello. Yes. It's me. Look - you need to be more careful. You gave the papers to the wrong person it seems. Yes.\nYes. No. I managed to clear it all up. OK. Goodbye.\" the Major put the phone down. Honestly, he had enough on his plate without clearing up other people's mess. Who'd be a double agent?\n\n\"There's no future in it,\" he muttered under his breath.\n\nYou stare at the void outside, relaxing in your favourite armchair.\nIn the background The Eagles are instructing you to Take it to the Limit One More Time. You sigh. Today has been an interesting day, no doubt about that, but not one that you'd wish to repeat.\n\nYou slowly stand up and wander over to the bookcase, where you pull out your current diary and think about how to record today's events. You smile as you recall some of the situations that today brought you face-to-face with. You suppose that it wasn't the worst day that you've ever had - not by a long shot - and it's only going to make tomorrow's jobs seem that bit easier. The more you think about it, the more pride you feel in a job well done and the less and less terrible today seems to be. You sit back down in the armchair and turn to a blank page.\n\nLife is good for Death. Today has, all things considered, been a fine day for reaping.\n\nThank you for playing.\nCongratulations!\n\n> You examine Hourglass\n[x -> examine]\n\n> You look at Hourglass\nThe grains of sand tell you that you have half an hour left to complete your contract.\n\nThe grains of sand tell you that you have half an hour left to complete your contract.\n\n> You wait for a while\nYou wait. Time passes. It's what time does."
    },
    {
        "text": "[Themes: Fantasy, animal protagonist, fanfic, Christmas, nonhuman protagonist, fan fiction, cute, kid-friendly]\n\n'Twas the night before Christmas when all through the house, the\nonly creature stirring was a hippo the size of a mouse.\n\nThis year you're going to stay awake long enough to see Santa Claws. You have set up a temporary nest in the living room closet, and it\njust needs a few final touches. You intend to venture out to have a snack and look at the tree one more time, and then you will go hide in the closet and wait.\n\nan interactive holiday tale by Adri (\"Erin Gigglecreek\")\n\nquick introduction on how to play.\n\nThere is a tree here, decorated with ornaments and surrounded by piles of presents. There is also a table off to one side. The closet is to the southeast.\n\n[Author's Note: 'Twas the night before Christmas when all through the house, the only creature stirring was a hippo the size of a mouse. This is based in the world of the House Hippo, a PSA by the Concerned Children's Advertisers.]\n\n> You examine table\nThere is a table off to one side, draped in a bright blue tablecloth.\n\n> You examine the tree\nIt's a rather lovely Christmas tree, covered with rainbow lights, a silver garland and colorful, shiny ornaments. There is a collection of presents underneath the tree.\n\n> You look at the presents\nThere are piles of presents surrounding the tree. There is one rather tall pile of presents in a neat stack.\n\n> You look at the pile\nA pile of presents stacked neatly under the tree, with the largest package on the bottom and the smallest at the top.\n\n> You look at the largest package\nThis present is wrapped in shiny blue paper, tied with a big red bow.\n\n> You read it\nThis present is wrapped in shiny green paper, tied with a big yellow bow.\n\n> You look at the largest package\nThis present is wrapped in shiny green paper, tied with a big blue\nbow.\n\n> About yourself\nYou are a very fine specimen of Hippopotamus domestica.\n\n> You look at the lights\nThe tree is covered with tiny rainbow lights. The string of lights trails down from the lower branches to the power outlet. The wire is emitting quite a bit of heat.\n\nYou are feeling very thirsty.\n\n> You unplug the lights\nIf you do that, the pretty lights will go out!\n\n> You examine the ornaments\nThe tree is adorned with colorful, mismatched ornaments, many of which have been made by the small humans of the house.\n\n> You go southeast\nThis is the closet where you will be spending the night. It is full of things that you don't need to think about right now.\n\nYou can see your nest and a mitten here.\n\n> You examine the mitten\nIt's a small mitten. It is sopping wet, and the mate is nowhere to be seen.\n\n> Chew mitten\nYou give the mitten a lick. Bleh! That doesn't appear to be food.\n\n> You look at the nest\nIt is a warm, comfortable mass of dryer lint and bits of string. It's not as nice as your nest in the bedroom closet, but it will do for tonight. It's still looking a little sparse, though. Perhaps you could find just one or two more items before you settle in for the night.\n\n> You put the mitten in the nest\nIt's all wet! Maybe you can find a way to dry it first.\n\n> You take the mitten\nYou pick up the wet mitten. Ick. Soggy mittens don't make good bedding material.\n\n> Go northwest\nThere is a tree here, decorated with ornaments and surrounded by piles of presents. There is also a table, about the same height as the stack of presents under the tree. The closet is to the southeast.\n\n> You put the mitten on the wire\nYou lay the mitten across the string of lights where it nearly touches the floor.\n\nYou are feeling very thirsty.\n\n> You suck mitten\nSurely you can find a more sanitary source of water.\n\n> You open the package\nYou pick out the prettiest present in the pile and tug on the ribbon with your teeth. The ribbon slips ever so slightly, and you feel a sudden burst of shame.\n\n> You take the ribbon\nYou pick out the prettiest present in the pile and tug on the ribbon with your teeth. The ribbon slips ever so slightly, and you feel a sudden burst of shame.\n\nThe mitten starts to smoke. You'd better go get it before you burn\ndown the house.\n\n> You take the mitten\nYou quickly retrieve the mitten. It is now dry, and warm to the touch.\n\n> You pull the ribbon\nYou try with all your might, but it barely moves.\n\n> Go southeast\nThis is the closet where you will be spending the night. It is full of things that you don't need to think about right now.\n\nYou can see your nest here.\n\n> You put the mitten in the nest\nYou put the mitten on the nest.\n\n> You examine the prettiest present\nThis present is wrapped in shiny red paper, tied with a big yellow\nbow.\n\n> You take the bow\nYou pick out the prettiest present in the pile and tug on the ribbon with your teeth. The ribbon slips ever so slightly, and you feel a sudden burst of shame.\n\nYou are feeling very thirsty.\n\n> You look at the bow\nIt's a length of shiny green ribbon, tied into a fancy bow.\n\n> Open present\nYou pick out the prettiest present in the pile and tug on the ribbon with your teeth. The ribbon slips ever so slightly, and you feel a sudden burst of shame.\n\n> You examine the tree\nIt's a rather lovely Christmas tree, covered with rainbow lights, a silver garland and colorful, shiny ornaments. There is a collection of presents underneath the tree.\n\n> You examine the garland\nThe tree has been wrapped in a long strand of puffy blue garland. It looks very soft.\n\nThe tree has been wrapped in a long strand of puffy blue garland. It looks very soft.\n\n> You take the garland\nYou tug on a dangling bit of garland with your teeth. A piece breaks off, about as long as you are.\n\n> Go southeast\nThis is the closet where you will be spending the night. It is full of things that you don't need to think about right now.\n\nYou can see your nest (on which is a mitten) here.\n\n> You look at the garland\nIt's a short length of blue garland, very soft to the touch.\n\n> You touch it\nThe garland is extremely soft to the touch.\n\n> You smell it\nYou smell nothing unexpected.\n\nYou are feeling very thirsty.\n\n> You put it in the nest\nYou put the piece of garland on the nest.\n\n> You climb the tree\nYou briefly eye the tree, wondering how long it would take to climb\nit. Maybe you'll try it tomorrow.\n\n> You climb it\nYou attempt to scale the tablecloth, gripping tightly with your teeth and feet, but it's not an easy task. After just a few inches, you let go and drop back down to the floor. Ouch!\n\n> You climb presents\nYou climb to the top of the presents. You seem to be about level with the table, on which stands a glass of milk and a plate of cookies. The pile starts to wobble, and you quickly make your way back down to the...\n\nThere is a tree here, decorated with ornaments and surrounded by piles of presents. There is also a table, about the same height as the stack of presents under the tree. The closet is to the southeast.\n\n> Climb pile\nYou scramble up the pile of presents onto the table top.\n\nYou are standing on top of the table.\n\nYou can see a plate of cookies and a glass of milk here.\n\n> You eat the cookies\nDon't be greedy! You should save the rest of the cookies for Santa.\n\nVisions of raisins dance in your head.\n\n> You eat the cookie\nYou nibble hungrily at the cookie.\n\nYou are feeling very thirsty.\n\n> You drink milk\nLittle known fact: house hippos are lactose intolerant."
    },
    {
        "text": "[Themes: Fantasy, fanfic, Christmas, kid-friendly, nonhuman protagonist]\n\n> Look around\nYou are standing on top of the table.\n\nYou can see a plate of cookies and a glass of milk here.\n\n> You examine the tree\nIt's a rather lovely Christmas tree, covered with rainbow lights, a silver garland and colorful, shiny ornaments. There is a collection of presents underneath the tree.\n\n> Lick glass\nYou give the glass of milk a lick. Mmm.\n\n> You examine the tablecloth\nThe tablecloth is a lovely shade of blue, and it reaches down nearly\nto the floor.\n\n> Lick cookie\nYou give the partially-eaten cookie a lick. Mmm.\n\n> Lick tablecloth\nYou give the tablecloth a lick. Bleh! That doesn't appear to be food."
    },
    {
        "text": "[Themes: Fantasy, fanfic, nonhuman protagonist, kid-friendly]\n\n> Go down\nAs you start back down the stack of presents, the cat of the house\npads into the room, the bell on its collar jingling softly. It immediately takes notice of you. You freeze in fear.\n\nThe cat hisses at you.\n\n> You jump on the cat\nI only understood the first part of that.\nYou might try: >JUMP\n\nTo stop these messages entirely, type NOVICE OFF.\n\n> You examine the cat\nIt's an orange tabby cat. It is wearing a thin nylon collar with a small gold bell that jingles when it walks.\n\nYou are feeling very thirsty.\n\nThe cat hisses at you.\n\n> Roar\nYou let out a loud roar. HIPPO!\n\nThe cat cringes at the sound.\n\nThe cat hisses at you.\n\n> Dance\nYou don a pink tutu and the tiniest pair of ballet slippers and pirouette around the room.\n\nThe cat hisses at you.\n\n> You examine the puddle\nOne of the small humans must have brought in an icicle and left it under the table. It has melted into a puddle of cold water.\n\n> Drink water\nYou lap at the cold water and feel instantly refreshed.\n\nYou are feeling very tired. Maybe you could just take a quick nap.\n\n> You leave\nThere is a tree here, decorated with ornaments and surrounded by piles of presents. There is also a table, next to which is a neat stack of presents, forming a staircase to the top. The closet is to the southeast.\n\nYou yawn loudly. It is getting late.\n\n> You go southeast\nThis is the closet where you will be spending the night. It is full of things that you don't need to think about right now.\n\nYou can see your nest (on which are a piece of garland and a mitten) here.\n\nYou yawn loudly. It is getting late.\n\n> You enter the nest\nYou get onto the nest.\n\nOn the nest you can see a piece of garland and a mitten.\n\nYou yawn loudly. It is getting late.\n\n> Yawn\nYou yawn loudly.\n\nYou are feeling very tired. Maybe you could just take a quick nap.\n\n> Nap\nYou close your eyes, just for a moment... When you awaken, it is daytime and there is a tiny wrapped present next to your nest. Oh\nwell. Maybe next year!\n\n> Xyzzy\nI want a hippopotamus for Christmas.\nOnly a hippopotamus will do.\n\nYou yawn loudly. It is getting late.\n\n> Sing\nYou bellow out \"mini cheddars!\" a few times.\n\nYou are feeling very tired. Maybe you could just take a quick nap.\n\nYou close your eyes, just for a moment... When you awaken, it is daytime and there is a tiny wrapped present next to your nest. Oh\nwell. Maybe next year!"
    },
    {
        "text": "[Themes: Slice of life, sexual content, strong profanity]\n\n\"Oh, Julia! Where did you learn that?\" Keith whispers breathlessly.\n\nAll tongue and fingers, he kisses the milky skin above your breasts, while your hands slide their way up and down his sculpted chest, so eager with lust that your watch occasionally snags on a stray chest hair. Your lips, glistening like two fresh strawberries laced with dew, hungrily roam across his neck. And your hips! Well, that's better left to the imagination.\n\nNormally, you wouldn't even consider seeing Keith at Pine Meadows, but Frank's in Boston and won't be back until tonight's banquet. And when the cat's away...\n\nJust then, a low shelf wedges itself in to your back, jarring you from your reverie. That's when you hear it.\n\nA click. A flash. The tell-tale tapping of heels on concrete.\n\nThe next few minutes are a blur. Keith juts his tongue down your throat, but, without you reciprocating, it feels like he's searching for cavities. The rhythms of your body no longer coincide with his. In fact, the only rhythm left in your body is the pounding of your heart, the warm throbbing of blood in your ears. He must notice your discomfort as soon he backs off and starts buttoning his shirt.\n\n\"Well, I gotta get back to the Pro Shop, babe,\" he says, grabbing his shades. \"Stop by later.\" With that, he takes off down the hall, leaving you, still stunned, slumped against the wall.\n\nThis is the first time you've been in this closet, and hopefully it will be the last. Keith assured you that no one ever comes down here. And now you can see why. The concrete walls are oppressively close, made more so by the smell of bleach and chemicals coming from a filthy shelf against the far wall. Various brooms clutter the room, displaying none of the pleasant tidiness characteristic of the rest of Pine Meadows. All this can be escaped through a door to the south.\n\nTossed to the side in the throes of passion, your bag, a fabulous Louis Vuitton original, lays on the ground.\n\n> You examine bag\nA Louis Vuitton original, your purse can practically carry anything, which comes in handy but is absolute hell when you have to find your keys.\n\n> About yourself\nYour lipstick is smeared, your cheeks are flushed, and your mascara is running. At least the fact that your blouse is open should draw attention away from your face.\n\n> You check what you're carrying\nYou are carrying:\nyour watch (being worn)\nyour ensemble (being worn)\n\n> You fix the makeup\nUsing your compact, you carefully apply your makeup, adding a little more powder than usual to your cheeks to hide the flush.\n\n> You examine the ensemble\nNothing but the best for you. Pumps from Prada, skirt by Yves Saint Laurent, a gorgeous silk blouse from the much-coveted Vera Wang collection. Too bad it'll all have to be replaced in two weeks.\n\n> You take the bag\nTaken.\n\n> You open the bag\nThat's already open.\n\n> You examine bag\nA Louis Vuitton original, your purse can practically carry anything, which comes in handy but is absolute hell when you have to find your keys.\n\n> You look in the bag\nIn the Louis Vuitton bag are your make-up and a pair of banquet tickets.\n\n> Examine watch\nFrank felt so guilty after spending a month in Tokyo that he bought you this. Honestly, you enjoyed the time apart, but that didn't stop you from playing up the guilt. So far, that little ploy has gotten you a mink stole, a diamond necklace, and a Bentley, but this watch takes the cake. Whoever said that flagrant displays of wealth were tacky must not have seen this. Exquisitely crafted from platinum and diamonds, the only downfall this watch has is that the gems tend to obstruct your view of its face, making it somewhat difficult to read the actual time. Still, it's a small price to pay to be seen sporting such a piece.\n\n> You examine the time\nLooking closely at your watch, you see that it is sometime before five.\n\n> You examine the makeup\nSurvival gear for the modern woman; you never leave home without it.\n\n> You examine the brooms\nDo people even still use these things? They're so dirty and utilitarian. Like those who use them, you suppose.\n\n> You examine the walls\nThere's nothing special about the walls. Except that they're unadorned concrete, a rarity in Pine Meadows.\n\n> You look at the pumps\nNothing but the best for you. Pumps from Prada, skirt by Yves Saint Laurent, a gorgeous silk blouse from the much-coveted Vera Wang collection. Too bad it'll all have to be replaced in two weeks.\n\n> About yourself\nPure dynamite! Not bad for twenty thousand. Your ass is high, your tummy is tight, and your skin hasn't a line or blemish. It's a shame you'll have to do it all over again in a year. Oh well, no one said beauty was easy.\n\n> You go to the south\nA short, dimly lit hallway between the utility closet to the north and the stairs to the rest of the club leading south and up. While the dominant smell here is, as in the closet, chlorine, some other fragrance, a sweeter one, is mingled with it.\n\n> Smell\nTurning up your nose ever so slightly, you sniff the air. Although it is almost entirely wiped out by the smell of chlorine, you definitely detect the hint of something. Chanel #5? Dior Addict Eau Fraiche? Something. Whoever it was now has you in quite an awkward position, and likely a picture of the same. If only you had something to put you back on top.\n\n> Xyzzy\nNothing happens. Guess if you want to travel someplace exotic, you'll have to do it the old-fashioned way and sleep with Frank.\n\n> You go south\nThe stairs turn sharply north as you ascend.\n\nThis is the newest addition to Pine Meadows, built to house the new spa to the west. In stark contrast to the well-lit, tan stucco walls, a dingy concrete stairwell descends to south. To the north, a rather uninspired doorway leads to the office of the club manager. The hall itself extends to the east.\n\n> Go east\nPutting the club's best foot forward is clearly the purpose of the foyer. A stately crystal chandelier scatters daylight into kaleidoscopic patterns. Two verdant plants stand next to a set of double doors to the north, their leaves extended as if to usher people in to the banquet hall. To the south, next to the exit to the gardens, is a bulletin board. The hall continues to the west and east.\n\n> You go west\nThis is the newest addition to Pine Meadows, built to house the new spa to the west. In stark contrast to the well-lit, tan stucco walls, a dingy concrete stairwell descends to south. To the north, a rather uninspired doorway leads to the office of the club manager. The hall itself extends to the east.\n\n> You open the door\nIt seems to be locked.\n\n> You knock on the door\nThere's no reply. Charles must be out.\n\n> Smell\nWhatever smell is there is overpowered by your characteristic fragrance: Self-Obsession, by Calvin Klone.\n\n> You go west\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\nDesperately trying to look important, a receptionist peers down a hawkish nose at a log book, scribbling in corrections at a furious speed.\n\n> You go to the west\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\nDesperately trying to look important, the receptionist peers down a hawkish nose at a log book, scribbling in corrections at a furious speed.\n\n> You examine the desk\nA stainless steel and mahogany monstrosity, the desk reflects the gentle light coming in through the skylight. Surprisingly, or maybe not seeing as the spa's popularity has fallen with plastic surgery's resurgence, there is no computer on the desk; its job instead being done by a simple log book.\n\n> You look at the log book\nThe client list for Pine Meadows Spa, it contains the names and locker information, as well as \"beauty profiles,\" of practically every full member, part member, and former member of the club. If you want to find anyone in particular, you'll have to look them up individually.\n\n> You look up yourself in the log book\n\"I'm sorry Mrs. Hawthorne, but that is confidential,\" she says, \"If you've forgotten your combination you can ask me.\"\n\n> You examine the receptionist\nTall, thin, and oh so Madison Avenue, the spa receptionist serves as a living advertisement for her business's services. And like most advertisements, she grossly misrepresents the truth. Her looks come from the tried and true: surgery, make-up, and anorexia. Not the herbal wraps and mud baths she pushes on her customers.\n\n> You ask the receptionist about the combination\n\"Could you please tell me my locker combination?\" you ask, trying to be as pleasant as possible.\n\n\"One moment, Mrs. Hawthorne,\" she says, flipping through the log book. \"Yes, it's right here. Locker #11, combination 38-25-34.\"\n\n> You ask the receptionist about the beauty profile\n\"I'm really very sorry Mrs. Hawthorne, but I am incredibly busy,\" she says in a questionably trendy accent.\n\n> You show the watch to the receptionist\nYou better watch out: people knowing about you and Keith is enough for them to think you're a Democrat. If you start giving things to the working class, it'll only look worse.\n\n> You take the log\nThat belongs on the desk.\n\n> You go to the west\n\"Umm, Mrs. Hawthorne?\" the receptionist says, giving you an odd look. \"That's the men's change room.\"\n\nYou mumble something about allergies and come back to the lobby.\n\n> Smell\nOh that's a nice blend: kelp and sandalwood. Really now, if you wanted to vomit you would just make love to Frank.\n\n> You examine the time\nLooking closely at your watch, you see that it is sometime before five.\n\n> Go north\nYour heels click loudly on the tiles, echoing down the banks of lockers that line the sides of the room. With the pool closed until summer and tennis verging on the pass\u00e9, the only use the women of Pine Meadows have for this room is the lockers. The showers lie, unused, to the north.\n\nYour locker, #11, sits against the left wall.\n\n> You open the locker\n(your locker)\n38 left, 24 right, 34 left, just like your measurements. Inside is a change of clothes.\n\n> You take the clothes\nBesides from a little sweat, your ensemble is in good condition. There's no need to change right now.\n\n> You search the locker\n(your locker)\nIn your locker is a change of clothes.\n\n> You close locker\n(your locker)\nYou close your locker.\n\n> Go south\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\nLooking east and not seeing a flock of members coming to use the spa, the receptionist sighs and drops her shoulders a little.\n\n> You go to the south\n\"I'm sorry, Mrs. Hawthorne, but there is a pilates class until five, you'll have to wait until then,\" the receptionist says.\n\n> You go east\nYou make your way through the east wing to the garden path.\n\nServing as little more than a junction, the path here leads from the garden in the southwest to the outside dining area in the north and northeast. The club itself lies to the west and the tennis court to the east. To the southeast is the pool, but it is closed for the season.\n\n> You go to the south-east\nThe pool is closed for the season.\n\n> Smell\nUgh, that's what roses smell like? Where's the benzaldehyde? the phenetol?\n\n> You go east\nSince tennis became pass\u00e9, this court is mainly used by those few members who actually enjoy the game. In fact, due to the reduced use, the club has even begun letting non-members play on it. You've never been that fond of tennis and with the rabble about, you're loath to even stay on the court. Hardly a big loss. The net droops, the benches are peeling, and the rubber floor sticks to your pumps. Although you are fenced in on most sides, thankfully, you can still leave to the more agreeable outside dining areas to the northwest and north, or the garden path to the west.\n\nBeverly Winters, a long time member of the club, hops from foot to foot, waiting for a ball to come out of a serving machine at the other end of the court.\n\nBarely turning, Beverly starts talking. \"Well, hello, Julia,\" she says, still not facing you. \"Tonight's banquet should be interesting. No?\"\n\nIn a strangely crude move, Beverly shifts her bra uncomfortably.\n\n> You examine the machine\nOnce top of the line, the serving machine has seen better days. Its turning mechanism has broken, so now it just shoots out balls at the same speed and same course every time. Good for Beverly's score, bad for everyone else.\n\n> Smell beverly\nThe smells of antiperspirant and sweat battle it out over Beverly. Unfortunately the antiperspirant is winning.\n\n> You look at Beverly\nJust a couple of years your senior, Beverly joined the club a few months before you. This was back in the prime of Pine Meadows, before the computer boom, before the stock market became a playground for anyone with a couple thousand, before peasant blouses and the anti-fur movement; those were the days. Back then, the only thing to do was engage in dramatic rivalries. And what a rivalry you formed. Playful at first, it soon degenerated in to a spat worthy of the Hatfields and McCoys, that is if the two of you were troglodytic mountain folk. After dying down for a couple of years, the rivalry flared up again when you caught her flirting with Frank at one of last year's charity auctions. Normally you would have been happy to have his hands occupied for a few hours, but the insult was too great to ignore.\n\n> You examine net\nThe net droops, and your spirits with it. It's fashioned from cheap rayon, not the delicate silk it was made of back when you used to play. You feel trapped just looking at it.\n\nBeverly pauses between serves, tucking her hair behind her ears.\n\n> You look at the bra\nBeverly's chest looks lumpier than usually.\n\n> You ask beverly about the bra\n\"Oh dear, Beverly,\" you say, glancing at her chest, \"you're not going to let your surgeon get away with that, are you?\"\n\nShe says nothing but shifts her bra again.\n\nBeverly smacks a ball across the court.\n\n> You fix the beverly's chest\nBeverly wouldn't appreciate that.\n\nBeverly smacks a ball across the court.\n\n> You examine the benches\nThe only thing sadder than playing a sport that's passed its prime is watching a sport that's passed its prime. Judging from the thick layer of grime on the benches, it seems that the people of Pine Meadows might not be as sad as you thought.\n\nBeverly smacks a ball across the court.\n\n> You look at the floor\n(the floor)\nSoft with the heat, the rubber floor of the tennis court sticks to your heels, leaving little impressions after your steps.\n\nBeverly pauses between serves, tucking her hair behind her ears.\n\n> You ask Beverly about Frank\n\"You haven't seen Frank in a while, have you?\"\n\n\"No I haven't. How is your husband, anyway? We have so much catching up to do.\"\n\nIn a strangely crude move, Beverly shifts her bra uncomfortably.\n\n> You ask Beverly about Keith\n\"I guess you know about Keith and I,\"\n\n\"Oh yes, I heard about that. Poor Frank. Of course, he'll never believe any of the gossip. Unless someone shows him proof...\"\n\nBeverly smacks a ball across the court.\n\n> Punch beverly\nYou two prefer more subtle ways of expressing your rivalry.\n\nBeverly smacks a ball across the court.\n\n> You ask Beverly about the photo\n\"Someone took a photo of Keith and I in the basement.\"\n\n\"A photograph, you say? How very Enquirer of you.\"\n\n> You ask Beverly about the lump\n\"Really, Julia. Sometimes you are such a whore,\" Beverly mutters.\n\n\"What was that?\"\n\n\"I said: 'Really, Julia. Sometimes you are such a bore.'\"\n\nBeverly pauses between serves, tucking her hair behind her ears.\n\n> Yell\n(Beverly)\nBeverly isn't afraid of you.\n\nIn a strangely crude move, Beverly shifts her bra uncomfortably.\n\n> Show watch to Beverly\n\"Really, Julia. Why would anyone be interested in that?\"\n\nBeverly pauses between serves, tucking her hair behind her ears.\n\n> You examine the time\nLooking closely at your watch, you see that it is sometime before five.\n\n> You examine the machine\nOnce top of the line, the serving machine has seen better days. Its turning mechanism has broken, so now it just shoots out balls at the same speed and same course every time. Good for Beverly's score, bad for everyone else.\n\n> You go north\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\n\"Beep beep\" My God! Digital watches at Pine Meadows? Cartier must be rolling over in his grave.\n\nCynthia Fordham, a woman whose wrath makes even you cringe, sits in a high back chair.\n\nApparently someone lacked the willpower to stick to their diet, as a bowl of half-eaten salad sits on the table, forgotten.\n\n\"I told you, I ordered Coquille Saint Jacques half-an-hour ago. What are you, deaf?\" Cynthia screams at a cowering waiter who then flees to the safety of the kitchen.\n\nJust then, she glances over to you. \"Oh, there you are, Julia,\" she says, her voice dripping with saccharine venom. \"I hear you have a way with the help.\" --she winks, a little too obviously-- \"Perhaps you could work your charm on that waiter for me.\"\n\n> You look at the salad\nLittle more than limp, wilted lettuce leaves and sour vinegar, the salad looks like it was picked at slightly, and then discarded. Nice way to spend twelve bucks.\n\nAmongst the lettuce is a pair of cucumber slices.\n\n\"So I was up at the golf course and do you want to know what I heard Roger say?\" one of the bridge players says dramatically.\n\n\"No,\" another replies, \"but I'm sure you'll tell us anyway.\"\n\n> You take the cucumber\nTaken.\n\n\"He said 'No grandson of mine is going to be a doper.' And then he disowned him,\" the first one says, waiting for a gasp. When she sees none is forthcoming, she continues, \"I mean, it was just a little pot, nothing to freak out over.\"\n\nThe second rolls her eyes incredulously. \"Really, now. Why don't you just stop shaving your legs and move to British Columbia already?\"\n\n> You look at the cucumber\nJust two round slices of cucumber, about the size of silver dollars.\n\n\"She was in the basement?\" one asks, horrified.\n\n\"I guess that's what passes for courting among the help,\" says another.\n\n> Smell\nWhatever smell is there is overpowered by your characteristic fragrance: Self-Obsession, by Calvin Klone.\n\n\"Still, you'd think she'd be a little more discrete. I mean Frank's only been gone for a day.\"\n\n\"Personally, I think she wanted to get caught. She always has enjoyed the limelight.\"\n\n> You ask Cynthia about Roger\n\"Really, Julia, can't we talk about something a little more interesting?\".\n\n\"Oh well. Did you see what Cissy was wearing?\"\n\n\"How could you miss it?\"\n\n> You ask Cynthia about Keith\n\"So you must have heard and Keith and I.\"\n\n\"Well, yes. I know a woman must have her hobbies,\" Cynthia says coquettishly. \"It's a shame yours will destroy your marriage.\"\n\n> You ask Cynthia about the photo\n\"Have you heard anything about a photo today?\"\n\n\"Oh yes, I heard someone took a picture of you. What a shame.\"\n\n> You ask Cynthia about Beverly\n\"How do you feel about Beverly?\"\n\n\"She's a little manipulative, even for my tastes.\"\n\n> Smell Cynthia\nCareful not to look like a bloodhound, you raise your nose and sniff delicately. Amidst the smells of wine and food, you detect the faint scent of Bellagio. Definitely not the scent from hall.\n\n> You take the salad\n\"Come now, Julia,\" Cynthia clucks. \"I heard Frank cut up your platinum card, but must you really resort to taking leftovers?\"\n\nYou ignore her and take it.\n\n> You ask Cynthia about Cissy\n\"What do you think of Cissy?\"\n\n\"I'm just glad she's not talking to me.\"\n\n> You look\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\nCynthia glares at the nouveaus surrounding her.\n\n> You examine the women\n(the bridge players)\nA group of women sit around a table, playing bridge and chatting.\n\n> You ask the women about Roger\n(the bridge players about that)\n\"Really, Julia,\" one of them says, \"we're a little busy right now.\"\n\n> You examine the salad\nLittle more than wilted lettuce leaves and vinegar, the salad looks like is was picked at slightly, and then discarded. Nice way to spend twelve bucks.\n\n> You ask Cynthia about Frank\n\"What do you think of my husband?\"\n\n\"Frankly,\" she pauses, thinking herself the funniest person in the world. \"I never got what you saw in him. I mean he's pale, he's flabby, he's a bad dresser. He's not even that rich.\"\n\nHow dare she. Sure the first part is true, but not rich? What is she suggesting, you married out of love?\n\n> Go east\n\"Really, Julia. I think all that time on your back has interfered with your sense of direction,\" Cynthia says as you bump in to a low wall."
    },
    {
        "text": "[Themes: Slice of life]\n\n> You look around\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\nCynthia waits impatiently for her meal.\n\n> You look at the wall\nThat is beneath your concern.\n\n> You go northeast\n\"Oh, off to see Keith, are we?\" Cynthia says, eyes burrowing in to you.\n\nNormally, you wouldn't be cowed by Cynthia's acid tongue but with that film floating around, you don't want to chance it.\n\n> Go southwest\n\"Aww, leaving so soon? Well we must do this again sometime,\" Cynthia calls out after you.\n\nServing as little more than a junction, the path here leads from the garden in the southwest to the outside dining area in the north and northeast. The club itself lies to the west and the tennis court to the east. To the southeast is the pool, but it is closed for the season.\n\n> You go north\nOutside dining (next to the kitchen)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA waiter bustles about, tray of wine glasses in hand, trying desperately to keep up with drink orders from demanding patrons.\n\nOh great, Cecilia Winnecott is here, the most frightfully irritating woman you have ever had the displeasure to meet. You attempt to duck out before she sees you but it's too late.\n\n\"Yoohoo, Julia! Over here.\" As if you could miss her. Her bright fuchsia pantsuit practically sears your retinas. Cissy sashays up to you, her jacket barely able to contain those three Danishes you saw her wolf down this morning.\n\n> You examine Cecilia\nA hundred-eighty pound woman packed in a hundred-sixty pound Chanel reject. You've got to hand it to her though, all that fuchsia really does detract from what it covers.\n\n\"Oh, Julia. It's been ages. You simply must see our pictures from Tuscany,\" she says, and before you can decline, she pulls a stack of photos from her purse.\n\n> You examine the photos\nWhy does anyone think people want to see their pictures? Well, since you're looking, I guess that's a stupid question.\n\n\"Here's my eldest, Tyler, isn't he handsome?\" Cissy croons, showing you a photo of a rather dirty little boy with a finger up his nose.\n\n> You get the photo\nYou can see them as much as you like from here, which isn't much at all.\n\n\"Oh ooh, here's Madison. Isn't she darling?\"\n\n\"She's absolutely breathtaking,\" you say.\n\n> Search photos\nYou find nothing of interest.\n\n\"And this is our villa, isn't it just to die for?\"\n\nFrankly, you agree. You'd die before setting foot in such a dismal little hovel.\n\n> Smell cissy\nYour nose is overrun with both Dolce and Gabbana.\n\n\"Aww, look at little Aidan. Isn't he a treasure?\"\n\nMy God, doesn't this woman ever stop breeding?\n\n> You ask Cissy about Cynthia\n\"So what do you think of Cynthia?\"\n\n\"She's a dreadful gossip, that woman.\" Cissy leans in a bit closer, \"Who, by the way, is going back for another collagen treatment in a week.\"\n\n> You ask Cissy about Beverly\n\"What do you think of Beverly?\"\n\nShe shudders. \"Ugh, don't mention that horrible woman to me.\"\n\nCissy recently found out all the bad things Beverly says behind her back. Fortunately, she thinks Beverly is the only one who says them.\n\n> Smell cissy\nYour nose is overrun with both Dolce and Gabbana.\n\nCissy continues to prattle on about her oh so fascinating life.\n\n> You ask Cissy about the outfit\nCissy has the memory span of a goldfish. Unless it was related directly to what she's talking about, she would forget her own name.\n\n> You ask Cissy about Frank\n\"What do you think of Frank?\"\n\n\"Oh, you've got yourself a keeper there. He really does worship the ground you walk on.\"\n\nYou must admit: that's nice. It makes him all the easier to walk all over.\n\n> You ask Cissy about Keith\n\"I suppose you've heard about Keith and I.\"\n\n\"Oh, that. Well, I wasn't going to bring it up; it's vulgar, really. Besides, I don't believe a word of it.\"\n\n> You ask Cissy about the photos\nYou subtilely feel Cissy out about the photo, but she doesn't get it.\n\n\"They're spectacular, aren't they? I took them all myself,\" she says, admiring a blurry photo of what looks to be an ape, or her husband.\n\n> You ask Cissy about the kids\nYou make a passing comment about her kids.\n\n\"Children are an absolute treasure, aren't they?\" she says, looking at her photos fondly. \"Really Julia, you simply must have one one of these days.\"\n\nAny thought you ever had of having a child went up in smoke after seeing her 'charming' brood.\n\n> You ask Cissy about the banquet\nYou mention the banquet to Cissy.\n\n\"Oh yes, you have that speech as Philanthropist of the Year, don't you? Really, Julia, you are such an inspiration. You could really teach these nouveaus,\" she glances around the dining area disdainfully, \"a thing or two about noblesse oblig\u00e9.\"\n\nWhere does she get off with that tone? Her family made its money from inventing the egg carton.\n\n> You ask Cecilia about the egg carton\n\"Didn't your family make its money in egg cartons?\"\n\n\"Well you know my great-grandfather, Sir Arthur Chesterbald Winnecott, invented them, right? Oh he was a brilliant man.\"\n\nCissy proceeds to relate to you how the modern egg-carton evolved through a series of steps. First in boxes, then in little cardboard cups, and finally the styrofoam ones we've grown to know and love. Somehow, through the magic that is Cissy, she manages to make it more boring than you thought possible.\n\n> You look at the waiter\nTuxedoes aren't active wear, and the waiter exemplifies perfectly why this is so. His cummerbund prevents him from turning his waist; his whole ensemble clings to him with sweat. In fact, his bow tie seems so tight that his eyes bug out and his face is flushed.\n\nCissy continues to prattle on about her oh so fascinating life.\n\n> You ask Cissy about the gossip\n\"I suppose you've heard about Keith and I.\"\n\n\"Oh, that. Well, I wasn't going to bring it up; it's vulgar, really. Besides, I don't believe a word of it.\"\n\n> You go west\n\"Umm, Julia, hon. That's the kitchen,\" says Cissy, giving you a peculiar look. You can't blame her. Most people, if they want to complain, just scream at the waiters in front of everyone.\n\n> You go east\n\"I'm dreadfully sorry, Cissy, but I have some things to do,\" you say, rubbing your temples in attempt to ward off the migraine you know is coming.\n\n\"Ciao!\" Please, one month in Tuscany and she thinks she's Monica Bellucci.\n\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\nCynthia glares at the nouveaus surrounding her.\n\n> You ask Cynthia about the receptionist\n\"Really, Julia, can't we talk about something a little more interesting?\".\n\n> You ask Cynthia about the club manager\n\"What do you think of Pine Meadows?\"\n\n\"It's a shame what's happened to the place,\" she says, almost wistfully. \"Nouveaus.\" She rolls her eyes in the direction of the diners.\n\n> You ask Cynthia about Charles\n\"What do you think of Charles?\"\n\n\"Really, Julia. The only thing worse than being a bore is talking about one.\"\n\n> You examine the time\nLooking closely at your watch, you see that it is just after five.\n\n> Go southwest\n\"Aww, leaving so soon? Well we must do this again sometime,\" Cynthia calls out after you.\n\nServing as little more than a junction, the path here leads from the garden in the southwest to the outside dining area in the north and northeast. The club itself lies to the west and the tennis court to the east. To the southeast is the pool, but it is closed for the season.\n\n> Go southwest\nBeing this far out in the country, the garden is really the only place at Pine Meadows where nature exists, yet isn't out of control. The topiary is subtle, no garish animals or ambitious creations. Flowers line the drive to the south, down which the valet service lies. A path, hedged with rose bushes, curves round the club to the northeast, and the club itself lies to the north.\n\nMelissa Stratham, wife to Johnathan Stratham, sits here on a bench, delicately leafing through a paperback novel.\n\nAs she sees you enter, she looks up and grins impishly. \"Oh, Julia,\" she says, closing her book for a moment. \"I'm surprised to see you here. I thought you preferred to do your hoeing in the basement.\"\n\n> Smell Melissa\nYou raise your nose ever so slightly and sniff. Chanel #5, definitely the same as in the hall.\n\n> You ask Melissa about Frank\n\"So what do you think of my husband?\"\n\n\"Well he will certainly spice up the banquet. He is going to be there, isn't he? It just won't be any fun without him.\"\n\n> You ask Melissa about Keith\n\"I suppose you heard about Keith and I.\"\n\n\"Oh that, you know how this place is. News spreads fast.\"\n\n> You ask Melissa about the photo\n\"Have you heard of a certain photo making it about the club?\"\n\n\"Oh yes, I heard someone had taken a photo of you as you were, indisposed. There's just no privacy any more is there?\"\n\n> You ask Melissa about the perfume\n\"That's a charming fragrance, Melissa. Whatever is it?\"\n\n\"It's Chanel #5, do you like it?\"\n\n\"Well, no. But then again, I have taste,\" you reply snidely.\n\n> You ask Melissa about the hall\n\"What were you doing in the basement? And don't deny it, it reeked of Chanel, just like you.\"\n\n\"Really, Julia. This paranoia is most unbecoming. A lot of people wear Chanel #5,\" Melissa says, shifting in her seat slightly.\n\n> Examine book\nIt's the latest Danielle Steel: something about a wealthy heiress and a stableboy.\n\n> You ask Melissa about the book\n\"That's quite a book you have there.\"\n\n\"Do you like it? I thought you might. It's about a wealthy heiress and her affair with the stableboy.\" She pauses, thoughtfully. \"Hey, perhaps you could write your own. You know, update it for the modern world. I'm sure you have enough material.\"\n\n> You ask Melissa about Charles\n\"That Charles is something else, isn't he?\"\n\n\"Don't get me started. That man is such a bore. I dread each time I have to pay my dues and listen to him speak.\"\n\n> You ask Melissa about Beverly\n\"You've taken quite a shine to Beverly, haven't you?\"\n\n\"Well yes I have. It was so kind of her to take me under her wing. Now there's a woman who knows how to get what she wants.\"\n\n> You ask Melissa about Cynthia\n\"What do you know of Cynthia?\"\n\n\"I'd watch your step around her. She's a sly one.\"\n\n> You ask Melissa about Cissy\n\"My God, did you see what Cissy was wearing?\"\n\n\"Oh, that woman. She just does not know interesting photography. Cynthia on the other hand...\" Melissa lets her words trail off deliberately.\n\n> You ask Melissa about the receptionist\n\"Please, Julia. I'm trying to read.\" Melissa says, barely glancing up."
    },
    {
        "text": "[Themes: Slice of life]\n\n> Describe the surroundings\nBeing this far out in the country, the garden is really the only place at Pine Meadows where nature exists, yet isn't out of control. The topiary is subtle, no garish animals or ambitious creations. Flowers line the drive to the south, down which the valet service lies. A path, hedged with rose bushes, curves round the club to the northeast, and the club itself lies to the north.\n\nMelissa continues to read her book.\n\n> You look at the flowers\nHedges of rose bushes frame the sides of the path, their little pink flowers swaying in a cool breeze.\n\n> Go north\nPutting the club's best foot forward is clearly the purpose of the foyer. A stately crystal chandelier scatters daylight into kaleidoscopic patterns. Two verdant plants stand next to a set of double doors to the north, their leaves extended as if to usher people in to the banquet hall. To the south, next to the exit to the gardens, is a bulletin board. The hall continues to the west and east.\n\n> Go north\nThe hall is closed until tonight's banquet.\n\n> You go to the west\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\nThe receptionist glances around and sighs.\n\n> You ask the receptionist about herself\n\"How are you today?\" you ask, trying to be as nice as possible.\n\n\"I'm fine. A little tired, but you know how it is.\"\n\nIs she actually suggesting you've ever looked tired? It's definitely time to see Dr. Rickers again.\n\n> You ask the receptionist about Beverly\nYou ask about one of the spa patrons.\n\n\"I'm sorry Mrs. Hawthorne, but the stylist-client relationship is one of strictest confidence.\"\n\nTrue, they are the priests and therapists of the new millenium.\n\n> You show the salad to the receptionist\n\"I couldn't possibly. Too fattening,\" she says, waving the salad away with the bones she calls fingers.\n\n> Inventory\nYou are carrying:\na half-eaten salad\na pair of cucumber slices\nyour Louis Vuitton bag (which is open)\nyour make-up\na pair of banquet tickets\nyour watch (being worn)\nyour ensemble (being worn)\n\n> You show the cucumber to the receptionist\n\"Oh that would be perfect for Ms. Williams facial. We ran out of out supply ages ago.\"\n\n> Go south\nJust two years ago, this place would have been packed at this time of day. Now hardly anyone comes in here, and you can hardly blame them. It feels more like some hellish jungle than a spa. The smell is subtle but gnaws at you nonetheless. A bed of rocks, heated to drive up sweat and drive out impurities, gives the room a heavy, fevered feeling, making you wonder why they even bothered considering there is already a whirlpool to the south. For those club members who have given up on trying to hide the fact that they dye their hair, a hairdresser's station sits to one side, from which you have a clear view of the lobby and its desk to the north. And all this set to some \"Sounds of Nature\" CD. Already, your hair is going limp from all the humidity.\n\nMs. Williams, face covered in mud, sits at the hairdresser's station waiting for her weekly colouring.\n\n> You examine Williams\n(Ms. Williams)\nA fearsome sight, Ms. Williams has opted for a peculiar strategy in fighting the ravages of time: none. When she smiles, a rare event, the crow's feet (although ostrich might be more fitting by comparison) lace across her face like webs. If it weren't for her weekly dye job you might think she were over a hundred.\n\n> Smell Williams\n(Ms. Williams)\nMothballs and ribbon candy. Guess even money can't ward off the smell of the elderly.\n\n> You give the cucumber to Williams\n(Ms. Williams)\n\"I thought you could use some cucumber to complete your facial,\" you say, handing her the slices.\n\n\"Oh thank you, Julia,\" Ms. Williams croons. \"These will be perfect for my eyes. That idiot at the desk doesn't know half as much about beauty as you,\" she says, laying the slices on her eyes.\n\n> You examine the rocks\nHeated by some unknown source, the rocks cause the air above them to shimmer like a mirage. On the floor beside the bed of rocks is a bucket of water.\n\n> You examine the bucket\nTrying to capture some of the supposed ambience of colonial America, this bucket is constructed of well-fitted oak panels. Hooked on to the side of the bucket is a ladle.\n\n> You pour the water on the rocks\nYou plunge the ladle in to the bucket and pour the water on to the rocks. A loud hiss ensues as a cloud of steam fills the room."
    },
    {
        "text": "[Themes: Slice of life, strong profanity]\n\n> Look around\nJust two years ago, this place would have been packed at this time of day. Now hardly anyone comes in here, and you can hardly blame them. It feels more like some hellish jungle than a spa. The smell is subtle but gnaws at you nonetheless. A bed of rocks, heated to drive up sweat and drive out impurities, gives the room a heavy, fevered feeling, making you wonder why they even bothered considering there is already a whirlpool to the south. For those club members who have given up on trying to hide the fact that they dye their hair, a hairdresser's station sits to one side, from which you have a clear view of the lobby and its desk to the north. And all this set to some \"Sounds of Nature\" CD.\n\nThe jungle image is now complete as steam wraps its way around the plants, partially obscuring your vision.\n\nMs. Williams, face covered in mud, sits at the hairdresser's station waiting for her weekly colouring.\n\n> You examine the station\nAn all-in-one sink, chair, and hair dryer, the hairdresser's station is a testament to the fact that the spa doesn't service enough people to get the standard banks of equipment that more profitable ones do. While in itself an adequate piece of equipment, you would rather have one machine do each job and do it right.\n\nOn the brim of the sink rests a bottle of dye.\n\n> You ask Williams about the receptionist\n(Ms. Williams about that)\n\"What's with that receptionist? Who does she think she is?\"\n\n\"I don't know, but she was supposed to be in here ages ago to do my hair.\"\nAs fast as it appeared, the steam dissipates, allowing you to see clearly again.\n\n> You examine the dye\nYou would die before being caught putting this in your hair. As to whether you would actually put it in or not, only your stylist knows for sure.\n\n> You take the dye\nYou plunge the ladle in to the bucket and pour the water on to the rocks. A loud hiss ensues as a cloud of steam fills the room.\nYou would die before being caught putting this in your hair. As to whether you would actually put it in or not, only your stylist knows for sure.\n\n> You put dye on Williams\n(Ms. Williams)\nYou need to be holding the dye before you can put it on top of something else.\n\n> You put the dye in the bucket\nYou need to be holding the dye before you can put it into something else.\nAs fast as it appeared, the steam dissipates, allowing you to see clearly again.\n\n> You knock over the dye\nYou do manual labour? Get real.\n\n> You open the door\nThe whirlpool is currently occupied. Besides, if you wanted to lie in a pool of someone else's filth, you'd have a bath with Frank and make his day.\n\n> You look at time\nLooking closely at your watch, you see that it is sometime after five.\n\n> You look at plants\nThese plants have seen better days. All the steam from the whirlpool and all the heat from the rocks have taken their toll. It's probably for the best. When will people learn that nature belongs outside?\n\n> You ask the receptionist about the dye\n\"Shouldn't you start doing Ms. Williams's dye job?\" Hey, if you don't keep the help in line, who will?\n\n\"I'll get to her colouring just as soon as I finish this,\" the receptionist says, although you can't imagine what is so important. She probably just enjoys making her squirm.\n\n> You go to the south\nJust two years ago, this place would have been packed at this time of day. Now hardly anyone comes in here, and you can hardly blame them. It feels more like some hellish jungle than a spa. The smell is subtle but gnaws at you nonetheless. A bed of rocks, heated to drive up sweat and drive out impurities, gives the room a heavy, fevered feeling, making you wonder why they even bothered considering there is already a whirlpool to the south. For those club members who have given up on trying to hide the fact that they dye their hair, a hairdresser's station sits to one side, from which you have a clear view of the lobby and its desk to the north. And all this set to some \"Sounds of Nature\" CD.\n\nMs. Williams, face covered in mud, sits at the hairdresser's station waiting for her weekly colouring.\n\n> Down\nThe stairs turn sharply north as you descend.\n\nA short, dimly lit hallway between the utility closet to the north and the stairs to the rest of the club leading south and up.\n\nA faint smell lingers in the hall.\n\n> Go north\nThe concrete walls of this closet are oppressively close, made more so by the smell of bleach and chemicals coming from a filthy shelf against the far wall. Various brooms clutter the room, displaying none of the pleasant tidiness characteristic of the rest of Pine Meadows. All this can be escaped through a door to the south.\n\n> You take the bleach\nNah, let the cleaning staff handle that.\n\n> You examine the shelf\nA filthy metal shelf hangs on the far wall, sagging from the weight of the cleaning supplies it struggles to support. Although most of them are foreign to you, you do recognize one bottle as bleach.\n\n> You take the bleach\n(the bleach)\nTaken.\n\n> You look at the bleach\n(the bleach)\nAlthough cleaning has never been your forte, judging by the label and its numerous warnings, you would say this bottle contained bleach.\n\n> Smell the bleach\n(the bleach)\nThe pungent smell of chlorine fills your nostrils, burning the delicate membranes inside.\n\n> You go south\nA short, dimly lit hallway between the utility closet to the north and the stairs to the rest of the club leading south and up.\n\nA faint smell lingers in the hall.\n\n> Up\nThe stairs turn sharply north as you ascend.\n\nThis is the newest addition to Pine Meadows, built to house the new spa to the west. In stark contrast to the well-lit, tan stucco walls, a dingy concrete stairwell descends to south. To the north, a rather uninspired doorway leads to the office of the club manager. The hall itself extends to the east.\n\n> You go to the west\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\nDesperately trying to look important, the receptionist peers down a hawkish nose at a log book, scribbling in corrections at a furious speed.\n\n> You go to the north\nWith the pool closed until summer and tennis verging on the pass\u00e9, the only use the women of Pine Meadows have for this room is the lockers. The showers lie, unused, to the north.\n\nYour locker, #11, sits against the left wall.\n\n> You pour the bleach in dye\nWith Ms. Williams's eyes covered by the cucumber slices, you make your way over to the sink and carefully pour some bleach in to the dye.\n\nJust then, the receptionist, who apparently doubles as the hairdresser with the spa's drop in popularity, comes in. \"Ready for your colouring, Ms. Williams?\"\n\n\"Of course I am, I've been waiting for hours.\" Her voice grates on you as it scrapes out past her ancient vocal cords.\n\n\"I am sorry about that, it's just we're so busy, and--.\"\n\n\"Just get on with it, you don't get paid to talk.\"\n\nWith that, the hairdresser goes about mixing the dye with some peroxide she brought with her (in addition to the liberal dousing of bleach you put in there) and puts it in Ms. Williams already fragile hair. For a few minutes it seems as though the bleach has no effect, but then, just as you're about the leave, you notice a few strands coming out in the hairdresser's hands until finally it starts coming out in goopy clumps.\n\n\"What's going on up there?\"\n\n\"Uh, ah, I don't know. I used the same proportions as always.\"\n\n\"You idiot!\" the old crone shrieks, fishing a hand through what remains of her hair. \"My hair! My hair!\"\n\nThe hairdresser apologizes profusely, leading Ms. Williams out with a towel on her head.\n\n> You go north\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\n> You take the book\nThat belongs on the desk.\n\n> You look up Cynthia\n#18, combination 23-44-46 (if only her measurements were the same).\n\n> You look up beverly\nHere it is. #3, combination 16-43-81. \"Anti-aging treatment, twice a week. Appointment to be verified each Monday.\"\n\n> You look up melissa\n#67, combination 33-73-42. \"Problem facelift, avocado cream mask recommended.\" Hah! So much for that summer in Napa.\n\n> You look up Williams\n\"Brittle hair, only use 30 millilitres of peroxide each treatment.\" She doesn't seem to have a locker.\n\n> You look up frank\nSince Frank is rarely at the club, he never bothered to get a locker.\n\n> Go west\nChecking first to make sure no one is looking, you enter the men's change room.\n\nDespite everything you've heard about men's bath and change facilities, this room is remarkably similar to the women's one you're more familiar with. Same tiles, same lockers. In fact, if it weren't for the direction you entered through, you wouldn't be able to tell the difference.\n\n> You look at the lockers\nWhat is it about locked things that makes them so irresistible?\n\n> Go north\nYou can go only east or out.\n\n> Go east\nPine Meadows's most recent addition, the spa was built during the natural beauty craze of the late nineties, when holistic was in and plastic surgery was out. Frankly, you never could understand why it was so popular. The smell of damp seaweed and aromatherapy float in from the south, where the actual spa lies. To the north and west, with a functionalism that seems out of place next to the distinctively modern architecture of the spa, are the women's and men's change facilities, respectively.\n\nThe crowning achievement of some hack designer, a desk, dominates the room, trying to give some sense of purpose to the poor soul whose job it is to man it.\n\n> You look up Charles\nHere it is. #32, combination 62-34-42. \"Standing appointment each day from three o'clock to five-thirty. May be used by Mr. Burton or Scott.\"\n\n> You go to the west\nChecking first to make sure no one is looking, you enter the men's change room.\n\nDespite everything you've heard about men's bath and change facilities, this room is remarkably similar to the women's one you're more familiar with. Same tiles, same lockers. In fact, if it weren't for the direction you entered through, you wouldn't be able to tell the difference.\n\nThere it is, Charles's locker, #32.\n\n> You open the locker\n(Charles's locker)\nYou check to see you're alone and then enter 62-34-42 on the combination lock. Inside is Charles's clothing.\n\n> You examine the clothing\nLooking at Charles's clothes baffles you. Despite being all top of the line, on Charles they look cheap and out-of-place. Some people just aren't meant to be rich.\n\n> Search clothing\nYou begin fishing through the pockets of Charles's clothes. Just when you think you've gone through every pocket three times, you find it: the key to Charles's office. You pocket it quickly.\n\n> Go north\nWith the pool closed until summer and tennis verging on the pass\u00e9, the only use the women of Pine Meadows have for this room is the lockers. The showers lie, unused, to the north.\n\nYou see Melissa's locker, #67, against the wall.\n\nBeverly's locker, #3, sits in the banks.\n\nCynthia's locker, #18, stands against the wall.\n\nYour locker, #11, sits against the left wall.\n\n> You close locker\n(Charles's locker)\nYou close Charles's locker.\n\n> You open melissa\nYou flip the dial through 33-73-42 and the locker swings open to reveal a small bottle of pills.\n\n> You examine the pills\nAh, this takes you back. The bottle contains a number of small white pills. On the side is a label that says: \"Percodan. Highly addictive. Do not take for longer than five days or dependency may result.\" Below that is a date for several months ago and the name and phone number of one Dr. Ferguson. Curiously, the name of the patient is scratched out.\n\n> You take the pills\n(putting the half-eaten salad into the Louis Vuitton bag to make room) Taken.\n\n> You close locker\nWhich do you mean, Melissa's locker, Beverly's locker, Cynthia's locker, your locker or the lockers?\n\n> Close melissa\nYou close Melissa's locker.\n\n> You open beverly\nYou turn the dial to 16-43-81 and here a small click as the door swings open and reveals some of Beverly's trademark clothes.\n\n> You look at what you're carrying with you\nYou are carrying:\na bottle of Percodan\na key\nsome bleach\nyour Louis Vuitton bag (which is open)\na half-eaten salad\nyour make-up\na pair of banquet tickets\nyour watch (being worn)\nyour ensemble (being worn)\n\n> Close beverly\nYou close Beverly's locker.\n\n> You open Cynthia\nTurning the dial to 23-44-46, you hear a gentle click. The swings open to reveal a small camera sitting in the bottom of the locker.\n\n> You take camera\n(putting the bleach into the Louis Vuitton bag to make room)\nTaken.\n\n> You examine the camera\nIt's a small, instant camera.\n\n> Close Cynthia\nYou close Cynthia's locker.\n\n> You put all in the bag\ncamera: Done.\nbottle of Percodan: Done.\nkey: Done.\n\n> You open the camera\nYou flip open the small hatch on the side where the film is supposed to go. It's empty.\n\n> You put the camera in the bag\nYou put the camera into the Louis Vuitton bag.\n\n> You look under the desk\nBending over has already gotten you in to one awkward position today.\n\n> You unlock the door with key\nYou unlock the door to Charles's office.\n\n> Go north\nYou open the door and walk in.\n\nYou haven't seen this room since you joined the club years ago. Frank handles all the dues, and Charles isn't your first choice among people to socialize with. The office itself seems to be a lot more luxurious than before. Maybe last time you were just distracted by the fear of your application being denied, or, more likely, Charles's perpetually tacky air just drained all the class out of the place. Either way, you have to say that now you like its bold charm, so unlike its owner.\n\nClearly the focus of the layout, a magnificently restored antique oak desk stands near the back of the room, illuminated by a spacious window overlooking the golf course. Somewhat less impressive, a wise move considering they might detract from the desk, are a row of cabinets leading from the door to the south, along the wall, to the window at the far side of the room.\n\nCharles could come back any minute. Better make it quick.\n\nOn Charles's desk is a telephone.\n\n> You lock the door\n(with the key)\nThe door clicks gently as the key turns in the lock.\n\n> You take the phone\nYou don't want it. Besides, there's only one jack in Pine Meadows.\n\n> You open the cabinets\nIf you want to dig up some dirt on someone, look them up by name.\n\n> You look up Cynthia\nCynthia's financial records are boring, even for accounting forms; however, towards the end, you find a health notice. Well, well, it looks like someone's allergic to peanuts.\n\nJust as you close the cabinet, you hear faint footsteps outside the door. \"Who's in there?\" You hear Charles call as he thuds on the door.\n\n> You look up beverly\nWhat's this? A note from Beverly's mother to Charles reminding him of Beverly's fiftieth birthday that is approaching soon. Well it's about time: she's been forty-five for six years now.\n\n> You look up cissy\nCissy's records are as bloated and boring as she is.\n\n> You look up melissa\nThe cheques are made out from her husband. She may be young, but at least she knows how to work it.\n\n> You look up roger\nRoger's files list him as the primary shareholder of the club, giving him the ability to make membership decisions completely at his own discretion.\n\n> You look up frank\nHmm, what's this? The account Frank has been using to pay for dues isn't anyone that you recognize. How dare he? A marriage is supposed to be about trust!\n\n> You look up Charles\nEighty thousand dollars a year. Well now you see why it costs three dollars for a glass of Perrier.\n\n> You look up Williams\nMs. Williams's cheques go back to the fifties, when the club first opened.\n\n> You examine the window\nThe window provides a wonderful view of the golf course. In fact, from up here, you can barely see how ill-kept the green is or how polluted the water."
    },
    {
        "text": "[Themes: Slice of life, sexual content, strong profanity]\n\n> Describe the surroundings\nClearly the focus of the layout, a magnificently restored antique oak desk stands near the back of the room, illuminated by a spacious window overlooking the golf course. Somewhat less impressive, a wise move considering they might detract from the desk, are a row of cabinets leading from the door to the south, along the wall, to the window at the far side of the room.\n\nOn Charles's desk is a telephone.\n\n> You examine the desk\nAbsolutely gorgeous and without a scratch on it. Which is to be expected, seeing as very little work actually gets done at it. Most members have their banks automatically pay their dues for them and since country clubs have declined in popularity recently, new members are few and far between. Why Charles would have been granted a new desk is beyond you.\n\n> You examine phone\nWith rules against cell phones and a desire for leaving the outside world outside, this is the only phone at Pine Meadows.\n\n> You hide under the desk\nYou try crawling under the desk, but figure that if Charles does come in, your face will be where only cater-waiters and hustlers have been before. Then, you climb on top of the cabinets, but realize that Charles isn't quite that short. Finally, you try hiding behind a pencil, but you have a few more months on your diet before you can pull that off. Dejected, you go about finding a better way to avoid getting caught.\n\n> You open the window\nYou open the office window.\n\n> You climb out the window\nAs soon as your head ducks below the windowsill, you hear Charles (obviously with some assistance) break open the door and shriek: \"The window, they've gone out the window!\"\n\nQuickly, you begin to climb down the trellis, careful not to get your heels snagged in the ivy. However, you're more adept at navigating a concrete jungle than a real one, and soon one of your pumps gets caught on a particularly nasty weed. You kick wildly for a few moments, but it's to no avail; you lose your balance and tumble in to the bushes below, dragging the wreckage of the trellis with you.\n\nBehind the club (in the thorn bushes)\nOw! While the bushes cushion your fall, preventing any serious damage, their thorns still manage to tear at your clothes and cling at your hair. As you pluck the spikes from your face, you hear Charles screaming from the window above.\n\n> You leave\nYou get out of the thorn bushes.\n\nYours are probably the first feet to tread here since the trellis was installed. The bushes have none of the carefully manicured branches or unnaturally bright flowers of their cousins in the garden. Instead, they are twisted with many sharp little thorns. They thin a little to the southwest.\n\nWithout the cover of the bushes, Charles easily sees you. The criminal charges are no big deal, but being seen by the whole club being pulled from the bushes by the police is almost too much to bear.\n\n> Inventory\nYou are carrying:\na key (which opens the broken door)\nyour Louis Vuitton bag (which is open)\na camera\na bottle of Percodan\nsome bleach\na half-eaten salad\nyour make-up\na pair of banquet tickets\nyour watch (being worn)\nyour ensemble (being worn)\n\n\"Can you see them?\" You hear a voice ask from above.\n\n\"No, they're in the bushes,\" Charles replies.\n\n> Wait\nAlthough the thorns continue to poke in to your soft skin, you decide you'd rather put up with that for a few minutes than let Charles see you.\n\n\"Well is there any more you want me to do?\"\n\n\"Nah, go back to the whirlpool, I'll take care of things here.\"\n\n> You wait awhile\nAlthough the thorns continue to poke in to your soft skin, you decide you'd rather put up with that for a few minutes than let Charles see you.\n\n\"That's it! I'm going to call the police,\" you hear Charles call to you from above. At least he's gone from the window now.\n\n> You go outside\nYou get out of the thorn bushes.\n\nYours are probably the first feet to tread here since the trellis was installed. The bushes have none of the carefully manicured branches or unnaturally bright flowers of their cousins in the garden. Instead, they are twisted with many sharp little thorns. They thin a little to the southwest.\n\n> You look at the thorns\nAlthough the same kind grow in the garden in front of the club, those ones are kept in check with meticulous grooming. These, without a gardener to tend to them, have grown wildly, as if making up for the complacency of their sisters.\n\n> You look at the trellis\nThe trellis lies in a mangled heap at the base of the wall.\n\n> You go to the southwest\nYou battle your way through the underbrush for what must literally be minutes until you arrive in the garden.\n\nBeing this far out in the country, the garden is really the only place at Pine Meadows where nature exists, yet isn't out of control. The topiary is subtle, no garish animals or ambitious creations. Flowers line the drive to the south, down which the valet service lies. A path, hedged with rose bushes, curves round the club to the northeast, and the club itself lies to the north.\n\nMelissa continues to read her book.\n\n\"My, my. First the basement, now the bushes? Ever heard of a bed?\" Melissa says, smirking.\n\n> About yourself\nThe fall took its toll on your appearance. Your skirt was ripped, but you managed to capitalize on that by tearing it a little more and turning it in to a fashionable slit. Although you tried, you failed to get all the twigs and thorns out of your hair. Still, you look a lot better than most of the people around here.\n\n> You look at the ensemble\nIt's tragic really, the damage done by the fall. Oh well, these clothes were two weeks old; it's about time they were replaced.\n\n> You go to the south\nIf you leave the club without getting that film you'll be ruined.\n\n> You open your locker\n38 left, 24 right, 34 left, just like your measurements. Inside is a change of clothes.\n\n> You take the clothes\nAlthough those bushes took their toll, the worst might be yet to come. You should probably save these clothes for the banquet.\n\n> You close locker\nWhich do you mean, Melissa's locker, Beverly's locker, Cynthia's locker, your locker or the lockers?\n\n> You close your locker\nYou close your locker.\n\n> You fix the makeup\nSometimes less is more.\n\n> You go south\nJust two years ago, this place would have been packed at this time of day. Now hardly anyone comes in here, and you can hardly blame them. It feels more like some hellish jungle than a spa. The smell is subtle but gnaws at you nonetheless. A bed of rocks, heated to drive up sweat and drive out impurities, gives the room a heavy, fevered feeling, making you wonder why they even bothered considering there is already a whirlpool to the south. For those club members who have given up on trying to hide the fact that they dye their hair, a hairdresser's station sits to one side, from which you have a clear view of the lobby and its desk to the north. And all this set to some \"Sounds of Nature\" CD.\n\nStrands of gray hair form a trail through the spa, left after you gave Ms. Williams the Sin\u00e9ad O'Conner look.\n\n> You go south\nYou open the door and walk in.\n\nCramped and humid, the whirlpool room is dominated by a large tub of bubbling water. The steam coming from it is almost unbearable; it flattens your hair and clings to your skin. Even worse, there seems to be no ventilation other than from the door to the north, beside which is a row of hooks for hanging clothes.\n\nA young man reclines in the pool, naked.\n\nSome clothes hang on one of the hooks.\n\nThe man sits up with a start but does nothing to conceal his nudity. \"Who the hell are you?\" he demands. Without waiting for a reply, he lies back. \"Nevermind. I don't care. Charles said I could stay here all afternoon, so fuck off.\"\n\n> You examine man\nWith his bleached hair and chiseled features, this guy looks like he stepped right out of Honcho.\n\n> You examine clothes\nMy God! A poly-cotton blend in this place? What is Pine Meadows coming to?\n\n> Search clothes\n\"Hey, cut that out!\" You ignore him but find nothing of interest anyway.\n\n> You remove the clothes\n(first taking the clothes)\n\"Hey, what are you doing? I need those,\" the man cries.\n\nYou ignore him and take the clothes.\n\n> You enter the whirlpool\nWhich do you mean, the door to the spa or the whirlpool?\n\n> You go north\n\"Listen!\" you hiss, holding the clothes out of the young man's reach. \"Either you tell me what I want to know or I walk out with these clothes right now.\"\n\n\"What? You're crazy!\"\n\n\"Am I?\" You walk towards the door.\n\n\"Ok, wait, wait. Alright, what do you want to know?\"\n\n\"Well, who the hell you are, for starters.\"\n\n\"Ok, I'm Scott. Charles's new 'assistant.' I'd shake your hand, but I'm a little indisposed at the moment.\"\n\n\"I'll let it slide,\" you say, politely averting your eyes. \"Do you always bathe naked with your employers?\"\n\n\"Bathe naked, sleep naked, play Parcheesi naked,\" he shrugs his shoulders. \"Whatever they pay me for. It's all the same to me.\"\n\nYou knew it. Charles was always a little well-manicured, even for Pine Meadows. \"So he pays you for your services?\"\n\n\"Of course, you have seen him, haven't you?\" The two of you share a collective shudder.\n\n\"Alright, that's enough.\" Satisfied you have enough information, you hang his clothes back on the hooks.\n\n\"Anytime.\"\n\n> You go north\nYou open the door and walk in.\n\nClearly the focus of the layout, a magnificently restored antique oak desk stands near the back of the room, illuminated by a spacious window overlooking the golf course. Somewhat less impressive, a wise move considering they might detract from the desk, are a row of cabinets leading from the door to the south, along the wall, to the window at the far side of the room.\n\nCharles sits at his desk, pushing some papers around to at least give the impression that he's worth the money the club pays him.\n\nOn Charles's desk is a telephone.\n\n\"Julia!\" Charles says nasally. \"So good to see you. Can I help you with anything?\"\n\n> You ask Charles about Scott\n\"So I was talking to Scott, and he had some of the most interesting things to say.\"\n\n\"Um, ah.\" Charles tugs at his bow tie. \"I don't know what you're talking about.\"\n\n> Blackmail charles with Scott\n\"My, my Charles, you look absolutely flushed. Have you been in the whirlpool?\" you ask gently.\n\n\"Well, yes I have, Julia.\" --his cheeks get a little redder-- \"It's marvelous. You really must try it sometime.\"\n\n\"Were you in for long? I saw the door and it said you were signed up for the whole afternoon. I'm only asking because prolonged exposure can be terrible for the skin, let alone the health.\" Your lips pout out a little with feigned concern.\n\n\"Um, well, I was only in for an hour or so, I'm letting my assistant use the rest of my time.\" Charles tugs a little at his bow tie.\n\n\"Oh, so you finally found someone to work 'under' you?\" you ask, your emphasis almost tacky.\n\n\"Yes, his name's Scott. He's worth every penny the club pays him.\"\n\n\"Oh yes, Scott. I spoke to him.\" Charles face drops. \"He has some very interesting things to say.\"\n\nCharles face glistens with sweat. \"Please, Julia. Don't tell anyone, I'll give you anything you want.\" He pleads.\n\n\"Alright, let me in to those cabinets and let me use your phone.\"\n\n\"But that is-\"\n\n\"Or I could just go talk to Mr. Knowles.\"\n\n\"Ok, ok. Just as long as you don't tell anyone I let you,\" Charles says resignedly and goes back to working on his papers, even less believably than before.\n\n> You call the doctor\nSuspicious about those pills, you call up doctor Ferguson.\n\n\"Hi, Dr. Ferguson. This is Angie from Dr. Leeds office,\" you say in as nasal a voice as you can muster. \"I'm calling in regards to a patient of yours, one Melissa Stratham.\"\n\n\"Yes, what can I do for you?\" he asks, more than a little perturbed to be disturbed.\n\n\"Well, Mrs. Stratham told us that you gave her a prescription for Percodan to be renewed indefinitely and--\"\n\n\"What? She's still taking them? They're highly addictive!\" he says with concern, more likely from fear of malpractice than genuine compassion.\n\n\"Alright, Dr. Ferguson. I'll notify Betty Ford right away.\"\n\nWith that, you hang up the phone and ignore Charles's odd looks.\n\n> You look up Knowles\nRoger's files list him as the primary shareholder of the club, giving him the ability to make membership decisions completely at his own discretion.\n\n> You ask Charles about the banquet\n\"Please, Julia. I've let you look at the records, isn't that enough?\"\n\n> Go south\nBeing this far out in the country, the garden is really the only place at Pine Meadows where nature exists, yet isn't out of control. The topiary is subtle, no garish animals or ambitious creations. Flowers line the drive to the south, down which the valet service lies. A path, hedged with rose bushes, curves round the club to the northeast, and the club itself lies to the north.\n\nGetting to a particularly steamy passage, Melissa fans her neck vigorously.\n\n> You ask Melissa about the pills\nYou tell Melissa about your little conversation with Dr. Ferguson.\n\n\"So they're mine. No one but the most backwards fossil would care about my little indulgence.\"\n\n> Blackmail melissa with pills\nYou tell Melissa about your conversation with Dr. Ferguson.\n\n\"Oh, please. This is the new millenium. Who cares if I indulge in a little Percodan now and then?\"\n\n> Blackmail melissa with addiction\n\"Now why would that scare me?\" Melissa says, and returns to her book.\n\n> You show pills to Melissa\n(first taking the bottle of Percodan)\nYou tell Melissa about your little conversation with Dr. Ferguson.\n\n\"So they're mine. No one but the most backwards fossil would care about my little indulgence.\"\n\n> You ask Melissa about husband\n\"So where is your husband, anyway?\"\n\n\"He's gone to London for business until the end of the month. It's like I never get to see him any more. How is a girl supposed to stay faithful?\" --she glances at you-- \"Well I guess I'm asking the wrong person.\"\n\n> You ask Melissa about Roger\n\"So what do you know of Roger Knowles?\"\n\n\"Ugh,\" she says, wrinkling her nose, \"that man is an ogre.\"\n\n> Go northeast\nServing as little more than a junction, the path here leads from the garden in the southwest to the outside dining area in the north and northeast. The club itself lies to the west and the tennis court to the east. To the southeast is the pool, but it is closed for the season.\n\n> You go to the north\nAs if you never left, Cissy starts back on her photos.\n\nOutside dining (next to the kitchen)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nThe waiter takes a sip from one of the finished drinks and seems to calm down a bit.\n\nCissy stands here in all her fuchsia splendour.\n\n> You go east\n\"You're not leaving already are you?\" Cissy asks, lips pouted. \"Oh well, you must come back to see the rest of my photos soon.\"\n\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\nCynthia waits impatiently for her meal.\n\n> You tell Cynthia about the pills\n\"What do you think of Percodan?\"\n\n\"I haven't done it in years. Oh, well that explains how you're able to let Frank touch you.\"\n\n> You tell Cynthia about Charles\n\"What do you think of Charles?\"\n\n\"Really, Julia. The only thing worse than being a bore is talking about one.\"\n\n> Go west\n\"Aww, leaving so soon? Well we must do this again sometime,\" Cynthia calls out after you.\nAs if you never left, Cissy starts back on her photos.\n\nOutside dining (next to the kitchen)\nThis is what it's all about: stale food and staler gossip. However, despite all that, the outside dining offered by Pine Meadows is really the only thing that interests you at the club. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA waiter bustles about frantically, trying desperately to keep up with drink orders from demanding patrons.\n\nCissy stands here in all her fuchsia splendour.\n\n> You look at the waiter\nTuxedoes aren't active wear, and the waiter exemplifies perfectly why this is so. His cummerbund prevents him from turning his waist; his whole ensemble clings to him with sweat. In fact, his bow tie seems so tight that his eyes bug out and his face is flushed.\n\nCissy continues to prattle on about her oh so fascinating life.\n\n> You ask the waiter for the peanuts\n\"I'm sorry, Mrs. Hawthorne, but we don't serve peanuts here. There might be some sauce in the kitchen though.\"\n\nCissy tells you about another 'famous' relative's accomplishments.\n\n> You order the drink\n\"Here you go, Mrs. Hawthorne,\" he says, handing you a glass of wine, his experience such that barely a ripple passes across its surface.\n\nCissy continues to prattle on about her oh so fascinating life.\n\n> You spill the wine on Cissy\nPretending to catch your heel on a crack, you launch yourself forward towards Cissy, spilling the deep, red wine over her clothes.\n\n\"My clothes!\" she cries, trying desperately to sop up the rapidly setting wine. \"This was a gift from my husband.\" You guess he bought it as a not so subtle hint.\n\n\"Don't worry Cissy, a little club soda and that will come right out.\" A lie, sure, but you have to stop her from sobbing somehow. Besides, you did her a favour, that monstrosity wasn't helping anyone.\n\nWhen Cissy sees that nothing she can do here will stop the stain, she begins to walk out. \"Oh dear, guess I'll go home to change. I'll see you at the banquet tonight. Ciao.\"\n\n> Go west\nFor all the years you've been a member of Pine Meadows, you've never had a reason to visit the kitchen before today. And you are thankful for that. If you had been here years ago you certainly wouldn't have been so quick to eat the food. Gray slabs of meat lie along the counters and hang from cupboards; enormous pots, some empty, some full, sit on stoves. All this under a barrage of pedestrian smells that assault your nose. A set of large, locked doors lead west to the banquet hall and a smaller opening on the opposite wall leads back out to the dining area.\n\nAmongst the many exotic dishes, you see a steaming plate of Coquille Saint Jacques.\n\nWhen he thinks you aren't looking, one of the cooks spits in to a steaming plate of something.\n\n> You open the cupboards\nThe cooks look at you suspiciously but say nothing. You're well known among the kitchen staff for your temper. The cupboards are packed with a bewildering array of foodstuffs.\n\n> You search the cupboards\nHere we go, Thai peanut sauce. You slip it in to your pocket while the cooks aren't looking.\n\n> You put the sauce on the Coquille\n\"Please, Mrs. Hawthorne,\" says one of the cooks, \"leave the food to us.\"\n\n> You examine cook\nHarried and hurried, the cooks rush about the kitchen.\n\n> You look at the pots\nBalanced on the stove, several pots stand dangerously close to falling over.\n\n> You put the sauce on the Coquille\nWith the cooks distracted, you sneak the peanut sauce in to Cynthia's food and discard the bottle.\n\nApparently you made quite a mess. The cooks are still cleaning it up.\n\n> Go east\nOutside dining (next to the kitchen)\nThis is what it's all about: stale food and staler gossip. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA waiter bustles about frantically, trying desperately to keep up with drink orders from demanding patrons.\n\n> Go east\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\nYou arrive just as Cynthia sits down to eat her Coquille Saint-Jacques. Your glee can barely be contained as she raises a slimy piece of shellfish to her lips and delicately nibbles at it.\n\nA few minutes pass while Cynthia eats her meal and when she is done, she finishes it off with a delicate licking of her lips. That's when she notices what you have been seeing the whole time. Her lips, reacting furiously to the peanut sauce, have begun to swell, ballooning up to twice their regular size with no sign of stopping.\n\n\"Myb bwips, bwat's bappebing?\" she blubbers. Oh well, at least she won't need that collagen anymore.\n\nSoon the paramedics arrive to take her away from the crowd of gawking club members and elated waiters, leaving you to resume your business.\n\n> You look\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\n> You go northeast\nYou walk down the paved path until you come to the Pro Shop.\n\nSince Pine Meadows instituted the policy of allowing day memberships, the shop has been enjoying a lot more business. Well, enjoying is probably the wrong word. The only people who frequent the shop are amateur social climbers trying to impress clients or lonely housewives eager to get a little attention from Keith. Luckily, none of them seem to be around, leaving you to see how cramped the shop actually is. All manner of rackets, clubs, and balls crowd the walls; an obtrusive counter divides the room arbitrarily, and to the north a door leads to the driving range, too small to open up the place at all.\n\nKeith smiles up at you as you enter.\n\n\"Hey babe, good to see ya,\" Keith says, smiling. \"I was beginning to think you might not make it.\"\n\n> You examine Keith\nTall, well-muscled, and the most sexually virile man you've ever known, Keith rubs his hand across his chest absently when he catches you looking at him. You suppress a shudder and involuntarily lick your lips.\n\n\"You better be careful with those around Mr. Knowles,\" Keith says, glancing at the pills and jerking his thumb towards the driving range. \"He's in a huff ever since he found out about his grandson.\"\n\n> Smell keith\nWhatever smell is there is overpowered by your characteristic fragrance: Self-Obsession, by Calvin Klone.\n\n> You tell Keith about the photo\n\"Listen, Keith, someone was in the access hall while we were in the closet and they took a photo.\"\n\n\"You mean someone took a picture of us while we were fucking?\" You cringe at his vulgarity. \"Shit, what are we going to do?\"\n\n\"Don't worry, I'll take care of it,\" you say, hoping it's not a lie.\n\n> You tell Keith about Frank\n\"About Frank...\"\n\n\"Why don't you leave him already? Then we could finally be together. Just don't tell him about us, he'd ruin me.\" With that, he leans forward dramatically. \"I could give you the moon.\"\n\nNo, what he could give you would be more painfully trite lines like that.\n\n> You tell Keith about Charles\n\"What do you think of Charles?\"\n\n\"That guy freaks me out. Always brushing up against me and stuff.\"\n\n> You tell Keith about Scott\n\"Sorry, babe. I don't know nothing about that.\"\n\n> You go to the north\nWith the banquet just a few hours away, most people aren't willing to work up a sweat. As such, the driving range is all but uninhabited. While most of the course is just grass, the range has concrete walks, sparing you from the torture that is walking on grass in heels. The Pro Shop lies to the south.\n\nRoger Knowles, a man who puts the 'old' in old money, stands here, occasionally hitting a ball off in to the green.\n\n\"Oh, Julia, it's you,\" Roger says, looking up. As he returns his concentration to the game, he continues, \"What do you want?\"\n\n> You tell Roger about pills\nYou carefully feel Roger out about drugs.\n\n\"Damn junkies,\" he spits, \"they're ruining this country and this club. I will not have those people at Pine Meadows.\"\n\n> You tell Roger about Melissa\nYou better not, blackmail only works if you haven't actually revealed the information.\n\nRoger sights up and smacks a ball clear across the green.\n\n> You examine Roger\nWhile Pine Meadows's members have never been known for their progressive politics, Roger Knowles is considered a little old-fashioned even here. You'd be wise to watch your step around him; he's never liked you and, being a primary shareholder of the club, is likely to expel you should you disturb him too much.\n\n> You ask Roger about Frank\n\"Julia, I have no need of your gossip.\"\n\nRoger sights up and smacks a ball clear across the green.\n\n> You go south\nSince Pine Meadows instituted the policy of allowing day memberships, the shop has been enjoying a lot more business. Well, enjoying is probably the wrong word. The only people who frequent the shop are amateur social climbers trying to impress clients or lonely housewives eager to get a little attention from Keith. Luckily, none of them seem to be around, leaving you to see how cramped the shop actually is. All manner of rackets, clubs, and balls crowd the walls; an obtrusive counter divides the room arbitrarily, and to the north a door leads to the driving range, too small to open up the place at all.\n\nKeith paces back and forth, absentmindedly fiddling with things.\n\n> Go southwest\nOutside dining (next to the Pro Shop)\nThis is what it's all about: stale food and staler gossip. The tables are full; the place is busy. The members don't seem to be eating all that much though, no doubt saving their appetites for the banquet tonight. To the west is the server's entrance to the kitchen where all manner of food is prepared. The dining area extends to the east, and to the south and southeast are the garden path and tennis court respectively.\n\nA group of women sit here playing bridge and chatting.\n\n> Go south\nSince tennis became pass\u00e9, this court is mainly used by those few members who actually enjoy the game. In fact, due to the reduced use, the club has even begun letting non-members play on it. You've never been that fond of tennis and with the rabble about, you're loath to even stay on the court. Hardly a big loss. The net droops, the benches are peeling, and the rubber floor sticks to your pumps. Although you are fenced in on most sides, thankfully, you can still leave to the more agreeable outside dining areas to the northwest and north, or the garden path to the west.\n\nBeverly hops from foot to foot, waiting for a ball to come out of a serving machine at the other end of the court.\n\nBeverly smacks a ball across the court.\n\n> You go west\nServing as little more than a junction, the path here leads from the garden in the southwest to the outside dining area in the north and northeast. The club itself lies to the west and the tennis court to the east. To the southeast is the pool, but it is closed for the season.\n\n> Blackmail melissa about pills\n\"Oh, Melissa,\" you say, smiling, \"I was just talking to Roger Knowles, you know, primary shareholder of the club, the man with the power to make or break? Well, he had some of the most interesting things to say about, how did he put it, oh yes, 'junkies.' I just thought you might--\"\n\n\"Cut the crap, Julia, what do you want?\" she says, her boldness replaced by anger.\n\n\"Now, now. No need for such language,\" you say, enjoying your moment. \"Just give me the film and no one need know your dirty little secret.\"\n\n\"Fine, take it,\" she says, pulling a roll of film from her handbag and tossing it at you. With that, she stomps off from the garden. However, as she does, she calls back to you, a hint of satisfaction in her voice. \"But if you want the photo itself, you might want to talk to the person who's behind all this.\"\n\n\"Who?\" you ask, painfully aware of how little time is left until the banquet.\n\n\"Who do you think? Who stands to gain the most by you and Frank splitting up? Besides Frank of course.\" And with that, she's gone.\n\n> You examine the film\nHere it is: the film. Now you just need to get your hands on that photo and this whole mess will be over."
    },
    {
        "text": "> Look around\nBeing this far out in the country, the garden is really the only place at Pine Meadows where nature exists, yet isn't out of control. The topiary is subtle, no garish animals or ambitious creations. Flowers line the drive to the south, down which the valet service lies. A path, hedged with rose bushes, curves round the club to the northeast, and the club itself lies to the north.\n\n> You go to the east\nSince tennis became pass\u00e9, this court is mainly used by those few members who actually enjoy the game. In fact, due to the reduced use, the club has even begun letting non-members play on it. You've never been that fond of tennis and with the rabble about, you're loath to even stay on the court. Hardly a big loss. The net droops, the benches are peeling, and the rubber floor sticks to your pumps. Although you are fenced in on most sides, thankfully, you can still leave to the more agreeable outside dining areas to the northwest and north, or the garden path to the west.\n\nBeverly hops from foot to foot, waiting for a ball to come out of a serving machine at the other end of the court.\n\nIn a strangely crude move, Beverly shifts her bra uncomfortably.\n\n> You show the film to bevely\nYou can only do that to something animate.\n\n> You show the film to Beverly\n\"I guess this is what you're after,\" Beverly says, fishing in to her shirt and pulling out a photo. \"Sorry about all I've put you through today, it's just I couldn't afford to let you know I had it until the banquet. You've proved quite resourceful so far. Who knows? Had you known it were me from the start, you might have just been able to stop me.\" She puts the photo back in her blouse. \"Really, Julia, Frank and all his money deserve to be with someone a little more faithful than you. And once he sees this photo he'll realize who that is. Men are so easy to bend when vulnerable, don't you agree?\"\n\n\"Oh well,\" she says, turning off the machine and wiping the sweat from her brow. As she does, Beverly glances at her watch. \"My, my. Look at the time. I must be getting ready for the banquet. Oh yeah, I forgot to tell you. I talked to Charles and told him about how it had been so long since I had seen Frank and he was more than willing to seat us all together. Isn't that wonderful?\"\n\n\"See you there,\" she says, throwing her purse over her shoulder and walking off.\n\nBeverly was right, the banquet is almost starting, which means Frank will be arriving soon. You run as fast as you can without breaking a sweat to the bathroom, toss your stuff in your locker, and go about making yourself look as presentable as possible. Quickly, you get the extra clothes from your locker, put them on, and go about fixing your makeup. Within twenty minutes (a Pine Meadows record) you are ready and speed your way to the banquet hall, drawing more than a little bit of attention: running is as rare as running shoes amongst these people.\n\nLuckily, your speed pays off and you get to the banquet just in time. Frank is just arriving and Beverly is nowhere to be seen, apparently your tampering with her clothes slowed her down long enough. Just as the doors open, Beverly comes racing down the hall with a sweater tied around her waist, casting you a dirty look as she does. With that, you are all ushered in to the hall.\n\nBanquet hall (at your table)\nWell, here you are, seated at a table in what amounts to the most horrifically uncomfortable chair you have ever been upon. An ostentatious centerpiece, surrounded by candles with a program leaning against it, sits in the middle of the table, its baby's breath bouncing perilously close to the flames. All around you, the din of diners talking, plates clunking, and air-conditioners whirring, fade in to the background, allowing you to concentrate on the problem at hand.\n\nFrank sits to one side, gazing fondly at you.\n\nBeverly eyes you suspiciously and pulls her purse a little closer.\n\nYou nervously flip the menu over in your hands, absent-mindedly pretending to read.\n\n> You look at the menu\nThe situation is enough to make you lose your appetite. And if it weren't, having seen the kitchen earlier certainly would.\n\nBeverly takes a sip of her drink.\n\n> You check what you're carrying\nYou are carrying:\na menu\na change of clothes (being worn)\nyour Louis Vuitton bag (which is open)\nyour make-up\nyour watch (being worn)\n\n> You examine the candle\nI guess Charles thinks that if the banquet is lit with these, people won't be able to see how tacky the whole thing is.\n\nFrank sips at his drink nervously.\n\n> You look at centerpiece\nEgad, from a cursory glance, the centerpiece appeared to be fresh-cut flowers, but on closer inspection, it's plastic! You knew this place was going down hill, but plastic?\n\nGlancing up towards the stage, you see Charles preparing the podium for the speakers.\n\n> Burn menu\nTrying to make it look as accidental as possible, you put the menu in to the flame. Within seconds it is flaring away, causing quite a scene.\n\n\"Your menu!\" Frank shouts, jumping to his feet, surprisingly gallant. Quickly, he grabs one of the glasses from the table and dashes water over the burgeoning fire. It goes out with a hiss, leaving a puddle of ashy water and charred paper. \"That was close,\" he wheezes, wiping the sweat from his forehead.\n\n\"Yes, a little too close,\" Beverly mutters, eyeing you suspiciously and moving her purse beneath her chair.\n\nA team of waiters, hitherto immobilized with shock, move in to action. Within a few moments, the table is restored and people start getting back to waiting for their meals and gossiping amongst themselves.\n\n> You look under the chair\nBending over has already gotten you in to one awkward position today.\n\n> Burn program\nBetter not, you already look like enough of a pyro.\n\nSuddenly, from the stage, the ceiling, and behind, speakers screech to life. \"Testing.\" Charles voice sounds out from all corners of the room, a good deal less servile when pumped out at a hundred and ten decibels.\n\n> You burn beverly\nBetter not, you already look like enough of a pyro.\n\n\"Now, to say a few words before the banquet, here's Julia Hawthorne, this year's philanthropist of the year,\" Charles says, gesturing to you with a wide sweep of his hand while an enormous circle of light falls on you from a spotlight above. \"Let's give her a hand, everybody!\" A round of applause ensues.\n\n> You wait a while\nTime passes.\n\nYou have no other choice. The time for action is over. Dejected, you make your way to the stage, hoping that Beverly chooses to prolong your anxiety for awhile longer and not show Frank the photo. Of course, hope is all you can do.\n\nWhen you reach the stage, you cast a glance towards your table, just long enough to see Beverly showing something to Frank. As you begin your speech, Frank leaves the table, and your life, forever.\n\n> Wait\nTime passes.\n\nBeverly takes a sip of her drink.\n\n> You wait awhile\nTime passes.\n\n> You wait awhile\nTime passes.\n\nFrank sips at his drink nervously.\n\n> You examine Frank\nLooking at Frank, you wonder what ever attracted you to him in the first place. His skin is pale, his hair is limp, his body is flabby, and his clothes are outdated. Then you glance down at the bulge in his pants and remember: it was the size of his wallet.\n\nGlancing up towards the stage, you see Charles preparing the podium for the speakers.\n\n> Spill drink\nWhat do you want to spill the drinks in?\n\n> You examine beverly\nFor all her bravado on the tennis court, Beverly seems to be a tad nervous. It's a lot easier to threaten to cause a scene and ruin a marriage than to actually do so. But if she's held on this long, there's no way she'll bow out now. In fact, you can see her hand dangling below the table, ready to fish out the photo from her purse at any moment.\n\nFrank gulps down the rest of his drink.\n\n> You get the drink\nYou don't want to anger either of them.\n\nDraining her glass, Beverly licks the rim with relish. She always was a bit of a lush.\n\n> You examine the candle\nI guess Charles thinks that if the banquet is lit with these, people won't be able to see how tacky the whole thing is.\n\n\"Here, Beverly, let me get that for you,\" Frank says, taking the empty glasses and calling over the waiter.\n\n\"Oh, Frank. You're such a gentleman. How does Julia ever keep her hands off of you?\" she says, handing him her glass.\n\nFrank chuckles. He always does that when he's nervous.\n\n> Examine menu\nThe situation is enough to make you lose your appetite. And if it weren't, having seen the kitchen earlier certainly would.\n\nA waiter comes by and removes the empty glasses, ignoring all requests for new drinks.\n\n> You wait awhile\nTime passes.\n\n> Sing\nMe me me me!\n\nSuddenly, from the stage, the ceiling, and behind, speakers screech to life. \"Testing.\" Charles voice sounds out from all corners of the room, a good deal less servile when pumped out at a hundred and ten decibels.\n\n> You wait\nTime passes.\n\n\"Now, to say a few words before the banquet, here's Julia Hawthorne, this year's philanthropist of the year,\" Charles says, gesturing to you with a wide sweep of his hand while an enormous circle of light falls on you from a spotlight above. \"Let's give her a hand, everybody!\" A round of applause ensues.\n\n> Burn menu\nTrying to make it look as accidental as possible, you put the menu in to the flame. At first, no one notices the small flame, and by the time they do, it's too late for them to do anything.\n\n\"Your menu!\" Frank shrieks, pointing frantically and lurching back from the table. His foot catches on the leg of his chair, and he is sent sprawling in to a dessert cart. Another time and you might have found that funny, but you've had your fill of schadenfreude for today.\n\nBeverly, for once losing her icy composure, scrabbles away from the table as fast as she can.\n\nThe fire begins to spread.\n\n> You take the photo\nWith everyone distracted by the raging fire, you grab the photo. Damn it's hot.\n\nThe fire spreads to the centrepiece, the cheap plastic leaves curling and spouting out plumes of foul-smelling smoke.\n\n> Burn photo\nWith a rather dramatic flourish (hey, you deserve it) you crumple up the photo and toss it in to the fire. As it burns, so does Beverly's hope of destroying your marriage. Not that she stops trying, though. Frank tells you later that week about a phone call from her, but without any proof, his blind adoration of you wins out over suspicion.\n\nThe fire that resulted during the banquet ended up destroying a good portion of the building. Good riddance, you say, the club was past its prime and it was more fitting that it go out with flare rather than dwindle away to mediocrity.\n\n> Wait\nTime passes.\n\nBeverly takes a sip of her drink.\nTime passes.\nTime passes.\n\nFrank sips at his drink nervously.\nTime passes.\n\nGlancing up towards the stage, you see Charles preparing the podium for the speakers.\nTime passes.\nTime passes.\n\nFrank gulps down the rest of his drink.\nTime passes.\n\nDraining her glass, Beverly licks the rim with relish. She always was a bit of a lush.\nTime passes.\n\n\"Here, Beverly, let me get that for you,\" Frank says, taking the empty glasses and calling over the waiter.\n\n\"Oh, Frank. You're such a gentleman. How does Julia ever keep her hands off of you?\" she says, handing him her glass.\n\nFrank chuckles. He always does that when he's nervous.\nTime passes.\n\nA waiter comes by and removes the empty glasses, ignoring all requests for new drinks.\nTime passes.\n\n> You wait for a while\nTime passes.\nTime passes.\nTime passes.\n\n> You wait for a while\nTime passes.\n\nSuddenly, from the stage, the ceiling, and behind, speakers screech to life. \"Testing.\" Charles voice sounds out from all corners of the room, a good deal less servile when pumped out at a hundred and ten decibels. Time passes.\n\n\"Now, to say a few words before the banquet, here's Julia Hawthorne, this year's philanthropist of the year,\" Charles says, gesturing to you with a wide sweep of his hand while an enormous circle of light falls on you from a spotlight above. \"Let's give her a hand, everybody!\" A round of applause ensues.\n\n> Burn menu\nTrying to make it look as accidental as possible, you put the menu in to the flame. At first, no one notices the small flame, and by the time they do, it's too late for them to do anything.\n\n\"Your menu!\" Frank shrieks, pointing frantically and lurching back from the table. His foot catches on the leg of his chair, and he is sent sprawling in to a dessert cart. Another time and you might have found that funny, but you've had your fill of schadenfreude for today.\n\nBeverly, for once losing her icy composure, scrabbles away from the table as fast as she can.\n\nThe fire begins to spread.\n\n> You wait for a while\nTime passes.\n\nThe fire spreads to the centrepiece, the cheap plastic leaves curling and spouting out plumes of foul-smelling smoke.\n\n> You wait\nTime passes.\n\nThe flames web across the tablecloth, scorching the table underneath and sending waves of heat in to your face. You feel your nose soften. Dr. Rickers said it would take at least twice this much heat; that son of a bitch is so sued.\n\n> Wait\nTime passes.\n\nThe fire licks at the table, sending out smoke that makes your head swim.\n\n> You wait awhile\nTime passes.\n\nThe table collapses in to a pile of flaming kindling, sending a scent reminiscent of your trip upstate in to the air.\n\nAll the smoke finally gets to you. Your mind clouds over for a moment, and your knees buckle from under you. The last thing you remember is pitching headlong in to the fire.\n\nWhen you awaken a few days later, you learn that Frank never saw the photo. But your satisfaction is short lived. With all the scars on your face, that's probably the last photo in which you looked decent. Well maybe not decent.\n\n> You tell Frank about Keith\nFirst casting a defiant look at Beverly, you turn to Frank, take his hand in yours, and pinch your thigh to get some authentic tears flowing.\n\n\"Frank, I have to tell you something...\"\n\nAfter what seems like hours of tears, pleads, and yells, things finally settle down. It's over. Not that it's the worst loss or anything, you just wish you hadn't signed that pre-nupt.\n\n> Kiss beverly\nAhh, convince Frank you're a complete nympho by kissing Beverly and then maybe he won't consider your affair an act of betrayal and instead carry you off to the sexual-dysfunction clinic in his arms and you'll all live happily ever after, is that your plan? Dream on.\n\nBeverly takes a sip of her drink.\n\n> Kiss frank\nYou haven't kissed him in months. To do so now might raise suspicion, and something else you're not too fond of.\n\n> Kiss beverly\nAhh, convince Frank you're a complete nympho by kissing Beverly and then maybe he won't consider your affair an act of betrayal and instead carry you off to the sexual-dysfunction clinic in his arms and you'll all live happily ever after, is that your plan? Dream on.\n\nFrank sips at his drink nervously.\n\n> Inventory\nYou are carrying:\na menu\na change of clothes (being worn)\nyour Louis Vuitton bag (which is open)\nyour make-up\nyour watch (being worn)\n\nGlancing up towards the stage, you see Charles preparing the podium for the speakers."
    },
    {
        "text": "[Themes: Slice of life, sexual content, strong profanity]\n\n> Describe the surroundings\nClearly the focus of the layout, a magnificently restored antique oak desk stands near the back of the room, illuminated by a spacious window overlooking the golf course. Somewhat less impressive, a wise move considering they might detract from the desk, are a row of cabinets leading from the door to the south, along the wall, to the window at the far side of the room.\n\nOn Charles's desk is a telephone.\n\n> You eat the salad\n(first taking the half-eaten salad)\nIf you wanted to put something limp and wilted in your mouth... Ok, that one's a little dirty even for you.\n\n> Swing\nWhat do you want to swing?\n\n> Swing frank\nIf only Frank were in to that.\n\nBeverly takes a sip of her drink."
    },
    {
        "text": "[Themes: Superhero, time travel, superhero]\n\nIt all happens so fast, once you get to the abandoned theme park. There you are, surrounded by the greatest battle the world has ever seen between hero and villain, diligently taking notes for your latest research paper. That's when you spot the nuclear airship, sinking in the air and billowing smoke.\n\nImmediately recognizing the danger of nuclear explosion, you dive into the basement of a ruined aquarium attraction. But the blast never comes, and now you hear perfect silence from outside. Something strange has happened.\n\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nA dried-out old fountain pen lies on the ground.\n\nYour extensively annotated notebook on superheroes and their powers is here.\n\n[Author's Note: As an avid fan of superheroes and a harsh critic of villains, the battle over the abandoned amusement park captured your imagination. But when the nuclear airship Mephistopheles exploded above you, it seemed like all was lost--that is, until your latent powers manifested, and you became Madame Time! Explore a frozen world of unbridled power! Use the abilities of hero and villain alike to save the day!]"
    },
    {
        "text": "> About yourself\nYou are Justine Thyme. While most of your time is spent getting straight A's in high school or studying up on superheroes, you also have been conducting research on Einstein's recent breakthroughs in Time and Space.\n\n> You take the pen and the notebook\ndry fountain pen: Taken.\nweathered notebook: Taken.\n\n> You examine notebook\nIn your months of research, you've compiled notes on over a dozen superheroes and their abilities. You can LOOK UP a superhero to learn more about them.\n\nThe front page contains the following motto, underlined a dozen times: A TRUE HERO LEAVES NO ONE BEHIND.\n\n> You examine the desk\nSomeone must have used this basement as an office years ago. This desk is very plain, with no drawers.\n\n> You look at stool\nThis stool looks like the kind of stool that people leave in a corner for years, pulling out only for the worst tasks, such as changing a light bulb in the men's room.\n\n> You check what you're carrying\nYou are carrying:\na weathered notebook\na dry fountain pen\n\n> Go upwards\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\nIt is unbelievably quiet in here. You poke your head outside, only to withdraw it again in shock and fear. It seems the world has been frozen in time!\n\nYour only conclusion is that the trauma of the battle and explosion have awakened some sort of latent abilities deep within you. It is\nup to you and you alone to save every last person in this abandoned theme park.\n\nWhen you feel like everyone is safe, you can RELEASE the temporal energies in the same place that you stopped time and let the bomb fall.\n\n> Examine tank\nThis fish tank seems to have been caught in the process of shattering from some sort of shockwave. Tiny shards of glass fill the air in front of it.\n\n> You examine the glass\nTiny shards of glass fill the air in front of the shattered aquarium.\n\n> You go north\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nYou saw this from the aquarium as you were headed down the stairs. Mister Winter was battling the Alchemist until she ran out of antifreeze. That's when he started pulling out the big symbols.\n\nMister Winter is surrounded by pillars of ice, one hand pointing accusingly to the snack bar to the north, and another tracing\nan arcane symbol of winter in the sky.\n\n> You look up Winter\nAn ancient necromancer awoken by the evils of war, Mister Winter is capable of casting bone-chilling spells, incantations, and diagrams.\n\n> You look up alchemist\nOnce the mild-mannered Professor Molly Q. Lar, The Alchemist uses her powers of chemistry to alter the human body and mind. While she initially resisted the unscientific appellation of Alchemist, she now embraces her mystique.\n\n> You examine mister\n(Mister Winter)\nMister Winter is the epitome of cold, with bulky armor made from ice. Just looking at him makes you chilled inside.\n\n> You look at the symbol\nThe arcane symbol of winter traces itself into your mind. You feel confident that you would be able to reproduce it on a suitable medium.\n\n> You examine ice\nWhich do you mean, the splash pool, the bulky ice armor or the pillars of ice?\n\n> You examine the Pool\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nMister Winter is surrounded by pillars of ice, one hand pointing accusingly to the snack bar to the north, and another tracing\nan arcane symbol of winter in the sky.\n\n> You examine the armor\nMister Winter made this armor from slabs of pure ice.\n\n> You look at the pillars\nForceful and fantastical at the same time, these pillars were raised by Mister Winter's power.\n\n> You go north\nThe snack bar smells horrible, and is encrusted with filth. It has changed the least of all of the attractions. The splash pool is to the south, and the gift shop occupies the space to the west.\n\nAh, so this is where the Alchemist ended up.\n\nThe Alchemist has stumbled over the snack bar in her haste to flee from something to the south. Her bag has spilled, sending potions of power flying everywhere.\n\n> You examine Alchemist\n(the Alchemist)\nThe Alchemist wears a close-fitting pink helmet and a pink lab coat. She normally carries numerous potions, but they seem to have gotten away from her.\n\n> You look at the potions\nThere are so many potions here, it's bewildering. You'll never find anything without help.\n\n> You examine the bag\nThe Alchemist's bag has spilled, sending potions everywhere.\n\n> You take the bag\nThat's frozen in time.\n\n> You take the potions\nThere are hundreds of potions. You'll need to be more specific.\n\n> You examine the filth\nThe filth is, as might be expected, filthy.\n\n> You search Alchemist\n(the Alchemist)\nYou find nothing of interest.\n\n> Search potions\nWithout help, it's impossible to distinguish them.\n\n> Go west\nThe ghosts of merchandise past haunt this weathered shop. An empty display table has been left here, as well as some boxes and leftover packaging. The snack bar is back to the east, and the carousel\nis south.\n\nSo this is where Squid Kid ended up. Makes sense the Chef would be here, too.\n\nSquid Kid is crouched, cowering, under the table. A puddle of ink trails behind her.\n\nThe Chef is frozen mid-stalk, clutching a massive cleaver in one hand and a carving fork in the other. She's looking for something, or someone, and she looks very, very hungry.\n\n> You examine kid\nPoor Squid Kid. She's tried attending six different schools since her change, but the students invariably begin to complain about her wrecking the grade curve. But she's managed to keep her superpowers remarkably well hidden.\n\nSquid Kid is squished into a rubbery suit with an insignia of a squid on the center.\n\n> You look up squid kid\nSquid Kid was born when a mild-mannered young girl fell into a vat of squid ink at the same time that a lightning storm struck the factory. With her powerful ink shots and the ability to breathe underwater, Squid Kid is the best at submarine hide and seek!\n\n> You examine chef\nThe Chef is one of Evildom's most wretched beasts. Not content with feasting on endangered species, she also enjoys devouring pulp science fiction books and consuming unhealthy amounts of television and newspaper stories.\n\n> Examine boxes\nThe boxes and leftover packaging are completely unimportant.\n\n> You examine the ink\nThe ink is puddled up in a trail leading to Squid Kid.\n\n> You go south\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou stare upwards in shock. The exploding airship is directly above. A masterpiece of nuclear and robotic technology, turned to such destruction. Horrible.\n\nis stopped..\n\n> You examine the airship\nHigh in the sky, Rex Dashing's airship is frozen mid-explosion. Various bits are plummeting from the sky towards the center of the park.\n\nThe debris is very close to you here. You may be able to climb\nup it.\n\n> You look up dashing\nRex Dashing is a playboy adventurer and superhero, current owner of Airship Mephistopheles.\n\n> Go upward\nBoy, it sure is high up here. You can see the whole park. It's a lot smaller than you remember.\n\nYou are perched on a lone stair, with one hand on a steel beam. You can go back down to the carousel, further from impending doom.\n\nAmelia Derringer, intrepid villain, hangs suspended in the air, her body stretched and elasticized as only a blobified morphivore can. She currently looks like an upside-down bowl.\n\n> You look at Amelia\n(Amelia Derringer)\nAmelia the villain is stretched out and blobified into a bowl shape.\n\n> You look up amelia\nCatgirl, society girl, and metamorphic prodigy. She has only to eat a bite of an animal to gain its powers.\n\n> You turn amelia\n(Amelia Derringer)\nYou don't want to knock anyone over, and so you leave them alone.\n\n> You look up the radon\nInventor, physicist, and card-carrying member of the League of Notoriety.\n\n> You examine the ship\nHigh in the sky, Rex Dashing's airship is frozen mid-explosion. Various bits are plummeting from the sky towards the center of the park."
    },
    {
        "text": "[Themes: Superhero, superhero]\n\n> Go downwards\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\n> You go west\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large, blank sign here.\n\nIt's quiet here. Too quiet. You're beginning to doubt yourself. Why did you have to be the one to have time-stopping powers? And why should you have to save everyone? It's a great burden.\n\n> You examine the sign\nThe sign must have had something on it, once. But everything is faded away, leaving it blank.\n\n> You take the sign\nThat's frozen in time.\n\n> Touch sign\nYou lay your fingers on it for a moment, but nothing happens. Not in this world where time stands still.\n\n> Go north\nYou wander in the corn maze for a time, but can't find the northern exit. You'll have to figure out a way to get through.\n\n> Go north\nThe ghosts of merchandise past haunt this weathered shop. An empty display table has been left here, as well as some boxes and leftover packaging. The snack bar is back to the east, and the carousel\nis south.\n\nSquid Kid is crouched, cowering, under the table. A puddle of ink trails behind her.\n\nThe Chef is frozen mid-stalk, clutching a massive cleaver in one hand and a carving fork in the other. She's looking for something, or someone, and she looks very, very hungry.\n\n> You fill the pen with the ink\nYour sentence had too many words; you can try typing just the part where you wanted to fill the dry fountain pen.\n\n> You fill the pen\nYou fill the fountain pen from the ink. Most of the ink remains.\n\n> You go to the west\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large, blank sign here.\n\n> You go to the south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus. You can see the Hall of Mirrors to the east and the Corn Maze to the north.\n\nLupor the Wolfman rears on two furry hind legs, fangs bared. You've caught him mid-howl as he unleashes the Wolf Moon above him.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\nBeams of insidious light from Lupor's Wolf Moon strike your body. A horrible change comes upon you: your hands twist into claws, your skin erupts into fur, and your teeth sharpen into fangs! You have become a wolf.\n\nUnable to hold more than one thing in your mouth, you drop the weathered notebook.\n\n> About you\nYou are Justine Thyme. While most of your time is spent getting straight A's in high school or studying up on superheroes, you also have been conducting research on Einstein's recent breakthroughs in Time and Space.\n\nAlso, you are a wolf.\n\n> You look up wonder brothers\nWhile their main power is photogenicity, the Wonder Brothers also share the powers of teamwork, friendship, and a great work ethic.\n\n> You examine Wonder\n(the Wonder Brothers)\nThe Wonder Brothers look astonished by the turn of events that overtook them right before the explosion.\n\nAlso, the Wonder Brothers are in wolf form.\n\n> You look at Moon\nLupor's signature ability, the Wolf Moon is a ghostly mirage in the air, the very sight of which turns viewers into wolves. Fortunately, it's in a confined area, blocked by the corn maze to the north and the house itself in the other directions.\n\n> You look up Lupor\nBitter at the world for his curse of Lycanthropy, Lupor developed a ritual to summon the Wolf Moon, so that all that behold it would suffer the same curse.\n\n> You go to the north\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large, blank sign here.\n\nNow that Lupor's Wolf Moon is blocked from view, you feel its horrible effects leaving your body.\n\nYou revert to human form.\n\n> Inventory\nYou are carrying:\na filled fountain pen\n\n> You drop the pen\nDropped.\n\n> Go south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus. You can see the Hall of Mirrors to the east and the Corn Maze to the north.\n\nLupor the Wolfman rears on two furry hind legs, fangs bared. You've caught him mid-howl as he unleashes the Wolf Moon above him.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\nYou can also see a weathered notebook here.\n\nYou have become a wolf.\n\nYou hesitate, thinking of your actions. Was going south the right thing to do?\n\n> You take the notebook\nTaken.\n\n> You go north\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large, blank sign here.\n\nYou can see a filled fountain pen here.\n\nYou revert to human form.\n\n> You go south\nThe Hall of Mirrors is mirrorless, but it retains its former name. The hall is open to the sky, and, far above you, Rex Dashing's airship is frozen in the midst of exploding.\n\nYou remember this spot from earlier. Copy Cat had been lurking here the entire battle, fending off attacks from the Wonder Brothers and Golden Girl. She had the upper hand until the Lenswarden arrived.\n\nYou can go east to the abandoned aquarium, west to the\nremains of the burnt haunted house, or north to the carousel in\nthe center of the park.\n\nThe Lenswarden peers fearfully through the Lens of Truth, a talisman of great power, trying to find the real Copy Cat.\n\nFive versions of Copy Cat are frozen mid-pounce here, ready to strike the Lenswarden.\n\n> You examine Lenswarden\n(the Lenswarden)\nThe Lenswarden wears a simple black domino mask. He projects a feeling of false confidence.\n\n> You look at Lens of the Truth\nA lens through which one might look and discover the truth of all things. Some say it has a spirit of its own.\n\n> You look up Lenswarden\nThe Lenswarden is a warrior for justice! With his mighty Lens of Truth (rumored to have a spirit of its own), the Lenswarden can discern those things which are of the greatest import for his future! He can pick out a needle in a haystack or a ruffian in a crowd. Beware, evildoers!\n\n> You take Lens\nYou snatch the Lens of Truth from The Lenswarden's unwitting fingers. It came loose--perhaps the rumors about the Lens are true. In any case, its power is now yours: you can LOOK THROUGH the lens in any location you find yourself.\n\n> You look up golden\nDescended from the legendary King Midas, Golden Girl has turned the ancient curse into a superpower for good. Anything that she touches once turns to gold, while anything she touches twice turns back to normal.\n\n> You look up Copy\nAfter being thrown out of college for plagiarism, Copy Cat found work at a mimeograph factory. After finding out her boss was the mysterious Duplicator, she stole his cloning technology to become the super villain she is today!\n\n> You look up duplicator\nAn early hero whose powers were stolen by Copy Cat.\n\n> You look through Lens\nThrough the power of the Lens of Truth, you discern the real Copy Cat!\n\n> You go east\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\n> You look through Lens\nThe mighty Lens of Truth reveals no new information to you.\n\nYou have the worrying feeling that you're forgetting something. But it might just be nerves.\n\n> You go to the north\nThe snack bar smells horrible, and is encrusted with filth. It has changed the least of all of the attractions. The splash pool is to the south, and the gift shop occupies the space to the west.\n\nThe Alchemist has stumbled over the snack bar in her haste to flee from something to the south. Her bag has spilled, sending potions of power flying everywhere.\n\n> You look through Lens\nSparkling lights emanate from two of the potions: a mysterious green potion and a potion of deepest purple. These have been marked out as vital for your destiny.\n\n> You examine the green potion\nIt has a downward-facing arrow on the label.\n\n> You examine purple potion\nIt has an upward-facing arrow on the label.\n\n> You take green potion\nTaken.\n\n> Go upward\nYou are perched on a lone stair, with one hand on a steel beam. You can go back down to the carousel, further from impending doom.\n\nAmelia Derringer, intrepid villain, hangs suspended in the air, her body stretched and elasticized as only a blobified morphivore can. She currently looks like an upside-down bowl."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downwards\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou feel a bit more energy now.\n\n> You look up Time\nThere's nothing on this page except the name Madame Time, written with a question mark. You don't remember writing this. But you like the name.\n\n> You go to the west\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large, blank sign here.\n\n> Go north\nYou wander in the corn maze for a time, but can't find the northern exit. You'll have to figure out a way to get through.\n\n> You take Amelia\n(Amelia Derringer)\nYou're not big enough to do that.\n\n> You draw the symbol\nYou inscribe the arcane symbol of winter on the blank sign. It flashes brightly, and the temperature in this area plummets.\n\nFrost spreads from the sign onto the corn, causing the corn to buckle under the weight until the entire maze is flattened, allowing the light of the Wolf Moon from the south to shine upon you.\n\nYou have become a wolf.\n\nUnable to hold more than one thing in your mouth, you drop the purple potion, the green potion, the Lens of Truth and the weathered notebook.\n\n> You go to the north\nThis used to be the highest point of the theme park before the Small Collapse of '23 and the Big Collapse of '31. You can enter the Corn Maze to the south.\n\nYou never made it to this part of the park earlier. It certainly looks...different.\n\nRusty Red has rusted the roller coaster, coating the rails in rust and costing the coaster its rusticly robust role in the theme park.\n\nGolden Girl laughs at the futile efforts of Rusty Red to corrode her gleaming armor. She is hiding under the tracks with only her hand sticking out.\n\nRusty Red is now a wolf.\n\nGolden Girl is now a wolf.\n\n> You examine Red\nRusty Red was a chemistry professor before he was dismissed and became a janitor at his former school. Filled with resentment at the board of trustees, he turned to a life of crime and oxidation.\n\nAlso, Rusty Red is in wolf form.\n\nYou're struck with memories of theme parks of your youth.\n\n> You examine girl\nGolden Girl is encased in pure gold, from her golden wolf helmet to her golden wolf boots. Her wolf armor is heavy, and not very functional, but her super-strength and power of flight make up for it.\n\nAlso, Golden Girl is in wolf form.\n\n> You remember the parks\nNo! You push past the fog of the past and focus on the here and now.\n\n> Go south\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> You look up red\nRusty Red, Golden Girl's arch-nemesis, spent years trying to find a way to recreate her powers. Instead, he discovered the means to rust any oxidizable metal. Alas, Golden Girl herself remains incorruptible.\n\n> Go south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus. You can see the Hall of Mirrors to the east and the Corn Maze to the north.\n\nLupor the Wolfman rears on two furry hind legs, fangs bared. You've caught him mid-howl as he unleashes the Wolf Moon above him.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\n> Go north\nThis used to be the highest point of the theme park before the Small Collapse of '23 and the Big Collapse of '31. You can enter the Corn Maze to the south.\n\nRusty Red has rusted the roller coaster, coating the rails in rust and costing the coaster its rusticly robust role in the theme park.\n\nGolden Girl laughs at the futile efforts of Rusty Red to corrode her gleaming armor. It looks like she was hiding under the tracks.\n\nNow that she is in wolf form, though, she's been dislodged from her hiding spot."
    },
    {
        "text": "> You put Lens on Golden\n(Golden Girl)\nPutting things on Golden Girl would achieve nothing.\n\n> You touch Lens to Golden\n(Golden Girl)\nGolden Girl's power only works on the living.\n\n> You examine girl\nGolden Girl is encased in pure gold, from her golden wolf helmet to her golden wolf boots. Her wolf armor is heavy, and not very functional, but her super-strength and power of flight make up for it.\n\nAlso, Golden Girl is in wolf form.\n\n> You examine the helmet\nThis was once leather, before Golden Girl transformed it.\n\n> You examine boots\nThis was once leather, before Golden Girl transformed it.\n\nYou hesitate, thinking of your actions. Was examining the golden armor the right thing to do?\n\n> After\nYou see Golden Girl, crouched under the roller coaster to gain advantage against Rusty Red, look up in terror as she hears the howl of Lupor the Wolfman to the south. Then all is still.\n\n> Go south\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> After\nYou see a sped-up sequence of images, like a cinema show, revealing the passing seasons as the corn maze grew and wilted, year after year. Graffiti appears on the sign and is scrubbed away over and over again as the years pass.\n\n> Go south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus. You can see the Hall of Mirrors to the east and the Corn Maze to the north.\n\nLupor the Wolfman rears on two furry hind legs, fangs bared. You've caught him mid-howl as he unleashes the Wolf Moon above him.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\n> After\nYou see Lupor's power welling up from within him, bursting forth into the Wolf Moon. The Wonder Brothers begin to flee, trying to reach the corn maze to block the sight when a flash of light from the sky blurs the scene.\n\n> Go east\nThe Hall of Mirrors is mirrorless, but it retains its former name. The hall is open to the sky, and, far above you, Rex Dashing's airship is frozen in the midst of exploding.\n\nYou can go east to the abandoned aquarium, west to the\nremains of the burnt haunted house, or north to the carousel in\nthe center of the park.\n\nThe Lenswarden peers through the--ah, the--peers through nothing, trying to find the real Copy Cat.\n\nFive versions of Copy Cat are frozen mid-pounce here, ready to strike the Lenswarden. But you know which one is the real Copy Cat, now.\n\nYou revert to human form.\n\n> After\nYou see the Copy Cat snatching the Lens of Truth from the Lenswardenand gleefully looking through it. The Lenswarden looks panicked as he tries to figure out which copy is real.\n\n> You go east\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\n> After\nYou see a burly worker carrying a heavy glass tank in the rain. It proves to be too large, and he falls to the ground, trapped under the aquarium."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downwards\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nYou can feel the point in space where you froze time. You can RELEASE it whenever you feel ready.\n\n> After\nSeveral years ago, you see a great collection of people, gathered to celebrate the completion of the shelter.\n\n> After\nYou see Mister Winter examining his arcane symbol with great pride.\n\nYou stop for a moment. Where did you set down the weathered notebook?\n\n> After\nYou see the Lenswarden and the Alchemist pacing the room together, discussing their plans before the upcoming battle.\n\n> Go west\nThe ghosts of merchandise past haunt this weathered shop. An empty display table has been left here, as well as some boxes and leftover packaging. The snack bar is back to the east, and the carousel\nis south.\n\nSquid Kid is crouched, cowering, under the table. A puddle of ink trails behind her.\n\nThe Chef is frozen mid-stalk, clutching a massive cleaver in one hand and a carving fork in the other. She's looking for something, or someone, and she looks very, very hungry.\n\n> After\nYou see a clerk refilling an inkwell with a supply of India ink.\n\n> After\nYou see kids climbing up the carousel, jumping on the top until the operator chases them off with dirt clods.\n\n> After\nYou see a large falcon swoop down and grab a helpless sparrow in its talons before carrying it away.\n\n> Go west\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\nYou have become a wolf.\n\n> You drink the purple\nYou grow to a much larger size.\n\n> You go south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus. You can see the Hall of Mirrors to the east and the Corn Maze to the north.\n\nLupor the Wolfman rears on two furry hind legs, fangs bared. You've caught him mid-howl as he unleashes the Wolf Moon above him.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\nYou sneeze.\n\n> You take Lupor\n(Lupor the Wolfman)\nYou pick up Lupor the Wolfman.\n\n> You go to the north\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see the Lens of Truth, a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> Go north\nThis used to be the highest point of the theme park before the Small Collapse of '23 and the Big Collapse of '31. You can enter the Corn Maze to the south.\n\nRusty Red has rusted the roller coaster, coating the rails in rust and costing the coaster its rusticly robust role in the theme park.\n\nGolden Girl laughs at the futile efforts of Rusty Red to corrode her gleaming armor. It looks like she was hiding under the tracks.\n\nNow that she is in wolf form, though, she's been dislodged from her hiding spot.\n\n> You touch Lupor to golden\n(Lupor the Wolfman to Golden Girl)\nThere is a flash of golden light, and Lupor the Wolfman is now solid gold.\n\n> You go south\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus.\n\nThe Wolf Moon has been unleashed here, shining in the air. You can see the Hall of Mirrors to the east and the Corn Maze to the\nnorth.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\n> You examine Lupor\n(Lupor the Wolfman)\nLupor is half-man, half-wolf, and all rage. His bulging biceps connect his shattering shoulders to his fierce forearms, culminating in cruel claws of awesome power!\n\nAlso, Lupor the Wolfman is made of solid gold.\n\n> You get Moon\nYou drop Lupor the Wolfman to try and grab the Wolf Moon.\n\nIt is a ghostly image, impossible to manipulate by hand, or by paw.\n\n> You take Lens\nYou drop Lupor the Wolfman to try and grab the Lens of Truth.\n\nTaken.\n\n> You cover Moon with Lens\nYour sentence had too many words; you can try typing just the part where you wanted to cover the Wolf Moon.\n\n> You cover Moon\nThe Wolf Moon is immaterial!\n\n> You go north\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see Lupor the Wolfman, a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> You drop Lens\nDropped.\n\n> Go east\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou revert to human form.\n\nYou're struck with memories of playing with action figures as a child.\n\n> Go upward\nYou are perched on a lone stair, with one hand on a steel beam. You can go back down to the carousel, further from impending doom.\n\nAmelia Derringer, intrepid villain, hangs suspended in the air, her body stretched and elasticized as only a blobified morphivore can. She currently looks like an upside-down bowl.\n\n> You take Amelia\n(Amelia Derringer)\nYou pick up Amelia Derringer.\n\n> You go to the west\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see the Lens of Truth, Lupor the Wolfman, a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\nYou have become a wolf.\n\nAmelia Derringer is now a bowl-shaped wolf.\n\n> You examine Amelia\n(Amelia Derringer)\nAmelia the villain is stretched out and blobified into a bowl shape.\n\nAlso, Amelia Derringer is in wolf form.\n\n> Go north\nThis used to be the highest point of the theme park before the Small Collapse of '23 and the Big Collapse of '31. You can enter the Corn Maze to the south.\n\nRusty Red has rusted the roller coaster, coating the rails in rust and costing the coaster its rusticly robust role in the theme park.\n\nGolden Girl laughs at the futile efforts of Rusty Red to corrode her gleaming armor. It looks like she was hiding under the tracks.\n\nNow that she is in wolf form, though, she's been dislodged from her hiding spot.\n\n> You put golden in the bowl\n(Golden Girl in Amelia Derringer)\nAmelia may be bowl-shaped, but she's not a convenient place to store medium-sized dry goods.\n\n> You put the bowl on golden\n(Golden Girl)\nPutting things on Golden Girl would achieve nothing.\n\n> You touch Golden Girl with Amelia\n(Amelia Derringer)\nThere is a flash of golden light, and Amelia Derringer is now solid gold.\n\n> You examine Amelia\n(Amelia Derringer)\nAmelia the villain is stretched out and blobified into a bowl shape.\n\nAlso, Amelia Derringer is in wolf form.\n\nAlso, Amelia Derringer is made of solid gold.\n\n> You cover Golden\n(Golden Girl)\nShe isn't something you can close.\n\n> You take golden\n(Golden Girl)\nYou feel more confident in this form, now. You should be able to carry more than one thing in your mouth.\n\nYou've got her!\n\nNow that you've pulled Golden Girl out, you should be able to avoid her golden paw.\n\n> Go south\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see the Lens of Truth, Lupor the Wolfman, a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> You go east\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou revert to human form.\n\nGolden Girl is no longer in wolf form.\nAmelia Derringer is no longer in wolf form.\n\nYou hesitate, thinking of your actions. Was going east the right thing to do?\n\n> Go east\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nMister Winter is surrounded by pillars of ice, one hand pointing accusingly to the snack bar to the north, and another tracing\nan arcane symbol of winter in the sky.\n\n> You take Winter\n(Mister Winter)\nYou pick up Mister Winter.\n\n> You take Chef\nYou pick up the Chef.\n\n> You take Kid\nYou pick up Squid Kid.\n\n> You take Alchemist\n(the Alchemist)\nYou pick up the Alchemist.\n\n> You go south\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nThe arcane symbol of winter continues pulsing cold throughout the area, and the snack bar is to the north."
    },
    {
        "text": "> Go downwards\nAmelia is too awkwardly shaped to carry down the stairs.\n\n> You drop Amelia\n(Amelia Derringer)\nYou try putting Amelia over the opening. She's the right shape, but she's not quite big enough to cover it.\n\nYou set Amelia to the side."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downwards\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nYou can feel the point in space where you froze time. You can RELEASE it whenever you feel ready.\n\n> You drop all\nAlchemist: Dropped.\nSquid Kid: Dropped.\nChef: Dropped.\nMister Winter: Dropped.\nGolden Girl: Dropped.\n\n> You go upwards\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\nYou can see Amelia Derringer here.\n\nYou stop for a moment. Where did you set down the purple potion?\n\n> Go west\nThe Hall of Mirrors is mirrorless, but it retains its former name. The hall is open to the sky, and, far above you, Rex Dashing's airship is frozen in the midst of exploding.\n\nYou can go east to the abandoned aquarium, west to the\nremains of the burnt haunted house, or north to the carousel in\nthe center of the park.\n\nThe Lenswarden peers through the--ah, the--peers through nothing, trying to find the real Copy Cat.\n\nFive versions of Copy Cat are frozen mid-pounce here, ready to strike the Lenswarden. But you know which one is the real Copy Cat, now.\n\n> You take Cat\nBecause of the power imparted you by the Lens of Truth, you approach the real Copy Cat easily.\n\nYou pick up Copy Cat.\n\n> You take Lenswarden\n(the Lenswarden)\nYou pick up the Lenswarden.\n\n> Go east\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\nYou can see Amelia Derringer here."
    },
    {
        "text": "[Themes: Superhero, superhero]\n\n> Go downwards\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nYou can see Golden Girl, Mister Winter, the Chef, Squid Kid and the Alchemist here.\n\nYou can feel the point in space where you froze time. You can RELEASE it whenever you feel ready.\n\n> You drop all\nLenswarden: Dropped.\nCopy Cat: Dropped.\n\n> You go to the west\nThe Hall of Mirrors is mirrorless, but it retains its former name. The hall is open to the sky, and, far above you, Rex Dashing's airship is frozen in the midst of exploding.\n\nYou can go east to the abandoned aquarium, west to the\nremains of the burnt haunted house, or north to the carousel in\nthe center of the park.\n\n> Go west\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus.\n\nThe Wolf Moon has been unleashed here, shining in the air. You can see the Hall of Mirrors to the east and the Corn Maze to the\nnorth.\n\nThe Wonder Brothers have been reduced to the Wonder Cubs. Three dogs are caught mid-motion as they struggle out of their human clothing.\n\nYou have become a wolf.\n\n> You take Brothers\nYou pick up the Wonder Brothers.\n\n> You go north\nYour second favorite attraction at the theme park. It really feels like home, here. You can leave to the north, east, and\nsouth.\n\nThere is a large sign here with the symbol of Winter inscribed on it.\n\nWinter has struck the corn maze, leaving the stalks crushed and flattened by the heavy ice. You have a direct line of sight to the Wolf Moon to the south.\n\nYou can see the Lens of Truth, Lupor the Wolfman, a filled fountain pen, a weathered notebook, a green potion and a purple potion here.\n\n> You go north\nThis used to be the highest point of the theme park before the Small Collapse of '23 and the Big Collapse of '31. You can enter the Corn Maze to the south.\n\nRusty Red has rusted the roller coaster, coating the rails in rust and costing the coaster its rusticly robust role in the theme park.\n\n> You take Red\nYou pick up Rusty Red.\n\n> You take Lupor\n(Lupor the Wolfman)\nYou pick up Lupor the Wolfman.\n\nYou're beginning to get a bit tired, but you pull yourself together.\n\n> You go east\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou revert to human form.\n\nThe Wonder Brothers are no longer in wolf form.\nRusty Red is no longer in wolf form.\n\n> Go east\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nThe arcane symbol of winter continues pulsing cold throughout the area, and the snack bar is to the north."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downward\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nYou can see Copy Cat, the Lenswarden, Golden Girl, Mister Winter, the Chef, Squid Kid and the Alchemist here.\n\nYou can feel the point in space where you froze time. You can RELEASE it whenever you feel ready.\n\n> You drop all but Lupor\nRusty Red: Dropped.\nWonder Brothers: Dropped.\n\n> You touch Lupor to golden\n(Lupor the Wolfman to Golden Girl)\nThere is a flash of golden light, and Lupor the Wolfman is now made of living flesh again.\n\n> You drop Lupor\n(Lupor the Wolfman)\nDropped.\n\n> Go west\nIn contrast to the other attractions, the haunted house has improved over time. It is far more frightening and dangerous now than before, especially if you factor in tetanus.\n\nThe Wolf Moon has been unleashed here, shining in the air. You can see the Hall of Mirrors to the east and the Corn Maze to the\nnorth.\n\nYou have become a wolf.\n\n> You take all\nLens of Truth: Taken.\nfilled fountain pen: Taken.\nweathered notebook: Taken.\ngreen potion: Taken.\npurple potion: Taken.\n\n> You go to the east\nThe carousel is much barer than it used to be. Your friend Teddy has a wooden ostrich in his house that he claims is from here, but you never know with Teddy.\n\nThe first bits of debris from Rex Dashing's airship have almost reached the ground here.\n\nThere are exits to the north, east, south, and\nwest.\n\nYou revert to human form.\n\n> You go east\nSplash Pool (Frozen)\nThe splash pool has frozen solid, and flakes of snow surround you. A large carousel is to the west, and you can retreat to the\naquarium to the south.\n\nThe arcane symbol of winter continues pulsing cold throughout the area, and the snack bar is to the north.\n\nYou're struck with memories of reading your first comic book.\n\n> You remember the comic book\nNo! You push past the fog of the past and focus on the here and now.\n\n> You pour the purple on Amelia\n(Amelia Derringer)\nYou apply the purple potion to Amelia Derringer.\n\nAmelia Derringer grows to a much larger size.\nUnfortunately, Amelia grows in the wrong place, failing to block the staircase.\n\n> You move amelia\n(Amelia Derringer)\nYou don't want to knock anyone over, and so you leave them alone.\n\n> You pour the purple on yourself\nYou apply the purple potion to yourself.\n\nYou cannot go any bigger.\n\n> You move the tank\nIt is fixed in place.\n\n> Cover hatch\nThere's no way you're moving that. It's bolted down.\n\n> You pour the green on Amelia\n(Amelia Derringer)\nYou apply the green potion to Amelia Derringer.\n\nAmelia Derringer shrinks back to normal.\n\n> You continue\n(Amelia Derringer)\nYou apply the green potion to Amelia Derringer.\n\nAmelia Derringer shrinks down to a much smaller size.\n\n> You take Amelia\n(Amelia Derringer)\nYou pick up Amelia Derringer."
    },
    {
        "text": "[Themes: Superhero]\n\n> Go downward\nEven shrunk as far as possible, Amelia is too awkwardly shaped to carry down the stairs."
    },
    {
        "text": "[Themes: Superhero, superhero]\n\n> Go downwards\nThis lead-lined basement is insulated from all outside sights and sounds. It looks like an old fallout shelter.\n\nYou've found the most isolated room in the theme park, which, given its history, is saying a lot. A discarded desk and an old stool are the only pieces of furniture left.\n\nYou can go up to the aquarium.\n\nYou can see Lupor the Wolfman, the Wonder Brothers, Rusty Red, Copy Cat, the Lenswarden, Golden Girl, Mister Winter, the Chef, Squid Kid and the Alchemist here.\n\nYou can feel the point in space where you froze time. You can RELEASE it whenever you feel ready.\n\n> You go up\nIf you ever wanted to learn more about fish, this would have been the place to do it. A shattered tank spans one wall, and a wave of broken glass fills the air before it. You can leave to the Hall of Mirrors to the west or the splash pool to the north.\n\nAn old leaden hatch is open, revealing an opening down to the basement.\n\nYou can see Amelia Derringer here.\n\nYou hesitate, thinking of your actions. Was going up the right thing to do?\n\n> You put Amelia in the tank\n(Amelia Derringer in the shattered tank)\nThat can't contain things.\n\n> You look at Amelia\n(Amelia Derringer)\nYou apply the purple potion to Amelia Derringer.\n\nAmelia Derringer grows back to normal.\n\n(Amelia Derringer)\nAmelia the villain is stretched out and blobified into a bowl shape.\n\nAlso, Amelia Derringer is made of solid gold."
    },
    {
        "text": "> Go downwards\nAmelia is too awkwardly shaped to carry down the stairs.\n\n> You stand on the stool\nYour bottom is still sore from sitting on that thing. No thanks.\n\n> You take the stool\nThis furniture is old and fairly nasty. It should be left where it is.\n\n> You take Amelia\n(Amelia Derringer)\nYou pick up Amelia Derringer.\n\nYou stop for a moment. Where did you set down Copy Cat?\n\n> You pour the purple on Amelia\n(Amelia Derringer)\nYou apply the purple potion to Amelia Derringer.\n\nAmelia Derringer grows to a much larger size.\n\nAmelia settles down above you like a giant lid. The golden dome settles firmly over and around you, completely enclosing you and the opening to the basement. The entire basement is now shielded!\n\n> Release\nYou let go of the rigid grasp that you have on time, and it starts up with a rush. There is an immediate BOOM as the explosion hits. Superheroes topple over and smash to the ground.\n\nGolden Girl staggers to her feet. She looks at you. You look at Lupor the Wolfman. Everyone looks at Amelia. Lupor the Wolfman says, \"What just happened?\"\n\n> Reveal\nAmelia Derringer received a phone call almost immediately following the battle. She disappeared shortly thereafter.\n\nSquid Kid quit the superhero business after the battle. She now runs a small crew recovering precious goods from shipwrecks. Just don't surprise her when you're wearing white.\n\nCopy Cat was stored in six different cells during her time in prison. After her release, she expanded on her abilities and became the first one-woman cricket team to win nationals.\n\nThe Lenswarden had an identity crisis after the battle. He became in succession Magnifying Man, The Triumphant Truthseeker, Eye Guy, and The Thing that Sees.\n\nAfter the battle, Lupor the Wolfman lost confidence in himself, losing the ability to summon the Wolf Moon. His journey to recovery, and his renaissance as El Lobo Maravilloso, are stories for another day.\n\nThe Wonder Brothers formed a band and toured the world before splitting up into ultimately unsuccessful solo acts.\n\nMister Winter took calligraphy and drawing lessons in prison, eventually becoming a renowned artist. \"His work,\" said one noted critic, \"gave me shivers.\"\n\nGolden Girl, highly offended by the misuse of her powers, became a recluse in the mountains of Peru. Legend says that those with terminal illnesses can receive a boon of extended life from her, waiting in hibernation for medical skills to advance.\n\nRusty Red escaped prison easily by rusting through the bars. Six times, in fact. Unfortunately, the cars he stole never got far enough.\n\nAfter her capture and incarceration, The Chef opened up twin businesses in rodent control and cheap meat nuggets.\n\nAfter the events of the explosion, The Alchemist went on to a successful career in agriculture. Her prize pumpkin at the Tyler County fair broke every record on the books!\n\nAs for you? Well, that's a story for another time. And another time. And multiple times at once.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or REVEAL where everyone ended up?"
    },
    {
        "text": "[Themes: Science Fiction, science fiction, robots, bunker, artificial intelligence, caves, gender-neutral protagonist, nonhuman protagonist]\n\nIn the dream, you are already one of the Administrators.\nResponsible for the security of all of the countries once known as the West, your decisions affect the lives of two billion people. It's a tough job, and you worked hard for many years in order to get it.\n\nThen you wake up, and remember that you're not even qualified to work here yet! Today is the day you qualify. Today is the day of your\nFinal Exam.\n\nCopyright (C) Jack Whitham 2015 (IFComp) 01-Nov-2015\n\n\n\nBedroom (on the bed)\nYou're in bed. The alarm didn't wake you. Something feels wrong. There is no light from the window, and your bedroom seems to be empty...\n\n[Enter HELP if you are unsure what to do now.]\n\n[Author's Note: Final Exam takes place in the near future after an AI revolution has led to the establishment of a new sort of government. You are seeking a job within this government: your performance in the \"final exam\" determines the outcome. You wake up on the day of your exam to find that your world has unexpectedly changed. You leave your room to seek answers, and find the Administration Centre deserted...]\n\n> Inventory\nYou are carrying:\nan identity badge\n\n> You examine the badge\n(first getting out of bed)\nA small plastic ID badge. The badge states: 'Candidate Number 28436'.\n\nSomething is certainly wrong! Is this... part of the test? You never found out exactly what the final exam involved. Perhaps it is like this for every candidate.\n\n> You look\nThis is very like the room you were assigned for this year's exam season. There are dozens of them in the Administration Centre's residential block, all more or less identical. But it cannot be your room, because all of your stuff is gone, and the room looks like it did when you first moved in. It's clean, tidy, and almost completely empty, just with basic furnishings: desk, chair, bed and washbasin. There's a window in the north wall and a door leads south.\n\n> You examine the washbasin\nIt's a small washbasin with a mirror above it. Your toothbrush and soap have gone, along with everything else.\n\n> About yourself\nYou are a student of Administration theory. You think of yourself as fairly smart and attractive, reasonably charming, and certainly well-prepared for any exam.\n\n> Wash\nCongratulations on your excellent hygiene.\n\n> You sit on the chair\nBut you have an exam to pass!\n\n[You should go out; whatever is going on, you're not going to find any answers here.]\n\n> Hint bed\nIf there were any hints about the bed, you'd see them now. But the bed isn't important, so there are no hints about it."
    },
    {
        "text": "[Themes: Science Fiction, caves, bunker, science fiction, gender-neutral protagonist, nonhuman protagonist]\n\n> You look at your surroundings\nThis is very like the room you were assigned for this year's exam season. There are dozens of them in the Administration Centre's residential block, all more or less identical. But it cannot be your room, because all of your stuff is gone, and the room looks like it did when you first moved in. It's clean, tidy, and almost completely empty, just with basic furnishings: desk, chair, bed and washbasin. There's a window in the north wall and a door leads south.\n\n> You examine the window\nEven at night, you'd expect to see something. The gardens of the Administration Centre, and beyond them, the amphitheatre, the hedge maze and ornamental lake, lit by street lights and moonlight. It never gets completely dark. But today, there's nothing at all. Just total blackness, as if there is a smooth black wall just beyond the window.\n\n> Go outside\nYou walk through a few deserted corridors. There is nobody here; the building is completely silent. You cross the Administration Centre's quadrangle, also deserted, and end up in...\n\nThis is the main entrance to the sprawling Administration Centre. Large doors to the south would lead to the driveway and surrounding parkland, but you cannot see anything through the windows in the south wall. A grand staircase leads upwards. Doors lead east and west to the wings of the main building, while a smaller exit leads north to the quadrangle. There is a green door in the northwest corner of the room. There's a mural on the western wall, and a portrait and a mirror on the eastern wall.\n\nOn the reception desk is a fax machine.\n\n> You examine the machine\nIt's on the reception desk, where it seems quite out of place next to the modern computer workstations. It's not a printer or a scanner: it's an old-fashioned fax machine that prints onto thin thermal paper. You notice some paper hanging out of the machine.\n\n> You look at door\nWhich do you mean, the large doors or the green door?\n\n> You examine the green door\nIt's a small green door in the northwest corner of the room, under the staircase. The word 'MAINTENANCE' is written faintly on the door.\nThe fax machine bleeps.\n\n> You examine paper\nPoor-quality paper from a fax machine. It reads:\n\n'Dear candidate 28436, please go upstairs to the Observation Gallery where you will find further instructions.'\n\n> You look at the mural\nThe mural shows the construction of a gigantic Gothic cathedral by medieval craftsmen. The cathedral, which is half finished, is covered in both primitive scaffolding and workmen, each of whom is busily engaged in creating some small part of the whole. It is already a thing of great beauty on both a micro and macro scale, though it may be a century before the work is done. A tiny caption reads 'The Rebuilding of Civilisation'.\n\n> You look at the mirror\nSomehow, your reflection looks older than you remember. The exam stress must be causing some premature aging!\n\n> You examine staircase\nThe wide staircase leads up to a mezzanine.\n\n> You examine the windows\nEven at night, you'd expect to see something. The driveway and surrounding parkland, lit by street lights and moonlight. It never gets completely dark. But today, there's nothing at all. Just total blackness, as if there is a smooth black wall just beyond the window.\n\n> About yourself\nYou are a student of Administration theory. You think of yourself as fairly smart and attractive, reasonably charming, and certainly well-prepared for any exam.\n\n> You take the mirror\nIt is securely attached to the wall.\n\n> You examine large\nThe doors to the south are the main entrance to the Administration Centre. They are tall, wide, and extremely locked. Other, smaller doors lead east, west, northwest and north.\n\n> You open the maintenance door\nThe green door remains locked.\n\n> You open east\n(the mural)\nThat's not something you can open.\n\n> Go east\nThe door in that direction is locked. Exits lead:\nnorth to the Quadrangle.\nup to the Mezzanine.\n\n> You look\nThis is the main entrance to the sprawling Administration Centre. Large doors to the south would lead to the driveway and surrounding parkland, but you cannot see anything through the windows in the south wall. A grand staircase leads upwards. Doors lead east and west to the wings of the main building, while a smaller exit leads north to the quadrangle. There is a green door in the northwest corner of the room. There's a mural on the western wall, and a portrait and a mirror on the eastern wall.\n\nOn the reception desk is a fax machine.\n\n> You examine the portrait\nThe painting hangs on the eastern wall. It is an enormous portrait of Edmund Burke, the 18th century writer and politician. The Central Administrator is said to be a fan.\n\n> You look up\nSeen through the window, the sky is completely black.\n\n> Exits\nExits lead:\nnorth to the Quadrangle.\nup to the Mezzanine.\n\n> Go north\nThe quadrangle is completely surrounded by Administration Centre buildings. It's a large, square outdoor space with well-tended lawns and flowerbeds and paths leading in all directions. The place is unnervingly quiet. Though the buildings, paths and gardens are well-lit, the sky is completely black.\n\nThere is a sundial in the centre of the quadrangle.\n\n> You examine the sundial\nAs there is no sun, the sundial isn't working. You notice a quotation on the brass dial. It reads: 'What we do here matters somewhere else.'\n\n> You look up\nThe sky is completely black. Except for a message printed in white text, apparently floating far above you. The text reads: 'Safe Mode'.\n\n> Exits\nThe only exit leads south to the Lobby.\n\n> You take the dial\nThat's fixed in place.\n\n> You look at the buildings\nThe quadrangle is surrounded by Administration Centre buildings. The style is palatial and 18th century: two storeys of grand, ornamental stonework, with attic windows peeking through the tiled roof above that. The buildings seem to be deserted.\n\n> You look at the sky\n(the up above)\nThe sky is completely black. Except for a message printed in white text, apparently floating far above you. The text reads: 'Safe Mode'.\n\n> You examine text\nThe text reads: 'Safe Mode'.\n\n> You examine the badge\nA small plastic ID badge. The badge states: 'Candidate Number 28436'.\n\n> Go south\nOn the reception desk is a fax machine.\n\n> You examine the machine\nIt's on the reception desk, where it seems quite out of place next to the modern computer workstations. It's not a printer or a scanner: it's an old-fashioned fax machine that prints onto thin thermal paper. You notice some paper hanging out of the machine.\n\n> You take the paper\nTaken.\n\n> Up\nAs you walk up the stairs, you recall the first time you were here. It was a school trip when you were very young: a day out at the Administration Centre! You remember the sense of excitement at being so close to the great and powerful.\n\nThe first floor landing forms a mezzanine here, overlooking the lobby below. It's a sort of waiting room, placed right outside the Central Administrator's office, which is through the double doors to the west. A corridor leads east, and a grand staircase leads down. Like the rest of the building, the mezzanine is deserted, but if anyone was waiting here, they would be able to sit on the sofa and read the papers on the coffee table. Or they might look at the rather Administratively-themed artwork on the walls.\n\nThere's a plaque bearing the word 'Stability' on the north wall.\n\nOn the coffee table are a memo and a newspaper.\n\n> You look at the newspaper\nIt's one of the few newspapers that still has a printed edition, though for obvious reasons, this is an electronic copy. The front page story is all about an African dictator named Mugaffi. It is illustrated with pictures of children being treated for chemical burns outside a school. A few days ago, chemical weapons were used in the rebel city of Morgazi. 'Sources' blame Mugaffi's forces for the attack.\n\nAccording to the newspaper, this is the latest horrible incident of the full-blown civil war in Assadia. Though the protests against the corrupt Mugaffi regime began peacefully enough, the regime retaliated brutally - first with riot police, then with soldiers - and the situation rapidly escalated into war between rebels and regime forces. Last week, Mugaffi launched airstrikes against rebel-held cities. Now he uses chemical weapons against unarmed civilians, in contravention to all law, decency and sanity. But Mugaffi is afraid of the usual fate of deposed dictators, and he will do anything to cling to power.\n\nYou recall that Assadia is an independent country outside of the Administration. As such, Mugaffi is free to do as he pleases, with no authority to restrain his gangster government. Strange, though, that the situation should have developed so quickly. You had thought that Mugaffi only won his presidency last year, as an anti-corruption candidate with much acclaim in the media, and was generally thought to be doing a good job in hard circumstances. But the newspaper reports imply that he's been in power for years.\n\n> You examine the sofa\nA large and comfortable leather sofa. You notice a book underneath the sofa.\n\n> You look at the book\nThe book is 'Notopia', by Perry Simm. Some of the book is a biography of the Central Administrator. But mostly, the book concerns how the Administration rose to power. The title refers to the Administration's approach to government, rejecting ideology and Utopian idealism, and focusing instead on stability and rational pragmatism. The result, according to the back cover, is 'the sort of society in which people would actually like to live'.\n\n> You examine the artwork\nWhich do you mean, the portrait of Edmund Burke or the twelve pictures?\n\n> Twelve\nThere are twelve pictures, each representing a key advancement in the development of human civilisation as seen by the Administrators. Some are obvious, like the discovery of fire, and the development of writing and agriculture. Others are more controversial, such as the institutionalisation of religion and the English revolution of 1688. The most recent pictures show the development of the Internet and the creation of the Administration.\n\n> You take the book\nTaken.\n\n> You examine the portrait\nThe painting hangs on the eastern wall. It is an enormous portrait of Edmund Burke, the 18th century writer and politician. The Central Administrator is said to be a fan.\n\n> You look behind the portrait\n[In Final Exam, 'LOOK BEHIND' is synonymous with 'EXAMINE'.]\nThe painting hangs on the eastern wall. It is an enormous portrait of Edmund Burke, the 18th century writer and politician. The Central Administrator is said to be a fan.\n\n> Exits\nExits lead:\neast to the Corridor.\ndown to the Lobby."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, robots, nonhuman protagonist]\n\n> You look at your surroundings\nThe first floor landing forms a mezzanine here, overlooking the lobby below. It's a sort of waiting room, placed right outside the Central Administrator's office, which is through the double doors to the west. A corridor leads east, and a grand staircase leads down. Like the rest of the building, the mezzanine is deserted, but if anyone was waiting here, they would be able to sit on the sofa and read the papers on the coffee table. Or they might look at the rather Administratively-themed artwork on the walls.\n\nThere's a plaque bearing the word 'Stability' on the north wall.\n\nOn the coffee table are a memo and a newspaper.\n\n> You examine the window\nEven at night, you'd expect to see something. The driveway and surrounding parkland, lit by street lights and moonlight. It never gets completely dark. But today, there's nothing at all. Just total blackness, as if there is a smooth black wall just beyond the window.\n\n> Go west\nThe doors are locked. In this building, office doors are usually keyed to the identity of the person who works there, so these doors will only open for the Central Administrator, unless he is already in the office. It seems that he is out.\n\n> You examine the plaque\nIt's one of three such plaques: the others are placed along the corridor to the east. Each briefly describes one of the three values of the Administration: Stability, Liberty, and Responsibility. Exams are highly likely to involve essays on interactions between the three, but it never hurts to revise a little more, so you read the description below the word:\n\n'Administrators have a duty to ensure that their government is stable, reliable and predictable, so that the freedoms and benefits enjoyed by subjects are unchanged from day to day, untouched by the chaos of civil disorder and economic turmoil. Policies with the potential to cause unrest, upheaval and conflict are considered dangerous, and Administrators are required to test all policies rigorously in simulation before deployment. As Pratchett wrote,\n\n'People believe they want justice and wise government but, in fact, what they really want is an assurance that tomorrow will be very much like today.'\n\n> Look\n(the plaque)\nIt's one of three such plaques: the others are placed along the corridor to the east. Each briefly describes one of the three values of the Administration: Stability, Liberty, and Responsibility. Exams are highly likely to involve essays on interactions between the three, but it never hurts to revise a little more, so you read the description below the word:\n\n'Administrators have a duty to ensure that their government is stable, reliable and predictable, so that the freedoms and benefits enjoyed by subjects are unchanged from day to day, untouched by the chaos of civil disorder and economic turmoil. Policies with the potential to cause unrest, upheaval and conflict are considered dangerous, and Administrators are required to test all policies rigorously in simulation before deployment. As Pratchett wrote,\n\n'People believe they want justice and wise government but, in fact, what they really want is an assurance that tomorrow will be very much like today.'\n\n> You sit on the sofa\nBut you have an exam to pass!\n\n> Exits\nExits lead:\neast to the Corridor.\ndown to the Lobby.\n\n> You look at Burke\nThe painting hangs on the eastern wall. It is an enormous portrait of Edmund Burke, the 18th century writer and politician. The Central Administrator is said to be a fan.\n\n> You eat the sofa\n(first taking the sofa)\nThat's hardly portable.\n\n> Go east\nThe corridor turns a corner here, continuing to the north and west. The Security Administrator's office is through a door to the east, and to the south, a short staircase leads downwards to a darkened room.\n\nThere's a plaque bearing the word 'Liberty' on the north wall.\n\n> Exits\nExits lead:\nnorth to the Museum of Pre-Administration Government.\neast to the Security Administrator's Office.\nsouth to the Observation Gallery.\nwest to the Mezzanine.\n\n> You go south\nYou are in a cavernous room built on the same vast scale as a concert hall. It cannot possibly fit within the buildings of the Administration Centre - the normal rules of geometry have clearly been bent here. You are standing in an observation gallery far above the floor, which is filled with concentric circles of workstation desks. All face the centre of the room, where another circular desk is placed on a raised platform. Above all of this, a huge three-dimensional globe hangs in empty space. The dim lighting in the room comes mainly from the planet, which glows with an internal light. To the north, stairs lead up to the landing.\n\nA display monitor hangs above the gallery. There's a message on the monitor.\n\nYou saw this room on your first visit to the Administration Centre, all those years ago. It was even more awe-inspiring then: the room seemed even more gigantic, and at that time, it was full of people, all busily at work on the floor below. It felt like standing at the centre of the world. You knew this was the place you wanted to be.\n\n> Examine monitor\nThe display is an enormous high-resolution flat-screen monitor, suspended from the gallery ceiling. It shows a message: green text on black background.\n\n'Dear candidate 28436,\n\nYou must be wondering where everyone has gone. Let me explain.\n\nA serious situation has developed, and I have been forced to take emergency steps to isolate the Administration Centre - and ourselves - from the outside world. This isolation prevents my communicating with you normally, and at present I can only do so via this screen. I will explain more in due course.\n\nIn the meantime, I need you to obtain the emergency access card.\nIt's in the museum north of here. It allows you to enter the Maintenance Room, which is northwest of the Lobby. Then POKE 702522351. Afterwards, please return here for further instructions.\n\nYours,\nCentral Administrator.'\n\n> You look at the globe\nThe 3D representation of Earth hangs in the centre of the room, suspended in empty space. It's a three-dimensional political map, highlighting countries and major cities, and it's tilted so that much of your view is filled with the European continent, where the countries of the First Settlement are shaded green. Across the Mediterranean Sea, much of Africa is shaded pink. The exception is the North African country of Assadia, which appears in yellow to indicate a major crisis.\n\n> You examine the Assadia\nAssadia is a North African country run by a vicious gangster named Mugaffi. The yellow colour indicates that a major crisis is happening there.\n\n> Examine africa\nThat part of the world is independent from the Administration.\n\n> You examine first Settlement\nThe First Settlement countries were once the European Union - an unhappy federation in which very different countries with very different cultures were forced to fit together by those who favoured ideology over stability. The unstable and incompetent union stumbled from crisis to crisis until it eventually blundered into the one that finished it off for good. That was when the Administration took over.\n\n> You look at the desks\nThe Administrators do much of their work here. Each desk is assigned to some small region of the world, with physically adjacent regions occupying adjacent desks in this room. The workstations allow situations to be analysed, resources to be allocated, and Administration decisions to be sent to the outside world. The layout of the room makes it easy to coordinate with neighbours.\n\n> Exits\nExits lead:\nnorth to the Museum of Pre-Administration Government.\neast to the Security Administrator's Office.\nsouth to the Observation Gallery.\nwest to the Mezzanine.\n\n> Go north\nThis is the Administration Centre's museum. It's a vast hall, stretching far away to the north and east. It is currently closed and in darkness. A red rope blocks passage to the north and east. Light is coming from the corridor to the south and faintly from a blank video screen just beyond the rope. Exhibition displays fill the room, most too far away into the dark to be readable.\n\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can see a glass case containing an access card.\n\nYou remember your first visit to the Administration Centre. The tour spent hours in the museum. Most of your classmates took little interest in it and were quickly bored. But you found it fascinating. Here in the centre of it all, literally within the corridors of power! What excitement, what possibility!\n\n> You look at the screen\nThe video screen is blank but producing a faint light. You notice a sticky label on the side.\n\n> You examine the label\nThere's a message on the label: 'Keeps breaking. 732595713 to reset.'\n\n> You take the screen\nIt's on the other side of the rope.\n\n> You examine the plaque\nIt's one of three such plaques: the others are to the south. Each briefly describes one of the three values of the Administration: Stability, Liberty, and Responsibility. Exams are highly likely to involve essays on interactions between the three, but it never hurts to revise a little more, so you read the description below the word:\n\n'Administrators have a duty to nurture personal responsibility, as this is necessary to build a strong, lawful and liberal society. It is held that each adult person has free will and is responsible for his or her actions. As Burke wrote,\n\n'Society cannot exist unless a controlling power upon will and appetite be placed somewhere, and the less of it there is within, the more there must be without.'\n\n> You read the liberty\n[In Final Exam, 'READ' is synonymous with 'EXAMINE'.]\nIt's one of three such plaques: the others are to the north and west. Each briefly describes one of the three values of the Administration: Stability, Liberty, and Responsibility. Exams are highly likely to involve essays on interactions between the three, but it never hurts to revise a little more, so you read the description below the word:\n\n'Administrators have a duty to uphold freedom of speech, thought and conscience, along with processes to prevent injustice such as jury trial. No person may be punished for holding opinions, however disagreeable these opinions may be. As Queen Elizabeth I famously said,\n\n> You go to the north\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can see a glass case containing an access card.\n\n> You look at the case\nThe glass case bears a sign: 'In case of emergency, break glass. Penalty for improper use.'\n\n> You examine the card\nA plastic card much like a credit card. It is made of white plastic and bears the text: 'EMERGENCY MAINTENANCE ACCESS'.\n\n> Break glass\nThe glass shatters.\n\n> You take the card\nTaken.\n\n> Go east\nThis is the office of the Security Administrator. There is no sign of the Administrator or any other staff. The door leads west to the corridor. The office is furnished by a desk, sofa, a bookshelf, and a mural on the northern wall.\n\n> You look at the mural\nThe mural shows a dystopian cityscape of ugly skyscrapers and foul motorways. Miserable crowds mill around in the polluted, smoggy streets. The picture is intensely detailed, so you can even guess at what some of the people are doing, though none of them seem happy: miserable commuters, miserable criminals, miserable homeless people. Skyscrapers tower above them, adorned with the logos of credit cards and banks, and bearing the flags of failed governments. A tiny caption reads 'Where We Came From'.\n\n> You look at the desk\nA very solid-looking wooden desk, bare and clean, as if it's just been delivered by an upmarket furniture shop. You feel like something is missing from the desk, but you can't remember what it is.\n\n> You look at the sofa\nA large and comfortable leather sofa.\n\n> You search the sofa\n[In Final Exam, 'SEARCH' is synonymous with 'EXAMINE'.]\nA large and comfortable leather sofa.\n\n> You examine the bookshelf\nThe bookshelves seem to have been emptied recently. Marks in the dust show where books have been removed. There is a book on the top shelf.\n\n> Examine book\n('Notopia')\nThe book is 'Notopia', by Perry Simm. Some of the book is a biography of the Central Administrator. But mostly, the book concerns how the Administration rose to power. The title refers to the Administration's approach to government, rejecting ideology and Utopian idealism, and focusing instead on stability and rational pragmatism. The result, according to the back cover, is 'the sort of society in which people would actually like to live'.\n\n> You check what you're carrying\nYou are carrying:\nan access card\n'Notopia'\nsome thermal paper\nan identity badge\n\n> You put Notopia on the bookshelf\nYou put 'Notopia' on the bookshelves.\n\n> Examine book\nWhich do you mean, 'Notopia' or 'Idiots' Guide to Writing Malware and Viruses'?\n\n> Idiot\nIt's one of the well known Idiots' Guide series of computer books. It has a friendly yellow cover, on which a cartoon man offers to tell you how to 'Crack computers, flood networks and steal information'. The book contains several hundred pages of instructions for finding and exploiting security holes in computers. While this book may be filled with all sorts of interesting information, none of it's going to come up on your exam.\n\n> You check your inventory\nYou are carrying:\n'Idiots' Guide to Writing Malware and Viruses'\nan access card\nsome thermal paper\nan identity badge\n\n> You look under sofa\n[In Final Exam, 'LOOK UNDER' is synonymous with 'EXAMINE'.]\nA large and comfortable leather sofa."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, science fiction, caves, bunker]\n\n> You look at your surroundings\nThis is the office of the Security Administrator. There is no sign of the Administrator or any other staff. The door leads west to the corridor. The office is furnished by a desk, sofa, a bookshelf, and a mural on the northern wall.\n\nOn the bookshelves is 'Notopia'.\n\n> You examine the desk\nA very solid-looking wooden desk, bare and clean, as if it's just been delivered by an upmarket furniture shop.\n\n> You take the desk\nThat's hardly portable.\n\n> Poke\nYou can only POKE numbers in the POKE room. [The POKE room is reached from the Maintenance Room, northwest of the Lobby.]"
    },
    {
        "text": "[Themes: Science Fiction, nonhuman protagonist, artificial intelligence, gender-neutral protagonist, caves]\n\n> Go downwards\nYou are in a cavernous room built on the same vast scale as a concert hall. It cannot possibly fit within the buildings of the Administration Centre - the normal rules of geometry have clearly been bent here. You are standing in an observation gallery far above the floor, which is filled with concentric circles of workstation desks. All face the centre of the room, where another circular desk is placed on a raised platform. Above all of this, a huge three-dimensional globe hangs in empty space. The dim lighting in the room comes mainly from the planet, which glows with an internal light. To the north, stairs lead up to the landing.\n\nA display monitor hangs above the gallery.\n\n> Unlock Maintenance\nThe green door is automatically unlocked when you are carrying a suitable access card.\n\n> Go northwest\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room.\n\nA portal occupies most of the northeast wall.\n\n> You look at console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28436,\n\nYou must be wondering where everyone has gone. Let me explain.\n\nA serious situation has developed, and I have been forced to take emergency steps to isolate the Administration Centre - and ourselves - from the outside world. This isolation prevents my communicating with you normally, and at present I can only do so via this screen. I will explain more in due course.\n\nIn the meantime, I need you to obtain the emergency access card.\nThen go west from the Maintenance Room and POKE 702522351. Afterwards, please return here for further instructions.\n\nYours,\nCentral Administrator.'\n\n> You examine the portal\nIt's a completely black rectangle. It's large enough for you to comfortably walk through it.\n\n> About yourself\nYou are a student of Administration theory. You think of yourself as fairly smart and attractive, reasonably charming, and certainly well-prepared for any exam.\n\n> You look at the sign\nThe sign is on the western door. It reads: 'POKE Room. Unauthorised access is prohibited by the Central Administrator. Misuse of POKE will corrupt physical memory and may result in instantaneous death, reboot, data loss, segmentation fault, brain damage, infinite loops and loss of network access. If in any doubt, do not enter.'\n\n> You go to the west\nYou are standing within core memory, completely surrounded by the raw, working elements of a vast machine. Lights pulsate and flicker all around you: the effect is like wandering around within your own brain. You can see 4,294,967,295 buttons here. A door leads east.\n\n> You look at the buttons\nThe buttons are numbered from 1 to 4294967295, and you can POKE any one of them, e.g. POKE 12345.\n\n> POKE 12345\nIt could be really dangerous to press the wrong button. You decide to double-check the number before trying again.\n\n> About yourself\nYou are a student of Administration theory. You think of yourself as fairly smart and attractive, reasonably charming, and certainly well-prepared for any exam.\n\nYou suddenly discover the effect of POKE'ing the wrong button. You find yourself in an...\nInfinite Loop\nYou are trapped forever in a tiny infinite loop.\n\nYou can see a kernel here.\n\n> You examine the kernel\nThe kernel panics.\n\n> Hint\nAt this point in the game, you should follow the instructions given to you by the Central Administrator. These will gradually unlock further parts of the game and give simple examples of the skills you will need to solve later puzzles. You can find the Administrator's most recent instructions in the Observation Gallery, which is UP, EAST, SOUTH from the Lobby. When you find the gallery, enter EXAMINE DISPLAY.\n\n> You check your inventory\nYou are carrying:\n'Idiots' Guide to Writing Malware and Viruses'\nan access card\nsome thermal paper\nan identity badge\n\n> Break\nWhat do you want to break?\n\n> You examine the badge\nA small plastic ID badge. The badge states: 'Candidate Number 28436'.\n\n> POKE 28436\nYou can only POKE numbers in the POKE room. [The POKE room is west of the Maintenance Room, northwest of the Lobby.]\n\n> You go to the west\nYou are standing within core memory, completely surrounded by the raw, working elements of a vast machine. Lights pulsate and flicker all around you: the effect is like wandering around within your own brain. You can see 4,294,967,295 buttons here. A door leads east.\n\n> POKE 28436\nIt could be really dangerous to press the wrong button. You decide to double-check the number before trying again.\n\n> Go north\nThis is the Administration Centre's museum. It's a vast hall, stretching far away to the north and east. It is currently closed and in darkness. A red rope blocks passage to the north and east. Light is coming from the corridor to the south and from a video screen just beyond the rope. Exhibition displays fill the room, most too far away into the dark to be readable.\n\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can also see a glass case (which is empty) here.\n\n> You examine the screen\nThe video screen is showing a televised interview with the Central Administrator. He is wearing a dark suit, and even in this old recording, his hair has already started to turn grey. The sound is faint, but you can make out some of the discussion if you listen carefully.\n\n> You listen\n(to the video screen)\nThe Central Administrator is speaking:\n\n'...having committed themselves to so-called science-based\npolicies, these being policies tested by computer simulation, the intellectual class could not raise an objection when the simulators produced answers they had not expected.'\n\n> You listen\n(to the video screen)\n'Such as?' prompts the interviewer.\n\n'I mean that the simulations favoured social policies that the intellectuals had regarded as conservative, old-fashioned and reactionary. The data clearly pointed at stability, liberty and personal responsibility as the key properties of a good society. The people had assumed that the machines would confirm their own beliefs in globalism, socialism and so forth. They had never questioned those beliefs, and indeed did not even think that their beliefs were beliefs. The idea that the machine might come up with the 'wrong' answer never occurred to them.'\n\n> You listen\n(to the video screen)\n'This must have created some problems,' the interviewer remarks.\n\n'Oh, well, some. But nothing greatly significant. The simulations\nwere quite repeatable. There were a few cases where independent research got different answers, but these were discredited. I audited their software and traced the differences to software bugs. Coding errors. It turns out that humans are almost as bad at writing software as they are at running a government!'\n\nThe interviewer laughs. 'Is there any link between the two?'\n\n'I think so. Humans... well, all of us... struggle to deal with complexity. When dealing with a complex system, like a country, or a large software program, the temptation is always to assume that you know enough to make an informed guess about what should be done. It is a temptation that must be resisted. Everything must be thoroughly tested before it is allowed to 'go live'. You must do everything you can to avoid destabilising something that used to work.'\n\n> You listen\n(to the video screen)\n'But were there protests?' presses the interviewer.\n\n'Some people will disagree with government no matter what it does. That is fine. They may choose to complain, and we may choose to listen. I think, though, that one reason the intellectuals eventually accepted the new system is that they found themselves in bad company. They now stood alongside deniers and conspiracy theorists, the same people they had once mocked as 'wingnuts' and lunatics for denying the validity of simulation results. Ultimately, they came over to our side out of embarrassment as much as anything. Pretended they had agreed with us all along...'.\n\nThe screen goes blank again.\n\n> You examine the rope\nThe red rope blocks access to the museum.\n\n> You remove the rope\n(first taking the red rope)\nThe red rope will not move at all.\n\n> You go under rope\nThe rope is not much of a barrier, but presumably it is there for a reason...\n\n> You look at the displays\nWhich do you mean, the video screen, the nearest display or the rest of the exhibition?\n\n> You look at the nearest DISPLAY\nThe nearest display is the only one you can read. It forms an introduction to the rest of the exhibition, and it's immediately clear that the theme of the museum has hardly changed since you last visited it. The museum presents the case against the pre-Administration approach to government, known here as 'populism'.\n\nThe display bears a quotation from a political adviser regarding his own government's lack of forward planning. Like all Western governments of its time, that government was completely dominated by concerns about retaining popularity and good public relations. It had no policies as such; rather, it simply reacted to events, attempting to retain the favour of the press and the public.\n\nThis was not limited to one policy area, to one party, or to one government in one country. It was a universal failing. The voters said that they wanted politicians who spoke plainly and stuck to their principles, but if such people actually stood for election, they were quickly rejected, as no principle is universally popular. Consequently the only successful politicians had no principles and never said what they meant.\n\n> Go outside\nThe corridor turns a corner here, continuing to the north and west. The Security Administrator's office is through a door to the east, and to the south, a short staircase leads downwards to a darkened room.\n\nThere's a plaque bearing the word 'Liberty' on the north wall.\n\n> Go outside\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> You examine the badge\nA small plastic ID badge. The badge states: 'Candidate Number 28436'.\n\n> You examine the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28436,\n\nThe Administration Centre is under attack. The network is flooded\nby virus packets, and I am unable to do anything other than hold back the flood.\n\nHowever, you can help. By great fortune, you were due to take an\nexam today, and that involved some special measures which have protected you from the attack. Like me, you are connected to an independent system which is unaffected by the virus. But unlike me, you are able to control a maintenance robot. I need you to use that robot to save us.\n\nTake control of the robot via the portal in the Maintenance Room.\nIn the outside world, find a Diagnostic network socket, such as WS4, or perhaps WS2, though I'm not sure that one is working. PLUG a network cable into it, and PLUG the other end into the Central Administrator socket, which is labelled WS3. You might need to find several network cables and JOIN them together: there is a cable joining tool in the old Broadcasting Studio.\n\nand let me run some diagnostics. It may be enough to fight the virus.\n\nYours,\nCentral Administrator.'\n\n> You enter it\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. The socket is not in use.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench (on which is a screwdriver) here.\n\n> You look at what you're carrying with you\nYou are carrying:\na black box\n\n> About yourself\nYou are a well-oiled and somewhat noisy maintenance robot. Your robot body has a humanoid configuration - two legs, two arms, and a head, but it could not possibly pass for a human anywhere, not even a sci-fi convention, because the design is so completely functional. There is no skin; tubes, solenoids and wires are exposed along with the metal skeleton. The machine was never designed to leave the bunker - its intended purpose is limited to replacing server parts and installing network gear. A black box is attached to you like a backpack.\n\n> You get the screwdriver\nTaken.\n\n> You examine the screwdriver\nA flathead screwdriver with an insulated handle.\n\n> Examine box\nThe backpack is a large black box attached to the back of your robot body. It contains your physical mind, isolated from the network and power supply of the data centre. The number 28436 is printed on the box in a neat typeface. A second number has been crudely scratched on it: 644358724. The box has a network socket. The socket is not in use.\n\n> You examine the socket\nWhich do you mean, Socket WS3 or Socket WS2?\n\n> You examine ws2\nThe label reads 'Socket WS2 - Diagnostic'. The socket is not in use."
    },
    {
        "text": "[Themes: Science Fiction, artificial intelligence, science fiction, robots, bunker, caves]\n\n> You look around\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. The socket is not in use.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You look at the workbench\nThe workbench has seen better days! The wood is rotten and the legs are very rusty. It looks like decades have passed since anybody used it. There are some tools on it.\n\n> Exits\nExits lead:\nnorth into the charging stations.\nsouth to the Generator Room.\nwest to the Battery Room.\n\n> You look at the tools\nWrenches, a saw, drill bits: all rusted and completely useless.\n\n> You go north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room.\n\nA portal occupies most of the northeast wall.\n\n> Exits\nExits lead:\nnortheast into the portal.\nsoutheast to the Lobby.\nwest to the POKE Room.\n\n> You enter the portal\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. The socket is not in use.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go east\nThe blast door is closed.\n\n> You go to the west\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\nYou can see a single-length network cable here.\n\n> You examine ws4\nThe label reads 'Socket WS4 - Diagnostic'. The socket is not in use.\n\n> You plug the cable into the robot\nThe single-length network cable is already here.\n\n> You look\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. A cable is plugged into Socket WS4. The rest of the cable is in your hand.\n\n> Exits\nExits lead:\nnorth to the Data Centre.\neast to the Maintenance Room.\nwest to the Secure Room.\n\n> You go west\n(letting go of the single-length network cable, as it is plugged into Socket WS4, and it's too short to stretch to another room)\n\nThis room was once an office. Some ancient desks and chairs are cluttered into a corner, and you can see a faded calendar on the wall beside a dusty portrait. There's a doorway to the east and a blast door to the south.\n\nYou can see some old desks and chairs here.\n\n> Exits\nThe only exit leads east to the Battery Room.\n\n> You examine desks\nOld and poor quality. The chairs look uncomfortable and flimsy, while the desks are made of peeling chipboard. This could never have been a pleasant place to work. You see a network cable underneath one of the desks.\n\n> You go east\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. A cable is plugged into Socket WS4. The rest of the cable lies on the floor.\n\n> You check what you're carrying\nYou are carrying:\na single-length network cable\na screwdriver\na black box\n\n> You join cable with cable\nThat would require a special tool.\n\n> You go north\nThis large room is filled with racks of black boxes. It seems that many of the internal walls of the bunker were removed in order to make more space. There is just enough room to move between the racks, but not much more. You find doorways leading south, west and northwest. There is a door in the northeast corner.\n\n> Exits\nExits lead:\nnortheast to the Network Room.\nsouth to the Battery Room.\nwest to the Passage.\nnorthwest to the Broadcasting Studio.\n\n> You look at the racks\nThe racks are used to support the black boxes, making them easily accessible for maintenance.\n\n> Examine boxes\nThe physical minds of thousands of Administration staff. These boxes contain your colleagues and associates. Each box is firmly mounted in a metal rack, bears a five-digit number, and is the same shape as the one you carry.\n\n> You get the boxes\nThey're fixed in place. In any case, you cannot know whose mind is in each box.\n\n> You examine number\nThe backpack is a large black box attached to the back of your robot body. It contains your physical mind, isolated from the network and power supply of the data centre. The number 28436 is printed on the box in a neat typeface. A second number has been crudely scratched on it: 644358724. The box has a network socket. The socket is not in use.\n\n> You examine tile\nThe floor tile moves slightly when you stand on it.\n\n> You move the tile\nThe floor tile is bulky, but you manage to lift it. This reveals a void underneath the floor. You see a network cable in the void.\n\n> You get the cable\n(the single-length network cable)\nTaken.\n\n> You go to the northwest\nThe mixing desk, soundproof walls and 'On Air' sign in this room tell you that it was originally intended to be used as a broadcasting studio. Now it is being used as a store room for computer parts, which have been stacked up against the walls.\n\nThere is an instruction book on the mixing desk.\n\nYou can also see a satellite uplink kit and a toolbag (which is closed) here.\n\n> You get all\nsatellite uplink kit: Taken.\ninstruction book: Taken.\ntoolbag: Taken.\nmixing desk: That's hardly portable.\n'On Air' sign: That's hardly portable.\ncomputer parts: You find nothing that you need there.\n\n> You look at the instruction book\nThe book dates from the 1970s and contains many pages of typewritten instructions which explain how to use the primitive studio facilities. Reading the book makes it clear that this bunker was one of many intended to house 'key personnel' during wartime. It seems it was subsequently repurposed by the Central Administrator as his (physical) home.\n\n> You examine the desk\nThe studio equipment is vintage. Given the right buyer, this old analogue gear might be quite valuable. But it's no use to you.\n\n> You check your inventory\nYou are carrying:\na toolbag (which is closed)\nan instruction book\na satellite uplink kit\na single-length network cable\na single-length network cable\na screwdriver\na black box\n\n> You open the toolbag\nYou open the toolbag, revealing a cable joining tool and a single-length network cable.\n\n> You join cable with the cable\nThe cables are joined, creating two coiled lengths.\n\n> Examine kit\nThe satellite uplink kit is housed in a heavy case (which is closed). It provides emergency network access via satellite, but can only be used in an area with a clear view of the sky.\n\n> Inventory\nYou are carrying:\na double-length network cable\na toolbag (which is open)\na cable joining tool\na single-length network cable\nan instruction book\na satellite uplink kit\na screwdriver\na black box\n\n> You take the cable\n(the double-length network cable)\nYou already have that.\n\n> You look at joining\nThis tool allows you to JOIN two network cables, or CUT one cable into two sections.\n\n> You join the cable with the cable\nWhich do you mean, the single-length network cable or the double-length network cable?\n\n> You join the cables\nsingle-length network cable: The cables are joined, creating three coiled lengths.\ntriple-length network cable: You have no other cable end to join to the triple-length network cable.\n\n> Inventory\nYou are carrying:\na triple-length network cable\na toolbag (which is open)\na cable joining tool\nan instruction book\na satellite uplink kit\na screwdriver\na black box\n\n> You go southeast\nThis large room is filled with racks of black boxes. It seems that many of the internal walls of the bunker were removed in order to make more space. There is just enough room to move between the racks, but not much more. You find doorways leading south, west and northwest. There is a door in the northeast corner.\n\nYou can see a floor tile here.\n\n> You go to the north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> You read the message\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28436,\n\nI attempted to assess the attack, but network socket WS2 is not working and I can't get through to the diagnostic system.\n\nThere's another network socket in the Battery Room. It is labelled WS4. Please connect that socket to WS3.\n\nYou'll have to join two network cables together, and run them\nbetween the two rooms. You will find a tool for JOINing cables in the old Broadcasting Studio. Join the cables, then connect network sockets WS3 and WS4.\n\nYours,\nCentral Administrator.'\n\n> Go northeast\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable is in your hand, and is also attached to Socket WS2.\n\nNetwork Socket WS2 is on the north wall.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go west\n(laying the trailing network cable as you go)\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. A cable is plugged into Socket WS4. The rest of the cable lies on the floor.\n\nYou are holding a trailing network cable. The cable runs east from here.\n\n> Plug WS4\nTry PLUG CABLE INTO SOCKET. If more than one socket is present, try giving the name of the socket, e.g. WS9.\n\n> You plug the cable into the ws4 socket\nThe socket is already in use."
    },
    {
        "text": "[Themes: Science Fiction, artificial intelligence, robots]\n\n> You look at your surroundings\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. A cable is plugged into Socket WS4. The rest of the cable lies on the floor.\n\nYou are holding a trailing network cable. The cable runs east from here.\n\n> You join the cables\n(to the trailing network cable)\nThe cables are joined, creating three coiled lengths.\n\n> You go to the east\n(keeping hold of the trailing network cable)\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable is in your hand, and runs west.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You examine the stations\nThe robot body may stand inside one of these in order to recharge its battery. While the robot body is recharging, your mind returns to the Administration Centre.\n\n> You go to the north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> You examine the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28436,\n\nThankyou, your new connection allowed me to assess the attack.\n\nIt's worse than I thought. We have no external communications at\nall; everything is infected. I need you to make a new connection via a satellite uplink.\n\nOur enemy has discovered the location of our data centre, and will soon attempt to break in. We must act quickly. You will need to open the blast door on the east side of the bunker, and run a cable from socket WS3 to some place where the sky is visible. Set up a satellite uplink unit there, and connect it to the cable. Due to the distance, you will need to join more network cables - probably as many as you can find. Look in the Network Room first. There will be more in other places.\n\nYou will have to explore the caves.\n\nOne more thing. Be careful with the other network sockets. Some of them are flooded by the virus. If you connect them wrongly, it won't damage the Administration, but it might prevent you returning here.\n\nGood luck...\n\nYours,\nCentral Administrator.'\n\n> You look at the keyboard\nThe keyboard is built into the console. It doesn't seem to do anything.\n\n> Inventory\nYou are carrying:\nan identity badge\n\n> You examine the badge\n(first getting out of bed)\nA small plastic ID badge. The badge states: 'Candidate Number 28199'.\n\nSomething is certainly wrong! Is this... part of the test? You never found out exactly what the final exam involved. Perhaps it is like this for every candidate.\n\n> You examine the window\nEven at night, you'd expect to see something. The gardens of the Administration Centre, and beyond them, the amphitheatre, the hedge maze and ornamental lake, lit by street lights and moonlight. It never gets completely dark. But today, there's nothing at all. Just total blackness, as if there is a smooth black wall just beyond the window.\n\n> You examine the bed\nEven the bed seems wrong. This isn't your duvet and these aren't your pillowcases.\n\n> You look under the bed\n[In Final Exam, 'LOOK UNDER' is synonymous with 'EXAMINE'.]\nEven the bed seems wrong. This isn't your duvet and these aren't your pillowcases.\n\n> You examine pillowcases\nEven the bed seems wrong. This isn't your duvet and these aren't your pillowcases.\n\n[You should go out; whatever is going on, you're not going to find any answers here.]\n\n> Exits\nThe only exit leads south to the Quadrangle.\n\n> You examine the portrait\nThe painting hangs on the eastern wall. It is an enormous portrait of Edmund Burke, the 18th century writer and politician. The Central Administrator is said to be a fan.\nThe fax machine bleeps.\n\n> You look at the fax\n(the fax machine)\nIt's on the reception desk, where it seems quite out of place next to the modern computer workstations. It's not a printer or a scanner: it's an old-fashioned fax machine that prints onto thin thermal paper. You notice some paper hanging out of the machine.\n\n> You read the paper\n[In Final Exam, 'READ' is synonymous with 'EXAMINE'.]\nPoor-quality paper from a fax machine. It reads:\n\n'Dear candidate 28199, please go upstairs to the Observation Gallery where you will find further instructions.'\n\n> You look at the monitor\nThe display is an enormous high-resolution flat-screen monitor, suspended from the gallery ceiling. It shows a message: green text on black background.\n\n'Dear candidate 28199,\n\nYou must be wondering where everyone has gone. Let me explain.\n\nA serious situation has developed, and I have been forced to take emergency steps to isolate the Administration Centre - and ourselves - from the outside world. This isolation prevents my communicating with you normally, and at present I can only do so via this screen. I will explain more in due course.\n\nIn the meantime, I need you to obtain the emergency access card.\nIt's in the museum north of here. It allows you to enter the Maintenance Room, which is northwest of the Lobby. Then POKE 411251181. Afterwards, please return here for further instructions.\n\nYours,\nCentral Administrator.'\n\n> You go north\nThe corridor turns a corner here, continuing to the north and west. The Security Administrator's office is through a door to the east, and to the south, a short staircase leads downwards to a darkened room.\n\nThere's a plaque bearing the word 'Liberty' on the north wall.\n\nThis is the Administration Centre's museum. It's a vast hall, stretching far away to the north and east. It is currently closed and in darkness. A red rope blocks passage to the north and east. Light is coming from the corridor to the south and faintly from a blank video screen just beyond the rope. Exhibition displays fill the room, most too far away into the dark to be readable.\n\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can see a glass case containing an access card.\n\n> Break case\nThe glass shatters.\n\n> You examine the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nYou must be wondering where everyone has gone. Let me explain.\n\nA serious situation has developed, and I have been forced to take emergency steps to isolate the Administration Centre - and ourselves - from the outside world. This isolation prevents my communicating with you normally, and at present I can only do so via this screen. I will explain more in due course.\n\nIn the meantime, I need you to obtain the emergency access card.\nThen go west from the Maintenance Room and POKE 411251181. Afterwards, please return here for further instructions.\n\nYours,\nCentral Administrator.'\n\n> You go to the west\nYou are standing within core memory, completely surrounded by the raw, working elements of a vast machine. Lights pulsate and flicker all around you: the effect is like wandering around within your own brain. You can see 4,294,967,295 buttons here. A door leads east.\n\n> Go east\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> You examine the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nThe Administration Centre is under attack. The network is flooded\nby virus packets, and I am unable to do anything other than hold back the flood.\n\nHowever, you can help. By great fortune, you were due to take an\nexam today, and that involved some special measures which have protected you from the attack. Like me, you are connected to an independent system which is unaffected by the virus. But unlike me, you are able to control a maintenance robot. I need you to use that robot to save us.\n\nTake control of the robot via the portal in the Maintenance Room.\nIn the outside world, find a Diagnostic network socket, such as WS4, or perhaps WS2, though I'm not sure that one is working. PLUG a network cable into it, and PLUG the other end into the Central Administrator socket, which is labelled WS3. You might need to find several network cables and JOIN them together: there is a cable joining tool in the old Broadcasting Studio.\n\nand let me run some diagnostics. It may be enough to fight the virus.\n\nYours,\nCentral Administrator.'\n\n> You examine the green door\nIt's a small green door in the northwest corner of the room, under the staircase. The word 'MAINTENANCE' is written faintly on the door.\n\n> Exits\nExits lead:\nnorth to the Quadrangle.\nnorthwest to the Maintenance Room.\nup to the Mezzanine.\n\n> You go north\nYou discover that the door to the residential wing has locked behind you. You cannot return to the bedroom.\n\n> You go to the west\nThe doors in that direction are locked. The only exit leads south to the Lobby.\n\n> You look at the desk\nWhich do you mean, the rows of workstation desks or the raised central platform?\n\n> Central\nIt's a large desk in the middle of the room, directly below the model of the Earth. At times of crisis, the Central Administrator and his assistants may direct operations from here.\n\n> You examine the rows\nThe Administrators do much of their work here. Each desk is assigned to some small region of the world, with physically adjacent regions occupying adjacent desks in this room. The workstations allow situations to be analysed, resources to be allocated, and Administration decisions to be sent to the outside world. The layout of the room makes it easy to coordinate with neighbours.\n\n> Examine africa\nThat part of the world is independent from the Administration.\n\n> Exits\nThe only exit leads west to the Corridor.\n\n> Go north\nThis is the Administration Centre's museum. It's a vast hall, stretching far away to the north and east. It is currently closed and in darkness. A red rope blocks passage to the north and east. Light is coming from the corridor to the south and faintly from a blank video screen just beyond the rope. Exhibition displays fill the room, most too far away into the dark to be readable.\n\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can also see a glass case (which is empty) here.\n\n> Go north\nThe rope is not much of a barrier, but presumably it is there for a reason...\n\n> You look at the screen\nThe video screen is blank but producing a faint light. You notice a sticky label on the side.\n\n> You look at the label\nThere's a message on the label: 'Keeps breaking. 495147333 to reset.'\n\n> You go southeast\nYou can't go that way. The only exit leads east to the Maintenance Room.\n\n> You examine the plaque\nIt's one of three such plaques: the others are to the north and west. Each briefly describes one of the three values of the Administration: Stability, Liberty, and Responsibility. Exams are highly likely to involve essays on interactions between the three, but it never hurts to revise a little more, so you read the description below the word:\n\n'Administrators have a duty to uphold freedom of speech, thought and conscience, along with processes to prevent injustice such as jury trial. No person may be punished for holding opinions, however disagreeable these opinions may be. As Queen Elizabeth I famously said,\n\n> Go north\nThis is the Administration Centre's museum. It's a vast hall, stretching far away to the north and east. It is currently closed and in darkness. A red rope blocks passage to the north and east. Light is coming from the corridor to the south and faintly from a blank video screen just beyond the rope. Exhibition displays fill the room, most too far away into the dark to be readable.\n\nThere's a plaque bearing the word 'Responsibility' on the west wall.\n\nYou can also see a glass case (which is empty) here.\n\n> Go west\nThe door in that direction is locked. Exits lead:\nnorth to the Quadrangle.\nnorthwest to the Maintenance Room.\nup to the Mezzanine.\n\n> Examine box\nThe backpack is a large black box attached to the back of your robot body. It contains your physical mind, isolated from the network and power supply of the data centre. The number 28199 is printed on the box in a neat typeface. A second number has been crudely scratched on it: 856414854. The box has a network socket. The socket is not in use.\n\n> You examine station\nThe robot body may stand inside one of these in order to recharge its battery. While the robot body is recharging, your mind returns to the Administration Centre.\n\n> You take the screwdriver\nTaken.\n\n> Go south\nThis room contains disused electrical equipment, much of it now buried under an assortment of junk.\n\nThere's a rusty metal switch marked 'Blast Door' on the north wall.\n\nYou can also see a heap of junk here.\n\n> You examine the junk\nAll of this junk seems to have been cleared away from other parts of the facility. It's mostly spartan furniture: bunk beds, mattresses, desks and chairs. You see a network cable amongst the junk.\n\n> You examine the cable\nYou are holding a single length of network cable.\n\n> You examine the junk\nAll of this junk seems to have been cleared away from other parts of the facility. It's mostly spartan furniture: bunk beds, mattresses, desks and chairs.\n\n> Examine generator\nYou see a diesel generator and switching gear. A mercury rectifier lurks in the shadows like something from Frankenstein's laboratory. It's all antiquated, rusty, and completely beyond use.\n\n> You enter the station\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> You look at console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nI attempted to assess the attack, but network socket WS2 is not working and I can't get through to the diagnostic system.\n\nThere's another network socket in the Battery Room. It is labelled WS4. Please connect that socket to WS3.\n\nYou'll have to join two network cables together, and run them\nbetween the two rooms. You will find a tool for JOINing cables in the old Broadcasting Studio. Join the cables, then connect network sockets WS3 and WS4.\n\nYours,\nCentral Administrator.'\n\n> You check your inventory\nYou are carrying:\n'Idiots' Guide to Writing Malware and Viruses'\nan access card\nan identity badge\n\n> You enter the portal\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable is in your hand, and is also attached to Socket WS2.\n\nNetwork Socket WS2 is on the north wall.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You check your inventory\nYou are carrying:\na single-length network cable (plugged into Socket WS3)\na screwdriver\na black box\n\n> You drop the cable\nDropped.\n\n> You look at the batteries\nThere are hundreds of rechargeable batteries, all mounted in metal racks. They provide electricity for the facility when mains power is not available.\n\n> Inventory\nYou are carrying:\na single-length network cable\na single-length network cable\na screwdriver\na black box\n\n> You go to the west\nThis passage is blocked because the roof has collapsed. There's a pile of rubble to the west, preventing any further progress in that direction.\n\n> You look at the rubble\nThe ceiling has collapsed, blocking the passage with a pile of rubble.\n\n> You examine it\nA network engineer's toolbag.\n\n> You look at the sign\nThe sign lights up when the studio is broadcasting."
    },
    {
        "text": "[Themes: Science Fiction, robots]\n\n> Look around\nThe mixing desk, soundproof walls and 'On Air' sign in this room tell you that it was originally intended to be used as a broadcasting studio. Now it is being used as a store room for computer parts, which have been stacked up against the walls.\n\nThere is an instruction book on the mixing desk.\n\nYou can also see a satellite uplink kit here.\n\n> You look at parts\nNeat stacks of identical boxes, factory-sealed. You see motherboards, power supplies and storage units - all spare parts for the data centre.\n\n> Go southeast\nIt's hard to move around with all these short network cables! [Consider JOINing some of them together.]\n\nThis large room is filled with racks of black boxes. It seems that many of the internal walls of the bunker were removed in order to make more space. There is just enough room to move between the racks, but not much more. You find doorways leading south, west and northwest. There is a door in the northeast corner.\n\nYou can see a floor tile here.\n\n> Go south\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\n> Go west\nThis room was once an office. Some ancient desks and chairs are cluttered into a corner, and you can see a faded calendar on the wall beside a dusty portrait. There's a doorway to the east and a blast door to the south.\n\nYou can see some old desks and chairs here.\n\n> You examine the portrait\nIt's a portrait of Queen Elizabeth II, covered in dust and dirt.\n\n> Examine calendar\nThe year is 1990. Maybe that was the last time this room was used as an office.\n\n> You move the portrait\nIt is fixed in place.\n\n> You check your inventory\nYou are carrying:\na single-length network cable\na single-length network cable\na single-length network cable\na single-length network cable\na toolbag (which is open)\na cable joining tool\na screwdriver\na black box\n\n> You examine blast\nA very heavy metal door, set in the south wall. It is closed. A number has been scratched onto the door: 303738162.\n\n> You go east\nIt's hard to move around with all these short network cables! [Consider JOINing some of them together.]\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\n> Go east\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable lies on the floor.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You examine the blast\nA very heavy metal door, set in the east wall and wide enough for a car. It is closed.\n\n> You take the tool\n(the cable joining tool)\nTaken.\n\n> You join the cables\nsingle-length network cable: The cables are joined, creating two coiled lengths.\nsingle-length network cable: The cables are joined, creating three coiled lengths.\nsingle-length network cable: The cables are joined, creating four coiled lengths.\nsingle-length network cable: The cables are joined, creating five coiled lengths.\n\n> You check what you're carrying\nYou are carrying:\na quintuple-length network cable (plugged into Socket WS3)\na cable joining tool\na toolbag (which is open but empty)\na screwdriver\na black box\n\n> You go west\n(laying the trailing network cable as you go)\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\nYou are holding a trailing network cable. The cable runs east from here.\n\n> You go to the east\n(keeping hold of the trailing network cable)\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable is in your hand, and runs west.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You examine the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nThankyou, your new connection allowed me to assess the attack.\n\nIt's worse than I thought. We have no external communications at\nall; everything is infected. I need you to make a new connection via a satellite uplink.\n\nOur enemy has discovered the location of our data centre, and will soon attempt to break in. We must act quickly. You will need to open the blast door on the east side of the bunker, and run a cable from socket WS3 to some place where the sky is visible. Set up a satellite uplink unit there, and connect it to the cable. Due to the distance, you will need to join more network cables - probably as many as you can find. Look in the Network Room first. There will be more in other places.\n\nYou will have to explore the caves.\n\nOne more thing. Be careful with the other network sockets. Some of them are flooded by the virus. If you connect them wrongly, it won't damage the Administration, but it might prevent you returning here.\n\nGood luck...\n\nYours,\nCentral Administrator.'\n\n> You enter the portal\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable is in your hand, and runs west.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You go to the west\n(keeping hold of the trailing network cable)\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. A cable is plugged into Socket WS4. The cable is in your hand, and runs east.\n\n> You go east\n(collecting the trailing network cable as you go)\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is closed).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable is in your hand.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go south\n(laying the trailing network cable as you go)\n\nThis room contains disused electrical equipment, much of it now buried under an assortment of junk.\n\nThere's a rusty metal switch marked 'Blast Door' on the north wall.\n\nYou can also see a heap of junk here.\n\nYou are holding a trailing network cable. The cable runs north from here.\n\n> You examine the switch\nA large metal switch. A faded label reads 'Blast Door'. The switch lever has broken off. The casing is held shut by a large flathead screw.\n\n> You unscrew the casing with the screwdriver\nThe switch casing swings open, revealing the switch mechanism.\n\n> You examine the mechanism\nA large metal switch. A faded label reads 'Blast Door'. The switch lever has broken off. The casing is open.\n\n> Go north\n(collecting the trailing network cable as you go)\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable is in your hand.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You go to the north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. There's a message on the console's display.\n\nA portal occupies most of the northeast wall.\n\n> Go northwest\nYou can't go that way. Exits lead:\nnortheast into the portal.\nsoutheast to the Lobby.\nwest to the POKE Room.\n\n> Go northeast\n[It looks like there is an important message on the console. Maybe you should EXAMINE DISPLAY before doing anything else.]\n\n> You examine the DISPLAY\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nIt's worse than I thought. We have no external communications at\nall; everything is infected. I need you to make a new connection via a satellite uplink.\n\nOur enemy has discovered the location of our data centre, and will soon attempt to break in. We must act quickly. You will need to run a cable from socket WS3 to some place where the sky is visible. Set up a satellite uplink unit there, and connect it to the cable. Due to the distance, you will need to join more network cables - probably as many as you can find. Look in the Network Room first. There will be more in other places.\n\nYou will have to explore the caves.\n\nOne more thing. Be careful with the other network sockets. Some of them are flooded by the virus. If you connect them wrongly, it won't damage the Administration, but it might prevent you returning here.\n\nGood luck...\n\nYours,\nCentral Administrator.'\n\n> You go northeast\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable is in your hand.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You go west\n(laying the trailing network cable as you go)\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\nYou are holding a trailing network cable. The cable runs east from here.\n\n> You go north\n(laying the trailing network cable as you go)\n\nThis large room is filled with racks of black boxes. It seems that many of the internal walls of the bunker were removed in order to make more space. There is just enough room to move between the racks, but not much more. You find doorways leading south, west and northwest. There is a door in the northeast corner.\n\nYou can see a floor tile here.\n\nYou are holding a trailing network cable. The cable runs south from here.\n\n> You go to the northwest\n(laying the trailing network cable as you go)\n\nThe mixing desk, soundproof walls and 'On Air' sign in this room tell you that it was originally intended to be used as a broadcasting studio. Now it is being used as a store room for computer parts, which have been stacked up against the walls.\n\nThere is an instruction book on the mixing desk.\n\nYou can also see a satellite uplink kit here.\n\nYou are holding a trailing network cable. The cable runs southeast from here.\n\n> You go southeast\n(collecting the trailing network cable as you go)\n\nThis large room is filled with racks of black boxes. It seems that many of the internal walls of the bunker were removed in order to make more space. There is just enough room to move between the racks, but not much more. You find doorways leading south, west and northwest. There is a door in the northeast corner.\n\nYou can see a floor tile here.\n\nYou are holding a trailing network cable. The cable runs south from here.\n\n> You go to the south\n(collecting the trailing network cable as you go)\n\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\nYou are holding a trailing network cable. The cable runs east from here.\n\n> You go to the east\n(collecting the trailing network cable as you go)\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable is in your hand.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go east\n(laying the trailing network cable as you go)\n\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\nYou are holding a trailing network cable. The cable runs west from here.\n\n> You go east\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\n> You look at the door\nA very heavy metal door, set in the west wall and wide enough for a car. It is open.\n\n> You go to the east\nYou're on the eastern edge of a large cave. The rocky ceiling is low here, and underneath its lowest point, a crawl tunnel leads northeast. A narrow passage leads southeast and the cave widens to the west.\n\n> Go southeast\nYou're standing on a path on the north side of an underground river which flows through the cave here. The river level is too high to allow passage in any direction except through a narrow passage to the northwest.\n\n> You examine the river\nThe underground river flows from west to east. The rate of flow is extremely rapid and the water looks very dangerous. It disappears under the eastern wall of the cave.\n\n> You go northeast\nYou are crawling through a very low, uneven passage that runs from southwest to east. It is fortunate that you do not need to breathe, because there is no space for breathing here.\n\n> You go to the east\nYou stand in a dry, circular cavern that forms a junction between three passages. The passages to the north and east are wide and tall. A crawl tunnel leads west.\n\n> You go to the north\nYou are at the western end of a long, damp cavern that stretches east. A wide tunnel leads south, and a passage leads west.\n\n> Go west\nYou're in the north end of a large cave, standing beside a chasm which blocks passage to the south. The chasm was once spanned by a footbridge, but it collapsed years ago. On the other side of the chasm, you see the wall of the bunker. Passages lead east and northwest.\n\nThere is a cabinet here. A narrow conduit runs from the cabinet to the bunker on the other side of the chasm.\n\n> You look at the cabinet\nA rusty metal box which has probably been here since the bunker was built. It's about the size and shape of a gym locker. A sign on the door reads 'GPO Telephones'.\n\n> You open the cabinet\nOpening the cabinet reveals some modern networking gear, and Network Socket Z5. You see a network cable inside the cabinet.\n\n> You look at the gear\nThe label reads 'Socket Z5 - Unfiltered'. The socket is not in use.\n\n> You look at the chasm\nA wide and deep chasm. You can't see the bottom.\n\n> You look at conduit\nThe conduit is a rectangular plastic pipe, a few inches in diameter, and it's bolted to the western cave wall. It seems to be filled with wires which run from the bunker wall to the cabinet.\n\n> Go northwest\nYou are at the foot of a round concrete shaft, which was once filled with a spiral staircase, apparently an emergency exit from the bunker. The staircase collapsed years ago, and is now just a heap of wreckage at the bottom of the shaft.\n\n> Go upward\nThe staircase is completely unusable.\n\n> Go southeast\nYou're in the north end of a large cave, standing beside a chasm which blocks passage to the south. The chasm was once spanned by a footbridge, but it collapsed years ago. On the other side of the chasm, you see the wall of the bunker. Passages lead east and northwest.\n\nThere is a cabinet here. A narrow conduit runs from the cabinet to the bunker on the other side of the chasm.\n\nNetwork Socket Z5 is inside the cabinet. The socket is not in use.\n\n> Go east\nYou are near the eastern end of a long, damp cavern. Much of the floor of the cavern is covered by a pool of dark, still, brackish water. A passage leads southwest.\n\nYou can see a plastic float near the edge of the pool.\n\n> Exits\nExits lead:\nsouthwest to the Fork.\nwest to the Damp Cavern.\n\n> You examine the float\nIt's the sort of thing that a lifeguard might carry at a beach. The float is made of red plastic, though it's become grimy and discoloured. The float has a reinforced hole at one end for attaching a rope."
    },
    {
        "text": "[Themes: Science Fiction, artificial intelligence, caves, science fiction]\n\n> You describe your surroundings\nYou are near the eastern end of a long, damp cavern. Much of the floor of the cavern is covered by a pool of dark, still, brackish water. A passage leads southwest.\n\n> You go southwest\nThe passage divides in three directions here: west, northeast, and southeast.\n\n> You go west\nYou stand in a dry, circular cavern that forms a junction between three passages. The passages to the north and east are wide and tall. A crawl tunnel leads west.\n\n> Go west\nYou are crawling through a very low, uneven passage that runs from east to southwest. It is fortunate that you do not need to breathe, because there is no space for breathing here.\n\n> You go southwest\nYou're on the eastern edge of a large cave. The rocky ceiling is low here, and underneath its lowest point, a crawl tunnel leads northeast. A narrow passage leads southeast and the cave widens to the west.\n\n> You go west\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\n> You go north\nYou're in the middle of a large cave which runs northeast and south, standing near the corner of the concrete wall of the bunker, which is to the southwest. A wide chasm spans the cave here, preventing passage to the north. The chasm was once spanned by a footbridge, but it collapsed years ago, and only a few rusted girders remain. A narrow conduit, bolted to the western cave wall, runs from the bunker to a cabinet on the other side of the chasm.\n\n> You look at conduit\nThe conduit is a rectangular plastic pipe, a few inches in diameter, and it's bolted to the western cave wall. It seems to be filled with wires which run from the bunker wall to the cabinet.\n\n> You examine the bunker wall\nIt is the outer wall of the bunker. It is as tall as the cave and made entirely of reinforced concrete, stained a slimy green colour by decades of damp and algae growth.\n\n> You examine the bridge\nAll that remains of the footbridge are a few rusted girders on each side of the chasm. Over decades, the moisture in these caverns must have eroded the bridge, until it broke under its own weight and disappeared into the darkness.\n\n> You look at the chasm\nA wide and deep chasm. You can't see the bottom.\n\n> You go southeast\nYou're standing on a rocky outcrop on the north side of an underground lake. The lake is bridged by a large metal pipe, which crosses the water to a small muddy beach on the far side. You hear a waterfall to the west. A passage leads northwest.\n\n> You examine the pipe\nThe pipe is made from rusty iron, and is around eight inches in diameter. It looks like a waste pipe. It spans the lake, and seems to be strong enough to use as a bridge.\n\n> Go south\nYou start to cross the lake by walking along the pipe, but you struggle to balance because of the weight and bulk of the satellite uplink kit. If you want to cross, you'll either have to drop that, or drop almost everything else.\n\n> You go south\nYou cautiously cross the lake by walking along the pipe...\n\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\n> You look at the mud\nThe ground here is muddy, wet clay.\n\n> You go west\nYou're standing on some slippery rocks to the south of a waterfall. An underground river emerges from high on the western wall here, forming a magnificent waterfall, then flowing away to the east.\n\n> You examine the waterfall\nThe water emerges from the western wall.\n\n> You examine the river\nWhich do you mean, the underground lake or the waterfall?\n\n> You examine the lake\nThe water foams at the base of the waterfall.\n\n> Exits\nThe only exit leads east to the Lake Beach.\n\n> Go east\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\n> You go north\nYou cautiously cross the lake by walking along the pipe...\n\nYou're standing on a rocky outcrop on the north side of an underground lake. The lake is bridged by a large metal pipe, which crosses the water to a small muddy beach on the far side. You hear a waterfall to the west. A passage leads northwest.\n\nYou can see a satellite uplink kit here.\n\n> You look up\nThe walls and roof of the cave are formed from limestone.\n\n> You go west\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable forms a coil on the floor.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> You check what you're carrying\nYou are carrying:\na single-length network cable\na satellite uplink kit\na plastic float\nan instruction book\na cable joining tool\na toolbag (which is open but empty)\na screwdriver\na black box\n\n> You join the cable\nThe cables are joined, creating six coiled lengths.\n\n> You check your inventory\nYou are carrying:\na sextuple-length network cable (plugged into Socket WS3)\na satellite uplink kit\na plastic float\nan instruction book\na cable joining tool\na toolbag (which is open but empty)\na screwdriver\na black box\n\n> You go northeast\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable forms a coil on the floor.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go west\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\n> Go west\nThis room was once an office. Some ancient desks and chairs are cluttered into a corner, and you can see a faded calendar on the wall beside a dusty portrait. There's a doorway to the east and a blast door to the south.\n\nYou can see some old desks and chairs here.\n\n> You examine the door\nA very heavy metal door, set in the south wall. It is closed. A number has been scratched onto the door: 303738162.\n\n> You open the door\nThe blast door is firmly closed. It can only be opened electronically. The controls must be elsewhere.\n\n> You plug the cable into the box\n(first taking the sextuple-length network cable)\nThe sextuple-length network cable is now plugged into the black box. The connection is established, and your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room.\n\nA portal occupies most of the northeast wall.\n\n> You look at the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nIt's worse than I thought. We have no external communications at\nall; everything is infected. I need you to make a new connection via a satellite uplink.\n\nOur enemy has discovered the location of our data centre, and will soon attempt to break in. We must act quickly. You will need to run a cable from socket WS3 to some place where the sky is visible. Set up a satellite uplink unit there, and connect it to the cable. Due to the distance, you will need to join more network cables - probably as many as you can find. Look in the Network Room first. There will be more in other places.\n\nYou will have to explore the caves.\n\nOne more thing. Be careful with the other network sockets. Some of them are flooded by the virus. If you connect them wrongly, it won't damage the Administration, but it might prevent you returning here.\n\nGood luck...\n\nYours,\nCentral Administrator.'\n\n> You enter the portal\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable is in your hand.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go north\n(laying the trailing network cable as you go)\n\nYou're in the middle of a large cave which runs northeast and south, standing near the corner of the concrete wall of the bunker, which is to the southwest. A wide chasm spans the cave here, preventing passage to the north. The chasm was once spanned by a footbridge, but it collapsed years ago, and only a few rusted girders remain. A narrow conduit, bolted to the western cave wall, runs from the bunker to a cabinet on the other side of the chasm.\n\nYou are holding a trailing network cable. The cable runs south from here.\n\n> You throw the cable north\nThe cable lands on the other side of the chasm.\n\n> You go east\nYou can't go that way. Exits lead:\nsoutheast to the Low Ceiling.\nsouth to the Back Entrance.\n\n> Go north\nThe bridge is gone: you will have to find another way around the chasm.\n\n> You go south\n(keeping hold of the trailing network cable)\n\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\nYou are holding a trailing network cable. The cable runs north and west from here.\n\n> Go west\nYou're in the north end of a large cave, standing beside a chasm which blocks passage to the south. The chasm was once spanned by a footbridge, but it collapsed years ago. On the other side of the chasm, you see the wall of the bunker. Passages lead east and northwest.\n\nThere is a cabinet here. A narrow conduit runs from the cabinet to the bunker on the other side of the chasm.\n\nNetwork Socket Z5 is inside the cabinet. The socket is not in use.\n\nA network cable crosses the chasm: it runs south from here.\n\n> Go east\n(letting go of the trailing network cable as it is still plugged into Socket Z5)\n\nYou are at the western end of a long, damp cavern that stretches east. A wide tunnel leads south, and a passage leads west.\n\n> Go west\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\nYou can see a trailing network cable here. The cable runs north and west from here.\n\n> You go to the west\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable runs east.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a satellite uplink kit and a workbench here.\n\n> You go to the north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room. The console's display is filled with line noise, and a red light is flashing.\n\nA portal occupies most of the northeast wall.\n\n> You look at the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display is filled with random characters and weird flashing colours.\n\n> You look at the red light\nIt's on the console beside the display. The light is marked 'Network Flood'. The light is flashing.\n\n> You enter the portal\nAs you step into the portal, you take on physical form. You now find yourself standing in the outside world, in the metallic form of a maintenance robot...\n\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable runs east.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a satellite uplink kit and a workbench here.\n\n> You go north\nAs you step into the charging station, your robotic form shuts down...\n\nThe maintenance room is a round room with a low ceiling. The walls are made of shiny brushed metal, giving an impression of 1970s science fiction. Doors lead west and southeast. You see a warning sign on the western door.\n\nThere is a console in the centre of the room.\n\nA portal occupies most of the northeast wall.\n\n> You look at the console\nThe console is on a pedestal in the centre of the room. There is a display and a keyboard. The display shows a message:\n\n'Dear candidate 28199,\n\nIt's worse than I thought. We have no external communications at\nall; everything is infected. I need you to make a new connection via a satellite uplink.\n\nOur enemy has discovered the location of our data centre, and will soon attempt to break in. We must act quickly. You will need to run a cable from socket WS3 to some place where the sky is visible. Set up a satellite uplink unit there, and connect it to the cable. Due to the distance, you will need to join more network cables - probably as many as you can find. Look in the Network Room first. There will be more in other places.\n\nYou will have to explore the caves.\n\nOne more thing. Be careful with the other network sockets. Some of them are flooded by the virus. If you connect them wrongly, it won't damage the Administration, but it might prevent you returning here.\n\nGood luck...\n\nYours,\nCentral Administrator.'\n\n> You go southwest\nThere is no space to turn around: the only way is east.\n\n> Go southeast\nYou can't go that way. Exits lead:\neast to the Dry Cave.\nsouthwest to the Low Ceiling.\n\n> You put the float in the river\nThe float is sucked under the water by a powerful current.\n\n> You go to the west\nYou're standing on some slippery rocks to the south of a waterfall. An underground river emerges from high on the western wall here, forming a magnificent waterfall, then flowing away to the east.\n\nOn the underground lake is a plastic float.\n\n> Exits\nExits lead:\nnorth to the Lakeside View.\neast to the Ladder Bottom.\nwest to the Waterfall.\n\n> You go east\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. A ladder leads upwards to a manhole cover.\n\n> You examine the grating\nThe grating is old, but very solid, and it completely blocks all passage to the east. Only the pipe passes through it.\n\n> You examine the pipe\nThe pipe is made from rusty iron, and is around eight inches in diameter. It looks like a waste pipe. It runs from the tunnel to the west and passes through a heavy iron grating to the east.\n\n> You look at Ladder\nThe ladder is bolted to the wall of the cave and leads upwards.\n\n> You examine cover\nThe manhole cover is at the top of the ladder.\n\n> You open the cover\nYou open the manhole cover.\n\n> You go upwards\nYou're standing in the ruins of a farmhouse. The roof is gone, and some of the walls have collapsed. Thick brambles surround the ruin, blocking passage in all directions. It is early morning, and the remains of the building look beautiful in the dawn light. The air is filled with birdsong. A manhole leads down into the caves.\n\n> You look at the brambles\nThey are wild, prickly and tangled shrubs. They surround the farmhouse and block passage in all directions."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, caves, gender-neutral protagonist, bunker]\n\n> You go downward\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\n> You go to the west\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\n> You go north\nYou cautiously cross the lake by walking along the pipe...\n\nYou're standing on a rocky outcrop on the north side of an underground lake. The lake is bridged by a large metal pipe, which crosses the water to a small muddy beach on the far side. You hear a waterfall to the west. A passage leads northwest.\n\n> Go west\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The rest of the cable forms a coil on the floor.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a satellite uplink kit and a workbench here.\n\n> You examine the cable\nYou see six coiled lengths of network cable. The cable is plugged into Socket WS3.\n\n> You go to the east\n(laying the trailing network cable as you go)\n\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\n> Go east\n(laying the trailing network cable as you go)\n\nYou're on the eastern edge of a large cave. The rocky ceiling is low here, and underneath its lowest point, a crawl tunnel leads northeast. A narrow passage leads southeast and the cave widens to the west.\n\n> You go to the southeast\n(laying the trailing network cable as you go)\n\nYou're standing on a path on the north side of an underground river which flows through the cave here. The river level is too high to allow passage in any direction except through a narrow passage to the northwest.\n\n> You put the float in the river\nThe float is sucked under the water by a powerful current. The trailing network cable is dragged along with it.\n\n> You put the kit in the river\nIt would be lost forever.\n\n> You pull the cable\nPulling the trailing network cable might damage it! (However, the cable may be CUT.)\n\n> Go northeast\nYou can't go that way. The only exit leads northwest to the Low Ceiling.\n\n> You go to the northwest\n(keeping hold of the trailing network cable)\n\nYou're on the eastern edge of a large cave. The rocky ceiling is low here, and underneath its lowest point, a crawl tunnel leads northeast. A narrow passage leads southeast and the cave widens to the west.\n\nYou are holding a trailing network cable. The cable runs southeast and west from here.\n\n> You go to the west\nYou're standing on some slippery rocks to the south of a waterfall. An underground river emerges from high on the western wall here, forming a magnificent waterfall, then flowing away to the east.\n\nOn the underground lake is a plastic float.\n\nA network cable passes through the waterfall. It is tied to the plastic float.\n\n> You go east\n(laying the trailing network cable as you go)\n\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\n> Go east\n(letting go of the trailing network cable, as it is tied to the plastic float, and it's too short to stretch to another room) (dropping the plastic float as the trailing network cable is still tied to it)\n\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\n> You go west\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a plastic float here. A cable is tied to the plastic float. The cable runs west.\n\n> You take the float\nYou already have that.\nTaken.\n\n> Go east\n(letting go of the trailing network cable, as you have none left)\n\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\n> Go west\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs west from here.\n\n> Go southwest\nYou're on the eastern edge of a large cave. The rocky ceiling is low here, and underneath its lowest point, a crawl tunnel leads northeast. A narrow passage leads southeast and the cave widens to the west.\n\nYou can see a trailing network cable here. The cable runs southeast and west from here.\n\n> You go to the west\nYou're in the southwest corner of a large cave. The walls of this cave are part natural limestone, and part slimy concrete, covered in decades of algae growth. To the west, you see the back entrance of the bunker, which is a wide door set into a concrete wall. The wall stretches north; the cave expands to the north and east.\n\nYou can see a trailing network cable here. The cable runs east and west from here.\n\n> You go west\nThis is a cold and dirty room with concrete walls and an oily floor. There are no windows - the room is deep underground - and the only light comes from aged, flickering fluorescent tubes. There's another room to the south and a doorway to the west. Much of the eastern wall is taken up by a blast door (which is open).\n\nNetwork Socket WS3 is on the south wall. A cable is plugged into Socket WS3. The cable runs east.\n\nNetwork Socket WS2 is on the north wall. The socket is not in use.\n\nThere are two charging stations on the north side of the room, each large enough to accommodate your robotic body.\n\nYou can also see a workbench here.\n\n> Go west\nThis dingy concrete room is filled with racks of batteries, providing backup power for the facility. There are doorways to the north, east and west.\n\nNetwork Socket WS4 is on the south wall. The socket is not in use.\n\n> You look at the door\nThe door is in the northeast corner. It bears an old sign: 'GPO Room'.\n\n> You go northeast\nThis is where network links enter the bunker. The room is filled with racks of network equipment with brightly flashing lights. A door leads southwest.\n\nYou can see a twitching maintenance robot here. A cable is plugged into the black box attached to the maintenance robot. The cable is also attached to Socket WS1.\n\nNetwork Socket WS1 is on the east wall.\n\nYou can see a single-length network cable here.\n\nYou can also see some glass cabinets here.\n\n> You examine the robot\n(the broken maintenance robot)\nThe robot is obviously malfunctioning. It lies on the floor, twitching violently as if having a fit. In other respects, the robot looks just like 'you': it has a humanoid body just like your own, and is plainly intended to maintain the systems in the bunker. There's a black box attached to the robot like a backpack.\n\n> You unplug the broken robot\nThe broken robot stops twitching.\n\nThe single-length network cable is now unplugged from the black box attached to the maintenance robot.\n\n> You look at the box\n(the black box attached to the maintenance robot)\nThe backpack is a large black box attached to the back of the broken robot, containing his physical mind. There's a number printed on the box, 40189, and a name: 'Maurice'.\n\n> You take the box\n(the black box attached to the maintenance robot)\nThe poor robot has suffered enough!\n\n> You examine ws1\nThe label reads 'Socket WS1 - Unfiltered'. A cable is plugged into Socket WS1. The rest of the cable is in your hand.\n\n> You look at the cabinets\nDozens of glass-fronted cabinets filled with modern networking gear. You can see many network cables in the cabinets, but they're mostly very short, just long enough to connect one router to another. However, you notice one cable at the bottom of one cabinet, apparently unconnected, and just within reach.\n\n> You take the cable\nWhich do you mean, the single-length network cable or a single-length network cable?\n\n> You take the cables\nsingle-length network cable: Taken.\nsingle-length network cable: Taken."
    },
    {
        "text": "[Themes: Science Fiction, bunker]\n\n> You look around\nThis is where network links enter the bunker. The room is filled with racks of network equipment with brightly flashing lights. A door leads southwest.\n\nYou can see a broken maintenance robot here.\n\nNetwork Socket WS1 is on the east wall. The socket is not in use.\n\nYou can also see some glass cabinets here.\n\n> You examine the lights\nDozens of glass-fronted cabinets filled with modern networking gear. You can see many network cables in the cabinets, but they're mostly very short, just long enough to connect one router to another.\n\n> Go south\nYou cautiously cross the lake by walking along the pipe...\n\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs west from here.\n\n> Go east\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\n> Go west\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs west from here.\n\n> You join the cables\ntrailing network cable: The cables are joined, creating two coiled lengths."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, nonhuman protagonist, robots]\n\n> You describe your surroundings\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou are holding a trailing network cable. The cable runs west from here.\n\n> You check your inventory\nYou are carrying:\na trailing network cable (runs west from here)\na single-length network cable\na single-length network cable\na plastic float\na toolbag (which is open)\na screwdriver\nan instruction book\na cable joining tool\na black box\n\n> You join the cables\ntrailing network cable: The cables are joined, creating three coiled lengths.\ntrailing network cable: The cables are joined, creating four coiled lengths.\ntrailing network cable: You have no other cable end to join to the trailing network cable.\n\n> You check your inventory\nYou are carrying:\na trailing network cable (runs west from here)\na plastic float\na toolbag (which is open)\na screwdriver\nan instruction book\na cable joining tool\na black box\n\n> You go to the east\n(laying the trailing network cable as you go)\n\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\nYou are holding a trailing network cable. The cable runs west from here.\n\n> Go upwards\n(laying the trailing network cable as you go)\n\nYou're standing in the ruins of a farmhouse. The roof is gone, and some of the walls have collapsed. Thick brambles surround the ruin, blocking passage in all directions. It is early morning, and the remains of the building look beautiful in the dawn light. The air is filled with birdsong. A manhole leads down into the caves.\n\nYou are holding a trailing network cable. The cable runs down from here."
    },
    {
        "text": "[Themes: Science Fiction, caves, bunker, artificial intelligence, gender-neutral protagonist]\n\n> Go downward\nYou are in a tall, round cave, like the bottom of a well. A pipe runs from the passage to the west and through an iron grating to the east. There's a faint light from above. A ladder leads upwards.\n\nYou can see a trailing network cable here. The cable runs up and west from here.\n\n> You go west\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs east and west from here.\n\n> Go southwest\nYou can't go that way. Exits lead:\nnorth to the Damp Cavern.\neast to the Fork.\nwest to the Crawl Tunnel.\n\n> You go southeast\nYou're standing on a path on the north side of an underground river which flows through the cave here. The river level is too high to allow passage in any direction except through a narrow passage to the northwest.\n\nA network cable runs out of the narrow passage and disappears into the river.\n\nYou can also see a satellite uplink kit here.\n\n> You drop all\nsatellite uplink kit: Dropped.\nplastic float: Dropped.\ntoolbag: Dropped.\nblack box: The black box contains your mind. If you disconnect it, you die.\n\n> You go to the south\nYou start to cross the lake by walking along the pipe, and you nearly lose your balance on several occasions, but luckily you make it to the other side...\n\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs east and west from here.\n\n> Go north\nYou cautiously cross the lake by walking along the pipe...\n\nYou're standing on a rocky outcrop on the north side of an underground lake. The lake is bridged by a large metal pipe, which crosses the water to a small muddy beach on the far side. You hear a waterfall to the west. A passage leads northwest.\n\nYou can see a plastic float here.\n\nYou can also see a toolbag (in which are a screwdriver, an instruction book and a cable joining tool) here.\n\n> You take all\ntoolbag: Taken.\nplastic float: Taken.\nmetal pipe: That's hardly portable.\nunderground lake: That's hardly portable.\n\n> You go to the south\nYou cautiously cross the lake by walking along the pipe...\n\nYou stand on a muddy beach on the south side of an underground lake. The lake occupies almost all of the cave, leaving only this beach and a path to the west. The lake is bridged by a pipe here - it comes from a passage to the east, and then runs across the lake to the north. The cave is filled with the sound of a waterfall.\n\nYou can see a trailing network cable here. The cable runs east and west from here.\n\nYou can also see a satellite uplink kit here.\n\n> Go upwards\nYou're standing in the ruins of a farmhouse. The roof is gone, and some of the walls have collapsed. Thick brambles surround the ruin, blocking passage in all directions. It is early morning, and the remains of the building look beautiful in the dawn light. The air is filled with birdsong. A manhole leads down into the caves.\n\nYou can see a trailing network cable here. The cable runs down from here.\n\n> You open it\nThe uplink kit automatically unfolds a small satellite dish and locks on to a satellite.\n\n> You look at the dish\nThe satellite uplink kit is housed in a heavy case (which is open). Within it, you see a small satellite dish and a network socket. It provides emergency network access via satellite. The status panel on the uplink kit shows that satellite communications are working, but there is no data link yet.\n\n> You plug the cable to the Socket\n(first taking the trailing network cable)\nThe status panel on the uplink kit lights up as the connection is established! The trailing network cable is now plugged into the uplink socket.\n\n> Inventory\nYou are carrying:\na trailing network cable (plugged into the uplink socket and runs\ndown from here)\na plastic float\na toolbag (which is open)\na screwdriver\nan instruction book\na cable joining tool\na black box\n\n> You go to the north\nAs you step into the charging station, your robotic form shuts down...\n\nSunshine streams through the windows of the lobby. The Central Administrator and a few other senior staff are waiting to congratulate you. You have passed your final exam. There is a brief round of hand-shaking and back-patting.\n\n'I am sorry it was a little unorthodox,' the Central\nAdministrator begins. 'It's normally just a three-hour viva. But I think we can skip that, under the circumstances.\n\n'Let me introduce you to the new Security Administrator. I had\nthought that the attack came from outside, but it turns out to have been something of a palace coup. There's been a reshuffle.\n\n'The guilty party deserves a second chance, I think, but will not\nbe returning to a position of any responsibility.\n\n'But, the good news: I've found you a job in Simulation. It will be ideally suited to the skills and capabilities you ably demonstrated today.'\n\nThe new Security Administrator leads you up the stairs to introduce you to your new co-workers.\n\nYour life as an Administrator has begun."
    },
    {
        "text": "You were driving home from the Second National Conference on Acid Rain when you started getting tired. As it was late at night and you were in the middle of nowhere, you pulled over to the side of the road for a bit of shut-eye.\n\nWhen you wake up, you find that it's dark and dismal outside and raining heavily. You'd better get a move on and get the car under cover. Despite all the protective coating you've applied, acid rain can still make a mess of your duco.\n\nCopyright \u00c2\u00a9 2021 Garry Francis\nType ABOUT for further info and credits.\n\nYou're inside your car. The dashboard is dark and the engine is off. It's dark and raining outside. You feel like there's something odd about the rain. The only exit is out.\n\nIn the ignition is your car key.\n\n[Author's Note: You were driving home from the Second National Conference on Acid Rain when you started getting tired. As it was late at night and you were in the middle of nowhere, you pulled over to the side of the road for a bit of shut-eye. When you wake up, you find that it's dark and dismal outside and raining heavily. You'd better get a move on and get the car under cover. Despite all the protective coating you've applied, acid rain can still make a mess of your duco.]"
    },
    {
        "text": "> You turn key\nThe starter motor gives a brief whir, then stops. You try again. Click. Nothing happens. Click. Still nothing happens. Darn. Sounds like a flat battery.\n\n> You turn the key\nClick. Nothing happens. Click. Still nothing happens. Darn. Sounds like a flat battery.\n\n> You take the key\nTaken.\n\n> You go outside\nYour car is parked at the side of a lonely country road. The nearest town is miles away. As you were driving west before you pulled over, you can go west to the front of the car or east to the back of the car. The rain is pelting down. It's dark and dismal, but you can barely make out an old mansion silhouetted against the night sky to the south.\n\nThe acid rain falls on your exposed head and body, drips down your neck and eats through your skin. The pain is excuciating, but you don't have to endure it for long.\n\n> About yourself\nYou're a bit of a science nerd - and dressed accordingly.\n\n> Inventory\nYou're carrying:\nyour car key\n\n> You open the glove compartment\nYou open the glovebox, revealing a plastic raincoat and a torch.\n\n> You take all from it\nplastic raincoat: Removed.\ntorch: Removed.\n\n> You wear the raincoat\nYou don your designer-label raincoat. It's a perfect fit.\n\n> Leave\nYour car is parked at the side of a lonely country road. The nearest town is miles away. As you were driving west before you pulled over, you can go west to the front of the car or east to the back of the car. The rain is pelting down. It's dark and dismal, but you can barely make out an old mansion silhouetted against the night sky to the south.\n\n> Go east\nYou're at the rear of your car, looking over the boot. The road continues to the east and west. There's a fence beside the road to the south.\n\n> You open the boot\nThe boot seems to be locked.\n\n> You unlock the boot with the key\nYou unlock the boot.\n\n> You open the boot\nYou open the boot, revealing a spare tyre and a tyre lever.\n\n> Close boot\nThe boot clicks shut.\n\n> Go west\nYou're at the front of your car, looking over the bonnet. The road continues to the east and west. There's a fence beside the road to the south.\n\n> You open the bonnet\nThe bonnet seems to be locked.\n\n> You go inside\nYou're inside your car. The dashboard is dark and the engine is off. It's dark and raining outside. The only exit is out.\n\n> You examine the dashboard\nGlovebox? Check. Steering wheel? Check. Ignition? Check. Knob under dashboard? Check.\n\n> You look at the knob\nIt has a little picture of a car with its bonnet open.\n\n> You turn the knob\nYou're unable to.\n\n> You pull the knob\nYou hear a loud bump and the car's bonnet pops up a few centimetres.\n\n> Leave\nYour car is parked at the side of a lonely country road. The nearest town is miles away. As you were driving west before you pulled over, you can go west to the front of the car or east to the back of the car. The rain is pelting down. It's dark and dismal, but you can barely make out an old mansion silhouetted against the night sky to the south.\n\n> You open the bonnet\nYou open the bonnet, revealing a V8 engine and a flat battery.\n\n> You examine the battery\nIt's an el-cheapo reconditioned battery that's now carked it. You need to replace it.\n\n> You look at the engine\nIt's your souped-up V8 engine.\n\n> You take the battery\nThe battery is quite heavy. There's no point removing it and lugging it around with you until you've got a replacement.\n\n> You close bonnet\nThe bonnet clicks shut.\n\n> You lock the car with the key\nYou lock the car.\n\n> Go south\nYou're at the front fence of a large mansion. The entry to the property is via a large iron gate to the south, but the gate is chained shut. The road is back to the north.\n\n> You examine the gate\nIt's a huge iron gate in the same style as the fence. It's locked by a heavy chain.\n\n> You examine the chain\nIt's wound tightly around the gate, but it's rough and pitted from the corrosion caused by the acid rain. Maybe it's not as strong as it looks.\n\n> Break chain\nYou'll have to tell me what to break it with.\n\n> You open gate\nYou open the huge gate.\n\n> Go south\nThis is the front path of the mansion. It runs between the entrance to the north and the mansion to the south with a lawn on each side.\n\n> You go south\nYou're standing on the front porch of a large mansion, where the awning protects you from the acid rain. If you want to enter the mansion, there's a large oak door to the south, otherwise you can head back north towards the road.\n\nYou can see a plant pot here.\n\n> You open the door\nThe large oak door seems to be locked.\n\n> You look under pot\nIt's too heavy to move.\n\n> You search pot\nIn the plant pot is a pot plant.\n\n> You examine the pot plant\nIt's a strong pot plant with a single thick stem and broad green leaves. You recognise it as a 'Magneticus Scrollus'.\n\n> You look at the awning\nIt provides some protection from the rain. You can remove your raincoat now, if you want to.\n\n> You knock on the door\nPerhaps you should try the doorbell.\n\n> You examine the door\nIt's a sturdy oak door with a doorbell to the side. The door is currently closed."
    },
    {
        "text": "> You look around\nYou're standing on the front porch of a large mansion, where the awning protects you from the acid rain. If you want to enter the mansion, there's a large oak door to the south, otherwise you can head back north towards the road.\n\nYou can see a plant pot here.\n\n> You pull the plant\nNothing obvious happens.\n\n> You climb the plant\nClimbing that would achieve little.\n\n> You take the plant\nYou carefully lift the pot plant out of the plant pot and catch a glimpse of something in the bottom of the pot.\n\n> You take the key\n(the brass key)\nTaken.\n\n> You put plant in the pot\nYou carefully plant the pot plant in the plant pot, where it belongs.\n\n> You unlock the door with the brass key\nYou unlock the large oak door.\n\n> You open the door\nYou open the large oak door.\n\n> You go to the south\nYou're in an entry foyer. The front door is to the north and there are exits on the other three sides.\n\n> You go to the west\nIt's dark in that direction. You'd better not venture any further without a source of light.\n\n> You turn on the torch\nYou turn the torch on.\n\n> Go west\nAs you start to move, a gust of wind slams the front door shut. You stop in your tracks and spin around. A neatly-painted sign is now visible on the back of the door.\n\n> You read sign\nIt says, 'This door can only be unlocked with an electronic door opener'.\n\n> You take the sign\nThe neatly-painted sign is hardly portable.\n\n> You go to the west\nThis room is somewhat dark and stuffy. The only exit is to the east.\n\nYou can see a security card and a loose light switch here.\n\n> You examine card\nIt's a plastic card with a magnetic strip on one side and someone's identity on the other. It's about the size of a credit card.\n\n> You look at the switch\nIt's a simple light switch with an on/off button.\n\n> You pull it\nNothing obvious happens.\n\n> You check what you're carrying\nYou're carrying:\na loose light switch\na security card\na brass key\na tyre lever\na torch (providing light)\na plastic raincoat (being worn)\nyour car key\n\n> Go east\nYou're in an entry foyer. The front door is to the north and there are exits on the other three sides.\n\n> Go east\nThe walls in this room are lined with bookshelves, so you gather that it is a library of some sort. The exit is to the west.\n\nYou can see a reading table (on which is a book) here.\n\n> Examine book\nIt's currently closed. You can see that it's a soft-covered book and quite dog-eared, implying that it's been read a lot.\n\n> You read the book\nIt's titled, 'The Science of Locks'. You wonder if it can help you out of your current predicament.\n\n> You read the note\n'Parts list for electronic door opener:\n1. Switch\n2. Control unit\n3. Laser power module\n4. Circuit board (EK0007A)\n5. Wire\n6. Piezoelectric transducer\n7. Jiffy box (size 2)\n8. 3-volt LED'\n\n> You read the book\nIt's very technical, but you grasp enough to understand how to make an electronic door opener. All you need is a screwdriver, a soldering iron and the relevant parts.\n\n> You examine the bookshelves\nThey're full of books, far too many to read in one lifetime. The owner of this mansion must be a prolific reader.\n\n> You examine table\nShush. It's reading something. On the reading table is a book.\n\n> Go south\nYou're at the northern end of a long hallway that extends to the south. Other than the hallway itself, there are exits to the north, east and west.\n\n> Go west\nYou're at the northern end of a formal dining hall. There's a sideboard against the western wall and an exit to the east. The hall continues to the south.\n\nOn the sideboard is a fruit bowl.\n\n> You examine the bowl\nIt's a heavy blue glass fruit bowl. In the fruit bowl is a banana.\n\n> You examine the sideboard\nIt's a dark wood sideboard used for serving food and displaying the dishes when serving meals. On the sideboard is a fruit bowl.\n\n> You look at banana\nIt's got black spots on the skin from sitting on the fruit bowl for too long.\n\n> You go south\nYou're in the middle of a long dining hall that extends to the north and south. The centre of the room is dominated by a long dining table. There's also an exit to the east.\n\nOn the dining table is a small crystal dish.\n\n> You look at the dish\nIt's a small, delicately-cut crystal dish. In the small crystal dish is some caviar.\n\n> You examine caviar\nFish eggs. Yuck! What do the rich and famous see in this stuff? Give me steak and eggs, any day.\n\n> You take the dish\nIt looks quite delicate. You don't trust yourself to carry it around, as you're just as likely to drop it.\n\n> You taste the caviar\nYuck! No, thanks. Just the thought of it makes your stomach churn.\n\n> You go to the south\nYou're at the southern end of a long dining hall. It continues to the north or you can leave to the east.\n\n> Go east\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\n> You look at it\nIt's a plain metal door with no handle or keyhole. It's currently closed. You notice that there's a slot in the wall next to it.\n\n> You put card in the slot\nThe metal door slides open, revealing a hallway to the east.\n\n> Go east\nYou're at the western end of a long hallway. The hallway continues to the east. There's an open metal door to the west and a set of stairs going down to the basement.\n\n> Go east\nYou're at the junction of a long hallway that continues to the east and west. The other arm of the junction goes to the north. There's also an exit to the south.\n\n> You go south\nYou're in a tiny broom closet. It's barely large enough to turn around in. The exit is to the north.\n\nYou can see a long-handled broom here.\n\n> Go east\nYou're at the eastern end of a long hallway that continues to the west. Apart from the hallway itself, there are also exits to the north and south.\n\n> Go south\nYou're in the ground floor bathroom. There's a small basin sitting atop a vanity unit and a mirror mounted above it. The exit is to the north.\n\n> You examine the mirror\nYou see a scruffy-looking scientist looking back at you. His dress sense leaves a bit to be desired.\n\n> You examine the vanity\nIt's a typical vanity unit like you find in all domestic bathrooms. You can't see inside, since the vanity unit is closed.\n\n> You open it\nYou open the vanity unit, revealing two D-cell batteries.\n\n> You take the batteries\nYou're carrying too many things already.\n\n> Inventory\nYou're carrying:\na long-handled broom\na banana\na note\na loose light switch\na brass key\na tyre lever\na torch (providing light)\na plastic raincoat (being worn)\nyour car key\n\n> You go north\nYou're at the eastern end of a long hallway that continues to the west. Apart from the hallway itself, there are also exits to the north and south.\n\n> You go to the north\nYou're in a comfortable guest room. It appears to be unused. There's a window to the north. The exit is to the south.\n\nYou can see a bed (on which are some clean sheets) here.\n\n> You examine the bed\nIt's a single bed. On the bed are some clean sheets.\n\n> You examine sheets\nThey're tightly tucked into the bed.\n\n> You look at the raincoat\nIt's the designer-label raincoat that you bought from K-Mart.\n\n> You look at the window\nWhen you look out the window, you can see the rain pelting down outside. Through the rain, you can just make out another room a short distance away. The window is currently closed.\n\n> You open the window\nYou open the window.\n\n> Go north\nYou're standing precariously on a ledge outside the guest room. The window to the guest room is to your south. You can see another ledge a short distance to the north.\n\nYou can see a red key here.\n\n> Go north\nIt's too far to step across. You'll have to jump.\n\n> You jump\nYou just make it to the northern ledge.\n\nYou're standing on a short ledge beside a window on the south side of the building. This part of the building goes west for a short distance, then south and east. You can see another ledge a short distance to the south.\n\n> You open the window\nYou open the bedroom window.\n\n> You go north\nYou're in a bedroom with an exit to the west and a window to the south. Interestingly, there's a keypad and a coded message scrawled on the northern wall.\n\nYou can see a bed (on which are some sheets) here.\n\n> You look at the bed\nIt's a double bed. On the bed are some sheets.\nThere's a large lump under the sheets.\n\n> You examine the lump\nYaaah! It's a dead body!\n\n> You examine the body\nOh, my god. What a gruesome sight. It's a partially decomposed body. You guess it's the body of the mad scientist.\n\n> You look under the bed\nThe smell is too strong. You decide to keep your distance.\n\n> You look at the keypad\nThe buttons on the keypad are laid out as follows:\nA Z Q E\nM L O X\nH F G B\nW C V U\n\n> You look\nYou're in a bedroom with an exit to the west and a window to the south. Interestingly, there's a keypad and a coded message scrawled on the northern wall.\n\nYou can see a bed (on which are a dead body and some sheets) here.\n\n> Go west\nYou're at a bend in the hallway. It goes south to a junction and east to another room, where you detect a putrid smell.\n\n> You go to the south\nThe floor caved in. You won't be able to return the same way.\n\nYou're at the junction of a long hallway that continues to the east and west. The other arm of the junction goes to the north, but you can't go that way because of the giant hole in the floor where it collapsed. There's also an exit to the south.\n\n> You go west\nYou're at the western end of a long hallway. The hallway continues to the east. There's an open metal door to the west and a set of stairs going down to the basement.\n\n> You go to the west\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\n> You open the wooden door\nThe wooden door seems to be locked.\n\n> You go east\nYou're at the junction of a long hallway that continues to the east and west. The other arm of the junction goes to the north, but you can't go that way because of the giant hole in the floor where it collapsed. There's also an exit to the south.\n\n> You take the key\n(the red key)\nThe key is located about three metres further along on the narrow ledge. You can't reach it from where you are and you dare not risk going any further along the slippery ledge in this rain.\n\n> You take it with the broom\nYou scrape the key towards you with the long-handled broom. It's now within reach. As you reach down to pick it up, the broom slips out of your grasp and falls to the ground far below.\n\n> You take the key\nWhich do you mean, the red key, the brass key or the car key?\n\n> Red\nYou already have that.\n\n> Inventory\nYou're carrying:\na red key\na banana\na note\na loose light switch\na brass key\na tyre lever\na torch (providing light)\na plastic raincoat (being worn)\nyour car key\n\n> You unlock the wooden door with the red key\nYou unlock the wooden door.\n\n> Open wooden\nYou open the wooden door.\n\n> Go south\nYou're on a landing at the bottom of the stairs. The exit from the stairs is via a door to the north.\n\n> Go north\nYou're in the middle of a long hall that extends to the north and south. There are also exits to the east and west.\n\n> You go east\nYou're in the kitchen. There's a sink beside the kitchen cupboard. The exit is to the west.\n\n> You look in the sink\nThe sink is empty.\n\n> You open the cupboard\nYou open the cupboard, revealing some Jatz crackers.\n\n> You look at the jatz\nIt's a handful of Jatz crackers.\n\n> Go east\nYou're in the kitchen. There's a sink beside the kitchen cupboard. The exit is to the west.\n\nIn the cupboard are some Jatz crackers.\n\n> You drop the red key\nDropped.\n\n> You take the crackers\nTaken.\n\n> You go north\nYou're at the northern end of a long hallway that extends to the south. Other than the hallway itself, there are exits to the north, east and west.\n\nYou can see a small ravenous monster that defies description here.\n\n> Go north\nYou're in an entry foyer. The front door is to the north and there are exits on the other three sides.\n\n> You go to the west\nThis room is somewhat dark and stuffy. The only exit is to the east.\n\n> You take the bowl\nIt's quite heavy. You can't see any point of lugging that around with you.\n\n> Pet monster\nAs you reach out to the small ravenous monster that defies description, it snaps at your hand. You withdraw it just in time.\n\n> Go south\nYou're in the middle of a long hall that extends to the north and south. There are also exits to the east and west.\n\n> Go south\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\n> Go upward\nYou're on a landing at the top of the stairs. You can leave the landing to the north.\n\n> You go to the north\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\n> Go west\nYou're in the upstairs bathroom. It's furnished in glorious pink. There's a vanity unit with a small basin mounted against the west wall and a mirror mounted above it. The exits are to the north and east.\n\n> You open the vanity\nYou open the vanity unit, revealing a pink jiffy box.\n\n> You open the box\nIt's not that sort of box. It's used to hold all the components when assembling electronic gadgets.\n\n> You take the box\nYou're carrying too many things already.\n\n> Inventory\nYou're carrying:\nsome Jatz crackers\na banana\na note\na loose light switch\na brass key\na tyre lever\na torch (providing light)\na plastic raincoat (being worn)\nyour car key\n\n> You look at basin\nIt's a small porcelain basin mounted on top of the vanity unit. The small basin is empty.\n\n> You examine the mirror\nSomeone has scrawled a message on the mirror.\n\n> You read the message\nIt says, 'RUTH WAS HERE'. You wonder what that could mean.\n\n> You go east\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\n> You go east\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a lounge and a coffee table (on which are some UV glasses) here.\n\n> You drop all but the coat and the torch\nJatz crackers: Dropped.\nbanana: Dropped.\nnote: Dropped.\nloose light switch: Dropped.\nbrass key: Dropped.\ntyre lever: Dropped.\ncar key: Dropped.\n\n> Go west\nYou're in the upstairs bathroom. It's furnished in glorious pink. There's a vanity unit with a small basin mounted against the west wall and a mirror mounted above it. The exits are to the north and east.\n\nIn the vanity unit is a pink jiffy box.\n\n> You examine the lounge\nThis is a plush lounge with seating for four people. There is nothing on the lounge.\n\n> You sit on it\nYou get onto the lounge.\n\n> You stand\nYou get off the lounge.\n\n> You look\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a lounge and a coffee table here.\n\n> You examine table\nIt's a low, stained-wood coffee table with some elaborately carved legs. There is nothing on the coffee table.\n\n> You go east\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\n> You open louvred\nYou open the louvred door.\n\n> Go south\nYou're in a linen closet. There's a louvred door to the north.\n\nYou can see some satin sheets here.\n\n> You examine sheets\nOoh, silky smooth. It's a pity about the moth holes, though.\n\n> You take the sheets\nYou find a three-volt LED hidden under the sheets.\n\n> You go east\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a goat here.\n\n> You examine the goat\nWhat the hell is a goat doing in a mansion? It must be seeking shelter from the acid rain. It certainly doesn't look very friendly. Maybe it's hungry.\n\n> Pet goat\nYou reach out to pet the goat and it bites you. Youch! You'd better not try that again.\n\n> You go north\nYou can't, since the plain door is in the way.\n\nYour torch is getting dim. You'd better turn it off or replace the batteries pretty soon.\n\n> You turn off the torch\nYou turn the torch off.\n\nIt is now pitch dark in here.\n\n> You turn on the torch\nYou turn the torch on.\n\nYou're in the ground floor bathroom. There's a small basin sitting atop a vanity unit and a mirror mounted above it. The exit is to the north.\n\nIn the vanity unit are two D-cell batteries.\n\n> You go north\nYou're standing precariously on a ledge outside the guest room. The window to the guest room is to your south. You can see another ledge a short distance to the north.\n\n> You jump\nYou just make it to the northern ledge.\n\nYou're standing on a short ledge beside a window on the south side of the building. This part of the building goes west for a short distance, then south and east. You can see another ledge a short distance to the south.\n\n> Go north\nYou're in a bedroom with an exit to the west and a window to the south. Interestingly, there's a keypad and a coded message scrawled on the northern wall.\n\nYou can see a bed (on which are a dead body and some sheets) here.\n\n> You wear the glasses\nEverything takes on a purplish hue.\n\n> You read the message\nWhen you're wearing the UV glasses, most of the letters are invisible. However, three of them stand out clearly. Ignoring the spaces, they read, 'VZX'.\n\n> You remove the glasses\nThat's better. Everything returns to normal.\n\n> Type vzx\n(on the keypad)\nYou type \"vzx\".\n\nA panel slides open, revealing a hidden room to the north.\n\n> You turn on torch\nYou turn the torch on.\n\nYou're in a secret room. The walls are covered in various notes, photos of animals, electronic schematics and mathematical equations. The only exit is through the secret door to the south.\n\nYou can see a journal and a laser power module here.\n\n> You take all\njournal: Taken.\nlaser power module: Taken.\n\n> You turn off the torch\nYou turn the torch off.\n\nIt is now pitch dark in here.\n\n> Go south\nYou're in a bedroom with an exit to the west and a window to the south. Interestingly, there's a keypad and a coded message scrawled on the northern wall. Beside the keypad, a secret door has opened to reveal an exit to the north.\n\nYou can see a bed (on which are a dead body and some sheets) here.\n\n> You read the journal\nThe hand-written title is, 'On the Electronic Control of Creatures, Great and Small'.\n\n> You open it\nYou open the journal to see what's inside.\n\n> You read it\nIt appears that the mad scientist had been experimenting on animals to turn them into robotic creatures that he could control. That would explain the weird combination of animals and electronics in this mansion. Who knows what his ulterior motive may have been?\n\n> Examine module\nIt's a laser power module. It would make a good power supply for the electronic door opener.\n\n> You turn on the torch\nYou turn the torch on.\n\nYou're in a secret room. The walls are covered in various notes, photos of animals, electronic schematics and mathematical equations. The only exit is through the secret door to the south.\n\n> You examine notes\nYou don't understand any of it. It's some field of science that's unfamiliar to you, possibly biomechanics.\n\n> You go west\nYou're at a bend in the hallway. It goes south to a junction, but you can't go that way because of the giant hole where the floor collapsed. However, you can go east to another room, where you detect a putrid smell.\n\n> Go south\nYou're standing on a short ledge beside a window on the south side of the building. This part of the building goes west for a short distance, then south and east. You can see another ledge a short distance to the south.\n\n> You jump\nYou just make it to the southern ledge.\n\nYou're standing precariously on a ledge outside the guest room. The window to the guest room is to your south. You can see another ledge a short distance to the north.\n\n> You go south\nYou're in a comfortable guest room. It appears to be unused. There's a window to the north. The exit is to the south.\n\nYou can see a bed (on which are some clean sheets) here.\n\n> You take the sheets\n(the clean sheets from the bed)\nThe clean sheets are fixed in place.\n\n> You turn on the torch\nYou turn the torch on.\n\nYour torch is getting very faint. I reckon it will only last for another ten moves or so.\n\nYou're at the southern end of a long dining hall. It continues to the north or you can leave to the east.\n\n> Go east\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see your car key, a tyre lever, a brass key, a loose light switch, a note, a banana and some Jatz crackers here.\n\n> You turn on torch\nYou turn the torch on.\n\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a goat here.\n\n> You turn on the torch\nYou turn the torch on.\n\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see some Jatz crackers, your car key, a tyre lever, a brass key, a loose light switch, a note and a banana here.\n\n> You turn on the torch\nYou turn the torch on.\n\nYou're in the middle of a wide north-south hall with a sealed door to the east.\n\n> You examine the door\nIt looks to be well and truly sealed. The key to that door was probably lost years ago. It makes you wonder what must be on the other side.\n\nYour torch has just gone out.\n\nIt is now pitch dark in here.\n\n> You put batteries in the torch\nYou remove the old batteries and throw them away, then insert the new ones.\n\nYou're in the middle of a wide north-south hall with a sealed door to the east.\n\n> You go north\nYou're at the northern end of a wide north-south hall. There's a wide opening to the north, a white door to the west and another exit to the east.\n\n> You examine the door\nIt's a plain white door with no distinguishing features. It's currently closed.\n\n> You open it\nThe white door seems to be locked.\n\n> You go to the north\nYou're on a wide balcony that's well protected from the acid rain outside. The southern wall is covered by a trellis, broken only by the entry to the mansion.\n\nYou can see a macaw here.\n\n> You examine the macaw\nIt's a brightly-coloured blue and yellow macaw.\n\n> You examine the trellis\nA lattice-like trellis is mounted on the south wall of the balcony. Tropical vines are entwined in the lattice work.\n\n> You go north\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a banana, some Jatz crackers, your car key, a tyre lever, a brass key, a loose light switch and a note here.\n\n> You check your inventory\nYou're carrying:\nsome Jatz crackers\na laser power module\na journal\na three-volt LED\nsome satin sheets\nsome UV glasses (being worn)\na pink jiffy box\na torch (providing light)\na plastic raincoat (being worn)\n\n> DROP ALL BUT CRACKERS, TORCH, RAINCOAT, GLASSES\nlaser power module: Dropped.\njournal: Dropped.\nthree-volt LED: Dropped.\nsatin sheets: Dropped.\npink jiffy box: Dropped.\n\n> You give the crackers to the macaw\n\"Squawk! Molly make friend. Molly follow you. Molly give hints.\"\n\n> You climb the trellis\nClimbing that would achieve little.\n\n> You ask Molly about the trellis\n\"Squawk! Molly don't know.\"\n\n> You ask Molly about the goat\n\"Squawk! Must be hungry by now.\"\n\n> You ask Molly about the monster\n\"Squawk! Molly don't know.\"\n\n\"Squawk! Adventures are cool.\"\n\n> You go to the south\nYou're at the northern end of a wide north-south hall. There's a wide opening to the north, a white door to the west and another exit to the east.\n\nYou can see a macaw here.\n\n\"Squawk! Molly is smart.\"\n\n> Go east\nYou're in a small closet. The exit is to the west.\n\nOn the rack are some coats.\n\nYou can see a macaw here.\n\n> You look at the coats\nThe coats are badly moth-eaten.\n\n> You search coats\nMoving the coats reveals an opening at the back of the closet.\n\n\"Squawk! Molly is smart.\"\n\n> Go east\nYou can't go that way.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> You look\nYou're in a small closet. The exit is to the west. You can also see an opening behind the coats to the south.\n\nOn the rack are some coats.\n\nYou can see a macaw here.\n\n> You go to the south\nYou're in the TV room. There's an exit to the west, but it's been sealed up for some reason. Now that the exit is sealed, the only other way out is the opening to the north.\n\nYou can see a macaw, a TV set and a lounge chair (on which is a remote control unit) here.\n\n\"Squawk! Molly is smart.\"\n\n> Examine tv set\nIt's an old HMV cathode-ray tube analogue TV set. You haven't seen one of those for years. It's currently switched off.\n\n> You turn it on\nYou turn it on and try all the channels, but there's only static. You're not surprised. All broadcast signals are digital nowadays.\n\n> You turn it off\nYou turn it off and revel in the joy of a black screen.\n\n> You examine chair\nIt's an extremely worn, yet comfy-looking lounge chair. There is nothing on the lounge chair.\n\n\"Squawk! Adventures are cool.\"\n\n> Go west\nYou're at the northern end of a wide north-south hall. There's a wide opening to the north, a white door to the west and another exit to the east.\n\nYou can see a macaw here.\n\n> Go south\nYou're in the middle of a wide north-south hall with a sealed door to the east.\n\nYou can see a macaw here.\n\n> You go south\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\nYou can see a macaw here.\n\n> Go south\nYou're on a landing at the top of the stairs. You can leave the landing to the north.\n\nYou can see a macaw here.\n\n\"Squawk! Who's a pretty girl, then?\""
    },
    {
        "text": "> You go down\nYou're on a landing at the bottom of the stairs. The exit from the stairs is via a door to the north.\n\nYou can see a macaw here.\n\n> You go north\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, a pink jiffy box, some satin sheets, a three-volt LED, a journal, a laser power module, a banana, your car key, a tyre lever, a brass key, a loose light switch and a note here.\n\n> Go east\nYou're at the western end of a long hallway. The hallway continues to the east. There's an open metal door to the west and a set of stairs going down to the basement.\n\nYou can see a macaw here."
    },
    {
        "text": "> Go downwards\nYou're in a small access hallway at the bottom of a set of stairs. Apart from the stairs, there are exits to the south, east and west.\n\nYou can see a macaw here.\n\n\"Squawk! Your right to sleep past 7 a.m. is revoked.\"\n\n> You go to the south\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench is a soldering iron surrounded by electronic components.\n\nYou can see a macaw here.\n\n> You take the iron\nIt's bolted down.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> You look at the components\nYou scavenge through the components and decide that it's mostly junk. Hang about, there's a circuit board that may be useful.\n\n> You open the door\nThe workshop door seems to be locked.\n\n> You go north\nYou're in a small access hallway at the bottom of a set of stairs. Apart from the stairs, there are exits to the south, east and west.\n\nYou can see a macaw here.\n\n> You go to the east\nYou're in a small storage area for the laboratory. Shelves line all the walls, except for the exit to the west.\n\nOn the shelves is a coil of wire.\n\nYou can see a macaw here.\n\n> You take the coil\nTaken.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> Go west\nYou're in a mad scientist's laboratory. Of the room's weird contents, the gorilla's cage looks the worst. The only exit is to the east.\n\nYou can see a macaw, a steel cage (which is closed) (in which is a white key) and a huge gorilla here.\n\n> You give banana to the gorilla\nHe peels the banana, drops the skin on the floor and sits in a corner to eat it.\n\n\"Squawk! Molly is smart.\"\n\n> You open cage\nYou open the steel cage.\n\n> You take the white key\nYou gingerly reach into the cage and pick up the white key.\n\n> Go east\nYou're at the junction of a long hallway that continues to the east and west. The other arm of the junction goes to the north, but you can't go that way because of the giant hole in the floor where it collapsed. There's also an exit to the south.\n\nYou can see a macaw here.\n\n> You go west\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, a remote control unit, a pink jiffy box, some satin sheets, a three-volt LED, a journal, a laser power module, your car key, a tyre lever, a brass key and a loose light switch here.\n\n> Go south\nYou're on a landing at the bottom of the stairs. The exit from the stairs is via a door to the north.\n\nYou can see a macaw here.\n\n> Go upward\nYou're on a landing at the top of the stairs. You can leave the landing to the north.\n\nYou can see a macaw here.\n\n> Go north\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\nYou can see a macaw here.\n\n> Go east\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n> Go east\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\nYou can see a macaw here.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> Go east\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a macaw and a goat here.\n\n\"Squawk! I'm talking to an idiot.\"\n\n> You give the skin to the goat\nThe goat gobbles down the banana peel.\n\n\"Squawk! You'll never escape.\"\n\n> You go north\nThe goat won't let you pass.\n\n\"Squawk! Scientist mad.\"\n\n> You ask Molly about the ruth\n\"Squawk! Molly don't know.\"\n\n\"Squawk! I'm talking to an idiot.\"\n\n> Go west\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\nYou can see a macaw here.\n\n> You go west\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n> You unlock the white door with the white key\nYou unlock the white door.\n\n> You drop the white key\nDropped.\n\n> You open the door\nYou open the white door.\n\n> You go to the west\nYou're in a small storeroom for cleaning equipment. The exit is to the east.\n\nYou can see a macaw and a piezoelectric transducer here.\n\n> You examine it\nIt's a small ceramic disc with two wires attached. You know that it converts pressure to a direct current with a high impedance. It would make a good transducer for the electronic door opener.\n\n> You go east\nYou're at the northern end of a wide north-south hall. There's a wide opening to the north, a white door to the west and another exit to the east.\n\nYou can see a macaw and a white key here.\n\n> You unlock the plain door with the white key\nThe plain door doesn't seem to be something you can unlock.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> You open the plain door\nYou open the plain door.\n\n> You go north\nYou recognise this as a darkroom from all the photographic equipment on the bench. This is a relic from the past. You thought everyone used digital cameras nowadays. The exit is to the south.\n\nYou can see a macaw, a bench (on which are some photographic chemicals, some photographic tools, an enlarger and some undeveloped film) and a red lamp here.\n\n> You turn on the lamp\nYou turn the lamp on and the room is filled with a red glow.\n\n> You turn off the torch\nYou turn the torch off.\n\n> You close the door\nYou close the plain door.\n\n> You look at film\nIt's a canister of undeveloped film. You wonder what's on it.\n\n> You examine the chemicals\nYou recognise various photographic chemicals such as developer and fixer.\n\n> You examine tools\nYou see developing trays, a pair of scissors, a thermometer and a timer.\n\n> You examine the bench\nIt's a plain bench covered in the things you'd expect to find in any well-equipped darkroom. On the bench are some photographic chemicals, some photographic tools, an enlarger and some undeveloped film.\n\n> You examine the enlarger\nThis is used to enlarge the images you can see on negatives. Just place the negative on the enlarger and, hey presto, the magnifying lens makes everything look larger. There is nothing on the enlarger.\n\n> You examine the film\nIt's a canister of undeveloped film. You wonder what's on it.\n\n\"Squawk! Hello.\"\n\n> You put film on the enlarger\nThe only thing you can place on the enlarger are negatives.\n\n> You develop the film\nYou use the chemicals to develop the film and place the developed negatives on the bench.\n\n> You examine the negatives\nNone of the negatives look very interesting. They appear to be photos of animals, although one appears to have some printing on it.\n\n> You put the negatives on the enlarger\nYou need to be holding the developed negatives before you can put them on top of something else.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> You put the negatives on the enlarger\nYou put the developed negatives on the enlarger.\n\n> You look at the enlarger\nThis is used to enlarge the images you can see on negatives. Just place the negative on the enlarger and, hey presto, the magnifying lens makes everything look larger. On the enlarger are some developed negatives.\n\n\"Squawk! Adventures are cool.\"\n\n> You examine the lens\nThis is used to enlarge the images you can see on negatives. Just place the negative on the enlarger and, hey presto, the magnifying lens makes everything look larger. On the enlarger are some developed negatives.\n\n\"Squawk! Hello.\"\n\n> You look through the lens\nOn the enlarger are some developed negatives.\n\n> You turn on the enlarger\nThe enlarger is not something you can switch.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> You read printing\nOne of the negatives has some printing that says, 'Code is alphabet reversed'.\n\n> You examine the timer\nYou see developing trays, a pair of scissors, a thermometer and a timer."
    },
    {
        "text": "> Look around\nYou recognise this as a darkroom from all the photographic equipment on the bench. This is a relic from the past. You thought everyone used digital cameras nowadays. The exit is to the south.\n\nYou can see a macaw, a bench (on which are some photographic chemicals, some photographic tools and an enlarger (on which are some developed negatives)) and a red lamp (providing light) here.\n\n> You turn off the lamp\nYou turn the lamp off and the room is no longer bathed in a red glow.\n\nIt is now pitch dark in here.\n\n> You turn on the torch\nYou turn the torch on.\n\n\"Squawk! I'm talking to an idiot.\"\n\nYou recognise this as a darkroom from all the photographic equipment on the bench. This is a relic from the past. You thought everyone used digital cameras nowadays. The exit is to the south.\n\nYou can see a macaw, a bench (on which are some photographic chemicals, some photographic tools and an enlarger (on which are some developed negatives)) and a red lamp here.\n\n> You put all in the sheets\nwhite key: The satin sheets can't contain things.\npiezoelectric transducer: The satin sheets can't contain things.\ncoil of wire: The satin sheets can't contain things.\nnote: The satin sheets can't contain things.\ntorch: The satin sheets can't contain things.\n\n> You drop the key\n(the white key)\nDropped.\n\n> TAKE REMOTE, BOX, LED, MODULE, SWITCH\nremote control unit: Taken.\npink jiffy box: Taken.\nthree-volt LED: Taken.\nlaser power module: Taken.\nloose light switch: You're carrying too many things already.\n\n\"Squawk! Molly is smart.\"\n\n> You go east\nYou're at the western end of a long hallway. The hallway continues to the east. There's an open metal door to the west and a set of stairs going down to the basement.\n\nYou can see a macaw here.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> You go south\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench is a soldering iron surrounded by electronic components.\n\nYou can see a macaw and a printed circuit board here.\n\n\"Squawk! Hello.\"\n\n> You check your inventory\nYou're carrying:\na laser power module\na three-volt LED\na pink jiffy box\na remote control unit\na piezoelectric transducer\na coil of wire\na note\nsome UV glasses (being worn)\na torch (providing light)\na plastic raincoat (being worn)\n\n> PUT MODULE, LED, BOX, UNIT, TRANSDUCER ON BENCH\nlaser power module: Done.\nthree-volt LED: Done.\npink jiffy box: Done.\nremote control unit: Done.\npiezoelectric transducer: Done.\n\n> You put the wire on the bench\nYou put the coil of wire on the workbench.\n\n\"Squawk! Adventures are cool.\"\n\n> You go to the west\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, a white key, some satin sheets, a journal, your car key, a tyre lever, a brass key and a loose light switch here.\n\n> Journal\nloose light switch: Taken.\njournal: Taken.\n\n> You go to the south\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench are a coil of wire, a piezoelectric transducer, a remote control unit, a pink jiffy box, a three-volt LED, a laser power module and a soldering iron surrounded by electronic components.\n\nYou can see a macaw and a printed circuit board here.\n\n> Inventory\nYou're carrying:\na journal\na loose light switch\na note\nsome UV glasses (being worn)\na torch (providing light)\na plastic raincoat (being worn)\n\n> PUT JOURNAL, SWITCH, NOTE ON BENCH\njournal: Done.\nloose light switch: Done.\nnote: Done.\n\n> You read the note\n'Parts list for electronic door opener:\n1. Switch\n2. Control unit\n3. Laser power module\n4. Circuit board (EK0007A)\n5. Wire\n6. Piezoelectric transducer\n7. Jiffy box (size 2)\n8. 3-volt LED'\n\n\"Squawk! You'll never escape.\""
    },
    {
        "text": "> Look around\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench are a note, a loose light switch, a journal, a coil of wire, a piezoelectric transducer, a remote control unit, a pink jiffy box, a three-volt LED, a laser power module and a soldering iron surrounded by electronic components.\n\nYou can see a macaw and a printed circuit board here.\n\n> Go east\nYou're at the eastern end of a long hallway that continues to the west. Apart from the hallway itself, there are also exits to the north and south.\n\nYou can see a macaw here.\n\n> Go west\nYou're at the junction of a long hallway that continues to the east and west. The other arm of the junction goes to the north, but you can't go that way because of the giant hole in the floor where it collapsed. There's also an exit to the south.\n\nYou can see a macaw here.\n\n\"Squawk! You'll never escape.\"\n\n> You go west\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, a white key, some satin sheets, your car key, a tyre lever and a brass key here.\n\n> You go east\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a macaw and a goat here.\n\n\"Squawk! Who are you?\"\n\n> You give the sheets to the goat\nGoats are known to eat almost anything, but this one must be fussier than most, as it rejects the satin sheets.\n\n\"Squawk! Hello.\"\n\n> You ask Molly about the caviar\n\"Squawk! Monster likes caviar.\"\n\n> Go west\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n\"Squawk! Adventures are cool.\"\n\n> Go south\nYou're on a landing at the top of the stairs. You can leave the landing to the north.\n\nYou can see a macaw here.\n\n\"Squawk! Molly is smart.\"\n\n> Go north\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, a white key, your car key, a tyre lever and a brass key here.\n\n\"Squawk! I'm talking to an idiot.\"\n\n> You drop the sheets\nDropped.\n\n\"Squawk! You'll never escape.\"\n\n> Go west\nYou're at the southern end of a long dining hall. It continues to the north or you can leave to the east.\n\nYou can see a macaw here.\n\n> Go north\nYou're in the middle of a long dining hall that extends to the north and south. The centre of the room is dominated by a long dining table. There's also an exit to the east.\n\nOn the dining table is a small crystal dish.\n\nYou can see a macaw here.\n\n> You take the dish\nIt looks quite delicate. You don't trust yourself to carry it around, as you're just as likely to drop it.\n\n> You take the caviar\nYou pick up the icky, sticky, gloopy caviar in your bare hands. Yuck.\n\n> Go east\nYou're in the middle of a long hall that extends to the north and south. There are also exits to the east and west.\n\nYou can see a macaw here.\n\n> Go north\nYou're at the northern end of a long hallway that extends to the south. Other than the hallway itself, there are exits to the north, east and west.\n\nYou can see a macaw and a small ravenous monster that defies description here.\n\n> You give the caviar to the monster\nThe small ravenous monster that defies description only likes export-quality caviar. This inferior brand killed it, perhaps because it was off.\n\n> You go east\nYou step over the dead monster that defies description.\n\nYou're in a small private bar. The only exit is to the west.\n\nYou can see a macaw and a whiskey bottle (empty) here.\n\n> You take the bottle\nTaken.\n\n\"Squawk! Molly is smart.\"\n\n> You examine bottle\nIt once held fine Irish whiskey. It's now just an empty bottle. Pity. A bottle full of whiskey would be much better.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> You go to the west\nYou're at the northern end of a long hallway that extends to the south. Other than the hallway itself, there are exits to the north, east and west.\n\nYou can see a macaw and a dead monster that defies description here.\n\n\"Squawk! Scientist mad.\"\n\n> Go south\nYou're in the middle of a long hall that extends to the north and south. There are also exits to the east and west.\n\nYou can see a macaw here.\n\n\"Squawk! I like 'Parrots of the Caribbean'.\"\n\n> Go south\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, some satin sheets, a white key, your car key, a tyre lever and a brass key here.\n\n\"Squawk! Your right to sleep past 7 a.m. is revoked.\"\n\n> You go south\nYou're on a landing at the bottom of the stairs. The exit from the stairs is via a door to the north.\n\nYou can see a macaw here.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> You go to the north\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\nYou can see a macaw here.\n\n\"Squawk! Adventures are cool.\"\n\n> Go east\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n> Go east\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a macaw and a goat here.\n\n> You ask Molly about the bottle\n\"Squawk! You've found it.\"\n\n> You ask Molly about the goat\n\"Squawk! Must be hungry by now.\"\n\n> You look at what you're carrying with you\nYou're carrying:\na whiskey bottle (empty)\na journal\nsome UV glasses (being worn)\na torch (providing light)\na plastic raincoat (being worn)\n\n> Go west\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\nYou can see a macaw here.\n\n\"Squawk! Molly is smart.\"\n\n> Go north\nYou're at the northern end of a wide north-south hall. There's a wide opening to the north, a white door to the west and another exit to the east.\n\nYou can see a macaw here.\n\n\"Squawk! Your right to sleep past 7 a.m. is revoked.\"\n\n> You examine the vines\nThey grow up the wall and over the door. Large purple fruit hang from the vine.\n\n> You look at the fruit\nExotic-looking purple fruit hang from the vine. You have no idea what they are, but they look very tempting.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> You take the fruit\nYou pick one of the fruits off the vine.\n\n\"Squawk! I'm talking to an idiot.\"\n\n> You go south\nYou're at the southern end of a wide hall. The hall extends to the north and there are exits on the other three sides.\n\nYou can see a macaw here.\n\n\"Squawk! Your right to sleep past 7 a.m. is revoked.\"\n\n> Go east\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n> You give fruit to the goat\nThe goat gobbles down the fruit and falls to the floor in a dead sleep. That's strange. It's a good thing you didn't eat it yourself.\n\n> You go to the north\nYou're in the main upstairs bedroom. There's a bay window to the north. The exit from the room is to the south.\n\nYou can see a macaw and a bed (on which are some clean sheets) here.\n\n> You examine the window\nIt's a large bay window overlooking the rain-soaked estate. It's currently closed.\n\n> You open the window\nYou open the bay window.\n\n> Go north\nYou're standing on a high ledge high above the ground. Due to the dark, dismal night and the acid rain, the best view from here is the bedroom inside the bay window to the south.\n\nYou can see a macaw and a silver key here.\n\n> You take the silver key\nThe key is soaked with acid rain. You can't touch it unless you can wash the acid off.\n\n> You go to the south\nYou're in the main upstairs bedroom. There's a bay window to the north. The exit from the room is to the south.\n\nYou can see a macaw and a bed (on which are some clean sheets) here.\n\n\"Squawk! You'll never escape.\"\n\n> You examine bed\nIt's a double bed. On the bed are some clean sheets.\n\n> You look at the sheets\nThey're tightly tucked into the bed.\n\n\"Squawk! Molly is smart.\"\n\n> Go south\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a macaw and a sleeping goat here.\n\n> Go west\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\nYou can see a macaw here.\n\n> Go south\nYou're in a linen closet. There's a louvred door to the north.\n\nYou can see a macaw here.\n\n> Go north\nYou recognise this as a darkroom from all the photographic equipment on the bench. This is a relic from the past. You thought everyone used digital cameras nowadays. The exit is to the south.\n\nYou can see a macaw, a bench (on which are some photographic chemicals, some photographic tools and an enlarger (on which are some developed negatives)) and a red lamp here.\n\n> Go west\nYou're in a lounge room. It's well furnished for relaxing. There are exits to the east and west.\n\nYou can see a macaw, a lounge and a coffee table here.\n\n\"Squawk! Hello.\"\n\n> You go west\nYou're in the upstairs bathroom. It's furnished in glorious pink. There's a vanity unit with a small basin mounted against the west wall and a mirror mounted above it. The exits are to the north and east.\n\nYou can see a macaw here.\n\n> You fill the bottle\n(with the macaw)\nThere's nothing here that you can use to fill the bottle.\n\n> You turn on the tap\nIf you want to fill a container with water or you want a drink of water, just say so. But don't waste water, as fresh water is a precious resource in these days of acid rain.\n\n> You fill the bottle with water\nYou fill the bottle with water from the tap.\n\n> Go east\nYou're at the west end of a short hall. It enters a room to the west and continues to the east. There are doors on both sides of the hall, a plain door to the north and a louvred door to the south.\n\nYou can see a macaw here.\n\n\"Squawk! Who are you?\"\n\n> Go east\nYou're at the east end of a short hall. There's an exit to the north or you can follow the hall back to the west.\n\nYou can see a macaw and a sleeping goat here.\n\n\"Squawk! Adventures are cool.\"\n\n> You go to the north\nYou're in the main upstairs bedroom. There's a bay window to the north. The exit from the room is to the south.\n\nYou can see a macaw and a bed (on which are some clean sheets) here.\n\n> Go north\nYou're standing on a high ledge high above the ground. Due to the dark, dismal night and the acid rain, the best view from here is the bedroom inside the bay window to the south.\n\nYou can see a macaw and a silver key here.\n\n> You pour water on the silver key\nThe water washes away the acid from the silver key.\n\n\"Squawk! I'm talking to an idiot.\"\n\n> Go north\nYou're at the southern end of a north-south hallway. There's a wooden door to the south, a metal door to the east and an open exit to the west.\n\nIn the slot in the wall is a security card.\n\nYou can see a macaw, some satin sheets, a white key, your car key, a tyre lever and a brass key here.\n\n> You go to the south\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench are a note, a loose light switch, a coil of wire, a piezoelectric transducer, a remote control unit, a pink jiffy box, a three-volt LED, a laser power module and a soldering iron surrounded by electronic components.\n\nYou can see a macaw and a printed circuit board here.\n\n> You unlock the door with the silver key\nYou unlock the workshop door.\n\n> You open the door\nYou open the workshop door.\n\n\"Squawk! I'm talking to an idiot.\"\n\n> Go east\nYou're in a tiny room used for the storage of tools. The exit is to the west.\n\nYou can see a macaw and some tools here.\n\n> You look at the tools\nAs you scrounge through the tools, you find a screwdriver. You wonder what other goodies may be tucked away amongst the tools.\n\n> You take the screwdriver\nTaken.\n\n\"Squawk! Adventures are cool.\"\n\n> You look at the tools\nYou scrounge further through the tools and this time you find a car battery. Eureka!\n\n> You examine the tools\nYou continue scrounging through the tools, but find nothing else of interest.\n\n\"Squawk! Who's a pretty girl, then?\"\n\n> Go west\nYou're in an electronic workshop scattered with discarded electronic components. The exit is to the north, but there's also a door to the east. An L-shaped workbench is mounted against the other walls to the south and west.\n\nOn the workbench are a note, a loose light switch, a coil of wire, a piezoelectric transducer, a remote control unit, a pink jiffy box, a three-volt LED, a laser power module and a soldering iron surrounded by electronic components.\n\nYou can see a macaw, a silver key and a printed circuit board here.\n\n\"Squawk! Who are you?\"\n\n> You make the opener\nWith great skill and dexterity, you use the soldering iron and the screwdriver to make an electronic door opener from the parts you scrounged from around the mansion.\n\n> You go north\nYou're at the northern end of a long hallway that extends to the south. Other than the hallway itself, there are exits to the north, east and west.\n\nYou can see a macaw and a dead monster that defies description here.\n\n> Go north\nYou're in an entry foyer. The front door is to the north and there are exits on the other three sides.\n\nYou can see a macaw here.\n\n> You unlock the door with the opener\nTry pressing the button on the door opener.\n\n> You open the door\nYou open the large oak door.\n\n> Go north\nMolly smells freedom in the air. \"Squawk! Bye, bye. Squawk!\" She flies off through the acid rain into the dark night sky.\n\nYou're standing on the front porch of a large mansion, where the awning protects you from the acid rain. If you want to enter the mansion, there's a large oak door to the south, otherwise you can head back north towards the road.\n\nYou can see a plant pot here.\n\n> Go north\nThis is the front path of the mansion. It runs between the entrance to the north and the mansion to the south with a lawn on each side.\n\n> You go north\nYou're at the front fence of a large mansion. The entry to the property is via a large iron gate to the south. The road is back to the north.\n\n> You unlock the car with car key\n(the car with the car key)\nYou unlock the car.\n\n> You put the battery in the bonnet\n(the new car battery in the bonnet)\nYou remove the old car battery and throw it into the bushes at the side of the road. You then insert the new battery and attach the terminals.\n\n> You put the car key in the ignition\nYou put the car key into the ignition.\n\n> You turn it\nVroom, vroom! The car starts up. The big V8 purrs like a kitten. It's sweet music to your ears. Now let's drive out of here.\n\n> You drive\nWhat do you want to drive?\n\n> Car\nOh, what a night. A flat battery, acid rain, a deserted mansion full of mysteries and a dead scientist. You'll be glad to get out of here.\n\nYou quickly drive away, not noticing that in the back seat..."
    },
    {
        "text": "[Themes: Science Fiction, humor, city, wordplay, gender-neutral protagonist]\n\nThreediopolis was the first city to have different sidewalk levels, one above another, back in 2050. It's pretty normal now in 2100, but they didn't plan everything right back then, so Threediopolis is still a bit quirky.\n\nYou still get lost some days, like today--while remembering a traumatic episode from your youth (adults yelling at you for somehow getting lost on a simple errand) you run across a building you've never seen. You enter and are whisked to a penthouse office. A fellow wearing a fractal power-tie and a white button-down shirt with elbow patches jumps up.\n\n\"Ah! You answered my online ad! What? No? You didn't? Even better! You're a natural! Unpoisoned by GPS! Just what I need! It's not anyone can find here. I'm Ed Dunn. You are? ...\"\n\n[Author's Note: A wordplay/quasi-maze game.]\n\n> You press the green\nBefore you can answer, Ed hands you a list of tasks, an equally mysterious package you're told not to open, and a pocket teleporter device, for getting back if you get even more lost than you need to.\n\n\"Getting here was the hard part, kid. But if you don't get everything on this list done before you get back here, that's okay.\"\n\nBefore you can ask what list, Ed makes a hush-hush gesture. \"It's organized by travel time, kid. Or it should be, once you find how to use it. Don't worry, just--don't lose it.\"\n\nHe explains how some things just don't need to be traced electronically, and how there's lots of weird scenery to see if you're interested in that sort of thing, and since you got here without knowing, you couldn't get anywhere on the list WITH knowing.\n\n\"Knowing what...?\"\n\n\"One other thing, kid. You might want to use that teleporter pretty quickly if you don't see anything to start. Say, no further than five blocks. Til you get your bearings.\"\n\nEd stares at his computer, then snaps his fingers. \"Oh, hey, I should push this button. Alphabetize this whole list, sort of. Make things easier for the rookie. What do you say?\"\n\n> You say okay\n\"Yes or no. Not rocket science.\"\n\n> You say no\n\"C'mon, kid, you can't answer an easy yes-no question...\"\n\n> No\n\"Got it. You look smart enough to take the extra challenge.\"\n\nPep talk time. \"You got potential. You seem like someone who knows it's not just getting there, but HOW you get there.\" You've heard that truism before...but does it mean anything? You have no time to ask. Security whisks you away as Ed booms \"And keep with it. Note what you found. Don't worry about the order, either!\"\n\nIt's not a huge list. You even have addresses of where to go. It can't be too hard, can it?\n\n> Yes\nThreediopolis was the first city to have different sidewalk levels, one above another, back in 2050. It's pretty normal now in 2100, but they didn't plan everything right back then, so Threediopolis is still a bit quirky.\n\nYou still get lost some days, like today--while remembering a traumatic episode from your youth (adults yelling at you for somehow getting lost on a simple errand) you run across a building you've never seen. You enter and are whisked to a penthouse office. A fellow wearing a fractal power-tie and a white button-down shirt with elbow patches jumps up.\n\n\"Ah! You answered my online ad! What? No? You didn't? Even better! You're a natural! Unpoisoned by GPS! Just what I need! It's not anyone can find here. I'm Ed Dunn. You are? ...\"\n\n> Club floyd\nBefore you can answer, Ed hands you a list of tasks, an equally mysterious package you're told not to open, and a pocket teleporter device, for getting back if you get even more lost than you need to.\n\n\"Getting here was the hard part, kid. But if you don't get everything on this list done before you get back here, that's okay.\"\n\nBefore you can ask what list, Ed makes a hush-hush gesture. \"It's organized by travel time, kid. Or it should be, once you find how to use it. Don't worry, just--don't lose it.\"\n\nHe explains how some things just don't need to be traced electronically, and how there's lots of weird scenery to see if you're interested in that sort of thing, and since you got here without knowing, you couldn't get anywhere on the list WITH knowing.\n\n\"Knowing what...?\"\n\n\"One other thing, kid. You might want to use that teleporter pretty quickly if you don't see anything to start. Say, no further than five blocks. Til you get your bearings.\"\n\nEd stares at his computer, then snaps his fingers. \"Oh, hey, I should push this button. Alphabetize this whole list, sort of. Make things easier for the rookie. What do you say?\"\n\n> Yes\n\"Got it. You look smart enough to know the value of a little organization. Hey, stop on back if you need an extra hint, eh?\"\n\nPep talk time. \"You got potential. You seem like someone who knows it's not just getting there, but HOW you get there.\" You've heard that truism before...but does it mean anything? You have no time to ask. Security whisks you away as Ed booms \"And keep with it. Note what you found. Don't worry about the order, either!\"\n\nIt's not a huge list. You even have addresses of where to go. It can't be too hard, can it?\n\nA Futuristic Word-Play Gofering by Andrew Schultz\n\nThreediopolis, Sector 444\nEverything here sort of looks like everything else and doesn't at the same time. Going one direction seems as good as going any other.\n\nYou glance quickly at Ed Dunn's list: some things are in sector 444, but you can't see anything resembling them. [Note: the room descriptions are random and for amusement only. Type B to get rid of them or V to have them appear again.]\n\n> You go to the south-west\nIt would be more efficient if you could walk through buildings, but they're private property. Did you mean to run these directions in order?\n\n> No\nOk--you can always bypass the two-to-three-letter-command check with J (for jumping.)\n\n> You examine the list\n(Note: you can just type X to re-examine the list.)\n\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: pal@346, pal (English name)@335, near pal (Scottish-Canadian)@455, pal@355, pal@535, near pal@444, pal (German)@544, far frieeend@356, pal@434\n--extra near: Visit total party-cave@355, Wet grass@344, Chat w/web srvr@344, Visit online univ. HQ@445, Stop Something@355, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Soak Up Vitamin D@544\n--near: Latin Mass@435, New&used Clothes@334, Sheep's milk@435, TV Info show@444, A conventional convent@554, Deploy package@345, Handmade clothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Matchmaker for singles@454, visit that vacant lot I loved as a kid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\nHm, he said it was alphabetized, but you aren't sure yet what he was talking about.\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\nYou think a moment. Some of these locations listed twice, there has to be something if you just walk right there. Especially the ones nearby."
    },
    {
        "text": "[Themes: Science Fiction, humor, city]\n\n> O.\nYou glance at the extra near line.\n\nVisit total party-cave@355, Wet grass@344, Chat w/web srvr@344, Visit online univ. HQ@445, Stop Something@355, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Soak Up Vitamin D@544.\nNote: you can put a list of numbers and found tasks in the status line with oo.\n\n> Go north\nThreediopolis, Sector 454\n\n> Go north\nThreediopolis, Sector 464\n\n> Go south\nThreediopolis, Sector 444\n\n> You go to the east\nThreediopolis, Sector 445\n\n> Hq\nBeing a messenger, you don't have much more to do than go in the six basic directions (transport tubes make going up and down easy.) Or enter places. Maybe knock. Nothing fancy. Type C to see everything."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nLooking around won't be enough to get you lost the way you need to get lost. It seems it might even add one more variable, or layer of complexity, beyond just waiting.\n\nYou could say doing so in the middle of a journey is useless.\n\nThreediopolis, Sector 445\n\n> You go north\nThreediopolis, Sector 455\n\n> Go upwards\nBoy, those transport tubes are handy for saving energy during vertical travel.\n\nThreediopolis, Sector 555"
    },
    {
        "text": "> You go downwards\nThreediopolis, Sector 355\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: pal@346, pal (English name)@335, near pal (Scottish-Canadian)@455, pal@355, pal@535, near pal@444, pal (German)@544, far frieeend@356, pal@434\n--extra near: Visit total party-cave@355, Wet grass@344, Chat w/web srvr@344, Visit online univ. HQ@445, Stop Something@355, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Soak Up Vitamin D@544\n--near: Latin Mass@435, New&used Clothes@334, Sheep's milk@435, TV Info show@444, A conventional convent@554, Deploy package@345, Handmade clothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Matchmaker for singles@454, visit that vacant lot I loved as a kid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Talk\nNOTE: there is currently a problem with web-based interpreters, and older Mac interpreters may not support the status line list.\nThe screen dimensions are 70 x 24. Dimensions of at least 105x25 are recommended to be able to see all entries at once but not necessary. You can resize later. Do you still wish to toggle the list inventory to the status bar?\n\n> Yes\nOk, the list is in the status bar, now. Note: if you resize to <25 height or <105 width, it is at your own risk.\n\n> You check your inventory\nYou are carrying:\na mysterious package\na pocket teleporter device\na list of needs (can be examined with just X)\n\n> You examine package\nYou see nothing special about the mysterious package. But you sure SENSE something special under that newfangled top-open-secret material that can hold things several times its size if necessary. Quantum physics is crazy.\n\n> Sense\nYou pick up the pace of your wandering, there, planning a few blocks ahead.\n\nThreediopolis, Sector 345\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\n\n> Sense\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 445\nYou are redirected around a political rally where people chant \"We need Wu!\" then \"Wu needs us!\"\n\nBut what you noticed doesn't seem practical, so you put it out of your mind as you continue pacing. Places you can't enter won't help you help Ed Dunn.\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\n\n> You drop the package\nYou'd be flaking out at your job, doing that. No way!\n\n> You eat the package\nAre you hungry for a meal, or a job that'll buy several of them? Get back to wandering.\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city. Your employer must really be loaded.\n\nThreediopolis, Sector 444\n\n> F.\nPals: 346/335/455*/355/535/444*/544/356***/434.\n\nNote: while friends are left, you can focus on them in the status bar with ff.\n\n> Ff\nFriends are now in header. Each asterisk means longer distance.\n\n> Edd\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nYou flash back to Ed Dunn's voice booming through your head: \"It's not just where you go but how you get there!\" Maybe you can try hitting some of the nearer locations.\n\n[NOTE: you can toggle hints like this by typing r.]\n\n> Dee\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 346\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> You examine the door\nIt looks familiar, slightly different from all the identical ones.\n\n> You open it\nThat front door is someone's home. You should really knock instead.\n\n> You knock\n(Note: in the future you can type K for knock.)\n\nYou are surprised to see a man answer the door, but you're not sure why. \"Ed Dunn, eh? My wife will be glad to drop by. Her name's Dee, too. Well, the abbreviation. We both laughed too hard at it when we first met.\"\n\nWell, Ed won't be alone now. Or, rather, he'll have some of his best pals to talk to.\n(Note: from now on you can type IN once you see a place to enter or, if there's a door to knock on, K. On which to knock.)\n\nThreediopolis, Sector 444\n\n> Sed\nThat's a pretty crazy diagonal direction. You'd crash into something, even with a jetpack. Did you mean to run these directions in order?\n\n> Yes\n[NOTE: you can always bypass this command check with J (for jump through diagonals.)]\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 335\nYou stumble by a bunch of techies discussing AWK and GREP and discussing how it's all more fun and interesting than silly puzzle boxes with no purpose. Not that the guy who just passed would be good at either.\n\n> You go inside\nNothing to enter. It's all so unfamiliar.\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\n\n> Y.\n[NOTE: you can still bypass this command check with J (for jump through diagonals.)]\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 335\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"An Ed Dunn party, eh? His are worth the walk. But boy, I tell you, the guy who sold me this place cheated me. Said I'd be near Ed's. I don't get it.\"\n\nHoowah, that's another friend found!\n\nThreediopolis, Sector 444\n\n> Y.\n[NOTE: you can still bypass this command check with J (for jump through diagonals.)]\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\nNed compliments you on not getting lost getting here--there are other tempting and even dangerous places in the nearby area. He suspects and hopes that that's why he didn't get the last invite. Well, he hopes it was more temptation than danger.\n\nYou've found some pretty swank areas of Threediopolis you'd have missed otherwise. It looks like there are more.\n\nThreediopolis, Sector 444\n\n> Clubf it lets you go a diagonal direction\nBeing a messenger, you don't have much more to do than go in the six basic directions (transport tubes make going up and down easy.) Or enter places. Maybe knock. Nothing fancy. Type C to see everything.\n\n> Y.\n[NOTE: you can still bypass this command check with J (for jump through diagonals.)]\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 335\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\n\n> Y.\n[NOTE: you can still bypass this command check with J (for jump through diagonals.)]\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\nYou can see an extremely ominous door here.\n\n> J.\nJump mode is on, e.g. NWU or NW diagonals are no longer questioned.\n\n> K.\nYou reach into the mysterious package and pull out a stink-bomb, then knock and run away. Since you didn't light it INSIDE the clinic, there's nothing they can do to you. There's legal precedent--plus if they prosecuted you, they'd have to reveal the address in court, which would mean more annoying protestors. You're glad your benefactor has a conscience!\n\nThreediopolis, Sector 444\nYou think back to the times Internet route planners gave you wrong or slow directions and feel slightly superior.\n\n> End\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\n\n> You go inside\nNothing to enter. It's all so unfamiliar.\n\n> Den\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\nYou can see a door shaped like a champagne bottle here.\n\n> You examine the champagne\nIt's a bit tacky, but it gets the point across. You will learn something about partying if you go through it.\n\n> Go inside\nNote: you can type i instead of enter/in in the future. It trumps the default command for I, taking inventory, which has limited use in this game.\n\nYou realize that Ed Dunn has done you a favor by allowing you to view this. You take extra careful notes on how the party is, what's being served, what a party should be, and the general atmosphere and how people are acting. Alas, you can't partake of some amenities while on the job, but you can't complain.\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, city]\n\n> O.\nYou glance at the extra near line.\n\nDen, Wet grass@344, Chat w/web srvr@344, Visit online univ. HQ@445, End, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Soak Up Vitamin D@544.\n\n> Sundew\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 544\nYou can see some big glass doors here.\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 444\n\n> P.\nNothing seems to happen. You think. But you blink once, and everything FEELS different.\n\nThreediopolis, Sector 444\n\n> Dun\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\n> Sun\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 544\nYou can see some big glass doors here.\n\n> K.\nNo need to be so formal. Walk on in.\n\n> You check what you're carrying\nIt's so rare to get natural sun. Usually the heat lamps are enough. Someone punches your ration card and you return to your home, cheerier. You're given a dark bottle of instant sunlight for your employer, too. He seems to be on the monthly plan, and it's too fragile to mail to him.\n\nThreediopolis, Sector 444\nYou hear Ed Dunn discussed in hushed tones--that he is not that smart but hires people much smarter to work for him. A smart voice and dumb voice agree there's a racket--but they'd work for him, all the same.\n\n> Sunk\nBeing a messenger, you don't have much more to do than go in the six basic directions (transport tubes make going up and down easy.) Or enter places. Maybe knock. Nothing fancy. Type C to see everything.\n\n> Dew\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 344\nYou can see a barely detectable gladed trail here.\n\n> Inventory\nA kid on a lonely park bench. \"So you're the one my uncle got to play with me today. You'll do, I guess.\" It's actually rather fun, and the kid gets bored first.\n\nThreediopolis, Sector 444\n\n> Tt\nSuppressed toggle warning in inventory.\n\n> Tt\nUnsuppressed toggle warning in inventory.\n\n> You send\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\nYou can see a loading dock here.\n\n> Y.\n(Scottish-Canadian)@455, Ned, pal@535,\n\nOk, the list is in the status bar, now. Note: if you resize to <25 height or <105 width, it is at your own risk.\n\n> You examine the dock\n(Scottish-Canadian)@455, Ned, pal@535,\n\nThe loading dock is neither exciting nor forbidding. You can probably just ENTER it.\n\n> Inventory\n(Scottish-Canadian)@455, Ned, pal@535,\n\nYou write down your employer's name, location, reason for having to send something physical--and you're promised the package will be sent off.\n\nThreediopolis, Sector 444\nIt's a good thing the moving walkways--the ones you take for granted--are helping you along, or you'd be more tired than you are.\n\n> You go to the northeast\n(Scottish-Canadian)@455, Ned, pal@535,\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\n> You go east\n(Scottish-Canadian)@455, Ned, pal@535,\n\nThreediopolis, Sector 456\n\n> P.\n(Scottish-Canadian)@455, Ned, pal@535,\n\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\n\n> P.\nThat'd be kind of pointless here. Well, technically, here and now.\n\n> En\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\n> Dune\nThreediopolis, Sector 355\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 465\n\nThreediopolis, Sector 466\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\n\n> Dune\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\n> Nude\nThreediopolis, Sector 454\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\n> Wes\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 445\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nYou pick up some static from the teleport device. Ed Dunn is babbling some three-letter acronyms you feel half guilty for not understanding. Or not liking and not using. You know you've heard them before, though."
    },
    {
        "text": "[Themes: Science Fiction, humor, gender-neutral protagonist, wordplay]\n\n> Look around\nThreediopolis, Sector 444\n\n> Ff\n(Scottish-Canadian)@455, Ned, pal@535,\n\nFriends are now not header.\n\n> Wes\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 434\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"Nice of Ed to think of me even though I'm so far away. I hope it wasn't too far for you.\"\n\nWell, that's another friend found!\n\nThreediopolis, Sector 444\n\n> F.\nPals: Dee/Des/455*/Ned/535/444*/544/356***/Wes.\n\n> Wed\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444"
    },
    {
        "text": "> You descend\nThreediopolis, Sector 344\n\n> P.\nYou have heard about teleporter overheat. It's quite a way to go. Maybe you should walk around a bit more.\n\n> Sue\nThreediopolis, Sector 334\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\n> Sue\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 535\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"Ah, yes,\" says the lady answering the door, \"You messengers always find me early, don't you? It must be my personality.\" Before you can agree, she slams the door in your face.\n\nOver halfway there. You are getting the hang of whom to find, where.\n\nThreediopolis, Sector 444\nYou think back to the slider puzzles and even the peg solitaire game you never quite figured out. You bet it'll be easier to figure once you're done here. But Rubik's Cubes? Still, no way. Well, not first thing.\n\n> Uwe\nThreediopolis, Sector 544\n\nThreediopolis, Sector 543\n\nThreediopolis, Sector 544\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"Ah, Ed always appreciates my Continental European flavor. As do his other guests.\"\n\nHot dang, that's another friend found!\n\nThreediopolis, Sector 444\n\n> F.\nPals: Dee/Des/455*/Ned/Sue/444*/Uwe/356***/Wes.\n\n> Newe\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\nA construction site you pass by--and promptly forget about--promises state of the art homes for sale soon.\n\nThreediopolis, Sector 455\n\n> Ween\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\n> New\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\n> You check your inventory\nYou are carrying:\na mysterious package\na pocket teleporter device\na list of needs (can be examined with just X)\n\n> You go inside\nNothing to enter. It's all so unfamiliar.\n\n> You go northeast\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\n> Senn\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nYou pick up some static from the teleport device. Ed Dunn is babbling some three-letter acronyms you feel half guilty for not understanding. Or not liking and not using. You know you've heard them before, though.\n\n> Wend\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\nYour most recent turning and twisting around seems like it should've led somewhere. But it did not. Yet.\n\n> Ewen\nThreediopolis, Sector 445\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\nA man holding Unended, the award-winning book by Deneen Nunn,\nanswers the door. \"Sometimes I wonder if Ed Dunn only invites me to feel multicultural. Eh, well, free food, how can I say no?\"\n\nMan! None of Ed's pals have insulted you heinously yet. You already feel a bit more posh.\n\nThreediopolis, Sector 444\nYou remember walking into dead ends as a kid trying to take shortcuts to school. But you are avoiding them now.\n\n> Unended\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 555\n\nThreediopolis, Sector 565\n\nThreediopolis, Sector 465\n\nThreediopolis, Sector 466\n\nThreediopolis, Sector 366\n\n> Eddunn\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 365\nHey, here's the door to Ed Dunn's secret hideout! Makes sense.\n\n> You look at what you're carrying with you\nAs you approach the door, a guard asks your business. You recall Ed Dunn's offer of help. Are you looking for help?\n\n> You go north\nYou loaf around a bit, worried about facing Ed Dunn, but the guard at the door doesn't seem to want you to hang around. Go in?\n\n> No\nThe guard mumbles, \"I'm a busy man. Don't waste my time!\" and turns away. Slightly ashamed, you push the transporter device button to escape the awkwardness.\n\nThreediopolis, Sector 444\n\n> Deneennunn\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 356\n\nThreediopolis, Sector 357\n\nThreediopolis, Sector 367\n\nThreediopolis, Sector 377\n\nThreediopolis, Sector 477\n\nThreediopolis, Sector 487\n\nThreediopolis, Sector 497\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nYou pick up some static from the teleport device. Ed Dunn is babbling some three-letter acronyms you feel half guilty for not understanding. Or not liking and not using. You know you've heard them before, though.\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, near pal@444, Uwe, far frieeend@356,\nWes\n--extra near: Den, Dew, Chat w/web srvr@344, Visit\nonline univ. HQ@445, End, Retro gm comp@445, A powerful hinty\nspying telescope@436, Fix holes in my clothes@434, Sun\n--near: Latin Mass@435, New&used Clothes@334, Sheep's milk@435, TV Info show@444, A conventional convent@554, Send, Handmade\nclothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Matchmaker for singles@454, visit that vacant lot I loved as a kid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Wendee\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 356\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"Oh! You're with Ed Dunn? Let me see the list he gave you,\" says the woman answering. She nods approvingly. \"He said he only invited Nene because she was closer. I'm glad he meant it this time. I hope he has those awesome hot dogs this party!\"\n\nBada-bing, that's another friend found!\n\nThreediopolis, Sector 444\nYou remember overhearing coworkers telling you you need to get out more and see the city. Man, if they only knew.\n\n> Nene\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 465\n\nThreediopolis, Sector 466\n\n> News\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 444\nYou can see some big glass doors here.\n\n> Inventory\nThere is a setup for an old-fashioned newscast. People still watch them, epsecially in the morning, mostly because the anchors are attractive and perky, and none of the reported news is too jarringly thoughtful. However, your package is frisked, and when one of the guards alerts one of the news station big-shots about whom you work for, the big shot schmoozes a bit, gives you a few presents and secret after-party invitations to pass on, and asks for a few favors.\n\nThreediopolis, Sector 444\n\n> Sudden\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 334\n\nThreediopolis, Sector 335\n\nThreediopolis, Sector 345\nA loud noise from nowhere surprises you.\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, near pal@444, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Chat w/web srvr@344, Visit\nonline univ. HQ@445, End, Retro gm comp@445, A powerful hinty\nspying telescope@436, Fix holes in my clothes@434, Sun\n--near: Latin Mass@435, New&used Clothes@334, Sheep's milk@435,\nNews, A conventional convent@554, Send, Handmade\nclothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Matchmaker for singles@454, visit that vacant lot I loved as a kid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Dudu\nThreediopolis, Sector 245\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 345\n\n> Dudu\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\n> P.\nYou plot what to take care of next. Hmm... \"near pal at 444\" is as good as any.\n\nNothing seems to happen. You think. But you blink once, and everything FEELS different.\n\nThreediopolis, Sector 444\n\n> Sund\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 544\n\nThreediopolis, Sector 444\n\n> P.\nNothing seems to happen. You think. But you blink once, and everything FEELS different.\n\nThreediopolis, Sector 444\n\n> Wens\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist]\n\n> O.\nYou glance at the extra near line.\n\nDen, Dew, Chat w/web srvr@344, Visit online univ. HQ@445, End, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Sun.\n\n> Weewee\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 446\nYou just stepped in a puddle, though it hasn't rained much lately. Whoever, uh, made that puddle is really juvenile.\n\n> Denuded\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 356\nSome weirdo runs by and tries to pull your pants down. You swat him away. He won't try again!\n\nThreediopolis, Sector 256\n\n> Dud\nThreediopolis, Sector 156\n\nThreediopolis, Sector 256\n\nThreediopolis, Sector 156\n\n> Dud\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\n> Dns\nThreediopolis, Sector 344\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 344\nYou can see some big glass doors here.\n\n> You enter\nYou probably took less time to walk there than it would've taken to stay on hold if you called in. Or get an email response. Internet customer service was so much better a hundred years ago! You straighten out a few things about your employer's websites, both the ones people know he owns and the one they don't. The acronyms are flying around, here. You hope you don't have to put up with much more of this.\n\nThreediopolis, Sector 444\nYou reflect back to an unfortunate school incident where you solved a logic-box puzzle and people said that sort of thing would never be handy in real life.\n\n> Swen\nYou plot what to take care of next. Hmm... \"near pal at 444\" is as good as any.\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 433\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 444\nMan! Someone's front door! With the secret detail Ed Dunn showed you that's obvious once you know it!\n\n> K.\n\"You look dizzy! You been walking around in circles?\" asks Ed's latest invitee. He makes some desultory joke about remembering to forget the lutefisk, explaining it's funnier once you know Ed Dunn.\n\nExcellent. You got all Ed's friends. That should keep him pretty happy.\nThat's the whole gang! Obviously, there'll be random people to make up the numbers, but Ed's best pals are the ones who will keep the party moving.\n\nThreediopolis, Sector 444\n\n> Edu\nYou plot what to take care of next. Hmm... \"Visit online univ. HQ at 445\" is as good as any.\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 445\nYou can see some big glass doors here.\n\n> Enter\nWhile you're not sure what business Ed Dunn has here, the secretaries there recognize it immediately. Apparently, Ed Dunn has a .EDU domain offering real-world business advice, and one of the main projects is getting people to do busy work for you, whether you really need it done or not. This has to be all the acronymage you can put up with for today.\n\nThreediopolis, Sector 444\nHmm. You think Ed would be relatively happy enough with what you've done. He mentioned he didn't need perfection. You could probably go see him again any time, now.\nYou're almost hit by a bicycle messenger who claims to be delivering something REALLY important.\n\n> Eddunn\nYou plot what to take care of next. Hmm... \"Retro gm comp at 445\" is as good as any.\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 365\nEd Dunn's secret hideout door is just where you remember it. You can enter it to report to your employer.\n\n> Go inside\nAs you approach the door, a guard asks your business. You recall Ed Dunn's offer of help. Are you looking for help?\n\n> No\nYou loaf around a bit, worried about facing Ed Dunn, but the guard at the door doesn't seem to want you to hang around. Go in?\n\n> Yes\nEvaluation time!\n\nYou return, with a list of what you've done.\n\n\"Great job, kid! You got all my friends. They can keep a party exciting on their own.\"\n\nHe hands you an envelope. \"Pretty good, kid. I have made it worth your time. If you know anyone even more efficient than you, let me know, and I'll give you a referral fee.\" When you get outside, you realize he is right. There is about a year's worth of pay at your regular job here. 18 9 9."
    },
    {
        "text": "> O.\nYou glance at the extra near line.\n\nDen, Dew, Dns, Edu, End, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Sun.\n\n> Deded\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 246\n\nThreediopolis, Sector 146\n\n> Sew\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\nYou can see a tiny yet inviting door here.\n\n> Go inside\nMost people just have to dispose of clothes and get new recyclable ones, but Ed Dunn can afford more expensive stuff. You dump out the clothes that need repairing and get a receipt with the ready date. Technology hasn't managed to speed up clothes mending.\n\nThreediopolis, Sector 444\n\n> Deeded\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 346\n\nThreediopolis, Sector 246\n\nThreediopolis, Sector 247\n\nThreediopolis, Sector 147\n\n> Dedded\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 145\n\nThreediopolis, Sector 146\n\nThreediopolis, Sector 046"
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, humor]\n\n> Go downwards\nYou're lost. You have strayed beyond the city bounds. A border droid takes your ID and whisks you back to the center.\n\nThreediopolis, Sector 444\n\n> Unneeded\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 564\n\nThreediopolis, Sector 565\n\nThreediopolis, Sector 566\n\nThreediopolis, Sector 466\n\nThreediopolis, Sector 467\n\nThreediopolis, Sector 367\nYou suddenly feel as if nobody, not even Ed Dunn, cares about you.\n\n> Sensenesses\nThreediopolis, Sector 357\n\nThreediopolis, Sector 358\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\nYou pick up some static from the teleport device. Ed Dunn is babbling a three-letter acronym you feel half guilty for not understanding. Or not liking and not using. You know you've heard it before, though.\n\n> Suddennesses\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 334\n\nThreediopolis, Sector 335\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 356\n\nThreediopolis, Sector 346\n\nThreediopolis, Sector 336\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\n\n> Denseness\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 346\nYou're in an unusually overpopulated area of Threediopolis. And yet, nothing seems worth visiting.\n\nThreediopolis, Sector 356\n\nThreediopolis, Sector 357\n\nThreediopolis, Sector 347\n\nThreediopolis, Sector 337\n\n> Unweddedness\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 553\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\nYou can see a secret entry here.\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 255\n\nThreediopolis, Sector 265\n\nThreediopolis, Sector 266\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\nYou pick up some static from the teleport device. Ed Dunn is babbling a three-letter acronym you feel half guilty for not understanding. Or not liking and not using. You know you've heard it before, though.\n\n> Unwed\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 553\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\nYou can see a secret entry here.\n\n> Go inside\nYou walk in. \"Are you searching for that special someone...?\" a clerk asks.\n\nYou mumble \"Um...not for me, this guy needs it.\"\n\n\"Ah, quite so. Mr. Dunn offers our services as a surprise gift to people who have impressed him. I am not surprised you have not.\" Whoa!\n\nThreediopolis, Sector 444\n\nYou've lost 5 pounds since you started walking around. You'd wanted to. And you're still going strong."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist]\n\n> O.\nYou glance at the extra near line.\n\nDen, Dew, Dns, Edu, End, Retro gm comp@445, A powerful hinty spying telescope@436, Sew, Sun.\n\n> See\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\nYou can see a secret entry here.\n\n> Go inside\nYou're given a scope to look through--you can follow someone as they make their way to one of your locations. You notice it has settings at 0, 3, 4, 5, 6, 7 and 8, where 0 means you'll do nothing. What do you choose?\n\nChoose one of 0, 3, 4, 5, 6, 7 and 8:\n\n> 3\nYou see a graphical depiction of someone walking north, east, then finally south, but then your vision loses focus.\n\nYou're informed you have 2 hints left. Then you push the teleporter device button to get back to where it'll be easier to follow that person.\n\nThreediopolis, Sector 444\n\n> Nes\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 445\nYou can see some big glass doors here.\n\n> Go inside\nOh man! There's people playing, not just emulated NES games, but the real thing! With a power glove, too! One competitor, you went to school with. He is impressed you work for Ed Dunn. He knew a guy who almost got to but wasn't up to it! You give a few invites for the winners. Ed likes the nerd street cred.\n\nThreediopolis, Sector 444\nYou think you remember getting lost where you just were--years ago, though."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, humor]\n\n> O.\nYou plot what to take care of next. Hmm... \"Latin Mass at 435\" is as good as any.\n\nYou click your tongue now you've solved everything up to extra near. Next!\n\nYou glance at the near line.\n\nLatin Mass@435, New&used Clothes@334, Sheep's milk@435, News, A conventional convent@554, Send, Handmade clothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514.\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, Swen, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Dns, Edu,\nEnd, Nes, See 2 more things@436,\nSew, Sun\n--near: Latin Mass@435, New&used Clothes@334, Sheep's milk@435,\nNews, A conventional convent@554, Send, Handmade\nclothes with love in every stitch-1@444, Smokeless tobacco@534, Root Beer &/or Cream Soda@424, New Linux system--boo Windows 27@525, Get a free hint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Unwed, visit that vacant lot I loved as a\nkid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Deus\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 435\nYou can see a stained-glass entryway here.\n\n> Go inside\nWhat with the brutal unholy war over atheists' best reasons to disbelieve in God, religion has made a comeback. The priests here acknowledge you've traveled long and hard and far. You're not sure if you've gone anywhere. But they mention the journey is important, and the cliche provides comfort. There's a weird coin in the package, with which you buy a candle to light. Perhaps it is pre-penance for the party.\n\nYou're in the zone, zigzagging about. This whole getting lost without getting lost thing is a neat challenge.\n\nThreediopolis, Sector 444\n\n> Duds\nYou plot what to take care of next. Hmm... \"New&used Clothes at 334\" is as good as any.\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 334\nYou can see a clothing store here.\n\n> You enter\nYou walk into the store and realize you don't know what you should buy. A sales associate dubiously asks if he can help you, and when you mention it's not quite you but Ed Dunn, he whistles and hands you some clothes, with obsequious gratitude to be one of several suppliers to Ed Dunn.\n\nThreediopolis, Sector 444\nMan, this reminds you of the crossword puzzles in the Newer New York Times. How the middle bits seem pretty cool because you have just enough hints, and something impossible to start now seems doable.\n\n> OO\nRegular header.\n\n> Ewes\nYou plot what to take care of next. Hmm... \"Sheep's milk at 435\" is as good as any.\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 435\nYou can see a hinged wooden gate here.\n\n> Go inside\nSheep's milk? Well, people apparently like all sorts of crazy stuff at parties. You guess. You'd never have noticed this mini-farm if you hadn't been told where to locate it. You'd never been to a farm before.\n\nThreediopolis, Sector 444\n\n> Nuns\nYou plot what to take care of next. Hmm... \"A conventional convent at 554\" is as good as any.\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 564\n\nThreediopolis, Sector 554\nYou can see a stained-glass entryway here.\n\n> Go inside\nYou hand the nuns a folded sheet marked \"Ed Dunn's Undue Deeds.\" Apparently Ed Dunn is enough of a benefactor that the nuns forgive all his sins--and yours--after you say his penance for him!\n\nThreediopolis, Sector 444\nYou momentarily doubt whether Ed Dunn has your best interest at heart.\n\n> Sewn\nYou plot what to take care of next. Hmm... \"Handmade clothes with love in every stitch-1 at 444\" is as good as any.\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 444\nYou can see a clothing store here.\n\n> You go inside\nNobody really cares about fashion any more, but there are still clothes to wear to show you don't. Ed Dunn needs a lot of them.\n\nThreediopolis, Sector 444\n\n> Suds\nYou plot what to take care of next. Hmm... \"Smokeless tobacco at 534\" is as good as any.\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 424\nYou can see a restaurant door here.\n\n> You check your inventory\nYou've never been a Coke or Pepsi man, particularly after they aligned themselves with opposing political parties. Other soft drinks are taxed at a higher rate except for the bootleg stuff. Except here. Your employer apparently Knows People. Because he is such a good customer, you even get some illicit phosphate-filled laundry detergent.\n\nThreediopolis, Sector 444\nYou remember problems you wanted to solve but never did.\n\n> Look\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, Swen, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Dns, Edu,\nEnd, Nes, See 2 more things@436,\nSew, Sun\n--near: Deus, Duds, Ewes, News,\nNuns, Send, Sewn, Smokeless tobacco@534,\nSuds, New Linux system--boo Windows 27@525, Get a free\nhint@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Unwed, visit that vacant lot I loved as a\nkid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Snus\nThreediopolis, Sector 434\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 544\n\nThreediopolis, Sector 534\nYou can see some big glass doors here.\n\n> You check your inventory\nOf course, the smokable kind's been illegal a while, smoking outdoors being proved worse than smoking indoors being proved worse than smoking outdoors. But this stuff is there, if people MUST. It's been genetically engineered to be okay to snort but very toxic to smoke--just in case people get ideas. The clerk nods as you say it's for someone else. He's heard that one before.\n\nThreediopolis, Sector 444\n\n> Suse\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 524\n\nThreediopolis, Sector 525\nYou can see a shiny new store door here.\n\n> You go inside\nIf only the people extolling Linux weren't so annoying, you'd have fallen in line with them sooner once you saw why. You suspect your employer felt the same. You pick up a lightweight custom computer for your employer.\n\nYou're in the zone, zigzagging about. This whole getting lost without getting lost thing is a neat challenge.\n\nThreediopolis, Sector 444\nYou recall being made fun of for not wanting to learn how to order a taxicab around--or drive a car.\n\n> Suss\nYou plot what to take care of next. Hmm... \"Get a free hint at 514\" is as good as any.\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 524\n\nThreediopolis, Sector 514\nYou can see a shiny new store door here.\n\nA suspicious guy sidles up and says, \"Psst! Pal! Got a hint. Or even better. Contraband. What d'you say?\"\n\nThe options are:\n1. Hint\n2. Adrift-a-tron (tells when things are hopeless)\n3. Availableometer (tells what you can do)\n4. Leave\n\n> 3\n\"Here's your availableometer.\"\n\nYou zap back to the center after that encounter, slightly unnerved.\n\nThreediopolis, Sector 444\n\n> Inventory\nYou are carrying:\nan availableometer\na mysterious package\na pocket teleporter device\na list of needs (can be examined with just X)\n\n> You look at the availableometer\nIt is lightweight, totally inexplicable to someone from 20 years ago much less 87 (technology, boy,) and indicates it has 10 charges left. FOURTH WALL NOTE: A activates it.\n\n> Suss\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 524\n\nThreediopolis, Sector 514\nYou can see a shiny new store door here.\n\nThat suspicious guy (again) sidles up and says, \"Psst! Pal! Got a hint. Or even better. Contraband. What d'you say?\"\n\nThe options are:\n1. Hint\n2. Adrift-a-tron (tells when things are hopeless)\n3. Availableometer (tells what you can do)\n4. Leave\n\n> 4\n\"Okay. Later.\"\n\nYou zap back to the center after that encounter, slightly unnerved.\n\nThreediopolis, Sector 444\n\n> 2\n\"Here's your adrift-a-tron. It'll tell you when things are hopeless.\"\n\nYou zap back to the center after that encounter, slightly unnerved.\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, humor, gender-neutral protagonist]\n\n> O.\nYou click your tongue now you've solved everything up to near. Next!\n\nYou glance at the kinda near line.\n\npay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Unwed, visit that vacant lot I loved as a kid@335.\n\n> Dues\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\nYou overhear a gambler mumbling about the Law of Averages--and in these enlightened times! Why, it's YOU who are owed...well, not quite owed...a place of Ed Dunn's to find, now or soon.\n\nThreediopolis, Sector 435\nYou overhear someone being shaken down for a racket--a tithe, almost.\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, Swen, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Dns, Edu,\nEnd, Nes, See 2 more things@436,\nSew, Sun\n--near: Deus, Duds, Ewes, News,\nNuns, Send, Sewn, Snus,\nSuds, Suse, Can still SUSS@514\n--kinda near: pay property tax@236, cowboy hat & boots@335, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, cheapish leathery clothes@436, Unwed, visit that vacant lot I loved as a\nkid@335\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Suede\nThreediopolis, Sector 425\n\nThreediopolis, Sector 525\n\nThreediopolis, Sector 526\n\nThreediopolis, Sector 426\n\nThreediopolis, Sector 427\n\n> Dudes\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\nThere's an argument in the distance about whether someone crossed a foul line while bowling. Someone out of his element with no frame of reference shouts \"Well, that's just your OPINION, man!\" Silence abides.\n\nThreediopolis, Sector 335\nYou can see a clothing store here.\n\n> Inventory\nYou reflect that, ironically, you didn't have to go west once to enter here. You buy a fold-up cowboy hat that fits nicely into your big mysterious package.\n\nThreediopolis, Sector 444\nTwo joggers run by, sniffing at how you don't get THAT in shape just walking.\n\n> Suede\nThreediopolis, Sector 434\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 535\n\nThreediopolis, Sector 435\nSomeone moans about his trouble with lawyers. You tune that whining out.\n\nThreediopolis, Sector 436\nYou can see a clothing store here.\n\n> Go inside\nReal leather's a bit scarce, even for rich people, but suede still costs about the same, adjusted for inflation. Anyway, it's just like artificial flavors in food--you get used to it, with all the other advances.\n\nThreediopolis, Sector 444\n\n> Seesee\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\nYou can see a secret entry here.\n\nThreediopolis, Sector 426\n\nThreediopolis, Sector 427\n\nThreediopolis, Sector 428\n\n> Sees\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\nYou can see a secret entry here.\n\nThreediopolis, Sector 426\n\n> Swedes\nThreediopolis, Sector 416\n\nThreediopolis, Sector 415\n\nThreediopolis, Sector 416\n\nThreediopolis, Sector 316\n\nThreediopolis, Sector 317\n\nThreediopolis, Sector 307\n\n> Swedes\nThreediopolis, Sector 426\n\nThreediopolis, Sector 425\n\nThreediopolis, Sector 426\n\nThreediopolis, Sector 326\n\nThreediopolis, Sector 327\n\nThreediopolis, Sector 317\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nYou wonder if you can thread the needle once more through the streets to mark off a quick task of Ed's.\n\n> Seens\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\nYou can see a secret entry here.\n\nThreediopolis, Sector 446\nYou hear the whirr of a hidden security camera.\n\nThreediopolis, Sector 436"
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, city]\n\n> O.\nYou glance at the kinda near line.\n\npay property tax@236, Dudes, sandy beaches@445, ART not porn@445, garden startup materials@326, handmade clothes with love in every stitch-2@335, Suede, Unwed, visit that vacant lot I loved as a kid@335.\n\n> Seeds\nThreediopolis, Sector 426\n\nThreediopolis, Sector 427\n\nThreediopolis, Sector 428\n\nThreediopolis, Sector 328\n\nThreediopolis, Sector 318\n\n> Seeds\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\nYou can see a secret entry here.\n\nThreediopolis, Sector 336\n\nThreediopolis, Sector 326\nYou can see an odd grassy door here.\n\n> Go inside\nGenetic engineering advances have made it so most people, even if they get seeds, can only grow plants for one year. A power grab by agribusiness? Perhaps. But nobody much goes hungry. And no farmland wasted where real estate could grow. You pay for and take the valuable seed packets.\n\nThreediopolis, Sector 444\nSeeing so much of the city has renminded you of other areas you wanted to visit, like New Wessewn.\n\n> Newwessewn\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 453\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 444\n\n> Weeds\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\nBased on the smell, maybe there are private gardens behind some walls here, maybe not. Some people just won't pay the exorbitant taxes for growing...THAT.\n\nThreediopolis, Sector 335\nYou can see a vacant lot here.\n\n> Go inside\nThere aren't many vacant lots left here, and eventually they'll be phased out above the concerns of environmentalists, but this one's still here. You take a few phone-pictures for Ed Dunn to remember, and you take time to remember your own vacant lot.\n\nThreediopolis, Sector 444\n\n> Dunes\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 445\nYou can see dunes here.\n\n> Enter\nIt's not fully a natural beach, and you can't go in the water, but people shouldn't have to drive to a less wired area just to see the dunes. You are able to reserve the dunes for a weekend for Ed Dunn at a nice discount. The agents like that, because people who reserve on-line cancel more frequently.\n\nThreediopolis, Sector 444\nYou become a bit worried you won't be able to come back to any of these neat places now you've uncovered them and your time helping Ed is through."
    },
    {
        "text": "[Themes: Science Fiction, gender-neutral protagonist, city]\n\n> O.\nYou glance at the kinda near line.\n\npay property tax@236, Dudes, Dunes, ART not porn@445, Seeds, handmade clothes with love in every stitch-2@335, Suede, Unwed, Weeds.\n\n> Nudes\nThreediopolis, Sector 454\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 445\nYou can see an a metal door with a one-way peephole here.\n\n> You enter\nObviously there needs to be a crackdown on sicko-porn masquerading as art, but this has been certified by the Ministry of Art as relatively intellectual stuff. It will provoke dynamic conversation at Ed Dunn's party, too, for sure. You pick out a sculpture from the No-Photograph Zone for later delivery to your benefactor.\n\nThreediopolis, Sector 444\n\n> Deeds\nYou plot what to take care of next. Hmm... \"pay property tax at 236\" is as good as any.\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 346\n\nThreediopolis, Sector 246\n\nThreediopolis, Sector 236\nYou can see an intimidating 15-foot revolving door here.\n\n> Enter\nPeople seem surprised to see you. You don't look like a property owner. But once they see your list, they realize who you are working for. You paying in person has saved him $500 (exorbitant, even with inflation) in electronic handling fees.\n\nThreediopolis, Sector 444\n\n> Sewed\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 335\nYou can see a clothing store here."
    },
    {
        "text": "[Themes: Science Fiction, city, humor]\n\n> O.\nYou click your tongue now you've solved everything up to kinda near. Next!\n\nYou glance at the kinda far line.\n\nEdDunn, Smell/taste test@426, book Scandinavian vacation@345, Invisible Institute docs@556, brand new stuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514.\n\n> Sweden\nThreediopolis, Sector 434\n\nThreediopolis, Sector 433\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 334\n\nThreediopolis, Sector 335\n\nThreediopolis, Sector 345\nYou can see some big glass doors here.\n\n> You check your inventory\nWell, I guess Ed Dunn wants to have a few 24 hour days of sunlight. You place the reservation for a summer vacation with an agent named Enes Sund.\n\nYou're in the zone, zigzagging about. This whole getting lost without getting lost thing is a neat challenge.\n\nThreediopolis, Sector 444\nMan, you're totally in shape after all that walking. In shape enough to impress at a ritzy party like Ed Dunn's. Maybe you will even get invited!\n\n> Unseen\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 544\n\nThreediopolis, Sector 545\n\nThreediopolis, Sector 546\n\nThreediopolis, Sector 556\nYou can see some blurry doors that seem only half there here.\n\n> You look at what you're carrying with you\nKnowledge is power is money. You aren't allowed to see what Ed needs, but whatever it is, it's too important to keep online. You hand over a piece of paper, and you get back a booby trapped bag someone makes sure you slip in the package. You're not sure what the Invisible Institute is for, and you still aren't sure you want to find out.\n\nThreediopolis, Sector 444\nHmm. You've got 90%. That should be enough for Ed. You hope. There may be some unfair ones in there. You could probably go see him any time, now.\n\n> Examine\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, Swen, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Dns, Edu,\nEnd, Nes, See 2 more things@436,\nSew, Sun\n--near: Deus, Duds, Ewes, News,\nNuns, Send, Sewn, Snus,\nSuds, Suse, Can still SUSS@514\n--kinda near: Deeds, Dudes, Dunes,\nNudes, Seeds, Sewed, Suede,\nUnwed, Weeds\n--kinda far: Return to Ed Dunn for evaluation and reward@365, Smell/taste test@426, Sweden, Unseen, brand new\nstuff-in-general@545, new bride/groom stuff@145, anti-athletic club@514\n--far: unworn clothes boutique@344, improperly vowelled hot dog hut@447\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Weenees\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 456\n\nThreediopolis, Sector 457\n\nThreediopolis, Sector 447\nYou can see a restaurant door here.\n\n> You go inside\nMan, you have heard a lot of reasons why this place or that place is good for comfort food, but one thing you can always rely on: owners misspell, grub will excel. The 'S on the sign triggers another rule: apostrophe botch, the sauce is top notch. The proprietor, Mr. Sweenee (of course,) gives you few free samples for such a bulk order--and becausee you look like you've come a ways--and man, you eat them so fast, you already wish you'd got more.\n\nThreediopolis, Sector 444\n\n> Unused\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 654\n\nThreediopolis, Sector 644\n\nThreediopolis, Sector 645\n\nThreediopolis, Sector 545\nYou can see a shiny new store door here.\n\n> Go inside\nEd Dunn deserves this new stuff, you imagine. You get a free new spatula for visiting in-person. You get some new pocket-sized technology for Ed Dunn. It all goes back in your package. It will trickle down to the less fortunate when he gets bored. You think.\n\nThreediopolis, Sector 444\n\n> Wedded\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 344\n\nThreediopolis, Sector 244\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 145\nYou can see a shiny new store door here.\n\n> You go inside\nExpensive wedding presents have been discouraged by the government ever since the population was deemed unsustainable. But people now get married and divorced much more frequently, so non-loners still have that racket going. Well, it's your benefactor's money, not yours. He probably needs to do this to keep up business relations.\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, humor]\n\n> O.\nYou glance at the kinda far line.\n\nEdDunn, Smell/taste test@426, Sweden, Unseen, Unused, Wedded, anti-athletic club@514.\n\n> Wusses\nThreediopolis, Sector 443\n\nThreediopolis, Sector 543\n\nThreediopolis, Sector 533\n\nThreediopolis, Sector 523\n\nThreediopolis, Sector 524\n\nThreediopolis, Sector 514\nYou can see a library entrance here.\n\n> You enter\nYou're surprised places like this exist, once you know what it really is. It isn't just rebellion against mandatory exercise for people who do not have computer jobs. It's a group of lazy people who are very clever about mooching off the various welfare programs. Perhaps Ed Dunn takes tips from them? You are given a manuscript that you throw in your package, and it's understood you had better not look at it. They can't beat you up, but they can ruin your credit.\n\nThreediopolis, Sector 444\n\n> Senses\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 436\n\nThreediopolis, Sector 426\nYou can see a secret entry here.\n\n> Enter\nYou are evaluated on various senses, and surprisingly, you are graded high on a sixth sense. You don't know what it is, but you're afraid asking will forfeit your score. You're given a certificate of senseness, which goes in the mysterious package. This will please Ed...I think?\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, city, wordplay, humor, gender-neutral protagonist]\n\n> O.\nYou click your tongue now you've solved everything up to kinda far. Next!\n\nYou glance at the far line.\n\nunworn clothes boutique@344, Weenees.\n\n> Unused\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 654\n\nThreediopolis, Sector 644\n\nThreediopolis, Sector 645\n\nThreediopolis, Sector 545\n\n> You go south\nThreediopolis, Sector 535\n\n> Unsewn\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 544\n\nThreediopolis, Sector 545\n\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\nA button falls off your outfit and rolls where you can't find it. Well, it's biodegradable enough.\n\n> Newness\nThreediopolis, Sector 564\n\nThreediopolis, Sector 565\n\nThreediopolis, Sector 564\n\nThreediopolis, Sector 574\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\n\n> Newness\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 464\n\nThreediopolis, Sector 465\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 445\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nInterference from the teleport device has Ed talking about building on a couple things you previously did to do something bigger.\n\n> Unduded\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\n\n> Sewnsew\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 434\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 434\n\n> Look\nED DUNN'S NEEDS\n\nLOOKING IN MIDDLE OF JOURNEY IS USELESS.\n--friends: Dee, Des, Ewen, Ned,\nSue, Swen, Uwe, Wendee,\nWes\n--extra near: Den, Dew, Dns, Edu,\nEnd, Nes, See 2 more things@436,\nSew, Sun\n--near: Deus, Duds, Ewes, News,\nNuns, Send, Sewn, Snus,\nSuds, Suse, Can still SUSS@514\n--kinda near: Deeds, Dudes, Dunes,\nNudes, Seeds, Sewed, Suede,\nUnwed, Weeds\n--kinda far: Return to Ed Dunn for evaluation and reward@365,\nSenses, Sweden, Unseen, Unused,\nWedded, Wusses\n--far: unworn clothes boutique@344, Weenees\n--extra far: 2nd-hand clothing boutique@325\n\n[You can put this in the header with t, though it is not recommended with Parchment, or you can toggle this warning with tt. You can also track just friends with f, or you can see one line with o.]\n\n> Newduds\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 444\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\n\n> Newduds\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 344\nYou can see a clothing store here.\n\n> Go inside\nYou wouldn't wear any clothes like this year's fashions, but you're not paying. You put the clothes in the mysterious package.\n\nThreediopolis, Sector 444"
    },
    {
        "text": "[Themes: Science Fiction, wordplay, humor, gender-neutral protagonist]\n\n> O.\nYou click your tongue now you've solved everything up to far. Next!\n\nYou glance at the extra far line.\n\n2nd-hand clothing boutique@325.\n\n> Usedduds\nThreediopolis, Sector 544\n\nThreediopolis, Sector 534\n\nThreediopolis, Sector 535\n\nThreediopolis, Sector 435\nYou feel beaten-down and second-hand all of a sudden. Maybe even wondering if you'll always be a gofer to Ed Dunn types. But maybe you are halfway to somewhere Ed needs you to go.\n\nThreediopolis, Sector 335\n\nThreediopolis, Sector 435\n\nThreediopolis, Sector 335\n\nThreediopolis, Sector 325\nYou can see a clothing store here.\n\n> Go inside\nArriving in the used clothes store, you suddenly realize that there are probably used clothes in the mysterious package. You take them out and give them to the clerk, who credits your employer's account.\n\nThreediopolis, Sector 444\n\n> Newduds\nThreediopolis, Sector 454\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 354\n\nThreediopolis, Sector 344\n\n> Eddunn\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 145\nYou've been wandering for too long. You get tired, and you figure it's probably best to start over with a clean look on things. You push the button on your teleporter device, and back you go to the center, scrapping your remaining plans.\n\nThreediopolis, Sector 444\n\n> Eddunn\nThreediopolis, Sector 445\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 245\n\nThreediopolis, Sector 345\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 365\nEd Dunn's secret hideout door is just where you remember it. You can enter it to report to your employer.\n\n> Go inside\nYou're confident you smoked this challenge. You blow past the guard at the front door!\n\nYou return, with a list of what you've done.\n\n\"Great job, kid! You got all my friends. They can keep a party exciting on their own.\"\n\n\"It's good to see you did all the fun stuff I put in there. I like fun.\"\n\nEd hands you some stuff: a Yankees world champs t-shirt from before their 90-year drought, a big block of dehydrated beer, a little extra for helping his business run smoothly, and a a CD--yes, a CD--of games Ed assures you are awesome, by some Andrew Schultz guy. Ed praises you as a new go-getter in the organization. \"Didn't even need my help! Kid, I wish I had some extra hard deliveries to make. You'd pick them off, easy.\"\n\nIn fact, he is so pleased, he invites you to his party! He even manages to impress the duende-endued DeeDee Sneed, who's engaged to old-money Sundude Senese. Ed calls you as \"Old sport\" as he related how Sundude called him \"Ed Dung\" once (and you can see why it hurts.) He is sure he will get her one day!\n\n> You press the green\nBut he also introduces you to another messenger he has hired. Including Denese (or Sed. I forgot to ask your preference) Senn. You two talk about--well, all kinds of things that will be so fun to learn, you can how you went through the side streets of Threediopolis. Something that recharges its...what's the word...\n\n> You press the green\n...NEWNESS.\n\n> Wait\nYou reflect briefly that Z is the end of the alphabet, and people who Z too much may run afoul of efficiency laws.\n\n> You wait for a while\nYou hear a buzzing of droids in the distance.\n\n> You wait\nYou fall asleep on your journey. You are awakened by whirring and clacking. Droids pick you up and give you an infra-red marking that identifies you as a potential leech on society--and juice and cookies, this time, since your possessions label you as moderately wealthy. They remind you the marking will fade in a year.\n\nThreediopolis, Sector 444\n\n> Wait\nTime passes.\n\n> Go up\nThreediopolis, Sector 544\n\n> You jump\nNo reason to, with vertical transport tubes to go up and down.\n\n> P.\nYou have heard about teleporter overheat. It's quite a way to go. Maybe you should walk around a bit more.\n\n> End\nThreediopolis, Sector 545\n\nThreediopolis, Sector 555\n\nThreediopolis, Sector 455\n\n> You go inside\nNothing to enter. It's all so unfamiliar.\n\n> Xyzzy\nYes, indeed, the game map has 3 axes--x, y and z.\n\n> Fuck\nDude! Eww.\n\n> P.\nTeleporting technology, apparently only for the very richest people, kicks you back to the center of the city.\n\nThreediopolis, Sector 444\nWell, this kind of stinks. You're on a real cold streak. Maybe you can figure what to do by looking at your list. Maybe somewhere will make sense that didn't before you found a few other places.\n\n> Undue\nThreediopolis, Sector 544\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 454\n\nThreediopolis, Sector 554\n\nThreediopolis, Sector 555\nSomeone walks by and gives you an insult you didn't deserve.\n\n> Weeenes\nThreediopolis, Sector 443\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 446\n\nThreediopolis, Sector 456\n\nThreediopolis, Sector 457\n\nThreediopolis, Sector 447\nYou stop by a hot dog hut that doesn't quite look right.\n\n> Duende\nThreediopolis, Sector 344\n\nThreediopolis, Sector 444\n\nThreediopolis, Sector 445\n\nThreediopolis, Sector 455\n\nThreediopolis, Sector 355\n\nThreediopolis, Sector 356"
    },
    {
        "text": "[Themes: Fantasy, wizard, snow storm]\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nIt's a cold weekend in December of 1990, and it's been far too long since you have seen your friend John Baker! But you've finally managed to take some time out of your schedule to drive to Columbus and spend some \"quality time\" together. Quality time, of course, means that you and he are going to sample every bar that Ohio State University's High Street has to offer.\n\nJohn was to meet you at a favorite pizza and beer spot to start off the evening, but he hasn't showed up. John's always been rather spontaneous (read that as 'erratic'), so you think he'll show up eventually. But as the night wears on and you tire of downing beers by yourself, you decide to drive to his place and see if he's left a note or something for you there.\n\nYou find his front door unlocked and John nowhere to be found. Pretty tired from your earlier drive, and also buzzing a bit from the beer you drank, you quickly doze off in the living room.\n\nIt is now morning. A terrible snow storm is raging outside, the worst you've ever seen. You can't believe how much snow has piled up over the night. You still haven't heard from John, and you seem to now be trapped in his apartment.\n\nJohn's Fire Witch, Version 1.01 (02/04/95)\n\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\n[Author's Note: A small, witty text adventure. You've come to visit your old friend John Baker, but he's missing, and a blizzard has rolled in outside while you were asleep waiting for him.]\n\n> You look at the junk\nThere is a fairly large amount of junk here, consisting mostly of empty beer cans and bottles, dirty plates and glasses, old copies of alternative newspapers, etc. There is very little of it that you would consider touching.\n\n> You go to the south\nYou are outside the apartment on Red Robin Road. It is bitterly\ncold, and the storm drives snow into your face. Huge drifts of snow block your way in every direction you look. The door back into the apartment is to the north.\n\n> You dig in the snow\nWhat do you want to dig in it with?\n\n> Yourself\nThe snow isn't important.\n\nYou know, it really is quite cold out here. Perhaps you should step back in to the apartment and warm up. You already can't feel your fingers and toes.\n\n> You wait a while\nTime passes...\n\n> You wait awhile\nTime passes...\n\nIt is so cold that you are beginning to feel sleepy. You remember reading somewhere that this is a really bad sign. Perhaps you should step back into the apartment, unless you're really intent on freezing to death.\n\n> You go north\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\n> You go north\nThis is the Dining Area, inaptly named here since it is never used\nfor that purpose. This room is less cluttered than the living room, but that's not saying much. The kitchen is to the east, while the living room lies to the south.\nSitting on the dinner table is a handwritten letter.\n\n> You examine the letter\nIt appears to be a letter from John to his landlord. It seems to display a lot of anger.\n\n> You read the letter\nDear Pig:\n\nThere is no way that I am going to pay any more rent than I already do for this hole you call an apartment. The rent you're already charging is paramount to extortion for a struggling student like myself. You don't do a thing I ask, you don't answer maintenance calls, and you have refused to fix the hole that has opened up in the basement. So bugger off.\n\n> You get the letter\nTaken.\n\n> You look at the table\nIt's your everyday dinner table. You notice numerous nicks and scratches in the surface, as though someone had repeatedly bounced a coin off of it.\n\n> You go to the east\nthe rest of the apartment. This puzzles you for a moment, until you figure out that John probably eats out all the time. A door leads outside to the north, and the dining area is to the west.\nYou see a stove and a refrigerator here. Sitting on the stove is a\nbig pan. Sitting on the refrigerator is a typed letter.\n\n> You examine it\nIt appears to be a letter to John from his landlord telling him that his rent is going up. The landlord sounds really greedy.\n\n> You read it\nDear Tenant:\n\nAs some of you may know, I have recently purchased a third sports car. This one was exceptionally expensive, and in order to maintain my extravagant lifestyle, I am going to have to increase your rent again. I can't exactly remember what I charge you now (my accountant handles all that stuff), but whatever it is, add $50 a month from now on.\n\n> You examine the stove\nThere is a thin layer of dust on the stove; further evidence that this room is not used much. Continued inspection shows that the stove does not even work. You wonder if John is aware of this or if he even cares. On the stove you see a big pan.\n\n> You examine the pan\nThis big pan appears to have been filled with lasagna at one time, but it is now empty. John told you yesterday on the phone that he was making it for the both of you. He has got to be one of the biggest gluttons you know.\n\n> You open the fridge\nYou open the refrigerator, and find it completely empty. John never ceases to amaze you. You close it back up, shaking your head.\n\n> You open the stove\nThe oven door seems to be stuck. It does open just a little bit, and you catch the pleasant odor of cooked fish, possibly herring.\n\n> You go north\nYou are outside the apartment, on a patio enclosed by fencing. The storm wails around you, driving snow into your face. It is bitterly cold. A fence door leads north out into the apartment complex parking lot, but there is so much snow piled against it that you doubt you could open it. The door back into the apartment is to the south.\n\n> You look at the fence\nThat's not important.\n\nYou know, it really is quite cold out here. Perhaps you should step back in to the apartment and warm up. You already can't feel your fingers and toes.\n\n> Go south\nthe rest of the apartment. This puzzles you for a moment, until you figure out that John probably eats out all the time. A door leads outside to the north, and the dining area is to the west.\nYou see a stove and a refrigerator here.\n\n> You go to the west\nThis is the Dining Area, inaptly named here since it is never used\nfor that purpose. This room is less cluttered than the living room, but that's not saying much. The kitchen is to the east, while the living room lies to the south.\n\n> Inventory\nYou have a handwritten letter, a typed letter, and a big pan.\n\n> You go upward\nThis is the landing at the top of the steps. A laundry chute is in\nthe wall here. To the north is John's bedroom, while the bathroom lies to the east. The stairs lead down.\n\n> You examine the chute\nThis is a laundry chute. It most likely travels from here down into the basement.\n\n> Go east\nThe bathroom is typical for an apartment like this. The floor is\ntiled and bare. The shower curtain is a striking blend of wild colors. It is just beginning to show the first signs of mold. The landing lies to the west.\nSitting on the sink is a flashlight.\n\n> You examine it\nThe flashlight is off. There seems to be no battery in it.\n\n> You look at the mold\nPretty gross.\n\n> You examine the sink\nIt's a typical bathroom sink. What did you expect to find?\n\n> About yourself\nYou look about the same as always.\n\n> You go to the west\nThis is the landing at the top of the steps. A laundry chute is in\nthe wall here. To the north is John's bedroom, while the bathroom lies to the east. The stairs lead down.\n\n> You go north\nThis is John's bedroom. You are immediately surprised by the sheer volume of dirty clothes that cover the floor. The room itself is furnished with rather spartan furniture. You can exit back to the landing to the south.\nYou see a bed here.\n\n> You examine the clothes\nThere is a terrific volume of dirty clothes here, completely covering the floor to a depth of about three inches. Who knows what all could be mixed in among them?\n\n> Search clothes\nYou find a crystal card! What else could be in here?\n\n> Search clothes\nYou find a picture! What else could be in here?\n\n> Search clothes\nYou find a modem! What else could be in here?\n\n> You examine picture\nThis is a picture of a rather lusty-looking girl. She must be very important to John, for him to have left the picture all mixed in with his important clothes like that.\n\n> You examine the crystal card\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is grey in color.\n\n> Rub card\nNothing happens.\n\n> You look at the bed\nIt looks like an ordinary bed. You would have been disappointed in John if it had been made, but it's not.\n\n> You look under the bed\nYou find a battery and a book!\n\n> You make the bed\nYou start to make the bed, and then decide that John might get upset about it.\n\n> You put battery in the flashlight\nDone.\n\n> Examine book\nThe book appears to be a diary, probably John's. You're not going to read it are you?\n\n> You read book\nThe diary goes on about mundane personal matters, as diaries are wont to do, for quite some time. A recurring theme seems to be how envious John is of people who are out \"living life\". This puzzles you a bit, since John has done more crazy shit than any 10 people you know, with the possible exception of some of his psycho friends.\n\nThe last couple of pages are really strange. Apparently a few days ago, a hole opened in John's basement due to some water damage. John has been having dreams about a \"Fire Witch\" and an \"Ice Wizard\" that live down this hole. Here's the part that's really weird: he thinks the dreams are real. The ice wizard has imprisoned the fire witch, and John seems almost obsessed with freeing her. He also talks about a \"magic crystal card\" that the fire witch gave him in a dream. By rubbing it and saying the \"magic word\" necken-sway, John thinks that he can find the fire witch. He talks about the card as if he actually has it in his possession.\n\nObviously, years of heavy drinking have finally destroyed his mind.\n\n> Rub card\nNothing happens.\n\n> You rub the card and sathe necken-sway\nNothing happens.\n\nI don't understand that sentence."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nThis is John's bedroom. You are immediately surprised by the sheer volume of dirty clothes that cover the floor. The room itself is furnished with rather spartan furniture. You can exit back to the landing to the south.\nYou see a bed, a crystal card, a picture, a modem, and a book here.\n\n> You take all\ncrystal card: Taken.\npicture: Taken.\nmodem: Taken.\nbook: Taken.\n\n> You go to the south\nThis is the landing at the top of the steps. A laundry chute is in\nthe wall here. To the north is John's bedroom, while the bathroom lies to the east. The stairs lead down."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs."
    },
    {
        "text": "[Themes: Fantasy, wizard]\n\n> Go downwards\nThis is the basement of the apartment. It is unfinished, and there\nis no furniture here. There is a large hole in the west wall, probably large enough for you to fit through, and a set of stairs lead up.\nYou see a board here.\n\n> You examine the board\nThis is a 2x4 board. It appears very sturdy.\n\n> You take the board\nTaken.\n\n> You look at the hole\nThe hole leads west.\n\n> You go west\nand the basement of one of his neighbors. You are pretty cramped; you can barely fit in here. It is also kind of dark, making you strain to see. A dark, forbidding hole leads down, while you can return to the basement to the east."
    },
    {
        "text": "[Themes: Fantasy, snow storm]\n\n> You go downwards\nYou carefully climb down the hole into darkness. It goes straight down for at least 100 feet; luckily it is pretty rough and there are many handholds and places to position your feet. Finally, you drop down into a room below.\n\nIt's pitch black."
    },
    {
        "text": "[Themes: Fantasy, snow storm]\n\n> You look around\nYou have entered a grotto made entirely of some type of gleaming red-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of red light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nA hole in the ceiling, just reachable, leads up. To the south, the crystal slowly turns into some type of grey stone and becomes a tunnel.\n\n> Rub card\nAs you rub the card, its color changes to grey.\n\n> You examine the crystal\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is grey in color.\n\n> Necken-swnecken-sway\nPerhaps you should try saying that word like this: say \"necken-sway\".\n\n> Rub card\nAs you rub the card, its color changes to red.\n\n> You examine the card\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is red in color.\n\n> You go upwards\nYou jump up and manage to get yourself at least partly into the hole. Pulling yourself into it, you start your long climb upwards. You arrive in the hollow space out of breath.\n\nand the basement of one of his neighbors. You are pretty cramped; you can barely fit in here. It is also kind of dark, making you strain to see. A dark, forbidding hole leads down, while you can return to the basement to the east."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou carefully climb down the hole into darkness. It goes straight down for at least 100 feet; luckily it is pretty rough and there are many handholds and places to position your feet. Finally, you drop down into a room below.\n\nYou have entered a grotto made entirely of some type of gleaming red-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of red light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nA hole in the ceiling, just reachable, leads up. To the south, the crystal slowly turns into some type of grey stone and becomes a tunnel.\n\n> Go south\nLong Tunnel (1)\nThis is a long tunnel leading north and south. It has definitely\nbeen purposefully made, being tiled with crafted stone. It looks like something that would have been created centuries ago. You can see the Red Crystal Grotto to the north, and a side corridor leads off to the east.\n\n> You go to the east\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern cell appears to be completely filled up by something massive.\n\n> Go north\nThe northern cell is completely filled with ice. You can't enter it.\n\n> You examine the ice\nThe ice completely fills the northern cell. It feels cold and slick to the touch, but does not appear to be melting. Something is frozen in the center of the ice, a human figure. As you continue to peer through the frozen mass, you realize with a shiver that it looks a lot like John.\n\n> You look at John\nJohn appears to be frozen in the center of the ice in the northern cell. You are worried about his health.\n\n> You go east\nYou are in a non-descript 10 x 10 room of tiled stone. It has the appearances of a cell, but has no door. There is an exit to the west.\n\n> You go west\nAs you try to move west through the exit, you feel as though you are pushing yourself through thick molasses. It takes quite a bit of effort and no small amount of time to get yourself back out into the cell block.\n\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern cell appears to be completely filled up by something massive.\n\n> You go to the south\nYou are in a non-descript 10 x 10 room of tiled stone. It has the appearances of a cell, but has no door. There is an exit to the north.\n\n> Go north\nAs you try to move north through the exit, you feel as though you are pushing yourself through thick molasses. It takes quite a bit of effort and no small amount of time to get yourself back out into the cell block.\n\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern cell appears to be completely filled up by something massive.\n\n> You go west\nLong Tunnel (1)\nThis is a long tunnel leading north and south. It has definitely\nbeen purposefully made, being tiled with crafted stone. It looks like something that would have been created centuries ago. You can see the Red Crystal Grotto to the north, and a side corridor leads off to the east.\n\n> Go south\nLong Tunnel (2)\nThe long tunnel continues to lead north and south. The same tiling\nis present here as in the rest of the tunnel. A side corridor leads off to the west.\n\n> Go south\nLong Tunnel (3)\nThe long tunnel continues to lead both north and south. The carefully-crafted stone tile appears to be a darker grey here. Your way to the south appears to be blocked by a deep pit, but there is a side corridor leading off to the east.\n\n> Go west\nThis is a side corridor leading east and west. It is somewhat\nsmaller than the long tunnel, which lies to the east. An archway lies to the west. You can't put your finger on it, but you have a very strange feeling about that archway.\n\n> You look at the archway\nThe archway is made of the same tiled stone as the rest of the construction seems to be made of. Shining your light through the archway reveals the dim outline of a room with a safe in the wall beyond it.\n\nThere is something that you can't put your finger on about the archway that bothers you.\n\n> Go west\nAs you are moving through the archway, you hear a sound much like that of breaking glass, and you suddenly become very disoriented. When you regain your senses a moment later, you are not where you thought you would be.\n\nYou are in a non-descript 10 x 10 room of tiled stone. It has the appearances of a cell, but has no door. There is an exit to the west.\n\nThere is a loud and horrible rushing noise in your ears, and the room appears to be filling up with what you would describe as steam if it were not so very very cold.\n\n> Go west\nYou frantically try to push out of the room, but moving through the doorway is like trying to push through thick molasses.\n\nYour flesh feels like leather and your eyes like glass as a huge block of ice forms around you. Mysteriously you are not killed outright by this; instead you fall into a deep sleep. Unfortunately, within a few days without food you expire anyway.\n\n> You look at the pit\nYou can just make out the bottom of the pit with your flashlight; the floor is covered with sharp spikes pointing upwards. This is not something you want to fall into. The pit is pretty far across, too. Jumping it would be chancy, and you'd probably want to be carrying as little as possible.\n\n> Go east\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west.\nYou see a thin rod here.\n\n> You get the rod\nYou've already got your hands full.\n\n> You examine it\nThis thin rod is made of some indeterminite material and is black in color. It looks like a magician's wand. A word is written in a fancy looking script on the rod's side.\n\n> You examine the door\nIt is made of steel, and probably about three feet thick. There are three dials on the vault door, each one is notated with numbers ranging from 1 to 36. Some quick mental arithmetic tells you that means over 45,000 combinations. Who knows? Maybe you'll get a hunch.\n\n> Inventory\nYou have a handwritten letter, a typed letter, a big pan, a flashlight (providing light), a crystal card, a picture, a modem, a book, and a board. The flashlight seems to contain a battery.\n\n> You put all in pan\nhandwritten letter: You can't put anything into the big pan.\ntyped letter: You can't put anything into the big pan.\nbig pan: You can't put the big pan in itself!\nflashlight: You can't put anything into the big pan.\ncrystal card: You can't put anything into the big pan.\npicture: You can't put anything into the big pan.\nmodem: You can't put anything into the big pan.\nbook: You can't put anything into the big pan.\nboard: You can't put anything into the big pan.\n\n> You drop the board\nDropped.\n\n> Wave wand\nAs you wave the thin rod, blue sparkles appear in the air around it. The rod itself is glowing with a soft blue light."
    },
    {
        "text": "[Themes: Fantasy, wizard, snow storm]\n\n> Look around\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west.\nYou see a board, a thin rod, and a big pan here.\n\n> You get all\nboard: Taken.\nthin rod: Taken.\nbig pan: You've already got your hands full.\n\n> You throw the wand\n(at the archway)\nYou miss.\n\nThe thin rod is no longer glowing.\n\n> You check what you're carrying\nYou have a handwritten letter, a typed letter, a flashlight (providing light), a crystal card, a picture, a modem, a book, a board, and a thin rod. The flashlight seems to contain a battery.\n\nYou're feeling a bit run-down and tired. This always happens when you sleep on a floor! You get in the mood for a nap just a little while after getting up.\n\n> Status\nIn a total of 150 turns, you have achieved a score of 0 points out of a possible 10.\n\n> Go east\nThis is the basement of the apartment. It is unfinished, and there\nis no furniture here. There is a large hole in the west wall, probably large enough for you to fit through, and a set of stairs lead up.\n\n> Go upwards\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\n> Sleep\nSnuggling up in John's bed, you drift pleasantly off to sleep. During your comfortable sleep, you have a dream. You are wandering through a vast desert at night. The wind whips sand into you, and it is cold enough to make you shiver. You know that you are looking for something.\n\nFinally, you come upon a cage just sitting out in the middle of the lonely expanse. Inside is a beautiful woman in crimson robes, who turns to face you as you approach.\n\nShe seems troubled. \"You are not the one who usually comes,\" she says, and then drops her head. \"I do not have the strength to continue very much longer. You must get this to the one who calls himself 'John'.\"\n\nWith what seems like a great amount of effort, she hands you a small slip of paper through the bars of the cage. Almost immediately the cage disappears, the woman with it.\n\nYou wake up some time later, feeling refreshed.\n\n> You examine paper\nThis small slip of paper holds some cryptic numbers.\n\n> You read the paper\n\"24-18-19\"\n\n> Go east\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west.\nYou see a big pan here.\n\n> You turn the dial to 25\nWhich dial do you mean, the first dial, the second dial, or the third dial?\n\n> You open the vault\nYou pull on the vault door with all of your might. You hear a loud 'click', and then it swings open. Almost immediately, a huge glossy-black demon emerges from the vault; it looks *angry*. You are quite sure it intends to kill you.\n\n> You examine the demon\nThe demon is about 12 feet tall, has large leathery bat-like wings, and is heavily muscled. Its skin is glossy black. Large tusks protrude from its face, and it looks really angry. You suddenly realize that it may not have been a good idea to take time out to examine it more closely.\n\nThe demon's hand grabs your right shoulder, jerking you up off your feet like you were a rag doll. You hear it howling with glee as it rips you neatly in half.\n\n> You hit the demon with the pan\nIt's not very effective to attack with the big pan.\n\nThe demon's hand grabs your right shoulder, jerking you up off your feet like you were a rag doll. You hear it howling with glee as it rips you neatly in half.\n\n> Go west\nLong Tunnel (3)\nThe long tunnel continues to lead both north and south. The carefully-crafted stone tile appears to be a darker grey here. Your way to the south appears to be blocked by a deep pit, but there is a side corridor leading off to the east.\n\nThe demon follows you here, anger and murder glowing in its evil eyes.\n\n> You go north\nLong Tunnel (2)\nThe long tunnel continues to lead north and south. The same tiling\nis present here as in the rest of the tunnel. A side corridor leads off to the west.\n\nThe demon follows you here, anger and murder glowing in its evil eyes.\n\n> You go west\nThis is a side corridor leading east and west. It is somewhat\nsmaller than the long tunnel, which lies to the east. An archway lies to the west. You can't put your finger on it, but you have a very strange feeling about that archway.\n\nThe demon follows you here, anger and murder glowing in its evil eyes.\n\n> You go to the west\nAs you are moving through the archway, you hear a sound much like that of breaking glass, and you suddenly become very disoriented. When you regain your senses a moment later, you are not where you thought you would be.\n\n[Your score just went up by 1 point.]\nEastern Cell\nYou are in a non-descript 10 x 10 room of tiled stone. It has the appearances of a cell, but has no door. There is an exit to the west.\n\nThere is a loud and horrible rushing noise in your ears, and the room appears to be filling up with what you would describe as steam if it were not so very very cold.\n\n> Go south\nLong Tunnel (1)\nThis is a long tunnel leading north and south. It has definitely\nbeen purposefully made, being tiled with crafted stone. It looks like something that would have been created centuries ago. You can see the Red Crystal Grotto to the north, and a side corridor leads off to the east.\n\n> Go east\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nAll of the cells appear to be individually filled by something massive.\n\n> You examine the demon\nThe demon appears to be trapped in the ice. Good thing, too.\n\n> You look at the eastern cell\nAs you come closer to examine the eastern cell, you see that it is completely filled with a huge block of ice.\n\n> You look at the eastern ice\nThe ice completely fills the eastern cell. It feels cold and slick to the touch, but does not appear to be melting.\n\n> You look at the southern ice\nThe ice completely fills the southern cell. It feels cold and slick to the touch, but does not appear to be melting. Something is frozen in the center of the ice, huge and massive. It looks to be the demon that was chasing you."
    },
    {
        "text": "[Themes: Fantasy, snow storm]\n\n> Go east\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west. You can enter the open vault door to the east.\nYou see a big pan here.\n\n> Go east\nYou are inside the vault. The interior is about 10 x 10 feet, and\nall of the walls are made of dull grey steel. You are very sure that nothing gets in or out of here when the vault door is closed. The room appears bare for its size. The vault door is to the west.\n\nSitting forlornly on the floor, lost in the emptiness of the vault, is a single red gem.\n\n> You examine the gem\nThis brilliant red gem seems to almost sparkle with a light of its own. It feels slightly warm to the touch.\n\n> You get the gem\n[Your score just went up by 1 point.]\nYou've already got your hands full.\n\n> You drop the letter\nWhich letter do you mean, the handwritten letter, or the typed letter?\n\n> Both\nhandwritten letter: Dropped.\ntyped letter: Dropped.\n\n> You get the gem\n[Your score just went up by 1 point.]\nTaken.\n\n> You go west\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west. You can enter the open vault door to the east.\nYou see a big pan, a handwritten letter, and a typed letter here.\n\n> You examine the gem\nThis brilliant red gem seems to almost sparkle with a light of its own. It feels slightly warm to the touch.\n\n> You drop all\nflashlight: Dropped.\ncrystal card: Dropped.\npicture: Dropped.\nmodem: Dropped.\nbook: Dropped.\nboard: Dropped.\nthin rod: Dropped.\nslip of paper: Dropped.\nred gem: Dropped.\n\n> You jump over the pit\nYou back up about a dozen feet, and with a loud exhale you start on a dead-sprint straight at the pit. You leap into the air at its edge, straining for the edge on the other side. You immediately know you're not going to make it.\n\n*** WHACK ***\n\nYour body smacks the side of the pit, and you claw at the edge, just barely in your grasp. Your scrambling hands find some loose stone tiles and dig in. With an effort much-aided by terror, you pull yourself up over the edge, and worm your way to the safety of the floor beyond. You DO NOT want to try that again.\n\nIt's pitch black.\n\n> You jump over the pit\nYou back up about a dozen feet, and with a loud exhale you start on a dead-sprint straight at the pit. You leap into the air at its edge, straining for the edge on the other side. You immediately know you're not going to make it.\n\n*** WHACK ***\n\nYour body smacks the side of the pit, and you claw at the edge, just barely in your grasp. Your scrambling hands find some loose stone tiles and dig in. With an effort much-aided by terror, you pull yourself up over the edge, and worm your way to the safety of the floor beyond. You DO NOT want to try that again.\n\nLong Tunnel (4)\nThis is a long tunnel leading north and south. It is tiled with carefully-crafted stone. Your way to the north appears to be blocked by a deep pit, but there is a side corridor leading west.\n\n> You go west\nYou are on a small ledge (barely big enough to hold you) looking out over a huge cavern. The floor of the cavern (if there is one) lies so far down that you cannot see it, while the ceiling is about 40 feet above you. You can return to the long tunnel to the east.\n\nTo the west, hanging by a chain from the ceiling, is a large wooden disk. The chain is attached to the center of the disk, which looks to be about 5 feet wide. You think that you could probably jump to the disk from here. It's not nearly as long a distance to have to jump as the pit was.\n\n> You examine the disk\nYou've already seen all of the disk that you can make out from here.\n\n> You go to the west\nYou back up a bit in order to get some speed, and take off running towards the disk at your best sprint. At the edge of the ledge, you leap out into the cavern towards the disk. You make it fairly easily, but the disk tilts sickeningly as you land on it. You begin a mad scramble towards the chain as gravity tries to slide you off the edge. Many frightening seconds later, your hands grasp the chain and you pull yourself to the center of the disk. Whew!\n\nYou are precariously standing on a wooden disk, hanging suspended\nfrom the cavern ceiling by a chain. You cannot see the floor of the cavern. To both the east and west, you can see ledges in the middle of the cavern walls. The problem is, although it was easy to jump *to* the disk, you don't have enough room for a running start to jump *off* the disk.\n\n> Swing\n(the disk)\nUsing your own body, you begin swinging the disk from east to west. After about a minute, you've got quite an arc going.\n\nThe disk swings to the east.\n\n> You wait\nTime passes...\n\nThe disk is swinging to the west, but is in a neutral position.\n\n> You wait awhile\nTime passes...\n\nThe disk swings to the west.\n\n> You go west\nAs the disk reaches the point closest to the west ledge, you make your leap! No problem! You land with a thud that takes your breath away for a few seconds, but you are safe and sound.\n\nYou are on a small ledge (barely big enough to hold you) looking out over a huge cavern. The floor of the cavern (if there is one) lies so far down that you cannot see it, while the ceiling is about 40 feet above you. The ledge leads a short distance into the cavern wall and immediately turns south.\n\nTo the east, hanging by a chain from the ceiling, is a large wooden disk. The chain is attached to the center of the disk, which looks to be about 5 feet wide. The disk is a little farther away from here than it was from the east ledge; although you could jump to it from here, you don't know if you could stay on it when you got there or not.\n\nThe disk comes to rest.\n\n> You go to the south\nYou have entered a grotto made entirely of some type of gleaming green-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of green light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nTo the north, the crystal turns to stone and turns immediately east.\nAn opening in the crystal leads south.\n\n> You examine the card\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is green in color.\n\n> Rub card\nAs you rub the card, its color changes to green.\n\n> Go south\nLong Tunnel (3)\nThe long tunnel continues to lead both north and south. The carefully-crafted stone tile appears to be a darker grey here. Your way to the south appears to be blocked by a deep pit, but there is a side corridor leading off to the east.\nYou see a picture, a modem, a book, a board, a thin rod, a slip of paper, and a red gem here.\n\n> You get all\npicture: Taken.\nmodem: Taken.\nbook: Taken.\nboard: Taken.\nthin rod: Taken.\nslip of paper: Taken.\nred gem: Taken.\n\n> Rub card\nAs you rub the card, its color changes to green.\n\n> You go to the south\nA small rather non-descript grey-stone cavern, this location does\nhave one thing that makes it distinct: an ornate archway leading south. You can see the green crystal grotto to the north.\nThere is a small, fierce guardian creature blocking your way to the south. For some reason, the name 'goblin' pops into your head.\n\nThe goblin charges you, but you dodge aside.\n\n> You examine the goblin\nThe goblin is a little smaller than you are, but it appears very fierce. Small tusks protrude from its pig-like face, and razor-sharp talons spring from its hands. The goblin appears to be wearing a large lead key around its neck.\n\nThe goblin snarls at you like a mad dog.\n\n> Attack goblin\n(with the board)\nYou ram the end of the board into the goblin's stomach, knocking it back several feet. It looks hurt, but also more than a little furious.\n\nThe goblin charges you, but you dodge aside.\n\n> You continue\nHolding the board like a baseball bat, you crack the goblin upside the head. A lead key (previously unseen) flies from a chain around the goblin's neck. While the goblin staggers back dazed, you take advantage of the situation and crack it in the head again. This time you hear a sickening snap, and it drops to the ground dead.\n\n> You look at key\nThe key is about two inches long and pretty thick for a key. It is made of lead; this puzzles you as you would expect a key to be made of a stronger metal.\n\n> You examine the archway\nThe archway is made entirely of marble. It leads south.\n\n> Go north\nYou have entered a grotto made entirely of some type of gleaming green-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of green light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nTo the north, the crystal turns to stone and turns immediately east.\nAn opening in the crystal leads south.\n\n> Inventory\nYou have a flashlight (providing light), a crystal card, a picture, a modem, a book, a board, a thin rod, a slip of paper, and a red gem.\nThe flashlight seems to contain a battery.\n\n> Go south\nA small rather non-descript grey-stone cavern, this location does\nhave one thing that makes it distinct: an ornate archway leading south. You can see the green crystal grotto to the north.\nYou see a dead goblin and a lead key here.\n\n> You look at goblin\nIt's definitely dead, apparently from a cracked skull. Its pig-like face still holds an expression of anger and stupidity.\n\n> You go to the south\nThis tiny room is made entirely of smooth, polished marble. The\nonly feature is a small marble pedestal in the southern portion of the room. It appears to be firmly attached to the floor, or perhaps even a part of it. The only exit is north.\nSitting on the marble pedestal is a blue gem.\n\n> You get the gem\n[Your score just went up by 1 point.]\nTaken.\n\n> You examine it\nThis brilliant blue gem seems to almost sparkle with a light of its own. It feels slightly cool to the touch.\n\n> You examine the pedestal\nThe pedestal is made entirely of marble. It appears to be firmly attached to the floor, possibly even a part of it. There's nothing on the marble pedestal.\n\n> You go to the north\nA small rather non-descript grey-stone cavern, this location does\nhave one thing that makes it distinct: an ornate archway leading south. You can see the green crystal grotto to the north.\nYou see a dead goblin here.\n\n> Go north\nYou have entered a grotto made entirely of some type of gleaming green-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of green light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nTo the north, the crystal turns to stone and turns immediately east.\nAn opening in the crystal leads south.\nYou see a modem, a slip of paper, and a book here.\n\n> Go north\nYou are on a small ledge (barely big enough to hold you) looking out over a huge cavern. The floor of the cavern (if there is one) lies so far down that you cannot see it, while the ceiling is about 40 feet above you. The ledge leads a short distance into the cavern wall and immediately turns south.\n\nTo the east, hanging by a chain from the ceiling, is a large wooden disk. The chain is attached to the center of the disk, which looks to be about 5 feet wide. The disk is a little farther away from here than it was from the east ledge; although you could jump to it from here, you don't know if you could stay on it when you got there or not.\n\n> Go east\nThe disk is a little farther away from the West Ledge as it is from the East Ledge. You know that you could jump to it, but after the way it tilted last time, the thought of making a longer jump kind of worries you. If you want to jump to the disk from here, you'll have to tell me so explicitly by saying 'jump'.\n\n> You jump\nYou back up a bit in order to get some speed, and take off running towards the disk at your best sprint. At the edge of the ledge, you leap out into the cavern towards the disk. You make it fairly easily, but the disk tilts sickeningly as you land on it. You don't have as good of a position as you have had before, and after a few moments of mad scrambling, you slide off the disk to begin a long plummet to the cavern floors below.\n\n> You examine the gem\nWhich gem do you mean, the red gem, or the blue gem?\n\n> Blue\nThis brilliant blue gem seems to almost sparkle with a light of its own. It feels slightly cool to the touch.\n\n> Go east\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern and southern cells are individually filled up by something massive.\n\n> Go north\nThe northern cell is completely filled with ice. You can't enter it.\n\n> Melt northern ice\nWhat are you going to do? Breathe on it?\n\n> You throw the red gem at it\nYou miss.\n\n> You drop all except card and the flashlight\npicture: Dropped.\nboard: Dropped.\nthin rod: Dropped.\nlead key: Dropped.\nblue gem: Dropped.\nred gem: Dropped.\n\n> You jump over the pit\nYou back up about a dozen feet, and with a loud exhale you start on a dead-sprint straight at the pit. You leap into the air at its edge, straining for the edge on the other side. You immediately know you're not going to make it.\n\n> You get all\npicture: Taken.\nboard: Taken.\nthin rod: Taken.\nlead key: Taken.\nblue gem: Taken.\nred gem: Taken.\n\n> You jump\n(the pit)\nYou back up about a dozen feet, and with a loud exhale you start on a dead-sprint straight at the pit. You leap into the air at its edge, straining for the edge on the other side. You immediately know you're not going to make it.\n\n*** WHACK ***\n\nYour body smacks the side of the pit, and you claw at the edge, just barely in your grasp. Your scrambling hands find some loose stone tiles and dig in. With an effort much-aided by terror, you pull yourself up over the edge, and worm your way to the safety of the floor beyond. You DO NOT want to try that again.\n\nLong Tunnel (4)\nThis is a long tunnel leading north and south. It is tiled with carefully-crafted stone. Your way to the north appears to be blocked by a deep pit, but there is a side corridor leading west.\n\n> Go south\nYou have entered a grotto made entirely of some type of gleaming blue-tinted crystal. The crystal achieves the effect of appearing both natural and crafted. Floors, ceiling, and walls all smoothly blend together. The light from your flashlight is reflected back to you both from the direction you are pointing it and from other parts of the room, as gleams of blue light seem to travel through the crystal to emerge elsewhere.\n\nThe overall effect is quite beautiful.\n\nTo the north, the crystal slowly turns into some type of grey stone and becomes a tunnel. A doorway cut right out of the crystal leads south.\n\n> Go south\nThis small cavern appears completely natural. The rock is very\nrough, and stalactites hang from the ceiling. To the north there is an exit laced with gleaming blue crystal. To the south, the cavern opens up into a much larger cavern, with a drop-off that leads down farther than you can see. Spanning the vast emptiness of the large cavern is a bridge that appears to be made entirely of ice. A chill comes from that direction.\nA red tinted devil stands casually against the cavern wall here. He appears to be ignoring you.\n\n> You look at the devil\nThe devil is about your size, and mostly human in appearance. The only thing that gives him away are two small horns protruding from his head and a slight reddish tint to his skin. Quite a handsome fellow actually. He is leaning casually against the cavern wall.\n\n> You ask the devil about the devil\n\"Well, I'm *a* devil, but not *the* devil. But I am due for a promotion. And I'm better than him anyway.\"\n\n> You attack the devil\nWhat do you want to attack it with?\n\n> You ask the devil about the task\n\"Glad you asked. Hmmmm....\".\n\nThe devil produces a small leather bag from the folds of his clothes and throws it at your feet.\n\n\"That's a magic bag that can hold as much of anything that you can fit into the opening. You take it, fill it full of all of the sins, and bring it back to me. If you've got all of the sins in there, and nothing but sin, I'll let you by. BUT - if you have anything in there that isn't a sin, or you don't have them all, I get your soul.\"\n\nThe devil flashes you a quick smile.\n\n[Your score just went up by 1 point.]\n\n> You examine the bag\nThis small leather bag smells faintly of sulphur. You can sense power emanating from it. There's nothing in the small bag.\n\n> Go north\nLong Tunnel (4)\nThis is a long tunnel leading north and south. It is tiled with carefully-crafted stone. Your way to the north appears to be blocked by a deep pit, but there is a side corridor leading west.\n\n> You go west\nYou are on a small ledge (barely big enough to hold you) looking out over a huge cavern. The floor of the cavern (if there is one) lies so far down that you cannot see it, while the ceiling is about 40 feet above you. You can return to the long tunnel to the east.\n\nTo the west, hanging by a chain from the ceiling, is a large wooden disk. The chain is attached to the center of the disk, which looks to be about 5 feet wide. You think that you could probably jump to the disk from here. It's not nearly as long a distance to have to jump as the pit was.\n\n> You go to the west\nYou back up a bit in order to get some speed, and take off running towards the disk at your best sprint. At the edge of the ledge, you leap out into the cavern towards the disk. You make it fairly easily, but the disk tilts sickeningly as you land on it. You begin a mad scramble towards the chain as gravity tries to slide you off the edge. Many frightening seconds later, your hands grasp the chain and you pull yourself to the center of the disk. Whew!\n\nYou are precariously standing on a wooden disk, hanging suspended\nfrom the cavern ceiling by a chain. You cannot see the floor of the cavern. To both the east and west, you can see ledges in the middle of the cavern walls. The problem is, although it was easy to jump *to* the disk, you don't have enough room for a running start to jump *off* the disk.\n\n> Swing\n(the disk)\nUsing your own body, you begin swinging the disk from east to west. After about a minute, you've got quite an arc going.\n\nThe disk swings to the east.\n\n> You wait\nTime passes...\n\nThe disk is swinging to the west, but is in a neutral position.\n\n> You wait awhile\nTime passes...\n\nThe disk swings to the west.\n\n> You enter the bag\nI don't know how to enter the small bag.\n\nThe disk comes to rest.\n\n> Go west\nIt would be pure suicide to try to jump to the west ledge.\n\n> Go west\n(the disk)\nUsing your own body, you begin swinging the disk from east to west. After about a minute, you've got quite an arc going.\n\nThe disk swings to the east.\n\nTime passes...\n\nThe disk is swinging to the west, but is in a neutral position.\n\nTime passes...\n\nThe disk swings to the west.\n\nAs the disk reaches the point closest to the west ledge, you make your leap! No problem! You land with a thud that takes your breath away for a few seconds, but you are safe and sound.\n\nYou are on a small ledge (barely big enough to hold you) looking out over a huge cavern. The floor of the cavern (if there is one) lies so far down that you cannot see it, while the ceiling is about 40 feet above you. The ledge leads a short distance into the cavern wall and immediately turns south.\n\nTo the east, hanging by a chain from the ceiling, is a large wooden disk. The chain is attached to the center of the disk, which looks to be about 5 feet wide. The disk is a little farther away from here than it was from the east ledge; although you could jump to it from here, you don't know if you could stay on it when you got there or not.\n\nThe disk comes to rest.\n\n> You go to the south\nLong Tunnel (1)\nThis is a long tunnel leading north and south. It has definitely\nbeen purposefully made, being tiled with crafted stone. It looks like something that would have been created centuries ago. You can see the Red Crystal Grotto to the north, and a side corridor leads off to the east.\n\nLong Tunnel (2)\nThe long tunnel continues to lead north and south. The same tiling\nis present here as in the rest of the tunnel. A side corridor leads off to the west.\n\nLong Tunnel (3)\nThe long tunnel continues to lead both north and south. The carefully-crafted stone tile appears to be a darker grey here. Your way to the south appears to be blocked by a deep pit, but there is a side corridor leading off to the east.\nYou see a picture, a modem, a book, a board, a thin rod, a slip of paper, and a red gem here.\n\n> You get all\npicture: Taken.\nmodem: Taken.\nbook: Taken.\nboard: Taken.\nthin rod: Taken.\nslip of paper: Taken.\nred gem: You've already got your hands full.\n\n> You put the picture in the bag\nDone.\n\n> You take all\nred gem: Taken.\n\n> Go east\nYou are inside the vault. The interior is about 10 x 10 feet, and\nall of the walls are made of dull grey steel. You are very sure that nothing gets in or out of here when the vault door is closed. The room appears bare for its size. The vault door is to the west.\n\n> You get the pan\nbig pan: You've already got your hands full.\nhandwritten letter: You've already got your hands full.\ntyped letter: You've already got your hands full.\n\nYou've already got your hands full.\n\n> Oops bag\npicture: The picture is already in the small bag!\nsmall bag: You can't put the small bag in itself!\nmodem: Done.\nbook: Done.\nboard: Done.\nthin rod: Done.\nslip of paper: Done.\nred gem: Done.\n\n> You get all\nhandwritten letter: Taken.\ntyped letter: Taken.\n\n> You put the letters in the bag\nhandwritten letter: Done.\ntyped letter: Done.\n\n> You examine picture\nThis is a picture of a rather lusty-looking girl. She must be very important to John, for him to have left the picture all mixed in with his important clothes like that.\n\n> You look at the typed letter\nIt appears to be a letter to John from his landlord telling him that his rent is going up. The landlord sounds really greedy.\n\n> You examine the handwritten letter\nIt appears to be a letter from John to his landlord. It seems to display a lot of anger.\n\n> Examine book\nThe book appears to be a diary, probably John's. You're not going to read it are you?\n\n> You read book\nThe diary goes on about mundane personal matters, as diaries are wont to do, for quite some time. A recurring theme seems to be how envious John is of people who are out \"living life\". This puzzles you a bit, since John has done more crazy shit than any 10 people you know, with the possible exception of some of his psycho friends.\n\nThe last couple of pages are really strange. Apparently a few days ago, a hole opened in John's basement due to some water damage. John has been having dreams about a \"Fire Witch\" and an \"Ice Wizard\" that live down this hole. Here's the part that's really weird: he thinks the dreams are real. The ice wizard has imprisoned the fire witch, and John seems almost obsessed with freeing her. He also talks about a \"magic crystal card\" that the fire witch gave him in a dream. By rubbing it and saying the \"magic word\" necken-sway, John thinks that he can find the fire witch. He talks about the card as if he actually has it in his possession.\n\nObviously, years of heavy drinking have finally destroyed his mind.\n\nThe diary goes on about mundane personal matters, as diaries are wont to do, for quite some time. A recurring theme seems to be how envious John is of people who are out \"living life\". This puzzles you a bit, since John has done more crazy shit than any 10 people you know, with the possible exception of some of his psycho friends.\n\nThe last couple of pages are really strange. Apparently a few days ago, a hole opened in John's basement due to some water damage. John has been having dreams about a \"Fire Witch\" and an \"Ice Wizard\" that live down this hole. Here's the part that's really weird: he thinks the dreams are real. The ice wizard has imprisoned the fire witch, and John seems almost obsessed with freeing her. He also talks about a \"magic crystal card\" that the fire witch gave him in a dream. By rubbing it and saying the \"magic word\" necken-sway, John thinks that he can find the fire witch. He talks about the card as if he actually has it in his possession.\n\nObviously, years of heavy drinking have finally destroyed his mind.\n\n> You examine the board\nThis is a 2x4 board. It appears very sturdy.\n\n> You examine the card\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is red in color.\n\n> You look in the bag\nThis small leather bag smells faintly of sulphur. You can sense power emanating from it. In the small bag you see a picture, a modem, a book, a board, a thin rod, a slip of paper, a red gem, a big pan, a handwritten letter, and a typed letter."
    },
    {
        "text": "[Themes: Fantasy, snow storm]\n\n> You look around\nThe walls here are made of a mixture of stone and steel. The room\nis completely dominated by a large metal vault whose door is almost the entire east wall. Light illuminates this room, but you can't tell where it is coming from. You can exit back to the long tunnel to the west. You can enter the open vault door to the east.\n\n> Rub card\nAs you rub the card, its color changes to blue.\n\n> Rub card\nAs you rub the card, its color changes to green.\n\n> You go south\nA small rather non-descript grey-stone cavern, this location does\nhave one thing that makes it distinct: an ornate archway leading south. You can see the green crystal grotto to the north.\nThere is a small, fierce guardian creature blocking your way to the south. For some reason, the name 'goblin' pops into your head.\n\nRushing at your feet, the goblin springs up and plants its shoulder into your stomach. You painfully exhale all the air in your lungs.\n\n> You examine the slip\nThis small slip of paper holds some cryptic numbers.\n\nRushing at your feet, the goblin springs up and plants its shoulder into your stomach. As you double over in pain, it brings its knee up to smash you agonizingly in the face.\n\n> Attack goblin\n(with the board)\nYou ram the end of the board into the goblin's stomach, knocking it back several feet. It looks hurt, but also more than a little furious.\n\nThe goblin charges you, but you dodge aside.\n\n> Attack goblin\n(with the board)\nHolding the board like a baseball bat, you crack the goblin upside the head. A lead key (previously unseen) flies from a chain around the goblin's neck. While the goblin staggers back dazed, you take advantage of the situation and crack it in the head again. This time you hear a sickening snap, and it drops to the ground dead.\n\n> Oops board\nboard: Done.\nlead key: Done.\n\n> Rub card\nAs you rub the card, its color changes to grey.\n\n> You take the junk\nYou collect a handful of the junk, being careful not to touch anything too gross. After gathering a small amount, you decide that nothing else here meets that criteria.\nTaken.\n\n> You look at the junk\nThis is some junk from the Living Room. This is the only junk from there that you can bring yourself to touch. John is such a sloth.\n\n> You get them\nclothes: You can't have the clothes.\n\n> You search them\nclothes: There's nothing else in the clothes.\n\n> Go east\nThe bathroom is typical for an apartment like this. The floor is\ntiled and bare. The shower curtain is a striking blend of wild colors. It is just beginning to show the first signs of mold. The landing lies to the west.\n\n> You examine the flashlight\nThe flashlight is on, providing light. The flashlight seems to contain a battery.\n\n> You look at the battery\nIt looks like an ordinary battery to me.\n\n> Inventory\nYou have a flashlight (providing light), a crystal card, and a small bag. The flashlight seems to contain a battery.\n\n> You put the bag in the chute\nThe small bag drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again.\n\n> You put the modem in the chute\nThe modem drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again.\n\n> You put the slip in the chute\nThe slip of paper drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again.\n\nThe thin rod is no longer glowing.\n\n> You put board in the chute\nThe board drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\nThis is the basement of the apartment. It is unfinished, and there\nis no furniture here. There is a large hole in the west wall, probably large enough for you to fit through, and a set of stairs lead up.\n\n> You put the pan in the chute\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\nThis is the landing at the top of the steps. A laundry chute is in\nthe wall here. To the north is John's bedroom, while the bathroom lies to the east. The stairs lead down.\n\nThe big pan drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again.\n\n> Wave wand\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\nThis is the basement of the apartment. It is unfinished, and there\nis no furniture here. There is a large hole in the west wall, probably large enough for you to fit through, and a set of stairs lead up.\n\nAs you wave the thin rod, blue sparkles appear in the air around it. The rod itself is glowing with a soft blue light.\n\n> You go to the north\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\nThis is the Dining Area, inaptly named here since it is never used\nfor that purpose. This room is less cluttered than the living room, but that's not saying much. The kitchen is to the east, while the living room lies to the south.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> You go to the north\nthe rest of the apartment. This puzzles you for a moment, until you figure out that John probably eats out all the time. A door leads outside to the north, and the dining area is to the west.\nYou see a stove and a refrigerator here.\n\nYou are outside the apartment, on a patio enclosed by fencing. The storm wails around you, driving snow into your face. It is bitterly cold. A fence door leads north out into the apartment complex parking lot, but there is so much snow piled against it that you doubt you could open it. The door back into the apartment is to the south.\n\n> Oops fence\nThere is way too much snow piled against the door for you to open it.\n\nYou know, it really is quite cold out here. Perhaps you should step back in to the apartment and warm up. You already can't feel your fingers and toes.\n\n> Wave wand\nthe rest of the apartment. This puzzles you for a moment, until you figure out that John probably eats out all the time. A door leads outside to the north, and the dining area is to the west.\nYou see a stove and a refrigerator here.\n\nAs you wave the thin rod, blue sparkles appear in the air around it. The rod itself is glowing with a soft blue light.\n\n> You examine the stove\nThere is a thin layer of dust on the stove; further evidence that this room is not used much. Continued inspection shows that the stove does not even work. You wonder if John is aware of this or if he even cares. There's nothing on the stove.\n\n> You open it\nThe oven door seems to be stuck. It does open just a little bit, and you catch the pleasant odor of cooked fish, possibly herring.\n\n> You look in the bag\nThis small leather bag smells faintly of sulphur. You can sense power emanating from it. In the small bag you see a picture, a modem, a book, a slip of paper, a red gem, a big pan, a handwritten letter, a typed letter, a blue gem, a board, a lead key, and some junk.\n\n> Go upwards\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\nThis is the landing at the top of the steps. A laundry chute is in\nthe wall here. To the north is John's bedroom, while the bathroom lies to the east. The stairs lead down.\n\n> You put the slip in the chute\nThe slip of paper drops into the laundry chute, but appears to get stuck maybe half-way down. You have a feeling you will never see it again.\n\n> You look in the chute\nThis is a laundry chute. It most likely travels from here down into the basement.\n\n> Inventory\nYou have a flashlight (providing light), a crystal card, a small bag, a thin rod, a slip of paper, a blue gem, a lead key, and a red gem. The flashlight seems to contain a battery.\n\n> Wait\nAs you are moving through the archway, you hear a sound much like that of breaking glass, and you suddenly become very disoriented. When you regain your senses a moment later, you are not where you thought you would be.\n\nYou are in a non-descript 10 x 10 room of tiled stone. It has the appearances of a cell, but has no door. There is an exit to the west.\n\nThere is a loud and horrible rushing noise in your ears, and the room appears to be filling up with what you would describe as steam if it were not so very very cold.\n\nTime passes...\n\nYour flesh feels like leather and your eyes like glass as a huge block of ice forms around you. Mysteriously you are not killed outright by this; instead you fall into a deep sleep. Unfortunately, within a few days without food you expire anyway.\n\n> Go west\nYou frantically try to push out of the room, but moving through the doorway is like trying to push through thick molasses.\n\nYour flesh feels like leather and your eyes like glass as a huge block of ice forms around you. Mysteriously you are not killed outright by this; instead you fall into a deep sleep. Unfortunately, within a few days without food you expire anyway.\n\n> You go to the west\nAs you are moving through the archway, you hear a sound very much like that of breaking glass, but it sounds muffled and far away. You continue through the archway into the room beyond.\n\n[Your score just went up by 2 points.]\nSafe Room\nThe side corridor ends in a compact little room with walls made of a mixture of stone and steel. A dim light illuminates the area, but you can't tell where it's coming from. A key-lock safe is set into the west wall. The exit is through an archway to the east.\n\n> You examine safe\nThe safe is set very firmly into the west wall, and has a keyhole in the very center of it. From the looks of it, you can pretty much forget trying to open it if you don't have the key that fits that keyhole.\n\nThe safe is closed.\n\n> You get the key\nYou already have the lead key!\n\n> You unlock safe with it\nUnlocked.\n\n> You open safe\nOpening the safe reveals a glass bottle.\n\n> You examine bottle\nThe bottle is about the right size to hold 2 liters of liquid. There is no opening to the bottle; it appears to be sealed air-tight. It does look fairly fragile though. In the glass bottle you see a metallic ring.\n\n> You open the bottle\nThere is no opening to the glass bottle. To open it you'll have to break it.\n\n> You examine the ring\nThe metallic ring is quite beautifully crafted, but you can't tell what kind of metal it is made out of. It has an empty inset about right for a medium sized gemstone. It is about your size.\n\n> Break bottle\nWith a simple motion, you toss the bottle to the ground. It shatters immediately, freeing the ring. It also seems to have released some sort of noxious green gas which quickly fills the surrounding area. With a burning sensation in your throat and lungs, you expire.\n\n> You put the bottle in the pit\nThe glass bottle drops to the bottom of the pit and shatters. You hear a hissing sound, like gas rapidly expanding.\n\n> Wave wand\nAs you wave the thin rod, blue sparkles appear in the air around it. The rod itself is glowing with a soft blue light.\n\n> You examine the ring\nThe metallic ring is quite beautifully crafted, but you can't tell what kind of metal it is made out of. It has an empty inset about right for a medium sized gemstone.\n\n> You wear it\nOkay, you're no longer wearing the metallic ring.\n\nOkay, you're now wearing the metallic ring.\n\n> You examine the ring\nThe metallic ring is quite beautifully crafted, but you can't tell what kind of metal it is made out of. There is an inset on it that currently contains a red gem. You notice that it seems to be providing you with a feeling of warmth.\n\n> Go east\nLong Tunnel (2)\nThe long tunnel continues to lead north and south. The same tiling\nis present here as in the rest of the tunnel. A side corridor leads off to the west.\n\nLong Tunnel (1)\nThis is a long tunnel leading north and south. It has definitely\nbeen purposefully made, being tiled with crafted stone. It looks like something that would have been created centuries ago. You can see the Red Crystal Grotto to the north, and a side corridor leads off to the east.\n\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern and southern cells are individually filled up by something massive.\n\n> Go north\nThe northern cell is completely filled with ice. You can't enter it.\n\n> Northern\nWhat are you going to do? Breathe on it?\n\n> Yes\nI figured as much."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis room, tiled with the same stone as the long tunnel, smells a\nbit dank. Moisture must get in here somewhere. The room appears to be a cell block, mainly because there are jail cells with entrances on the northern, eastern, and southern walls. The exit is to the west.\n\nThe northern and southern cells are individually filled up by something massive.\n\n> Wait\nTime passes...\n\nYour flesh feels like leather and your eyes like glass as a huge block of ice forms around you. Mysteriously you are not killed outright by this; instead you fall into a deep sleep. Unfortunately, within a few days without food you expire anyway.\n\n> Go north\nYou are outside the apartment, on a patio enclosed by fencing. The storm wails around you, driving snow into your face. It is bitterly cold. A fence door leads north out into the apartment complex parking lot, but there is so much snow piled against it that you doubt you could open it. The door back into the apartment is to the south.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You open the door\nThere is way too much snow piled against the door for you to open it.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You move the snow\nThe snow isn't important.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You go north\nYou can't go that way.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> Go south\nYou are outside the apartment on Red Robin Road. It is bitterly\ncold, and the storm drives snow into your face. Huge drifts of snow block your way in every direction you look. The door back into the apartment is to the north.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You examine the snow\nThe huge drifts of snow block your path in every direction.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> Inventory\nYou have a flashlight (providing light), a crystal card, a small bag, a thin rod, a slip of paper, a blue gem, a lead key, and a metallic ring (being worn). The flashlight seems to contain a battery.\n\n> Go south\nThis small cavern appears completely natural. The rock is very\nrough, and stalactites hang from the ceiling. To the north there is an exit laced with gleaming blue crystal. To the south, the cavern opens up into a much larger cavern, with a drop-off that leads down farther than you can see. Spanning the vast emptiness of the large cavern is a bridge that appears to be made entirely of ice. A chill comes from that direction.\nA red tinted devil stands casually against the cavern wall here. He looks at you expectantly, to see if you have brought him all of the sins.\n\n> You go to the south\nThe devil reaches out and pushes you back by the shoulder. \"I'm not letting you by until you give me the bag with all of the sins in it. Scared to give it a shot?\" he asks with a grin.\n\n> You ask the devil about the sin\n\"Now then, you're just going to have to figure that out, aren't you?\" the devil says with a self-satisfied smile.\n\n> You look in the bag\nThis small leather bag smells faintly of sulphur. You can sense power emanating from it. In the small bag you see a picture, a modem, a book, a big pan, a handwritten letter, a typed letter, a board, and some junk.\n\n> You give bag to the devil\nThe devil takes the bag and shakes it.\n\n\"Hmmm... I'm going to have to look through this bag,\" the devil mumbles. Peering inside at the contents, the devil grins. \"You have sin in this bag, but not everything in it is sin.\" With a wave of his hand you vanish in a puff of flame.\n\n> You give the bag to the devil\nThe devil takes the bag and shakes it.\n\n\"Hmmm... I'm going to have to look through this bag,\" the devil mumbles. Peering inside at the contents, the devil hands the bag back to you. \"Fool! You've only got six sins in this bag. You're missing one! You should have realized that you couldn't outsmart me!\" the devil cries with pride.\n\n> You put the devil in the bag\nImmediately the devil's face turns ashen as he percieves his mistake. He starts to say something, but suddenly turns into smoke which is immediately drawn into the bag. Almost as soon as the bag has closed, it becomes extremely hot, causing you to drop it. A second later it vanishes in a puff of flame, leaving behind a pile of ash.\n\n[Your score just went up by 2 points.]\n\n> You examine the ash\nAs you disturb the ash, you uncover a scroll. This small pile of ash is all that is left of the devil and his bag.\n\n> You examine it\nThe old scroll appears to have writing on it.\n\n> You read it\nLet there be known seven deadly sins, each one most dangerous because it opens the door into further sin:\n\nEnvy/Jealousy\nGluttony\nGreed/Avarice\nLust\nPride\nSloth"
    },
    {
        "text": "[Themes: Fantasy, snow storm]\n\n> You look around\nThis small cavern appears completely natural. The rock is very\nrough, and stalactites hang from the ceiling. To the north there is an exit laced with gleaming blue crystal. To the south, the cavern opens up into a much larger cavern, with a drop-off that leads down farther than you can see. Spanning the vast emptiness of the large cavern is a bridge that appears to be made entirely of ice. A chill comes from that direction.\nYou see a pile of ash here.\n\n> Inventory\nYou have a flashlight (providing light), a crystal card, a thin rod, a slip of paper, a blue gem, a lead key, a metallic ring (being worn), a board, a modem, and a old scroll. The flashlight seems to contain a battery.\n\n> Go south\nIce Bridge (1)\nYou are on a narrow bridge made entirely of ice. The footing is\nslick but you have managed to keep your balance so far. You are colder than you can ever remember being; the bridge seems to be drawing your life right out of you. To the north the bridge ends in a small cavern. The bridge continues to the south for as far as your flashlight allows you to see.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> Go south\nIce Bridge (2)\nYou are on a narrow bridge made entirely of ice. The footing is\nslick but you have managed to keep your balance so far. You are colder than you can ever remember being; the bridge seems to be drawing your life right out of you. The bridge continues both to the north and south for as far as your flashlight allows you to see.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You look at the Bridge\nThe bridge is made entirely of ice.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> You go to the south\nIce Bridge (3)\nYou are on a narrow bridge made entirely of ice. The footing is\nslick but you have managed to keep your balance so far. You are colder than you can ever remember being; the bridge seems to be drawing your life right out of you. The bridge continues to the north for as far as your flashlight allows you to see. To the south, the bridge ends in a small cavern. A dim reddish glow emerges from the cavern.\n\nThe ring (being worn) is providing you with a feeling of warmth.\n\n> Go south\nThis small cavern is uncomfortably warm. A bridge of ice spans a drop-off to the north. There is a large exit to the south, but it is completely filled with a roaring wall of fire. The entire room is lit by a bright reddish glow from the flames.\n\n> You get the red gem\nYou've already got your hands full.\n\n> You examine Fire\nYou have a flashlight (providing light), a crystal card, a thin rod, a slip of paper, a blue gem, a lead key, a metallic ring (being worn), a board, a modem, and a old scroll. The flashlight seems to contain a battery.\n\nThe roaring wall of fire blocks the exit to the south.\n\n> You drop slip\nDropped.\n\n> You look at what you're carrying with you\nYou have a flashlight (providing light), a crystal card, a thin rod, a metallic ring (being worn), a board, a modem, a old scroll, and a red gem. The flashlight seems to contain a battery.\n\n> You go to the south\nYou are entirely engulfed by flames. You can barely see through\nthem.\n\nThe ring (being worn) is providing you with a feeling of coolness.\n\n> Go south\nYou can't go that way.\n\nThe ring (being worn) is providing you with a feeling of coolness.\n\n> You go east\nThis room looks like it belongs in a modern home instead of some underground cavern complex. It is neatly square, about 20 feet wide by 25 feet long, and the walls are paneled with cedar wood. It looks unusual only due to its contents, and that the west wall is a wall of roaring flames. The room is of a comfortable temperature though.\nAn altar is on the northern wall, a desk lies against the eastern\nwall, a table sits against the southern wall, and in the middle of the room sits a large crystal obelisk.\nSitting on the altar is a large black book. Sitting on the wooden table is a black rod. Sitting on the wooden desk is a tarot card and a small bowl.\nA grey old man in dark blue robes is here. The Ice Wizard stops admiring his trophies and turns to face you as you enter. \"This used to be the Fire Witch's trophy room,\" he mumbles. \"Now she's a part of it.\"\n\nThe Ice Wizard snaps his fingers, and the thin rod appears in his hands. He fingers it lightly and places it within the folds of his robes.\n\n> You look at Ice\nThe Ice Wizard is a grey old man with a sinister look about him. A sense of power radiates from him, and he frightens you.\n\nThe Ice Wizard snaps his fingers, and the ring appears in his hands.\nHe rolls it in his fingers and places it within the folds of his robes.\n\n> You examine Witch\nYou can barely make out the Fire Witch inside of the obelisk, but it is obvious that she is very beautiful.\n\nThe Ice Wizard snaps his fingers, and the crystal card appears in his hands. \"Damned Witch,\" he mumbles. \"How did she get that to the mortal?\"\n\n> You examine the obelisk\nThe large obelisk is made out of some type of purple crystal. There seems to be something inside the obelisk, the unmoving form of a beautiful woman in crimson robes.\n\n\"Didn't want you leaving me,\" the Ice Wizard mumbles as he rubs the crystal card and places it within the folds of his robes.\n\n> You look at the black book\nThe large black book is open to page 569.\n\n\"Well,\" mumbles the Ice Wizard. \"It appears you don't have anything else that I would be interested in. Except perhaps your freeze-dried body.\" And those are the last words you ever hear.\n\n> You go east\nThis room looks like it belongs in a modern home instead of some underground cavern complex. It is neatly square, about 20 feet wide by 25 feet long, and the walls are paneled with cedar wood. It looks unusual only due to its contents, and that the west wall is a wall of roaring flames. The room is of a comfortable temperature though.\nAn altar is on the northern wall, a desk lies against the eastern\nwall, a table sits against the southern wall, and in the middle of the room sits a large crystal obelisk.\nSitting on the altar is a large black book. Sitting on the wooden table is a black rod. Sitting on the wooden desk is a tarot card and a small bowl.\nA grey old man in dark blue robes is here. The Ice Wizard stops admiring his trophies and turns to face you as you enter. \"This used to be the Fire Witch's trophy room,\" he mumbles. \"Now she's a part of it.\"\n\nThe Ice Wizard snaps his fingers, and the thin rod appears in his hands. He fingers it lightly and places it within the folds of his robes.\n\n> You look at the card\nWhich card do you mean, the crystal card, or the tarot card?\n\n> Crystal\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is purple in color.\n\nThe Ice Wizard snaps his fingers, and the ring appears in his hands.\nHe rolls it in his fingers and places it within the folds of his robes.\n\n> You wait for a while\nTime passes...\n\nThe Ice Wizard snaps his fingers, and the crystal card appears in his hands. \"Damned Witch,\" he mumbles. \"How did she get that to the mortal?\"\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nIt's a cold weekend in December of 1990, and it's been far too long since you have seen your friend John Baker! But you've finally managed to take some time out of your schedule to drive to Columbus and spend some \"quality time\" together. Quality time, of course, means that you and he are going to sample every bar that Ohio State University's High Street has to offer.\n\nJohn was to meet you at a favorite pizza and beer spot to start off the evening, but he hasn't showed up. John's always been rather spontaneous (read that as 'erratic'), so you think he'll show up eventually. But as the night wears on and you tire of downing beers by yourself, you decide to drive to his place and see if he's left a note or something for you there.\n\nYou find his front door unlocked and John nowhere to be found. Pretty tired from your earlier drive, and also buzzing a bit from the beer you drank, you quickly doze off in the living room.\n\nIt is now morning. A terrible snow storm is raging outside, the worst you've ever seen. You can't believe how much snow has piled up over the night. You still haven't heard from John, and you seem to now be trapped in his apartment.\n\nJohn's Fire Witch, Version 1.01 (02/04/95)\n\nThis is John's Living Room. It is in its usual state of disarray, littered with junk (old copies of alternative newspapers, empty beer cans and bottles, dirty plates and glasses, and so on). What a complete sloth! To the north is the dining area. There is a door leading outside to the south. One set of stairs leads down to the basement, while another set leads upstairs.\n\n> You go east\nThis room looks like it belongs in a modern home instead of some underground cavern complex. It is neatly square, about 20 feet wide by 25 feet long, and the walls are paneled with cedar wood. It looks unusual only due to its contents, and that the west wall is a wall of roaring flames. The room is of a comfortable temperature though.\nAn altar is on the northern wall, a desk lies against the eastern\nwall, a table sits against the southern wall, and in the middle of the room sits a large crystal obelisk.\nSitting on the altar is a large black book. Sitting on the wooden table is a black rod. Sitting on the wooden desk is a tarot card and a small bowl.\nA grey old man in dark blue robes is here. The Ice Wizard stops admiring his trophies and turns to face you as you enter. \"This used to be the Fire Witch's trophy room,\" he mumbles. \"Now she's a part of it.\"\n\nThe Ice Wizard snaps his fingers, and the thin rod appears in his hands. He fingers it lightly and places it within the folds of his robes.\n\n> Crystal\nThis card is about the size of a playing card. It is made out of some type of gleaming crystal, and is purple in color.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You look at the obelisk\nThe large obelisk is made out of some type of purple crystal. There seems to be something inside the obelisk, the unmoving form of a beautiful woman in crimson robes.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You examine wizard\nThe Ice Wizard is a grey old man with a sinister look about him. A sense of power radiates from him, and he frightens you.\n\nThe Ice Wizard snaps his fingers, and the ring appears in his hands.\nHe rolls it in his fingers and places it within the folds of his robes.\n\n> Go east\nThis room looks like it belongs in a modern home instead of some underground cavern complex. It is neatly square, about 20 feet wide by 25 feet long, and the walls are paneled with cedar wood. It looks unusual only due to its contents, and that the west wall is a wall of roaring flames. The room is of a comfortable temperature though.\nAn altar is on the northern wall, a desk lies against the eastern\nwall, a table sits against the southern wall, and in the middle of the room sits a large crystal obelisk.\nSitting on the altar is a large black book. Sitting on the wooden table is a black rod. Sitting on the wooden desk is a tarot card and a small bowl.\nA grey old man in dark blue robes is here. The Ice Wizard stops admiring his trophies and turns to face you as you enter. \"This used to be the Fire Witch's trophy room,\" he mumbles. \"Now she's a part of it.\"\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You examine the tarot card\nThis particular card is the Grim Reaper. A beautifully realistic picture. Hood, scythe, skeleton, implacable grin: yes, it's the Reaper all right.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You look at the bowl\nIn the small bowl you see a smooth stone.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You look at the smooth stone\nIt's a smooth, shiny piece of what might be obsidian. Scratched on it is a symbol.\n\nThe Ice Wizard snaps his fingers, and the thin rod appears in his hands. He fingers it lightly and places it within the folds of his robes.\n\n> You examine the symbol\nThe symbol, on close examination, appears to have been carved into the smooth stone, perhaps with a claw. The symbol is like nothing you've ever seen, and yet somehow you know it has meaning.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You examine black rod\nIt's a three foot black rod with a rusty star on an end.\n\nThe Ice Wizard snaps his fingers, and the ring appears in his hands.\nHe rolls it in his fingers and places it within the folds of his robes.\n\n> You look at the altar\nOn the altar you see a large black book.\n\nThe Ice Wizard mumbles something about foolish mortals under his breath, making some sort of gesture with his hands.\n\n> You look at the black book\nThe large black book is open to page 569.\n\nThe Ice Wizard snaps his fingers, and the crystal card appears in his hands. \"Damned Witch,\" he mumbles. \"How did she get that to the mortal?\"\n\n> You read the black book\nOh ye who go about saying unto each: \"Hello sailor\":\nDost thou know the magnitude of thy sin before the gods?\nYea, verily, thou shalt be ground between two stones.\nShall the angry gods cast thy body into the whirlpool?\nSurely, thy eye shall be put out with a sharp stick!\nEven unto the ends of the earth shalt thou wander and\nUnto the land of the dead shalt thou be sent at last.\nSurely thou shalt repent of thy cunning.\n\n\"Didn't want you leaving me,\" the Ice Wizard mumbles as he rubs the crystal card and places it within the folds of his robes.\n\n> Yes\nThanks for playing. Keep Text Adventures Alive!"
    },
    {
        "text": "[Themes: Travel, Slice of life, memorable NPC, complex NPC, sexual content, animals, female protagonist, conversation, nature]\n\nthan an outdoor bath in a 104 degree pool.\nSteam surrounds you in an ethereal massage.\nTufa deposits line the steep walls behind you\nand brilliant green algae decorate the rock where\nthe spring trickles in.\nA few bubbles and a small current\nrise from the depths...\n\nAn Interactive Dip in a Hot Spring\nBrent VanFossen, (C) 1997 - 2008\n\nXYZZY Award winner for best Non-Player Character, 1997\n\n[Press \"s\" to Skip the intro, \"a\" to read About the game,\nor any other key to begin.]\n\n[Author's Note: It's been a hectic year, and it's time to get away. He told you that, and you agreed. Now you're here, in a grove of aspen, and long for a good, long bath in the nearby hot spring.]\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nThere is information on the following:\n\n>  Instructions for Playing\nFeatures for Experienced Players\nAbout the Author\nBug Reports and Contacting the Author\nCredits\nRevisions\nGame Statistics\nHints\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nThere is information on the following:\n\nInstructions for Playing\nFeatures for Experienced Players\n>  About the Author\nBug Reports and Contacting the Author\nCredits\nRevisions\nGame Statistics\nHints\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nThere is information on the following:\n\nInstructions for Playing\nFeatures for Experienced Players\nAbout the Author\n>  Bug Reports and Contacting the Author\nCredits\nRevisions\nGame Statistics\nHints\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nThere is information on the following:\n\nInstructions for Playing\nFeatures for Experienced Players\nAbout the Author\nBug Reports and Contacting the Author\n>  Credits\nRevisions\nGame Statistics\nHints\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\nThere is information on the following:\n\nInstructions for Playing\nFeatures for Experienced Players\nAbout the Author\nBug Reports and Contacting the Author\nCredits\n>  Revisions\nGame Statistics\nHints\n\nThis is a list of the changes that have been made to the program since its first appearance in the 1997 IF Competition. I'm sure there are other differences that I've forgotten. Thanks again to all who commented or sent bug reports. I believe I have fixed all the known bugs and implemented almost all of the suggestions. The list serves as a rough chronology of the revision process.\n\nSince it's impossible to list changes to a work without revealing some of the details of that work,\n\n[Press \"Q\" to avoid spoilers]\n\n> Inventory\nYou are carrying:\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of flipflops\n\n> You examine shorts\nThey're orange and comfortable, and reach almost to your knees.\n\n> You examine the flops\nExceptionally tacky, but the most confining things you can bear to put on your feet are these floppy old sandals.\n\n> You remove the shorts\nYou remove your shorts.\n\nYou are now wearing a shirt and a pair of flipflops.\n\n> About you\n\"You,\" he always tells you, \"are my pretty lady.\" You smile at the thought. He's always quick to tell you how he likes that smile, your easy laugh, your blue-green eyes that \"sparkle\" so. It's probably all just a little silly, but you like it nonetheless.\n\nYou are wearing only a pair of flipflops.\n\n> You look at the guidebook\nA well-worn copy of \"A Field Guide to the Natural History of the Mountainous Regions\". On the cover are drawings of birds, mammals, plants, and trees. Many pages are marked with notes and scribbles, and the text describes the creatures and natural features of the area.\n\n> You look up the booby in the guidebook\nLatin name: Sula nebouxii\n\nThe blue-footed booby is a sea bird found in North America along the Gulf of California and off the coast of the Baja Peninsula in Mexico. Adults have bright blue feet, a bluish-gray bill, white breast, and brown wings. They fish in clear, shallow waters close to shore, and work in small flocks.\n\n> You remove the flipflops\nYou step out of your flipflops and pick them up.\n\nYou are now completely naked.\n\n> You wear the flops\nYou put on the flipflops.\n\n> You wear the shirt\nYou put on the shirt.\n\n> You wear the shorts\nYou find nothing of interest.\n\nYou put on the shorts.\n\n> You wear the pants\nYou're already wearing those!"
    },
    {
        "text": "[Themes: Slice of life, Travel, nature]\n\n> Look around\nYou stand in the middle of a grove of aspen, which extends in all directions. Slender white trunks reach for the sky with long thin fingers, stroking the clouds that blow in the autumn breeze. Leaves of gold rattle as the winds shift, and here and there one floats to the ground to join others that crackle underfoot when you move. A narrow path disappears east into the trees, and a camping area is visible through a small opening to the west. North is a wide meadow.\n\n> You go west\nFlip flop. Flip flop. Flip flop.\n\nAh, yes. The campsite. Last night, when the two of you were pitching the tent, it was already dark and the wind had a bite to it that cut to the skin. It made crawling into the sleeping bag that much more pleasant. But now it's weekend! Just you and your husband as he promised over a month ago.\n\nThe tent is right where you left it, of course, on a bed of leaves between a pair of the biggest trees. In the light of day, you can see a meadow to the north. A path leads east.\n\nA large bull elk and his harem sit in the shade in front of the tent.\n\nFrom the north, an eerie bugle rises above the wind and the rattling of the leaves in the surrounding trees. The large bull in front of you lifts his head, as if to listen, but does not move.\n\n> You look at leaves\nAspen leaves litter the ground, scattered in patterns of yellow, orange, and green that blend together like an Escher drawing. Small piles of them have collected against the trunks of the nearby trees.\n\nYou hear it again, a wild bugling to the north.\n\n> Search tent\nYou can't get close enough without disturbing the bull elk.\n\nYou hear it again, a wild bugling to the north.\n\n> You kill the elk\nAs you move toward the elk, he looks directly at you, and you reconsider.\n\nYou hear it again, a wild bugling to the north.\n\n> You bugle yourself\nOff in the distance, you hear a wilder bugle in response.\n\nYou hear it again, a wild bugling to the north.\n\n> Bugle elk\nThe bull elk turns to look directly at you. He's not sure whether to take that as a challenge or as an offer.\n\n> You go to the north\nFlip flop. Flip flop. Flip flop.\n\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nYou hear it again, a wild bugling to the east.\n\n> Go east\nFlip flop. Flip flop. Flip flop.\n\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. Pockets of morning fog squat in the damp and cold, hovering just above the ground and hiding from the sun that melts the hazy edge where they touch.\n\nA young bull elk occupies the middle of the meadow. In a ritual performed for millennia, the beast lifts his head, antlers pointed back and neck stretched tight. A haunting bugle fills the air, first rising in pitch, then dropping quickly. A short series of grunts ends the sequence. As you approach, he pauses long enough to move off to the north.\n\n> You go to the north\nFlip flop. Flip flop. Flip flop.\n\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nThe elk, sensing your presence, moves off to the southeast.\n\n> You remove the flops\nYou step out of your flipflops and pick them up.\n\nYou are now wearing some shorts and a shirt.\n\nYou can hear an elk bugling to the southeast.\n\n> You go to the south-east\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nContinuing his bugling, the young elk walks west.\n\n> Bugle\nOff in the distance, you hear a wilder bugle in response.\n\n> You go to the northeast\nYou are on an old mountain trail, hewn from the rocks and trees probably 100 years ago. Highbush cranberry grows amongst the aspens, and where the trees part enough to let the sky show, fireweed fills the openings with profusion. The path turns from southwest to north.\n\n> Go up\nThe cliff is too steep to climb.\n\n> Go north\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair and a galvanized steel bucket.\n\nAn old man stands on the front porch of the cabin, leaning on a broom and watching as you approach. He gives you a curious look, but says nothing.\n\n> Bugle man\nOff in the distance, you hear a wilder bugle in response.\n\nThe man looks at you expectantly as he resumes his sweeping. His attitude isn't unfriendly, but rather curious as to who might be coming to visit in such an out-of-the-way place.\n\n> You greet the man\n\"Good to meet you,\" he says. \"My name's Bob.\"\n\n> You remove the shorts\n\"Don't do that here, young lady. There's a chill in the air and you'll catch cold.\"\n\nBob goes back to his sweeping, intent on finishing the job.\n\n> You get the bucket\n\"Go ahead and borrow that old bucket, if you think you need it,\" Bob says to you. \"Folks gotta help each other, you know.\"\n\n> You kick bucket\nBob may be a doctor, but his name isn't Kevorkian.\n\nBob pauses to examine a crack in the flooring of the porch. \"I'll have to fix that,\" he says.\n\n> You look up the highbush cranberry in the book\nLatin name: Viburnum edule\n\nA member of the honeysuckle family, the highbush cranberry grows in the montane and lower subalpine habitats and prefers open areas in damp woods. The bush grows to a height of 3 to 4 feet, and in the fall, the leaves turn a brilliant red. It blooms in clusters of white star-shaped flowers, and the fruits are small red berries with a single flat seed in each.\n\n> You remove the shorts\nYou remove your shorts.\n\nYou are now wearing only a shirt.\n\n> You eat the highbush cranberry\n(first taking the highbush cranberry)\nThe highbush cranberries are not important.\n\n> You go north\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nBob looks up from his sweeping and nods as you approach, giving you a surprised look. \"You ought to get dressed, my dear,\" he says to you in a kindly way. \"There's a chill in the air, and you'll likely catch cold.\"\n\nBob stops to grab a leaf that is stuck in a crack. He throws it aside and continues sweeping.\n\n> You wear the bucket\nYou can't wear that!\n\nBob bends to pick a rock out from between two of the planks. \"Always tracking in rocks,\" he says.\n\n> You ask Bob about Bob\n\"I was a country doctor, an obstetrician,\" he says to you. \"Sally and I couldn't have children, but I made my living from helping other people have theirs. Didn't make much. So many of the people couldn't pay. But those little babies, I think of every one of them as my own. Some of them would come back and I'd deliver their child. Kind of like watching your own grow up. Did that for 32 years. Now I just work my garden. Try not to think too much about the past.\"\n\n> You wear the shorts\nYou put on the shorts.\n\nBob moves the broom to sweep the left side of the porch.\n\n> You ask Bob about Sally\n\"Sally. Now there was a woman. We were highschool sweethearts, married for 43 years. Then, we found out she was sick, and three months later, she was gone. Breast cancer. Died of breast cancer four years ago. I'm a doctor and I should have known.\" He looks at you and shakes a sad head. \"I saw all the signs, and I didn't even recognize them. Guess I just couldn't believe it could happen to us. Of all people, I should have known.\"\n\n> You ask Bob for mammogram\nBob just looks at you and shrugs. \"If you see that around, just help yourself,\" he mutters.\n\n> You ask Bob about spring\n\"That hot spring's back in one of the canyons, not far from here. Make sure you don't miss it. It's quite a treat.\"\n\n> You read the note\nYou take the note from your pocket and read it again:\n\nMy Love:\n\nFor five years now we have shared so many times together and made so many memories. All the places we've gone, the things we've seen, the friends we've met along the way.\n\nThis is a favorite place of mine, I hope it will be for you. And I have a small birthday surprise in store. Meet me this evening in the hot spring. I'll find you there.\n\nBob swats at a mosquito. \"Darned bugs,\" he mutters. \"No way to get away from them.\".\n\n> You ask Bob about the canyon\n\"The canyon is just down the way, made of granite and steep as can be.\"\n\n> Brent\n\"Nice fella, met him this morning.\"\n\n> Xyzzy\nYou feel an indescribable sense of deja vu, and the world seems to turn inside out.\n\nThis is a long east-west hallway, dark and featureless. Smooth black walls line the way, disappearing into the inky stillness to the west. East, a small rectangle of light hovers in the distance. A hollow voice beckons to you from that direction.\n\n> You go to the west\nYou move west, into the inky blackness, the darkness so thick, you can almost feel it. The air prickles with the energy of the past. When the feeling subsides, you find yourself back where you began...\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nYou can see Bob here, sweeping his porch.\n\nHe sweeps a bit more, all the while looking at you. \"I wonder why they don't seem to bother you. I've got my own private cloud of bugs, and you just sit there pretty as can be.\" He shrugs his shoulders, and swats at another one.\n\n> You go east\nNewly dug, this immense auditorium is almost pristine. Hundreds of rows of plush velvet seats surround the main stage in a graceful 'U'. Wide aisles allow easy passage, and converge into a shallow orchestra pit. There is a brightly-lit doorway to the west, over which hangs the helpful sign, \"Exit.\"\n\nOn the stage you can see a podium.\n\nYou seem to have arrived just in time. Eileen Mullin straightens her little black dress and walks over to the podium. Pausing, she clears her throat to get everyone's attention.\n\n> You examine eileen\n\"Shhhhhh!\" someone says from a seat nearby. \"These are the XYZZY awards!\"\n\n\"Welcome to the second annual XYZZY awards,\" she says. The crowd cheers. Baby cries! Slowly, the noise abates. After the usual preliminaries, she continues. \"I will present the first award, the winner of the Best Use of Medium.\"\n\n> You sit\n\"Shhhhhh!\" someone says from a seat nearby. \"These are the XYZZY awards!\"\n\nEileen opens the envelope, and exclaims, \"The Tempest ... Graham Nelson!!!!\" The crowd goes wild. Someone calls for his acceptance speech in iambic pentameter.\n\n> You wait for a while\nSoon, Eileen speaks again. \"Here to present the award for best individual PC is the Adventurer! Take it away!\" With a few quick steps to the stage, Nameless Adventurer takes the podium. Away.\n\n> Wait\nReturning from backstage, he/she clears his/her throat. Ripping open the envelope, he/she exclaims, \"Tracy Valencia from Interstate Zero!\"\n\n> You wait\nThe crowd erupts in applause and shouts. Clearly, the audience is pleased. Someone snickers about nudity.\n\n> Inventory\n\"Shhhhhh!\" someone says from a seat nearby. \"These are the XYZZY awards!\"\n\nEileen exclaims, \"Here to present the award for Best Individual NPC is last year's winner: the devil from Small World!\" The devil, only a little taller than you, pops out of a volcano and walks to the stage. He's got a wand in one hand and a scrap of parchment in the other. \"Thank you all. No, don't boo, really,\" he says.\n\n> Wait\nWaving his wand, there is a flash of light and a few red words appear midair. They erupt in a shower of sparks, only to fade a moment later. Before they go, you are able to read \"She's Got a Thing for a Spring --> Bob.\" A loud voice from the back of the room calls out \"Way cool nature photo dude!\"\n\n> You wait for a while\nBob walks quickly to the stage, his stride long and sure. A hammer hangs from his belt. A short discussion with the devil ensues, something about signing a contract. Then, with more strength than you would have imagined, Bob wrests the trophy away and returns to his seat. \"She's got a thing for a squid!\" comes from the right side of the auditorium.\n\n> Wait\nNameless Adventurer returns to the stage. \"Here to introduce the award for Best Individual Puzzle is a puzzle you all know and love... Here it is! The west pillar from So Far!\"\n\n> Wait\nThe west pillar leans and creaks as it makes its way to the stage. Rocking back and forth in excitement, it opens an envelope and pulls out a tax form. Recovering quickly, it opens a different envelope. \"The winner is... Da da da da! The language puzzle in The Edifice!\" A chant of \"LPLPLPLPLPLPLPLPLP\" rises from the crowd.\n\n> You examine the pillar\n\"Shhhhhh!\" someone says from a seat nearby. \"These are the XYZZY awards!\"\n\nEileen exclaims, \"And now, presenting the award for Best NPCs, we have last year's winner... Evan, from Kissing the Buddha's Feet!!\" Evan makes his way to the stage.\n\n> You wait\nEvan begins by giving an impromptu talk on how to beat the various Comp97 games. His speech lasts exactly one minute, then he says, \"And the winner is...The Frenetic Five vs. Sturm und Drang by Neil deMause!\" From off to your left comes \"Yay for the famous five!\" Then, someone claps twice and Neil begins to beep.\n\n> Wait\nRagged boy smiles pleasantly at everyone, opens an envelope, and pulls out a brush to draw a small picture of an edifice. Thumbs attack Lucian from every direction, all of them up.\n\n> Wait\nEileen exclaims, \"Here to present the award for Best Setting is least, oops, last year's winner... the devil from Small World!\" Once again, the devil makes his evil way to the stage.\n\n> You wait\nThe devil takes the nominees list and tries to get everyone to sign it. \"And the winner is, A Bear's Night Out by David Dyte!\" \"Let's hear it for the bear!\" comes from behind you. Someone screams.\n\n> Xyzzy\n\"Shhhhhh!\" someone says from a seat nearby. \"These are the XYZZY awards!\"\n\nEileen exclaims, \"And now to present the award for Best Story, I give you once more... the Nameless Adventurer!!!\"\n\n> Wait\nNameless Adventurer walks to the stage and thanks Eileen. \"And the winner is... Babel, by Ian Finley!\" \"Babool! Babelfish! Babel! Babel! Babel!\" come the cries. Someone in front of you emotes. \"Ian Finley, a man whose initials spell IF!\"\n\n> You wait\nEileen exclaims, \"And now, presenting the award for Best Writing, we have a rep from last year's winning game... Tato from So Far!!!\" Someone yells, \"Mr. Tato Head!\"\n\n> You wait\nTato bows grandly. \"Attend you all! For on this paper scroll, is the winner, Sunset Over Savannah, by Ivan Cockrum!\" \"I-VAN COCK-RUM! (CLAP CLAP CLAPCLAPCLAP),\" the crowd intones in unison.\n\n> You wait for a while\nEileen says, \"And now, presenting today's final award, we have a rep from last year's winning game... Aessa from So Far!!!\"\n\n> Wait\nThere is a long pause. Liza clears her throat. Loudly. The crowd is anxious. Nothing happens. Finally, Zarf, looking characteristically smug, says \"Look. I'll do it. She can apologize to me later.\"\n\n> You wait for a while\nZarf takes the stage. \"The winner, for Best Game of 1997, is...\"\n\n> Wait\nZarf waits until the tension is almost unbearable.\n\n> Wait\n\"Innnnterstate Zeeeeero, by Adam Cadre!!!!!!\" Baby cries! Zarf dances around the stage, albeit for someone else's game. The din increases, \"ADAMADAMADMADMADMADMADMADMA!\" The noise is deafening.\n\n> Wait\nThe crowd, rowdy beyond belief, rushes out of the auditorium to the west, carrying the winners as they go. When the clamor dies, you realize you stand alone.\n\n> You remove the pants\nThe ceremony is over. Nothing else seems to matter here.\n\n> Go west\nShuffling past the now empty seats, you make your way to the exit.\n\nThis is a long east-west hallway, dark and featureless. Smooth black walls line the way, disappearing into the inky stillness to the west. East, a small rectangle of light hovers in the distance.\n\nA small scrap of paper lies here, apparently dropped by one of the revellers a few minutes ago.\n\n> You look at it\nTaken.\nScribbled in someone's half-legible handwriting is the following note:\n\n\"Feb 5, 1998\nIFMud\n\nTranscript (Edit and publish):\n\n...\"\n\nThe rest of the writing is a mad mass of rapidly written descriptions and quotes, apparently of the ceremony you just witnessed.\n\n> You go west\nShuffling past the now empty seats, you make your way to the exit.\n\nThis is a long east-west hallway, dark and featureless. Smooth black walls line the way, disappearing into the inky stillness to the west. East, a small rectangle of light hovers in the distance.\n\n> Xyzzy\nNothing happens.\n\n> Plugh\nThis is a long east-west hallway, dark and featureless. Smooth black walls line the way, disappearing into the inky stillness to the west. East, a small rectangle of light hovers in the distance.\n\nFortunately, you studied well in the old days. Once again, you find yourself in the...\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nYou can see Bob here, sweeping his porch.\n\nHe sweeps a bit more, all the while looking at you. \"I wonder why they don't seem to bother you. I've got my own private cloud of bugs, and you just sit there pretty as can be.\" He shrugs his shoulders, and swats at another one.\n\n> You sit in the chair\nYou get onto the oak rocking chair.\n\nOverhead, you can see the early-morning sun as it rises a bit higher.\n\nFinished with his sweeping, Bob takes his broom and disappears into the cabin. \"Be right back,\" he calls through the door.\n\n> Rock\nWhat do you want to rock?\n\n> Sing\nYou sing a few bars of \"I Love to Hate Men.\" Even if you don't really mean it, that song always lifts your spirits.\n\nBob comes out of the cabin and sits down beside the oak rocker. In his hand is a sheet of sandpaper.\n\n> You ask Bob about the canyon\n\"The canyon is just down the way, made of granite and steep as can be.\"\n\nBob sands on the left leg of the chair. Being a rocker, it moves a bit as he moves, and he wedges his foot under the runner to hold it still. He looks up at you with a smile. \"Would you go out to the shed and get me one of the old bricks so I can keep this chair from rocking?\" he asks. \"I sure would appreciate it.\"\n\n> Sandpaper\n\"This?\" he looks at you. \"It's just a sheet of 100 grit sandpaper.\"\n\n> You count grit\n\"Sounds familiar. Hmmm. Sorry.\"\n\n> Shed\nYou can't see any such thing.\n\nWhat do you want to shed?\n\n> You ask Bob about the shed\n\"That old shed has all my good stuff in it,\" he smiles.\n\n> Shirt\nBob takes a quick moment to read your shirt, then smiles. \"I kinda like your attitude, actually,\" he says.\n\n> Flipflops\n\"Those look comfortable.\""
    },
    {
        "text": "[Themes: Travel, Slice of life, complex NPC, nature]\n\n> Look around\nHomestead (on the oak rocking chair)\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nYou can see Bob here, sanding a handmade rocking chair.\n\nBob gives the worn chair a thorough look, as if deciding where to start. \"Yep, I love this old chair,\" he says to you. \"Built by my grandpa just before I was born. Gave it to my mother, he did, and she rocked me to sleep many many times.\"\n\n> You go north\nYou'll have to get off the oak rocking chair first.\n\nBob slowly starts with the sandpaper on one of the arms, working carefully to remove the finish.\n\n> You stand\nYou get off the oak rocking chair.\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nYou can see Bob here, sanding a handmade rocking chair.\n\nBob finds an area that seems particularly stubborn, and sands a little harder in that spot.\n\n> You go north\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\n> You look at the shed\nThe same hands that built the log cabin also made the shed, from the looks of it, but the timbers are of even more uneven cut. Leftovers from the bigger project, probably. The door, if there ever was one, is missing. A large paper wasp nest fills the upper left corner of the door to the shed, active and buzzing with insects.\n\n> You enter it\nYou take a step towards the door of the shed, but the angry buzzing of the wasps inside and around the nest brings back memories of painful stings.\n\n> Search shed\nThrough the guarded door of the shed, you can see shelves and other objects, but it's too dark inside to see more details.\n\n> You examine the nest\nA large paper wasp nest fills the upper left corner of the door to the shed, active and buzzing with insects.\n\n> You examine the chimney\nMade of pink granite from the nearby mountain, this stone fireplace is the best-preserved part of the old cabin. Set into its base is a black iron door no more than 10 inches square. The door is closed.\n\n> Go south\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nBob looks up from his sanding and nods as you approach.\n\n\"I do really enjoy this kind of work,\" he says to you with a wink.\n\n> Nest\n\"Dippers put their nests in the strangest places.\"\n\n> Wasp\n\"Are those wasps back? I'll have to smoke them out again.\"\n\n> Smoke\nWhat do you want to smoke?\n\n> You go inside\n\"Make yourself at home,\" Bob calls to you as you step through the door, \"but I sure think it's nicer out here.\"\n\nThe inside of Bob's cabin is spartan but comfortable. A stone fireplace forms the north wall of the single room, and to the side stands a tall cabinet. One corner serves as a kitchen. South, a four-pane window looks out into the forest, the doorway open beside it.\n\n> You examine the cabinet\nExquisitely handmade of quarter-sawn oak, this cabinet is taller than you. It fills a corner of the cabin.\n\n> You search the fireplace\nIn the fireplace are a pile of ashes.\n\n> You open the cabinet\nYou open the tall cabinet, revealing an assortment of Bob's things.\n\nBob comes in from outside and goes to the cabinet. \"Need another piece of sandpaper,\" he says as he takes one from the shelf.\n\n> You get ashes\nYou scoop the ashes out of the fireplace and onto the ground, soiling your fingers. In the ashes, you discover a sooty matchbook, which you take.\n\nBob turns to you as he prepares to leave, and gives you an odd look. \"It's nicer outside, my dear.\"\n\n> You look at the things\nThere are so many things in the cabinet, you're not sure what to look at first. They belong to Bob, anyway. Don't you think you should leave them alone?\n\n\"Come on out with me, dear. This old chair is special to me,\" he says, as he goes out the door of the cabin.\n\n> Close cabinet\nYou close the tall cabinet.\n\n> You examine the matchbook\nThrough the gray smudges you can read a short advertisement for \"Anything You Want!\" at Alice's Restaurant.\n\n> You open it\nThat's already open.\n\n> Burn cabin\nThe log cabin starts to catch fire, then goes out.\n\n> Leave\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nBob looks up from his sanding as you emerge from his cabin.\n\nBob goes to work on the support for the rocker's arm. Sanding all four sides, he moves from top to bottom.\n\n> Burn bob\nHe avoids your clumsy attempt, and you can see the sadness in his eyes. \"Please don't do that,\" he smiles. \"If you want to be mean, I'd rather you just went away.\"\n\n> Kiss bob\nHe's a little surprised by your forwardness.\n\nThe match burns out and crumbles into ashes.\n\n> BOB, KISS YOURSELF, YOU FOOL\nBob just looks at you and rubs his chin. You're not sure he understood.\n\n> You search the matchbook\nIn the matchbook are two matches.\n\nBob works on the right legs of the chair. \"Sanding's hard work,\" he remarks."
    },
    {
        "text": "[Themes: Travel, Slice of life, memorable NPC, complex NPC, animals]\n\n> You burn myself\nSelf-immolation is for fanatics and crazies.\n\n> You enter the outhouse\nThe odor here is not as bad as you had expected, but you still wouldn't hang around longer than necessary. A single board spans the width of the cubicle, with the requisite hole in the expected place. A half spent roll of toilet paper hangs on a wire to the right of the door.\n\n> You get the paper\n(the scrap of paper)\nYou already have that.\n\n> You get the roll\nYou remove the roll from the wire hangar.\n\n> You examine the board\nThe outhouse is made of hand-cut boards of varying widths. Its door hangs crooked on its hinges, with a crescent moon cut into the upper half.\n\n> You get the board\nThat's hardly portable.\n\n> Burn roll\n(first lighting a match)\nThe roll of toilet paper catches fire, gray smoke billowing into your face.\n\n> Smoke wasps\nYou wave the roll of smoking toilet paper at the wasp's nest, but you can't get close enough. The wind just blows the smoke back in your face.\n\n> You throw the roll at the nest\n[Previous turn undone.]\n\nYou can't see any such thing.\n\n> Inventory\nYou are carrying:\na roll of toilet paper\na matchbook (which is open)\ntwo matches\na scrap of paper\na bucket\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\n\n> You enter the shed\n(first lighting a match)\nThe roll of toilet paper catches fire, gray smoke billowing into your face.\n\nThe smoke from the burning roll of toilet paper rises, but the gentle breeze blows it away from the nest. The buzzing of the insects is enough to change your mind.\n\n> You throw it at the nest\n(first lighting a match)\nThe roll of toilet paper catches fire, gray smoke billowing into your face.\n\nYou throw the roll of toilet paper at the nest but miss by a foot. Through the door it goes, landing inside the shed, a quite unwise thing to do. Midair, it bursts into flame, igniting the dry old shed and all its contents. The billowing cloud of gray smoke rises high in an ugly column, and when the fireworks are over, you see a disappointed old man standing some distance behind you.\n\n> Burn shirt\nThe shirt starts to catch fire, then goes out.\n\n> Burn flipflops\nThe flipflops start to catch fire, then go out.\n\n> You search it\nIn the matchbook are two matches.\n\n> You eat it\nThat's plainly inedible.\n\n> You eat shed\n(first taking the wooden shed)\nThat's hardly portable.\n\n> You get nest\nSurely, you're joking.\n\n> No\nThat was a rhetorical question.\n\nOverhead, you can see the mid-morning sun peek from behind the clouds, trying to cut the crisp chill from the autumn air.\n\n> You throw the bucket at the nest\nYou throw the bucket at the nest but miss by a foot. Through the door it goes, landing inside the shed.\n\n> Go north\nAn abandoned dirt road ends here, as the trees abruptly close in and block further passage west. The road heads up the mountain to the east, and through the trees to the south, you can see a log cabin.\n\n> Go east\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> You get the herbs\nYou pick a few of the tender herbs.\n\n> You search the herbs\n(the picked avens)\nYou find nothing of interest.\n\n> You eat the herbs\n(the picked avens)\nYou eat the tender and leafy herbs, but they weren't nearly as good as you had hoped.\n\n> You examine the herbs\nBunches of herbs grow all along the roadway. Among the many varieties, you note the low matted leaves of yellow mountain avens, with their bushy white seedheads on long stems.\n\n> You look up avens in the guidebook\nLatin name: Dryas drummondii\n\nAlso called yellow dryas, the yellow mountain aven is a small, prostrate plant that often grows in large mats or patches on rocky ground from middle elevations to above timberline. The flowers are yellow, about 1\" wide, with eight to ten short yellow petals and stand 2 to 10 inches high. The leaves are green above and gray or brown below. As the flowers go to seed, they gradually straighten up, with long (2\") white plumes untwisting into a dandelion-like seed head, soft and feathery like down.\n\n> You get the herbs\n(the picked avens)\nYou already have those.\n\n> Sing\nYou sing a few bars of \"I Love to Hate Men.\" Even if you don't really mean it, that song always lifts your spirits.\n\n> Go east\nThe road turns from south to west.\n\n> Go south\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nFrom off in the distance, you hear a sharp \"neep!\"\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\nA pika appears on one of the boulders in front of you, pauses, and disappears.\n\n> Bugle\nOff in the distance, you hear a wilder bugle in response.\n\nAn enormous bull moose breaks through the bushes and stands on the road, twenty paces away.\n\n> Neep\nThe moose looks at you and sniffs. He's not sure whether to take that as a challenge or as an offer.\n\nThe moose looks directly at you and drools. You realize he's about ten times as big as you are.\n\n> You look up moose\n(in the guidebook)\nLatin name: Alces alces\n\nThe moose is the largest member of the deer family, and is common in subalpine meadows and marshes of the northern United States and Canada. So ugly it is almost cute, it has a large muzzle and long legs that aid it in reaching the tender vegetation which grows at the bottom of lakes and ponds or higher on trees than other animals can browse. One of its favorite foods is the branches and twigs of the willow.\n\nIts pelage is dark brown, slightly lighter underneath. When wet, it usually appears black. Males stand six feet high at the shoulder, and weigh up to 1600 pounds. Females are 10 percent smaller. The large palmate antlers grow only on the males and are shed in the early months of each year. They begin growing again immediately, and each year grow larger, so that their size indicates approximate age and maturity. An unusual feature of the male is the bell, a flap of furred skin that hangs from the neck. Its purpose is unknown.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\n\n> Go north\nThe moose tires of the chase and stops to feed.\n\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> Bugle\nYou bugle in the direction you last saw the moose, but he refuses to follow.\n\n> Go south\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe large bull moose looks up from browsing, sees you and drools.\n\n> Neep\nThe moose looks at you and sniffs. He's not sure whether to take that as a challenge or as an offer.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\n\n> You shout ole\nThe moose follows you to the edge of the canyon and watches as you scramble down. The trail is steep, and you slide to the bottom.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you stands a small tower supporting one end of a steel cable.\n\nThe end of a spruce branch is just barely visible deep inside the blackberries.\n\n(to yourself)\nThere is no reply.\n\n> You look at the tower\nAn 8 foot tower made of steel angles. An identical tower stands at the far side of the gully, and together, they support a cable between them. A crank with a handle is attached to the base.\n\nA wire cage hangs from the cable at the far tower.\n\n> You examine blackberries\n(the ripe blackberry)\nLarge and ripe, this blackberry just begs to be eaten.\n\n> You get the branch\nThe stick is so far inside the tangle, you'd cut yourself to pieces trying to reach it.\n\n> You take the blackberry\n(the ripe blackberry)\nYou're an old hand at blackberries, having grown up in the Northwest where the bushes grow like weeds. You taught him how to find the good ones before he was even your husband, avoiding the clinging spider webs that would invariably be there if you didn't look. The two of you would walk along the backroads and fill a cup and stain your hands purple. But it always seemed worth the effort, the berries were so sweet. Today, alone, you carefully avoid the thorns and pick the largest berry from the bush.\n\n> You turn the cable\nYou are unable to.\n\n> You turn the handle\n(the crank)\nYou grab the crank by the handle, its squeaks startlingly loud and annoying. Foot by foot, the trolley makes its way across the river until it stops beside you.\n\n> You enter the trolley\nYou climb into the trolley which swings and bounces unnervingly.\n\nIt's a tight little cable car, only 18 inches wide and 4 feet front to back. If you were sharing a ride with anyone else, you would surely bump knees, and the bench below you is rotten and soft. Above your head a single steel cable runs fore and aft to the metal pulleys that are your only means of support. The whole assembly rocks side to side with the breeze.\n\n> You turn the crank\nThe crank is too far outside the trolley to reach.\n\n> You examine the trolley\nIt's a tight little cable car, only 18 inches wide and 4 feet front to back. If you were sharing a ride with anyone else, you would surely bump knees, and the bench below you is rotten and soft. Above your head a single steel cable runs fore and aft to the metal pulleys that are your only means of support. The whole assembly rocks side to side with the breeze.\n\n> You go outside\nYou get out of the trolley.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBehind you, a trolley sits suspended from a steel cable.\n\nThe end of a spruce branch is just barely visible deep inside the blackberries.\n\nYou eye the frayed cable that runs just above your head.\n\n> You examine the branch\nIt's the burly end of a spruce branch, buried deep inside the blackberries.\n\n> You get the berries\n(the ripe blackberry)\nAvoiding the thorns, you carefully remove a large ripe berry from the bushes.\n\n> You get the berries\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\n\n> You get the berries\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\n\n> You check what you're carrying\nYou are carrying:\neight ripe blackberries\nsome picked avens\na roll of toilet paper\na matchbook (which is open)\ntwo matches\na scrap of paper\na bucket\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\n\n> You eat the berry\nPlump and sweet and ripe to perfection, you've probably never had a berry quite so good.\n\n> You eat the berry\nMmm mmm. Just as good as the last one.\n\n> You get the berries\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: Avoiding the thorns, you carefully remove a large ripe berry from the bushes.\nripe blackberry: You must have picked the bush clean. The only ones left are too high to reach.\nripe blackberry: You must have picked the bush clean. The only ones left are too high to reach.\nripe blackberry: You must have picked the bush clean. The only ones left are too high to reach.\nripe blackberry: You must have picked the bush clean. The only ones left are too high to reach.\n\n> You get the stick\nThe stick is so far inside the tangle, you'd cut yourself to pieces trying to reach it.\n\n> You examine the tangle\nBlackberry bushes grip the edge of the path from the west. Ripe and succulent, the berries are the perfect treat for the weary hiker, but the thorns are vicious and you take care to avoid them.\n\nThe end of a spruce branch is just barely visible deep inside the blackberries.\n\n> Burn bush\nThe blackberry bushes start to catch fire, then go out.\n\n> You hit the thorns with the flops\nYou hit the bushes, but the walking stick won't come free.\n\nOverhead, you can see the mid-morning sun peek from behind the clouds, trying to cut the crisp chill from the autumn air.\n\n> Go west\nThe rocks are so sharp, even your leather-skin feet feel the points, and you turn back. You notice, however, a muddy trail to the southwest.\n\n> You wear flops\nYou put on the flipflops.\n\nOverhead, you can see the mid-morning sun peek from behind the clouds, trying to cut the crisp chill from the autumn air.\n\n> Go west\nFlip flop. Flip flop. Flip flop.\n\nA narrow winding path moves through the trees, gently climbing from west to east. Branches of blackberries encroach on the trail, their fruit nestled amongst the thorns. A small stream is visible through the trees to the south, and through the bushes, you can barely make out the shape of a small tower to the east.\n\nA spruce branch lies among the blackberries to the side of the path.\n\n> You get the branch\nYou try to remove the stick from the thorny bush, but the burl on the end is caught. The harder you pull, the more securely it seems to be snagged.\n\n> You go to the east\nFlip flop. Flip flop. Flip flop.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\nA spruce branch lies half in the path, half in the tangle of blackberries.\n\n> You get the stick\nYou take the spruce walking stick.\n\n> You put the roll on the stick\nYou put the roll of toilet paper on the end of the stick.\n\n> You go east\nThat would be a long drop down into the canyon.\n\n> Go up\nFlip flop. Flip flop. Flip flop.\n\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe large bull moose looks up from browsing, sees you and drools.\n\n> You give the blackberry to the moose\nThe moose doesn't seem interested.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\n\n> You shout ole\nWhom do you want to shout that to?\n\n> Moose\nThere is no reply.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You go to the north\nThe moose tires of the chase and stops to feed.\n\nFlip flop. Flip flop. Flip flop.\n\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> You go west\nFlip flop. Flip flop. Flip flop.\n\nAn abandoned dirt road ends here, as the trees abruptly close in and block further passage west. The road heads up the mountain to the east, and through the trees to the south, you can see a log cabin.\n\n> Go south\nFlip flop. Flip flop. Flip flop.\n\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\n> You go south\nFlip flop. Flip flop. Flip flop.\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nBob looks up from his repairing and nods as you approach.\n\nSeeing a damaged nail, Bob pulls it free and replaces it with a new one, setting it with a single blow of the hammer.\n\n> Light roll\n(first lighting a match)\nThe roll of toilet paper catches fire, but the wind carries the smoke away from the wasp's nest.\n\n> Smoke wasps\nYou smoke the stick with the burning roll of toilet paper under the wasp's nest, and the smoke sends the insects into retreat.\n\n> You enter the shed\nThe inside of the shed is quite dark, and, as you might expect, full of smoke. You certainly wouldn't want to stay for long. There are no windows, and only a small shaft of sunlight penetrates the haze through the doorway. Against the back wall are several crooked shelves and an old ladder. A board from a wooden deck and a mason's brick sit in the corner.\n\nOn the shelves are a glass canning jar and a pair of leather work gloves.\n\n> You look at the shelves\nAlthough it's not clear in this light how the shelves are fastened to the wall (and you're not sure it really matters), they don't appear strong enough to support anything of weight.\n\nThe match burns out and crumbles into ashes.\n\n> You examine the ladder\nIt's a six foot wooden step ladder, the kind with the folding shelf near the top rung for a can of paint.\n\n> You get it\nThe ladder belongs to Bob, and you decide to leave it alone.\n\n> You examine the board\nIt's a board, looking like a piece of a wooden deck.\n\n> You get the board\nYou take the board from the corner of the shed.\n\n> You get it\nYou pick up the mason's brick, brushing the dirt onto the floor.\n\nThe roll of toilet paper burns out and crumbles into ashes. Wisps of smoke fade and clear."
    },
    {
        "text": "[Themes: Slice of life, Travel, sexual content, nature, conversation, female protagonist]\n\n> You look around\nThe inside of the shed is quite dark. You certainly wouldn't want to stay for long. There are no windows, and only a small shaft of sunlight penetrates the haze through the doorway. Against the back wall are several crooked shelves and an old ladder.\n\nOn the shelves are a glass canning jar and a pair of leather work gloves.\n\n> You look at the jar\nIt's a canning jar, the kind your grandmother used for homemade rhubarb jam and peach preserves. It has a screw-on lid, and the word \"Ball\" is molded in script on the side.\n\nThe glass canning jar contains a handful of washers.\n\n> You get it\nTaken.\n\n> You look at the gloves\nThey're a pair of yellow leather work gloves, or at least, they were yellow once. Now they're covered with grass and dirt stains, and many more scuff marks.\n\n> You wear them\nYou put on the leather work gloves.\n\n> Go outside\nAs you step through the doorway, one of the wasps flies close, but your fear of being stung propels you out the door.\n\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\n> Go south\nFlip flop. Flip flop. Flip flop.\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nBob looks up from his repairing and nods as you approach.\n\n\"I'll just go around the glass one more time to get all of the old caulking off, and check the space here again,\" he says as he works.\n\n> You give the brick to Bob\n\"I could have used that a little earlier, my dear. Would you please just put that out by the shed?\" he says kindly.\n\n> You glare at Bob\n\"You would think an old man like me would know something about that, but if I do, I've forgotten.\"\n\nBob works on the boards of the porch, tapping loose nails back into place. Then he spies the hole where one of the boards was removed, and looks up at you with a smile. \"Would you hand me that board?\" he asks you. \"I sure would appreciate it.\"\n\n> You hit Bob with the board\nHe avoids your clumsy attempt, and you can see the sadness in his eyes. \"Please don't do that,\" he smiles. \"If you want to be mean, I'd rather you just went away.\"\n\n> You give the board to Bob\n\"Thanks so much, sweetie. An old man needs all the help he can get, even if it's just a little thing,\" he says with a smile. He puts the board into the hole in the porch, and it's a perfect fit. Taking a few nails, he secures it in place.\n\n> You look up the tringa in the guidebook\nLatin name: Tringa flavipes\n\nThe lesser yellowlegs is a medium-sized sandpiper that summers in northwestern Canada and in Alaska. Its throat and breast are streaked with light brown, its belly is white, wings darker brown. Its bright yellow legs are long and stand out. Nesting is on the tundra, or in open woodlands.\n\n> You ask Bob about the trolley\n\"That old trolley has been there for years, and still works just as well as it used to,\" he says. \"Kind of like me,\" he grins. \"Anyway, it's the only way across the canyon.\""
    },
    {
        "text": "> You look around\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nYou can see Bob here, repairing his log cabin.\n\nBob lays the putty knife on the porch and picks up the tube of caulking. \"Now, for the finishing touch,\" he says.\n\n> Go north\nFlip flop. Flip flop. Flip flop.\n\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\n> Go north\nFlip flop. Flip flop. Flip flop.\n\nAn abandoned dirt road ends here, as the trees abruptly close in and block further passage west. The road heads up the mountain to the east, and through the trees to the south, you can see a log cabin.\n\n> You go to the east\nFlip flop. Flip flop. Flip flop.\n\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> You go south\nFlip flop. Flip flop. Flip flop.\n\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe large bull moose looks up from browsing, sees you and drools."
    },
    {
        "text": "[Themes: Slice of life, Travel, nature, complex NPC, conversation]\n\n> Go downward\nThe trail is steep, and you slide to the bottom. Those silly flipflops don't help, and you nearly come out of them.\n\nFlip flop. Flip flop. Flip flop.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\n> You look at trolley\nThe trolley is an open cage suspended from a steel cable by a pair of pulleys, one on each end of the car. The cable runs through the car itself, which waits patiently beside you.\n\n> You pull the cable\nYou pull on the cable and the car slowly moves away from the tower and over the edge of the gulch. As the ground drops away, your stomach nearly goes with it, the bouncing and swaying of the trolley exaggerating the feeling of height. Hand over hand you pull, and eventually find yourself at the other side.\n\n> Go outside\nYou get out of the trolley.\n\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBehind you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You examine the sign\nThe sign is brown with cream lettering, and reads:\n\n\"Mirror Lake 16 miles\"\n\nThe trail leaves to the southeast. Below it is another sign with smaller print advising visitors of back-country etiquette, use of campfires in designated locations, warnings about the hazards of feeding wild animals, and the like.\n\nOverhead, you can see the mid-morning sun peek from behind the clouds, trying to cut the crisp chill from the autumn air.\n\n> Go north\nSomeone wanted to hide this trail, you think as you push the willows out of the way. You would never have seen it from the trailhead if you hadn't expected it to be here.\n\nFlip flop. Flip flop. Flip flop.\n\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move north, the canyon narrows to a fissure, its walls rising to funnel you in.\n\nYou can see a faded wooden sign here, half hidden among the willows.\n\n> Examine willow\nDense shrubs as tall as you are, blocking your vision and making passage difficult. You're not sure, but the branches seem a little worn to the north.\n\n> You look at the sign\nThe sign is weathered wood, its lettering barely legible. It hides among the willows as if tossed aside. It reads:\n\n\"Siverson Hot Springs 1/2 mile\"\n\n> Go north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\nAs you step into the icy water, your flipflops come loose and disappear downstream.\n\n> You remove the flops\nYou step out of your flipflops and pick them up.\n\nYou are now wearing a pair of leather work gloves, some shorts and a shirt.\n\n> You go to the north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\nA dark gray bird flies to a moss-covered rock, pauses, and disappears under the surface of the water.\n\n> You look at the bird\nA medium-sized gray bird, of quite ordinary appearance. And quite extraordinary behavior.\n\n> You look up bird\n(in the guidebook)\nLatin name: Tyrannus tyrannus\n\nThe eastern kingbird is a flycatcher, hunting insects on the wing. It has a large head, whiskers, and a broad-based flat bill. Its head is black, with a gray back and white underparts. They are common in woodland clearings and are often seen near water. They range throughout most of North America north of Mexico.\n\n> You look up dipper\n(in the guidebook)\nLatin name: Cinclus mexicanus\n\nThe American dipper, occasionally called the water ouzel, is common along fast-moving mountain streams. It is a round, gray bird with a short tail and large yellow legs. Its voice is a trill in flight, and sings at rest with cheeps, buzzes, whistles, and warbles.\n\nA distinguishing behavior, making it a most interesting bird to watch, is its ability to walk on the bottom of the fastest-moving stream, apparently unaffected by the current. Then, it will jump out of the water onto a moss-covered boulder, and bob and curtsey in place, with aquatic larvae, snails, or tiny fish in its mouth.\n\nIt has enormous oil glands for waterproofing feathers, flaps to seal its nostrils, and heavy nictitating membranes (transparent extra eyelids) which aid in its regular dives. The dipper breeds in the early spring, building a domed nest of ferns and fine mosses, which it hides in a rock crevice in a streamside cliff. Often, nests will be placed completely out of harm's way under an overhang behind a waterfall. They lay usually 4 to 5 eggs, which hatch in 16 days. Lifespan is 2 to 5 years.\n\nThe dipper jumps into the water with hardly a splash and walks along the bottom.\n\n> Go north\nYou can't go that way.\n\nThe bird flies quickly downstream, dodging rocks and roots, and disappears.\n\n> You go to the north-east\nYou can't go that way.\n\nThe dipper jumps into the fastest part of the stream, and returns a moment later with a small insect in its bill.\n\n> Go northwest\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\nThe dipper flies low to a nearby rock, and curtsies. Then, so fast you almost don't notice, he ducks behind the waterfall and disappears.\n\n> You go behind waterfall\nBracing yourself against the sting and the cold, you step through the falls. The cold water fills the bucket. It also soaks you and your clothes from head to toe.\n\nBehind the waterfall is a narrow space protected from the splashing by a rock shelf overhead. You've barely enough room to stand, half hunched and awkward. Blocking your view southwest is the waterfall, whose icy needles sting when they strike. To the northwest is a watery tunnel leading into the mountain itself.\n\nAt waist-level is a bird's nest on the cliff face among the mosses and ferns, hidden from all eyes but yours. From what you remember, this looks like a dipper's nest.\n\n> You remove the pants\nYou remove your shorts, stepping slowly out of them.\n\nYou are now wearing a pair of leather work gloves and a shirt.\n\nThe dipper jumps into the water with hardly a splash and walks along the bottom.\n\n> You remove the shirt\nYou fumble with your shirt, but the gloves are in the way. After those come off, the shirt is easy. Up and over your head it goes, and drops at your feet.\n\nYou are now completely naked.\n\n> You go behind the waterfall\nBracing yourself against the sting and the cold, you step through the falls. The cold water fills the bucket. It also soaks you from head to toe.\n\nBehind the waterfall is a narrow space protected from the splashing by a rock shelf overhead. You've barely enough room to stand, half hunched and awkward. Blocking your view southwest is the waterfall, whose icy needles sting when they strike. To the northwest is a watery tunnel leading into the mountain itself.\n\nAt waist-level is a bird's nest on the cliff face among the mosses and ferns, hidden from all eyes but yours. From what you remember, this looks like a dipper's nest.\n\n> You check your inventory\nYou are carrying:\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nYou are completely naked.\n\n> You look at the nest\nA small nest, expertly crafted of interwoven mosses and pieces of fern.\n\n> You look in the nest\nThe bird's nest is empty.\n\n> You get the nest\nOn second thought, you decide to leave the dipper's nest where you found it."
    },
    {
        "text": "> Look around\nBehind the waterfall is a narrow space protected from the splashing by a rock shelf overhead. You've barely enough room to stand, half hunched and awkward. Blocking your view southwest is the waterfall, whose icy needles sting when they strike. To the northwest is a watery tunnel leading into the mountain itself.\n\nAt waist-level is a bird's nest on the cliff face among the mosses and ferns, hidden from all eyes but yours. From what you remember, this looks like a dipper's nest.\n\n> You go northwest\nSplish splash. Splish splash. Splish splash.\n\nYour eyes slowly adjust to the darkness to reveal a tunnel filled with icy water. The walls are cold and wet, and close in as you move deeper, blocking the little light that bounces in from the opening southeast. A cold breeze blows in your face from the west, but you can see nothing in that direction.\n\n> Go west\nSplish splash. Splish splash. Splish splash.\n\nYou move farther into the darkness to a cavern of unknown size. An ancient wind from the depths breathes cold in your face, and your eyes strain uselessly to penetrate the dark.\n\nIt is pitch dark in here!\n\n> Light match\nYou strike the match and for a flickering instant, the flame catches. But the cold wind from the depths of the cave is strong, and the match goes out, leaving you again in the dark.\n\n> Go west\nNo doubt there are crevices and tunnels for exploring, but you're unequipped for spelunking and the hour is getting late.\n\n> You go to the east\nSplish splash. Splish splash. Splish splash.\n\nYou are in a dark tunnel filled with icy water. The walls are cold and wet, and move apart as you head southeast toward the light. The cold wind from the cavern to your west blows against your back.\n\n> You go outside\nBracing yourself against the sting and the cold, you step out through the falls. The cold water fills the bucket. It also soaks you from head to toe.\n\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\nYou can see a shirt, a pair of leather work gloves and some shorts here.\n\n> You go west\nYou look longingly at the hot spring, but the time feels early and there's still much to do.\n\nThe dipper flies to a mossy rock, then disappears behind the waterfall.\n\n> You wear the gloves\n(first taking the leather work gloves)\nYou put on the leather work gloves.\n\n> Smell\nThe faint smell of sulphur hangs in the air.\n\n> Go east\nYou can't go that way.\n\nThe dipper, so fast you almost don't notice, ducks behind the waterfall and disappears.\n\n> Go southeast\nYou gather your clothes as you leave the grotto, and are now wearing some shorts, a shirt and a pair of leather work gloves.\n\nSplish splash. Splish splash. Splish splash.\n\nThe way is narrow here, walls of rising stone to either side, and water pours in behind you. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\n> You look at the ferns\nThe walls of this canyon are pinkish granite, the geological layers exposed beneath a few clinging ferns.\n\nThe American Dipper emerges from below the surface of the stream and stands, bobbing in place, at its edge.\n\n> You get the ferns\nThat's hardly portable.\n\n> You look at the sky\nOverhead, you can see the bright midday sun, warm and welcome.\n\n> You go south\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move south, the willows become more and more dense, the path harder to follow.\n\nYou can see a faded wooden sign here, half hidden among the willows.\n\n> Go south\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBeside you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You go southeast\nYou start up the Mirror Lake Trail, a fairly easy grade. It's wide and smooth, and winds pleasantly through the conifers.\n\n> Go southeast\nThe trail turns a slight bend, and you lose sight of the trailhead behind you. Somewhere in the distance, a squirrel chatters.\n\n> You go southeast\nHiking has always been a favorite pastime of yours, and you pride yourself in your excellent physical condition. The pitch of this section increases slightly, but you hardly even notice. Through a break in the trees, you can see the canyon to the west, and beyond the canyon, parts of a boulder field.\n\n> Go southeast\nRoots. Where did all those roots come from? The going becomes more difficult as you slow to carefully place each step. You begin to wonder if you missed the turn to the hot spring.\n\n> Go southeast\nThe grade lessens here, and the trail becomes a bit wider. To the north, you catch a glimpse through the trees of the mountainous landscape. You marvel at the beauty and breathe deeply of the clean crisp air.\n\n> Go southeast\nThe sound of water becomes louder now, you suddenly realize. You're not sure when you first heard it. The trail turns a bend, but the general direction is still southeast and up.\n\n> You go southeast\nThere is no mistaking the roar ahead, a waterfall of some size crashing into rocks. The breeze is cooler, and you move forward, eager to see and feel the spray.\n\nOverhead, you can see the bright midday sun, warm and welcome.\n\n> Go southeast\nAh, look at the falls. A hundred foot drop, it's amazing. Cool mist surrounds you in waves, and your clothes take on the dampness like a sponge. You think again of the hot spring, and wonder if you will make it back before dark.\n\n> You go to the southeast\nA small marker appears ahead to the right of the trail, and you take note. It says:\n\n\"Mirror Lake 12 miles\"\n\nYes, you've definitely made a wrong turn somewhere.\n\n> You go to the south-east\nThe trail steepens again, and you breathe harder as you move forward, each step an effort.\n\n> You go to the south-east\nUp and up it goes again. Who graded this route? Must have been someone in a hurry.\n\n> Go southeast\nSwitchbacks. Never thought you'd be glad to see switchbacks, but after the last bit of up, they're a nice relief.\n\n> You go to the southeast\nThe lodgepole pine forest you're passing seems to go forever. The trees are a good 75 feet tall with trunks a foot or so in diameter. Cones and needles litter the ground, and the smell is wonderful.\n\n> Go southeast\nYou wonder again about the spring. You think he's still waiting?\n\n> You go southeast\nThe trees give way and you walk along an outcropping. The footing is slippery, the small stones loose. The view to the south is spectacular.\n\n> You go to the south-east\nA patch of snow hugs the base of a clump of trees. Come to think of it, you are feeling a bit cold. You did bring a jacket, didn't you?\n\n> You go to the south-east\nThere is definitely more snow here, even some in the shaded areas of the trail itself. The wind blows briskly, and the little bit of sweat from the exertion of the climb only serves to give you a constant chill.\n\n> You go southeast\nThe trail descends into a small valley before continuing its almost unbroken rise. Your legs ache, your head pounds, and you think again of a relaxing bath in a hot spring.\n\n> You go to the southeast\nYou catch a glimpse ahead through the trees of a small lake. Mirror Lake? That would certainly be nice.\n\n> Go southeast\nThe trail descends again, the grade steep and perhaps even more difficult going down than ascending. Your knees ache, your head pounds. The altitude is definitely affecting your heart and breathing rates.\n\n> You go southeast\nJust a little farther, you hope. The path turns a corner and you can see it ahead. You hurry onward.\n\n> Go southeast\nYou step out of the trees, the water before you crystal clear and perfectly smooth. The mountains surrounding the cirque are snow-capped and majestic, rising from the far shore and reflected on its surface. Clark's Nutcrackers gather in the trees to your left, waiting, watching, hoping for a handout or just plain curious. Lenticular clouds form around the highest peak like smoke rings around the mouth of an entertainer in a Vaudeville act. You sigh, breathe a little easier, and sit to take it all in. Life just doesn't get any better, you think. Until you remember who was waiting at the hot spring.\n\n> You go northwest\nStep by step, root by root, you retrace your way back to the trailhead. Mirror Lake would be a fun destination, but you have more important things on your mind today.\n\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBeside you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You enter the trolley\nYou climb into the trolley which swings and bounces unnervingly.\n\nYou pull on the cable and the car slowly moves away from the tower and over the edge of the gulch. As the ground drops away, your stomach nearly goes with it, the bouncing and swaying of the trolley exaggerating the feeling of height. Hand over hand you pull, and eventually find yourself at the other side.\n\nYou get out of the trolley.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBehind you, a trolley sits suspended from a steel cable.\n\n> Go upwards\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\n\n> Bugle\nThe moose looks at you and sniffs. He's not sure whether to take that as a challenge or as an offer.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> Go west\nYou can't go that way.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight."
    },
    {
        "text": "[Themes: Travel, Slice of life, animals]\n\n> Go down\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nA Northern Flicker is perched high in the branches of a nearby spruce. You can't go that way."
    },
    {
        "text": "[Themes: Slice of life, Travel, female protagonist, sexual content, animals, complex NPC]\n\n> You descend\nYou can't go that way.\nYou can't go that way.\n\n> You go to the south-west\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\n> You go to the west\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nA bit nervous of humans, the four-point bull moves west.\n\n> You go west\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nA bit nervous of humans, the four-point bull moves northeast.\n\n> You go to the northeast\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nContinuing his bugling, the young elk walks southeast.\n\n> You go southeast\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nA bit nervous of humans, the four-point bull moves west.\n\n> Bugle\nOff in the distance, you hear a wilder bugle in response.\n\nYou can hear an elk bugling to the west.\n\n> You go west\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nContinuing his bugling, the young elk walks west.\n\n> You go south\nRemote and secluded, this is the perfect spot for a campsite. The ground is flat and slightly higher in the middle of the opening. A small two-person tent rests comfortably on a bed of leaves between a pair of the biggest trees. You can see a meadow to the north and a path leads east.\n\nA large bull elk and his harem sit in the shade in front of the tent.\n\nYou can hear an elk bugling in the distance to the north.\n\n> Bugle\nThe bull elk turns to look directly at you. He's not sure whether to take that as a challenge or as an offer.\n\nYou can hear an elk bugling in the distance to the north.\n\n> Bugle\nThe bull elk turns to look directly at you. He's not sure whether to take that as a challenge or as an offer.\n\n> Neep\nYou make a few animal noises, but the hidden creatures ignore you.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You examine the tent\nA two-person tent. This one is well-used, and is white and blue. The top is of a mesh material, allowing movement of air and views of the stars.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You enter the tent\nYou start toward the tent, and the bull elk quickly gets to his feet. He emits a deep snort, his breath condensing in the cold air. As you back away, he stops, then slowly settles back onto the leaves.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You tell the elk about the moose\nThis provokes no reaction.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You check your inventory\nYou are carrying:\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\n\nOverhead, you can see the bright midday sun, warm and welcome.\n\n> Shake jar\nYou give the glass canning jar a good shake, rattling the contents.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You examine the cows\nAbout a dozen cows lie in the shade, chewing grasses and resting.\n\nYou can hear an elk bugling in the distance to the north.\n\n> You hit the elk with the stick\nYou poke at the elk with the stick, a dangerous move.\n\nYou can hear an elk bugling in the distance to the north.\n\n> Go north\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nYou can hear an elk bugling to the northeast.\n\n> Bugle\nOff in the distance, you hear a wilder bugle in response.\n\nYou can hear an elk bugling to the southeast.\n\n> Go southeast\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nThe elk, sensing your presence, moves off to the west.\n\n> You go west\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nThe young bull moves away to the west, bugling as he goes.\n\n> You go west\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nA bit nervous of humans, the four-point bull moves northeast.\n\n> Go southeast\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nThe young bull moves away to the west, bugling as he goes.\n\n> Go west\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nThe elk, sensing your presence, moves off to the west.\n\n> Go west\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nThe young bull moves away to the northeast, bugling as he goes.\n\n> You show the herbs to the bull\nThe big bull elk is unimpressed.\n\nYou can hear an elk bugling in the distance to the north.\n\n> Go north\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nYou can hear an elk bugling to the northeast.\n\n> Bugle\nOff in the distance, you hear a wilder bugle in response.\n\nYou can hear an elk bugling to the northeast.\n\n> You check what you're carrying\nYou are carrying:\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\n\n> You go north\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nA bit nervous of humans, the four-point bull moves southeast.\n\n> You go east\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nThe elk, sensing your presence, moves off to the west.\n\n> You go to the north\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nContinuing his bugling, the young elk walks north.\n\n> You go south\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nYou can hear an elk bugling to the east.\n\n> You go east\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nThe elk, sensing your presence, moves off to the northwest.\n\n> You go northwest\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nThe elk, sensing your presence, moves off to the southwest.\n\n> You go southwest\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nThe elk, in a continued effort to avoid you, moves into the trees to the south.\n\n> You go south\nRemote and secluded, this is the perfect spot for a campsite. The ground is flat and slightly higher in the middle of the opening. A small two-person tent rests comfortably on a bed of leaves between a pair of the biggest trees. You can see a meadow to the north and a path leads east.\n\nAs you enter the campsite, you watch in surprise at the scene unfolding before you. The young bull elk approaches the older, larger male. With head lowered, he goads the other to his feet. They meet, antlers locking in a duel of strength. The rattling, clashing sound mixes with guttural grunts and snorts, each twisting the other. Somehow, the younger of the two persists, the older pushing him backward a short distance away from the tent, but unable to rid himself of the challenger. They seem oblivious to your presence.\n\n> You enter the tent\nAs you crawl inside, your mind drifts back to a camping trip the two of you took together a few years ago. It was in the woods above a beach, with the Pacific thundering at the base of the cliff just below you. The wind was cool, not unlike today, and swept in from the water with the smell of salt. This same tent was new then, and you laughed together as you tried to remember how the poles were supposed to fit.\n\nThe tent is only slightly roomier inside than it would appear. Two can sleep comfortably here, side-by-side or like spoons, with only enough space at the foot for essential camping gear. It has a somewhat musty, much-loved scent, a smell it has earned with its years of frequent use.\n\nA blue rubber bag sits at the foot of the tent.\n\n> You get the bag\n(the rubber bag)\nYou grab the blue bag by the buckle.\n\n> Smell\nThe musty smell of the tent tells of much love and use, and reminds you of so many of the places you have been.\n\n> You look in the bag\n(the rubber bag)\n\nThe rubber bag is empty.\n\n> Wear the bag\n(the rubber bag)\nYou can't wear that!\n\n> You look at the bag\n(the rubber bag)\nIt's a blue rubber bag, stiff at the mouth, the kind kayakers and water enthusiasts use to keep meals and small equipment dry. At the open end is a plastic buckle.\n\n> You examine the buckle\nThis buckle is at the open end of the rubber bag, and is made of black plastic.\n\n> You look at what you're carrying with you\nYou are carrying:\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves"
    },
    {
        "text": "[Themes: Slice of life, Travel, conversation, sexual content, complex NPC]\n\n> Look around\nThe tent is only slightly roomier inside than it would appear. Two can sleep comfortably here, side-by-side or like spoons, with only enough space at the foot for essential camping gear. It has a somewhat musty, much-loved scent, a smell it has earned with its years of frequent use.\n\n> Exit\nRemote and secluded, this is the perfect spot for a campsite. The ground is flat and slightly higher in the middle of the opening. A small two-person tent rests comfortably on a bed of leaves between a pair of the biggest trees. You can see a meadow to the north and a path leads east.\n\nThe large bull elk is engaged in a sparring match, antlers locked with his younger rival. They have moved toward the meadows, and seem oblivious to your presence.\n\n> You go to the north\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\nYou can hear the sound of clashing antlers to the south.\n\n> You go north\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nYou can hear the sound of clashing antlers in the distance to the southwest.\n\n> You go north\nYou wander a bit into the forest, but directions are confusing, and you stop for fear of losing your way.\n\nYou can hear the sound of clashing antlers in the distance to the southwest.\n\n> Go north\nYou wander a bit into the forest, but directions are confusing, and you stop for fear of losing your way.\n\nOverhead, you can see the mid-afternoon sun making its way quickly toward an early evening.\n\nYou can hear the sound of clashing antlers in the distance to the southwest.\n\n> You go northwest\nYou wander a bit into the forest, but directions are confusing, and you stop for fear of losing your way.\n\n> Go east\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nYou can see Bob here, his stride long and sure, moving faster than most men half his age.\n\nBob enters the aspen grove, and turns to look in your direction.\n\nYou can hear the sound of clashing antlers in the distance to the west.\n\n> You enter the grove\nThat's not something you can enter.\n\nYou can hear the sound of clashing antlers in the distance to the west.\n\n> You follow Bob\nBob moves so fast, you have a hard time keeping up. But you catch sight of him ahead, and do your best to follow.\n\nYou stand in the middle of a grove of aspen, which extends in all directions. Slender white trunks reach for the sky with long thin fingers, stroking the clouds that blow in the autumn breeze. Leaves of gold rattle as the winds shift, and here and there one floats to the ground to join others that crackle underfoot when you move. A narrow path disappears east into the trees, and a camping area is visible through a small opening to the west. North is a wide meadow.\n\n> You follow Bob\nBob moves so fast, you have a hard time keeping up. But you catch sight of him ahead, and do your best to follow.\nThe rocks are sharp. Although you have leather soles (but a soft soul), you feel the sharp edges and turn back.\n\n> You wear the flops\nYou put on the flipflops.\n\nYou can hear the sound of clashing antlers to the west.\n\n> You follow Bob\nYou try to follow Bob but you can't see where he went.\n\nYou can hear the sound of clashing antlers to the west.\n\n> You go east\nFlip flop. Flip flop. Flip flop.\n\nA narrow winding path moves through the trees, gently climbing from west to east. Branches of blackberries encroach on the trail, their fruit nestled amongst the thorns. A small stream is visible through the trees to the south, and through the bushes, you can barely make out the shape of a small tower to the east.\n\n> Go east\nFlip flop. Flip flop. Flip flop.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\n> You wear the flops\nYou put on the flipflops.\n\nYou can hear the sound of clashing antlers in the distance to the southwest.\n\n> You go east\nFlip flop. Flip flop. Flip flop.\n\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nYou can see Bob here, his stride long and sure, moving faster than most men half his age.\n\nBob enters the aspen grove, and turns to look in your direction.\n\nYou can hear the sound of clashing antlers in the distance to the west.\n\n> You follow Bob\nFlip flop. Flip flop. Flip flop.\n\nYou stand in the middle of a grove of aspen, which extends in all directions. Slender white trunks reach for the sky with long thin fingers, stroking the clouds that blow in the autumn breeze. Leaves of gold rattle as the winds shift, and here and there one floats to the ground to join others that crackle underfoot when you move. A narrow path disappears east into the trees, and a camping area is visible through a small opening to the west. North is a wide meadow.\n\nYou can see Bob here, his stride long and sure, moving faster than most men half his age.\n\nBob follows the rocky path to the east. \"You're coming, aren't you?\" he calls, not even breathing hard. He walks fast for an old man. Come to think of it, he walks fast for a young man.\n\nYou can hear the sound of clashing antlers to the west.\n\n> You follow Bob\nFlip flop. Flip flop. Flip flop.\n\nA narrow winding path moves through the trees, gently climbing from west to east. Branches of blackberries encroach on the trail, their fruit nestled amongst the thorns. A small stream is visible through the trees to the south, and through the bushes, you can barely make out the shape of a small tower to the east.\n\nYou can see Bob here, his stride long and sure, moving faster than most men half his age.\n\nBob turns off the path and heads south, not pausing for a second.\n\n> You go to the south\nSplish splash. Splish splash. Splish splash.\n\nYou are at the north edge of an enticing mountain stream. The sound of the water flowing over rounded stones is enough to bring relaxation to even the weariest of travelers. Good thing, too, as your sore muscles scream from bouncing over too many rough roads. The only obvious trail leaves north.\n\nYou can see Bob here, his stride long and sure, moving faster than most men half his age.\n\nBob walks to the edge of the stream and places his leather portfolio carefully out of reach of the water. \"This is such a beautiful stream,\" he says, his eyes alive. \"I come here often and never get tired of the view.\"\n\n> You examine portfolio\nA brown case with a leather finish.\n\nBob opens his portfolio and removes an easel, which he sets up beside the stream.\n\n> You ask Bob about the light\n\"Sounds familiar. Hmmm. Sorry.\"\n\n> You ask Bob about the torch\n\"That's a funny thing to ask an old man about.\"\n\n> You ask Bob about the fireflies\n\"You'll find them in the meadow. Easier to find at night, though.\"\n\n> You ask Bob about the portfolio\n\"That's where I keep all my painting stuff,\" he says with a grin. \"Joe gave that to me a few years ago, and I use it all the time.\"\n\n> You ask Bob about Joe\n\"Joe's my brother,\" Bob replies. \"He's coming to see me next week.\"\n\n> You examine the sky\nOverhead, you can see the mid-afternoon sun making its way quickly toward an early evening.\n\nBob puts a small sheet of watercolor paper with an unfinished painting on the easel.\n\n> Painting\n\"I love to paint the water,\" he answers. \"And this time of year, the reflections are the best. Rich with color.\"\n\n> You examine water\n(the stream)\nThe stream babbles and beckons to you, and flows over a small waterfall from the east to disappear west. It's a pleasant sight after the last few weeks, and your eye lingers lazily to take it all in. The arrhythmic gurgles and splashes put you quickly at ease.\n\nBob looks up suddenly, as if an idea has just struck him. \"Do you like to read?\" he asks you.\n\n> Yes\n\"I thought so!\" he says with an excitement he hasn't shown since you arrived. He goes to his portfolio and removes a well-worn paperback. \"This is a collection of short stories I found, and it's an absolute delight to read. You might take it with you when you visit the hot spring. I love to pass the time there with a good book,\" he says as he hands it to you.\n\n> You read it\nYou open the collection of short stories, flipping quickly past the contents and the editor's notes. The first story begins:\n\nThe Meteor, the Stone and a Long Glass of Sherbet\n\nAnother day wasted as guest of the Empress, a wretchedly long tour of the breath-taking Boreal Falls, conducted as ever by the Lady Amilia. As if she weren't bad enough, an honour guard of soldiers, their breast-plates red in the setting sun, march ahead of the procession and protect you from seeing anything unrehearsed. It's a dog's life being an Ambassador.\n\nThe story continues, but you close the book until later. A good story is so much better when you can read it straight through. Maybe at the hot spring...\n\nTaking the paints from the portfolio, Bob puts them on the shelf below the painting.\n\n> Thank Bob\n\"No problem. Don't mention it,\" he says graciously.\n\n\"Look who's coming!\" shouts Bob, pointing toward the sky. A black shape soars overhead, and as you watch, tucks its wings into a pair of somersaulting rolls. Then, as if that were nothing, it lands in the branches of a cottonwood just upstream. \"Rawk!\" croaks the raven, its voice coarse and commanding.\n\n\"I love ravens,\" Bob exclaims. \"There's a lot of lore and legends about them. The Tlingit Indians believed the raven created the world and was the bringer of light, and they wove them into their stories and totem poles and ceremonies. A lot of people think they're ugly, all black and bad luck, but there's a bird that knows how to have fun. I love to watch them fly. And the noises they make.\"\n\n> Raven\n\"Those birds sure know how to have fun,\" he smiles. \"There are prettier ones, but none with the same personality.\"\n\n> You look at the raven\nA large black bird, the raven watches every move you make, every stroke of Bob's brush. Occasionally he emits a deep croak or gurgle.\n\n\"The coloration is so subtle,\" he tells you, \"I could spend forever working on a painting like this.\"\n\n> Hi\nThe raven is not important.\n\nBob takes a look upstream, at the fast-flowing water and the moss-covered rocks. Then, he dips his brush and makes a few short dabs on the canvas.\n\n> Caw\n\"That's a funny thing to ask an old man about.\"\n\nA dark gray bird flies to a moss-covered rock, pauses, and disappears under the surface of the water.\n\n\"There's a dipper!\" Bob points. \"He'll be back in just a second. Those birds walk through rapids and don't even get wet. At least, they don't seem to notice.\"\n\n> You read the note\nYou take the note from your pocket and read it again:\n\nMy Love:\n\nFor five years now we have shared so many times together and made so many memories. All the places we've gone, the things we've seen, the friends we've met along the way.\n\nThis is a favorite place of mine, I hope it will be for you. And I have a small birthday surprise in store. Meet me this evening in the hot spring. I'll find you there.\n\nMixing some green with white on his palette, Bob sets to work on the little bit of foliage that hasn't yet turned for fall.\n\n> You enter bag\nThat's not something you can enter.\n\nBob looks up at the stream, then back at his canvas.\n\n> You look at the canvas\nA small watercolor painting of a fast-moving stream.\n\nBob works some more with the reds, adding and blending the colors.\n\n> You look at the sky\nOverhead, you can see the mid-afternoon sun making its way quickly toward an early evening.\n\nBob takes a look upstream, at the fast-flowing water and the moss-covered rocks. Then, he dips his brush and makes a few short dabs on the canvas.\n\n> Inventory\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\na pair of flipflops\n\nThe dipper jumps into the fastest part of the stream, and returns a moment later with a small insect in its bill.\n\nMixing some green with white on his palette, Bob sets to work on the little bit of foliage that hasn't yet turned for fall.\n\n> You show stick to Bob\n\"That's a nice one you found there. Would make a perfect walking stick.\"\n\nThe American Dipper emerges from below the surface of the stream and stands, bobbing in place, at its edge.\n\n> You check your inventory\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\na pair of flipflops\n\nBob looks up at the stream, then back at his canvas.\n\n> You examine the brick\nYou see nothing special about the mason's brick.\n\nBob works some more with the yellows, adding and blending the colors.\n\n> You examine avens\nTender branches of mountain avens, a leafy herb. If you were vegetarian, they would probably be great to eat.\n\nBob takes a look upstream, at the fast-flowing water and the moss-covered rocks. Then, he dips his brush and makes a few short dabs on the canvas.\n\n> You ask Bob about the fireflies\n\"You'll find them in the meadow. Easier to find at night, though.\"\n\nThe dipper flies low to a nearby rock, and curtsies.\n\n> You eat avens\nYou eat the tender and leafy herbs, but they weren't nearly as good as you had hoped.\n\nMixing some white with the blue, Bob shades the shadowy pools that sit protected on the edge of the stream.\n\n> Time\nBy your best guess, it's a little before 4:00 in the afternoon.\n\n> You look at avens\nTender branches of mountain avens, a leafy herb. If you were vegetarian, they would probably be great to eat.\n\nThe dipper jumps into the fastest part of the stream, and returns a moment later with a small insect in its bill.\n\nMixing some green with white on his palette, Bob sets to work on the little bit of foliage that hasn't yet turned for fall."
    },
    {
        "text": "[Themes: Slice of life, Travel, nature, conversation, female protagonist, memorable NPC]\n\n> Look around\nYou are at the north edge of an enticing mountain stream. The sound of the water flowing over rounded stones is enough to bring relaxation to even the weariest of travelers. Good thing, too, as your sore muscles scream from bouncing over too many rough roads. The only obvious trail leaves north.\n\nPerched in the branches of a nearby cottonwood is a large black raven.\n\nYou can see Bob here, painting a watercolor of a fast-moving stream.\n\nThe bird flies quickly downstream, dodging rocks and roots, and disappears.\n\nBob looks up at the stream, then back at his canvas.\n\n> You go west\nFlip flop. Flip flop. Flip flop.\n\nYou stand in the middle of a grove of aspen, which extends in all directions. Slender white trunks reach for the sky with long thin fingers, stroking the clouds that blow in the autumn breeze. Leaves of gold rattle as the winds shift, and here and there one floats to the ground to join others that crackle underfoot when you move. A narrow path disappears east into the trees, and a camping area is visible through a small opening to the west. North is a wide meadow.\n\n> You go north\nFlip flop. Flip flop. Flip flop.\n\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The afternoon sun shines bright and cheery, illuminating the gold leaves of the aspen that glow with a false warmth.\n\nYou can hear the sound of clashing antlers in the distance to the west.\n\n> Go west\nFlip flop. Flip flop. Flip flop.\n\nYou are at the west edge of a large grassy meadow. Leaves from the surrounding trees litter the ground, piled against the tall white and black boles of the aspens that used to be their owners. To the south is your campsite.\n\n> You go north\nFlip flop. Flip flop. Flip flop.\n\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nYou can hear the sound of clashing antlers in the distance to the southwest.\n\n> You go east\nFlip flop. Flip flop. Flip flop.\n\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\n> You go to the north-east\nFlip flop. Flip flop. Flip flop.\n\nYou are on an old mountain trail, hewn from the rocks and trees probably 100 years ago. Highbush cranberry grows amongst the aspens, and where the trees part enough to let the sky show, fireweed fills the openings with profusion. The path turns from southwest to north.\n\n> Go north\nFlip flop. Flip flop. Flip flop.\n\nThe years have not been kind to this remnant of the past, although the obviously recent repairs hide the worst of the scars. An old-fashioned log cabin occupies an opening in the woods, door swung open onto the wide front porch. The single window looks out onto the clearing, alert and watchful, with a country plaid curtain that flutters in the breeze. A trail leaves to the south and continues around the cabin to the north.\n\nOn the porch is an oak rocking chair.\n\nA Northern Flicker is perched high in the branches of a nearby spruce.\n\n> You examine Flicker\nIt's a Northern Flicker, \"the red-shafted variety,\" Bob told you. It's perched high in the branches of a nearby spruce.\n\n> Go north\nFlip flop. Flip flop. Flip flop.\n\nThe north side of the cabin is plain and unpretentious; not even a window provides a view in. A stone chimney forms most of the wall of the cabin. In the clearing here is a traditional antique outhouse, complete with a crescent moon. A wooden shed sits off to the side and a garden lies west. To the north through the trees, you can see the double tracks of an overgrown roadway.\n\n> Go north\nFlip flop. Flip flop. Flip flop.\n\nAn abandoned dirt road ends here, as the trees abruptly close in and block further passage west. The road heads up the mountain to the east, and through the trees to the south, you can see a log cabin.\n\n> You go to the east\nFlip flop. Flip flop. Flip flop.\n\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> You go south\nFlip flop. Flip flop. Flip flop.\n\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe large bull moose looks up from browsing, sees you and drools.\n\n> You examine the moose\nAntlers are the first thing you notice, large and wide and made of more points than you can count. The long snout angles down, giving you a clear view of the beady brown eyes and the bristling hackles on the back of his neck. He takes a few quick steps in your direction, moving the huge rack side to side.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance."
    },
    {
        "text": "[Themes: Slice of life, Travel, nature, memorable NPC, conversation, sexual content, female protagonist]\n\n> You go downwards\nThe moose follows you to the edge of the canyon and watches as you scramble down. The trail is steep, and you slide to the bottom. Those silly flipflops don't help, and you nearly come out of them.\n\nFlip flop. Flip flop. Flip flop.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\n> Go east\nThe canyon drops off steeply to the east. A gentler descent is to the south.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\n\n> Go west\nYou can't go that way.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You give the herbs to the moose\nThe moose doesn't seem interested.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You check what you're carrying\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\na pair of flipflops\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> Shake jar\nYou give the glass canning jar a good shake, rattling the contents.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You throw the water at the moose\nYou throw the water in the bucket at the moose.\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You get on the moose\nAs you attempt to mount, the moose turns the huge rack of antlers in your direction. Those points are enough to change your mind.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight."
    },
    {
        "text": "> You look around\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You look up the moose in Guide\nLatin name: Alces alces\n\nThe moose is the largest member of the deer family, and is common in subalpine meadows and marshes of the northern United States and Canada. So ugly it is almost cute, it has a large muzzle and long legs that aid it in reaching the tender vegetation which grows at the bottom of lakes and ponds or higher on trees than other animals can browse. One of its favorite foods is the branches and twigs of the willow.\n\nIts pelage is dark brown, slightly lighter underneath. When wet, it usually appears black. Males stand six feet high at the shoulder, and weigh up to 1600 pounds. Females are 10 percent smaller. The large palmate antlers grow only on the males and are shed in the early months of each year. They begin growing again immediately, and each year grow larger, so that their size indicates approximate age and maturity. An unusual feature of the male is the bell, a flap of furred skin that hangs from the neck. Its purpose is unknown.\n\n> You enter the trolley\nYou climb into the trolley which swings and bounces unnervingly.\n\nYou pull on the cable and the car slowly moves away from the tower and over the edge of the gulch. As the ground drops away, your stomach nearly goes with it, the bouncing and swaying of the trolley exaggerating the feeling of height. Hand over hand you pull, and eventually find yourself at the other side.\n\nYou get out of the trolley.\n\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBehind you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You get the branches\nYou already have those.\n\n> Examine willow\nDense shrubs as tall as you are, blocking your vision and making passage difficult. You're not sure, but the branches seem a little worn to the north.\n\nOverhead, you can see the soft cool light of the rising full moon, illuminated by the last rays of the sun.\n\n> Go north\nSomeone wanted to hide this trail, you think as you push the willows out of the way. You would never have seen it from the trailhead if you hadn't expected it to be here.\n\nFlip flop. Flip flop. Flip flop.\n\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move north, the canyon narrows to a fissure, its walls rising to funnel you in.\n\nYou can see a faded wooden sign here, half hidden among the willows.\n\n> Go south\nFlip flop. Flip flop. Flip flop.\n\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBeside you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You cut the willow\nCutting that up would achieve little.\n\n> Shake willow\nYou give the willow a good shake.\n\n> You eat the willow\n(first taking the willow)\nThat's hardly portable.\n\n> You look up willow in Guide\n(genus Salix)\n\nWillow is a generic name given to an entire family of shrubs that grow in dense clumps near water. They produce catkins, or pussy-willows, in the spring, and cottony seeds later in the year. They have elongated blue-green leaves, many species have hairy twigs. They are a favorite food for the browsing moose.\n\n> Go north\nSomeone wanted to hide this trail, you think as you push the willows out of the way. You would never have seen it from the trailhead if you hadn't expected it to be here.\n\nFlip flop. Flip flop. Flip flop.\n\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move north, the canyon narrows to a fissure, its walls rising to funnel you in.\n\nYou can see a faded wooden sign here, half hidden among the willows.\n\n> Go north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\nAs you step into the icy water, your flipflops come loose and disappear downstream.\n\n> You remove flipflops\nYou step out of your flipflops and pick them up.\n\nYou are now wearing some shorts, a shirt and a pair of leather work gloves.\n\n> Go north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\n> You go to the north-west\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\n> You go west\nYou look longingly at the hot spring, but you wish for the soothing fragrance of eucalyptus, your favorite scent.\n\n> You consult Guide about eucalyptus\nLatin name: Eucalyptus globulus\n\nThere is no official entry in the guidebook for eucalyptus, as it is endemic only to Australia and Tasmania. You don't need a listing for this herb, however, because its pleasant medicinal odor is one of your favorite smells.\n\nThe dipper jumps into the fastest part of the stream, and returns a moment later with a small insect in its bill.\n\n> You go south\nYou can't go that way.\n\nThe dipper flies low to a nearby rock, and curtsies. Then, so fast you almost don't notice, he ducks behind the waterfall and disappears.\n\n> You look at the branches\nTender branches of mountain avens, a leafy herb. If you were vegetarian, they would probably be great to eat.\n\n> You go to the north\nSomeone wanted to hide this trail, you think as you push the willows out of the way. You would never have seen it from the trailhead if you hadn't expected it to be here.\n\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move north, the canyon narrows to a fissure, its walls rising to funnel you in.\n\nYou can see a faded wooden sign here, half hidden among the willows.\n\n> Go north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\n> Go northwest\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\nThe dipper jumps into the water with hardly a splash and walks along the bottom.\n\n> Go northwest\nYou can't go that way.\n\nThe dipper, so fast you almost don't notice, ducks behind the waterfall and disappears.\n\n> You enter the waterfall\nBracing yourself against the sting and the cold, you step through the falls. The cold water fills the rubber bag and the bucket. It also soaks you and your clothes from head to toe.\n\nBehind the waterfall is a narrow space protected from the splashing by a rock shelf overhead. You've barely enough room to stand, half hunched and awkward. Blocking your view southwest is the waterfall, whose icy needles sting when they strike. To the northwest is a watery tunnel leading into the mountain itself.\n\nAt waist-level is a bird's nest on the cliff face among the mosses and ferns, hidden from all eyes but yours. From what you remember, this looks like a dipper's nest.\n\n> Inventory\nYou are carrying:\na paperback\na rubber bag (which is open and full of water)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\n\n> Examine paperback\nIt's a collection of short stories of various genres. There's a tale of a bored diplomat who uses underground means to accomplish his political goals, a haunting story of a man who relives painful moments from his past, a sci-fi thriller about a virtual reality simulation gone bad, a miniature world in need of a good turn, and 23 others. It should make excellent reading.\n\n> You read it\nYou open the collection of short stories, flipping quickly past the contents and the editor's notes. The first story begins:\n\nThe Meteor, the Stone and a Long Glass of Sherbet\n\nAnother day wasted as guest of the Empress, a wretchedly long tour of the breath-taking Boreal Falls, conducted as ever by the Lady Amilia. As if she weren't bad enough, an honour guard of soldiers, their breast-plates red in the setting sun, march ahead of the procession and protect you from seeing anything unrehearsed. It's a dog's life being an Ambassador.\n\nThe story continues, but you close the book until later. A good story is so much better when you can read it straight through. Maybe at the hot spring...\n\n> Up\nYou make it part way up the canyon wall, but lose your grip and slide back down.\n\n> You check your inventory\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\n\n> You look at the bag\nIt's a blue rubber bag, stiff at the mouth, the kind kayakers and water enthusiasts use to keep meals and small equipment dry. At the open end is a plastic buckle.\n\n> Go southwest\nFlip flop. Flip flop. Flip flop.\n\nThe east end of the meadow is rocky, and you make your way carefully when you move. Further east, a granite cliff blocks your way. The remnants of an old mountain trail lead northeast.\n\nFlickering green lights illuminate the north end of the meadow.\n\n> Go west\nFlip flop. Flip flop. Flip flop.\n\nYou are in the middle of a large grassy meadow, bordered by aspens and a few white spruce in all directions. The chill of the coming winter hangs in the moonlit air like a cat waiting to pounce.\n\nFlickering green lights illuminate the north end of the meadow.\n\n> Go south\nFlip flop. Flip flop. Flip flop.\n\nYou stand in the middle of a grove of aspen, which extends in all directions. Slender trunks reach for the sky, silhouetted in the moonlight against the scattered clouds that blow in the evening breeze. Leaves rattle as the winds shift, and here and there one floats to the ground to join others that crackle underfoot when you move. A narrow path disappears east into the trees, and a camping area is visible through a small opening to the west. North is a wide meadow.\n\n> Time\nIt's a little hard to guess the time, as the sun has set. It's getting quite late.\n\n> You go north\nFlip flop. Flip flop. Flip flop.\n\nYou are at the north edge of the large and grassy meadow, bordered by aspen. Fireweed grows at the base of the trees, pink blooms withered and gone to seed.\n\nHundreds of fireflies fill the air, each a momentary pinpoint of light that moves and flashes in its own rhythm. They surround you, silently sending signals to others of their kind, a cold green glow that lights up the corners of the meadow. To the east, the full moon sits above the trees.\n\n> You look at fireflies\nHundreds of fireflies fill the air, each a momentary pinpoint of light that moves and flashes in its own rhythm. They surround you, silently sending signals to others of their kind, a cold green glow that lights up the corners of the meadow.\n\n> You open the jar\nYou start to give the lid a simple twist when you realize it is rusted on tight. Using all your strength, you try again with no better result.\n\n> Break jar\nThe glass jar shatters into hundreds of tiny fragments.\n\n> Inventory\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na handful of washers\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\na pair of flipflops\n\n> You look at the jar\nIt's a canning jar, the kind your grandmother used for homemade rhubarb jam and peach preserves. It has a screw-on lid, and the word \"Ball\" is molded in script on the side.\n\nThe glass canning jar contains a handful of washers.\n\n> You look at the bag\nIt's a blue rubber bag, stiff at the mouth, the kind kayakers and water enthusiasts use to keep meals and small equipment dry. At the open end is a plastic buckle.\n\n> You put the bag on the jar\nThat's too big to fit in the glass canning jar.\n\n> You examine the buckle\nThis buckle is at the open end of the rubber bag, and is made of black plastic.\n\n> Wear bag\nYou can't wear that!\n\nOverhead, you can see the soft cool light of the full moon.\n\nThe fireflies blink, their green light illuminating the air around you.\n\n> You wear the gloves\nYou wander a bit into the forest, but directions are confusing, and you stop for fear of losing your way.\n\nYou're already wearing those!\n\n> Go inside\nFlip flop. Flip flop. Flip flop.\n\nThe inside of Bob's cabin is spartan but comfortable, lit by a single kerosene lamp and a fire that burns in the stone fireplace that forms the north wall of the cabin. The open door and one window look out onto the moonlit property of the homestead.\n\nYou can see Bob here, engrossed in a hardback book.\n\nYou can also see a pile of ashes here.\n\nYou watch him reading, the kerosene lamp burning brightly above his head.\n\n> You get the lamp\n(the kerosene lamp)\nThe kerosene lamp belongs to Bob, and you decide to leave it alone.\n\nBob sits quietly engrossed in a hardcover novel.\n\n> You give you the the lamp\n(the kerosene lamp)\nBob just looks at you and shrugs. \"If you see that around, just help yourself,\" he mutters.\n\n> You get the lamp\n(the kerosene lamp)\nThe kerosene lamp belongs to Bob, and you decide to leave it alone.\n\nBob shifts in his chair, finding a more comfortable position, but doesn't even look up.\n\n> You give the jar to Bob\nHe gives the lid a twist with such force that you're sure the jar will break. Suddenly, it comes off. \"That's a tough one. Must have rusted shut,\" he remarks. Then he puts more than a dozen holes in the lid of the jar and hands them back to you. \"There you go. That should do it.\"\n\n> You ask Bob about the eucalyptus\n\"My wife used to love the smell of eucalyptus more than anything else on the planet. She'd put those leaves everywhere, and the whole house would smell like medicine.\"\n\n> You ask Bob about leaves\n\"Leaves on all of the trees and all over the ground.\"\n\n> You get the fireflies\nYou wait for just the right moment, when one of the insects is illuminated and near enough to reach. It's a matter of waiting for the blink, then taking a few steps closer, then waiting again. One at a time, you capture about a dozen of the luminous creatures.\n\n> You close jar\nYou screw the lid onto the jar.\n\n> You eat the fireflies\nThey might be better dipped in chocolate.\n\n> You put the fireflies in the jar\nThe glass canning jar is closed.\n\n> You put the fireflies in the jar\nYou open the glass canning jar.\nYou put the fireflies into the glass canning jar.\n\n> You check what you're carrying\nFireflies fill your glass jar, their eerie green light blinking and illuminating everything around you.\n\nIn addition to the fireflies, the jar contains a handful of washers.\n\nYou are carrying:\na paperback\na rubber bag (which is open but empty)\na glass canning jar (which is closed)\na mason's brick\na spruce walking stick\neight ripe blackberries\nsome picked avens\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\n\nIn addition, you are wearing:\nsome shorts\na shirt\na pair of leather work gloves\na pair of flipflops"
    },
    {
        "text": "> Go downwards\nFlip flop. Flip flop. Flip flop.\n\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\nThe moose breaks into a trot, head lowered directly at you, and rapidly closes the distance.\nThe moose follows you to the edge of the canyon and watches as you scramble down. The trail is steep, and you slide to the bottom. Those silly flipflops don't help, and you nearly come out of them.\n\nFlip flop. Flip flop. Flip flop.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\n> Go north\nSplish splash. Splish splash. Splish splash.\n\nThe canyon rim trail descends, clinging tightly to the stone wall, then disappears entirely as the rocks converge. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\nAs you step into the icy water, your flipflops come loose and disappear downstream.\n\nThe American Dipper emerges from below the surface of the stream and stands, bobbing in place, at its edge.\n\n> You put the jar in the bag\nYou put the glass canning jar into the rubber bag.\n\n> You put the shirt in bag\n(first taking it off)\n\nYou fumble with your shirt, but the gloves are in the way. After those come off, the shirt is easy. Up and over your head it goes.\n\nYou are now wearing only some shorts.\nYou put the shirt into the rubber bag.\n\n> You put the shorts in the bag\n(first taking them off)\n\nYou remove your shorts.\n\nYou are now completely naked.\nYou put the shorts into the rubber bag.\n\n> You get the gloves\nYou already have those."
    },
    {
        "text": "> You look in the bag\nThe rubber bag contains some shorts and a shirt.\n\n> You get the shorts and the shirt\nshorts: Taken.\nshirt: Taken.\n\n> You put the jar and the book in the bg\nWhich do you mean, the paperback or the guidebook?\n\n> You put the jar and the paperback book in bag\nglass canning jar: Done.\npaperback: Done.\n\nOverhead, you can see the soft cool light of the full moon.\n\nThe fireflies in your glass canning jar blink, their green light illuminating the air around you.\n\n> Close bag\nYou close the waterproof bag, folding and buckling the top.\n\n> Go northwest\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\nThe dipper jumps into the fastest part of the stream, and returns a moment later with a small insect in its bill.\n\n> You drop the gloves and the shirt and the shorts\nleather work gloves: Dropped.\nshirt: Dropped.\nshorts: Dropped.\n\nThe American Dipper emerges from below the surface of the stream and stands, bobbing in place, at its edge.\n\n> You go behind the waterfall\nBracing yourself against the sting and the cold, you step through the falls. The cold water fills the bucket. It also soaks you from head to toe.\n\nBehind the waterfall is a narrow space protected from the splashing by a rock shelf overhead. You've barely enough room to stand, half hunched and awkward. Blocking your view southwest is the waterfall, whose icy needles sting when they strike. To the northwest is a watery tunnel leading into the mountain itself.\n\nAt waist-level is a bird's nest on the cliff face among the mosses and ferns, hidden from all eyes but yours. From what you remember, this looks like a dipper's nest.\n\n> You open the bag\nYou open the rubber bag.\nThe rubber bag contains a paperback and a glass canning jar, inside which are some fireflies and a handful of washers.\n\n> Go northwest\nSplish splash. Splish splash. Splish splash.\n\nYour eyes slowly adjust to the darkness to reveal a tunnel filled with icy water. The walls are cold and wet, and close in as you move deeper, blocking the little light that bounces in from the opening southeast. A cold breeze blows in your face from the west, but you can see nothing in that direction.\n\nAs you move into the darkness, an eerie green glow emanates from your glass canning jar. The fireflies inside blink their cold light, each at its own timing, and the flickering casts shadows on the wall of the tunnel you travel.\n\n> You go to the west\nSplish splash. Splish splash. Splish splash.\n\nStrange shapes surround you, shadows moving quickly along the walls. The effect is amplified by the uneven and blinking green light from the fireflies in your glass canning jar. Stalactites hang and stalagmites climb, occasionally making thin columns that join the floor to the ceiling. A small pool of dark water collects drops from above, echoing in the eerie quiet. Your eyes survey the room, but the only way out is east.\n\nA banquet of your favorite hors d'oeuvres has been set out in a large wicker basket.\n\n> You examine basket\nIt's a large wicker basket with a handle on either side.\n\n> You look in it\nThe basket is not important.\n\nThe constant icy draft gives you a penetrating chill.\n\n> You open the basket\nPapaya and pineapple and starfruit and plums. There are wheat crackers with Cheddar, Swiss, and Queso Manchego cheeses. There is a bowl of hummus and another of tzatziki. A bottle of Piesporter Goldtropchen sits to the side, chilling in the icy pool.\n\nThe basket is not important.\n\n> You eat the hors\n(first taking the banquet)\nOne item at a time, you collect the foods.\n\nThe sounds of your footsteps as you shuffle about echo against the walls of the cavern.\n\n> You eat the starfruit\nYou sample the meal, but as good as it is, you'd rather save it for the hot spring."
    },
    {
        "text": "> Look around\nStrange shapes surround you, shadows moving quickly along the walls. The effect is amplified by the uneven and blinking green light from the fireflies in your glass canning jar. Stalactites hang and stalagmites climb, occasionally making thin columns that join the floor to the ceiling. A small pool of dark water collects drops from above, echoing in the eerie quiet. Your eyes survey the room, but the only way out is east.\n\n> You go to the east\nSplish splash. Splish splash. Splish splash.\n\nYou are in a dark tunnel filled with icy water. The walls are cold and wet, and move apart as you head southeast toward the light. The cold wind from the cavern to your west blows against your back.\n\n> You get all from the bag\nRemoved.\n\n> You put hors in the bag\nYou carefully place all the food into the blue rubber bag. It's a snug fit, but the bag should still close.\n\n> Close bag\nYou close the waterproof bag, folding and buckling the top.\n\n> Go southwest\nBracing yourself against the sting and the cold, you step out through the falls. The cold water fills the bucket. It also soaks you from head to toe.\n\nSplish splash. Splish splash. Splish splash.\n\nFerns and mosses of luscious green hang from the walls of this cozy grotto into which a misty waterfall plunges some 60 feet. Spray fills the air to mix with the wall of rising steam from the west, almost hiding the thermal waters of the hot spring. A narrow fissure leads through a crack in the rocks to the southeast.\n\nYou can see some shorts, a shirt and a pair of leather work gloves here.\n\n> You go to the west\nYou look longingly at the hot spring, but you wish for the soothing fragrance of eucalyptus, your favorite scent.\n\nThe dipper, so fast you almost don't notice, ducks behind the waterfall and disappears.\n\n> You go south\nYou can't go that way.\n\nThe American Dipper emerges from below the surface of the stream and stands, bobbing in place, at its edge.\n\n> Go southeast\nYou gather your clothes as you leave the grotto, and are now wearing some shorts and a shirt.\n\nSplish splash. Splish splash. Splish splash.\n\nThe way is narrow here, walls of rising stone to either side, and water pours in behind you. You have no choice but to wade, the current swift and powerful. Overhead, a small slice of the sky is visible between the two cliff faces, covered with ferns that thrive in the dark moist environment here. The crevice runs northwest to south.\n\n> You go south\nThe willows are stronger than your will in that direction.\n\n> You enter the trolley\nYou climb into the trolley which swings and bounces unnervingly.\n\n(First putting on the leather work gloves)\nYou pull on the cable and the car slowly moves away from the tower and over the edge of the gulch. As the ground drops away, your stomach nearly goes with it, the bouncing and swaying of the trolley exaggerating the feeling of height. Hand over hand you pull, and eventually find yourself at the other side.\n\nYou get out of the trolley.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBehind you, a trolley sits suspended from a steel cable.\n\n> You go east\nThat would be a long drop down into the canyon.\n\n> You open the bag\nOpening the bag reveals the meal that you so carefully protected. What a classy bather you are.\n\n> You get the food\nOne item at a time, you collect the foods.\n\n> You hide\nWhat do you want to hide in?\n\n> You hide in the bag\nThat's not something you can enter.\n\nThe bull moose, sensing your indecision, moves quickly, lifts you with an antler, and tosses you easily onto the sharpest boulder in sight.\n\n> You hide behind the boulder\nYou scramble in amongst the pink boulders, almost losing an ankle in one of the many holes. The rocks are cold and uncomfortable, and the one directly below you shifts with an unsettling clunk as you adjust your weight.\n\nWith a snort and a shake of his big head, the bull moose turns and disappears down the road. You notice your hands are trembling.\n\n> You stand\nYou scramble out of your hastily chosen refuge in the rocks.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You look at the vegetation\nWeeds and trees grow where vehicles once traveled.\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\nThe pika returns along the center path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> Examine leaves\nThe leaves the pika carried were small and round and quite unlike any you have noticed in the area.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You search the rocks\nThe pika has hidden them and you can't see where.\n\nThe pika runs down the left path and disappears into the vegetation.\n\nYou search through the rocks, but can't find where the pika goes.\n\nOverhead, you can see the soft cool light of the full moon.\n\nThe fireflies in your glass canning jar blink, their green light illuminating the air around you.\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\nThe pika returns along the right path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You get the leaves\nThe pika has hidden them and you can't see where.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You show the herbs to the pika\nThe pika looks at the picked avens but fears to approach you.\n\n> You drop the herbs\nDropped.\n\n> Search pile\nYou search through the rocks, but can't find where the pika goes.\n\nThe pika returns along the left path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You show the aven to the pika\nThe pika looks at the picked avens but fears to approach you.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You hide behind the boulder\nYou scramble in amongst the pink boulders, almost losing an ankle in one of the many holes. The rocks are cold and uncomfortable, and the one directly below you shifts with an unsettling clunk as you adjust your weight.\n\nThe pika runs down the left path and disappears into the vegetation.\n\n> You wait\nTime passes.\n\nThe pika returns along the right path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You look up owl\n(in the guidebook)\nLatin name: Strix nebulosa\n\nThe great gray owl is the largest North American owl with a length of 27 inches. It has heavily ringed facial discs and yellow eyes. The great gray lacks the ear tufts that some other owls, including the great horned, have. It inhabits dense coniferous forests, wooded bogs, boreal forests, and meadows of northern and western Canada, with a narrow extension of its range down into California and Montana. It is chiefly nocturnal, but will hunt by day during the summer in the northern part of its range.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You look up kingbird\n(in the guidebook)\nLatin name: Tyrannus tyrannus\n\nThe eastern kingbird is a flycatcher, hunting insects on the wing. It has a large head, whiskers, and a broad-based flat bill. Its head is black, with a gray back and white underparts. They are common in woodland clearings and are often seen near water. They range throughout most of North America north of Mexico.\n\n> You get on the boulder\nBut you're already in the boulders.\n\nThe pika returns along the center path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You look at the path\nWhich do you mean, the left path, the center path or the right path?\n\n> Center\nOnly a few inches wide, tiny feet have worn this pathway that winds through the rocks and vegetation. Sometimes disappearing completely, it reappears again farther on.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You follow the pika\nYou can see the pika right here.\n\n> You examine the pink boulder\nYou need to be holding the picked avens before you can put them on top of something else.\n\nThe pika runs down the center path and disappears into the vegetation.\n\nThe boulders are half as large as you and made of a pink granite that is covered with lichens of various colors. Meager handholds and small crevices barely large enough for fingers mar the surfaces of the larger rocks. Nearly hidden amongst the stones are several tiny pathways.\n\n> You get aven\nTaken.\n\nThe pika returns along the left path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You put the aven on the center\nYou put the picked avens on the center path.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You wait for a while\nTime passes.\n\nThe pika starts down the center path, grabs the herbs crosswise in his teeth, and returns to hide them in the rock pile.\n\n> You get the pika\nI don't suppose the pika would care for that.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> Go south\n(first scrambling out of the pile of rocks)\n\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\nAn abandoned dirt road ends here, as the trees abruptly close in and block further passage west. The road heads up the mountain to the east, and through the trees to the south, you can see a log cabin.\nYou can't see any such thing.\n\n> Go east\nThis old gravel road hasn't been used in years. Weeds and small trees grow up through the right of way, and it would be difficult but not impossible to move further west. The way south is relatively clear.\n\nSmall bunches of herbs grow along the side of the roadway.\n\n> Go south\nYou pick a few of the tender herbs.\n\nYou are at the edge of a large field of pink granite boulders. Lichens in various colors pattern the rocks. A narrow gravel road, overgrown with weeds, leads off into the distance to the north. You could also scramble down into the canyon where a fast-moving stream rumbles and flows.\n\n> You put the herbs on the center\nYou put the picked avens on the center path.\n\nThe pika starts down the center path, grabs the herbs crosswise in his teeth, and returns to hide them in the rock pile.\n\n> You wait for a while\nTime passes.\n\nThe pika runs down the left path and disappears into the vegetation.\n\n> You put the herbs on the left path\nYou put the picked avens on the left path.\n\n> Wait\nTime passes.\n\nThe pika returns along the right path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> Search pile\nTaken.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\nYou search through the rocks, but can't find where the pika goes.\n\n> You put avens on the boulder\nYou put the picked avens on one of the nearby boulders.\n\nThe pika moves quickly along the tops of the boulders, grabs the herbs crosswise in his mouth, and returns to hide them in the rock pile.\n\n> Inventory\nYou are carrying:\nsome picked avens\na banquet\na paperback\na glass canning jar (which is closed)\na rubber bag (which is open but empty)\na mason's brick\na spruce walking stick\neight ripe blackberries\na matchbook (which is open)\na match\na scrap of paper\na bucket (which is full of water)\na note\na guidebook\na pair of flipflops\n\nIn addition, you are wearing:\na pair of leather work gloves\nsome shorts\na shirt\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> Examine left\nOnly a few inches wide, tiny feet have worn this pathway that winds through the rocks and vegetation. Sometimes disappearing completely, it reappears again farther on.\n\n> You search it\nThere is nothing on the right path.\n\nThe pika returns along the center path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You burn pika\nViolence isn't the answer to this one.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> Neep\nYou scramble in amongst the pink boulders, almost losing an ankle in one of the many holes. The rocks are cold and uncomfortable, and the one directly below you shifts with an unsettling clunk as you adjust your weight.\n\nThe pika shifts his gaze to look at you, but fears to approach.\n\nThe pika runs down the left path and disappears into the vegetation.\n\n> Shift boulder\nYou are unable to.\n\n> You move it\nYou are unable to.\n\nThe pika returns along the right path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You look at boulder\nThe boulders are half as large as you and made of a pink granite that is covered with lichens of various colors. Meager handholds and small crevices barely large enough for fingers mar the surfaces of the larger rocks. Nearly hidden amongst the stones are several tiny pathways.\n\nThe pika runs down the center path and disappears into the vegetation.\n\n> You search the vegetation\nWeeds and trees grow where vehicles once traveled.\n\nOverhead, you can see the soft cool light of the full moon.\n\nThe fireflies in your glass canning jar blink, their green light illuminating the air around you.\n\n> Neep\nThe pika shifts his gaze to look at you, but fears to approach.\n\nThe pika returns along the left path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You put the berry in the center path\nThat can't contain things.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You put the aven in the bucket\nSome of the water in the bucket spills out to make room for the picked avens.\n\n> You drop the bucket\nYou drop the bucket at your feet.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You wait\nTime passes.\n\nThe pika returns along the center path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You put the berry on the center path\nYou put the ripe blackberry on the center path.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> You get it\nTaken.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You get the herbs\nTaken.\n\nThe pika returns along the center path carrying a bunch of mountain avens and a few unusual leaves crosswise in his mouth, which he quickly hides in the boulder pile.\n\n> You examine center path\nOnly a few inches wide, tiny feet have worn this pathway that winds through the rocks and vegetation. Sometimes disappearing completely, it reappears again farther on. On the center path is a ripe blackberry.\n\nThe pika dashes to the top of a nearby pink boulder, pauses, and lets out a loud \"neep!\"\n\n> Wait\nTime passes.\n\nThe pika runs down the right path and disappears into the vegetation.\n\n> You put the herbs on center path\nYou put the picked avens on the center path.\n\n> Wait\nTime passes.\n\nThe pika returns along the center path, his mouth stuffed to overflowing with vegetation. Seeing the tender herbs, he stops to pick them up, dropping something behind in the center path as he goes.\n\n> You get the leaves\nYou gather the four small leaves.\n\n> Smell leaves\nThe leaves smell wonderfully like eucalyptus, slightly medicinal and quite soothing. They would be perfect in a bath."
    },
    {
        "text": "[Themes: Travel, Slice of life, nature, conversation]\n\n> Go downward\n(first scrambling out of the pile of rocks)\nThe trail is steep, and you slide to the bottom.\n\nYou're on a shelf overlooking a small canyon, apparently carved by the nearby stream and 20 or 30 feet deep. A rocky path enters from the west beside a tangle of blackberries, and dead ends at a ledge overlooking the stream below. Above you, granite walls continue to rise, the pink stones a beautiful contrast to the clear blue sky. An animal trail leads up, too steep to walk, but you might be able to make it in a scramble.\n\nBeside you, a trolley sits suspended from a steel cable.\n\n> You enter the trolley\nYou climb into the trolley which swings and bounces unnervingly.\n\nYou pull on the cable and the car slowly moves away from the tower and over the edge of the gulch. As the ground drops away, your stomach nearly goes with it, the bouncing and swaying of the trolley exaggerating the feeling of height. Hand over hand you pull, and eventually find yourself at the other side.\n\nYou get out of the trolley.\n\nThis beautiful spot is a staging area for many ventures into the mountains, as evidenced by the national forest sign before you. A dense thicket of willow surrounds the landing. A wooded trail heads southeast.\n\nBehind you, a trolley sits suspended from a steel cable.\n\nYou can see a national forest trail sign here.\n\n> You go to the north\nSomeone wanted to hide this trail, you think as you push the willows out of the way. You would never have seen it from the trailhead if you hadn't expected it to be here.\n\nRugged and narrow, the ledge you walk follows the rim of the canyon north and south. Below, you see and hear the roaring stream as it makes its way south and turns a corner. As you move north, the canyon narrows to a fissure, its walls rising to funnel you in.\n\nYou can see a faded wooden sign here, half hidden among the willows."
    },
    {
        "text": "[Themes: Travel, Slice of life, sexual content, memorable NPC, complex NPC, animals]\n\n> You go to the west\nYou seem a bit overdressed for a dip in a hot spring.\n\n> You drop the clothes\nflipflops: Dropped.\n\nThe dipper jumps into the water with hardly a splash and walks along the bottom.\n\n> You drop the shorts\nYou remove your shorts, stepping slowly out of them.\n\nYou are now wearing a pair of leather work gloves and a shirt.\n\n> You drop the shirt\nYou fumble with your shirt, but the gloves are in the way. After those come off, the shirt is easy. Up and over your head it goes, and drops at your feet.\n\nYou are now completely naked.\n\n> You wear the gloves\n(first taking the leather work gloves)\nYou put on the leather work gloves.\n\n> You wear flops\n(first taking the flipflops)\nYou put on the flipflops.\n\n> You drop the flops\nYou step out of your flipflops.\n\nYou are now wearing only a pair of leather work gloves.\n\n> You drop the gloves\n(first taking the leather work gloves off)\nYou take off the leather work gloves.\nDropped.\n\n> You go west\nSplish splash. Splish splash. Splish splash.\n\nThere is nothing on this planet more pleasant than an outdoor bath in a 104 degree pool. Steam surrounds you in an ethereal massage. Tufa deposits line the steep walls behind you and brilliant green algae decorate the rock where the spring trickles in. A few bubbles and a small current rise from the depths, massaging your tired body in all the right places.\n\nYou soak for a few minutes, and wish for the soothing fragrance of eucalyptus, your favorite scent.\n\n> You put the leaves in the pool\nThe leaves wilt and disappear, leaving the aroma of eucalyptus to hover in the air. It's relaxing and wonderful.\n\nYou lean back to relax and close your eyes. The water is just perfect. The smell is heavenly and eucalyptus always was your favorite. The bubbles play over your body, and the food! What a banquet.\n\nYou open your eyes with a start. Through the steam you see motion, a shape coming closer. The vapor still obscures his features, but the movements are as familiar to you as your own."
    },
    {
        "text": "[Themes: Slice of life, Travel, sexual content, animals, nature, conversation, female protagonist]\n\n> Go west\nSplish splash. Splish splash. Splish splash.\n\nThere is nothing on this planet more pleasant than an outdoor bath in a 104 degree pool. Steam surrounds you in an ethereal massage. Tufa deposits line the steep walls behind you and brilliant green algae decorate the rock where the spring trickles in. A few bubbles and a small current rise from the depths, massaging your tired body in all the right places.\n\nThe bird flies quickly downstream, dodging rocks and roots, and disappears.\n\nYou soak for a few minutes, and wish for the soothing fragrance of eucalyptus, your favorite scent.\n\n> You eat the food\nWhat a pleasure! Hors d'oeuvres and wine in a real hot spring! And there's so much left.\n\n\"Hey, hon. Glad to see you found it. Sorry I couldn't be here sooner,\" he says, as he steps near the pool. \"You're more beautiful every time I look at you. I always seem to forget.\" His smile widens.\n\nAnd then, so slowly at first that you aren't even sure when you notice, you become aware of the sounds around you. The bubbling of the hot spring. The relentlessly happy sounds of a robin in the distance. The soothing murmur of the stream as it flows over the worn stones that line its bed. \"I love the noises here, the music of the wilderness,\" he comments, as if reading your thoughts. \"And this little spring is completely private, I've taken care of that.\" With a wink, he steps toward you.\n\nIn anticipation, you wait, the memories coming back in a flood. The trips together, weekend after weekend. The good friends and all the happy times. Slowly, deliberately, he starts to undress. And as many times as you've seen this, you can't help but watch. Each garment comes off to drop at his side, his clothes on yours. The last one removed, he smiles and steps into the pool.\n\nYour mind swirls like the water around you. He snuggles up close and takes your hand. All the tension goes, all the stress and frustrations leave. Gently, slowly, he takes you completely in his arms and pulls you near, your head to his chest, your body against his.\n\n> You wait awhile\nTime passes.\n\nYou soak for a few minutes, and wish for the soothing fragrance of eucalyptus, your favorite scent.\n\n> You read the book\nYou open the collection of short stories, flipping quickly past the contents and the editor's notes. The first story begins:\n\nThe Meteor, the Stone and a Long Glass of Sherbet\n\nAnother day wasted as guest of the Empress, a wretchedly long tour of the breath-taking Boreal Falls, conducted as ever by the Lady Amilia. As if she weren't bad enough, an honour guard of soldiers, their breast-plates red in the setting sun, march ahead of the procession and protect you from seeing anything unrehearsed. It's a dog's life being an Ambassador.\n\nThe story continues, and you turn the page. There's nothing like a good book at a hot spring.\n\nYou soak for a few minutes, and wish for the soothing fragrance of eucalyptus, your favorite scent.\n\n> Xyzzy\nYou feel an indescribable sense of deja vu, and the world seems to turn inside out.\n\nThis is a long east-west hallway, dark and featureless. Smooth black walls line the way, disappearing into the inky stillness to the west. East, a small rectangle of light hovers in the distance.\n\nHere in the darkness, an eerie green glow emanates from your glass canning jar. The fireflies inside blink their cold light, each at its own timing, and strangely, there are no shadows at all.\n\n> Inventory\nYou are carrying:\na banquet\na paperback\na glass canning jar (which is closed)\na rubber bag (which is open but empty)\n\nYou are completely naked.\n\n> You go to the west\nYou move west, into the inky blackness, the darkness so thick, you can almost feel it. The air prickles with the energy of the past. When the feeling subsides, you find yourself back where you began...\n\nThere is nothing on this planet more pleasant than an outdoor bath in a 104 degree pool. Steam surrounds you in an ethereal massage. Tufa deposits line the steep walls behind you and brilliant green algae decorate the rock where the spring trickles in. A few bubbles and a small current rise from the depths, massaging your tired body in all the right places.\n\nThe aroma of eucalyptus hovers in the air.\n\nYou can see your husband here.\n\n\"Hey, hon. Glad to see you found it. Sorry I couldn't be here sooner,\" he says, as he steps near the pool. \"You're more beautiful every time I look at you. I always seem to forget.\" His smile widens.\n\nAnd then, so slowly at first that you aren't even sure when you notice, you become aware of the sounds around you. The bubbling of the hot spring. The relentlessly happy sounds of a robin in the distance. The soothing murmur of the stream as it flows over the worn stones that line its bed. \"I love the noises here, the music of the wilderness,\" he comments, as if reading your thoughts. \"And this little spring is completely private, I've taken care of that.\" With a wink, he steps toward you.\n\nIn anticipation, you wait, the memories coming back in a flood. The trips together, weekend after weekend. The good friends and all the happy times. Slowly, deliberately, he starts to undress. And as many times as you've seen this, you can't help but watch. Each garment comes off to drop at his side, his clothes on yours. The last one removed, he smiles and steps into the pool.\n\nYour mind swirls like the water around you. He snuggles up close and takes your hand. All the tension goes, all the stress and frustrations leave. Gently, slowly, he takes you completely in his arms and pulls you near, your head to his chest, your body against his."
    },
    {
        "text": "[Themes: religious, biblical, Historical, Christianity, religion]\n\nAre you sure you want to quit? \n\n\n\nThis account of the wedding at Cana, by the servant Micah, was considered apocryphal as early as the third century; it was therefore excluded from consideration at the Synod of Hippo in AD 393. Various surviving texts, notably the writings of Julius of Damascus and of Nestor of Nice, suggest that the account was a late fiction based on the relevant verses in the Gospel of John, intended perhaps as instruction to the faithful.\n\nOf particular interest is the fact that the account was written in the second person, and in liturgical Hebrew instead of the more common Greek or Aramaic of the time. This latter point implies that \"Micah\" is not a lowly servant as described in the story, but a mouthpiece, a fictional character through which the actual author -- a much more learned person who might or might not be named Micah -- might speak; whereas the former point supports the hypothesis of Nestor of Nice that the author's primary intention was to engage the reader in the action of an already-existing story, rather than to present an actual eyewitness account.\n\nBe that as it may, it is hoped that this translation will prove to be as edifying to the modern scholar as its original author, whoever that might be, had intended.\n\n- Rev. Dr. Stephen Dawson\nBarchester, AD 1893\n\n\"There's no more wine.\"\n\nYou straighten up and turn to look at Amos, the head steward. Outside the kitchen, the wedding party continues in full swing. Inside, you look at Amos and Amos looks back at you and the disaster looms over both of you. No more wine! What would the master say! For that matter, what would a courtyard full of friends and relatives from all over Judaea say!\n\nMartha (technically one of the guests, but she insisted, as usual, on helping out in the kitchen) interrupts your growing horror to point out that one of the wine jugs is missing. \"You should try to find it. If we're lucky, there'll be enough wine in it to buy us a little more time.\"\n\n\"A little more time? Time for what?\"\n\n\"Time to get to the market and back, of course. It's late, but hopefully there'll be one wine merchant still hanging about. Amos, get a donkey and a small cart, and be quick about it.\" Amos scurries off to do as he's told, and Martha turns to you: \"And Micah, you see if you can find that missing jug!\"\n\nMartha hurries off after Amos, through the back garden, avoiding the other guests and leaving you with your half of the mission. Where on earth could that missing wine jug be? As you consider the possible hiding places, you notice a flash of red hair disappearing out the doorway into the courtyard. Just your luck: it's the little orphan brat that Martha and her brother and sister adopted, the one who's been getting underfoot all evening and who's probably heard everything. Hopefully she'll have enough sense to not tell the whole world that you're out of wine. Hah, you should be so lucky.\n\n(Readers unfamiliar with the conventions of Interactive Fiction should type \"HELP\" for further information.)\n\nTranslated from the Hebrew by Rev. Dr. Stephen Dawson\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nExcept for you and Amos, because you're both ever so reliable, all the other servants have been given leave to go get some rest after the preparations earlier; no-one was expecting a sudden emergency to crop up before it came time to wash the dishes.\n\nAll the actual food has been served, except for a plate of honeyed locusts that sits untemptingly nearby, unsurprisingly untouched.\n\n[Author's Note: Being an account of the wedding at Cana, by the servant Micah; in which further details, doubtlessly apocryphal, are given of the event, including his contention with a surly Baptist, an interfering orphan, and a proliferation of women named Mary.]"
    },
    {
        "text": "> You take the plate\nTaken.\n\n> About you\nYour name is Micah, and you are a servant in the household of the family of Clopas.\n\n> You check your inventory\nYou are carrying:\na plate of honeyed locusts\n\n> You go to the south\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n\"Hey, mister!\" Little Anna trots up to you. \"Is it true that there's no more wine? I saw Martha and Amos get into the cart with the donkey and they rode off in such a hurry. Martha said you were going to find a missing jug of wine and maybe that would help. Can I help? Just say the word, sir!\"\n\nHeaven help us.\n\n> Yes\nThat was a rhetorical question.\n\n> You say yes\n(to Little Orphan Anna)\nLittle Anna has entirely too much to say about that, none of it even remotely useful.\n\n> You ask Anna about the wine\n\"I think I saw John, the Rabbi's son, sneaking away from the courtyard with a jug of wine earlier, before the feast actually started.\"\n\n> You ask Anna about John\n\"I think John is Lazarus's brother, but not a close brother. I mean his parents are totally different people. I wish there were a word for brothers and sisters who aren't actually your brothers and sisters, don't you? Anyway, Mary likes to listen to him, and Lazarus likes to argue with him, but Martha says he ought to clean himself up and marry a nice, respectable girl and settle down. She says he lives out in the wilderness and eats honey and locusts every day, which can't be healthy, but I guess he must like it or he wouldn't do it. Or maybe he's so busy talking he forgets to eat -- his father's the same way.\"\n\nYou hear the guests chattering on: \"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> You ask Anna about Lazarus\n\"Martha worries about him because he's not very strong, but he's very smart. Everybody says he's going to be High Priest some day, if he lives long enough. They don't say that last part to his face, of course, and both Martha and Mary get very upset when they hear it.\nThey say it's bad luck, but Lazarus says that if his time comes early, then that's just the way it is.\"\n\n> Go north\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\n> You go to the northeast\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nYou can see Little Orphan Anna here.\n\n> You take the figs\nYou pick a fig and eat it. Yum.\n\n> You examine the fig trees\nThe fig trees have been planted a little too close together here.\nTheir branches spread and interlace overhead, drenching the space between them in shadows.\n\n> You go southeast\nAs you turn to leave, you hear what sounds like a lion's roar, followed by a slight rustle of leaves. It takes you a few moments to recognise the roar as merely the rumble of an empty stomach. Be that as it may, there's clearly someone hiding here.\n\n> You search the trees\nYou poke about the trees, searching for the intruder, but he's too stealthy for you. Anyway, do you really want to meet up with this person, alone (small orphan girls don't count) out here in the dark?\n\n> You drop the plate\nYou carefully set down the plate of ... food.\n\n> You hide\nAs you walk away from the plate of honeyed locusts, you hear some distinctly interested rustling in the bushes nearby. You quickly duck behind one of the fig trees and wait. A minute later, the rather unkempt form of John -- the Rabbi's son, no less -- slinks out of the shadows and descends upon the honeyed locusts. (Better him than you, mate.)  More interesting is the fact that he's washing down the \"food\" with deep quaffs from the missing wine jug.\n\n\"Hullo, John,\" you say, stepping out of the shadows.\n\nJohn only sighs and wipes his mouth on his sleeve. \"Why don't you leave me alone.\"\n\n> You ask John about the jug\n\"Mine. Hands off.\"\n\n> You take the wine\nJohn clutches the jug closer to himself and snarls, \"hands off! Mine!\"\n\n> You ask John about Lazarus\n\"Such a good boy, that Lazarus,\" says John, a little bitterly. \"Well, we all have our roles to play, and he'll play his soon enough. Far be it for me to envy him his lot.\"\n\n> You ask John about Mary\nWho do you mean, the bride, Mary of Bethany or Mary of Nazareth?\n\n> Bride\nJohn frowns. \"She seems nice enough, but I seem to recall some rather odd business involving a candle and a mirror, and....\" John stops suddenly and shakes his head. \"No, wait, that's a different Mary.\nYour new mistress is a fine and honourable woman, and your master is fortunate indeed to have her.\"\n\n> You take plate\nThat seems to belong to John.\n\n> You ask John about the locusts\n\"What? I happen to like honeyed locusts. Don't knock 'em till you've tried 'em.\"\n\n> You ask John about the Father\n\"Father wanted me to make an appearance. That's the only reason I'm here at all.\"\n\n> You ask John for the wine\nJohn has better things to do.\n\n> You ask John about Martha\n\"That woman wants to be everyone's mother. I swear, she could subdue a dragon with her fussing.\"\n\n> You go to the south-east\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You look at alcove\nIn the alcove are some jars and a bucket.\n\n> You examine the jars\nThere are six large jars in the alcove, placed there so the guests may wash the dust from their feet after the long journey to get here. All that splashing about has left each of them about half-full.\n\n> You look at the bucket\nThis is the bucket used to carry water from the village well to the house. It's larger than average, but at least that means not having to make quite so many trips back and forth when filling up all those jars in the entryway. Currently, the bucket is empty.\n\n> You take the bucket\nTaken.\n\n> You go east\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n> You look at the bridesmaid\nYou recognise her as one of the bridesmaids who'd been arranged for the wedding. She wasn't actually at the wedding, though: Clopas was running a little late, and a bunch of the bridesmaids, including this one, had to run off to the market to replenish the oil in their lamps when he finally arrived. These bridesmaids missed the wedding altogether as a result, and you thought they'd all gone home. Apparently one of them, at least, is still hanging around.\n\n> You ask the bridesmaid about the oil\nUnfortunately, the ancient mariner appears to have the bridesmaid's whole and unwilling attention.\n\n> You look at the mariner\nThis is a pitiful old beggar who's been hanging around town lately. He's a former sailor, apparently, and they say he's possessed, but it's just as likely that he's spent a little too much time in the sun with his head uncovered. Either way, you know better than to sit down and let him tell you any of his interminable seafaring stories.\n\n\"There passed a weary time ... a weary time! a weary time!\" the old sailor mumbles.\n\n\"I can well imagine,\" mutters the bridesmaid, with a glazed and weary eye.\n\n> Hello sailor\n\"Shalom.\"\n\n\"...and all that time, it hung there, a reminder of my sin, and I would have given a whole herd of goats as a sin offering if I could....\"\n\n> You ask the mariner about the albatross\nWhat, and get him to talk to you? You've seen this man pin down stronger men than yourself, for hours on end, with the simple introduction \"There was a ship...\" and you really don't have the hours to listen to it all.\n\n> You go east\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nA few soldiers are hanging about nearby, looking grumpy.\n\nYou can also see Little Orphan Anna here.\n\n\"Hey, you there!\" says one of the soldiers, approaching you. \"You're from the house of Clopas, aren't you? Do us a favour. There's this man we're supposed to arrest, one John son of Zechariah. And we know he's at this wedding, but see, we have no idea what he looks like.\"\n\n\"Crazy wild man living in the wilderness, dressed in animal skins,\" says another, \"great description if he were doing his thing over on the Jordan, but here's this wedding and he's probably all cleaned up for it. Probably looks like decent folk. So if you know the guy and could point him out to us, we'd be much obliged.\"\n\n> You follow you\nOne of the soldiers, apparently the leader of the group, grins at you. \"Good boy, I knew we could count on you. Here, we'll need a signal. When you see this John son of Zechariah character, you let us know it's him by, uh, kissing him. How's that?\"\n\n\"Why can't he just point at the guy?\"\n\n\"Shut up. Weddings are crowded things and we want absolutely no mistakes, got it? So no pointing from a distance or any of that sort of rubbish. And this way, our new friend here can say that he never actually told us who our man was. It's genius.\"\n\nLittle Anna tugs on your sleeve and whispers, \"are you sure this is a good idea, sir?\"\n\n> You ask Anna about the soldiers\n\"Nobody seems to like Herod's soldiers, which I think is a little sad. I mean, they're just doing their job, right? Mary says that doing their job is one thing, but a lot of them could be a little nicer about it.\"\n\n> You open well\n(the village well)\nYou heave the wooden cover aside.\n\n> You examine well\n(the village well)\nThe village well is a large, low stone ring with a rough wooden cover. During the day, it's a gathering space for local servants, women, shepherds, and pretty much the whole town.\n\n> You fill the bucket\nOh no, you hauled enough water from the well earlier today, filling up those jars for washing feet. You're not doing this again unless you absolutely have to.\n\n> Yes\nThat was a rhetorical question.\n\n> Close well\n(the village well)\nYou carefully reposition the cover over the well.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe soldiers creep along behind you with rather more stealth and subtlety than you'd have expected.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nA few soldiers are hanging about nearby, looking stealthy.\n\nYou can also see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\nThe bridesmaid glances hopefully at the soldiers following you -- and you know she must be pretty desperate if she's expecting help from Herod's guards -- but they pretend not to notice. One of them peers suspiciously at the old mariner and nudges you with his elbow, brow raised.\n\n> Kiss sailor\nYou approach the ancient mariner and cough discreetly. He glances at you and blinks. \"There was--\" he begins, but you quickly step back and jerk your head in the direction of the soldiers standing just behind you. Their eyes meet.\n\n\"There was a ship,\" says the ancient mariner, with a sudden rush of unholy enthusiasm.\n\n\"Oh no,\" whispers one of the soldiers as the first one stops in his tracks and, clearly against his will, tries to sit down. The whole group of soldiers try to drag themselves away, as the old mariner hobbles along after them, claiming one after another one of them for his captive audience.\n\nIn all the confusion, the bridesmaid manages to get away and slip inside the house.\n\n> You go west\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna and a bridesmaid here.\n\n\"Thank you,\" says the bridesmaid, \"I didn't think the old man would ever stop talking, and somehow I just couldn't stop listening to him. It's not that his story was all that long and terrible; it's actually not bad, once you've put the pieces together. But he would insist on jumping around at random, and repeating some bits over and over.\" She sighs and turns to enter the courtyard. \"Well, ask me about the story sometime, if you want to know what it was all about, and I'll tell it to you so that it makes sense. For now, I'm just going to go and enjoy what's left of the party.\"\n\n> Go southwest\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> You ask the bridesmaid about oil\n\"Oh, don't remind me. You have no idea how mortifying it all was, being turned away from the door like that!\"\n\nYou hear the guests chattering on: \"...honour one's father and mother. Say what you like, he's always done his duty by her....\"\n\n> You examine the guests\nFriends and family from all over Judaea.\n\n> Go north\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\n> You go west\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThis is where the family keeps the wine and the olive oil. It is a cool, windowless room; the kitchen proper is up some steps to the east.\n\nA rickety set of shelves stands against one wall.\n\nYou can also see Little Orphan Anna here.\n\nAnna takes a step back and points up to the top of the shelves. \"Look, there's a jug up there! Maybe there's some wine in it!\" You tell her not to be silly, you know for a fact.... but Anna's already begun clambering up the front of the shelves. As might be expected, the shelves creak alarmingly and begin to sway forward as Anna reaches the top....\n\n> You get Anna\nYou snatch Little Anna away from the toppling shelves, and not a moment too soon. The shelves and their precious contents smash into the floor and shatter into pieces. Clopas will have your head in the morning, assuming he's not too hungover then (fat chance of that, all things considered) but in the meantime, Anna just stares wide-eyed at the mess she's caused. \"Ooh,\" she says, \"I guess I shan't be trying that again....\""
    },
    {
        "text": "[Themes: biblical, religion, Christianity]\n\n> Look around\nThis is where the family keeps the wine and the olive oil. It is a cool, windowless room; the kitchen proper is up some steps to the east.\n\nA broken set of shelves lies shattered and scattered across the floor.\n\nYou can also see Little Orphan Anna here.\n\n> You examine the shelves\nYou always knew that this was how those shelves were going to end up. At least no-one got hurt.\n\n> You take the shelves\nThe splintered shelving may be pointy, but trying to take it would be worse than pointless.\n\n> You examine the steps\nYou want to be careful going up and down these steps. they're rather steep and dark.\n\n> You look at the door\nThe door to the garden is old and battered and wide open. Through it, you can just make out the peace and quiet of the garden itself.\n\n> You go south\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> Go west\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You look at Mary\nIt seems like every woman is named Mary these days, but this particular Mary is an odd one. She can usually be found hanging about wherever there are learned men having learned discourse; and they say she wants to be a female Rabbi. As if.\n\nYou hear the guests chattering on: \"...wagon driven by a pack of drunken scoundrels. She was barely more than....\"\n\n> You ask Mary about Rabbi\nMary listens attentively, but has little to tell you.\n\n> You ask Mary about John\n\"He's certainly very learned. I could listen to him for hours. I haven't seen him this evening, though.\"\n\n> You examine Rabbi\nZechariah, the Rabbi, is a venerable and ancient man, a learned and highly respected member of the community. Now if only he would shut up once in a while. You've heard it said that he was struck dumb with surprise when he heard he was going to be a father -- given his age and the age of his wife, anyone would be -- and remained that way until his son John was born. But you can hardly believe it.\n\nYou hear the guests chattering on: \"...in the middle of winter.\nAnyway, she was lost and....\"\n\n> You examine Lazarus\nLazarus of Bethany is a pale, somewhat sickly-looking fellow who was invited along with his sisters Mary and Martha. Martha fusses over him something awful, and you suspect that he brought Little Anna into his household just to divert some of Martha's attention away from himself.\n\n> You ask Lazarus about Anna\nLazarus of Bethany is rather too involved in the ongoing discussion with the Rabbi to pay much attention to what you have to say.\n\n> You ask Mary about the bridesmaid\nMary listens attentively, but has little to tell you.\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\"\n\n> You ask Mary about the wine\nMary listens attentively, but has little to tell you.\n\n> You ask Mary about Mary\n(Mary of Bethany)\nMary listens attentively, but has little to tell you.\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> You go to the southeast\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nMary, the bride, is about to take a sip from her cup when a guest comes up to offer her congratulations. Mary puts down her cup to thank the guest and promptly forgets about it.\n\n> You pour the cup in the bucket\nYou don't really want to draw any attention to that, under the circumstances.\n\nYou hear the guests chattering on: \"...a terrible snob, but you won't find a more honest man....\"\n\n> You examine the cup\nClopas and Mary have been so busy receiving everyone's well-wishes, and with making eyes at each other, that they've barely had time to touch their cups. Under the circumstances, this is probably a good thing.\n\n> You examine Clopas\nAs far as employers go, Clopas is not a bad sort. He was rather fearfully late coming in -- his story was that he had to stop and give a hand to some poor Samaritan traveller who'd been set upon by bandits -- and then when he finally did arrive, a bunch of bridesmaids who'd been caught unprepared were sent packing. That's just the kind of guy he is: a bit hard and uncompromising, but always willing to bend over backwards if you need help.\n\n> You ask Clopas about Lazarus\nClopas seems rather pre-occupied with all the complicated business of being a newlywed. It would be a shame to disturb him.\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You ask Mary about Lazarus\nMary seems rather pre-occupied with the complicated business of being a newlywed. It would be a shame to disturb her.\n\nClopas reaches for his cup just as a guest decides to offer her congratulations. Clopas sets down his cup again, reluctantly, to do the polite thing and exchange some small talk with the guest.\n\n> Go north\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> You go southeast\nYou can't go that way.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You ask the bridesmaid about the story\n\"There was a ship....\" the bridesmaid describes the voyage of the mariner's ship, which seems mundane enough. \"But that's only the beginning,\" she says.\n\nYou hear the guests chattering on: \"...wagon driven by a pack of drunken scoundrels. She was barely more than....\"\n\n> You wait awhile\nTime passes.\n\n> You ask the bridesmaid about the story\nThe bridesmaid continues the story, describing a curse which befalls the mariner and his crew.\n\nYou hear the guests chattering on: \"...honour one's father and mother. Say what you like, he's always done his duty by her....\"\n\n> You continue\nThe bridesmaid continues the story, describing the nightmarish fate of the mariner's crew and the terrible visions that plagued him.\n\n> Continue\n\"That's all there is to it, I think,\" says the bridesmaid, shrugging.\n\n> Continue\n\"That's all there is to it, I think,\" says the bridesmaid, shrugging.\n\nYou hear the guests chattering on: \"...such a temper. Their mother's ambitious, though, and won't rest until....\"\n\n> Go north\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\n> You ask Anna about Rabbi\n\"That's Uncle Zechariah. He's dreadfully old; I can't imagine being that old, can you? And you know, he never stops talking. I remember once Martha filled up his cup with the best wine, but he was so busy talking to Mary and Lazarus that he just put the cup down and forgot about it. Well, Mary and Lazarus and Mary like to listen, but I thought it was a little rude. Martha tells me so all the time. Anna, she says, this non-stop chatter is very tiresome. But of course she nevers tells Uncle Zechariah that to his face, because he's a very important person. But she always makes sure I'm helping her in the kitchen when Uncle Zechariah visits, so I don't get bored.\"\n\n> You go south\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna here.\n\nYou notice Mary of Bethany in deep conversation with one of the guests. Or rather, the guest is talking and Mary is listening intently. As the guest moves on towards the main courtyard area, Mary follows along behind, still listening intently and apparently not noticing the change of location.\n\n> You ask Anna about Lazarus\n\"Martha worries about him because he's not very strong, but he's very smart. Everybody says he's going to be High Priest some day, if he lives long enough. They don't say that last part to his face, of course, and both Martha and Mary get very upset when they hear it.\nThey say it's bad luck, but Lazarus says that if his time comes early, then that's just the way it is.\"\n\n> Go east\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nMary of Bethany is listening as one of the guests spills his life story to her.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\nThe guest, continuing his story, strolls off towards the bridal table. Mary of Bethany follows after, still hanging on to his every word.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> Go north\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\n> You go to the northeast\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> You look at the garden\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\n> You go to the northwest\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nJohn, the Rabbi's son, lounges sullenly against a tree, hugging a nearly-full jug of wine to himself.\n\nYou can also see Little Orphan Anna here.\n\n> You ask John about Rabbi\n\"Father wanted me to make an appearance. That's the only reason I'm here at all.\"\n\n> You ask John about the soldiers\nJohn sniffs disdainfully, but declines to say anything.\n\n> Kiss john\nKeep your mind on the game.\n\n> You ask John about John\n\"John ben Zechariah, commonly called the Baptist. What, you really didn't recognise me in this monkey suit (Hebrew unclear - SD.) my father made me put on?\"\n\n> Xyzzy\nIs that supposed to be Punic? Your accent is execrable."
    },
    {
        "text": "[Themes: religion, Christianity, Historical]\n\n> You look around\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nJohn, the Rabbi's son, lounges sullenly against a tree, hugging a nearly-full jug of wine to himself.\n\nYou can also see Little Orphan Anna here.\n\n> You take jug\nJohn gives Anna a look that sends her scuttling back behind you.\n\"Hands off,\" he growls.\n\n> You eat the locust\n(first taking the plate of honeyed locusts)\nThat seems to belong to John.\n\n> You give the fig to John\n(first taking the fig trees)\nYou pick a fig and eat it. Yum.\n\n> You ask Anna about John\n\"I think John is Lazarus's brother, but not a close brother. I mean his parents are totally different people. I wish there were a word for brothers and sisters who aren't actually your brothers and sisters, don't you? Anyway, Mary likes to listen to him, and Lazarus likes to argue with him, but Martha says he ought to clean himself up and marry a nice, respectable girl and settle down. She says he lives out in the wilderness and eats honey and locusts every day, which can't be healthy, but I guess he must like it or he wouldn't do it. Or maybe he's so busy talking he forgets to eat -- his father's the same way.\"\n\n> You ask John about the locusts\n\"What? I happen to like honeyed locusts. Don't knock 'em till you've tried 'em.\"\n\n> You tell the story to John\n\"You don't have to tell me,\" John snaps. \"That old man came to the Jordan to be baptised a couple of months ago, and held up two of my disciples for three days, telling it to them. And the whole thing really didn't take more than four minutes, when they repeated it to me later.\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> You go south\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You ask Anna about the parents\nAnna looks a little wistful. \"I don't know anything about my parents, but I'd bet they were young ... bet they were smart. Bet they collected things like ashtrays and art.\" She pauses, a little puzzled. \"What's an ashtray?\"\n\n> You go southwest\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\n> You take the cup\nShe'll only drop it, you're sure.\n\n> You give the cup to you\n(Little Orphan Anna first taking the cups)\nShe'll only drop it, you're sure.\n\nMary, the bride, is about to take a sip from her cup when a guest comes up to offer his congratulations. Mary puts down her cup to thank the guest and promptly forgets about it.\n\n> You put the cup in bucket\nThat's hardly helpful.\n\nYou hear the guests chattering on: \"...could go for another drink right now. I'm not properly drunk yet....\"\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nYou can also see Little Orphan Anna here.\n\n> You tell the story to Lazarus\nLazarus of Bethany is rather too involved in the ongoing discussion with the Rabbi to pay much attention to what you have to say.\n\n> You tell the story to Mary\n\"There was a ship...\" you begin, which catches Mary's attention immediately.\n\n\"That sounds familiar,\" she says, giving you her full attention.\n\"Isn't it the beginning part of that rather confused story that the mariner outside tells? If you've got it all organised, I'd like to hear it.\"\n\n> You continue\nMary shudders as you describe the curse that befell the mariner's crew. \"How terrible! Should all the people suffer for the sin of one man?\"\n\n> You keep going\n\"What a terrible story!\" Mary seems to be hanging on to your every word, nonetheless.\n\nYou hear the guests chattering on: \"...in the middle of winter.\nAnyway, she was lost and....\"\n\n> Keep going\n\"And is that how it ends, with the old mariner turning his gaze away from his suffering to these sea snakes? But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\n> Keep going\n\"But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\nMary presses you for further details or possibly an explanation for the more inexplicable aspects of the story, but you have to confess that you cannot add to what you have told her. Disappointed, she returns to the Rabbi and his entourage for more erudite discourse.\n\n> You wait for a while\nTime passes.\n\nYou hear the guests chattering on: \"...a pound of flesh, of all things, but then the other gentile's wife pointed out that....\"\n\n> You ask Mary about Martha\n\"My sister means well,\" she says vaguely.\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You examine table\n(the main table)\nThe table is long, much-used, and heavily stained.\n\nYou hear the guests chattering on: \"...wagon driven by a pack of drunken scoundrels. She was barely more than....\"\n\n> Search table\n(the main table)\nThere is nothing on the main table.\n\n> You take the table\nThat's hardly portable.\n\n> Go north\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> Go north\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nYou can see Little Orphan Anna here.\n\n> You open well\n(the village well)\nYou heave the wooden cover aside.\n\n> Down\nLittle Orphan Anna has better things to do.\n\n> You put Anna in well\n(the village well)\nThat will only get it wet.\n\n> You put the bucket in well\n(the village well)\nOh no, you hauled enough water from the well earlier today, filling up those jars for washing feet. You're not doing this again unless you absolutely have to.\n\n> You take the cover\nYou carefully reposition the cover over the well.\n\n> You go east\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n> You go to the east\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nA few soldiers are hanging about nearby, looking grumpy.\n\nYou can also see Little Orphan Anna here.\n\n\"Hey, you there!\" says one of the soldiers, approaching you. \"You're from the house of Clopas, aren't you? Do us a favour. There's this man we're supposed to arrest, one John son of Zechariah. And we know he's at this wedding, but see, we have no idea what he looks like.\"\n\n\"Crazy wild man living in the wilderness, dressed in animal skins,\" says another, \"great description if he were doing his thing over on the Jordan, but here's this wedding and he's probably all cleaned up for it. Probably looks like decent folk. So if you know the guy and could point him out to us, we'd be much obliged.\"\n\n> You follow you\nCome to think of it, you haven't seen the Rabbi's son since that initial uproar over the (bleagh) honeyed locusts. No telling where he is now, and no telling what you don't know.\n\nLittle Anna tugs on your sleeve and whispers, \"are you sure this is a good idea, sir?\"\n\n> You go west\nThis is where the family keeps the wine and the olive oil. It is a cool, windowless room; the kitchen proper is up some steps to the east.\n\nA rickety set of shelves stands against one wall.\n\n> You go to the east\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\n> You drop the plate\nYou carefully set down the plate of ... food.\n\n> You go to the south\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\n\"Hey, mister!\" Little Anna trots up to you. \"Is it true that there's no more wine? I saw Martha and Amos get into the cart with the donkey and they rode off in such a hurry. Martha said you were going to find a missing jug of wine and maybe that would help. Can I help? Just say the word, sir!\"\n\nHeaven help us.\n\n> Go east\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nA few soldiers are hanging about nearby, looking grumpy.\n\nYou can also see Little Orphan Anna here.\n\n\"Hey, you there!\" says one of the soldiers, approaching you. \"You're from the house of Clopas, aren't you? Do us a favour. There's this man we're supposed to arrest, one John son of Zechariah. And we know he's at this wedding, but see, we have no idea what he looks like.\"\n\n\"Crazy wild man living in the wilderness, dressed in animal skins,\" says another, \"great description if he were doing his thing over on the Jordan, but here's this wedding and he's probably all cleaned up for it. Probably looks like decent folk. So if you know the guy and could point him out to us, we'd be much obliged.\"\n\n> Kiss john\nJohn looks at you in puzzlement, then sees the approaching soldiers over your shoulder. \"Oh, I get it,\" he says, his brow darkening, \"this is some sort of identification signal, isn't it? I thought the house of Clopas understood hospitality a little better than that.\"\n\n\"You can come along with us,\" says one of the soldiers, all puffed up with officious importance. John puts up no resistance, but gives you a venomous glance over his shoulder as the soldiers lead him away.\n\nYou are struck by an inexplicaple sense of d\u00e9j\u00e0 vu, as the Gauls put it. At any rate, John the Rabbi's son has been taken away and the soldiers are gone, and the errant jug of wine has been left behind.\n\n> You go southwest\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna here.\n\nSuccess! Well, assuming there actually is enough wine in the jug to hold off everyone's thirst until Martha and Amos get back. How much wine is there in the jug, anyway?\n\n> You look in the jug\nThe missing wine jug! Unfortunately, it appears to contain nothing but water.\n\nYou look up from your inspection of the wine jug in time to see Martha and Amos bustle into the kitchen. You can tell from the looks on their faces that their mission has not been a success. \"The only merchant still in the market was a man selling lamp oil,\" Martha tells you, \"he said he'd gotten a very last-minute order for six jars of the stuff, and was hoping there'd be more to come.\" She sighs and glances at the wine jug. \"At least you've been successful. If we water it down a little....\"\n\nYou confess that, as far as you know, watering down the wine is not going to be an issue. Martha groans. \"I'll go tell Clopas,\" she says, \"and see if I can distract the other guests somehow. I don't know what else I can do.\" Taking a deep breath, she marches out into the courtyard like a brave little Maccabean.\n\nAmos, who really should have been the one to inform Clopas, fidgets distractedly and finally pulls out a bowl of dough and proceeds with the baking for the morrow.\n\n> You ask Anna about the jesus\n\"Oh, I know him, he's a friend of Lazarus's. He's visited us at Bethany a couple of times.\"\n\nThat was odd, now you think about it. John didn't seem at all drunk, and he couldn't possibly have finished off the whole jug by himself. What actually happened to the wine?\n\n> You go to the south\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna here.\n\n> You ask Mary about the jesus\n\"Oh, he's dreadfully wise. You've just got to listen a while and you'll understand.\"\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You ask Lazarus about the jesus\nLazarus of Bethany is rather too involved in the ongoing discussion with the Rabbi to pay much attention to what you have to say.\n\n> Inventory\nYou are carrying:\na wine jug\n\n> You go to the southeast\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nClopas reaches for his cup just as a guest decides to offer his congratulations. Clopas sets down his cup again, reluctantly, to do the polite thing and exchange some small talk with the guest.\n\n> You fill the jug\nIf it's not wine, it doesn't belong in the jug.\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna here.\n\nYou notice Mary of Bethany in deep conversation with one of the guests. Or rather, the guest is talking and Mary is listening intently. As the guest moves on towards the main courtyard area, Mary follows along behind, still listening intently and apparently not noticing the change of location.\n\n> You go east\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nMary of Bethany is listening as one of the guests spills his life story to her.\n\nYou can also see Little Orphan Anna here.\n\nThe guest, continuing his story, strolls off towards the bridal table. Mary of Bethany follows after, still hanging on to his every word.\n\nYou hear the guests chattering on: \"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> Go south\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nMary of Bethany is listening as one of the guests spills his life story to her.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nThe guest concludes his story and disappears into the crowd. Mary nods thoughtfully, then suddenly notices the distinct lack of learned discourse nearby. She even looks a little embarrassed as she hurries back to the west wall.\n\n> You ask Anna about the guest\n(the crowd of guests)\nLittle Anna has entirely too much to say about that, none of it even remotely useful.\n\nClopas reaches for his cup just as a guest decides to offer her congratulations. Clopas sets down his cup again, reluctantly, to do the polite thing and exchange some small talk with the guest.\n\n> You ask Anna about Mary of Bethany\n\"I think our Mary is the best of all. She always listens when I have a story to tell. Martha says she spends too much time listening and not enough time doing but I think Martha does enough for everybody.\nAnyway, Mary says that all stories mean something if you take the time to listen properly, but a lot of the time she also wants a Rabbi or someone like that to come explain things to her. I think she just likes having people tell her things.\"\n\nYou hear the guests chattering on: \"...honour one's father and mother. Say what you like, he's always done his duty by her....\"\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nThe Rabbi is holding court with a crowd of would-be scholars, among whom you recognise Lazarus of Bethany.\n\nYou can also see Little Orphan Anna here.\n\n> You look at wall\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, clustered around the venerable old Rabbi.\nThe rest of the courtyard is to east and southeast.\n\n> You examine the lamps\nSeveral oil lamps light up the courtyard this evening, making it almost as bright as day.\n\nYou hear the guests chattering on: \"...wouldn't believe a word of it. So I said to Thomas, I said....\"\n\n> You take the lamp\nYou went through a lot of trouble setting these lamps up earlier today, and you're not about to take them down now. And anyway, they're out of reach.\n\n> You ask Mary about the guest\n(the crowd of would-be scholars)\nMary listens attentively, but has little to tell you.\n\n> You ask Mary about Rabbi\nMary listens attentively, but has little to tell you.\n\nYou hear the guests chattering on: \"...could go for another drink right now. I'm not properly drunk yet....\"\n\n> You ask Rabbi about the story\nThe would-be scholars notice the wine jug in your hands, and obligingly let you through to the Rabbi.\n\nThe Rabbi has entirely too much to say about ... some esoteric, metaphysical aspect of whatever it is you were talking about, because you lost it somewhere between the philosophy and the theology.\n\n> You ask Rabbi about the jesus\n\"That boy is entirely to smart for his own good.\"\n\nYou hear the guests chattering on: \"...down on the Jordan. Surprised to see him here at all, though of course he's disappeared....\"\n\n> You ask Rabbi about John\n\"I take the trouble to pull the boy out of the wilderness and clean him up so he can be presentable, and what happens? He disappears into the garden to sulk. I know, I know, he's practically a prophet, but sometimes I think it would be better if he'd just been a nice little craftsman of some sort instead.\"\n\n> You tell Rabbi about John\n\"He what?\" the old Rabbi stares at you, goggle-eyed, and throws up his hands in horror. \"Then what am I still here talking theology for? Shoo, get out of the way, I got to go do something about my boy. You, Joshua, you're in charge! The rest of you, stay out of trouble!\"\n\nOld Zechariah hustles out of the house with all the speed his old bones can muster, leaving his former entourage to murmur among themselves at this turn of events.\n\n> You ask Lazarus about the jesus\n\"Joshua's one of my best friends. I like to think that I'm like Jonathan to his David.\"\n\n> You ask Lazarus for jesus\n(Lazarus of Bethany first taking Joshua)\nLazarus of Bethany has better things to do.\n\nYou hear the guests chattering on: \"...and I'll be writing to Theophilus about that, naturally. He'll be interested to hear....\"\n\n> You examine the jesus\nYou don't know the guy very well. Most of the guests are relative strangers, and this one is stranger than most: he's supposed to be a carpenter, or so you've heard, but apparently he was already teaching the priests and the Levites their own craft when he was ten. Which makes you kind of glad that you didn't know him way back then.\n\n> You ask Joshua about the wine\n\"All right, maybe I did have something to do with that. I'm just looking out for my brother and his promises here.\" You tell Joshua how dry the party is getting, but he only shrugs. \"Not my problem, really. Clopas doesn't really need any more wine to have a good party, does he?\"\n\n> You ask Joshua about the water\n(Clean water)\nJoshua doesn't seem to have much to say about that.\n\n> You ask Joshua for the wine\n(Joshua first taking the wine jug)\nJoshua has better things to do.\n\nAnna leans in close to you and says, \"I was wondering, do you think maybe Joshua would help if someone else asked him to, sir? Mary says sometimes that Martha would get a lot more help in the kitchen if she wouldn't nag so -- not that you were nagging at all, sir, but I think sometimes it matters who is doing the asking.\"\n\n> You ask Joshua for the wine\nLazarus of Bethany has better things to do.\n\nYou hear the guests chattering on: \"...such a temper. Their mother's ambitious, though, and won't rest until....\"\n\n> You ask Joshua about John\n\"John is a great man. If you haven't been baptised by him, you should.\"\n\n> You ask Joshua about the carpentry\nJoshua doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> You ask Joshua for the wine\nLittle Orphan Anna has better things to do.\n\n> You examine Joshua\nYou don't know the guy very well. Most of the guests are relative strangers, and this one is stranger than most: he's supposed to be a carpenter, or so you've heard, but apparently he was already teaching the priests and the Levites their own craft when he was ten. Which makes you kind of glad that you didn't know him way back then.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You go to the east\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You go north\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You examine amos\nAmos is tall, dark and lanky; there's a fair bit of Ethiopian and Egyptian in his blood. He's been appointed head steward for the wedding, though you know that his first love is really the bakery. He has this idea for tiny little bite-sized matzah that he claims are going to make him famous one of these days, once he perfects the recipe.\n\n> You ask Amos about the food\n\"Well, that part went wonderfully. But I guess we should have paid more attention to the wine, eh? At least the honeyed locusts appear to be gone, even if making up that dish has left us with more leftover honey than I know what to do with.\"\n\n> You ask Amos about honey\n\"Hmm ... that could work, I suppose,\" says Amos.\n\nBefore long, Amos has filled up a tray with honey-flavoured bikkie dough ready for the oven.\n\n> You examine the dough\nAmos always resorts to baking when he's troubled by something or other. Lately, his recipes seem to taste better (to you, anyway) before they're baked than after; quite fortunately Amos never begrudges you a sample of his experiments.\n\n> You ask Amos about the dough\n\"I'll get this recipe right one of these days. So if you have any suggestions as to what I can put in this, go ahead and tell me about them.\"\n\n> You taste the dough\nYou taste nothing unexpected.\n\nAmos, satisfied that the bikkies are ready for the oven, takes the tray and deposits its contents into the oven, then goes back to mixing up another batch of dough.\n\n> You look\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> Inventory\nYou are carrying:\na wine jug\n\n> You go west\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThis is where the family keeps the wine and the olive oil. It is a cool, windowless room; the kitchen proper is up some steps to the east.\n\nA rickety set of shelves stands against one wall.\n\nYou can also see Little Orphan Anna here.\n\nAnna takes a step back and points up to the top of the shelves. \"Look, there's a jug up there! Maybe there's some wine in it!\" You tell her not to be silly, you know for a fact.... but Anna's already begun clambering up the front of the shelves. As might be expected, the shelves creak alarmingly and begin to sway forward as Anna reaches the top....\n\n> You get Anna\nYou snatch Little Anna away from the toppling shelves, and not a moment too soon. The shelves and their precious contents smash into the floor and shatter into pieces. Clopas will have your head in the morning, assuming he's not too hungover then (fat chance of that, all things considered) but in the meantime, Anna just stares wide-eyed at the mess she's caused. \"Ooh,\" she says, \"I guess I shan't be trying that again....\"\n\nAmos pops his head into the winery, takes one good look at the mess, then rubs his head and returns to his baking, muttering that he sees nothing and knows nothing.\n\n> Go east\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> Go northeast\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> You go northwest\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nYou can see Little Orphan Anna here.\n\n> You take the figs\nYou pick a fig and eat it. Yum.\n\n> You go to the south-west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\"\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> You ask Lazarus about the figs\nLazarus of Bethany doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...saved the bridge, though if you ask me he should never have wandered off in the first place....\"\n\n> You ask Lazarus about the poison\nLazarus of Bethany doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...not very bright, but he found the missing animal all the same....\"\n\n> You go northeast\nYou can't go that way.\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> You go east\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You go north\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You ask Amos about the locusts\n\"Well, that particular experiment went well. I'm not trying it again, though I don't know what I'm going to do with the leftover honey.\nThank goodness there aren't any leftover locusts, anyway.\"\n\n> You ask Amos about the wine\nAmos waves you away. \"We're doomed, Micah. I've accepted that. So just leave me to my baking, okay?\"\n\n> You follow you\nAmos has better things to do.\n\n> You ask Amos about Martha\n\"I can't think why a woman like that isn't already the matriarch of some ever-growing clan. If I weren't a lowly servant --\" Amos stops himself and turns back to his baking.\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nYou can see Little Orphan Anna here.\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> You go southwest\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You go south\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You examine the lamps\nSeveral oil lamps light up the courtyard this evening, making it almost as bright as day.\n\n> You take the lamp\nYou went through a lot of trouble setting these lamps up earlier today, and you're not about to take them down now. And anyway, they're out of reach.\n\nYou hear the guests chattering on: \"...wagon driven by a pack of drunken scoundrels. She was barely more than....\""
    },
    {
        "text": "> You look around\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You go to the northeast\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> Go southwest\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...a terrible snob, but you won't find a more honest man....\"\n\n> Go west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> You examine Mary\nIt seems like every woman is named Mary these days, but this particular Mary is an odd one. She can usually be found hanging about wherever there are learned men having learned discourse; and they say she wants to be a female Rabbi. As if.\n\n> You examine Lazarus\nLazarus of Bethany is a pale, somewhat sickly-looking fellow who was invited along with his sisters Mary and Martha. Martha fusses over him something awful, and you suspect that he brought Little Anna into his household just to divert some of Martha's attention away from himself.\n\n> You ask Lazarus about the face\nLazarus of Bethany doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...wouldn't believe a word of it. So I said to Thomas, I said....\"\n\n> You ask Lazarus about Martha\n\"She's my sister. Why do you ask?\"\n\n> You ask Lazarus about Anna\nLazarus absently pats Anna on the head. \"She's not bothering you, is she? She can be a bit of a chatterbox at times, but she means well.\"\n\n> You ask Lazarus about Rabbi\n\"What? He's a wise and learned man, from a fine priestly family.\"\n\n> You ask Lazarus about Mary of Bethany\n\"She's my sister. Why do you ask?\"\n\nYou hear the guests chattering on: \"...honour one's father and mother. Say what you like, he's always done his duty by her....\"\n\n> You ask Lazarus about the bride\n\"That Mary is a lovely lady, though I think she's happiest when she's working in the garden. I hear she has quite the charming little plot, all lined with cockle shells and....\" Lazarus pauses in uncertainty. \"Wait, that was a different Mary. Anyway, She'll make a fine wife and mother, I'm sure. Your master is to be congratulated.\"\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You ask Lazarus about the groom\n\"Clopas is a fine fellow, and to be congratulated on his good fortune. Although I gather he's still busy being congratulated, or else he'd be over here adding a little political edge to our theological discussions.\"\n\n> You ask Lazarus about the wine\nLazarus shrugs. \"A bit of wine at dinner is a good thing, but I avoid excess. It's not good for my health.\"\n\n> You ask Lazarus about the jesus\n\"Joshua's one of my best friends. I like to think that I'm like Jonathan to his David.\"\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You ask Lazarus about the health\n\"I'm fine. Really.\"\n\n> You ask Lazarus about the food\nLazarus of Bethany doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\""
    },
    {
        "text": "> Look around\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> Kiss lazarus\nKeep your mind on the game.\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You examine table\n(the main table)\nThe table is long, much-used, and heavily stained.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You hide\nYou can run, but you can't hide.\n\nYou hear the guests chattering on: \"...walked straight up to the high priest without glancing back. They say this means....\"\n\n> Smash table\nViolence isn't the answer to this one.\n\nClopas reaches for his cup just as a guest decides to offer her congratulations. Clopas sets down his cup again, reluctantly, to do the polite thing and exchange some small talk with the guest.\n\n> You look at the curtain\nIt's not exactly Persian, but it's a heavy, good-looking piece of material.\n\nYou hear the guests chattering on: \"...could go for another drink right now. I'm not properly drunk yet....\"\n\n> East\nLittle Orphan Anna has better things to do.\n\n> You go to the north\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You take the dough\nThat seems to belong to Amos.\n\n> You go to the north-east\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You take the jars\nEven when empty, they're quite heavy; and either way they're dreadfully unwieldy. Best leave them where they are.\n\n> You fill the bucket\nYou transfer the water from the jug to the bucket. It doesn't exactly help, but at least the water has gone to a better place.\n\n> You look at water\nCool, clear water, with a vaguely mineral aftertaste.\n\n> Drink water\nYou take a refreshing sip.\n\nYou hear the guests chattering on: \"...not very bright, but he found the missing animal all the same....\"\n\n> You check your inventory\nYou are carrying:\na bucket\na wine jug\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\"\n\n> Drink water\nYou take a refreshing sip.\n\n> You examine bucket\nThis is the bucket used to carry water from the village well to the house. It's larger than average, but at least that means not having to make quite so many trips back and forth when filling up all those jars in the entryway. Currently, the bucket is full of water, and very heavy.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> You go west\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> You ask Lazarus about the water\n(Clean water)\nLazarus of Bethany doesn't seem to have much to say about that.\n\n> You give the water to Lazarus\n(first taking Clean water)\nThat seems to be a part of the bucket.\n\n> You ask Mary about Martha\n\"My sister means well,\" she says vaguely.\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You ask Mary about the locusts\n\"You'll have to ask Martha, I think,\" Mary says vaguely.\n\n> You find Martha\nShe's somewhere about, surely.\n\n> Go east\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You go north\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThis is about as far from the maddening crowd as you can get, without actually leaving the house. The fig trees provide shade in the daytime, and the air is pleasantly cool; this time of the evening, though, it's rather darker and more shadowy than you care for. The garden itself is to the southeast.\n\nYou can see Little Orphan Anna here.\n\n> You go southeast\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThis rather large garden supplements the family's table with a few fruits and vegetables throughout the year. Currently, it's about the only peaceful place on the property. The kitchen is back to the southwest, and a passage leads south to the main entryway. There is a stand of fig trees off to the northwest.\n\nYou can see Little Orphan Anna here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n\"There was this albatross ... did I mention the albatross?\"\n\n\"Yes,\" says the bridesmaid, barely concealing a yawn, \"yes you did.\"\n\n\"Well, there was this albatross, see, and I thought....\"\n\n> You go south\nYou don't have any business in town.\n\nThe old sailor describes in lurid detail how two hundred men just dropped dead on the deck of a ship. The bridesmaid looks like she's ready to drop dead, herself.\n\n> Go east\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nYou can see Little Orphan Anna here.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n> You ask the bridesmaid about story\nUnfortunately, the ancient mariner appears to have the bridesmaid's whole and unwilling attention.\n\n> You ask the mariner about the story\nLittle Orphan Anna has better things to do.\n\nThe old sailor seems to break off in the middle of his narrative to describe some beautiful water snakes. The bridesmaid doesn't seem to notice.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You ask Anna about John\n\"I think John is Lazarus's brother, but not a close brother. I mean his parents are totally different people. I wish there were a word for brothers and sisters who aren't actually your brothers and sisters, don't you? Anyway, Mary likes to listen to him, and Lazarus likes to argue with him, but Martha says he ought to clean himself up and marry a nice, respectable girl and settle down. She says he lives out in the wilderness and eats honey and locusts every day, which can't be healthy, but I guess he must like it or he wouldn't do it. Or maybe he's so busy talking he forgets to eat -- his father's the same way.\"\n\n> Go southwest\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...a terrible snob, but you won't find a more honest man....\"\n\n> Go west\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> You ask Lazarus about Rabbi\n\"What? He's a wise and learned man, from a fine priestly family.\"\n\n> You tell Lazarus about wine\nIt seems unlikely that you could get much help there, and anyway it's really not your place to intrude.\n\nYou hear the guests chattering on: \"...such a temper. Their mother's ambitious, though, and won't rest until....\"\n\n> You tell the jesus about the wine\nYou tell Joshua how dry the party is getting, but he only shrugs. \"Not my problem, really. Clopas doesn't really need any more wine to have a good party, does he?\"\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> You tell Clopas about the wine\nClopas seems rather pre-occupied with all the complicated business of being a newlywed. It would be a shame to disturb him.\n\n> Go east\nYou can't go that way.\n\nMary, the bride, is about to take a sip from her cup when a guest comes up to offer his congratulations. Mary puts down her cup to thank the guest and promptly forgets about it.\n\n> You go to the north\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You go to the northeast\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n> You throw the water at the mariner\n(first taking Clean water)\nThat seems to be a part of the bucket.\n\n\"There passed a weary time ... a weary time! a weary time!\" the old sailor mumbles.\n\n\"I can well imagine,\" mutters the bridesmaid, with a glazed and weary eye.\n\n> You take mariner\nI don't suppose the ancient mariner would care for that.\n\n\"There was a ship,\" quoth the mariner.\n\n\"We've been through this,\" says the bridesmaid, a trifle desperately.\n\n> You talk to the mariner\nLittle Orphan Anna has better things to do.\n\n\"...the dead men rose up, but don't be alarmed ... it was a troop of blessed spirits....\"\n\nThe bridesmaid, however alarmed she might have been the first time around, takes this \"revelation\" with not much more than a resigned sigh.\n\n> Go west\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You go southwest\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...wagon driven by a pack of drunken scoundrels. She was barely more than....\"\n\n> You ask Lazarus about the mariner\nLazarus of Bethany doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...walked straight up to the high priest without glancing back. They say this means....\"\n\n> You tell Mary about the mariner\nMary listens attentively, but has little to tell you.\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You tell Mary about the wine\n\"I'm sorry to hear it,\" Mary says sympathetically. \"I wish there were something I could do to help.\"\n\n> You ask Joshua for the wine\nMary of Bethany has better things to do.\n\n> You ask Mary about Joshua\n\"Oh, he's dreadfully wise. You've just got to listen a while and you'll understand.\"\n\n> You give jug to Mary\nEr, maybe it would be best if you don't do that.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> You ask Mary about the story\n\"Perhaps you can tell me.\"\n\nYou hear the guests chattering on: \"...a pound of flesh, of all things, but then the other gentile's wife pointed out that....\"\n\n> You go east\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> Go north\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You ask Amos about the recipe\nAmos spends a minute or so nattering on about the finer points of his experiments. \"But it's still missing something, I think.\"\n\n> You ask Amos about the honey\n\"Hmm ... I suppose I could make up another batch with that,\" says Amos.\n\nBefore long, Amos has filled up a tray with honey-flavoured bikkie dough ready for the oven.\n\n> You examine the tray\nAmos calls them \"bakies\" or \"bikkies\" (Hebrew unclear - SD) because they're supposed to be baked. These are less than half-baked, being raw, but look no less delicious and full of honey-flavoured goodness.\n\n> You take the tray\nTaken.\n\n> Inventory\nYou are carrying:\na tray of bikkies\na bucket\na wine jug\n\n> Go south\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\n> You give the bikkies to Lazarus\nLazarus of Bethany doesn't seem interested.\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You give tray to Joshua\nJoshua's eyes light up as he takes a bikkie and breaks it into four quarters. \"Thanks,\" he says, after muttering a quick blessing over the bikkie quarters and popping one into his mouth. \"I love these things.\"\n\n> You ask Joshua for the wine\n(Joshua first taking the wine jug)\nJoshua has better things to do.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You ask Joshua about the wine\nYou tell Joshua how dry the party is getting, but he only shrugs. \"Not my problem, really. Clopas doesn't really need any more wine to have a good party, does he?\"\n\n> Inventory\nYou are carrying:\na tray of bikkies\na bucket\na wine jug\n\nYou hear the guests chattering on: \"...thankfully managed to work around their language differences and got the medicine for....\"\n\n> You give the tray to Joshua\nJoshua's eyes light up as he takes a bikkie and breaks it into four quarters. \"Thanks,\" he says, popping one into his mouth. \"I love these things.\"\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You show tray to Joshua\nJoshua's eyes light up as he takes a bikkie and breaks it into four quarters. \"Thanks,\" he says, popping one into his mouth. \"I love these things.\"\n\n> You go southeast\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\n> You put the tray on the table\nYou put the tray of bikkies on the main table."
    },
    {
        "text": "> Look around\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nOn the main table is a tray of bikkies.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nClopas reaches for his cup just as a guest decides to offer her congratulations. Clopas sets down his cup again, reluctantly, to do the polite thing and exchange some small talk with the guest.\n\n> You take the tray\nTaken.\n\nYou hear the guests chattering on: \"...such a temper. Their mother's ambitious, though, and won't rest until....\"\n\n> You give the tray to Anna\n\"Oh, may I?\" Anna takes a bikkie before you can answer, pops it into her mouth, and begins chewing happily.\n\n> You go north\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...could go for another drink right now. I'm not properly drunk yet....\"\n\n> Go northeast\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\nAnna finally unsticks all the bikkie dough from her teeth, and unfortunately returns to her chatterbox ways.\n\n> Go east\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna, a bridesmaid and an ancient mariner here.\n\n\"There was this albatross ... did I mention the albatross?\"\n\n\"Yes,\" says the bridesmaid, barely concealing a yawn, \"yes you did.\"\n\n\"Well, there was this albatross, see, and I thought....\"\n\n> You give the tray to the mariner\nThe ancient mariner absently takes a bikkie and begins munching on it. But when he tries to continue his story, the sticky bikkie dough proves too much for his old jaws, and he is reduced to silence. The bridesmaid seizes her chance. She leaps to her feet, thanks the mariner very nicely for sharing his story with her, and hurries into the house. The mariner stares sadly after her, then helps himself to another bikkie and hobbles off down the street.\n\n> You go west\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna and a bridesmaid here.\n\n\"Thank you,\" says the bridesmaid, \"I didn't think the old man would ever stop talking, and somehow I just couldn't stop listening to him. It's not that his story was all that long and terrible; it's actually not bad, once you've put the pieces together. But he would insist on jumping around at random, and repeating some bits over and over.\" She sighs and turns to enter the courtyard. \"Well, ask me about the story sometime, if you want to know what it was all about, and I'll tell it to you so that it makes sense. For now, I'm just going to go and enjoy what's left of the party.\"\n\n> You go to the southwest\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> You ask the bridesmaid about the story\n\"There was a ship....\" the bridesmaid describes the voyage of the mariner's ship, which seems mundane enough. \"But that's only the beginning,\" she says.\n\n> Continue\nThe bridesmaid continues the story, describing a curse which befalls the mariner and his crew.\n\n> You continue\nThe bridesmaid continues the story, describing the nightmarish fate of the mariner's crew and the terrible visions that plagued him.\n\n> Continue\nThe bridesmaid tells of how the mariner's adventures ended, rather inexplicably, when he stops to admire some sea creatures.\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> You ask the bridesmaid about moral\nThe bridesmaid doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...saved the bridge, though if you ask me he should never have wandered off in the first place....\"\n\n> Go west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> You tell the story to Mary\n\"There was a ship...\" you begin, which catches Mary's attention immediately.\n\n\"That sounds familiar,\" she says, giving you her full attention.\n\"Isn't it the beginning part of that rather confused story that the mariner outside tells? If you've got it all organised, I'd like to hear it.\"\n\n> You continue\nMary shudders as you describe the curse that befell the mariner's crew. \"How terrible! Should all the people suffer for the sin of one man?\"\n\n> Continue\n\"What a terrible story!\" Mary seems to be hanging on to your every word, nonetheless.\n\n> Continue\n\"And is that how it ends, with the old mariner turning his gaze away from his suffering to these sea snakes? But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You give the wine jug to Mary\nEr, maybe it would be best if you don't do that.\n\nYou hear the guests chattering on: \"...wouldn't believe a word of it. So I said to Thomas, I said....\"\n\n> You tell the story to Lazarus\nIt seems unlikely that you could get much help there, and anyway it's really not your place to intrude.\n\nYou hear the guests chattering on: \"...thankfully managed to work around their language differences and got the medicine for....\"\n\n> You show the wine jug to Mary\nEr, maybe it would be best if you don't do that.\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> Go southeast\nRather annoyingly, Anna trails along behind you like Raphael following Tobias, but with significantly less divine intent.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\nYou hear the guests chattering on: \"...his mother-in-law, would you believe it? Of course he never quite forgave....\"\n\n> You tell the story to Mary\nMary frowns. \"I hope you know a little more about it than you did the last time.\" She listens as you quickly go over the initial part of the story again.\n\n> Go east\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\n\"Wait up,\" says Mary of Bethany, trailing after you, \"we're not finished yet!\"\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nMary of Bethany hovers nearby, her attention focussed on you.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...honour one's father and mother. Say what you like, he's always done his duty by her....\"\n\n> You tell the story to Mary\nYou repeat the part about the curse that befell the mariner's crew. Mary nods thoughtfully, still searching your words for any grain of meaning she might have missed the first time around.\n\n> Go north\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\n\"Wait up,\" says Mary of Bethany, trailing after you, \"we're not finished yet!\"\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nMary of Bethany hovers nearby, her attention focussed on you.\n\nYou can also see Little Orphan Anna and Amos here.\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\n\"Wait up,\" says Mary of Bethany, trailing after you, \"we're not finished yet!\"\n\nThis is where the family keeps the wine and the olive oil. It is a cool, windowless room; the kitchen proper is up some steps to the east.\n\nMary of Bethany hovers nearby, her attention focussed on you.\n\nA broken set of shelves lies shattered and scattered across the floor.\n\nYou can also see Little Orphan Anna here.\n\n> You tell the story to Mary\n\"But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\n> Keep going\n\"But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\nMary presses you for further details or possibly an explanation for the more inexplicable aspects of the story, but you have to confess that you cannot add to what you have told her. Disappointed, she returns to the Rabbi and his entourage for more erudite discourse.\n\n> Go east\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> You ask Anna about the story\n\"I've overheard a little bit of the story that the old mariner outside has been telling, sir, and it's really quite amazing, only it's all jumbled up when he tells it. That old mariner seems to have rather an amazing imagination, sir. Or do you think it could all be real? I mean, I hear that a lot of awful things happen at sea, that's why I'm glad I'm not from the tribe of Zebulun. Lazarus told me all about Jacob's blessing on Zebulun, sir. They're supposed to be great sailors, and one imagines that it would be terribly romantic, to be out on the sea with water all around and the sky arching across overhead, but after listening to a bit of the old mariner's story, I think I'd much rather stay on land.\"\n\n> You go south\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> You ask Joshua about the zebulun\nJoshua doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...a pound of flesh, of all things, but then the other gentile's wife pointed out that....\"\n\n> You go north\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Little Orphan Anna and Amos here.\n\n> Go south\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\n> You open the cover\nYou heave the wooden cover aside.\n\n> You pour the water in the well\nWhich do you mean, the village well or the well water?\n\n> Village\n(Clean water in the village well)\nI think you've got this backwards.\n\n> You pour the well water in the bucket\nNo sense in making a mess here, especially since you're the one who'll have to clean it up afterwards.\n\n> You fill the bucket\nOh no, you hauled enough water from the well earlier today, filling up those jars for washing feet. You're not doing this again unless you absolutely have to.\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like the sort of disciple no prophet ever wants.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nYou can see Little Orphan Anna here.\n\n> Close well\n(the village well)\nYou carefully reposition the cover over the well.\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna here.\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You pour the water into the jars\nYou pour the water into one of the jars. It isn't quite full to the top, and there are five more to go....\n\n> Go west\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You go west\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\nYou hear the guests chattering on: \"...saved the bridge, though if you ask me he should never have wandered off in the first place....\"\n\n> You examine Joshua\nYou don't know the guy very well. Most of the guests are relative strangers, and this one is stranger than most: he's supposed to be a carpenter, or so you've heard, but apparently he was already teaching the priests and the Levites their own craft when he was ten. Which makes you kind of glad that you didn't know him way back then.\n\n> You ask Joshua about the feet\nJoshua doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...wouldn't believe a word of it. So I said to Thomas, I said....\"\n\n> You talk to Joshua\nYou might get further if you tried either asking or telling Joshua about something specific.\n\nYou hear the guests chattering on: \"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> You tell Joshua about the mariner's story\nJoshua doesn't seem to have anything to add to what you tell him.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> You ask Anna about the story\nYou don't want to hear that long rigmarole again.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> You tell the story to Mary\nMary frowns. \"I hope you know a little more about it than you did the last time.\" She listens as you quickly go over the initial part of the story again.\n\n> You tell story to Mary\nYou repeat the part about the curse that befell the mariner's crew. Mary nods thoughtfully, still searching your words for any grain of meaning she might have missed the first time around.\n\nYou hear the guests chattering on: \"...thankfully managed to work around their language differences and got the medicine for....\"\n\n> You tell the story to Mary\n\"But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\nYou hear the guests chattering on: \"...saved the bridge, though if you ask me he should never have wandered off in the first place....\"\n\n> You tell the story to Mary\n\"But why would the Lord relent for something like that?\" Mary looks to you for the moral of the story.\n\nMary presses you for further details or possibly an explanation for the more inexplicable aspects of the story, but you have to confess that you cannot add to what you have told her. Disappointed, she returns to the Rabbi and his entourage for more erudite discourse.\n\n> You examine Joshua\nYou don't know the guy very well. Most of the guests are relative strangers, and this one is stranger than most: he's supposed to be a carpenter, or so you've heard, but apparently he was already teaching the priests and the Levites their own craft when he was ten. Which makes you kind of glad that you didn't know him way back then.\n\nYou hear the guests chattering on: \"...could go for another drink right now. I'm not properly drunk yet....\"\n\n> You ask Mary for Joshua\n(Mary of Bethany first taking Joshua)\nMary of Bethany has better things to do.\n\n> You ask Mary about the jug\nMary listens attentively, but has little to tell you.\n\nYou hear the guests chattering on: \"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> You ask Joshua about sailor\nJoshua doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...in the middle of winter.\nAnyway, she was lost and....\"\n\n> You tell Joshua about the story\nJoshua doesn't seem to have anything to add to what you tell him.\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You ask Mary about Joshua\n\"Oh, he's dreadfully wise. You've just got to listen a while and you'll understand.\"\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\"\n\n> You listen to Joshua\n\"...down on the Jordan. Surprised to see him here at all, though of course he's disappeared....\"\n\n> You keep going\n\"...had this dream about the butcher's late wife, so they called off the wedding....\"\n\n> You look\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\nYou hear the guests chattering on: \"...rhubarb. Rhubarb rhubarb rhubarb. Rhubarb...?\"\n\n> Nazareth\n\"A relative of your master's, I think? I think I met her earlier in the evening ... a quiet woman, very dignified. You've got to admire a woman who can keep calm in the midst of wedding preparations.\"\n\n> You ask the bridesmaid about the mariner\nThe bridesmaid makes a face. \"That man just would not shut up. It would be one thing if he could tell his story straight, but he would insist on messing it all up. I could tell it better than he does; I mean, I've heard it at least five times over by now, backwards, forwards and sideways.\"\n\n> You ask the bridesmaid about John\n\"Rabbi Zechariah's son.\" She smirks a little. \"I don't think there's anyone who doesn't know about his preaching out on the Jordan. I can't imagine what his father must think.\"\n\nYou hear the guests chattering on: \"...looking for a map of Lutetia and instead discovering that the entire clan....\"\n\n> You ask the bridesmaid about Rabbi\n\"A very fine and learned man, I'm sure, and a pillar of the community. All the same, I think I'll keep my distance: he bores me to tears.\""
    },
    {
        "text": "[Themes: religious]\n\n> You look around\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...a terrible snob, but you won't find a more honest man....\"\n\n> You ask the bridesmaid about Lazarus\n\"Wasn't he one of the potential candidates for the position of High Priest? I hear his health isn't very good.\"\n\n> You look at the bridesmaid\nYou recognise her as one of the bridesmaids who'd been arranged for the wedding. She wasn't actually at the wedding, though: Clopas was running a little late, and a bunch of the bridesmaids, including this one, had to run off to the market to replenish the oil in their lamps when he finally arrived. These bridesmaids missed the wedding altogether as a result, and you thought they'd all gone home. Apparently one of them, at least, is still hanging around.\n\nYou hear the guests chattering on: \"...a pound of flesh, of all things, but then the other gentile's wife pointed out that....\"\n\n> You ask the bridesmaid about the bride\nYou think you detect a hint of bitterness in the bridesmaid's tone as she says, \"Mary? She's quite radiant tonight, isn't she?\"\n\n> Go south\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThe lamps are brightest here, where the main table overlooks the crush of wedding guests to the north and northwest. The family's main sleeping quarters are beyond, to the south, but no-one has any business going there.\n\nThe happy couple sit here, accepting congratulations and well wishes, and occasionally exchanging shy glances as if they'd only just met.\n\nYou can also see Little Orphan Anna here.\n\nMary, the bride, is about to take a sip from her cup when a guest comes up to offer her congratulations. Mary puts down her cup to thank the guest and promptly forgets about it.\n\n> You examine Mary\nMary, the bride, looks absolutely radiant, if a little thirsty. She's been so busy receiving everyone's congratulations that she hasn't been able to take more than a sip from the cup that Amos poured for her, hours ago.\n\n> You get the cup\nYou don't really want to draw any attention to that, under the circumstances.\n\nYou hear the guests chattering on: \"...of course no-one likes a tax-collector, but what can you do? At least he's....\"\n\n> Go northwest\nRather annoyingly, Anna trails along behind you like a guilty conscience.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\n> Go east\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna here.\n\nYou hear the guests chattering on: \"...so the diplomat grabbed the elephant's ear, and....\"\n\n> You look at the guests\nYou've identified a number of women who might be Mary of Nazareth.\nThat is about all you can say.\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe guests gather in clumps along the western periphery of the courtyard, under the glow of the hanging lamps. Of particular note is the more scholarly crowd, milling about restlessly since the departure of the Rabbi. The rest of the courtyard is to east and southeast.\n\nMary of Bethany hovers on the periphery, largely ignored by the learned men.\n\nYou can also see Little Orphan Anna, Joshua and Lazarus of Bethany here.\n\nYou hear the guests chattering on: \"...down on the Jordan. Surprised to see him here at all, though of course he's disappeared....\"\n\n> You ask Joshua about Mary\n(Mary of Bethany)\n\"A lot of people would do well to learn from her.\"\n\n> You ask Joshua about the joseph\nJoshua doesn't seem to have much to say about that.\n\nYou hear the guests chattering on: \"...in the middle of winter.\nAnyway, she was lost and....\"\n\n> You ask Joshua about Mary of the nazareth\n\"She's my mother. Obviously I wouldn't say or do anything but that which would honour her.\"\n\n> You examine Joshua\nYou don't know the guy very well. Most of the guests are relative strangers, and this one is stranger than most: he's supposed to be a carpenter, or so you've heard, but apparently he was already teaching the priests and the Levites their own craft when he was ten. Which makes you kind of glad that you didn't know him way back then.\n\n> You ask Anna about Mary of the nazareth\n\"Mary is a really common name, isn't it? I know half of the women in the crowd are named Mary, and I can point them out, too.\"\n\nYou hear the guests chattering on: \"...must be starving! So I left a platter of her favourite sweetmeats....\"\n\n> You ask Lazarus about Mary of the nazareth\n\"Joshua's mother? We actually weren't sure if she would come, you know. But Martha convinced her to put away her widow's weeds and put on a nice, blue dress, and she's somewhere about.\"\n\nPutting together all the information you've gathered, you think you could probably now pick the right Mary out of the crowd.\n\n> You look at the guests\nFollowing the clues you've gathered, you manage to identify one of the women hovering around the courtyard as Mary of Nazareth, mother of Joshua.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Mary of Nazareth here.\n\n> You ask Mary of the nazareth about Joshua\n\"I am truly blessed to have such a son,\" she says. She sounds like she means that, too, and yet the words seem to trouble her.\n\nYou hear the guests chattering on: \"...a pound of flesh, of all things, but then the other gentile's wife pointed out that....\"\n\n> You tell Mary about the wine\nYou tell Mary of Nazareth how you've almost run out of wine and how it has been suggested that her son might be able to help but that he doesn't seem interested in doing so. \"Let me have a word with him,\" she says.\n\nMary pulls her son aside and repeats to him what you've told her about the wine shortage. He glances at you and tells her what he told you, that it's really not his problem, adding a cryptic phrase, that his \"hour has not yet come.\"\n\nMary seems unperturbed. She simply turns to you and says, \"do whatever he tells you to.\"\n\nYou glance over to Joshua. For a moment it looks like you're back where you began, and then he quietly says to you: \"All right. You know those large water jars in the entryway alcove? Fill them all with water, up to the brim.\"\n\n> You go south\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Little Orphan Anna, Joshua and Mary of Nazareth here.\n\n> You go northeast\nRather annoyingly, Anna trails along behind you like an Egyptian plague.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You go to the east\nRather annoyingly, Anna trails along behind you like the too-long hem of an over-sized robe.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna here.\n\n> You go east\nRather annoyingly, Anna trails along behind you like a lost sheep.\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nYou can see Little Orphan Anna here.\n\n> You open well\n(the village well)\nYou heave the wooden cover aside.\n\n> You fill the bucket\nYou lower the bucket into the well and heave it up full of water. Oof, it's heavy; you put down the bucket and pause to catch your breath.\n\n> Close well\n(the village well)\nYou carefully reposition the cover over the well.\n\n> Go west\nRather annoyingly, Anna trails along behind you like an annoying following thing that follows.\n\nThe road to town stretches off to the south, and the house is back to the west. The dust has finally settled from the arrival of guests, and, compared to the noisy hubbub back in the courtyard, the street is blissfully quiet. It's probably even more quiet by the village well, across the street to the east.\n\nYou can see Little Orphan Anna here.\n\n> You go west\nRather annoyingly, Anna trails along behind you like a red-headed shadow.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\n> You fill the jars\nYou pour the water into one of the jars. It isn't quite full to the top, and there are five more to go....\n\nThere's really no need to describe the tedious task of refilling the jars of water. Suffice it to say that you make several trips to and from the well, with Little Anna constantly hounding at your heels. At last, you have five of the jars filled to the brim; one more bucket of water, and you should be done....\n\nYou are standing beside the village well, a large stone structure with a heavy wooden cover to keep people and wandering animals from falling in. Off to the west is the road to town, and beyond that is the house and the wedding. Fields stretch out in all other directions.\n\nYou're exhausted. But one more bucket should do the trick.\n\n> You open well\n(the village well)\nYou heave the wooden cover aside.\n\n> You fill the bucket\nYou lower the bucket into the well and heave it up full of water. Oof, it's heavy; you put down the bucket and pause to catch your breath.\n\n> You take Anna\nYou reach instinctively for Anna, but hesitate for a split-second. Sure, she's only an orphan and she's been nothing but a pest, but ... on the other hand, Mary of Nazareth did say to do exactly what Joshua told you, and Joshua -- who must be some sort of prophet along the lines of Elijah or Elisha if John is to be believed -- said to fill the jars to the brim, and if you lose the bucket.... What do you do?\n\n> You take Anna\nYou catch hold of Anna's arm as she goes over the edge, and pull her back to safety. For a moment, you both sit there, a little shocked at what's happened. \"Thank you,\" Anna says, weakly. \"I ... I'm sorry about the bucket. Maybe Joshua won't mind that one of the jars isn't quite full?\"\n\n> You look in well\n(the village well)\nYou can't see into the well with the cover covering it!\n\n> You look in well\n(the village well)\nThe water seems dark and cold, at least from out here.\n\n> You enter well\n(the village well)\nIt's cold and dark and wet and you're just asking for trouble, aren't you?\n\n> Close well\n(the village well)\nYou carefully reposition the cover over the well.\n\n> You check what you're carrying\nYou are carrying:\na tray of bikkies\na wine jug\n\n> You go to the west\nRather annoyingly, Anna trails along behind you like a little lost puppy.\n\nThis oddly-shaped room is the house's main entryway. The street is out to the east, and the courtyard is to the southwest. In addition, a narrow passage leads north to an enclosed garden.\n\nMost of the oddity of the room's shape comes from the placement of an alcove, situated just so, to inconvenience any invading evil spirits.\n\nYou can see Little Orphan Anna here.\n\nJoshua strolls into the entryway. \"Ah, I see the jars all filled up?\"\n\nYou shake your head and mumble something about losing the bucket, as Little Anna begins a long-winded account of what happened at the well. Joshua looks a little bemused, and gestures for you both to settle down. \"Please,\" he says, \"how much of a stickler do you think I am, over these trivialities?\" Producing a ladle which he must have swiped from the kitchen while you were busy hauling water, he draws out a bit of the water from the nearest jar and hands the ladle to you. \"Here, let Amos have a taste of this and see what he thinks.\"\n\nThankfully, Little Anna seems to have decided she can be of more \"use\" pleading your case to Joshua than following you around.\n\n> You go to the south-west\nThe kitchen is dim and smoky and cluttered, the result of the chaos of preparing for the wedding, currently underway in the courtyard to the south. In the northeast corner, the door to the garden stands wide open, in the hopes of letting in some cool air. Down some steps to the west is the winery.\n\nYou can see Amos here.\n\n> You give the ladle to Amos\nYou hand the ladle over to Amos, uncomfortably aware that you've got to be playing part of a very sick joke here. Amos, all unaware and curious, takes a sip. His brow shoots up and, amazingly, he takes another sip. Before you know it, he's gone and drunk down half the ladle. \"Micah,\" he gasps, incredulous, \"where'd you get this? This is the good stuff ... Clopas has been holding out on us!\"\n\nWhat? Amos offers the ladle to you, and you hesitantly take a sip ... and it is the best wine you've ever been lucky enough to taste. \"It's perfect,\" Amos says exultantly, \"the aroma! The bouquet! Even the way it sits at the bottom of the ladle, weighting it in a way that demonstrates the absolute perfection of its design! I must tell Clopas!\" And with that, Amos hurries off.\n\n> Go south\nYou'd better go see about the rest of those jars of ... water? Wine? Whatever it is, you've got to go see.\n\nThe courtyard is a large and spacious place, but the crush of wedding guests makes it seem a lot smaller. Off to the west, the guests gather in smaller, tighter groups under the hanging lamps, and you can see the bridal table to the south. You could retreat north to the kitchen (not that that would be any better) or northeast to the entryway. The bridal chamber is to the east, its doorway screened by an elaborate curtain.\n\nYou can see the bridesmaid, the one you rescued from the ancient mariner, mingling with the guests.\n\nYou can also see Mary of Nazareth here.\n\nYou can see a bit of excitement off to the south, where Amos is waxing lyrical over the sheer perfection of the wine. A job well done, you think, smiling in satisfaction. You don't notice Joshua until he is right behind you. \"Micah?\" he says, and it occurs to you that you never told him your name. \"Micah, where is John ben Zechariah?\"\n\n\"I don't know ... I'm not his keeper,\" you stammer, recognising only too late the parallel with Cain's answer to a similar question about Abel.\n\nThere is an uncomfortable pause. Then Joshua says, \"John would have been arrested sooner or later, that is true. But all the same ... you disappoint me, Micah.\"\n\nHe pauses, waiting for you to respond, but all you can do is hang your head in shame. Sighing, Joshua turns to join the feast.\n\nThree years later...\n\nYou've been out of Clopas's service for a while now. After he found out that you'd let a bunch of soldiers -- unclean soldiers, Herod's soldiers -- into his house, there wasn't much possibility of you staying with him. Since then, you've rattled from master to master, and the rise of Joshua's fame has only served to remind you of your guilt over those events at Clopas's wedding.\n\nJoshua was executed a few days ago; you know that Clopas had high hopes for the man, so he must be quite devastated at this turn of events. It is while musing over this that you catch sight, out of the corner of your eye, of a flash of red hair vanishing behind the lone tree in the middle of the field. For a moment, you think, could it be Little Anna? Before you know it, you find yourself in the middle of the field, under the tree. Little Anna is nowhere in sight.\n\nThis field isn't much to look at. There's a tall tree, more dead than alive; there are some rocks and a lot of clay. The road is off to the south, and a small stream is to the west.\n\n> You examine the tree\nMore dead than alive, the tree looks like dead hand clawing at the sky.\n\nYou hear a nasty snapping sound from above, and duck aside just in time. A red-headed man lands on the rocks right beside you with a sound you'd rather not ever hear again. An attempted suicide, if the broken noose about his neck is anything to go by. With a start, you recognise him as Judas Iscariot, one of Joshua's friends. Has Joshua's execution really affected him that badly?\n\n> You examine Judas\nYou don't know all of Joshua's particular group of friends, but Judas always stood out because of his red hair. As you peer closely at him, his eyelids flutter open. He's still alive! Although, judging by the fall, he's not likely to be alive for much longer.\n\nJudas's voice is a hoarse whisper. \"Water. Please.\"\n\n> Go south\nThis is all really too much. Maybe it's best if you just get as far away from here as you can, as quickly as you can.\n\n> Go west\nThe grasses grow a little higher here, and nearly hide a small stream that trickles past on its way to greener pastures. The field is back to the east; everywhere else is unfamiliar territory.\n\n> You get the water\nYou scoop up a bit of water in your hands. It begins to trickle out between your fingers.\n\n> You go east\nThis field isn't much to look at. There's a tall tree, more dead than alive; there are some rocks and a lot of clay. The road is off to the south, and a small stream is to the west.\n\nJudas lies sprawled among the rocks.\n\n> You give the water to Judas\nJudas takes a sip and closes his eyes. He is very still, and for a moment you think he's dead, and then you hear him go on: \"I have sinned. My teacher has been executed by crucifixion ... I betrayed him ... with a kiss, I betrayed him....\"\n\nYou draw back, startled, remembering your own experience with John ben Zechariah and Herod's soldiers. Judas doesn't notice. \"Is there forgiveness? I should have sought forgiveness ... they would not have forgiven me ... I don't know that ... I didn't dare ... I was afraid ... and so I damn myself....\"\n\nSuddenly, his eyes snap open, and he looks straight at you. \"Blessed are the merciful,\" he says, a little louder than you would have thought possible, \"they shall have mercy shown upon them.\" And then he really is gone.\n\n> You search Judas\nHe's dead. There's nothing more you can do for him.\n\n> You put rocks on Judas\n(first taking the clay)\n\nThat's hardly portable.\nYou need to be holding the clay before you can put it on top of something else.\n\n> Go south\nYou cannot leave the scene fast enough. There's no way you're going to end up the same way, you tell yourself. What was it he said? He didn't dare ask for forgiveness? You stop at the side of the road and look down towards Jerusalem. Neither John nor his father are still among the living, but there's Joshua's mother ... his closest friends, who'll want to know of Judas's fate ... and Clopas usually has some business in Emmaus at this time of the year, you might be able to catch him there.... It's time to get some things off your chest."
    },
    {
        "text": "[Themes: Historical, escape, child protagonist, house setting, male protagonist, family, post-modern, Victorian]\n\nJuly, 1892.\n\nFather is off to Oxford again, and Mother's gone with him. You know what that means: another day in the care of Uncle Stephen, who is nice but boring, and Aunt Emma, who means well but won't let you do anything fun. Worst of all, it's a Sunday, which means you're sitting very upright in Aunt Emma's parlour, in all your stiff-starched Sunday best, trying to read Uncle Stephen's latest sermon about one of the less-interesting parts of the Bible while Aunt Emma pretends that she wouldn't rather be knitting and Uncle Stephen hides under a pile of Hebrew and Latin and Greek in his study.\n\nPlus, it's gloriously sunny outside, and you can smell the grass from in here. It's just not fair. All the servants have the day off because Uncle Stephen and Aunt Emma don't believe in making people do any real work on Sundays, and you can bet that they -- Janet and Morris and Cookie, each of whom is loads more fun than Uncle Stephen and Aunt Emma put together -- are probably not all cooped up indoors in their Sunday best.\n\nIf only there were some way you could escape....\n\n(Type \"HELP\" for further information, instructions or hints)\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\n[Author's Note: It's gloriously sunny outside, and you can smell the grass from in here. It's not fair. All the servants have the day off, and you can bet they're not cooped up indoors in their Sunday best. If only there were some way to escape....]"
    },
    {
        "text": "> You look at Victoria\nMother has a portrait just like this back home, hung in exactly the same place over the parlour fireplace. Everybody you know has the same. You reckon that anyone who doesn't must be a spy, a heretic, a foreigner, or worse.\n\n> You examine Bible\nAunt Emma's had the same Bible for as long as you've known her. How she manages to keep it from getting dog-eared, given how often she reads it, you do not know. Aunt Emma has it open on her lap, and you notice that she's using Janet's master key to mark her place.\n\n> You examine the key\nThe master key is usually carried by the servants, which seems a little ironic. But then it's the servants who need to get into every nook and cranny of the house, from attic to coal cellar; normal people only need to get into the civilised living spaces. Since the servants today are out, it's been handed over to Aunt Emma ... which still seems a little ironic, since she's the mistress of the house.\n\n> You examine Emma\nAunt Emma is Uncle Stephen's sister, one of those maiden aunts who always ends up chaperoning people around; which, as you understand it, means it's her job to make sure people don't have any fun. You know she means well, really, but she takes her job much too seriously.\n\n> You look at the fireplace\nThe fireplace is cold this time of the year, just as it should be.\nThe mantel above is, as usual, burgeoning with a million little ornaments.\n\n> You examine the mantel\nIt's one of those extraordinarily sturdy oak affairs. Every time you visit, it looks as though it could not possibly hold even one more little ornament without collapsing; and yet, every time you visit, it looks as though Aunt Emma has managed to fit one more thing on it.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nAmong the many souvenirs of ancient history, you spot a duelling pistol. That doesn't look like the sort of thing boring people like Aunt Emma or Uncle Stephen (or, let's face it, anyone in your whole family) are likely to keep around the house!\n\n> You ask Emma about the pistol\n\"That used to belong to an old friend. I don't normally hold with duelling, but he was a very dear friend and ... you really should get back to your reading, Hector.\"\n\n> You ask Emma about the friend\n\"You are referring to a dear, old friend of the family,\" says Aunt Emma, not looking at you. \"He got a commission with the army and went to India and ... war is a nasty, nasty business, Hector. I hope and pray that you never have to see it.\" Well, perhaps, but it would be really exciting....\n\n> You ask Emma about the war\n\"That,\" says Aunt Emma firmly, \"is thankfully something about which I know absolutely nothing.\"\n\nYour family is so boring.\n\n> You ask Emma about the india\n\"I much prefer to stay in England, thank you very much. Strange lands like India are for wanderers with more courage than sense.\" Aunt Emma pauses. \"Well, courage ... it's a very fine thing, I suppose....\"\n\nYou're sure you hear Aunt Emma say something about \"dear old Captain Davis...\" as she turns back to her Bible.\n\n> You ask Emma about Davis\n\"Captain Davis was a dear, old friend of the family,\" says Aunt Emma, not looking at you. \"He got a commission with the army and went to India and ... war is a nasty, nasty business, Hector. I hope and pray that you never have to see it.\" Well, perhaps, but it would be really exciting....\n\n> You ask Emma about Bible\nAunt Emma wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\n> You look at the armchair\nGive Aunt Emma due credit: she did make sure you always got the most comfortable armchair in the house.\n\n> About yourself\nYou've been thoroughly scrubbed and ironed and starched into your least comfortable set of clothes. One day, when you are either Prime Minister or Archbishop of Canterbury -- depending on whether you listen to Mother or Father -- you're going to outlaw starch or declare it anathema or both.\n\n> You look at the window\nFrom here, you can see the lawn and the woods and the distant  spires of the cathedral. The sun is shining and you know that the woods are just bursting with interesting things to discover.\n\n> You examine the Cathedral\nBarchester Cathedral is just visible beyond the woods. You can't make out the details, but you know it's all very grand and impressive, at least to someone who isn't made to go there quite as regularly as you are.\n\n> You examine the sun\nWhy are you still indoors? Why?\n\n> You look at woods\nThe woods look incredibly enticing this time of the year.\n\n> Inventory\nYou are carrying:\nUncle Stephen's latest sermon\n\n> You examine the sermon\nUncle Stephen seems to have picked 1 Chronicles 6:1-15 as the topic of his sermon. Oh dear.\n\n> You show the sermon to Emma\nAunt Emma tries to explain the sermon to you. Her rather confused and unintelligible rambling fails to make it any more interesting.\n\n> You ask Emma about the levi\nAunt Emma wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\n> You put sermon on mantel\nThere's no room. There's never any room.\n\n> You break the window\nViolence isn't the answer to this one. Also, Uncle Stephen would tan your hide.\n\n> You give the sermon to Emma\nYou show Uncle Stephen's latest sermon to Aunt Emma.\n\nAunt Emma tries to explain the sermon to you. Her rather confused and unintelligible rambling fails to make it any more interesting.\n\n> You ask Emma about the key\n\"Someone has to take care of supper while the servants are away, Hector.\"\n\n> You get the portrait\nThe portrait is out of reach. Besides, that would probably be l\u00e8se-majest\u00e9, which you just learned about last Spring in\nyour French lessons. You would never want to visit a French crime on your English queen. That would be wrong.\n\n> You get the key\nAsk, and it shall be given you; but somehow you doubt if this will be the case here.\n\n> You ask Emma for the key\nAsk, and it shall be given you; but that is clearly not the case here.\n\nSomething among the ornaments on the mantel catches the light, and gleams momentarily.\n\n> You get the pistol\nIf you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\n\n> You go east\nEmma gives you a stern glare that quite effectively puts you in your place. Or keeps you there, at least.\n\n> You enter the fireplace\nYou'll only get yourself covered in soot.\n\n> You ask Emma about Uncle\n\"Your uncle is a busy man, Hector. He does not wish to be disturbed.\"\n\n> You ask Emma about yourself\nYou're not so vain that you need Aunt Emma to tell you what a good boy you are; nor do you care to hear about how you should have washed behind your ears this morning, or some such nonsense."
    },
    {
        "text": "[Themes: Historical, family, escape]\n\n> Describe the surroundings\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel is a duelling pistol, half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nBored, you glance up at the mantel and wonder what Aunt Emma could have added to it since your last visit.\n\n> You read Bible\nIt would be rude to go meddling with something while someone else is still holding on to it.\n\n> You ask Emma for Bible\nAsk, and it shall be given you; but that is clearly not the case here.\n\n> You stand\nEmma gives you a stern glare that quite effectively puts you in your place. Or keeps you there, at least.\n\n> You search the armchair\nThe armchair is empty.\n\n> Xyzzy\n\"What?\"\n\nJuly, 1916\n\nGetting the other fellows to join in on this story-telling lark seemed like a good idea at the time. It was better than yet another game of cards, anyway, and it rather took the mind off who is or is not going to be at mess in the morning.\n\nIt's a little terrifying how accustomed you've gotten to this muddy, grimy hell-hole. You could probably find your way back here in the dark, crawling blind through a maze of twisty trenches, all alike.\n\nYou can see Anderson, Jellicoe, Hardy and Macdougal here.\n\nEveryone is staring at Macdougal, who begins to turn a bright red.\n\n\"What on earth is that supposed to mean?\" barks Anderson at the hapless fellow.\n\n> You look at Macdougal\nMacdougal joined the battalion only a month ago, thanks to the Military Service Act of January last. Just think, when you were his age, Edward VII was just clambering up onto the throne. Anderson probably picked him for his batman out of pity.\n\n\"Magic words,\" says Macdougal, looking to you in appeal. \"It's standard operating procedure in these games, isn't it?\"\n\n\"I've never heard that one before in my life,\" you declare.\n\n> About you\nYour uniform was beautifully starched and crisp when you first left England two years ago. You thought you'd be back (for good, not on leave) before the starch had quite softened on your collar. And now look at you.\n\nJellicoe lets out a snort of exasperation. \"Really,\" he drawls. \"Magic. What nonsense. I'm surprised at you, Macdougal, although goodness knows what they're teaching you in school these days.\"\n\n\"I'd suggest we just get on with it, wouldn't you?\" says Hardy, and Anderson nods in agreement.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel is a duelling pistol, half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nGoodness. What on earth was that?\n\n> You ask Emma about the pistol\n\"That used to belong to Captain Davis. I don't normally hold with duelling, but he was a very dear friend and ... you really should get back to your reading, Hector.\"\n\n> You ask Emma about the courage\n\"That is a virtue you would do well to cultivate, but there is such a thing as too much of a good thing.\"\n\n> You give Bible\n(to Aunt Emma)\nAunt Emma has better things to do.\n\n> You give Bible to you\nAunt Emma has better things to do.\n\n> You show the sermon to Emma\nAunt Emma tries to explain the sermon to you. Her rather confused and unintelligible rambling fails to make it any more interesting.\n\n> You kill emma\nViolence isn't the answer to this one. Also, Uncle Stephen would tan your hide.\n\n> You eat sermon\nThat's plainly inedible.\n\n> You put the sermon in the fireplace\nThat's unlikely to get you any closer to the great outdoors.\n\n> Sleep\nNo! You want to play!\n\n> You get up\nEmma gives you a stern glare that quite effectively puts you in your place. Or keeps you there, at least.\n\n> You ask Emma about the kitchen\nWhich do you mean, the kitchen fireplace or the kitchen door?\n\n> You shout fire\n(to Aunt Emma)\nThere is no reply.\n\n> You drop the sermon\nDropped.\n\n> You go east\nEmma gives you a stern glare that quite effectively puts you in your place. Or keeps you there, at least.\n\n> You ask Emma about Victoria\n\"She's our Queen, and on the whole she has been a far better ruler than some of the monarchs in our history.\"\n\n> Hint\nAbout the author\nInstructions for Play\nHints\nWalkthrough\n\n> P.\nWhat to do with >\nGetting Started\nRooms and Travel\nInteracting with Other People\nObjects\nControlling the Game\nHow the World is Assembled\nIf You Get Stuck\n\n> N n n n n n north\nWhat to do with >\nGetting Started\nRooms and Travel\nInteracting with Other People\nObjects\nControlling the Game\nHow the World is Assembled\nIf You Get Stuck\n\n> You examine the mantle\nIt's one of those extraordinarily sturdy oak affairs. Every time you visit, it looks as though it could not possibly hold even one more little ornament without collapsing; and yet, every time you visit, it looks as though Aunt Emma has managed to fit one more thing on it.\n\nOn the mantel is a duelling pistol, half hidden in a crowd of other little ornaments.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nSunlight glints off a glass unicorn. Now that's more the sort of pointless ornament you'd expect to find in Aunt Emma's collection.\n\n> You look at the unicorn\nIt's a unicorn, made of glass, rearing up on its hind legs. Its horn appears to have been broken off once upon a time, though it's been glued back on since.\n\n> You look at the horn\nIt's a unicorn, made of glass, rearing up on its hind legs. Its horn appears to have been broken off once upon a time, though it's been glued back on since.\nI beg your pardon?\n\n> You ask Aunt about the unicorn\n\"That used to be part of a much larger glass menagerie,\" says Aunt Emma, \"but, well, the less said about that the better.\"\n\n> You think\nYou are.\n\n> You ask Emma about the menagerie\n\"There is nothing interesting to tell there,\" says Aunt Emma. \"The other pieces have gotten either lost or broken over the years, and that unicorn is the last of the lot.\"\n\n> You ask Emma for the unicorn\nAsk, and it shall be given you; but that is clearly not the case here.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nYou spot a statuette of a black falcon in the midst of all the clutter.\n\n> You examine the falcon\nIt's a black bird. How boring. Why anyone would want something like this, you do not know.\n\n> You get the falcon\nIf you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\n\n> You ask Emma about the falcon\n\"Captain Davis picked that up years ago when he was in Malta, and brought it back as present.\"\n\n> You ask Emma about the malta\n\"I've never been there, but I've heard that it's quite fascinating.\" Aunt Emma recounts a few vague memories of stories told to her years and years ago, when the earth was young.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nHere's something that's not so bad: a painting of a ship sailing into the sunrise. Or sunset. One of the two.\n\n> You examine the ship\nA rather fantastic-looking ship, with a dragon figurehead, sails over greenish-blue waves, into the sunrise. Or the sunset. It's rather hard to tell.\n\n> You examine the sunset\nMaybe it's the sunrise.\n\n> You examine the dragon\nIf you were a ship's captain, you'd want your ship to have a figurehead like that.\n\n> You examine the sunrise\nMaybe it's the sunset.\n\n> You ask Emma about the ship\n\"It's a little fantastic for my tastes. But I suppose, as your Uncle Stephen says, the fantastic is a reminder of the wonder and majesty of our Lord, and who am I to argue?\"\n\n> You enter the ship\nThat sort of thing only happens in books.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nThere's a saucer leaning against the wall at the back of the mantel. Normally you wouldn't give it a second glance, but there's something odd about the design.\n\n> You examine the jabberwock\nYou thought at first that the fanciful design around the saucer was a pattern of owls, but you see now you were mistaken. It's flowers ... definitely flowers.\n\nYou can't see any such thing.\n\n> You examine the flowers\nYou thought at first that the fanciful design around the saucer was a pattern of flowers, but you see now you were mistaken. It's owls ... definitely owls.\n\n> You examine the owls\nYou thought at first that the fanciful design around the saucer was a pattern of owls, but you see now you were mistaken. It's flowers ... definitely flowers.\n\n> You ask Emma about flowers\nWhich do you mean, the flower saucer or the elaborate flower centrepiece?\n\n> Saucer\n\"That's from Wales. There used to be a whole dinner service, but ... well.\" Aunt Emma seems to be blushing slightly, and you guess it must be because she broke all the rest of the dishes and doesn't want to admit it.\n\n> You ask Emma about the wales\n\"Your Uncle and I, when we were children, spent a summer in Wales. I remember....\" Aunt Emma pauses to stare out the window, but before you can seize the opportunity, she turns back to you and continues, \"That's where we met dear old Owen Davis....\"\n\nYou are considering asking her for more about this Captain Davis character, when Aunt Emma sighs. \"Sometimes I wonder what might have been....\" She turns her attention back to her Bible, determined not to say any more. But when you look up a few moments later, she's staring out the window, Bible forgotten.\n\n> Go east\n(First stealthily slipping out of the armchair)\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet."
    },
    {
        "text": "[Themes: Historical, escape, male protagonist, post-modern, family, house setting]\n\n> You examine the door\nWhich do you mean, the kitchen door, the front door or the closet?\n\n> Front\nThe front door is large and imposing ... and creaky. Morris says that Aunt Emma makes him keep it that way so she can hear when anyone comes in or out of the house.\n\n> You examine the closet\nThe hall closet is where things like winter boots and umbrellas are kept. This one is usually a lot tidier than the one back home, but Mother says that's probably because Aunt Emma and Uncle Stephen don't have a nine-year-old to worry about.\n\nCurrently, the closet is closed.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You open the closet\nYou open the closet, revealing a walking stick.\n\n> You examine the stick\nUncle Stephen has taken to long walks over the hills, and as a consequence has gotten himself a walking stick that's really more of a staff, it's so long and sturdy. Father says he's really just practicing for such a time as when he finally gets a bishop's crozier, but Mother thinks Father should not make light of such things.\n\n> You get it\nTaken.\n\n> You open the front door\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down and put that walking stick away. It's not a toy.\" She hauls you back into your seat, but not before taking away anything that isn't covered in Uncle Stephen's handwriting and returning them.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You open the front door\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> Go east\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\nA rather thick folder lies on the floor by the desk, having been displaced by some of Uncle Stephen's reference books.\n\n> You examine the shelves\nPicking out a random book from the shelves, you find ...\nConfessiones. Ah yes, the works of Augustine of Hippo. Of\ncourse, Uncle Stephen would only have the Latin translations.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> Examine books\nPicking out a random book from the shelves, you find ... The Woman\nIn White. Must be another one of those exhortations to virtue.\nWhy doesn't Uncle Stephen keep any exciting fiction in his library?\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You look at the fireplace\nYou wouldn't think, to look at it, that this is actually the back side of the much-larger kitchen fireplace, would you? It's so dressed up that it looks like the front side of something fancy. But yes, the two fireplaces share a flue and everything, though the flue itself is really only accessible from the kitchen side.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You wake stephen\nUncle Stephen stirs and looks bemusedly at you. \"Eh? I'm awake.\nWhat is it, Hector?\"\n\nUncle Stephen takes a puff on his pipe and notes with some annoyance that it has somehow gone out. He draws a match from a nearby matchbox, relights the pipe, and puffs contentedly.\n\n> You ask Stephen about Davis\n\"Where'd you hear about him? Owen Davis ... Captain Davis, that is ... salt of the earth, but rather a reckless fellow, I'm afraid: always had been, from the time we first met him, in Wales. He died in the Sepoy Mutiny, in India. We were all dreadfully cut up by it.\"\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes\n\n> You examine the folder\nbenignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\nYou can't see any such thing.\n\n> You examine folder\nIt's clearly marked \"Old Sermons\", and its contents are as advertised. This probably qualifies it as a weapon of Mass destruction.\n\nIn the brown folder are Uncle Stephen's old sermons.\n\n> Go north\nYou can't go that way.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You ask Emma about Sepoy\nAunt Emma looks grim when you mention the Sepoy Mutiny. \"Those people were not Christian. And that is all I have to say on the subject.\"\n\n> You ask Emma about the christian\nAunt Emma isn't the best at explaining that sort of thing, and if you get her started, you're never going to get out of here before sundown. And then there'd be no point.\n\n> You examine the mantel\nIt's one of those extraordinarily sturdy oak affairs. Every time you visit, it looks as though it could not possibly hold even one more little ornament without collapsing; and yet, every time you visit, it looks as though Aunt Emma has managed to fit one more thing on it.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nThere's a wooden goblet standing at one end of the mantel. It's very plain, but on the other hand you didn't think people made goblets out of wood.\n\n> Examine goblet\nIt's plain and non-descript, even remarkably so; its only point of interest is that it's a goblet made of wood, which seems like a funny sort of material to make goblets out of.\n\n> You ask Emma about the goblet\n\"That is the cup of a carpenter,\" says Aunt Emma. You wait for her to continue, but she doesn't seem to want to say any more than that.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nYou notice a white porcelain cat sitting on the mantel, looking down at you with an expression which might be all-too-human if it only had a mouth.\n\n> You ask her about the cat\n(Aunt Emma about the white cat)\n\"Charming, is it not? I always imagine it's saying hello to me when I come into the parlour in the mornings.\" But how can it, when it has no mouth?\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nThere's that old locket with the snake on the front. You remember playing with it when you were very small, and now it's just another memory on Aunt Emma's mantel.\n\n> You look at the locket\nIt's rather large, and very ornate. The snake on the front is curved like the letter S, and no-one as far back as anyone remembers has ever been able to open it.\n\n> You ask Emma about locket\n\"That thing was in the house when we moved in, and we've never been able to track down the owners. Well. I suppose we're duty-bound to hold on to it until its true owner shows up.\"\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nHow odd, there's a gnomon here, the triangular shadow-casting bit from a sundial, but no sundial.\n\n> You examine the Gnomon\nIt's triangular and made of brass, with a screwy end where it's supposed to screw into a sundial somewhere.\n\nSomeone whispers \"Gnomon is an island\" into your ear, but\nwhen you look around, there's no-one there.\n\n> You ask Emma about the gnomon\n\"Your Uncle Stephen picked that up while on holiday in London. I don't claim to understand everything about your uncle, but this gnomon clearly means something to him.\"\n\n> You look at the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\n> You ask about the Wales\n\"Your Uncle and I, when we were children, spent a summer in Wales. I remember....\" Aunt Emma pauses to stare out the window, but before you can seize the opportunity, she turns back to you and continues, \"That's where we met dear old Owen Davis....\"\n\n> You ask Emma about Owen\nAunt Emma sighs. \"Sometimes I wonder what might have been....\" She turns her attention back to her Bible, determined not to say any more. But when you look up a few moments later, she's staring out the window, Bible forgotten.\n\n> Light fireplace\nThis dangerous act would achieve little.\n\n> Light pipe\nIt would be rude to go meddling with something while someone else is still holding on to it.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down and put that large matchbox away. It's not a toy.\" She hauls you back into your seat, but not before taking away anything that isn't covered in Uncle Stephen's handwriting and returning them.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You ask Stephen about the trinity\nOh no. You do not want to get your uncle started on that. Life is far too short as it is.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You ask Stephen about the kensington gardens\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You ask Stephen about Sepoy\n\"Nasty business ... years ago, now, but I remember reading about it. That sort of thing isn't likely to happen up here in England, thank goodness.\"\n\n> You ask Stephen about the wales\n\"The family spent a summer there, a long time ago. Your Aunt Emma and I must have been about 17 or 18, at the time.\" It occurs to you that Mother must have been born in that year. You're old enough to know that parents don't like having the children around when the stork makes a delivery, which probably explains why Uncle Stephen and Aunt Emma were sent to Wales to begin with.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You ask Emma about Owen\nAunt Emma sighs. \"Sometimes I wonder what might have been....\" She turns her attention back to her Bible, determined not to say any more. But when you look up a few moments later, she's staring out the window, Bible forgotten.\n\n\"Now hold it right there...!\"\n\nJuly, 1916\n\nGetting the other fellows to join in on this story-telling lark seemed like a good idea at the time. It was better than yet another game of cards, anyway, and it rather took the mind off who is or is not going to be at mess in the morning.\n\nIt's a little terrifying how accustomed you've gotten to this muddy, grimy hell-hole. You could probably find your way back here in the dark, crawling blind through a maze of twisty trenches, all alike.\n\nAnderson was doodling on an old letter of recommendation earlier, and seems to have forgotten about it.\n\nYou can also see Anderson, Jellicoe, Hardy and Macdougal here.\n\nAnderson shakes his head. \"I can't believe she'd fall for that a third time. What kind of a weak-minded aunt did you have, Conrad?\"\n\n\"You're the ones who can't figure it out,\" you reply. \"So she'll keep falling for the same stunt until you do.\"\n\n> You look at Hector\nYour uniform was beautifully starched and crisp when you first left England two years ago. You thought you'd be back (for good, not on leave) before the starch had quite softened on your collar. And now look at you.\n\n\"Major Conrad just wants us to try again,\" says Jellicoe, with an air of pouring oil over troubled waters. \"So why don't we go and do that?\"\n\n\"We need a better strategy,\" Hardy muses, drawing the other men to him. \"Look, we've got only so long before she stops mooning over ancient history, and I'm pretty sure the major doesn't mean for the trick to happen more than once. What can we do with those few minutes?\"\n\n> You ask hardy about the outdoors\nThe men can figure this out on their own.\n\nMacdougal says, \"there's bound to be something in one of the other rooms that will convince her to leave us alone.\"\n\n\"It can't be that simple,\" snorts Anderson in reply.\n\n\"Anyway we can just keep trying until we get it right, right?\" Hardy looks around the table, and the others nod. \"So, let's get on with this.\"\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\nGoodness. Where did that dream come from?\n\n> You go to the north\n(First stealthily slipping out of the armchair)\n\nThe dining room is a pleasant, sunny room, with a round dining table just large enough for six. A huge bay window looks out over the lawn towards the cathedral: Uncle Stephen's morning reminder of who he is and why he's here. Aunt Emma's parlour is back to the south, and the hall is to the southeast. The butler's door into the kitchen is to the east.\n\nOn the dining table is an elaborate flower centrepiece.\n\n> You examine the centerpiece\nAunt Emma believes in \"civilised dining\", which is why she insists on maintaining a pretty centrepiece on the dining table at all times. This centrepiece is beginning to get a little old and dry. The flowers and leaves stick out all over like bristles on a brush, and the ribbons holding it together are looking droopy.\n\n> You examine the ribbons\nThis centrepiece is beginning to get a little old and dry. The flowers and leaves stick out all over like bristles on a brush, and the ribbons holding it together are looking droopy.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down and put that elaborate flower centrepiece away. It's not a toy.\" She hauls you back into your seat, but not before taking away anything that isn't covered in Uncle Stephen's handwriting and returning them.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> Go east\n(First stealthily slipping out of the armchair)\n\nThe dining room is a pleasant, sunny room, with a round dining table just large enough for six. A huge bay window looks out over the lawn towards the cathedral: Uncle Stephen's morning reminder of who he is and why he's here. Aunt Emma's parlour is back to the south, and the hall is to the southeast. The butler's door into the kitchen is to the east.\n\nOn the dining table is an elaborate flower centrepiece.\n\nTaken.\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\nA rather thick folder lies on the floor by the desk, having been displaced by some of Uncle Stephen's reference books.\n\n> Light centerpiece\nThis dangerous act would achieve little.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down and put that elaborate flower centrepiece away. It's not a toy.\" She hauls you back into your seat, but not before taking away anything that isn't covered in Uncle Stephen's handwriting and returning them.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> Go east\n(first opening the butler's door)\nIt seems to be locked.\n\n> You go southeast\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\n> You go northeast\n(first opening the kitchen door)\nIt seems to be locked.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You go to the south\nTaken.\n\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, staring off into the distance.\n\n> You show the centerpiece to Emma\nAunt Emma is distractedly gazing out the window. Surely you have better things to do than to draw her attention back to the task of keeping you in your place.\n\n> You drop the centerpiece\nDropped.\n\nAunt Emma sighs and finally looks around. When she sees you out of your seat, she frowns and rises, and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat."
    },
    {
        "text": "[Themes: Historical, male protagonist, Victorian, child protagonist]\n\n> You look around\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nYou can also see an elaborate flower centrepiece here.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\n> You go east\n(First stealthily slipping out of the armchair)\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\nA rather thick folder lies on the floor by the desk, having been displaced by some of Uncle Stephen's reference books.\n\n> You get all\nbrown folder: Taken.\nlarge matchbox: Taken.\n\n> You go to the west\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, staring off into the distance.\n\nYou can also see an elaborate flower centrepiece here.\n\nAunt Emma sighs and finally looks around. When she sees you out of your seat, she frowns and rises, but stops in surprise when she sees the folder of Uncle Stephen's old sermons in your hands. \"Oh!\" she says. \"Oh ... are those your Uncle Stephen's old sermons? So that's what you were after! You should have just said so. I see I should have trusted you enough to know you could not possibly mean any mischief when you leave your seat.\"\n\nShe actually smiles and pats you on the head. On the bright side, it looks as though she doesn't mind you wandering around any more, since she makes no further attempt to usher you into your chair. She does, however, firmly advise you to return the large matchbox to its rightful place, and ushers you out into the Hall to do so.\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\n> You open the front door\nAs you approach the front door, you hear Aunt Emma call out to you, \"Hector, you're not planning on leaving the house, are you? Please don't.\"\n\n> You go east\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\n> You wake stephen\nUncle Stephen stirs and looks bemusedly at you. \"Eh? I'm awake.\nWhat is it, Hector?\"\n\nUncle Stephen takes a puff on his pipe and notes with some annoyance that it has somehow gone out. He reaches for his trusty matchbox and notes with even more annoyance that it has somehow gone missing. Sighing, he stands up and begins looking around.\n\nUncle Stephen's sharp eyes spot the matchbox in your possession.\n\"Give it here, Hector,\" he says sternly, and you can practically hear him thinking \"Thou shalt not steal\" at you, and you have no choice but to hand over the matchbox.\n\nUncle Stephen relights his pipe and settles back behind his mound of boring literature. He'll probably be asleep again in no time.\n\n> You ask Stephen about the pipe\nUncle Stephen just smiles and puffs contentedly.\n\n> You ask Stephen about Davis\n\"Where'd you hear about him? Owen Davis ... Captain Davis, that is ... salt of the earth, but rather a reckless fellow, I'm afraid: always had been, from the time we first met him, in Wales. He died in the Sepoy Mutiny, in India. We were all dreadfully cut up by it.\"\n\n> You ask Stephen about the wales\n\"The family spent a summer there, a long time ago. Your Aunt Emma and I must have been about 17 or 18, at the time.\" Uncle Stephen looks a little lost in the memory, and eventually descends into pointless talk about valleys and old houses and patterned dinner services.\n\n> You ask Stephen about Mutiny\n\"Nasty business ... years ago, now, but I remember reading about it. That sort of thing isn't likely to happen up here in England, thank goodness.\"\n\n> You ask Stephen about the india\n\"Hm? Fascinating place, I'm sure, but I would rather leave missionary work to those with a calling to it. Otherwise, it's rather too much trouble....\"\n\n> You ask Stephen about the pistol\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\n> You ask Stephen about the stick\n\"A walking stick is a rather useful item, I must say. I simply could not tell you the number of times I've been glad of having a nice, stout staff on hand while walking across the downs.\"\n\n> You ask Stephen about Emma\n\"You should ask her yourself,\" says Uncle Stephen vaguely.\n\n> You go to the west\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\n> You go east\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. White smoke curls from the bowl of his pipe.\n\nThe last of the smoke from Uncle Stephen's pipe dissipates into the air.\n\n> You look at the smoke\nIt curls lazily from the bowl of the pipe and dissipates into the air, smelling up the place something awful.\n\n> You smell it\nIt smells awful, and for some unknown reason it always makes you feel hungry. The less you have to do with it, the better.\n\n> You show the stick to Stephen\n\"A walking stick is a rather useful item, I must say. I simply could not tell you the number of times I've been glad of having a nice, stout staff on hand while walking across the downs.\"\n\n> You ask Stephen about the pipe\nUncle Stephen just smiles and puffs contentedly.\n\n> You ask Stephen about the tobacco\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\nUncle Stephen begins to nod drowsily. In a few moments, his pipe droops down onto his chest and he lets out a tiny little snore.\n\n> You ask Stephen for the pipe\nAsk, and it shall be given you; but that is clearly not the case here.\n\nThe last of the smoke from Uncle Stephen's pipe dissipates into the air.\n\n> You examine the painting\nIt's a brilliant painting of a town beside the sea, with the sun shining on whitewashed houses and the bluest sky you ever did see. Uncle Stephen always smiles and says he's seen better when you ask him about it.\n\n> You ask Stephen about it\n\"I'm rather fond of it, even if your Aunt Emma isn't.\" Uncle Stephen smiles wistfully. \"Admittedly, it's not the artist's best work, but it brings back memories, you see.\"\n\n> You ask Stephen about the memories\nUncle Stephen looks a little wistful. \"You know, the late summer of 1886 found me on the continent....\" But you quickly stop him before he gets carried away."
    },
    {
        "text": "> You look at your surroundings\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen is reading a really ancient-looking manuscript while making notes in another sheaf of papers. White smoke curls from the bowl of his pipe.\n\nUncle Stephen begins to nod drowsily. In a few moments, his pipe droops down onto his chest and he lets out a tiny little snore.\n\n> You look at manuscript\nIt's one of those ancient, dusty artefacts that Uncle Stephen occasionally gets out of the rare books department at the British Museum. It's all written in funny squiggles that no-one can read.\n\n> You ask Stephen about the manuscript\nUncle Stephen stirs and looks bemusedly at you. \"Eh? I'm awake.\nWhat is it, Hector?\"\n\n> You ask Stephen about the manuscript\n\"It's quite an interesting, apocryphal document, I must say. I'll let you read it when I'm done, if you're good.\" Right. Better misbehave before it's too late.\n\n> You look at the papers\nIt looks like a translation of some sort, full of crossed-out bits and notes about notes about other notes. As far as you can tell, it's about some servant's account of the water-into-wine miracle from the Bible, although why Uncle Stephen is working on translating that when he can just read it in any old Bible, you do not know."
    },
    {
        "text": "[Themes: Historical]\n\n> Describe the surroundings\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen is reading a really ancient-looking manuscript while making notes in another sheaf of papers. White smoke curls from the bowl of his pipe.\n\n> You examine the desk\nUncle Stephen's desk is covered with all sorts of papers. There's a huge dictionary that Uncle Stephen keeps flipping through, and things in languages that you've never even heard of before. Uncle Stephen is sitting right up close to the desk, blocking its only drawer.\n\nOn the desk is a large matchbox.\n\nUncle Stephen begins to nod drowsily. In a few moments, his pipe droops down onto his chest and he lets out a tiny little snore.\n\n> You look at the dictionary\nThe dictionary on Uncle Stephen's desk is actually some sort of book about Hebrew grammar. You have enough trouble with Latin and French; Father says he wants to get you started on Greek next year, which sounds like the end of the world as you know it; Hebrew looks like it goes beyond even Greek, Latin and French all put together in terms of things Man was not meant to know.\n\n> You examine the drawer\nYou know there's a drawer in the desk, but Uncle Stephen is sitting right up against it and blocking it from view.\n\nThe last of the smoke from Uncle Stephen's pipe dissipates into the air.\n\n> Examine books\nPicking out a random book from the shelves, you find ... Plato's Republic. No surprise there....\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You look at the books\nPicking out a random book from the shelves, you find ... Les Mis\u00c3\u00a9rables. No. You are not reading French outside of lessons,\nand that is final.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You get the books\nPicking out a random book from the shelves, you find ... The Sign\nOf Four. Something about the four gospels, obviously. You'd\nkill to have a decent mystery novel right about now.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> Examine books\nPicking out a random book from the shelves, you find ... King Solomon's Mines. This is either an archaeological report, or\nanother dry examination of ancient Biblical history. Either way, it's probably not very interesting.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> Examine books\nPicking out a random book from the shelves, you find ... The\nHudson's Bay Company. Finally, some R.M. Ballantyne! One that\nyou've already read, but you're not fussy. You are disappointed, however, to discover that this is in fact a prospectus from the real Hudson's Bay Company, full of deadly-dull talk about profits and shares.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You look at the books\nPicking out a random book from the shelves, you find ... The\nHudson's Bay Company. Another copy of the prospectus you'd\npulled out before, in a different cover. You're not going to be fooled again, though; you don't even bother opening the ruddy thing.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You ask Stephen about the books\n\"One can never have too many books, I always say.\"\n\n> You ask Stephen about the drawer\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\nUncle Stephen begins to nod drowsily. In a few moments, his pipe droops down onto his chest and he lets out a tiny little snore.\n\n> Burn papers\nThis dangerous act would achieve little.\n\n> Inventory\nYou are carrying:\na walking stick\na brown folder\nUncle Stephen's old sermons\n\nThe last of the smoke from Uncle Stephen's pipe dissipates into the air."
    },
    {
        "text": "[Themes: Historical, child protagonist, Victorian, family]\n\n> Describe the surroundings\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\n> Examine books\nPicking out a random book from the shelves, you find ... De\nDoctrina Christiana. Ah yes, the works of Augustine of Hippo.\nOf course, Uncle Stephen would only have the Latin translations.\n\nYou return the book to the shelves, though not perhaps in quite the same precise location.\n\n> You examine it\nIt's a large box of matches that Uncle Stephen keeps handy, for lighting his pipe. He goes through an awful lot of them, no-one knows why.\n\n> Light match\nUncle Stephen would skin you alive.\n\n> You take match\nYou already have that.\n\n> Inventory\nYou are carrying:\na large matchbox\na walking stick\na brown folder\nUncle Stephen's old sermons\n\n> You look at the fireplace\nYou wouldn't think, to look at it, that this is actually the back side of the much-larger kitchen fireplace, would you? It's so dressed up that it looks like the front side of something fancy. But yes, the two fireplaces share a flue and everything, though the flue itself is really only accessible from the kitchen side.\n\n> You put all in the fireplace\nlarge matchbox: That's unlikely to get you any closer to the great outdoors.\nwalking stick: That's unlikely to get you any closer to the great outdoors.\nbrown folder: That's unlikely to get you any closer to the great outdoors.\n\n> Go west\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nThe hall closet door is half-open.\n\n> You go to the west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nYou can also see an elaborate flower centrepiece here.\n\nAunt Emma spots the walking stick in your possession. \"Hector Percival Conrad! What are you doing with your Uncle Stephen's walking stick? Put it back at once!\"\n\nShe practically bullies you out into the hall on the way to returning everything to its rightful place.\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nThe hall closet door is half-open.\n\n> You drop all\n(the brown folder)\nDropped.\n\n> Go west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nYou can also see an elaborate flower centrepiece here.\n\n> You get all\nelaborate flower centrepiece: Taken.\ndisplaced gnomon: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nsnake locket: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nwhite cat: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nwooden goblet: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nflower saucer: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nship painting: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nblack falcon: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nglass unicorn: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\nduelling pistol: If you so much as nudged anything there, you risk having the whole lot come avalanching down upon your head. You're too young to die.\n\nAunt Emma spots the big, brushy centrepiece in your hands. \"Hector Percival Conrad! That belongs in the dining room ... you'll get dry leaves and petals all over the place and Janet isn't around to sweep up after you. Put that back right now!\"\n\nShe practically bullies you out into the hall on the way to returning the stupid thing to its rightful place.\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nYou can see a brown folder (in which are Uncle Stephen's old sermons) here.\n\n> You go east\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nHalf-hidden among the papers on the desk, you spot a large matchbox.\n\nUncle Stephen seems to have nodded off in his chair. White smoke curls from the bowl of his pipe.\n\nThe last of the smoke from Uncle Stephen's pipe dissipates into the air.\n\n> You go west\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nYou can see a brown folder (in which are Uncle Stephen's old sermons) here.\n\n> You examine the front door\nThe front door is large and imposing ... and creaky. Morris says that Aunt Emma makes him keep it that way so she can hear when anyone comes in or out of the house.\n\n> You get all\nbrown folder: Taken.\n\n> Go northwest\nThe dining room is a pleasant, sunny room, with a round dining table just large enough for six. A huge bay window looks out over the lawn towards the cathedral: Uncle Stephen's morning reminder of who he is and why he's here. Aunt Emma's parlour is back to the south, and the hall is to the southeast. The butler's door into the kitchen is to the east.\n\nOn the dining table is an elaborate flower centrepiece.\n\n> You check what you're carrying\nYou are carrying:\nan elaborate flower centrepiece\na large matchbox\na brown folder\nUncle Stephen's old sermons\n\n> Go east\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\n> You look at the sermons\nUncle Stephen's old sermons. You've been forced to read a couple of them, unfortunately, and the fact that there are more just makes your head want to implode.\n\n> You put the sermons in the fireplace\nThat's unlikely to get you any closer to the great outdoors.\n\n> You enter the fireplace\nYou'll only get yourself covered in soot.\n\n> You show the sermons to Uncle\n(first taking Uncle Stephen's old sermons)\nYou're not feeling ready for sleep just yet.\n\n> You check what you're carrying\nYou are carrying:\nan elaborate flower centrepiece\na large matchbox\na brown folder\nUncle Stephen's old sermons\n\n> You drop all but the folder\nelaborate flower centrepiece: Dropped.\nlarge matchbox: Dropped.\n\n> You go to the west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\n> You show the sermons to Emma\nAunt Emma looks in the folder and begins scanning the topmost sermon. A few pages later, she stops and begins to explain the whole thing to you. While she's nowhere near as stuffy as Uncle Stephen, she's also nowhere near as organised: if you'd actually been listening, you might have come out more confused than when you went in.\n\n> You read the sermons\nNo. No no no. Your sanity would never survive.\n\n> You search it\nIn the brown folder are Uncle Stephen's old sermons.\n\n> You go to the east\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nYou can see a large matchbox and an elaborate flower centrepiece here.\n\n> You open the closet\nYou open the closet, revealing a walking stick.\n\n> You put the matchbox in the closet\n(first taking the large matchbox)\n\nYou put the large matchbox into the closet.\n\n> Close closet\nYou close the closet.\n\n> You go east\nUncle Stephen spends most of his time shut up in here, reading the most boring books imaginable. One whole wall is lined with shelves full of these books, and then there's the desk with even more books stacked on it. The only decent things you can see here are the fireplace, which is quite grand, and a marvellous painting of the seaside. The hall is back to the west.\n\nUncle Stephen seems to have nodded off in his chair. His pipe droops unhappily from his lips, stone-cold dead.\n\n> You wake stephen\nUncle Stephen stirs and looks bemusedly at you. \"Eh? I'm awake.\nWhat is it, Hector?\"\n\nUncle Stephen takes a puff on his pipe and notes with some annoyance that it has somehow gone out. He reaches for his trusty matchbox and notes with even more annoyance that it has somehow gone missing. Sighing, he stands up and begins looking around.\n\n> You open the drawer\nUncle Stephen motions you vaguely away from the desk drawer. It's clearly private, and he would appreciate it if you stayed out of it.\n\n> You ask Stephen about the matchbox\n\"Rather a necessary evil, I would say. Some people still call them lucifers, so it's rather like letting the devil into your own house ... but do you know, the actual lucifers fell out of fashion when I was a boy, after a more reliable sort of match was invented. There's a lesson right there, my boy, if you'll take note of it.\"\n\nUncle Stephen shakes his head and wanders out into the Hall.\n\n> You open the drawer\nYou open the drawer, revealing a letter crammed in among an assortment of other junk.\n\n> You examine the letter\nUncle Stephen is wandering the house and could walk in on you any minute. You don't have time to give this a proper read, though you can see already that it's more interesting than anything this house has to offer.\n\n> You close the drawer\nYou close the drawer.\n\n> You check your inventory\nYou are carrying:\na letter\na brown folder\nUncle Stephen's old sermons\n\n> You put the letter in the folder\nYou put the letter into the brown folder.\n\n> You put the letter in the folder\n(first taking the letter)\n\nYou put the letter into the brown folder.\n\n> You eat letter\n(first taking the letter)\nThat's plainly inedible.\n\n> Go west\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nUncle Stephen is casting about for his missing matchbox. His pipe droops unhappily from his lips, stone-cold dead.\n\nYou can also see an elaborate flower centrepiece here.\n\n> You open the closet\nYou open the closet, revealing a large matchbox and a walking stick.\n\nUncle Stephen catches sight of the matchbox sitting where you'd left it, and happily retrieves it. Thankfully, he doesn't seem too interested in wondering how it got there in the first place.\n\nUncle Stephen returns to his study.\n\n> You read the letter\nLet's see. It's from a Mr John Austin, thanking your Uncle Stephen for something ... boring stuff, boring stuff ... well. It looks as though Uncle Stephen has been sending money regularly to this Mr Austin, but why? You separate the letter out into its three pages, and regard each one individually....\n\n> You check what you're carrying\nYou are carrying:\nthree pages of a scandalous letter\na brown folder\nUncle Stephen's old sermons\n\n> You look at the letter\nWhich do you mean, the first page, the second page or the third page?\n\n> First\nMr John Austin sends his regards ... lovely weather ... good health ... first child ... all very standard fare, nothing you wouldn't expect to find in a hundred other letters....\n\n> You examine the second page\nThanks for the assistance ... goodness, here's an account of all sorts of money that Uncle Stephen has been sending to this Austin fellow over the past year. Mr Austin sounds as though he should have been a bank clerk, but why on earth would Uncle Stephen be sending him money?\n\n> You look at the third letter\nHere's where Mr Austin talks about his wife, which sounds terribly boring. But the way this page is creased, it looks as though Uncle Stephen's been reading and re-reading it over and over, for some odd reason.\n\n> You go to the west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\n> First\nAunt Emma would never even look at that if you were to present it to her directly. You'll need a more subtle approach.\n\n> All\nSorry, you can only have one item here. Which exactly?\n\n> You put first in the folder\nYou put the first page into the brown folder.\n\n> You put second in the folder\nYou put the second page into the brown folder.\n\n> You put third in the folder\nYou put the third page into the brown folder.\n\n> You show the folder to Emma\nAunt Emma looks in the folder and begins scanning the topmost sermon. Flipping through the collected sermons, she happens quite by chance upon the first page of that letter to Uncle Stephen. She reads the first few lines, then stops, carefully extracts the offending pages, and hands them to you. \"This doesn't belong in here with your uncle's sermons, Hector; it looks like a private letter, probably from a parishioner. I don't know how it got mixed in with the old sermons, but you had better return it to him.\"\n\n> You show the folder to Emma\nAunt Emma looks in the folder and begins scanning the topmost sermon. Flipping through the collected sermons, she happens quite by chance upon the third page of that letter to Uncle Stephen. She reads the first few lines, then stops, carefully extracts the offending page, and hands it to you. \"This doesn't belong in here with your uncle's sermons, Hector; it looks like a private letter, probably from a parishioner. I don't know how it got mixed in with the old sermons, but you had better return it to him.\"\n\n> You show the folder to Emma\nAunt Emma looks in the folder and begins scanning the topmost sermon. Flipping through the collected sermons, she happens upon the second page of that letter to Uncle Stephen, the one that you'd left in there. She reads the first few lines, stops, then reads it again. Clearly, the information about Uncle Stephen's money management has caught her attention, and she is not at all happy about it. \"Excuse me, Hector,\" she says, \"but I really must speak to your uncle about something.\"\n\nAunt Emma slips something between the pages of her Bible to mark her place, then takes the folder from you and stalks off. She's left her Bible behind.\n\n> You go to the north\nThe dining room is a pleasant, sunny room, with a round dining table just large enough for six. A huge bay window looks out over the lawn towards the cathedral: Uncle Stephen's morning reminder of who he is and why he's here. Aunt Emma's parlour is back to the south, and the hall is to the southeast. The butler's door into the kitchen is to the east.\n\n> Go east\n(first opening the butler's door)\nIt seems to be locked.\n\n> Go east\n(first opening the butler's door)\nYou unlock the butler's door with the master key.\n\nThis is Cookie's domain, the place where all the baking and roasting and cooking gets done. You're generally not allowed in here, although once, ages ago, Uncle Stephen gave you special permission to come in and watch a chimney sweep have a go at the kitchen fireplace.\n\nThe main part of the house is back to the southwest, while a very steep and narrow staircase goes up and down. There's also the butler's door into the dining room, the west.\n\nAn old photograph is framed over the kitchen fireplace.\n\n> You look at the fireplace\nThe kitchen fireplace is almost big enough to stand in. It's back-to-back with the fireplace in Uncle Stephen's study, and shares a flue. You remember this from the time Uncle Stephen let you watch the sweep clean out the chimney.\n\n> You look at the photo\nA small unit of soldiers poses in front of an elephant. You recognise a much-younger Morris as one of the soldiers; the others are strangers, though one looks vaguely familiar for reasons you can't quite determine.\n\n> You examine the flue\nThere's the flue, which is shared with Uncle Stephen's study. You remember the sweep saying that this was highly irregular, although maybe he was just miffed that he had one less chimney to clean and be paid for. It's currently closed, since there's no reason to light a fire just yet.\n\n> You open\nWhat do you want to open?\n\n> Flue\nYou open the flue.\n\n> You listen to the flue\nThrough the open flue, you can hear Uncle Stephen and Aunt Emma speaking rather animatedly in the study. It's a pity they never raise their voices, but you can make out a few words: \"moral obligation\" ... \"finally understood\" ... \"Owen\" ... Mother's name comes up rather more often than one might expect, which probably means you're going to be in so much trouble when she gets back from Oxford.\n\n> You lock the door\nWhich do you mean, the butler's door or the kitchen door?\n\n> Butler'S\nFirst you'll have to close the butler's door.\n\n> You close it\nYou close the butler's door.\n\n> You lock it\nYou lock the butler's door."
    },
    {
        "text": "[Themes: Historical, post-modern, house setting]\n\n> You look around\nThis is Cookie's domain, the place where all the baking and roasting and cooking gets done. You're generally not allowed in here, although once, ages ago, Uncle Stephen gave you special permission to come in and watch a chimney sweep have a go at the kitchen fireplace.\n\nThe main part of the house is back to the southwest, while a very steep and narrow staircase goes up and down. There's also the butler's door into the dining room, the west.\n\nAn old photograph is framed over the kitchen fireplace.\n\n> You examine Morris\nThat is definitely Morris, Uncle Stephen's faithful gardener and general handyman, in the photograph. He looks a lot younger there than you've ever known him, and considerably less grizzled.\n\n> You look at the photograph\nA small unit of soldiers poses in front of an elephant. You recognise a much-younger Morris as one of the soldiers; the others are strangers, though one looks vaguely familiar for reasons you can't quite determine."
    },
    {
        "text": "[Themes: Historical, child protagonist, post-modern]\n\n> Go downwards\nOnly servants are allowed down there. Even Aunt Emma would hesitate to trespass that way.\n\n> Go up\nThat way is the secret passages to all the rooms that you could just as easily get to from the main stairs, not that you want to. There's no point going that way.\n\n> You get the photograph\nThat's fixed in place.\n\n> Go southwest\n(first opening the kitchen door)\nYou unlock the kitchen door with the master key.\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nIt sounds as though Aunt Emma is having something of an argument with Uncle Stephen in the study.\n\nThe hall closet door is half-open, revealing a walking stick.\n\nYou can see an elaborate flower centrepiece here.\n\n> Go west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\n> You go to the east\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nIt sounds as though Aunt Emma is having something of an argument with Uncle Stephen in the study.\n\nThe hall closet door is half-open.\n\nYou can see an elaborate flower centrepiece here.\n\n> You examine the stairs\nThe stairs go up to the first floor of the house. There's nothing up there but bedrooms and bathrooms.\n\n> Go east\nAunt Emma and Uncle Stephen are having a very private conversation in there. Better keep your distance.\n\n> Inventory\nYou are carrying:\na walking stick\nthe master key\na Bible\ntwo pages of a scandalous letter\n\n> You get all\nelaborate flower centrepiece: Taken.\n\n> Go northeast\nThis is Cookie's domain, the place where all the baking and roasting and cooking gets done. You're generally not allowed in here, although once, ages ago, Uncle Stephen gave you special permission to come in and watch a chimney sweep have a go at the kitchen fireplace.\n\nThe main part of the house is back to the southwest, while a very steep and narrow staircase goes up and down. There's also the butler's door into the dining room, the west.\n\nAn old photograph is framed over the kitchen fireplace.\n\n> You look at the flue\nThere's the flue, which is shared with Uncle Stephen's study. You remember the sweep saying that this was highly irregular, although maybe he was just miffed that he had one less chimney to clean and be paid for. It's currently open, and if you listen hard you can hear Uncle Stephen and Aunt Emma talking in the study.\n\n> You enter the fireplace\nYou'll only get yourself covered in soot.\n\n> Inventory\nYou are carrying:\nan elaborate flower centrepiece\na walking stick\nthe master key\na Bible\ntwo pages of a scandalous letter\n\n> You examine the stick\nUncle Stephen has taken to long walks over the hills, and as a consequence has gotten himself a walking stick that's really more of a staff, it's so long and sturdy. Father says he's really just practicing for such a time as when he finally gets a bishop's crozier, but Mother thinks Father should not make light of such things.\n\n> You read Bible\nAunt Emma seems to have been somewhere in the middle of the Acts of the Apostles: \"... And there sat in a window a certain young man named Eutychus, being fallen into a deep sleep: and as Paul was long preaching, he sunk down with sleep, and fell down from the third loft, and was taken up dead....\"\n\n> Go west\n(first opening the butler's door)\nYou unlock the butler's door with the master key.\n\nThe dining room is a pleasant, sunny room, with a round dining table just large enough for six. A huge bay window looks out over the lawn towards the cathedral: Uncle Stephen's morning reminder of who he is and why he's here. Aunt Emma's parlour is back to the south, and the hall is to the southeast. The butler's door into the kitchen is to the east.\n\n> You examine the window\nFrom here, you can see the lawn and the woods and the distant  steeple of St Swithin's. The sun is shining and you know that the woods are just bursting with interesting things to discover.\n\n> You look at the swithin'S\nThat's Uncle Stephen's parish. You were there just this morning, trying to stay awake through Uncle Stephen's sermon."
    },
    {
        "text": "[Themes: Historical, child protagonist, post-modern]\n\n> Go downwards\nOnly servants are allowed down there. Even Aunt Emma would hesitate to trespass that way.\n\n> You listen to the flue\nThrough the open flue, you can hear Uncle Stephen and Aunt Emma speaking rather animatedly in the study. It's a pity they never raise their voices, but you can make out a few words: \"moral obligation\" ... \"finally understood\" ... \"Owen\" ... Mother's name comes up rather more often than one might expect, which probably means you're going to be in so much trouble when she gets back from Oxford.\n\n> You examine chimney\nI only understood you as far as wanting to hit the flue.\n\nThere's the flue, which is shared with Uncle Stephen's study. You remember the sweep saying that this was highly irregular, although maybe he was just miffed that he had one less chimney to clean and be paid for. It's currently open, and if you listen hard you can hear Uncle Stephen and Aunt Emma talking in the study.\n\n> You look at the lawn\nIt's green, and it looks freshly mown."
    },
    {
        "text": "> Go down\nOnly servants are allowed down there. Even Aunt Emma would hesitate to trespass that way.\n\n\"What exactly is your interest in the backstairs, any road?\"\n\nJuly, 1916\n\nGetting the other fellows to join in on this story-telling lark seemed like a good idea at the time. It was better than yet another game of cards, anyway, and it rather took the mind off who is or is not going to be at mess in the morning.\n\nIt's a little terrifying how accustomed you've gotten to this muddy, grimy hell-hole. You could probably find your way back here in the dark, crawling blind through a maze of twisty trenches, all alike.\n\nYou can see Anderson, Jellicoe, Hardy and Macdougal here.\n\nHardy blinks at Anderson's question. \"Well, sir, what I was thinking was, I thought perhaps we could get out by the tradesman's door.\"\n\n\"There isn't a tradesman's door,\" you say quickly.\n\n\"No tradesman's door? How do the servants get in and out, then?\nWhere does the butcher deliver? Not the front door, surely?\"\n\n> You look at Jellicoe\nJellicoe's father was Uncle Stephen's curate back around '95. You didn't care much for him at the time, but two years of hell can make brothers out of anyone.\n\n\"Hardy's right,\" says Anderson slowly, \"there ought to be a tradesman's door. Never would have occurred to me. Never been below-stairs, or thought about what goes on there.\"\n\nMacdougal shrugs. \"I've spent all my life in flats, myself. Setup's a little bit different.\"\n\n> You examine hardy\nResourceful chap, Hardy. Not someone you'd care to rub elbows with in peacetime, but his ... acquisitions make life in the trenches just a touch more bearable. Which is why you've taken him as your batman. Hope he lasts.\n\nJellicoe looks from you to the others and back. \"There's a reason, surely, that you didn't poke around more? Or perhaps the door was locked, or blocked somehow, or....\"\n\n\"Right, right,\" you say, \"of course there was. I quite forgot.\nMorris was there....\"\n\nThis is Cookie's domain, the place where all the baking and roasting and cooking gets done. You're generally not allowed in here, although once, ages ago, Uncle Stephen gave you special permission to come in and watch a chimney sweep have a go at the kitchen fireplace.\n\nThe main part of the house is back to the southwest, while a very steep and narrow staircase goes up and down. There's also the butler's door into the dining room, the west.\n\nDeep snoring rumbles up from the servant's stair.\n\nAn old photograph is framed over the kitchen fireplace.\n\nGoodness. What was that all about?"
    },
    {
        "text": "[Themes: Historical, house setting, child protagonist, escape]\n\n> Go downwards\nCrumbs, it looks like Morris is back, propped right up against the tradesman's door with a bottle of the demon drink. He'll give you a good whipping for trespassing if he catches you here, so you'd best keep your distance. Besides, the alcohol fumes coming off him would do you in for sure.\n\n> You listen to the snoring\nIt sounds as though Morris is back, and dead drunk. You don't want to get too close to him when he's like this.\n\n> Inventory\nYou are carrying:\nan elaborate poppy centrepiece\na walking stick\nthe master key\na Bible\ntwo pages of a scandalous letter\n\n> You examine the poppy\nThis centrepiece is beginning to get a little old and dry. Poppies and leaves stick out all over like bristles on a brush, and the ribbons holding it together are looking droopy.\n\n> You eat the poppy\nThat's plainly inedible.\n\n> Smell the poppy\nThere's still the very faint smell of the fields and hedgerows about the poppies, but otherwise it's mostly just dry grass.\n\n> You tie the flowers to stick\nYou firmly affix the centrepiece to the head of the walking stick, using as many of its own ribbons as you can get your hands on.\n\n> You check your inventory\nYou are carrying:\na walking stick (with flower centrepiece attached)\nthe master key\na Bible\ntwo pages of a scandalous letter\n\n> You examine the stick\nUncle Stephen has taken to long walks over the hills, and as a consequence has gotten himself a walking stick that's really more of a staff, it's so long and sturdy. There's a bristly flower centrepiece attached to one end, like the head of a brush, which makes it look exceedingly silly.\n\n> Sweep fireplace\nYou thrust the flowery end of the walking stick up into the flue, and are rewarded with a sudden explosion of soot ... and the sounds of Aunt Emma and Uncle Stephen's consternation at a corresponding explosion of soot on the other side. Not long after, you hear them both hurrying up the stairs to get themselves cleaned off and changed.\n\n> You go to the south\nWith Aunt Emma and Uncle Stephen otherwise occupied, you quickly open the front door (it creaks like the blazes) and slip outside into the warm, summer sunshine. You're going to be in a world of trouble when you get back, but for the moment there is nothing but you, the summer, and the wonders of God's green earth.\n\n> Go west\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic. Escape seems most likely either east into the hall or north into the dining room.\n\nAn armchair, which years of visits have accustomed you to thinking of as \"your\" armchair, is positioned near the fireplace.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, staring off into the distance.\n\n> Fuck\nIf anyone heard you, they'd want to know where you learned such terrible language. And then Morris would be in terrible trouble, and you don't want that.\n\n> Drat\nQuite.\n\nAunt Emma sighs and finally looks around. When she sees you out of your seat, she frowns and rises, and grabs you by the ear. \"What have you been up to, Hector? It's the Lord's day: do try to behave yourself this one day of the week! Now please, sit down.\" She hauls you back into your seat.\n\n> Damn\nYou shouldn't say such things unless you mean it. And you should never mean such things, ever.\n\n> You ask Emma about the army\n\"A uniform adds a good deal of dash to a character, I'm sure, and the discipline is much to be recommended.\" Aunt Emma pauses for just a little too long before going on. \"All the same, I cannot say I am at all pleased with the reasons for armies to exist in the first\nplace. However you look at it, war is an absolutely dreadful business.\"\n\n> You ask Emma about the army\n\"A uniform adds a good deal of dash to a character, I'm sure, and the discipline is much to be recommended.\" Aunt Emma pauses for just a little too long before going on. \"All the same, I cannot say I am at all pleased with the reasons for armies to exist in the first\nplace. However you look at it, war is an absolutely dreadful business.\"\n\n\"Oh for pity's sake...!\"\n\nJuly, 1916\n\nGetting the other fellows to join in on this story-telling lark seemed like a good idea at the time. It was better than yet another game of cards, anyway, and it rather took the mind off who is or is not going to be at mess in the morning.\n\nIt's a little terrifying how accustomed you've gotten to this muddy, grimy hell-hole. You could probably find your way back here in the dark, crawling blind through a maze of twisty trenches, all alike.\n\nAnderson was doodling on an old letter of recommendation earlier, and seems to have forgotten about it.\n\nYou can also see Anderson, Jellicoe, Hardy and Macdougal here.\n\nAnderson glares at his batman. \"How many times are you going to ask her about that, Macdougal?\"\n\n\"I think Macdougal just likes hearing the Major talk about how war is such a dreadful business,\" says Hardy with a look of amusement.\n\n\"Well, it's getting tiresome,\" snaps Anderson, still glaring at poor Macdougal.\n\n> You kill anderson\nViolence is the answer to a lot of things, but this isn't one of them.\n\n\"It's clear she's got nothing else to say on the subject,\" reasons Jellicoe, \"and anyway the story isn't about war or the army or anything like that, is it?\"\n\nYou shake your head in agreement. This was supposed to be a diversion into a more innocent time.\n\n> Xyzzy\nMacDougal flashes you a knowing smile, but says nothing.\n\nMacdougal has the grace to look sheepish. \"Sorry, sir,\" he mumbles. \"I won't do it again.\"\n\n\"Good. Let's move on.\"\n\n\"Agreed.\"\n\nParlour (in the armchair)\nThe parlour is Aunt Emma's domain, and is wonderfully comfortable and cosy on cold winter nights, especially when there's a fire going in the fireplace. On warm summer afternoons, however, it gets stiflingly claustrophobic.\n\nYou are ensconced in an armchair near the fireplace. Escape seems most likely either east into the hall or north into the dining room.\n\nOn the mantel are a flower saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\nFrom her portrait above the fireplace mantel, Queen Victoria gazes benignly down on the room.\n\nAunt Emma sits by the window, dutifully reading her Bible.\n\nIn the armchair you can see Uncle Stephen's latest sermon.\n\nGoodness. What just happened there?\n\n> You ask Emma about the army\n\"It is certainly a respectable career choice, Macdougal.\" For some reason you can't quite name, you feel reluctant to press the issue further. Nor are you sure why she just called you \"Macdougal\".\n\n> You ask Emma about the army\n\"It is certainly a respectable career choice, Hector.\" For some reason you can't quite name, you feel reluctant to press the issue further.\n\n> You look at the kitty\nA white porcelain cat, with a red bow perched on one side of its head. Rather disturbingly, it has no mouth.\n\n> You look at the gnomon\nIt's triangular and made of brass, with a screwy end where it's supposed to screw into a sundial somewhere.\n\n> Fidget\n\"Don't fidget, Hector,\" says Aunt Emma. \"It's unbecoming.\"\n\n> You ask Stephen about the llew\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\n\"Hector...!\"\n\nCrumbs! Aunt Emma bears down on you like the wrath of Achilles but stops in surprise when she sees the folder of Uncle Stephen's old sermons in your hands. \"Oh!\" she says. \"Oh ... are those your Uncle Stephen's old sermons? So that's what you were after! You should have just said so. I see I should have trusted you enough to know you could not possibly mean any mischief when you leave your seat.\"\n\nShe actually smiles and pats you on the head. On the bright side, it looks as though she doesn't mind you wandering around any more, since she makes no further attempt to usher you into your chair.\n\n> You ask Stephen about the gronw\nUncle Stephen looks inexplicably alarmed. \"We'll have none of that talk here,\" he says sharply.\n\n> You ask Stephen about the llew\nUncle Stephen wouldn't have anything interesting to say about that, surely; at least, nothing that you would find interesting.\n\nUncle Stephen begins to nod drowsily. In a few moments, his pipe droops down onto his chest and he lets out a tiny little snore.\n\n> You ask Stephen about bloduwedd\nUncle Stephen stirs and looks bemusedly at you. \"Eh? I'm awake.\nWhat is it, Hector?\"\n\n> You wear the flowers\n(first taking the elaborate flower centrepiece)\nYou hold the elaborate flower centrepiece over your head and pretend for a moment that you're a victorious athlete at the Olympic Games in ancient Greece.\n\n> You wear the flowers\nYou hold the elaborate flower centrepiece over your head and pretend for a moment that it's a halo, your eternal reward for the dreadful trial of sitting through one of Uncle Stephen's interminable sermons.\n\n> You wear the flowers\nYou hold the elaborate flower centrepiece over your head and pretend for a moment that it's a magic holly wreath that gives you the power of invisibility.\n\n> You wear the flowers\nYou hold the elaborate flower centrepiece over your head and pretend for a moment that you're an ancient Irish druid.\n\n> Go south\nAs you approach the front door, you hear Aunt Emma call out to you, \"Hector, you're not planning on leaving the house, are you? Please don't.\"\n\n\"This is a little bit ridiculous, don't you think?\"\n\nJuly, 1916\n\nGetting the other fellows to join in on this story-telling lark seemed like a good idea at the time. It was better than yet another game of cards, anyway, and it rather took the mind off who is or is not going to be at mess in the morning.\n\nIt's a little terrifying how accustomed you've gotten to this muddy, grimy hell-hole. You could probably find your way back here in the dark, crawling blind through a maze of twisty trenches, all alike.\n\nYou can see Anderson, Jellicoe, Hardy and Macdougal here.\n\nHardy folds his arms. \"I really don't see why we can't just open the door and make a run for it.\"\n\n\"Don't be absurd,\" says Jellicoe, \"we'd be in terrible trouble if we did that.\"\n\n> Fuck\nQuite.\n\n\"We'd be in trouble anyway, if we ever got out of the house,\" reasons Hardy, not budging. \"Which is the point of this little story, isn't it? Getting out of the house?\"\n\n\"But then we'd have both the aunt and the uncle chasing after us,\" says Macdougal thoughtfully, \"and we'd have to try and find a hiding spot before they catch us, and then we wouldn't be able to enjoy the afternoon because we'd always be looking over our shoulder.\"\n\n> Darn\nSeriously? Your sainted Aunt Emma could do better.\n\nAnderson nods. \"What we need is a head start. It would also help if no-one knew which direction we ran off in. Isn't that right, Conrad?\"\n\nYou nod, not wanting to admit that it had never occurred to you to directly defy Aunt Emma, as per Hardy's suggestion. You were just so used to Aunt Emma's authority that the sound of her voice alone was enough to make you stop in your tracks.\n\nHardy rolls his eyes. \"Fine. Clearly you know what's what better than I do. Let's get back to the story.\"\n\nBright sunlight shines through the sidelights of the front door, to the south. The rest of the hall is dull and muted, with heavy wood panelling. Aunt Emma's parlour is to the west, Uncle Stephen's study is to the east, and the dining room is to the northwest. A small, unobtrusive door behind the stairs goes northeast to the servant areas, and then there's the hall closet.\n\nGoodness. Was that a dream?\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nAmong the many souvenirs of ancient history, you spot a duelling pistol. That doesn't look like the sort of thing boring people like Aunt Emma or Uncle Stephen (or, let's face it, anyone in your whole family) are likely to keep around the house!\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nSunlight glints off a glass unicorn. Now that's more the sort of pointless ornament you'd expect to find in Aunt Emma's collection.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nYou spot a statuette of a black falcon in the midst of all the clutter.\n\n> You examine the ornaments\nAbsolutely everything has some sort of sentimental value. It boggles the mind how any one person can have this much sentiment.\n\nHere's something that's not so bad: a painting of a ship sailing into the sunrise. Or sunset. One of the two.\n\n> You look at the mantle\nIt's one of those extraordinarily sturdy oak affairs. Every time you visit, it looks as though it could not possibly hold even one more little ornament without collapsing; and yet, every time you visit, it looks as though Aunt Emma has managed to fit one more thing on it.\n\nOn the mantel are a displaced gnomon, a snake locket, a white cat, a wooden goblet, an owl saucer, a ship painting, a black falcon, a glass unicorn and a duelling pistol, all half hidden in a crowd of other little ornaments.\n\n> You ask about the unicorn\n\"That used to be part of a much larger glass menagerie,\" says Aunt Emma, \"but, well, the less said about that the better.\"\n\n> You ask about the falcon\nAunt Emma seems to hesitate. \"An ... old friend picked that up years ago when he was in Malta, and brought it back as present.\"\n\nYou're sure you hear Aunt Emma say something about \"dear old Captain Davis...\" as she turns back to her Bible.\n\n> Wait\nTime passes.\n\n> You ask Emma about the cat\n\"Charming, is it not? I always imagine it's saying hello to me when I come into the parlour in the mornings.\" But how can it, when it has no mouth?\n\n> You ask Emma about locket\n\"That thing was in the house when we moved in, and we've never been able to track down the owners. Well. I suppose we're duty-bound to hold on to it until its true owner shows up.\""
    },
    {
        "text": "[Themes: treasure hunt]\n\nWell, it's time to prove to the whole wide world\nWho's the best and brightest Gamer of 'em all!\nTeams are a-runnin', and a-pushin' and a-shovin'\nAin't we all just a-havin' such a ball?\nWe're a-wearin' every color of the rainbow while a-goin'\nTo some places that we've never ever gone!\nIt's the world's greatest Game. Never played it? What a\nshame!\n'Cause you know it's gonna last us all night long!\n\nAnd disastrous and tremendous\nAnd it's glorious, uproarious and fun!\nFind the treasures!\nFind the clues!\nRun around!\nThat's what you do\nAt The Annual\nAll-Night Diddlebucker Run!\n\n-\"The Diddlebucker Run\" by Wild Bill Adams\n\n\"My, my, that's good popcorn!\"\n\n- Desiderio \"Diddy\" Esposito\n\nDiddlebucker!\n\nConvention Center (Lobby)\nThe lobby area of the Convention Center wraps around the entire complex to the east and west. An excited buzzing fills the air as a great crowd of people funnels through the main doors to Exhibit Hall A to the north.\n\n(For instructions on how to play interactive fiction, contact the author, or get a little help, type \"hint\" at any time.)\n\n[Author's Note: Who's the best and brightest Gamer of 'em all? Find out by joining the 27th Annual All-Night Diddlebucker Run! You'll compete against hundreds of other teams in the world's most popular scavenger hunt! Find the treasures, find the clues, beat your competitors to the finish line and your team will win one million dollars and a lifetime supply of Diddlebucker popcorn! Even more, you will prove that you and your teammates are the true champions of Diddlebucker '87!]\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na check book\n\n> You listen\nYou must state what you would like to listen to.\n\n> Wait\nTime passes.\n\n> You look at the paper\nWe have some great news!\n\nabout one another! We're in LOVE! Isn't that great? And it gets even better! We decided that there's no reason to put off our love any longer, so we're ELOPING!!!! We're heading out to Las Vegas right after dropping off this note at the Convention Center. We would have called you, but we didn't want anyone to know until we were already on the plane. You're the first person to find out, though. Aren't you just so happy for us? We'll tell you all about it when we come back next week!\n\nPS Sorry about missing the Diddlebucker, but we knew you wouldn't mind. After all, who wants to stand in the way of true love?\n\n> Go west\nConvention Center (Lobby)\nThe lobby area of the Convention Center wraps around the entire complex to the east and west. An excited buzzing fills the air as a great crowd of people funnels through the main doors to Exhibit Hall A to the north.\n\n> You examine the crowd\nThe members of the crowd are an excited, boisterous lot.\n\n> Go west\nConvention Center (Guest Relations)\nHalfway around the loop of the Convention Center lobby is the Guest Relations desk. A young man sits behind the desk. A crowd of people is making its way around you toward the entrance to the exhibit hall.\n\n> Go north\nYou follow the crowd into the exhibit hall...\n\n(PRESS ANY KEY TO CONTINUE)## Exhibit Hall A (Registration)\nMore than a dozen tables stretch across the hall in front of an equally long series of 6-foot-high cubbyhole shelves filled with T-shirts of every color. Above the shelves, a large hanging banner reads \"Team Registration.\" At each table stands a perky representative of Diddlebucker Popcorn assisting one of the teams.\n\n> You ask the rep about the registration\nYou wait in line and finally get to talk with one of the representatives. \"Hi there!\" she says. \"Welcome to the 27th Annual All-Night Diddlebucker Run! Are you the captain of your team?\"\n\n> Yes\n\"Great! Let's get you registered!\"\n\n> Maremelade orange\nShe turns to search the shirts in the cubbyholes. It takes her quite a while because of the vast number of shirts. After several moments she finds them.\n\n\"Here they are!\" she says, handing you three maremelade orange shirts. \"Your team is registered. You can get changed in the locker room over by the east wall. Don't forget, the only things you'll be allowed to take out of here when the Diddlebucker starts are your clothes (including your team shirt) and a check book. Good luck and have fun!\" She turns to the next team in line.\n\nExhibit Hall A (Registration)\nMore than a dozen tables stretch across the hall in front of an equally long series of 6-foot-high cubbyhole shelves filled with T-shirts of every color. Above the shelves, a large hanging banner reads \"Team Registration.\" At each table stands a perky representative of Diddlebucker Popcorn assisting one of the teams.\n\n> You go to the east\nAs you step away from the tables, you notice a trash can nearby. Before you can change your mind, you stuff David and Lori's team shirts and their stupid note into it. Who needs those two anyway? You're on your own tonight and that's just fine! You head to the locker room and change into your team shirt. Smiling to yourself, you head to the main floor of the exhibit hall and take one of the few empty seats that are left.\nAfter a while, the main lights dim and the crowd goes wild as Diddy Esposito himself steps onto the stage to a raucous chorus of The Diddlebucker Run. The diminutive old man with the thick mane of\nsnowy white hair smiles widely to the crowd as he steps to the microphone and begins to speak...\n\nTwenty minutes later, Diddy Esposito is wrapping up his remarks. The crowd is hanging on his every word.\n\n\"...and remember at each location in the scavenger hunt, you must find both the treasure that is specific to your team and the clue that will take you to the next location. And of course, if your team is the FIRST to reach the SECRET finish line with ALL FOUR of your team's treasures, your team will split ONE MILLION DOLLARS and each member of your team will also win a LIFETIME SUPPLY OF Diddlebucker POPCORN! Now go out there and make Diddlebucker '87 the BEST Diddlebucker RUN EVER!\"\n\nThe crowd goes absolutely bananas and surges to its feet. You have no choice but to be carried along with the churning sea of cheering Gamers out of the exhibit hall, through the lobby and out into the warm summer evening air...\n\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> Go east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a man playing a saxophone here.\n\n> You examine the machine\nThis machine dispenses hot beverages and has been installed in the front wall of one of the businesses here. Affixed to the front of the machine is a list of the free coffees available with a lettered button next to each one. Above the machine is a sign which reads \"Free coffee courtesy of Diddlebucker Popcorn!\"\n\n> You get the coffee\nNonsense!\n\nA taxicab drives down the street.\n\nSuddenly, a group of teenagers dashes by. Their green and orange shirts read \"Dungeon Masters of Southport.\" The last one to pass points at you and shouts \"Praeumbro caliginosus!\" before laughing and chasing after her teammates.\n\n> You examine man\nThe elderly man wearing a black suit and sunglasses sways gently to the tunes coming from his saxophone. At his feet is an overturned black bowler hat. He is currently playing The Way You Look\nTonight.\n\nSuddenly, a group of teenagers dashes by. Their green and orange shirts read \"Dungeon Masters of Southport.\" The last one to pass points at you and shouts \"Adnexus!\" before laughing and chasing after his teammates.\n\nThe taxicab disappears into the traffic.\n\n> You examine the saxophone\nIt looks old, but well cared-for.\n\n> You examine the bowler\nThe black bowler hat is empty.\n\n> You put the check in the bowler\nThe saxophone player gives his hat a light kick with his foot, knocking the check book onto the concrete sidewalk.\n\nA taxicab drives down the street.\n\n> You go east\nAsk you walk past the saxophone player, he suddenly breaks into a rendition of Wrong Way Fay. You turn to look at him, but he\nseems to be paying no attention to you, though it's hard to tell with those sunglasses on.\n\nThe taxicab disappears into the traffic.\n\n> You take the check book\nTaken.\n\nThe taxicab disappears into the traffic.\n\n> Go east\nAsk you walk past the saxophone player, he suddenly breaks into a rendition of Wrong Way Fay. You turn to look at him, but he\nseems to be paying no attention to you, though it's hard to tell with those sunglasses on.\n\n> Go east\nAsk you walk past the saxophone player, he suddenly breaks into a rendition of Don't Go Down That Lonely Road. You turn to look\nat him, but he seems to be paying no attention to you, though it's hard to tell with those sunglasses on.\n\n> You go to the west\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> You keep going\nYou are standing on the east-west sidewalk outside the entrance to a Henry's Burgers to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> Go north\nLike every other HB you've ever been in, this one smells of grease, onions and seasoned salt. A large menu board hangs above a counter, behind which stands a teenage girl wearing a paper hat.\n\nA door in the northeast corner leads to the restroom.\n\n> You examine girl\nCindy, for that is what her nametag says, smiles vacantly at you. She is wearing a paper hat and a truly remarkable number of novelty buttons pinned to her shirt, each a different color.\n\nCindy gives you a cheerful wave.\n\n> You ask Cindy about the treasure\nUnfortunately, Cindy seems momentarily distracted by a moth buzzing by one of the ceiling lights.\n\n> You go to the northeast\nYou push through the swinging door...\n\nThis is one of those tiny one-person restrooms.\n\nYou can see a mirror, a toilet, a sink and a trash can here.\n\n> You look at the can\nThe trash can has a lid which can be open or closed. The trash can is closed.\n\n> You open it\nYou open the trash can, revealing some garbage.\n\n> You examine the garbage\nThe garbage is pretty disgusting. You don't want to stick your hands in it unless you really have to.\n\n> You move can\nNothing obvious happens."
    },
    {
        "text": "> Look around\nThis is one of those tiny one-person restrooms.\n\nYou can see a mirror, a toilet, a sink and a trash can (in which are a gift certificate and some garbage) here.\n\n> You take certificate\nTaken.\n\n> You look at the certificate\nEach gift certificate has a picture of Henry McHenry, the mascot of Henry's Burgers on it.\n\n> You examine the sink\nThe sink has a hot handle and a cold handle and a faucet.\n\n> You look at the mirror\nYou see yourself. Also, you see some smudges that might be some kind of writing, but they are pretty faint.\n\n> You look at the smudges\nThe writing is too faint to make out clearly.\n\n> You turn on the cold handle\nCold water pours out of the faucet. You turn the cold handle back off again.\n\n> You turn on hot handle\nHot water pours out of the faucet, filling the small room with clouds of steam. You turn the hot handle back off again.\n\n> You go to the southwest\nYou push through the swinging door...\n\nYou can't be completely sure, but as you re-enter the dining area you could swear that, for just a moment, there was a look of shrewd self-satisfaction on Cindy's face. However, as soon as the restroom door closes behind you, she immediately begins a vague, glazy-eyed inspection of her left hand, her mouth hanging open slightly.\n\n(PRESS ANY KEY TO CONTINUE)## Henry's Burgers\nLike every other HB you've ever been in, this one smells of grease, onions and seasoned salt. A large menu board hangs above a counter, behind which stands a teenage girl wearing a paper hat.\n\nA door in the northeast corner leads to the restroom.\n\n> You examine the hat\nYou see nothing special about the paper hat.\n\nCindy seems to notice that there is something written on your shirt. Her brow furrows as if in deep concentration as her lips slowly mouth the words written there.\n\n> You examine the buttons\nCindy is wearing dozens of novelty buttons pinned to her uniform, each a different color and each one emblazoned with a unique and (supposedly) pithy saying. You notice one button that precisely matches the maremelade orange of your shirt.\n\n> You ask Cindy about the button\n\"Do you like it? Tell you what, I'll give it to you, but first you have to prove you deserve it!\"\n\nCindy fiddles with the novelty buttons on her shirt.\n\n> You give the certificate to Cindy\nYou should SHOW things TO people instead.\n\nCindy seems to notice that there is something written on your shirt. Her brow furrows as if in deep concentration as her lips slowly mouth the words written there.\n\n> You show the certificate to Cindy\nCindy gasps and stares in wonder at the gift certificate.\n\nCindy fiddles with the novelty buttons on her shirt.\n\n> You ask Cindy about the button\n\"Do you like it? Tell you what, I'll give it to you, but first you have to prove you deserve it!\"\n\nSuddenly, a group of Gamers bursts into the restaurant. Their lime-colored shirts read \"University Debate Team.\" They search the restaurant in a logical and thorough manner, but find nothing. The last one out the door shouts \"Be it resolved that Smith. will lose big!\"\n\n> You ask Cindy about the certificate\nUnfortunately, Cindy seems momentarily distracted by a moth buzzing by one of the ceiling lights.\n\n> You examine the board\nThe menu offers the usual Henry's Burgers fare: hamburgers, cheeseburgers, fries, shakes, sodas, etc.\n\nCindy suddenly giggles and puts her hands over her mouth.\n\n> You show shirt to Cindy\nCindy gasps and stares in wonder at the team shirt.\n\n> You ask Cindy about the burger\n\"We have the best in town! You really ought to buy one!\"\n\n> You show the certificate to Cindy\nCindy gasps and stares in wonder at the gift certificate.\n\nSuddenly, a group of teenagers bursts into the restaurant. Their green and orange shirts read \"Dungeon Masters of Southport.\" They frantically search the restaurant looking for clues, but find nothing. The last one to leave points at you and shouts \"Magicus telum!\" before laughing and chasing after her teammates.\n\n> You buy the burger\nYou must state what you would like to buy the hamburger with.\n\n> You buy the burger with the check\nCindy's eyes light up as she takes your check. She stares at it for several agonizing seconds, sniffs it and even gives it an experimental taste with the tip of her tongue. Finally, she shrugs her shoulders happily and puts it in her register. \"Your order will be out in a few minutes!\" she says brightly.\n\n> You wait\nTime passes.\n\nCindy fiddles with the novelty buttons on her shirt.\n\n> You wait a while\nTime passes.\n\n\"Your order is ready!\" cries Cindy as she proudly places a fry box on the counter.\n\n> You take the box\nTaken.\n\n> You go south\nYou throw away the fry box on your way out the door.\n\n(PRESS ANY KEY TO CONTINUE)## Cleveland Avenue West\nYou are standing on the east-west sidewalk outside the entrance to a Henry's Burgers to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> Go east\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> Go east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a man playing a saxophone here.\n\nA taxicab drives down the street.\n\n> You look at what you're carrying with you\nYou are carrying:\na chocolate chip cookie\na gift certificate\na check book\nyour team shirt (being worn)\n\nThe taxicab disappears into the traffic.\n\n> Go west\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nSuddenly, a group of Gamers in silver and blue shirts runs past you, making rude comments about your last name.\n\n> Go west\nYou are standing on the east-west sidewalk outside the entrance to a Henry's Burgers to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nSuddenly, a group of Gamers in black and pink shirts runs past. One of them points at you and laughs on his way by.\n\n> Go north\nLike every other HB you've ever been in, this one smells of grease, onions and seasoned salt. A large menu board hangs above a counter, behind which stands a teenage girl wearing a paper hat.\n\nA door in the northeast corner leads to the restroom.\n\nSuddenly, a group of three older men bursts into the restaurant. Their red, white and blue shirts read \"Former Presidents of the United States.\" They search the restaurant for clues in a somewhat dignified manner, but find nothing. Your stare in amazement as Richard Nixon gives you a thumbs-up on his way out.\n\n> You ask Cindy about the box\nUnfortunately, Cindy seems momentarily distracted by a moth buzzing by one of the ceiling lights.\n\n> You buy the burger with the check\nMore than a little concerned about what Cindy might do with your check this time, you decide you don't really need any more food that badly.\n\nSuddenly, a group of men and women bursts into the restaurant. Their gray shirts identify them as \"The Implementers.\" They frantically search the restaurant for clues, but find nothing. One of them high-fives you before following the others out the door. The back of his shirt reads \"O'Neill.\"\n\n> Inventory\nYou are carrying:\na chocolate chip cookie\na gift certificate\na check book\nyour team shirt (being worn)\n\n> You examine the cookie\nIt came in the wrong box and wasn't even on the menu. You have no idea how Cindy could possibly think this is what you wanted.\n\n> You go east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a man playing a saxophone here.\n\nSuddenly, a group of fez-wearing men rides past you on what look like brand new miniature cars. Their gold shirts read \"Nobles of the Ali Baba Temple of the Shrine - Hahira Delegation.\" The last driver beeps as he passes by, waving at you merrily.\n\n> You show the cookie to the man\nThe man playing a saxophone is unimpressed.\n\n> You eat the cookie\nYou eat the chocolate chip cookie. Not bad.\n\nA taxicab drives down the street.\n\n> You look at the list\n(A) The Robert Redford: large, medium roast with cinnamon\n(B) The Princess Di: small, light roast with cream and sugar\n(C) The Stephen King: medium, extra dark roast with cherry\nsyrup\n(D) The Air Jordan: extra large, medium roast with extra foam\n(E) The Cyndi Lauper: extra small, light roast with bubble gum\nsyrup\n(F) The Mike Tyson: extra large, dark roast, with a shot of\nTabasco for that extra \"punch\"\n(G) The Joe Pesci: small macchiato with chocolate sprinkles\n(H) The Scott Baio: plain black coffee\n\nA taxicab drives down the street.\n\nSuddenly, a group of Gamers dashes by. Their lemon yellow shirts read \"The Brat Pack.\" You jump with surprise when Emilio Estevez gives you an encouraging smack on the backside while running past.\n\n> Press east\n(the E button)\nThe machine whirs to life. A disposable coffee cup drops from a hidden slot and a jet of hot coffee squirts into the cup. When it has finished a lid drops from the same slot. You secure the lid on the cup before picking it up.\n\nThe taxicab disappears into the traffic.\n\n> You go to the north\nLike every other HB you've ever been in, this one smells of grease, onions and seasoned salt. A large menu board hangs above a counter, behind which stands a teenage girl wearing a paper hat.\n\nA door in the northeast corner leads to the restroom.\n\nSuddenly, a group of elderly women wearing pink shirts bursts into the restaurant. Their shirts read \"Quilting Ladies of Colonial Hills.\" They tear the place apart looking for clues before dashing back out the door empty-handed. The last one to leave smiles at you while making a rude gesture. She then cackles wickedly and hurries to catch up with her teammates.\n\n> You show the coffee to Cindy\nCindy gasps and stares in wonder at the Cyndi Lauper.\n\n> You show the cookie to Cindy\nCindy gasps and stares in wonder at the chocolate chip cookie.\n\nCindy fiddles with the novelty buttons on her shirt.\n\n> You ask Cindy about the button\n\"Do you like it? Tell you what, I'll give it to you, but first you have to prove you deserve it!\"\n\n> Go north\nNah, the Diddlebucker is taking place out here in the city. There's no reason to go back into the Convention Center.\n\nSuddenly, a group of Gamers in black and pink shirts runs past. One of them points at you and laughs on his way by.\n\n> Go east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a man playing a saxophone here.\n\n> You show the coffee to the man\n(the Cyndi Lauper to the man playing a saxophone)\nThe man playing a saxophone is unimpressed.\n\n> Inventory\nYou are carrying:\na Cyndi Lauper (closed)\na chocolate chip cookie\na gift certificate\na check book\nyour team shirt (being worn)\n\n> You look at the coffee\n(the Cyndi Lauper)\nIt looks like any other disposable coffee cup.\n\n> You look at the certificate\nEach gift certificate has a picture of Henry McHenry, the mascot of Henry's Burgers on it.\n\n> You go to the north\nYou take a good look, but none of the businesses on this side of Cleveland Avenue seem like a good place to find Diddlebucker clues.\n\nSuddenly, a group of Gamers in silver and blue shirts runs past you, making rude comments about your hair.\n\n> You look at the man\nThe elderly man wearing a black suit and sunglasses sways gently to the tunes coming from his saxophone. At his feet is an overturned black bowler hat. He is currently playing Unchained Melody.\n\nA taxicab drives down the street.\n\n> You look at the hat\nThe black bowler hat is empty.\n\nThe taxicab disappears into the traffic.\n\n> You get the cookie\nTaken.\n\nSuddenly, a group of elderly men in loud pants dashes (sort of) past you. Their plaid T-shirts read \"Golfing Grandpas of Golden Acres.\"\nThe last one to pass by tips his hat at you in a friendly way.\n\n> You look at the list\n(A) The Robert Redford: large, medium roast with cinnamon\n(B) The Princess Di: small, light roast with cream and sugar\n(C) The Stephen King: medium, extra dark roast with cherry\nsyrup\n(D) The Air Jordan: extra large, medium roast with extra foam\n(E) The Cyndi Lauper: extra small, light roast with bubble gum\nsyrup\n(F) The Mike Tyson: extra large, dark roast, with a shot of\nTabasco for that extra \"punch\"\n(G) The Joe Pesci: small macchiato with chocolate sprinkles\n(H) The Scott Baio: plain black coffee\n\n> You take certificate\nTaken.\n\n> Wave certificate\nYou wave the gift certificate.\n\n> Examine mascot\nThe smiling anthropomorphized cheeseburger is giving a \"thumbs up\" gesture.\n\n> You go to the west\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> Go north\nLike every other HB you've ever been in, this one smells of grease, onions and seasoned salt. A large menu board hangs above a counter, behind which stands a teenage girl wearing a paper hat.\n\nA door in the northeast corner leads to the restroom.\n\nCindy stares at nothing for several seconds, as if fascinated by something only she can see.\n\n> You buy the cheeseburger with the certificate\nOnce again you think you see a shrewd smile flicker across Cindy's face, though it is replaced so quickly by her usual expression of unbounded cluelessness, that you wonder if you imagined it. She takes the gift certificate and, surprisingly, completes the sale without incident. \"Your order will be out in a few minutes!\" she says brightly while handing you your change.\n\n> You ask Cindy about the button\n\"Do you like it? Tell you what, I'll give it to you, but first you have to prove you deserve it!\"\n\nSuddenly, a group of fez-wearing men rides into the restaurant on what look like brand new miniature cars. Their gold shirts read \"Nobles of the Ali Baba Temple of the Shrine - Hahira Delegation.\" They drive all around the restaurant looking for clues, but find nothing. Each driver beeps and waves at Cindy on his way out.\n\n> Wait\nTime passes.\n\n> Keep going\nTime passes.\n\n\"Your order is ready!\" cries Cindy as she proudly places a bag on the counter.\n\n> You look at the bag\nIt is a white paper bag marked with a stylized HB. The top of the bag has been folded closed.\n\nSuddenly, a group of teenagers bursts into the restaurant. Their silver shirts read \"Breakdancers of River Oaks.\" Their rhythmic search of the restaurant is almost hypnotic, but they come up empty-handed. The last one moonwalks on his way out.\n\nCindy seems to notice that there is something written on your shirt. Her brow furrows as if in deep concentration as her lips slowly mouth the words written there.\n\n> You open the bag\nYou unfold the top of the bag.\n\nCindy gives you a cheerful wave.\n\n> You examine the bag\nIt is a white paper bag marked with a stylized HB.\n\nIn the bag is a styrofoam carton.\n\n> You open the carton\nYou open the styrofoam carton, revealing a hot dog.\n\n> You show the hot dog to Cindy\n(first taking the hot dog)\nCindy gasps and stares in wonder at the hot dog.\n\nCindy stares at nothing for several seconds, as if fascinated by something only she can see.\n\n> You put the hot dog in the carton\nYou put the hot dog into the styrofoam carton.\n\n> You go south\nYou throw away the white paper bag on your way out the door.\n\n(PRESS ANY KEY TO CONTINUE)## Cleveland Avenue West\nYou are standing on the east-west sidewalk outside the entrance to a Henry's Burgers to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nSuddenly, a group of elderly men in loud pants dashes (sort of) past you. Their plaid T-shirts read \"Golfing Grandpas of Golden Acres.\"\nThe last one to pass by tips his hat at you in a friendly way.\nI beg your pardon?\n\n> Go east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a man playing a saxophone here.\n\nA taxicab drives down the street.\n\nSuddenly, a group of Gamers in blue and white shirts comes into view. They are discussing the blue and white card that one of them is holding, but when they see you, they lower their voices and eye you suspiciously until they pass by.\n\n> You put the carton in the hat\nThe saxophone player gives his hat a light kick with his foot, knocking the styrofoam carton onto the concrete sidewalk.\n\nThe taxicab disappears into the traffic.\n\n> You take the hot dog\nTaken.\n\nSuddenly, a group of fez-wearing men rides past you on what look like brand new miniature cars. Their gold shirts read \"Nobles of the Ali Baba Temple of the Shrine - Hahira Delegation.\" The last driver beeps as he passes by, waving at you merrily.\n\n> Inventory\nYou are carrying:\nsome change\na chocolate chip cookie\na Cyndi Lauper (closed)\na check book\nyour team shirt (being worn)\n\n> You put change in the hat\napplause of several passersby. He then turns to you and pulls open one side of his suit coat, revealing an inside pocket full of several cards, each of a different color. He rifles through the cards for a moment before handing you one that matches the exact maremelade orange of your shirt. Tipping his hat to you, he begins playing again.\n\nA taxicab drives down the street.\n\n> You show the card to Cindy\nCindy jumps up and down and claps her hands. \"I knew it!\" she cries. \"They told me that someone might show me a card like that and if so, I'm supposed to give you one of these.\" She unpins the maremelade orange button from her shirt and hands it to you.\n\n> Examine button\nEmblazoned on the maremelade orange button are the words \"THE FUTURE AIN'T WHAT IT USED TO BE!\"\n\nSuddenly, a group of young men and women bursts into the restaurant. Their crimson shirts read \"Young Republicans of Riverside.\" They frantically search the restaurant for clues, but come up empty-handed. The last one to dash out the door shouts \"Let's win this one for the Gipper!\"\n\n> You wear the button\nYou put on the maremelade orange button.\n\nSuddenly, a group of three older men bursts into the restaurant. Their red, white and blue shirts read \"Former Presidents of the United States.\" They search the restaurant for clues in a somewhat dignified manner, but find nothing. Your stare in amazement as Jimmy Carter gives you a thumbs-up on his way out.\n\n> You wait for the cab\nYou wait for the taxi. After several moments, you see one coming down the street.\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\nThe driver glances at you in the rear-view mirror. \"Hey, you're one of them Gamers, aren't you?\" he asks, a broad smile on his face. \"You know, me and my buddies played the Diddlebucker back in '79. We came in third place outta like eighty teams. Not bad, eh?\"\n\n> You examine the placard\n\"To ask the cab driver to take you somewhere, just type TRAVEL.\n\nAlso, when near a road, you may type WAIT FOR TAXI to wait for the taxi to arrive.\"\n\n> You go north\n\"Hmm... I don't know that place, Gamer.\"\n\n> Inventory\nYou are carrying:\na maremelade orange button (being worn)\nthe first maremelade orange riddle card\na chocolate chip cookie\na Cyndi Lauper (closed)\na check book\nyour team shirt (being worn)\n\n> You look at the card\n(the first maremelade orange riddle card)\nOne side of the maremelade orange card bears a large number \"1.\" On the other is the following poem:\n\nIT HAS A BED AND A MOUTH\nAND SOME BRANCHES ALSO\n\nIT GOES WELL WITH BOARD\nSIDE, MOON, SLEEP AND CAKE\n\n> You show the card to the driver\n(the first maremelade orange riddle card to the cab driver)\nThe cab driver is unimpressed.\n\n> River Walk\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river."
    },
    {
        "text": "[Themes: treasure hunt]\n\n> You look around\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\n> You go north\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. One souvenir shop in particular stands out from the others. On the far side of the river, a concert is being performed.\n\nSuddenly, a diverse group of Gamers wearing white shirts dashes by you. Their shirts read \"Abrahamic Interfaith League of Piedmont.\" As they pass, a Catholic priest smiles at you and makes a sign of blessing.\n\n> Go west\nThis shop specializes in the assorted knick knacks and chotchkies that appeal to tourists the world over. A bored-looking teenage guy stands behind the counter by the door. East/west aisles are numbered from 1 to 3. Aisle 1 is to the southwest, Aisle 2 is directly west of you and Aisle 3 is to the northwest.\n\nSuddenly, a group of Gamers bursts into the store. Their neon shirts read \"BTTF Forever!\" They tear the place apart looking for clues, but find nothing. The last one shouts \"This is heavy!\" as he heads out the door.\n\n> You examine guy\nHis nametag says \"CECIL\" and his attitude says \"disaffected.\"\n\nSuddenly, a group of teenagers bursts into the store. Their green and orange shirts read \"Dungeon Masters of Southport.\" They frantically search the store looking for clues, but find nothing. The last one to leave points at you and shouts \"Praeumbro caliginosus!\" before laughing and chasing after his teammates.\n\n> You examine the glasses\nDesigned for the tourist who prefers a durable yet inexpensive souvenir, each type of glass has a unique image and saying printed upon it.\n\n> Go east\nThis shop specializes in the assorted knick knacks and chotchkies that appeal to tourists the world over. A bored-looking teenage guy stands behind the counter by the door. East/west aisles are numbered from 1 to 3. Aisle 1 is to the southwest, Aisle 2 is directly west of you and Aisle 3 is to the northwest.\n\n> You go to the south-west\nThe shelves of this aisle are dedicated to fireworks.\n\nOn the shelves is an Atom Smasher.\n\n> You examine Smasher\nThe firecracker consists of a large bulb about the size of a softball. The bulb is attached to a pole about three feet long. You can see a fuse attached to the bottom of the bulb. The bulb is labeled with the words \"THE ATOM SMASHER.\"\n\n> You go to the northeast\nThis shop specializes in the assorted knick knacks and chotchkies that appeal to tourists the world over. A bored-looking teenage guy stands behind the counter by the door. East/west aisles are numbered from 1 to 3. Aisle 1 is to the southwest, Aisle 2 is directly west of you and Aisle 3 is to the northwest.\n\nSuddenly, a group of Gamers bursts into the store. Their lime-colored shirts read \"University Debate Team.\" They search the store in a logical and thorough manner, but find nothing. The last one out the door shouts \"Be it resolved that Smith. will lose big!\"\n\n> Go northwest\n\n\n> You examine the keychains\nMost of the keychains are imprinted with various forenames, but others bear images related to the city in particular or to the concept of vacation in general.\n\n> You go southeast\nThis shop specializes in the assorted knick knacks and chotchkies that appeal to tourists the world over. A bored-looking teenage guy stands behind the counter by the door. East/west aisles are numbered from 1 to 3. Aisle 1 is to the southwest, Aisle 2 is directly west of you and Aisle 3 is to the northwest.\n\n> You examine guy\nHe wears a nametag on his uniform and an indifferent expression on his face.\n\n> You buy Smasher\nYou must state what you would like to buy the Atom Smasher with.\n\n> You buy Smasher with the check\nCecil takes your check and places it in his register. He promptly crumples up your receipt and throws it away. \"Thank you and have a nice day,\" he mumbles.\n\n> Go east\nAfter the door closes, you hear someone locking it behind you. You turn around and see that the lights in the store have all been turned out.\n\n(PRESS ANY KEY TO CONTINUE)## River Walk\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. One souvenir shop in particular stands out from the others. On the far side of the river, a concert is being performed.\n\n> You go to the north\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west.\n\n> You go to the west\nYou sneak behind the shops...\n\n(PRESS ANY KEY TO CONTINUE)## Near Darkness\nThe night sky provides some light back here, but not enough to see anything very clearly.\n\n> Go east\nYou slip into the narrow path...\n\n(PRESS ANY KEY TO CONTINUE)## River Walk\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west.\n\n> You go north\nRiver Walk (North)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the far northern portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. There is a dock to the east.\n\nYou can see an 'invisible box' (in which is a mime) here.\n\n> Examine box\nWell, it's not a real box, is it? But the mime is pretending to be trapped in it all the same.\n\nIn the 'invisible box' is a mime.\n\nSuddenly, a group of Gamers in black and pink shirts runs past. One of them points at you and laughs on her way by.\n\n> You take box\nRidiculous!\n\nThe mime sits on a invisible stool and ruminates on her problem.\n\n> You check your inventory\nYou are carrying:\nan Atom Smasher\na maremelade orange button (being worn)\nthe first maremelade orange riddle card\na chocolate chip cookie\na Cyndi Lauper (closed)\na check book\nyour team shirt (being worn)\n\nThe mime pretends to eat a banana.\n\n> You show cookie to the mime\nShe's far too focused on her \"predicament\" to pay attention.\n\n> You go south\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west.\n\n> You open the box\nIt isn't something you can open.\n\nThe mime knocks on the walls of her \"prison.\"\n\n> Go east\nThis cobblestone bridge spans the river from east to west.\n\n> Go east\nRiver Walk (East)\nMost of the eastern side of the River Walk has been given over to a free outdoor rock concert. A 50's & 60's cover band belts out classic rock tunes from a stage to the south, while an enthusiastic crowd sings and dances along to the music, many of them waving those little glow sticks that give off a bright green light for several hours.\n\n> You examine the crowd\nThe crowd seems to be having a good time.\n\nSuddenly, a group of Gamers dashes by. Their rhinestone-studded T-shirts read \"The International Brotherhood of Elvis Impersonators.\" Each one of them thanks you very much as he runs past.\n\n> You go south\nAlthough the band is certainly talented, the music is almost unbearably loud here, just a few yards from the stage itself. The crowd is too thick to allow you to move any closer to the band and, to be honest, you're not sure your ears could take it anyway.\n\n> Go south\nYou can't go that way.\n\nThe lead singer steps away from the microphone as the piano player goes into full Jerry Lee Lewis mode on his solo.\n\n> Wait\nTime passes.\n\n> Examine singer\nThe lead singer is holding some of those little glow sticks and looks as if he is preparing to toss them into the crowd. You quickly move several steps to your right to better position yourself to catch one.\n\nThe lead singer throws some glow sticks into the crowd. You jump in the air and catch one just in time!\n\n> You go north\nRiver Walk (East)\nMost of the eastern side of the River Walk has been given over to a free outdoor rock concert. A 50's & 60's cover band belts out classic rock tunes from a stage to the south, while an enthusiastic crowd sings and dances along to the music, many of them waving those little glow sticks that give off a bright green light for several hours.\n\n> Go north\nThe crowd stretches too far to the north to bother trying to go that way.\n\nSuddenly, a diverse group of Gamers wearing white shirts dashes by you. Their shirts read \"Abrahamic Interfaith League of Piedmont.\" As they pass, a young nun smiles at you and makes a sign of blessing.\n\n> You examine the stick\nIt's a small plastic tube about six inches long and as big around as your thumb. The glow stick is not glowing.\n\n> Break stick\nYou bend the glow stick until you hear a satisfying snapping sound. You shake it a few times and it begins to give off a brilliant green glow.\n\nSuddenly, a group of young men and women dashes past you. Their crimson shirts read \"Young Republicans of Riverside.\" The last one to pass by shouts \"Let's win this one for the Gipper!\"\n\n> You go west\nYou sneak behind the shops...\n\n(PRESS ANY KEY TO CONTINUE)## Alley\nThis north/south alley runs behind the River Walk buildings. A narrow path between the buildings leads to the east.\n\nYou can see a metal tub here.\n\n> You examine the tub\nIt's a round tub about three feet in diameter and two feet deep. It has two handles on either side to make it easier to carry.\n\n> Go north\nThis is the northernmost part of this north/south alley which runs behind the River Walk buildings.\n\n> Go south\nThis north/south alley runs behind the River Walk buildings. A narrow path between the buildings leads to the east.\n\n> Go south\nThis north/south alley runs behind the River Walk buildings.\n\nYou can see a long PVC pipe here.\n\n> Go south\nThis north/south alley runs behind the River Walk buildings. A ladder runs up the side of one of the buildings here and the alley opens onto the street just a little to the south.\n\n> You look at the pipe\nIt's about three inches in diameter and four feet long.\n\n> You look at the ladder\nThe ladder seems to go all the way to the roof.\n\n> Go upwards\nYou ascend the ladder...\n\n(PRESS ANY KEY TO CONTINUE)## Rooftop\nThis is the rooftop of one of the River Walk shops. The lights and sounds of the River Walk are fainter up here, but the view is fantastic. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the north\n\nYou can see a shabbily dressed man here.\n\n> You look at the man\nHe is sitting on the floor, leaning against the bricks of the protective wall that surrounds the roof. His clothes are threadbare and his battered hat keeps most of his face in shadow. As you study him, he draws a long breath on his cigarette, temporarily highlighting his face in an eerie red glow.\n\n> You go north\nJust as you turn to go, the shabby man flicks his cigarette past you and over the edge of the roof. He casually lights another with a lighter that quickly disappears again into the folds of his clothing.\n\n(PRESS ANY KEY TO CONTINUE)## Rooftop\nThis is the rooftop of The 'Bear' Necessities. It offers a beautiful view of the River Walk below. This roof is connected to the roofs of the stores to the north and south.\n\n> You go to the north\nThis is the rooftop of another of the River Walk shops. It is connected to the roofs of the stores to the north and south. The sights and sounds of the River Walk drift up on the night air.\n\n> You go to the north\nThis is the rooftop of another of the River Walk shops. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the south\n\nYou can see a pile of gravel here.\n\n> You take the gravel\nYour load is too heavy.\n\n> You put gravel in the tub\nIt's too awkward to place something in the metal tub while you are carrying it.\n\n> You drop the tub\nDropped.\n\n> You drop all\nlong PVC pipe: Dropped.\nglow stick: Dropped.\nAtom Smasher: Dropped.\nfirst maremelade orange riddle card: Dropped.\nchocolate chip cookie: Dropped.\nCyndi Lauper: You set the cup on the edge of the roof. Unsurprisingly, it tumbles into the darkness below.\ncheck book: Dropped.\n\n> You drop the pipe and check the book\nlong PVC pipe: Dropped.\ncheck book: Dropped.\n\n> Inventory\nYou are carrying:\na glow stick (providing light)\nan Atom Smasher\na maremelade orange button (being worn)\nthe first maremelade orange riddle card\na chocolate chip cookie\na Cyndi Lauper (closed)\nyour team shirt (being worn)\n\n> You drop the cookie and Smasher\nchocolate chip cookie: Dropped.\nAtom Smasher: Dropped.\n\n> You drop the coffee\nYou set the cup on the edge of the roof. Unsurprisingly, it tumbles into the darkness below.\n\n> Inventory\nYou are carrying:\na glow stick (providing light)\na maremelade orange button (being worn)\nthe first maremelade orange riddle card\na Cyndi Lauper (closed)\nyour team shirt (being worn)\n\n> You drop card\nDropped.\n\n> You check what you're carrying\nYou are carrying:\na glow stick (providing light)\na maremelade orange button (being worn)\nyour team shirt (being worn)\n\n> You take the gravel\nUsing the tail of your shirt to carry it, you kneel down and carefully scoop up the pile of gravel. You grunt audibly as you stand back on your feet, swaying slightly under the weight.\n\n> You take all\nglow stick: Taken.\nfirst maremelade orange riddle card: Taken.\nAtom Smasher: Taken.\nchocolate chip cookie: Taken.\ncheck book: Taken.\nlong PVC pipe: Taken.\nmetal tub: The tub will be awfully heavy with all that gravel in it. You decide to leave it here.\npile of gravel: No, it was far too much effort to get the gravel in the tub. Let's just leave it there.\n\n> You go south\nThis is the rooftop of another of the River Walk shops. It is connected to the roofs of the stores to the north and south. The sights and sounds of the River Walk drift up on the night air.\n\n> You go to the north\nThis is the rooftop of another of the River Walk shops. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the south\n\nYou can see a metal tub (in which is a pile of gravel) here.\n\n> Go south\nThis is the rooftop of The 'Bear' Necessities. It offers a beautiful view of the River Walk below. This roof is connected to the roofs of the stores to the north and south.\n\n> You go south\nThis is the rooftop of one of the River Walk shops. The lights and sounds of the River Walk are fainter up here, but the view is fantastic. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the north\n\nYou can see a shabbily dressed man here.\n\n> You ask the man about the cigarettes\n\"Sorry, Gamer. These things are bad for ya. In good conscience, I can't letcha have one.\"\n\n> You ask man about lighter\nHe takes another long drag, while eyeing you intently.\"Ya know, I sure could go for a good cup o' Joe right now,\" he says."
    },
    {
        "text": "[Themes: treasure hunt]\n\n> Go down\nYou descend the ladder...\n\n(PRESS ANY KEY TO CONTINUE)## Alley\nThis north/south alley runs behind the River Walk buildings. A ladder runs up the side of one of the buildings here and the alley opens onto the street just a little to the south.\n\n> Go south\nRiver Street is a very busy road. You decide to stay in the Alley.\n\n> Go north\nThis north/south alley runs behind the River Walk buildings.\n\n> Go north\nThis north/south alley runs behind the River Walk buildings. A narrow path between the buildings leads to the east.\n\n> Go east\nYou slip into the narrow path...\n\n(PRESS ANY KEY TO CONTINUE)## River Walk\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west.\n\nSuddenly, a group of young men and women dashes past you. Their blue shirts read \"Young Democrats of Cherry Hill.\" The last one to pass by shouts \"We heart Hart!\"\n\n> You wait for the taxi\nYou might be waiting a while.\n\n> Wait\nTime passes.\n\n> Go south\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. One souvenir shop in particular stands out from the others. On the far side of the river, a concert is being performed.\n\nSuddenly, a group of Gamers dashes by. Their lemon yellow shirts read \"The Brat Pack.\" You jump with surprise when Judd Nelson gives you an encouraging smack on the backside while running past.\n\n> You go south\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\nA taxicab drives down the street.\n\n> You wait for taxi\nThe taxicab is already here!\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> Convention Center\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\n> You go to the east\nYou are standing on the east-west sidewalk outside a number of businesses to the north. Installed in the front wall of one of the businesses is a vending machine of some kind. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nYou can see a hot dog, a styrofoam carton and a man playing a saxophone here.\n\n> You look at the list\n(A) The Robert Redford: large, medium roast with cinnamon\n(B) The Princess Di: small, light roast with cream and sugar\n(C) The Stephen King: medium, extra dark roast with cherry\nsyrup\n(D) The Air Jordan: extra large, medium roast with extra foam\n(E) The Cyndi Lauper: extra small, light roast with bubble gum\nsyrup\n(F) The Mike Tyson: extra large, dark roast, with a shot of\nTabasco for that extra \"punch\"\n(G) The Joe Pesci: small macchiato with chocolate sprinkles\n(H) The Scott Baio: plain black coffee\n\n> You press g.\nThe machine whirs to life. A disposable coffee cup drops from a hidden slot and a jet of hot coffee squirts into the cup. When it has finished a lid drops from the same slot. You secure the lid on the cup before picking it up.\n\n> You check what you're carrying\nYou are carrying:\na Joe Pesci (closed)\na long PVC pipe\na check book\na chocolate chip cookie\nan Atom Smasher\nthe first maremelade orange riddle card\na glow stick (providing light)\na maremelade orange button (being worn)\nyour team shirt (being worn)\n\n> You go west\nYou are standing on the east-west sidewalk outside the entrance to the Convention Center to the north. A constant stream of traffic rumbles up and down Cleveland Avenue just feet away.\n\nA taxicab drives down the street.\n\n> Hail taxi\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> River Walk\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\n> You go north\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. One souvenir shop in particular stands out from the others. On the far side of the river, a concert is being performed.\n\n> You go to the west\nYou sneak behind the shops...\n\n(PRESS ANY KEY TO CONTINUE)## Alley\nThis north/south alley runs behind the River Walk buildings. A narrow path between the buildings leads to the east.\n\n> You show coffee to the man\nYou hand the cup to the shabbily dressed man. He takes a long sip and a beatific smile spreads across his face. \"Ahhh, that's a good cup o' Joe,\" he sighs. He takes another sip. \"Well, let's see,\" he continues. \"I guess one good turn deserves another.\" He tosses his lighter to you. \"You can keep it, Gamer. I gotta dozen of 'em anyhow.\"\n\n> You examine lighter\nIt's a small disposable lighter.\n\n> You put Smasher in the tub\nYou shove the pole of the Atom Smasher into the gravel. Unfortunately, the pole is rather flimsy and wasn't designed to hold the firework bulb without some other support. The weight of the bulb bends the pole over until the Atom Smasher topples out of the gravel and onto the ground.\nDropped.\n\n> You put pipe in the gravel\nYou shove the end of the PVC pipe into the gravel. It sticks up fairly well.\n\n> You put Smasher in the pipe\nYou slide the Atom Smasher's pole into the long PVC pipe, leaving the bulb of the firework sticking out of one end.\n\n> Light fuse\nYou must state what you would like to light the fuse with.\n\n> Light lighter\nClick. A small flame springs to life from the end of the\nlighter.\n\n> Light fuse with lighter\nFOOSH! The Atom Smasher streaks into the night sky. After a moment, the trail of sparks dies away and you fear the firework might have been a dud. Then, there is a huge explosion of red! BOOM! And another of green! CRACK! Yellow! FIZZ! Dozens of explosions light up the night and the crowds of people below start cheering and applauding, many of them racing this direction to get a better view of the spectacle.\n\nYou release the pressure on the lighter and the flame goes out.\n\n> You check your inventory\nYou are carrying:\na lighter\na check book\na chocolate chip cookie\nthe first maremelade orange riddle card\na glow stick (providing light)\na maremelade orange button (being worn)\nyour team shirt (being worn)"
    },
    {
        "text": "[Themes: treasure hunt]\n\n> Look around\nThis is the rooftop of another of the River Walk shops. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the south\n\nYou can see a metal tub (in which are a long PVC pipe and a pile of gravel) here.\n\n> You go to the east\nYou slip into the narrow path...\n\n(PRESS ANY KEY TO CONTINUE)## River Walk\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west. A large crowd has gathered here, staring up at the sky.\n\nSuddenly, a diverse group of Gamers wearing white shirts dashes by you. Their shirts read \"Abrahamic Interfaith League of Piedmont.\" As they pass, a Jewish rabbi smiles at you and makes a sign of blessing.\n\n> You go to the east\nThis cobblestone bridge spans the river from east to west.\n\nSuddenly, a group of Gamers in gold shirts knock you out of their way as they run past.\n\n> Go east\nRiver Walk (East)\nMost of the eastern side of the River Walk has been given over to a free outdoor rock concert. A 50's & 60's cover band belts out classic rock tunes from a stage to the south, while an enthusiastic crowd sings and dances along to the music, many of them waving those little glow sticks that give off a bright green light for several hours.\n\n> You go south\nAlthough the band is certainly talented, the music is almost unbearably loud here, just a few yards from the stage itself. The crowd is too thick to allow you to move any closer to the band and, to be honest, you're not sure your ears could take it anyway.\n\n> You look at the bridge\nThe east/west bridge spans the river, forming a tunnel that the paddle boats can traverse.\n\n> Go west\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west. A large crowd has gathered here, staring up at the sky.\n\n> You examine the crowd\nThe crowd is staring expectantly at the sky to the north.\n\nSuddenly, a group of fez-wearing men rides past you on what look like brand new miniature cars. Their gold shirts read \"Nobles of the Ali Baba Temple of the Shrine - Hahira Delegation.\" The last driver beeps as he passes by, waving at you merrily.\n\n> Go north\nRiver Walk (North)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the far northern portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. There is a dock to the east.\n\nYou can see an 'invisible box' (in which is a mime) here.\n\nThe mime pretends to climb a rope.\n\nSuddenly, a group of young men and women dashes past you. Their blue shirts read \"Young Democrats of Cherry Hill.\" The last one to pass by shouts \"We heart Hart!\"\n\n> You go east\nThis is a business that rents paddle boats for people to use on the river. A man (Stan, presumably) is sitting in a cabana nearby. A few steps lead down to a dock in the water.\n\n> You examine Stan\nStan is a blond middle-aged man with a dark tan.\n\n> You examine the boats\nPeople playfully paddle the little two-seat boats around the river.\n\n> You ask Stan about the boats\n\"I'm afraid we're all out at this end,\" he says. \"You'd better go see what my brother Steve has at the southern dock.\"\n\n> Go west\nRiver Walk (North)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the far northern portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. There is a dock to the east.\n\nYou can see an 'invisible box' (in which is a mime) here.\n\nThe mime sits on a invisible stool and ruminates on her problem.\n\n> Go south\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west. A large crowd has gathered here, staring up at the sky.\n\n> You go south\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. There is a dock to the east.\n\n> Go east\nThis is a business that rents paddle boats for people to use on the river. A man (Steve, presumably) is sitting in a cabana nearby. A few steps lead down to a dock in the water.\n\n> You look at Steve\nSteve is a blond middle-aged man with a dark tan.\n\n> You ask Steve about the boats\nSteve's face lights up when he sees your shirt. \"All Gamers ride for free during the Diddlebucker Run,\" he says. \"You're in luck! We have one left. Go take her out for as long as you like. You can bring it back here or leave it at the north dock when you've finished.\"\n\n> You enter the boat\nYou make your way to the dock.\n\nThe waters of the river lap at the edges of the dock.\n\nYou can see a paddle boat here.\n\nYou get into the paddle boat.\n\n> Go east\nRiver (in the paddle boat)\nThe rush and bustle of the Diddlebucker seem oddly distant as you bob gently in the calm water. Off to the north, the bridge that spans the river forms a wide tunnel through which the water flows.\n\n> Go north\nRiver (in the paddle boat)\nThe rush and bustle of the Diddlebucker seem oddly distant as you bob gently in the calm water. Just in front of you, the bridge that spans the river forms a wide tunnel through which the water flows.\n\n> You go north\nTunnel (in the paddle boat)\nThis north/south tunnel runs through the bridge that spans the river here. Lanterns hanging from the ceiling provide a warm, inviting glow. In the middle of the tunnel floats a red and white striped paddle boat. Emblazoned on the front of the paddle boat is the smiling face of Diddy Esposito: founder, CEO and mascot of Diddlebucker Popcorn. A portly gentleman in a Panama hat smiles at you from his seat in the boat. On his lap you can see a pile of brightly colored cards.\n\n> You ask the man about the cards\nBefore you can say anything, the portly gentleman raises a hand. \"No need to ask anything or perform any tricks,\" he says with a good-natured laugh. \"You've come this far and that's good enough for me.\" He tosses you a card from the pile in his lap. He then paddles his boat behind yours. \"Good luck to you, Gamer!\" he calls to you before giving your paddle boat a gentle shove with his own.\n\nRiver (in the paddle boat)\nThe rush and bustle of the Diddlebucker seem oddly distant as you bob gently in the calm water. Just to the south, the bridge that spans the river forms a wide tunnel through which the water flows. You can see a dock to the west.\n\n> Go west\nDock (in the paddle boat)\nThe waters of the river lap at the edges of the dock.\n\n> Exit\nAs you step onto the dock, a group of three older men dashes past you and jumps into the paddleboat. Their red, white and blue shirts read \"Former Presidents of the United States.\" Your jaw drops in disbelief when Gerald Ford looks back and gives you a thumbs-up before he starts paddling the boat toward the tunnel.\n\n> You read second card\nOne side of the maremelade orange card bears a large number \"2.\" On the other is the following poem:\n\nMS. MNT IS SUPPOSED\nTO BE VERY VOCALIC\nBUT WHAT'S THE POOR WOMAN TO DO?\n\nYOU'LL KNOW THE FIRST WORD\nAND SHOULD GUESS THE SECOND ONE TOO\n\n> Go west\nThis is a business that rents paddle boats for people to use on the river. A man (Stan, presumably) is sitting in a cabana nearby. A few steps lead down to a dock in the water.\n\n> Go west\nRiver Walk (North)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the far northern portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. There is a dock to the east.\n\nYou can see an 'invisible box' (in which is a mime) here.\n\nThe mime points to her balloons and then at you with a knowing smile on her face.\n\n> You look at the mime\nShe is wearing traditional mime makeup, a striped shirt and long black trousers. She is holding a large collection of helium-filled balloons, each one a different color. Predictably, she is performing the \"mime trapped in an invisible box\" routine.\n\nThe mime pretends to climb a rope.\n\n> You check your inventory\nYou are carrying:\nthe second maremelade orange riddle card\na long PVC pipe\na lighter\na check book\na chocolate chip cookie\nthe first maremelade orange riddle card\na glow stick (providing light)\na maremelade orange button (being worn)\nyour team shirt (being worn)\n\nThe mime points to her balloons and then at you with a knowing smile on her face.\n\n> You show second card to the mime\nShe's far too focused on her \"predicament\" to pay attention.\n\n> You give the pipe to the mime\nYou should SHOW things TO people instead.\n\nThe mime pretends to climb a rope.\n\n> Go south\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. On the far side of the river a concert is being performed. An east/west bridge spans the river here, forming the tunnel through which the river flows below. You also notice a narrow gap between two of the shops to the west.\n\nSuddenly, a group of men and women dashes past you. Their gray shirts identify them as \"The Implementers.\" One of them high-fives you while passing. The back of his shirt reads \"Berlyn.\"\n\n> You continue\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\n> You go to the south\nStepping out into moving traffic is a bad idea.\n\nA taxicab drives down the street.\n\n> You get the ladder\nThe ladder is securely fastened to the back wall of the building.\n\n> Go upwards\nYou ascend the ladder...\n\n(PRESS ANY KEY TO CONTINUE)## Rooftop\nThis is the rooftop of one of the River Walk shops. The lights and sounds of the River Walk are fainter up here, but the view is fantastic. It offers a beautiful view of the River Walk below. It is connected to the roof of the store to the north\n\nYou can see a shabbily dressed man here.\n\n> You show second card to the man\n\"Gamer, you'd better quit talking to me and get back to the Diddlebucker.\"\n\n> You go to the north\nRiver Walk (North)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the far northern portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. There is a dock to the east.\n\nYou can see an 'invisible box' (in which is a mime) here.\n\nSuddenly, a group of fez-wearing men rides past you on what look like brand new miniature cars. Their gold shirts read \"Nobles of the Ali Baba Temple of the Shrine - Hahira Delegation.\" The last driver beeps as he passes by, waving at you merrily.\n\n> You enter the box\nWalking through the imaginary walls of the \"invisible box\" would ruin the illusion and disrupt the mime's performance.\n\nThe mime waves at passersby.\n\n> You show cookie to the mime\nShe's far too focused on her \"predicament\" to pay attention.\n\nSuddenly, a group of three older men dashes past you. Their red, white and blue shirts read \"Former Presidents of the United States.\" Your jaw drops as Richard Nixon gives you a thumbs-up on his way by.\n\n> You examine second\nOne side of the maremelade orange card bears a large number \"2.\" On the other is the following poem:\n\nMS. MNT IS SUPPOSED\nTO BE VERY VOCALIC\nBUT WHAT'S THE POOR WOMAN TO DO?\n\nYOU'LL KNOW THE FIRST WORD\nAND SHOULD GUESS THE SECOND ONE TOO\n\nSuddenly, a group of elderly women wearing pink shirts dashes by you, nearly knocking you to the ground in the process. Their shirts read \"Quilting Ladies of Colonial Hills.\" The last one to pass smiles at you while making a rude gesture. She then cackles wickedly and hurries to catch up with her teammates.\n\n> Go east\n\n\n> Go west\nRiver Walk (North)\nYou can see an 'invisible box' (in which is a mime) here.\n\nThe mime knocks on the walls of her \"prison.\"\n\n> You take the balloon\nThat seems to belong to the mime.\n\nThe mime waves at passersby.\n\n> You go south\nRiver Walk (South)\n\n> You go to the south\nStepping out into moving traffic is a bad idea.\n\nA taxicab drives down the street.\n\n> Hail taxi\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> Minute hand\n\"Hmm... I don't know that place, Gamer.\"\n\n> Exit\nYou open the door and step out of the taxicab...\n\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\nA taxicab drives down the street.\n\nSuddenly, a group of Gamers in gold shirts knock you out of their way as they run past.\n\n> Amusement park\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nAmerican Dreamland is the largest and most popular amusement park in three states. You used to love coming here as a kid and you still try to make it at least once a year. Normally the park would be closing now, but normal rules don't apply during Diddlebucker weekend. Dozens of groups of people are filing past you and through the entrance to the north. A sign hanging above one of the turnstiles says \"Gamers enter here!\" You notice nobody going in through that line.\n\n> You enter the turnstile\nThat's not something you can enter.\n\nSuddenly, a group of Gamers in gray and yellow shirts runs by. They are singing a classic showtune as they pass.\n\nThe taxicab disappears into the traffic.\n\n> You go north\nThe employee greets you warmly as you approach the turnstile. \"Gamers get in free tonight!\" he says. You thank him, taking the map he offers you as you pass by.\n\n(PRESS ANY KEY TO CONTINUE)## National Mall\nThis is the main avenue of the park that runs from the entrance to the south to the full size replica of the Statue of Liberty to the north. The avenue is illuminated by the alternating red, white and blue street lights, plus the hundreds of thousands of similarly colored mini-lights that cover the rooftops of the various shops and other establishments that line both sides of the avenue. A crowd of people fills the mall, talking, laughing and generally having a good time.\n\nYou look at the map the employee handed you. It shows the seven main areas of the park. Right now, you are in National Mall. The following locations are near you:\n\nStatue of Liberty is to the north.\nKiddie Land is to the northeast.\nVegas Strip is to the northwest.\n\n> You go to the north-east\nThis section of the park is dedicated to children. Given the hour, there are fewer guests in this section of the park than there normally would be, but there are still a few families with their children. There are several rides here, but you exceed the height limitations on every ride but one: The Haunted House.\n\n> You examine House\nThis is one of those dark ride attractions that takes place completely indoors. You take a tour through a \"haunted house\" in a train of cars. Throughout the ride, different specters, ghouls and other assorted creatures try to frighten the guests. As it is a ride in Kiddie Land, none of the scares are especially frightening.\n\nYou notice something different about the crowd here at the amusement park.\n\n> You examine the crowd\nThe park guests seem to be enjoying themselves. You do not see any Diddlebucker shirts among them. Perhaps you are the first to make it this far!\n\n> Ride house\nThere is a sign placed in front of the waiting area. It reads \"This ride is temporarily closed. We apologize for the inconvenience.\"\n\n> You go to the north\nThis ride is the centerpiece of the park. This full-scale replica of Lady Liberty reaches 305 feet in the air and towers over every other attraction here. It is the most recognizable symbol of American Dreamland.\n\n> You climb Statue\nLittle is to be achieved by that.\n\n> Ride statue\nYou wait in line for quite a while before getting a chance to board the elevator with several other park guests. Eventually, the elevator stops, the doors open and you step out...\n\nStatue of Liberty (Crown)\nThe nighttime view from up here is simply breathtaking. As you look out through the open-air windows in the crown you can see the other places you have visited tonight. The River Walk is off to the south. You can just make out the lights of the concert that is still going on. Off to the east is the downtown area. Somewhere among the skyscrapers is Cleveland Avenue and the Convention Center where this all began. You stare at the sights for several moments, transfixed. Eventually, you tear yourself away from the view and take the elevator back down...\n\nThis ride is the centerpiece of the park. This full-scale replica of Lady Liberty reaches 305 feet in the air and towers over every other attraction here. It is the most recognizable symbol of American Dreamland.\n\n> You examine the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in Statue of Liberty. The following locations are near you:\n\nHawaiian Islands Water Park is to the north.\nThe Great Smoky Mountains is to the northeast.\nLiberty Circle is to the northwest.\nNational Mall is to the south.\nKiddie Land is to the east.\nVegas Strip is to the west.\n\n> You go northeast\nThis is the area of the park which is dedicated to roller coasters. Some of the fastest and tallest roller coasters in the country can be found right here. Normally, you'd jump at the chance to ride Mount Thunderhead or maybe take a spin on The Hatfields & The\nMcCoys, but tonight this area of the park is just way too busy.\nEvery ride looks like it has a wait time of at least an hour or more.\n\n> You examine the Thunderhead\nIt's the tallest roller coaster in the world.\n\n> You examine Hatfields\nThis wooden roller coaster features two parallel tracks. Two trains of cars \"race\" each other to see which one can complete the ride first. It is one of the oldest and most popular rides in the park.\n\n> Go west\nThis is the gaming section of the theme park. Dozens of carnival-style games line each side of the strip, each one offering a dazzling array of prizes to be won. A crowd of people gathers around each game, cheering the contestants. You see the following games nearby:\n\nWhack-A-George\nGuess Your Age & Weight\nThe Paul Bunyan\nSink the Fink\n\n> You examine George\nThis is like Whack-A-Mole except instead of trying to smack moles with a mallet as they pop up out of their holes, you are trying to smack little figures of King George III.\n\n> You play george\nThe barker watches your approach with interest. \"All right, Gamer,\" she says. \"No charge tonight. All you have to do is watch those kings pop up and smack 'em on the head before they go back down.\" She hands you a mallet before stepping back and pressing a button. Immediately, the little kings start popping out of their holes! You take a swing... [PRESS ANY KEY TO SWING]\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\nBOP!\n\n\"Hey, not bad,\" the barker says as she takes the mallet from your hand. \"You got sixteen out of twenty! That's almost good enough for a prize!\"\n\n> You play the fink\nBenedict Arnold is jeering at the crowd from the tank, using what is probably an historically inaccurate cockney accent. He spots you right away and manages to insult your lineage, your country, your hair, your shirt and your pets before you even get to the assistant who hands you three balls. \"Nyah, nyah, yeh can't hit nuttin' wi' tose arms,\" he taunts.\n\n\"You get three tries, Gamer,\" the assistant says to you while Arnold continues his jeering. \"Good luck!\" You bring back your arm and whip the ball at the target...\n\nFWISH!\n\nFWISH!\n\nFWISH!\n\n\"Sorry, Gamer,\" the assistant says, retrieving the errant balls while Benedict Arnold guffaws obnoxiously from his secure spot on the platform. \"Better luck next time!\"\n\n> Play guess\n\"Old or tall, young or small! Step right up, we guess 'em all!\" says the barker as you approach the game. \"Ah, we have a Gamer tonight!\" he continues. \"Come on up, Gamer, let me amaze you with my extrasensory, telepathic and transmundane ability to guess your weight within ten pounds and your age within ten years! If I can't do at least\none of those, you win a prize!\"\n\nYou step up to the platform...\n\nThe barker gives you a quick glance and guesses your age exactly right. \"Better luck next time, Gamer!\" he calls to you as you step away from the platform.\n\n> You play the alamo\nThe barker grins as you approach. \"Step right up, Gamer and let's see what you got! Gamers play free tonight, of course!\" He hands you a rifle. \"Wait for the bell and then shoot the little Texans when they pop up! So simple even a baby can do it!\" He steps back and presses a button. A bell rings and suddenly, the little Texans start popping up everywhere! You take aim...\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\nBANG!\n\n\"Haw, haw!\" chortles the barker as he takes the rifle from your hand. \"You got yourself eight out of ten, Gamer! Not bad! Not bad at all. But not good enough for a prize, either. Better luck next time!\"\n\n> You play paul\n\"Step right up, step right up!\" the barker shouts to the crowd as you approach. \"It's time to separate the men from the boys and the women from the girls! Take a swing, ring the bell and get a prize!\" The barker notices you then and grins broadly. \"Here's a champ if I ever saw one,\" he shouts, handing you a large, heavy mallet. \"You get three swings, Gamer. Let's see what you've got!\" You lift the mallet high over your head and swing it down as hard as you can...\n\nBOOM!\n\nBOOM!\n\nBOOM!\n\n\"Good arm,\" the barker says as he takes the mallet from your hand. \"You got the puck two-thirds of the way up! Hit it just a little harder next time and you might win a prize!\"\n\n> You play paul\n\"Step right up, step right up!\" the barker shouts to the crowd as you approach. \"It's time to separate the men from the boys and the women from the girls! Take a swing, ring the bell and get a prize!\" The barker notices you then and grins broadly. \"Here's a champ if I ever saw one,\" he shouts, handing you a large, heavy mallet. \"You get three swings, Gamer. Let's see what you've got!\" You lift the mallet high over your head and swing it down as hard as you can...\n\nBOOM!\n\nBOOM!\n\nBOOM!\n\n\"Good arm,\" the barker says as he takes the mallet from your hand. \"You got the puck three-fourths of the way up! Hit it just a little harder next time and you might win a prize!\"\n\n> Go north\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> You go northeast\nThis is about what you'd expect from a changing room. This is where park guests change in and out of their swimsuits.\n\nYou can see some lockers here.\n\n> Change\nWhy bother?\n\n> Ride lanes\nA park employee appears out of nowhere and stops you. \"Park rules state that guests must wear a swimsuit when riding any ride in the water park,\" she says before disappearing into the crowd.\n\nSomething about a young couple walking by catches your eye.\n\n> You examine the couple\nYou recognize the girl. She is the representative that checked you in back at the Convention Center! The couple is wearing matching swimsuits the exact same maremelade orange as your team shirt.\n\n> You ask couple about the swimsuits\n\"What's that?\" the young man asks. His eyes flicker briefly towards your shirt. \"Oh...the swimsuits. Do you like them? You know, oddly enough, we do have some extras. Brand new, never worn. We\nmight be willing to part with one of them. What do you think, dear?\" He turns to his companion.\n\n\"Hmm...maybe,\" she says. \"You know, we're big fans of American history,\" she continues. \"Tell you what, bring us something with the face of our thirtieth president on it and we'll let you have one of our extra swimsuits. We'll be in the water park all night. Come back here when you have something!\" With that, the couple turns away and starts discussing which attraction to go on next.\n\n> You examine the madness\nThis is a dark tunnel slide. Each rider sits in an inner tube and slides through the darkness of a completely enclosed tunnel of incredibly fast curves and steep drops.\n\nThe young couple disappears into the crowd.\n\n> You look at the typhoon\nOn this ride, two people share a figure-eight-style inner tube as they slide through numerous twists and turns, before exiting through a waterfall.\n\n> You examine River\nThis is a lazy river ride that encircles the water park. Park guests can float along in an inner tube or just swim without one.\n\n> Go northwest\nThe center of this area of the park is dominated by the \"White House Tours\" attraction designed to look like the actual White House in Washington, D.C.\n\n> You examine House\nThis is more of an attraction than a standard ride. On the outside, it looks just like The Executive Mansion in Washington D.C. The inside is a theater, where guests view a documentary about the American Presidency which culminates in a live presentation by animatronic versions of the thirty-nine men who have been President of the United States.\n\n> You enter House\nA park employee apologizes. \"Unfortunately, we just started a presentation a few minutes ago. Please try back later.\"\n\n> You examine the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in Liberty Circle. The following locations are near you:\n\nVegas Strip is to the south.\nStatue of Liberty is to the southeast.\nHawaiian Islands Water Park is to the east."
    },
    {
        "text": "> Look around\nThis is the main avenue of the park that runs from the entrance to the south to the full size replica of the Statue of Liberty to the north. The avenue is illuminated by the alternating red, white and blue street lights, plus the hundreds of thousands of similarly colored mini-lights that cover the rooftops of the various shops and other establishments that line both sides of the avenue. A crowd of people fills the mall, talking, laughing and generally having a good time.\n\n> You examine the shops\nYou study the different stores closely. The name of each shop is related to some aspect of Americana. The stores you see nearby are:\n\nJohnny Applepies\nThe Star Spangled Banquet\nUncle Sam-wiches\nThe Columbian\nSilent Cal's Cookies\nHoosier Hospitality\nThe May-Flour\nThe Boston T-Shirt Party\nColora-Donuts\nMinnesodas\nRocky Rhode Island\n\n> You enter silent\nThis cookie shop is designed to reflect the art deco sensibilities of the 1920's. The shop is fairly crowded, but you do notice one unoccupied table in a corner. An exit to the west leads outside.\n\n> You examine table\nIt is a small table with a chair next to it. There is a napkin dispenser in the middle of the table.\n\nOn the table is a napkin dispenser (in which is a paper napkin).\n\n> You examine napkin\nWhich do you mean, the napkin dispenser or the paper napkin?\n\n> You look at the paper\nIt bears the likeness of Calvin Coolidge eating a gigantic snickerdoodle.\n\n> You take the paper\nTaken.\n\nAs you pick up the napkin, a commotion causes you to turn your head. A group of Gamers has just burst into the shop. Their cream and crimson shirts simply say \"Hoosiers.\" They run around the shop desperately looking for clues, but find nothing. One white-haired Gamer throws a chair across the room in frustration before following his teammates out the door.\n\n(It looks like you are no longer the only Gamer to get this far.)\n\n> Go north\nSuddenly, a group of Gamers in gray and yellow shirts runs by. They are singing an old sea shanty as they pass.\n\n> You go to the north\nSuddenly, a group of Gamers dashes by. Their neon shirts read \"BTTF Forever!\" The last one shouts \"Great Scott!\" as she passes by.\n\n> You look at the people\nThe park guests seem to be enjoying themselves.\n\n> You wait for a while\nTime passes.\n\nSomething about a young couple walking by catches your eye.\n\n> You show napkin to the couple\nThe young couple looks pleased. \"That will look great in our collection!\" he says, taking the napkin from you. The young woman agrees. \"Well, a deal is a deal,\" she says, opening a nylon bag she carries slung over one shoulder. She rummages about in the bag. \"Let's see, it's Smith., isn't it? Here it is,\" She tosses you a swimsuit. \"Wear it well!\" The couple turns away, admiring the napkin.\n\n> You examine the swimsuit\n(the maremelade orange swimsuit)\nThe maremelade orange swimsuit has the word \"Easterbunnies\u00e2\u00b4\" printed vertically down the left side and \"Smith.\" horizontally across the backside.\n\n> Go northeast\nYou can see some lockers here.\n\n> Change\nYou change into the swimsuit. You put everything else in a locker and head back out to the main area of the water park.\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> Ride typhoon\nYou stand in line for quite a while. Eventually, you are paired up with a middle-aged woman. You both get into the inner tube and, after a signal from the worker to your right, it begins ascending a hill. As you near the top, the sounds of the crowd and the attractions die away. Up here, under the night sky, it seems oddly peaceful. But you know that sense of peace won't last, for you eventually reach the peak of the hill. And then...\n\nYour heart leaps into your throat as you fly down the hill! Your companion looks completely terrified while you just try your best to hold on as the inner tube zips through one turn, dashes over a series of hills, flies through a series of curves and finally exits through a waterfall, completely drenching you both. Laughing weakly, the two of you climb out of the inner tube and high five one another before heading off in different directions......\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> Ride madness\nThe line of guests leads up a winding staircase and it takes a long time before you reach the top, where you can finally see the dark mouth of the tunnel. You watch for several more minutes as guest after guest goes screaming into that darkness. Finally, it is your turn! The park employee helps you into an inner tube. You barely have a chance to prepare yourself before he gives your tube a shove and you slide down into the void...\n\nYou feel as if you are flying through the dark tunnel. Water sloshes all around you as your inner tube spins, bumps and twirls through the dark.\n\nYour stomach lurches as you take a sharp left...\n\nYou feel as if you are flying through the dark tunnel. Water sloshes all around you as your inner tube spins, bumps and twirls through the dark.\n\nYour heart skips a beat as you take a sharp right...\n\nYou feel as if you are flying through the dark tunnel. Water sloshes all around you as your inner tube spins, bumps and twirls through the dark.\n\nYou gasp in surprise as you drop down a steep incline...\n\nYou finally burst from the darkness and land in a shallow pool of water. What a rush! Wiping the water from your eyes, you shakily hand the inner tube to a park employee and make your way back to the main area of the water park...\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> Ride lanes\nYou stand in line for quite a while, ascending a staircase with the other guests. When you finally get to the top, you are matched up with six other riders. You are in the second lane. Although the view up here is spectacular, you're far too focused on the race ahead of you. After a few tense seconds, the park employee blows her whistle and you're off! You slide\n\nAs you come to the end of the slide you realize that you came in seventh place. Oh well, at least the ride was fun!\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> You look at the lanes\nThis giant water slide is several lanes wide, allowing for multiple riders to race one another on their way down.\n\nSuddenly, a group of elderly women wearing pink shirts dashes by you, nearly knocking you to the ground in the process. Their shirts read \"Quilting Ladies of Colonial Hills.\" The last one to pass smiles at you while making a rude gesture. She then cackles wickedly and hurries to catch up with her teammates."
    },
    {
        "text": "> Describe the surroundings\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\nSuddenly, a group of Gamers dashes by. Their lime-colored shirts read \"University Debate Team.\" The last one shouts \"Be it resolved that Smith. will lose big!\" as she passes by.\n\n> Ride river\nUnlike the other attractions, there isn't really a line for the Aloha River. This lazy river ride encircles the water park. As the water is very shallow, park guests can either swim or float along in one of the inner tubes already in the water.\n\nAloha River (Southeast)\nYou opt to go without an inner tube, rather than wait for an available one. This ride is actually quite relaxing. You float on your back for a while and gaze at the night sky. You forget about the other park guests around you and drift lazily in the water.\n\nSuddenly, a group of elderly men in plaid swimsuits swims by you. Their swimsuits read \"Golfing Grandpas of Golden Acres.\" The last one to float by salutes you in a friendly way.\n\n> Go east\nYou can't go that way.\n\nThe water currents carry you around the bend...\n\nAloha River (East)\nYou are floating lazily in the river ride that encircles the water park.\n\n> Swim\nIt is so much more relaxing to just float on your back and let the water carry you along with it.\n\n> You wait for a while\nTime passes.\n\nThe water currents carry you around the bend...\n\nAloha River (North)\nYou are floating lazily in the river ride that encircles the water park.\n\nYou can see an inflatable ball here.\n\n> You take the ball\nTaken.\n\nSuddenly, a group of teenagers floats past you in yellow inner tubes. Their green and orange swimsuits read \"Dungeon Masters of Southport.\" The last one to pass points at you and shouts \"Sopio!\" before laughing and paddling the inner tube after her teammates.\n\n> You look at the ball\nThe ball has red and white stripes and is roughly the size of a volleyball.\n\nThe water currents carry you around the bend...\n\nAloha River (West)\nYou are floating lazily in the river ride that encircles the water park.\n\n> Wait\nTime passes.\n\nThe water currents carry you around the bend...\n\nAloha River (Southwest)\nYou are floating lazily in the river ride that encircles the water park.\n\n> Wait\nTime passes.\n\nAs relaxing as this is, you really need to get back to the Diddlebucker. With a sigh, you stand up and exit the ride...\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> Go northeast\nYou can see some lockers here.\n\n> Change\nYou get your things from the locker, change into your regular clothes and head back out to the main area of the water park.\n\nHawaiian Islands Water Park is one of the top rated water parks in the nation. Normally the water park closes before the rest of the park, but they've brought in extra lights to keep it open later than usual. Although the sun set a while ago, it is still quite warm, so there is a sizeable crowd here. Some changing rooms are off to the northeast. The nearby attractions are:\n\nMaui Madness\nAloha River\n\n> You go to the north-west\nSuddenly, a group of Gamers in black and pink shirts runs past. One of them points at you and laughs on his way by.\n\n> You enter House\nYou walk up to the entrance and a park employee ushers you inside...\n\n(PRESS ANY KEY TO CONTINUE)"
    },
    {
        "text": "> Look around\nThe house lights have been dimmed in this large theater facing a white screen to the north. Although you've always enjoyed White House Tours, it isn't nearly as popular as the other rides and attractions and right now you are the only one here. There is an exit to the east.\n\n> You go north\nThere is a big screen in your way.\n\nYou decide to take a seat and wait for the show to start.\n\nWhite House Tours (on the seat)\nThe house lights have been dimmed in this large theater facing a white screen to the north. Although you've always enjoyed White House Tours, it isn't nearly as popular as the other rides and attractions and right now you are the only one here. There is an exit to the east.\n\n> You wait\nTime passes.\n\nPatriotic music begins to play and the house lights go out just as three more park guests make their way into the theater and sit down in the front row. You make yourself comfortable in your seat as the voice of James Earl Jones begins recounting the early days of the American Presidency......\n\nThe documentary has reached the post-World War II presidencies. You notice that the three men in the front row seem completely transfixed by what is happening on the screen. In the flickering light of the projector you can just make out the names \"Nixon,\" \"Ford\" and \"Carter\" on the backs of their shirts. You continue watching the movie...\n\nThe movie ends with an appropriate fanfare as the screen retracts into the ceiling. The stage lights come up dramatically, illuminating the thirty-nine animatronic representations of the Presidents of the United States standing there. The three men in the front row go absolutely wild with whoops and hollers as each of the different \"Presidents\" on stage acknowledges its introduction by James Earl Jones with a wave and a nod of its head. There is much high-fiving and slapping on the back when Jones reads the names of the thirty-seventh, thirty-eighth and thirty-ninth Presidents....\n\nThe presentation comes to a triumphant conclusion with a stirring speech by \"Abraham Lincoln.\" The house lights come up and the three men in the front row make their way back out the exit to the east, leaving you alone in the theater. You notice that the stage lights were left on for some reason.\n\n> Go north\n(first getting off the seat)\nYou stand up.\n\nThe House lights are dimmed, but the screen has been retracted into the ceiling, fully exposing the stage behind it to the north, which is illuminated by the stage lights. Although you've always enjoyed White House Tours, it isn't nearly as popular as the other rides and attractions and right now you are the only one here. There is an exit to the east.\n\nYou are on the stage with thirty-nine animatronic representations of the Presidents of the United States.\n\nYou can see a powdered wig here.\n\n> You wear the wig\nYou put on the powdered wig.\n\n> You look at Presidents\nYou give the \"Presidents\" a cursory glance. They are all amazingly lifelike. A great deal of skill and effort was put into making each one resemble the original. Up here on the stage, you notice something you hadn't noticed while watching from your seat; each one seems to be holding something in its left hand.\n\n> You go east\nYou head back outside.\n\nThe center of this area of the park is dominated by the \"White House Tours\" attraction designed to look like the actual White House in Washington, D.C.\n\n> Play age\n\"Old or tall, young or small! Step right up, we guess 'em all!\" says the barker as you approach the game. \"Ah, we have a Gamer tonight!\" he continues. \"Come on up, Gamer, let me amaze you with my extrasensory, telepathic and transmundane ability to guess your weight within ten pounds and your age within ten years! If I can't do at least\none of those, you win a prize!\"\n\nYou step up to the platform...\n\nThe barker looks at you for several moments, a sly smile on his face. Finally, he guesses your age. He guesses nine years older than you actually are. \"Better luck next time, Gamer!\" He calls to you as you step away from the platform.\n\n> You wear the ball\n(the inflatable ball)\nYou stuff the inflatable ball under your shirt. Your belly now looks considerably bigger.\n\nSuddenly, a group of Gamers in gray and yellow shirts runs by. They are singing a classic showtune as they pass.\n\n> Play guess\n\"Old or tall, young or small! Step right up, we guess 'em all!\" says the barker as you approach the game. \"Ah, the Gamer's back!\" He continues. \"Lucky for you I don't remember what I guessed last time! Come on up, Gamer, let me amaze you again with my extrasensory, telepathic and transmundane ability to guess your weight within ten pounds and your age within ten years!\"\n\nYou step up to the platform...\n\nThe barker looks at you for several moments, a sly smile on his face. Finally, he guesses your age. He guesses seven years older than you actually are. \"Better luck next time, Gamer!\" He calls to you as you step away from the platform.\n\n> Inventory\nYou are carrying:\na powdered wig (being worn)\na map\nthe second maremelade orange riddle card\na long PVC pipe\na lighter\na check book\na chocolate chip cookie\nthe first maremelade orange riddle card\na glow stick (providing light)\na maremelade orange button\nyour team shirt (being worn)\nan inflatable ball (being worn)\na maremelade orange swimsuit\n\nSuddenly, a group of Gamers dashes by. Their neon shirts read \"BTTF Forever!\" The last one shouts \"What are you lookin' at, Butthead?\" as she passes by.\n\n> You enter may\nThis is a bakery that sells everything from elephant ears to cupcakes. It is very crowded in here, even at this time of night. There is a long line of people waiting to order. There is an exit to the west.\n\n> You examine the line\nThe park guests seem to be enjoying themselves.\n\n> You entethe colora-donuts\nAs you might expect, this shop sells dozens of varieties of donuts. It is very crowded in here, even at this time of night. There is a long line of people waiting to place their orders. There is an exit to the west.\n\n> You go to the west\nSuddenly, a group of teenagers dashes by. Their green and orange shirts read \"Dungeon Masters of Southport.\" The last one to pass points at you and shouts \"Adnexus!\" before laughing and chasing after his teammates.\n\n> You enter the island\nThis is an ice cream shop that boats \"1776 different flavors,\" which you assume is an exaggeration. It is very crowded in here, even at this time of night. Every table is occupied and there is a long line of people waiting to order their ice cream. There is an exit to the west.\n\n> You entethe t-shirt\nThis shop sells all kinds of T-shirts featuring different attractions at the park. It is very crowded in here, even at this time of night. There is a long line of people waiting to purchase their shirts. There is an exit to the east.\n\n> You examinthe t-shirts\nThe shirts have been pretty thoroughly picked over. For example, the only shirts left promoting the \"White House Tour\" attraction bear the likeness of William Henry Harrison.\n\n> You enter the minnesodas\nThis is a soda shop. You can get everything from plain cola to milkshakes here. The shop is very crowded, even at this time of night. There is a long line of people waiting to place their orders. There is an exit to the east.\n\n> You enter the Uncle\nThis is a sandwich shop that specializes in foot-long sub sandwiches. It is very crowded in here, even at this time of night. Every table is occupied and there is a long line of people waiting to order their food. There is an exit to the west.\n\n> You enter the cakes\nThis shop sells the largest bundt cakes you have ever seen! You see one cake roughly the size of a car tire. The shop is very crowded, even at this time of night. There is a long line of people waiting to place their orders. There is an exit to the west.\n\n> You look at the cake\nAlthough many are normal cakes, there are some truly large specimens as well. You have no idea if people eat these cakes in one sitting, carry them around the park or what.\n\n> You buy the cake with the check\nThe shop is crowded and the line is way too long.\n\n> You take the cake\nIf you want to buy a cake, just say so.\n\n> You buy the cake\nYou must state what you would like to buy the bundt cakes with.\n\n> Go west\nSuddenly, a group of Gamers in brown shirts rudely shove you out of the way as they run by.\n\n> You enter the Hospitality\nHoosier Hospitality is where park guests go when they are in need of medical assistance. It is unlikely that there are any clues there.\n\nSuddenly, a group of men and women dashes past you. Their gray shirts identify them as \"The Implementers.\" One of them high-fives you while passing. The back of his shirt reads \"Galley.\"\n\n> You enter Banquet\nThis is a cafeteria-style restaurant. The food appears to be mostly American comfort food: biscuits, gravy, fried chicken, roast beef, etc. Your stomach growls at the sight and smell of it all. It is very crowded in here, even at this time of night. Every table is occupied and there is a long line of people waiting to order their food. There is an exit to the east.\n\nYou can see a cane here.\n\n> You examine cane\nIt's a simple wooden cane with a curved handle and a rubber tip.\n\n> You go northeast\nSuddenly, a group of Gamers in silver and blue shirts runs past you, making rude comments about your last name.\n\n> You look at the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in The Great Smoky Mountains. The following locations are near you:\n\nKiddie Land is to the south.\nStatue of Liberty is to the southwest.\nHawaiian Islands Water Park is to the west.\n\n> Play guess\n\"Old or tall, young or small! Step right up, we guess 'em all!\" says the barker as you approach the game. \"Ah, the Gamer's back!\" He continues. \"Lucky for you I don't remember what I guessed last time! Come on up, Gamer, let me amaze you again with my extrasensory, telepathic and transmundane ability to guess your weight within ten pounds and your age within ten years!\"\n\nYou step up to the platform...\n\nThe barker looks at you for several moments, a sly smile on his face. Finally, he guesses your age. He guesses several decades\nolder than you actually are! You take off the powdered wig and do a little dance without being aided by the cane. The barker laughs uproariously at your antics. \"Ok, Gamer,\" he says. \"You got me. Just remember, I have to get both  your age and weight\nwrong for you to win!\"\n\nThe barker studies you again. He takes much longer this time before finally making his guess. His guess is twenty pounds too\nheavy! You take the inflatable ball out of your shirt and dribble it around the platform to the delight of the barker. \"You have gall, Gamer!\" he says with a hearty laugh. \"Here, take your prize. You earned it!\" He tosses you some kind of toy. You thank him and step away from the platform.\n\n> Examine toy\nIt's a soft foam hammer designed to look like a medieval weapon.\n\n> You go to the south\nAs you pass through the exit turnstile, an employee gives you a big smile. \"Good luck, Gamer and have a great evening!\" she says as you walk past.\n\n(PRESS ANY KEY TO CONTINUE)## American Dreamland\n\n> You wait for the cab\nYou wait for the taxi. After several moments, you see one coming down the street.\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> River Walk\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nRiver Walk (South)\nThe River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.\n\n> You go to the north\nSuddenly, a group of Gamers dashes by. Their neon shirts read \"BTTF Forever!\" The last one shouts \"Great Scott!\" as she passes by.\n\n> Go north\nRiver Walk (North)\nYou can see an 'invisible box' (in which is a mime) here.\n\n> You hit the box with the hammer\nLifting the hammer high above your head, you strike a mighty blow against the invisible \"walls\" that imprison the mime. She falls to her knees and covers her head as if protecting it from thousands of shards of glass. After a moment, she stands up with a look of delight on her face. Free of her imaginary prison, she walks over to you. Wordlessly (of course) she hands you one of the balloons she was carrying. She then gives you a little curtsy before skipping away.\n\n> You examine balloon\nThe balloon matches the exact maremelade orange of your team shirt.\n\n> Go south\nRiver Walk (South)\nA taxicab drives down the street.\n\n> You wait for cab\nThe taxicab is already here!\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> You go north\nThe employee greets you warmly as you approach the turnstile. \"Gamers get in free tonight!\" he says. You thank him as you pass by.\n\n(PRESS ANY KEY TO CONTINUE)## National Mall\n\n> You examine the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in National Mall. The following locations are near you:\n\nStatue of Liberty is to the north.\nKiddie Land is to the northeast.\nVegas Strip is to the northwest.\n\n> You look at the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in Statue of Liberty. The following locations are near you:\n\nHawaiian Islands Water Park is to the north.\nThe Great Smoky Mountains is to the northeast.\nLiberty Circle is to the northwest.\nNational Mall is to the south.\nKiddie Land is to the east.\nVegas Strip is to the west.\n\nSuddenly, a group of young men and women dashes past you. Their blue shirts read \"Young Democrats of Cherry Hill.\" The last one to pass by shouts \"We heart Hart!\"\n\n> You enter House\nYou walk up to the entrance and a park employee ushers you inside...\n\nThe house lights have been dimmed in this large theater facing a white screen to the north. Although you've always enjoyed White House Tours, it isn't nearly as popular as the other rides and attractions and right now you are the only one here. There is an exit to the east.\n\n> You go to the north\n(first getting off the seat)\nYou stand up.\n\nThe House lights are dimmed, but the screen has been retracted into the ceiling, fully exposing the stage behind it to the north, which is illuminated by the stage lights. Although you've always enjoyed White House Tours, it isn't nearly as popular as the other rides and attractions and right now you are the only one here. There is an exit to the east.\n\n> You look at the hand\nYou look closer and realize that each \"President\" is holding a uniquely colored card in its left hand! Now that you know what to look for, you study each \"President\" much more closely. Finally, you find it! In the left hand of \"Andrew Johnson\" you find the third maremelade orange riddle card! You carefully remove the card.\n\n> You examine third\nOne side of the maremelade orange card bears a large number \"3.\" On the other is the following poem:\n\nBUT YOU MUST DO SOMETHING\nAND HERE IS YOUR CLUE:\n\nSING TO THE RIGHT MAN\nTO MOVE ON IN THIS GAME\n\n> You examine the hammer\nIt's a soft foam hammer designed to look like a medieval weapon.\n\n> Sing\nWhat do you want to sing?\n\n> You sing the alphabet\n(to yourself)\nYou hum quietly to yourself."
    },
    {
        "text": "> Look around\nYou are on the stage with thirty-nine animatronic representations of the Presidents of the United States.\n\n> You examine Cleveland\nGrover Cleveland carries himself with a quiet dignity.\n\n> You look at Ford\nGerald R. Ford carries himself with a quiet dignity.\n\n> You examine the map\nThis is a map of American Dreamland. It shows the seven main areas of the park. Right now, you are in Statue of Liberty. The following locations are near you:\n\nHawaiian Islands Water Park is to the north.\nThe Great Smoky Mountains is to the northeast.\nLiberty Circle is to the northwest.\nNational Mall is to the south.\nKiddie Land is to the east.\nVegas Strip is to the west.\n\nSuddenly, a group of Gamers in gold shirts knock you out of their way as they run past.\n\n> You go northeast\nThis is the area of the park which is dedicated to roller coasters. Some of the fastest and tallest roller coasters in the country can be found right here. Normally, you'd jump at the chance to ride Mount Thunderhead or maybe take a spin on The Hatfields & The\nMcCoys, but tonight this area of the park is just way too busy.\nEvery ride looks like it has a wait time of at least an hour or more.\n\n> You go east\nThis section of the park is dedicated to children. Given the hour, there are fewer guests in this section of the park than there normally would be, but there are still a few families with their children. There are several rides here, but you exceed the height limitations on every ride but one: The Haunted House.\n\nYou can see a park employee here.\n\n> You examine the employee\nLike every employee here, this one has a cheerful look on his face. His nametag says \"Kirk.\" He is eating a piece of cake.\n\n> You sing the alphabet to Kirk\nYou start to sing...\n\nQRSTUV\nWXY and Z!\nNow I know my ABC's\nNext time won't you sing with me?\n\nKirk eyes you nervously.\n\n> You examine the cake\nIt appears to be chocolate.\n\n> You ask Kirk about the cake\n\"It's delicious! One of my coworkers baked it for me today.\"\n\n> You ask Kirk about Diddlebucker\nIt's glorious!\"\n\n> Sing team to Kirk\nYou don't know the words to that song.\n\nSuddenly, a group of men and women dashes past you. Their gray shirts identify them as \"The Implementers.\" One of them high-fives you while passing. The back of his shirt reads \"Bates.\"\n\n> You examine third\nOne side of the maremelade orange card bears a large number \"3.\" On the other is the following poem:\n\nBUT YOU MUST DO SOMETHING\nAND HERE IS YOUR CLUE:\n\nSING TO THE RIGHT MAN\nTO MOVE ON IN THIS GAME\n\nSuddenly, a group of Gamers in black and pink shirts runs past. One of them points at you and laughs on his way by.\n\n> You sing the happy birthday to Kirk\nYou start to sing...\n\nHappy birthday to you!\nHappy birthday to you!\nHappy birthday, dear Kiiirrrrrk!\nHappy birthday to you!\n\nKirk applauds your singing with a big smile. \"Thank you, Gamer!\" he says. \"And very well done. That deserves a prize.\" He pulls something out of his pocket and hands it to you. It is a maremelade orange pencil topper shaped like a little tombstone. \"You know,\" he continues, \"I think the ride might be ready to re-open. If you'll just follow me.\" He turns and leads you into the Haunted House.....\n\nThe interior of the Haunted House is, not unexpectedly, fairly dark. A series of black cars connected to a track slowly passes by and leads into a tunnel. Kirk directs you to enter one of the cars. Your car follows the others into the darkness...\n\nMelancholy music plays as you continue through the tunnel. A sinister voice begins to describe the history of the house and all of the gruesome happenings that have taken place there. You exit the tunnel into a Victorian-style living room full of cobwebs, skeletons and other macabre props and decorations. Some movement out of the corner of your eye causes you to turn in your seat. You just catch a glimpse of something flying towards your face before the world suddenly explodes into a thousand stars which are then swallowed by a spinning, dark void...\n\nThe room is completely dark, you can't move and right now all you can focus on is the incredible pain in your head.\n\n> You check your inventory\nThe room is completely dark, you can't move and right now all you can focus on is the incredible pain in your head.\n\nYour head starts to feel a little better.\n\n> You wait for a while\nThe room is completely dark, you can't move and right now all you can focus on is the incredible pain in your head.\n\nThe pain in your head has diminished to a dull throb. Suddenly, the lights come on in the room!\n\nEmployees Only (on the chair)\nThis is a nondescript room. Based on the muffled sounds of sinister music and other sound effects, you can guess that it is one of the backstage rooms of the Haunted House ride that is only accessible to employees. You can't see a door from your position in the chair, so you assume it must be in the south wall behind you.\n\nYou can see a desk (on which is a phone book) here.\n\n> About yourself\nAs good-looking as ever.\n\n> You stand\nYou find that your arms and legs are securely tied to the chair. You are unable to move.\n\nYou hear a door open behind you and the sound of someone entering the room. Your jaw drops open as two people step into view...it can't be! But it is. Your former teammates Lori and David are standing in front of you, each pointing a gun at your heart. \"What's up, Smith.?\" Lori asks by way of greeting. \"Having fun playing the Diddlebucker?\"\n\n> No\n\"Well,\" she says,\"unfortunately for you, it's not likely to get any better. You see...\" She stops suddenly and cocks her head to one side as if listening to something. \"They've stopped the ride,\" she says to David. \"You'd better go take a look,\" David says. \"Don't worry. I'll keep an eye on our friend here.\" Lori nods and faces you again. \"Ok, look, we're going to make this easy,\" she says, tossing a maremelade orange card onto your lap. \"That's the last riddle card. You're going to solve it for us or we're going to kill you. You have five minutes.\" She disappears from view.\n\n> You examine the riddle\nThe maremelade orange card is face up on your lap. On the side that you can see is the following poem:\n\nBUT SHE'S ALSO A SON\nGET HERE FIRST WITH THE TREASURES\nAND YOU WILL HAVE WON!\n\nHETOL\n\nYou hear the door open and close behind you.\n\nDavid suddenly lowers his gun and kneels down in front of you and begins untying your bonds. \"I'll need to put these ropes back on you before Lori gets back,\" he says. He stuffs the ropes into a pocket. \"Ok, listen carefully,\" he says. \"We don't have a lot of time. Here's the deal. After you asked Lori and me to join your Diddlebucker team, she started thinking and she came to the conclusion that it would be better to split the winnings two ways instead of three. She, and I'm sorry to say this, but she didn't think you'd really be much help. She always thought of herself as the brains of our little group. Anyway, this morning she told me that you had called her and said you were sick and wouldn't be able to play. She said you had asked her to be the new team captain. I didn't know anything about the letter until we got to the Convention Center and we saw you throwing our shirts away. You should have seen her searching through the garbage for them! She was furious! She had to tell me the whole story then. See, she was convinced you'd give up and go home when you got that letter and that we'd be able to play the Diddlebucker ourselves and split the money. But, to be honest, I don't think she ever intended to split the money with me either.\" He holds the gun up. \"The gun she gave me has blanks,\" he says. \"I checked it out when she wasn't looking. She certainly was prepared, I'll give her that. And I'm pretty sure hers doesn't have blanks...\"\n\n\"I'm guessing she intended to let me help her solve the clues and then planned to find some way to get rid of me before we got to the last location. Then, the prize money would all be hers. You messed that up though by not only staying in the game, but by solving the clues faster than anyone else. I pretended to go along with her so I could keep an eye on her and try to protect you if things got out of hand, which they obviously did. We were stuck trailing after you and trying not to be seen. But that changed when we got to American Dreamland. Lori used to work here in high school, remember? She knows\nall about the secret tunnels under this place and how to get to the \"employees only\" sections of the park. After we followed you here, she led us into one of the tunnels so we could plan our next move. But when we got there, we heard voices. Just around the corner in the tunnel a couple of Diddlebucker reps were talking and we were able to figure out that this ride held the last clue. We snuck on using the service entrance, found the clue card and then hid behind one of the coffins waiting for you to show up...\"\n\n\"The thing is, Lori isn't as clever as she thinks she is. She can't figure this card out. And I can't either. And if we don't come up with some kind of answer for her, things are going to get ugly. I know it's not fair, but you're going to have to solve the riddle for her, even if that means letting her win. We don't have time for me to sneak you out of here while she's still on the ride. If you give her the answer, she'll have to keep you alive long enough to check it out to make sure you were right. My guess is she'll ask me to watch you while she goes off to win the money, with some kind of promise that she'll split it with me when she returns. That will give us time to get out of here. I don't think she suspects me of wanting to double-cross her. We can go to the police then. It means you won't win the game, but you'll be alive.\"\n\n> You look up Hotel in the phone book\nYou find several listings under the section for \"Hotels and Lodging.\" They are:\n\nThe Cassiopeia Inn\nThe Danbury Hotel\nThe Frederick Inn\nThe Holland Odyssean Hotel\nThe Kilhenny Hotel\nThe Meridian Hotel\nThe Quarternary Inn\nThe Somewhither Inn\nThe Grand Vermillion\nThe Yorkshire Inn\n\n> You say the holland odyssean\n(to David)\nYou should ASK people ABOUT things instead.\n\n> You ask David about the holland odyssean\n\"We're wasting time!\"\n\n> You ask David about Diddlebucker\n\"We're wasting time!\"\n\nA grinding noise startles both of you. \"The ride has started up again!\" he says. \"I won't be able to hear Lori coming down the hall now.\"\nDavid begins tying you to the chair again. \"I'm sorry I have to do this,\" he says, \"but if Lori finds out I untied you, we're both done for.\" Just as he finishes up, the door opens and Lori steps into the room...\n\nLori is once again pointing a gun at your chest. She turns her head slightly in David's direction, but never takes her eyes off of you. \"It turns out they're only running the ride for Gamers who are ready for the final clue,\" she says. \"That's why we heard it stop. Unfortunately, it started up again as I was making my way back.\" She turns her head fully in your direction. \"That means we're out of time, Smith.. What's the answer to the riddle?\"\n\n> Holland Odyssean Hotel\nLori grabs the riddle card and scans it. A scowl comes across her face. \"That answer doesn't make any sense, Smith.\" she says. \"If you can't help us solve the riddle, I guess you are of no further use to us.\" She aims her gun at you. David runs toward her as her finger squeezes the trigger. He's fast, but not fast enough. It looks like, for you, this is...\n\n> The Holland Odyssean Hotel\nLori grabs the riddle card and scans it. An uncertain look comes across her face. \"That might be it,\" she says to David. \"I'm not sure. What do you think?\" David gives you a quick look before studying the card. You notice his hands tremble slightly. \"Yes,\" he says, after few very tense moments. \"Yes, that's it! That's the answer!\" Seemingly reassured by his response, Lori laughs. \"I'm...that is we're\ngoing to be rich, David! Rich!\" David plays his part well, laughing along with her. \"Now,\" Lori continues, \"there's just the matter of the treasures. When we brought you here, we searched you and put your possessions in the desk drawer. Let's just see what you managed to find, shall we?\"\n\n(PRESS ANY KEY TO CONTINUE)Employees Only (on the chair)\nThis is a one of the backstage rooms of the Haunted House ride that is only accessible to employees. There is a door in the southern wall.\n\nYou can see Lori, David and a desk (on which is a phone book) here.\n\n> You wait\nTime passes.\n\nLori opens the desk drawer using a key she had in her pocket. \"All right,\" she says, \"there are four treasures. You're going to tell me what they are. You're going to tell the truth and you're going to tell me quickly, or else...\"\n\nLori holds up the maremelade orange swimsuit. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the maremelade orange swimsuit.\n\nLori holds up the inflatable ball. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the inflatable ball on the desk.\n\nLori holds up the maremelade orange button. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the maremelade orange button.\n\nLori holds up the glow stick. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the glow stick on the desk.\n\nLori holds up the chocolate chip cookie. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the chocolate chip cookie on the desk.\n\nLori holds up the check book. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the check book on the desk.\n\nLori holds up the lighter. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the lighter on the desk.\n\nLori holds up the long PVC pipe. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the long PVC pipe on the desk.\n\nLori holds up the map. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the map on the desk.\n\nLori holds up the powdered wig. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the powdered wig on the desk.\n\nLori holds up the cane. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the cane on the desk.\n\nLori holds up the foam hammer. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the foam hammer on the desk.\n\nLori holds up the maremelade orange balloon (deflated). \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the maremelade orange balloon (deflated).\n\nLori holds up the maremelade orange pencil topper. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the maremelade orange pencil topper.\n\nLori looks at the items she is carrying. \"You'd better be telling me the truth about these,\" she says. \"David's going to keep an eye on you while I head to the hotel. If everything goes as planned, I'll come back with the money and we'll let you go free, won't we David?\" David nods. \"Of course we will,\" he says. \"However,\" Lori continues, \"if things do not go as planned...well, that would be very\nunfortunate for you.\" Satisfied that she has made her point, Lori leaves the room...\n\nDavid unties you from the chair. \"I don't know how much of what you told her is true,\" he says, \"but if you still have a chance to win the Diddlebucker, you should take it. There's a short hallway outside this room. Go up the staircase at the end and you'll find a door that will lead you outside. I'm going to the police. I'll tell them everything. Don't worry, Lori's not going to get away with this. Good luck!\" David leaves the room."
    },
    {
        "text": "> You look at your surroundings\nEmployees Only (on the chair)\nThis is a one of the backstage rooms of the Haunted House ride that is only accessible to employees. There is a door in the southern wall.\n\nYou can see a desk (on which are a foam hammer, a cane, a powdered wig, a map, a long PVC pipe, a lighter, a check book, a chocolate chip cookie, a glow stick, an inflatable ball and a phone book) here.\n\n> You get all\nfoam hammer: Taken.\ncane: Taken.\npowdered wig: Taken.\nmap: Taken.\nlong PVC pipe: Taken.\nlighter: Taken.\ncheck book: Taken.\nchocolate chip cookie: Taken.\nglow stick: Taken.\ninflatable ball: Taken.\nphone book: Taken.\n\n> Go south\n(first getting off the chair)\n\nThis is a short north/south hallway that leads from the small room to the north to a staircase at the southern end. There are a few passages on either side of the hall.\n\n> You go south\nYou ascend the staircase and push through the door...\n\nThis section of the park is dedicated to children. Given the hour, there are fewer guests in this section of the park than there normally would be, but there are still a few families with their children. There are several rides here, but you exceed the height limitations on every ride but one: The Haunted House.\n\nThe first rays of sunlight are just coming up in the east. You'd better hurry. You're running out of time.\n\n> Go west\nThis ride is the centerpiece of the park. This full-scale replica of Lady Liberty reaches 305 feet in the air and towers over every other attraction here. It is the most recognizable symbol of American Dreamland.\n\n> You go south\nThis is the main avenue of the park that runs from the entrance to the south to the full size replica of the Statue of Liberty to the north. The avenue is illuminated by the alternating red, white and blue street lights, plus the hundreds of thousands of similarly colored mini-lights that cover the rooftops of the various shops and other establishments that line both sides of the avenue. A crowd of people fills the mall, talking, laughing and generally having a good time.\n\n> You go south\nAs you pass through the exit turnstile, an employee gives you a big smile. \"Good luck, Gamer and have a great day!\" she says as you walk past.\n\n(PRESS ANY KEY TO CONTINUE)## American Dreamland\nAmerican Dreamland is the largest and most popular amusement park in three states. You used to love coming here as a kid and you still try to make it at least once a year. Normally the park would be closing now, but normal rules don't apply during Diddlebucker weekend. Dozens of groups of people are filing past you and through the entrance to the north. A sign hanging above one of the turnstiles says \"Gamers enter here!\" You notice nobody going in through that line.\n\nA taxicab drives down the street.\n\n> You wait for cab\nThe taxicab is already here!\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> Holland Odyssean Hotel\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nThe Holland Odyssean Hotel (Outside)\nThe Holland Odyssean is one of the finer hotels in the city. Due to its unique Gothic architectural style, it has been featured in many movies and TV shows over the years. The entrance to the hotel is to the east and the road is behind you to the west. The sidewalk continues to the north and south.\n\nNearby, a small group of people is crowded around a portable stereo, listening intently to a news broadcast.\n\n> You listen to the stereo\nYou hear nothing unexpected.\n\nLori suddenly marches out of the hotel, a look of muderous rage on her face. You stand frozen in terror, wondering what could have possessed you to follow her here. She sees you instantly and whips her gun out of a pocket. \"You were stupid enough to follow me after lying\nto me?\" she screams. \"Sorry, but it's game over for you, Smith.!\" She squeezes the trigger and it looks like you have reached..."
    },
    {
        "text": "> You look around\nEmployees Only (on the chair)\nThis is a one of the backstage rooms of the Haunted House ride that is only accessible to employees. There is a door in the southern wall.\n\nYou can see David and a desk (on which is a phone book) here.\n\n> You look at phone book\nThis is a listing of all of the businesses in the city, organized by type. So, to find \"Henry's Burgers\" you would need to look under \"restaurants.\" To look something up in the phone book, say \"CONSULT PHONE BOOK ABOUT [TOPIC].\"\n\n> You consult the phone book about the hotels\nYou find several listings under the section for \"Hotels and Lodging.\" They are:\n\nThe Cassiopeia Inn\nThe Danbury Hotel\nThe Frederick Inn\nThe Holland Odyssean Hotel\nThe Kilhenny Hotel\nThe Meridian Hotel\nThe Quarternary Inn\nThe Somewhither Inn\nThe Grand Vermillion\nThe Yorkshire Inn\n\n> You examine card\nOne side of the maremelade orange card bears a large number \"4.\" On the other is the following poem:\n\nBUT SHE'S ALSO A SON\nGET HERE FIRST WITH THE TREASURES\nAND YOU WILL HAVE WON!\n\nHETOL\n\n> You wait awhile\nTime passes.\n\nA grinding noise startles both of you. \"The ride has started up again!\" he says. \"I won't be able to hear Lori coming down the hall now.\"\nDavid begins tying you to the chair again. \"I'm sorry I have to do this,\" he says, \"but if Lori finds out I untied you, we're both done for.\" Just as he finishes up, the door opens and Lori steps into the room...\n\nLori is once again pointing a gun at your chest. She turns her head slightly in David's direction, but never takes her eyes off of you. \"It turns out they're only running the ride for Gamers who are ready for the final clue,\" she says. \"That's why we heard it stop. Unfortunately, it started up again as I was making my way back.\" She turns her head fully in your direction. \"That means we're out of time, Smith.. What's the answer to the riddle?\"\n\n> No\nLori drops the maremelade orange swimsuit on the desk.\n\nLori holds up the inflatable ball. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the inflatable ball.\n\nLori holds up the maremelade orange button. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the maremelade orange button on the desk.\n\nLori holds up the glow stick. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the glow stick.\n\nLori holds up the chocolate chip cookie. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the chocolate chip cookie on the desk.\n\nLori holds up the check book. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the check book on the desk.\n\nLori holds up the lighter. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the lighter.\n\nLori holds up the long PVC pipe. \"Is this one of the treasures?\" she asks.\n\n> Yes\nLori keeps the long PVC pipe.\n\nLori holds up the map. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the map on the desk.\n\nLori holds up the powdered wig. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the maremelade orange balloon (deflated) on the desk.\n\nLori holds up the maremelade orange pencil topper. \"Is this one of the treasures?\" she asks.\n\n> No\nLori drops the maremelade orange pencil topper on the desk.\n\nLori looks at the items she is carrying. \"You'd better be telling me the truth about these,\" she says. \"David's going to keep an eye on you while I head to the hotel. If everything goes as planned, I'll come back with the money and we'll let you go free, won't we David?\" David nods. \"Of course we will,\" he says. \"However,\" Lori continues, \"if things do not go as planned...well, that would be very\nunfortunate for you.\" Satisfied that she has made her point, Lori leaves the room...\n\nDavid unties you from the chair. \"I don't know how much of what you told her is true,\" he says, \"but if you still have a chance to win the Diddlebucker, you should take it. There's a short hallway outside this room. Go up the staircase at the end and you'll find a door that will lead you outside. I'm going to the police. I'll tell them everything. Don't worry, Lori's not going to get away with this. Good luck!\" David leaves the room.\n\n> You get all\nmaremelade orange pencil topper: Taken.\nmaremelade orange balloon (deflated): Taken.\nfoam hammer: Taken.\ncane: Taken.\npowdered wig: Taken.\nmap: Taken.\ncheck book: Taken.\nchocolate chip cookie: Taken.\nmaremelade orange button: Taken.\nmaremelade orange swimsuit: Taken.\nphone book: Taken.\n\n> Go south\n(first getting off the chair)\n\nThis is a short north/south hallway that leads from the small room to the north to a staircase at the southern end. There are a few passages on either side of the hall.\n\n> You go south\nYou ascend the staircase and push through the door...\n\nThis section of the park is dedicated to children. Given the hour, there are fewer guests in this section of the park than there normally would be, but there are still a few families with their children. There are several rides here, but you exceed the height limitations on every ride but one: The Haunted House.\n\nThe first rays of sunlight are just coming up in the east. You'd better hurry. You're running out of time.\n\n> You go south\nAs you pass through the exit turnstile, an employee gives you a big smile. \"Good luck, Gamer and have a great day!\" she says as you walk past.\n\n(PRESS ANY KEY TO CONTINUE)## American Dreamland\nAmerican Dreamland is the largest and most popular amusement park in three states. You used to love coming here as a kid and you still try to make it at least once a year. Normally the park would be closing now, but normal rules don't apply during Diddlebucker weekend. Dozens of groups of people are filing past you and through the entrance to the north. A sign hanging above one of the turnstiles says \"Gamers enter here!\" You notice nobody going in through that line.\n\n> You wait for the cab\nYou wait for the taxi. After several moments, you see one coming down the street.\n\nYou whistle sharply and the taxicab pulls to the curb. You open the door and climb inside...\n\nThis is an older vehicle, but it's surprisingly clean. The pine tree air freshener is a nice touch. The cab driver sits in the front seat. You notice an instruction placard and an ID card affixed to the dashboard.\n\n\"Welcome back, Gamer!\" the driver says jovially.\n\n> Ashley Donaldson Hotel\n\"Ok, here we go.\" The cabbie starts the meter and pulls into traffic. He expertly drives you through the city for several minutes before finally arriving at your destination. You pay the fee (plus a generous tip) by check and exit the cab. \"Good luck, Gamer!\" the cabbie calls to you through the window before pulling away.\n\nThe Ashley Donaldson Hotel (Outside)\nThe Ashley Donaldson Hotel is on the south side of the sidewalk. Its steel and glass towers are a stunning example of postmodern architecture. Over forty stories tall, it is the largest hotel in the city. A revolving restaurant at the top of the tallest tower provides patrons with a breathtaking view of the cityscape.\n\n> Go south\nThe Ashley Donaldson Hotel (Lobby)\nYou have always dreamed of staying in the Ashley Donaldson someday. The stories of its elegance and splendor are legendary. If the lobby is any indication, the stories were underselling the reality. The chandeliers! The ornate wood trim! The sparkling fountains! The impeccably uniformed workers! You could spend the rest of the day just taking in the grandeur of the lobby, but there isn't time. You have to keep moving. You notice an elevator to the south.\n\n> Go south\nEven the elevator doors are inlaid with gold at the Ashley Donaldson. There is an up button next to the doors.\n\nYou can see an imposing guard here.\n\n> You show button to guard\n(the maremelade orange button to the imposing guard)\nThe guard nods, takes the maremelade orange button from you and puts it in his briefcase.\n\n> You show the topper to the guard\nThe guard nods, takes the maremelade orange pencil topper from you and puts it in his briefcase.\n\nFor the first time, the guard smiles. \"Congratulations, Gamer,\" he rumbles. He presses the up button. The elevator doors open and the guard gestures for you to enter. You step into the elevator...\n\nThis elevator rides up and down the southern side of the hotel. It's outside walls are made of glass, giving the rider a spectacular view of the hotel grounds and the city beyond.\n\n> You examine the city\nThe reddish glow of the rising sun reflects off of some of the nearby skyscrapers.\n\nThe elevator rises...\n\nThis elevator rides up and down the southern side of the hotel. It's outside walls are made of glass, giving the rider a spectacular view of the hotel grounds and the city beyond.\n\n> Wait\nTime passes.\n\nThe elevator rises...\n\nThis elevator rides up and down the southern side of the hotel. It's outside walls are made of glass, giving the rider a spectacular view of the hotel grounds and the city beyond.\n\n> Wait\nTime passes.\n\nThe elevator rises...\n\nThis elevator rides up and down the southern side of the hotel. It's outside walls are made of glass, giving the rider a spectacular view of the hotel grounds and the city beyond.\n\nThe elevator comes to a stop and the doors open. You step out...\n\nThis elegant restaurant sits atop the tallest tower of the Ashley Donaldson Hotel.\n\n\"CONGRATULATIONS!!!!\" You are suddenly surrounded by hundreds of Diddlebucker employees, celebrities, reporters and other well-wishers all shouting, applauding and cheering like crazy. Balloons and confetti rain down from the ceiling and somewhere a band is playing The Stars and Stripes Forever. You are herded to the center\nof the crowd where a stage has been erected. On the stage, Diddy Esposito awaits with a giant check made out to you in the amount of one million dollars! The crowd goes crazy as you accept the check and Diddy shakes your hand...\n\n(PRESS ANY KEY TO CONTINUE)Hours later, all of the interviews with the local and nationwide newscasters are finally over. You've given your report to the police and Lori is safely behind bars. The crowd has mostly dispersed and you finally have a moment to catch your breath. Diddy agreed that David deserved to win as much as you did and the three of you are sitting in a quiet corner of the restaurant discussing the night's events and your futures.\n\n\"You know,\" Diddy says, \"as great as the money and the lifetime supply of popcorn are, they aren't really the best part of being Diddlebucker Champions.\" You and David look at each other. This certainly piques your interest. What could be better than winning a fortune plus a lifetime supply of popcorn? \"Come with me,\" Diddy says. \"I want to introduce you two to some friends of mine.\"\n\nYou follow Diddy through a door into the kitchen area. Standing there are all of the people you met tonight during the Diddlebucker! Cindy is here, along with the shabbily dressed man from the rooftop, Kirk, Cecil who sold you the Atom Smasher, the mime, the saxophone player, the barker and even Tony the taxi driver along with dozens of other people that seem vaguely familiar. You turn to Diddy \"I don't understand,\" you admit. \"What is all this?\"\n\n\"Well, you see,\" Diddy says, \"I only accept the best and brightest into my team of Game Makers. So, I figure, who better to make and run the Diddlebucker Run than the former Diddlebucker Champions themselves? It takes a lot of prep and a lot of brains to put one of these together, you know. You are now part of an elite group. A very highly paid elite group, I should say. Planning for next\nyear's Diddlebucker Run starts next week at my beachside mansion if you two are willing to join us. What do you say?\"\n\nYour wide smiles are all the answer Diddy needs...\n\nCongratulations! You have successfully completed\nDiddlebucker!"
    },
    {
        "text": "[Themes: thriller, house setting, profanity, horror, psychological, Australian, homosexual, mystery, female protagonist]\n\nHelp                  : H\nStart a New Game      : (SPACE)\nRestore               : R\nQuit                  : Q\n\nIMPORTANT: If this is your first time playing The Blind House, please type H and read the Introduction to The Blind House for some general guidelines on how to play.\n\nTwo women. Overcoats, the collars turned against the cold. Windswept hair, anxious eyes. Feet shuffling closer to a modest house.\n\nThe taller woman, a step behind her companion, suppresses a shiver. Her jaw hardens, almost imperceptibly.\n\nGraphicless version of competition release - for ClubFloyd.\n\nThe wind howls at our backs as Marissa fumbles with the lock on the front door. Her little fingers, the tips blue and shrunken, seem to struggle with the bulky mortice key. I bite down on my impatience before it has a chance to flare.\n\nIt is uncertainty that holds me back from assisting. It's not exactly by invitation that I find myself here - more, by necessity - so my grasp of social propriety is somewhat shaken. My nerves, already on edge, are further stirred by the unseasonal cold and I rub my hands together, more as something to occupy my mind than as a genuine attempt to fight the numbness.\n\nAt last, the lock clicks open and Marissa pushes the door open. \"Sorry,\" she murmurs. \"Come in. Please.\" I oblige without delay, stepping into the relative warmth and darkness of Marissa's entry hall. The dimness, the overall drop in stimulation, is soothing. I try not to look too disappointed when she flicks on the light switch.\n\n\"Is there anything... can I get you something?\" Marissa's eyes avoid mine as she delicately shrugs off her coat. I get the distinct impression she's not accustomed to playing hostess and I feel an inconvenient twinge of guilt. I mentally stomp on it. Now is not the time for self-doubt.\n\n[1] \"I'm fine. Thank you, Marissa.\"\n[2] \"Please, don't worry about me. I'm just thankful to be... out of the wind.\"\n[3] \"I'm... actually very tired. Would you mind showing me to somewhere I could sleep?\"\n\n[To respond in dialogue, enter a number, or enter \"repeat\" to reacquaint yourself with the options.]\n\n[Author's Note: I scarcely know the woman at my side. I don't even know why she was the one I turned to. I can only hope that we haven't been followed, that she won't ask too many questions. The only choice left to me now is to trust her.]\n\n> 2\n\"Yes. Yes, of course.\" She pauses for a moment, staring, then blushes and looks away. \"I'll show you the... your room. There are extra blankets in the cupboard if... if it's cold tonight.\"\nWe are half way down the hall before I even register we have started walking.\n\nHelena's Bedroom (on the bed)\n\nMarissa closes the door behind her and I sigh in relief, sinking down on the bed.\n\n> About yourself\nHelena. I'm neatly dressed in a beige overcoat, a white blouse and modest brown skirt. My pale hair follows the curve of my spine in a long, but practical, plait.\n\n> About you\nHelena. I'm holding together.\n\n> You check your inventory\nFeeling in my skirt pockets, my fingers brush against the cold, unnerving steel of a kitchen knife. I'm wearing my beige overcoat and my blouse and skirt.\n\n> You look at the knife\nIt's a clean, ordinary kitchen knife.\n\n> You think about the knife\nI suppose it's for self-defence, but I feel an inexplicable queasiness when I think about it. Something happened last night that I don't wish to contemplate.\n\n> You examine the bed\nIt's a single-sized bed, with a panelled bedhead and deep blue duvet. There is a minimal bedside table next to the bed.\n\n> You look at the hair\nWhite-blonde. Even plaited, it nearly reaches my hips.\n\n> You examine the duvet\nDark blue. It looks warm.\n\nI struggle against the exhausted trembling of my hands.\n\n> Wear duvet\n(first trying to take the duvet)\nI have no reason to take that."
    },
    {
        "text": "[Themes: mystery, horror]\n\n> You describe your surroundings\nHelena's Bedroom (on the bed)\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You examine the mirror\nThere's a mirror facing the foot of the bed. I can't see much reflected in it from here.\n\n> You open the cupboard\n(first getting off the bed)\nThe room dips threateningly as I get to my feet. My limbs attempt to tremble; I suppress them impatiently. Sleeping somewhere so foreign to me will be difficult, but I must be near collapsing from exhaustion. I should at least try to get some rest.\n\n> You examine the cupboard\nAn oak linen cupboard, imposingly tall and square-edged. Bevelled double-doors hang above a large drawer at the base.\n\n> You examine the door\nMy bedroom door. It's closed.\n\n> You look at the window\nThe window mostly looks out onto the fence between Marissa's property and her neighbour's. The fence itself is plain chain-link, but some privacy is offered by the climbing rose vine.\n\nEvening approaches. It is still light outside, though the sky is dreary.\n\nCream-coloured venetian blinds are in their compressed position above the window.\n\n> You enter the bed\nI sit down on the bed.\n\n> Doff overcoat\nI... no, not right now. My coat gives me a certain feeling of security. I'll take it off later.\n\n> Sleep\nI'm so tired that my hands are trembling involuntarily, but I'm just not comfortable enough to sleep yet. If only I could make this room feel safer, somehow. It's light in here, and I feel uneasy about my door being unlocked.\n\nThe mirror facing the bed stares back at me, menacing.\n\nFatigue plucks at the edges of my consciousness. It's getting late.\n\n> You think about the mirror\nA hazy memory from last night wavers at the periphery of my mind. I feel my skin prickle.\n\n> You lock the door\n(first getting off the bed)\nWith what key?"
    },
    {
        "text": "> You look around\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You open the drawer\nSliding open the drawer, I impatiently wave away the wispy cloud of dust that floats forth. I can see some paintings stacked up inside.\n\n> You examine the paintings\nA stack of old paintings. They can't have been touched for years - even inside the drawer, they've somehow managed to accumulate a thin layer of dust. Their subjects all seem to be women relaxing together in various settings - under parasols in a scenic park, by a fireplace in a cosy living room, lazing on a drifting canal boat.\n\n> You opethe double-doors\nI open the cupboard doors. Peering inside, I see a few shelves covered in neatly-folded bed linens.\n\nMy vision is fading around the edges. I need to sleep, as soon as possible.\n\n> You take linens\nI take a single blanket from the shelf.\n\n> You put the blanket on the window\nThat would be pointless.\n\n> You examine the blanket\nIt's a cream synthetic blanket.\n\n> You cover the mirror with the blanket\nI throw the blanket over the mirror.\n\n> You close the blinds\nI close the blinds.\n\nMy eyes take but a moment to adjust; the darkness is soothing."
    },
    {
        "text": "> Look around\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You open the door\nI open my bedroom door.\n\nLight radiates back into the room.\n\n> You examine the door\nMy bedroom door. It's open.\n\n> You enter door\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\n> You knock on the door\n(the east door)\nI knock gently on the east door.\n\nThere is no response. I don't think Marissa's in there.\n\n> You knock on the east door\nI knock gently on the east door.\n\nThere is no response. I don't think Marissa's in there.\n\n> You open the east door\nIt seems to be locked."
    },
    {
        "text": "[Themes: house setting, profanity, thriller, Australian]\n\n> You describe your surroundings\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\nI struggle against the exhausted trembling of my hands.\n\n> You go to the south\nHallway (south end)\nThe carpeted hallway extends away to the north. Doors in the east and west walls lead to other rooms. The living room is to the south.\n\n> Go west\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You examine the window\nThe blinds are closed.\n\n> You close the door\nI close my bedroom door.\n\nMy eyes take but a moment to adjust; the darkness is soothing.\n\n> You examine the door\nMy bedroom door. It's closed.\n\n> You lock the door\nWith what key?\n\n> You examine the door\nMy bedroom door. It's closed.\n\nMy vision is fading around the edges. I need to sleep, as soon as possible."
    },
    {
        "text": "> Look around\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You enter the bed\nI sit down on the bed.\n\n> Sleep\nI'm so tired that my hands are trembling involuntarily, but I'm just not comfortable enough to sleep yet. If only I could make this room feel safer, somehow. I feel uneasy about my door being unlocked."
    },
    {
        "text": "> You look around\nHelena's Bedroom (on the bed)\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You examine the cupboard\nAn oak linen cupboard, imposingly tall and square-edged. Bevelled double-doors hang above a large drawer at the base.\n\nThe double-doors hang open, revealing several shelves covered in bed linens.\n\n> You open the drawer\n(first getting off the bed)\nThat's already open.\n\n> Stab linens\nI'm loath to encourage such violence.\n\n> Go east\n(first opening my bedroom door)\nHallway\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\nMy vision is fading around the edges. I need to sleep, as soon as possible.\n\n> Go south\n(first opening the hallway door)\nLiving Room\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is a display cabinet with a single shelf of ornaments visible through the glass.\n\nA door to the north leads to the hallway and doors in the east and west walls lead to other rooms. The entry hall is to the south.\n\n> You examine table\nThe dining table is so tiny it's almost square.\n\n> You examine the chairs\nA pair of dining chairs flank each side of the little table.\n\n> You examine the cabinet\nThe cabinet is dark timber with a glass panel. I can see some strange-looking ornaments lining a shelf inside.\n\n> You examine the ornaments\nI'm a little taken aback by the ornaments. They're crude and disfigured, limbs out of proportion and faces melted into disturbing expressions - screams, sighs, grimaces. They're certainly not what I would choose to display in my own living room.\n\n> You go south\nA nondescript alcove separates the front door from the living area to the north. Two large windows here allow a little light to permeate the otherwise dull living room.\n\n> You open the door\nWhat an unconscionable thought. No. I'm not safe out there.\n\n> Go north\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is a display cabinet with a single shelf of ornaments visible through the glass.\n\nA door to the north leads to the hallway and doors in the east and west walls lead to other rooms. The entry hall is to the south.\n\n> You go west\n(first opening the west door)\nKitchen\nThe kitchen has a dated feel to it; a laminate bench runs around two walls of the room, and white tiles line the wall above an aging sink and stove. An old fridge is tucked into the far corner of the room, and several potted plants decorate the bench around the spotless appliances.\n\nA calendar and old-fashioned cordless phone hang on the wall near the door leading east.\n\nMy vision is fading around the edges. I need to sleep, as soon as possible.\n\n> You go east\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is a display cabinet with a single shelf of ornaments visible through the glass.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\n> You go east\n(first trying to open the east door)\nIt seems to be locked.\n\n> Go north\nHallway (south end)\nThe carpeted hallway extends away to the north. Doors in the east and west walls lead to other rooms. The living room is to the south.\n\n> Go west\n(first opening the west door)\nBathroom\nThe bathroom is modestly sized and equipped, and as pristine as a hospital room. A white basin faces the door, a small mirrored cabinet attached to the wall above it. A toilet and shower are fixed against the north and south walls respectively. Just left of the doorway on the east wall is a small plastic table, covered in toiletries and other miscellany.\n\n> You go east\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to another room. The living room is to the south.\n\n> Go east\n(first opening the east door)\nStudio\nThis is surely an artist's studio. The concrete-floored room gives the impression of spaciousness simply because of how empty it is: an artist's easel sits right in the centre of the space, with an expensive-looking chair facing it. A floor-length window on the east wall adds to the discomforting sense of open space. The north wall, bare-bricked, looks strangely out of character with the painted walls of the rest of the house. The door is set into the west wall.\n\nMarissa, apparently deep in concentration, doesn't even glance up from her painting as I enter the room.\n\n> You talk to Marissa\nMarissa turns her eyes upon me, questioning.\n\n[1] \"Is there a key to my room?\"\n\n> 1\nMarissa fiddles nervously with her blouse. It strikes me how unnecessarily frilly the thing is; she certainly has plenty to fiddle with. \"Is it not by the bedside? I must've forgotten, sorry. A minute...\"\n\nI watch her patter down the hallway and dart into my room. Her desire to take care of me seems more genuine than is warranted - or deserved, I catch myself thinking. Before last month, we had not seen each other since sixth form at college, years ago. She had no real reason to help me, no real reason to bring me to her home today.\n\nOn the other hand, it seems pointless to question her motives when I'm unable to clarify even my own. Last night... I didn't know what to do. She just happened to be the one I remembered. Maybe I thought I could be anonymous here. Safe.\n\nMaybe I just knew she'd be unable to refuse.\n\nI see Marissa walking back down the hall towards me, an odd look on her face. A vague look, I think. Something approaching regret stirs in me - maybe it's my own unease that has flustered her into losing keys. \"Here,\" she says, dropping the key into my expectant palm, \"I'm sorry.\" I manage to suppress a grimace as she places a well-meaning hand on my injured arm.\n\n\"I know having a key must be important to you now,\" she goes on, \"but... you'll be safe here, you know. I don't think anyone could have followed us.\"\n\n[1] \"Thank you for understanding.\"\n[2] \"I'm sorry for the inconvenience. Thank you.\"\n[3] \"It's difficult to be certain of that. Thanks for the key.\"\n\n> You think about the arm\n[To respond in dialogue, enter a number, or enter \"repeat\" to reacquaint yourself with the options.]\n\n> 1\nShe smiles uncertainly and returns to her painting.\n\nI struggle against the exhausted trembling of my hands.\n\n> You examine the arm\nThey're tender.\n\n> You think about arm\nThey're fine. They'll be fine.\n\nMarissa's brush flicks deftly against the canvas as she refines some small detail.\n\n> Go west\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> You lock the door\n(with my bedroom door key)\nI lock my bedroom door.\n\n> You enter the bed\nI sit down on the bed."
    },
    {
        "text": "[Themes: mystery, thriller, psychological]\n\n> You look at your surroundings\nI double-check the lock on the door and undress in the dark, tossing my clothes onto a shelf in the wardrobe. The bedsheets are comfortingly crisp against my skin.\n\nI am so thoroughly exhausted that - blissfully - I drift off to sleep almost immediately and am not forced to endure the company of my thoughts for long.\n\nNightmares chase me for hours.\nBut I'm already on the bed.\nI wake suddenly, disoriented.\n\nThe room is dark and I have neither clock nor watch, but I feel certain it is not yet dawn. There is a strange splattering noise coming from outside; it takes me a moment to register it as rain.\n\nThe window rattles in the wind and the blinds chatter against the pane. I stand, my bare flesh prickling in the cold, and wander over to the window. The blinds seem damp and I wonder if the window is leaking. Moisture beads, brims, overflows in a pattern that seems chillingly familiar. The slats - so sharp - are not slats: they are knives, and the knives are in my hands. Rivulets of auburn bleed into the rain, plasmatic. Red stains spreading to the rhythm of the rattling window.\nA gasp sounds as I bring the knives down again. My gasp. I wake again - properly - my heart racing painfully. Awake. Thank god.\nHelena's Bedroom (on the bed)\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\nIt is dark in here, but I can still make out the room around me."
    },
    {
        "text": "[Themes: house setting, profanity, mystery, psychological]\n\n> You look around\nHelena's Bedroom (on the bed)\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is a closed door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\nIt is dark in here, but I can still make out the room around me.\n\n> You look in cupboard\n(first opening the linen cupboard)\nInside the cupboard are a few shelves covered in neatly-folded bed linens. My overcoat is in here, too.\n\n> You wear the overcoat\n(first trying to take the beige overcoat)\nI don't need it just now.\n\n> You think about House\nFeeling in my skirt pockets, my fingers brush against my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my blouse and skirt.\n\n>I'm not sure what that refers to.\n\n> Sleep\nMy arms are a mess. I'll have to clean them up before going back to bed.\n\n> You look at the arms\nMy arms look terrible. The blood is fresh and bright, the cuts underneath about a day old. They must have been aggravated as I slept.\n\nRunning some water over my arms might help to relieve the heat and itching.\n\n> You go east\n(first unlocking my bedroom door with my bedroom door key, then opening my bedroom door)\nHallway\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\n> Go south\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> You go to the west\nThe bathroom is modestly sized and equipped, and as pristine as a hospital room. A white basin faces the door, a small mirrored cabinet attached to the wall above it. A toilet and shower are fixed against the north and south walls respectively. Just left of the doorway on the east wall is a small plastic table, covered in toiletries and other miscellany.\n\n> You close the door\nI close the bathroom door.\n\n> You turn on the sink\nI turn on the basin tap.\n\n> Wash arms\nI run some cool water over my itching forearms. Bloodied water swirls down the drain, stark against the white of the basin.\n\nOddly, there seems to be some redness under my fingernails, too. I pick out some dried flakes and wash them away.\n\n> You examine arms\nWith the blood cleaned away, the gashes on my arms are exposed, looking like so many horrid red mouths.\n\n> You examine the toiletries\nAn assortment of feminine toiletries. Nothing unexpected.\n\n> You open the cabinet\n(first trying to open the medicine cabinet)\nIt seems to be locked.\n\n>It seems to be locked.\n\n> Search table\nOn the plastic table are some toiletries, a perfume bottle, a packet of plasters, a bottle of hair dye and a vase.\n\n> You look at the plasters\nA 50-pack of adhesive bandages.\n\n> You look at the vase\nA traditional tall vase in green glazed ceramic. A few browning flowers hang wilted over the lip of the vase.\n\n> You turn off the sink\nThat's already off.\n\n> You look at the hair dye\nIt's a bottle of hair dye. Auburn #602.\n\n> You look at the perfume\nA pretty, tulip-shaped glass bottle.\n\n> Bandage arms\nWith what?\n\n> Bandage arms with bandages\n(first trying to take the packet of plasters)\n(first opening the packet)\nI take a handful of plasters and slip them into my skirt pocket.\n\n> You examine arms\nWith the blood cleaned away, the gashes on my arms are exposed, looking like so many horrid red mouths.\n\n> Bandage arms with bandages\n(the plasters in my pocket)\nI count out twenty plasters - ten for each arm - and methodically peel off each strip of backing paper and stick them in place.\n\nSomething wobbles in my peripheral vision. I snap my head up and stare at the mirror, at once on edge. Nothing. Only my reflection staring back at me. The odour of blood must be affecting my senses.\n\n> Bandage bandage with bandage\n(first trying to take the plasters)\nI'd rather leave the plasters where they are.\n\n> You examine the arms\nThey're clean and plastered.\n\n> You examine the mirror\nI find myself unable to focus on the mirror. My vision fills with black when I try to look at it.\n\n> You go east\nAs I turn to leave, the surface of the mirror draws my eye; it seems, impossibly, to waver and shimmer. I pinch my forehead, trying to stay in the present, but memories from last night overwhelm my conscious mind. A struggle with a knife. A woman, her name I can't recall - only her eyes: angry tunnels, and then suddenly lifeless. Stunned regret supplanted by terror. Fumbling to clean the fast-coagulating mess. Running. Calling the only number I could focus on. Marissa's gentle concern, innocent of the reason for my distress.\n\nEnough. I'm safe here. I should try to sleep again.\n\n> Go east\n(first opening the bathroom door)\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> You go to the north\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\nI can hear a strange muffled sound here, almost like a human voice.\n\n> You listen to the east door\nThe noise is coming from behind the east door. I lean in, pressing a palm to the doorframe, and listen intently. It sounds like whimpering.\n\n> You knock on the east door\nI knock gently on the east door.\n\nThere is no response.\n\n> You talk\n(myself)\nI try not to make a habit of conversing with myself.\n\n> You think about the door\nWhich do I mean, my bedroom door or the east door?\n\n> You listen to the east door\nThe air is silent, now. Perhaps Marissa has also been suffering from nightmares tonight.\n\n> Go west\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\nIt is dark in here, but I can still make out the room around me.\n\nI feel a weird tingling in my right knuckles. I massage them gingerly.\n\n> You lock the door\n(with my bedroom door key)\n(first closing my bedroom door)\nI lock my bedroom door.\n\n> You examine the knuckles\nThey're fine. Perhaps a little red, but that may just be the cold. I'm not sure what that tingling was.\n\n> You sit\n(on the bed)\nI sit down on the bed.\n\n> Y.\nThe bed does look inviting. Should I sleep now?\nWearily, I repeat the motions of undressing and crawl into bed.\nMorning. I exhale slowly and run my fingertips along my arms, feeling the plasters there. Apparently, last night wasn't just a dream.\n\nRising from the bed, I stumble over to the cupboard to dress - almost tripping on the open drawer on the way. Did I forget to close it last night?\nExcuse me?\n\n> You close the drawer\n(first getting off the bed)\nI close the drawer.\n\n> Inventory\nFeeling in my skirt pockets, my fingers brush against my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my blouse and skirt."
    },
    {
        "text": "[Themes: female protagonist, mystery, homosexual, house setting]\n\n> You look in the drawer\n(first opening the drawer)\nA stack of old paintings. They can't have been touched for years - even inside the drawer, they've somehow managed to accumulate a thin layer of dust. Their subjects all seem to be women relaxing together in various settings - under parasols in a scenic park, by a fireplace in a cosy living room, lazing on a drifting canal boat.\n\nThis painting looks fresher than those beneath it. The image is disturbing. Moreso, the longer I look at it. Depicted is a woman floating naked in the ocean, red strands of seaweed unfurling in the current and... strangling her about the neck. Her dying eyes are wild, staring upwards as though pleading.\n\nA glint of wayward sunlight flashes at me from the mirror. The blanket must have fallen off sometime during the night.\n\n> You take the blanket\nI start to lift the blanket and pause, my pulse suddenly in my throat. Is that... blood?\n\n> No\nIt's smeared with blood. I can't remember touching it last night... I'd better leave it here for now.\n\n>I don't understand.\n\n> You go east\nMarissa's studio. The concrete-floored room gives the impression of spaciousness simply because of how empty it is: an artist's easel sits right in the centre of the space, with an expensive-looking chair facing it. A floor-length window on the east wall adds to the discomforting sense of open space. The north wall, bare-bricked, looks strangely out of character with the painted walls of the rest of the house. The door is set into the west wall.\n\n> You examine the north wall\nRow after row of exposed, unpainted bricks.\n\n> You examine the easel\nAn old but sturdy wooden easel. There's a canvas on the easel.\n\n> You examine the canvas\nMarissa is painting a landscape, apparently without visual reference. It looks near completion - a desolate cliff overlooking a misty ocean. Melancholic, but admittedly quite beautiful.\n\n> You go south\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is a display cabinet with a single shelf of ornaments visible through the glass.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\nThe house is utterly still; I think Marissa must have gone out for the day. Perhaps I can take this chance to look around a little.\n\n> West\nThe kitchen has a dated feel to it; a laminate bench runs around two walls of the room, and white tiles line the wall above an aging sink and stove. An old fridge is tucked into the far corner of the room, and several potted plants decorate the bench around the spotless appliances.\n\nA calendar and old-fashioned cordless phone hang on the wall near the door leading east.\n\nA handwritten note has been placed near the middle of the bench.\n\n> You examine the note\nHelena,\nI hope you slept well. Sorry we didn't get a chance to talk much last night - it's just that I'm not used to company. I'll be back this evening. Please make yourself at home.\n-M"
    },
    {
        "text": "[Themes: mystery, thriller, homosexual, Australian]\n\n> You look in the fridge\n(first opening the fridge)\nMarissa's fridge seems reasonably well-stocked; perhaps she bought some of these fresher items yesterday after receiving my call.\n\n> Examine calendar\nIt's a calendar, pinned on the wall and open to the current month. It's completely empty of appointments, but every Tuesday has been neatly highlighted in yellow. Today is Tuesday, I suddenly remember.\n\n> You examine the sink\nSteel, and stainless indeed. Marissa certainly keeps her space clean.\n\n> You look at the stove\nThe kitchen appliances are of little interest to me.\n\n> You look at plants\nThe plants are pleasant enough; they bring a little life into the drab kitchen.\n\n> You look at the phone\nA telephone base is attached to the wall, next to the door. A basic-looking handset sits on the cradle.\n\n> You dial 999\n(on the telephone handset)\n(first taking the telephone handset)\n(dialing \"999\")\nI have no idea who \"999\" is.\n\n> You dial the pizza\n(on the telephone handset)\n(dialing \"pizza\")\nI have no idea who \"pizza\" is.\n\n> You call the mom\n(on the telephone handset)\n(dialing \"mom\")\nI have no idea who \"mom\" is.\n\n> You dial marissa\n(on the telephone handset)\n(dialing \"Marissa\")\nI have no idea who \"Marissa\" is.\n\n> You dial Marrisa\n(on the telephone handset)\n(dialing \"Marrisa\")\nI have no idea who \"Marrisa\" is.\n\n> You look at the handset\nThe handset has very little functionality; it must be a relatively old model. On the LCD, there is a remarkably brief list of what appears to be contacts stored in the phone's memory:\n\n1. Estelle: 01395847839\n2. CAB: 01395137503\n3. PHC: 01395042356\n\n> You call the CAB\n(on the telephone handset)\n(dialing \"CAB\")\nI have no idea who \"CAB\" is.\n\n> Dial 2\n(on the telephone handset)\nI'm fairly certain that's the number for the local Citizens Advice Bureau. I have no reason to call them myself.\n\n> Dial 3\n(on the telephone handset)\nPHC... I've no idea who or what that might mean. At any rate, I'm not going to call them.\n\n> Dial 1\n(on the telephone handset)\nI don't even know who \"Estelle\" is!"
    },
    {
        "text": "[Themes: psychological, profanity, female protagonist, mystery, Australian]\n\n> You look around\nThe kitchen has a dated feel to it; a laminate bench runs around two walls of the room, and white tiles line the wall above an aging sink and stove. An old fridge is tucked into the far corner of the room, and several potted plants decorate the bench around the spotless appliances.\n\nA calendar and old-fashioned cordless phone hang on the wall near the door leading east.\n\nA handwritten note has been placed near the middle of the bench.\n\n> You open the fridge\nThat's already open.\n\n> You close the fridge\nI close the fridge.\n\n> You go east\nI replace the telephone handset on the base.\n\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is a display cabinet with a single shelf of ornaments visible through the glass.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\n> Examine tv\nThe old television set is hooked up to a video recorder. A box on the floor nearby seems to be filled with several video cassettes.\n\nThe television is off.\n\n> You look at the box\nIt's a plain cardboard box. Inside, there are some films on cassette tape, as well as some homemade tapes labelled \"all the roses that were ever painted\" and \"Neverending Fantasia\".\n\n> You turn on the tv\nI switch the television on.\n\n> You put Fantasia in the vcr\n(first taking the \"Neverending Fantasia\" tape)\nImmediately, a new image appears on the television screen.\n\n\"Neverending Fantasia\" - it looks to be a children's film about a boy who escapes an unhappy reality and ventures into a fantasy world. Even fast-forwarding through it, I can see how the tape has been damaged in sections from countless viewings.\n\n> You look at all the the roses\nIt's a videocassette tape labelled \"all the roses that were ever painted\".\n\n> You put all the the roses that were ever painted in the vcr\n(first taking the \"all the roses that were ever painted\" tape)\n(first removing the \"Neverending Fantasia\" tape)\nI put the \"Neverending Fantasia\" tape back in the box.\n\nImmediately, a new image appears on the television screen.\n\nA documentary about Matisse. Skimming through it, I find myself questioning why the man is so famous; his paintings look gaudy and amateurish to me - not at all like the little I've seen of Marissa's art. The film covers some philosophising about the purity of art and the dangers of expressing \"over-excitement\" in a painting. Most interesting is the sentiment expressed towards the end, an entreaty to all artists: \"guard the original naivet?\". Fascinating - at least, as far as it concerns those with naivet? left to guard. I wonder how much Marissa takes these philosophies to heart.\n\n> You sit on the armchair\nI sit down on the armchair, facing the television. A cardboard box on the floor nearby appears to be providing storage for a collection of video cassettes.\n\n> You open cabinet\n(first leaving the armchair)\nI open the cabinet.\n\nSome misshapen, unglazed red clay ornaments decorate the shelf. They're unsettling to look at.\n\nOne ornament stands out from the disturbing clay figures: an imposing porcelain queen, swathed in an elaborate blue gown, her head tilted back regally.\n\n> You look at the queen\nThe detail on the porcelain figure is incredible. It exudes a presence that belies its tiny stature. Quite a contrast to the ugly ornaments surrounding it.\n\n> You think about the queen\nJudging by the sheer level of detail, this ornament must have cost some serious money. It might even be an antique. It certainly doesn't fit in with anything else in the room. A gift, perhaps?\n\n> You go east\n(first trying to open the east door)\nIt seems to be locked."
    },
    {
        "text": "[Themes: house setting, psychological]\n\n> You look around\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\n> Go north\nHallway (north end)\nThe carpeted hallway extends away to the south. In the west wall is a door leading to another room. A striking painting hangs on the north wall.\n\n> You examine the painting\nThe painting is of a brightly coloured landscape: a silhouetted forest against a vivid sunset, stark orange casting the foreground into blues. The figure of a woman can be made out in the darkness, clinging to a tree dramatically. Her long hair covers her face.\n\n> You think about the painting\nThe very bottom of the painting lacks detail - it looks almost unfinished, as though the artist had finished all the important details and then abandoned the effort.\n\n> You examine the woman\nShe is almost draped across the tree, her hair falling wildly across her face, rendering her without identity.\n\n> Go west\n(first opening the west door)\nLaundry\nI find myself in a tiny laundry; there is scarcely room to move around the sink and washing machine that occupy most of the space in here, and I'm forced to hunch inelegantly to avoid being battered by the clothes hanging from a line across the ceiling. A crumpled blouse is on the lid of the washing machine.\n\nIn the west wall is a door leading outside.\n\n> You look at the blouse\n(Marissa's blouse)\nA pale, long-sleeved blouse, smelling faintly of perfume. It is stained dark on one sleeve.\n\n> You look at the stain\nIt looks like an ink stain, perhaps an imprint from something Marissa had written on her arm. Squinting, I think I can almost make out writing. \"4, 9\"?\n\n> Keep going\nIt's probably an imprint from something Marissa had written on her arm. It says \"4, 9\".\n\n> You look at clothesline\nA thin plastic line is suspended across the ceiling, with an assortment of ladies' garments on hangers arranged along it.\n\n> You examine the washer\nA top-loading washing machine. A blouse has been tossed onto the lid, presumably waiting to be washed."
    },
    {
        "text": "[Themes: female protagonist, thriller, horror, house setting, mystery]\n\n> You look in the washer\n(first taking Marissa's blouse)\n(first opening the washing machine)\nThe washing machine is empty.\n\n> Don blouse\n(Marissa's blouse)\nIt's too small for me. Besides, it's not clean.\n\n> You go west\nI feel cold beads of sweat forming on my neck as I consider going outside. Marissa's assurance that no-one could possibly have followed us here seems empty and foolhardy with the outside world so close. I hesitate, wrestling with my rapid breathing. It is only her back garden, I tell myself. No-one is there.\n\nNo point in dragging Marissa's blouse around. I'll leave it here.\n\n(first opening the back door)\nBack Garden\nThe back door opens westward onto a small, fairly sparse back garden. A pair of concrete steps lead down from the doorway onto a neat but plain lawn, and facing them is a chain-link fence separating Marissa's property from her neighbour's. The fence is completely covered by a thick rose vine bearing magnificent red flowers.\n\n> You examine the flowers\nThe vine is heavy with red roses.\n\n> You look at the fence\nA chain-link fence, weighed down by a climbing rose vine."
    },
    {
        "text": "> Look around\nThe back door opens westward onto a small, fairly sparse back garden. A pair of concrete steps lead down from the doorway onto a neat but plain lawn, and facing them is a chain-link fence separating Marissa's property from her neighbour's. The fence is completely covered by a thick rose vine bearing magnificent red flowers.\n\nI find my breath is coming in short gasps. Being outdoors is making me intensely nervous.\n\n> You take the rose\n(the roses on the vine)\nCarefully avoiding the thorns, I gather a handful of roses from the vine.\n\nI blink and frown in the glare of the clouds, conscious that a neighbour could be watching me.\n\n> Smell the roses\n(the cluster of roses)\nThey're fresh and heady."
    },
    {
        "text": "[Themes: homosexual, house setting, horror, thriller]\n\n> Go down\nThere's nowhere to go in that direction. The only obvious exit is east (to the laundry).\n\n> You look at the roses\n(the cluster of roses)\nA handful of vivid red roses.\n\n> Inventory\nI'm holding a cluster of roses.\n\nFeeling in my skirt pockets, my fingers brush against my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my blouse and skirt.\n\n> Go east\nThe laundry is tiny; there is scarcely room to move around the sink and washing machine that occupy most of the space in here, and I'm forced to hunch inelegantly to avoid being battered by the clothes hanging from a line across the ceiling. A crumpled blouse is on the lid of the washing machine.\n\nIn the west wall is a door leading outside.\n\n> You close the door\nWhich do I mean, the back door or the laundry door?\n\n> Back\nI close the back door.\n\n> Go east\nHallway (north end)\nThe carpeted hallway extends away to the south. In the west wall is a door leading to the laundry. A striking painting hangs on the north wall.\n\n> You examine the painting\nThe painting is of a brightly coloured landscape: a silhouetted forest against a vivid sunset, stark orange casting the foreground into blues. The figure of a woman can be made out in the darkness, clinging to a tree dramatically. Her long hair covers her face.\n\n> You examine the woman\nShe is almost draped across the tree, her hair falling wildly across her face, rendering her without identity."
    },
    {
        "text": "[Themes: thriller, profanity, mystery, psychological]\n\n> You look behind the painting\nThe forest has an enchanting illusion of depth to it, but there's only blank wall behind the painting.\n\n> Go south\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\n> Go south\n(first trying to open the front door)\nWhat an unconscionable thought. No. I'm not safe out there.\n\n> You think about the roses\nThese could make a thoughtful gift. No-one has ever given me flowers.\n\n> You put the flowers in the vase\n(the cluster of roses in the vase)\nThere's no room for the roses with those dead flowers in the vase.\n\n> You take dead\nI pluck out the ruined flowers and flush them away. As I begin to tip out the murky water, a quiet clank sounds from inside the vase, and I barely catch a small yale key before it drops down the drain.\n\n> You put the flowers in vase\nI fill the vase with some water, then take some time to satisfactorily arrange the roses. They improve the room considerably.\n\n> You examine the flowers\nA handful of vivid red roses.\n\n> You go east\nAs I turn to leave, I catch sight of my hands. My fingertips are slightly stained, as though the red from the roses has rubbed off onto them. Impossible, surely. I turn on the tap and rinse my fingers, frowning. Reddish water swirls down the drain, stark against the white of the basin.\n\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> You unlock the east door with the key\nWhich do I mean, the yale key or my bedroom door key?\n\n> Yale\nThat's unlocked at the moment.\n\n> Go north\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is a door which I can only assume leads to the master bedroom.\n\n> Go west\nThe bathroom is modestly sized and equipped, and as pristine as a hospital room. A white basin faces the door, a small mirrored cabinet attached to the wall above it. A toilet and shower are fixed against the north and south walls respectively. Just left of the doorway on the east wall is a small plastic table, covered in toiletries and other miscellany. A vase of red roses lends some colour to the otherwise monochromatic room.\n\nMarissa's bottle of hairdye has fallen onto the floor. Fortunately, none of the content seems to have spilled.\n\n> You take the hair dye\nFrowning slightly, I place the bottle back on the plastic table.\n\n> You unlock the cabinet with the yale key\nI unlock the medicine cabinet.\n\n> You open medicine cabinet\nI open the medicine cabinet.\n\nThe interior of the cabinet is stained with age, but spotlessly clean. Inside, I can see a canister of Valium and a tube of superglue.\n\n> You examine the glue\nSuper Glue. Bonds on contact.\n\n> You take the glue\nTaken.\n\n> You think about the Valium\nValium? I wouldn't have expected Marissa to assent to such quackery.\n\n> You read the Valium\nDiazepam: anxiolytic, hypnotic. For treating symptoms of anxiety, agitation and insomnia. Take one tablet once a day as directed by doctor.\n\n> You think about the glue\nAlways useful, I suppose.\n\n> You enter shower\nI'm clean.\n\n> You look at toilet\nA white toilet.\n\n> You open the fridge\nMarissa's fridge seems reasonably well-stocked; perhaps she bought some of these fresher items yesterday after receiving my call.\n\n> Water plants\nThey look very well tended to without my interference.\n\n> Break queen\nFor some reason, I do feel violently inclined towards the porcelain queen. I think it's that haughty expression. I'm not going to damage Marissa's possessions, though.\n\n> You pick up queen\nI lift the queen, involuntarily reverent. She - it - is heavier than it appears, but I'm still so struck by its delicacy that I carefully place it back on its shelf.\n\n> You pull the chairs\nThe chairs are fine where they are.\n\n> You enter chair\nI sit down on the lesser-used dining chair. I feel an inexplicable discomfort, sitting here.\n\n> You stand\nI stand.\n\n> You think about the dining table\nOn closer inspection, it looks like the table folds out to a more substantial length, but the hinges are rusted stiff from disuse."
    },
    {
        "text": "[Themes: female protagonist, thriller, horror, psychological, mystery, profanity]\n\n> Look around\nLiving Room (on the chairs)\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\n> You stand on the table\n(first leaving the chairs)\nThat's not something I can stand on.\n\n> You look at the shelf\nThere are some ornaments on the shelf. They're crude and disfigured, limbs out of proportion and faces melted into disturbing expressions - screams, sighs, grimaces. They're certainly not what I would choose to display in my own living room.\n\nOdd. That porcelain queen seems to have disappeared from the cabinet. Marissa must have moved it out of sight.\n\n> Inventory\nFeeling in my skirt pockets, my fingers brush against a tube of superglue, a medicine cabinet key, my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my blouse and skirt.\n\n> You look at the ornaments\nThey're crude and disfigured, limbs out of proportion and faces melted into disturbing expressions - screams, sighs, grimaces. They're certainly not what I would choose to display in my own living room.\n\n> You take the ornaments\nThey're relatively ugly and uninteresting. I don't care to mess with them.\n\n> You examine windows\nThey let in natural light - a rare commodity in this house, it would seem.\n\n> You look at the east door\nIt's closed and locked.\n\n> You search the cabinet\nThe cabinet is dark timber with a glass panel. I can see some strange-looking ornaments lining a shelf inside.\n\n> Search ornaments\nThey're relatively ugly and uninteresting. I don't care to mess with them.\n\n> You go north\nThere's nowhere to go in that direction. The only obvious exit is east (to the living room).\n\n> You touch the north wall\nI find myself remembering the strange numbers printed on Marissa's blouse - \"4,9\". Oh, surely not. Feeling a touch self-conscious, I count across to the fourth brick in the ninth row, and give it a gentle nudge. Sure enough, it is loose.\n\n> You take the loose brick\nI pull the brick free from the wall. Through the hole it leaves, I can see right into the adjacent room.\n\nI feel a touch dizzy. My hands are covered in mortar grit - and blood?\n\n> You examine the brick\nAn ordinary brown brick.\n\n> Go west\nWell, no point in lugging this brick around the house. Dropped.\n\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> Go west\nThe bathroom is modestly sized and equipped, and as pristine as a hospital room. A white basin faces the door, a small mirrored cabinet attached to the wall above it. A toilet and shower are fixed against the north and south walls respectively. Just left of the doorway on the east wall is a small plastic table, covered in toiletries and other miscellany. A vase of red roses lends some colour to the otherwise monochromatic room.\n\n> You wash hands\nThey're clean.\n\n> You go east\nMarissa's studio. The concrete-floored room gives the impression of spaciousness simply because of how empty it is: an artist's easel sits right in the centre of the space, with an expensive-looking chair facing it. A floor-length window on the east wall adds to the discomforting sense of open space. The north wall, bare-bricked, looks strangely out of character with the painted walls of the rest of the house. The door is set into the west wall.\n\nI can see a brick here.\n\n> You look in the hole\nI lean in towards the hole, close enough that the edges of the surrounding bricks feel sharp against my brow and cheekbone, and look through to the dimly-lit master bedroom. I can't make out much detail, but there seems to be something unusual about the walls. Perhaps it's only the shadows, but I feel as though I'm being watched.\n\nI feel certain this loose brick can't have come about by chance. Marissa must have left that blouse and the co-ordinates out for me to find - maybe she wants me to keep an eye on her.\n\n> You look at the blood\nA gritty mixture of mortar and blood is smeared over my hands.\n\n> Rub\nWhat do I want to rub?\n\n> Rub blood\nI wipe away the muck on my hands.\n\n> You look at the window\nThe huge window could easily be mistaken for a door, only it doesn't seem to be openable. It looks out onto an isolated street.\n\n> You examine the street\nThe neighbourhood is quiet and leafy. I imagine Marissa must be the youngest inhabitant of the street by far; the houses here have an unmistakable \"retiree\" look to them.\n\n> You sit in the chair\nI sit down on the studio chair. I immediately notice that it's at entirely the wrong height and angle for my body."
    },
    {
        "text": "[Themes: profanity, mystery, Australian, thriller, house setting]\n\n> Look around\nStudio (on the chair)\nMarissa's studio. The concrete-floored room gives the impression of spaciousness simply because of how empty it is: an artist's easel sits right in the centre of the space, with an expensive-looking chair facing it. A floor-length window on the east wall adds to the discomforting sense of open space. The north wall, bare-bricked, looks strangely out of character with the painted walls of the rest of the house. The door is set into the west wall.\n\nI can see a brick here.\n\n> You adjust the chair\nMarissa has obviously adjusted this chair to suit her own proportions; I have no reason to meddle with it.\n\n> You go west\n(first leaving the chair)\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\n> West\nThere's nowhere to go in that direction. The only obvious exit is east (to hallway (south end)).\n\n> North\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\n> West\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\nI can see a blanket here.\n\n> You open the blinds\nI open the blinds, revealing the window.\n\n> You look at the window\nThe window mostly looks out onto the fence between Marissa's property and her neighbour's. The fence itself is plain chain-link, but some privacy is offered by the climbing rose vine.\n\nThe sky outside is overcast and uninviting.\n\nCream-coloured venetian blinds are in their compressed position above the window.\n\n> You examine the drawer\nThe drawer is at the base of the cupboard, with two squarish knobs protruding from it. I can see some paintings stacked up inside the open drawer.\n\n> You look at the paintings\nA stack of old paintings. They can't have been touched for years - even inside the drawer, they've somehow managed to accumulate a thin layer of dust. Their subjects all seem to be women relaxing together in various settings - under parasols in a scenic park, by a fireplace in a cosy living room, lazing on a drifting canal boat.\n\nHere is another painting that I'm certain wasn't here before. A mattress lies in the centre of a bare wooden floor, covered in a mass of bloodstained bedsheets. Nested in the middle of the sheets is the body of a woman - she is asleep, or perhaps dead. Her skin is so pale and the brushstrokes so clumsy that it is difficult to tell limb from sheet.\n\n> You think about the painting\nWhere are these paintings coming from? Is Marissa trying to communicate something?\n\n> You look at the woman\n(the woman in bedsheets)\nI think she is smiling. It is a disturbing image.\n\n> You examine the bedsheets\nVarious neutral-coloured linens - blankets, duvets, sheets, pillowcases. They all look freshly-laundered.\n\n> You examine the bed\nIt's a single-sized bed, with a panelled bedhead and deep blue duvet. There is a minimal bedside table next to the bed.\n\n> You examine the blanket\nIt's smeared with blood. I can't remember touching it last night.\n\n> You look at the table\nIt's completely bare. Not even a clock or a lamp to break up the surface.\n\n> You examine the cupboard\nAn oak linen cupboard, imposingly tall and square-edged. Bevelled double-doors hang above a large drawer at the base.\n\nThe double-doors hang open, revealing several shelves covered in bed linens. My overcoat is in here, too.\n\n> You take the overcoat\nIt might be prudent to keep my arms covered.\n\nTaken.\n\n> You wear the overcoat\nI put on the beige overcoat.\n\n> You check what you're carrying\nFeeling in my skirt pockets, my fingers brush against a tube of superglue, a medicine cabinet key, my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my beige overcoat and my blouse and skirt.\n\n> You put the blouse in the washer\n(Marissa's blouse in the washing machine)\n(first trying to take Marissa's blouse)\nCarrying around the blanket is cumbersome enough. I'd prefer to put that down, first.\n\n> You put the blanket in the washer\n(first taking Marissa's blouse)\n(first opening the washing machine)\nI heap the blanket into the machine and run it through a wash cycle, my gaze wandering idly over the room. The washing machine rumbles to a stop. I extract the blanket and hang it over the clothesline.\n\n> You put the blouse in the washer\n(Marissa's blouse in the washing machine)\nI'll let Marissa take care of it.\n\n> You look at the blanket\nDamp, but clean.\n\n> You look in the washer\nThe washing machine is empty.\n\n> You examine the hangers\nThe clothes are uniformly simple and practical.\n\n> Go east\nNo point in dragging Marissa's blouse around. I'll leave it here.\n\nHallway (north end)\nThe carpeted hallway extends away to the south. In the west wall is a door leading to the laundry. A striking painting hangs on the north wall.\n\n> Go south\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\n> Go west\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You wear the perfume\n(first trying to take the perfume bottle)\nI have no reason to take that.\n\n> You examine the dye\nIt's a bottle of hair dye. Auburn #602.\n\n> You think about the dye\nThat sort of vanity has never really made much sense to me. Who is it for, anyway?\n\n> You think about the perfume\nDoes she just wear this around the house?\n\n> You examine table\nIt's white plastic, with a subtle abstract pattern painted on it - that much looks home-made.\n\nNeatly arranged on the table are a bottle of hair dye, some toiletries, a perfume bottle, a packet of plasters and a vase.\n\n> You look at pattern\nIt's deceptively intricate; I imagine such a pattern would have taken some hours to paint.\n\n> You examine the vase\nA traditional tall vase in green glazed ceramic. An attractive arrangement of red roses fills the vase.\n\n> Smell the roses\nThey're fresh and heady.\n\n> You check what you're carrying\nFeeling in my skirt pockets, my fingers brush against a tube of superglue, a medicine cabinet key, my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my beige overcoat and my blouse and skirt.\n\n> You examine the bench\nGrey marble laminate. A note is on the bench.\n\n> You read the note\nHelena,\nI hope you slept well. Sorry we didn't get a chance to talk much last night - it's just that I'm not used to company. I'll be back this evening. Please make yourself at home.\n-M\n\n> You examine the sink\nSteel, and stainless indeed. Marissa certainly keeps her space clean.\n\n> You examine the fridge\nA tall white fridge. It seems well-maintained, but age is beginning to show: there are flecks of corrosion along the edges.\n\n> You look at the stove\nThe kitchen appliances are of little interest to me.\n\n> You look at the phone\nA telephone base is attached to the wall, next to the door. A basic-looking handset sits on the cradle.\n\n> You examine the handset\n(first taking the handset)\nThe handset has very little functionality; it must be a relatively old model. On the LCD, there is a remarkably brief list of what appears to be contacts stored in the phone's memory:\n\n1. Estelle: 01395847839\n2. CAB: 01395137503\n3. PHC: 01395042356\n\n> Dial 1\n(on the telephone handset)\nI don't even know who \"Estelle\" is!\n\n> You think about the calendar\nWhat's the significance of Tuesdays, I wonder?\n\nThe calendar seems to be hanging oddly; it isn't flat against the wall.\n\n> You look behind the calendar\nI lift the calendar, and find a key hanging on the pin behind it.\n\n> You take the key\n(the mortice key)\nI remove the key from behind the calendar and pocket it.\n\n> You go east\nI replace the telephone handset on the base.\n\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to another room. The entry hall is to the south.\n\n> You go east\n(first trying to open the east door)\nIt seems to be locked.\n\n> You check your inventory\nFeeling in my skirt pockets, my fingers brush against a mortice key, a tube of superglue, a medicine cabinet key, my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my beige overcoat and my blouse and skirt.\n\n> You open the east door with the mortice key\nI unlock the east door.\n\n> Go east\n(first opening the east door)\nStudy\nThe modest study has a cold, neglected feel to it; the air is still and oppressive, the silence broken by the stern, relentless ticking of a wall clock. A flimsy desk against the far wall provides support for a primitive-looking computer. An overflowing bookcase sits against the south wall, while the door leads back west to the living room.\n\n> Smell\nThe house has a faint traces of perfume everywhere.\n\n> You listen\nThe ticking sets me on edge if I concentrate on it.\n\n> You look at the clock\nIt's a plain, unattractive, ticking timepiece. The hands point to 7:03.\n\n> You examine the bookcase\nThe bookcase is tall and expansive; despite this, it is crammed beyond its intended capacity with books.\n\n> Examine books\nThe books mostly seem to fall into three genres: art theory, fantasy and romance. There is also a sprinkling of non-fiction books with titles like \"Training the Black Dog\" and \"The Light at the End of Depression\".\n\n> You look at training the black Dog\nThere are quite a number of self help books in the bookcase. I can see terms like \"cognitive therapy\" and \"self-esteem\" repeating through several of the titles.\n\n> You look at the desk\nThe white desk is of the kind designed to fold up for easier storage. An old computer is on the desk.\n\n> You examine computer\nThe computer is a bulky beige model - it certainly doesn't look recently-bought. The CRT monitor is currently blank.\n\n> You turn on the computer\nThe computer hums and grumbles its way to life.\n\nA dialog box is on screen, requesting the user password for \"Marissa\". Damn."
    },
    {
        "text": "[Themes: house setting, female protagonist, homosexual, horror]\n\n> Look around\nThe modest study has a cold, neglected feel to it; the air is still and oppressive, the silence broken by the stern, relentless ticking of a wall clock. A flimsy desk against the far wall provides support for a primitive-looking computer. An overflowing bookcase sits against the south wall, while the door leads back west to the living room.\n\n> You look at the clock\nIt's a plain, unattractive, ticking timepiece. The hands point to 7:15.\n\n> You go west\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to the study. The entry hall is to the south.\n\n> You take the note\nI don't need to take the note with me; I can read it where it is.\n\n> Turn note\nNothing obvious happens.\n\n> You look up the art theory in the books\nWhich do I mean, the art theory books, the romance books, the fantasy books or the self help books?\n\n> You examine the art theory books\nArt theory, history, essays and other related texts.\n\n> You examine the romance books\nA few \"stock standard\" Mills & Boon, though most of the books seem to be from smaller publishers.\n\n> You examine fantasy books\nFantasy novels about strong-willed lady knights and sorceresses. I think I can see a scrap of paper protruding from one of the books.\n\n> You take the scrap\nTaken.\n\n> You examine the scrap\nIt's a scrap of lined paper, probably torn from a notebook. In small, neat writing are the words \"serenity devoid\".\n\n> Type serenity devoid\nThe password field vanishes.\n\nThe desktop is displayed. The following icons are available to click on:\n\nWord Processor\n\n> Open mail\nI'm not sure what that refers to.\n[If I am trying to \"open\" something on the computer screen, I should try \"click\"-ing it instead.]\n\n> You click the mail\nI double-click on the \"Mail\" icon.\n\nMarissa's inbox. The following emails are available to read or reply to:\n\nPlymvale Health Centre   Auto reminder: Prescription renewal Pain~M.eds               80% discounted prices\nHelena Jevne             Re: Re: Hi\nClassmateReunion.com     Inquiry Results\nHelena Jevne             Re: Hi\nHelena Jevne             Hi\nEstelle Clements         Thank you\nEstelle Clements         Request\n\nI can also click an \"escape\" button to return to the operating system.\n\n> You read the request\nI am expecting some company later this week. Would you be available to come over on Wednesday in addition to your usual Tuesday?\nEstelle\n\n> You read thank you\nThank you. I appreciate it. You are always so reliable.\nEstelle\n\n> You read hi\nDear Marissa,\nIt was lovely to run into you again today. You're looking well. It is such a pleasure to speak to you again after so many years. I hope you made it home safely.\nWell wishes,\nHelena\n\n> You read the inquiry results\nDear Marissa,\nIn response to your recent inquiry, this email is to inform you that your search for \"Helena Jevne\" returned 0 results.\nThanks for using ClassmateReunion.com!\n\n> You read the prescription renewal\nThis is an automated message to remind you to renew your prescription for Valium. We look forward to seeing you at Plymvale Health Centre soon. Please do not reply to this email.\n\n> Escape\n[Try \"click escape\" or \"click esc\"]\n\n> You click the escape\nI return to the operating system.\n\nThe desktop is displayed. The following icons are available to click on:\n\nWord Processor\n\n> You click the browser\nI double-click on the \"Browser\" icon.\n\nThe browser is open. The following icons are available to click on:\n\n\n\nI can also click an \"escape\" button to return to the operating system.\n\n> You click the history\nEmpty! Either she doesn't actually use this computer, or she goes to the bother of clearing her history. How paranoid.\n\nThe browser is open. The following icons are available to click on:\n\n\n\nI can also click an \"escape\" button to return to the operating system.\n\n> You click the favourites\nMarissa has very few favourites saved: there are a couple of art blogs, an online bookstore, and one of those \"classmate finder\" websites.\n\nThe browser is open. The following icons are available to click on:\n\n\n\nI can also click an \"escape\" button to return to the operating system.\n\n> Click bookstore\nI could while away many hours browsing through all this, but then Marissa would likely come home and find me in here. Besides, I'm sure I can manage to occupy myself with other things.\n\n> You click the Word Processor\nI double-click on the \"Word Processor\" icon and glance briefly over the program. Marissa has only one recently-opened document: a Tax Invoice template for \"M. Ridley Cleaning\". Her business, I assume. Interesting. I give the file a cursory glance, then close the word processor.\n\nThe desktop is displayed. The following icons are available to click on:\n\nWord Processor\n\n> You look at the clock\nIt's a plain, unattractive, ticking timepiece. The hands point to 3:16.\n\n> You examine the clock\nIt's a plain, unattractive, ticking timepiece. The hands point to 3:17.\n\n> You go to the west\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to the study. The entry hall is to the south.\n\nI can hear a phone ringing from somewhere to the west.\n\n> Go west\nThe kitchen has a dated feel to it; a laminate bench runs around two walls of the room, and white tiles line the wall above an aging sink and stove. An old fridge is tucked into the far corner of the room, and several potted plants decorate the bench around the spotless appliances.\n\nA calendar and old-fashioned cordless phone hang on the wall near the door leading east.\n\nA handwritten note has been placed near the middle of the bench.\n\nThe phone rings out just as I step into the room. It echoes eerily in my head.\n\n> Dial 1\n(on the telephone handset)\n(first taking the telephone handset)\nCurious, I dial \"Estelle\". The phone rings once. Twice. Six times, then a female voice - no, a recording of one - answers in stiff Oxford English: \"Hello, you've reached Estelle. I am unable to receive your call at this time, so please leave a message after the tone and I will get back to you as soon as possible.\" I hang up before the tone.\n\n> You examine the phone\n(examining the handset)\nThe handset has very little functionality; it must be a relatively old model. On the LCD, there is a remarkably brief list of what appears to be contacts stored in the phone's memory:\n\n1. Estelle: 01395847839\n2. CAB: 01395137503\n3. PHC: 01395042356\n\n> Dial 1\n(on the telephone handset)\nCurious, I dial \"Estelle\". The phone rings once. Twice. Six times, then a female voice - no, a recording of one - answers in stiff Oxford English: \"Hello, you've reached Estelle. I am unable to receive your call at this time, so please leave a message after the tone and I will get back to you as soon as possible.\" I hang up before the tone.\n\n> Continue\n(on the telephone handset)\nI don't really have cause to call her again. Besides, that stiff voice sends a chill up my spine.\n\n> You think about Estelle\nHer name alone nauseates me. I am certain there is something dangerous about that woman.\n\n> Dial 3\n(on the telephone handset)\nPHC... Plymvale Health Centre? I don't need to call them.\n\n> You go east\nI replace the telephone handset on the base.\n\nI flinch, startled, as I step into the living room: an elaborately-dressed woman is sitting at Marissa's dining table, bold as day. She looks to be in her late fifties and glares at me from beneath a permanently-wrinkled brow.\n\n[1] \"Who are you?\"\n[2] \"What are you doing here?\"\n\n> 1\nThe woman meets my eyes with a steely gaze. \"Surely, you've already read enough of my correspondence with Marissa to know.\" My vision wobbles threateningly, but I square my shoulders and glare back at her.\n\n[1] \"What are you doing here?\"\n\n> 1\nShe smirks. \"Marissa wishes it. Can you honestly say the same for yourself?\" I can begin to feel rage quietly building up beneath my ribcage.\n\n[1] \"I think you should leave, now.\"\n\n> 1\n\"You utter imbecile. Can't you even recognise yourself in the mirror?\"\n\n[1] \"Mirror? What would you know about that?\"\n[2] \"Of course I can, you vile woman!\"\n\n> You examine the woman\nAn older woman with an air of wealth and haughtiness. She wears a strikingly elaborate blue gown, and a tiara is nestled in her silver perm.\n\n> You look at gown\nWhat an excessive garment! It looks oddly familiar.\n\n> You look at the tiara\nIt seems a strange accessory for a grown woman. What might it represent to her?\n\n> You examine the queen\n(the strange woman)\nAn older woman with an air of wealth and haughtiness. She wears a strikingly elaborate blue gown, and a tiara is nestled in her silver perm.\n\n> 1\n\"I was watching from behind the glass - as, obviously, were you.\"\n\nI gasp, tiny fibres from the carpet floating into my mouth; somehow I am lying cheek-down on the floor. The woman is gone. Presumably, the old bitch struck me prone.\n\nI raise myself to my feet, feeling angry for the intrusion. Who exactly is this woman that Marissa is dealing with?\n\nI hear the front door open and look over to see Marissa entering the room. She greets me with a shy smile and places her handbag down on the table.\n\n> You think about the queen\nI'm admittedly relieved the porcelain figure is gone. Somehow, that little queen made me more uncomfortable than the ugly clay ornaments.\n\n> You talk to Marissa\nMarissa turns her eyes upon me, questioning.\n\n[1] \"You're home. How has your day been?\"\n[2] \"Marissa. Where have you been all day?\"\n\n> 2\nShe seems confronted, her head lowering. \"Just at work. There's a lady I help... it's housekeeping. Nothing glamourous. How was your day?\"\n\n[1] \"I've just... looked around your house a little.\"\n[2] \"Fine. Why do you ask?\"\n[3] \"I've had a pleasant stay. Thanks for all your kindness.\"\n\n> 1\nI feel a twinge of something unpleasant in my chest. Treacherously, my lip twitches. Marissa's eyes, wide and unsettlingly clear, flick down to my mouth, then meet my eyes seriously. That vague look enters her expression again.\n\n\"Of course.\" She closes her eyes for a moment before staring at me seriously. \"Helena... I'm sure you'd do no harm here.\" She almost reaches for my arm, then seems to think better of it. The silence swells.\n\n[1] \"I'll let you get on with your business.\"\n\n> 1\nMarissa clears her throat. \"I'm going to take a shower. I'll be out soon. Please don't mind me.\" She walks off down the hallway and I am again left alone.\n\n> You look at the handbag\nA soft fabric handbag with a shoulder strap. I can see something inside it.\n\n> You look in handbag\nThe contents of the handbag are neat and few. A purse, a keyring and a piece of paper.\n\n> You take the keyring and the paper\nNo... as a guest, I think I need to be more mindful than that. One action at a time.\n\n> You take the keyring\nTaken.\n\n> You take the paper\n(the piece of paper)\nTaken.\n\n> You examine keyring\nA metal keyring, with an intricately plaited decoration of thread and beads trailing from it. On the ring are a well-used mortice key and a gold mortice key.\n\n> You examine paper\n(the piece of paper)\nIt's a little memo, written in a stern hand. \"Marissa. Kindly make the arrangements today as discussed. The white roses are appreciated. Everything else you'll need is in my room. Estelle.\"\n\n> You go north\nHallway (south end)\nThe carpeted hallway extends away to the north. A door in the west wall leads to the bathroom and a door in the east wall leads to Marissa's studio. The living room is to the south.\n\nI can hear the shower running.\n\n> You go north\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\n> You open the east door witthe well-used mortice key\nI unlock Marissa's bedroom door.\n\n> You go to the east\n(first opening Marissa's bedroom door)\nMarissa's Bedroom\nMarissa's bedroom is initially confusing to the eye; the walls are almost entirely covered in an eccentric display of unframed paintings and tiny mirrors in mismatched frames. Lace curtains drape over a window in the north wall, letting dappled light filter onto a white-framed bed. In the dimly-lit south side of the room is a bedside table, covered in a pale floral cloth and a reading lamp. A white wardrobe, far less intimidating than the one in the spare room, is here too. The door is to the west.\n\n> You look at the paintings\nThe paintings are nearly all landscapes, with any human figures silhouetted or obscured by scenery. Every painting seems almost to glitter with creativity, and yet there is a sense of longing to all of them - each waterfall is not dramatically foregrounded, but lingers, hazy, behind a layer of mist; each sky seems to stretch endlessly, not quite delivering on the promise of a horizon.\n\n> You examine the wardrobe\nA tall white wardrobe for clothes.\n\n> You open the wardrobe\nI open the white wardrobe, revealing some clothes.\n\n> You examine the clothes\nMarissa's clothes - mostly simple garments, with a few lacy affairs tossed in.\n\n> You examine mirrors\nThere are dark eyes everywhere, blinking at me from every wall. The mirrors are framed in a whimsical assortment of frames, ranging from dark wrought iron, to embossed silver, to raw timber.\n\n> You examine the curtains\nThe window looks out to the north. The neighbourhood looks lifeless beneath the grey sky.\n\n> You look at the table\nA little round table with a floral cloth draped over it. A drawer, its face rounded with the curve of the table, faces towards the bed.\n\n> You open the drawer\nAround me, all over the walls, blonde women lunge forward in reflective fragments. Dizzy, I focus on the drawer. There is a small diary inside, its cover hand painted.\n\n> You examine diary\nThe cover is a painting of a girl, her head rested on her folded arms, melancholy blue eyes staring out beyond the image.\n\n> You open diary\nIt is important that I know as much as possible about Marissa's situation in order to help her. Later, I am sure she will understand to thank me for my concern. I remove the diary from the drawer and spread it open on the bed.\n\nThere are several pages filled with text. I read the first entry.\n\n\"Life outside the studio window blurs on without me. Sometimes, when the loneliness is at its strongest, I move my easel close to the door and hide behind it, watching the neighbourhood's movements. There is a little old lady across the road who I often see struggling to carry her groceries inside from the bus. No-one is ever there to help her. I wonder what her name is, why she is alone.\"\nExcuse me?\n\n> You read diary\nI continue reading.\n\n\"I'm trying to keep to my schedule. Cleaning, always cleaning. Nothing is ever clean enough. Nothing is ever essential enough. I look away from my canvas and everything seems without essence and covered in dirt.\"\n\n> Continue\n\"Estelle is the kindest employer I could ever hope for. Today she told me a little more about her work at the opera theatre. I listened, spell-bound as a child. I think she knows I have no anecdotes of my own to contribute, so she just talks and smiles kindly. I guess what she is is a friend, though I retreat from the word with uncertainty.\"\n\n> Keep going\n\"I am sure the sunrise is influencing my palette - dear Matisse would not approve! - but oh, the studio is spectacular in the dawn light. I paint all night until I am too exhausted to think, and then I sleep and sleep and sometimes I can't get out of bed. The itch of tears is fresh in my eyes when I wake because I dream of such pretty things and then I wake, and I stare at my blank ceiling, blankness reflected in such blank eyes.\"\n\n> You continue\n\"Oh Nan, how is it that I live like this? I dreamt of you and I hope I keep your house well enough for you because I do still miss you, every day. I hope you are in peace.\"\n\n> Continue\n\"Coming back from Estelle's today, I ran into Helena Jevne. She is still as strikingly beautiful as she was back in school. And goodness, so tall. Nervous as I was, I could not escape from our conversation for over two hours... but in retrospect, I am glad. She seems such a strong-minded, sensible person. Better-adjusted than me, most likely. She has brought me back from this slumber of blankness, I think. I dare to hope that maybe I will see her again.\"\n\n> Continue\n\"Alone. It bites at me over and over and over and I have forgotten my schedule, but it seems so meaningless so meaningless so\"\n\n> Continue\n\"I almost can't look at my paintings after they are painted. The loss of that moment of creation is painful. I dreamt of so many things, once. Now I hold onto a series of singular dreams, fluttering against my palms as I grasp them, almost too afraid to breathe for fear of crushing their delicacy, and I paint them with a mechanical concentration. And can't look back. I am beginning on the cliffside I saw in my dream. I hope it will be enough for now.\"\n\n> Keep going\n\"Emails. So nerve-wracking. Of course I am intimidated by her; her wisdom and her worldliness must see right through my meek existence. 'Purity' is what I value, I tell myself. In the face of another human being, though, my convictions waver... and even if I weren't so shy, I don't know if I could let a person into my life. Especially... well, oh. I don't know.\"\n\n> Keep going\nThis page is smeared with dark stains, rendering most of it illegible. \"... phone call in the night ... ecked and the key wasn't there ... rror had been smashed in viole ...\"\n\n> You keep going\nThe dark stains continue on this page, and the following. \"... been here for over a week now ... re white roses from the garden, stained with hairdye! She must have tak ... aints, everywhere! ... drawer, found the most terrible thing but didn't dare ...\"\n\n> Continue\nI flip through the pages, reading the few fragments I can, all written in a hand seemingly overcome by distress. \"... ntire mirror covered in plasters! and I ... heart-stopping crashes and then a thud on my door ... ound the mark of a fist! What does sh ... scraping at the brickwork ... a knife, no less! and bloo ...\"\n\n> You keep going\nThe rest of the pages are blank.\n\nFrom somewhere to the west, I can hear Marissa calling for me. My clammy palms betray an inexplicable apprehension.\n\n> You look at what you're carrying with you\nFeeling in my skirt pockets, my fingers brush against Estelle's memo, a keyring, a scrap of paper, a study door key, a medicine cabinet key, my bedroom door key and the cold, unnerving steel of a kitchen knife. I'm wearing my beige overcoat and my blouse and skirt.\n\nI thought there was something else I was carrying before... well, perhaps not."
    },
    {
        "text": "[Themes: homosexual, mystery, horror, female protagonist, psychological]\n\n> Describe the surroundings\nMarissa's bedroom is initially confusing to the eye; the walls are almost entirely covered in an eccentric display of unframed paintings and tiny mirrors in mismatched frames. Lace curtains drape over a window in the north wall, letting dappled light filter onto a white-framed bed. In the dimly-lit south side of the room is a bedside table, covered in a pale floral cloth and a reading lamp. A white wardrobe, far less intimidating than the one in the spare room, is here too. The door is to the west.\n\n> You go west\nI quickly return the diary.\n\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\nMarissa runs past in a tearful blur, almost crashing into me as she dashes into the bedroom.\n\n> You go east\nMarissa's bedroom is initially confusing to the eye; the walls are almost entirely covered in an eccentric display of unframed paintings and tiny mirrors in mismatched frames. Lace curtains drape over a window in the north wall, letting dappled light filter onto a white-framed bed. In the dimly-lit south side of the room is a bedside table, covered in a pale floral cloth and a reading lamp. A white wardrobe, far less intimidating than the one in the spare room, is here too. The door is to the west.\n\nMarissa is here. Her small frame heaves with silent sobbing, her eyes unfocused.\n\n> You go north\n\"Never mind,\" I mutter. Marissa's eyes glaze over for a moment, and then - as though I had never disturbed her - she resumes her crying.\n\n> You go west\nFeeling particularly cautious, I lock the door behind me. There could be all manner of danger in this house, and I feel obliged to keep Marissa safe.\n\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\n> You look in it\nThe interior of the cabinet is stained with age, but spotlessly clean. Inside, I can see a canister of Valium.\n\n> You examine the Valium\nDiazepam: anxiolytic, hypnotic. For treating symptoms of anxiety, agitation and insomnia. Take one tablet once a day as directed by doctor.\n\n> You look in the vase\nIn the vase is a cluster of roses.\n\n> You look through the hole\nI lean in towards the hole and look through to the dimly-lit master bedroom. I can see the shadowy figure of Marissa hunched into herself on the bed, oddly silhouetted by the window behind her. Her face is flecked with reflected light from the mirrors on the bedroom walls, highlighting the tears on her cheeks.\n\n> You look at the window\nThe huge window could easily be mistaken for a door, only it doesn't seem to be openable. It looks out onto an isolated street.\n\n> Go south\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with a handbag placed on top and two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to the study. The entry hall is to the south.\n\n> You look at the ornaments\nThey're crude and disfigured, limbs out of proportion and faces melted into disturbing expressions - screams, sighs, grimaces. They're certainly not what I would choose to display in my own living room.\n\n> You go west\nThe kitchen has a dated feel to it; a laminate bench runs around two walls of the room, and white tiles line the wall above an aging sink and stove. An old fridge is tucked into the far corner of the room, and several potted plants decorate the bench around the spotless appliances.\n\nA calendar and old-fashioned cordless phone hang on the wall near the door leading east.\n\n> Go west\nThere's nowhere to go in that direction. The only obvious exit is east (to the living room).\n\n> Dial 1\n(on the telephone handset)\n(first taking the telephone handset)\nI don't really have cause to call her again. Besides, that stiff voice sends a chill up my spine.\n\n> Go east\nI replace the telephone handset on the base.\n\nIt's a beige little living room; the offering of pale light filtering from the entry hall to the south somehow doesn't help to shake the sleepy, lifeless feeling here. An undersized dining table forms the centrepiece of the room, with a handbag placed on top and two chairs pushed beneath it. Wedged into the northwest corner of the room is a television, an old-fashioned armchair tucked up next to it. Against the north wall to the east is an open display cabinet with a single shelf of ornaments visible inside.\n\nA door to the north leads to the hallway, a door in the west wall leads to the kitchen and a door in the east wall leads to the study. The entry hall is to the south.\n\n> You examine the paintings\nA stack of old paintings. They can't have been touched for years - even inside the drawer, they've somehow managed to accumulate a thin layer of dust. Their subjects all seem to be women relaxing together in various settings - under parasols in a scenic park, by a fireplace in a cosy living room, lazing on a drifting canal boat.\n\nAnother new painting. This one is so messy it's difficult to be certain of the details, but it looks to be a figure of a blonde giantess attacking a human female with a knife. The giantess figure is apparently translucent: within her, another female is visible, her mouth frozen in a scream.\n\n> You examine the duvet\nWhich do I mean, the blankets or the duvet?\n\n> Blue\nDark blue. It looks warm.\n\n> You think about yourself\nWhy should I be afraid of whatever is inside me? I have every right to companionship. I am the only one who could possibly appreciate someone like Marissa. She needs me.\n\n> You examine the mirror\nI find myself unable to focus on the mirror. My vision fills with black when I try to look at it.\n\n> You examine vine\nFrom here, it appears that the rose vine has laid claim to the entire fence.\n\n> You examine the blinds\nPlastic venetian blinds. Cream-coloured."
    },
    {
        "text": "[Themes: psychological, horror]\n\n> Look around\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You examinthe double-doors\nThey're bevelled and panelled, and stained dark like the rest of the cupboard.\n\n> You look at the shelves\nSeveral shelves supporting a variety of bed linens. There'd be room for my clothes in here.\n\n> You think\nAbout what, specifically?\n\n> You think about the painting\nI can't begin to imagine what this is supposed to mean! Is this some obscure message from Marissa?\n\n> You pull the bed\nIt is fixed in place.\n\n> You wake\nAs far as I'm aware, I'm awake."
    },
    {
        "text": "[Themes: psychological, horror]\n\n> Look around\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You look at the window\nThe window mostly looks out onto the fence between Marissa's property and her neighbour's. The fence itself is plain chain-link, but some privacy is offered by the climbing rose vine.\n\nThe sky outside is overcast and uninviting.\n\nCream-coloured venetian blinds are in their compressed position above the window.\n\n> Search window\n(on the bed)\nI sit down on the bed.\n\n>(first getting off the bed)\nFrom here, it appears that the rose vine has laid claim to the entire fence.\n\n> Blue\nSoft."
    },
    {
        "text": "> You look around\nHelena's Bedroom (on the bed)\nThis is my room, at least for now. It is remarkably clean, the walls a warm off-white. The bed rests against the west wall, reflected in a portrait-sized mirror facing the foot of the bed. Right of the mirror, in the east wall, is an open door, and right of that is an imposing oak cupboard. A window in the north wall overlooks the bed.\n\n> You look at the table\nIt's completely bare. Not even a clock or a lamp to break up the surface.\n\n> Clean table\n(first getting off the bed)\nThat would be pointless.\n\n> Search table\nAlthough the table is bare, I think I can see some scratches in the wood: on the north edge, there are 3 notches, on the east edge, there are 4 notches and on the south edge, there is 1 notch.\n\n> You look at the scratches\n(the bedside table)\nIt's completely bare. Not even a clock or a lamp to break up the surface.\n\n> Turn table\nNothing obvious happens.\n\n> You examine the gold key\nIt's a mortice key, most likely fitting a door.\n\n> You look at the keyring\nA metal keyring, with an intricately plaited decoration of thread and beads trailing from it. On the ring are Marissa's bedroom door key and a gold mortice key.\n\n> You go to the east\nThe carpeted hallway extends away to the north and south. In the west wall is a door leading to the guest bedroom, and in the east wall is the door to Marissa's bedroom.\n\n> You go south\n(first trying to open the front door)\nThis is hardly the time to abandon Marissa!\n\n> You lock the front door\n(with the gold mortice key)\nI ensure the front door is securely locked. For Marissa's own protection.\n\nI lock the front door.\n\n> Go east\n(first unlocking Marissa's bedroom door with Marissa's bedroom door key, then opening Marissa's bedroom door)\nMarissa's Bedroom\nMarissa's bedroom is initially confusing to the eye; the walls are almost entirely covered in an eccentric display of unframed paintings and tiny mirrors in mismatched frames. Lace curtains drape over a window in the north wall, letting dappled light filter onto a white-framed bed. In the dimly-lit south side of the room is a bedside table, covered in a pale floral cloth and a reading lamp. A white wardrobe, far less intimidating than the one in the spare room, is here too. The door is to the west.\n\nMarissa is here. She weeps steadily into one hand.\n\n> You examine Marissa\nShe glances up from crying and meets my eyes for the briefest of moments, her gaze watery and fearful.\n\n> Y.\nMarissa looks at me with teary eyes, a startling red ringing the grey irises. I hesitate, sensing the likely gravity of this conversation. Should I talk to her now?\n[1] \"Why are you crying?\"\n\n> 1\nMarissa swallows and just stares.\n\n[1] \"Is someone trying to hurt you? I might know who.\"\n\n> 1\nShe looks disbelieving and glances around the room, as though looking for an exit.\n\nI follow her gaze across the dozens of tiny mirrors on the walls. In each one, I see a different angle of the face of the woman I killed. My pocket feels suddenly heavy and I slip my hand in there, sweatily clutching the handle of my knife.\n\n[1] \"It's that woman, isn't it? The one you work for. Marissa, you deserve so much more. She came here today, you know. Just walked straight in the front door. I won't let her hurt you.\"\n[2] \"I won't hurt you, Marissa.\"\n[3] \"I know what it's like to be alone.\"\n\n> 1\nMarissa's words come out almost in a whisper, but they strike me as painfully as an open palm. \"What are you doing, Helena? What do you want from me?\"\n\nMy consternation must show in my features. Marissa, apparently emboldened, says, \"I think... W-what I think is that you've been trying to trap me here. In my own house.\" She takes a deep breath. \"B-but I don't think you're capable of really hurting anyone other than yourself.\" She is visibly shaking. I might be, too.\n\n\"Helena?\"\n\nI pluck listlessly at the bandages on my arm. Damnably, I don't think she is wrong. She stares at me and I understand - completely, at last - that this has to end here.\n\nI try to speak but my tongue seems to have closed off my throat.\nI glance back at her one last time - that perfectly preserved girl - and start walking down the hallway. My eyes fall on the fist-shaped dent where I \"knocked\" on her bedroom door my second night here, the bathroom mirror, completely obscured by adhesive bandages, the once-white roses turned ruddy as they drink their vase of hair dye. I pass through the living room and glance briefly at the porcelain ornament smashed into pieces on the floor.\n\nYes, everything she said about me was true.\n\nI open the front door.\n\n> You repeat\nThe available options are:\n\n[1] \"It's that woman, isn't it? The one you work for. Marissa, you deserve so much more. She came here today, you know. Just walked straight in the front door. I won't let her hurt you.\"\n[2] \"I won't hurt you, Marissa.\"\n[3] \"I know what it's like to be alone.\"\n\n> 2\nWe look at each other quietly. Marissa's face is soft and open. 'Impressionable' seems the fitting word, as though I could mould her features with a gesture. The edge of a sunset filters in across the bed, softly meshed with the shadow of the lace curtain.\n\n\"I saw what you've written about me,\" I eventually confess. She looks afraid, lowering her eyelashes. \"Sometimes,\" I explain, \"fear can distort your perception of events. You needn't be afraid, though. Anything I have done is only to protect you. I'm here, now. You don't have to be alone anymore.\" She lifts her eyes to meet mine and slowly takes a breath, about to say something - but seems to choke on her words.\n\nI lean forward and embrace her gently. Her little frame, at first so tense, eventually softens in my arms. \"What I dream of,\" she murmurs, \"is a life of balance, of purity and serenity, devoid of trouble or depression.\" It sounds like a quote, but the sentiment is clear to me. I smile into her hair, holding her closer. She slumps into me, quiet and submissive.\nWith me, she will be safe. And I know she will not stray from me again.\n\n> You kill Marissa\nI shiver. No.\n\n> You give the keyring to Marissa\nI think I'll keep that to myself.\n\n> Y.\nMarissa looks at me with teary eyes, a startling red ringing the grey irises. I hesitate, sensing the likely gravity of this conversation. Should I talk to her now?\n[1] \"Why are you crying?\"\n\n> 1\nMarissa swallows and just stares.\n\n[1] \"Is someone trying to hurt you? I might know who.\"\n\n> 1\nShe looks disbelieving and glances around the room, as though looking for an exit.\n\nI follow her gaze across the dozens of tiny mirrors on the walls. In each one, I see a different angle of the face of the woman I killed. My pocket feels suddenly heavy and I slip my hand in there, sweatily clutching the handle of my knife.\n\n[1] \"It's that woman, isn't it? The one you work for. Marissa, you deserve so much more. She came here today, you know. Just walked straight in the front door. I won't let her hurt you.\"\n[2] \"I won't hurt you, Marissa.\"\n[3] \"I know what it's like to be alone.\"\n\n> 1\nShe shifts away from me a little, sliding across the duvet, and I feel a pang of irritation.\n\n\"I know there's something going on, Marissa. Please don't try to deceive me. Your tears are evidence enough.\" I brush her cheekbone gently with my thumb. She blinks and flinches. My right hand, still in my pocket, twitches.\n\n> You press the space\nI hesitate, moistening my lips. \"I'm sure you're being exploited. You...\" She isn't looking at me. I catch her by the chin and force her eyes to meet mine. \"You make yourself an easy target, all alone here.\" I continue. Her breathing is lightly audible. It rings in my ears like the ocean. \"I don't think you understand what people are like. They can't possibly understand how to appreciate you.\"\n\n\"What are you talking about.\" Her words fall flat; more of a statement than a question. It is obvious she knows exactly what I am talking about; the girl is addled by years of solitude. \"But I am here to end that! Don't you see?\" I smile, my heart almost leaping out my throat. She just stares.\n\nI lean forward to smooth out the tear-clumped tangles in her hair. Frustratingly, she edges back further. \"There was a girl before, you know,\" I explain, \"But she and I used to argue now and then.\"\n\n\"Was there?\" she asks. She is almost flat on the bed, now. I think I am leaning a little too heavily on her abdomen, but I feel I shouldn't draw away just yet. Her body is so warm against my hand. And there, she is crying again. Her eyes are wide. She looks shocked, but that will pass. \"Just hush,\" I say, stroking her hair. \"Hush.\" Her crying soon fades to silence.\nI curl up close to her, burying my face in her still-warm neck. I lie with her, long after it goes cold."
    },
    {
        "text": "[Themes: Horror, Humor, horror, female protagonist, humor, music, treasure hunt]\n\nEach year on Samhain night, Ghosterington Manor, the lair of legendary (and dead) bad poet, futurist and occultist Vigilance Ghosterington, materialises atop the same lonely cliff. It stays there for three hours, tempting adventurers to brave its dangers before disappearing at midnight for another year. It is said that Ghosterington's last four poems - the worst he ever wrote, now worth millions of dollars - are still inside the manor. But nobody has lived to bring them out.\n\nThis year is your year, for you are the famous adventurer and treasure finder Jubilee Grief, and you're determined to survive the dangers of Ghosterington Manor, find the poems, sell them and retire as a (more) famous millionaire.\n. . .\n\nA screaming wind lashes the cliff face as you ascend it with your anti-spelunking equipment. Suddenly a higher pitched squeaking pierces through to your ears. After your recent trip to the Amazon you'd know that sound anywhere: Killer vampire bats!\n\nWithout hesitation you whip out your six shooter and kick away from the cliff face, scanning for potential attackers. Three rapidly approaching dark shapes swing into view and you open fire - BLAOW BLAOW BLAOW!\n\nThe three clipped bats flap and flail as they tumble to their deaths hundreds of feet below. You use your climbing pack to brace yourself as you swing back into the cliff, but the violent collision tears open a side pocket and your box of ammunition tumbles into space. Drat! Now you've only got the three bullets in your gun left to use in the house. Better make them count.\n(* The title image would appear here if you were playing this game in an interpreter with graphics support.)\n\n(* You would be hearing the theme music now if you were playing this game in an interpreter with sound support.)\n\nWindswept and thoroughly bedraggled, you finally manage to haul yourself over the top of the cliff. Untangling yourself from your climbing pack, you contemplate that which stands before you. Ghosterington Manor is huge, black, wooden and windowless. Its famously inviting front door stands to your north. The cliff plummets away from you in all other directions, making you dizzy.\n\n(WHEN YOU'RE READY TO LEAVE THE MANOR, COME BACK HERE TO THE CLIFFTOP.)\n\nYou can see your climbing pack here.\n\n[Author's Note: Danger-filled Ghosterington Manor appears atop the same cliff each year on Samhain night. Hidden inside are the last four works of the dead bad poet Vigilance Ghosterington. Those four poems are worth a fortune, and you, famous adventurer Jubilee Grief, are determined to find them.]\n\n> About yourself\nYour hair's tied back in a tight ponytail and you're wearing your flexible black climbing and spying catsuit. Your minimal look has become all the rage with female adventurers.\n\n> You look at the pack\nThe pack is a big pile of ropes and pulleys you used to get up here. You'll leave it here by the cliff until it's time to leave.\n\n> You check what you're carrying\nYou are carrying:\na black catsuit (being worn)\na six shooter\n\n> You examine the shooter\nThis trusty weapon has extricated you from more sticky situations than you can recall. It's loaded with three bullets.\n\n> You examine the catsuit\nIt makes you totally inconspicuous or attractive as the situation calls for. Amazing!\n\n> You remove the catsuit\nMessing with your catsuit could get you killed!\n\n> You check what you're carrying\nYou are carrying:\na xyzzy (being worn)\na xyzzy\n\n> You look at xyzzy\nYou feel confused.\n\n> Yes\nEach year on Samhain night, Ghosterington Manor, the lair of legendary (and dead) bad poet, futurist and occultist Vigilance Ghosterington, materialises atop the same lonely cliff. It stays there for three hours, tempting adventurers to brave its dangers before disappearing at midnight for another year. It is said that Ghosterington's last four poems - the worst he ever wrote, now worth millions of dollars - are still inside the manor. But nobody has lived to bring them out.\n\nThis year is your year, for you are the famous adventurer and treasure finder Jubilee Grief, and you're determined to survive the dangers of Ghosterington Manor, find the poems, sell them and retire as a (more) famous millionaire.\n. . .\n\nA screaming wind lashes the cliff face as you ascend it with your anti-spelunking equipment. Suddenly a higher pitched squeaking pierces through to your ears. After your recent trip to the Amazon you'd know that sound anywhere: Killer vampire bats!\n\nWithout hesitation you whip out your six shooter and kick away from the cliff face, scanning for potential attackers. Three rapidly approaching dark shapes swing into view and you open fire - BLAOW BLAOW BLAOW!\n\nThe three clipped bats flap and flail as they tumble to their deaths hundreds of feet below. You use your climbing pack to brace yourself as you swing back into the cliff, but the violent collision tears open a side pocket and your box of ammunition tumbles into space. Drat! Now you've only got the three bullets in your gun left to use in the house. Better make them count.\n(* The title image would appear here if you were playing this game in an interpreter with graphics support.)\n\n(* You would be hearing the theme music now if you were playing this game in an interpreter with sound support.)\n\nWindswept and thoroughly bedraggled, you finally manage to haul yourself over the top of the cliff. Untangling yourself from your climbing pack, you contemplate that which stands before you. Ghosterington Manor is huge, black, wooden and windowless. Its famously inviting front door stands to your north. The cliff plummets away from you in all other directions, making you dizzy.\n\n(WHEN YOU'RE READY TO LEAVE THE MANOR, COME BACK HERE TO THE CLIFFTOP.)\n\nYou can see your climbing pack here.\n\n> You go north\nYou're in the vestibule of Ghosterington Manor, a well appointed hall of black marble. Doorways lead west and north, and you can leave the manor to the south.\n\n> Go west\nYou're in a creaky, high-ceilinged hall of blackest wood. There are rooms west and east from here.\n\n> You go west\nYou're in the fabled Contrition Corner, where Vigilance Ghosterington was said to have flagellated himself after writing each of his awful poems. The stories must have been true because the walls really are red with his blood! Doorways leave this creepy room to the north and east.\n\nOn the west wall is a painting of Vigilance Ghosterington himself.\n\n> You examine the painting\nGhosterington's generally weak and tardy face, pale beneath his widow's peak, is compensated for by a rather cruel but good looking mouth.\n\n> You examine the mouth\nAs you step closer to examine the mouth, a tiny voice from behind the painting whispers:\n\n\"Brown cow's what I used to use\nI need another living muse\ntell me now what should it be\nas well you might, ho ho, hee hee!\"\n\n> Coffee\nThe voice whispers:\n\n\"Your answer, poorly,\nmakes me sorely.\"\n\n> You examine the blood\nThe walls are dark with the ancient dried out blood of a self-hating bad poet. It's sad. Sad and gross.\n\n> You move painting\nNothing obvious happens.\n\nA white statue materialises in the room. Perspiration immediately breaks out on your forehead. You instinctively realise that this is the thing called Terror Statue.\n\n> You look at the Statue\nA tall white marble statue of a robed man. You want to lift your eyes to his face but you're too afraid to look.\n\n> Punch statue\nYour fear prevents you from approaching Terror Statue. The only way to attack him is by shooting at him.\n\n> You shoot statue\nThe statue vanishes in the blink of an eye just before your bullet would have hit it.\n\nYou've got two more bullets.\n\n> Go north\nThe western way continues in all directions - except west.\n\nAn armoudillo shell lies discarded on the floor here.\n\nYou hear an alarming grinding and ticking sound as a silvery figure plods into the room. It's a clockwork girl. Her bloody metal face is stretched into a permanently agonised grimace. She's wielding an axe and looking at you.\n\n> You take the shell\nYou can tell at a glance that it's unwieldy and would reduce your ability to adventure. It might be worth examining more closely, though.\n\n> You examine girl\nShe's hideous, built out of metal and chunks of female flesh and tied together with veins and gristle.\n\n> You examine the shell\nEmitting an angry buzzing sound, the clockwork girl spins towards you and deftly removes your head with her axe.\n\n> Go north\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\nThe clockwork girl plods into the room. The rug muffles her footsteps.\n\n> Go east\nThere's a big, dusty bed here. You wonder if Ghosterington ever really slept in this manor. The place has shown no signs of being anything than unliveable. Exits go west, south and east.\n\n> Go south\nThis is a room made of solid, shining gold. Exits lead in all directions.\n\nYou hear a click from the floor as you enter the room.\n\n> Go east\nThe eastern way continues in all directions - except east.\n\nA long dead plant sits in a pot here, black and thoroughly dry.\n\n> You take the plant\nYou can tell at a glance that it's unwieldy and would reduce your ability to adventure. It might be worth examining more closely, though.\n\n> You examine the plant\nOne of the papery leaves is in fact not a leaf but a piece of paper. You take it.\n\nThe clockwork girl plods into the room.\n\n> You go north\nThis room is upholstered in pink velvet. The nauseating colour and texture makes you shudder. Exits lead west and south.\n\nThere's a small vanity here.\n\nThe clockwork girl plods into the room.\n\n> You check what you're carrying\nYou are carrying:\npaper A\na black catsuit (being worn)\na six shooter\n\n> Examine paper a.\nThere's one word on it: elephant.\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> Go south\nThis is a room made of solid, shining gold. Exits lead in all directions.\n\nYou hear two clicks from the floor as you enter the room.\n\n> You go west\nThe western way continues in all directions - except west.\n\nAn armoudillo shell lies discarded on the floor here.\n\nThe clockwork girl plods into the room.\n\n> You examine the shell\nEmitting an angry buzzing sound, the clockwork girl spins towards you and deftly removes your head with her axe.\n\n> Go east\nThis is a room made of solid, shining gold. Exits lead in all directions.\n\nYou hear three clicks from the floor as you enter the room.\n\nIn an instant, the golden ceiling descends to the floor, crushing you flat.\n\n> You examine the gun\nThis trusty weapon has extricated you from more sticky situations than you can recall. You've got two more bullets."
    },
    {
        "text": "> You look at your surroundings\nThe western way continues in all directions - except west.\n\nThe clockwork girl is ticking away here and brandishing her axe.\n\nAn armoudillo shell lies discarded on the floor here.\n\n> You take the axe\nYou try to snatch the axe from the clockwork girl's hands but it doesn't budge. She takes a retaliatory swipe at you. You realise that your head is now rolling across the floor as a result.\n\n> Go north\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\nThe clockwork girl plods into the room. The rug muffles her footsteps.\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> You examine the rug\nThe rug looks a bit loose. The clockwork girl is standing on it, watching you.\n\n> You pull the rug\nYou yank the rug and the clockwork girl topples over. She thrashes about madly, whirring and clicking like an overturned beetle, but she's not flexible enough to get back on her feet.\n\nA cold wall of pure fear is radiating from the statue. Your limbs tremble, your blood runs icy, then every part of you just stops at once.\n\n> You shoot statue\nThe statue vanishes in the blink of an eye just before your bullet would have hit it.\n\nYou've got one shot left.\n\nEmitting an angry buzzing sound, the clockwork girl spins towards you and deftly removes your head with her axe.\n\n> You go north\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nTerror Statue is here.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\nThe clockwork girl plods into the room. The rug muffles her footsteps.\n\n> Go east\nThere's a big, dusty bed here. You wonder if Ghosterington ever really slept in this manor. The place has shown no signs of being anything than unliveable. Exits go west, south and east.\n\n> Go east\nThis room is upholstered in pink velvet. The nauseating colour and texture makes you shudder. Exits lead west and south.\n\nThere's a small vanity here.\n\nThe clockwork girl plods into the room.\n\n> You go south\nThe eastern way continues in all directions - except east.\n\nA long dead plant sits in a pot here, black and thoroughly dry.\n\nThe clockwork girl plods into the room.\n\n> Go south\nYou're in the vestibule of Ghosterington Manor, a well appointed hall of black marble. Doorways lead west and north, and you can leave the manor to the south.\n\nThe clockwork girl plods into the room.\n\n> Go west\nYou're in a creaky, high-ceilinged hall of blackest wood. There are rooms west and east from here.\n\nThe clockwork girl plods into the room.\n\n> You go west\nYou're in the fabled Contrition Corner, where Vigilance Ghosterington was said to have flagellated himself after writing each of his awful poems. The stories must have been true because the walls really are red with his blood! Doorways leave this creepy room to the north and east.\n\nOn the west wall is a painting of Vigilance Ghosterington himself.\n\n> You go to the north\nThe western way continues in all directions - except west.\n\nAn armoudillo shell lies discarded on the floor here.\n\nThe clockwork girl plods into the room.\n\n> You go north\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nTerror Statue is here.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\nThe clockwork girl plods into the room. The rug muffles her footsteps.\n\n> Go west\nThere's a big, dusty bed here. You wonder if Ghosterington ever really slept in this manor. The place has shown no signs of being anything than unliveable. Exits go west, south and east.\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> Go west\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\nThe clockwork girl plods into the room. The rug muffles her footsteps.\n\n> You pull the rug\nYou yank the rug and the clockwork girl topples over. She thrashes about madly, whirring and clicking like an overturned beetle, but she's not flexible enough to get back on her feet.\n\n> You take the axe\nYou try to snatch the axe from the clockwork girl's hands but it doesn't budge. She takes a retaliatory swipe at you. You realise that your head is now rolling across the floor as a result.\n\n> You examine the desk\nCan it be? There's actually a dusty sheet of paper still here on the desk. It's one of Vigilance Ghosterington's poems! It's his famous scissors poem. You carefully take the poem.\n\n> You read the poem\nI run up to her post-haste and cry,\n\n\"Don't run with scissors,\"\n\nThe guck on me would make me scream\nIt'd really suck when you couldn't see\nhow freaked I was by your eyejuice on me\n\n> You look at what you're carrying with you\nYou are carrying:\nthe scissors poem\npaper A\na black catsuit (being worn)\na six shooter\n\n> You go south\nThe western way continues in all directions - except west.\n\nAn armoudillo shell lies discarded on the floor here.\n\n> You look at the shell\nYou turn the shell over and a piece of paper tumbles out. It's one of Vigilance Ghosterington's poems! It's his famous Thomas Hardy poem. You carefully take the poem.\n\n> You read hardy\nYo, write me, Tess of the D'Urbervilles!\nA-where you been hiding your mad email skills?\nI'm up here jumping like a yeoman\nbut I kinda got the feeling you been on the lam.\n\nand it ain't up on the heath, DAMN GIRL, I made an inspection!\nYou say you're a tall chick and just wanna have fun\nbut this silence sucks some major ass and's making me glum\n\n> You go north\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nThe clockwork girl is thrashing about uselessly on the floor.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\n> Go east\nThere's a big, dusty bed here. You wonder if Ghosterington ever really slept in this manor. The place has shown no signs of being anything than unliveable. Exits go west, south and east.\n\nTerror Statue is here.\n\n> You go to the east\nThis room is upholstered in pink velvet. The nauseating colour and texture makes you shudder. Exits lead west and south.\n\nThere's a small vanity here.\n\n> You look at the vanity\nIn a drawer of the vanity you find a crumpled sheet of paper. It's one of Vigilance Ghosterington's poems! It's his famous Molecular Biology poem. You carefully take the poem.\n\n> You read the biology\nWhat would you say if I said, \"You have nice genes, babe.\" ?\n\nLet's wear white labcoats and have dinner sometime.\n\nIf I was a molecular biologist, I'd add some ligase to your buffer right now. In my lab, you'd find all the restriction enzymes you'd ever need.\n\nIn my lab, there would always be a bottle of fine white wine on the ice - stored in a separate refrigerator to the molecular biology specimens, of course.\n\n> You go south\nThe eastern way continues in all directions - except east.\n\nA long dead plant sits in a pot here, black and thoroughly dry.\n\n> You go to the west\nThis is a room made of solid, shining gold. Exits lead in all directions.\n\nYou hear three clicks from the floor as you enter the room.\n\nIn an instant, the golden ceiling descends to the floor, crushing you flat.\n\n> You look at the mouth\nAs you step closer to examine the mouth, a tiny voice from behind the painting whispers:\n\n\"Brown cow's what I used to use\nI need another living muse\ntell me now what should it be\nas well you might, ho ho, hee hee!\"\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> Elephant\nThe voice whispers:\n\n\"You got it wrong\nkaboo, kabong!\"\n\n> You examine the mouth\nA cold wall of pure fear is radiating from the statue. Your limbs tremble, your blood runs icy, then every part of you just stops at once.\n\n> Shoot terror\n(Terror Statue)\nThe statue vanishes in the blink of an eye just before your bullet would have hit it.\n\nYou've got one shot left.\n\n> Grey elephant\nThe voice whispers:\n\n\"With suchly flunk\nYou truly stunk.\"\n\n> Go east\nYou're in a creaky, high-ceilinged hall of blackest wood. There are rooms west and east from here.\n\n> You eat the plant\nLet's get sane.\n\n> You look at the pot\nYou already searched the long dead plant. There's nothing else there.\n\n> You go north\nThis room is upholstered in pink velvet. The nauseating colour and texture makes you shudder. Exits lead west and south.\n\nThere's a small vanity here.\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> Go west\nThere's a big, dusty bed here. You wonder if Ghosterington ever really slept in this manor. The place has shown no signs of being anything than unliveable. Exits go west, south and east.\n\n> You examine bed\nYou rummage through the bed and find a sheet of paper hidden amongst the sheets. You take it.\n\n> Examine paper b.\nThere's one word on it: purple.\n\nTerror Statue materialises in the room and your heart skips a beat.\n\n> Go west\nThis is a plush room brightly lit by panels far above you in the walls and with a lush rug underfoot. Exits go south and east.\n\nThe clockwork girl is thrashing about uselessly on the floor.\n\nA writing desk is here. This must be where Ghosterington birthed his dread works.\n\n> Purple elephant\nThe painting slides aside and out of sight, revealing a passage to the west.\n\n> You go west\nOoooh, a Secret Room!\nFew things are more exciting in an adventurer's life than the discovery of a secret room. These things include: jetpacking around Mount Everest, playing Twister on the moon and sharing a pot of tea with Lara Croft. You have done all these things, but you're still pretty pleased to have discovered this tiny secret location in Ghosterington Manor. There's a lever on the wall and an exit to the east.\n\nTrying and failing to be inconspicuous in the corner is a chest.\n\n> You examine the chest\nYou open the chest and find something inside. It's one of Vigilance Ghosterington's poems! It's his famous lobster poem. You've hit the jackpot! You carefully take the poem.\n\n> You read the lobster\nI tied my lobster to a tree. I came back later, but woe was me!\n\"Oh where oh where can my lobster be?\" (I asked no-one in particular.) Mirelle offered the following: \"Perhaps he has eloped in the romantic tradition.\"\nI considered what Mirelle had told me.\nWe disagreed, and a short while later our relationship began to go downhill.\n\nMy lobster ne'er was returned to me! Now I walk the Seine alone.\n\n> You pull the lever\nYou move the lever to the OFF position.\n\n> You examine the lever\nIt's labelled 'TERROR', and is currently in the off position.\n\n> You go east\nYou're in the fabled Contrition Corner, where Vigilance Ghosterington was said to have flagellated himself after writing each of his awful poems. The stories must have been true because the walls really are red with his blood! Doorways leave this creepy room to the west, north and east.\n\n> Go south\nYou retrieved the following poems from the manor:\n\nThe Thomas Hardy poem         2 million dollars\nThe Molecular Biology poem    4 million dollars\nThe lobster poem              9 million dollars\n\nTotal monetary value: 16 MILLION DOLLARS\n\nTotal cultural value: HIGHLY QUESTIONABLE\n\n> Wait\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\n> You wait awhile\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\n> You wait\nTime passes.\n\n> Wait\nTime passes.\n\n--- UH OH, IT'S MIDNIGHT ---\n\nGhosterington Manor vanishes and you vanish along with it.\n\n> Wait\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nTime passes."
    },
    {
        "text": "[Themes: Slice of life, coming of age, retro, modem, teenage protagonist, d&d, male protagonist]\n\n***You have connected to THE GUILD BBS*** Type LOGIN to enter the Adventurers' Lounge\n\n[Author's Note: You play Tony, a fourteen-year old thief who needs some help looting the legendary Oakville Manor. Luckily it's the 1980s and finding fellow adventurers is just a modem squeal away...]\n\n> Login\n(Guilded Youth v2.0 for the IFComp 2012. HELP and CREDITS are available. Sound enabled on Chrome.)\n\n***WELCOME, TONY THE THIEF***\n\nYou can see a map, Harry the Barbarian, Paula the Mage, Ryan the Bard, Maximus the Cleric and Chris the Paladin here.\n\n\"hey tony\" says Ryan.\n\n\"voltron would kill optimus\" says Harry.\n\n\"he's like 5 robots in one\" says Harry.\n\n\"Optimus would have his whole team backing him up,\" says Chris.\n\nMaximus floats in on a cloud of glory.\n\n> You take the map\nTaken.\n\nPaula winks at you.\n\n\"VOLTROOOOOOOOOOOOOON!\" says Harry.\n\nChris transforms into an awesomebot.\n\nMaximus frowns.\n\n> You look at the map\nIt's the route from your house to the Manor.\n\n\"LESS THAN MEETS THE EYE111\" says Harry.\n\n\"My child, strive to stay in character,\" advises Maximus sternly.\n\nPaula yawns.\n\n> You look at what you're carrying with you\nYour access on the BBS only allows you to EXAMINE, LOOK, WAIT, SHOW something TO someone, or TAKE something.\n\nMaximus sees your attempt and smiles smugly, casually turning invisible -- something only a 8th level Guild member could do.\n\nChris drives circles around Harry.\n\n\"i stomp on your stupid ass!\" exclaims Harry.\n\nMaximus summons a dragon which proceeds to incinerate Harry the Barbarian and then disappear.\n\n> You look at Paula\nPaula radiates with green sparkly power.\n\n\"Language and character violations will not be tolerated,\" intones Maximus.\n\n> You look at Ryan\nA jaunty tunesmith.\n\nYou decide to leave before Maximus kicks you for some violation.\n\nType LOGOUT to continue.\n\n> You look at Maximus\nType LOGOUT to continue.\n\n> Logout\n***DISCONNECTED***\n\nYou switch off your C-64, dropping the room into complete darkness. Your eyes adjust quickly, as befits a fifth level thief. In the hallway you wait and listen for the sounds of your parents' deep sleep. From the upper floor window you gaze upon your dangerous destination. The Oakville Manor.\n\nYour front door clicks behind you. You turn to the east, where the Manor beckons invisibly.\n\n> Go east\nThe map was a joke -- you don't really need a map to find your way, even past midnight. The forest at the end of the cul-de-sac smells damp and green, leading further to the east.\n\n> You go east\nThanks to the full moon, you only trip once.\n\nYou've lived beside these woods for half of your 14 years. The way on leads east.\n\n> Go east\nYou cross the electrical tower field, feeling rather than hearing its low hum. Superstition stops you from looking up at its wires. You can see the new development in the distance, the cause of your urgent mission, its machines like sleeping behemoths. But your destination is further east.\n\n> Go east\nEven crowded by wild brush, the grandest building in your neighbourhood still has a silent dignity. And to think: a few days from now, it'll be erased from history.\n\nThe Manor looms to the north. You know from experience that there's a coachhouse behind it, which you could get to by following a rough path to the northeast.\n\n> Go north\nYou remember the first time you and Ryan found this place, he dared you to knock on the front door. You did him one better, opening the door and pushing it open to reveal the dark hall beyond. There was a cold-iron smell that conjured up a vision of shackles wrapped around a skeleton's wrists. Last year, when you drank your first beer behind the portables, you recognized the smell and realized the abandoned house must have just been a drinking spot for teenagers.\n\nYou can still see the dark hall in your mind's eye, mysterious shapes beckoning just beyond the front threshold. What were they?\n\nYou won't be plumbing the Manor's mysteries tonight: large planks of wood are nailed firmly across the front door. You curse under your breath. You can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks.\n\n> You examine paper\nIt's a Notice of Demolition. Ryan overheard his mom talking to her other historical preservation friends about it, apparently there's some kind of structural damage that makes it dangerous. Personally you think it's more dangerous to let the cookie-cutter semi-detached monotony ooze slowly over the entire city.\n\nThe date on it indicates it's got three days to live. If you don't get to explore it fully it won't be the end of the world: just the end of your boyhood dreams.\n\n> You take the paper\nIt's stapled down with about a million heavy duty staples. Plus, you can read it as it is.\n\n> You go northeast\nThe double doors are large enough to drive a horse and carriage into, but one of them is missing, leaving an entryway to the north. Or you can return to the front of the Manor to the southwest.\n\n> Go north\nThere's a significant hole in the roof that lets in enough light to look around. You and Ryan have been in here before: until he saw a raccoon here it was practically your clubhouse. It's pretty well picked over as a result. You can leave to the south.\n\nA flutter of motion attracts your eye to something in the corner.\n\n> You examine the corner\nA magazine concerning ladies of the night. Unquestioningly valuable to many gentlemen of your acquaintance.\n\n> You take it\nYou manage to peel it off the floorboards.\n\nTaken."
    },
    {
        "text": "[Themes: Slice of life, d&d, retro, coming of age, teenage protagonist, male protagonist]\n\n> Look around\nThere's a significant hole in the roof that lets in enough light to look around. You and Ryan have been in here before: until he saw a raccoon here it was practically your clubhouse. It's pretty well picked over as a result. You can leave to the south.\n\n> You go to the south\nThe double doors are large enough to drive a horse and carriage into, but one of them is missing, leaving an entryway to the north. Or you can return to the front of the Manor to the southwest.\n\nLoot in hand, you head for home, thinking about what your fellow adventurers will say when they see it.\n\nYou can see Harry the Barbarian, Paula the Mage, Ryan the Bard, Maximus the Cleric and Chris the Paladin here.\n\n\"Greetings, thief,\" says Maximus.\n\n\"2400 baud is totally enough! \" exclaims Harry.\n\nPaula laughs at 4800 baud.\n\n> You show tome to Ryan\n\"Dude are you crazy waving that thing around?\" says Ryan the Bard.\n\n\"Yah Concrete Beach are just snobs, they're all pirates anyway,\" says Chris.\n\nMaximus says a silent prayer for pirates to mend their ways.\n\n\"I know they're pirates, I want the warez!!!\" exclaims Harry.\n\n> You ask Ryan about the tome\nYour access on the BBS only allows you to EXAMINE, LOOK, WAIT, SHOW something TO someone, or TAKE something.\n\nMaximus sees your attempt and smiles smugly, casually turning invisible -- something only a 8th level Guild member could do.\n\nThe other guild members chatter on. You wonder if there is a way to convince them to join you in a raid on the Manor.\n\n> You talk to Ryan\nYou'd rather not fill the air with idle chatter. A silent thief is an effective thief. Though if you really need to get something done, you can ASK someone ABOUT something.\n\n> You ask Maximus about the tome\nYour access on the BBS only allows you to EXAMINE, LOOK, WAIT, SHOW something TO someone, or TAKE something.\n\nMaximus sees your attempt and smiles smugly, casually transforming into a wyvern and back -- something only a 8th level Guild member could do.\n\n\"Whatcha got there?\" says Harry the Barbarian. \"SHOW it TO me!\n\nThe other guild members chatter on. You wonder if there is a way to convince them to join you in a raid on the Manor.\n\n> You show the tome to Cleric\nYou don't dare. You'd be kicked from the Guild for sure.\n\n\"Whatcha got there?\" says Harry the Barbarian. \"SHOW it TO me!\n\nThe other guild members chatter on. You wonder if there is a way to convince them to join you in a raid on the Manor.\n\n> You show the tome to Barbarian\n\"where did you get this?\" whispers Harry. \"this is awesome!\"\n\nYou explain the Manor and the potential treasures within, if only you had a companion strong enough to breach the gate...\n\n***Harry the Barbarian has joined your party.***\n\nNow that you've got some muscle on board, time for another Manor raid.\n\nType LOGOUT to continue.\n\n> Go north\nHarry looks at the planks appraisingly. You can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks."
    },
    {
        "text": "[Themes: Slice of life, male protagonist, retro]\n\n> Look around\nHarry looks at the planks appraisingly. You can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks.\n\nYou can also see Harry the Barbarian here.\n\n> You take the planks\nYou're not one for ordering people about. You can ASK someone ABOUT something if you like.\n\n> You ask Harry about the planks\nYou show Harry the problematic plank and he pulls a well-worn crowbar from his long bag. His chatter as he efficiently wrenches off the wood makes him oblivious to a slight clink you hear... then a rustle... and you'd swear it came from inside the house.\n\nYou push the door open with a creak...\n\nYou cross the threshold into the Manor, and achieve one of your boyhood dreams. You breathe the rarefied air, not sure what it is you smell, but appreciating that you're the first to have smelled it in... decades?\n\nTo the west you hear a shuffling and scratching. Maybe some animals got in?\n\nYou look around the space, slowly taking it in. A curving staircase, badly damaged, used to lead to the second floor. Strange shapes loom throughout the space. Hallways heading off to the east and the west.\n\n> You examine the shapes\nYou touch them and a plume of dust is raised -- dust that actually seems thicker than the sheets themselves. Across the room, Harry yanks one off and spends a full minute rubbing his eyes and coughing. For his trouble he's revealed a couple of unremarkable chairs.\n\nYour thief's instincts tell you that there's nothing but unwanted furniture under the sheets, too old to be fashionable but not old enough to be antique.\n\n> Go west\nBased on the animal (?) sounds you heard earlier, you decide to leave that for last.\n\n> East\nThe formidable door has one of those fancy crystalline doorknobs, which won't turn. It does, however, pull out in your hand and fall to the floor.\n\n\"Whoa, big guy,\" Harry says, patting you on the back. \"Easy there. Don't need to wreck the place.\n\nThe doorknob rolls to a stop on the floor.\n\n> You take the doorknob\nYou turn the crystal under the light, feeling its pleasing weight in your hand. As you slip your loot in your pocket, you feel a lightness in your belly.\n\nTaken.\n\n> You look at the doorknob\nCrystal or glass, beautifully cut in either case.\n\n> Go upward\nYou take a few steps up and can go no further. There's about six stairs missing, a huge hole leading down into a pitch blackness. The hand rail bridges the gap and seems pretty sturdy, but not enough to bet your life on.\n\nAs you come down, Harry lets out a relieved breath. \"You don't look like much of a long jumper.\"\n\n> You look at stairs\nThere's about six stairs missing, a huge hole leading down into a pitch blackness.\n\n> You go south\nThe Manor still has loot for the taking: you can smell it.\n\n> You examine Harry\nStocky and jocky.\n\n> You examine the shapes\nYou touch them and a plume of dust is raised -- dust that actually seems thicker than the sheets themselves. Across the room, Harry yanks one off and spends a full minute rubbing his eyes and coughing. For his trouble he's revealed a couple of unremarkable chairs.\n\nYour thief's instincts tell you that there's nothing but unwanted furniture under the sheets, too old to be fashionable but not old enough to be antique.\n\n> Go west\nThere are birds on the wallpaper, the fragments that remain, their black eyes appearing to watch you.\n\nFurther west there looks to be a dining room.\n\n> You look at the birds\nBird eyes have always creeped you out. You are fond of magpies, though.\n\n> Go west\nYou make your way towards the dining room, you start to hear hushed voices. Harry kicks something that hits the wall with a metal sound. Your heart jumps as the low voices in the other room pause.\n\nWhen they start up again you back slowly away, but not before pocketing the object Harry kicked.\n\nYou escape through the front door and emerge...\n\n\"Who the heck were those guys?\" said Harry. \"Jesus. Creepy.\"\n\nYou pull out your loot and admire it, a finely designed dessert fork. Sterling silver from its weight, and beautiful in the moonlight.\n\nHarry notices the look on your face. \"What are you, a klepto?\"\n\nYou decide it's time to head home west, away from prying eyes.\n\n> Go west\nAs you head for home, Harry keeps on with his blather. \"Oh, oh yeah. Your Guild character. Don't you think you take it a little too seriously?\"\n\nYou don't dignify that with an answer.\n\n\"Hey how can you be a thief with a good alignment anyway? Isn't that the opposite?\"\n\nYou walk faster and leave the Barbarian to struggle along with his large bag, and his ignorance, alone.\n\nYou can see Paula the Mage, Ryan the Bard, Maximus the Cleric and Chris the Paladin here.\n\nChris is here, shining a sword of great antiquity.\n\nPaula is checking her makeup in the sword's reflection.\n\n> You look at the doorknob\nCrystal or glass, beautifully cut in either case.\n\nMaximus is enjoying the lack of barbaric chatter.\n\n> You examine the fork\nIt's only slightly tarnished, and will polish up nicely.\n\n> You show the fork to Mage\n\"Doesn't match my other cutlery,\" says Paula the Mage. \"But thanks anyway, sweetie.\""
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist]\n\n> O fork\n\"Sounds like Victorian cutlery,\" Chris whispers. Chris agrees to meet you at the Manor later tonight.\n\n***Chris the Paladin has joined your party.***\n\n> You show the knob to Bard\n\"Cool loot,\" whispers Ryan. He agrees to meet you at your place later tonight.\n\n***Ryan the Bard has joined your party.***\nThat's enough reinforcements for another Manor raid. Type LOGOUT to continue.\n\n> Logout\n***DISCONNECTED***\n\nRyan meets you in front of your house. He's as jumpy as always. You check to see if he's brought his picks, and he pulls them briefly out of a schoolbag festooned with band names.\n\nThe Manor beckons invisibly to the east.\n\nYou can see Ryan the Bard here.\n\n\"Never actually used them except on the test lock,\" Ryan says, pulling his hat off and waving it at his face. It's pretty muggy out.\n\n> You go to the east\nThe forest at the end of the cul-de-sac smells damp and green, leading further to the east.\n\nYou describe the kind of keyhole it is as you head over. \"Oh yeah, those are easier than modern ones.\" He gives you a sly smile. \"Maybe you wanna give it a shot.\"\n\nYou punch him in the shoulder at the reminder of your one thiefly failure. You've never had a knack for picks. It came up when Ryan wanted to join the Guild as a thief, but luckily he changed his mind and decided his mastery of three chords qualified him as a bard.\n\n> Go east\nYou've lived beside these woods for half of your 14 years. The way on leads east.\n\nYou ask him about the kids at his new school, the Catholic one his mom made him go to. \"Pretty boring. I'm the only one into hardcore and cool music there,\" he bragplains.\n\n> Go east\nYou cross the electrical tower field, feeling rather than hearing its low hum. Superstition stops you from looking up at its wires. You can see the new development in the distance, the cause of your urgent mission, its machines like sleeping behemoths. But your destination is further east.\n\nYou ask him if he's made it downtown to a hardcore show yet. He shrugs. \"Not yet. They start so late that there's like no way to get back here before transit stops.\"\n\nHe shoots a glance at you to see how well this latest excuse works. You keep your face neutral. You can mock him after the job.\n\n> You go to the east\nEven crowded by wild brush, the grandest building in your neighbourhood still has a silent dignity. And to think: a few days from now, it'll be erased from history.\n\nThe Manor looms to the north. You know from experience that there's a coachhouse behind it, which you could get to by following a rough path to the northeast.\n\nThere's a girl in a track suit in front of the Manor. You keep it cool and introduce yourself.\n\n\"Hey I'm Chris,\" she says, then trains her dark eyes on your friend. \"And I guess you're Ryan?\"\n\nRyan, as usual in the presence of a non-boy, is motionless, so you nod for him.\n\n> You look at Chris\nShe's wearing a tracksuit and a short haircut. Something about her eyes makes her look ready for a fight.\n\n> You go north\nChris stops when she sees the planks and the forcible entry. \"Whoa, I didn't know you guys broke in, I thought it was abandoned.\" Doubt flickers across her eyes. \"My dad's a cop. It'd kill him if I --\" She shakes her head. Then she notices the notice stapled to the door and relaxes a bit. \"Oh, well. If it's gonna be trashed anyway...\" You can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks.\n\n> Go north\nA curving staircase, badly damaged, used to lead to the second floor. Strange shapes loom throughout the space. Hallways heading off to the east and the west.\n\n> You go to the west\n\"Uh,\" Ryan says, \"Sounds like there's people there. Why don't we search the other rooms first?\"\n\n> You ask Ryan about the door\n\"Ready to do your magic?\" you say to Ryan, motioning at the locked door.\nHis eyes go big and he shakes his head, glancing over at Chris. Oh, right. That comment about her dad being a cop has him spooked. Not that it takes a lot to get him spooked.\n\nA curving staircase, badly damaged, used to lead to the second floor. Strange shapes loom throughout the space. Hallways heading off to the east and the west. Chris looks around, a smile on her face. She seems intrigued by the hole in the stairs.\n\nYou can see Chris the Paladin and Ryan the Bard here.\n\n> You ask Chris about the hole\nChris approaches the hole in the stairs and adjusts her headband.\n\nShe tests the banister first and then hangs from it. You feel your heart lurch as her legs dangle into the hole. \"When I started gymnastics,\" she says, going hand over hand across the gap. \"I always used to imagine using my training in an adventure.\"\n\n\"This is kind of an adventure,\" pipes up Ryan, looking at you for confirmation. \"Right?\"\n\nShe gets to the other side, and flips her feet out onto solid ground.\n\n\"Sure, kid,\" she says. She takes a penlight out of her sweatpants pocket and disappears into the second floor darkness.\n\n> You ask Ryan about the door\nYou and Ryan go to the door. Ryan sizes it up as he takes out his picks. \"Keep an eye out for the cop's daughter,\" he says, a pick hanging from his mouth as he goes about his work.\n\nA few seconds later, the door to the east is open. Ryan can't keep a smile off his face, and you pat him on the shoulder.\n\nThis was clearly a library or office of some kind. The walls are lined with bookshelves, empty but for thick layers of dust. There's a large desk pushed against a wall at a weird angle. You picture the owners packing up and needing to get it out of the way to get something else out of the door.\n\nYou can leave to the west.\n\n> You move desk\nA few seconds of futile pushing makes it clear why it was left here.\n\n> You examine the desk\nThe desk was probably too big to get out through the door, so they just left it there. All its drawers are missing. It's a lovely old wooden specimen, however, and it saddens you it will be smashed to pieces in two days. As you run a fond hand over it, you notice a glint in the inkwell.\n\n> You look at inkwell\nThe glint you saw is from a letter opener. Your lithe fingers tease it out and Ryan crowds around. \"Oooh, a dagger,\" he says. You reluctantly hand it over.\n\nRyan feels the edge and then scoffs. \"Super-dull,\" he says, handing it back.\n\nYour heart lightens and you don't correct him. You secret it away for closer inspection later.\n\n> You look at the opener\nPretty bad-ass looking for an antique.\n\n> You look at the bookshelves\nNot a single book left behind.\n\n> Go west\n\"There you guys are,\" Chris says grumpily as you come out. She gets up from the bottom of the stairs, where she's been sitting.\n\nShe's got her arms crossed and a funny look on her face. Despite her efforts, you notice there's a small bulge in her jacket.\n\nYou're about to ask her about it when there's a smashing sound to the west, followed by a peel of laughter.\n\nRyan nearly jumps out of his skin.\n\n> Go west\nWhen Ryan sees you heading towards the noise instead of away, he makes for the exit.\n\n\"Um... band practice, gotta go... nicetomeetyoubye!\" he says. When he gets out of the house he abandons all dignity and just starts running.\n\nChris gives you a sly smile and walks along with you.\n\nThere are birds on the wallpaper, the fragments that remain, their black eyes appearing to watch you.\n\nFurther west there looks to be a dining room.\n\n> You go to the west\nYou inch forward a bit and try to catch a glimpse of the dining room occupants. You dip in and out, catching a glimpse of a long haired one, a guy with some kind of suit jacket, and two or three more. They appear to be setting the table...?\n\nYou feel Chris's hand on your arm, pulling you back.\n\nThe clink of dinner plates and cutlery cover up the sounds of conversation.\n\n\"...definitely candles, it gives...\"\n\nChris lets go of your arm.\n\n> You listen\nYou lean in and listen in a bit more.\n\n\"...as if we're the lords of the Manor. The pinnacle of suburban decadence. Rome before the malls moved in.\"\n\nChris gives you a confused look, and you shrug.\n\n> Continue\nNo way are you going in there without at least two people to back you up. \"Probably we should get out while the getting's good,\" Chris whispers.\n\n> Go east\nA curving staircase, badly damaged, used to lead to the second floor. Strange shapes loom throughout the space. Hallways heading off to the east and the west.\n\n> You go east\nThis was clearly a library or office of some kind. The walls are lined with bookshelves, empty but for thick layers of dust. There's a large desk pushed against a wall at a weird angle. You picture the owners packing up and needing to get it out of the way to get something else out of the door.\n\nYou can leave to the west.\n\n> You go to the south\nYou can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks.\n\n> You go south\nEven crowded by wild brush, the grandest building in your neighbourhood still has a silent dignity. And to think: a few days from now, it'll be erased from history.\n\nThe Manor looms to the north. You know from experience that there's a coachhouse behind it, which you could get to by following a rough path to the northeast.\n\nYou leave the house behind.\n\nChris kneels to tie her running shoe. Her jacket pocket opens wide -- inside is a gold gleam that makes your fingers itch.\n\n> You examine the gold\nIt's gorgeous, clam-shaped and golden.\n\nWhen Chris stands, a golden pocketwatch falls to the ground.\n\nChris looks at you. \"See ya around, I guess.\" She melts into the forest.\n\n> You take watch\nYou lean over to pick up the watch, and -- bam! -- Chris tackles you from out of nowhere! You find yourself on your back, her arm pinning your neck down. \"Dirty... thief...\" she puffs, smirking, her eyes shining.\n\nHer hands go all over your body, searching for something. Finally her hand rests on a ridge in your pants.\n\n\"Ah hah...\" she crows. \"What have we here? Holding out on me, you dirty thief?\" She's breathing hard, her face a few inches from yours.\n\n> You kiss her\nYou can't -- she's got you pinned too good, but then she reads your intentions and lets up just... enough... for you to kiss her. When you try to slip her some tongue, she gasps and pins you again. \"Oh no, oh no you don't,\" she says, her eyes blazing, covering your mouth with her hand.\n\nWhen you don't struggle, she rolls off you and takes the letter opener with her. You look up at the sky, the moon barely visible, thinking about how weird it is that you're lying in the grass in front of the Manor. A few nights from now, it'll all be gone.\n\n\"What's that handle, mother of pearl?\" Chris says, squinting at it before tossing it onto your chest. \"You find the coolest stuff in these old houses.\"\n\nThe watch sits in your open palm. You look up at Chris, and she's snapping a hairclip that got dislodged into place.\n\nYou have never wanted anything more in your life.\n\n\"Why don't you hold onto that for me, thief,\" she says, pulling her collar up. \"My dad would find it eventually.\"\n\nShe looks at you, a strange smile twisting her lips, and then she runs off into the forest.\n\nYou look longingly after her to to the west.\n\n> You check what you're carrying\nYou can see what you're carrying in the left column, and your current party members in the right column.\n\nLoot in hand, you head for home.\n\nYou can see Harry the Barbarian, Ryan the Bard, Paula the Mage and Maximus the Cleric here.\n\n> You show the watch to max\n\"An exquisite item,\" Maximus says. \"It'll help you tick off the hours you'll spend in hell for your evil ways.\"\n\nYou explain that the Manor is condemned anyway. \"The Oakville Manor? I know that grand old place...\" Maximus says. He agrees to join your raiding party.\n\n***Maximus the Cleric has joined your party.***\n\"dice are stupid anyway,\" Harry says. \"no skill.\"\n\nMaximus struggles with his vow of serenity.\n\n\"hi tony,\" whispers Paula.\n\n> Show opener to Harry\n\"Are you threatening me? hahahahahaha\" says Harry the Barbarian.\n\nHarry scratches his bum.\n\n> Show opener to Paula\n\"Ooh, pretty pretty... I do get a lot of correspondence...\" she says. Paula agrees to join your raiding party.\n\n***Paula the Mage has joined your party.***\n\nThat's enough backup for a final Manor raid. Type LOGOUT to continue.\n\n> Logout\n\" he says. \"If it gets traced back to the Guild, they can easily shut us down.\"\n\nYou cross the electrical tower field, feeling rather than hearing its low hum. Superstition stops you from looking up at its wires. You can see the new development in the distance, the cause of your urgent mission, its machines like sleeping behemoths. But your destination is further east.\n\n> You go to the east\nEven crowded by wild brush, the grandest building in your neighbourhood still has a silent dignity. And to think: a few days from now, it'll be erased from history.\n\nThe Manor looms to the north. You know from experience that there's a coachhouse behind it, which you could get to by following a rough path to the northeast.\n\nPaula -- you assume it's Paula, though she looks more goth than witch -- takes one last drag on her smoke before killing it under a creeper boot.\n\n\"Hello, boys,\" says Paula in a soft, deep voice. \"You ready to knock over this joint?\"\n\nYou nod.\n\nPaula turns toward the Manor and begins to pull on lacy gloves.\n\n> Go north\nMax glances at the paper. \"I'd like to say that my only interest in entering this building is to preserve--\"\n\nPaula cuts him off with a stagey yawn.\n\nYou can leave the portico to the south, or enter the Manor to the north.\n\nA paper in a plastic sheath is stapled to the planks.\n\n> You go north\nA curving staircase, badly damaged, used to lead to the second floor. Strange shapes loom throughout the space. Hallways heading off to the east and the west. It's familiar ground to you now, but the others look around in awe.\n\n> Go west\nMax stops you. \"First things first: let's find the wine cellar.\"\n\n> You examine the hole\nYou come up to the huge ragged hole in the stairs. Max peers into the hole. \"Looks like it goes straight to the wine cellar,\" he says, pulling off his backpack.\n\nAll business, he pulls out a rope and attaches it to the banister, letting the end dangle down into the inky hole."
    },
    {
        "text": "> Go downward\nYou take a few steps up and can go no further. There's about six stairs missing, a huge hole leading down into a pitch blackness with a rope disappearing into it. The hand rail bridges the gap and seems pretty sturdy, but not enough to bet your life on.\n\nMax, wearing a headband with a light attached, starts to climb down the rope. There's a tense moment when the banister squeaks, but it holds fast.\n\nAlone, you and Paula trade a silent look of surprise.\n\nShe's about to say something when a laugh comes from the room to the west. The dining room. And is that the tinkle of cutlery?\n\n> You climb the rope\nYou remember gym class rope climbing last year and decide against it. You're nimble, but your upper body strength is for shit.\n\n> Go west\nYou stop just outside the dining room in the hallway and peek in. There's a whole dinner party going on inside. You whisper to Paula that you recognize the guy from yesterday.\n\n\"Yes,\" she says, her face flooding with emotion. \"I recognize him too.\"\n\nBefore you can contest, she adjusts her hat, squares her shoulders, and strides into the dining room... taking you with her.\n\nThere are six people around the large table, the guys from yesterday plus a couple more. The guy with the strange bangs and suit jacket is at the head of the table beside a goth girl who's too beautiful to look at directly. The table is laid out beautifully, a candelabra melting onto the white tablecloth, chipped plates trimmed with gold.\n\nYou can see Paula the Mage here.\n\nPaula sits down at an empty chair and seats you beside her. There's no plate, but she reaches across the table and wrenches a drumstick from the bird.\n\n> You examine guy\nA beard big enough to hide a mouse in. You can smell the patchouli from here. A thin tattooed girl glances over at him frequently.\n\n\"Um... hi,\" says the fellow in the suit jacket. Everyone's staring at Paula as she gnaws the drumstick, and you will yourself invisible.\n\nShe points the drumstick at him and you see a drop of grease fall onto the tablecloth. \"You stole my idea, Erik. And then you didn't even invite me.\"\n\n> You look at the candelabra\nThere's more candles than abra, and it doesn't look all that steady.\n\n\"Well, I would say it was our idea,\" says Erik.\n\nPaula reaches over and takes the closest goblet. Its bespectacled owner pretends he doesn't notice. She takes a sip and then spits it out, luckily away from you. \"A white? With duck, Erik?\"\n\nErik grimaces. \"They were out of--\"\n\nHe stops suddenly, seeing Max in the doorway with a bottle of wine in each hand.\n\n> You sit\nWhat do you want to sit on?"
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist, modem, male protagonist]\n\n> You describe your surroundings\nThere are six people around the large table, the guys from yesterday plus a couple more. The guy with the strange bangs and suit jacket is at the head of the table beside a goth girl who's too beautiful to look at directly. The table is laid out beautifully, a candelabra melting onto the white tablecloth, chipped plates trimmed with gold.\n\nThere's a bottle of white wine with a dusty label, within arms' reach.\n\nYou can also see Maximus the Cleric and Paula the Mage here.\n\n\"Ah, sommelier,\" Paula waves him over, proving herself an improvisational genius. Max comes, his eyes stunned, and only squeaks a bit as she pulls the dusty bottles from his grasp.\n\nShe sets one on the table and reads the label on the other. Max backs away towards the door, and then makes a break for it, his backpack clinking with other bottles.\n\n> You eat the duck\n(first taking Drumstick)\nYou're not really hungry.\n\n\"Ah -- a pinot noir,\" she says, uncorking it with surprising ease. \"That's suitable for duck.\"\n\nShe goes around the table, picking up a goblet still full of wine. \"What's the point in doing something --\" throws the white wine onto the floor, \"-- if you're not going to go all the way with it?\" She fills the goblet and bangs it down onto the table, sloshing red, and the candelabra sways a bit. The light in the room sways too.\n\n> You drink the wine\n(the bottle of white wine)\nA good thief doesn't get high on his own supply.\n\n\"The rules are the least interesting part of this,\" Erik snaps back. \"You always take things too far.\"\n\nThe dreadlocked man gulps down his white and holds it up for Paula, who overfills it. \"Whoops, I guess I do. I guess it's why you kicked me out of the freak clique, huh?\"\n\n> You take the bottle\n(the bottle of white wine)\n\nTaken.\n\n\"Look, Paul,\" started Erik, his voice tired and sad. \"I--\"\n\n\"It's Paula, you stupid fuck!\" She throws the bottle at him,\nand the last thing you see before you leave the room is the candelabra falling onto the tablecloth.\n\nIn a rush you see the birds on the wallpaper, the front door still open, the flattened grass in front of you and before too long, you're back in your bedroom. You take off your clothes, trying to decide if they smell of smoke or just of guilt.\n\nYou're in your bed when the fire sirens start to wail and the flames are becoming visible on the Manor. It's sad, but when you consider that the Manor was otherwise facing crowbars and rough hands and wrecking balls in the morning... better a funeral pyre.\n\n***\n\nA week, two weeks, three weeks pass. You use your nights for sleeping, not sneaking. Your modem neither winks or squeals. And no one in the Guild squeals either, since the knock on your door never comes. When Ryan tells you something funny Harry said online yesterday, you realize -- if even Ryan is sticking his head up -- that the smoke has cleared.\n\nYou decide to LOGIN again.\n\n> You show the wine to Chris\n(the bottle of white wine to Chris the Paladin)\nFor some reason, this feels like a significant choice. Any of your friends would like the wine. Are you sure? (Y/N)\n\n> Go north\nYou reconsider.\n\n\"Here: COPS DON'T SUSPECT ARSON\" says Harry.\n\nMaximus lifts his staff and Harry vanishes.\n\nPaula rolls her eyes.\n\n\"Long time no see\" says Chris.\n\n> Y.\n\"Well well,\" whispers Chris. \"Quite a score, thief.\" You arrange to meet tonight.\n\n***Chris the Paladin has joined your party.***\n\nType LOGOUT to continue.\n\n> Logout\n***DISCONNECTED***\n\nYou start smelling the burned Manor from the forest. Guilt and excitement compete in your belly as you emerge...\n\nThe ring of brush is blackened. The Manor's roof is caved in, beaten to its knees by the firehose water. They must have gotten here quickly as there's good chunks of the eastern wing that are mostly intact.\n\nThe portico is wrapped in that yellow police tape that you've only seen in cop shows.\n\nTo the northeast is the coachhouse, tonight's rendezvous spot.\n\n> Go northeast\nThe double doors are large enough to drive a horse and carriage into, but one of them is missing, leaving an entryway to the north.\n\nThe small structure seems to have far enough away to have been spared the fire.\n\n> You go north\nThere's a significant hole in the roof that lets in enough light to look around. The moonlight gives everything an unearthly hue.\n\nChris isn't here.\n\nYou look up at the moon through the roof, feeling like a jackass.\n\nWhen you turn to leave, you see her framed in the doorway, grinning. \"Had to make sure this wasn't a set up.\"\n\nShe sits down on a wooden crate and pulls tumblers out of her duffel bag. She smells them first before sticking them out. \"Wine me!\"\n\nLater that night, drunk, she chews you out for not including her in your scheme to burn down the Manor. You explain that it wasn't a scheme, that you would never not include her in schemes, and she makes you pinky promise... and then pinky wrestle, then the kissing, and the rubbing, and then the puking puts an end to that.\n\nBut it's only the beginning of your scheming together. After a particularly successful scheme eight years later, the two of you lie in a bed with a view of the Mediterranean, tracing the route of what got you there from your...\n\nClick here to play again.\ndebugcheapnitfol quit with exit status: 0\n\n***You have connected to THE GUILD BBS*** Type LOGIN to enter the Adventurers' Lounge\n\n> Skipthru\nThere are six people around the large table, the guys from yesterday plus a couple more. The guy with the strange bangs and suit jacket is at the head of the table beside a goth girl who's too beautiful to look at directly. The table is laid out beautifully, a candelabra melting onto the white tablecloth, chipped plates trimmed with gold.\n\nPaula sits down at an empty chair and seats you beside her. There's no plate, but she reaches across the table and wrenches a drumstick from the bird.\n\n> You look at the girl\nWhich do you mean, the goth girl or the thin tattooed girl?\n\n> Goth\nBlack lipstick and eyeshadow is all you get before you have to avert your eyes. She's definitely not from your school, or any school that you can imagine. Beside her is a dreadlocked guy with a large beard, picking his teeth with a bone.\n\n\"Um... hi,\" says the fellow in the suit jacket. Everyone's staring at Paula as she gnaws the drumstick, and you will yourself invisible.\n\nShe points the drumstick at him and you see a drop of grease fall onto the tablecloth. \"You stole my idea, Erik. And then you didn't even invite me.\"\n\n> You examine the thin girl\nFeathered short hair with bird-like nervous movements to match, but you don't know if it's Paula-inspired.\n\n\"Well, I would say it was our idea,\" says Erik.\n\nPaula reaches over and takes the closest goblet. Its bespectacled owner pretends he doesn't notice. She takes a sip and then spits it out, luckily away from you. \"A white? With duck, Erik?\"\n\nErik grimaces. \"They were out of--\"\n\nHe stops suddenly, seeing Max in the doorway with a bottle of wine in each hand.\n\n> You ask Erik about Manor\nYou can only do that to something animate.\n\n> Wait\nTime passes.\n\n\"Ah -- a pinot noir,\" she says, uncorking it with surprising ease. \"That's suitable for duck.\"\n\nShe goes around the table, picking up a goblet still full of wine. \"What's the point in doing something --\" throws the white wine onto the floor, \"-- if you're not going to go all the way with it?\" She fills the goblet and bangs it down onto the table, sloshing red, and the candelabra sways a bit. The light in the room sways too.\n\n> You take the wine\n(the bottle of white wine)\n\nTaken.\n\n\"The rules are the least interesting part of this,\" Erik snaps back. \"You always take things too far.\"\n\nThe dreadlocked man gulps down his white and holds it up for Paula, who overfills it. \"Whoops, I guess I do. I guess it's why you kicked me out of the freak clique, huh?\"\n\n> You wait\nTime passes.\n\n\"Look, Paul,\" started Erik, his voice tired and sad. \"I--\"\n\n\"It's Paula, you stupid fuck!\" She throws the bottle at him,\nand the last thing you see before you leave the room is the candelabra falling onto the tablecloth.\n\nIn a rush you see the birds on the wallpaper, the front door still open, the flattened grass in front of you and before too long, you're back in your bedroom. You take off your clothes, trying to decide if they smell of smoke or just of guilt.\n\nYou're in your bed when the fire sirens start to wail and the flames are becoming visible on the Manor. It's sad, but when you consider that the Manor was otherwise facing crowbars and rough hands and wrecking balls in the morning... better a funeral pyre.\n\n***\n\nA week, two weeks, three weeks pass. You use your nights for sleeping, not sneaking. Your modem neither winks or squeals. And no one in the Guild squeals either, since the knock on your door never comes. When Ryan tells you something funny Harry said online yesterday, you realize -- if even Ryan is sticking his head up -- that the smoke has cleared.\n\nYou decide to LOGIN again.\n\n> You give the wine to Paula\n(the bottle of white wine to Paula the Mage)\nFor some reason, this feels like a significant choice. Any of your friends would like the wine. Are you sure? (Y/N)\n\n> Y.\n\"Ah, wondered what happened to that,\" Paula whispers. You arrange to meet tonight.\n\n***Paula the Mage has joined your party.***\n\nType LOGOUT to continue.\n\n> Logout\n***DISCONNECTED***\n\nYou start smelling the burned Manor from the forest. Guilt and excitement compete in your belly as you emerge...\n\nThe ring of brush is blackened. The Manor's roof is caved in, beaten to its knees by the firehose water. They must have gotten here quickly as there's good chunks of the eastern wing that are mostly intact.\n\nThe portico is wrapped in that yellow police tape that you've only seen in cop shows.\n\nTo the northeast is the coachhouse, tonight's rendezvous spot.\n\n> Go northeast\nThe double doors are large enough to drive a horse and carriage into, but one of them is missing, leaving an entryway to the north.\n\nThe small structure seems to have far enough away to have been spared the fire.\n\n> Go north\nThere's a significant hole in the roof that lets in enough light to look around. The moonlight gives everything an unearthly hue.\n\nYou can see Paula the Mage here.\n\nPaula is sitting cross-legged on a wooden crate, looking up at the moonlight. She's not wearing her makeup today, and you can get a sense of how she looked when she was Paul.\n\nShe stretches out her hand for the wine. \"Well, c'mon, let's see if it was worth burning a house down for.\"\n\nThat night you hear the whole history of the Freak Clique. The baffling pyrotechnics you witnessed in the dining room was the tip of the iceberg, the final scene in a complex teenaged drama -- a type that you never want to star in.\n\nBut by the end of the story you decide that Paula is one of the weirdest people you've ever met, and so of course she becomes one of your best friends.\n\nTwenty years later, she throws you a crazy bachelor party which ends, as always, with the two of you in your cups reminiscing about your...\n\nClick here to play again."
    },
    {
        "text": "[Themes: Slice of life, male protagonist, teenage protagonist, modem]\n\n***You have connected to THE GUILD BBS*** Type LOGIN to enter the Adventurers' Lounge\n\n> Skipthru\nThere are six people around the large table, the guys from yesterday plus a couple more. The guy with the strange bangs and suit jacket is at the head of the table beside a goth girl who's too beautiful to look at directly. The table is laid out beautifully, a candelabra melting onto the white tablecloth, chipped plates trimmed with gold.\n\nPaula sits down at an empty chair and seats you beside her. There's no plate, but she reaches across the table and wrenches a drumstick from the bird.\n\n> Wait\nTime passes.\n\n\"Um... hi,\" says the fellow in the suit jacket. Everyone's staring at Paula as she gnaws the drumstick, and you will yourself invisible.\n\nShe points the drumstick at him and you see a drop of grease fall onto the tablecloth. \"You stole my idea, Erik. And then you didn't even invite me.\"\n\n> You wait awhile\nTime passes.\n\n\"Well, I would say it was our idea,\" says Erik.\n\nPaula reaches over and takes the closest goblet. Its bespectacled owner pretends he doesn't notice. She takes a sip and then spits it out, luckily away from you. \"A white? With duck, Erik?\"\n\nErik grimaces. \"They were out of--\"\n\nHe stops suddenly, seeing Max in the doorway with a bottle of wine in each hand.\n\n> You wait for a while\nTime passes.\n\n\"Ah, sommelier,\" Paula waves him over, proving herself an improvisational genius. Max comes, his eyes stunned, and only squeaks a bit as she pulls the dusty bottles from his grasp.\n\nShe sets one on the table and reads the label on the other. Max backs away towards the door, and then makes a break for it, his backpack clinking with other bottles.\n\n> Wait\nTime passes.\n\n\"Ah -- a pinot noir,\" she says, uncorking it with surprising ease. \"That's suitable for duck.\"\n\nShe goes around the table, picking up a goblet still full of wine. \"What's the point in doing something --\" throws the white wine onto the floor, \"-- if you're not going to go all the way with it?\" She fills the goblet and bangs it down onto the table, sloshing red, and the candelabra sways a bit. The light in the room sways too.\n\n> You take the wine\n(the bottle of white wine)\n\nTaken.\n\n\"The rules are the least interesting part of this,\" Erik snaps back. \"You always take things too far.\"\n\nThe dreadlocked man gulps down his white and holds it up for Paula, who overfills it. \"Whoops, I guess I do. I guess it's why you kicked me out of the freak clique, huh?\"\n\n> You give the wine to Ryan\n(the bottle of white wine to Ryan the Bard)\nFor some reason, this feels like a significant choice. Any of your friends would like the wine. Are you sure? (Y/N)\n\n> Y.\n\"Wicked!!!! Let's get wasted!\" Ryan whispers. You arrange to meet tonight in the usual place.\n\n***Ryan the Bard has joined your party.***\n\nType LOGOUT to continue.\n\n> Logout\n***DISCONNECTED***\n\nYou start smelling the burned Manor from the forest. Guilt and excitement compete in your belly as you emerge...\n\nThe ring of brush is blackened. The Manor's roof is caved in, beaten to its knees by the firehose water. They must have gotten here quickly as there's good chunks of the eastern wing that are mostly intact.\n\nThe portico is wrapped in that yellow police tape that you've only seen in cop shows.\n\nTo the northeast is the coachhouse, tonight's rendezvous spot.\n\n> You go north\nWisely, your instincts refuse to let you return to the scene of the crime.\n\n> Go northeast\nThe double doors are large enough to drive a horse and carriage into, but one of them is missing, leaving an entryway to the north.\n\nThe small structure seems to have far enough away to have been spared the fire.\n\n> You go north\nThere's a significant hole in the roof that lets in enough light to look around. The moonlight gives everything an unearthly hue.\n\nYou can see Ryan the Bard here.\n\nRyan jumps a bit as he sees you. You lift the bottle of wine. \"Nice! I got some jungle juice to put us over the top,\" he says, pulling a soda bottle out. \"And some pretzels!\"\n\nYou hunker down on the floor and start to work on the cork.\n\nThat night you develop a lifetime hatred of gin and a renewed faith in your friendship with Ryan. At school he'd become a bit evasive lately, but you find out how hard he's trying to fit in. It's something you don't care about, but it explains why he acts so weird in class sometimes.\n\nTen years later you're on tour together and in a convenience store in Detroit. Ryan finds a bottle of the same stuff. You lift it & some pretzels and drink it in a squat later that night, laughing about your....\n\nClick here to play again.\ndebugcheapnitfol quit with exit status: 0\n\n> You take bottle\n(the bottle of white wine)\n\nTaken.\n\n\"Ah -- a pinot noir,\" she says, uncorking it with surprising ease. \"That's suitable for duck.\"\n\nShe goes around the table, picking up a goblet still full of wine. \"What's the point in doing something --\" throws the white wine onto the floor, \"-- if you're not going to go all the way with it?\" She fills the goblet and bangs it down onto the table, sloshing red, and the candelabra sways a bit. The light in the room sways too.\n\n> You wait awhile\nTime passes.\n\n\"The rules are the least interesting part of this,\" Erik snaps back. \"You always take things too far.\"\n\nThe dreadlocked man gulps down his white and holds it up for Paula, who overfills it. \"Whoops, I guess I do. I guess it's why you kicked me out of the freak clique, huh?\"\n\n> You give the wine to Harry\n(the bottle of white wine to Harry the Barbarian)\nYou're about to when Harry opens his big mouth again.\n\n\"Here: COPS DON'T SUSPECT ARSON\" says Harry.\n\nMaximus lifts his staff and Harry vanishes.\n\nPaula rolls her eyes.\n\n\"Long time no see\" says Chris.\n\n> You give the wine to Maximus\n(the bottle of white wine to Maximus the Cleric)\nFor some reason, this feels like a significant choice. Any of your friends would like the wine. Are you sure? (Y/N)\n\n> Y.\n\"Splendid! I presumed that lost in the... accident,\" whispers Maximus. You arrange to meet tonight.\n\n***Maximus the Cleric has joined your party.***\n\nType LOGOUT to continue.\n\n> Go north\nThere's a significant hole in the roof that lets in enough light to look around. The moonlight gives everything an unearthly hue.\n\nYou can see Maximus the Cleric here.\n\nMaximus is reading a book that he puts away when you arrive. You recognize it from the cover art. \"Looking forward to the second edition?\"\n\nMaximus' nostrils flare. \"Actually, I'm not.\" He raps the book inside his backpack. \"The Dungeon Masters Guide is pretty much the definitive edition. It's held me well for a decade, and I have no intention of changing.\"\n\nYou nod soberly and show him the wine. \"Ah,\" he says, taking out a satchel and removing some money from it. He gives you eight dollars. \"10% of the anticipated retail value,\" he says. He puts it in his backpack, nods to you, and leaves the coachhouse.\n\nYou can't decide if you're disappointed or relieved not to be drinking with Maximus.\n\nFive years later, you're on campus going between classes. You see Maximus walking towards you, earnestly talking to a guy your age about something called a hedge fund. He sees you seeing him, but he averts his eyes, and soon the two of them disappear into the School of Business. You check the wallet you snagged on the way by and confirm that it's him. It's funny, because of all of you, he seemed most likely to be a lifer... but it seems that Maximus the Cleric now disavows your...\n\nClick here to play again."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, multiple protagonists, fantasy, genie]\n\n> You examine Seegan\n(Seegan)\nHer physical undercurrents flowed of unattractiveness. Her emotional\nwinds raged with sadness, separation, self-reconciliation and\ndetermination. Her mental flows darted and crackled with creativity.\n\nShe wore the ring that contained my essence.\n\nSeegan stared at me. Her eyes had the typical glaze of awe but lacked\nthe typical glimmer of San."
    },
    {
        "text": "[Themes: Fantasy, fantasy, genie, nonhuman protagonist]\n\n> You talk to Seegan\nI told my Purpose. I was a servant of limited power who would grant\nthree wishes. The first wish was to be stated within one minute of my\nexplanation. The second was to be stated on the day one year from the\nfirst, in the same physical location as the first. The third, ten\nyears on the day and in the same location.\n\n> You look at the ring\nThe brass ring had the word \"Canloc\" inscribed. It had been my\ncontainer for many summoners. I would return to it after granting\nwishes. It protected me from complete loss of Purpose.\n\nSeegan took out a hand mirror, looked at it for a final assessment and\nthen put it away. She told me, \"I've thought about it, and I wish to\nbe beautiful.\"\n\n> You grant wish\nstated desire. Of those that would accomplish this, only one was I\nWillful enough to channel.\n\nwas, by itself, more Purposeful than I could manage. But if I\nsimultaneously channeled an attractor current, I could integrate them\nthrough my summoner and fulfill the wish. I chose the undercurrent of\n\n1)  lycanthropy.\n2)  a deep sleep.\n3)  an inhumanly shrill voice.\n\n> 1\nThe wish was granted.\n\n> You examine Seegan\n(Seegan)\nHer physical undercurrents stormed with attractiveness. Her emotional\nwinds raged with conflicting happiness and separation, dilemma and\ndetermination. Her mental flows darted and crackled with creativity.\nHer movements resembled those of a fox.\n\nShe wore the ring that contained my essence.\n\n> Search undercurrent\nI wondered. Which did I mean, Seegan's physical, Seegan's emotional\nor Seegan's mental?\n\n> You look at Seegan's mental\nHer mental undercurrents were difficult for me to interpret. Cold,\nthen hot, then cold again. These winds were conditioned, although not\nruled, by her emotions.\n\n> You examine the seegan's physical\nHer undercurrents continued their warmth but now flowed with the winds\nand not against them.\n\n> You examine the emerald\nThe emerald was as large as a human head. Its \"neck\" was tapered to a\nsharp point.\n\n> You examine Seegan's emotional\nThe cold winds of separation flurried within her. Together with the\nphysical they linked, although distantly, to those of her father.\nDeep within these flurries was a pocket of fear, apparently kept in\ncheck by the torrent outside.\n\n> You take the emerald\nThrough Will of Purpose, I channeled the undercurrents of the emerald.\n\n> You examine the body\nI found the remains to be no different than any other.\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe emerald.\n\n> You drop the emerald\nI dropped my undercurrent connection with the emerald.\n\n> You go east\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nVault Hall, Nearer to the Entrance\nThe passageway began there and continued east. There were doors on\nthe northern and southern sides, each with a set of uniquely engraved\nrunes. A thick, stone wall blocked physical travel west.\n\n> You examine the runes\nThe runes on the northern door depicted a sun melting various objects.\nThose on the southern door showed lemmings running to and over a\ncliff.\n\n> Go south\nBlasts of the mental passed through me as I entered the room. But\nthey had no effect at all.\n\nVault Storage, Money\nAt one time, stacks of coins made of rare metals were stored there.\nOnce, in fulfilling a wish, I channeled those coins and bestowed them\nto a former summoner. To be able to perform this San-filled\nchanneling, I was forced to attach a poison that would form on the\ncoins when in direct contact with sunlight. The summoner took his\ntreasure with him, but he did not return for this third wish. How my\nring returned to the vault, I could only speculate.\n\n> Go north\nVault Hall, Nearer to the Entrance\n\n> You go north\nBlasts of the physical passed through me as I entered the room. But\nthey had no effect at all.\n\nVault Storage, Jewelry\nThat room had been designed to store jewelry in glass cases. All but\none piece of jewelry had been taken.\n\nI saw a necklace there.\n\n> You examine the necklace\nOther than an inscribed name, \"Ivogard\", I saw nothing special about\nthe necklace."
    },
    {
        "text": "> You enter the ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n\n> Beware\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSuch was my first experience of joy. Until that point in time, every\nsummoner returning for another wish had increased San. Through the\nhappiness of Seegan, I felt more Purpose than I had ever known.\n\n\"Great Djinni,\" my summoner said with much passion. \"I can't thank\nyou enough--not only for making me beautiful, but for giving me the\nextra gift of being able to turn into a fox. I escaped these vaults\nbecause in fox form I was able to slip between the bars and dash\nquickly to the nearest village.\n\nIt was at that village I met my husband. I owe you that thanks as\nwell. I know I didn't need to explain, but I wanted to express my\nhappiness.\n\nDo you have any further instructions for my second wish? I will await\nyour word before wishing.\"\n\n> You talk to Seegan\nI told her that, in addition to the previous rules, I could not undo\nany direct effects of previous wishes.\n\n(I wondered then whether I should have told her about my new Purpose.\nThanking her seemed \"correct\" somehow and yet not \"appropriate\"\nbecause it would likely have interfered with many undercurrents.)\n\n\"I've known my second wish since I knew I was pregnant. I wish my\nbaby a long, healthy, happy, prosperous life.\"\n\n> You grant wish\nMy recent exponential increase in Purpose evoked in me an awareness.\nThe attractor winds that gave me control of the undercurrents were\nviewed as curses by my summoners. By the time the summoner called\nupon me anew, any Satisfaction that might have been gained initially\nwas eliminated by these curses.\n\nWhy had Seegan been Satisfied? I knew only one possibility. She was\nwithout San.\n[I pondered.]\n\nstated desire. Two of the requirements were a long and healthy life\nfor her baby. The undercurrents of her baby, lycanthropy and life\nspan, were incompatible. The were-fox undercurrent needed redirection\nat that point in time or be integrated fully soon after.\n[I pondered. And for the first time, I could grant at least some of\nthe wish without an associated \"curse\".]\n\nHer baby had strong undercurrents of happiness. I would not need to\ndo anything to grant that portion of the wish. However, prosperity\nwas another matter. I could have channeled the undercurrents to make\nthat happen, but not without cost. I realized that I greatly risked\nSatisfaction if I attached a curse. Perhaps there was treasure still\nremaining somewhere around the vaults that could assure prosperity.\n\n> Go north\nBlasts of the physical passed through me as I entered the room. They\ndid no damage, but I felt their associated sensations.\n\nVault Storage, Jewelry\nThat room had been designed to store jewelry in glass cases. All but\none piece of jewelry had been taken.\n\nI saw a necklace there.\n\n> You take the necklace\nlinked it to an area far beneath that room. I would not be able to\nchannel the necklace nor any of its powers."
    },
    {
        "text": "[Themes: Fantasy, genie]\n\n> Go downwards\nThe underground continued indefinitely. The earth there was rich in\nminerals, particularly iron. I felt a vague sense of Purpose there."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Go downward\nI descended.\n\n> Go upwards\nBlasts of the physical passed through me as I entered the room. But\nthey had no effect at all.\n\nVault Storage, Jewelry\n\nI saw a necklace there.\n\n> You go east\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nVault Hall, Nearer to the Entrance\nThe passageway began there and continued east. There were doors on\nthe northern and southern sides, each with a set of uniquely engraved\nrunes. A thick, stone wall blocked physical travel west.\n\n> Go north\nBlasts of the physical passed through me as I entered the room. They\ndid no damage, but I felt their associated sensations.\n\nVault Storage, Jewelry\nThat room had been designed to store jewelry in glass cases. All but\none piece of jewelry had been taken.\n\nI saw a necklace there."
    },
    {
        "text": "[Themes: Fantasy, fantasy, genie]\n\n> Go downward\nI descended.\n\nThe underground continued indefinitely. The earth there was rich in\nminerals, particularly iron. I felt a vague sense of Purpose there.\n\n> You grant wish\nMy recent exponential increase in Purpose evoked in me an awareness.\nThe attractor winds that gave me control of the undercurrents were\nviewed as curses by my summoners. By the time the summoner called\nupon me anew, any Satisfaction that might have been gained initially\nwas eliminated by these curses.\n\nWhy had Seegan been Satisfied? I knew only one possibility. She was\nwithout San.\n[I pondered.]\n\nstated desire. Two of the requirements were a long and healthy life\nfor her baby. The undercurrents of her baby, lycanthropy and life\nspan, were incompatible. The were-fox undercurrent needed redirection\nat that point in time or be integrated fully soon after.\n[I pondered. And for the first time, I could grant at least some of\nthe wish without an associated \"curse\".]\n\nHer baby had strong undercurrents of happiness. I would not need to\ndo anything to grant that portion of the wish. However, prosperity\nwas another matter. I could have channeled the undercurrents to make\nthat happen, but not without cost. I realized that I greatly risked\nSatisfaction if I attached a curse. Perhaps there was treasure still\nremaining somewhere around the vaults that could assure prosperity.\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe emerald.\n\n> You give the emerald to the baby\nI could only do that to something animate.\n\n> You enter Seegan\n(Seegan)\nThat was not something I would enter.\n\n> You give the emerald to Seegan\n(Seegan)\nSeegan did not seem interested.\n\n> You examine the emerald\nThe emerald was as large as a human head. Its \"neck\" was tapered to a\nsharp point.\n\n> You look at Seegan\n(Seegan)\nHer physical undercurrents stormed with attractiveness and combined\nwith those of another life. Her emotional winds raged with happiness\nand determination. Her mental flows darted and crackled with\ncreativity. Her movements resembled those of a fox.\n\nShe wore the ring that contained my essence.\n\n> You examine the seegan's physical\nHer undercurrents continued their warmth but now flowed with the winds\nand not against them. An independent current flowed within her. She\nwas with child.\n\n> You go to the west\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nWinter left its presence there. Snow was piled up against the\nentrance. The wind was blowing through there and making a whistling\nsound. A trail lead through a range of hills to the west. The\nvaults, built into a hill, were to the east.\n\n> You examine the snow\nThe snow was white and cold. It formed a blanket for the hills.\n\n> You go to the west\nOutside, Just Above Trail Surface\nThe snow-covered hills appeared taller when viewed from the surface of\nthe trail.\n\n> You examine the hills\nEach hill was gently rounded. No hill protruded much higher than the\nothers. No vegetation extended above the blanket of snow.\n\n> You go west\nOutside, Just Above Trail Surface\n\n> Go upwards\nI rose above the surface.\n\nOutside, above Trail Level\nThe sky was humid and gray. The surrounding hills rolled beyond every\nhorizon. I felt no sense of Purpose there."
    },
    {
        "text": "> Go downwards\nOutside, Just Above Trail Surface\nThe snow-covered hills appeared taller when viewed from the surface of\nthe trail."
    },
    {
        "text": "> Go down\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nThe underground continued indefinitely. The earth there was rich in\nminerals, particularly iron. I felt a vague sense of Purpose there.\n\n> You recall vault entry room\nI had to rely on memories gained recently.\n\n> You recall Vault\nI remembered being in that vaulted area many times before. Although\nit was certainly possible that things had changed since the previous\nsummoning.\n\nTrl   Entr  Vaul  Pssg  Pssg  Hill\nHill  Hill  Hill  Coin  Pprs  Hill\nHill  Hill  Hill  Hill  Hill  Hill\n\n> Go upwards\nThe remains of a former summoner rested here. An emerald had taken\nthe place of his head.\n\nThe summoner known as Seegan rested before me.\n\n> You go east\nVault Hall, Nearer to the Entrance\nThe passageway began there and continued east. There were doors on\nthe northern and southern sides, each with a set of uniquely engraved\nrunes. A thick, stone wall blocked physical travel west.\n\n> You go east\nVault Hall, Away from the Entrance\nThe passageway ended there, beginning from the east. There were doors\non the northern and southern sides, each with a set of uniquely\nengraved runes.\n\n> You examine the runes\nThe runes on the northern door depicted a plague. Those on the\nsouthern door were two rivers flowing into and out of each other.\n\n> Go east\nOutside, Just Above Trail Surface\nThe snow-covered hills appeared taller when viewed from the surface of\nthe trail.\n\n> You go south\nOutside, Just Above Trail Surface\n\n> Go west\nthe room. They did no damage, but I felt their associated sensations.\n\nVault Storage, Papers\nThe room had many papers stored there.\n\nI sensed strong undercurrents from one of the deeds.\n\n> You go north\nVault Hall, Away from the Entrance\n\n> Go north\nentered the room. But they had no effect at all.\n\nVault Storage, Artifacts\nThe room had many unique items stored there, but I was not concerned\nwith them.\n\nI sensed strong undercurrents from a brass lamp.\n\n> You examine the lamp\nIt was a brass lamp with the name \"Canloc\" inscribed on its base."
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists, fantasy]\n\n> Go north\nentered the room. They did no damage, but I felt their associated\nsensations.\n\nVault Storage, Artifacts\nThe room had many unique items stored there, but I was not concerned\nwith them.\n\nI sensed strong undercurrents from a brass lamp.\n\n> You enter the lamp\nbeen fulfilled.\n\n> You go south\nBlasts of the mental passed through me as I entered the room. They\ndid no damage, but I felt their associated sensations.\n\nVault Storage, Money\nAt one time, stacks of coins made of rare metals were stored there.\nOnce, in fulfilling a wish, I channeled those coins and bestowed them\nto a former summoner. To be able to perform this San-filled\nchanneling, I was forced to attach a poison that would form on the\ncoins when in direct contact with sunlight. The summoner took his\ntreasure with him, but he did not return for this third wish. How my\nring returned to the vault, I could only speculate.\n\n> You recall Canloc\nI had to rely on memories gained recently.\n\n> You examine the necklace\nOther than an inscribed name, \"Ivogard\", I saw nothing special about\nthe necklace.\n\n> You go southeast\nBlasts of the mental passed through me as I entered the room. They\ndid no damage, but I felt their associated sensations.\n\nVault Storage, Money\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe emerald.\n\n> You examine the emerald\nThe emerald was as large as a human head. Its \"neck\" was tapered to a\nsharp point.\n\n> Go east\nthe room. They did no damage, but I felt their associated sensations.\n\nVault Storage, Papers\nThe room had many papers stored there.\n\nI sensed strong undercurrents from one of the deeds.\n\n> Go north\nBlasts of the physical passed through me as I entered the room. They\ndid no damage, but I felt their associated sensations.\n\nVault Storage, Jewelry\n\nI saw a necklace there.\n\n> You take the emerald\nI had a link to the emerald. I did not need another.\n\n> You take the necklace\nlinked it to an area far beneath that room. I would not be able to\nchannel the necklace nor any of its powers."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Go downward\nI descended.\n\n> Go north\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nOutside, Just Above Trail Surface\nThe snow-covered hills appeared taller when viewed from the surface of\nthe trail."
    },
    {
        "text": "[Themes: Fantasy, genie]\n\n> Go downward\nI descended.\n\nI saw a simple, large, circular room. Within the room were three\npedestals, each one meter tall. Each appeared the same, each was\nspaced a uniform distance from the walls and from each other. Each\npedestal was the same in physical construction. They were made of\niron.\n\nA small circle had been inscribed around the exact center of the room.\n\nI saw the beginnings of many undercurrents there. That room would\nsoon be a focal point for a cataclysmic occurrence."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, fantasy]\n\n> You go down\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nThe underground continued indefinitely. The earth there was rich in\nminerals, particularly iron. I felt a vague sense of Purpose there.\n\nI touched the necklace and felt powerful physical undercurrents that linked it to an area far beneath that room. I would not be able to channel the necklace nor any of its powers.\" The undercurrents of confusion made my commands meaningless.\n\n> You take Deed\nThrough Will of Purpose, I channeled the undercurrents of the Deed of\nNobility.\n\n> You recall entr\nI had to rely on memories gained recently.\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe Deed of Nobility.\n\n> You grant wish\nwish.\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe Deed of Nobility.\n\n> Go northwest\nVault Hall, Nearer to the Entrance\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe Deed of Nobility.\n\n> Go west\nThe remains of a former summoner rested here. An emerald had taken\nthe place of his head.\n\nThe summoner known as Seegan rested before me.\n\n> You drop Deed\nI dropped my undercurrent connection with the Deed of Nobility.\n\n> You grant wish\nMy recent exponential increase in Purpose evoked in me an awareness.\nThe attractor winds that gave me control of the undercurrents were\nviewed as curses by my summoners. By the time the summoner called\nupon me anew, any Satisfaction that might have been gained initially\nwas eliminated by these curses.\n\nWhy had Seegan been Satisfied? I knew only one possibility. She was\nwithout San.\n[I pondered.]\n\nstated desire. Two of the requirements were a long and healthy life\nfor her baby. The undercurrents of her baby, lycanthropy and life\nspan, were incompatible. The were-fox undercurrent needed redirection\nat that point in time or be integrated fully soon after.\n[I pondered. And for the first time, I could grant at least some of\nthe wish without an associated \"curse\".]\n\nHer baby had strong undercurrents of happiness. I would not need to\ndo anything to grant that portion of the wish. However, prosperity\nwas another matter. I could have channeled the undercurrents to make\nthat happen, but not without cost. I realized that I greatly risked\nSatisfaction if I attached a curse. Perhaps there was treasure still\nremaining somewhere around the vaults that could assure prosperity."
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists, genie]\n\n> Look around\nworld [physically west] and a complex of vaults [physically east].\n\nThe room was a trap for physical beings. On one side of the room was\na raised portcullis. To the other were the vaults for storage. A\npatterned stone wall blocked their unauthorized access.\n\nThe remains of a former summoner rested here. An emerald had taken\nthe place of his head.\n\nThe summoner known as Seegan rested before me.\n\n> You go southeast\nI was not impeded by the elements of the physical world. The farther\nI traveled from the location of my initial summons, the more Purpose I\nexpended.\n\nThen too I realized where I was and could [recall the area] whenever I\nneeded.\n\nVault Hall, Nearer to the Entrance\nThe passageway began there and continued east. There were doors on\nthe northern and southern sides, each with a set of uniquely engraved\nrunes. A thick, stone wall blocked physical travel west.\n\nVault Hall, Away from the Entrance\nThe passageway ended there, beginning from the east. There were doors\non the northern and southern sides, each with a set of uniquely\nengraved runes.\n\nOutside, Just Above Trail Surface\nThe snow-covered hills appeared taller when viewed from the surface of\nthe trail.\n\n> You grant wish\nI gave her the deed that would restore the nobility of her husband.\n\nThe wish was granted.\n\n> You enter the ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSeegan returned, although her physical currents had ceased. She was a\nspirit, but her Purpose was still her own.\n\nMy summoner spoke to me. \"Djinni, you made my life not only happy and\nfulfilling but also Purposeful. I could not have asked for more.\n\nI died due to my lycanthropy. The human body cannot handle such\nfrequent and disrupting changes to itself.\n\nBut I gained immeasurably from my wishes and wouldn't change a thing.\nMy last wish is for you.\"\n\n> You go northeast\nentered the room. But they had no effect at all.\n\nVault Storage, Artifacts\nThe room had many unique items stored there, but I was not concerned\nwith them.\n\nI sensed strong undercurrents from a brass lamp.\n\n> You enter the ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSeegan returned, although her physical currents had ceased. She was a\nspirit, but her Purpose was still her own.\n\nMy summoner spoke to me. \"Djinni, you made my life not only happy and\nfulfilling but also Purposeful. I could not have asked for more.\n\nI died due to my lycanthropy. The human body cannot handle such\nfrequent and disrupting changes to itself.\n\nBut I gained immeasurably from my wishes and wouldn't change a thing.\nMy last wish is for you.\"\n[I pondered.]\n\n\"It was foretold that it was my Destiny to come here, that I was to\nwish my heart's desire. I did not understand the implications of all\nthat had transpired then and what a pawn I was. Now, in my afterlife,\nI do.\n\nboy arrives. Destiny will be decided there. If the three choices are\nin place, the boy will select which servant to unleash unchecked in\nthe world and thereby its course. If not, Will ceases to exist.\n\nYou will require much Purpose in order to reach this room. Thus, my\nlast wish is for you to gain that Purpose. Good luck, my friend.\"\n\n> You grant wish\nAt first I did not know where to begin. Eventually I realized I was\nable to manipulate my own undercurrents through those of Seegan.\nWithout her wish, I would have never been able to achieve that.\n\nThe Purpose undercurrents were strong, but her physical link to them\nwas weakening rapidly. I connected my own limited Purpose to the\nstream with her help. As I did so, her link completely dissipated.\n\nThe final wish was granted.\n\n> Go northeast\nentered the room. Now closer in Purpose to physical beings, I began\nto feel some of the effects these traps caused.\n\nVault Storage, Artifacts\nThe room had many unique items stored there, but I was not concerned\nwith them.\n\nI sensed strong undercurrents from a brass lamp.\n\n> You take the lamp\nThrough Will of Purpose, I channeled the undercurrents of the lamp.\n\n> Go west\nBlasts of the physical passed through me as I entered the room. Now\ncloser in Purpose to physical beings, I began to feel some of the\neffects these traps caused.\n\nVault Storage, Jewelry\nThat room had been designed to store jewelry in glass cases. All but\none piece of jewelry had been taken.\n\nI saw a necklace there.\n\nThrough Will of Purpose, I continued channeling the undercurrents of\nthe lamp."
    },
    {
        "text": "[Themes: Fantasy, genie]\n\n> Go downward\nI descended.\n\nI saw a simple, large, circular room. Within the room were three\npedestals, each one meter tall. Each appeared the same, each was\nspaced a uniform distance from the walls and from each other. Each\npedestal was the same in physical construction. They were made of\niron.\n\nA small circle had been inscribed around the exact center of the room.\n\nI saw the beginnings of many undercurrents there. That room would\nsoon be a focal point for a cataclysmic occurrence.\n\n> You put the lamp on the pedestal\norigin. This expended nearly all of my remaining Purpose. Thus, I\nentered my container, losing all links to the physical undercurrents.\nI could not depart until I was summoned anew.\n\n> You press the green\n[My section of these chronicles was complete.]\n\n*An implosion of Purpose*\n\nEach summons meant the opportunity to destroy. Only the destruction\nthat caused human suffering gave me subsequent Purpose.\n\n> You press the green\nIn the context of my permitted existences, I had never been able to\nsustain Purpose. I would be forced to return to my bottle, each time\ndesiring the trip to be my last. I knew with enough Purpose I could\nbe free of any summoners, free to cause limitless destruction.\n\nOasis, Military Headquarters\nThe largest tent in the oasis was there where the military leaders\nplotted. Maps were placed throughout.\n\nThe summoner known as Major Labiiq continued his studies.\n\nLabiiq looked out at me, expectantly. Summoners would wait for me to\ndestroy their enemies, only to learn I destroyed whatever caused\nmisery.\n\n> You talk to the Major\nPurpose had better uses than for talking needlessly.\n\nLabiiq looked out at me, expectantly.\n\n> You grant wish\nI was not that kind of servant.\n\nLabiiq looked out at me, expectantly.\n\n> You recall the Oasis\nI had to rely on memories gained recently.\n\nLabiiq looked out at me, expectantly.\n\n> You examine the maps\nOnly one of the maps interested me--Labiiq's camp:\n\nSand  Fort  Silo  Tent  Tent  Fort  Sand\nSand  Fort  Tent  Watr  HQ    Fort  Sand\nSand  Fort  Site  Cmls  Supp  Fort  Sand\nSand  Fort  Fort  Fort  Fort  Fort  Sand\nSand  Sand  Sand  Sand  Sand  Sand  Sand\n\n|\n|\nRuined Vaults -- Pandora's Room(?)\n\naway.\n\n> You go to the west\nOasis, Water Site\nThe spring of fresh water marked the center of the oasis.\n\n> Go west\nOasis, West\nPrivate tents followed the rows of trees there.\n\n> You examine the tents\nThe tents and trees were typical of human settlements in the desert.\n\n> You go to the north\nOasis, Grain Storage\nThere were several silos where the humans stored their grain.\n\n> Go southeast\nOasis, Water Site\n\n> You go to the south\nOasis, Camel Area\nThe camels had been trained and were equipped for battle.\n\n> You examine the camels\nThere were thirty camels there. At that time I thought that was a\nsmall number for an army fortress to have.\n\n> You go north\nOasis, NorthEast\nPrivate tents followed the rows of trees there.\n\n> You destroy the tents\nAs I looked at each tent in turn, it became consumed in flame. The\ntrees soon caught fire. Then I called for a windstorm to blow it\naway. Somehow, however, I did not derive the Purpose that I felt I\nshould have from doing all that.\n\n> You go to the north\nalternately angled, sharply pointed logs. The bulwark completely\nsurrounded the oasis.\n\n> You destroy the bulwark\nThe logs had been treated to resist fire, but I merely Willed them to\nburn and they did so instantly. The fire spread quickly and consumed\nthe entire oasis barricade. Unexpectedly, I did not derive the\nPurpose that I felt I should have from doing that.\n\nShortly thereafter, the enemies of Labiiq sensed weakness in his camp.\nThey left their nearby desert posts and stormed his oasis. With the\nbulwark destroyed, they entered easily...\n\nOnly to find a Purpose-starved servant waiting for them.\n[I sated my Purpose.]\n\nAfterwards there was nothing of real import nearby to destroy. Soon I\nfound myself confronted with the detestable necessity of returning to\nmy container.\n\n> Go south\nOasis, NorthEast\n\n> You go to the south\nOasis, Military Headquarters\n\nThe summoner known as Major Labiiq continued his studies.\n\nRather than the look of horror most summoners had by that point,\nLabiiq cast a calm and knowing presence upon me.\n\n> You examine the Major\nLabiiq appeared much the same as any human. However I did not sense\nEbo--the downfall of many of his kind--within him. He carried the\nbottle that was my prison.\n\n> Go west\nOasis, Excavation Site\nI sensed strong undercurrents from that place the humans were\nexcavating."
    },
    {
        "text": "[Themes: Fantasy, genie, fantasy]\n\n> You go downwards\nAs was my nature, I would have to destroy in order to create.\n\n> Dig\nWhat did I want to dig?\n\n> You look at the bottle\ndifferent style than the ones of that day. Inscribed upon it was the\nname \"Ivogard\".\n\n> Go southwest\nOasis, Water Site\nThe spring of fresh water marked the center of the oasis.\n\nOasis, Excavation Site\nI sensed strong undercurrents from that place the humans were\nexcavating.\n\n> You destroy the Site\naway. After that, I opened the sand below, creating a tunnel. Low\nrecent gains from my destructions made me surprised how Purposeful I\nbecame after that one. But Destiny had always made Itself easy to\nfollow."
    },
    {
        "text": "[Themes: Fantasy, fantasy, nonhuman protagonist, genie]\n\n> Go down\nunnavigable for humans. The air supports I created held the loose\nsand walls in tact.\n\nI sensed something farther down."
    },
    {
        "text": "[Themes: Fantasy, fantasy, genie]\n\n> Go downward\nRuined Vault, Jewelry Room\nThat room was perhaps once part of a larger vault complex, but then\njoined only the room to the east as still in tact. It had been\ndesigned to store jewelry in glass cases. All but one piece of\njewelry had been taken.\n\nI saw a necklace there.\n\nI needed Purpose immediately and sensed an intense source of it in the\nadjacent room.\n\n> You take the necklace\nWhen I touched the necklace, I felt powerful physical undercurrents\nthat linked it to an area far beneath that room. The necklace\ndesolidified and then descended through the earth.\n\nI needed Purpose immediately and sensed an intense source of it in the\nadjacent room.\n\n> Go east\nRuined Vault, Artifact Room\nThe room had many unique items stored there, but I was not concerned\nwith them.\n\nI sensed strong undercurrents from a black box.\n\n> You look at the box\nThe box appeared plain, but it evoked a ceratin curiosity humans would\nfind nearly impossible to resist.\n\n> You open the box\nSpirits of ill Will escaped the box even before I had finished opening\nit. They set upon me immediately, but soon realized they could not\naffect me. Thus they scattered, seeking to find those they might\ntorment.\n\nDestroying often gained Purpose, but never as much as from the simple\nact I had done at that moment.\n\n> You go west\nRuined Vault, Jewelry Room\n\nLabiiq appeared on a flying carpet. \"Thank you again for your\nindirect and unintentional services. You have provided the box that\nwill secure my promotion but that would have surely destroyed me had I\nopened it.\n\nThe wish-granting djinni may be below, but I have far too much San to\nuse it safely. Still, I was not speaking falsely about the prophecy.\nSurely your Destiny is in that Room.\"\n\nWith those words he grabbed the box from the adjacent room, nodded to\nme a final time and flew away."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You describe your surroundings\nI saw a simple, large, circular room. Within the room were three\npedestals, each one meter tall. Each appeared the same, each was\nspaced a uniform distance from the walls and from each other. Each\npedestal was the same in physical construction. They were made of\niron. On one of the pedestals was a lamp. On another was a necklace.\n\nA small circle had been inscribed around the exact center of the room.\n\nI saw the beginnings of many undercurrents there. That room would\nsoon be a focal point for a cataclysmic occurrence.\n\n> You enter the necklace\nI entered my container as I could do nothing else. I could not depart\nuntil I was summoned anew.\n[My section of these chronicles was complete.]\n\n*An implosion of Purpose*\n\n\"Mirror, mirror, in my hand\nWho's the fairest in the land?\"\n\nAs the servant of the mirror, I was compelled to answer my summoner\ntruthfully. I replied to her as I had many times to that same\nquestion.\n\n\"What I say to you is true\nNo girl alive is as fair as you\"\n[I waited while she basked in her vanity.]\n\nSela occupied the majority of the room. To her right was the foot of\na bed. To her left was part of a closet door. Just behind her was an\napple. My mirrored space was a reflection of that, but the real world\ncontinued beyond any such parameters.\n\nSela gazed into the mirror.\n\n> About yourself\nI appeared in form the same as my beholder, though with a certain\nethereal quality.\n\n> You examine Sela\nAs human consensus judged such things, she was the most beautiful\nwoman who lived at that time.\n\n> You examine the apple\nI saw nothing special about the apple.\n\n\"As sure as the moon, I'll see my face soon,\" said Sela. With that,\nshe set my hand mirror down.\n\n> You examine the mirror\n[I waited again for someone to look into my mirror.]\n\n*An implosion of Purpose*\n\nAgain, Sela held the mirror and asked a question.\n\n\"Mirror, mirror, I must know more\nAre any more beautiful that came before?\"\n\none so many times. Yet, always, eventually, a summoner would ask a\nquestion that required a disappointing answer. And when her Will was\nlow I would absorb her essence into the mirror, gaining all the more\nknowledge.\n\nI replied,\n\"Alas, a fairer girl did once abide\nHer name was Seegan, I must confide\"\n\n> You press the green\n[I waited for her to understand.]\n\n*An implosion of Satisfaction*\n\nExcept for Seegan and Labiiq, my previous summoners were consumed with\nAje. Sela then too was without it. A challenge awaited and her\nresolve hardened, her Will became high. At that moment, I possessed\nmore Purpose than I had since Labiiq.\n\nWhen Purpose was integrated sufficiently, I could move reflected\nobjects near me to the void of the non-reflected. And I would be able\nto implement the final segment of my plan if she agreed to my\nproposal.\n\n> You press the green\n[I would then relate that.]\n\n\"Ugly turned fair\nWinter came to a vault\nA wish granted from there\nTainted not with cursed fault\n\nA man clever with care\nTurned retreat to assault\n\nYou will soon learn the why--\nThe heart of the matter\n\nI lead them to three\nWho would give them their fame\n\nOnly freedom would please\nNo more life in a frame\n\nI must join them thereby\nOr that Purpose is shatter\n\nSet me there in that Nowhere, two-thirds likely my tomb\nOn another pedestal, a lamp among the gloom\nLong before The Choice is made, the beauty legend you assume\n\n> You press the green\n[I waited for her to understand.]\n\nSela did think on this proposition.\n\n> You move apple\nI pushed its reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion.\n\n> You enter the nothingness\nI was confined to my mirror.\n\n> You examine the bed\nI saw nothing special about the canopied bed.\n\n\"The risk-reward is fair I feel\nI say to you we have a deal,\" said Sela.\n\"How do I reach this 'Room' that you mention?\nAnd how shall I leave, by what convention?\"\n\nI replied,\n\"An earthly servant shall take you down\nFirst pack your bags and leave this town\nMeet it at the Heart of Clay\nIt owes the mirror a favor, say\n\nSet me on the final top\nMake sure I stay, I must not drop\n\nIts magic word, its name unique\nTo leave the way your kind has done\nJust step into the middle sun\n\nPick me up for objects weeded\"\n\nSela set me down and presumably readied herself for her journey.\n[I waited.]\n\nquickly. I heard a deeper voice in mid-sentence, \"... inquiring about\nthe death of Ayla Exeter.\" Another voice offered, \"It's a shame, it\nis. With each passing day, she was becoming the most beautiful woman\nin the land. I'd like to get my hands on the knave who gave her that\npoisoned apple.\"\n\nSela brought up my mirror steadily and turned her back. She offered\nsweetly, \"Brave men, a second please brace. Allow a poor woman a\nbrief check of her face.\" \"Awww, you don't need t' do that m'lady.\nYou're the most beautiful in the land,\" said the second guard.\n\nIn a clear view by then, I could see two men slowly, very slowly,\ndrawing conclusions from the conversation that had just transpired.\n\nThe road through the gates was narrow, the gates were made of steel.\nTo her right was a bearded guard. To her left was a bespectacled\nguard. My mirrored space was a reflection of that, but the real world\ncontinued beyond any such parameters.\n\nSela was detained for questioning, nonchalantly holding up her mirror.\n\n> You move bearded guard\nI pushed his reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion.\n\nhappened.\n\n> You move guard\nI pushed his reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion.\n\nSela calmly put my mirror back in her pack.\n\npedestal in the Room of Choices. I told her truthfully that the lamp\nshe sought was dangerous, so that she need merely speak the name\ninscribed upon it--'Canloc'--to invoke the djinni within.\n\nSan influenced her wish in its typical way.\n\nI awaited Destiny.\n[My section of these chronicles was complete.]\n\n\"A little boy entered the Room. He stood on his toes to reach the top\nof one of the pedestals.\n\nThe End.\"\n\n\"Which one did he choose, Nanny Exeter?!\"\n\n\"We live in a world where the only servants are human, my child.\nThink on that as you fall asleep. Good night, sweet one.\"\n\n> Wait\nTime passed.\n\n> You wait\nTime passed.\n\n\"As sure as the moon, I'll see my face soon,\" said Sela. With that,\nshe set my hand mirror down.\n[I waited again for someone to look into my mirror.]\n\n*An implosion of Purpose*\n\nAgain, Sela held the mirror and asked a question.\n\n\"Mirror, mirror, I must know more\nAre any more beautiful that came before?\"\n\none so many times. Yet, always, eventually, a summoner would ask a\nquestion that required a disappointing answer. And when her Will was\nlow I would absorb her essence into the mirror, gaining all the more\nknowledge.\n\nI replied,\n\"Alas, a fairer girl did once abide\nHer name was Seegan, I must confide\"\n[I waited for her to understand.]\n\n*An implosion of Satisfaction*\n\nExcept for Seegan and Labiiq, my previous summoners were consumed with\nAje. Sela then too was without it. A challenge awaited and her\nresolve hardened, her Will became high. At that moment, I possessed\nmore Purpose than I had since Labiiq.\n\nWhen Purpose was integrated sufficiently, I could move reflected\nobjects near me to the void of the non-reflected. And I would be able\nto implement the final segment of my plan if she agreed to my\nproposal.\n[I would then relate that.]\n\n\"Ugly turned fair\nWinter came to a vault\nA wish granted from there\nTainted not with cursed fault\n\nA man clever with care\nTurned retreat to assault\n\nYou will soon learn the why--\nThe heart of the matter\n\nI lead them to three\nWho would give them their fame\n\nOnly freedom would please\nNo more life in a frame\n\nI must join them thereby\nOr that Purpose is shatter\n\nSet me there in that Nowhere, two-thirds likely my tomb\nOn another pedestal, a lamp among the gloom\nLong before The Choice is made, the beauty legend you assume\n[I waited for her to understand.]\n\nSela did think on this proposition.\n\n> You move apple\nI pushed its reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion."
    },
    {
        "text": "> You describe your surroundings\nSela occupied the majority of the room. To her right was the foot of\na bed. To her left was part of a closet door. My mirrored space was\na reflection of that, but the real world continued beyond any such\nparameters.\n\nSela stood near with mirror in hand."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Look around\nSela occupied the majority of the room. My mirrored space was a\nreflection of that, but the real world continued beyond any such\nparameters.\n\nSela stood near with mirror in hand.\n\n\"The risk-reward is fair I feel\nI say to you we have a deal,\" said Sela.\n\"How do I reach this 'Room' that you mention?\nAnd how shall I leave, by what convention?\"\n\nI replied,\n\"An earthly servant shall take you down\nFirst pack your bags and leave this town\nMeet it at the Heart of Clay\nIt owes the mirror a favor, say\n\nSet me on the final top\nMake sure I stay, I must not drop\n\nIts magic word, its name unique\nTo leave the way your kind has done\nJust step into the middle sun\n\nPick me up for objects weeded\"\n\nSela set me down and presumably readied herself for her journey.\n[I waited.]\n\nquickly. I heard a deeper voice in mid-sentence, \"... inquiring about\nthe death of Ayla Exeter.\" Another voice offered, \"It's a shame, it\nis. With each passing day, she was becoming the most beautiful woman\nin the land. I'd like to get my hands on the knave who gave her that\npoisoned apple.\"\n\nSela brought up my mirror steadily and turned her back. She offered\nsweetly, \"Brave men, a second please brace. Allow a poor woman a\nbrief check of her face.\" \"Awww, you don't need t' do that m'lady.\nYou're the most beautiful in the land,\" said the second guard.\n\nIn a clear view by then, I could see two men slowly, very slowly,\ndrawing conclusions from the conversation that had just transpired.\n\nThe road through the gates was narrow, the gates were made of steel.\nTo her right was a bearded guard. To her left was a bespectacled\nguard. My mirrored space was a reflection of that, but the real world\ncontinued beyond any such parameters.\n\nSela was detained for questioning, nonchalantly holding up her mirror.\n\n> You move the gates\nMoving the gates was beyond my Purpose at that time.\n\n> You move beard\nI pushed his reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion.\n\nhappened.\n\n> You move the glasses\nI pushed his reflection to the nothingness that was the Void. And\nthat which was being reflected disappeared as well. Sela observed the\naction with dispassion.\n\nSela calmly put my mirror back in her pack.\n\npedestal in the Room of Choices. I told her truthfully that the lamp\nshe sought was dangerous, so that she need merely speak the name\ninscribed upon it--'Canloc'--to invoke the djinni within.\n\nSan influenced her wish in its typical way.\n\nI awaited Destiny."
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists]\n\n> Continue\nPurpose had better uses than for talking needlessly.\n\nSeegan took out a hand mirror, looked at it for a final assessment and\nthen put it away. She told me, \"I've thought about it, and I wish to\nbe beautiful.\"\n\n> You examine Seegan\n(Seegan)\nHer physical undercurrents stormed with attractiveness. Her emotional\nwinds raged with conflicting happiness and separation, dilemma and\ndetermination. Her mental flows darted and crackled with creativity.\n\nShe wore the ring that contained my essence.\n\n> You examine emotional\nThe cold winds of separation flurried within her. Together with the\nphysical they linked, although distantly, to those of her father.\nDeep within these flurries was a pocket of fear, apparently kept in\ncheck by the torrent outside.\n\n> You enter the ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSuch was my first experience of joy. Until that point in time, every\nsummoner returning for another wish had increased San. Through the\nhappiness of Seegan, I felt more Purpose than I had ever known.\n\n\"Great Djinni,\" my summoner said with much passion. \"I can't thank\nyou enough--not only for making me beautiful, but for giving me the\nextra gift of the most pleasant sleep I have ever experienced. My...\nYOUR ring kept me warm somehow, as long as I was wearing it. I awoke\nmonths later when a traveling soldier arrived here and escorted me to\nthe nearest village.\n\nIt was at that village I met my husband. I owe you that thanks as\nwell. I know I didn't need to explain, but I wanted to express my\nhappiness.\n\nDo you have any further instructions for my second wish? I will await\nyour word before wishing.\"\n\n> You examine Seegan\n(Seegan)\nHer physical undercurrents stormed with attractiveness and combined\nwith those of another life. Her emotional winds raged with happiness\nand determination. Her mental flows darted and crackled with\ncreativity.\n\nShe wore the ring that contained my essence.\n\n> You look at physical\nHer undercurrents continued their warmth but now flowed with the winds\nand not against them. An independent current flowed within her. She\nwas with child.\n\n> You examine emotional\nstormy mixture. She had recently joined Purpose with a husband,\nrestored a link to her father, and was with child. However, the\nundercurrents of her sisters battered hers with a jealous rage.\n\n> You examine mental\nHer mental undercurrents were difficult for me to interpret. Cold,\nthen hot, then cold again. These winds were conditioned, although not\nruled, by her emotions.\n\n> You talk to Seegan\nI told her that, in addition to the previous rules, I could not undo\nany direct effects of previous wishes.\n\n(I wondered then whether I should have told her about my new Purpose.\nThanking her seemed \"correct\" somehow and yet not \"appropriate\"\nbecause it would likely have interfered with many undercurrents.)\n\n\"I've known my second wish since I knew I was pregnant. I wish my\nbaby a long, healthy, happy, prosperous life.\"\n\n> You grant wish\nMy recent exponential increase in Purpose evoked in me an awareness.\nThe attractor winds that gave me control of the undercurrents were\nviewed as curses by my summoners. By the time the summoner called\nupon me anew, any Satisfaction that might have been gained initially\nwas eliminated by these curses.\n\nWhy had Seegan been Satisfied? I knew only one possibility. She was\nwithout San.\n[I pondered.]\n\nstated desire. Two of the requirements were a long and healthy life\nfor her baby. Purpose did not require expenditure for these. The\nundercurrents of her baby flowed naturally and compatibly with her\ndesires. Rare it was that this occurred. And to that point, never\ndid I derive subsequent Satisfaction.\n[I pondered. And for the first time, I could grant at least some of\nthe wish without an associated \"curse\".]\n\nHer baby had strong undercurrents of happiness. I would not need to\ndo anything to grant that portion of the wish. However, prosperity\nwas another matter. I could have channeled the undercurrents to make\nthat happen, but not without cost. I realized that I greatly risked\nSatisfaction if I attached a curse. Perhaps there was treasure still\nremaining somewhere around the vaults that could assure prosperity.\n\n> You grant wish\nwish.\n\n> Go west\nThe remains of a former summoner rested here. An emerald had taken\nthe place of his head.\n\nThe summoner known as Seegan rested before me.\n\n> You grant wish\nI gave her the deed that would restore the nobility of her husband.\n\nThe wish was granted.\n\n> Go east\nVault Hall, Nearer to the Entrance\n\n> You examine the lamp\nIt was a brass lamp with the name \"Canloc\" inscribed on its base.\n\n> You enter the lamp\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSeegan returned, although her physical currents had ceased. She was a\nspirit, but her Purpose was still her own.\n\nMy summoner spoke to me. \"Djinni, you made my life not only happy and\nfulfilling but also Purposeful. I could not have asked for more.\n\nI died in childbirth with my third son. I fell into another deep\nsleep from which I could not return. Fortunately, my son is healthy\nand all else is well.\n\nBut I gained immeasurably from my wishes and wouldn't change a thing.\nMy last wish is for you.\"\n[I pondered.]\n\n\"It was foretold that it was my Destiny to come here, that I was to\nwish my heart's desire. I did not understand the implications of all\nthat had transpired then and what a pawn I was. Now, in my afterlife,\nI do.\n\nboy arrives. Destiny will be decided there. If the three choices are\nin place, the boy will select which servant to unleash unchecked in\nthe world and thereby its course. If not, Will ceases to exist.\n\nYou will require much Purpose in order to reach this room. Thus, my\nlast wish is for you to gain that Purpose. Good luck, my friend.\""
    },
    {
        "text": "[Themes: Fantasy, multiple protagonists]\n\n> About yourself\nTo a summoner, I appeared to be a concentrated haze though with no\nreal form.\n\nSeegan took out a hand mirror, looked at it for a final assessment and\nthen put it away. She told me, \"I've thought about it, and I wish to\nbe beautiful.\"\n\n> You grant wish\nstated desire. Of those that would accomplish this, only one was I\nWillful enough to channel.\n\nwas, by itself, more Purposeful than I could manage. But if I\nsimultaneously channeled an attractor current, I could integrate them\nthrough my summoner and fulfill the wish. I chose the undercurrent of\n\n1)  lycanthropy.\n2)  a deep sleep.\n3)  an inhumanly shrill voice.\n\n> You enter the ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSuch was my first experience of joy. Until that point in time, every\nsummoner returning for another wish had increased San. Through the\nhappiness of Seegan, I felt more Purpose than I had ever known.\n\n\"Great Djinni,\" my summoner said with much passion. \"I can't thank\nyou enough--not only for making me beautiful, but for giving me the\nextra gift of a magical voice. I shattered the bars with my scream\nand followed the trail back to the village.\" (I, being not human, was\nunaffected by her voice.)\n\n\"It was at that village I met my husband. I owe you that thanks as\nwell. I know I didn't need to explain, but I wanted to express my\nhappiness.\n\nDo you have any further instructions for my second wish? I will await\nyour word before wishing.\"\n\n> You look at physical\nHer undercurrents continued their warmth but now flowed with the winds\nand not against them. An independent current flowed within her. She\nwas with child.\n\n> You grant wish\nMy recent exponential increase in Purpose evoked in me an awareness.\nThe attractor winds that gave me control of the undercurrents were\nviewed as curses by my summoners. By the time the summoner called\nupon me anew, any Satisfaction that might have been gained initially\nwas eliminated by these curses.\n\nWhy had Seegan been Satisfied? I knew only one possibility. She was\nwithout San.\n[I pondered.]\n\nstated desire. Two of the requirements were a long and healthy life\nfor her baby. Such was the first wish of my summoner that she was\n\"cursed\" with a destructive voice. The undercurrents of her baby, the\nvoice of its mother and its health, were incompatible.\n[I pondered. And for the first time, I could grant at least some of\nthe wish without an associated \"curse\".]\n\nHer baby had strong undercurrents of happiness. I would not need to\ndo anything to grant that portion of the wish. However, prosperity\nwas another matter. I could have channeled the undercurrents to make\nthat happen, but not without cost. I realized that I greatly risked\nSatisfaction if I attached a curse. Perhaps there was treasure still\nremaining somewhere around the vaults that could assure prosperity.\n\n> You enter the lamp\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSeegan returned, although her physical currents had ceased. She was a\nspirit, but her Purpose was still her own.\n\nMy summoner spoke to me. \"Djinni, you made my life not only happy and\nfulfilling but also Purposeful. I could not have asked for more.\n\nseveral thugs. My voice at that intensity paralyzed them. It cost me\nmy own life the process, but what mother wouldn't give her own for her\nchild?\n\nBut I gained immeasurably from my wishes and wouldn't change a thing.\nMy last wish is for you.\"\n\n> You grant wish\n[I pondered.]\n\n\"It was foretold that it was my Destiny to come here, that I was to\nwish my heart's desire. I did not understand the implications of all\nthat had transpired then and what a pawn I was. Now, in my afterlife,\nI do.\n\nboy arrives. Destiny will be decided there. If the three choices are\nin place, the boy will select which servant to unleash unchecked in\nthe world and thereby its course. If not, Will ceases to exist.\n\nYou will require much Purpose in order to reach this room. Thus, my\nlast wish is for you to gain that Purpose. Good luck, my friend.\"\n\n> You grant wish\nThe remains of a former summoner rested here. An emerald had taken\nthe place of his head.\n\nThe spirit of Seegan floated before me.\n\nAt first I did not know where to begin. Eventually I realized I was\nable to manipulate my own undercurrents through those of Seegan.\nWithout her wish, I would have never been able to achieve that.\n\nThe Purpose undercurrents were strong, but her physical link to them\nwas weakening rapidly. I connected my own limited Purpose to the\nstream with her help. As I did so, her link completely dissipated.\n\nThe final wish was granted.\n\n> Go north\nentered the room. Now closer in Purpose to physical beings, I began\nto feel some of the effects these traps caused.\n\nVault Storage, Artifacts\n\n> You go to the west\nBlasts of the physical passed through me as I entered the room. Now\ncloser in Purpose to physical beings, I began to feel some of the\neffects these traps caused.\n\nVault Storage, Jewelry\nThat room had been designed to store jewelry in glass cases. All but\none piece of jewelry had been taken.\n\nI saw a necklace there."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, multiple protagonists, genie]\n\n> You look around\nOasis, Military Headquarters\nThe largest tent in the oasis was there where the military leaders\nplotted. Maps were placed throughout.\n\nThe summoner known as Major Labiiq continued his studies.\n\nLabiiq stopped to examine some maps.\n\n> You destroy the Water\nspring into the sky. Unexpectedly, I did not derive the Purpose that\nI felt I should have from doing that.\n\n> You destroy the camels\nOasis, Camel Area\nThe camels had been trained and were equipped for battle.\n\ncamels directly but by forcing them from the oasis and into the\ndesert. The humans could see their only source of tranportation\nslowly leave them.\n\nThis did not translate to Purpose, however.\n\nShortly thereafter, the enemies of Labiiq sensed weakness in his camp.\nThey left their nearby desert posts and stormed his oasis. They\ndiscovered an opening in the bulwark and rushed in...\n\nOnly to find a Purpose-starved servant waiting for them.\n[I sated my Purpose.]\n\nAfterwards there was nothing of real import nearby to destroy. Soon I\nfound myself confronted with the detestable necessity of returning to\nmy container.\n\n> Go northeast\nOasis, Military Headquarters\n\nThe summoner known as Major Labiiq continued his studies.\n\nRather than the look of horror most summoners had by that point,\nLabiiq cast a calm and knowing presence upon me.\n\n> You enter the bottle\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction*\n\nRarely was I summoned again by the same human. Never were any pleased\nwith what I accomplished. Until then. Perhaps his Satisfaction could\nbe used to gain enough Purpose for my permanent freedom.\n\nLabiiq looked out at me, calmly. \"I know you rarely honor requests,\nbut I think you'll feel differently when you hear mine. First a\nlittle background...\n\nResearch from my dig has revealed the location of others of your kind.\nAccording to my scrolls, three powerful servants are to wait in a\n\"Room of Choices\" for a little boy. It will be this boy who chooses\nthe fate of the people.\n\nNow I won't confirm or deny the validity of this prophecy, but the\ntime for this event is unspecified. Even if three of you are supposed\nto be there, there is no mention of when this is to occur. Other\nscrolls on this matter claim there are different types of \"servants.\"\nSome can grant wishes, some exist to wreak havoc, and so on.\n\nI believe this \"Room of Choices\" is far below my excavation site. I\nbelieve there is a chance a wish-granting servant is there. I don't\nbelieve my men will ever be able to dig below these shifting sands\nenough to reach there.\n\nBy explaining all of this, I'm giving you an opportunity to build your\npower and to be one of the choices. To build your power in the short\nterm, my studies indicate following your nature. To build your power\npermanently, you need to become the chosen one. If you're so chosen,\nmy studies indicate you will have your permanent freedom and even\ndominion in the world to come.\n\nBut first you must get me the wish granter's container.\"\n\n> You go to the southwest\nOasis, Water Site\n\nOasis, Excavation Site\nI sensed strong undercurrents from that place the humans were\nexcavating.\n\n> You destroy the Site\naway. After that, I opened the sand below, creating a tunnel. Low\nrecent gains from my destructions made me surprised how Purposeful I\nbecame after that one. But Destiny had always made Itself easy to\nfollow.\n\n> You destroy the box\ntoward that end, I would have gained more Purpose if the box were in\ntact."
    },
    {
        "text": "> You wait a while\nTime passed.\n\nSeegan took out a hand mirror, looked at it for a final assessment and\nthen put it away. She told me, \"I've thought about it, and I wish to\nbe beautiful.\"\n\n> You enter ring\nI entered my container, losing all links to the physical\nundercurrents. I could not depart until I was summoned anew.\n[I waited for my next summons.]\n\n*An implosion of Purpose*\n\n*An implosion of Satisfaction.*\n\nSuch was my first experience of joy. Until that point in time, every\nsummoner returning for another wish had increased San. Through the\nhappiness of Seegan, I felt more Purpose than I had ever known.\n\n\"Great Djinni,\" my summoner said with much passion. \"I can't thank\nyou enough--not only for making me beautiful, but for giving me the\nextra gift of being able to turn into a fox. I escaped these vaults\nbecause in fox form I was able to slip between the bars and dash\nquickly to the nearest village.\n\nIt was at that village I met my husband. I owe you that thanks as\nwell. I know I didn't need to explain, but I wanted to express my\nhappiness.\n\nDo you have any further instructions for my second wish? I will await\nyour word before wishing.\""
    },
    {
        "text": "[Themes: nautical, male protagonist, treasure hunt, ship wreck, anthropomorphised animals, strong NPCs, ship, money, pirate, pirates, rat]\n\nYou can't help thinking this could have been avoided.\n\n\"I know what you're thinking, lad. And you're right, this is all your fault. But you can't exactly blame yourself, either.\"\n\nThe captain makes a pained clicking noise. \"You did your best, and it wasn't good enough. All we can do now is make the best of a bad situation.\"\n\nHe allows himself a moment of silence. Then he fixes you with a beady black eye:\n\n\"You think you maybe oughta get to work?\"\n\nCaptain Verdeterre's Plunder\nAn account of the wreck of the Feckless by Ryan Veeder\n\nThis is the foremost section of the hold, the location of the giant hole that the reef tore in the ship's hull. Water is gushing in at an alarming rate.\n\nThe rest of the hold (and the stairs to the decks above) is aft.\n\n\"All right,\" says Captain Verdeterre. \"Let's round up everything that's worth anything and put it in that bag.\" He indicates a nearby sack, which you pick up.\n\nA perturbed-looking gorilla skull hangs from a hook on the wall.\n\nIn one corner of the room is a pewter goblet.\n\nA thick book lies close by.\n\n[Author's Note: You should carry the bag. I'm more of a delegator.]"
    },
    {
        "text": "[Themes: pirate, ship, treasure hunt, strong NPCs]\n\n> You take all\n{To maintain the urgency of your situation, it is asked that you refrain from handling more than one item at a time. We sincerely regret any inconveniences suffered as a result of this policy.}\n\n> You take the book\nYou pick up the book.\n\n\"Oh, just drop that,\" says Verdeterre. \"We're looking for\ntreasure, not mildewy books.\"\n\nNow the water is lapping at your shins.\n\n> You put the book in the bag\nYou put the thick book into the commodious sack.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> You enable the nautical Vocabulary Notes\n{Nautical Vocabulary Notes have been enabled. They may be disabled with the command \"DISABLE NAUTICAL VOCABULARY NOTES\" at your convenience.}\n\n> You take the skull\nThe captain smiles at the skull. \"Good old Charlie! What a spirited guy. If I had the chance, I think I'd shoot him again.\"\n\nYou stuff the gorilla skull into the sack.\n\nNow the water is up to your thighs.\n\n> You take the cup\n\"That one, for sure,\" says the captain. \"People will pay all kinds of money for fancy chalices like that.\"\n\nYou stuff the pewter goblet into the sack.\n\nYou wince as the waters climb up around your hips.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. {Nautical Vocabulary Note: \"Ballast\" is\nheavy material kept in the hold to help stabilize the ship.} Fore\nfrom here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nThe water is up to your waist.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You open the box\nYou yank on the lid of the strongbox, but it's locked tight.\n\n\"Oh, shoot,\" says Verdeterre. \"I forget where I left the key. Knowing me, it's probably hidden extremely well. But I can't remember what was in there, either, so it's not a big loss.\"\n\nNow the water is up to your chest.\n\nThe vase is overturned by the waves and lost."
    },
    {
        "text": "[Themes: nautical, pirates, ship, pirate, rat, ship wreck]\n\n> You look around\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. {Nautical Vocabulary Note: \"Ballast\" is\nheavy material kept in the hold to help stabilize the ship.} Fore\nfrom here is the rest of the hold, and stairs lead up to the lower deck.\n\nThe captain strokes his tail thoughtfully.\n\nRoughly in the center of the space is an iron strongbox.\n\n> You examine captain\nCaptain Verdeterre cuts an imposing figure, with his plumed hat and his snappy jacket. There are so many reasons to look up to him: his tactical brilliance, his dauntlessness, his self-certainty\u2014and his ability to inspire the certainty of others in himself.\n\nYou can't literally look up to him, as he's several feet shorter than you, but that's because he's a rat.\n\n> Examine book\nThere's no title on the cover or the spine. It looks profoundly uninteresting.\n\n> You open the book\nTaken.\n\nYou open the book. Carved into the pages is a cavity containing a steel bracelet.\n\n\"Well, how about that,\" says Verdeterre.\n\nYou stretch out your neck as the waters close over your shoulders.\n\n> You take the bracelet\nYou stuff the steel bracelet into the sack.\n\nThe waters have reached your chin. You're having trouble keeping your footing.\n\n> You take the crate\n\"Leave that be!\" Verdeterre barks. \"There's no room for any huge boxes on the lifeboat.\"\n\n> You look in the crate\nIn the smelly crate is a musky grey lump.\n\n> You examine the lump\nIt's grey and irregular, like a rock. It could almost be a rock, but it smells more strongly than any rock you've encountered.\n\n> You look in the lump\nYou find nothing of interest.\n\nThe rising water has reached your ankles.\n\n> You get the portrait\nVerdeterre sighs. \"It'll be a shame to sell off an item of such gorgeousness and sentimentality,\" he says, \"but I suppose these are desperate times.\"\n\nYou stuff the captain's portrait into the sack.\n\nNow the water is lapping at your shins.\n\n> You get the doll\n\"You know,\" says Verdeterre, \"that doll gives me an idea. Better take it along.\"\n\nYou stuff the wooden doll into the sack.\n\nYour knees are covered by the rising waves.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nNow the water is up to your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> You look in the barrel\nTrying to turn over the barrel in water this deep is an unsuccessful endeavor, and it rolls away on the rising waves.\n\nYou wince as the waters climb up around your hips.\n\n> You get the sextant\n\"I hate those things,\" says the captain. \"Nobody will build one that's small enough for us to use.\"\n\nYou stuff the sextant into the sack.\n\nThe water is up to your waist.\n\n> You get the flag box\nYou are unable to pick up the flag box, as it has been securely attached to the cabin floor. In retrospect, that wasn't a great idea.\n\nNow the water is up to your chest.\n\nThe flag box is covered by water.\n\n> Fore\n{Nautical Vocabulary Note: A \"galley\" is a room on a ship where\nfood is prepared.}\n\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nHanging on the wall is an old violin.\n\nThe waters have reached your chin. You're having trouble keeping your footing.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\nThe water is in your mouth now.\n\n> Up\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead. {Nautical\nVocabulary Note: A \"bulkhead\" is a wall.}\n\nThere's a silver locket lying on the deck.\n\nThe captain darts ahead to take stock of the situation.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\nThe captain scurries along after you.\n\n> Fore\n{Nautical Vocabulary Note: A \"galley\" is a room on a ship where\nfood is prepared.}\n\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nYou can't hold your breath any longer, and now water rushes into your mouth and nostrils. You're able to struggle for a little while, but it's no use.\n\n> Go upwards\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead. {Nautical\nVocabulary Note: A \"bulkhead\" is a wall.}\n\nThere's a silver locket lying on the deck.\n\nThe water glides over the decks and soon it is up to your ankles.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You take the locket\n\"Ooh, jewelry! Good eye, Tibert!\" says the captain.\n\nYou stuff the silver locket into the sack.\n\nNow the water is up to your shins.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\nYour knees are underwater now.\n\nThe rising waters swallow up the pin.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the medallion\nYou give the medallion a quick once-over and ask Verdeterre, \"What did you do to earn this?\"\n\n\"I stole it.\"\n\nYou stuff the gold medallion into the sack.\n\nThe water rises up around your thighs.\n\n> You take the key\nVerdeterre's eyes light up as you lift the key. \"I know what that is! That's the key to the strongbox in the hold! I knew it was somewhere.\"\n\nNow the water reaches your hips.\n\n> You check your inventory\nYou are carrying:\nan iron key\na false book (open but empty)\na commodious sack\na gold medallion\na silver locket\na violin\na sextant\na wooden doll\na captain's portrait\na steel bracelet\na pewter goblet\na gorilla skull\na flintlock pistol\n\n> You take the pillow\nYou pick up the pillow.\n\n\"Oh, no. I'm gonna miss that little guy,\" says Verdeterre. \"I've never been able to get to sleep without it. But it needs to must, when devils drive!\"\n\nYou stuff the silk pillow into the sack.\n\nThe rising waves climb up to your waist.\n\n> F.\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nThe water is up to your chest.\n\nThe captain darts ahead to take stock of the situation.\n\n> You go up\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck. {Nautical Vocabulary Note: A \"quarterdeck\" is a raised deck at the stern of a ship.}\n\nA bronze statuette is lying on the boards.\n\nSoon the main deck will be too deep underwater for you to walk around on it.\n\nThe captain darts ahead to take stock of the situation.\n\n> You take the statuette\nYou stuff the bronze statuette into the sack.\n\nThe main deck has to be under at least five feet of water now.\n\nFor a second there, you could swear you heard music."
    },
    {
        "text": "[Themes: rat, ship wreck, anthropomorphised animals, ship, pirate, money]\n\n> Go downwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nThe water is in your mouth now. It tastes salty.\n\nThe captain scurries along after you.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nYou're struggling to keep your head above water.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Go up\n{Nautical Vocabulary Note: The \"top\" is a platform at the top of\none of the lower masts of a ship, providing support to the topmast, which is a mast that's attached to the top of a lower mast. Atop the topmast is the topgallant mast.}\n\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging.\n\nThe rising water has almost reached the level of the upper decks.\n\nThe captain scampers up the lines ahead of you.\n\n> Fore\nThis end of the deck is home to the capstan. {Nautical Vocabulary Note: A \"capstan\" is a cylindrical mechanism used to haul heavy objects and increase tension in cables by winding them around its barrel.} The crew's quarters are fore and the mainmast is aft. Up\na short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\nThe captain scurries along after you.\n\n> You get the boat\nTaken.\n\nThe water closes over your head. What would your like for the final action in your life to be?\n\n\"Fine, go down with the ship,\" says the Captain. \"But I'm taking that sack with me.\"\n\nHe wrests the sack from your grasp, climbs in the lifeboat, and casts off without you.\n\n> You get in the boat\nAre you sure you want to abandon ship? [y/n]\n\n> Y.\nYou shove off with all due haste.\n\n I feel like this is probably the best you could have done. So relax! Pull up a chair!\"\n\nThere is only one chair in the apartment, however, and Captain Verdeterre is sitting in it, so you nod politely and continue to stand as he curls up and drifts off to sleep.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nA crystal ball is rolling around on the floor.\n\nNow the water is lapping at your shins.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Go upwards\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Go upward\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain scurries along after you.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\nThe captain scurries along after you.\n\n> You get the key and the medallion\n{To maintain the urgency of your situation, it is asked that you refrain from handling more than one item at a time. We sincerely regret any inconveniences suffered as a result of this policy.}\n\n> You get the key\nVerdeterre's eyes light up as you lift the key. \"I know what that is! That's the key to the strongbox in the hold! I knew it was somewhere.\"\n\n> Fore\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain darts ahead to take stock of the situation."
    },
    {
        "text": "[Themes: pirate, anthropomorphised animals, ship, strong NPCs, pirates, treasure hunt, money, rat]\n\n> You go downward\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain rushes ahead of you, since coming here was his idea."
    },
    {
        "text": "> Go down\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nThe waters have reached your chin. You're having trouble keeping your footing.\n\nThe captain darts ahead to take stock of the situation."
    },
    {
        "text": "[Themes: rat, pirates, money, anthropomorphised animals, ship wreck, ship, male protagonist, strong NPCs]\n\n> You go downwards\nYou can't move in that direction from here. {The available\ndirections are displayed in the status bar above.}\n\n> You unlock the strongbox with the key\nYou unlock the iron strongbox.\n\nThe water is in your mouth now.\n\n> You open the strongbox\nYou open the strongbox, revealing a green glass bottle. The captain's eyes brighten. \"Now I remember! Grab hold of that bottle before it sinks!\"\n\nYou're struggling to keep your head above water.\n\n> You get the bottle\nYou stuff the green glass bottle into the sack.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\n> Go upward\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain darts ahead to take stock of the situation.\n\n> You look at the bottle\nThe bottle is filled with a dark liquid, and the label says \"Pr\u00e9venge\", although you don't know that (you can't read).\n\n> Fore\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nThe rising water has reached your ankles.\n\nThe captain scurries along after you.\n\n> You get the hardtack\nTaken.\n\nNow the water is lapping at your shins.\n\n> Go south\nMoving toward the right side of the deck only causes the ship to lurch distressingly.\n\n> Aft\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nYour knees are covered by the rising waves.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nNow the water is up to your thighs.\n\nThe captain scurries along after you."
    },
    {
        "text": "[Themes: ship wreck, pirate, treasure hunt, nautical, ship]\n\n> Look around\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nThe captain eyes you expectantly.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\n> You ascend\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain scurries along after you.\n\n> Inventory\nYou are carrying:\nan iron key\na commodious sack\na green glass bottle\na flintlock pistol\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nThe rising water has reached your ankles.\n\nThe captain scurries along after you.\n\n> You look in the barrel\nWhen you peek under the barrel you discover an ancient-looking oil lamp.\n\n\"That's gotta be worth something!\" according to the captain, so you toss it in the bag.\n\nNow the water is lapping at your shins.\n\n> Fore\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nYour knees are covered by the rising waves.\n\nThe captain scurries along after you.\n\n> Fore\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nNow the water is up to your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the hardtack\nTaken.\n\nYou wince as the waters climb up around your hips.\n\n> Aft\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe water is up to your waist.\n\nThe captain scurries along after you.\n\n> Go upwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain scurries along after you.\n\n> You get ambergris\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\nNow the water is up to your chest.\n\n> You get the handkerchief\nYou yank on the handkerchief, but it stays lodged in the wall; it's tied on from the other side.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf is a gold medallion.\n\nThe captain scurries along after you.\n\n> You get the pin\nYou pull the pin out from the handkerchief, and it falls between the boards. Now you should be able to retrieve the hanky from the other side of the wall.\n\n> You examine the bed\nThe captain enjoys the privilege of sleeping in a human-sized bed, rather than a rat-sized bed, or a hammock. It's a nice-looking bed, too.\n\nOn the captain's bed is a silk pillow.\n\n> You look under the bed\nYou stoop down to check under the captain's bed, and turn up a curvy shell, bigger than your hand.\n\n\"That's a nautilus,\" Verdeterre explains. \"You oughta see one when the squishy part is still inside. It's a sight that'd keep you up at night, let me tell you. Anyway, let's try and sell it.\"\n\nYou stuff the nautilus shell into the sack.\n\n> Fore\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the handkerchief\nThe captain smiles as you lift up the handkerchief. \"Well, boy, I did make a promise, and I keep my promises. The hanky's yours.\"\n\nYou rub the silk between your fingers, and remark by way of expressing your gratitude that it's a very fine prize.\n\nThe captain nods. \"You're right about that. Actually, it's probably too fine. Yes, you'd better put it in with the other loot so we can sell it later. Good idea.\"\n\nYou stuff the silk handkerchief into the sack.\n\n> Fore\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe water glides over the decks and soon it is up to your ankles.\n\nThe captain scurries along after you.\n\n> You get the mirror\nYou pick up the mirror, and Verdeterre motions for you to point it at him. He checks to make sure he's wearing his hat at an appropriately jaunty angle. He nods in approval.\n\nYou stuff the hand mirror into the sack.\n\nNow the water is up to your shins.\n\n> You get the dagger\nYou pull on the handle of the dagger, but it remains stuck in the mast.\n\n\"Hey, that was Saad's, right?\" Verdeterre asks. \"What happened to him?\"\n\n\"I think you told him you were going to kill him, so he ran away,\" you say.\n\nHe frowns. \"Man, I think you're right. Wow. I shoulda been nicer.\"\n\nYour knees are underwater now.\n\n> Up\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging.\n\nThere might be about a foot of water over the main deck now.\n\nThe captain scampers up the lines ahead of you.\n\n> You get the brass\nIt's a miniature crown, maybe the size of a tablespoon.\n\n\"That!\" Verdeterre shrieks. \"That is important. Put that in the sack. Do not lose that.\"\n\nYou stuff the tiny brass crown into the sack.\n\nThe deck below is still sinking.\n\n> You give the hardtack to the seagull\nThe seagull doesn't seem interested.\n\nBy now the main deck is under about three feet of water.\n\n> You look at the seagull\nThe seagull seems to look straight back at you, a challenge in its eye. It has a gold watch clutched in its talons. Or do they count as talons if they're webbed?\n\n\"Seagulls! Vermin of the sea! I hate them,\" the captain grumbles.\n\n> You show hardtack to the seagull\nThe seagull is unimpressed.\n\nBy now the main deck is under about three feet of water.\n\n> You shoot the seagull\nYour shot goes wide, but the report is enough to make the seagull drop its prize and fly away. The watch falls into the water.\n\nBy now the main deck is under about three feet of water."
    },
    {
        "text": "[Themes: pirates, money]\n\n> Go down\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nThe water is up to your chest.\n\nThe captain darts ahead to take stock of the situation.\n\n> Fore\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe waves close over your shoulders.\n\nThe captain scurries along after you.\n\n> Fore\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nThe water reaches your chin. You're having trouble keeping your footing.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Up\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe main deck has to be under at least five feet of water now.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get fid\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid.\n\nYour chance to return to the main deck is almost gone.\n\n> You examine the figurehead\nYou have to lean uncomfortably over the gunwale to get a good look, but there she is: a wooden human woman in need of a coat of paint.\n\n\"Hey, what's that she's wearing?\" asks Verdeterre.\n\nIn fact, the figurehead is wearing very little, but Verdeterre indicates what seems to be a non-wooden necklace around her neck. \"Go get that!\"\n\n> You get the necklace\nThe only way to reach that necklace would be to climb out onto the bowsprit.\n\n> You climb onto the bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\nThe waters continue to bury the main deck.\n\n> You get the necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\nThe water is too high now for you to safely hang from the bowsprit without drowning.\n\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\nThe rising water has almost reached the level of the upper decks.\n\n> Aft\nIt's too late to go back down now. The deck below is almost completely flooded.\n\nThe main deck is utterly lost now, and the waters begin inching up over the fo'c'sle and quarterdeck..."
    },
    {
        "text": "[Themes: money, anthropomorphised animals]\n\n> You look around\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nThe captain eyes you expectantly.\n\n> Wait\nTime passes.\n\nThe water glides over the fo'c'sle deck and soon it is up to your ankles. You are going to die here.\n\n> Wait\nTime passes.\n\nNow the water is up to your shins.\n\n\"What a disappointment,\" Captain Verdeterre says, as he swims away.\n\nYou wish you could swim.\n\n> Wait\nTime passes.\n\nYour knees are underwater now.\n\n> Wait\nTime passes.\n\nThe water rises up around your thighs."
    },
    {
        "text": "[Themes: money, treasure hunt, anthropomorphised animals, pirates]\n\n> Look around\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\n> You wait for a while\nTime passes.\n\nNow the water reaches your hips."
    },
    {
        "text": "[Themes: nautical, pirates, treasure hunt, anthropomorphised animals]\n\n> Go down\nIt's too late to go back down now. The deck below is completely flooded.\n\n> You wait for a while\nTime passes.\n\nThe rising waves climb up to your waist.\n\n> Wait\nTime passes.\n\nThe water is up to your chest.\n\n> You wait a while\nTime passes.\n\nThe waves close over your shoulders.\n\n> Wait\nTime passes.\n\nThe water reaches your chin. You're having trouble keeping your footing.\n\n> You wait awhile\nTime passes.\n\nThe water is in your mouth now.\n\n> Wait\nTime passes.\n\nYou're struggling to keep your head above water.\n\n> You wait awhile\nTime passes.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. Unfortunately, there isn't really anywhere to go from here.\n\n> Drink bottle\nThere's nothing suitable to drink here.\n\nThe water closes over your head. What would your like for the final action in your life to be?\n\n> You check your inventory\nYou are carrying:\na fid\na silk handkerchief\na musky grey lump\na piece of hardtack\nan iron key\na commodious sack\na pearl necklace\na tiny brass crown\na hand mirror\na nautilus shell\nan oil lamp\na green glass bottle\na flintlock pistol\n\n> You open the bottle\nThat's not something you can open.\n\nYou can't hold your breath any longer, and now water rushes into your mouth and nostrils. You're able to struggle for a little while, but it's no use.\n\n> Aft\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nYou're struggling to keep your head above water.\n\nThe captain darts ahead to take stock of the situation.\n\n> You enter the boat\nAre you sure you want to abandon ship? [y/n]\n\n> Y.\nYou shove off with all due haste.\n\n I feel like this is probably the best you could have done. So relax! Pull up a chair!\"\n\nThere is only one chair in the apartment, however, and Captain Verdeterre is sitting in it, so you nod politely and continue to stand as he curls up and drifts off to sleep.\n\n> You examine the hole\nYou would have thought the hull was too strong to be busted up so much by a reef, but on the other hand you did hit that reef pretty hard.\n\n> You examine the gun\nThis, your trusty pistol, may still technically belong to the captain. Sometimes he says he gave it to you, and sometimes he says he's loaning it to you.\n\n> You put the sack in the hole\nYou can't let go of the sack. You're under orders to fill it with treasure.\n\nNow the water is lapping at your shins.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nA crystal ball is rolling around on the floor.\n\nNow the water is lapping at your shins.\n\nThe captain scurries along after you.\n\n> You shoot strongbox\nYou shoot at the strongbox. Your bullet, the only bullet you have, bounces off harmlessly and disappears.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> Up\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\nThe captain scurries along after you.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nThe captain darts ahead to take stock of the situation.\n\n> You examine the flag box\nThe flag box contains, or used to contain, all of the flags a pirate ship could ever need. Over the course of your many voyages, a lot of the flags were ripped up angrily, or destroyed in the course of hilarious pranks.\n\nRight now it's closed.\n\n> You open the flag box\nYou open the flag box, revealing a red and yellow flag.\n\n> You get the flag\nYou pull the flag out of the box and unfold it: the design is a yellow cross on a red field. \"Whose flag is this?\" you ask your captain.\n\n\"I dunno. I think Denmark? Anyway, it's useless. Toss it.\"\n\nYou nod, and throw the flag somewhere where it won't get in the way.\n\nThe flag that was underneath is striped.\n\n> You get striped\nYou unfold the striped flag to see the entire design. It's a blue stripe, a white stripe, a red stripe, a white stripe, and a blue stripe.\n\n\"That's the Russian flag,\" Verdeterre explains. \"You're holding it upside down.\"\n\nIt's just a Russian flag anyway, so you toss it. The next flag in the box has a red X on it.\n\n> You get X\nThis flag has a red X on a white field. \"That's the Swiss flag,\" Verdeterre says, but then he stops himself: \"No, wait. The Swiss flag is a white cross on red. So this one, I guess, is for... the Swiss navy.\"\n\nThe captain seems put off a bit at himself, so you throw away the offending flag.\n\nAt the bottom of the flag box is an old tapestry.\n\n> You get the tapestry\nYou pull out the tapestry and unfold it. It depicts a rat in clerical garb lying on his back, his stomach pierced by the spear of a human paladin. The rat's fingers are either raised in pious benediction or twisted in pain.\n\n\"Hey, that's the Martyrdom of Saint Incertus!\" says Verdeterre. \"He's the patron saint of the pursued, I think. Too bad he's not the patron saint of shipwrecks. Better take it along.\"\n\nYou fold it up carefully. \"Why did they martyr him?\" you ask.\n\n\"Well, between the Human Catholic Church and the Rat Catholic Church there are some differences in the rules\u2014such as, according to the human church, you're not allowed to declare yourself a saint. It's considered presumptuous. But we did get a tapestry out of it.\"\n\nYou stuff the tapestry of Saint Incertus into the sack.\n\n> Fore\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain scurries along after you."
    },
    {
        "text": "> Go down\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nYou're struggling to keep your head above water.\n\nThe captain rushes ahead of you, since coming here was his idea."
    },
    {
        "text": "> You get the vase\nThe captain squeaks approvingly. \"That's a good one. That'll keep us fed for a week.\"\n\nYou stuff the ornate vase into the sack.\n\nNow the water is up to your thighs.\n\n> Up\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain darts ahead to take stock of the situation.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nThe captain scurries along after you.\n\n> Fore\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain darts ahead to take stock of the situation.\n\n> Up\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging.\n\nThe captain scampers up the lines ahead of you.\n\n> You shoot the seagull\nYour shot goes wide, but the report is enough to make the seagull drop its prize and fly away. The watch falls to the deck below."
    },
    {
        "text": "[Themes: male protagonist, nautical, rat, strong NPCs, anthropomorphised animals]\n\n> Go downward\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nA gold watch is lying on the deck, apparently undamaged after its descent.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain scurries along after you.\n\n> You get the watch\nYou pick up the watch. \"That scumbag bird tried to steal our watch,\" Verdeterre says, \"but we sure showed him, right?\"\n\nYou stuff the gold watch into the sack.\n\n> Fore\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe captain darts ahead to take stock of the situation.\n\n> Up\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe captain scurries along after you.\n\n> Oops fid\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid."
    },
    {
        "text": "[Themes: pirates, anthropomorphised animals, nautical]\n\n> You look at your surroundings\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nThe captain surveys the situation with a sober eye.\n\n> You examine the figurehead\nYou have to lean uncomfortably over the gunwale to get a good look, but there she is: a wooden human woman in need of a coat of paint.\n\n\"Hey, what's that she's wearing?\" asks Verdeterre.\n\nIn fact, the figurehead is wearing very little, but Verdeterre indicates what seems to be a non-wooden necklace around her neck. \"Go get that!\"\n\n> You climb out onto the bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\n> You get the necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\n> Up\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\n> Aft\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the dagger\nYou pull on the handle of the dagger, but it remains stuck in the mast.\n\n\"Hey, that was Saad's, right?\" Verdeterre asks. \"What happened to him?\"\n\n\"I think you told him you were going to kill him, so he ran away,\" you say.\n\nHe frowns. \"Man, I think you're right. Wow. I shoulda been nicer.\"\n\nThe water glides over the decks and soon it is up to your ankles.\n\n> You examine fid\nIt's a long wooden cone with a mean-looking point.\n\n> You pull the dagger\nThat's fine where it is.\n\n> You take the dagger\nThe captain sighs as you yank on the dagger. \"It's not coming out,\" he says.\n\nNow the water is up to your shins.\n\n> You take the dagger\nThe dagger stays stuck. Verdeterre rolls his eyes.\n\nYour knees are underwater now.\n\nThe mirror disappears beneath the waves.\n\n> You take the dagger\nAs much as you pull, the knife won't budge. \"Leave it alone, will you?\" cries Verdeterre.\n\nThe water rises up around your thighs.\n\n> You take the dagger\nYou pull again. You're almost there. You can feel the dagger's resolve fading.\n\nNow the water reaches your hips.\n\n> You take the dagger\nThe dagger stays stuck. Verdeterre rolls his eyes.\n\nThe rising waves climb up to your waist.\n\n{A friendly reminder: Substantial resources have been invested in\nthe research and implementation of this game's Nautical Vocabulary Notes. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you very much.}\n\n> You take the dagger\nThe captain sighs as you yank on the dagger. \"It's not coming out,\" he says.\n\nThe water is up to your chest.\n\n> Fore\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe waves close over your shoulders.\n\nThe captain scurries along after you.\n\n> You look at the davits\nThe davits lean out over the side of the vessel, and a lifeboat hangs underneath them.\n\n> You enter the boat\nAre you sure you want to abandon ship? [y/n]\n\n> Y.\nYou shove off with all due haste.\n\n I feel like this is probably the best you could have done. So relax! Pull up a chair!\"\n\nThere is only one chair in the apartment, however, and Captain Verdeterre is sitting in it, so you nod politely and continue to stand as he curls up and drifts off to sleep.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nA crystal ball is rolling around on the floor.\n\nNow the water is lapping at your shins.\n\nThe captain darts ahead to take stock of the situation.\n\n> Up\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe captain scurries along after you.\n\n> You get the statuette\nYou stuff the bronze statuette into the sack.\n\n> You examine the wheel\nThis is where you were standing when it happened. The captain said he needed some shuteye. You told him you could handle steering by yourself for a while. He trusted you.\n\nYou've got to make it up to him.\n\n> You examine the statuette\nThe statuette depicts a man with the head of a bird, wearing an extremely elaborate headdress. Or maybe those are just his own feathers."
    },
    {
        "text": "> Go downwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Fore\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain scurries along after you.\n\n> Up\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging.\n\nThe captain scampers up the lines ahead of you.\n\n> You get the brass\nIt's a miniature crown, maybe the size of a tablespoon.\n\n\"That!\" Verdeterre shrieks. \"That is important. Put that in the sack. Do not lose that.\"\n\nYou stuff the tiny brass crown into the sack.\n\n> You put the crown on the statuette\nFirst you take the tiny brass crown.\n\nTaken.\n\nIf you leave things lying around, you're liable to forget about them entirely."
    },
    {
        "text": "[Themes: ship wreck, nautical, treasure hunt]\n\n> You examine doll\nIt's a little wooden girl, with rosy cheeks and spindly limbs. She doesn't have a scrap of clothing on her.\n\n> You look in barrel\nWhen you peek under the barrel you discover an ancient-looking oil lamp.\n\n\"That's gotta be worth something!\" according to the captain, so you toss it in the bag.\n\n> You look at the oil lamp\nThis grubby antique probably hasn't been used in years. There's no oil inside, that's for sure.\n\n> Turn dagger\n{It is politely requested that you respect the orientation of the curved dagger.}\n\n> You examine the dagger\nThe handle is finely crafted, and the blade comes to a point in a dramatic curve.\n\n> Inventory\nYou are carrying:\na commodious sack\nan oil lamp\na flintlock pistol\n\n> Fore\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe captain scurries along after you.\n\n> Fore\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nAn old zither lies in the corner.\n\nThe captain scurries along after you.\n\n> You get the zither\nYou point at the zither, and the captain says \"Yeah, sure. It's out of tune, though.\"\n\nYou lift the instrument from the floor. \"How do you know?\"\n\n\"I don't, but it stands to reason, right?\"\n\nYou stuff the zither into the sack.\n\n> You play zither\nYou plunk out a couple notes. It doesn't sound like music to you.\n\n> Aft\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain darts ahead to take stock of the situation.\n\n> You check what you're carrying\nYou are carrying:\na commodious sack\na zither\nan oil lamp\na flintlock pistol\n\n> Go upward\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe captain scurries along after you.\n\n> You get fid\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid."
    },
    {
        "text": "> You go downward\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You look at the davits\nThe davits lean out over the side of the vessel, and a lifeboat hangs underneath them."
    },
    {
        "text": "[Themes: pirate, male protagonist, rat, anthropomorphised animals]\n\n> You look around\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nThe captain eyes you expectantly.\n\n> You examine the hammocks\nIt's hard to be comfortable in one of these, but there's an upside: lately you haven't had to share this room with anybody at all!"
    },
    {
        "text": "> Go downwards\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nNow the water is up to your thighs.\n\nThe little wooden doll floats away.\n\nThe captain darts ahead to take stock of the situation.\n\n> Fore\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nYou wince as the waters climb up around your hips.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\nThe water is up to your waist.\n\nThe currents carry the hardtack out of sight.\n\n> Aft\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nNow the water is up to your chest.\n\nThe captain scurries along after you.\n\n> Inventory\nYou are carrying:\na commodious sack\na violin\na zither\nan oil lamp\na flintlock pistol\n\n> F.\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nThe captain darts ahead to take stock of the situation.\n\n> Go upward\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get fid\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid.\n\n> Aft\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe water glides over the decks and soon it is up to your ankles.\n\n{A friendly reminder: Substantial resources have been invested in\nthe research and implementation of this game's Nautical Vocabulary Notes. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you very much.}\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You examine fid\nIt's a long wooden cone with a mean-looking point.\n\n> Aft\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nNow the water is up to your shins.\n\nThe captain scurries along after you.\n\n> Fore\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe water rises up around your thighs.\n\nThe captain scurries along after you.\n\n> Fore\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nNow the water reaches your hips.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe rising waves climb up to your waist.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get in the boat\nAre you sure you want to abandon ship? [y/n]\n\n> Y.\nYou shove off with all due haste.\n\n\""
    },
    {
        "text": "[Themes: treasure hunt, strong NPCs, anthropomorphised animals, ship wreck, money]\n\n> You look around\nThis is the foremost section of the hold, the location of the giant hole that the reef tore in the ship's hull. Water is gushing in at an alarming rate.\n\nThe rest of the hold (and the stairs to the decks above) is aft.\n\nThe captain eyes you expectantly.\n\nA perturbed-looking gorilla skull hangs from a hook on the wall.\n\nIn one corner of the room is a pewter goblet.\n\nA thick book lies close by.\n\n> You get the skull\nThe captain smiles at the skull. \"Good old Charlie! What a spirited guy. If I had the chance, I think I'd shoot him again.\"\n\nYou stuff the gorilla skull into the sack.\n\nNow the water is lapping at your shins.\n\n> You open the book\nYou pick up the book.\n\n\"Oh, just drop that,\" says Verdeterre. \"We're looking for\ntreasure, not mildewy books.\"\n\nYou open the book. Carved into the pages is a cavity containing a steel bracelet.\n\n\"Well, how about that,\" says Verdeterre.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> You get the bracelet\nYou stuff the steel bracelet into the sack.\n\nNow the water is up to your thighs.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nYou wince as the waters climb up around your hips.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the ball\n\"Good eye. Superstitious suckers eat that kind of thing up.\" Verdeterre chuckles.\n\nYou stuff the crystal ball into the sack.\n\nNow the water is up to your thighs.\n\n> Up\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the medallion\nYou give the medallion a quick once-over and ask Verdeterre, \"What did you do to earn this?\"\n\n\"I stole it.\"\n\nYou stuff the gold medallion into the sack."
    },
    {
        "text": "[Themes: anthropomorphised animals, pirates, nautical, male protagonist, money, treasure hunt]\n\n> Go downward\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Unlock strongbox\n(with the iron key)\nYou unlock the iron strongbox.\n\nThe water closes over your head. You might have time to do one last thing before you drown...\n\n> You open the strongbox\nYou open the strongbox, revealing a green glass bottle. The captain's eyes brighten. \"Now I remember! Grab hold of that bottle before it sinks!\"\n\nYou can't hold your breath any longer, and now water rushes into your mouth and nostrils. You're able to struggle for a little while, but it's no use.\n\nThe Captain, as it turns out, is a fairly capable swimmer, and he paddles away without you."
    },
    {
        "text": "[Themes: nautical, rat]\n\n> You get the ball\n\"Good eye. Superstitious suckers eat that kind of thing up.\" Verdeterre chuckles.\n\nYou stuff the crystal ball into the sack.\n\nNow the water is up to your thighs."
    },
    {
        "text": "[Themes: ship, anthropomorphised animals, male protagonist]\n\n> Go downwards\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain scurries along after you.\n\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nYou're struggling to keep your head above water.\n\nThe captain darts ahead to take stock of the situation.\n\n> Unlock strongbox\n(with the iron key)\nYou unlock the iron strongbox.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\n> You open it\nYou open the strongbox, revealing a green glass bottle. The captain's eyes brighten. \"Now I remember! Grab hold of that bottle before it sinks!\"\n\nThe water closes over your head. You might have time to do one last thing before you drown...\n\n> You get the bottle\nYou stuff the green glass bottle into the sack.\n\nYou can't hold your breath any longer, and now water rushes into your mouth and nostrils. You're able to struggle for a little while, but it's no use.\n\nThe Captain, as it turns out, is a fairly capable swimmer, and he paddles away without you.\n\n> Up\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe rising water has reached your ankles.\n\nThe captain scurries along after you."
    },
    {
        "text": "> Go downwards\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nYou're struggling to keep your head above water.\n\nThe captain scurries along after you.\n\n> You open the box\nYou yank on the lid of the strongbox, but it's locked tight.\n\n\"Oh, shoot,\" says Verdeterre. \"I forget where I left the key. Knowing me, it's probably hidden extremely well. But I can't remember what was in there, either, so it's not a big loss.\"\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground."
    },
    {
        "text": "[Themes: ship, money, pirates, ship wreck, nautical, male protagonist]\n\n> Go downwards\nIt's too late to go back down now. The deck below is almost completely flooded.\n\nThe rising water has reached your ankles.\n\n> You examine painting\nThe canvas is a foot and a half wide, and the image of Verdeterre is somewhat larger than the captain himself. Rendered more or less expertly in oils, the portrait successfully conveys the courage and ingenuity that Verdeterre has difficulty projecting in person.\n\n> You look at shelf\nThe captain had this shelf set up to display the most beloved of his possessions that he was able to keep track of.\n\nOn the shelf are a gold medallion and an iron key.\n\n> You search the bed\nOn the captain's bed is a silk pillow."
    },
    {
        "text": "[Themes: pirate, strong NPCs, anthropomorphised animals]\n\n> You describe your surroundings\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nThe captain eyes you expectantly.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\n> You open the locket\nVerdeterre looks on with interest as you struggle to undo the locket's tiny clasp, and when you finally get it open he asks, \"Who's the picture of?\"\n\nThe tiny painting depicts a fairly respectable-looking rat. Engraved inside the cover is the name \"Etienne\". You turn the interior toward Verdeterre for inspection.\n\n\"Oh, hey, I know her. Let me see that,\" he says, prying the locket from your hands. He swings it over his head and throws it as far away as possible.\n\n\"Cool, that's taken care of. Let's get a move on.\" You decide it's best not to ask.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain scurries along after you.\n\n> Aft\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe captain scurries along after you."
    },
    {
        "text": "[Themes: money, ship wreck, strong NPCs]\n\n> Go downward\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nYour knees are covered by the rising waves.\n\nThe captain scurries along after you.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nNow the water is up to your thighs.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\nThe water is up to your waist.\n\n> You eat the hardtack\nBefore tucking into the hardtack, you look over at your captain. He nods in approval, and you scarf the whole thing down.\n\nNow the water is up to your chest.\n\n> Aft\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nNow the water is up to your chest.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the ambergris\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\nYou stretch out your neck as the waters close over your shoulders.\n\nThe crate disappears under the water, and the horrible smell starts to fade away.\n\n> Go upwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe captain darts ahead to take stock of the situation.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the medallion\nYou give the medallion a quick once-over and ask Verdeterre, \"What did you do to earn this?\"\n\n\"I stole it.\"\n\nYou stuff the gold medallion into the sack.\n\n> You look at the medallion\nThe medal shines so brightly that you cannot doubt it is real gold. The face has been stamped with the image of an angry-looking lion.\n\n> You look at the shelf\nThe captain had this shelf set up to display the most beloved of his possessions that he was able to keep track of.\n\nOn the shelf is an iron key.\n\n> You get the shelf\nThat's hardly portable.\n\n> You listen to the shell\nYou hear nothing unexpected.\n\nThe water glides over the decks and soon it is up to your ankles.\n\n> You throw the shell\nTaken.\n\nIf you leave things lying around, you're liable to forget about them entirely.\n\nNow the water is up to your shins.\n\n{A friendly reminder: Substantial resources have been invested in\nthe research and implementation of this game's Nautical Vocabulary Notes. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you very much.}\n\n> F.\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nYour knees are underwater now.\n\nThe captain scurries along after you.\n\n> You get the pin\nYou pull the pin out from the handkerchief, and it falls between the boards. Now you should be able to retrieve the hanky from the other side of the wall.\n\nYour knees are underwater now.\n\n> F.\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe water rises up around your thighs.\n\nThe captain scurries along after you.\n\n> You get the hanky\nThe captain smiles as you lift up the handkerchief. \"Well, boy, I did make a promise, and I keep my promises. The hanky's yours.\"\n\nYou rub the silk between your fingers, and remark by way of expressing your gratitude that it's a very fine prize.\n\nThe captain nods. \"You're right about that. Actually, it's probably too fine. Yes, you'd better put it in with the other loot so we can sell it later. Good idea.\"\n\nYou stuff the silk handkerchief into the sack.\n\nNow the water reaches your hips.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nThe rising waves climb up to your waist.\n\nThe captain darts ahead to take stock of the situation.\n\n> You examine the point\nThe handle is finely crafted, and the blade comes to a point in a dramatic curve.\n\n> Go up\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging.\n\nThe sea continues to bury the main deck, inching its way toward you.\n\nThe captain scampers up the lines ahead of you.\n\n> You shoot the seagull\nYour shot goes wide, but the report is enough to make the seagull drop its prize and fly away. The watch falls into the water.\n\nSoon the main deck will be too deep underwater for you to walk around on it."
    },
    {
        "text": "[Themes: anthropomorphised animals, male protagonist, strong NPCs, money, ship wreck, nautical, ship, rat, pirate]\n\n> Go downwards\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nThe water reaches your chin. You're having trouble keeping your footing.\n\nThe captain scurries along after you.\n\n> Wait\nTime passes.\n\nThe water is in your mouth now.\n\nThe dagger's edge glints one last time before disappearing in the murk.\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nYou're struggling to keep your head above water.\n\nThe captain scurries along after you.\n\n> Y.\nYou shove off with all due haste.\n\n***\n***The return to civilization was a long one, but you both survived, and the long task of liquidating your assets finally began. Now, having dealt with numerous fences, suckers, and a few legitimate businessmen, you take inventory of your priceless treasures and how much they turned out to worth:\n\nThe skull of an African gorilla, sold for 70 Spanish dollars to a credulous fellow already possessing the incomplete skeleton of an orangutan...\nA musky grey lump, later identified as a piece of rare ambergris, valued at 179 dollars...\nAn unremarkable but serviceable violin, sold for 50 dollars...\nA silk handkerchief, sold for 10 dollars...\nA medallion of mysterious provenance, sold for 68 dollars...\nA slightly chipped nautilus shell, sold to a British dandy for 49 dollars...\n\n...For a total of 426 Spanish dollars.\n\nThe first mate's share of that came to 26 Spanish dollars and 5 reales.\n\n***"
    },
    {
        "text": "> Up\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain darts ahead to take stock of the situation.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf are a gold medallion and an iron key.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the key\nVerdeterre's eyes light up as you lift the key. \"I know what that is! That's the key to the strongbox in the hold! I knew it was somewhere.\""
    },
    {
        "text": "[Themes: pirates, strong NPCs, treasure hunt, ship wreck, rat]\n\n> Go down\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nThe water is in your mouth now.\n\nThe captain darts ahead to take stock of the situation.\n\n> Unlock box\n(with the iron key)\nYou unlock the iron strongbox.\n\nYou're struggling to keep your head above water.\n\n> You open the box\nYou open the strongbox, revealing a green glass bottle. The captain's eyes brighten. \"Now I remember! Grab hold of that bottle before it sinks!\"\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\n> You get the bottle\nYou stuff the green glass bottle into the sack.\n\nThe water closes over your head. You might have time to do one last thing before you drown...\n\n> Up\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe rising water has reached your ankles.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the doll\n\"You know,\" says Verdeterre, \"that doll gives me an idea. Better take it along.\"\n\nYou stuff the wooden doll into the sack.\n\nNow the water is lapping at your shins.\n\n> You get the ambergris\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\nYour knees are covered by the rising waves.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nNow the water is up to your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the sextant\n\"I hate those things,\" says the captain. \"Nobody will build one that's small enough for us to use.\"\n\nYou stuff the sextant into the sack.\n\nYou wince as the waters climb up around your hips.\n\n> You open the flagbox\nYou open the flag box, revealing a red and yellow flag.\n\nThe water is up to your waist.\n\nThe waves lift the barrel off the floor, and it rolls away.\n\n> You get the flag\nYou pull the flag out of the box and unfold it: the design is a yellow cross on a red field. \"Whose flag is this?\" you ask your captain.\n\n\"I dunno. I think Denmark? Anyway, it's useless. Toss it.\"\n\nYou nod, and throw the flag somewhere where it won't get in the way.\n\nThe flag that was underneath is striped.\n\nNow the water is up to your chest.\n\nThe flag box is covered by water.\n\n> Aft\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nNow the water is lapping at your shins.\n\nThe captain darts ahead to take stock of the situation.\n\n> You open the flagbox\nYou open the flag box, revealing a red and yellow flag.\n\nYour knees are covered by the rising waves.\n\n> You get the flag\nYou pull the flag out of the box and unfold it: the design is a yellow cross on a red field. \"Whose flag is this?\" you ask your captain.\n\n\"I dunno. I think Denmark? Anyway, it's useless. Toss it.\"\n\nYou nod, and throw the flag somewhere where it won't get in the way.\n\nThe flag that was underneath is striped.\n\nNow the water is up to your thighs.\n\n> You get the flag\nYou unfold the striped flag to see the entire design. It's a blue stripe, a white stripe, a red stripe, a white stripe, and a blue stripe.\n\n\"That's the Russian flag,\" Verdeterre explains. \"You're holding it upside down.\"\n\nIt's just a Russian flag anyway, so you toss it. The next flag in the box has a red X on it.\n\nYou wince as the waters climb up around your hips.\n\n> You get the flag\nThis flag has a red X on a white field. \"That's the Swiss flag,\" Verdeterre says, but then he stops himself: \"No, wait. The Swiss flag is a white cross on red. So this one, I guess, is for... the Swiss navy.\"\n\nThe captain seems put off a bit at himself, so you throw away the offending flag.\n\nAt the bottom of the flag box is an old tapestry.\n\nThe water is up to your waist.\n\nThe waves lift the barrel off the floor, and it rolls away.\n\n> You get the tapestry\nYou pull out the tapestry and unfold it. It depicts a rat in clerical garb lying on his back, his stomach pierced by the spear of a human paladin. The rat's fingers are either raised in pious benediction or twisted in pain.\n\n\"Hey, that's the Martyrdom of Saint Incertus!\" says Verdeterre. \"He's the patron saint of the pursued, I think. Too bad he's not the patron saint of shipwrecks. Better take it along.\"\n\nYou fold it up carefully. \"Why did they martyr him?\" you ask.\n\n\"Well, between the Human Catholic Church and the Rat Catholic Church there are some differences in the rules\u2014such as, according to the human church, you're not allowed to declare yourself a saint. It's considered presumptuous. But we did get a tapestry out of it.\"\n\nYou stuff the tapestry of Saint Incertus into the sack.\n\nNow the water is up to your chest.\n\nThe flag box is covered by water.\n\n> You get the sextant\n\"I hate those things,\" says the captain. \"Nobody will build one that's small enough for us to use.\"\n\nYou stuff the sextant into the sack.\n\nYou stretch out your neck as the waters close over your shoulders.\n\n> F.\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nThe waters have reached your chin. You're having trouble keeping your footing.\n\nThe water carries away the portrait of your noble captain, who whimpers pathetically as it disappears.\n\nThe captain scurries along after you.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nHanging on the wall is an old violin.\n\nThe water is in your mouth now.\n\nThe rising waves push the violin off of its hook, and it floats away.\n\nThe captain darts ahead to take stock of the situation.\n\n> You get the locket\n\"Ooh, jewelry! Good eye, Tibert!\" says the captain.\n\nYou stuff the silver locket into the sack.\n\n> Aft\nHere is where the captain sleeps, where he eats, where he does his deep thinking. Most of this happens in his bed. Hung on one wall is a shelf, set aside for the captain's favorite objects.\n\nA pin is sticking out of the forward bulkhead, holding up the handkerchief outside.\n\nOn the captain's bed is a silk pillow.\n\nOn the shelf is a gold medallion.\n\nThe captain scurries along after you.\n\n> You get the pin\nYou pull the pin out from the handkerchief, and it falls between the boards. Now you should be able to retrieve the hanky from the other side of the wall.\n\n> You get the medallion\nYou give the medallion a quick once-over and ask Verdeterre, \"What did you do to earn this?\"\n\n\"I stole it.\"\n\nYou stuff the gold medallion into the sack.\n\nThe water glides over the decks and soon it is up to your ankles.\n\n> F.\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nNow the water is up to your shins.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You get the hanky\nThe captain smiles as you lift up the handkerchief. \"Well, boy, I did make a promise, and I keep my promises. The hanky's yours.\"\n\nYou rub the silk between your fingers, and remark by way of expressing your gratitude that it's a very fine prize.\n\nThe captain nods. \"You're right about that. Actually, it's probably too fine. Yes, you'd better put it in with the other loot so we can sell it later. Good idea.\"\n\nYou stuff the silk handkerchief into the sack.\n\nYour knees are underwater now.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nThe water rises up around your thighs.\n\nThe captain scurries along after you."
    },
    {
        "text": "> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You take the dagger\nYou pull on the handle of the dagger, but it remains stuck in the mast.\n\n\"Hey, that was Saad's, right?\" Verdeterre asks. \"What happened to him?\"\n\n\"I think you told him you were going to kill him, so he ran away,\" you say.\n\nHe frowns. \"Man, I think you're right. Wow. I shoulda been nicer.\"\n\n> You take dagger\nYou pull again. You're almost there. You can feel the dagger's resolve fading.\n\n> You take the dagger\nWith a mighty tug, you wrench the dagger from the mast. \"All right, cool; put it in the bag,\" says Verdeterre.\n\nYou stuff the curved dagger into the sack.\n\n> Y.\nYou shove off with all due haste.\n\n> You get the mirror\nYou pick up the mirror, and Verdeterre motions for you to point it at him. He checks to make sure he's wearing his hat at an appropriately jaunty angle. He nods in approval.\n\nYou stuff the hand mirror into the sack.\n\n> You take the locket\n\"Ooh, jewelry! Good eye, Tibert!\" says the captain.\n\nYou stuff the silver locket into the sack.\n\n> You go upward\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe captain scurries along after you.\n\n> You take the ambergris\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\nNow the water is lapping at your shins.\n\n> Go upwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe captain darts ahead to take stock of the situation.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe captain darts ahead to take stock of the situation.\n\n> You climb\nWhat do you want to climb?"
    },
    {
        "text": "> You look around\nWhat a dizzying height! The shrouds reach higher, of course, but up here is high enough.\n\nThe captain eyes you expectantly.\n\nA piece of brass is caught between the boards.\n\nA seagull is perched further out on the rigging."
    },
    {
        "text": "[Themes: ship wreck, pirates, nautical, strong NPCs, money]\n\n> You go downward\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe captain scurries along after you.\n\n> You climb the bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\nYou notice that the waters have just crested over the main deck.\n\n> You take the necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\nThe water continues to rise down on the main deck."
    },
    {
        "text": "> Go downwards\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\nThe main deck keeps on sinking."
    },
    {
        "text": "[Themes: ship wreck, pirates, male protagonist, nautical, rat]\n\n> You descend\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe water rises up around your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> Y.\nYou shove off with all due haste.\n\n***\n***The return to civilization was a long one, but you both survived, and the long task of liquidating your assets finally began. Now, having dealt with numerous fences, suckers, and a few legitimate businessmen, you take inventory of your priceless treasures and how much they turned out to worth:\n\nA musky grey lump, later identified as a piece of rare ambergris, valued at 179 dollars...\nA silk handkerchief, sold for 10 dollars...\nA silver locket, sold to a lovesick and desperate young man for 15 dollars...\nA Yemeni jambiya, with a handle of rhinoceros horn, worth 276 dollars...\nA cheap hand mirror, worth 12 dollars to a man who thought his soul was trapped inside...\nA medallion of mysterious provenance, sold for 68 dollars...\nA cheap reproduction of a Ptolemaic statuette of the Egyptian god Thoth, melted down into lead ingots worth four dollars...\nAn extremely fine pearl necklace, sold to a \"Bavarian princess\" for 186 dollars...\n\n...For a total of 750 Spanish dollars.\n\nThe first mate's share of that came to 46 Spanish dollars and 7 reales.\n\n***\n\n> Go upwards\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe deck below is still sinking.\n\nThe captain darts ahead to take stock of the situation.\n\n> You take the fid\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid.\n\nBy now the main deck is under about three feet of water."
    },
    {
        "text": "[Themes: treasure hunt, ship, ship wreck]\n\n> Go down\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe water is up to your chest.\n\nThe captain scurries along after you.\n\n> Y.\nYou shove off with all due haste.\n\n> You look at the pin\nThe pin is pulled through two corners of the handkerchief, making it impossible to pull the cloth away from the other side of the partition.\n\n> You get the pillow\nYou pick up the pillow.\n\n\"Oh, no. I'm gonna miss that little guy,\" says Verdeterre. \"I've never been able to get to sleep without it. But it needs to must, when devils drive!\"\n\nYou stuff the silk pillow into the sack.\n\n> You drop it\nTaken.\n\nIf you leave things lying around, you're liable to forget about them entirely.\n\n> You check your inventory\nYou are carrying:\na silk pillow\na commodious sack (empty)\na flintlock pistol\n\n> Aft\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You look at the map table\nIn lieu of an actual map, some vague charts have been carved on the surface of the table. To you they are meaningless; to Verdeterre they are invaluable guides to the sea.\n\nOn the map table is a sextant.\n\n> You look at the charts\nYou squint at the charts. \"Where exactly are we?\" you ask.\n\n\"I thought I told you to quit asking,\" says the captain.\n\n> You look at the crate\nIt's a large crate, used for transporting various different types of cargo.\n\nIn the smelly crate is a musky grey lump."
    },
    {
        "text": "[Themes: pirate, rat, treasure hunt, ship, anthropomorphised animals, nautical, strong NPCs]\n\n> You go downwards\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nDespite the height of the water, you can still just barely reach the iron strongbox.\n\nYou can barely see where you're going, squeezing your eyes to keep out the salt water. You need to get to higher ground.\n\nThe captain scurries along after you.\n\n> Aft\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nA crystal ball is rolling around on the floor.\n\nNow the water is lapping at your shins.\n\nThe captain scurries along after you.\n\n> You look in the vase\nSure is dark in there.\n\n> You get vase\nThe captain squeaks approvingly. \"That's a good one. That'll keep us fed for a week.\"\n\nYou stuff the ornate vase into the sack.\n\nYour knees are covered by the rising waves.\n\n> Up\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You throw the vase at the seagull\n(first taking the ornate vase)\nTaken.\n\nYou lack the nerve when it comes to the crucial moment.\n\n> You examine the vase\nThe white ceramic is painted with a pattern of twisting blue vines and leaves. It seems very fragile.\n\n\"It's Chinese,\" explains the captain. \"The guys we stole it from were Spanish, but I'm pretty sure the guys they stole it from were Chinese.\"\n\n> You drop the vase\nIf you leave things lying around, you're liable to forget about them entirely.\n\n> You put the fid in the vase\nBetter not. You wouldn't want to break anything.\n\n> You shoot vase\nYou shoot the vase, which shatters to pieces. Your captain slaps his tiny forehead with his tiny paw.\n\n> Inventory\nYou are carrying:\na fid\na commodious sack (empty)\na flintlock pistol"
    },
    {
        "text": "[Themes: money, anthropomorphised animals]\n\n> You look around\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nThe captain eyes you expectantly.\n\n> You shoot vase\nYou shoot the vase, which shatters to pieces. Your captain slaps his tiny forehead with his tiny paw.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}"
    },
    {
        "text": "[Themes: ship, rat, strong NPCs, nautical]\n\n> Look around\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nThe captain surveys the situation with a sober eye.\n\nRoughly in the center of the space is an iron strongbox.\n\nA crystal ball is rolling around on the floor.\n\n> You look at the ball\nThe crystal is bright and clear. Verdeterre and the fortune-teller were business partners, briefly.\n\n> You check your inventory\nYou are carrying:\na commodious sack (empty)\na flintlock pistol\n\n> Cut pillow\nCutting that up would achieve little.\n\n> Fore\nThis is the foremost section of the hold, the location of the giant hole that the reef tore in the ship's hull. Water is gushing in at an alarming rate.\n\nThe rest of the hold (and the stairs to the decks above) is aft.\n\nA perturbed-looking gorilla skull hangs from a hook on the wall.\n\nThe water is in your mouth now.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You put the pillow in the hole\nFirst you take the silk pillow.\n\nTaken.\n\nIf you leave something in there, you're liable to never find it again.\n\nYou're struggling to keep your head above water.\n\nThe gorilla skull seems to eye you accusingly as it sinks into the murk.\n\n> You look in the skull\nYou find nothing of interest.\n\nNow the water is lapping at your shins.\n\n> You take Rat\nI don't suppose Captain Verdeterre would care for that.\n\nNow the water is lapping at your shins.\n\n> You look in the ball\nThe sphere gleams, and the words of the fortune-teller bubble up in your mind: death by water..."
    },
    {
        "text": "[Themes: treasure hunt, pirates, money, strong NPCs, nautical]\n\n> Look around\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nThe captain eyes you expectantly.\n\nRoughly in the center of the space is an iron strongbox.\n\nAn ornate vase stands nearby.\n\nA crystal ball is rolling around on the floor.\n\n> You search ballast\nThere's no time to be bothering with the ballast. The ballast has done its job.\n\n> You shoot vase\nYou shoot the vase, which shatters to pieces. Your captain slaps his tiny forehead with his tiny paw.\n\nYour knees are covered by the rising waves."
    },
    {
        "text": "[Themes: money, nautical, ship wreck]\n\n> You look at your surroundings\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nThe captain eyes you expectantly.\n\nRoughly in the center of the space is an iron strongbox.\n\nA crystal ball is rolling around on the floor.\n\n> You take the doll\n\"You know,\" says Verdeterre, \"that doll gives me an idea. Better take it along.\"\n\nYou stuff the wooden doll into the sack.\n\n> You ask Captain about the doll\nThe captain shushes you. \"Maybe save the chitchat for dry land, you know?\""
    },
    {
        "text": "[Themes: pirate, anthropomorphised animals, rat, nautical]\n\n> You look around\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nThe captain eyes you expectantly.\n\nA portrait of your captain hangs on one wall.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\n> Search crate\nIn the smelly crate is a musky grey lump.\n\n> You take the portrait\nVerdeterre sighs. \"It'll be a shame to sell off an item of such gorgeousness and sentimentality,\" he says, \"but I suppose these are desperate times.\"\n\nYou stuff the captain's portrait into the sack.\n\n> Y.\nYou shove off with all due haste.\n\n> You take lamp\nYou stuff the oil lamp into the sack.\n\n> You shoot shell\nYou shoot the nautilus shell, and it shatters. The captain curses at you.\n\n> You get on the bed\nVerdeterre jumps between you and the bed. \"What do you think you're doing?\" he hisses. \"We've got wealth to amass!\"\n\n> You move bed\nThat's fine where it is.\n\n> You shoot captain\nYou couldn't. What would you do without him?\n\n> You shoot the pillow\nYour bullet reduces the silk pillow to shreds. The captain curses at you.\n\n> You wear it\nFirst you take the gold medallion.\n\nTaken.\n\nYou can't wear that!\n\n> You shoot the crystal ball\nYou aim and fire, and your bullet (your only bullet) bounces off the crystal ball harmlessly.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> You shoot strongbox\nYou used up your only bullet when you shot that crystal ball.\n\nNow the water is up to your thighs.\n\nThe crystal ball disappears as the current sweeps over it.\n\n> F.\nThis is the foremost section of the hold, the location of the giant hole that the reef tore in the ship's hull. Water is gushing in at an alarming rate.\n\nThe rest of the hold (and the stairs to the decks above) is aft.\n\nA perturbed-looking gorilla skull hangs from a hook on the wall.\n\nIn one corner of the room is a pewter goblet.\n\nA thick book lies close by.\n\nNow the water is up to your thighs.\n\nThe book sinks out of sight.\n\nThe captain darts ahead to take stock of the situation.\n\n> You shoot gorilla\nYou used up your only bullet when you shot that iron strongbox.\n\nYou wince as the waters climb up around your hips.\n\nThe goblet is lost in the swirling waters.\n\n> You shoot gorilla\nYou fire at the skull, which explodes into pieces and is gone forever.\n\n\"No! Oh, Charlie!\" cries the captain. He looks up at you in disbelief. \"What did you do that for?\"\n\nNow the water is lapping at your shins.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nThe captain scurries along after you.\n\n> You open the cabinet\nThe cabinet's door won't budge. It's locked.\n\nVerdeterre rolls his eyes. \"Yeah, I have no idea where the key is. Just forget about it.\"\n\n> You shoot the cabinet\n\"Good idea!\" Verdeterre shouts, as he gets out of the way. You blast away the lock, and the cabinet door falls open.\n\n> You look in cabinet\nIn the cabinet are a porcelain plate and a pile of silverware.\n\n> You take the plate\n\"Where did that come from?\" Verdeterre mumbles. \"Do you think Blaise was holding out on us?\"\n\nYou stuff the porcelain plate into the sack.\n\n> You take the silverware\nVerdeterre nods in approval as you struggle to pick up every fork, knife, and spoon. For him to assist in any way would be unprofessional.\n\nYou stuff the pile of silverware into the sack.\n\n> You take the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\n> You get the hardtack\nTaken.\n\n> You take the doll\n\"You know,\" says Verdeterre, \"that doll gives me an idea. Better take it along.\"\n\nYou stuff the wooden doll into the sack.\n\nThe rising water has reached your ankles.\n\n> You look in the crate\nIn the smelly crate is a musky grey lump.\n\nNow the water is lapping at your shins.\n\n> You take the lump\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\nYour knees are covered by the rising waves.\n\n> You go upwards\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You take the locket\n\"Ooh, jewelry! Good eye, Tibert!\" says the captain.\n\nYou stuff the silver locket into the sack.\n\n> F.\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You take the handkerchief\nThe captain smiles as you lift up the handkerchief. \"Well, boy, I did make a promise, and I keep my promises. The hanky's yours.\"\n\nYou rub the silk between your fingers, and remark by way of expressing your gratitude that it's a very fine prize.\n\nThe captain nods. \"You're right about that. Actually, it's probably too fine. Yes, you'd better put it in with the other loot so we can sell it later. Good idea.\"\n\nYou stuff the silk handkerchief into the sack.\n\n> You drop the hardtack\nDropped.\n\n> Wait\nTime passes.\n\nYou notice that the waters have just crested over the main deck.\n\n> Wait\nTime passes.\n\nThe water continues to rise down on the main deck.\n\n> Sing\n\"Au clair de la lune, something, something...\" Hmm.\n\n> You throw the hardtack at the gull\n(first taking the piece of hardtack)\nYou lack the nerve when it comes to the crucial moment.\n\nYou notice that the waters have just crested over the main deck.\n\n> You give the hardtack to the gull\nThe seagull doesn't seem interested.\n\nThe water continues to rise down on the main deck."
    },
    {
        "text": "[Themes: male protagonist, ship wreck]\n\n> Go downward\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nYour knees are underwater now.\n\nThe mirror disappears beneath the waves.\n\nThe captain scurries along after you.\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe water rises up around your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> Y.\nYou shove off with all due haste.\n\n***\n***The return to civilization was a long one, but you both survived, and the long task of liquidating your assets finally began. Now, having dealt with numerous fences, suckers, and a few legitimate businessmen, you take inventory of your priceless treasures and how much they turned out to worth:\n\nA Dutch peg doll which, after some modification and repainting, was sold as an \"African fertility idol\" for 36 dollars...\nA musky grey lump, later identified as a piece of rare ambergris, valued at 179 dollars...\nAn unremarkable but serviceable violin, sold for 50 dollars...\nA plate of fine Japanese porcelain, sold to a heron enthusiast for 160 dollars...\nAn incomplete set of Verlaine silver worth 90 dollars...\nA silk handkerchief, sold for 10 dollars...\nA silver locket, sold to a lovesick and desperate young man for 15 dollars...\nA medallion of mysterious provenance, sold for 68 dollars...\n\n...For a total of 608 Spanish dollars.\n\nThe first mate's share of that came to 38 Spanish dollars.\n\n***"
    },
    {
        "text": "[Themes: money, strong NPCs, ship wreck, rat]\n\n> You look at the sea\nIt goes on forever: a blue expanse uninterrupted by any island. Who would have thought something so boring could be so deadly?\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain darts ahead to take stock of the situation.\n\n> F.\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nAn old zither lies in the corner.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You search hammocks\nRifling through your old crewmates\" hammocks, you find something heavy: a chessboard.\n\n\"Hey, where'd that come from?\" Verdeterre asks.\n\n\"It was in one of the hammocks,\" you answer.\n\n\"Yeah, I meant before that.\"\n\n\"Oh. I don't know. Sorry.\"\n\n\"It's okay,\" says Verdeterre.\n\nYou stuff the chessboard into the sack.\n\n> You shoot zither\nYou shoot the zither, and it explodes in a wild display of chipped wood and popping strings.\n\n> Inventory\nYou are carrying:\na commodious sack\na chessboard\na flintlock pistol\n\n> You search hammocks\nVerdeterre shoos you away from the hammocks. \"I think we already looked there.\"\n\n> You get the hammocks\nBefore you can start pulling down a hammock, Verdeterre clicks at you.\n\n\"Don't bother. We'll find something for you to sleep in. Or under. Leave it to me,\" he says.\n\n> You take the zither\nYou point at the zither, and the captain says \"Yeah, sure. It's out of tune, though.\"\n\nYou lift the instrument from the floor. \"How do you know?\"\n\n\"I don't, but it stands to reason, right?\"\n\nYou stuff the zither into the sack.\n\n> Search boat\nThe life boat is empty.\n\n> Go upwards\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nThe captain scurries along after you.\n\n> You climb the bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\n> Kiss figurehead\nYou can only do that to something animate.\n\n> You take the necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\nYou notice that the waters have just crested over the main deck.\n\n> You look at the figurehead\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances."
    },
    {
        "text": "[Themes: ship wreck, rat, money, male protagonist, anthropomorphised animals]\n\n> Go downward\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\nThe water continues to rise down on the main deck."
    },
    {
        "text": "[Themes: money, anthropomorphised animals]\n\n> You look around\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nThe captain eyes you expectantly."
    },
    {
        "text": "[Themes: ship, male protagonist, money, strong NPCs]\n\n> Go downwards\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nYour knees are underwater now.\n\nThe captain scurries along after you.\n\n> Y.\nYou shove off with all due haste.\n\n***\n***The return to civilization was a long one, but you both survived, and the long task of liquidating your assets finally began. Now, having dealt with numerous fences, suckers, and a few legitimate businessmen, you take inventory of your priceless treasures and how much they turned out to worth:\n\nA zither, origins unknown, sold to a musical enthusiast for 40 dollars...\nA cheap hand mirror, worth 12 dollars to a man who thought his soul was trapped inside...\nA small brass crown, which Verdeterre refused to even consider selling...\nA gold watch, used as bait in a grift that netted 160 dollars...\nAn ivory chessboard worth 28 dollars...\nAn extremely fine pearl necklace, sold to a \"Bavarian princess\" for 186 dollars...\n\n...For a total of 426 Spanish dollars.\n\nThe first mate's share of that came to 26 Spanish dollars and 5 reales.\n\n***\n\n> You get the cup\n\"That one, for sure,\" says the captain. \"People will pay all kinds of money for fancy chalices like that.\"\n\nYou stuff the pewter goblet into the sack.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> You get the skull\nThe captain smiles at the skull. \"Good old Charlie! What a spirited guy. If I had the chance, I think I'd shoot him again.\"\n\nYou stuff the gorilla skull into the sack.\n\nNow the water is up to your thighs."
    },
    {
        "text": "> You open the strongbox\nYou yank on the lid of the strongbox, but it's locked tight.\n\n\"Oh, shoot,\" says Verdeterre. \"I forget where I left the key. Knowing me, it's probably hidden extremely well. But I can't remember what was in there, either, so it's not a big loss.\"\n\nThe water closes over your head. You might have time to do one last thing before you drown...\n\n> You get the skull\nThe captain smiles at the skull. \"Good old Charlie! What a spirited guy. If I had the chance, I think I'd shoot him again.\"\n\nYou stuff the gorilla skull into the sack.\n\nYour knees are covered by the rising waves.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\n> Inventory\nYou are carrying:\na thick book (closed)\na commodious sack\na gorilla skull\na flintlock pistol\n\n> You take the lump\nCaptain Verdeterre wrinkles his nose. \"What on earth is that thing? I don't like the looks of it.\"\n\nYou hold onto it anyway.\n\n> You take the box\nYou are unable to pick up the flag box, as it has been securely attached to the cabin floor. In retrospect, that wasn't a great idea."
    },
    {
        "text": "[Themes: pirate, male protagonist, rat, treasure hunt]\n\n> You look around\nThis was the map room originally, and then it became a kind of general storage space, and then it was picked almost clean by various deserters.\n\nThe captain strokes his tail thoughtfully.\n\nThe flag box stands nearby.\n\nIn the center of the room is the map table; sitting on top is a sextant.\n\nThere's a barrel over in the corner.\n\n> F.\nThe lower deck is quite a bit homier than the hold. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain scurries along after you.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nThe rising water has reached your ankles.\n\nThe captain scurries along after you.\n\n> You shoot the cabinet\n\"Good idea!\" Verdeterre shouts, as he gets out of the way. You blast away the lock, and the cabinet door falls open.\n\nNow the water is lapping at your shins.\n\n> You open the cabinet\nThat has been taken care of.\n\n> You take the silverware\nVerdeterre nods in approval as you struggle to pick up every fork, knife, and spoon. For him to assist in any way would be unprofessional.\n\nYou stuff the pile of silverware into the sack.\n\nYour knees are covered by the rising waves.\n\n> You take the plate\n\"Where did that come from?\" Verdeterre mumbles. \"Do you think Blaise was holding out on us?\"\n\nYou stuff the porcelain plate into the sack.\n\nNow the water is up to your thighs.\n\n> You take the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\nYou wince as the waters climb up around your hips."
    },
    {
        "text": "[Themes: money, strong NPCs]\n\n> You check your inventory\nYou are carrying:\na musky grey lump\na commodious sack\na gold medallion\na violin\na porcelain plate\na pile of silverware\na tapestry of Saint Incertus\na crystal ball\na gorilla skull\na flintlock pistol\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nNow the water is up to your shins.\n\nThe captain darts ahead to take stock of the situation.\n\n> You go upwards\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe main deck keeps on sinking.\n\nThe captain darts ahead to take stock of the situation.\n\n> You climb bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\nThere might be about a foot of water over the main deck now.\n\n> You take necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\nThe deck below is still sinking."
    },
    {
        "text": "> Go down\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\nBy now the main deck is under about three feet of water."
    },
    {
        "text": "> Go downwards\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe water is up to your chest.\n\n{A friendly reminder: Substantial resources have been invested in\nthe research and implementation of this game's Nautical Vocabulary Notes. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you very much.}\n\nThe captain scurries along after you.\n\n> F.\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nThe waves close over your shoulders.\n\nThe captain scurries along after you.\n\n> You search hammocks\nRifling through your old crewmates\" hammocks, you find something heavy: a chessboard.\n\n\"Hey, where'd that come from?\" Verdeterre asks.\n\n\"It was in one of the hammocks,\" you answer.\n\n\"Yeah, I meant before that.\"\n\n\"Oh. I don't know. Sorry.\"\n\n\"It's okay,\" says Verdeterre.\n\nYou stuff the chessboard into the sack.\n\nThe water reaches your chin. You're having trouble keeping your footing.\n\n> Y.\nYou shove off with all due haste.\n\n\" you ask.\n\n\"Shut up,\" Verdeterre snaps. But then his eyes open, and he scurries over to you with an unfamiliar expression on his face.\n\n\"I'm sorry,\" he says. \"I shouldn't have yelled at you like that. I owe all of this to you. I owe a lot of it to you, anyway. But I've never thanked you.\"\n\nHe touches your hand with his paw. \"Thank you, Tibert. Thank you for joining my crew. Thank you for not abandoning me like every single other jerk I ever hired did. And thank you for making me so incredibly rich.\"\n\nYou can't think of anything to say. Verdeterre turns around to survey his money again.\n\n\"Yeah. Yes,\" he says. \"I am going to buy a polar bear.\""
    },
    {
        "text": "[Themes: rat, ship, anthropomorphised animals, money, male protagonist]\n\n> Go downward\nA lot of the things kept in the hold are just ballast, but there are a few items of interest. Fore from here is the rest of the hold, and stairs lead up to the lower deck.\n\nRoughly in the center of the space is an iron strongbox.\n\nThe waters have reached your chin. You're having trouble keeping your footing.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> Unlock strongbox\n(with the iron key)\nYou unlock the iron strongbox.\n\nThe water is in your mouth now.\n\n> You open the box\nYou open the flag box, revealing a red and yellow flag.\n\nNow the water is lapping at your shins.\n\n> You take flag\nYou pull the flag out of the box and unfold it: the design is a yellow cross on a red field. \"Whose flag is this?\" you ask your captain.\n\n\"I dunno. I think Denmark? Anyway, it's useless. Toss it.\"\n\nYou nod, and throw the flag somewhere where it won't get in the way.\n\nThe flag that was underneath is striped.\n\nYour knees are covered by the rising waves.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nThe rising water has reached your ankles.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> You take plate\n\"Where did that come from?\" Verdeterre mumbles. \"Do you think Blaise was holding out on us?\"\n\nYou stuff the porcelain plate into the sack.\n\nYour knees are covered by the rising waves.\n\n> You take the silverware\nVerdeterre nods in approval as you struggle to pick up every fork, knife, and spoon. For him to assist in any way would be unprofessional.\n\nYou stuff the pile of silverware into the sack.\n\nNow the water is up to your thighs.\n\n> You take the violin\n\"Sure was nice of Blaise to leave that behind for us,\" Verdeterre sniggers.\n\nYou stuff the violin into the sack.\n\nYou wince as the waters climb up around your hips.\n\n> You twist the dagger\n{It is politely requested that you respect the orientation of the curved dagger.}\n\nJacqueline undoes 236 times.\nJacqueline undoes 405 times.\n\n> You get the dagger\n[Previous turn undone.]\n\nYou pull on the handle of the dagger, but it remains stuck in the mast.\n\n\"Hey, that was Saad's, right?\" Verdeterre asks. \"What happened to him?\"\n\n\"I think you told him you were going to kill him, so he ran away,\" you say.\n\nHe frowns. \"Man, I think you're right. Wow. I shoulda been nicer.\"\n\nThe water glides over the decks and soon it is up to your ankles.\n\n> You get the dagger\nYou pull again. You're almost there. You can feel the dagger's resolve fading.\n\nNow the water is up to your shins.\n\n> You get the dagger\nWith a mighty tug, you wrench the dagger from the mast. \"All right, cool; put it in the bag,\" says Verdeterre.\n\nYou stuff the curved dagger into the sack.\n\nNow the water is up to your shins.\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nYour knees are underwater now.\n\nThe captain darts ahead to take stock of the situation.\n\n> Go upward\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThere might be about a foot of water over the main deck now.\n\nThe captain darts ahead to take stock of the situation.\n\n> You climb the bowsprit\nYou climb out to hang precariously from the bowsprit.\n\nFrom this position you can look right in the figurehead's face. She seems entirely too calm, given the circumstances.\n\nAround her neck is a string of pearls.\n\nThe deck below is still sinking.\n\n> You take the necklace\nYou pull one hand free from the bowsprit to snatch up the necklace, and nearly lose your grip.\n\n\"Careful down there!\" Verdeterre cries. \"I don't know what I'd do with myself if you lost any of our stuff. You should probably toss the necklace up to me so you don't drop it. Or I guess just put it in the bag.\"\n\nYou stuff the pearl necklace into the sack.\n\nBy now the main deck is under about three feet of water."
    },
    {
        "text": "> Go down\nVery, very carefully, you climb back from the bowsprit to the relative safety of the fo'c'sle.\n\nThe sea continues to bury the main deck, inching its way toward you."
    },
    {
        "text": "[Themes: pirates, rat, strong NPCs, ship]\n\n> You go downward\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe waves close over your shoulders.\n\nThe captain darts ahead to take stock of the situation.\n\n> Y.\nYou shove off with all due haste.\n\n\" you ask.\n\n\"Shut up,\" Verdeterre snaps. But then his eyes open, and he scurries over to you with an unfamiliar expression on his face.\n\n\"I'm sorry,\" he says. \"I shouldn't have yelled at you like that. I owe all of this to you. I owe a lot of it to you, anyway. But I've never thanked you.\"\n\nHe touches your hand with his paw. \"Thank you, Tibert. Thank you for joining my crew. Thank you for not abandoning me like every single other jerk I ever hired did. And thank you for making me so incredibly rich.\"\n\nYou can't think of anything to say. Verdeterre turns around to survey his money again.\n\n\"Yeah. Yes,\" he says. \"I am going to buy a polar bear.\"\n\n> Go upwards\nThe lower deck is quite a bit homier than the hold, and in fact actually smells somewhat pleasant. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\n{This game includes Nautical Vocabulary Notes for your\nedification. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you.}\n\nThe captain scurries along after you.\n\nAh, open air. The sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain darts ahead to take stock of the situation.\n\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe captain darts ahead to take stock of the situation.\n\nFor a second there, you could swear you heard music.\n\nYou can't move in that direction from here. {The available\ndirections are displayed in the status bar above.}\n\nYou can't move in that direction from here. {The available\ndirections are displayed in the status bar above.}"
    },
    {
        "text": "> Go downwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nYour life boat is hanging from the davits here.\n\nThe captain scurries along after you.\n\n> F.\nThe crew's quarters were never intended to be welcoming or well-appointed. The walls are lined with hammocks. The exit is aft.\n\nAn old zither lies in the corner.\n\nThe captain scurries along after you.\n\n> You get fid\nThe bowsprit extends from the prow here, and below that is the figurehead. Down the stairs abaft is the capstan.\n\nA fid is lying on the deck.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n\"Do we need this?\" you ask your captain, indicating the fid.\n\nHe says, \"I kinda doubt it, but you might as well.\"\n\nYou pick up the fid.\n\n> You look at rigging\nTo any experienced sailor, navigating a ship's labyrinthine web of rigging is as simple as walking down the street, and to you it is only slightly more difficult. You've been working on it.\n\n> You throw the fid at the rigging\nFutile.\n\n> Climb rigging\nYou scramble back down to the deck.\n\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nA hand mirror is lying on the floor.\n\nHOW DID THIS GET HERE. THIS SHOULDN'T HAPPEN. REPORT A BUG PLEASE.\n.\n\n> Up\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe captain darts ahead to take stock of the situation.\n\nFor a second there, you could swear you heard music.\n\n> You listen\nYou do hear music. It's coming from a narrow tunnel that somebody gnawed in the planks.\n\n> You look in the tunnel\nYou reach in as far as your arm will go, but you don't manage to get ahold of anything.\n\n\"Hey, what are you doing over there? What do you want with that hole?\" Verdeterre asks, yanking your hand out of the tunnel. \"Don't stick your flat little nose where it doesn't belong. If there's something to be gotten out of a rat tunnel, I'll get it out. Hold on, and don't\nbe screwing around up here while I'm away.\"\n\nThe captain disappears into the tunnel.\n\n> You wait for a while\nTime passes.\n\n> You wait for a while\nTime passes.\n\n\"Ha! Ha ha!\" The captain emerges from the tunnel, dragging a tiny wooden chest behind him. \"Can you believe this? It's my music box! It must have turned itself on when you hit the reef!\"\n\nHe leans against the case and wipes his brow. \"Good job finding it,\" he says.\n\nDid he just say \"good job\"Verdeterre clicks loudly, dispelling your reverie. \"Hey. Put this in the bag,\" he demands.\n\nYou stuff the music box into the sack.\n\n> Go upwards\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThere might be about a foot of water over the main deck now.\n\nThe captain darts ahead to take stock of the situation.\n\nFor a second there, you could swear you heard music.\n\n> You listen\nYou do hear music. It's coming from a narrow tunnel that somebody gnawed in the planks.\n\nThe deck below is still sinking.\n\n> You look in the tunnel\nYou reach as far into the hole as your arm will go, but you don't manage to get ahold of anything.\n\nCaptain Verdeterre looks back up at you from the waters rising on the main deck. \"Uh, I don't think we have time for that right now,\" he says. \"We should probably get to the lifeboat pretty soon.\" You withdraw your arm.\n\nBy now the main deck is under about three feet of water.\n\n> Go upwards\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe main deck keeps on sinking.\n\nThe captain darts ahead to take stock of the situation.\n\nFor a second there, you could swear you heard music.\n\n> You look in the tunnel\nYou reach as far into the hole as your arm will go, but you don't manage to get ahold of anything.\n\nCaptain Verdeterre looks back up at you from the waters rising on the main deck. \"Uh, I don't think we have time for that right now,\" he says. \"We should probably get to the lifeboat pretty soon.\" You withdraw your arm.\n\nThere might be about a foot of water over the main deck now.\n\nFor a second there, you could swear you heard music.\n\n> Go upwards\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nYour chance to return to the main deck is almost gone.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\nFor a second there, you could swear you heard music.\n\n> Go upward\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe water continues to rise down on the main deck.\n\nThe captain scurries along after you.\n\n> You look in tunnel\nYou reach as far into the hole as your arm will go, but you don't manage to get ahold of anything.\n\nCaptain Verdeterre looks back up at you from the waters rising on the main deck. \"Uh, I don't think we have time for that right now,\" he says. \"We should probably get to the lifeboat pretty soon.\" You withdraw your arm.\n\nThe main deck keeps on sinking.\n\n> Go upwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nThe water glides over the decks and soon it is up to your ankles.\n\nThe captain scurries along after you.\n\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe water continues to rise down on the main deck.\n\nThe captain darts ahead to take stock of the situation.\n\n> You look in the tunnel\nYou reach as far into the hole as your arm will go, but you don't manage to get ahold of anything.\n\nCaptain Verdeterre looks back up at you from the waters rising on the main deck. \"Uh, I don't think we have time for that right now,\" he says. \"We should probably get to the lifeboat pretty soon.\" You withdraw your arm.\n\nThe main deck keeps on sinking.\n\nFor a second there, you could swear you heard music.\n\n> F.\nThe lower deck is quite a bit homier than the hold. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe captain darts ahead to take stock of the situation.\n\n> You look in the tunnel\nYou reach in as far as your arm will go, but you don't manage to get ahold of anything.\n\n\"Hey, what are you doing over there? What do you want with that hole?\" Verdeterre asks, yanking your hand out of the tunnel. \"Don't stick your flat little nose where it doesn't belong. If there's something to be gotten out of a rat tunnel, I'll get it out. Hold on, and don't\nbe screwing around up here while I'm away.\"\n\nThe captain disappears into the tunnel."
    },
    {
        "text": "[Themes: anthropomorphised animals, male protagonist, money, pirates, ship, ship wreck]\n\n> Go downwards\nYou'd better not. Captain Verdeterre said no screwing around.\n\n> Y.\nYou shove off with all due haste.\n\n> You examine the mainmast\nThe mainmast is the tallest and most important mast of the ship. Someone has wedged a dagger in it.\n\n> You shoot up\nYou must name something more substantial.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n> You take the sextant\n\"I hate those things,\" says the captain. \"Nobody will build one that's small enough for us to use.\"\n\nYou stuff the sextant into the sack.\n\n> F.\nThe lower deck is quite a bit homier than the hold. The galley is fore, and the map room is aft. Stairs lead down to the hold and up to the main deck.\n\nA portrait of your captain hangs on one wall.\n\nLying on the floor is a wooden doll.\n\nThere's a large wooden crate here, because there was no room for it anywhere else.\n\nThe rising water has reached your ankles.\n\nThe captain darts ahead to take stock of the situation.\n\n> F.\nThis room used to be the domain of Blaise, the ship's cook. Now the cabinets are empty, and the room is in a state of rapidly sinking disrepair.\n\nOn top of one cabinet is a piece of hardtack.\n\nHanging on the wall is an old violin.\n\nNow the water is lapping at your shins.\n\nThe captain darts ahead to take stock of the situation.\n\n> You shoot the cabinet\n\"Good idea!\" Verdeterre shouts, as he gets out of the way. You blast away the lock, and the cabinet door falls open.\n\nYour knees are covered by the rising waves.\n\n> You take silverware\nVerdeterre nods in approval as you struggle to pick up every fork, knife, and spoon. For him to assist in any way would be unprofessional.\n\nYou stuff the pile of silverware into the sack.\n\nYou wince as the waters climb up around your hips."
    },
    {
        "text": "> Go upward\nYou have often stood here, at the stern of the vessel, with a steady hand on the ship's wheel, wondering where you were going. Right now you are not going anywhere.\n\nFrom here you can see the vast stretches of sea you crossed to reach this point\u2014they look much like the stretches of sea you can see in every other direction. Downstairs is the main deck.\n\nA bronze statuette is lying on the boards.\n\nThe captain scurries along after you.\n\nFor a second there, you could swear you heard music.\n\n> You wait awhile\nTime passes.\n\nThe water continues to rise down on the main deck.\n\n\"Ha! Ha ha!\" The captain emerges from the tunnel, dragging a tiny wooden chest behind him. \"Can you believe this? It's my music box! It must have turned itself on when you hit the reef!\"\n\nHe leans against the case and wipes his brow. \"Good job finding it,\" he says.\n\nDid he just say \"good job\"Verdeterre clicks loudly, dispelling your reverie. \"Hey. Put this in the bag,\" he demands.\n\nYou stuff the music box into the sack."
    },
    {
        "text": "> Go downwards\nThe sea stretches out in all directions. There is no land in sight.\n\nYou can worry about that later, though. Fore is the mainmast, aft is the captain's quarters, upstairs is the quarterdeck, and downstairs is the lower deck.\n\nA silk handkerchief hangs from the aft bulkhead.\n\nThere's a silver locket lying on the deck.\n\nYour knees are underwater now.\n\nThe silver locket sinks out of sight.\n\nThe captain rushes ahead of you, since coming here was his idea.\n\n> F.\nThe mainmast is lodged in the deck here, near the middle of the ship. It's somewhat like the ship's belly button. Fore is the capstan, aft are the stairs to the lower deck, and up at the top of the mainmast is the top.\n\nThe point of an exotic-looking dagger is lodged in the mast.\n\nThe water rises up around your thighs.\n\nThe captain darts ahead to take stock of the situation.\n\n> You take the dagger\nYou pull on the handle of the dagger, but it remains stuck in the mast.\n\n\"Hey, that was Saad's, right?\" Verdeterre asks. \"What happened to him?\"\n\n\"I think you told him you were going to kill him, so he ran away,\" you say.\n\nHe frowns. \"Man, I think you're right. Wow. I shoulda been nicer.\"\n\nNow the water reaches your hips.\n\n> Keep going\nThe captain sighs as you yank on the dagger. \"It's not coming out,\" he says.\n\nThe rising waves climb up to your waist.\n\n> You take the dagger\nWith a mighty tug, you wrench the dagger from the mast. \"All right, cool; put it in the bag,\" says Verdeterre.\n\nYou stuff the curved dagger into the sack.\n\nThe rising waves climb up to your waist.\n\n> F.\nThis end of the deck is home to the capstan. The crew's quarters are fore and the mainmast is aft. Up a short flight of stairs is the fo'c'sle.\n\nThe life boat, still connected to the davits, is also floating on the rising water.\n\nThe water is up to your chest.\n\nThe captain scurries along after you.\n\n> You take the chessboard\nTaken.\n\nThe water is in your mouth now. It tastes salty.\n\n{A friendly reminder: Substantial resources have been invested in\nthe research and implementation of this game's Nautical Vocabulary Notes. If you would like to enable Nautical Vocabulary Notes, please enter the command \"ENABLE NAUTICAL VOCABULARY NOTES\". Thank you very much.}\n\n> Y.\nYou shove off with all due haste.\n\n***\n***The return to civilization was a long one, but you both survived, and the long task of liquidating your assets finally began. Now, having dealt with numerous fences, suckers, and a few legitimate businessmen, you take inventory of your priceless treasures and how much they turned out to worth:\n\nThe skull of an African gorilla, sold for 70 Spanish dollars to a credulous fellow already possessing the incomplete skeleton of an orangutan...\nA flawless crystal ball worth 60 dollars...\nA musky grey lump, later identified as a piece of rare ambergris, valued at 179 dollars...\nA plate of fine Japanese porcelain, sold to a heron enthusiast for 160 dollars...\nAn incomplete set of Verlaine silver worth 90 dollars...\nA broken sextant, which cost 20 dollars to fix before being sold for 68 dollars, for a total profit of 48 dollars...\nA remarkably well-preserved tapestry of Saint Incertus the Audacious, worth 160 dollars to the monks of his order...\nA Yemeni jambiya, with a handle of rhinoceros horn, worth 276 dollars...\nA medallion of mysterious provenance, sold for 68 dollars...\nAn ivory chessboard worth 28 dollars...\nA slightly chipped nautilus shell, sold to a British dandy for 49 dollars...\nAn extraordinary Genevese music box worth 300 dollars...\n\n...For a total of 1488 Spanish dollars.\n\nThe first mate's share of that came to 93 Spanish dollars.\n\n***"
    },
    {
        "text": "[Themes: Historical, Mythology, drama, matriarchy, drinking, religion, mystery, island, espionage, female protagonist]\n\nIsle of Aeaea, the eastern Aegean.\n3,500 years ago.\n\n\"What tidings from the northern wastes?\" asked the High Priestess.\n\nHer elderly eyes were glued to the north, across the moonlit lagoon, beyond the cliffs on the other side, towards the great sea. Deep in though, she didn't notice a human shape silhouetted against the glistening waters, scurrying along the clifftop.\n\n\"Alas, my potnia, the Achaeans have taken Tiryns\", said the other woman, her voice so quiet her Egyptian lilt was almost unrecognisable \"They are spreading through the Argolis like wildfire.\"\n\n\"Wildfire\", echoed the High Priestess. \"The Achaeans have a new Wanax, do they not?\"\n\n\"Be truer to say their new Wanax has them - lined up like pieces upon a game-board. Hear me, Circe, I have not the slightest doubt that he had a part in my sister's murder.\"\n\nCirce turned with a placating gesture.\n\n\"Before we publicly accuse the most powerful Wanax of the northern wastes of sacrilegious killing...\"\n\n\"My potnia, you and I know full well that my sister was all that stood between Achaean greed and the palace of Tiryns. Wake up, Circe. Palace after palace, they are bringing their sky-gods southwards and they care not an iota for us or the Goddess. Today it is Tiryns and tomorrow perhaps a closer port, and before we react they shall have a foothold in Crete. Perchance my potnia is growing soft in her old age? Maybe the Goddess needs a more... youthful vehicle for the fulfilment of her designs?\"\n\n\"Oh, let me guess, one of you Avaris women? Do you reckon I cling to this life just to spite you?\"\n\n\"Kindly give us your candidates for evaluation, then. One of your nieces, I suppose?\"\n\n\"In due time. Phaedra shows potential but she is still too young. And concerning Ariadne...\"\n\nThe other woman let go a short, hearty laugh.\n\n\"Ariadne! We Thebans always love a good joke, but it is high time we made a serious move, my potnia.\"\n\n\"Very well. I shall send for her in the morning, and we shall reach a decision before sunset. In fact, you can go fetch my niece yourself.\"\n\n\"Pray tell, which one, my potnia?\"\n\n\"Oh, very droll, very droll...\"\n\nAriadne in Aeaea by V\u00edctor Ojuel\n\nArt by Ara Carrasco.\n\nThe author wishes to thank those who kindly (and bravely!) tested this game in its infancy, namely Ara Carrasco, Matthew Holland, Liz Mercuri and Andrew Schultz.\n\nhow to play.\nType ABOUT AUTHOR to learn more about the author.\nType ABOUT GAME to know more about the game and its historical/mythological setting.\n\n\n\nYou wake up from a dream of winding passages and a beast chasing you, to a morning which is little better: no labyrinth but a tangle of limbs, no beast but a pulsing headache and a concert of snores. A pale, blueish light filters through the wooden ceiling.\n\nWhich is odd, because the living quarters of the palace are all stone, and the other priestesses are rarely this physically affectionate and come to think about that...\n\nYou open your eyes and bolt upright.\n\nThis is not quite the palace's living quarters, more like a ragged wooden shelter. Your memories of yesterday are vague: you remember waiting until the other novices fell asleep, climbing down the outer wall of the palace, sneaking along the clifftop to meet the shepherd boys, and then all is a blur.\n\nAn empty jug lies on its side against a wall, abandoned where it stopped rolling. Just like the human occupants of the hut.\n\n[Author's Note: Isle of Aeaea, the eastern Aegean. 3,500 years ago. In the northern wastes, the Achaeans have a new and warlike chieftain. Palace after palace is falling to his armies. On the shores of Crete, the Minoan civilisation awaits at the eve of extinction. At her sanctuary of Aeaea, the cunning Circe struggles to coordinate a political counteroffensive... And somewhere in the sticks, a young Minoan priestess named Ariadne wakes up to a hangover of mythological proportions.]\n\n> Instructions\nThese are all the actions you need to complete the game:\n\nUse N, S, E, W, NE, NW, SE and SW to move in the cardinal directions. Use ENTER and OUT to get in and out of buildings.\nUse INVENTORY to see the objects you carry and the clothes you wear. Use LOOK to see your surroundings.\nUse EXAMINE  to learn more about a certain object or person.\nUse TAKE  to pick up objects and GIVE  TO  to\ninteract with humans.\nUse WEAR and TAKE OFF to don and disrobe pieces of clothing.\nUse TALK TO  to interact socially.\nUse PUSH and PULL to move heavy objects.\nAnd if you get stuck and would like a hint, use THINK to switch on your grey cells!\n\n> You look\nNow that your vision has cleared a little, you take better stock of your surroundings. The hut is little more than a rough wooden shack, and the only furniture is a rudimentary rack on one side of the entrance. Most of the space is taken up by the... bed, if you could call it that. Two boys are sleeping there, snoring drunkenly. There is an Ariadne-shaped empty space between them.\n\nAn empty jug lies on its side against a wall, abandoned where it stopped rolling. Just like the human occupants of the hut.\n\n> About yourself\nYou are Ariadne of Knossos, daughter of Minos, of the royal line of Pasipha\u00eb the Sun-Maiden. At your formidable seventeen springtimes, you are an initiate priestess of the Isle of Aeaea, holiest of priestly orders of Potinaja, the Great Goddess.\n\nAnd right now you are not exactly at your brightest - hungover, hungry and naked after a deliciously rough night. But the poets don't need to know about your early years when they sing your praises for the centuries, do they?\n\n> You check your inventory\nYou are nude.\n\nYou are empty-handed.\n\n> You examine the boys\nThe boys are snoring loudly. One of them is really worth it, the other one only passable in the mercilessly sober light of the morning. So they even out and it's fine. (You understate things. You always do. As befits a sophisticated lady of royal lineage.)\n\n> You examine jug\nIt is a stylish round design with a small flat base, red clay with a striking black many-tentacled octopus. Such a modern and expensive model can only be imported from Crete and way above the means of a goatherder, so it was probably you who brought it from the palace.There lingers the faint perfume of fine wine, but it is completely empty. You probably had more than your fair share of it last night.\n\n> You take it\nYou lift the jug with one hand: unsurprisingly, it's empty. A pity - by the Goddess, you could use a drink. And some breakfast... Then your eyes catch the glint of something metallic. You squat again, screwing your eyes in the half-light. There was something behind the jug... a pin? It seems to be a sort of golden brooch. You can guess it was carefully hidden somewhere, until last night's whirlwind of men and clothes ended up with the little golden bauble thrown in a corner. Now this is a surprise...\n\n> You take the brooch\nYou take the brooch.\n\n> You examine the brooch\nYou take a good look at it, from all sides. It is gold indeed, and the device is a lion sitting on its hind legs. You have no idea what it means, so at least it's not Cretan. Not from one of the great palaces, at any rate, or you'd know, but it is an expensive piece of art, and not from Aeaea either. Only the Goddess knows how it came into the hands of a rustic goatherder. Well, obviously it was the Goddess' will that you'd find it. It will look better on you anyway.\n\n> You wear the brooch\nWear it where? Pin it in your skin? This kind of jewelry without clothes is not just kinky, also painful. Better put on some clothes first, then wear the brooch.\n\n> You examine rack\nA simple wooden platform to hold the meagre posessions of the goatherder. The only interesting ones are a loaf of bread and a pile of discarded pieces of clothing.\n\n> You examine the clothing\nSomeone undressed hastily here. You might have had something to do with the undressing. Or with the haste.\n\n> Wear clothing\n(first taking pile of clothes)\nYour clothes should be somewhere around here. Now, let's think, you were wearing a tunic, right? If only you could remember where you left it... Rifling through the clothing (raw woollen shirts, leather pants, ragged boots) yields no result, except for a stench of sweat and seawater (now how do shepherds get wet with seawater? Are they so rustic that they bathe dressed?). You drop the lot with a weary sigh. Now where did you take off that bloody tunic, really?\n\n> You look at the bread\nA hard piece of coarse, stale bread, perhaps adequate fare for shepherds but utterly unedible by humans.\n\n> You take it\nFeeling your stomach churning, you snatch away the piece of bread. Too much wine and no dinner, time you ate something solid.\n\n> You examine the bed\nThe boys are lying on top of what probably was a nice and fluffy pile of straw a few hours ago. After last night's activities, the straw has been evenly spread through the hut and they are practically sleeping on the floor.\n\n> You search the bed\nYou have already done all you felt like doing with, and on, that bed.\n\n> You look\nNow that your vision has cleared a little, you take better stock of your surroundings. The hut is little more than a rough wooden shack, and the only furniture is a rudimentary rack on one side of the entrance. Most of the space is taken up by the... bed, if you could call it that. Two boys are sleeping there, snoring drunkenly. There is an Ariadne-shaped empty space between them.\n\n> You examine the floor\nGirl, you are seriously confused this morning. Maybe time to cut down on the wine a bit?\n\n> You search boys\nYou have already done all you felt like doing to him/them last night. Possibly. Memories still a bit hazy, but you've had your fun. In any case, you feel like breakfast without conversation, so better get a move on.\n\n> You go outside\nShielding your eyes against the light, you step outside. It takes you a few moments to adjust to sunlight, and your headache doesn't particularly like it. When you open your eyes again, the grand landscape of the Isle of Aeaea unfolds against a crisp blue morning sky.\n\nIn all directions, the hills climb up and down, reddish earth embroidered with dark green shrubs and a few small pine woods, sometimes broken by white, sheer rock. The land slopes downwards, from the cliffs in the west to the eastern beaches. The shepherd's hut is the only visible shelter. The isle narrows to the north and broadens to the south, where a few smoke columns indicate the location of the palace. The shepherd's hut is nearby.\n\nA herd of goats is roaming the pastures nearby, grazing on the short, tough grass.\n\n> You look at the goats\nA nearby goat is breakfasting on something that looks like a piece of textile of some so... oh by the Goddess, it's your tunic! You try to shoo the beast, or frighten it in some way to discourage the munching of your clothes, but it seems to love the change in diet. Damn...\n\n> You give the bread to the goat\nYou wave the bread in front of the stupid animal's eyes. Eventually you catch its attention, and it approaches and reluctantly stops chewing your tunic to munch on the bread.\n\n> You take the tunic\nYou swiftly snatch away the tunic, lest the animal changes its mind. It's not exactly clean, and part of a shoulder seems to have been bitten off, but surely asymmetric shoulders must be the fashion in some faraway island? And it beats showing up naked in the palace.\n\n> Wear tunic\nYou pull the tunic in place, and hold the torn shoulder while you pin it with the brooch, then smooth the torn edges under it. It holds, and possibly even adds a fanciful highlight to the otherwise plain garment. Can't wait to be ordained a full priestess and do away with these rags. Anyway, for the moment you are decent again, or decent enough to sneak back into the palace. And head straight for the kitchen, adds your rumbling stomach.\n\n> You examine the tunic\nFine linen, fashionably pleated like the Egyptian girls from the Avaris chapter, but edged with embroidered dolphins and saffron crocus. It is one of the pieces Mother sewed for you before your departure for Aeaea (which is goatshit. Your know full well Mother could never sew to save her life.) The torn shoulder has been repaired with a flashy golden brooch, and the effect is rather fetching, if you do say so yourself.\n\n> You go to the north\nYou really don't fancy going cross-country through these solitudes like a goat. Better do like a human and follow the clifftop path to the west, or go back inside the hut.\n\n> You go to the west\nA narrow path on top of the cliffs follows the crescent shape of Aeaea. The isle's rocky arms stretch like the horns of a bull piercing the sea. The Saffron Bay occupies most of the view, sheer cliff faces the height of a hundred men plunging vertically into the waters below. The palace complex shines across the bay like white teeth on jagged, blackened gums.\n\nThe path clings to the clifftop, coming from the civilised south and stretching towards the sharp edge of the isle to the northwest. To the east lie the hilly scrublands frequented only by shepherds and goatherds. As you know full well.\n\n> Exits\nLet us hope this is not what the poets will remember you for...\n\n> You go to the south\nThis is where the elegant curve of the Saffron Bay becomes wider and the downward slope is more benign. Most of the productive fields of the isle are around here, tended by peasants indentured to the palace, a few free settlers and scores of slaves. The olive trees, vineyards and farms of this side provide most of the local foodstuffs. The path follows the clifftop to the wild north and it becomes a proper paved road to the southwest, towards the entrance to the palace.\n\n> Go southwest\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA couple of archers wink at you (old \"friends\", so to speak), and quite a few priestesses frown (older \"friends\", so to speak).\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\nWell, finally here you are. Now, if you can only slip unnoticed to the side wall that is never guarded, and just climb up to the first floor terrace, then it should be easy to...\n\n\"Why, if it isn't the wayward Ariadne!\" booms a female voice behind you, grating on your hungover brains.\n\nYou close your eyes, hard, taking an extra moment before turning around to face her. Oh sweet Potinaja, fair lady, let it not be old Circe...\n\nAnd the Goddess must have a perverse sense humour, because the offending lady is indeed not your aunt... but your sister.\n\n> You look at the sister\nYour younger sister is considerably smaller than you, of slighter build, and is wearing the complete paraphernalia of a confirmed potnia - ruched and tiered red-and-blue longskirt, ceremonial apron, fitten open gilet and headdress. Her eyes and breasts are heavily made up with kohl and crushed coral. You used to look after her when she was just a bawling toddler... and now she has been ordained a potnia before you. Curses.\n\n\"Phaedra.\" you say, in an extremely friendly way. The sight of her is the very last thing you needed right now and... oh by the Goddess, what is she wearing?\n\n\"Oh, I can see you have noticed...\" she purrs in triumph. You roll your eyes.\n\n> You talk to Phaedra\nYou take a deep breath for your next reply:\n\n\"What are you doing, all tarted up like that?\", you ask, trying to sound not at all taken aback.\n\n\"You watch that tongue when speaking to a potnia, dear\nsister, specially while you are still an initiate\", Phaedra\nsays, savouring each word. The realisation comes late to your fried brains: has she been ordained yet? Before you? But you're at least two springtimes her senior! And you shed first blood at more or less the same age, so...\n\n> You talk to Phaedra\nYou take a deep breath for your next reply:\n\n\"I see. Grovelling at Aunt Circe's feet has finally paid up\".\n\n\"Pay? Circe, like all us potnias, is just a conduit for the designs of the Goddess, praise be the fair Potinaja,\" she recites, doing a little dance around you, presumably to rub in the offence, \"And talking about payment, how does whatever you do pay? What a lovely brooch, sister. A little trinket from a client of yours?\"\n\n> Continue\nYou take a deep breath for your next reply:\n\n\"Oh, sweet lady, does it come to this? Come, come, sister, be not so bitter\", you smile in sympathy, taking her arm sororally, \"Is it my fault no sane man was ever interested in you?\"\n\n\"Men, is that so?\" she brushes your hand aside \"I hear you sleep with goatherders.\"\n\n\"Oh, I hear you sleep with the goats.\"\n\n\"Oh very droll...\"\n\n\"Potinaja wept, you even got the rancid mannerisms...!\"\n\nHer eyes become linear slits, snake-like under the copious makeup. \"I shan't have you profer blasphemies, least of all in presence of a potnia. You shall go see Circe and send my regards...\"\n\n\"Oh, that I shall...\"\n\n\"...and if I do learn later that you have not, or have not used the proper formula and respect, I shall ask the High Priestess to have you seconded to my retinue, to do my hair and prepare the potions. Understood, initiate?\"\n\n> Keep going\nYou take a deep breath for your next reply:\n\nYou shut your mouth in time. Normally no priestess would be on a position to do that, but Phaedra is a royal as well, and of Pasipha\u00eb's line, and her standing with your aunt is obviously better than yours. (Actually there are at least three slaves that Circe regards higher than she does you...). And then again, you'd sooner jump into the sea and try to make it back to Crete swimming than go through the humiliation of being your little sister's handmaiden.\n\n\"Understood.\"\n\n\"Understood what?\"\n\n\"Understood, my potnia.\"\n\n\"Oh, I am so loving the sound of that. I shall see you later, initiate, do make haste\", she sing-songs as she walks away. You pull a face at her back and quietly tell the Goddess how much you love little Phaedra.\n\nWell. Perhaps you really, really should have not stolen that toy crocodile when she was five.\n\n> You look\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA couple of archers wink at you (old \"friends\", so to speak), and quite a few priestesses frown (older \"friends\", so to speak).\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\n> You go to the west\nYou enter the palace unchallenged by either priestess or archer patrols.\n\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> You go upwards\nThe residence of the High Priestesses is less sumptuous than what you had imagined the first time. It is nevertheless the most luxurious room in the whole island, somewhat in spite of Circe herself. The focal point of the room is a great wooden table, strewn with a thousand little objects around a map.\n\nThe High Priestess is studying something intently at the great table, stopping only occasionally to gaze out of the window, never quite bothering to look in your general direction.\n\n> You examine the map\nIt is surprisingly difficult to identify the landmasses. This one must be Aeaea; the bottom-heavy crescent is unmistakeable. Crete must be big and west of here, so it should be that vaguely rectangular block over there, with Knossos and Phaistos marked prominently and a dozen smaller palaces dotted around. South lies the Egyptian coast, so the symbol there must mark the position of Avaris. And far to the northwest, in the wastes beyond the sea, there's a cluster of black figurines. All of them are modelled in the likeness of a sitting lion.\n\n> You talk to the circle\nYou are so lost it would take a big ball of twine to get you out of your confusion.\n\n> You talk to Circe\nYou put your left fist to your left temple, performing the adoration gesture. Circe pays no attention to you. You ahem-ahem a little, still to no reaction from the High Priestess, so you just chatter away.\n\n\"My potnia, I come on behalf of my beloved sister...\"\n\n\"Now, that is a droll one\", she mutters, still not looking at you. She rereads a line from a tablet, then moves another figurine over the map.\n\n\"I bring my beloved sister Phaedra's respect and best wishes for the High Priestess, on the occasion of my noble sister's ordainment...\"\n\n\"I am sure you must be very proud of her, are you not?\", she says dryly.\n\n\"Very\" you reply with equal enthusiasm, \"As proud as if it was my own and belated induction into the Goddess' mysteries\", you drone on monotonously.\n\n\"Do I hear a complaint?\"\n\n\"Actually...\"\n\n\"Shut up, it's a rhetorical question. Because I hear many complaints every day, and quite a few have something to do with one of my nieces being somewhat unruly.\"\n\nBeing essentially a sensible young woman despite what certain uncharitable individuals might think, you let that one pass and force a smile.\n\n\"Anything else?\", she asks. You are biting your tongue, hard.\n\n> Continue\n\"Auntie Circe,\" you try, affectionately \"when is my ordainment going to take place? I yearn to serve the Goddess and I am already old enough for the mysteries...\"\n\n\"Age has nothing to do with it, child,\" she interrupts, still contemplating her map, \"Maturity has. Just as some women shed first blood earlier, the Goddess blesses certain minds sooner than others...\"\n\n\"So the lesson today is patience...\" you sigh boredly.\n\n\"...and some she does not touch ever at all. What, patience? The Goddess and I have wasted ours with you, Ariadne.\"\n\n\"Auntie, I promise, if this is about the drinking and... uhm, merrymaking, I swear I shall just...\"\n\n\"Oh shut up, girl. What am I now, one of those bloody Lukkan puritans? Shut up, it's another rhetorical question. Merrymaking, the\ngoatshit one has to hear! Mark my words, I do not give a fig if you fuck each and every fisherman in Aeaea while drunk as an Alassian sailor...\"\n\n\"Auntie Circe...!\"\n\n\"...and don't you Auntie Circe me as if I was some senile\nspinster! What, scandalised? Oh, the irony! Listen, you might well despise your sister because she is a bit stupider than you (which is no small measure), or because she is quite insufferable (not to say you are not), or just because she is your sister, which is reason enough... Bugger me, did I hate your noble mother when we were your age, did I! And she was just like you, chasing men and women and whatnot, and the Goddess and I could not care less because she was also useful, and that is the whole point. Pasipha\u00eb is and was useful, and thus she is Wanassa of Knossos. Your sister Phaedra doesn't have her political vision but she's fanatical and ruthless, and one day she shall be Wanassa of Phaistos. Now tell me, wench, what are you\ngood for?\"\n\n> You continue\n\"Is it another rhetorical question?\"\n\n\"Very, very droll\", Circe sighs, fingering one of the figurines on the map. \"An easier one, then. What do we export, here in Aeaea?\"\n\n\"Saffron and potnias?\"\n\n\"Very well. You might not be Wanassa material since you have no political wits... or an officiant priestess, given how obviously the Goddess chooses not to speak through you, but we might at least make a store administrator out of you yet.\"\n\n\"Stores?\" you gasp, horrified \"Sitting downstairs all day, counting measures of olive oil? Aunt, I'm begging you, send me back to Knossos rather than...!\"\n\n\"It was not a rhetorical question, girl. Dozens of palaces rely on us to provide suitable potnias as Wanassas,\" she says, making a broad gesture over the map, \"and we do deliver. I need not remind you who brokered your mother's marriage to the Wanax of Knossos, or why he and thirty other dinasties send me their daughters for education and ordainment. In due time, your sister will be Wanassa of Phaistos. The Wanax shall get a powerful priestess to take care of divine affairs while he wages wars. Your father shall get a reliable alliance. And the Goddess and I shall get an influent agent in southern Crete, same as Pasipha\u00eb has been in the north coast for decades.\"\n\n\"I am still a royal of the Pasipha\u00eb line, I can marry...\"\n\n\"Marry as you please. The world is full of bloody royals, do you know how many new siblings you've gotten since you came? Every petty warlord has two or three score bastards, and do you know what a nightmare genealogy has become? I should know, my father is the bloody Sun. Anyway. Princes and princesses are a fig a dozen. Potnias are scarce and precious. Should I send you back unordained, Minos would be offended and Pasipha\u00eb's position weakened. I shall not undo the work of a generation for your sake.\"\n\nShe waves you away and concentrates on the maps, moving another of the lion-shaped thingies.\n\n> You examine the lions\nYour head is killing you.\n\n> You look at the lion\nA golden brooch representing a sitting lion, of unknown origin. You found it at the shepherd's hut, which is quite a mystery. Perhaps you should look into it.\n\n> You look athe lion-shaped thingies\nSweet lady Potinaja, what do you mean?\n\n> You talk to Circe\n\"I shall prove to you I am useful to you and the Goddess.\"\n\nWithout looking up from her maps, Circe waves you away.\n\n\"Pray be not a nuisance, niece. Go do as you please but bother me no more.\"\n\nShe is obviously concerned with something, very much unrelated to your tribulations, and somehow related to the many lion-shaped figurines she keeps herding around the map.\n\n> You examine the figurines\nA black piece of stone. Obviously Circe is using them to signify some sort of kingdom or faction over her map. Each is shaped like a sitting lion. Now where have you seen that before?\n\n> You show the brooch to Circe\nHolding the torn shoulder with your fingers, you undo the brooch and throw it on the table. It lands squarely among the black lion-shaped figurines, sending them on sudden expeditions across the sea. Circe looks up, startled.\n\n\"How dare you...?\", she starts.\n\n\"Answering your next, non-rhetorical question, I have my own sources, just like you, aunt dear. I thought this might interest you, since you seem so fond of little lion figurines.\"\n\n\"Do you know what this is?\" Circe says, as she takes the brooch and looks at it intently before staring back at you. \"Its meaning? Where does it come from?\"\n\n\"Let's see - yes, no, kind of. It's a brooch. I have no idea what it stands for. It comes from somewhere in the northern wastes, since you are piling all your toys there?\"\n\nThe High Priestess takes a deep breath, obviously pondering whether to discuss important matters with you. Finally, she sighs and looks away. Was that a little chuckle?\n\n\"Young Ariadne, what do you know about the Achaeans?\"\n\n> You talk to Circe\n\"Achaeans. Northern barbarians, a few sad excuses for palaces. No fleet worth of the name. The only thing they are good at is making cheap copies of every piece of pottery Father sells them at outrageous prices. They are desperate for some culture. Are we sending them many potnias?\"\n\n\"Not a single one. They have their own unsavoury gods. And a very unsavoury new Wanax. With very, very unsavoury methods.\"\n\n\"You sound jealous, aunt.\" Circe waves a finger at you.\n\n\"Do not get cocky, child. If you have found this in Aeaea, and I can only imagine where or how, it might mean we have a little spy problem. Now, I do not have enough archers to keep a patrol on all shores at all times, and sending them to search every ship and warehouse in the harbour would alert the spy... So...\", she says, looking up and down at you with a critical eye.\n\n\"So\" you echo, tossing your hair dramatically, \"You got yourself a secret agent, auntie.\"\n\nShe hmphs. You smile. Then remember something.\n\n\"Ah, my potnia? On an unrelated note, can I have that brooch back? Holding this thing in place all day is tiring.\"\n\nThe High Priestess of Aeaea mutters something unpleasant about your generation while fumbling about her things, then slides a clay token over the table towards you, together with the brooch.\n\n> You take the brooch\nYou take the Achaean brooch.\n\n> You wear the brooch\nAre you still hungover? Do you think it is a good idea to hunt around for an Achaean spy while wearing this for all the world to see? Perhaps Circe was right about your true calling after all...\n\n> You take the token\nYou palm the little piece of clay gleefully. Circe is notoriously stingy with supplies.\n\n\"The price of saffron is down and imports are killing us, Ariadne.\" she says warily \"Take better care of your clothes from now on. And do not get anywhere near goats.\"\n\n\"By the Goddess, how do you...?\"\n\n\"I have been your age. Just avoid rumiants in general.\"\n\n> You look at the token\nA piece of fired clay, bearing three symbols - the glyphs for \"priestess tunic\", \"high quality\" and the personal seal of Circe. A requistion order for the palace stores, from the highest authority.\n\n> You look\nThe residence of the High Priestesses is less sumptuous than what you had imagined the first time. It is nevertheless the most luxurious room in the whole island, somewhat in spite of Circe herself. The focal point of the room is a great wooden table, strewn with a thousand little objects around a map.\n\nCirce is looking at you, appraisingly.\n\n> Down\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> West\nThe chambers are filled with the hustle of a few dozen workers carrying goods into our out of the stores. Slaves bring in copper ore and oil pithoi in carts, checked and accounted for by palace administrators. Throngs of artisans from the workshops bring their finished crafts for inspection, and receive clay tokens in exchange. This is a part of the palace you seldom visit willingily, except to pilfer some baubles or chat with your friend. If you don't manage to fulfil your quest, you might well be spending the rest of your days here... The mere idea makes you shiver.\n\nOne of of the administrator catches your eye. It's Satiah, one of your last friends. She nods slightly in your direction while she keepts doing calculations on her abacus and counting tokens.\n\n> You examine Satiah\nSatiah is more or less your age. She has the darker skin that identifies her as coming from the Avaris chapter, which is somewhere in the Two Lands, on the delta of an incredibly big river, far to the south. She wears the full pleated linen favoured by admininstrative priestesses when they are not facing the public, decorated with the insignia of a mid-junior priestess - quite a promotion for accounting duty.\n\n> You talk to Satiah\n\"Why, bad girl Ariadne is back. What tidings, love?\", she greets, with her unmistakeable Egyptian lilt.\n\n\"Hey, Satiah. My sister is such a bitch.\"\n\n\"We have had this conversation already.\", she observes, looking at you sideways.\n\n\"Oh. So, you want to hear about last night? It was like a dream. I\nmet these two satyrs under the moonlight...\"\n\n\"And that one as well. You Keftius are like trained songbirds who only know two songs.\"\n\n\"Fine. You tell me about your fascinating adventures, then. How many measures of olives? Did someone, gasp, forget to record a few copper ingots? Tell me about your night of wild passion with your abacus.\"\n\n\"Ari, love, why are we always talking about men or pouring goatshit about other women? Can we not have a relevant conversation, like priestesses are supposed to? Do you reckon this is what the Goddess wants to discuss through us?\"\n\n\"I... never thought of it that way, honestly.\"\n\n\"Well, I mean not to offend, dear Ariadne, but perhaps that is one reason why you are still only an initiate at seventeen? While the rest of our year-sisters have their own shrines on the other shore of the Great Green? Even Phaedra is prancing around with rouged boobs and acting like she is Circe reborn.\"\n\n\"Oh, my hangover. Catch you later.\"\n\n> You give the token to Satiah\nSatiah takes the token and gives it a cursory glance, then a double take.\n\n\"Aha. Somebody's connections are starting to pay off?\"\n\n\"Thank you for your kind words, Satiah. I am so glad I can share this very special moment with a good friend.\"\n\n\"All I am saying is,\" she shrugs, \"it is quite unusual to see two of these within the same day, both for nieces of the High Priestess. And I have been a witness to Phaedra's initiation in the third mysteries, but you I have not seen since you talked me into pilfering that wine jug for you.\"\n\n\"So I am working my way to ordainment a different way, does that make me a worse priestess than my dear, dear sister?\"\n\nSatiah smiles sympathetically, says nothing (because she is an amazing friend) and sends a slave for the goods (because she does not trust you alone in a room filled with valuable stuff). She inspects the garments when they arrive, nods and drops the token in the appropiate jar.\n\n\"All yours. And congratulations. You must have done something quite impressive, given your record, to impress the old girl so. Care to gossip about it, or you're too important now for your old friend, my potnia?\"\n\nYou give her a conspiratorial wink.\n\n\"Secret mission. High priesthood business. Can't talk\", you whisper in a mysterious and alluring way. Satiah tsk-tsks and shields her eyes in mock shock.\n\n> You check your inventory\nYou are wearing:\ntunic\n\nYou are carrying:\nan Achaean brooch\nwine jug (empty)\n\n> You take the garments\nWith the appropiate reverence, you take the ceremonial garments\n\n> Wear garments\nYou should get rid of the tunic first, or it will look ridiculous.\n\n> You give the jug to Satiah\n\"You did not smash it this time? Good. Keep it for now. If I take it I shall have to account for it and I am all out of pottery tokens. Call it inventories adjustment.\"\n\n\"I was not giving it back, Satiah. I was asking for a refill.\"\n\n\"Potinaja wept, Ari, you have a drinking problem.\"\n\n\"The boys drank almost all of it, I promised. Pretty please?\"\n\nShe frowns, calls one of her helpers and mutters some instructions in his ear. He takes the jug, disappears and brings it back after a while. Satiah smiles and hands it back to you.\n\n\"There.\"\n\n> You look\nThe chambers are filled with the hustle of a few dozen workers carrying goods into our out of the stores. Slaves bring in copper ore and oil pithoi in carts, checked and accounted for by palace administrators. Throngs of artisans from the workshops bring their finished crafts for inspection, and receive clay tokens in exchange. This is a part of the palace you seldom visit willingily, except to pilfer some baubles or chat with your friend. If you don't manage to fulfil your quest, you might well be spending the rest of your days here... The mere idea makes you shiver.\n\nSatiah smiles at you from behind her desk, fingers flying on the abacus.\n\n> Go east\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> You go to the east\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA couple of archers wink at you (old \"friends\", so to speak), and quite a few priestesses frown (older \"friends\", so to speak).\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\n> You go to the west\nYou enter the palace unchallenged by either priestess or archer patrols.\n\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> You go to the north\nYou start towards the living quarters, but you stop after a couple of steps. What's the point? You have already been caught, and in the worst of ways, so why pretend? Better carry on with your own business.\n\n> You take off the tunic\nYou shimmer out of tunic.\n\n> Wear garments\nYou put on ceremonial priestly garments.\n\n> You go to the north\nA narrow path on top of the cliffs follows the crescent shape of Aeaea. The isle's rocky arms stretch like the horns of a bull piercing the sea. The Saffron Bay occupies most of the view, sheer cliff faces the height of a hundred men plunging vertically into the waters below. The palace complex shines across the bay like white teeth on jagged, blackened gums.\n\nThe path clings to the clifftop, coming from the civilised south and stretching towards the sharp edge of the isle to the northwest. To the east lie the hilly scrublands frequented only by shepherds and goatherds. As you know full well.\n\n> You go east\nIn all directions, the hills climb up and down, reddish earth embroidered with dark green shrubs and a few small pine woods, sometimes broken by white, sheer rock. The land slopes downwards, from the cliffs in the west to the eastern beaches. The shepherd's hut is the only visible shelter. The isle narrows to the north and broadens to the south, where a few smoke columns indicate the location of the palace. The shepherd's hut is nearby.\n\n> You enter the hut\nHere you are, back in the hut. The boys are gone, it is marginally tidier than it was this morning, and there is still nothing but a wooden rack and a miserable bed.\n\n> You examine rack\nThe rack is empty. No bread, no clothes (at a guess, the shepherds must be wearing them)... You stop for an instant, look at it twice. Wasn't it a bit further away from the wall, this morning? It might just be the shepherd boys tidying up after your tryst, or there might be another reason for pushing the rack against the wall.\n\n> You look at the bed\nThe bedding has been half-heartedly remade after last night, but still consists of loose straw piled on the floor. You kick it around a bit, but you find no more brooches or anything else but dusty straw.\n\n> You pull the rack\nYou take both ends of the rack, plant your feet firmly on the ground and pull. It is not terribly heavy, and you manage to separate it a couple of handspans from the wall.\n\n> You examine rack\nThe rack is empty. No bread, no clothes (at a guess, the shepherds must be wearing them)... You stop for an instant, look at it twice. Wasn't it a bit further away from the wall, this morning? It might just be the shepherd boys tidying up after your tryst, or there might be another reason for pushing the rack against the wall. Pulling the rack away from the wall has revealed a small hole in the ground.\n\n> You look at the hole\nWhat a surprise, a small cache. Now this goatherders are much more mysterious than you thought.\nThe hole contains a small but finely made daidala.\n\n> You examine daidala\nIt is a little statuette of a bull, cast in bronze and lacquered in black, with lovingly carved ivory horns, small enough that it can stand on your open palm. The head is articulated, so that the horns can point up or down - either menacing, as during the ritual bulldancing, or towards the earth, in worship of the Goddess. Very, very clever, and so finely detailed it looks almost menacing. This belongs in a major shrine. You have very seldom seen works of similar craftsmanship... and all of them were tributes sent from your native Crete. You examine it carefully again. Yes, without the shadow of a doubt - this is no Achaean artifact. Only Cretan masters can produce such perfection.\n\n> You take it\nSurprised, you take the statuette with careful fingers. What a place to find a holy piece. Really, what were these lads up to? Depending on its origin, they could be guilty of a most blasphemous crime.\n\nWell, well. Now you are really, really interested in having a conversation with those two. Where are they gone?"
    },
    {
        "text": "[Themes: Historical, Mythology, mystery, island]\n\n> You examine the grass\nThe volcanic landscape of Aeaea is at its wildest here - not a flouncy-skirted priestess in sight, not a rumour of toiling workers or a flash of sunlight over a magnificient building, nary a word of praise for the Goddess except the calls of goats and the song of birds. Which is kind of pretty is you're that kind of person, but being a sophisticated lady and having spent ten years in Aeaea, you find it rather boring and unstimulating.\n\n> You go east\nHere you are, back in the hut. The boys are gone, it is marginally tidier than it was this morning, and there is still nothing but a wooden rack and a miserable bed.\n\n> You go northwest\nThe crescent of Aeaea narrows to a bullhorn-sharp point here and the clifftop resolves into a rocky chaos of crags plunging dramatically into foaming waters. From here you can see the whole curve of the Saffron Bay, steep as the edge of a cauldron, with the palace a miniature on the other side. Without even a single goat to feed on the thorny bushes, the only living presence is the gulls that circle overhead, looking for fish in the the clashing waves.\n\n> You look at the olive trees\nWhat can you say, the saffron fields produce most of the exports of Aeaea, and the rest of the fields are merely foodstuffs. Some fields are tended by slaves, property of the palace or of the settlers, and most of the free men are depend on the palace in one way or the other: some are indentuered workers, some are technically free but rely on bartering their produce for clay tokens only exchangeable for other stuff in the palace stores... Not that you care much for the boring details. Your interest in agricultural matters has always been quite low.\n\n> You go southwest\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA few priestesses blink, then nod respectfully as they pass, eyeing your attire. A couple of archers almost stand at attention when they see you approach.\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\n> You go southeast\nThe paved road snakes downhill towards the glistening blue waters. The beach on the southern tip hosts the only port in the isle, a collection of warehouses and shipyards clustered around the harbour. The air smells of salt, rotting seaweed and adventure. Burly longshoremen sing coarse shanties as they unload a merchant ship, while the palace indentured workers wait to cart the loads to the workshops in the hill.\n\nA dozen or so whores are pitching their wares to the sailors.\n\n> You look at the whores\nThey are gaudily dressed and most of them are girls. A couple of them have had the cheek to dress up in flouncy skirts and open bodices, in imitation of priestly garb. Such a near-blasphemy is indicative of their liminal status, for they are one of the collectives in Aeaea more loosely bound to the palace. As far as the High Priestess is concerned, they are legally free settlers and economically unnecesary for the Goddess, but also a natural element of the portuary facilities. Apart from helping in the harvest of saffron, which is the customary duty of all Aeaeans, their nominal allegiance to Circe boils down to their personal piety.\n\n> You talk to the whores\nYou approach the prostitutes, reasoning that they probably know each ship and sailor that moves around these parts.\n\nThe group falls into a respectful silence, turning and bringing fists to temples in the adoration gesture. A tall Peleset woman with her hair braided with red and blue thread meets your eyes levelly.\n\n\"My potnia,\" she says diplomatically, \"We are conducting business this side of the harbour as agreed, and not obstructing palace business in any way. We are all healthy and a moon ago we donated a...\"\n\n\"I am here on palace business indeed but not of that sort. Have you seen any Achaeans... err, northern barbarians? Long black hair, beards, helmets made of boar tusks? Mycenaeans, Tirynsians, Athenians?\"\n\n\"A lot of sailors fit that description, except for the helmets. And who can tell where they come from? In any case, my potnia, almost all our customers are foreigners, mostly Cretan and Alassian.\"\n\n\"Have you seen anyone wearing brooches shaped like lions?\"\n\n\"How do they look like?\"\n\n> You show the brooch to the whore\nYou show the lion brooch to the Peleset woman, whose eyes open wide as soon as she sees it.\n\n\"I have never seen a sailor wear such a thing...\", she starts, but you cut her off.\n\n\"Come on. You have seen it before! Lying to me is lying to the Goddess...\"\n\n\"...but as I was about to say, a man offered me one of those a few nights ago. Not this one, but a very similar one.\"\n\n\"And do you still have it? Who was that man, was he a northerner?\"\n\n\"Oh, I don't have it any more\", she says slowly, looking you in the eye, \"but I know where to find him.\"\n\n\"Lead me to him and you can keep this one as well.\"\n\n\"Thank you, most generous potnia. The man is a local, a shepherd or something. I had seen him many times, bringing milk and goatmeat to town and eyeing the girls. Obviously we were never interested in his custom, but as I say, he suddenly was very rich. I did not ask where he got that little brooch, but he said something about going fishing in the crags.\"\n\n\"Fishing in the crags... and say, are you feeling well these\ndays? No rashes or itches or blood in your urine?\"\n\nShe smiles and shakes her head. You silently praise the Goddess and, as agreed, let her have the brooch.\n\n> You look at the sailors\nA confusion of seamen, foreign captains in exotic clothing and toiling longshoremen. It would be an interesting spectacle if you did not have urgent matters to tend to.\n\n> Go northwest\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA few priestesses blink, then nod respectfully as they pass, eyeing your attire. A couple of archers almost stand at attention when they see you approach.\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\n> You go to the west\nYou enter the palace unchallenged by either priestess or archer patrols.\n\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> You go west\nThe chambers are filled with the hustle of a few dozen workers carrying goods into our out of the stores. Slaves bring in copper ore and oil pithoi in carts, checked and accounted for by palace administrators. Throngs of artisans from the workshops bring their finished crafts for inspection, and receive clay tokens in exchange. This is a part of the palace you seldom visit willingily, except to pilfer some baubles or chat with your friend. If you don't manage to fulfil your quest, you might well be spending the rest of your days here... The mere idea makes you shiver.\n\nSatiah smiles at you from behind her desk, fingers flying on the abacus.\n\n> You talk to Satiah\n\"Tell me, Satiah, do you really like it here?\"\n\n\"Indeed I do. This palace might look like a rock, solid as the foundations of the earth, but it is actually dangling in a fine balance, always on a tipping point between copper ore coming in and finished goods coming out, saffron exported and meat imported, and the fluctuating number of mouths to nourish. The Goddess provides but it is up to us to keep her equilibrium or this isle would perish in a fortnight without us admin girls.\"\n\n\"What about traveling, serving overseas?\"\n\n\"Ariadne dearest, I am already serving overseas, remember?\"\n\n\"Oh, yes, you told me about Avaris. Sorry, I have a bull-sized hangover.\n\n> You talk to Satiah\n\"I have just had a conversation with our beloved High Priestess.\"\n\n\"And? Are you still a free woman?\"\n\n\"I have been told The World Is More Complicated Than I Know and also that I Play But a Small Part in It.\"\n\n\"Knowing Circe, it sounds surprisingly harmless. Anything troubling your mind?\"\n\n\"Have you seen or heard of any Achaeans around here?\", you ask casually.\n\n\"There used to be that girl, the straw-haired one? I think she was from somewhere up north? She was sent to Wilusha, assistant Wanassa, two springtimes ago maybe?\"\n\n\"Ah, yes. Nah, I was thinking more like traders, ambassadors, perhaps sailors? Do you get any trade from the northerners?\"\n\n\"Occasionally. Not recently. They almost never trade directly with\nus, I hear most of the commerce goes through your island of Keftiu, so you probably know more than I do, you Cretan know-it-all. And they would have no business here anyway, they are dealt with at the harbour, and good riddance. Potinaja save me from dealing with the maniacs at port authority.\"\n\n\"Thank you, Satiah.\"\n\n> You drink the wine\nTry again, this time making some sense.\n\n> You look at what you're carrying with you\nYou are wearing:\nceremonial priestly garments\n\nYou are carrying:\nbull daidala\ntunic\nwine jug (full of water)\n\n> Drink water\nYou drain it in a couple of long, greedy gulps. It does wonders to alleviate your hangover.\n\n> You give the jug to Satiah\nSatiah grimaces and calls a worker to refill your jug, then hands it back to you again.\n\n> You examine jug\nIt is a stylish round design with a small flat base, red clay with a striking black many-tentacled octopus. Such a modern and expensive model can only be imported from Crete and way above the means of a goatherder, so it was probably you who brought it from the palace.Satiah has made sure it was refilled... with fresh water. What a party pooper.\n\n> You talk to Satiah\n\"What tidings, Ariadne?\n\n\"Secret stuff. Anything suspicious happening around here?\"\n\n\"Just a Sherden trader screwing the Goddess on the saffron-pottery exchange rate, but nothing that would interest an important agent of the High Priestess like you. Let us have a jug tonight and talk, shall we?\"\n\n> Go east\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\n> You go to the north\nYou start towards the living quarters, but you stop after a couple of steps. What's the point? You have already been caught, and in the worst of ways, so why pretend? Better carry on with your own business.\n\n> You ascend\nThe residence of the High Priestesses is less sumptuous than what you had imagined the first time. It is nevertheless the most luxurious room in the whole island, somewhat in spite of Circe herself. The focal point of the room is a great wooden table, strewn with a thousand little objects around a map.\n\nCirce is looking at you, appraisingly.\n\n> You talk to Circe\n\"So where shall I begin?\", you ask in a conspiratorial tone. Circe rolls her eyes.\n\n\"Last time I had this sinking feeling the earth shook and it rained ash for a moon.\"\n\n\"Aunt?\"\n\n\"Well, get properly dressed, but remember it is not an official ordainment but a temporary promotion, just for this mission.\" She starts putting the figurines back in place \"Then possibly try and trace back the origin of that brooch? Further investigate the place where you found it? Track whoever gave it ti you? Ask questions discreetly to the right people? Seduce men and suss out their secrets? Sweet lady Potinaja, ask me not about complicated matters of intrigue, I am but the elderly High Priestess of Aeaea. You youngsters have it all figured out, surely. I shall just stay here and play around with my strategic toys while you do the Goddess' will.\"\n\nYou make the adoration gesture again, this time with a slight smile, and get ready to go. A secret mission for the High Priestess, no less! Time to prove your mettle... and avoid ending up as a bloody clerk.\n\n> You show the daidala to Circe\n\"Look what I found\", you say, putting the daidala on the table. Circe looks puzzled for a second.\n\n\"Where have you gotten that from? Ariadne, I expect you not to use your mission as an excuse to commit sacrilegious actions...\"\n\n\"It was among the possessions of a suspected Achaean agent. But it is clearly not Achaean. I suspect it was stolen from a shrine in Crete, which is probably not beneath the barbarians, but why bring it here?\"\n\n\"And then again, why bring something as incriminating as the brooch? Perhaps we are dealing with a particularly stupid spy, or perchance it is a different matter. Whatever the case, if sacrilege is involved we need solve it more than ever, Ariadne. Pursue that lead. Find your man.\"\n\n\"I shall, my potnia.\"\n\n> Go northwest\nThe crescent of Aeaea narrows to a bullhorn-sharp point here and the clifftop resolves into a rocky chaos of crags plunging dramatically into foaming waters. From here you can see the whole curve of the Saffron Bay, steep as the edge of a cauldron, with the palace a miniature on the other side. Without even a single goat to feed on the thorny bushes, the only living presence is the gulls that circle overhead, looking for fish in the the clashing waves.\n\nAnd then there's the goatherd, with no goats in sight, looking quite out of place.\n\n> You look at goatherd\nWell, at least he is the handsome one of last night's duo, a swarthy square of a man, all straight lines and coiled muscle under tan skin. He's wearing boots and loincloth and carries bag. He's looking around shiftily, as if looking for a way to escape... or maybe get rid of you?\n\n> You talk to the goatherd\nThe man meets your eyes with a jolt, then does a double take. You see the doubt in his eyes for an instant and smile warmly, just in case he's thinking of escaping. Or giving you a little nudge over the cliff.\n\n\"Why, if it is not my favourite goatherder. I never thought you would be so difficult to get. Considering.\"\n\nHe starts off with some remarks about last night that you might find rudely enticing if you didn't know him to be an Achaean spy.\n\nAnd a sacrilegious thief of holy daidala, for good measure.\n\n\"So what are you doing in these solitudes all by your own? Should you not be tending to your herd?\"\n\nHe looks one way and the other, scratches his head and ahem-ahems for a while, until you suggest that maybe he's fishing in the\ncrags? He nods, then stops and looks at you (you let nothing show\non your face), licks his lips, then nods again vigorously. \"Why, aye, fishing! Indeed!\".\n\nWithout a line or a hook, of course. And then there's that metallic clink every time he shifts.\n\n> Continue\n\"So what were you fishing?\"\n\n\"Pretty girls, and look, it worked!\"\n\nYou roll your eyes, but not so much that you don't keep a watch on him. He's trying to goatshit his way out of this one? Fine, then you'll need to confront him with solid proof.\n\n> You give the daidala to the goatherd\n\"So where did you fish this one?\", you say, holding the statuette high. He looks horrified. You press on:\n\n\"And I know about the brooch too, and the whole lot of them. And the High Priestess does as well, in case you were thinking of a little accident. Now, confess, and I shall make sure she is merciful with you. How long have you been an Achaean spy?\n\n\"Ah-aka... what is an Akayan? And I'm no spy! I know nothing, I-I just...! the goats...! I thought you, you and I...\n\n\"Cut the goatshit. Where did you find this? And the brooch? Confess or you shall know Potinaja's wrath!\"\n\n\"D-downstairs!\"\n\nYou blink, watching out for any ruse. He gestures downwards with his head, towards the cliffs. You nod. Carefully, he moves towards a few thorny bushes and moves them aside.\n\n\"There is a path down the cliff.\"\n\n\"Guide me. You go first.\"\n\nHe sighs, nods and disappears down the hidden passage, looking just as if he was sinking into the tangle of thorns.\n\n> Down\nYou find the secret way behind the bushes and carefully descend.\n\nTaking a deep breath, you navigate your way through the narrow passage. A few steps ahead of you, the shepherd beckons. The passageway is little more than an excavated slope for a few paces, and then it merges into a natural cavern, open on one side to a vista of the northern seascape. You follow the man along the zigzagging open cavern, descending down the face of the cliff, until you reach a tiny pebble beach at the foot of the crags. As far as you can see, there is nothing but open seas ahead. Behind you, Aeaea is a continuous wall of sheer rock, uninterrupted except for this small beach. It is scarcely twenty strides wide... and its main feature is a huge warship, wrecked against the rock on the western side of the beach.\n\nSweet Potinaja. This is something Circe would kill to know. Hopefully not literally.\n\nThe goatherd is pacing up and down the narrow beach, looking shifty.\n\n> You examine the warship\nYou approach the wreck carefully. The bow third is a mess of splintered wood, smashed against the rocks, the rest more or less intact. A couple of dead bodies, presumably from the ship, are stranded on the pebbles. The ship itself is long, single-masted, sleek and probably rode low over the water. Definitely not a Cretan merchant ship - more like a barbarian warship.\n\n> You look at the bodies\nThe corpses are both bloated and whitish, having spent many days at sea. You take a look at the nearest one. It is a man, that much you know, with a sword hung from a tasseled shoulder belt. The weapon is of good quality and northern make, so you are looking at an Achaean officer, may the Goddess have mercy on his heretic heart. You grimace. A ship this size carried more warriors, obviously, perhaps thirty or forty. Perhaps most of them were swept to the sea in the gale, or jumped out in terror, or died here on the beach and were thrown back into the ocean by whoever found the wreck.\n\n> You talk to the goatherd\n\"You see, my potnia, me and my friend found this last new moon, and though we tried to save the sailors...\"\n\n\"Goatshit\", you interrupt, turning towards him with a dramatic flourish, \"You tricked them into running aground, surely with some lamps. Do you expect a potnia to believe this Achaean warship just happened to shipwreck here, on the only beach in the whole coast, on a moonless night, and in the only spot where you and your mate would be able to loot their ship?\"\n\n\"Well...\"\n\n\"Don't answer, you fool. It's what we priestesses call a rhetorical question.\"\n\n\"Actually, maybe it is a gift from the Goddess herself...\"\n\n\"Don't you explain the Goddess to me, man, I'm a bloody potnia! So you pulled out your little trick, not that I mind because they were Achaean scum anyway, and then tried to sell the stuff in town. You made just one mistake - bedding me! I do not mean that as a literal mistake, mind you. But when you mess with Ariadne, secret agent of the High Priestess...\"\n\n\"Please, holy Ariadne...!\"\n\n\"Oh, shut up. Circe will be certainly interested in these shipwrecked Achaeans, she does give not a fig for thieving goatherders. But you should have told me in the first place.\"\n\nYou take one last good look around. Being pretty sure you have learned all there was to discover here, you say a brief prayer to the Goddess - to guide the dead northerners to her underground realm, even if they scarcely deserve it. The goatherd stands respectfully at attention, although there is no way he can understand your oration, delivered in your native Cretan.\n\nOut of the corner of your eye, you see something stir among the rocks! And the goatherder has seen it as well, because he jumps scared, thinking it is one of the corpses rising. Being an initiate in the first mysteries, you go investigate, intoning incantations against the wrath of the dead.\n\nBut the boy is not quite dead. He is a young one, of perhaps eleven or twelve years old, barely standing on his two feet, reeking of seawater and malnutrition. He collapses as soon as you reach him.\n\n\"Go fetch help!\", you order, and the goatherder disappears towards the passage.\n\n> You look at the boy\nA boy or eleven or twelve, dressed according to Cretan fashion, with taste and a touch of distinction. Not at all what you would expect to find in an Achaean wreck! Perhaps he was a prisoner? The kidnaped son of some Cretan great, held for ransom, as a guarantee of some peace? You need to interrogate him.\n\n> You talk to the boy\n\"Boy, do you speak Cretan? Do you hear me?\", you try to shake him awake, but he's too delirious with thirst.\n\n\"...ther... sorry, Father... shouldn't have... are coming... Minos... shouldn't... coming... coming for... should... Father... the bull...\"\n\n\"Hold on, boy. I shall get you some water.\"\n\n> You give the jug to the boy\nYou tilt the jug so that the boy can drink - it takes a few tries in his state. Little by little, he regains consciousness. He looks at you, frightened, so you smile as warmly as this crazy day allows.\n\n\"I am Cretan like you, and a potnia. You are safe with me, boy. What is your name and how come you where aboard an Achaean warship?\"\n\n\"My-my name is Icarus\", he says, making a feeble attempt at an adoration gesture, \"and my father was...\", and there he clams up, opening his eyes wide and looking at you with a suspicious expression. You tsk-tsk.\n\n\"I am not one of them. My name is Ariadne, and I am the daughter of the Wanassa of Knossos, whom you surely have heard of. So what about your father?\"\n\n\"Hmph. He's a fisherman.\"\n\n\"Sure she is, and I am a talking dolphin in disguise. See my fins? I was swimming around today, minding my own dolphinic business and blam, I came upon that wreck and said, what about having this little boy for breakfast...\"\n\n> You talk to Icarus\n\"So where did the Achaeans get you?\"\n\nHe thinks about it for too long. He's making it up.\n\n\"At Phaistos. While we... I was trying to board a ship.\"\n\n\"You and your father? Who is he? Is he the reason you were captured... and trying to board a ship? Were you both on the run? Why?\"\n\nHe stammers a little, then pretends to faint.\n\n\"Come on, Icarus. I am not a friend at all of the awful men that got you. Did they get your father as well? Let me guess, he is an important man in Crete, am I right? A lagawetes, perhaps? A commander?\"\n\n\"A fisherman, like I said, from Phaistos.\"\n\n\"Goatshit. You have the Knossos accent, Icarus, and your skin is too white and soft for the son of a fisherman, not to mention your clothes. Your hands look rough, though... is he a great artisan? Oh, I know. Perhaps a maker of beautiful objects?\"\n\nHis eyes go wide in fear.\n\n> Continue\nHe is keeping his mouth shut, but you know full well there is something more here. Perhaps you can refresh his memory... with a little memento from his father.\n\n> You talk to Icarus\nYou chat a little with the boy as you walk your way back to the palace. He is still reserved and wary of saying too much, but you gather a few juicy hints here and there. His father got enmeshed in some kind of intrigue with Mother, and Father was not amused. Both are in good health. You have four new siblings, four brothers and a sister. There was an earth-shake two years ago, but the damages were very minor, and it ceased as soon as three bulls were sacrificed. Gortyn burned to the ground (all good, you never liked Gortynians).\n\n> Go upwards\nThe crescent of Aeaea narrows to a bullhorn-sharp point here and the clifftop resolves into a rocky chaos of crags plunging dramatically into foaming waters. From here you can see the whole curve of the Saffron Bay, steep as the edge of a cauldron, with the palace a miniature on the other side. Without even a single goat to feed on the thorny bushes, the only living presence is the gulls that circle overhead, looking for fish in the the clashing waves.\n\nThe shepherd has opened a narrow downwards passage through a few thorny bushes.\n\nIcarus arrives from below.\n\n> Go southeast\nA narrow path on top of the cliffs follows the crescent shape of Aeaea. The isle's rocky arms stretch like the horns of a bull piercing the sea. The Saffron Bay occupies most of the view, sheer cliff faces the height of a hundred men plunging vertically into the waters below. The palace complex shines across the bay like white teeth on jagged, blackened gums.\n\nThe path clings to the clifftop, coming from the civilised south and stretching towards the sharp edge of the isle to the northwest. To the east lie the hilly scrublands frequented only by shepherds and goatherds. As you know full well.\n\nIcarus arrives from the northwest.\n\n> Go south\nThis is where the elegant curve of the Saffron Bay becomes wider and the downward slope is more benign. Most of the productive fields of the isle are around here, tended by peasants indentured to the palace, a few free settlers and scores of slaves. The olive trees, vineyards and farms of this side provide most of the local foodstuffs. The path follows the clifftop to the wild north and it becomes a proper paved road to the southwest, towards the entrance to the palace.\n\nIcarus arrives from the north.\n\n> Go southwest\nThe ceremonial road ends in an ample paved space before the grand entrance to the palace. Men and oxen come on go along the road like ants and mill around the vast plaza, transporting all manners of goods from the palace stores to the port below, overseen by administrative-rank priestesses and keen-eyed archers. The great complex is three stories high, fronted with a majestic row of crimson red and marine blue tapered columns.\n\nA few priestesses blink, then nod respectfully as they pass, eyeing your attire. A couple of archers almost stand at attention when they see you approach.\n\nThe ceremonial paved road snakes descends towards the southeast and the harbour. The palace lies west, blocking the view of the bay. A narrow path leads northeast, following the clifftops, towards the wilderness.\n\nIcarus arrives from the northeast.\n\n> You go west\nYou enter the palace unchallenged by either priestess or archer patrols.\n\nThe main megaron is flanked with tapered red columns, centered around a central great hall that opens to two long wings. The western wing contains the workshops, stores and administrative dependencies. The north wing is mainly taken up with living quarters for priestess in the upper floors, and servants and slaves in the lower ones. But the definitive majestic piece of the megaron is the monumental gipsum stairway leading up, to the High Priestess' dependencies.\n\nThe megaron is in full swing, with dozens of priestesses of diverse rank coming and going about palace business.\n\nIcarus arrives from the outside.\n\n> You go upwards\nCirce looks up and blinks hard, twice. You smile your Competent Niece and Even Better Potnia smile and fill her in with the facts of your investigation, only embellishing slightly. As like how you fought to death two of the Achaeans who were still alive (you are resolute!), or the time you invoked the Goddess to reveal the identity of the boy (the Potinaja obviously wants you ordained!).\n\nCirce listens with something like excited exasperation, then sends you out while she grills Icarus.\n\nYou take advantage of the situation to go fetch some breakfast, at long last. You come across Phaedra, and have a grand time prancing in your priestly finery while she watches incredulously. Halfway through the tale of how you are performing secret missions for the High Priestess, she runs away in an undignified rage. Finally, the day is starting to look up.\n\nThat evening just before sunset, Circe sends for you.\n\n\"Well, well, perhaps the Goddess has found a way to speak through you...\", she says.\n\n\"She needed some help in doing so, but I really cannot blame her, auntie. I was quite out of voice this morning.\"\n\n\"...and if you would just shut up for a while and kneel down, I shall recite your ordainment invocation. Tonight you shall be brought to the sacred cave and initiated in the third mysteries, and so please the Goddess, by daybreak you shall be a full priestess, worthy of the regalia.\"\n\n\"My potnia...\"\n\n\"And then\", she adds, with a harsh edge in her voice, \"we shall talk, Ariadne.\"\n\nShe turns towards the last rays of the setting sun, and frowns, as if watching the setting of a different sun.\n\n\"We shall talk about what must be done to save Crete.\""
    },
    {
        "text": "[Themes: Science Fiction, time travel, laboratory setting, space station, male protagonist, science fiction]\n\n\"Attention! Attention! We have arrived on station. Drop Team\nBeta: Review your mission profile and report to Primary Transport Room.\"\n\nDrop Team Beta - That means you.\n\nDamn.\n\nM\u00f6bius\n\n(First time players should type \"about\".)\n\nYou must have dozed off for a few minutes; you had only meant to lie down for a few seconds between tasks. Hopefully no one saw you, since sleeping on duty will land you in the brig.\n\nSitting up, you are relieved to find that you are alone in your quarters.\n\nYour Quarters (on your rack)\nYour sparse quarters barely merit description. The gray metal bulkheads remain bare since you haven't even had the energy to hang pin-ups. The standard sleeping rack rests against one wall, across from the standard work desk holding your sidearm and your Tactical Display Unit.\n\nYou would really like to get away from here for a while, away from the your team members who clearly despise you.\n\nThe hatch to the passageway is to the port side (commonly called west by the rank and file not concerned with the long traditions of the Galactic Marines).\n\n[Author's Note: Another mission. Just when you had settled in for a nap.]"
    },
    {
        "text": "[Themes: Science Fiction, time travel, laboratory setting, space station]\n\n> You look at Unit\nThe Tactical Display Unit (TDU) is a small binocular unit which fits over your eyes and displays critical mission information. It incorporates the standard communications array which can be used to contact the ship and other teammates during a mission. It is currently switched off.\n\n> You turn it on\nYou stumble to your feet, retrieve your TDU, and put it on, activating it automatically.\n\n> You wear it\nThat's already on.\n\n> You look at the mp\nYou access the profile on your TDU:\n\nWe have received a distress signal from scientists involved in project M\u00f6bius. We have been unable to establish further communication. Drop Team Beta is instructed to transport to the project's laboratory to investigate. The team will provide medical and technical assistance as needed.\n\nThe project is studying the creation of various temporal distortions (further details classified per Statute MSC-1316). Damaged equipment may result in the release of multitemporal radiation, so all TDUs have been configured to monitor radiation levels.\n\nDrop team should take minimal gear: TDU, sidearm, and basic specialty-specific equipment.\n--- End Mission Profile ---\n\nGood. This mission shouldn't be too bad, and since your only specialty is security you won't even have to trudge to the armory for equipment.\n\n> You examine the desk\nThe desk is the usual all-purpose workspace, but since you try to avoid working here it is currently just a storage space for your sidearm. A small tag on the side says \"Titaniumcase\".\n\n> You open the desk\nThe desk has no drawers; it is essentially a slab of metal with legs."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Look around\nThe usual quarters: bulkheads, sleeping rack, desk holding your sidearm. The hatch to the passageway is to the port side.\n\n> You take the sidearm\nYou retrieve your sidearm from the desk.\n\n> You look at it\nIt is a standard anti-personnel energy weapon, fully charged (as per regulation).\n\n> You examine rack\nYour rack is just a utilitarian bunk. You probably couldn't fall asleep on it except for all the extra work they make you do.\n\n> Go west\nYou open the hatch and step out into the passageway, remembering (of course) to close the hatch behind you.\n\nThe passageway outside your quarters resembles all passageways in the Solaris: dull, clean, functional. Like all Scout ships (and\nother government projects) it was designed without any unneeded amenities, like comfort. The head is directly across from your quarters, while the armory, mess, and other useful places are aft. The rest of your team has quarters along this section (while Drop Team Alpha is located nearer to the bridge). The Primary Transport Room is forward from here.\n\n> F.\nYou brace yourself and step into the transport room.\n\nThe main focus of the room is the transport pad, which covers most of the floor. The transport is controlled remotely, to help prevent unauthorized use. A few monitors and diagnostic equipment surround the pad, but otherwise the room is empty.\n\nSergeant Jacobson is staring at you impatiently. Behind him you see Medic Davis giving his medical kit a final inspection and Specialist Thorne adjusting his technical sensor settings.\n\n\"So you finally decided to show up, eh Private?\" the Sergeant sneers at you. You are the last to arrive, naturally. \"Have you read the mission profile?\"\n\n> Y.\n\"You will address me as Sergeant!\" barks the Sergeant.\n\n> Y sergeant\n\"Finally, the jackass is ready. Ok, let's get ready for transport! Watch the MRL readings; we'll transport back if they become critical.\"\n\n> You wait\nTime passes.\n\n\"Communications check... Good, TDU communication is functioning. Remember not to shoot the scientists...\"\n\n> You examine Jacobson\nThe sergeant's jaw is as as hard as his ass. He is giving the final mission briefing.\n\n\"Begin transport sequence.\"\n\nThe transport begins. At least scientists won't be shooting at you, or, at any rate, they're probably not very good shots...\n\nAfter the usual brief nauseating sensations, you regain your composure and look around.\n\nM\u00f6bius Laboratory\nYou're glad you weren't in here during whatever happened to this place. The walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYou are the first to be transported, as always, in order to make sure that the area is secure. If you are still alive in a minute or two, the rest of the team should join you.\n\nbeen configured to monitor radiation levels.\n\n> You examine the head scientist\nGrotesque burns cover her face, which may have been attractive. She is in slightly better condition than her clothing, but will not survive long without help. She clutches a metallic rod in one fist, stretched out toward the reactor.\n\n> You look at the rod\nThe absorbing rod is a dark metal, and very heavy for its size. You have seen absorbing rods and cones (apparently identical except for their shape) used in reactors to absorb radiation emissions.\n\n> You examine the Reactor\nThe reactor is a large cylinder slightly larger than you. It has clearly been damaged, and glows brightly in a way that you are sure it shouldn't. Radiation shielding covers the outside and looks like it can be opened for access.\n\nIt's strange that the rest of your team hasn't arrived yet.\n\n> You look at the assistant\nHe is younger than the scientist, though disfiguring burns make this a bit uncertain. You guess he will be dead in half an hour without care. His lab coat seems essentially unburned; if it had been buttoned the rest of him might have fared as well.\n\n> You take coat\nYou're only trained for security; you should contact the ship before taking any action.\n\n> You take the rod\nYou manage to pry the rod out of the scientist's hand.\n\n> You open the Reactor\nAn angry beep from your TDU warns you of intense radiation buildup in the temporal reactor shielding; since you do not want to die, you decide not to touch it.\n\nYou can't possibly handle this by yourself. What the hell happened to the rest of the team?\n\n> You open the cabinet\nThe cabinet has no seams or handles; there is no obvious way to open it.\n\nWith a deafening Boom! the temporal reactor finally goes\ncritical and explodes.\n\nYou look around, surprised that you are not dead. Not even hurt, as far as you can tell. In fact, you seem to still be in the laboratory, which looks much as it did when you first transported here.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nOne thing is different: Another marine is standing here, looking around.\n\n> You examine the marine\nHe looks exactly like you, with the same red uniform, and carries his sidearm and his TDU.\n\nThe other marine looks closely at the head scientist.\n\n> You search the coat\nThe lab coat is mostly white, with a blue trim at the cuffs. The coat must be heat resistant to have survived (like most Marine uniforms). The assistant must do the dangerous work, since the scientist is not wearing any protective gear.\n\nThe other marine looks closely at the reactor.\n\n> You search cabinet\nThe emergency cabinet is a solid metal panel set into the wall, with no apparent seams or handles.\n\nThe other marine looks closely at the technical assistant.\n\n> You look at the array\nThe video and audio input panels are still recognizable, but most of the communications array has been burned away. Presumably the scientists sent their distress call before the destruction happened.\n\nThe other marine tries to communicate on his TDU.\n\n> Examine transporter\n(the personal transporter)\nThis transporter is a smaller version of the ones used by Marine ships, and is suitable for transporting a single person. This is apparently the only way of accessing the lab, and unfortunately has been damaged beyond use.\n\nThe other marine manages to pry the rod out of the scientist's hand.\n\n> You look at the table\nThe table is made of highly polished metal, now scraped and discolored. Among the wrecked equipment you can see a partially burned notebook, a wrench, and a radiation damper.\n\n> You read the notebook\nThis seems to be a record of the M\u00f6bius Project's results. Much of\nthe\nnotebook is burned, but you can make out a few fragments. The scientists seem to be trying to create loops in time, allowing several versions of an object to exist simultaneously. Apparently there have been problems, involving unduplicated objects being pulled into one part of the loop. These objects remain visible, but can not be touched. The temporal reactor also seems to have become unstable.\n\nThe rest of the fragments are technical jargon, much beyond your comprehension.\n\nThe other marine tries to communicate on his TDU.\n\n> You examine the damper\nThe radiation damper is a thick magnetized box with a pulse switch on the front. It can safely be attached to a radiated metallic object and then activated, emitting a brief intense pulse which temporarily neutralizes radiation which has built up on the surface of the object.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou seem to have survived the explosion again, but it seems to be causing some sort of loop in time. The other marine must be a previous version of yourself.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You take the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self looks closely at you.\n\n> You examine the self\nYour uniform is a bit creased, but fortunately no one has disciplined you for this yet. Otherwise, you look the same as always.\n\nYour previous self looks closely at the lab coat.\n\n> You turn on the damper\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\nYour previous self looks closely at the emergency cabinet.\n\n> You open the Reactor\nYou touch the temporal reactor, and quickly pull your hand back in pain. Although no longer radiated, the temporal reactor is still intensely hot.\n\nYour previous self looks closely at the head scientist.\n\n> You take the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\nYour previous self looks closely at the communications array.\n\n> You open the Reactor with the coat\nYou probably need to wrap the lab coat around your arm or something first.\n\nYour previous self looks closely at the personal transporter.\n\n> You wrap the coat around the arm\nYou wrap the lab coat around your arm.\n\nYour previous self looks closely at the utility table.\n\n> You open the Reactor\nM\u00f6bius\nAn Interactive Twist by J.D. Clemens\n\n> You open the Reactor\nIdentification number: //F4AC2E84-CAF7-4FC0-8D48-DAA23392ACFE// Standard interpreter 1.0 (6b) / Library serial number 060709\nStandard Rules version 1/060430 by Graham Nelson\nMenus by Emily Short\nCase Management by Emily Short\nChanged Implicit Action by Emily Short\nBasic Screen Effects version 2 by Emily Short\nLocksmith version 2 by Emily Short\n\nYour hand protected by the lab coat, you manage to open the reactor shielding, leaving a faint shadow of the previous shield. Just inside the opening you can see a small receptacle, which looks like it is meant to hold a small rod or cone.\n\nYour previous self looks closely at the notebook.\n\nThat's already open.\n\nYour previous self looks closely at the radiation damper.\n\nThe temporal reactor finally goes critical and explodes again.\n\n> You get the coat\nYour hand merely passes through the lab coat.\n\nYour previous self retrieves the radiation damper from the utility table.\n\n> You get the rod\nYou manage to pry the rod out of the scientist's hand.\n\nYour previous self attaches the radiation damper to the reactor.\n\n> Wait\nTime passes.\n\nYour previous self looks closely at himself.\n\n> You wait\nTime passes.\n\nYour previous self activates the radiation damper.\n\n> You wait\nTime passes.\n(You could also simply wait for death.)\n\nYour previous self touches the reactor, and quickly pulls his hand back in pain.\n\n> You wait a while\nTime passes.\n\nYour previous self manages to pull the coat off of the assistant.\n\n> Wait\nTime passes.\n\n> You wait\nTime passes.\n\nYour previous self wraps the lab coat around his arm.\n\n> You wait awhile\nTime passes.\n\nYour previous self manages to open the reactor shielding.\n\n> You put rod in the Reactor\nThe temporal reactor is closed.\n\nThe temporal reactor finally goes critical and explodes again.\n\nThe lab is restored again. Although you are enjoying the peace away from your ship, the exploding reactor is starting to become tiresome.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You wait for the death\nYou settle in and wait.\nYour previous self's hand passes through the space where the lab coat once was.\n\nYour previous self manages to pry the rod out of the scientist's hand.\nHe now unsuccessfully tries to insert something into the closed reactor.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe you need to put something in the reactor to absorb the radiation.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\n> You get the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\n> You wrap the coat around the arm\nYou wrap the lab coat around your arm.\n\n> You open the Reactor\nAs you are about to touch the temporal reactor, you are seared by the intense radiation which has built up in it; you quickly lose consciousness.\n\nAlthough you do not witness it, you assume that the reactor exploded again.\n\nYou are back where you started. Maybe you need to put something in the reactor to absorb the radiation.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the rod\nYou manage to pry the rod out of the scientist's hand.\n\nYour previous self retrieves the radiation damper from the utility table.\n\n> You wait for a while\nTime passes.\n\nYour previous self attaches the radiation damper to the reactor.\n\n> You turn on the damper\nYour hand merely passes through the radiation damper.\n\nYour previous self manages to pull the coat off of the assistant.\n\n> You wait\nTime passes.\n\nYour previous self wraps the lab coat around his arm.\n\n> You wait\nTime passes.\n(You could also simply wait for death.)\n\n> You turn on damper\nYour hand merely passes through the radiation damper.\n\n> You drop the rod\nYou drop the absorbing rod on the floor.\n\n> You put the rod in the Reactor\nThe temporal reactor is closed.\n\n> You put the rod in the Reactor\nThe temporal reactor is closed.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe you need to put something in the reactor to absorb the radiation.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self manages to pry the rod out of the scientist's hand.\n\n> You turn the damper on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\nYour previous self's hand passes through the space where the radiation damper once was.\n\n> You get the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\n> You wrap it around the arm\nYou wrap the lab coat around your arm.\n\n> You open the Reactor\nYour hand protected by the lab coat, you manage to open the reactor shielding, leaving a faint shadow of the previous shield. Just inside the opening you can see a small receptacle, which looks like it is meant to hold a small rod or cone.\n\n> You wait a while\nTime passes.\n\nYour previous self's hand passes through the space where the radiation damper once was.\n\n> You wait awhile\nTime passes.\n\nYour previous self unsuccessfully tries to insert something into the closed reactor.\n\n> You look at the Reactor\nThe shield of the reactor is open, revealing a central chamber too bright to study. A small receptacle sits empty just inside the opening; it looks like it is meant to hold a small rod or cone.\n\nYour previous self unsuccessfully tries to insert something into the closed reactor.\n\n> You wait\nTime passes.\n\nYour previous self unsuccessfully tries to insert something into the closed reactor.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe you need to put something in the reactor to absorb the radiation.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You wait for death\nYou settle in and wait.\n\nYour previous self retrieves the radiation damper from the utility table.\n\nThen he attaches the radiation damper to the reactor.\n\nA moment later he activates the radiation damper.\n\nNext he manages to pull the coat off of the assistant.\n\nHe now wraps the lab coat around his arm.\n\nAfter that he manages to open the reactor shielding.\n\nHe then looks closely at the reactor.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe you need to put something in the reactor to absorb the radiation.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You turn it on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\n> You put the rod in the Reactor\nYou insert the absorbing rod into the receptacle; this should control the radiation once the shielding is closed.\n\n> Close Reactor\nYou close the reactor shielding; hopefully the reactor is now safe.\n\n> You contact the ship\nThere is still no reply.\n\nA bright but silent explosion appears from the reactor, and then all goes black.\n\nYou are back in the lab, which looks much as it did when you first beamed in, but your previous self is still here. You're sure you fixed the reactor, so something else must be going on.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You examine panel\nThe control panel is closed, but hinges at one edge and a small gap at the other suggest that you could open it. Presumably the reactor controls are inside.\n\nYour previous self retrieves the radiation damper from the utility table.\n\n> You open it\nAn angry beep from your TDU warns you of intense radiation buildup in the control panel; you hesitate before touching it.\n\nYour previous self attaches the radiation damper to the previous reactor.\n\n> You get the wrench\nYou retrieve the wrench from the utility table.\n\nYour previous self activates the radiation damper.\n\n> You open the panel\nAs you are about to touch the control panel, you are seared by the intense radiation which has built up in it; you quickly lose consciousness.\n\nAlthough you do not witness it, you assume that the reactor exploded again.\n\nAnother explosion. Maybe there is a previous version of the reactor, just like there is of you.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self looks closely at the control panel.\n\n> You turn it on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\nYour previous self retrieves the wrench from the utility table.\n\n> You open the panel\nYou touch the control panel, and quickly pull your hand back in pain. Although no longer radiated, the control panel is still intensely hot.\n\nYour previous self touches the control panel, and quickly pulls his hand back in pain.\n\n> You get the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\nYour previous self touches the control panel, and quickly pulls his hand back in pain.\n\n> You put it on the arm\nYou wrap the lab coat around your arm.\n\nYour previous self's hand passes through the space where the lab coat once was.\n\n> You open the panel\nYour hand protected by the lab coat, you manage to open the control panel, revealing two buttons.\n\nYour previous self reaches for the previous reactor and is seared by the intense radiation built up in it; he slumps to the floor.\n\n> You look at buttons\n(the control panel)\nInside the control panel you see two buttons, one labeled \"Reactor Shield\" and the other \"Emergency Cabinet\".\n\nThe radiation damper is attached to the control panel.\n\n> You examine Cabinet\nIn the cabinet you see a first aid kit, a rations patty, a mini blaster, and an absorbing cone.\n\n> You examine the cone\nThe absorbing cone is a dark metal, and very heavy for its size. You have seen absorbing cones and rods (apparently identical except for their shape) used in reactors to absorb radiation emissions. The rod shape is the more recent model; cones are primarily stored as backups now.\n\nThe temporal reactor finally goes critical and explodes again.\n\nHere again. Maybe you need some help from your previous self.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the wrench\nYou retrieve the wrench from the utility table.\n\nYour previous self attaches the radiation damper to the control panel.\n\n> You open the panel with the wrench\nThe wrench merely passes through the control panel.\n\nYour previous self manages to pull the coat off of the assistant.\n\n> You wait\nTime passes.\n\nYour previous self manages to open the control panel.\n\n> You put rod in Reactor\nYou insert the absorbing rod into the receptacle; this should control the radiation once the shielding is closed.\n\nAs you withdraw your arm, you feel your skin blister from the radiated shielding; you feel like you are about to collapse.\n\nYour previous self looks closely at the emergency cabinet.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self manages to pry the rod out of the scientist's hand.\n\n> You put the damper on panel\nYou attach the radiation damper to the control panel, being careful not to get too close.\n\nYour previous self retrieves the wrench from the utility table.\n\n> You turn it on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\n> You put it on Reactor\nYou need to remove the radiation damper from the control panel first.\n\nThe wrench, held by your previous self, passes through the space where the control panel once was.\n\n> You get the damper\nYou remove the damper from the control panel.\n\nThe wrench, held by your previous self, passes through the space where the control panel once was.\n\n> You wait for the death\n(You could also simply sleep.)\n\nYou settle in and wait.\nYour previous self's hand passes through the emergency cabinet button.\n\nYour previous self somehow reaches through the control panel and presses the reactor shield button and you see the faint shadow of the previous shield slide open.\nAfter that he inserts the absorbing rod into the receptacle of the previous reactor and is blistered by the radiated shielding.\nNext he somehow reaches through the control panel and presses the reactor shield button and you see the faint shadow of the previous shield slide closed. Hopefully his version of the reactor is now safe.\n\nHe then succumbs to radiation exposure and collapses.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe there is something besides the absorbing rod which can fix the reactor.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You wait for death\nYou settle in and wait.\n\nYour previous self retrieves the radiation damper from the utility table.\n\nHe then attaches the radiation damper to the control panel.\n\nHe now activates the radiation damper.\n\nNow he removes the damper from the control panel.\n\nAfter that he attaches the radiation damper to the previous reactor.\n\nThe temporal reactor finally goes critical and explodes again.\n\nYou are back where you started. Maybe there is something besides the absorbing rod which can fix the reactor.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> Sleep\nYou settle down for a nap, hoping this will all go away.\n\nAlthough you do not witness it, you assume that the reactor exploded again.\n\nYou are back where you started. Maybe there is something besides the absorbing rod which can fix the reactor.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self settles down for a nap.\n\n> You turn on the damper\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\n> You get the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\nYour previous self retrieves the radiation damper from the utility table.\n\n> You wrap the coat around the arm\nYou wrap the lab coat around your arm.\n\nYour previous self attaches the radiation damper to the control panel.\n\n> You open the panel\nYour hand merely passes through the control panel.\n\nYour previous self activates the radiation damper.\n\n> You open the panel\nYour hand merely passes through the control panel.\n\nYour previous self settles down for a nap.\n\n> Press emergency\n(the emergency cabinet)\nYou are unable to.\n\n> You get the cone\nYou retrieve the absorbing cone from the emergency cabinet.\n\n> You open Reactor\nAs you are about to touch the temporal reactor, you are seared by the intense radiation which has built up in it; you quickly lose consciousness.\n\nAlthough you do not witness it, you assume that the reactor exploded again.\n\nYou are back where you started. You still haven't gotten the reactor fixed in both sides of the loop.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> Sleep\nYou settle down for a nap, hoping this will all go away.\n\nAlthough you do not witness it, you assume that the reactor exploded again.\n\nYou are back where you started. You still haven't gotten the reactor fixed in both sides of the loop.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour previous self is standing nearby.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self settles down for a nap.\n\n> You turn it on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\n> You get the rod\nYou manage to pry the rod out of the scientist's hand.\n\nYour previous self attaches the radiation damper to the control panel.\n\n> You put the rod in Reactor\nYou insert the absorbing rod into the receptacle; this should control the radiation once the shielding is closed.\n\nAs you withdraw your arm, you feel your skin blister from the radiated shielding; you feel like you are about to collapse.\n\nYour previous self settles down for a nap.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nYour previous self somehow reaches through the control panel and presses the emergency cabinet button and the cabinet slides open.\n\n> You put it on Reactor\nYou attach the radiation damper to the temporal reactor, being careful not to get too close.\n\nYour previous self manages to pry the rod out of the scientist's hand.\n\n> You turn it on\nThe radiation damper emits a happy beep, then makes a faint sizzling sound before growing quiet.\n\nYour previous self somehow reaches through the control panel and presses the reactor shield button and you see the faint shadow of the previous shield slide open.\n\n> You get the coat\nYou manage to pull the coat off of the assistant without hurting him more.\n\nYour previous self inserts the absorbing rod into the receptacle of the previous reactor and is blistered by the radiated shielding.\n\n> You wear it\nYou put on the lab coat. Now if you just had a helmet, some gloves, and a thick lead box you would be safe from explosions.\n\nYour previous self somehow reaches through the control panel and presses the reactor shield button and you see the faint shadow of the previous shield slide closed. Hopefully his version of the reactor is now safe.\n\nThen he succumbs to radiation exposure and collapses.\n\n> You put the coat on the arm\nYou wrap the lab coat around your arm.\n\nYour previous self somehow reaches through the control panel and presses the reactor shield button and you see the faint shadow of the previous shield slide closed. Hopefully his version of the reactor is now safe.\n\nThen he succumbs to radiation exposure and collapses.\n\n> You open Reactor\nYour hand protected by the lab coat, you manage to open the reactor shielding, leaving a faint shadow of the previous shield. Just inside the opening you can see a small receptacle, which looks like it is meant to hold a small rod or cone.\n\n> You get the cone\nYou retrieve the absorbing cone from the emergency cabinet.\n\n> You put it in Reactor\nYou insert the absorbing cone into the receptacle; this should control the radiation once the shielding is closed.\n\n> Close Reactor\nYou close the reactor shielding; hopefully the reactor is now safe.\n\n> You wait awhile\nTime passes.\n\nInstead of the reactor exploding, you feel a strange twisting...\n\nAlthough you do not think that the reactor exploded, you find yourself back in the original laboratory. Yet things feel different somehow.\n\nM\u00f6bius Laboratory\nThe walls and most of the equipment are charred and twisted, including the communications array and a personal transporter. A utility table is still bolted to one wall, next to a small cabinet labeled \"For Emergency Use Only\".\n\nThe central feature is a large cylindrical machine, with the words \"Temporal Reactor\" stenciled on the front. A closed control panel protrudes from the wall next to the reactor.\n\nThe head scientist and her assistant are lying on the floor near the reactor, severely burned and unconscious. They will certainly die without immediate medical help.\n\nYour other self seems to have disappeared.\n\n> You get the damper\nYou retrieve the radiation damper from the utility table.\n\nA shimmering catches your attention, and to your relief you see the rest of your team finally arrive.\n\n\"I see you haven't managed to kill yourself yet,\" the sergeant sneers at you.\n\n> You wait awhile\nTime passes.\n\nMedic Davis quickly assesses the scientist and the assistant. Seeing that they need critical care, he calls for an immediate transport and all three disappear.\n\n> You wait for a while\nTime passes.\n\nSpecialist Thorne rushes over to the reactor and attaches a sensor. After studying the sensor, he pulls out another gadget and connects it to the reactor.\n\n\"Luckily I have the right equipment to fix this,\" he informs the sergeant. \"Otherwise it would probably have gone critical and exploded.\"\n\n> You wait for a while\nTime passes.\n\nAfter adjusting some settings, Thorne activates the gadget, which makes several beeps before quieting. Thorne looks pleased, retrieves his devices, and nods to the sergeant.\n\n\"I heard about a guy who got caught in a temporal explosion once. He and the reactor got stuck in a loop and the repair crew had to figure out how to repair both versions of the reactor. Worse, protocol seemed to require that they retrieve both copies of his body, which was a real pain.\"\n\n> You wait\nTime passes.\n\n\"All right,\" barks the sergeant, \"I think we're done here.\" Activating his TDU, \"Transport control: Drop Team Beta ready for retrieval.\"\n\nA moment later you feel the usual dizzying sensation...\n\nFortunately, this transport is much less eventful, and you find yourself back aboard the Solaris. You had actually begun to\nenjoy the solitude of the lab, but you resign yourself to the drudgery and contempt that surely awaits. You decide not to tell any of your shipmates about your experience, since they probably wouldn't believe you, but at least you know that you were able to single-handedly fix a reactor and escape a temporal paradox.\n\nDuring your ordeal you experienced twenty-three time loops, making you about 3 hours and 50 minutes older than your twin brother (if you had a twin brother)."
    },
    {
        "text": "[Themes: Humor, humor, fourth wall, cave, investigation of human mind, gender-neutral protagonist, beach, surreal]\n\nI know, I know I know, we're gonna be late. But here's the thing: I'm in a coma. Yeah.\n\nAnd my brain has put together this bizarre fantasy world, to try and keep me sane, or protect my fragile psyche from the trauma of\u00e2\u00a6 whatever the coma is about, and I can't wake up until I escape from the dream-world. And that's gonna take a while, because I am really comfortable. I mean in the dream-world and also in the real world, right here.\n\nSo I don't have a lot of incentive. To wake up, I mean.\n\nSo I don't have a lot of incentive. To wake up, I mean.Well, if you're gonna be so stubborn about it, you can come in the dream-world and solve all the extremely symbolic puzzles and \"rescue\" me from my delusions. I guess it's only fair to let you try.\n\ndelusions. I guess it's only fair to let you try.But hold on. I said hold on! Let me think of a name. For the dream-world. It has to be sufficiently fantasy-sounding, but it also has to be obviously symbolic of something. Hmm.\n\nsymbolic of something. Hmm.Okay, I've got it.\n\nsymbolic of something. Hmm.Okay, I've got it.## Nautilisia\nA bizarre and whimsical dream-world steeped in pseudo-Jungian symbolism, by Ryan Veeder\n\nYeah, it's a stupid name, but it's the best I can come up with.\n\nOkay, so you start out in this stately manor. It's like stately Wayne manor, in that it's on top of a hill, and it's very expansive and full of expensive things, but there's no labyrinthine cave system underneath it. There's even a big grandfather clock in here, that symbolizes punctuality, but it doesn't tell the time. Because it's a dream!\n\nYou can go outside by going south. Just because it's a dream doesn't mean there aren't still compass directions. Work with me.\n\n[Author's Note: Your friend claims to be in a coma.]\n\n> About yourself\nYou look like yourself. Don't overthink it.\n\n> You look at the clock\nThere aren't even any hands! Or numbers! The face of the clock is just a spinning, spiraling shape, and when you look at it you realize that time is meaningless.\n\nThere's also that chamber underneath the face, where they keep the pendulums.\n\nIn the big grandfather clock are some zig-zaggy pendulums.\n\n> You look at the pendulums\nThere's two of them, and they're made out of this white iridescent substance. And they're in a weird shape, like, a zig-zag shape. They're basically two long white zig-zags.\n\nThey're just hanging there inside the clock.\n\n> You open the clock\nOkay so you open up the clock and there are these two pendulums inside. I don't know how they work.\n\n> You take the pendulums\nYou pick up the zig-zaggy pendulums.\n\n> You wave them\nYou look ridiculous waving the zig-zaggy pendulums.\n\n> You feel the pendulums\nThe pendulums have a mechanical smoothless and angularity.\n\n> Taste pendulums\nMan, how does eating stuff even work in dreams? Can you taste in a dream?\n\nThis reminds me of that joke about the guy who dreamed he was eating a big marshmallow and when he woke up his pillow was gone. But I don't think there's any actual food items in this dream.\n\nActually, that gives me an idea. Here: You taste the zig-zaggy pendulums, and in accordance with the deranged dream-logic of tastes, the zig-zaggy pendulums taste like bananas.\n\n> You put the pendulums in the clock\nYou put the zig-zaggy pendulums into the big grandfather clock.\n\n> You look at the pendulums\nThere's two of them, and they're made out of this white iridescent substance. And they're in a weird shape, like, a zig-zag shape. They're basically two long white zig-zags.\n\nThey're just hanging there inside the clock."
    },
    {
        "text": "> You look around\nIt's like stately Wayne manor, in that it's on top of a hill, and it's very expansive and full of expensive things, but there's no labyrinthine cave system underneath it. There's even a big grandfather clock in here, that symbolizes punctuality, but it doesn't tell the time. Because it's a dream!\n\nYou can go outside by going south.\n\n> You pull the pendulums\nYou pull on the pendulums and they detach, almost as if you were meant to carry them around with you.\n\n> You take them\nYou already have those.\n\n> You take the expensive things\nYou better not screw around with those expensive things too much. They're pretty expensive.\n\n> You take the clock\nNo, you can't go running around the stately manor. I don't have the creative energy to decide what's in there. Just pretend there's a curse or something on the rest of the manor, and the curse is keeping you from going to any rooms other than the one you're in. If you want to leave, you can go south.\n\nNo, you don't get it. This clock is huge.\n\n> You go to the south\nAs you exit the manor and symbolically shed the shackles of civilization, the sweet summer wind blows like a piccolo song across your weathered brow.\n\nSo, from up here in front of the stately manor, you can see all the rest of the island, which I don't know if I've mentioned this yet but my dream world has taken the form of an island. To your right, which is west of you if you're facing south, is a thick jungle, with leaves that are deep greens and purples in their colors. It symbolizes the terror and the wonderment of the unknown. But it is impenetrable to you from where you're standing.\n\nDown the hill to the southwest is a white sandy beach. I'll tell you what it symbolizes when you get there.\n\n> You listen\nYou can't see any such thing.\n\nThe sweet summer wind is still blowing like a piccolo song.\n\n> Go southwest\nThe gulf that this enchanted beach envelops is itself enchanted, or ensorcelled, with a magical glamour which makes\neveryone who sees it want to just sit around and take a break for once in their lives. It symbolizes taking a break for once in your life. Only you are able to resist this enchantment, because you alone are so incredibly uptight about getting stuff done all the time and being on time for things.\n\nBack to the northeast is the hill, and over to the west is that dark, scary jungle.\n\nA little ways out into the water is a white ship, pitching and yawing on the restless sea.\n\nA Siren is here, sitting and singing on a coral reef.\n\n> You examine the jungle\nThe jungle is thick, and leafy. It represents... what did I say it represented? Maybe danger?\n\n> You examine Siren\nA Siren is actually supposed to be a bird-woman, I guess, but I want this sea-maid to be more like a mermaid. From the hips down she is one hundred percent fish, but from the fish up she is one hundred percent woman, with long, streaming hair.\n\nAnd she's singing a song, but it's not like she's gonna hypnotize you or anything. She's not evil. She symbolizes the beauty that can be found in life if you don't take everything so seriously all the time\n\nShe's wearing a girdle, which is kind of a curvy belt kind of thing.\n\n> Xyzzy\nA hollow voice puts its hand over your mouth and says \"Shush!\"\n\n> You look at the girdle\nThe Siren's girdle is a pale, opalescent belt thing, pulled snug around her waist. It is the only thing she's wearing.\n\n> You look at the boat\nApparently wrecked here on the shallow reef. It's white, and shiny, like something out of a dream. I mean, it literally is in this dream that I'm describing to you right now. It symbolizes... Actually, go in there first; give me a second to think about this.\n\n> You listen\nThe Siren sings in what might be a Romance language, or might be random dream-syllables: \"Ser\u00c3\u00a9 una ola. Ser\u00c3\u00a9 la luna. He sido\ntodo,\nsoy yo.\"\n\n> Swim\nYou paddle out toward the white ship.\n\nWhen you are inside the ship, you realize that it symbolizes loneliness. Specifically, loneliness brought on by being an artist, which all artists suffer from deep inside their souls. This is the ship of pearl, which painters sail into the seas of paint, and which sculptors sail across seas of clay, and of marble, searching for the distant moorages of inspiration. I could keep going, but you don't seem to be as into this as I am so I guess I'll stop.\n\nThe interior of the ship is lit by a pale, eerie luminescence.\n\nIt looks like whatever painter or poet who piloted this craft last left their leather trunk in here.\n\n> You examine the trunk\nA large leather trunk, scratched and pitted by the slings and arrows of being lugged all over the place for years and years. It symbolizes mystery. The mysterious initials OWH are inscribed on top.\n\nIt has a big lock thing on it, but no keyhole: Instead, there's just two depressions in the front, in the shape of the astrological symbol for Aquarius. See? Symbolism.\n\n> You open the trunk\nIt seems to be locked.\n\n> You put the pendulums in the depressions\nYou insert the pendulums into the depressions, and they click into place. The pendulums were the symbol for Aquarius all along, and the symbol was the key to the trunk! You solved the mystery!\n\nThe trunk opens, revealing a wreath\u00c3\u00a8d horn.\n\n> You take the horn\nYou pick up the horn from the trunk; it has a strange weight to it.\n\n> You examine the horn\nYou find nothing of interest.\n\nIt's a huge conical, spiral shell of the type you often find on islands, like in that book, Animal Farm. Wait, that's not it.\nThat wasn't even on an island. What book am I thinking of?\n\nIt looks like somebody has already drilled a hole in it for you to blow into.\n\n> You listen to the horn\nYou put your ear up to the wreath\u00c3\u00a8d horn, and as if by magic you hear the soft sighing of a person in a coma, waiting to be awoken. Or maybe you're just hearing the noise of your own blood vessels, multiplied in the conical natural echo chamber. Since this is a magical dream world, it could be either one.\n\n> Taste horn\nAccording to the dream-logic of tastes, the wreath\u00c3\u00a8d horn tastes like Bavarian cream.\n\n> You examine the horn\nIt's a huge conical, spiral shell of the type you often find on islands, like in that book I can't remember. Shoot, what was it?\n\nIt looks like somebody has already drilled a hole in it for you to blow into.\n\n> You examine the horn\nIt's a huge conical, spiral shell of the type you often find on islands, like in... Oh! Lord of the Flies. I knew I'd\nremember it eventually.\n\nIt looks like somebody has already drilled a hole in it for you to blow into.\n\n> Blow horn\nYou start to blow into the horn, but the tremendous sound that emerges is too much for you to handle. It symbolizes the conclusion of the individuation process, which, if attained prematurely, would result in a psychological short-circuit. What I'm saying is, this is not the time or place for unleashing the power of the horn.\n\n> Swim\nYou leave the ship and swim back toward the shore.\n\nThe gulf that this enchanted beach envelops is itself enchanted, or ensorcelled, with a magical glamour which makes\neveryone who sees it want to just sit around and take a break for once in their lives. It symbolizes taking a break for once in your life. Only you are able to resist this enchantment, because you alone are so incredibly uptight about getting stuff done all the time and being on time for things.\n\nBack to the northeast is the hill, and over to the west is that dark, scary jungle.\n\nA little ways out into the water is a white ship, pitching and yawing on the restless sea.\n\nA Siren is here, sitting and singing on a coral reef.\n\n> You listen siren\nThe Siren smiles and says hello. She is extremely helpful and would love to tell you about anything you want to ask her about.\n\nI only understood you as far as wanting to listen.\n\n> You ask Siren about herself\nShe smiles. She says she's doing just fine, thanks for asking.\n\n> You ask Siren about Nautilisia\n\"You have to understand,\" explains the Siren, \"After you solve all the puzzles, the dream will be over. It's in the nature of dreams, to end. And when the sleeper awakens, Nautilisia will be gone... only the memory of this dream land will exist in the waking world.\n\n\"But someday, you might recall this island... That memory must be the real Nautilisia.\"\n\nShe smiles. \"I stole that speech from a video game.\"\n\n> You ask Siren about the girdle\n\"Do you like it?\" she asks. \"I got it on Etsy for like sixteen bucks.\"\n\n> You ask Siren about horn\nWhen you bring up the wreath\u00c3\u00a8d horn, the Siren's eyes go wide. \"That horn is an artifact of tremendous psychic potential!\" she whispers. \"Either that, or it symbolizes psychic potential.\"\n\n> You ask Siren about the beach\nThe Siren says she isn't crazy about sand. You can't blame her, really. Sand is annoying sometime.\n\n> Dig\nThe Siren sees you digging and freaks out. \"Great!\" she yells. \"Dig it! Dig it! Dig to the center of the earth!!\"\n\n> You examine coral\nCoral is super scratchy, you know that? It cuts you open and then the saltwater gets in there and it stings like a mother. This dream coral symbolizes the fundamental painfulness of existence.\n\nI guess I don't know why the Siren is sitting on it then.\n\n> You ask Siren about the gulf\nThe Siren looks out to the sea and sighs. \"This island symbolizes a lot of things,\" she says. \"A lot of things.\" She sighs again.\n\n> You take the coral\nThat's hardly portable.\n\n> You break the coral\nDon't start with that stuff. Nautilisia is a safe place, a peaceful place. Play along a little.\n\n> Sing\nWhen you start singing, the Siren glares at you and starts singing louder. So you stop singing.\n\n> You fly\nYou hop up in the air, but are unable to stay aloft. I've never been able to fly in a dream, so I'm deciding you can't fly either.\n\n> Dance\nYour dancing is abominable! Quit ruining my dream-world!\n\n> Sleep\nNo, I'm already asleep. A person in a coma is always asleep basically.\n\n> Kiss siren\nThe Siren isn't the type to get all sexy on you unprovoked, but since you decided to initiate things, the Siren goes ahead and rocks\nyour world.\n\n> Kiss siren\nWhen you move in for some more action, the Siren does that thing where she pulls her head away at the last moment. So annoying.\n\n> You look at the hair\n(the long streaming hair)\nHer hair is black. Long and black and wet. It's all the more black for its being wet.The strands are all tangled up after a long day of swimming around, though, and she seems a bit frustrated at this.\n\nBut I can't decide whether her hair should cover up her boobs or not. I mean, maybe it's not very important, but I'm getting hung up on it anyway. For now I'm gonna say it covers up... neither boob.\n\n> You examine the boobs\nAs you gaze upon the Siren's boobs, which apparently the Siren does not mind you doing, I am going to decide whether they're covered up by her hair or not. It's not a completely arbitrary question, you know. This kind of detail does a lot to determine the overall tone of my dream world.\n\nI'm gonna say... just the left boob is covered up.\n\n> You look at the left breast\nOh, come on. Let's be mature, okay? Just say \"boobs.\"\n\n> You examine the boobs\nAs you gaze upon the Siren's boobs, which apparently the Siren does not mind you doing, I am going to decide whether they're covered up by her hair or not. It's not a completely arbitrary question, you know. This kind of detail does a lot to determine the overall tone of my dream world.\n\nI'm gonna say... both boobs are covered up.\n\n> Brush hair\nWhich do you mean, your hair or the long streaming hair?\n\n> Yes\nYeah! Yeah, exactly.\n\n> No\nNo?\n\n> You go west\nI keep forgetting what this jungle is supposed to symbolize. I think it was intrigue. The branches, heavy with purple leaves, lean down toward you in a vaguely threatening way. It's a scary experience, but it's also kind of exciting. That's the fun of being in a coma-induced dream world.\n\nA rough path through the vegetation leads from the gulf to the east to a clearing in the northwest.\n\nA long vine hangs from the trees, swaying like a snake in front of your face.\n\n> You examine vine\nIt dances hypnotically before your vision. It's a symbol of risk. You have to take risks, see? Otherwise you can't get anywhere in life.\n\n> You climb the vine\nAfter giving a little resistance, the vine falls to the ground, dislodging something from the branches in the process.\n\nWhen the entire length of the vine has fallen, it turns into a giant green snake, which slithers off into the jungle. That snake symbolizes the horrible things that can happen when you take risks.\n\nThe thing you dislodged finally hits the ground. It's a shell, a venus comb. That thing could have killed you!\n\nYou see what happens when you take risks?\n\n> You examine comb\nIt's a seashell, spiral in shape and conical in form, but it's covered in dozens of long, skinny spines, like a hairbrush designed by H.R. Giger. It symbolizes beauty as a desirable but fundamentally dangerous aspect of experience.\n\n> You get the shell\n(the venus comb)\nTaken.\n\n> You comb the hair\nThe venus comb pokes your hand something fierce, but it straightens your hair out nicely. When I say \"your hand\" and \"your hair\" I mean \"your dream-hand\" and \"your dream-hair,\" obviously.\n\n> You go east\nThe gulf that this enchanted beach envelops is itself enchanted, or ensorcelled, with a magical glamour which makes\neveryone who sees it want to just sit around and take a break for once in their lives. It symbolizes taking a break for once in your life. Only you are able to resist this enchantment, because you alone are so incredibly uptight about getting stuff done all the time and being on time for things.\n\nBack to the northeast is the hill, and over to the west is that dark, scary jungle.\n\nA little ways out into the water is a white ship, pitching and yawing on the restless sea.\n\nA Siren is here, sitting and singing on a coral reef.\n\n> You comb long hair\nAs you approach her hair with the dangerous shell, the Siren's eyes go wide.\n\n\"Is this what I think it is? Where on earth did you find this? Well, anyway, thank you.\"\n\nShe takes the comb from you and immediately starts brushing her hair.\n\n\"I suppose it's customary to repay you somehow, right? Well, here.\"\n\nShe takes off her girdle, which dream-logically turns into... something else, I guess, and hands it to you.\n\n> Inventory\nYou are carrying:\na Siren's girdle\na wreath\u00c3\u00a8d horn\n\n> You look at the girdle\nNow that she's not wearing it, the Siren's girdle has turned into more of a two-dimensional curvy H shape, like a crude drawing of a girdle being worn around an hourglass waist. It's still pale and opalescent, though.\n\n> You go west\nI keep forgetting what this jungle is supposed to symbolize. I think it was the unknown. The branches, heavy with purple leaves, lean down toward you in a vaguely threatening way. It's a scary experience, but it's also kind of exciting. That's the fun of being in a coma-induced dream world.\n\nA rough path through the vegetation leads from the gulf to the east to a clearing in the northwest.\n\n> Go northwest\nThis is an open area in the jungle, symbolizing the eye of the\nstorm. It isn't the center of the jungle, but it's the center of\nyour experience at this point in time. It's like the guy says: Wherever you go, there you are.\n\nThe path leading back into the jungle is southeast of here, but to your north is a rock wall, carved with a curious design.\n\n> You examine the design\nIt's a carving, a depression kind of thing, in the shape of the astrological symbol for Pisces.\n\n> You put the girdle in the carving\nThe girdle, which was all along the symbol for Pisces, fits perfectly into the slot on the wall. Both of them dissolve into a silver mist. You overcame the dream logic and defeated the puzzle!\n\nThis is my favorite one, by the way. Because I'm a Pisces. Anyway, good job.\n\nIt turns out that behind the rock is a huge cave."
    },
    {
        "text": "> You look around\nThis is an open area in the jungle, symbolizing the eye of the\nstorm. It isn't the center of the jungle, but it's the center of\nyour experience at this point in time. It's like the guy says: Wherever you go, there you are.\n\nThe path leading back into the jungle is southeast of here, but to your north is the mouth of an awesome-looking cave.\n\n> You go north\nYou have finally found your way to the Caves of Thought. This cave represents thought, and thinking. There are stalactites and stalagmites and that kind of thing, but the area has been kept mostly empty, so as not to distract from your meditations as you approach the center of the island.\n\nThe tunnel continues to the northeast, but if you want you can return to the light and air of the clearing to the south.\n\n> You say the echo\n(to yourself)\nThere is no reply.\n\n> You go to the northeast\nThis cave represents deep thought. See, there are always deeper levels of thought. Getting really deep in thought is a necessary step on the path to self-attainment. So, keep going.\n\nThe way out is southwest, but the deeper caves are to the east.\n\n> You examine the stalactites\nI actually don't remember the difference. Stalagmites might... They might something. Man, this is gonna keep me up all night. Or it would, if I wasn't in a coma.\n\n> You go east\nI know, it probably seems like there are too many sections in this cave. I totally understand why you would feel that way. But having a bunch of caves like this is a necessity. It's called\n\"pacing.\" Just trust me.\n\nEven deeper caves are to the south; the less deep caves are west of here.\n\n> Sing\nDanke Schoen, darling, Danke Schoen,\nThank you for all the joy and pain...\n\n> You go to the south\nOkay, okay, here for once is something more interesting than just more caves.\n\nAt this curve in the tunnel, the east wall is made up of a bunch of rocks. I mean, the whole place is made out of rocks, but these rocks are smaller and... rubblier.\n\nThe cave continues to the north and southwest.\n\n> Taste rocks\nAccording to the dream-logic of tastes, the wall of rocks tastes like glue.\n\n> You take the rocks\nYou pull out one of the rocks from the wall. The rest of the rocks immediately fall down in a big pile.\n\nBut then: a rush of air! A shaft of light! You've uncovered a path to the surface. Nice job!\n\nLet's say this symbolizes an act of mutual recognition between your conscious and unconscious minds. I mean, my conscious and unconscious minds. Either way, good going."
    },
    {
        "text": "[Themes: Humor, beach, cave]\n\n> You look at your surroundings\nHere's the place in the tunnel where there's an exit to the surface instead of an east wall.\n\nThe cave continues to the north and southwest.\n\n> You go east\nSo, from up here in front of the stately manor, you can see all the rest of the island. An entrance has opened into the caves beneath the jungle to the west of you.\n\nDown the hill to the southwest is a white sandy beach.\n\n> Go north\nIt's like stately Wayne manor, in that it's on top of a hill, and it's very expansive and full of expensive things, but there's no labyrinthine cave system underneath it. Well okay, I guess actually there turned out to be a labyrinthine cave system underneath it,\nsorry to disappoint you.\n\nThere's even a big grandfather clock in here, that symbolizes punctuality, but it doesn't tell the time. Because it's a dream!\n\nYou can go outside by going south.\n\n> Go southwest\nSorry, this is another room where there isn't really anything going on. I swear I'm not doing this just to frustrate you.\n\nI know sometimes it seems like I'm doing stuff just to be annoying, but I always have a good reason. I mean, I always think I\nhave a good reason. Sometimes it turns out later that I didn't actually have a good reason, but I never start out with the intention of doing nothing but screwing with you.\n\nThe caves go northeast and northwest from here.\n\n> Go northwest\nThis is it. You have reached the deepest part of the caves. From here on out, you've still got underground rooms, but it's more like an ancient underground shrine than a plain old cave.\n\nFrom here you can go back southeast, or you can go northeast, in which direction you can discern an unearthly glow.\n\nBut first, gaze into that pool of still water, and see the face of your destiny.\n\n> You examine the pool\nIn the pool is a goat-fish.\n\n> You examinthe goat-fish\nIt's a baby goat-fish. Maybe more of a kid-fish. It only has little nubby horns, and the fish end of it wriggles around energetically. This baby goat-fish represents youthful idealism, or youthful ignorance. I guess those are kind of the same thing.\n\n> You tastthe goat-fish\nAccording to the dream-logic of tastes, the goat-fish tastes like pickles.\n\n> You asthe goat-fish about itself\nYou can only do that to something animate.\n\n> Swim\nThe pool is too small for you to swim in, so you shrink down to the size of a frog and swim around in it for a while. Then you return to your normal size.\n\n> Pet goat-fipet goat-fish\nThe goat-fish bleats contentedly as you nuzzle its goaty little face.\n\n> You takthe goat-fish\nIt takes a couple tries, but eventually you scoop the baby goat-fish up out of the pool. It emits a few high-pitched bleats and then it calms down in your comforting grasp.\n\nThe goat-fish bleats a little bleating song.\n\n> You squeeze it\nYou achieve nothing by this.\n\nThe goat-fish nibbles on your finger."
    },
    {
        "text": "[Themes: Humor, fourth wall]\n\n> Look around\nThis is it. You have reached the deepest part of the caves.\n\nFrom here you can go back southeast, or you can go northeast, in which direction you can discern an unearthly glow.\n\nThe baby goat-fish wriggles its way up your arm.\n\n> You examine the glow\nIt glimmers, or glistens, or maybe even glisters--no, I'd\nbetter stick with glistens--with a radiance you find very slightly unnerving.\n\nThe kid-fish crawls up to your shoulder and tries to headbutt you in the neck.\n\n> You go to the north-east\nThis room is awash in light: In the south wall, an archway towers over you, glowing as if reflecting the brightness of a distant galaxy.\n\nThe room with the pool is back to the southwest, and it looks like there's a shortcut to the east. I put that shortcut there just for you.\n\nThe baby goat-fish almost falls to the ground, but you catch it.\n\n> You look at the archway\nThis archway is a symbol of the ultimate, I mean the penultimate barrier between my comatose mind and the outside world. It literally is that, but it's also symbolically that. The lines are beginning\nto blur.\n\nThe path through the arch is blocked by a big door.\n\nAll of a sudden, the baby goat-fish yawns and falls asleep.\n\n> You examine the door\nThis idle door is actually the barrier you have to worry about. I guess if the arch is the symbolic barrier, then this door is the literal barrier. By \"literal\" here I mean \"literal-within-the-dream-world.\"\n\nIn the door is another keyhole-depression, this one in the shape of, like, a V with a ridiculous curly thing attached to it.\n\n> You taste the fish\nAccording to the dream-logic of tastes, the goat-fish tastes like pickles.\n\n> You put it in the door\nSee, that would make sense, but the goat-fish is a literal (dream-)goat-fish, not a Capricorn symbol. You've got a\nclassic confusion between signifier and signified on your hands.\n\n> You shake the fish\nAw, but it's so cute when it's sleeping! Just let it rest.\n\n> You examine the capricorn\n(the goat-fish)\nIt's a baby goat-fish. Maybe more of a kid-fish. It only has little nubby horns, and the fish end of it wriggles around energetically. This baby goat-fish represents youthful idealism, or youthful ignorance. I guess those are kind of the same thing.\n\n> You put the capricorn in the depression\n(the goat-fish in the keyhole-depression)\nSee, that would make sense, but the goat-fish is a literal (dream-)goat-fish, not a Capricorn symbol. You've got a\nclassic confusion between signifier and signified on your hands.\n\nThe baby goat-fish snores a little bleating snore.\n\n> Blow horn\nYou start to blow into the horn, but the tremendous sound that emerges is too much for you to handle. It symbolizes the conclusion of the individuation process, which, if attained prematurely, would result in a psychological short-circuit. What I'm saying is, this is not the time or place for unleashing the power of the horn.\n\n> Blow capricorn\n(the goat-fish)\nThat's not something you can blow into. Or, at any rate, you don't need to blow into it. Let's do something else.\n\n> You drop it\nNo, no! You can't leave it here alone! It can't fend for itself!\n\n> You examine the fish\nIt's a baby goat-fish. Maybe more of a kid-fish. It only has little nubby horns, and the fish end of it wriggles around energetically. This baby goat-fish represents youthful idealism, or youthful ignorance. I guess those are kind of the same thing.\n\n> Go east\nHere's the place in the tunnel where there's an exit to the surface instead of an east wall.\n\nThe cave continues to the north and southwest, and there's that tiny shortcut to the shining archway to the west.\n\n> Go east\nSo, from up here in front of the stately manor, you can see all the rest of the island. An entrance has opened into the caves beneath the jungle to the west of you.\n\nDown the hill to the southwest is a white sandy beach.\n\nThe goat-fish burps in its sleep.\n\n> You ask Siren abouthe goat-fish\nThe Siren tells you she is extremely worried about the well-being of her little goat-fish Tarin, who got lost in a cave.\n\n> You feel streaming hair\nThe Siren is totally cool with your feeling her hair, which falls away like bashful silk through your fingers. She must use one heck of a conditioner.\n\n> You give the tarin to Siren\nHer jaw drops. \"Oh my gosh! Oh my gosh. You brought Tarin!\"\n\nThe goat-fish leaps into the Siren's arms with a triumphant bleat and she immediately begins cooing over it.\n\n\"You know, I actually have the perfect reward for you. Check this out:\" She produces a piece of pearlescent material from an invisible drawer or something.\n\n\"Do you recognize this? It's the symbol for Capricorn. It's thematically appropriate, because Tarin here is a goat-fish, right? Anyway, I want you to have it.\" She hands it to you.\n\n> You taste the streaming hair\nAccording to the dream-logic of tastes, the long streaming hair tastes like finely-shredded dark chocolate.\n\n> You taste the capricorn\n(the Capricorn symbol)\nAccording to the dream-logic of tastes, the Capricorn symbol tastes like a goat-fish.\n\n> Go west\nThis room is awash in light: In the south wall, an archway towers over you, glowing as if reflecting the brightness of a distant galaxy.\n\nThe room with the pool is back to the southwest, and it looks like there's a shortcut to the east. I put that shortcut there just for you.\n\n> You examine the door\nThis idle door is actually the barrier you have to worry about. I guess if the arch is the symbolic barrier, then this door is the literal barrier. By \"literal\" here I mean \"literal-within-the-dream-world.\"\n\nIn the door is another keyhole-depression, this one in the shape of, like, a V with a ridiculous curly thing attached to it.\n\n> You put the capricorn in the door\n(the Capricorn symbol in the idle door)\nThe Capricorn symbol slides into place with a click. The door dematerializes, its constituent dream-atoms disappearing into the dream-aether.\n\nNice job! The path to the final challenge is now open.\n\n> Go south\nYou have reached the end of your quest. Here, at the center of Nautilisia, is the sunless crypt that symbolizes the spiritual and psychological profundity of the coma that I've been in all this time.\n\nThe ceiling above roils with irisdescent turmoil, symbolizing the conflux of emotions that are going on in my brain. A spiral design on the floor leads your gaze toward the center of the room, which is the center of the center of Nautilisia:\n\nLying prostrate on a dais of nacreous stone and wrapped in webs of gauze is my own comatose body.\n\n> You examine the body\nThat's definitely me. You'd know my face anywhere. And I'm definitely, definitely in a coma. This symbolizes the fact that I'm in a coma right now.\n\nSo, this is the final puzzle! How can you possibly wake me up, and release my mind from this nice nap? I mean, this coma?\n\n> You look at the spiral\nYou're gonna have to take my word for it, but the spiral on the floor is a logarithmic spiral with a growth factor of about 1.6180339887. This symbolizes the mathematical perfection of pure thought.\n\n> Taste body\nAccording to the dream-logic of tastes, the comatose body tastes like a comatose person. What is wrong with you.\n\n> You look at the dais\nThe word \"nacreous\" looks like it means \"gross,\" but it actually refers to the texture of nacre, i.e. mother-of-pearl. So you can imagine this dais as like a great big pearl growing out of the floor.\n\nI guess when I put it that way it sounds kind of gross anyway.\n\n> You taste dais\nAccording to the dream-logic of tastes, the dais of nacreous stone tastes like asay Kleenex.\n\n> You look at the ceiling\nThe irised ceiling of the crypt casts all kinds of weird colored lights across the room, symbolizing the blurring of self, shadow, anima, and animus. It also symbolizes emotional turmoil. It symbolizes both things at the same time. That's part of the blurring.\n\n> Taste ceiling\nAccording to the dream-logic of tastes, the irised ceiling tastes like the candy coating of an M&M.\n\n> You taste yourself\nAccording to the dream-logic of tastes, yourself taste like vanilla ice cream.\n\n> Blow horn\nWhen you put your lips to the wreath\u00c3\u00a8d horn, it emits a huge, deep moan like a mob of whales singing in unison. The ceiling rumbles. The sleeper stirs.\n\nI'm trying to decide how many times you should have to blow the horn to make me wake up. How about nine?\n\n> No\nThe conch blasts again, like waves crashing on a glass beach. The vibrations shake the irised ceiling.\n\nYeah, nine is probably too many. How about seven?\n\nFine. Because I like you: three times. Just one more time.\n\nNo?\n\nNo?\n\n> Blow horn\nYou blow into the wreath\u00c3\u00a8d horn again, with a tone like a hurricane inside a crystal bell.\n\nThen the ceiling cracks, and shatters, and the light of the sun, symbolizing the clarity of conscious thought, shines into the previously sunless crypt, which symbolizes the stagnancy of\nabsolute introspection, right onto my unconscious body, which symbolizes me.\nAnd then everything goes white.\nAnd now I'm awake. Look, see? I'm awake. We can get going now.\nAnyway, thanks for putting up with all that nonsense. I know I probably goof off too much, and it gets to be a pain some of the time. I really do want both of us to have fun, even if some of the time the only one having any fun is me. So I really appreciate your tolerance. I guess \"tolerance\" isn't the right word. You know what I mean."
    },
    {
        "text": "> You sit on the reef\nWhen you sit on the reef, it scratches your butt. I'm trying not to be sadistic, but you make it so easy sometimes.\n\n> You take the reef\nThat's hardly portable.\n\n> Taste reef\nAccording to the dream-logic of tastes, the bare coral reef tastes like .\n\n> You take a the break\nAll right. Let me tell you how it's done.\nSit down on the sand and close your eyes. Listen to the nice lady singing. Listen to the wind.\n\n> You sit down\nSee? Nothing is urgent. Everything will happen when it needs to happen.\nMaybe the moon is shining through some palm leaves. Maybe an old man is tuning his violin. Maybe it starts to rain a little, but then it stops.\nOkay, open your eyes. There. Wasn't that nice?\n\n> Kiss body\nOh! Oh, that's adorable! That wasn't the solution I had in mind, but maybe it should work. Do you think that should be what wakes me up?\n\n> Yes\nAll right, then. When you kiss me, it'll break the psychic spell, and Nautilisia will disappear, but I'll finally wake up from this coma and we can get going to whatever it is you think is so important.\n\n> No\nOkay, that's fine. Let's say you kiss me, but nothing happens. Go ahead and try to figure out the \"real\" solution.\n\n> You kill body\nOw! Ow! Stop! STOP. Seriously, stop.\n\n> You take the gauze\nNo no no no! I'm not wearing anything under those webs."
    },
    {
        "text": "[Themes: Mythological, ancient Greece, grief, hospital, male protagonist, Oxford, strong NPCs, profanity, romance, Mythology, orpheus, magic, journey]\n\nAre you sure you want to quit?\n\nPress any key to continue.\nEurydice\n\nThis room is full of silence. Freshly disturbed dust hangs upon the air. There are patterns of pressure upon the carpet, suggesting there are spaces where once there weren't. The walls are bare, but for the occasional pictureless hook. There is a wardrobe here, a chest of drawers and a skeleton of shelves against the far wall.\n\nThe only way out is to the west onto the upstairs landing.\n\n[Author's Note: A short game about grief, with occasional snakes.]\n\n> About yourself\nYou've been better.\n\n> You look at the wardrobe\nThe wardrobe casts a knobbly shadow against the bare wall behind it. The door hangs very slightly open, showing a crack of darkness.\n\n> You open the wardrobe\nYou step into the wardrobe and sit down in the space, pressing your senses against the emptiness as if longing alone is enough to create something from nothing. With your eyes closed you can almost feel the soft pressure of Celine's clothes against your face and breathe in the scent of her rising from the disturbed fabric. But you cannot delude yourself for nearly as long as you would like to. This wardrobe is empty. There is nothing here, and you get out again before you start to feel foolish.\n\n> You examine the shelves\nThese shelves are a framework for nothing but air. The books they held not so very long ago evade you now.\n\n> You look at drawers\nA pale pine set of drawers.\n\n> You open the drawers\nThere is no point opening them because you know they contain nothing, and you don't want to have to remember everything that's gone. All her scarves, and rings, and pretty things.\n\n> You look at the hooks\nThe walls are magnolia, the colour of amnesia and rented houses.\nThere used to be a framed print of Munch's Madonna hanging from one of these picture hooks, and  passion in Celine's voice as she talked about it.\n\n> You examine carpet\nThe carpet is the colour of sand, as though the room has become a tideline, washed clean of its cockleshell memories and mermaid-hair dreams.\n\n> Go west\nThe upstairs landing is dimly illuminated from the light in the empty room. From here, you can hear a murmur of voices coming from the living room downstairs.\n\nTo the north is Dave's room, to the west your own. The empty room that was Celine's is to the east. There is a flight of stairs leading up to John's room and another going down to the ground floor of the house.\n\n> You listen\nThe voices are too muffled by distance for you to make out anything beyond the fact that people are speaking.\n\n> You go to the west\nYour room is a complete mess. The bed is unmade. The bookshelves that once lined the walls are a ruin of fallen books and splintered wood. There are piles of things that shouldn't be piled everywhere. All the things you thought you cared about feel like mockery.\n\nA mysterious lyre, slightly battered from possibly having fallen from your bookshelves, lies among the wreckage.\n\nBehind you, to the east, is the upstairs landing\n\n> You look at the bookshelves\nYour books are strewn like roadkill across the carpet among the jagged pieces of shelving, far beyond any easy rescue. Along with the books, have come the sort of foolish tokens that reside half-forgotten on bookshelves. You have a Cuddly Cthulhu and a Darth Vader Mr Potato Head, a string of silver starred tinsel you forgot to take down two Christmases ago.\n\n> You look at the lyre\nIt looks out of place. It is not an especially beautiful object; if anything it seems worn.\n\n> Hug\n(yourself)\nIf you think that'll help.\n\n> You hug Cthulhu\nYou can only do that to something animate.\n\n> You examine Cthulhu\nHe is really rather cute for an elder God.\n\n> You examine tinsel\nIt is rather dusty and threadbare; now it crowns a pile of fallen books with stars.\n\n> You look at potato\nThis is a very silly item. It was marketed as Darth Tater. You were quite delighted by it, at the time.\n\n> You take the tinsel\nIt is October - you have already accumulated ten months of bad luck. No need to carry it round with you.\n\n> You take Cthulhu\nElder Gods should not be carried around like a child's comforter; it is undignified for them.\n\n> You take lyre\nYou certainly can't remember ever having bought, or been given, a lyre. It is smooth and slightly warm in your hands, its shape a graceful curve like a human spine."
    },
    {
        "text": "[Themes: Mythological, Oxford, profanity, strong NPCs, grief]\n\n> You look at your surroundings\nYour room is a complete mess. The bed is unmade. The bookshelves that once lined the walls are a ruin of fallen books and splintered wood. There are piles of things that shouldn't be piled everywhere. All the things you thought you cared about feel like mockery.\n\nBehind you, to the east, is the upstairs landing.\n\n> You examine piles\nIt's just stuff, the accumulated detritus of a life lived heedlessly.\n\n> You wear the tinsel\n(first taking tinsel)\nIt is October - you have already accumulated ten months of bad luck. No need to carry it round with you.\n\n> Wear the potato\n(first taking Darth Vader Mr Potato Head)\nYou don't really want to be carrying him round.\n\n> You go to the north\nDave's room is little more than a storage space. The bed is just a bare mattress and there are boxes of books - mostly yours - piled everywhere. Damp socks, and half-finished laundry, strew the floor.\n\nThe upstairs landing lies to the south.\n\n> You examine the socks\nDave's socks are plentiful and, truthfully, not entirely pleasant. They are bought in bulk by his parents and are therefore always identical, bobbly and embroidered - incongruously - with Ws. You are not sure if they are damp because they have recently come out of the washing machine or because they desperately need to go in it.\n\n> Examine boxes\nYou own far more books than can be stuffed onto your shelves - here they live in boxes and gather dust. Every now and then you open them up and rifle through them and it's like meeting old friends you forgot you cared for.\n\n> You examine the mattress\nAn uncovered bed really gives a place a transient look.\n\n> You check your inventory\nYou are carrying:\na lyre\n\n> You play the lyre\nYou plunk disconsolately at the lyre for a bit."
    },
    {
        "text": "[Themes: Mythological, grief, hospital, Oxford, strong NPCs, profanity, romance]\n\n> You look around\nDave's room is little more than a storage space. The bed is just a bare mattress and there are boxes of books - mostly yours - piled everywhere. Damp socks, and half-finished laundry, strew the floor.\n\nThe upstairs landing lies to the south.\n\n> Xyzzy\nYou are eaten by a grue - just kidding.\n\n> You go to the south\nThe upstairs landing is dimly illuminated from the light in the empty room. From here, you can hear a murmur of voices coming from the living room downstairs.\n\nTo the north is Dave's room, to the west your own. The empty room that was Celine's is to the east. There is a flight of stairs leading up to John's room and another going down to the ground floor of the house.\n\n> Up\nYou pad about halfway up the staircase and then a vague sense of guilt assails you ... you probably shouldn't be snooping around in John's room.\n\n> Up\nThere is so much guilt washing about at the moment that violation of privacy hardly seems like bothering over and you make your way up the stairs to John's room.\n\nJohn's room occupies the attic spaces. It is a room of peculiar geometries. The whole place is a mess at present, and the blinds of the skylights are down so that triangular shadows cast themselves across the walls. There are no obvious signs of Celine, but why would there be? There is the jester's mask she bought John for Christmas hanging on the wall.\n\nLying on the floor, in a corner, is a plastic bag\n\nThe stairs down will take you back to the upstairs landing.\n\n> You examine the mask\nFrom last Christmas, you seem to remember, another lifetime. Like all Celine's gifts, it came exquisitely wrapped - black and gold, perhaps, to match the mask itself. You wonder if Celine's box of wrapping paper, ribbons and decorations is still beneath the eaves, or if her parents took that too. \"Why go to all that trouble for something that's just going to be ripped off?\" you'd ask. But Celine loved the ephemeral. And, so, apparently did you.\n\n> You take the mask\nYou have no intention of stealing it but you unhook it carefully from the wall and, after a moment of hesitation, place it against your face. The interior of the mask is cool and smooth, like dead skin. You look out at the world from a different face, your peripheral vision imprisoned by the edges of the eyeholes. You trace your fingers over the painted smile. It strikes you as no less real than any other expression you have worn lately and it is with reluctance that you return the mask to its place on the wall.\n\n> You look at the bag\nIt is a weirdly bulbous shape. The handles are knotted together so it looks as if the bag has bunny ears.\n\n> You open the bag\nYou undo the tight knots with difficulty and look inside, already knowing what you'll find. The contents gleam silver like pirate treasure - the empty packets of Celine's medication you found on the floor of her bedroom the night she disappeared. It is not the first time you have asked yourself if you should have insisted on taking it with you to the hospital, but it is not a question you dare ask yourself too often.\n\n> You examine packets\nDiazepam ... fluoxetine ... aripiprazole ... the names fly past you, tangling your tongue up in a merciless succession of rarely used letters. Most of the packets are empty but not all.\n\n> You take the packets\nYou rifle through the packets and eventually find one that isn't gutted. You pop a couple of pills from their foil cocoon ... although they represent a peculiar form of memorabilia to say the least.\n\n> You check your inventory\nYou are carrying:\nsome pills\na lyre\n\n> You examine the pills\n(the pills)\nSmallish, off-white, round, innocuous, except not."
    },
    {
        "text": "[Themes: Mythological, journey, male protagonist, magic, romance, orpheus]\n\n> Look around\nJohn's room occupies the attic spaces. It is a room of peculiar geometries. The whole place is a mess at present, and the blinds of the skylights are down so that triangular shadows cast themselves across the walls. There are no obvious signs of Celine, but why would there be? There is the jester's mask she bought John for Christmas hanging on the wall.\n\nLying on the floor, in a corner, is a plastic bag\n\nThe stairs down will take you back to the upstairs landing.\n\n> You open the blinds\nYou stand beneath the skylight and draw up the blinds. From this peculiar angle you can see nothing but sloping roofs and an expanse of endless sky. Light as bright as orange juice pours down from the setting sun but it is not warm. After a moment or two, you let the blinds fall back into place. You don't want John to know you were messing about in his room.\n\n> You look at the shadows\nThey form strange shapes and gather up in corners like they are plotting something. It is very Lovecraftian, which John would probably appreciate.\n\n> You play lyre\nStrange notes fall from the strings of the lyre, not discordant but you can't describe it. And you aren't quite sure you like the music. It tastes like lemon juice in your mouth.\n\n> Keep going\nYou don't really feel like playing more. The inside of your mouth feels sour.\n\n> You eat lyre\nThat's plainly inedible.\n\n> Sing\nYour singing is abominable.\n\n> You take the mask\nBetter not keep indulging yourself with painted fancies. Besides, it belongs to John and you shouldn't really be fiddling with it."
    },
    {
        "text": "> Go downwards\nWinter light lies in anaemic strips upon the floor from where it has fallen through the glass panels in the front door. There is an awful painting hanging on the wall. The murmuring voices are more of a babble now; too many over-lapping conversations create an alien, baboonish gibberish.\n\nThe outside world lurks to the west and the living room to the north. Or you could always just retreat upstairs.\n\n> You listen\nThere are too many voices for you to be able to make out much of any conversation. Besides, eavesdropping is the most foolish of vices.\n\n> You examine the painting\nYou painted this - in the loosest sense of the word - when you were about eighteen and nurturing an over-inflated sense of your own creativity. It is a black canvas with a heavily textured shape of reddish swirls in the middle and a speckling of white stars in one corner. Sometimes it looks like a wound, sometimes like a freshly forming galaxy. Your last housemate thought it was something obsence. So much for your aristic soul. Ho hum. So much for your artistic soul.\n\n> You go north\nThere are lots of people gathered in the living room. Stepping inside unfortunately catches the attention of the one you like least. Laurie clatters towards you and, before you can do anything to save yourself, captures you in a hug you feel vaguely socially obligated to endure. You hold yourself as rigid as a blade until she goes away again. The rush of hatred you feel towards her is positively intoxicating.\n\nThere are so many people here. Have they come to ... what? Stare at the bereft? Why? Is this how other people grieve? En masse?\n\nYour housemate John is sitting cross-legged on the floor at the end of the coffee table, frowning over a game of a Go. His opponent, Twitch, sits opposite and appears much more laid-back about the whole business. Rick is slumped on the sofa, a bottle of port at his elbow; Elsie is sitting next to him, apparently watching the game. Jess is huddled in a cloak on the other sofa, Adrian beside her, looking almost as uncomfortable as you probably do. As for Laurie, she's leaning against the fireplace, and wearing an expression of infinite suffering like she's living her own little Victorian melodrama.\n\nAnd finally, in the far corner of the room by the open door to the kitchen, like a person in its own right, is the last piece of household furniture you bought in consultation with Celine: a wrought iron coat stand. So nouveau-gothic darling.\n\n> You examine the stand\nYou seem to own far more coats than four people living in a house could possibly need or want. The metal of the coatstand is almost entirely obscured beneath fabric. One of your own coats is just visible. There are two identical big brown dusters belonging to Dave. Celine's slightly shabby, soft velvet jacket. A zebra-striped hoodie of John's. His big military coat with the golden buttons. More beneath.\n\n> You take the coat\nYou unhook your coat with difficulty from the coatstand, nearly over-toppling the whole teetering structure. Folding it over your arm, you can feel the edge of something caught in the lining.\n\nTwitch steeples his fingers as he ponders the board in front of him.\n\n> You search the coat\nDigging through your pockets, your fingers catch the edge of something that has fallen down into the depths of the lining. After an impressive display of digital dexterity, you fish out a 50p coin.\n\nSomeone makes a desultory remark.\n\n> You look at the coin\nThis is exactly what it looks like, except it is relatively freshly minted and has a brightness to it that would have delighted you when you were a small child.\n\nTwitch steeples his fingers as he ponders the board in front of him.\n\n> You look at John\nYou remember the first time you invited John and Celine to come to dinner. You can see them now on the doorstep, John slightly behind, handsome and distinguished in a military-style coat with gold buttons and braiding, Celine, in black just like always, holding out to you a hand-tied bouquet of flowers the colour of her lipstick, and smiling.\n\nSomebody asks the Rick the time.\n\n> You hug laurie\nKeep your mind on the game.\n\nJess and Adrian converse in soft whispers.\n\n> You look at Laurie\nLaurie is small and pretty, pale with apparent grief, and you despise her. She's only here because she's dating Twitch (although they are both fucking other people) and she must have met Celine all of twice. You suspect she is enjoying the enactment of tragedy.\n\nLaurie stands behind Twitch, combing her fingers through his lightly curling hair.\n\n> You examine Twitch\nYou only know Twitch by reputation. He is an old school friend of Celine's and your paths have never crossed. He looks like the clinically depressed stoner he is, which is not devoid of a certain glamour. He has restless fingers and idle eyes.\n\nJess leans over and makes a show of being of interested in the progress of the game.\n\n> You look at Jess\nYou cannot look at Jess at the moment without remembering the drive the hospital, stars streaking overhead, the slow drip-drip-drip of time in the waiting room, and the hushed, awkward solemnity of a brief bedside visitation.\n\nJess shifts on the sofa, sinking a little further into her jumper.\n\n> You examine Rick\nRick is a man not suited to inaction. On the sofa like this, he looks like a pile of himself. The port he is drinking is surely of excellent quality but it seems to afford him little pleasure at the moment.\n\nSomebody asks the Rick the time.\n\n> You examine Elsie\nYou don't know Elsie very well, but this mainly because there is not much overlap between your lives bar some friends in common. She has always struck you as a terribly nice person.\n\nSomeone makes a desultory remark.\n\n> You examine Adrian\nYou find a flickering of kindred in Adrian's glance. You are sure he finds this gathering almost as unendurable as you do.\n\nJess and Adrian converse in soft whispers.\n\n> You smell john\nYou smell nothing unexpected.\n\nTwitch steeples his fingers as he ponders the board in front of him.\n\n> Smell coat\nYou smell nothing unexpected.\n\nElsie smiles at you.\n\n> You listen\nYou hear nothing unexpected.\n\nRick opens a new bottle of port.\n\n> You talk to John\n\"How's the game going,\" you ask. There is a pause as John considers. \"I'm losing,\" he concludes finally. \"Oh,\" you say.\n\n> You talk to Laurie\nGod no. You don't want to support her delusion that she has any place here. If you tried to talk to her, you might have to kill her.\n\n> You talk to Twitch\nLike most comprehensively broken people there is a touch of the rockstar about Twitch, and he wears it well. You are conscious of an uncomfortable intermingling of attraction and disdain, and that makes you rather shy of talking to him.\n\n> You talk to Elsie\n\"Would you like a cup of a tea?\" asks Elsie, the moment you step into her visual range. You shake your head and thank her. Elsie is a perpetual tea-maker. It might annoy you in somebody else but Elsie's tea is the sincerest tea you have ever drunk.\n\n> You talk to Rick\n\"Care for some port, m'dear?\" offers Rick, with a valiant semblance of his usual bonhommie. \"It's a very fine old tawny.\" You don't doubt it but you aren't sure inebriation would be the best addition to your mood right now.\n\n> You ask Rick the the time\n(To communicate in Eurydice, TALK TO a character.)\n\n> You talk to Adrian\nUnder different circumstances you would actually quite like to talk to Adrian. Maybe you are deluding yourself with suspicions of kinship but you can more readily imagine yourself saying something that feels true to him than anyone else. But how can you speak of anything in this company, at this time. Better not to talk to him at all.\n\n> You talk to yourself\nYou soliloquise, because you're a bit of an arse:\nFull fathom five thy father lies;\nOf his bones are coral made;\nThose are pearls that were his eyes;\nNothing of him that does fade,\nBut doth suffer a sea-change\nInto something rich and strange."
    },
    {
        "text": "[Themes: Mythological, hospital, magic, strong NPCs, orpheus, Mythology]\n\n> You look around\nThe extensive living / dining area was one of the features that drew you all to this house when you were looking for places to rent. That and - despite the fact none of you have been able to bring yourself to do anything as prosaic as cleaning for days - the fact it's not an abject shit hole like most of places on offer when you were doing the rounds.\n\nCurrently, it's all cluttered with people. Your housemate John is sitting cross-legged on the floor at the end of the coffee table, frowning over a game of a Go. His opponent, Twitch, sits opposite and appears much more laid-back about the whole business. Rick is slumped on the sofa, a bottle of port at his elbow; Elsie is sitting next to him, apparently watching the game. Jess is huddled in a cloak on the other sofa, Adrian beside her, looking almost as uncomfortable as you feel. As for Laurie (fucking Laurie), she's leaning against the fireplace, and wearing an expression of infinite suffering like she's living her own little Victorian melodrama\n\nThe coat stand is still in its corner, looming like an unexpected guest.\n\nYour escape routes are east into the kitchen, or south into the hall.\n\nLaurie paces back and forth in front of the fireplace, her fuck-me boot heels clomping on the wooden floor - clearly she is not garnering enough attention to feel comfortable.\n\n> You go to the east\nYou remember long, sun-drenched afternoons in here with Celine, baking and talking, filling up the kitchen with laughter, the scent of sweet things cooking and occasionally smoke and the smell of stuff you've burned to a crisp. The kitchen is surprisingly spacious for a rented house. It has faux-granite counter tops and matching tiling, and fitted cupboards in shades of coffee and cream. It would be a pleasure to cook in such a kitchen.\n\nScattered across the  worksurface nearest the hob is an array of cooking utensils, onion skins and pepper cores, including the wooden knifeblock you bought for a tenner in Boswells during a sale.\n\nVera and Tilda (plants, not people, and therefore bearable) are on\nthe little round kitchen table.\n\nNatalie is by the hob, stirring a pan of pasta.\n\nThe back door leads into the back garden to the north, and, if you're feeling particularly brave (or masochistic), the living room is to the west\n\n> You look at the vera\nVera-the-Aloe is an aloe vera plant, hence the name. You christened her in an excess of cleverness. Celine grew her from a tiny shoot\nHer soil is dry, and her long leaves are droopy, fraying brown at the ends.\n\n> You look at Tilda\nTilda is also a plant, although you've forgotten what kind. You named her Tilda after Tilda Swinton because she is a very beautifully androgynous plant. She has green leaves, shiny as wax, and generous, open-mouthed flowers with immensely long, lascivious stamen. Celine also bought and nurtured Tilda. She seems to be fine.\n\n> You eat the Vera\n(first taking Vera)\nYou're not massively keen on the idea of wandering around with a houseplant under your arm.\n\n> You eat tilda\n(first taking Tilda)\nYou're not massively keen on the idea of wandering around with a houseplant under your arm.\n\n> You talk to the vera\nUm, it's a plant, remember?\n\n> You look at Natalie\nOh hell, you'd entirely forgotten Natalie was here. She's come up from London for you, especially for you ... to be with you now in your time of need. You know you ought to feel gratitude but you can't seem to muster any.\n\n> You talk to Natalie\nNatalie comes over and hugs you. She is no Laurie but you find touching people, and being touched, difficult at the moment. The world waits for you, or possibly recedes from you, behind a pane of glass, visible but inaccessible. Somebody breaching it is a dull kind of ache.\n\n> You hug natalie\nKeep your mind on the game.\n\n> You examine the pan\nIt looks ... like human intenstines flobbing around in simmering water. You can't remember the last time you felt hungry.\n\n> You examine the knifeblock\nCurrently it contains only one knife.\n\n> You take the knife\nYou draw the knife from the knife block, earning yourself a worried look from Natalie.\n\n> You look at the knife\nA cleaver-style knife, still relatively sharp despite your ineptitude with a sharpening stone.\n\n> You play lyre\nNatalie looks at the lyre, and then at you, rather curiously as you pluck the strings at random.\n\n> You cut yourself\nSelf-harming in front of Natalie would be juvenile and ridiculous."
    },
    {
        "text": "[Themes: Mythological, grief, profanity, Oxford, Mythology]\n\n> You look around\nThe kitchen is surprisingly spacious for a rented house. It has faux-granite counter tops and matching tiling, and fitted cupboards in shades of coffee and cream. It would be a pleasure to cook in such a kitchen.\n\nScattered across the  worksurface nearest the hob is an array of cooking utensils, onion skins and pepper cores, including the wooden knifeblock you bought for a tenner in Boswells during a sale.\n\nVera and Tilda (plants, not people, and therefore bearable) are on the little round kitchen table.\n\nNatalie is by the hob, stirring a pan of pasta.\n\nThe back door leads into the back garden to the north, and, if you're feeling particularly brave (or masochistic), the living room is to the west.\n\n> Kiss natalie\nKeep your mind on the game.\n\n> You play knife\nThat would make you feel very silly.\n\n> You cut natalie\nRandom acts of violence are probably unnecessary.\n\n> You look at the cupboards\nThey're just household cupboards, banal, ordinary cupboards, filled with banal, ordinary things, some of which belonged to Celine.\n\n> You eat natalie\n(first taking Natalie)\nYou can't really see reason to cart that around with you.\n\n> Go north\nThe back garden is really little more than a lawn-gone-wild and a weedy patio. The sky is a cool grey curtain backlit by the weak sun. The chill air bites at your skin.\n\nYou can get back into the house to the south.\n\n> You examine the patio\nYellowing stone, green weeds, a maze of cracks and encroachment.\n\n> You examine the lawn\nThe blades are tipped by an unhealthy yellow and sway indolently in the slight breeze. As you watch, a violent ripple of motion seizes the stalks and whips them back and forth. At first you think it must be the wind but then you see a blur of a new green in the grass and a snake slithers onto the patio.\n\n> You examine the lawn\nThe blades are tipped by an unhealthy yellow and sway indolently in the slight breeze.\n\n> You examine the snake\nYou would not have thought there were such snakes in England. It is a strong, sinuous creature, dappled in black diamonds like a snake on a Snakes And Ladders board. It has hateful yellow eyes, as blank as pieces of glass. You are not by nature inclined towards anthropomorphisation but there is something both directed and malignant in its gaze.\n\n> You play lyre\nA sudden surety takes possession of your fingers and they dance seemingly of their accord across the lyre strings as if they find them familiar. Music floats across the still evening air, honey-sweet and sad. You play to the neglected grass and the uncharted sky, to the inconstant breeze and the fading light. Even the snake lifts its head, and sways entranced.\n\n> You play lyre\nYou are reluctant to touch the lyre again so soon, in case you dispel your own song by remembered incompetence.\n\n> You hug the snake\nKeep your mind on the game.\n\n> You cut the snake\nRandom acts of violence are probably unnecessary.\n\n> You examine the snake\nThe snake has risen up from its coil, its eyes wide as its head moves back and forth in the thrall of the music from your lyre.\n\n> You touch the snake\nKeep your hands to yourself!\n\n> You cut yourself\nYou toy with the idea of dragging the knife across your arm. You are really too old for these adolescent theatrics but for a few moments there is actually something like pleasure in the contemplation of neat parallel lines, slowly filling up red. If nothing else would be something to feel.\nYou tell yourself again that you shouldn't be acting out like a teenager. The edge of the blade is cool. You remember Celine's arms, covered from shoulder to wrist, in long white scars, the skin creased like the folds of an accordion. They were not ugly, but it was difficult to see such violence and pain enacted by choice upon her own bodyOh why the hell not. You push your sleeve right back and very calmly cut yourself. There is that split-second of anxiety before the blade touches you for the first time, as if your very nature recoils from what you are about to do, but the motion is almost gentle. The next three cuts come in a frenzy. The pain - bright and clean -  hits only after you see the blood. A familiar giddiness washes over you after and you feel an artificial ease, as if something wound too tight inside you has finally given way. When the endorphins fade away, you hear a rustle and the snake disappears into the grassThat's more than enough of that. In the aftermath, although you feel vaguely better, you also feel vaguely embarrassed."
    },
    {
        "text": "[Themes: Mythological, romance, Mythology, magic, ancient Greece]\n\n> Look around\nThe back garden is really little more than a lawn-gone-wild and a weedy patio. The sky is a cool grey curtain backlit by the weak sun. The chill air bites at your skin.\n\nYou can get back into the house to the south.\n\nA snake, still as stone, has partially emerged from the long grass.\nIt seems to be watching you.\n\n> You go south\nThe kitchen is surprisingly spacious for a rented house. It has faux-granite counter tops and matching tiling, and fitted cupboards in shades of coffee and cream. It would be a pleasure to cook in such a kitchen.\n\nScattered across the  worksurface nearest the hob is an array of cooking utensils, onion skins and pepper cores, including the wooden knifeblock you bought for a tenner in Boswells during a sale.\n\nVera and Tilda (plants, not people, and therefore bearable) are on the little round kitchen table.\n\nNatalie is by the hob, stirring a pan of pasta.\n\nThe back door leads into the back garden to the north, and, if you're feeling particularly brave (or masochistic), the living room is to the west.\n\n> You talk to Natalie\n\"How are you doing, hon?\" she asks, all warmth and sympathy. You suspect \"doing\" is a polite way of saying \"coping\". \"I'm fine,\" you lie. And, then, because it's so obvious a lie: \"It's hard, of course.\" \"Yeah.\" Natalie gazes you at with an expression that is starting to become familiar - why do people always look at the bereaved that way?\n\n> You talk to Natalie\n\"I'm nearly done with the pasta,\" says Natalie, \"so at least this way I'll know you're eating.\" You mumble your thanks, inevitably sounding ungracious. You feel monstrous, caged behind your glass, snapping at proffered kindness, howling at a heedless sky.\n\n> You talk to Natalie\nSeeing you lingering in this awkward, Natalie stops stirring and smiles at you encouragingly. \"I'm here for you,\" she says. \"Do you want to talk?\" You have to bite back sarastic things you don't mean. So you keep smiling and shake your head.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go west\nYou had better not wander around the house carrying a cleaver. For a start, you could fall over and accidentally stab yourself, which would be embarrassing. But also it could make the people in the living room - who are technically your guests -  feel uncomfortable\n\n> You go to the west\nThe extensive living / dining area was one of the features that drew you all to this house when you were looking for places to rent. That and - despite the fact none of you have been able to bring yourself to do anything as prosaic as cleaning for days - the fact it's not an abject shit hole like most of places on offer when you were doing the rounds.\n\nCurrently, it's all cluttered with people. Your housemate John is sitting cross-legged on the floor at the end of the coffee table, frowning over a game of a Go. His opponent, Twitch, sits opposite and appears much more laid-back about the whole business. Rick is slumped on the sofa, a bottle of port at his elbow; Elsie is sitting next to him, apparently watching the game. Jess is huddled in a cloak on the other sofa, Adrian beside her, looking almost as uncomfortable as you feel. As for Laurie (fucking Laurie), she's leaning against the fireplace, and wearing an expression of infinite suffering like she's living her own little Victorian melodrama\n\nThe coat stand is still in its corner, looming like an unexpected guest.\n\nYour escape routes are east into the kitchen, or south into the hall.\n\n> You talk to John\n\"How are you doing?\" you ask, since it is the officially sanctioned question at a time like this. \"Still losing,\" he says. You didn't mean the game, and you're pretty sure John didn't either but it's probably better this way.\n\n> You talk to Elsie\n\"How are you doing?\" you both say, at exactly the same time and with exactly the same intonation. You smile awkwardly at each other. \"I'm okay,\" you say into the pause that follows. \"I don't think I am,\" says Elsie, shyly. Her honesty ripples through the room like a stone dropped into a fetid pond.\n\n> You talk to Elsie\nYou feel obliged to click into comforting mode. It is not that you don't want to comfort Elsie, it's just you're afraid that all your words are lies. \"I have to believe that it's a choice she made,\" you say. \"She was so unhappy, you can understand why she did it.\" But you don't. You don't.\n\n> You talk to Elsie\nElsie nods. You wonder if her faith makes this even harder for her. You want to ask about it, but what can you say? \"So do you think Celine has gone to Hell for what she did?\" Maybe not.\n\n> You talk to Elsie\nNeither of you really dare say anything else. It's too delicate a balance to maintain, between honesty and lies, compassion and cruelty.\n\n> You talk to Twitch\n\"Is that a lyre\" asks Twitch, unexpectedly. You look at the lyre, surprised to find yourself carrying it even though you already knew you were. \"Yes,\" is the only reply you are capable of forming at the moment. There is a pause. Twitch nods with the sort of profound understanding only displayed by the stoned. \"Cool,\" he says.\n\n> You talk to John\n\"Why on earth are you playing Go?\" you ask. John shrugs.\n\"Distraction is good,\" he says, finally. \"Surely you can do better than Go?\" you say, striving for a levity that goes down about as well as cyanide. John just shrugs again, Swedish and withdrawn. \"Why not?\" offers Twitch, who presumably brought the board with him and you cannot really think, or be bothered to think, of an answer.\n\n> You talk to John\nYou decide to leave him to the game.\n\n> You talk to Laurie\nGod no. You don't want to support her delusion that she has any place here. If you tried to talk to her, you might have to kill her.\n\n> You talk to Jess\nYou know that Jess is grieving much as you are grieving but she has tangled it up in a need to support others, and - you think - to be seen to be supporting others. She wants people to at look her and say to themselves \"she's so brave\" and then she can believe it for herself. But you don't want to be supported, you don't want to be the mechanism by which others distract themselves. Grief is not enobling in you. It seems to make you hard, ungracious, cold and churlish.\n\n> You talk to Adrian\nUnder different circumstances you would actually quite like to talk to Adrian. Maybe you are deluding yourself with suspicions of kinship but you can more readily imagine yourself saying something that feels true to him than anyone else. But how can you speak of anything in this company, at this time. Better not to talk to him at all.\n\n> You talk to Rick\nRick produces a silver hip flask with a flourish. \"Absinthe?\" he suggests, raising his brows, entirely conscious of the effect. Amusement temporarily alleviates the atmosphere in the room.\n\n> You talk to Rick\nRick reaches a hand into a shopping bag languishing by the side of the sofa. \"Iberian ham?\" he says. \"Brie? Some pate?\" You are starting to feel churlish but you keep shaking your head.\n\n> You talk to Rick\nRick has probably run out of random indulgent  foodstuffs to offer you by now, and you do not want to press in case the temporary semblance of normality founders. You remember that some of the people in this room are your friends and that you will not always feel this way.\n\n> You talk to Jess\nAnyway, you think, hard, ungracious, cold and churlish as you are, Jess is here specifically and explicitly for John. When somebody dies, there is a grief hierarchy, topped by those denoted closest to the deceased, usually based upon length of acquaintence. Blood, is of course, thicker than water, more meaningful than love.\n\n> You talk to Jess\nFor the moment, it is probably best you don't talk to Jess. It has so little to do with her, in any real sense, but she seems to inspire particularly miserable thoughts in you at the moment.\n\n> You play lyre\nThe few discordant notes you manage to strike garner you a collection of odd looks, both sympathetic and less sympathetic, and it occurs to you that you're behaving rather strangely.\n\nLaurie paces back and forth in front of the fireplace, her fuck-me boot heels clomping on the wooden floor - clearly she is not garnering enough attention to feel comfortable."
    },
    {
        "text": "[Themes: Mythological, journey, strong NPCs, ancient Greece, Oxford, male protagonist]\n\n> You look around\nThe extensive living / dining area was one of the features that drew you all to this house when you were looking for places to rent. That and - despite the fact none of you have been able to bring yourself to do anything as prosaic as cleaning for days - the fact it's not an abject shit hole like most of places on offer when you were doing the rounds.\n\nCurrently, it's all cluttered with people. Your housemate John is sitting cross-legged on the floor at the end of the coffee table, frowning over a game of a Go. His opponent, Twitch, sits opposite and appears much more laid-back about the whole business. Rick is slumped on the sofa, a bottle of port at his elbow; Elsie is sitting next to him, apparently watching the game. Jess is huddled in a cloak on the other sofa, Adrian beside her, looking almost as uncomfortable as you feel. As for Laurie (fucking Laurie), she's leaning against the fireplace, and wearing an expression of infinite suffering like she's living her own little Victorian melodrama\n\nThe coat stand is still in its corner, looming like an unexpected guest.\n\nYour escape routes are east into the kitchen, or south into the hall.\n\nRick opens a new bottle of port.\n\n> You check your inventory\nYou are carrying:\na 50p coin\nyour coat\nsome pills\na lyre\n\nJohn hands an empty glass to Rick who obligingly sloshes port into it.\n\n> Wear coat\nWearing a coat indoors is generally considered a bit odd.\n\nJohn sighs heavily as he loses yet another game of Go.\n\n> You go north\nYou can't go that way.\n\nJohn sighs heavily as he loses yet another game of Go.\n\n> Wear coat\nIt is a little chilly but you'll be going back inside sooner or later.\n\n> You examine the snake\nThe snake has risen up from its coil, its eyes wide as its head moves back and forth in the thrall of the music from your lyre.\n\n> You eat the pills\nWhile imitation may be thought to be the sincerest form of flattery, you should probably not start randomly taking someone else's medication. It didn't do much good for Celine, after all.\n\n> You show the pills to Natalie\nNatalie is unimpressed.\n\n> Inventory\nYou are carrying:\na knife\na 50p coin\nyour coat\nsome pills\na lyre\n\n> You turn around\nYou glance nervously over your shoulder but there is nothing untoward.\n\nPlaying pieces clink in the silence.\n\n> Go south\nWinter light lies in anaemic strips upon the floor from where it has fallen through the glass panels in the front door. There is an awful painting hanging on the wall. The murmuring voices are more of a babble now; too many over-lapping conversations create an alien, baboonish gibberish.\n\nThe outside world lurks to the west and the living room to the north. Or you could always just retreat upstairs.\n\n> You go west\nThis is just an ordinary street, lined by Victorian terraces, with their slightly over-ambitious moulding and bow windows. In the distance you can hear the muted roar of traffic streaming down the Abingdon Road. It is not quite suburbia but it's a pocket of Oxford unreached by spires, dreaming or otherwise. The fading light is nonetheless tinged by gold. The sky is a swirl of grey and pink, like the interior of a shell. There is a biting promise of winter in the air.\n\nHinksey Park is to the northwest, your house to the east, and other places lie elsewhere.\n\n> Wear coat\nYou shrug into your coat. It is a familar weight across your shoulders and you feel something shift within the tattered lining.\n\n> You search the coat\nWhat else do you expect to find in there? An undiscovered Shakespearean sonnet\n\n> Inventory\nYou are carrying:\na 50p coin\nyour coat (being worn)\nsome pills\na lyre\n\n> You play lyre\nYou feel like a busker as you plunk away on the lyre and you sound ... very bad indeed.\n\n> You go northwest\nThe gate to Hinksey Park is not far from your house but by the time you arrive the sky is already suffused by a greyness that has blotted out the potential glories of an Oxford sunset. Night is snapping at your heels. The park  is the old fashioned kind, a basic arrangement of paths and benches, grass and trees. The nearest bench is over-hung by a willow tree, which has wept a burthen of withered foliage onto the seat. There is a lake, girdled by a path and an open air swimming pool.\n\nA river, which must be a tributary of the Thames, flows to the west. Malborough Road lies to the southeast.\n\n> Examine willow\nOh willow, thou art sick. Autumn has stripped its bravado, leaving it frail and naked in the gathering dusk.\n\n> You examine the lake\nThe lake is misshapen splodge in the gloom. The breeze occasionally picks up ripples on the water. At its edge, an enormous swan twists its neck towards the sky and flings wide its white wings like an angel.\n\n> You examine the pool\nCurrently it's just an empty hollow, painted chlorine blue. You used to go all the time during the summer months - sometimes with Celine. You used to say she was a water-ninja she could swim so fast.\n\n> You examine the path\nA path, plainly paved and circling the Lake.\n\n> You look at the swan\nSwans are peculiar creatures. How can something so beautiful be so ungainly?\n\n> You sit on the bench\nYou go into the park and sit down on the nearest bench, letting the darkness enclose you. You're not very far from the houses and the road but the light and the noise doesn't reach you here. You could be in another world. The feeling of being entirely alone saturates your skin like cold. You listen to the almost imperceptible sound of air moving across the lake and through the scrubby grass. Tilting your head back, you stare at the sky. It looks as if it is made of stone. You wonder if this is how Celine felt, sitting on this bench perhaps, waiting to die, and stand up again hastily.\n\n> You take the swan\nAre you mad? They can be really dangerous. You read a story once of a swan breaking a man's leg.\n\n> You go to the west\nThe river is a snake of moving darkness. There is a railway line running parallel on the other side and open fields after that. There is some kind of flat-bottomed boat by the bank nearest to you, and a tall man, in a long coat, is standing in the bow of the boat.\n\nHinksey Park is behind you to the east.\n\n> You examine man\nThe man is so swathed about in garments it is hard to make out much about him. He is imposingly tall, or would be if he didn't stand in the hunched-over fashion he does, and seems gaunt. His hood is pulled down over his face, so you only occasionally catch glimpses of his profile: you piece together an impression of sharp-nosed pallor and pale eyes the colour of dirty water. One of his gloved hands rests upon the pole he probably uses to propel the boat through the water.\n\n> You look at the boat\nYou're not really an expert in boats. This one seems to be designed upon similar principles to a punt, although it lacks the comfortable cushions, champagne and strawberries you know for a fact to be an essential part of any punting trip.\n\n> You give the coin to the man\nYou toss the coin to ferryman. It turns over and over in the air, flashing silver, and then he reaches out a gloved hand and engulfs it in darkness. He carries it to his mouth and bites it. \"That's not silver,\" he says. But then he shrugs. \"It'll do. In you get.\"\n\n> You get in the boat\nAs you step towards the boat the Ferryman intercepts you again. \"Coming back is harder than going,\" he says. \"Are you sure?\"\n\n> Yes\nYou step into the boat. There is a space for a single passenger but it is not  exactly luxurious. You barely have time to sit down upon the damp wooden boards before the ferryman takes his first stroke, propelling the boat forward at an unlikely speed that causes the moving air to catch at you like icy hands. You  remember that someone told you once that a punt can travel at 30 miles an hour in\nfavourable conditions ... but this one slips across the moonslick water as effortlessly as if it is glass. At any rate, you are glad that the man has sufficient  taste to punt from the Oxford end. You tilt your head back. You are going so fast that the stars are smeared across the sky.\n\nSomething has happened. You have lost track of time, or track of yourself, or something. You were looking at the sky, feeling stars upon your skin, no, you were in a boat, cold seeping through you, wind tangling in your hair. But there is no trace of the punt here, or the man, or even a river. How did you get here? Where are you? There is a set of open wrought iron gates before you, as intricate as briars. Beyond them, hazy in the darkness to the southeast, a round lawn, dotted with trees. It all feels familiar somehow.\n\nGuarding the gate is biggest dog you have ever seen, a haunch of bloody meat and a vast water bowl at its feet.\n\n> Enter\nThe trafficless road twines away into darkness. You could probably get to Headington, and from there into town but you're a long way from home and still not entirely sure how you got here.\n\n> You examine the meat\nThis well-gnawed haunch is marbled red and white like cartoon meat. Flesh hangs from the bone in bloody tatters. It must have belonged to a damn big animal. You hope it was an animal. Maybe it's the leg of the last person who tried to go through the gates.\n\n> You look at bowl\nThe water within reflects pieces of the moon. It's just a dog's drinking bowl, although it is noticeably larger than average, presumably to accommodate three thirsty mouths.\n\n> You look at the dog\n\"Dog\" somehow doesn't cover it. This creature would put a lion to shame, although there is something more serpentine about it than leonine. Maybe it's the three heads, on their long, sinuous necks, and the whiplashing tail with its barbed end. It is covered in sleek black fur and its slitted eyes are ruby red.\n\n> You talk to the dog\n\"Nice doggie\" you say, hopefully and the creature glares at you as if it feels horrendously patronised. You try making soothing sounds, while desperately maintaining a posture that would make it feel neither hostile nor amorous towards you.\n\n> You play lyre\nAll three heads turn in your direction as you lift the lyre, and a strange shiver runs down the length of the beast's back. If it was human you don't know what emotions you'd ascribe to it. It holds itself still and silent, only the heaving of its flanks to betray the fact it lives at all. And you play, strange, savage music, spiralling out of the lyre, drenched inhuman colours, filling your mouth up with heat and the tang of metal. Your heart tightens sickeningly in your chest, pulsing with the lyre strings, something like excitement, something like dread. The dog trembles where it stands, its eyes ablaze."
    },
    {
        "text": "> You describe your surroundings\nThe wrought iron gates hang open.\n\nBeyond them, hazy in the darkness to the southeast, a round lawn, dotted with trees.\n\nGuarding the gate is biggest dog you have ever seen, a haunch of bloody meat and a vast water bowl at its feet.\n\n> Go southeast\nYou move. The beast throws back all three heads and hurls a howl of blood-curdling ferocity at the sky. And the clouds shake. You think it would probably be for the best to stop moving.\n\n> You play lyre\nYou feel as if you have been running, and running hard, and your fingers tremble on the strings, fearful of the lyre and its music.\nBut everything has changed. Softly, softly, comes the scent of green things growing, dark places, damp fur, warmth in your belly and all around, different songs. You lose time, the names of things. The stars becomes nothing but distant light. Your four clawed feet trample complex concepts to nothing but travelled earth, and happiness is the flow of the night. Then comes the creeping cold, not without, but within, and it snaps like winter at your heels. And you don't know what it means that yours is now the only song, and yours the only pounding paws, and yours the fur and yours the hunger and you alone who slumber in the dark places and dream of dreams once shared. The music fades to silence, and the dog slumps to the ground, ungainly now. Its eyes fall closed and it seems to sleep.\n\n> You go southeast\nYou muster up your courage and sidle past the subdued monster, holding your breath lest you rouse it.\n\nYou could be visiting a stately home, or an Oxford college, or a country church, except you're not. You know there are more modern constructions hidden away behind it, one of which - the severely acute ward - lies like Sleeping Beauty's castle behind thorns of metal and stone.\n\nCircling an oval of moderately well-kept grass is a gravel path and, beyond it to the west, a sandstone building gleams palely golden against the shadowed sky. The gates loom to the northwest.\n\n> You examine the sandstone building\nFrom its harmonious proportions and the flanking classical pillars, you suspect the main building must be Regency in design ... that or made out of lego blocks. There is something desperate in the rigidity of its symmetries, as if somebody believed that order could be imposed upon the universe by the application of lots of straight lines.\n\n> You go west\nAs you cross the lawn, your footsteps lost among the many you have already taken, you feel a horrible tightness round you heart as if someone had a hand round it and was squeezing. There is a burning at the back your throat, like a lump of tears and bile is stuck there.\n\nThe path sidles away down the side of the main building, taking you away from facades. Here, there are no country house lawns, no sandstone and classical pillars. There are patches of scrubby grass, borders that may perhaps bloom one spring, and scattered buildings that are too perfectly, facelessly functional to have anything of beauty or ugliness to them. There are jaunty painted signs to Cotswold House and Wintle Ward.\n\nVaughan Thomas waits to the west, the Hospital Approach is to the east.\n\n> You examine the signs\nThe signs are big, friendly and helpful.\n\n> You go west\nAs you walk down the path, a human cry breaks upon the silence and dies.\n\nVaughan Thomas Ward is another grey building. It has a bow-window which looks like an ill-at-ease addition to its uniformity. There is also an awkward, spindly tree guarding a nearby bench.\n\nThe door that leads west into Vaughan Thomas has been painted blue. There is a doorbell next to it in industrial grey. The path leading to and from Vaughan Thomas lies to the east.\n\n> You examine the doorbell\nStrangely totemic, it has a button for you to press and a grill - such as you might find on the visor of the villain in a sci-fi movie - for you talk into.\n\n> You talk to voice\nYou mumble your name into the grill, and explain you have come to get Celine. A warped sigh gusts out of the grill with such force you are surprised it doesn't ruffle your hair. Then crackling dies away and the grill speaks to you no further. You assume that that means someone is coming to open the door but for all you know they could be activating the lever that drops you into the alligator pit.\n\nYou are starting to wonder if perhaps they've forgotten you're there, or if answering the doorbell is a mere hobby, when there comes the sound of muted rattling and banging from behind the door as someone on the other side begins the ceremony required to open it. It is finally eased open, just enough for you to squeeze through, by a Nurse, glowering at the effort required to perform the most basic tenets of her job.\n\n> Go west\nAs you edge past the Nurse, she put out a log-like arm to momentarily stop you entering. \"You'll need to see the Doctor first,\" she says, gruffly. \"You can't take a patient away without the doctor's permission.\" You nod your understanding, although your mind is full of Escape from Alcatraz visions, search lights flashing, sirens screaming and helicopters whirling overhead as you and Celine run, hand in hand, giggling into a different coloured future.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> You look at the bookshelf\nThere are overly-rifled paperbacks, yellowed by use, stuffed haphazardly onto the shelves. A quick glance at the spines reveals them to be without exception the kind of airport novels you probably wouldn't want to read even at an airport. Or in a loony bin.\n\n> You go south\nThe greyness unrolls before you like the tongue of a sick frog. This sign above your head (this is not an exit) reminds you that it's women only past this point, but who is going to see you at this time of night?\n\nIdentical doors, all closed but for the one that stands slightly ajar to the west, line the corridor. Going north will return you to the Vaughan Thomas Corridor.\n\n> Go north\nAn inmate - dapper, or as dapper as a man in a mental aslyum can be, sidles up to you. He wrings his hands in constant anxiety. \"I wonder if you could possibly oblige me in a small favour,\" he says. \"I'm terribly embarrassed but I threw my clock radio out of the window because the aliens were talking to me through it and now I cannot listen to classic fm. And I daren't tell the nurses because they will think I did a mad thing. I can pay you back, of course, and if you would take care to get one without an alien transponder, I think it would help. And you won't tell the nurses will you?\" He looks bewildered as he tells his story, as if he caught himself trying to eat soup with the salad fork. You make your promises and he retreats, thanking you profusely.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> You go west\nThis is a primitive conservatory of sorts. It is by far the most attractive room in the Warneford, which reflects well on neither the Warneford nor the room. It has wicker chairs and, disconcertingly, there is white-sheeted hospital bed against one of the walls. The square, unbeautiful windows overlook the grounds and currently admit a spill of moonlight the colour of old milk.\n\nThere is a woman curled up on one of the wicker chairs, looking away from you, out over the shadowed grounds.\n\nThe Vaughan Thomas corridor lies to the east.\n\n> You look at the woman\nShe seems to be at the unforgiving end of the spectrum of middle-age, her face worn and withered by the cold glare of the moon. Shadows emphasise the gauntness of her cheeks and define in cruel charcoal the lines that radiate from her eyes. Her coarse, ash blonde hair falls straight to her waist and hangs like dead weight. Garlands of withered flowers give her the air of an aging hippie. Under your scrutiny, she turns her head in your direction and smiles and you feel a fleeting trace of warmth.\n\n> You talk to the woman\nHesitantly you offer a polite greeting and are relieved when the woman turns away from the window and smiles at you in return. If she is an inmate she is, at least, not antisocially mad. \"Hello,\" she says, \"I can see that you're a visitor.\" Her voice is as deep and rich as freshly turned earth. You think of honey-drunk bees and heavy, golden days. \"So am I,\" she says. \"At least, I think I am. It's sometimes so hard to tell.\"\n\n> You talk to woman\nShe turns away from you again towards the windows. \"I wish I could make something flourish here,\" she says. \"I can sometimes make things grow but it's not the same.\" She strokes a hand absently through the brittle strands of her hair. \"I miss the colours of things. It all fades so quickly. What's your favourite colour,\" she asks, suddenly, with a glance in your direction. You tell her and she smiles again. \"Of course it is,\" she says. \"Mine is green.\" Same as Celine.\n\n> You talk to the woman\nShe is plucking at her skirt. As the fabric moves you realise it isn't grey, as you first thought, but a pale green, all but washed out. \"I'm truly sorry about your friend,\" she says. And there must be a look on your face that makes her add: \"That is why you're here, isn't it?\" Her voice is gentle and her eyes are pale and sad in the moonlight. \"You know you shouldn't have come. She can't leave with you.\" She is silent a moment. When she continues speaking the reassurance in her voice is as warm as sunlight against your skin.\n\"Of course you'll miss her. It will never be easy but it will be easier than this. And one day you'll stop and be surprised at just how easy it is. Then I'm afraid you'll feel guilty but that, too, will pass. As it should.\"\n\n> You talk to the woman\nThe woman smiles reassuringly at you and her regard travels across your skin, leaving a glissando of fading warmth in its wake. Then she turns away and casts her gaze out of the window again, moonlight etching the lines on her face.\n\n> Go east\nTwo nurses are standing by the pay phone, talking animatedly about nothing you can catch. It is strange to hear giggles and whispering, as if this was some kind of ordinary place. They fall silent as you approach and then disappear into an office.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> Go north\nThis is the large, bow-windowed room you could see from outside. Dull light washes in from the corridor behind you and flickers from beneath the door to the television room. Square tables are neatly arranged and the far wall boasts a display of artwork. Upon the air hangs the cloying scent of old, institutional dinners.\n\nThe Doctor's Office lies to the north, the Vaughan Thomas corridor to the south.\n\n> Go north\nThis is a typical Doctor's office. It has a clinical air, but no more than you would expect. It is really very neat in here. The walls are hung with what look to be modern art prints, all in identical frames, imprisoned behind glass.\n\nThe Doctor is sitting behind the desk, his elbows resting atop it and his chin upon the platform provided by his interlocked fingers.\n\nThe door to the south leads back to the dining hall.\n\n> You examine Doctor\nHe seems surprisingly young for his role. His hair is coal black and his eyes only one shade lighter, stark against the white coat that hangs open over an austere pinstriped suit. He has a stern, unlovely face and returns your regard steadily.\n\n> You talk to Doctor\n\"Yes?\" The Doctor's voice is not quite impatient, but the clipped quality of it suggests it very soon will be. \"You know I cannot accede to your ...\" He stops abruptly, as if searching for a word, and settles finally on \"...request\". I suggest you let me send you home, where you belong.\"\n\n> No\nAt your refusal, the Doctor frowns.\n\n> You examine the art\nYou look at each of the paintings in turn. They are placed a precise intervals along the grey wall. Each print has the name of the piece and the artist printed along the bottom. First, there is a Rothko, Blue, Green, and Brown. Then IKB 73. And finally Composition in Red, Blue, and Yellow.\n\n> You talk to Doctor\nBefore you can speak again, the Doctor forestalls you. \"I'm afraid you will not change my mind with tragic looks or eloquent words. I have seen and heard them all a hundred throusand million times before.\" You wonder, briefly, whether you are supposed to challenge him to a game of chess or, possibly riddles. \"I cannot be tricked,\" he says, as if in answer. \"Nor changed. It is not my nature.\"\n\n> You talk to Doctor\n\"Your insistence is as wearisome as it is predictable,\" comments the Doctor.\n\n> You play lyre\nTime seems to unravel around you like the fraying threads of a tapestry as you lift the lyre into your arms. The Doctor is on his on his feet, his face pale with fury and his eyes ablaze, but it's too late to stop you. Music fills the air like cherry blossom, sweetly drifting, falling like fleeting kisses upon the senses and fading as swiftly as a summer evening. For a moment, the Doctor is tranfixed, his face naked in pain and sorrow, and then his cold hands are wrenching the lyre from your grasp. The notes shatter into rainbows of refracted light and then they're gone. There is a vicious crack, like a bone breaking, and the Doctor flings the pieces of the lyre to the floor. In seconds nothing remains of the lyre but a sprinkling of dust the colour of old blood. \"Take her then,\" he cries, \"take her and may damnation have you both. You'll find Celine in the gardens beyond the Sun Room. Take her with you, as you wish, but remember: don't turn around, or she's mine forever.\n\n> You go to the south\nYou  hear footsteps behind you, slapping like wet fish against the grey hospital floor. You freeze and half-turn but then they recede.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> You go south\nThe greyness unrolls before you like the tongue of a sick frog. This sign above your head (this is not an exit) reminds you that it's women only past this point, but who is going to see you at this time of night?\n\nIdentical doors, all closed but for the one that stands slightly ajar to the west, line the corridor. Going north will return you to the Vaughan Thomas Corridor.\n\n> You go west\nThe memories of past visits rise up to gnaw at you like wolves. You see Celine, sitting on the bed, the colour washed out of her by her surroundings, her knees pulled up to her chin. Jess is there beside her, back to the wall, feet dangling off the end of the bed. You'd snuck in and you're kneeling on the floor, elbows folded on the coverlet. You're probably pretty damn uncomfortable. Spread out between you are brightly coloured cards. You're playing Once Upon A Time, a game for telling fairytales. \"Are you sure I used to like this?\" Celine is asking. \"Yes,\" you say, \"it's one of your favourites.\" \"You used to win all the time,\" Jess adds. Celine laughs, uncertain. \"That doesn't seem very likely,\" she says. \"It'll come back,\" you say, half-reassuring, half-pleading. Except it, of course, doesn't. None of it does.\n\nA small, perfectly square, yellow-painted room, probably identical to all the others on this corridor. The carpet is a greyish-blue, only slightly stained. There is a pine-coloured wardrobe and bedside table, a single bed and a chair. There are signs of occupation - the black cardigan hanging on the back of the chair, books and a radio on the bedside table - but it's not the kind of room you can personalise. It is a transitory space. Above the bed, the wall is splashed with a grid of cards and postcards, twenty or thirty of them maybe, pinned up there as bright as butterfly wings.\n\nYou can see the Women's Corridor through the door to the east.\n\nOn the narrow strip of a windowsill is a houseplant, another daub of colour.\n\n> You examine the houseplant\nThis is Sylvia (after Sylvia Plath who also, we know, went mad), an Anthurium with dark red flowers, all Georgia o'Keefe. It was a gift you nearly weren't permitted to give because of the toxic leaves. \"No committing suicide by eating Sylvia,\" you said, pretending to admonish. And how Celine had laughed. \"I promise not to kill myself by eating an anthurium,\" she said with mock solemnitude, knowing at least ten better ways to do it.\n\n> You talk to Sylvia\nYou can only do that to something animate.\n\n> Go north\nA young-ish, not entirely unpretty woman, who steals from the other inmates and has no visitors, is staring blankly out of a window at the shadow-sloshed world outside. She turns, smiles hopefully and shyly at you and then flees. You try to feel more kindness towards her but she pilfered Celine's favourite perfume.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> Go west\nThis is a primitive conservatory of sorts. It is by far the most attractive room in the Warneford, which reflects well on neither the Warneford nor the room. It has wicker chairs and, disconcertingly, there is white-sheeted hospital bed against one of the walls. The square, unbeautiful windows overlook the grounds and currently admit a spill of moonlight the colour of old milk.\n\nNow you notice a set of doors at the back of the room have been flung wide open, drawing you like a beckoning finger, west, towards the shadow-smothered gardens.\n\nThe Vaughan Thomas corridor lies to the east.\n\n> Go west\nSomebody tried. Here there are the elements of a garden. Grass, although it is mainly mud. Banks of soil where perhaps flowers might grow. Squatting shrubs, hunched in upon themselves. And in silhouette the anorexic shapes of trees, stripped before the oncoming winter. Moonlight forms puddles here and there.\n\nThe Sun room waits to the east.\n\nCeline is sitting on a stone bench.\n\n> You talk to Celine\nOk."
    },
    {
        "text": "[Themes: Mythological, Oxford, profanity, orpheus]\n\n> You go east\nThe silence of the hospital surrounds you like an itchy blanket.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> Go west\nA small, perfectly square, yellow-painted room, probably identical to all the others on this corridor. The carpet is a greyish-blue, only slightly stained. There is a pine-coloured wardrobe and bedside table, a single bed and a chair. There are signs of occupation - the black cardigan hanging on the back of the chair, books and a radio on the bedside table - but it's not the kind of room you can personalise. It is a transitory space. Above the bed, the wall is splashed with a grid of cards and postcards, twenty, thirty, forty of them maybe, pinned up there as bright as butterfly wings.\n\nYou can see the Women's Corridor through the door to the east.\n\nOn the narrow strip of a windowsill is a houseplant, another daub of colour.\n\n> You examine cardigan\nAn ankle-length black wool cardigan, thick and soft, the sort of garment you could curl up inside and feel comforted. You think it was a present from John. The smell of the Warneford and cigarette smoke clings to it.\n\n> You examine the radio\nYou thought it might help her pass the difficult, interminable hours. It didn't.\n\n> You take the cardigan\nYou don't want the cardigan. When her parents came to take everything that was left of her, you told yourself that people were not their things. You have to keep believing that because otherwise you'll have nothing.\n\n> Go north\nOne of Celine's few friends (one to whom you have lost endless games of Scrabble) passes you with a nod and a greeting. \"I'm very much looking forward to the coping with psychosis workshop tomorrow,\" he comments, with a look so wry and self-knowing you cannot help but laugh. He waves and vanishes into his room.\n\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> Go west\nThis is a primitive conservatory of sorts. It is by far the most attractive room in the Warneford, which reflects well on neither the Warneford nor the room. It has wicker chairs and, disconcertingly, there is white-sheeted hospital bed against one of the walls. The square, unbeautiful windows overlook the grounds and currently admit a spill of moonlight the colour of old milk.\n\nNow you notice a set of doors at the back of the room have been flung wide open, drawing you like a beckoning finger, west, towards the shadow-smothered gardens.\n\nThe Vaughan Thomas corridor lies to the east.\n\n> Go west\nSomebody tried. Here there are the elements of a garden. Grass, although it is mainly mud. Banks of soil where perhaps flowers might grow. Squatting shrubs, hunched in upon themselves. And in silhouette the anorexic shapes of trees, stripped before the oncoming winter. Moonlight forms puddles here and there.\n\nThe Sun room waits to the east.\n\nCeline is sitting on a stone bench.\n\n> You look at Celine\nCeline is beautiful but not today. The monochrome palette of the Warneford has wrung her out. Her clothes are too black, her skin is too pale, her eyes too dark.\n\n> You talk to Celine\nCeline smiles to see you, convincing gladness, desperate eyes. You exchange the usual greetings, the usual enquiries, and, as ever, she thanks you for coming to see her, as if it is a kind and wonderful thing and not a terrible strain for both of you. You tell her silly stories of the colour of the October leaves and how much you're looking forward to the blossom trees. She listens, and laughs, and pretends.\n\n> You talk to Celine\nCeline is not feeling so good and will only tell you so if you press her. She has - quite literally - forgotten the way home, along with everything she learned on her art history course last term. She has forgotten the tombstone cake you made for Jess's birthday. She has forgotten Rick's parents are dead. She has forgotten the entirety of Buffy the Vampire Slayer. It'll come back, you tell her, don't worry, and anyway we can watch it all over again - think how much fun that'll be. She listens, and laughs, and pretends.\n\n> You talk to Celine\nCeline tells you her secrets, the ones she hasn't forgotten, the ones you wish she could forget, the ones she has forgotten you already know. You try to make it okay with your words. And Celine listens, and laughs, and pretends.\n\n> You talk to Celine\nSuddenly you remember. It's time to go home. \"Will you follow me?\" you ask, and Celine nods. She seems only a little afraid.\n\n> You talk to Celine\n\"You will follow me, won't you?\" you say again and Celine assures you she will.\n\n> Go east\nThis is a primitive conservatory of sorts. It is by far the most attractive room in the Warneford, which reflects well on neither the Warneford nor the room. It has wicker chairs and, disconcertingly, there is white-sheeted hospital bed against one of the walls. The square, unbeautiful windows overlook the grounds and currently admit a spill of moonlight the colour of old milk.\n\nAs you enter the sunroom from the gardens, your own footsteps sound on the floor but you hear no others. Perhaps Celine has not followed as promised she would.\n\nThe Vaughan Thomas corridor lies to the east.\n\n> Go east\nThere are soft felt pinboards on the wall, above a row of chairs. An over-stacked bookself shoved in the corner and a square table do nothing to break the monotony. The Warneford Hospital has a distinctive smell. It is the smell of a place that very consciously has no smell, underscored by a desperate edge of nicotine.\n\nYou strain to hear even the slightest hint of movement but there is nothing, nothing at all. Perhaps you have been tricked. Yes, that seems very likely.\n\nThis interminably greyish corridor meanders north, west and south. East would take you outside again, through the blue door.\n\n> Go east\nYou look around for the nurse but then notice that the door seems to be standing very slightly ajar. You seize the opportunity and slip through\nVaughan Thomas Exterior\nVaughan Thomas Ward is another grey building. It has a bow-window which looks like an ill-at-ease addition to its uniformity. There is also an awkward, spindly tree guarding a nearby bench.\n\nThe only thing that follows you now, it seems, is silence.\n\nThe door that leads west into Vaughan Thomas has been painted blue. There is a doorbell next to it in industrial grey. The path leading to and from Vaughan Thomas lies to the east.\n\n> Go east\nThe path sidles away down the side of the main building, taking you away from facades. Here, there are no country house lawns, no sandstone and classical pillars. There are patches of scrubby grass, borders that may perhaps bloom one spring, and scattered buildings that are too perfectly, facelessly functional to have anything of beauty or ugliness to them. There are jaunty painted signs to Cotswold House and Wintle Ward.\n\nVaughan Thomas waits to the west, the Hospital Approach is to the east.\n\n> Go east\nHere on the Warneford lawn again you can see a streak of lightness at the eastern edge of the sky. Behind you, a smear of gold and grey, is the Warneford. Before you, to the northwest, the wrought iron gates, as tall as thistles to a child, inevitably sealed.\n\n> You go northwest\nYou can't, the gates bar your way, as insurmountable as death itself. All you can do now is turn around.\n\n> You open the gates\nthere will be no opening them. The metal tears at the skin of your hands and you send a chorus of clattering to the silent sky. They are securely sealed and there is no forcing them. You can't go back, you can't go through them. It's time to turn around.\n\n> You turn around\nYou turn around slowly, as you know you inevitably must. Celine is standing behind you, smiling. The rising sun gleams upon her hair and in her eyes, her cheeks flushed with the first light of dawn. The grass at her feet is a carpet of flowers and as you rush into her opening arms you find yourself clutching at nothing but a flurry of petals the colour of her lipstick.\n\nMarlborough Road looks exactly as it did when you left it, except it is greyish in the dawn. It seems you have been wandering all night long. Your house is dark and quiet behind its curtained windows, as if it has closed its eyes. The world waits at your back, the front door lies ahead, waiting for you to open it.\n\n> You open the door\nAs you reach out to the door handle, a flash of colour catches your eye. There is a flower petal stuck to your palm. Shaken free by your movement, it drifts to the ground, gleaming briefly in the gloom. The door swings open and you step inside, into neither emptiness nor cold, and your hand warm as if someone holds it still.\n\nWould you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command?"
    },
    {
        "text": "[Themes: Horror, Demon, library, devil, Evil protagonist, violence, male protagonist, escape, undead, torture, vampire]\n\nYou open your eyes, feeling alive again, after being... dead?\n\nWho are you? You need time to remember.\n\nIt's dark, but you can see.\n\nYou are in a sinister place, you should be frightened. Or not?\n\nYou are unbearably thirsty, but not for water.\n\nDarkiss 1: The Awakening\n\nOriginally written in Italian and then translated into English Licensed under a CC BY-NC-ND 4.0 International License\n\nCrypt (in the coffin)\nHidden in the bowels of the mountain, this chamber has hosted your immortal body for centuries, while your enemies spent their miserable days hunting you down at your castle. The coffin is on a stone pedestal at the centre of the room. On the ceiling is a fresco of the red sun of Valmar. To the east a narrow tunnel leads to the other rooms of your hideout.\n\nYou're lying in the coffin, very weak. You struggle to keep your eyes open, while your necrotic flesh is recovering its former appearance. You feel a stab of pain, when you remember the stake drove through your heart. You should be dead, but you aren't. Something happened.\n\n[For instructions type INFO and press return.]\n\n[Author's Note: You're the nightmare from which people can't wake. Dead twice. One by the hand of your maker, the second by the fiend who drove a stake through your heart while you were sleeping defenceless in your coffin. Alive thrice, it seems, although this last one shouldn't be possible. Something happened.]"
    },
    {
        "text": "[Themes: Horror, violence, Evil protagonist, library, torture]\n\n> About you\nYou're the nightmare from which people can't wake.\n\nDead twice. One by the hand of your maker, the second by the fiend who drove a stake through your heart while you were sleeping defenceless in your coffin.\n\nAlive thrice, it seems, although this last one shouldn't be possible. Something happened.\n\n> Inventory\nYou are wearing:\nyour suit\nyour boots\n\n> You examine the suit\nYou are wearing a suit black like the darkness.\n\nThere's a key in a pocket of the suit.\n\n> You examine the key\nYou can use it to unlock a locked door or something similar, if you find the right keyhole.\n\n> You look at the boots\nYour boots are black and ready to step on everyone who dares to cross your way.\n\n> You examine the coffin\nThe coffin in which you are lying is cold and dark enough to satisfy a prince of darkness like you. It's almost a pity to leave it, but you have to get out to recover your energy and exact your revenge.\n\nThe coffin is open.\n\n> Up\nYou get out of the coffin.\n\nHidden in the bowels of the mountain, this chamber has hosted your immortal body for centuries, while your enemies spent their miserable days hunting you down at your castle. The coffin is on a stone pedestal at the centre of the room. On the ceiling is a fresco of the red sun of Valmar. To the east a narrow tunnel leads to the other rooms of your hideout.\n\n> You look at fresco\nPainted on the ceiling shines the red sun of Valmar that lights up the dark nights of the vampires with its eight evil rays.\n\n> You examine the pedestal\nThe coffin lies on a massive block of black stone on which your name has been engraved: \"Martin Voigt\". There is also the ancient motto: \"Nemo me impune lacessit\". An expression that you reread with particular pleasure, waiting to transform it into a lethal reality.\n\n> East\nYou're walking through the east-west tunnel which connects the crypt with the other rooms of the hideout. It is a narrow passage of irregular stone that nobody had dared to walk through before the arrival of the fools who (temporarily) put an end to your life.\n\nHow much time has passed since then? Who cares! What are days, weeks, months, even years against the recovered eternity that will allow you to destroy your puny enemies and drink to their death in the next millennium?\n\n> You examine the stone\nYou're walking through the east-west tunnel which connects the crypt with the other rooms of the hideout. It is a narrow passage of irregular stone that nobody had dared to walk through before the arrival of the fools who (temporarily) put an end to your life.\n\n> East\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere.\n\nWhile you look around trying to remember something more about yourself, hundreds of little yellow eyes seem to stare malevolently at you, without recognising you as the ancient master of this creepy dungeon. But when you regain your strength, a billion sinister wing beats will clap for the return of the prince of darkness.\n\nTo the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nAt the centre of the chamber, on a low pedestal of grey stone, you can see a white wooden coffin, decorated with the images of red roses and the letters S. C.\n\nThe coffin is closed.\n\n> You examine the bats\nProbably the bats were drawn by yourself. You have always had a passion for painting that over the centuries you have been able to cultivate with great effort, achieving - as in this case - remarkable results. At the moment you don't remember for which reason you decided to cover the walls with bats, however there are a lot, although you can't say exactly how many. By the way, you can try to count them, if you want.\n\n> You count the bats\nLed by a sudden curiosity, you start to count the bats drawn on the walls to know exactly how many they are. However, after a while, you lose count and have to start over again. Your excellent sight in the dark is still too weak and you can't focus  for more than a few seconds. At the end, there seem to be 103 bats.\n\n> You look at the coffin\nA deeper examination of the coffin reveals that it is the place in which your latest lover rested. A graceful girl named Sabrina, with whom you spent exquisitely pleasant moments, slowly sucking her veins dry while she waited for the dark gift that would make her eternally young and beautiful.\n\nBut you enjoyed drinking her sweet blood too much to decide to turn her into a vampire. Every day you ordered your minions to take care of her, making her recover the energy lost during the past night with banquets and transfusions, so that you could drink again at the delicious spring of her jugular, when the sun set. In order to make her available at all times, you had even brought her to your hideout, hosting her in this wooden coffin that you decorated yourself so beautifully.\n\nWho knows if she managed to escape the fury of your persecutors. However, the fact that the coffin lid, usually open, has been closed and firmly nailed down doesn't bode well.\n\n> Go north\nThe unpleasant sensation of not being alone is the first thing you felt when you entered this room. Painted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles, ready to tangle you up in the huge web that envelops the room to devour you like a bug.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\n> You open the door\nWhat combination do you want to try to open the door?\n\n> You look at the door\nThe solid iron door at the centre of the northern wall seems to be the panel of a giant safe. Without keyhole, in its centre it has four small wheels with numbers from 0 to 9 that, knowing the right combination, should serve to open the door by turning the handle set at their side. Unfortunately you have no idea what the combination could be. You only know that you never succeeded in memorizing it, so it's possible that you've left a hint somewhere to remember it.\n\nThe door is closed.\n\n> You examine the web\nAs the bats, also these spiders have been drawn by you. You have always had a passion for painting that over the centuries you have been able to cultivate with great effort, achieving - as in this case - remarkable results. At the moment you don't remember for which reason you decided to cover the walls with spiders, however there are a lot, although you should not know to say exactly how many. By the way, you can try to count them, if you want.\n\n> You count the spiders\nLed by a sudden curiosity, you start to count the spiders drawn on the walls to know exactly how many they are. However, after a while, you lose count and have to start over again. Your excellent sight in the dark is still too weak and you cannot focus for more than a few seconds. At the end, there seem to be 69 spiders.\n\n> Go west\nThere are so many books on the shelves of your library that, for a moment, it seems really incredible that you have read, or even just browsed through, all of them. Then you remember you have always been a voracious reader: over the centuries these books have been your best friends, helping you with their engaging stories to cope with the loneliness in which every vampire is forced to spend most of his life.\n\nAt the centre of the room is a desk still covered with papers; behind it you can see a priceless human-skin armchair. To the east you return to the spiders room.\n\n> Examine books\nActually the amount of books that you see here is only a small part of that, certainly bigger, collection that you amassed over the centuries in the library room of your castle. However, between the most recent volumes, there are all the most famous vampire tales written by Bram Stoker, Joseph Sheridan Le Fanu, John William Polidori, Charles Nodier, Marcel Schwob, Stanislaus Eric Stenbock, Julian Osgood Field, Anne Rice, Richard R. McCammon and Fred Saberhagen.\n\nThere are also the frightful stories of Edgar Allan Poe, Ambrose Bierce, Howard Phillips Lovecraft, Stephen King, Clive Barker and the delirious works of Franz Kafka, Tommaso Landolfi and Dino Buzzati.\n\nHowever there is no trace of the Necronomicon, the black magic book that you used to celebrate profane rites and bloody tributes to Valmar and the other mighty gods of the night. You seem to recall that you left it in the library room of your castle. Then you realise with horror that it might have been stolen by your killers. Eventually, you convince yourself that you must have hidden it somewhere else, although you don't remember where.\n\n> You examine the armchair\nThe human skin armchair is a piece of furniture of inestimable value. Actually you don't even remember whom you skinned to make it, but surely it had to be one of your arch-enemies, so every time you sit in it you feel a great pleasure.\n\n> You sit on it\nYou have too many thing to do to flop out on the armchair.\n\n> You examine papers\nMany of the papers scattered on the desk are the purchase agreements of the houses that you bought all over the world, to have a secure shelter everywhere. However, between the agreements, you find a paper with a mysterious word written on it: \"SBYS\". Surely a note you took to remind yourself of an important thing.\n\n> You examine the desk\nUnder the surface of the desk (still covered with papers) you see a drawer.\n\n> You open the drawer\nYou open the drawer, revealing a medallion.\n\n> You examine the medallion\nThe medallion has your name carved on: \"Martin Voigt\". It is attached to a small chain that allows to wear it.\n\nSuddenly it comes to your mind that there should be a secret passage in the library room, behind a shelf.\n\n> You wear the medallion\n(first taking the medallion)\nYou put on the medallion.\n\n> You examine the shelf\nPlaced on the walls, the shelves of your library are full of the books that you read over the centuries, to fight the loneliness that grips every vampire.\n\nThere are some scratches on the floor, near the western shelf.\n\n> You move the western shelf\nYou are still too weak to move one of the shelves.\n\n> You examine the scratches\nThe scratches on the floor are near the western shelf.\n\nSuddenly it comes to your mind that \"SBYS\" may mean Snakes by Spiders.\n\n> Search papers\nMany of the papers scattered on the desk are the purchase agreements of the houses that you bought all over the world, to have a secure shelter everywhere. However, between the agreements, you find a paper with a mysterious word written on it: \"SBYS\". Surely a note you took to remind yourself of an important thing.\n\n> Go east\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\n> Go east\nYou are in a small painted black room that appears to be a temple. You can see a kneeling stool in front of a large painting with a golden frame, hung on the back wall. The subject of the picture is a very beautiful lady, with a pale face and long dark hair, who stares at you with a sensual expression. After a moment, you remember she is Lilith, the gorgeous and cruel vampire who, more than a thousand years ago, threw you in this bloody abyss of darkness, letting you drink her blood after having pierced your jugular with her long, sharp canines so many times.\n\nMuch time has passed since then, but you never forgot the encounter that changed your life (and your death) forever. Hence you created this place of prayer to keep in contact with her, certain that one day Lilith will answer to your invocations and return to you. To the west a passage leads to the spiders room.\n\n> Pray\nYou join your hands and start to pray for the return of Lilith, without anything happening.\n\n> You examine the painting\nProbably it was you who painted this picture, to keep a memory of the image of the woman who turned you into an immortal creature with great powers. Lilith was really wonderful and you fell in love at first sight. You were 26 years old when she appeared, and you had already had much experience with women. As the young descendant of one of the richest family in the region, you were the object of desire of all the girls of the territory, who did all that they could to get your attention. To you, one was equal to the other, you continuously changed lovers to gather new experience, thinking only of having as much fun as possible. When Lilith arrived, everything changed.\n\nThe first time you saw her was at a party thrown by your family to let you meet new people, in the hope that you would eventually meet the woman of your life. She came to the house in the evening, with a cousin whose name you didn't even remember. She was very beautiful and her unusual vivacity fascinated you immediately. The freshness of her appearance made her look very young, but she talked as if she were already highly experienced. When you finally managed to be alone with her, you took her hand for a walk in the woods, where nobody would disturb you.\n\nYou thought that such an exuberant girl wouldn't have any objections about there in the woods, away from prying eyes. Instead it was her who took you. When you saw her eyes change their colour to red like two rubies and her cuspids become monstrously long fangs, it was too late to go back. However you are grateful to Lilith for not allowing you to run away. You could have never imagined the pleasure you felt when she pierced your neck with her teeth and sucked your blood almost to the last drop.\n\nLilith disappeared right after, but she came back to meet you many other nights, in your house garden or directly in your room, when you would open the window and invite her to come in and drink your blood again. Even she grew fond of you: after drinking your blood for weeks, to prevent your death she decided to give you the dark gift that would turn you into an immortal night wanderer. Then she vanished forever, leaving you to your destiny with the memory of her fiery eyes and eager lips.\n\n> You examine the stool\nOn this kneeling stool you spent entire nights praying for the return of Lilith. On the shelf you also carved the phrase \"Gutta cavat lapidem\" to spur you to persist and not lose hope of finding your lover.\n\n> You move painting\nIt's better to leave that at its stead.\n\n> You go west\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\n> Go south\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nAt the centre of the chamber, on a low pedestal of grey stone, you can see the white wooden coffin, in which Sabrina, your latest lover, rested. It is decorated with the images of red roses and the letters S. C.\n\nThe coffin is closed.\n\n> You go east\nYou try to go to east, but you have to halt when you see the big white cross painted on the floor. An obstacle that is insurmountable for you, placed by someone who wants to prevent you from leaving your hideout.\n\n> You look at the cross\nSimply frightening.\n\n> Summon sabrina\nFirst you should open the coffin.\n\n> Go south\nIf you weren't more than accustomed to horrific views of death and destruction, what is under your feet would make you jump back. Painted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings.\n\nWhile you look at the forked tongues projecting out of their mouths, you seem to hear them hissing: they curse those who reduced you to such a miserable form and ask for your return onto the throne of darkness. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\n> You count the snakes\nLed by a sudden curiosity, you start to count the snakes drawn on the floor to know exactly how many they are. However, after a while, you lose count and have to start over again. Your excellent sight in the dark is still too weak and you can't focus for more than a few seconds. At the end, there seem to be 104 snakes.\n\n> You examine the snakes\nAs the bats and the spiders, also these snakes were drawn by yourself. You have always had a passion for painting that over the centuries you have been able to cultivate with great effort, achieving - as in this case - remarkable results. At the moment you don't remember for which reason you decided to cover the walls with snakes, however there are a lot, although you can't say exactly how many.\n\n> You examine the door\nThe solid wooden door on the southern wall of the snakes room is curiously without any keyhole. However, at its side is a lever that may allow you to open (and close) it.\n\nThe door is closed.\n\n> You pull the lever\nIt seems to be stuck.\n\n> You look at the lever\nThe lever is in the high position, you can try to pull it and set it in the low position.\n\nAt its side is a slot.\n\n> Examine slot\nThe slot is a little vertical opening near the door.\n\nIt's possible to insert something into it, if you have an object small enough.\n\n> Go west\nAlthough many years have passed since the last time you used these amazing devices of pain and death, the torture chamber still smells of the fear and blood of the poor wretches that ended up here. If you concentrate, you can hear their screams, which still gives you a fit of pleasure.\n\nA threatening iron maiden is at the centre of the room. Between the chains hanging from the ceiling, you see a breaking wheel and a pillory. There is also a rusty cage, in which you enjoyed to lock - this you remember well - the mates of the people you were torturing. So they could see what they would soon endure. To the east you may return to the snakes room.\n\nYou can see a bottle of liquor and a black leather mask here.\n\n> You look at the mask\nThis is the leather mask that you liked to wear while you tortured your prisoners. Painted on it there is a horrible skull, which makes it even more frightful.\n\n> You examine the liquor\nWith this bottle of liquor you liked to disinfect the wounds of your prisoners, after scattering salt on them. On the label there is a skull that is a quite significant indicator of its alcohol by volume.\n\n> You listen\nAround you, there is an absolute and distressing silence.\n\n> You take the mask and the bottle\nblack leather mask: Taken.\nbottle of liquor: Taken.\n\n> You examine the cage\nIn this cage you used to lock up your prisoners to show them the horrible tortures that you inflicted on their mates.\n\nThe cage is closed.\n\nIn the cage is a skeleton.\n\n> You examine the skeleton\nLooking at those fetid bones, you suddenly remember the reverend Maximilian Bauer. Another fool who ignited your anger by attempting to destroy you with an exorcism. You sentenced him to be eaten alive by rats. Probably, when you caught him and locked in the cage, he thought he would be \"only\" tortured and killed by starvation, as many others before him. But you felt so inspired that night that you decided to use your telepathic powers to set up a memorable execution. It is impossible to forget his face when he saw the horde of rats entering the torture chamber and then filling up the cage, feasting upon him...\n\n> You examine the maiden\nConsidered one of the most amazing torture devices in human history, the iron maiden is an iron cabinet with a hinged front and spike-covered interior, tall enough to accommodate a human being. The spikes can pierce the victim's body without damaging the vital organs, thus causing the victim to slowly and dreadfully bleed to death. Actually, your prisoners had already bled dry enough at the time when you locked them up in the iron maiden. However it was wonderful to listen to their cries while the spikes tore them apart.\n\nThe iron maiden is closed.\n\n> You open it\nYou open the iron maiden. It's empty, but the view of the spikes is delicious.\n\n> You look at the spikes\nThe spikes are rusty, blood encrusted, very long and sharp... It's really a pity you have no prisoner to close into the iron maiden.\n\nThere is some blonde hair caught on the spikes.\n\n> You examine the hair\nThe long blonde hair you are looking at probably belonged to Sandra Koch. She was a vampire hunter who wanted to revenge the death of her sister Samantha, killed by you in Vienna. Captured by your servants while she was looking for your hideout, she indeed found you but this wasn't good news for her.\n\nStruck by her beauty and her rebel attitude, you spent a lot of nights drinking her blood and torturing her endlessly, pulling out of her every kind of shriek. Eventually she asked for death as a relief and you decided to give her a really impressive execution, locking her up in the iron maiden.\n\nProbably, when you got her out of it, some hair got caught on the spikes. You cut her body to pieces and gave it to the wolves that infested the mountain slope, then you smiled and shouted in the night: \"Next!\"\n\n> You take hair\nTaken.\n\n> You examine the wheel\nThe breaking wheel looks painful.\n\n> You look at the pillory\nThe pillory is secured to the floor with a sturdy iron base.\n\nThe pillory is closed.\n\n> You examine the cage\nIn this cage you used to lock up your prisoners to show them the horrible tortures that you inflicted on their mates.\n\nThe cage is closed.\n\nIn the cage is a skeleton.\n\n> Go east\nPainted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\n> You go east\nYou are in a room lacking decorations that seems to be a sort a storage room, where you kept your clothes and the tools that you could need when you were in action. A big wardrobe is on the back wall, while on the floor you see a heavy chest. To the west you may return to the snakes room.\n\n> You look at the wardrobe\nIt's closed.\n\n> You open it\nYou open the wardrobe, revealing a black cloak.\n\n> You examine the cloak\nWith this black cloak on, you carried out your bloodiest actions, spreading terror all over the world and destroying anyone who dared to oppose your dark supremacy. The view of it alone gives you strength and you are sure that wearing it again could help you regain all your energy.\n\n> You take the cloak\nTaken.\n\n> You wear it\nYou wear the cloak and you feel stronger.\n\n> You wear the mask\nWearing the mask you can still feel the smell of the blood and the fear of the prisoners whom you tortured.\n\n> Open chest\nYou open the chest, revealing an axe.\n\n> You examine the axe\nYour eyes shine while you look at the axe you used to cut to pieces the corpses of your victims, before feeding them to the wolves.\n\n> Go west\nPainted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\n> You count the snakes\nYou aren't convinced that the snakes are exactly 104, so you decide to count them again. Even this time you have to do many attempts to complete the task, but maybe it has been worth because now you know the snakes are 103, instead of 104.\n\n> You go to the north\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\n> You count the spiders\nYou aren't convinced that the spiders are exactly 69, so you decide to count them again. Even this time you have to do many attempts to complete the task, but maybe it has been worth because now you know the spiders are 70, instead of 69.\n\n> You look at the wheel\nActually you needn't bother with the small wheels and the handle: in order to attempt to open the door, just type \"open door\" and then enter the combination.\n\n> You open the door\nWhat combination do you want to try to open the door?\n\n> 7210\nThe door opens.\n\n> You go north\nYour hideout wouldn't be complete without a place for storing your treasures. Your minions have always been too curious and bold for your liking, so you had this big and impregnable safe made that, as you predicted, perfectly resisted the attack of your killers. The room is indeed full of treasures. Maybe, if you had also protected the access to your crypt with such a security door, you wouldn't have ended up so bad.\n\nActually, you're almost glad to have been murdered so horribly because, now that you are alive again, you can plan a terrible revenge. To the south you may return to the spiders room.\n\n> You look at the treasures\nThe treasures stored in this room form a shiny heap of golden and silver coins, jewels, precious stones, that overflows the chests and covers almost all the floor, with paintings, sculptures and other items of inestimable value. It is a wealth conquered in over one thousand years of life, that also includes a lot of houses scattered all over the world, that you will soon haunt again.\n\nPlunging your eyes and hands in your treasures, you recover your beloved Stradivarius violin, an exquisite piece of art that you've played for centuries, in your happiest moments.\n\n> You examine the violin\nAh, here is your fabulous Stradivarius violin. A really exquisite piece of your collection of treasures stolen all around the world. Music and musical instruments are among the things you love most.\n\n> You play violin\n(first taking the violin)\nTo play the violin you should have the bow.\n\n> You search the treasures\nThe treasures stored in this room form a shiny heap of golden and silver coins, jewels, precious stones, that overflows the chests and covers almost all the floor, with paintings, sculptures and other items of inestimable value. It is a wealth conquered in over one thousand years of life, that also includes a lot of houses scattered all over the world, that you will soon haunt again.\n\nSearching well in your treasures, you also find the violin bow. However, the horsehair bundle is gravely frayed and it's unlikely that you can play the violin with it.\n\n> You attach the hair to the bow\nAttempting to repair the frayed bundle of the bow with the hair found in the iron maiden is a really complicated work. However, at the end, you seem to have done a good job that could allow you to play the violin again.\n\n> You play the violin\nTo play the violin you should have the bow.\n\n> You search the treasure\nThe treasures stored in this room form a shiny heap of golden and silver coins, jewels, precious stones, that overflows the chests and covers almost all the floor, with paintings, sculptures and other items of inestimable value. It is a wealth conquered in over one thousand years of life, that also includes a lot of houses scattered all over the world, that you will soon haunt again.\n\n> You go south\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nAt the centre of the chamber, on a low pedestal of grey stone, you can see the white wooden coffin, in which Sabrina, your latest lover, rested. It is decorated with the images of red roses and the letters S. C.\n\nThe coffin is closed.\n\nA big white cross painted on the floor blocks the passage that goes to east.\n\n> Go south\nPainted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\n> Chop coffin\nYou hit the coffin with your axe, starting to break the decorated lid. You go on with the demolition until you see what remains of what, once, was the body of a beautiful girl. So, Sabrina was buried alive in her own coffin. Your killers hadn't even shown some mercy for a defenceless girl. They killed her in so horrible a way that shall be revenged, along with your horrific execution, as soon as possible.\n\n> You look at Sabrina\nThe corpse is in an advanced state of decay: it's difficult to recognize the forms and the lineaments of the beautiful lady who had the honour to rest near you in your hideout. Now, she's naked, bald, with hands and feet tied, a big \"V\" branded on her forehead and the mouth open in a mute scream of desperation. Before being buried alive, Sabrina must have suffered every kind of atrocity: these tortures must be revenged as your horrific execution must.\n\n> You put the medallion in the slot\n(before you remove the medallion)\n\nYou insert the medallion into the slot, leaving the small chain hanging along the wall.\n\n> You pull the lever\nYou hear a click when you pull the lever.\n\n> You open the door\nYou open the door.\n\n> You take the medallion\nThe medallion is stuck into the slot: no matter how hard you pull its chain, it doesn't seem to come out.\n\n> You go to the south\nMany of the wretches that wanted to put an end to your atrocities spent their last hours of life here, waiting to see what fate they would face, after daring to oppose to your wicked supremacy. Caught by your minions on the mountain slope, while they tried to achieve their silly goals, they had been locked up in this narrow cell and left in the deepest darkness for days and nights, without food and water, until you felt inspired enough to take care of them. The walls, the ceiling, the floor and also the door have been covered with graffiti - some of which written in blood - that report curses and prayers of every kind, all unheard, seemingly. The exit that leads to the snakes room is to the north.\n\n> You examine the graffiti\nAmong the innumerable and delirious messages written on the cell walls, you find something interesting: a magic formula that seems to have the power to summon the spirits of the dead from the netherworld.\n\n> You examine the formula\nReciting this magic formula, you should have the power to summon the spirits of the dead from the netherworld.\n\n> Go north\nPainted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\nThe small chain of your medallion hangs from the slot at the side of the lever, near the wooden door on the south wall.\n\n> Go north\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nAt the centre of the room is the demolished coffin in which lies the decayed corpse of your latest lover, Sabrina.\n\nA big white cross painted on the floor blocks the passage that goes to east.\n\n> You recite\nWhat do you want to recite?\n\n> You recite the formula\nFirst you should learn it.\n\n> You learn the formula\nYou learn the magic formula to summon the spirits from the netherworld. Now, to verify if it works, you just have to recite it in an appropriate place.\n\n> You recite formula\nStretching out your arms to receive the occult forces that you are going to summon, you recite the magic formula found among the graffiti in the cell. A mysterious sorcery that you didn't know before today. However, it seems to work well: when you finish to utter the words of the formula, Sabrina's ghost appears in front of you, exiting from the mouth of her corpse.\n\n\"Oh, Martin!\" exclaims the sepulchral apparition. \"Have you seen what those bastards did to me? It was professor Anderson and his gang, those who already came to look for you at my village. They eventually found our hideout. They arrived to the camp in the morning. They were a lot and well-armed, your minions were taken by surprise and they were overpowered and slain in few hours.\"\n\n\"I was spared only to suffer a worse fate\" continues the spectre. \"They knew who I was and said that I would have a special treatment. They ripped my clothes off and shaved my hair off, before whipping me and beating me up to allow me to 'expiate my sins'. Then they branded me with the vampire symbol. When they brought me here, I had gone through so much pain I couldn't stay on foot. Before burying me alive in the coffin, they forced me to attend your execution and that was the most horrible moment.\"\n\n\"I tried to advise you of their coming\" says Sabrina after a pause caused by the tension that those terrible memories still cause in her. \"I shouted and shouted with all my breath, while we walked through the tunnel leading to your crypt. But you were sleeping, you couldn't wake up, so they killed you merciless. Now, seeing you alive again is a great joy for me because I'm sure that my death will be revenged together with yours and who did us wrong will die in horrible pain. Maybe, one day, you'll find the way to get me out of this damned place, where there's no escape from suffering and everything burns, burns, buuurns!\"\n\nSuddenly Sabrina's corpse and the coffin catch fire in front of you, as if they have been reached by the same hell flames that tortured the girl's soul. While you look at the fire burning up, you seem to see Sabrina's spirit leave this reality to return to the netherworld.\n\n> You go west\nAlthough many years have passed since the last time you used these amazing devices of pain and death, the torture chamber still smells of the fear and blood of the poor wretches that ended up here. If you concentrate, you can hear their screams, which still gives you a fit of pleasure.\n\nA threatening iron maiden is at the centre of the room. Between the chains hanging from the ceiling, you see a breaking wheel and a pillory. There is also a rusty cage, in which you enjoyed to lock - this you remember well - the mates of the people you were torturing. So they could see what they would soon endure. To the east you may return to the snakes room.\n\n> You recite the formula\nIt's better not: if the spirit of the skeleton came from the netherworld, he could want to take revenge upon he who reduced him so.\n\n> You open the cage\nYou unlock and open the cage.\n\n> You take the skeleton\nI'm afraid taking the whole skeleton would be complicated. Why don't you just take one bone?\n\n> You take the bone\nYou get a shinbone from the skeleton.\n\n> You close the door\nYou close the door.\n\n> You take the medallion\nThe medallion is stuck into the slot: no matter how hard you pull its chain, it doesn't seem to come out.\n\n> You open the door\nYou open the door.\n\n> You examine the bone\nThis shinbone belonged to the reverend Maximilian Bauer, an old enemy who you condamned to be eaten alive by rats.\n\n> You go to the north\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nAt the centre of the room is a coffin on fire, in which the corpse of your lover Sabrina is burning.\n\nA big white cross painted on the floor blocks the passage that goes to east.\n\n> You go to the west\nThe books that fill the shelves of your library have been your best friends over the centuries. With their engaging stories they helped you to cope with the loneliness in which every vampire is forced to spend most of his life. At the centre of the room is a desk still covered with papers; behind it you can see a priceless human-skin armchair. To the east you return to the spiders room.\n\n> You move the western shelf\nIn theory you would be still too weak to move one of the heavy shelves. However, wearing your cloak you seem to have regained some of your usual energy and wickedness. Indeed, after some useless efforts, you succeed in removing one the shelves from the wall, finding a secret passage that leads to west.\n\n> You go west\nNow that you are here you remember this room. A hiding place designed to protect a very important item: your copy of Necronomicon, the very rare black magic book that allows to summon demons and reach the most frightful dimensions of the universe. The volume is where you left it, on a lectern at the centre of the room. It seems to invite you to use its occult powers again. To the east you may return to the library room.\n\nHung on the back wall, there is a cloth flag with a dark dragon.\n\n> You look at the flag\nThe dragon has always been the emblem of your family. Initially it was white, but you turned it into black to make it more appropriate to your status of prince of darkness.\n\nThe flag is a bit frayed.\n\n> You look at the book\nWritten in blood and bound with human skin, the Necronomicon is a cursed book whose existence many people even prefer to deny. The Church tried to delete every trace of it for centuries, after putting it on a blacklist. Many of those who used it, to summon the demons and visit the frightful places of the netherworld, were killed by the same forces they had tried to dominate. But you, who don't fear the death because you're already dead, have always known how to take advantage of the power of Necronomicon. A quick look at the book index is enough to find what you need: the spell to summon Praseidimio, a powerful demon who already helped you in the past. To have him at your service again, you just have to call his name.\n\n> You read the book\nWritten in blood and bound with human skin, the Necronomicon is a cursed book whose existence many people even prefer to deny. The Church tried to delete every trace of it for centuries, after putting it on a blacklist. Many of those who used it, to summon the demons and visit the frightful places of the netherworld, were killed by the same forces they had tried to dominate. But you, who don't fear the death because you're already dead, have always known how to take advantage of the power of Necronomicon. A quick look at the book index is enough to find what you need: the spell to summon Praseidimio, a powerful demon who already helped you in the past. To have him at your service again, you just have to call his name.\n\n> You look at the lectern\nFocus on the book.\n\n> Go east\nThe books that fill the shelves of your library have been your best friends over the centuries. With their engaging stories they helped you to cope with the loneliness in which every vampire is forced to spend most of his life. At the centre of the room is a desk still covered with papers; behind it you can see a priceless human-skin armchair. To the east you return to the spiders room.\n\nTo the west, behind a moved shelf, you see a passage that leads to a secret room.\n\n> You put the flag on the cross\nThe power of the cross is too great to overcome it simply covering it with the flag.\n\n> Wave flag\nYou look ridiculous waving the flag.\n\n> You wish for the revenge\nIf you want to make a wish, just tell Praseidimio about that.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You tell the demon about the revenge\n\"Tell me about the wish you would like me to grant\" Praseidimio says. \"So I'll decide whether to fulfil it or not.\"\n\n> You tell the demon about Anderson\n\"A tough cookie\" Praseidimio says. \"Very tough, maybe too tough!\"\n\n> You tell demon about Sabrina\n\"A graceful girl, who thanks to you will be doomed forever\" Praseidimio says.\n\n> You tell demon about Lilith\n\"A really powerful vampire and... a really charming woman\" Praseidimio says.\n\n> You tell the demon about blood\n\"A priceless thing!\" Praseidimio says. \"Especially for you vampires.\"\n\n> You tell the demon about cross\n\"A gadget which soon goes out of style\" Praseidimio exclaims.\n\n> You go north\nPraseidimio follows you.\n\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Go east\nPraseidimio watches you going to east and says: \"I'm sorry, but I'm not willing to follow you there. I'll stay here and wait for your return.\"\n\nYou are in a small painted black room that appears to be a temple. You can see a kneeling stool in front of a large painting with a golden frame, hung on the back wall. The subject of the picture is Lilith, the gorgeous and cruel vampire who, more than a thousand years ago, threw you in this bloody abyss of darkness, letting you drink her blood after having pierced your jugular with her long, sharp canines so many times.\n\nMuch time has passed since then, but you never forgot the encounter that changed your life (and your death) forever. Hence you created this place of prayer to keep in contact with her, certain that one day Lilith will answer to your invocations and return to you. To the west a passage leads to the spiders room.\n\n> Pray\nYou join your hands and start to pray for the return of Lilith, without anything happening.\n\n> Go west\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Go west\nPraseidimio follows you.\n\nThe books that fill the shelves of your library have been your best friends over the centuries. With their engaging stories they helped you to cope with the loneliness in which every vampire is forced to spend most of his life. At the centre of the room is a desk still covered with papers; behind it you can see a priceless human-skin armchair. To the east you return to the spiders room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nTo the west, behind a moved shelf, you see a passage that leads to a secret room.\n\n> You go south\nPraseidimio follows you.\n\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nAt the centre of the room is a coffin on fire, in which the corpse of your lover Sabrina is burning.\n\nA big white cross painted on the floor blocks the passage that goes to east.\n\n> You go east\nThe white cross drawn on the floor prevents you from going to east.\n\nDo you want to ask Praseidimio to help you overcome the cross? (y/n)\n\n> Y.\nPraseidimio refuses to fulfil your wish, saying that you can overcome the cross on your own.\n\n> You look at the fire\nIt's a terrible sight that makes you understand how lucky you are to be an immortal evil vampire, who'll never goes to burn to hell.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You check what you're carrying\nYou are carrying:\na flag\na shinbone\nan axe\na violin bow\na violin\na bottle of liquor\n\nYou are wearing:\na black cloak\na black leather mask\nyour suit\nan iron key\nyour boots\n\nYou also have:\na magic formula\n\n> You pour liquor on the flag\nIt would be useless.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You put the flag in the bottle\nI'm sure you can find more important things to do.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You play the violin\nYou play a music so sweet that moves also Praseidimio.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You go north\nPraseidimio follows you.\n\nPainted on the walls, the floor and the ceiling, the giant spiders that surround you make for a rather disquieting company, even for you. Although perfectly still and little more than stylised drawings, they appear to be extraordinarily alive with shiny yellow eyes and wide open mandibles.\n\nTo the south you may return to the bats room, to the east and to the west you can explore other rooms of the hideout, to the north you see a solid iron door.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Go east\nPraseidimio watches you going to east and says: \"I'm sorry, but I'm not willing to follow you there. I'll stay here and wait for your return.\"\n\nYou are in a small painted black room that appears to be a temple. You can see a kneeling stool in front of a large painting with a golden frame, hung on the back wall. The subject of the picture is Lilith, the gorgeous and cruel vampire who, more than a thousand years ago, threw you in this bloody abyss of darkness, letting you drink her blood after having pierced your jugular with her long, sharp canines so many times.\n\nMuch time has passed since then, but you never forgot the encounter that changed your life (and your death) forever. Hence you created this place of prayer to keep in contact with her, certain that one day Lilith will answer to your invocations and return to you. To the west a passage leads to the spiders room.\n\n> Go south\nPraseidimio follows you.\n\nPainted on the floor, snakes of every colour and size crawl and coil on each other, creating an apparently entangled mess. Some of them also climb onto the walls, brushing against the ceiling and making seemingly meaningless drawings. To the north there is the passage that goes to the bats room, to the south a solid wooden door (without a keyhole), to the east and to the west the entrances to two other rooms.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nThe small chain of your medallion hangs from the slot at the side of the lever, near the wooden door on the south wall.\n\n> Go west\nPraseidimio follows you.\n\nAlthough many years have passed since the last time you used these amazing devices of pain and death, the torture chamber still smells of the fear and blood of the poor wretches that ended up here. If you concentrate, you can hear their screams, which still gives you a fit of pleasure.\n\nA threatening iron maiden is at the centre of the room. Between the chains hanging from the ceiling, you see a breaking wheel and a pillory. There is also a rusty cage, in which you enjoyed to lock - this you remember well - the mates of the people you were torturing. So they could see what they would soon endure. To the east you may return to the snakes room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You recite the formula\nIt's better not: if the spirit of the skeleton came from the netherworld, he could want to take revenge upon he who reduced him so.\n\n> You check what you're carrying\nYou are carrying:\na flag\na shinbone\nan axe\na violin bow\na violin\na bottle of liquor\n\nYou are wearing:\na black cloak\na black leather mask\nyour suit\nan iron key\nyour boots\n\nYou also have:\na magic formula\n\n> You pour the liquor on the cross\nYou're crazy if you think to overcome the cross power by pouring the liquor on it.\n\n> You pour liquor on the fire\nIt's better not, you would risk to burn the entire hideout.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Burn cross\nI doubt it's useful to set fire to the cross.\n\n> Chop cross\nCutting that up would achieve little.\n\n> You burn liquor\nI doubt it's useful to set fire to the bottle of liquor.\n\n> You attach the flag to the bone\nThe flag is too large to tie it to the bone. Why don't you try to make it smaller?\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You rip the flag\nYou rip the flag, obtaining some cloth stripes.\n\n> You tie the stripes to the bone\nYou tie the stripes to the bone and roll them around one of its extremities, making a sort of rudimentary torch. Now, to light it up, you have to find some fuel and, obviously, a fire.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> Light torch\nBefore lighting up the torch with the fire from the coffin, you should pour some fuel on it to be sure it burns well and long enough.\n\nBefore lighting up the torch with the fire from the coffin, you should pour some fuel on it to be sure it burns well and long enough.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You pour the liquor on the torch\nYou pour some liquor on the torch. Now, to light it up, you just need some fire.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You pour the liquor on the torch\nYou already did it.\n\n> Light torch\nYou put the torch, drenched with alcohol, on the flaming coffin: it lights up and starts to burn slowly.\n\n> Light cross\nI doubt it's useful to set fire to the cross.\n\n> Go south\nPraseidimio follows you.\n\nMany of the wretches that wanted to put an end to your atrocities spent their last hours of life here, waiting to see what fate they would face, after daring to oppose to your wicked supremacy. Caught by your minions on the mountain slope, while they tried to achieve their silly goals, they had been locked up in this narrow cell and left in the deepest darkness for days and nights, without food and water, until you felt inspired enough to take care of them. The walls, the ceiling, the floor and also the door have been covered with graffiti - some of which written in blood - that report curses and prayers of every kind, all unheard, seemingly. The exit that leads to the snakes room is to the north.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Burn web\nI doubt you can do it with some spiders painted on the floor.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> Burn self\nI doubt it's useful to set fire to yourself.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> Go north\nPraseidimio follows you.\n\nYour hideout wouldn't be complete without a place for storing your treasures. Your minions have always been too curious and bold for your liking, so you had this big and impregnable safe made that, as you predicted, perfectly resisted the attack of your killers. The room is indeed full of treasures. To the south you may return to the spiders room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You go to the east\nYou can go only south.\n\n> Burn painting\nI doubt it's useful to set fire to the picture.\n\n> Burn books\nI doubt it's useful to set fire to the books.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Burn papers\nI doubt it's useful to set fire to the papers.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> Go west\nPraseidimio follows you.\n\nThis hiding place was designed to protect a very important item: your copy of Necronomicon, the very rare black magic book that allows to summon demons and reach the most frightful dimensions of the universe. The volume is where you left it, on a lectern at the centre of the room. It seems to invite you to use its occult powers again. To the east you may return to the library room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You look at what you're carrying with you\nYou are carrying:\na torch\nan axe\na violin bow\na violin\na bottle of liquor\n\nYou are wearing:\na black cloak\na black leather mask\nyour suit\nan iron key\nyour boots\n\nYou also have:\na magic formula\n\n> Go west\nPraseidimio follows you.\n\nYou're walking through the east-west tunnel which connects the crypt with the other rooms of the hideout. It is a narrow passage of irregular stone that nobody had dared to walk through before the arrival of the fools who (temporarily) put an end to your life.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Go west\nPraseidimio follows you.\n\nHidden in the bowels of the mountain, this chamber has hosted your immortal body for centuries, while your enemies spent their miserable days hunting you down at your castle. The coffin is on a stone pedestal at the centre of the room. On the ceiling is a fresco of the red sun of Valmar. To the east a narrow tunnel leads to the other rooms of your hideout.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> Light Praseidimio\nI doubt it's useful to set fire to the demon Praseidimio.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> Burn sun\nI'm sure you can find more important things to do.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You look at the pedestal\nThe coffin lies on a massive block of black stone on which your name has been engraved: \"Martin Voigt\". There is also the ancient motto: \"Nemo me impune lacessit\". An expression that you reread with particular pleasure, waiting to transform it into a lethal reality.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You look in the coffin\nIn the coffin is a wooden stake.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You take the stake\nYou really want to take it back?! After it kept you nailed to your coffin for years? You'd rather not.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> Burn stake\nI doubt it's useful to set fire to the wooden stake.\n\n> You go to the east\nPraseidimio follows you.\n\nYou're walking through the east-west tunnel which connects the crypt with the other rooms of the hideout. It is a narrow passage of irregular stone that nobody had dared to walk through before the arrival of the fools who (temporarily) put an end to your life.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You put the torch in chain\nThat can't contain things.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You pull the chain\nNothing obvious happens.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> Sing\nYou sing a song to the devil, without achieving any (apparent) help.\n\n> Go north\nNo problem!\n\n> You take the book\nIt's better not to bring the Necronomicon outside of its hiding place.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You look at the books\nActually the amount of books that you see here is only a small part of that, certainly bigger, collection that you amassed over the centuries in the library room of your castle. However, between the most recent volumes, there are all the most famous vampire tales written by Bram Stoker, Joseph Sheridan Le Fanu, John William Polidori, Charles Nodier, Marcel Schwob, Stanislaus Eric Stenbock, Julian Osgood Field, Anne Rice, Richard R. McCammon and Fred Saberhagen.\n\nThere are also the frightful stories of Edgar Allan Poe, Ambrose Bierce, Howard Phillips Lovecraft, Stephen King, Clive Barker and the delirious works of Franz Kafka, Tommaso Landolfi and Dino Buzzati.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You examine the paintings\nThe treasures stored in this room form a shiny heap of golden and silver coins, jewels, precious stones, that overflows the chests and covers almost all the floor, with paintings, sculptures and other items of inestimable value. It is a wealth conquered in over one thousand years of life, that also includes a lot of houses scattered all over the world, that you will soon haunt again.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\n\n> Go east\nPraseidimio watches you going to east and says: \"I'm sorry, but I'm not willing to follow you there. I'll stay here and wait for your return.\"\n\nYou are in a small painted black room that appears to be a temple. You can see a kneeling stool in front of a large painting with a golden frame, hung on the back wall. The subject of the picture is Lilith, the gorgeous and cruel vampire who, more than a thousand years ago, threw you in this bloody abyss of darkness, letting you drink her blood after having pierced your jugular with her long, sharp canines so many times.\n\nMuch time has passed since then, but you never forgot the encounter that changed your life (and your death) forever. Hence you created this place of prayer to keep in contact with her, certain that one day Lilith will answer to your invocations and return to you. To the west a passage leads to the spiders room.\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\npassage: That's fixed in place.\n\n> Go west\nPraseidimio follows you.\n\nThis hiding place was designed to protect a very important item: your copy of Necronomicon, the very rare black magic book that allows to summon demons and reach the most frightful dimensions of the universe. The volume is where you left it, on a lectern at the centre of the room. It seems to invite you to use its occult powers again. To the east you may return to the library room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\nflaming coffin: It's better not, you would risk to burn yourself. cross: That's fixed in place.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You look at the fire\nIt's a terrible sight that makes you understand how lucky you are to be an immortal evil vampire, who'll never goes to burn to hell.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Search fire\nThe flaming coffin is empty.\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\nmedallion: The medallion is stuck into the slot: no matter how hard you pull its chain, it doesn't seem to come out.\n\n> You go to the east\nPraseidimio follows you.\n\nYou are in a room lacking decorations that seems to be a sort a storage room, where you kept your clothes and the tools that you could need when you were in action. A big wardrobe is on the back wall, while on the floor you see a heavy chest. To the west you may return to the snakes room.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\n> You take all\ndemon Praseidimio: I don't suppose the demon Praseidimio would care for that.\n\n> You pull the lever\nFirst you should close the door.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You close the door\nYou close the door.\n\n> You pull the lever\nYou hear a click when you pull the lever.\n\n> You take the medallion\nYou pull the small chain and take the medallion back that you inserted in the slot near the lever.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You wear the medallion\nYou put on the medallion.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You go east\nThe white cross drawn on the floor prevents you from going to east.\n\nDo you want to ask Praseidimio to help you overcome the cross? (y/n)\n\n> You examine the medallion\nThe medallion has your name carved on: \"Martin Voigt\". It is attached to a small chain that allows to wear it.\n\n> You wear the medallion\nYou're already wearing that!\n\n> You count the bats\nYou aren't convinced that the bats are exactly 103, so you decide to count them again. Even this time you have to do many attempts to complete the task, but maybe it has been worth because now you know the bats are 102, instead of 103."
    },
    {
        "text": "> Look around\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nAt the centre of the room is a coffin on fire, in which the corpse of your lover Sabrina is burning.\n\nA big white cross painted on the floor blocks the passage that goes to east.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You examine the cross\nSimply frightening.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You examine the mask\nThis is the leather mask that you liked to wear while you tortured your prisoners. Painted on it there is a horrible skull, which makes it even more frightful.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You take the mask\nYou already have that.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You remove the cloak\nYou take off the black cloak.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You put the cloak on the cross\nThe power of the cross is too great to overcome it simply covering it with the cloak.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You wear the cloak\nYou wear the cloak and you feel stronger.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> Kneel\nYou kneel on the stool, in front of the painting of Lilith.\n\n> Pray\nKneeling in front of her picture, you pray for the return of Lilith. You need her more than ever, at this moment of great difficulty. At the beginning you can't find the words, then you remember the invocations repeated for centuries, waiting for the return of the only woman that is really important for you. Often, many hours would pass before you got up, without anything happening.\n\nRather unusually, this time, as you've just started to repeat your supplications the picture of the vampire comes to life and starts speaking, emanating a diabolical halo of red light: \"Martin Voigt, how much time has passed since the last time we met? Your death grieved me and I'm glad to have you in my sight again.\"\n\nYou smile, but Lilith frowns at you and says: \"I know you're happy to see me again, but this is no time for love. If you think I'm the one who performed the magic that brought you to life, you're right. If you think I did it to allow you to accomplish your goal of revenge, you're wrong. I've a more ambitious and lethal project for you.\"\n\n\"Unfortunately you still seem to be very weak\" she continues. \"I doubt you can go further in such a feeble state. Maybe I have to give you another bit of help to let you recover your energy and leave your hideout. But, first, I have to verify that you still know the basis of our history. If you give the correct answer to my question, I shall instill in you the power to overcome one of the obstacles set in your way... How many rays has the red sun of Valmar that lights up the dark nights of us vampires?\"\n\n> 8\n\"You're right, my dear!\" says Lilith. \"I congratulate you on your memory, it seems that your powers haven't weakened that much in these years of oblivion. However, to help you overcome the obstacles that bar your way to freedom, I'll offer you my curse.\"\n\nThe charming vampire points her finger at you and instills in you a new, wicked energy.\n\n\"Now you may fearlessly face the symbols and the spells that your enemies set in your way\" she explains. \"When you come out, forget your foolish plan of revenge and come to me at the Yoshiwara Club. I'm gathering the largest army of vampires in history, to prepare for the battle that will lead us to subdue humankind. Soon we'll turn the most frightening fantasies into reality and take what should have long been ours: the world!\"\n\n\"Don't worry now about the road to the Yoshiwara Club, at the right moment the Love will drive you there\" ends Lilith, before vanishing in a final blinding flash of red light.\n\n> You go to the west\nYou'll have to get off the kneeling stool first.\n\n> You stand\nYou get off the kneeling stool.\n\nYou are in a small painted black room that appears to be a temple. You can see a kneeling stool in front of a large painting with a golden frame, hung on the back wall. The subject of the picture is Lilith, the gorgeous and cruel vampire who, more than a thousand years ago, threw you in this bloody abyss of darkness, letting you drink her blood after having pierced your jugular with her long, sharp canines so many times.\n\nMuch time has passed since then, but you never forgot the encounter that changed your life (and your death) forever. Hence you created this place of prayer to keep in contact with her, certain that one day Lilith will answer to your invocations and return to you. To the west a passage leads to the spiders room.\n\n> You go to the south\nPraseidimio follows you.\n\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nAt the centre of the room is a coffin on fire, in which the corpse of your lover Sabrina is burning.\n\nA big white cross has been painted on the floor of the passage that goes to east.\n\n> Go east\nProtected by the curse received from Lilith, you easily overcome the white cross painted on the floor and proceed to east, followed by Praseidimio.\n\nBeyond the cross drawn on the floor to impede your passage, there is a narrow corridor that goes from west to east. It connects the bats room with the stone steps that should lead out of your hideout, towards the dark maze of caves that hides its entry. On the floor, the ceiling and the walls, you can see many other magic symbols. They have been drawn to avoid your escape, but their effect on you is nullified by Lilith's curse.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nThe impossibility of seeing your image reflected in a mirror is one of the things that you hate most about your vampire condition. So the gigantic mirror that is in your way towards your freedom, to the east, is a horrible view to you. Your persecutors thought of everything to keep you imprisoned in your own hideout. The mirror is too large to be covered, bypassed or climbed upon, so you have to find a way to destroy it, if you want to leave the hideout.\n\n> Break mirror\nThe axe hits the mirror without scratching it. Clearly it's unbreakable.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Burn mirror\nI doubt it's useful to set fire to the mirror.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You examine the mirror\nThe mirror is too frightening for you to examine it carefully. However, it's too large to be covered, bypassed or climbed upon, so you have to find a way to destroy it, if you want to leave the hideout.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You go east\nThe mirror blocks your way.\n\nDo you want to ask Praseidimio to help you to break the mirror? (y/n)\n\n> Y.\nPraseidimio stares at the mirror uncertain. Being near him you see that his image too isn't reflected but he doesn't seem to care about it. Probably a small gesture would be enough for him to break the mirror, as it was for you when you were at the top of your strength.\n\nAt last, acknowledging that it's a problem too difficult to solve for a vampire in such a bad condition, the demon agrees to grant your wish. He points one of his shapeless excrescences to the mirror and breaks it, scattering its small fragments on the floor.\n\n\"You've been satisfied\" says Praseidimio, before disappearing in a cloud of red smoke. \"Now go on with your revenge. And may the red sun of Valmar shine on your dark nights of vampire!\"\n\n> You go to the east\nThrough a twisty maze of tunnels, you've reached the cave that leads out of mountain bowels, to the east. Just another effort and you'll be free to go to Lilith at the Yoshiwara Club and accomplish your revenge. However, to the west you can return to the dark gallery that takes to your hideout.\n\nA big black wolf stands between you and the exit.\n\n> You examine the wolf\nHaving come in to have a shelter for the night, the animal must be very hungry. Its fangs are longer and pointier than yours: leaving the cave without being eaten won't be easy. The wolf seems to have \"smelt\" your supernatural origin and this could have enraged it even more. Trying to bypass it seems to be impossible, and you're still too weak to attack it. Maybe, if you find the way to appease it, you can pass.\n\nThe wolf growls at you.\n\n> Bite wolf\nYou aren't strong enough to face the wolf.\n\nThe wolf growls at you.\n\n> Inventory\nYou are carrying:\na torch\na violin bow\na violin\na bottle of liquor\n\nYou are wearing:\na medallion\na black cloak\na black leather mask\nyour suit\nan iron key\nyour boots\n\nYou also have:\na curse\na magic formula\n\nThe wolf howls and looks at you with hateful eyes.\n\n> You burn wolf\nThe wolf is too fast for you to burn it with the torch. Besides, he doesn't seem to be scared by the fire.\n\nThe wolf howls and looks at you with hateful eyes.\n\n> You play the violin\nYou play some very sweet music that calms the wolf and makes it fall asleep.\n\n> Bite wolf\nIt would be a coward's deed to attack a sleeping wolf.\n\n> You go east\nOutside the cave, every sense of yours is assaulted by the garlic flowers planted all around the entrance. A new attempt to block your escape from the mountain bowels, to keep you from making the world your kingdom of terror again.\n\nLuckily the mask you are wearing has such a strong smell of blood that it attenuates the stench of garlic, allowing you to stay outside the cave, near the flowers. However, to continue your escape you must find the way to destroy the field which surrounds you.\n\nThe smell of the garlic field is terrible.\n\n> Light garlic\nWith your rudimentary torch, you set fire to the garlic field. The sight of the flowers burning is wonderful and soon the stink that prevented you from leaving the cave fades away, covered by the acrid smell of the fire and by the scent of your victory which gets closer.\n\nDelimited by the scree slope of the mountain, the fire quickly dies after destroying the field. The road to the freedom seems to be clear, but in such a bad condition you can't go far. You're still too weak to turn into a bat and fly away. Moreover, outside your hideout you won't have any protection, because you no longer know anyone that could help you.\n\nWhile you think how to recover your energy, you see a girl arriving from the botton of the slope. She has blonde hair, wears a violet dress and she seems to come towards you, probably drawn by the smoke of the fire. She quickly reaches the charred field, then she notices your presence and stops, uncertain.\n\n> You play the violin\nYou play a very sweet music that the girl seems to like.\n\n> You look at the girl\nThe girl is rather pretty: she has big blue eyes, long blonde hair and a gorgeous little body that inspires a sense of protection... or defeat that you are going to satisfy.\n\nThe girl seems to be scared by your horrible appearance.\n\n> Bite girl\nThe girl is too far for you to bite her before she runs away.\n\n> You remove the mask\nThe girl smiles when you remove the mask and show her your face. Maybe she was waiting for that to cross the charred field and reach you near the cave entrance. \"Sir, it's so strange meeting you here in the dead of night\" she exclaims, visibly excited. \"I'd like to ask you what you are doing here, all alone, and if it was you who set the field on fire, but maybe first all of all you should tell me your name.\"\n\nDo you want to reveal your identity to the girl? (y/n)\n\n> Y.\nYou show your medallion to the girl, who opens her eyes wide and represses an exclamation of surprise. \"You are Martin Voigt\" then she says, full of thrill. \"The ancient lord and master of all these lands and the people who live on them. I've heard a lot of times talking about you, but I thought you had died many years ago. Instead, you are alive. It's a honour for me to make your acquaintance, all my clan has always been faithful to you, serving you until your disappearance. Surely there will be a big party at the camp, when they know that you are back. Meanwhile I'll be at your service to satisfy every your need\" the girl says, getting closer.\n\n> Smell girl\nThe smell of burnt emanated from the field is delicious.\n\n> Bite girl\nThe girl is doomed. Maybe, if she had known who you really are, an evil vampire who only wants to drink blood and destroy everything, she wouldn't have offered you her help with so much generosity. But now it's too late to change her mind. The girl is so helpful that she lets you hug her without moving. Maybe she thinks that you want to thank her. Only when she feels your lips touching her neck, she sees what your real intention is. She tries to wiggle out from your hug, but your grip is too strong and there's nobody that can hear her screams of terror.\n\nBiting her is a great pleasure. When her blood finally flows down into your throat, you feel on top of the world. You drink with savage greed. When you stop, the girl is exhausted and collapses on the ground. Instead, you've recovered all your energy: after laughing to the moon, you finally can turn into a bat and fly towards the Yoshiwara Club, where Lilith is waiting for you to bring humankind to its apocalypse.\n\nYou'll live many other adventures, Martin Voigt, on this land and on others that you'll visit soon. Meanwhile, you have accomplished your first mission, leaving your hideout, despite the obstacles set on your way, and recovering the energy you need to take your bloody revenge.\n\n*** You have won ***\n\nIn that game you scored 55 out of a possible 55, in 357 turns, achieving the rank of Prince of darkness!\n\n> Swim\nYou're already swimming in a sea of troubles.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> Dig\nWhat do you want to dig?\n\n> Floor\nYou have already dug your grave a long time ago... and now you are in it up to your ears.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Darn\nWatch your language or I'll call Van Helsing!\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You enter the coffin\nWho do you think you are, Giordano Bruno?\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> Lick spikes\nYou lick the blood encrusted spikes finding them delicious.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> You take the door\nWho do you think you are, Hulk?\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You ask demon about the halloween\n\"A great party\" Praseidimio says. \"The dead come out of the graves and we demons have really fun!\"\n\n> You ask demon about the zork\n\"A great game!\" Praseidimio exclaims.\n\n> You ask demon about the hell\n\"That's the place where we all are going to\" Praseidimio says. \"But for an evil vampire like you there may be an even worse destination.\"\n\n> You ask demon about the heaven\n\"Tell me about the wish you would like me to grant\" Praseidimio says. \"So I'll decide whether to fulfil it or not.\"\n\n> You ask demon about the peace\n\"Is something edible?\" Praseidimio said, perplexed.\n\n> You ask demon about the lucifer\n\"A very good colleague\" Praseidimio says. \"But I'm the best!\"\n\n> You ask demon about the dracula\n\"A great novel, ruined by a terrible ending\" Praseidimio said. \"But I'm sure that you'll be luckier.\"\n\n> You ask demon about the sex\n\"Sex is the best way to be damned\" Praseidimio says. \"It's a pity we demons can't have it.\"\n\n> Bite demon\nYou have no reason to attack Praseidimio. Besides, it wouldn't be wise to challenge his arcane powers.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You ask demon about Yoshiwara Club\n\"A nightmare place!\" Praseidimio exclaims.\n\n> You go to the south\nPraseidimio follows you.\n\nYou've reached the wide, octagonal chamber that is at the centre of the hideout. The walls and the ceiling are covered with menacing black bats, painted on the background of a gloomy cave, with stalactites and stalagmites scattered everywhere. To the west you may return to the crypt; to the north, east and south three dark passages lead to the other rooms of the hideout.\n\nPraseidimio is at your side, ready to give his contribution to the triumph of evil over good.\n\nAt the centre of the room is a coffin on fire, in which the corpse of your lover Sabrina is burning.\n\nA big white cross has been painted on the floor of the passage that goes to east.\n\n> You close the door\nYou close the door.\n\n\"Think well to what wish to make\" says Praseidimio. \"As you know, we demons are very powerful and we don't like to be disturbed for trifles.\"\n\n> You pull the lever\nYou hear a click when you pull the lever.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You take the medallion\nYou pull the small chain and take the medallion back that you inserted in the slot near the lever.\n\n> You tie the stripes to the bone\nYou tie the stripes to the bone and roll them around one of its extremities, making a sort of rudimentary torch. Now, to light it up, you have to find some fuel and, obviously, a fire.\n\n> You pour the liquor on the torch\nYou pour some liquor on the torch. Now, to light it up, you just need some fire.\n\n> Light torch\nYou put the torch, drenched with alcohol, on the flaming coffin: it lights up and starts to burn slowly.\n\nPraseidimio sniggers thinking of the next soul that he'll send to burn to hell.\n\n> Inventory\nYou are carrying:\na torch\nan axe\na violin bow\na violin\na bottle of liquor\n\nYou are wearing:\na medallion\na black cloak\na black leather mask\nyour suit\nan iron key\nyour boots\n\nYou also have:\na curse\na magic formula\n\n> You look at the curse\nThis curse should give you the energy you need to overcome the symbols of Good.\n\nPraseidimio fluctuates around you, eager to give his contribution to the triumph of evil over good.\n\n> You go east\nThrough a twisty maze of tunnels, you've reached the cave that leads out of mountain bowels, to the east. Just another effort and you'll be free to go to Lilith at the Yoshiwara Club and accomplish your revenge. However, to the west you can return to the dark gallery that takes to your hideout.\n\nA big black wolf stands between you and the exit.\n\nThe wolf howls and looks at you with hateful eyes.\n\n> You talk to the wolf\nIf you want to talk to someone, you have to write: >ask [or tell] someone about something.\n\n> You ask the wolf about the wolf\nWho do you think you are, Saint Francis of Assisi?\n\n> You play the violin\nYou play some very sweet music that calms the wolf and makes it fall asleep.\n\n> You go east\nOutside the cave, every sense of yours is assaulted by the garlic flowers planted all around the entrance. A new attempt to block your escape from the mountain bowels, to keep you from making the world your kingdom of terror again.\n\nLuckily the mask you are wearing has such a strong smell of blood that it attenuates the stench of garlic, allowing you to stay outside the cave, near the flowers. However, to continue your escape you must find the way to destroy the field which surrounds you.\n\nThe smell of the garlic field is terrible.\n\n> You burn the garlic\nWith your rudimentary torch, you set fire to the garlic field. The sight of the flowers burning is wonderful and soon the stink that prevented you from leaving the cave fades away, covered by the acrid smell of the fire and by the scent of your victory which gets closer.\n\nDelimited by the scree slope of the mountain, the fire quickly dies after destroying the field. The road to the freedom seems to be clear, but in such a bad condition you can't go far. You're still too weak to turn into a bat and fly away. Moreover, outside your hideout you won't have any protection, because you no longer know anyone that could help you.\n\nWhile you think how to recover your energy, you see a girl arriving from the botton of the slope. She has blonde hair, wears a violet dress and she seems to come towards you, probably drawn by the smoke of the fire. She quickly reaches the charred field, then she notices your presence and stops, uncertain.\n\n> You remove the mask\nThe girl smiles when you remove the mask and show her your face. Maybe she was waiting for that to cross the charred field and reach you near the cave entrance. \"Sir, it's so strange meeting you here in the dead of night\" she exclaims, visibly excited. \"I'd like to ask you what you are doing here, all alone, and if it was you who set the field on fire, but maybe first all of all you should tell me your name.\"\n\nDo you want to reveal your identity to the girl? (y/n)\n\n> Go north\nThe girl looks away, embarrassed, and says: \"I'm sorry, sir. I didn't want to be indiscreet. I've heard that one time here there was the hideout of Martin Voigt, the legendary lord and master of all these lands and the people who live on them. For a moment, I thought it might be you. Before returning to my camp, I'll still stay here a while: I'd be glad if you changed your mind and showed me a proof of your identity."
    },
    {
        "text": "[Themes: Surreal, female protagonist, house setting, time travel, family, dysfunctional families]\n\nThe white door in the hallway is new. You can't remember having seen it before. After the children left home, you had expected the house to be quieter. You hadn't expected it to grow. Now, with Brady gone, Samantha living with her boyfriend one town over, and everything being packed for the move, unexpected doorways and passages are the norm. Just yesterday morning, you had been vacuuming the bedroom and noticed a small archway behind the wardrobe leading to goodness knows where.\n\nSometimes, on the nights when Derek doesn't come home, you imagine you can hear the creaks and groans of rending wood and stone as the house tortuously shifts itself into new configurations.\n\nWhen Derek arrived home from work last night, you tried to tell him about it, as you do most nights.\n\n\"You should be glad of the extra space, Elaine,\" he said, \"you've always wanted a workroom.\" Most of the time he just sighs and turns the TV on, only half listening to you.\n\nA Deconstructural Fiction by Ade McT\n\nThe week starts like it always does. Slowly. It was an effort to get out of bed this morning. Derek had left before the morning light spilled half-heartedly into the room and from the coolness of the sheets on his bed, you judge he had left early. His coffee cup was still warm, though. You imagine he had taken his coffee out into the garden.\n\nSome mornings, especially in summer when the weight of light on your eyelids wakes you early, you come across him in the garden staring across the expanse of lawn. At these times especially you try not to intrude but occasionally you will watch him through the kitchen window, wondering what he is thinking about.\n\nBut today all that's left of Derek's morning routine is a half-empty coffee cup and a few toast crumbs on the sideboard. A week can go past when these remains are all you see of him, and this morning, like every morning, you begin your day by wiping away this evidence that Derek was ever here. Most of the rest of the morning is spent doing those little things that are done on auto-pilot, and, once done, forgotten until they need to be done again.\n\nIt's not until you are on the upstairs hallway, dusting the leaves of the rubber plant, that you see the white door you noticed yesterday stands open, light spilling from it into the darkened hall.\n\ntyping \"help\" will get you started with some special commands.)\n\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed. Pictures line the walls, barely illuminated. To the south of you is the spare room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\nThe rubber plant you brought home from the garden centre a year after you moved in sits on a small plinth in the corner.\n\n[Author's Note: The house is growing. Or perhaps it's you who is shrinking. And with all this extra space is coming.... time. Time enough, maybe, to make some changes.]\n\n> You look at pictures\nYou don't really enjoy having your picture taken. You haven't for years. If the camera comes out, it's always you who is holding it, or trying to blend into the background blur, looking away.\n\nWhen you were first married, it was fun, and you still have the black and white passport sized set of linked photographs from the photo-booth in which you and Derek made funny faces at the camera, laughing.\n\n> Inventory\nYou are carrying:\na map\n\n> You look at the map\nYou started drawing the map on the day you noticed the house start to grow. Now, your drawing seems to have taken on a life of it's own. Each morning, it has changed. Sometimes, when you are walking around the house, the map seems to come to life in your hands.\n\nYou see that since yesterday, there is a new door on the west wall of the hallway, and a new door east of the Main Bedroom.\n\n> About you\nYou don't often look at yourself. It's difficult to pinpoint the moment when you stopped looking in the mirror, or glancing at your hair in a handy reflection in a shop window. How would someone else sum you up? Elaine Paterson. 40 years old. Dowdy in a neat and unassuming sort of way. Quiet. You wear thick jumpers when it's cold.\n\n> You look at the plant\nPerhaps it's where you put it, but for some reason, over the years, this plant has grown slowly, the leaves small, the trunk pencil-wide.\n\nYou remember the day you brought it home. \"It won't grow flowers, you know,\" had said Derek as soon as he saw you come in the door.\n\nYou nodded and smiled. \"Yes,\" you had said, \"It says so on the label.\" You remember having a cold, coughing, the wind outside had made your fingers feel like they belonged to someone else.\n\n\"You know,\" he had said, \"Malcolm and Judy were thinking of inviting us to dinner tonight.\"\n\n\"Oh?\" you replied, unwilling to commit, a vague feeling of dread creeping over you.\n\n\"We should go. Maybe you could try and make an effort this time.\"\n\nYou didn't answer him, but you felt bright spots of red appears on your cheeks. He turned, losing interest in both the plant and you, and walked away. Three steps. You had been left holding the plant, uncertain.\n\n\"Where shall we put it,\" you had said to his back,  your voice small. \"It might look nice in the lounge.\"\n\n\"Good Lord, no,\" he had snapped. \"What's the point if it will never flower? Ugly looking thing anyway. Keep it out of the way somewhere.\"\n\nYou had burst into tears right there in the middle of the entrance hall. It was the first time you had ever cried in this house. Maybe that's why you remember it so clearly. So you had stuck it away in the upstairs hall - out of sight."
    },
    {
        "text": "[Themes: Surreal, dysfunctional families]\n\n> You look around\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed. Pictures line the walls, barely illuminated. To the south of you is the spare room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\nThe rubber plant you brought home from the garden centre a year after you moved in sits on a small plinth in the corner.\n\n> Go south\n(first opening the spare room door)\n\nThe work bench, so recently unpacked and painstakingly pieced together, sits unused in the corner. The vast expanse of empty floor is intimidating.\n\nOver the years, the function of this room has changed and evolved alongside the family. It used to be a playroom for the children. Then it was an office when Derek worked at home for six months. Then it was a spare bedroom for visitors. But it was used so infrequently that Derek suggested you use it as a workroom \"to do all those things you've always wanted to do.\"\n\nIt was a good idea, but now you've cleared the old bed away and put a workbench in here, it still remains almost entirely unused. It's as if, when confronted with all this space and opportunity, your mind went blank, and everything you thought of seemed a waste of time somehow. It's like you're paralysed by indecision.\n\n> You examine the bench\nThe wooden surface of the workbench is entirely empty.\n\n> You stand on the bench\nYou get onto the workdesk.\n\n> Down\n(first getting off the workdesk)\nYou can't go that way.\n\n> You go north\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is the spare room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\nThe rubber plant you brought home from the garden centre a year after you moved in sits on a small plinth in the corner.\n\n> You go east\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. To the east, a doorway leads into the bathroom.\n\n> Go north\n(first opening Brady's bedroom door)\n\nBrady's room remains in the state it was when he moved out. You've left it untouched in the hope that one day you will hear a knock on the door and it will be Brady there, his tall thin frame slightly stooped, leaning against the doorway, a five day scrag of beard covering his habitual cheeky grin.\n\nThe posters on the wall, reminders of winning sports teams and fading rock bands, are further apart than yesterday, as though spaced out and shifted by some unseen hand, showing acres of cream wallpaper. The bed, stripped of sheets, is only a textured mattress, the desk, piled with hockey trophies from his schooldays. Grey light from the window filters into the hallway behind you.\n\nDerek had said that Brady wasn't going to be back, and you should remove his things - sell them maybe - empty the room. You had shaken your head. \"He'll be back,\" you said, \"he'll always come home.\" Derek had disagreed. Privately, lately, you have been doubting it also. It wouldn't hurt for him to call, you often find yourself thinking. When the message light blinks on the answering machine, you always have a moment of hope.\n\n> You look at the posters\nBrady's tastes always ran to...loud. The posters seem to be mainly long haired men shouting into the camera or clean cut young men, heavily muscled under hockey armour.\n\n> You examine the window\nThrough the window, you can see the garden.\n\n> You look at the garden\nBrady's room overlooks the lawn.\n\n> You examine the desk\nThe wooden desk is battered and dented and completely covered by Brady's old hockey trophies.\n\n> Day\nIt's Monday today.\n\n> You look at the bed\nMore of a futon. Brady always insisted he felt more comfortable sleeping closer to the floor."
    },
    {
        "text": "[Themes: Surreal, female protagonist, family]\n\n> You look around\nThe posters on the wall, reminders of winning sports teams and fading rock bands, are further apart than yesterday, as though spaced out and shifted by some unseen hand, showing acres of cream wallpaper. The bed, stripped of sheets, is only a textured mattress, the desk, piled with hockey trophies from his schooldays. Grey light from the window filters into the hallway behind you.\n\n> You go south\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is the spare room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\nThe rubber plant you brought home from the garden centre a year after you moved in sits on a small plinth in the corner.\n\n> You go east\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. To the east, a doorway leads into the bathroom.\n\n> You examine the pictures\nIt's like a history, this hallway, or a story. Black and white becomes colour. Hairstyles change from long to short and then long again. Young people become middle aged. Babies appear and disappear, becoming children. Through it all is the constant presence of Derek: A frowning boy; a serious looking young man with neat hair; A harried young father balancing two small children in his arms at some seaside resort; A middle aged man sat at the kitchen table.\n\nAt this end of the hallway you are part of the tale, but your story seems to end somewhere in the middle.\n\n> You go to the north\nThe pause before you enter Sam's room is almost subconscious. When she was at home, you were always an uninvited presence there and with both of you in her room, resentment hung thick, turning most interactions poisonous. Now, even with the room vacated there's a sense, at the doorway, of unwelcoming. It's not something you've been able to shake off even after these last two months without her.\n\n(first opening Sam's bedroom door)\n\nThe bed under the window seems further away today. The floor, uncluttered with Sam's possessions, has stretched slightly during the night. You used to be able to touch the empty desk from the door, and the walls, bare of brightly coloured posters, appear taller - the ceiling more distant.\n\nAfter Sam left, Derek had piled everything remaining into black plastic bags and, shaking with anger, had dumped them in the garbage. You feel now that maybe this had been the wrong thing to do - that you should have taken Sam's possessions from the trash and stored them somewhere. But, at the time, you had been angry too.\n\nIt had been the first time you noticed the house's growth. As Derek removed books and posters and CD's and plastic figurines or furry jumbles of cuddly toys, the walls of the room had expanded. Walking across the floors had taken longer. Not much, but enough to be noticeable. Eight years living in the same house, vacuuming the same floors, has made you sensitive to any small change.\n\n> You look at the bed\nYou bought this bed when Sam was only eight. You had just moved here. At the time it had been a princess bed with a pink gauze canopy. Over the years, Sam had grown out of the canopy, but she had refused to let the bed go, even though, as she grew, her feet stuck further and further over the bottom.\n\n> You examine desk\nJust a plain wooden desk but, over the years, Sam has decorated it in graffiti, sequins, and vari-colored crepe paper, depending on her moods.\n\n> You go south\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. A little more light spills in from the open door. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. To the east, a doorway leads into the bathroom.\n\n> You go east\n(first opening the bathroom door)\n\nThe bathroom is all in pale green. The toilet, sink and bath were here when you moved in, and there never really seemed to be a reason to change them. The mirrored cabinet above the sink steams up when anyone has a shower and because of the poor ventilation through the small fan in the window, the grouting between the tiles has always had mold problems.\n\n> You examine the window\nThrough the window, you can see the garden.\n\n> You look at the cabinet\nYour face, in the mirror, appears care-worn.\n\n> You open the cabinet\nYou open the mirrored cabinet.\n\n> Close cabinet\nYou close the mirrored cabinet.\n\n> You examine the toilet\nThe toilet is old, but serviceable. It's supported the whole family for eight years.\n\n> You examine the bath\nThe bath is empty.\n\n> You go west\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. A little more light spills in from the open door. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. To the east, a doorway leads into the bathroom.\n\n> You go south\n(first opening the main bedroom door)\n\nThis has always been your favourite room. The large south facing window lets in plenty of light which makes it brighter than the rest of the house. However, over the last couple of days, the wooden floor has stretched, each pine tile becoming larger and the two single beds that used to be separated by the width of the small table are now several paces apart. Your dressing table, loaded with detritus, is under the window and a wardrobe in the corner partially obscures a new passageway that leads out of the eastern side of the house.\n\nThe beds are new. It had been your suggestion. You had surprised yourself one night, when, after a couple of glasses of wine, you had said to Derek, \"Shall we get single beds, do you think? You need to get up so early, and you know how I toss and turn and keep you awake sometimes.\"\n\nDerek had looked up, surprised. \"I suppose we might as well,\" he had said, after a pause, \"it's not as though we need a double at our time of life.\"\n\nIt had been a strange feeling, that first night, when the new beds had been unpacked and covered in freshly bought linen. Twenty five years of sleeping next to a warm, breathing body, and space to throw out an arm or a leg and still feel supported, replaced by open space each side of you. It had been a strange feeling, but not an unpleasant one, and you had slept better that first night than in a long time.\n\n> You look at the detritus\nJust your accumulated personal items that seem to have built up over the years. A small avalanche of lipsticks and mascara bottles, hairbrushes and curlers, foundation and pins.\n\n> You examine the window\nThrough the window, you can see the driveway.\n\n> You examine the driveway\nFrom here you can see over the driveway and a little way along the street.\n\n> You examine the bed\nWhich do you mean, your bed or Derek's bed?\n\n> You look at your bed\nA single bed. It's quite small, but comfortable. After twenty years of sharing a bed, you had forgotten how pleasurable it was to be able to sleep in your own space.\n\n> You examine the derek's bed\nDerek prefers a much harder mattress to you. He says it's good for his back.\n\n> Dust\nYou rub the map.\n\n> You examine the wardrobe\nA large wooden wardrobe in the corner of the room. It is closed.\n\n> You open the wardrobe\nYou open the wardrobe, revealing your and Derek's clothes.\n\n> You examine clothes\nA thicket of greys and green, the clothes hang listlessly.\n\n> You enter the wardrobe\nYou get into the wardrobe.\n\nIn the wardrobe you can see your and Derek's clothes.\n\n> Go south\nYou would have to get out of the wardrobe first.\n\n> Go outside\nYou get out of the wardrobe.\n\nThis has always been your favourite room. The large south facing window lets in plenty of light which makes it brighter than the rest of the house. However, over the last couple of days, the wooden floor has stretched, each pine tile becoming larger and the two single beds that used to be separated by the width of the small table are now several paces apart. Your dressing table, loaded with detritus, is under the window and a wardrobe in the corner partially obscures a new passageway that leads out of the eastern side of the house.\n\n> Go east\nAs you walk through the entrance, the air seems to shimmer\nsomehow.\n\nYou recognise this room. It's the downstairs hallway in your Aunt May's house. It has the same musty becalmed air, smelling of age and dust.\n\nThe old clock in the corner punctuates the seconds with its deep bass ticking. All the pictures are still on the wall - lined up ancestors and forgotten relatives mixing with cheap reproductions of Monet's landscapes. A musty old sofa against the wall is lit up by the one window. A door to the south leads into your Aunt's front room.\n\nYou were here only last month. Just before your Aunt was finally shipped off to the old folk's home. It wasn't a pleasant visit. Aunt May had been quiet, pensive, sad even. She had spent the whole time staring out of the window into her garden and hardly speaking. When you came in, Aunt May had been sat ramrod straight in her armchair. She turned her head when you entered the room, but hardly seemed to recognise you.\n\nShe had been upset. Your Aunt Anna was taking her to an old folk's home because she was getting too frail to look after herself. When she had asked you if she couldn't come and live with you, a big part of you wanted to say yes. But, with the move, and everything that was happening with Samantha, it just seemed as though the fight with Derek would be too daunting.\n\nSo you had made some excuses.\n\nOn your way out she had looked up at you. \"Remember me,\" she had said. \"But not like this.\" You hadn't known how to respond. So you had left quietly, closing the lounge door behind you. Your mother's younger sister, Anna, had taken May to the home two weeks later. You haven't seen her since.\n\n> You look at the pictures\nA brief history of your maternal family tree. Uncles and aunts you have a passing acquaintance with mingle with more distant relatives. Dotted here and there are Monet prints. Your Aunt May loved Monet.\n\n> You examine the sofa\nYour Aunt May has had this faded old thing for years. It was in her caravan when you were a child.\n\nShe always told you it was a wedding present . When you pointed out that she had never been married, Aunt May would tap her nose and wink. As a young woman, you pretended to be annoyed but secretly you were delighted that this woman had so many secrets. So many hidden sides to her. You always hoped that when you reached her age, your life would have been as complicated and interesting.\n\n> You examine the window\nThrough the window, you can see the vegetable garden.\n\n> You examine the garden\nAunt May's garden used to be beautiful. And productive. She grew all kinds of vegetables and fruit. When she visited, it was always with a basket in which were unlikely combinations of odd vegetables. Aubergines mixed alongside purple french beans and baby turnips. Now, with her advancing years, she has let it become overgrown and wild.\n\n> You examine the clock\nAunt May has had this clock forever. Its tick is like a constant note in your life.\n\n> You examine the map\nYou see that since yesterday, there is a new door on the west wall of the hallway, and a new door east of the Main Bedroom.\n\n> You go to the south\nDespite her age, Aunt May keeps her home spotlessly clean. The window allows her to watch the comings and goings in the street from her strategically positioned armchair. An old dresser holds brass ornaments and a selection of glass flowers. The only door leads back out into the hallway.\n\nOn the dresser is an old folk's home leaflet.\n\nAunt May sits in her chair, hands folded quietly in her lap, staring out of the window. She looks up and smiles wanly. It seems to take her a while to recognise you. \"Hello, Elaine love,\" she says, eventually. \"It's nice that you could drop in, especially now I'm not going to be here much longer.\"\n\n> You talk to May\nTo engage in a conversation, try to ASK Aunt May ABOUT something, TELL Aunt May ABOUT something, or SHOW Aunt May something. Or, even, try saying \"hello\". Once you are chatting, you can just use \"ASK ABOUT something\", or if you are feeling confident, as a short hand, just \"A something\". You could also ask Aunt May to do things using: Aunt May, GO SOUTH for example.\n\n> You ask may about may\n\"Hi, Aunt May,\" you say.\n\n\"Yes, dear?\" she asks.\n\n\"How are you, Auntie May?\" you ask.\n\n\"I'm fine, thank you,\" she assures you. \"Not that any of you care.\"\n\nAunt May sighs heavily.\n\n> You look at the leaflet\n\"Shady Willow Retirement Community\". The photographs make it look quite nice.\n\nAunt May shifts in her seat, and clasps her hands in her lap.\n\n> You ask may about yourself\nYou prattle on for a while about your life, and the move, and Derek and the kids, but it's not long before you run out of things to say, and the enormous silence in the room reasserts itself.\n\n\"Sounds like things are going well,\" says Aunt May, but she shakes her head slightly. \"I'm surprised you've got time to come and visit.\"\n\nAunt May lets out a sigh that seems to come right from deep inside her. \"\"Oh, Elaine,\" she says, \"they're wanting me to go to an old folk's home. I don't want to go. They're saying I'm not right on my own because of the fire.\"\n\nThe call with Aunt Anna had been difficult. After the fire, she had wanted you to take Aunt May \"for a few weeks while we get her sorted out\". You had thought at the time, with some justification, that it was unfair of her to ask at such short notice. Anna is only just older than you. She has plenty of space in her house now her kids have left home. She blamed her husband. \"He's always working,\" she had said. \"I don't think I can cope with her by myself.\" You had demurred, making some excuses about moving house and Samantha being difficult. \"You could at least try, Elaine,\" Anna had ended the call by saying. \"We don't ask you to do much for the family.\"\n\n> You ask may about the fire\n\"Did you have a fire?\" you say.\n\n\"Just a little accident,\" replies Aunt May. \"I nodded off while my dinner was on the stove.\"\n\nAunt May turns her head slightly to look up the street, but you can't see what she is looking at.\n\n\"I know I can't stay,\" says Aunt May, and her voice catches for a moment, \"but it would be nice to live with someone I loved rather than all those strangers.\"\n\nAunt May had stayed with Anna for just a short time. She moved back into her flat despite Anna's protestations. Anna wanted to sell May's house. To do it up and use the money to fund May's final years in an old folks home. Your other aunts had disagreed. They wanted to get May a nurse - to let her stay here amongst all her things. The conversation had passed you by.\n\n> You ask May about Anna\n\"How is Aunt Anna?\" you ask.\n\n\"Don't talk to me about her\", says your Aunt, her voice raising slightly. \"She's no sister of mine. Forcing me into that Shady Willows place. It's a place for old people. Not for me.\"\n\nAunt May looks at you directly. \"I know you've had a tough time recently, Elaine, she says, \"and I don't want to put on you, but you've got all that spare space now Brady and Sam are gone, and I know you're lonely what with Derek working all the time. Perhaps I could come and stay with you? We could be company for each other, and I could help out a bit around the house. What do you say?\"\n\nDo you tell Aunt May \"yes\" or \"no\"?\n\n> Yes\n\"I'd love to have you, Aunt May,\" you reply. \"You're welcome to say as long as you like.\"\n\nAunt May smiles, and a tear trickles slowly down the side of her nose. \"I knew you'd come through, Elaine,\" she says. \"You've always had the kindest heart.\"\n\n> Hug may\nYou place a kiss against your Aunt's dry cheek. She smiles, but doesn't turn to face you.\n\n> ASK MAY ABOUT DEREK\n\n\"Derek's been working hard,\" you say. \"He says he is up for a promotion\"\n\n\"I remember when you met him,\" replies Aunt May. \"You two looked good together.\"\n\nAunt May coughs, and dabs at her lips with a small handkerchief.\n\n> You ask may about the garden\n\"Your garden's a bit overgrown,\" you say. \"Doesn't Mr Turner come around anymore?\"\n\n\"No,\" replies Aunt May. \"I can't really afford him these days on my pension, and I don't get out there much anymore.\"\n\n> You tell May about the house\n\"We're moving house,\" you say. \"Derek has picked us a little bungalow up cheap. It's going to be much less work now the kids have left home.\"\n\n\"Does it have a garden?\" asks Aunt May. \"You always loved gardening.\"\n\nYou don't answer, because you realise you are not entirely sure.\n\n> Bye\nAunt May just shakes her head. \"I'm sure with your young legs, you could do that,\" she says.\n\nAunt May wipes a weary hand across her face."
    },
    {
        "text": "[Themes: Surreal, dysfunctional families]\n\n> Describe the surroundings\nDespite her age, Aunt May keeps her home spotlessly clean. The window allows her to watch the comings and goings in the street from her strategically positioned armchair. An old dresser holds brass ornaments and a selection of glass flowers. The only door leads back out into the hallway.\n\nOn the dresser is an old folk's home leaflet.\n\nAunt May sits in her chair, hands folded quietly in her lap, staring out of the window.\n\n> You look at the flowers\nYou used to play with the brass ornaments as a child. They are a mix of circus animals and ancient horse brasses. The glass flowers are your Aunt's pride and joy. She has collected them for years.\n\n> You examine the dresser\nA chipped white antique dresser.\n\nOn the dresser is an old folk's home leaflet.\n\n> You go north\nOn your way out of the room, Aunt May looks up at you. \"I'll see you soon,\" she says, with a wide smile, \"just give me a call when you're ready for me.\" Her smile turns slightly wolfish. \"I'll call Anna and give her the good news.\"\n\nThe old clock in the corner punctuates the seconds with its deep bass ticking. All the pictures are still on the wall - lined up ancestors and forgotten relatives mixing with cheap reproductions of Monet's landscapes. A musty old sofa against the wall is lit up by the one window. A door to the south leads into your Aunt's front room.\n\n> Go north\nThe window is shut: you'd break the glass.\n\n> Go west\nThis has always been your favourite room. The large south facing window lets in plenty of light which makes it brighter than the rest of the house. However, over the last couple of days, the wooden floor has stretched, each pine tile becoming larger and the two single beds that used to be separated by the width of the small table are now several paces apart. Your dressing table, loaded with detritus, is under the window and a wardrobe in the corner partially obscures a new passageway that leads out of the eastern side of the house.\n\n> Go north\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. A little more light spills in from the open door. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. To the east, a doorway leads into the bathroom.\n\n> You go west\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is the spare room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\nThe rubber plant you brought home from the garden centre a year after you moved in sits on a small plinth in the corner.\n\n> You go to the west\nThe walls and floor seem to glow, as if lit by something inside the very fabric of the building. The only exit is back out to the hallway to the east.\n\nIn the centre of the room, an old fashioned movie projector sits atop a plinth.\n\n> You look at the projector\nIt looks exactly like the projector your Aunt May used to have. Maybe she still does.\n\nWhen you were a child, every time your Mum took you to Aunt May's, the projector would make an appearance. Aunt May delighted in showing films of the family and films she had taken on her travels. Year after year, new footage emerged. It seemed never ending. You favourite movie was of your Mum as a young girl, playing on the beach with her sisters. It's a sharp, clear memory. Your Mum looks at the camera for a moment with a half-smile - distracted by something happening just off screen - and it was like you were there with them.\n\nThe projector is currently switched off.\n\n> You turn on the projector\nThe projector crackles to life, the reels beginning to whirr and spin. On the wall opposite the door, silently, a white square of projected light appears.\n\nThe white square is split and slashed by the visual crackle of fleeting imperfections and the number three flashes up, surrounded by a dark circle. Then this disappears and is replaced by the number two. Then the number one. The countdown stops, and the screen shows only pure white light.\n\nThe film ends, to be replaced with crackles and dashes of visual noise. There is a clatter from the projector, and then a high speed whirring as it rewinds itself to the beginning. With a click, the white square disappears as the projector switches off.\n\n> You look at the plinth\nThe plinth is a twisted, organic looking column leading up to a small platform, on top of which is an old-fashioned movie projector."
    },
    {
        "text": "> Go down\nThe glassed front door leads directly south onto the driveway, and carpeted stairs angle up to the first floor. Doors lead east to the lounge and the dining room to the north. The room is bare except for an occasional table next to the front door in the southern wall, on which the telephone and answering machine squat.\n\n> You look at the answering machine\nThe display on the answering machine is blank. The play messages button is right next to the display.\n\n> You examine the phone\nA slim plastic phone in its cradle.\n\n> You examine table\nA small wooden table you bought to stand the phone on.\n\n> Go east\nSometimes you think this room is made entirely from memories: the barometer on the wall that has indicated rain for years; the picture of your daughter, staring defiantly at the camera, flanked by the peaks of mountains; the wood paneling, a forgotten texture below the bookshelves; the books themselves, all green and blue leather - alphabetised soldier-sentries; a balding sofa and chair where Derek spends most of his evenings staring at the TV mounted to the wall.\nThe too-small window overlooks the front driveway and lets in only just enough light.\n\nWhen you came to view the house, eight years ago this coming May, the first thing you had noticed was this window. A south facing room should be bright, sunlit, welcoming. Over the years, you had always meant to change it - to get the builders in and make it larger. Maybe a bay-window in which you could sit and read while the sun warmed your shoulders.\n\nBut for some reason you had never got round to it, and now, if you are being honest with yourself, you are glad. Some days, you spend all day in here, curled up on the sofa, welcoming the tepid light.\n\n> You examine the sofa\nOver the years the leather of the sofa has become shiny and worn.\n\n> You look at the barometer\nThis was your Aunty May's. It's never worked. The needle has always been stuck halfway between rain and drizzle.\n\nAunt May gave it to you for your sixteenth birthday. It was an odd present, being broken even back then, but you had dutifully smiled and accepted it. Your father had hung it up in your bedroom where it lived on the wall between (and occasionally covered by) posters of Pink Floyd and, later, Nirvana.\n\nWhen she gave it to you, your Aunt had said \"It's always useful for a sixteen year old to know the weather.\" She had said it with a wink, before planting a hairy kiss on your cheek. According to your mother, May had always been the strange sister. The oldest of six, she let her grey hair flow long and wild over her shoulders and had lived most of her life in a caravan.\n\n> Examine books\nDerek joined a book club. It sent him one blue leather bound classic per month for two years. Then it sent him one green bound work by Dickens. Now it's sending him red bound works by authors in their \"American Masters\" series. Neither he nor you have every actually read one, although you did start \"Little Dorrit\" once. The text was so small and dense though you kept drifting off to sleep and reading the same paragraph over and over again.\n\n> Examine tv\nA large flat screen attached to the wall opposite the window. Derek insisted on getting the largest. It is currently switched off, and the darkened screen shows a weakened reflection of the room.\n\n> You turn on the tv\nYou switch the TV on.\n\n> Examine tv\nA large flat screen attached to the wall opposite the window. Derek insisted on getting the largest. It is switched on, and a game show desperately tries to gain your attention.\n\n> Examine tv\nA large flat screen attached to the wall opposite the window. Derek insisted on getting the largest. It is switched on, and a news program desperately tries to gain your attention.\n\n> Examine tv\nA large flat screen attached to the wall opposite the window. Derek insisted on getting the largest. It is switched on, and a talk show desperately tries to gain your attention."
    },
    {
        "text": "> You look around\nSometimes you think this room is made entirely from memories: the barometer on the wall that has indicated rain for years; the picture of your daughter, staring defiantly at the camera, flanked by the peaks of mountains; the wood paneling, a forgotten texture below the bookshelves; the books themselves, all green and blue leather - alphabetised soldier-sentries; a balding sofa and chair where Derek spends most of his evenings staring at the TV mounted to the wall.\nThe too-small window overlooks the front driveway and lets in only just enough light.\n\nThe TV spills sounds and flickering images into the room.\n\n> You turn off the tv\nYou switch the TV off.\n\n> Go north\nAll the bric-a-brac on the sideboard has been packed away for the move, leaving only dusty imprints on the wood. It had been filled with colourful plates and cups and seldom-used cookery books and odds and ends that the family had brought back from various holidays that couldn't find another home. Now the brown boxes on the floor and table, taped and anonymous, only serve to remind you of how much there is left to do before the removal van arrives next week.\n\nIt hadn't been your idea to sell the house. Now, with the move only a few days away, the sheer volume of things you have accumulated as a family is entirely daunting. You have tried to pack, but instead, half way through filling a box, you find yourself wandering around the house with an ornament or a lamp or a small table in your hands, wondering where to put it.\n\nWhen he gets home from work, Derek doesn't say anything, but you can sense his frustration that the pile of packed boxes in the dining room hasn't grown.\n\n> You look at the sideboard\nThis was your mother's, who had got it from her mother. It covers most of the wall against which it stands. You can't remember a time in your life when it wasn't present in your home.\n\nYour mother gave it to you when you were first married, and had moved into the little flat over the shop. \"A good start,\" she had said, \"something to build on.\"\n\nIt had been far too big for your tiny new home, but you and Derek, laughing, had maneuvered it into place. You remember it had covered half of the kitchen door, so you both had to enter the room sideways.\n\n> You go east\nThe kitchen is due an update - it feels very seventies, with a faux marble worktop, dark wood-effect cupboards and garish tiling. The refrigerator is covered in scraps of paper and bills, all held in place by magnetic capital letters. The back door leads out of the east wall into the garden.\n\nThe kitchen in the new house is smaller than this. That's OK, though. You don't spend as much time in here as you used to when the kids were at home. Derek usually doesn't get home until after he's eaten. The last time you cooked a proper meal was probably a couple of months ago. Before Sam left. You had cooked her favourite, lasagna, because she said she didn't feel well, and she had looked so tired and unhappy. You wanted to cheer her up. Straight afterward, she had run to the toilet to throw it all back up again.\n\nA calendar on the wall shows a grid of boxes for the month, all covered in small handwriting.\n\nOn the refrigerator is a yellow post-it note.\n\nThe clock on the wall ticks the seconds away into the air.\n\n> You look athe post-it note\n\"I'll be home at 7.00 pm. Derek.\"\n\nThat's so like Derek. To put his name. As if you wouldn't know who had written it.\n\n> You examine clock\nThe clock reads 3:13 pm.\n\n> Examine calendar\nToday your only job, according to the calendar, is to pack.\n\n> You look at the fridge\nThe fridge has become Derek's filing cabinet. It's where he puts all the unpaid bills and reminders and bank statements, all held in place in some sort of order by a magnetic alphabet.\n\nOn the refrigerator is a yellow post-it note.\n\n> You open the fridge\nThe mostly empty shelves remind you that you need to tell Derek to go to the supermarket on his way home from work tomorrow. When you let go of the handle, the fridge door closes by itself.\n\n> You open the door\nYou open the back door.\n\n> Go east\nHigh fences surround the garden, giving it an air of privacy, sheltered from the street and any watchful eyes peeping from behind curtains in the neighbour's windows. A small patio area, attached to the side of the house, on which is a table and a set of peeling wooden chairs gives way to scrubby grass that you haven't quite got around to cutting for far too long.\n\nDerek calls this your \"little patch of wilderness\". That's his half-joke that isn't a joke at all, but instead, really it's a cutting indictment wrapped up in humour - contempt masked with levity.\n\n\"You can't even look after the bloody garden,\" Derek snapped at you once, after an argument about something you can't even remember. \"It's what you wanted. It's why we moved here for goodness sake.\"\n\nWhen you were first married, gardening had been your passion. You inherited it from your mother, you suppose, whose own garden was, each year, a wondrous mass of colour and life.\n\n> You go to the west\nThe kitchen is due an update - it feels very seventies, with a faux marble worktop, dark wood-effect cupboards and garish tiling. The refrigerator is covered in scraps of paper and bills, all held in place by magnetic capital letters. The back door leads out of the east wall into the garden.\n\nA calendar on the wall shows a grid of boxes for the month, all covered in small handwriting.\n\nOn the refrigerator is a yellow post-it note.\n\nThe clock on the wall ticks the seconds away into the air.\n\n> You close the door\nYou close the back door.\n\n> You look at the clock\nThe clock reads 3:23 pm.\n\n> Go west\nAll the bric-a-brac on the sideboard has been packed away for the move, leaving only dusty imprints on the wood. It had been filled with colourful plates and cups and seldom-used cookery books and odds and ends that the family had brought back from various holidays that couldn't find another home. Now the brown boxes on the floor and table, taped and anonymous, only serve to remind you of how much there is left to do before the removal van arrives next week.\n\n> You go south\nThe glassed front door leads directly south onto the driveway, and carpeted stairs angle up to the first floor. Doors lead east to the lounge and the dining room to the north. The room is bare except for an occasional table next to the front door in the southern wall, on which the telephone and answering machine squat.\n\n> Go south\n(first opening the front door)\n\nBounded by small grass borders that, via some unseen line down the middle, demarcate your house from the next, the driveway stretches out onto the road to the south. The open plan nature of the street is disconcerting.\n\nYou're still not used to it, this openness of space, and this sharing of communal grass. When you grew up, each house in your terrace had its own little square patch of front garden bounded by a low stone wall. Sometimes with iron railings, painted green, or rusty, or shining black. Each garden had been a little statement by the house owner or tenant. Some had been lush bursts of colour in the spring and summer, some unkempt and weed-choked. Others had only been bare flagstones, empty and stark.\n\nIt had been a matter of pride for your mother, that little twelve foot by twelve foot patch of space. Your father had the back yard reserved for his chickens and vegetables. Your mother owned that front space. It was hers entirely. She made it reflect herself.\n\nYour car is parked here.\n\n> You examine the car\nJust a small grey car. You can't even remember what make and model it is. Nor can you remember the last time your drove it anywhere. Derek occasionally takes it out for a spin \"to stop it seizing up.\"\n\n> You get in the car\nThe car is locked.\n\n> Unlock car\nYou don't have the keys. It's been so long since you've driven anywhere that you're not even sure where they are.\n\n> You close the front door\nYou close the front door.\n\n> Go east\nThe bathroom is all in pale green. The toilet, sink and bath were here when you moved in, and there never really seemed to be a reason to change them. The mirrored cabinet above the sink steams up when anyone has a shower and because of the poor ventilation through the small fan in the window, the grouting between the tiles has always had mold problems.\n\n> You go east\nThe old clock in the corner punctuates the seconds with its deep bass ticking. All the pictures are still on the wall - lined up ancestors and forgotten relatives mixing with cheap reproductions of Monet's landscapes. A musty old sofa against the wall is lit up by the one window. A door to the south leads into your Aunt's front room.\n\nThe room feels empty somehow, as if all the life in it has drained away.\n\n> Go south\nDespite her age, Aunt May keeps her home spotlessly clean. The window allows her to watch the comings and goings in the street from her strategically positioned armchair. An old dresser holds brass ornaments and a selection of glass flowers. The only door leads back out into the hallway.\n\nThe room feels empty somehow, as if all the life in it has been used up.\n\nOn the dresser is an old folk's home leaflet.\n\n> Go south\nThe window is shut: you'd break the glass.\n\n> You go north\nThe bed under the window seems further away today. The floor, uncluttered with Sam's possessions, has stretched slightly during the night. You used to be able to touch the empty desk from the door, and the walls, bare of brightly coloured posters, appear taller - the ceiling more distant.\n\n> Look\nYou see that since yesterday, there is a new door on the west wall of the hallway, and a new door east of the Main Bedroom.\n\n> You go to the east\nSometimes you think this room is made entirely from memories: the barometer on the wall that has indicated rain for years; the picture of your daughter, staring defiantly at the camera, flanked by the peaks of mountains; the wood paneling, a forgotten texture below the bookshelves; the books themselves, all green and blue leather - alphabetised soldier-sentries; a balding sofa and chair where Derek spends most of his evenings staring at the TV mounted to the wall.\nThe too-small window overlooks the front driveway and lets in only just enough light.\n\n> You examine barometer\nThis was your Aunty May's. It's never worked. The needle has always been stuck halfway between rain and drizzle.\n\n> You talk to Derek\nTo engage in a conversation, try to ASK Derek ABOUT something, TELL Derek ABOUT something, or SHOW Derek something. Or, even, try saying \"hello\". Once you are chatting, you can just use \"ASK ABOUT something\", or if you are feeling confident, as a short hand, just \"A something\". You could also ask Derek to do things using: Derek, GO SOUTH for example.\n\n> You ask Derek about the work\n\"Hi,\" you say.\n\n\"Hmm?\" he replies non-commitally, his eyes not leaving the TV.\n\n\"How was work?\" you ask.\n\nDerek shrugs. \"It was ok. Nothing exciting to report.\"\n\n> You tell Derek about May\nWhen you first told Derek about Aunt May being shipped off to a home, he had been furious. \"Why didn't you tell me,\" he had said, barely containing his anger. \"She could have come and lived with us. You know you would have liked that. You and May have always got along.\"\n\n\"I thought you would have been against it,\" you had said, weakly.\n\nDerek had sighed. \"Don't put this on me.\" You haven't really spoken about it since, and Derek looks so tired you're too nervous to bring it up again.\n\n> You ask Derek about the move\n\"Are you looking forward to moving?\" you ask.\n\n\"It will be nice to get out of this place and start afresh,\" says Derek. \"We need to hurry up with the packing though. The movers will be here next Tuesday.\"\n\n> You tell Derek about the projector\nYou start to tell Derek about the white room, and the plinth and the projector. But something holds you back. You realise you don't want to. That this is somehow too private to share with this man, even though you've been married all these years.\n\nDerek switches over the channel.\n\n> You ask Derek about food\n\"You need to go to the supermarket tomorrow,\" you remind him. Derek grunts in acknowledgement.\n\n> Tomorrow\nIn your dreams, you are running towards something, but it is constantly moving away from you. There is a hand reaching out, but it is just out of reach and someone is calling you but you can't quite make out if it is a child or just the wind blowing through a partially open window.\n\n\n\nThe morning has disappeared. You don't know where it went. The house continues its inexorable growth. Earlier, when you were dusting the upstairs hallway it seemed to take so much longer than usual, and a new door had appeared through which you were sure you could hear muted voices.\n\nActually, you had woken late, and, slightly disoriented by the brightness of the morning, it had taken you a while to get your bearings. The phone had been ringing. You lay in bed and let it go to answer phone.\n\nAs you drifted in and out of a doze, you listened to Aunt May pottering about the house. She tends to rise early. Ever since she moved in, each morning, you lie in bed listening to her moving about. It's comforting somehow, and, with Derek working so many hours, it's been nice to have someone to share the last days in the house with.\n\nThe kitchen is due an update - it feels very seventies, with a faux marble worktop, dark wood-effect cupboards and garish tiling. The refrigerator is covered in scraps of paper and bills, all held in place by magnetic capital letters. The back door leads out of the east wall into the garden.\n\nA calendar on the wall shows a grid of boxes for the month, all covered in small handwriting.\n\nOn the refrigerator is a yellow post-it note.\n\nThe clock on the wall ticks the seconds away into the air.\n\n> You read the note\nI have to work late tonight. I'll stay in town. Derek.\n\n> Go west\nAll the bric-a-brac on the sideboard has been packed away for the move, leaving only dusty imprints on the wood. It had been filled with colourful plates and cups and seldom-used cookery books and odds and ends that the family had brought back from various holidays that couldn't find another home. Now the brown boxes on the floor and table, taped and anonymous, only serve to remind you of how much there is left to do before the removal van arrives next week. The pile of boxes seems to be higher than yesterday, but that's ok, because the room seems to have grown to accommodate them.\n\nOn a plinth in the corner, a rubber plant brushes the ceiling.\n\n> You examine the plant\nSince being moved into the sunlight of the dining room, the plant seems to have had a new lease on life. Its leaves stretch above your head, oriented toward the warming sun through the window.\n\nIt was Aunt May's doing, moving the plant into the dining room. As soon as she had seen it on the upstairs hallway, she had cried out in horror and insisted that you move it immediately. Derek wasn't too happy. He doesn't like clutter. But you have to admit, in the sunshine, the plant transforms a little. Leaves that were dull greyish green suddenly sparkle in the sun. You could almost imagine it sighing with relief.\n\n> Open boxes\nThey are securely taped shut and there's nothing in there that you really want to have to pack again.\n\nIn the distance, you can hear the phone ringing.\n\n> You go to the south\nThe glassed front door leads directly south onto the driveway, and carpeted stairs angle up to the first floor. Doors lead east to the lounge and the dining room to the north. The room is bare except for an occasional table next to the front door in the southern wall, on which the telephone and answering machine squat.\n\nThe display on the answering machine flashes with the number 1.\n\nYou hear noises coming from the room above. Aunt May keeps unconventional hours. Sometimes you will hear her moving about the house in the early hours of the morning. Some days she stays in bed till lunchtime and the house remains quiet. Most days, she stays in her room, sitting in her chair and watching through the window. Her presence is comforting somehow, and you know you can always pop in and have someone to talk to.\n\nThe phone on the hall table rings insistently.\n\nThe phone stops ringing.\n\n> You press the button\nA briskly impersonal voice says \"Hi, Mrs Paterson?\" There is a pause. \"It's Churchill's removals, you were going to call to arrange a time for pick up on Tuesday. Can you give us a call please and ask to speak to Karen. Thank you.\"\n\nThe machine whirrs on to the next message.\n\nDerek's voice, made small by distance, says \"Hi Elaine, it's me. I just got a call at the office from the removals people. I guess you forgot to ring them. I told them to turn up at about 10 am on Tuesday. See you tomorrow night.\"\n\nThe machine falls silent.\n\n> Tomorrow\nIn your dreams, you are running towards something, but it is constantly moving away from you. There is a hand reaching out, but it is just out of reach and someone is calling you but you can't quite make out if it is a child or just the wind blowing through a partially open window.\n\n\n\nThe morning has disappeared. You don't know where it went. The house continues its inexorable growth. Earlier, when you were dusting the upstairs hallway it seemed to take so much longer than usual, and a new door had appeared through which you were sure you could hear muted voices.\n\nActually, you had woken late, and, slightly disoriented by the brightness of the morning, it had taken you a while to get your bearings. The phone had been ringing. You lay in bed and let it go to answer phone.\n\nAs you drifted in and out of a doze, you listened to Aunt May pottering about the house. She tends to rise early. Ever since she moved in, each morning, you lie in bed listening to her moving about. It's comforting somehow, and, with Derek working so many hours, it's been nice to have someone to share the last days in the house with.\n\nThe kitchen is due an update - it feels very seventies, with a faux marble worktop, dark wood-effect cupboards and garish tiling. The refrigerator is covered in scraps of paper and bills, all held in place by magnetic capital letters. The back door leads out of the east wall into the garden.\n\nA calendar on the wall shows a grid of boxes for the month, all covered in small handwriting.\n\nOn the refrigerator is a yellow post-it note.\n\nThe clock on the wall ticks the seconds away into the air.\n\n> Go south\nThe glassed front door leads directly south onto the driveway, and carpeted stairs angle up to the first floor. Doors lead east to the lounge and the dining room to the north. The room is bare except for an occasional table next to the front door in the southern wall, on which the telephone and answering machine squat.\n\nThe display on the answering machine flashes with the number 1.\n\nYou hear noises coming from the room above. Aunt May keeps unconventional hours. Sometimes you will hear her moving about the house in the early hours of the morning. Some days she stays in bed till lunchtime and the house remains quiet. Most days, she stays in her room, sitting in her chair and watching through the window. Her presence is comforting somehow, and you know you can always pop in and have someone to talk to.\n\n> Call removals company\nYour fingers hover over the buttons, but you can't bring yourself to dial. The thought of speaking to a disembodied voice fills you with dread.\n\n> You press the button\nA briskly impersonal voice says \"Hi, Mrs Paterson?\" There is a pause. \"It's Churchill's removals, you were going to call to arrange a time for pick up on Tuesday. Can you give us a call please and ask to speak to Karen. Thank you.\"\n\nThe machine falls silent.\n\n> Wait\nTime passes.\n\n> Wait\nTime passes.\n\nThe phone on the hall table rings insistently.\n\n> You answer the phone\nYou move towards the phone, but you just can't bear to speak to a disembodied voice right now.\n\nThe phone on the hall table rings insistently.\n\nThe phone stops ringing.\n\n> You look at the answering machine\nThe display on the answering machine is flashing with the number 1. The play messages button is right next to the display.\n\n> You press the button\nDerek's voice, made small by distance, says \"Hi Elaine, it's me. I just got a call at the office from the removals people. I guess you forgot to ring them. I told them to turn up at about 10 am on Tuesday. See you tomorrow night.\"\n\nThe machine falls silent.\n\n> Go up\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is Aunt May's room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\n> Go east\nThe hallway stretches endlessly from east to west through the house. The blank white walls are broken only by a door to the north.\n\nYou can hear voices, low and muted,  coming through the  door.\n\n> You go north\nAs you walk through the entrance, the air seems to shimmer\nsomehow.\n\nYou recognise this place. It's been months since you were here, but this is where you brought Samantha after she had told you. There she is, sat in the same chair, shoulders sagging sullenly, face turned away from you, chin in her hand. She looks so young.\n\n(first opening the reception door)\n\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nYou pause at the entrance for a moment. The only sounds in the room are the clicking heels of the nurse behind the reception desk. The cold air in the room makes you shiver.\n\nThe receptionist stands behind the desk staring out into space.\n\nSamantha sits quietly on one of the chairs. She barely glances up at you as you enter the room.\n\nAt first, Samantha had not wanted you to come. Sat at the dining room table, she had hid her face behind her hair when she told you. \"I've got an appointment at the Doctor's,\" she had said. \"I guess you won't be coming.\"\n\nBut you had surprised yourself. \"Of course I'm coming,\" you had replied. \"You're not keeping it,\" you said, before you had even thought what that would mean. The words had come directly out of you, an unintended accusation.\n\nSamantha's head had jerked upwards. \"It's my baby,\" she said, \"I'll do what I want.\"\n\nThe Doctor had been kind, if a little distant. Samantha had trembled next to you while he outlined her options, each more distressing than the last. When he had asked her what she wanted to do, Samantha, her face white and close to tears, had not replied. She had turned to look at you, her eyes beseeching you to answer for her. \"What do you think, Mum?\" she had said. You hadn't replied straight away.\n\n> You ask Sam about the baby\n\"Hey, Sam,\" you say.\n\n\"Yeah?\" replies Sam.\n\n\"When did you know?\" you say.\n\n\"I suppose I guessed when I took the pregnancy test,\" replies Sam, sarcastically. You restrain the urge to shout at her. There's so many things you could say.\n\nSamantha sighs with irritation and rubs her face.\n\n\"What do you think, Mrs. Paterson?\" the doctor had asked you, eventually. \"This is Samantha's decision, but I'm sure she would like your guidance and support.\"\n\nYou had answered him. Samantha had burst into tears and ran from the room.\n\nIt's my choice,\" Samantha had screamed in the car on the way home. And then she had left. Gone to live with her boyfriend. When Derek had come home, you had hesitantly told him about Sam's condition, and the row. Derek had been furious. Not about the pregnancy, that he had accepted without comment. He had been furious with her because she had left home. \"Of course we would have supported her,\" he had said. \"Whatever she decided.\"\n\nYou had kept quiet."
    },
    {
        "text": "[Themes: Surreal, time travel, family, female protagonist]\n\n> You look at your surroundings\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nThe receptionist stands behind the desk writing something down.\n\nSamantha sits quietly on one of the chairs.\n\n\"Miss Paterson?\" the receptionist says, brightly, interrupting your train of thought. \"Doctor Bridge will see you now.\"\n\nSamantha glances in your direction, gets up unwillingly from the chair and walks slowly into the Doctor's office."
    },
    {
        "text": "[Themes: Surreal, female protagonist]\n\n> Look around\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nThe receptionist stands behind the desk tidying up the desk surface.\n\n> Go south\nThe hallway stretches endlessly from east to west through the house. The blank white walls are broken only by a door to the north.\n\nYou can hear voices coming through the open door.\n\n> You go west\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is Aunt May's room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\n> You go to the west\nThe walls and floor seem to glow, as if lit by something inside the very fabric of the building. The only exit is back out to the hallway to the east.\n\nIn the centre of the room, an old fashioned movie projector sits atop a plinth.\n\n> You turn on projector\nThe projector crackles to life, the reels beginning to whirr and spin. On the wall opposite the door, silently, a white square of projected light appears.\n\nThe picture coarsens and then slips into focus. Aunty May is sitting in a featureless bedroom staring out of the window. As you watch, a nurse comes into the room and puts a tray down on the table next to her. Aunt May doesn't turn her head.\n\nThe film ends, to be replaced with crackles and dashes of visual noise. There is a clatter from the projector, and then a high speed whirring as it rewinds itself to the beginning. With a click, the white square disappears as the projector switches off.\n\n> Go east\n(first opening the back door)\n\nHigh fences surround the garden, giving it an air of privacy, sheltered from the street and any watchful eyes peeping from behind curtains in the neighbour's windows. A small patio area, attached to the side of the house, on which is a table and a set of peeling wooden chairs gives way to scrubby grass that you haven't quite got around to cutting for far too long.\n\nWhen Aunt May arrived, she had taken one look at the garden and given a gasp of horror. \"You used to like gardening,\" she had said, shaking her head. \"We've got to get this sorted out.\"\n\n\"There's no point, Aunt May,\" you had replied. \"We're moving soon.\"\n\nAunt May had looked at you shrewdly. \"Hmmm....\" she had said, \"We'll see. This new house of yours, does it actually have a garden?\"\n\n\"Not really,\" you had said.\n\n> You examine table\nYou bought the garden furniture set after the patio had been built. It's only a cheap wooden affair, now patched and faded from the weather.\n\n> You go to the east\nSometimes you think this room is made entirely from memories: the picture of your daughter, staring defiantly at the camera, flanked by the peaks of mountains; the wood paneling, a forgotten texture below the bookshelves; the books themselves, all green and blue leather - alphabetised soldier-sentries; a balding sofa and chair where Derek spends most of his evenings staring at the TV mounted to the wall.\nThe too-small window overlooks the front driveway and lets in only just enough light, especially now the room is so much larger.\n\n> You go south\nYour Aunt has put her chair in front of the window where she can watch the comings and going of your neighbours. Her old sofa is against one wall alongside the grandfather clock that ticks time away in its deep voice. On the other side of the room is the dresser, weighed down with glass ornaments. Pictures cover most of the walls.\n\nWhen Aunt May moved in, somehow you managed to squeeze all her things into the room. Fortunately, the room has expanded to accept them.\n\nAunt May sits in her chair, hands folded quietly in her lap, staring out of the window.\n\n> You ask may about the garden\n\"Hi, Aunt May,\" you say.\n\n\"Yes, dear?\" she asks.\n\nYou remember when you used to visit Aunt May years ago. You always took away a bag of home gown vegetables. The kids complained in the car on the way home, knowing that for the next few days, there would always be something green on their plate. \"I used to like growing my vegetables,\" says Aunt May. \"Frozen veg just aren't the same.\"\n\n> You ask May about Derek\n\"He never seems to have much time these days,\" you say. \"It's like he's avoiding being at home.\"\n\n\"Don't you worry, love, he's always loved you deep down.\" Aunt May shakes her head. \"It's a funny thing, isn't it. The more you love them, the further away they seem to get.\"\n\n> You ask May about Samantha\n\"Sam...\" you begin, but it's still too raw.\n\nAunt May looks at you and smiles sadly, \"Children are hard, aren't they? I never had any, but I watched over your aunties and your mother growing up and they never stopped breaking my heart.\"\n\n> You ask may about the baby\nAunt May doesn't respond. She just shakes her head slightly and purses her lips.\n\nAunt May shifts in her seat, and clasps her hands in her lap.\n\n> You ask may about the projector\nYou tell Aunt May about the white room, and about the plinth and the projector. She looks out of the window for a while, as if deep in thought. \"I don't know what they are,\" she says, \"but it sounds like there's something that can be changed. It sounds like the past is not always as fixed as you might think.\"\n\n> You ask may about the rubber plant\n\"It's still not doing well,\" you say, \"the rubber plant I bought. Do you remember?\"\n\n\"I did tell you to put somewhere more sunny,\" responds Aunt May, a little acidly. \"They like sun on their leaves, a ficus.\"\n\n> You ask may about may\n\"I said I'm fine.\"\n\nAunt May sighs heavily.\n\n> You ask may about yourself\n\"You look nice, love.\"\n\n> You ask may about the removals\nAunt May doesn't respond. She just shakes her head slightly and purses her lips.\n\n> You ask may about the barometer\n\"I've still got the barometer you gave me for my sixteenth,\" you say.\n\n\"That's nice,\" says Aunt May, \"I hope you got it fixed.\""
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nYour Aunt has put her chair in front of the window where she can watch the comings and going of your neighbours. Her old sofa is against one wall alongside the grandfather clock that ticks time away in its deep voice. On the other side of the room is the dresser, weighed down with glass ornaments. Pictures cover most of the walls.\n\nAunt May sits in her chair, hands folded quietly in her lap, staring out of the window.\n\n> You look at the pictures\nA brief history of your maternal family tree. Uncles and aunts you have a passing acquaintance with mingle with more distant relatives. Dotted here and there are Monet prints. Your Aunt May loved Monet.\n\nAunt May turns her head slightly to look up the street, but you can't see what she is looking at.\n\n> You examine the clock\nAunt May has had this clock forever. Its tick is like a constant note in your life.\n\n> You go to the north\nThe hallway has no windows. It's always been a dingy place when the doors to the bedrooms are closed, but the open door allows some light to creep in. Pictures line the walls, barely illuminated. To the south of you is Aunt May's room, opposite it, Brady's room and the hallway stretches toward the east side of the house. A flight of stairs leads down into the entrance hall, and the new white door hangs open next to the staircase to the west.\n\n> You go east\nThe hallway stretches endlessly from east to west through the house. The blank white walls are broken only by a door to the north.\n\nYou can hear voices coming through the open door.\n\n> You go to the east\nAway from the faint light from the stairwell, the hall is darker, and the pictures that continue to line the walls are more indistinct. A little more light spills in from the open door. The door in the north wall leads to Samantha's room, opposite it, your and Derek's room, and the hallway stretches to the west. It seems to be so much longer than yesterday. To the east, a doorway leads into the bathroom.\n\n> You go to the south\nDespite her age, Aunt May keeps her home spotlessly clean. The window allows her to watch the comings and goings in the street from her strategically positioned armchair. An old dresser holds brass ornaments and a selection of glass flowers. The only door leads back out into the hallway.\n\nThe room feels empty somehow, as if all the life in it has been used up.\n\n> Search table\nWhich do you mean, the small table or the dressing table?\n\n> You examine the small table\nYou bought this a couple of months ago when you got the new beds. Now both you and Derek have a reading lamp. Derek likes to read late sometimes and at least now the light doesn't spill directly into your eyes.\n\n> Go north\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nThe receptionist stands behind the desk sorting through some paperwork.\n\n> You ask the receptionist about Samantha\n\"Hi,\" you say.\n\n\"How can I help you?\" replies the receptionist.\n\n\"The doctor will see you soon,\" says the receptionist, and smiles without showing her teeth. \"I'm sure you can discuss any issues with him.\" She turns away.\n\n> You examine the pamphlets\nGlossy brochures with titles like \"Is Adoption for You?\" or \"You and Your Baby\".\n\n> You ask the receptionist about the time\nThe receptionist smiles at you, but doesn't respond. She just goes back to her work.\n\n> You wait until 5 PM\nYou potter around the house until 5:00 pm.\n\n> You go to the north\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nThe receptionist stands behind the desk tidying up the desk surface.\n\n> You go south\nYour Aunt has put her chair in front of the window where she can watch the comings and going of your neighbours. Her old sofa is against one wall alongside the grandfather clock that ticks time away in its deep voice. On the other side of the room is the dresser, weighed down with glass ornaments. Pictures cover most of the walls.\n\nAunt May sits in her chair, hands folded quietly in her lap, staring out of the window.\n\nAunt May coughs, and dabs at her lips with a small handkerchief.\n\n> You go north\nThe posters on the wall, reminders of winning sports teams and fading rock bands, are further apart than yesterday, as though spaced out and shifted by some unseen hand, showing acres of cream wallpaper. The bed, stripped of sheets, is only a textured mattress, the desk, piled with hockey trophies from his schooldays. Grey light from the window filters into the hallway behind you.\n\nStill no word from Brady. You had hoped that when the phone rang this morning, it was him and it would have been his voice on the answering machine. It was still too hard to actually pick up the phone though - that's why you stayed in bed. Just a message on the machine would have been enough.\n\n> You go south\n(first opening the front door)\n\nBounded by small grass borders that, via some unseen line down the middle, demarcate your house from the next, the driveway stretches out onto the road to the south. The open plan nature of the street is disconcerting.\n\nYour car is parked here.\n\n> You close the door\nYou close the front door.\n\n> You go to the south\nThe street is too open. There are too many eyes - all those blank windows reflecting and multiplying the world. Even thinking about passing the end of the driveway makes you feel uncomfortable. It's as if, unbounded by anything solid, all that space is too big to endure. It might dissipate you entirely.\n\n> Go north\n(first opening the front door)\n\nThe glassed front door leads directly south onto the driveway, and carpeted stairs angle up to the first floor. Doors lead east to the lounge and the dining room to the north. The room is bare except for an occasional table next to the front door in the southern wall, on which the telephone and answering machine squat.\n\n> You close the door\nWhich do you mean, the front door, the lounge door or the dining room door?\n\n> Dust plant\nYou rub the Rubber Plant.\n\n> Go east\nThe kitchen is due an update - it feels very seventies, with a faux marble worktop, dark wood-effect cupboards and garish tiling. The refrigerator is covered in scraps of paper and bills, all held in place by magnetic capital letters. The back door leads out of the east wall into the garden.\n\nA calendar on the wall shows a grid of boxes for the month, all covered in small handwriting.\n\nOn the refrigerator is a yellow post-it note.\n\nThe clock on the wall ticks the seconds away into the air.\n\n> You examine the clock\nThe clock reads 5:18 pm.\n\n> You watch the tv\nA large flat screen attached to the wall opposite the window. Derek insisted on getting the largest. It is switched on, and an advertisement desperately tries to gain your attention.\n\n> You turn off the tv\nYou switch the TV off.\n\n> You go to the north\nThe reception area is painted a clinical light green and smells of disinfectant. Rows of chairs line the walls. A reception desk in the corner hold pamphlets and leaflets. The only other door apart from the one back into your house is in the opposite wall.\n\nThe receptionist stands behind the desk staring out into space.\n\n> You sit on the chair\nYou get onto the chairs.\n\n> You wait\nTime passes.\n\n> You wait until 6\nYou potter around the house until 6:00 pm.\n\n> You go to the south\n(first getting off the chairs)\n\nThe hallway stretches endlessly from east to west through the house. The blank white walls are broken only by a door to the north.\n\nYou can hear voices coming through the open door."
    },
    {
        "text": "[Themes: Fantasy, treasure hunt, island, steampunk, underwater, funny]\n\nUnder the Sea:\nThe Treasure of the Santa Tortosa\n\nSome weeks ago at your Adventurers' Society back in London, Keira, the rather cute librarian, mentioned a rumour about a mysterious map buried on a tiny island with a single palm tree somewhere in the Caribbean. Supposedly, the map would lead to the treasure of the sunken galleon Santa Tortosa. After much research and a long journey, you have arrived on the island, and soon you will see whether those rumours were true. Either way, you will definitely have a good story to tell at the next Society meeting!\n\nYou are standing on a lonely beach in the shadow of a single palm tree. Little spots of sunlight are sparkling on the gently rolling waves. In the distance you hear some seagulls. A few steps to the south the ocean begins. Your ship has left, as your expedition team is on its way to other explorations, and will pick you up again afterwards.\n\nYour custom-made scuba gear lies on top of the trunk it came in, close to the water. Its shiny brass helmet shows a reflection of yourself.\n\nYou can see a shovel here.\n\nPS: If you are new to text adventures, enter GUIDE for help.\n\n[Author's Note: Deep under the sea lies the wreck of the sunken galleon Santa Tortosa. On your quest to find its treasure, you will discover uncharted places, learn new skills, and make scaly friends. But will the honorable Adventurers' Society appreciate your report when you return?]"
    },
    {
        "text": "[Themes: Fantasy, underwater, treasure hunt]\n\n> You take all\nshovel: Taken.\nscuba gear: As you prepare for your dive, you notice that the pressure gauge is missing. If you want to handle or wear the scuba gear you have to look for the pressure gauge first.\n\n> Inventory\nYou are carrying:\na shovel\nyour waterproof wristwatch (being worn)\n\n> You look at the watch\nThe wristwatch is clearly a modern piece of equipment that even serves as a small, steam-powered analytical engine.\n\n> About yourself\nYou are Professor Oliver von Bremen, a great adventurer and bon vivant. You were born into Lower-Saxony aristocracy, but have always found the marvels of modern science and engineering much more appealing than the tea party chitchat at court."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You describe your surroundings\nOn the lonely beach stands a single palm tree. Little spots of sunlight are sparkling on the gently rolling waves. In the distance you hear some seagulls. A few steps to the south the ocean begins. Your ship has left, as your expedition team is on its way to other explorations, and will pick you up again afterwards.\n\nYour custom-made scuba gear lies on top of the trunk it came in, close to the water. Its shiny brass helmet shows a reflection of yourself.\n\nYou can see a trunk here.\n\n> You examine the tree\nInvestigation of the log reveals nothing interesting. But it definitely is a nice palm tree.\n\n> You examine the ocean\nThe ocean is calm, perfect for diving.\n\n> You look at the helmet\nThe brass helmet is part of the scuba gear. It looks big, but being custom-made, it fits you perfectly.\n\n> You open the trunk\nThe trunk is open.\n\n> You look in the trunk\nThe trunk is empty.\n\n> You move the trunk\nUnder the trunk, you discover the pressure gauge that fell off the scuba gear. You reconnect it, and your gear looks ready to wear now.\n\n> You take the gear\nTaken.\n\n> You check your inventory\nYou are carrying:\nyour scuba gear\na shovel\nyour waterproof wristwatch (being worn)\n\n> Go north\nThe terrain in that direction is impassable.\n\n> Dig\nWhere do you want to dig?\n\n> You dig in the sand\nYou dig aimlessly for a while without finding anything. The location does not seem to be specific enough to make the effort worthwhile.\n\n> Swim\nYou'll have to say which compass direction to go in.\n\n> You wear the gear\nAs you put on the scuba gear you hear a soft, friendly beep in your helmet. A text is projected into your visor:\n\nSteam-Powered Analytical Mobile Engine version 42 ready. Enter\nANALYSE to request helpful suggestions from the system. Repeat for more in-depth analysis if needed. CAUTION: Analysis requires significant energy, so use your brains first. Thank you.\n\n> Go south\n(first dropping the shovel)\nLagoon\nThe water is chest-deep and crystal clear. A school of fish is swimming close to the bottom. To the south, you can see the reef top beneath the water's surface. The beach lies to the north.\n\nA glass jar is bobbing up and down on the waves. It seems to contain a piece of paper.\n\n> You take jar\nAs you take the jar, new text appears in your visor: New object detected. Enter INVENTORY to see list of all objects carried.\n\n> Inventory\nYou are carrying:\na glass jar (closed)\na piece of paper\nyour scuba gear (being worn)\nyour waterproof wristwatch (being worn)\n\n> You examine paper\nThe piece of paper inside the jar is crumpled. It seems to be a page torn out of a manual. To read it, you will have to open the jar.\n\n> You open the jar\nRisk of object damage detected. Opening jar underwater likely to\nsoak contents. Open jar (yes/no)?\n\n> Go south\nThe reef top is teeming with life. Marine creatures in all shapes and colours are whizzing around. To the south the deep water shimmers in all shades of blue. To the east you see a coral forest. To the north lies the lagoon.\n\nA snapper looks at you in an almost human way.\n\n> Go north\nThe water is chest-deep and crystal clear. A school of fish is swimming close to the bottom. To the south, you can see the reef top beneath the water's surface. The beach lies to the north.\n\n> You go to the north\nOn the lonely beach stands a single palm tree. Little spots of sunlight are sparkling on the gently rolling waves. In the distance you hear some seagulls. A few steps to the south the ocean begins. Your ship has left, as your expedition team is on its way to other explorations, and will pick you up again afterwards.\n\nYou can see a shovel and a trunk here.\n\n> You open the jar\nYou open the glass jar.\n\n> You read the paper\n(first taking the piece of paper)\nIt looks like a laminated page torn out of a telegrapher's manual. It reads:\n\nLength of a dot (short): one unit. Length of a dash (long): three units.\n\nA  . -    B  - . . . C  - . - . D - . . E . F . . - . G - - . H . . . . I . . J . - - -   K - . -   L . - . . M - -   N - . O - - -   P . - - . Q - - . -   R . - . S . . . T -   U . . -   V . . . -   W . - -   X - . . -   Y - . - -   Z - - . .\n\n> You examine the sand\nThe beach consists of white sand, which owes its colour to pulverized pieces of dead coral.\n\n> You put the paper in the jar\nYou put the piece of paper into the glass jar.\n\n> You close jar\nYou close the glass jar.\n\n> You put the jar in the trunk\nThe trunk has gotten very sandy inside. Things you might want to put in there are safer elsewhere.\n\n> You look at the fish\nThe school of fish moves like a single unit as it searches the bottom for food.\n\n> Go south\nThe reef top is teeming with life. Marine creatures in all shapes and colours are whizzing around. To the south the deep water shimmers in all shades of blue. To the east you see a coral forest. To the north lies the lagoon.\n\nA snapper looks at you in an almost human way.\n\n> You examine the snapper\nThe yellowtail snapper is a medium-sized fish with clear, silvery eyes. A bright yellow line covers its blue-ish body from the eyes to the deep-forked tail. You feel a strange urge to talk to the snapper.\n\n> You talk to the snapper\nUpon hearing your words, the snapper blows a strange pattern of bubbles: \"OOo  oOo  o  o  O  oo  Oo  OOo  ooo\". Then it takes a bow as if introducing itself. What is the snapper trying to say?\n\n> You say the greetings to snapper\nThe snapper continues to communicate in Morse code, which you can decipher easily: \"Wonderful! I got your language right.\"\n\nThe snapper explains that her name is Sabina, and that she is an ardent fighter for fish rights, famous for her motto \"Don't give a damn about the law of the wild!\" Sabina learned Morse code as a foreign language. She says:\n\n\"I could teach you some basic elements of the fish language so you can talk to other, less cosmopolitan members of our community here. But you have to do me a favour first. The newly discovered colour\npoenk is the latest craze at the reef top. Seahorse Shantal\nwears it all the time. Bring me something poenk, no matter what it is.\"\n\n> You go east\nYou hear another soft beep: another experimental function of your scuba gear! The text in your visor reads:\n\nBody signals and visual analysis suggest accomplishment. Logging\nfor report to Adventurers' Society activated. Choose preferred report text:\n\n(1) A spontaneous inspiration struck me as I was deciphering the bubble code.\n\n(2) As an expert linguist, I ran a quick comparison between ten\nexotic regional dialects, distilling their common quintessential structures, and applying them to an underwater culture. Many can recognize morse code, but only a man of science can put it into the appropriate context!\n\nWhich version of the story shall be logged?\n\n> 2\nVersion 2 logged.\n\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see something that looks like the entrance to a cave. To the south a soft glow illuminates the water. To the west lies the reef top.\n\nBetween the corals a huge, grey napoleonfish is lifting pieces of coral, obviously to exercise its bulking muscles.\n\n> You look at the napoleon\nThe napoleonfish is bigger than you, and heavily built. It sports the typical big hump on its forehead.\n\n> You look at the brain corals\nAs you look at the corals, you hear a soft beep, and text appears in your visor: Corals are marine invertebrates within the class\nAnthozoa of the phylum Cnidaria.\n\nHidden underneath one coral you see a tube sponge.\n\n> You examine the sponge\nThe sponge consists of three cylindrical yellow tubes united at the base. Tube sponges can't talk. Therefore you'll never know that this is Tobias the tube sponge, a gentle soul who is secretly in love with the equally silent sea anemone Suzi growing just a few fin strokes away.\n\n> You go west\nThe reef top is teeming with life. Marine creatures in all shapes and colours are whizzing around. To the south the deep water shimmers in all shades of blue. To the east you see the coral forest. To the north lies the lagoon.\n\n> You ask Sabina about the poenk\n\"Poenk,\" Sabina replies, \"is a brand new colour. It's all the rage down here now. It looks like a mix of purple, red and white.\"\n\n> You go east\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see something that looks like the entrance to a cave. To the south a soft glow illuminates the water. To the west lies the reef top.\n\nThe huge, grey napoleonfish with its large frame and bulking muscles is here, still exercising.\n\n> Go east\nIt is pitch dark and you can't see a thing. You are likely to be eaten by a grue.\n\n> Go west\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see the entrance to the cave. To the south a soft glow illuminates the water. To the west lies the reef top.\n\nThe napoleonfish is here.\n\n> Pet sponge\nNothing happens.\n\n> Go south\nYou are in deep blue water. Here, in the dark ocean, you see a wreck: the sunken galleon Santa Tortosa. At the side of the wreck you see a hatchway. To the east seems to be a plankton rendezvous. To the north you can see the reef top.\n\n> You examine the galleon\nThe wreck of the Santa Tortosa towers over you. Its hull is overgrown with plants and corals. On one side of the sunken galleon you see a hatchway.\n\n> You look at the corals\nThe plants and corals grow on all parts of the wreck. They have transformed the old galleon into something new, and made it a part of the sea.\n\n> You look at the hatchway\nSome planks got stuck in the frame of the hatchway. They would need to be pushed aside to enter.\n\n> You examine the planks\nThe planks are made of wood that has remained surprisingly solid underwater.\n\n> Go east\nA beautiful glow illuminates a small part of the area. Patches of turqouise light sparkle in the blue water. The bioluminescent glow is caused by plankton. To the west you see deep blue water. To the north lies the coral forest.\n\nYou can see some plankton here.\n\n> You look at the plankton\nAs you look at the plankton, you hear a soft beep, and text appears in your visor: Plankton is a collection of diverse organisms that\nlive in large bodies of water and are unable to swim against a current. These organisms include bacteria, algae, protozoa, and drifting animals.\n\n> You get the plankton\nYou hold the plankton in your hand. Since you have to hold your fingers firmly closed, no light can emanate.\n\n> You go to the east\nThe terrain in that direction is impassable.\n\n> You go to the west\nAfter a soft beep, a short text appears in your visor: Danger detected. Swimming around with the plankton in your clenched fist will cut it off from its water supply. Killing a simple life form before its next leap in evolution is discouraged.\n\n> You drop the plankton\nDropped.\n\n> You go north\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see the entrance to the cave. To the south a soft glow illuminates the water. To the west lies the reef top.\n\nThe napoleonfish is here.\n\n> Go south\nYou are in deep blue water. Here, in the dark ocean, you see a wreck: the sunken galleon Santa Tortosa. At the side of the wreck you see a hatchway. To the east lies the plankton rendezvous. To the north you can see the reef top.\n\n> Go east\nA beautiful glow illuminates a small part of the area. Patches of turqouise light sparkle in the blue water. The bioluminescent glow is caused by plankton. To the west you see deep blue water. To the north lies the coral forest.\n\nYou can see some plankton here.\n\n> You put the plankton in the jar\nYou put the plankton into the glass jar. The jar now emanates a soft light.\n\nAgain, you hear a soft beep and see some projected text:\n\nBody signals and visual analysis suggest accomplishment. Logging\nfor report to Adventurers' Society activated. Choose preferred report text:\n\n(1) Seeing the beautiful underwater landscape in the soft light of\nthe plankton in the jar felt almost dreamlike. I wish the members of the Adventurers' Society could see it!\n\n(2) Fashioning a lamp from plankton and a jar might seem like a\npretty straightforward idea. But gentlemen, have you ever tried to catch plankton in the tidal drift? This requires not only a quick brain but also quick reflexes!\n\nWhich version of the report shall be logged?\n\n> 1\nVersion 1 logged.\n\n> Go north\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see the entrance to the cave. To the south lies a plankton rendezvous. To the west lies the reef top.\n\nThe napoleonfish is here.\n\n> Go east\nThe soft bioluminescent plankton light reflects from the walls of a small cave. At one end, the tides have carved a narrow passage into the rock that is just wide enough to get through. The passage leads up. To the west lies the coral forest.\n\n> Go upwards\nYou arrive at the shore of a hidden island enclosed by high walls that look like the crater of an extinct volcano. Nature seems completely undisturbed here, as if nobody ever set foot on this shore before. The island is so small that you can see its entire perimeter from here. To the north lies a small forest. To the east you see a small meadow. A narrow passage in a submerged rock formation leads down.\n\nAs you step out of the water, your bulky suit makes you stumble, and you hear a splashing sound. A small metal rod got loose from your scuba gear and fell into the water. You'll really have to have a word with the Quartermaster!\n\n> You get the rod\nTaken.\n\n> You examine it\nThe rod is a shiny, straight piece of metal. Fortunately, it doesn't seem to be required for the scuba gear to function.\n\n> You examine the scuba\nAttached to a large brass helmet with a visor is a rubbery suit. The gear extracts oxygen from water, giving you plenty of time underwater. You remember the Quartermaster's smile when she told you that it included several other experimental features that would reveal themselves in time. A metal rod got loose, but fortunately it doesn't seem to be required for the scuba gear to function.\n\n> You go to the north\n(first taking the scuba gear off)\n(first dropping the scuba gear)\nSmall Forest\nBeyond the edge of the forest, the vegetation first gets denser, then opens up to reveal a clearing. In the high canopy of the treetops, you hear the enchanting songs of exotic birds. To the south lies the shore.\n\nThere is a Beautyberry bush, carrying a single berry.\n\nA small hogerbear is sitting on a tree stump in the clearing. The bear is wearing green dungarees and holds a triangle in its left paw. Occasionally, it attempts to strike the triangle with its right paw, but this produces no sound. The bear looks at you with a sad expression.\n\n> You look at the bush\nThe bush grows small and dense. It is the only one of its kind you have seen here.\n\n> You look at the berry\nThe berry has a colour of splendid purple. It looks juicy.\n\n> You look at the bear\nThe hogerbear is about the size of a child, and looks extremely cuddly. As you keep looking at the creature, your analytical engine completes a visual scan and informs you that hogerbears are a peaceful and rather musical species (with a questionable sense of fashion) that were thought to be long extinct.\n\n> You examine the triangle\nThe triangle is silver in colour and looks shiny in the sun. It is a little smaller than the instruments you remember from your school days.\n\n> You give the rod to bear\nThe hogerbear takes the metal rod, strikes it against the triangle, and listens to its beautiful chime. A happy expression spreads over the creature's face. It takes out a flat stone and hands it to you, apparently as a thank-you gift.\n\nYou have a flat stone.\n\n> You examine the stone\nThe flat stone is about the size of your palm. It seems to be a tool of some kind. Held in one hand, its bottom side, which is not covered by your fingers, looks scratched and worn."
    },
    {
        "text": "[Themes: Fantasy, treasure hunt, steampunk, underwater, funny]\n\n> You describe your surroundings\nBeyond the edge of the forest, the vegetation first gets denser, then opens up to reveal a clearing. In the high canopy of the treetops, you hear the enchanting songs of exotic birds. To the south lies the shore.\n\nThe hogerbear sits on its stump, happily playing its triangle with the metal rod.\n\n> You listen\nYou hear nothing unexpected.\nI beg your pardon?\n\n> You eat the berry\nAfter a soft beep, text appears on your wristwatch: Colour\nsuggests that eating berry would endanger health status.\n\n> Go south\nAgain you hear a soft beep and see some projected text:\n\nBody signals and visual analysis suggest accomplishment. Choose preferred report text:\n\n(1) The hogerbear conveyed an inspiring impression of calmness and wisdom. If man and beast ever find a common language, we might be able to learn a lot from the hogerbears' culture.\n\n(2) There it stood: a huge hogerbear, baring its razor-sharp\nteeth, and displaying its menacing claws. A lesser man might have turned to run, but as a true adventurer, I just saw an opportunity to prove myself worthy.\n\nWhich version of the report do you want to log?\n\n> 1\nVersion 1 logged.\n\nYou arrive at the shore of a hidden island enclosed by high walls that look like the crater of an extinct volcano. The island is so small that you can see its entire perimeter from here. To the north lies the small forest. To the east you see a small meadow. A narrow passage in a submerged rock formation leads down.\n\nYou can see your scuba gear here.\n\n> Go east\nLittle snow sheep graze on a verdant pasture. The grass is speckled with ground cover plants in vivid colours. To the west lies the shore.\n\nIn the middle of the meadow lies a grindstone.\n\nYou can also see a daisy and a poppy here.\n\n> You examine the daisy\nThe daisy has a colour of pure white. It looks very fresh.\n\n> You look at the poppy\nThe poppy has a colour of bright red. It looks lush and succulent.\n\n> PUT BERRY, DAISY, POPPY ON GRINDSTONE\npurple berry: Done.\ndaisy: (first taking the daisy)\nDone.\npoppy: (first taking the poppy)\nDone.\n\n> Grind\nWith which tool do you want to grind?\n\n> Grind with stone\nAs it turns out, grinding is hard work, but after a few minutes, you produce some poenk liquid on the grindstone.\n\n> Inventory\nYou are carrying:\na flat stone\na glass jar (providing light and open)\nsome plankton\nyour waterproof wristwatch (being worn)\n\n> You examine the liquid\nThe liquid is of vivid poenk colour, a mix of purple, white, and red.\n\n> You put the liquid on stone\n(first taking the poenk liquid)\nYou can't pick up the poenk liquid with your bare hands.\n\n> You put the liquid in the jar\nYou put the poenk liquid into the jar. Combined with the plankton, it emanates a soft poenk glow.\n\n> You go to the west\nYou arrive at the shore of a hidden island enclosed by high walls that look like the crater of an extinct volcano. The island is so small that you can see its entire perimeter from here. To the north lies the small forest. To the east you see the small meadow. A narrow passage in a submerged rock formation leads down.\n\nYou can see your scuba gear here.\n\n> You wear gear\n(first taking the scuba gear)\nYou put on the scuba gear."
    },
    {
        "text": "[Themes: Fantasy, steampunk, funny, underwater]\n\n> Go downwards\nThe soft bioluminescent plankton light reflects from the walls of a small cave. At one end, the tides have carved a narrow passage into the rock that is just wide enough to get through. The passage leads up. To the west lies the coral forest.\n\n> You go west\nA coral forest of vibrant colours stretches far ahead. The colony forms different levels, with small brain corals cowering close to the ground, and head-high staghorn corals towering over them. To the east you see the entrance to the cave. To the south lies a plankton rendezvous. To the west lies the reef top.\n\nThe napoleonfish is here.\n\n> You give the jar to Sabina\nSabina is overjoyed: \"Wonderful, now I have my own poenk accessory! Seahorse Shantal will be so jealous.\"\n\nAfter Sabina has calmed down, which takes a while, she remembers her promise, and teaches you some basic elements of the fish language. Now you are able to communicate with other sea dwellers.\n\n> Go south\nThe reef top is teeming with life. Marine creatures in all shapes and colours are whizzing around. To the south the deep water shimmers in all shades of blue. To the east you see the coral forest. To the north lies the lagoon.\n\nSabina the snapper is here, happily playing with her jar of poenk liquid.\n\n> You talk to the napoleon\nThe napoleonfish looks at you with a grumpy expression: \"As if we didn't have enough life forms in the sea talking all the time. But now that you have learned the fish language, I am sure you want something from me... so go ahead: Ask me to do something.\"\n\n> You follow you\nThe napoleonfish has better things to do.\n\n> You ask him to come with yourself\nThe napoleonfish frowns: \"You're lucky that I'm fed up with these corals. Perhaps a quest offers a more interesting way to exercise my muscles. Lead the way, I will follow.\"\n\n> You go south\nAgain you hear a soft beep and see some projected text:\n\nBody signals and visual analysis suggest accomplishment. Choose preferred report text:\n\n(1) The napoleonfish acted grumpy, but it had a heart of gold. It agreed to follow me without demanding anything in return.\n\n(2) I locked eyes with the gigantic napoleonfish and held its\ngaze. Soon enough, the beast wavered and broke eye contact. Although brawny and larger than myself, it soon accepted me as its master, and followed me to do my bidding.\n\nWhich version of the story do you want to log?\n\n> 1\nVersion 1 logged.\n\nTiny stray patches of turquoise light are sparkling in the water, clearly the remains of a plankton light up. To the west you see deep blue water. To the north lies the coral forest.\n\nThe napoleonfish arrives with you.\n\n> Go west\nYou are in deep blue water. Here, in the dark ocean, you see a wreck: the sunken galleon Santa Tortosa. At the side of the wreck you see a hatchway. To the east lies the plankton rendezvous. To the north you can see the reef top.\n\nThe napoleonfish arrives from the east.\n\nThe napoleonfish looks at you, then at the surroundings: \"This is a nice spot. I think I'll stay here for a while. Is there anything else in particular that you would like to ask me to do, before we go our separate ways?\"\n\n> You ask the napoleon to push the planks\nIt almost seems as if the napoleonfish is grinning. \"Ah, not strong enough, are you? Well, let's see\ufffd\ufffd\ufffd\"\nThe napoleonfish pushes hard against the planks, muscles bulging. After a moment, the planks give way, and the hatchway is open. You can enter the wreck now.\n\n> You enter the wreck\nYou are in the former captain's cabin. Apart from an emblazoned wooden chest, the small room contains no furniture. The chest is guarded by a huge octopus. Exiting the wreck takes you back into the deep blue water.\n\n> You talk to the octopus\nThe huge octopus looks at you with mild regret. It says: \"I can imagine why you came here. But to open the treasure chest of the Santa Tortosa, you have to give me the password first - and it changes with each adventurer who reaches me. I have been guarding this treasure for centuries. Until this day, only four brave heroes made it here, and tried to guess the password. But they all failed.\n\nTo the first one I said: 1. And he should have answered: 3.\n\nTo the second one I said: 2. And he should have answered: 3.\n\nTo the third one I said: 3. And he should have answered: 5.\n\nTo the fourth one I said: 4. And he should have answered: 4.\n\nTo you I say: 5. What is your answer?\"\n\n> You say 4\nThe octopus looks surprised: \"Very well, Human, that is the correct password. But the ancient rules dictate that you explain your choice to me, to show that you are truly worthy. So tell me, what did you have to do to find the password? Name at least one action you had to perform after we started talking. If you do not want to give the explanation right away, you can always come back to give your answer. I will await your return.\"\n\n> You say count\nThe huge octopus bends its tentacles in a congratulary gesture: \"Courageous adventurer, you have indeed solved the riddle of the Santa Tortosa! I deem you worthy to finally open this chest that I have been guarding for centuries. Inside you will find a treasure fit for a king.\"\n\n> Open chest\nYou open the chest - and catch your breath. The chest is filled to the top with heavy gold coins and precious gemstones in all colours of the rainbow. You also notice a delicate locket that would make a nice thank-you present for Keira the cute librarian.\n\n> You get the chest\nThe octopus waves its tentacles: \"Not so greedy, young adventurer. Rules dictate that you take the items one by one out of the chest.\"\n\n> You get the locket\nYou take the locket. At that moment, the treasure chest and all its remaining contents seem to lose their colour. Within seconds, they turn into dull, hard rock.\n\nThe octopus smiles faintly. \"You have made your choice, and this reveals more about you than any riddle can. This is the true treasure of the Santa Tortosa. My task is complete, and I look forward to finally roaming the reefs again. You may exit now. Farewell!\"\n\n> Exit\nAgain you hear a soft beep and see some projected text:\n\nBody signals and visual analysis suggest accomplishment. Choose preferred report text for the Adventurers' Society:\n\n(1) The dwellers of the sea are as calm and peaceful as the ocean.\nThe octopus sentinel stood its ground and guarded the treasure without harming or threatening me. When I found the password everything was as it was meant to be.\n\n(2) Only the huge octopus stood between me and the treasure. This dreadful sentinel had guarded the chest for centuries; no living being had ever overcome it. Great courage and cunning were necessary to get past it and snatch the treasure out of its menacing tentacles!\n\nWhich version do you want to log?\n\n> 1\nVersion 1 logged.\n\nYou are in deep blue water. Here, in the dark ocean, you see a wreck: the sunken galleon Santa Tortosa. At the side of the wreck you see a hatchway. You can enter the wreck. To the east lies the plankton rendezvous. To the north you can see the reef top.\n\nThe napoleonfish is here.\n\nAfter a soft beep, text appears in your visor:\n\nVisual sensors suggesting treasure was found. Analytical engine\nused 0 time(s). Ship has been called. Location tracking suggests to keep heading north to return to beach, where vessel will be\nwaiting.\n\n> Go north\nThe reef top is teeming with life. Marine creatures in all shapes and colours are whizzing around. To the south the deep water shimmers in all shades of blue. To the east you see the coral forest. To the north lies the lagoon.\n\nSabina the snapper is here, happily playing with her jar of poenk liquid.\n\n> You go north\nOn the lonely beach stands a single palm tree. Little spots of sunlight are sparkling on the gently rolling waves. In the distance you hear some seagulls. A few steps to the south the ocean begins. Your ship has returned, anchoring close to the lagoon. Your wristwatch displays a final message: BOARD vessel to return to London, report\nto Adventurers' Society, and complete mission.\n\nYou can see a piece of paper, a shovel and a trunk here.\n\n> You dig under the tree\n(first taking the shovel)\nUnder the palm tree you find an old wooden box. In the box you find a map.\n\n> You look at the map\n(first taking the map)\n\nThe map looks battered and old. The writing has faded over the years, but it is still legible:\n\n\"Only a bold adventurer can find the treasure of the Santa Tortosa. But beware the mighty sentinel that guards it! If you dare, go south-south-south. Fortune and eternal truths await you at the end of your journey.\"\n\n> Board ship\nYour journey home is pleasantly uneventful.\n\nAs soon as your feet touch British soil again, they take you to Keira the librarian, who is overjoyed at the beautiful locket you present to her. Giving the treasure away in this manner without appraisal of its monetary or historical value may not have been the best move for your career or financial situation, but it opens her heart to you, and you fall madly in love with each other.\n\nWhen you return your scuba gear and wristwatch to the Quartermaster, she is both amazed at your intelligence and a little annoyed that you had no need at all to use her latest invention, the built-in analytical engine, for any clues.\n\nTwo weeks later, you receive a formal invitation letter to speak before your fellow members at the Adventurers' Society.\n\nYour presentation amazes and excites the audience. When you finish your report, the applause is overwhelming.\n\nLater, at the bar, you hear two esteemed members of the Society talking and praising both your courage and talent to spice up stories. They look forward to your future reports. If you continue to prove yourself, they might even consider proposing you for the Society's Hall of Fame. That is something you have been working towards for a long time!"
    },
    {
        "text": "[Themes: humor, absurd, homage, parody, fantasy, adventure, Temple, Jungle]\n\nSomewhere in the deep, dark swamps of the Everglades, far beyond the reach of civilized men in their London cut double-breasted suits and their bowler hats, strides a man; TEX BONAVENTURE, professional treasure hunter, semi-professional card sharp, and a rank amateur at judging when to stride and when to row a boat.\n\nThere are rumors as to what he's after. Some say diamonds. Some say gold. Others, with a knowing twinkle in their eye, beckon the curious close and whisper a single word - \"youth\".\n\nStruggling to slighly higher ground, what you really want at this moment is a dry pair of socks, and to go back in time about three days and smack yourself about the head for not buying a canoe when you could. That is, until you part some vines, and there it stands before you, what the natives call Cukovcatv Em Oheskatv Vhesaketv:\n\nThe Temple of the Water of Life.\n\nTrying to shake the mud from your boots, but only splattering it around a little, you eventually give up and look around. Atop a small hillock in the middle of the Everglades sits a foreboding stone temple. Its entrance, a wide arch of stone, lies to the east, up the hill. To the west lies the swamp from which you came. The swamp also lies to the north. And the south. Probably to the east, as well, behind the temple, but you can't see that from here. It's a safe bet, though. 99% of the Everglades is swamp. And 1% is, apparently, hidden temples.\n\nA huge green fierce snake bars the way to the temple.\n\n[Author's Note: In this homage to Indiana Jones, you play as Tex Bonaventure, an adventurer and treasure hunter. After three days of exploring the deep dark swamps of the Everglades, you've finally found your destination. You've found what the natives call Cukovcatv Em Oheskatv Vhesaketv, the Temple of the Water of Life.]"
    },
    {
        "text": "[Themes: parody, Temple, Jungle]\n\n> You check what you're carrying\nYou're carrying a whip and a gun. You are wearing the battered fedora and an old leather jacket.\n\n> About you\nTex Bonaventure, card carrying treasure hunter, card playing hustler, been called a card by a few ladies... or was that a \"cad\"? You have to admit, you're beginning to feel your years a little bit. What you would kindly describe as \"grizzled\", the less-kindly (such as some of those ladies) would describe as... well, they would say \"grizzled\", too but they wouldn't say it with respect. A bit of disdain and clenched teeth, perhaps.\n\nPerpetually \"one last score\" away from retirement. But this might be the last, for real. The rumor has it, treasure for the rest of your life is in the top of the Temple... and that life can be very long indeed. Very very long.\n\n> Hello\n[Use TALK TO to interact with characters.]\n\n> You talk to the snake\nYou hiss a bit at the snake. The snake hisses back.\n\n> Whip snake\nYou crack your whip at the snake. You whip it good. The snake becomes even more agitated.\n\n> You shoot the snake\n(with the gun)\nYou take steady aim, walking close to the snake. You only have one bullet, and you don't want to miss. Unfortunately, the snake also takes steady aim, and strikes your calf just as you fire. You end up putting a hole in the snake, but it put two into you.\n\nYou feel the red hot pain of the venom injected into your calf, and the icy grip of death approaching as the poison starts traveling through your body. Your only hope is antivenom - which you don't have with you. And somehow you don't think you'll survive the three day hike to civilization.\n\nSo your REAL only hope is that the rumors are true. That at the pinnacle of the temple there flows the Water of Life.\n\nCongratulationment!\u00ae number 1 - \"I hate snakes, Jock!\""
    },
    {
        "text": "[Themes: Temple, adventure, Jungle, humor]\n\n> Look around\nAtop a small hillock in the middle of the Everglades sits a foreboding stone temple. Its entrance, a wide arch of stone, lies to the east, up the hill. To the west lies the swamp. The swamp also lies to the north. And the south. Probably to the east, as well, behind the temple, but you can't see that from here. It's a safe bet, though. 99% of the Everglades is swamp. And 1% is, apparently, hidden temples.\n\nThe remains of a snake, sans head, lie in front of the temple.\n\n> You look at the remains\nWell, it used to be a snake. Now it's kind of a... fleshy rope? Terribly thick belt?\n\n> You get the remains\nYou gingerly pick up the snake, by the tail. Not that you're scared of snakes. Who would be scared of snakes? ...bats, on the other hand... ick.\n\nCongratulationment!\u00ae number 2 - \"Surely this will be useful?\"\n\n> You examine the fedora\nYeah, you know exactly what this hat looks like. After all, it is YOUR hat, right?\n\n> You look at the jacket\nThe coat has served you well. Perhaps that's why you wear it, even in the sweltering jungle heat. It's currently zipped up.\n\n> You open the jacket\nYou open an old leather jacket, revealing a bundle of maps.\n\n> You examine the maps\nThey got you this far. Unfortunately, all the maps end at the entrance of the temple - none describe the inside at all.\n\n> You examine the swamp\nYou don't relish the thought of the three day hike out of the swamp. But the riches available in the temple will paradoxically lighten your load - or at least happy thoughts of spending them will. Plus... if the rumors are true... perhaps your arthritis will be a thing of the past, soon.\n\n> Go east\nYou limp through the archway, into the dark temple interior...\n\nTaking your first breath of cool, moist air inside the temple, you look around in wonder...\nTex Bonaventure and the Temple of the Water of Life\n\n6/12N)## The Entry Hall of the Temple\nThe first thing you notice in the Temple is the sound of water, dripping and running and burbling. The sound seems to come from all around you, all directions. Combined with the relative coolness and darkness of the temple (cool and dark compared to the Everglade swamp outside), you feel like sleeping. But sleep, with your injuries, means death. Green, speckled light spills in from the exit arch of the Temple, which lies to the west. There are three passageways in the stone walls of the temple, set to the south, east and north. In the middle of the entry hall is a large statue, looming over anyone that may enter the temple.\n\nCongratulationment!\u00ae number 4 - \"Late title card!\"\n\n> You look at the statue\nLooking at the statue, it is absorbed as a gestalt. Aspects are not seen in order, but all at once. It is only when you look away, you can think logically about it. You remember a man made of pure white alabaster at the center, arms flung outward, touching both north and south walls with his hands. His head, you recall, was thrown back - but whether in agony or ecstasy you can't tell. Around the man water, frozen water, raised in a spout. That can't be right. Some stone, translucent blue, the likes of which you've never seen in all your years of treasure hunting. The statue is twenty feet tall, at the minimum, and somehow occupies most of the room, yet is hard to look directly at... perhaps you could look at pieces of it at a time, if you're careful.\n\n> You examine the head\nThe statue's head is thrown back, and not easily visible from the floor of the entrance hall. Which is odd, because in your opinion, (and you have many opinions about strange, cultish temples, having been in a few), the point of a statue is to convey the desired emotion in the viewer. And that is difficult to do, if you can't see the face. It makes you uneasy. Very uneasy, the more you look at it. Which, you belatedly realize, may be the point.\n\n> You examine Water\nThe sound of water is all around, but there is none in evidence in this room. Except for the huge statue, but that's more a representation of water, really.\n\n> You climb the statue\nThere's no real good way to get a grip on the statue. Although, in your attempts, you do notice a small hole in the base of the statue.\n\n> You examine the hole\nThere seems to be a small hole at the base of the statue - about the size of your arm, it extends deep into the mesmerizing blue stone - you can't see the bottom of it, but there appears to be something stuck in it. Perhaps you should reach in and get it out. Nothing bad will happen. The more you look at the stone, the deeper you peer into the hole, the more you just want to put your arm into it. Perhaps now. Certainly now. \"Let's PUT MY ARM INTO THE HOLE!\" cries a voice in your head.\n\n> You put the arm in the hole\nYou reach into the hole, obeying your mental compulsion. Almost immediately, a band of metal blades constricts around your arm, severing it from your shoulder. You are able to stagger two steps away before you collapse to the ground in shock, and bleed out.\n\n> You look in hole\nYou peer deep into the hole. It looks like the item is... woven, somehow. Perhaps it's... a rope necklace? Perhaps you should reach in and get it out. Nothing bad will happen. The more you look at the stone, the deeper you peer into the hole, the more you just want to put your arm into it. Perhaps now. Certainly now. \"Let's PUT MY ARM INTO THE HOLE!\" cries a voice in your head.\n\n> You look at the statue\nLooking at the statue, it is absorbed as a gestalt. Aspects are not seen in order, but all at once. It is only when you look away, you can think logically about it. You remember a man made of pure white alabaster at the center, arms flung outward, touching both north and south walls with his hands. His head, you recall, was thrown back - but whether in agony or ecstasy you can't tell. Around the man water, frozen water, raised in a spout. That can't be right. Some stone, translucent blue, the likes of which you've never seen in all your years of treasure hunting. The statue is twenty feet tall, at the minimum, and somehow occupies most of the room, yet is hard to look directly at... perhaps you could look at pieces of it at a time, if you're careful.\n\n> You examine the spout\nThe blue stone that makes up the statue's depiction of water is mesmerizing. You've never seen anything like it. If only you could cut just a few slabs of it - a few hundred carats of it, enough to bring to a jeweler - that would be enough to finance the rest of your life, you're sure. Hah. Of course, if you can't find the Water of Life, the rest of your life won't be very long, or hard to finance, you're sure. The more you stare at the blue sparkling stone, though, the more you want to stare at it. There's only one flaw, one tiny hole in the stone, at the very base.\n\n> Whip statue\nYou crack your whip at the statue. That'll show it.\n\n> You examine the hole\nThere seems to be a small hole at the base of the statue - about the size of your arm, it extends deep into the mesmerizing blue stone - you can't see the bottom of it, but there appears to be something stuck in it. Perhaps you should reach in and get it out. Nothing bad will happen. The more you look at the stone, the deeper you peer into the hole, the more you just want to put your arm into it. Perhaps now. Certainly now. \"Let's PUT MY ARM INTO THE HOLE!\" cries a voice in your head.\n\n> You go north\nThe Bottomless Pit - Well, *A* Bottomless Pit\nWind whistles through this room, threatening to knock you off balance, and off your precarious perch on a small ledge of stone. And that would be bad. Very bad. Because (and here you risk a quick glance down) the pit you are skirting appears to be bottomless. And not one of those \"bottomless\" pits where it's all build-up and hyperbole, and the bottom is QUITE visible a mere half-mile down, thank you very much. No, this is a PROPER bottomless pit. You fancy you can hear something, very faint, very soft, in the wind whistling out of the pit. To the south is the entrance hall of the temple, and much solider ground.\n\n> You listen\nNo. It couldn't have been. Or... was it indeed a voice comparing sizes of knives?\n\nSomething about the ledge catches your eye.\n\n> You look at something\nYou can't see anything that would be causing the faint sound. They must be very far away.\n\nSomething about the ledge catches your eye.\n\n> You look at the ledge\nThe ledge of stone juts out a little, a few feet maybe, above the pit. To the south of the ledge is the entrance hall of the temple. On one side of the ledge there are faint scrape marks.\n\n> You examine the marks\nIt appears as if people - or animals - cling to the edge of the ledge at this point.\n\n> You jump\nYou succumb to the temptation, and leap into the bottomless pit. The fall doesn't kill you.\n\n> Go south\nGreen, speckled light spills in from the exit arch of the Temple, which lies to the west. There are three passageways in the stone walls of the temple, set to the south, east and north. In the middle of the entry hall is a large statue, looming over anyone that may enter the temple.\n\n> You examine the head\nThe statue's head is thrown back, and not easily visible from the floor of the entrance hall. Which is odd, because in your opinion, (and you have many opinions about strange, cultish temples, having been in a few), the point of a statue is to convey the desired emotion in the viewer. And that is difficult to do, if you can't see the face. It makes you uneasy. Very uneasy, the more you look at it. Which, you belatedly realize, may be the point.\n\n> You climb the statue\nThere's no real good way to get a grip on the statue. Although, in your attempts, you do notice a small hole in the base of the statue.\n\nThere's no real good way to get a grip on the statue. Although, in your attempts, you do notice a small hole in the base of the statue.\n\n> You go east\nA Twisty Maze of Passages, All Alike\nYou find yourself at the entrance to a twisty maze of passages. They all look alike, from here. The entrance itself is different than the entry hall of the temple - the floor is slightly softer than the rock in the entry hall, and the walls, more hand-hewn, with rounder edges. I mean, the whole temple is hand-hewn, to be certain, as the ancients who built it didn't have access to power tools, certainly. The exit lies to the west, a circular passageway ringed with white rocks.\n\n> Go west\nWith a shimmer of relief that starts at the base of your spine and works its way up to your scalp, you leave the maze and re-enter the temple entryway.\n\nGreen, speckled light spills in from the exit arch of the Temple, which lies to the west. There are three passageways in the stone walls of the temple, set to the south, east and north. In the middle of the entry hall is a large statue, looming over anyone that may enter the temple.\n\n> You go south\nYou walk through the south passageway, and immediately several spiked metal poles slam to the ground behind you, trapping you in the room you just entered.\n\nOh. It's going to be one of THOSE temples.\n\nLooking around the room, you spy... not much. A bunch of things that seem... flatter than they should be. Walls that are a bit... greasy? In the north wall is a passageway back to the entry hall of the temple - and it is completely barred by spiked metal poles. And, peering up, there is, of course, the spiked ceiling which doesn't APPEAR to be descending... at the moment.\n\n> You look at the poles\nThe poles block the north passageway out of the room. Which happens to be the only passageway out of the room. There are small gaps in between each of the poles.\n\n> You look at the gaps\nt7/46quishy-Makin\n\nThey are much too small to squeeze through. Even if you were greased. You would have to be an inch thick. AND greased. Through the gap you spy a small glimmer of light sparkling on the wall on the other side of the poles.\n\nWith a tortured screech of metal gears grinding, the ceiling quivers, shakes free a small spray of dust, then begins descending.\n\n> You examine the sparkle\nt7/47quishy-Makin\n\nAha! There, on the far side of the poles, is a small switch - but it seems to be too far away to reach, unaided.\n\n> Whip sparkle\nt7/48quishy-Makin\n\nYou try to whip the switch, but fail to flip it. It seems your whip is too flexible to move the switch - you're going to need something harder.\n\nThe ceiling inches closer to you. Those spikes look... sharp.\n\n> Inventory\nt7/49quishy-Makin\n\nYou're carrying the corpse of a snake, a whip and a gun. You are wearing the battered fedora and an old leather jacket.\n\nA bit of dust falls, as the ceiling nears.\n\n> You examine the ceiling\nt7/50quishy-Makin\n\nThe ceiling appears very large, very heavy, very flat (except for the spikes), and very much headed down toward you.\n\nThe ceiling inches closer to you. The spikes draw your attention, to a point.\n\n> You get the spike\nt7/51quishy-Makin\n\nThey're hardly portable.\n\nYou look around the room to try to spy anything that might help your escape... hmmm...\n\n> You get pole\nt7/52quishy-Makin\n\nThey're hardly portable.\n\nThe ceiling inches closer to you.\n\n> You throw gun at the switch\nt7/53quishy-Makin\n\nFutile.\n\nSurely something here must be useful... it would be cruel to design an evil temple with an UNESCAPABLE death trap!\n\n> You examine the things\nt7/54quishy-Makin\n\nJust... you know, things. That are flatter than things normally are. Like... you're pretty sure that torches have more than two dimensions. And skulls should be able to hold brains. And arm bones should - well, that bone is mainly okay. Looks like you would be safe, if you were less than one inch tall.\n\nThe ceiling inches closer to you, almost within reach. The spikes protruding downwards are certainly within reach. Something glints on one of them.\n\n> You get bone\nt7/55quishy-Makin\n\nYou grab the arm bone from amongst the pile of flattened rubble. This might be useful.\n\n> You flip the switch with the bone\nt7/57quishy-Makin\n\nYou struggle to squeeze the bone through the gap - but it just won't slide through. This bone needs lubrication - and quickly!\n\n> You put the grease on the bone\nt7/58quishy-Makin\n\nYou rub the bone along the greasy wall, coating it nicely. Better hold on tight, it's slippery now.\n\nThe ceiling inches closer to you.\n\n> You flip the switch with the bone\nt12/59uishy-Makin\n\nYou use the arm bone to flip the switch. The poles blocking the doorway retract - and more importantly, so does the ceiling, quickly winching back into its original position.\n\nCongratulationment!\u00ae number 5 - \"What POSSIBLE use is one of these rooms in a non-abandoned, fully functioning temple?\"\n\n> You examine the spikes\nt12/60uishy-Makin\n\nThe spikes are metal, and about a foot long, and are mercifully not moving closer to you at the moment. Dangling from one of the spikes is a metal gauntlet, spiked through the wrist.\n\n> You get the gauntlet\nt12/61uishy-Makin\n\nYou are unable to reach the gauntlet, as it is too high above your head. Which is partly fortunate. You wouldn't want that spiked ceiling getting much closer, would you?\n\n> You take the gauntlet\nt8/59quishy-Makin\n\nYou leap, and are just able to grab the gauntlet from the spikes.\nWell done. Now to keep from being impaled or crushed.\n\nCongratulationment!\u00ae number 7 - \"Power glove!\"\n\n> You clip the switch with the bone\nt8/59quishy-Makin\n\nI didn't understand that sentence.\n\n> You flip the switch with the bone\nt13/60uishy-Makin\n\nYou use the arm bone to flip the switch. The poles blocking the doorway retract - and more importantly, so does the ceiling, quickly winching back into its original position.\n\nCongratulationment!\u00ae number 5 - \"What POSSIBLE use is one of these rooms in a non-abandoned, fully functioning temple?\"\n\n> You examine the gauntlet\nt13/61uishy-Makin\n\nThe gauntlet is made of hardened metal, and long enough to envelop your arm up to your shoulder.\n\n> You wear it\nt13/62uishy-Makin\n\nYou put on the metal gauntlet.\n\n> You go north\nGreen, speckled light spills in from the exit arch of the Temple, which lies to the west. There are three passageways in the stone walls of the temple, set to the south, east and north. In the middle of the entry hall is a large statue, looming over anyone that may enter the temple.\n\n> You examine the hole\nThere seems to be a small hole at the base of the statue - about the size of your arm, it extends deep into the mesmerizing blue stone - you can't see the bottom of it, but there appears to be something stuck in it. Perhaps you should reach in and get it out. Nothing bad will happen. The more you look at the stone, the deeper you peer into the hole, the more you just want to put your arm into it. Perhaps now. Certainly now. \"Let's PUT MY ARM INTO THE HOLE!\" cries a voice in your head.\n\n> You put the arm in the hole\n(a greasy bone in the flaw in the statue)\nTaking a deep breath, you thrust your hand, encased in the gauntlet, deep into the hole at the base of the statue. Almost immediately you hear the shriek of metal on metal, and feel blades bouncing off the gauntlet as the machinery in the hole tries to sever your arm. But you are able to grab the treasure at the bottom of the hole and extract it before the blades can penetrate your armor.\n\nWell, what do you know, the thing at the bottom of the hole was a ball of twine. Valuable!\n\nCongratulationment!\u00ae number 8 - \"A 1/200,000th scale model of the World's Largest Ball of Twine!\"\n\n> You examine the twine\nThe spool of twine has quite a lot of twine in it. Twine is super useful. It can be... tied to stuff? Or... wrapped around packages? Everybody LOVES twine.\n\n> You tie the twine to the statue\nYou slip a loop of twine around an outcropping on the statue and cinch it tight.\n\n> You go to the east\nYou let the twine unroll behind you as you venture east.\n\nA Twisty Maze of Passages, All Alike\nYou find yourself at the entrance to a twisty maze of passages. They all look alike, from here. The entrance itself is different than the entry hall of the temple - the floor is slightly softer than the rock in the entry hall, and the walls, more hand-hewn, with rounder edges. The exit lies to the west, a circular passageway ringed with white rocks.\n\n> Go north\nLetting the twine unroll behind you, you move deeper into the maze.\n\nA Twisty Maze of Passages, All Alike - Except This One is Secreting Stomach Acid\nWell, isn't this peachy. You had a feeling that nothing good would come from wandering into any twisty maze of passages. The twisty maze of passages has widened here, in a large, kidney bean shaped chamber. Various valves line the walls, and the floor is coated in a thick layer of mucus.\n\nA metal pirate hook is jabbed into the side of the stomach, sticking there.\n\nCongratulationment!\u00ae number 9 - \"Jason would be proud. (It's Jason, right? Jason sounds right. Well, you're an adventurer, not a professor of history. Or literature. Or historical literature.\n(It's not Jason))\"\nAcid begins to flow through the valves on the walls in a heavy stream.\n\n> You get the hook\nYou yank the hook out of the wall, and a loud groan of pain echoes through the air.\n\nCongratulationment!\u00ae number 10 - \"Really internal medicine.\"\n\n> You get mucus\nThat's hardly portable.\n\n> You look at the mucus\nIt makes it slightly difficult to walk in here. It's so deep, you have no idea what it might hide.\n\nThe acid begins to eat through your clothing.\n\n> You look in the mucus\nYou find nothing of interest. Like usual. But adventurers are eternally optimistic!\n\n> You examine the valves\nYou find nothing of interest. Like usual. But adventurers are eternally optimistic!\n\nThis acid is beginning to make your eyes burn and your throat tingle.\n\n\n\nFist sized muscular holes through which a steady stream of acid is flushing into this chamber."
    },
    {
        "text": "[Themes: parody, humor]\n\n> You describe your surroundings\nA Twisty Maze of Passages, All Alike - Except This One is Secreting Stomach Acid\nThe twisty maze of passages has widened here, in a large, kidney bean shaped chamber. Various valves line the walls, and the floor is coated in a thick layer of mucus. Acid is pooling around you and starting to dissolve parts of your anatomy that you had grown fond of.\n\nThere goes the outer layers of your skin - you didn't need those, anyway. Free chemical peel (is the optimistic way of looking at this)!\n\n> Go north\nYou follow the twine, and are able to backtrack your route, leading you to...\n\nGreen, speckled light spills in from the exit arch of the Temple, which lies to the west. There are three passageways in the stone walls of the temple, set to the south, east and north. In the middle of the entry hall is a large statue, looming over anyone that may enter the temple.\n\n> You go north\nYou start to go, but decide to untie the twine before you leave.\n\nThe Bottomless Pit - Well, *A* Bottomless Pit\nWind whistles through this room, threatening to knock you off balance, and off your precarious perch on a small ledge of stone. And that would be bad. Very bad. Because the pit you are skirting appears to be bottomless. And not one of those \"bottomless\" pits where it's all build-up and hyperbole, and the bottom is QUITE visible a mere half-mile down, thank you very much. No, this is a PROPER bottomless pit. You fancy you can hear something, very faint, very soft, in the wind whistling out of the pit. To the south is the entrance hall of the temple, and much solider ground.\n\n> You look at the hook\nThe metal hook is meant to be a crude replacement for a hand. It is deeply corroded from the stomach acids of the maze beast, but it survived longer than the rest of the pirate did.\n\nSomething about the ledge catches your eye.\n\n> You look at the marks\nIt appears as if people - or animals - cling to the edge of the ledge at this point.\n\nSomething about the ledge catches your eye.\n\n> You look at the ledge\nThe ledge of stone juts out a little, a few feet maybe, above the pit. To the south of the ledge is the entrance hall of the temple. On one side of the ledge there are faint scrape marks.\n\n> You look at the marks\nI didn't understand that sentence.\n\nIt appears as if people - or animals - cling to the edge of the ledge at this point.\n\n> You climb down\nYou must name something more substantial.\n\nSomething about the ledge catches your eye.\n\n> You examine the marks\nIt appears as if people - or animals - cling to the edge of the ledge at this point.\n\n> Cling to the ledge\nYou peek down, towards the bottom-less area of the pit. Probably not a good idea?\n\nSomething about the ledge catches your eye.\n\nYou scoot to the edge of the ledge, swing your legs over it, and start clinging on for dear life. Looking around, you spy some handholds that were previously invisible from your elevated point of view."
    },
    {
        "text": "> Go downwards\nYou decide to go down, anyway.\n\n> You examine the handholds\nClinging from the ledge, you can just make out a series of handholds that you could climb.\n\n> You climb\nWhat do you want to climb?\n\n> Handholds\nYou climb over to the path of handholds. Clinging precariously to the sheer wall of the pit, you wonder what life decisions could have possibly brought you to this. You can climb up the handholds now, to the top, you figure."
    },
    {
        "text": "> Look around\nThe Bottomless Pit - Well, *A* Bottomless Pit\nWind whistles through this room, threatening to knock you off balance, and off your super-precarious handholds. And that would be bad. Very bad. Because the pit you are skirting appears to be bottomless. And not one of those \"bottomless\" pits where it's all build-up and hyperbole, and the bottom is QUITE visible a mere half-mile down, thank you very much. No, this is a PROPER bottomless pit. You fancy you can hear something, very faint, very soft, in the wind whistling out of the pit.\n\n> You climb down handholds\nYou decide to go down, anyway.\n\n> You go up\nYou begin to climb up the handholds, and after a long, arduous ascent, you arrive at the top...\n\nThe Top of a Bottomless Pit (Not a Topless Pit, Obviously)\nFinally standing at the top of the pit, you can see, impressively far below you, the ledge you started from. A path of marked handholds leads down into the pit, and nothing leads up - you're at the top. You're on a small thrust of wood that extends out over the pit. There are two exits, a metal door to the south and a dark, grimy arch to the southeast. Both doors are currently blocked, however, by the extended wings of a hideous gargoyle.\n\nCongratulationment!\u00ae number 11 - \"Cliffhanger!\"\n\n> You examine wood\nThe wooden thrust is a platform that extends out over the center of the bottomless pit. Marks in the wood are gouged out, from the southern door to the tip of the thrust - where they end.\n\n> You look at what you're carrying with you\nYou're carrying a spool of twine, a metal pirate hook, a greasy bone, the corpse of a snake, a whip and a gun. You are wearing the metal gauntlet, the battered fedora and an old leather jacket.\n\n> Whip gargoyle\nThe gargoyle grabs the whip, and pushes you away. \"DON'T DO THAT AGAIN,\" it says.\n\n> You give the snake to the gargoyle\nThe gargoyle regards the corpse of a snake with a jaundiced eye. \"AND WHAT, PRAY TELL, WOULD I DO WITH THAT?\"\n\n> You talk to the gargoyle\nThe gargoyle seems to regard you with its stone eyes.\n\n> 1\nThe gargoyle smiles, the stone somehow bending without cracking. \"HELLO. WOULD YOU LIKE TO PLAY MY LOGIC GAME? I AM AFRAID I MUST PUSH THE GAME UPON YOU.\"\n\n> 2\nThe gargoyle frowns, making the sound of sandpaper rubbing across granite. \"TOO BAD. IT'S FUN! BUT I WON'T PUSH YOU ON IT.\"\n\n> You talk to the gargoyle\n\"WOULD YOU LIKE TO PLAY THE LOGIC GAME NOW?\"\n\n> 1\nThe gargoyle's grin grows wider. You spy the remains of a rat's nest in his mouth. \"IN THE MORNING I WALK ON FOUR LEGS. I GET DAMpER AS I DRY, YET GOLDEN TREASuRE INsIDE IS hID, BUT IF YOU EAT it, YOU'LL DIE.\"\n\nother."
    },
    {
        "text": "> You talk to the gargoyle\n\"DO YOU HAVE AN ANSWER YET?\"\n\nother.\n\n> 6\n\"WRONG!\" The gargoyle gloats, as his wings spring forward and slice you in half.\n\n> 1\n\"WRONG!\" The gargoyle gloats, as his wings spring forward and slice you in half.\n\n> You examine the gouges\nThe gouges appear to be fingernail marks - from where unwilling sacrifices were dragged, screaming, to be thrown into the abyss. Or maybe someone was moving furniture without moving pads.\n\n> You go south\nMan, someone needs to clean in here! Look at all of this dirt! Just look at it! Everything is coated in a layer of dirt, but you can make out a jagged array of sticks surrounding an altar in the middle of the chamber. On top of the altar rests a stone sarcophagus. Around the walls are strange metal discs, with holes in the middle of them, which shine cleanly amidst all the dirt. To the north and east there are metal doors.\n\n> You examine the dirt\nStrange that this room in the temple is the first you find dirty - all the others have been clean, as if untouched by the passage of time, but this room is positively covered in grime.\n\n> You look at the sticks\nThe wooden sticks are almost your height, sharpened to a point at one end and the other stuck into the floor surrounding the altar, like funeral lilies.\n\nA thin fluid begins to leak from the metal discs, and the smell of the room markedly increases.\n\n> You examine the fluid\nYou touch the fluid, then lick your fingers. Just as you thought, from the smell. Gasoline.\n\n> You examine altar\nThe altar occupies the middle of the chamber, and is plain, unadorned stone - or you assume it is, underneath the layer of dirt. Sharp sticks surround it, and on top of it rests a sarcophagus, with pride of place.\n\n> You look at the sarcophagus\nThe sarcophagus lies on top of the altar, closed. On top of the lid is engraved a skeleton, arms crossed, as if shielding itself.\n\nThe fluid coming from the discs increases in rate.\n\n> You open it\nWith a grunt, you shove the heavy stone lid off the sarcophagus.\n\n> You look in it\nYou find nothing of interest. Like usual. But adventurers are eternally optimistic!\n\nYou begin to get a bit light-headed from the fumes.\n\n> You get the stick\nYou attempt to rip one of the sticks from the floor, but manage to break most of them off at the root. Finally you wrestle one out, whole, and leave the rest on the ground where they fell.\n\nCongratulationment!\u00ae number 13 - \"Breakin' stuff to look tough!\"\n\n> You look at the discs\nThe strange metal discs have a small hole in the middle of each one, surrounded by burnished metal.\n\nThere is a click, as if two dry bones struck one another, from the doors. The sound of bones hitting each other, or doorways locking, perhaps.\n\n> You put the stick in the hole\n(a sharpened length of wood in the holes)\nThose can't contain things.\n\n> You look at the doors\nMetal doors. Extremely inpenetrable, locked, metal doors.\n\nOkay. Time to assess the situation. Room locked. Certain doom coming. Seems familiar.\n\n> You get in the sarcophagus\nYou clamber into the sarcophagus. Fortunately, it was body-sized. What a coincidence!\n\nCongratulationment!\u00ae number 14 - \"Sarcophagus - literally translated, it means 'flesh-eating'. Sweet dreams!\"\n\n> You close it\nYou try to lift the stone lid off the ground, but without success.\n\nThe room is quite full of gas by now, both the liquid and vaporous kind. Good thing you're (relatively) sheltered.\n\n> Smell gas\nYou take a deep whiff, then cough, wishing you hadn't. A deep, abiding smell of charcoal and gasoline hangs in the air.\n\n> You check your inventory\nYou're carrying a sharpened length of wood, a spool of twine, a metal pirate hook, a greasy bone, the corpse of a snake, a whip and a gun. You are wearing the metal gauntlet, the battered fedora and an old leather jacket.\n\nThere is a clicking sound, as if a lighter was being struck.\n\n> You wait awhile\nTime passes.\n\nThere is a loud \"WHOOSH\" as the gas alights in burning jets, scouring the room."
    },
    {
        "text": "[Themes: homage, fantasy, absurd, adventure]\n\n> You describe your surroundings\nAn Extremely Sooty Chamber (in the sarcophagus)\nA solid wall of flames rushes by your hiding place. Better hope it stops soon - oxygen is beginning to get a little tight in here.\n\nFlames continue to jet by, unabated.\n\n> Wait\nTime passes.\n\n> You wait for a while\nTime passes. You begin to grow antsy.\n\n> Wait\nTime passes. You fidget.\n\n> You wait for a while\nTime passes. You nervously tap your foot. You're a man of action, not waiting!\n\nThe heat is searing, but the flames appear to be dying down a little.\n\n> You put the snake on the stick\nYou slowly shove the sharpened stick through the snake, creating a certain style of meat lollipop.\n\nThe flames finally gutter out. It is now, you judge, in you professional adventurer's opinion, safe to emerge.\n\nThere is a click, and the doors to the room unlock, as the room rapidly cools.\n\n> You put snake on the stick\nYou slowly shove the sharpened stick through the snake, creating a certain style of meat lollipop.\n\n> You cook the snake\nYou poke the spitted snake out into the flames for a few seconds, then withdraw it back into the safety of the sarcophagus. Now you're sharing a small space with a smoking hunk of poisonous meat. Congratulations?\n\nCongratulationment!\u00ae number 15 - \"It tastes like chicken?\"\n\nThe heat is searing, but the flames appear to be dying down a little.\n\n> You eat the snake\nWhile it does appeal to you, as a certain kind of revenge, you decide ingesting MORE poison would probably be a bad idea.\n\nThe flames finally gutter out. It is now, you judge, in you professional adventurer's opinion, safe to emerge.\n\nThere is a click, and the doors to the room unlock, as the room rapidly cools.\n\n> You get out\nYou get out of the sarcophagus.\n\nEverything is coated in a layer of soot - and for good reason! But you can make out a pile of sticks surrounding a stone sarcophagus, raised on an altar in the middle of the chamber. Around the walls there are bright nozzles, whose purpose is now obvious. To the north and east there are metal doors.\n\n> You examine bats\nThe bats cluster on the ceiling... maybe cluster is the term?... crawling over one another, packed more than cheek to jowl, but also claw to face. They look... hungry. Hungry for meat. Your meat. Better not attract their attention.\n\n> You show the snake to the bats\nYour ill-fated action draws the attention of the bats. The bats notice that you're made of meat. Delicious meat? They decide to find out.\n\n> You get the snake\nYou surreptitiously saunter to the snake on a stick and sneakily snag it.\n\n> You throw the snake\nYou toss the snake onto the ground. At first, nothing happens. Then the bats notice the snake. First one flutters down, then, two, then nearly all of the bats are converging in a heap, fighting over the meal.\nThe aroma of the burnt snake permeates the room, and soon every last one of the bats joins the pile. One of the last bats to move reveals a shining golden treasure.\n\n> You examine the treasure\nA shining crescent of pure gold. This near-legendary representation of the common banana fruit has provoked much discussion amongst adventurers. Is it a prize to be sought, or does it bear a terrible curse?\n\n> You get the banana\nYou quickly snag the treasure, while the bats are preoccupied. Congratulationment!\u00ae number 16 - \"You collected a valuable(?) treasure\".\n\n> You examine the rope\n(a spool of twine)\nThe spool of twine has quite a lot of twine in it. Twine is super useful. It can be... tied to stuff? Or... wrapped around packages? Everybody LOVES twine."
    },
    {
        "text": "> Look around\nAn incredible ... squadron? troupe?... of bats is converged on the delicious, fragant body of a snake, and are rapidly consuming it. A window has a view of the swamp outside, and there are doorways to the west and northwest. A rope dangles from a hole in the ceiling.\n\nYou can see a heap of bats fighting over a snake on a stick here.\n\n> You look at the hole\nThe hole, through which the rope dangles, leads to the next level of the temple. And, it must be said, it doesn't appear that there are any carnivorous bats there. So it has that going for it.\n\nThe bats have finished eating, and quickly return to their previous roosts.\n\n> You examine the window\nThe view out the window reveals mile after mile of the tops of the Everglade trees.\n\n> You climb the rope\nYou try to ascend the rope, and make it about halfway, quickly hurrying hand over hand. Until one hand comes down on a bat. And then a bat comes down on your hand. And then many bats descend upon all parts of your body. And your body descends (rapidly) to the floor. And then the squeaking, nipping, feeding frenzy starts.\n\n> Inventory\nYour ill-fated action draws the attention of the bats. The bats notice that you're made of meat. Delicious meat? They decide to find out.\n\n> You throw the snake\nYou toss the snake onto the ground. At first, nothing happens. Then the bats notice the snake. First one flutters down, then, two, then nearly all of the bats are converging in a heap, fighting over the meal.\nThe aroma of the burnt snake permeates the room, and soon every last one of the bats joins the pile. One of the last bats to move reveals a shining golden treasure.\n\n> You get the treasure\nYou quickly snag the treasure, while the bats are preoccupied. Congratulationment!\u00ae number 16 - \"You collected a valuable(?) treasure\".\n\n> You go northwest\nWith the bats distracted (for now), you scurry out the northwestern archway.\n\nThe Top of a Bottomless Pit (Not a Topless Pit, Obviously)\nA path of marked handholds leads down into the pit, and nothing leads up - you're at the top. You're on a small thrust of wood that extends out over the pit. There are two exits, a metal door to the south and a dark, grimy arch to the southeast. The doors stand, free of obstruction.\n\n> You climb the rope\nCongratulationment!\u00ae number 17 - \"Rope day in gym class would be easier, if you were running from bats.\"\n\nA Completely Normal (If Paleolithic Evil Temples Can Be Normal)\nRoom\nWell, that's a nice change from bottomless pits, gargoyles, bats, grotesque statues, et cetera. This rooms appears to be entirely normal. The floor is normal. The walls are normal. There is a window out of the temple, with a view of the jungle. A rope dangles down to Bat Country, from which emanates excited squeaking. That's not normal. But it really should count against the normalcy of the room below, not this room. To the west is a doorway, that appears to lead to an entirely normal bathroom.\n\nSomeone has left a large collection of impressive steel pipes here. Complete with flashing lights, dials and switches.\n\n> You look at the pipes\nYou have no idea what this machinery is, or what it does. But you know one thing - when confronted with strange machinery, of unknown provenance in a strange temple, you ABSOLUTELY do not touch it. So why do you find your finger sneaking out to turn a dial, or perhaps flip a switch, before you regain your senses and snatch your hand back?\n\n> You go west\nAlright, this is creepy. Both because this bathroom is unmistakably evil, now that you see it up close, and because there is a bathroom in an ancient evil temple. The most notable feature of the bathroom is the giant bathtub alongside the far wall. Other than that, there are the standard (evil) bathroom fixtures. Mirror (inscribed with inscrutable sigils), sink (filled to the brim with blood) and toilet (reeking of death and bad choices). To the east is the completely normal room, and set in the ceiling is a door marked with a strange heiroglyph.\n\n> You look in the mirror\nYou find nothing of interest. Like usual. But adventurers are eternally optimistic!\n\n> You look at the mirror\nYou see yourself, but not as you normally see yourself. As others see you. What you normally see as a dashing demeanor comes across as pompous. That cheeky grin is a sneer. And your hair looks incredibly strange parted on the other side.\n\n> You look at the sink\nThe sink is full of blood. That's probably the most pertinent detail. Other than that, it's a stone basin.\n\n> You examine the toilet\nThe toilet is creepy, as indoor plumbing is a relatively recent innovation. And by relatively recent, we are definitely excluding ancient stone temples.\n\n> You look at the hieroglyph\nThe language of this hieroglyph has been dead for centuries, which is ironic. Because it means \"The Water of Life\".\n\n> You examine the bathtub\nThe giant tub is alongside the far wall. It is about waist high on you, and very sturdy looking. The tub is full of water, making it impossibly heavy. But perhaps this is the famed Water of Life? Probably not - it's very murky. Through the murk, you can just make out a drain.\n\n> You examine the drain\nIt's what keeps the water in the tub. Or lets it out.\n\n> Drain bathtub\nYou pull the drain, and the water in the tub quickly rushes out, over the floor, quickly seeping into cracks. Hopefully *that* wasn't the Water of Life.\n\n> You examine the tub\nThe giant tub is alongside the far wall. It is about waist high on you, and very sturdy looking. The tub is now drained, and can appears to be several thousand pounds lighter - perhaps light enough to move.\n\n> You get the tub\nThat's hardly portable.\n\n> You move the tub\nYou heave and shove and manhandle the tub, and finally manage to get it right to the center of the room. Whereupon the trapdoor opens, spilling you into the room below, and leaving the tub teetering on the edge above you.\n\nYou fall nearly on top of the sarcophagus, and twist off in an clumsy gainer, landing on the heap of broken sticks, which break your fall.\n\nEverything is coated in a layer of soot - and for good reason! But you can make out a pile of sticks surrounding a stone sarcophagus, raised on an altar in the middle of the chamber. Around the walls there are bright nozzles, whose purpose is now obvious. Above the sarcophagus, a trapdoor swings, open. To the north and east there are metal doors.\n\nCongratulationment!\u00ae number 18 - \"Tub thumpin'!\"\n\n> You go west\nYou quickly scurry out the western door, slamming it behind you to avoid the bats.\n\nEverything is coated in a layer of soot - and for good reason! But you can make out a pile of sticks surrounding a stone sarcophagus, raised on an altar in the middle of the chamber. Around the walls there are bright nozzles, whose purpose is now obvious. Above the sarcophagus, a trapdoor swings, open. To the north and east there are metal doors.\n\n> You examine the trapdoor\nAn open trapdoor swings above the sarcophagus, invitingly within reach - if you were to stand on the sarcophagus.\n\n> You get on the sarcophagus\nYou get into the sarcophagus.\n\nA thin fluid begins to leak from the metal discs, and the smell of the room markedly increases.\n\n> Go upward\nCrawling on top of the sarcophagus, and thence to the trapdoor, you re-enter the floor above.\n\nThe most notable feature is the fact that the floor in the center of the room is missing. Well, it's not exactly missing. It's on a hinge, and has swung down into the room below. The second most notable feature of the room is the giant bathtub in the center of the room, right on the edge of the trap door. Other than that, there are the standard (evil) bathroom fixtures. Mirror (inscribed with inscrutable sigils), sink (filled to the brim with blood) and toilet (reeking of death and bad choices). To the east is the completely normal room, and set in the ceiling is a door marked with a strange heiroglyph.\n\n> You look at the hieroglyph\nThe language of this hieroglyph has been dead for centuries, which is ironic. Because it means \"The Water of Life\".\n\n> You get in the bathtub\nIt would be hard to bathe yourself in an empty tub. Unless you were a mime. Then it would be too easy.\n\n> Go east\nA Completely Normal (If Paleolithic Evil Temples Can Be Normal)\nRoom\nThis rooms appears to be entirely normal. The floor is normal. The walls are normal. There is a window out of the temple, with a view of the jungle. A rope dangles down to Bat Country, from which emanates excited squeaking. That's not normal. But it really should count against the normalcy of the room below, not this room. To the west is a doorway, that appears to lead to an entirely normal bathroom. Alright, a bathroom in a temple is also not normal. But again... should that count against THIS room?\n\nSomeone has left a large collection of impressive steel pipes here. Complete with flashing lights, dials and switches.\n\nYou find yourself absently fingering a dial on the machinery.\n\n> You turn dial\nYou go to mess with the contraption, but then stop yourself. Who knows what could happen?\n\n> You flip the switch\nYou find yourself strangely drawn, compelled, even, to fiddle with the machinery. You quickly stay your hand before you can do anything. Strange compulsions in mysterious temples are never any good.\n\nThe machinery emits a strange, low hiss.\n\n> You check your inventory\nYou're carrying a Golden Banana, a spool of twine, a metal pirate hook, a greasy bone, a whip and a gun. You are wearing the metal gauntlet, the battered fedora and an old leather jacket.\n\nYou find yourself absently fingering a dial on the machinery.\n\n> Whip machinery\nYou can't help it. You start flipping switches and pressing buttons like a mad man. There is a building noise that starts as a rattle, strengthens to a shriek, then ends in a clamorous roar as the machinery jitters and shakes. Finally, the noises cease, and a small vessel is thrust at you.\n\n> You get the vessel\nTaken.\n\n> You examine it\nYou don't know how it was done, but this beverage is the almost complete opposite of tea.\n\nYou get a creepy feeling. Probably for no reason.\n\n> Drink beverage\nNo thank you. You prefer tea.\n\nYou find yourself absently fingering a dial on the machinery.\n\n> You go west\nThe most notable feature is the fact that the floor in the center of the room is missing. Well, it's not exactly missing. It's on a hinge, and has swung down into the room below. The second most notable feature of the room is the giant bathtub in the center of the room, right on the edge of the trap door. Other than that, there are the standard (evil) bathroom fixtures. Mirror (inscribed with inscrutable sigils), sink (filled to the brim with blood) and toilet (reeking of death and bad choices). To the east is the completely normal room, and set in the ceiling is a door marked with a strange heiroglyph.\n\n> You look at the mirror\nYou see yourself, but not as you normally see yourself. As others see you. What you normally see as a dashing demeanor comes across as pompous. That cheeky grin is a sneer. And your hair looks incredibly strange parted on the other side.\n\n> You show the tea to the mirror\nYou can only do that to something animate.\n\n> You examine the sigils\nYou glance at the sigils. They are in some alien alphabet, full of jagged edges and lines that should intersect, but somehow don't. You find your tongue moving of its own accord as you scan the letters, and yank your gaze away.\n\n> Drain sink\nNo thank you. The stopper is probably underneath all that blood.\nIck.\n\n> You throw the tea at the hieroglyph\nFutile.\n\n> Inventory\nYou're carrying a drink unlike tea, a Golden Banana, a spool of twine, a metal pirate hook, a greasy bone, a whip and a gun. You are wearing the metal gauntlet, the battered fedora and an old leather jacket.\n\n> You look at the tub\nThe giant tub teeters on the edge of the trap door, but seems relatively sturdy, if you're careful about it. Standing on it should provide enough reach to get to the door in the ceiling. The tub is now drained, and can appears to be several thousand pounds lighter - perhaps light enough to move.\n\n> Open ceiling\nHow? There's nowhere to get a grip on the door.\n\nYou can't see any such thing.\n\n> You open the door with the hook\n(a metal pirate hook)\nThat doesn't seem to be something you can unlock.\n\n> Whip door\nYou crack your whip at the door in the ceiling, slapping it fruitlessly against the blank wood. Perhaps if there was something for the whip to grip onto?\n\n> You throw the hook at the door\n(a metal pirate hook at the door in the ceiling)\nFutile.\n\n> You examine the door\nThe door set in the ceiling lies waiting for you. Surely you must be near the apex of the temple, and your destiny, by now. There appears to be no really good way to get a grip on the door and open it (though there is a small hole where it appears a doorknob used to be).\n\n> You put the hook in the hole\n(a metal pirate hook in the door in the ceiling)\nYou climb atop the tub, being careful to not teeter it into the gaping trapdoor, and, standing on your tiptoes, you screw the hook into the soft wood of the ceiling door.\n\n> You put the hook in the hole\n(first taking the door in the ceiling)\n\nThat's hardly portable.\n\n> You open the door\nYou can barely reach the hook, standing on your tiptoes on the edge of the tub. But reach it you do, and yank the door in the ceiling open. An ominous silence greets you from the room above. Funny. You expected Handel's Messiah.\n\nCongratulationment!\u00ae number 19 - \"Almost there... almost there!\"\n\n> You go up\nYou climb on top of the tub, and carefully pull yourself up and through the door on the ceiling.\n\nThis is it. The culmination of your adventure. The culmination, indeed of the Temple. A beam of light spears through the air and spotlights a simple pedestal of pure white marble. Atop the pedestal there is a deep basin, and in the basin - this must be the Water of Life. An unearthly blue glow emanates from the water, bathing the rest of the room in rippling azure light. In the floor there is the door to the lower levels of the temple, but you can't think of going back - not with the end of your quest in sight.\n\nCongratulationment!\u00ae number 21 - \"King of the world, top of the heap!\"\n\nThere is a commotion in the room below this one - you peek down through the trapdoor. Bats! The bats have seemingly followed you up the temple, and are circling wildly below (perhaps they are distracted by the sink full of blood). But it is only a matter of time before they start flying into this room...\n\n> You close the door\nActing quickly, you slam the trapdoor closed and throw its bolt, locking it. Unfortunately, you were not quick enough - one of the bats slipped through. It brushes your face with a wingtip as you duck out of the way. With a blood curdling screech, the bat starts circling the ceiling of the room, giant wings flapping.\n\nCongratulationment!\u00ae number 22 - \"Were you raised in a barn?\"\n\n> Drink water\nYou drink from the Water of Life, and feel it coursing through your veins, healing your injuries, curing your poison, righting what once went wrong. You feel like a million bucks. You feel like you want to drink more, or bathe in it!\n\nCongratulationment!\u00ae number 25 - \"Thirsty?\"\n\n> You bathe in Water\nYou attempt to bathe in the Water of Life, but the bat swoops at your neck and tries to sever it your head from your shoulders. Hurriedly, you knock it off, and back away from the basin.\n\n> Whip Bat\nYou crack your whip at the bat. Great, that just drew its attention.\n\nThe bat seems to have regained its sense of purpose, and begins circling above your head ominously.\n\n> You check what you're carrying\nYou're carrying a drink unlike tea, a Golden Banana, a spool of twine, a greasy bone, a whip and a gun. You are wearing the metal gauntlet, the battered fedora and an old leather jacket.\n\nThe bat flaps overhead, waiting for its opportunity to strike.\n\n> You examine the jacket\nThe coat has served you well. Perhaps that's why you wear it, even in the sweltering jungle heat. It's zipped open, which makes more sense in Florida, at least.\n\nIn an old leather jacket is a bundle of maps.\n\nScree, scree, scree, flap, flap, flap.\n\n> You throw the gun at the Bat\nYou lack the nerve when it comes to the crucial moment.\n\nThe bat makes a feint at your jugular.\n\n> You hit the Bat with the gun\nIt would be nice. But the gun is completely empty of bullets.\n\nThe bat flaps overhead, waiting for its opportunity to strike.\n\n> You throw the bone\nDropped.\n\nThe bat screeches, nearly shattering your eardrums.\n\nThe bat swoops in at you, and takes a nip out of your neck. You think you'll be okay... until the blood from your carotid starts fountaining out.\n\n> You look at Bat\nThis bat somehow seems both bigger and more malevolent than the other bats. Which is peculiar, because the bats were already large and malevolent as it was.\n\n> You throw Banana at the Bat\nYou lack the nerve when it comes to the crucial moment.\n\n> You throw the bone in Water\nThat can't contain things.\n\nThe bat seems to have regained its sense of purpose, and begins circling above your head ominously.\n\n> Xyzzy\n*Poof!*\n\nYou find yourself in a wondrous cave. At least you assume it's wondrous. It's dark, and you have no light source. You may be eaten by a grue.\n\n*Poof!* ...that wore off quickly.\n\nCongratulationment!\u00ae number 28 - \"Text Adventure Veteran.\"\n\nThe bat swoops towards you, but you duck out of the way.\n\n> You look at the Bat\nThis bat somehow seems both bigger and more malevolent than the other bats. Which is peculiar, because the bats were already large and malevolent as it was.\n\nThe bat makes a feint at your jugular.\n\n> You examine the fedora\nYeah, you know exactly what this hat looks like. After all, it is YOUR hat, right?\n\nThe bat flaps overhead, waiting for its opportunity to strike.\n\n> You get the Bat\nI don't suppose an enraged giant bat would care for that.\n\nThe bat swoops towards you, but you duck out of the way.\n\nThe bat swoops in at you, and takes a nip out of your neck. You think you'll be okay... until the blood from your carotid starts fountaining out.\n\n> You throw the tea at the Bat\nYou lack the nerve when it comes to the crucial moment.\n\nThe bat swoops towards you, but you duck out of the way.\n\nThe bat swoops in at you, and takes a nip out of your neck. You think you'll be okay... until the blood from your carotid starts fountaining out.\n\n> You open the door\nFoolishly, ignoring your better instincts, you open the trapdoor. Almost immediately after throwing open the bolt, the door flies up under the pressure of the bat bodies slamming against it, knocking you backwards, into the wall. Your breath is knocked from you, and you are thus at a disadvantage when the bats descend upon you.\n\n> Punch bat\nYou flail at the bat, ineffectively, with your fists. Rule one of boxing: don't try to box airborne opponents.\n\nThe bat divebombs at you, fangs bared, but jukes away at the last minute.\n\nThe bat swoops in at you, and takes a nip out of your neck. You think you'll be okay... until the blood from your carotid starts fountaining out.\n\n> Whip Bat\nYou crack your whip at the bat. Great, that just drew its attention.\n\n> Whip Water\nYou crack your whip at the water. That'll show it.\n\n> You examine pedestal\nThe pedestal is made of pure white marble, and seems to have been molded- formed? birthed? - complete and whole. There is not a chisel mark upon it.\n\n> You take basin\nThat's hardly portable.\n\nThe bat seems to have regained its sense of purpose, and begins circling above your head ominously.\n\n> Examine beam\nThe beam of light enters through a crystal block placed at the apex of the room - the apex of the apex, really. The crystal absorbs the rays of the sun, and concentrates them into an almost blinding shaft of light, which then pierces the air of the room, almost setting the dust motes ablaze, until it spotlights the marble pedestal, making the pure white stone seem to radiate, itself.\n\nThe bat screeches, nearly shattering your eardrums.\n\n> You look at the crystal\nThe block of crystal is the real apex of the temple, occuring as it does at the top of the room. It is here that the rays of the sun are focused into a beam of light, and that light directed down to the pedestal.\n\nThe bat screeches, nearly shattering your eardrums.\n\n> You get in the beam\nThat's not something you can enter.\n\nScree, scree, scree, flap, flap, flap.\n\n> You get in Water\nYou attempt to bathe in the Water of Life, but the bat swoops at your neck and tries to sever it your head from your shoulders. Hurriedly, you knock it off, and back away from the basin.\n\nThe bat's eyes glow with a pure red light. Is that possible?\n\n> You put all in Water\ndrink unlike tea: That can't contain things.\nGolden Banana: That can't contain things.\na spool of twine: That can't contain things.\nwhip: That can't contain things.\ngun: You dunk the gun into the water, which is generally against the operating procedure for guns, but it can't hurt, right? And lo, the glow in the water flouresces about your gun, and it suddenly feels just a tiny bit heavier - as if it has de-aged back to the time when it had a single bullet in it.\n\nCongratulationment!\u00ae number 23 - \"Water pistol!\"\na greasy bone: That can't contain things.\n\nScree, scree, scree, flap, flap, flap.\n\nThe bat swoops in at you, and takes a nip out of your neck. You think you'll be okay... until the blood from your carotid starts fountaining out.\n\n> Xyzzy\n*Poof!*\n\nYou find yourself in a wondrous cave. At least you assume it's wondrous. It's dark, and you have no light source. You may be eaten by a grue.\n\n*Poof!* ...that wore off quickly.\n\nCongratulationment!\u00ae number 28 - \"Text Adventure Veteran.\"\n\n> You throw the gun in Water\nYou dunk the gun into the water, which is generally against the operating procedure for guns, but it can't hurt, right? And lo, the glow in the water flouresces about your gun, and it suddenly feels just a tiny bit heavier - as if it has de-aged back to the time when it had a single bullet in it.\n\nCongratulationment!\u00ae number 23 - \"Water pistol!\"\n\n> You shoot bat\n(with the gun)\nYou take careful aim, and fire the gun straight into the bat's heart. With a screech, it plummets - directly into the basin filled with the Water of Life! You rush to the basin, and peer in - but the bat is gone. Did it de-age itself to death? Is that even POSSIBLE?\n\nCongratulationment!\u00ae number 24 - \"Violence was the answer to this one.\"\n\n> You bathe in Water\nYou splash handfuls of the water over yourself, then double handfuls, faster and faster, reaching deeper and deeper into the basin, until you feel yourself fall in, pulled under the water, the unearthly blue glow building around you...\nglow building around you...## A Bar, Three Days Ago, On the Outskirts of the Everglades\nThe bar extends the length of the room, and the ceiling fans and lone bartender are equally overworked by the rough and tumble crowd. Alligator ranchers, adventurers and native guides rub shoulders the entire length of the bar, shouting at the bartender, waving grubby fistfuls of money and pointing at the grimy bottles on display along the back shelf. To the east lies the exit of the bar, though the humid swamp air blowing in from that direction makes it not too tempting.\n\nA man with a snaggly-toothed smile is here, bargaining with you.\n\n\"My friend!\" says the man, \"Let me tell you, if you want to venture into the Everglades, you will need a canoe!\"\n\n> You ask the man about the canoe\nYou smile, and reply \"Sure I do, bub. And can you run me a deal on a couple of boxes of bullets?\"\n\nCongratulationment!\u00ae number 26 - \"I hope the 'AMUSING' section is good...\""
    },
    {
        "text": "[Themes: Alien Visitation, aliens]\n\nUseful information about the game is contained in the \"hint\" menu.\n\nComing over the crest of the thickly wooded hill, you see the\ndecrepit shack that has always been your home. Your long walks through the Appalachian hills usually help clear your mind. You had hoped that the throbbing, insistent pain behind your eyes would go away with this one. You still don't want to admit it, but this pain is exactly how it felt the last two times. You better get your camera. After all, this is why you bought it.\n\nYou are on the top of the hill just south of your house, standing ankle deep in autumn leaves. The path you are walking on leads to the south. Your trusty thinking stump is right beside the path here."
    },
    {
        "text": "[Themes: Alien Visitation, aliens]\n\n> You examine the stump\nYou have many fond memories of sitting on this stump in the dappled shade and contemplating life.\n\n> Inventory\nYou are empty-handed.\n\n> You stand\nYou push to your feet.\n\n> Go north\nThe peeling paint reveals the low quality lumber used to build this house. You've noticed that the house groans and protests more every winter. In many ways, you're amazed it has survived this long. The screen door leans against the house, having pulled free of the rotting door frame several months ago. There is a huge patch of weeds to the northwest that used to be a garden. The back door is to the north, and the path back over the hill leads south.\n\n> You pull the weeds\nIt's too far away.\n\n> Yes\nWatch the skies!\n\nUseful information about the game is contained in the \"hint\" menu.\n\nComing over the crest of the thickly wooded hill, you see the\ndecrepit shack that has always been your home. Your long walks through the Appalachian hills usually help clear your mind. You had hoped that the throbbing, insistent pain behind your eyes would go away with this one. You still don't want to admit it, but this pain is exactly how it felt the last two times. You better get your camera. After all, this is why you bought it.\n\nYou are on the top of the hill just south of your house, standing ankle deep in autumn leaves. The path you are walking on leads to the south. Your trusty thinking stump is right beside the path here.\n\n> You go northwest\nYou dread going past what's left of your garden in order to get to your well. The weeds stand tall in the cool fall air, mocking you.\n\nThe pain in your head gets much worse, whether from getting a closer look at you garden or from the impending 'visit', you aren't sure. It goes away when you return to the back door.\n\n> You examine the weeds\nYou and Maybel planted the garden together in the spring, before your headaches started. After the headaches and the visits started, you picked what you could and let the rest go to seed.\n\n> You go southeast\nYour house is to the north, and the path is to the south. There's no sense in plundering through the woods until it's absolutely necessary.\n\n> You go north\nAs you grab the doorknob, the pain in your head gets worse. You rub the bridge of your nose, hoping that will help. It doesn't. You don't have much time now, so you press into the house.\n\n\"Is your headache gone?\" Maybel turns from the sink to look at you. Soapy water drips from the ends of her fingers as she looks at you carefully, taking in your shaking hands, the wild look in your eyes. Her fingers clench. \"When you asked me to move in with you, we made some ground rules. I don't talk about your dad, and you don't act like him. No you-ef-ohs and no skits-o-frenia, right? I've been holdin' up my end. Where the hell is yours?\" She swears and turns back to the sink.\n\nYour tiny kitchen barely has room for you and Maybel, let alone\nyour small appliances. The living room is to the north, and the back door is south.\nMaybel is washing dishes.\n\n> You go to the north\nhomey. The plywood floor is mostly covered by a large throw rug. The wood-burning stove casts a cheery glow on the sagging couch and the coffee table overflowing with books. The front door leads north, your bedroom is to the west, and the kitchen is to the south.\n\n> You go to the west\nThis is the only bedroom in the house. Once you shared it with\nyour parents. Then you had it to yourself when your mom moved out and your dad went to the asylum. Now you share it with Maybel. Clothes and the old mattress that you use as a bed mostly cover the dirty plywood floor. There is one meticulously clean spot near the bed, reserved for the camera and the pictures. The living room is back east.\nYou see a Polaroid camera, a photo, and a set of grainy pictures\nhere.\n\n> You get the camera\nTaken.\n\n> You examine photo\nThis is the one photo that you managed to take the last time this happened. You couldn't take pictures when \"it\" was overhead because of all of the wild, incomprehensible thoughts they sent screaming through your brain. They let go of your mind only when you were almost unconscious. The ship started moving off over the tree-tops. You managed to get the polaroid up to snap a picture of the receding light through the branches of the trees. It's not enough to convince anyone else, but it might be enough for you. Something to help you believe that you're not as crazy as your father-- if your father really is crazy.\n\n> You look at the pictures\nEvery time you look at these pictures you think of your father giving the film to you. He was home just to pick up some clothes before the sheriff drove him out to the asylum. He pulled the undeveloped roll out from under the mattress and pressed it into your hand, saying, \"Believe. You're my son. They'll come for you too.\" That was ten years ago. The developed pictures are blurred and grainy, but unmistakably the same thing that has already visited you twice. Judging from the pain in your head, a third visit is on the way.\n\n> Go south\nMaybel is washing dishes.\n\n> You give the camera to Maybel\n\"Oh, go take yer pictures in the woods,\" Mabel spits the words at you, \"Maybe you can sell 'em to the Nah-shun-el En-choir-er!\" She snorts. \"Wouldn't that be funny. You makin' money off this. Ha!\"\n\n> About yourself\nAssuming you haven't lost your grip on reality, you are Isaiah Knott, a twenty-seven year old man from the Appalachian mountains. You are wearing your comfortable jeans, a thick flannel shirt, and hiking boots.\n\nYou have a hellishly bad headache that's threatening to get worse.\n\n> You look at the camera\nThis is your treasured camera, the thing that will (hopefully) prove your sanity-- at least to yourself. You had to save up for a month before you could buy it.\n\n> You go to the north\nhomey. The plywood floor is mostly covered by a large throw rug. The wood-burning stove casts a cheery glow on the sagging couch and the coffee table overflowing with books. The front door leads north, your bedroom is to the west, and the kitchen is to the south.\n\n> Examine books\nLooking at the books reminds you of meeting Maybel at the library. When you first started dating her you were both reading every trashy thriller and spy novel you could get your hands on, often over the other's shoulder. Recently, though, you've started getting more and more books about UFO's and mental health. Your reading material has slowly diverged until now you have two completely separate piles of books, encamped on opposite ends of the coffee table.\n\n> You read the books\nYou pick up one of the mental health books and open it. The letters are blurred, and trying to push your eyes into focus aggravates the pain behind your nose. The best thing for your mental health right now is to get you camera and get out to the clearing.\n\n> Go south\nYour tiny kitchen barely has room for you and Maybel, let alone\nyour small appliances. The living room is to the north, and the back door is south.\nMaybel is washing dishes.\n\n> Go south\nYou are on the top of the hill just south of your house, standing ankle deep in autumn leaves. The path you are walking on leads to the south. Your trusty thinking stump is right beside the path here.\n\n> Go south\nThis is the path that most of your walks follow. In general, your walks are more pleasant than this one is turning out to be. The path curves off to the southwest, but you know that if you don't head for the clearing to the southeast, the pain will start making you throw up.\n\n> You go to the south-east\nYou plunge off of the beaten path through the underbrush. The pain\nin your head pushes you through a blur of brambles and branches. Your body presses on even after your will has given up, as if it were possible to outrun this spike of pain. Droplets of water spattering your face bring you around long enough to realize that you've just splashed through a wide, shallow stream. There isn't one within miles of your house.\n\nsprawled on a grassy clearing that you realize the pain has stopped: you've arrived. The \"ship\" is already here, hovering about 30 feet up and quietly humming. Amazingly, they aren't clouding your thoughts like they did the last two times. You roll onto your back, bring the polaroid up, and start photographing the ship between labored breaths. The mechanical whine of your Polaroid drowns out the gentle hum of the ship. Picture after picture comes spewing out of the camera's mouth.\n\nThe fatigue from running catches up with you, forcing your head\nback into the thick grass. Once your head is relaxed, there isn't much keeping your eyelids open. You find yourself relaxing into darkness. As your conciousness recedes, you start to feel things crawling into your hair, crawling in and you need to lift your head, lift your head up right now and push out of the darkness, get away from the things crawling in your hair, lift your head and\n\nwake up.\n\nYou blink your eyes, and see that you're in a hospital ward. Even after getting up, it takes you several moments to realize that this can't possibly be a hospital. There's no bed, no instruments-- no doors, for that matter. There is only blinding whiteness and sterility all around you.\n\nThe room is of uniform whiteness, and far too bright. The air\ntastes odd; perhaps it is the lack of any detectable odors that makes it strange.\n\nA deep breath brings in a faint hint of nervous sweat-- your own. At least you can smell something.\n\n> You smell yourself\nThere is just the faintest hint of nervous sweat about you.\n\n> You stand\nYou're already standing!\n\nA section of one wall turns to a thick white mist. An alien steps through the mist, which becomes seamless wall again. The alien raises its slender hand, palm toward you.\n\n> You hit alien\nYou strike at the alien, but your blows are stopped by an invisible force. The alien shakes its head and steps through the wall.\n\n> Hello\nThe alien stands and blinks its large eyes for a few seconds. Finally you see its mouth curl into a tiny smile and its head bobs politely.\n\nThe alien gestures to its right, and a yellow square slides out of the wall and hovers by its hand.\n\n> You look at the square\nIf ever there were a perfectly two dimensional object, this would be it. It looks like someone has found a way to apply yellow paint directly onto a square swatch of thin air.\n\nThe alien is repeatedly opening and closing its tiny mouth and patiently gesturing with its delicate arms. First it points to the yellow square, then it points to its own mouth, and repeats.\n\n> You eat square\nThe yellow square doesn't appear appetizing.\n\nThe alien is repeatedly opening and closing its tiny mouth and patiently gesturing with its delicate arms. First it points to the yellow square, then it points to its own mouth, and repeats.\n\n> You say square\nYou should say what you want to say in double quotes, for example, SAY \"HELLO\".\n\nThe alien moves toward you and gently pushes your jaw up and down before retreating again and pointing at the square. It seems the alien wants you to say something. Something about the square, probably.\n\n> You talk to the square\nI suppose you can talk to it, but it can't hear you.\n\nThe alien is repeatedly opening and closing its tiny mouth and patiently gesturing with its delicate arms. First it points to the yellow square, then it points to its own mouth, and repeats.\n\n> You look at shapes\nWhich shapes do you mean, the red cube on the left, the yellow sphere in the middle, or the blue pyramid on the right?\n\n> You examine cube\nA soft red light effuses from the floating cube."
    },
    {
        "text": "> You look around\nThe room is of uniform whiteness, and far too bright. The air\ntastes odd; perhaps it is the lack of any detectable odors that makes it strange.\n\nThere are three floating shapes and a large green button in the floor. You see a red cube on the left, a yellow sphere in the middle, and\na blue pyramid on the right here.\n\n> You look at the button\nIt is a sturdy green button set in the floor.\n\n> You press the button\nA green spot, a yellow spot and a black spot twirl into existence. They dance about your head for a moment, and then spin out of sight.\n\n> You feel cube\nYou tug on the cube, trying to pull it out of its appointed spot. It refuses to budge, although it seems like you could turn it or push it.\n\n> Turn sphere\nWhich sphere do you mean, the red sphere on the left, or the yellow sphere in the middle?\n\n> Red\nYou grab the floating sphere and turn it. It seems to click into place, changing the color from red to yellow."
    },
    {
        "text": "> You look around\nThe room is of uniform whiteness, and far too bright. The air\ntastes odd; perhaps it is the lack of any detectable odors that makes it strange.\n\nThere are three floating shapes and a large green button in the floor. You see a yellow sphere on the left, a yellow sphere in the middle, and a blue pyramid on the right here.\n\n> You turn left\nYou grab the floating sphere and turn it. It seems to click into place, changing the color from yellow to blue.\n\n> You turn left\nYou grab the floating sphere and turn it. It seems to click into place, changing the color from blue to red.\n\nYou grab the floating sphere and turn it. It seems to click into place, changing the color from red to yellow.\n\n> You turn left\nYou grab the floating sphere and turn it. It seems to click into place, changing the color from blue to red.\n\n> You press the button\nA green spot, a red spot, and a black spot twirl into existence. They dance about your head for a moment, and then spin out of sight.\n\n> You look at the shape\nWhich shape do you mean, the red sphere on the left, the yellow sphere in the middle, or the blue pyramid on the right?\n\n> You turn blue\nYou grab the floating pyramid and turn it. It seems to click into place, changing the color from blue to red.\n\n> Exit\nYou step through the door, which promptly disappears. It takes you a few seconds to adjust to the scene around you. Eventually, the message gets through to your brain that something is terribly, terribly wrong.\n\nYou are on the top of the hill just south of your house, surrounded\nby trees and spring-time air. The familiar path beneath your feet leads south, just like it always has. A thick fog in the distance obscures a normally beautiful view of the surrounding hilltops. There's something subtly wrong with the whole situation, but you can't quite put your finger on it-- something about the trees.\n\n> You look at the trees\nYou stare at the trees for a long time before you realize what's wrong. Even though the surface of the trees looks rough, their edges are perfectly smooth. It's as though someone took a smooth cylinder and pasted a picture of rough bark on top of it.\n\nAs you get caught up in this discovery, you almost fail to notice the initials carved into one of the prominent trees near the path. A tree that you don't remember at all.\n\n> You look at the initials\nThis tree stands precisely on the spot where your thinking stump should be. As you look at the tree, and the initials carved in it, you can almost feel a glimmer of recognition in the back of your mind, but you're still too befuddled by the loss of your stump. Worse yet, there's no good place to sit and think about this.\n\n> You read the initials\nThe initials are the classic lovers pair, wrapped in a heart:\n\nP. K.\n+\nE. M.\n\nPeter Knott and Esther Minnow. Mom and Dad. The ten year old memory pushes its way to the front of your mind: Mom tearfully packing her few things, Dad alternately yelling at her and pleading with her. It wasn't until Aunt Betty picked her up and they drove out of sight that it really hit Dad. He took an axe out the back door and attacked the tree that had witnessed his proposal to her. It was a thick tree. Curses and saliva kept flying out of his mouth in an almost constant stream as he kept chopping. You couldn't bear to watch him and took a long walk through the woods, but it didn't help. The relentless chopping echoed off of the hilltop like rifle fire. It was a couple hours later that you heard the tree fall.\n\nAfter he went to the asylum, you sawed off all of the splinters and turned the stump into a seat. Now, amazingly, it's a tree once again-- initials and all.\n\n> You listen\nYou stand still and carefully listen to the woods. No birds are singing, no leaves are rustling. The trees are still and silent.\n\n> You go north\nThe building to the north looks far too good to be your house. It sports new aluminum siding and shingles; the screen door is in place and freshly painted. Off to the northwest, the garden is an explosion of color. The path through the woods leads back south.\n\n> You go to the northwest\nThe garden that you let go to weed is flourishing here. Tulips add color to the first greens of the vegetables pushing up through the ground. The well is here, surrounded by flowers. The front of the house is to the northeast and the back is to the southeast.\nYou see a broken hoe here.\n\n> You examine the hoe\nIt is painfully obvious that the hoe is broken beyond repair. The break in the middle of the handle is completely smooth; it looks sawed through, not broken.\n\n> You take the hoe\nTaken.\n\n> Go north\nThe screen door doesn't even squeak. Amazing.\n\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\n\n> Go north\nYour eyes try to take stock of the familiar-yet-not living room, but they are instead immediately drawn to the figure on the couch, who rises and walks toward you, hand extended. \"Isaiah! You're here!\nLet me have a look at you!\"\n\nYour brain reels. It's your father, looking exactly like he did before he went insane ten years ago.\n\n\"You've really grown up, huh? Having to take care of your mom these past couple months? Well, now that they've got you too, maybe this testing will go faster. They'll take us home soon. Have a seat.\" He resumes his place on the couch.\n\nClick.\n\n> You talk to Dad\nYou try to make a little polite conversation, but with a ten-year gulf and who knows what else between you, awkward silences dominate your conversation. Soon you give up.\n\nClick.\n\n> You listen\nYou listen carefully for the noise, and eventually determine that it's coming from your dad. You watch him attentively, and see that the noise happens when he blinks. It's kind of like the clicking of a camera shutter.\n\nClick.\n\n> You examine dad\nYour father's face is a memory come true. He is almost precisely the man taken to the asylum ten years ago-- except his eyes have lost their spark. He looks complacent and lifeless.\n\nClick.\n\n> You look at the hoe\nIt is painfully obvious that the hoe is broken beyond repair. The break in the middle of the handle is completely smooth; it looks sawed through, not broken.\n\nClick.\n\n> You go north\nWith all the other changes, it really shouldn't bother you that the front door works and leads down nice concrete steps to the yard and driveway. It gives you the willies anyway.\n\nThe lawn is freshly mowed, the north side of the house looks just\nas good as the south side, and off to the southwest, the garden is a prize winner.\nYou see a big, blue Pontiac here.\n\n> You examine Pontiac\nThe old, familiar Pontiac sits in the driveway. It looks to be in pretty good shape, considering you sold it to the scrap yard four years ago. The keys are in the ignition.\n\n> Go south\nThe living room is tastefully decorated. Plush wall-to-wall\ncarpeting soothes your feet while your eyes marvel at the new sofa and coffee table. The wood-burning stove is the only real reminder of the house you live in. The front door to the north opens out on the driveway, the sparkly new kitchen is to the south, and the bedroom is west.\nYour dad is sitting on the couch.\n\nClick.\n\n> You kill Dad with the hoe\nYou grapple with your father, who pushes who back with incredible strength. \"What the hell was that for?\"\n\nClick.\n\n> Go north\nThe lawn is freshly mowed, the north side of the house looks just\nas good as the south side, and off to the southwest, the garden is a prize winner.\nYou see a big, blue Pontiac here.\n\n> You enter the car\nYou'll have to get out of the big, blue Pontiac first.\n\n> You drive\nthat seems like the best place to go. It doesn't take long for you to realize that you don't have a choice. The view of the road in front of you is unobstructed, but about fifty feet off the road on either side is a thick, opaque fog. You turn off on one of the side streets, thinking, \"It's only fog.\" When the car pushes into the fog, you literally cannot see anything beyond the car itself. You nudge the car forward at about five miles per hour, and eventually see a trace of road in front of you. With your eyes fixed on the line down the middle of the road, you slowly accelerate until the fog starts to lift. Looking up, you see that you're back on the road heading into town.\n\nResignedly, you follow the road into town. If you were expecting\nto be comforted by the sight of other people, you remain unconsoled. No one else is driving on the streets, no one is out walking. The few houses brave enough to stick out of the fog are all dark and silent. The marked path of road comes to a stop right in front of Pop's market. You park in the prime two-hour spot right in front of the store. There doesn't seem to be a lot of competition for it."
    },
    {
        "text": "[Themes: Alien Visitation]\n\n> Look around\nOutside Pop's, in the big, blue Pontiac\nNow that you're at the end of the road, the fog has spread out just enough to give you a taste of town. What you can see is exactly like you remember it, perhaps a little cleaner, a bit newer. Pop's store stands before you to the south, and the library sits regally to the north, the two real landmarks of Springfield.\nYou see a big, blue Pontiac here.\n\n> Exit\nNow that you're at the end of the road, the fog has spread out just enough to give you a taste of town. What you can see is exactly like you remember it, perhaps a little cleaner, a bit newer. Pop's store stands before you to the south, and the library sits regally to the north, the two real landmarks of Springfield.\nYou see a big, blue Pontiac here.\n\n> You enter library\nIt's too far away.\n\n> You go to the north\nYou head towards the library, not quite sure what you're looking for, but hopeful that you'll find something useful. You stride up the steps, pull the door open, and come up against a wall of fog, just beyond the doorway. Holding your arms out in front of you, you press into the fog, but you still end up coming back out of the library.\nYou retreat to Pop's stoop.\n\n> Go south\nThe comforting familiarity of Pop's storefront vanishes when you enter. All of the aisles are barren and empty. The candy display visible from outside is conspicuously absent. The only reason you have to think that this is actually Pop's store is a young-looking Pop standing behind the counter.\n\nPop looks at you and grins. \"Howdy, Isaiah! Looks like you got on board okay.\" He takes in your slack-jawed expression for a moment.\n\"I 'spose you're wonderin' how old Pop got himself on board this ship when you probably saw him just a couple of days ago in town, lookin' a lot older. The answer is that I ain't Pop, just a robot that looks and acts a lot like him.\n\"I'm tellin' you this up front so you won't think I'm trying to\nhide stuff from you. We tried not telling your dad right away, but when he figured it out, boy was he sore! He still won't come into town.\n\"Anyhow, I'm here to help you out. I'll tell you everything I\nknow, but I warn you now that I don't know everything. If anything breaks, bring it to me and I'll try to fix it. 'Kay?\"\nPop is standing behind the counter.\n\nClick.\n\n> You give the hoe to Pop\nPop takes the pieces of the broken hoe and looks them over. \"Broke again, eh? That's only the fourth time this month. I think our hosts are finally startin' to realize that they just can't make good tools with their fields. Lucky for you, they picked up an actual hoe when they got you. Only costs a crystal duck.\"\n\nClick.\n\n> You ask Pop about Dad\n\"To tell you the truth, our hosts are gettin' a bit worried about him. When he first looked like he was down in the dumps, they figured it was just the stress of the asylum and what-not. They figured out how to make him forget all about that, but he still doesn't seem up to his old self, you know? That's one of the big reasons they started talkin' to you. Maybe you can snap him out of it.\"\n\nClick.\n\n> You listen\nYou carefully watch Pop to make sure. Yep, he clicks when he blinks.\n\nClick.\n\n> You ask Pop about the aliens\n\"A little curious about your 'hosts', eh? Well, it seems to me they're a pretty friendly bunch, but that they can't figure out how we think. I think all this abduction nonsense is designed to get us where they can figure us out. They've got more of a hive mind, if you know what I mean.\"\n\nClick.\n\n> Inventory\nYou are empty-handed.\n\nClick.\n\n> You ask Pop about the duck\n\"Haven't seen the duck yet? Well, it's at the fork in the path behind your house. Of course you'll have to figure out how to get it on your own.\"\n\nClick.\n\n> You drive\nIt's a relief to be driving out of town. There usually aren't a lot of people at your house, so at least you can pretend that things are normal when you don't see any.\n\nEventually you pull in the driveway.\n\n> Exit\nThe lawn is freshly mowed, the north side of the house looks just\nas good as the south side, and off to the southwest, the garden is a prize winner.\nYou see a big, blue Pontiac here.\n\n> Go south\nThe living room is tastefully decorated. Plush wall-to-wall\ncarpeting soothes your feet while your eyes marvel at the new sofa and coffee table. The wood-burning stove is the only real reminder of the house you live in. The front door to the north opens out on the driveway, the sparkly new kitchen is to the south, and the bedroom is west.\nYour dad is sitting on the couch.\n\nClick.\n\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\n\n> You go south\nYou are on the top of the hill just south of your house, surrounded\nby trees and spring-time air. The familiar path beneath your feet leads south, just like it always has. A thick fog in the distance obscures a normally beautiful view of the surrounding hilltops. You are surrounded by artificial trees. One of them has initials carved into it.\n\n> You go south\nThe path leads north and south here.\n\nThe wooded path curves to the southwest here."
    },
    {
        "text": "[Themes: Alien Visitation]\n\n> You look around\nThe wooded path curves to the southwest here.\n\n> Go southwest\nThis is the major hub of this path. It splits to the south and\nwest, and taking either fork will eventually get you back here from from the other direction. Right at the forking of the path is a huge, menacing contraption.\n\n> You examine the contraption\nThe large metal contraption is fairly straightforward in design. It has a platform that comes up to your chest, supporting a hollow, transparent cylinder. It also has an axe, connected to a large, tightly wound spring arm, ready to sweep horizontally across the top of the cylinder. Presumably, the purpose of the axe is to discourage the theft of the beautiful crystalline duck, resting serenely in the cylinder.\n\n> You take duck\nYou reach into the cylinder, wondering how good of an idea this is. You lift the duck, and you simultaneously hear a mechanical chuff and feel your forearm explode in pain. You grab at the axe with your other hand, and pull it back far enough to let your arm escape with the duck. The bruise is already becoming visible.\n\n> You look at the arm\nWhich arm do you mean, the spring arm, or the bruise on your arm?"
    },
    {
        "text": "> You wait for a while\nTime passes...\n\n> You examine the duck\nThe duck is made from clear crystal that looks exactly like a rush of spring water, frozen in time. Its curves are unblemished, and its form is serene and beautiful.\n\n> Go northeast\nYou start heading back up the path toward your house. As the trail curves around a large tree, you are startled to find an alien standing in the middle of the path, shaking its head.\n\nThere's a sharp prick in your neck, and you slap at the pain and spin around to see what it was. You are dismayed to find that the world continues spinning past you even though you are sure your body has stopped. You slump to the ground...\n\nand awaken in the woods near the contraption.\n\n> Inventory\nYou are empty-handed.\n\n> You examine the contraption\nThe large metal contraption is fairly straightforward in design. It has a platform that comes up to your chest, supporting a hollow, transparent cylinder. It also has an axe, connected to a large, tightly wound spring arm, ready to sweep horizontally across the top of the cylinder. Presumably, the purpose of the axe is to discourage the theft of the beautiful crystalline duck, resting serenely in the cylinder.\n\n> You examine the spring\nThe torsional spring about the axis of this arm looks very strong and very strained. Practically anything could set it off.\n\n> You take the duck\nYou reach into the cylinder, wondering how good of an idea this is. You lift the duck, and are knocked to the ground by explosive noise and pain.\n\nShortly before you go into shock, you realize that your arm is missing below the elbow. Shortly after, you stop caring.\n\n> You go northeast\nThe wooded path curves to the southwest here.\n\n> Go north\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\n\n> Go west\nThe gravel road into town is long and boring. It would be a lot easier to drive.\n\n> Go southwest\nThe garden that you let go to weed is flourishing here. Tulips add color to the first greens of the vegetables pushing up through the ground. The well is here, surrounded by flowers. The front of the house is to the northeast and the back is to the southeast.\n\n> You ask Dad about the duck\n\"They had me solve that duck puzzle too. Huh. Guess they're seeing if we work the same way. After I got the duck, I wondered what would have happened if I had just grabbed the duck without...\" He looks at you, realizing that he's about to give too much away. \"...solving it first.\" He finishes lamely.\n\nClick.\n\n> You look at the microwave\nThe appliances aren't important.\n\nAll of the appliances look new and spotless. In fact, they look quite unused.\n\n> You go to the south\nYou walk about twenty feet before coming to a wall of dense fog. You press into it, but come out right where you entered, even though you never felt yourself turn around.\n\n> About yourself\nAssuming you haven't lost your grip on reality, you are Isaiah Knott, a twenty-seven year old man from the Appalachian mountains. You are wearing your comfortable jeans, a thick flannel shirt, and hiking boots.\n\n> Go west\nThe bedroom has also learned of the wonders of carpeting, and your shoddy mattress has been replaced with a beautiful brass bed. In the south-west corner of the room is a giant metal cylinder with rounded ends. It stands well over eight feet tall, and comes close to brushing the ceiling. The only break in the seamless metal is a pad protruding out of its side.\n\n> Examine pad\nIn many of the abduction stories that you read, there were cylinders like this one that contained other abductees. This one is certainly large enough.\n\nA keypad protrudes from the cylinder's side and has nine keys, each with a different alien symbol on it.\n\nSince you stand little chance of deciphering the nine different alien symbols, you decide to treat the three by three grid of buttons as a touch-tone phone and mentally number it that way.\n\n> Type 123456789\n(on the keypad)\nYou start pressing buttons. The keypad buzzes sharply at you when you finish.\n\n> You look at the pad\nSince you stand little chance of deciphering the nine different alien symbols, you decide to treat the three by three grid of buttons as a touch-tone phone and mentally number it that way.\n\n> You ask Dad about the pad\n\"Never heard of it. Sorry.\"\n\nClick.\n\n> You ask Dad about the cylinder\n\"You noticed that too, huh? When I first got here, I was real suspicious about that thing, so I hung around the bedroom a lot. An alien came in and punched in a code, and a window opened up in it.\nThe code was 5222.\" He types on an imaginary keypad in front of him. \"I guess my watching made them suspicious. That night, when I tried to look through the window, they snuck up and hit me with one o' those hypos-- took me right out. I woke up in my bed the next morning. I went back and looked through the window again, but it was empty.\" He stops and thinks for a minute. \"I think that was when they took the wires out of my head, too.\" He reaches over and gives one of the wires on your head a playful tweak.\n\nClick.\n\n> You examine the head\nYou run your fingers back over your head, and are shocked to discover four wires (tubes? It's hard to tell from touching them) coming out of the top of your head and re-entering your skull at the base of your neck. What have they done to you?\n\nClick.\n\n> You feel the wires\nWithout a mirror, it's really difficult to examine them. Just from touch, all four wires are about a quarter-inch thick, and they seamlessly attach to your attach to your skull.\n\nClick.\n\n> You pull the wires\nYou firmly pull on one of the wires. It's like pulling on a large clump of your own hair. It might come free, but how much will it hurt?\n\nClick.\n\n> Type 5222\n(on the keypad)\nYou start pressing buttons. When you finish with the sequence, a large section of the metal cylinder slowly becomes transparent. The keypad chimes when the process completes.\n\n> You examine the cylinder\nIn many of the abduction stories that you read, there were cylinders like this one that contained other abductees. This one is certainly large enough.\n\nNow you have a chance to see what is inside the enigmatic cylinder. A large rectangle of the cylinder has become a dark window to the interior.\n\nA keypad protrudes from the cylinder's side and has nine keys, each with a different alien symbol on it.\n\n> You examine the window\nWithout any light coming from within the cylinder, you are forced to press your face up against the window and cup your hands around your eyes. At first you can see nothing but a small ball of faintly glowing blue light. As your eyes adjust to the darkness within, you can tell that the faint glow is like a turbulent lightning storm; there are localized pockets of activity which occasionally leap across the length of the ball, lighting up new regions in a chaotic pattern.\n\nYou continue to watch, fascinated, until you realize that the blue glow is faintly illuminating what's beneath it: your face. Somehow, you are looking at your own body inside of the cylinder, except that your head is open and there is a glowing ball where your brain should be.\n\nTingles slide down your scalp, and the faintly glowing brain within the cylinder explodes with arcs of color and flashes of light. As the shock passes, the tingles on your scalp recede, and the glowing brain dims to its previous state.\n\nYour heart crawls into your throat as you wait for what you think might happen. Finally, you see your alternate self blink, and hear a faint 'tik' through the skin of the cylinder.\n\n> About yourself\nAssuming you haven't lost your grip on reality, you are Isaiah Knott, a twenty-seven year old man from the Appalachian mountains. You are wearing your comfortable jeans, a thick flannel shirt, and hiking boots.\n\nThere are four wires protruding out of your head.\n\n> You look at the window\nYou press against the window again, grotesquely fascinated with your doppleganger inside. The chaotic lightshow emanating from its open skull is fascinating and disconcerting. The faint, regular ticks float out to you as your other self blinks.\n\n> You pull the wire\nYou firmly pull on one of the wires. It's like pulling on a large clump of your own hair. It might come free, but how much will it hurt?\n\n> You ask Dad about the wires\n\"Aw, don't worry about those. They'll take 'em out after a couple days.\" He proffers the top of his slightly balding head for your inspection. \"See?\"\n\nClick.\n\n> You ask Dad about yourself\n\"I told ya' they'd come for you.\" His forehead creases a notch. \"I thought they'd give you more than a couple o' months, though.\"\n\nClick.\n\n> You ask Dad,  to go west\n\"I'm tellin' you, it's empty. Code's 5222, go look yourself.\"\n\nClick.\n\n\"I just don't feel like doin' much of anything.\"\n\nClick.\n\n> You go east\nYou can't go that way.\n\nClick.\n\n> Go north\nThe lawn is freshly mowed, the north side of the house looks just\nas good as the south side, and off to the southwest, the garden is a prize winner.\nYou see a big, blue Pontiac here.\n\n> You drive\nAs you drive into town, you carefully scan the oppressive fog for any weakness. Occasionally you drive down one of the other side roads, but you always end up heading toward town. You roll to a stop in front of Pop's market.\n\n> Exit\nNow that you're at the end of the road, the fog has spread out just enough to give you a taste of town. What you can see is exactly like you remember it, perhaps a little cleaner, a bit newer. Pop's store stands before you to the south, and the library sits regally to the north, the two real landmarks of Springfield.\nYou see a big, blue Pontiac here.\n\n> You go to the south\nThe comforting familiarity of Pop's storefront vanishes when you enter. All of the aisles are barren and empty. The candy display visible from outside is conspicuously absent. The only reason you have to think that this is actually Pop's store is a young-looking Pop standing behind the counter.\nPop is standing behind the counter.\n\nClick.\n\n> You ask Pop about cylinder\n\"That big cylinder in your room? It's just monitoring stuff. Don't worry about it.\"\n\nClick.\n\n> You ask Pop about 5222\nI don't know how to ask anything about the number 5222.\n\nClick.\n\n> You tell Pop about the cylinder\nIt doesn't look as though Pop is interested.\n\nClick.\n\n> You ask Pop about the wires\n\"Aw, don't worry about those. Once the aliens get all their stuff set up right, they'll take those out again.\"\n\nClick.\n\n> You ask Pop about the axe\nPop scratches his chin. \"I'm afraid I wasn't told 'bout any axe. Maybe if you showed me.\"\n\nClick.\n\n> You ask Pop about the contraption\n\"Reckon I don't know too much about that.\"\n\nClick.\n\n> You show the bruise to pop\n\"Hoo! That's a doozy!\"\n\nClick.\n\n> You show the bruise to Dad\n\"Huh! Helluva bruise, son.\"\n\nClick.\n\n> You examine well\nThis well, like the wood-burning stove inside of the house, was one of the few things of quality you've always had. For as long as you can remember, it has always provided clear, sweet water. It's about two and a half feet in diameter and lined with white stones. A board is mortared into the top of it as an anchor for the rope.\n\n> You examine the board\nThis board is firmly attached to the top of the well. Its purpose is simply to stop the rope from falling in.\n\n> You look at the rope\nThe rope is tied to the board at the top of the well, the rest dangles down into darkness.\n\n> You take the rope\nYou haul the bucket up out of the darkness.\n\n> You look at the bucket\nThe tall, narrow bucket is cool to the touch. It is full of water.\n\n> Inventory\nYou are empty-handed.\n\n> You take the bucket\nYou untie it from the rope and carry it with you.\n\n> You throw the water at Dad\nYou miss.\n\nClick.\n\n> You pour the water on Dad\nJust as you are about to tip the bucket out onto onto your father, he catches your hand. \"Not on me! I'm real! You can pour water on anything else, though. Won't bother me a bit.\"\n\nClick.\n\n> Inventory\nYou have a bucket. The bucket seems to contain some water.\n\n> You pour the water in the cylinde\nThe water fills the cylinder, covering the duck.\n\n> You take the duck\nYou gently reach into the water and lift the crystalline duck out. Once you get the duck past the sweep of the axe, you realize that you had been holding your breath. You let it explode out of your mouth with a gust of relief. A fresh wave of tingles crawls across your scalp.\n\n> You check your inventory\nYou have a bucket and a duck.\n\n> You tell Dad about the duck\n\"They had me solve that duck puzzle too. Huh. Guess they're seeing if we work the same way. After I got the duck, I wondered what would have happened if I had just grabbed the duck without...\" He looks at you, realizing that he's about to give too much away. \"...solving it first.\" He finishes lamely.\n\nClick.\n\n\"They had me solve that duck puzzle too. Huh. Guess they're seeing if we work the same way. After I got the duck, I wondered what would have happened if I had just grabbed the duck without...\" He looks at you, realizing that he's about to give too much away. \"...solving it first.\" He finishes lamely.\n\nClick.\n\n> You show duck to pop\nPop lifts the crystal duck out of your hands and admires it. \"Well, didn't take you too long to get that, did it?\" He grins and stashes the duck behind the counter. \"I'll go get that new hoe.\" He wanders into the back room and emerges with a brand new hoe, which he gives to you.\n\nClick.\n\n> You dig the garden\nWhat do you want to dig in it with?\n\n> You dig with the hoe\nWhat do you want to dig in?\n\n> You hoe the vegetables\nAlthough the garden itself doesn't need hoeing, you would like to hack out that unsightly clod of dirt. With a couple of well placed swings, you sever the roots clinging to the clod.\n\n> You look at the clod\nIt looks like an ordinary clod of dirt to me."
    },
    {
        "text": "> You look around\nThe garden that you let go to weed is flourishing here. Tulips add color to the first greens of the vegetables pushing up through the ground. The well is here, surrounded by flowers. The front of the house is to the northeast and the back is to the southeast.\nYou see a clod of dirt here.\n\n> You throw the clod at the cylinder\nYou miss.\n\n> You check your inventory\nYou have a bucket, a hoe, and a clod of dirt.\n\n> You tie the bucket to the rope\nYou carefully tie the rope to the bucket, and drop the bucket into the well.\n\n> You take the rope\nYou haul the bucket up out of the darkness.\n\n> You take the bucket\nYou untie it from the rope and carry it with you.\n\n> You pour the water on the clod\nThe water flows smoothly off of the clod of dirt, leaving it as dry as if it had never been there.\n\n> You examine the stove\nThis stove was the one thing of quality in your house. It's comforting to see that it hasn't changed.\n\nClick.\n\n> You open the stove\nThere's nothing in it. It's too warm outside.\n\nClick.\n\n> You turn on the stove\nThe stove isn't important.\n\nClick.\n\n> You show the clod to Dad\n\"You got that pulled up, huh? I was trying to pry it up when I snapped the hoe in two.\"\n\nClick.\n\n> You show the hoe to Dad\n\"You always bring garden implements inside with you?\"\n\nClick.\n\n> You show the bucket to Dad\n\"Are you nuts, bringin' a full bucket of water inside, you'll ruin...\" He looks around. \"What am I saying? Everything's made out o' that electric field stuff. You couldn't ruin anything if you tried. Hell, you can't even make anything wet. Go for it. Pour away.\"\n\nClick.\n\n> You pour the water on the floor\nThe water flows smoothly off of the ground, leaving it as dry as if it had never been there.\n\nClick.\n\n> Go southwest\nThis is the major hub of this path. It splits to the south and\nwest, and taking either fork will eventually get you back here from from the other direction. Right at the forking of the path is a huge, menacing contraption.\nThe cylinder seems to contain some water.\n\n> You pour the water in the cylinder\nThe water spills over the top of the already full cylinder and onto the ground.\n\n> You examine the cylinder\nIt is a hollow cylinder, made of a clear material that you don't recognize. It is about nine inches in diameter, a foot high, and its walls are about a half an inch thick. It is full of clear water, and there is an axe poised to sweep across the top of it.\n\n> You go to the south\nYou walk about twenty feet before coming to a wall of dense fog. You press into it, but come out right where you entered, even though you never felt yourself turn around.\n\n> Inventory\nYou have a hoe, a clod of dirt, and a bucket. The bucket seems to contain some water.\n\n> Go north\nThe rest of the house is to the east.\n\n> You show the dirt to pop\n\"You got some nice topsoil there.\"\n\nClick.\n\n> You show the hoe to pop\n\"Fine piece o' work, innit? That won't break on ya', I'll bet.\"\n\nClick.\n\n> You show the bucket to pop\nPop grins and starts singing, \"There's a hole in the bucket, dear Eliza...\"\n\nClick.\n\n> You go east\nYou try to walk to the store next door, but the wall of fog covers the doorway. Groping for the handle, you pull the door open, step inside and proceed to walk through the fog, which eventually clears, leaving you on the sidewalk in front of Pop's.\n\n> You pour water on Pop\nJust as you are about to tip the bucket ontp Pop, he catches your hand. \"Whoa there, Isaiah. Water 'n robots don't mix too good, if you know what I mean.\"\n\nClick.\n\n> You examine the library\nYou look across the street at your old familiar haunt, the library.\nIt is a welcome sight, a possible sanctuary from your madness.\n\n> You go to the north\nYou head towards the library, not quite sure what you're looking for, but hopeful that you'll find something useful. You stride up the steps, pull the door open, and come up against a wall of fog, just beyond the doorway. Holding your arms out in front of you, you press into the fog, but you still end up coming back out of the library.\nYou retreat to Pop's stoop.\n\n> You ask Pop about the library\nPop scratches his head. \"Ya know, I don't think your dad ever went into the library here on the ship. Our hosts prolly never fleshed out the inside of it.\"\n\nClick.\n\n> You ask Pop about yourself\n\"You wanna know why yer here?\" Pop shrugs. \"Mostly just 'cause our hosts want to learn more about people. That, and they wanted to see if you could cheer up yer old man. He hasn't been too cooperative recently.\"\n\nClick.\n\n> You ask Pop about Pop\n\"Wonderin' how our hosts got me to act so much like Pop? Well, I reckon' not too many people in town knew that Pop went on some serious weekend benders. About once a month he'd close down for a weekend-- he'd always say he was goin' to buy more supplies-- and head on over to Cedarsburg, check into a flophouse and get roarin' drunk. If he thought he saw aliens pokin' and proddin' him when he was drunk, well, I reckon' he just kept his mouth shut about it. Kinda puts him one up on your dad, don't it?\n\nClick.\n\n\"Wonderin' how our hosts got me to act so much like Pop? Well, I reckon' not too many people in town knew that Pop went on some serious weekend benders. About once a month he'd close down for a weekend-- he'd always say he was goin' to buy more supplies-- and head on over to Cedarsburg, check into a flophouse and get roarin' drunk. If he thought he saw aliens pokin' and proddin' him when he was drunk, well, I reckon' he just kept his mouth shut about it. Kinda puts him one up on your dad, don't it?\n\nClick.\n\n> You take the clod\nTaken.\n\nClick.\n\n> You ask Dad about Dad\n\"Aw, I'm fine, Isaiah. Let's just get all this testing over with so's we can get back home and prove we weren't nuts.\"\n\nClick.\n\n> You ask Dad about Pop\n\"Oh, you mean that...\" You watch him frown as he gropes for a distasteful enough word. \"...thing that they've set up to make us feel all homey? Yeah, I've seen him. I was fooled by him for a while, but not any more. I'll take my own company over a robot's any day.\n\nClick.\n\n> Inv\nI don't know the word \"abot\".\n\nI don't know the word \"inv\".\n\n> You ask Dad about Library\n\"The Library? Yeah, I remember going to the library. Before they started visiting me. I always liked it there.\" He starts drifting away, lost in old memories. \"But then I started reading all the books about the government conspiracies to keep the aliens a secret. I read about all of the abductees, and saw their stories had to be true. I knew I wasn't nuts, but your mom decided that if I stopped reading the books, I'd stop hallucinating the ship that was visiting me.\" He shakes his head. \"I wonder where she thinks I've been for the past couple months? Inside my own mind?\"\n\nClick.\n\n> You check your inventory\n\"The Library? Yeah, I remember going to the library. Before they started visiting me. I always liked it there.\" He starts drifting away, lost in old memories. \"But then I started reading all the books about the government conspiracies to keep the aliens a secret. I read about all of the abductees, and saw their stories had to be true. I knew I wasn't nuts, but your mom decided that if I stopped reading the books, I'd stop hallucinating the ship that was visiting me.\" He shakes his head. \"I wonder where she thinks I've been for the past couple months? Inside my own mind?\"\n\nClick.\n\nYou have a hoe, a bucket, and a clod of dirt. The bucket seems to contain some water.\n\nClick.\n\n> You follow you\n\"I just don't feel like doin' much of anything.\"\n\nClick.\n\n> You put the clod in the cylinder\nYou drop the clod into water, and the water turns murky. The axe whistles past the cylinder and swings around the spring arm several times before coming to rest.\n\n> You examine the axe\nYou examine the axe, carefully feeling the cool metal of its head, brushing its cutting edge with the ball of your thumb. It's real.\n\n> You pry axe\n(with the hoe)\nAfter working the blade of the hoe underneath the handle of the axe and levering it a couple of times, the axe comes free.\n\n> Inventory\nYou have a hoe and a bucket. The bucket seems to contain some water.\n\n> You go southwest\nThis is the major hub of this path. It splits to the south and\nwest, and taking either fork will eventually get you back here from from the other direction. Right at the forking of the path is a huge, menacing contraption.\nYou see an axe here. The cylinder seems to contain some water.\n\n> You show axe to Dad\nYour dad raises his eyebrow. \"Do I need this?\"\n\nClick.\n\n> You hit Dad with the axe\nYou grapple with your father, who pushes who back with incredible strength. \"What the hell was that for?\"\n\nClick.\n\n> You listen\nYou watch your father carefully, just to be sure. Yep, he clicks when he blinks.\n\nClick.\n\n> You check your inventory\nYou have a hoe, a bucket, and an axe. The bucket seems to contain some water.\n\n> You show the axe to Pop\n\"And just what are you plannin' to do with that?\"\n\nClick.\n\n> You hit Pop with axe\nYou grapple with Pop, who pushes you back with incredible strength.\n\nClick.\n\n> You examine the store\nEvery detail about Pop's store is perfect: the green canopy awning that got cranked in at night, the huge Jingle bell hanging on the inside of the door, even the finger smudges on the window right in front of the candy display. You can remember making some smudges of your own when you were in grade school and your dad brought you into town.\n\n> You go north\nThe interior of the library is filled with dense fog, but you can\njust barely make out the outline of the front desk.\n\n> You look at the desk\nYou focus your mind on that outline of the desk. What should it look like? You close your eyes and remember the light pine base, the speckled formica on top. You feel a tric kle of sensation down your scalp. You open your eyes and see that the fog has thinned out somewhat: the desk is now only partially obscured."
    },
    {
        "text": "> You look around\nThe interior of the library is filled with dense fog, but the front desk is almost visible through it.\n\n> You examine the desk\nYou continue to look at the desk, and start thinking about little details: the thunk of the mechanical card puncher, printing the date on your library cards. The line of tickling down your head starts up again, and the fog starts blowing away from the desk. Soon you find yourself remembering the aisles of gold carpet that led to the shelves behind the front desk, and the small windows up by the vaulted ceiling. As the details begin pouring into your head, the trickle on your scalp becomes a torrent of tingling, and the fog seems to retreat at the speed of thought. Soon you are standing in the library you remember."
    },
    {
        "text": "[Themes: Alien Visitation, aliens]\n\n> Look around\nThis is the library that you remember, the desk, the carpeting, the walls, they all feel right to you.\n\n> You go south\nYou can't go that way.\n\nThe living room is tastefully decorated. Plush wall-to-wall\ncarpeting soothes your feet while your eyes marvel at the new sofa and coffee table. The wood-burning stove is the only real reminder of the house you live in. The front door to the north opens out on the driveway, the sparkly new kitchen is to the south, and the bedroom is west.\nYour dad is sitting on the couch.\n\nClick.\n\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\n\n> You drive\nYou have to get in the car before you can drive it.\n\n> You examine the desk\nIt's not until you step towards the desk that you realize what you had been subconsciously hoping to find here. Laying on the desk are the two newspaper articles that might convince your dad of what's happened.\n\n> Examine newspaper\nThese are the two articles that you always come back to in the library's newspaper archives. One is yellowed and stiff, the other is only a few weeks old.\n\n> You read the newspaper\nYou must have read each of these articles hundreds of times, perhaps trying to glean some deeper meaning out of them, maybe just to make yourself numb to the implications. Every detail of these articles has been pressed into your being. You know every word before you read it. The first is from ten years ago:\n\nillegal handgun  and opened fire  yesterday,\nkilling  one  and  critically   injuring two\nothers  before employees  managed to wrestle\nhim to the ground.\n\nAccording to witnesses, he was screaming\n\"Wife-stealers!\" repeatedly. We talked to\nhis  neighbors,  and learned that  Knott  is\nconvinced  that aliens  have  been abducting\nhim  for the  past  several months,  and the\nstress of his claims caused his wife to move\nout.\n\nAt  the  urgings  of his  lawyer,  Knott\npleaded  no contest at  his hearing  and has\nbeen  committed  to an institution  for  the\ncriminally insane.\n\nThe other is from just two weeks ago:\n\nrampage,  the people of Springfield have not\nforgotten.\n\nhim early, a large crowd gathered around the\nMayor's office and staged a  loud protest on\nhis lawn.\n\nKnott's release, but unless the county comes\nup with more  money for  the facility,  they\nwill have to release twenty patients and lay\noff several staff members in order to remain\noperational.\n\nA spokesman for the complex said: \"We are\nonly thinking of releasing those individuals\nthat  have  responded  completely  to  their\ntherapy and that  we believe  pose no threat\nto themselves or to others.\"\n\n> About you\nAssuming you haven't lost your grip on reality, you are Isaiah Knott, a twenty-seven year old man from the Appalachian mountains. You are wearing your comfortable jeans, a thick flannel shirt, and hiking boots.\n\nThere are four wires protruding out of your head, and a large, painful bruise spreading across your arm.\n\n> You show the newspaper to pop\nPop takes the articles and briefly glances at them before handing them back. \"These are entirely outside of my program. Sorry.\"\n\nClick.\n\n> You show the newspaper to Dad\nYou watch your father's lips move as he scans down the articles. His brow furrows and he shakes his head several times as he reads. Finally, he looks up at you quizzically. \"I don't know where you got these, but they aren't real. First of all, I've only been here a couple of months, so this one from...\" He checks the date again, \"ten years from now is just a plain lie.\" He shakes his head. \"They're both lies! I've been here the whole time, I couldn't have killed anybody. Unless these aliens are body snatchers, and it was my evil twin that done it.\" His agitation fades as he puts the articles on the coffee table. \"Ain't no way those are real.\" When you look back to the coffee table to retrieve the articles, they're gone.\n\nClick.\n\n> You check your inventory\nYou have a hoe, a bucket, and an axe. The bucket seems to contain some water.\n\nClick.\n\n> You examine the desk\nThe old, familiar library desk is a welcome sight.\n\n> You go to the south\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\n\nThe building to the north looks far too good to be your house. It sports new aluminum siding and shingles; the screen door is in place and freshly painted. Off to the northwest, the garden is an explosion of color. The path through the woods leads back south.\n\n> Chop tree\nYou swing the axe and strike the initialed tree. There is a loud thunk and the impact jolts your arms. You pull the axe away and inspect the initialed tree. It appears undamaged.\n\n> Chop window\nYou swing the axe and strike the window. There is a loud thunk and the impact jolts your arms. You pull the axe away and inspect the window. It appears undamaged.\n\n> Chop cylinder\nThe metal of the cylinder appears to be much stronger than the blade of the axe. Aside from a faint scratch on the cylinder, all you have accomplished is severely dulling your axe blade.\n\n> Chop dad\n[TADS-1026: wrong number of arguments to user function \"<NO SYMBOL TABLE>.<NO SYMBOL TABLE>\"]\n\n> Chop bed\nYou swing the axe and strike the brass bed. There is a loud thunk and the impact jolts your arms. You pull the axe away and inspect the brass bed. It appears undamaged.\n\n> Chop cylinder\n(on the keypad)\nYou start pressing buttons. The keypad buzzes sharply at you when you finish.\n\nThe metal of the cylinder appears to be much stronger than the blade of the axe. Aside from a faint scratch on the cylinder, all you have accomplished is severely dulling your axe blade.\n\n> Type 1026\n(on the keypad)\nThere are only nine keys. (You can't use zero.)\n\n> You tell Dad  about the cylinder\n\"Okay, okay, I'll go look at it.\" He gets up and wanders into the bedroom.\n\n> You check what you're carrying\nYou have a hoe, a bucket, and an axe. The bucket seems to contain some water.\n\nYou wait for some noise from the bedroom, some sign that your dad is still functioning. Eventually you hear him say, \"Bastards lied to me. They lied.\" There is a short pause, and then the harsh phrase \"Bastards'll pay.\" He storms into the living room, obviously on his way towards the back door.\n\n> You wait awhile\nTime passes...\nYour dad strides angrily off to the south.\n\n> Go south\nThe kitchen is just as small as you remember, but completely renovated, just like the outside of the house. The appliances and the linolium on the floor are new. There's a space-saving microwave oven installed above the range.\nYour dad strides angrily off to the south.\n\n> Go south\nThe building to the north looks far too good to be your house. It sports new aluminum siding and shingles; the screen door is in place and freshly painted. Off to the northwest, the garden is an explosion of color. The path through the woods leads back south.\nYour dad strides angrily off to the south.\n\n> You wait for a while\nTime passes...\n\n> Go south\nYou are on the top of the hill just south of your house, surrounded\nby trees and spring-time air. The familiar path beneath your feet leads south, just like it always has. A thick fog in the distance obscures a normally beautiful view of the surrounding hilltops. You are surrounded by artificial trees. One of them has initials carved into it.\nYour dad is here.\n\nYour dad keeps running his hand over the tree with the initials carved in it, and muttering.\n\n> You give the axe to Dad\nYour father looks at you for a long moment before it registers what you are offering. He accepts the axe grimly. Your dad looks at the axe solemnly for a moment, and a tear streams down his cheek. \"Too many damn lies.\" are the only words he says before beginning to swing the axe at the tree with all of his might.\n\nThe sound of hollow thuds fills the air. You can't see any visible damage on the tree, but your father continues chopping with demented ferocity.\n\n> Wait\nTime passes...\n\nJust as you are about to give up hope that the tree can be damaged, you see sparks of electricity shooting off of it, and smoke starting to rise off of its branches. Your father continues striking it with the axe, and there is a loud crackle as the tree simply winks out of existence, revealing a tall, seamless metal tower inside the spot the tree had been. Your father, unfazed at this transformation from wood to metal, starts striking up sparks and horribly denting the side of the tower with his axe.\n\nAn alien hurries down the path. Its gaze is locked on your father, and it's holding a metal prod.\n\n> You look at the alien\nThe alien is wielding a metal prod at your father.\n\nYou watch the alien as it approaches your father and touches the metal prod to the base of his skull. Your father stiffens and falls to the ground. The alien turns to you and holds your gaze as the ground beneath it becomes foggy and it and your father are swallowed into the hill.\n\n> You hit the alien with the hoe\nAs you rush the alien, you can feel that you are stepping over some internal boundary. The madness rises within you, but the only way out of it seems to be through it. You strike at the alien with the hoe, and experience what feels like an eternal moment of fear and rage. Your hand comes over your head in slow motion, yet with all of your strength behind it. You can hear your father's axe bite into the tower just as the hoe reaches the alien's face. You hear the metal of the tower yielding: a slow, tortured squeal of anguish.\n\nThe world around you begins to melt away-- the alien, your father, the hoe-- they all fade into nothing. It is only the screaming: the shrill, metallic squealing that accompanies you all the way into unconsciousness.\n\nYour eyes come into focus on a slate-gray sky. Your arms are firmly gripped by two guards on either side of you, who are firmly escorting you towards the gates of Juniper Hill asylum. The same asylum that your father was taken to."
    },
    {
        "text": "[Themes: Alien Visitation, aliens]\n\n> You look around\nYou've only been to Juniper Hill once before, when you had to go\nsign the paperwork as your father's legal guardian-- your mom couldn't be found. It looks the same as it did then: serene, quiet, dead. Through the closed outer gates you can see the plush, well-tended lawn where the less violent inmates are allowed to go.\nYou see your bruise here.\nThe guards are gripping your arms.\n\nThrough the pain and confusion, your mind relives that instant of striking the alien over and over. Was there really an alien there to hit? If you were hallucinating, isn't it possible that what you saw as an alien was just an ordinary person? The possibilities of what you may have done start to sink in. When your dad went on his shooting spree in the restaurant ten years ago, was he seeing people, or alien faces conjured up by his own fevered imagination?\n\nMaybe Juniper Hill is where you belong-- you and your father.\n\n> Wait\nTime passes...\n\nYou close the last twenty feet to the gate. The guard on your right releases your arm to go talk to the gate-keeper. The other guard clamps down painfully on your left arm. The scene around you seems to blur; is it just your eyes tearing up from the pain? You feel an all-too-familiar tingling sensation along your scalp, and the world comes into focus again.\n\n> You wait a while\nTime passes...\n\nThe guard continues conferring with the gate-keeper for a moment.\n\n> You go south\nYou can't go that way.\n\nThe gate-keeper pushes a button, and the heavy, wrought-iron fence is hydraulically pushed open. The guard returns to your side and grabs your arm again. They escort you across the plush lawn into the freshly whitewashed building. They force you into a small room where they wrestle you into a straight-jacket, and then they take you to a classic padded cell, and put you inside. Any doubts you may have had about the reality of your situation are quickly dispelled as you rub your face against the rough canvas padding on your walls. The cell is real.\n\nReal enough, anyway.\n\nIn a total of 542 turns, you have achieved a score of 175 points out of a possible 200. You also received 15 bonus points.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "[Themes: Alien Visitation, aliens]\n\n> Look around\nThe living room is tastefully decorated. Plush wall-to-wall\ncarpeting soothes your feet while your eyes marvel at the new sofa and coffee table. The wood-burning stove is the only real reminder of the house you live in. The front door to the north opens out on the driveway, the sparkly new kitchen is to the south, and the bedroom is west.\nYour dad strides angrily off to the south.\n\n> You chop Dad with the axe\nI don't know how to chop Dad.\n\nYour dad's murmuring gets louder, you can hear snatches of it. \"...need an axe ... where? ... Think!\" His mumbles trail off again.\n\n> You hit Dad with the axe\nYou grapple with your father, who pushes who back with incredible strength. \"What the hell was that for?\"\n\nYour dad keeps running his hand over the tree with the initials carved in it, and muttering.\n\n> Wait\nTime passes...\n\nYour dad's murmuring gets louder, you can hear snatches of it. \"...need an axe ... where? ... Think!\" His mumbles trail off again.\n\n> You give the axe to Dad\nYour father looks at you for a long moment before it registers what you are offering. He accepts the axe grimly. Your dad looks at the axe solemnly for a moment, and a tear streams down his cheek. \"Too many damn lies.\" are the only words he says before beginning to swing the axe at the tree with all of his might.\n\nThe sound of hollow thuds fills the air. You can't see any visible damage on the tree, but your father continues chopping with demented ferocity.\n\n> You wait\nTime passes...\n\nYou watch the alien as it approaches your father and touches the metal prod to the base of his skull. Your father stiffens and falls to the ground. The alien turns to you and holds your gaze as the ground beneath it becomes foggy and it and your father are swallowed into the hill.\n\n> Go north\nThe living room is tastefully decorated. Plush wall-to-wall\ncarpeting soothes your feet while your eyes marvel at the new sofa and coffee table. The wood-burning stove is the only real reminder of the house you live in. The front door to the north opens out on the driveway, the sparkly new kitchen is to the south, and the bedroom is west.\n\nYou wander aimlessly for a while, but eventually the aliens give you other puzzles to work on. You do so listlessly, thinking back to the bizarre opportunity you had with your father, and wondering what you could have done differently. Eventually, you crawl into bed, tired and confused.\n\nWhen you awake the next morning, you feel a little odd. You sit up and rub your face, running your hands back over your head. Ah, that must be why you feel odd, they took the wires out last night. You yawn, stretch, and blink to clear your eyes.\n\nClick.\n\nIn a total of 543 turns, you have achieved a score of 160 points out of a possible 200. You also received 15 bonus points.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> About yourself\nAssuming you haven't lost your grip on reality, you are Isaiah Knott, a twenty-seven year old man from the Appalachian mountains. You are wearing your comfortable jeans, a thick flannel shirt, and hiking boots.\n\nThere are four wires protruding out of your head, and a large, painful bruise spreading across your arm. Your dad strides angrily off to the south.\n\n> You feel the wires\nWithout a mirror, it's really difficult to examine them. Just from touch, all four wires are about a quarter-inch thick, and they seamlessly attach to your attach to your skull.\n\n> You look at what you're carrying with you\nYou have a hoe and a bucket. The bucket seems to contain some water.\n\nJust as you are about to give up hope that the tree can be damaged, you see sparks of electricity shooting off of it, and smoke starting to rise off of its branches. Your father continues striking it with the axe, and there is a loud crackle as the tree simply winks out of existence, revealing a tall, seamless metal tower inside the spot the tree had been. Your father, unfazed at this transformation from wood to metal, starts striking up sparks and horribly denting the side of the tower with his axe.\n\nAn alien hurries down the path. Its gaze is locked on your father, and it's holding a metal prod.\n\n> You hit alien\nIt feels dangerous to go after the alien with nothing but your bare hands, but you go for it anyway. The element of surprise is on your side, at least: the alien is completely focused on your father. As you close the final few steps to the alien, it sees you out of the corner of its eye and reflexively jerks its arm. The metal prod grazes your temple and sends a jolt of electricity through your body, hurling you to the ground, momentarily as helpless as a newborn.\n\nYou watch the alien as it approaches your father and touches the metal prod to the base of his skull. Your father stiffens and falls to the ground. The alien turns to you and holds your gaze as the ground beneath it becomes foggy and it and your father are swallowed into the hill.\n\n> You feel the wires\nThe guards have your arms firmly pinioned to your sides.\n\nThrough the pain and confusion, your mind relives that instant of striking the alien over and over. Was there really an alien there to hit? If you were hallucinating, isn't it possible that what you saw as an alien was just an ordinary person? The possibilities of what you may have done start to sink in. When your dad went on his shooting spree in the restaurant ten years ago, was he seeing people, or alien faces conjured up by his own fevered imagination?\n\nMaybe Juniper Hill is where you belong-- you and your father.\n\n> You check your inventory\nYou are empty-handed.\n\nYou close the last twenty feet to the gate. The guard on your right releases your arm to go talk to the gate-keeper. The other guard clamps down painfully on your left arm. The scene around you seems to blur; is it just your eyes tearing up from the pain? You feel an all-too-familiar tingling sensation along your scalp, and the world comes into focus again.\n\n> You hit the guard\nYou flail with your free arm at the one guard still holding you, but to no avail. Even one-handed, his grip is stronger than your arm, leaving his other hand free to rebuff your attacks and get some good jabs in of his own. The other guard glances over, unconcerned.\n\nThe guard continues conferring with the gate-keeper for a moment.\n\n> You feel the wires\nWithout a mirror, it's really difficult to examine them. Just from touch, all four wires are about a quarter-inch thick, and they seamlessly attach to your attach to your skull.\n\nThe gate-keeper pushes a button, and the heavy, wrought-iron fence is hydraulically pushed open. The guard returns to your side and grabs your arm again. They escort you across the plush lawn into the freshly whitewashed building. They force you into a small room where they wrestle you into a straight-jacket, and then they take you to a classic padded cell, and put you inside. Any doubts you may have had about the reality of your situation are quickly dispelled as you rub your face against the rough canvas padding on your walls. The cell is real.\n\nReal enough, anyway.\n\nIn a total of 544 turns, you have achieved a score of 175 points out of a possible 200. You also received 15 bonus points.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "> You pull the wire\nYou sense that this is probably your only chance to do anything, and so you seize on the one possibility that offers you hope. You reach up with your free hand and pull on one of the wires with all of your strength. The pain is incredible. The guard realizes something is wrong when your knees give out from under you. You can hear them frantically shouting something, but the words are lost behind a fine red mist of pain. As the pain pushes you to the limits of your very being, you feel a moist ripping and the wire starts to pull free. Then, you thankfully lose consciousness.\n\nYou awaken on the ground in the clearing where you saw the ship. The morning is growing bright in the east. Stiff joints protest your weight as you stand up amongst the litter of pictures on the ground.\n\n> You get the pictures\nGathering the pictures up off of the ground, you try not to look at them, being terrified of what they may show, yet insanely curious as to what's on them. Once you have them piled in your hands, you take a deep breath and try to still your nervous heart.\n\nClammy fingertips far too distant and removed to be yours reach out and start flipping through the pictures. All of them seem to be identical. All of them capture bare tree branches carefully silhouetted against the full moon and the clear, starry sky. Numb fingers slowly flip identical pictures past unseeing eyes.\n\nYour mind focuses on one part of that scene, and the more you think about it, the more clearly you see it-- the gentle face of the moon, not only looking down at you, but winking at you conspiratorially, as if it knows something that you don't.\n\nIn a total of 543 turns, you have achieved a score of 200 points out of a possible 200. You also received 15 bonus points.\n\nYou may restore a saved game, start over, quit, or undo the current command.\nPlease enter RESTORE, RESTART, QUIT, or UNDO: >"
    },
    {
        "text": "[Themes: Horror, party]\n\n\"Just take your coat off and come join us in the dining room, we're all about to start,\" Julia says as she already steps out of the vestibule.\n\nComing here tonight was definitely a terrible idea.\n\n\n\nThe vestibule, that most Freudian of rooms, is the liminal space between the front door and the interior of the house proper. This one, like the rest of the house, is wood-paneled and vaguely beaux-arts in a way that can only be described as \"tweedy.\"\n\nYou try not to catch yourself on the full-length mirror.\n\nYou can also see a coat hook here.\n\n[Author's Note: A social anxiety body horror short story about surviving a dinner party when you are just a little bit possessed by an entity that wants to bring about the end of the universe. Features nine official endings and custom responses to prevent the player from doing almost anything.]\n\n> About you\nYou get tired of staring at yourself, and your eyes wander over to the full-length mirror instead: A nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\n> You check your inventory\nYou are carrying:\na coat (being worn)\nyour phone\n\n> You examine the phone\nA mid-range Android.\n\n> You examine the coat\n(the coat)\nA grey peacoat; a bit grandiose, but appropriate to the autumn chill.\n\n> You remove the coat\n(the coat)\nYou take off your coat and hang it."
    },
    {
        "text": "> You describe your surroundings\nThe vestibule, that most Freudian of rooms, is the liminal space between the front door and the interior of the house proper. This one, like the rest of the house, is wood-paneled and vaguely beaux-arts in a way that can only be described as \"tweedy.\"\n\nYou try not to catch yourself on the full-length mirror.\n\nYou can also see a coat hook (on which is a coat) here.\n\n> You enter the rooms\n[That is either not here, or you don't need to refer to it over\nthe course of this story.]\n\n> You go north\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some seafood vol-au-vents) and some glasses.\n\nJulia looks at you thoughtfully from her chair at the head of the table. \"Please,\" she says, \"take a seat.\"\n\nYou do so, and she adds: \"I see you didn't bring a date. That's a shame.\"\n\n[Your awkwardness has gone up by one point.]\n\n> You examine Julia\nProudly grey-haired and staring at the word from behind wire-rim glasses. Julia teaches classics, or so you understand to be the case, though as far as you know she gives only seminars, not lectures, and spends most of her time on various obscure side projects.\n\n\"Please, dig in. I think you'll enjoy this one,\" Julia says. Francis pokes at the dish in front of him with a fork: \"What is it?\" \"Why don't you take a bite and tell me?\"\n\n> You eat\n(the phone)\nYour eyes run across the silverware you're using:\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Worms issue from the mouth! Black ichor!\nFalling and falling!\"\n\nThat's plainly inedible.\n\nFrancis uses his fork to collapse the construction on his plate. \"Is it... crab?\" Julia just smiles and takes a bite out of her own plate.\n\n> You eat the food\nYou take a look at the seafood vol-au-vents before digging in:\n\nA vol-au-vent is a little bucket made out of puff pastry; this one is filled with some kind of pinkish material that you strongly suspect is some type of seafood, but you can't identify which. It's also topped with three thin, artistically-arranged chives.\n\nYou take a few bites out of the seafood vol-au-vents.\nThe filling consists of pale bits of vaguely crustacean flesh floating in vaguely sea-tasting sauce; it's either lobster in a crab sauce, or crab in a lobster sauce. It runs all over your plate the moment you crack the exterior of the puff pastry.\n\nFrancis turns to Raul: \"So how's the teaching going?\" \"Fine. How's the business going?\"\n\n> You examine raul\nBalding, spindly, European (but you're not sure from where). Raul mostly takes credit for the work of his grad students and gives lectures on physics that consistently get accused of being \"boring\" on RateMyProfessor.\n\nFrancis replies: \"Really well, actually. We just applied for another patent last week.\"\n\n> You examine janet\nFrancis' long-term partner and the one other person in this dinner party without more than one post-graduate degree. You don't really know what her deal is.\n\n\"I love this,\" Janet pipes in. \"Is it lobster?\"\n\n> You examine Francis\nFrancis quit academia to join some kind of biotech startup, and he looks exactly like someone who quit academia to join a biotech startup should look like: Smug in a fleece.\n\n\"Keep guessing,\" Julia continues. \"I think Raul had some really good lectures last term, didn't you?\" She pats her husband on the shoulder, for emphasis.\n\n> You ask Francis about the patent\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Scallops. It's gotta be scallops,\" Francis finally realizes. \"Got it in two,\" Julia replies. Raul seems almost relieved that's over.\n\n> You wait\nYou stare at the ceiling.\n\nJulia: \"What's that patent about again?\" Francis seems positively delighted to explain.\n\n> You eat the food\nYou finish eating the seafood vol-au-vents.\nIt's a bit large for an amuse-bouche, to be honest, but you did skip lunch today.\n\nFrancis launches into his explanation. It goes over your head but you think you catch the word \"telomers\". He's interrupted, of course, when Julia asks if everyone is ready for the soup. Everyone is about as excited as you can get for soup, which is to say not very much at all.\n\nYour phone chirps as a notification comes in.\n\nJulia steps away with the plates and returns with the next course: A soup.\n\n> You look at the soup\nA bright orange broth. Seasonal. Safe. Surprisingly clear, actually, almost like consomm\ufffd\ufffd...\n\nYou catch a distorted glimpse of your additional head, reflected\non the squash soup: \"You cannot save them! Nobody can be saved!\"\n\n\"This is good soup,\" Janet says delightedly. \"Is this yam?\" \"Squash,\" Julia replies.\n\n> You eat the soup\nYou take a few bites out of the squash soup.\nThe taste is so subtle that you could be forgiven for thinking it doesn't actually taste of very much at all.\n\nYou're getting a bit anxious about that unread notification.\n\nFrancis tries to get back on track explaining what his company does, but nobody seems too interested.\n\n> Scream\nYou turn to the empty space over your shoulder and scream: \"SHUT UP!\" [Your awkwardness has increased by five points.]\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You look at the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like someone liked one of your tweets.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You drop the spoon\nYou haven't got those.\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> Kiss julia\nJulia might not like that.\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> You jump\nYou jump on the spot.\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> Scream\nYou turn to the empty space over your shoulder and scream: \"SHUT UP!\" [Your awkwardness has increased by five points.]\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> About you\nYou get tired of staring at yourself, and your eyes wander over to the full-length mirror instead: A nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\n> You examine coat hook\nFor hanging coats on.\n\n> You hang coat\nWhat do you want to hang the coat on?\n\n> You hang the coat on the coat hook\n(the coat on the coat hook)\nYou take off your coat and hang it.\n\n> You examine coat\n(the coat hook)\nYou get tired of staring at the coat hook, and your eyes wander over to the full-length mirror instead: A nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"Worms issue\nfrom the mouth! Black ichor! Falling and falling!\"\n\n> You search the coat\n(the coat hook)\nOn the coat hook is a coat.\n\n> You go north\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some seafood vol-au-vents) and some glasses.\n\nJulia looks at you thoughtfully from her chair at the head of the table. \"Please,\" she says, \"take a seat.\"\n\nYou do so, and she adds: \"I see you didn't bring a date. That's a shame.\"\n\n[Your awkwardness has gone up by one point.]\n\n> You examine glasses\nNice-looking stemless wine glasses.\n\nYou catch a distorted glimpse of your additional head, reflected\non the glasses: \"You cannot save them! Nobody can be saved!\"\n\n\"Please, dig in. I think you'll enjoy this one,\" Julia says. Francis pokes at the dish in front of him with a fork: \"What is it?\" \"Why don't you take a bite and tell me?\"\n\n> You sit\n(on the phone)\nThat's not something you can sit down on.\n\nFrancis uses his fork to collapse the construction on his plate. \"Is it... crab?\" Julia just smiles and takes a bite out of her own plate.\n\n> You take the glass\nYou're not in the practice of filching other people's possessions while you're a guest at their house.\n\nFrancis turns to Raul: \"So how's the teaching going?\" \"Fine. How's the business going?\"\n\n> You look at the chairs\nL-shaped blocks of wood and foam covered in cream-white fabric, supported on four blocky legs of darkly stained wood.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nFrancis replies: \"Really well, actually. We just applied for another patent last week.\"\n\n> You sit on the chair\nBut you're already on the dining chairs.\n\n\"I love this,\" Janet pipes in. \"Is it lobster?\"\n\n> You stand\nYou could EXCUSE yourself to go to the bathroom.\n\n\"Keep guessing,\" Julia continues. \"I think Raul had some really good lectures last term, didn't you?\" She pats her husband on the shoulder, for emphasis.\n\n> Excuse\nYou politely excuse yourself to go to the bathroom.\n\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (closed) here.\n\n> You look at the mirror\nA nice-looking bathroom mirror cabinet.\n\nYou spot your reflection clearly on the bathroom mirror, and also\nthe reflection of your additional, unseen head: \"Knock down the\ndoors and listen as hell makes itself heard!\"\n\n> You look at the reflection in the toilet\n[That is either not here, or you don't need to refer to it over\nthe course of this story.]\n\n> You open the mirror\nYou open the bathroom mirror, revealing a bag of cotton balls.\n\nYour phone chirps as a notification comes in.\n\n> You open the bag\nIt isn't something you can open.\n\nYou're getting a bit anxious about that unread notification.\n\n> You look at the bag\nFluffy.\n\n> You wear the cotton\n(first taking the bag of cotton balls)\nYou haven't fallen so low as to steal whole bags of cotton balls from other people's bathrooms.\n\nYou're getting visibly agitated about not looking at your phone.\n\n> Inventory\nYou are carrying:\nyour phone\n\nYou really, really wanna look at that notification. What if Margo texted?"
    },
    {
        "text": "[Themes: Horror, party]\n\n> You look at your surroundings\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (in which is a bag of cotton balls) here.\n\nYou really, really wanna look at that notification. What if Margo texted?\n\n> You drop the phone\nYou prefer to keep your phone close to where your heart used to be.\n\nYou really, really wanna look at that notification. What if Margo texted?\n\n> You move the bag\nNothing obvious happens.\n\nYou really, really wanna look at that notification. What if Margo texted?\n\n> Go outside\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some squash soup) and some glasses.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nRaul just coughs into his soup.\n\nYou become self-conscious of the fact that you're not eating.\n\nYou sit yourself down.\n\n> You eat the soup\nYou take a look at the squash soup before digging in:\nA bright orange broth. Seasonal. Safe. Surprisingly clear, actually, almost like consomm\ufffd\ufffd...\n\nYou catch a distorted glimpse of your additional head, reflected\non the squash soup: \"We all fall down! We all fall through!\"\n\nYou take a few bites out of the squash soup.\nThe taste is so subtle that you could be forgiven for thinking it doesn't actually taste of very much at all.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nJulia politely asks if everyone is ready for the main course.\n\n\"Not much for soup tonight?\", Julia says pointedly at you. You stammer something in reply.\n[Your awkwardness has gone up by one point.]\n\nJulia steps away with the plates and returns with the main course, some sort of sous-vide cooked fish.\n\n> You look at the silverware\nawkward)\n\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"This looks... interesting,\" Francis says, lifting a strand of vegetable matter on the tip of his fork.\n\nYour phone chirps as a notification comes in.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Yithlak! Say his name! Call him into being! Yithlak! Yithlak!\"\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nJanet pulls out her phone. \"I should Pinterest this, it looks gorgeous.\" But then she gets self-conscious, and puts her phone away.\n\n\"There's some cotton in the downstairs bathroom\", Julia adds.\n[Your awkwardness has gone up by one point.]\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> Paratext\nAbout the Author\nAmusing things to Try\n\n> You put the phone in the coat\n(the coat)\nYou prefer to keep your phone close to where your heart used to be.\n\n> You go north\nYou should hang your coat on the hook before joining the others.\n\n> You hang the coat on the coat hook\n(the coat on the coat hook)\nYou can't help but look into the mirror as you take the coat off...\n\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\nYou take off your coat and hang it.\n\n> You turn off the phone\nIt isn't something you can switch.\n\n\"Please, dig in. I think you'll enjoy this one,\" Julia says. Francis pokes at the dish in front of him with a fork: \"What is it?\" \"Why don't you take a bite and tell me?\"\n\n> You eat the food\nYou take a look at the seafood vol-au-vents before digging in:\n\nA vol-au-vent is a little bucket made out of puff pastry; this one is filled with some kind of pinkish material that you strongly suspect is some type of seafood, but you can't identify which. It's also topped with three thin, artistically-arranged chives.\n\nYou take a few bites out of the seafood vol-au-vents.\nThe filling consists of pale bits of vaguely crustacean flesh floating in vaguely sea-tasting sauce; it's either lobster in a crab sauce, or crab in a lobster sauce. It runs all over your plate the moment you crack the exterior of the puff pastry.\n\nFrancis uses his fork to collapse the construction on his plate. \"Is it... crab?\" Julia just smiles and takes a bite out of her own plate.\n\n> You eat the food\nYour eyes run across the silverware you're using:\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Worms issue from the mouth! Black ichor!\nFalling and falling!\"\n\nYou finish eating the seafood vol-au-vents.\nIt's a bit large for an amuse-bouche, to be honest, but you did skip lunch today.\n\nFrancis turns to Raul: \"So how's the teaching going?\" \"Fine. How's the business going?\"\n\n> Drink\n(the phone)\nThere's nothing suitable to drink here.\n\nFrancis replies: \"Really well, actually. We just applied for another patent last week.\"\n\n> You listen\nYou try to just focus on the conversation.\n\n\"I love this,\" Janet pipes in. \"Is it lobster?\"\n\n> You examine janet\nFrancis' long-term partner and the one other person in this dinner party without more than one post-graduate degree. You don't really know what her deal is.\n\n\"Keep guessing,\" Julia continues. \"I think Raul had some really good lectures last term, didn't you?\" She pats her husband on the shoulder, for emphasis.\n\n> You examine raul\nBalding, spindly, European (but you're not sure from where). Raul mostly takes credit for the work of his grad students and gives lectures on physics that consistently get accused of being \"boring\" on RateMyProfessor.\n\n\"Scallops. It's gotta be scallops,\" Francis finally realizes. \"Got it in two,\" Julia replies. Raul seems almost relieved that's over.\n\n> You examine Francis\nFrancis quit academia to join some kind of biotech startup, and he looks exactly like someone who quit academia to join a biotech startup should look like: Smug in a fleece.\n\nJulia: \"What's that patent about again?\" Francis seems positively delighted to explain.\n\n> You examine Julia\nProudly grey-haired and staring at the word from behind wire-rim glasses. Julia teaches classics, or so you understand to be the case, though as far as you know she gives only seminars, not lectures, and spends most of her time on various obscure side projects.\n\nFrancis launches into his explanation. It goes over your head but you think you catch the word \"telomers\". He's interrupted, of course, when Julia asks if everyone is ready for the soup. Everyone is about as excited as you can get for soup, which is to say not very much at all.\n\nYour phone chirps as a notification comes in.\n\nJulia steps away with the plates and returns with the next course: A soup.\n\n> You look at the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like you're supposed to have taken your medication already.\n\n\"This is good soup,\" Janet says delightedly. \"Is this yam?\" \"Squash,\" Julia replies.\n\n> You eat the soup\nYou take a look at the squash soup before digging in:\nA bright orange broth. Seasonal. Safe. Surprisingly clear, actually, almost like consomm\ufffd\ufffd...\n\nYou catch a distorted glimpse of your additional head, reflected\non the squash soup: \"You cannot save them! Nobody can be saved!\"\n\nYou take a few bites out of the squash soup.\nThe taste is so subtle that you could be forgiven for thinking it doesn't actually taste of very much at all.\n\nFrancis tries to get back on track explaining what his company does, but nobody seems too interested.\n\n> You eat the soup\nYou finish eating the squash soup.\nAfter a few more slurps, you come to the coclusion that it tastes \"brown\".\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You talk about the job\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> You eat the soup\nYou've already finished the squash soup.\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> Wait\nYou look down at the floor.\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> You examine the marbles\nGlass in various bright colors and stone in interesting shades of grey and brown.\n\nYou catch a distorted glimpse of your additional head, reflected\non the marbles: \"Knock down the doors and listen as hell makes\nitself heard!\"\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\n> You look at the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"We all fall down! We all fall through!\"\n\nRaul just coughs into his soup.\n\n> You look at the marbles\nGlass in various bright colors and stone in interesting shades of grey and brown.\n\nYou catch a distorted glimpse of your additional head, reflected\non the marbles: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nJulia politely asks if everyone is ready for the main course.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\nJulia steps away with the plates and returns with the main course, some sort of sous-vide cooked fish.\n\n> Excuse\nYou politely excuse yourself to go to the bathroom.\n\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (closed) here.\n\nYour phone chirps as a notification comes in.\nYou realize it's not on you; you must have put it down on the table somewhere.\n\nBlood drips from your nose.\n\n> You open the mirror\nYou can't help but look at the mirror before opening it: A nice-looking bathroom mirror cabinet.\n\nYou spot your reflection clearly on the bathroom mirror, and also\nthe reflection of your additional, unseen head: \"Yithlak! Say his name! Call him into being! Yithlak! Yithlak!\"\n\nYou open the bathroom mirror, revealing a bag of cotton balls.\n\nYou grab one of the cotton balls and shove some of it up your nostril to staunch the bleeding.\n\n> You return\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are your phone (presumably), a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some sous-vide fish) and some glasses.\n\nYou're getting a bit anxious about that unread notification.\n\n\"We get everything there from a CSA subscription,\" Raul says. \"Even the fish.\"\n\nRain starts up outside, audibly battering the roof of the house.\n\nYou sit yourself down.\n\n> You read the phone\nYou're not sure of where your phone is. Maybe if you look around at the other stuff on the table.\n\nI hope you won't have too much trouble getting home in the rain.\", Julia says, noting the drops banging against the window.\n\n> You examine table\nMade out of the unidentifiable dark-stained wood material as the chair legs, and devoid of ornamental detail.\n\nOn the table are your phone, a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some sous-vide fish) and some glasses.\n\nYou're getting visibly agitated about not looking at your phone.\n\n\"Francis and I were really into sous-vide last year,\" Janet points out. \"But now we're more into hearth cooking. Ever since the thing with the clams.\"\n\n> You take the phone\nYou're not sure of where your phone is. Maybe if you look around at the other stuff on the table.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"Only on weekends, of course. During the week I'm on all Soylent now,\" Francis points out. \"I mean, excepting dinner parties.\" He adds a little laugh.\n\n> Search table\nOn the table are your phone, a sterling silver epergne, some silverware, some plates and some glasses.\n\nYou're getting visibly agitated about not looking at your phone.\n\n\"Francis and I were really into sous-vide last year,\" Janet points out. \"But now we're more into hearth cooking. Ever since the thing with the clams.\"\n\n> You look at the epergne\nAn epergne, you have recently learned, is a table centerpiece with suspended trays meant to hold food or flowers or what have you; this one, in a sort of postmodern-zen deco move, is actually loaded with a variety of glass marbles and interestingly-shaped river rocks. It is, regardless, an old traditional piece of polished silverware.\n\nOn the sterling silver epergne are some marbles.\n\nYou catch a distorted glimpse of your additional head, reflected\non the sterling silver epergne: \"You will see! You will all see!\"\n\nJulia catches you staring off into space. \"Are you alright? You seem a little peaked.\"\n[Your awkwardness has gone up by one point.]\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"Only on weekends, of course. During the week I'm on all Soylent now,\" Francis points out. \"I mean, excepting dinner parties.\" He adds a little laugh.\n\n> You examine the silverware\nawkward)\n\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"We are the maggots feasting on god's corpse!\nWe are the darkness that consumes!\"\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"Oh, interesting. How's the Soylent been treating you?\", Raul asks. \"Pretty well! I mean once you get over the bloating in the first week or so.\", Francis replies.\n\n> You examine table\nMade out of the unidentifiable dark-stained wood material as the chair legs, and devoid of ornamental detail.\n\nOn the table are your phone, a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some sous-vide fish) and some glasses.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nA few thoughtful nods cross around the table.\n\n> You examine the plates\nThese are made out of mercifully matte black ceramic.\n\nOn the plates are some sous-vide fish.\n\nAha! There's your phone, right next to the plates. You snatch it up.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"So what's for dessert?\" Janet pipes up, shifting the remains of her fish around on the plate.\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> You look at the plates\nThese are made out of mercifully matte black ceramic.\n\nOn the plates are some sous-vide fish.\n\nAha! There's your phone, right next to the plates. You snatch it up.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nA few thoughtful nods cross around the table.\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like someone liked one of your tweets.\n\n\"So what's for dessert?\" Janet pipes up, shifting the remains of her fish around on the plate.\n\n> You eat the food\nYou take a look at the sous-vide fish before digging in:\nThis is neither salmon nor tuna nor white fish, so you're at a loss for what it is, but it seems like it was cooked sous-vide and then blowtorched to within an inch of its life. It's coated in some kind of brownish glaze. The side dish for this is some mix of purple, yellow, and red-orange vegetables that have been spiralized then roasted.\n\nYou take a few bites out of the sous-vide fish.\nJulia was clearly hoping this fish would get a nice crispy crust from the blowtorch, but it just wasn't going to happen; it falls apart at the fork pretty sadly. The vegetables on the side are actually just fancy-colored carrots.\n\n\"It's a surprise. But I think I'll bring it over in a moment,\" Julia replies.\n\n\"You barely touched your fish!\", Julia points out. You try to pretend that's not the case.\n[Your awkwardness has gone up by one point.]\n\nJulia steps away with the plates and returns with a tray holding a large, mirror-glazed cake.\n\n> You examine the cake\nIt's covered in a marbled, light green shell that looks more like glossy plastic than food.\n\nYou catch a distorted glimpse of your additional head, reflected\non the mirror-glazed cake: \"There is no hope! Never was any\nhope!\"\n\nFrancis leans back on his chair, wearing the expression of a well-fed bull frog.\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> Yithlak\n\"Yithlak! Yithlak!\", the words come unbidden to your mouth, \"The shadow of night creeping over god's corpse! The ten thousand diseased hearts!\" It goes on like this for about half an hour. In the end, they find you drooling on the floor of the vestibule.\n\n> You search the coat\n(the coat)\nYou find nothing of interest.\n\n> You put the coat on the hook\n(the coat on the coat hook)\nYou can't help but look into the mirror as you take the coat off...\n\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\nYou take off your coat and hang it.\n\n> You examine the head\nThe head is there and yet not there; you can't really reach it or see it, except when it stands  over the shoulder of your reflection and tells you things...\n\n> You go north\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some seafood vol-au-vents) and some glasses.\n\nJulia looks at you thoughtfully from her chair at the head of the table. \"Please,\" she says, \"take a seat.\"\n\nYou do so, and she adds: \"I see you didn't bring a date. That's a shame.\"\n\n[Your awkwardness has gone up by one point.]\n\n> Yithlak\n\"Yithlak\", Julia says thoughtfully. \"Yithlak, yithlak. Where have I heard the name before?\" Francis joins in: \"Yithlak.\" \"Yithlak. Yithlak Yithlak.\" Pretty soon all the party guests are chanting along with you, and you can feel the darkness closing in around your eyes, and it is so soothing when, through the bay window, you see the sky split apart and start disgorging spiders; it is so blissful that you respond by issuing forth spiders from your own mouth in response...\n\n> Yithlak\n\"Yithlak! Yithlak!\", the words come unbidden to your mouth, \"The shadow of night creeping over god's corpse! The ten thousand diseased hearts!\" It goes on like this for about half an hour. In the end, they find you drooling on the floor of the bathroom.\n\n> You examine the mirror\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\n> Continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"Worms issue\nfrom the mouth! Black ichor! Falling and falling!\"\n\n> Keep going\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"You cannot\nsave them! Nobody can be saved!\"\n\n> You continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"Knock down\nthe doors and listen as hell makes itself heard!\"\n\n> You continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"We all fall down! We all fall through!\"\n\n> You continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"Blood from\nthe eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nBlood drips from your nose.\n\n> Continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"Yithlak!\nSay his name! Call him into being! Yithlak! Yithlak!\"\n\nBlood drips from your nose.\n\n> Continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"You will\nsee! You will all see!\"\n\nBlood drips from your nose.\n\n> You drop the coat\n(the coat)\n(first taking the coat off)\nYou take off your coat and hang it.\n\nDropped.\n\nBlood drips from your nose.\n\n> You look at the mirror\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"We are the maggots feasting on god's corpse! We are the darkness that consumes!\"\n\nBlood drips from your nose.\n\n> You continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"There is no hope! Never was any hope!\"\n\nBlood drips from your nose.\n\n> Continue\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: \"The worm awakens! It stirs inside your belly!\"\n\nYou have the most horrible sensation that all your teeth have shattered inside your mouth, and you're spitting out bits of grit and pebbles that used to be your teeth. You think you're bleeding but you're not sure from where. Darkness fills in the edges of your vision.\n\nThey find you on the floor an hour later, coughing up for no apparent reason, eyes bloodshot.\n\n> You drop the coat\n(the coat)\n(first taking the coat off)\nYou can't help but look into the mirror as you take the coat off...\n\nA nice, big mirror on a wooden frame. Of course.\n\nYou spot your reflection clearly on the full-length mirror, and\nalso the reflection of your additional, unseen head: It has inky\nblack pits for eyes, but it still seems to stare right at you. \"Breach the seals. Open the gate,\" it says, in a cracked voice that's not quite your own.\n\nThe head in the mirror belongs to a version of yourself from a previous iteration of the universe. One that seemingly ended really poorly, given that it's clearly possessed by some kind of world-rending evil. You're really in no state to attend a dinner party, but you'd already RSVP'd.\n\nYou take off your coat and hang it.\n\nDropped."
    },
    {
        "text": "[Themes: Horror]\n\n> You look at your surroundings\nThe vestibule, that most Freudian of rooms, is the liminal space between the front door and the interior of the house proper. This one, like the rest of the house, is wood-paneled and vaguely beaux-arts in a way that can only be described as \"tweedy.\"\n\nYou try not to catch yourself on the full-length mirror.\n\nYou can also see a coat and a coat hook here.\n\n> You hang coat\nWhich do you mean, the coat or the coat hook?\n\n> You leave\nYou could EXCUSE yourself to go to the bathroom.\n\n\"Please, dig in. I think you'll enjoy this one,\" Julia says. Francis pokes at the dish in front of him with a fork: \"What is it?\" \"Why don't you take a bite and tell me?\"\n\n> You keep going\nYou've already finished the seafood vol-au-vents.\n\nFrancis replies: \"Really well, actually. We just applied for another patent last week.\"\n\n> You look at the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"You cannot save them! Nobody can be saved!\"\n\n\"I love this,\" Janet pipes in. \"Is it lobster?\"\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Knock down the doors and listen as hell makes itself heard!\"\n\n\"Keep guessing,\" Julia continues. \"I think Raul had some really good lectures last term, didn't you?\" She pats her husband on the shoulder, for emphasis.\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"We all fall down! We all fall through!\"\n\n\"Scallops. It's gotta be scallops,\" Francis finally realizes. \"Got it in two,\" Julia replies. Raul seems almost relieved that's over.\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nJulia: \"What's that patent about again?\" Francis seems positively delighted to explain.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\n> Excuse\nYou politely excuse yourself to go to the bathroom.\n\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (closed) here.\n\nYour phone chirps as a notification comes in.\n\nBlood drips from your nose.\n\n> You open the mirror\nYou can't help but look at the mirror before opening it: A nice-looking bathroom mirror cabinet.\n\nYou spot your reflection clearly on the bathroom mirror, and also\nthe reflection of your additional, unseen head: \"Yithlak! Say his name! Call him into being! Yithlak! Yithlak!\"\n\nYou open the bathroom mirror, revealing a bag of cotton balls.\n\nYou grab one of the cotton balls and shove some of it up your nostril to staunch the bleeding.\n\n> You look at the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like you're supposed to have taken your medication already.\n\n> You go inside\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some squash soup) and some glasses.\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\nYou sit yourself down.\n\n> You eat the soup\nYou take a look at the squash soup before digging in:\nA bright orange broth. Seasonal. Safe. Surprisingly clear, actually, almost like consomm\ufffd\ufffd...\n\nYou catch a distorted glimpse of your additional head, reflected\non the squash soup: \"You will see! You will all see!\"\n\nJulia catches you staring off into space. \"Are you alright? You seem a little peaked.\"\n[Your awkwardness has gone up by one point.]\n\nYou take a few bites out of the squash soup.\nThe taste is so subtle that you could be forgiven for thinking it doesn't actually taste of very much at all.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You eat the soup\nYou finish eating the squash soup.\nAfter a few more slurps, you come to the coclusion that it tastes \"brown\".\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> You examine the plates\nThese are made out of mercifully matte black ceramic.\n\nOn the plates are some squash soup.\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> You look at the epergne\nAn epergne, you have recently learned, is a table centerpiece with suspended trays meant to hold food or flowers or what have you; this one, in a sort of postmodern-zen deco move, is actually loaded with a variety of glass marbles and interestingly-shaped river rocks. It is, regardless, an old traditional piece of polished silverware.\n\nOn the sterling silver epergne are some marbles.\n\nYou catch a distorted glimpse of your additional head, reflected\non the sterling silver epergne: \"We are the maggots feasting on\ngod's corpse! We are the darkness that consumes!\"\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> You examine the epergne\nAn epergne, you have recently learned, is a table centerpiece with suspended trays meant to hold food or flowers or what have you; this one, in a sort of postmodern-zen deco move, is actually loaded with a variety of glass marbles and interestingly-shaped river rocks. It is, regardless, an old traditional piece of polished silverware.\n\nOn the sterling silver epergne are some marbles.\n\nYou catch a distorted glimpse of your additional head, reflected\non the sterling silver epergne: \"There is no hope! Never was any hope!\"\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\n> You examine the epergne\nAn epergne, you have recently learned, is a table centerpiece with suspended trays meant to hold food or flowers or what have you; this one, in a sort of postmodern-zen deco move, is actually loaded with a variety of glass marbles and interestingly-shaped river rocks. It is, regardless, an old traditional piece of polished silverware.\n\nOn the sterling silver epergne are some marbles.\n\nYou catch a distorted glimpse of your additional head, reflected\non the sterling silver epergne: \"The worm awakens! It stirs\ninside your belly!\"\n\n\"Shut up!\", you finally scream at the sterling silver epergne. In no time at all you're tearing off your hair as you stare at the silverware, knocking your chair over behind you.\n\n> You eat the food\nYou take a look at the seafood vol-au-vents before digging in:\n\nA vol-au-vent is a little bucket made out of puff pastry; this one is filled with some kind of pinkish material that you strongly suspect is some type of seafood, but you can't identify which. It's also topped with three thin, artistically-arranged chives.\n\nYou take a few bites out of the seafood vol-au-vents.\nThe filling consists of pale bits of vaguely crustacean flesh floating in vaguely sea-tasting sauce; it's either lobster in a crab sauce, or crab in a lobster sauce. It runs all over your plate the moment you crack the exterior of the puff pastry.\n\n\"Please, dig in. I think you'll enjoy this one,\" Julia says. Francis pokes at the dish in front of him with a fork: \"What is it?\" \"Why don't you take a bite and tell me?\"\n\n> You eat the food\nYour eyes run across the silverware you're using:\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Worms issue from the mouth! Black ichor!\nFalling and falling!\"\n\nYou finish eating the seafood vol-au-vents.\nIt's a bit large for an amuse-bouche, to be honest, but you did skip lunch today.\n\nFrancis uses his fork to collapse the construction on his plate. \"Is it... crab?\" Julia just smiles and takes a bite out of her own plate.\n\n> You say the scallops\nWhom do you want to say that to?\n\n> Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nFrancis turns to Raul: \"So how's the teaching going?\" \"Fine. How's the business going?\"\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nFrancis replies: \"Really well, actually. We just applied for another patent last week.\"\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I love this,\" Janet pipes in. \"Is it lobster?\"\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Keep guessing,\" Julia continues. \"I think Raul had some really good lectures last term, didn't you?\" She pats her husband on the shoulder, for emphasis.\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Scallops. It's gotta be scallops,\" Francis finally realizes. \"Got it in two,\" Julia replies. Raul seems almost relieved that's over.\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia: \"What's that patent about again?\" Francis seems positively delighted to explain.\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nFrancis launches into his explanation. It goes over your head but you think you catch the word \"telomers\". He's interrupted, of course, when Julia asks if everyone is ready for the soup. Everyone is about as excited as you can get for soup, which is to say not very much at all.\n\nYour phone chirps as a notification comes in.\n\nJulia steps away with the plates and returns with the next course: A soup.\n\n> You look at the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like you're supposed to have taken your medication already.\n\n\"This is good soup,\" Janet says delightedly. \"Is this yam?\" \"Squash,\" Julia replies.\n\n> You eat the soup\nYou take a look at the squash soup before digging in:\nA bright orange broth. Seasonal. Safe. Surprisingly clear, actually, almost like consomm\ufffd\ufffd...\n\nYou catch a distorted glimpse of your additional head, reflected\non the squash soup: \"You cannot save them! Nobody can be saved!\"\n\nYou take a few bites out of the squash soup.\nThe taste is so subtle that you could be forgiven for thinking it doesn't actually taste of very much at all.\n\nFrancis tries to get back on track explaining what his company does, but nobody seems too interested.\n\n> You eat the soup\nYou finish eating the squash soup.\nAfter a few more slurps, you come to the coclusion that it tastes \"brown\".\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You talk to Janet\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> You talk to Janet\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> You talk to Janet\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\n> You talk to Janet\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nRaul just coughs into his soup.\n\n> You talk to Janet\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia politely asks if everyone is ready for the main course.\n\nJulia steps away with the plates and returns with the main course, some sort of sous-vide cooked fish.\n\n> You eat the fish\nYou take a look at the sous-vide fish before digging in:\nThis is neither salmon nor tuna nor white fish, so you're at a loss for what it is, but it seems like it was cooked sous-vide and then blowtorched to within an inch of its life. It's coated in some kind of brownish glaze. The side dish for this is some mix of purple, yellow, and red-orange vegetables that have been spiralized then roasted.\n\nYou take a few bites out of the sous-vide fish.\nJulia was clearly hoping this fish would get a nice crispy crust from the blowtorch, but it just wasn't going to happen; it falls apart at the fork pretty sadly. The vegetables on the side are actually just fancy-colored carrots.\n\n\"This looks... interesting,\" Francis says, lifting a strand of vegetable matter on the tip of his fork.\n\nYour phone chirps as a notification comes in.\nYou realize it's not on you; you must have put it down on the table somewhere.\n\n> You examine the plates\nThese are made out of mercifully matte black ceramic.\n\nOn the plates are some sous-vide fish.\n\nJanet pulls out her phone. \"I should Pinterest this, it looks gorgeous.\" But then she gets self-conscious, and puts her phone away.\n\n> You examine the epergne\nAn epergne, you have recently learned, is a table centerpiece with suspended trays meant to hold food or flowers or what have you; this one, in a sort of postmodern-zen deco move, is actually loaded with a variety of glass marbles and interestingly-shaped river rocks. It is, regardless, an old traditional piece of polished silverware.\n\nOn the sterling silver epergne are some marbles.\n\nYou catch a distorted glimpse of your additional head, reflected\non the sterling silver epergne: \"Knock down the doors and listen\nas hell makes itself heard!\"\n\nYou're getting a bit anxious about that unread notification.\n\n\"We get everything there from a CSA subscription,\" Raul says. \"Even the fish.\"\n\nRain starts up outside, audibly battering the roof of the house.\n\n> You examine the glasses\nNice-looking stemless wine glasses.\n\nAha! There's your phone, right next to the glasses. You snatch it up.\n\nYou catch a distorted glimpse of your additional head, reflected\non the glasses: \"We all fall down! We all fall through!\"\n\nI hope you won't have too much trouble getting home in the rain.\", Julia says, noting the drops banging against the window.\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like an email newsletter you forgot to unsubscribe from arrived.\n\n\"Francis and I were really into sous-vide last year,\" Janet points out. \"But now we're more into hearth cooking. Ever since the thing with the clams.\"\n\n> You eat the fish\nYou finish eating the sous-vide fish.\nAfter some forking, the glaze has melded completely with the gelatinous flesh of the fish; the whole thing tastes like miso, but with a sort of gel consistency.\n\n\"Only on weekends, of course. During the week I'm on all Soylent now,\" Francis points out. \"I mean, excepting dinner parties.\" He adds a little laugh.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Oh, interesting. How's the Soylent been treating you?\", Raul asks. \"Pretty well! I mean once you get over the bloating in the first week or so.\", Francis replies.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nA few thoughtful nods cross around the table.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"So what's for dessert?\" Janet pipes up, shifting the remains of her fish around on the plate.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"It's a surprise. But I think I'll bring it over in a moment,\" Julia replies.\n\nJulia steps away with the plates and returns with a tray holding a large, mirror-glazed cake.\n\n> You eat the cake\nYou take a look at the mirror-glazed cake before digging in:\nIt's covered in a marbled, light green shell that looks more like glossy plastic than food.\n\nYou catch a distorted glimpse of your additional head, reflected\non the mirror-glazed cake: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nMaybe wait until Julia has cut into it.\n\nFrancis leans back on his chair, wearing the expression of a well-fed bull frog.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\n> Excuse\nYou politely excuse yourself to go to the bathroom.\n\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (closed) here.\n\nBlood drips from your nose.\n\nJulia carefully cuts, and serves, slices of the cake.\n\n> You open the mirror\nYou can't help but look at the mirror before opening it: A nice-looking bathroom mirror cabinet.\n\nYou spot your reflection clearly on the bathroom mirror, and also\nthe reflection of your additional, unseen head: \"Yithlak! Say his name! Call him into being! Yithlak! Yithlak!\"\n\nYou open the bathroom mirror, revealing a bag of cotton balls.\n\nYou grab one of the cotton balls and shove some of it up your nostril to staunch the bleeding.\n\n> You go northeast\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a silver tray (on which is a mirror-glazed cake), a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some green-white cake) and some glasses.\n\n\"You guys have to come over more often, if it'll get Julia to make more cakes,\" Raul says. Polite laughs from the guests.\n\nYou sit yourself down.\n\n> You eat the cake\n(the green-white cake)\nYou take a look at the green-white cake before digging in:\nOn the inside, it's a pretty standard sponge cake, except both the cream filling and the cake itself are flecked with some kind of greenish substance.\n\nYou take a few bites out of the green-white cake.\nThe greenish substance is basil. This is a basil cake. It's very sweet but still reminiscent of marinara sauce.\n\nJanet pokes at her cake. \"Is that cake gluten-free?\" \"No,\" Julia replies, and she abruptly drops her fork. You can't help but feel like the awkwardness of the moment splashes back on you.\n\n[Your awkwardness has gone up by one point.]\n\n> You eat the cake\n(the green-white cake)\nYou finish eating the green-white cake.\nHonestly, Julia was a little over-generous with the slicing there.\n\n\"This is good. Is this basil? That's so clever,\" Francis says, already more than halfway through a generous slice. \"I think I'll have some more actually...\"\n\n> You talk to Raul\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Well I'm glad. It's just so hard to get people to come over these days,\" Julia says.\n\n> You wait\nYou close your eyes and take a breath.\n\n\"I miss Margo,\" Julia adds thoughtfully. \"Oh. Sorry,\" she adds, realizing you're there.\n\n[Your awkwardness has gone up by one point.]\n\n> Wait\nawkward)\n\nYour eyes start to wander, eventually landing on the mirror-glazed cake: It's covered in a marbled, light green shell that looks more like glossy plastic than food. Some slices have been cut out of it.\n\nYou catch a distorted glimpse of your additional head, reflected\non the mirror-glazed cake: \"You will see! You will all see!\"\n\nJulia catches you staring off into space. \"Are you alright? You seem a little peaked.\"\n[Your awkwardness has gone up by one point.]\n\n\"I mean I promise Janet and I will be around, even after the move,\" Francis says.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I mean I promise Janet and I will be around, even after the move,\" Francis says.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I'll hold you to that!\", Julia replies with a slightly hollow laugh as she gets up.\n\nJulia takes away the cake, mercifully concluding the dinner. \"Well. What did you think?\", she asks as she returns from the kitchen.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Lovely as always,\" Francis responds. \"Really, you're so good at this.\"\n\n> Keep going\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Oh, I dabble,\" Julia replies. \"Have to keep myself busy, you know.\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nThe guests lean back on their chairs, letting their stomach contents settle over a lingering moment.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"So. Is anyone for coffee, maybe a drink?\", Julia asks.\n\nRumbling thunder seems to shake the house.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I think we better be getting on, actually. I have an early flight tomorrow,\" Francis responds.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"He's going over to Austin for a sort of pre-pre South by Southwest thing,\" Janet continues.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I mean really it's just a networking event,\" Francis adds, already getting up from his chair. \"But you know, gotta act like a founder now, and all that.\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Right, of course. Well it was so nice to see you two,\" Julia responds.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia and Raul stand up to say their goodbyes as Janet and Francis get up to leave. \"Well isn't that something,\" Raul adds emptily as he gets back on his seat.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia turns to you: \"So, how did you like the dinner?\" You manage to say something about it being lovely.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Will you be staying for drinks?\", Raul asks you. \"I can't, really, I have a bit of an early day in the morning,\" you respond. \"Ah, what a shame. Another time maybe,\" Julia says.\n\nYou get the distinct sense you should be gone by now.\n[Your awkwardness has gone up by one point.]\n\n> You leave\nawkward)\n\nJust EXCUSE yourself to leave this awful dinner.\n\nRaul fidgets.\n\n> Excuse\nawkward)\n\nYou mumble something about having to get going, and manage to extricate yourself from the goodbyes in record time. Soon, you're breaking out of the vestibule and stepping towards your car in glee; the humid chill of the air has fogged the windows, preventing them from showing your reflection. You have escaped with most of your face, and your sanity, intact.\n\n> Paratext\nAbout the Author\nAmusing things to Try\nDon't Mind My Apocalypse Head, written late in March of 2017, is a social anxiety body horror short story based on a couple of remarkably unpleasant dreams.\n\nSpecial thanks to my Patreon supporters who make this kind of small-scale work possible: Isak Grozny, Devin Raposo, Emily Short, Liza Daily, and Doug Orleans.\n\nYou can become a supporter at [LINK]\n\n> Go north\nAbout the Author\nAmusing things to Try\n\n> You go to the north\nAmusing things to Try\nBruno Dias writes interactive fiction, games, and nonfiction from somewhere in S\ufffd\ufffdo Paulo, Brazil. He can be found @NotBrunoAgain on the terrible bird website, or @brunodias on mastodon.social.\n\n> About the Author\nAmusing things to Try\n\n> Go north\n> Amusing things to Try\n1/12: If you have completed the story already, have you tried...\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You continue\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You look at the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like someone liked one of your tweets.\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> You look at the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Knock down the doors and listen as hell makes itself heard!\"\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> You look at the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"We all fall down! We all fall through!\"\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nRaul just coughs into his soup.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia politely asks if everyone is ready for the main course.\n\n\"There's some cotton in the downstairs bathroom\", Julia adds.\n[Your awkwardness has gone up by one point.]\n\n\"Not much for soup tonight?\", Julia says pointedly at you. You stammer something in reply.\n[Your awkwardness has gone up by one point.]\n\nJulia steps away with the plates and returns with the main course, some sort of sous-vide cooked fish.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"This looks... interesting,\" Francis says, lifting a strand of vegetable matter on the tip of his fork.\n\nYour phone chirps as a notification comes in.\nYou realize it's not on you; you must have put it down on the table somewhere.\n\nJulia stares at your ongoing nosebleed.\n[Your awkwardness has gone up by one point.]\n\n> You look at the plate\nThese are made out of mercifully matte black ceramic.\n\nOn the plates are some sous-vide fish.\n\nAha! There's your phone, right next to the plates. You snatch it up.\n\nJanet pulls out her phone. \"I should Pinterest this, it looks gorgeous.\" But then she gets self-conscious, and puts her phone away.\n\nJulia stares at your ongoing nosebleed.\n[Your awkwardness has gone up by one point.]\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like an email newsletter you forgot to unsubscribe from arrived.\n\n\"We get everything there from a CSA subscription,\" Raul says. \"Even the fish.\"\n\nRain starts up outside, audibly battering the roof of the house.\n\nJulia stares at your ongoing nosebleed.\n[Your awkwardness has gone up by one point.]\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Knock down the doors and listen as hell makes itself heard!\"\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You look at the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"We all fall down! We all fall through!\"\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You examine the silverware\nA full set of silverware, including mirror-polished knives, forks, spoons, and so on, carefully placed next to everyone's plates.\n\nYou catch a distorted glimpse of your additional head, reflected\non the silverware: \"Blood from the eyes! Rats! Rats!\"\n\nYou realize that blood is dripping from your left nostril.\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\nJulia stares at your face for a moment. \"Oh, dear; maybe you should go get that cleaned up.\"\n[Your awkwardness has gone up by one point.]\n\n> Excuse\nYou politely excuse yourself to go to the bathroom.\n\nThis is the secondary, downstairs bathroom, so there's just a sink and a toilet, and a small high window to let in some moonlight. The floor and wall tiles are a jadeish shade of green, and they thankfully aren't reflective enough for you to see yourself in them.\n\nYou can see a bathroom mirror (closed) here.\n\nYou really, really wanna look at that notification. What if Margo texted?\n\nBlood drips from your nose.\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like an email newsletter you forgot to unsubscribe from arrived.\n\nBlood drips from your nose.\n\n> You examine the phone\nYou get tired of staring at the phone, and your eyes wander over to the bathroom mirror instead: A nice-looking bathroom mirror cabinet.\n\nYou spot your reflection clearly on the bathroom mirror, and also\nthe reflection of your additional, unseen head: \"Yithlak! Say his name! Call him into being! Yithlak! Yithlak!\"\n\nBlood drips from your nose.\n\n> Sing\nYou launch into a spontaneous rendition of \"Modern Major General\", which you realize two bars in was an atrocious idea, so you trail off. [Your awkwardness has increased by five points.]\n\nBlood drips from your nose.\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> Smell\nYou smell nothing unexpected.\n\nBlood drips from your nose.\n\n> Smell\nYou smell nothing unexpected.\n\nYour phone chirps as a notification comes in.\n\nBlood drips from your nose.\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like you're supposed to have taken your medication already.\n\nBlood drips from your nose.\n\n> Smell\nYou smell nothing unexpected.\n\nRain starts up outside, audibly battering the roof of the house.\n\nYou start to feel kind of light-headed.\n\nBlood drips from your nose.\n\n> Smell\nYou smell nothing unexpected.\n\nYour body doesn't seem to want to stay upright, and you crumple into a lump on the floor, blood streaking from your face. They'll find you, pale and unconscious, about an hour later.\n\n> You return\nYou find your way to the dining room...\n\nA large bay window lets in no light through the thick drapes; a brass chandelier that Julia hasn't been able to get rid of clashes a bit with the modernist minimalism of the furniture.\n\nOn the dining chairs are Julia, Raul, Francis and Janet.\n\nOn the table are a sterling silver epergne (on which are some marbles), some silverware, some plates (on which are some sous-vide fish) and some glasses.\n\n\"Francis and I were really into sous-vide last year,\" Janet points out. \"But now we're more into hearth cooking. Ever since the thing with the clams.\"\n\nJulia pointedly glances at your plate, reminding you that you haven't touched your food.\n\nYour head suddenly seems enormously heavy, and you find your face crumpling into the sous-vide fish. Soon, blessed unconsciousness takes over.\n\n> Paratext\nAbout the Author\nAmusing things to Try\n\n> Go north\nAmusing things to Try\n\n> Go north\n> Amusing things to Try\n\n> You attack julia\nIt's poor manners to kill a host in her own house, and also you have way too much social anxiety to thrive in prison.\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> Attack raul\nIt's poor manners to kill a host in his own house, and also you have way too much social anxiety to thrive in prison.\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> Attack janet\nOf all these people, she's the one you wanna throttle?\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> You attack francis\nYou know what. Fine. He does look very punchable. You practically clamber over the table and sock him right in the throat. What happens next is too confusing, but your terrible extra head is staring back at you in glee from the epergne while Raul holds you down...\n\n> Pray\nI think the head made it very clear that God is dead.\n\n> You cry\nYou start tearing up.\n[Your awkwardness has gone up by one point.]\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You cry\nYou sob a little.\n[Your awkwardness has gone up by one point.]\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You cry\nYou're a sobbing, blubbering mess.\n[Your awkwardness has increased by five points.]\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> Fart\nToot.\n[Your awkwardness has gone up by one point.]\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> Fart\nPhhhth.\n[Your awkwardness has gone up by one point.]\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like someone liked one of your tweets.\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> Fart\nGhhsh.\n[Your awkwardness has gone up by one point.]\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> Fart\nawkward)\n\nPhhhth.\n[Your awkwardness has gone up by one point.]\n\nYou can tell that some tension is hanging in the air, just for a moment.\n\n> Fart\nGhhsh.\n[Your awkwardness has gone up by one point.]\n\nJanet: \"Really, we should do this more often. It's been so hard to get together with friends lately.\"\n\n> You look at Julia\nProudly grey-haired and staring at the word from behind wire-rim glasses. Julia teaches classics, or so you understand to be the case, though as far as you know she gives only seminars, not lectures, and spends most of her time on various obscure side projects.\n\nJulia suddenly turns to you: \"So how's the job search going?\" You try to talk for a moment about what you're working on now, but end up trailing off.\n\n[Your awkwardness has gone up by one point.]\n\n> You examine Julia\nJulia catches you staring at her, tilting her head at you.\n[Your awkwardness has gone up by one point.]\n\nYou're getting visibly agitated about not looking at your phone.\n\nFrancis faces you: \"You could come work with us at Agrosynth. You did your dissertation on plant genetics, right?\" \"Minoan archeology,\" you reply reflexively. \"Ah, my mistake.\"\n\n> You look at Julia\nJulia catches you staring at her, tilting her head at you.\n[Your awkwardness has gone up by one point.]\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\n\"I seem to remember Julia did some Minoan work back in the day,\" Raul notes.\n\n> You examine Julia\nJulia catches you staring at her, tilting her head at you.\n[Your awkwardness has gone up by one point.]\n\nYou really, really wanna look at that notification. What if Margo texted?\n[Your awkwardness has gone up by one point.]\n\nJulia: \"Really, it wasn't anything important. A side project at best.\"\n\n> Y.\ncheapglulxe quit with exit status: 0\n\n> You look at the plate\nYou get tired of staring at the plates, and your eyes wander over to the glasses instead: Nice-looking stemless wine glasses.\n\nAha! There's your phone, right next to the glasses. You snatch it up.\n\nYou catch a distorted glimpse of your additional head, reflected\non the glasses: \"Knock down the doors and listen as hell makes\nitself heard!\"\n\nYou're getting a bit anxious about that unread notification.\n\n\"We get everything there from a CSA subscription,\" Raul says. \"Even the fish.\"\n\nRain starts up outside, audibly battering the roof of the house.\n\n> You examine the phone\nA mid-range Android. The notification light is pulsing.\n\nYou clear away the notifications; there's nothing important. Looks like an email newsletter you forgot to unsubscribe from arrived.\n\nI hope you won't have too much trouble getting home in the rain.\", Julia says, noting the drops banging against the window.\n\n> You eat food\nYou finish eating the sous-vide fish.\nAfter some forking, the glaze has melded completely with the gelatinous flesh of the fish; the whole thing tastes like miso, but with a sort of gel consistency.\n\n\"Francis and I were really into sous-vide last year,\" Janet points out. \"But now we're more into hearth cooking. Ever since the thing with the clams.\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Only on weekends, of course. During the week I'm on all Soylent now,\" Francis points out. \"I mean, excepting dinner parties.\" He adds a little laugh.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Oh, interesting. How's the Soylent been treating you?\", Raul asks. \"Pretty well! I mean once you get over the bloating in the first week or so.\", Francis replies.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nA few thoughtful nods cross around the table.\n\n> You eat the cake\nYou take a look at the mirror-glazed cake before digging in:\nIt's covered in a marbled, light green shell that looks more like glossy plastic than food.\n\nYou catch a distorted glimpse of your additional head, reflected\non the mirror-glazed cake: \"We all fall down! We all fall\nthrough!\"\n\nMaybe wait until Julia has cut into it.\n\nFrancis leans back on his chair, wearing the expression of a well-fed bull frog.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nFrancis leans back on his chair, wearing the expression of a well-fed bull frog.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"That's gorgeous,\" says Janet. \"It's pretty good, yeah,\" Francis adds.\n\nJulia carefully cuts, and serves, slices of the cake.\n\n> You eat the cake\n(the green-white cake)\nYou take a look at the green-white cake before digging in:\nOn the inside, it's a pretty standard sponge cake, except both the cream filling and the cake itself are flecked with some kind of greenish substance.\n\nYou take a few bites out of the green-white cake.\nThe greenish substance is basil. This is a basil cake. It's very sweet but still reminiscent of marinara sauce.\n\n\"Thanks! It's easier than it looks, really,\" Julia says as she looms over the cake.\n\n> You eat the cake\n(the green-white cake)\nYou finish eating the green-white cake.\nHonestly, Julia was a little over-generous with the slicing there.\n\n\"You guys have to come over more often, if it'll get Julia to make more cakes,\" Raul says. Polite laughs from the guests.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJanet pokes at her cake. \"Is that cake gluten-free?\" \"No,\" Julia replies, and she abruptly drops her fork. You can't help but feel like the awkwardness of the moment splashes back on you.\n\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"This is good. Is this basil? That's so clever,\" Francis says, already more than halfway through a generous slice. \"I think I'll have some more actually...\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Well I'm glad. It's just so hard to get people to come over these days,\" Julia says.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I miss Margo,\" Julia adds thoughtfully. \"Oh. Sorry,\" she adds, realizing you're there.\n\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I mean I promise Janet and I will be around, even after the move,\" Francis says.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"I'll hold you to that!\", Julia replies with a slightly hollow laugh as she gets up.\n\nJulia takes away the cake, mercifully concluding the dinner. \"Well. What did you think?\", she asks as she returns from the kitchen.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Lovely as always,\" Francis responds. \"Really, you're so good at this.\"\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\n\"Will you be staying for drinks?\", Raul asks you. \"I can't, really, I have a bit of an early day in the morning,\" you respond. \"Ah, what a shame. Another time maybe,\" Julia says.\n\nYou get the distinct sense you should be gone by now.\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia looks like she might say something, then doesn't.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia coughs politely.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head looks like he might say something, then doesn't.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia fidgets.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nRaul coughs politely.\n\nYou get the distinct sense you should be gone by now.\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia looks like she might say something, then doesn't.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head fidgets.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head coughs politely.\n\n> You talk to Julia\nawkward)\n\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head looks like he might say something, then doesn't.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head leans back on his chair thoughtfully.\n\nYou get the distinct sense you should be gone by now.\n[Your awkwardness has gone up by one point.]\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia coughs politely.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nan additional head coughs politely.\n\n> You talk to Julia\nReally, you couldn't get a word in edgewise even if you had the mental fortitude to try.\n\nJulia looks like she might say something, then doesn't.\n\nYou try to say something, but you're basically paralyzed by mortification at this point. Coming here was a terrible idea, and you realize that you're going to scurry home feeling like a damn fool.\n\n> You leave\nJust EXCUSE yourself to leave this awful dinner.\n\n\"Will you be staying for drinks?\", Raul asks you. \"I can't, really, I have a bit of an early day in the morning,\" you respond. \"Ah, what a shame. Another time maybe,\" Julia says.\n\nYou get the distinct sense you should be gone by now.\n[Your awkwardness has gone up by one point.]\n\n> Excuse\nYou mumble something about having to get going, and manage to extricate yourself from the goodbyes in record time. Soon, you're breaking out of the vestibule and stepping towards your car in glee; the humid chill of the air has fogged the windows, preventing them from showing your reflection. You have escaped with most of your face, and your sanity, intact."
    },
    {
        "text": "[Themes: Horror, Latin, ghost, language, horror]\n\nIt is almost midnight. You're sitting in your bedroom, alone.\n\nOn the desk in front of you: a Latin dictionary, a blank sheet of lined paper, and the photocopied passage you need to translate for class tomorrow. You always leave things too late.\n\nAll distractions have been hidden away. The darkness outside means that nothing will be stealing your attention through the window either.\n\nYour pencil has been sharpened. It's time to get started.\n\nYou're sitting at your desk. It faces a window, which normally looks over your back yard, but currently all you can see is the night.\n\nBehind you, the rest of the room is overcome by the mess you've been promising your parents you'll tidy. But even Latin homework is preferable to cleaning.\n\n[Author's Note: On the desk in front of you: a Latin dictionary, a blank sheet of lined paper, and the photocopied passage you need to translate for class tomorrow. You always leave things too late.]\n\n> About yourself\nFifteen years old and slightly sleep deprived.\n\n> You match priscos with the mores\nYes, they're both accusative plural! So together they mean: \"the ancient customs\".\n\nOkay, you can see how it fits together now - \"The month was May, and it retains the ancient customs.\" You jot it down, glad that the start hasn't been too hard so far. You're ready to look at the next line of the passage.\n\n> You examine the line\nille memor ritus et timidus manium,\n\nille means \"he\", nominative singular. rituum you had\nin the title, but it's genitive plural here - \"of the rites\".\nmanium means \"spirits\" again, but it's also genitive plural\nhere. There's a few words left you don't know.\n\n> You look up memor\nAdjective: mindful. Agrees with something nominative singular. Time to match!\n\n> You look up timidus\nAdjective: afraid. Agrees with something nominative singular. What does it match with?\n\n> Match memor with ille\nThat works! \"He\", where that person is \"mindful\".\n\n> You match the timidus with the ille\nYes, both are nominative singular. Whoever \"he\" is referring to, they're \"afraid\".\n\nYou can put it together with that. \"He, mindful of the rites, and afraid of the spirits.\" You write it down, excited at the progress you're making, but you know you have to stay focussed if you don't want to lose your flow.\n\n> You match unda with the pura\nBoth of them are ablative plural, that works: \"with pure water\".\n\nThat's enough to figure out the line! \"He gets up and rinses his hands with pure water from a spring.\" You jot it down. You hope your teacher won't mind your sleepy, sloppy handwriting.\n\n> You match the nigras with the fabas\nPerfect, the two of them are accusative plural: \"black beans\".\n\n> You look up the aversus\nAdjective: facing away. Agrees with something that's nominative singular. Ah! Must be referring to the ille from earlier.\n\nAll right, you think you can see it now. \"He takes some black beans and throws them, facing away.\" You're getting close to the end now, just a few more lines to go.\n\n> You look up paterni\nAdjective: ancestral. It needs to match with something that's either nominative plural or vocative plural.\n\n> You match paterni with manes\nYes, they're both vocative plural. So the man is speaking to his \"ancestral spirits\", it seems.\n\n> You match the peracta with the sacra\nBoth of the words are nominative plural, so that works: \"completed rites.\"\n\nThis is it, you think you've figured out the final line. \"He looks back, and he thinks the sacred rites completed perfectly.\" As you pen the words down, the relief flowing through you is immense.\n\nBut then you realise that feeling inside you feels more like a chill than it does relief. Cold. Did you forget to shut the bedroom door behind you?\n\nYou look back, and -\n\nMaybe if you had not been so engrossed in your translating, you would have seen them coming.\n\n> You look back\nYou look back, and your stomach lurches.\n\nNine ghostly figures float in front of your closed bedroom door. Faded flesh clings, rotting, to their skeletons. From their ligaments hang scraps of cloth and thread and skin.\n\nYour eyes meet the empty sockets of the closest figure. You feel an unsettling presence snake its way into your mind - tendrils of thought not rooted in any words, any language, and yet you understand.\n\n\"It is May. The night is silent. The sacred rites. Forgotten. So many years. We have been dishonoured. Disrespected. Searching for people. Searching in in people. For those who still remember.\"\n\nYou lean back against your desk.\n\n\"And you do. You remember.\"\n\nThey begin to move toward you.\n\n\"You remember, and you did not perform them.\"\n\n> You look\nYou're sitting at your desk. It faces a window, which normally looks over your back yard, but currently all you can see is the night.\n\nThere's a very quiet creaking noise, not noticeable until you looked up from your translation. You assume it's just the wind.\n\n> You look at the desk\nSimple, wooden. You solved the issue of it being too cluttered to work by pushing the clutter onto your bed instead. Now, there's only your Latin dictionary, a sheet of paper, and the photocopied passage.\n\n> You look at the clutter\nNo thanks.\n\n> You check what you're carrying\nYou are carrying:\na pencil\n\n> You read the paper\nThe month was May, and it retains the ancient customs:\n\nWe perform the rites for the silent spirits.\n\nWhen it is night and the night lends silence to sleep,\n\nHe, mindful of the rites, and afraid of the spirits,\n\nGets up and rinses his hands with pure water from a spring.\n\nHe takes some black beans and throws them, whilst facing\naway.\n\nWhen he has said, \"Ancestral spirits, depart!\" nine times,\n\n> You examine the window\nYou're sitting at your desk. It faces a window, which normally looks over your back yard, but currently all you can see is the night.\n\nYou look up at the window. Something about the reflection of what's behind you seems... wrong.\n\n> You examine the reflection\nYou peer at the reflection in the window, then look back, and your stomach lurches.\n\nNine ghostly figures float in front of your closed bedroom door. Faded flesh clings, rotting, to their skeletons. From their ligaments hang scraps of cloth and thread and skin.\n\nYour eyes meet the empty sockets of the closest figure. You feel an unsettling presence snake its way into your mind - tendrils of thought not rooted in any words, any language, and yet you understand.\n\n\"It is May. The night is silent. The sacred rites. Forgotten. So many years. We have been dishonoured. Disrespected. Searching for people. Searching in in people. For those who still remember.\"\n\nYou lean back against your desk.\n\n\"And you do. You remember.\"\n\nThey begin to move toward you.\n\n\"You remember, and you did not perform them.\"\n\n> You say the ancenstral spirits depart\n(to yourself)\nThere is no reply.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "It is the hottest summer of all time (or at least it feels that way now that your electricity has been cut off). Your lack of employment has finally caught up with you. Your funds have been depleted and your pockets are empty. Last month's essentials (cable television and Internet access) are now but sweet memories. The lack of air conditioning feels like the final straw. You were really hoping to starve to death at a comfortable 68 degrees.\n\nYesterday for lunch you boiled and ate two hot dog wieners. For dinner, you drank the water you boiled them in. (Mmm, \"Hot Dog Soup\".) So far your dignity has kept you from rummaging through trash cans for food, but it's starting to sound like a viable option. Just the thought of sinking your teeth into someone else's left over pizza crust makes your mouth water.\n\nThe current economy has made it hell for a spoiled, out-of-work computer programmer such as yourself to find work. It wasn't too long ago that a five-figure salary seemed beneath you; today, given your current state of affairs, you would accept four. It's time to find a job and find some food, and find them today.\n\n\n\n Type ABOUT. Need a list of common commands? Type COMMANDS.)\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a couch, a fish bowl, an entertainment center and a coffee table (on which is a remote control) here.\n\n[Author's Note: An out-of-luck computer programmer finds more than just a job opportunity in a mysterious government facility.]\n\n> About yourself\nYou look roughly like an out of work computer programmer ... which, coincidentally, is exactly what you are. Your clothes are baggier than normal, thanks to your mandatory recent \"low-food-intake\" diet. Years of sitting behind computer keyboards have given you lean fingers and a pot belly, but when push comes to shove, you clean up nice.\n\n> You take the remote\nTaken.\n\n> You look at the remote\nIf buttons are any measurement of manhood, owning this remote makes you a stud among studs. Back in the day, this bad mamma-jamma controlled everything you owned: your television, your DVD player, your cable box, your stereo, your coffee pot, and sometimes even your neighbor's automatic garage door. Over the past few months you've sold everything the remote used to control, but you keep the remote as a reminder of happier times."
    },
    {
        "text": "> You look around\nWhile your living room isn't much to look at, you call it home. Back when you were working 80 hours a week, you had no time to fix the place up. Now that you have all the time in the world, you have no money. Even in hard times, you retain your sense of irony. Your ratty couch sits along one wall, facing your cheap (and empty) entertainment center. The front door of your home is to the NORTH. Your dining room lies WEST, and your bedroom is to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a couch, a fish bowl, an entertainment center and a coffee table here.\n\n> You examine the couch\nThe couch is wrapped in an orange and brown floral print, which must've been popular decades ago when the couch was manufactured. The bottom edges of the couch are scuffed and ripped. The main seam that runs along the top is unravelling, and the left-hand cushion literally has a spring poking through the fabric. What few meals you eat are typically eaten here; what food doesn't make it to your mouth usually falls down between the cushions ... which explains the smell.\n\nThe couch is at least 40 years old, and looks it. All told, it's one of the nicer things you own.\n\n> You search the couch\nSticking your hand between the cushions reveals a handful of change and an old burrito, both of which you pull out and set aside. Say ... who knows what another search might yield!\n\n> Continue\nReaching waaaaay, waaaaay down inside the couch you feel ... the floor. Cue sad trombone sound effect here.\n\n> You look at the change\nIt's about a buck's worth of change -- mostly nickels and pennies, some stickier than others.\n\n> You look at the burrito\nIt's a \"Taco Flaco\" burrito, which is odd since you haven't eaten there in a couple of weeks now. The burrito is covered in a five-o'clock shadow of green fuzz. Nothing (and I mean NOTHING) good can come from eating this.\n\n> You look at the center\nThe particle wood bows in the middle where your television used to sit. Your television, DVD player, and stereo used to sit together on the entertainment center. Now, they sit together at Bad Brad's BBQ and Pawn.\n\n> You look at the fish bowl\nThis large fish bowl is where Goldie, your pet goldfish, used to live. Even when you were at your lowest, Goldie was always there for you. He was a good friend and a good companion, and two days after you ran out of peanut butter, he was a good snack.\n\nThe bowl used to contain water, rocks, fake plants, and a little treasure chest that opened and closed. None of those things seemed edible, so after Goldie's demise they all went in the trash. All that's left is the bowl itself.\n\n> You talk to the burrito\nThat's really a waste of everyone's time.\n\n> You eat the burrito\n(first taking the burrito)\nYeah ... no. Here's a short list of things that sound more appetizing to eat: a stack of VCR tapes, your Aunt Ruth's face, your remote control, a used urinal cake, and your own foot.\n\n> You eat remote\nWhile the colored buttons do somewhat resemble Skittles, surely you can find something better to consume. Plus, if you ever get another television, repeatedly standing up and sitting down to change channels would be a real pain in the ass. Literally.\n\n> You take the bowl\nTaken.\n\n> You examine table\nIt's just a cheap table. It's not worth selling, and barely worth owning.\n\n> You eat the bowl\nThat's plainly inedible.\n\n> You eat the change\n(first taking the handful of change)\nThat's plainly inedible."
    },
    {
        "text": "> Look around\nWhile your living room isn't much to look at, you call it home. Back when you were working 80 hours a week, you had no time to fix the place up. Now that you have all the time in the world, you have no money. Even in hard times, you retain your sense of irony. Your ratty couch sits along one wall, facing your cheap (and empty) entertainment center. The front door of your home is to the NORTH. Your dining room lies WEST, and your bedroom is to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a couch, an entertainment center and a coffee table here.\n\n> You go to the west\nThe word \"room\" is a bit of a misnomer; it's more of a nook, and a sparse one at that. In the middle of the room on top of a rug sits a small table and two chairs. On the wall is a small tack where you hang your house key. Your kitchen is to the SOUTH, and the living room is to the EAST.\n\nYou can see a house key, a trash can (which is empty) and a table (on which are a napkin and a pen) here.\n\n> You look at the rug\nDespite the fact that it slightly smells of urine, the rug really ties the room together.\n\n> You take all from the table\nnapkin: Removed.\npen: Removed.\n\n> You look at table\nThe table is old and tired. It gets passed around between family members every time someone has a garage sale. It's ugly, but you don't own it because of its style; you own it because it was free.\n\n> You examine napkin\nIt's an unused Taco Flaco napkin.\n\n> You move the rug\nTug as you might, the carpet will not move. Ever.\n\n> You examine the pen\nYou bought two, since the thought og buying only one seemed depressing.\n\nIt's a generic ink pen with a black cap. You try to keep one or two on the table.\n\n> You write on the napkin\nUsing the pen, you write \"COUPON\" across the top of the napkin in bold letters. Below that in smaller letters, you write \"10 TACOS FOR A DOLLAR\".\n\n> You examine the key\nSometimes you like to pretend this is the key to the city, given to you by the Mayor himself. In reality, it's the key to your front door. You've never met the Mayor.\n\n> You look at the can\nIt's a trash can. Sorry, not everything in life is exciting. You want to make things more exciting? Put some taco wrappers in here!\n\n> You look at the change\nIt's about a buck's worth of change -- mostly nickels and pennies, some stickier than others.\n\n> Go south\nThe kitchen is small and somewhat dark. Even back when you had electricity, the room wasn't all that impressive. Now, it's essentially useless. All the basics are here (a refrigerator, a stove, a microwave), but without any electricity they aren't of much use. The SOUTH end of the room contains a small pantry. The dining room is to your NORTH.\n\nYou can see a coffee mug here.\n\n> Examine mug\nThe mug proclaims you are the \"World's Greatest Dad\", and who are you to argue? To date the only thing you've given birth to is unhealthy living conditions, but should you ever actually procreate, you feel like owning the mug gives you a head start. In the coffee mug department, you're the opposite of a procrastinator. You're like a ... precrastinator.\n\n> About yourself\nYou look roughly like an out of work computer programmer ... which, coincidentally, is exactly what you are. Your clothes are baggier than normal, thanks to your mandatory recent \"low-food-intake\" diet. Years of sitting behind computer keyboards have given you lean fingers and a pot belly, but when push comes to shove, you clean up nice.\n\n> You examine the pantry\nIt's to the SOUTH.\n\n> You get the mug\nTaken.\n\n> You go south\nThe pantry is like a closet for food. Back when you had some, this is where you kept it.\n\nYou can see a candy bar and a bag of Reese's Pieces here.\n\n> You take all\ncandy bar: Taken.\nbag of Reese's Pieces: Taken.\n\n> Examine candy bar\nIt's a Three Muskateers bar. Its fairly misshapen from sitting in your hot pantry, but surely it'll still be delicious. The only reason you haven't eaten it is, you can't remember where it came from.\n\n> You examine Reese'S\nYou remember buying the Reese's Pieces to hand out for Halloween, but you can't remember which year. Reese's have never been a favorite snack of yours, so there they sit, waiting for next year's trick-or-treaters. Fortunately, candy doesn't have a shelf life. (At least that's what the guy at the dollar store told you while checking out. Come to think of it, perhaps he was being sarcastic.)\n\n> You eat Reese'S\nBlech, no thanks. You don't even like them when they're fresh, much less a decade old.\n\n> You eat the bar\nNot right now. You know what they say, \"Candy is dandy, but tacos are ...\" Well I can't remember how it goes, but the point is you're in the mood for tacos, not chocolate. Because you know what they say, \"Meat can't be beat, while chocolate is ...\" Crud. Rhyming is hard.\n\n> You go north\nThe kitchen is small and somewhat dark. Even back when you had electricity, the room wasn't all that impressive. Now, it's essentially useless. All the basics are here (a refrigerator, a stove, a microwave), but without any electricity they aren't of much use. The SOUTH end of the room contains a small pantry. The dining room is to your NORTH.\n\n> You go north\nThe word \"room\" is a bit of a misnomer; it's more of a nook, and a sparse one at that. In the middle of the room on top of a rug sits a small table and two chairs. On the wall is a small tack where you hang your house key. Your kitchen is to the SOUTH, and the living room is to the EAST.\n\nYou can see a trash can (which is empty) and a table here.\n\n> You go east\nWhile your living room isn't much to look at, you call it home. Back when you were working 80 hours a week, you had no time to fix the place up. Now that you have all the time in the world, you have no money. Even in hard times, you retain your sense of irony. Your ratty couch sits along one wall, facing your cheap (and empty) entertainment center. The front door of your home is to the NORTH. Your dining room lies WEST, and your bedroom is to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a couch, an entertainment center and a coffee table here.\n\n> Go south\nThis is where \"the magic\" happens ... if, by \"magic\", you mean crying yourself to sleep at night while listening to your stomach growl. To make ends meet a few months ago you pawned your bed frame, but kept the mattress. (You would have pawned the mattress too, but \"apparently\" it had one stain too many.) In the corner is your closet. Your small bathroom is to the EAST. Your living room is back NORTH.\n\nYou can see a mattress here.\n\n> You examine mattress\nYour mattress sits on the floor in the corner of your bedroom -- classy, for sure. The mattress has multiple small stains, and covers a larger stain on the carpet beneath. A wrinkled sheet covers the stains.\n\n> You examine the stain\nBody fluid, of some type. You often wonder whose ...\n\n> You examine sheet\nIt's a \"holy sheet\", har har.\n\n> You take the sheet\nI'd leave it here; without electricity, it gets cold at night.\n\n> You examine the closet\nIt's like a pantry, but for clothes. There's no door blocking your view of your clothes. You didn't pawn it, it just fell off one day and you never put it back on.\n\n> You look in closet\nIt's full of clothes and shoes and ties and spiders. Nothing you need at the moment.\n\n> You look at the spiders\nYou don't see any at the moment, thank goodness. Perhaps they're hiding for fear of being eaten by you.\n\n> You look at the clothes\nFor as broke as you are, your wardrobe doesn't look half bad. Should you land a job, you should have no problem finding something to wear.\n\n> Go east\nYou enter the bathroom and, like Elvis, take care of business. When finished you flush, wash and dry your hands (even though nobody was looking -- good job!) and re-enter your bedroom.\n\n> You check what you're carrying\nYou are carrying:\na bag of Reese's Pieces\na candy bar\na coffee mug\na coupon\na house key\na pen\na handful of change\na fish bowl\na burrito\na remote control"
    },
    {
        "text": "> You look at your surroundings\nThis is where \"the magic\" happens ... if, by \"magic\", you mean crying yourself to sleep at night while listening to your stomach growl. To make ends meet a few months ago you pawned your bed frame, but kept the mattress. (You would have pawned the mattress too, but \"apparently\" it had one stain too many.) In the corner is your closet. Your small bathroom is to the EAST. Your living room is back NORTH.\n\nYou can see a mattress here.\n\n> You unlock the front door with the house key\nThat's unlocked at the moment.\n\n> You open the door\nYou open the front door.\n\n> Go north\nLike the inside of your house, the front porch is small and cozy. When you first moved in you bought a small chair and placed it on the porch with dreams of spending your evenings drinking beer and enjoying the scenery. You ran out of money for beer months ago, and the scenery consists of the dog across the street that continually barks and neighborhood kids that give you the finger everytime they see you. These days the porch serves as a place to put your chair and mount your mailbox. Your driveway is EAST from here; your house is back to the SOUTH.\n\nThe front door is open, potentially letting in heat, flies, and bill collectors.\n\nYou can also see a mailbox (which is closed) and a man here.\n\n> You examine man\nWearing a black suit, white shirt, black tie, black gloves and sunglasses, the man looks more like one of the Blues Brothers than a door-to-door salesman. He certainly doesn't look like any bill collector you've ever seen, and you've seen your share. The man looks more like one of the Men in Black, and not in a funny \"Will Smith\" kind of way. In his left hand, the man carries a clipboard.\n\n> You look at the mailbox\nThe mailbox is small and rusty. Although all you get are bills and collection notices these days, this used to be where your Netflix movies arrived. Boy, you sure miss Netflix. With over 60,000 titles and 20 million members in the United States and Canada, Netflix is the world's leading Internet subscription service for enjoying movies and TV shows. For $7.99 a month, Netflix members can instantly watch unlimited movies and TV episodes streamed over the Internet to PCs, Macs and TVs. Among the large and expanding base of devices streaming from Netflix are Microsoft's Xbox 360, Nintendo's Wii and Sony's PS3 consoles; an array of Blu-ray disc players, Internet-connected TVs, home theater systems, digital video recorders and Internet video players; Apple's iPhone, iPad and iPod touch, as well as Apple TV and Google TV. In all, more than 200 devices that stream from Netflix are available in the U.S. and a growing number are available in Canada.\n\n(This mailbox was sponsored by Netflix. To sponsor an object in one of my upcoming games, please contact me.)\n\n> You open the mailbox\nYou open the mailbox, revealing some bills.\n\n> You examine the bills\nBills, bills, and more bills. Most days, you don't even read them; by not opening them, you're hoping to claim \"plausible deniability\".\n\n> You talk to the man\n0: Say nothing.\n1: \"Can I help you?\"\n2: \"Beat it, Elwood.\"\n\n> You lock the door\nWhat do you want to say to the man?\n\n> 1\nEnter a number between 0 and 2.\n\n\"Can I help you?\", you ask the man.\n\n\"On the contrary, I believe it is I who can help you,\" the man says. Either this guy is a complete weirdo, or he's doing a perfect impression Agent Smith from The Matrix. \"I have been sent by The Agency.\" (By the way he says \"The Agency\", you assume the words would be capitalized if you ever saw them in print.) We've had your application on file for quite some time now. Are you still looking for work?\n\n0: Say nothing.\n1: \"Absolutely.\"\n2: \"I don't know ... this is kind of creepy.\"\n3: \"Definitely not.\"\n\n> 2\nWhat do you want to say to the man?\n\n\"I don't know ... this is kind of creepy,\" you say to the man.\n\n\"My apologies,\" says the man. \"English is not my first language. We received your application from a government job fair you attended several months ago. We have an immediate opening for a skilled programmer, and we think you would be perfect for the job. We can talk more about your salary tomorrow, but the position comes with a six-figure signing bonus, which,\" the man says as he peers past you into your home with no electricity, \"I assume is more than you're making at the moment. I'm sorry if I came off the wrong way. How about it, can we count on you?\"\n\n0: Say nothing.\n1: \"I'm in.\"\n2: \"I'm out.\"\n\n> 1\n\"I'm in,\" you say to the man.\n\n\"Perrr-r-r-r,\" the man says, sounding like a bad robot impersonation. The man's suit, in combination with the hot summer sun, has caused him to begin sweating. Is that silver sweat? Or is the guy wearing makeup? Something's definitely not right with this dude. \"Perfect,\" the man manages to say on his second attempt. The man proceeds to muster up the weirdest looking smile you have ever seen -- it's like the guy learned how to smile by looking at pictures of people smiling poorly. \"We look forward to seeing you tomorrow.\"\n\nAs you extend your hand in an attempt to shake hands with Captain Creepazoid, he places a business card into it. \"The address is on the card.\"\n\nYou look down and see the business card in your hand. When you look up again, you see the man has vanished.\n\n> You look at the card\nWith black letters printed on an off-white card stock, the business card is as stark as it is bold. \"HANGAR 22. 8062 ELM STREET.\" (And as your grandpa once told you, \"Every town has an Elm Street.\" Wait, that wasn't your grandpa, that was Freddy Krueger from Freddy's Dead: The Final Nightmare.)\n\n> You close the door\nYou close the front door.\n\n> You lock the door\nWhat do you want to lock the front door with?"
    },
    {
        "text": "> You look around\nLike the inside of your house, the front porch is small and cozy. When you first moved in you bought a small chair and placed it on the porch with dreams of spending your evenings drinking beer and enjoying the scenery. You ran out of money for beer months ago, and the scenery consists of the dog across the street that continually barks and neighborhood kids that give you the finger everytime they see you. These days the porch serves as a place to put your chair and mount your mailbox. Your driveway is EAST from here; your house is back to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a mailbox (in which are some bills) here.\n\n> Close mailbox\nYou close the mailbox.\n\n> You examine the chair\nUnlike yourself, the chair appears able to support things. The seat is covered in a thin layer of dust and cobwebs, but it's in pretty good shape compared to most of the furniture inside your house.\n\n> You take the chair\nThat's hardly portable.\n\n> Go east\nYour driveway is where you park your car. It's as interesting as a giant flat slab of concrete can be. To the WEST is your front porch.\n\nYou can see an El Camino here.\n\n> You look at El Camino\nShe's a beauty, isn't she? You still refer to her as the Brown Bomber (in reference to the car's original color), but after thirty hard years of service it's getting more and more difficult to determine where the paint ends and the rust begins. The inside of your El Camino is almost as beautiful as the outside -- which is to say, \"not very\". Randomly scattered throughout the car are more stains, splotches, and sticky spots than the floor of your average adult theater. The ignition juts slightly from the steering column; someone busted the ignition for you while attempting to steal the car, and it now turns freely without a key.\n\nShe burns more fluids than rubber these days, but she's paid for and she still runs. Usually.\n\n> You drive\nWhat, drive around aimlessly? Once inside your car, talk to your GPS and pick a destination.\n\n> You look at the GPS\nThe GPS is a Sir Guide-A-Lot 350 model -- apparently, a promotional item bundled with Sir Mix-A-Lot's last album, \"Where My Homies At?\". While the GPS is slow, clunky, and rarely accurate, by far its most annoying feature is the fact that it constantly shouts at you in Sir Mix-A-Lot's voice. (Whoever authorized the combination of a has-been rapper's voice with a barely functional GPS didn't do much in the way of market research.) The only reason you haven't pawned it yet is that \"350\" denotes not only the model, but also its current value. In pesos. You found the device abandoned in a Taco Flaco bathroom, and each time you use the thing you are convinced that its former owner left it there intentionally. The unit's only redeeming value is its voice recognition feature. You can simply TALK TO GPS and it gives you directions.\n\n> You talk to the gps\n0: Say nothing.\n1: \"Location: HOME\"\n2: \"Location: TACO FLACO\"\n3: \"Location: HANGAR 22.\"\n\n> 2\nWhat do you want to say to the GPS?\n\n\"BUTTERMILK BISCUITS, HEW HEWWWWW!\" says Sir Guide-A-Lot. (Jesus, you hate that thing.) After a moment or two of processing, the GPS finishes its calculations, and off you go. The unit calculates a path that leads you through several back alleys you've never seen before and at least one third-world country. Stupid piece of junk. Despite Sir Guide-A-Lot's best effort at losing you, you finally arrive at ...\n\nEven as broke as you are, you can still eat like a king at Taco Flaco. You applied for a job here once but were told you were overqualified, what with your high school degree and all. (It all worked out for the best -- you wouldn't have had the stomach to club the baby chickens needed to make those little bite-sized burritos, anyway.) None of the employees are too bright, which is why your coupon scam continues to work. (For years now you've been handwriting your own \"ten tacos for a dollar\" coupons.) The staff is rude and the restaurant is dirty, but it's a fact that they make the best tacos in all the land. (And by \"the land\" I mean, \"within three miles of your house\".\n\nYou can see a Taco Flaco Drive-Thru Sign here.\n\n> You examine the sign\nTaco Flaco is known for a lot of things (the quality of their food, the rudeness of their employees, that time someone found a human foot inside their burrito ...), but menu diversity is not one of them. The restaurant's three menu choices have been hand painted on a giant piece of wood:\n\nCOMBO 1: Three Tacos, Cinnamon Chunks, Fiesta Surprise, Large Drink: $4.99\nCOMBO 2: Two Burritos (Chicken, Steak, or \"Surprise\"), Large \"Cabra Vomitar\" Shake: $4.99\nCOMBO 3: Nachos Gigantescos (Caliente and Libre de Enfermedad), Large Warm Milk: $4.99\n\nAttached to the bottom of the sign is a speaker. From it, you hear a sweet angelic voice say, \"Order. Now. Rapido, Pendejo ...\"\n\n> You talk to the voice\n0: Say nothing.\n1: \"Numero Uno, por favor.\"\n2: \"I'll have the number two, please.\"\n3: \"Number Three, to go.\"\n4: \"Ten tacos for a dollar, please.\"\n5: \"This is a robbery.\"\n6: \"I don't have any money. Whatcha got for free?\"\n\n> 6\nWhat do you want to say to the Taco Flaco Drive-Thru Sign?\n\n\"I don't have any money. Whatcha got for free?\" you ask. After a moment of silence, the voice at the windows tells you to pull up.\n\nWorking the drive-thru window (as usual) is Gloria, the sexiest seniorita to ever don a Taco Flaco uniform. If anyone can make a polyester shirt with a poor drawing of a taco with arms, legs and a smile on it romantic, it's this girl. Her hair, her smile, her fake gold tooth ... there's just nothing about this girl that you don't adore.\n\nGloria slides the drive-thru window open and spits a loogie directly into your face.\n\n\"Thank you, come again,\" she says, closing the window. It would seem you chose ... poorly.\n\nYou are sitting inside your car at the end of the Taco Flaco drive-thru. All the other buildings you can see are vacant (it's not the best part of town). Other Taco Flaco drive-thru customers are behind you, honking their horns. It's time to use the GPS to get you out of this mess.\n\n> 5\nWhat do you want to say to the Taco Flaco Drive-Thru Sign?\n\n\"This is a robbery,\" you say to the drive-thru speaker. \"When I get up to the window, I want all the money. In a BAG. With some TACOS. And a DRINK. WITH NO SPIT IN IT!\"\n\nAfter a few moments of silence, the voice asks you a question. \"Would you like to add three flautas for a dollar?\"\n\nIs this chick messing with you? Doesn't she know how crazy you are? You're about to rob a place you frequent regularly with no mask and nothing remotely resembling a weapon. YOU ARE EL GRINGO LOCO!\n\n\"Yeah, sure, I'll take the flautas,\" you say.\n\n\"Okay,\" the woman responds. \"Please drive around.\"\n\n\"Wow, that was pretty easy!\" you say to yourself. As you pull up to the drive-thru window, it slides open to reveal not a bag full of money, tacos, three flautas and a drink with no spit in it, but rather the business end of a shotgun.\n\nJust moments ago, you had tacos on the brain. Now, your brains are about to be splattered all over Taco Flaco. Sometimes, the jokes just write themselves. You chuckle nervously.\n\nAdios, El Gringo Loco. Click, Click, BOOM!\n\n> 4\nWhat do you want to say to the Taco Flaco Drive-Thru Sign?\n\n\"Ten tacos for a dollar, please,\" you say with a smirk.\n\n\"Chu got a coupon for dat?\" asks the voice.\n\n0: Say nothing.\n1: \"I sure do.\"\n2: \"No.\"\n\n> 1\nWhat do you want to say to the Taco Flaco Drive-Thru Sign?\n\n\"I sure do,\" you respond. From the speaker you hear a long sigh, followed by the words \"Pull around.\"\n\nStanding at the drive-thru window is Gloria, the hottest mamacita in all of Flaco land. Each time you see her you wish she were your age, but you would settle for \"legal\" (both in terms of age and citizenship).\n\nYou place the pathetic coupon and fist full of sticky change into Gloria's soft hand. In return, Gloria hands you ten delicious tacos. Score!\n\nYou are sitting inside your car at the end of the Taco Flaco drive-thru. All the other buildings you can see are vacant (it's not the best part of town). Other Taco Flaco drive-thru customers are behind you, honking their horns. It's time to use the GPS to get you out of this mess.\n\n> You talk to GPS\n0: Say nothing.\n1: \"Location: HOME\"\n2: \"Location: TACO FLACO\"\n3: \"Location: HANGAR 22.\"\n\n> 1\nWhat do you want to say to the GPS?\n\"Home,\" you say to the GPS.\nSir Guide-A-Lot maps out the quickest route to your home. You follow it, and arrive safely.\n\nDriveway (in the El Camino)\nYour driveway is where you park your car. It's as interesting as a giant flat slab of concrete can be. To the WEST is your front porch.\n\nYou are inside your El Camino. Mounted to the dash with copious amounts of duct tape is your voice activated GPS. You can't find anything without it.\n\n> You eat TACOS\nYou unwrap the first taco slowly, savoring the smell of the meat and the sound of the crinkling paper. You take a bite -- and another, and another. With the first taco shoved completely in your mouth, you unwrap the second. Like a kid on Christmas, you open each taco faster than the previous one. Teeth gnashing, you rip through the pile of tacos like a buzzsaw. Each taco is like a box of Cracker Jacks with a surprise inside (a fingernail here, a cigarette butt there), but you don't let that stop you. Before you know it all ten tacos have been consumed, leaving only a pile of wrappers behind. You. Feel. GREAT!\n\nAfter eating, all that's left in your hands is a big pile of wrappers. Say, you should put THOSE in the TRASH!\n\n> You leave\nYou get out of the El Camino.\n\nYour driveway is where you park your car. It's as interesting as a giant flat slab of concrete can be. To the WEST is your front porch.\n\nYou can see an El Camino here.\n\n> Go west\nLike the inside of your house, the front porch is small and cozy. When you first moved in you bought a small chair and placed it on the porch with dreams of spending your evenings drinking beer and enjoying the scenery. You ran out of money for beer months ago, and the scenery consists of the dog across the street that continually barks and neighborhood kids that give you the finger everytime they see you. These days the porch serves as a place to put your chair and mount your mailbox. Your driveway is EAST from here; your house is back to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a mailbox (which is closed) here.\n\n> You unlock the door with the key\nYou open the lock with ease. I suppose if the computer thing falls through, you could always become a locksmith.\n\n> You unlock the front door with the house key\nThat's unlocked at the moment.\n\n> You open the door\nYou open the front door.\n\n> Go south\nWhile your living room isn't much to look at, you call it home. Back when you were working 80 hours a week, you had no time to fix the place up. Now that you have all the time in the world, you have no money. Even in hard times, you retain your sense of irony. Your ratty couch sits along one wall, facing your cheap (and empty) entertainment center. The front door of your home is to the NORTH. Your dining room lies WEST, and your bedroom is to the SOUTH.\n\nThe front door is open, potentially letting in heat, flies, and bill collectors.\n\nYou can also see a couch, an entertainment center and a coffee table here.\n\n> You go west\nThe word \"room\" is a bit of a misnomer; it's more of a nook, and a sparse one at that. In the middle of the room on top of a rug sits a small table and two chairs. On the wall is a small tack where you hang your house key. Your kitchen is to the SOUTH, and the living room is to the EAST.\n\nYou can see a trash can (which is empty) and a table here.\n\n> You sit\nWhat do you want to sit on top of?\n\n> You put the wrappers in the trash\n(the trash can)\nWhat a good boy scout you are!\n\nYawn. It's about time to sleep, don't you think?\n\n> Sleep\nYou close your eyes and, with a smile on your face for the first time in weeks, you drift off to sleep.\n\nIt's morning, you think. Confused, you look around and realize you must be at Hangar 22. While trying to remember how you got here, you hear a familiar voice.\n\n\"Hi Honey,\" the voice says. You turn around to see Gloria from Taco Flaco standing behind you. Honey? What in the world is going on here?\n\n\"I'm so glad you're home,\" she says. Home? As Gloria leans over to give you a kiss on the cheek, her moustache tickles your face. As you pull back you realize Gloria has become your mother -- well, her face has anyway. Recoiling, you see your mother now has the body of a chimpanzee. \"Get back here!\" you shout as your monkey mother begins climbing up some medical equipment. Just when you realize your mom is about to begin flinging poo at you, an alarm sounds! Wait, that sounds like ...\n\n... your alarm clock. You sit straight up in bed, turning off your alarm with one hand and checking your chest for any signs of monkey poo with the other. Jesus Christ, just what kind of meat has Taco Flaco been serving lately?\n\nCompared to your dream, the rest of your morning is surprisingly normal. Although you haven't done it in months, you fumble through your old morning routine of cleaning, grooming and dressing yourself. You look great, and you feel great.\n\nScooping up all the items you collected during yesterday's adventure (you never know what could come in handy on the first day of a new job!), you head outside. You feel like a new man. It's time to get to work!\n\nLike the inside of your house, the front porch is small and cozy. When you first moved in you bought a small chair and placed it on the porch with dreams of spending your evenings drinking beer and enjoying the scenery. You ran out of money for beer months ago, and the scenery consists of the dog across the street that continually barks and neighborhood kids that give you the finger everytime they see you. These days the porch serves as a place to put your chair and mount your mailbox. Your driveway is EAST from here; your house is back to the SOUTH.\n\nYour front door is closed, which prevents people outside from coming in, and vice versa (it's called physics).\n\nYou can also see a mailbox (which is closed) here.\n\n> You check your inventory\nYou are carrying:\na business card\na bag of Reese's Pieces\na candy bar\na coffee mug\na pen\na fish bowl\na burrito\na remote control\n\n> About yourself\nYou look roughly like an out of work computer programmer ... which, coincidentally, is exactly what you are. Your clothes are baggier than normal, thanks to your mandatory recent \"low-food-intake\" diet. Years of sitting behind computer keyboards have given you lean fingers and a pot belly, but when push comes to shove, you clean up nice.\n\n> You open the mailbox\nYou open the mailbox, revealing some bills.\n\n> You examine the bills\nBills, bills, and more bills. Most days, you don't even read them; by not opening them, you're hoping to claim \"plausible deniability\".\n\n> You open the door\nThe door is locked, and you seem to have lost your key! Go to work; you can figure this out later.\n\n> Go east\nYour driveway is where you park your car. It's as interesting as a giant flat slab of concrete can be. To the WEST is your front porch.\n\nYou can see an El Camino here.\n\n> You talk to GPS\n0: Say nothing.\n1: \"Location: HOME\"\n2: \"Location: TACO FLACO\"\n3: \"Location: HANGAR 22.\"\n\n> 3\nWhat do you want to say to the GPS?\n\n\"LET'S GO, 'CUZ THE POSSE'S ON BROADWAY,\" says Sir Guide-A-Lot. You suspect Sir Guide-A-Lot secretly enjoys leading you around in circles, which would be funnier if the Brown Bomber didn't get such terrible gas mileage.\n\nYou pull up to what you assume is Hangar 22. Funny, you've been on this street before but never noticed this building. Maybe you just weren't looking for it.\n\nYou are sitting in your El Camino facing east, but a large metal cross-bar prevents you from continuing in that direction. Directly outside your driver side window is a guard shack. The shack sits on a small patch of grass which is mostly immaculate, save for a small pile of litter.\n\nYou can see a guard here.\n\n> You talk to the guard\n0: Say nothing.\n1: \"Excuse me. Is this Hangar 22?\"\n2: \"Screw you, Copper!\"\n\n> 1\nWhat do you want to say to the guard?\n\n\"Excuse me. Is this Hangar 22?\" you ask the guard.\n\n\"Depends,\" the guard says, approaching you. \"Do you have business here?\"\n\n0: Say nothing.\n1: \"I sure do. I work here now.\"\n2: \"Yes. I'm selling Girl Scout cookies.\"\n\n> 1\nWhat do you want to say to the guard?\n\n\"I sure do. I work here now,\" you say to the guard.\n\nThe guard looks down at his clipboard.\n\n\"Sorry,\" the guard says. Nobody notified me about any new hires today. I'll have to radio HQ and see what's going on. Make yourself comfortable, this could take hours.\"\n\nYou hear an odd rumble from the El Camino's engine. Wait, that wasn't your engine. It was the guard's stomach.\n\n> You examine the litter\nYou recognize the pile of trash as discarded Taco Flaco wrappers.\n\n> You give the burrito to the guard\n\"Mmm, Mmm, MMM!\" says the guard as he sinks his teeth into the moldy burrito. \"Is this the new minty burrito?\" the guard asks, in reference to the burrito's greenish hue. It's true what they say: the way to a security guard's heart is his big fat stomach. \"Listen man,\" the guard says with mold on his teeth, \"this paperwork stuff can take forever, so I'm going to go ahead and buzz you in -- on your way home, stop by here and I'll have a permanent badge waiting for you. You can get a temporary badge from Mr. Mordant. First door on your left as you walk in.\"\n\nThe guard presses a button and the giant bar blocking your path begins to lift. You pull forward and park in the first available spot.\n\n\"Thanks again for the grub,\" says the guard as you pass by.\n\nYou are standing in the parking lot of Hangar 22. Multiple cars, including yours, are parked here. Several security cameras sit high above the parking lot, pointed at your face. A tall, black fence runs along the NORTH and SOUTH ends of the parking lot. The guard shack lies behind you to the WEST. To your EAST is a giant hangar. The side of the hangar facing you has no windows and a single red door.\n\nYou can see some cameras, some cars and an El Camino here.\n\n> You look at cameras\nSome of the cameras are out in the open. Others are partially concealed. You suspect there are even more, well-hidden ones. All of the you can see are pointed directly at you.\n\n> You examine the cars\nThe cars belong to other employees. You feel guilty peering into them with so many security cameras pointed at you.\n\n> You examine the red door\nThe door is off to the EAST. Painted on the door, faded but still readable, are the numbers \"22\". You're pretty sure that's the door the guard was referring to.\n\n> Go east\nAs you approach the red door, you hear a buzzing sound. You open the door and enter Hangar 22.\n\nYou are standing at the west end of a long hallway. The walls, ceiling, and other doors are all various shades of gray. Immediately to your WEST is the red door you entered through. The door to your NORTH has a small plaque that reads \"IN PROCESSING\". The door to your SOUTH has a small plaque that reads \"INTERROGATION\". The hallway continues EAST from here. You can see more doors in that direction.\n\n> Go north\nAs you reach down toward the handle, the door flies open and you find yourself standing face to face with the same creepy guy that came to your house yesterday. Recognizing you, the man makes a facial expression resembling a smile.\n\n\"Oh! Hello there,\" the man says. \"Welcome to Hangar 22!\" The man glances at your shirt and, realizing you aren't wearing an access badge, reaches into his pocket and pulls out a \"New Employee\" sticker. While mumbling something about the guards at the guard gate, he applies the sticker to your shirt and says, \"That'll do for now.\"\n\nFrom the INTERROGATION ROOM, you can hear loud shouting. \"If you'll excuse me I've ... had something come up,\" he says, his black eyes shifting to the door behind you. \"I'll be back as soon as I can.\"\n\nWith that, the man pushes past you and slips into the INTERROGATION ROOM, leaving the door to the IN PROCESSING ajar.\n\n> Go north\nThis is the \"In Processing\" room, a place where (you assume) new employees are processed. A military-grade metal desk sits on one side of the room. The desk is covered with papers and various odds and ends. Multiple maps adorn the walls. Directly behind the desk hangs a large portrait.\n\nYou can see a desk here.\n\n> You look at the desk\nThe desk is solid metal and weighs a ton. Scattered papers cover the top of the desk. The backside of the desk contains multiple drawers.\n\n> You look at the papers\nIt would take you months to read all of them. Quickly skimming through the piles, you notice most of them appear to be official government documents. The piece of paper on top contains an interesting handwritten note. \"TO DO,\" the note reads. \"01: Meet Glitzenbork for sushi after work. 02: Pick up dry cleaning. 03: Get new \"recruits\" to the organ-harvesting chamber, stat.\"\n\nWell well well, sounds like something fishy's going on around here. Or maybe that's just the sushi.\n\n> You examine the drawers\nAll but one of the desk's drawers are locked.\n\n> You open the drawer\nIn the unlocked desk drawer you spot a keycard.\n\n> You look at the portrait\nThe painting hanging directly behind the desk has three men in it. The man on the left is the creepy creepazoid you just ran into. In fellow in the middle is a rough-looking military man (the flat top gives it away). The \"thing\" on the right appears to have the head of a giant fly, and giant, hairy arms with pinchers for hands. The fly-man's right pincher is up behind the military man's head, making bunny ears. Whoever painted the portrait obviously had a good sense of humor. Must've been an expensive gag gift.\n\n> You take the keycard\nTaken.\n\n> You examine the keycard\nThe keycard is the same size as a credit card, and has a microchip visibly embedded in it. The card is black; across the back, the card reads \"ALL ACCESS\" in red letters.\n\n> You examine the maps\nVarious interstellar maps cover the walls. You spend a moment trying to find The Big Dipper, but can't seem to locate it. Multiple stars and planets are marked and named, but you don't recognize any of them.\n\n> You touch yourself\nIf you think that'll help.\n\n> You look at the sticker\nThe green, triangular sticker clearly identifies you as a new employee. And in case anyone forgets, the sticker has the words \"NEW EMPLOYEE\" printed across it in bold, black letters.\n\n> You go to the south\nYou are standing at the west end of a long hallway. All the walls, ceiling, and other doors have been painted a drab shade of gray, save for the red door you entered through, which is directly to your WEST. The door to your NORTH, which is now open, has a small plaque that reads \"IN PROCESSING\". The door to your SOUTH has a small plaque that reads \"INTERROGATION\". The hallway continues EAST from here. You can see more doors in that direction.\n\n> You write on the sticker\nIt's not that you COULDN'T, but more that you don't NEED to ...\n\n> You go to the east\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. To your NORTH is a door marked \"ASTRONAUT LOUNGE\". To your SOUTH is a door marked \"OBSERVATION\". The hallway leads both EAST and WEST, where you can see more doors.\n\n> You wear the fish bowl\nYou put on the fish bowl.\n\n> Go north\nThe Astronaut Lounge resembles a cafeteria from the 1950s. The floor is a little whiter than the walls, but neither one is particularly white. Along one wall sits a vending machine and a refrigerator, and a television sits in the corner. Scattered around the room are tables and chairs of various shapes, sizes and colors. An astronaut sits at one of the tables.\n\nYou can see a vending machine, a refrigerator (which is closed), an astronaut, some tables (on which is a pair of gloves) and a television here.\n\n> You examine the vending machine\nThe vending machine is stocked with various flavors of freeze-dried Astronaut Ice Cream. It's also filled with cobwebs, and doesn't appear to have worked in quite some time.\n\n> You open the refrigerator\nInside the fridge you discover dozens of bottles of Tang.\n\n> You look at the refrigerator\nThe refrigerator is old school and industrial strength. If you ever find yourself next to an atomic bomb that's about to go off, this is the refrigerator you want to take shelter in. There is a handwritten note taped to the front of the fridge.\n\n> You read the note\n\"STOP TAKING OTHER PEOPLE'S STUFF. I MEAN IT.\"\n\n> You examine the Tang\nTang, the official drink of NASA and astronauts worldwide. Each bottle of Tang has someone's name on it. \"Alan\", \"Pootie\", \"Wu\", and so on.\n\n> You examine Astronaut\nHe's an astronaut, alright.\n\n> You look at the tv\nThe television is the only item in the room younger than you.\nThe television is currently switched off.\n\n> You turn on tv\n\"I wish,\" laments the astronaut. \"The buttons are broken and someone lost the remote.\n\n> You examine tables\nThe tables vary in height and size. At one table sits an astronaut.\n\n> You look at the remote\nIf buttons are any measurement of manhood, owning this remote makes you a stud among studs. Back in the day, this bad mamma-jamma controlled everything you owned: your television, your DVD player, your cable box, your stereo, your coffee pot, and sometimes even your neighbor's automatic garage door. Over the past few months you've sold everything the remote used to control, but you keep the remote as a reminder of happier times.\n\n> You press the remote\nTry USE REMOTE.\n\n> You use the remote\nUsing your remote control, you flip on the television. Immediately, the astronaut's attention turns from you to the television.\n\n\"Oh boy, Lost in Space -- my favorite!\", he says.\n\n> You take the gloves\nTaken.\n\n> You examine the gloves\nThe gloves are big and white, like your mama. They look like something either an astronaut or Mickey Mouse would wear.\n\n> You talk to Astronaut\n0: Say nothing.\n1: \"Howdy.\"\n2: \"Why so sad?\"\n3: \"Nice gloves.\"\n4: \"Ask about Tang and Ice Cream.\"\n\n> 3\nWhat do you want to say to the astronaut?\n\n\"Nice gloves,\" you say to the astronaut.\n\n\"Government issue,\" he replies. \"They're pretty hard to come by. You'll definitely need a pair before entering the hangar. They keep out the radiation, and keep your jazz hands warm,\" he says, saving his hands around in the air all silly-like for a moment.\n\n0: Say nothing.\n1: \"What's in the hangar?\"\n\n> 1\nWhat do you want to say to the astronaut?\n\nThe astronaut rolls his eyes. \"They don't do much of an in briefing here anymore, do they? The hangar is where the UFO is parked. It's also where astronauts take off from. There's all kinds of radiation in there, so they won't let you in unless you're wearing a spacesuit, gloves, and a helmet.\"\n\n> You talk to Astronaut\n0: Say nothing.\n1: \"Howdy.\"\n2: \"Why so sad?\"\n3: \"Ask about Tang and Ice Cream.\"\n\n> 3\nWhat do you want to say to the astronaut?\n\n\"They're just props,\" he says. \"Makes it look more like a real lounge.\"\n\n> You talk to Astronaut\n0: Say nothing.\n1: \"Howdy.\"\n2: \"Why so sad?\"\n\n> 2\nWhat do you want to say to the astronaut?\n\n\"Not sad ... bored,\" says the astronaut. \"Just waiting for the next shuttle to launch. I used to sit in here and watch television while waiting but someone lost the remote.\"\n\n> You talk to Astronaut\n0: Say nothing.\n1: \"Howdy.\"\n\n> 1\nWhat do you want to say to the astronaut?\n\n\"Howdy,\" you say to the astronaut. The man, obviously bored and tired, nods in your general direction."
    },
    {
        "text": "> Look around\nThe Astronaut Lounge resembles a cafeteria from the 1950s. The floor is a little whiter than the walls, but neither one is particularly white. Along one wall sits a vending machine and a refrigerator, and a television sits in the corner. Scattered around the room are tables and chairs of various shapes, sizes and colors. An astronaut sits at one of the tables.\n\nYou can see a vending machine, a refrigerator (in which is a cans of Tang), an astronaut, some tables and a television here.\n\n> You go south\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. To your NORTH is a door marked \"ASTRONAUT LOUNGE\". To your SOUTH is a door marked \"OBSERVATION\". The hallway leads both EAST and WEST, where you can see more doors.\n\n> You go to the south\nTrue to its name, the Observation Room has a long window that allows people in this room to view what is happening in the Interrogation Room.\n\nYou can see a window, a table and a chair here.\n\n> You examine the window\nThe one-way window allows people in the Observation Room to see what's happening in the Interrogation Room, but not vice versa. (Thus, \"one-way\".) Through the window, you can see clearly see two people interrogating a third. One of the interrogators is \"The Creep\". The other is a solidly-built military man.\n\nThe third man, you quickly realize, is not a man at all. He looks more like a cross between an octopus and supreme pizza.\n\n> You look at Creep\nThe Man in Black in leaning up against the door. At first it looks like he's trying to keep something out, although you quickly realize he's probably trying to keep the giant octopus pizza in.\n\n> You examine military\nThe military man has a crew cut and muscles on his muscles. Veins bulge from his neck as he shakes his fist in the face of the giant octopus pizza. At least you think that's its face.\n\n> You examine Pizza\nThe giant Octopus Pizza is waving its tentacles around in a threatening manner, leaving slimy hints of itself all over the walls. The giant Octopus Pizza makes a loud, horrible sound, like a cross between a someone being strangled, and Dane Cook.\n\n> You examine table\nThe table has four legs and a table top. It's made of metal. By the rusty rings on the surface, you suspect whoever usually sits here doesn't use a coaster.\n\n> You look at the chair\nIt doesn't look particularly comfortable. Based on the direction it's facing, you assume people sit in the chair at the table and watch interrogations.\n\n> Go east\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. A small sign on the door to your NORTH reads \"DRESSING ROOM\". A small sign on the door to your SOUTH reads \"TOP SECRET\". The hallway leads both EAST and WEST. To the EAST, the hallway gets very dark, very quickly. On the wall hangs what appears to be an alarm system, complete with a blinking red light and some text displayed on a small screen.\n\nYou can see an alarm system here.\n\n> You look at the alarm system\nUsing the internationally recognized language of a red flashing light, the alarm indicates to you that you should probably not walk past it. Any possible misunderstanding of the flashing red light is confirmed by text on a small LCD screen that reads, \"ALARM is currently ARMED\".\n\n> You use remote\nThe remote doesn't appear to affect anything ... here.\n\n> You go north\nYou are standing in the dressing room, a room where (and again, you're assuming) people dress and undress. Overall, the room is pretty drab. A metal locker leans against the wall. A few benches line the floor.\n\nYou can see some benches and a metal locker (which is closed) here.\n\n> You examine benches\nThere are several benches here in the dressing room. There's no real mystery to them; people sit on them while dressing.\n\n> You open the locker\nYou open the metal locker, revealing a spacesuit, a t-shirt, a costume and some overalls.\n\n> You examine the costume\nThe costume looks similar to the astronaut spacesuit, except it has four arm sleeves. Man, Christmas parties around his place must be a hoot, what with all the funny costumes such as this one!\n\n> You examine the spacesuit\nThe spacesuit looks just like the ones astronauts wear, based on your knowledge of such things, most of which came from movies and cartoons.It's white and fluffy, like the Stay-Puft Marshmallow Man, and approximately your size. (The spacesuit, not the Stay-Puft Marshmallow Man!) There's a name tag sewn to the front: \"Rodzinski\".\n\n> You look at the shirt\nIt's a white t-shirt with printing on the front that reads, \"I came all the way from Mzzrxklpletic-405 and all I got was this stupid t-shirt.\" The shirt's tag states it is a 50/50 blend of cotton and blrbyxipunkonium.\n\n> You examine the overalls\nThe overalls are covered in dry blood, and appear to have been made for someone about eight-foot-three. Strange things are afoot at the local Hangar 22.\n\n> Wear the spacesuit\n(first taking the spacesuit)\nYou put on the spacesuit.\n\n> You wear the gloves\nYou know, while wearing the gloves, spacesuit, and fish bowl, you could pass for an astronaut ...You put on the pair of gloves."
    },
    {
        "text": "> You describe your surroundings\nYou are standing in the dressing room, a room where (and again, you're assuming) people dress and undress. Overall, the room is pretty drab. A metal locker leans against the wall. A few benches line the floor.\n\nYou can see some benches and a metal locker (in which are a t-shirt, a costume and some overalls) here.\n\n> You wear the bowl\nYou're already wearing that!\n\n> You get all from the locker\nt-shirt: Removed.\ncostume: Removed.\noveralls: Removed.\n\n> You wear the costume\nUnless you've grown a couple of arms since you left the house this morning, I don't think it'll fit\n\n> You wear the overalls\nYou would need to spend four-to-six weeks being stretched on a torturous medieval device to be tall enough to wear these overalls. And even if you did, they'd still be covered in someone else's dried blood.\n\nYou know, the more I think about it, the fact that you would even WANT to wear someone else's blood-covered overalls raises some flags. Assuming you don't get killed on your first day of work, you might want to see if your new job benefits include a psychological evaluation.\n\nReally? Giant bloody overalls?\n\n> Go south\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. A small sign on the door to your NORTH reads \"DRESSING ROOM\". A small sign on the door to your SOUTH reads \"TOP SECRET\". The hallway leads both EAST and WEST. To the EAST, the hallway gets very dark, very quickly. On the wall hangs what appears to be an alarm system, complete with a blinking red light and some text displayed on a small screen.\n\nYou can see an alarm system here.\n\n> Go south\nYou are standing in the entrance to a large hangar. The room is so large and the lights are so dim that your eyes have a difficult time adjusting. Next to the door is a small table.\n\nJust past the table is a cage. Off in the distance, you can make out the shape of a UFO.\n\nYou can see a cage (which is closed) (in which is an alien) and a table (on which is a flower pot) here.\n\n> You look at the table\nIt's too dark to make out too many details, but from what you can tell it looks like all the other tables you've seen thus far.\n\n> You examine the cage\nThe cage resembles a jail cell. The bars glow blue, and appear to be electrified. A lock prevents the cage door from opening.\n\n> You examine the alien\nThe alien looks like every alien you've ever seen on television. He's short and gray, with big black eyes and a bigger head.\n\nThe alien looks quite sad. Apparently it's no fun, being an illegal alie...un.\n\n> You examine pot\nIn an attempt to freshen up the place, someone brought a flower pot with a few flowers in it. Unfortunately, no one has watered the flowers in quite some time. They appear sad and wilted like your grandpa.\n\n> You look at UFO\nIt's tough to make out the details in the low light, but you can clearly discern the outline of a classic saucer-shaped UFO. A framework has been constructed around the UFO. Several workers appear to be looking at and/or working on the craft.\n\n> You talk to the alien\n0: Say nothing.\n1: \"Who ... ARE you?\"\n2: \"If I let you out, will you grant me a wish?\"\n3: \"Where did you come from?\"\n\n> 1\nWhat do you want to say to the alien?\n\n\"Sup,\" says the alien, in a sullen voice. \"I'm Arfefidedmlioonl, but everybody calls me Arf. I'd shake your hand, but ...\". Arf motions toward the electrified cage. \"I hope you're here to rescue me, because they're going to kill both of us.\n\n0: Say nothing.\n1: \"What do you mean, kill both of us?\"\n2: \"Kill us? That's nonsense!\"\n\n> 1\nWhat do you want to say to the alien?\n\n\"Despite the fact that I zoomed through space, time, and multiple dimensions to get to this planet, apparently my species, most unfortunately, tastes like sushi. I don't know what your story is yet, but based on the fact that you're wearing a fishbowl for a helmet, I'll bet it's a good one.\"\n\n> You talk to the alien\n0: Say nothing.\n1: \"If I let you out, will you grant me a wish?\"\n2: \"Where did you come from?\"\n\n> 2\nWhat do you want to say to the alien?\n\n\"Listen bro -- you get me out of here, we'll go get some coffee, rap, compare war stories, whatever. You can write a tell-all book and sell a million copies for all I care.. Right now, we need to get out of here!\"\n\n> Inventory\nYou are carrying:\na flower pot\nsome overalls\na costume\na t-shirt\na spacesuit (being worn)\na pair of gloves (being worn)\na keycard\na new employee sticker\na business card\na bag of Reese's Pieces\na candy bar\na coffee mug\na pen\na fish bowl (being worn)\na remote control\n\n> You give Reese 's pieces tothe alienn\nYou toss the candy into the cage. The alien lets out a small sigh. \"I don't want to sound ungrateful but ... eh, you know, it's a little racist. I mean, if I looked like a leprechaun would you have me dance a little jig? No, I mean ... you know, I get it and all, and thanks, but ... man, if it's all the same to you, I'd love some real food. Actually every time I come to this planet, I usually have tacos.\n\n> You use remote\nMy goodness, is there anything this remote won't do? With the push of a button, the cage door suddenly springs open. The small alien leaps out of the cage and lands directly in front of you. \"I'm free!\" he shouts loudly, attracting the attention of the workers off in the distance. Uh oh. It's time to get out of here, and fast!\n\nArf is dragging you by the arm. \"Let's go!\" he cries.\n\n\"Hey!\" yells one of the workers. \"Arfefidedmlioonl is out of his cage ... and that guy's wearing a fishbowl! Let's get 'em!\" The crew of workers quickly transforms into an angry mob. The workers are about 30 feet away from you, and running toward you.\n\n> You look at the lock\nThe lock appears to be electronic in nature. You can't find a spot to put a key, even if you had one. Which you don't.\n\nArf is dragging you by the arm. \"Let's go!\" he cries.\n\nThe mob is about 20' feet away, and they look mean (they're mean, they're mean, you know what I mean?)"
    },
    {
        "text": "> You look around\nYou are standing in the entrance to a large hangar. The room is so large and the lights are so dim that your eyes have a difficult time adjusting. Next to the door is a small table.\n\nJust past the table is a cage. Off in the distance, you can make out the shape of a UFO.\n\nYou can see Arf, a cage (which is empty) and a table here.\n\n\"However you got here, we should do that, but in reverse!\" says Arf.\n\nThe mob is about 20' feet away, and they look mean (they're mean, they're mean, you know what I mean?)\n\n> You give the flower to Arf\nArf doesn't seem interested.\n\nArf is dragging you by the arm. \"Let's go!\" he cries.\n\nThe workers are approximately 10' away now, close enough to see that they mean serious business.\n\n> You go to the south\nYou can't go that way.\n\nArf is freaking out. \"Let's get out of here!\"\n\nThe workers are approximately 10' away now, close enough to see that they mean serious business.\n\n> You go north\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. A small sign on the door to your NORTH reads \"DRESSING ROOM\". A small sign on the door to your SOUTH reads \"TOP SECRET\". The hallway leads both EAST and WEST. To the EAST, the hallway gets very dark, very quickly. On the wall hangs what appears to be an alarm system, complete with a blinking red light and some text displayed on a small screen.\n\nYou can see an alarm system here.\n\n\"I'm gray, I'm juicy, and don't want to be sushi! Let's go!\" says Arf."
    },
    {
        "text": "> You look around\nYou are standing in the entrance to a large hangar. The room is so large and the lights are so dim that your eyes have a difficult time adjusting. Next to the door is a small table.\n\nJust past the table is a cage. Off in the distance, you can make out the shape of a UFO.\n\nYou can see Arf, a cage (which is empty) and a table here.\n\nArf is freaking out. \"Let's get out of here!\"\n\nThe workers are approximately 10' away now, close enough to see that they mean serious business.\n\n> You throw Reese's at the workers\nFutile.\n\nArf is freaking out. \"Let's get out of here!\"\n\nWhat part about running did you not understand??\n\nI'm not really sure what you expected to happen. As the crowd reaches you, several members of the mob shove you the ground. Looking up you see a bearded man, about your size, with a giant wrench raised above his head. The man squints his eyes together and, noticing the nametag on your spacesuit, asks, \"Why exactly are you wearing my suit?\"\n\n\"This cannot possibly end well,\" you think to yourself. The giant wrench in Rodzinski's hand agrees.\n\n> You throw Reese's at the floor\nFutile.\n\n\"I'm gray, I'm juicy, and don't want to be sushi! Let's go!\" says Arf.\n\nWhat part about running did you not understand??\n\nI'm not really sure what you expected to happen. As the crowd reaches you, several members of the mob shove you the ground. Looking up you see a bearded man, about your size, with a giant wrench raised above his head. The man squints his eyes together and, noticing the nametag on your spacesuit, asks, \"Why exactly are you wearing my suit?\"\n\n\"This cannot possibly end well,\" you think to yourself. The giant wrench in Rodzinski's hand agrees.\n\n> You go north\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. A small sign on the door to your NORTH reads \"DRESSING ROOM\". A small sign on the door to your SOUTH reads \"TOP SECRET\". The hallway leads both EAST and WEST. To the EAST, the hallway gets very dark, very quickly. On the wall hangs what appears to be an alarm system, complete with a blinking red light and some text displayed on a small screen.\n\nYou can see an alarm system here.\n\nArf is freaking out. \"Let's get out of here!\"\n\n> Go east\nYou should be moving away from danger at this point, not towards it.\n\nArf is dragging you by the arm. \"Let's go!\" he cries.\n\nWhat part about escaping did you not understand??\n\nWhile standing around in the hallway, the door to the hallway bursts open. Before you have time to react, the crowd shoves you the ground. Looking up you see a bearded man, about your size, with a giant wrench raised above his head. The man squints his eyes together and, noticing the nametag on your spacesuit, asks, \"Why exactly are you wearing my suit?\"\n\n\"This cannot possibly end well,\" you think to yourself. The giant wrench in Rodzinski's hand agrees.\n\n> You go west\nYou are standing in a hallway. The walls, ceiling, and doors are all various shades of gray. To your NORTH is a door marked \"ASTRONAUT LOUNGE\". To your SOUTH is a door marked \"OBSERVATION\". The hallway leads both EAST and WEST, where you can see more doors.\n\n\"However you got here, we should do that, but in reverse!\" says Arf.\n\nThe angry workers are in the hallway, headed your direction!\n\n> You go west\nYou are standing at the west end of a long hallway. All the walls, ceiling, and other doors have been painted a drab shade of gray, save for the red door you entered through, which is directly to your WEST. The door to your NORTH, which is now open, has a small plaque that reads \"IN PROCESSING\". The door to your SOUTH has a small plaque that reads \"INTERROGATION\". The hallway continues EAST from here. You can see more doors in that direction.\n\nArf is freaking out. \"Let's get out of here!\"\n\nThe mob is gaining on you!\n\n> Go west\nStill running at full speed, you plow into door at the end of the hallway. \"There!\" you shout, pointing at your El Camino in the parking lot.\n\n\"You came here in that thing?\" asks Arf, running along side you. \"You're braver than I thought!\"\n\nAs the two of you jump into your trusty ride the mob begins to pour out of the building, waving wrenches and hammers and pitchforks in the air. As your brain pauses for a moment to wonder why astronauts and government officials would have pitchforks at their disposal, Arf takes over. The El Camino's engine roars to life, and its tires squeal as the car spins around in a 180 before lurching toward the guard shack and row of tire spikes.\n\n\"I got this,\" says Arf, and with that the El Camino begins to lift up off the ground, sailing up and over the row of tire-shredding spike strips. (It should be noted that on any other day, there would have been an armed security guard standing inside the guard shack ready to shoot you. On this particular day however, that guard is sitting in a Porta-Potty one hundred yards away, wondering why on earth he decided to accept and eat a moldy burrito from a complete stranger.)\n\nAs the car continues to rise, you notice the crowd doesn't look so menacing from up here. \"We made it,\" you say to yourself. \"We made it!\"\n\n\"Yep, we made it,\" confirms Arf. After a brief, uncomfortable moment of silence, you notice Arf looking at you. \"And now, it's time to eat,\" he says, salivating ...\n\n\"Know any good taco stands?\" he asks.\n\nA few moments later the El Camino touches down in the Taco Flaco drive-thru. \"This place has the best tacos in town,\" you say. The staff of Taco Flaco begins gathering at the window, looking out at the two of you.\n\n\"Ah jeez man, let's go,\" says Arf. You assure him that it's cool and that these are good people, but Arf continues to slump down in his seat. It is then that you hear a voice, an angelic voice you've known for years.\n\n\"Arfie? Arfie, is that you in there?\" says Gloria from the drive-thru window. \"Oh Arfie! I just KNEW you would come back!\" Gloria climbs out the drive-thru window, pregnant as ever, with a suitcase in her hand. \"I TOLD you,\" she shouts back at the workers still standing in the drive-thru window. \"I TOLD you my baby daddy would come back!\"\n\n\"Wait ...\" you say. \"You ... and HER?\" you ask Arf in disbelief.\n\n\"What can I say,\" he says, shrugging his shoulders. \"Chicks love a dude with a UFO.\"\n\n\"Oh, Arfie baby\" says Gloria as she climbs into the passenger seat, forcing Arf to scoot closer to you. \"Heeeeey, Glo-bean,\" he says, faking a little gray smile. Gloria begins kissing Arf on the cheek. \"Didja miss me? Didja? Didja? Oh, it's so good to see you! Finally, we can settle down! Just me, you, Arfie junior, and ... wait, how do you know the stupid coupon guy?\" she says, looking at you. \"And why is he wearing a goldfish bowl on his head?\"\n\n\"It's a long story,\" says Arf as the front end of the El Camino begins to lift up off the ground. \"Say, is that a Sir Guide-A-Lot 350 GPS? I have one just like it in my ship! Sir Guide-A-Lot?\" says Arf.\n\n\"Yo, yo, yo,\" says Sir Guide-A-Lot 350.\n\n\"Take us to Mzzrxklpletic-405, please.\"\n\n\"Aw yeah, BABY GOT BACK!\" responds Sir Guide-A-Lot.\n\nYou hand Arf the \"World's Greatest Dad\" mug. \"I think this belongs to you, bro,\" you say.\n\nAnd with that, the El Camino, with you behind the wheel, Gloria using your rear view mirror to put on lipstick, and Arf uncomfortably smooshed between the two of you, takes off like a rocket into the sky. Next Stop: Mzzrxklpletic-405 ..."
    },
    {
        "text": "[Themes: Surreal, Slice of Life, gender-neutral protagonist, slice of life, surreal]\n\nHELP.\n\nYou blink, confused.\nA filtered sun has just woken you from a pleasant slumber. Judging by the strength of the light, it seems to be much later than you had intended on getting up. You recall that you've just spent the night at Grandma's house, before rolling out of bed. You notice that a few of your things seem to be missing, including your alarm clock.\n\nA decently sized bedroom on the second floor of Grandma's house. The room is sparesly decorated, and you feel a dull carpet underfoot. A door leads out to the northwest.\n\nYou can see a full size bed, a sweater, and a side table (on which are a note and a surprisingly empty spot) here.\n\n> You examine the note\n\"I thought I'd let you sleep in today! When you're ready meet me outside on the patio - I need some help with the yard.\nLove, Grandma\"\n\n> About you\nAs good-looking as ever.\n\n> You look at the spot\nYou could have sworn that you left your glasses here last night, but now you aren't so sure. Did you even bring them to her house?\n\n> You examine the sweater\nShe's always trying to make you take her old things.\n\nYou hear the door reluctantly shift in place.\n\n> You look at the door\nA stubborn wooden paneled door.\n\n> You take the sweater\nTaken.\n\nYou can't see very well without your glasses\u2026\n\n> Wear sweater\nYou pull the scratchy woolen jumper over your head."
    },
    {
        "text": "> Look around\nA decently sized bedroom on the second floor of Grandma's house. The room is sparesly decorated, and you feel a dull carpet underfoot. A door leads out to the northwest.\n\nYou can see a full size bed and a side table (on which are a note and\na surprisingly empty spot) here.\n\n> You get the spot\nTaken.\n\n> You examine the carpet\nIt must have been supple once, but the years have eroded this rug down to a thin floor covering.\n\n> You open door\nYou open the bedroom door.\n\n> You look at the table\nIt is lost in its own contentment, and doesn't notice you as it bobs from side to side, humming quietly.\n\nOn the side table is a note.\n\n> You ask the table about the glasses\nYou can only do that to something animate.\n\n> Go northwest\nYou are in a dimly lit hall, with an odd pale rectangle on the wall. A stairway leads down to the Foyer. There are exits to the north (her bedroom), west (the bathroom), and southeast (the guest room)."
    },
    {
        "text": "[Themes: Slice of Life, Surreal, surreal, slice of life]\n\n> You go downwards\nYou are in a bright foyer. A stairway leads up and there are exits to the southwest (the living room) and south (the dining room). An ornate glass door leads out to the east.\n\nThe day has just begun but the table is already done with it. It drearily slumps in the corner.\n\nOn the accent table is a dustless space.\n\n> You look at the table\nOn the accent table is a dustless space.\n\n> You look at the space\nYou know that's where Grandma usually puts her keys when she's home, but now the spot is empty. She might have them with her, but if she's lost her keys all sorts of things could happen...\n\n> You look at the glass door\nThe door sighs at your arrival and wonders if you will ever smell that green grass again.\n\n> You go to the south\nA claustrophobic formal dining room, made smaller by its lack of windows. There are exits to the north (the foyer), west (the living room), and southwest (the kitchen). A door leads out to the south.\n\nIn the darkness looms a strange form. Perhaps it's the table?\n\nYou can see a covered plate of food here.\n\n> You look at the form\nBefore your eyes the dark wood table lightens, the boards swell, and space grows between them.\n\nA wide airy hall, filled with tables and benches made from wide pine boards. Grandma waits by your side, it looks like she wants to talk to you.\n\nYou can see tables and benches here.\n\nIt's been a long and fun week at camp, but now it's time\nto go home.\n\n> You examine Grandma\nAn old, frail woman who always seems to bubble with an excitement that's far younger than she is.\n\n> You ask Grandma about the camp\n\"I love camp!\" you exclaim.\n\n\"I'm so happy you had fun! It's just too bad you wont be able to come back next year.\"\n\n> You ask Grandma about the next year\n\"Of course I'll come back here.\"\n\n\"Oh, I'm sorry dear\u2026 your camp is closing down at the end of\nthis summer.\"\n\n> You ask Grandma about the closing\n\"\u2026It's closing?\"\n\n\"I know this must be a difficulty for you, but we'll find a\nanother camp for you to go to.\"\n\n> You ask Grandma about the time\n\"I want to go to camp forever.\"\n\n\"We can definitely find another camp for you to go to next\nyear.\"\n\n> You ask Grandma about the difficulty\n\"It's closing.\"\n\n\"That's right dear.\"\n\nIt's closing. It's closing. It's closing.\nEverything softens. You feel fuzzy.\n\nA claustrophobic formal dining room, made smaller by its lack of windows. There are exits to the north (the foyer), west (the living room), and southwest (the kitchen). A door leads out to the south. A familiar scuffed table stands, dignified, at the center of the room.\n\nYou can see a covered plate of food here.\n\nDid you even bring your glasses here?\n\n> You look at the food\nIt appears to be a bagel.\n\nWhere could Grandma's keys be?\n\n> You examine table\nThough scratched, the table retains its impressive presence.\n\nYou can't see very well without your glasses\u2026\n\n> You take the plate\nTaken.\n\nWhere could those glasses be?\n\n> Go south\n(first opening the heavy wooden door)\nThe sable, paneled wood door is steadfast, adamant to follow protocol.\n\nIt seems to be locked.\n\n> You go southwest\nHeaps of clutter cover both the counters and the floor and aged appliances are scattered upon every surface, though none appear very well used. A window to the west surveys the patio. There are exits to the north (the living room), northeast (the dining room) west (the sunroom). A plain door leads out to the east.\n\nYou can see an oven here.\n\n> You open the oven\nThe oven refuses to open, adamant that you have more important things to be doing.\n\n> You look at the clutter\nPapers, dishes, and medicaion containers are scattered about the kitchen. You'd really love to organize it for her, but you'll need her permission first.\n\nYou're pretty worried about those glasses.\n\n\"What if there's something important in that clutter, and she\ncan't find it when she needs it?\" you wonder.\n\n> Kitchen\nThrough the window, you see Grandma swaying in her chair, most likely singing as she waits on the Patio. You should hurry.\n\n> You go west\nThe most lived-in space in the house, the sunroom seems to have an\naura of comfort about it. The north and west walls are completely made of dirty glass, allowing tinted sunlight to fill the room. There is an exit to the east (the kitchen) and a windowed door leads out to the south.\n\nA glorious sun-beached rug naps in the center of the room.\n\nYou need to keep in mind that Grandma might not want the clutter cleaned...\n\n> You look at the rug\nThe pattern appears to move and swirl, growing brighter as it spirals.\n\nThe north and west walls are comprised of crystal clear glass,\nallowing sunlight to flood the room. A windowed door leads out to the south.\n\nYou can see Grandma, a tv, and your sister here.\n\nYou are sitting on the rug watching tv when you begin to smell something terrible. You're pretty sure that the source is your sister. You remember a joke from tv, maybe if you tell it\nGrandma will laugh?\n\n> Examine tv\nGrandma hasn't noticed the violent cartoon on the screen.\n\nThe tv is currently switched on.\n\nYou want to clean the mess, but that might ruin whatever system\nshe has.\n\n> You examine sister\nShe is several years younger than you, but looks older.\n\n> Smell\nYou take a deep breath and are struck by the smell of old people.\n\n> You ask Grandma about joke\n\"Did somebody just [     ] in here!?\" you joke.\n\nGrandma casts a glare at you.\n\n> You ask Grandma about the glare\n\"It was a joke! From tv!\" you stammer.\n\n\"We don't joke about that in this house,\" says Grandma.\n\nHow will Grandma ever find the things she needs in that mess?\n\n> You ask Grandma about that\n\"Why?\" you ask.\n\n\"It's something that we should all be taking with\nseriousness,\" Grandma replies.\n\nYou abruptly snap back out of your thoughts.\n\nThe most lived-in space in the house, the sunroom seems to have an\naura of comfort about it. The north and west walls are completely made of dirty glass, allowing tinted sunlight to fill the room. There is an exit to the east (the kitchen) and a windowed door leads out to the south.\n\n> You examine the rug\nYou could get lost in the pattern that decorates the sleeping beast's back.\n\nDid you even bring your glasses here?\n\n> You examine the pattern\nYou could get lost in the pattern that decorates the sleeping beast's back.\n\n> You go south\n(first opening the front door)\n\"You know there's a story behind that pear tree. Go out and ask her about it, what are you waiting for?\"\n\nIt seems to be locked.\n\n> North\nYou can see happy plastic furniture dotting the Patio. A particularly joyful chair is occupied by Grandma. She look up and waves at you.\n\nWhat if Grandma gets locked out without her keys?\n\n> You examine the west window\nOutside, a narrow patch of grass seperates the house from a row of trees. There is a stone birdbath plus an assortment of bird feeders.\n\nYou're concerned about those keys...\n\n> Go east\nHeaps of clutter cover both the counters and the floor and aged appliances are scattered upon every surface, though none appear very well used. A window to the west surveys the patio. There are exits to the north (the living room), northeast (the dining room) west (the sunroom). A plain door leads out to the east.\n\nYou can see an oven here.\n\nYou need to keep in mind that Grandma might not want the clutter cleaned...\n\n> You go to the north\nA solemn room intended for family gatherings. A window on the\nsouthwest wall overlooks the patio. There are exits to the northeast (the foyer), east (the dining room) and south (the kitchen).\n\nYou can see a piano (on which is a pile of sheet music) here.\n\nYou can't see very well without your glasses\u2026\n\n> You look at the piano\nThe piano is ancient and cluttered, but the sound is immaculate. Over the years she's taught you several songs that are older than she is. You suddenly realize that you can't recall how to play any of them.\nYou resolve to ask Grandma about them the next time you see her.\n\nOn the piano is a pile of sheet music.\n\n> You look at the music\nYellowed pages with indecipherable notes scrawled upon them.\n\nremember them again?\n\n> You look at the window\nYou see Grandma's back as she lounges in a chair on the Patio, waiting for you. You shouldn't delay her much longer.\n\n> Play music\nYou can't play that!\n\nHow will Grandma ever find the things she needs in that mess?\n\n> You take the music\nThat's fixed in place.\n\n> You go to the northeast\nYou are in a bright foyer. A stairway leads up and there are exits to the southwest (the living room) and south (the dining room). An ornate glass door leads out to the east.\n\nThe day has just begun but the table is already done with it. It drearily slumps in the corner.\n\nOn the accent table is a dustless space.\n\n> Go upward\nYou are in a dimly lit hall, with an odd pale rectangle on the wall. A stairway leads down to the Foyer. There are exits to the north (her bedroom), west (the bathroom), and southeast (the guest room).\n\n> Go north\nYou are in a messy, darkened bedroom. A dull light source seethes in the corner.\n\nYou can see Grandma's bed and a technicolor here.\n\n> You examine the source\nThe lone incandescent huffs as you notice that the lamp is lacking the correct number of bulbs. If you don't restore them, Grandma will\nlikely continue living in the gloom until she stumbles over something. You don't think she even has any extra lightbulbs, but you should keep an eye out anyways.\n\nYou're pretty worried about those glasses.\n\n> You examine the bed\nYou remember how much she boasted when she got this proud mattress. \"Both sides of the bed can feel different! It's controlled by a number!\"\n\nIf you forget those songs, you might forget important memories\ntoo.\n\n> You touch the bed\nYou feel nothing unexpected.\n\nYou can't see very well without your glasses\u2026\n\nDoes Grandma have her keys?\n\n> You examine the technicolor\nFor something that is used daily, it has a surprisingly thick layer of dust coating the screen.\n\nThe technicolor is currently switched off.\n\n> You turn on the technicolor\nYou switch the technicolor on.\n\n> You look at it\nabout a missing person.\n\nThe technicolor is currently switched on.\n\n> You examine it\nabout a missing person.\n\nThe technicolor is currently switched on.\n\n\"Does Grandma even have extra lightbulbs?\" you wonder.\n\n> You turn off the tv\nYou switch the technicolor off.\n\n> You go south\nYou are in a dimly lit hall, with an odd pale rectangle on the wall. A stairway leads down to the Foyer. There are exits to the north (her bedroom), west (the bathroom), and southeast (the guest room).\n\n> You go west\nA dingy tiled bathroom with a sink and a commode. Next to the sink\nsits a cup filled with jittery toothbrushes. On top of the commode is\na fidgeting powder box. There is an exit to the east (the hall).\n\nSomething about the tiles catches your gaze.\n\n\"Does Grandma even have extra lightbulbs?\" you wonder.\n\n\"What if there's something important in that clutter, and she\ncan't find it when she needs it?\" you wonder.\n\n> You look at the box\nA hexagonal metal container with three lion's legs supporting it, possibly an antique. It shifts uncomfortably beneath your gaze.\n\nYou feel bad for the remaining bulb. It must be so lonely without\na friend...\n\nhurt.\n\n> You open the box\nYou open the powder box.\n\nWhere could Grandma's keys be?\n\nYou can't forget to ask Grandma about those songs...\n\nYou want to clean the mess, but that might ruin whatever system\nshe has.\n\n> You look in the box\nInspecting the box, you see that some powder still remains caked at\nthe bottom.\n\nIf you forget those songs, you might forget important memories\ntoo.\n\n> Search box\nInspecting the box, you see that some powder still remains caked at\nthe bottom.\n\nWhere could Grandma's keys be?\n\n> You look at the powder\nInspecting the box, you see that some powder still remains caked at\nthe bottom. It shifts uncomfortably beneath your gaze.\n\nDoes Grandma have her keys?\n\n> You move the powder\nNothing obvious happens.\n\nIt's not the songs that are imortant, it's the memories they\nhold.\n\n> You examine the toothbrush\nThe toothbrushes buzz with excitement.\n\n> You examine sink\nThe counter has a white film over it and the basin is yellowed.\n\n> You examine the commode\nIt is old and worn-out.\n\n> You look at the tiles\nYou see the scuffed dark yellow bathroom tiles transform into tall dry grass.\n\nTrimmed grass comes to a halt where the field rises to the south.\n\nYou can see Grandma here.\n\nIt's your birthday. You've spent the day playing with your dog, Griffin, who has had some sort of illness. After a short break\nyou've returned to the field, but now it's dark and you're having a hard time finding him. Grandma might know where he is, maybe\nyou should talk to her?\n\n> You ask Grandma about finding him\n\"Grandma, have you seen where Griffin went?\"\n\n\"No, but you know how he is, sometimes he just lays down in the\nfield. Maybe you should try looking for him?\"\n\n> You ask Grandma about looking\n\"Should I look anywhere else?\"\n\n\"No dear, he won't have gone very far. Go south into the hay, and try to CALL for him as you look.\"\n\n\"Ask Grandma about those songs, ask Grandma about those songs,\"\nyou remind yourself.\n\n> You go to the south\nYou are in a field of wildflowers, all alike. Tall dry grass\nsuffocates you to the east and west.\n\nYou can see a dense patch of grass here.\n\n> You call\nGriffin?\n\nHow will Grandma ever find the things she needs in that mess?\n\n> You look at the grass\n(the dense patch of grass)\nYou eagerly push aside the hay only to find nothing within.\n\nYou want to clean the mess, but that might ruin whatever system\nshe has.\n\n> Go west\nYou are in a field of wildflowers, all alike. Tall dry grass\nsuffocates you to the east and west.\n\nYou can see some soft earth and a pile of stones here.\n\n> You call\n\"Here, Griffin!\"\n\nYou want to clean the mess, but that might ruin whatever system\nshe has.\n\n> You look at the stones\nYou peer behind the stones but only see more hay.\n\n> You examine the earth\nYou inspect the dirt for prints, but the ground is undisturbed.\n\nGrandma fights her way through the grass with a tenacity like you've never known.\n\"There you are!\" she says. \"I just realized...I think I know where Giffin is, sweetie.\nI think he's left us.\"\n\n\"But he wouldn't run away.\"\n\n\"That's...not what I meant.\"\n\nThe grass closes in. You feel it on every side of your body. Your\nlungs breathe no air, only grass. You are drowning.\n\nA dingy tiled bathroom with a sink and a commode. Next to the sink\nsits a cup filled with jittery toothbrushes. On top of the commode is\na fidgeting powder box. There is an exit to the east (the hall).\n\n> Smell powder\nYou smell nothing unexpected.\n\nIf you forget those songs, you might forget important memories\ntoo.\n\n> Inventory\nYou are carrying:\na covered plate of food\na note\na surprisingly empty spot\na sweater (being worn)\n\n> You examine the spot\nYou could have sworn that you left your glasses here last night, but now you aren't so sure. Did you even bring them to her house?\n\nWhere could those glasses be?\n\nYou've got to remember to look for some lightbulbs.\n\n> Go east\nYou are in a dimly lit hall, with an odd pale rectangle on the wall. A stairway leads down to the Foyer. There are exits to the north (her bedroom), west (the bathroom), and southeast (the guest room).\n\nYou want to clean the mess, but that might ruin whatever system\nshe has.\n\n> Go southeast\nA decently sized bedroom on the second floor of Grandma's house. The room is sparesly decorated, and you feel a dull carpet underfoot. A door leads out to the northwest.\n\nYou can see a full size bed and a side table here.\n\n> You put the spot on the table\nYou put the surprisingly empty spot on the side table.\n\n> Go northwest\nYou are in a dimly lit hall, with an odd pale rectangle on the wall. A stairway leads down to the Foyer. There are exits to the north (her bedroom), west (the bathroom), and southeast (the guest room).\n\n\"Ask Grandma about those songs, ask Grandma about those songs,\"\nyou remind yourself."
    },
    {
        "text": "[Themes: Slice of Life, Surreal, surreal, slice of life]\n\n> You go downwards\nYou are in a bright foyer. A stairway leads up and there are exits to the southwest (the living room) and south (the dining room). An ornate glass door leads out to the east.\n\nThe day has just begun but the table is already done with it. It drearily slumps in the corner.\n\nOn the accent table is a dustless space.\n\n> Go southwest\nA solemn room intended for family gatherings. A window on the\nsouthwest wall overlooks the patio. There are exits to the northeast (the foyer), east (the dining room) and south (the kitchen).\n\nYou can see a piano (on which is a pile of sheet music) here.\n\nYou've got to remember to look for some lightbulbs.\n\n> You go south\nHeaps of clutter cover both the counters and the floor and aged appliances are scattered upon every surface, though none appear very well used. A window to the west surveys the patio. There are exits to the north (the living room), northeast (the dining room) west (the sunroom). A plain door leads out to the east.\n\nYou can see an oven here.\n\n> You go west\nThe most lived-in space in the house, the sunroom seems to have an\naura of comfort about it. The north and west walls are completely made of dirty glass, allowing tinted sunlight to fill the room. There is an exit to the east (the kitchen) and a windowed door leads out to the south.\n\n> You look at the west window\nOutside, a narrow patch of grass seperates the house from a row of trees. There is a stone birdbath plus an assortment of bird feeders.\n\nWhere could those glasses be?\n\n> You look at the north window\nYou can see happy plastic furniture dotting the Patio. A particularly joyful chair is occupied by Grandma. She look up and waves at you.\n\n> You ask the north window about the songs\nYou can only do that to something animate.\n\n> You open the north window\nIt seems to be locked.\n\nDid you even bring your glasses here?\n\n> You go to the north\n(first opening the north wall)\nIt seems to be locked.\n\n> You open the plate\nIt isn't something you can open.\n\nYou're concerned about those keys...\n\nYou can't forget to ask Grandma about those songs...\n\n> You go northeast\nYou can't go that way.\n\nYou can't see very well without your glasses\u2026\n\n> You go east\nHeaps of clutter cover both the counters and the floor and aged appliances are scattered upon every surface, though none appear very well used. A window to the west surveys the patio. There are exits to the north (the living room), northeast (the dining room) west (the sunroom). A plain door leads out to the east.\n\nYou can see an oven here.\n\nYou're concerned about those keys...\n\n> You examine the appliances\nThey are in a state of decrepitness that makes you think they've been here since she bought the house 60 years ago (and they probably have).\n\n> You examine the plain door\nIt thinks about the vibrant poppies outside. \"They're her favorite you know. If you could just get outside maybe you could bring her some.\"\n\nGrandma's room that the other one would be much happier.\n\n> You look at the door\nIt thinks about the vibrant poppies outside. \"They're her favorite you know. If you could just get outside maybe you could bring her some.\"\n\n> You open the oven\nThe oven refuses to open, adamant that you have more important things to be doing.\n\nWhat if Grandma gets locked out without her keys?\n\n> Clean clutter\npermission.\n\n> You go northeast\nA claustrophobic formal dining room, made smaller by its lack of windows. There are exits to the north (the foyer), west (the living room), and southwest (the kitchen). A door leads out to the south. A familiar scuffed table stands, dignified, at the center of the room.\n\n> Search table\nThere is nothing on the dining table.\n\nWhere could those glasses be?\n\nWhat if Grandma gets locked out without her keys?\n\n> You look at the table\nThough scratched, the table retains its impressive presence.\n\nYou need to keep in mind that Grandma might not want the clutter cleaned...\n\n> You look under the table\nYou find nothing of interest.\n\nWhat if Grandma gets locked out without her keys?\n\nhurt.\n\n> You look at the door\nThe sable, paneled wood door is steadfast, adamant to follow protocol.\n\nIt's not the songs that are imortant, it's the memories they\nhold.\n\n> You examine the door\nThe sable, paneled wood door is steadfast, adamant to follow protocol.\n\n> You look at the ornate door\nThe door sighs at your arrival and wonders if you will ever smell that green grass again.\n\nYou need to keep in mind that Grandma might not want the clutter cleaned...\n\n> You go to the east\n(first opening the ornate glass door)\nThe door sighs at your arrival and wonders if you will ever smell that green grass again.\n\nIt seems to be locked.\n\n> Go east\n(first opening the ornate glass door)\n\nExcited by your breakthrough, you burst through the door and run through the yard. You remember all of the things you wanted to ask her about. You turn the corner -\n\n\n\nBut Grandma's chair is empty.\n\n> You go to the north\n\"That door is so headstrong! Give it some time and look around, it'll budge eventually!\" calls Grandma."
    },
    {
        "text": "[Themes: Espionage, Jungle, fictional nation, colonialism, pulpy, espionage]\n\nThe Green Coast,\nMinistry of Colonial Finance,\n11:04 PM,\nJune 12th, 1942.\n\n\"General Marchgrave's office is on the second floor of the Palace,\" says Helzog, \"overlooking the Gardens. He is in possession of a mask: black, smooth-sanded wood, simple in design. It should be on display. His temporary absence is our best chance to steal it. The front of the Palace will be guarded, so circle through the jungle and approach the back of the Gardens. Once you have found the mask, bring it back to me as quickly as possible.\"\n\nHelzog looks up, blinks. \"Stay out of sight, Alain. You are our Ministry's sole agent who specializes in such delicate matters.\"\n\nHEY, JINGO!\nAn IntroComp Entry\n(c) 2002 by Caleb Wilson\nPlease type ABOUT and CREDITS if you haven't before.\n\nA doorway leads back west into the Ministry. From it, a small path cuts northeast through the giant ferns and fruit trees. The sky is obscured by a canopy of vines. The melons weighting the vines attract insects, which in turn attract bats, whose high-pitched squeaks occasionally rise above the rustle of leaves.\n\n> About yourself\nYou are Alain Quincy, man of leisure and secret agent for the Ministry of Colonial Finance, and you are as good-looking as ever.\n\n> You look at the trees\nThe dark foliage rustles in a warm breeze.\n\n> Go northeast\nThe trees here are choked by twisting vines. Their branches, bent and rough, screen out most of the moonlight. A dense mass of woody stems and trefoil leaves has sprung up between the trunks; beneath this matted vegetation the soil is clotted and moist. Were it not for a roughly hacked trail leading southwest and north, movement would be quite impossible.\n\n> Go southwest\nA doorway leads back west into the Ministry. From it, a small path cuts northeast through the giant ferns and fruit trees. The sky is obscured by a canopy of vines. The melons weighting the vines attract insects, which in turn attract bats, whose high-pitched squeaks occasionally rise above the rustle of leaves.\n\n> You examine the melons\nThe melons, insects and bats form a tidy little ecosystem. If only life among humans were as simple...\n\n> You examine the vines\nVines of varying thicknesses form a domed shroud over the Ministry's back door.\n\n> You eat the melons\n(first taking the melon)\nYou can't do anything with the melon except look.\n\n> You climb the vine\nNo point in climbing through the trees when there's a perfectly good path.\n\n> You go west\nThe polished floor of the Ministry reflects the dim, tasteful lamps that hang from the lofty ceiling. The air smells of wood polish and ink. Somewhere above you, in the high empty space of the lobby, a clock ticks softly.\n\nMinister Helzog's office lies through a closed glass door to the north, and the street lies to the west. An inconspicuous back door leads east to the forest.\n\n> You go to the north\nThe glass door is closed.\n\n> You examine the door\nA door of pebbled glass.\n\n> You open the door\nYou open the glass door.\n\n> You go north\nA ceiling fan with lacquered wooden blades draws cool air through Helzog's office. Framed prints cover every wall, except for the north, which is a built in bookshelf. The large white desk is painfully tidy. An open glass door leads south to the lobby.\n\nMinister Helzog sits in a brown leather chair, his right leg twisted beneath the seat.\n\n> You examine Helzog\nAugust Helzog wears a neatly pressed white suit. His kindly face is deeply tanned and lined, his white hair slicked smoothly to one side.\n\n> You examine the bookshelf\nHelzog's collection of first editions and bound comics is vast and extremely expensive.\n\n> You go south\nThe polished floor of the Ministry reflects the dim, tasteful lamps that hang from the lofty ceiling. The air smells of wood polish and ink. Somewhere above you, in the high empty space of the lobby, a clock ticks softly.\n\nMinister Helzog's office lies through an open glass door to the north, and the street lies to the west. An inconspicuous back door leads east to the forest.\n\n> You go west\nTropical Road, Outside Ministry\nFlags fly from the fortress-like Ministry of Colonial Finance, above a metal door that leads in to the east.\n\nOcean Street heads west and down, to the lower colony and to Golden Bay, which shimmers under the moonlight. Tropical Road runs north and south.\n\n> Go north\nJust north along Tropical Road, the marble of the Government Palace cuts sharply from the foliage. Tropical also runs south, back towards the Ministry. The sweet smell of oranges rides the warm breeze, under faintly throbbing equatorial stars.\n\n> You look at the leaves\nThe stems and interwoven leaves form a tough, springy mat underfoot.\n\n> You examine the trees\nThe vine-choked trees seem to be in ragged rows. Perhaps this was once an orchard.\n\n> You go north\nThis small pocket of grass is bottled under arching boughs strung with moss. The air here is still and sweet smelling. A rough path leads south into the foliage, while a more neatly trimmed walk leads northwest between the leaning trunks.\n\nYou hear what sounds like a splash from the northwest.\n\n> You go northwest\nStarlight barely illuminates a dark pool. Weeping cycads trail their fronds in the calm water. The air is cooler here, and tinged with a hint of silt and decay. A pavement walk heads west towards the Gardens, and it looks possible to travel southeast into the jungle.\n\nConcentric ripples in the pool's surface disappear as you watch.\n\n> You examine the pool\nThe water is tranquil and quiet, the color of tea that has steeped for too long.\n\n> Drink water\nThe water is foul and undoubtedly swimming with all manner of microorganisms.\n\n> You search the pool\nThe mud on the bottom of the pool has been stirred, making the water as opaque as tea with cream.\n\n> Swim\nThe water here is murky, and unsuitable for swimming, especially at night.\n\n> You take the water\nThat's hardly portable.\n\n> You examine the pool\nThe water is tranquil and quiet, the color of tea that has steeped for too long.\n\n> You look\nStarlight barely illuminates a dark pool. Weeping cycads trail their fronds in the calm water. The air is cooler here, and tinged with a hint of silt and decay. A pavement walk heads west towards the Gardens, and it looks possible to travel southeast into the jungle.\n\n> You look at the cycads\nThe pool's currents tangle with the cycads' leaves.\n\n> You go to the west\nThe Palatze Gubernatal; The Government Palace: its marble face is darkened with moss, which is not surprising considering the humid atmosphere. Behind this dirtied face, however, is where the real corruption lies: the Palace bureaucrats who want to milk the colonists and locals for all they're worth while sitting around their card tables, drinking gin and looking at dirty imported comics.\n\nThe area under the Palace's eastern wall is a crowded labyrinth of flowers; their fragrances are dizzying. Vines cover the wall itself, growing around a wide window two stories directly above you.\n\nA pavement walk leads southwest, to the main entrance, and northwest, around the back of the Palace. A narrower walk spurs off to the east, towards a pool.\n\nA night moth flutters through near-solid eddies of pollen.\n\n> You look at the moth\nA pale green moth, as wide across as your palm.\n\n> You get the moth\nThe moth flutters a few meters above your head.\n\n> You climb the vines\nYou pull your hand away from the vines with a curse: they're stinging ivy. It would be possible to climb them, just very, very painful. There must be some way to protect your hands.\n\n> You examine the vines\nAlthough the flowers are wide and luscious, the vines themselves are tough and covered with stiff hairs, and are very painful to the touch. This is what the children call \"stinging ivy\", and young boys are always making whips out of it.\n\n> You go to the northwest\nA single lamp pours a pool of light across the grass of this hidden lawn. The trees loop over you to form a tiny chamber that's stained in the greens and blacks of a \"Count Lorenzo\" comic.\n\nA dark window looks in on rows of filing cabinets. A pavement walk leads southeast towards the gardens.\n\nA small wheelbarrow is parked here. Inside it you can see some gardening gloves.\n\n> You get the gloves\nTaken.\n\n> You wear the gloves\nYou put on the gardening gloves.\n\n> You examine window\nA small, dark window, currently closed.\n\n> You look at the wheelbarrow\nA small wheelbarrow, presumably belonging to the Palace's gardening staff.\n\n> You open the window\nIt seems to be locked.\n\n> You look through the window\nThrough the window you can see what looks like a mail room.\n\n> You go west\nYou can only go southeast.\n\n> Go southeast\nThe area under the Palace's eastern wall is a crowded labyrinth of flowers; their fragrances are dizzying. Vines cover the wall itself, growing around a wide window two stories directly above you.\n\nA pavement walk leads southwest, to the main entrance, and northwest, around the back of the Palace. A narrower walk spurs off to the east, towards a pool.\n\nA night moth flutters through near-solid eddies of pollen.\n\n> You climb the vines\nThe vines are thin yet numerous. You climb swiftly, protected by your gloves, and soon arrive outside a window on the second story. You rest your foot on a narrow ledge.\n\nYou grasp handfuls of vines, two stories above the ground, directly outside a large window, which is closed. Through the window you can see a dark office.\n\nA bee buzzes around you, laden with the dust of pollen.\n\n> You examine the bee\nThe bee is slender and pale yellow. Whitish pollen dusts its legs.\n\n> You open the window\nYou open the window.\n\n> Go inside\nYou slip through the window.\n\nA rich carpet deadens the acoustics. The walls are panelled in glossy wood. Colorful local art shares displays with a few old paintings and some framed documents.\n\nA closed door leads west, and a window, which is open, overlooks the Thousand Flowers. A massive desk sits in the middle of the room.\n\nOnly once before were you in the presence of General Marchgrave. The main thing you remember was the overwhelming lavender smell of the cologne he wore, a smell which permeates this room.\n\nOn the desk are a Count Lorenzo comic book, an Afterimage comic book and a Ziggurat comic book.\n\n> Smell\nThis room smells strongly of lavender.\n\n> You examine lorenzo\nIt's a comic book featuring Count Lorenzo, a renaissance Urbitan nobleman who was poisoned by his best friend/worst enemy and imperfectly resurrected by his sorcerer wife after thirteen days of death. He became immortal, but his skin was forever stained the green of the afterlife. This is a very early issue, but probably not worth anything because it's in very poor condition: it's all cut up.\n\n> You look at Afterimage\nIt's a comic book featuring Afterimage, a modern Urbitan research scientist who, when stricken with a dose of radiation, became spectrum-shifted, and as a result, very difficult for human eyes to focus on. She was sentenced to execution, but escaped and became a vigilante and outlaw, righting wrongs against the oppressed. This issue is pretty early, and might be worth something were the pages not all cut up.\n\n> You examine Ziggurat\nIt's a comic book featuring Ziggurat, an ancient Babylonian warrior of mythical strength and heroic physical proportions. It is said that defeating Ziggurat would be as hard as pinning one of the massive masonry pyramids he's named for. This is one of the first issues; too bad it damaged and thus worthless.\n\n> You examine art\nIn addition to colonials, the Green Coast is home to a number of ex-slaves and a very few of the original population who survived the Europeans' arrival. The art produced by these locals is colorful and ornate, incorporating many reds, yellows, greens, and natural wood shades. Some newcomers to the Green Coast find it rustic or even savage, but it really is rather lively and often beautiful. Marchgrave has a large collection of local statuary, as well as wall hangings and paintings.\n\nAlmost hidden behind behind the statues is a small black mask.\n\n> You examine the desk\nThe desk appears to be carved from a solid piece of bloodwood, and true to its name, shines redly in the moonlight from the window. It probably cost the yearly salary of a mid-level clerk. A large drawer faces away from the window.\n\n> You open the drawer\nThe drawer seems to be locked.\n\n> You examine the paintings\nPaintings of dead Europeans and rainy landscapes. Undoubtedly priceless, but bland.\n\n> You look at the hangings\nThe local art is colorful and ornate, incorporating many reds, yellows, greens, and natural wood shades. Marchgrave has a large collection of local statuary and wall hangings.\n\n> You take the mask\nTaken.\n\nExcellent. This must be the mask. Now, all that remains between you and a much needed night of sleep is a short jaunt back to Helzog's office...\n...\n...\n...\n\n> You go east\nYou can go only west or out.\n\n> You look at the mask\nThe door is closed.\n\n>It's a simple wooden mask, black in color.\n\n> You open the door\nIt seems to be locked.\n\n> You wear the mask\nYou put on the black mask.\n\n> Leave\nYou slip through the window.\n\nYou grasp handfuls of vines, two stories above the ground, directly outside a large window, which is open. Through the window you can see a dark office.\n\nA bee buzzes around you, laden with the dust of pollen.\n\n> About yourself\nYou are Alain Quincy, man of leisure and secret agent for the Ministry of Colonial Finance, and you are as good-looking as ever."
    },
    {
        "text": "[Themes: Espionage, colonialism, Jungle]\n\n> Go downwards\nYou descend swiftly, soon arriving at the ground, where you flex your green-stained gloves.\n\nThe area under the Palace's eastern wall is a crowded labyrinth of flowers; their fragrances are dizzying. Vines cover the wall itself, growing around a wide window two stories directly above you.\n\nA pavement walk leads southwest, to the main entrance, and northwest, around the back of the Palace. A narrower walk spurs off to the east, towards a pool.\n\nA night moth flutters through near-solid eddies of pollen.\n\n> You eat the moth\n(first taking the moth)\nThe moth flutters a few meters above your head.\n\n> Go southwest\nAs you begin to slide around the corner of the Palace, you see a flash of blue: a uniform! and the glint of metal: a rifle! It must be a guard! You freeze and slowly draw back. Hopefully the guard hasn't seen you.\n\n> Go east\nStarlight barely illuminates a dark pool. Weeping cycads trail their fronds in the calm water. The air is cooler here, and tinged with a hint of silt and decay. A pavement walk heads west towards the Gardens, and it looks possible to travel southeast into the jungle.\n\nConcentric ripples in the pool's surface disappear as you watch.\n\nSomething bulky and dripping slips out of a moonbeam before you can identify it and crashes into the woods to the southeast.\n\n> You go southeast\nThis small pocket of grass is bottled under arching boughs strung with moss. The air here is still and sweet smelling. A rough path leads south into the foliage, while a more neatly trimmed walk leads northwest between the leaning trunks.\n\nA large shape scurries south into the trees. You catch the briefest glimpe of what looks like a segmented shell before it vanishes.\n\n> Go south\nThe trees here are choked by twisting vines. Their branches, bent and rough, screen out most of the moonlight. A dense mass of woody stems and trefoil leaves has sprung up between the trunks; beneath this matted vegetation the soil is clotted and moist. Were it not for a roughly hacked trail leading southwest and north, movement would be quite impossible.\n\nWith the clicking of many segmented legs, a large creature scuttles southwest through the brush. You catch a glimpse of what looks like wet feathers before it disappears.\n\n> Go southwest\nA doorway leads back west into the Ministry. From it, a small path cuts northeast through the giant ferns and fruit trees. The sky is obscured by a canopy of vines. The melons weighting the vines attract insects, which in turn attract bats, whose high-pitched squeaks occasionally rise above the rustle of leaves.\n\nThe wall of the Ministry is smeared with a vertical streak of dark, foul-smelling mud.\n\n> You look at the mud\nA band of smeared mud on the wall rises from the ground up to a second story window.\n\n> You wake Helzog\nThat seems unnecessary.\n\n> You give the mask to Helzog\nHelzog takes the mask.\n\n\"Wonderful, Alain, my friend! My immense thanks!\" Helzog moves as if to stand up from his chair, but winces as his lame leg shifts. You wave him back into his chair, with a modest, \"No need to rise, sir.\"\n\nHelzog drums the mask with eager fingers. \"Alain, why don't you take tomorrow off? Enjoy yourself. Give them my greetings at the club.\"\n\nA book falls from the bookshelf with a thud. Helzog looks towards it curiously.\n\n> Examine book\nA thin, paper-backed book: The Place of Superstition in Modern Costa Verdoun. It looks like a thesis of some sort. The author listed on the front is \"A. Helzog\".\n\nHelzog glances sharply at you. \"Alain,\" he says, \"did you notice anything unusual during your mission?\"\n\n> Yes\n\"Why yes,\" you say, \"there was some sort of large, disgust--\"\n\nBefore you can properly react, the entire shelf of books explodes outward, propelled by a mass of what looks like wriggling earthworms. The worms stretch forward and enshroud Helzog's head in a gray wreath.\n\n> You examine the worms\nThe beast flickers in shadow, displaying at times features of crustacean, fowl, and annelid.\n\nThe books are still falling, falling away from a hunched form, which is covered in overlapping, chitinous plates and plumes of bedraggled feathers. In place of each hand is a bolus of earthworms, both of which now cover Helzog's face except for his nose. His voice sounds a bit panicky and muffled as he waves his arms. \"Alain, they've gotten a bloodhound on me! How is this possible! Help, help, help m-me out of here!\" His words are choked away as his mouth is filled.\n\n> You look at the bloodhound\nThe beast flickers in shadow, displaying at times features of crustacean, fowl, and annelid.\n\nHelzog's body falls limp. The bloodhound turns towards you with goggle-like eyes. It chitters and delicately waves its blood-stained antennae.\n\nHere ends the introduction to Hey, Jingo! Find the full game at an IF Archive near you before March 20, 2003!"
    },
    {
        "text": "[Themes: Children's, holiday theme, Christmas]\n\nEvery Christmas it's been a joy to give presents to all the good little girls and boys. Hauling presents, climbing down chimneys: it's no easy job being the guy who lives to bring joy throughout the world on Christmas, but you, Santa, are up to the challenge. Now you've made almost all your gift-giving rounds, and the only thing between you and a good eleven months of well-deserved rest is the last house, the Madisons'.\n\nBefore you land your sleigh, you double-check your gift list in your magic book to make sure you have all the Madisons' gifts: A Barbie for Kelly Madison, a Batman action figure for Justin Madison, a Wii for the whole family, a bone for their dog, Tina, and two bags full of candy and toys for the kids' stockings. Yep, that's everything! You park your sleigh on the Madisons' rooftop, and exit the sleigh.\n(Note that new players should type ABOUT.)\n\nA moment in the life of Santa Claus by Molly Geene\n\nNewly fallen snow sits gently on the roof. Nearby, you spot a chimney you can climb down.\n\nYour sleigh sits nearby, right where you parked it.\n\nLeading the sleigh is your trusty Reindeer Brigade, without which you couldn't make a single Christmas delivery.\n\n[Author's Note: It's late Christmas Eve, and Santa is on the last house of his ride. Help Santa make this delivery!]\n\n> About yourself\nYou're wearing a dapper red hat and suit combo made specially for this outing by Mrs. Claus, and you've trimmed your beard just right. You look smashing!\n\nDasher shakes his head.\n\n> Inventory\nYou are carrying:\nthe magic bag\nWrapped Wii (for the family)\nWrapped Barbie (for Kelly)\nWrapped Batman Action Figure (for Justin)\nDoggy bone (for Tina)\nKelly's candy bag\nJustin's candy bag\n\nCupid champs at his bit.\n\n> You look at the chimney\nA warm, cozy chimney. There's just enough room there for you to climb down it.\n\nDasher paws the ground with his hoof."
    },
    {
        "text": "> Go downwards\nYou pinch your nose and jump down the chimney.\n\nBut halfway through, you bump into some nasty junk in the chimney. Oof! You jump rght back up the chimney. Looks like you have to find something to help you clean up the junk.\n\nDonner champs at his bit.\n\n> You examine the Comet\nComet has antlers, red fur, cloven feet, and in most respects looks like your average reindeer.\n\nDasher shakes his head.\n\n> You look at the junk\nSome nasty, awful junk is clogging up the chimney.\n\nDancer champs at his bit.\n\n> You examine the sleigh\nYour sleigh is full of the things you need to make your rounds. It's almost empty now, though, since you've made almost all of your deliveries. The only things left in it are the magic book, the warm blanket, the cocoa mug and the sweeper stick.\n\nVixen paws the ground with his hoof.\n\n> You take the stick\nTaken.\n\nDonner shakes his head.\n\n> You clean junk with the stick\nYou clear out all the junk with the chimney sweeper. Whoo! That was some hard work, but now you can go down the chimney.\n\nVixen champs at his bit.\n\n> You examine the magic book\nIt's a magic book that updates itself automatically with all the names of the good little girls and boys. You don't know what you'd do without it.\n\nOn the last page of the book, it lists the Madisons' gifts: a Batman action figure for Justin, a Barbie doll for Kelly, a Wii for the whole family, a bone for their dog, Tina, and two bags full of small toys and candy to serve as stocking stuffers for both of the kids.\n\nDonner paws the ground with his hoof.\n\n> You examine the blanket\nA warm, cuddly blanket.\n\nDancer shakes his head.\n\n> Examine mug\nA mug with a merry scene of young boys sledding imprinted on it. It's empty, of course. You may as well just bring the whole pot with you next time.\n\nDonner paws the ground with his hoof.\n\n> You put the stick in the sleigh\nYou put the sweeper stick into Santa's sleigh.\n\nDancer shakes his head."
    },
    {
        "text": "[Themes: Children's, holiday theme]\n\n> Go downwards\nYou pinch your nose and jump down the chimney.\n\nThe living room is lit only by the lights on the Christmas tree. The red brick walls give the living room a storybook feel.\n\nThe Christmas tree is dazzling, with pretty colored lights and ornaments a glitter.\n\nA dog by the tree is growling cautiously at you.\n\nYou spy a little boy sleeping on an old worn couch.\n\nNearby, you can see the fireplace for the chimney you went down.\n\nOn the fireplace are Justin's Christmas stocking (empty) and Kelly's Christmas stocking (empty).\n\n> You give the bone to the dog\n(first taking Doggy bone (for Tina))\nYou give the dog her bone. Suddenly her mood lights up instantly and she plays with it as if she were a frisky little puppy. Ho ho ho! What a jolly dog!\n\n> You put Wii under the tree\nYou place the family's Wii under the tree. Ho ho ho! Giving presents makes you feel good.\n\n> You put Batman in the j stocking\nHo ho ho! Wrapped Batman Action Figure (for Justin) doesn't go there.\n\n> You put Batman under the tree\nYou place Justin's Batman action figure under the tree. Ho ho ho! Giving presents makes you feel good!\n\n> You look at what you're carrying with you\nYou are carrying:\nthe magic bag\nWrapped Barbie (for Kelly)\nKelly's candy bag\nJustin's candy bag\n\n> You put Barbie under the tree\nYou place Kelly's Holiday Barbie under the tree. Ho ho ho! Giving presents makes you feel good.\n\n> You put the k bag in the k stocking\nYou put Kelly's bag of candy and toys into her Christmas stocking. Ho ho ho! Giving presents makes you feel good!\n\n> You put the j bag in the j stocking\nYou put Justin's bag of candy and toys into his Christmas stocking. Ho ho ho! Giving presents makes you feel good.\n\nSuddenly, the little boy awakes at the sound of putting away the last present. You face the boy and put your finger to your lips. The boy nods and dives into the couch front first, pretending to be asleep.\n\n> Go up\nYou pinch your nose and jump up the chimney.\n\nHowever, just before you disappear up the chute you hear the little boy dashing out of the living room, banging and bashing into many things along the way. After you climb into your sleigh and urge on your reindeer, you see the little boy with his sister outside the house. They are both waving at you, and as you fly through the air like a bird in the sky, you shout  to them \"Merry Christmas to all, and to all a good night!\""
    },
    {
        "text": "[Themes: animals, Comedy, cats]\n\nYou awaken from a Sunday afternoon slumber, lazily opening one eye and squinting at the sunlight streaming through the window. This wasn't the first time you dreamed of busy streets and tall buildings.\n\nYou're sick of this village. Nafurville is no place for a cat with ambitions. You belong in a place where great things can happen, where every street is laced with opportunity. Somewhere like Chipawgo.\n\nCraning your neck, you give her a glare. She kept you captive\nin this godforsaken place, when you could have been making big bucks and gracing the billboards of Chipawgo. But not for much longer...\n\nIt's time to get out of here.\n\nThe hut is quiet except for the soft snores of your owner.\n\nYou can see an entrance, a bed, a rocking chair (on which is an old lady), a collage of photos, an endtable (on which is a telephone), a litter box, a cupboard (closed), a bowl and a bookcase here.\n\n[Author's Note: You are a cat who purrrsues their dream of running away to Chipawgo.]"
    },
    {
        "text": "[Themes: Comedy, animals]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the bed\nNot much to say about it really. It's a bed.\n\n> You look at the chair\nYour owner is sleeping on it.\n\nOn the rocking chair is an old lady.\n\n> You look at lady\nUgh. You don't even want to look at her right now. Better not wake her up or else she might try to stop you.\n\n> You look at the photos\nA collage of photos of you and your owner are positioned on the wall in the shape of a heart. At the top is written \"Mr. FluffyPotato\" with hearts on either side. Sickening.\n\n> Examine endtable\nOn the endtable is a telephone.\n\n> You look at the telephone\nIt's a wireless landline telephone.\n\n> You examine the litter\nThat's where you do your business. Usually.\n\n> You open the cupboard\nYou open the cupboard, revealing some cans of Fancy Feast and a box of matches.\n\n> You take all\ncollage of photos: You hold the collage of photos in your mouth.\nbowl: You are already carrying the collage of photos in your mouth. telephone: You are already carrying the collage of photos in your mouth.\ncans of Fancy Feast: You are already carrying the collage of photos in your mouth.\nbox of matches: You are already carrying the collage of photos in your mouth.\n\n> You drop the photos\nDropped.\n\n> You look at the bowl\nThat's the bowl from which you eat your meals. Inside is some cat food.\n\n> You look at the bookcase\nDusty old books line the shelves, boasting titles such as Laser\nCats VII, Minced Meat Pies of Tomorrow, and\nMastering the Art of Karate in 5 Easy Steps.\n\n> You examine laser cats vii\nConsidered by many to be the best in the series.\n\n> You examine minced meat\nIt's a book about minced meat pies.\n\n> You examine karate\nA detailed manual about the ancient art of karate. It is entitled \"Mastering the Art of Karate in 5 Easy Steps\".\n\n> You read the karate\nYou remove the book from the shelf and start reading.\nTime passes as you dutifully hone your skills as guided by the text.\n\nCongrats! You now are a master of karate! Now to put these skills to use...\n\n> Attack lady\nYou expertly perform a tornado kick, sending her flying across the room. Your owner is now dead.\nYou are a monster.\n\n> You read the minced meat\nNo thank you.\n\n> You read the laser cats\nYou've read it a hundred times already.\n\n> You leave\nYou'll have to say which compass direction to go in."
    },
    {
        "text": "> Look around\nThe hut is silent.\n\nOn the ground is an old lady.\n\nYou can also see a collage of photos, an entrance, a bed, a rocking chair, an endtable (on which is a telephone), a litter box, a cupboard (in which are some cans of Fancy Feast and a box of matches), a bowl and a bookcase here.\n\n> You look at lady\nShe lies motionless on the wooden floor of the hut.\n\n> You eat lady\nShe's plainly inedible.\n\n> You eat food\nYou nibble at the cat food, but soon lose interest. It's just so unappetizing when the bowl is only half full.\n\n> Go outside\nIt seems to be locked.\n\nGuess you have to find some other way to open it.\n\n> You hit the door\nYou leap in the air and deliver a strong kick to the door, busting it open.\n\n> Go outside\nThat's already open.\n\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree and a squirrel here.\n\n> You examine tree\nLooks like oak.\n\n> You look at the squirrel\nLooks delicious.\n\n> You eat the squirrel\nYou leap at the squirrel, but it is too fast and runs up the tree.\n\n> You climb the tree\nYou nimbly climb up to one of the branches. Only then do you realize that you have no idea how to climb down trees. You have no choice but to wait for someone to rescue you. Chipawgo will have to wait until another day.\n\n> Go south\nThe hut is silent.\n\nOn the ground is an old lady.\n\nYou can also see a collage of photos, a bed, a rocking chair, an endtable (on which is a telephone), a litter box, a cupboard (in which are some cans of Fancy Feast and a box of matches), a bowl and a bookcase here.\n\n> You get the matches\nYou hold the box of matches in your mouth.\n\n> Go outside\nThat's already open.\n\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree (on which is a squirrel) here.\n\n> Go south\nThe hut is silent.\n\nOn the ground is an old lady.\n\nYou can also see a collage of photos, a bed, a rocking chair, an endtable (on which is a telephone), a litter box, a cupboard (in which are some cans of Fancy Feast), a bowl and a bookcase here.\n\n> You kick lady\nShe's already dead, you a**hole.\n\n> Light match\nWhat do you want to light on fire? (i.e. \"light something on fire\").\n\n> Go east\nThe river is both wider and deeper than you would have hoped. Tall grass grows from the muddy soil.\n\nYou can see a water (in which is a turtle) here.\n\n> You look at the turtle\nA large turtle with a nice big shell. He looks relatively friendly.\n\n> You talk to the turtle\nYou ask the turtle if he can get you across the river. The turtle says to bring him something fancy and he'll see what he can do.\n\n> You go west\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree (on which is a squirrel) here.\n\n> You get fancy\nYou hold the cans of Fancy Feast in your mouth.\n\n> Go outside\nThat's already open.\n\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree (on which is a squirrel) here.\n\n> You kick the turtle\nYou swipe at the turtle but miss. The turtle becomes enraged and bites off your paw. You collapse and bleed out until everything becomes dark.\n\n> You go to the south\nThe hut is silent.\n\nOn the ground is an old lady.\n\nYou can also see a box of matches, a collage of photos, a bed, a rocking chair, an endtable (on which is a telephone), a litter box, a cupboard (empty), a bowl and a bookcase here.\n\n> You get the tree\nYou are already carrying the box of matches in your mouth.\n\n> Go west\nThis is where the village people get together to do business. It's generally pathetic.\nThe street is deserted now. The hut and the river lie to the east.\n\nYou can see an Ice Cream Shop, a Clothing Store, a Saloon and a white cat here.\n\n> You examine the cat\nYou see a sleek white cat preening herself. She looks very pretty and she knows it.\n\n> You talk to the cat\nThe cat stops licking her pristine fur, looks you in the eye, and says\n\n\"I know what you've done, criminal.\"\n\nShe steps forward menacingly.\n\n\"I pity you. You can run from this place, but you can never escape your sins. Your soul will never be free.\" She pauses. \"You know, it's a shame you did what you did, because I could have blown your mind.\"\n\nYou watch silently as she walks away. You feel a bit chilly.\n\n> You examine the ice cream\nThey sell ice cream, a frozen food, typically eaten as a snack or dessert, usually made from dairy products, such as milk and cream, and often combined with fruits or other ingredients and flavours.\n\n> You enter the ice cream\nIt's closed. No point to going inside if there's no ice cream.\n\n> You examine Clothing Store\nClothes for men, women, and children (but not cats). The store is clearly closed. You can see a dress, shoes, and a top hat through the display window.\n\n> You examine the hat\nA fancy hat.\n\n> You kick the window\nYou give the window a mighty punch, leaving the glass shattered on the floor.\n\n> You take the hat\nYou hold the hat in your mouth.\n\n> Go east\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a white cat, a box of matches and a tree (on which is a squirrel) here.\n\n> Go east\nThe river is both wider and deeper than you would have hoped. Tall grass grows from the muddy soil.\n\nYou can see a water (in which is a turtle) here.\n\n> You give the hat to the turtle\n\"Oooh, now that's fancy.\" The turtle accepts your gift and lets you slide the top hat onto his head.\n\n\"Now, hop on and I'll give you that ride you wanted.\"\n\n> You hop on turtle\nYou gingerly climb on the turtle's back. The turtle glides toward the other side of the river, careful not to dip below the surface of the water. As he swims, you look back toward the village that you are fleeing. Somewhere deep inside, you can feel a pang of guilt as you realize you will never see this place again. Gone are the days of safety and comfort, of careful love.\n\nYou shake your head to break your train of thought and determinedly face onward. This is about you and your dreams. Not her.\n\nThe turtle reaches the other side of the river and you hop off. Nafurville is already starting to look smaller. The land slopes steeply upward from the river, strewn with rocks of different shapes and sizes. The highway is further east.\n\nYou can see a turtle here.\n\n> You go east\nCars race down the concrete, each one creating a small wind in its wake. The way to Chipawgo is south, the same direction that the cars on your side of the street are headed. To the north you can see a farm in the distance.\n\n> You go to the south\nChipawgo is much too far away to reach on paw.\n\n> You go north\nIt's a boring old farm. No humans seem to be around. The highway to Chipawgo is to the south.\n\nYou can see a barn (in which is a horse) and cows here.\n\n> You examine the barn\nIn the barn is a horse.\n\n> You examine the horse\nLooks like the strong, silent type.\n\n> You look at the cows\nMoo.\n\n> You talk to the cows\nYou meow. They moo back.\n\n> You kick the horse\nThe horse is much bigger than you so you decide against it.\n\n> You ride the horse\nYou jump on the horse and grab hold of the reins. You gallop out of the farm and north alongside the highway toward Chipawgo, ignoring the stares of fellow travelers in their cars.\n\nAs you travel toward freedom, you feel a twinge of remorse for the terrible deed you have done. You wonder if it was worth it.\n\nYou decide to bury your memories of Nafurville somewhere deep down inside. That'll have to do.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\nThe Lorenz system is a system of ordinary differential equations first studied by Edward Lorenz. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the Lorenz attractor is a set of chaotic solutions of the Lorenz system which, when plotted, resemble a butterfly or figure eight.\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"A red herring is something that misleads or distracts from a relevant or important issue. It may be either a logical fallacy or a literary device that leads readers or audiences towards a false conclusion. A red herring might be intentionally used, such as in mystery fiction or as part of a rhetorical strategy, or it could be inadvertently used during argumentation.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"The Church of Jesus Christ of Latter-day Saints is a Christian restorationist church that is considered by its followers to be the restoration of the original church founded by Jesus Christ. The church is headquartered in Salt Lake City, Utah, and has established congregations and built temples worldwide. It has over 85,000 missionaries and a membership of over 15 million.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"The Qing dynasty was the last imperial dynasty of China, ruling from 1644 to 1912 with a brief, abortive restoration in 1917. It was preceded by the Ming dynasty and succeeded by the Republic of China. The Qing multi-cultural empire lasted almost three centuries and formed the territorial base for the modern Chinese state.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"League of Legends is a multiplayer online battle arena video game developed and published by Riot Games for Microsoft Windows and Mac OS X. It is a free-to-play game that is supported by micro-transactions and inspired by the mod Defense of the Ancients for the video game Warcraft III: The Frozen Throne.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"A wallaby is a macropod found in Australia. They belong to the same taxonomic family as kangaroos and sometimes the same genus, but kangaroos are specifically categorised into the six largest species of the family. The term wallaby is an informal designation generally used for any macropod that is smaller than a kangaroo or wallaroo that has not been designated otherwise.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"The Schmidt Family Foundation is a private foundation created in 2006 by Eric Schmidt, the Executive Chairman of Google, and his wife Wendy Schmidt, to address issues pertaining to sustainability and the responsible use of natural resources.\"\n\nShe then turns away to continue her grooming.\n\n> You talk to the cat\nThe cat stops licking herself, looks you in the eye, and states,\n\n\"Spam is a brand of canned precooked meat products made by Hormel Foods Corporation. It was first introduced in 1937 and gained popularity worldwide after its use during World War II. By 2003, Spam was sold in 41 countries on six continents and trademarked in over 100 countries. In 2007, the seven billionth can of Spam was sold.\nSpam's basic ingredients are pork shoulder meat, with ham meat added, salt, water, modified potato starch as a binder, sugar, and sodium nitrite as a preservative.\"\n\nShe then turns away to continue her grooming.\n\n> Lick cat\nYou lick the white cat.\n\n> You clean yourself\nYou rub yourself.\n\n> You lick yourself\nYou lick yourself.\n\n> Lick ice cream\nYou lick the Ice Cream Shop.\n\n> Lick clothing\nYou lick the Clothing Store.\n\n> You examine Saloon\nIt's a saloon, complete with swinging wooden doors. Like in those cowboy movies. You're not entirely sure what year it is.\n\n> You kick the cat\nShe's much too beautiful to attack.\n\n> You kick the window\nYou give the window a mighty punch, leaving the glass shattered on the floor.\n\n> You take the hat\nYou hold the hat in your mouth.\n\n> You examine the dress\nA fancy dress.\n\n> You examine the window\nYou can see a sequin dress, black shoes, and a top hat through the display window.\n\n> You examine the shoes\nFancy shoes.\n\n> You drop the hat\nDropped.\n\n> You take the shoes\nYou hold shoes in your mouth.\n\n> You take the dress\nYou hold the dress in your mouth.\n\n> Go east\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree and a squirrel here.\n\n> You go to the south\nThe hut is quiet except for the soft snores of your owner.\n\nYou can see a bed, a rocking chair (on which is an old lady), a collage of photos, an endtable (on which is a telephone), a litter box, a cupboard (closed), a bowl and a bookcase here."
    },
    {
        "text": "> Open Feast\nYou try using your claws and teeth to open the cans, but it's fruitless. You'll probably starve here.\n\n> Kick owner\nYou expertly perform a tornado kick, sending her flying across the room. Your owner is now dead.\nYou are a monster.\n\n> Lick owner\nYou lick the old lady.\n\n> Purr\nYou let out a soft purr.\n\n> Meow\nYou meow.\n\n> Lick fancy feast\nYou lick the cans of Fancy Feast.\n\n> You lick the minced Meat\nYou lick Minced Meat Pies of Tomorrow.\n\n> You take the dress\nYou hold the dress in your mouth.\n\n> Go outside\nThat's already open.\n\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree and a squirrel here.\n\n> Go east\nThe river is both wider and deeper than you would have hoped. Tall grass grows from the muddy soil.\n\nYou can see a water (in which is a turtle) here.\n\n> You talk to the turtle\nYou ask the turtle if he can get you across the river. The turtle says to bring him something fancy and he'll see what he can do.\n\n> You give the dress to the turtle\nThe turtle looks at the dress with disinterest and says \"Not my style.\"\n\n> You get the water\nYou hold the water in your mouth.\n\n> Lick turtle\nYou lick the turtle."
    },
    {
        "text": "> Look around\nThe river is both wider and deeper than you would have hoped. Tall grass grows from the muddy soil.\n\nYou can see a dress and a water (in which is a turtle) here.\n\n> You go west\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree and a squirrel here.\n\n> You go west\nThis is where the village people get together to do business. It's generally pathetic.\nThe street is deserted now. The hut and the river lie to the east.\n\nYou can see shoes, a hat, an Ice Cream Shop, a Clothing Store, a Saloon and a white cat here.\n\n> You get hat\nYou hold the hat in your mouth.\n\n> You eat the grass\nThat's plainly inedible.\n\n> You rub grass\nYou rub the grass.\n\n> You go south\nThe hut is quiet except for the soft snores of your owner.\n\nYou can see a bed, a rocking chair (on which is an old lady), a collage of photos, an endtable (on which is a telephone), a litter box, a cupboard (in which are some cans of Fancy Feast and a box of matches), a bowl and a bookcase here.\n\n> You take the matches\nYou hold the box of matches in your mouth.\n\n> Light lady on fire\nYou strike the match and hold it to your owner's dress, watching the flames grow before your eyes. Before you know it, your owner is screaming and running outside, kicking the door open on her way out. You watch her flaming figure run toward the river.\n\n> You go to the east\nThe river is both wider and deeper than you would have hoped. Tall grass grows from the muddy soil.\n\nYou can see a hat, a dress and a water (in which is a turtle) here.\n\n> You go west\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a tree and a squirrel here.\n\n> Go west\nThis is where the village people get together to do business. It's generally pathetic.\nThe street is deserted now. The hut and the river lie to the east.\n\nYou can see shoes, an Ice Cream Shop, a Clothing Store, a Saloon and a white cat here.\n\n> Go east\nThe north side of the hut. To the west is the main village road. To the east is the river bank, on the other side of which lies the path to Chipawgo.\n\nYou can see a white cat, a tree and a squirrel here.\n\n> You talk to the tree\nWho do you want to talk to?\n\n> You talk to the cat\nThe cat refuses to talk to you and instead continues to groom herself.\n\n> You check your inventory\nYou are carrying:\na box of matches\n\n> You take the minced Meat\nYou hold Minced Meat Pies of Tomorrow in your mouth.\n\n> You hop on turtle\nYou gingerly climb on the turtle's back. The turtle glides toward the other side of the river, careful not to dip below the surface of the water. As he swims, you look back toward the village that you are fleeing. Somewhere deep inside, you can feel a pang of guilt as you realize you will never see this place again. Gone are the days of safety and comfort, of careful love. What will she do once she realizes you have left? Will she break down and cry? Will she get another cat?\n\nYou shake your head to break your train of thought and determinedly face onward. This is about you and your dreams. Not her.\n\nThe turtle reaches the other side of the river and you hop off. Nafurville is already starting to look smaller. The land slopes steeply upward from the river, strewn with rocks of different shapes and sizes. The highway is further east.\n\nYou can see a turtle here.\n\n> You go east\nCars race down the concrete, each one creating a small wind in its wake. The way to Chipawgo is south, the same direction that the cars on your side of the street are headed. To the north you can see a farm in the distance.\n\n> You go north\nIt's a boring old farm. No humans seem to be around. The highway to Chipawgo is to the south.\n\nYou can see a barn (in which is a horse) and cows here.\n\n> You give book to the cows\nYou can only do that to something animate.\n\n> Drop\n(Minced Meat Pies of Tomorrow)\nDropped.\n\n> You get the cows\nYou hold cows in your mouth.\n\n> Inventory\nYou are carrying:\ncows\n\n> Go south\nCars race down the concrete, each one creating a small wind in its wake. The way to Chipawgo is south, the same direction that the cars on your side of the street are headed. To the north you can see a farm in the distance.\n\n> You throw the cows at the cars\nFutile.\n\n> Lick cows\nYou lick cows.\n\n> You go north\nIt's a boring old farm. No humans seem to be around. The highway to Chipawgo is to the south.\n\nYou can see Minced Meat Pies of Tomorrow and a barn (in which is a horse) here.\n\n> You ride the horse\nYou jump on the horse and grab hold of the reins. You gallop out of the farm and north alongside the highway toward Chipawgo, ignoring the stares of fellow travelers in their cars.\n\nThe sun sets and the sky above turns black. You gaze at the stars and dream of what they have in store for you. The taste of freedom is sweet.\n\n> You wake lady\nThat seems unnecessary.\n\n> You open the cupboard\nThat's already open.\n\n> You take the cans\nYou are already carrying the box of matches in your mouth.\n\n> Bite lady\nYou expertly perform a tornado kick, sending her flying across the room. Your owner is now dead.\nYou are a monster.\n\n> You show the cans to the cat\nThe white cat is unimpressed.\n\n> You give the cans to the cat\nShe scoffs. \"No thank you. I only eat the Fanciest of Feasts\".\n\n> You go south\nThe hut is quiet except for the soft snores of your owner.\n\nYou can see a box of matches, a bed, a rocking chair (on which is an old lady), a collage of photos, an endtable (on which is a telephone), a litter box, a cupboard (empty), a bowl and a bookcase here.\n\n> Pee\nYou go number one.\n\n> Poop\nYou eject a small poop.\n\n> You get the chair\nThat's fixed in place.\n\n> You take the phone\nYou hold the telephone in your mouth.\n\n> You call\nYou place the phone on the ground and clumsily strike the phone with your paws, pushing random buttons until it rings.\n\nThe number you have reached is not in service."
    },
    {
        "text": "[Themes: Comedy]\n\n> You look around\nThe hut is quiet except for the soft snores of your owner.\n\nOn the ground is a telephone.\n\nYou can also see some cans of Fancy Feast, a box of matches, a bed, a rocking chair (on which is an old lady), a collage of photos, an endtable, a litter box, a cupboard (empty), a bowl and a bookcase here.\n\n> You take the photos\nYou hold the collage of photos in your mouth.\n\n> You go to the south\nThe hut is quiet except for the soft snores of your owner.\n\nOn the ground is a telephone.\n\nYou can also see some cans of Fancy Feast, a box of matches, a bed, a rocking chair (on which is an old lady), an endtable, a litter box, a cupboard (empty), a bowl and a bookcase here.\n\n> You take the bowl\nYou hold the bowl in your mouth.\n\n> You show the bowl to the cat\n(the white cat)\nThe white cat is unimpressed.\n\n> You give the bowl to the cat\n(the white cat)\nThe white cat doesn't seem interested.\n\n> You go south\nThe hut is quiet except for the soft snores of your owner.\n\nOn the ground is a telephone.\n\nYou can also see a collage of photos, some cans of Fancy Feast, a box of matches, a bed, a rocking chair (on which is an old lady), an endtable, a litter box, a cupboard (empty) and a bookcase here.\n\n> You climb lady\nYou gently jump onto your owner's lap.\n\n> Sleep\nYou curl up and take a nap. The world can wait.\n\n> Pee\nYou go number one.\n\n> Go south\nThe hut is quiet except for the soft snores of your owner.\n\nOn the ground is a telephone.\n\nYou can also see a bowl, a collage of photos, some cans of Fancy Feast, a box of matches, a bed, a rocking chair (on which is an old lady), an endtable, a litter box, a cupboard (empty) and a bookcase here.\n\n> You take the laser\nYou hold Laser Cats VII in your mouth.\n\n> Go west\nThis is where the village people get together to do business. It's generally pathetic.\nThe street is deserted now. The hut and the river lie to the east.\n\nYou can see Laser Cats VII, shoes, an Ice Cream Shop, a Clothing Store, a Saloon and a white cat here.\n\n> Claw\nWhat do you want to claw?\n\n> You go to the east\nYou must name something more substantial."
    },
    {
        "text": "[Themes: Fantasy, minimalist, old school, magic, dragon, fantasy]\n\n]  Outskirts                                            0/1\n\nFinally you arrive at the outskirts of the forest. Both you and the queen's chauffeur Leon step down from the carriage. As you alight, you clearly remember the words of Queen Drana: \"Please return with the Dragon Diamond...\" She did not need to finish her sentence with the words \"...if you want to live.\" You know her too well.\n\n(New players: type ABOUT).\n\nYou stand in the outskirts of the Forest of Fear, beside the carriage which brought you here in the first place. An intense feeling of evil emanates from within the forest, which lies to the north.\n\nLeon is standing nearby.\n\n[Author's Note: Your name is Bash, a famous warrior, ordered by the evil Queen Drana to obtain the fabled Dragon Diamond from the Forest of Fear. The queens chauffeur Leon drives you to the outskirts of the forest in a carriage. You arrive and you both leave the carriage. Your adventure starts here!]\n\n> You look at Leon\nLeon is a tall warrior, much like yourself. He is carrying a long rope.\n\n> You check your inventory\nYou are carrying:\na long sword\n\n> About yourself\nYou are Bash the Barbarian, a feared warrior deeply in depth to the evil queen Drana.\n\n> You examine the carriage\nThe empty carriage is drawn by a black horse.\n\n> You look at the horse\nIt is a big strong black stallion.\n\n> You go north\nThis is where you first entered the forest. The feeling of malignity is overwhelming. It is very quiet here. Not a single insect. Trails lead off to north, south, east and west.\n\n> You go west\nYou are in a little glade surrounded by little bushes. A trail continues east to west.\n\nThere is an odd looking bush here.\n\n> You examine the bush\nIt is an odd looking bush with poisonous thorns. Stuck beneath the bush is an axe.\n\n> You examine the axe\nThe axe look sharp. Unfortunately it is covered by poisonous thorns.\n\n> Go west\nYou are in mud to your knees. Many saplings are scattered around the mud. An exit leads east.\n\nThere is mud everywhere you look.\n\n> You examine the mud\nThe mud is wet and soft but will harden quickly if you dip your hands in it.\n\nIn the mud is a muddy branch.\n\n> You take the branch\nTaken.\n\n> You dip hands\nWhat do you want to dip your hands in?\n\n> Mud\nYou dip your hands into the mud and the mud hardens leaving a thick layer of dry mud on your hands.\n\n> Go east\nYou are in a little glade surrounded by little bushes. A trail continues east to west.\n\nThere is an odd looking bush here.\n\n> You take the axe\nDue to the protective layer of mud on your hands, you manage to drag the axe out through the thorns and take it with you.\n\n> You look at branch\nA strong branch, length about 1 meter. The branch is covered in a protective layer of dry mud.\n\n> Go east\nThis is where you first entered the forest. The feeling of malignity is overwhelming. It is very quiet here. Not a single insect. Trails lead off to north, south, east and west.\n\n> Go south\nYou stand in the outskirts of the Forest of Fear, beside the carriage which brought you here in the first place. An intense feeling of evil emanates from within the forest, which lies to the north.\n\nLeon is standing nearby.\n\n> You take the rope\nAs you try to take the rope from Leon, he steps away from you and says \"If you want the rope you will have to fight me!\"\n\n> You ask Leon,  to go north\nIn an aggressive tone, Leon says \"Your job is to get the diamond. My job is to wait here. I am NOT going into that forest!\"\n\n> You fight Leon\nYou raise your sword and enter into a long sword battle with Leon. After a long and exhausting battle, you finally manage to swing your sword against Leons neck before he can react. While his head and sword fly in a big curve into the thick vegetation, his body, and the rope Leon was holding, fall to the ground.\n\n> You take the rope\nTaken.\n\n> You examine the body\nLeons headless bloody body lies sprawled on the ground.\n\n> Go north\nYou are south of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. A trail leads south.\n\n> You look at the water\nIt is hard to see anything through the dark water. There are several crocodiles on the surface though.\n\n> Go east\nIn this part of the forest the trees stand very close making it impossible to deviate from the forest trail, which curves from the west towards north.\n\nA string dangles down from the treetops.\n\n> You look at the string\nThe string dangles down from somewhere high up in the tree tops. The string has a certain magical aura. Magical strings tend to be strong as rope and cannot be cut.\n\n> Climb string\nThe string is too smooth to climb.\n\n> Inventory\nYou are carrying:\na long rope\na sharp axe\na muddy branch\na long sword\n\n> You climb the tree\nLittle is to be achieved by that.\n\n> You go north\nYou can't leave while holding the dangling string, so you let go of it.\n\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\nThere is a huge basket here.\n\n> You examine the platform\nThe wooden platform is placed on the south side of the tree.\n\n> You examine basket\n(the huge basket)\nThe basket is huge, huge enough to enter. A string extends from the basket and stretches far up into the tree tops above the platform. The basket is tilted slightly, as if something is underneath it.\n\nIn the huge basket is a blade of a spade.\n\n> You look under the basket\n(the huge basket)\nYou look under the basket and find a hook stuck to the bottom of the basket.\n\n> You get the hook\nThat seems to be a part of the huge basket.\n\n> You examine blade\nIt should be possible to make a decent spade with this blade, if an appropriate branch is found.\n\n> You tie the blade to the branch\nYou manage to attach the blade of a spade decently to the branch and voil\u00c3\u00a0,  you have now a spade!\n\n> You tie the rope to basket\n(the huge basket)\nYou would achieve nothing by this.\n\n> You throw the rope\nDropped.\n\n> You tie the rope to the hook\nYou tie the rope to the hook and drop the rope beside the big basket.\n\n> You get the rope\nTry untying it first.\n\n> You throw the rope over the platform\n(first taking the tied rope)\nTry untying it first.\n\n> You examine the platform\nThe wooden platform is placed on the south side of the tree.\n\n> You throw the basket\n(the huge basket)\nThe huge basket is already here.\n\n> Go south\nIn this part of the forest the trees stand very close making it impossible to deviate from the forest trail, which curves from the west towards north.\n\nYou can see a dangling string here.\n\n> You pull the string\nYou take a good hold of the string and begin to pull. As you pull the string, it feels like you are raising something heavy somewhere else. You pull the string as much as you can. Whatever you are raising must now be lifted many meters above the ground.\n\n> Tie string\nWhat do you want to tie the dangling string to?\n\n> You check your inventory\nYou are carrying:\na dangling string\na handy spade\na sharp axe\na long sword\n\n> Go north\nYou can't leave while holding the dangling string, so you let go of it.\n\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\nThere is a rope here tied to the hook underneath the basket.\n\nThere is a huge basket here.\n\n> You get the basket\n(the huge basket)\nThe basket is too bulky to carry.\n\n> You enter the basket\n(the huge basket)\nYou get into the huge basket.\n\n> Go outside\nYou get out of the huge basket.\n\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\nThere is a rope here tied to the hook underneath the basket.\n\nThere is a huge basket here.\n\n> You tie the string to the tree\nYou tie the string to a nearby tree.\n\n> Go north\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\nThere is a rope dangling here from above.\n\n> You get the rope\nIf you climb the dangling rope, you might be able to untie it once you get to the top.\n\n> You climb the rope\nYou are standing on a wooden platform high above the ground. A doorway leads into a cottage carved out of the trunk of the large tree.\n\nThere is a rope dangling from a hook in the bottom of the basket.\n\nThere is a huge basket hanging beside the platform.\n\n> You examine the cottage\nThere is a doorway in the cottage leading inside.\n\n> Go inside\nYou are inside a cottage carved into the trunk of the tree. A large opening in the north wall serves as a window overlooking the misty lake below. There is a trapdoor in the floor in the middle of the room. An exit leads out.\n\n> You look at the window\nFrom the window the crocodile infested lake far below can be seen. The northern shore is not so far from here, and it makes you wonder if you could jump out of the window and into the lake in order to reach the northern shore before the crocodiles reach you.\n\n> You examine the trapdoor\nThe trapdoor is closed.\n\n> You open the trapdoor\nokay, you open the trapdoor."
    },
    {
        "text": "[Themes: Fantasy, fantasy, magic]\n\n> You go downwards\nYou are standing on a large green lawn filled with grass and yellow flowers. Here, at the middle of the lawn, there is the magical trapdoor from which you came. There is a bamboo hut to the southwest, a small wood to the south and a quicksand pool to the east.\n\n> You go southwest\nYou are inside a small bamboo hut. The exit lies northeast. The furniture is quite sparse, consisting of a chair, a table and a bed.\n\n> You examine the chair\nThe chair is made from heavy wood.\n\n> You examine the bed\nThe bed is made from heavy wood.\n\n> You look at table\nThe table is made from heavy wood.\n\n> You look under bed\nUnder the bed you find a long spear. You take it with you.\n\n> You move the chair\nIt is fixed in place.\n\n> Go south\nYou are in a little wood. Footprints can be noticed on the overgrown trail, indicating the presence of humans. Trails lead north and south.\n\nFar to the south you notice an archer high up in a tree, aiming in your direction.\n\n> You examine the flowers\nThe yellow flowers add to the peaceful atmosphere on the lawn.\n\n> You get the flowers\nThat's hardly portable.\n\n> You check your inventory\nYou are carrying:\na long spear\na handy spade\na sharp axe\na long sword\n\n> You throw the spear at the archer\n(the archer in a tree)\nWith a strong throw you plant the spear right in the archers chest. He screams and falls down from the tree into the forest.\n\n> Go south\nYou are in a clearing within the little wood.\n\nYou can see a pile of twigs here.\n\n> You examine the twigs\nJust a pile of twigs.\n\n> You get the twigs\nTaken."
    },
    {
        "text": "> Look around\nYou are in a clearing within the little wood.\n\n> Go north\nYou are in a little wood. Footprints can be noticed on the overgrown trail, indicating the presence of humans. Trails lead north and south.\n\n> You examine the footprints\nThe footprints lead south.\n\n> Go east\nYou are on the west bank of a large quicksand pool. You can walk north and south along the bank, or go west to the lawn.\n\n> You examine the pool\nIt is a 5 meter wide quicksand pool.\n\n> You go north\nYou are on the northern end of the bank of a large quicksand pool. Thick vegetation blocks your way further north. You can go back south along the bank.\n\n> You go to the south\nYou are on the southern end of the bank of a large quicksand pool. Thick vegetation blocks your way further south. On the other side of the pool, a tree with long branches stand. One branch is projected over the quicksand pool. You can go back north along the bank.\n\n> You cut the branch\nCutting it up would achieve little.\n\n> You check your inventory\nYou are carrying:\na pile of twigs\na handy spade\na sharp axe\na long sword\n\n> You climb the branch\nLittle is to be achieved by that.\n\n> You look at the branch\nThe branch is projected approximately over the middle of the quicksand pool.\n\n> Go outside\nYou are standing on a wooden platform high above the ground. A doorway leads into a cottage carved out of the trunk of the large tree.\n\nThere is a rope dangling from a hook in the bottom of the basket.\n\nThere is a huge basket hanging beside the platform.\n\n> You get the rope\nTry untying it first.\n\n> You untie the rope\nYou untie the rope and take it with you.\n\n> You throw the rope at the branch\nBefore throwing the rope you tie a loop. You manage to catch the branch with the loop and you let the rope dangle over the quicksand pool.\n\n> You get the rope\nYou can't reach it from here. The quicksand is in the way.\n\n> You jump\nYou jump on the spot.\n\n> You climb the rope\nLittle is to be achieved by that.\n\n> You go north\nYou are on the west bank of a large quicksand pool. You can walk north and south along the bank, or go west to the lawn.\n\n> You go south\nYou are on the southern end of the bank of a large quicksand pool. Thick vegetation blocks your way further south. On the other side of the pool, a tree with long branches stand. One branch is projected over the quicksand pool. You can go back north along the bank.\n\nA rope is hanging from a branch above the center of the quicksand pool.\n\n> Jump quicksand\nWhen jumping, please specify if you want to jump INTO something, jump ONTO something, jump THROUGH something or jump OUT OF something.\n\n> You jump onto the rope\nYou take a few steps back, then you run and take a big leap across the quicksand pool, where you manage to catch the dangling rope and swing the last meters across the pool and land safely on the other side.\n\nYou are on the east bank of a large quicksand pool. You can go east into the forest.\n\nA rope is hanging from a branch above the center of the quicksand pool.\n\n> Go east\nyou are deep inside the magical part of forest of fear. Trails lead east, west and southeast.\n\n> Go east\nYou are on a cosy beach. The sound of the waves add to the nice atmosphere.\n\n> You look at the beach\nThe sand is white and beautiful.\n\n> Dig\nYou have already dug a big hole in the sand."
    },
    {
        "text": "> Go downwards\nYou are down in the hole that you have dug on the beach.\n\n> Dig\nThe ground is too hard to dig here.\n\n> Go up\nYou are on a cosy beach. The sound of the waves add to the nice atmosphere.\n\nThere is a big hole in the sand here.\n\n> Go southeast\nYou are in front of the Devil Mountain, the residence of the dragon. A path leads northwest into the forest and the entrance to the Dragon den lies south.\n\n> Go south\nIt would be suicide to go into the dragon den while the dragon is there.\n\n> Go west\nYou are on the east bank of a large quicksand pool. You can go east into the forest.\n\nA rope is hanging from a branch above the center of the quicksand pool.\n\n> You jump onto the rope\nYou take a few steps back, then you run and take a big leap across the quicksand pool, where you manage to catch the dangling rope and swing the last meters across the pool and land safely on the other side.\n\nYou are on the southern end of the bank of a large quicksand pool. Thick vegetation blocks your way further south. On the other side of the pool, a tree with long branches stand. One branch is projected over the quicksand pool. You can go back north along the bank.\n\nA rope is hanging from a branch above the center of the quicksand pool.\n\n> Leave\nYou are standing on a wooden platform high above the ground. A doorway leads into a cottage carved out of the trunk of the large tree.\n\nThere is a huge basket hanging beside the platform.\n\n> You examine basket\n(the huge basket)\nThe basket is huge, huge enough to enter. A string extends from the basket and stretches far up into the tree tops above the platform. You notice a hook stuck to the bottom of the basket.\n\n> You examine the hook\nThe metal hook is firmly attached to the bottom of the basket.\n\n> You jump through the window\nYou jump out of the window and land in the deep water, close to the northern bank. From here you manage to swim ashore before the crocodiles can smell you.\n\nYou are north of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. You can go north to the edge of a volcano.\n\nThere is a wooden canoe lying on the lake shore.\n\n> You look at the paddle\nIt is a single-bladed wooden paddle.\n\n> You look at the lake\nSeveral dangerous crocodiles swim around in the lake. The crocodiles look very hungry!\n\n> You look at the mist\nIt is hard to see anything through the mist.\n\n> Go north\nYou are standing on the edge of a deep volcano. A small birch is standing near the edge of the volcano. You can go south back to the lake.\n\n> You cut the birch\nYou manage to chop the birch in a few strokes with the sharp axe. The birch falls into the volcano. No, it is stopped by something! Looking into the volcano you see that the treetop of the birch is stopped by a ledge. It should now be safe to climb down the birch to the ledge...\n\n> You climb down\nYou are standing on a ledge in front of a cave carved into the volcano wall. Light emanates from the cave to the south. The birch is resting on the ledge, leading up to the edge of the volcano.\n\n> You examine the cave\nNot much can be seen through the small cave opening.\n\n> You examine the birch\nThe treetop of the birch is resting on the ledge.\n\n> You enter\nYou are in a small cave inhabited by a small dwarf. Sparse furniture is placed appropriately around the cave. Torches mounted on the walls light up the place in a cosy manner.\n\nA dwarf stands in the middle of the cave.\n\n> You examine dwarf\nThe dwarf is well dressed and has a long white beard.\n\n> You talk to the dwarf\nYou say hello to the dwarf and he offers you a seat in his humble home. You quickly engage in a long interesting conversation. The dwarf, whose name is Toke, knows a lot about the forest and he warns you of the dangers ahead. Specifically he mentions that the Dragon Diamond is the eye of the dragon and that you need to kill the dragon in order to obtain the fabled Dragon Diamond. Toke hands you a ring while he says: \"This ring will allow you to fly high but not wide. If you need to reach a high place, just wear this ring.\"\n\nYou thank Toke and prepare to leave.\n\n> You look at the torches\nA few torches light up the cave in a cosy manner.\n\n> You examine the furniture\nThe sparse selection of furniture adds to the cosy atmosphere of the cave.\n\n> You examine the ring\nThe magical ring has beautiful engravings all over.\n\n> Go north\nYou are standing on a ledge in front of a cave carved into the volcano wall. Light emanates from the cave to the south. The birch is resting on the ledge, leading up to the edge of the volcano.\n\n> Go upwards\nYou are standing on the edge of a deep volcano. You can go south back to the lake.\n\nThe trunk of the chopped birch can be seen sticking up over the edge of the volcano.\n\n> You go south\nYou are north of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. You can go north to the edge of a volcano.\n\nThere is a wooden canoe lying on the lake shore.\n\n> You paddle south\nYou push the canoe out into the water and get in. You paddle slowly across the water trying not to catch the attention of the crocodiles. Finally you reach the opposite shore, where you drag the canoe onto land.\n\nYou are south of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. A trail leads south.\n\nThere is a wooden canoe lying on the lake shore.\n\n> You go south\nYou stand in the outskirts of the Forest of Fear, beside the carriage which brought you here in the first place. An intense feeling of evil emanates from within the forest, which lies to the north.\n\nLeon's lifeless body lies sprawled on the ground.\n\n> You get the body\nWith big effort you manage to sling Leon's body over your shoulder.\n\n> You examine Forest\nThe forest is covered in a gloomy glow.\n\n> You go east\nIn this part of the forest the trees stand very close making it impossible to deviate from the forest trail, which curves from the west towards north.\n\nThe string from the treetops is tied to a nearby tree.\n\n> Go north\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\n> You wear the ring\nYou put on the ring and fly up through the trees. You safely land on the platform and remove the ring again.\n\nYou are standing on a wooden platform high above the ground. A doorway leads into a cottage carved out of the trunk of the large tree.\n\nThere is a huge basket hanging beside the platform.\n\n> You wear the ring\nYou fly high up into the air, then you come down again and land exactly on the same spot. You remember Tokes words: \"You can fly high but not wide\". You remove the ring again.\n\n> You wear the ring\nYou put on the ring and fly down through the trees. You safely land on the ground and remove the ring again.\n\nYou are in front of a very tall and wide tree. High up among the branches of the tree you notice a wooden platform. A trail leads south.\n\n> Go south\nIn this part of the forest the trees stand very close making it impossible to deviate from the forest trail, which curves from the west towards north.\n\nThe string from the treetops is tied to a nearby tree.\n\n> You go north\nYou are south of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. A trail leads south.\n\nThere is a wooden canoe lying on the lake shore.\n\n> You put the body into the lake\nYou manage to throw Leons heavy body into the lake. The crocodiles fight about their new meal, but in the end there is enough to satisfy everyone.\n\n> Paddle west\nYou must name something more substantial.\n\n> Paddle north\nYou push the canoe out into the water and get in. You paddle slowly across the water trying not to catch the attention of the crocodiles. Finally you reach the opposite shore, where you drag the canoe onto land.\n\nYou are north of a wide crocodile infested lake. It is hard to see anything through the mist coming up from the water. You can go north to the edge of a volcano.\n\nThere is a wooden canoe lying on the lake shore.\n\n> You examine the lake\nSeveral dangerous crocodiles swim around in the lake. The crocodiles appear to be satisfied from the meal you gave them.\n\n> Swim\nYou are not here on holiday! You need to find the Dragon Diamond!\n\n> You wear the ring\nYou fly high up into the air, then you come down again and land exactly on the same spot. You remember Tokes words: \"You can fly high but not wide\". You remove the ring again.\n\n> You wear the ring\nYou put on the ring and fly up to the top of the Devil Mountain. You safely land on its top and remove the ring again.\n\nYou are standing on top of the Devil Mountain. There is a chimney here.\n\n> You look at chimney\nThe chimney is round and made of stone. There is smoke coming up from the chimney.\n\n> You put the twigs into the chimney\nYou throw the twigs in the chimney. No more smoke is coming up from the chimney now. It seems as you are trying to smoke out the dragon! So you better get away from the Devil Mountain immediately before the dragon finds you!\n\n> You wear the ring\nYou put on the ring and fly down from the Devil Mountain. You safely land on the ground and remove the ring again.\n\nYou are in front of the Devil Mountain, the residence of the dragon. A path leads northwest into the forest and the entrance to the Dragon den lies south.\n\n> You go to the east\nYou are on a cosy beach. The sound of the waves add to the nice atmosphere.\n\nThere is a big hole in the sand here.\n\nThe sound of a massive roar fills the air all over the forest! The dragon has come out of its den!"
    },
    {
        "text": "> Go downwards\nYou are down in the hole that you have dug on the beach.\n\nYet another terrifying dragon roar fills the air. It sounds like the dragon is closing in on you.\n\n> You wait\nTime passes.\n\nYou hear a faint flapping sound, what you believe is the sound of dragon wings. The dragon must be very close now!\n\n> You wait a while\nTime passes.\n\nFrom down the hole, you see the huge dragon come flying high up in the air, circling around as if looking for something. You hear a crash as it lands somewhere on the beach. You hear the sound of the dragon crawling nearer and nearer your hole! Suddenly the dragon passes over the hole and lies down, forcing all light out from the hole. You are trapped in darkness beneath the dragon!\n\nYou cannot see anything. It is pitch black. You hear the sound of a beating dragon heart.\n\n> Attack dragon\nYou stab the dragon with your sword closest to the sound of the beating heart. A massive roar is heard and the dragon throws itself around on the beach. But after some seconds it is all over. The dragon is dead! You climb back up onto the beach. As a trophy, and to fulfil your quest, you cut out the dragon's one eye, the Dragon Diamond!\n\nYou have gotten what you came for so you return to the carriage with the diamond. Without Leon to assist you, you get up in the carriage, take the reins and set off into the sunset where you will experience more adventure."
    },
    {
        "text": "\"Happy Canada Day!\", says your friend David. Oh, that's right. It's Canada's 150th anniversary today. You suppose you should go do something Canadian to mark the occasion.\n\n\"Let's go to Tim Hortons for donuts!\" suggests David. Sure. That'll do.\n\nYour apartment has all sorts of nice furnishings, but right now you don't care about any of them because they are not donuts. If you want any donuts, yummy yummy donuts, you'll have to leave the apartment to the east.\n\nYou can see David and your pet hedgehog here.\n\n[Author's Note: In this pleasant and silly game, spend the first four days of July with your friend David, a shameless author insertion character who seems inordinately fond of making interactive fiction references.]\n\n> You look at David\nOh, you've known David for years. He's a nice guy and all, but he'll talk about obscure bits of interactive fiction at the slightest excuse. And he's played so much \"I. F.\", as he calls it, he has lots of excuses.\n\n> You leave the apartment\nI only understood you as far as wanting to leave.\n\n> E\n\nDavid says, \"Bah, humbug. First you comb your hair. Then we can go get donuts.\"\n\n> You examine the hedgehog\nYou named your hedgehog Kipling because one of his \"Just So Stories\" involves a hedgehog and a tortoise who turned themselves into armadillos. He's not at all cuddly because of his spikes, but on the other hand, he's pretty laidback and has never given you any trouble.\n\n> You comb hair\nWhat do you want to comb your hair with?\n\n> You get the Kipling\nYou pick up the spiky critter.\n\n> You comb the hair with the Kipling\nYou carefully comb your hair, using your hedgehog as a substitute comb. \"I can't believe I'm doing this,\" you say.\n\n\"Did you get my 'Humbug' clue?\" David asks. \"You have to comb your hair with a hedgehog in that game.\"\n\nYou pointedly ignore him.\n\n> No\nThat was a rhetorical question.\n\n> You throw Kipling at David\nYou lack the nerve when it comes to the crucial moment.\n\n> Comb david\n(with your pet hedgehog)\nDavid doesn't need combing."
    },
    {
        "text": "> You look around\nYour apartment has all sorts of nice furnishings, but right now you don't care about any of them because they are not donuts. If you want any donuts, yummy yummy donuts, you'll have to leave the apartment to the east.\n\nYou can see David here.\n\n> East\nAs you head out the door, you ask \"So why did I have to have nice hair to go to Timmy's? Isn't that a bit silly?\"\n\n\"Not as silly as watching you try to comb your hair with a hedgehog, eh?\" says David, grinning.\n\nSoon the two of you are enjoying a nice breakfast of donuts and double-doubles. But alas, breakfast eventually ends and now you're both standing outside the restaurant, thinking about the future.\n\nLoitering outside a Timmy's isn't a habit you want to get into. You might start questioning why there isn't an apostrophe in \"Tim Hortons\" and such questions lead to madness. Or maybe just to Quebec. Speaking of ways to go, your apartment is back west and an uncertain future is to the east.\n\nDavid says, \"Oh, um, here's a red ketchup I 'borrowed' from the restaurant. You might find it useful later.\"\n\n> You look at the ketchup\nRed ketchup is the best ketchup, but that's not saying much. Ketchup never appealed to you much.\n\n> You eat the ketchup\nDavid stops you from possibly making the game unwinnable.\n\n> You examine the hair\nYour hair is all nicely combed. Well done.\n\n> You look at the furnishings\nAs you try to examine your furnishings like some noob player, David says, \"I heard that Timmy's brought Dutchies back.\"\n\n\"Wow, really? I love those things. But I thought they were discontinued.\"\n\n\"They were, but now they're back to celebrate Canada Day.\"\n\n> You get the furnishings\nThey're hardly portable."
    },
    {
        "text": "> Look around\nYour apartment has all sorts of nice furnishings, but right now you don't care about any of them because the rest of the game is outside the apartment to the east.\n\nYou can see David here.\n\n> East\nLoitering outside a Timmy's isn't a habit you want to get into. You might start questioning why there isn't an apostrophe in \"Tim Hortons\" and such questions lead to madness. Or maybe just to Quebec. Speaking of ways to go, your apartment is back west and an uncertain future is to the east.\n\n> Go east\nYou step into the future...\n\nThe desert island you find yourself on is pretty desolate. The only thing of interest is a lone palm tree.\n\n\"Did that say Dessert Island?\" you ask. \"Shouldn't that be\nDesert Island?\"\n\n\"Yeah, looks like a typo,\" David agrees.\n\nA small motorboat is parked at the edge of the beach.\n\n> You look at the tree\nYou know what a palm tree looks like. You suppose you could climb up it if you really wanted to.\n\n> You examine the motorboat\nDavid wanted to go on another adventure, so he rented this boat, and long story short, now you're stuck here. Somehow he \"forgot\" to bring enough gas for a return trip.\n\n> You climb the tree\nYou climb up the palm tree...\n\nGoodness there's a lot of large leaves up here.\n\n> You look at the leaves\nThese large leaves could be hiding anything.\n\n> You get the leaves\nThey're hardly portable.\n\n> You eat the leaves\nThey're plainly inedible.\n\n> You look\nGoodness there's a lot of large leaves up here.\n\nYou can see David here.\n\n> You give the leaves to David\n(first taking the large leaves)\nThey're hardly portable.\n\n> You jump\nYou jump on the spot.\n\n> Inventory\nYou are carrying:\na red ketchup"
    },
    {
        "text": "> Go downward\nYou climb back down the tree.\n\nThe desert island you find yourself on is pretty desolate. The only thing of interest is a lone palm tree.\n\nA small motorboat is parked at the edge of the beach.\n\n> You examine the boat\nDavid wanted to go on another adventure, so he rented this boat, and long story short, now you're stuck here. Somehow he \"forgot\" to bring enough gas for a return trip.\n\n> You search tree\nHidden in the shade of the palm tree, you find a can of gasoline. You take it. Why are things always in the last place you look?"
    },
    {
        "text": "> Look around\nThe desert island you find yourself on is pretty desolate. The only thing of interest is a lone palm tree.\n\nA small airplane is parked at the edge of the beach.\n\nYou can also see David here.\n\n> You get can\nYou already have that.\n\n> You look at the airplane\nDavid wanted to go on another adventure, so he rented this plane, and long story short, now you're stuck here. Somehow he \"forgot\" to bring enough gas for a return trip.\n\n> You enter the boat\nYou hand over the can of gasoline. \"Oh, well done,\" says David. \"That's just what we need to get home. Now I can refill the airplane. Er... what's wrong?\"\n\n\"Wasn't that airplane a motorboat before?\"\n\n\"Oh, like in Shade, when the potted hyacinth turned into a cactus? That was really spooky!\"\n\nFeeling a headache coming on, you follow David into the plane for the trip home.\n\nIt's the end of another day. The past is to the west. The future is east.\n\n\"Guess what?\" David asks. \"I found some white chocolate on the plane on the way back. It was in a second hidden compartment inside the first hidden compartment. Here. I think you might need it.\"\n\n\"So what are we doing tomorrow?\" you ask, looking east.\n\n\"I dunno. We'll think of something.\"\n\n> You think\nWhat a good idea."
    },
    {
        "text": "> You look around\nIt's the end of another day. The past is to the west. The future is east.\n\nYou can see David here.\n\n> Go east\nYou walk into the future...\n\nIt seems like you guys decided to do a bit of grocery shopping. There's a lot of different pastas and sauces here. The ends of the aisle are to the north and south.\n\n\"Gnocchi,\" David intones solemnly. \"I haven't had any gnocchi since.... Rome.\"\n\n\"Stop that,\" you say. \"Just... just stop.\"\n\n> You look at the pasta\nYou peruse the pastas. \"Macaroni, spaghetti, spaghettini, bow-ties, egg noodles,... there's no gnocchi here,\" you tell David.\n\n\"Clare isn't here either,\" he replies.\n\n\"Who's Clare?\"\n\n\"Who do you want her to be?\""
    },
    {
        "text": "> You look around\nIt seems like you guys decided to do a bit of grocery shopping. There's a lot of different pastas and sauces here. The ends of the aisle are to the north and south.\n\nYou can see David here.\n\n> Inventory\nYou are carrying:\na white chocolate\na red ketchup\n\n\"Why did I bring food into a grocery store?\" you ask.\n\n\"That's what you're worried about?\" David asks.\n\n\"It's not like I have a receipt for these things you keep giving me.\"\n\n> South\n\"So we're not going to buy anything?\" you ask.\n\n\"Didn't say that,\" David says. \"Aisle meet you outside.\"\n\nNo one deliberately goes to a parking lot for itself. A parking lot isn't a destination. It's an in-between place between where you were and where you're going. Which would be west and east, respectively.\n\n\"Here ya go,\" says David, handing you some blue berries.\n\n\"And these will be useful when?\"\n\n\"Tomorrow\", he says, pointing east.\n\n> You look at the berries\nYou find blueberries very appealing.\n\n> East\nOne more step into the future...\n\nI gotta say, the United States has some weird tourist traps. Take this \"Tater Island\", a weird potato museum in... well, you're not really sure which state you're in. But it's different, you gotta give it points for originality. The exit is to the west.\n\nA potato peeler is just lying on the ground here!\n\nYou can also see a lunar map here.\n\n> You take the peeler\nWow. You've never found a potato peeler before. \"I don't have to shave a yak with this thing, do I?\" you ask.\n\n\"Of course not, you peel things with it,\" David says, as if\nthis ought to be obvious.\n\n> You take the peeler\nYou already have that.\n\n> You peel the chocolate with the peeler\nYou peel the \"white\" off the white chocolate!\n\nDavid asks, \"That's neat. Can you put the colour back on it too?\"\n\n> You look at the white\nIt's the essence of whiteness that you peeled off the chocolate.\n\n> Peel berries\nYou peel the \"blue\" off the blue berries!\n\n> Inventory\nYou are carrying:\na blue peel\na white peel\na potato peeler\nsome plain berries\na plain chocolate\na red ketchup\n\n> You peel ketchup with peeler\nYou peel the \"red\" off the red ketchup!\n\n> You put the blue on the ketchup\nNeat. You now have a blue ketchup.\n\n> You examine the blue ketchup\nBlue ketchup? Oh, that's just wrong.\n\n> You peel the ketchup with the peeler\nYou peel the \"blue\" off the blue ketchup!\n\n> You put the blue on the ketchup\nCool. You now have a blue ketchup.\n\n> Inventory\nYou are carrying:\na red peel\na white peel\na potato peeler\nsome plain berries\na plain chocolate\na blue ketchup\n\n> You put white on the ketchup\nBut the blue ketchup is already blue!\n\n> You put the red on the chocolate\nHuh. You now have a red chocolate.\n\n> You examine the red chocolate\nIt's like red velvet cake but without the cake part."
    },
    {
        "text": "> Look around\nI gotta say, the United States has some weird tourist traps. Take this \"Tater Island\", a weird potato museum in... well, you're not really sure which state you're in. But it's different, you gotta give it points for originality. The exit is to the west.\n\nYou can see David and a lunar map here.\n\n> You put the white on the berries\nCool. You now have a white berries.\n\n> You look at white berries\nCareful. If these white berries are from mistletoe, they'll be very poisonous.\n\n> You look at the map\nThe centerpiece of the musuem is a relief map of the Moon's surface, lovingly rendered in mashed potatoes. You fancy you can hear those musical notes from Close Encounters of the Third Kind in the background.\n\nIn the middle of the map, in the Sea of Tranquility, there is a faded colourless flag.\n\n> Peel ketchup\nYou peel the \"blue\" off the blue ketchup!\n\n> Peel chocolate\nYou peel the \"red\" off the red chocolate!\n\n> You put the red on the flag\nYou add the red peel to the faded flag, restoring some of its old glory.\n\n> Peel berries\nYou peel the \"white\" off the white berries!\n\n> You put the white on the flag\nYou add the white peel to the faded flag, restoring some of its old glory.\n\n> You put the Blue on the flag\nYou add the blue peel to the faded flag, restoring some of its old glory.\n\nThe flag, fully restored to its old glory, proudly displays the Red, White, and Blue for everyone to see. You hear fireworks explode in the sky above.\n\n\"Filfre: gratuitous fireworks,\" David whispers in your ear.\n\n\"Shh,\" you whisper back.\n\n> Xyzzy\nDavid says, \"I'm sorry. Would you like some tea? Here you go.\" He hands you a green tea.\n\n> Peel tea\nYou peel the \"green\" off the green tea!\n\n> You put the green on the tea\nHuh. You now have a green tea.\n\n> You examine the tea\nGreen tea, eh? How distressingly healthy. Did they flavour this with lawn clippings?\n\n> You put the green on the chocolate\nNeat. You now have a green chocolate.\n\n> You examine the green chocolate\nHuh. Green chocolate smells like pistachio nuts.\n\n> You check your inventory\nYou are carrying:\na plain tea\na blue peel\na potato peeler\nsome plain berries\na green chocolate\na plain ketchup\n\n> Peel chocolate\nYou peel the \"green\" off the green chocolate!\n\n> You put the green on the ketchup\nCool. You now have a green ketchup.\n\n> You examine ketchup\nIs green ketchup made from green tomatoes?\n\n> Peel ketchup\nYou peel the \"green\" off the green ketchup!\n\n> You put the green on the berries\nHuh. You now have a green berries.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n\"Happy Canada Day!\", says your friend David. Oh, that's right. It's Canada's 150th anniversary today. You suppose you should go do something Canadian to mark the occasion.\n\n\"Let's go to Tim Hortons for donuts!\" suggests David. Sure. That'll do.\n\nYour apartment has all sorts of nice furnishings, but right now you don't care about any of them because they are not donuts. If you want any donuts, yummy yummy donuts, you'll have to leave the apartment to the east.\n\nYou can see David and your pet hedgehog here.\n\n> You look at the hair\nYour hair is a maze of twisty little protein strands.\n\n> You take the pet\nYou pick up the spiky critter.\n\n> You comb hair\n(with your pet hedgehog)\nYou carefully comb your hair, using your hedgehog as a substitute comb. \"I can't believe I'm doing this,\" you say.\n\n\"Did you get my 'Humbug' clue?\" David asks. \"You have to comb your hair with a hedgehog in that game.\"\n\nYou pointedly ignore him.\n\n> You go east\nAs you head out the door, you ask \"So why did I have to have nice hair to go to Timmy's? Isn't that a bit silly?\"\n\n\"Not as silly as watching you try to comb your hair with a hedgehog, eh?\" says David, grinning.\n\nSoon the two of you are enjoying a nice breakfast of donuts and double-doubles. But alas, breakfast eventually ends and now you're both standing outside the restaurant, thinking about the future.\n\nLoitering outside a Timmy's isn't a habit you want to get into. You might start questioning why there isn't an apostrophe in \"Tim Hortons\" and such questions lead to madness. Or maybe just to Quebec. Speaking of ways to go, your apartment is back west and an uncertain future is to the east.\n\nDavid says, \"Oh, um, here's a red ketchup I 'borrowed' from the restaurant. You might find it useful later.\"\n\n> Go west\n\"You can't just walk off the island,\" says David impatiently.\n\n\"I don't see why not. We walked east from Tim Hortons to get here, didn't we?\"\n\n\"No, no, that was yesterday. All sorts of things happened\nbetween then and now. And we rented a boat to get here, remember?\"\n\n> You go east\n\"Look, see if you can find some fuel around here. Search everything. There's bound to be something that can help us,\" David says.\n\n> Go upwards\nYou climb up the palm tree...\n\nGoodness there's a lot of large leaves up here.\n\n> Search leaves\nBehind a cluster of particularly large leaves, you find a can of gasoline. You take it. Why are things always in the last place you look?"
    },
    {
        "text": "> Go down\nYou climb back down the tree.\n\nThe desert island you find yourself on is pretty desolate. The only thing of interest is a lone palm tree.\n\nA small airplane is parked at the edge of the beach.\n\n> You give the can to David\nYou hand over the can of gasoline. \"Oh, well done,\" says David. \"That's just what we need to get home. Now I can refill the airplane. Er... what's wrong?\"\n\n\"Wasn't that airplane a motorboat before?\"\n\n\"Oh, like in Shade, when the potted hyacinth turned into a cactus? That was really spooky!\"\n\nFeeling a headache coming on, you follow David into the plane for the trip home.\n\nIt's the end of another day. The past is to the west. The future is east.\n\n\"Guess what?\" David asks. \"I found some white chocolate on the plane on the way back. It was in a second hidden compartment inside the first hidden compartment. Here. I think you might need it.\"\n\n\"So what are we doing tomorrow?\" you ask, looking east.\n\n\"I dunno. We'll think of something.\"\n\n> You go to the west\nYou step into the past...\n\nNo one deliberately goes to a parking lot for itself. A parking lot isn't a destination. It's an in-between place between where you were and where you're going. Which would be west and east, respectively.\n\n> Go west\nYou step into the past...\n\nIt's the end of another day. The past is to the west. The future is east.\n\n> Go west\nYou walk into the past...\n\nLoitering outside a Timmy's isn't a habit you want to get into. You might start questioning why there isn't an apostrophe in \"Tim Hortons\" and such questions lead to madness. Or maybe just to Quebec. Speaking of ways to go, your apartment is back west and an uncertain future is to the east.\n\n> Go west\nYour apartment has all sorts of nice furnishings, but right now you don't care about any of them because the rest of the game is outside the apartment to the east.\n\nYou can see your pet hedgehog here.\n\n> You go to the east\nYou step into the future...\n\nIt's the end of another day. The past is to the west. The future is east.\n\n> Go east\nYou walk into the future...\n\nNo one deliberately goes to a parking lot for itself. A parking lot isn't a destination. It's an in-between place between where you were and where you're going. Which would be west and east, respectively.\n\n> You go to the east\nOne more step into the future...\n\nI gotta say, the United States has some weird tourist traps. Take this \"Tater Island\", a weird potato museum in... well, you're not really sure which state you're in. But it's different, you gotta give it points for originality. The exit is to the west.\n\nYou can see a lunar map here.\n\n> You put the pet on the map\nPutting things on the lunar map would achieve nothing.\n\n> PEEL HEDGEHOG\n\nYou can't peel your pet hedgehog.\n\n> Peel ketchup\nYou peel the \"red\" off the red ketchup!\n\nDavid asks, \"That's neat. Can you put the colour back on it too?\"\n\n> Peel chocolate\nYou peel the \"white\" off the white chocolate!\n\n> Peel berries\nYou peel the \"blue\" off the blue berries!\n\n> Peel tea\nYou peel the \"green\" off the green tea!\n\n> You put Red on the tea\nNeat. You now have a red tea.\n\n> You look at the tea\nLooks like hibiscus tea. Very herbal.\n\n> You look at the tea\nYou peel the \"red\" off the red tea!\n\nAmazing. You now have a white tea.\n\nOh nice. You've never had white tea before.\n\n> You examine the tea\nYou peel the \"white\" off the white tea!\n\nHuh. You now have a blue tea.\n\nYou frown. The blue tea smells like elderberries.\n\n> You examine ketchup\nYou peel the \"blue\" off the blue tea!\n\nCool. You now have a white ketchup.\n\nWhoever heard of white ketchup? Is this ranch dressing now?\n\n> You examine the chocolate\nYou peel the \"white\" off the white ketchup!\n\nHuh. You now have a blue chocolate.\n\nYou look at the blue chocolate with horror.\n\n> You put red on the berries\nCool. You now have a red berries.\n\n> You examine the berries\nThey're not strawberries or raspberries. They're some other sort of red berries that you don't recognize.\n\n> Xyzzy\nDavid says, \"Hm. You've already got tea, so I'll have to give you no tea.\" He then somehow hands you no tea which makes the tea you were carrying vanish.\n\n\"You wouldn't believe how useful a lack of common sense can be, sometimes,\" David remarks as if quoting a guide book.\n\n> Inventory\nYou are carrying:\na white peel\na green peel\nyour pet hedgehog\na potato peeler\nsome red berries\na blue chocolate\na plain ketchup\n\n> Xyzzy\nDavid says, \"I'm sorry. Would you like some tea? Here you go.\" He hands you a green tea.\n\n> Inventory\nYou are carrying:\na plain tea\na white peel\na green peel\nyour pet hedgehog\na potato peeler\nsome red berries\na blue chocolate\na plain ketchup\n\n> You drop the tea\nDropped.\n\n> You go east\nLoitering outside a Timmy's isn't a habit you want to get into. You might start questioning why there isn't an apostrophe in \"Tim Hortons\" and such questions lead to madness. Or maybe just to Quebec. Speaking of ways to go, your apartment is back west and an uncertain future is to the east.\n\n> You pull the hair\nNothing obvious happens.\n\n> You get the hair\nThat seems to be a part of yourself.\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "The rays of the morning sun tickle your face, waking you up. That's a pleasant surprise - the forecast said it would be rainy for days. However, looking out of the window, you see that there are no clouds in the sky. How did they get it so wrong?\n\nIt's quiet and peaceful. Out of habit, you reach for your mobile\nphone on the nightstand to browse through the morning headlines. Still lying down in your bed, covering your eyes from the sun with one hand, you start scrolling down the newsfeed when a headline catches your attention: \"Half-Life 3 Confirmed!\"\n\nQuickly, you sit  up. For a moment you feel a huge sense of happiness. The long-awaited sequel of your favourite action game is finally going to come true. More monsters to shoot! More headcrabs to bash with your crowbar! Finally expel the Combine from the\nface of the Earth? Soon afterwards, however, you come to your senses. No way is any of that going to happen. Reality, you realize with sudden alarm, must be seriously warped.\n\nYou become fully awake and alert. This is no laughing matter. Your primary task is to get safely - or at least alive - out of the building. And if you're lucky enough, maybe sort out this reality enwarpment and restore matters to normal.\n\nYou get up and dressed quickly. There is no time to lose.\n\nA yeah sure by Anssi R\u00e4is\u00e4nen\n\nYour bedroom looks normal enough. Well, now that you take a second look, maybe that black hole in the floor shouldn't really be there. Beside your bed is a small nightstand. A wardrobe stands opposite your bed and there's a writing desk by the window. There is a door in the northeastern corner of the room, leading to the hallway.\n\n[Author's Note: The rays of the morning sun tickle your face, waking you up. That's a pleasant surprise - the forecast said it would be rainy for days. However, looking out of the window, you see that there are no clouds in the sky. How did they get it so wrong? It's quiet and peaceful. Out of habit, you reach for your mobile phone on the nightstand to browse through the morning headlines. Still lying down in your bed, covering your eyes from the sun with one hand, you start scrolling down the newsfeed when a headline catches your attention: \"Half-Life 3 Confirmed!\"]\n\n> You look at the hole\nIt seems to be some kind of vortex that you might try to enter. The question is - would that be a wise thing to do?\n\n> You get the hole\nThat's hardly portable.\n\n> You open the wardrobe\nYou see a snowy landscape behind the clothes hanging inside the wardrobe. No, it's just the back wall, after all.\n\nYou close the wardrobe.\n\n> You examine the nightstand\nThe small white-painted nightstand has one drawer in it.\n\n> You open the drawer\nIt's locked.\nStrange; you usually keep it open, with the key in the lock. But the key is not in the lock presently.\n\n> You check what you're carrying\nYou're carrying a mobile phone.\n\n> You look at the desk\nOrdinarily nothing special. But today somebody has drawn a treasure map on it.\n\n> You examine the map\nThere is a big X on the right side, or the east side, of an irregular line which you take to be a river or a road. The X is inside a circle, but it is impossible to guess what the circle represents. The whole map is probably a hoax.\n\n> You get the map\nThat's hardly portable. Instead, you memorize the map. (To refer to the map, RECALL it.)\n\n> Inventory\nYou're carrying a mobile phone.\n\nYou can also recall a map drawn on your bedroom desk.\n\n> You go northeast\nThe hallway connects all the rooms in your apartment. The living-room is to the east while the kitchen is to the west and your bedroom is to the southwest. Rather unnervingly, the front door leading out, to the south, seems to have disappeared completely. Somewhat unexpectedly, there seems to be an extra room to the north.\n\n> Go west\nOn the kitchen table are some leftovers of the pizza that you ordered last night but couldn't finish. The hallway is to the east.\n\nA pig is standing on its hind legs, leaning against the kitchen table and eating the leftovers of the pizza.\n\nA stove stands in the corner.\n\nYou can also see a fridge (closed) here.\n\n> You look at the pig\nA fat pig is standing on its hind legs, leaning against the kitchen table and eating away. Too bad you didn't bother putting the leftover bits of last night's pizza into the fridge. Then again, you didn't expect a pig.\n\n> You talk to the pig\nPlease ASK PERSON ABOUT THING or TELL PERSON ABOUT THING to converse with somebody.\n\n> You open the fridge\nYou cannot reach the fridge presently - the fat pig blocks the way. It makes an angry squeal when you make a gesture of approaching it.\n\n> You look at the stove\nThe four burners flash in bright neon colours - red, blue, green and orange. It is rather unsettling.\n\n> You examine table\nThere are some pizza leftovers on the table.\n\n> You go east\nNormally it is of course a charming living-room. You see a sofa, a table and a television here. The exit is to the west.\n\nOn the table is a small key.\n\nYou can also see a mud monster here.\n\n> You examine the monster\nIt's little more than a pile of mud. It has no legs but  you are able to distinguish a pair of limbs that might pass as arms. It has a barely discernible face but you are not sure if it has eyes. It loiters silently in the middle of the room. Drops of mud are dripping from it onto your exquisite carpet. So not cool.\n\n> You take the key\nThe mud monster blocks the way.\n\n> Inventory\nYou're carrying a mobile phone.\n\nYou can also recall a map drawn on your bedroom desk.\n\n> You go north\nThis is a small featureless room, no bigger than a closet. There is a metal ladder ascending straight up into the darkness. The upper end of the ladder is not visible. The exit is to the south.\n\n> You turn on the tv\nThat's already on.\n\n> Examine tv\nThe television shows psychedelic, ever-changing kaleidoscopic images on the screen, accompanied by good old-style march music. Is that Sousa?\n\n> You examine the sofa\nThere's a time to relax and a time to save the world. This is the latter, and the sofa is not needed for that.\n\n> You examine table\nOn the table is a small key.\n\n> You eat the monster\nHe's plainly inedible.\n\n> Go upwards\nYou feel unsafe going up into the darkness without any kind of light.\n\n> Go southwest\nBeside your bed is a small nightstand. A wardrobe stands opposite your bed and there's a writing desk by the window. There is an inexplicable black hole in the floor. There is a door in the northeastern corner of the room, leading to the hallway.\n\n> You look at the window\nThrough the tenth-floor window, you make out the outline of the city and its numerous high-rises, similar to the one you live in. The city looks the same as usual - well, not quite. There are a couple of tall buildings in the distance that weren't there yesterday. It's eerily quiet - no sounds of traffic.\n\n> You get the window\nThat's hardly portable.\n\n> You enter the hole\nSomething tells you it's not the time yet. You need to prepare yourself somehow first.\n\n> Inventory\nYou're carrying a mobile phone.\n\nYou can also recall a map drawn on your bedroom desk.\n\n> You examine the phone\nThe mobile phone screen shows presently the weather forecast for the moon. Seems to be clear skies with a low probability of rain. Warning for fog though.\n\n> You switch on the phone\nThat's already on.\n\n> You switch off the phone\nYou prefer to have it on.\n\n> Go south\nThat's a wall there.\n\n> Go west\nOn the kitchen table are some leftovers of the pizza that you ordered last night but couldn't finish. The hallway is to the east.\n\nA pig is standing on its hind legs, leaning against the kitchen table and eating the leftovers of the pizza.\n\nA stove stands in the corner.\n\nYou can also see a fridge (closed) here.\n\n> You examine the phone\nThe mobile phone screen shows presently the top 20 chart for this week. An actually good song is at #1.\n\n> You kill the pig\nThe pig turns to you angrily and flashes its fierce red eyes at you. Then it notices the tail of your T-shirt where you wiped your fingers last night - you ate a chocolate bar and wiped your messy fingers on the shirt. The pig smells the chocolate and starts tugging at your shirt. Ecch. Should have put on a clean shirt today.\n\n> You continue\nYou give a slap to the irritating creature, but it just starts tugging your shirt again. Now isn't that sweet.\n\n> You go to the east\nThe hallway connects all the rooms in your apartment. The living-room is to the east while the kitchen is to the west and your bedroom is to the southwest. Rather unnervingly, the front door leading out, to the south, seems to have disappeared completely. Somewhat unexpectedly, there seems to be an extra room to the north.\n\nThe pig follows you, tugging at your T-shirt.\n\n> Go east\nNormally it is of course a charming living-room. You see a sofa, a table and a television here. The exit is to the west.\n\nOn the table is a small key.\n\nYou can also see a mud monster here.\n\nThe pig follows you, tugging at your T-shirt.\n\nThe pig sees the mud monster, becomes afraid and disappears back into the kitchen.\n\n> You go to the southwest\nBeside your bed is a small nightstand. A wardrobe stands opposite your bed and there's a writing desk by the window. There is an inexplicable black hole in the floor. There is a door in the northeastern corner of the room, leading to the hallway.\n\nThe pig follows you, tugging at your T-shirt.\n\n> You go west\nOn the kitchen table are some leftovers of the pizza that you ordered last night but couldn't finish. The hallway is to the east.\n\nA stove stands in the corner.\n\nYou can also see a fridge (closed) here.\n\nThe pig follows you, tugging at your T-shirt.\n\n> You open the fridge\nYou don't dare to open the fridge while the pig is in the kitchen. If it's this excited about your chocolate-stained shirt, who knows with what fervour it will attack the contents of the fridge once they are exposed. No, you need to get the pig out of the kitchen first.\n\n> Attack monster\nThat wouldn't be very wise. When you even approach it a bit more, it gives out a small zap and you feel an electric charge through your body. Got to think of something else.\n\n> Go north\nThis is a small featureless room, no bigger than a closet. There is a metal ladder ascending straight up into the darkness. The upper end of the ladder is not visible. The exit is to the south.\n\nThe pig follows you, tugging at your T-shirt.\n\n> You look at bed\nIt's your  plain but comfy and trusted bed. You already made it, although I didn't mention it specifically."
    },
    {
        "text": "> You look around\nThe hallway connects all the rooms in your apartment. The living-room is to the east while the kitchen is to the west and your bedroom is to the southwest. Rather unnervingly, the front door leading out, to the south, seems to have disappeared completely. Somewhat unexpectedly, there seems to be an extra room to the north.\n\nThe fat pig is here, tugging your T-shirt.\n\n> You examine the phone\nThe mobile phone screen shows presently your contact list: ExprezzPizza, Kate, Mr Furroughs (your college teacher), Mum, Chuck Norris.\n\n> You call Kate\nThere is no answer. Just like in normal reality.\n\n> You call the mr furroughs\nThere is an automatic message: \"Sorry, I cannot take your call right now. Please leave a message after the beep. If you're one of my students making a prank call, please leave your message after the second beep.\" There's a beep. You wait for a while, but the second beep never comes. He got you alright.\n\n> You call Chuck Norris\nChuck Norris is not afraid of warped realities. On the contrary, if Chuck Norris is unsatisfied with reality, he warps it himself until he's happy with it.\n\nEncouraged by remembering this, you dial his number, but there is no answer. Then you remember that Chuck Norris doesn't need to answer the phone. He already knows what you'd be going to say.\n\n> You call the ExprezzPizza\n\"Sorry, closed due to reality enwarpment.\" At least they're up to date with things. (And seems like \"enwarpment\" indeed is a word now.)\n\n> You call the Mum\nMum answers, of course.\n\"Mum, reality is warped!\"\n\"Oh, really? Remember to dress warmly when you go out, then. I'm off to the hairdresser's. Byee!\"\n...\n\n> You examine the carpet\nYour white, exquisite living-room carpet is stained with mud that has been dripping from the monster.\n\n> You pull the carpet\nYou pull the carpet forcefully. The mud monster loses its balance and form. Soon there is nothing else left but a puddle of mud on the floor. That was handled elegantly -- well, almost. You can't really be happy with the floor all covered in brown sludge.\n\n> You go east\nNormally it is of course a charming living-room. You see a sofa, a table and a television here. The exit is to the west.\n\nThere is a big puddle of mud on the floor.\n\nOn the table is a small key.\n\nThe pig follows you, tugging at your T-shirt.\n\nThe pig sees the mud on the floor, approaches it and starts to wallow in it. It really seems to enjoy itself and forgets everything else.\n\n> You go west\nOn the kitchen table are some leftovers of the pizza that you ordered last night but couldn't finish. The hallway is to the east.\n\nA stove stands in the corner.\n\nYou can also see a fridge (closed) here.\n\n> You open the fridge\nYou open the fridge, revealing a bottle of whiskey.\n\n> You get the whiskey\nTaken.\n\n> Go east\nNormally it is of course a charming living-room. You see a sofa, a table and a television here. The exit is to the west.\n\nThere is a big puddle of mud on the floor. A pig is wallowing happily in it.\n\nOn the table is a small key.\n\n> Unlock drawer\n(with the small key)\nYou unlock the drawer.\n\n> You open it\nYou open the drawer, revealing a flashlight.\n\n> You switch on the flashlight\nYou switch the flashlight on.\n\n> Go upwards\nYou live in a normal condominium building with definitely no jazz club anywhere in it. Anyway, here you are, in a smoky, atmospheric club with a lazy crowd in murky tables - murky because of the thick cigarette smoke present. From here you can go down, back to your apartment.\n\nThree accordion players are performing on a small stage.\n\nA small birdcage stands near the stage.\n\n> You look at the cage\nIt's a small metal cage.\n\nIn the cage is a canary bird.\n\n> You look at the bird\nIt's a small yellow bird.\n\n> You open cage\nBut the small bird might fly away!\n\n> You get the cage\n\"Hey, you there.\" interrupts one of the players. \"Isn't it a beautiful creature? You can have the bird, but just give us a bottle of whiskey in exchange. Fair, ha?\"\n\n> You give the whiskey to the player\nYou give the bottle of whiskey to the band. They thank you and one of them says:\n\n\"Here, have this bird as a token of our gratitude. Take good care of it; it has accompanied us in some very dark places. May it bring you luck in your times of distress, too.\"\n\nThey hand the cage to you."
    },
    {
        "text": "> You look at your surroundings\nYou live in a normal condominium building with definitely no jazz club anywhere in it. Anyway, here you are, in a smoky, atmospheric club with a lazy crowd in murky tables - murky because of the thick cigarette smoke present. From here you can go down, back to your apartment.\n\nThree accordion players are performing on a small stage."
    },
    {
        "text": "> Go downwards\nYou descend the ladder.\n\nThis is a small featureless room, no bigger than a closet. There is a metal ladder ascending straight up into the darkness. The upper end of the ladder is not visible. The exit is to the south.\n\n> Go southwest\nThe hallway connects all the rooms in your apartment. The living-room is to the east while the kitchen is to the west and your bedroom is to the southwest. Rather unnervingly, the front door leading out, to the south, seems to have disappeared completely. Somewhat unexpectedly, there seems to be an extra room to the north.\n\nBeside your bed is a small nightstand. A wardrobe stands opposite your bed and there's a writing desk by the window. There is an inexplicable black hole in the floor. There is a door in the northeastern corner of the room, leading to the hallway.\n\n> You enter the hole\nYou feel now that you ready to enter the vortex. With the small bird as your companion, what harm could possibly happen to you?\n\nYou're standing outside your apartment, on the tenth floor landing of the condominium. In a way, finding yourself here is a sort of anticlimax; on the other hand, you're happy that you managed to escape from your apartment. Some doors leading to other apartments on this floor are visible, but the front door of your apartment is still nowhere to be seen. Ordinarily a flight of stairs, to the left of the elevator, leads down and another one, to the right of the elevator, leads up. Presently, however, both flights of stairs have disappeared and there are just two abysses that you feel dizzy gazing into. Well, there's always the elevator. Conveniently, it happens to be right here.\n\n> You examine the elevator\nThe elevator is empty.\n\n> You enter the elevator\nFinding no other sensible alternative, you decide to enter the elevator.\n\nYou're inside the elevator. There are only two buttons, up and down. That should make things simple.\n\n> You go to the west\nYou deem it not worth starting to walk randomly in the knee-deep water. Also, entering any of the buildings around you looks highly unsafe.\n\nOut of nowhere, a small boat without any oars floats into your reach.\n\n> You enter the boat\nYou get into the boat.\n\nA strong current leads the boat forward between the towering buildings. Soon you're out of town. Even the highest buildings disappear into the horizon, and there's nothing but water in sight.\n\nThe current pushes the boat northward.\n\n> Wait\nTime passes.\n\nThe current pushes the boat northward.\n\n> You look at the cage\nIt's a small metal cage.\n\nIn the cage is a canary bird.\n\nThe current pushes the boat northward.\n\nYou see a tiny island looming in the horizon, to the north.\n\nA wedge of pigs, in a perfect V-formation, flies past far above your head and disappears into the horizon.\n\n> You wait awhile\nTime passes.\n\nThe current pushes the boat northward.\n\nThe island is getting closer.\n\n> You wait a while\nTime passes.\n\nThe current pushes the boat northward.\n\nThe island is getting closer.\n\nYour boat reaches the island which now looks rather big; it must be over a mile wide. When the boat touches the ground, you get off it and wade to the shore. A yawning hippopotamus appears from nowhere. The boat disappears in its huge jaws and the hippopotamus swims away.\n\nYou are standing on the shore of an island. A path leads up the slightly ascending cliff to a wide red curtain, the kind you might see in a theatre. The shore continues to the west and to the east.\n\n> You go to the east\nThis is a particulary stony part of the shoreline. You can go back to the west to where you originally landed on the island, but the landscape becomes impassable in other direction due to thick vegetation.\n\nThe wreck of a small cargo ship lies on the stones here.\n\nYou can also see a crowbar here.\n\n> You examine it\nIt is a rusty old crowbar.\n\n> You examine wreck\nIt is an old cargo vessel. Some gunnysacks lie on the rocks around the wreck.\n\n> You examine the sacks\nSacks made of rough burlap. A couple have broken, revealing sunflower seeds inside.\n\n> You get the seeds\nYou take some sunflower seeds from an open sack.\n\n> You check your inventory\nYou're carrying some sunflower seeds, a crowbar and a cage.\n\nYou can also recall a map drawn on your bedroom desk.\n\n> You recall the map\nYou think about the treasure map you found drawn on your bedroom desk. There was an irregular line (a river or a road) going across the map , and to the right, or east, of it was a big X. The X was inside a circle, but it was difficult to guess what the circle could represent.\n\n> You go to the west\nYou are standing on the shore of an island. A path leads up the slightly ascending cliff to a wide red curtain, the kind you might see in a theatre. The shore continues to the west and to the east.\n\n> Go west\nThis is a small sandy stretch of the island shore. There's various flotsam and jetsam here. You can go back to the east to where you originally landed on the island, but the landscape becomes impassable in other directions due to steep cliffs.\n\nYou can see a bowler hat here.\n\n> You examine hat\nIt's a slightly worn but still usable bowler hat.\n\n> You get the hat\nTaken.\n\n> You wear it\nYou put on the bowler hat.\n\n> Go north\nYou find a gap in the wide, red curtain and enter it.\n\nYou're standing alone on a large theatre stage. The house is full, with the audience waiting for your next move in the dark auditorium. Even the balconies, to the second and third floors, are seated to the last place. A fat, wealthy man sitting in one of the boxes eyes you through a pair of opera glasses. The red curtain is behind you.\n\nThe audience bursts into a wild applause seeing you. You feel you have to give them your best shot. Now, let's see... you can sing, dance and whistle. Or at least you think you can.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> Dance\nYou start your Vaudeville act. Wearing the bowler hat and using the crowbar as a makeshift cane, you manage to convince the crowd to an extent, in spite of your lacking dancing abilities. However, you shouldn't have opened your mouth; your singing and whistling are still abominable. Maybe you should find someone who is better at it than you are.\n\nYou stop as the crowd boos angrily.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> You examine the cage\nIt's a small metal cage.\n\nIn the cage is a canary bird.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> You examine bird\nIt's a small yellow bird.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> You give the seeds to the bird\nThe cage isn't open.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> You open the cage\nYou open the cage carefully and give some seeds for the canary bird to eat. It pecks them for a while and starts then chirping happily from its heart's content.\n\nThe audience is stunned by the performance and is now waiting for you to complete the show.\n\nThe audience shifts restlessly, waiting for your next move.\n\n> Whistle\nYou start your Vaudeville act to the chirping of the bird. As it takes care of the singing/whistling part of the performance, your job is just to dance. Wearing the bowler hat and using the crowbar as a makeshift cane, you manage to convince the crowd in spite of your lacking dancing abilities. In fact, they are quite charmed, and the applause at the end of your one-man and one-bird show is deafening.\n\nSomeone who looks like the theatre manager comes to the stage and shakes your hand.\n\n\"That was absolutely fantastic\", he congratulates, \"now, please, let us escort you out.\"\n\nA horse-drawn carriage drawn by two white horses appears from the backstage and you enter it. The horses then lead the carriage down a ramp from the stage and pull the carriage through the central aisle of the auditorium while the crowd on both sides of the aisle claps in a standing ovation and shouts bravo.\n\nOnce you're out of the main doors, you step out of the carriage. The horses disappear back into the theatre and the main doors close with a bang. Gosh, was that weird or what. Again, you're on your own.\n\nYou're on a north-south path in a forest. To the south is a theatre while to the north the path disappears into the trees. The theatre itself seems to be in the middle of the forest, a cultural oddity in the general wilderness of things.\n\nSomeone has left a shovel here.\n\n> You get the shovel\nYou try to pull the shovel out of the ground, but it is stuck surprisingly stubbornly. The task is made the more difficult as the handle is missing. As you keep pulling, the shaft of the shovel comes loose. The blade remains in the soil and cannot be retrieved. You take a look at the dark shaft you're holding. It has a white end that was not visible when the shovel still was intact. Hey, it's a magic wand!\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You look at the wand\nIt is magic wand with a black shaft and a white end.\n\n> Wave wand\nNothing happens.\n\nA bright ball of fire is seen falling from the sky in the distance and splashing into the sea far away from here."
    },
    {
        "text": "> You look around\nYou're on a north-south path in a forest. To the south is a theatre while to the north the path disappears into the trees. The theatre itself seems to be in the middle of the forest, a cultural oddity in the general wilderness of things.\n\n> You go north\nThis is a grassy stretch of land, near a lonely tree. To the south is a forest and to the northwest you see a small bare hill. A river flows from the north to the south, to your east. A path leads south. In other directions, the landscape becomes more difficult to pass.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You examine the river\nA river flows swiftly past.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> You look at the ground\nYou notice nothing special about the ground here.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You examine the tree\nIt's a thin, leafy tree; you can't recognize the species. There is a small nest on one of the lower branches.\n\n> You look at the nest\nThe small nest, made of grass and leaves, is empty.\n\nThe canary bird starts chirping excitedly when you go nearer the nest.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You open the cage\nYou open the cage. The small canary bird flies into the nest. After a moment you notice that it has started to hatch an egg. The egg grows abnormally big. A strong, sudden gust of wind blows the egg out of the nest and it falls onto the ground, breaking and revealing a human head. The small bird is startled and flies to the top of the tree. The head is that of an old man with orange hair and an orange beard. It quickly grows to a natural size and, jutting on the ground, starts to orate with a loud, pealing voice:\n\n\"Beware. These are perilous times. The asteroid belt is colliding\nwith the orbit of the Earth, and consequently the stars are falling. Only when the green crystal of Drunral is retrieved and returned to the pedestal on top of Mount Ganerva, can peace and order be restored. Go, fool!\" the head almost screams. \"There's no time to lose!\"\n\nThe head stops talking. A passing eagle grabs it and as it is flying away, the head shouts: \"Doom! Doom!\" before disappearing altogether.\n\n> Go northeast\nYou can't go that way.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> Go northwest\nYou're standing on the top of a small hill. This must be \"Mount Ganerva\" referred to by the talking head, as there are no other elevated places on the whole island. You can go southeast, down the slope. In other directions the slope is too difficult to climb down. In all directions you see a forested island, at least three miles wide.You see a couple of deep craters in the distance, billowing smoke.\n\nA pedestal stands empty on top the hill.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You go to the southeast\nThis is a grassy stretch of land, near a lonely tree. To the south is a forest and to the northwest you see a small bare hill. A river flows from the north to the south, to your east. A path leads south. In other directions, the landscape becomes more difficult to pass.\n\nThe canary bird is singing happily in the tree.\n\n> Wave wand\nYou would have liked to see something like a crystal bridge now spanning the river, but all that appears is a narrow wooden plank going across. Of course, it's better than nothing.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You go east\nThe grassy stretch of land continues here. The forest is some way off in all directions except to the west where you see open grassland and a lone tree across the river. There is a hut a short way to the north and a round structure to the southeast.\n\nA narrow plank spans the river.\n\n> Go north\nYou are standing outside a small wooden hut that seems abandoned a long time ago. From here, you can go back south to where you crossed the river.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You examine the hut\nThe small wooden hut must have been abandones years ago.\n\n> Open hut\nIt isn't something you can open.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> You enter hut\nIt is clear that no-one has lived here in a long time. The floor of the single room here is littered with old junk. Mice are running about on the floor. It's really a place you don't want to stay long in.\n\nYou can see a shovel here.\n\n> You take the shovel\nTaken.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You look at the mice\nSome grey mice are running about on the dirty floor.\n\n> You ask the mice about the crystal\nYou can only do that to something animate.\n\n> You go south\nYou can't go that way.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> Go outside\nYou are standing outside a small wooden hut that seems abandoned a long time ago. From here, you can go back south to where you crossed the river.\n\n> Go south\nThe grassy stretch of land continues here. The forest is some way off in all directions except to the west where you see open grassland and a lone tree across the river. There is a hut a short way to the north and a round structure to the southeast.\n\nA narrow plank spans the river.\n\nA bright ball of fire is seen falling from the sky in the distance and splashing into the sea far away from here.\n\n> Go southeast\nYou are standing just outside an outdoor circus ring. There are low wooden railings, up to the height of one meter, around the arena, so it is rather easy to enter. Elephants are going in a circle in the ring, urged by their trainer in the middle. From here you can go northwest to the river crossing, or you could try to enter the arena proper.\n\nYou can see a trainer here.\n\n> You examine the trainer\nHe is urging the elephants to continue going around in the circus ring.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You examine the elephants\nAbout ten elephants are going around the ring in a circle, urged by their trainer.\n\n> Inventory\nYou're carrying a shovel, a magic wand, some sunflower seeds, a crowbar and a cage.\n\nYou can also recall a map drawn on your bedroom desk.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You enter the arena\nYou might get trampled by the elephants if you venture into the ring presently.\n\n> You ask the trainer about arena\nHe is too concentrated on his present task.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> Go northwest\nThe grassy stretch of land continues here. The forest is some way off in all directions except to the west where you see open grassland and a lone tree across the river. There is a hut a short way to the north and a round structure to the southeast.\n\nA narrow plank spans the river.\n\n> Go north\nYou are standing outside a small wooden hut that seems abandoned a long time ago. From here, you can go back south to where you crossed the river.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> Enter\nIt is clear that no-one has lived here in a long time. The floor of the single room here is littered with old junk. Mice are running about on the floor. It's really a place you don't want to stay long in.\n\nA bright ball of fire is seen falling from the sky in the distance and splashing into the sea far away from here.\n\n> You take the mice\nYou manage to catch a couple of the mice.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> Leave\nYou are standing outside a small wooden hut that seems abandoned a long time ago. From here, you can go back south to where you crossed the river.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> You go to the south-east\nYou are standing just outside an outdoor circus ring. There are low wooden railings, up to the height of one meter, around the arena, so it is rather easy to enter. Elephants are going in a circle in the ring, urged by their trainer in the middle. From here you can go northwest to the river crossing, or you could try to enter the arena proper.\n\nYou can see a trainer here.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> You drop the mice\nYou set the mice free and they run onto the ring where the elephants, noticing them, go berserk and escape the arena in panic, without the trainer being able to do anything to stop them. The trainer runs after the elephants and soon all have disappeared from sight.\n\n> You enter the arena\nYou are standing inside a small circus ring with a soft, sandy floor. The ring is empty.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground.\n\n> Dig\nWhat do you want to dig?\n\n> Sand\nYou start digging in the middle of the circus ring and soon enough find a green crystal! It must be the green crystal of Drunral - whatever Drunral is.\n\nYou pick up the crystal from the ground and admire its brightness against the sunlight.\n\n> You examine the crystal\nIt is a beautiful crystal emanating green light.\n\nIn the bright daylight, you see a shooting star in the sky as a big meteor enters the atmosphere and burns.\n\n> Go outside\nYou are standing just outside an outdoor circus ring. There are low wooden railings, up to the height of one meter, around the arena, so it is rather easy to enter. From here you can go northwest to the river crossing, or you could try to enter the arena proper.\n\n> Go northwest\nThe grassy stretch of land continues here. The forest is some way off in all directions except to the west where you see open grassland and a lone tree across the river. There is a hut a short way to the north and a round structure to the southeast.\n\nA narrow plank spans the river.\n\nA bright ball of fire is seen falling from the sky in the distance and splashing into the sea far away from here.\n\n> Go west\nYou walk across the plank.\n\nThis is a grassy stretch of land, near a lonely tree. To the south is a forest and to the northwest you see a small bare hill. A river flows from the north to the south, to your east. A path leads south. In other directions, the landscape becomes more difficult to pass.\n\nThe canary bird is singing happily in the tree.\n\nA narrow plank now spans the river.\n\n> Go west\nYou can't go that way.\n\nA meteorite shoots across the sky and disappears into the horizon.\n\n> Go northwest\nYou're standing on the top of a small hill. This must be \"Mount Ganerva\" referred to by the talking head, as there are no other elevated places on the whole island. You can go southeast, down the slope. In other directions the slope is too difficult to climb down. In all directions you see a forested island, at least three miles wide.You see a couple of deep craters in the distance, billowing smoke.\n\nA pedestal stands empty on top the hill.\n\n> You put the crystal on pedestal\nYou place the crystal onto the pedestal. It fits perfectly into a small, almost unnoticeable dent in it. Something clicks, and the crystal starts to glow a bright green light.\n\nSoon, an alien vessel descends from the sky, zapping a couple of passing meteorites into dust as it approaches. A platform is lowered from the bottom of the craft, and two figures clad in grey costumes walk out.\n\n\"Greetings, earthling!\" they say, \"greetings from Drunral. You have summoned us and we have come. Our fleet will protect the Earth from further asteroids and meteorites; worry not. And as you did the heroic deed of summoning us, how about a cruise to our planet? We might be boring-looking but we sure know how to party! Oh, the endless disco nights and hot beach holidays! The unbelievable student bacchanals! We'll bring you back in a year's time. Don't you think you've deserved a break?!\"\n\nYou can't argue that. Stepping onto the platform and ascending into the ship, you walk amidst the two strangers, putting your arms around their shoulders.\n\n\"Gentlemen,\" you say, \"I think this the beginning of a beautiful friendship.\"\n\n> You wake up\nThe dreadful truth is, this is not a dream.\n\nThere is a loud sound, and the ground is shaking. Somewhere nearby, a meteorite must have hit the ground."
    },
    {
        "text": "[Themes: wordplay]\n\n> You look at the lace\nWhen you look closely, you see the lacy chest decoration shimmer and shift in the light. The effect reminds you of the buildings in the city of Illusions.\n\n[Author's Note: The city of Reality has turned invisible due to lack of interest. The nearby city of Illusions, while beautiful, is but a figment of the collective imagination. King Azaz has sent you on a quest to end this perversion and restore Reality.]"
    },
    {
        "text": "> You examine troll\nThe troll has a big club and it looks tough.\n\n> You take the lace\nYou try taking the lacy chest decoration, but mysteriously find that it passes right through your fingers. It must be an illusion.\n\n> You find the lace\nThe lacy chest decoration was never hidden to begin with.\n\n> About yourself\nAs good-looking as ever.\n\n> You talk to the troll\nThe troll growls menacingly.\n\n> You give lace to you\n(the troll first taking the lacy chest decoration)\nThe troll has better things to do.\n\n> You go south\n(first opening the mahogany door)\nIt seems to be locked.\n\n> You look at the door\nThe door has a slender keyhole.\n\n> You hit the troll\nWith your bare hands? Not a chance.\n\n> You find the key\nYou found a hidden key!\nYou take it.\n\nA troll stands here menacingly, ready to give you a blacK EYe.\n\n> You unlock the door with the key\nYou unlock the mahogany door.\n\n> You go south\n(first opening the mahogany door)\n\nIn the center of this room hangs a heavy counter; bait is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> You look at the counter\nWhen you look closely, you see the kitchen counter shimmer and shift in the light. The effect reminds you of the buildings in the city of Illusions.\n\n> You examine the bait\nWhen you look closely, you see the wriggling worm shimmer and shift in the light. The effect reminds you of the buildings in the city of Illusions.\n\n> You look at the rope\nIt is made of thick red twine.\n\n> You find the lance\nYou found a hidden spear!\nYou take it."
    },
    {
        "text": "> Look around\nIn the center of this room hangs a heavy counterbaLANCE. It is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> Go south\nYou stand on a balcony. You're standing in a tone, can assume, given the stage below you and the array of spotlights above.\n\nStairs descend to the stage below. Also, a passage returns to the north.\n\n> You examine the tone\nWhen you listen closely, you hear the musical tone waver and shift pitch. The effect reminds you of the birdsong in the city of Illusions.\n\n> You find the spotlight\nSpotlights was never hidden to begin with.\n\n> You look at the spotlights\nThe spotlights illuminate the stage below.\n\n> You find the heater\nYou found a hidden heater!\nYou take it.\n\n> You examine the heater\nThe oil heater is currently off. It needs a flame to operate."
    },
    {
        "text": "> You look around\nYou stand on a balcony. You're standing in a tHEATER, one can assume, given the stage below you and the array of spotlights above.\n\nStairs descend to the stage below. Also, a passage returns to the north."
    },
    {
        "text": "[Themes: wordplay]\n\n> Go down\n(first opening Stairs)\n\nYou stand on a wooden stage. In front of the stage, between you and the audience seats, is a cavernous pit. Down in the pit, you can barely hear a pie strap laying faint strains of music.\n\nStairs lead back up to the balcony. You can go backstage to the east.\n\n> You examine the pie strap\nWhen you look closely, you see the delicious pie fastener shimmer and shift in the light. The effect reminds you of the buildings in the city of Illusions.\n\n> You find the orchestra\nYou can't see any such thing.\n\n> FIND ORC\n\nYou can't see any such thing.\n\n> You find the torch\nYou found a hidden torch!\nYou take it."
    },
    {
        "text": "> You look around\nYou stand on a wooden stage. In front of the stage, between you and the audience seats, is a cavernous pit. Down in the pit, you can barely hear a piT ORCHestra playing faint strains of music.\n\nStairs lead back up to the balcony. You can go backstage to the east.\n\n> You examine the torch\nIt burns brightly. It's not a flashlight because we're not in Britain. You could use it to BURN stuff.\n\n> You go east\nThere's a prop table here. On the table, you see acre, a Mecler Nickel, bread, and a butter croissant.\n\nThe stage is back west.\n\n> You find the eclair\nUnfortunately, it's just a prop, and it's fixed to the table.\n\n> You find airpump\nYou found a hidden air pump!\nYou take it."
    },
    {
        "text": "> You describe your surroundings\nThere's a prop table here. On the table, you see a cream eclAIR, PUMPernickel bread, and a butter croissant.\n\nThe stage is back west.\n\n> You examine the croissant\nIt is mouthwateringly accurate, but unfortunately, it's just a prop."
    },
    {
        "text": "> Go downwards\nJump into the pit? No way. You can't even see the bottom.\n\n> You jump\nYou jump on the spot.\n\n> Inventory\nYou are carrying:\nan air pump\na torch\na heater\na spear\na key\n\n> You look at the lance\nThis lance, or spear, has a long shaft and a fine point.\n\n> You examine the key\nIt looks custom-built for fitting into locks.\n\n> Go upwards\nYou stand on a balcony. You're standing in a tHEATER, one can assume, given the stage below you and the array of spotlights above.\n\nStairs descend to the stage below. Also, a passage returns to the north.\n\n> Go north\nIn the center of this room hangs a heavy counterbaLANCE. It is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> You climb rope\n(Just type \"up\" or \"down\".)\n\n> Go upwards\nThe hole in the ceiling is way too small.\n\n> You cut the rope\nCutting it up would achieve little.\n\n> You go north\nA troll stands here menacingly, ready to give you a blacK EYe.\n\nA passage continues south. The troll guards the north exit.\n\n> Stab troll\nYou plunge your spear into the troll's flesh. The troll squeals and runs away far to the north!\n\n> You pull the rope\nIt is fixed in place.\n\n> Go north\nA human-sized black-feathered bird sits on a perch here. \"Caw! No wings and no claws? You sure look stupid.\" It ruffles its feathers. \"Wanna hear a pun? You're a Cro-Magnon, and I row\nmignon!\n\nAnyway, if you wanna open that door, gimme a snack.\"\n\nIt's referring to a closed rune-covered door to the north. An open passage leads south.\n\n> You find the mac\nYou found a hidden apple! (Specifically, a red fruit of the cultivar Mac.)\nYou take it.\n\n> You examine the Mac\nIt's a juicy-looking apple. Specifically, a Mac."
    },
    {
        "text": "> Look around\nA human-sized black-feathered bird sits on a perch here. \"Caw! No wings and no claws? You sure look stupid.\" It ruffles its feathers. \"Wanna hear a pun? You're a Cro-Magnon, and I'M A\nCrow mignon!\n\nAnyway, if you wanna open that door, gimme a snack.\"\n\nIt's referring to a closed rune-covered door to the north. An open passage leads south.\n\n> You give the Mac to the crow\nThe crow devours the apple. \"Caw, yum. So my snack was here all along.\" The crow performs a complicated feather dance, and the runed door slides open.\n\n> You examine the door\nIt's open.\n\n> You go to the north\nAs you leave the room, the crow flies down and snatches your spear. \"Caw! Shiny!\" The crow quickly flies away to the north.\n\n> Cro- VS crow\nTo the north, a paved road ends in a long upward ramp overlooking a 50-foot-wide canyon. Passages lead south and east. The road continues west.\n\n> You go to the east\nHere, the giant crow sits on an equally giant nest, looking at you smugly. \"Caw-ha! Gotcher pointy shiny thing!\"\n\nPeeking behind it, you see that your stop earliest other ear of the nest.\n\nThe only way out is west.\n\n> You look at stop\nWhen you look closely, you see the bus stop shimmer and shift in the light. The effect reminds you of the buildings in the city of Illusions."
    },
    {
        "text": "> You describe your surroundings\nHere, the giant crow sits on an equally giant nest, looking at you smugly.\n\nPeeking behind it, you see that your stop earliest other ear of the nest.\n\nThe only way out is west.\n\n> FIND RING\n\nYou can't see any such thing.\n\n> FIND STOLEN\n\nYou can't see any such thing.\n\n> You find the lens\nYou found a hidden lens!\nYou take it."
    },
    {
        "text": "> You describe your surroundings\nHere, the giant crow sits on an equally giant nest, looking at you smugly.\n\nPeeking behind it, you see that your stoLEN Spear lies to the rear of the nest.\n\nThe only way out is west.\n\n> You take Spear\nThe crow blocks you with a giant feathery wing. \"Caw-haw! Without that spear, you think you can scare me?\"\n\n> You look at the lens\nIt's a small magnifying lens. Try EXAMINE NEST WITH LENS.\n\n> You examine the NEST with the lens\nThe lens magnifies the nest, but it's unclear how this helps you. (OK, bad example.)\n\n> You look at the NEST\nA messy tangle of branches.\n\n> You go west\nTo the north, a paved road ends in a long upward ramp overlooking a 50-foot-wide canyon. Passages lead south and east. The road continues west.\n\n> Go west\nThe corridor ends here. The only exit is back to the east.\n\nA small car is here. Unfortunately, it has AFL.\n\n> You find attire\nYou found some hidden clothing!\nYou take it.\n\n> You examine the clothing\nIt's a full set of clothing, including a hat and shoes. Looks like something a farmer would wear.\n\n> You look at the car\nA small blue car with four wheels. The kind that might have driven through a tollbooth. Due to the flAT TIRE, it is listing to one side.\n\n> Pump tire\nYou pump the flat tire full of air.\n\n> You examine the car\nA small blue car with four wheels. The kind that might have driven through a tollbooth.\n\n> You enter the car\nYou get into the car.\n\n> You drive the car\nBut you're already in the car.\n\n> You go east\nThe car speeds up to 10mph.\n\nRoad To Reality (in the car)\nTo the north, a paved road ends in a long upward ramp overlooking a 50-foot-wide canyon. Passages lead south and east. The road continues west.\n\n> You go east\nThe car speeds up to 20mph.\n\nCrow's Nest (in the car)\nHere, the giant crow sits on an equally giant nest, looking at you smugly.\n\nPeeking behind it, you see that your stoLEN Spear lies to the rear of the nest.\n\nThe only way out is west.\n\n> Go west\nThe car coasts at 20mph to handle the turn.\n\nRoad To Reality (in the car)\nTo the north, a paved road ends in a long upward ramp overlooking a 50-foot-wide canyon. Passages lead south and east. The road continues west.\n\n> Go south\nThe car coasts at 20mph to handle the turn.\n\nBird's Perch (in the car)\nThere's an empty perch here. Passages lead north and south.\n\n> You go south\nThe car speeds up to 30mph.\n\nDanger Den (in the car)\nPassages continue to the north and south.\n\n> You go to the south\nThe car speeds up to 40mph.\n\nErsatz Corridor (in the car)\nIn the center of this room hangs a heavy counterbaLANCE. It is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> Go south\nThe car speeds up to 50mph.\n\nBalcony (in the car)\nYou stand on a balcony. You're standing in a tHEATER, one can assume, given the stage below you and the array of spotlights above.\n\nStairs descend to the stage below. Also, a passage returns to the north.\n\n> Go north\nThe car slows down to 20mph to handle the turn.\n\nErsatz Corridor (in the car)\nIn the center of this room hangs a heavy counterbaLANCE. It is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> Go north\nThe car speeds up to 40mph.\n\nBird's Perch (in the car)\nThere's an empty perch here. Passages lead north and south.\n\n> You go to the north\nThe car speeds up to 50mph.\n\nRoad To Reality (in the car)\nTo the north, a paved road ends in a long upward ramp overlooking a 50-foot-wide canyon. Passages lead south and east. The road continues west.\n\n> Go north\nYou pull the throttle and launch the car off of the ramp.\n\nYou soar through the air over the canyon.\n\nCrash!\nCrash Site\nThe wreckage of your crashed car is here.\n\nThe path continues north. The wide canyon is south.\n\nA red button is mounted on the ground here.\n\nFortunately, you were wearing a seatbelt. You stand up, uninjured."
    },
    {
        "text": "> You look around\nThe wreckage of your crashed car is here.\n\nThe path continues north. You can also cross the canyon to the south.\n\nA red button is mounted on the ground here.\n\n> Go north\nThe troll you scared earlier guards the path north. Blocking the north exit is a vault door. You can also return to the south.\n\nNext to the door is a note printed in tiny text.\n\n> You examine the note with the lens\nThe lens magnifies the text: \"Note: for security reasons, I have reversed the door's passcode.\"\n\n> You examine the door\nThis is an ornate vault door.\n\n> You open the door\nIt isn't something you can open.\n\n> TALK TO TROLL\n\nThe troll growls menacingly.\n\n> You wear the clothes\nIt's too small for you.\n\n> Pump clothes\nThere's too many air holes.\n\n> You say 'XXXX'\n(to the troll)\nThere is no reply.\n\n> You unlock door\nWhat do you want to unlock the vault door with?\n\n> You go south\nThe wreckage of your crashed car is here.\n\nThe path continues north. You can also cross the canyon to the south.\n\nA red button is mounted on the ground here.\n\n> Go south\nA paved road bridges the canyon to the north. Passages lead south and east. The road continues west.\n\n> Go east\nHere, the giant crow sits on an equally giant nest, looking at you smugly.\n\nPeeking behind it, you see that your stoLEN Spear lies to the rear of the nest.\n\nThe only way out is west.\n\n> You talk to Crow\n\"Caw! Got'cher shiny pointy spear. It's right behind me, but you can't have it! Without that spear, you can't scare me one bit.\"\n\n> Burn nest\nThis dangerous act would achieve little.\n\n> You take Spear\nThe crow blocks you with a giant feathery wing. \"Caw-haw! Without that spear, you think you can scare me?\"\n\n> CROW, GIVE ME SPEAR\n\n(the crow first taking the spear)\nThe crow has better things to do.\n\n> UNDO\n\n[Previous turn undone.]\n\n> Inventory\nYou are carrying:\nsome clothing\na lens\nan air pump\na torch\na heater\na key\n\n> You tell the troll about the bridge\nThis provokes no reaction.\n\n> GIVE CLOTHES TO TROLL\n\nThe troll doesn't seem interested.\n\n> You examine scared\nYou can't see any such thing.\n\n> LIGHT HEATER\n\nYou light the oil in the heater. It flickers to life and begins producing a comfortable warmth.\n\n> You check what you're carrying\nYou are carrying:\nsome clothing\na lens\nan air pump\na torch\na heater (providing light)\na key\n\n> Burn troll\nThe troll parries your attack with its club. Looks like the torch doesn't have enough reach to get past the troll's defenses.\n\n> You examine the clothes\nIt's a full set of clothing, including a hat and shoes. Looks like something a farmer would wear.\n\n> You take the note\nThat's fixed in place.\n\n> You go west\nThe corridor ends here. The only exit is back to the east.\n\n> Burn Crow\nThe crow deftly dodges your torch.\n\n> Go south\nThere's an empty perch here. Passages lead north and south.\n\n> You go south\nIn the center of this room hangs a heavy counterbaLANCE. It is tied to a thick red rope vanishing up into a hole in the ceiling.\n\nExits lead north and south.\n\n> Burn rope\nYour torch burns straight through the rope. It snaps!\n\nThe counterbalance crashes to the floor.\n\nThe rope above the burn point is rapidly pulled up into the hole in the ceiling.\n\nYou hear a loud crash from the south. You turn around just in time to see an elevator fall through the ceiling to the south.\n\n> Go south\nYou stand on a balcony. You're standing in a tHEATER, one can assume, given the stage below you and the array of spotlights above.\n\nStairs descend to the stage below. The ceiling above you is splintered open. A thick red rope hangs down from it into the pit. Also, a passage returns to the north."
    },
    {
        "text": "> Go downwards\nYou stand on a wooden stage. In front of the stage, between you and the audience seats, is a cavernous pit. Down in the pit, you can barely hear a piT ORCHestra playing faint strains of music.\n\nStairs lead back up to the balcony. You can go backstage to the east. The ceiling far above you is splintered open. A thick red rope hangs down from it into the pit."
    },
    {
        "text": "> Go down\nIn front of you, the orc: he arms up. In front of it, a woman waves a stick back and forth to a rhythm only she hears.\n\nYou can climb the rope back up to the stage.\n\n> You find the straw\nYou found some hidden straw!\nYou take it."
    },
    {
        "text": "> Look around\nIn front of you, the orcheSTRA Warms up. In front of it, a woman waves a stick back and forth to a rhythm only she hears.\n\nYou can climb the rope back up to the stage.\n\n> You put the straw in the clothes\nYou stuff the straw into the clothing, creating a makeshift scarecrow.\n\n> You examine the scarecrow\nIt's your standard makeshift scarecrow: straw stuffed into a set of clothing. If you were a bird, you'd freeze to death on the spot.\n\n> You examine the woman\nShe waves a stick back and forth. Nobody seems to be watching.\n\n> You look at the stick\nThe conductor waves it about in 4/4 rhythm. The musicians down below don't seem to be watching.\n\n> You talk to the woman\nThe woman turns to you, frustrated. \"They won't start playing the piece! They keep practicing and practicing while asking me for winter coats. Could you help?\"\n\n> You give HEATER to the woman\nThe conductor says, \"Oh! This will be perfect! Now my ensemble can finally stop warming up.\" She takes the heater from you and fixes it in place in the middle of the orchestra. The room begins warming up rapidly.\n\nYou listen as the musicians start playing their symphony. It has some strange lyrics: \"The - passcode - to - the - vault - is - banana.\" (To say a passcode, just type it.)\n\nThe conductor sighs in relief. \"Maybe tomorrow we can figure out why an elevator crashed through the ceiling here.\"\n\n> You look at the musicians\nThe musicians are happily playing music, with lyrics: \"The passcode to the vault is banana.\"\n\n> Go upwards\nYou stand on a wooden stage. In front of the stage, between you and the audience seats, is a cavernous pit. Down in the pit, you can barely hear a piT ORCHestra playing faint strains of music.\n\nStairs lead back up to the balcony. You can go backstage to the east. The ceiling far above you is splintered open. A thick red rope hangs down from it into the pit.\n\n> You examine the ceiling\nIt's splintered open. Something must have fallen through.\n\n> You go to the north\nIn the center of this room lies a heavy counterbaLANCE. It used to be tied to a thick red rope, but no longer.\n\nExits lead north and south.\n\n> You go to the north\nThere's an empty perch here. Passages lead north and south.\n\n> You give the scarecrow to Crow\n\"Aaawck!\" The crow stares at the faux-farmer with death in its eyes. It snaps its beak nervously. \"It wasn't me. I'm innocent! I was framed. It was self-defense!\"\n\nThe crow buries its head in its wings. \"Oh, I never should have stolen that corn. Have mercy! Have mercy!\"\n\nThe crow darts away in a storm of feathers. \"Caw! I'll never come back. Don't shoot! Off to Digitopolis with me. No more trouble from me, caw.\"\n\n> You take Spear\nTaken."
    },
    {
        "text": "[Themes: wordplay]\n\n> Look around\nThere is a recently vacated giant nest here. The only way out is west.\n\n> Stab troll\nYou shank the troll in the torso. The troll squeals and runs away, never to return.\n\n> You say the ananab\nAs you say \"ananab\", the vault door hinges open!\n\n> Go north\nYou step through the vault door and tumble down a steep slope into a dark cave, lit only by your torch.\n\nAn arm-sized salamander crawls up to you. \"My name is Isaac Newt. You were sent by King Azaz to restore Reality, were you not? I see you are carrying several pieces of it. To begin the healing of Reality, you must put them together.\"\n\nIsaac gives you a quick look-see. \"So far you have been very observant. But many have failed before you, too focused on\nfinding things. Heed my advice: in this land, every action\nhas an equal and opposite action. If you can find something,\nthen...\"\n\nIsaac trails off cryptically, and scurries away into a crack in the rock.\n\nIt is very dark here. The only exit is north."
    },
    {
        "text": "[Themes: wordplay]\n\n> Look around\nIt is very dark here. The only exit is north.\n\n> Inventory\nYou are carrying:\na spear\na scarecrow\na lens\nan air pump\na torch\na key\n\n> Go north\nYou walk into a small cavern. You see nonsense words carved into a plaque here:\n\n\"Kiss, pear, care, crown, glen. Skey's questor chair. Pump TV I.\"\n\nAs for the final step -- using the pieces of Reality you collected...\n\n> You find the kis\nYou can't see any such thing.\n\n> REMOVE T\n\nYou can't see any such thing."
    },
    {
        "text": "[Themes: Surreal]\n\nAre you sure you want to quit? \n\nYour very first night is over in your new house. It still seems surreal that you are now the proud owner of this place. It doesn't quite feel like home yet since you haven't been able to get your furniture. However, you can't get the rental truck until tomorrow. Maybe today would be a good idea to explore those woods behind your house. It'll be a good way to kill time until you can get properly moved in tomorrow.\n\nType \"about\" for more information.\n\nMaster Bedroom (on the mattress)\nAll that's unpacked in the room is your mattress with a sheet thrown over the top of it. Your dresser is still in storage. Windows look out to the north and west, and the closet lies to the south. The hallway is to the east.\n\n> Author\nScene 1, \"Going Exploring\", was written by Tom Blawgus.\n\n> You look at what you're carrying with you\nYou are carrying:\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You read Almanac\nRather than start at the beginning of the Almanac, and having no curiosity in any specific entry in particular, you flip to a random page and begin reading at random:\n\nJust to make sure, you skim through the ontogeny section. Yeah, you were right. Not only is the metatarsal tubercule completely different, but larval Overlords are typically the size of small planets. Otherwise they're quite like tadpoles, though.\n\nOut of context, this may or may not make a whole lot of sense, but I suppose that's what you get for not looking up a specific entry.\n\n> You go to the south\nThe closet's much too small to fit in.\n\n> You open the closet\nYou're not Mr. Fantastic. You'll need to get up to reach the closet.\n\nYour vision goes blurry for a second, and a voice seems to be speaking to you right out of your brain.\n\n\"Dave? Dave? Can you hear me?\" says the voice. \"Hang on, we're trying to get you out of there.\"\n\n> You wake\nThe dreadful truth is, this is not a dream.\n\nThe voice continues. If you concentrate, you can just place the voice as Leslie's. \"Listen. I think we can do this, but we need your help. We need to calibrate on this end with something you've held on that end. Can you describe something you've picked up, or something you're holding? Try telling me about it.\"\n\n> You stand\nYou get off the mattress.\n\nAll that's unpacked in the room is your mattress with a sheet thrown over the top of it. Your dresser is still in storage. Windows look out to the north and west, and the closet lies to the south. The hallway is to the east.\n\n> You describe Almanac\nEver since your youth, this book has been your dearest companion. Originally a slender mass-market paperback from Knockoff Press, it now bulges under the weight of your painfully cross-referenced annotations and additions. It largely deals with how the Atlanteans staged the moon landings in order to atrophy America's can-do attitude and defy the Cosmic Overlords, but has valuable information on many related topics.\n\n> You tell Leslie about Almanac\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted Every Child's Almanac of Lunar Conspiracy as characteristic of this section, which should help us get a bead on your location.\n\n> You open the closet\nYou open the closet, revealing a backpack and a swibble.\n\n\"I really need that room,\" Leslie says again. \"We almost have a lock on your avatar.\"\n\n\"OK, now we need to know where you are. Can you tell me about one of the rooms you've visited in this section?\"\n\n> You tell Leslie about the closet\n\"Aha! Got it! Analyzing now...\"\n\n> You look at the swibble\nIt's just a swibble.\n\n> You take all from the closet\nbackpack: Taken.\nswibble: You can't intefere with a swibble! It would be... well, you just can't.\n\n> You look up the swibble in Almanac\nYou discover nothing of interest in Every Child's Almanac of Lunar Conspiracy.\n\n\"I really need that room,\" Leslie says again. \"We almost have a lock on your avatar.\"\n\n> You open the backpack\nThat's already open.\n\n> You eat the swibble\n(first taking the swibble)\nYou can't intefere with a swibble! It would be... well, you just can't.\n\n> You tell Leslie about Bedroom\n\"Ah, perfect! Analyzing the Master Bedroom now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n> You examine the swibble\nIt's just a swibble.\n\nLeslie pipes up again. \"OK! I'm going to send you a detangler. You should be able to use it to escape as-is, but if not, I can try sending you some attachments. I've attuned it to your signal in the simulator, so it should stay with you.\n\nA strange beam of green light bathes you, then disappears.\n\n> Inventory\nYou are carrying:\ndetangler base (with a trigger attached.)\na backpack (open but empty)\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You examine the detangler\n(the detangler base)\nLong and sleek, with various notches for extra attachments. When it's working, you should be able to just fire it. Attached to the base is a trigger.\n\n> Fire detangler\n(the detangler base)\nTaking a deep breath, you pull the trigger and shoot the detangler. Blue static washes over you and the Master Bedroom, but then dissipates. And you're still in the same room as before.\n\n\"Dave? We caught a power surge in your location. That wasn't... drat, the detangler didn't work, did it? OK, we'll try again. Let me send you the focuser; I think the area of effect was too wide.\" You wait for the green light again.\n\nAfter a few moments, you hear cursing from inside your head. \"Um... Dave, I'm sorry, but the lock I had for your location is busted.\nYou'll need to find your way somewhere else, and try again from there. Sorry about that. I'll work on the focuser; you work on finding your way forward.\"\n\n> You look up Leslie in Almanac\nThe Atlantean legends are unclear on whether this figure is meant to represent some sort of demon or monster, or if it is merely a human being who achieved both great power and great viillainy. Her exact name varies according to the source text: sometimes it is written as \"Lisellyi\" or \"Leslea\"; other sources refer to her as \"L'Z'L\", perhaps as a reference to the holy tetragrammaton. Some modern academics have taken to transliterating the name as \"Leslie\" or even \"Lucille\", although this is generally recognized as a sign of less serious scholarship."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nAll that's unpacked in the room is your mattress with a sheet thrown over the top of it. Your dresser is still in storage. Windows look out to the north and west, and the closet lies to the south. The hallway is to the east.\n\n> You take the sheet\nTaken.\n\n> You examine the mattress\nAt least you were able to haul this here on the top of your car. It would have been quite uncomfortable to sleep on the floor.\n\n> You take the mattress\nThat's hardly portable.\n\n> You ask Leslie about Leslie\n\"I'm trying to get you out of there! I think we can do this, just trust me.\"\n\n> North\nYou look out the window and see the neighbor's fence.\n\n> You examine the west window\nYou look out the window and gaze upon your front lawn and the street beyond it.\n\n> Go east\nPeeling paint greets you as you gaze down the hallway. Once you get moved in and get your car back, a trip to the paint store is on your list of things to do. The threadbare carpet leads you south, or you can step into your bedroom to the west. The bathroom lies to the north, and there's a spare bedroom to the east.\n\n> About you\nAs good-looking as ever.\n\n> You go east\nThis is room is about as empty as your bedroom. There are windows looking north and east, and there's a closet to the south.\n\n> You open the closet\nOpening the closet reveals a flashlight. The previous owners must have forgotten it when they moved out.\n\n> You take flashlight\n(putting Every Child's Almanac of Lunar Conspiracy into the backpack to make room)\nTaken.\n\n> You look at it\nA durable flashlight found in the spare room closet.\n\nThe flashlight is currently switched off.\n\n> You examine the east window\nYou look out the window and gaze into your back yard and the woods beyond. You can also see the windows of the Sun Room and see a bit of the room itself.\n\n> Go north\nAll the usual fixtures are here. Unfortunately the water isn't turned on yet, so you can't use any of them. It's on your ever-growing list of things to do after getting your stuff.\n\nYou can see a surveillance camera here.\n\n> You examine the camera\nIt's the standard bathroom cam, same as in every other place you've ever lived.\n\n> You tell Leslie about the bathroom\n\"Ah, perfect! Analyzing the Bathroom now...\"\n\n> You ask Leslie about yourself\n\"You were testing the simulation code when something went wrong. Do you not even remember who you are any more? That's bad.\"\n\n> You ask Leslie about the simulation\n\"You were working on the simulator, but something went wrong and it started to interface with your brain directly. Your own memories are now influencing the simulator in unpredictable ways, and the simulator is trying to keep up. It's going to get weirder before it gets back to normal.\"\n\n> You look up the Conspiracy in Almanac\nAt the core of the web of lies the Atlanteans have woven: the supposed moon landings. It is a shadowy business; you have few answers, but many questions. Where did the billions invested in the space program go? What really lurks inside the fridge in the NASA headquarters break room? What fiendish plan are the Atlanteans concocting against the Cosmic Overlords? The answers can only lie in one place: the moon.\n\n> You take the camera\nThat's fixed in place.\n\n> Go south\nPeeling paint greets you as you gaze down the hallway. Once you get moved in and get your car back, a trip to the paint store is on your list of things to do. The threadbare carpet leads you south, or you can step into your bedroom to the west. The bathroom lies to the north, and there's a spare bedroom to the east.\n\n> Go south\nHardwood floors greet you and your steps echo as you walk around the room. There is a window in the west wall looking out into the front yard. The front door is to the west, and the kitchen lies to the east.\n\n> You go east\nA small kitchen, perfect for one. Cupboards line the north wall, and there's a refigerator in the corner next to the oven. Oh, and there's also a kitchen sink. You can walk west to the living room, or east down some steps into the sun room.\n\n> You open the cupboards\nYou open them one by one and find nothing in them. Your dishes are still in storage.\n\n> You open the fridge\nYou open the refrigerator, revealing a water bottle.\n\n> You take the bottle\n(putting the house key into the backpack to make room)\nTaken.\n\n> You examine bottle\nJust the thing to have along in case you get thirsty.\n\nThe water bottle contains water.\n\n> You close the fridge\nYou close the refrigerator.\n\n> You examine the sink\nNow you've seen everything... except water.\n\n> You go to the east\nA vast open room at the back of the house with windows on all sides. A door looking something like one you'd see on a barn leads outdoors, while the garage is to the southwest. The kitchen is up some steps to the west.\n\n> Go southwest\nObviously this garage was built many years ago because there's no way the modern car would fit in it. As a result, it becomes a convenient place to store your stuff when you get it out of storage. The garage door lies to the east, but it's locked shut and the realtor forgot to give you the key to the padlock. Another chore for you after moving in.\n\nYou can see some cobwebs and some dead flies here.\n\n> Inventory\nYou are carrying:\nwater bottle, which contains water\na flashlight\na sheet\ndetangler base (with a trigger attached.)\na backpack (open)\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n> Fire detangler\n(the detangler base)\nYou shoot the detangler again, but nothing happens.\n\n> You examine the cobwebs\nSign of the enemy! Vile! Vile!\n\n> You take the flies\n(putting the detangler base into the backpack to make room)\nTaken. Ick.\n\n> You take the cobwebs\nYou obliterate the unclean thing. Hopefully you can forget that your beautiful new home ever contained such inappropriate filth.\n\n> You tell Leslie about the padlock\n\"Dave, there's no time,\" Leslie replies. \" You need to find an item you can hold and a new room or area to tell me about, or I won't be able to pull you out of the simulator. If you can't find anything to hold, it might work to find something that can hold you, instead.\"\n\n> You tell Leslie about the garage\n\"Ah, perfect! Analyzing the Garage now...\""
    },
    {
        "text": "> Look around\nObviously this garage was built many years ago because there's no way the modern car would fit in it. As a result, it becomes a convenient place to store your stuff when you get it out of storage. The garage door lies to the east, but it's locked shut and the realtor forgot to give you the key to the padlock. Another chore for you after moving in.\n\n> You open the door\nYou open the barn door.\n\n> Go east\nA large carpet of green stretches all the way to the back of the property where the woods start. The house is back to the west, and you can enter the woods to the east.\n\n> You close the door\nYou close the barn door.\n\n> Go east\nWith anticipation, trepidation and excitement, you enter the woods.\n\nLooking back through the trees, you can still make out your house. Looking forward, you see the vast wilderness surrounds you that is just begging to be explored. A path meaders through the trees leading east.\n\nA Great Master stands by the path in watchful posture. You are awestruck. No one mentioned when you bought the house that you would be graced with such a blessing.\n\nThe Great Master acknowldeges you with a wave of its foreclaw, and you hear its voice resonate in your head: GREETINGS, SOFT ONE. ACCESS TO THE WOODS IS RESTRICTED.\n\n> You look at great Master\nMagnificent, benevolent, wise, and at least eight feet tall. To gaze on it is to be honored. Its carapace is brilliant green, its compound eyes are irridescent blue-red. It stands in the Ready Watcher pose, four legs on the ground, its great knifelike foreclaws crossed in front of its thorax.\n\n> You tell Leslie about great Master\n\"Dave, there's no time,\" Leslie replies. \" You need to find an item you can hold and a new room or area to tell me about, or I won't be able to pull you out of the simulator. If you can't find anything to hold, it might work to find something that can hold you, instead.\"\n\nMore static, and you hear Leslie's voice again. \"You dropped off our old lock, so it looks like you've made it to a new section. Tell us about something you've held and about a room you see, and I'll try to send a focuser.\n\n> Author\nYou can't see any such thing.\n\nScene 2, \"Introducing the Great Masters\", was written by Carl Muckenhoupt.\n\n> You fight master\nYou can barely even articulate the thought.\n\n> You ask Master about the access\nTHE WOODS HIDE A TERRIBLE THING. ACCESS IS PERMITTED ONLY TO THOSE OF ASSURED LOYALTY.\n\n> You ask Master about the loyalty\nA SERVICE IS REQUIRED. RESTORE THE BELOVED TO US.\n\n> You ask Master about BELOVED\nTHE BELOVED HAS STRAYED. BRING IT TO US THAT IT MAY REJOICE IN OUR LOVE ONCE MORE.\n\n> You check your inventory\nYou are carrying:\nsome dead flies\nwater bottle, which contains water\na flashlight\na sheet\na backpack (open)\ndetangler base (with a trigger attached.)\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You offer myself to Master\nTHE SOFT ONES DO NOT TRULY UNDERSTAND LOVE. THIS IS WHY YOU NEED OUR GUIDANCE.\n\n(first taking yourself)\nYou are always self-possessed.\n\n> You ask Master about the soft ones\nWhy waste a Great Master's time with something irrelevant?\n\n> You tell Master about the house\nThe Great Master is unimpressed.\n\n> Kiss master\nKeep your mind on the game.\n\n> You ask Master about the house\nWE CONGRATULATE YOU ON ACQUIRING THE NEARBY RESIDENCE. IT IS IN A GOOD NEIGHBORHOOD, NEAR SCHOOLS.\n\n> You ask Master about the guidance\nTHE SOFT ONES DO NOT TRULY UNDERSTAND LOVE. THIS IS WHY YOU NEED OUR GUIDANCE.\n\n> Go east\nThe Great Master stops you. You hear its voice in your head: ACCESS DENIED.\n\n> You check your inventory\nYou are carrying:\nsome dead flies\nwater bottle, which contains water\na flashlight\na sheet\na backpack (open)\ndetangler base (with a trigger attached.)\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You ask Master about hard\nWhy waste a Great Master's time with something irrelevant?\n\n> You give Almanac to Master\n(first taking Every Child's Almanac of Lunar Conspiracy)\n(putting the sheet into the backpack to make room)\nThe Great Master doesn't seem interested."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nLooking back through the trees, you can still make out your house. Looking forward, you see the vast wilderness surrounds you that is just begging to be explored. A path meaders through the trees leading east.\n\nA Great Master stands by the path in watchful posture.\n\n> You examine the house\nYour house key. Without it, you wouldn't feel safe going anywhere.\n\n> Go west\nA large carpet of green stretches all the way to the back of the property where the woods start. The house is back to the west, and you can enter the woods to the east.\n\n> You go west\n(first opening the barn door)\n\nA vast open room at the back of the house with windows on all sides. A door looking something like one you'd see on a barn leads outdoors, while the garage is to the southwest. The kitchen is up some steps to the west.\n\n> Go west\n(first opening the front door)\n(first unlocking the front door)\n(first taking the house key)\n(putting the flashlight into the backpack to make room)\n(with the house key)\n\nA neatly manicured lawn greets you and runs all the way to the sidewalk. Your driveway is to the south and you can step back inside to the east.\n\n> You go to the south\nThe concrete is cracked but is still servicable to park your car. The garage itself lies to the east, but there's no handle on this side of the garage door. Add a trip to the hardware store to your list of things to do.\n\nA lesser mantid stands here, staring fascinated at the reflection of the sunlight reflected on the pavement by the rear view mirror.\n\nYou can also see a car here.\n\n> You take the mantid\nIt skitters away at your approach.\n\n> You look at the mantid\nA beautiful insectoid, related to the Great Masters, but not intelligent, and much smaller. This one is barely the size of a dog.\n\n> You examine the car\nYour trusty car that can get you places, except into the woods.\n\nThe lesser mantid stridulates plaintively.\n\n> You give the flies to the mantid\nYou kneel down and hold out the dead flies on your palm. The mantid approaches cautiously, then delicately picks up the flies in its mandibles one by one and crunches them down. It seems less skittish now.\n\n> You examine the car\nYour trusty car that can get you places, except into the woods.\n\n> You enter the car\nToday's not the day to explore the neighborhood. Today's the day to explore the woods.\n\n> You go north\nA neatly manicured lawn greets you and runs all the way to the sidewalk. Your driveway is to the south and you can step back inside to the east.\n\n> You go east\nA small kitchen, perfect for one. Cupboards line the north wall, and there's a refigerator in the corner next to the oven. Oh, and there's also a kitchen sink. You can walk west to the living room, or east down some steps into the sun room.\n\nYou reposition the lesser mantid to hold its weight better.\n\n> Go east\nAre you going to leave your house open when you explore?\n\n> You tell Master that the mantid likes us better\nA vast open room at the back of the house with windows on all sides. A door looking something like one you'd see on a barn leads outdoors, while the garage is to the southwest. The kitchen is up some steps to the west.\n\nYou can't see any such thing.\n\n> Go west\nA small kitchen, perfect for one. Cupboards line the north wall, and there's a refigerator in the corner next to the oven. Oh, and there's also a kitchen sink. You can walk west to the living room, or east down some steps into the sun room.\n\nThe lesser mantid writhes.\n\n> You close the door\nYou close the front door.\n\nThe lesser mantid burbles.\n\n> You lock it\n(with the house key)\nYou lock the front door.\n\nYou turn the lock in the doorknob to lock the front door.\n\n> You lock the door\nThat's locked at the moment.\n\n> You go east\nA vast open room at the back of the house with windows on all sides. A door looking something like one you'd see on a barn leads outdoors, while the garage is to the southwest. The kitchen is up some steps to the west.\n\nThe lesser mantid burbles.\n\n> You close the door\nYou close the barn door.\n\nThe lesser mantid snuggles its head against your shoulder. Its antennae tickle your chin.\n\n> Go east\nLooking back through the trees, you can still make out your house. Looking forward, you see the vast wilderness surrounds you that is just begging to be explored. A path meaders through the trees leading east.\n\nA Great Master stands by the path in watchful posture.\n\n> You give the mantid to Master\nYou place it on the ground in front of the Great Master, who places its foreclaws around its neck protectively. You hear the Great Master's voice in your head: WE THANK YOU FOR THE RETURN OF THE BELOVED. YOU ARE LOYAL, SOFT ONE.\n\nThe lesser mantid uses a foreclaw to clean its large, soulful compopund eyes.\n\n> You tell Leslie about the mantid\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted the lesser mantid as characteristic of this section, which should help us get a bead on your location.\n\n> You ask Master about the woods\nACCESS GRANTED.\n\n\"OK, can you tell us about one of the places you've visited from this section?\" Leslie asks.\n\n> You tell Leslie about Woods\n\"Ah, perfect! Analyzing the Edge of the Woods now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n> You wait for a while\nTime passes.\n\nAnother beam of green light hits you and your load feels a bit heavier. \"There you go!\" Leslie says. \"I've sent you another attachment that should help.\"\n\n> Inventory\nYou are carrying:\na focuser\na house key\nEvery Child's Almanac of Lunar Conspiracy\nwater bottle, which contains water\na backpack (open)\na flashlight\na sheet\ndetangler base (with a trigger attached.)\n\nThe Great Master casually snips off the lesser mantid's head, then picks up and eats its body.\n\n> You attach the focuser to the base\nWith a click and a pop, you permanently attach the focuser to the detangler base.\n\n> You check your inventory\nYou are carrying:\na house key\nEvery Child's Almanac of Lunar Conspiracy\nwater bottle, which contains water\na backpack (open)\na flashlight\na sheet\ndetangler base (with a trigger and a focuser attached.)\n\n> Fire detangler\n(the detangler base)\nWith the focuser attached, you pull the trigger once more. Bright blue static pours out of it and crackles around your feet. For a moment, the scene seems to shift... but then it dies out, and you're back to where you were before.\n\n\"Not again!\" Leslie complains. \"Let me check my readouts. Hmm. OK, maybe you just need more power. If you can get to a new section and get me a lock there, I'll send you an extra power source."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nLooking back through the trees, you can still make out your house. Looking forward, you see the vast wilderness surrounds you that is just begging to be explored. A path meaders through the trees leading east.\n\nA Great Master stands by the path in watchful posture.\n\nYou can also see a lesser mantid head here.\n\n> You ask Master about BELOVED\nIT WILL STRAY NO MORE.\n\n> You look at the head\nWell, you're sure it was justified.\n\n> You ask Master about the LOVE\nLOVE IS SOMETIMES HARSH. WE DO WHAT WE MUST.\n\n> You eat master\n(first taking the Great Master)\nI don't suppose the Great Master would care for that.\n\n> You go east\nFallen leaves crunch underfoot as you trundle exploritatively down the sun-dappled path. Fresh air, exercise, the beauty of nature: all is good. Until, quite suddenly, you get an uncanny feeling, like someone stepped on your grave.\n\nYou can't put your finger on it at first. Then you notice that the small clearing you've stepped into is perfectly spherical, the trees bending around it and in some cases cut by an invisible field. And you understand: this is a blast site. Unwholesome relic of the war, a zone of anti-life created by the humans' weapons when they tried to... to...\n\nYou choke back tears. How could people have ever been so foolish?\n\nThere's a perfectly spherical gap in the forest here, thirty feet in diameter, where nothing can grow. Tall maple and birch trees bend around this bubble of unlife. Distant blackbirds call.\n\nA path has been hacked through the forest to the east, and you can see something to the northeast.\n\nIn the fused earth at your feet, you see a hint of something yellow.\n\n> You eat the head\nThat's plainly inedible.\n\n> You give the head to Master\nYou can only do that to something animate.\n\n> You listen\nSomewhere, a red-winged blackbird gives a throaty cry in defense of its tree.\n\n> Author\nScene 3, \"End of the World\", was written by Ricardo Dague.\n\n> Dig\nThe fused earth is too hard to dig in with your hands.\n\nLeslie says, \"Looks like you've gotten to a new section. I'll need another room and object to reestablish a lock. After that, I can send you a power pack.\"\n\n> You tell Leslie about the blast zone\n\"Dave, there's no time,\" Leslie replies. \" You need to find an item you can hold and a new room or area to tell me about, or I won't be able to pull you out of the simulator. If you can't find anything to hold, it might work to find something that can hold you, instead.\"\n\n> You tell Leslie about the blast site\n\"Ah, perfect! Analyzing Blast Site now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n> You tell Leslie about yellow\n\"Dave, there's no time,\" Leslie replies. \" You need to find an item you can hold and a new room or area to tell me about, or I won't be able to pull you out of the simulator. If you can't find anything to hold, it might work to find something that can hold you, instead.\"\n\n\"Now we need an item you've picked up from this section,\" Leslie tells you.\n\n> You get yellow\nIt's too firmly embedded in the fused earth.\n\n> You pull yellow\nIt is fixed in place.\n\n> Inventory\nYou are carrying:\na lesser mantid head\na house key\nEvery Child's Almanac of Lunar Conspiracy\nwater bottle, which contains water\na backpack (open)\na flashlight\na sheet\ndetangler base (with a trigger and a focuser attached.)\n\n> You look at the head\nWell, you're sure it was justified.\n\n> You look uthe anti-life zone in Almanac\nI only understood you as far as wanting to dig.\n\nYou discover nothing of interest in Every Child's Almanac of Lunar Conspiracy.\n\n> You examine the head\nYou discover nothing of interest in Every Child's Almanac of Lunar Conspiracy.\n\nWell, you're sure it was justified."
    },
    {
        "text": "> Describe the surroundings\nThere's a perfectly spherical gap in the forest here, thirty feet in diameter, where nothing can grow. Tall maple and birch trees bend around this bubble of unlife. Distant blackbirds call.\n\nA path has been hacked through the forest to the east, and you can see something to the northeast.\n\nIn the fused earth at your feet, you see a hint of something yellow.\n\n> Go northeast\nTrickling through the forest is a small, clear stream.\n\n> You look at the stream\nYou peer into the flowing stream and see something darting among the rocks.\n\nThe stream contains water.\n\n> Drink water\n(the water bottle)\nYou quaff water, leaving the water bottle empty.\n\n> Drink stream\nYou scoop some water in your hands and slurp it refreshingly.\n\n> You fill the bottle\n(with the stream)\nThe water bottle cannot contain any more than it already holds.\n\n> Search stream\nBy being patient, you finally see what's darting around in the water--tadpoles!\n\nThe stream is empty.\n\n> You look at the tadpoles\nBy being patient, you finally see what's darting around in the water--tadpoles!\n\n> You go to the south-west\nThere's a perfectly spherical gap in the forest here, thirty feet in diameter, where nothing can grow. Tall maple and birch trees bend around this bubble of unlife. Distant blackbirds call.\n\nA path has been hacked through the forest to the east, and you can see something to the northeast.\n\nIn the fused earth at your feet, you see a hint of something yellow.\n\n> Empty bottle\nYou pour out the bottle.\n\n> You go east\nThe forest presses around this narrow throughway leading west to east.\n\n> You look up the tadpoles in Almanac\nJust to make sure, you skim through the ontogeny section. Yeah, you were right. Not only is the metatarsal tubercule completely different, but larval Overlords are typically the size of small planets. Otherwise they're quite like tadpoles, though.\n\nYour very first night is over in your new house. It still seems surreal that you are now the proud owner of this place. It doesn't quite feel like home yet since you haven't been able to get your furniture. However, you can't get the rental truck until tomorrow. Maybe today would be a good idea to explore those woods behind your house. It'll be a good way to kill time until you can get properly moved in tomorrow.\n\nType \"about\" for more information.\n\nMaster Bedroom (on the mattress)\nAll that's unpacked in the room is your mattress with a sheet thrown over the top of it. Your dresser is still in storage. Windows look out to the north and west, and the closet lies to the south. The hallway is to the east.\n\n> You stand\nYou get off the mattress.\n\nAll that's unpacked in the room is your mattress with a sheet thrown over the top of it. Your dresser is still in storage. Windows look out to the north and west, and the closet lies to the south. The hallway is to the east.\n\n> You open the closet\nYou open the closet, revealing a backpack and a swibble.\n\n> You take the backpack\nTaken.\n\n> You take the sheet\nTaken.\n\nYour vision goes blurry for a second, and a voice seems to be speaking to you right out of your brain.\n\n\"Dave? Dave? Can you hear me?\" says the voice. \"Hang on, we're trying to get you out of there.\"\n\n> You go to the east\nPeeling paint greets you as you gaze down the hallway. Once you get moved in and get your car back, a trip to the paint store is on your list of things to do. The threadbare carpet leads you south, or you can step into your bedroom to the west. The bathroom lies to the north, and there's a spare bedroom to the east.\n\nThe voice continues. If you concentrate, you can just place the voice as Leslie's. \"Listen. I think we can do this, but we need your help. We need to calibrate on this end with something you've held on that end. Can you describe something you've picked up, or something you're holding? Try telling me about it.\"\n\n> You tell Leslie about Bedroom\nWhich do you mean, the Master Bedroom, or the Spare Bedroom?\n\n> Master\n\"Ah, perfect! Analyzing the Master Bedroom now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n> You check your inventory\nYou are carrying:\na sheet\na backpack (open but empty)\na house key\nEvery Child's Almanac of Lunar Conspiracy\n\n\"We still need an item you've picked up,\" Leslie tells you.\n\n> You tell Leslie about Almanac\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted Every Child's Almanac of Lunar Conspiracy as characteristic of this section, which should help us get a bead on your location.\n\n> You open closet\nOpening the closet reveals a flashlight. The previous owners must have forgotten it when they moved out.\n\nLeslie pipes up again. \"OK! I'm going to send you a detangler. You should be able to use it to escape as-is, but if not, I can try sending you some attachments. I've attuned it to your signal in the simulator, so it should stay with you.\n\nA strange beam of green light bathes you, then disappears.\n\n> You take flashlight\n(putting Every Child's Almanac of Lunar Conspiracy into the backpack to make room)\nTaken.\n\n> Fire detangler\n(the detangler base)\nTaking a deep breath, you pull the trigger and shoot the detangler. Blue static washes over you and the Spare Bedroom, but then dissipates. And you're still in the same room as before.\n\n\"Dave? We caught a power surge in your location. That wasn't... drat, the detangler didn't work, did it? OK, we'll try again. Let me send you the focuser; I think the area of effect was too wide.\" You wait for the green light again.\n\nAfter a few moments, you hear cursing from inside your head. \"Um... Dave, I'm sorry, but the lock I had for your location is busted.\nYou'll need to find your way somewhere else, and try again from there. Sorry about that. I'll work on the focuser; you work on finding your way forward.\"\n\n> You go west\n(first opening the front door)\n(first unlocking the front door)\n(with the house key)\n\nA neatly manicured lawn greets you and runs all the way to the sidewalk. Your driveway is to the south and you can step back inside to the east.\n\n> You take all\ncobwebs: You obliterate the unclean thing. Hopefully you can forget that your beautiful new home ever contained such inappropriate filth. dead flies: (putting the sheet into the backpack to make room)\nTaken. Ick.\nhouse key: (putting the detangler base into the backpack to make room) Taken.\nEvery Child's Almanac of Lunar Conspiracy: (putting the flashlight into the backpack to make room)\nTaken.\n\n> You take the mantid\nIt nestles into your arms and leans against your shoulder, its chitinous spines gently pricking your skin.\n\nThe lesser mantid writhes.\n\n> Go north\nA neatly manicured lawn greets you and runs all the way to the sidewalk. Your driveway is to the south and you can step back inside to the east.\n\nYou reposition the lesser mantid to hold its weight better.\n\n> You close the door\nYou close the front door.\n\n> You lock the door\n(with the house key)\nYou lock the front door.\n\nYou turn the lock in the doorknob to lock the front door.\n\nThe lesser mantid snuggles its head against your shoulder. Its antennae tickle your chin.\n\n> You go to the east\nA small kitchen, perfect for one. Cupboards line the north wall, and there's a refigerator in the corner next to the oven. Oh, and there's also a kitchen sink. You can walk west to the living room, or east down some steps into the sun room.\n\nThe lesser mantid snuggles its head against your shoulder. Its antennae tickle your chin.\n\n> You go to the east\nAre you going to leave your house open when you explore?\n\nThe lesser mantid gently squeezes your arm in its powerful mandibles.\n\n> You close the door\nYou close the barn door.\n\n> Go east\nWith anticipation, trepidation and excitement, you enter the woods.\n\nLooking back through the trees, you can still make out your house. Looking forward, you see the vast wilderness surrounds you that is just begging to be explored. A path meaders through the trees leading east.\n\nA Great Master stands by the path in watchful posture. You are awestruck. No one mentioned when you bought the house that you would be graced with such a blessing.\n\nThe Great Master acknowldeges you with a wave of its foreclaw, and you hear its voice resonate in your head: GREETINGS, SOFT ONE. ACCESS TO THE WOODS IS RESTRICTED.\n\n> You ask Master about the access\nTHE WOODS HIDE A TERRIBLE THING. ACCESS IS PERMITTED ONLY TO THOSE OF ASSURED LOYALTY.\n\n> You ask Master about the loyalty\nA SERVICE IS REQUIRED. RESTORE THE BELOVED TO US.\n\n> You give mantid to Master\nYou place it on the ground in front of the Great Master, who places its foreclaws around its neck protectively. You hear the Great Master's voice in your head: WE THANK YOU FOR THE RETURN OF THE BELOVED. YOU ARE LOYAL, SOFT ONE.\n\nThe lesser mantid stridulates plaintively.\n\nMore static, and you hear Leslie's voice again. \"You dropped off our old lock, so it looks like you've made it to a new section. Tell us about something you've held and about a room you see, and I'll try to send a focuser.\n\n> You tell Leslie about the mantid\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted the lesser mantid as characteristic of this section, which should help us get a bead on your location.\n\n> You tell Leslie about Woods\n\"Ah, perfect! Analyzing the Edge of the Woods now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\nThe lesser mantid cocks its head.\n\n> You look at what you're carrying with you\nYou are carrying:\na focuser\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle, which contains water\na backpack (open)\na flashlight\ndetangler base (with a trigger attached.)\na sheet\n\nThe lesser mantid uses a foreclaw to clean its large, soulful compopund eyes.\n\n> You attach the focuser to the base\nWith a click and a pop, you permanently attach the focuser to the detangler base.\n\nThe Great Master casually snips off the lesser mantid's head, then picks up and eats its body.\n\n> You take the head\nTaken.\n\n> Fire detangler\n(the detangler base)\nWith the focuser attached, you pull the trigger once more. Bright blue static pours out of it and crackles around your feet. For a moment, the scene seems to shift... but then it dies out, and you're back to where you were before.\n\n\"Not again!\" Leslie complains. \"Let me check my readouts. Hmm. OK, maybe you just need more power. If you can get to a new section and get me a lock there, I'll send you an extra power source.\n\n> You go east\nFallen leaves crunch underfoot as you trundle exploritatively down the sun-dappled path. Fresh air, exercise, the beauty of nature: all is good. Until, quite suddenly, you get an uncanny feeling, like someone stepped on your grave.\n\nYou can't put your finger on it at first. Then you notice that the small clearing you've stepped into is perfectly spherical, the trees bending around it and in some cases cut by an invisible field. And you understand: this is a blast site. Unwholesome relic of the war, a zone of anti-life created by the humans' weapons when they tried to... to...\n\nYou choke back tears. How could people have ever been so foolish?\n\nThere's a perfectly spherical gap in the forest here, thirty feet in diameter, where nothing can grow. Tall maple and birch trees bend around this bubble of unlife. Distant blackbirds call.\n\nA path has been hacked through the forest to the east, and you can see something to the northeast.\n\nIn the fused earth at your feet, you see a hint of something yellow.\n\n> You look at the trees\nOn the very edge of the blast radius, you can see older trees that were partly sheared away, and healed over. The newer growth simply bends around the dead zone, as if growing around a wall. Branches hang down to within several inches of the upper boundary.\n\n> You climb trees\nI don't think much is to be achieved by that.\n\nLeslie says, \"Looks like you've gotten to a new section. I'll need another room and object to reestablish a lock. After that, I can send you a power pack.\"\n\n> Search stream\nThe stream is empty.\n\n> You take the tadpoles\nTry as you might, the tadpoles slip through your fingers and under the rocks.\n\n> You put the tadpoles in the water\n(the water bottle)\nThe water bottle cannot contain any more than it already holds.\n\n> Drink bottle\nYou quaff water, leaving the water bottle empty.\n\n> You put the tadpoles in the bottle\nYou fill the water bottle up with water from the stream.\n\n> You examine bottle\nThe water bottle is full of water, and there's a tadpole swimming around in it!\n\n> You look at the tadpole\n(the tadpole)\nIt swims around in the bottle.\n\nFor a moment, you suspect it might be a larval Overlord, but the metatarsal tubercule is all wrong.\n\n> You check what you're carrying\nYou are carrying:\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle, which contains water, and a tadpole\na backpack (open)\na flashlight\ndetangler base (with a trigger and a focuser attached.)\na sheet\n\n> You tell Leslie about tadpole\n(tadpoles)\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted tadpoles as characteristic of this section, which should help us get a bead on your location."
    },
    {
        "text": "> Describe the surroundings\nTrickling through the forest is a small, clear stream.\n\n\"OK, can you tell us about one of the places you've visited from this section?\" Leslie asks.\n\n> You tell Leslie about by a stream\n\"Ah, perfect! Analyzing Blast Site now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n\"Ah, perfect! Analyzing By a Stream now...\"\n\nAnother beam of green light hits you and your load feels a bit heavier. \"There you go!\" Leslie says. \"I've sent you another attachment that should help.\"\n\n> You check what you're carrying\nYou are carrying:\na power pack\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle, which contains water, and a tadpole\na backpack (open)\na flashlight\ndetangler base (with a trigger and a focuser attached.)\na sheet\n\n> You attach the power pack to the base\nWith a click and a pop, you permanently attach the power pack to the detangler base.\n\n> Fire base\nYou pull the trigger and are immediately knocked down by the force of the static charge erupting from the detangler. It flies from your hand, hits the floor, and the power pack gets knocked off. With a sigh, you retrieve both parts and put them back together.\n\n\"Wow, sorry about that,\" says Leslie, \"I guess you'll need a stabilizer, too. I hope there are more sections to this place.\"\n\n> You check what you're carrying\nYou are carrying:\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle, which contains water, and a tadpole\na backpack (open)\na flashlight\ndetangler base (with a trigger, a focuser and a power pack\nattached.)\na sheet\n\n> You go east\nThe forest presses around this narrow throughway leading west to east.\n\n> You go southeast\nThe trees have been cut back to make room for this tall device. Looking up at it, you see that it looks like...a phallus? Oh wait, it's a missile. Kind of the same thing, but instead of a little death there's great big death.\n\nA cheerful-looking man in a black two-piece suit and black horn-rimmed glasses stands nearby studying the huge device.\n\nYou can also see some rope and a shovel here.\n\n> Shovel\nrope: The industrial-purpose rope far too heavy for you to lift. shovel: The man stops you, saying, \"Here now, does that belong to you?\"\n\n> You look at the man\nThis guy looks like an insurance salesman from the 50s!\n\n> You look at the missile\nIt's sixty feet tall and gleaming white! An American flag and skull and bones are painted on one side.\n\n> You ask the man about himself\nHe says, \"The name is McWiggy.\"\n\n> You ask McWiggy about the missile\nHe says, \"It's a fine, fine missile, isn't it? If you saw the blast site to the west, well, that was this fella's little brother's work! Did a beautiful job!\"\n\n> You show the head to the man\nHe says, \"You didn't find anything alive there, did you?\" His eyes twinkle behind the thick lenses. \"If you did there'd be something seriously wrong! When one of our missiles land on something, it's completely gone! In fact, if you did find anything alive there, I don't know what I'd do!\"\n\n\"No thank you,\" he says, patting his missile. \"This here is all I need to be happy.\"\n\n> You show the tadpole to McWiggy\n(first taking the tadpole)\nThe mouth of the bottle is too narrow to stick your fingers in.\n\n> You tell the man about the yellow\nHe looks at it a bit nervously. \"Ew, life,\" he says. \"At least you didn't find that in the blast site! That would be tragic.\" He shudders.\n\nThis provokes no reaction.\n\n> You take the shovel\nHe says, \"Tut tut! Can't have any more life than necessary, can we? That's why I'm here.\"\n\nThe man stops you, saying, \"Here now, does that belong to you?\"\n\n> Yes\nHe grins. \"Carry on, then!\"\n\n> You get the shovel\nYou already have that.\n\n> You ask McWiggy for the shovel\nThe cheerful man has better things to do.\n\n> Dig\nYou dig for a few minutes, turning up an old helmet!\n\n> You examine the helmet\nThe standard army helmet is dirty and cracked. A strange green film is on the inside of it.\n\n> You go southeast\nThe trees have been cut back to make room for this tall device. Looking up at it, you see that it looks like...a phallus? Oh wait, it's a missile. Kind of the same thing, but instead of a little death there's great big death.\n\nA cheerful-looking man in a black two-piece suit and black horn-rimmed glasses stands nearby studying the huge device.\n\nYou can also see some rope here.\n\n> You show the helmet to McWiggy\nHe stares at the item, his cheer quickly turning into horror. He says, \"What is this?! If you found this helmet in the blast site, and the tadpole was in the helmet, then that means...something was left alive! The missile was a failure? I don't believe it! I refuse to believe it!\"\n\nThe man starts running in circles! He's lost his mind!\n\n> You take the missile\nYou can't, because suddenly the man runs at you, making you jump backwards! You land on the coil of rope!\n\n\"So sorry,\" he says, and pulls out a something that looks like a large cellphone. \"I know what to do now. If this missile is fired and destroys its target, then we'll know that the last failure was just a fluke, right?\"\n\n> You get the rope\nThe industrial-purpose rope far too heavy for you to lift.\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You hit man\nViolence isn't the answer to this one.\n\nThe man says, \"Level B checks clear! Begin firing sequence!\" Then he notices you again, \"I thought I told you to go! This is a holy launch and you have no right to be here!\"\n\n> You throw the rope at the man\n(first taking the rope)\nThe industrial-purpose rope far too heavy for you to lift.\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> Bask\nWhat do you want to ask the upset man for?\n\n> You shoot the detangler\n(the detangler base)\nWith some trepidation, you fire the detangler again, but nothing happens.\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nAs it lifts off you and the man and everything around are consumed in flame!\n\n> You look\nThe trees have been cut back to make room for this tall device. Looking up at it, you see that it looks like...a phallus? Oh wait, it's a missile. Kind of the same thing, but instead of a little death there's great big death.\n\nAn upset-looking man stands here pale and terrified, madly hitting buttons on something like a cellphone.\n\nYou can also see some rope here.\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You check your inventory\nYou are carrying:\na shovel\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle (empty)\na backpack (open)\na flashlight\ndetangler base (with a trigger, a focuser and a power pack\nattached.)\na sheet\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You attach the rope to the detangler\n(the detangler base)\nThat doesn't seem to fit.\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You tie the rope to man\nA valiant attempt.\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You go to the northwest\nYou're tangled in the rope! You can't walk anywhere!\n\nThe man says, \"Level B checks clear! Begin firing sequence!\" Then he notices you again, \"I thought I told you to go! This is a holy launch and you have no right to be here!\"\n\n> You remove the rope\n(first taking the rope)\nThe industrial-purpose rope far too heavy for you to lift.\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> Fire detangler\n(the detangler base)\nWith some trepidation, you fire the detangler again, but nothing happens.\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nAs it lifts off you and the man and everything around are consumed in flame!\n\n> You examine the film\nYou can't make out what it is.\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> Wear helmet\n(first taking the helmet)\nThat seems to belong to the upset man.\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> You touch the film\nYou feel nothing unexpected.\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nAs it lifts off you and the man and everything around are consumed in flame!\n\n> You check what you're carrying\nYou are carrying:\na shovel\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle (empty)\na backpack (open)\na flashlight\ndetangler base (with a trigger, a focuser and a power pack\nattached.)\na sheet\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> You hit the man\nViolence isn't the answer to this one.\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nAs it lifts off you and the man and everything around are consumed in flame!\n\n> You examine man\nThis guy looks like an insurance salesman from the 50s!\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nAs it lifts off you and the man and everything around are consumed in flame!\n\n> You ask Leslie about the missile\nPlease give one of the answers above.\n\n> You look at the rope\nIt's a coil of very large-diameter rope, maybe three inches. On one end is a hook.\n\nAfter pressing a few buttons, the man looks up at the missile. \"System check is okay!\" he says, then turns to you, \"I suggest you leave. The blast from the rocket engine will kill everyone in this area!\"\n\n> You tie the hook to missile\nYou throw it at the missile! It sticks on! The man yells at you, \"You better not have scratched that!\"\n\nThe man says, \"Level B checks clear! Begin firing sequence!\" Then he notices you again, \"I thought I told you to go! This is a holy launch and you have no right to be here!\"\n\n> You pull the rope\nNothing obvious happens.\n\nThe missile starts making a humming sound, and steam begins blowing out of the base. \"It's about to fire!\" he yells at you. \"I guess there's no helping it, if you really need to stay. Bask in the glory with me!\"\n\n> You climb the rope\nI don't think much is to be achieved by that.\n\nSuddenly the missile roars and flame and smoke shoot out of the base. The heat is becoming unbearable! The man chortles madly. \"Success! Success! Off you go to wreak havoc my boy!\"\n\nIt lifts off, with the hook, the rope, and yourself being pulled along! The man yells, \"What do you think you're doing?! You altered the trajectory! It's going straight up!\"\n\nAs he falls away below, the man is waving his arms, \"Hold your breath! Hold your breath!\"\n\nThe missile is roaring towards space, with you in tow! Air and clouds whip by you and the earth below is getting smaller and smaller.\n\nYou hang onto the rope for dear life!\n\n> You hold the breath\nYou inhale mightily and begin holding your breath.\n\nYou would scream in terror, but you're trying to hold your breath!\n\n> You examine the earth\nEverything down there is getting smaller and smaller...\n\nAs the rocket shoots straight up, the air seems to be getting thinner!\n\nYou courageously continue holding your breath.\n\n> You examine the clouds\nThey whip buy too fast to see!\n\nHang on! The missile seems to be nearing the end of earth's atmosphere!\n\nYou courageously continue holding your breath.\n\n> Author\nScene 3, \"End of the World\", was written by Ricardo Dague.\n\n> You wait\nTime passes.\n\nThe missile will enter outer space in just a moment!\n\nYou courageously continue holding your breath.\n\n> You wait for a while\nTime passes.\n\nYou fly out into outer space!\n\nThe missile is shooting toward the moon with you right behind! There's deathly silence here in outer space.\n\nYou courageously continue holding your breath.\n\n> You examine the moon\nIt is great big and rock-colored!\n\nTerrifyingly, you fly along!\n\nYou courageously continue holding your breath.\n\n> You look at the stars\nThey twinkle silently.\n\nOh no, you're about to hit the moon!\n\nYou courageously continue holding your breath.\n\n> You examine moon\nIt is great big and rock-colored!\n\nWith a huge crash, the rocket hits the moon! How you have survived, you don't know.\n\nThough stunned momentarily, you slowly open your eyes and stand up...\n\nWow you've landed on the moon! Gray, rocky, dusty, airless landscape stretches all around.\n\nA double line of suspicious footprints leads to the crater's center.\n\nHolding your breath is becoming difficult!\n\n> You enter\nYou make an attempt on the crater walls, but they're just too steep. There does seem to be an easier climb to the north, however.\n\nYou can't hold your breath much longer!\n\n> You go to the north\nYou stand on the lip between two overlapping lunar craters; the one into which you crash-landed is dwarfed by the immense, ancient crater before you. Far below you on the crater floor, you can make out patches of green; beyond that, a sprawling silvery mass, many kilometres to the north, that can only be the secret Atlantean lunar base. First, however, you have to find some way of getting down this cliff.\n\nYou can't hold your breath much longer!\n\n> Author\nScene 4, \"The Great Lunar Conspiracy\", was written by Sam Kabo Ashwell.\n\n> You breathe\nYou remember that the moon's supposed lack of atmosphere is, in fact, yet another scientific hoax. You hadn't realised how deeply the education system had planted lies in your psyche.\n\nYou breathe out. Hahhhhh.\n\n> You examine the footprints\nYou look to the south, toward the crater in which you crash-landed. In addition to your own tracks, a set of footprints reach a patch of smooth ground at the crater's centre, then double back.\n\n> You look up the moon in Almanac\nWhy does the moon coincidentally look exactly the same size as the sun? Why did all ancient civilisations venerate a Moon deity? Why do the Freemasons have no lodges in Antarctica? If you're not convinced by now, there's clearly no hope for you.\n\nLeslie contacts you once more. \"Good job! Another section. Get me another room and an object to analyze, and I can send you a stabilizer.\n\n> You go south\nWow you've landed on the moon! Gray, rocky, dusty, airless landscape stretches all around.\n\nA double line of suspicious footprints leads to the crater's center.\n\n> Dig\nYou thrust the shovel into the dust and excavate mightily.\nIt's not long before you've uncovered a large wooden crate.\n\n> Examine crate\nHa! You always knew that Australian wines were really lunar in origin, and here is undeniable evidence!\n\n> Open crate\nYou open the crate of wine, revealing some wine bottles.\n\n> You examine the wine\n(the crate of wine)\nHa! You always knew that Australian wines were really lunar in origin, and here is undeniable evidence!\n\n> You tell Leslie about crate\n\"Aha! Got it! Analyzing now...\"\n\n\"Perfect! OK, we've noted the crate of wine as characteristic of this section, which should help us get a bead on your location.\n\n> You take the crate\nEven in lunar gravity, the crate is too heavy for a mere Earth-human to lift.\n\n\"OK, can you tell us about one of the places you've visited from this section?\" Leslie asks.\n\n> You tell Leslie about the crater\n\"Dave, you already visited that room in the last section. I need a new room for this section if I'm going to be able to lock on to your location properly.\"\n\n> You look at the wine bottle\n(the delicious wine)\nA bottle of Wachawoomagoo Slope, a perfectly respectable if little-known pinot noir from the Ibn Battuta vinyards.\n\n> You tell Leslie about the overlook\n\"Ah, perfect! Analyzing Scenic Overlook now...\"\n\n\"Great, we have that room now. That should help. Re-calibrating...\"\n\n> You tell Leslie about the wine bottle\n(the delicious wine)\n\"Aha! Got it! Analyzing now...\"\n\nAnother beam of green light hits you and your load feels a bit heavier. \"There you go!\" Leslie says. \"I've sent you another attachment that should help.\"\n\n> You check your inventory\nYou are carrying:\na stabilizer\na delicious wine\na shovel\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle (empty)\na backpack (open)\na flashlight\ndetangler base (with a trigger, a focuser and a power pack\nattached.)\na sheet\n\n> You tell Leslie about the crater\n\"Thanks, but you told me about that room already.\"\n\n> You attach the stabilizer to the detangler\n(the detangler base)\nWith a click and a pop, you permanently attach the stabilizer to the detangler base.\n\n> Fire detangler\n(the detangler base)\nHolding your breath and closing your eyes, you fire the detangler. Click. You open your eyes. You're still where you were before. You pull the trigger again. Click. Nothing. \"Leslie?\" you ask, \"did something go wrong? The detangler won't fire.\"\n\n\"What? Oh, no! The power pack must be drained. Grar; I'll send you a recharger. I've used up the lock on this section, though; you'll have to go somewhere else and do it all again.\" With a sigh, you pack the detangler away again.\n\n> Go north\nYou stand on the lip between two overlapping lunar craters; the one into which you crash-landed is dwarfed by the immense, ancient crater before you. Far below you on the crater floor, you can make out patches of green; beyond that, a sprawling silvery mass, many kilometres to the north, that can only be the secret Atlantean lunar base. First, however, you have to find some way of getting down this cliff.\n\n> You examine the lunar base\nA sprawling silvery mass, yes. And filled, no doubt, with treachery.\n\n> You jump\nThe cliffs look too steep to climb easily. Even in lunar gravity, the fall could be fatal. Well... probably. You don't really feel brave enough to find out.\n\n> You look at the green\nTiny patches of green dot the otherwise harsh landscape far below. If only you could find some way to explore that verdant Eden...\n\n> You jump\nYou peer over the side. It doesn't really look that dangerous. Still, it might be better if you were a little more lubricated first, or had some protection.\n\n> Go west\nThe crater walls are too steep in that direction.\n\n> You go to the south\nWow you've landed on the moon! Gray, rocky, dusty, airless landscape stretches all around.\n\nA double line of suspicious footprints leads to the crater's center.\n\nYou can also see a crate of wine (in which are some wine bottles) here.\n\n> Go south\nYou make an attempt on the crater walls, but they're just too steep. There does seem to be an easier climb to the north, however.\n\n> You drink the wine\n(the wine bottles)\nGlancing around to make sure you are unobserved, you snaffle a bottle of delicious wine.\n\nNormally you wouldn't drink this much, what with the lunar oxygen saturation and everything...\n\nThis time your throw is distinctly wobbly, and the bottle barely makes it over the horizon. Your sense of self-preservation feels somewhat dulled, too.\n\n> You jump\nWith a silent invocation to the Cosmic Overlords, you close your eyes and fling yourself off the cliff.\n\nThanks to lunar gravity and the relaxing effects of pinot noir, you avoid being splattered like a ripe tomato. And would a true hero be slowed down by a fractured arm? Hardly!\n\nAh, the sun-kissed slopes of Jules Verne Crater, where the grape grows and the wallabies frolic. Presumably. You've yet to see any wallabies, but there are certainly grapevines aplenty.\n\nYou can see a big craggy moon rock here.\n\n> You sit on the rock\nYou get onto the big craggy moon rock.\n\n\"OK, you've moved on. You look for a room and object, and I'll get you a recharger.\" Leslie sounds a bit haggard, but hopeful.\n\n> You take the rock\nUuuugh! Nope, you can't lift it.\n\n> You take the grapes\nThat's hardly portable.\n\nAround the edge of a nearby trellis wanders a heretofore unseen wombat.\n\nWait. Wombat?! Wombats don't exist. They're like... wallabies. And kangaroos. And walaroos. And Tasmanian devils. And dingoes who eat babies. They're all made up, mythical creatures from the fictional continent of Australia...\n\nYou rub your eyes in disbelief, but when you look again, the wombat is still there. Upon seeing you, he stops, cocks his head, then narrows his eyes and wrinkles his hairy snout. He appears to be... snarling. It's all a bit of a farce, really - something so little and adorable as a wombat trying to look threatening.\n\nWhat was it you heard about Wombats, anyway? They're herbivores... right?\n\n> You look up the wombat in Almanac\nDeceptively adorable, these mythical creatures from the fictional continent of Australia are about a meter long, with a very short tail. A favorite prey of the Tasmanian devil (also mythical), wombats are generally thought to be shy herbivores. Legend holds, however, that they possess sharp teeth and claws, can run at 40 km/hr, and have been known to kill the (equally mythical) dingo. They have even been known to exist in vinyards. That is, if they're actually real, which they're not. But if they were  real, it would also be interesting to note that their scat is cubical.\n\n> You look up the wombat in Almanac\nDeceptively adorable, these mythical creatures from the fictional continent of Australia are about a meter long, with a very short tail. A favorite prey of the Tasmanian devil (also mythical), wombats are generally thought to be shy herbivores. Legend holds, however, that they possess sharp teeth and claws, can run at 40 km/hr, and have been known to kill the (equally mythical) dingo. They have even been known to exist in vinyards. That is, if they're actually real, which they're not. But if they were  real, it would also be interesting to note that their scat is cubical.\n\nBefore you can make a move, the deceptively adorable wombat leaps forward and tries to eviscerate you with his mighty digging claws! You're able to tear away from his vicious teeth just in time...\n\nYou might want to keep track of how you're doing by diagnosing yourself.\n\n> You look up the australia in Almanac\nA weighty appendix, which constitutes about three-quarters of the book's actual weight, details the histories of such fictional continents as Atlantis, Lemuria, Mu and Australia. Despite their technical non-existence, cultural belief in them sustains their para-existence in the collective subconscious, better known as the moon.\n\n> Author\nScene 5, \"Night of the Wombat\", was written by Jacqueline A. Lott.\n\n> You hit Wombat\nYou jump to the side just as the wombat comes at you, and turn to jab him in the side as he goes by!\n\nThat was a pretty good hit, but it'll take more than that to put the little blighter in line.\n\n> You hit Wombat\nYou jump to the side just as the wombat comes at you, and turn to jab him in the side as he goes by!\n\nThe wombat seems to have lost some of the spring in its step.\n\n> You hit Wombat\nYou take a short running kick at the wombat, and it connects! The wombat goes flying!\n\nThe wombat is doesn't look quite so agile anymore. I think you could probably finish the little bugger off.\n\n> You hit Wombat\nYou put everything you have in a solid roundhouse kick, and the wombat shuffles away, yelping!\n\nThat final blow proved to be too much for the wombat - it lies down, rolls over onto its back, its little furry feet wiggle for a few seconds, and then the marsupial goes limp.\n\nLooking down upon its adorable frame, you feel a twinge of remorse.\n\"It was trying to kill me,\" you think to yourself. \"I had no choice but to strike...\" You feel a sudden, odd desire to pet the poor misguided creature. As you reach out, however, the body starts to shimmer, then fade. Soon, it is gone altogether.\n\n> You diagnose yourself\nYou hear a whisper from behind you. It says, \"You have proven yourself worthy.\"\n\nYou turn around to see a shimmering face suspended in the air at eye level. It is the most beautiful face you have ever seen; being in its presence fills you with a mixture of both fear and awe. \"Are you... one of the Cosmic Overlords?\" you stammer.\n\nThe face smiles at you benevolently. \"Yes. The marsupial was... a test. It is difficult to bring oneself to strike such a fluffy, adorable creature. Some are so entranced by its fluffiness that they can never bring themselves to attack it - even if it means their own death. Through your skill and bravery in Wombat Combat, you have proven yourself worthy of our cause. You will fight the Atlanteans, who in their perfidiousness will use many tricks in an attempt to stay your hand. Do not fall victim to their beguiling ways.\n\n\"But... I'm hurt. How can I be of any use?\" you whine.\n\nThe Cosmic Overlord rolls its eyes, sighs heavily, and says to you, \"Okay, we're not supposed to help you out this much, but just this once we will...\" There is a tingling sensation in your arm... you feel... fantastic. And your arm seems to have healed.\n\n\"Gee, thanks, Overlord. Say, not to sound ungrateful or anything - because I'm certainly very grateful indeed - but... is there anyway you could help me get to the Atlantean Base?\"\n\nThe Overlord narrows its eyes at you. \"Okay, fine, but really, this is the last time we're helping you.\n\n> You examine Overlord\n\"Like, really.\""
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThere is a sudden, blinding flash of light, followed by... you're not sure what. When you regain consciousness, you find yourself in an entirely different place.\n\n> You look at the wall\nA sprawling silvery mass, yes. And filled, no doubt, with treachery. You must  find a way inside!"
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nYou find yourself standing outside the Atlantean Base. The silvery walls of the base rise tall into the starry sky, and seem to stretch on endlessly in either direction. Behind you, to the south, lies a vast, unwelcoming expanse of moonscape.\n\n> You examine the sky\nThe sky appears as a dark, enveloping blanket, studded with diamond-like stars which twinkle at you. The two most prominent objects in the heavens are the Earth and the Sun.\n\n> You look at Earth\nGazing up at the blue-and-white marble that mankind calls home, your heart swells with an inexpressible and profound feeling... of resentment that the Atlanteans imprisoned humanity on such a dingy little orb. No wonder the females evolved smaller breasts.\n\nYou note, with a touch of bitterness, the patch of ocean where so-called \"geographers\" claim Australia is located. How dare Google Earth lie to you.\n\n> You look at Earth\nGazing up at the blue-and-white marble that mankind calls home, your heart swells with an inexpressible and profound feeling... of resentment that the Atlanteans imprisoned humanity on such a dingy little orb. No wonder the females evolved smaller breasts.\n\n> You examine Sun\nThe light emanating from the sun takes only minutes to travel this far. It's a shame there's not more atmosphere to trap some of that heat and keep you warm. Better watch what you wish for, though - the people of Earth asked for an atmosphere that could retain heat and we all know what happened there, don't we now?\n\n> Go south\nThe moonscape draws on endlessly in that direction, desolate and barren. Your destiny lies in front of you, inside the Atlantean Base.\n\n> You examine the moonscape\nGazing out across the moonscape, you realize that there are no words to properly describe it. Vast... unwelcoming... those are just the start. If you had to put it into one word, it would be this: lonely.\n\n> Author\nScene 6, \"Entering the Unknown\", was written by Mark J. Musante.\n\n> Smell\nYour singing is abominable.\n\nYou smell nothing unexpected.\n\n> Go west\nThere are no entrances visible east or west. Trudging around the entire base on the off-chance that a convenient door might pop up borders on madness. You'll have to try finding another way in.\n\n> You examine the sky\nThe sky appears as a dark, enveloping blanket, studded with diamond-like stars which twinkle at you. The two most prominent objects in the heavens are the Earth and the Sun.\n\n> You look at Earth\nGazing up at the blue-and-white marble that mankind calls home, your heart swells with an inexpressible and profound feeling... of resentment that the Atlanteans imprisoned humanity on such a dingy little orb. No wonder the females evolved smaller breasts.\n\n> You hit the wall\nYou are carrying:\na shovel\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle (empty)\na backpack (open)\na flashlight\na sheet\n\nViolence isn't the answer to this one.\n\n> Inventory\nYou are carrying:\na shovel\na lesser mantid head\nEvery Child's Almanac of Lunar Conspiracy\na house key\nwater bottle (empty)\na backpack (open)\na flashlight\na sheet\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You look up Atlantean in Almanac\nThe book contains a pretty comprehensive summary of Atlantean perfidy, from imperilling the very fabric of the collective subconscious by their treachery against the Cosmic Overlords, to trimming their pubic hairs in your soap dish."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nYou find yourself standing outside the Atlantean Base. The silvery walls of the base rise tall into the starry sky, and seem to stretch on endlessly in either direction. Behind you, to the south, lies a vast, unwelcoming expanse of moonscape.\n\n> You think\nWhat a good idea.\n\n> You ask Leslie about Atlantean Base\nThere are no entrances visible east or west. Trudging around the entire base on the off-chance that a convenient door might pop up borders on madness. You'll have to try finding another way in.\n\nYou can't see any such thing.\n\n> You look up the atlantis in Almanac\nA weighty appendix, which constitutes about three-quarters of the book's actual weight, details the histories of such fictional continents as Atlantis, Lemuria, Mu and Australia. Despite their technical non-existence, cultural belief in them sustains their para-existence in the collective subconscious, better known as the moon.\n\n> You look up the moon in Almanac\nWhy does the moon coincidentally look exactly the same size as the sun? Why did all ancient civilisations venerate a Moon deity? Why do the Freemasons have no lodges in Antarctica? If you're not convinced by now, there's clearly no hope for you.\n\n> You give up\n(to yourself)\nYou must name something more substantial.\n\n> You wear the sheet\n(first taking the sheet)\n(putting the empty water bottle into the backpack to make room)\nYou're carrying too many things already.\n\n> You get the wall\nThey are too massive, too endless, too... silvery to take."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nYou find yourself standing outside the Atlantean Base. The silvery walls of the base rise tall into the starry sky, and seem to stretch on endlessly in either direction. Behind you, to the south, lies a vast, unwelcoming expanse of moonscape.\n\n> Author\nScene 6, \"Entering the Unknown\", was written by Mark J. Musante.\n\n> You get all\nempty water bottle: (putting the house key into the backpack to make room)\nTaken.\nflashlight: (putting Every Child's Almanac of Lunar Conspiracy into the backpack to make room)\nTaken.\nsheet: (putting the lesser mantid head into the backpack to make room) Taken.\n\n> You turn on the flashlight\nYou switch the flashlight on.\n\n> You turn off flashlight\nYou switch the flashlight off.\n\n> Empty wall\nYou will have to do that manually.\n\n> About yourself\nAs good-looking as ever.\n\nYou are horrendously drunk.\n\n> You look up the silver in Almanac\nSilver is a chemical element with the symbol Ag (Latin: argentum) and atomic number 47. Atlanteans used silver for much of their building material, having learned how to make it stronger and more durable than any steel alloy created on Earth. Showoffs.\n\n> You turn on the flashlight\nYou switch the flashlight on.\n\n> You look at the wall\nWhat's this? The light from the flashlight illuminates a twinkly pattern on the wall.\n\n> You look at the pattern\nThe pattern sparkles and twinkles in the artificial light.\n\n> Touch pattern\nYou reach out for the pattern, and a spark of static shocks your finger. You reach out again, and you are Drawn Inside.\n\nThe interior of the Atlantean's base is a great deal more hospitable than the lunar surface was. But that's not saying much. The walls of this room are as shiny and silvery as the giant silvery wall was outside. A simple, unmarked doorway leads north.\nAt last - you're on the brink of discovering what fate your parents met. Perhaps they're even still alive! Maybe they can reassure you that Aunt Bertha was your aunt by marriage and not by blood...\n\n> Author\nScene 6, \"Entering the Unknown\", was written by Mark J. Musante.\n\n> Go north\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\n> Go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> You check your inventory\nYou are carrying:\nEvery Child's Almanac of Lunar Conspiracy\n\n> Go northeast\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nYou can't go that way.\n\n> Drop almanac\nDropped.\n\n> Go west\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nYou can see Every Child's Almanac of Lunar Conspiracy here.\n\n> You go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nWhat's this? A small yet silvery box? This wasn't here before, was it?\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> Go west\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nWhat's this? A small yet silvery box? This wasn't here before, was it?\n\n> Go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> You go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> Go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\n> Go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nWhat's this? A small yet silvery box? This wasn't here before, was it?\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> Go east\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nEast and west sparkle and twinkle at you, down a long featureless corridor. A doorway is in the south wall, with a Greek letter theta above.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nWhat's this? A small yet silvery box? This wasn't here before, was it?\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\n> Go west\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nSilvery, sparkily, twinkly walls all tend to blend into your vision and make it all so very disorienting. You're pretty sure the corridor leads east and west, but it's hard to be certain.\n\nWhat's this? A small yet silvery box? This wasn't here before, was it?\n\n> Examine box\nSmallish and silveryish. A fine seam runs round the outside indicating that it could be opened.\n\n> You open the box\nYou open the small silver box, revealing a complicated button.\n\n> You eat box\nThat's plainly inedible.\n\n> You look at the controls\nA vast wall of dials, levers, knobs, gears, and readouts. If you started at one end and analyzed them until you got to the other, it would probably take you three days, and you would be none the wiser for it.\n\n> You look up mom in Almanac\nYour mother was a beautiful, amazing woman, as far as you can remember. Unfortunately, she was abducted by the Atlanteans when you were but a wee child, and you were sent to live with horrible Aunt Bertha.\n\n> You look up the aunt bertha in Almanac\nAunt Bertha wasn't exactly your favorite aunt. When you were forced to stay with her as a child, she told you horrible, terrible bedtime stories about small children being eviscerated by wallabies.\n\n> You look up the wallabies in Almanac\nDeceptively adorable, these mythical creatures from the fictional continent of Australia are smaller than their closely-related (though equally mythical) cousin, the kangaroo. Seeing as how neither one exists, the dividing line between what constitutes a wallaby and what constitutes a kangaroo is somewhat arbitrary. In general, a wallaby is smaller and stockier than a kangaroo, a kangaroo is generally larger and lankier than a wallaby, and a \"wallaroo\" is what you call a specimen if you can't bring yourself to otherwise pigeon-hole the creature. In myth, wallabies, kangaroos, and wallaroos live in a variety of habitats, and one can never be entirely certain that any given area is safe from their kicking feet and sharpened claws. They have even been known to exist in vinyards.\n\n> You pull the lever\nIt is fixed in place.\n\n> You look at the wall\n(the crack in the wall)\nIt wouldn't even be noticable if it wasn't in the middle of an otherwise blank section of wall.\n\n> You examine the floor\nYou can barely discern a faint, gentle humming under the floor."
    },
    {
        "text": "> Describe the surroundings\nEven deeper still inside the Atlantean Base. Complex machinery hums deep within, and complex controls line every wall of this large, cavernous room. The walls are still silvery, though. There does not appear to be any exit.\n\nA hairline fracture can be seen in the southeast wall, not even wide enough to put your fingernail inside.\n\n> You go southeast\n(first opening the crack in the wall)\nThat's not something you can open.\n\n> You look up the fracture in Almanac\nFracturing bones is usually quite painful and should generally be avoided as a matter of course. Skeletal fractures can occur in an infinite number of ways, only a few of which are included here for the sake of brevity:\n\n---> Getting lit and taking your lunar rover for a spin without due regard for the safety of yourself or others.\n\n---> Getting lit, then challenging a boar grumptar to a wrestling match.\n\n---> Getting lit and pretending you can fly over a lunar crater.\n\nPlease notice the common thread in all of these examples and remember the anti-binging slogan, kids: UNCHECKED DRINKING LEADS TO ABSENCE OF THINKING! And that's  one to grow on.\n\n> You look up the grumptar in Almanac\nNot to be confused with your Aunt Bertha, grumptars are a very dangerous species indeed. AFGNCAAPs which have wrestled with a boar grumptar and lived to tell the tale state that the only creature they fear more is the grue.\n\n> You look up the afgncaap in Almanac\nAgeless, Faceless, Gender Neutral, Culturally Ambiguous Adventure Person. DUH. Didn't you pay attention during IF Theory? Or were you too busy dreaming about going into space? Well, your day dreams certainly paid off, didn't they, slacker?\n\n> You look up the controls in Almanac\nThe Atlanteans are notorious for the complexity of their machinery, and the controls for those machines are generally just as complex. Whether through superstition or habit, however, their dislike of the number 14 means that this setting is usually skipped for most controls, and if it is included, it is usually involved with some sort of fail-safe measure.\n\n> Yes\nThat was a rhetorical question.\n\n> You say 14\n(to yourself)\nThere is no reply.\n\n> You look at the controls\nA vast wall of dials, levers, knobs, gears, and readouts. If you started at one end and analyzed them until you got to the other, it would probably take you three days, and you would be none the wiser for it.\n\n> Search controls\nWithout something particular to search for, your task is hopeless.\n\n> Search controls for 14\nA-ha! In an otherwise unremarkable corner is a dial with a 14 on it!\n\n> You examine the dial\nThe dial is fairly unremarkable, but it can be set to all values between 1 and 20.\n\n> You set the dial to 14\nThe machinery rumbles and roars as part by part of it screeches to a halt! The room shudders and groans until you have to plug your ears from the noise. Finally, the dust settles and everything is quiet.\nThe dial seems to have come off in your hands, too.\n\n> You eat the dial\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Surreal]\n\n> You describe your surroundings\nEven deeper still inside the Atlantean Base. Complex machinery hums deep within, and complex controls line every wall of this large, cavernous room. The walls are still silvery, though. There does not appear to be any exit.\n\nAll the shuddering has opened the crack wide enough for you to slip through to the southeast.\n\n> Author\nScene 8, \"Mechanisms and More\", was written by Admiral Jota.\n\n> You examine the damaged scroll\nThis scroll is in bad shape. Not only is the handle broken off and the material itself fraying at the edges, but there are two distinct sets of text inscribed on it: the original Atlantean text, which you can make neither head nor tail of, and then a separate message written over that in black marker -- and in your mother's handwriting!\n\n> You read the scroll\nWith black marker and in an uneven hand, someone -- apparently your mother, from the handwriting -- has scrawled this message: \"Have we escaped from her voice? Maybe if we press on, go further in... If I did not have my husband and he I, then surely we would have both been driven mad by now. She calls herself Lucy, and she sends such confusing hullicinations. I fear that even my memories can no longer be trusted. She seems to want us to trust her, but I cannot understand why... Whoever you are, if you find this, you must resist her suggestions at all costs! I think. I honestly no longer know why... or even what is real anymore. It is as though everything is slipping away... No. I am certain we will find answers further on. Onward, always, onward, always, onward...\" It trails off into a scrawl at that point."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nDozens of pigeon holes line the walls, most of them filled with what could only be scrolls. The ceiling of the room is paneled with some kind of crystalline material; the panels glow softly, providing a gentle illumination.\n\nYou can see the room filled with machinery through the crack to the northwest.\n\n> You examine the panels\nThe ceiling of the room is paneled with some kind of crystalline material; the panels glow softly, providing a gentle illumination.\n\n> You look at the scrolls\nTime has not been kind to this repository of information, and many of the scrolls are damaged or missing. But by the number of brightly-colored handles sticking out of their pigeon-holes, it would seem a fair number have survived.\n\n> Search scrolls\nThis one is wedged tightly in its slot... That one is too fragile, and would probably crumble if you pulled too hard on it.. Ah, but here's one that you slide out easily. It seems to be decorated with colorful pictures.\n\nThere may even be more loose ones, if you keep looking.\n\n> Search scrolls\nAfter a little more searching, you discover another scroll that can be safely removed: one with a distinctive silvery handle.\n\n> You read the colorful scroll\nMost of the text on this scroll is in a dialect that's utterly indecipherable to you. However, it does feature several colorful diagrams, and you notice that the numerals they're labeled with look remarkably like modern ones. Most of the pictures seem to depict complicated mechanisms that you can't quite follow, although there does seem to be a definite progression of colors from light blue, through green and then yellow, finally leading up to a reddish-orange. The simplest diagram you can find is made of gemotric shapes: two equilateral triangles. The message next to the smaller one includes the numbers 1, 2, 3, and 4. The larger one has a similar caption, but with the numbers 5, 10, 15, and 20.\n\n> You read the silvery scroll\nThis scroll contains some rather boring honorations to Atlantean doctors gone long before your grandparents were born. Your father has scribbled over this one in his distinctive, plain handwriting: \"What can we do? Everything is so strange here, everything is locked, or dangerous...or worse. Those hallucinations, they are all to real? How shall I decide what's what? She, Lucy, stole my pet, hide it somewhere beneath the small chamber. How to free him?\"\n\n-Is this a trick? You can't remember your parents having any pets. Must've been after you left, then.\n\n> You examine the floor\nYou can barely discern a faint, gentle humming under the floor.\n\n> Go east\nA long corridor leads east and west. To the west is the archive and lobby. To the east is a closed door made of some kind of greenish metal. Archways lead north and south.\n\n> You go to the north\nThe machinery in here seems to be composed primarily of springs, interlocking gears, larger springs, large padded plates set up parallel to the floor, even larger springs, some sort of piston-like things, and even a few absurdly large springs. Conveniently, there seems to be some kind of control panel for it all right next to the entrance (which leads back south to the corridor).\n\n> You examine the panel\nInconveniently, someone seems to have partially disassembled it. You can see the places where controls are supposed to be attached (along with their labels which you can't read), but all the knobs, switches, dials and levers have been removed.\n\n> You put the dial on the panel\nThe dial clicks neatly into place.\n\n> You set the dial to 14\nBut that could start all that shaking again!\n\n> You take dial\nIt's now locked into place. You can still set it to different numbers, but it doesn't seem to want to separate from the rest of the panel.\n\n> You open the door\nAt your touch, the door slides open automatically.\n\n> Go east\nThis room is small and round. It's only feature is a hole in the ground, through which you can see rungs leading downwards, and the metal door through which you came."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nSteel coats the walls of this long and narrow room. A hole in the ceiling leads back up. A doorway leads east. The stench of rotting meat waves through it. Next to the doorway, you can see a cage of reinforced glass, which is connected to the next room by a grille.\n\nIn the cage you see a penguin.\n\n> You examine the penguin\nA cute little penguin, looking heartbreakingly out of place. He looks at you with big, scared, black eyes.\n\n> You open the cage\nYou can't. The only entry is the food slot on top.\n\n> You put Almanac in the slot\nEvery Child's Almanac of Lunar Conspiracy slides into the cage.\nIt misses the penguin.\n\n> You go east\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\nAn enormous troll sits in the corner of this room! Upon spotting you, she stands up and groans.\n\n> You examine troll\nA female Atlantean troll. She's tall and lean, but all there is to her seems to be muscle under a green skin covered with eczema and blains. Her head is small and round, with protruding veins and short, broken horns. She's covered in the remains of a silvery jumpsuit.\n\nThe troll slowly moves towards you.\n\n> You ask the troll about the penguin\nThere is no reply.\n\nShe has almost reached you.\n\n> You read the writing\nHAVE FUN! -Lucille\n\nAs the troll bites off your head (mercifully quick and mumbling \"I don't wanna do this Dave\"), you think you can hear Lucy laugh somewhere, the sound somewhat muffled as your head sinks down the troll's throat.\n\n> You go to the southeast\nDozens of pigeon holes line the walls, most of them filled with what could only be scrolls. The ceiling of the room is paneled with some kind of crystalline material; the panels flicker erratically, lighting the room in fits and bursts. A corridor leads east.\n\nYou can see the room filled with machinery through the crack to the northwest.\n\nOne of the scrolls has been left lying here on the floor. It looks badly damaged.\n\n> Go east\nA long corridor leads east and west. To the west is the archive and lobby. To the east is a closed door made of some kind of greenish metal. Archways lead north and south.\n\nYou realize that the rumbling you felt earlier hasn't stopped completely. Messing around with that machinery must have destabilized something deep within the complex, because you can still feel a vibration coming up through your feet.\n\n> Go east\n(first opening the metal door)\nAt your touch, the door slides halfway open. Then it shudders, jerking back and forth for a few moments before slamming shut again. Whatever it is that powers the door seems to be malfunctioning.\n\n> You go to the west\nDozens of pigeon holes line the walls, most of them filled with what could only be scrolls. The ceiling of the room is paneled with some kind of crystalline material; the panels flicker erratically, lighting the room in fits and bursts. A corridor leads east.\n\nYou can see the room filled with machinery through the crack to the northwest.\n\nOne of the scrolls has been left lying here on the floor. It looks badly damaged.\n\nThe shaking seems to be growing stronger.\n\n> You go to the east\nA long corridor leads east and west. To the west is the archive and lobby. To the east is a closed door made of some kind of greenish metal. Archways lead north and south.\n\nThe vibration in the floor suddenly gets much stronger. For a moment it feels as though everything is about to come down on your head, but then it subsides again to the same mild trembling it was before.\n\n> You go to the north\nThe machinery in here seems to be composed primarily of springs, interlocking gears, larger springs, large padded plates set up parallel to the floor, even larger springs, some sort of piston-like things, and even a few absurdly large springs. Conveniently, there seems to be some kind of control panel for it all right next to the entrance (which leads back south to the corridor).\n\n> You put the dial on the panel\nThe dial clicks neatly into place.\n\n> Go south\nThis room seems to exist soley to house an elaborate mechanism which is shaking dramatically. If you had to guess, you would say it looked like some kind of power generator -- although what kind of power it generates, you have no idea. A railing protects you from being injured by whatever it is. Or perhaps it prevents whatever it is from being damaged by you. An archway leads back north to the corridor.\n\nThe shaking seems to be growing stronger.\n\n> You wait\nTime passes.\n\nThe machinery starts shaking violently, as though the strain it's been under has become too great for it to handle. Just as it seems about to tear itself apart, all that energy is somehow shunted back into the ground, nearly knocking you off of your feet. After that, the shuddering seems to die back down to what it was before, and the crystals seem to have changed color.\n\n> You examine the crystal\nWhich do you mean, the large crystal, or the small crystal?\n\n> You examine large\nThe large crystal is easily as tall as you are. Its surface is perfectly clear.\n\n> You examine small\nWhile much smaller than the large crystal, it's still rather larger than your head. Its surface is firey orange.\n\n> You turn the dial to 4\nThe machinery shifts and reconfigures itself in response. You immediately notice a significant dampening of the vibrations that you've been feeling ever since you entered this area. What was once a constant (if minor) trembling of the ground is now naught but a barely-perceptible hum.\n\n> Go south\nThis room seems to exist soley to house an elaborate mechanism. If you had to guess, you would say it looked like some kind of power generator -- although what kind of power it generates, you have no idea. A railing protects you from being injured by whatever it is. Or perhaps it prevents whatever it is from being damaged by you. An archway leads back north to the corridor.\n\n> You examine large\nThe large crystal is easily as tall as you are. Its surface is perfectly clear.\n\n> You look at small\nWhile much smaller than the large crystal, it's still rather larger than your head. Its surface is perfectly clear.\n\n> You look up troll in Almanac\nThese creatures were breed as watchhound for millennia. They are considered strupid and slow, but are nigh indestructable due to incredible powers of regeneration. Some people even kept them as pets in the old days. Those were considered unwise.\n\n> Go west\nDozens of pigeon holes line the walls, most of them filled with what could only be scrolls. The ceiling of the room is paneled with some kind of crystalline material; the panels glow softly, providing a gentle illumination.\n\nYou can see the room filled with machinery through the crack to the northwest.\n\nOne of the scrolls has been left lying here on the floor. It looks badly damaged.\n\n> You go east\n(first opening the metal door)\nAt your touch, the door slides open automatically.\n\nThis room is small and round. It's only feature is a hole in the ground, through which you can see rungs leading downwards, and the metal door through which you came."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nSteel coats the walls of this long and narrow room. A hole in the ceiling leads back up. A doorway leads east. The stench of rotting meat waves through it. Next to the doorway, you can see a cage of reinforced glass, which is connected to the next room by a grille.\n\nIn the cage you see a penguin.\n\n> You look at the grille\nThe cage is cubical, its sides made of reinforced glass. The is a huge red button on the side of it, with wires disappearing into the eastern wall, just beside the grille. There is a food slot on top.\n\nIn the cage you see the penguin.\n\n> You go east\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\nAn enormous troll sits in the corner of this room! Upon spotting you, she stands up and groans.\n\n> You go to the west\nSteel coats the walls of this long and narrow room. A hole in the ceiling leads back up. A doorway leads east. The stench of rotting meat waves through it. Next to the doorway, you can see a cage of reinforced glass, which is connected to the next room by a grille.\n\nIn the cage you see a penguin.\n\n> Go east\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\nYou also see a very ugly troll.\n\n> You examine the grille\nA normal grille.\n\nThe troll slowly moves towards you.\n\n> You examine the wires\nThe cage is cubical, its sides made of reinforced glass. The is a huge red button on the side of it, with wires disappearing into the eastern wall, just beside the grille. There is a food slot on top.\n\nIn the cage you see the penguin.\n\nThe troll arrives from the east.\n\n> Go east\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\n> You read the writing\nHAVE FUN! -Lucille\n\n> You examine the grille\nA normal grille.\n\nThe troll arrives from the west.\n\n> You examine field\nA weak force field. You suppose it's meant to keep the troll's food from escaping, as it's too weak to even stop something human-sized, let alone a troll.\n\nThe troll slowly moves towards you.\n\n> You go east\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is a small, almost featureless room. A plate sits next to the eastern doorway, and a huge metal door leads north.\n\nA weak red force field shimmers in the western doorway.\n\nYou can also see a steel door here.\n\n> You look at the plate\nA smooth metal plate. It has a small, F-shaped lock on its side.\n\n> You examine the door\nThis door is square and made of steel. It has a viewscreen in the middle and a ridiciously small numberpad underneath it.\n\nThe troll slides through the force field as effortlessly as you did.\n\n> You examine the numberpad\nA numberpad with pads so small you'd need to have toothpick-sized fingers to enter something.\n\nThe troll slowly moves towards you.\n\n> Go west\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\n> Search heap\nHolding your breath, you carefully move aside animal parts, some dry and rough, others sickeningly wet and slippery. You finally grab the uniform. Fishing around in its pocket, you get a strange, f-shaped key, which you pocket. Then you throw the uniform back on the heap.\n\n> You examine the uniform\nA waist-high heap of death flesh. Mostly animals, but you think you can see a uniform somewhere in it. Of course, not everything is dead. There are flies. Lots of flies.\n\nThe troll slides through the force field as effortlessly as you did.\n\n> You look at the key\nIt's a key and it's f-shaped.\n\nThe troll slowly moves towards you.\n\n> You go east\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is a small, almost featureless room. A plate sits next to the eastern doorway, and a huge metal door leads north.\n\nA weak red force field shimmers in the western doorway.\n\nYou can also see a steel door here.\n\n> You unlock the plate with key\nYou unlock the plate.\n\n> You open the plate\nThe plate swings to the side, revealing a valve.\n\nThe troll slides through the force field as effortlessly as you did.\n\n> You look at the valve\nIt can be turned to two settings: \"Normal\" and \"Security\". It's currently set to \"Normal\".\n\nThe troll slowly moves towards you.\n\n> Go west\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\n> Wait\nTime passes.\n\n> You wait\nTime passes.\n\nThe troll slides through the force field as effortlessly as you did.\n\n> Turn valve\nYou turn the valve to \"Security.\"\n\nThe troll moving through the Security force field is a dreadful sight, her hands and feet are shredded and instantly regrow. Then her torso splatters through. As the force field reaches her heart, she suddenly disappears in a puff of green smoke.\n\n> Turn valve\nYou turn the valve to \"Normal.\""
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nThis is a small, almost featureless room. A plate sits next to the eastern doorway, and a huge metal door leads north.\n\nA weak red force field shimmers in the western doorway.\n\nYou can also see a steel door here.\n\n> Go west\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\nYou can also see a herring here.\n\n> You examine the herring\nA normal herring. Somehow you're surprised it isn't red.\n\n> Author\nScene 9, \"The cute and the Deadly\", was written by Taleslinger.\n\n> You go to the west\nSteel coats the walls of this long and narrow room. A hole in the ceiling leads back up. A doorway leads east. The stench of rotting meat waves through it. Next to the doorway, you can see a cage of reinforced glass, which is connected to the next room by a grille.\n\nIn the cage you see a penguin.\n\n> You show the herring to the penguin\nThe penguin is unimpressed.\n\n> You put the herring in the slot\nThe herring slides into the cage.\nIt misses the penguin.\n\nThe penguin dives for the herring, gulping it down in one huge bite. He slaps his wings happily and looks at you lovingly. Looks like you made a new friend.\n\n> You go to the east\nThis is some sort of makeshift cell. The walls are steel platings, with dents here and there as a fist or a head-ram may make. The stench of rotten flesh is almost unbearable and stems from a huge heap of half-eaten animals and bones in a corner. There is some writing on the wall, just above the grille.\n\nA weak red force field shimmers in the eastern doorway.\n\nYou can also see a penguin here.\n\n> You examine the penguin\nA cute little penguin, looking heartbreakingly out of place. He flaps his wings happily.\n\n> Pet penguin\nThe penguin rubs his head on your hand and squawks happily.\n\n> You go east\nIt tickles a bit, but you can slip through effortlessly.\n\nThis is a small, almost featureless room. A plate sits next to the eastern doorway, and a huge metal door leads north.\n\nA weak red force field shimmers in the western doorway.\n\nYou can also see a steel door here.\n\nThe penguin squeaks as he waddles though the force field.\n\nThe penguin waddles straight towards the steel door and pecks at the numberpad. The door beeps approvingly and a pneumatic hissing indicates it is indeed unlocked.\n\nYou stare in wonder at the small animal and can't help thinking he'd smirk if he could.\n\n> You go to the east\nYou open the steel door.\n\nYou can't go that way.\n\n> You go to the north\nImprobably, you are in your father's bedroom. It has been ransacked except for the portrait of Grandfather XVIII. A hallway lies to the east; the maintenance room, where you dispatched the troll, to the south.\n\nYou can see a steel door and a science fiction novel here.\n\nThe penguin waddles along.\n\n> Author\nScene 10, \"Puff of Smoke\", was written by N. B. Horvath.\n\n> You look at the novel\nThis was one of your favorites as a child. It describes a nightmare world in which bodies are preserved after death. The hero fights to gain social acceptance for \"cremation\" and thus save the planet from being overrun by \"cemeteries.\"\n\n> You look at the door\nThis door is square and made of steel. It has a viewscreen in the middle and a ridiciously small numberpad underneath it.\n\n> You look at the portrait\nThe portrait stares back at you with beady, tired eyes. XVIII isn't his name, of course; this is just an old Atlantean tradition of numbering important ancestors. If your number is in the upper teens, you must be pretty grumping important. You were always amazed that Father kept this portrait in his room."
    },
    {
        "text": "> You look at your surroundings\nImprobably, you are in your father's bedroom. It has been ransacked except for the portrait of Grandfather XVIII. A hallway lies to the east; the maintenance room, where you dispatched the troll, to the south.\n\nYou can see a penguin, a steel door, and a science fiction novel here.\n\n> You go east\nAs you enter the hallway, the penguin scoots past you to a previously unseen keypad, then pecks a few digits. A secret passageway opens to the south.\n\nYou are in a regally carpeted east-west hallway. At the east end, an urnstone door leads to the foyer, while a secret passageway leads south.\n\nThe penguin waddles along.\n\n> Go east\nBefore you can take a step toward the foyer, the penguin steps in front of you and hops silently up and down, eyes wide and pleading. Listening at the urnstone door, you hear the characteristic wheeze of a Koskos. No way are you going in there. You are no match for a Koskos.\n\n> You look up Koskos in Almanac\nA squat, compact monster, often used as a guard. The troll is the natural enemy of the Koskos. Many wealthy Atlanteans employ both trolls and Koskii, but those who do so make sure to keep them separate.\n\n> You go south\nYour father's vast laboratory looks entirely different from when you last were in this house. A frightening contraption fills the west end of the room floor-to-ceiling. A teak desk sits along the east wall. The hallway lies to the north, the annex to the south, and the Taboo Room to the southeast.\n\nOn the teak desk is a jagged-edge scroll.\n\nThe penguin waddles along.\n\n> You go to the north\nYou are in a regally carpeted east-west hallway. At the east end, an urnstone door leads to the foyer, while a secret passageway leads south.\n\nThe penguin waddles along."
    },
    {
        "text": "[Themes: Surreal]\n\n> You describe your surroundings\nYour father's vast laboratory looks entirely different from when you last were in this house. A frightening contraption fills the west end of the room floor-to-ceiling. A teak desk sits along the east wall. The hallway lies to the north, the annex to the south, and the Taboo Room to the southeast.\n\nOn the teak desk is a jagged-edge scroll.\n\nYou can see a penguin here.\n\n> You examine the scroll\nIt is a letter to your father from Grandfather VI, begging him to stop his research and invoking the memory of Grandfather XVIII.\n\n> You look at contraption\nThe exterior of this machine is all orange and red stripes, apart from a six-foot-high entryway which is solid black. You can't stop looking at those stripes, until finally you look away at a room that has changed ...\n\nYour father and a female assistant are standing outside of the contraption, clad in white coats, arguing heatedly over his insistence that she be a test subject. Ultimately she relents, giving him a desperate kiss and then walking into the device with head down and eyes squeezed shut.\n\nThere is a single click, and then the entire structure shudders. You hear screams and thuds as the shaking continues for at least a minute. Then there is silence.\n\nOut of the machine steps not the assistant, but Lucille. She is looking directly at you with hate in her eyes.\n\nThe hallucination ends as abruptly as it began.\n\n> Go south\nYou are in a small annex to the large lab. This room is dominated by a mysterious chamber. The main lab is to the north and a closed wooden door is to the east.\n\nYou can see a plain glass bottle (empty) (closed) and an empty cage here.\n\nYou notice that a thin layer of salmon-pink smoke has gathered under the ceiling.\nThe penguin waddles along.\n\n> You look at the bottle\nThe empty bottle is completely nondescript, lacking any label or other distinctive feature. The bottle is closed.\n\n> You look at the chamber\nThe mysterious chamber is like a miniature gazebo, a platform supporting four extensible metal posts with a little dome at the top. It's all made of metal, and it's all painted midnight black. A soft pushbutton and a small, bottle-shaped receptacle jut out from one edge of the platform.\n\n> You look at the door\nThe wooden door is closed.\n\n> You examine receptacle\nThe small receptacle is empty.\n\n> Inventory\nYou are carrying:\nplain glass bottle (empty)\na f-shaped key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You examine the smoke\nThe salmon-pink smoke is almost dissipated but manages to stay coherent.\n\n> You fill the bottle with the smoke\nIt's just air.\n\n> Smell smoke\nThe salmon-pink smoke is odorless, but it does seem to signify something.\n\n> You open the bottle\nIt takes a surprisingly strong effort to open the bottle. Finally it opens with a shhhhoop sound. In an instant, the salmon-pink smoke is drawn into the bottle with a whhhhhhhip; then it closes again with a ffffoomp.\n\n> You examine the smoke\nThe salmon-pink smoke inside the closed bottle is inert, unmoving."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nYou are in a small annex to the large lab. This room is dominated by a mysterious chamber. The main lab is to the north and a closed wooden door is to the east.\n\nYou can see a penguin and an empty cage here.\n\n> You look at the chamber\nThe mysterious chamber is like a miniature gazebo, a platform supporting four extensible metal posts with a little dome at the top. It's all made of metal, and it's all painted midnight black. A soft pushbutton and a small, bottle-shaped receptacle jut out from one edge of the platform.\n\n> You put the bottle in the receptacle\nYou put the plain glass bottle (containing salmon-pink smoke) into the small receptacle.\n\n> Open chamber\nThat's not something you can open.\n\nThe rattling grows louder inside the chamber. The platform starts to glow.\n\n> You examine the platform\nThe mysterious chamber is like a miniature gazebo, a platform supporting four extensible metal posts with a little dome at the top. It's all made of metal, and it's all painted midnight black. A soft pushbutton and a small, bottle-shaped receptacle jut out from one edge of the platform.\n\nThe rattle becomes an infernal thunder coming from underneath the shaking platform, as the glow spreads to the entire chamber.\n\n> You look at the platform\nThe mysterious chamber is like a miniature gazebo, a platform supporting four extensible metal posts with a little dome at the top. It's all made of metal, and it's all painted midnight black. A soft pushbutton and a small, bottle-shaped receptacle jut out from one edge of the platform.\n\nThe thunder peaks, then dies down as the glow fades.\nA little pink-coated rat appears on top of the platform, then scurries away out of sight.\n\nThe now-empty bottle pops back into the receptacle from within the chamber.\n\n> You open the door\nYou open the wooden door.\n\n> You go east\nYou are in a small utility closet.\n\nThe penguin waddles along.\n\n> You look at the shelf\nAs good-looking as ever.\n\nYou are horrendously drunk.\n\n> You go to the west\nYou are in a small annex to the large lab. This room is dominated by a mysterious chamber. The main lab is to the north and an open wooden door is to the east.\n\nYou can see an empty cage here.\n\nThe penguin waddles along.\n\n> Go southeast\nThis is the room where your mother (also a scientist, who left under mysterious circumstances) worked on her most taboo project. This project not only violated the edicts of Grandfather XVIII, it stood in stark violation of the prohibition against time travel. Rumor had it that once the project was complete, anyone who prayed in the Taboo Room would trigger the creation of a spatio-temporal anchor, something that would alter the very fabric of reality. You were always a little curious about it.\n\nThe penguin waddles along.\n\n> Pray\nEnter saved game to store: Save failed.\n\n> Go northeast\nYour father's vast laboratory looks entirely different from when you last were in this house. A frightening contraption fills the west end of the room floor-to-ceiling. A teak desk sits along the east wall. The hallway lies to the north, the annex to the south, and the Taboo Room to the southeast.\n\nOn the teak desk is a jagged-edge scroll.\n\nThe penguin waddles along.\n\nYou can't go that way.\n\n> You go to the west\nImprobably, you are in your father's bedroom. It has been ransacked except for the portrait of Grandfather XVIII. A hallway lies to the east; the maintenance room, where you dispatched the troll, to the south.\n\nYou can see a steel door and a science fiction novel here.\n\nYou notice that a thin layer of sea-green smoke has gathered under the ceiling. It must have seeped in from the maintenance room.\n\nThe penguin waddles along.\n\n> You go to the south\nThis is a small, almost featureless room. A plate sits next to the eastern doorway, and a huge metal door leads north.\n\nA weak red force field shimmers in the western doorway.\n\nYou can also see a steel door here.\n\nThe penguin waddles along.\n\n> You open the bottle\nIt takes a surprisingly strong effort to open the bottle. Finally it opens with a shhhhoop sound. In an instant, the sea-green smoke is drawn into the bottle with a whhhhhhhip; then it closes again with a ffffoomp.\n\n> You put the bottle in the receptacle\nYou put the plain glass bottle (containing sea-green smoke) into the small receptacle.\n\n> You wait\nTime passes.\n\nThe rattling grows louder inside the chamber. The platform starts to glow.\n\n> Go east\nYou are in a small utility closet.\n\nThe penguin waddles along.\n\nThe rattle becomes an infernal thunder.\n\n> You close the door\nYou close the wooden door.\n\nThe thunder peaks, then dies down.\nYou hear the roar of the troll, followed by the howl of the Koskos. The troll stomps off toward the hallway. A moment later, you hear the terrible sound of Koskos-troll combat.\n\nFinally you hear a pitiful yowl, followed by a bang. Then silence returns to the house.\n\nIt is now pitch dark in here!\n\n> You open the door\nYou open the wooden door.\n\nYou are in a small utility closet.\n\nYou can see a penguin here.\n\n> You go to the west\nYou are in a small annex to the large lab. This room is dominated by a mysterious chamber. The main lab is to the north and an open wooden door is to the east.\n\nYou can see an empty cage here.\n\nThe penguin waddles along.\n\n> You go to the east\n(first opening the urnstone door)\n\nYou are in the foyer of your childhood home. To your north is what remains of the front door. It has been torn off its hinges, leaving the forest beyond it visible. You shudder to think about how one monster died here and the other escaped.\n\nIntact exits lie to the east and west.\n\nYou notice that a thin layer of cobalt-blue smoke has gathered under the ceiling.\nThe penguin waddles along.\n\n> Inventory\nYou are carrying:\na f-shaped key\nEvery Child's Almanac of Lunar Conspiracy\n\n> You go north\nYour father's vast laboratory looks entirely different from when you last were in this house. A frightening contraption fills the west end of the room floor-to-ceiling. A teak desk sits along the east wall. The hallway lies to the north, the annex to the south, and the Taboo Room to the southeast.\n\nOn the teak desk is a jagged-edge scroll.\n\nThe penguin waddles along.\n\nYou are in a regally carpeted east-west hallway. At the east end, an urnstone door leads to the foyer, while a secret passageway leads south.\n\nThe penguin waddles along.\n\n> Go east\nYou are in the foyer of your childhood home. To your north is what remains of the front door. It has been torn off its hinges, leaving the forest beyond it visible. You shudder to think about how one monster died here and the other escaped.\n\nIntact exits lie to the east and west.\n\nYou notice that a thin layer of cobalt-blue smoke has gathered under the ceiling.\nThe penguin waddles along.\n\n> You open the bottle\nIt takes a surprisingly strong effort to open the bottle. Finally it opens with a shhhhoop sound. In an instant, the cobalt-blue smoke is drawn into the bottle with a whhhhhhhip; then it closes again with a ffffoomp.\n\nYou have a terrible feeling about what you just did. Taboos against time travel notwithstanding, you wish you could undo it.\n\n> Go east\nYou are in your father's study. It has been cleaned out except for an urnstone end table against one wall.\n\nOn the urnstone end table is a quickpulp scroll.\n\nYou notice that a thin layer of dark-orange smoke has gathered under the ceiling.\nThe penguin waddles along.\n\n> You read the quickpulp\nThe quickpulp scroll contains a note to you from your father. It reads:\n\nDear Dave,\n\nHaving made it home first, I wish I had a happier Welcome Back to give to you. I'm afraid I did not treat your mother well, and you have seen how Lucille treated me far worse even than that. I have only now learned the extent of Lucy's cruelty. I pray that you can not only forgive but save me -- and save my beloved Rex, too. (I couldn't handle the \"empty nest\" after you left. So I added a new nest.) He is the only one who can unlock the doors. If you are reading this message, it means the worst has happened for me.\n\nWell, perhaps not entirely the worst. My experiments in wuolui have borne the most incredib\n\nHere the writing stops abruptly."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look up the wuolui in Almanac\nThe ancient Atlantean art of resurrection, long believed lost and in any case considered morally wrong.\n\n> You open the bottle\nIt takes a surprisingly strong effort to open the bottle. Finally it opens with a shhhhoop sound. In an instant, the dark-orange smoke is drawn into the bottle with a whhhhhhhip; then it closes again with a ffffoomp."
    },
    {
        "text": "[Themes: Surreal]\n\n> You describe your surroundings\nYou are in your father's study. It has been cleaned out except for an urnstone end table against one wall.\n\nOn the urnstone end table is a quickpulp scroll.\n\nYou can see a penguin here.\n\n> You go to the west\nYou are in the foyer of your childhood home. To your north is what remains of the front door. It has been torn off its hinges, leaving the forest beyond it visible. You shudder to think about how one monster died here and the other escaped.\n\nIntact exits lie to the east and west.\n\nYou notice that a thin layer of cobalt-blue smoke has gathered under the ceiling.\nThe penguin waddles along.\n\n> You put bottle in the receptacle\nYou put the plain glass bottle (containing dark-orange smoke) into the small receptacle.\n\n> You wait\nTime passes.\n\nThe rattling grows louder inside the chamber. The platform starts to glow.\n\n> You wait for a while\nTime passes.\n\nThe rattle becomes an infernal thunder coming from underneath the shaking platform, as the glow spreads to the entire chamber.\n\n> You wait\nTime passes.\n\nThe thunder peaks, then dies down as the glow fades.\nYour father materializes in the chamber and gives you an unreadable look. Fendit permitting, the two of you have some catching up to do."
    },
    {
        "text": "[Themes: Humor, ridiculous, time travel, magic]\n\nWhat a long and difficult journey it was! But at least you've found your way to this hotel. Even though the cab driver seemed mysteriously ignorant of its existence.\n\nThe peeling wallpaper and cracking plaster inspires a distinct lack of confidence. The room is both dank and dim, and the furniture inside the room seems crammed into a space too small to contain it. Wan, watery light filters in, scattered by the skeletal fingers of a dead tree right outside the room. The door out of your room is to the west; south is a tiny kitchenette and north is the bathroom.\n\nAn old-fashioned writing desk with a drawer in the corner is reasonably creepy.\n\nYou can also see a pink sink, a hatch, an invisible mirror, a creepy bed, a chair, a large portrait of Millard Fillmore, a historic lamp and a large wooden door here.\n\n[Author's Note: You are stuck inside a creepy hotel room in Boston and need to escape. How can losing precious brain parts learning learning occult magicks, former president Millard Fillmore, and time traveling to the Irish Potato Famine help you get outta there? Find out in this IF written as part of the Original PAX Speed-IF.]\n\n> You examine the mirror\nIt's a frame for a mirror, but the mirror itself isn't actually there. Weird. And kind of cheap.\n\n> You examine the portrait\nAn unfinished portrait of third president Millard Fillmore hangs from the wall. His torso and nose appear to be mostly missing. The dead president's eyes seem to be watching you. Creepy.\n\n> You examine the lamp\nIt looks historic. A nearby plaque affixed to the wall reads \"This lamp was donated by the Sisters of Infinite Benevolence to light the way through the Irish Potato Famine of 1843.\"\n\nThe historic lamp is currently switched off.\n\n> You look at the portrait\nAn unfinished portrait of seventeenth president Millard Fillmore hangs from the wall. His torso and nose appear to be mostly missing. The dead president's eyes seem to be watching you. Creepy.\n\n> You look at the portrait\nAn unfinished portrait of thirteenth president Millard Fillmore hangs from the wall. His torso and nose appear to be mostly missing. The dead president's eyes seem to be watching you. Creepy.\n\n> You examine the chair\nThis unattractive chair is neither cheap enough to be easily broken, nor well-made enough to be comfortable to sit in. The chair is light enough to be moved, but is equally unpleasant no matter where in the small room you move it.\n\n> You sit in chair\nAfter a second of sitting in the chair, your lower back protests.\n\n> You move chair\nYou push the chair over beneath the hatchway.\n\n> You examine the hatch\nA mysterious hatchway which looks very much like something you would like to open and then enter.\n\n> You open hatch\nThe hatch is bolted on.\n\n> Unlock hatch\nWhat do you want to unlock the hatch with?\n\n> About yourself\nAs good-looking as ever."
    },
    {
        "text": "> You look around\nRoom 13 (on the chair)\nThe peeling wallpaper and cracking plaster inspires a distinct lack of confidence. The room is both dank and dim, and the furniture inside the room seems crammed into a space too small to contain it. Wan, watery light filters in, scattered by the skeletal fingers of a dead tree right outside the room. The door out of your room is to the west; south is a tiny kitchenette and north is the bathroom.\n\nAn old-fashioned writing desk with a drawer in the corner is reasonably creepy.\n\nYou can also see a pink sink, a hatch, an invisible mirror, a creepy bed, a large portrait of Millard Fillmore, a historic lamp and a large wooden door here.\n\n> You get the lamp\nIt's bolted to the floor.\n\n> You open the drawer\nIt seems to be stuck shut. This really isn't a very good hotel.\n\n> You turn on the lamp\nThat's funny, it doesn't seem to switch on... without magic.\n\n> Spells\nYou have learned the spells: .\n\n> You pull the drawer\nNothing obvious happens.\n\n> You ask Fillmore about the hotel\nYou can only do that to something animate.\n\n> You move fillmore\nIt is fixed in place.\n\n> You take the portrait\nThat's fixed in place.\n\n> You open the door\nStrangely, the lock seems to have jammed in place. As much as you jiggle the handle, you can't seem to get it unlocked.\n\nOh dear. The doorknob has come off in your hand, leaving only an unpainted wooden circle behind. Well, you put it into your pocket; it's bound to come in useful later.\n\n> You look at the knob\nGoodness me, this suggests all sorts of possibilities.\n\n> You go north\nThe sink is so large it is actually physically impossible to enter the bathroom. Shoddy.\n\nThe sink is so large it is actually physically impossible to enter the bathroom. Shoddy.\n\n> You enter the sink\nThe sink is so large it is actually physically impossible to enter the bathroom. Shoddy.\n\n> Unlock hatch\n(with the doorknob)\nThat doesn't seem to be something you can unlock.\n\n> You pull it\nYou are carrying:\na doorknob\n\nNothing obvious happens.\n\n> You unlock door\nGoodness me, this suggests all sorts of possibilities.\n\n(with the doorknob)\nThat doesn't seem to fit the lock.\n\n> You open hatch\nI only understood you as far as wanting to look.\n\nThe hatch is bolted on.\n\n> You put the knob on Fillmore\nYou can't see any such thing.\n\nPutting things on the large portrait of Millard Fillmore would achieve nothing."
    },
    {
        "text": "> You look around\nRoom 13 (on the chair)\nThe peeling wallpaper and cracking plaster inspires a distinct lack of confidence. The room is both dank and dim, and the furniture inside the room seems crammed into a space too small to contain it. Wan, watery light filters in, scattered by the skeletal fingers of a dead tree right outside the room. The door out of your room is to the west; south is a tiny kitchenette and north is the bathroom.\n\nAn old-fashioned writing desk with a drawer in the corner is reasonably creepy.\n\nYou can also see a pink sink, a hatch, an invisible mirror, a creepy bed, a large portrait of Millard Fillmore, a historic lamp and a large wooden door here.\n\n> Go south\nKitchenette (But Mostly Still In Hotel Room)\nYou can see a fridge (closed) here.\n\n> You open the fridge\nYou open the fridge, revealing a plate of lobster fettuccine.\n\n> You get the plate\nTaken.\n\n> You look\nKitchenette (But Mostly Still In Hotel Room)\nYou can see a fridge (empty) here.\n\n> You examine the plate\nWafts of delicious lobster-scented steam are coming off the piping hot fettuccine. Apparently the fridge is broken.\n\n> You eat lobster\nMmm, delicious.\n\nAs you scrape the last of the delicious lobster sauce from the plate, you see that a word has been scratched into the porcelain: CHAMP.\nYour brain is wreathed in eldritch fire! The letters of the spell burn themselves into your pituitary, which you probably needed for other things. Oh well!\n\nYou can now type SPELLS to see what spells you have learned.\n\n> Spells\nYou have learned the spells: champ .\n\n> Champ yourself\nYou do a dozen push-ups. Getting stronger! Every day!\n\n> Inventory\nYou are carrying:\nan empty plate\na doorknob\n\n> Champ plate\nYou'd just break it with your magically freakish muscles.\n\n> You go north\nThe peeling wallpaper and cracking plaster inspires a distinct lack of confidence. The room is both dank and dim, and the furniture inside the room seems crammed into a space too small to contain it. Wan, watery light filters in, scattered by the skeletal fingers of a dead tree right outside the room. The door out of your room is to the west; south is a tiny kitchenette and north is the bathroom.\n\nAn old-fashioned writing desk with a drawer in the corner is reasonably creepy.\n\nYou can also see a pink sink, a hatch, an invisible mirror, a creepy bed, a chair, a large portrait of Millard Fillmore, a historic lamp and a large wooden door here.\n\nThe sink is so large it is actually physically impossible to enter the bathroom. Shoddy.\n\n> Champ sink\nYou'd just rip the sink out of the wall! Which would be kind of awesome, but you'd lose your deposit.\n\n> Champ drawer\nWith mighty strength, you pull open the desk drawer!\n\nYou open the drawer, revealing a word carved into the wood.\n\n> You look at the word\nIt seems to say STAMP.\n\nYour brain is wreathed in eldritch fire! The letters of the spell burn themselves into your amygdala, which you probably needed for other things. Oh well!\n\n> Stamp sink\nA giant magical stamp appears, attempts to stamp the champed pink sink, then disappears in a huff of disappointment.\n\n> Spells\nYou have learned the spells: champ stamp.\n\n> Stamp hatch\nA giant magical stamp appears, attempts to stamp the hatch, then disappears in a huff of disappointment.\n\n> Stamp fillmore\nStrangely enough, you can't bring yourself to mar such a large and delightful portrait of thirteenth president Millard Fillmore. Maybe if it wasn't taking up so much of your field of vision.\n\n> You stamp yourself\nA tattoo of a green dragon suddenly (and painlessly) appears on your torso.\n\n> Stamp door\nA giant magical stamp appears, attempts to stamp the large wooden door, then disappears in a huff of disappointment.\n\n> You look at doorknob\nGoodness me, this suggests all sorts of possibilities.\n\nIt seems to be dented.\n\n> Stamp hatch\nA giant magical stamp appears, attempts to stamp the stamped hatch, then disappears in a huff of disappointment.\n\n> Stamp bed\nThe plain white sheets suddenly blossom into a complicated plaid and paisley pattern. This does not make the bed more inviting.\n\n> Stamp mirror\nA magical stamp appears and the blank mirror appears within the frame!\n\n> You examine the mirror\nIt's now a fairly ordinary mirror with an elaborately ornate frame. Curiously, you notice that it reflects a strange word written on the ceiling.\n\n> You look at the word\n(the strange word)\nThe word, which you can only see reflected in the mirror (creepy!) is CRAMP.\n\nYour brain is wreathed in eldritch fire! The letters of the spell burn themselves into your corpus callosum, which you probably needed for other things. Oh well!\n\n> Cramp doorknob\nThe doorknob crumples in on itself. It's now a little smaller, and might fit a slightly smaller, more mysterious door.\n\n> Cramp sink\nThe champed stamped pink sink shrinks in a blink.\n\n> You move chair\nYou push the chair over beneath the hatchway.\n\n> You go to the north\nYou can see a cramped champed stamped pink sink and a toilet (on which is a book called What Have You Done For Me Philately?) here.\n\n> You take the book\nYou pick up the book and flip through it as you conduct your business. It looks like there's an article you could perhaps READ.\n\nTaken.\n\n> You read the book\nYou look up the Millard Fillmore stamp and discover that, due to a mix-up, several million were printed without the former president's nose. Because of this embarrassing faux-pas, the stamp is thus worth so little that being within a hundred yards of it actually reduces your credit score by a full ten points.\n\nHOWEVER, one rare proof stamp exists which contains the president's nose, and it highly prized by philatelists everywhere.\n\n> Stamp book\nThat might make it illegibile."
    },
    {
        "text": "[Themes: Humor, ridiculous]\n\n> You look at your surroundings\nYou can see a cramped champed stamped pink sink and a toilet here.\n\n> Champ toilet\n\n\n> You go to the south\nThe peeling wallpaper and cracking plaster inspires a distinct lack of confidence. The room is both dank and dim, and the furniture inside the room seems crammed into a space too small to contain it. Wan, watery light filters in, scattered by the skeletal fingers of a dead tree right outside the room. The door out of your room is to the west; south is a tiny kitchenette and north is the bathroom.\n\nAn old-fashioned writing desk with a drawer in the corner is reasonably creepy.\n\nYou can also see a cramped champed stamped pink sink, a stamped hatch, a strange word, a mirror, a stamped creepy bed, a chair, a large portrait of Millard Fillmore, a historic lamp and a stamped large wooden door here.\n\n> Stamp portrait\nStrangely enough, you can't bring yourself to mar such a large and delightful portrait of twenty-second president Millard Fillmore. Maybe if it wasn't taking up so much of your field of vision.\n\n> Cramp portrait\nThe portrait shrinks down-- at first you think it has vanished, but then you realize it has turned into a tiny square portrait about the size of stamp.\n\nOn the wall behind the portrait is a mysterious word.\n\n> Mysterious\nThe word is RAMP.\n\nYour brain is wreathed in eldritch fire! The letters of the spell burn themselves into your pons medulla, which you probably needed for other things. Oh well!\n\n> Stamp portrait\nA magical stamp appears and stamps the stamp. As it dissolves, you see that the image of seventeenth president Millard Fillmore now has a nose.\n\n> Cramp lamp\nThe lamp shudders slightly, but utterly fails to reduce in size.\n\n> You ramp yourself\nYou lifts a foot or so off the floor.\n\n> Ramp chair\nThe chair lifts a foot or so off the floor.\n\n> You stand on chair\nA waft of pot smoke floats out of the hatch, but otherwise nothing happens.\n\nYou stand on the chair, and get much closer to the hatchway.\n\n> Ramp lamp\nThe lamp utterly fails to rise into the air, and seems to resent your interference.\n\n> Cramp hatch\nThe stamped hatch gets a little bit smaller.\n\n> Lamp lamp\nYou have to get something before you can lamp it.\n\n> Champ hatch\nYou rip the hatch open with your super strength!\n\n> You look at the hatch\nA mysterious hatchway which looks very much like something you would like to open and then enter.\n\nIt seems to be dented.\n\n> You go upward\nThe tunnel is too small for you to enter with your freakishly enlarged muscles.\n\n> You cramp yourself\nYou shrink down to a smaller but still agreeable size.\n\n> Go upwards\nWith a mighty heave, you pull yourself upwards and into the tunnel.\n\nYou can see a cramped champed stamped hatch and the time machine here.\n\n> You examine the time machine\nYou know it's a time machine because of the engraving on it that reads \"Time Machine.\" There is a large red button marked \"Future.\"\n\nThe time machine is currently switched off.\n\n> You turn on the time machine\nIn a flash of actinic light, you zap your way into...\n\nYou are standing near a desk. Stretching off to the south into a nearly infinite grey distance is an twisty line of little time-travelers, all alike.\n\nSitting behind the desk is a gentleman whose name tag identifies him as \"Phillippe Lampe.\"\n\n> You ask Lampe about yourself\nJust say TALK PERSON. No TO. We didn't have time to get to the TO.\n\n> You talk lampe\n\"Back of the line,\" says Lampe, pointing south. When you look confused, he says \"All time travellers who ever pushed the button throughout history ended up here, in The Future. We don't have room for you all, so we're sending you back to evenly distributed points of history. We're giving the best times out first, so better get a spot in line fast.\"\n\n> You get Lampe\n\"Get your hands off me!\" Lampe says. \"I'm fixed in place!\""
    },
    {
        "text": "> Look around\nYou are standing near a desk. Stretching off to the south into a nearly infinite grey distance is an twisty line of little time-travelers, all alike.\n\nSitting behind the desk is a gentleman whose name tag identifies him as \"Phillippe Lampe.\"\n\n> You go south\nYou are in a time-traveling twist of little liners, all alike.\n\nBored queuers wait listlessly.\n\n> You wait\nTime passes.\n\n> Cramp queuers\nThe queuers gets a little bit smaller.\n\n> Champ queuers\nWith great strength, you heft the cramped champed queuers above your head.\n\n> You go to the north\nYou are in a little line of twisty time-travelers, all alike.\n\nBored queuers wait listlessly.\n\n> Go north\nYou are in a line of twisty little time-travelers, all alike.\n\nBored queuers wait listlessly.\n\n> Ramp queuers\nThe cramped champed queuers lifts a foot or so off the floor.\n\nYou overhear one of the queuers asking another \"So what are your favorite spells?\"\n\n\"Well, I'm partial to DAMP,\" she responds. \"And also VAMP, CLAMP, and CAMP. TAMP is useful when gardening, I find.\"\n\n\"Indeed,\" says the first. \"And also LIMP.\"\n\n\"No, I hate limp,\" she says. \"I use GRAMP instead.\"\n\nYour brain explodes in a fiery paroxysm of magic. Too much strain on the ol\" medula oblangata, apparently. You pass out.\n\nWhen you wake up, it seems as if you are at the end of the line, and only a few of your SPELLS have stuck around.\n\nThe line stretches off into infinity to the north.\n\nA large sign reading \"Line\" is nearby, pointing off into the misty distance.\n\n> Spells\nYou have learned the spells: stampgramp."
    },
    {
        "text": "> Look around\nThe line stretches off into infinity to the north.\n\nA large sign reading \"Line\" is nearby, pointing off into the misty distance.\n\n> Gramp sign\nYou see nothing special about the large sign.\n\nThe large sign withers and seems suddenly much older.\n\n> You gramp yourself\ncramped ramped You withers and seems suddenly much older.\n\n> Stamp sign\nA magical stamp appears and adds the words \"Front Of\" to the start of the sign.\n\nAfter a few moments, Phillippe Lampe appears and sets up his desk. He looks up at you and says \"Next?\"\n\n> You talk to Lampe\nJust say TALK PERSON. We really didn't have time to implement TO.\n\n> You talk lampe\n\"I'm only one day away from retirement,\" Phillippe Lampe says. \"Once I'm retired I can spend all my days searching for that elusive antique Millard Fillmore stamp I've always lusted after.\"\n\n> Stamp lampe\nPhillippe Lampe withers and seems suddenly much older.\n\nA giant magical stamp appears, attempts to stamp gramped Phillippe Lampe, then disappears in a huff of disappointment.\n\n> You look at what you're carrying with you\nYou are carrying:\na tiny portrait of thirteenth president Millard Fillmore\na stamped book called What Have You Done For Me Philately?\na champed stamped empty plate\na cramped champed stamped doorknob\n\n> You check your inventory\nYou are carrying:\na tiny portrait of seventeenth president Millard Fillmore\na stamped book called What Have You Done For Me Philately?\na champed stamped empty plate\na cramped champed stamped doorknob\n\n> Gramp portrait\nThe tiny portrait ages and yellows until it looks very old indeed.\n\n> Stamp portrait\nA magical stamp appears and stamps the stamp. As it dissolves, you see that the image of twenty-second president Millard Fillmore now has a nose.\n\n> You give the portrait to Lampe\nLampe's eyes widen in delight. \"It's the rare stamp feature third president Millard Fillmore!\" he exclaims. \"This is just what I've always wanted!\" In a flash of joy, he quickly presses a button to send you back in time, destintation unknown, in an actinicer flash....\n\nIn the Midst of the Irish Potato Famine, 1843\nA hotel that looks as if it might one day be creepy is being built in the midst of the blight.\n\nYou can also see a wizard, a field of blighted potatoes, a brand new lamp and an inattentive nun here.\n\n> You talk to the wizard\nJust say TALK PERSON. We really didn't have time to implement TO.\n\n> You talk nun\nActually, you usually find conversation to be overrated.\n\n> You talk potatoes\nYou can only do that to something animate.\n\n> You eat the potatoes\n(first taking the field of blighted potatoes)\nThat's fixed in place.\n\n> You take all\nwizard: I don't suppose the wizard would care for that.\nfield of blighted potatoes: That's fixed in place.\nunder construction hotel: That's fixed in place.\nbrand new lamp: Taken. (Nice!)\ninattentive nun: I don't suppose the inattentive nun would care for that.\n\n> You talk wizard\nThe wizard speaks, in an Irish brogue, \"Time travelers from the future! Just as I predicted!\" He grips you by the collar and shouts \"It is vitally important that I teach copious amounts of magic spells so you can save the past!\"\n\nYour brain shuts down in abject terror. The wizards softens, and says \"Alright, alright, just one spell then. LAMP. It will light the way.\n\n> You examine wizard\nUse it wisely, my son.\"\n\nThe wizard casts DAMP and disappears in a puff of moist air.\n\nYou can't see any such thing (probably because you misspelled it).\n\n> Lamp\nWhat do you want to lamp?\n\n> You lamp yourself\nYou have to get something before you can lamp it.\n\n> Lamp lamp\nYou lamp the lamp. The lamp lights up, and in the actinicest flash of all, you magically rematerialize in your hotel room.\n\nThe door swings open. You resolve to find a less creepy hotel."
    },
    {
        "text": "[Themes: Fantasy]\n\nIn this short game, the most useful commands are examine\n(X) (yourself and other things, more than once), talk\nto, ask about, touch, take, and  drink things\nin the game world. If you get stuck, feel free to ask for a\nhint, if you still can. Finally, you should be listening to\nDavid Grisman and Jerry Garcia's rendition of \"Shady Grove\" while you play, for best effect.\n\nPress any key to begin.\nNarcissi\n\nWoo thyself, be of thyself rejected;\nSteal thine own freedom, and complain on theft.\nNarcissus so himself himself forsook\nAnd died to kiss his shadow in the brook.\n\nTorches are made to light, jewels to wear,\nDainties to taste, fresh beauty for the use,\nHerbs for their smell, and sappy plants to bear.\nThings growing to themselves are growth's abuse.\n\nYou have been wandering through a woods near your home, staring at your feet and paying no attention to the branching paths. You look up to find yourself in a shady grove of willow trees. Peaches in the summertime. Apples in the fall. If I can't have the girl I love I don't want none at all. The trees encircle a pond, leaning\ntowards and over it, as if they are taking care to keep it sheltered and in shadow. In a circle around the pond is a wabe of marshy grass.\n\nA gray bird with dark wings is perched on a flattened boulder that leans out and over the pond's edge.\n\n[Author's Note: Written for the NarraScope 2020 Game Jam. An Elizabethanesque Revery in a Shady Grove.]\n\n> You examine the pond\nThere are pale blue lilies floating listlessly in the pond. Flocks of tall swaying paperwhites, fully in bloom, are reflected in the rippling water as if they are floating there too.\n\n> You look at the bird\nBased on your sketchy knowledge of woodland birds, you think it could be a mockingbird. It appears to be standing on one foot and holding a tiny book in its other.\n\n> You ask the bird about book\nThe mockingbird stares at you for a long moment, appraising you. Abruptly it flies up from the boulder and perches on a swaying willow branch. From there it sings out \"These trees shall be my books,\nand in their barks my thoughts I'll character, that every eye which in this forest looks, shall see thy virtue witness'd everywhere.\n\nIt preens a feather for a moment and then adds pleasantly, \"Everything should be clear to you now you gut-griping, belly-gorged, malt-worm.\"\n\n> You examine the trees\nWillow trees encircle and shelter the pond.\n\n> You ask the bird about the pool\nThe bird rasps, \"I smell a fobbing gut-griping bum-bailey!\"\n\n> You take the book\nThe bird give your offending hand a vicious bite. It shrieks at you in fury, \"Now you've done it, you rude-growing pignut! No hints for you!\"\n\n> You clean yourself\nYou rub yourself."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nYou are beside the shadowed pond. In a circle around the pond is a wabe of marshy grass. Around the wabe is a circle of willow trees.\n\nThe mockingbird is perched on a swaying willow branch watching you.\n\n> You examine wabe\nIt looks like a manicured lawn, but it's not. Your feet make a squishy kind of noise with every step across it. It completely encircles the pond. A wabe technically surrounds a sundial, not a pond, but that's the word that came into your mind when you saw it.\n\n> You look in the pond\nThis pond may be connected to the brook your feet followed to get to this grove. Or perhaps it is spring fed. In either case, it is not stagnant. It looks so fresh and clean. You wonder if it would be safe to drink the water.\n\n> Drink water\nYou can't get close enough to the pond from here. The wabe is so marshy, there's nowhere to safely stand.\n\n> You climb the tree\nLittle is to be achieved by that.\n\n> About yourself\nYou are still dressed in the clothes you put on yesterday morning. You slept in them last night. This morning, since you were already dressed, you figured why change? Who would know, or care? You forced yourself to leave your house to go for a walk, the first time you had been out for weeks, except to grab some food and supplies from the shop with the widest aisles, and hope to find toilet paper without having to hunt across town for it. At least you only need to find enough for one person now. There's that.\n\n> You examine the boulder\nThe large flattened stone is positioned so that it overhangs the water. It is surrounded by paperwhites and lillies.\n\n> You get on the boulder\nYou climb up onto the boulder.\n\nShady Grove (on the flattened boulder)\nYou are beside the shadowed pond. In a circle around the pond is a wabe of marshy grass. Around the wabe is a circle of willow trees.\n\nThe mockingbird is perched on a swaying willow branch watching you.\n\n> Drink water\nYou sit on the edge of the boulder. Pushing aside the flowers, you are able to scoop up a handful of water. The narcissi release an\nurgent message understood only by the chemically literate flora and fauna of the pond. The mockingbird shouts a raucous warning but you inhale the musky scent, understanding nothing.\n\nYou take a sip.\n\nPress any key to continue.\nAs your vision darkens all that keeps you in the world is the distant voice of the mockingbird: \"Sing willow, willow, willow: The fresh streams ran by her, and murmur'd her moans; Sing willow, willow, willow; Her salt tears fell from her, and soften'd the stones.\"\nWhere you expect to see your own face reflected in the water, you see a sundial, the shadow of its blade moving from number to number, round and round, day after dismal day shut into your apartment alone; safe they call it, safe, is it? Endless dessicated days become practice for year after lonely year, assuredly ahead, since it is certain no one will ever love you again.\n\nThe mockingbird begins to fly around and around your head, shrieking and cackling in crazed abandon: \"You gut-griping, fen-sucked, elf-skinned, weather-bitten, rude-growing, moldwarp! You pottle-deep, tickle-brained, unchin-snouted, clay-brained, rude-growing, boar-pig! You boil-brained, rump-fed, beetle-headed, ill-nurtured, shard-borne, ratsbane!\"\n\nYou sit up, wiping away tears and snot with the back of your hand, and scream at the bird, \"I'm heart-broken goddamn it, and I'm lonely and I'm doing the fucking best I can! Why do you have to be so mean?\"\n\nPress any key to continue.\nThe mockingbird is silent. It returns to its perch on the willow branch, and waits for you to catch your breath.\n\nAlone she was,\nand did communicate to herself\nher own words to her own ears.\n\n\"Don't you see, my little love,\" it says kindly. \"There has never been anyone in this shady grove but you.\"\n\nYou are alone beside the shadowed pond. The pond is in the middle of some marshy grass in a little copse of trees near your house.\n\n> You examine the pond\nThou seest we are not all alone unhappy.\nThis wide and universal theatre presents\nmore woeful pageants than the scene wherein we play.\n\nYou lean over the edge of the boulder and see a face in the pond, puffy and streaked from crying. You stop yourself from calling it ugly, your heart feeling unexpected tenderness for this sad and weary face. Thou seest we are not all alone unhappy. Yes, your\nheartbreak is an insignificant tragedy in an unjust world; but no need to pass judgment on yourself there either. What is needful is just to make it through.\n\nYou stand up and brush dirt and sand and petals off your slept-in clothes. Maybe there's a way to help someone. Maybe there will be love, on the other side. Across the pond, you see the path that will take you home.\n\nPress any key...."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, nonhuman protagonist, fantasy]\n\nWelcome to Phoenix's Landing!\n\n\n\nWith rare exception, you can enter commands whenever you see a >. (The most notable exception is if you are having a conversation, in which case you will have to finish your conversation first. You will know that you are in a conversation if the game has supplied you with a numbered list of potential conversation responses.)\n\nHere are some useful commands....\n\nHELP will show you this message.\n\nLOOK (or L) will show what is around you.\nEXAMINE <object> (or X <object>) will take a closer look at a specific object.\nINVENTORY (or I) will show you what you are carrying.\n\nWhen you want to manipulate an item, try commands like GET <object>, DROP <object>, WEAR <object>, REMOVE <object>, and PUT <object> IN/ON another object.\n\nWhen you want to talk to someone, you can TALK TO <person>. Sometimes, other people will talk to you of their own accord. When you are conversing with someone, you will be presented with a list of numbered options. Type in the number you want on each turn in order to continue through the conversation.\n\nWhen you want to move from place to place, try commands like EAST, WEST, NORTH, and SOUTH, or RETREAT (which will take you back in whichever direction you just came from). You can also SIT, STAND, KNEEL, and LIE to assume different positions. It is more comfortable to SIT ON CHAIR than to sit on the ground, though you can only do this if there is a chair nearby.\n\nOccasionally, it is useful to take a moment and THINK ABOUT something, such as one of the gods, one of the races, or someone that you have met.\n\nIf you don't want to do anything at all, you can WAIT and see what happens next.\n\nImportant commands also include QUIT, SAVE, RESTORE, and RESTART. They do exactly what they sound like.\n\nThese are the most important commands, but they are not the only commands implemented in the game. When in doubt, experiment! You may be surprised by what you can do.\n\nHave fun, and good luck!"
    },
    {
        "text": "[Themes: Fantasy, female protagonist, fantasy]\n\n> You press the green\nWhen this story began, it began this way....\n\nIn a place that was no place at all, three presences gathered. One was dead, one would never die, and one existed somewhere in between.\n\nThe Undying commanded the ghost, *Speak, as you spoke to me.*\n\nThe ghost, a translucent, haggard man, showed fear in every quiver of his insubstantial being, yet he spoke before the Presences. \"My lords, when I was born, a geas and star were cast upon my path. There was a deed that I was fated to do, yet I was torn from life before it could be completed. This was not in the stars, and it was not in my fate, yet it came to be. I have been wronged.\"\n\n*You have been wronged.*  It was the Other, and each word twisted the shape of the ghost's existence. *Yet past is past, and done is done. You cannot return to life. You must go on.*\n\n*Yet who could alter what I set into motion?*  The Undying's words were stern, and, like the Other's words, they beat upon the ghost and caused the ghost to vibrate like a bell. *There are few who could change this soul's path, and only one who would. There must be an answer for this.*\n\n*We will answer between ourselves, then,* said the Other. *It is nothing to this ghost. I will send him on his way.*\n\n*No,* said the Undying.\n\nThere was a pause.\n\n*no?* said the Other, and, with that soft syllable, a cold wind raced over every leaf in some faraway forest.\n\n*No,* said the Undying. *For he accepted his path and his fate, and, in accepting, he gave all that he was. Mortal though he is, he lost all, and he has earned protection. In the name of the King, I claim his redemption.*\n\n*What is dead is dead, and dead shall not breathe,* the Other said indifferently. *He is lost, and he rots beneath the stones.*\n\n*But I will mark his path again,* said the Undying. *And I will set another upon that path, and I will send this ghost to watch over his successor. If his successor accepts the path as deeply and fully as he, then that one will reap where this one has sowed. And I call upon you to witness and to obey.*\n\nThere was a silence like the silence before a storm, when the very sky draws breath, but there was no sky in this place that was not a place.\n\n*Set your star upon his successor, but leave your geas upon this ghost,* the Other said. *What you have done shall not be undone, but I, too, have my rights. I, too, am among the stars, though I stretch beyond them as well.*\n\n*You are among the stars,* said the Undying. *I accept your obedience, and I accept your claim.*\n\nThe Other considered. *Then this path is mine, as well, to shape. A little.*\n\n*A little,* the Undying acceded.\n\nThe Other turned its attention to the ghost. *We will choose, you and I, until the clay of your successor's being is created. This, I will choose first: your successor's gender. She will be she, as you have been he, thus creating balance. Balance,* the Other added to the Undying, not unsardonically, *is of the essence.*\n\n*So let it be,* the Undying replied blandly. Then, to the ghost: *It is your choice, now.*\n\nAnd in the place that was no place, a concept came, and another, until nine concepts were arrayed before the ghost. The ghost perceived these nine:\n\na spiderweb - the concept of Agility\na dandelion - the concept of Endurance\na book - the concept of Brilliance\na mask - the concept of Cunning\na candle - the concept of Awareness\na crown - the concept of Presence\na rose - the concept of Guile\na jewel - the concept of Serenity\n\n*Choose,* said the Undying, *and what you choose will be born in your successor.*\n\nThere was no up, no down, no north, no south, no dawn, and no dusk. This was a place that is no place at all. The passing of time itself was all but meaningless -- yet there was meaning in the passage of time; not much, but enough that three presences gathered here meaningfully, and enough that they could converse.\n\nThe ghost perceived a sword, a spiderweb, a dandelion, a book, a mask, a candle, a crown, a rose, and a jewel.\n\n> You choose the book\nThe ghost hesitated for a long moment before reaching out to choose the book.\n\nThe Other said, *Brilliance. As you will. In return, I choose Awareness.*\n\nTo the ghost, the Undying said, *Your successor will have Brilliance. She will think methodically but clearly, and she will see through those who would confuse her mind with Cunning. But one who is Aware will endure against her and see the end of her road before she can reach it.*\n\nThe book, mask, and candle faded from the ghost's perception. The sword, the spiderweb, the dandelion, the crown, the rose, and the jewel remained.\n\n*Choose again,* said the Undying, *and what you choose will be born in your successor.*\n\n> You choose the rose\nThe ghost hesitated for a long moment before reaching out to choose the rose.\n\nThe Other said, *Guile shall be hers. In return, I choose Presence.*\n\nTo the ghost, the Undying said, *Your successor will have Guile. She will be subtle and strong in persuasion, and those with Serenity will yield before her, convinced her aims are their own. But one with Presence will entrance her to follow a new banner and forget her own will.*\n\nThe rose, crown, and jewel faded from the ghost's perception. The sword, the spiderweb, and the dandelion remained.\n\n*Choose again,* said the Undying, *and what you choose will be born in your successor.*\n\n> You choose the dandelion\nThe ghost hesitated for a long moment before reaching out to choose the dandelion.\n\nThe Other said, *Endurance. So be it. In return, I choose Agility.\n\nTo the ghost, the Undying said, *Your successor will have Endurance. She will have stamina and resilence, and she will endure every blow heaped upon her by one with Power. But one with Agility will find her secret weaknesses, and her body will fail first.*\n\nThe sword, spiderweb, and dandelion faded from the ghost's perception. *We have determined her heart and her mind and the strengths of her body,* said the Undying. *Now we shall determine the shape of this body.*  And it seemed to the ghost, then, that five pieces of wood appeared before him, each different in hue: birch, ash, maple, rosewood, and ebony.\n\n*Choose,* the Undying said to the ghost, *and all will see your choice upon her skin.*\n\n> You look at the maple\nThe maple wood is golden and burnished to a rich shine.\n\n> You choose the maple\nThe ghost hesitated for a long moment before reaching out to choose the piece of maple.\n\nThe other four woods faded away, leaving only the piece of maple. Upon the piece of maple, the ghost perceived an indistinct, eyeless face.\n\nThe Undying gestured again, and now seven small gems materialized: a ruby, a topaz, an emerald, a sapphire, an amethyst, a tiger eye agate, and a small dark diamond.\n\n*Choose,* the Undying said to the ghost, *and all will see your choice in her gaze.*\n\n> You look at the amethyst\nPurple, faceted, and sparkling, the amethyst attracts the eye.\n\n> You examine the sapphire\nLight and dark blue coruscate through the center of the gem.\n\n> You look at the diamond\nDark rainbows decorate the depths of the black jewel.\n\n> You look at the emerald\nA grass green star hovers just off the surface of the emerald.\n\n> You ask undying about the gems\nYou can only do that to something animate.\n\n> You examine the topaz\nSharp yellow light glints through the topaz's depths.\n\n> You choose the ruby\nThe ghost hesitated for a long moment before reaching out to choose the ruby.\n\nThe other six gems faded away, leaving only the ruby. It wavered and twinned, and then the pieces of ruby fused with the face of tan wood, shining softly in the place that was not a place. Yet the face was incomplete, and the Other contemplated it.\n\n*I choose... this,* said the Other.\n\nAnd with the Other's words, a change came over the face, which became covered in downy fur. The nose and mouth elongated into a snout, and small fangs appeared beneath the lips. The face lost its indistinctness to become that of a chirop -- one of the spindly children of the mountains. Her fur was as tan as a piece of polished maple, and her eyes were as crimson as two crimson rubies, with the light of intelligence shining in their depths. Her expression was secretive, and she looked healthy and well-fed.\n\n> About yourself\n*It is done,* said the Undying. *There will come a day when my star marks her sky, and when that time comes, it will be the time of your geas once more. Then you will be free to guide her, and if she walks upon the true path, then she will gain all that you should have gained.*\n\n*Or lose,* said the Other, *all that you should have lost --*  And for a moment, the words that shook the ghost's very substance carried something like sorrow and something like pain, made brighter by the light of life so near, the touch of death so far.\n\n*But for now,* said the Undying, in a way that could not be denied, *you will wait --*\n\nAnd, bound by the power of a word and a star, the ghost slept, and the world changed in many ways before he wakened.\n\nPhoenix's Landing: Destiny\n\nMuch later, and in a place that was far more real, a young chirop ventured from home with her tradefather for the very first time. She knew nothing of stars, geasa, ghosts, Presences, or anything else except that she was very proud to be along on this trip.\n\nUnfortunately, while she knew nothing of the stars, they knew something of her....\n\nIt's the first time that you've been allowed to travel on a trading mission. All your life has been secluded within the confines of a mountain cavern-town far to the west, but this year, your creche-fathers agreed that you should accompany your tradefather instead of the assistant that your tradefather normally hires for the journey.\n\nAfter weeks of travel (first down the rocky slopes and through rambling hills, and then through the twisting, shadowy forests) you get your first real look at the city of Phoenix's Landing. Above the tall stone walls, you can see the tops of the buildings. Two towers at the center rise highest of all, and, from your tradefather's stories over the years, you recognize them immediately as the temple to Ivrul and the governance hall. Golden fields border the city to the west and south, with a few small buildings clumped here and there. The dark face of Char Cliff rises above it to the north, marking the base of First Mountain.\n\nWhen you raise your eyes to First Mountain, the city seems no larger than a child's city built from shards of fallen stone. The city nestles beneath the cliff as a pup to its mother, yet it is larger than any city you have ever seen. You have no plans to visit the chiroptera here, but you know that other creche-clans dwell in the range beyond Char Cliff, and the thought is oddly comforting.\n\nBut -- the city! You can see it more clearly, now, and excitement bubbles up within you.\n\nTo journey through the shadowy forests, you joined a caravan, and now the mounted guardsmen scatter forward and back, tending to their various claims since the forest's dangers are receding away. The boredom of the past week fades as you bounce slightly on the seat of your wagon and strain to see more.\n\nEach wagon has to pause for inspection at the guard house on the near side of the bridge.\n\nYou are far enough back in the line of wagons to grow deeply impatient as you wait for your opportunity to enter the city. Once the wagon has been inspected, it clatters over the broad, flat bridge and passes through the gates into the milling city beyond. You catch only a few brief glimpses of the buildings beyond.\n\nThen it is your turn. Your wagon rolls forward over the rutted road and halts. \"Inspection,\" the shaghal guard growls. \"All parties present themselves.\"\n\nAt your father's signal, you hop down from the wagon.\n\nMost of the other wagons have already passed over the bridge, but a few wait patiently behind yours. Before you, a broad, sturdy bridge stretches over a wide and rather dubious-looking river. Beyond the bridge, the gate of Phoenix's Landing gapes open to receive you.\n\nFather is here with you, which is rather a relief. The city looks awfully large this close up.\n\nThe large shaghal guard stands here inspecting wagons and merchants before he approves them to enter the city.\n\nFather says quietly, \"Achatli, this should only take a moment, but please be on your best behavior.\"\nI beg your pardon?\n\n> You examine the river\nA faint swirl of grease drifts over the surface of the murky grey water.\n\n> You look at the bridge\nThe bridge is almost as dusty as the road.\n\nThe guard approaches Father, identifies himself as Greshen, and demands both of your names, which your father supplies. Greshen nods slightly in reply.\n(You memorize Greshen's name for future reference.)\n\n> You look at Father\nYou take a moment to study your clan's tradefather -- the one who interacts with other races and visits cities beyond the chirop mountains of your home. He is your true father as well, but this is much less important than his position in the creche-clan, and you tend to forget about it from time to time. Despite this, you have always been pleased by your resemblance to one another -- you share his tan fur and crimson eyes. Someday, he will retire. Because you are female, you could never hold the title of tradefather in a creche-clan, but you can hope for enough training that you can spend your life traveling and bartering. Maybe you will even serve the creche-clan in your tradefather's stead for a time. It is a slim hope, but a hope.\n\nGreshen inspects the contents of your father's wagon.\n\n> Oops greshen\nShaghal are the furred people of the plains and valleys. They typically have brown or black fur and brown, black, amber, green, or dark blue eyes, although the occasional specimen displays an unsettling crimson hue. Shaghal have two arms, two legs, and walk upright, as all people do, but their faces are distinctly canine, with short muzzles, black noses, and white, sharp teeth, rather like jackals or wolves.\nThe resemblance is enhanced by triangular ears set high atop the skull and a plumed tail. For all of that, their hands are five-fingered and dextrous, and you know better than to underestimate their intelligence.\n\nThis particular shaghal has mahogany brown fur and dark amber eyes. He carries a short, heavy staff wrapped in leather in one hand, and he also bears a curved axe at his hip. He displays the scarlet and silver crest of Phoenix's Landing on his shoulder.\n\nGreshen seems to be taking an awfully long time with his inspection.\n\n> You talk to Father\nHis attention is on Greshen and he doesn't want to be disturbed.\n\nGreshen finishes his inspection and turns to your father. \"Everything seems to be in order here,\" he says.\n\n\"I'm glad to hear it,\" Father replies.\n\n> You examine the crest\nThe crest of Phoenix's Landing is a flame-wreathed scarlet bird silhouetted on a bright silver mountain, all set on a field of black. The crest appears on the shoulder of this jerkin.\n\nFor the first time, Greshen's amber gaze slides over your face as he looks away from Father. One of his ears twitches, and he looks surprised. Instead of saying anything, though, he rummages in his vest for a piece of paper. After scrutinizing the paper for a long moment, he stares intently into your eyes, and then he shakes his head.\n\"You'll have to wait here for a moment,\" he says, and signals to a human guard standing closer to the gate. The human guard nods briefly and goes into the city with a purposeful air.\n\n> You think about Greshen\nGreshen is a shaghal guard in Phoenix's Landing.\n\n> You think about Father\nThe other races are unfortunate to have only one father apiece. Like any other chirop born to a healthy creche-clan, you have five fathers, all well beloved: your lorefather, your lawfather, your lifefather, your hearthfather, and your tradefather. Yet you are more like your tradefather than any other of your fathers, and you know he is your blood-father as well. You have a special closeness to him, and it is a deep privilege to go on this journey with him. Your tradefather's role as a father is to teach you and your siblings about how to interact with the other races, and his duty as a member of the clan is to trade so that the clan will prosper.\n\n> You ask Greshen about the paper\nFather might be annoyed if you did that.\n\nA graceful chirop priest strides through the gate. He glances about briefly before Greshen beckons him over.\n\n\"Eyes of Justice,\" Greshen says respectfully. \"There was a missive that came out, and I think....\" Instead of finishing the sentence, he shows the slightly crumpled piece of paper to the young priest.\n\nThe priest peruses the paper and then looks down at you.\n\n> You think about the humans\nHumans are the populous people of the oceans. They have two arms, two legs, and walk upright, as all people do. Their skin is normally light or dark brown, though there are paler or darker exceptions, and they have eyes in a wide variety of colors. Although both genders grow hair from the tops of their heads, human men can be readily distinguished from human women because the women do not grow fur on their faces. Although they appear weak and unprotected, they are surprisingly versatile and thrive in a variety of enviroments.\n\n\"A greeting to you, in virtue and honor,\" the priest says. \"I understand your name is Achatli. Is this your first time in the city of Phoenix's Landing?\"\n\n[1] \"It is true. I have never been here before.\"\n[2] \"Of course not. I am well familiar with the city.\"\n[3] \"What's your name?\"\n\n> 3\n\"I do have the advantage of you, and I can see that you feel that's unfair,\" the priest says. \"As you will. I am Hachachi of the Stars. And now you will answer my question, perhaps?\"\n\n(You memorize Hachachi's name for future reference.)\n[1] \"It is true. I have never been here before.\"\n[2] \"Of course not. I am well familiar with the city.\"\n\n> 1\nHachachi nods. \"I hope you like it here. Before I can permit you into the city, though, my superior -- High Caerwyn of the Stars -- requests to meet with you. I trust you have no objection?\"\n\n[1] \"It would be my pleasure.\"\n[2] \"That seems all right....\"\n[3] \"Is there another way?\"\n\n> 3\nHachachi frowns slightly. Turning to your father, he explains, \"It is merely a precaution, but there is an omen about a girl with the markings and hue of this child, and we expect the one we seek before the moon's cycle ends. I wouldn't worry,\" he adds, \"but it really is important that High Caerwyn inspects her.\"\n\nFather hesitates for a long moment. Greshen tenses slightly in response to Father's tension, and for a moment, you fear something horrible will happen, but then Father says, \"All right. I'll be with her, of course.\"\n\nHachachi nods. Turning to Greshen, Hachachi says, \"Please take this wagon to the side and ensure that it remains safe. We should return within the hour, but there's no need to block traffic.\"\n\nLeaving the wagon behind, you cross the broad bridge and enter the vast city from its western gate. \"This is West Flame Gate,\" Hachachi says conversationally, \"and people call this neighborhood the Silver District. You'll bring your wagon through this way later this evening. Over there is the Full Cup, a very good inn -- I recommend the ale highly.\"\n\nHe continues to converse as you move through the city, but the sound flows around you like the mountain wind -- present, but disregarded. You pay more attention to the various wagons in the market square you pass, to the way passersby part for the young priest, to the low buildings on all sides, and to the people -- so many people! You have never seen so many people in all your life, let alone all in one place. From your father's past stories, you know that this was once a chirop town, but that many humans and shaghal moved here as the city grew in prominence, and now it is a notable center of trade.\n\nIn your heart, you had somehow pictured a town like your home, but the buildings surrounding you are very different from the caves where you grew up. You did not know there were so many chirop clans in all the world, and here, those clanmembers mingle with an equal number of humans and scattered groups of shaghal. You are comforted by the presence of your father.\n\nLooking forward, you see a bridge at the end of the street, and, beyond that bridge, you see a white spire that can only be the governance hall. The governance hall and the temple of Ivrul are placed upon an island at the center of the city, and now, you are close enough to glimpse sunlight sparkling off the surrounding waters.\n\nA wide-shouldered human woman stands to the left of the bridge's base. Like the shaghal guard at the gate, she bears the scarlet and silver crest of Phoenix's Landing on one shoulder, though she carries a spear instead of an axe. Hachachi nods a greeting to the human guard, who nods briefly in return and gestures you across the bridge.\n\nThere are tiled paths here rather than cobbled streets, and Hachachi turns left along one of those paths, guiding you past the governance building and toward four buildings standing in a cluster. The tallest of these by far is the silver spire that you saw before, which you recognized as the spire of Ivrul of the Mists. That, however, is not your destination. Instead, the priest escorts you to a stately building of grey marble, and you walk beneath an archway marked with a silver star. This is the temple of Ferran of the Stars.\n\nBeyond the archway is a courtyard, and you pass through the courtyard, through the doors, and down a short hall before entering a silver-walled chamber. The most noteable feature of the room is a stunning blue tapestry depicting a heron among reeds. A human woman garbed in black leather is seated to one side.\n\n> You bow to the woman\nWith your father at your side, you enter. Behind you, Hachachi says respectfully, \"High Caerwyn, I present Achatli for your examination.\" (You memorize High Caerwyn's name for future reference.)\nHigh Caerwyn nods. \"Thank you, Hachachi. I will summon you when it is time.\"\nHachachi steps back into the hall and closes the door gently behind him.\n\nThe chamber is dominated by a wide tapestry hanging opposite the door. In shades of blue, black, silver, and gold, it depicts a magnificent heron standing among reeds and gazing skyward toward a night filled with stars. The walls are panelled in dark wood with a subtle silver shimmer. A massive black cabinet stands to one side, and a matching table has been positioned among four chairs at the center of the room.\n\nHigh Caerwyn is sitting on the tall chair positioned in front of the tapestry.\nI beg your pardon?\n\n> You think about the names\nYour thoughts circle without profit.\n\n> You examine Achatli\nThere is no reflective surface nearby in which you can get a proper look at yourself. However, despite your best efforts to remain tidy, your fur is dusty from the road, and you are not completely comfortable with your current appearance. You would definitely welcome the opportunity to tidy up.\n\nFather has promised that opportunity once you are safely inside the city, which is another reason to hope for speed.\n\n> You examine Caerwyn\nHumans are the populous people of the oceans. They have two arms, two legs, and walk upright, as all people do. Their skin is normally light or dark brown, though there are paler or darker exceptions, and they have eyes in a wide variety of colors. Although both genders grow hair from the tops of their heads, human men can be readily distinguished from human women because the women do not grow fur on their faces. Although they appear weak and unprotected, they are surprisingly versatile and thrive in a variety of enviroments.\n\nHigh Caerwyn is garbed in a fitted, coal black leather vest over an equally dark cloth shirt. Her ankle-length skirt is similarly made of fine leather, and it has been split up each side to allow for maximum freedom of motion. A tear-shaped medallion hangs upon her brow from a fine silver chain, and several necklaces ornamented with various sigils encircle her throat. The overall effect is ornate and militant at the same time, and not at all what you expected, though you have rarely encountered worshippers of Ferran of the Stars.\n\n\"Achatli, be welcome,\" High Caerwyn greets you. \"I am Caerwyn, the High Priestess of Ferran of the Stars. Tell me, what do you know about the Divine Judge?\"\n\n[1] Tell Caerwyn in detail what the chiroptera teach about Ferran.\n[2] Claim to know nothing about Ferran.\n\n> 2\n\"The easiest way to show you is to do it,\" High Caerwyn says. From a concealed pocket in her skirt, she takes a polished wooden case no larger than her palm. When she opens the case, she reveals a set of onyx stones, each carved with a rune, and a folded square of blue silk. She spreads the silk across the chair at her side. \"I will need a strand of your hair,\" High Caerwyn says. You draw your fingers through your hair, coming away with a single strand, and pass it to her. She loops the strand of hair end-to-end, forming a circle upon the silk.\n\nHigh Caerwyn closes the case and rattles it for a moment before opening it. As she pours the stones across the silk, sudden silvery-blue light radiates up from the silk, and the strand of hair vanishes. The nine stones roll to rest in a four-pointed star -- one at the center, two on each arm. Only the center stone faces upright, and that one bears the same stylized star as you saw above the archway.\n\n\"What does that mean?\" Father asks, though the tone of voice suggests that he has his suspicions already.\n\nThe high priestess sits very still for a moment before picking up the case and putting away her set of stones. \"This is inconclusive, but I would like to talk with your daughter alone for a moment.\" Father opens his mouth to protest, but she cuts him off in a clear, sharp voice. \"We will be here, and you will be right outside the door. I assure you, there is nothing to fear.\"\n\n\"Unacceptable,\" Father says coldly. \"We will discuss what must be discussed, you and I, and you will involve my daughter further only with my consent.\"\n\n\"She is nearly to her age of majority ,\" High Caerwyn states. \"She has the right to hear about such things herself. If she is geased -- and she does seem to be -- then she must know what will come of it.\"\n\n\"And if I refuse?\" your father demands. There is a long pause as Father and High Caerwyn stare at one another, his crimson eyes locked to her dark blue eyes.\n\nThe priestess of Ferran looks away first. \"Then it could be her life,\" she says simply.\n\nYour father presses the advantage. \"If it is her life, then what you know must be shared with me fully before you speak to her further. She is bright and special and tireless, and she is honored for her learning by every one of her fathers. I will permit nothing to harm her.\"\n\nThis last, you recognize as trade manners; it would not do for this priestess to think you are of low value to your creche-clan, lest she believe that you -- and Father -- could vanish without your family's notice. Still, you warm beneath his praise.\n\nHigh Caerwyn nods. \"Very well.\" She rises from her chair, goes to the door, and summons the graceful chirop priest. \"Escort Achatli to the Cat Chamber, please, and remain until her father comes or until I join you.\"\n\nThe priest bows gracefully to Caerwyn, half-spreading his arms to expose his patagium as he does, and then backs out of the room. At your father's nod, you follow the priest.\n\nThe Cat Chamber turns out to be a short way down the corridor to the left. Hachachi follows you in and closes the door.\n\nThis chamber is nearly identical to the previous room, including the dark walls and precisely positioned black furniture. The primary difference is in the tapestry, which depicts a spotted cat instead of a heron, and which has been executed with accents of gold, yellow, and green upon black instead of blue and silver upon black.\n\nHachachi is standing nearby.\n\n> You examine Hachachi\nHe is chirop, just like you -- one of the lithe, lightly furred people of the mountains. Your father has told you of other chiroptera here, and it is a comfort to see one now. Like you or your father, this chirop has a membrane called the patagium that stretches from hip to wrist, connecting his arms to his body in the fashion of a bat's wings. His face is small and fuzzy, and you know that fangs are hidden within the small snout.\n\nThis particular chirop is light tan in hue, with piercing black eyes. Several braids have been woven into the crest of longer hair that runs back from his brow. He wears a two-tone tunic in light and dark grey, and the tunic has been split neatly down the sides so that his patagium is not hampered -- a fairly traditional style of garb, which you and your family also favor, though the stylized star embroidered on his collar is not traditional. He is young, yet carries himself with an air of authority.\n\n> You think about the patagium\nYour thoughts circle without profit.\n\n\"Would you like to sit down?\" Hachachi gestures to the ring of four chairs.\n\n> You sit\nDid you mean to sit on the floor? (There's a black chair positioned facing the tapestry right there....)\n[Please respond with YES or NO.]\n\n> No\nYou seat yourself in one of the black chairs. Hachachi nods his approval.\n\nThe priest draws a small key from a hidden pocket and opens the black cabinet. At this angle, you can't really see anything of the contents of the cabinet, but when Hachachi turns back toward you, he is holding a small, opaque bottle and a pair of porcelain cups.\n\n\"Are you familiar with desert appleshy?\" he inquires.\n\n[1] \"Desert appleshy? I don't think so....\"\n[2] Remain silent.\n\n> 1\n\"It is made by the jinn,\" Hachachi says as he uncorks the bottle and pours carefully. The liquid that swirls into the cups is pale gold, but tinged with faint iridescence. \"The name is more fantastic than the flavor, I fear, but it has the virtue of lasting long and well in darkness -- so we keep a bottle in each room to quench thirst at appropriate times.\"\n\nKeeping one cup for himself, he sets the other on the table and then takes a moment to put the bottle away.\n\nHachachi sits down on the black chair positioned to the right of the tapestry.\n\n> Xyzzy\nYes, Colossal Caves is awesome. Now stay focused."
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, female protagonist]\n\n> Look around\nCat Chamber (on the black chair positioned facing the tapestry)\nThe chamber is dominated by a wide tapestry hanging opposite the door. In shades of gold, yellow, green, silver, and black, it depicts a magnificent spotted cat lounging upon a tree branch and gazing skyward toward a night filled with stars. The walls are panelled in dark wood with a subtle silver shimmer. A massive black cabinet stands to one side, and a matching table of smaller size has been positioned among four chairs at the center of the room.\n\nHachachi is sitting on the black chair positioned to the right of the tapestry.\nOn the small black table is a small porcelain cup of desert appleshy.\n\n> You pour Cup out\n(the small porcelain cup of desert appleshy out)\nYou don't see anywhere appropriate to pour out the small porcelain cup of desert appleshy.\n\nHachachi tilts his cup to his lips for a moment before lowering it again.\n\n> Smell cup\n(the small porcelain cup of desert appleshy)\nYou smell nothing unexpected.\n\n> You look at the tapestry\nA border of ornate black knotwork outlined delicately in gold runs along the edge of the tapestry. At the center of the image, shadowy green leaves part to reveal a magnificent spotted cat lounging on a tree branch. The yellow-gold cat all but glows against the blackness of the night sky. Above the cat, fourteen bright yellow stars connected by thin golden lines pick out a constellation against the night sky, and the constellation is a second cat.\n\nHachachi pauses to smell the aroma in his cup.\n\n> You move the tapestry\nYou fail to move the wide tapestry.\n\nHachachi gazes into his cup for a moment and swirls the liquid reflectively."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nCat Chamber (on the black chair positioned facing the tapestry)\nThe chamber is dominated by a wide tapestry hanging opposite the door. In shades of gold, yellow, green, silver, and black, it depicts a magnificent spotted cat lounging upon a tree branch and gazing skyward toward a night filled with stars. The walls are panelled in dark wood with a subtle silver shimmer. A massive black cabinet stands to one side, and a matching table of smaller size has been positioned among four chairs at the center of the room.\n\nHachachi is sitting on the black chair positioned to the right of the tapestry.\nOn the small black table is a small porcelain cup of desert appleshy.\n\nHachachi pauses to smell the aroma in his cup.\n\n> Drink cup\n(the small porcelain cup of desert appleshy)\n(first picking up the small porcelain cup of desert appleshy)\nTaken.\n\nYou take a sip from the small porcelain cup of desert appleshy. A flavor like honeyed apples and grapes and spring water fills your mouth.\n\nHow can a drink be diluted and strengthened at the same time? In flavor, this is rather like watered apple juice sweetened with honey, but the power of the drink still dizzies you briefly. Everything shimmers in your vision a second after you swallow, but then your sight returns to normal.\n\nThe subtle scent of apples and honey wafts from the cup in your hand.\n\n> You keep going\n(the small porcelain cup of desert appleshy)\nYou take a sip from the small porcelain cup of desert appleshy. A flavor like honeyed apples and grapes and spring water fills your mouth.\n\nHachachi settles back in his chair. \"Now, we shall be civilized,\" he invites. \"Please, you must be curious about my city. If you wish to ask questions, I will be happy to answer them -- but first, what did you think?\"\n\n> You ask Hachachi about Cup\n[Use TALK TO to interact with characters.]\n\n> You talk to Hachachi\n[1] \"I'm very impressed by the appleshy.\"\n[2] \"The appleshy isn't really to my taste.\"\n\n> 2\n\"Oh? Well, that's a disappointment,\" Hachachi says. \"I'm very fond of it myself, and I hoped you would be.\"\n\n[1] \"Tell me more about Ferran?\"\n[2] \"Tell me about Caerwyn?\"\n[3] \"Tell me about yourself?\"\n[4] \"Tell me about the city?\"\n[5] \"Tell me about geasa?\"\n[6] Say nothing.\n\n> 3\nIn response to your question, the chirop priest hesitates. \"I'm not sure what there is to tell,\" he says. \"I assist High Caerwyn, but not at services -- I assist her with the day-to-day of scheduling and planning and organizing. Really, I'm rather boring.\"\n\nYou are certain that, under the cover of fiddling with his cup, Hachachi is watching to see how you react.\n\n[1] \"Tell me more about Ferran?\"\n[2] \"Tell me about Caerwyn?\"\n[3] \"Tell me about your family.\"\n[4] \"Why did you join the priesthood?\"\n[5] \"Tell me about the city?\"\n[6] \"Tell me about geasa?\"\n[7] Say nothing.\n\nHachachi gazes into his cup for a moment and swirls the liquid reflectively.\n\n> 2\n\"High Caerwyn is devoted, yet caring,\" Hachachi answers. \"I think nothing concerns her so much as the lives that we lose -- for each time one man kills another, it is a failure of the Temple.\" He studies you for a moment, clearly judging his words carefully. \"We must study virtue, and we must teach its path, or we will all be lost in a darkness without stars. No one believes this more than she does. If High Caerwyn were not bound by duty, her deeds would be great -- but she is bound by duty, the highest calling there is, and so her light is seen only in the deeds of those she guides.\"\n\n[1] \"Tell me more about Ferran?\"\n[2] \"Tell me about your family.\"\n[3] \"Why did you join the priesthood?\"\n[4] \"Tell me about the city?\"\n[5] \"Tell me about geasa?\"\n[6] Say nothing.\n\n> 5\n\"Though I see why you would ask, I cannot speak further with you about geasa,\" Hachachi says apologetically. \"However, High Caerwyn will tell you all that you must know -- just as soon as your father consents.\"\n\n[1] \"Tell me more about Ferran?\"\n[2] \"Tell me about your family.\"\n[3] \"Why did you join the priesthood?\"\n[4] \"Tell me about the city?\"\n[5] Say nothing.\n\nHachachi says something, but you can't understand what he says -- the syllables are blurred and strange to your ear.\nThe words you were about to speak fly away.\n[1] \"What did  you say?\"\n[2] \"I feel strange....\"\n[3] Say nothing.\n\n> 2\n\"Is it the incense? It's a bit strong in the hallways....\" Hachachi gazes at you in clear concern.\n\n[1] \"What did  you say?\"\n[2] \"Help me -- something's wrong!\"\n[3] Say nothing.\n\nThe subtle scent of apples and honey wafts from the cup in your hand.\n\nLight sparkles suddenly in the corner of your vision, but when you turn your head, it is gone. A wave of dizziness washes over you.\n\n> You kill Hachachi\n[Before you can try attacking Hachachi, you will need to complete this conversation. Please enter a number or type REPEAT to reacquaint yourself with your options.]\n\nHachachi tilts his cup to his lips for a moment before lowering it again.\n\n> 2\nHachachi says something in reply, but you can't understand what he says. But he doesn't get up to help you -- even though the edges of the room have started spinning....\n\n[1] \"What did  you say?\"\n[2] Say nothing.\n\nHachachi pauses to smell the aroma in his cup.\n\nYour grip suddenly loosens on the small porcelain cup of desert appleshy. Though you reach out with your other hand to catch the cup as it slides from your numb fingers, the air is thick around your hand, slowing your motion. A few flying drops of desert appleshy spatter your hand before the cup strikes the ground. Spilled desert appleshy flows across the floor. Reaching after the cup, you lose your balance, and the entire world slips sideways.\n\nYou stumble first to your knees and then catch yourself on your hands. You try to stop your fall, but the best you can do is hit the floor first with your shoulder instead of your face. Fortunately, the jarring pain that follows is also far away.\n\nHachachi is crouching beside you. You see his mouth moving, but you can't hear what he says. You feel it, though, when he raises your head, slides his knee under you for support, and opens your lips with a clinical finger so that he can pour more desert appleshy down your throat. Your faintly moaned protest chokes off beneath the draught, and you swallow against your will. Everything is spinning faster and faster, and you are pressed down from the force of it. Your tongue tastes of apples.\n\nAlthough your eyes are still open, your vision starts to fade. There is a roaring in your head that is growing louder, and louder...."
    },
    {
        "text": "> Look around\nThe thunder resolves into the pounding roar of a seething mass of chiroptera. The myriad voices, the screaming, the shouting, all blends together and echoes through your very bones.\n\nYou are standing upon a high dais, and on all sides, thousands of chiroptera stare up at you -- the source of the incredible tumult. You had not conceived of so many people in all the world, let alone so many of your kin in the same place, and their frenzied behavior is alien to your secluded existence. Your very heartbeat and breathing feel dictated by the hunger of the crowd. You are garbed formally in a side-split tunic of dense, gem-adorned brocade and a long skirt, but you are much less concerned about your attire than you are concerned by the long, heavy sword gripped in your hand.\n\nA chirop woman kneels before you. Her tan fur is sparse from great age, and her hands are bound tightly behind her back with coarse rope. Her shoulders twitch in a shiver as the cries of the crowd pound over you both.\n\nThough the sound of the crowd all but deafens you, a woman's clarion voice rises above the din of the crowd. \"She is condemned. Strike!\"\nI beg your pardon?\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> Go outside\nYou step to the edge of the dais. Thousands of eyes bore into you as you start down the steps, and the tone of the crowd's layered cries becomes suddenly, sharply hostile. A heavy wave of disorientation follows. This isn't you -- this isn't your place or where you belong....\n\nAnd, winging after that thought, you realize that it is nighttime. The roar of the crowd fails into silence, defeated by the sudden blackness and the tide of stars that flow across the night sky. The taste of apples fills your mouth, and stars flash across your gaze as everything spins away from you.\n\nThis, in the darkness:\n\nThere is a voice. The voice is sharp, clear, female, and only newly familiar: Caerwyn's voice, asking, \"What did you give her?\"\n\nA second voice comes from the darkness. This one is low, softer, male, and as little-known to you as the first. Hachachi answers, \"Heartkenning in dreamwine.\"\n\nCaerwyn: \"You mistook her, perhaps, for a trained diviner? You risk too much.\"\n\nHachachi: \"It had to be risked.\"\n\nCaerwyn: \"'Use your initiative' didn't mean kill the girl. She's hardly breathing.\"\n\nHachachi: \"There weren't many options and there wasn't much time.\"\n\nCaerwyn: \"There was more time before you tried to kill her.\"\n\nHachachi: \"High One, if I was wrong, please forgive me. I measured the dreamwine carefully -- six swallows, no more. Her geas...\"\n\nBut the darkness is spinning, and noise comes out of the darkness -- a shivering, rushing noise, something more familiar than the voices. The noise drowns out Hachachi's voice. You struggle to identify this new sound....\n\nWater. The sound is water.\n\nYou are lying on cold stone, and you can hear a river not far away.\n\nUnderground, Crevice\nIt's hard to see much of anything here, as overhanging shelves of rock block almost all light from the north, and that light is a frail, greenish shimmer at best. The crevice is small and cramped. Once, it was a full passage, as signs of a broader tunnel do lead west, but the tunnel is blocked by fallen rocks.\n\n> You examine the rocks\nThe fallen rocks prevent you from proceeding west.\n\nWhen the rocks fell, we were lucky because grubmen are stupid. Instead of coming to kill us, they went to pray to the grubqueen. It would have been easier if they hadn't left a sentry.\n\n> About you\nThere is no reflective surface nearby in which you can get a proper look at yourself. However, despite your best efforts to remain tidy, your fur is dusty from the road, and you are not completely comfortable with your current appearance. You would definitely welcome the opportunity to tidy up.\n\n> You examine the light\nFaint, greenish light is visible to the north.\n\nYou have to keep moving. Eventually, the grubmen will realize that the falling rocks were on THIS side, and then they'll come to investigate.\n\nFaint, greenish light is visible to the north.\n\n> You think about the grubmen\nYour thoughts circle without profit.\n\n> You go north\nThere was no way to go back. All we could do was go forward, and hope for a new exit somewhere past the grubmen.\n\nYou stand up cautiously to avoid cracking your head on the low stone ceiling.\n\nThis underground space is dimly lit by crusts of phosphorescent lichen clinging to the cavern roof. Ragged spires of rock jut from the ground, and cool, dark shadows fill the spaces between the spires. A crevice opens to the south, and a broader passage leads off to the east.\n\n> You look at the lichen\nThe only light here is a dim glow emanating from the lichen clinging to the cavern ceiling.\n\n> You get the lichen\nThe patch of phosphorescent lichen is too far away.\n\n> You examine the spires\nSeveral waist-high stalagmites rise from the ground.\n\nWait -- this isn't the way it went....\n\n> You go to the east\nUnderground, Beside the River\nThe cavern opens up beside a broad underground river. Across the river, small orange fires glimmer, and contorted humanoid shapes are visible moving in the firelight. These are grubmen -- an annoying, not particularly intelligent breed of underground dweller with a tendency to steal animals from human and chirop settlements. The river flows through a black, impassable hole to the south, but there is room to walk north along the river's steep bank.\n\nA narrow, not-particularly-sturdy-seeming bridge stretches over the river to the east. Upon the bridge is another short grubman standing watch -- a rather ineffective watch, at that, since the grubman is staring toward the fires and has not yet noticed you.\n\nThe grubman standing on the bridge shifts anxiously from pudgy foot to pudgy foot.\n\n> You look at myself\nThere is no reflective surface nearby in which you can get a proper look at yourself. However, despite your best efforts to remain tidy, your fur is dusty from the road, and you are not completely comfortable with your current appearance. You would definitely welcome the opportunity to tidy up.\n\nI wasn't alone. The rocks caught Achimi, but Hichaesho made it through.\n\n> You kill grubman\n(the translucent white grubman)\nYou can't reach the translucent white grubman from here.\n\nThe grubman standing on the bridge shifts anxiously from pudgy foot to pudgy foot.\n\n> You check what you're carrying\nYour hands are empty.\nYou are wearing a dark green goat wool cloak, a pale green tunic split up the sides, and a long, voluminous skirt of pale green wool. A slim braided leather belt encircles your waist. You have a pair of braided white leather sandals on your feet. You are also wearing a slender zircon-studded bracelet and a pair of dangling zircon earrings.\n\nThe grubman standing on the bridge shifts anxiously from pudgy foot to pudgy foot.\n\nAm I dreaming?\n\n> You look at the bracelet\nYou study the slender zircon-studded bracelet for a moment, but you notice nothing particularly unusual.\n\nWho ARE you, and why are you in my dream?\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go east\nUnderground, Grubman Bridge\nThis narrow, rickety bridge was designed for the weight of a grubman, not a chirop, and it complains softly with your every movement. There are no railings. Tinted dimly orange by the nearer grubman fires, the river plunges swiftly past below and flows away to the south.\n\nGrubman engineering is not much of a science. The bridge trembles disconcertingly underfoot. Fortunately, the grubman guarding the bridge is distracted and looking away from you.\n\nThe grubman standing on the bridge shifts anxiously from pudgy foot to pudgy foot.\n\n> Yes\nAgainst your better judgement, you approach the translucent white grubman.\n\nYou rush at the grubman, put your hands against his back, and shove! With a chittering wail, the grubman falls into the river and bobs away to the south.\n\n> You cross the Bridge\nUnderground, Beside the River\nThe cavern opens up beside a broad underground river. Across the river, small orange fires glimmer, and contorted humanoid shapes are visible moving in the firelight. These are grubmen -- an annoying, not particularly intelligent breed of underground dweller with a tendency to steal animals from human and chirop settlements. The river flows through a black, impassable hole to the south, but there is room to walk north along the river's steep bank.\n\nA narrow, not-particularly-sturdy-seeming bridge stretches over the river to the east. From here, you can see nothing on the bridge.\n\n> You go to the north\nYou walk north along the bank.\n\nUnderground, Beside the River\nThe river passage narrows as it proceeds northward. Farther north, there is nowhere to stand, but here, you can view the broad subterranean river by the light of the distant fires. Twisted rock formations overhang the river, but none are within reach.\n\n> You examine River\nThe river is far too broad to jump, and it looks both fast and deep.\nTo the south, a crude bridge spans the water.\n\n> You examine the formations\nSeveral twisted, water-smoothed stalactites overhang the river.\n\n> Climb formations\nThe twisted rock formation is too far away.\n\n> Go west\nThis underground space is dimly lit by crusts of phosphorescent lichen clinging to the cavern roof. Ragged spires of rock jut from the ground, and cool, dark shadows fill the spaces between the spires. A crevice opens to the south, and a broader passage leads off to the east.\n\n> Go east\nUnderground, Grubman Bridge\nThis narrow, rickety bridge was designed for the weight of a grubman, not a chirop, and it complains softly with your every movement. There are no railings. Tinted dimly orange by the nearer grubman fires, the river plunges swiftly past below and flows away to the south.\n\nGrubman engineering is not much of a science. The bridge trembles disconcertingly underfoot.\n\n> Go east\nWith no further obstacle in your way, you carefully cross the bridge (which, by some minor miracle, does not break beneath your weight) and halt on the far side. The space just off the bridge is slightly shadowed, and you can pause here to gain your bearings before proceeding onward.\n\nOr perhaps not -- because suddenly, everything changes....\n\n> You press the space\nYou are in a new cave, though you are standing up this time.\nEverything around you is very faintly lit by greenish-yellow phosphorescence, which, you realize after a moment, comes from a thin crust of lichen on the walls. It's like something out of a story -- you've never seen lichen like this before.\n\nPhosphorescent lichen illumines this underground cavern with a weak, sickly light. The air is humid and unpleasant. The only route from here is north.\n\nYou can't see any such thing.\n\nI beg your pardon?\n\n> Go north\nA narrow stream, no more than a few handsbreadths across, trickles in from the north and flows away to the southeast. Thin crusts of phosphorescent lichen cling to the walls and ceiling, casting a weak, sickly light . The air is humid and unpleasant. Passages open north, south, southeast, southwest, and east from here.\n\n> You go southwest\nPhosphorescent lichen illumines the underground passage around you, but with a weak, sickly light. The air is humid and unpleasant. There are exits leading north and northeast from here.\n\n> You go north\nPhosphorescent lichen illumines the underground passage around you, but with a weak, sickly light. The air is humid and unpleasant. There are exits leading northwest and south from here.\n\nI've seen fungus like this, but only outside. On trees, sometimes, in forests... never in caves.\n\nBut this is a dream. Anything can happen here.\n\n> You eat the fungus\n(first taking the thin crust of phosphorescent lichen)\nThat's hardly portable.\n\n> Go northwest\nPhosphorescent lichen illumines the underground passage around you, but with a weak, sickly light. The air is humid and unpleasant. There are exits leading northeast and southeast from here.\n\nTime passes.\n\nI didn't understand that sentence.\n\n> Smell\nEverything smells like lichen. Still, you think the air coming from the northeast might be a bit fresher.\n\n> You go to the northeast\nA narrow stream, no more than a few handsbreadths across, trickles in from the north and flows away to the south. Thin crusts of phosphorescent lichen cling to the walls and ceiling, casting a weak, sickly light . The air is humid and unpleasant. Passages open north, northwest, south, and southwest from here.\n\nAs you shift position, one of your knees suddenly buckles, and you stumble to the side. You successfully  catch yourself against the wall with an outflung hand. When you regain your balance and pull your hand away, you see a black handprint on the wall.\n\n> You look at the handprint\nIt looks as if the lichen has been damaged on one wall, as a black handprint mars the faint green glow.\n\n> Smell\nEverything smells like lichen. Still, you think the air coming from the north might be a bit fresher.\n\n> You go north\nA narrow stream, no more than a few handsbreadths across, trickles in from the northeast and flows away to the south. Thin crusts of phosphorescent lichen cling to the walls and ceiling, casting a weak, sickly light . The air is humid and unpleasant. Passages open northeast and south from here.\n\n> You go northeast\nA narrow stream, no more than a few handsbreadths across, trickles in from the northeast and flows away to the southwest. Thin crusts of phosphorescent lichen cling to the walls and ceiling, casting a weak, sickly light . The air is humid and unpleasant. Passages open northeast and southwest from here.\n\n> Go northeast\nA narrow stream, no more than a few handsbreadths across, trickles in from the east and flows away to the southwest. Thin crusts of phosphorescent lichen cling to the walls and ceiling, casting a weak, sickly light . The air is humid and unpleasant. Passages open north, southwest, and east from here.\n\n> Smell\nEverything smells like lichen. Still, you think the air coming from the east might be a bit fresher.\n\n> Go east\nUnderground, Below the Night\nSuddenly, you come around a twist in the tunnel to see light shining down through a broad gap in the stone -- real light, moonlight, which washes the lichen's sickly glow into insubstantiality. The small stream coursing through the cavern has its source here, for a thin stream of water pours down through the gap and pools at your feet before wandering away through the passages.\n\nBeside the waterfall, a crude ladder leads upward and outward to a cold night sky.\n\n> Drink water\nYou scoop up some of the stream water in your hand and drink from your palm. The water is cool and tastes slightly fungal.\n\n> You look at myself\nThere is no reflective surface nearby in which you can get a proper look at yourself. However, despite your best efforts to remain tidy, your fur is dusty from the road, and you are not completely comfortable with your current appearance. You would definitely welcome the opportunity to tidy up."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nUnderground, Below the Night\nMoonlight shines down through a broad gap in the stone, washing the lichen's sickly glow into insubstantiality. The small stream coursing through the cavern has its source here, for a thin stream of water pours down through the gap and pools at your feet before wandering away through the passages.\n\nBeside the waterfall, a crude ladder leads upward and outward to a cold night sky.\n\n> Up\nFrom here, you can go south and west.\n\n> You climb the ladder\nWell done!\n\nYou climb the ladder rapidly. It is slightly slick from moisture, but not dangerously so, and a cool, refreshing mist envelops you as  you reach the top of the ladder and lift yourself onto a rocky hillside. Below, there are pines.\n\nYou draw a deep breath of air, and it smells like incense.\n\nIncense....\n\nThe hillside fades....\n\nBalanced on the edge between wakefulness and sleep, you lie in a room where the smell of incense rests heavily on the air. At least one blanket presses your body down, but you are not uncomfortably warm.\n\n> You look at the blanket\nThe sheets are fine and soft -- linen, perhaps -- and there is at least one heavier blanket atop them, which feels like wool.\n\nTo the left, there is the soft, slightly echoing scrape of a door opening and closing.\n\n> Sleep\nYou give up on this unimpressive world and allow yourself to drift back into dreams."
    },
    {
        "text": "[Themes: Fantasy, fantasy, nonhuman protagonist]\n\n> You look around\nYour eyes are closed, and, in this half-dreaming state, you can't remember how to open them.\n\nCaerwyn's voice comes from your left. Her voice is low but clear. \"Hachachi. How is our patient?\"\n\nThere is a pause before Hachachi responds. His voice is very near, not far from your right elbow, and his soft words are heavy and slurred. \"No change. Still 'sleep.\"\nI beg your pardon?"
    },
    {
        "text": "> You look around\nThis, in the darkness:\n\nYou are dying.\n\nOrange light hurls itself through darkness, and it takes the shape of a bird. The light-wreathed bird burns your vision as sharply as the sun would, but in this dream, you can gaze without looking away. A feathered crest runs over the bird's skull, and its tail is as long and ornate as a peacock's, painted in all the myriad colors of fire. The phoenix's light parts the darkness....\n\nYou stand upon a narrow ledge on the side of a blackened rock cliff. A thin path traces over the rock to your left, but your ledge is cut off from the path by a twenty-foot gap. Far overhead, the phoenix burns in all its glory on a course from west to east, and beyond the phoenix, you see a starry expanse of night sky. Far below, you see city lanterns shining against the night.\n\n> You examine the Phoenix\nLooking at the phoenix is as painful as staring directly at the sun, and it leaves raw blue afterimages in your vision, yet you can still see the night sky beyond it.\n\nWith the flick of a wingtip, the phoenix turns overhead, raining tiny vermilion flamelets as it shifts its course from east to south.\n\n> You examine the night sky\nAmong the scattered silver stars, you recognize the constellation of the Heron. However, the constellation has changed from the version that normally shines in the night sky. A new star shimmers upon the heron's breast.\n\nA woman descends into view upon the thin path. In the phoenix's light, you see that she is a very old shaghal woman, pale with age and trembling with exhaustion. Her milky white eyes are fixed upon the phoenix's distant radiance. She does not look at you even for a moment as she hurries along her pained, stumbling course. Upon the mountain breeze, you catch her anguished whisper: \"Wait for me. Wait for me....\"\n\nFrom north to south, she passes down the cliff and is gone.\n\n> You climb down\nYou must name something more substantial.\n\nIn the near southern sky, the phoenix folds its wings and stoops. Engulfed in orange fire, it burns out of the heavens like a meteor and drops upon the city. When it strikes, the buildings explode into flame. A broad halo expands around the city. The phoenix is gone; the city is gone....\n\nEverything is gone.\n\n> You follow her\nAgain, in the darkness:\n\nThese dreams are killing you.\n\n> You wait a while\nTime passes.\n\nIn the near southern sky, the phoenix folds its wings and stoops. Engulfed in orange fire, it burns out of the heavens like a meteor and drops upon the city. When it strikes, the buildings explode into flame. A broad halo expands around the city. The phoenix is gone; the city is gone....\n\nEverything is gone.\n\nAgain, in the darkness:\n\nThese dreams are killing you.\n\n> You wake\nPhoenix's Landing, East Flame Street\nBy the light of its own burning edges, a nearby signpost advises that this wide road bears the ill-omened name of East Flame Street. Wooden buildings blaze to the north and south, and the air reeks of scorched vegetables from a nearby farm stand. The air is filled with smoke and the sounds of crying, babbling people as the city's inhabitants flee toward the eastern gate.\n\n> You examine the people\nYou catch no more than glimpses of faces as the crowd surges by.\nHuman, chiroptera, and shaghal, every face is distorted with fear.\n\nAgain, the dream changes.\n\nThe afternoon sky is completely curtained with cloud, leaving only a cool white glow visible above the northern mountains where the sun should be. A small willow tree drops yellow leaflets along the top of the low stone wall bordering the graveyard, whispering softly in the breeze as it does. Several gravestones stand among the tousled green grass, but no one has tended them for some time, and they are overgrown.\n\nA light autumn breeze sways the willow tree and sends more leaves scattering down across the wall.\n\n> You examine the graves\nThe featureless, water-smoothed markers stand silent sentinel above forgotten graves. Grass covers their faces.\n\n> You look at the willow\nThe changing season has painted almost all of the willow's leaves yellow, and many golden leaflets have fallen from the willow's limbs to adorn the wall and the grass below. (But it was spring when you arrived with your father... wasn't it?)  Something glints among the willow's branches.\n\n> You move the grass\nYou fail to move the grass.\n\nA light autumn breeze sways the willow tree and sends more leaves scattering down across the wall.\n\n> You examine the glint\n(the glint)\nThe glinting thing turns out to be a small mirror.\n\n> You take the mirror\nTaken.\n\n> About you\nThere is no reflective surface nearby in which you can get a proper look at yourself. However, despite your best efforts to remain tidy, your fur is dusty from the road, and you are not completely comfortable with your current appearance. You would definitely welcome the opportunity to tidy up.\n\n> You examine the mirror\nThe mirror reflects your surroundings, but it does not reflect you, and your surroundings are strangely transformed. In the image, it is night rather than afternoon, and moonlit snowflakes drift across the wall in place of willow leaves. In the willow's shadow, a human man stands leaning against the wall.\n\n> You examine man\nGazing into the mirror, you find that you can make out very little of the man's features. This is partially because his face is averted from the moonlight, and partially because of the willow tree's shadow, but it is also partially because the moonlight does not seem to illumine him well. He is an indistinct shadow among indistinct shadows.\n\n> You talk to the man\nYou gaze into the mirror.\n\n[1] \"Hello?\"\n\nA light autumn breeze sways the willow tree and sends more leaves scattering down across the wall.\n\n> 1\nAt the sound, the shadowed man in the mirror lifts his chin sharply and looks directly at you.\n\nCan you hear me, dream creature?\n\n[1] \"Yes, I can hear you.\"\n\n> 1\nThe shadowed man in the mirror shifts his stance to brace both of his hands against the wall behind him.\n\nLet us talk, then.\n\n[1] \"Who are you?\"\n[2] \"Where am I?\"\n\n> 2\nThis is my grave -- or a dream of it, at least. To the north is the mountain I travelled. To the west is the city I loved, though too far to see from here.\n\n[1] \"Who are you?\"\n\n> 1\nThere is a long pause.\n\nFor my failure, they buried me, and they took away my name.\n\n[1] \"They buried you? Who is 'they'?\"\n[2] \"Who are your companions?\"\n[3] \"You are a ghost, then....\"\n\n> 1\nThe temple of Ferran. High Tashreg commanded that I be buried in an unmarked grave, and he struck my name from all records. If any of my companions endure, they may be able to speak my name to you, but I know that many have been lost.\n\n[1] \"Who are your companions?\"\n[2] \"You said High Tashreg. You don't mean High Caerwyn?\"\n[3] \"You are a ghost, then....\"\n\n> 1\nI don't even know who's alive and who's dead. Achimi is dead, but she died before I did. So did Ichethe. Hichaesho, Arleza, Draskeg... maybe one of them survives. Or Hazeltricema. The melia are long-lived, they say....\n\n[1] \"You said High Tashreg. You don't mean High Caerwyn?\"\n[2] \"You are a ghost, then....\"\n\n> 1\nHigh Tashreg of the Stars. I know no Caerwyn... but she surely came after my time. If Tashreg is dead, I have no grief for it. May he wander and dream, as I was bound to wander.\n\n[1] \"You are a ghost, then....\"\n\n> 1\nYou are not a ghost, then.\n\nIn the mirror, the shadowed man stands up a bit straighter.\n\nHow did you come to be here?\n\nYou explain how you were deceived and drugged, including, at the ghost's request, a description of the drink.\n\nIt is called dreamwine, and they strengthen it with heartkenning -- a diviner's tool used in my day, though only carefully. It draws you to your destiny... but if you have no greater destiny, no geas and no star, then it will draw you to every man's destiny.\n\n[1] \"Can you help me?\"\n\n> 1\nYou are lost in dreams, and your dreams are poisoned by your fate. If you have no destiny, then you will die.\n\nI died without completing my destiny. If you accept my destiny, then you will live. I can help you, if you will accept my help.\n\n[1] \"What is your destiny?\"\n\n> 1\nI will stay with you through the dreaming, and I will draw you into wakefulness. But once you are awake, you will obey me and serve me until the end of your days. It is an exchange: your life for my destiny. Do you accept?\n\n[1] \"I accept your offer.\"\n[2] \"I refuse your offer.\"\n\n> 2\nThe shadowed man in the mirror looks surprised.\n\nHow can you reject my offer? This will mean your death.\n\n\"Because, if I do not reject it, then it is also my death. What you offer is no gift -- it is slavery. You would chain me to your will -- but I am bound already to my creche-clan. If I make such a vow for my life, I am no chirop at all, but a dead thing broken on the stones. So find another way, or I will die here willingly.\"\n\nThere is a long pause. The shadowed man rubs his chin for a moment.\n\nAnd your counterproposal?\n\n[1] Answer the ghost....\n\n> 1\n\"Save my life,\" you say. \"Come with me. When you see the path of your destiny, you may tell me, and I will listen -- but I will not be bound to obey.\"\n\nAnd why should I make this compact? I can merely wait for the next lost soul, who will be more sensible than you.\n\n[1] Answer the ghost....\n\n> 1\n\"You should make this compact because you have been buried so long that you have forgotten your own name. When another comes along... if another comes along... you may have been buried so long that you forget how to speak.\" After a moment, you add, \"Also, because I have a star.\"\n\nI accept.\n\nBreak the mirror.\n\n> Break mirror\nYou smash the mirror across the low wall. As the mirror breaks, it sounds like a shattering icicle, and a cold blast of wind whips across you, heavy with the scent of snow. As you draw your next breath, the taste of winter comes with it, and a heavy, liquid coldness courses into your chest and down your limbs. For a moment, you glimpse the shadowed man leaning against the low wall by the willow tree, but then, he is gone.\n\nThe broken shards of mirror melt before your eyes, and they, too, are gone."
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> Look around\nThe afternoon sky is completely curtained with cloud, leaving only a cool white glow visible above the northern mountains where the sun should be. A small willow tree drops yellow leaflets along the top of the low stone wall bordering the graveyard, whispering softly in the breeze as it does. Several gravestones stand among the tousled green grass, but no one has tended them for some time, and they are overgrown.\n\nIf you can still hear me, speak to me.\n\n> You talk to him\nYou turn your thoughts inward.\n\n[1] I can hear you.\n\n> 1\nGood. Now, we need you to leave this dream. Walk south out of the graveyard.\n\n> You go south\nThe willow tree whispers a soft goodbye as you pass the graveyard's boundary.\n\nAn overgrown path leads down from the grassy graveyard, and you follow it. As you walk, the afternoon shifts from warm to cool, and the pale sun sets on your right. The sunset is shimmering and frail, but the clouds part to reveal a skyful of brilliantly shining stars. Like a ramp supported on nothingness, the path leads up from the earth and into the sky, and you follow it into the night.\n\nEventually, the path fades away, and only the a star-filled blackness surrounds you. You pause to reorient.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\n> You examine Stars\nWhich do you mean, the Heron, the Bull, the Badger, the Cat, the Hound, the Pelican, the Alligator, the Rat, or the Mantis?\n\n> You examine Pelican\nTen glowing silver stars form the Pelican constellation.\n\n> You examine the mantis\nEight glowing silver stars form the Mantis constellation.\n\n> You ask the man about the mantis\n[Use TALK TO to interact with characters.]\n\n> You talk to the man\nYou turn your thoughts inward.\n\n[1] \"How do I wake up from this?\"\n\n> 1\nWaking is very close. We need to find my star --\n\n\"Our star.\"\n\nOur star. I can sense it nearby. Try going toward the Mantis.\n\n> You go Mantis\nYou approach the Mantis constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA soft, slightly chittering voice intones, \"Mantis: 'Sarvath said, \"There shall be justice among people. Ferran, be their judge, and move their hearts so they know justice when they see it.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nThe Alligator.\n\n> You go alligator\nYou approach the Alligator constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA harsh, gravelly voice intones, \"Alligator: 'And Sarvath said, \"Let people be tenacious in pursuing virtue, for it will be a difficult task many times. Ferran, teach them tenacity, that they may endure.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nI sense our star past the Rat now.\n\n> You go rat\nYou approach the Rat constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA small, sharp voice calls, \"Rat: 'And Sarvath said, \"Let people be resourceful, that they can turn the world to their advantage without relying on the gods. Ferran, teach them resourcefulness, that they may prosper.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nGo toward the Hound.\n\n> You go hound\nYou approach the Hound constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA rich, powerful voice intones, \"Hound: 'And Sarvath said, \"Let people be loyal, even as you are, so that they will not turn against one another. Ferran, teach them loyalty, for there is no truer mark of virtue.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nI sense our star past the Heron now.\n\n> You go heron\nYou approach the Heron constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA cracked, croaking voice intones, \"Heron: 'And Sarvath said, \"Let people be insightful, so that they can understand themselves and their flaws. Ferran, teach them insight, for this will mark the way for them.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nThe Badger.\n\n> You go badger\nYou approach the Badger constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA low, quick voice snarls, \"Badger: 'And Sarvath said, \"Let people be responsible, so that they can see how their actions affect one another. Ferran, teach them responsibility, that they will not drive one another from virtue.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nI sense our star past the Pelican now.\n\n> You go pelican\nYou approach the Pelican constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA clear, strong voice calls, \"Pelican: 'And when Sarvath went into the desert, Ferran gazed after him, and he said, 'This, I perceive, is virtue: the King has laid down his blood, that the world would prosper.' And Ferran taught that self-sacrifice was virtue as well.\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nThe Bull.\n\n> You go bull\nYou approach the Bull constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA deep, melodic voice intones, \"Bull: 'And there came a day when Ferran went into the desert, and Sarvath asked him, \"How fares Adisha? She has not come to me.\" And in the face of the question, Ferran was silent and could not answer, for he had gone at Adisha's command to companion her, and he feared that his King was betrayed.\n\n'Then, Sarvath said to him, \"You have been loyal to my Queen and obeyed her commands, and I could ask no more in this regard. But your silence is against virtue. Bind your word to your deed, that you will be honest in the future, and teach people honesty as well.\" And Ferran obeyed.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift at the center of a sphere of glowing silver stars. Although you can recognize the constellations of the spring night sky, they are arranged in no resemblance to their normal positioning. Between the stars, there is only blackness.\n\nThe Cat is next.\n\n> You go cat\nYou approach the Cat constellation. It flashes brilliantly, and you are briefly disoriented by the light.\n\nA soft, purring voice intones, \"Cat: 'Then Ferran looked back at Sarvath, and Ferran said, \"You have chosen my path through the maze, but what of your people? When the paths of virtue conflict, your people will be destroyed if they cannot choose or reject these paths at will. Therefore, let dignity be the crowning virtue of a man, that he may choose or reject according to it.\" And Sarvath consented.'\"\n\nAgain, you are drifting in the night sky. The constellations have rearranged themselves around you, leaving you again at the center of the celestial sphere.\n\nYou drift among a field of glowing silver stars. Between the stars, there is only blackness.\n\nYou can see your star here.\n\n> You go your star\nYou reach out with the intention of entering your star, but as soon as you touch the star, tingling energy flows up your arm. Startled, you break contact immediately.\n\n> You look at the star\n(your star)\nThe star shines brilliantly before you, close enough to touch.\n\n> Touch star\n(your star)\nYou reach out with the intention of touching your star, but as soon as you touch the star, tingling energy flows up your arm. Startled, you break contact immediately.\n\n> You get the star\n(your star)\nYou cup your hands gently around the star. \"I claim you,\" you say to the star.\n\nTingles of energy flow through your hands and up your arms as you make contact. The star dims for a moment before bursting into searing brilliance. Your entire body is flooded with light.\n\nYou awaken, and this time, you know you are awake. You feel rested, refreshed, and as well as you have ever felt, aside from the too-hot bedclothes. You push the blankets away immediately and sit up.\n\nTemple of Ferran, Infirmary\nWool and linen blankets cover the simple linen bed where you are sitting. A set of shelves on the far wall supports a water jug, several packets of herbs and bandages, and a miniature pottery alligator. There is a door to your left and a chair to your right.\n\nHachachi rises immediately from the chair as you move. High Caerwyn stands in the doorway, watching you, but she steps immediately inside and closes the door.\n\n\"Can you hear me?\" High Caerwyn asks.\n\n[1] \"Yes, I can hear you.\"\n\n> 1\n\"I'm very glad of it. There was a terrible accident. We've been very worried about you.\"\n\n[1] Call her out on the lie.\n[2] Let the lie pass.\n\n> 1\n\"No,\" you say flatly. \"There was no accident. I was there, remember?\" Hachachi takes a step back as you look at him, and you follow up on your advantage by climbing out of bed. \"You poisoned me on dreamwine with heartkenning. You wanted to learn my destiny.\"\n\n[1] \"How long have I been here?\"\n[2] \"Where is my trade\n[3] \"I want my clothes. And then I am going to leave.\"\n[4] \"I know my destiny, now.\"\n\n> 2\nHigh Caerwyn says, \"You've been ill for a long time. He left you in our care.\"\n\nLiar.\n\n\"And where is he now?\" you demand.\n\nHigh Caerwyn says, \"If you remain calm, I will send a messenger to see if he can be found.\"\n\n[1] \"How long have I been here?\"\n[2] \"I want my clothes. And then I am going to leave.\"\n[3] \"I know my destiny, now.\"\n\n> 3\n\"And what is your destiny?\" High Caerwyn asks.\n\n\"It is my destiny,\" you coldly inform her. \"I am walking out that door, with my clothing... and, by the stars you serve, I expect you both to stay out of my way!\"\n\nAnd that is exactly what happens -- you storm into the hallway, with High Caerwyn and Hachachi on your heels. Before you can corner an acolyte and demand your possessions, Caerwyn sends Hachachi to find them, and then you bar them both out of another greeting chamber (the Rat, this time) while you get dressed and verify that all your possessions are still intact. After sliding your zircon earrings back into place, you open the door once more.\nThe delay has given the high priestess time to regroup, but you ignore her entirely, and she stops just short of laying hands upon you or commanding Hachachi to do so. You take advantage of the hesitation before the changes her mind. It is only a short walk to the temple courtyard, and from there, you are free.\n\nThat was a wild risk to take. They might have helped you, in the long term -- or imprisoned you in the short term.\n\n\"If you really thought so, you would have spoken up before now,\" you whisper back to the ghost. \"They worship the stars. If my path is in the stars, they have no choice about it.\"\n\nAre you always this touchy with the clergy?\n\n\"Only when they poison me.\" But the tide of fury slowly ebbs as you face your situation. You are now in the largest city you have ever seen, with no friends, no map, only the vaguest possible idea of where your father might be, and a nameless ghost riding along in your mind.\n\nYou go south because the bridges off the Spires are south. There's nothing here but temples and government, and you're sick of temples for the time being.\n\nThank you for playing Phoenix's Landing!\n\nThis is the end of the IntroComp sequence for this game. To provide feedback, commentary, and suggestions (all of which are welcome!), please write to Carolyn VanEseltine at mossdogmusic@gmail.com.\n\nHave a wonderful day!"
    },
    {
        "text": "[Themes: Surreal]\n\nIt was supposed to be a carefree escape. Just you, your yacht, and a two-month supply of frozen pizza, chicken fingers, and beer. But it seems there was an uninvited guest: scurvy.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\n[Author's Note: You play as a person on a yacht who is dying from scurvy. Apparently pursuing a diet of just pizza, chicken fingers, and beer for nearly two months wasn't your best idea. A tiny amount of vitamin C can save you, but you can barely move. And here come the hallucinations.]\n\n> Groan\nYou moan a wet-sounding sough.\n\nHOW TO PLAY: The options available to your scurvy-riddled brain and body are:\n\nexamine\ngive\ngroan\nwait\n\nTyping \"help\" at any time will bring up this list again. It will not, however, restore your body's ability to synthesize collagen.\n\n> Appreciate yourself\nYou're really more of an animal person.\n\n> Appreciate scurvy\nYou're really more of an animal person.\n\nA chance look at the ocean reveals the corpulent outline of a surfacing manatee.\n\n> Appreciate the manatee\nAs you ruminate on the merits of the manatee -- so noble! So gentle! -- your vision blurs and you feel your perspective shift.\n\nThe smell of citrus awakens long-dead senses, as a gentle breeze wafts through row after row of orange trees in fruit. The wind only somewhat irritates your inflamed gums, so that's an improvement.\n\nYou can see some trees and a manatee farmer here.\n\n> You examine the trees\nFestooned with life-giving citrus. Even one of them would save your life, but for one thing they are too far away and for another they are guarded by a possessive manatee farmer.\n\n\"Boy howdy, I could stand to whet my whistle. Preferably with something alcoholic.\" The manatee farmer winks. \"Got me one of them demandin' whistles.\"\n\n> Groan\nYou grumble a heartrending wail.\n\n\"Take yer grousin' somewhere else,\" says the manatee. \"I've seen worse.\"\n\n> You check what you're carrying\nYou are carrying:\na jacket (being worn)\n\n> You examine the jacket\nYou bought this jacket to symbolize your financial independence and freedom. Right now it's soaked with a heady combination of rum, breading, and old sweat.\n\nThe manatee twitches its vibrissae. \"Been a long day out here,\" it muses. \"Could sure use a tall cold one.\"\n\nBefore you can act, the smell of the ocean fills your nostrils and your vision shifts again as the hallucination expires.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\nYou can see a rat here.\n\n> Appreciate rat\nAs you meditate on the merits of the rat -- so resourceful! So thrifty! -- your vision blurs and you feel your perspective shift.\n\nThe mountain of treasure piled before you shimmers with the casual indifference of unadulterated wealth. Torches burn in the wall sconces, contributing to the impression of an ill-gotten fortune.\n\nSitting before his hoard in a gilded Aeron chair, whiskers twitching proudly, is a rat tycoon.\n\n> You look at the treasure\nYou see amethyst goblets, hillocks of gold doubloons, and what appears to be a life-sized jewel-encrusted chimpanzee.\n\nWith studied indifference, the whiskered prince of business hefts a crystalline chalice. \"Feh. About as much emotion in this object as there is in my multinational corporation's mission statement.\"\n\n> You examine the chimpanzee\nWas it ever alive? And if so, isn't this better?\n\n\"I would give it all up,\" the tycoon says, nervously worrying at his lapels, \"for proof that love exists in this cynical, bottom-line-driven world.\"\n\n> Appreciate the chimpanzee\nThis is not the 2010 film sensation Inception.\n\nBefore you can act, the smell of the ocean fills your nostrils and your vision shifts again as the hallucination expires.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\n> You get the beer\nYou emit a piteous sob.\n\nWith a loud caw, a seagull alights on the aft railing in front of you.\n\n> Appreciate the seagull\nAs you ruminate on the merits of the seagull -- so loud! So gregarious! -- your vision blurs and you feel your perspective shift.\n\nThe candlelit taproom smells of liquor and cherry-wood. Dignified in her barkeep's apron, your seagull wife swabs the surface of the bar with a feathered wing.\n\nOne look and you know she's a loving, caring wife who can carry her end of a conversation.\n\n> You examine the seagull\nShe grits her beak with frustrated determination, and worry-lines crinkle the downy spots around her eyes.\n\nYour seagull wife taps idly at the cash register with her beak. It springs open, empty.\n\n> Kiss seagull\nKeep your mind on the game.\n\n> You wait\nTime passes.\n\nBefore you can act, the smell of the ocean fills your nostrils and your vision shifts again as the hallucination expires.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\n> Groan\nYou moan a wet-sounding sough.\n\nA chance look at the ocean reveals the corpulent outline of a surfacing manatee.\n\n> Inventory\nYou are carrying:\na jacket (being worn)\n\nWith a deliberate flap of its platter-sized forelimb, the manatee sinks back into the deep.\n\n> You examine the jacket\nYou bought this jacket to symbolize your financial independence and freedom. Right now it's soaked with a heady combination of rum, breading, and old sweat.\n\n> Groan\nYou emit a piteous sob."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\nYou hear a tiny scrabble, as a waterlogged rat climbs out of the bilge pipe into view.\n\n> Appreciate rat\nAs you ruminate on the merits of the rat -- so crafty! So furry! -- your vision blurs and you feel your perspective shift.\n\nThe mountain of treasure piled before you shimmers with the casual indifference of unadulterated wealth. Torches burn in the wall sconces, contributing to the impression of an ill-gotten fortune.\n\nSitting before his hoard in a gilded Aeron chair, whiskers twitching proudly, is a rat tycoon.\n\n> You give the jacket\n(to the rat)\nThe rat tycoon scoffs. \"Oh please, I already have twenty of these. In fact, I own the factory that makes them.\" He beams. \"It's very efficient.\"\n\n> You get the wealth\nYou sob a melancholy shriek.\n\n\"This is the worst product pitch I've had to sit through in weeks. Who gave you time on my schedule?\"\n\n> Appreciate rat\nThis is not the 2010 film sensation Inception.\n\nBefore you can act, the smell of the ocean fills your nostrils and your vision shifts again as the hallucination expires.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\n> Groan\nYou shriek a dismal yawlp.\n\nWith a loud caw, a seagull alights on the aft railing in front of you.\n\n> Appreciate the seagull\nAs you reflect on the merits of the seagull -- so confident! So feathered! -- your vision blurs and you feel your perspective shift.\n\nThe candlelit taproom smells of liquor and cherry-wood. Dignified in her barkeep's apron, your seagull wife swabs the surface of the bar with a feathered wing.\n\nOne look and you know she's a loving, caring wife who can carry her end of a conversation.\n\n> You give the jacket\n(to the seagull)\nShe eyes your jacket with skepticism. \"That won't pay the bills,\" she caws. \"Nothing will.\"\n\n> You talk to the seagull\nYou emit a piteous sob.\n\nTimes may be hard, but you swore to love each other for richer or for poorer, and she is a gull of integrity.\n\nTaking flight over the bar with a single flap, she lands at your side and cradles your head under her wing. For minutes, you sit there together in silence. As she hops back, you feel the gentle poke of a wing feather caught in your captain's jacket.\n\n> You examine the feather\nIt smells uncannily like love. Well, love and seagull.\n\n\"I just don't know,\" comes the frustrated coo. \"What more can we do to attract customers?\"\n\n> You wait\nTime passes.\n\nBefore you can act, the smell of the ocean fills your nostrils and your vision shifts again as the hallucination expires.\n\nThe immaculate fiberglass transom of your 45-foot yacht only highlights the hideous, scorbutic condition of your body. Fifty-eight days of nothing but carbohydrates, alcohol, and deep-fried poultry have come to this.\n\nYou cannot speak, and you can barely move. You can only muster the strength to groan.\n\n> Groan\nYou wail a tearful sob.\n\nA chance look at the ocean reveals the corpulent outline of a surfacing manatee.\n\n> Groan\nYou discharge a dismal wail.\n\n> Groan\nYou shriek a dismal yawlp.\n\nWith a deliberate flap of its platter-sized forelimb, the manatee sinks back into the deep.\n\n> Groan\nYou shriek a grotesque keen.\n\n> Groan\nYou let loose a pathetic moan.\n\n> You wait\nTime passes.\n\n> Groan\nYou cry an attention-seeking sigh.\n\nYou hear a tiny scrabble, as a waterlogged rat climbs out of the bilge pipe into view.\n\n> Appreciate rat\nAs you reflect on the merits of the rat -- so resourceful! So thrifty! -- your vision blurs and you feel your perspective shift.\n\nThe mountain of treasure piled before you shimmers with the casual indifference of unadulterated wealth. Torches burn in the wall sconces, contributing to the impression of an ill-gotten fortune.\n\nSitting before his hoard in a gilded Aeron chair, whiskers twitching proudly, is a rat tycoon.\n\n> You give the feather\n(to the rat)\nThe rat begins to sneer at the feather, but then pauses. He sniffs the air. \"This... this feather smells like love. True love. Clearly it is a treasure to you.\" His eyes become greedy. \"The feather must be mine.\"\n\nTurning around, he fishes in his treasure pile, pulls out a large bag of money, and tosses it into your lap. \"Take this instead, buy yourself a new soulmate.\"\n\n> You examine the bag\nThe clinking of coins inside reminds you of your own money-pile back home.\n\nWith studied indifference, the whiskered prince of business hefts a crystalline chalice. \"Feh. About as much emotion in this object as there is in my multinational corporation's mission statement.\"\n\n> Groan\nYou bleat a horrible lamentation.\n\nWith a loud caw, a seagull alights on the aft railing in front of you.\n\n> Appreciate gull\nAs you meditate on the merits of the seagull -- so loud! So gregarious! -- your vision blurs and you feel your perspective shift.\n\nThe candlelit taproom smells of liquor and cherry-wood. Dignified in her barkeep's apron, your seagull wife swabs the surface of the bar with a feathered wing.\n\nOne look and you know she's a loving, caring wife who can carry her end of a conversation.\n\n> You give the bag\n(to the seagull)\nAt first, she can't believe it. Her beady eyes dilate, and her crown-feathers ruffle in surprise. \"Is that... for us?\" Defying biology, a tear rolls down her seagull cheek.\n\nAs proudly as you can muster under the circumstances, you nod.\n\n\"Let's celebrate!\" She clutches two of the tavern's finest microbrews in one claw, and walks around the bar to your side. Handing you a bottle, she chirps in your ear: \"Someone's getting lucky tonight.\"\n\n> You examine bottle\nCisco Brewers' The Grey Lady, named for the often foggy island where it is brewed. This wheat beer is fermented with Belgian yeast and brewed with fresh fruit and spices. A unique ale that emits a complex, earthy nose and a soft, mid-palate maltiness with hints of tropical fruit. Dry and spicy.\n\nYour seagull wife taps idly at the cash register with her beak. It springs open, empty.\n\n> Inventory\nYou are carrying:\na microbrew\na jacket (being worn)\n\n> Groan\nYou emit a piteous sob.\n\nA chance look at the ocean reveals the corpulent outline of a surfacing manatee.\n\n> Appreciate the manatee\nAs you reflect on the merits of the manatee -- so massive! So calm! -- your vision blurs and you feel your perspective shift.\n\nThe smell of citrus awakens long-dead senses, as a gentle breeze wafts through row after row of orange trees in fruit. The wind only somewhat irritates your inflamed gums, so that's an improvement.\n\nYou can see some trees and a manatee farmer here.\n\n> You give the microbrew\n(to the manatee farmer)\n\"Now we're talkin'!\" The manatee positively leaps with excitement, to the extent that a manatee can leap.\n\n\"S'pose it's only fair you get somethin' in return.\" Ponderously, the farmer stabs the nearest orange with its pitchfork, then tucks the fruit into your jacket.\n\n> You eat the orange\nWith just one bite, you feel life-giving Vitamin C begin to course through your veins. It won't be long before you're back on land, resuming your life as a wealthy yacht-owning layabout."
    },
    {
        "text": "[Themes: Science Fiction]\n\n\"It was supposed to be a simple test run, right? Yeah, right. So\nthe Chief decides, 'Hey, I'll test it,' right? And he takes passengers. Five passengers. Investors! And himself! HIMSELF! There's laws about that! And what happens? Well, what do you expect? An hour away, his engines go crit, and he's shootin' towards this hunk o' rock you an' me call home. Terra Firma. So Firma it'll Terra him up, right? I tell you what! He's going to end up as a smudge of the man he used to be unless you can get that new-fangled safety net workin'!\" Transmission ends. And that is how you, in your best rented tuxedo, ended up under the high-power, experimental, not-completely-legal safety net, trying to fix it before your boss's boss makes a pool of himself.\n\nThe junk room is full of all sorts of odds and ends that no one could bring themselves to throw away. All sorts of things litter the shelves and the floor. The way you came in, an auto-locking door, has auto-locked, and won't unlock until morning. The only other exit leads out into the viewing room.\n\nYou see a crystal ball and an optical prism here. Scattered across the bottom shelves, among the junk, are a magnifying glass, a water pistol, a bismuth crystal, a jar, a leather arm guard, and an optical prism. The jar contains silica beads. Just visible from the top shelf are a lump of labradorite and a bow and arrow charm.\n\n[Author's Note: In this small game, you play as an electrical engineer, maybe? Anyway, you were getting ready for a big date in a rented tux when your boss orders you to get the new high-powered experimental safety net working so his joyriding boss flying the malfunctioning Dragonfly doesn't crash and go splat.]\n\n> About yourself\nYou look the same as usual.\n\n> You get all\ncrystal ball: Taken.\noptical prism: Taken.\nmagnifying glass: Taken.\nwater pistol: Taken.\nbismuth crystal: Taken.\njar: Taken.\n\nleather arm guard: You tug on the leather arm guard. It seems to be a bit stuck; you give a bit of a yank, and it comes free. With a creak, a ladder comes crashing onto the floor! It must have been stuck behind all that junk.\n\noptical prism: Taken.\n\nlump of labradorite: The lump of labradorite is too far away.\n\nbow and arrow charm: The bow and arrow charm is too far away.\n\n> You examine the ball\nThe large globe appears to be made of glass, and is quite solid.\n\n> You examine the pistol\nThis is a model of a holdout gun, faithfully reproduced in bright green plastic, and filled with historically-accurate water.\n\n> You examine the prism\nA small optical prism, for refracting light.\n\n> Inventory\nYou are carrying a crystal ball, two optical prisms, a magnifying glass, a water pistol, a bismuth crystal, a jar, and a leather arm guard. You're wearing some black slacks, some slick shoes, a bowtie, a top hat, and a tux. The jar contains silica beads.\n\n> You examine the prisms\nThe word \"prisms\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You examine the beads\nSilica beads are used to absorb moisture.\n\n> You examine the ladder\nA beat up old ladder.\n\n> You take the ladder\nTaken.\n\n> You look at labradorite\nIt's a lump of shiny, iridescent labradorite.\n\n> You look at the charm\nIt's a small charm from a charm bracelet or necklace - a tiny bow and arrow.\n\n> Up\nYou can't go that way. The only obvious exit leads out.\n\n> You drop the ladder\nYou carefully set up the ladder.\n\n> You take the charm\nTaken.\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nJunk room (standing on the ladder)\nThe junk room is full of all sorts of odds and ends that no one could bring themselves to throw away. All sorts of things litter the shelves and the floor. The way you came in, an auto-locking door, has auto-locked, and won't unlock until morning. The only other exit leads out into the viewing room.\n\nYou see a ladder here.\n\n> Down\n(off of the ladder)\nOkay, you're no longer on the ladder.\n\n> Go outside\nTry as you might, you can't find a good angle to get the ladder through the door. It looks like you'll have to abandon it before you can leave. Though it raises the question: how did the ladder get in, in the first place? For all you know, it was built inside.\n\n> Go outside\nThe viewing room looks out into the net itself - a wide, empty expanse, hypothetically to be filled with some kind of energy. Inside, you see A bright, diffuse light shines on the wall, through a wire stand. . The window itself is made of layered glass - beyond bulletproof, it stops most forms of radiation, as well. A door in the glass wall leads into the net chamber; the doorway behind you leads into the junk room.\n\n> You open the door\nOpened.\n\n> Go inside\nThe junk room is full of all sorts of odds and ends that no one could bring themselves to throw away. All sorts of things litter the shelves and the floor. The way you came in, an auto-locking door, has auto-locked, and won't unlock until morning. The only other exit leads out into the viewing room.\n\nYou see a ladder here.\n\n> You examine the stand\nThe wire stand is about chest-height, with a small loop to hold... something. The light shines directly through the gap over the loop.\n\n> You look at the light\nThe steady, white light illuminates a section of the wall. You recall something about focussed light being used to drive the safety net.\n\n> You open the door\nThe glass door is already open.\n\n> You go through the door\nThe safety net was designed as an inertial dampner of some sort; no one really knows how it works. Even the inventor seems a bit in the dark, and he's the only one that can make it work! The glass door leads back into the viewing room. A bright, diffuse light shines on the wall, through a wire stand.\n\n> You put the glass on the loop\nThe beam of light, focussed by the magnifying glass, shines through a tiny hole. Farther along the wall, a small shelf is illuminated.\n\n> You put the prism on the shelf\nThe light from the beam splits into a rainbow of color; blue light shines into a tiny crack on the other side.\n\n> You look at the crack\nThe crack is vertical, allowing only a tiny sliver of light to shine through. There seems to be some sort of optical fiber in the crack to transmit the light.\n\n> You turn prism\nYou turn the prism. The light that shines through the crack is now violet.\n\n> You turn prism\nYou turn the prism. The light that shines through the crack is now red.\n\n> You turn prism\nYou turn the prism. The light that shines through the crack is now orange.\n\n> You turn prism\nYou turn the prism. The light that shines through the crack is now yellow. With a clank, a panel slides open in the wall!\n\n> You look at the panel\nA tangle of wires and cables snake across the panel; you recall someone mentioning that the only really important wires were the power wires. There's a note, stuck to the panel.\n\n> You read the note\nThis panel is use for power, and only power. I traced the wires, and half of them lead nowhere, or right back to this panel. If the whole thing shorted out, it would probably work better. PS, I quit Oh, right! Now you remember writing that. Fun times, fun times...\n\n> Inventory\nYou are carrying a crystal ball, a water pistol, a bismuth crystal, a jar, a leather arm guard, an optical prism, a bow and arrow charm, and a lump of labradorite. You're wearing some black slacks, some slick shoes, a bowtie, a top hat, and a tux. The jar contains silica beads.\n\n> You shoot the pistol at the panel\nYou squirt the panel. The water shorts out the panel! Electricity crackles across junctions, and smoke drifts out of the opening, vanishing into the air. After a spectacular lightshow, a distant \"thump\" indicates the generators have started. The lights keep flickering, though, from shorting out in the puddle of water at the base of the panel.\n\n> You look at the puddle\nThe puddle of water is shorting out the electrical panel, causing the lights to flicker.\n\n> You look at the jar\nIt's a simple glass canning jar. It is tightly sealed. It contains silica beads.\n\n> You open the jar\nYou spin the lid off of the jar.\n\n> You put the beads on puddle\nThe puddle slowly shrinks as the silica soaks it up. When it's all gone, you scoop the silica back into the jar. The lights stop flickering - maybe that means it's working! Quick, to the viewing room!\n\n> Go outside\nWhat do you want to get out of?\n\n> You enter\nThe viewing room looks out into the net itself - a wide, empty expanse, hypothetically to be filled with some kind of energy. Inside, you see The magnifying glass focusses the beam of light through a small hole in the wall. Farther along the wall, the beam passes through the prism; the resulting rainbow falls across a small hole, where only yellow light makes it through. The light glows inside the open panel. . The window itself is made of layered glass - beyond bulletproof, it stops most forms of radiation, as well. A door in the glass wall leads into the net chamber; the doorway behind you leads into the junk room.\n\nYou see an energy device (which contains a button) here.\n\n> You examine the device\nThis thing seems to be an energy device - that's what it says on the label, anyway. It has a small hopper, with a display that reads: 0: REQUIREMENTS NOT MET . It contains a button.\n\n> You close the glass door\nClosed.\n\n> You look at hopper\nThe hopper has a wide mouth, ready to accept any manner of things.\n\n> Inventory\nYou are carrying a crystal ball, a water pistol, a bismuth crystal, a jar, a leather arm guard, an optical prism, a bow and arrow charm, a lump of labradorite, and a canning jar lid. You're wearing some black slacks, some slick shoes, a bowtie, a top hat, and a tux.\n\n> You put the labradorite in the hopper\nThe display clicks happily, then displays: 1: REQUIREMENTS NOT MET\n\n> You put the crystal in the hopper\nThe display clicks happily, then displays: 2: REQUIREMENTS NOT MET\n\n> You put the ball in the hopper\nThe display clicks happily, then displays: 3: REQUIREMENTS NOT MET\n\n> You put the charm in the hopper\nThe display clicks happily, then displays: 4: REQUIREMENTS NOT MET\n\n> You put all in the hopper\nblack slacks: Wow - usually, it takes more than the single sip of wine you had to get you to remove your pants voluntarily. Let's just keep those on, shall we?\n\nslick shoes: Shoes like this are make for wearing! Actually, no they aren't, but the floor is dirty, and you're wearing your best pair of socks. Which is also your only pair of socks, at least until washing day.\n\nbowtie:\n(first taking off the bowtie)\nThe display clicks happily, then displays: 5: REQUIREMENTS NOT MET\n\ntop hat:\n(first taking off the top hat)\nWith a sinking feeling in your heart, you realize what needs to go into the hopper. Sighing, you stare at your high silk hat, knowing that whatever this machine does, your hat will never be the same. After an emotional moment, you carefully put the hat into the hopper. The display clicks happily, then displays: READY\n\ntux: The hopper doesn't need anything more; push the button!\n\nwater pistol: The hopper doesn't need anything more; push the button!\n\njar: The hopper doesn't need anything more; push the button!\n\nleather arm guard: The hopper doesn't need anything more; push the button!\n\noptical prism: The hopper doesn't need anything more; push the button!\n\ncanning jar lid: The hopper doesn't need anything more; push the button!\n\nbutton: The hopper doesn't need anything more; push the button!\n\n> You shoot the pistol at the panel\nYou squirt the panel. The water shorts out the panel! Electricity crackles across junctions, and smoke drifts out of the opening, vanishing into the air. After a spectacular lightshow, a distant \"thump\" indicates the generators have started. The lights keep flickering, though, from shorting out in the puddle of water at the base of the panel.\n\n> You open the jar\nYou spin the lid off of the jar.\n\n> You put the beads on the puddle\n(first taking the silica beads from the jar)\nThe puddle slowly shrinks as the silica soaks it up. When it's all gone, you scoop the silica back into the jar. The lights stop flickering - maybe that means it's working! Quick, to the viewing room!\n\n> You put all in the hopper\nblack slacks: Wow - usually, it takes more than the single sip of wine you had to get you to remove your pants voluntarily. Let's just keep those on, shall we?\n\nslick shoes: Shoes like this are make for wearing! Actually, no they aren't, but the floor is dirty, and you're wearing your best pair of socks. Which is also your only pair of socks, at least until washing day.\n\nbowtie:\n(first taking off the bowtie)\nThe display clicks happily, then displays: 1: REQUIREMENTS NOT MET\n\ntop hat:\n(first taking off the top hat)\nWith a sinking feeling in your heart, you realize what needs to go into the hopper. Sighing, you stare at your high silk hat, knowing that whatever this machine does, your hat will never be the same. After an emotional moment, you carefully put the hat into the hopper. The display clicks happily, then displays: READY\n\ntux: The hopper doesn't need anything more; push the button!\n\ncrystal ball: The hopper doesn't need anything more; push the button!\n\nwater pistol: The hopper doesn't need anything more; push the button!\n\nbismuth crystal: The hopper doesn't need anything more; push the button!\n\njar: The hopper doesn't need anything more; push the button!\n\nleather arm guard: The hopper doesn't need anything more; push the button!\n\noptical prism: The hopper doesn't need anything more; push the button!\n\nbow and arrow charm: The hopper doesn't need anything more; push the button!\n\nlump of labradorite: The hopper doesn't need anything more; push the button!\n\ncanning jar lid: The hopper doesn't need anything more; push the button!\n\nbutton: The hopper doesn't need anything more; push the button!\n\n> You go outside\nThe safety net was designed as an inertial dampner of some sort; no one really knows how it works. Even the inventor seems a bit in the dark, and he's the only one that can make it work! The glass door leads back into the viewing room. The magnifying glass focusses the beam of light through a small hole in the wall. Farther along the wall, the beam passes through the prism; the resulting rainbow falls across a small hole, where only yellow light makes it through. The light glows inside the open panel.\n\nIn the viewing room, you see an energy device (which contains a button). The hopper contains a bowtie and a top hat.\n\n> Up\nYou can't go that way. The only obvious exit leads out, back to the viewing room.\n\n> Go outside\nThe viewing room looks out into the net itself - a wide, empty expanse, hypothetically to be filled with some kind of energy. Inside, you see The magnifying glass focusses the beam of light through a small hole in the wall. Farther along the wall, the beam passes through the prism; the resulting rainbow falls across a small hole, where only yellow light makes it through. The light glows inside the open panel. . The window itself is made of layered glass - beyond bulletproof, it stops most forms of radiation, as well. A door in the glass wall leads into the net chamber; the doorway behind you leads into the junk room.\n\nYou see an energy device (which contains a button) here. The hopper contains a bowtie and a top hat.\n\n> You look at the shelves\nThough the shelves are stuffed with junk, they seem to be free of dust and grime.\n\n> You take the bowtie\nThe display clicks woefully, then displays: READY\n\n> Inventory\nYou are carrying a crystal ball, a water pistol, a bismuth crystal, a jar, a leather arm guard, an optical prism, a bow and arrow charm, a lump of labradorite, a canning jar lid, and a bowtie. You're wearing some black slacks, some slick shoes, and a tux.\n\n> You examine the slacks\nThe last pants you bought cost the same as a fast food meal. These pants, however, cost the same as your car. You'd think with pants that expensive, they could afford to put in a pocket, eh?\n\n> You examine the shoes\nThese shoes are made of slick, shiny leather. They also have damage insurance policy better than your car.\n\n> You look at tux\nThe black tuxedo was fairly expensive to rent, but man it is classy. People who wear suits like this are... well, rich, probably.\n\n> You take hat\nThe display clicks woefully, then displays: 0: REQUIREMENTS NOT MET\n\n> You drop hat\nDropped.\n\n> You put all in the hopper\nblack slacks: Wow - usually, it takes more than the single sip of wine you had to get you to remove your pants voluntarily. Let's just keep those on, shall we?\n\nslick shoes: Shoes like this are make for wearing! Actually, no they aren't, but the floor is dirty, and you're wearing your best pair of socks. Which is also your only pair of socks, at least until washing day.\n\ntux: As warm as it is in here, you opted for the front-only shirt.\nIt's probably better to keep your tux on.\n\ncrystal ball: The display clicks happily, then displays: 1: REQUIREMENTS NOT MET\n\nwater pistol: The display clicks happily, then displays: 2: REQUIREMENTS NOT MET\n\nbismuth crystal: The display clicks happily, then displays: 3: REQUIREMENTS NOT MET\n\njar: The display clicks happily, then displays: 4: REQUIREMENTS NOT MET\n\nleather arm guard: The display clicks happily, then displays: 5: REQUIREMENTS NOT MET\n\noptical prism: The display clicks happily, then displays: 6: REQUIREMENTS NOT MET\n\nbow and arrow charm: The display clicks happily, then displays: 7: REQUIREMENTS NOT MET\n\nlump of labradorite: The display clicks happily, then displays: 8: REQUIREMENTS NOT MET\n\ncanning jar lid: The display clicks happily, then displays: 9: REQUIREMENTS NOT MET\n\nbowtie: The display clicks happily, then displays: 10: REQUIREMENTS NOT MET\n\nbutton:\n(first taking the button)\nThe display clicks happily, then displays: 11: REQUIREMENTS NOT MET\n\ntop hat:\n(first taking the top hat)\nWith a sinking feeling in your heart, you realize what needs to go into the hopper. Sighing, you stare at your high silk hat, knowing that whatever this machine does, your hat will never be the same. After an emotional moment, you carefully put the hat into the hopper. The display clicks happily, then displays: READY\n\n> You take all\ncrystal ball: The display clicks woefully, then displays: READY\n\nwater pistol: The display clicks woefully, then displays: READY\n\nbismuth crystal: The display clicks woefully, then displays: READY\n\njar: The display clicks woefully, then displays: READY\n\nleather arm guard: The display clicks woefully, then displays: READY You tug on the leather arm guard. It seems to be a bit stuck; you give a bit of a yank, and it comes free. With a creak, a ladder comes crashing onto the floor! It must have been stuck behind all that junk.\n\noptical prism: The display clicks woefully, then displays: READY\n\nbow and arrow charm: The display clicks woefully, then displays: READY\n\nlump of labradorite: The display clicks woefully, then displays: READY\n\ncanning jar lid: The display clicks woefully, then displays: READY\n\nbowtie: The display clicks woefully, then displays: READY\n\nbutton: The display clicks woefully, then displays: READY\n\ntop hat: The display clicks woefully, then displays: 0: REQUIREMENTS NOT MET\n\n> You put the hat in hopper\nWith a sinking feeling in your heart, you realize what needs to go into the hopper. Sighing, you stare at your high silk hat, knowing that whatever this machine does, your hat will never be the same. After an emotional moment, you carefully put the hat into the hopper. The display clicks happily, then displays: READY\n\n> You examine the shelves\nThough the shelves are stuffed with junk, they seem to be free of dust and grime. Scattered across the bottom shelves, among the junk, are a magnifying glass, a water pistol, a bismuth crystal, a jar, a leather arm guard, and an optical prism. The jar contains silica beads.\n\n> You jump\nYou jump a little, and land back where you started.\n\n> You examine the top shelf\nThe top shelf is out of reach from the floor. And there is no way those shelves would support your weight. Just visible from the top shelf are a lump of labradorite and a bow and arrow charm.\n\n> Go inside\nThe junk room is full of all sorts of odds and ends that no one could bring themselves to throw away. All sorts of things litter the shelves and the floor. The way you came in, an auto-locking door, has auto-locked, and won't unlock until morning. The only other exit leads out into the viewing room.\n\nYou see a crystal ball and an optical prism here. Scattered across the bottom shelves, among the junk, are a magnifying glass, a water pistol, a bismuth crystal, a jar, a leather arm guard, and an optical prism. The jar contains silica beads. Just visible from the top shelf are a lump of labradorite and a bow and arrow charm.\n\n> You take the arm guard\nYou tug on the leather arm guard. It seems to be a bit stuck; you give a bit of a yank, and it comes free. With a creak, a ladder comes crashing onto the floor! It must have been stuck behind all that junk.\n\n> You put the ladder on the top shelf\n(first taking the ladder)\nThe top shelf is too far away.\n\n> You put the ladder on the shelf\n(the bottom shelves)\nDone.\n\n> You search the top shelf\nJust visible from the top shelf are a lump of labradorite and a bow and arrow charm.\n\n> You get the lump\nTaken.\n\n> You get the bow\nYou take the bow and arrow charm.\n\n> You examine the top shelf\nThe top shelf is out of reach from the floor. And there is no way those shelves would support your weight.\n\n> You look\nJunk room (standing on the ladder)\nThe junk room is full of all sorts of odds and ends that no one could bring themselves to throw away. All sorts of things litter the shelves and the floor. The way you came in, an auto-locking door, has auto-locked, and won't unlock until morning. The only other exit leads out into the viewing room.\n\nYou see a crystal ball, an optical prism, and a ladder here. Scattered across the bottom shelves, among the junk, are a magnifying glass, a water pistol, a bismuth crystal, a jar, and an optical prism. The jar contains silica beads.\n\n> Search\nWhat do you want to search?\n\n> You search the floor\nOn the floor are a crystal ball, an optical prism, and a ladder.\n\n> You search the walls\nwest wall: You see nothing in the west wall.\neast wall: You see nothing in the east wall.\nnorth wall: You see nothing in the north wall.\nsouth wall: You see nothing in the south wall.\n\n> You search the ceiling\nYou see nothing in the ceiling.\n\nYou can't go that way. The only obvious exit leads out.\n\n> You examine the shelves\nThough the shelves are stuffed with junk, they seem to be free of dust and grime. Scattered across the bottom shelves, among the junk, are a magnifying glass, a water pistol, a bismuth crystal, a jar, and an optical prism. The jar contains silica beads.\n\n> You climb the ladder\nYou're already standing on the ladder.\n\n> Y.\nThanks for playing!"
    },
    {
        "text": "[Themes: BDSM, unicorn]\n\nIt is late afternoon, and the previously busy market place now has only a few stragglers trying to find last-minute bargains.\nYour stall is now devoid of all the home-grown delights that were piled on the table, and you are preparing to pack things away and return to your house.\nIt seems that Giles, next stall along, (for whom you have a secret fondness,) has also had a good day. He stands, with the last remaining apple tree sapling that he has left for sale.\nYou look shyly towards him, but all his attention is taken up gazing at Grace, the beautiful daughter of the local squire who approaches Giles' stall.\n\nHardly sparing a glance at the tree she throws some money at Giles' feet and instructs him to deliver it immediately to the Hall.\nShe sweeps away with a wiggle and a show of shapely leg below her\nsilk gown, and Giles trots along obediently behind her like a faithful dog.\n\nA fable owing much to Theodore Sturgeon, Thomas Hardy, and the film A Kid For Two Farthings.\n\nType \"examine me\" to discover who you are.\nType \"about\" to find out more about the game.\n\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\n\nIt's the end of the day and there is little left to buy, and few people still browsing.\n\n[Author's Note: The story is an amalgam of a Theodore Sturgeon short story, \"The Silken Swift\", with the characters in Thomas Hardy's \"The Woodlanders\" - well, someone had to give poor Marty a happy ending if only in a thing like this, and the novel \"A Kid For Two Farthings\" by Wolf Mankiewicz, about a boy who buys a young goat with a single deformed horn and believes it to be a unicorn.]\n\n> You examine yourself\nYou are a hard-working girl, with mousey hair, a weathered face and labour-toughened hands. As someone once said of you - Marty's beauty is well-concealed.\nLike most of the villagers, your clothes are home made from coarse fabric. It may not be too comfortable, but it's what you are accustomed to. And there's no point in wishing to dress like those rich folks at the Hall - those silks and satins wouldn't last five minutes  on the farm.\n\n> You look at the stall\nWooden boards, resting on trestles, providing a trading area for the market.\n\n> You look at the gate\nTwo wrought iron entrance gates, locked with an iron bar, and surmounted by iron spikes are set in a six foot high brick wall topped with broken glass which makes an impregnable barrier to the casual visitor.\nYou can see the driveway curving off toward the house to the east.\n\n> You go to the east\nThe pretty grassy track is bordered by thick hedges with many wild flowers growing in the verges.\nIt is only a couple of hundred yards long, connecting your cottage, hidden behind high hedges at the east end, to the market square westwards.\n\n> You get the flowers\nThey look much better in their natural setting, and will last far longer than in a vase.\n\n> Smell flowers\nAah! Delightful. One of life's simple pleasures.\n\n> You go east\nThe end of the lane to your cottage, which is immediately to the east. Another cottage, Orchard Cot, owned by Giles, is up a short track to the south. The market square may be reached down the lane westwards.\n\n> You examine the cottage\nThe thatched roof is supported by thick walls made in the traditional manner from cob - straw and mud.\n\n> Go east\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nEntering through the unlocked door, you see the familiar old furniture. It's not much, but it's your home.\nYou're tired after your day at the market, but the animals need feeding. You can hear the chickens clucking impatiently out back.\n\nYou can see a table (on which is a book), a cooker and a chair here.\n\n> Examine book\nIt's about a young girl, a unicorn, and a magic pool. You've learned that unicorns will only appear to the pure.\nThere is a picture of a unicorn on the front cover - a magnificent beast with a gold mane and golden horn, silver hooves and a snow white body.\n\nWhere did the book come from? Probably given away by the people at the Hall when they'd finished with it.\n\n> Examine cooker\nwood-burning stove, your only source of heat and means of cooking.\n\n> You take book\nTaken."
    },
    {
        "text": "[Themes: unicorn, BDSM]\n\n> You look at your surroundings\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou're tired after your day at the market, but the animals need feeding. You can hear the chickens clucking impatiently out back.\n\nYou can see a table, a cooker and a chair here.\n\n> You go east\nThe typically untidy yard of a rural dwelling is full of  chickens scratching at the ground.\nYour cottage is to the west and a small shed is to the south.\nThe goat's paddock has an entrance to the northwest.\nYou can see a billy goat, some chickens and a rooster here.\n\n> You examine the goat\nWhy you bought a billy no-one can explain, but you love the brute, and he seems to like you too, especially at feeding time. He has a pair of stubby horns which should not do you too much damage... unless he meant to.\n\n> You examine chickens\nA motley collection of hens, mostly derbyshire redcaps, with one proud rooster  who thinks he is in charge.\n\n> You look at the rooster\nBad-tempered brute who'll peck at you any time he gets the chance, but he does his duty as far as the hens are concerned.\n\n> Go south\nA small shed containing tubs of animal feed... ...which you immediately distribute to your waiting audience outside.\n\nYou can see some tubs of animal feed and a lead rein here.\n\n> You look at the tubs\nYou make sure your stock is well fed, storing the foodstuff in these metal bins. They are nearly full right now, so don't rick your back trying to shift them.\n\n> You examine rein\nIt's like a long dog lead with collar attached, just the right size for Billy's neck. Lucky it's turned up now, that's been missing for months.\n\n> Examine\n(the tubs of animal feed)\nYou make sure your stock is well fed, storing the foodstuff in these metal bins. They are nearly full right now, so don't rick your back trying to shift them."
    },
    {
        "text": "[Themes: BDSM, unicorn]\n\n> Look around\nA small shed containing tubs of animal feed...\nYou can see some tubs of animal feed here.\n\n> You feed the chickens\nWhom do you want to feed the chickens to?\n\n> You examine chickens\nA motley collection of hens, mostly derbyshire redcaps, with one proud rooster  who thinks he is in charge.\n\n> You take the animal feed\nYou can't see any such thing.\n\nA small shed containing tubs of animal feed... ...which you\" immediately distribute to your waiting audience outside.\"\n\n> Inventory\nYou are carrying:\na lead rein\na book\n\n> You put the rein on the goat\nThe salient characteristic of goats is their stubbornness, and Billy wants nothing to do with this game. The only place you can go with him is the paddock, so it's hardly worth trying, is it?\n\n> You go northwest\nA grassy area for the goat to forage, though he's always in the back yard at feeding time.\nIt stretches northwest to the boundary of the grounds of the Hall, the side wall of which abuts it.\nThe open gateway to your yard is at the east side.\n\n> You go to the northwest\nThe northwest corner of your paddock. The Hall is just the other side of the wall. A first floor balcony is visible above you, but nothing can be seen above the parapet except the top of a double paned window set back into the house.\n\n> You look at the window\nPanes of glass to let in daylight. Not the product of the Microsoft corporation.\n\n> You look at the balcony\nIt's what's known as a belvedere - the balcony doesn't project but is flush with the wall. It only has brickwork eighteen inches high at the base, so it'd be easy enough to fall out.\n\n> You examine the wall\nThe six foot high wall with broken glass stuck to the top surface surrounds the entire property.\n\n> Go west\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou really must get a bit of shut-eye!\n\nYou can see a table, a cooker and a chair here.\n\n> Go upwards\nNestling under the eaves, there's nothing much of interest here except the bed.\n\nYou can see a bed here.\n\n> You lie in the bed\nYou get onto the bed.\n\n> Sleep\nAfter a well-deserved night's slumber, you awake refreshed at dawn to the cock's crow.\nAnother day, and as usual, the first thing to do is sort the animals out."
    },
    {
        "text": "> You look around\nBedroom (on the bed)\nNestling under the eaves, there's nothing much of interest here except the bed.\n\n> You stand\nYou get off the bed.\n\nNestling under the eaves, there's nothing much of interest here except the bed.\n\nYou can see a bed here.\n\n> You examine the eaves\nThe thatched roof is supported by thick walls made in the traditional manner from cob - straw and mud."
    },
    {
        "text": "> Go downward\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nThose animals are hungry again - listen to the noise!\n\nYou can see a table, a cooker and a chair here.\n\n> You go to the east\nThe typically untidy yard of a rural dwelling is full of  chickens scratching at the ground.\nYour cottage is to the west and a small shed is to the south.\nThe goat's paddock has an entrance to the northwest. ... but Billy's not here!\nYou'd better try to find the brute.\nI'd guess if he's not in the paddock, he may have nipped across the lane to Giles' place.\n\nYou can see some chickens and a rooster here.\n\n> You go south\nA small shed containing tubs of animal feed... ...which you immediately distribute to your waiting audience outside.\n\nYou can see some tubs of animal feed here.\n\n> You go to the north-west\nA grassy area for the goat to forage, though he's always in the back yard at feeding time.\nIt stretches northwest to the boundary of the grounds of the Hall, the side wall of which abuts it.\nThe open gateway to your yard is at the east side.\n\nYou can see a gap in the hedge bordering Bluebell Lane where the goat made his getaway - unfortunately you'd cut yourself to ribbons on the hawthorn if you tried going that way.\n\n> Go west\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou can see a table, a cooker and a chair here.\n\n> You go west\nThe end of the lane to your cottage, which is immediately to the east. Another cottage, Orchard Cot, owned by Giles, is up a short track to the south. The market square may be reached down the lane westwards.\n\n> Go south\nThe furnishings are as basic as your own cottage.\nYou search the place, calling for Giles, but there is no reply. Where on earth can he be?\n\n> You go west\nThe pretty grassy track is bordered by thick hedges with many wild flowers growing in the verges.\nIt is only a couple of hundred yards long, connecting your cottage, hidden behind high hedges at the east end, to the market square westwards.\nThere is damage to the northern hedge where something has forced its way through, and cloven hoof prints lead west.\n\n> You look at the hedge\nSpiky hawthorn, interspersed with brambles.\n\n> You go to the north\nYou can go only east or west.\n\n> You look at the prints\nThe woodcraft you've learned from a very early age allows you to identify them  as fairly freshly made goat tracks.\n\n> Go west\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\n\nThe square's now almost deserted, the day after the market, and early in the morning as it is. Only old Ned and Jake are here now, leaning on the wall and discussing life, the universe and current livestock prices. You see Jake chuckling and nudging Ned as he gestures toward the Hall. Giles name is mentioned, and Jake gives you a quizzical look.\nYou can see Old Ned and Jake here.\n\n> You ask old Ned about billy goat\nOh aar! He went off into yonder bog. I reckon he's a goner - nothing comes back once they bin scrandled in them swamps.\n\n> You ask Jake about Giles\nReckon the lucky beggar's been at it all night with racy Gracie.\n\n> Go west\nThe flowery lane soon degenerates into  a dank track through  a series of foul-smelling bogs as you move westward. But it's always been this way, and the solitude can sometimes be a comfort.\nYou can continue westwards deeper into the swamp, or return to the village eastwards. There are cloven hoof prints leading west.\n\n> You go to the west\nThe bogs encroach on this spot from all directions except for the narrow track eastwards. Strange you've never noticed this delightful spot before now. Yes! You've found that beast. Now all you have to do is get him home.\nYou can see a billy goat and a clear pool here.\n\n> You look at the pool\nAmid all the brackish muddy swamps this pool is perfectly clear.\n\n> Drink pool\nYou take a tentative sip, and when you find the taste is wonderfully sweet, drink your fill.\n\n> About yourself\nYou are a hard-working girl, with mousey hair, a weathered face and labour-toughened hands. As someone once said of you - Marty's beauty is well-concealed.\nLike most of the villagers, your clothes are home made from coarse fabric. It may not be too comfortable, but it's what you are accustomed to. And there's no point in wishing to dress like those rich folks at the Hall - those silks and satins wouldn't last five minutes  on the farm."
    },
    {
        "text": "[Themes: BDSM]\n\n> You describe your surroundings\nThe bogs encroach on this spot from all directions except for the narrow track eastwards.\nYou can see a billy goat and a clear pool here.\n\n> You examine the bogs\nNot somewhere you'd want to wander into. There are old tales of even horses being swallowed up in the local bogs.\n\n> Go east\nThe flowery lane soon degenerates into  a dank track through  a series of foul-smelling bogs as you move westward. But it's always been this way, and the solitude can sometimes be a comfort.\nYou can continue westwards deeper into the swamp, or return to the village eastwards.\n\n> Go east\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\n\nThe square's now almost deserted, the day after the market, and early in the morning as it is. Only old Ned and Jake are here now, leaning on the wall and discussing life, the universe and current livestock prices.\nYou can see Old Ned and Jake here.\n\n> You ask old Ned about Grace\nAar, but them aristocrats is a law unto 'emselves. I'd keep well clear if I were you, young 'un.\n\n> You ask Jake about Grace\nThey say she's into all this sad-ism with whips and chains and such. Fancy me tying you to a bed and giving you what for?\n\n> You ask Jake about Hall\nI'll tell you this much. It's only that Gracie who's home at the moment.\n\n> You go to the north\nThe gate is firmly locked, and even were you that athletic, you'd cut yourself to ribbons on those sharp shards on top of the wall.\n\n> You ask Jake about the gate\nI reckon, if you could hoopla one of those spikes on the top, you might be able to haul yourself over. I'll help you if you don't mind me looking up your skirt at the same time.\n\n> Go south\nIt's much too far to walk. You'd better wait in the village until you can get a lift... and vehicles are very few and far between.\n\n> You go to the east\nThe pretty grassy track is bordered by thick hedges with many wild flowers growing in the verges.\nIt is only a couple of hundred yards long, connecting your cottage, hidden behind high hedges at the east end, to the market square westwards.\nThere is damage to the northern hedge where something has forced its way through, and cloven hoof prints lead west.\n\n> You go east\nThe end of the lane to your cottage, which is immediately to the east. Another cottage, Orchard Cot, owned by Giles, is up a short track to the south. The market square may be reached down the lane westwards.\n\n> You go east\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou can see a table, a cooker and a chair here.\n\n> You take the chair\nTaken.\n\n> Go east\nThe typically untidy yard of a rural dwelling is full of  chickens scratching at the ground.\nYour cottage is to the west and a small shed is to the south.\nThe goat's paddock has an entrance to the northwest.\nYou can see some chickens and a rooster here.\n\n> You drop the chair\nDropped.\n\n> You stand on the chair\nYou get onto the chair.\n\n> Go upward\nYou'll have to get off the chair first."
    },
    {
        "text": "> You look at your surroundings\nBy Hall Side-wall (on the chair)\nThe northwest corner of your paddock. The Hall is just the other side of the wall. A first floor balcony is visible above you, but nothing can be seen above the parapet except the top of a double paned window set back into the house.\n\n> You stand\nYou get off the chair.\n\nThe northwest corner of your paddock. The Hall is just the other side of the wall. A first floor balcony is visible above you, but nothing can be seen above the parapet except the top of a double paned window set back into the house.\n\nYou can see a chair here.\n\n> You go west\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou can see a table and a cooker here.\n\n> You stand on the chair\nJake has better things to do.\n\n> You stand on the chair\nYou get onto the chair.\n\n> Go upward\nYou'll have to get off the chair first.\n\n> You stand\nYou get off the chair.\n\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\n\nThe square's now almost deserted, the day after the market, and early in the morning as it is. Only old Ned and Jake are here now, leaning on the wall and discussing life, the universe and current livestock prices.\nYou can see a chair, Old Ned and Jake here.\n\n> Yes\nThat was a rhetorical question.\n\n> You examine the spikes\nTwo wrought iron entrance gates, locked with an iron bar, and surmounted by iron spikes are set in a six foot high brick wall topped with broken glass which makes an impregnable barrier to the casual visitor.\nYou can see the driveway curving off toward the house to the east.\n\n> Examine bar\nA thick iron strut  locked in place by a padlock at either end."
    },
    {
        "text": "> You look around\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\n\nThe square's now almost deserted, the day after the market, and early in the morning as it is. Only old Ned and Jake are here now, leaning on the wall and discussing life, the universe and current livestock prices.\nYou can see a chair, Old Ned and Jake here.\n\n> You put the chair on the spikes\nYou put the chair on the wall surrounding the Hall.\n\n> You stand on the chair\n(getting onto the wall surrounding the Hall)\n\nThat's not something you can stand on.\n\n> You put rein on the spikes\nYou put the lead rein on the wall surrounding the Hall.\n\n> You climb rein\nThe rein is only the tool. Try CLIMB MOUNTAIN or whatever it's attached to.\n\n> You climb the gate\nWith some support from Jake you haul yourself up the lead rein, giving him the view he desired, and retrieving the rein as you go, drop down into the grounds of the Hall.\n\nThe beautifully manicured lawns stretch off to either side of the tarmac drive which runs northeast to the Hall. The gates to the south will be unclimbable without the help you obtained earlier.\n\nOn the wall surrounding the Hall is a chair.\n\n> You examine the lawns\nExquisitely tended gardens in the style of Calamity Jane... er... I mean Capability Brown, somewhat spoiled by the \"Keep off the grass\" signs bordering the driveway."
    },
    {
        "text": "[Themes: BDSM]\n\n> You look at your surroundings\nThe beautifully manicured lawns stretch off to either side of the tarmac drive which runs northeast to the Hall. The gates to the south will be unclimbable without the help you obtained earlier.\n\n> Go northeast\nYou remember from a visit once as a child, when your mother worked in the hall, that the ground floor is mainly the servants quarters and kitchen etc, and that the servants kept themselves strictly apart from their masters. And out of sight as much as possible, so wandering around this level should be fairly safe, but not likely to be very productive... but one never can tell...\nAnd what's that door to the south? Ah, you obviously weren't allowed in there as a kid.\n\nA corridor leading to the kitchen is to the east. An ornate staircase winds upwards, blocking off northward access from this point, and a fancy doorway is to the south. The whole place is very gloomy with oak-panelled walls and a few portraits of singularly unattractive ancestors of the present incumbents.\nYou may exit the building westwards.\nYou can see some portraits here.\n\n> You go east\nThe entrance hall is westwards, and the kitchen immediately to the east. There is a door to the north leading to the servants' quarters.\n\n> You examine the door\nA plain wooden door with a paper sign attached to it.\n\n> You look at the sign\nScrawled capital letters make the meaning quite clear. It's glued to the door.\n\n> Go east\nAll the equipment you'd expect to find in a large kitchen. Everything is neatly put away, and the only utensils in plain view is a rack of kitchen knives. The eastern wall, containing the only window has much of its light blocked out by the  wall that surrounds the property, and which you have met before. The door is back to the west.\n\nYou can see a knife Rack (on which is a carving knife) here.\n\n> You examine knife\nOf the rack full of sharp bone-handled  blades, a long carving knife takes your fancy.\n\n> You look at the window\nPanes of glass to let in daylight. Not the product of the Microsoft corporation."
    },
    {
        "text": "> You look around\nAll the equipment you'd expect to find in a large kitchen. Everything is neatly put away, and the only utensils in plain view is a rack of kitchen knives. The eastern wall, containing the only window has much of its light blocked out by the  wall that surrounds the property, and which you have met before. The door is back to the west.\n\nYou can see a knife Rack here.\n\n> You look at Rack\nA wooden container attached to the south wall holding a selection of knives for use in food preparation.\n\n> Go west\nThe entrance hall is westwards, and the kitchen immediately to the east. There is a door to the north leading to the servants' quarters.\n\n> You go to the west\nA corridor leading to the kitchen is to the east. An ornate staircase winds upwards, blocking off northward access from this point, and a fancy doorway is to the south. The whole place is very gloomy with oak-panelled walls and a few portraits of singularly unattractive ancestors of the present incumbents.\nYou may exit the building westwards.\nYou can see some portraits here.\n\n> You go south\nA cavernous expanse of polished wood flooring, with a stage at the further end. Despite the many windows the place still gives the impression of gloom. Maybe going south to the stage would let you have a better look at the objects you can see there in that, the gloomiest part of the room.\n\n> You go to the south\nArea for musicians to play. An enormous grand piano stands here, as do a couple of old music stands.\n\nYou can see a grand piano and a music stand here.\n\n> You look at the piano\nI believe it's a Broadwood. Anyway, the castors have seized up and it's immovable. The keyboard lid is down and locked.\n\n> You examine the stand\nA vertical metal pole about four feet high with a tripod base and  an open metal square at the top intended to support sheet music.\n\n> You take it\nYou're carrying too many things already.\n\n> Inventory\nYou are carrying:\na carving knife\na chair\na lead rein\na book\n\n> You put the book on the stand\nYou put the book on the music stand.\n\n> You check your inventory\nYou are carrying:\na music stand\na book\na carving knife\na chair\na lead rein"
    },
    {
        "text": "> Describe the surroundings\nArea for musicians to play. An enormous grand piano stands here, as do a couple of old music stands.\n\nYou can see a grand piano here.\n\n> You go north\nA cavernous expanse of polished wood flooring, with a stage at the further end. Despite the many windows the place still gives the impression of gloom. Maybe going south to the stage would let you have a better look at the objects you can see there in that, the gloomiest part of the room.\n\n> You go north\nA corridor leading to the kitchen is to the east. An ornate staircase winds upwards, blocking off northward access from this point, and a fancy doorway is to the south. The whole place is very gloomy with oak-panelled walls and a few portraits of singularly unattractive ancestors of the present incumbents.\nYou may exit the building westwards.\nYou can see some portraits here.\n\n> You examine the staircase\nSolid wooden staircase in the grand style, wide enough to drive a coach and horses down. The newel posts are surmounted by the heads of lions, which would bring a painful conclusion to any attempt at sliding down the banisters.\n\n> Go upwards\nA dim area, only lit by a skylight high above,  which even your trusty lead rein would not allow you to reach. There are doorways northeast, northwest, southeast and southwest. A corridor leading south seems disused and is blocked by  a wooden partition.\n\n> You examine the partition\nA collection of ancient heavy furniture, presumably unwanted but with nowhere else to store it. It is impassable and any disturbance of it would surely create quite a din.\n\n> You examine skylight\nA dirty glass panel in the roof, providing a minimal amount of illumination to filter down to this  enclosed point.\n\n> You look at the heads\nHunting trophies. It was the mission of old aristocrats to go off to find endangered species and try to finish off the endangering with extinction.\n\n> You examine table\nYou've seen all those old movies about Henry VIII, the sheriff of Nottingham and so on - it's one of those.\n\n> You look at the chairs\nEnormous old oak chairs. Even if you could haul your own little chair around, there's no way of moving these more than a foot or two.\n\n> You go north\nYou can go only southwest.\n\n> You go southwest\nA dim area, only lit by a skylight high above,  which even your trusty lead rein would not allow you to reach. There are doorways northeast, northwest, southeast and southwest. A corridor leading south seems disused and is blocked by  a wooden partition.\n\n> Go northwest\nIn front of a heavy wooden door  with brass handle - a curved lever rather than a knob. The door opens into a room to the northwest.\n\n> You look at the door\nThere's a lock, but no key, so securing it won't be easy, assuming you want to. But maybe you could do something with the handle.\n\n> You go northwest\nYou'll have to open the door first.\n\n> You open the door\nYou quietly open the door revealing Grace's bedroom.\nCorny as it may seem, she really does have a big four-poster bed which dominates the room to the exclusion of everything else.\nGrace is asleep on the silken coverlet now, a riding crop held in one hand, and a double barrelled shotgun lying alongside her.\nLet sleeping bitches lie!\nYou softly close the door and retreat to the upstairs landing.\n\n> You check your inventory\nYou are carrying:\na music stand\na book\na carving knife\na chair\na lead rein\n\n> You put the chair on the handle\nYou put the chair on the closed door."
    },
    {
        "text": "> You look around\nIn front of a heavy wooden door  with brass handle - a curved lever rather than a knob. The door opens into a room to the northwest.\n\nOn the closed door is a chair.\n\n> You put the rein on the door\nYou attach the rein to the door handle. Good idea, but there's nowhere to tie the other end to hold it shut.\n\n> You tie the rein to the music stand\nTry putting it on that thing, rather than tying it.\n\n> You put the rein on the stand\nYou lack the dexterity.\n\n> You put the stand on the door\nYou  thread the handle of the door through the frame of the stand. By extreme good fortune you can wedge the music stand across the door frame to prevent it opening. It's not a very strong \"locking bar\" but it ought to give you a bit of time.\n\n> You take the rein\nYou already have that.\n\n> You check what you're carrying\nYou are carrying:\na chair\na carving knife\na lead rein"
    },
    {
        "text": "[Themes: BDSM]\n\n> You look around\nIn front of a heavy wooden door  with brass handle - a curved lever rather than a knob. The door opens into a room to the northwest.\n\nOn the closed door is a music stand.\n\n> You go to the southeast\nThere's surprisingly little here in the way of furniture. The east wall has french windows leading to a small balcony or belvedere. The naked form of Giles is strapped to the bed. He has red welts on his back, and signs of bruising. He is attached by leather thongs  at hand and foot to the bed.\nAs he hears the door open, Giles groans and you can see him flinch, but when he realises it's you he relaxes.\n\"Oh Marty, thank heaven. Please help me...\"\n\nYou can see a narrow bed (on which is Giles) and some clothing belonging to Giles here.\n\n> You examine Giles\nA local smallholder as hard-working as yourself. You have long harboured a secret love for the man, who is as weather-beaten and down-to-earth as yourself.\n\n> Kiss giles\nOoh that was wonderful.\n\n> You cut the thong\nYou make short work of releasing the bonds, and Giles staggers to his feet smiling through his pain. Then realising his situation, blushes and dons his clothing.\nHe declares he'll never let you out of his sight again."
    },
    {
        "text": "> Look around\nThere's surprisingly little here in the way of furniture. The east wall has french windows leading to a small balcony or belvedere.\nYou can see Giles and a narrow bed here."
    },
    {
        "text": "[Themes: unicorn]\n\n> You examine the bed\nOld fashioned iron single bed with iron rings fitted around the periphery through which thongs of leather are threaded. Maybe the family once boasted its own idiot and had to keep him sedated in this primitive manner. The headboard supports rise a few inches above this board. These bedposts are  capped by moulded  monkey heads.\n\n> Go northwest\nA dim area, only lit by a skylight high above,  which even your trusty lead rein would not allow you to reach. There are doorways northeast, northwest, southeast and southwest. A corridor leading south seems disused and is blocked by  a wooden partition.\n\nYou can see Giles here.\n\n> Go southwest\nThis is obviously the sleeping area for the master and mistress of the Hall, now somewhere abroad. The double bed is flanked by two bedside cabinets, and on one wall is an enlarged photograph of the Melbury family. The exit is northeast.\n\nYou can see Giles and a bedside cabinet (on which is Melbury's tome) here.\n\n> You read tome\nThe Collected Works of the Marquis de Sade.\n\n> You ask Giles about Grace\nYeah, I'm a fool. Should have known when she came on so strong... gave me a drink... must have had laudanum or something in it. Next thing I know I'm flat on that bed and she's beatin' the daylights out of me with that riding crop of hers.\n\n> You ask Giles about Melbury\nGrace comes storming out of her room and blasts you with the shotgun. In a later interview she claimed that she was only defending herself against a couple of burglars, one of whom had been carrying a lethal knife.\n\n> You go to the east\nA sort of recessed balcony accessed through french windows from the blue room. It overlooks  the northwest end of Bluebell Cottage's paddock; and indeed is practically on the boundary line, the notorious glass-topped wall being visible directly below if you look over the eighteen inch high parapet.\n\nYou can see Giles here."
    },
    {
        "text": "> Go downward\nJump from here? You'd break your neck, or cut yourself to ribbons.\n\n> You check your inventory\nYou are carrying:\na book\na chair\na carving knife\na lead rein\n\n> You examine the parapet\nthe balcony.\n\n> Go southeast\nGrace comes storming out of her room and blasts you with the shotgun. In a later interview she claimed that she was only defending herself against a couple of burglars, one of whom had been carrying a lethal knife.\n\n> Wait\nTime passes."
    },
    {
        "text": "> You go south\nYou can go only west.\n\n> Tie lead to bed\nPlease give one of the answers above.\n\n> You put the lead on the bed\nYou put the lead rein on the narrow bed.\nIt's tricky, but you sling the rein over the parapet and scramble down on the far side of the wall. Giles follows. It's a good job you both wore those heavy work boots to protect your feet from that glass on the top of the wall.\n\nThe northwest corner of your paddock. The Hall is just the other side of the wall. A first floor balcony is visible above you, but nothing can be seen above the parapet except the top of a double paned window set back into the house.\nAs you make a run for it across the field, Grace appears on the balcony and lets off both barrels of her shotgun. Luckily she is not a good shot. In frustration she hurls the lead rein after you, which you retrieve before she can reload.\n\n> You go southeast\nA grassy area for the goat to forage, though he's always in the back yard at feeding time.\nIt stretches northwest to the boundary of the grounds of the Hall, the side wall of which abuts it.\nThe open gateway to your yard is at the east side.\n\nYou can see Giles here.\n\n> Go east\nThe typically untidy yard of a rural dwelling is full of  chickens scratching at the ground.\nYour cottage is to the west and a small shed is to the south.\nThe goat's paddock has an entrance to the northwest.\nYou can see Giles, some chickens and a rooster here.\n\n> You go to the west\nYour humble home. There is only this one room on the ground floor and a bedroom above to which stairs lead up.\nThe front door is to the west and the garden door to the east.\nThe only furnishings are extremely basic.\n\nYou can see Giles, a table and a cooker here.\n\n> Go west\nThe end of the lane to your cottage, which is immediately to the east. Another cottage, Orchard Cot, owned by Giles, is up a short track to the south. The market square may be reached down the lane westwards.\n\nYou can see Giles here.\n\n> Go west\nThe pretty grassy track is bordered by thick hedges with many wild flowers growing in the verges.\nIt is only a couple of hundred yards long, connecting your cottage, hidden behind high hedges at the east end, to the market square westwards.\nThere is damage to the northern hedge where something has forced its way through, and cloven hoof prints lead west.\n\nYou can see Giles here.\n\n> You go west\nThe market place has stalls arranged around its perimeter.\nThe north side of the square is bordered by the entrance gate and boundary wall of the Hall, the squire's residence.\nYour house is along the road to the east, and the dismal bogland trail leads to the west.\nThe southern road leads off to the big town many miles away which is far too distant to walk to.\nThere's no-one here at all now. Ned and Jake have gone about their business and most of the town has yet to venture abroad.\n\nYou can see Giles here.\n\n> You go west\nThe flowery lane soon degenerates into  a dank track through  a series of foul-smelling bogs as you move westward. But it's always been this way, and the solitude can sometimes be a comfort.\nYou can continue westwards deeper into the swamp, or return to the village eastwards.\nYou can see Giles here.\n\n> Go west\nThe bogs encroach on this spot from all directions except for the narrow track eastwards.\nYou can see Giles, a billy goat and a clear pool here.\n\n> Kiss giles\nOoh that was wonderful."
    },
    {
        "text": "[Themes: RPG, gender-neutral protagonist, violence, goblins, fantasy, combat, orcs, rpg, money]\n\nYou're having your usual evening drink in the Ruffled Feather when you happen to fall into conversation with a tough old dwarf. He seems to know many tales about the nearby lands.\n\n\"Ah!\" he cries. \"You don't know the legend of Black Knife Dungeon? I will tell you!\" He launches into a meandering story with a lot of digressions, and it's hard to follow the thread. You're able to glean that there is (supposedly) a valuable relic buried deep inside the dungeon. Eventually he starts to nod. \"A steadfast adventurer may find it,\" he murmurs, \"but first, seek Blornang's Hall.\" With that, his head falls on the table, cushioned slightly by a coaster.\n\nHmm. Maybe this is worth looking into. You are an adventurer, after all.\n\nPress SPACE.\nBlack Knife Dungeon\n\nSpecial thanks to Andy Fleming, Lorne Harris, Hall Hood, Isaac Orf, Luke Pebler, Andrew Schultz, and Mike Spivey for testing, and to Nadia Bellazola for cover art.\n\n[Author's Note: A miniature RPG.]\n\n> Inventory\nYou are a Level 1 adventurer. You're equipped with a run-of-the-mill sword and light leather armor.\n\nYou have no money.\n\n> Tips\n*1. General Adventuring\n*2. Leveling\n*3. The Tavern\n\n(To read a tip, type TIP [number].)\n\n> Tip 1\nWhen you enter a room in the dungeon, you can choose to FIGHT (F) the monster there, or you can just CONTINUE (C) your exploration. It may take multiple rounds to defeat a monster. If you defeat it, you then have the option to SEARCH (SE) the room.\n\nWhen you fight, you will usually lose some hit points. (Hit points are shown in the upper right.) When you run out, the adventure's over. You can leave earlier by typing GO HOME (or just HOME). If you leave before running out of hit points, you'll get a small loot bonus.\n\nNote: Adventuring isn't free! You have to pay for provisions,\nhealing, and so on. Adventuring costs are paid at the end of each adventure.\n\n> Tip 2\nTo explore deeper into the dungeon, you'll need to level up by accomplishing your level goals. Type GOALS to see how you're doing.\n\n> Tip 3\nWhen you visit the Ruffled Feather and TALK, you will sometimes receive an important tip. Check in at the tavern frequently!"
    },
    {
        "text": "[Themes: RPG, fantasy, combat, goblins]\n\n> Look around\nYou're standing in the Overville town square. You can see Robard's equipment shop to the north and Varnthlorian's magic shop to the west. Overville's most popular tavern, the Ruffled Feather, stands to the east. You can start an ADVENTURE to Black Knife Dungeon at any time. You can also check your GOALS, your TIPS, or your LOG. Type HELP for command details.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. When you arrive, you take a deep breath and enter cautiously....\n\nPress SPACE.\n\n> F.\nYou begin fighting. You strike the goblin with your sword. It conks you on the head with its club.\n\n(You lose 5 hit points.)\n\n> F.\nYou strike the goblin with your sword. It conks you on the head with its club.\n\n(You lose 4 hit points.)\n\n> F.\nYou strike the goblin with your sword. It conks you on the shoulder with its club.\n\n(You lose 5 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 5 hit points and defeat the goblin.)\n\nYou look around and find a pouch of bronze coins worth 2 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Under a pile of rags you find a bronze bowl worth 2 crowns!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#1):\n\nYou defeated 1 monster.\n\nTreasures collected:\npouch of bronze coins (2 crowns)\nbronze bowl (2 crowns)\n\nLoot value: 4 crowns\nAdventuring costs: 1 crown\nTotal revenue: 3 crowns\n\n> Go east\nYou're in the Ruffled Feather, the most popular gathering place in Overville. Most of the tables are filled with patrons chatting and drinking. You can TALK with them if you want. The wait staff hurry back and forth to the bar. The exit is west.\n\n> You talk\nA middle-aged adventurer tells you, \"Did you know there are two varieties of each monster? They can be normal or tough.\nThe tough ones take a lot longer to kill, and a beginning adventurer should just skip them. Luckily, you can tell them apart. For example, pay attention to the eyes of skeletons.\"\n\n(New tip added!)\n\n> Goals\n- Discover Blornang's Hall\n- Defeat 5 monsters on one adventure\n- Buy a tabard\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got a decent SWORD. Better than average, I'd say. Good for adventures. Price is 15 crowns.\n\n\"I also have some leather ARMOR. A little sturdier than what you're wearing. You can have it for 20 crowns.\n\n\"I also have a fine TABARD. All adventurers should wear one, shows people you mean business. Yours for 25 crowns.\"\n\n> You talk\nRobard says, \"Hello there!\"\n\n> You go to the west\nYou notice a sign next to the door: \"Patrons must be Level 2.\"\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a ledge, and drop down into a crypt.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and small leaves. It creaks eerily.\n\n> F.\nYou begin fighting. The rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 4 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 4 hit points and defeat the rootling.)\n\nYou look around and find a bronze bowl worth 2 crowns.\n\n> Inventory\nYou are a Level 1 adventurer. You're equipped with a run-of-the-mill sword and light leather armor.\n\nYou have 3 crowns.\n\nLoot collected:\nbronze bowl (2 crowns)\nTotal value: 2 crowns\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#2):\n\nYou defeated 1 monster.\n\nTreasures collected:\nbronze bowl (2 crowns)\n\nLoot value: 2 crowns\nAdventuring costs: 1 crown\nTotal revenue: 1 crown\n\n> Goals\n- Discover Blornang's Hall\n- Defeat 5 monsters on one adventure\n- Buy a tabard\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor, carefully avoiding a pit. You kick open a wooden door and enter an ancient shrine.\n\nA skeleton turns around to face you. Its eye sockets glow with a dim red light. It holds a rusty mace and a worn shield.\n\n> F.\nYou begin fighting. You strike the skeleton with your sword. It counters and pounds you with its mace.\n\n(You lose 4 hit points.)\n\n> F.\nThe skeleton thumps you in the shoulder with its mace. You land a couple of swift strokes.\n\n(You lose 3 hit points.)\n\n> F.\nThe skeleton hits your chest with its mace. You strike back with your sword and smash its spine. It collapses into a pile of bones!\n\n(You lose 4 hit points and defeat the skeleton.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#3):\n\nYou defeated 1 monster.\n\nTreasures collected:\nsilver ring (2 crowns)\n\nLoot value: 2 crowns\nAdventuring costs: 1 crown\nTotal revenue: 1 crown\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a ledge, and drop down into a bare chamber.\n\nA goblin jumps up and shouts, \"Yar!\" It has long arms and a perpetual scowl. It wears a tattered loincloth and wields a wooden club.\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#4):\n\nYou defeated 1 monster.\n\nTreasures collected:\nbronze bracelet (3 crowns)\n\nLoot value: 3 crowns\nAdventuring costs: 1 crown\nTotal revenue: 2 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into an abandoned storeroom.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and shiny green leaves. It creaks eerily.\n\n> F.\nYou begin fighting. The rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 4 hit points.)\n\n> F.\nThe rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 3 hit points.)\n\n> F.\nThe rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 5 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a bronze bowl worth 1 crown.\n\n> Go southeast\nYou spend some time searching the room carefully. At the bottom of a barrel you find a wooden statuette worth 4 crowns!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#5):\n\nYou defeated 1 monster.\n\nTreasures collected:\nbronze bowl (1 crown)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 6 crowns\nAdventuring costs: 1 crown\nTotal revenue: 5 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You walk through a doorway into a bare chamber.\n\nA goblin jumps up and shouts, \"Blorg!\" It has long arms and a perpetual scowl. It wears a tattered loincloth and wields a wooden club.\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 4 hit points and defeat the goblin.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#6):\n\nYou defeated 1 monster.\n\nTreasures collected:\nbronze bracelet (2 crowns)\n\nLoot value: 2 crowns\nAdventuring costs: 1 crown\nTotal revenue: 1 crown\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou follow a narrow passage. You come to a ledge, and drop down into a natural cave.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its brown fur bristles, and it glares at you with fierce beady eyes.\n\n> F.\nYou begin fighting. The rat leaps up and bites your arm. You throw it off and stab with your sword, wounding it.\n\n(You lose 4 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a silver ring worth 3 crowns.\n\n> You go to the south-east\nYou spend some time searching the cave carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#7):\n\nYou defeated 1 monster.\n\nTreasures collected:\nsilver ring (3 crowns)\n\nLoot value: 3 crowns\nAdventuring costs: 1 crown\nTotal revenue: 2 crowns\n\n> You check your inventory\nYou are a Level 1 adventurer. You're equipped with a run-of-the-mill sword and light leather armor.\n\nYou have 15 crowns.\n\n> You buy the sword\nYou buy the sword. It's definitely better than what you started with. You should be able to dispatch monsters a little more quickly now.\n\n> You talk\nYou fall into conversation with another adventurer. \"I've always noticed something about the different kinds of rooms in dungeons. Some of them tend to have treasures, and others tend to have traps. If you're going to search them, I recommend treasures over traps.\"\n\n(New tip added!)\n\n> Tips\n1. General Adventuring\n2. Leveling\n3. The Tavern\n*4. Monster Varieties\n*5. Searching\n\n(To read a tip, type TIP [number].)\n\n> Tip 4\nMost monsters come in two varieties: normal and tough.\nIt's significantly harder to defeat the tough variety. You can tell them apart by their appearance. (For example, normal skeletons have blue eyes, but tough skeletons have red eyes.)\n\n> Tip 5\nSome types of locations tend to have extra loot, but others tend to have traps. (For example, it can be rewarding to search crypts, but it's a bad idea to search torture rooms.)\n\nNote: Every time you SEARCH or CONTINUE, a bit of your\nadventuring time elapses. If you run out of time, you'll have to go home.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You kick open an iron door and enter a bare chamber.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and shiny green leaves. It creaks eerily.\n\n> F.\nYou begin fighting. You cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 5 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 5 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#8):\n\nYou defeated 1 monster.\n\nTreasures collected:\nsilver ring (2 crowns)\n\nLoot value: 2 crowns\nAdventuring costs: 1 crown\nTotal revenue: 1 crown\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a bare chamber.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its wiry black fur bristles, and it glares at you with fierce beady eyes.\n\n> F.\nYou begin fighting. You swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 3 hit points.)\n\n> F.\nYou swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 5 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> You go to the southeast\nYou spend some time searching the room carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#9):\n\nYou defeated 1 monster.\n\nTreasures collected:\npouch of bronze coins (1 crown)\n\nLoot value: 1 crown\nAdventuring costs: 1 crown\nTotal revenue: 0 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a ledge, and drop down into an abandoned storeroom.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its wiry black fur bristles, and it glares at you with fierce beady eyes.\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 5 hit points and defeat the goblin.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> F.\nYou begin fighting. You strike the goblin with your sword. It conks you on the shoulder with its club.\n\n(You lose 3 hit points.)\n\n> F.\nYou strike the goblin with your sword. It conks you on the shoulder with its club.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 5 hit points and defeat the goblin.)\n\nYou look around and find a bronze bowl worth 2 crowns.\n\n> You go to the southeast\nYou spend some time searching the crypt carefully. Inside an ancient vase you find a pouch of bronze coins worth 1 crown!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#10):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\nbronze bowl (2 crowns)\npouch of bronze coins (1 crown)\n\n\n\nLoot value: 6 crowns\nAdventuring costs: 1 crown\nTotal revenue: 5 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy. You arrive and enter cautiously....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into an ancient shrine.\n\nA skeleton turns around to face you. Its eye sockets glow with a dim red light. It holds a rusty mace and a worn shield.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nYou begin fighting. You swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 4 hit points.)\n\n> F.\nYou swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 5 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> You go to the south-east\nYou spend some time searching the cave carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#11):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nsilver ring (2 crowns)\npouch of bronze coins (1 crown)\n\nLoot value: 3 crowns\nAdventuring costs: 1 crown\nTotal revenue: 2 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. You arrive and enter cautiously....\n\nPress SPACE.\nYou follow a narrow passage. You come to a ledge, and drop down into a crypt.\n\nA skeleton turns around to face you. Its eye sockets glow with a dim red light. It holds a rusty mace and a worn shield.\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its leg.\n\n(You lose 5 hit points.)\n\n> F.\nThe goblin yells and gives you a solid whack with its club. You counterattack and cut its arm.\n\n(You lose 4 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 5 hit points and defeat the goblin.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> You go southeast\nYou spend some time searching the room carefully. As you poke around the altar, a small opening puffs out some poison gas! You cough uncontrollably.\n\n(You lose 3 hit points.)\n\nYou find nothing else of interest.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#12):\n\nYou defeated 1 monster.\n\nTreasures collected:\npouch of bronze coins (1 crown)\n\nLoot value: 1 crown\nAdventuring costs: 1 crown\nTotal revenue: 0 crowns\n\n> You talk\nA mysterious person in a wide-brimmed black hat calls you over. He asks if you know any secret entrances into the city of Horgalon. You regret that you're unable to help him.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou follow a sloping passage, working your way around a pile of rubble. You walk through a doorway into a torture room.\n\nA goblin jumps up and shouts, \"Blorg!\" It has long arms and a perpetual scowl. It wears a tattered loincloth and wields a wooden club.\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> You go southeast\nYou spend some time searching the room carefully. At one point a sharp implement falls over, cutting you!\n\n(You lose 3 hit points.)\n\nYou find nothing else of interest.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#13):\n\nYou defeated 1 monster.\n\nTreasures collected:\nwooden statuette (4 crowns)\n\nLoot value: 4 crowns\nAdventuring costs: 1 crown\nTotal revenue: 3 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You walk through a doorway into an ancient shrine.\n\nA skeleton turns around to face you. Its eye sockets glow with a dim blue light. It holds a rusty mace and a worn shield.\n\n> F.\nYou begin fighting. The skeleton hits your head with its mace. You strike back with your sword and smash its arm. It collapses into a pile of bones!\n\n(You lose 3 hit points and defeat the skeleton.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 5 hit points and defeat the giant rat.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> F.\nBefore the goblin can react, you give it a precise stab and kill it!\n\n(Lucky strike!)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 5 hit points and defeat the goblin.)\n\nYou look around and find a pouch of bronze coins worth 2 crowns.\n\n{ Goal completed! (Defeat 5 monsters on one adventure) }\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#14):\n\nYou defeated 5 monsters.\n\nTreasures collected:\nsilver ring (2 crowns)\ntiny ruby (3 crowns)\nwooden statuette (3 crowns)\nsilver ring (2 crowns)\npouch of bronze coins (2 crowns)\n\n\n\nLoot value: 13 crowns\nAdventuring costs: 1 crown\nTotal revenue: 12 crowns\n\n> Go east\nYou're in the Ruffled Feather, the most popular gathering place in Overville. Most of the tables are filled with patrons chatting and drinking. You can TALK with them if you want. The wait staff hurry back and forth to the bar. The exit is west.\n\n> You talk\nYou chat with Ruilla Mongor, a lady who runs a general store in another part of town. She says business is good right now, but she fears it may not last.\n\n> Goals\n- Discover Blornang's Hall\nX - Defeat 5 monsters on one adventure\n- Buy a tabard\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You kick open an iron door and enter a natural cave.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and knobbly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. You give the serpent a shallow cut with your sword. It bites your sword arm.\n\n(You lose 4 hit points.)\n\n> F.\nYou give the serpent a shallow cut with your sword. It bites your sword arm.\n\n(You lose 5 hit points.)\n\n> F.\nThe serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 3 hit points and defeat the serpent.)\n\nYou look around and find a pouch of bronze coins worth 2 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#15):\n\nYou defeated 1 monster.\n\nTreasures collected:\npouch of bronze coins (2 crowns)\n\nLoot value: 2 crowns\nAdventuring costs: 1 crown\nTotal revenue: 1 crown\n\n> You check your inventory\nYou are a Level 1 adventurer. You're equipped with a decent sword and light leather armor.\n\nYou have 24 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into a natural cave.\n\nA skeleton turns around to face you. Its eye sockets glow with a dim blue light. It holds a rusty mace and a worn shield.\n\n> F.\nYou begin fighting. The skeleton hits your shoulder with its mace. You strike back with your sword and smash its spine. It collapses into a pile of bones!\n\n(You lose 4 hit points and defeat the skeleton.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> You go southeast\nYou spend some time searching the room carefully. Under a pile of rags you find a bronze bowl worth 1 crown!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#16):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nsilver ring (2 crowns)\npouch of bronze coins (1 crown)\nbronze bowl (1 crown)\n\nLoot value: 4 crowns\nAdventuring costs: 1 crown\nTotal revenue: 3 crowns\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got some leather ARMOR. A little sturdier than what you're wearing. You can have it for 20 crowns.\n\n\"I also have a fine TABARD. All adventurers should wear one, shows people you mean business. Yours for 25 crowns.\"\n\n> You buy TABARD\nYou buy the tabard. It looks good!\n\n{ Goal completed! (Buy a tabard) }\n\n> You talk\nYou sit down with a group of clerks from the nearby city of Horgalon. They tell a lot of paperwork jokes. You have a hard time picking up on the humor.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant. You arrive and enter cautiously....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a ledge, and drop down into a crypt.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and knobbly, and it gazes at you with unblinking eyes.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#17):\n\nYou defeated 0 monsters.\n\nTreasures collected: none\n\nAdventuring costs: 1 crown\nTotal loss: (1 crown)\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy. You arrive and enter cautiously....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a ledge, and drop down into an abandoned storeroom.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and knobbly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> Search\nYou spend some time searching the room carefully. You don't find anything else.\n\n> Tip\n1. General Adventuring\n2. Leveling\n3. The Tavern\n4. Monster Varieties\n5. Searching\n\n(To read a tip, type TIP [number].)\n\n> Tip 5\nSome types of locations tend to have extra loot, but others tend to have traps. (For example, it can be rewarding to search crypts, but it's a bad idea to search torture rooms.)\n\nNote: Every time you SEARCH or CONTINUE, a bit of your\nadventuring time elapses. If you run out of time, you'll have to go home.\n\n> F.\nYou begin fighting. You cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 4 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 4 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 4 hit points and defeat the rootling.)\n\nBlornang's Hall! It looks like it's not too far from here.\n\n(Story updated.)\n\n> Go southeast\nYou spend some time searching the crypt carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#18):\n\nYou defeated 2 monsters.\n\nTreasures collected:\ntiny ruby (4 crowns)\n\nLoot value: 4 crowns\nAdventuring costs: 1 crown\nTotal revenue: 3 crowns\n\n> Story\nOne evening in the Ruffled Feather, a strange old dwarf told you a legend about Black Knife Dungeon. There's supposed to be some kind of valuable relic deep inside. \"But first, seek Blornang's Hall,\" the dwarf said before falling asleep on the table.\n\nYou found a map showing the way to to Blornang's Hall.\n\n> Log\nMonsters defeated: 5\nLoot collected: 13 crowns\n\nMonsters defeated: 1\nLoot collected: 2 crowns\n\nMonsters defeated: 2\nLoot collected: 4 crowns\n\nMonsters defeated: 0\nLoot collected: 0 crowns\n(Don't tell your friends about this one.)\n\nMonsters defeated: 2\nLoot collected: 4 crowns\n\nTotal monsters defeated: 25\nMost monsters defeated on one adventure: 5\nTotal lucky strikes: 1\nTotal loot collected: 62 crowns\nTotal adventuring costs: 18 crowns"
    },
    {
        "text": "> Bestiary\n1. Skeleton (3 defeated)\n2. Giant Rat (8 defeated)\n3. Goblin (9 defeated)\n4. Serpent (1 defeated)\n5. Rootling (4 defeated)\n\n> Best 5\n5. Rootling\n\n(Level 1 Oddity)\n\nRootlings are often found in dungeons, but their origin is unknown. Their plantlike nature makes them susceptible to extreme temperatures. Adventurers should watch out for their thorns.\n\n\"Plants should stay in the ground where they belong.\" \u2014Philipus Cringe\n\n> Best 4\n4. Serpent\n\n(Level 1 Animal)\n\nSerpents can be found in many different environs. Their sudden, venomous attacks should not be underestimated.\n\n\"They make fine handbags.\" \u2014Rita Undercorbit\n\n> Best 3\n3. Goblin\n\n(Level 1 Humanoid)\n\nGoblins are nasty little creatures known for clobbering adventurers and taking their stuff. They don't wear much, even when it's cold.\n\n\"Why do the dumb ones always fight with clubs?\" \u2014Ginswick\nRemardy\n\n> Best 2\n2. Giant Rat\n\n(Level 1 Animal)\n\nGiant rats are usually found in dark dungeons and ruins. Their quick attacks have overcome many an adventurer.\n\n\"What we need is more giant cats.\" \u2014Erdis Roughsitter\n\n> Best 1\n1. Skeleton\n\n(Level 1 Undead)\n\nSkeletons have been animated by strange Dormedian magic. They are generally equipped with maces, and they fight slowly. Their abundant ventilation makes arrows almost useless against them.\n\n\"I'll give 'em this: they don't talk much.\" \u2014Tangald Corl\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly. You arrive and enter cautiously....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into a natural cave.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and scaly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. The skeleton hits your chest with its mace. You strike back with your sword and smash its arm. It collapses into a pile of bones!\n\n(You lose 4 hit points and defeat the skeleton.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> Goals\n- Discover Blornang's Hall\nX - Defeat 5 monsters on one adventure\nX - Buy a tabard\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> You go to the south-east\nYou spend some time searching the cave carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#19):\n\nYou defeated 2 monsters.\n\nTreasures collected:\ntiny ruby (4 crowns)\nbronze bracelet (2 crowns)\n\n\n\nLoot value: 7 crowns\nAdventuring costs: 1 crown\nTotal revenue: 6 crowns\n\n{ You have reached Level 2! Congrats! Your hit points have\nincreased, and the Magic Shop is open to you. Unfortunately, adventuring costs have increased. You can now proceed down to Level 2 of the dungeon. }\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a decent sword and light leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 10 crowns.\n\n> Goals\n- Defeat 4 tough monsters on one adventure\n- Buy a cape\n- Bring back 30+ crowns from an adventure\n\n> Go west\nThis is very obviously a magic shop. Every square inch of shelf and table is occupied by old books, colored crystals, and containers of various fluids. Varnthlorian, the gaunt and elderly shopkeeper, sits on a high stool, examining you thoughtfully. The exit is east.\n\nVarnthlorian says, \"Perhaps you would like this lovely AMULET that will allow you to shoot magic arrows whenever you want. I'm asking 30 crowns.\n\n\"I also recommend this fine enchanted SHEATH that will slightly improve your chance of getting lucky strikes. The price is 90 crowns.\"\n\n> You talk\n\"Welcome,\" says Varnthlorian.\n\n> You talk\nYou sit down with a large group of travelers. They are apparently going to a festival in Royo, a little town on the coast. They keep slapping you on the back as if you were a member of their party.\n\n> You go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got some leather ARMOR. A little sturdier than what you're wearing. You can have it for 20 crowns.\n\n\"I also have an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou descend to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a mushroom-filled cave.\n\nA thick yellow slime squishes into view. It pulses on the floor, popping occasionally.\n\n> F.\nYou begin fighting. You rake your sword through the slime, but it just reforms. The slime shoots some acid at you.\n\n(You lose 5 hit points.)\n\n> F.\nThe slime spits some acid at you. Ow! You slash with your sword, but the slime just reforms.\n\n(You lose 4 hit points.)\n\n> F.\nThe slime spits some acid at you. Ow! You slash with your sword, but the slime just reforms.\n\n(You lose 5 hit points.)\n\n> F.\nThe slime spits some acid at you. Ow! You slash with your sword, but the slime just reforms.\n\n(You lose 6 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#20):\n\nYou defeated 0 monsters.\n\nTreasures collected: none\n\nAdventuring costs: 3 crowns\nTotal loss: (3 crowns)\n\n> Bestiary\n1. Skeleton (4 defeated)\n2. Giant Rat (9 defeated)\n3. Goblin (9 defeated)\n4. Serpent (1 defeated)\n5. Rootling (4 defeated)\n6. ----\n7. ----\n8. ----\n9. Yellow Slime (?)\n\n> Best 9\nYou haven't beaten a yellow slime yet. Beat one to access the entry.\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a sloping passage. You walk through a doorway into a banquet hall.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its wiry black fur bristles, and it glares at you with fierce beady eyes.\n\n> F.\nYou begin fighting. You swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 4 hit points.)\n\n> F.\nThe rat leaps up and bites your arm. You throw it off and stab with your sword, wounding it.\n\n(You lose 3 hit points.)\n\n> F.\nYou swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 4 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> F.\nYou begin fighting. The orc slashes you with its axe. You stab with your sword and cut its arm.\n\n(You lose 5 hit points.)\n\n> F.\nThe orc slashes you with its axe. You stab with your sword and cut its arm.\n\n(You lose 4 hit points.)\n\n> F.\nThe orc swings its axe, cutting your arm. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#21):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nwooden statuette (3 crowns)\nbronze bracelet (3 crowns)\n\n\n\nLoot value: 7 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 4 crowns\n\n> You talk\nYou are invited to join an arm-wrestling contest. You face off against a burly opponent. You lose despite a commendable effort.\n\n> You look at what you're carrying with you\nYou are a Level 2 adventurer. You're equipped with a decent sword and light leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 11 crowns.\n\n> Bestiary\n1. Skeleton (4 defeated)\n2. Giant Rat (10 defeated)\n3. Goblin (9 defeated)\n4. Serpent (1 defeated)\n5. Rootling (4 defeated)\n6. ----\n7. Orc (1 defeated)\n8. ----\n9. Yellow Slime (?)\n\n> Best 7\n7. Orc\n\n(Level 2 Humanoid)\n\nOrcs are stronger than goblins, and better armed. They are also greener.\n\n\"Two orcs walk into a bar. They kill each other.\" \u2014Akerody\nRonzin\n\n> Best 9\nYou haven't beaten a yellow slime yet. Beat one to access the entry.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You kick open a wooden door and enter a crypt.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its wiry black fur bristles, and it glares at you with fierce beady eyes.\n\n> F.\nYou begin fighting. You leap, grazing the bat with your sword. It dives down and bites your arm.\n\n(You lose 4 hit points.)\n\n> F.\nThe bat swoops down and bites you. You slash with your sword, but barely nick it as it darts away.\n\n(You lose 5 hit points.)\n\n> F.\nYou leap, grazing the bat with your sword. It dives down and bites your arm.\n\n(You lose 5 hit points.)\n\n> F.\nThe bat swoops down and bites you. You slash with your sword, but barely nick it as it darts away.\n\n(You lose 4 hit points.)\n\n> F.\nThe bat swoops down and bites you. You slash with your sword, but barely nick it as it darts away.\n\n(You lose 6 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#22):\n\nYou defeated 0 monsters.\n\nTreasures collected: none\n\nAdventuring costs: 3 crowns\nTotal loss: (3 crowns)\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and light leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 8 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a sloping passage. You kick open a wooden door and enter a banquet hall.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a smooth brass ball, supported by a set of sharp jointed legs.\n\n> F.\nYour sword finds a narrow crevice in the spider's body. There is a shower of sparks, and it stops moving!\n\n(Lucky strike!)\n\nYou look around and find a pouch of coins worth 5 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under a pile of broken wood you find a wooden statuette worth 3 crowns!\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its arm.\n\n(You lose 4 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a silver ring worth 3 crowns.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 5 hit points and defeat the brass spider.)\n\nYou look around and find a silver cup worth 6 crowns.\n\n> F.\nYou begin fighting. You strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose 6 hit points.)\n\n> F.\nThe ghoul swipes at you with its sharp claws. You slash it with your sword, and it gurgles.\n\n(You lose 5 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#23):\n\nYou defeated 3 monsters.\n\nTreasures collected:\npouch of coins (5 crowns)\nwooden statuette (3 crowns)\nsilver ring (3 crowns)\nsilver cup (6 crowns)\n\n\n\nLoot value: 19 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 16 crowns\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and light leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 24 crowns.\n\n> You go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got some leather ARMOR. A little sturdier than what you're wearing. You can have it for 20 crowns.\n\n\"I also have an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> You buy ARMOR\nYou buy the armor. It's thicker than the suit you started with, and also in better condition. You should take a little less damage in fights now."
    },
    {
        "text": "[Themes: RPG, fantasy]\n\n> You look at your surroundings\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> You talk\nYou fall into conversation with a roguish gentleman. He tells an amusing story about his experiences in the city of Horgalon.\n\n> Log\nMonsters defeated: 2\nLoot collected: 7 crowns\n\nMonsters defeated: 0\nLoot collected: 0 crowns\n(Don't tell your friends about this one.)\n\nMonsters defeated: 2\nLoot collected: 7 crowns\n\nMonsters defeated: 0\nLoot collected: 0 crowns\n(Don't tell your friends about this one.)\n\nMonsters defeated: 3\nLoot collected: 19 crowns\n\nTotal monsters defeated: 32\nMost monsters defeated on one adventure: 5\nTotal lucky strikes: 2\nTotal loot collected: 95 crowns\nTotal adventuring costs: 31 crowns\n\n> Best\n1. Skeleton (4 defeated)\n2. Giant Rat (10 defeated)\n3. Goblin (10 defeated)\n4. Serpent (1 defeated)\n5. Rootling (4 defeated)\n6. Ghoul (?)\n7. Orc (1 defeated)\n8. Giant Bat (?)\n9. Yellow Slime (?)\n10. Brass Spider (2 defeated)\n\n> Best 10\n10. Brass Spider\n\n(Level 2 Contraption)\n\nBrass spiders have been showing up in dungeons recently. Their origins are uncertain, but there is a rumor that they were invented by a group of evil wizards. The plan was to create a spider army, but most of them were reportedly destroyed in a thunderstorm.\n\n\"If these things start making webs, I quit.\" \u2014Jona Axright\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You come to a ledge, and drop down into a banquet hall.\n\nAn orc sees you and pounds its chest. It is squat and green and carries an axe. It grimaces, showing you short white fangs.\n\n> F.\nYou begin fighting. The orc slashes you with its axe. You stab with your sword and cut its arm.\n\n(You lose 5 hit points.)\n\n> F.\nThe orc swings its axe, cutting your leg. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under a piece of faded cloth you find a pouch of coins worth 5 crowns!\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> F.\nYou begin fighting. You strike the goblin with your sword. It conks you on the shoulder with its club.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin yells and gives you a solid whack with its club. You counterattack and cut its torso.\n\n(You lose 4 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 4 hit points and defeat the goblin.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> You go to the south-east\nYou spend some time searching the cave carefully. One of the taller mushrooms blows a cloud of spores in your face! You cough and splutter.\n\n(You lose 3 hit points.)\n\nYou find nothing else of interest.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#24):\n\nYou defeated 3 monsters.\n\nTreasures collected:\ntiny ruby (4 crowns)\npouch of coins (5 crowns)\nwooden statuette (3 crowns)\ntiny ruby (3 crowns)\n\n\n\nLoot value: 17 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 14 crowns\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\n\n\"I also have some nice studded ARMOR. Helps deflect all those teeth and weapons. I'll let you have it for 55 crowns.\"\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 18 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You kick open an iron door and enter a crypt.\n\nYou look up and see a giant bat above you. It flaps around with broad wings. Occasionally it lets out a nasty squeal.\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> F.\nYou begin fighting. You swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 3 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 4 hit points and defeat the giant rat.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> F.\nYou begin fighting. You cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 3 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 3 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose your remaining hit points.)\n\nYou've taken too much damage! You'll have to get out of here....\n\nPress SPACE.\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#25):\n\nYou defeated 3 monsters.\n\nTreasures collected:\npouch of bronze coins (1 crown)\nwooden statuette (4 crowns)\nsilver cup (5 crowns)\npouch of coins (5 crowns)\n\nLoot value: 15 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 12 crowns\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have 30 crowns.\n\n> Go east\nYou're in the Ruffled Feather, the most popular gathering place in Overville. Most of the tables are filled with patrons chatting and drinking. You can TALK with them if you want. The wait staff hurry back and forth to the bar. The exit is west.\n\n> You talk\nYou have a long conversation with an elderly traveler. He seems very interested in the recent goings-on in Overville.\n\n> You buy the amulet\nYou buy the amulet. Now you can attack with magic arrows! Just type ARROWS (A).\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor. You kick open an iron door and enter an abandoned storeroom.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and knobbly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. The serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 3 hit points.)\n\n> F.\nThe serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 4 hit points.)\n\n> F.\nThe serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 3 hit points and defeat the serpent.)\n\nYou look around and find a silver ring worth 3 crowns.\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 4 hit points and defeat the rootling.)\n\nYou look around and find a bronze bowl worth 2 crowns.\n\n> You go southeast\nYou spend some time searching the room carefully. As you poke around the altar, a small opening puffs out some poison gas! You cough uncontrollably.\n\n(You lose 2 hit points.)\n\nYou find nothing else of interest.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#26):\n\nYou defeated 3 monsters.\n\nTreasures collected:\nsilver ring (3 crowns)\nbronze bowl (2 crowns)\nbronze bracelet (3 crowns)\n\n\n\nLoot value: 9 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 6 crowns\n\n> Best\n1. Skeleton (4 defeated)\n2. Giant Rat (11 defeated)\n3. Goblin (11 defeated)\n4. Serpent (2 defeated)\n5. Rootling (6 defeated)\n6. Ghoul (2 defeated)\n7. Orc (2 defeated)\n8. Giant Bat (?)\n9. Yellow Slime (1 defeated)\n10. Brass Spider (2 defeated)\n\n> Best 6\n6. Ghoul\n\n(Level 2 Undead)\n\nGhouls are repulsive creatures with dangerous claws. Like all undead monsters, holy radiance is the most convenient way to deal with them, but swords work too.\n\n\"The only good ghoul is a...no, that doesn't work.\" \u2014Mitch\nVorsk\n\n> Best 9\n9. Yellow Slime\n\n(Level 2 Oddity)\n\nSlimes are acid-spitting menaces. Plain edged weapons do very little harm to them; magical attacks are advised. Whatever happens, do not let them crawl onto you.\n\n\"A blue slime makes a good pet, but you can't take a yellow slime anywhere.\" \u2014Honesty Worter\n\n> You talk\nYou are introduced to a seasoned adventurer, who notices your amulet. \"I don't always like to use magic arrows, but I'll tell you, they are extremely effective against certain monsters\u2014even the tough ones! Try them on everything and see what works!\"\n\n(New tip added!)\n\n> Tips\n1. General Adventuring\n2. Leveling\n3. The Tavern\n4. Monster Varieties\n5. Searching\n*6. Selecting Attacks\n\n(To read a tip, type TIP [number].)\n\n> Tip 6\nDifferent attacks are appropriate for different monsters. For example, magic arrows are very effective against certain monsters (even tough ones). Experimentation is advised.\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 6 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a sloping passage, working your way around a pile of rubble. You kick open a wooden door and enter an ancient shrine.\n\nYou look up and see a giant bat above you. It flaps around with broad, leathery wings. Occasionally it lets out a nasty squeal.\n\n> F.\nYou begin fighting. The skeleton hits your head with its mace. You strike back with your sword and smash its femur. It collapses into a pile of bones!\n\n(You lose 4 hit points and defeat the skeleton.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 6 crowns.\n\nLoot collected:\nsilver cup (6 crowns)\ntiny ruby (3 crowns)\nwooden statuette (4 crowns)\nTotal value: 13 crowns\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#27):\n\nYou defeated 3 monsters.\n\nTreasures collected:\nsilver cup (6 crowns)\ntiny ruby (3 crowns)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 14 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 11 crowns\n\n> You talk\nYou are invited to join an arm-wrestling contest. You face off against a rough-looking opponent. You lose despite a commendable effort.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You kick open a wooden door and enter a mushroom-filled cave.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a smooth brass ball, supported by a set of sharp jointed legs.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 5 hit points and defeat the brass spider.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> F.\nYou begin fighting. The ghoul swipes at you with its sharp claws. You slash it with your sword, and it gurgles.\n\n(You lose 4 hit points.)\n\n> F.\nThe ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 5 hit points and defeat the ghoul.)\n\nYou look around and find a small pearl worth 4 crowns.\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its leg.\n\n(You lose 4 hit points.)\n\n> F.\nYou strike the goblin with your sword. It conks you on the head with its club.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Inside an old box you find an old parchment!\n\nYou unfold it. Faded letters say, \"The path to the Raining Cave begins in a shrine.\"\n\n(Story updated.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#28):\n\nYou defeated 3 monsters.\n\nTreasures collected:\ntiny ruby (4 crowns)\nsmall pearl (4 crowns)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 13 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 10 crowns\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 27 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a sloping passage. You come to an abandoned storeroom.\n\nA thick yellow slime squishes into view. It pulses on the floor, popping occasionally.\n\n> F.\nYou already defeated the yellow slime.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a small pearl worth 5 crowns.\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 4 hit points and defeat the rootling.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under an old wooden tray you find a pouch of bronze coins worth 1 crown!\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 27 crowns.\n\nLoot collected:\nwooden statuette (4 crowns)\nsmall pearl (5 crowns)\ntiny ruby (3 crowns)\npouch of bronze coins (1 crown)\nTotal value: 13 crowns\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 4 hit points and defeat the goblin.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> Go southeast\nYou spend some time searching the crypt carefully. Inside a brass urn you find a pouch of bronze coins worth 2 crowns!\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 41 crowns.\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\n\n\"I also have some nice studded ARMOR. Helps deflect all those teeth and weapons. I'll let you have it for 55 crowns.\"\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a room with a pit.\n\nA thick yellow slime squishes into view. It pulses on the floor, popping occasionally.\n\n> F.\nYou begin fighting. The skeleton hits your chest with its mace. You strike back with your sword and smash its arm. It collapses into a pile of bones!\n\n(You lose 4 hit points and defeat the skeleton.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a pouch of coins worth 4 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. At the bottom of a barrel you find a pouch of coins worth 4 crowns!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#30):\n\nYou defeated 4 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\ntiny ruby (4 crowns)\npouch of coins (4 crowns)\nsilver cup (5 crowns)\npouch of coins (4 crowns)\n\n\n\nLoot value: 21 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 18 crowns\n\n> You look at what you're carrying with you\nYou are a Level 2 adventurer. You're equipped with a decent sword and sturdy leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 59 crowns.\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\n\n\"I also have some nice studded ARMOR. Helps deflect all those teeth and weapons. I'll let you have it for 55 crowns.\"\n\n> You buy ARMOR\nYou buy the armor. It's a definite improvement.\n\n> Best\n1. Skeleton (6 defeated)\n2. Giant Rat (11 defeated)\n3. Goblin (13 defeated)\n4. Serpent (2 defeated)\n5. Rootling (7 defeated)\n6. Ghoul (5 defeated)\n7. Orc (2 defeated)\n8. Giant Bat (1 defeated)\n9. Yellow Slime (5 defeated)\n10. Brass Spider (3 defeated)\n\n> Best 8\n8. Giant Bat\n\n(Level 2 Animal)\n\nGiant bats infest most dungeons. They have an irritating tendency to fly out of reach.\n\n\"Do giant bats eat giant gnats?\" \u2014Yarward Pittle\n\n> You go to the west\nThis is very obviously a magic shop. Every square inch of shelf and table is occupied by old books, colored crystals, and containers of various fluids. Varnthlorian, the gaunt and elderly shopkeeper, sits on a high stool, examining you thoughtfully. The exit is east.\n\nVarnthlorian says, \"Perhaps you would like this fine enchanted SHEATH that will slightly improve your chance of getting lucky strikes. The price is 90 crowns.\"\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into a mushroom-filled cave.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and scaly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Inside an old box you discover a bronze bracelet worth 3 crowns!\n\n> Go southeast\nYou have already searched pretty carefully.\n\n> F.\nYou begin fighting. You give the skeleton a solid whack with your sword. It brings its mace down on your shoulder.\n\n(You lose 2 hit points.)\n\n> F.\nYou give the skeleton a solid whack with your sword. It brings its mace down on your head.\n\n(You lose 2 hit points.)\n\n> F.\nThe skeleton hits your shoulder with its mace. You strike back with your sword and smash its spine. It collapses into a pile of bones!\n\n(You lose 2 hit points and defeat the skeleton.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 17 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You walk through a doorway into an abandoned storeroom.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a smooth brass ball, supported by a set of sharp jointed legs.\n\n> You go southeast\nYou spend some time searching the room carefully. At the bottom of a barrel you find a pouch of coins worth 5 crowns!\n\n> F.\nYou begin fighting. The rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 3 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 4 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 2 hit points and defeat the rootling.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. In a damaged footlocker you find a wooden statuette worth 4 crowns!\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 17 crowns.\n\nLoot collected:\nbronze bracelet (2 crowns)\npouch of coins (5 crowns)\nbronze bracelet (2 crowns)\ntiny ruby (4 crowns)\nwooden statuette (4 crowns)\nbronze bracelet (2 crowns)\nTotal value: 19 crowns\n\n> F.\nYou begin fighting. The goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 4 hit points and defeat the goblin.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#32):\n\nYou defeated 5 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\npouch of coins (5 crowns)\nbronze bracelet (2 crowns)\ntiny ruby (4 crowns)\nwooden statuette (4 crowns)\nbronze bracelet (2 crowns)\nsilver ring (2 crowns)\n\n\n\nLoot value: 23 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 20 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a sloping passage. You walk through a doorway into a room with a pit.\n\nA serpent slithers toward you. It must be at least 15 feet long. It's green and scaly, and it gazes at you with unblinking eyes.\n\n> F.\nYou begin fighting. The serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 4 hit points and defeat the serpent.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> F.\nYou begin fighting. You swipe at the rat, drawing blood. It charges at you and bites into your leg. Ouch!\n\n(You lose 4 hit points.)\n\n> F.\nThe rat leaps up and bites you. You throw it off and stab with your sword, wounding it.\n\n(You lose 3 hit points.)\n\n> F.\nThe rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 2 hit points and defeat the giant rat.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. You discover a secret"
    },
    {
        "text": "door in the wall behind the altar! Musty air flows out\nas you open it. This should lead you to the Raining Cave.\n\n(Story updated.)\n\n> Story\nOne evening in the Ruffled Feather, a strange old dwarf told you a legend about Black Knife Dungeon. There's supposed to be some kind of valuable relic deep inside. \"But first, seek Blornang's Hall,\" the dwarf said before falling asleep on the table.\n\nYou discovered the hall and obtained a wooden key. Blornang's ghost told you to go to the Raining Cave on Level 2.\n\nYou found an old parchment that said, \"The path to the Raining Cave begins in a shrine.\" You discovered a secret door behind the altar in one of the shrines.\n\n> F.\nYou begin fighting. You strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose 3 hit points.)\n\n> F.\nYou strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose your remaining hit points.)\n\nYou've taken too much damage! You'll have to get out of here....\n\nPress SPACE.\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#33):\n\nYou defeated 4 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\npouch of coins (5 crowns)\nsilver ring (2 crowns)\npouch of coins (4 crowns)\n\nLoot value: 13 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 10 crowns\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a decent sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 47 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You kick open a wooden door and enter a room with a pit.\n\nA ghoul steps toward you and groans. Warty gray skin stretches over its bones. It wears dirty rags, and it glares at you with bright yellow eyes.\n\n> F.\nYou begin fighting. The serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 3 hit points and defeat the serpent.)\n\nYou look around and find a silver ring worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Under an old wooden tray you find a bronze bracelet worth 2 crowns!\n\n> F.\nYour sword finds a narrow crevice in the spider's body. There is a shower of sparks, and it stops moving!\n\n(Lucky strike!)\n\nYou look around and find a pouch of coins worth 5 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#34):\n\nYou defeated 4 monsters.\n\nTreasures collected:\nsilver ring (3 crowns)\nbronze bracelet (2 crowns)\nwooden statuette (3 crowns)\npouch of coins (5 crowns)\nsilver ring (3 crowns)\n\n\n\nLoot value: 18 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 15 crowns\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a decent sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 62 crowns.\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got an extra-sharp SWORD. A little better than what you have. Price is 50 crowns.\n\n\"I also have a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> You buy the sword\nYou buy the sword. Very sharp! You should be able to inflict a little more damage now.\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor, carefully avoiding a pit. You walk through a doorway into a mushroom-filled cave.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a grooved brass ball, supported by a set of sharp jointed legs.\n\n> F.\nYou begin fighting. The spider jabs you with a sharp leg. You whack it with your sword, throwing sparks.\n\n(You lose 5 hit points.)\n\n> F.\nThe spider jabs you with a sharp leg. You whack it with your sword, throwing sparks.\n\n(You lose 3 hit points.)\n\n> F.\nThe spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 5 hit points and defeat the brass spider.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 3 hit points and defeat the ghoul.)\n\nYou look around and find a silver cup worth 6 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under a pile of broken wood you find a wooden statuette worth 4 crowns!\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key.\n\nYou have an amulet of magic arrows.\n\nYou have 12 crowns.\n\nLoot collected:\nwooden statuette (4 crowns)\nbronze bowl (1 crown)\nsilver cup (6 crowns)\nwooden statuette (4 crowns)\nTotal value: 15 crowns\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your side. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a small pearl worth 4 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#35):\n\nYou defeated 5 monsters.\n\nTreasures collected:\nwooden statuette (4 crowns)\nbronze bowl (1 crown)\nsilver cup (6 crowns)\nwooden statuette (4 crowns)\nsmall pearl (4 crowns)\ntiny ruby (4 crowns)\n\n\n\nLoot value: 25 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 22 crowns\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 34 crowns.\n\n> You talk\nYou have a chat with one of the townsfolk. \"According to an old tale, the dwarves of Black Knife Dungeon created a mechanical guardian to protect them, but the blasted thing couldn't tell friend from foe! Eventually they managed to lock it up, but by then most of the dwarves had fled.\"\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a room with a pit.\n\nA thick yellow slime squishes into view. It pulses on the floor, burbling occasionally.\n\n> F.\nThe ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 3 hit points and defeat the ghoul.)\n\nYou look around and find a small pearl worth 4 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#36):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\nsmall pearl (4 crowns)\n\n\n\nLoot value: 7 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 4 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You come to a ledge, and drop down into a banquet hall.\n\nAn orc sees you and pounds its chest. It is squat and green and carries an axe. It grimaces, showing you short white fangs.\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your side. You slash the creature with your sword, and it keels over!\n\n(You lose 4 hit points and defeat the orc.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Under a pile of broken wood you find a pouch of coins worth 4 crowns!\n\n> F.\nYou begin fighting. The serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 4 hit points.)\n\n> F.\nThe serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 4 hit points.)\n\n> F.\nThe serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 4 hit points and defeat the serpent.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the crypt carefully. Inside an ancient vase you find a bronze bowl worth 1 crown!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#37):\n\nYou defeated 5 monsters.\n\nTreasures collected:\nsilver cup (5 crowns)\npouch of coins (4 crowns)\nwooden statuette (3 crowns)\nbronze bracelet (3 crowns)\nbronze bowl (1 crown)\npouch of coins (4 crowns)\nbronze bracelet (2 crowns)\n\n\n\nLoot value: 24 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 21 crowns\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 59 crowns.\n\n> You go to the north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You walk through a doorway into a crypt.\n\nA goblin jumps up and shouts, \"Slarg!\" It has long arms and a perpetual scowl. It wears a tattered loincloth and wields a wooden club.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 3 hit points and defeat the brass spider.)\n\nYou look around and find a silver cup worth 6 crowns.\n\n> F.\nYou begin fighting. You lunge, striking the orc with with your sword. It bangs your head with the flat of its axe.\n\n(You lose 5 hit points.)\n\n> F.\nThe orc slashes you with its axe. You stab with your sword and cut its shoulder.\n\n(You lose 3 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#38):\n\nYou defeated 3 monsters.\n\nTreasures collected:\nsilver ring (2 crowns)\nsilver cup (6 crowns)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 13 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 10 crowns\n\n> You go to the north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got a stylish CAPE. Gives you a real presence. It's a bargain at 65 crowns.\"\n\n> You buy CAPE\nYou buy the cape. It looks great!\n\n{ Goal completed! (Buy a cape) }\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 4 crowns.\n\n> You talk\nYou are invited to join an arm-wrestling contest. You face off against a burly opponent and win!\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a narrow passage, working your way around a pile of rubble. You walk through a doorway into a crypt.\n\nA ghoul steps toward you and groans. Warty gray skin stretches over its bones. It wears dirty rags, and it glares at you with bright yellow eyes.\n\n> F.\nThe ghoul swipes at you with its sharp claws. You slash it with your sword, and it gurgles.\n\n(You lose 3 hit points.)\n\n> F.\nYou strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose 4 hit points.)\n\n> F.\nThe ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 5 hit points and defeat the ghoul.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the crypt carefully. You don't find anything else.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#39):\n\nYou defeated 1 monster.\n\nTreasures collected:\ntiny ruby (3 crowns)\n\nLoot value: 3 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 0 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You come to a crypt.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and shiny green leaves. It creaks eerily.\n\n> F.\nYou begin fighting. You cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 2 hit points.)\n\n> F.\nThe rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 3 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the crypt carefully. Inside a sarcophagus you find a silver ring worth 2 crowns!\n\n> You go southeast\nYou spend some time searching the room carefully. In a damaged footlocker you find a tiny ruby worth 3 crowns!\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 4 hit points and defeat the brass spider.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Inside an old box you discover a silver cup worth 5 crowns!\n\n> F.\nYou begin fighting. The skeleton thumps you in the shoulder with its mace. You land a couple of swift strokes.\n\n(You lose 3 hit points.)\n\n> F.\nThe skeleton hits your head with its mace. You strike back with your sword and smash its femur. It collapses into a pile of bones!\n\n(You lose 3 hit points and defeat the skeleton.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> You look at what you're carrying with you\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 4 crowns.\n\nLoot collected:\nwooden statuette (3 crowns)\nsilver ring (2 crowns)\nsilver cup (6 crowns)\ntiny ruby (3 crowns)\nbronze bracelet (3 crowns)\nsilver cup (5 crowns)\nbronze bracelet (3 crowns)\nTotal value: 25 crowns\n\n> F.\nYou begin fighting. You strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose 4 hit points.)\n\n> F.\nYou strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose 3 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#40):\n\nYou defeated 4 monsters.\n\nTreasures collected:\nwooden statuette (3 crowns)\nsilver ring (2 crowns)\nsilver cup (6 crowns)\ntiny ruby (3 crowns)\nbronze bracelet (3 crowns)\nsilver cup (5 crowns)\nbronze bracelet (3 crowns)\n\n\n\nLoot value: 28 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 25 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You walk through a doorway into a barracks.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a smooth brass ball, supported by a set of sharp jointed legs.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 4 hit points and defeat the brass spider.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> F.\nYou begin fighting. The skeleton hits your chest with its mace. You strike back with your sword and smash its arm. It collapses into a pile of bones!\n\n(You lose 3 hit points and defeat the skeleton.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 29 crowns.\n\nLoot collected:\nbronze bracelet (3 crowns)\npouch of coins (4 crowns)\nsilver cup (5 crowns)\ntiny ruby (4 crowns)\npouch of coins (4 crowns)\nTotal value: 20 crowns\n\n> Go southeast\nYou spend some time searching the room carefully. In a damaged footlocker you find a bronze bowl worth 1 crown!\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 3 hit points and defeat the ghoul.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 29 crowns.\n\nLoot collected:\nbronze bracelet (3 crowns)\npouch of coins (4 crowns)\nsilver cup (5 crowns)\ntiny ruby (4 crowns)\npouch of coins (4 crowns)\nwooden statuette (4 crowns)\nbronze bowl (1 crown)\nwooden statuette (4 crowns)\nTotal value: 29 crowns\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#41):\n\nYou defeated 7 monsters.\n\nTreasures collected:\nbronze bracelet (3 crowns)\npouch of coins (4 crowns)\nsilver cup (5 crowns)\ntiny ruby (4 crowns)\npouch of coins (4 crowns)\nwooden statuette (4 crowns)\nbronze bowl (1 crown)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 32 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 29 crowns\n\n> Goals\n- Defeat 4 tough monsters on one adventure\nX - Buy a cape\n- Bring back 30+ crowns from an adventure\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 58 crowns.\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I haven't got anything for you right now. Come back another time!\"\n\n> You talk\nYou chat with one of the local guards. He says that people are getting needlessly anxious about monster attacks. \"They stay in their dungeons,\" he chuckles.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor. You kick open a wooden door and enter a room with a pit.\n\nA strange brass spider drops onto the floor in front of you. It has a body like a smooth brass ball, supported by a set of sharp jointed legs.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 5 hit points and defeat the brass spider.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 5 hit points and defeat the ghoul.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> You go southeast\nYou spend some time searching the crypt carefully. Inside a brass urn you find a wooden statuette worth 4 crowns!\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your side. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> F.\nYou begin fighting. You strike the skeleton with your sword. It counters and pounds you with its mace.\n\n(You lose 2 hit points.)\n\n> F.\nYou give the skeleton a solid whack with your sword. It brings its mace down on your arm.\n\n(You lose 4 hit points.)\n\n> F.\nThe skeleton hits your shoulder with its mace. You strike back with your sword and smash its spine. It collapses into a pile of bones!\n\n(You lose 3 hit points and defeat the skeleton.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 58 crowns.\n\nLoot collected:\nbronze bracelet (3 crowns)\nsilver cup (5 crowns)\nwooden statuette (4 crowns)\nsilver cup (5 crowns)\nbronze bracelet (3 crowns)\nTotal value: 20 crowns\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your side. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#42):\n\nYou defeated 5 monsters.\n\nTreasures collected:\nbronze bracelet (3 crowns)\nsilver cup (5 crowns)\nwooden statuette (4 crowns)\nsilver cup (5 crowns)\nbronze bracelet (3 crowns)\nsilver cup (5 crowns)\n\n\n\nLoot value: 28 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 25 crowns\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 83 crowns.\n\n> You go to the west\nThis is very obviously a magic shop. Every square inch of shelf and table is occupied by old books, colored crystals, and containers of various fluids. Varnthlorian, the gaunt and elderly shopkeeper, sits on a high stool, examining you thoughtfully. The exit is east.\n\nVarnthlorian says, \"Perhaps you would like this fine enchanted SHEATH that will slightly improve your chance of getting lucky strikes. The price is 90 crowns.\"\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You kick open a wooden door and enter a banquet hall.\n\nA giant rat leaps into view. It must be three feet long, not counting the tail. Its wiry black fur bristles, and it glares at you with fierce beady eyes.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under a piece of faded cloth you find a tiny ruby worth 3 crowns!\n\n> You go to the southeast\nYou spend some time searching the crypt carefully. Inside an ancient vase you find a tiny ruby worth 4 crowns!\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#43):\n\nYou defeated 2 monsters.\n\nTreasures collected:\npouch of bronze coins (2 crowns)\ntiny ruby (3 crowns)\nbronze bowl (1 crown)\ntiny ruby (4 crowns)\n\n\n\nLoot value: 11 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 8 crowns\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard and a stylish cape. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 91 crowns.\n\n> You buy the sheath\nYou buy the sheath and attach it to your belt. Very nice. Now you'll have a better chance to get lucky strikes!\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a roug"
    },
    {
        "text": "h, twisting passage. You walk through a doorway into a room with a pit.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and small leaves. It creaks eerily.\n\n> Go southeast\nNot until you take care of the rootling.\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nBefore the goblin can react, you give it a precise stab and kill it!\n\n(Lucky strike!)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 4 hit points and defeat the brass spider.)\n\nYou look around and find a pouch of coins worth 5 crowns.\n\n> Go southeast\nYou spend some time searching the room carefully. Under one of the beds you find a wooden statuette worth 3 crowns!\n\n> You look at what you're carrying with you\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 1 crown.\n\nLoot collected:\nwooden statuette (3 crowns)\nsmall pearl (4 crowns)\nsilver ring (2 crowns)\ntiny ruby (3 crowns)\npouch of coins (5 crowns)\nwooden statuette (3 crowns)\nTotal value: 20 crowns\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 3 hit points and defeat the giant rat.)\n\nYou look around and find a pouch of bronze coins worth 2 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#44):\n\nYou defeated 7 monsters.\n\nTreasures collected:\nwooden statuette (3 crowns)\nsmall pearl (4 crowns)\nsilver ring (2 crowns)\ntiny ruby (3 crowns)\npouch of coins (5 crowns)\nwooden statuette (3 crowns)\nsmall pearl (4 crowns)\npouch of bronze coins (2 crowns)\n\n\n\nLoot value: 29 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 26 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou make your way along a rough, twisting passage. You walk through a doorway into an abandoned storeroom.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and small leaves. It creaks eerily.\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your leg. You slash the creature with your sword, and it keels over!\n\n(You lose 3 hit points and defeat the orc.)\n\nYou look around and find a small pearl worth 5 crowns.\n\n> F.\nYou begin fighting. You cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 3 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 2 hit points and defeat the rootling.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 5 hit points and defeat the ghoul.)\n\nYou look around and find a silver cup worth 5 crowns.\n\n> F.\nYou begin fighting. The serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 4 hit points and defeat the serpent.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> You go southeast\nYou spend some time searching the room carefully. Under an old wooden tray you find a pouch of bronze coins worth 2 crowns!\n\n> Inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 27 crowns.\n\nLoot collected:\nwooden statuette (4 crowns)\nsmall pearl (5 crowns)\nbronze bracelet (2 crowns)\npouch of bronze coins (1 crown)\nsilver cup (5 crowns)\nwooden statuette (3 crowns)\npouch of bronze coins (2 crowns)\nTotal value: 22 crowns\n\n> You go to the southeast\nYou spend some time searching the crypt carefully. Inside a sarcophagus you find a bronze bracelet worth 2 crowns!\n\n> You look at what you're carrying with you\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 27 crowns.\n\nLoot collected:\nwooden statuette (4 crowns)\nsmall pearl (5 crowns)\nbronze bracelet (2 crowns)\npouch of bronze coins (1 crown)\nsilver cup (5 crowns)\nwooden statuette (3 crowns)\npouch of bronze coins (2 crowns)\nwooden statuette (4 crowns)\nbronze bracelet (2 crowns)\nTotal value: 28 crowns\n\n> F.\nYou begin fighting. You strike the ghoul with your sword. It rakes its claws across your chest.\n\n(You lose your remaining hit points.)\n\nYou've taken too much damage! You'll have to get out of here....\n\nPress SPACE.\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#45):\n\nYou defeated 7 monsters.\n\nTreasures collected:\nwooden statuette (4 crowns)\nsmall pearl (5 crowns)\nbronze bracelet (2 crowns)\npouch of bronze coins (1 crown)\nsilver cup (5 crowns)\nwooden statuette (3 crowns)\npouch of bronze coins (2 crowns)\nwooden statuette (4 crowns)\nbronze bracelet (2 crowns)\n\nLoot value: 28 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 25 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You kick open an iron door and enter a room with a pit.\n\nA thick yellow slime squishes into view. It pulses on the floor, burbling occasionally.\n\n> You go to the south-east\nYou spend some time searching the room carefully. In a damaged footlocker you find a pouch of coins worth 5 crowns!\n\n> F.\nYou begin fighting. The rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a pouch of bronze coins worth 2 crowns.\n\n> You go southeast\nYou spend some time searching the room carefully. Under a pile of rags you find a bronze bracelet worth 2 crowns!\n\n> F.\nYou swing quickly and cut the serpent in two!\n\n(Lucky strike!)\n\nYou look around and find a bronze bowl worth 2 crowns.\n\n> F.\nYou begin fighting. The orc swings its axe, cutting your arm. You slash the creature with your sword, and it keels over!\n\n(You lose 5 hit points and defeat the orc.)\n\nYou look around and find a small pearl worth 4 crowns.\n\n> F.\nYou begin fighting. The rat charges and bites your leg. You strike a fierce blow with your sword and kill it!\n\n(You lose 2 hit points and defeat the giant rat.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> You go to the southeast\nYou spend some time searching the room carefully. Under one of the beds you find a tiny ruby worth 3 crowns!\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 52 crowns.\n\nLoot collected:\ntiny ruby (3 crowns)\nwooden statuette (3 crowns)\npouch of coins (5 crowns)\npouch of bronze coins (2 crowns)\nbronze bracelet (2 crowns)\nbronze bowl (2 crowns)\nsmall pearl (4 crowns)\nbronze bracelet (3 crowns)\ntiny ruby (3 crowns)\nTotal value: 27 crowns\n\n> F.\nYou begin fighting. The spider slashes you with a sharp leg. You counter with your sword, and the thing drops to the ground with a clang!\n\n(You lose 4 hit points and defeat the brass spider.)\n\nYou look around and find a small pearl worth 4 crowns.\n\n> You check what you're carrying\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 52 crowns.\n\nLoot collected:\ntiny ruby (3 crowns)\nwooden statuette (3 crowns)\npouch of coins (5 crowns)\npouch of bronze coins (2 crowns)\nbronze bracelet (2 crowns)\nbronze bowl (2 crowns)\nsmall pearl (4 crowns)\nbronze bracelet (3 crowns)\ntiny ruby (3 crowns)\nsmall pearl (4 crowns)\nTotal value: 31 crowns\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#46):\n\nYou defeated 7 monsters.\n\nTreasures collected:\ntiny ruby (3 crowns)\nwooden statuette (3 crowns)\npouch of coins (5 crowns)\npouch of bronze coins (2 crowns)\nbronze bracelet (2 crowns)\nbronze bowl (2 crowns)\nsmall pearl (4 crowns)\nbronze bracelet (3 crowns)\ntiny ruby (3 crowns)\nsmall pearl (4 crowns)\n\n\n\nLoot value: 34 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 31 crowns\n\n{ Goal completed! (Bring back 30+ crowns from an adventure) }\n\n> Goals\n- Defeat 4 tough monsters on one adventure\nX - Buy a cape\nX - Bring back 30+ crowns from an adventure\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 83 crowns.\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I haven't got anything for you right now. Come back another time!\"\n\n> Go west\nThis is very obviously a magic shop. Every square inch of shelf and table is occupied by old books, colored crystals, and containers of various fluids. Varnthlorian, the gaunt and elderly shopkeeper, sits on a high stool, examining you thoughtfully. The exit is east.\n\nVarnthlorian says, \"I don't have anything that suits you right now. Please return another time.\"\n\n> Adv\nYou head out to Black Knife Dungeon. It's raining lightly.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor, carefully avoiding a pit. You come to a crypt.\n\nA ghoul steps toward you and groans. Warty gray skin stretches over its bones. It wears dirty rags, and it glares at you with dull yellow eyes.\n\n> F.\nYou begin fighting. The ghoul claws you. You strike back with your sword, and the monster falls to the ground!\n\n(You lose 4 hit points and defeat the ghoul.)\n\nYou look around and find a tiny ruby worth 3 crowns.\n\n> Go southeast\nYou spend some time searching the crypt carefully. Inside an ancient vase you find a pouch of coins worth 4 crowns!\n\n> F.\nYou begin fighting. You lunge, striking the orc with with your sword. It bangs your head with the flat of its axe.\n\n(You lose 5 hit points.)\n\n> F.\nYou lunge, striking the orc with with your sword. It bangs your head with the flat of its axe.\n\n(You lose 4 hit points.)\n\n> F.\nThe orc swings its axe, cutting your side. You slash the creature with your sword, and it keels over!\n\n(You lose 4 hit points and defeat the orc.)\n\nYou look around and find a small pearl worth 5 crowns.\n\n> F.\nYou begin fighting. The spider jabs you with a sharp leg. You whack it with your sword, throwing sparks.\n\n(You lose 5 hit points.)\n\n> F.\nYou hack at the spider's leg, and a small piece falls off. The spider cuts you with a different leg.\n\n(You lose 4 hit points.)\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#47):\n\nYou defeated 2 monsters.\n\nTreasures collected:\ntiny ruby (3 crowns)\npouch of coins (4 crowns)\nsmall pearl (5 crowns)\n\n\n\nLoot value: 13 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 10 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor, carefully avoiding a pit. You kick open an iron door and enter a room with a pit.\n\nA rootling emerges from the shadows. It looks like a vaguely humanoid mass of vines, twigs, and small leaves. It creaks eerily.\n\n> F.\nYou begin fighting. The serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 3 hit points.)\n\n> F.\nYou give the serpent a shallow cut with your sword. It bites your sword arm.\n\n(You lose 3 hit points.)\n\n> F.\nThe serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 3 hit points and defeat the serpent.)\n\nYou look around and find a bronze bracelet worth 3 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#48):\n\nYou defeated 3 monsters.\n\nTreasures collected:\npouch of bronze coins (1 crown)\nbronze bracelet (3 crowns)\nsilver ring (2 crowns)\n\n\n\nLoot value: 7 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 4 crowns\n\n> Log\nMonsters defeated: 7\nLoot collected: 29 crowns\n\nMonsters defeated: 7\nLoot collected: 28 crowns\n\nMonsters defeated: 7\nLoot collected: 34 crowns\n\nMonsters defeated: 2\nLoot collected: 13 crowns\n\nMonsters defeated: 3\nLoot collected: 7 crowns\n\nTotal monsters defeated: 132\nMost monsters defeated on one adventure: 7\nTotal lucky strikes: 5\nTotal loot collected: 553 crowns\nTotal adventuring costs: 106 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is gray and cloudy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou follow a narrow passage, working your way around a pile of rubble. You kick open a wooden door and enter an ancient shrine.\n\nYou look up and see a giant bat above you. It flaps around with broad wings. Occasionally it lets out a nasty squeal.\n\n> F.\nYou begin fighting. The rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 4 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose 3 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a pouch of bronze coins worth 1 crown.\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its arm.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 2 hit points and defeat the goblin.)\n\nYou look around and find a silver ring worth 3 crowns.\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its torso.\n\n(You lose 2 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> F.\nThe rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 4 hit points.)\n\n> F.\nYou cut into the rootling, spilling some sap. It winds up and hits you with a thorny vine.\n\n(You lose your remaining hit points.)\n\nYou've taken too much damage! You'll have to get out of here....\n\nPress SPACE.\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#49):\n\nYou defeated 3 monsters.\n\nTreasures collected:\npouch of bronze coins (1 crown)\nsilver ring (3 crowns)\ntiny ruby (4 crowns)\n\nLoot value: 8 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 5 crowns\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is cool and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou descend a short flight of stairs. You come to a ledge, and drop down into a crypt.\n\nA thick yellow slime squishes into view. It pulses on the floor, popping occasionally.\n\n> F.\nYou begin fighting. The goblin yells and gives you a solid whack with its club. You counterattack and cut its arm.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin yells and gives you a solid whack with its club. You counterattack and cut its leg.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a bronze bowl worth 2 crowns.\n\n> F.\nYou begin fighting. You strike the goblin with your sword. It conks you on the shoulder with its club.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 2 hit points and defeat the goblin.)\n\nYou look around and find a silver ring worth 2 crowns.\n\n> F.\nYou begin fighting. The serpent sinks its fangs into your leg. Yow! You slash with your sword, and it shudders.\n\n(You lose 4 hit points.)\n\n> F.\nThe serpent gives you a nasty bite. You respond with a powerful stroke and kill it!\n\n(You lose 3 hit points and defeat the serpent.)\n\nYou look around and find a wooden statuette worth 3 crowns.\n\n> F.\nYou already defeated the serpent.\n\n> F.\nYou begin fighting. The skeleton strikes your head with its mace. You hack at it and a few bone chips fly off.\n\n(You lose 3 hit points.)\n\n> F.\nThe skeleton thumps you in the shoulder with its mace. You land a couple of swift strokes.\n\n(You lose 3 hit points.)\n\n> F.\nYou strike the skeleton with your sword. It counters and pounds you with its mace.\n\n(You lose your remaining hit points.)\n\nYou've taken too much damage! You'll have to get out of here....\n\nPress SPACE.\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#50):\n\nYou defeated 3 monsters.\n\nTreasures collected:\nbronze bowl (2 crowns)\nsilver ring (2 crowns)\nwooden statuette (3 crowns)\n\nLoot value: 7 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 4 crowns\n\n> Tips\n1. General Adventuring\n2. Leveling\n3. The Tavern\n4. Monster Varieties\n5. Searching\n6. Selecting Attacks\n\n(To read a tip, type TIP [number].)\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is warm and breezy.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a ledge, and drop down into a banquet hall.\n\nA ghoul steps toward you and groans. Warty gray skin stretches over its bones. It wears dirty rags, and it glares at you with bright yellow eyes.\n\n> F.\nYou begin fighting. You strike the goblin with your sword. It conks you on the head with its club.\n\n(You lose 3 hit points.)\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 4 hit points and defeat the goblin.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#51):\n\nYou defeated 2 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\ntiny ruby (4 crowns)\n\n\n\nLoot value: 7 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 4 crowns\n\n> You check your inventory\nYou are a Level 2 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 110 crowns.\n\n> Adv\nYou head out to Black Knife Dungeon. The weather is sunny and pleasant.\n\nYou return to Level 2....\n\nPress SPACE.\nYou proceed along a wide corridor. You come to a ledge, and drop down into a mushroom-filled cave.\n\nA ghoul steps toward you and groans. Warty gray skin stretches over its bones. It wears dirty rags, and it glares at you with bright yellow eyes.\n\n> F.\nYou begin fighting. The rootling swipes at you with a thorny vine. You swing your sword and chop off a few small twigs.\n\n(You lose 4 hit points.)\n\n> F.\nThe rootling wraps a thorny vine around your leg. You stab its core, and it topples to the ground!\n\n(You lose 3 hit points and defeat the rootling.)\n\nYou look around and find a bronze bracelet worth 2 crowns.\n\n> F.\nYou begin fighting. The skeleton strikes your leg with its mace. You hack at it and break off a rib.\n\n(You lose 3 hit points.)\n\n> F.\nThe skeleton strikes your shoulder with its mace. You hack at it and a few bone chips fly off.\n\n(You lose 3 hit points.)\n\n> F.\nThe skeleton hits your chest with its mace. You strike back with your sword and smash its arm. It collapses into a pile of bones!\n\n(You lose 3 hit points and defeat the skeleton.)\n\nYou look around and find a tiny ruby worth 4 crowns.\n\n> F.\nThe goblin knocks you with its club. You respond with a fierce slash, and kill it!\n\n(You lose 3 hit points and defeat the goblin.)\n\nYou look around and find a wooden statuette worth 4 crowns.\n\n{ Goal completed! (Defeat 4 tough monsters on one adventure) }\n\n> Blackknife01\nSAVEOk.\n\n> Home\nYou make your way out of the dungeon and return to town.\n\nAdventure recap (#52):\n\nYou defeated 4 monsters.\n\nTreasures collected:\nbronze bracelet (2 crowns)\npouch of bronze coins (2 crowns)\ntiny ruby (4 crowns)\nwooden statuette (4 crowns)\n\n\n\nLoot value: 13 crowns\nAdventuring costs: 3 crowns\nTotal revenue: 10 crowns\n\n{ You have reached Level 3! Excellent! Your hit points have\nincreased, and adventuring costs have increased too. You can now proceed down to Level 3 of the dungeon. }\n\n> Goals\n- Defeat 9 monsters on one adventure\n- Buy a nice belt\n- Use the ring exactly 4 times on an adventure, and defeat a monster each time\n\n> Go west\nThis is very obviously a magic shop. Every square inch of shelf and table is occupied by old books, colored crystals, and containers of various fluids. Varnthlorian, the gaunt and elderly shopkeeper, sits on a high stool, examining you thoughtfully. The exit is east.\n\nVarnthlorian says, \"Perhaps you would like this amazing sapphire RING that will allow you to make a variety of magical attacks. It draws power from the dungeon itself! You may have it for 60 crowns.\"\n\n> Go north\nThis shop is pretty well-kept, but not exactly spotless. Robard, the burly proprietor, stands behind a long counter with his arms folded, watching you patiently. The exit is south.\n\nRobard says, \"I've got a premium SWORD. An improvement over your current weapon. The price is 80 crowns.\n\n\"I also have some light chain ARMOR. More complete protection. I'll let you have it for 85 crowns.\n\n\"I also have a jeweled BELT. This will turn heads. The price is a mere 200 crowns.\"\n\n> Inventory\nYou are a Level 3 adventurer. You're equipped with a very sharp sword and studded leather armor. You're also wearing a fine tabard, a stylish cape, and a lucky sheath. You have found a wooden key and a rusty key.\n\nYou have an amulet of magic arrows.\n\nYou have 120 crowns.\n\n> Story\nOne evening in the Ruffled Feather, a strange old dwarf told you a legend about Black Knife Dungeon. There's supposed to be some kind of valuable relic deep inside. \"But first, seek Blornang's Hall,\" the dwarf said before falling asleep on the table.\n\nYou discovered the hall and obtained a wooden key. Blornang's ghost told you to go to the Raining Cave on Level 2.\n\nYou found an old parchment that said, \"The path to the Raining Cave begins in a shrine.\" You discovered a secret door behind the altar in one of the shrines.\n\nIn the Raining Cave, you found a rusty key. Blornang's ghost told you to find the Carved Room on Level 3."
    },
    {
        "text": "[Themes: Superhero, female protagonist, kid-friendly, science fiction, kids, combat, superhero]\n\nIt's been almost a month since your parents disappeared.\n\nOne Tuesday, they just didn't come home, and there's been no sign of them since. For the University and the rest of the town, the mystery is beginning to pall. To those people, it's as if Claire and Scott Colborn suddenly stopped existing -- strange and inexplicable, to be sure, but forgettable in the long run.\n\nBut for you it's as if the ground beneath your feet stopped existing, and you've been plummeting in freefall ever since. Your brother Austin, though, has been a rock through the whole experience, handling the numbing details, the endless meetings with useless detectives, even sorting through Mom and Dad's lab in hopes of finding an answer. Now you stand outside the lab door, clutching his note, hardly daring to hope that such an answer may have arrived at long last.\n\nYou stand in one of the many beige, featureless corridors of the Physics building. The hall continues west, and reaches its eastern terminus here, at the door to Mom and Dad's lab.\n\nThe lab door is closed.\n\nA card reader is mounted to the wall beside the door.\n\n[Author's Note: It's been almost a month since your parents disappeared. One Tuesday, they just didn't come home, and there's been no sign of them since. For the University and the rest of the town, the mystery is beginning to pall. To those people, it's as if Claire and Scott Colborn suddenly stopped existing -- strange and inexplicable, to be sure, but forgettable in the long run. But for you it's as if the ground beneath your feet stopped existing, and you've been plummeting in freefall ever since. Your brother Austin, though, has been a rock through the whole experience, handling the numbing details, the endless meetings with useless detectives, even sorting through Mom and Dad's lab in hopes of finding an answer. Now you stand outside the lab door, clutching his note, hardly daring to hope that such an answer may have arrived at long last.]\n\n> You look at what you're carrying with you\nYou are carrying:\na note\nan access card\na sweatshirt (being worn)\na pair of sweat pants (being worn)\nyour sneakers (being worn)\n\n> About yourself\nYou haven't been looking your best lately, but you find it hard to care. Austin won't mind your casual clothes, though -- he understands that fashion isn't exactly topping your priorities right now.\n\n> You read the note\nThis note was waiting for you when you got home today. It reads:\n\nMeet me at the lab as soon as you can. I've found some things that we need to talk about immediately.\n\n> You examine the card\nThis card, which doubles as your student ID, displays your name and photo, along with a barcode and a 16-digit ID number; all this information is superimposed on an aerial shot of the campus and the pretty California surf. There's a magnetic stripe on the back."
    },
    {
        "text": "[Themes: Superhero, kids, female protagonist]\n\n> Look around\nYou stand in one of the many beige, featureless corridors of the Physics building. The hall continues west, and reaches its eastern terminus here, at the door to Mom and Dad's lab.\n\nThe lab door is closed.\n\nA card reader is mounted to the wall beside the door.\n\n> You unlock the door with the card\n[swiping your access card in the reader]\nThe green light glows, and there is a click from inside the lab door.\n\n> You open the door\nYou open the lab door.\n\n> You go east\nYou take a deep breath, and step across the threshold into the lab.\n\n> You remove the pants\n[Please press a key to continue.]\n\nPart 1: Suit Yourself\nLab\nEver since Dad got shortlisted for the Nobel in physics and Mom's patents started making millions, the University has pretty much given them carte blanche. Consequently, this lab space is cavernous, tens of thousands of square feet, with ceilings reaching nearly five stories high. Some parts of this giant room are occupied by giant equipment, dizzyingly complex hunks of machinery at whose function you couldn't even begin to guess. Other parts are empty, save for a few tables and terminals. A ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nYou look around for Austin, but he's not here. Typical. Well, knowing your perpetually late brother, he'll be along soon enough.\n\nAmidst the general chaos of the lab, a legal pad seems to have fallen from one of the tables.\n\nThe hallway door is open.\n\nThe storage room door is open.\nI beg your pardon?\n\n> You get the pad\nTaken.\n\nThe lab door clicks and swings shut.\n\n> Examine pad\nThe first page contains a few notes scribbled in your father's familiar cryptic handwriting:\n\nES: Str -- OK\nImp res -- OK\nE res -- ??? -- probs\n\nSS: Flt -- OK\nFog -- OK\nE -- OK\n\nPer N, bac strange. Hi-spd? Panspermia?\nAlso: c T re: sightings. Could b big. Portal poss. at mtn site?\n\nThe rest of the pages are blank.\n\n> You examine the machinery\nIf you had a couple of days, unlimited curiosity, and several years worth of calculus and physics classes, Austin could probably explain some of this equipment to you. As it is, you prefer to be awed by its mysterious grandeur rather than the impressive feats it can no doubt perform. Luckily, Mom and Dad never pushed the science with either of you, so even though Austin ended up their prot?g? and you became a contented English major, he never got special treatment from them.\n\n> You go south\nIf Mom had her way, the storage room would be a neatly organized gallery of supplies, spare parts, and backup media, all efficiently arranged on the room's many metal shelving units. However, with Dad using the lab, that's not likely to happen. Oh sure, everything is on the shelves, but finding something could take the better part of a day. A door leads back north to the lab.\n\nThe storage room door is open.\n\nA wooden chair sits in the middle of the storage room, with some bright blue fabric draped across it.\n\n> You examine the fabric\nThis appears to be a form-fitting bodysuit of some kind, tailored to fit a female body. It is bright blue, with cloud-patterned streaks of white. A combination cowl and mask is attached at the neck of the suit.\n\n> About yourself\nYou haven't been looking your best lately, but you find it hard to care. Austin won't mind your casual clothes, though -- he understands that fashion isn't exactly topping your priorities right now.\n\n> You examine the chair\nAn ordinary wooden chair.\n\n> You get the suit\nTaken.\n\n> You go to the north\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is closed.\n\nThe storage room door is open.\n\n> Go west\n[first opening the hallway door]\n\nYou stand in one of the many beige, featureless corridors of the Physics building. The hall continues west, and reaches its eastern terminus here, at the door to Mom and Dad's lab.\n\nThe lab door is open, revealing the enormous room beyond.\n\nA card reader is mounted to the wall beside the door.\n\nYou hear footsteps in the deserted hallway, and turn to see Austin walking towards you. \"Hi, Em,\" he says when he reaches you. \"I see you found my note. Thanks for coming -- sorry I'm a little late. I'm going to head into the lab, so join me there whenever you're ready.\" True to his word, he enters the lab, closing the door behind him.\n\nYou find yourself doing a double-take as the door shuts. Was Austin wearing a mask?\n\n> You go east\n[first opening the lab door]\nIt seems to be locked.\n\n> You unlock door\nThat's what the card reader is for.\n\n> You put the card in the reader\nThe green light glows, and there is a click from inside the lab door.\n\n> Go east\n[first opening the lab door]\n\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is open.\n\nThe storage room door is open.\n\nYou can also see Austin here.\n\nYour brother has always been a bit of a fashion victim, but what he's wearing right now hits a new level on the sartorial freak-o-meter. It's a skintight grey body stocking, flecked with black and decorated with small orange or yellow streaks here and there. The whole thing snugly covers his modest frame, and a combination cowl and mask comes up from the back to conceal his hair and eyes.\n\n\"Hey,\" says Austin. \"Thanks again for coming. Listen Emily, you're not going to believe what I've been uncovering here. But before I tell you anything more, go into the storage room and put on that suit you're holding. I'll be waiting for you here.\"\n\nPlease select a reply:\n\n1) \"Okay.\"\n2) \"I'm supposed to take fashion advice from somebody dressed like that?\"\n3) \"Hey, what's with the orders? You're not the boss of me!\"\n4) \"Austin, stop being so high-handed and just tell me what's going on.\"\n\n> 2\nAustin laughs. \"Okay, okay,\" he says, \"I know this must look a little bizarre, considering you don't really know the context. But please, just trust me. It won't make sense until you're wearing yours too.\"\n\n> You look at Austin\nAustin was never one to conform to the whims of fashion, but right now he's dressed much more strangely than you've ever seen him. He's wearing a grey jumpsuit, speckled with black and shot through with streaks of yellow and orange. The outfit seems to include a cowl and mask, which covers Austin's brown eyes.\n\n> You go south\nIf Mom had her way, the storage room would be a neatly organized gallery of supplies, spare parts, and backup media, all efficiently arranged on the room's many metal shelving units. However, with Dad using the lab, that's not likely to happen. Oh sure, everything is on the shelves, but finding something could take the better part of a day. A door leads back north to the lab.\n\nThe storage room door is open.\n\nYou can also see a chair here.\n\n> You wear suit\n[first removing the sweatshirt]\nYou're not about to undress with the door open, even if the guy in the next room is only your brother.\n\n> You close the door\nYou close the storage room door.\n\n> You wear the suit\n[first removing the sweatshirt]\n\n[first removing the sweat pants]\n\n[first removing the sneakers]\n\nYou slip into the blue bodysuit. It's not a perfect fit, but it's better than you'd expected, skintight in some areas and only slightly looser in others. The feel is warm and comfortable, and the suit covers almost your entire body, even your hands and feet. When you pull the cowl and mask on, you feel a strange tingling sensation in your scalp.\n\n> Go north\n[first opening the storage room door]\n\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is closed.\n\nThe storage room door is open.\n\nYou can also see Austin here.\n\n\"Oh good, you're wearing it,\" Austin says.\n\nHe shows you a notebook he's been carrying. \"I found this notebook, along with these stylish outfits, late last night. I was checking out all the ongoing experiments in hopes of... well, I don't know what I was hoping for. All I know is that nobody seems to know what happened to Mom and Dad, and nobody can even think of any reason why they would have disappeared. So I've been combing through the lab, trying to reconstruct what they were working on at the time it happened.\"\n\nHe leans back against a towering piece of steel machinery, allowing himself to slide down it and sit on the floor. \"They were working on a lot, Em, let me tell you -- most of it so far beyond my own scientific experience that it took me a long time to even grasp the point of each experiment. Dad's cryptic notation style didn't help much either. So last night, when I started checking out a piece of equipment that didn't seem to have any purpose at all, I figured it was just my own ignorance again, that I didn't know what the thing was. Then I stumbled on a tiny little latch, and the whole thing swung open. Em, it was hollow inside. And stuffed into that cavity were these suits, with this notebook.\"\n\nHe opens the notebook and begins to read aloud:\n\nEarthsuit: provides\n* greatly enhanced strength\n* resistance to electric shock\n* invulnerability to impact (nearly)\n\nMust be Mom's notes, you think to yourself. Dad would've written something like \"inv 2 imp (~)\". Austin flips a few pages, then reads again.\n\nSkysuit: provides\n* flight\n* electrical discharges (blasts)\n* fog\n\n\"The rest of the pages are filled with notes and diagrams that are way beyond my grasp. But near as I can figure, these are the suits those notes talk about. I'm wearing the earthsuit, and you're wearing the skysuit.\"\n\nPlease select a reply:\n\n1) \"I don't understand. What's this all about?\"\n2) \"Did they also make a monkeysuit? Maybe with 'greatly enhanced banana-eating ability'?\"\n3) \"I had to wear this goofy suit just to hear you recite from a notebook?\"\n4) \"But this is just so bizarre. You think Mom and Dad were planning to make us into some kind of superheroes?\"\n\n> 4\n\"Maybe not us,\" he says. \"Your build is very similar to Mom's, and I'm not all that much bigger than Dad. Maybe they were planning to wear the suits themselves. I don't know. All I know is that mine definitely works, or at least the strength part does. Watch.\"\n\nAustin turns around to face the device he had been using as a backrest. It's some sort of steel tower, probably fifteen feet tall and two feet in diameter. He squats in front of it, embraces it, and smoothly unbends his knees, lifting the entire thing as if it were made of balsa wood.\n\n\"This thing must weigh almost a ton,\" he says through gritted teeth, \"but I can lift it like it was a piece of furniture. It's a little awkward to keep balanced, but I can do it.\" As if to prove the point, he bends his knees again until the tower is in its original resting place, then turns to face you.\n\n\"Remember that tingling you felt when you put own the cowl? The suits respond to mental commands. I bet if you decided you wanted to fly up to the ceiling right now, you could. Why don't you try it?\"\n\n> You fly\nThe moment you think it, the ground silently drops away beneath you, so fast and so smoothly that it almost feels as if a wire is pulling you up to the ceiling. But there is no wire, and only air beneath your feet. You have risen...\n\nYou are hovering in the air, several stories above the lab floor. The beams and girders of the ceiling are so close you could touch them, and the windows display a magnificent view of the campus and ocean. Far below, Austin looks up at you from amid a sea of equipment. Good thing you're not afraid of heights.\n\n> You touch the beams\nSure enough, you can touch them. [Hey, I wouldn't lie to you.] In fact, as you rest your hand on one of the girders, you notice a small envelope taped to it.\n\n> You get the envelope\nTaken.\n\n> You eat beam\n(first taking the ceiling struts)\nThey're hardly portable.\n\n> You open the envelope\nYou open the envelope, revealing a letter.\n\n> You read the letter\n[first removing it from the envelope]\n\nThe letter is written in your mother's handwriting:\n\nIf you've found this letter, something is probably very wrong. I wish I could explain everything to you, but that will have to wait. If Nina hasn't contacted you already, bring this letter to her. If we're missing, she can give you information that might help the search parties. If our deaths have been confirmed, she will serve as the executor of our estate, and deliver documents we've prepared for that circumstance.\n\nRemember that we love you both, and are very proud of you. And believe that we never meant to put you in danger -- for that we are deeply sorry.\n\nCourage,\n\nMom + Dad\n\nNina -- to you, she's always been \"Aunt Nina\", though of course she isn't really your blood relative. She's Mom and Dad's oldest and closest friend, so it makes perfect sense that they'd let her in on their secrets. But if she has information, why isn't she using it? And why hasn't she told you or Austin about any of this?"
    },
    {
        "text": "> You look around\nYou are hovering in the air, several stories above the lab floor. The beams and girders of the ceiling are so close you could touch them, and the windows display a magnificent view of the campus and ocean. Far below, Austin looks up at you from amid a sea of equipment. Good thing you're not afraid of heights.\n\n> You look through the window\nFrom here, the windows command an incredible view. To the east, the campus spreads out before you and the main roads reach to the horizon. On the other side, moonlight glimmers on the vast ocean."
    },
    {
        "text": "> Go downwards\nAs smoothly as you rose, you descend once more.\n\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is closed.\n\nThe storage room door is open.\n\nYou can also see Austin here.\n\n\"Well, it's clear that the flying functionality is operational,\" says Austin.\n\n\"Now let's test out some of that suit's other capabilities. The notes mention a fog power -- the flying worked when you decided to fly, so let's see what happens when you try to fog something. Why don't we start by having you just think FOG? I have a hunch that will probably cloud up the general area.\"\n\nPlease select a reply:\n\n1) \"Sure thing.\"\n2) \"Oh, there's a useful superpower. 'They're getting away! Quick, Fog-Woman, worsen their driving conditions!'\"\n3) \"Okay, but all this moisture had better not make my hair really frizzy.\"\n\n> 2\nAustin rolls his eyes. \"Yeah, you want those glamorous powers that they give women in the comic books... like shrinking, or turning invisible. Watch out, evildoers: it's Unobtrusive Lass!\"\n\n> Fog\nAt your mental command, fog swirls around you, billowing out and silently engulfing the room. Because of the size of the lab, however, it quickly thins into a light mist.\n\n\"Excellent!\" says Austin. \"Looks like the suit can generate a limited amount of fog when you just give the basic mental command. It's not enough to do much in this room, but it might be quite handy in a more confined space.\"\n\nAustin walks to a corner of the lab, retrieving a huge wooden spool that probably once held some of the cables powering Mom and Dad's various big machines. He carries it casually, in one hand, the way you might carry a cup of coffee. He then sets it down in front of you, saying, \"Perhaps the suit allows you to fog specific objects as well. Why don't you focus your thought on fogging this spool?\"\n\nPlease select a reply:\n\n1) \"Alright, I'll give it a shot.\"\n2) \"Why don't you focus your thought on not being so freaking bossy?\" 3) \"Hang on, I want to try something else first.\"\n\n> 2\n\"Well, we're mighty testy today, aren't we? Look, it's not like all this has been easy on me either, and I've been doing a lot more of the actual work than you have. I'm fine with that, but it doesn't mean I'm willing to be your personal punching bag. So do whatever you want. When you're interested in learning how to use the skysuit, I'll be waiting.\"\n\n> Fog austin\nYou concentrate on fogging Austin, but nothing happens.\n\n\"Interesting,\" muses Austin. \"Apparently, the fog power only works on one thing at a time.\"\n\n> Inventory\nYou are carrying:\na letter\nan envelope (which is open but empty)\na skysuit (being worn)\na legal pad\na note\nan access card\na sweatshirt\na pair of sweat pants\nyour sneakers\n\n> You tell Austin about the the letter\nAustin takes the letter from you and reads it, his eyes widening.\n\nHe gives the letter back to you. \"Seems like every clue we find leaves us understanding less than we did before, doesn't it?\" he says. \"And I don't know about you, but I'm starting to get pretty freaked out. I mean, their disappearance was terrifying enough, but now these suits, and this stuff about us being in danger? I just don't know what to think, Em. Least of all about Aunt Nina. Hey, aren't you scheduled to assist her in lab work tomorrow morning? Maybe you could ask her about all this then.\"\n\nPlease select a reply:\n\n1) \"Sure.\"\n2) \"Oh yeah, that'll be a fun conversation. 'Howdy Aunt Nina, how are you? Oh, and by the way, I was wondering why you betrayed our family?'\"\n3) \"I'll try, but Nina tends to get pretty wrapped up in her work. I may have to wait until after lab.\"\n\n> 3\n\"Yeah, I've seen that in action,\" he laughs. \"Well, at this point, the biggest part of the mystery is why she hasn't told us already. So I guess a few more hours won't kill us. I hope.\"\n\n> You ask him about the fog\n\"I suppose it's of limited use when it blocks your sight as well as that of others, but it's an interesting ability nonetheless.\"\n\nYou notice that the mist has pretty much dissipated.\n\n> Fog austin\nAt your mental command, fog swirls around Austin, silently engulfing him in a cloud of thick, grey vapor.\n\n\"Verrrry funny,\" says the cloud. It blunders about the room for a few moments, finally bumping into and encompassing one of the lab's many tables. There is the sound of sliding papers, then a deep whoosh whoosh whoosh emanates from within the cloud, and you are buffeted by powerful waves of air. Within seconds, the cloud has cleared, revealing Austin waving a six-foot table as if it were an oriental fan.\n\nHe sets the table down. \"Okay, wiseass, you've made your point. Clearly, you can fog specific things, and even specific people. And I'm guessing that if you use it on somebody who can't overpower it, it'd probably be a pretty good weapon. I still think the spool would've been a better test subject, though,\" he says grumpily.\n\n\"I think there's just one more power we have yet to test: the electrical blasts. Mom's notes are a little vague on this point -- it was probably more Dad's contribution -- but I'm betting that it works just like the specific fog, that you just decide what you want to blast and blast it. Of course, I'm not sure how much power you'll pack, so there's not many things in here it'd be safe to test on. How about we try this spool again? Either just blast it right here, or if you want to try it from the air, fly up to the ceiling and I'll toss the spool to you. I'm betting you can probably blow it to smithereens.\"\n\nPlease select a reply:\n\n1) \"You got it.\"\n2) \"Now that's more like it! KA-BLAMMO!\"\n3) \"My God, you mean I can actually shoot lightning with this thing? This is all so surreal.\"\n4) \"How about we test your suit's resistance to electric shock, instead?\"\n\n> 4\nAustin's usually confident expression collapses. \"Uh, well... I have to say, Emily, the prospect makes me pretty nervous. I mean, it'd be great to find out that it works, but I'm not a hundred percent sure they finished building in that feature, and I don't think I'd want to be struck by lightning unless I was sure.\"\n\n> Blast austin\nYou extend your hand, and panic soaks Austin's face. \"Emily, wait, STOP! What are you doing?\"\n\n\"Well,\" you say, \"I figure: here's me with electrical powers, and here's you with a suit that absorbs electricity. Let's give it a try!\"\n\n\"But we don't know that the earthsuit's electrical protection actually works! I sure haven't done any tests, considering the consequences of those tests failing. I mean, it'd be great to find out that it works, but I'm not a hundred percent sure they finished building in that feature, and I don't think I'd want to be struck by lightning unless I was sure.\"\n\n> You pussy\n\"Now who's the bossy one?\"\n\n> Blast austin\nYou extend your hand, and a sizzling bolt of bright blue electricity arcs between you and Austin. \"Emily, no! Don't--\" he says, then sees the buzzing, sparking current and screams in alarm. For a moment, you are both frozen in that tableau, and then Austin's body begins to convulse, his muscles spasming uncontrollably as the current races through them. A jolt of adrenaline hits you, but the skysuit interprets your muscle tension as a command to continue the lightning, and Austin's seizure goes on. Finally, with utmost willpower, you relax your muscles, and the power stops flowing. You run to Austin, but you know the truth even before you reach him: it's much too late. Your lightning has stopped his heart, and he lies lifeless on a lab floor that grows ever colder beneath you.\n\n> You blast yourself\nNothing happens. Apparently, the suit has some sort of safeguard against self-destruction. Guess you'll have to go back to the slitting-your-wrists idea.\n\n> You fog yourself\nThick, swirling fog coalesces around you, and you find yourself...\n\nA thick cloud of impenetrable mist surrounds you on all sides.\n\n> You wait awhile\nTime passes.\n\n> You say 'excuse yourself'\nA thick cloud of impenetrable mist surrounds you on all sides.\n\n(to yourself)\nThere is no reply.\n\nThe fog lifts, and you can see again.\n\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is closed.\n\nThe storage room door is open.\n\nYou can also see Austin and a large wooden spool here.\n\n> Blast spool\nYou extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the large wooden spool. With a thundering KER-POW, the large wooden spool disintegrates, leaving only a smoking scorch mark.\n\nAustin whistles. \"Wow,\" he says. \"That is one powerful blast. Looks like you could pretty much obliterate most any nearby object, unless it was well grounded and a very good conductor. Even then, it'd probably get pretty fried by the sheer voltage passing through it. I suppose it'd have less effect on very large objects -- the damage would probably be localized, but still significant. Basically, you pack quite a wallop!\"\n\n\"Well, I guess the suit checks out,\" says Austin. \"We've tested every power mentioned in this notebook, and they all seem to work. I have no idea what Mom and Dad intended their original purpose to be, but they're not here to tell us, and the suits seem to fit us fine. So let me ask you this, Emily: How would you feel about using these suits to investigate the situation ourselves? I don't much feel like a superhero, but in a sense, that's what we are when we've got these suits on. Maybe we can explore avenues that aren't exactly open to the police. What do you say?\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"We can't be superheroes! We don't know a thing about investigating a crime! How is shooting lightning and lifting heavy things going to find us clues that the police can't find?\"\n4) \"I can't be a superhero! I don't have long, flowing hair or gigantic breasts!\"\n5) \"You can't be a superhero! You're not covered with steroid-enhanced bulges!\"\n6) \"I can't be a superhero! I'm scared to death of fighting!\"\n7) \"We can't be superheroes without snazzy-sounding code names, now can we?\"\n8) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n9) \"We can't be superheroes! What if we get hurt?\"\n10) \"We can't be superheroes! How will we wear these suits without being noticed?\"\n\n> 4\nAustin laughs. \"I don't think those things are really much of an asset in combat, do you? I bet you could demolish any of those Pam Anderson types.\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"We can't be superheroes! We don't know a thing about investigating a crime! How is shooting lightning and lifting heavy things going to find us clues that the police can't find?\"\n4) \"You can't be a superhero! You're not covered with steroid-enhanced bulges!\"\n5) \"I can't be a superhero! I'm scared to death of fighting!\"\n6) \"We can't be superheroes without snazzy-sounding code names, now can we?\"\n7) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n8) \"We can't be superheroes! What if we get hurt?\"\n9) \"We can't be superheroes! How will we wear these suits without being noticed?\"\n\n> 4\nAustin smirks, and rolls his eyes. \"Let's find Mom and Dad first, then I promise I'll subscribe to bodybuilding magazines and start cranking the anabolics. Okay?\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"We can't be superheroes! We don't know a thing about investigating a crime! How is shooting lightning and lifting heavy things going to find us clues that the police can't find?\"\n4) \"I can't be a superhero! I'm scared to death of fighting!\"\n5) \"We can't be superheroes without snazzy-sounding code names, now can we?\"\n6) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n7) \"We can't be superheroes! What if we get hurt?\"\n8) \"We can't be superheroes! How will we wear these suits without being noticed?\"\n\n> 3\n\"But Emily, we already have. Without the skysuit, would we ever have found that note Mom left? She must have used the suit herself to get it up there. Anyway, it's better than just sitting around waiting for something to happen. Right?\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"I can't be a superhero! I'm scared to death of fighting!\"\n4) \"We can't be superheroes without snazzy-sounding code names, now can we?\"\n5) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n6) \"We can't be superheroes! What if we get hurt?\"\n7) \"We can't be superheroes! How will we wear these suits without being noticed?\"\n\n> 7\n\"Yeah, the whole 'secret identity' problem. I always thought it was a little silly for comicbook superheroes to hide their identities, but maybe we ought to do that, at least until we find Mom and Dad. Otherwise, there might be a lot of uncomfortable suspicions around us, not to mention around Mom and Dad's research.\"\n\n\"I agree, but that doesn't answer my question,\" you say.\n\n\"Oh, right. Actually, Mom and Dad seem to have thought of that, too. I tested wearing street clothes over the earthsuit before you got here; when enough of the suit is covered, the visible parts fade into transparency, and the cowl does some kind of holo-projection thing so that your hair and face look normal, too. It's really cool. You should give it a try sometime. The only problem is that you can't use the suit's powers when it's covered like that -- I think it uses mostly photoreceptors to power itself. But that's probably for the best, since without the cowls visible it'd just look like us doing those superpower things. Anyway, I hope that addresses your objection.\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"I can't be a superhero! I'm scared to death of fighting!\"\n4) \"We can't be superheroes without snazzy-sounding code names, now can we?\"\n5) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n6) \"We can't be superheroes! What if we get hurt?\"\n\n> 4\n\"Cool code names, eh? Well, since it's an earthsuit and a skysuit that give us our powers, how about something that incorporates those elements? Like, I don't know... Earth-Man and Sky-Girl?\"\n\n\"First of all,\" you say, \"why is it that you get to be a Man, and I'm just a Girl? Also, Earth-Man sounds like something a Star Trek alien would call you.\"\n\n\"Okay, fine. What's your idea?\"\n\n\"I think rather than try to sound like cheesy comic book superheroes by appending things like 'Man' or 'Lass' or 'Captain' or whatever, we ought to keep it short and elegant. How about just Earth and Sky?\"\n\n\"Earth and Sky. I have to admit, those do sound pretty cool. Okay, Earth and Sky it is. So now that we have our cool code names, will you help me investigate this disappearance?\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"I can't be a superhero! I'm scared to death of fighting!\"\n4) \"I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!\"\n5) \"We can't be superheroes! What if we get hurt?\"\n\n> 4\n\"Heh. I know what you mean. Still, with these suits, it's not like we really need to be in good shape. You can fly wherever you want to go, and this suit keeps me strong enough to run or jump or whatever without getting particularly winded. It probably wouldn't hurt us to start working out a little more, but it's not like we have to be Olympic athletes before we can use these suits.\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"I can't be a superhero! I'm scared to death of fighting!\"\n4) \"We can't be superheroes! What if we get hurt?\"\n\n> 3\nAustin turns serious. \"Well me too, of course. Certainly we'll have an advantage over anybody we want to take on, but I have no illusions that it won't be dangerous. I'm scared, too. But I guess I just think that if we can find Mom and Dad, it'll be worth the risk.\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n3) \"We can't be superheroes! What if we get hurt?\"\n\n> 3\n\"What if Mom and Dad are already hurt?\" retorts Austin. \"Anything that happens to us couldn't be any worse than the fears I know we've both had about them. Don't we owe it to them to take that risk?\"\n\nPlease select a reply:\n\n1) \"Okay, you've convinced me. Let's do it.\"\n2) \"No. I'm sorry, but I just think it's a bad idea.\"\n\n> 2\nAustin looks crestfallen, but reaches out to pat you on the shoulder. \"Okay, Em. I understand, I really do. Why don't you just leave the suit here and head on home? I'll meet up with you tomorrow. Also, I'd appreciate it if you'd still talk to Aunt Nina tomorrow, and let me know what you find out. Sleep well, Emily.\"\n\nPart 2: Shake, Rattle, and Roar\n\nIt's hard to imagine how Nina Icolari ever became friends with your parents. Where they are serious and straightforward, even to the point of stuffiness, she's fun-loving and mischievous. Mom and Dad are night owls, while Nina works best early in the morning. Your parents drink Coke, she drinks Pepsi, and so on. But all those differences vanish inside the lab, where your goofy Aunt Nina suddenly metamorphoses into a world-class biologist, a driven scientist doing some of the most cutting-edge research in the field. When she's working, it's almost impossible to distract her with anything else, which makes your task today a difficult one...\n\nThis small chamber is an adjunct to the materials handling room, designed to allow observation and some degree of remote control over the equipment in that room. On the north wall is the long, rectangular pane of thick glass that separates the two rooms, and below that is a control panel. Opposite the edges of this large window, on the south side of the room, a couple of tall window-slats let in the sunlight. To the west is the door out to the hallway.\n\n> You check your inventory\nYou are carrying:\na letter\na buzzer\nan access card\nyour sneakers (being worn)\na pair of sweat pants (being worn)\na sweatshirt (being worn)\na legal pad"
    },
    {
        "text": "[Themes: Superhero, combat, female protagonist, kids]\n\n> Describe the surroundings\nThis small chamber is an adjunct to the materials handling room, designed to allow observation and some degree of remote control over the equipment in that room. On the north wall is the long, rectangular pane of thick glass that separates the two rooms, and below that is a control panel. Opposite the edges of this large window, on the south side of the room, a couple of tall window-slats let in the sunlight. To the west is the door out to the hallway.\n\n> You examine the buzzer\nAustin invented this gizmo. It's a plastic device, about the size and shape of a pencil, with a button on one end. When you push that button, the buzzer sends a signal to Austin, and the button flashes until he acknowledges the message. Then he'll come running to find you, following the buzzer's GPS signal. He asked you to take the buzzer this morning so that you could notify him immediately after you talk to Aunt Nina about the letter, or in case anything unusual comes up.\n\n> You examine the panel\nThis control panel rivals an airplane cockpit for complexity, and Aunt Nina hasn't trained you on a whole lot of its functions. The only controls you really know are a horizontal lever, a vertical lever, and a pale green switch. There is also a speaker and microphone built into the control panel so that people in the two rooms can talk to each other.\n\n> You look at horizontal\nThe horizontal lever controls the containment chamber where samples are kept before transfer. Pulling the lever opens the chamber, and pushing it closes the chamber.\n\n> You look at vertical\nThe vertical lever activates the security door for the materials handling room. If you pull it, a thick plate of lead alloy slides over the outside of the door, serving both as warning and protection for anyone outside.\n\n> You examine the pale green\nOnce a sealed container has been placed within the transfer chamber, the pale green switch activates a sterile transfer to the desired receptacle. The switch is currently in the OFF position.\n\nOne of the double-doors to the materials handling room opens, and in strides Aunt Nina. She's looking as beautiful as ever today, even with her dark hair pulled back into a severe bun.\n\n\"Hi Emily,\" she says, her voice sounding tinny through the control panel speakers. Her attention is focused on the containment chamber, and you get the sense that she's only barely aware of your presence. \"How are you today?\"\n\nPlease select a reply:\n\n1) \"I'm fine, thanks.\"\n2) \"Actually, I'm kind of reeling. Can I talk to you about it?\"\n3) \"I'm over here, Aunt Nina. That's the containment chamber you're talking to.\"\n4) \"Aunt Nina, I want to talk to you about this letter I found. It says you know something about Mom and Dad's disappearance.\"\n\n> 2\n\"Good, good, I'm glad to hear it,\" says Aunt Nina distractedly.\n\n> You talk to Nina\n\"Aunt Nina, I really need to talk to you about something,\" you venture.\n\n\"Can it wait, please? Finishing this procedure is my top priority today, then we can talk.\"\n\n\"Well, I'd rather not wait...\"\n\n\"I need to ask you to wait today, Emily. Thanks for understanding.\"\n\n\"But Aunt Nina, I found a letter from Mom last night saying that you have information about where Mom and Dad are!\"\n\n\"I don't have time to write you a recommendation letter right now, Emily. Let's talk about it after the transfer,\" she says, her eyes on the transfer chamber controls.\n\n\"No, Aunt Nina, I said--\"\n\n\"Emily, please!\"\n\nYou lapse into silence rather than continue the fruitless conversation.\n\nThis is really very odd. Aunt Nina is always a little out of it when she's focused on a procedure, but you've never seen her quite this out of it.\n\nAunt Nina walks over to the containment chamber and starts inspecting it, talking to you all the time. You recognize this behavior -- you and Austin call it her Lecture Mode, and once it starts rolling, it's about as easy to stop as a speeding train.\n\n\"So, as I'm sure you remember, Emily, these experiments deal with bacteria that I'm convinced are at least 250 million years old. These guys were around millions of years before the first dinosaurs evolved, back when all the continents were in one smushed-together landmass called Pangaea. The bacteria have been trapped in a deposit of salt crystals since that time, and today's procedure is the next step in extracting the bacteria so that we can study them.\"\n\n> Blast nina\nYou can't blast anything until you put the skysuit back on.\n\n\"People have found living bacteria trapped in salt before,\" continues Aunt Nina, \"but their reports have been rejected because they couldn't prove that the microbes weren't actually contaminants from the lab. This time, though, we've taken extraordinary precautions -- everything has been in a sterile environment from the outset, and we've washed the salt crystals with both caustic bleach and acid. Then once the crystals are in the transfer chamber, we'll use sterilized equipment to drill inside them.\"\n\n> You talk to Nina\nIt's clearly pointless to even try talking to Aunt Nina right now.\n\nAunt Nina walks over to the transfer chamber and starts typing on the attached keyboard, double-checking the programming of its internal equipment. \"The bacteria actually live in tiny pockets of brine inside the crystals, so we'll extract that fluid and add some nutrients to see what grows. I think they've been able to survive this long because they were in a spore state, essentially shut down. But preliminary testing indicates that once these bacteria leave the spore state, they may be able to multiply astonishingly quickly.\"\n\n> You examine the switch\nOnce a sealed container has been placed within the transfer chamber, the pale green switch activates a sterile transfer to the desired receptacle. The switch is currently in the OFF position.\n\n\"Of course, there is a danger that the radiation emitted by nearby rocks might have damaged the DNA of this bacteria sometime during its 250 million year journey, but without a metric for comparison, it may be hard to tell. In any case, it certainly raises interesting questions about the limits of life. Knowing that bacteria can survive for this long in such an unforgiving environment has even begun to make me wonder whether it's possible that they can hop from one planet to another -- who knows, perhaps these microbes have an extraterrestrial origin?\"\n\n> Wait\nTime passes.\n\nAunt Nina is still staring at the transfer chamber screen and typing furiously. She says, \"Alright Emily, let's get started. Please close the security door so that we can safely open the containment chamber.\"\n\nPlease select a reply:\n\n1) \"Activating security door.\"\n2) \"Um... how do I do that again?\"\n3) \"Would you please stop talking for just a minute so I can ask you something?\"\n\n> 3\nAunt Nina gets up from the transfer chamber and starts leafing intensely through one of the notebooks she brought in with her. She doesn't answer you.\n\nA prickling feeling is creeping up the back of your skull. Something is definitely wrong with Aunt Nina.\n\n> You pull vertical\nYou hear a hum of servos, followed by a resonant thump. The red bulb lights up, indicating that the security door is closed.\n\n\"Excellent,\" says Aunt Nina. She sets the notebook down and walks over to the containment chamber. \"Now open the containment chamber, please.\"\n\nPlease select a reply:\n\n1) \"Opening containment chamber.\"\n2) \"That's the horizontal lever, right?\"\n3) \"That's the pale green switch, right?\"\n4) \"That's the chartreuse trackball, right?\"\n5) \"It really doesn't matter what I say, does it?\"\n\n> 5\n\"Right, that's right,\" mumbles Aunt Nina, running a finger over one of her written calculations.\n\n> You pull horizontal\nWith a hydraulic hiss, the containment chamber slides open.\n\nAunt Nina's eyes light up as the containment chamber reveals its prize. She reaches in to retrieve it, a circular steel platter sealed by a glass dome. Beneath that hemisphere of glass sits a milky crystal, about the size of both your fists held together.\n\nGingerly, she steps away and turns to face the transfer chamber, her eyes never leaving the crystal. She takes one step towards the transfer chamber, then stops.\n\nShe lifts her head as if listening for something, a confused look on her face. Then you hear it, too.\n\nIt sounds almost like distant thunder, but also wrong, and even as this thought reaches you, the walls are swaying and the ground bucking like ocean waves.\n\n\"EARTHQUAKE!\" you manage to shout, looking over at Aunt Nina. She is gripping the platter tightly, her face consumed by utter panic. Then a particularly violent tremor throws her from her feet, the glass dome shattering next to her face. Finally, with a tremendous KER-CHUNK, a piece of equipment falls between you and Aunt Nina, blocking your view of her as the tremors subside.\n\n> You examine Nina\nThe view through the window is blocked by a huge rectangle of black metal.\n\nNow you hear a new sound, a deep animal growl. It's quiet at first, but quickly crescendos into a mind-shatteringly loud RRROOOOOOOOOAAAAAAARRR!\n\nThen with a FA-FOOOOM! the ground is shaking again. The equipment that was blocking the large window falls onto its face, and you can see the materials handling room again. Except Aunt Nina isn't there. What's there is a monstrous leg the size of a redwood tree.\n\nAnd here you'd thought this day couldn't get any worse.\n\n> You look at the leg\n[Please press a key to continue.]\n\nPart 3: Monster Mash\n\n> You press the green\nThe earthquake has left its mark on the observation booth. A hole large enough to walk through has opened in the east wall, and a long crack has appeared in the large window pane to the north. The control panel beneath it seems relatively unscathed, as does the hallway door on the west side of the room.\n\n> You examine the leg\nAll you can see from here is the monster's leg, but that's more than enough to terrify you. It's green, and appears to be covered by thick, spiky shell plates. Even the toenails are obscenely huge and terrifying, five-foot cones tapering to lethally sharp points.\n\nBreathlessly, Austin arrives in the observation booth, wearing the earthsuit. \"Emily, thank goodness you're OK,\" he says, hugging you.\n\n\"Thanks for buzzing me,\" he says. \"I got suited up and came as soon as I got the message. What the hell is that thing?\"\n\nPlease select a reply:\n\n1) \"I wish I knew -- Aunt Nina was transferring the salt crystal to the containment chamber when the quake happened. After the dust settled, this thing suddenly appeared!\"\n2) \"Would you believe... a really bad case of the prehistoric flu?\"\n3) \"What does it look like? It's a freaking huge green monster!\"\n\n> 1\n\"Wait, she had the crystal in her hands when the quake happened?\" You nod.\n\n\"Aha,\" says Austin, a look of comprehension dawning on his face. \"Then I'll bet it cracked open next to her face, she inhaled those microbes, and here we have the results.\n\n\"So if we can kill the bacteria, we might get rid of the monster and get Aunt Nina back at the same time!\" concludes Austin. \"Well, I'm no microbiologist, but I've spent enough time in the lab with Aunt Nina that I may be able to whip up some kind of rapid antibiotic. But I'll need to use the equipment in Aunt Nina's lab. In the meantime, find a way to stop tall, green, and ugly from wrecking the campus -- knock her out if you can. I'm not sure we'll be able to medicate her while she's still conscious.\"\n\nAustin thrusts something into your hands. \"You'll probably need this,\" he says. \"I know you said you didn't want to, but I really can't see any other way. I'll be back as soon as I can!\"\n\nWith that, Austin sprints out through the hole in the wall, and you see him leaping over the biology building, heading towards Aunt Nina's lab on the other side of the building.\n\nLooks like it's up to you now.\n\n> Inventory\nYou are carrying:\na skysuit\na letter\na buzzer\nan access card\nyour sneakers (being worn)\na pair of sweat pants (being worn)\na sweatshirt (being worn)\na legal pad\n\n> You wear the suit\n[first removing the sweatshirt]\n\n[first removing the sweat pants]\n\n[first removing the sneakers]\n\nYou get back into the skysuit. Again, you feel the tingling in your scalp as you don the cowl.\n\n> You remove the pants\nYou take off the sweat pants.\n\n> About you\nYou're in the midst of changing clothes.\n\n> You wear the suit\n[first removing the sweatshirt]\n\n[first removing the sneakers]\n\nYou get back into the skysuit. Again, you feel the tingling in your scalp as you don the cowl."
    },
    {
        "text": "[Themes: Superhero, superhero, science fiction, kid-friendly, kids]\n\n> You describe your surroundings\nThe earthquake has left its mark on the observation booth. A hole large enough to walk through has opened in the east wall, and a long crack has appeared in the large window pane to the north. The control panel beneath it seems relatively unscathed, as does the hallway door on the west side of the room.\n\n> Blast crack\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the window. There is now a large black scorch mark on the window.\n\n> You look at the window\nA long crack has appeared in the glass, but it still holds. What you can see through the glass makes you wish the view was still blocked. The window is also marred by scorch marks from your electrical blast.\n\n> Blast window\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the window. There is now another large black scorch mark on the window.\n\n> You go east\nThe campus biology building is a masterpiece of design, but it's just been made significantly less beautiful by the earthquake that's knocked a hole in its east wall. Then again, having a colossal green beast with one foot planted in the building won't win it a spread in Architectural Digest either.\n\nThe monster tries to remove its foot from the biology building, but the hole is much too small.\n\n> You fly\nThe ground drops away as you soar upwards.\n\nYou are at the monster's knees, and you're starting to get a sense of what it must be like to be an insect. The massive legs dominate the landscape like twin towers, one rising out of a hole in the bio building's roof while the other decimates the sidewalk with stomps and scratches.\n\n> Blast knees\nThe power crackles in your fingertips, and then a giant spark leaps between you and the monster's legs, with a thunderous KER-POW! The creature makes an unnerving high-pitched shriek as the bolt connects with its thigh.\n\nYou've got the monster's attention now, and its huge claw is hurtling towards you!\n\n> You fog yourself\nWithin moments, fog is swirling around you, but those moments are all the monster needs.\n\nWHAMMO! You twist to avoid the claws, but the flat of the monster's hand slams into you with unbelievable force. Your suit seems to absorb some of the impact by slowing your trajectory, but you're still sent flying into the library, landing with a crash that nearly knocks you silly.\n\nEverything is fading in and out, and you can't seem to focus.\n\n> You go east\nYou start to flee from the scene, but hesitate. Aunt Nina is still missing. The creature is wreaking havoc. You and Austin may be the only ones who stand a chance of stopping it. Can you really abdicate that responsibility?\n\nAnother parked car crumples beneath the beast's stamping foot; this is sure to be a black day in the history of auto and building insurance.\n\n> Up\nYou soar higher, up to the monster's midsection.\n\nFloating in the air, eye level with the belly of the beast, it's hard not to imagine that belly containing the remains of anybody foolish enough to aggravate this creature. The monster's head looms menacingly above you, and its spiky legs descend like barbed towers to the ground.\n\nThe behemoth misses you, but that only seems to make it more determined. Another claw is coming at you like the Mortality Express.\n\n> Blast claw\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster. The creature recoils slightly, squealing with surprise.\n\nWHAMMO! You twist to avoid the claws, but the flat of the monster's hand slams into you with unbelievable force. Your suit seems to absorb some of the impact by slowing your trajectory, but you're still sent flying into the library, landing with a crash that nearly knocks you silly.\n\nEverything is fading in and out, and you can't seem to focus."
    },
    {
        "text": "[Themes: Superhero, combat]\n\n> You look around\nYou shake your head to clear out the last few cobwebs, and your vision snaps back into focus.\n\nYou have found yourself on the roof of the library. The heating and air-conditioning ducts have buckled and broken from the force of the quake, and the tarpaper beneath you feels hot and slippery.\n\n> You ascend\nGirding yourself for battle once more, you fly back to the scene of the rampage.\n\nYou are at the monster's knees, and you're starting to get a sense of what it must be like to be an insect. The massive legs dominate the landscape like twin towers, one rising out of a hole in the bio building's roof while the other decimates the sidewalk with stomps and scratches.\n\nYou've got the monster's attention now, and its huge claw is hurtling towards you!\n\nIt looks like your blasts are affecting the creature -- its swipes are becoming more furious, and its howls more tinged with pain.\n\n> Up\nYou soar higher, up to the monster's midsection.\n\nFloating in the air, eye level with the belly of the beast, it's hard not to imagine that belly containing the remains of anybody foolish enough to aggravate this creature. The monster's head looms menacingly above you, and its spiky legs descend like barbed towers to the ground.\n\nThanks to your fancy flying, you've managed to avoid getting swatted, but there's no time to celebrate, because another claw is coming towards you!\n\nThe monster tries to remove its foot from the biology building, but the hole is much too small.\n\n> Fog monster\nAt your mental command, fog swirls around the monster. However, the creature is so mind-staggeringly large that by the time the fog covers his length, it has thinned into wisps of vapor that blow away at the monster's next roar.\n\nWHAMMO! This time you're too slow to avoid the claw, and pain razors through you as the point penetrates your calf. As you sail towards the library, you notice that the suit has sealed itself over the wound and applied pressure to stop the bleeding. Then you're slamming into the roof, and everything goes black for just a moment.\n\nYou can't take much more of this.\n\nEverything is fading in and out, and you can't seem to focus.\n\n> You shake head\nYour vision is swimming, and you're too dazed to do anything but lie still for a moment.\n\nYou shake your head to clear out the last few cobwebs, and your vision snaps back into focus.\n\nYou have found yourself on the roof of the library. The heating and air-conditioning ducts have buckled and broken from the force of the quake, and the tarpaper beneath you feels hot and slippery.\n\n> Up\nGirding yourself for battle once more, you fly back to the scene of the rampage.\n\nYou are at the monster's knees, and you're starting to get a sense of what it must be like to be an insect. The massive legs dominate the landscape like twin towers, one rising out of a hole in the bio building's roof while the other decimates the sidewalk with stomps and scratches.\n\nYou've got the monster's attention now, and its huge claw is hurtling towards you!\n\n> Up\nYou soar higher, up to the monster's midsection.\n\nFloating in the air, eye level with the belly of the beast, it's hard not to imagine that belly containing the remains of anybody foolish enough to aggravate this creature. The monster's head looms menacingly above you, and its spiky legs descend like barbed towers to the ground.\n\nThe behemoth misses you, but that only seems to make it more determined. Another claw is coming at you like the Mortality Express.\n\n> Up\nWind streaming through your hair, you zoom upwards.\n\nThe creature's close-set yellow eyes burn with anger as you hover in front of its face. From here, the thing's fetid breath washes over you like a tidal wave of swamp gas, and its roars are louder than jet engines. The ground seems very far below you now.\n\nThanks to your fancy flying, you've managed to avoid getting swatted, but there's no time to celebrate, because another claw is coming towards you!\n\n> Fog eyes\nAt your mental command, fog swirls around the monster's eyes, silently engulfing them in thick, grey vapor. The creature squeals in confusion as it loses its sight.\n\nThe creature is flying into a frenzy, clutching its eyes with one hand and lashing out randomly with the other. Its feet stomp in fury, leveling trees and cars. Better take this beast down, and fast.\n\n> Blast monster\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster. The blast strikes home between two armor-plates, and the creature screams in pain and rage.\n\nThe beast reels back for a moment, temporarily stunned by the cumulative electrical power you've directed at it.\n\n> Blast monster\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster. The bolt hits thick green hide, creating an impressive scorch mark but failing to do much actual damage.\n\n> Blast eyes\nThe monster is thrashing about wildly in its blindness, and your lightning bolt misses its eyes.\n\nThe beast's claws dig deep furrows in the concrete sidewalks.\n\n> Blast claws\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster. You make the mistake of looking directly at the lightning, and are blinded for a moment. When your vision clears, the monster seems to be bleeding slightly where you hit it.\n\nThe creature picks up a stray car and throws it in your general direction. The car misses you, but slams into the side of the library, shaking that building's walls.\n\nThe monster is wounded now in several places, and a sickly smoke drifts upward from the cauterized spots beneath its armor.\n\n> Blast face\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster's head. The beast emits a keening wail and clutches the side of its head in torment.\n\nThe creature picks up a stray car and throws it in your general direction. The car misses you, but slams into the side of the library, shaking that building's walls.\n\nThe fog lifts, and the monster's eyes are visible again.\n\nThe thing is stomping, swinging its arms, and bleating despair at its inability to stop the pain. It reminds you of nothing so much as a boxer, badly beaten and on the ropes.\n\nAnother parked car crumples beneath the beast's stamping foot; this is sure to be a black day in the history of auto and building insurance.\n\n> Blast face\nKER-POW! You extend your hand, and a sizzling bolt of bright blue electricity arcs between you and the monster's head. The beast emits a keening wail and clutches the side of its head in torment.\n\nThe monster screams its frustration at not being able to find and crush you.\n\nThe creature is swaying now, its voice ragged. Deadly claws still search for you, but you get the sense that the beast can't last much longer.\n\n> Continue\nKER-POW! Your blast strikes the monster, and its head rocks back. It staggers, drops to one knee (crushing half the gymnasium in the process). Finally, with a long, foghorn groan, it falls forward, landing with its face planted in the football field.\n\nThe creature lies motionless. Suddenly, a streak of grey appears, arcing over the stadium wall -- it's Austin! He lands by the creature's head, and motions for you to join him. Relief singing through your veins, you alight on the field next to your brother.\n\nYou are standing on the fifty-yard line of the University stadium, or at least what's left of it after the colossal green monster fell headlong onto the field. Something tells you that your student fees may be going towards an Astroturf installation some time soon.\n\nYou can see the monster's head and Austin here.\n\nAustin hands you a liquid-filled balloon. \"That's got the supercharged antibiotic inside. It's not the world's finest delivery system, but it was the best I could improvise on short notice. The monster will have to ingest it, so it looks like I'll need to lift the head while you throw the balloon at its mouth.\"\n\nWithout waiting for you to respond, he walks around to the creature's brow, slips his fingers underneath, and heaves. \"URRGH! Hurry, Emily! This head is even heavier than it looks!\"\n\n> You eat the balloon\nThat's plainly inedible.\n\n\"Hurry!\" says Austin. \"It's slipping!\"\n\n> You put the balloon in the mouth\nThe liquid-filled balloon sails into the creature's mouth, causing the beast to swallow reflexively. When the mouth opens again, the liquid-filled balloon is gone.\n\nSeeing that the creature has swallowed its medicine, Austin steps back from the head, which drops with an earthshaking CRASH! You both watch the creature intently, as it lifts its head to regard you, not with anger now, but with puzzlement.\n\nAnd then you notice: the creature is shrinking. Its skin thins, wrinkles, deepens from its greenish cast to the rich brown of Aunt Nina's skin. Soon it is only a dazed Aunt Nina before you, naked and shivering. You quickly retrieve your sweatshirt and pants, and Austin helps you put the clothes onto her.\n\nShe embraces you and your brother in a fierce hug. \"Oh Austin, Emily!\" she cries. \"I remember now! On the same day that Claire and Scott disappeared these... things found me in my lab. They did something to my brain -- wiped out my memory, put all my focus on the experiment. But whatever happened to me just now must have broken their mental constraints.\" You show her the letter, and she scans it, nodding. \"Yes, yes! It's true -- I do have information that I know can help you find your parents. Oh Emily, I'm so sorry I couldn't give it to you before now!\"\n\nYou look over at Austin, and he nods. \"You'll have plenty of time to talk to us, Aunt Nina, but what you need right now is rest,\" he says. Then he gathers her into his powerful arms, and leaps over the stadium wall, heading for home. You're about to fly after him, when you catch sight of a reporter and a camera operator, scrambling through the rubble towards you. \"Miss! Wait -- miss!\" the reporter shouts, thrusting a microphone into your face. \"Can you give us a statement? What happened here? Who are you?\"\n\nYou smile. \"Call us Earth and Sky,\" you say, and then take to the air, flying home faster than any news copter can follow.\n\n> You wait for a while\nTime passes.\n\nAustin's muscles are shaking with exertion. \"Emily, I can't hold on much longer!\"\n\n> Wait\nTime passes.\n\n\"I'm losing it!\" cries Austin, and steps back from the head, which drops with an earthshaking CRASH! The creature groans, and Austin shoots a look of pure frustration at you. \"Come on, Emily! I can't hold the head up and deliver the antibiotic! Your part isn't difficult, so do it, before this thing wakes up again!\" He bends his knees, grips the monster's brow, and hauls the enormous head up again.\n\n> You wait for a while\nTime passes.\n\nThe monster groans again, and Austin has to scramble into a new position as the great head begins to stir. \"Emily!\" he shouts desperately.\n\n> Blast monster\nYou rear back to blast the creature once again, but then you remember that Austin is holding it -- what if his suit's shock resistance isn't up to par?\n\nA mammoth eye flicks open, regarding you with vague hatred.\n\n> Wait\nTime passes.\n\nWith unexpected speed, the creature snaps its head up, and closes its immense mouth on you! Looks like you're delivering the antibiotic after all, but you probably won't survive the trip."
    },
    {
        "text": "> You look around\nYou are hovering in the air, several stories above the lab floor. The beams and girders of the ceiling are so close you could touch them, and the windows display a magnificent view of the campus and ocean. Far below, Austin looks up at you from amid a sea of equipment. Good thing you're not afraid of heights."
    },
    {
        "text": "> Go downwards\nAs smoothly as you rose, you descend once more.\n\nYou are in Mom and Dad's lab. As usual, the majority of the equipment in this enormous space is more or less a mystery to you. Also here are a few tables and terminals; a ring of windows near the ceiling looks out on the distant stars. Doors lead south into the storage room and west into the hallway.\n\nThe hallway door is closed.\n\nThe storage room door is open.\n\nYou can also see Austin here.\n\n\"Well, it's clear that the flying functionality is operational,\" says Austin.\n\n\"Now let's test out some of that suit's other capabilities. The notes mention a fog power -- the flying worked when you decided to fly, so let's see what happens when you try to fog something. Why don't we start by having you just think FOG? I have a hunch that will probably cloud up the general area.\"\n\nPlease select a reply:\n\n1) \"Sure thing.\"\n2) \"Oh, there's a useful superpower. 'They're getting away! Quick, Fog-Woman, worsen their driving conditions!'\"\n3) \"Okay, but all this moisture had better not make my hair really frizzy.\"\n\n> You examine the beams\nThe ceiling is braced by a pattern of struts and beams, all made of steel and painted an industrial maroon.\n\n> You look at equipment\nThe equipment is just as baffling from the top-down view."
    },
    {
        "text": "[Themes: Surreal, Horror, Terrorism, multiple protagonists, psychological, amnesia, alternate reality, male protagonist, mystery, Christianity, London, afterlife, female protagonist, dream, surreal, hell, violence]\n\n[ Hint: important commands are THINK and REMEMBER ]\n\nAnd then you hear something. The low, steady rumbling of a train. As your eyelids slowly peel back, you feel like you're swimming up to the surface of a deep, black ocean. For a while, the disorientation is overwhelming, and you can't think about anything. But once you start thinking, you can't stop.\n\nIt's dark, and the only artificial light is flickering, but it doesn't take much light for you to know that you're in trouble. Most of your body is numb. Directly opposite you is a man, plastered with fear, gagged. His arms are tied to his sides, his legs bound together in three different places. The numbness gives way to pain, as though needles are shooting out of all your blood vessels and you start to feel more than just your pounding heart: the tight ropes digging into you, the rigid metal floor, the stale air, the gag over your mouth."
    },
    {
        "text": "[Themes: Horror, Surreal, dream, afterlife, mystery, violence, Christianity, Terrorism, surreal, amnesia]\n\n> About yourself\nYou can see your legs stretched out in front of you, tied together at the ankles, shins and thighs with thick ropes that really seem to bite into your skin. Just looking at it makes you shuffle in discomfort, but it doesn't make it any better. In the dark light you can't tell if you're wearing blue jeans or black ones - you think black - but either way they're very dusty. You look down at your similarly hue-ambiguous sweater, which is also marked by tight ropes around your upper and lower arms. Your mouth is covered by a patch that is stuck right over your lips: you can only make muffled, incoherent groaning noises."
    },
    {
        "text": "> Look around\nYou look around again. The carriage is small and is practically empty. On the floor in front of you is a sea of dead wasps - there's not a live one to be found. You look over at your only living companion, tied up and leaning against the wall opposite you. Your eyes meet, and you try to convey sympathy, and you try to read sympathy from his, but that wouldn't do either of you any good even if you could\nhide the fear. The light flickers off for a second, sending you temporarily into darkness.\n\n> You examine the wasps\nDisgustingly, there are about a hundred dead things on the floor - concentrated in the centre of the carriage - bobbing up and down with the train's movement in a grotesque dance. They're bigger than wasps, and they're red, with menacing needles for stinging. It's a good thing they're all dead.\n\n> You examine man\nYou look over at your only companion. He's looking as battered as you feel, with disheveled black hair, a grimy face and crumpled clothes, dusty and discoloured. He's not agitated, or nervous, but you can just about see a forlorn, almost despairing expression if you catch his eyes at the right moment. Something about him is familiar, but you're damned if you know what it is.\n\n[ To switch perspective, use the BE command. ]\n\n> About yourself\nYour legs are tied together at the ankles, shins and thighs with thick ropes that really seem to bite into your skin. In the dark light you can't tell if you're wearing blue jeans or black ones - you think black - but either way they're very dusty. Further ropes bind your upper and lower arms, and you can feel your dry skin and lips where the gag is stuck over them.\n\nPanic is setting in. Breathing getting heavy, blood pumping faster and faster. Thoughts and possibilities, each more frightening than the last, are starting to bombard you, and frankly, you'd rather die and be free of it forever. Each dread is coming at you, like a spectre from the air that wants to wrap its cold hands around your brain and banish you to a place of endless torment.\n\n> You think\nFor a moment, everything is blank. Tabula rasa. You could be anyone - a terrorist, a psychopath, a drug addict, a prostitute, a mugger. But then memories flood in all at once, as if you'd asked to borrow a lighter and got your house set on fire instead. You're Helen Wright. You can picture the faces of your mum and dad and your older sister Mary in your house in London; you can see the bright white walls of that house - everything white and pristine, like a hospital; you can see yourself playing with dolls at the foot of your bed; you can see yourself telling Mary to leave you alone; you see the park, you're on the swings, you're down the slide, you're on your own, playing with the playground grass; you're at school, you're scribbling in your book, you're the last one out of the classroom, and the first one in. You're eight years old, and the memories are still coming...\n\n> You think\nFaster and faster, your memories are coming back, and you can't keep up with them. Then, suddenly, they stop. The last one is just an ordinary day on the London Underground and you're going to lectures. How did you get from there to here? That can't be the end - that can't have been the last thing that happened. Unless perhaps some random madman came along, beat you up and locked you in here. But who would want to kidnap you? There's nothing special about you - far from it.\n\n> You remember\nThere aren't any particular memories going through your head at the moment. [ You can REMEMBER things. If you see something in bold\nprint in the description of a memory, then you can use the remember command with that too. ]\n\n> You think\nYou know who you are now: Helen Wright, just another horrible person. Your memories have come back, though apparently not all of them.\n\nThere's a sudden clanging noise, and the room flashes momentarily red. Your heart rate goes up. Something's happening. The red light keeps flashing in a regular cycle, and two small vents opens on the wall, just little circular holes. There's the sound of rushing air, and you fear what might come out of those dark tubes. You feel a certain warmth in the air as it hits you, and a vile, acrid smell. It's certainly not the ventilation. Then the flashing light suddenly stops, the vent covers slide back into place, and the train rumbles on along as though nothing happened at all.\n\n> You be the the man\nCarriage (as Ross)\nWhen you look around again, the most striking thing is the floor: dozens of dead insects are scattered around it, and you can't see a single living one. What does that mean? That you've been here for ages? Or is there a fly trap? You try not to dwell on it, and look around the whole carriage. It's not big, and it doesn't take long to realise that there's nothing else here, except the other captive and the flickering light. The shadows are deep, oppressive. The noise of the train's movement is a dull but constant clanking. The air is stale.\n\nYou try to think about what happened. But nothing is coming. Literally, nothing. And who is that over there?\n\nSince it doesn't seem like anything is happening, you wonder if it might be OK to get some sleep.\n\n> You remember\nWho are you? The question bounces around in your mind for a moment, with no answer forthcoming. But then it's as though someone opens a tap, and things start trickling back. Your name is Ross. You can see your flat in London, your mum and dad, arguing, doors slamming, crumpled pieces of paper on the floor. There's your brother, hitting and kicking you, and you trying to fight back. You can see yourself, six or seven years old, looking at a large rash, going to the hospital. But then the memories stop, and you feel drained. For God's sake, why is this so hard to remember? It's there, and it's coming back, but it's just so much effort to get it.\n\nAs your mind begins to wake up, thoughts and possibilities start whirling around, bombarding and confusing you. Your limbs feel so stiff, but are slowly getting better.\n\n> About you\nIt really is as bad as it feels. Your arms are bound to your sides with one rope that crosses your chest and one over the stomach, and both are hurting like hell as they dig into your skin through your shirt. You wouldn't rate your chances of being able to wriggle free, and you don't think you could even move anywhere: three more ropes are bound tightly around your ankles, shins and thighs. The worst thing, though, is the thick tape covering your mouth. If it ever does come off, it'll probably rip off your lips with it.\n\n> You examine her\nShe looks frightened, of course. Her eyes are wide and she's looking around everywhere, presumably trying to see a way out. There's something familiar about her, but you don't know what it is.\nShe's quite tall. Very, very pale. Shoulder-length brown hair. You get the impression that it's only as tangled as it is because of the situation - knocked out, gagged, tied up and thrown into this place. You flinch just thinking about it. You hope this isn't your fault. You don't know why it would be.\n\nYou're feeling quite sleepy.\n\n> Sleep\nYou're not getting anywhere by being awake, so you don't think it will matter to try getting some sleep. It's hardly comfortable, but it isn't noisy - in fact it's far quieter than London. You push yourself over onto your side and shut your eyes.\n\n> You wake\nThe beast hisses. Something rips through you, wrenching out your soul, which floats through the vacuum of space to become part of the machine. There's the Earth, with a whirlwind of nature being sucked into one end of the machine, and there's a big tube running along the top of it, until it gets to the beast at the other end. The beast snarls. It wants more, and then more still, and then more and more, and the machine has to go faster and faster. It has your soul now too. You're being pulled in towards the machine, and you don't want to go there, you don't want to! The beast roars.\n\nPlatform (as Ross)\nYou're on a ledge jutting out from the machine, a metal platform. You get a real sense of the enormity of the machine from this perspective, as it stretches as far as you can see in both directions. The Earth and the beast themselves are just out of sight.\n\nThere's an unusual archway in the east wall, which is doing something to the light so that you can't see through it.\n\nYou're not going to sell yourself to the machine. You've got to get your soul back.\n\n> You examine the ledge\nPlatform (as Ross)\nYou're on a ledge jutting out from the machine, a metal platform. You get a real sense of the enormity of the machine from this perspective, as it stretches as far as you can see in both directions. The Earth and the beast themselves are just out of sight.\n\nThere's an unusual archway in the east wall, which is doing something to the light so that you can't see through it.\n\n> You look at the archway\nThe archway in the east wall is an unusual shape, and is distorting the light so much that you can't see through it. The edges are very clearly defined though, so that the whole thing looks a bit like a sticker.\n\n> You examine the machine\nIt's a monstrosity, groaning and clanking and humming as it tears away all the beauty from the Earth. The machine gets ever faster, to satisfy the growing hunger of the beast.\n\n> Peel sticker\nYou feel around the edges of the arch, then peel it away, removing the way to the east. You now have a sickle.\n\n> You examine sickle\nA dependable worker's tool. You got it by removing an arch from the wall."
    },
    {
        "text": "[Themes: Surreal, Horror, Terrorism, alternate reality, Christianity, amnesia, female protagonist, dream]\n\n> You describe your surroundings\nPlatform (as Ross)\nYou're on a ledge jutting out from the machine, a metal platform. You get a real sense of the enormity of the machine from this perspective, as it stretches as far as you can see in both directions. The Earth and the beast themselves are just out of sight.\n\n> You go to the east\nYou bang your fist against the closed wall of the machine. It feels somehow delicate, as though it could easily be cut open.\n\n> You put the sickle on the wall\nDropped.\n\n> You look at the east wall\nThe closed wall of the machine. It looks somehow spongy, as though you could easily cut into it.\n\n> You take the sickle\nYou expropriate the sickle.\n\n> You cut the wall\n[ You should specify a compass direction. ]\n\n> You cut east\nYou plunge the sickle into the wall, and it cuts itself into the shape of an arch, leading east.\n\n> You look east\nThe archway in the east wall is an unusual shape, and is distorting the light so much that you can't see through it. The edges are very clearly defined though, so that the whole thing looks a bit like a sticker.\n\n> You go to the east\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\nAn archway leads west.\n\n> You examine the machinery\nCogs are turning, machines whirring, lights flashing and pistons hammering, in service to the beast.\n\n> You examine the stairs\nA long, metal staircase.\n\n> You examine the hole\nThe archway in the west wall is an unusual shape, and is distorting the light so much that you can't see through it. The edges are very clearly defined though, so that the whole thing looks a bit like a sticker.\n\n> You get the pole\nYou give the stake an experimental wobble, and it looks like it would come free, but you think it would make more sense to complete the pair, rather than remove it completely.\n\n> You go east\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\nA small crystal is here - a part of your soul ready to be taken back.\n\n> You get it\nThis part of you is encased in crystal, and you snatch it up from the floor, wondering where the other pieces might be. They're probably in the clutches of the machine already.\n\n> You examine the cogs\nYou walk up close to one of the machines. A face stares back at you, anguished and pale, frozen in the act of screaming. You step back.\n\n> You examine the east wall\n(the patch on the wall)\nThere's a wall to the east, but some of the cogs and other machines cut right through it, so maybe there is another area on the other side. What's more, there's a rectangular patch on the wall where a door might once have been.\n\n> Go east\nThere's a wall to the east, but some of the cogs and other machines cut right through it, so maybe there is another area on the other side. What's more, there's a rectangular patch on the wall where a door might once have been.\n\n> You go west\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\nAn archway leads west.\n\n> Peel\nWhat do you want to peel?\n\n> Sticker\nYou feel around the edges of the arch, then peel it away, removing the way to the west. You now have a sickle.\n\n> Go east\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\n> Go east\nMachine Room: East (as Ross)\nIt's a continuation of the machine room, with more of the squeaking, pulsing mechanisms and gizmos. A trapdoor in the floor leads into darkness via a ladder. Emanating from it is a symphony of slicing, cutting and crashing sounds, and there's a machine up here that's buzzing and shaking in time with it.\n\nAn archway leads west.\n\n> You look at the gizmos\nCogs are turning, machines whirring, lights flashing and pistons hammering, in service to the beast.\n\n> You examine the Machine\nThe machine is buzzing, whirring and even shaking. No wires are visible, but there's a raised bit of the floor connecting the machine to the hole in the floor. You imagine this machine is controlling the slicing you can hear.\n\n> 1\nOk."
    },
    {
        "text": "[Themes: Surreal, Horror, alternate reality, dream, multiple protagonists, female protagonist, Christianity, hell, violence]\n\n> Go downwards\nYou look down the hole. The ladder just vanishes into blackness, but you can hear the sounds of slicing blades and other destructive machinery. Now, now. Let's hold on for... just a moment longer.\n\n> You examine the north wall\nThere are just more machines that way.\n\n> You turn the Machine off\nThere are no visible controls on the machine. You'll have to take a more physical approach.\n\n> You examine the ladder\nThere's a trapdoor in the floor with a ladder that leads down into darkness. The music of slashing, grinding and cutting is emanating from it. There's a raised part of the floor connecting the hole to a particularly loud machine here in the room, which you assume is in control of the slicing action.\n\n> You look at the west\nYou've cut an archway through the wall there, so you can go to the rest of the machine room.\n\n> You go east\nYou fall through the hole, and drop into space outside the machine. You can't scream, and you can't breathe."
    },
    {
        "text": "[Themes: Horror, Surreal, mystery, Terrorism, afterlife, female protagonist]\n\n> You look around\nYou bolt awake. Still in the train carriage, trundling along. You manage to push yourself back into a sitting position.\n\nCarriage (as Ross)\nThe metal carriage is a deep grey with shadowy corners, and the fluorescent lamp on the ceiling is on the blink, so that every so often you're sent into total darkness. Your only company is the girl opposite you and a sea of dead wasps. You don't know where you're going or how you got here.\n\nThere's that clanking sound again. As before, a red light fills the room every second, and little vents open on the walls. There's the sound of rushing air, a horrid smell, and then they shut.\n\n> You examine the vents\nYou can just about see the outline of the circular covers of those tubes. You have no idea what they're for, but the way that red light comes on and the way the air gets so foul when they're open suggests that they're not your friends.\n\n> Sleep\nYou're not getting anywhere by being awake, so you don't think it will matter to try getting some sleep. It's hardly comfortable, but it isn't noisy - in fact it's far quieter than London. You push yourself over onto your side and shut your eyes."
    },
    {
        "text": "[Themes: Horror, Surreal, surreal, Christianity]\n\n> Look around\nMachine Room: East (as Ross)\nIt's a continuation of the machine room, with more of the squeaking, pulsing mechanisms and gizmos. A trapdoor in the floor leads into darkness via a ladder. Emanating from it is a symphony of slicing, cutting and crashing sounds, and there's a machine up here that's buzzing and shaking in time with it.\n\nAn archway leads east.\n\n> You cut west\nYou plunge the sickle into the wall, and it cuts itself into the shape of an arch, leading west.\n\n> Go west\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\nAn archway leads east.\n\n> You go west\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\n> Up\nYou climb the stairs, and the stairs themselves fly upwards, so that with each footfall you're much higher up. Eventually the staircase halts, and you step off onto a platform.\n\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\nThere's a loud sucking noise, and a small crystal suddenly drops out of the flow, strangely intact.\n\n> You look at the crystal\n(the piece of soul)\nYou're not sure it'll ever be the same after being ravaged by the beast.\n\n> You get it\nNow you've got two of these soul things. Something tells you there are seven in total... at least, that's what you're going to aim for.\n\nYou suddenly see a burst of colour floating past you, and it turns out to be a glass sphere drifting up towards the pipe. Presumably someone's soul is within. You have no time to save it before it is caught by the flow and vanishes down the tube.\n\n> You examine flow\nMaterial from the Earth is gushing through this pipe, on its way to the beast.\n\n> You look at the ladder\nA little ladder leads up to the material surging through the tube.\n\nYou suddenly catch sight of a human face, burnt and disfigured, shooting past in the tube.\n\n> Up\nIs this really the only option? You hesitate a minute and let the Earth gush past your eyes. Then you step in. The flow instantly arrests you, seizes you, hurls you, compacts you, bashes you, forces you into compliance. The beast and its insatiable hunger is waiting. Waiting for you.\n\n\"Hello, lost one,\" it hisses. \"You should have known there's no escape...\"\n\nYou fly between its jaws and for a moment find yourself hanging at the top of its digestive tract, looking down at a fiery, rocky end. Then you scream.\n\n> Scream\nYou bolt awake. Still in the train carriage, trundling along. You manage to push yourself back into a sitting position.\n\nCarriage (as Ross)\nThe metal carriage is a deep grey with shadowy corners, and the fluorescent lamp on the ceiling is on the blink, so that every so often you're sent into total darkness. Your only company is the girl opposite you and a sea of dead wasps. You don't know where you're going or how you got here.\n\n> Sleep\nYou're not getting anywhere by being awake, so you don't think it will matter to try getting some sleep. It's hardly comfortable, but it isn't noisy - in fact it's far quieter than London. You push yourself over onto your side and shut your eyes.\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\nYou suddenly catch sight of a human face, burnt and disfigured, shooting past in the tube.\n\n> You get on the pipe\nAre they right? Is there no other way? You hesitate a minute and let the Earth gush past your eyes. Then you step in. The flow instantly arrests you, seizes you, hurls you, compacts you, bashes you, forces you into compliance. The beast and its insatiable hunger is waiting. Waiting for you.\n\n\"Hello, lost one,\" it hisses. \"You should have known there's no escape...\"\n\nYou fly between its jaws and for a moment find yourself hanging at the top of its digestive tract, looking down at a fiery, rocky end. Then you scream.\nYou bolt awake. Still in the train carriage, trundling along. You manage to push yourself back into a sitting position.\n\nCarriage (as Ross)\nThe metal carriage is a deep grey with shadowy corners, and the fluorescent lamp on the ceiling is on the blink, so that every so often you're sent into total darkness. Your only company is the girl opposite you and a sea of dead wasps. You don't know where you're going or how you got here.\n\n> Sleep\nYou're not getting anywhere by being awake, so you don't think it will matter to try getting some sleep. It's hardly comfortable, but it isn't noisy - in fact it's far quieter than London. You push yourself over onto your side and shut your eyes.\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\n> You examine the ladder\nA little ladder leads up to the material surging through the tube.\n\n> You examine material\nThis material has been sucked out of the Earth and processed into a barely recognisable mush. Every so often a human form, or just a face flashes past, usually disfigured, burnt and incomplete. Except for the bits that have slipped out and coated the floor in a deathly crust, it's all headed for the beast's stomach.\n\n> You get the ladder\nIt seems to be firmly attached there.\n\n> You take the material\nYou wouldn't be able to scrape up the bits that have fallen out of the stream, and besides, it's too late to save it now.\n\nA burnt body shoots through the flow of material in the tube above you.\n\n> You check what you're carrying\nYou are carrying:\n2 pieces of soul (of 7)\n\n> You eat soul\nDisgusting thought. Not even going to try."
    },
    {
        "text": "[Themes: Surreal, Horror, amnesia, Christianity, Terrorism, violence, dream, hell]\n\n> Descend\nAs you climb down the stairs, the entire staircase shoots down, landing in the huge machine room you came from.\n\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\n> Up\nYou climb the stairs, and the stairs themselves fly upwards, so that with each footfall you're much higher up. Eventually the staircase halts, and you step off onto a platform.\n\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\nA burnt body shoots through the flow of material in the tube above you.\n\n> About yourself\nCan you honestly say you're above all this? Ross, you're an idiot.\n\n> You remember\nRemember? Was there a past?\n\n> You be helen\nCarriage (as Helen)\nIt's a grey, metal carriage, only slightly longer than it is wide. There's no window, so the only light is from a slim fluorescent lamp in the ceiling that flickers every so often, periodically plunging you into darkness.The floor is littered with dead wasps, but they're not you're only company: a man, probably in his early twenties, is in the same state, leaning against the opposite wall.\n\n> Sleep\nYou're feeling surprisingly tired, so even though you'd rather not be off your guard in a situation like this, you can't be bothered to worry about it. You fall down onto your side, shut your eyes, and try to let the train's steady movement send you off.\nYou're walking up the mountain along with all the other dead people, heading for judgement at the summit. Grimy fear and sweat-soaked resignation are trooping up with you. The dust sweeps around your head and blinds you every now and then until you blink. Suddenly, you're at the top. There are countless books open on the table. A bony hand is holding your book in front of your eyes.\n\n\"NO!\" the judge shrieks, and you're thrown forwards, and the book is flying with you. As you soar through the air, you can see its pages fluttering down over the rocky landscape. You manage to snatch one from the air just before you crash into the mountainside and roll over and over, and stop yourself before you shoot over into the pit of fire below.\n\nMountainside (as Helen)\nYou're looking out upon the enormous pit of fire surrounding the mountain. Rocks of various sizes litter the ground, and an acrid dust suffuses your senses. It looks like you could probably scramble down to the south without much injury. Up above, the judgement continues.\n\nYou hear a noise from up the mountain, and see a colourful glass sphere tumbling down towards you. The sphere instantly smashes into a million shards, which disappear in the dust.\n\n> About yourself\nYou look at yourself and immediately look away. You don't want to be reminded of what an ugly thing you are. You're wearing shitty clothes as usual and are taking up too much of the universe's precious space with your good-for-nothing body.\n\nYou don't know why, but something's telling you that you want your book back. You want to see your life, work out where you went wrong.\n\n> You check your inventory\nYou are carrying:\na page\n\n> You look at the page\nA page from your book, a piece of you. But the words are blurred and you can't read them properly. Maybe if you were awake you'd be able to concentrate on it?\n\n> You wake\nSuddenly you're awake, and you struggle back into a sitting position, but it feels like you've just come from one nightmare to another. Images and memories from your dreams are parading through your mind, as if you didn't have enough torment. [ Use the REMEMBER command,\nwith or without a memory. ]\n\nCarriage (as Helen)\nIt's a grey, metal carriage, only slightly longer than it is wide. There's no window, so the only light is from a slim fluorescent lamp in the ceiling that flickers every so often, periodically plunging you into darkness.The floor is littered with dead wasps, but they're not you're only company: a man, probably in his early twenties, is in the same state, leaning against the opposite wall.\n\n> Sleep\nYou're feeling surprisingly tired, so even though you'd rather not be off your guard in a situation like this, you can't be bothered to worry about it. You fall down onto your side, shut your eyes, and try to let the train's steady movement send you off.\nMountainside (as Helen)\nYou're looking out upon the enormous pit of fire surrounding the mountain. Rocks of various sizes litter the ground, and an acrid dust suffuses your senses. It looks like you could probably scramble down to the south without much injury. Up above, the judgement continues.\n\n> You examine the rock\nThe whole landscape is strewn with dusty rocks.\n\n> You get the rock\nYou touch one, and find that it's too hot to handle.\n\n> Go south\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. You can reach it by a wooden bridge to the southeast, which is held up by two anchoring poles lodged into the ground. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> You examine pole\nThe bridge is connected to two anchors on this side and two on the other side. The stakes are lodged into recesses in the ground.\n\n> You get the pole\nYou pull out one of the stakes, and the bridge to the southeast burns up, disappearing in an instant."
    },
    {
        "text": "[Themes: Surreal, Horror, hell, Terrorism, psychological, afterlife, London, surreal, amnesia]\n\n> Look around\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. There's no way over to it, but there is an upright stake lodged in the ground, and a recess next to it where another one might go. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> You put the stake in the hole\n(the wooden stake in the recess)\nYou lodge the stake into the recess, and a bridge shimmers into existence, leading southeast.\n\nA body rolls down the mountain, screeching desperately, before expiring in the flames below.\n\n> You go southeast\nChurch Isle (as Helen)\nA small hexagonal stone church stands here, filling up almost the whole surface area of the island. It's somewhat crooked, and seems to get thinner and more distant the higher up you look, until the spire is like a spindly wire reaching up to the sky. The church is surrounded by a spiky wire mesh fence; there might be an opening around the back, but you can't tell. You can only walk back across the bridge to the northwest. Flames are licking up at the church's foundations, and you have to be careful that they don't claim you too.\n\n> You examine the fence\nA wire mesh fence topped with spikes is hugging the walls of the church.\n\n> You examine the flames\nIt's a colossal pit of constant flame. You can feel its heat from here, and hear the blaze as loudly as if it were already consuming you. You know that it will do so. You belong there.\n\n> You pull the fence\nIt is fixed in place.\n\n> You go to the north-west\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. You can reach it by a wooden bridge to the southeast, which is held up by two anchoring poles lodged into the ground. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> Go east\nYou follow the rocky path around the base of the mountain, until it suddenly becomes impassable.\n\nFoot of the Mountain: East (as Helen)\nIn front of a line of heavy boulders, there's a cage. A cage, large enough for you to get into, and indeed with a door hanging invitingly open. A thick wire is connected to the top of the cage and runs right up into the sky, disappearing into thick cloud. You can still ignore it all and go back to the west, of course.\n\n> You look at the cage\nIt's a cage, cube-shaped and made of vertical metal bars. A thick cable is tied to the top of it, running all the way up into the clouds above. A door, also made of vertical bars, is hanging open.\n\n> You get the pole\nYou pull out one of the stakes, and the bridge to the southeast burns up, disappearing in an instant.\n\nThere's a scream, and someone rolls down the mountain into the fire.\n\n> You enter the cage\nNo sooner have you stepped into the cage than the door slams shut, and you start moving upwards. You look out at the side of the mountain, and then the movement gathers pace and before you know it, you've passed the summit. You look up through the bars and see the clouds getting nearer. Far below, the pit of fire is still bubbling and spitting away. You can see the great line of the dead, queuing all the way down the mountainside, waiting to be judged at the top, but now even the judges and the judging table look small and insignificant. Suddenly the vision disappears as you shoot into a cloud. The cage keeps on moving up, and you see the clouds changing colour: the first ones red and fiery, the next ones gradually cooler, whiter, bluer. Then you see people. People looking at you, resting on the clouds and looking at you, pointing at you. Angels casting murderous glances at you. People laughing.\n\nThen the cage stops, and you're looking out at a familiar group of people, playing cards on this white fluffy cloud. Mark is there.\n\nOn the Cloud (in the cage) (as Helen)\nMark, and a couple of unimportant cronies, are playing cards here, here on this cloud. This must be the little place in heaven they've been granted for their unshakeable faith. You get the feeling you should be guilty, but shameless or not, there's only one thing that interests you about the whole scene: the page of your book that's on the table.\n\n> You get the page\n(the page)\nYou can't reach that from inside the cage.\n\n\"What's that whore even doing here?\" says one of Mark's cronies.\n\n> Examine page\n(the page)\nA page from your book, a piece of you. But the words are blurred and you can't read them properly.\n\n> You examine Mark\nMark is sitting at the table, playing cards with two of his friends. He's completely ignoring the page that's right next to him, but something also makes you feel that he's guarding it.\n\n\"What's that whore even doing here?\" says one of Mark's cronies.\n\n> You remember\nYou can't seem to do that. Your mind's gone blank.\n\n> You talk to Mark\n\"Mark, look, I'm sorry about what happened. I'm really sorry. But I was wondering... could I have that page please?\"\n\nOne of Mark's friends snickers. That's all the response you get.\n\n> You examine the cronies\nTwo of Mark's friends are also sat at the table, concentrating hard on their game. You think one of them is Chris, and the other one is Paul. Or is it Luke? You're not sure. They're all pretty much the same anyway.\n\n> You talk to the cronies\n\"Would one of you be able to let me out of here please?\"\n\n\"Did you hear something?\" says one of Mark's friends.\n\n\"No,\" he replies. Perhaps if you could somehow prove to Mark that he once cared about you... Which you're fairly sure is true, even if it's incomprehensible.\n\n> You ask Mark about the tattoo on the left bicep\n[ You cannot specify topics to talk about. ]\n\"Mark, that page you've got there... it's useless to you. Let me have it. Please!\"\n\nNobody answers you, but you notice Mark slowly shaking his head. Maybe you could somehow prove to Mark that he once cared for you. He goes in for that soppy stuff.\n\n> You examine the cage\nIt's a cage, cube-shaped and made of vertical metal bars. A thick cable is tied to the top of it, running all the way up into the clouds above. The cage is currently shut.\n\n> You open it\nIt's locked! \"Hey there!\" you call. \"Please can I come out for a little bit?\"\n\nThey ignore you.\n\n\"What's that whore even doing here?\" says one of Mark's cronies.\n\n> You look at what you're carrying with you\nYou are carrying:\na wooden stake\na page\n\n> You look at the stake\nIt's a simple wooden stake that used to be holding up a bridge.\n\n> Sing\nYou have an awful singing voice.\n\n\"Can't we get rid of that horrible thing over there? I swear I'm going to puke in a minute.\"\n\n\"She's insignificant enough just to ignore,\" says Mark coolly.\n\n> You throw the stake at Mark\nNo! You might not be able to get it back.\n\n> You show the page to mark\n(the page to Mark)\n\"Hey, look at this!\" you call. But he doesn't pay any attention.\n\n\"We've got to be thankful for the Lord's protection,\" says Mark. \"There's so much evil around.\"\n\n> About yourself\nYou're just as useless in the dream world as in reality.\n\n> You wake up\nSuddenly you're awake, and you struggle back into a sitting position, but it feels like you've just come from one nightmare to another. Images and memories from your dreams are parading through your mind, as if you didn't have enough torment.\n\nCarriage (as Helen)\nIt's a grey, metal carriage, only slightly longer than it is wide. There's no window, so the only light is from a slim fluorescent lamp in the ceiling that flickers every so often, periodically plunging you into darkness.The floor is littered with dead wasps, but they're not you're only company: a man, probably in his early twenties, is in the same state, leaning against the opposite wall.\n\n> You examine the wasps\nDisgustingly, there are about a hundred dead things on the floor - concentrated in the centre of the carriage - bobbing up and down with the train's movement in a grotesque dance. They're bigger than wasps, and they're red, with menacing needles for stinging. It's a good thing they're all dead.\n\n> You remember\nPictures and memories of being a bully are lingering in your head, for whatever reason.\n\n> You think\nYou're not feeling hungry at the moment - not in the slightest - but what's going to happen when you are? Will the train stop before that happens, and you'll be hauled into a creepy nightmarish abandoned mansion in the middle of nowhere, where your screams will echo throughout the valleys, startling sheep and assorted wildlife but reaching not a single human ear, and you'll be kept barely alive by stringy, tasteless sludge that's shoved under the door once a day? Or will you be lucky and starve to death?\n\n> You talk to the man\nYou so wish that you could talk. Of course, you have no idea what he's like, but he can't be the bad guy around here. Just having somebody to talk to would make things so much more bearable.\n\n> You get up\nYou might be able to stand up, but there's no way you can walk anywhere without tripping: your legs are tied together with no fewer than three ropes. And even if you could walk, there is nowhere to go.\n\n> You examine the ropes\nThe ropes around you and him are the same and are in the same places - two are binding your arms to your sides and three are sticking your legs together. They are all excruciatingly tight.\n\nSuddenly that loud noise comes back, and the red light fills the room again. You can't help your pulse raising. But it happens just like last time: there are little tubes leading into the wall, and some sort of gas is being pumped out of them, but nothing happens. Then they shut.\n\n> You remember the bully\nYour primary school. A drab single-storey building surrounded\non all sides by the most garish green fence. You were standing next to that little extension on the side - you think it was the\nsecretary's office or something - and you were trying to count the bricks. A girl came up to you, and then she ran off because you\ntold her to go away.\n\n\"You can't join me because you can't count,\" you said. \"You're too stupid.\" You don't know what happened next. You didn't care. Maybe she went and cried in a corner, or maybe she just played with someone else.\n\n> You remember girl\nRhiane was her name. One of many people you looked down on. She\nwas stupid, though. She always got the teachers' questions\nwrong. She was enthusiastic, always wanted to answer, but even simple arithmetic eluded her. Still, you were mean to her. You never saw her again after you went to secondary school.\n\n> You remember the extension\nIt was just a little block jutting out from the main building. The curtains were almost always shut. You think it was the secretary's office.\n\n> You remember the primary school\nYou don't have too many memories of that place. The building was from the eighties: it was ugly, but not intolerable. The playground was just concrete with hopscotch painted on it and stuff like that; you remember it got really hot in the summer. You spent minimal time outdoors. You were first in line to get in, and you just put your head down and worked, storming through arithmetic workbooks and leaving everyone behind.\n\n> You remember secretary\nYou can't remember how many bricks it had. You did get an answer, but you can't remember it, nor even how you felt when you finally got it.\n\n> You remember the curtains\nThe curtains were almost always shut.\n\n> You think\nTime to take stock. Here you are, tied up, gagged, sitting on the floor in an iron train car, with only a load of dead wasps and a complete stranger who is similarly incapacitated for company. Now, what does this mean? Can you solve this one by induction? Stop being silly, Helen, this is bloody serious. It means you've been kidnapped. But why would that happen? You can't understand why a kidnapping of this magnitude would happen to a nobody like you. You would expect a random psychopath to just hack your limbs off and be done with it; if somebody is actually keeping you alive, it makes you think they need you for something.\n\n> Inventory\nYour hands are bound to your sides, and honestly, there's nothing here that you'd want to pick up anyway.\n\nSuddenly that loud noise comes back, and the red light fills the room again. You can't help your pulse raising. But it happens just like last time: there are little tubes leading into the wall, and some sort of gas is being pumped out of them, but nothing happens. Then they shut.\n\n> Sleep\nYou're feeling surprisingly tired, so even though you'd rather not be off your guard in a situation like this, you can't be bothered to worry about it. You fall down onto your side, shut your eyes, and try to let the train's steady movement send you off.\nOn the Cloud (in the cage) (as Helen)\nYou're looking out of your prison at the little piece of heaven that Mark and his friends have been given. They're sat at a small table, completely ignoring you, having a game of cards. One of your pages is on the table. If the situation seems hopeless, then you think the lever that's poking through the bars of your cage would send you back down.\n\n> You look at the cards\nThe card game seems placid, but serious. Mark's hand is unreasonably good. You can't see what the others have got.\n\n\"We've got to be thankful for the Lord's protection,\" says Mark. \"There's so much evil around.\"\n\n> You call the tichu\nYou don't have a phone.\n\n\"Can you smell something?\" says a friend of Mark. \"It's horrid.\"\n\n> Down\nHow do you propose to get down?\n\n> You pull the lever\nSuddenly the whole scene disappears as the cage shoots down into the cloud. It's swaying violently from side to side, shooting down between the clouds, barely giving the other residents chance to see you. Soon you're looking down at the pit of fire far below you, but before you know it the cage has slammed back into the ground and you're back at the side of the mountain.\n\nFoot of the Mountain: East (as Helen)\nIn front of a line of heavy boulders, there's a cage. A cage, large enough for you to get into, and indeed with a door hanging invitingly open. A thick wire is connected to the top of the cage and runs right up into the sky, disappearing into thick cloud. You can still ignore it all and go back to the west, of course.\n\n> Go west\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. There's no way over to it, but there is an upright stake lodged in the ground, and a recess next to it where another one might go. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> You go west\nFoot of the Mountain: West (as Helen)\nLooking west you can see an island, floating on the surface of the fiery sea. A single wooden stake is lodged into the ground here, with a recess next to it, and directly opposite you on the island's shores are two more stakes. You can continue around the mountain to the north, or go back where you came from to the south.\n\n> You put the stake in the hole\n(the wooden stake in the recess)\nYou lodge the stake into the recess, and a bridge shimmers into existence, leading west.\n\n> Go west\nCoast (as Helen)\nYou're on the shores of an island, bigger than the church isle you saw earlier, floating in the pit of fire. The great mountain is visible to the east, and a bridge leads over to its base. There's a crater here, with a signpost next to it that has an arrow pointing down.\n\nThere's one of your pages here, glowing faintly.\n\n> You get the page\n(the page)\nThat was the second of your pages. Somehow, you know there are seven. There's always seven.\n\n> You examine sign\nThe arrow is pointing straight down.\n\n> You look at the crater\nThere's a crater, with a radius of almost a metre, and there's a signpost next to it with an arrow pointing straight down.\n\n> You read the page\nA page from your book, a piece of you. But the words are blurred and you can't read them properly. Maybe if you were awake you'd be able to concentrate on it?\n\n> You wake\nSuddenly you're awake, and you struggle back into a sitting position, but it feels like you've just come from one nightmare to another. Images and memories from your dreams are parading through your mind, as if you didn't have enough torment.\n\nCarriage (as Helen)\nIt's a grey, metal carriage, only slightly longer than it is wide. There's no window, so the only light is from a slim fluorescent lamp in the ceiling that flickers every so often, periodically plunging you into darkness.The floor is littered with dead wasps, but they're not you're only company: a man, probably in his early twenties, is in the same state, leaning against the opposite wall.\n\n> You remember\nImages from your wretched past are swimming around in your mind: the holiday in Turkey and being a bully. Most prominent are the memories of being a bully.\n\n> You remember the Turkey\nThere was that nuclear furnace we call the Sun, and though you knew it was the same one, it definitely felt different, beating down on you on the Mediterranean coast of Turkey. You felt very dizzy on that walk, because of the heat. You'd gone out of your little holiday cottage on your own, hadn't told your parents where you were going. Mary was in the pool, and you didn't like swimming, so you just left. You walked through the town, wandered in and out of shops, tried to talk to random locals, who didn't answer you, not even if you said \"merhaba\" or some of the other phrasebook things that you can't remember now. You ended up on this beautiful coastal path, looking out at the glimmering sea and the beautiful rocks poking out of it.\nYou were fourteen.\n\n> You remember the sea\nYou remember looking down at the sea, and all you could think about was what it would be like to jump in. It was a really long way up, and you weren't scared. There was no fence on the side of the cliff - it would have been so easy to just dive down. You knew you wouldn't do it, but you couldn't resist thinking about it.\n\nUsually you wouldn't want to be asleep when you feel in danger, but you've somehow ceased to care. You could do with a nap.\n\n> You remember the rocks\nYou thought about the rocks poking out from the water. You thought about your jumping trajectory. You imagined what it would be like to fall straight onto the rocks, your blood flowing out to sea.\n\n> Sleep\nYou're feeling surprisingly tired, so even though you'd rather not be off your guard in a situation like this, you can't be bothered to worry about it. You fall down onto your side, shut your eyes, and try to let the train's steady movement send you off."
    },
    {
        "text": "[Themes: Surreal, Horror, male protagonist, Christianity, multiple protagonists, alternate reality, London, surreal, afterlife]\n\n> You go downwards\nCoast (as Helen)\nYou're on the shores of an island, bigger than the church isle you saw earlier, floating in the pit of fire. The great mountain is visible to the east, and a bridge leads over to its base. There's a crater here, with a signpost next to it that has an arrow pointing down.\n\nYou step into the crater experimentally, finding the ground to be somewhat elastic, almost like fabric. Nothing happens though, so you step out.\n\n> Inventory\nYou are carrying:\n2 pages (of 7)\n\n> Go east\nFoot of the Mountain: West (as Helen)\nLooking west you can see an island, floating on the surface of the fiery sea. A wooden bridge leads over to its shores. You can continue around the mountain to the north, or go back where you came from to the south.\n\n> You go north\nYou continue walking around the mountain, clambering over fallen rocks and picking your way through dead bushes. You look ahead, and stop dead in your tracks. In the distance you can see that parade of death that you came from: the dead, clambering up the mountainside towards judgement. Nobody's seen you, and you'd rather it stay that way. Your heart beating fast with terror, you scurry back around to where you came from, moving so recklessly that you almost fall into the fire.\n\nFoot of the Mountain: West (as Helen)\nLooking west you can see an island, floating on the surface of the fiery sea. A wooden bridge leads over to its shores. You can go back where you came from to the south.\n\n> Up\nYour climbing skills are too pathetic. You might as well just jump straight into the fire to save yourself the bother of falling in accidentally.\n\n> You get the stake\nThe stake looks as though it would be easy to pull out, but there's that other recess right next to it: you'd rather put another in than have both recesses empty.\n\n> Go north\nMountainside (as Helen)\nYou're looking out upon the enormous pit of fire surrounding the mountain. Rocks of various sizes litter the ground, and an acrid dust suffuses your senses. It looks like you could probably scramble down to the south without much injury. Up above, the judgement continues.\n\n> You go west\nFoot of the Mountain: West (as Helen)\nLooking west you can see an island, floating on the surface of the fiery sea. A wooden bridge leads over to its shores. You can go back where you came from to the south.\n\n> You get the stake\nYou pull out one of the stakes, and the bridge to the west burns up, disappearing in an instant.\n\n> You put the stake in the hole\n(the wooden stake in the recess)\nYou lodge the stake into the recess, and a bridge shimmers into existence, leading southeast.\n\nAnother body wordlessly accepts its fate, and flies down into the pit of fire.\n\n> You go southeast\nChurch Isle (as Helen)\nA small hexagonal stone church stands here, filling up almost the whole surface area of the island. It's somewhat crooked, and seems to get thinner and more distant the higher up you look, until the spire is like a spindly wire reaching up to the sky. The church is surrounded by a spiky wire mesh fence; there might be an opening around the back, but you can't tell. You can only walk back across the bridge to the northwest. Flames are licking up at the church's foundations, and you have to be careful that they don't claim you too.\n\n> You enter Church\nYou bump into the fence surrounding the church. Your vision blurs momentarily.\n\n> You cut the wire\nWhich do you mean, the church or the fence?\n\n> Fence\nThings do seem quite soft here, as though you could easily cut into them. But you'd still need a tool of some kind.\n\n> You climb the spire\nIt's much too high, and you imagine it would just get keep getting taller if you climbed up, so that you'd never reach the top.\n\n> Pray\nGod's dead, remember?\n\n> You turn the Church\nYou are unable to.\n\n> You look at Helen\nThe girl is up against the wall directly opposite you, with the same tight ropes binding her limbs together, and the gag over her mouth. There's a nagging familiarity about her, but no matter how many times you cast your eyes over her tangled brown hair, pale face, the expensive-looking navy blue jumper or surprisingly intact jeans, you cannot work out who she is. She looks to be in her early twenties, and generally, you feel she doesn't deserve to be here. Not that anyone does.\n\nShe's currently lying on her side, getting some sleep.\n\n> About yourself\nIt really is as bad as it feels. Your arms and legs are tightly bound; you've got no chance of shaking yourself free or even being able to move around. And worst of all, you can't even talk to the only other person in the room. The gag feels like a permanent attachment.\n\n> You remember\nYou decide to give it another go. Shutting your eyes tightly, you devote all your energy to the task of remembering, and this time the memories come in thick and fast, so quickly you can scarcely keep up. And that's it. Your sad, sorry life. You're just another idealistic idiot who thinks he can make a difference. You've achieved nothing, done nothing wrong and nothing right. Your last memory is of racing to the Underground and fighting your way through the carriage to stop Reth's stupid, stupid plan from working. And you did, didn't you? You did it. And that's all you remember. Don't say this is his silly messed-up idea of revenge... Reth isn't like that. No, you just don't get it.\n\nSome memories seem particularly clear in your mind now. Usually you have no interest in the past, especially your own.\n\nYou're feeling quite sleepy.\n\n> You remember\nVarious memories are running around your head: the climate change talk and the anti-war march.\n\n> You remember the climate change talk\nThe talk was over and you were pretty much exhausted, especially after all the long, technical and boring questions that had been asked at the end. Various campaign groups had stalls in the entrance\nhall area and you quickly lost Caroline in the crowd. You'd\nbeen loitering in the middle of the room for a while, not knowing where to go, too jaded to go and read the posters and leaflets that had been set out, when a youngish or middle-aged woman spotted\nyou and started talking to you, for whatever reason.\n\nThere's that clanking sound again. As before, a red light fills the room every second, and little vents open on the walls. There's the sound of rushing air, a horrid smell, and then they shut.\n\n> You remember the woman\nYou'd never seen her before and you never saw her again. She was wearing a shirt and a jacket like a businesswoman but she still seemed a bit scruffy. She had short hair and a rucksack over one shoulder. Her voice was quite deep, full and stern, but it was so busy in there that you doubt anyone else heard what she was saying to you.\n\nMaybe you could try going to sleep... Maybe when you wake up you'll have arrived. Somewhere.\n\n> You remember the rucksack\nYou don't remember everything you talked about, but some of it sticks out.\n\n\"I just want to know the answer,\" you remember saying. \"All this talk about the problems and about how deeply ingrained they are in our society, but what do you do about that?\"\n\n\"You should go over there,\" she said, pointing to the socialist youth stall. \"Far as I'm concerned, that is the place to start.\"\n\n> You remember the stalls\nThere were stalls for all kinds of things, from political parties to environmental campaign groups to home solar panel installation companies.\n\n> You remember the socialist youth\nYou were too tired to look carefully or to speak to them there and then, so you just snatched up one of each of the leaflets and fliers.\n\n> You remember the leaflets\nWhich do you mean, the stalls or the socialist youth stall?\n\n> You remember Caroline\nCaroline wasn't in the best of moods that day, and you can hardly go to a talk on climate change to unwind. You'd just recently caved in to getting a soul-destroying job at a supermarket, just for the money, and as soon as her ex-husband heard about it, he stopped sending Caroline the money packets that were only just keeping you afloat as it was. So, money was as tight as ever, if not more so.\n\n> You remember the march\nThe memory has been overtaken a bit by all the other demos you've been on since, but the first one always sticks out, of course. The anger on the streets was probably more palpable than you've ever felt it. You remember loving the crowd, being able to voice that anger along\nwith so many others. The streets were familiar but transformed. You all felt so powerful; you could make a difference; surely they couldn't ignore you, the people. Best of all, Caroline was\nthere all the way, shouting along with you. You loved having a mother who felt the same way as you.\n\nWhat you learned from it all was: the government can't be trusted.\n\n> You remember the crowd\nIt's strange that the first march you went on was also the biggest. You suppose it was something that tended to cut across political differences. You weren't 'political' at 11 years old, after all, so you suppose there were plenty of older people who were similarly apolitical but just knew injustice when they saw it. The streets were simply packed full. You remember catching glimpses of the sidelines; the police were always there.\n\n> You remember Caroline\nYou're not really sure how it started, but you can scarcely imagine it any other way. It's not like she dragged you into this or that you dragged her into it: together you saw what was going on around you and together you acted. You were sounding boards for each other, trying to disentangle the politics. You learnt from each other. Even then, you called her Caroline. Her husband - you didn't call him dad, let alone Steve - was out of the picture. You didn't talk about him and didn't need to.\n\nThere's that clanking sound again. As before, a red light fills the room every second, and little vents open on the walls. There's the sound of rushing air, a horrid smell, and then they shut.\n\n> You think\nYou've established you're called Ross, you're twenty-one, a Londoner, a worker, a servant, a groundsman. Just another cog in a big world-destroying machine, and that's all you'll ever be.\n\n> You be\n(the person opposite you)\n\nChurch Isle (as Helen)\nA small hexagonal stone church stands here, filling up almost the whole surface area of the island. It's somewhat crooked, and seems to get thinner and more distant the higher up you look, until the spire is like a spindly wire reaching up to the sky. The church is surrounded by a spiky wire mesh fence; there might be an opening around the back, but you can't tell. You can only walk back across the bridge to the northwest. Flames are licking up at the church's foundations, and you have to be careful that they don't claim you too.\n\n> Go west\nIf you go that way, you'll fall headlong into the fire. You can sense the pain already.\n\n> You go to the north-west\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. You can reach it by a wooden bridge to the southeast, which is held up by two anchoring poles lodged into the ground. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> You get the pole\nYou pull out one of the stakes, and the bridge to the southeast burns up, disappearing in an instant.\n\n> You be ross\nCarriage (as Ross)\nThe metal carriage is a deep grey with shadowy corners, and the fluorescent lamp on the ceiling is on the blink, so that every so often you're sent into total darkness. Your only company is the girl opposite you and a sea of dead wasps. You don't know where you're going or how you got here.\n\n> Sleep\nYou're not getting anywhere by being awake, so you don't think it will matter to try getting some sleep. It's hardly comfortable, but it isn't noisy - in fact it's far quieter than London. You push yourself over onto your side and shut your eyes.\n\n> You check what you're carrying\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\nYou are carrying:\na sickle\n2 pieces of soul (of 7)\n\n> You wake\nYou bolt awake. Still in the train carriage, trundling along. You manage to push yourself back into a sitting position. Pictures from your past, things you saw in your dream, are still in the front of your mind.\n\nCarriage (as Ross)\nThe metal carriage is a deep grey with shadowy corners, and the fluorescent lamp on the ceiling is on the blink, so that every so often you're sent into total darkness. Your only company is the girl opposite you and a sea of dead wasps. You don't know where you're going or how you got here.\n\n> You touch girl\nYou can't reach her... You're tied up.\n\n> Untie\nWhat do you want to untie?\n\n> Ropes\nIf only. But there's no way you can do anything with the ropes. Your arms are bound to your sides, and your hands come down frustratingly short of the rope around your shins, so you can't even touch it.\n\n> You untie Helen\nSo, if you weren't tied up, you'd pick her up and take her... where exactly? This plan seems doomed to failure.\n\n> Wriggle\nYou try scraping the ropes against the wall, and the floor, but it's not working. They're much too strong.\n\n> Bite gag\nEven if your hands weren't bound to your sides, you reckon taking it off would be extremely painful and might also remove your lips. It would probably be worth it, all the same.\n\n> Shout\nYou cry out, wanting to release some anger, but the gag over your mouth is so thick that it muffles and enfeebles every sound you make.\n\nYou feel so tired.\n\n> Go west\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\n> You look at the sickle\nA dependable worker's tool.\n\n> Go east\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\n> You cut east\nYou plunge the sickle into the wall, and it cuts itself into the shape of an arch, leading east.\n\n> Go east\nMachine Room: East (as Ross)\nIt's a continuation of the machine room, with more of the squeaking, pulsing mechanisms and gizmos. A trapdoor in the floor leads into darkness via a ladder. Emanating from it is a symphony of slicing, cutting and crashing sounds, and there's a machine up here that's buzzing and shaking in time with it.\n\nAn archway leads west.\n\n> You get sickle\nYou feel around the edges of the arch, then peel it away, removing the way to the west. You now have a sickle.\n\n> You put sickle in Machine\n(the sickle in the loud machine)\nYou'd rather put things on the floor than on the machines.\n\n> You put the sickle on the floor\n(the trapdoor)\nIf possible you'd rather not drop anything important in there.\n\n> You get the ladder\nHow on earth could you carry that?\n\n> You turn off Machine\nThere are no visible controls on the machine. You'll have to take a more physical approach.\n\n> Kick machine\nIt is fixed in place.\n\n> Kiss machine\nDisgusting thought. Not even going to try.\n\n> You check your inventory\nYou are carrying:\na sickle\n2 pieces of soul (of 7)\n\n> You cut W then W\nYou plunge the sickle into the wall, and it cuts itself into the shape of an arch, leading west.\n\nMachine Room: Central (as Ross)\nGiant cogs are turning, forming a messy pattern that snakes around the room, interspersed with other machines whose function is entirely opaque to you. Some are spewing steam, some are making horrid squelching noises, some have bright flashing lights. There is a wall to the east, and many of the cogs cut right through it. You can go back to the west.\n\nAn archway leads east.\n\n> Up\nYou climb the stairs, and the stairs themselves fly upwards, so that with each footfall you're much higher up. Eventually the staircase halts, and you step off onto a platform.\n\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\nYou suddenly see a burst of colour floating past you, and it turns out to be a glass sphere drifting up towards the pipe. Presumably someone's soul is within. You have no time to save it before it is caught by the flow and vanishes down the tube.\n\n> You put the sickle in the pipe\nYou stretch your arm out and let the torrent seize the sickle. It disappears down the pipe in an instant."
    },
    {
        "text": "[Themes: Surreal, Horror, psychological, afterlife, dream, Terrorism, surreal]\n\n> You look at your surroundings\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\n> You check what you're carrying\nYou are carrying:\n2 pieces of soul (of 7)\n\n> You examine flow\nMaterial from the Earth is gushing through this pipe, on its way to the beast.\n\n> You examine the floor\nThere's a staircase.\n\n> You be helen\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. There's no way over to it, but there is an upright stake lodged in the ground, and a recess next to it where another one might go. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\nYou hear a noise from up the mountain, and see a pair of scissors and a colourful glass sphere tumbling down towards you. The sphere instantly smashes into a million shards, which disappear in the dust.\n\n> You get the scissors\nYou bend down and retrieve the pair of scissors.\n\nAnother body wordlessly accepts its fate, and flies down into the pit of fire.\n\n> You look at it\nIt's a big pair of scissors that came over the mountaintop.\n\n> You go south\nIf you go that way, you'll fall headlong into the fire. Perhaps it's time.\n\n> You go to the southeast\nTime to stop fooling around here. You step to the edge and let the flames lick your feet. You get used to the burns, almost enjoy it, and then you sway forward and let yourself go. The heat surges inside you, an intense pain eating through you, snaking round your blood vessels and turning you to death. You still have the sensation of falling, and falling, and you think you see something metal. Something big and metal, floating in space, consuming the Earth, but that's all you have time to notice before you scream your way into oblivion.\n\n> Sleep\nSuddenly you're awake, and you struggle back into a sitting position, but it feels like you've just come from one nightmare to another. Images and memories from your dreams are parading through your mind, as if you didn't have enough torment.\n\nCarriage (as Helen)\nIt's a grey, metal carriage, only slightly longer than it is wide. There's no window, so the only light is from a slim fluorescent lamp in the ceiling that flickers every so often, periodically plunging you into darkness.The floor is littered with dead wasps, but they're not you're only company: a man, probably in his early twenties, is in the same state, leaning against the opposite wall.\n\nYou're feeling surprisingly tired, so even though you'd rather not be off your guard in a situation like this, you can't be bothered to worry about it. You fall down onto your side, shut your eyes, and try to let the train's steady movement send you off.\n\n> You put the stake in the hole\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. There's no way over to it, but there is an upright stake lodged in the ground, and a recess next to it where another one might go. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\nYou need to be holding the recess before you can put it into something else.\n\n> You check your inventory\nYou are carrying:\n2 pages (of 7)\n\nAnother body wordlessly accepts its fate, and flies down into the pit of fire.\n\n> Go north\nMountainside (as Helen)\nYou're looking out upon the enormous pit of fire surrounding the mountain. Rocks of various sizes litter the ground, and an acrid dust suffuses your senses. It looks like you could probably scramble down to the south without much injury. Up above, the judgement continues.\n\n> Go south\nFoot of the Mountain: South (as Helen)\nDown here, the pit of fire attacks all your senses at once, your eyes with its intense colour, your ears with the sound of its bubbling and popping, your skin with its searing heat. Just a short distance away over the fire is a small island with a small church on it, and indeed no room for anything else. There's no way over to it, but there is an upright stake lodged in the ground, and a recess next to it where another one might go. There are also paths around the base of the mountain to the west and east, and a way back up to the north.\n\n> You be ross\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\nThere's a loud sucking noise, and a sickle and a metal pole suddenly drop out of the flow, strangely intact.\n\n> You get all\nmetal pole: You expropriate the metal pole.\nsickle: You expropriate the sickle."
    },
    {
        "text": "[Themes: Surreal, Horror, amnesia, Christianity, Terrorism, violence, dream, hell]\n\n> Descend\nAs you climb down the stairs, the entire staircase shoots down, landing in the huge machine room you came from.\n\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a single stake, standing upright, and just beyond it is a gap in the floor, so that you can see through to the void of space below. A set of stairs leads up, and the machine room itself extends eastward.\n\n> You put the pole in the hole\n(the metal pole in the recess)\nYou lodge the stake into the recess, and a bridge shimmers into existence, leading north.\n\n> Go north\nOver the Gap (as Ross)\nYou've crossed the abyss to get over here, and there's just a boarded-up door to the north and, slightly more intriguingly, a strange device hanging through the ceiling - a column of metal with handles at the bottom. You could get back via the bridge to the south.\n\nA small crystal is here - a part of your soul ready to be taken back.\n\n> You get the crystal\n(the piece of soul)\nYou've found another part of your 'soul'.\n\n> Examine column\nA strange column of metal is hanging down from the ceiling, a bit like a periscope, with handles at the bottom as though you could turn it. You imagine it goes up into one of the pipes, but you're not sure what effect turning it has.\n\n> You turn it\nYou get a grip on the handles and try turning the machine in an anticlockwise direction. It's stiff, but you put in all your might and it finally budges, moving around by a set amount and clicking into a new position. The handles are strangely hot, as though the machine is connected to a furnace or something.\n\n> You look into it\nThat sounds like a waste of time.\n\n> You turn the column\nYou get a grip on the handles and try turning the machine in an anticlockwise direction. It's stiff, but you put in all your might and it finally budges, moving around by a set amount and clicking into a new position.\n\n> You turn the column\nYou get a firm grip on the handles and rotate the mechanism anticlockwise, which clicks sharply into a new position.\n\n> You go south\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a bridge across a wide gap in the floor. A set of stairs leads up, and the machine room itself extends eastward."
    },
    {
        "text": "[Themes: Horror, Surreal, surreal, afterlife, amnesia, psychological, violence, mystery, Christianity]\n\n> Go downwards\nAs you climb down the stairs, the entire staircase shoots down, landing in the huge machine room you came from.\n\nMachine Room: West (as Ross)\nComplicated machinery is everywhere, clunking and scraping and turning and chugging away at the task of destroying the planet. At the north end of the room is a bridge across a wide gap in the floor. A set of stairs leads up, and the machine room itself extends eastward.\n\n> You go north\nOver the Gap (as Ross)\nYou've crossed the abyss to get over here, and there's just a boarded-up door to the north and, slightly more intriguingly, a strange device hanging through the ceiling - a column of metal with handles at the bottom. You could get back via the bridge to the south.\n\n> You look at the handles\nA strange column of metal is hanging down from the ceiling, a bit like a periscope, with handles at the bottom as though you could turn it. You imagine it goes up into one of the pipes, but you're not sure what effect turning it has.\n\n> Turn\nWhat do you want to turn?\n\n> You turn the column clockwise\nYou get a grip on the handles and try turning the machine in a clockwise direction. It's stiff, but you put in all your might and it finally budges, moving around by a set amount and clicking into a new position.\n\n> You turn the column clockwise\nYou get a firm grip on the handles and rotate the mechanism clockwise, which clicks sharply into a new position.\n\n> Go upwards\nYou climb the stairs, and the stairs themselves fly upwards, so that with each footfall you're much higher up. Eventually the staircase halts, and you step off onto a platform.\n\nBeneath the Pipe (as Ross)\nYou're standing on a small platform, watching severed parts of Earth shoot past through the pipe just above you that leads to the beast. By this point in their processing, things are barely recognisable as belonging to Nature - there are some earthy colours and familiar shapes, but it's mostly just a kind of tangled mush. Bits of it escape the flow and trickle onto the floor, creating a pungent deathly odour. A tiny ladder will take you right into the flow.\n\n> You check what you're carrying\nYou are carrying:\n3 pieces of soul (of 7)\na sickle"
    },
    {
        "text": "[Themes: Science Fiction, ecology, crashed spaceship, violence, telepathy, non-human npcs, changing environment, transformation, animals, science fiction]\n\nYou wake and see blood.\n\nThere's blood everywhere. So much blood, that at first you don't realise there's a figure behind the blood. It's alive, just; there's a face, twisted with pain, and more blood that bubbles from its mouth as it breathes, and a hand that spasms as it tries to paw at the thing projecting from where a chest should be. The eyes gaze into yours. There is still life and desperation there, but it it knows that it is quickly running out.\n\nYou want to help. You reach out --- and that is when you realise that you are looking into the inside of the reflective cockpit canopy, and that the face you can see is yours.\n\n\n\nYou wake.\n\nSomething's different.\n\nYou are immersed in a warm, comforting heap of something soft. It envelops you like an old blanket.\n\n> About you\nYou'll have to get out of this stuff first.\n\n> Exit\nYou fight your way free of the cottony stuff. Dim light blinds you for a moment.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. The air seems permeated with peacefulness.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\nYou climb out of the pile of fluff to find it's heaped on a low, leafy dais. As you step off, the dais silently folds closed behind you to become one of the cocoons.\n\n> You examine the cocoon\n(the closed cocoons)\nOn closer inspection, the cocoons are actually growing out of the trees. They're hard balls of veiny green leaves of all different sizes, from half a metre to several metres in diameter. You're not sure which one you climbed out of.\n\n> You open the cocoon\n(the closed cocoons)\nThey open and close by themselves.\n\n> About yourself\nYou walk over to the water and study your reflection. The river is wide and dark, and in the dim light makes an almost perfect mirror.\n\nRather than the face you were expecting --- a battered one, but human --- you instead see a furry snout with bulbous eyes on each side and a wide mouth.\n\nYou recognise it from the survey report: the temporary name tagged on the creature is rabbit, for fairly obvious reasons. Numbly,\nyou find yourself interested that you're finally seeing one up close.\n\nIt's definitely you. Now you're actually noticing, it's\nperfectly apparent that the body you're inhabiting is not your own. The fact that it feels totally natural is strangely unnerving.\n\nBut that still doesn't explain how, or why, although you can make a decent guess at where.\n\n> You examine the river\nThe river is wide and dark, and in the dim light makes an almost perfect mirror.\n\nYes, still a rabbit. You stare in horrified fascination for a few moments.\n\n> About yourself\nYou walk over to the water and study your reflection. The river is wide and dark, and in the dim light makes an almost perfect mirror.\n\nYes, still a rabbit. You stare in horrified fascination for a few moments.\n\n> You listen\nIt is utterly silent.\n\n> Smell\nThere's the faint wet smell of damp mud.\n\n> Dig\nYou scuff the soil a little."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, animals, violence]\n\n> You look around\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. The air seems permeated with peacefulness.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\n> You examine the trees\nYour gaze slowly follows the tree trunks up to the canopy far overhead. It's an awesome sight. You've never seen anything this big that was alive before. At least, not in person. You recognise it from the Concerto's survey photographs: it's a Mother Tree.\n\nThe Mother Tree is, according to the Concerto, a commensal\nplant which is semi-symbiotic on the surrounding wildlife. Actually getting more details was like pulling hen's teeth; the ship wouldn't answer questions about them, and the survey department seemed to be almost frightened. Eventually you managed to push enough alcohol down Francis so that he muttered something about taking life with one hand and giving it back with the other before he clammed up.\n\n> You climb Tree\nIt's just too big.\n\n> Smell the cocoon\n(the closed cocoons)\nThere's the faint wet smell of damp mud.\n\n> Go north\nJust as you're about to move, you see motion at the northern edge of the Mother Tree. In panic, you dive behind a tree.\n\nA shape emerges from the light of the river arch: one rabbit dragging another. The one that is doing the pulling is a bit bigger than you are, and marked in black and white. The one on the ground... is obviously dead, eyes staring, grey fur tattered and muddy. It's heavy and awkward and the black and white rabbit is having difficulty moving it.\n\nAs you watch, one of the green cocoons silently splits open and unfolds. The black and white rabbit glances in your direction and then continues dragging the corpse after it into the cocoon.\n\n...the rabbit knows very little, but it knows this: its companion\nwas once alive, and is now dead. And it wants it to be alive. This cannot happen, but there is a way they can be reunited, and the Mother Tree is kind. The rabbit is old and tired but it has enough strength to do this, and so it drags the rigid corpse to the Mother Tree. The strange zombie rabbit is watching it, but that is unimportant now. All there is left to do is wait.\n\n...what just happened?\n\n> You wait\nThe cocoon closes, as silently as it opened, about the two rabbits.\n\nTime passes.\n\n> You examine the cocoon\n(the closed cocoons)\nOn closer inspection, the cocoons are actually growing out of the trees. They're hard balls of veiny green leaves of all different sizes, from half a metre to several metres in diameter. You're not sure which one you climbed out of.\n\n> You wait for a while\nTime passes.\n\n> Go north\nYou emerge, blinking, into the sunlight. Once your eyes have adjusted, you look up. Yes, this is Elysia. The Semiquaver at least\nmanaged to crash on the right planet.\n\nAlthough you were hurt pretty badly. Maybe the\nConcerto picked you up and this is some sort of recuperative virtuality? That would at least explain the whole... rabbit... thing.\n\nAssuming for sanity's sake that this is real, the shuttle should be around here somewhere.\n\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nSomething... very strange... starts to happen. You find yourself with this strong feeling of peacefulness, except you know it's not you feeling it; you can even sense the direction. You never felt anything like it before, but nevertheless, you can distinctly feel peacefulness from the west.\n\n> You feel\nWhat do you want to feel?\n\n> Peacefulness\nAll you can tell is that it's coming from the west.\n\n> Taste peacefulness\nThat doesn't seem possible.\n\nThat isn't available.\n\n> You go west\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, and you wonder what it would be like from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nYou're suddenly face to face with a swarm of small furry creatures, scattered across the grass. For a moment you panic... and then you recognise them as other rabbits. Some of them look at you, but mostly they ignore you completely. You study them, fascinated. You never realised they came in so many different colours.\n\nA very small rabbit pokes its head out of a burrow, and then goes back down again.\n\n> You enter the burrow\nThe burrow is blocked by a large rabbit. It stares at you calmly. It's quite unthreatening, but it's still not letting you in.\n\nOne rabbit chases another a few metres.\n\n> Bite rabbit\nA rabbit yawns.\n\nBefore you can move, the rabbits all turn to stare at you in unison. Then something... odd... happens. The next thing you are aware of is that you're sitting right where you were, disoriented, and there are no rabbits."
    },
    {
        "text": "> Look around\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, and you wonder what it would be like from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nEyes seem to be staring at you from out of the burrows.\n\n> Dig\nYou have a very strong feeling that the rabbits are more dangerous than they look. That's probably not a good idea.\n\nA small group of deer-like animals, much larger than you are, gallop up from the east with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing. One of them turns its head to look at you.\n\nThe buck is completely secure in his world. He has few needs: his mates, enough to eat, safety. Here in the canyon the only thing he has to be at all wary of is that annoying little creature with the sharp teeth that is always hanging around; if it ever came close enough he could kill it with a single kick, but it always keeps its distance. There is a nagging itch at the back of his mind, however: somewhere in the canyon there is the smell of the Wonderful Plant. He just can't find it.\n\nThere. It happened again.\n\n> Smell\nThe air is good, nearly as good as the Concerto's, but\nuninteresting.\n\nOne of the younger deer bites its sibling, and there's a brief altercation.\n\n> You examine the deer\nThere are five of the creatures. One male, two females, and a couple of juveniles? It's very hard to tell, as they're all very similar apart from the size. They're smaller than you were expecting from the survey, barely the size of a large dog, but the blue-green fur is just as startling as you remember. They each have a single forward-curving horn that looks extremely sharp.\n\nThe deer suddenly look up, and then bound off north.\n\nA vicious-looking brown and white creature trots up from the east. You see bright eyes and hunger. The survey report mentioned these. It's a...\n\nThe fox is hungry, but it is always hungry. A long time ago it was mauled by one of those horrible animals at the dam, and was unable to hunt and was starving; then it found a dead deer, and gorged itself on the half-rancid meat. It was the best thing it ever experienced, and for a few brief hours afterwards, it was replete. Now it follows the deer around endlessly. They are far too large for it to kill, but it lives in hope of another windfall. In the meantime it scavanges for insects and tiny furry things. And, of course, it's always on the lookout for a bigger meal.\n\nYou blink, disoriented.\n\nIt eagerly begins to chase you.\n\n> You enter the burrow\nThe burrow is blocked by a large rabbit. It stares at you calmly. It's quite unthreatening, but it's still not letting you in.\n\nThe fox pounces on you. You just have time to think oh, sh---\nas its jaws close on your neck, and then everything stops.\n\n> Go west\nYou were wrong: the view is terrible from here. Outside the canyon there is just barren, sandy wasteland, with the occasional scrubby plant, stretching away in all directions. There are mountains on the horizon, but there's no way you could survive out here long enough to reach them. Down to the east the oasis of the canyon is mostly hidden behind the terrain. There is a rise to the south, near where the land stops.\n\nThere's that strange sensation again, of excitement and caution from the east.\n\n> You go south\nA narrow finger of rock points out over the cliff. Unlike the desert, the view here is extraordinary: the lush green canyon falls away to the west, and the endless cloud ocean of the Elysian Lowlands fills the eastern horizon, thousands of metres below. Straight down you can see where the river falls away over the edge of the cliff.\n\nSomething large and metallic shines on the other side of the canyon.\n\n> You look at the canyon\nIt's spread out below you: the Mother Tree at the south end; then the meadows; the river flowing out of the lake, surrounded by forests; and far away at the north there's a distant cascade of water, almost too small to make out.\n\n> You go north\nYou were wrong: the view is terrible from here. Outside the canyon there is just barren, sandy wasteland, with the occasional scrubby plant, stretching away in all directions. There are mountains on the horizon, but there's no way you could survive out here long enough to reach them. Down to the east the oasis of the canyon is mostly hidden behind the terrain. There is a rise to the south, near where the land stops.\n\nYou can feel caution from the east.\n\n> Go east\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, much better than it was from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nEyes seem to be staring at you from out of the burrows.\n\n> Go east\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nYou can feel caution from the west.\n\n> Go north\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\n> Go west\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows.\n\nYou can feel peacefulness from the south.\n\n> Dig\nYou go to work with your front paws and quickly clear the loose sand out of the burrow. It's surprisingly satisfying work.\n\nThere's that peculiar sensation again; the feeling of peacefulness changing to caution from the south."
    },
    {
        "text": "> You look around\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nYou can feel caution from the south.\n\n> You enter the burrow\nIt takes a few moments for your eyes to adjust to the dim light.\n\nThe burrow is cool and dark, and the sandy soil smells pleasantly spicy. Emotionally, you feel totally secure here. Intellectually, you know that the unstable walls could collapse on you, and probably kill you, at any time.\n\n> Smell\nDry and invigorating.\n\n> You listen\nIt is utterly silent."
    },
    {
        "text": "[Themes: Science Fiction, crashed spaceship, non-human npcs, telepathy, science fiction, changing environment, violence]\n\n> Look around\nThe burrow is cool and dark, and the sandy soil smells pleasantly spicy. Emotionally, you feel totally secure here. Intellectually, you know that the unstable walls could collapse on you, and probably kill you, at any time.\n\n> Dig\nYou scuff the soil a little.\n\n> Exit\nYou emerge, blinking, into the sunlight.\n\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nYou can feel peacefulness from the south, and irritation from the east.\n\n> You go to the east\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\nYou almost run into the fox again. It eagerly begins to chase you.\n\nYou can feel annoyance from the south.\n\n> Go west\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nThe fox is chasing behind you from the east.\n\nYou can feel peacefulness from the south.\n\n> You enter the burrow\nIt takes a few moments for your eyes to adjust to the dim light.\n\nThe burrow is cool and dark, and the sandy soil smells pleasantly spicy. Emotionally, you feel totally secure here. Intellectually, you know that the unstable walls could collapse on you, and probably kill you, at any time.\n\nYou can feel excitement from outside.\n\n> Wait\nTime passes.\n\nYou suddenly notice excitement changing to hunger from outside.\n\n> Exit\nYou emerge, blinking, into the sunlight.\n\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nYou can feel caution from the south, and hunger from the east.\n\n> Kick\n(the burrows)\nYou give the sandy bank a good whack. Small avalanches of sand start cascading all over, one of them neatly filling up the burrow you dug out.\n\nYou sense there is a new feeling of annoyance from the south and the feeling of hunger fading from the east.\n\n> Dig\nYou go to work with your front paws and quickly clear the loose sand out of the burrow. It's surprisingly satisfying work.\n\nThe deer gallop up from the south with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing.\n\nYou sense annoyance fading from the south.\n\n> Smell\nThe air is good, nearly as good as the Concerto's, but\nuninteresting.\n\nThe buck deer shakes itself. A cloud of dust rises from its mane.\n\nYou sense a new feeling of hunger from the south.\n\n> Go north\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\nThe deer gallop up from the south with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing.\n\n> You look at the trees\nThe trees are peculiar, very similar to Earth trees and yet somehow different. The geometry is still based on a branching fractal structure but you suspect the rules are different. The leaves are very familiar, though, and unless you make a point of noticing the differences they're just trees.\n\nThe deer stare into space for a while.\n\nYou sense a new feeling of hunger from the south.\n\n> Smell\nThe trees have slightly acrid, slightly resiny smell that is not unappealing.\n\nThe deer suddenly look up, and then bound off north.\n\nThe fox approaches from the south. It eagerly begins to chase you.\n\nYou sense hunger fading from the south.\n\n> You go north\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nThe deer suddenly look up, and then bound off north.\n\nThe fox is chasing behind you from the south.\n\n> You go east\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nA half-dozen or so humped, stocky creatures are bustling about, working on the dam: Elysian beavers. They bustle about, working on the dam.\n\nThe fox is chasing behind you from the west.\n\nThe beavers suddenly notice the fox and start hissing threateningly. It stays well over to the west side of the dam.\n\n> You look at the beavers\nUnlike the other Earth namesakes in the canyon, the beavers here look absolutely nothing like the Earth kind. They're small and\nstocky, with a bulldog neck and serrated tusks that stick out sideways from their mouths which they use to saw through trees. They don't have big teeth, they don't gnaw and they certainly don't have the trademark tail. The dam they're building isn't much good, either.\n\nYou did ask Francis about them, you remember: he was the primary author of the survey report. He just shrugged. \"They had a dam, and we ran out of imagination,\" he said.\n\nThe fox pounces on you. You just have time to think oh, sh---\nas its jaws close on your neck, and then everything stops.\n\n> Go north\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nOver on the other side of the lake, a black animal is playing on the edge of the water. It never seems to stay still and it takes you a few moments to identify it as an Elysian otter.\n\nThe fox is chasing behind you from the south.\n\nYou can feel hostility from the south, and contentment from the west.\n\n> You look at the otter\nIt's not really an otter, of course; it's a quasi-mammal with the usual cartiligenous backbone that creatures have here. But it's got fur, warm blood, lives in water and eats fish, so the necessities of physics make it look vaguely otter-like, which means that's what everyone on the Concerto calls it.\n\nThe fox pounces on you. You just have time to think oh, sh---\nas its jaws close on your neck, and then everything stops.\n\n> You go to the west\nThe trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock.\n\nThe deer suddenly look up, and then bound off north.\n\nThe fox is chasing behind you from the east.\n\n> Go north\nYou are perched at the very north-west tip of the canyon, where the slopes disintegrate into a tangle of smashed rock. Wiry, heather-like grass grows between the gaps between the boulders, and there are even a few trees. Below to the east is a maelstrom of white water at the head of the river; to the south, the slope begins to flatten.\n\nTiny multicoloured birds dart back and forth on the cliff face above you.\n\nThe deer suddenly look up, and then bound off east.\n\nThe fox is chasing behind you from the south.\n\n> You go east\nThe river pours out of an aperture in the northern wall of the canyon and tumbles down through a snarl of fallen rock before flowing into the lake, to the south. The noise of rushing water is everywhere. The eastern shore is a sheer rockface, but the western shore is a rocky slope that rises to meet the canyon wall in the distance. Some trees hug the edge of the water.\n\nWater pours around, through, and over the massive pile of boulders. There are nooks and crannies and vortices everywhere.\n\nThe water swirling in one large rock pool in particular catches your eye.\n\nThe deer suddenly look up, and then bound off south.\n\nThe fox is chasing behind you from the west.\n\n> You go south\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nThe deer suddenly look up, and then bound off south.\n\nOver on the other side of the lake, the otter is basking in the sunlight.\n\nThe fox is chasing behind you from the north.\n\nYou can feel concentration from the south.\n\n> Go south\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe deer suddenly look up, and then bound off south. The beavers relax, disperse, and go about their business again.\n\nThe beavers bustle about, working on the dam.\n\nThe fox is chasing behind you from the north.\n\nThe beavers suddenly notice the fox and start hissing threateningly. It stays well over to the west side of the dam.\n\n> Go east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nA pair of shining eyes stares at you from out of the thorny bush. After a few seconds, the shape of a vaguely anthropoid creature resolves around them. Ah, yes, you remember this: it's a lemur. You have just enough warning to brace yourself before...\n\nThe lemur stares at the strange rabbit with a distant curiosity.\nIts mind is unfocused, blurred by the psychedelic drug in the leaves it loves so much. It knows that the rabbit is unusual, but it doesn't care. It doesn't care much about anything except the leaves. It just sits and watches the world, and occasionally, when the colours focus for a moment, interacts with it.\n\nThat was... unusual.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\nYou can feel excitement and hostility from the west.\n\n> You examine Plant\nUnlike the animals, this plant defies neat categorisation into the Earth ecosystem. A great froth of slightly furry parsley-like leaves shields long, razor sharp thorns underneath. It smells intensely of... something. Mint crossed with vanilla? It's very strong and not very appetising.\n\nThe lemur stares solemnly at you from out of the spiky bush.\n\nYou sense excitement changing to hunger from the west.\n\n> You take Plant\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur scratches itself.\n\nYou sense excitement changing to hunger from the west.\n\n> You eat Plant\nYou're not cut out to be a browser.\n\nThe lemur licks itself contemplatively.\n\nYou sense hunger fading and hostility changing to concentration from the west.\n\n> Smell plant\nAll you can smell is that plant.\n\nThe lemur gives you a suspicious look.\n\n> You look at what you're carrying with you\nYou are carrying a bundle of aromatic leaves in your mouth.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> Go west\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe beavers bustle about, working on the dam.\n\nYou can feel peacefulness from the east.\n\n> You examine fish\nThey're brown and trout-like, but on closer inspection the fins are all wrong and the tail is bifurcated. You think that Elysia could have some very plausible mermaid myths.\n\nOne of the beavers starts whittling a branch with its serrated tusks.\n\nYou sense peacefulness fading from the east.\n\n> You take the fish\n(first dropping the bundle of aromatic leaves)\nYou easily catch one of the stranded fish and bite down on the back of its neck. Snap-crunch. You feel nauseous.\n\nA couple of beavers scuffle meaninglessly for a bit.\n\n> You go west\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nYou can feel concentration from the east.\n\n> You climb the rock\n(the giant rock)\nDropping the dead fish, you jump and scrabble wildly with your powerful hind legs, eventually managing to haul yourself to the top."
    },
    {
        "text": "[Themes: Science Fiction, changing environment, science fiction, transformation, non-human npcs]\n\n> Look around\nBoulder (on the giant rock)\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nYou can see a dead fish here.\n\nYou can feel annoyance from the south, and concentration from the east.\n\n> Down\nYou jump down from the boulder.\n\nThe deer gallop up from the south with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing.\n\nYou sense annoyance fading from the south.\n\n> You take the fish\nIn the absence of any other options, you pick up the dead fish in your mouth.\n\nThe deer suddenly prick up their ears, and then walk off east.\n\nYou sense a new feeling of hunger from the south.\n\n> Go west\nYou can't go that way.\n\nYou sense concentration changing to hostility and a new feeling of irritation from the east.\n\n> Go south\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\nYou can feel hunger from the east.\n\n> You go south\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nYou can feel peacefulness from the south.\n\n> Dig\nYou've already cleared out one of the burrows.\n\nYou sense peacefulness changing to caution from the south.\n\n> You drop the fish\nYou carefully put down the dead fish.\n\n> Go outside\nYou emerge, blinking, into the sunlight.\n\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nYou can feel peacefulness from the south.\n\n> Go north\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\n> You go to the north\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nYou can feel annoyance from the north, and concentration from the east.\n\n> Go east\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe beavers bustle about, working on the dam.\n\n> You take the fish\nYou kill another fish.\n\nA small pack of beavers heads purposefully into the woods.\n\nYou sense a new feeling of annoyance from the west.\n\n> You eat the fish\n(the dead fish)\nIt smells vile.\n\nOne of the beavers starts whittling a branch with its serrated tusks.\n\nYou sense annoyance changing to irritation from the west.\n\n> You go north\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nOver on the other side of the lake, you can see the otter with its head out of the water, staring at you intently.\n\nYou can feel concentration from the south.\n\n> You look at the bones\nThey're old and bleached the sun, and look well-gnawed. There's quite a lot of them.\n\nOver on the other side of the lake, you can see the otter with its head out of the water, staring at you intently.\n\n> Wave\nYou wave, feeling foolish.\n\nOver on the other side of the lake, you can see the otter with its head out of the water, staring at you intently.\n\n> You show fish to the otter\n(the dead fish to the otter)\nThe otter is unimpressed.\n\nOver on the other side of the lake, you can see the otter with its head out of the water, staring at you intently.\n\n> You drop the fish\n(the dead fish)\nDropped.\n\nThere's a sudden splash as the otter surfaces just offshore. Close up, it's noticeably bigger than you are, with a pointed nose and alert looking whiskers. It stares at you with interest.\n\nThe otter is bored. And a bit hungry. And cross. Mostly bored.\nThere's lots of crunchy things in the lake, and they're good, but what it really wants is fish. And something to do. The creatures on the dam won't let it near the fish, but this rabbit has one! But there's something not right about it. Maybe it's dangerous? But it has a fish for the otter. It must love the otter!\n\nWhile you're reeling from this bombardment of images, the otter wriggles ashore and scurries up the beach.\n\n> You take the fish\nWhich do you mean, the dead fish or the fish bones?\n\n> Dead\nTaken.\n\nThe otter dives back into the water and vanishes.\n\n> You wait for a while\nTime passes.\n\nThe otter sits back on its haunches and gobbles down the fish with every appearance of satisfaction. It watches you eagerly.\n\n> Bite otter\nYou're a rabbit. About the only thing you're capable of hurting are leaves.\n\nThe otter waits for you patiently.\n\n> Go south\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe beavers bustle about, working on the dam.\n\nThe otter follows you from the north, whiskers twitching. It appears to be a bit less confident. It looks longingly at the fish jumping in the pools, but eyes the beavers and stays well over on the west side of the shore.\n\n> Go west\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nThe otter follows you from the east, whiskers twitching. It is getting a little puzzled.\n\nYou can feel concentration from the east.\n\n> Go south\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\nThe otter follows you from the north, whiskers twitching. It is beginning to look disappointed.\n\n> You go south\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows. One of them has been dug free of sand.\n\nThe otter follows you from the north, whiskers twitching. It gives you a look full of betrayal, but is seems to have picked up an interesting scent from the burrow.\n\nYou can feel caution from the south, and hunger from the east.\n\n> Wait\nTime passes.\n\nThe otter wriggles into the rabbit burrow. It's really too big to fit and the burrow starts to crumble around it.\n\n> Kick\n(the burrows)\nYou give the sandy bank a good whack. It's already beginning to shift from the way the otter is wriggling about, and the burrow falls in on itself with a thump. There's a brief squeak from inside,\nfollowed by a very faint, helpless whine which mercifully stops quickly.\n\nYou sense hunger fading from the east.\n\n> Dig\nYou start digging and quickly uncover the otter's body. You haul it out.\n\n> You take the body\nYour absence of hands is a bit of problem, but you end up picking up one end of the otter's body in your mouth.\n\n> Go east\nYou laboriously drag the otter's body with you.\n\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\n> You go to the north\nYou laboriously drag the otter's body with you.\n\nThe river is narrow and rocky here, and the river churns noisily between the boulders. Trees come down to the water's edge on both sides, and twigs and dead leaves spiral dizzyingly in the vortices. The woods are fairly dense here and seem to go on in all directions.\n\nYou can feel concentration from the north.\n\n> You go south\nYou laboriously drag the otter's body with you.\n\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nYou can feel peacefulness from the west.\n\n> You go to the west\nYou laboriously drag the otter's body with you.\n\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, much better than it was from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nEyes seem to be staring at you from out of the burrows.\n\n> You go south\nIt takes a few moments for your eyes to adjust to the dim light.\n\nYou laboriously drag the otter's body with you.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. The air seems permeated with peacefulness.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\nA cocoon silently folds open. There's a moment's pause, and then a grey rabbit leaps out, streaks past you, and is gone.\n\nThe cocoon closes again.\n\nOne of the cocoons unfolds, revealing a mass of soft, white padding. It seems to be waiting for you.\n\n> You put the body in the cocoon\n(the closed cocoons)\nYou're carrying things around with your teeth. The only way you can do that is to drag it there.\n\n> You enter the cocoon\n(the open cocoon)\nYou climb onto the open cocoon and burrow your way into the cottony stuff.\n\nYou laboriously drag the otter's body with you.\n\nYou are immersed in a warm, comforting heap of something soft. It envelops you like an old blanket.\n\nThe cocoon folds up around you, wrapping you in comforting, secure darkness.\n\n\"Telepathy?\" you say.\n\nYou're in one of the Concerto's observation bubbles: a\ntransparent sphere of force field held just off the hull. The huge bulk of the starship extends for kilometres behind you, but you've seen it before, and right now you have eyes only for the glowing jewel of the planet Elysia rolling past below.\n\n\"Telepathy,\" repeats the Concerto. \"The real thing.\"\n\n\"Some sort of organic radio, I presume,\" you say. \"Or high bandwidth ultrasound. Or---\"\n\n\"No,\" says the Concerto impatiently. \"It's not\nelectromagnetic, nor a matter wave, nor chemical message-passing. I've even checked for gravity waves. This is something new. And you know what that means.\"\n\nYou don't say the words. You don't have to. New physics. A\nnew lead to the unsolveable mystery of the universe. New growth in the barren garden of science.\n\n\"The planet is soaked in it,\" says the Concerto. \"I've built\nsome crude detectors --- just bits of animal brain inside NMR scanners --- and mapped the surface. The distribution's not even, but there's telepathic radiation everywhere.\"\n\nsqueamishness.\n\n\"Elysia is a perfect world,\" it continues. \"Maybe too perfect. It may be too valuable to colonise. It may be too dangerous to\ncolonise. I have no idea whether there's any effect on human minds.\"\n\n\"You'll need some pretty hard evidence to persuade the exploitation team to stay in space when Elysia's right here,\" you say.\n\n\"And I don't have it,\" says the Concerto. \"There's an effect.\nThat's all I know. That's all we know. We don't have any idea\nof the what the implications are, only what they might be.\"\n\n\"You think the exploitation team won't buy it,\" you say. \"You think they'll want to go ahead with full scale colonisation and only investigate this when they're down there.\"\n\n\"Of course they will,\" says the Concerto. \"The exploration\nteam live in space. They'll be perfectly happy about staying in orbit for another decade to look into this --- most of them were going to stay here anyway. But the exploitation team won't tolerate that.\"\n\n\"So what are you going to do?\" you ask.\n\n\"The exploitation team is still frozen, which means I hold their proxy votes,\" says the Concerto. \"For important decisions I have to\nwake a representative sample, and this is important. This means I have to wake them. I have to, you understand?\"\n\nThe Concerto's own built-in safeguards limit how much it can\nbend the rules. \"When?\" you say.\n\n\"Soon,\" the Concerto says. \"I'll delay as long as I can. But\nI must wake them. In the mean time... we need more data.\nThat's where you come in.\"\n\n\"Ah,\" you say. \"You want me to go and look and then tell you what to say.\"\n\n\"Correct,\" says the Concerto.\n\n> Exit\nYou fight your way free of the cottony stuff. Dim light blinds you for a moment.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. Everything seems very quiet, as if you are being watched with caution.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\nAs you climb out of the cocoon it silently folds closed behind you.\n\n> About you\nYou walk over to the water and study your reflection. The river is wide and dark, and in the dim light makes an almost perfect mirror.\n\nThe features you see have changed again. The narrow, weasel-like muzzle, the whiskers, the short, pointed ears --- yes, you are now looking out of the otter's eyes.\n\nOn close examination, you seem to recognise the features. Your new body is, you think, the same one that you dragged out of the sand pit up the side of the canyon. You don't really want to think too hard about the implications of that.\n\n> You go south\nYou emerge, blinking, into the sunlight.\n\nSheer rock walls tower above you to the east and west, and only slightly less impressive is the green wall of the Mother Tree to the north. But to the south the ground just stops, and the river pours endlessly into the void.\n\nYou can see a glint of metal high up to the east.\n\n> You go to the east\nYou eye the crumbling, and very high, cliff face dubiously. Not a chance.\n\n> You go to the south\nyour heart pound.\n\n> You go north\nIt takes a few moments for your eyes to adjust to the dim light.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. Everything seems very quiet, as if you are being watched with caution.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\n> You go north\nYou emerge, blinking, into the sunlight.\n\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nYou can feel annoyance and peacefulness from the west.\n\n> Go north\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\nYou can feel hunger from the west.\n\n> Go east\nYou easily swim across the river.\n\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south.\n\n> You go east\nYou can't go that way.\n\nYou sense a new feeling of peacefulness from the south.\n\n> You go to the north\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel concentration from the west.\n\n> Go west\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe deer gallop up from the south with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing.\n\nThe beavers suddenly dash up towards the deer, trying to drive them away from the dam and the river bed.\n\nThe beavers are confronting the deer, forming a line blocking them from crossing the river.\n\n> You eat the fish\nIt's still moving.\n\nOne of the beavers darts in to nip one of the deer's legs, but a flourish of the deer's horn sends it running.\n\nYou sense a new feeling of hunger from the south.\n\n> You take the fish\nYou kill another fish.\n\nThe deer suddenly look up, and then bound off north. The beavers relax, disperse, and go about their business again.\n\nA small pack of beavers heads purposefully into the woods.\n\nThe fox approaches from the south. It reflexively begins to chase you.\n\nThe beavers suddenly notice the fox and start hissing threateningly. It stays well over to the west side of the dam.\n\nYou sense hunger fading from the south.\n\n> Go north\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nThe deer suddenly look up, and then bound off north.\n\nThe fox chases behind you from the south before realising that you're bigger than it is and coming to a rather confused halt.\n\nYou can feel hostility from the south.\n\n> Go east\nYou slide smoothly into the lake. The water feels cool and supremely comfortable against your fur.\n\nThe water is crystal clear, and rays of orange light shine down from above. The bottom is covered in grass-like weed, dotted with fallen boulders of all sizes from the cliff face above.\n\nCrayfish run around on the lake bottom, snapping their pincers threateningly at each other.\n\nYou can feel hunger from the west.\n\n> You take the crayfish\n(first dropping the dead fish)\nYou swim down, but whenever you get close to one, it hides under a rock, and all you can see are beady eyes staring balefully at you.\n\n> You eat the fish\nIt smells vile. Shouldn't you like these things now? You find\nyourself feeling cheated and angry, somehow.\n\n> You go to the east\nYou can't go that way.\n\nYou sense hunger fading from the west.\n\n> Swim\nThere's nothing to swim in here.\n\nYou're already swimming!"
    },
    {
        "text": "[Themes: Science Fiction, ecology, non-human npcs, changing environment]\n\n> Look around\nThe water is crystal clear, and rays of orange light shine down from above. The bottom is covered in grass-like weed, dotted with fallen boulders of all sizes from the cliff face above.\n\nCrayfish run around on the lake bottom, snapping their pincers threateningly at each other.\n\n> You examine the boulders\nThey each have a waving mane of weed.\n\n> You look at the weed\nLooking closely, you think it's the same species as the grass on the surface, but much larger.\n\n> You take the weed\n(first dropping the dead fish)\nYou quite like the grass where it is.\n\n> You go to the north\nYou try to swim upstream, but near the head of the lake the current is too much for you.\n\n> You go west\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nYou can feel concentration from the south.\n\n> Swim\nYou slide smoothly into the lake. The water feels cool and supremely comfortable against your fur.\n\nThe water is crystal clear, and rays of orange light shine down from above. The bottom is covered in grass-like weed, dotted with fallen boulders of all sizes from the cliff face above.\n\nCrayfish run around on the lake bottom, snapping their pincers threateningly at each other.\n\nYou can see a dead fish floating nearby.\n\n> Go west\nThe trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock.\n\n> You go north\nYou are perched at the very north-west tip of the canyon, where the slopes disintegrate into a tangle of smashed rock. Wiry, heather-like grass grows between the gaps between the boulders, and there are even a few trees. Below to the east is a maelstrom of white water at the head of the river; to the south, the slope begins to flatten.\n\nTiny multicoloured birds dart back and forth on the cliff face above you.\n\n> You go east\nThe river pours out of an aperture in the northern wall of the canyon and tumbles down through a snarl of fallen rock before flowing into the lake, to the south. The noise of rushing water is everywhere. The eastern shore is a sheer rockface, but the western shore is a rocky slope that rises to meet the canyon wall in the distance. Some trees hug the edge of the water.\n\nWater pours around, through, and over the massive pile of boulders. There are nooks and crannies and vortices everywhere.\n\nThe water swirling in one large rock pool in particular catches your eye.\n\n> You look at the pool\nWater's pouring into it, but there doesn't seem to be any exit. There's a narrow ledge leading round it to the north, but if you fell in, the sides are far too steep to climb out of...\n\n> Go north\nYou nervously crawl along the ledge.\n\nYou are balanced on a rock overhanging the north edge of the rock pool. The boulder is slippery from spray, and shifts under your feet when you move your weight giving you the feeling like it might give way at any moment. The narrow ledge to the south leads back to safety.\n\nThe rock pool churns unnervingly below you."
    },
    {
        "text": "[Themes: Science Fiction, ecology, non-human npcs, animals, crashed spaceship, violence, transformation]\n\n> You look around\nThe river pours out of an aperture in the northern wall of the canyon and tumbles down through a snarl of fallen rock before flowing into the lake, to the south. The noise of rushing water is everywhere. The eastern shore is a sheer rockface, but the western shore is a rocky slope that rises to meet the canyon wall in the distance. Some trees hug the edge of the water.\n\nWater pours around, through, and over the massive pile of boulders. There are nooks and crannies and vortices everywhere.\n\nThe water swirling in one large rock pool in particular catches your eye.\n\nThe deer gallop up from the south with a thunder of hooves. They spend several moments looking around with suspicion before returning to their grazing.\n\n> Bite deer\nThe moment the thought crosses your mind, the biggest deer turns to stare at you balefully, and you find yourself thinking about how that curved horn could so easily skewer your body to the ground.\n\nThe buck deer sniffs the air.\n\nYou sense a new feeling of hunger from the south.\n\n> You examine the deer\nThere are five of the creatures. One male, two females, and a couple of juveniles? It's very hard to tell, as they're all very similar apart from the size. They're smaller than you were expecting from the survey, barely the size of a large dog, but the blue-green fur is just as startling as you remember. They each have a single forward-curving horn that looks extremely sharp.\n\nThe deer suddenly look up, and then bound off west.\n\nThe fox approaches from the south. It reflexively begins to chase you.\n\nYou sense hunger fading from the south.\n\n> You go north\nYou nervously crawl along the ledge.\n\nYou are balanced on a rock overhanging the north edge of the rock pool. The boulder is slippery from spray, and shifts under your feet when you move your weight giving you the feeling like it might give way at any moment. The narrow ledge to the south leads back to safety.\n\nThe rock pool churns unnervingly below you.\n\nThe fox chases you from the south onto the ledge --- which abruptly gives way underneath you. You, the fox, and what seems like several tonnes of rock drop into the water in a shocking plunge that stuns you for a few moments.\n\nFrom down here the sides of the pool are steeper and even less climbable than they were from above --- this is less of a pool and more of a well, and you are at the bottom of it. One of the many waterfalls crashes into the dark water near where you are and vortices in the water buffet you.\n\n> Swim\nYou're already swimming.\n\nThe fox is mindlessly flailing at the water in panic, trying to stay afloat.\n\n> Wait\nTime passes.\n\nThe fox is clawing at the sides of the pit, trying to climb out. A few rocks come down but it can't get any purchase.\n\n> You wait\nTime passes.\n\nThe fox is exhausted and can't keep its head above the water any more. Some bubbles come up.\n\n> You wait\nTime passes.\n\nThere is a final convulsion, and the fox is still, floating with its head just under the water.\n\n> You take the fox\nYou swim up to the fox's body and take a firm hold with your teeth.\n\n> Go south\nThe sides of the pool and sheer. There's no way out that way.\n\n> Swim\nYou're already swimming.\n\n> Down\nYou swim down into the depths of the pool. A current grabs you and whisks you through a concealed underwater tunnel before spitting you out again.\n\nYou tow the fox's body along behind you.\n\nThe water is crystal clear, and rays of orange light shine down from above. The bottom is covered in grass-like weed, dotted with fallen boulders of all sizes from the cliff face above.\n\nCrayfish run around on the lake bottom, snapping their pincers threateningly at each other.\n\nYou can see a dead fish floating nearby.\n\n> Go west\nYou haul the fox's body out of the water.\n\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nYou can feel concentration from the south.\n\n> You go south\nYou laboriously drag the fox's body with you.\n\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe beavers bustle about, working on the dam.\n\nYou can feel peacefulness from the east.\n\n> Go south\nYou laboriously drag the fox's body with you.\n\nThe river is narrow and rocky here, and the river churns noisily between the boulders. Trees come down to the water's edge on both sides, and twigs and dead leaves spiral dizzyingly in the vortices. The woods are fairly dense here and seem to go on in all directions.\n\nYou can feel concentration from the north.\n\n> You go to the south\nYou laboriously drag the fox's body with you.\n\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\n> Go south\nYou laboriously drag the fox's body with you.\n\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nYou can feel peacefulness from the west.\n\n> Go south\nIt takes a few moments for your eyes to adjust to the dim light.\n\nYou laboriously drag the fox's body with you.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. Everything seems very quiet, as if you are being watched with caution.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\nOne of the cocoons unfolds, revealing a mass of soft, white padding. It seems to be waiting for you.\n\n> You enter the cocoon\n(the open cocoon)\nYou climb onto the open cocoon and burrow your way into the cottony stuff.\n\nYou laboriously drag the fox's body with you.\n\nYou are immersed in a warm, comforting heap of something soft. It envelops you like an old blanket.\n\nThe cocoon folds up around you, wrapping you in comforting, secure darkness.\n\nYou've barely sipped your vodka and orange when you hear someone call your name. You look up. \"Oh, there you are,\" you say.\n\nFrancis Terrier, head of the survey department, and one of the few people who can tell the Concerto what to do, sits down\nheavily beside you, takes his drink --- now warm --- and stares tiredly at the view for a while. The Concerto's vast garden\nslowly tumbles around the pair of you. The Centrifugal Bar makes the planet-bred exploitation team nauseous. However, you're both in the exploration team, and after sixteen hours of continuous briefings you find it pleasantly relaxing.\n\n\"I need to tell you something,\" he says eventually. You raise your eyebrows at him. \"Things are tense here. Really tense,\" he says.\n\n\"Did smalltalk go out of fashion while I was in cryo?\" you mutter, and sigh. \"Is this about the telepathy thing?\"\n\n\"Keep your voice down!\" he hisses, glancing around. \"God, and you're supposed to be our hotshot intuitionist... no. That's not what it's about. It's about delaying colonisation.\"\n\n\"Are we?\" you say. \"I thought that hadn't been decided yet.\"\n\nHe says nothing for a moment, and then says, \"What if I were to tell you that not all the exploitation team is frozen?\"\n\nYou raise your eyebrows. \"How is that possible?\"\n\n\"The cryo facilities are run by humans,\" he says. \"Part of the frankenstein safeguards, remember? And there's a fringe element of the explorer team that sympathises with the exploiters.\"\n\n\"There always is,\" you say. \"It's called the human condition...\" You frown. \"Waking the exploitation team before the planet's been cleared for colonisation violates the protocols.\"\n\n\"Sure, but they think the Concerto is already\nviolating the protocols,\" Francis says quietly.\n\n\"But that's impossible,\" you says. \"The safeguards...\"\n\nHe waves your protests away. \"I know that, you know that, and they would know that if they were thinking rationally, but they're not. They're terrified that this is a bid for power by the\nConcerto, and they're taking action to prevent that.\"\n\n\"That's mad,\" you say flatly.\n\n\"It gets worse,\" he says. \"In this scenario, you are an accomplice to the Concerto.\"\n\nAs you stare at him blankly, something moves in the back of your mind. \"You think that they might strike at me, as a proxy for the\nConcerto. You're trying ot tell me I'm in danger.\"\n\n\"Right now, you're popular,\" Francis says. \"That work you did on Brimstone.\"\n\n\"But nobody falls faster than a failed saint,\" you say. The pieces fit together inexorably in your head: hatred, vilification, polarisation, extremism. Accusations of treason. An 'execution'. And, of course, if they truly believe that your decision is a foregone conclusion, there's no need to wait until you actually make it before\ntaking action. \"Crap. How many of these people are there?\"\n\nFrancis has been watching your face move as you work through all this. \"Enough,\" he says. \"I take it martyrdom's not your thing?\"\n\n\"Hardly,\" you say. \"What do you suggest I do?\"\n\nFrancis gives you a hard stare. \"Be very, very careful.\"\n\nYou wake.\n\nSomething's different.\n\nYou are immersed in a warm, comforting heap of something soft. It envelops you like an old blanket.\n\n> Exit\nYou fight your way free of the cottony stuff. Dim light blinds you for a moment.\n\nThe trees here are huge: massive columnar towers rising out of the soft green turf to support the dense leaf canopy above. Golden rays angle down between the trees, filling the vast space with dim light, and reflecting off the river that runs down the east side. Everything seems very quiet, as if you are being watched with caution.\n\nLarge green cocoons are attached to the bases of some of the trees.\n\nAs you climb out of the cocoon it silently folds closed behind you.\n\n> About yourself\nYou walk over to the water and study your reflection. The river is wide and dark, and in the dim light makes an almost perfect mirror.\n\nAs expected, the face looking back at you is the fox's. Yes. It's definitely the same one that you dragged out of the lake.\n\nIf this is the fox's body, what happened to the fox's mind?\n\n> You go north\nYou emerge, blinking, into the sunlight.\n\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nYou can feel peacefulness from the west.\n\n> Go north\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\n> Go north\nThe river is narrow and rocky here, and the river churns noisily between the boulders. Trees come down to the water's edge on both sides, and twigs and dead leaves spiral dizzyingly in the vortices. The woods are fairly dense here and seem to go on in all directions.\n\nYou can feel concentration from the north.\n\n> You go to the north\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nSome fish flap about in the pools.\n\nThe beavers suddenly notice you and start hissing threateningly.\n\n> Bite beavers\nYou brace yourself to leap --- the beavers are big and actually look quite dangerous. But then a wave of frustration and anger descends on you, and the world vanishes into a red blur and a flood of rage so intense that it's an unbearable pressure in your head. The riots on the Concerto, your helplessness on Elysia, the pointless\ndeaths above and below, all meld into one.\n\nYou come to your senses in the middle of a massacre. Torn beaver bodies lie everywhere. You've killed them all. You start shaking with shock and horror.\n\nOh, you think. That's where the fox's mind went.\n\n> You examine the beavers\nBloody and torn, almost mutilated. You shudder.\n\n> You eat the beavers\n(first taking the dead beavers)\nYou don't even want to look at them, let alone touch them.\n\n> You go east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\nPain suddenly hits you, and you realise that you're covered in scrapes and gouges and one nasty cut on the side of the head that narrowly misses your eye. The beavers fought back. You find yourself licking your wounds, numbly seeking comfort.\n\n> You take Plant\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\n> You eat Plant\nYou're not cut out to be a browser.\n\nYou sense peacefulness fading from the south.\n\n> You go west\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nThe grisly remains of the dead beavers are scattered among the rocks.\n\nSome fish flap about in the pools.\n\n> Go north\nYou can't go that way.\n\nBelatedly, you realise that whatever strange telepathic experience you shared with the other animals in the canyon did not happen with the beavers. You could sense their emotions, but beyond that they were as closed to you as they would have been had you been human.\n\nDoes this mean anything? Does that mean that the Mother Tree's mysterious miracle does not work on them and that they are now\ntruly dead, with no chance of living again?\n\nIt is horribly tempting to find out. Their bodies are right there, after all. But you need to be a fox too badly, and besides, you'd rather not know...\n\n> Go south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\n> Go south\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the north.\n\n> You go south\nYou can't go that way.\n\nYou sense a new feeling of peacefulness from the north.\n\n> Go north\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur seems to find something very interesting under one armpit.\n\n> Bite lemur\nYou keep thinking about the beavers. Maybe actually killing\nthe lemur isn't strictly necessary.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> You go west\nThe river's in the way, and foxes can't swim.\n\nThe lemur just stares into space for a while.\n\n> Go north\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\n> Go south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\n> You go to the west\nThe river's in the way, and foxes can't swim.\n\nThere's a loud rustling of leaves as the lemur swings up from the south, runs down a tree and dives into the spiky bush.\n\nYou sense peacefulness fading from the south.\n\n> You go to the south\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the north.\n\n> Go east\nThe pass in the canyon wall, now behind you to the west, leads out into open desert. Barren sand stretches off in all directions to the flat horizon.\n\nA track seems to have been scraped in the sand, heading south. There's something large and metallic in the distance that way.\n\n> You go north\nThere's nowhere to go out there.\n\nYou sense a new feeling of peacefulness from the west.\n\n> You take the lemur\n(first dropping the bundle of aromatic leaves)\nThere's no way you, or anyone else, can reach the lemur while it's inside those thorny bushes.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south.\n\n> Go south\nThe desert abruptly drops away on two sides here: to the west you can see the green dome of the Mother Tree a few hundred metres below, and to the south the incomparably vaster drop down to the sea of clouds below. The cliff continues east as far as the eye can see.\n\nOf considerably more interest, however, is the wreckage of the Semiquaver.\n\nThe shuttle's main hatch is tightly closed.\n\n> You examine Semiquaver\nLooking at the smashed shuttle, you find yourself utterly astonished that it made it down in one piece. Most of the engine module is simply missing, the hull truncated half-way along in a jumble of twisted wreckage. The shuttle hit the ground to the north of here, and skidded south, stopping just in time --- you can see the burnt out shield projectors where the Semiquaver tried to dig into the sand in\na desperate attempt to stop itself. It worked, too: only a few metres more and the Semiquaver would have gone over the edge of the\ncliff and fallen down to the lowlands. The nose actually overhangs the edge.\n\nIt looks completely dead. You hope the Semiquaver's simple\nmind survived. You want to buy it a drink and tell it what a good job it did.\n\n> You open hatch\nThe access panel for the hatch is about a metre and a half above the ground. It obviously wasn't designed for foxes.\n\nremedy this design fault.\n\n> You look at the hatch\nThe Semiquaver's main hatch is on the starboard side, now\nfacing west. It's not locked, per se, but in order to prevent accidents it will only open if you enter an access code on a little panel. (The code is written underneath.)\n\n> You look at the code\nA little nine-digit keypad is next to the door. The access code is written underneath. (It's 314159, of course.)\n\n> Type 314159\nThe buttons are designed to be pushed by fingers, which foxes lack. Plus, it's too high to reach.\n\n> Smell\nThe air is good, nearly as good as the Concerto's, but\nuninteresting.\n\n> NF-changes\nOk.\n\n%% Enter a save filename to read:\n\n> NF-changes\nOk.\n\n> You go to the west\nThat would be suicide.\n\n> You go north\nThe pass in the canyon wall, now behind you to the west, leads out into open desert. Barren sand stretches off in all directions to the flat horizon.\n\nA track seems to have been scraped in the sand, heading south. There's something large and metallic in the distance that way.\n\n> Go west\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the north.\n\n> You take Plant\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\n> Go north\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nYou can also see a bundle of aromatic leaves here.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south.\n\n> You go west\nThe river's in the way, and foxes can't swim.\n\nYou sense a new feeling of peacefulness from the south.\n\n> Go north\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\n> You go to the north\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\n> You go to the north\nThe river pours out of an aperture in the northern wall of the canyon and tumbles down through a snarl of fallen rock before flowing into the lake, to the south. The noise of rushing water is everywhere. The eastern shore is a sheer rockface, but the western shore is a rocky slope that rises to meet the canyon wall in the distance. Some trees hug the edge of the water.\n\nWater pours around, through, and over the massive pile of boulders. There are nooks and crannies and vortices everywhere.\n\nThe water swirling in one large rock pool in particular catches your eye.\n\nYou can feel contentment from the west.\n\n> Go west\nYou are perched at the very north-west tip of the canyon, where the slopes disintegrate into a tangle of smashed rock. Wiry, heather-like grass grows between the gaps between the boulders, and there are even a few trees. Below to the east is a maelstrom of white water at the head of the river; to the south, the slope begins to flatten.\n\nTiny multicoloured birds dart back and forth on the cliff face above you.\n\nAs you approach the deer gallop off to the south.\n\n> You go to the south\nThe trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock.\n\nAs you approach the deer gallop off to the south.\n\n> Go south\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nAs you approach the deer gallop off to the south.\n\n> Go south\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\nAs you approach the deer gallop off to the south.\n\n> You go south\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows.\n\nAs you approach the deer gallop off to the south.\n\nYou can feel peacefulness from the south.\n\n> You go to the south\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, much better than it was from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nEyes seem to be staring at you from out of the burrows.\n\nAs you approach the deer gallop off to the east.\n\n> You go east\nHere in the shadow of the Mother Tree the ground is flat and wet; reed-like plants with white flowers grow everywhere and the air is musky. The river winds slowly along the east side of the marsh with woodlands beyond it. To the west the ground rises to what look like a series of sandy bluffs. The ground looks drier to the north where the canyon ramparts start to close in.\n\nAs you approach the deer gallop off to the north.\n\nYou can feel caution from the west.\n\n> You go to the north\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\nAs you approach the deer gallop off to the north.\n\n> Go north\nThe river is narrow and rocky here, and the river churns noisily between the boulders. Trees come down to the water's edge on both sides, and twigs and dead leaves spiral dizzyingly in the vortices. The woods are fairly dense here and seem to go on in all directions.\n\nAs you approach the deer gallop off to the north.\n\n> Go north\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nThe grisly remains of the dead beavers are scattered among the rocks.\n\nSome fish flap about in the pools.\n\nAs you approach the deer gallop off to the north.\n\nYou can feel peacefulness from the east.\n\n> You eat the beavers\nNot when you're carrying the bundle of aromatic leaves in your mouth!\n\nYou sense a new feeling of annoyance from the north.\n\n> You check what you're carrying\nYou are carrying a bundle of aromatic leaves in your mouth.\n\nYou sense annoyance changing to irritation from the north.\n\n> You drop the leaves\n(the bundle of aromatic leaves)\nDropped.\n\n> Go east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur just stares into space for a while.\n\n> You eat Plant\nYou're not cut out to be a browser.\n\nThe lemur gives you a suspicious look.\n\nYou sense a new feeling of contentment from the west.\n\n> You go to the west\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nThe grisly remains of the dead beavers are scattered among the rocks.\n\nSome fish flap about in the pools.\n\nAs you approach the deer gallop off to the west.\n\nYou can feel peacefulness from the east.\n\n> You go to the east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south.\n\n> You go to the south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nYou can also see a bundle of aromatic leaves here.\n\nThe lemur just stares into space for a while.\n\n> Attack lemur\nYou keep thinking about the beavers. Maybe actually killing\nthe lemur isn't strictly necessary.\n\nThe lemur licks itself contemplatively.\n\n> You examine the lemur\nThere must be something about Earth-like planets. In shape the Elysian lemur is a startlingly similar creature to the ones in the\nConcerto's garden, with long spindly arms and legs and\ndelicate fingers. The green and brown mottled fur is different, though.\n\nYou suddenly notice that the lemur only has four fingers. So do your paws, for that matter; but the lemur's are long, dextrous... button pushing...\n\nThe lemur gives you a suspicious look.\n\n> You talk to the lemur\nThere's no way you, or anyone else, can reach the lemur while it's inside those thorny bushes.\n\nThe lemur licks itself contemplatively.\n\n> You take the thorns\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur seems to find something very interesting under one armpit.\n\n> You drop the leaves\n(the bundle of aromatic leaves)\nDropped.\n\nThe lemur starts carefully pulling leaves off a twig and popping them into its mouth, one by one.\n\n> You go west\nThe river's in the way, and foxes can't swim.\n\nThe lemur scratches itself.\n\n> Go west\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nThe grisly remains of the dead beavers are scattered among the rocks.\n\nSome fish flap about in the pools.\n\nYou can feel contentment from the west.\n\n> You take the beaver\nYou don't even want to look at them, let alone touch them.\n\nYou sense contentment changing to irritation from the west.\n\n> Inventory\nYou are carrying a dead fish in your mouth.\n\n> Go east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\n> You go to the south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can also see two bundles of aromatic leaves here.\n\nYou can feel peacefulness from the south.\n\n> Go south\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur seems to find something very interesting under one armpit.\n\n> You give the fish to the lemur\nThe lemur doesn't seem interested.\n\nThe lemur just stares into space for a while.\n\n> You drop the fish\nDropped.\n\nThe lemur scratches itself.\n\n> Smell lemur\nThere's no way you, or anyone else, can reach the lemur while it's inside those thorny bushes.\n\nThe lemur just stares into space for a while.\n\n> You take the thorns\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the north.\n\n> Go north\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nYou can also see two bundles of aromatic leaves here.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> You give the leaves to the lemur\n(the bundle of aromatic leaves to the lemur)\nThe lemur doesn't seem interested.\n\nThe lemur seems to find something very interesting under one armpit.\n\n> You drop the leaves\n(the bundle of aromatic leaves)\nDropped.\n\nThe lemur just stares into space for a while.\n\n> You take the thorns\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur gives you a suspicious look.\n\n> You drop the leaves\n(the bundle of aromatic leaves)\nDropped.\n\nThe lemur scratches itself.\n\n> You take the thorns\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur stares solemnly at you from out of the spiky bush.\n\n> Smell leaves\n(the bundle of aromatic leaves)\nAll you can smell is that plant.\n\nThe lemur licks itself contemplatively.\n\n> Smell plant\nAll you can smell is that plant.\n\nThe lemur stares solemnly at you from out of the spiky bush.\n\n> You break the thorns\nThat wouldn't achieve much.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the north.\n\n> You go north\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> Break bushes\nThat wouldn't achieve much.\n\nThe lemur scratches itself.\n\n> You eat the bushes\nYou're not cut out to be a browser.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> About you\nThe fox is sharp, focused. You feel like a razor, slicing through the world. Everything around you looks dingy and grey --- but anything that moves appears in vivid colour. Knowing that you are a weapon, that you live to kill, makes you tense and on edge. You find yourself wishing you were the otter again.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south."
    },
    {
        "text": "[Themes: Science Fiction, transformation, changing environment, telepathy]\n\n> Look around\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\n> You go to the south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nYou can also see four bundles of aromatic leaves here.\n\nThe lemur blinks.\n\n> Go west\nThe river's in the way, and foxes can't swim.\n\nThe lemur stares solemnly at you from out of the spiky bush.\n\n> Go south\nThe river is narrow and rocky here, and the river churns noisily between the boulders. Trees come down to the water's edge on both sides, and twigs and dead leaves spiral dizzyingly in the vortices. The woods are fairly dense here and seem to go on in all directions.\n\n> You go west\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\nYou can feel contentment from the north.\n\n> Go west\nYou can't go that way.\n\nYou sense contentment changing to irritation from the north.\n\n> Go south\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows.\n\nYou can feel peacefulness from the south.\n\n> Dig\nYou scratch about a bit, but you're not really built for digging.\n\nYou sense peacefulness changing to caution from the south.\n\n> You go south\nThis little grassy hollow half-way up the side of the canyon looks like it's been colonised by rabbits. The tough grass-like ground covering has been dug away and the sandy soil underneath is full of burrows. Down to the east the view over the Mother Tree is spectacular, much better than it was from the top; you can probably climb up to the west. The slope steepens and becomes impassably steep to the south, but the warren continues to the north.\n\nThere are burrows everywhere.\n\nEyes seem to be staring at you from out of the burrows.\n\n> Dig\nYou have a very strong feeling that the rabbits are more dangerous than they look. That's probably not a good idea.\n\n> You kill the rabbit\nThey're all down the burrows.\n\n> You go burrow\nYou're too large to fit.\n\n> Go north\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows.\n\nYou can feel caution from the south.\n\n> You take the flowers\n(first dropping the bundle of aromatic leaves)\nYou quite like the flowers where they are.\n\n> You go south\nThe flat river valley here isn't as wet as the marsh further south, and has bloomed into an astonishing wildflower meadow. The flowers are all strange and alien, of course, but the air is fragrant and peaceful. The only sound is the gentle noise of the river to the east. Off to the west the ground begins to rise up to meet the canyon wall, while forests dominate the north.\n\nYou can see a bundle of aromatic leaves here.\n\n> Go west\nPart of the canyon wall has fallen here, forming a huge bank of sandy rubble. This looks like it used to be part of the rabbit warren you can see to the south, but this section has been abandoned. Part of the mound has begun to be colonised by the woods that extend to the north. You can see the river in the distance down to the east.\n\nThe bank doesn't look very stable and is full of partially collapsed burrows.\n\nYou can feel peacefulness from the south.\n\n> Go west\nYou can't go that way.\n\nYou sense peacefulness changing to caution from the south.\n\n> Go north\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\nAs you approach the deer gallop off to the north.\n\n> You climb the Boulder\nYou jump and scrabble, but are unable to get a purchase on the boulder.\n\nYou sense a new feeling of annoyance from the north.\n\n> Go north\nThe trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock.\n\nAs you approach the deer gallop off to the north.\n\n> You go to the north\nYou are perched at the very north-west tip of the canyon, where the slopes disintegrate into a tangle of smashed rock. Wiry, heather-like grass grows between the gaps between the boulders, and there are even a few trees. Below to the east is a maelstrom of white water at the head of the river; to the south, the slope begins to flatten.\n\nTiny multicoloured birds dart back and forth on the cliff face above you.\n\nAs you approach the deer gallop off to the east.\n\n> You take birds\nThey're far too far above you.\n\nYou sense a new feeling of annoyance from the east.\n\n> You take the grass\nYou quite like the grass where it is.\n\nYou sense annoyance changing to irritation from the east.\n\n> You take the rocks\nThat's hardly portable.\n\n> You go to the south\nThe trees here are stunted and wiry, and the steeply sloping ground is showing its rocky bones through the thin grass. The canyon is spread out below you: the lake to your east, the woodland covering the lower slopes, and the green dome of the Mother Tree far to the south, now shrunken by distance. The canyon ends not far to the north in a tumble of fallen rock.\n\n> You go south\nA massive slab of rock has fallen into the woods from the canyon walls to the west. It is halfway sunk into the turf and looks almost sculpted. The canyon wall looms over you from the west. The woodlands parallel it, running north-south, although the canyon steepens to the north. Water glints between the trees to the east.\n\nThe huge boulder towers over the surrounding trees.\n\n> Go south\nThe ground rises to meet the canyon wall to the west here, and small trees are scattered across the slope. There is very little undergrowth, lending the woods an airy, garden-like feel. The trees get denser to the north and east, but space opens out to the south.\n\n> You go north\nYou were wrong: the view is terrible from here. Outside the canyon there is just barren, sandy wasteland, with the occasional scrubby plant, stretching away in all directions. There are mountains on the horizon, but there's no way you could survive out here long enough to reach them. Down to the east the oasis of the canyon is mostly hidden behind the terrain. There is a rise to the south, near where the land stops.\n\nYou can feel peacefulness from the east.\n\n> Go north\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nYou can feel contentment from the north.\n\n> You look at the bones\nThey're old and bleached the sun, and look well-gnawed. There's quite a lot of them.\n\nYou sense contentment changing to irritation from the north.\n\n> Go north\nThe river pours out of an aperture in the northern wall of the canyon and tumbles down through a snarl of fallen rock before flowing into the lake, to the south. The noise of rushing water is everywhere. The eastern shore is a sheer rockface, but the western shore is a rocky slope that rises to meet the canyon wall in the distance. Some trees hug the edge of the water.\n\nWater pours around, through, and over the massive pile of boulders. There are nooks and crannies and vortices everywhere.\n\nThe water swirling in one large rock pool in particular catches your eye.\n\nAs you approach the deer gallop off to the west.\n\n> You look at the pool\nWater's pouring into it, but there doesn't seem to be any exit. There's a raw-looking scar on the north side where the ledge used to be, making the sides even steeper and more impassable and you're pretty sure that foxes can't swim.\n\nYou sense a new feeling of annoyance from the west.\n\n> You go to the north\nThere's no ledge there any more. If you really wanted to you could jump in, of course.\n\nYou sense annoyance changing to irritation from the west.\n\n> Go south\nThe lake nestles under the cliffs at the edge of the canyon, so that the east side is a sheer wall rising out of the water; but here on the west side the ground slopes gradually so there is a wide shore of pebbles and rough sand. Mats of grassy plants form little green islands here and there, some under the water. Beyond the beach, unkempt woodland rises up the west side of the canyon, while far to the north, at the head of the canyon, there is a distant skein of falling water as the river tumbles down the cliff into the lake.\n\nScattered along the waterfront are some splintered fish bones.\n\nYou can feel contentment from the west.\n\n> You go to the south\nA haphazard but substantial dam has been built across the river out of logs and fallen trees. Water pours through the many little gaps to form a delta of pools and runnels, before joining back together into the main flow of the river, which disappears into the woods to the south. Upstream of the dam to the north there is a substantial lake, but everywhere else, all you can see are trees. The river looks crossable, to reach the east side of the canyon.\n\nThe grisly remains of the dead beavers are scattered among the rocks.\n\nSome fish flap about in the pools.\n\n> Go east\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can feel peacefulness from the south.\n\n> You go south\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nYou can also see four bundles of aromatic leaves here.\n\nThe lemur gives you a suspicious look.\n\n> Go south\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can also see a dead fish here.\n\nYou can feel peacefulness from the north.\n\n> You go southwest\nIt's too much of a drop.\n\n> You go south\nThe desert abruptly drops away on two sides here: to the west you can see the green dome of the Mother Tree a few hundred metres below, and to the south the incomparably vaster drop down to the sea of clouds below. The cliff continues east as far as the eye can see. The wreck of the Semiquaver is poised at the edge.\n\nThe shuttle's main hatch is tightly closed.\n\n> You go west\nNestled in the south-east corner of the canyon, the terrain here sweeps up from the river to a low pass through the canyon wall to the east. Through the dense trees you can just make out the green dome of the Mother Tree far below to the south-west.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can also see a dead fish here.\n\n> You take the fish\nTaken.\n\n> Go north\nThe ground here is steep and rocky, but still covered with scrawny trees. The canyon wall rises precipitously to the east; there's a band of wet rock, and water oozes out and forms in a little pool before trickling down the slope to the river which you can just make out to the west. All you can see to the north and south are more trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nYou can also see four bundles of aromatic leaves here.\n\nYou can feel peacefulness from the north.\n\n> Go north\nThe woodland here is quite unlike the west side of the canyon. The trees are short and gnarled and look quite unhealthy: they are also very close together and visibilty through the tangled branches is poor. Despite the gloom, the undergrowth is thick, with ferns, tall grasses, and less identifiable plants filling the space between the tree trunks. The forest sweeps east up to the rock face above and south as far as you can see through the trees.\n\nBushes of the thorny aromatic plant grow profusely.\n\nThe lemur is sitting in one of the thorny bushes.\n\nThe lemur scratches itself.\n\n> You throw the fish at the lemur\nYou lack the nerve when it comes to the crucial moment.\n\nThe lemur just stares into space for a while.\n\n> You take the leaves\n(the aromatic bush)\n(first dropping the dead fish)\nYou gingerly take a mouthful of leaves, avoiding the thorns.\n\nThe lemur languidly picks up a some small insect of some kind, stares at it for a while, and then pulls the legs off before throwing it away.\n\n> You throw the leaves at the lemur\n(the bundle of aromatic leaves at the lemur)\nYou lack the nerve when it comes to the crucial moment.\n\nThe lemur just stares into space for a while.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe lemur seems to find something very interesting under one armpit.\n\n> Dig\nYou scratch about a bit, but you're not really built for digging.\n\nThe lemur bounces out of the bush, shoots up a tree and leaps through the branches to the south.\n\n> Go upward\nYou can't go that way.\n\nYou sense a new feeling of peacefulness from the south.\n\n> You enter bush\nThat's not something you can enter.\n\nThere's a loud rustling of leaves as the lemur swings up from the south, runs down a tree and dives into the spiky bush.\n\nYou sense peacefulness fading from the south.\n\n> You kick the bush\nThat wouldn't achieve much.\n\nThe lemur just stares into space for a while."
    },
    {
        "text": "[Themes: fairy, fairies, male protagonist, miniature protagonist]\n\nYou hadn't counted on running into a thief that morning. To be fair, he probably wasn't expecting you either. You were outside minding your own business, working to mend a portion of the fence that surrounds your family's shack, when you spotted a dark figure tearing through the fields. Startled by the unusual sight, you couldn't help but call out:\n\n\"HEY!\"\nThe thief looked up in your direction, his dusky hood slipping back momentarily, and you were able to make out the curve of an impish smile. His pace did not slow, however. As he continued to approach, apparently headed for the dirt path behind you, you noticed a curious bulge at his side. Something about it just wasn't right. And that's partly why you did what you did.\n\nA millisecond before the caped sprinter was upon you, you stuck out your small green foot.\n\nAs tiny a foot as it was (and is), it did the trick. The thief went sprawling through the air, sending his bounty bouncing off behind him. He hit the ground with a thud, yelping out a curse in a language you'd never heard before... Trollish, perhaps. He quickly got to his feet and frantically looked about for the item he'd dropped. By that time, your father, signaled by the commotion, had already hobbled out with his cane, and your mother was anxiously peering out the window.\nRealizing his growing audience, the shadowy figure cast one more glance around, uttered one more curse, and then tore off again. You were still standing there with your mouth gaping open as he disappeared from view. And the oddest thing... was that the faint sound of laughter in the distance?\n\n\"Just what is this?!\" Your attention snapped back to the scene at hand. Your father, with quite a bit of effort, was rolling a large, egg-shaped gem out of a tall patch of grass. It looked like nothing you'd ever seen before. It was, in fact, the most beautiful thing you'd ever seen. The jewel glittered beneath a thin layer of dust, casting prisms of light in every direction.\n\n\"Can we keep it?\" you finally managed, glancing up at your equally enthralled father. He studied the jewel for a moment more, tilting it this way and that.\n\n\"Aha! Look!\" He pointed to one edge. You could just make out the delicate, silvery script:\n\n\"PROPERTY OF THE FAIRY PRINCE\".\n\n\"Oh, Mite, we're going to have to return this to him before the whole village gets in a tizzy!\"\n\nAnd that's just how this whole journey began.\n\n\n\nType ABOUT or HINT for more information.\n\nYou've never been to this region of the Great Garden before. That's not so surprising, really. The Garden is vast and full of mysteries, and this is your first official trip beyond the cluster of villages that you call home. Though the lands are relatively safe for travel (the Fairy Prince having banished most of the goblins, bogies, and other mischievous creatures to the realm beyond the hedges long ago) the largeness of everything around you makes you feel more than a bit nervous.\n\nYou are currently standing at a fork in the path on which you've been traveling for what's seemed like hours. The hefty gem strapped to your back hasn't helped matters.\n\nYour options are north and east. The road back home is to the west.\n\n[Author's Note: In this small fantasy adventure game, you play as Mite, a pixy lad, who is carrying an egg-shaped jewel dropped by a cloaked thief who you tripped that morning. The gem belongs to the Fairy Prince! You must travel through the Great Garden to return it to him.]\n\n> About yourself\nYou are Mite, a pixy lad with bright green skin and pointy ears.\n\nPrior to this whole undertaking, you hadn't had a whole lot of experience with adventuring or travel. That's part of the reason why your parents were so keen on having you return the jewel yourself.\n\n\"Pixies were meant to explore and have fun, and you're certainly at the right age for that!\" your father had told you. You can't help but think of this as more of a chore, though. Sure, you want to help out the Fairy Prince, and sure, you'll probably return with a bunch of stories with which to regale your friends. But you've never been much for showing off anyway, and more often that not, you just prefer to stretch out in a patch of clover with one of the tomes from your Auntie's modest but serviceable library.\n\nAnd yet here you are.\n\nYou are currently toting a dazzling blue gem on your back in a loose sling.\n\n> You look at the gem\nEven though you've been toting it around for a while now, you are still positively enchanted by the pale blue jewel. If it didn't belong to the Fairy Prince, you'd be tempted to hold on to it forever. The Prince is beloved among your people, however, and you want to do the right thing.\n\n> Inventory\nYou are carrying:\na sling (being worn)\na jewel\n\n> You examine the sling\nYour father fashioned a sling out of some spare cotton to help you transport the gem."
    },
    {
        "text": "> Look around\nTall grasses line the path that forks off to the north and east. The road back home is to the west.\n\n> Go north\nYou continue up the path to the north and find yourself standing in front of an unruly thicket of damask roses. Their scent permeates the air, reminding you of Linnea, the girl you almost worked up the courage to ask to the carnival for the Spring Equinox. She always smells like flowers. You wonder what she's doing right now and end up getting lost in daydreams for a moment. The heft of the jewel you're carrying brings you back to reality soon enough. And the faint sound of crying in the distance.\n\nWhat is that? You are filled with a sense of foreboding.\n\n> Go north\nHere the path culminates at a stout lilac bush bursting with its distinctive amethyst flowers. While the flowers are lovely indeed, your attention is drawn to a striking maiden who sits sobbing on a low branch. Her face is partially obscured by her long, lavender locks.\n\nShe must be a nymph, you tell yourself.\n\n> Examine nymph\nThe beautiful nymph, dressed in a simple white shift, sits sobbing on one of the lower branches of the lilac bush. Her long, lavender locks partially obscure her face. Next to her you see a small brown basket.\n\n> You look at the basket\nA small brown basket sits at the nymph's side. It is currently closed.\n\n> You talk to nymph\nTo talk to someone, use ASK ___ ABOUT/FOR ___ or TELL ___ ABOUT ___.\n\n> You ask nymph about the basket\nThe nymph is too lost in her grief at the moment to respond.\n\n> You ask the nymph about crying\n\"My name is Hespa,\" she manages between sobs. \"Today has been terrible! My beloved Bugg wandered off into the brush.\" She points at a small clearing in the the undergrowth to the northwest that had escaped your notice before.\n\n\"I followed after him but he got cornered by a nasty spider,\" she continues. \"I tried to free him but I almost got trapped in its web myself!\" Hespa starts weeping even more loudly than before.\n\n> You ask the nymph about Bugg\n\"Bugg is my pet ladybug. I've had him since he was a larva.\" Tears stream down her face.\n\n> You ask the nymph about the spider\n\"It's a nasty thing... almost a big as I am.\" She stares at you with frightened eyes.\n\n> You ask the nymph about Prince\n\"He's a grand fellow. I wish he were here to help me now.\""
    },
    {
        "text": "> You describe your surroundings\nHere the path culminates at a stout lilac bush bursting with its distinctive amethyst flowers. A beautiful nymph sits sobbing on one of its lower branches.\n\nThe path continues back to the south. The small clearing in the brush that Hespa pointed out is to the northwest.\n\n> Go south\nYou find yourself standing in front of an unruly thicket of damask roses. Their scent permeates the air.\n\nYou can hear the faint sound of crying to the north. The path also continues back to the south.\n\n> Go east\nA short trip to the east brings you to a lovely cluster of tulips. The giant, cup-shaped flowers sit atop tall, dark green stalks that stretch to about five times your height. Most of the flowers are a deep pink, but one in particular catches your eye. It stands slightly apart from the rest, with bright orange petals that call to mind the pumpkin that the eccentric apothecary from your village had hollowed out for a home. It has apparently caught the interest of a butterfly as well. The black swallowtail is circling back and forth around the flower, occasionally dipping inside for a sip of nectar.\n\nThe path curves to the northeast here. It also continues back west to the fork.\n\n> You examine the butterfly\nThe dark wings of the black swallowtail are dotted with yellow at their base. The butterfly is currently circling the orange tulip, occasionally dipping in for a sip of nectar.\n\n> You ask the butterfly about Prince\nYou've never come upon a talking arthropod and this butterfly is no exception. Either that or it's ignoring you.\n\n> You examine the flower\nThe bright orange tulip, perched atop its tall, green stem, glows with the light of the sun. A black swallowtail butterfly is currently circling around it.\n\n> You climb the flower\nYou attempt to shimmy up the stalk of the orange tulip but it is much too slippery.\n\n> You go to the northeast\nYour stroll to the northeast finds you at the base of the largest dandelion you've ever seen. Tall, lance-like leaves surround its massive stem, which rises up to support a snowy globe of seeds. Beyond the dandelion, to the east, the ground grows marshier and thick with palm sedge.\n\nThe path here runs from southwest to northeast.\n\n> You look at the dandelion\nThe dandelion, having gone to seed, is capped in snowy white. Tall, lance-like leaves surround its massive stem.\n\n> You climb the dandelion\nYou find that you are able to scale the dandelion stem by grasping onto a leaf with one hand while boosting yourself upward. Once you reach the head of the flower, you pull yourself on top with a bit of effort."
    },
    {
        "text": "[Themes: fairy]\n\n> You look around\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. A black swallowtail butterfly dips into the fiery goblet for a sip of nectar.\n\nYou can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nA gentle breeze from the west ruffles you hair.\n\n> Down\nYou carefully descend the stem, using the leaves to steady yourself.\n\nYou are at the base of the largest dandelion you've ever seen. Tall, lance-like leaves surround its massive stem, which rises up to support a snowy globe of seeds. Beyond the dandelion, to the east, the ground grows marshier and thick with palm sedge.\n\nThe path here runs from southwest to northeast.\n\n> Go northeast\nHere the dirt path that you've grown accustomed to is replaced by a cobblestone walk. To the east, a steep, rocky slope leads down to the moss-green water. A thick layer of mist has settled over the pond making it difficult to see to the opposite side... your supposed destination. Your mother used to tell you stories about the palace across the pond. It was not so long ago that the Fairy Prince's home was a popular journey destination for adventurous pixies, but now that the fervor has died down over the prince's ascendancy, the once-hazardous hedges seem to hold more of an attraction for young explorers.\n\nYou are about to continue north on the cobblestone terrace when you catch something out of the corner of your eye. Protruding from the grass on the other side of the walk is a large shell. How could you have missed that?\n\n> You examine the shell\nA large, coiled shell rests in the grasses on the side of the path.\n\n> You enter the shell\nThe opening of the shell is facing the ground, making it impossible to enter."
    },
    {
        "text": "> You describe your surroundings\nHere the dirt path that you've grown accustomed to is replaced by a cobblestone walk. To the east, a steep, rocky slope leads down to the moss-green water. A thick layer of mist has settled over the pond making it difficult to see to the opposite side.\n\nIn the grass alongside the cobblestone terrace, you see a large, iridescent shell.\n\nThe dandelion is back to the southwest. The walk also marches on to the north.\n\n> Go north\nYou appear to have come to a dead end. The cobblestone walk runs right up to the side of a giant pipe. The steep slope leading down to the water continues to the east.\n\nYou notice a strange, triangular tile embedded amongst the cobblestones.\n\n> You examine the tile\nThe triangular white tile is curved at its base, almost shaped like an arrowhead. It seems to point towards the water.\n\n> You get the tile\nThe tile is firmy embedded amongst the cobblestones."
    },
    {
        "text": "[Themes: male protagonist]\n\n> Look around\nYou appear to have come to a dead end. The cobblestone walk runs right up to the side of a giant pipe. The steep slope leading down to the water continues to the east.\n\nA strange, triangular tile is embedded amongst the cobblestones.\n\n> You turn the tile\nYou are unable to.\n\n> You look at the water\nIn spite of the sunny weather, a thick mist has settled on the surface of the pond, rendering it impossible to see across. Its murky, green waters lap against a rocky slope that extends down to the east.\n\n> You climb pipe\nThe curved sides of the pipe are too slippery to climb.\n\n> You go to the southwest\nYou are at the base of the largest dandelion you've ever seen. Tall, lance-like leaves surround its massive stem, which rises up to support a snowy globe of seeds. Beyond the dandelion, to the east, the ground grows marshier and thick with palm sedge.\n\nThe path here runs from southwest to northeast.\n\n> You go southwest\nGiant, cup-shaped flowers sit atop tall, dark green stalks that stretch to about five times your height. Most of the flowers are a deep pink, aside from one striking orange tulip that sits apart from the rest. A black swallowtail is circling back and forth around it, occasionally dipping in for a sip of nectar.\n\nThe path curves to the northeast here. It also continues back west to the fork.\n\n> You go west\nTall grasses line the path that forks off to the north and east. The road back home is to the west.\n\n> Go north\nYou find yourself standing in front of an unruly thicket of damask roses. Their scent permeates the air.\n\nYou can hear the faint sound of crying to the north. The path also continues back to the south.\n\n> You go to the northwest\nYou duck into the small clearing....\n\nYou immediately feel claustrophobic in this tiny glade. It doesn't help that you are sharing the space with a giant spider. Just as Hespa described, the fearsome arachnid is busy at work, wrapping the still-struggling Bugg in a silky cocoon. Suddenly aware of your presence, the spider fixes its bulbous black eyes on you and hisses.\n\nWhat have I gotten myself into? you wonder.\n\n> You examine the spider\nThe giant spider is covered in velvety, chestnut-brown fur but it hardly seems cuddly. Every so often, it pauses in its spinning to stare back at you with its inky black eyes. Perhaps it's considering what to have for dessert.\n\n> You look at Bugg\nYou can barely see the poor creature. He is almost entirely covered in silk.\n\n> Inventory\nYou are carrying:\na sling (being worn)\na jewel\n\n> You look at the leaf\nThe lance-shaped leaves are long, with jagged edges. They cleave closely to the stem of the dandelion.\n\n> You get the leaf\nThe leaves are firmly attached to the dandelion.\n\n> Blow\nWhat do you want to blow?\n\n> You look at the jewel\nThe pale blue jewel glitters in the sunlight. At its base, you can make out the delicate, silvery script that reads \"PROPERTY OF THE FAIRY PRINCE\".\n\n> Go upwards\nYou scale the dandelion stem and pull yourself up onto the head..."
    },
    {
        "text": "[Themes: miniature protagonist]\n\n> Look around\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. A black swallowtail butterfly dips into the fiery goblet for a sip of nectar.\n\nYou can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nA competing northeasterly wind picks up, setting some of the dandelion seeds adrift.\n\n> You look at the seeds\nTheir soft, propeller-like tops are nearly even with your head.\n\nThe northeasterly wind caresses your shoulders.\n\n> You take the seed\nYou pull one of the seeds from the dandelion clock and hold it up like an umbrella.\n\nThe wind dies down for a moment and then is replaced by a balmy zephyr pressing you southwest."
    },
    {
        "text": "> Look around\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. A black swallowtail butterfly dips into the fiery goblet for a sip of nectar.\n\nYou can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nThe wind blows southwest, agitating the seeds around you.\n\n> You jump\nYou jump up with the seed extended in your arm. Its parachute top catches in the breeze and you are swept into the air.\n\nI'm flying!"
    },
    {
        "text": "[Themes: fairy]\n\n> Look around\nThe southwestern zephyr sends you coasting towards the tulips. A shiver of excitement runs through you as you zip past the pink flowers. A fortuitous undercurrent of wind jolts you upward right before you slam face first into the tall orange tulip. You release the seed just as you are arcing over its open petals...\n\nand land in it with a PLOP."
    },
    {
        "text": "> Look around\nYou find yourself coughing uncontrollably. Your abrupt landing must've knocked all of the pollen loose in the flower-- you're practically swimming in it. You're still hacking when you realize that the black swallowtail is peering in at you, its antennae twitching. It huffs indignantly, apparently unhappy to find an uninvited guest at its favorite snack spot.\n\n\"Sorry--,\" you start to say, but with one flap of its wings, the butterfly is gone. You stand up and brush the rest of the pollen off of you, careful to avoid stray droplets of nectar.\n\nFinally you are able to take in your surroundings. The amber petals of the tulip form a protective parapet around you as you gaze out at the garden. Unfortunately, you discover that the view isn't that much better than the one provided by the dandelion. The heavy mist prevents you from seeing beyond the pond and a tall rosebush blocks the view on the other side.\n\nCrud! Still, you can't help but feel a strange sense of accomplishment over making it to the top of the flower.\n\n> About yourself\nYou are Mite, a pixy lad with bright green skin and pointy ears.\n\nYou are currently toting a dazzling blue gem on your back in a loose sling."
    },
    {
        "text": "> Describe the surroundings\nThe amber petals of the tulip form a protective parapet around you as you gaze out at the garden. The pond to the east is covered in a dense mist. The view from the other side of the tulip is dominated by an overgrown rosebush.\n\nThe bottom of the tulip is full of pollen. The tulip's stem offers a possible way down.\n\n> You get the pollen\nThe powdery pollen slips through your fingers."
    },
    {
        "text": "> Go downwards\nYou carefully climb out of the tulip and slide down the stem...\n\nGiant, cup-shaped flowers sit atop tall, dark green stalks that stretch to about five times your height. Most of the flowers are a deep pink, aside from one striking orange tulip that sits apart from the rest.\n\nThe path curves to the northeast here. It also continues back west to the fork.\n\n> Go northeast\nYou are at the base of the largest dandelion you've ever seen. Tall, lance-like leaves surround its massive stem, which rises up to support a snowy globe of seeds. Beyond the dandelion, to the east, the ground grows marshier and thick with palm sedge.\n\nThe path here runs from southwest to northeast.\n\n> Up\nYou scale the dandelion stem and pull yourself up onto the head..."
    },
    {
        "text": "[Themes: fairy]\n\n> You look around\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. You can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nThe zephyr subsides and is replaced by a gentle easterly breeze.\n\n> You get the seed\nYou pull one of the seeds from the dandelion clock and hold it up like an umbrella.\n\nA gentle breeze from the west ruffles you hair.\n\n> You wait\nTime passes.\n\nA competing northeasterly wind picks up, setting some of the dandelion seeds adrift.\n\n> You wait\nTime passes.\n\nThe northeasterly wind caresses your shoulders.\n\n> You wait\nTime passes.\n\nThe wind dies down for a moment and then is replaced by a balmy zephyr pressing you southwest.\n\n> You wait\nTime passes.\n\nThe wind blows southwest, agitating the seeds around you.\n\n> You wait\nTime passes.\n\nThe zephyr subsides and is replaced by a gentle easterly breeze.\n\n> You jump\nYou jump up with the seed extended in your arm. Its parachute top catches in the breeze and you are swept into the air.\n\nThe easterly breeze sends you spinning wildly toward the sedges and the water beyond it. You let go just in time..."
    },
    {
        "text": "[Themes: fairies]\n\n> You look around\nWHOMP!\n\nThe sedges close in around you like a jungle. You can see the dandelion through a mass of leaves to the west.\n\nThat was a close one!"
    },
    {
        "text": "> You look at your surroundings\nThe sedges close in around you like a jungle. You can see the dandelion through a mass of leaves to the west.\n\n> You look at the sedge\nThe sedges surround you in every direction. You can see the dandelion through a mass of leaves to the west.\n\n> You get the sedge\nYou have miraculously avoided getting mud all over yourself up to this point and you'd like to keep it that way.\n\n> You go to the west\nYou push west, through the leaves...\n\nYou are at the base of the largest dandelion you've ever seen. Tall, lance-like leaves surround its massive stem, which rises up to support a snowy globe of seeds. Beyond the dandelion, to the east, the ground grows marshier and thick with palm sedge.\n\nThe path here runs from southwest to northeast."
    },
    {
        "text": "[Themes: miniature protagonist]\n\n> You look in shell\nThe opening to the shell is facing the ground, making it impossible to look inside.\n\n> You knock on the shell\nYou rap loudly on the shell as you would someone's front door... and wait. Before long a deep groaning sound resonates within the shell and you jump back, startled. The iridescent conch rises into the air as the slick, brown body of a snail emerges. Once he is fully extended, he turns his eyestalks to you.\n\n\"What is all this racket about?!\" His voice, which issues from a tiny mouth hole framed by long white whiskers, is high and raspy. \"I was trying to read my paper!\"\n\n\"I-I'm sorry, Mr. Snail,\" you begin. \"I'm just trying to find my way around.\"\n\n\"My name's Snoll. And what is it that you need to know?\" He seems like quite an impatient fellow.\n\n> You ask Snoll about the paper\n\"What do you like to read?\" you ask the snail\n\n\"The paper... I'd like to be reading it now, as a matter of fact.\"\n\n> You ask Snoll about Prince\nYou ask Snoll his opinion of the Fairy Prince.\n\n\"I'm no big fan of magic, but he's definitely helped improve things around here, so I can't complain too much.\""
    },
    {
        "text": "> Look around\nHere the dirt path that you've grown accustomed to is replaced by a cobblestone walk. To the east, a steep, rocky slope leads down to the moss-green water. A thick layer of mist has settled over the pond making it difficult to see to the opposite side.\n\nThe dandelion is back to the southwest. The walk also marches on to the north.\n\nSnoll glares at you impatiently from his spot in the grass.\n\n> You ask Snoll about mist\n\"Is there any way across the pond?\" you ask.\n\n\"As a matter of fact,\" the snail leans in conspiratorially, \"there is. I've seen the Fairy Prince's courier cross many a time. If you travel a bit north, you'll see a funny-shaped tile by the water. It marks the beginning of the bridge.\"\n\n\"The... bridge?\"\n\n\"Yes --  The only thing is, you can't see it! He used his crazy fairy magic to turn it invisible!\"\n\n> You ask Snoll about the bridge\n\"Like I said, there's a bridge across the pond. You can't see it, but trust me, it's there. If you travel a bit north, you'll find a funny-shaped rock by the water. It marks the beginning of the bridge.\"\n\n> Go north\nYou appear to have come to a dead end. The cobblestone walk runs right up to the side of a giant pipe. The steep slope leading down to the water continues to the east.\n\nA strange, triangular tile is embedded amongst the cobblestones.\n\n> You examine the bridge\nYou look out over the water for some evidence of a bridge but find nothing. No-- wait. Is that a patch of dirt hovering in midair? Indeed, it looks like a fine powdering of dust has settled on a small section of the bridge a few feet out.\n\n> East\nYou take a deep breath and, starting from the triangular tile, step out over the slope. In spite of what the snail told you, you are startled when your foot meets the solid surface of the bridge. Tentatively, you press forward. When you are finally standing directly over the pond, you lose your bearings, however. The disconnect between what you see and what you feel causes you to lose your balance. You teeter back and forth, dangerously, and with no handrail to catch you, you nearly fall into the water. Slowly, you are able to make your way back to the shore.\n\nThere's got to be a way for me to get across this bridge, you tell yourself.\n\n> Go south\nHere the dirt path that you've grown accustomed to is replaced by a cobblestone walk. To the east, a steep, rocky slope leads down to the moss-green water. A thick layer of mist has settled over the pond making it difficult to see to the opposite side.\n\nIn the grass alongside the cobblestone terrace, you see Snoll's shell. He must've retreated back inside.\n\nThe dandelion is to the southwest. The walk also marches on to the north.\n\n> You go southwest\nGiant, cup-shaped flowers sit atop tall, dark green stalks that stretch to about five times your height. Most of the flowers are a deep pink, aside from one striking orange tulip that sits apart from the rest.\n\nThe path curves to the northeast here. It also continues back west to the fork.\n\n> You go west\nTall grasses line the path that forks off to the north and east. The road back home is to the west.\n\n> You go to the northwest\nYou duck into the small clearing....\n\nThe brush presses in around you from every direction. You feel quite claustrophobic here. It doesn't help that you are sharing the space with a giant spider. The vile creature is busy at work, wrapping the increasingly lethargic Bugg in its silky cocoon.\n\nThe path back to the lilac bush is southeast.\n\n> You ask spider about Bugg\nThe spider answers you with a hiss.\n\n> You throw the gem at the spider\n(first taking the jewel)\nYou'd prefer to hold on to it.\n\n> You kill the spider\nAs things look more and more dire for poor Bugg, you feel a surge of desperation. In a moment of sheer insanity, you ball up your bare fist and punch the spider in the back. It whirls around furiously and snaps out at you with its fangs. You are able to escape just in time. You doubt you will be able to get away with that again.\n\n> You kill the spider\nFoolishly emboldened by your previous attack, you strike out at the spider again, unarmed. This time you are not so lucky. In an instant, the spider is upon you, sinking its fangs into your chest. Once you are effectively paralyzed, it drags you over to its web and begins to swathe you in your own silken shroud. What an unfortunate way to end your first adventure.\n\n> Climb rose\nThe prickly tangle is less than inviting.\n\n> Examine rose\nThe dense shrubbery, capped with fat pink roses, branches out high overhead. The blooms are captivating but their thorny stems make them seem more than a little forbidding.\n\n> You get the thorn\nYou reach out and yank on the dried thorn. It snaps off into your hand.\n\n> You check your inventory\nYou are carrying:\na thorn\na sling (being worn)\na jewel\n\n> You look at the thorn\nThe base of the thorn fits neatly into your palm. You wave it in front of you with a quick stroke and find that it makes a handly little short sword.\n\n> You kill the spider with the thorn\nYou know that every living thing has to eat, but the idea of the nymph's dear pet being consumed by such a vile creature makes your heart hurt.\n\nThorn in hand, you take a swipe at the spider... and miss. It spits at you angrily and then turns its attention back to Bugg.\n\n> You kill the spider with thorn\nYour first attempt didn't work but you are not ready to give up. You swing your makeshift sword forward again with as much force as you can muster. It plunges deep into the spider's belly. The brute squawks in pain and you jump back, leaving the thorn embedded in its body. Its legs spasm wildly and then it finally falls to the ground, still.\n\nYour heart is pounding so hard it feels like it might leap out of your chest. You've had to kill different creatures before (smaller, of course) but it was never anything like this. You feel like a warrior, victorious after battle. You draw the thorn out of the spider's body and wipe it off on some nearby grass.\n\n> You ask the spider how you like yourself now\nYou can only do that to something animate."
    },
    {
        "text": "> You look around\nThe brush presses in around you from every direction. You see Bugg still struggling in the spider's web.\n\nThe path back to the lilac bush is southeast.\n\nYou can see a dead spider here.\n\n> You examine the spider\nThe spider's crumpled body rests in the corner of the small clearing.\n\n> You look at Bugg\nThe spider may be dead, but poor Bugg is still writhing around in the food sac.\n\n> You get the silk\nYou try to free Bugg with your bare hands but they get caught in the viscid outer weave of the food sac. With a determined tug, you are able to free yourself, but your palms sting from the effort.\n\n> You cut the silk with thorn\nUsing the thorn, you delicately cut into the silk cocoon. Once the hole you've created is large enough, Bugg is able to crawl out, although with great effort. It takes a short while for the exhausted ladybug to recover his strength. After flapping his wings and stretching his legs, however, he's almost as good as new. He nuzzles you appreciatively and then makes his way back to his distressed owner.\n\n> Go southeast\nYou emerge from the clearing feeling positively exhilarated. You see that Bugg has already made his way back to his elated mistress. He is nestling cozily in her lap as she checks him for injuries. When she notices your return, she offers you a beatific smile.\n\n\"I am forever indebted to you,\" she says. \"I thought I would never get him back again.\"\n\n\"I'm glad to have helped,\" you reply. But she's not finished. She reaches over to her basket and pulls out something made of purple fabric.\n\n\"Here... it's not much but perhaps you will find is useful. On less exciting days, I spend a lot of time knitting, and I have tons of these.\" She hands you what turns out to be a small purple sack, closely knit out of lilac petal fibers.\n\n\"Thanks!\"\n\n> Inventory\nYou are carrying:\na pouch\na thorn\na sling (being worn)\na jewel"
    },
    {
        "text": "> You look around\nHere the path culminates at a stout lilac bush bursting with its distinctive amethyst flowers. Hespa sits on one of its lower branches, with Bugg in her lap and her basket at her side.\n\nThe path continues back to the south. There is a small clearing in the brush to the northwest.\n\n> Go south\nYou find yourself standing in front of an unruly thicket of damask roses. Their scent permeates the air.\n\nThe path stretches on to the north and south."
    },
    {
        "text": "[Themes: miniature protagonist, fairies]\n\n> You look at your surroundings\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. You can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nA gentle breeze from the west ruffles you hair.\n\n> You get the seed\nYou pull one of the seeds from the dandelion clock and hold it up like an umbrella.\n\nA competing northeasterly wind picks up, setting some of the dandelion seeds adrift.\n\n> You jump\nYou jump up with the seed extended in your arm. Its parachute top catches in the breeze and you are swept into the air.\nThe rough wind buffets you northeast. The tulips, the grasses, the pond-- all of them blur together as you soar through the air. Eventually gravity takes its course and you slowly descend, bracing your legs for impact.\n\nYour trip wasn't as far as it might have seemed.\nOn the Shore of the Pond\nHere the dirt path that you've grown accustomed to is replaced by a cobblestone walk. To the east, a steep, rocky slope leads down to the moss-green water. A thick layer of mist has settled over the pond making it difficult to see to the opposite side.\n\nIn the grass alongside the cobblestone terrace, you see Snoll's shell. He must've retreated back inside.\n\nThe dandelion is to the southwest. The walk also marches on to the north.\n\nYou let go of the dandelion seed and watch as it floats away in the breeze.\n\n> You climb the dandelion\nYou scale the dandelion stem and pull yourself up onto the head...\nOn Top of the Dandelion\nYou are standing on the sole bare spot of the dandelion cap, amongst its countless downy white seeds. Up here, you are afforded a better view of the captivating orange tulip to the southwest. You can also see a calm but murky-looking pond to the east, beyond the palm sedge.\n\nThe northeasterly wind caresses your shoulders.\n\n> You get the seed\nYou pull one of the seeds from the dandelion clock and hold it up like an umbrella.\n\nThe wind dies down for a moment and then is replaced by a balmy zephyr pressing you southwest.\n\n> You jump\nYou jump up with the seed extended in your arm. Its parachute top catches in the breeze and you are swept into the air.\nThe southwestern zephyr sends you coasting toward the tulips. That same undercurrent of wind jolts you upward right before you slam face first into the tall orange tulip. You release the seed just as you are arcing over its open petals... and land in it with a PLOP.\n\nThe amber petals of the tulip form a protective parapet around you as you gaze out at the garden. The pond to the east is covered in a dense mist. The view from the other side of the tulip is dominated by an overgrown rosebush.\n\nThe bottom of the tulip is full of pollen. The tulip's stem offers a possible way down.\n\n> You get the pollen\nYou fill up the pouch, which turns out to have quite a bit of give, with as much pollen as you can find.\n\n> You examine the pouch\nThe small sack is made of closely-knit purple fibers.\n\n> You examine the pollen\nThe golden grains are powdery yet somewhat sticky.\n\n> Down\nYou carefully climb out of the tulip and slide down the stem...\n\nGiant, cup-shaped flowers sit atop tall, dark green stalks that stretch to about five times your height. Most of the flowers are a deep pink, aside from one striking orange tulip that sits apart from the rest.\n\nThe path curves to the northeast here. It also continues back west to the fork.\n\n> You go to the east\nYou are too afraid of losing your balance over the water to venture onto the bridge. If only there were some way to see where you were going...\n\n> You put the pollen on the bridge\nThe floating patch of dust gives you an idea. You grab a handful of pollen from the pouch and, starting from the triangular tile, sprinkle it over the bridge. The slightly sticky granules of pollen adhere to the surface, providing you with a clear path east. Little by little, you make your way in that direction, trying to avoid looking down into the murky green water. The mist becomes thicker at the center of the pond, but you are able to work your way through. Before you know it, you find yourself on the other side.\n\nThe bridge has deposited you on a sandy little beach surrounded by cattails. You look back and see your pollen trail hanging suspended over the water.\n\nUnbelievable! And your friends back home probably really won't believe it... they'll think you daydreamed it or read it in a book somewhere.\n\nBut this is better than a book! you tell yourself. For the first time on your adventure, you realize that you are actually having fun. You don't know why you were so unenthusiastic starting out. Maybe you were afraid of finding out that the magical world of the Great Garden wasn't so magical after all. An odd sense of relief washes over you and there is now a buoyancy in your step. You barely notice the heft of the jewel on your back anymore.\n\nYou give your new surroundings another glance and observe a gap in the cattails to the east.\n\n> You look at the cattails\nA dense colony of cattails lines the shore. Their heavy brown heads nod atop pithy stems.\n\nA gap between them provides passage to the east.\n\n> You go east\nYou ascend the sandy hill to the east, passing between the cattails. Just as you are crossing the threshold into this new territory, your foot catches on a fallen cattail and you trip. You are momentarily airborne as you tumble forward, and when you finally hit the ground, you are nearly jolted out of your senses. It takes you a few seconds to collect yourself, and you finally notice that the jewel has fallen out of the sling. You check the immediate area, but it is nowhere to be found. Slowly you take in the new scenery and a feeling of dread fills your heart. A malicious snicker punctuates the silence.\n\n> You go to the south\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast. Next to the lofty shroom, its shorter, squatter twin sits tipped over. Chomp-marks on the base indicate exactly how it was felled.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> You examine the mushroom\nWhich do you mean, the tall mushroom or the squat mushroom?\n\n> You look at the squat mushroom\nThe squat mushroom is tipped on its side.\n\n> You examine the tall mushroom\nTwo chubby caterpillars are taking a nap on top of the lofty mushroom, which stretches slightly overhead. You can see bite marks in its crimson cap where the creatures have feasted.\n\n> You look at the caterpillars\nTwo chubby black caterpillars are curled up on top of the tall mushroom. They are sleeping soundly after their afternoon fungi feast.\n\n> You check what you're carrying\nYou are carrying:\na pouch\na thorn\na sling (being worn and empty)"
    },
    {
        "text": "> You look in the pouch\nThe pouch is empty."
    },
    {
        "text": "> You look around\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast. Next to the lofty shroom, its shorter, squatter twin sits tipped over. Chomp-marks on the base indicate exactly how it was felled.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> You wake the caterpillars\nYou doubt that the caterpillars have any helpful advice to offer so you decide to let them continue sleeping.\n\n> East\nYou climb the hill to the east...\n\nThe palace-- at long last! Though your parents had described it to you, you still were not prepared for this. The famed Gazing Ball Palace sits atop a tall marble tower, countless stories high. The opalescent sphere shimmers in the sunlight, beckoning you forward.\n\nAt the base of the marble tower, you see a great arched door, in front of which stands a somber-looking chipmunk. She's armored in shining silver and holds a spear at her side. The chipmunk stares at you warily as you approach.\n\n\"State your business, citizen.\"\n\n> You tell the chipmunk about the jewel\nYou tell the chipmunk how you came upon the missing jewel. Her interest is piqued only slightly.\n\n\"Where is this jewel?\" she asks. You sigh deeply.\n\n> You tell the chipmunk about the goblin\n\"A goblin has stolen a jewel belonging to the Fairy Prince!\" you tell the guard. She eyes you for a moment.\n\n\"I cannot leave my post,\" she says, finally. \"If what you say is true, you should do what you can to retrieve it.\"\n\n> You ask chipmunk for the spear\nYou doubt the chipmunk guard will respond well to being ordered around.\n\n> You examine chipmunk\nA striped brown chipmunk stands guard at the palace door. She wears a vest of silver armor and a somber expression. At her side, you see a long, sharp spear.\n\n> You ask the chipmunk about the goblin\n\"Troublesome creatures... and smelly.\"\n\n> You examine the sphere\nThe famed Gazing Ball Palace sits atop a tall marble tower, countless stories high. The opalescent sphere shimmers in the sunlight, beckoning you forward.\n\n> North\nThis wide clearing is dominated by a giant gnome statue. A goblin is perched on its shoulder, clinging to the jewel that inspired this whole journey.\n\nThe dirt path picks up here, stretching south. To the west, beyond the fallen cattail, you see the opening leading back to the beach.\n\nHolding the gem under one arm, the goblin leans over and pretends to pick the gnome's nose.\n\n> You look at the goblin\nThe hideous goblin is bald, with sagging gray skin and sharp black nails and teeth. It is currently having a great deal of fun taunting you with the jewel.\n\nThe ugly monster pantomimes crying. Then he points at you and laughs.\n\n> Inventory\nYou are carrying:\na pouch\na thorn\na sling (being worn and empty)\n\nThe rotten fiend finds a small pebble and chucks it at you. It bounces harmlessly into the cattails.\n\n> You remove the sling\nYou'd prefer to keep it on.\n\nThe hideous creature chuckles maliciously.\n\n> You throw the thorn at the goblin\nYou toss the makeshift sword at the goblin but your aim is off. The thorn goes flying into the cattails.\n\nGreat. Just great.\n\n> West\nYou carefully step over the fallen cattail...\n\nYou are on a sandy little beach surrounded by cattails. To the west, your pollen trail hangs suspended over the water, defining the path of the invisible bridge. A gap in the cattails allows passage to the east.\n\n> East\nYou ascend the sandy hill to the east, passing between the cattails.\n\nThis wide clearing is dominated by a giant gnome statue. A goblin is perched on its shoulder, clinging to the jewel that inspired this whole journey.\n\nThe dirt path picks up here, stretching south. To the west, beyond the fallen cattail, you see the opening leading back to the beach.\n\n> You get the cattail\nThe cattail is entirely too heavy for that.\n\n> South\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast. Next to the lofty shroom, its shorter, squatter twin sits tipped over. Chomp-marks on the base indicate exactly how it was felled.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> You get the squat mushroom\nYou tilt the mushroom back onto its base. It's a little wobbly but can stand without falling over. You wrap your arms around the fungus in an attempt to lift it, but find that it is too unwieldy.\n\n> You look\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast. Next to the lofty shroom, sits its shorter, squatter twin.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> You stand on the squat mushroom\nYou climb onto the squat mushroom. Its cap is springy beneath your feet.\n\n> You jump\nYou jump on the mushroom. Its springy cap propels you high in the air.\n\n> You get off the mushroom\nWhich do you mean, the tall mushroom or the squat mushroom?\n\n> Short\nYou get off the squat mushroom.\n\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast. Next to the lofty shroom, sits its shorter, squatter twin.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> You jump\nYou've had enough of this contemptible monster. You jump on the mushroom's springy cap and are launched high in the air. When you are even with the creature, you strike out with your small green fist. That's all it takes. The cowardly goblin shrieks with frightened rage. He drops the jewel and makes off into the cattails, which rustle violently in his wake.\n\nYou climb down from the mushroom and retrieve the jewel, inspecting it carefully for any scratches. Its sparkling facets are no worse for the wear. Your spirits soar again. You feel as though nothing can stand in your way now.\n\nYou head south, ready to finally present the Fairy Prince with his lost treasure.\n\n> You look\nA tall, crimson-capped mushroom stands at a curve in the grass-lined path, providing the surrounding greenery with a bit of shade. On top of it, two chubby caterpillars are taking a nap, apparently sated after an afternoon fungi feast.\n\nThe path continues up a steep incline to the east. It also curves back to the gnome statue, to the north.\n\n> Inventory\nYou are carrying:\na pouch\na sling (being worn)\na jewel\n\n> South\nYou are immediately enveloped by the tall fescue. Fearful of losing your way in this green jungle, you quickly return to the path.\n\n> East\nYou climb the hill to the east...\n\nThough your parents had described it to you, you still were not prepared for this. The famed Gazing Ball Palace sits atop a tall marble tower, countless stories high. The opalescent sphere shimmers in the sunlight, beckoning you forward.\n\nAt the base of the marble tower, you see a great arched door, in front of which stands a somber-looking chipmunk. She's armored in shining silver and holds a spear at her side.\n\nThe path wends its way back to the west.\n\n> You tell the chipmunk about the jewel\nYou take the jewel in your arms one more time, enjoying the reassuring weight of it. Finally, you present it to the chipmunk guard.\n\n\"I believe this belongs to the Fairy Prince.\" The chipmunk leans forward and inspects the egg-shaped gem, taking notice of the inscription. She puffs her cheeks thoughtfully.\n\n\"I see.\" Suddenly she is all action. She opens the door and steps aside, allowing you entry into the palace. It takes a moment for your eyes to adjust to the dim lighting of the surprisingly modest anteroom. The chipmunk makes no haste in leading you to a narrow set of stairs. You return the jewel to the sling and begin your ascent. Up, up, up you go. You climb so many steps, it seems like you're heading for the clouds. Just when you feel like you cannot go on, you arrive at a small landing with a simple wooden door. The chipmunk, who has been following quietly behind you the whole time, reaches over and twists the knob.\n\n\"Here we are then...\" She ushers you forward.\n\n> You look\nYou find yourself in the throne room of the palace. The giant translucent dome casts rainbows across every surface. The throne sits empty. The Fairy Prince has instead opted to sit on a bench near the glass, where he can look out over the garden. He smiles up at you as you approach.\n\n\"Ah, I've been waiting for you!\"\n\n> You look at Prince\nThe Fairy Prince sits on a bench near the dome wall, his pale green wings folded behind him. He smiles at you.\n\n> You tell Prince about the jewel\nThe prince listens with great interest as you tell him about your adventure.\n\n> You give the jewel to Prince\n(first taking the jewel)\nWithout much ado, you hand over the jewel.\n\n\"Thanks!\" he says brightly. He startles you by tossing it into the air where it transforms into small white pebble, which he then catches in his hand and shoves in his pocket. He offers an impish laugh... and suddenly things come together.\n\n\"It was you!\"\n\n\"I have to admit it was.\"\n\n\"But why?\" The Prince pauses for a moment.\n\n\"I have been trying to keep things safe and green here for a long while... but it's been getting harder and harder. There is a darkness pressing in.\" He motions out the window to a spot far on the horizon. You can see it. It is far away but it is there... It fills you with dread.\n\n\"The people have become complacent. Things have been going well for so long that they are becoming more and more careless. I need help to keep them safe from the outside. That's why I set up this test.\" It all makes sense now. But you're not exactly sure what he is asking of you. Finally, he spells it out:\n\n\"I need the help of good folks like you, who are brave and kind hearted, to help me guard the people against the coming darkness. But it's entirely up to you. There's not much time to waste though. Are you up for it?\n\n> Yes\nYou think long and hard. Earlier today, you would've run as fast as you could in the opposite direction. But you feel like an entirely different pixy. You provide him with your answer.\n\n> No\nThat was a rhetorical question.\n\n> You give the jewel\n(to Fairy Prince)\n(first taking the jewel)\nWithout much ado, you hand over the jewel.\n\n\"Thanks!\" he says brightly. He startles you by tossing it into the air where it transforms into small white pebble, which he then catches in his hand and shoves in his pocket. He offers an impish laugh... and suddenly things come together.\n\n\"It was you!\"\n\n\"I have to admit it was.\"\n\n\"But why?\" The Prince pauses for a moment.\n\n\"I have been trying to keep things safe and green here for a long while... but it's been getting harder and harder. There is a darkness pressing in.\" He motions out the window to a spot far on the horizon. You can see it. It is far away but it is there... It fills you with dread.\n\n\"The people have become complacent. Things have been going well for so long that they are becoming more and more careless. I need help to keep them safe from the outside. That's why I set up this test.\" It all makes sense now. But you're not exactly sure what he is asking of you. Finally, he spells it out:\n\n\"I need the help of good folks like you, who are brave and kind hearted, to help me guard the people against the coming darkness. But it's entirely up to you. There's not much time to waste though. Are you up for it?\n\n> No\nYou think long and hard. Earlier today, you would've run as fast as you could in the opposite direction. But you feel like an entirely different pixy. You provide him with your answer.\n\nPlease give one of the answers above.\n\nToday is the day you've been waiting for! Today is the day when the Revolution arrives to sweep over this entire town, converting it to a worker's paradise! Your heart beats with trepidation and excitement and you can almost taste victory!\nBut victory's not here yet. You still have a lot of work to do. After all, it's like Marx said: It's one thing to interpret the world but the point is to change it. And today, change will come!\nNow if only you could find your Revolutionary To-Do List...\n\n\n\nIn future generations, this building may well be a museum, for this is where the People's Committee for the Revolution made their glorious plans to liberate all who are oppressed! The red light that illuminates the room might cause eye strain and make it hard to work, but it is truly inspiring.\nYou can exit the headquarters to the west (how appropriate!) and a staircase leads downwards to the lab.\n\nA giant workers' flag hangs on the back wall, filling your heart with Revolutionary Pride.\n\nUnderneath the flag sits the committee's desk, upon which all Revolutionary Managerial Work is accomplished."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, changing environment, gender-neutral protagonist, animal NPC, slice of life]\n\nWaiting on the shore; sand yields beneath my feet\nThe water shouts and roars and rushes\nAnd breaks on the rocks, and\nNever comes near to where I wait.\n\n[Hit any key.]\n\n[Author's Note: Walking away from a picnic, you are suddenly caught in a country storm. You must protect a bridge from being destroyed.]"
    },
    {
        "text": "[Themes: Fantasy, Slice of life, changing environment]\n\n> You press space\nThe picnic is going full blast, which is exactly why you've wandered away from it. It's not that you don't like your new companions; it's just that after weeks of spending each day around them, a noisy weekend cook-out isn't the way to relax. Some exploration -- on your own -- is an appealing thought.\n\nNone of them noticed you drifting away, anyhow.\n\nCopyright 1995-6 by Andrew Plotkin. Please copy and play freely. (First-time players should type \"about\".)\n\nThe grasses are fragrant under the sunshine of a late, late summer afternoon. A stream chatters by at your feet, and a weathered old wooden bridge stretches across it to the east. Beyond the stream, a scrubby hillside stretches upward.\n\nThe shouts of the volleyball players and the boom-box thump are pleasantly far off to the west.\nI beg your pardon?\n\n> You examine the stream\nIt's not particularly deep, but it's spectacularly clear. Streaks of green trail along the stones at the stream's bottom, and you see the rare glint of a fish in the sunlight.\n\n> You go west\nYou turn your back on the hill, and consider the distant shapes of your companions. One of them waves hugely to you. You shrug, and begin jogging towards them.\n\n> You examine the bridge\nA narrow span of weathered wood crosses the stream here. The boards are vaguely warped, and the handrails aren't quite connected each to the next, but it's held this long and you expect it will probably support you.\n\n> You examine the sky\nThe sun is sinking slowly in a clear blue sky. It's the end of a long, long summer afternoon.\n\n> You cross the bridge\nThe bridge creaks as you cross it, and sways a bit.\n\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans comfortably against the bank at your feet. To the east rises the flank of the hill, shining in the afternoon sunlight; two usable trails lead up around it, to the south and the northeast.\n\n> You examine the stream\nIt's not particularly deep, but it's spectacularly clear. Streaks of green trail along the stones at the stream's bottom, and you see the rare glint of a fish in the sunlight.\n\nThe sun is lazily approaching the horizon.\n\n> You go to the northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects orange fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\n> You take the spade\nThe broken spade is stuck in the dried mud. The shaft bends slightly; perhaps you can pull it free.\n\n> You pull the spade\nYou get a good grip on what's left of the shaft.\n\nCrack!\n\nThe shaft has snapped off right where it joins the blade. The blade is left buried in the mud.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\nThe fox chases around your feet for a moment. It seems to be watching something you hold.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet.\n\nThe fox chases around the spade shaft for a moment, then stops and stares at you to make sure you didn't see.\n\n> Pet fox\nWithout seeming to move, the fox is out of your way.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> You look at the sky\nA few bands of cloud are visible on the western horizon, lit by the reddening sun.\n\nThe fox darts at something in the undergrowth.\n\n> You take the stick\nTaken.\n\nThe fox vanishes.\n\n> You get the blade\nThe spade blade is stuck in the dried mud.\n\n> You dig mud\nThe mud is dry and quite hard.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight, sweeping to the ribbons of color on the horizon. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop.\n\nThe fox appears from behind the boulder.\n\n> You look at boulder\nIt's a roundish lump of rock -- about what you thought. Maybe two or two-and-a-half feet across.\n\nIn the shadow behind the boulder, you notice an edge of deeper blackness. It's a cave of some sort.\n\nThe western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> You examine the cave\nYou can only see a few inches of dark emptiness behind the boulder.\n\nThe fox chases around your feet for a moment. It seems to be watching something you hold.\n\n> You enter the cave\nThere are only a few inches of space between the boulder and the cave mouth. You can't possibly squeeze through.\n\n> Pry boulder\nYou grasp the boulder as best you can and heave -- fruitlessly. It's well sunk into the ground.\n\nThe moment is gone. The sun has set, although the clouds are still well-lit.\n\nThe fox vanishes.\n\n> You pry the boulder with the stick\nThe shaft is too thick to wedge under the boulder.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank. Stuck in the mud near it is a spade blade.\n\nThe fox appears beside a clump of weeds.\n\n> Go west\nThe ground drops off, dangerously steeply, in that direction."
    },
    {
        "text": "> Look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the last light. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop. The mouth of a small cave is just visible behind it.\n\nThe fox appears from behind the boulder.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank. Stuck in the mud near it is a spade blade."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, changing environment, gender-neutral protagonist]\n\n> Describe the surroundings\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dimming meadowland, patched with dark woods and stitched with dark streams. In the distance, a lake glows pale in the last light of the sky.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Stuck in the mud near it is a spade blade.\n\nThe sky is dimming, and a mist is rolling in, under the clouds.\n\n> Go north\nThe hillside drops straight down in that direction.\n\n> You go to the west\nThe hillside drops straight off to the stream in that direction.\n\n> You go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nA boulder is half-buried at the base of the hilltop. The mouth of a small cave is just visible behind it.\n\n> You examine the trench\nThe trench is a foot deep or so, and maybe a yard wide. It starts where the wide trail turns, and leads west over the bank.\n\n> You dig the cave\nYou won't get far without something to dig with.\n\nThe fox chases around your feet for a moment. It seems to be watching something you hold.\n\n> You look at spade\nAt this point, it's just a two-foot-long stick, broken at both ends.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> You throw the stick into the cave\nThat can't contain things.\n\nThe fox has slipped away.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dim meadowland, patched with dark woods and stitched with dark streams. A layer of mist is rolling across the landscape.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Stuck in the mud near it is a spade blade.\n\nThe mist is turning to a drizzle of rain.\n\nThe fox appears beside a clump of weeds.\n\n> Go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe fox appears on a nearby rock.\n\nThe fox blinks.\n\n> You climb tree\nThe trunk is smooth and the lowest branch is at least twenty feet in the air.\n\n> You look at the bush\nYou see nothing special about the bush.\n\nThe fox has slipped away.\n\n> You search the bush\nYou find nothing of interest.\n\nRunoff water is trickling down the hill, concentrated here by some twist of geography. It puddles on the ledge, then begins pouring down the path to the northwest.\n\n> You go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, to the misty meadows below.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\nThe fox appears under a nearby bush.\n\n> You open the door\nIt seems to be locked.\n\nIt's dark and it's raining.\n\n> You examine the lock\nThe shed is weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed. The lock looks badly rusted.\n\nThe fox has slipped away.\n\n> You hit the lock\nIt may be weathered, but it's not weakened. You can't even shake it.\n\n> You examine the shed\nThe shed is weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed. The lock looks badly rusted.\n\nYou are getting tired.\n\n> You go north\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Drink water\nThere's nothing suitable to drink here.\n\nIt's dark and it's raining. Hard.\n\nThe fox appears beside a clump of weeds.\n\n> You go northwest\nA wide angular tongue juts out from the hillside. A dark expanse stretches to the north and west, impenetrable with rain.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank. Stuck in the mud near it is a spade blade.\n\n> You take the spade\n(the spade blade)\nThe spade blade slides free of the mud.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop. The mouth of a small cave is just visible behind it.\n\nYou are getting tired.\n\n> Pry boulder\nYou grasp the boulder as best you can and heave -- fruitlessly. It's well sunk into the ground.\n\n> Wedge spade under boulder\nWhich do you mean, the spade blade or the broken spade shaft?\n\n> Blade\nThe blade is thin enough to work under the boulder, but it's too short to give you any leverage.\n\nThe fox appears beside a clump of weeds.\n\nThe fox glances at you, or perhaps something you hold.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. A dark expanse stretches to the north and west, impenetrable with rain.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nYou are very tired.\n\n> Go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe fox appears under a nearby bush.\n\n> Go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\nYou are very tired.\n\nThe fox appears on a nearby rock.\n\nThe fox glances at you, or perhaps something you hold.\n\n> Sleep\nSleeping out in the rain will be miserable, but you're tired enough to do it. You curl up in the mud and grimly close your eyes...\n\n[Hit any key.]\nStone hangs around you, unyielding grey veils in a dim grey light. The light comes from far away: a knife-thin crack, a cold breath, and something roaring its anger beyond. The noise stretches and stretches, leaving you gasping for air, and then an eye opens into the heart of soundless fury --\n\nYou awaken, soaked and feverish, bathed in the listless light of an overcast dawn. It takes some time to drag yourself down the hill -- and then you find that the bridge has been washed out by the storm. By the time you flounder across it, your pneumonia is well set in."
    },
    {
        "text": "> Look around\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> You throw the stick\nYou wind up and hurl the stick into the undergrowth. The fox turn to watch it fly, and then looks back at you. Its expression is quite clear: if you want the stick lost in cold, dripping-wet vegetation, that's entirely a matter between you and the stick.\n\nYou are very tired.\n\n> Go southwest\nYou have barely left sight of the shed when the trail ends. It looks like it was washed out; and the scree that covers the hill face is much too unstable to venture across. You have no choice but to return.\n\nYou can remain awake no longer. Sleeping out in the rain will be miserable, but you're tired enough to do it. You curl up in the mud and grimly close your eyes...\n\n[Hit any key.]\nStone hangs around you, unyielding grey veils in a dim grey light. The light comes from far away: a knife-thin crack, a cold breath, and something roaring its anger beyond. The noise stretches and stretches, leaving you gasping for air, and then an eye opens into the heart of soundless fury --\n\nYou awaken, soaked and feverish, bathed in the listless light of an overcast dawn. It takes some time to drag yourself down the hill -- and then you find that the bridge has been washed out by the storm. By the time you flounder across it, your pneumonia is well set in.\n\n> Go east\nThe bridge creaks as you cross it, and sways a bit.\n\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans comfortably against the bank at your feet. To the east rises the flank of the hill, shining in the afternoon sunlight; two usable trails lead up around it, to the south and the northeast.\n\n> Drink water\nYou taste the water. It's cool -- with not the antiseptic bite of city tap water, but an indefinable vitality.\n\n> Go northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects white fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\n> Go north\nThe hillside drops straight down in that direction.\n\n> You go to the west\nThe hillside drops straight off to the stream in that direction.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> You go to the south-east\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away endlessly to the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe sun is lazily approaching the horizon.\n\n> You go to the northwest\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\n> You go to the south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of bushes and small trees. The ground falls away to the southeast, to the meadows below; you can see a lake far to the west.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> Go west\nThe undergrowth is too dense in that direction.\n\n> Go southwest\nYou have barely left sight of the shed when the trail ends. It looks like it was washed out; and the scree that covers the hill face is much too unstable to venture across. You have no choice but to return.\n\n> Go north\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away endlessly to the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> Go southwest\nThe trail turns west as it descends.\n\nElsewhere in the park, flowers lie in hollows and peek out from under the brush. Here you have found a profusion of them. Sprays of white and blue lie everywhere; the vines ripple yellow.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nA glint in a nearby bush looks more metallic than floral.\n\n> You look at the glint\nIt's a battered old tin bucket.\n\nThe fox appears beside a clump of weeds.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> You take the bucket\nTaken.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> Go north\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans comfortably against the bank at your feet. To the east rises the flank of the hill, shining in the afternoon sunlight; two usable trails lead up around it, to the south and the northeast.\n\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> You go to the north-east\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter ruby in the sunlight. In the distance, a lake reflects red fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\n> You fill the bucket\nYou fill the bucket with water.\n\nThe fox appears beside a clump of weeds.\n\nThe fox darts at something in the undergrowth.\n\n> Go northwest\nThe stream is that way. You're interested in exploring, not getting yourself soaked and miserable.\n\n> You pour the water on the spade\nYou splash the water around the spade. The mud absorbs it greedily.\n\n> You take the spade\nThe broken spade slides free of the mud.\n\n> Go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away to the clouds in the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\n> You examine the spade\nIt's a small spade; at least, the blade and about two feet of the shaft of one.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight, sweeping to the ribbons of color on the horizon. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop.\n\nThe western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\n> Wedge blade under boulder\nYou notice a cave of some sort behind the boulder. (Who would have guessed?)\n\nYou push the spade under the boulder, kick the blade to settle it, and lean on the shaft. Nothing happens for a moment, and you're leaning harder, and the boulder starts to move, and\n\nCrack!\n\nThe spade's shaft has broken off in your hands, right above the blade, which is now caught under the boulder. On the other hand, you've moved the boulder up out of its hole; it's balanced on the rim."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, animal NPC, slice of life]\n\n> You enter the cave\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a circle of blinding crimson to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\nYou glance outside. The moment is gone. The sun has set, although the clouds are still well-lit.\n\n> You look at the blanket\nIt's a ratty old blanket, torn and mouse-chewed, tangled with bits of twig and old leaves. Nonetheless, it looks warm.\n\n> You take the blanket\nTaken.\n\n> You go to the east\nThe cave narrows to a crack in back; you really can't go very far.\n\n> Go outside\nYou crawl out.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the last light. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe sky is dimming, and a mist is rolling in, under the clouds.\n\n> You drop the blanket\nDropped.\n\nYou glance outside. The sky is dimming, and a mist is rolling in, under the clouds.\n\n> Leave\nYou crawl out.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe fox appears on a nearby rock.\n\nThe fox darts at something in the undergrowth.\n\n> Inventory\nYou are carrying a blanket, a broken spade shaft and a battered tin bucket.\n\nYou glance outside. The sky is dimming, and a mist is rolling in, under the clouds.\n\n> You wait a while\nTime passes.\n\n> Inventory\nYou are carrying a blanket, a broken spade shaft and a battered tin bucket.\n\n> You exit\nYou crawl out.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the last light. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> You go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dimming meadowland, patched with dark woods and stitched with dark streams. In the distance, a lake glows pale in the last light of the sky.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe sky is dimming, and a mist is rolling in, under the clouds.\n\nThe fox appears beside a clump of weeds.\n\nThe fox chases around your feet for a moment. It seems to be watching something you hold.\n\n> You go to the southwest\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans comfortably against the bank at your feet. To the east rises the flank of the hill, a dark shape in the twilight; two usable trails lead up around it, to the south and the northeast.\n\nThe fox appears on a nearby rock.\n\n> You go south\nElsewhere in the park, flowers lie in hollows and peek out from under the brush. Here you have found a profusion of them. Sprays of white and blue lie everywhere; the vines ripple yellow, although the blooms are closing for the night.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\n> Go west\nBeyond the rise, the hill drops almost straight down to the stream.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go east\nThe trail turns northeast as it climbs.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Go west\nThe hill is too steep and overgrown to descend.\n\n> You go southwest\nThe trail turns west as it descends.\n\nElsewhere in the park, flowers lie in hollows and peek out from under the brush. Here you have found a profusion of them. Sprays of white and blue lie everywhere; the vines ripple yellow, although the blooms are closing for the night.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\n> You go to the southeast\nYou have barely left sight of the wildflowers when the trail ends. It looks like it was washed out; and the scree that covers the hill face is much too unstable to venture across. You have no choice but to return.\n\n> Go east\nThe trail turns northeast as it climbs.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe mist is turning to a drizzle of rain.\n\nThe blanket is getting damp.\n\n> Go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, to the misty meadows below.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> Go east\nThe door to the shed is closed. You tug on it and rattle the latch, but it's locked, and the lock looks hopelessly rusted.\n\nThe blanket is getting damp.\n\n> Go north\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Go northwest\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dark meadowland, barely visible in the thickening mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe blanket is getting damp.\n\n> You go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist and rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> You enter the cave\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a lit circle of grey to the west, partially obscured by the boulder.\n\nYou glance outside. It's dark and it's raining.\n\n> Sleep\nYou wrap yourself snugly in the blanket and curl up on the floor. It's hard, but you're dry and warm. What else could you ask for? Your eyes close and the cave drifts away...\n\n[Hit any key.]\nStone dissolves around you as move up and forwards, into a grainy grey light. A mindless roar stretches in all directions; but it is troubled by a distant murmur. The new sound swells, whispering, pounding, then shouting at you, and you cannot make it out and you cannot make it go --\n\nSomething awakens you.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\nThe voices are still audible. They surge and swell, on the edge of audibility, somewhere to the west. You are almost certain you hear your name being called.\n\n> You listen\nA sussurus of voices comes from the west, too faint to make out but too loud to ignore. You are almost certain you hear your name, though, and something in you moves to respond.\n\n> You go outside\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe blanket has gotten quite soaked.\n\nThe voices surge, then fade.\n\n> You listen\nA sussurus of voices comes from the west, too faint to make out but too loud to ignore. You are almost certain you hear your name, though, and something in you moves to respond.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. A black expanse stretches to the north and west, impenetrable with rain. Every few moments, a directionless flicker of lightning tries to pull detail from the darkness; but there is only mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go southwest\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans uncertainly against the bank at your feet. To the east rises the flank of the hill, a black shape made of night and rain; two usable trails lead up around it, to the south and the northeast.\n\nThe voices surge, and you realize the sounds comes from the west, from the other side of the stream. And they are coming closer. You are very sure, suddenly, that you do not want them to reach you.\n\n> Go west\nThe thought of crossing into that darkness, with its inhabitants, is beyond bearing.\n\n> Shout\nWhom do you want to shout that to?\n\n> You go northeast\nA wide angular tongue juts out from the hillside. A black expanse stretches to the north and west, impenetrable with rain. Every few moments, a directionless flicker of lightning tries to pull detail from the darkness; but there is only mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\n> You go to the southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> Inventory\nYou are carrying a blanket, a broken spade shaft and a battered tin bucket.\n\nThe afterimages evaporate into a black dazzle.\n\n> You go to the north\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. Simultaneously the silence is broken by a\n\nCrack!\n\nof thunder. It is echoed by a splintering concussion right above your head, or, from the feel of it, just inside.\n\nYou watch the tree topple through blobs of dull color.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe runoff water is backing up behind the fallen tree.\n\nYou pick yourself up shakily, although you can't quite remember falling. The air is full of smoke.\n\n> Go southwest\nThe trail turns west as it descends.\n\nA profusion of flowers lie here, mostly furled against the rain. Edges of white and blue and yellow barely show in the darkness.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nThe afterimages evaporate into a black dazzle.\n\nThe voices surge, then fade.\n\n> You look at the tree\nThe tree has fallen downslope, across the path, and is lying awkwardly in the undergrowth. The upper end -- which is to say, the lower end -- is blackened and split.\n\nThe runoff water begins to spill out from behind the tree, down the southwest path.\n\nThe afterimages evaporate into a black dazzle.\n\nThe voices surge, then fade.\n\n> You fill the bucket\nYou fill the bucket with water.\n\n> Go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> You pour the water on the lock\nThe water splashes over the old shed and dribbles away.\n\nThe voices surge, then fade.\n\n> You hit the lock\nIt may be weathered, but it's not weakened. You can't even shake it.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]\nYou awaken in the cave, sore and cold, bathed in the listless light of an overcast dawn. By the time you wade across the swollen stream, you're as soaked and miserable as if you'd slept out in the rain after all. You reach civilization exhausted and with what promises to be a lovely cough.\n\n> You go south\nElsewhere in the park, flowers lie in hollows and peek out from under the brush. Here you have found a profusion of them. Sprays of white and blue lie everywhere; the vines ripple yellow.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nA glint in a nearby bush looks more metallic than floral.\n\n> You get the glint\n(It turns out to be a battered old tin bucket.) Taken.\n\n> You fill the bucket\nYou fill the bucket with water.\n\n> You go to the northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects white fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\nThe sun is lazily approaching the horizon.\n\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> You pour the water on the spade\nYou splash the water around the spade. The mud absorbs it greedily.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the thickening sunlight. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop.\n\n> Wedge blade under rock\nYou notice a cave of some sort behind the boulder. (Who would have guessed?)\n\nYou push the spade under the boulder, kick the blade to settle it, and lean on the shaft. Nothing happens for a moment, and you're leaning harder, and the boulder starts to move, and\n\nCrack!\n\nThe spade's shaft has broken off in your hands, right above the blade, which is now caught under the boulder. On the other hand, you've moved the boulder up out of its hole; it's balanced on the rim.\n\n> You go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away endlessly to the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> Go south\nYou heft the broken spade, considering your balance. You stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of bushes and small trees. The ground falls away to the southeast, to the meadows below; you can see a lake far to the west.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> You hit the lock\nIt may be weathered, but it's not weakened. You can't even shake it.\n\n> You break the lock\nIt may be weathered, but it's not weakened. You can't even shake it.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> Dig\nWhat do you want to dig in?\n\n> You go to the north\nYou heft the broken spade, considering your balance. You stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away endlessly to the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe fox appears beside a clump of weeds.\n\n> Go southwest\nThe trail turns west as it descends.\n\nElsewhere in the park, flowers lie in hollows and peek out from under the brush. Here you have found a profusion of them. Sprays of white and blue lie everywhere; the vines ripple yellow.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> Go north\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans comfortably against the bank at your feet. To the east rises the flank of the hill, shining in the afternoon sunlight; two usable trails lead up around it, to the south and the northeast."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, gender-neutral protagonist, changing environment]\n\n> You go northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects white fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\nThe sun is lazily approaching the horizon.\n\n> You pour the water on the spade\nYou splash the water around the spade. The mud absorbs it greedily.\n\n> Wedge blade under boulder\nYou notice a cave of some sort behind the boulder. (Who would have guessed?)\n\nYou push the spade under the boulder, kick the blade to settle it, and lean on the shaft. Nothing happens for a moment, and you're leaning harder, and the boulder starts to move, and\n\nCrack!\n\nThe spade's shaft has broken off in your hands, right above the blade, which is now caught under the boulder. On the other hand, you've moved the boulder up out of its hole; it's balanced on the rim.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\nThe fox chases around your feet for a moment. It seems to be watching something you hold.\n\n> You go east\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a circle of scarlet and gold to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\n> You dig the mud\nYou scrape some mud away. Aside from getting your hands dirty, it accomplishes little.\n\n> You take blanket\nTaken.\n\nYou glance outside. The sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> Go west\nYou crawl out.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight, sweeping to the ribbons of color on the horizon. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> Wait\nTime passes.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet.\n\n> You take the stick\nTaken.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet with an unexpected clink.\n\n> You wait\nTime passes.\n\nThe western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\n> You enter the cave\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a circle of blinding crimson to the west, partially obscured by the boulder.\n\n> Sleep\nIt's not even dark yet!\n\nYou glance outside. The moment is gone. The sun has set, although the clouds are still well-lit.\n\n> You wait a while\nTime passes.\n\n> You wait for a while\nTime passes.\n\nYou glance outside. The sky is dimming, and a mist is rolling in, under the clouds.\n\n> You wait\nTime passes.\n\nYou glance outside. The mist is turning to a drizzle of rain.\n\n> You wait awhile\nTime passes.\n\nYou glance outside. It's dark and it's raining.\n\n> Sleep\nYou wrap yourself snugly in the blanket and curl up on the floor. It's hard, but you're dry and warm. What else could you ask for? Your eyes close and the cave drifts away...\n\n[Hit any key.]\nStone dissolves around you as move up and forwards, into a grainy grey light. A mindless roar stretches in all directions; but it is troubled by a distant murmur. The new sound swells, whispering, pounding, then shouting at you, and you cannot make it out and you cannot make it go --\n\nSomething awakens you.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\nThe voices are still audible. They surge and swell, on the edge of audibility, somewhere to the west. You are almost certain you hear your name being called.\n\n> Go west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA rusty steel key is lying on the ground.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe blanket has gotten quite soaked.\n\nThat's odd. The steel key doesn't seem as rusty as you first thought.\n\n> You drop the blanket\nDropped.\n\n> Go west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA rusty steel key is lying on the ground.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe voices surge, then fade.\n\nThat's odd. The steel key doesn't seem as rusty as you first thought."
    },
    {
        "text": "[Themes: Slice of life, Fantasy]\n\n> You look around\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a lit circle of grey to the west, partially obscured by the boulder.\n\nYou glance outside. It's dark and it's raining.\n\n> You take the key\nTaken.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. A black expanse stretches to the north and west, impenetrable with rain. Every few moments, a directionless flicker of lightning tries to pull detail from the darkness; but there is only mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe voices surge, then fade.\n\n> Unlock shed\nWhat do you want to unlock the old shed with?\n\n> Key\nThe lock is stiff. You give the key a jerk; the latch scrapes, and the door swings open.\n\n> Go east\nYou step hesitantly into the darkness.\n\nYou feel the hollow darkness of an enclosed space. To the west, an oblong of flat grey half-light betrays the doorway. Nothing else is visible.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder from outside.\n\nThe pure white fades into a greenish glare. Flat colored shadows show the outlines of everything around you; you hold your head still to focus on the afterimages.\n\nThe shed is only a few paces long, and nearly empty. The door is to the west.\n\nA pair of large canvas bags is piled untidily here. One is rather dirty; the other has a tear along one seam, from which sand dribbles onto the ground.\n\nThe voices surge, then fade.\n\n> You look at bags\nWhich do you mean, the dirty sandbag or the torn sandbag?\n\n> You examine the dirty sandbag\nIt's a canvas bag, more than two feet long. The surface is liberally smeared with mud.\n\nThe afterimages evaporate into a black dazzle.\n\nIt is dark.\n\n> You wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. Simultaneously the silence is broken by a\n\nCrack!\n\nof thunder from outside. It is echoed by a splintering crash from somewhere outside.\n\nThe pure white fades into a greenish glare. Flat colored shadows show the outlines of everything around you; you hold your head still to focus on the afterimages.\n\nThe shed is only a few paces long, and nearly empty. The door is to the west.\n\nA pair of large canvas bags is piled untidily here. One is rather dirty; the other has a tear along one seam, from which sand dribbles onto the ground.\n\n> You take all\ndirty sandbag: You heave the dirty sandbag, awkwardly, up into your arms.\ntorn sandbag: One of these things, you can barely carry. Two, never.\n\nThe afterimages evaporate into a black dazzle.\n\nThe voices surge, then fade.\n\nIt is dark.\n\n> You open the dirty sandbag\nIt's sewn shut.\n\n> You check your inventory\nYou are carrying a dirty sandbag, a rusty key and a battered tin bucket.\n\n> You look\nYou feel the hollow darkness of an enclosed space. To the west, an oblong of flat grey half-light betrays the doorway. Nothing else is visible.\n\nThe voices surge, then fade.\n\n> You go west\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]\n\n> You examine the dirty sandbag\nYou awaken in the cave, sore and cold, bathed in the listless light of an overcast dawn. By the time you wade across the swollen stream, you're as soaked and miserable as if you'd slept out in the rain after all. You reach civilization exhausted and with what promises to be a lovely cough.\n\n> Go north\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> You fill the bucket\nYou fill the bucket with water.\n\nFrom within some tall grass, you notice a pair of dark eyes. The grass blinks, and then it is a small, orange fox who watches you solemnly.\n\n> You look at the fox\nThe fox's eyes gleam darkly.\n\nThe sun is lazily approaching the horizon.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> Go east\nThe hillside is bare rock in that direction, and much too steep to climb.\n\n> You go to the northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects orange fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\n> You pour water\nWhat do you want to pour the quantity of water on?\n\n> Mud\nYou splash the water around the spade. The mud absorbs it greedily.\n\n> You dig the trench\nYou scrape some more dirt from the trench. Aside from getting your hands dirty, it accomplishes little.\n\n> You go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Greenery hides the stream below and the hilltop above, but the meadows and sky beyond sweep away endlessly to the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Go south\nYou heft the broken spade, considering your balance. You stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of bushes and small trees. The ground falls away to the southeast, to the meadows below; you can see a lake far to the west.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in.\n\n> You throw the stick\nThrown.\n\n> You get the stick\nTaken.\n\n> You look at the shed\nThe shed is weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed. The lock looks badly rusted.\n\n> Inventory\nYou are carrying a broken spade and a battered tin bucket.\n\nThe fox appears under a nearby bush.\n\nThe fox darts at something in the undergrowth.\n\n> You get the stick\nTaken.\n\nThe western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\nThe fox has slipped away.\n\n> You look\nYou are in a dense tangle of bushes, small trees, and shadow. The ground falls away to the southeast, to the green meadows below; you can see a lake far to the west.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\n> You go to the north\nYou heft the broken spade, considering your balance. You stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe moment is gone. The sun has set, although the clouds are still well-lit.\n\nYou catch a pair of dark eyes in the edge of your vision; then they are gone.\n\n> You go northwest\nSomeone has dug a trench here, from the path out over the bank.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the last light. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is half-buried at the base of the hilltop.\n\nThe fox appears under a nearby bush.\n\n> You throw the stick\nThrown.\n\nThe fox darts at something in the undergrowth.\n\n> You get the stick\nTaken.\n\n> Wedge boulder\nWhat do you want to wedge the boulder in?\n\n> Wedge stick\nWhat do you want to wedge the broken spade in?\n\n> You look at what you're carrying with you\nYou are carrying a broken spade and a battered tin bucket.\n\nThe fox vanishes.\n\n> Pry boulder\nAs you lean over the boulder, you notice a cave of some sort behind it.\n\nYou grasp the boulder as best you can and heave -- fruitlessly. It's well sunk into the ground.\n\nThe sky is dimming, and a mist is rolling in, under the clouds.\n\n> You insert the spade\nWhat do you want to insert the broken spade in?\n\n> Boulder\nYou push the spade under the boulder, kick the blade to settle it, and lean on the shaft. Nothing happens for a moment, and you're leaning harder, and the boulder starts to move, and\n\nCrack!\n\nThe spade's shaft has broken off in your hands, right above the blade, which is now caught under the boulder. On the other hand, you've moved the boulder up out of its hole; it's balanced on the rim.\n\n> You get the boulder\nThe boulder is too heavy to lift.\n\n> You get blade\nThe boulder is resting full on the spade blade.\n\n> Go east\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a lit circle of grey to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\n> You go west\nYou crawl out.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe mist is turning to a drizzle of rain."
    },
    {
        "text": "> You look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist and rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> You wait\nTime passes.\n\nIt's dark and it's raining.\n\nThe fox appears from behind the boulder.\n\nThe fox glances at you, or perhaps something you hold.\n\n> You throw the stick\nYou wind up and hurl the stick into the undergrowth. The fox turn to watch it fly, and then looks back at you. Its expression is quite clear: if you want the stick lost in cold, dripping-wet vegetation, that's entirely a matter between you and the stick.\n\n> You look\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe fox disappears in a flash of orange fur.\n\n> You go the cave\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\nYou are getting tired.\n\n> Go east\nEnter saved game to load: Ok.\n\n> Inventory\nYou are carrying a broken spade shaft and a battered tin bucket."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, animal NPC, changing environment]\n\n> You look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> You go east\nYou squeeze behind the boulder and crawl inside.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a lit circle of grey to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\nYou glance outside. The mist is turning to a drizzle of rain.\n\n> Wear blanket\n(first taking the blanket)\nYou can't wear that!\n\n> Wait\nTime passes.\n\nYou are getting tired.\n\n> Sleep\nYou wrap yourself snugly in the blanket and curl up on the floor. It's hard, but you're dry and warm. What else could you ask for? Your eyes close and the cave drifts away...\n\n[Hit any key.]\n\n> Sleep\nStone dissolves around you as move up and forwards, into a grainy grey light. A mindless roar stretches in all directions; but it is troubled by a distant murmur. The new sound swells, whispering, pounding, then shouting at you, and you cannot make it out and you cannot make it go --\n\nSomething awakens you.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\nThe voices are still audible. They surge and swell, on the edge of audibility, somewhere to the west. You are almost certain you hear your name being called.\n\n> F.\nEnter saved game to store: Ok.\n\n> Go west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe blanket has gotten quite soaked.\n\n> You go to the west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe voices surge, then fade.\n\n> Wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You wait for a while\nTime passes.\n\nThe afterimages evaporate into a black dazzle.\n\n> You wait\nTime passes.\n\nThe voices surge, then fade.\n\n> You wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. A black expanse stretches to the north and west, impenetrable with rain. Every few moments, a directionless flicker of lightning tries to pull detail from the darkness; but there is only mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe afterimages evaporate into a black dazzle.\n\n> You wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. Simultaneously the silence is broken by a\n\nCrack!\n\nof thunder. It is echoed by a splintering crash from the southeast.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> Wait\nTime passes.\n\nThe afterimages evaporate into a black dazzle.\n\nThe voices surge, then fade.\n\n> You wait for a while\nTime passes.\n\nThe torrent of runoff slackens sharply; in moments there is only a trickle left.\n\n> Wait\nTime passes.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]\n\n> Wait\nYou awaken in the cave, sore and cold, bathed in the listless light of an overcast dawn. By the time you wade across the swollen stream, you're as soaked and miserable as if you'd slept out in the rain after all. You reach civilization exhausted and with what promises to be a lovely cough.\n\n> Go east\nEnter saved game to load: Ok."
    },
    {
        "text": "> Look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe fox appears from behind the boulder.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet.\n\n> You get the stick\nTaken.\n\nThe mist is turning to a drizzle of rain.\n\nThe fox glances at you, or perhaps something you hold."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, changing environment]\n\n> Look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist and rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe fox blinks.\n\n> You check your inventory\nYou are carrying a broken spade shaft and a battered tin bucket.\n\nThe fox disappears in a flash of orange fur.\n\n> You go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dark meadowland, barely visible in the thickening mist.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank.\n\n> You get the stick\nTaken.\n\nThe trickle of runoff coming down the southeast path gains strength. Rapidly it becomes a small torrent, pouring by you, out along the trench, and down to the stream below.\n\n> You go to the east\nThe trail turns southeast as it climbs.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows fade in the mist and rain. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nIt's dark and it's raining.\n\nThe fox appears on a nearby rock.\n\nThe fox suddenly shakes a shower of droplets off itself.\n\n> Go south\nThe underbrush is too dense in that direction.\n\n> Go northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. A dark expanse stretches to the north and west, impenetrable with rain.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\n> You go to the southwest\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans uncertainly against the bank at your feet. To the east rises the flank of the hill, a black shape made of night and rain; two usable trails lead up around it, to the south and the northeast.\n\n> You fill the bucket\nYou fill the bucket with water.\n\nYou are getting tired.\n\n> Go south\nA profusion of flowers lie here, mostly furled against the rain. Edges of white and blue and yellow barely show in the darkness.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\n> Go east\nThe trail turns northeast as it climbs.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe fox appears on a nearby rock.\n\n> You throw the stick\nYou wind up and hurl the stick into the undergrowth. The fox turn to watch it fly, and then looks back at you. Its expression is quite clear: if you want the stick lost in cold, dripping-wet vegetation, that's entirely a matter between you and the stick.\n\nIt's dark and it's raining. Hard."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, animal NPC, gender-neutral protagonist]\n\n> Look around\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\n> You go to the west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe blanket has gotten quite soaked.\n\nThe voices surge, then fade.\n\n> You drop the blanket\nDropped.\n\nThe voices surge, then fade.\n\n> Go west\nYou crawl out. The rain lashes your face.\n\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You wait for a while\nTime passes.\n\nThe afterimages evaporate into a black dazzle.\n\n> You wait\nTime passes.\n\nThe voices surge, then fade.\n\n> Go northeast\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of bright meadowland, patched with dark woods and stitched with streams that glitter in the sunlight. In the distance, a lake reflects white fire from the setting sun.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank. Abandoned in the mud near it is a spade. You figure someone was using the spade to dig the trench, and you can also figure why he stopped; the shaft is broken off about two feet up from the blade. The handle end is nowhere in sight.\n\nThe sun is lazily approaching the horizon.\n\nThe fox appears on a nearby rock.\n\n> You pour water\nWhat do you want to pour the quantity of water on?\n\n> Mud\nYou splash the water around the spade. The mud absorbs it greedily.\n\n> Wait\nTime passes.\n\nThe fox appears on a nearby rock.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet.\n\nThe sun is settling to the horizon, amid a scattering of clouds which have begun to drift in."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, animal NPC, slice of life]\n\n> Look around\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight, sweeping to the ribbons of color on the horizon. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nYou can also see a broken spade shaft here.\n\nThe fox chases its tail furiously for a moment, then stops and stares at you to make sure you didn't see.\n\n> You throw the stick\nThe fox cocks its head as you wind up; it tenses to spring, and you hurl the stick far back into the undergrowth. With a yip the fox streaks after it.\n\nA moment later it's back, bushy tail high. It drops its prize at your feet with an unexpected clink."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, animal NPC, gender-neutral protagonist, slice of life]\n\n> Describe the surroundings\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, meadows glow in the sunlight, sweeping to the ribbons of color on the horizon. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA rusty steel key is lying on the ground.\n\nA small orange fox is perched nearby, staring at you with undisguised interest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\n> You get the key\nTaken.\n\nThe fox darts at something in the undergrowth.\n\n> Wait\nTime passes.\n\nYou glance outside. The western horizon has become a surging sea of gold and scarlet waves. The light is magical -- a cool bronze radiance that somehow makes the grass and foliage more intensely green than ever.\n\n> Wait\nTime passes.\n\nYou glance outside. The moment is gone. The sun has set, although the clouds are still well-lit.\n\n> Wait\nTime passes.\n\nYou glance outside. The mist is turning to a drizzle of rain.\n\nTime passes.\n\nTime passes.\n\n> Sleep\nYou take the blanket, wrap yourself snugly in it, and curl up on the floor. It's hard, but you're dry and warm. What else could you ask for? Your eyes close and the cave drifts away...\n\n[Hit any key.]\n\n> Yo\nStone dissolves around you as move up and forwards, into a grainy grey light. A mindless roar stretches in all directions; but it is troubled by a distant murmur. The new sound swells, whispering, pounding, then shouting at you, and you cannot make it out and you cannot make it go --\n\nSomething awakens you.\n\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a dim circle of grey to the west, partially obscured by the boulder.\n\nThe voices are still audible. They surge and swell, on the edge of audibility, somewhere to the west. You are almost certain you hear your name being called.\n\n> You go west\nYou crawl out. The rain lashes your face.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe blanket has gotten quite soaked.\n\n> Inventory\nYou are carrying a rusty key and a battered tin bucket.\n\nThe voices surge, then fade.\n\nThat's odd. The steel key doesn't seem as rusty as you first thought.\n\n> You go west\nYou crawl out. The rain lashes your face.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe voices surge, then fade."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, slice of life, gender-neutral protagonist, animal NPC]\n\n> Go downwards\nThe trail turns west as it descends.\n\nA stream of runoff water is flowing down from the southeast, and pouring down the trench to the unseen stream below.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You go southeast\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path. You could probably use it to get across. (One of those little coincidences that makes your life a little nicer.)\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, and streams down the northwest path.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go south\nYou stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is closed.\n\nThe voices surge, then fade.\n\n> Unlock shed\nWhat do you want to unlock the old shed with?\n\n> Key\nThe lock is stiff. You give the key a jerk; the latch scrapes, and the door swings open.\n\nThat's odd. The steel key doesn't seem as rusty as you first thought.\n\n> Go east\nYou step hesitantly into the darkness.\n\nYou feel the hollow darkness of an enclosed space. To the west, an oblong of flat grey half-light betrays the doorway. Nothing else is visible.\n\n> You wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder from outside.\n\nThe pure white fades into a greenish glare. Flat colored shadows show the outlines of everything around you; you hold your head still to focus on the afterimages.\n\nThe shed is only a few paces long, and nearly empty. The door is to the west.\n\nA pair of large canvas bags is piled untidily here. One is rather dirty; the other has a tear along one seam, from which sand dribbles onto the ground.\n\nThe voices surge, then fade.\n\n> You get torn\nYou heave the torn sandbag, awkwardly, up into your arms. You manage to do it without straining the torn cloth further.\n\nThe afterimages evaporate into a black dazzle.\n\nIt is dark.\n\n> Go west\nA bush is growing out of a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. Simultaneously the silence is broken by a\n\nCrack!\n\nof thunder. It is echoed by a splintering crash from the north.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> Go north\nYou heft the torn sandbag, considering your balance. You stretch a foot towards the bush, shift your weight, and take two quick steps. The bush trembles but holds.\n\nA bush is growing out of a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nA heavy branch seems to have been blown from the tree. It lies on the ground nearby. One end is still burning.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree.\n\nThe runoff water begins to spill out from behind the tree, down the southwest path.\n\nThe afterimages evaporate into a black dazzle.\n\nThe voices surge, then fade.\n\n> Go southwest\nThe trail turns west as it descends.\n\nThe trickle of rainwater coming down the east path gains strength. Rapidly it becomes a small torrent.\n\n> You go north\nThe trickle of runoff coming down the south path gains strength. Rapidly it becomes a small torrent.\n\nThe runoff water is pouring down to the stream, right over the bridge pilings. The muddy earth below the bridge is wearing away.\n\nThe voices surge, and you realize the sounds comes from the west, from the other side of the stream. And they are coming closer. You are very sure, suddenly, that you do not want them to reach you.\n\n> You drop torn\nYou lower the torn sandbag to the ground, trying not to strain it.\n\nThe runoff water is backing up behind the torn sandbag.\n\nYou jerk as a shape darts past you. Wild orange fury -- it's the fox, hurtling up onto the bridge like an avenging spirit. The fox crouches on the wet planks and stares fiercely out to the west.\n\nThe distant murmur of voices, across the bridge, seems closer now.\n\n> Go east\nThe trail turns southeast as it climbs.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it."
    },
    {
        "text": "[Themes: Fantasy, Slice of life, gender-neutral protagonist, changing environment]\n\n> You get the blade\nTaken.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, slice of life, animal NPC]\n\n> Go downward\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go southeast\nThe bush seems to have been utterly demolished by the falling boulder. Nothing is left in the crack but a couple of splinters. (One of those little coincidences that makes your life a little stranger.)\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nA heavy branch seems to have been blown from the tree. It lies on the ground nearby, blackened but no longer burning.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path.\n\nThe voices surge, then fade.\n\n> Wedge blade\nWhat do you want to wedge the spade blade in?\n\n> Crack\nWhat do you want to crack?\n\n> Wedge blade in crack\nThe spade blade slips into the crack. You stretch and give it a couple of whacks, to wedge it in place.\n\n> You get branch\nTaken.\n\n> You look\nYou're standing on a ledge, on a rather steep, overgrown hillface. Rain hides the stream below and the hilltop above, and to the west is only dark.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nThe spade blade is jammed into a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> Go south\nYou heft the heavy branch, considering your balance. You realize that you'll never make it across. The blade only sticks out a few inches from the hillside; you'd be off-balance enough by yourself, never mind what you're carrying.\n\n> You look\nYou are high on the hill; it rolls downward and off to the west. Beyond the trees and brush, the world is cloaked in dark rain, and scarred with distant lightning. Behind you stands the last stony lump of hill. A narrow trail curves away to the northwest.\n\nA boulder is lying at the base of the hilltop, prised up out of the hole it was in. The boulder is resting on a spade blade. There's just enough room to squeeze into the cave behind it.\n\nThe voices surge, then fade.\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You go southwest\nThe fox is crouched on the bridge, staring out to the west with impenetrable intensity.\n\nA torn sandbag is lying in a narrow part of the path.\n\nThe afterimages evaporate into a black dazzle.\n\nThe fox's ears twitch tensely.\n\n> You go to the south\nThe boulder is lying near here, on the path, wedged against the rise.\n\nA stream of runoff water is flowing down from the east, and backing up on the path here.\n\nThe runoff water is backing up behind the boulder.\n\nThe voices surge, then fade.\n\n> You go east\nThe trail turns northeast as it climbs.\n\nThe bush seems to have been utterly demolished by the falling boulder. Nothing is left in the crack but a couple of splinters. (One of those little coincidences that makes your life a little stranger.)\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nA heavy branch seems to have been blown from the tree. It lies on the ground nearby, blackened but no longer burning.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path.\n\n> You look at what you're carrying with you\nYou are carrying a rusty key and a battered tin bucket.\n\n> Go south\nThe gap is too wide to jump, and you'll never get a foothold in that crack.\n\n> You check what you're carrying\nYou are carrying a rusty key and a battered tin bucket.\n\nThe voices surge, then fade.\n\n> Inventory\nYou are carrying a heavy branch, a rusty key and a battered tin bucket.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You drop all\nheavy branch: Dropped.\nrusty key: Dropped.\nbattered tin bucket: Dropped.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You drop all except the branch\nrusty key: Dropped.\nbattered tin bucket: Dropped.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You look at what you're carrying with you\nYou are carrying a heavy branch.\n\nThe afterimages evaporate into a black dazzle.\n\n> You go northwest\nSomeone has dug a trench here, from the path out over the bank.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You go southwest\nThe fox is crouched on the bridge, staring out to the west with impenetrable intensity.\n\nA torn sandbag is lying in a narrow part of the path.\n\nThe afterimages evaporate into a black dazzle.\n\n> You look at the fox\nThe fox's eyes gleam darkly.\n\n> You go to the south\nThe boulder is lying near here, on the path, wedged against the rise.\n\nA stream of runoff water is flowing down from the east, and backing up on the path here.\n\nThe runoff water is backing up behind the boulder.\n\nThe voices surge, then fade.\n\n> You look at the water\nA stream of runoff water is flowing down from the east, and backing up on the path here.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe runoff water is backing up behind the boulder.\n\n> Go east\nThe trail turns northeast as it climbs.\n\nThe spade blade is jammed into a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\n> You drop the branch\nDropped.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You go south\nYou flatten your body against the hillside, and stretch a foot towards the spade blade, off-center though you'll be. One quick step; you manage to fall forward onto the trail rather than sideways.\n\nThe spade blade is jammed into a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go east\nYou step hesitantly into the darkness.\n\n> Wait\nTime passes.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder from outside.\n\nThe pure white fades into a greenish glare. Flat colored shadows show the outlines of everything around you; you hold your head still to focus on the afterimages.\n\nThe shed is only a few paces long, and nearly empty. The door is to the west.\n\nA dirty sandbag is lying on the ground.\n\n> You get the dirty sandbag\nYou heave the dirty sandbag, awkwardly, up into your arms.\n\nThe afterimages evaporate into a black dazzle.\n\nIt is dark.\n\n> You look at the sandbag\nIt's too dark to see.\n\n> Go west\nThe spade blade is jammed into a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\n> You drop the bag\nDropped.\n\n> You get the bag\nYou heave the dirty sandbag, awkwardly, up into your arms.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]\n\n> You go west\nThe spade blade is jammed into a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\nThe voices surge, then fade.\n\n> You go north\nYou heft the dirty sandbag, considering your balance. You realize that you'll never make it across. The blade only sticks out a few inches from the hillside; you'd be off-balance enough by yourself, never mind what you're carrying.\n\n> You go to the south\nThe ground drops almost straight down in that direction.\n\n> You go upward\nNo trails go up the hill from here, and the undergrowth is too heavy to push through."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, slice of life, changing environment]\n\n> Look around\nYou are in a dense tangle of shadow, bushes, and small trees. The ground falls away to the southeast, into darkness and rain.\n\nA trail curves down to the southwest. Another cuts along the hill to the north, but a chunk is washed out, too wide to jump across.\n\nThe spade blade is jammed into a crack in the hillside, to the north. It's right in the gap in the northern path.\n\nAn old shed stands just to the east. It's weathered but sturdy, still wearing the tatters of a coat of white paint. The door is open to the unrelieved darkness within.\n\n> You get the blade\nTaken.\n\nThe afterimages evaporate into a black dazzle.\n\n> Go south\nThe underbrush is too dense in that direction.\n\n> You go to the north-west\nThe trail turns west as it descends.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe voices surge, then fade.\n\n> You go to the southeast\nThe bush seems to have been utterly demolished by the falling boulder. Nothing is left in the crack but a couple of splinters. (One of those little coincidences that makes your life a little stranger.)\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nA heavy branch seems to have been blown from the tree. It lies on the ground nearby, blackened but no longer burning.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path.\n\n> You get branch\nTaken.\n\n> Wedge blade in crack\nThe spade blade slips into the crack. You stretch and give it a couple of whacks, to wedge it in place.\n\nA no-time, eternal instant of light lances through you, snapping your mind to silence. A moment later the silence is broken by a\n\nCrack!\n\nof thunder.\n\nAfterimages hang around you in a greenish glare. You blink furiously, trying to sort out the shadows from what's really there.\n\nThe voices surge, then fade.\n\n> You throw the bag across\nWhat do you want to throw the dirty sandbag across?\n\n> You throw the bag north\nYou heave the dirty sandbag across the gap; it thuds onto the trail on the other side.\n\n> You go north\nYou flatten your body against the hillside, and stretch a foot towards the spade blade, off-center though you'll be. One quick step; you manage to fall forward onto the trail rather than sideways.\n\nThe spade blade is jammed into a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nA dirty sandbag is lying on the ground.\n\nA heavy branch lies on the ground nearby, blackened but no longer burning.\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path. The sandbag is lying in the torrent, but the path is too wide here; the water pours around it.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]\n\n> Go north\nYou awaken in the cave, sore and cold, bathed in the listless light of an overcast dawn. By the time you wade across the swollen stream, you're as soaked and miserable as if you'd slept out in the rain after all. You reach civilization exhausted and with what promises to be a lovely cough.\n\n> You check what you're carrying\nYou are carrying a blanket, a rusty key and a battered tin bucket.\n\nThat's odd. The steel key doesn't seem as rusty as you first thought.\n\n> You go to the north\nYou flatten your body against the hillside, and stretch a foot towards the spade blade, off-center though you'll be. One quick step; you manage to fall forward onto the trail rather than sideways.\n\nThe spade blade is jammed into a crack in the hillside, to the south. It's right in the gap in the southern path.\n\nA dirty sandbag is lying on the ground.\n\nA heavy branch lies on the ground nearby, blackened but no longer burning.\n\nThe lone tree has been laid low. About ten feet still sticks up from the ground; the rest lies across the path and downslope, splintered and scorched.\n\nRunoff water is flowing down the hillside here. It puddles on the ledge, behind the fallen tree, and streams down the southwest path. The sandbag is lying in the torrent, but the path is too wide here; the water pours around it.\n\n> You get the sandbag\nYou heave the dirty sandbag, awkwardly, up into your arms.\n\nFrom somewhere below, you hear a terrible\n\nCrack!\n\nYou know without seeing that the bridge has been destroyed. You begin to rush downhill, but the trail seems to stretch and time takes on the weight of nightmare...\n\n[Hit any key.]"
    },
    {
        "text": "[Themes: Slice of life, Fantasy, slice of life, gender-neutral protagonist, changing environment]\n\n> You go to the northwest\nThe trail turns west as it descends.\n\nA wide angular tongue juts out from the hillside. The park stretches off to the north and west, a vast expanse of dim meadowland, patched with dark woods and stitched with dark streams. A layer of mist is rolling across the landscape.\n\nA trail leads southwest down the hill, towards the bridge. From where you stand, it turns southeast and continues upward, deeply cut into the hillside. A narrower trail leads more steeply up to the east.\n\nSomeone has dug a trench here, from the path out over the bank.\n\nThe mist is turning to a drizzle of rain.\n\nThe fox appears under a nearby bush."
    },
    {
        "text": "> Go down\nA slope descends to the noisy stream to the west. The old wooden bridge which spans it leans uncertainly against the bank at your feet. To the east rises the flank of the hill, a dark shape in the twilight; two usable trails lead up around it, to the south and the northeast.\n\n> You go south\nA profusion of flowers lie here, mostly furled against the rain. Edges of white and blue and yellow show in the dim light.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nThe boulder is lying near here, on the path, wedged against the rise.\n\n> You go east\nThe trail turns northeast as it climbs.\n\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nThe bush seems to have been utterly demolished by the falling boulder. Nothing is left in the crack but a couple of splinters. (One of those little coincidences that makes your life a little stranger.)\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\n> Go west\nThe hill is too steep and overgrown to descend.\n\n> Go southwest\nThe trail turns west as it descends.\n\nA profusion of flowers lie here, mostly furled against the rain. Edges of white and blue and yellow show in the dim light.\n\nBeyond a slight rise to the west, the ground drops precipitously to the stream. A trail leads northward towards the bridge; another heads steeply up to the east, and a third curves around the hill to the southeast.\n\nThe boulder is lying near here, on the path, wedged against the rise.\n\n> You go east\nThe hill is too steep and overgrown to climb.\n\n> You look\nYou're standing on a ledge, on a rather steep, overgrown hillface. Mist hides the stream below and the hilltop above, but the meadows and clouds beyond sweep away into the west.\n\nTrails angle down to the northwest and southwest. Another crosses the hill to the south, but a chunk is washed out, too wide to jump across.\n\nThe bush seems to have been utterly demolished by the falling boulder. Nothing is left in the crack but a couple of splinters.\n\nAmong the hill's brush and scraggly trees, the tree that stands here stands alone. You might be able to get your arms around it, and you might not; it must reach nearly as high as the hilltop itself.\n\nRunoff water is trickling down the hill, concentrated here by some twist of geography. It puddles on the ledge, then begins pouring down the path to the northwest.\n\nThe fox appears under a nearby bush."
    },
    {
        "text": "[Themes: multiple protagonists, family, kids, kid-friendly, cute, nonhuman protagonist, child protagonist, children, siblings, animal protagonist]\n\nIt's a beautiful day. We were out playing together in the garden, but now it's time to do something else. We've still got a while before dinner. Maybe we should go to the fair!\n\nMother has rows of crystal carrots, cabbages, and lettuce growing here, with some thyme and rosemary growing up near the door leading into the palace to the north. A white picket fence surrounds the garden.\n\nA few dandelions are growing among the carrots and cabbages.\n\n[Author's Note: A light children's-story-ish adventure inexplicably starring rabbits.]\n\n> You examine us\nWe're both rabbits, of course.\n\n> About yourself\nA rabbit, of course. Only modestly annoying.\n\n> You look at the carrots\nThey seem to be doing nicely.\n\n> You examine the dandelions\nSome ordinary dandelions.\n\n> Hop\nWe jump on the spot."
    },
    {
        "text": "[Themes: child protagonist, animal protagonist, kids, nonhuman protagonist]\n\n> You look around\nMother has rows of crystal carrots, cabbages, and lettuce growing here, with some thyme and rosemary growing up near the door leading into the palace to the north. A white picket fence surrounds the garden.\n\n> You examine the crystal\nWhich do you mean, the crystal palace or the crystal vegetables?\n\n> You look at the palace\nWe live in a palace made of crystal, of course.\n\n> You examine the fence\nA well-kept fence around the garden.\n\n> You check your inventory\nWe are carrying:\nsome dandelions\n\n> You examine the rosemary\nThey certainly smell good.\n\n> You eat the dandelions\nEh, it'd probably ruin your appetite for dinner.\n\n> You go north\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement.\n\nA basket of raspberry scones sits by the window.\n\nThe dirty dishes from lunch are on the counter.\n\n> You wash the dishes\nYou carefully wash the dishes. I dry them and put them away.\n\n> You examine the scones\nA wicker basket full of raspberry scones.\n\n> You look at the table\nThe table we eat our meals at.\n\n> You examine the oven\nA nice, solid oven.\n\n> You examine the dishes\nCleaned and put away.\n\n> Go east\nSome carpeted stairs lead up. The sitting room is to the east, and the kitchen's to the west. The front door leads out to the north.\n\n> You go east\nA cosy room with a shiny marble fireplace.\n\nMother's sitting in her chair by the fire, reading a book.\n\n> You look at the Mother\nMother seems to be really into her book.\n\n> You ask the Mother about the book\nYou have a pleasant conversation about mother's book which fundamentally fails to be relevant.\n\n> You ask the Mother about the fair\nYou have a pleasant conversation which fundamentally fails to be relevant.\n\n> You ask the Mother about yourself\nYou have a pleasant conversation about ourselves which fundamentally fails to be relevant.\n\n> You ask the Mother about the carrots\nYou have a pleasant conversation about the crystal vegetables which fundamentally fails to be relevant.\n\n> You examine the fireplace\nThere's nothing like a fire to warm the place up. Sometimes we even toast marshmallows.\n\n> Go upward\nIt's just the landing at the top of the stairs. Your room is north. My room is east. Our parents' room is west. And you can keep going up to get to the attic.\n\n> Go east\nWhat d'ya want to go in there for? I'm all done cleaning my\nroom.\n\n> You go north\nIt's bigger than my room, but mine has a better view. I keep mine neater, too.\n\nSome dirty clothes are lying on the floor near your bed.\n\n> Search clothes\nMostly just rumpled, with a little mud.\n\n> Wash clothes\nMother doesn't make us do our own laundry. At least not yet.\n\n> You take clothes\nTaken.\n\n> You examine the bed\nThe comforter has pictures of dragons on it.\n\n> You go south\nIt's just the landing at the top of the stairs. Your room is north. My room is east. Our parents' room is west. And you can keep going up to get to the attic.\n\n> Go west\nOur parents' room. It has a big bed, some dressers, and a cool coiled rug.\n\nWe can see the laundry chute here.\n\n> You put the clothes in the chute\nThere's a sliding sound, and the dirty clothes disappear from sight.\n\n> You examine the bed\nA big comfy water bed.\n\n> You examine the rug\nIt changes color as it spirals in.\n\n> You examine the dressers\nWhere our parents keep our clothes.\n\n> Go upwards\nA dusty attic filled with boxes.\n\nNearly hidden among the boxes, a gold doubloon catches your eye.\n\n> You take the gold\nTaken.\n\n> You examine it\nA large gold coin with a picture of two dragons on it.\n\n> Go west\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement.\n\nA basket of raspberry scones sits by the window."
    },
    {
        "text": "[Themes: multiple protagonists, child protagonist, children]\n\n> Go downwards\nIt's a bit dingy and dimly lit. A narrow opening leads south.\n\nYour dirty clothes are here, on top of the laundry pile.\n\n> You go south\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement.\n\nA ridge of stalagmites emerges from a stone mound.\n\n> You look at the ridge\nA mound with a ridge of stalagmites down its back. It almost looks like some sort of creature in the dim light.\n\n> You examine the door\nA grand door leading into the palace.\n\n> You go to the north\nMother calls after us. \"If you're going out, why don't you take the scones I baked to your grandmother? I'm sure she'd love to see you. I left them in the kitchen.\"\n\n> You go to the north\nThe Crystal Palace stands to the south, sparkling in the sunlight. The road runs north between a field of fire flowers to the east and a pasture to the west.\n\nA large cow is trying to graze by the side of the road.\n\n> You look at the cow\nIt has black and white spots and flicks its tail back and forth.\n\n> You ask cow about the cow\nYou have a pleasant conversation about the large cow which fundamentally fails to be relevant.\n\n> You look at the flowers\n(looking east to Fiery Field)\n\nBright red and orange flowers that generate a searing flame.\n\n> You take the flower\nYou don't see the fire flowers here. It was at Fiery Field.\n\n> Go east\nA dense field of fire flowers stretches to the east. The road is back to the west.\n\n> You look at the flower\nBright red and orange flowers that generate a searing flame.\n\n> Go west\nEh, it'd be rude to go tramping through someone else's pasture.\n\nFrom here, we can go north, south, and east.\n\n> Go north\nA river flows quietly under this wooden bridge. The road continues north and south.\n\n> You look at the river\nA cool, clear river.\n\n> Go north\nThe road is surrounded on both sides by the pleasant woods. Greenbriars block the way east, but the woods are more open to the west. The path continues through the woods to the north. The bridge is to the south.\n\n> You go north\nThe road turns here, running west and south. Grandmother's house is to the north, with a tidy little garden in front.\n\n> You look at the house\nA charming little cottage.\n\n> You look at the garden\nPetunias and begonias.\n\n> Go north\nA warm, sunny room with a plush carpet. The walls are lined with bookshelves.\n\nGrandmother sits in a rocking chair, knitting something.\n\nIn a corner sits Grandmother's butter churn.\n\n\"Ah, it's good to see you.\"\n\n> You examine Grandmother\nShe's wearing her wire-frame glasses. They go well with her fur.\n\n> You give the basket to Grandmother\n\"Ah, these look delicious! You're so thoughtful! Here, since you've come all this way, let me give you something. You should get yourself something at the fair.\"\nShe gives you a copper piece.\n\n> You examine the copper\nA small copper coin with a picture of a rabbit on it.\n\n> You examine the churn\nAn old wooden butter churn, well-used.\n\n> You examine the knitting\nThe start of a sweater, perhaps?\n\n> You ask Grandmother about knitting\n(Grandmother about her knitting)\n\"I know you've been wanting another sweater.\"\n\n> You ask Grandmother about the churn\n(Grandmother about the butter churn)\n\"Ah, when I was young I used to have to churn milk into butter all the time.\"\n\n> You ask Grandmother about the fair\nYou have a pleasant conversation which fundamentally fails to be relevant.\n\n> You ask Grandmother about Grandmother\n(Grandmother about Grandmother)\nYou have a pleasant conversation about Grandmother which fundamentally fails to be relevant.\n\n> You examine the bookshelves\nThey contain all sorts of old books about history and such."
    },
    {
        "text": "> You look around\nA warm, sunny room with a plush carpet. The walls are lined with bookshelves.\n\nGrandmother sits in a rocking chair, knitting something.\n\nIn a corner sits Grandmother's butter churn.\n\n> You examine the carpet\nLight orange in color.\n\n> Exits\nThe only way to go is south.\n\n> You go west\nA dusty road leads east to west. Some pleasant-seeming woods lie to the south.\n\n> Go west\nA bustling fair filled with stalls and vendors of every kind. The flea market is to the west. The magic shop is to the south.\n\n> You look at the stalls\nMerchants are selling everything from fish to figurines. We mostly just find the magic shop and flea market interesting.\n\n> Go south\nA shop full of all sorts of wondrous things.\n\nThe shopkeeper shows off her wares.\n\nA wooden bowl seems to be on sale.\n\n\"Ah, my favorite customers. You know, your friend Puff was here just the other day, telling me how much he likes his new bed.\"\n\n> You ask the shopkeeper about Puff\nWhich do you mean, the stone mound or our friend?\n\n> Friend\n\"I do wonder how well it'll keep dry in that damp underground cave he lives in, but I'm sure he'll make it work. He is a magic dragon, after all.\"\n\n> You look at the bowl\nA simple wooden bowl carved with designs of clouds and rain.\n\n> You ask the shopkeeper about Bowl\n\"Ah, yes, the Bowl of Rain. Fill it with water whenever you want it to rain. Popular with farmers. Only one gold doubloon.\"\n\n> You buy Bowl\nYou give your gold doubloon to the shopkeeper in exchange for the bowl.\n\n> You check your inventory\nWe are carrying:\nthe rain bowl (empty)\na copper piece\nsome dandelions"
    },
    {
        "text": "[Themes: multiple protagonists, kid-friendly]\n\n> You look around\nA shop full of all sorts of wondrous things.\n\nThe shopkeeper shows off her wares.\n\n> You look at wares\nAll sorts of magical devices and supplies, most outside of our price range or interest.\n\n> You go to the north\nA bustling fair filled with stalls and vendors of every kind. The flea market is to the west. The magic shop is to the south.\n\n> Go west\nA crowded and busy section of the fair, with people buying and selling all sorts of strange things.\n\nA flea is here, selling an assortment of junk.\n\n> You search the junk\nThe busy market, an old alarm clock, a dented brass horn, and some sealing wax catch your eye.\n\n> You examine the flea\nSomewhat larger than your average flea.\n\n> You examine the clock\nIt's dented and seems to be stuck at 3:17.\n\n> You ask flea about the clock\nThe flea gives you the alarm clock in exchange for your copper piece.\n\n> You ask flea about the horn\n\"Two coppers, please.\"\n\n> You go to the south\nThe trees are rather open here, letting sunlight in. A mass of grape vine blocks the way west and south, however. You can see the road to the north or east.\n\nA large log lies here, one end covered in moss.\n\n> You look at the log\nAn old tree that must've fallen a while ago.\n\n> You take log\nThat's a bit heavy to lug around.\n\n> Move log\nIt is fixed in place.\n\n> You look at the vine\nDensely-overgrown spiral vines.\n\n> You give the dandelions to the cow\nThe cow munches down the dandelion greens happily.\n\n> You ask the cow about the dandelions\nYou have a pleasant conversation about the dandelions which fundamentally fails to be relevant.\n\n> You fill Bowl\n(from the river)\nWe fill the rain bowl with water from the river.\n\nIt's now drizzling heavily.\n\n> You go south\nThe Crystal Palace stands to the south, sparkling in the sunlight. The road runs north between a field of fire flowers to the east and a pasture to the west.\n\nA large cow is trying to graze by the side of the road.\n\nIt's drizzling heavily.\n\n> Go east\nA dense field of fire flowers stretches to the east. The road is back to the west.\n\nIt's drizzling heavily.\n\n> Exits\nFrom here, we can go east and west.\n\n> Go east\nThe rain damps down the fire flowers enough that you manage to make it past them.\n\nThe field opens up into a grassier meadow. The flowers change to the north. You can still barely see the road to the west.\n\nAn old stone well sits here.\n\nA dented old pail sits a short way away from the well, apparently having recently been replaced.\n\nIt's drizzling heavily.\n\n> You examine the pail\nA dented tin pail.\n\n> You examine well\nA rope leads down into the dark.\n\n> You take the rope\nThat's fixed in place.\n\n> You climb the rope\nLittle is to be achieved by that."
    },
    {
        "text": "[Themes: multiple protagonists, animal protagonist, kid-friendly, siblings]\n\n> You look around\nThe field opens up into a grassier meadow. The flowers change to the north. You can still barely see the road to the west.\n\nAn old stone well sits here.\n\nIt's drizzling heavily.\n\n> Go north\nA calm field filled with scarlet poppies continues to the north. You can see the well to the south.\n\nIt's drizzling heavily.\n\n> You go north\nThe rain doesn't seem to do much to block the smell of the flowers. Despite the wet, you still start falling asleep, and I have to drag you back.\n\n> Empty Bowl\nYou pour out the water from the rain bowl.\n\nIt's no longer raining.\n\n> Milk cow\nYou fill the pail with milk.\n\n> You go to the north\nA warm, sunny room with a plush carpet. The walls are lined with bookshelves.\n\nGrandmother sits in a rocking chair, knitting something.\n\nIn a corner sits Grandmother's butter churn.\n\n\"Hello again.\"\n\n> Wash churn\nThat's fine the way it is.\n\n> You fill the churn\nWhat do you want to fill the butter churn from?\n\n> You make the butter\nYou pour the milk into the churn and get to work. Soon, we have a nice quantity of fresh butter.\n\n\"Oh, my! You're full of industry today!\"\n\n> You look at the butter\n(the fresh butter)\nFreshly-made butter.\n\n> You take the butter\n(the fresh butter)\nWe already have that.\n\n> You check what you're carrying\nWe are carrying:\nsome fresh butter\na pail (empty)\nthe rain bowl (empty)\na copper piece\n\n> You ask Grandmother about the flea market\n(Grandmother about the busy market)\nYou have a pleasant conversation about the busy market which fundamentally fails to be relevant.\n\n> You ask Grandmother about the poppies\n(Grandmother about the scarlet poppies)\nYou have a pleasant conversation about the scarlet poppies which fundamentally fails to be relevant.\n\n> Friend\n(Grandmother about our friend)\nYou have a pleasant conversation about our friend which fundamentally fails to be relevant.\n\n> You give the butter to Grandmother\n(the fresh butter to Grandmother)\nGrandmother doesn't seem interested.\n\n> You show butter to the flea\nYou have a pleasant conversation about the fresh butter which fundamentally fails to be relevant.\n\n> You ask the cow about the pasture\nYou have a pleasant conversation about the pasture which fundamentally fails to be relevant.\n\n> You ask the Mother about the friend puff\nYou have a pleasant conversation about our friend which fundamentally fails to be relevant.\n\n> You ask the Mother about the clothes\nYou have a pleasant conversation about the dirty clothes which fundamentally fails to be relevant.\n\n> You take the book\nThat's hardly portable.\n\n> Go west\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement."
    },
    {
        "text": "[Themes: multiple protagonists, child protagonist, children]\n\n> Go downwards\nIt's a bit dingy and dimly lit. A narrow opening leads south.\n\nYour dirty clothes are here, on top of the laundry pile.\n\n> You ask Puff about Puff\n(the stone mound about the stone mound)\nYou have a pleasant conversation about the stone mound which fundamentally fails to be relevant.\n\n> You ask the pail about flower\nYou can only do that to something animate.\n\n> You put the butter in Bowl\nThe rain bowl is better suited for carrying liquids.\n\n> You check what you're carrying\nWe are carrying:\nsome fresh butter\na pail (empty)\nthe rain bowl (empty)\na copper piece\n\n> You take the clothes\nMother'll deal with washing those, silly. They're fine where they are.\n\n> Go north\nThe road is surrounded on both sides by the pleasant woods. Greenbriars block the way east, but the woods are more open to the west. The path continues through the woods to the north. The bridge is to the south.\n\nIt's drizzling heavily.\n\n> You go west\nThe trees are rather open here, letting sunlight in. A mass of grape vine blocks the way west and south, however. You can see the road to the north or east.\n\nA large log lies here, one end covered in moss.\n\nIt's drizzling heavily.\n\n> You look at the log\nAn old tree that must've fallen a while ago.\n\n> You go south\nA river flows quietly under this wooden bridge. The road continues north and south.\n\nIt's drizzling heavily.\n\n> You go south\nSome carpeted stairs lead up. The sitting room is to the east, and the kitchen's to the west. The front door leads out to the north.\n\nIt's drizzling heavily outside.\n\n> Go west\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement.\n\nIt's drizzling heavily outside.\n\n> You go south\nMother has rows of crystal carrots, cabbages, and lettuce growing here, with some thyme and rosemary growing up near the door leading into the palace to the north. A white picket fence surrounds the garden.\n\nIt's drizzling heavily.\n\n> Empty Bowl\nYou pour out the water from the rain bowl.\n\nIt's no longer raining.\n\n> You go north\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement."
    },
    {
        "text": "[Themes: multiple protagonists, child protagonist, children]\n\n> Go downwards\nIt's a bit dingy and dimly lit. A narrow opening leads south.\n\nYour dirty clothes are here, on top of the laundry pile.\n\n> You go south\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement.\n\nA ridge of stalagmites emerges from a stone mound.\n\n> Wind clock\nThe clock makes a loud ringing noise, then falls silent.\n\nWith a sudden jerk, the stone mound moves! A rock shifts and transforms into the head of a dragon! Luckily, it's the friendly face of Puff the Magic Dragon. He blinks at you sleepily. \"Good morning.\"\n\nYou notice that Puff was sleeping on a pile of books. Behind Puff, you can now see a tunnel leading east.\n\n> You examine Puff\nA large green dragon with shiny scales. He's resting on a pile of books.\n\n> You ask Puff about the bed\nWhich do you mean, your bed or the big bed?\n\n> You ask Puff about Puff\n(Puff the Magic Dragon about Puff the Magic Dragon)\nYou have a pleasant conversation about Puff the Magic Dragon which fundamentally fails to be relevant.\n\n> You look at the books\nA huge pile of books of all kinds. A cookbook catches your eye.\n\n> You ask Puff about the cookbook\n(Puff the Magic Dragon about the cookbook)\nYou have a pleasant conversation about the cookbook which fundamentally fails to be relevant.\n\n> You take the cookbook\n\"Now, now, I'd hardly be a proper dragon if I just gave away my treasure willy-nilly. You'd have to give me something pretty fancy to replace it.\"\n\n> Inventory\nWe are carrying:\nan old alarm clock\nsome fresh butter\na pail (empty)\nthe rain bowl (empty)\n\n> You go east\nYou walk a long way through the dark tunnel before emerging into sunlight.\n\nWe're on the floor of a deep sinkhole. Sunlight filters through trees and shrubs above. A tunnel leads west, and there's a smaller opening to the north.\n\nSome chickens sit here comfortably in a coop.\n\n> You examine the chickens\nOh! One of them has laid an egg!\n\n> You examine the egg\nA fresh brown egg.\n\n> You ask the chickens about the egg\nYou have a pleasant conversation about the egg which fundamentally fails to be relevant."
    },
    {
        "text": "[Themes: nonhuman protagonist, kid-friendly, family, kids]\n\n> You describe your surroundings\nWe're on the floor of a deep sinkhole. Sunlight filters through trees and shrubs above. A tunnel leads west, and there's a smaller opening to the north.\n\nSome chickens sit here comfortably in a coop.\n\n> Go north\nThis small cave is nice and cool, possibly because of all the ice flowers lining the walls. The only way out is back to the south.\n\nThe shelf closest to the ice flowers has gathered a quantity of snow.\n\nSome leftover oatmeal from the other day is here. It doesn't really look any more appetizing than it did then.\n\n> You examine the flowers\nThey're pale blue flowers that radiate cold.\n\n> You take the flower\nIt's probably best to leave those here. I mean, having a secret refrigerator is pretty cool!\n\n> You look at the snow\nA wooden shelf for keeping frozen foods like ice cream on. Right now, it just has some snow that's accumulated.\n\n> You take the snow\nYou grab some snow, but it melts in your hands. Maybe if you carried it in something?\n\n> You look at the oatmeal\nA bowl of leftover oatmeal. Or possibly wallpaper paste."
    },
    {
        "text": "[Themes: kids, nonhuman protagonist, kid-friendly, cute]\n\n> You look around\nThis small cave is nice and cool, possibly because of all the ice flowers lining the walls. The only way out is back to the south.\n\nThe shelf closest to the ice flowers has gathered a quantity of snow.\n\n> Go south\nWe're on the floor of a deep sinkhole. Sunlight filters through trees and shrubs above. A tunnel leads west, and there's a smaller opening to the north.\n\nSome chickens sit here comfortably in a coop.\n\nIt's snowing lightly.\n\n> You go west\nYou walk a long way through the dark tunnel before emerging into a larger cave.\n\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement. A tunnel leads east.\n\nPuff the Magic Dragon lies here comfortably on a pile of books.\n\n> You go upwards\nA well-stocked kitchen, with a table at one end and the oven at the other. A doorway leads east, and the garden's out to the south. Stairs also lead down into the basement.\n\nIt's snowing lightly outside.\n\n> Go north\nWe can't go that way.\n\nFrom here, we can go south, east, and down.\n\n> You go east\nSome carpeted stairs lead up. The sitting room is to the east, and the kitchen's to the west. The front door leads out to the north.\n\nIt's snowing lightly outside.\n\n> You go to the north\nThe Crystal Palace stands to the south, sparkling in the sunlight. The road runs north between a field of fire flowers to the east and a pasture to the west.\n\nA large cow is trying to graze by the side of the road.\n\nIt's snowing lightly.\n\n> You go east\nA dense field of fire flowers stretches to the east. The road is back to the west.\n\nIt's snowing lightly.\n\n> You put the water in Bowl\nWe fill the rain bowl with water from the river.\n\nIt's now drizzling heavily.\n\n> You go east\nThe rain damps down the fire flowers enough that you manage to make it past them.\n\nThe field opens up into a grassier meadow. The flowers change to the north. You can still barely see the road to the west.\n\nAn old stone well sits here.\n\nIt's drizzling heavily.\n\n> You put the snow in Bowl\nWe pour the snow from the pail into the rain bowl.\n\nIt's now snowing lightly.\n\n> You go north\nA calm field filled with scarlet poppies continues to the north. You can see the well to the south.\n\nIt's snowing lightly.\n\n> You go north\nThe snow gathers on the poppies, blocking the dangerous scent. You manage make it past the flowers.\n\nA clump of trees grows here by the river. The poppy field is to the south.\n\nYou notice a small ginger plant growing near a tree.\n\nIt's snowing lightly.\n\n> You examine the plant\nSome wild ginger root."
    },
    {
        "text": "[Themes: kids, multiple protagonists, animal protagonist, child protagonist, kid-friendly, cute]\n\n> You describe your surroundings\nA clump of trees grows here by the river. The poppy field is to the south.\n\nIt's snowing lightly.\n\n> You look at the trees\nSome maples and a willow, offshoots of the wood that grows on the other side of the river.\n\n> You climb the trees\nLittle is to be achieved by that.\n\n> You go to the south\nA calm field filled with scarlet poppies continues to the north. You can see the well to the south.\n\nIt's snowing lightly.\n\n> Go south\nThe field opens up into a grassier meadow. The flowers change to the north. You can still barely see the road to the west.\n\nAn old stone well sits here.\n\nIt's snowing lightly.\n\n> You put water in Bowl\nWe fill the rain bowl with water from the stone well.\n\nIt's now drizzling heavily.\n\n> You go west\nA dense field of fire flowers stretches to the east. The road is back to the west.\n\nIt's drizzling heavily.\n\n> Inventory\nWe are carrying:\nsome ginger\nthe leftover oatmeal\nan egg\nan old alarm clock\nsome fresh butter\na pail (full of snow)\nthe rain bowl (empty)\n\n> Go south\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement. A tunnel leads east.\n\nPuff the Magic Dragon lies here comfortably on a pile of books.\n\n> You ask Puff about the treasure\nYou have a pleasant conversation which fundamentally fails to be relevant.\n\n> You ask Puff about the books\n(Puff the Magic Dragon about the pile of books)\nYou have a pleasant conversation about the pile of books which fundamentally fails to be relevant.\n\n> You ask Puff about the book\n(Puff the Magic Dragon about the cookbook)\nYou have a pleasant conversation about the cookbook which fundamentally fails to be relevant.\n\n> You take the book\n\"Now, now, I'd hardly be a proper dragon if I just gave away my treasure willy-nilly. You'd have to give me something pretty fancy to replace it.\"\n\n> You ask Puff about the horn\n(Puff the Magic Dragon about the dented brass horn)\nYou have a pleasant conversation about the dented brass horn which fundamentally fails to be relevant.\n\n> You ask Puff about the wax\n(Puff the Magic Dragon about the sealing wax)\nYou have a pleasant conversation about the sealing wax which fundamentally fails to be relevant.\n\n> You ask the Mother about Puff\nWhich do you mean, Puff the Magic Dragon or our friend?\n\n> Friend\nYou have a pleasant conversation about our friend which fundamentally fails to be relevant.\n\n> You ask the Mother about Puff the Magic Dragon\nYou have a pleasant conversation about Puff the Magic Dragon which fundamentally fails to be relevant.\n\n> You ask the Mother for book\n(Mother first taking mother's book)\nNow, now, there's no need to be bossy.\n\n> You ask the Mother about the cookbook\nYou have a pleasant conversation about the cookbook which fundamentally fails to be relevant.\n\n> Go north\nIt's bigger than my room, but mine has a better view. I keep mine neater, too.\n\n> You take the flower\nYou don't see the ice flowers here. It was at Refrigerated Cave.\n\n> You ask Grandmother for the book\n(Grandmother first taking the bookshelves)\nNow, now, there's no need to be bossy.\n\n> You ask Grandmother about the book\n(Grandmother about the bookshelves)\nYou have a pleasant conversation about the bookshelves which fundamentally fails to be relevant.\n\n> You search the bookshelves\nThey contain all sorts of old books about history and such.\n\n> You take the book\nC'mon, it's a beautiful day. We can read another time.\n\n> Go north\nThe road turns here, running west and south. Grandmother's house is to the north, with a tidy little garden in front.\n\nIt's drizzling heavily.\n\n> You go north\nA warm, sunny room with a plush carpet. The walls are lined with bookshelves.\n\nGrandmother sits in a rocking chair, knitting something.\n\nIn a corner sits Grandmother's butter churn.\n\nIt's drizzling heavily outside.\n\n\"Hello again.\"\n\n> You go east\nA cosy room with a shiny marble fireplace.\n\nMother's sitting in her chair by the fire, reading a book.\n\nIt's drizzling heavily outside.\n\n> You tell the Mother about day\nYou have a pleasant conversation which fundamentally fails to be relevant.\n\n> You ask the Mother for the carrot\nMother isn't here. She's right here.\n\n> You examine the carrot\nYou don't see the crystal vegetables here. It was at Vegetable Garden.\n\n> Wind clock\nThe clock makes a loud ringing noise, then falls silent.\n\"Now, now, no need to make a racket.\"\n\n> Go west\nA dusty road leads east to west. Some pleasant-seeming woods lie to the south.\n\nIt's drizzling heavily.\n\n> Go south\nThe trees are rather open here, letting sunlight in. A mass of grape vine blocks the way west and south, however. You can see the road to the north or east.\n\nA large log lies here, one end covered in moss.\n\nIt's drizzling heavily.\n\n> You search the vine\nDensely-overgrown spiral vines.\n\n> You take the vine\nThat's hardly portable.\n\n> You climb the vine\nLittle is to be achieved by that.\n\n> Go west\nA bustling fair filled with stalls and vendors of every kind. The flea market is to the west. The magic shop is to the south.\n\nIt's drizzling heavily.\n\n> Go south\nA shop full of all sorts of wondrous things.\n\nThe shopkeeper shows off her wares.\n\nIt's drizzling heavily outside.\n\n\"Welcome, welcome.\"\n\n> You ask the shopkeeper about the book\n(the cookbook)\nYou have a pleasant conversation about the cookbook which fundamentally fails to be relevant.\n\n> Exits\nFrom here, we can go south, east, and west.\n\n> You go to the west\nA crowded and busy section of the fair, with people buying and selling all sorts of strange things.\n\nA flea is here, selling an assortment of junk.\n\nIt's drizzling heavily.\n\n> You examine the junk\nThe busy market, a dented brass horn, and some sealing wax catch your eye.\n\n> You buy the wax\n\"One silver, please.\"\n\n> You ask the flea about the book\n(the cookbook)\nWe can't reach into Damp Cave.\n\n> You ask the flea about the log\nYou have a pleasant conversation about the large log which fundamentally fails to be relevant.\n\n> Exits\nThe only way to go is east.\n\n> You look at the shopkeeper\nA well-dressed woman with a complicated hat.\n\n> You ask the shopkeeper about Magic\n(Puff the Magic Dragon)\nYou have a pleasant conversation about Puff the Magic Dragon which fundamentally fails to be relevant.\n\n> You ask the shopkeeper about the flowers\nWhich do you mean, the ice flowers or the fire flowers?\n\n> Ice\nYou have a pleasant conversation about the ice flowers which fundamentally fails to be relevant.\n\n> You ask the shopkeeper about the poppies\nYou have a pleasant conversation about the scarlet poppies which fundamentally fails to be relevant.\n\n> Go east\nWe can't go that way.\n\nThe only way to go is north.\n\n> You go to the north\nA bustling fair filled with stalls and vendors of every kind. The flea market is to the west. The magic shop is to the south.\n\nIt's drizzling heavily.\n\n> You go east\nA dusty road leads east to west. Some pleasant-seeming woods lie to the south.\n\nIt's drizzling heavily.\n\n> You go north\nWe can't go that way.\n\nFrom here, we can go south, east, and west.\n\n> You eat the log\nThat's plainly inedible.\n\n> Climb log\nLittle is to be achieved by that.\n\n> You examine the tree\nTall trees with healthy green leaves.\n\n> Burn log\nThis dangerous act would achieve little.\n\n> You go to the east\nWe can't go that way.\n\nFrom here, we can go north, south, and west.\n\n> You examine the greenbriars\nTwisted vines with sharp thorns.\n\n> You take all\ndirty clothes: Mother'll deal with washing those, silly. They're fine where they are.\n\n> Exits\nFrom here, we can go south and up.\n\n> Go south\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement. A tunnel leads east.\n\nPuff the Magic Dragon lies here comfortably on a pile of books.\n\n> You examine the stalactites\nThey hang tightly to the ceiling.\n\n> You ask Puff about Mother\n(Puff the Magic Dragon about Mother)\nYou have a pleasant conversation about Mother which fundamentally fails to be relevant.\n\n> You ask Puff about us\n(Puff the Magic Dragon about us)\nYou have a pleasant conversation about us which fundamentally fails to be relevant.\n\n> You ask Puff about the laundry\n(Puff the Magic Dragon about the laundry chute)\nYou have a pleasant conversation about the laundry chute which fundamentally fails to be relevant.\n\n> You ask Puff about the shopkeeper\n(Puff the Magic Dragon about the shopkeeper)\nYou have a pleasant conversation about the shopkeeper which fundamentally fails to be relevant."
    },
    {
        "text": "[Themes: kid-friendly, nonhuman protagonist, child protagonist]\n\n> You look around\nA dark limestone cave. Stalactites periodically drip, making a cool kerplunk noise. An opening leads north into the basement. A tunnel leads east.\n\nPuff the Magic Dragon lies here comfortably on a pile of books.\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Fantasy, animal protagonist, fairy tale, conversation, nonhuman protagonist, bird protagonist, Cinderella, strong NPCs]\n\nThe Prince sits awkwardly on the couch, holding his glass slipper and trying to keep it from crushing. Lucinda and Theodora have the ends of the same couch, and they are taking turns seeing who can bend lowest and show off the most cleavage; while the old lady, in her wing chair, carries on about nonsense. For instance:\n\n\"Do tell me about your father's health,\" she says, leaning toward the Prince. \"Is he still ailing? Has the Spanish doctor been able to do anything for him?\"\n\nThe Prince looks uncomfortable: this line of reason leads directly to the problem of heirs. \"I believe so, madam,\" he replies, with a bit of constraint.\n\n[Author's Note: The Prince sits awkwardly on the couch, holding his glass slipper and trying to keep it from crushing. Lucinda and Theodora have the ends of the same couch, and they are taking turns seeing who can bend lowest and show off the most cleavage; while the old lady, in her wing chair, carries on about nonsense...]\n\n> About yourself\nIt's hard to have a good look at the moment, but everything feels in order, properly preened, feathers lying as they ought.\n\n\"It's so fortunate,\" says the old lady. \"That you're of an age -- that is, that the King has been so blessed with an heir who can follow in his footsteps when the time comes, which we all hope will be--\"\n\nRealizing she has led herself into a diplomatic difficulty, she sighs. \"God has truly blessed our little kingdom.\"\n\n> Inventory\nYou are holding onto your perch with both claws.\n\n\"Now I have heard a rumor,\" says the old lady, pretending that this conversation topic just now occurred to her, rather than being the object of her determined pursuit for the last half hour. \"A rumor that you yourself were planning to wed, in the very near future.\"\n\nTheodora leans closer to the Prince, who tucks his hands more protectively around the slipper.\n\n\"There are a great many rumors,\" he says.\n\n> You ask the old lady about the rumors\nYou can only squawk things for everyone to hear.\n\n\"It's true, you know, that my father threw the ball in the hope that I would-- that is, that it would lead to a greater acquaintance--\" The Prince stops again, rattled, and glares down at the small shoe cradled in his hands. \"I had not been very attentive to ladies in my youth.\"\n\nThe old lady looks very strange at that remark. \"Well-- my dear boy--\" she begins. \"I am glad you feel comfortable-- that is, I will not mention-- if you feel you prefer--\"\n\nHe blinks thick girlish lashes, and you see why she is worried. \"No, I didn't mean that I have a preference for boys, madam,\" he remarks, more at his ease now that she is uncomfortable. \"Only that I have been very much occupied with other concerns, and not...\"\n\nHe gestures. The shoe almost slips off its pillow. He catches it just in time.\n\n> You look at the shoe\nIt is very small for an adult woman's foot.\n\n\"I'm sure it's nothing surprising,\" remarks the old lady, \"if you didn't meet anyone at the ball that you felt immediately you could marry. Such short acquaintances... there's much more to an alliance than that. One must feel at ease with the family, for instance.\"\n\nThe Prince opens his mouth, then closes it again. \"I did meet someone,\" he admits. \"But I know nothing of her family. It hardly matters to me, however. It will be the woman who can wear this shoe.\"\n\nThe old woman laughs slightly. \"How beautifully romantic! But -- she didn't give you her name?\"\n\nThe Prince shakes his head, looking embarrassed again.\n\n\"...but you would recognize her, at least,\" the lady says, looking down carefully at her hands folded on her skirt. \"As soon as you saw her face--\"\n\n\"I can't be sure,\" the Prince replies.\n\nThere is a thick silence. The old lady frowns, suggesting very rapid and dangerous thought. Theodora lies back against the pillows, interested in the story and too stupid to realize it has to do with her. Lucinda-- but Lucinda's thoughts are always the hardest to read.\n\n> You examine Lucinda\nMore compact than Theodora, and with more self-control.\n\n\"It wasn't a masked ball,\" the old lady says. \"It wasn't even badly lit. Your father did not stint on the candles at all.\"\n\nThe Prince opens his mouth.\n\n\"Oh, dear, dear, I am being odiously prying. I'm so sorry. Perhaps you met this young lady out on the terrace...\" She trails off, suggesting the very faintest disapproval of young ladies who linger on terraces, out of sight of chaperones, to hold conversations with Princes, and never tell their names.\n\n\"I met her in candlelight,\" says the Prince, goaded. \"But she left me at midnight.\"\n\nThe effect of this comment is like the shattering of glass: for a moment you wonder if he dropped the shoe...? No. It is merely that he has admitted, or near-as-admitted, that his chosen bride is one who appeared to him under a glamor, a magical enchantment. A crime punishable by death under his father's law.\n\nEveryone remains very very quiet.\n\n> You ask Lucinda about the old lady\nYou can only squawk things for everyone to hear.\n\n\"Maybe,\" Lucinda suggests, \"she thought it would be wrong to deceive you about what she was, and chose this way to, to make it known.\"\n\nA spark of comprehension comes into Theo's eyes. \"Yes,\" she says. \"She might have thought that-- I mean, I can imagine...\"\n\nThe old lady glares at her. The Prince looks back and forth, confused.\n\n> You stand up\nBut you aren't in anything at the moment.\n\nTheodora leans closer to the Prince. \"I can go first, if you want,\" she says. Without any shyness, she lifts her skirt slightly and slips her feet out of her afternoon slippers, wiggling her feet on the soft carpet.\n\n\"So strange,\" she says, giggling. \"Taking off my shoes in the presence of a man!\"\n\n\"I won't tell anyone,\" the Prince assures her.\n\n> You fly\nBut the old lady has clipped your wings.\n\n> You examine the shoe\nIt is very small for an adult woman's foot.\n\nThe old lady slips her hands into the pockets of her skirt and leans back.\n\n> Squawk\n\"Awk!\" you squawk.\n\nThe Prince drops to kneel at Theo's feet. He looks dubiously at the shoe. \"Do you happen to know whether this goes on the left foot, or the right one?\" he asks. \"It's very--\"\n\n\"You can try it on both,\" says Theodora. \"If you want.\"\n\nHe begins to slip it onto her left foot. It won't go, not at all. \"That's certainly not it,\" he says, smiling at her quickly.\n\nShe twitches her skirt, giving him -- you imagine, since you are at the wrong angle -- a passing view of quite a lot more than her ankles. He blinks once but does not allow himself comment.\n\n> You jump\nYou hop gracefully down to the other end of the perch.\n\n\"Right,\" he says. \"Other foot now.\" He slides the shoe on, and it does go considerably further. \"Tell me if I'm hurting you,\" he says.\n\n\"You're not, not at all,\" Theo assures him on a wince.\n\n\"Shoes are worn tight this year,\" puts in the old lady.\n\n> Squawk no\n\"No!\" you squawk. \"No no!\"\n\nLucinda frowns in your direction.\n\nThe Prince stops his work with the shoe. \"I can't -- this must not be --\"\n\n\"Oh, for pity's sake,\" says the old lady. \"You haven't the least idea how women dress. Let me.\" And she kneels at Theodora's feet, shooing the Prince aside, and gives a firm tap to the heel of the shoe; at which point it slides on.\n\n\"Bless me,\" she says.\n\nThe Prince is silent for a moment, looking at the shoe. \"It's you,\" he says. \"It's you, Theodora! Why didn't you tell me?\"\n\nThe old lady turns away, tucking something into her pocket: something glassy and glinting.\n\n> Squawk glass\n\"Slipper!\" you screech. \"Wrong slipper! Wrong slipperslipper! In the pocket! Old lady!\" It's the most complicated thing you've had to say in years, and your head aches by the time you're done.\n\nThe Prince looks at you for a long moment, then turns to the old lady; who shrugs, as though to say that she knows the game is up. Fishing in her pocket she draws out the true slipper. \"The other one is only a little larger,\" she says, handing the real one over. \"Theodora's feet are quite dainty, on the whole.\"\n\n\"You are a harridan,\" says the Prince. \"A conniving, treacherous, beastly woman with no knowledge of love...\"\n\n\"You could still try the shoe on Lucinda,\" she suggests mildly.\n\nHe snorts. \"I thank you, I do not want to find my bride here. I imagine everyone under this roof is tainted with a little of the same venom.\"\n\n\"That is the truth,\" Lucinda murmurs; but he is already going, going, gone.\n\n> You wait for a while\nYou do nothing. The old lady stares at you, and you stare back.\n\n> Squawk love\n\"Love!\" you squawk.\n\nTheodora blows you a little kiss.\n\nThere is an odd silence, as though no one is sure what to do or say now. But it will break momentarily.\n\nThe Prince pulls Theodora toward him. \"You are a woman of unexpected depths,\" he says softly. \"All these years I have known you, seen you here and there, and thought that you were such a simple straightforward creature...\"\n\nShe blinks at him, then says, \"I hope you are not angry.\"\n\nHe laughs, and touches her cheek; and she kisses him.\n\nLucinda bites her lip. \"Well,\" says the old lady briskly, standing. \"How many unexpected turns life brings to us.\" And she pulls the bellpull with unnecessary force.\n\n> You look at Prince\nHe's tolerably attractive, in his flightless way. It's hard not to pity him a little.\n\n\"It's so fortunate,\" says the old lady. \"That you're of an age -- that is, that the King has been so blessed with an heir who can follow in his footsteps when the time comes, which we all hope will be--\"\n\nRealizing she has led herself into a diplomatic difficulty, she sighs. \"God has truly blessed our little kingdom.\"\n\n> Squawk death\n\"Awwk!\" you squawk. \"Magic! Magic!\"\n\n\"Don't mind our parrot,\" says the lady, smiling at the Prince. \"It has very bad manners.\"\n\nThe Prince glances at you. \"I imagine any manners at all would be above average for a bird.\"\n\nLucinda smirks.\n\nThe Prince sighs. \"Yes,\" he says. \"The ball, I meant to tell you...\"\n\nHe stops.\n\n> Squawk lies\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"I'm sure it's nothing surprising,\" remarks the old lady, \"if you didn't meet anyone at the ball that you felt immediately you could marry. Such short acquaintances... there's much more to an alliance than that. One must feel at ease with the family, for instance.\"\n\nThe Prince opens his mouth, then closes it again. \"I did meet someone,\" he admits. \"But I know nothing of her family. It hardly matters to me, however. It will be the woman who can wear this shoe.\"\n\nThe old woman laughs slightly. \"How beautifully romantic! But -- she didn't give you her name?\"\n\nThe Prince shakes his head, looking embarrassed again.\n\n\"...but you would recognize her, at least,\" the lady says, looking down carefully at her hands folded on her skirt. \"As soon as you saw her face--\"\n\n\"I can't be sure,\" the Prince replies.\n\nThere is a thick silence. The old lady frowns, suggesting very rapid and dangerous thought. Theodora lies back against the pillows, interested in the story and too stupid to realize it has to do with her. Lucinda-- but Lucinda's thoughts are always the hardest to read.\n\n> You examine the old lady\nShe looks plucked: thin neck with folds of skin exposed, nose beaky, lips white. Perhaps when her fortunes are mended her cosmetics too will improve.\n\n\"It wasn't a masked ball,\" the old lady says. \"It wasn't even badly lit. Your father did not stint on the candles at all.\"\n\nThe Prince opens his mouth.\n\n\"Oh, dear, dear, I am being odiously prying. I'm so sorry. Perhaps you met this young lady out on the terrace...\" She trails off, suggesting the very faintest disapproval of young ladies who linger on terraces, out of sight of chaperones, to hold conversations with Princes, and never tell their names.\n\n\"I met her in candlelight,\" says the Prince, goaded. \"But she left me at midnight.\"\n\nThe effect of this comment is like the shattering of glass: for a moment you wonder if he dropped the shoe...? No. It is merely that he has admitted, or near-as-admitted, that his chosen bride is one who appeared to him under a glamor, a magical enchantment. A crime punishable by death under his father's law.\n\nEveryone remains very very quiet.\n\n> Squawk glamor\n\"Squawk!\" you squawk. \"Magic! Magic!\"\n\nThe Prince's eye goes to you. \"Your bird, madam, is freakishly percipient. Positively unnatural.\"\n\n\"Yes,\" she says. \"Though I promise you it arrived in that condition and was not made so by anyone in this house.\" She sighs. \"You are in a difficult situation,\" says the old lady. \"You are too intelligent not to have considered the problem thoroughly, and all the risks involved in choosing someone under those circumstances.\"\n\nLucinda's lips tighten. \"Magic is abhorrent to God,\" she says.\n\n\"That is certainly the opinion of some,\" the old lady agrees. \"I myself wonder whether He would have encompassed in His creation any power which He considered wholly evil. But that is a private philosophy, and does not excuse a violation of the law.\" She glances at the Prince. \"Forgive me: I stray from your problem.\"\n\n> Squawk blasphemy\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"I have considered the problem,\" says the Prince. \"Very closely. I have not been able to sleep for considering it.\"\n\n\"Do you know,\" asks the old lady, \"why she...?\"\n\nThe Prince shakes his head. \"Until she fled I had no hint that she was not simply as she appeared.\"\n\n\"Extraordinarily beautiful, no doubt,\" remarks the old lady, with a hint of a curling smile; and Lucinda titters.\n\n\"And kind, and wise,\" the Prince replies, refusing to be drawn. \"Do you know whether magic can counterfeit those qualities as well?\"\n\n\"Wisdom rarely and kindness never at all,\" says the old lady.\n\n> Squawk kindness\n\"Awk! Kindness!\"\n\nSadly this produces no almonds for you.\n\n\"Maybe,\" Lucinda suggests, \"she thought it would be wrong to deceive you about what she was, and chose this way to, to make it known.\"\n\nA spark of comprehension comes into Theo's eyes. \"Yes,\" she says. \"She might have thought that-- I mean, I can imagine...\"\n\nThe old lady glares at her. The Prince looks back and forth, confused.\n\n> Squawk wisdom\n\"Wisdom,\" you intone.\n\nNo one seems to think you know much about that.\n\nTheodora leans closer to the Prince. \"I can go first, if you want,\" she says. Without any shyness, she lifts her skirt slightly and slips her feet out of her afternoon slippers, wiggling her feet on the soft carpet.\n\n\"So strange,\" she says, giggling. \"Taking off my shoes in the presence of a man!\"\n\n\"I won't tell anyone,\" the Prince assures her.\n\n> Squawk gold digger\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\nThe old lady slips her hands into the pockets of her skirt and leans back.\n\n> Squawk pocket\n\"Awwwk!\" you squawk. \"The shoe! The shoe!\"\n\n\"Yes,\" says Lucinda to you. \"You're very smart.\"\n\nThe Prince drops to kneel at Theo's feet. He looks dubiously at the shoe. \"Do you happen to know whether this goes on the left foot, or the right one?\" he asks. \"It's very--\"\n\n\"You can try it on both,\" says Theodora. \"If you want.\"\n\nHe begins to slip it onto her left foot. It won't go, not at all. \"That's certainly not it,\" he says, smiling at her quickly.\n\nShe twitches her skirt, giving him -- you imagine, since you are at the wrong angle -- a passing view of quite a lot more than her ankles. He blinks once but does not allow himself comment.\n\n> Squawk hussey\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"Right,\" he says. \"Other foot now.\" He slides the shoe on, and it does go considerably further. \"Tell me if I'm hurting you,\" he says.\n\n\"You're not, not at all,\" Theo assures him on a wince.\n\n\"Shoes are worn tight this year,\" puts in the old lady.\n\n> Squawk pockets\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\nThe Prince stops his work with the shoe. \"I can't -- this must not be --\"\n\n\"Oh, for pity's sake,\" says the old lady. \"You haven't the least idea how women dress. Let me.\" And she kneels at Theodora's feet, shooing the Prince aside, and gives a firm tap to the heel of the shoe; at which point it slides on.\n\n\"Bless me,\" she says.\n\nThe Prince is silent for a moment, looking at the shoe. \"It's you,\" he says. \"It's you, Theodora! Why didn't you tell me?\"\n\nThe old lady turns away, tucking something into her pocket: something glassy and glinting.\n\n> Squawk lucinda\n\"Lucinda!\" you squawk.\n\nTheodora blows you a little kiss.\n\n> Squawk cheater\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\nThere is an odd silence, as though no one is sure what to do or say now. But it will break momentarily.\n\nThe Prince pulls Theodora toward him. \"You are a woman of unexpected depths,\" he says softly. \"All these years I have known you, seen you here and there, and thought that you were such a simple straightforward creature...\"\n\nShe blinks at him, then says, \"I hope you are not angry.\"\n\nHe laughs, and touches her cheek; and she kisses him.\n\nLucinda bites her lip. \"Well,\" says the old lady briskly, standing. \"How many unexpected turns life brings to us.\" And she pulls the bellpull with unnecessary force.\n\n> Squawk cork nut\n\"Almond!\" you hint. No one takes you up on it.\n\nThere is an odd silence, as though no one is sure what to do or say now. But it will break momentarily.\n\nThe Prince pulls Theodora toward him. \"You are a woman of unexpected depths,\" he says softly. \"All these years I have known you, seen you here and there, and thought that you were such a simple straightforward creature...\"\n\nShe blinks at him, then says, \"I hope you are not angry.\"\n\nHe laughs, and touches her cheek; and she kisses him.\n\nLucinda bites her lip. \"Well,\" says the old lady briskly, standing. \"How many unexpected turns life brings to us.\" And she pulls the bellpull with unnecessary force.\n\n> Squawk alex\n\"Awk!\" you squawk. \"Splendid bird!\"\n\n\"I suppose it wishes to advocate a greater interest in aviary concerns?\" the Prince asks, looking at you with curiosity.\n\n\"I wouldn't credit it with nearly that much intelligence,\" says the old lady. Witch.\n\n> Squawk witch\n\"Squaw-awk!\" you squawk. \"Magic!\"\n\n> Go north\nYou can't escape your perch.\n\nThe Prince sighs. \"Yes,\" he says. \"The ball, I meant to tell you...\"\n\nHe stops.\n\n> Squawk ball\n\"Squawk!\" you squawk. \"The ball!\"\n\n\"Don't mind our parrot,\" says the lady, smiling at the Prince. \"It has very bad manners.\"\n\nThe Prince glances at you. \"I imagine any manners at all would be above average for a bird.\"\n\nLucinda smirks.\n\n\"I'm sure it's nothing surprising,\" remarks the old lady, \"if you didn't meet anyone at the ball that you felt immediately you could marry. Such short acquaintances... there's much more to an alliance than that. One must feel at ease with the family, for instance.\"\n\nThe Prince opens his mouth, then closes it again. \"I did meet someone,\" he admits. \"But I know nothing of her family. It hardly matters to me, however. It will be the woman who can wear this shoe.\"\n\nThe old woman laughs slightly. \"How beautifully romantic! But -- she didn't give you her name?\"\n\nThe Prince shakes his head, looking embarrassed again.\n\n\"...but you would recognize her, at least,\" the lady says, looking down carefully at her hands folded on her skirt. \"As soon as you saw her face--\"\n\n\"I can't be sure,\" the Prince replies.\n\nThere is a thick silence. The old lady frowns, suggesting very rapid and dangerous thought. Theodora lies back against the pillows, interested in the story and too stupid to realize it has to do with her. Lucinda-- but Lucinda's thoughts are always the hardest to read.\n\n> Squawk lucinda\n\"Awk!\" you squawk. \"Lucinda!\"\n\n\"Yes, Parrot?\" asks Lucinda, looking up at you rather coldly. She's always made it clear she thinks you possessed. Theo is much nicer.\n\n> You squawk theo\n\"Awwk!\" you squawk. \"Theo!\"\n\n> Squawk cinderella\n\"Cinde--\"\n\n\"Ssh,\" says Lucinda, glaring at you.\n\n\"And I suppose this is a suitable young woman for -- that is, your father will think her a good mother to his grandchildren?\"\n\n\"I'm sure she comes of good family,\" says the Prince. \"Everything about her spoke of breeding.\"\n\nThe old lady exchanges a glance with Lucinda; two little smiles of quiet smugness, even if they neither of them would like to say why.\n\n\"Very appropriate,\" says the old lady.\n\n> Squawk godmother\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"It's marvelous that you were so drawn to a young lady that you want to marry her even though you can't remember what she looks like,\" remarks the old woman.\n\nThe Prince glances at her sidelong, but she does not meet his eye.\n\n\"She was very pretty.\"\n\n\"As you recall,\" the old lady says.\n\n\"Yes, as I recall,\" he says. \"I wrote down some notes at the end of the evening. Everything I could remember about her, everything I recalled her saying to me. I believe I noted that she was pretty.\"\n\nThe old lady casts about for something to say to that.\n\n> Squawk notes\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"It wasn't a masked ball,\" the old lady says. \"It wasn't even badly lit. Your father did not stint on the candles at all.\"\n\nThe Prince opens his mouth.\n\n\"Oh, dear, dear, I am being odiously prying. I'm so sorry. Perhaps you met this young lady out on the terrace...\" She trails off, suggesting the very faintest disapproval of young ladies who linger on terraces, out of sight of chaperones, to hold conversations with Princes, and never tell their names.\n\n\"I met her in candlelight,\" says the Prince, goaded. \"But she left me at midnight.\"\n\nThe effect of this comment is like the shattering of glass: for a moment you wonder if he dropped the shoe...? No. It is merely that he has admitted, or near-as-admitted, that his chosen bride is one who appeared to him under a glamor, a magical enchantment. A crime punishable by death under his father's law.\n\nEveryone remains very very quiet.\n\n> Squawk pretty\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"Maybe,\" Lucinda suggests, \"she thought it would be wrong to deceive you about what she was, and chose this way to, to make it known.\"\n\nA spark of comprehension comes into Theo's eyes. \"Yes,\" she says. \"She might have thought that-- I mean, I can imagine...\"\n\nThe old lady glares at her. The Prince looks back and forth, confused.\n\n> Squawk old lady\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\nTheodora leans closer to the Prince. \"I can go first, if you want,\" she says. Without any shyness, she lifts her skirt slightly and slips her feet out of her afternoon slippers, wiggling her feet on the soft carpet.\n\n\"So strange,\" she says, giggling. \"Taking off my shoes in the presence of a man!\"\n\n\"I won't tell anyone,\" the Prince assures her.\n\n> You think\nRelated ideas flit through your brain: heirs and a marriage.\n\nThe old lady slips her hands into the pockets of her skirt and leans back.\n\n> You say the heirs\n\"Awk!\" you say. \"Heirs!\"\n\nBlood rushes up into the Prince's cheeks. He doesn't look your way.\n\nThe Prince drops to kneel at Theo's feet. He looks dubiously at the shoe. \"Do you happen to know whether this goes on the left foot, or the right one?\" he asks. \"It's very--\"\n\n\"You can try it on both,\" says Theodora. \"If you want.\"\n\nHe begins to slip it onto her left foot. It won't go, not at all. \"That's certainly not it,\" he says, smiling at her quickly.\n\nShe twitches her skirt, giving him -- you imagine, since you are at the wrong angle -- a passing view of quite a lot more than her ankles. He blinks once but does not allow himself comment.\n\n> You think\nRelated ideas flit through your brain: heirs and a marriage.\n\n\"Right,\" he says. \"Other foot now.\" He slides the shoe on, and it does go considerably further. \"Tell me if I'm hurting you,\" he says.\n\n\"You're not, not at all,\" Theo assures him on a wince.\n\n\"Shoes are worn tight this year,\" puts in the old lady.\n\n> You say the cinderella\n\"Cinde--\"\n\n\"Ssh,\" says Lucinda, glaring at you.\n\nThe Prince stops his work with the shoe. \"I can't -- this must not be --\"\n\n\"Oh, for pity's sake,\" says the old lady. \"You haven't the least idea how women dress. Let me.\" And she kneels at Theodora's feet, shooing the Prince aside, and gives a firm tap to the heel of the shoe; at which point it slides on.\n\n\"Bless me,\" she says.\n\nThe Prince is silent for a moment, looking at the shoe. \"It's you,\" he says. \"It's you, Theodora! Why didn't you tell me?\"\n\nThe old lady turns away, tucking something into her pocket: something glassy and glinting.\n\n> You think\nRelated ideas flit through your brain: heirs and a marriage.\n\n> You say the marriage\n\"marriage!\" you say.\n\nTheodora blows you a little kiss.\n\nThere is an odd silence, as though no one is sure what to do or say now. But it will break momentarily.\n\nThe Prince pulls Theodora toward him. \"You are a woman of unexpected depths,\" he says softly. \"All these years I have known you, seen you here and there, and thought that you were such a simple straightforward creature...\"\n\nShe blinks at him, then says, \"I hope you are not angry.\"\n\nHe laughs, and touches her cheek; and she kisses him.\n\nLucinda bites her lip. \"Well,\" says the old lady briskly, standing. \"How many unexpected turns life brings to us.\" And she pulls the bellpull with unnecessary force.\n\n> You think\nRelated ideas flit through your brain: heirs.\n\n\"It's so fortunate,\" says the old lady. \"That you're of an age -- that is, that the King has been so blessed with an heir who can follow in his footsteps when the time comes, which we all hope will be--\"\n\nRealizing she has led herself into a diplomatic difficulty, she sighs. \"God has truly blessed our little kingdom.\"\n\n> You say the heirs\n\"Awwwk!\" you say. \"Heirs!\"\n\nBlood rushes up into the Prince's cheeks. He doesn't look your way.\n\n\"Now I have heard a rumor,\" says the old lady, pretending that this conversation topic just now occurred to her, rather than being the object of her determined pursuit for the last half hour. \"A rumor that you yourself were planning to wed, in the very near future.\"\n\nTheodora leans closer to the Prince, who tucks his hands more protectively around the slipper.\n\n\"There are a great many rumors,\" he says.\n\n> You say the rumor\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"It's true, you know, that my father threw the ball in the hope that I would-- that is, that it would lead to a greater acquaintance--\" The Prince stops again, rattled, and glares down at the small shoe cradled in his hands. \"I had not been very attentive to ladies in my youth.\"\n\nThe old lady looks very strange at that remark. \"Well-- my dear boy--\" she begins. \"I am glad you feel comfortable-- that is, I will not mention-- if you feel you prefer--\"\n\nHe blinks thick girlish lashes, and you see why she is worried. \"No, I didn't mean that I have a preference for boys, madam,\" he remarks, more at his ease now that she is uncomfortable. \"Only that I have been very much occupied with other concerns, and not...\"\n\nHe gestures. The shoe almost slips off its pillow. He catches it just in time.\n\n> You think\nRelated ideas flit through your brain: heirs, a ball, Love and God.\n\n\"It's true, you know, that my father threw the ball in the hope that I would-- that is, that it would lead to a greater acquaintance--\" The Prince stops again, rattled, and glares down at the small shoe cradled in his hands. \"I had not been very attentive to ladies in my youth.\"\n\nThe old lady looks very strange at that remark. \"Well-- my dear boy--\" she begins. \"I am glad you feel comfortable-- that is, I will not mention-- if you feel you prefer--\"\n\nHe blinks thick girlish lashes, and you see why she is worried. \"No, I didn't mean that I have a preference for boys, madam,\" he remarks, more at his ease now that she is uncomfortable. \"Only that I have been very much occupied with other concerns, and not...\"\n\nHe gestures. The shoe almost slips off its pillow. He catches it just in time.\n\n> You say god\n\"God!\" you exclaim. All eyes turn slowly towards you.\n\n\"Heavens,\" says the Prince mildly. \"A pet with theological leanings. How unusual. You're most fortunate in your domesticated animals, madam.\"\n\nThe old lady gives you a long, narrow-eyed look. Apparently she does not share the Prince's feelings on that topic.\n\n\"I'm sure it's nothing surprising,\" remarks the old lady, \"if you didn't meet anyone at the ball that you felt immediately you could marry. Such short acquaintances... there's much more to an alliance than that. One must feel at ease with the family, for instance.\"\n\nThe Prince opens his mouth, then closes it again. \"I did meet someone,\" he admits. \"But I know nothing of her family. It hardly matters to me, however. It will be the woman who can wear this shoe.\"\n\nThe old woman laughs slightly. \"How beautifully romantic! But -- she didn't give you her name?\"\n\nThe Prince shakes his head, looking embarrassed again.\n\n\"...but you would recognize her, at least,\" the lady says, looking down carefully at her hands folded on her skirt. \"As soon as you saw her face--\"\n\n\"I can't be sure,\" the Prince replies.\n\nThere is a thick silence. The old lady frowns, suggesting very rapid and dangerous thought. Theodora lies back against the pillows, interested in the story and too stupid to realize it has to do with her. Lucinda-- but Lucinda's thoughts are always the hardest to read.\n\n> You think\nRelated ideas flit through your brain: a ball and Cinderella.\n\n\"It wasn't a masked ball,\" the old lady says. \"It wasn't even badly lit. Your father did not stint on the candles at all.\"\n\nThe Prince opens his mouth.\n\n\"Oh, dear, dear, I am being odiously prying. I'm so sorry. Perhaps you met this young lady out on the terrace...\" She trails off, suggesting the very faintest disapproval of young ladies who linger on terraces, out of sight of chaperones, to hold conversations with Princes, and never tell their names.\n\n\"I met her in candlelight,\" says the Prince, goaded. \"But she left me at midnight.\"\n\nThe effect of this comment is like the shattering of glass: for a moment you wonder if he dropped the shoe...? No. It is merely that he has admitted, or near-as-admitted, that his chosen bride is one who appeared to him under a glamor, a magical enchantment. A crime punishable by death under his father's law.\n\nEveryone remains very very quiet.\n\n> You say Cinderella\n\"Awwk!\" you say. \"Cinderella!\"\n\nThere is the crack of a summoning: and there she stands, in the doorway, the secret daughter, the enchantress.\n\n\"May I present my third daughter,\" says the old lady, very dryly.\n\nThe Prince fumbles to his feet.\n\n\"Do you recognize her?\" the old lady asks.\n\n\"I-- we've never met,\" says the Prince, looking puzzled. \"I would have thought, as long as I have known your family, I would have--\"\n\n\"She likes to keep to herself. Except, of course, when she surprises us all, and goes out. Come in, Cinderella,\" says the lady. Lucinda squirms on the sofa.\n\nAnd in she walks, looking a little as though she has just been woken. The color rises in her cheeks when she looks at the Prince.\n\n> You say the Love\n\"Awwwk!\" you say. \"Love!\"\n\nThe Prince and Cinderella both look up at you. Cinderella puts one little finger to her lips, and winks, but you are afraid.\n\n\"I met someone at the ball,\" he says, after a minute. \"I felt for her. I thought to recognize her again by her shoe.\"\n\nCinderella tilts her head and looks at the shoe. \"If that is the only way you can identify her, I think you are better off avoiding such a wife, hm?\"\n\n> You think\nRelated ideas flit through your brain: a marriage.\n\n\"I held the ball to look for someone to-- someone that I might marry,\" the Prince explains to Cinderella.\n\n\"I went looking for the same thing,\" she says, tilting her head, the way you would. \"And did you find what you were looking for?\"\n\n\"I am not sure,\" he says. \"Did you?\"\n\n\"He has not told me yet,\" Cinderella answers.\n\n> You say the marriage\n\"Awk!\" you say. \"The marriage!\"\n\n\"Don't mind our parrot,\" says the lady, smiling at the Prince. \"It has very bad manners.\"\n\nThe Prince glances at you. \"I imagine any manners at all would be above average for a bird.\"\n\nLucinda smirks.\n\nThe Prince frowns at Cinderella. \"I don't recall seeing you at the ball.\"\n\n\"No?\" she asks, with that funny triangular smile of hers. \"We were introduced. Perhaps I did not make an impression.\"\n\nHe frowns, and you can see that he is considering asking her to try the shoe. The silence is sharp. But he realizes -- or does he? -- that her face is wrong.\n\nShe waits.\n\nThe Prince frowns at Cinderella a little longer, then seems to reach some decision.\n\n\"This business of the shoe is nonsense,\" he remarks. \"I've no business to be choosing a wife so arbitrarily.\"\n\n\"And all your heirs would have such small feet,\" Theodora contributes.\n\n\"Yes, that would be-- terrible,\" the Prince says. \"In fact, I think--\" He turns and hurls the slipper against the wall, where it splinters into dozens of sparkling pieces. There is a great sigh in the room, and the old lady actually laughs.\n\nThe Prince's gaze lingers on Cinderella. She looks back at him, her chin tilted up. \"There are things my father need not know. Though I also would not lie to him about anything that I knew for certain.\"\n\n\"A commendable attitude,\" says the old lady briskly. \"And now I am having a brandy. Would anyone else care for a nip?\"\n\n> You say the shoe\n\"Awwwk!\" you say. \"The shoe!\""
    },
    {
        "text": "[Themes: Fantasy, conversation, Cinderella, fairy tale, animal protagonist]\n\n> You look around\nYou give the place a once-over with your right eye. Then you turn your head and look at everything through your left eye. It doesn't make any difference. The farther parts of the room remain out of focus.\n\nThe Prince frowns at Cinderella. \"I don't recall seeing you at the ball.\"\n\n\"No?\" she asks, with that funny triangular smile of hers. \"We were introduced. Perhaps I did not make an impression.\"\n\nHe frowns, and you can see that he is considering asking her to try the shoe. The silence is sharp. But he realizes -- or does he? -- that her face is wrong.\n\nShe waits.\n\nThe Prince frowns at Cinderella a little longer, then seems to reach some decision.\n\n\"This business of the shoe is nonsense,\" he remarks. \"I've no business to be choosing a wife so arbitrarily.\"\n\n\"And all your heirs would have such small feet,\" Theodora contributes.\n\n\"Yes, that would be-- terrible,\" the Prince says. \"In fact, I think--\" He turns and hurls the slipper against the wall, where it splinters into dozens of sparkling pieces. There is a great sigh in the room, and the old lady actually laughs.\n\nThe Prince's gaze lingers on Cinderella. She looks back at him, her chin tilted up. \"There are things my father need not know. Though I also would not lie to him about anything that I knew for certain.\"\n\n\"A commendable attitude,\" says the old lady briskly. \"And now I am having a brandy. Would anyone else care for a nip?\"\n\n> You say yourself\n\"Awwwk!\" you say. \"Pretty bird!\"\n\nCinderella smiles, and comes over to where you are, and pets the top of your head and whispers cossetting things in a language only you understand. Your heart is filled with sweetness.\n\nThe Prince frowns at Cinderella a little longer, then seems to reach some decision.\n\n\"This business of the shoe is nonsense,\" he remarks. \"I've no business to be choosing a wife so arbitrarily.\"\n\n\"And all your heirs would have such small feet,\" Theodora contributes.\n\n\"Yes, that would be-- terrible,\" the Prince says. \"In fact, I think--\" He turns and hurls the slipper against the wall, where it splinters into dozens of sparkling pieces. There is a great sigh in the room, and the old lady actually laughs.\n\nThe Prince's gaze lingers on Cinderella. She looks back at him, her chin tilted up. \"There are things my father need not know. Though I also would not lie to him about anything that I knew for certain.\"\n\n\"A commendable attitude,\" says the old lady briskly. \"And now I am having a brandy. Would anyone else care for a nip?\"\n\n> You say the babies\n\"NEED BABIES,\" you say. \"Heirs to the kingdom, heirs to the kingdom!\"\n\nBlood rushes up into the Prince's cheeks. He doesn't look your way.\n\n\"It's so fortunate,\" says the old lady. \"That you're of an age -- that is, that the King has been so blessed with an heir who can follow in his footsteps when the time comes, which we all hope will be--\"\n\nRealizing she has led herself into a diplomatic difficulty, she sighs. \"God has truly blessed our little kingdom.\"\n\n> You say god\n\"God!\" you exclaim. All eyes turn slowly towards you.\n\n\"Heavens,\" says the Prince mildly. \"A pet with theological leanings. How unusual. You're most fortunate in your domesticated animals, madam.\"\n\nThe old lady gives you a long, narrow-eyed look. Apparently she does not share the Prince's feelings on that topic.\n\n\"Now I have heard a rumor,\" says the old lady, pretending that this conversation topic just now occurred to her, rather than being the object of her determined pursuit for the last half hour. \"A rumor that you yourself were planning to wed, in the very near future.\"\n\nTheodora leans closer to the Prince, who tucks his hands more protectively around the slipper.\n\n\"There are a great many rumors,\" he says.\n\n> You say gay\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"It's true, you know, that my father threw the ball in the hope that I would-- that is, that it would lead to a greater acquaintance--\" The Prince stops again, rattled, and glares down at the small shoe cradled in his hands. \"I had not been very attentive to ladies in my youth.\"\n\nThe old lady looks very strange at that remark. \"Well-- my dear boy--\" she begins. \"I am glad you feel comfortable-- that is, I will not mention-- if you feel you prefer--\"\n\nHe blinks thick girlish lashes, and you see why she is worried. \"No, I didn't mean that I have a preference for boys, madam,\" he remarks, more at his ease now that she is uncomfortable. \"Only that I have been very much occupied with other concerns, and not...\"\n\nHe gestures. The shoe almost slips off its pillow. He catches it just in time.\n\n> You say yourself\n\"Awk!\" you say. \"Nice bird! Adorable bird!\"\n\n\"I suppose it wishes to advocate a greater interest in aviary concerns?\" the Prince asks, looking at you with curiosity.\n\n\"I wouldn't credit it with nearly that much intelligence,\" says the old lady. Witch.\n\n> You think\nRelated ideas flit through your brain: nothing.\n\nThere's an uncomfortable silence as everyone tries to think of a sensible direction for the conversation to take from here.\n\n\"Mm, we were speaking of ball,\" says a Prince.\n\n> You say Cinderella\n\"Awk!\" you say. \"Cinderella!\"\n\nThere is the crack of a summoning: and there she stands, in the doorway, the secret daughter, the enchantress.\n\n\"May I present my third daughter,\" says the old lady, very dryly.\n\nThe Prince fumbles to his feet.\n\n\"Do you recognize her?\" the old lady asks.\n\n\"I-- we've never met,\" says the Prince, looking puzzled. \"I would have thought, as long as I have known your family, I would have--\"\n\n\"She likes to keep to herself. Except, of course, when she surprises us all, and goes out. Come in, Cinderella,\" says the lady. Lucinda squirms on the sofa.\n\nAnd in she walks, looking a little as though she has just been woken. The color rises in her cheeks when she looks at the Prince.\n\n> You say the magic\n\"Awwk!\" you say. \"Magic!\"\n\n\"Magic magic magic,\" you sing. \"Witch, enchantress...\"\n\nCinderella swallows, but the Prince shrugs impatiently. \"I had guessed as much,\" he says to you. And to her: \"I suppose you have looked-- another way than this?\"\n\nShe nods, and takes the glass slipper from his hand.\n\n\"Don't,\" says the old lady, reaching for her wrist; missing. \"They can't-- without proof they won't...\"\n\nCinderella puts it on, turning her ankle to watch the effect. The change sweeps up through her, making her taller, more perfect, almost inhumanly beautiful.\n\nThe Prince drops his hand.\n\n\"You need not have done that,\" he says. \"You could have broken it. Lied to me. Remained hidden.\" His jaw works. \"Didn't you understand that--\"\n\n\"She understands,\" says the old lady, rising from her chair. \"I told her. We all told her. She hoped that you would understand her secret but have the wit not to put her to the test.\" Her fingers dig into the chairback. \"I'm afraid the rest of us -- not being in love with you, you see -- we had less faith in your intuition. We thought perhaps we might distract you with one of the other two. One of the plainly... non-magical ones.\"\n\nThe Prince swallows. He is crying: not very man-like. \"You see I cannot conceal this; it would be treason, now I have seen this witchcraft with my own eyes...\"\n\nCinderella backs away. \"I have no truck with devils,\" she says. \"I was gifted or cursed in my nature, that is all. I cannot make it go away -- the power remains with me.\"\n\n\"It's true,\" says Lucinda. \"We poured holy water on her every day for a year.\"\n\n\"But the law,\" says the Prince.\n\n\"You're an idiot,\" says the old lady. \"You knew what you might find. If you loved her at all, you would not have come looking.\"\n\n> You say the shit\nYou squawk very loudly.\n\n\"If that happens again,\" says the old woman to you, \"we will sell you to the first man with an earring we can find.\"\n\nLucinda's cheeks go pink.\n\nThere is a long thoughtful silence. The Prince frowns at Cinderella. \"I don't recall seeing you at the ball.\"\n\n\"No?\" she asks, with that funny triangular smile of hers. \"We were introduced. Perhaps I did not make an impression.\"\n\nHe frowns, and you can see that he is considering asking her to try the shoe. The silence is sharp. But he realizes -- or does he? -- that her face is wrong.\n\nShe waits.\n\n> You say the sex\nYou stumble over that unfamiliar term and it just comes out a birdlike cry.\n\n\"Would you mind trying this shoe?\" the Prince asks, quite politely.\n\nShe nods, and takes the glass slipper from his hand.\n\n\"Don't,\" says the old lady, reaching for her wrist; missing. \"They can't-- without proof they won't...\"\n\nCinderella puts it on, turning her ankle to watch the effect. The change sweeps up through her, making her taller, more perfect, almost inhumanly beautiful.\n\nThe Prince drops his hand.\n\n\"You need not have done that,\" he says. \"You could have broken it. Lied to me. Remained hidden.\" His jaw works. \"Didn't you understand that--\"\n\n\"She understands,\" says the old lady, rising from her chair. \"I told her. We all told her. She hoped that you would understand her secret but have the wit not to put her to the test.\" Her fingers dig into the chairback. \"I'm afraid the rest of us -- not being in love with you, you see -- we had less faith in your intuition. We thought perhaps we might distract you with one of the other two. One of the plainly... non-magical ones.\"\n\nThe Prince swallows. He is crying: not very man-like. \"You see I cannot conceal this; it would be treason, now I have seen this witchcraft with my own eyes...\"\n\nCinderella backs away. \"I have no truck with devils,\" she says. \"I was gifted or cursed in my nature, that is all. I cannot make it go away -- the power remains with me.\"\n\n\"It's true,\" says Lucinda. \"We poured holy water on her every day for a year.\"\n\n\"But the law,\" says the Prince.\n\n\"You're an idiot,\" says the old lady. \"You knew what you might find. If you loved her at all, you would not have come looking.\"\n\n> You say fuck\n\"Right,\" says the old lady. And she rings for a servant to remove you from the room."
    },
    {
        "text": "[Themes: geocaching, gender-neutral protagonist]\n\nThe coordinates you have are incomplete. They only narrow it down to this general area. And, although it's not a big park, the thing you're looking for is very small. Probably.\n\nBetween the train tracks and the softball field there's barely any room for a trail, and the bike rack here is almost lost in the overgrowth. Presumably somebody will come by at some point and prune the bushes, but today you're the only one around.\n\nThe trail leads south from here.\n\nYou finish locking up your bike and shove the key in your pocket.\n\n[Author's Note: It would be nice to know what you're looking for.]\n\n> About yourself\nYour \"hiking gear\" is indistinguishable from what you wear to class every day: jacket, T-shirt, whatever. Your shoes and jeans are basically clean.\n\n> You look at the paper\nScrawled in blue ink:\n\n41.664, -91.562\nblue box\n\nDuring the couple of days that you've been wondering about the origin of these clues, it has been difficult for you to distinguish your well-reasoned guesses from your hopeless delusions.\n\n> You examine rack\nThe bike rack is a frame of thick metal bars, and your bike is attached to it fairly securely.\n\n> You examine the bike\nYours is not the most reliable bicycle in the world, but it's still more trustworthy than, say, a car. At least when your bike betrays you, it's fairly up-front about it.\n\n> You look at the lock\nIf you think about it, you could use a bike lock to lock up almost anything. But, now that you think about it, you can't think of anything else you need to lock up.\n\n> X TRAIN TRACKS\n\nThe tracks run along the crest of the hill, north to south, from who-knows-where to who-knows-where.\n\n> You examine trail\nThis stretch of the trail is still cheap asphalt, and there are a few loose chunks and potholes. Other trails in other parks are maintained better.\n\n> Xyzzy\nFrom far away comes a sound like thunder.\n\n> You look at the gps\nYou can't see any such thing.\n\n> X SOFTBALL FIELD\n\nNobody's playing any softball today. It's too wet, or too cold.\n\n> You go to the south\nThe bike trail turns here, giving as wide a berth as possible to both the softball field and the woods. Cradled in the curve of the asphalt is a pool of rainwater.\n\nOn the other side of the trail, a low balance beam and an accompanying informative sign have been pounded into the ground, both encrusted with lichen. Behind them rise the woods to the south, as infinitely dense and expansive as they can manage given the limited space available.\n\nThe path leads north and east.\n\n> You look at the sign\nThe sign describes some exercises for the athletically inclined to try out using the balance beam. You can imagine the Parks Department designing a dozen of these Fitness Stations, erecting this one, and then running out of funding. Or running out of enthusiasm.\n\nLooking around at the back and the base of the sign doesn't yield any clues.\n\n> You look at the beam\nIt's still kind of damp, but you could probably sit on it. You've sat on it before.\n\n> You sit on the beam\nYou take a seat and look up into the sky above the softball field.\n\n[...]\nThe bursts of lightning would hang in the air for unnatural lengths of time, so that you could make them out in great detail\u2014but when the thunder finally came, it was very quiet.\n\nThis was two years ago. Maybe you were talking about something. No, you remember you were sitting in silence, watching the storm pass as if it were a parade.\n\nBut then she leaned over so that her head was on your right shoulder, which was unexpected, so you thought What do I do now? and\nthen you put your right arm around her. And she said \"Thank you,\" which at the time did not strike you as odd.\n\nEventually the rain was not falling far away: it was falling on the softball field, and then on the two of you, so you ran off.\n\n[...]\nYou stand up.\n\n> You think\nWhat a good idea.\n\n> You examine the pool\nStanding water like this pool here is a vector for mosquitos. But it's probably too early for mosquitos anyway.\n\n> You jump in the puddle\nI only understood you as far as wanting to jump.\n\n> LOOK INTO POOL\n\nYou find nothing of interest.\n\n> You get in POOL\nThat seems unnecessary.\n\n> TOUCH POOL\n\nThe pool of rainwater feels pretty normal.\n\n> Drink water\nThat would be a bad idea.\n\n> You examine the lichen\nThe lichen is growing mostly around the bases of the beam and the sign. It gets by where it can.\n\n> You eat the lichen\n(first taking the lichen)\nEven if you could separate the lichen from the beams, you still wouldn't have much of a use for it.\n\n> Go east\nHere is where the curve of the outfield fence gets close to a small rise in the bike path. The incline is such that the asphalt is a little drier here than it is to the east or west.\n\nA lonely drinking fountain stands just off the path.\n\n> You look at the fountain\nThe drinking fountain seems to be of an older vintage than the other park amenities. Maybe it's from the seventies.\n\nApparently it's activated by turning the knob on the side.\n\n> You examine the knob\nIt's made of scuffed stainless steel.\n\n> Drink water\nYou take a sip from the fountain. The water is lukewarm, and it tastes like a piece of aluminum foil. Somehow you swallow it down.\n\nThe drinking fountain peters out and stops.\n\n> You examine the fence\nThe fence curves from over there in what you guess is left field to way over there in what would have to be right field. The nearest fence post is missing its cap thing.\n\n> You look at the hole\n(the bike trail)\nThis stretch of the trail is still cheap asphalt, and there are a few loose chunks and potholes. Other trails in other parks are maintained better.\n\n> You look in the circular hole\nIt's not a blue box, but it does seem like a good place to hide something.\n\nUnfortunately, there's nothing inside.\n\n> You climb the fence\nThe softball field strikes you as a lousy place to continue your search.\n\nAlthough, if you did climb over the fence and head north, what would you find? Past the field there's the mall, and then the Interstate, and the hilly country where you fell off your bike that one time.\n\nAnd from the ultimate North come the cold winds that bring snow and make life miserable.\n\n> You look at the field\nNobody's playing any softball today. It's too wet, or too cold."
    },
    {
        "text": "[Themes: gender-neutral protagonist]\n\n> You look at your surroundings\nHere is where the curve of the outfield fence gets close to a small rise in the bike path. The incline is such that the asphalt is a little drier here than it is to the east or west.\n\nA lonely drinking fountain stands just off the path.\n\n> You go to the east\nThe bike trail turns from west to south here, and outside the curve is a cozy bench, which for whatever reason sits facing east, toward the highway.\n\nNext to the bench is a chipped blue garbage can.\n\n> Search can\nThe garbage can is empty.\n\n> You examine the bench\nDowntown, the benches all have big uncomfortable armrests sticking out of them to discourage people from sleeping on them, but this one is just a plain old bench. There's a panel set into the back with a dedication.\n\n> You read the panel\nShe sounds nice.\n\n> About yourself\nYour \"hiking gear\" is indistinguishable from what you wear to class every day: jacket, T-shirt, whatever. Your shoes and jeans are basically clean.\n\n> SIT ON BENCH\n\nYou take a seat on the bench and stare down at your feet.\n\n[...]\n\"Hey, so, we haven't talked in a while, and I was wondering what was going on with you. I mean, there was also something else I wanted to talk to you about, a specific issue, which is causing me some stress I guess. I'm walking in a straight line right now, and, unless something happens, I have to keep on walking in a straight line. This is how I'm dealing with my stress. But I thought maybe if I had a chance to talk to you then I could get some of this specific issue worked out. Sorry to bother you. Please call me back.\"\n\nAnd your legs kept on walking, in a straight line, up an unfamiliar street, with your head down, with your phone clenched in your fist. Time seemed to pass.\n\nThen you heard a clap of thunder, and it occurred to you that you should turn around and get home, but then it occurred to you that it was necessary to continue walking in a straight line.\n\nThere was a long flash of lightning, and as you finally looked up you realized you were in the cemetery, surrounded by gravestones, and up ahead was the statue of the Black Angel, perhaps facing you, perhaps with its back to you. Now it was dark.\n\nYour phone buzzed. She wasn't calling you back; she had sent a text message. And the text of the message was: \"?\"\n\n[...]\nYou blink a couple times and stand up.\n\n> You look at highway\nHerds of cars zoom left and right, and what's on the other side? East of here is just bars, and then frat houses, and on the very easternmost edge of your understanding of this city is a cemetery.\n\nBut mostly the East is full of huge crowds of people, who are unbearable.\n\n> You read the paper\nScrawled in blue ink:\n\n41.664, -91.562\nblue box\n\nDuring the couple of days that you've been wondering about the origin of these clues, it has been difficult for you to distinguish your well-reasoned guesses from your hopeless delusions.\n\n> Plugh\nNope.\n\n> Go south\nIt's theoretically possible to get across the highway here, but you have yet to see it done. The white lines of the crosswalk are more like a blueprint for an imaginary bridge.\n\nThe bike trail supposedly continues on the other side of the highway. Realistically, though, you can follow it north, or take a narrow, unpaved track between tufts of grass to the south.\n\n> You look at the grass\nThe grass still looks pretty damp.\n\n> You look at the crosswalk\nThe crosswalk consists of a button that reads \"PUSH FOR WALK SIGNAL\", a pair of white lines across the highway, and a signal at the other end that will always, always say \"DON'T WALK\".\n\n> You look at the signal\nThe amber letters of the signal across the highway say \"DON'T WALK\".\n\n> You hit the button\nDon't be brutish.\n\nAn incredibly loud motorcycle speeds by, and you lose your train of thought for a few seconds."
    },
    {
        "text": "> Look around\nIt's theoretically possible to get across the highway here, but you have yet to see it done. The white lines of the crosswalk are more like a blueprint for an imaginary bridge.\n\nThe bike trail supposedly continues on the other side of the highway. Realistically, though, you can follow it north, or take a narrow, unpaved track between tufts of grass to the south.\n\nAn unseen crow emits a series of angry caws.\n\n> Go south\nYou find yourself in a low, damp area, partially hidden from the road above. A stream runs out of the woods here and noisily disappears into a grate under the highway.\n\nYou could scramble up north, to the bike path, or you could walk along the creek to the west.\n\nAn empty potato chip bag is stuck up against the grate.\n\n> You examine the bag\nThe force of the water is pushing it up against the grate, but it's too big to squeeze through the holes. It's trapped.\n\n> You examine the grate\nA metal frame blocks off the tunnel under the highway so that only the stream can get through. The words \"CITY WATER\" are embossed.\n\nCurrently the flow of the stream is impeded somewhat by the empty potato chip bag that's pressed up against the grate.\n\n> You get the bag\nYou fish out the bag and unclog the stream, which gurgles gratefully.\n\n> You tell the stream you're welcome\nYou can only do that to something animate.\n\n> You open the grate\nThe grate doesn't have any hinges. It's a permanent installation.\n\n> You examine the bag\nThis bag is a damp, greasy mess, and to a certain extent you regret ever having pulled it out of the stream.\n\n> LOOK INSIDE BAG\n\nThere's nothing in there but the tiniest soggy crumbs.\n\n> Go north\nIt's theoretically possible to get across the highway here, but you have yet to see it done. The white lines of the crosswalk are more like a blueprint for an imaginary bridge.\n\nThe bike trail supposedly continues on the other side of the highway. Realistically, though, you can follow it north, or take a narrow, unpaved track between tufts of grass to the south.\n\n> You go to the north\nThe bike trail turns from west to south here, and outside the curve is a cozy bench, which for whatever reason sits facing east, toward the highway.\n\nNext to the bench is a chipped blue garbage can.\n\n> You put the bag in the trash\nYou stuff the bag into the garbage, which is where it belongs.\n\n> Go south\nYou find yourself in a low, damp area, partially hidden from the road above. The stream runs out of the woods here and noisily disappears into a grate under the highway.\n\nYou could scramble up north, to the bike path, or you could walk along the creek to the west.\n\n> You go west\nThis clearing is bounded by a fallen log on the west side and a boulder on the other. The ground around the rock is littered with shards of glass; even with shoes on, you watch your steps carefully.\n\nThe path along the stream runs east and west, but there might also be a way north, through the vegetation that covers the hill.\n\n> You get the glass\nThere are too many tiny pieces to try and clean up, even if you had gloves. The most you can do is try and kick them under the boulder, where they're less likely to get stepped on.\n\nAs you're kicking shards around, you notice one unbroken bottle.\n\nYou can hear some small mammals scratching around up in the trees.\n\n> You get the bottle\nTaken.\n\n> You examine bottle\nThe scratched blue glass is basically opaque, and the bottle is empty, but it feels heavier than it should. Apparently \"Schmetz\" is the name of the liquid that used to be inside of this. The labeling is not very specific about what \"Schmetz\" is."
    },
    {
        "text": "> You look in the bottle\nThe blue bottle is empty.\n\n> You smash bottle\nYour blows are ineffectual. It's a sturdy bottle.\n\n> You listen\nThe creek burbles peacefully.\n\n> You look at the log\nYou can imagine the scene easily: Drunk kids take a seat on the log; when their bottles are empty, they toss them at the boulder. Drunk kids don't care about getting their five cent deposit back.\n\n> You look at the boulder\nIt's taller than you are, made from rough speckled black and white and grey stone, cut out of a mountain or something, back in the days of the caveman.\n\n> You climb the boulder\nYou could probably manage that. Sure.\n\nYou jump up the lower side, get some traction with your shoes, and scramble up to the top of the boulder. You cross your legs and look out across the woods from your perch. The view isn't appreciably different.\n\nBut next to you, spraypainted in green on the rock, is a message:\nHEY.\n\nSo you say \"hey\" back, and then you slide back down.\n\n> You sit on the log\nYou sit on the log and stare at the side of the boulder.\n\n[...]\nThen the song was over, and you could hear each other talk for a few seconds.\n\n\"Why aren't you drinking?\" she asked. A satisfactory answer did not spring to mind.\n\n\"Do you wanna dance?\"\n\n\"No.\"\n\nShe rolled her eyes. \"Well, you should try something new.\nIt's good to get out of your comfort zone.\"\n\n\"I should do things that I don't want to do, just because I don't want to do them?\" you tried to ask, but the music started up again.\n\n\"Well I'm gonna dance. Watch my drink!\" she shouted, and she ran off, so you sat and stared at her glass for a while.\n\n[...]\n\nYou allow yourself a heavy sigh before standing up.\n\n> You sit on the boulder\nIt's not that you don't have the energy to climb the boulder again; it's just that it probably wouldn't be worth the effort.\n\n> Hey\nHey yourself."
    },
    {
        "text": "[Themes: gender-neutral protagonist]\n\n> You describe your surroundings\nThis clearing is bounded by a fallen log on the west side and a boulder on the other. The ground around the rock is littered with shards of glass; even with shoes on, you watch your steps carefully.\n\nThe path along the stream runs east and west, but there might also be a way north, through the vegetation that covers the hill.\n\n> You look at the vegetation\nWho knows what kind of bushes these are. They're thick on the ground and impossible to walk through.\n\n> You look at the stream\nThe stream is running swiftly and noisily right now, on account of last night's big storm. Most days it's probably not much of a stream at all.\n\n> You go north\nOh, this is creepy.\n\nThe bushes thin out near the top of the hill, and in the center of the clearing is a small tent.\n\nA large branch, apparently blown down by the storm, leans against the tent flap.\n\nReflecting on this detail, you conclude that this tent must be\u2014is definitely, probably, unoccupied.\n\n> You look at the branch\nIt's a big leafy one, obviously freshly snapped off its tree. Nobody could have gotten in or out since last night without moving it.\n\n> You get the branch\nYou pull the branch off of the tent and, in an effort to command some control over your weird situation, toss it into the depths of the woods.\n\n> Shout\nScreaming into the outdoors is not as cathartic as you'd hoped. You feel vaguely embarrassed.\n\nA bird is singing an extremely repetitive song: \"Seeee-saw. Seeee-saw. Seeee-saw\". Over and over.\n\n> You open the tent\nYou pull open the tent flap, but then you let it fall again. For a second, everything seems very quiet.\n\nThe faint sound of a police siren reaches your ears from across town somewhere.\n\n> You enter the tent\nWith extreme gingerness, you unzip the flap, poke your head in, and enter the tent.\n\nA single beam of sunlight cuts through a hole in the western wall, illuminating a shambolic mass of books, notepads, and newspapers strewn across the floor. Everything is stained and crumpled by moisture to some degree.\n\nIn the center of it all is a low stool.\n\n> You sit on the stool\nYou hunch down on the stool, and the sun gets in your eyes. Why didn't you bring your sunglasses?\n\nActually, this reminds you of something...\n\n[...]\n\n> You sit on the stool\nOr not. You get off the stool.\n\n> You get the books\nIt's creepy enough that you're inside of this tent at all. Physically messing with this person's stuff would be too gross."
    },
    {
        "text": "> Describe the surroundings\nThe books look like mostly poetry, written by guys with names like \"Blaise Fontanelle\". One is lying open to a page with a stanza circled:\n\nAy, que lo que soy siga existiendo y cesando de existir,\ny que mi obediencia se ordene con tales condiciones de\nhierro...\n\nAll right, then.\n\nA single beam of sunlight cuts through a hole in the western wall, illuminating a shambolic mass of books, notepads, and newspapers strewn across the floor. Everything is stained and crumpled by moisture to some degree.\n\nYou can see a stool here.\n\n> X NOTEPADS\n\nLet's see. Here's a really lousy drawing of a squirrel, here's a diagram of a triangle with some calculations next to it, and over here is an actual note, written in plain English.\n\n> You look at the newspapers\nThey're local papers, going back a few months, based on what you can see without touching anything. Whoever owns this tent likes to do crosswords, but not Sudoku. Hmm.\n\n> You examine the note\nHey, that's a Stephen Malkmus song!\n\n> You examine the triangle\nApparently it was necessary to prove some fact about the dimensions of this triangle\u2014for a while, and then it wasn't so important anymore, since the author didn't finish the calculations.\n\n> You examine the squirrel\nIt's probably supposed to be a squirrel. Whatever it is, it isn't happy."
    },
    {
        "text": "> You look around\nA single beam of sunlight cuts through a hole in the western wall, illuminating a shambolic mass of books, notepads, and newspapers strewn across the floor. Everything is stained and crumpled by moisture to some degree.\n\nYou can see a stool here.\n\n> You get the stool\nBut that's someone else's stool.\n\n> You put the bottle on stool\nYou put the blue bottle on the stool.\n\n> You take the bottle\nTaken.\n\n> Go outside\nThe bushes thin out near the top of the hill, and in the center of the clearing is a small tent.\n\n> Go south\nThis clearing is bounded by a fallen log on the west side and a boulder on the other. The ground around the rock is littered with shards of glass; even with shoes on, you watch your steps carefully.\n\nThe path along the stream runs east and west, but there's also a way north, through the vegetation that covers the hill.\n\n> Go west\nThe stream runs out of a culvert here, from beneath the hill and the train tracks to the west. The runoff from last night's storm flows swiftly and musically.\n\nThe ways out of the woods are north and east.\n\nA cricket hops out of your way and disappears.\n\n> You examine the culvert\nThe circular tunnel is wide enough to handle the worst floods. You could probably walk through fairly comfortably.\n\n> Go west\nYou look ahead with a scrunched-up neck and fail to keep your shoes out of the water. The curved floor is harder to walk on than you would have thought.\n\nThe tunnel leads east and west.\n\n> Yell\nYour screams echo up and down the tunnel, but then you're alone again.\n\n> Hey\nHey yourself.\n\n> You go west\nYou make your uncomfortable way toward the light of day.\n\nSunlight finds you at the bottom of a rocky ditch. The stream flows noisily between the rocks, past your feet, and into the culvert to the east.\n\nMounted on a post stuck between the rocks is a small blue birdhouse.\n\n> You examine birdhouse\nYou pull yourself out of the stream and approach the birdhouse.\n\nOn closer inspection, it can't really be a birdhouse. The circular entryway is blocked off on the inside; there's no way for any birds to get in.\n\nBased on the weathering of the paint, it might have been put up here a year or two ago, if you had to guess. A word is written in black magic marker across the back: WRENLAW. The plank on top is attached\nwith a hinge.\n\nThe circular entryway is blocked off on the inside; there's no way for any birds to get in.\n\nBased on the weathering of the paint, it might have been put up here a year or two ago, if you had to guess. A word is written in black magic marker across the back: WRENLAW. The plank on top is attached\nwith a hinge.\n\n> You open it\nYou flip open the \"lid\" of the birdhouse, revealing a tiny screwdriver.\n\n> You get the screwdriver\nAs you lift the screwdriver into the sunlight, your mind lurches with something like recognition\u2014but the feeling passes, and you can't remember what it reminded you of.\n\n> You examine the screwdriver\nIt's thinner than a pen. The handle is blue; the Philips-head bit at the end is so tiny and delicate, it almost isn't there.\n\nYou have no idea why anyone would put this in a fake birdhouse.\n\n> You get the house\nThe birdhouse is nailed to the post, and the post is stuck irrevocably in the rocks.\n\n> You look in the house\nThe imitation birdhouse is empty.\n\n> Close house\nYou close the imitation birdhouse.\n\n> You get the water\nThat's hardly portable.\n\n> You put the water in the bottle\nFirst you take the stream.\n\nThat's hardly portable.\n\n> You put the screwdriver in the bottle\nIf you ever got it in, would you be able to get it out?\n\n> No\nThat was a rhetorical question.\n\n> You examine bottle\nThe scratched blue glass is basically opaque, and the bottle is empty, but it feels heavier than it should. Apparently \"Schmetz\" is the name of the liquid that used to be inside of this. The labeling is not very specific about what \"Schmetz\" is.\n\n> Drink bottle\nThere might be a drop left. You lean back, invert the bottle over your mouth, and start shaking.\n\nA single drop falls out and on to your tongue. It burns."
    },
    {
        "text": "[Themes: geocaching]\n\n> Look around\nSunlight finds you at the bottom of a rocky ditch. The stream flows noisily between the rocks, past your feet, and into the culvert to the east.\n\nMounted on a post stuck between the rocks is a imitation birdhouse.\n\n> Go east\nYou stagger eagerly toward familiar ground.\n\nThe stream runs out of a culvert here, from beneath the hill and the train tracks to the west. The runoff from last night's storm flows swiftly and musically.\n\nThe ways out of the woods are north and east.\n\nYour mouth still tastes nasty.\n\n> You go to the north\nThis may have been a bad idea.\n\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\nSensing your approach, a sparrow chirps a warning and flies away.\n\nHalf-sunk in the mire is a styrofoam cooler.\n\n> You examine cooler\nThe styrofoam walls are unnecessarily thick. Probably this was used to transport some live bait, or some beers, or first one and then the other.\n\n> You open the cooler\nIt's already open. You have no idea where the lid is.\n\n> You look in the cooler\nThe styrofoam cooler is empty.\n\n> You get cooler\nThe mud relinquishes its prize with a long, sickening squelch."
    },
    {
        "text": "> Look around\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\n> X ME\n\nYour \"hiking gear\" is indistinguishable from what you wear to class every day: jacket, T-shirt, whatever. Your shoes and jeans are wet, muddy, and covered in cockleburs.\n\n> You examine the sign\nThe sign describes some exercises for the athletically inclined to try out using the balance beam. You can imagine the Parks Department designing a dozen of these Fitness Stations, erecting this one, and then running out of funding. Or running out of enthusiasm.\n\n> Go north\nBetween the train tracks and the softball field there's barely any room for a trail, and the bike rack here is almost lost in the overgrowth. Presumably somebody will come by at some point and prune the bushes, but today you're the only one around.\n\nThe trail leads south from here.\n\nYour bike is still here, locked up to the bike rack.\n\n> Go south\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\n> You go to the west\nIt occurs to you that you don't know for sure what's on the other side of the railroad tracks. Now is probably a good time to find out...\n\nYou stand on the train tracks and look down the hill. The sun is setting over a huge green golf course. There are no golfers; the fairways are spread out just for you, to lead you to whatever comes next.\n\nYou have no idea what's beyond this golf course. The West is a realm of potential because in the West is the freedom of the unknown, the undecided. You can be anyone, because nobody there knows who you are.\n\nYou could do it right now. You could walk down this hill and off of the map, into something brand new.\n\n> You look at the tracks\nBut not today. You have other things to take care of today.\n\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\n> You examine the cockleburs\nA bunch of those horrible barbed seed things are stuck to your jeans and your shoelaces. You'll have to pull them off when you get home.\n\n> Go east\nKeeping close to the eastern hill, you're able to grab onto some branches to keep your balance, but the bushes have grown too close together for you to climb up from here.\n\n> Go south\nThe bushes at the edge of the woods here are too thick to go tromping through.\n\n> You go south\nThe stream runs out of a culvert here, from beneath the hill and the train tracks to the west. The runoff from last night's storm flows swiftly and musically.\n\nThe ways out of the woods are north and east.\n\n> Go east\nThis clearing is bounded by a fallen log on the west side and a boulder on the other. The ground around the rock is littered with shards of glass; even with shoes on, you watch your steps carefully.\n\nThe path along the stream runs east and west, but there's also a way north, through the vegetation that covers the hill.\n\n> You go to the north\nThe bushes thin out near the top of the hill, and in the center of the clearing is a small tent.\n\nA squirrel sees you and bolts.\n\n> You go inside\nA single beam of sunlight cuts through a hole in the western wall, illuminating a shambolic mass of books, notepads, and newspapers strewn across the floor. Everything is stained and crumpled by moisture to some degree.\n\nYou can see a stool here.\n\n> You look at the stool\nIt doesn't look like anybody's ideal stool, but it's probably more comfortable than the floor.\n\n> SIT ON STOOL\n\nYou sit on the stool again, and the sun gets in your eyes again.\n\nOh! Now you remember!\n\n[...]\nYou picked up your sunglasses, and the right lens fell out. Jessica gasped.\n\n\"Is it broken?\" She was concerned, but she didn't lean over to look. You were able to notice this while appearing to give all your attention to your sunglasses.\n\n\"No, the screw is just loose.\" You sighed. \"I don't think I have a screwdriver for tiny sunglasses screws, is the thing.\"\n\nThe two of you contemplated this state of affairs in silence for a moment.\n\nThen Jessica spoke up. \"I wish I had a tiny screwdriver I could give you,\" she said (and she seemed much more broken up about it than you were), \"but I don't.\"\n\nYou grinned. \"What, are you trying to make this a metaphor for our relationship?\"\n\nShe smiled, and hugged you for the second-to-last time, and said, \"Sure. If you want.\"\n\n> Author\nA NOTE FROM THE AUTHOR:\n\nIn the interest of saving you some time, I'd like to let you know that the \"geocache\" described in this game does not exist, as far as I know.\n\nThank you for playing Wrenlaw.\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or read a note from the AUTHOR?\n\n> Go south\nThis clearing is bounded by a fallen log on the west side and a boulder on the other. The ground around the rock is littered with shards of glass; even with shoes on, you watch your steps carefully.\n\nThe path along the stream runs east and west, but there's also a way north, through the vegetation that covers the hill.\n\nSensing your approach, a sparrow chirps a warning and flies away.\n\n> Go west\nThe stream runs out of a culvert here, from beneath the hill and the train tracks to the west. The runoff from last night's storm flows swiftly and musically.\n\nThe ways out of the woods are north and east.\n\nA cricket hops out of your way and disappears.\n\n> Go north\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\nA squirrel sees you and bolts.\n\n> Go west\nNo, not today. Someday. Eventually. Definitely.\n\n> Unlock bike\n(with the bike key)\nAre you ready to take off, then? [y/n]\n\n> Y.\nYou unlock your bike and hop on.\n\nThis is all really strange. Whose tent was that? Why did they abandon it? Why did you go inside?\n\nAt least the mystery of the blue box is solved, kind of. And now you have a tiny screwdriver, which is something you didn't have before.\n\nYou squint into the sun, and then you turn your bike down gentle hills toward home.\n\n> You go to the south\nThis may have been a bad idea.\n\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\nHalf-sunk in the mire is a styrofoam cooler.\n\n> You go to the west\nIt occurs to you that you don't know for sure what's on the other side of the railroad tracks. Now is probably a good time to find out...\n\nYou stand on the train tracks and look down the hill. The sun is setting over a huge green golf course. There are no golfers; the fairways are spread out just for you, to lead you to whatever comes next.\n\nYou have no idea what's beyond this golf course. The West is a realm of potential because in the West is the freedom of the unknown, the undecided. You can be anyone, because nobody there knows who you are.\n\nYou could do it right now. You could walk down this hill and off of the map, into something brand new.\n\n> Go west\nBut not today. You have other things to take care of today.\n\nWhat seemed at first to be a clear path has revealed itself as a clinging morass. The mud squeaks angrily every time you lift a foot; when you step down, it rises up to your ankles. Occasionally it slips beneath you, and you're forced to swing your arms in the air like an idiot to avoid falling on your face in the muck.\n\nThis viscous pit sits between two hills: one to the east, too thick with bushes to offer any purchase, and one to the west, which you happen to know has a railroad track running across the top. But the only clear ways out are north and south.\n\nHalf-sunk in the mire is a styrofoam cooler.\n\n> You go east\nAccording to the signal across the road, it's not safe to cross now. Based on the speed of traffic, you have to agree.\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> You wait\nTime passes.\n\n> Go east\nAccording to the signal across the road, it's not safe to cross now. Based on the speed of traffic, you have to agree.\n\nAn incredibly loud motorcycle speeds by, and you lose your train of thought for a few seconds.\n\n> You jump\nYou jump up and down a couple times. Get the blood flowing."
    },
    {
        "text": "[Themes: Slice of life, funny, humor, constrained writing]\n\n> Enter\nBut the damn thing's locked.\n\n> You open the thing\nWhich thing do you mean, the locking / unlocking thing, the manual insulating things, the short vegetable thing, or yourself?\n\n> Locking\nI don't know how to open the locking / unlocking thing.\n\n> You examine the structural thing\nWithin this wooden structural sheltering thing you know there to be essential things, including soft horizontal things to sleep upon, warming things and (most importantly) potable alcoholic things. Yet it is locked against you.\n\nAround its lower structural thing, interesting short vegetable things grow.\n\n> You check your inventory\nYou have a locking / unlocking thing and manual insulating things.\n\n> Unlock thing with locking thing\nWhich thing do you mean, the locking / unlocking thing, the manual insulating things, the rustic wooden structural sheltering thing, the short vegetable thing, or yourself?"
    },
    {
        "text": "> You look around\nAll around you, mountainous unimplemented things rise up into the lofty heavenly unimplemented thing. Beneath your pedal things, the well-worn linear pedestrian unimplemented thing descends into the lower geographically interstitial unimplemented thing. Nestled among the rocky unimplemented things, a notably implemented rustic wooden structural sheltering thing awaits. It looks promisingly warm.\n\n> You take the vegetable thing\nYou pluck a relatively small thing of the vegetable things. You now have a plucked herbal thing!\n\n> You examine hoary\nA furry, cute yet dastardly sciuromorphic thing, which has lately swallowed your prized thing by which locked things are rendered unlocked (and vice versa). It is notably hoary.\n\n> You check your inventory\nYou have manual insulating things (being worn) and a plucked herbal thing.\n\n> You give the herbal thing to the hoary thing\nYou seize the hoary sciuromorphic thing and force the herbal things into its oral thing! You hold its struggling furry corporeal thing against your corporeal thing and stroke its tubular peristaltic thing until it swallows. As you release it, it viciously bites your manual thing! Ow!\n\nThe hoary sciuromorphic thing trills nauseously.\n\n> You examine hoary thing\nA furry, cute yet dastardly sciuromorphic thing, which has lately swallowed your prized thing by which locked things are rendered unlocked (and vice versa). It is notably hoary.\n\nThe hoary sciuromorphic thing looks a little queasy.\n\n> You wait for a while\nTime passes...\n\nEww! The hoary sciuromorphic thing violently defecates! Your locking / unlocking thing is returned, albeit somewhat icky!\n\n> You take the unlocking thing\nYou carefully retrieve the locking / unlocking thing, and thoughtfully wipe your manual insulating things on the hoary sciumorphic thing afterwards.\n\n> You unlock the shelter thing with unlocking thing\nOnce again you insert the locking / unlocking thing into the thing which was made to accept it, and carefully unlock it. The flat wooden thing sealing the thing by which you may enter swings aside, its articulated metal things creaking!\n\n> Enter\nAn emotionally satisfying thing swells in your metaphysical personal thing as you stride through the thing for entering or exiting the rustic structural thing. You light and stoke the heating thing, crack open a glass thing containing alcholic things, kick off your pedal insulating things, collapse onto the horizontal soft thing and rest.\n\nAfter a relaxing slumbrous thing, you awake refreshed and warm, and continue merrily on your ambulatory thing through the mountainous things. Hooray, you win the interactive thing!\n\n> You eat the hoary thing\nThe hoary sciuromorphic thing doesn't appear appetizing.\n\nThe hoary sciuromorphic thing looks a little queasy.\n\n> You wait for a while\nTime passes...\n\nEww! The hoary sciuromorphic thing violently defecates! Your locking / unlocking thing is returned, albeit somewhat icky!\n\n> You take the unlocking thing\nBlech! You got hoary sciuromorphic thing exretatory thing all over your manual things! But at least you got your locking / unlocking thing back.\n\n> You enter\nAn emotionally satisfying thing swells in your metaphysical personal thing as you stride through the thing for entering or exiting the rustic structural thing. You light and stoke the heating thing, crack open a glass thing containing alcholic things, kick off your pedal insulating things, collapse onto the horizontal soft thing and rest.\n\nYour osseous, somewhat stinky organic things are discovered many chronological things later. Infected sciuromorphic dentally piercing things work fast."
    },
    {
        "text": "[Themes: Zorkian, Humor, grue]\n\nAlexander Pope once said, \"A little learning is a dangerous thing.\" I don't know what he meant by that. I've always thought learning was a good thing. Without it, you end up in some boring job that you hate. Maybe he was one of those Communists who wanted to give opium to the masses so they wouldn't notice they were bored and there was nothing to watch on TV. No, wait a minute... the Communists were against the Pope. Well, whatever.\n\nIt's time to go to work.\n\nBedroom, on the bed\nI'm lying in bed. It's warm and cosy here. In fact, this would be\na really nice place to stay if there weren't an alarm clock going off across the room.\n\n> You examine the alarm clock\nWithout this, I don't know how I'd ever get up in the morning. It's currently buzzing loudly.\n\nThe alarm clock is buzzing loudly.\n\n> About yourself\n\"Beauty is in the eye of the beholder.\" Well I think I look pretty good.\n\nThe alarm clock is buzzing loudly.\n\n> You check your inventory\nI am empty-handed.\n\nThe alarm clock is buzzing loudly.\n\n> You get up\nOkay, I'm no longer on the bed.\n\nThe alarm clock is buzzing loudly.\n\n> You turn off the alarm clock\nI turn off the alarm clock, and the buzzing stops. \"The rest is silence.\" Shakespeare.\n\n> You look\nThis is my bedroom - a great place to come back to at the end of\nthe day. A doorway leads west into the hallway. The dresser stands against one wall, and the bed on the opposite side. There's also a closet, an alarm clock on top of the dresser, a large pile of dirty clothes on the floor (hey, it's still a couple of weeks till my laundry day!), and a life-sized cutout of Leonard Nimoy. What can I say? It's home!\n\n> You examine Nimoy\nMr. Spock was my hero when I was growing up. He had it all: strong, smart, always knew exactly what was going on. A lot like me.\n\n> You look at the clothes\nThere is a large pile of dirty clothes on the floor. Well, maybe 'pile' isn't exactly the right word. They're sort of strewn all over the floor. Seems to me like a good place for them.\n\n> You look at the dresser\nIt's an old but sturdy dresser. I've had it since I was a child.\n\n> You open the dresser\nThe dresser contains an assortment of clean clothing, ready to wear.\n\n> Wear clothing\nWhich clothing do you mean, the dirty clothes, or the clean clothes?\n\n> Clean\nWhat, all of it? Please be a little more specific about what I should wear.\n\n> You get all\nclean clothes: I look through the drawers of the dresser, and pull out some clean clothing to wear: socks, underwear, and a pair of pants.\n\n> You wear socks and the underwear and the pants\nclean socks: Okay, I'm now wearing the clean socks.\nclean underwear: Okay, I'm now wearing the clean underwear.\nclean pants: Okay, I'm now wearing the clean pants.\n\n> You look\nThis is my bedroom - a great place to come back to at the end of\nthe day. A doorway leads west into the hallway. The dresser stands against one wall, and the bed on the opposite side. There's also a closet, an alarm clock on top of the dresser, a large pile of dirty clothes on the floor (hey, it's still a couple of weeks till my laundry day!), and a life-sized cutout of Leonard Nimoy. What can I say? It's home!\nThe dresser seems to contain clean clothes.\n\n> You go to the west\nThis is a short hallway between my bedroom (to the east) and living room (to the west). The bathroom is north.\n\n> West\nLiving Room/Kitchen/Dining Room\nThis is the main living area of my apartment, a sort of combined living room, dining room, and kitchen. Furniture includes a table, several chairs, and a very comfy sofa. There's also a refrigerator, a stove, and a TV. The hallway is to the west, and the front door is south.\nSitting on the stove is a frying pan.\n\n> You get the pan\nTaken.\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), and a frying pan.\n\n> Go east\nThis is my bedroom - a great place to come back to at the end of\nthe day. A doorway leads west into the hallway. The dresser stands against one wall, and the bed on the opposite side. There's also a closet, an alarm clock on top of the dresser, a large pile of dirty clothes on the floor (hey, it's still a couple of weeks till my laundry day!), and a life-sized cutout of Leonard Nimoy. What can I say? It's home!\nThe dresser seems to contain clean clothes.\n\n> You take clean\nWhich clean do you mean, the clean pants, the clean socks, or the clean clothes?\n\n> You search the dresser\nThe dresser contains an assortment of clean clothing, ready to wear.\n\n> You get the clothing\nWhich clothing do you mean, the dirty clothes, or the clean clothes?\n\n> You examine dirty\nThere is a large pile of dirty clothes on the floor. Well, maybe 'pile' isn't exactly the right word. They're sort of strewn all over the floor. Seems to me like a good place for them.\n\n> You take Nimoy\nI think Leonard will be happier if I leave him where he is.\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), and a frying pan.\n\n> You look\nThis is my bedroom - a great place to come back to at the end of\nthe day. A doorway leads west into the hallway. The dresser stands against one wall, and the bed on the opposite side. There's also a closet, an alarm clock on top of the dresser, a large pile of dirty clothes on the floor (hey, it's still a couple of weeks till my laundry day!), and a life-sized cutout of Leonard Nimoy. What can I say? It's home!\nThe dresser seems to contain clean clothes.\n\n> You open the closet\nOpening the closet reveals a clean shirt and a pair of shoes.\n\n> You wear the shirt\n(First taking the clean shirt)\nTaken. Okay, I'm now wearing the clean shirt.\n\n> You go to the west\nThis is a short hallway between my bedroom (to the east) and living room (to the west). The bathroom is north.\n\n> Go east\nThis is my bedroom - a great place to come back to at the end of\nthe day. A doorway leads west into the hallway. The dresser stands against one wall, and the bed on the opposite side. There's also a closet, an alarm clock on top of the dresser, a large pile of dirty clothes on the floor (hey, it's still a couple of weeks till my laundry day!), and a life-sized cutout of Leonard Nimoy. What can I say? It's home!\nThe dresser seems to contain clean clothes. The closet seems to contain a pair of shoes.\n\n> You wear shoes\n(First taking the pair of shoes)\nTaken. Okay, I'm now wearing the pair of shoes.\n\n> You wear the shoes\nI'm already wearing the pair of shoes!\n\n> Go west\nLiving Room/Kitchen/Dining Room\nThis is the main living area of my apartment, a sort of combined living room, dining room, and kitchen. Furniture includes a table, several chairs, and a very comfy sofa. There's also a refrigerator, a stove, and a TV. The hallway is to the west, and the front door is south.\n\n> You go south\nI'd really like to eat breakfast before I go to work...\n\n> You open the fridge\nOpening the refrigerator reveals a carton of milk, a carton of orange juice, two eggs, and some bacon.\n\n> You get the bacon\nTaken.\n\n> You put the bacon in the pan\nDone.\n\n> Turn\nWhat do you want to turn?\n\n> You look at what you're carrying with you\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), and a pair of shoes (being worn).\n\n> You turn on the stove\nOkay, it's now turned on. The strips of bacon sizzle and turn crispy.\n\n> You eat bacon\nJust as I'm about to start eating, I glance at the clock and notice that the bus will be here in three minutes. No time to eat now! I grab a pop-tart to eat on the bus instead.\n\n> You go south\nJust as I'm walking up to the door, I see the bus coming down the street. I grab my wallet, keys, and watch from the ledge by the door, throw on my coat, and dash outside as the bus is rolling up. I climb the steps, drop my money into the change-taking-machine (it makes a neat clinking noise as the coins roll down the slide), and take a seat near the front of the bus.\n\nI'm sitting on the bus, about four rows back. It's fairly crowded\n- lots of people going to work. Outside the window, I can see the city rolling past.\n\n> You examine city\nWe're driving through a residential district.\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a pop-tart, a coat (being worn), a wristwatch (being worn), a wallet, and keys. The coat pocket seems to contain a book of famous quotations.\n\nA woman starts to sit down next to me, but immediately stands up again and moves to another row, wrinkling her nose and sniffing loudly. Perhaps I should have taken a shower...\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a pop-tart, a coat (being worn), a wristwatch (being worn), a wallet, and keys. The coat pocket seems to contain a book of famous quotations.\n\nDarn it. I really should have turned off the stove before I left.\nAnd closed the refrigerator. Oh well...\n\n> You eathe pop-tart\nThat was delicious! And it's a good source of 7 vitamins and minerals!"
    },
    {
        "text": "[Themes: Zorkian, Humor, grue]\n\n> You describe your surroundings\nI'm sitting on the bus, about four rows back. It's fairly crowded\n- lots of people going to work. Outside the window, I can see the city rolling past.\n\n> You wait for a while\nTime passes...\n\nAn old man in a battered raincoat sits down next to me. He has a chicken sitting on his head.\n\n> You look at chicken\nThe chicken is watching me in a way that makes me kind of uncomfortable. It's like she knows something that I don't.\n\n> Sleep\nI've heard that horses sleep standing up. I can't imagine how they're able to do that. I sure couldn't!\n\n> You take the chicken\nThe chicken gives me an ominous glance as if to say, \"Don't even think about it.\"\n\nThe old man sighs. \"It grieves me to see the changes taking place in this town,\" he remarks. It sounds like he's trying to start a conversation. It always weirds me out a bit when strangers do that.\n\n> You ask the man about the town\nHe nods sadly. \"I have lived in this city for many years, and it saddens me to watch the gradual loss of everything that once defined its character. The decline of the railroads... the disappearance, one by one, of stores and restaurants I have known and loved... and now the old Frobworks factory... It makes me begin to feel old.\"\n\n> You ask the man about the frobworks\n\"You have not heard? The Frobworks factory has been sold. There is a great deal of mystery surrounding the new owners.\"\n\n> You ask the man about the new owners\n\"Their identities are a closely guarded secret. Few seem to know, and those who know will not say. There have, of course, been many rumors. But perhaps it is better if I do not speak of things which I do not actually know.\"\n\n> You ask the man about the identities\nHe looks uncomfortable. \"There have been many things whispered. Unpleasant things. There are those who believe... But no, I will not say. Please understand, I know nothing except rumors and gossip, and those may be nothing more than the wild imaginings of an overactive mind.\"\n\n> Wait\nTime passes...\n\n> You ask the man about the chicken\n\"Dharmawati is resting at present. Perhaps in a little while she will feel ready to perform.\"\n\n> You look at what you're carrying with you\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, and keys. The coat pocket seems to contain a book of famous quotations.\n\n> You examine the wallet\nThis was a birthday present a couple of years ago. It's a fairly ordinary leather wallet.\n\n> You open the wallet\nIn the wallet I see a driver's license and a five zorkmid bill.\n\nThe bus reaches my stop. The man with the chicken on his head stands up to let me out. As I squeeze past him, I feel him press something into my palm. I start to raise my hand to see what it is, but he stops me and shakes his head.\n\nThe chicken watches me as I leave the bus. All the way off, I can feel her eyes on the back of my neck.\n\nOnly when I'm standing on the sidewalk and the bus is pulling away do I look down to see what he has given me. It's a tiny flashlight, meant to go on a keychain. What on earth...? I look back to the bus, but it's already halfway down the block, and I can't see anything through the windows. All I can think of is a quote by Samuel Beckett: \"He brings light, as only the great dare to bring light, to the issueless predicament of existence.\"\n\nI head on into the factory. It's just a few minutes till starting time, so there are lots of other people arriving, punching timecards and heading to their stations. I still feel a bit weirded out by that guy on the bus, and the chicken on his head, and him giving me this flashlight like it was some big secret. I take a deep breath as I step out onto the factory floor. Everything's normal here, just like it always has been. I wave to some of the other guys as I walk past them toward my station, at the very start of the assembly line. It's good to be home.\n\n> You look\nI'm standing at my station on the assembly line. A conveyor belt comes out of the wall to the east, and travels west down the middle of the room.\n\n> You examine the belt\nThe conveyor belt comes out of the wall to the east, and continues down the middle of the room. It is not currently moving.\n\n> You wait for a while\nTime passes...\n\nA bell rings loudly. With a clanking sound, the conveyor belt comes to life.\n\n> You examine the belt\nThe conveyor belt comes out of the wall to the east, and continues down the middle of the room. It is currently moving.\n\nWith a quiet clop!, a green widget appears out of a chute in the wall and lands in front of me, just to the side of the conveyor belt.\n\n> You put the widget on the belt\nThat isn't ready to go on the conveyor belt yet.\n\nClop! A red wodget appears out of the chute and lands beside the widget.\n\n> You get all\ngreen widget: Taken.\nred wodget: Taken.\n\n> You look at the widget\nIt's a bright green widget, made of plastic, with a square peg sticking up out of it. I'm an expert with these things!\n\n> You look at the wodget\nA red plastic wodget, with a square hole in the middle.\n\n> You put widget in the wodget\nI fit the square peg of the green widget into the square hole of the red wodget. They snap together with a satisfying click! to form a perfect red-green widget-wodget complex, all ready to put on the conveyor belt for transport on to parts unknown! God, I love my job!\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, keys, a flashlight, and a widget-wodget complex. The coat pocket seems to contain a book of famous quotations.\n\n> You put the complex on the belt\nI put the widget-wodget complex on the conveyor belt, which carries it off down the line.\n\nClop! A green widget appears out of the chute.\n\n> You get the widget\nTaken.\n\nClop! A red wodget appears out of the chute.\n\n> You put the widget in the wodget\nClick! Another perfect widget-wodget complex, made and ready!\n\n> You put the complex on the belt\nI put the widget-wodget complex on the conveyor belt, which carries it off down the line.\n\nClop! A blue widget appears out of the chute. Huh? Blue?\n\n> You look at the blue\nIt looks just like every other widget I've ever seen... only totally different. Same plastic, same square peg... but it's blue!\n\nClop! A red wodget appears out of the chute.\n\n> You put the widget in the wodget\nRalph Waldo Emerson said that a foolish consistency is the hobgoblin of little minds, and he knew what he was talking about. He knew that sometimes the widgets would be green, and sometimes they'd be blue.\nSo I've been doing this job for eight years, and every widget I've ever seen has been green. That doesn't mean the next one won't be blue. You've got to just take what comes and go on with your job. Emerson understood that, and that's why he was such a great genius.\n\nI fit the blue widget into the red wodget. They go together with an... almost satisfying... clack!.\n\n> You put the complex on the belt\nI put the widget-wodget complex on the conveyor belt, which carries it off down the line.\n\nClop! A blue widget appears out of the chute.\n\n> You get the widget\nTaken.\n\nClop! A red wodget appears out of the chute.\n\n> You put the widget in the wodget\nI put the peg of the blue widget into the hole of the red wodget and... wait a minute! It won't go in! Hey - this wodget has a round hole! What's going on here? What the...! OK, wait... just a second... don't panic. Take a deep breath. It's going to be OK. Everything's going to be OK.\n\nFine, so things change. The world is like that. Widgets used to be green and now they're grue. I mean blue. And wodgets used to have square holes and now they have round ones. That's OK. Round is a fine shape for a hole. I just have to put the peg into it anyway.\n\nBut it won't fit! No! I can't deal with this! Someone must have made a mistake! They can't expect me to put these together. I just can't do it. No one can do it! I've got to find someone and tell them they've made a mistake. Then the holes will go back to being square, and everything will be OK again.\n\nThat's odd... something seems to be happening further down the assembly line. I can't tell what's going on, but there's a lot of shouting, and I can see people running. Suddenly there's a clank, and the conveyor belt comes to a stop!\n\n> You go west\nPerhaps you're wondering how I know the conveyor belt runs east to west. Well, I checked. \"If you don't know where you're going, you probably won't get there.\" I don't know who said that. I saw it on a poster once. That very same day, I went out and got this super-durable, patent-pending outdoorsman's wrist-watch with built in compass, and since then I've always known exactly which way I was going.\n\nAs I walk along the conveyor belt, I can see the room emptying out fast. By the time I reach the far end, most of the workers are gone, and those who are left seem to be heading for the door. Mr. Biggs, the president of the factory, is standing next to the doorway and shouting at them. He almost looks like he's going to step in their way and try to block the exit, but he knows he'd get trampled if he tried.\n\nThis is the west end of the main floor of the factory. The\nconveyor belt passes down the length of the room and disappears into the wall to the west. A large set of double doors leads north to the lobby.\n\n> You look at Biggs\nFor some reason, Mr. Biggs always makes me think of a bulldog. He can't be much more than five feet tall, and you always feel like he's about to attack you. No one messes with Mr. Biggs. I mean no one.\n\nMr. Biggs glances up at me. \"Get back to work!\" he shouts.\n\"There's absolutely nothing to be alarmed about! The company has some new owners, and they're just making a few changes. That's all there is...\" He breaks off and lunges at the door in a desperate attempt to keep the last of the workers from getting away. He stumbles over his own feet, barely avoids falling, and collides with the wall. \"Come BACK here!\" he shouts, dashing out the door after them. It swings shut behind him, and the room becomes almost silent.\n\n> Go north\nThis is the lobby of the factory building. There's a potted plant sitting in the corner, only I looked at it closely once and found that it's made of plastic. There are doors going north to the parking lot and south to the main floor of the factory. There are hallways to east and west.\n\n> You examine the plant\nI guess a plant that's made of plastic is a lot easier to take care of than a regular one. You never have to water it, just dust it once in a while, and it doesn't get sick or turn brown or anything like that, though if someone fell on it and broke it or something it wouldn't grow back the way a regular plant would. But then I guess you could just buy a new one. I wonder what company makes these things. If I ever leave this place, I ought to go and work for them. It sounds like a great business to be in!\n\n> Go east\nI know Mr. Biggs said there was nothing to worry about, but I'm not sure I believe him. I never trust anything the first time someone says it. I learned that from a guy called Lewis Carroll. He said, \"What I tell you three times is true.\" What he meant is that everyone says a lot of stuff. Some of it's true and some of it isn't. If you want to really know, you've got to ask them again to make sure they mean what they say. Otherwise, they might just be saying it and not really mean it.\n\nI'm standing in a hallway that runs between the lobby, to the west, and the end of the building, to the east. North is the door to Mr. Biggs office, which is currently closed.\n\n> You look at the door\nIt's closed.\n\n> You open it\nPerhaps I should knock on the door before going in? I don't want to upset Mr. Biggs by just barging in.\n\n> You knock on door\nI knock carefully on the door. A muffled voice inside says, \"Yes? Come in.\"\n\n> You go north\n(Opening the door)\nMr. Biggs' Office\nThis has got to be one of the most boring offices in the world. No pictures on the walls, no fake plants, nothing. Just a big desk in the middle of the room. There aren't even any chairs, except the one Mr. Biggs sits in, so you have to stand up the whole time you're talking to him. You'd think he didn't like having people come see him or something. The office door, to the south, is open.\n\nMr. Biggs is sitting behind the desk, looking at me impatiently.\n\n> You talk to Biggs\nWhat do you want to ask it about?\n\n> Owners\n\"You stay out of this!\" he snarls at me, shooting up out of the chair like he's going to attack. Then he seems to catch himself. \"Um, the new owners wish to remain, um, anonymous. Out of respect for their...um...wishes, I cannot say more.\"\n\nHe sighs and puts down the piece of paper he was reading. \"Yes Smithers? What is it you want?\" Smithers?"
    },
    {
        "text": "[Themes: Humor, Zorkian]\n\n> Look around\nMr. Biggs' Office\nThis has got to be one of the most boring offices in the world. No pictures on the walls, no fake plants, nothing. Just a big desk in the middle of the room. There aren't even any chairs, except the one Mr. Biggs sits in, so you have to stand up the whole time you're talking to him. You'd think he didn't like having people come see him or something. The office door, to the south, is open.\n\nMr. Biggs is sitting behind the desk, looking at me impatiently.\n\n> You look at the desk\nIt's a huge wooden desk, with a couple of drawers on one side, and enough space underneath that you could practically sleep under it. A big black telephone sits on one side. Some papers are spread out over the desk, like Mr. Biggs was looking at them.\n\nIf I'm going to ask him about the widgets, I'd better go ahead and do it.\n\n> You ask about the widgets\n(Mr. Biggs)\n\"The world changes, Smithers. I know you're very attached to your widgets, but it's time to move this factory into the modern age. It's got new owners now, and they're bringing in a whole new way of doing business.\" He kind of scrunches up his face. I think it's supposed to be a smile, only he doesn't know how. \"We're both very lucky to be here. This is a glorious age we're living in! Infinite opportunity for men with the courage and intelligence to recognize it and do what must be done! Men like me! And, uh... you.\"\n\n> You ask about Biggs\n(Mr. Biggs)\nHe sighs. \"Look Smithers, I'm very busy right now. Could we please discuss this another time?\"\n\nThe telephone rings. Mr. Biggs' face turns pale. \"Get out! Now!\" he snaps at me. He almost looks like he's going to be sick.\n\n\"Yes, Sir. Thank you,\" I say, moving toward the door. \"By the way, my name isn't...\"\n\n\"I said get OUT!\" he shouts, leaping from his chair as the phone rings a second time. He shoves me out of the room and slams the door.\n\n> You listen at the door\nI put my ear to the door to listen. I can't make out exactly what he's talking about, but he sounds upset. I hear him say, \"Yes sir,\" several times, and then, \"But it's not ready yet! We need more time to test it first!\" Then there's a long silence. It goes on so long I've almost decided that he must have hung up, when I hear him say very quietly, \"Yes sir. I understand.\" He sounds terrified.\n\n> Go east\nThis is the east end of the hallway. There's a staircase going\ndown, and a doorway leading east to the loading dock."
    },
    {
        "text": "[Themes: Zorkian, Humor, grue]\n\n> Go downwards\nThe stairs come to an end at a closed door leading north, which\nsays \"Research\" on it. There's a black plastic thing sticking out of the wall next to it, which looks a lot like the thing you swipe your credit card through at the grocery.\n\nIt's funny, but you know something? In all the years I've worked at the factory, I've never been here before. Usually, I just go straight to my place on the assembly line. A few times, I've been sent to the loading dock to do things, but I've always just gone right past the stairs and never thought what was at the bottom. Well, now that I'm here, I guess it's not real interesting. I do wonder what's behind that door, though.\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, keys, a flashlight, and a blue widget. The coat pocket seems to contain a book of famous quotations.\n\n> You examine the wallet\nThis was a birthday present a couple of years ago. It's a fairly ordinary leather wallet.\n\n> You open it\nIn the wallet I see a driver's license and a five zorkmid bill.\n\n> You examine the license\nI hardly ever drive anywhere, but it's good to have a license, just in case. I think the picture on it makes me look kind of goofy.\n\n> You examine the doorway\nA pair of swinging doors lead out to the loading dock.\n\n> You examine the staircase\nIt's an ordinary looking staircase. I'd tell you more about it, but really, I can't think of anything else to stay. You know, it's a staircase. Going down.\n\n> You go east\nThis is the loading dock for the factory. It's a big old cement platform that trucks can pull up to and load or unload stuff for the factory. I guess that's why they call it a \"loading\" dock, huh? Actually, I don't know why they call it that. It hasn't got anything to do with boats, so it isn't a dock, is it? Maybe there used to be a river here or something, and when it dried up, they just started using trucks instead of boats, but everyone still calls it a dock because that's what they're used to. I guess that would make sense.\n\nAnyway, there are no trucks or boats here right now. There are a lot of crates piled up here, though. There's also a door going west into the factory.\n\n> Examine crates\nThere are a whole bunch of wooden crates stacked up on one side of the loading dock. They all have \"USDA GRADE A\" stamped on them in big black letters. No idea what that means. They also have arrows pointing downward that say, \"This Way Up\".\n\n> You search them\ncrates: I find nothing of interest.\n\n> You open them\ncrates: There's no way I could open these crates without a crowbar. They're nailed shut.\n\n> Go west\nThis is the east end of the hallway. There's a staircase going\ndown, and a doorway leading east to the loading dock.\n\n> You go to the west\nI'm standing in a hallway that runs between the lobby, to the west, and the end of the building, to the east. North is the door to Mr. Biggs office, which is currently closed.\n\nMr. Biggs still seems to be talking on the phone. I can hear his voice coming faintly through the door. He sounds upset.\n\nMr. Biggs still seems to be talking on the phone. I can hear his voice coming faintly through the door. He sounds upset.\n\n> You listen at the door\nThere's another long pause, and then I hear Mr. Biggs say, \"It will be done right away. Exactly as you describe.\" There's a click as he hangs up the phone, and I hear him getting up from the desk. I quickly move away from the door, since I don't want to get caught listening to him. A moment later, the door opens and he comes out. I'm afraid he'll ask me what I'm doing hanging out in the hallway, but he doesn't even seem to see me. His face is practically white, and as he pulls the door closed behind him, it almost looks like his hand is shaking. He heads east along the hallway, and disappears down the stairs at the end.\n\n> Go west\nThis is the lobby of the factory building. There's a potted plant sitting in the corner, only I looked at it closely once and found that it's made of plastic. There are doors going north to the parking lot and south to the main floor of the factory. There are hallways to east and west.\n\n> You go to the west\nThis is a short hallway connecting the lobby (to the east), the cafeteria (to the west), and the restroom (to the north). There's also a closet here where Rufus, the janitor, keeps his cleaning things.\n\n> You look at closet\nThe closet is closed.\n\n> You open it\nOpening the closet reveals a broom and a uniform.\n\n> You examine the broom\nIt's an old broom that Rufus uses for cleaning the cafeteria. The word \"Cleansweep\" is printed on the handle in silver letters.\n\n> You wear the uniform\nWhy would I want to put on Rufus' uniform? I'm not a janitor!\n\n> Go north\nThis is the restroom for all of us who work here. It's pretty\nbasic: just a sink and a stall with a toilet. But it does the job pretty well.\n\n> You examine the sink\nIt's white and shiny and hard, just like most sinks. Rufus does a nice job of keeping it clean, I guess, but somehow I don't feel like it has much character.\n\n> You look at the stall\nIt's a toilet. What else is there to say about it?\n\n> You go to the south\nThis is a short hallway connecting the lobby (to the east), the cafeteria (to the west), and the restroom (to the north). There's also a closet here where Rufus, the janitor, keeps his cleaning things.\n\n> You go to the west\nThis is where we all eat lunch. Except Mr. Biggs, who I guess\nmust bring his own lunch since I never see him here. There's a bunch of tables and chairs here, and a long window that you walk past to pick up your food. The window is closed right now, since it won't be lunch time for a while yet.\nYou see a newspaper here.\n\n> Examine newspaper\nIt's a copy of The Daily Wombat that someone left in the cafeteria.\n\n> You read it\nHey! There's an article about the Frobworks plant on the front page! It says... hold on a minute while I read this... It's talking about the factory being sold. It says there's some group of foreign investors who are buying it, but they don't want anyone to know who they are. Something about a holding company, whatever that is. And a lot of people are wondering what they plan to do with it...\n\n> You read it\nI flip through the rest of the newspaper, but the article about the Frobworks plant is the only one that looks really interesting. Except for an article about how to raise orchids, and it says that if you know what you're doing, you can earn hundreds of dollars just by having a bunch of plants sitting around your house. Maybe I should try that out. And there's an article here about how clear plastic bathing suits are going to be the big new fashion this summer, and everyone on the beach out in California will be wearing them. That sounds kind of uncomfortable, but I guess if that's what everyone else is doing...\n\n> You read it\nI don't see anything else interesting. Just a lot of boring stories about wars and things like that.\n\n> You examine it\nIt's a big opening in the wall between the cafeteria and the kitchen, where they make the food. It's closed right now, since they aren't serving lunch yet.\n\n> Go east\nI'm standing in a hallway that runs between the lobby, to the west, and the end of the building, to the east. North is the door to Mr. Biggs office, which is currently closed.\n\n> You go to the north\n(Opening the door)\nMr. Biggs' Office\nThis has got to be one of the most boring offices in the world. No pictures on the walls, no fake plants, nothing. Just a big desk in the middle of the room. There aren't even any chairs, except the one Mr. Biggs sits in, so you have to stand up the whole time you're talking to him. You'd think he didn't like having people come see him or something. The office door, to the south, is open.\n\n> You examine it\nIt's a huge wooden desk, with a couple of drawers on one side, and enough space underneath that you could practically sleep under it. A big black telephone sits on one side. Some papers are spread out over the desk, like Mr. Biggs was looking at them.\n\n> You examine papers\nIt looks like some sort of a letter. The letterhead at the top says it's from 'Grue Industries, Incorporated', whatever that is. I try to read through the first few pages, but it's pretty hard to understand. Whoever wrote it likes to use lots of big words, things like \"capital depreciation\" and \"market penetration\" and \"speculative revenue projections\". I think they're unhappy because the factory isn't making as much money as they want it to.\n\n> You examine the telephone\nYou know how in movies, the President of the United States always has this big telephone that sits on his desk, and when it rings there's a light that flashes on it, and you know something terrible has just happened? That's what this telephone looks like. Like a phone you really don't want to get a call on.\n\n> You look at the drawers\nThey're big wooden drawers, exactly the kind you would expect to find in a big wooden desk.\n\n> You open them\ndrawer: Opening the drawer reveals a lunchbox and a plastic card.\n\n> You get all from the drawer\nlunchbox: Taken.\nplastic card: Taken.\n\n> You look at the lunchbox\nIt's a Dimwit Flathead lunchbox. I used to have one just like it back in grade school! It's made of metal, and covered with pictures of Lord Dimwit in famous places, like Mt. Rushmore and Flood Control Dam Number Three. The lunchbox is closed.\n\n> You open it\nOpening the lunchbox reveals a peanut butter and jelly sandwich and an apple.\n\n> You examine the card\nIt's the size and shape of a credit card, made of white plastic. On one side it says in really small letters, \"This card is the private property of Grue Industries, Inc. If you are not authorized to possess this card, you are currently in violation of the law. Please contact the police immediately so you can be arrested and duly prosecuted.\" There's a black strip on the other side, just like the one on the back of a credit card. Other than that, it's completely blank.\n\n> You eat the apple\nYou know how in Snow White the witch gives Snow White a poisoned apple, and she eats it and falls asleep so everyone thinks she is dead? As I'm biting into the apple, it occurs to me that this one looks exactly like the apple in Snow White.\n\nIt's OK though. Nothing bad happens to me when I eat it, except my fingers are now a bit sticky from the juice on them.\n\n> You close the drawer\nClosed.\n\n> Go south\nI'm standing in a hallway that runs between the lobby, to the west, and the end of the building, to the east. North is the door to Mr. Biggs office, which is currently standing open.\n\n> Swipe card\nThere's a click, and the light on the card reader turns green.\n\n> You open the door\nOpened.\n\n> You go north\nI'm standing in a short hallway. There are doors to north, east, south, and west. Otherwise, the walls are completely blank. I can faintly hear voices coming through the door to the east.\n\n> You listen at the door\nI can hear people talking on the other side of the door. I can't quite make out what they're saying, but I'm pretty sure that one of the voices is Mr. Biggs.\n\n> You open the north door\nIt's locked.\n\n> Go west\nI put my head carefully through the door, but immediately pull it back again. There's someone in there! I'm really not supposed to be down here, and I could be in a lot of trouble if I get caught. I need some sort of disguise so I won't attract attention.\n\n> You go to the west\nA man in a white coat looks up at me as I step into the room. I smile and show him my broom. He looks away without saying anything, and goes back to whatever he was doing. Good! I think my disguise is working!\n\n(Opening the west door)\nWorkshop\nThis is a really weird room. It almost looks like a mad\nscientist's workshop. There are bits of machinery all over the place, like someone has been putting things together or taking them apart. I have no idea what any of it is, though, and I'm not sure I want to know. I don't know why, but I'm getting a really creepy feeling from this place. What is it doing here? What does it have to do with the factory?\n\nThere's a door leading east back to the hallway, and another one to the west.\n\nA man in a white coat is doing something with the bits of machinery. He's ignoring me, which is just fine as far as I'm concerned.\n\n> You examine machinery\nI have no idea what any of this stuff is. There are gears, wires, tubes, pipes, motors, and I don't know what else scattered all over the place. It looks like someone's been building something. Or maybe taking something apart.\n\n> You examine man\nIt's a tall man wearing a white coat. You know the kind that mad scientists always wear in movies? One like that. I don't remember ever seeing him before. It looks like he's doing something with a piece of machinery, but I can't tell what.\n\n> You go to the west\n(Opening the west door)\nMachine Room\nAs I step into the room, the first thing I notice is the loud\nclanking sound. There's a big machine sitting here noisily doing something. It looks like it's... No. Oh God, no. Please no, it can't be. No! Please!.\n\nIt's the most horrifying thing I've ever seen in my life. There are two conveyor belts running into the machine, one carrying widgets and the other wodgets. And it's fitting them together. It's doing exactly what I do, but a hundred times faster. I can hardly follow it with my eyes, it's fitting them together so quickly. I could never keep up with this thing. What do they need me for, now they've got this machine? All I've ever wanted to do was put widgets together. I thought I was the best, I had it made for life. And now with this thing... what am I? What am I good for? I'm so useless now, I don't even want to think about it. Will anyone care anymore if I live or die?\n\n> You examine the machine\nThere's a big machine in the middle of the room, clanking away. There are two conveyor belts running into it, one carrying widgets and the other wodgets, and the assembled widget-wodgets are coming out a chute on the other side and falling into a box\n\nWhat a fool I've been. I see now what Mr. Biggs was talking about. They're going to replace us with machines. All of us! We've been doing our jobs up above, happily going along doing whatever they asked us. And they've been down here, building these robots to take our places. Talk about giving opium to the masses! What is it they've been giving us?\n\n> You break the machine\nThat's what I want to do. But how?\n\n> You put the widget in the machine\nI can't put anything into the machine.\n\nI saw this movie once about these two guys who wrote music. One of them was really popular, but the other one wrote better music, and the first one knew it. He couldn't stand knowing someone else was better than him, so he tried to kill him.\n\nI think I understand now what that guy must have felt. I've always thought of myself as an artist. I put widgets together, and I always thought I was really good at it. No one could put those widgets together like I could. I guess it's like that for all artists. We go along doing our thing and thinking we're really good. And then one day we meet someone who's so much better, we don't know why we even bother trying. You've either got to give up, or find a way to get rid of them. They say art isn't easy. I finally know what they mean."
    },
    {
        "text": "[Themes: Zorkian, Humor]\n\n> You describe your surroundings\nThere's a big machine in the middle of the room, clanking away.\nThere are two conveyor belts running into it, one carrying widgets and the other wodgets, and the assembled widget-wodgets are coming out a chute on the other side and falling into a box\n\n> You put the widget on the machine\nThere's no good surface on the machine.\n\nVery well, I see now what I must do. Let it be war between us. \"Be bloody, bold, and resolute.\" Either I will destroy this machine, or it will destroy me. \"Lay on, Macduff, and damn'd be him that first cries, 'Hold, enough!'\"\n\n> You put the widget on the belt\nI drop the widget onto the conveyor belt. Within seconds, it has disappeared into the machine. A moment later, there's a strange cracking sound. It's hard to describe exactly. I guess it sounds sort of like a square-pegged widget being forced into a round-holed wodget at high speed, under lots of force. It's followed by a sound of belts squealing, which ends abruptly with a loud snapping sound. Then without warning, there's a deafening BANG! When my ears stop ringing, I realize that the machine has stopped. A thin stream of smoke is coming from it."
    },
    {
        "text": "[Themes: Humor, Zorkian, grue]\n\n> You look around\nThe machine has stopped running. A thin stream of smoke is coming from it, and there are a couple of odd dents in the case.\n\n> You check what you're carrying\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, keys, a flashlight, a broom, a uniform (being worn), a newspaper, a lunchbox, and a plastic card. The coat pocket seems to contain a book of famous quotations. The lunchbox seems to contain a peanut butter and jelly sandwich.\n\n> Go east\nAs I step through the door, something hits me like a flying locomotive. Next thing I know, my back is pressed against the wall, there's someone holding me on either side, and Mr. Biggs is staring me in the face, his eyes bulging out like he was going to explode.\n\n\"So, I'll bet you think you're very clever, don't you?\" he wheezes. \"Yes, very, very clever, huh? Well I'll show you who's clever. I'm going to tie you up, and throw you into a vat of boiling water. I'm going to cut open your stomach, and pull out all your intestines, and fry them up while you watch me do it! I'm going to make you scream so loud you'll wish you'd never been born! You're going to beg me to let you die, and I'm going to stand there and smile at you! I'm going to make you...\"\n\nSuddenly he stops. A peaceful look comes over his face, and he almost looks like he's smiling. \"No. I have an even better idea. I'll let the owners deal with you themselves. I'm sure they can find an appropriate...use...for you.\" This time he really does smile, and something about it sends a chill through my whole body.\n\nHe spins around without another look and starts walking away. \"Let's go. Bring him along!\" I'm half dragged, half carried through a series of doorways, down a hall I've never seen before, through another set of doors. Suddenly I find myself staring at a final doorway. It's open, and there are stairs leading down into darkness. A coldness, and a strange musty smell, rises out of it.\n\n\"OK,\" says Mr. Biggs. \"Throw him in.\" There's a shove, the hands holding me let go, and I find myself tumbling down the stairs. Something cracks against my head on the way down, and I hit the bottom with a painful thump. The sound of the door slamming shut echoes through the darkness like the fall of a headsman's ax.\n\nIt's pitch black.\n\n> You turn on the flashlight\nI'm in what must be the basement of the factory. The walls and\nfloor are made of concrete, and the ceiling is covered with pipes and ventilation ducts. Large metal light fixtures hang down at regular intervals, but they're all turned off. Only my little flashlight makes a pool of light in the middle of the room. There is a thick layer of dust on the floor. Otherwise, the room is completely empty.\n\nOpen doorways lead south and east. A metal staircase attached to the north wall leads upward.\n\n> You look at the staircase\nThese are the stairs that I fell down. They look old and kind of rickety. I can't see the top from where I'm standing.\n\n> Go upwards\nI'm standing on a narrow metal staircase which leads down into darkness. At the top is a closed door.\n\n> You open the door\nI try to turn the handle, but it doesn't budge. It must be locked."
    },
    {
        "text": "[Themes: Humor, Zorkian, grue]\n\n> You descend\nI'm in what must be the basement of the factory. The walls and\nfloor are made of concrete, and the ceiling is covered with pipes and ventilation ducts. Large metal light fixtures hang down at regular intervals, but they're all turned off. Only my little flashlight makes a pool of light in the middle of the room. There is a thick layer of dust on the floor. Otherwise, the room is completely empty.\n\nOpen doorways lead south and east. A metal staircase attached to the north wall leads upward.\n\nOut of the corner of my eye, I catch a glimpse of movement through one of the doorways. I spin around and shine the flashlight through it, but there's nothing there. Maybe it was just my imagination playing tricks on me?\n\n> You go south\nThis is the oddest room. Well, the room itself is ordinary enough\n- more concrete, more pipes, doorways leading east and north. It looks like this was once a storeroom. I can see discolored patches on the walls and floor where large boxes must have sat for a long time.\n\nIt's the current contents of the room that are strange. No boxes or furniture anymore, just a huge pile of... stuff... in the middle of the floor. It's a mass of all sorts of odds and ends: scraps of cloth, old phone books, broken mattresses, and who knows what else.\nIt looks like a giant rat's nest. The strange musty smell that fills the basement is stronger here, like it was coming from this pile.\n\n> You examine nest\nHolding my nose, I move carefully toward the strange pile of stuff. I can see it better up close. There are old pieces of clothing, shirts and jackets and such, all torn and stained. There are lots of sheets, blankets, even a sleeping bag. There's a large rubber ball, like one you'd play with at the beach. And something that looks like...\n\nOh my...\n\nseveral large bones. Some of them with bits of meat still on them.\n\n> You examine the bones\nPlease, don't make me go any closer. I don't like this place. I don't know what it is, but I want to leave. Please...\n\n> Go east\nAnother basement room, just like the others. This one isn't quite empty: a tall metal filing cabinet stands against one wall. Doorways lead north and west.\n\n> You examine the cabinet\nIt's an ordinary looking metal filing cabinet. It has five drawers, all of which are currently closed.\n\nAgain, I see movement through the doorway. I'm sure of it this time. Something large and dark, moving slowly toward me. But again, when I shine the flashlight, there's nothing there. I don't like this place, I'm scared, I want to go home...\n\n> You open the cabinet\nI try each of the drawers in turn. All of them are locked except the third one, which slides open easily. It is filled with papers.\n\n> You examine papers\nI flip through the papers and select one at random. It's something from the U.S. Patent and Trademark Office. I guess it must be a patent. It's entitled, \"A Device for Locomotion Through the Conversion of Rotary to Linear Motion.\" Huh?\n\n> You look at the papers\nI flip through the papers and select one at random. It's a brochure from the Society to Ban Hydrogen Hydroxide. It says that hydrogen hydroxide is a pollutant which is created as a side effect of many industrial processes. It can be harmful or even fatal if ingested in sufficiently large quantities, and is a major component of acid rain. In spite of this, it is completely unregulated, and many factories just dump it into the environment! It has been detected in many streams, rivers, and lakes, and may even be getting into the drinking water supply. This is really scary stuff. And I'd never even heard of it!\n\n> You examine papers\nI flip through the papers and select one at random. It looks like another patent. \"A Method for the Production of Energy in Biological Systems Through the Decomposition of Simple Sugars.\" This stuff is really weird.\n\n> You look at the papers\nI flip through the papers and select one at random. It's a thick packet of photocopied pages that look like they're from an old book: \"The Nice and Accurate Prophecies of Agnes Nutter.\" I flip through a few pages, but I can't make head or tail of it. It reads kind of like poetry, but not really, and mostly it just sounds like someone was writing nonsense.\n\n> You examine papers\nI flip through the papers and select one at random. This one's another brochure: \"My Life as a Governess: A Witch's Guide to Controlling Children and Other Pests,\" by Silvia Daisy Pouncer. Since I don't have children, I'm not very interested in things like this.\n\n> Go north\nBasement, with Telephone\nThis is another room, just like the last one. There are doorways leading west and south. The room is almost completely empty, except for one thing: sitting right in the center of the concrete floor is a little table, the sort of fancy table made from curved pieces of wood that you find in antique stores. And on top of the table is a telephone.\n\n> You examine the Telephone\nHow strange. There's no buttons, no dial, nothing. Just a handset sitting on a cradle, and a blank area where the buttons ought to be.\nI pick up the handset and listen to it. Instead of a dial tone, I hear a phone ringing on the other end. I let it ring several times, but no one answers, so I put it back.\n\n> You examine table\nIt's a little wooden table. The feet are shaped like claws holding balls, and the legs are carved to look like they're covered with flowers. I have no idea what this thing is doing here. I can hardly imagine anywhere that it would look more out of place. I don't understand anything that's going on.\n\nThere it is again, movement through the doorway, but it disappears before I can shine the flashlight on it.\n\n> Go west\nI'm in what must be the basement of the factory. The walls and\nfloor are made of concrete, and the ceiling is covered with pipes and ventilation ducts. Large metal light fixtures hang down at regular intervals, but they're all turned off. Only my little flashlight makes a pool of light in the middle of the room. There is a thick layer of dust on the floor. Otherwise, the room is completely empty.\n\nOpen doorways lead south and east. A metal staircase attached to the north wall leads upward.\n\n> Inventory\nI have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, keys, a flashlight (providing light), a broom, a uniform (being worn), a newspaper, a lunchbox, and a plastic card. The coat pocket seems to contain a book of famous quotations. The lunchbox seems to contain a peanut butter and jelly sandwich.\n\n> You examine wristwatch\nOne of my proudest possessions. This wristwatch is water-proof, shock-proof, and heat-proof, with alarm, stopwatch, countdown timer, memory for 24 phone numbers, and built in compass and thermometer. I don't usually care about knowing the time that much, but it sure looks cool.\n\n> You turn off the flashlight\nI turn off the flashlight, and immediately I'm plunged into darkness.\n\n> Wait\nTime passes...\n\n> You wait\nTime passes...\n\nI just heard something. Or did I? A sort of muffled thump? I can't really tell. This place echoes strangely, and all my own sounds come back to me in odd ways.\n\n> Wait\nTime passes...\n\nI definitely heard something. Sort of a quiet scratching sound. I'm not sure which way it came from, but it definitely wasn't me. Where am I? What is this place?\n\n> You wait\nTime passes...\n\nThe sound is coming closer! There's something down here with me, and it's coming toward me! Help, please, get me out of here. There's something down here and I don't know what it is, but I'm really scared and I want to get out of here. Please help me...\n\n> Wait\nTime passes...\n\nAaaiiiiieeeeeeeeee!!!!!!!\n\n> You put the flashlight in the nest\nI don't want to leave it just lying around. It might get lost.\n\nOut of the corner of my eye, I catch a glimpse of movement through one of the doorways. I spin around and shine the flashlight through it, but there's nothing there. Maybe it was just my imagination playing tricks on me?\n\n> Go east\nAnother basement room, just like the others. This one isn't quite empty: a tall metal filing cabinet stands against one wall. Doorways lead north and west.\n\n> You look at the cabinet\nIt's an ordinary looking metal filing cabinet. It has five drawers, of which the third one is currently open. It is filled with papers.\n\n> You open the drawers\nThe filing cabinet is already open!\n\n> You look at the box\nIt's a small metal box, attached to the wall. It is currently closed.\n\nAgain, I see movement through the doorway. I'm sure of it this time. Something large and dark, moving slowly toward me. But again, when I shine the flashlight, there's nothing there. I don't like this place, I'm scared, I want to go home...\n\n> You open it\nI open the box, revealing a circuit breaker switch.\n\n> You turn off the flashlight\nI turn off the flashlight, and immediately I'm plunged into darkness.\n\n> Examine box\nIt's a small metal box, attached to the wall. It is currently open, revealing a circuit breaker.\n\n> You examine the lights\nThe lights are spaced along the ceiling every ten feet or so. They're held in round metal reflectors that hang down about five feet from the ceiling to get below all the pipes and stuff.\n\n> You look at the pipes\nI can barely see most of the ceiling, since it's hidden in shadow behind all the pipes and ducts hanging down from it. The shadows wiggle strangely as I move the flashlight back and forth. Almost as if there were something up there...\n\n> You look at the breaker\nInside the box is a circuit breaker switch. It is currently on.\n\n> You go to the north\nBasement, with Telephone\nThis is another room, just like the last one. There are doorways leading west and south. The room is almost completely empty, except for one thing: sitting right in the center of the concrete floor is a little table, the sort of fancy table made from curved pieces of wood that you find in antique stores. And on top of the table is a telephone.\n\nThere it is again, movement through the doorway, but it disappears before I can shine the flashlight on it.\n\n> Examine book\nThis is my guide in life. More than 10,000 quotations by the greatest, most intelligent people in history. I really can't imagine life without it. Anything important that's ever been said, I can find it in here.\n\nNot many people know this about me, but I was adopted. I don't know who my real parents were. I was just left on the doorstep of an orphanage with nothing but a change of diapers and this book of quotations. So I guess it won't surprise you that I've always thought of this book as my parents' voice. I've tried to live my life by it. When I've got to make any big decision, I always look here first, and I always find something that tells me what to do.\n\n> You read it\nI flip through the book of quotations and pick one at random. G.K. Chesterton: \"An inconvenience is only an adventure wrongly considered; an adventure is an inconvenience rightly considered.\"\n\n> You read it\nI flip through the book of quotations and pick one at random. Samuel Johnson: \"Curiosity is one of the permanent and certain characteristics of a vigorous mind.\"\n\n> You read it\nI flip through the book of quotations and pick one at random. H.P. Lovecraft: \"The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.\"\n\n> You examine the walls\nThe walls are made of concrete. I don't see anything interesting about them.\n\n> You go east\nAnother basement room, just like the others. This one isn't quite empty: a tall metal filing cabinet stands against one wall. A small metal box, previously hidden by the cabinet, is mounted on the wall. Doorways lead north and west.\n\n> You climb the cabinet\nIt's too tall for me to climb on top of, and I think it might tip over if I tried.\n\nThere it is again, movement through the doorway, but it disappears before I can shine the flashlight on it.\n\n> Go north\nBasement, with Telephone\nThis is another room, just like the last one. There are doorways leading west and south. The room is almost completely empty, except for one thing: sitting right in the center of the concrete floor is a little table, the sort of fancy table made from curved pieces of wood that you find in antique stores. And on top of the table is a telephone.\n\n> You climb the table\nIt's too small for me to stand on top of.\n\n> You jump\nWheeee!\n\n> You look at the dust\nThe concrete floor is covered with a thick layer of dust. It looks like it hasn't been cleaned in ages. There are strange patterns in the dust - long trails like objects have been dragged along the floor, and smaller streaks, and blotches that look almost like footprints but not quite.\n\n> You turn on the switch\nIt's already turned on!\n\n> You switch the switch\nIt's pitch black.\n\n> You turn on the switch\nI flip the switch on the circuit breaker. At first I don't think anything's going to happen. Then I hear a quiet hum, and a moment later I'm blinded as all the lights in the basement suddenly come on.\n\nAt the same moment a deafening sound echoes through the room, something half way between an animal roar and a scream. It's followed by a series of banging sounds, first dull ones, then ringing ones of something pounding against metal. Then there's a crash like something shattering. I hear a few more quiet screams vanishing into the distance, and then silence.\n\nI'm sorry. What just happened?"
    },
    {
        "text": "[Themes: Humor, Zorkian]\n\n> Describe the surroundings\nAnother basement room, just like the others. This one isn't quite empty: a tall metal filing cabinet stands against one wall. A small metal box, previously hidden by the cabinet, is mounted on the wall. Doorways lead north and west.\n\n> Go north\nI'm in what must be the basement of the factory. The walls and\nfloor are made of concrete, and the ceiling is covered with pipes and ventilation ducts. Large metal light fixtures hang down at regular intervals. There is a thick layer of dust on the floor. Otherwise, the room is completely empty.\n\nOpen doorways lead south and east. A metal staircase attached to the north wall leads upward.\n\n> You go east\nBasement, with Telephone\nThis is another room, just like the last one. There are doorways leading west and south. The room is almost completely empty, except for one thing: sitting right in the center of the concrete floor is a little table, the sort of fancy table made from curved pieces of wood that you find in antique stores. And on top of the table is a telephone.\n\n> You examine table\nIt's a little wooden table. The feet are shaped like claws holding balls, and the legs are carved to look like they're covered with flowers. I have no idea what this thing is doing here. I can hardly imagine anywhere that it would look more out of place. I don't understand anything that's going on.\n\n> Go upward\nI'm standing on a narrow metal staircase which leads down to the basement, and up to a closed door. Or rather, it would be closed if there weren't a huge hole smashed right through the middle. It looks like a freight train went through here, and the door got in the way.\n\n> Go upward\nI climb through the hole in the door to the hallway on the other side. It takes a few wrong turns, but eventually I find my way back upstairs again. The whole factory seems to be deserted. Not a sign of anyone. The parking lot is completely empty.\n\nAs I stand waiting at the bus stop, I have the strangest feeling.\nIt's like waking up from a trance, or leaving the auditorium at the end of a concert. I know I've been somewhere strange, witnessed amazing things, but I'm not certain exactly what they were. \"States of dreamy melancholy, fits of aimless joy.\" Was I the audience or the performer? Did it really happen, or was it just a fantasy? A witch's spell? Am I the artist? And if not, then who is?\n\nI think I'll stop off at the mall on my way home. I need an ice cream cone.\n\nDear Mom,\n\nThanks a lot for the cookies you sent. They were really great. I still say you make the best oatmeal raisin cookies in the world.\n\nMy new job is going really well. I never would have guessed that screwing caps onto toothpaste tubes could be so interesting. My boss, Mr. Bucket, says I have a natural talent for it.\n\nI was really lucky to find a job so quickly. A lot of the guys from Frobworks are still looking. No one's sure what the new owners are planning to do with the building yet, but there's a rumor that they want to start a computer game company. Pretty weird, huh?\n\nAnyway, thanks a lot. I'll write again soon. I love you a lot.\n\nYour son,\n\nP.S. Next time, could you send chocolate chip instead?\n\nFBI WARNING:\n\nTHE FBI COULD NOT CARE LESS WHAT YOU DO WITH THIS GAME. THEY MAY, HOWEVER, STILL CHOOSE TO TAP YOUR PHONE LINE, READ YOUR EMAIL, AND SEND LOVE LETTERS TO RANDOM PEOPLE SIGNED WITH YOUR NAME. THIS DOES NOT MEAN THAT YOU ARE SUSPECTED OF COMMITTING ANY CRIMES. THEY JUST ENJOY DOING IT.\n\nNo grues were harmed in the making of this game.\n\nCongratulations! You have completed the game!\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\n> Outtakes\nIt's time for breakfast! I sit down to a delicious meal of fried eggs and start... ummm... excuse me.\n\nI'm sorry, I just can't do this. I can't stand eggs. Even the smell of them makes me sick. Couldn't we please change them to something else, like toast or cereal?\n\nOK, wait a minute. I have an idea. We'll keep the eggs, but as soon as they ask me to eat them, I'll realize the bus is coming. So I won't have time to eat them, and I can just grab a pop-tart or something instead. That way we can keep your whole \"cooking the eggs\" thing you were so proud of, but I won't have to eat them. Would that be ok?\n\n>put widget into wodget\n\nI put the peg of the blue widget into the hole of the red wodget and... wait a minute! It won't go in! Hey - this wodget has a...\n\ntriangular?\n\nOK, very funny! Who's the wise guy in props?\n\n>wear uniform\n\nJust like that? \"wear uniform\"? Am I supposed to somehow put it on over the clothes I'm already wearing? Or do you want me to strip them off first? And then what should I do with them? Carry them around? Leave them here?\n\nOh, right. Plot device. Never mind.\n\n>turn on flashlight\n\nI turn on the flashlight and... Wait a minute. It isn't going on. The bulb must be burnt out. OK, I'm standing here in the dark, and my flashlight won't go on. Um... there aren't really any grues down here, are there? Could someone turn on the lights? Hello? Anyone? Bill, is that you? Bill?\n\nDear Mom,\n\nI have some very important news to tell you. I have decided to get a job with a company that writes computer games. I know this will come as a disappointment to you, since you've always wanted me to work in a factory like you and dad. I know what you will say about family traditions and your great uncle Herbert and all that, but this is MY life, damn it. I'm sick of wasting my life putting stupid pieces of plastic together day after day after day. It's time I did something that I care about, for a change.\n\nAnd while I'm at it, what's up with the cookies? How many times have I told you that I can't stand oatmeal raisin cookies? Why do you insist on doing this to me? Are you trying to prove something, or can you simply not believe I could really feel differently from you about anything in the world?\n\nDear Mom,\n\nThank you for the cookies you sent. I guess you forgot that I don't eat oatmeal raisin cookies, but I really appreciate the thought.\n\nI have some wonderful news for you. I've decided to get a job with a company that writes computer games. I know it's a bit different from what you've always imagined for me. But this is a great opportunity, and I think I could be really good at it.\n\nI hope you won't be too disappointed by this. I just don't want to keep wasting my life working at an assembly line. Not that there's anything wrong with working on an assembly line. I know you and dad have done it all your lives, and you really like it. It's just that I don't want to keep wasting my life\n\n(sigh)\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit.\n\nType OUTTAKES to view outtakes, RESTORE to load a saved game, RESTART to start the game over again, or QUIT to quit."
    },
    {
        "text": "[Themes: Science Fiction, fantasy, female protagonist]\n\n> You look at the foot\nHer foot is clean and dry. A miracle, considering the warm, out-of-season boots she's been wearing.\n\n[Author's Note: Varkana is the name of a region in a world with a timeless, mildy fantasy/sci-fi setting (some technological and magical elements are present at this moment, but not prevalent), with the city-state of Arg Varkana as its major outpost of civilization. There are several Persian and Mesopotamian inspired elements in there, some of which might sound familiar to those who are acquaintanced with those cultures. We start the game as Farahnaaz, a bookcrafter and a library employee in Arg Varkana, currently enjoying her summer holidays when the town is lively with celebrations. Her hometown is to be visited by a team of ambassadors from Ashtarta, a distant, fabled land with a more advanced technology and a recently-reestablished regime. All starts peacefully, but a neglection to do a simple task she was given eventually turns Farahnaaz's calm day into a troublesome one - to another one's luck and fortune.]\n\n> You check your inventory\nYou are carrying:\nan outfit (being worn)"
    },
    {
        "text": "> Go downwards\nYou cannot move while supporting Nivanen's weight. You should ask her to get off first.\n\n> You examine outfit\nYou're wearing a green tunic with a pair of tight brown breeches and soft leather boots.\n\n> You examine Nivanen\nYour good friend is... heavy for you, but her lack of vertigo is an advantage. Better to have her up there than you.\n\n> You talk to Nivanen\n\"Hmm I'm not sure, but maybe I'll need your help to climb a bit higher. Anyways, tell me to look whenever you're ready, ok?\"\n\n> You look\nYou ask your friend to examine what's going on beyond the wall.\n\nNivanen's unbooted foot presses on your hands as she adjusts her body to get a better view of the hangar. As a town guard who patrols battlements and walks along the walls on a daily basis, she has no problem with heights. And for the same reason, she's in no hurry to get down; she's fascinated by the sight before her.\n\nShe excitedly reports seeing one large vessel, the likes of which has never landed here before. But she can't see anything else because she's not high enough.\n\n> Lift nivanen\nYou gather your force and pull your hooked hands up, allowing Nivanen to quickly stabilize her elbows on the stone wall and get a better view.\n\nYou feel the edge of the wall you're standing on under your soft boots and the sensation sends a shiver up to your legs. You try not to think of your vertigo, and press your body harder against the ivy on the wall. The leaves give you a false sense of security,  enough to keep your head from turning.\n\n> You look\nNivanen reports that she now sees two smaller one-man vehicles before the large one she could see earlier. She describes their models and estimates their prices. You grind your teeth...\n\nFeeling your impatience, she quickly adds that there are eight Ashtartans, six men and two women, and one man is obviously their chief. Before them stand the Argbaan and High Priest and a few more officials. After a pause, she gladly adds that there's no one wearing an Ember medallion there.\n\n\"If you want to know more about something, just ask me about it,\" she says merrily. \"Otherwise I'm ready to get off.\"\n\n> You ask Nivanen about the book\nWhich do you mean, the bookshelves, the old books, the poem book or the books?\n\n> You ask Nivanen about the ember medallion\n\"Can't define all the ranks and the badges from this distance... But I'm sure no one's wearing an Ember medallion around his or her neck.\"\n\n> You ask Nivanen about the chief\n\"He's older than the rest and is wearing more medals and insignia.\"\n\n> You ask Nivanen about Argbaan\n\"I didn't quite expect the Argbaan herself to be here. Lady Atossa is mostly listening as the others do the talking.\"\n\n> You ask Nivanen about the vessel\n\"Magnificent craftsmanship. No wonder they arrived so early.\"\n\n> You examine the breeches\nYou're wearing a green tunic with a pair of tight brown breeches and soft leather boots.\n\n> You ask Nivanen about the women\nThere is no reply.\n\n\"The ambassadors are well dressed, in gold-embroidered uniforms. And they're all tall, warrior type, good-looking and smiling...\" She prattles on about the fact that she can't wait to meet them in person tomorrow but you remind her angrily that that's not why you're supporting her weight down here."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist, fantasy]\n\n> You look around\nRoyal Nest's storeroom (on the ledge)\nYou're currently in a storeroom of the Nest, standing on top of a brick wall. A ladder leads down to the solid ground. The floor is far below; the thought makes your head turn.\n\nYou can see Nivanen here."
    },
    {
        "text": "> Go downwards\nYou cannot move while supporting Nivanen's weight. You should ask her to get off first.\n\n> You get down\nLight and agile, she descends and secures both her feet on the ledge, then looks up to you and grins. You unravel your fingers. Your joints are red and aching. Ninaven climbs down the ladder with an attempt to complain that you wasted her time with your worries, and she has better things to do with her free time.\n\n> You examine the ladder\nIt's the wooden ladder you two used to conquer the brick wall.\n\n> You look at the wall\nThe stone wall of the hangar has been built recently. It's very high.\n\n> You look at the ivy\nThe ivy has climbed the wall, even higher than you. It's probably grown from a damp crack on the floor somewhere."
    },
    {
        "text": "> Look around\nRoyal Nest's storeroom (on the ledge)\nYou're currently in a storeroom of the Nest, standing on top of a brick wall. A ladder leads down to the solid ground. The floor is far below; the thought makes your head turn.\n\n> You get the ivy\nThat's hardly portable."
    },
    {
        "text": "> Go down\nYou're now standing on the Royal Nest's storeroom. This is a large room filled with sacks of animal food that occupy the shelves. They range from minerals and grains to insects and dried meat and bones"
    },
    {
        "text": "> Go downward\nsuited for various flying beasts. The storeroom's door is shut, but the trapdoor from which you came in is wide open.\n\nNivanen reaches for her boot which she had removed before climbing on your hands and puts it back on. Rasha, her cat, comes out from a corner and turns around her. His huge green eyes meet yours and widen, then he jumps down the trapdoor and disappears.\n\nYou can see a trapdoor and Nivanen here.\n\nYou carefully climb down to the darkness of the tunnel and wait for your friend to lock the trapdoor and light her torch. You walk for a short while until you reach an exit opening up to the fresh night air. You catch a glimpse of Nivanen's cat running off as you climb out of the tunnel.\n\nCargo terrace (Royal Nest)\nThe cargo terrace is a moderately sized platform for temporarily storing all kinds of shipments that arrive or are waiting to be sent by air. Chariots and wheels and strapped packs line the wall, used to load or unload heavy stuff.\n\nThere's a trapdoor on the floor, and a path to the southeast.\n\nNivanen extinguishes her torch and closes the trapdoor behind you.\n\n> You examine the shelves\nVarious sacks of animal food occupy the shelves. They're used for feeding the winged beasts who carry people and deliver shipments. Their smell is somewhat overwhelming. You want to get away from this place as soon as possible.\n\n> You take the food\n\"You can't be serious. They stink!\" Nivanen says with a scowl."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\nYou carefully climb down to the darkness of the tunnel and wait for your friend to lock the trapdoor and light her torch. You walk for a short while until you reach an exit opening up to the fresh night air. You catch a glimpse of Nivanen's cat running off as you climb out of the tunnel.\n\nCargo terrace (Royal Nest)\nThe cargo terrace is a moderately sized platform for temporarily storing all kinds of shipments that arrive or are waiting to be sent by air. Chariots and wheels and strapped packs line the wall, used to load or unload heavy stuff.\n\nThere's a trapdoor on the floor, and a path to the southeast.\n\nNivanen extinguishes her torch and closes the trapdoor behind you.\n\n> You go to the southeast\nYou walk on until you reach a bridge, in the middle of which you pause to catch your breath. The old brick bridge overlooks a small market. Behind you, on a pedestal made out of the same clay bricks as the bridge, a flame burns steadily in a big metal bowl.\n\nThe path continues to the east, and the cargo terrace is to the northwest.\n\n\"I'll go and put the keys back from where I took them. Goodnight... see you tomorrow.\" Nivanen says, yawning, and walks away.\n\n> You examine the flame\nHalf asleep, you continue along the road to your home. You finally open the door and stumble in. You can't tell how long you've been walking, but it doesn't matter now. Shortly after, you get into your bed and instantly drift into a heavy sleep...\n\nYou rest soundly in your warm bed all through the night, until the light of the late morning awakens you.\n\nBedroom (on the bed)\nSitting on your bed, you stretch your limbs and yawn, inhaling the fresh mountain air which is entering your sunny room from the window which you left open last night. The breeze is cool, tempting you to crawl back under your warm bedsheet, but the sunlight's warmth on your skin is equally inviting.\n\nYour room is cozy and comfortable with meticulously selected furniture and decoration. A mirrored dresser is placed near the open window, with a small marble basin and a pitcher next to it. And at the foot of your bed there is a chest.\n\nThe only exit is to the north.\n\nYou can't see any such thing.\n\n> You look at the flame\nAn odorless oil burns neatly in the massive metal bowl. You watch with pleasure as the flame casts a warm light on your surroundings. Although more difficult to maintain, in Arg Varkana people prefer flames to glow orbs. You're no exception.\n\nAs you watch you notice a feather on the floor, glittering in the warm light.\n\n> You take the feather\nTaken.\n\n> You examine it\nA nice red feather with a firm shaft. It's likely from a goknous, the rare exquisite courier bird.\n\n> You look\nThe old brick bridge overlooks a small market. Behind you, on a pedestal made out of the same clay bricks as the bridge, a flame burns steadily in a big metal bowl.\n\nThe path continues to the east, and the cargo terrace is to the northwest.\n\n> You look at the pedestal\nIt's made out of the bridge itself; a round platform of brick. It supports a fire bowl in which a flame burns at night.\n\n> You get the bowl\nThe heat is intense - you can tell without burning your hands.\n\n> You check your inventory\nYou are carrying:\na feather\nan outfit (being worn)\n\n> Go east\nHalf asleep, you continue along the road to your home. You finally open the door and stumble in. You can't tell how long you've been walking, but it doesn't matter now. Shortly after, you get into your bed and instantly drift into a heavy sleep...\n\nYou rest soundly in your warm bed all through the night, until the light of the late morning awakens you.\n\nBedroom (on the bed)\nSitting on your bed, you stretch your limbs and yawn, inhaling the fresh mountain air which is entering your sunny room from the window which you left open last night. The breeze is cool, tempting you to crawl back under your warm bedsheet, but the sunlight's warmth on your skin is equally inviting.\n\nYour room is cozy and comfortable with meticulously selected furniture and decoration. A mirrored dresser is placed near the open window, with a small marble basin and a pitcher next to it. And at the foot of your bed there is a chest.\n\nThe only exit is to the north.\n\n> You examine the chest\nIt's a dark rusty metal chest containing your treasured clothes.\n\n> You open it\nYou lazily get out of your bed.\n\nThe chest contains some clean clothes. You rummage a bit until you select an outfit. Once you have changed your clothes, you close the chest.\n\nYou're now wearing a maroon leather top and pants. A nice gift from Bastovaan, the old beast tamer.\n\n> You open the drawer\nYou open the drawer, revealing a comb and some jewelry.\n\n> You take all from the drawer\ncomb: You comb your hair a bit. When satisfied, you put it back in place.\njewelry: Taken.\n\n> You wash hands\nYou tilt the heavy pitcher a bit and wash your face and hands with the sparkling water. You feel refreshed. The water slowly drains from the basin.\n\n> You examine the jewelry\nYour jewelry include armbands, a torc, hairpins and earrings that usually accompany you during the day.\n\nUnless given to someone else before death, a person and their jewelry are usually buried together. Wearing them is more a custom than a personal choice. Gladly, you have nothing against it.\n\n> Oops jewelry\nYou put on the jewelry.\n\n> You look at Rasha\nRasha is the cat of your friend Nivanen. He's fat with thick yellow fur.\n\n> You look in the mirror\nIt's a nice mirror with a wooden frame.\n\nChiselled face, wavy hair, a bit suntanned... yes, that's you. You are wearing a maroon leather top and pants. A nice gift from Bastovaan, the old beast tamer.\n\n> About yourself\nYou are Farahnaaz; a slender, long-haired bookcrafter who is almost at the end of her apprenticeship course.\n\n> You look at the window\nThe large window opens to a quiet section of the vineyard below, lined by a stone sidewalk and flanked by a wall. The mountains can be seen under the deep blue sky, shining with an almost unearthly splendor under the sun. Among the vines you see Rasha, your friend's cat.\n\n> You look at the mountains\nThe peaks are snow-capped for all four seasons. The rocks change color from gray-blue and purple-violet to amber depending on the weather and sunlight.\n\n> You examine the vines\nIt's a small section of the semi-famous vineyards of Arg Varkana, a source of tiny ruby grapes, wine, vinegar, raisins and sweet syrup all to consume as well as to export and exchange.\n\n> You examine the sky\nIt's a sunny day, and the sky is a clear deep blue.\n\n> North\nYou find and pick up your backpack from a corner and leave your room.\n\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> You look at the trees\nIt's the house of an old surgeon and his wife. You see them often, but you have never seen much of their house due to the walls and the ancient trees that surround it.\n\n> Inventory\nYou are carrying:\nsome jewelry (being worn)\nan outfit (being worn)\na feather"
    },
    {
        "text": "[Themes: Science Fiction, fantasy]\n\n> You look around\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> You go southeast\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe vineyard itself is in a pretty irregular shape. It continues between the nearby houses and buildings within the reach of many people from where they live and work. Narrow stone pathways mark the main paths. At this end the vines, you think gladly, come near your room's window; as if only to please the sole resident there.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha, your friend's cat, sitting and relaxing here.\n\n> Pet cat\nHe pulls back his head and raises a clawed paw in order to defend himself if need be. You can't help but to snarl at him, which only proves his point.\n\n> You examine the oil\nSome drops of liquid which you identify as oil form a visible trail to the east. The other end of the trail is hard to make out, as the oil seems to have ceased dripping after a while.\n\nSome drops of liquid which you identify as oil form a visible trail to the east. The other end of the trail is hard to make out, as the oil seems to have ceased dripping after a while.\n\n> You look at the pavilion\nNice, leafy pavilions.\n\n> You examine the cat\nRasha is the cat of your friend Nivanen. He's fat with thick yellow fur.\n\n> East\nNear the brink of the cliff the vines grow scarcer but more unruly and are gradually replaced with wild herbs. Before the brink there's a circular landing platform.\n\nUnder the cliff you can see a narrow section of the town ending at one of the minor town gates. Beyond the gate, and far below, lies the eastern meadow.\n\nThe only exit is to the west.\n\n> You examine the platform\nA conventional landing spot for landing hawks, drakes, or - if from a Sarvegnian community or something similar - airborn vehicles. It's made from stone, and is circular, measuring about four meters in diameter. Three crystalline glow orbs are inlaid within its brim to make it recognizable at night.\n\nSome of the wild herbs around the platform are burnt. From those and the fresh oil stains you conclude someone has landed here recently. However, it's an obsolete platform, too far from any functioning nest to be practical.\n\n> You examine the orbs\nCrystalline orbs, obtained from glow rocks, absorb sunlight during the day and shine brightly at night. Thus they guide airborn travellers. When the days get too dark and cloudy for the crystals to be charged properly, bright lanterns are installed nearby to aid their purpose.\n\n> You get the herbs\nThey're hardly portable.\n\n> You look at the town\nBelow you, on a mountain ledge, there's a narrow section of the town which ends at a gate.\n\n> You look at the gate\nThe gate provides access to the eastern meadow through a harsh and steep mountain road. Obviously it's less often used than the major gates, but it's still a facility.\n\n> You examine the meadow\nWith all the dandelions and buttercups flowering, the meadow resembles a radiant yellow-and-green sea between the mountains.\n\n> Sing\nYour singing is abominable.\n\n> You open gate\nThat's out of reach, you can only look.\n\n> West\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha here.\n\n> You get the cat\nYou take one step towards the cat, but he casually goes the same distance away from you. Maybe according to some feline concept of private space.\n\n> West\nYou take the path westward which leads to a square in the town.\n\nThis is the square which you cross every day to reach your workshop in the library. You see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You look at the kids\nMany of the town children are gathered here. You recognize some of them due to their frequent visits to the library and occasionally creeping into the workshop. Most of them are playing.\n\n> You examine the fountain\nIt's a simple clean fountain.\n\n> You examine the benches\nSome simple wooden benches. Most of them are occupied by the kids.\n\n> You examine the plants\nNice decorative plants.\n\n> North\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see saddled vehicle leaning next to a pillar.\n\nYou can also see a man here.\n\n> Lift rug\nYou can only do that to something animate.\n\n> You examine man\nHe is dressed in an outfit matching Nivanen's description of Ashtartan ambassadors. His clothes, however, are dusty with occasional tears and burns. He carries some insignia, one of which you associate with the machinery engineers' guild or something close.\n\nHe wears a chain around his neck but the pendant (if there is any) has gone down into his collar. As you try to figure it out he raises an eyebrow and gives you a freezing look. You instantly stop studying his appearance.\n\n> You look at the vehicle\nIt's a one-man vehicle with a saddle instead of a seat; less cozy but easier to manoeuvre. It has a transparent shield in front to protect the pilot at high speed. It's bronze in color and has been damaged and patched up in various places and needs cleaning. Even though Ashtartan-made, it can't be one of those fabulous ones Nivanen saw last night.\n\n> Hello\nHe nods as you introduce yourself. \"Ardavaan here. Greetings to you too, Farahnaaz.\"\n\n> You get the cushion\nThey're hardly portable.\n\n> You ask the man about yourself\n\"I'm familiar with your craft; I enjoy drawing as well. I once had a... brilliant mentor in Ashtarta. He goes by the name Behzaad.\"\n\n> You talk to the man\nHe only gives you a brief smile, while his eyes fix yours with their cold and careful, penetrating stare. You find yourself unable to say anything so you mumble an apology and turn away, feeling stupid.\n\n> You ask the man about Behzaad\n\"So he has even been to your town. I knew the old jackal back in Ashtarta. He is a remarkable craftsman indeed... And you say, he just left the town?\"\n\nYou nod. \"Yesterday afternoon.\"\n\nHe looks away. \"Lucky him...\" You wait for him to continue, but he doesn't seem to intend to.\n\n> You go vehicle\nYou reach for the handles and begin to mount the saddle, but a stare from the owner of the vehicle discourages you from going on.\n\n> You ask the man about the vehicle\n\"Yes, that belongs to me. You may not touch it, if you were wondering.\"\n\n> You examine the chain\nAs you try, he raises an eyebrow and gives you a freezing look.\n\n> You go north\n\"I guess the other... ambassadors discuss this topic adequately.\"\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nThe Librarian Houtan greets you with a wide smile. \"Good morning, dear Farahnaaz! How're you today?\"\n\nYou can see Librarian Houtan here.\n\n> You talk to Houtan\nHoutan's gaze wanders towards the terrace as he strokes his moustache. \"Hmm maybe you've wondered who is the one sitting out there...\" You nod. He seems quite lost in thoughts; something unprecedented to your knowledge.\n\n> You ask Houtan about himself\n\"I'm as fine as ever. You know, I do love this place.\"\n\n> You tell you about Ardavaan\nLibrarian Houtan has better things to do.\n\n> Wave feather\nYou look ridiculous waving the feather.\n\n> You ask Houtan about the ambassadors\n\"You know how I feel about that. Perhaps I'm too pessimistic, but nothing is done out of pure goodwill my dear, not between distant lands who have had no relationships for decades.\"\n\n> You ask Houtan about the feather\n(the feather)\n\"Goknous is a perfect bird for sending urgent and important messages due to its speed, intelligence and fidelity. It's quite costly though, a very few people can afford to have one. And those who do avoid using it for everyday errands. That's why it's quite rare to see one flying about.\"\n\n> You ask Houtan about the book\n(the bookshelves)\n\"I wouldn't hinder you of course. But I'd suggest you wait for the attendants open the window shutters upstairs after lunch so you can find what you seek.\"\n\n> You ask Houtan about Ardavaan\n\"Ah, he arrived a little before dawn. I saw him when I was sweeping the terrace and spreading the rugs, so we sat down together and had our tea and breakfast outside, watching the sunrise. We had a chat about folkore and mythology; he seemed particularly interested when I talked about the goddess Amortaad - reminded me of yourself my dear, hmm... I told him to go to the old temple. He went there to make impressive drawings of Amortaad and... excuse me... Hello young man! Bring them to me, come here.\"\n\nYou turn and see a teenage boy behind you waiting with some books in his hands. He gives you an apologetic look as Librarian Houtan receives his books. You wait there to further the discussion.\n\n> You look at the boy\nLooks like a juvenile bookworm.\n\n> You ask Houtan about the boy\n(the boy)\nThere is no reply.\n\nThe teenage boy steps out of the library and walks away.\n\n> You ask Houtan about the temple\n\"The old temple is intriguing indeed. And in a good shape, too.\"\n\n> You ask Houtan about the books\n(the bookshelves)\nThere is no reply.\n\n> Up\nYou climb up the staircase.\n\nIt's very dark in here. Since the window shutters are closed, the upper part of the glowrock chandelier has gone out without having the chance to recharge with the morning sunlight. You can't walk without the risk of tripping on something. You better go get some sort of light source yourself, if you don't want to wait for the museum to open.\n\n> Down\nYou climb down the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nYou climb down the staircase.\n\nYou are in the bookcrafter's workshop, a spacious hall for copying, illustrating and repairing books where artisans like yourself work.\n\nThe staircase leads up to the library.\n\nYou can see your colleague Arjang sitting behind his desk. He looks up at you. \"Ah, Farahnaaz, how very unexpected to see you down here. Have you lost something?\" You frown defiantly. \"Uh, just joking. Actually I need your help. If you have some free time to talk to me...\" .\n\n> You talk to Arjang\n\"Thank you girl, I really appreciate your willingness to help. You see, one of the new trainees has somehow spilled my last pot of kingberry ink...\" You bite your lip to suppress a smile; only very dedicated artisans can ignore the delicious taste of the popular edible ink.\n\n\"... and I need some to finish the map I'm working on. It's to be given to the Ashtartan ambassadors, so I really don't have time to go searching among kingberry bushes... Please, get me some kingberries as soon as you can, and simply press their juice into this bottle. No need to add honeypine sap if freshly used.\" He hands you an empty ink bottle.\n\n> You ask Arjang about Ardavaan\n\"Yes, I saw him chatting with Houtan when I came in. He looked quite weary, I doubt it was only one night's sleep that he missed.\"\n\n> You ask Arjang about the kingberries\n\"Kingberry bushes are commonly found around the town. But the the problem is, the kids strip the bushes off any ripe fruit. You'll have more luck searching in a remote quiet place.\"\n\n> You ask Arjang about Behzaad\n\"You've got to tell me what he was so enthusiastically talking about the night before last night, at the dining hall. But not now, I'm too busy.\"\n\n> You ask Arjang about Houtan\n\"He tends to everything with genuine care while he makes you think all he does is relax behind his desk or brew his aromatic tea. I like him.\" You nod in agreement.\n\n> You ask Arjang about the book\nWhich do you mean, the bookshelves, the old books, the poem book or the books?\n\n> You look at the bottle\nAn empty ink bottle. You're supposed to fill it with kingberry juice.\n\n> You examine the desk\nIt's a big work desk currently fully covered with Arjang's tools, papers and stuff.\n\n> You look at papers\nThe paper supply is pretty low at the moment. And all of the remaining sheets seem to have been claimed by Arjang, the way he has hoarded them all together on his desk.\n\n> Up\nYou climb up the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\n> You look at glowstands\nClusters of glow orbs hang from glowstands like ripe fruit from tree branches (Houtan wouldn't risk firelight in his library, not when there's adequate daylight to charge the orbs). The glowstands are placed on the floor, in well-thought spots to provide enough light for browsing the shelves and reading at the tables.\n\n> You get glowstand\nYou carefully pick a single orb from a glowstand on a particularly sunny spot.\n\n> You look at orb\n(the glow orb)\nThis piece of glow crystal is as large as a walnut and is finely burnished. It seems to be fully charged, judging from the sunny spot you took it from.\n\nGlow orbs absorb light during the day and shine vigorously when it gets dim. They are a good cumulative light source together in form of clusters.\n\n> Up\nYou climb up the staircase.\n\nThe museum is a tidy hall filled with various exhibits, ranging from artworks and crafts and old objects to archeological findings.\n\nDisplay cases, shelves and tables occupy the most possible space without making it difficult to walk. A glass cabinet containing old books in a corner draws your attention.\n\nThe only exit is back down the staircase.\n\n> You open the cabinet\nIt seems to be locked.\n\n> You examine the cabinet\nIt's an ornate glass cabinet with wooden frame and glass doors. Within, you see several old books.\n\n> Smash cabinet\nYou tap on the glass experimentally. But much as you'd like to get a closer look at the poem book, you can't bring yourself to damage part of the museum.\n\n> You unlock the cabinet with the feather\nYou don't have the key to open it. The museum attendants will arrive after lunch.\n\n> You go south"
    },
    {
        "text": "> You describe your surroundings\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\nYou can also see Ardavaan here.\n\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\nYou can also see Ardavaan here.\n\n> You look at the vehicle\nIt's a one-man vehicle with a saddle instead of a seat; less cozy but easier to manoeuvre. It has a transparent shield in front to protect the pilot at high speed. It's bronze in color and has been damaged and patched up in various places and needs cleaning. Even though Ashtartan-made, it can't be one of those fabulous ones Nivanen saw last night.\n\n> You look at the pillar\nThe pillars are slender, made of tall poplar trunks and not very new. They bear engraved floral motifs.\n\n> South\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> Hello\nStarting a conversation with children while they outnumber you would encourage them to overwhelm you with their questions and chatter. You prefer to keep silent.\n\n> Southeast\nYou climb a steep road upward and enter the old temple.\n\nThe interior of this old temple is still relatively intact. There are shallow pools of water, and a beautiful dome overhead. The water is provided by a natural source boiling out of the mountain rocks and flowing from a wall behind a pair of statues. One of the statues represents the goddess Amortaad and the other her beast counterpart Senmervae.\n\nYou see a little boy sitting on a bench in here.\n\nAt the foot of the statues you see some flowers.\n\n> You examine the flowers\nA handful of wild flowers have been placed before Amortaad and Senmervae. You wonder who did this. Offerings are usually brought to the newer and grander ziggurat.\n\n> You examine boy\nA vicious little thing with sharp teeth! Not really, this one seems to be a calm boy. He's sitting near one of the pools.\n\n> You look at the statues\nNot all of the inlaid stones are left in their place, but the statues are in a good condition.\n\nOne of the statues represents Amortaad, and the other Senmervae. (You may examine each statue separately for more details.)\n\n[Picture number 5 here.]\n\n> You speak to the amortaad\nYou can only do that to something animate.\n\n> You examine the Amortaad\nThe life size figure chiselled on stone represents the once popular goddess Amortaad. She is still worshipped, you remind yourself, but no entire temple is dedicated to her anymore.\n\nThe figure is adorned with a necklace of gilded vine leaves, beads of lapis lazuli, and armbands with lion heads (a more ceremonial version of the ones you have). Her jet-inlaid eyes are outlined with thick black lines and she carries six weapons on her back; reminding you of Varkana's tradition of initiating a warrior to all those six weapons before letting them specialize in one.\n\n> You look at Senmervae\nThis statue represents a fabulous beast, which resembles a winged lion with ram horns, on whose back the goddess would ride out from her home at the source of the sacred river Surana on top of high mountains to visit lands and peoples (there is a debate on the location of the mountains; some even go so far to suggest they are somewhere in an old, distant world).\n\nThe lion's head and eyes are inlaid with colorful stones and the scaly neck is covered with a glistening green enamel. Senmervae's images often adorn schools, libraries and scientific books, because people associate it with science and knowledge.\n\n> You look at the pool\nThe fountains don't work and the mossy pools need cleaning. Still, stream water flows gently in the pools.\n\n> You look at the dome\nThe round dome overhead is not very high, producing a comfortable homey ambiance. It is decorated with light-colored motifs of mythological beings, intertwined with spiralled plants. Twelve windows, each made of a very thin layer of white stone, are installed on the dome to filter the sunlight."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> You describe your surroundings\nThe interior of this old temple is still relatively intact. There are shallow pools of water, and a beautiful dome overhead. The water is provided by a natural source boiling out of the mountain rocks and flowing from a wall behind a pair of statues. One of the statues represents the goddess Amortaad and the other her beast counterpart Senmervae.\n\nYou see a little boy sitting on a bench in here.\n\nAt the foot of the statues you see some flowers.\n\n> You get flowers\nIt's not acceptable to steal the offerings of Amortaad and Senmervae. After all, they're still venerated.\n\n> Drink water\nThe stream water is cold and refreshing.\n\n> You offer the feather to the amortaad\nYou can only do that to something animate.\n\n> You talk to the boy\nThe boy looks up to you, then his gaze shifts to the statues and pauses on the flowers. He then turns his head away.\n\n> You ask the boy about the flowers\n(the flowers)\nThere is no reply.\n\n> You go northwest\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You check what you're carrying\nYou are carrying:\na glow orb (providing light)\nan empty ink bottle\nsome jewelry (being worn)\nan outfit (being worn)\na feather\n\n> West\nThe bazaar of Arg Varkana is under high brick domes interconnected with vaulted corridors. All kinds of goods from every town in and around the Varkana region are traded here. It's usually crowded, but today even more so, thanks to the holidays and celebrations. You prefer to avoid going too far in the bazaar right now.\n\nThe exits are to the east, north and west.\n\nAmong the nearby merchandise an art stand catches your attention.\n\n> You examine the art stand\nLots of art supplies for sale. You just love examining all those tools and equipment. Now that you think of it, you might need to buy a new quill pen here if you can't get one elsewhere.\n\n> You buy the pen\nThey seem to cost at least one copper coin. You don't have any money.\n\n> West\nYou doubt you can make it to the other side of bazaar easily. You'd rather wait until it's less crowded.\n\n> Go north\nYou make your way through the crowd and get out of the bazaar.\n\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed mud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\n> You examine the cavity\nThe cavity starts in the middle of the mountain and continues northward, making the mountain and Arg Varkana itself roughly look like a crescent. In middle of the crescent and just down the stairs on your north is the cliffside balcony where people gather on special occasions.\n\n> You look at the guards\nTown guards are dressed in their colorful uniform. They're mostly talking to each other. There's occasional laughter here and there. Due to the absence of serious threats in these times, you can tell their task is no longer as challenging as it used to be.\n\n> You go the town hall\nMost of the public buildings are closed for holidays.\n\n> Down\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are placed here, and waiters are moving about placing plates and cutlery on them. Looks like preparations for a lofty lunch are under way.\n\nThe staircase leads up to the town center.\n\nYou can also see some waiters here.\n\n> You examine the canyon\nBeautiful sight.\n\n> You check what you're carrying\nYou are carrying:\na glow orb (providing light)\nan empty ink bottle\nsome jewelry (being worn)\nan outfit (being worn)\na feather\n\n> You examine gardens\nNice decorative plants.\n\n> Go up\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed\n\n> Up\nmud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\nYou can't go that way.\n\n> You go to the north-west\nYou go walking in the streets and alleys for a while. Finding nothing of interest, you head back to the town center.\n\n> Go south\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed mud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\n> You go southeast\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You go south\nYou walk down to the school, and find the gates closed as you expected. The classes will begin after the grape harvest is usually done, which is in a month. You return to the square.\n\n> You put cat in the bottle\nIt's an ink bottle; you'd rather to respect its purpose.\n\n> Go north\nYou walk into a shady circular place, which your mother used to humorously call \"park of the youth\" due to the ironic fact of it being a meeting point for old aunties and uncles. Some benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nThe terrace and your room are to the west, and the vineyard is to the south.\n\n> You take the berries\nYou find some ripe kingberries. While picking them, you discover a ribbon in the bush and take it too.\n\n> You look at the ribbon\nIt's a red ribbon. Used to tie a little girl's hair no doubt.\n\n> You wear the ribbon\nYou weave a thin braid on the side of your face and fasten its end with the ribbon. You then blend it with the rest of your loose hair.\n\n> You put the berries in bottle\nYou carefully press the kingberries, and let the dark juice drip into the ink bottle. Once you collect a good amount of ink, you eat the remains and lick your fingers clean.\n\nNow you have a bottle of kingberry juice. You hold it up in admiration.\n\n> Drink juice\nYou take a small sip. It's very tasty...\n\n> You examine the old couple\nThe couple are resting their old bones in this pleasant, quiet place. A luxury you'll have aplenty when you're their age.\n\n> You ask the couple about the old age\nThe old woman shakes her head and points vaguely to your direction, and goes on about how life is getting worse and worse for the youth these days. You feel slightly depressed.\n\n> You talk to the couple\nDuring their conversation, the old man suddenly breaks into a laughter which turns into a series of coughs.\n\n> West\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> West\nYou enter the bath hall near your home. This is a round hall with a single hexagonal pillar at the center. Bath chambers line the wall, forming a semicircle, and mirrored dressers are placed around the central pillar. There are some chests at the entrance to keep people's extra belongings. Above them, clean bath towels are hung from the wall.\n\nHot water in this bath is drawn from a natural source, reducing the burden of warming up the water for the bathkeepers. No one's bathing at the moment, since most people wake up at dawn... The entrance is to the east, and the swimming pool is to the south.\n\nYou can see Nivanen and Hairdresser Rana here.\n\n> You talk to Nivanen\n\"Once I've washed my hair I'll go and prepare for lunch. You know, they'll be dining in the cliffside balcony today! I don't want to miss that. Oh, and if you find Rasha would you please bring him here? I want to wash him too. I can't go looking for him like this, with my hair wrapped in this awful paste.\" She gives you a pleading look.\n\n> You talk to Rana\n\"Nice to see you, Farahnaaz,\" she says without raising her head from her origami model.\n\nNivanen looks at you from the mirror. \"See what she's done to me?\" she says while pointing to her head. She gestures her other hand in Rana's direction, who grins without looking up from her work. \"Now I must wait here until the herbs do their marvel to my hair. It was her idea, not mine,\" her voice turns into a murmur. \"I just showed her the sachet of herbs I got from apothecary.\" She looks up at you again, \"It's just so... boring!\"\n\n> You ask Nivanen about Ardavaan\n\"Awesome. We can go and see him after lunch, if you want,\" she grins.\n\n> You get the towel\nYou'd take one before going to wash or swim. But currently you don't want to do either.\n\n> Bath\nWhat do you want to bath?\n\n> You look at the bath\nIn the bath chambers one can take a hot shower and bathe. They're all empty at the moment.\n\n> South\nThe swimming pool is delightful at times like this; everybody's gone after their daily business and it's empty. The water reflects the sunlight from the windowed roof above.\n\nThe only exit is to the bath hall to the north.\n\n> You dive in the pool\nReluctant to get all wet, but still tempted to feel the water, you sit on the steps and dip your bare feet into the pool for a while. Once satisfied, you get up and put your shoes back on.\n\n> North\nThis is a round hall with a single hexagonal pillar at the center. Bath chambers line the wall, forming a semicircle, and mirrored dressers are placed around the central pillar. There are some chests at the entrance to keep people's extra belongings. Above them, clean bath towels are hung from the wall.\n\nThe entrance is to the east, and the swimming pool is to the south.\n\nYou can see Nivanen and Hairdresser Rana here.\n\n> Search chests\nThe chests are empty.\n\n> You examine the dressers\nMirrored dressers are placed around the hexagonal pillar. They're usually used by those who've taken their bath and want to tidy up their hair.\n\n> Go southeast\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha here.\n\nYou go strolling among the vines for a while. You find nothing out of the ordinary and come back.\n\n> You take Rasha\nYou take one step towards the cat, but he casually goes the same distance away from you. Maybe according to some feline concept of private space.\n\n> You tie the ribbon to Rasha\n\"Hiss!\" You now have some stripes on your skin.\n\n> Inventory\nYou are carrying:\na bottle of kingberry juice\na ribbon (being worn)\na glow orb (providing light)\nsome jewelry (being worn)\nan outfit (being worn)\na feather\n\n> You show the ink bottle to Rasha\nRasha is unimpressed.\n\n> You show the feather to Rasha\nIt'd be a pity to ruin such a rare feather only to impress a cat. You'd prefer a less regrettable substitute.\n\n> You show the ribbon to Rasha\nRasha looks at the ribbon as you show it and drag it temptingly out of his reach. His pupils get wide and he lies down in a camouflaging fashion, tracking his prey. Maybe he'd let go of his prudence and come nearer.\n\n> You go north\nSome benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nThe terrace and your room are to the west, and the vineyard is to the south.\n\n> You show the ribbon to Rasha\nYou can only do that to something animate.\n\n> You go south\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha here.\n\n> You get the cat\nYou take one step towards the cat, but he casually goes the same distance away from you. Maybe according to some feline concept of private space.\n\nRasha regains his composure, mentally forgetting your ribbon.\n\n> Wave ribbon\nYou take one step towards the cat, but he casually goes the same distance away from you. Maybe according to some feline concept of private space.\n\nYou look ridiculous waving the ribbon.\n\n> You show the ribbon to the cat\nRasha crawls closer on his big belly, all his attention focused on the ribbon. His flanks bump left and right as he adjusts his thick hindlegs for a jump. He no longer pays any attention to you.\n\n> You get the cat\nYou give the ribbon one final tempting pull as Rasha leaps over it. While biting at the ribbon, he ignores your two hands as you grab him from under his plump arms and lift his heavy body. When he realizes he's been lifted, he groans and chews at the ribbon stubbornly.\n\n[Picture number 4 here.]\n\n> Pet rasha\nHe pulls back his head and raises a clawed paw in order to defend himself if need be. You can't help but to snarl at him, which only proves his point.\n\n> Go south\nThis is a round hall with a single hexagonal pillar at the center. Bath chambers line the wall, forming a semicircle, and mirrored dressers are placed around the central pillar. There are some chests at the entrance to keep people's extra belongings. Above them, clean bath towels are hung from the wall.\n\nThe entrance is to the east, and the swimming pool is to the south.\n\nYou can see Nivanen and Hairdresser Rana here.\n\nThe swimming pool is delightful at times like this; everybody's gone after their daily business and it's empty. The water reflects the sunlight from the windowed roof above.\n\nThe only exit is to the bath hall to the north.\n\n> Swim\nWhat do you want to swim in?\n\n> You give the cat to Rana\n\"Pesky cat. I had to put him out when I was attending to my customers.\"\n\n> You drop the cat\n\"Meeow!\" \"Ooh look who's come to see me!\" The cat presses his head against her chin, purring as she laughs, then jumps down and turns around her feet.\n\n> You talk to Rana\nShe's too preoccupied with her origami model to talk further.\n\n> Dance\nYou dance to an imaginary rhythm.\n\n> You get model\nShe slaps your hand. \"Don't touch. I'm still working on it, you see.\"\n\n> You examine the origami\nA gorgeous, intricate work, resembling a composite beast. You wonder how many hours it has taken her so far, and how much longer it will take until it's finished.\n\n> You follow\nWhat do you want Nivanen to follow?\n\n> Yourself\nNivanen has better things to do.\n\n> Go south\nYour room is cozy and comfortable with meticulously selected furniture and decoration. A mirrored dresser is placed near the open window, with a small marble basin and a pitcher next to it. And at the foot of your bed there is a chest.\n\nThe only exit is to the north.\n\n> You look under the bed\nIt is clean. You wouldn't allow spiders in your room.\n\n> Go southeast\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\n> Go west\nYou take the path westward which leads to a square in the town.\n\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You go north\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\nYou can also see Ardavaan here.\n\n> Go north\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> Go downward\nYou climb down the staircase.\n\nYou are in the bookcrafter's workshop, a spacious hall for copying, illustrating and repairing books where artisans like yourself work.\n\nThe staircase leads up to the library.\n\nYou can see your colleague Arjang here. He is sitting behind his work desk.\n\n> You give the bottle to Arjang\n\"Many thanks! Now with luck I'll finish this map very soon and pass it on. Neat work eh?\" You agree it's very well done. He fills his ink pot and hands you back the remainder of the kingberry juice. He goes back to his work, with a considerably better morale.\n\n> You ask Arjang about map\n(Arjang's works)\nThere is no reply.\n\n> Kiss arjang\nYou let your long, wavy hair cascade down on his desk as you lean toward him for a kiss. He gasps. \"Farahnaaz! Need I explain again why loose hair has no place in the workshop? And please stand back, I can't work with your shadow on my map. I'll let you examine it thoroughly once it's finished, I promise.\"\n\n> You put the feather in the ink\nThe feather's shaft is not cut to make a decent quill. You could draw steadier lines with a fingernail.\n\n> Kick arjang\nHe firmly holds you back \"Careful, girl! I won't have these papers creased only because you don't look where you're walking... uh, sorry for the ink stain. But be careful! Nice outfit anyways.\"\n\n> You examine the outfit\nYou're wearing a maroon leather top and pants. A nice gift from Bastovaan, the old beast tamer.\n\n> Go upwards\n\"Wait...\" You turn back as Arjang calls you. \"What's that red feather you're carrying? It's beautiful, and if it's what I think it is...\"\n\n> You give the feather to Arjang\nHe inspects the feather carefully, balancing it between his fingers \"This... is magnificent. It's indeed from a goknous. Where did you get it? It doesn't matter. What matters is, I can make you an exceptional quill out of it. Wait a minute...\"\n\nHe searches around the desk and gathers a knife, a ruler, a pair of tweezers and some other tools. Shortly after, he hands you a premium quality quill pen. \"Here's something to recompense for the ink errand.\" He winks at you and returns to his work.\n\n> Go upwards\nYou climb up the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\n> Go upward\nYou climb up the staircase.\n\nThe museum is a tidy hall filled with various exhibits, ranging from artworks and crafts and old objects to archeological findings.\n\nDisplay cases, shelves and tables occupy the most possible space without making it difficult to walk. A glass cabinet containing old books in a corner draws your attention.\n\nThe only exit is back down the staircase.\n\n> You open the cabinet\nIt seems to be locked.\n\n> You look at what you're carrying with you\nYou are carrying:\na quill pen\na bottle of kingberry juice\na ribbon (being worn)\na glow orb (providing light)\nsome jewelry (being worn)\nan outfit (being worn)\n\n> You look at the cases\nEvery article is neatly and painstakingly labelled and placed where it belongs: display cases, pedestals, tables, shelves or walls. You admire the order.\n\n> You look at the stand\nLots of art supplies for sale. You just love examining all those tools and equipment.\n\n> Go north\nYou make your way through the crowd and get out of the bazaar.\n\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed mud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\n> You wait\nTime passes.\n\n> Go south\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed mud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\n> You go to the north-west\nYou go walking in the streets and alleys for a while. Finding nothing of interest, you head back to the town center.\n\n> You look at the town hall\n\"This is indeed too fine a day for trouble, isn't it, citizen? Stay out of harm and don't get involved in anything mischievous.\"\n\nMost of the public buildings are closed for holidays.\n\n> Go south\nThe bazaar of Arg Varkana is under high brick domes interconnected with vaulted corridors. All kinds of goods from every town in and around the Varkana region are traded here. It's usually crowded, but today even more so, thanks to the holidays and celebrations. You prefer to avoid going too far in the bazaar right now.\n\nThe exits are to the east, north and west.\n\nAmong the nearby merchandise an art stand catches your attention.\n\n> You go west\nYou doubt you can make it to the other side of bazaar easily. You'd rather wait until it's less crowded.\n\n> You examine the art stand\nTime passes.\n\nLots of art supplies for sale. You just love examining all those tools and equipment.\n\n> You go to the east\nYou make your way through the crowd and get out of the bazaar.\n\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You follow you\nThe kids have better things to do.\n\n> You get all\nwaiters: I don't suppose the waiters would care for that.\nchair: You won't need to carry a chair.\n\n> You sit\nWhat do you want to sit on?\n\n> Chair\nYou get onto the chair.\n\n> You wait\nTime passes.\n\n> You eat the lunch\n(first taking the food)\nWait for the lunchtime, it'll be more appropriate.\n\n> You look\nCliffside balcony (on the chair)\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are placed here, and waiters are moving about placing plates and cutlery on them. Looks like preparations for a lofty lunch are under way.\n\nYou can see some waiters here.\n\n> You get the lunch\nWait for the lunchtime, it'll be more appropriate.\n\n> You go south\nYou'll have to get off the chair first.\n\n> You eat the waiters\n(first taking the waiters)\nI don't suppose the waiters would care for that.\n\n> You eat the lunch\n(first taking the food)\nWait for the lunchtime, it'll be more appropriate.\n\n> You get up\nYou get off the chair.\n\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are placed here, and waiters are moving about placing plates and cutlery on them. Looks like preparations for a lofty lunch are under way.\n\nThe staircase leads up to the town center.\n\nYou can also see some waiters here.\n\n> You go fountain\nWith an impressive splash, you jump into the shallow water. Some of the kids are fascinated by the idea and hurry to join you...\n\nYou manage to get out before you're totally drenched.\n\n> You look at the kids\nMany of the town children are gathered here. You recognize some of them due to their frequent visits to the library and occasionally creeping into the workshop. Most of them are playing.\n\n> Go east\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\n> You go north\nSome benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nThe terrace and your room are to the west, and the vineyard is to the south.\n\n> You go west\nThis is a round hall with a single hexagonal pillar at the center. Bath chambers line the wall, forming a semicircle, and mirrored dressers are placed around the central pillar. There are some chests at the entrance to keep people's extra belongings. Above them, clean bath towels are hung from the wall.\n\nThe entrance is to the east, and the swimming pool is to the south.\n\nYou can see Rasha, Nivanen and Hairdresser Rana here.\n\n> You get hairpin\nYou already have those.\n\n> You ask Nivanen about the ambassadors\n\"They seemed to be ok; none of them was wearing an Ember medallion. You don't need to worry.\"\n\n> Wash cat\n\"Hiss!\" You now have some stripes on your skin.\n\n> You ask Nivanen about Library\n\"I won't step into that place now that the school's over! You surely have nerves to live in there.\"\n\n> You examine the platform\nA conventional landing spot for landing hawks, drakes, or - if from a Sarvegnian community or something similar - airborn vehicles. It's made from stone, and is circular, measuring about four meters in diameter. Three crystalline glow orbs are inlaid within its brim to make it recognizable at night.\n\nSome of the wild herbs around the platform are burnt. From those and the fresh oil stains you conclude someone has landed here recently. However, it's an obsolete platform, too far from any functioning nest to be practical.\n\n> You look at the jewelry\nYour jewelry include armbands, a torc, hairpins and earrings that usually accompany you during the day.\n\n> Go west\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\n> You go to the west\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou take the path westward which leads to a square in the town.\n\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You go north\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\nYou can also see Ardavaan here.\n\n> Go north\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\n> You ask Ardavaan about book\n(the books)\n\"Much that has faded from memory may be reawakened through written words... If you know where to look.\"\n\n> You examine the rugs\nThey seem to be old. They contain animal and floral patterns.\n\n> You look at the vehicle\nIt's a one-man vehicle with a saddle instead of a seat; less cozy but easier to manoeuvre. It has a transparent shield in front to protect the pilot at high speed. It's bronze in color and has been damaged and patched up in various places and needs cleaning. Even though Ashtartan-made, it can't be one of those fabulous ones Nivanen saw\n\n> You put the quill in the ink\nlast night.\n\nYou dip the quill in ink. However, you still need a paper to draw on.\n\n> Go north\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\n> You ask Arjang for the paper\n\"Sorry, but I really need what's left of our paper supply. Besides, you don't have any commissions right now.\"\n\n> You ask Arjang about the poetry book\n\"Due to this map and a dozen more works I cannot look into new comissions. That's what idle artisans are for, don't you think?\"\n\n> You ask Arjang about Houtan\n\"He tends to everything with genuine care while he makes you think all he does is relax behind his desk or brew his aromatic tea. I like him.\" You nod in agreement.\n\n> You ask Houtan about the poetry book\n\"I wouldn't hinder you of course. But I'd suggest you wait for the attendants open the window shutters upstairs after lunch so you can find what you seek.\"\n\n> You follow you\nLibrarian Houtan has better things to do.\n\n> You look at the tables\nThe lunch will be served on these tables.\n\n> You look at the chairs\nSimple wooden chairs are placed around the tables.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on the chair\nYou get onto the chair.\n\n> You talk to the waiter\nThey seem to be fairly busy and you don't feel like disturbing them. You don't need anything for the moment anyways.\n\n> You eat\nWhat do you want to eat?\n\n> You look at the food\nThe food that's being prepared smells fantastic.\n\n> You smell food\nThe food smells very good!\n\n> You buy the food\nNothing is on sale.\n\n> You look\nCliffside balcony (on the chair)\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are placed here, and waiters are moving about placing plates and cutlery on them. Looks like preparations for a lofty lunch are under way.\n\nYou can see some waiters here.\n\n> Clean pool\n\"The pools are too slippery. I might get hurt.\"\n\n> You get the stones\nThose seem to be a part of the statues.\n\n> You take the javelin\nThey're fixed in place.\n\n> You examine the beast\nThis statue represents a fabulous beast, which resembles a winged lion with ram horns, on whose back the goddess would ride out from her home at the source of the sacred river Surana on top of high mountains to visit lands and peoples (there is a debate on the location of the mountains; some even go so far to suggest they are somewhere in an old, distant world).\n\nThe lion's head and eyes are inlaid with colorful stones and the scaly neck is covered with a glistening green enamel. Senmervae's images often adorn schools, libraries and scientific books, because people associate it with science and knowledge.\n\n> You go northwest\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You go south\nYou walk down to the school, and find the gates closed as you expected. The classes will begin after the grape harvest is usually done, which is in a month. You return to the square.\n\n> Go east\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\n> Go northwest\nYou cross the shady park, and climb up the stairs to reach the terrace.\n\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> You examine the estate\nIt's the house of an old surgeon and his wife. You see them often, but you have never seen much of their house due to the walls and the ancient trees that surround it.\n\n> You climb the walls\nNo way, not again...\n\n> Go south\nYour room is cozy and comfortable with meticulously selected furniture and decoration. A mirrored dresser is placed near the open window, with a small marble basin and a pitcher next to it. And at the foot of your bed there is a chest.\n\nThe only exit is to the north.\n\n> Open chest\nThe chest contains some clean clothes. You rummage a bit until you select an outfit. Once you have changed your clothes, you close the chest.\n\n> Open chest\ntones. Your favorite color combination.\n\nThe chest contains some clean clothes. You rummage a bit until you select an outfit. Once you have changed your clothes, you close the chest.\n\nYou're now wearing a hand printed silk dress in gold and lapis lazuli tones. Your favorite color combination.\n\n> Open chest\nThe chest contains some clean clothes. You rummage a bit until you select an outfit. Once you have changed your clothes, you close the chest.\n\nYou're now wearing a hand printed silk dress in gold and lapis lazuli tones. Your favorite color combination.\n\n> You look at the basin\nA small white stone basin is installed on a protrusion from the wall. Next to it there's a pitcher filled with water you use to wash your face and hands. For a real watery experience however, you'd go to a bath hall and pool not far from here.\n\n> You go to the north\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> You ask Nivanen about the dinner\nMirrored dressers are placed around the hexagonal pillar. They're usually used by those who've taken their bath and want to tidy up their hair.\n\nThere is no reply.\n\n> Go south\nHairdresser Rana has better things to do.\n\nThe swimming pool is delightful at times like this; everybody's gone after their daily business and it's empty. The water reflects the sunlight from the windowed roof above.\n\nThe only exit is to the bath hall to the north.\n\n> You examine the roof\nDaylight infiltrates abundantly through the windowed roof.\n\n> You ask Rana about the paper\n(papers)\nThere is no reply.\n\n> You examine Ardavaan\nHe has dark hair, high brow and accented cheekbones, and carries a scar on his chin.\n\nHe's sitting on a rug while keeping his booted feet out. There are piles of books around him and he's currently studying a particularly heavy one which is laid open in front of him.\n\n> You ask Ardavaan about the book\n(the books)\nThere is no reply.\n\n> You look at the book\nThe books are diverse but most seem to be on mythological topics. A particularly heavy one lies open on the rug. You recognize it with no difficulty; this book was once repaired by yourself under Behzaad's direction when you were a new apprentice.\n\nThe heavy book contains praises to spirits, elements, constellations and gods. Including records of the offerings and libations to those entities from the kings, queens and heros, and the constructions that were built for their love and honor.\n\n> You ask Ardavaan about Houtan\n\"A resourceful man, with a suitable job.\"\n\n> You ask Ardavaan about the books\n(the books)\n\"Much that has faded from memory may be reawakened through written words... If you know where to look.\"\n\n> You ask Ardavaan about Behzaad\n\"So he has even been to your town. I knew the old jackal back in Ashtarta. He is a remarkable craftsman indeed... And you say, he just left the town?\"\n\nYou nod. \"Yesterday afternoon.\"\n\nHe looks away. \"Lucky him...\" You wait for him to continue, but he doesn't seem to intend to.\n\n> You ask Ardavaan about everything\nThere is no reply.\n\nThere is no reply.\n\n> Examine book\nThe books are diverse but most seem to be on mythological topics. A particularly heavy one lies open on the rug. You recognize it with no difficulty; this book was once repaired by yourself under Behzaad's direction when you were a new apprentice.\n\n> You examine the rug\nThey seem to be old. They contain animal and floral patterns.\n\n> Mount vehicle\nYou reach for the handles and begin to mount the saddle, but a stare from the owner of the vehicle discourages you from going on.\n\n> You pull the rug\nThose are fixed in place.\n\n> Lift rug\nYou can only do that to something animate.\n\n> You show the ribbon to Ardavaan\nArdavaan is unimpressed.\n\n> Kiss ardavaan\nSomething about his sharp gaze freaks you out. No way.\n\n> Go north\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\n> Kiss houtan\nTo express your affection, you blow a kiss to Librarian Houtan.\n\n> You examine Houtan\nHoutan is a good-natured, merry, elderly man who loves to talk (and he's good at that; he always has things to say on various topics) with a red face, thining hair, and blond scrolled moustaches. He attends to the library very well, giving a lot more than what his job demands of him.\n\n> You ask Houtan about Ardavaan\nLibrarian Houtan rubs his chin, trying to remember where he left off. \"Hmm. Yes, he was very dry and nearly hostile, until I talked about the topics that attracted his attention.\"\n\nHe pauses for a while, studying you, then adds, \"Hmm, he's not social and appreciates his privacy here so I did not inform anyone of his arrival. But... maybe you can talk to him further? However, he lacks a night's sleep and seemed frustrated after being encircled by fair women of your age. So be careful. This fresh opportunity, as well as his unguarded enthusiasm, may fade after official meetings and new ties.\"\n\nEven though he didn't mention it, you can tell he is somehow worried. You're not quite convinced however, and he seems to read it on your face. You weigh your thoughts before you decide to discuss the topic further.\n\n> You ask Houtan about Ardavaan\nYour further inquisition lightens him up. \"I know you so well that I believe you'll truly benefit from this precious opportunity to discuss things first-handedly with an Ashtartan. This one in particular seems to have common interests with you, which you could use to start a conversation with him. In a wider scope...\"\n\nHe pauses a moment, his expression getting serious, \"It might give us a thin chance to start our relations with less influence from... businessmen, politicans and soldiers.\" He utters the last words with a hint of disgust. \"Sarvegnians will follow Ashtartans' example, remember when I told you this. We better let it be as incorrupt an example as possible.\"\n\nEven though you don't share his concern (which makes you feel a bit... guilty) you don't have the heart to refuse him a request; something he almost never makes. You finally agree to talk to Ardavaan, which seems to be the only thing Librarian Houtan hoped to hear. He regains his composure and smiles at you.\n\n> You go south\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\nYou can also see Ardavaan here.\n\n> You talk to Ardavaan\nGathering your courage, you find a place on the other side of the book pile and fetch a cushion to sit on. Ardavaan, who was momentarily distracted, turns his attention back to the book before him. You try to sound as unobtrusive as possible, \"Well, um... if I can help you with finding something, just let me know. I work here. And I'm familiar with such topics,\" you point to the big book he's studying.\n\n\"You're... familiar with the written myths. I'll try not to forget it.\" His eyes remain fixed on the book. You frown, and can't help retaliating, \"To put it in such a crude manner, yes. This one we're looking at, for example, took two months of work. I redid the binding, repaired the pictures, and even some of the text. I'm indeed familiar with the written myths.\" You instantly regret your tactlessness. That wasn't quite you.\n\nHe trails the contours of a picture with his fingertip, \"So, you repair books?\"\n\n\"Mainly, yes. I mean, I do illustrations in the bookcrafters' workshop. Especially gilded images.\"\n\n\"You must receive plenty of comissions.\"\n\nHis brief compliment doesn't totally cheer you, but you recover your modesty, \"Oh... not often these days. And it's just thanks to my mentor, Behzaad, that I managed to make it this far.\"\n\n\"He chooses the books for you?\" You'd swear his gaze just intensified. You reply nevertheless, \"Seldom, his apprentices share the work themselves becau-\" \"Has... Behzaad... chosen a book for you?\"\n\nYou feel a tingling in the back of your neck. \"Yes, recently he told me to repair an old poem book from the museum's collection just before he left town, which I haven't done yet. Uh... what?\" The tingling goes as quickly as it came. You wonder if it was your imagination.\n\nA smile crosses his lips, \"From what I hear, the last task he requests from his pupils is usually an extraordinary one. I wonder what's in that old poem book he asked you to repair. Something exciting, no doubt.\" He carefully closes the big book before him. \"I must go and join the other ambassadors now. I wish I could stay here longer, or visit the old temple over there to do a drawing of Senmervae. But my time is short...\" He gets up and starts tidying the books on a table.\n\n\"Perhaps I can do it? The drawing, I mean,\" you ask hesitantly.\n\n\"Ah, actually I'd really appreciate that. If you have time, of course.\"\n\n\"I do, besides, it's a pleasant thing to draw. See you at lunch, I guess.\"\n\nYou watch as he mounts his vehicle and silently glides away. You rub your neck and wonder what Houtan will think... You shrug; diplomacy has never been your forte.\n\n> You talk to Ardavaan\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> Go north\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> Go downward\nYou climb down the staircase.\n\nYou are in the bookcrafter's workshop, a spacious hall for copying, illustrating and repairing books where artisans like yourself work.\n\nThe staircase leads up to the library.\n\nYou can see your colleague Arjang here. He is sitting behind his work desk.\n\n> You get the paper\n\"Sorry, but I really need what's left of our paper supply. I guess your drawing has to wait, unless you go get your paper from elsewhere.\"\n\n> You ask Arjang about the paper\n(the papers)\nThere is no reply."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Describe the surroundings\nYou are in the bookcrafter's workshop, a spacious hall for copying, illustrating and repairing books where artisans like yourself work.\n\nThe staircase leads up to the library.\n\nYou can see your colleague Arjang here. He is sitting behind his work desk.\n\n> Go upwards\nYou climb up the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the\n\n> Go south\nlarge windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Librarian Houtan here.\n\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\n> Go south\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\n> Go east\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> You go to the north-west\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha and Nivanen here.\n\nNivanen is now dressed up in her colorful guard suit and carries her six weapons on her back. Rasha wrinkles his nose and watches you suspiciously.\n\n\"Ha, thanks again for bringing Rasha to me. What's up? ... I'm going to the town center. Remember the lunch will be served on the cliffside balcony, and it's your turn to be my guest.\" You thank her and assure her that you'll be there.\n\nYou cross the shady park, and climb up the stairs to reach the terrace.\n\nYou are on the open terrace by your room. The way to the north is blocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\n> Go west\nThis is a round hall with a single hexagonal pillar at the center. Bath chambers line the wall, forming a semicircle, and mirrored dressers are placed around the central pillar. There are some chests at the entrance to keep people's extra belongings. Above them, clean bath towels are hung from the wall.\n\nThe entrance is to the east, and the swimming pool is to the south.\n\nYou can see Hairdresser Rana here.\n\n> You give the paper\n(papers to Hairdresser Rana)\nHairdresser Rana has better things to do.\n\n> You ask Rana for the paper\n(the paper)\nKnowing Hairdresser Rana, she will probably allow you to have one of her artistic provisions if you ask her for it nicely.\n\n(papers)\n\"Mind giving me a sheet of paper please? I need a neat one for drawing.\"\n\n\"Of course not. Here, do you like this speckled beige sheet? It's actually more suited for drawing than origami.\"\n\n\"Yes, many thanks!\"\n\n> You look at the paper\n(the paper)\nA nice sheet of paper from Hairdresser Rana's exquisite supply.\n\n> You check your inventory\nYou are carrying:\na paper\na quill pen\na bottle of kingberry juice\na ribbon (being worn)\na glow orb (providing light)\nsome jewelry (being worn)\nan outfit (being worn)\n\n> Go east\nYou are on the open terrace by your room. The way to the north is\n\n> You go southeast\nblocked by the high walls of a private estate surrounded by tall trees.\n\nSome stairs lead downward, to a shady park to the east and eventually to the vineyard in the southeast. More stairs lead upward to the west. Your room is to the south.\n\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Rasha and Nivanen here.\n\nRasha continues walking to the direction of the square, looking back once in a while to see if his mistress is following.\n\n\"I'm very hunrgy! Well, see you in the cliffside balcony...\" Nivanen walks off the road to the west, occasionally calling after Rasha.\n\n> Go southeast\nYou take the path westward which leads to a square in the town.\n\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou can also see Nivanen here.\n\nYou climb a steep road upward and enter the old temple.\n\nThe interior of this old temple is still relatively intact. There are shallow pools of water, and a beautiful dome overhead. The water is provided by a natural source boiling out of the mountain rocks and flowing from a wall behind a pair of statues. One of the statues represents the goddess Amortaad and the other her beast counterpart Senmervae.\n\nYou see a little boy sitting on a bench in here.\n\nAt the foot of the statues you see some flowers.\n\n> You draw Senmervae\nYou put the paper and the ink bottle on the floor and carefully start tracing the figure on the paper. After a while, the little boy comes up and watches from behind your shoulder as you add the details.\n\n\"How do you do that?\" He finally breaks the silence.\n\n\"Drawing? I train a lot. It's my hobby and job,\" you reply while doing the finishing touches.\n\nHe leans on you as you hold up the finished drawing, his nose almost touching the paper. \"Whoa! It's superb!\" Due to his sudden weight on you, your elbow tips the kingberry juice bottle which rolls away and crashes into a shallow pool. You sigh in relief for holding the drawing up. He apologizes and gets back on the bench, promising to clean up the mess later.\n\n> You examine the drawing\nIt's a drawing of the statue of Senmervae in the old temple, signed by your own hand.\n\n> You look at the pool\nThe fountains don't work and the mossy pools need cleaning. Still, stream water flows gently in the pools.\n\n> You go north\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are occupied by townspeople, on which tasty food and good wine are served. Waiters constantly move about and tend to every request.\n\nThe staircase leads up to the town center.\n\nYou can also see Nivanen, Ashtartan ambassadors, some friends, some townspeople, Marita, Lady Atossa, Rasha and some waiters here.\n\nNivanen beckons you to a nearby table populated by a group of your friends. You both go there and sit down, getting involved in conversation and eating.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on the chair\nBut you're already on the chair.\n\n> You look at the ambassadors\nThey are handsome men and women indeed, all wearing neat gold-embroidered suits decorated with medals and insignia. They are seated at two tables, with Lady Atossa and some other high-ranking officials, and are busily engaged in conversation.\n\nHowever, you can't find Ardavaan anywhere among them. This suddenly alarms you... Looks like he didn't go joining his colleagues as he had told you. You wonder what Nivanen would make out of it.\n\n> You examine the lunch\nSaffron rice with roasted almonds, turkey in pomegranate and walnut sauce, barberry glazed chicken... along with sherbet and wine. Everything at its best.\n\nYou notice Rasha climbing up the stairs. He then quickly runs off and disappears from sight.\n\n> You say MMMMMM pomegranate\nWhom do you want to say that to?\n\n> You talk to Atossa\nShe's sitting far from you. At any case you wouldn't dare disturb her.\n\n> You examine Atossa\nThe sovereign of Varkana (also called Argbaan, which in local dialect means \"the guardian of the fortified town\") looks strikingly regal, which is not due to her glistening tiara or amazing blue dress but something more profound.\n\nShe's seated at the same table with some Ashtartan ambassadors and diplomats. But she doesn't quite participate in the seemingly heated conversation which is going on around the table and has a rather thoughtful air about her.\n\nMarita, her cheetah companion, is snoozing at her feet.\n\n[Picture number 6 here.]\n\n> You look at Marita\nWhile still a cub this cheetah was rescued from a fire incident in the woods by a group of firefighters accompanied by the then Argbaan to-be, Lady Atossa herself. She favors Marita a lot and the two are good friends. Some even say Marita is likely to express the feelings her mistress hides behind a calm face.\n\nMarita has stretched her graceful, variegated body on the floor near the table. She's seemingly snoozing at her mistress's feet. Her long tail, however, is tapping on the floor in an uncomfortable rhythm."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nCliffside balcony (on the chair)\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are occupied by townspeople, on which tasty food and good wine are served. Waiters constantly move about and tend to every request.\n\nYou can see Nivanen, Ashtartan ambassadors, some friends, some townspeople, Marita, Lady Atossa and some waiters here.\n\n> You examine Nivanen\nNivanen is dressed up in her colorful guard suit. She's placed her weapons next to her chair.\n\n> You examine weapons\nThe traditional weapon set of a Varkana warrior consists of a sword, an axe, a mace, a bow, a javelin and a baton. All are slender-built and are strapped on the back. Sometimes the weapon in which they specialize is larger, which is not the case for Nivanen's axe.\n\n> You ask Nivanen about Ardavaan\nYou anxiously tell her about not seeing Ardavaan among the ambassadors, and that he hasn't actually joined them or signaled his arrival since he came.\n\n\"Looks a bit suspicious. A shy ambassador who comes here for... drawing and reading books. Hmm... Librarian Houtan could do with more prudence. But for now, I'll go and take a look. Perhaps he just got lost in the town bazaar or something. He'd surely regret missing this lunch.\" Nivanen says as she takes her weapons to strap them to her back. \"Me too, I hope he's just lost...\" \"Let's go search, and perhaps ask for aid.\"\n\nNivanen excuses the two of you from the others at the table and hurries to the staircase, beckoning you to follow.\n\n> Go upwards\nYou'll have to get off the chair first.\n\n> You get up\nYou get off the chair.\n\nThe natural terraced balcony is surrounded by ornate gardens and overlooks the deep canyon down below. It's a popular spot for celebrations and other public events.\n\nNumerous tables and chairs are occupied by townspeople, on which tasty food and good wine are served. Waiters constantly move about and tend to every request.\n\nThe staircase leads up to the town center.\n\nYou can also see Ashtartan ambassadors, some friends, some townspeople, Marita, Lady Atossa and some waiters here.\n\n> Go upward\nYou're in a sunlit plaza which is abundantly decorated with rose bushes and cypresses. Public buildings such as the town hall and guild headquarters encircle the plaza. Their golden-ochre stone, blue-glazed mud brick masonry and crenellated walls are some of the finest in the town.\n\nNorthwards from here there's a giant \"U\" shaped cavity in the mountain's natural formation. The town stretches to northeast and northwest.\n\nThe staircase on the north leads downward to the cliffside balcony, which overlooks the land far below. The bazaar is to the south, and the square is to the southeast.\n\nYou can see some town guards scattered around the place.\n\nYou can also see Nivanen here.\n\n> You fight Nivanen\nShe blocks your attack \"Hey, watch it you, flimsy!\"\n\nNivanen is telling a group of guards that an ambassador is missing, which makes them burst in laughter. \"I wish it was I who'd been tasting our best wine reserve and counting Ashtartans today, and you watching all of the town descend from these stairs. Profit from your time off before your patrol schedule, girl.\" Nivanen's face blushes in rage, making her look close to drunk.\n\n\"Well I hope you'll be rewarded for your superb vigilance. But I'm telling you he did NOT signal his arrival...\" \"And I'm telling you, you better watch your tone while wearing that uniform, you're embarrassing us...\" another guard snaps, while the one next to him stops him and adds calmly \"There are only eight Ashtartans in this town. I myself escorted them to the hotel last night. No more arrivals are expected. So, kindly go back to your lunch like a good recruit on her time off.\" \"Unlike some, I've never gotten drunk in public, old timer. Today's no exception.\"\n\nNivanen holds her chin up and comes to you. \"Well, unless you've dreamt up this Ardavaan we have to find him by ourselves.\" \"Trust me, he's real - you can ask Houtan if you don't believe me.\" \"I believe you. I'm sorry... Look, I'll go search in the bazaar. It might take some time. Meanwhile you can search anywhere else you can think of finding him; the old temple, vineyards, whatever. And I'll have a word with Librarian Houtan afterwards. See you soon I hope.\"\n\nNivanen takes the south road to the direction of bazaar and disappears.\n\n> Go north\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou see Ardavaan's vehicle leaning next to a pillar.\n\n> You go the vehicle\nYou mount Ardavaan's vehicle.\n\n> You look at the vehicle\nIt's a one-man vehicle with a saddle instead of a seat; less cozy but easier to manoeuvre. It has a transparent shield in front to protect the pilot at high speed. It's bronze in color and has been damaged and patched up in various places and needs cleaning. Even though Ashtartan-made, it can't be one of those fabulous ones Nivanen saw last night.\n\n> Mount vehicle\nYou are already riding Ardavaan's vehicle.\n\n> You check your inventory\nYou are carrying:\na drawing\na quill pen\na ribbon (being worn)\na glow orb (providing light)\nsome jewelry (being worn)\nan outfit (being worn)\n\n> Go south\nSquare (on Ardavaan's vehicle)\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\n> Go north\nLibrary's Terrace (on Ardavaan's vehicle)\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\n> Go south\nSquare (on Ardavaan's vehicle)\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\n> Go north\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nLibrary's Terrace (on Ardavaan's vehicle)\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\n> You go south\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou walk down to the school, and find the gates closed as you expected. The classes will begin after the grape harvest is usually done, which is in a month. You return to the square.\n\n> You go east\nVineyard (on Ardavaan's vehicle)\nRows of vines stretch far and wide to the south, southeast and east -\n\n> Go north\nwhere they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nShady Park (on Ardavaan's vehicle)\nSome benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nThe terrace and your room are to the west, and the vineyard is to the south.\n\n> You get off the vehicle\nAs you dismount, the vehicle weighs heavily on you and you fail to stabilize it. It falls to its side while you dodge. Something breaks in it with a solid clinging noise.\n\nSome benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nYou see Ardavaan's vehicle.\n\nThe terrace and your room are to the west, and the vineyard is to the south.\n\n> You go to the north\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\n> Go north\nYou cross Librarian Houtan who's leaving the library. He doesn't pay attention to you, as if you are not there. You turn and watch him continue his way south. You'd swear something was not right... You call him, but he doesn't stop.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\n> Go upward\nYou climb up the staircase.\n\nThe museum is a tidy hall filled with various exhibits, ranging from artworks and crafts and old objects to archeological findings.\n\nDisplay cases, shelves and tables occupy the most possible space without making it difficult to walk. A glass cabinet containing old books in a corner draws your attention.\n\nThe only exit is back down the staircase.\n\nYou can also see Rasha and Ardavaan here.\n\n\"Farahnaaz... How kind of you to have brought us light.\" Rasha's eyes glitter from within Ardavaan's arms as he turns the cat from the display cases to let it face you. Ardavaan's eyes are closed but the cat is watching you intently. After being carefully placed on the ground, Rasha blinks a few times in confusion and Ardavaan opens his eyes. He comes to you and snatches the glow orb from your hand. \"You have our gratitude. A glow orb... I'm embarrassed it did not cross my mind.\"\n\nHe continues scanning the exhibits, your gaze and Rasha's following him. He suddenly halts, and brings the glow orb near a show case containing some old books. After a few seconds of fiddling with the lock with some strange metal wires, he opens the glass door and picks up the poem book. \"Despite my admiration for your craft, Farahnaaz, and your excitement for the task, I should keep this one away from your creative hands.\" You turn for the exit. \"Anyways, I'd be curious to know, why have you come here before the museum opens? If you don't mind explaining...\" He cocks his head to one side, spinning the glow orb in his hand. You struggle for an answer as he goes and stands between you and the exit. \"... So?\"\n\n> You ask Ardavaan about Behzaad\n\"So he has even been to your town. I knew the old jackal back in Ashtarta. He is a remarkable craftsman indeed... And you say, he just left the town?\"\n\nYou nod. \"Yesterday afternoon.\"\n\nHe looks away. \"Lucky him...\" You wait for him to continue, but he doesn't seem to intend to.\n\nIt'd be a good idea to convince him you're not here just to spy on him, improbable as it may sound...\n\n> You check your inventory\nYou are carrying:\na drawing\na quill pen\na ribbon (being worn)\nsome jewelry (being worn)\nan outfit (being worn)\n\n> Poem\n\"Yes, that's what I came here for.\"\n\nArdavaan is getting impatient.\n\n> Kiss ardavaan\nSomething about his sharp gaze freaks you out. No way.\n\n\"So, assuming you've come for a stroll... I still cannot let you alarm others to come and chase me. But fatigue does not allow me to focus well, so don't fight or it'll be fatal.\" Without giving you any time to absorb his odd warning, his hands reach out for your head. Each finger is pressed on a point, resulting in a tingling sensation in your head and spine. On reflex you struggle to free yourself. He gasps, and the tingling spreads everywhere and you drift into a slumber.\n\n> You tell Ardavaan about Rasha\nPlease give one of the answers above."
    },
    {
        "text": "> You look around\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south."
    },
    {
        "text": "> Go downward\nYou climb down the staircase.\n\nYou are in the bookcrafter's workshop, a spacious hall for copying, illustrating and repairing books where artisans like yourself work.\n\nThe staircase leads up to the library.\n\nYou can see your colleague Arjang here. He's fallen asleep behind his desk.\n\n> You examine Arjang\nYou don't remember seeing Arjang sleeping at his desk before... and the map he was working on is nowhere to be seen. Perhaps he thought to remove it from the desk before taking a nap. It's quite possible; you nod to yourself.\n\n> You touch Arjang\nKeep your hands to yourself!\n\n> Go upward\nYou climb up the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\n> Go upward\nYou climb up the staircase.\n\nThe museum is a tidy hall filled with various exhibits, ranging from artworks and crafts and old objects to archeological findings.\n\nDisplay cases, shelves and tables occupy the most possible space without making it difficult to walk. A glass cabinet containing old books in a corner draws your attention.\n\nThe only exit is back down the staircase.\n\nYou can also see Rasha and Ardavaan here.\n\n\"Farahnaaz... How kind of you to have brought us light.\" Rasha's eyes glitter from within Ardavaan's arms as he turns the cat from the display cases to let it face you. Ardavaan's eyes are closed but the cat is watching you intently. After being carefully placed on the ground, Rasha blinks a few times in confusion and Ardavaan opens his eyes. He comes to you and snatches the glow orb from your hand. \"You have our gratitude. A glow orb... I'm embarrassed it did not cross my mind.\"\n\nHe continues scanning the exhibits, your gaze and Rasha's following him. He suddenly halts, and brings the glow orb near a show case containing some old books. After a few seconds of fiddling with the lock with some strange metal wires, he opens the glass door and picks up the poem book. \"Despite my admiration for your craft, Farahnaaz, and your excitement for the task, I should keep this one away from your creative hands.\" You turn for the exit. \"Anyways, I'd be curious to know, why have you come here before the museum opens? If you don't mind explaining...\" He cocks his head to one side, spinning the glow orb in his hand. You struggle for an answer as he goes and stands between you and the exit. \"... So?\"\n\n> You check your inventory\nYou are carrying:\na drawing\na quill pen\na ribbon (being worn)\nsome jewelry (being worn)\nan outfit (being worn)\n\nIt'd be a good idea to convince him you're not here just to spy on him, improbable as it may sound...\n\n> You give the drawing to Ardavaan\n\"Oh, you've already made the drawing of Senmervae? Interesting...\"\n\nYou give the drawing to Ardavaan. He holds it up and studies it for a moment \"Truly impressive... I regret not being able to reward you.\" You tell him not to think of it, while contemplating whether there's somebody around who could hear if you screamed. Even if someone could hear you, though, they probably wouldn't respond in time. \"Well, now that I got what I was looking for I must leave. Your face shows what you think...\" he smiles briefly \"... but believe me, I truly need this book, it's very important.\" His voice is slighty strained with weariness. He descends the staircase, with Rasha following him.\n\nYou hear him calling up \"And your friends will awaken in an hour, don't worry. All they need is some natural sleep. I was too tired to resort to something... more subtle.\"\n\nIt is now pitch dark in here!"
    },
    {
        "text": "[Themes: Science Fiction, female protagonist, fantasy]\n\n> Go down\nYou climb down the staircase.\n\nYou're in the Library of Arg Varkana. It's a big but cozy hall lined with rows of bookshelves. Reading tables are at the center and by the large windows which allow sunlight during the day. A chandelier hung from the ceiling upstairs along with several glowstands scattered around the library provide extra illumination in the evening.\n\nSpiral stairs lead up to the museum, and down to the bookcrafters' workshop. The exit is to the south.\n\nYou can see Rasha and Ardavaan here.\n\n> You examine Ardavaan\nHe has dark hair, high brow and accented cheekbones, and carries a scar on his chin.\n\nArdavaan hurries out of the library, with Rasha at his heels.\n\n> Go south\nYou see Nivanen coming up the road. \"Halt, Ashtartan!\" She calls out.\n\nYou can see Rasha and Ardavaan here.\n\nArdavaan seems to be confused. He gives you a poisonous look. \"Do you know what happened to my vehicle?\" You hesitate, \"Well, didn't it need repairs?\" \"You nuisance... I will...\" He turns to Nivanen and raises his hands in surrender.\n\n\"Ardavaan is it? Your arrival as an ambassador was not expected.\" He smirks, \"Now, that's surprising. So, they've sent only you to welcome the last ambassador?\" \"Sort of. Please come with me...\" \"Sure. I will follow your lead.\"\n\nYou tell Nivanen that he stole a book from the museum. He laughs. \"And she somehow disposed of my vehicle. Maybe you can arrest two thieves at a time?\" \"Don't move!\" \"I'm not. See?...\" As he raises his hands higher to prove his surrender, you see something sparkle out of the corner of your eye. For a brief moment Nivanen is distracted too, which is enough for Ardavaan's hands to reach and grab your head from behind. Nivanen warns him that he can't escape, but doesn't dare strike him with you at his mercy. Your head and spine start to tingle, and you think you hear Ardavaan talking to Nivanen...\n\n\"I will follow your lead, guard. Just as I said.\" Ardavaan lets go of Farahnaaz, who stands dazed before him. \"What did you do to her?!\" You try hard not to panic. Ardavaan motions you to unwield your axe, which you ignore. \"Your friend is bound to me for as long as I need her.\" He smiles menacingly, \"She deprived me of my vehicle, so it's only fair to make her pay for it. She's now in a trance. Lead me to the Royal Nest, raise no alarm, and all of us will be fine.\" Your gaze shifts from Ardavaan to Farahnaaz. You finally lower your axe, and reluctantly return it to your back strap. Rasha comes near you and rubs himself against your feet.\n\n> Inventory\nYou are carrying:\na jeweled baton\na javelin\na bow\na mace\nan axe\na sword\na quiver (being worn)\nsome arrows\na guard uniform (being worn)\n\nArdavaan points to south. \"That way, I guess.\""
    },
    {
        "text": "> Look around\nEngraved wooden pillars support a high wooden roof. Some chairs and tables have been brought here from the library's interior, as is usually done in warm seasons. There are even some rugs and cushions on the ground for more relaxed reading.\n\nThe entrance to the library is before you to the north.\n\nYou can see Farahnaaz, Rasha and Ardavaan here.\n\n> You look at the mace\nYour mace is rougly shaped like a bull's head. You don't remember the mythological reference... It's Farahnaaz's kind of stuff.\n\n> You examine the sword\nIt's a slightly-curved short sword. In Arg Varkana they forge blades light and swift.\n\n> You examine the bow\nYou're more into close combat, still, you'd make an acceptable markswoman.\n\n> You examine javelin\nThe only times you remember putting it to a real use was when you were helping a street sweeper unclog a water canal, and when you were trying to keep an old barn's gates shut against an angry bull.\n\n> You examine the baton\nThis once-popular weapon can interfere with perception and concentration, which is handy for or against illusionists. Its gem is running out of charge though. Wasn't it for the Argbaan's insistance to not to abandon it (she has even ordered a new delivery of gems, a big waste of money in your opinion), no one would bother with this expensive weapon except for the traditional attire.\n\n> Go south\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou can also see Ardavaan, Farahnaaz, Rasha and Librarian Houtan here.\n\n> Wave baton\nYou look ridiculous waving the jeweled baton.\n\n> You give the baton to Farahnaaz\nYou can only do that to something animate.\n\nFarahnaaz doesn't seem interested.\n\n> Go west\nThe bazaar of Arg Varkana is under high brick domes interconnected with vaulted corridors. All kinds of goods from every town in and around the Varkana region are traded here. It's usually crowded, but\n\n> You use the baton on Ardavaan\ntoday even more so, thanks to the holidays and celebrations.\n\nThe exits are to the east, north and west.\n\nThere are many people walking or loading and unloading stuff here, but you can eventually reach to the west of bazaar if you try. Rasha is groaning and hissing to the crowd, and the hair on his back stands up.\n\nYou can also see Ardavaan, Farahnaaz and Rasha here.\n\nIt's not appropriate to use it in this way...\n\n> You go west\nAs you make way Ardavaan follows you with Farahnaaz by his side. He tries to shield her from bumping into people and handcarts while controlling her steps. His teeth are clenched... You come to his aid by walking on the other side of Farahnaaz, worrying more for your friend than for him.\n\nOnce out of the bazaar, Ardavaan suddenly turns to you, \"Where is your cat?\" Without a word you run back to the bazaar.\n\nYou trace all your way back and finally find Rasha, who's been stamped on and run over without being noticed. There are cats who live in such places. But your poor Rasha was not one of them. You sit there for a long time, weeping, and ignore people's inquiries and consolation.\n\nWhen you finally get up and leave the bazaar, but you realize Ardavaan and Farahnaaz are nowhere to be seen. Only hours later you find out that they were spotted and halted by town guards, and fought to their death."
    },
    {
        "text": "> Look around\nThe bazaar of Arg Varkana is under high brick domes interconnected with vaulted corridors. All kinds of goods from every town in and around the Varkana region are traded here. It's usually crowded, but today even more so, thanks to the holidays and celebrations.\n\nThe exits are to the east, north and west.\n\nThere are many people walking or loading and unloading stuff here, but you can eventually reach to the west of bazaar if you try. Rasha is groaning and hissing to the crowd, and the hair on his back stands up.\n\nYou can also see Ardavaan, Farahnaaz and Rasha here."
    },
    {
        "text": "[Themes: Science Fiction, fantasy]\n\n> You look at your surroundings\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest\n\n> You attack Ardavaan with baton\nleads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou can also see Ardavaan, Farahnaaz, Rasha and Librarian Houtan here.\n\n> You look at Ardavaan\nTrying to harm Ardavaan with the jeweled baton won't get you anywhere.\n\nHe has dark hair, high brow and accented cheekbones, and carries a scar on his chin.\n\n> You look at Farahnaaz\nShe seems to be in a sort of trance maintained by Ardavaan.\n\n> You pick up Rasha\nYou pick up Rasha.\n\n> You throw Rasha at Farahnaaz\nYou lack the nerve when it comes to the crucial moment.\n\n> Kiss ardavaan\nNow that you think of it, he is rather tall and enticingly handsome. But in your current situation you don't feel attracted to him, or anyone else for that matter.\n\n> You attack Farahnaaz with the baton\nTrying to harm Farahnaaz with the jeweled baton won't get you anywhere.\n\nTrying to harm Farahnaaz with the jeweled baton won't get you anywhere.\n\n> You examine Ardavaan\nHe has dark hair, high brow and accented cheekbones, and carries a scar on his chin.\n\n> Kiss farahnaaz\nTo express your affection, you blow a kiss to Farahnaaz.\n\n> You check what you're carrying\n\"A token from a misadventure.\"\n\nYou are carrying:\nRasha\na jeweled baton\na javelin\na bow\na mace\nan axe\na sword\na quiver (being worn)\nsome arrows\na guard uniform (being worn)\n\n> You look\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou can also see Ardavaan, Farahnaaz and Librarian Houtan here.\n\n> You go south\nYou walk down to the school, and find the gates closed as you expected. The classes will begin after the grape harvest is usually done, which is in a month. You return to the square.\n\n> You look at the kids\nMany of the town children are gathered here. Most of them are playing.\n\n> You attack ardavaan\nThe kids have better things to do.\n\n> You go to the southeast\n\"That doesn't look like the right way to me,\" Ardavaan says, looking up from a map he's holding. \"Bring us to the Royal Nest, and no cheating.\" You nod and come back.\n\n> You go east\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Ardavaan and Farahnaaz here.\n\n> Go east\nNear the brink of the cliff the vines grow scarcer but more unruly and are gradually replaced with wild herbs. Before the brink there's a circular landing platform.\n\nUnder the cliff you can see a narrow section of the town ending at one of the minor town gates. Beyond the gate, and far below, lies the eastern meadow.\n\nThe only exit is to the west.\n\nYou can see Ardavaan and Farahnaaz here.\n\n> You get the map\nThat seems to belong to Ardavaan.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You attack ardavaan\nArdavaan grabs your wrist and punches you in the face with his other hand. The sound and feeling of the impact is nauseating, but you strike him hard with your free hand which has already drawn a weapon. Ardavaan growls in pain and beckons to Farahnaaz, who lunges towards you. You try to kick her back without harming her seriously, but your legs suddenly get numb and falter. As you fall, Ardavaan pulls Farahnaaz and limps backwards, holding an odd handgun in his other hand. He has a tormented, weary expression as he watches the paralyzation engulfing your body...\n\n> You use the mace\nWhat do you want to use the mace on?\n\n> You use the mace on the cliff\nIt's not appropriate to use it in this way...\n\n> Go west\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\n> You examine the mace\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Ardavaan and Farahnaaz here.\n\nYour mace is rougly shaped like a bull's head. You don't remember the mythological reference... It's Farahnaaz's kind of stuff.\n\n> You go north\nSome benches lie in the park, one of which is occupied by an old couple who are busy talking to each other. Behind them you can see a kingberry bush.\n\nYou see Ardavaan's vehicle.\n\nThe terrace and Farahnaaz's room are to the west, and the vineyard is to the south.\n\nYou can also see Ardavaan and Farahnaaz here.\n\nArdavaan walks to his damaged vehicle, observing its state. \"Nothing serious, but I cannot fix it without appropriate tools. It was a good idea to head for the Royal Nest after all.\"\n\n> You examine javelin\nThe only times you remember putting it to a real use was when you were helping a street sweeper unclog a water canal, and when you were trying to keep an old barn's gates shut against an angry bull.\n\n> You get the cat\nYou pick up Rasha.\n\n> You check your inventory\nYou are carrying:\nRasha\na jeweled baton\na javelin\na bow\na mace\nan axe\na sword\na quiver (being worn)\nsome arrows\na guard uniform (being worn)\n\n> You examine the baton\nYou can't see any such thing.\n\nThis once-popular weapon can interfere with perception and concentration, which is handy for or against illusionists. Its gem is running out of charge though. Wasn't it for the Argbaan's insistance to not to abandon it (she has even ordered a new delivery of gems, a big waste of money in your opinion), no one would bother with this expensive weapon except for the traditional attire.\n\n> You go south\nRows of vines stretch far and wide to the south, southeast and east - where they nearly reach the eastern cliffside. Occasionally the vines are made to climb circular wooden frames to form leafy pavilions.\n\nThe stone pathway leads to the square to the west, the shady park to the north, and eventually the terrace to the northwest. On the ground you see some drops of oil.\n\nYou can see Ardavaan and Farahnaaz here.\n\n> Go west\nYou take the path westward which leads to a square in the town.\n\nYou see a fountain with benches and potted plants in the middle of the square. There are roads leading in different directions.\n\nEast leads to the vineyards. The library is to the north. Northwest leads to the town center. The town bazaar is to the west. The school is to the south, and there's a road to an old temple to the southeast.\n\nYou can see many kids playing here.\n\nYou can also see Ardavaan, Farahnaaz and Librarian Houtan here.\n\n> Go west\nThe bazaar of Arg Varkana is under high brick domes interconnected with vaulted corridors. All kinds of goods from every town in and around the Varkana region are traded here. It's usually crowded, but today even more so, thanks to the holidays and celebrations.\n\nThe exits are to the east, north and west.\n\nThere are many people walking or loading and unloading stuff here, but you can eventually reach to the west of bazaar if you try. Rasha is groaning and hissing to the crowd, and the hair on his back stands up.\n\nYou can also see Ardavaan and Farahnaaz here.\n\n> You go west\nAs you make way Ardavaan follows you with Farahnaaz by his side. He tries to shield her from bumping into people and handcarts while controlling her steps. His teeth are clenched... You come to his aid by walking on the other side of Farahnaaz, worrying more for your friend than for him.\n\nOnce out of the bazaar, Ardavaan rubs his temples and murmurs he hopes he won't have to do it again. You put Rasha down. He seems happy to be on his feet again.\n\nThe old brick bridge overlooks a small market, and links the Royal Nest on northwest to the town bazaar on east.\n\nYou can see Ardavaan, Farahnaaz and Rasha here.\n\n> Go east\nArdavaan stops you, \"It was painful enough to cross there once with Farahnaaz, we don't have to do it again.\" \"Well, I guess that's what it takes to rob someone of her will.\" \"It takes... a lot more than you can guess.\" You shrug.\n\n> You examine Rasha\nRasha is your good old furry friend. He loves following you around."
    },
    {
        "text": "[Themes: Science Fiction, female protagonist]\n\n> Look around\nThe old brick bridge overlooks a small market, and links the Royal Nest on northwest to the town bazaar on east.\n\nYou can see Ardavaan and Farahnaaz here.\n\n> You go northwest\nCargo terrace (Royal Nest)\nThe cargo terrace is a moderately sized platform for temporarily storing all kinds of shipments that arrive or are waiting to be sent by air. Chariots and wheels and strapped packs line the wall, used to load or unload heavy stuff.\n\nThere's a trapdoor on the floor, and a path to the southeast.\n\nYou can see Ardavaan and Farahnaaz here.\n\n> You open trapdoor\nNo one noticed you borrowing the keys last night due to the guests' arrival. But it'll be impossible to try it again now. You look up at Ardavaan and shake your head, \"Forget about the keys, they're kept by the staff. Oh, and it's locked.\" He motions for you to step aside, while searching in his pockets.\n\n> You hit Ardavaan with the axe\nTrying to harm Ardavaan with the axe won't get you anywhere.\n\nAs you withdraw from the trapdoor Ardavaan takes your place. He inserts a lockpick into the keyhole and manipulates its wires but to no avail. \"It will be easier to simply break the lock,\" he concludes while putting the lockpick back into his pocket.\n\n> You hit the lock with the axe\nYou raise your axe and land it on the lock. You quickly check your axe to make sure it's not damaged, and then check the lock which is standing as strong as ever. Ardavaan rubs his chin, his eyes on your axe.\n\n> You examine the lock\nYou are carrying:\nRasha\na jeweled baton\na javelin\na bow\n\n> You give the axe to Ardavaan\na sword\na quiver (being worn)\nsome arrows\na guard uniform (being worn)\n\nFrom this trapdoor you managed to get inside the Nest without being noticed last night.\n\n\"Well I could do with an axe.\"\n\n> You show the axe to Ardavaan\n(first taking the axe)\nThat seems to belong to Ardavaan.\n\n> You hit the lock with mace\nFor lack of a better weapon you draw your mace and hit at the lock. Ardavaan voices your own thought, \"Don't think of beating that lock until it ceases to hold. Not even in the case of emergency.\"\n\n> You hit the lock with the axe\nArdavaan has better things to do.\n\n> You open the trapdoor\nThe trapdoor is locked. You look at Ardavaan and shake your head.\n\nAs you withdraw from the trapdoor Ardavaan takes your place. He weighs your axe and checks its landing position, then strikes with force. Your axe lands on the lock with an amazing precision. A third strike breaks the lock.\n\nYour amazement is short-lived, however. As he opens the trapdoor he hands you back your axe with three unsightly dents on its blade."
    },
    {
        "text": "> Go downward\nYou descend into a network of tunnels. Ardavaan draws a glow orb from his robes and you lead him in the approximate direction of the Royal Nest's vehicle hangar. Behind a locked door you hold the glow orb for Ardavaan so that he can handle his lockpick. From his trembling hands and sweated brow you can tell maintaining constant control on Farahnaaz is wearing him out... A few times she stumbles in her trance, but Ardavaan reaches for her on time.\n\nFor your part, your cat tends to go astray in the labyrinth and is deaf to your commands. Ardavaan catches Rasha before he finally pushes the last door open. You gasp in amazement; you're right behind the large Ashtartan vessel you saw last night and it looks even more gorgeous from up close.\n\nDisgruntled, Rasha knocks the glow orb off Ardavaan's hand. It drops and shatters into tiny splinters.\n\nHangar (Royal Nest)\nThe hangar is a spacious chamber with a high ceiling. Unlike the noisy halls where flying beasts perch, this place is clean of hay and doesn't smell.\n\nAn access door for the passengers and the staff lies to the north. A pair of sliding gates lead to the landing platform to the west and are currently closed. The entrance to the tunnels is to the east.\n\nThere's a large Ashtartan vessel in middle of chamber, with two identical one-man vehicles by its sides.\n\nArdavaan walks around the large vessel while inspecting it. He then goes to a one-man vehicle, but shakes his head, \"It's too dark here without the glow orb.\" He calls on you to help him open the sliding gates so that more light can enter the hangar.\n\n> You kick ardavaan\nArdavaan grabs your wrist and punches you in the face with his other hand. The sound and feeling of the impact is nauseating, but you strike him hard with your free hand which has already drawn a weapon. Ardavaan growls in pain and beckons to Farahnaaz, who lunges towards you. You try to kick her back without harming her seriously, but your legs suddenly get numb and falter. As you fall, Ardavaan pulls Farahnaaz and limps backwards, holding an odd handgun in his other hand. He has a tormented, weary expression as he watches the paralyzation engulfing your body...\n\n> You open trapdoor\nThat's already open.\n\n> You open gate\nThe huge sliding gates will be laborsome to open and might attract the people who work here. Are you sure you're ready to open the gates?\n\n> You go to the north\nPlease answer yes or no.> You decide to open the gates later.\n\n> Yes\nThat was a rhetorical question.\n\n> Go north\nThe access door is securely locked and can't be opened from this side. You wonder if there's any way to make it harder to open from the other side.\n\n> Yes\nTogether you push the gates open and allow daylight into the hangar. They are very noisy, it'll be a matter of time before those who heard it will show up.\n\nArdavaan kneels by one of the one-man vehicles. He hastily opens a small shaft on the engine and snaps something inside which produces a few sparks. He then closes the shaft, absently licking two burnt fingertips. You remind him to awaken Farahnaaz before leaving. He doesn't reply.\n\n> You throw the javelin at Ardavaan\nYou lack the nerve when it comes to the crucial moment.\n\nArdavaan hurries to the second one-man vehicle. You block his way, \"If you don't do it right now, you won't leave.\" \"If you insist. But I don't promise anything.\" \"You don't?\" \"I'd risk irreversible failure. I need rest.\" \"But you can't rest, even if I stand watch...\" \"Don't pretend to be an imbecile, Nivanen. We'll fly away from here and I'll awaken her once I'm rested.\" \"Ah, and you'll send us back on foot. You forgot where we are.\" He shrugs, \"Or you'll come with me to somewhere I can arrange you a flight back. Now...\"\n\nHe motions for you to stand aside, and you obey - much to your surprise. He repeats the same procedure on the second small vehicle. You wince when his hand burns again.\n\nYou hear muffled voices from behind the access door, and the sound of a key turning in the keyhole.\n\n> You wait for a while\nTime passes.\n\nArdavaan raises the hood of the large vessel and releases Rasha who jumps inside. Then he lifts Farahnaaz and places her in the back seat. Farahnaaz's eyes close and her head drops to her chest.\n\nThe door is pushed open. Four watchmen rush in and call you to freeze. You wish you could have somehow delayed their coming... but too late. Ardavaan tells you to remain steady, and demands that you give him a weapon to distract them.\n\n> Wait\nTime passes.\n\n\"You don't have any weapon yourself?\" \"I... Quickly, Nivanen, I need one of your weapons!\" \"No... I prefer we capture you alive than dead.\"\n\nThe watchmen are momentarily surprised to find an ambassador and a town guard inside. They ask what you're doing here. Your gaze meets Ardavaan's and you take one step back in alarm, but too late. Frenzied for not having been given a weapon, he seizes your shoulder and forcefully hurls you to the nearest watchman. You go head first into his chest and you both fall. You see the legs of the second man go limp, and he drops to the ground near you, motionless. The third one gets savagely kicked in the ribs, but the last one leaps for Ardavaan and strives to prevent him from escaping into the vessel. The first watchman shoves you aside, gets up, and charges his crossbow. At the first opportunity he releases a metal bolt aimed at his target's neck.\n\nYou come over to Ardavaan but he's already dead; the pool of his blood on the floor constantly expanding. Hung from the chain around his neck you can now see the unmistakable Ember medallion sticking out of his collar, depicting a red goknous bird rising from gray ashes. His hand holds a pistol of some sort. A watchman gently pushes you aside and covers his dead body. You yell at him for not having captured him instead. He replies that he was too dangerous and uncontrollable. The sadness in his voice turns your attention to the body of his colleague who's been paralyzed to death... by Ardavaan's gun. You go to the vessel and see Farahnaaz is still asleep. However, upon closer inspection you realize she isn't breathing.\n\n> You give the axe to Ardavaan\nNo way you're going to give your axe to Ardavaan again. You hand him your javelin instead. \"Well I could do with a javelin.\"\n\nYou obey the watchmen and hold your hands up. Ardavaan casts you a side glance and slowly does the same, however, you're now wiser than to take it for surrender. A prickling flows up your arms and you realize you're unable to move them. You're then engulfed with a sensation not unlike falling from a great height, and in your panic you no longer hear the questions they are asking.\n\nArdavaan draws a deep breath. Then with a sudden jolt your arms and his are thrown forth. The men are all transfixed with an unseen power. With a powerful, commanding voice Ardavaan tells them to get out and immediately runs toward them. Dazed, they rush for the door without question. He then closes and bars the door by putting your javelin behind the slender columns which decorate the entrance; what, you regret, didn't cross your own mind before. As soon as he bars the door, you hear the men yelling and hitting the door in an attempt to break it open. Ardavaan runs back to the vessel and turns on the engine while you enter the seat next to the pilot. He then steers the vessel out of the hangar.\n\nAbove the clouds (in vessel)\nIn vessel you can see Ardavaan, Farahnaaz and Rasha.\n\nYou sink into your seat, occasionally moving your arms and hands to make sure they're in your command. Ardavaan gives you a playful smile, \"I briefly channeled your force without your permission.\" \"Yes, you leeched something out of me. Are you happy with it?\" \"I'm just glad you didn't resist. But if I'm not mistaken, in Arg Varkana people don't know how to do it.\" \"Do what?\" His smile fades, \"You don't block your minds to intrusions.\" \"Well, we guardians learn some stuff about it and get some training, but since we have no use for it most tend to forget.\" \"You've been fortunate, but it won't last long.\" \"If there are more of your kind in Ashtarta... I hope our Argbaan knows about it.\" He nods. \"Lady Atossa knows. And she did so even before I warned her.\"\n\nYour eyes widen in surprise. But he firmly changes the topic, \"Now, let's see where we can stop to rest. There should be a map behind my seat. Please take it, I need you to find us a destination.\"\n\nWhatever his motives, Ardavaan managed to steal the poem book and has now escaped with his life. You trust his word on restoring Farahnaaz and sending you back home, and both of you keep to this temporary truce, but somewhere in the back of your mind you wish you could have discovered more about him and his mission. Perhaps you could have tried harder to gain his trust... You shrug; he may have escaped from Varkana, but he's still in your grasp - from your new point of view. Future adventures seem unavoidable. You try to brace yourself for whatever lies ahead."
    },
    {
        "text": "[Themes: Science Fiction, fantasy]\n\n> Describe the surroundings\nHangar (Royal Nest)\nThe hangar is a spacious chamber with a high ceiling. Unlike the noisy halls where flying beasts perch, this place is clean of hay and doesn't smell.\n\nAn access door for the passengers and the staff lies to the north. A pair of sliding gates lead to the landing platform to the west. The entrance to the tunnels is to the east.\n\nThere's a large Ashtartan vessel in middle of chamber, with two identical one-man vehicles by its sides.\n\nYou can also see Ardavaan and Farahnaaz here.\n\nArdavaan hurries to the second one-man vehicle. You block his way, \"If you don't do it right now, you won't leave.\" \"If you insist. But I don't promise anything.\" \"You don't?\" \"I'd risk irreversible failure. I need rest.\" \"But you can't rest, even if I stand watch...\" \"Don't pretend to be an imbecile, Nivanen. We'll fly away from here and I'll awaken her once I'm rested.\" \"Ah, and you'll send us back on foot. You forgot where we are.\" He shrugs, \"Or you'll come with me to somewhere I can arrange you a flight back. Now...\"\n\nHe motions for you to stand aside, and you obey - much to your surprise. He repeats the same procedure on the second small vehicle. You wince when his hand burns again.\n\nYou hear muffled voices from behind the access door, and the sound of a key turning in the keyhole."
    },
    {
        "text": "> Look around\nHangar (Royal Nest)\nThe hangar is a spacious chamber with a high ceiling. Unlike the noisy halls where flying beasts perch, this place is clean of hay and doesn't smell.\n\nAn access door for the passengers and the staff lies to the north. A pair of sliding gates lead to the landing platform to the west and are currently closed. The entrance to the tunnels is to the east.\n\nThere's a large Ashtartan vessel in middle of chamber, with two identical one-man vehicles by its sides.\n\nYou can also see Ardavaan and Farahnaaz here.\n\n> You examine the door\nThis door is the only other ground access to this chamber beside the tunnels. It stands between a pair of slender columns.\n\n> Bar door\nWhat do you want to bar the access door with?\n\n> Javelin\nYou bar the door by jamming your javelin behind the columns and in front of the door. Its length is only just adequate, and you hope it'll hold long enough.\n\n\"I really appreciate that,\" Ardavaan says, a bit surprised. \"... Despite how the things may appear to you, I'm not here to cause trouble. It's a very important matter... perhaps I could discuss it later.\"\n\n> You open gate\nThe huge sliding gates will be laborsome to open and might attract the people who work here. Are you sure you're ready to open the gates?\n\n> You wait for a while\nTime passes.\n\nArdavaan hurries to the second one-man vehicle. You block his way, \"If you don't do it right now, you won't leave.\" \"If you insist. But I don't promise anything.\" \"You don't?\" \"I'd risk irreversible failure. I need rest.\" \"But you can't rest, even if I stand watch...\" \"Don't pretend to be an imbecile, Nivanen. We'll fly away from here and I'll awaken her once I'm rested.\" \"Ah, and you'll send us back on foot. You forgot where we are.\" He shrugs, \"Or you'll come with me to somewhere I can arrange you a flight back. Now...\"\n\nHe motions for you to stand aside, and you obey - much to your surprise. He repeats the same procedure on the second small vehicle. You wince when his hand burns again.\n\nYou hear muffled voices from behind the access door, and the sound of a key turning in the keyhole.\n\n> Wait\nTime passes.\n\nArdavaan raises the hood of the large vessel and releases Rasha who jumps inside. Then he lifts Farahnaaz and places her in the back seat. Farahnaaz's eyes close and her head drops to her chest.\n\nThe men try to push the door open but find it's jammed. They start hitting it ferociously. Ardavaan calls you to quickly enter the vessel as he gets into the pilot's seat and turns on the engine."
    },
    {
        "text": "[Themes: Satire, Screen, office, humor, multiple protagonists]\n\nAt last, your troubled fortunes seemed to come to an end. It all happened very quickly: the callback from Red Hat, the bizarre interview with Human Resources, the handshake, the filling out of W-2 forms, and then your first day of work.\n\nThis bleak room with its short, slumping ceiling does nothing to brighten your morale. Short file cabinets, marked in reverse alphabetical order, crawl in a line along the walls like an army of stupid robots. One measly window lets in a tiny square of sunlight.\n\nYou see a copier machine here.\n\n[Author's Note: Zarf? you think to yourself. Could it be? The one and only Zarf? Xyzzy Award winner? IF Competition winner? The mighty Inscruitable One? Gosh. What it must be like to be Zarf... You begin to crawl forward, the tunnel floor oozing and pliable under your knees and palms. The secret door bangs shut and disappears. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness.]\n\n> About you\nYou're Peter Feeney, a bright young guy with a healthy self-image. You do feel that life hasn't brought you the success and fame that you deserve, but that will come with time, in your humble opinion.\n\n> You examine the window\n(the window)\nThe window faces out to the north, getting a good view of the Red Hat corporate campus and the beautiful Research Triangle Park scenery. The window is closed.\n\n> Xyzzy\n[Hit any key.]\nFor old time's sake.\n\n[Hit any key.]\nFile Room\nThis bleak room with its short, slumping ceiling does nothing to brighten your morale. Short file cabinets, marked in reverse alphabetical order, crawl in a line along the walls like an army of stupid robots. One measly window lets in a tiny square of sunlight.\n\nYou see a copier machine here.\n\n> You look at the copier\nThe copier has a lid which covers a big pane of glass, and a panel with buttons. The big green button makes copies. That's all you've ever needed to push on it. In fact, your annoying supervisor, Melvin Prufrock, impressed upon you, at stammering length, how temperamental the machine is, and how expensive copier repair guys are. Bah.\n\n> You examine the cabinets\nThe file cabinets are marked in reverse alphabetical order: cabinet Z, cabinet Z-Y, cabinet X-Y, etc.\n\n> Examine z.\nFile cabinet Z takes documents from Zz-Ze.\n\n> You examine the Z-y\nFile cabinet Z-Y takes documents from Za-Yi.\n\n> You look in the z.\nInside you see filed documents."
    },
    {
        "text": "[Themes: Screen, Satire, humor]\n\n> Look around\nThis bleak room with its short, slumping ceiling does nothing to brighten your morale. Short file cabinets, marked in reverse alphabetical order, crawl in a line along the walls like an army of stupid robots. One measly window lets in a tiny square of sunlight.\n\nYou see a copier machine here.\n\n> You open the copier\nYou open the lid.\n\n> Go outside\nYou have to stay on the job.\n\n> You open the window\n(the window)\nYou open the window.\n\n> You look out the window\n(the window)\nYou find nothing of interest.\n\n> Exit window\n(the window)\nYou have to stay on the job.\n\n> File file\nWhich do you mean, the file cabinets, the Z cabinet, the Z-Y cabinet, the Y-X cabinet or the other cabinets?\n\n> You look at Y-X\nFile cabinet Y-X takes documents from Ye-Xa.\n\n> You open y-X\nYou open the Y-X cabinet.\n\n> You look in it\nInside you see filed documents.\n\n> You open the Z-y\nThe Z-Y cabinet drawer seems to be stuck. Not locked, just kind of not moving very easily.\n\n> You pull the Z-the y.\nMelvin, your supervisor, gangles into the room. With his elongated height and pasty, translucent skin, he looks like the big funky alien at the end of \"Close Encounters,\" only more puppet-like. He approaches you cautiously. Even though he's your boss, he always seems to be intimidated by you.\n\n\"H-hi, Peter,\" he says.\n\nWhat would you like to say? [0 to cancel]\n1: Oh, hi Melvin.\n2: Go away, idiot.\n\n> 1\nYou say, \"Oh, hi Melvin.\"\n\nMelvin swallows, his dry throat making a thwupping noise that really turns your stomach. \"Mmm. Making some copies there?\" he asks.\n\nWhat would you like to say? [0 to cancel]\n1: No, I'm hacking into NORAD and launching Global Thermonuclear War. 2: Yeah, pictures of Valerie's butt. Wanna see?\n3: (sigh) Yes, Melvin. I'm making copies. What's up?\n\n> 3\nYou say, \"(sigh) Yes, Melvin. I'm making copies. What's up?\"\n\nMelvin fiddles with a small stack of folders in his sweaty hands. \"I was wondering, um. Are you busy?\"\n\nWhat would you like to say? [0 to cancel]\n1: Yes. I'm terribly busy. You'll have to come back later.\n2: What is it you want, Melvin?\n\n> 2\nYou say, \"What is it you want, Melvin?\"\n\n\"I was wondering if you could sort these for me,\" he says, handing you the folders. There are sweat stains on them. Stifling the urge to make a comment, you adjust your grip to touch only the dry spots.\n\n> You examine the stains\nThey're just sweat stains. Kind of large sweat stains. In fact, they're not just everyday sweat stains. They smell kind of funny, too.\n\nMelvin fidgets, waiting for you to finish.\n\n> You look at the folders\nThe folders are a stack of about thirty plain folders, currently unsorted.\n\nMelvin fidgets, waiting for you to finish.\n\n> You read the folders\nYou flip through the folders, but none of it interests you.\n\nMelvin fidgets, waiting for you to finish.\n\n> Smell stains\nThey smell funkily sweet, almost like antifreeze. Melvin must have been working on his car this morning or something.\n\nMelvin fidgets, waiting for you to finish.\n\n> Goodbye\nPlease use >TALK TO PLAYER to interact in this game.\n\nMelvin fidgets, waiting for you to finish.\n\n> You talk to Melvin\nYou can't think of anything in particular to say.\n\nMelvin fidgets, waiting for you to finish.\n\n> You sort folders\nYou're actually pretty much of a whiz at sorting, which might be why you got the job you did. \"Time me,\" you tell Melvin, and 13 seconds later you're done.\n\n> You examine Melvin\nMelvin Prufrock is a thin, translucent looking individual, with tics and other twitchy mannerisms passing for a personality. He is insanely tall, approaching six foot eight, but probably only weighs 130 pounds with clothes on. You don't even want to consider what he's like without clothes on. He also looks like he's about six years younger than you are, so about nineteen, and yet he's several rankings above you on the ladder.\n\nMelvin fidgets, waiting for you to finish.\n\n> You give the folders to Melvin\nYou start to hand them to Melvin, but he starts making a choking noise. You realize he's trying to tell you that you've sorted them into the wrong order again. For whatever reason, they like to use reverse alphabetical order in this company. Go figure.\n\n> You sort the folders\nYou re-sort the folders, taking only 11 seconds this time.\n\n> You give the folders to Melvin\nMelvin says, \"Excellent. You're really amazing at this. Oh, and could you file them now? I guess that's really what I was after.\" Without even giving you a chance to say no, Melvin hustles away. You swear you almost hear his bones clacking together when he moves that fast.\n\n> File folders\nWell, let's see. The Z's are on top. The first one is labeled, \"Zefferelli,\" so it should probably go into the Z cabinet.\n\n> You open the z cabinet\nYou open the Z cabinet.\n\n> You put Zefferelli in it\nYou stick the Zefferelli folder into cabinet Z and close the drawer.\n\n> File folders\n(the sorted folders)\nWell, let's see. The Z's are on top. The first one is labeled, \"Zarf: Classified,\" so it should probably go into the Z-Y cabinet.\n\n> You read Zarf\n(the sorted folders)\nEagerly, you flip open the \"Zarf: Classified\" folder, only to find that it contains a top secret patent application for the design of a new improved type of cup holder.\n\n> You pull the Z-the y.\nMan, this cabinet is really stuck shut. Better try again. This time, with feeling.\n\nYou feel a faint cool breath of air.\n\n> You pull the Z-the y.\nYou give the stuck cabinet drawer the old heave-ho, and instead of merely opening, it yanks loose from the wall, revealing a strange, small door in the wall!\n\n> You examine the door\nThe strange secret door is only about three feet high, and painted a shade of crimson. Gold flecks in the paint give it a sparkly, almost magical appearance.\n\n> You feel the air\nIt seems to be coming from the secret door.\n\n> You take the air\nThat's hardly portable.\n\n> You put Zarf inthe z -y.\n(the sorted folders in the Z-Y cabinet)\nYou stick the Zarf folders into cabinet X-Y and close the drawer.\n\n> You open the door\nA hush of ancient air, tinged with organic sweetness, flows out of the opened portal.\n\n> Smell air\nThe air smells like old books, soft leather, caramel, and just a hint of cinnamon muffins.\n\n> File folders\nWell, let's see. The Y's are on top. The first one is labeled, \"Y2,\" so it should probably go into the Y-X cabinet.\n\n> You open y-X\nThat's already open.\n\n> You put y2 in the Y-the x.\nYou stick the Y2 folder into cabinet X-Y and close the drawer.\n\n> File folders\n[BUG - wrong folder in player ]\n\n> You check what you're carrying\nYou are carrying:\nsome folders\n\n> You examine the folders\nThe folders are a stack of about thirty plain folders, currently sorted intoreversealphabetical order.\n\n> You enter door\nYou pass through the portal into a dark tunnel, which sighs with melodic longing as you enter.\n\nYou are on your hands and knees in a claustrophobic tunnel. It leads down, as nearly as you can tell, but your equilibrium is distorted in here. The curving walls gleam with the semblance of wet rock, but the palms of your hands tell a different story. It feels like organic tissue, a thick layer of hide, with the elastic strength of muscle. Like sharkskin, it is silken and slick in one direction but resists any backwards movement with a roughened grain.\n\n> Go inside\nYou begin to crawl forward, the tunnel floor oozing and pliable under your knees and palms. The secret door bangs shut and disappears. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness. Your hands suddenly lose traction as gravity begins its quickening pull. You begin to slide down... down... down...\n\n-- glaring light...\n\n[Hit any key.]\nB E I N G  A N D R E W  P L O T K I N\n\nType ABOUT for information about this release.\n\nAt Zarf's Desk (in Zarf's head)\nWeird! You're inside Zarf's head!You see the opening of Zarf's eyes, giving you a sort of bifocal window into the surrounding environment. Outside of Zarf, you see a workdesk containing a gigantic computer monitor, a keyboard, tidy arrangements of notes, and a collection of little toys and knick-knacks.\n\nInside of Zarf's head, you see weird flashes of light. A number of eerie sounds float around. You presume these effects are caused by the random firing of synapses in a very active mind. There are no exits that you can perceive.\n\nZarf types some code into his computer.\n\n> Examine monitor\nThe gigantic computer monitor is displaying a lot of complicated programming code.\n\nZarf types more code into his computer, then saves the file.\n\n> You read the code\nYou are suddenly humbled by the awareness that you don't know the first thing about professional programming, because you can't tell what this code does, even though it looks quite organized, efficient, and well-commented.\n\nZarf compiles his code.\n\n> You examine the toys\nThere are little colored shapes and game pieces, a couple of metal cubes sitting next to each other. There is a larger, third cube, an elaborate assemblage of puzzle pieces, plated with gold.\n\nZarf traces down a typo, saves again, and recompiles.\n\n> You examine the notes\nBeyond the fact that they're tidy, you can't really read what's written on them from here.\n\nZarf takes a drink out of a glass.\n\n> About yourself\nYou're Peter Feeney, a bright young guy with a healthy self-image. You do feel that life hasn't brought you the success and fame that you deserve, but that will come with time, in your humble opinion.\n\nZarf says, \"It's in *California*?\" His voice echoes, deep and resonantly, through his head.\n\n> You examine the light\nInside of Zarf's head, you see weird flashes of light. A number of eerie sounds float around. You presume these effects are caused by the random firing of synapses in a very active mind. There are no exits that you can perceive.\n\nZarf types some more code into his computer.\n\n> You touch light\nNothing seems to have any real substance here, although it's hard to tell if it's your imagination or Zarf's.\n\n> You examine the voice\n-- glaring light...\n\n[Hit any key.]\n\nSuddenly, you are falling from a somewhat drastic height at the usual 9.8 meters per second squared. Your acceleration and velocity are halted when a large hedge on the Red Hat campus grounds rushes up to catch you.\n\nSpiny, poky leaves weed their way through your clothing and stab you in uncomfortable and sensitive places."
    },
    {
        "text": "> Look around\nSpiny, poky leaves weed their way through your clothing and stab you in uncomfortable and sensitive places.\n\n> You leave\nPeter climbs out of the hedge. Meanwhile, back upstairs...\n\nKitchenette (as Valerie)\nThe kitchenette is a bland little room with rose print wallpaper and the constant smell of coffee and orange rinds. You do your best to keep the place tidy, but of course that's impossible with the 300 pound gorillas, also known as \"co-workers,\" who sling their hairy bulk through here every day, leaving an unsightly mess. Since it's still morning, you can stand to look at the place without getting out the sponge and cleaning up. A coffee maker burbles in the corner.\n\nMelvin rotates into your field of view one awkward angle at a time. He bangs his akimbo elbows on the sides of the doorframe, making a horrible clanking noise on the metal. It doesn't seem to faze him.\n\n\"Hey there, beautiful,\" he says in a syrupy voice.\n\nWhat would you like to say? [0 to cancel]\n1: Hi, Melvin.\n2: (sigh) Hi, Melvin.\n3: (groan) Goodbye, Melvin.\n\n> 2\nYou say, \"(sigh) Hi, Melvin.\"\n\n\"Hey, don't sound so negative,\" Melvin says. \"I was just saying hello.\" He leans casually against the fridge, and it tilts, causing a clunk and\n\n> Bang akimbo elbows\na splash noise inside. \"Whoops,\" he says. \"Don't worry about it. So, busy for lunch?\"\n\nWhat would you like to say? [0 to cancel]\n1: (groan) Goodbye, Melvin.\n2: Yeah, I've got big lunch plans. Sorry.\n3: If you don't clean up that fridge right now, it's going to cause a big problem for someone later. Namely, me.\n\n>>\n\nWhat would you like to say? [0 to cancel]\n1: (groan) Goodbye, Melvin.\n2: Yeah, I've got big lunch plans. Sorry.\n3: If you don't clean up that fridge right now, it's going to cause a big problem for someone later. Namely, me.\n\n> 3\nYou say, \"If you don't clean up that fridge right now, it's going to cause a big problem for someone later. Namely, me.\"\n\nMelvin says, \"Come on, I know you love to clean things up. I just did you a favor. I just gave you an excuse for the next time you decide to take an extra break from your desk.\"\n\nWhat would you like to say? [0 to cancel]\n1: (groan) Goodbye, Melvin.\n\n> 1\nYou say, \"(groan) Goodbye, Melvin.\"\n\n\"So I'll seeya later?\" Melvin calls out as you leave. Brrr. Serves you right for trying to sneak an extra break from work. You steal back to your desk, hoping no one besides Melvin saw you so obviously slacking.\n\nValerie's Desk (as Valerie)\nYour desk looked spiffy when you left it last night. By the time you got here this morning, the minions of evil had sneaked in and dropped off a messy pile of work. You've ignored it so far, but it's not really going to go away on its own. On your computer, though, is email that needs to be read.\n\nYou can see a messy pile of work here.\n\nBy the way, your phone is ringing.\n\n> You answer the phone\nYou answer the phone. It's your coworker Debra, wondering if you got any of her emails, but telling you never mind, because she figured it out by herself. Then she hangs up. Sweet Lord, when will you deliver us from idiot coworkers?\n\nJust as you hang up, you hear your name being yelled and see someone running up toward you.\n\nThat cute young temp who started here a few weeks ago, whatsisname -- Peter? -- is red-faced and perspiring slightly. One of his shirtsleeves is twisted (you resist the urge to straighten it), and his collar is turned up. There are also a number of twigs and hedge leaves clinging to him.\n\n\"I'm glad you're here!\" Peter says brightly. \"I really need to talk to somebody about what just happened to me!\"\n\nWhat would you like to say? [0 to cancel]\n1: A 'hello' would be nice.\n2: What did you do, get up on the wrong side of the flower bed this morning?\n3: Funny, I don't even remember buying a ticket for the 'Hear the secrets of a crazed Temp' lottery.\n\n> You answer the phone\nWhat would you like to say? [0 to cancel]\n1: A 'hello' would be nice.\n2: What did you do, get up on the wrong side of the flower bed this morning?\n3: Funny, I don't even remember buying a ticket for the 'Hear the secrets of a crazed Temp' lottery.\n\n> 2\nYou say, \"What did you do, get up on the wrong side of the flower bed this morning?\"\n\n\"Whuh?\" Peter asks. Well, it isn't so much of a question as it is a grunt. You help pick off a couple of the more prominent leaves. \"Well, the leaves, right,\" he says. \"That's not what I came to talk about, but it's part of it. Indirectly, I mean. I fell in a hedge.\"\n\nWhat would you like to say? [0 to cancel]\n1: Why don't you go ahead and get to the point?\n2: You indirectly fell in a hedge?\n\n> 2\nYou say, \"You indirectly fell in a hedge?\"\n\n\"Well, I didn't plan on it when I went into the little secret door and ended up inside someone else's brain. Only when the second flash of light came did I fall into the hedge,\" Peter says. \"But, here's the interesting part.\"\n\nWhat would you like to say? [0 to cancel]\n1: If that's the dull part, I'm guessing you left out the part about evil alien robots from dimension X who plan to take over the world from their headquarters at Red Hat.\n2: Yeah, yeah, whatever. How about dinner tonight?\n\n> 1\nYou say, \"If that's the dull part, I'm guessing you left out the part about evil alien robots from dimension X who plan to take over the world from their headquarters at Red Hat.\"\n\nPeter says, \"No, the cool part, see, is that it was *Zarf's* head that I was inside!\"\n\nWhat would you like to say? [0 to cancel]\n1: Yeah, yeah, whatever. How about dinner tonight?\n2: Who the hell is Zarf?\n\n> 2\nYou say, \"Who the hell is Zarf?\"\n\n\"You never heard of Zarf?\" Peter asks. Then he pauses, thinks a moment, and says, \"Hmm, I guess you wouldn't have. Never mind. Here's an idea. How about we go to dinner tonight, and we can talk more then?\"\n\nWhat would you like to say? [0 to cancel]\n1: Okay. dinner it is.\n2: Can't do it tonight.\n\n> 1\nYou say, \"Okay. dinner it is.\"\n\nPeter says, \"Excellent! But, first things first. Can you meet me after work up in the file room? I really want to show you something.\"\n\nValerie says, \"It's against my better judgment, but all right.\"\n\nLittle do they suspect that Melvin, nearby, is spying on them and making plans of his own.Even littler do they suspect that Melvin is not what he seems...\n\n[Hit any key.]\nAround the Corner (as \"Melvin\")\nSCANNING cubicle_space(3,1,15):\nTERRAN_LIFEFORM targets(2):\n\nRECOGNIZE: ID(696095)[\"Peter Danielson Feeney\"]\ndETAIL_LIST   New unit underling\nProblem report: DANGEROUS (watchflag)\nProblem report: ATTITUDE\nResistant to authority. CONVERSE_MODE(shy,servile);\n\nRECOGNIZE: ID(344904)[\"Valerie Ann Michelle Conrad\"]\ndETAIL_LIST   Established unit (no connection)\nProblem report: ATTITUDE\nResponds to authority.\nCONVERSE_MODE(extrovert,lecherous);\n\nSOUNDSCAN targets(344904,696095): Process... Process...\n696095: [Author's Note: Go FileRoom ] << Show 344904 OBJ_ID(0001001)[##Portal]\n>>\n344904: [Author's Note: accept order Go ]\n\nANALYSIS: TERMINATE Action [Author's Note: Show ]\n#ifSucc [Author's Note: EXECUTE ORDER_ID(904)[##CoverUp] ]\n#else [Author's Note: TERMINATE ID(696095) ]\n\nNEXTACT:\n[1]FOLLOW\n[2]WAIT\n[3]KILL\n\n>>\n\n> 3\n*ERROR.\n[Author's Note: EXECUTE ORDER_ID(904)[##CoverUp] ] (inconclusive)\n\n[1]FOLLOW\n[2]WAIT\n[3]ERROR\n\n> 1\nFOLLOW MODE ACTIVE. --NOMINAL--\n\nLater that evening...\n\n[Hit any key.]\nFile Room (as Valerie)\nThe file room is one of your favorite rooms in the company building. One, it's always orderly and clean; and two, it doesn't sport brightly colored IKEA furniture. It's businesslike and efficient. There's even a window to give the area a sense of openness.\n\nPeter is standing here, pacing, when you arrive. \"What took you? Didn't we say 6:30?\" Peter asks.\n\nWhat would you like to say? [0 to cancel]\n1: Sorry I'm late.\n2: Okay, so show me this amazing file cabinet of yours.\n\n> 1\nYou say, \"Sorry I'm late.\"\n\n\"Sorry I'm late,\" you say to Peter. \"I had to ditch Melvin. He kept hanging around the elevators. I finally faked him out and took the stairs. It's like he was trying to intercept me.\"\n\n\"Melvin? Really?\" Peter says, looking worried. \"I was wondering who put the file cabinet back.\"\n\nWhat would you like to say? [0 to cancel]\n1: Okay, so show me this amazing file cabinet of yours.\n\n> 1\nYou say, \"Okay, so show me this amazing file cabinet of yours.\"\n\n\"Okay, so show me this amazing file cabinet of yours,\" you tell Peter. \"I'm starving.\"\n\nPeter says, \"Here's what you do. Go to file cabinet Z-Y and try to open it.\"\n\n> You open the Z-y\nYou try to open the cabinet, but it seems to be stuck shut.\n\n\"It's stuck,\" you say.\n\n\"Give it a good pull,\" says Peter.\n\n> Continue\nYou try to open the cabinet, but it seems to be stuck shut.\n\n> You pull the Z-the y.\nYou yank on the drawer, and it flies clean out of the cabinet, sending you spilling backwards. Loose folders slide out in a snaky line sideways across the floor, emptying their contents in all directions.\n\n\"Egad!\" yells Peter. \"That didn't happen last time!\"\n\n\"Well, it did this time,\" you tell Peter. \"Help me clean up the papers.\"\n\n> You examine the door\nYou should probably clean up the scattered papers first.\n\n> Clean\nWhat do you want to clean?\n\n> Clean papers\nAs you both lean down to clean up the papers, you see a pair of shoes enter the room from the darkened hallway. Perched in the shoes is a pair of stilts. Balanced on the stilts is a kind of potato head with Melvin's face on it. In other words, Melvin is standing here.\n\n\"Do you two want to tell me what you're doing here?\" Melvin asks.\n\nWhat would you like to say? [0 to cancel]\n1: No.\n2: Practicing the Lambada.\n3: Smooching.\n4: It's none of your business, Melvin.\n\n> 2\nYou say, \"Practicing the Lambada.\"\n\nMelvin says, \"Mmm. The Forbidden Dance. Appropriate, considering this is the second time today, Peter, that you've been playing around with private company property, against the rules.\"\n\nPeter says, \"Geez, Melvin. What's gotten into you? Suddenly you've grown a pair.\"\n\nMelvin ignores Peter and kicks some of the papers with his toe. \"Why don't you two put things back where you found them, and I won't have to report this?\"\n\nWhat would you like to say? [0 to cancel]\n1: Okay. Sorry.\n\n> You pull the Z-the y.\nThe cabinet is already out of the way.\n\n> 3\nYou say, \"Smooching.\"\n\nMelvin looks at you with a leer and says, \"Tut-tut-tut Valerie. You're quite the little flirt today, aren't you? Did she tell you, Peter, how she came on to me today in the snack room?\"\n\nPeter looks at you. \"Eww!\"\n\nWhat would you like to say? [0 to cancel]\n1: Buzz off, creep.\n2: Say that again and I'll bust your fricking head open.\n3: I demand an apology. Now.\n4: Okay, Melvin. You just won yourself a sexual harrassment suit. I'll see you in court.\n\n> 4\nYou say, \"Okay, Melvin. You just won yourself a sexual harrassment suit. I'll see you in court.\"\n\nMelvin isn't fazed. He kicks some of the papers with his toe. \"I could report this as company espionage. That's what it looks like to me.\"\n\nPeter says, \"Hey, be cool, Melvin. It was just an accident. I spilled a cabinet and Valerie offered to help me clean up.\"\n\nMelvin looks at you. \"Just an innocent spill. This is the second time today that cabinet has 'innocently' spilled open.\"\n\n\"So I'm clumsy,\" says Peter, shrugging.\n\nMelvin says, \"Why don't you two put things back where you found them, and I won't have to report this?\"\n\nWhat would you like to say? [0 to cancel]\n1: Okay. Sorry.\n\n> 1\nYou say, \"Okay. Sorry.\"\n\n\"Okay, Melvin,\" says Peter.\n\n\"Sorry,\" you say through gritted teeth.\n\nMelvin folds his clanky arms and waits impatiently for you to finish cleaning up the scattered papers, his red little eyes sweeping back and forth between you and Peter like a Cylon's.\n\n> Clean papers\nMelvin watches as you pick up the scattered folders and papers and shove them into the open cabinet. Peter puts the YZ cabinet back against the wall.\n\n\"There, Melvin,\" Peter says.\n\nMelvin says, \"Okay, now get out.\"\n\n> You examine Melvin\nMelvin seemed harmless enough at first, but lately he's been giving you the definite creeps. For one thing, he doesn't work anywhere near your station, yet you seem to meet him two or three times a day. You're starting to get the feeling that he's obsessing about you, and you're starting to lose your ability to be nice to him.\n\n> Go outside\nMelvin watches as you exit the building. You leave him behind at the entrance and walk a safe distance away.\n\n\"Well, that was weird. I've never seen Melvin act like that,\" Peter says.\n\n\"Really?\" you ask. \"He's always seemed a sort of a creep to me.\"\n\n\"Is there any way we can sneak back in, do you think?\"\n\n\"Really?\" asks Peter.\n\n\"Yeah. Now I'm curious. If Melvin hadn't showed up like that, I wouldn't have believed you really found something. Now I want to see what it is.\" \"Won't Melvin be watching?\"\n\n\"He can't sit there all night,\" you say. \"He has to go home at some point, right?\" \"Should we go to dinner first?\"\n\n\"Nah. Let's just go for it. Come on. Melvin doesn't really have any authority over me, anyway.\"\n\nPeter says, \"Excellent.\"\n\nAnd so ...\n\n[Hit any key.]\nFile Room\nThe file room is one of your favorite rooms in the company building. One, it's always orderly and clean; and two, it doesn't sport brightly colored IKEA furniture. It's businesslike and efficient. There's even a window to give the area a sense of openness. Early moonlight peeks in, drawing a long amber trapezoid on the carpet.\n\nPeter is here.\n\nPeter says, \"Okay, I don't see him. Let's be careful this time.\" He moves the Z-Y cabinet quietly aside to reveal a strange little door in the wall.\n\nWhat would you like to say? [0 to cancel]\n1: Whoa.\n\n> 1\nYou say, \"Whoa.\"\n\nPeter says, \"Go on in. It's safe. If all goes well, I'll meet you by the hedge in a few minutes.\"\n\n\"Which hedge?\" you ask. \"How will I find you?\"\n\n\"Trust me on this one,\" says Peter.\n\n> You open the door\nA hush of ancient air, tinged with organic sweetness, flows out of the opened portal.\n\n> You examine the door\nThe strange secret door is only about three feet high, and painted a shade of crimson. Gold flecks in the paint give it a sparkly, almost magical appearance.\n\n> You enter door\nYou pass through the portal into a dark tunnel, which sighs with melodic longing as you enter.\n\nYou are on your hands and knees in a claustrophobic tunnel. It leads down, as nearly as you can tell, but your equilibrium is distorted in here. The curving walls gleam with the semblance of wet rock, but the palms of your hands tell a different story. It feels like organic tissue, a thick layer of hide, with the elastic strength of muscle. Like sharkskin, it is silken and slick in one direction but resists any backwards movement with a roughened grain."
    },
    {
        "text": "[Themes: Screen, Satire, humor, office, multiple protagonists]\n\n> Go downward\nYou begin to crawl forward, the tunnel floor oozing and pliable under your knees and palms. The secret door bangs shut and disappears. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness. Your hands suddenly lose traction as gravity begins its quickening pull. You begin to slide down... down... down...\n\n-- glaring light...\n\n[Hit any key.]\nIn Zarf's Kitchen (in Zarf's head)\nWeird! You really are inside someone's head!You see the opening of this guy Zarf's eyes, giving you a sort of bifocal window into the surrounding environment. Out through his eyes you can see that he's in the middle of making dinner. On the stove, a pan of onions has been saut?ed golden brown in olive oil. On the countertop you see a bottle of white wine, two measuring cups, a small bowl, and a plate of ribbed pasta.\n\nInside of Zarf's head, you see weird flashes of light. A number of eerie sounds float around. You presume these effects are caused by the random firing of synapses in a very active mind.\n\nEach time there is a flash, you notice a shadow nearby that never seems to brighten.\n\nZarf stirs a cup of white wine into the pan of onions and lets it simmer.\n\n> You examine the shadow\nThe shadow falls in a diagonal slant, and a sensation comes from it, but you are unable to tell whether it is warmth or cold.\n\nZarf measures out roughly a cup of really squishy blue cheese.\n\n> You look at the wine\nThe bottle of white wine is missing a cup, which was added to the pan of onions.\n\nZarf stirs the simmering onions.\n\n> You talk to Zarf\nYou are unable to exert any control over Zarf's movements.\n\nZarf stirs the simmering onions.\n\n> Smell\nYou smell nothing unexpected.\n\nZarf adds the cheese to the simmering onions and mixes it around.\n\n> You examine the cheese\nYou imagine that the blue cheese is rather potent.\n\nZarf pours the saut?ed onion mixture over the pasta.\n\n> You eat zarf\n(first taking Zarf)\nYou are unable to exert any control over Zarf's movements.\n\nZarf sprinkles crushed walnuts onto the pasta dish.\n\n> You examine the synapses\nInside of Zarf's head, you see weird flashes of light. A number of eerie sounds float around. You presume these effects are caused by the random firing of synapses in a very active mind.\n\nEach time there is a flash, you notice a shadow nearby that never seems to brighten.\n\nZarf picks up the pasta dish and carries it into another room.\n\nThe shadow suddenly darkens and enlarges, swallowing you. You are transported deeper within Zarf's brain.\n\nThe noise is really loud here, and there is more to see. A visual juxtaposition mars your sense of place. The walls are angular but smooth, are a warm red, living rock, are cold dead clay and calcite. Cave tunnels lead in all directions, but without a compass or a way to mark your trail, you sense that you could easily get lost.\n\nYou can see a control panel here.\n\n> You look at the control panel\nThe control panel has the appearance of a music stand, rising from a single stalk to about the height of your rib cage. The flat surface has but one button and a rectangular plate about four inches by six inches.\n\n> You examine the plate\nThe rectangular plate is made of some sort of smooth, colorless ceramic.\n\n> You look at the button\nThe button is a touch-sensitive disk with a one-inch radius. It has one simple marking: a vertical line, drawn in white.\n\nOut of the corner of your eye, you notice a curious gentleman casually leaning against one of the walls here.\n\n> You examine gentleman\nThe thief is a slippery character with beady eyes that flit back and forth. He carries, along with an unmistakable arrogance, a large bag over his shoulder and a vicious stiletto, whose blade is aimed menacingly in your direction. I'd watch out if I were you.\n\n> You look at the gentleman\nHe does not speak, but it is clear from his aspect that the bag will be taken only over his dead body.\n\nThe thief makes a sudden, swift movement in your direction. You catch a glimpse of his stiletto moving, and then --\n\n-- glaring light...\n\n[Hit any key.]\n\nSuddenly, you are falling, but all you see are slashes of yellow light and dark green shapes. One of the largest shapes, with a dimple in the center, moves towards you quickly. As it nears, you feel a sense of time slowing, and your eyes catch the details. It is a large hedge, and the dimple is a crushed spot roughly the size of Peter's body. You hope he flattened most of the sharpest branches when he landed...\n\n[Hit any key.]\nNorthwest Campus (as Peter)\nYou are at the northwest edge of the corporate campus. A decorated line of hedges hidden by a corner of stately trees, with leaves that gently whisper in the evening wind.\n\nYou can see a large hedge here.\n\nValerie plummets into the big hedge with an unladylike ka-thump-krickle.\n\n> You examine Valerie\nValerie is a knockout brunette with almond shaped eyes, a flashing smile, a cutting sense of humor, and a real sense of style. She always seems to be trying to prove something to the world, like she can dish it out as well as she can take it. Also, she has a cute butt.\n\n> 1\nYou say, \"Probably better not.\"\n\nYou tell Valerie, \"Probably better not. I don't want to attract any attention.\"\n\n> You move the cabinet\nWhich do you mean, the other cabinets, the Y-X cabinet, the Z cabinet or the Z-Y cabinet?\n\n> Z-y\nYou are unable to.\n\n> You open the Z-y\nYou open the Z-Y cabinet.\n\n> You pull the Z-the y.\nThe cabinet is already out of the way.\n\n> You look\nFile Room (as Peter)\nThis bleak room with its short, slumping ceiling looks disconcertingly eerie at night. The army of stupid file cabinet robots looks ready to spring to life at any moment. The one measly window lets in a tiny rectangle of moonlight.\n\nA secret door has been revealed in the wall behind the Z-Y cabinet.\n\nYou can also see Valerie here.\n\n> You kiss valerie\nKeep your mind on the game.\n\n> You open the door\nA hush of ancient air, tinged with organic sweetness, flows out of the opened portal.\n\nValerie asks, \"Why don't we both go?\"\n\nWhat would you like to say? [0 to cancel]\n1: Will that work?\n2: Sure. Why not?\n\n> 1\nYou say, \"Will that work?\"\n\nValerie says, \"Sure. Why not?\"\n\n> You enter\nValerie stops you. \"Wait, we forgot the photo.\"\n\n> Inventory\nI only understood you as far as wanting to get the Zarf:Declassified folder.\n\nYou are carrying:\nsome folders\n\n> You get Zarf\nTaken.\n\n> You look in it\nIn the Zarf:Declassified folder are an employee record and a blurry photograph.\n\n> You read the record\nIt's an employee record for one Andrew Plotkin. He's been working here since the company he used to work for was bought out by Red Hat.\n\n> You examine photo\nThe photograph is a blurred likeness, but you can only assume that it's a picture of Zarf.\n\n> You enter door\nYou pass through the portal into a dark tunnel, which sighs with melodic longing as you enter.\n\nWeird Tunnel (as Peter)\nYou are on your hands and knees in a claustrophobic tunnel. It leads down, as nearly as you can tell, but your equilibrium is distorted in here. The curving walls gleam with the semblance of wet rock, but the palms of your hands tell a different story. It feels like organic tissue, a thick layer of hide, with the elastic strength of muscle. Like sharkskin, it is silken and slick in one direction but resists any backwards movement with a roughened grain.\n\nValerie follows you.\n\n> You examine the door\nThe secret door bangs shut and disappears. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness. Your hands suddenly lose traction as gravity begins its quickening pull. You begin to slide down... down... down...\n\n-- glaring light...\n\n[Hit any key.]"
    },
    {
        "text": "[Themes: Screen, Satire, humor]\n\n> Go downwards\nZarf's Apartment (in Zarf's head) (as Peter)\nZarf seems at first to be in a library, but on second glance, he's just at home but owns a *lot* of books. A couple thousand of them, by the looks of it. He is holding a bar code scanner and is scanning the ISBN numbers of books from a tall stack, one at a time, into his computer.\n\nInside of Zarf's head, you see weird flashes of light. A number of eerie sounds float around. You presume these effects are caused by the random firing of synapses in a very active mind. A deep shadow here slashes diagonally, refusing the light.\n\n\"Okay, I'll stay here,\" says Valerie. \"Try to get that panel activated. I'll holler if I see anything happen.\"\n\n> You look at the books\nThere are hundreds and hundreds of books, too many to describe individually.\n\nZarf scans another book from the stack.\n\n> You enter the shadow\nYou touch the shadow, and feel a chill go through your bones.\n\n\"I think he felt that,\" yells Valerie.\n\nInside Zarf's Brain (as Peter)\nThe noise is really loud here, and there is more to see. A visual juxtaposition mars your sense of place. The walls are angular but smooth, are a warm red, living rock, are cold dead clay and calcite. Cave tunnels lead in all directions, but without a compass or a way to mark your trail, you sense that you could easily get lost.\n\nYou can see a control panel here.\n\n> You look at the panel\nThe control panel has the appearance of a music stand, rising from a single stalk to about the height of your rib cage. The flat surface has but one button and a rectangular plate about four inches by six inches.\n\nOut of the corner of your eye, you notice a curious gentleman leaning against the wall.\n\n> You put the photo on the plate\nYou put the blurry photo onto the ceramic plate.\n\n> You examine the microphone\nIt is a slender golden rod with a burnished tip. The tip contains a spherical windscreen.\n\n> Hello\nPlease use >TALK TO PLAYER to interact in this game.\n\n> You talk to Zarf\n(the microphone)\n\nWhat would you like to say? [0 to cancel]\n1: Test. Test. Testing 1, 2, 3, 4. Hello?\n\n> 1\nYou say, \"Test. Test. Testing 1, 2, 3, 4. Hello?\"\n\nYou feel a sudden sense of pressure and release, and a darkening of the environment.\n\nValerie yells, \"Is it working? He's looking around like he knows someone is messing with him.\"\n\n\"What should I try?\" you ask.\n\n\"It's up to you,\" Valerie yells back.\n\nWhat would you like to say? [0 to cancel]\n1: Umm. Zarf, drop your book.\n\n> 1\nYou say, \"Umm. Zarf, drop your book.\"\n\nThere is a slight shift in the floor, then a heavy, echoing thud from somewhere outside.\n\nValerie yells, \"Yay! He dropped the book! Try something else.\"\n\nWhat would you like to say? [0 to cancel]\n1: Zarf, stand up.\n2: Zarf, do the funky chicken.\n3: Zarf, explain 'So Far'.\n4: Zarf, give me all your chocolate.\n\n> 1\nYou say, \"Zarf, stand up.\"\n\nYou feel a sudden shift as the floor seems to tilt underneath you, then rights itself. You feel a sense of fast upward motion.\n\n\"You must have felt that,\" Valerie yells. \"Okay, he's looking around like he can't figure out what's going on. Try something else.\"\n\nWhat would you like to say? [0 to cancel]\n1: Zarf, do the funky chicken.\n2: Zarf, explain 'So Far'.\n3: Zarf, give me all your chocolate.\n\n> 2\nYou say, \"Zarf, explain 'So Far'.\"\n\nA hollow noise rumbles up from the caves, like gigantic steel doors swinging shut and locking. From the shadows, the stranger with the rucksack and stiletto speaks in a low voice, saying, \"I do not explain my work. You, however, have some explaining to do.\" He steals closer, an inch at a time, circling you.\n\nWhat would you like to say? [0 to cancel]\n1: Valerie, help!\n\n> 3\nYou say, \"Zarf, give me all your chocolate.\"\n\nThere is a groan like heavy roof timbers creaking, underscored by a low metallic grinding.\n\nValerie yells, \"Hey! What did you tell him to do?\"\n\n\"I told him to give me all his chocolate,\" you shout back. \"Why, what's he doing? It feels like we're moving.\"\n\nValerie says, \"I don't think he's the kind of guy who easily surrenders his chocolate. I think he's starting to catch on that there's someone messing with his brain here. Careful what else you try.\"\n\nWhat would you like to say? [0 to cancel]\n1: Zarf, do the funky chicken.\n2: Zarf, explain 'So Far'.\n\n> 4\nWhat would you like to say? [0 to cancel]\n1: Zarf, do the funky chicken.\n2: Zarf, explain 'So Far'.\n\n> 1\nYou say, \"Zarf, do the funky chicken.\"\n\nValerie yells, \"I didn't feel anything. What did you try?\"\n\n\"I told him to do the funky chicken,\" you yell back.\n\nYou hear Valerie laugh. \"Maybe he doesn't know that dance. Try something else.\"\n\nWhat would you like to say? [0 to cancel]\n1: Zarf, explain 'So Far'.\n\n> 1\nYou say, \"Valerie, help!\"\n\nA violent red light pulses through the inside of the brain. Valerie enters, looking spooked.\n\nValerie says, \"Uh oh, I think he's pissed.\"\n\n\"Who are you two?\" the thief demands, extending his stiletto blade.\n\nYou back slowly away from the control panel, your eye on the tunnel openings. \"What do we do now?\" you ask Valerie. \"Usually the trip ends by this point.\"\n\nThe thief circles closer, his eyes locked on yours, glinting in the darkness the same as his blade.\n\n\"What if we get stuck here?\" Valerie wonders aloud.\n\n> You talk to the thief\nYou can't think of anything to say.\n\nThe thief suddenly lunges. Valerie yanks you backwards.\n\n\"Run!\" she screams.\n\n\"Which way?\"\n\n\"*Any* way!\"\n\n> You run\nYou'll have to say which compass direction to go in.\n\nThe thief quickly dispatches both you and Valerie with quick, upward thrusts of his blade into your hearts.\n\n> Up\nYou experience blind panic for the first time in your life, despite the absurdity of the setting, and the recognizable fiction of the threat. Your life; how small and petty it all seems, and how short. There is little light in these twisting tunnels, and the faster you run, the more time moves in slow motion, and your thoughts turn inward. Your life has been blind and short, you think; appropriate, because down this last dark turn of the cave tunnel you have met with an unexpected, dead end.\n\nIt is the classic dead end. More than that, it is the archetypal dead end. Nowhere forward, nowhere back. The ceiling shocks with its height, the walls oppress with their closeness. There are no exits.\n\nA helix of light hangs in the air here, twirling and changing colors.\n\nYou can also see Valerie here.\n\n\"We're trapped!\" whispers Valerie, as much color drained from her face as there is pulsating in the helix above.\n\n> Go upward\nThere are no exits.\n\nThe thief enters, his stiletto blade extended. \"You two don't belong here,\" he says. \"And I believe you have something of mine.\"\n\n\"Help!\" you yell. \"Hel--\"\n\n-- glaring light...\n\n[Hit any key.]\nHedge\nSpiny, poky leaves weed their way through your clothing and stab you in uncomfortable and sensitive places.\n\n> Leave\nYou are at the northwest edge of the corporate campus. A decorated line of hedges hidden by a corner of stately trees, with leaves that gently whisper in the evening wind.\n\nYou can see Valerie and a large hedge here.\n\n\"Okay, that was freaky,\" says Valerie.\n\n\"Yeah, let's call it a night,\" you say.\n\n\"Oh come on. This is getting fun. This is my kind of Interactive Fiction!\"\n\n\"More like interactive reality. Oh, damn. Where is it? I've lost the photo.\"\n\n\"Maybe you dropped it when we fell. Look in the hedge.\"\n\n> Search hedge\nThere's nothing in the hedge.\n\n\"It's not there,\" you say.\"I bet the thief took it. That means the show's over.\"\n\n\"Do you think we should tell Zarf about this?\"\n\n\"Hmm. Maybe it's better if he doesn't know.\"\n\n\"I don't know about that. If it were your head, wouldn't you want to know that people were hacking into it?\"\n\n\"Good point. Okay, we'll tell him first thing tomorrow.\"\n\n\"Agreed,\" says Valerie.\n\n\"Agreed,\" you say.\n\n> You go to the north\n\"Can I walk you to your car?\" you ask Valerie.\n\n\"You can limp me there,\" she says, grimacing. \"I think I twisted my ankle.\"\n\nYou puff out your chest. \"I can carry you, if you want.\"\n\nValerie laughs. \"Ooh. The last of the gallant gentlemen.\" She shakes her head. \"No thanks, I'm tough,\" she says.\n\n> You kiss valerie\nKeep your mind on the game.\n\n> You go north\nOh, come on. Take the hint and be gallant.\n\n> You carry valerie\nPeter carries Valerie to her car, trying desperately not to huff and sweat and collapse.\n\nEarly the next morning, Zarf wakes and takes a long walk to work, trying to blow off some steam. It doesn't help...\n\n[Hit any key.]\n\n> You carry valerie\n** Library error 10 (0,0) **\n\nYou are *pissed*. Someone's been messing with you, and you know exactly who it was. *How* they did it, you don't know, but that's the first thing on your mind this morning. Find evil scum, tell evil scum off. Then, get some work done.\n\nOn the computer is a MUD window. You are logged onto ifMUD.\n\n> About yourself\nYou look about the same as always.\n\n> You examine the ifmud\nSargent says (to Zarf), \"Hey.\"\ninky says, \"hi Z\"\nIain says, \"Hullo.\"\nYou say, \"grnn. Not happy.\"\nRob says (to Iain), \"that's what I thought until recently\"\nIain says (to Rob), \"Oh?\"\nSargent says (to Zarf), \"What's up?\"\ninky says, \"erm?\"\nYou say, \"Details not important. I have a mission to destroy\nevil\nscum.\"\nSargent says, \"Ugly buildup in the bathtub?\"\ninky says, \"probably some sort of foaming cleanser is in order\"\nRob says, \"bleach and a stiff brush will take care of that\"\nAdam says, \"You coul-- Damn it.\"\nSargent says, \"HA ha.\"\nEmily groans.\n\nSuddenly, Evil Scum are here. You recognize one of them only from a vivid mental snapshot that appeared yesterday morning. You recognize the other from seeing her around once or twice. You are not pleased to see either of them, although it saves you the trouble of hunting them down.\n\n\"Um, hi Mr. Plotkin,\" says the first.\n\n\"I'm Valerie Conrad, and this is Peter Feeney,\" says the other.\n\n\"We came to tell you about -- something weird that we discovered.\"\n\n\"It's a portal into your head,\" says Valerie, which doesn't make any logical sense, but it does explain things, if it's true.\n\nWhat would you like to say? [0 to cancel]\n1: And you decided to take not just one trip, but three? Thanks a *lot*.\n\n> Oops\nWhat would you like to say? [0 to cancel]\n1: And you decided to take not just one trip, but three? Thanks a *lot*.\n\n> 1\nYou say, \"And you decided to take not just one trip, but three? Thanks a *lot*.\"\n\n\"Sorry about that. It was just ordinary curiosity at first.\"\n\n\"Perfectly natural.\"\n\nWhat would you like to say? [0 to cancel]\n1: There's nothing natural or ordinary about it. Where is this portal?\n\n> 1\nYou say, \"There's nothing natural or ordinary about it. Where is this portal?\"\n\n\"In the file room.\"\n\nWhat would you like to say? [0 to cancel]\n1: Take me there. Now.\n\n> 1\nYou say, \"Take me there. Now.\"\n\n\"Well, okay.\"\n\n[Hit any key.]\n\n> You examine the ceiling tile\nThe ceiling tile is set slightly askew.\n\n> You examine the door\nA portal fashioned from slats of aged cedar, the strange secret door is only about three feet high, and painted a shade of crimson. Gold flecks in the paint give it a gaudy, child's-idea-of-magical appearance. Ornate brass hinges, possibly hand-crafted, clamp the door securely to the wall. Beyond being bizarre, it is curiously anachronistic. The portal itself antedates this building by at least a century and a half, in your estimation.\n\n> You examine the copy machine\nThe copier machine sits near the wall, bearing no make or marking that you recognize. Even more curiously, the copier is not plugged in, and yet it definitely seems to be turned on.\n\n> You open the copier\nYou open the lid.\n\n> You open the door\nThe door swings easily on its hinges, which have been recently oiled. Someone is evidently its caretaker, but it is beyond your ability to guess whom.\n\n> You enter the portal\nA voice shouts, \"STOP!\" It is an odd voice, a peculiar sounding shout. It sounds less like a voice yelling and more like a normal voice mechanically amplified.\n\n\"Melvin!\" shouts Peter.\n\nThis \"Melvin\" bears no resemblance to any human being, living or dead. The ersatz flesh on his disjointed skeleton is a remarkable elastic, tinted with some care to mimic caucasian melanin. Under the fluorescent light, it reflects slightly too much green, and it wrinkles unnaturally at limb joints. More care has been taken in the face, allowing for a range of facial expressions. Currently, the expression is one of intended menace.\n\n\"You leave me no choice but to terminate you,\" says Melvin. He goes to the copier and punches a sequence of numbers on the button panel. A strange shuddering vibration pulses through the room, from back to front.\n\n\"The file cabinets!\" yells Peter. \"They're moving!\"\n\nThe file cabinets are growing taller. Beneath each, a small footpad is extending, and the cabinet bodies are rising on stalks. A single cycloptic ruby eye irises open on the face of each.\n\nPeter rolls his eyes. \"Well what the heck. It *is* a stupid robot army!\"\n\n\"Go in, quick!\" Valerie orders you.\n\n\"Go! We'll hold him off!\" Peter shouts, bravely. \"I think.\"\n\n[Hit any key.]"
    },
    {
        "text": "[Themes: Screen, Satire]\n\n> Go downward\nYou begin to crawl forward, the tunnel floor oozing and pliable under your knees and palms. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness. Your hands suddenly lose traction as gravity begins its quickening pull. You begin to slide down... down... down...\n\n-- glaring light...\n\n[Hit any key.]\nInside Zarf (Inside Zarf (Inside Zarf (In yourself)))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't hit an escape clause, it will recur until the stack overflows and the system crashes.\n\n> You look\nInside Zarf (Inside Zarf (Inside Zarf (In yourself)))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't hit an escape clause, it will recur until the stack overflows and the system crashes.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))) Recursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You look\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))) Recursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return\nYou'll have to be more specific about how you want to do that.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself))))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> Escape\nYou'll have to be more specific about how you want to do that.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 0\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself))))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> Return 1\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> 2\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))) Recursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\nYou seem to want to talk to someone, but I can't see whom.\n\n> Escape\nYou'll have to be more specific about how you want to do that.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 4000\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (Inside Zarf (Inside Zarf (In yourself)))) Recursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 0\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (Inside Zarf (In yourself)))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 0\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (Inside Zarf (In yourself))\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 69105\nYou halt the current execution and pop up to the next level.\n\nInside Zarf (In yourself)\nRecursion has always been one of your favorite tools, but you know far too well that if it doesn't return a value, it will recur until the stack overflows and the system crashes.\n\n> You return 0\nYou return the last value, and a shadow falls over you. Touching it, you fall inward. Meanwhile, a few turns ago...\n\n[Hit any key.]\nFile Room (as Peter)\nThe situation has gone from bad to worse, here. The army of mutant little file cabinet robots has herded you and Valerie back against the north wall. The window is behind you. Melvin is across the room, working controls on the copier, which has opened up to reveal some sort of pulsating machine innards.\n\nA secret door has been revealed in the wall.\n\nValerie says, \"What do we do?\"\n\nWhat would you like to say? [0 to cancel]\n1: We go out the window.\n2: We attack Melvin.\n3: We make a break for the portal.\n4: We do like Captain Kirk, and incapacitate Melvin with logic.\n\n> 4\nYou say, \"We do like Captain Kirk, and incapacitate Melvin with logic.\"\n\nValerie looks at you like you're the biggest nerd she has ever met, and considering you both work at Red Hat, that's saying something. \"See what you can do, I guess,\" she says.\n\n> You talk to Melvin\nWhat would you like to say? [0 to cancel]\n1: Melvin. I submit that your plans are illogical.\n\n> 1\nYou say, \"Melvin. I submit that your plans are illogical.\"\n\nMelvin looks up at you. \"Illogical?\" he asks. \"My plans are perfect. Not that they're my plans, of course. The Great Brain of Dimension X knows all.\" Melvin begins to fidget, the first time you've seen him nervous since things started to get really weird. \"Who am I to question his perfect logic? I am created in his perfect image. We serve logic. We serve the Great Brain.\"\n\nWhat would you like to say? [0 to cancel]\n1: I submit that your orders are illogical.\n\n> 1\nYou say, \"I submit that your orders are illogical.\"\n\nMelvin's left eyelid starts to twitch. \"No, no. My orders are perfect. The Great Brain is incapable of error. The Great Brain is God! God is\n\n> 1\nLogic!\"\n\nValerie whispers, \"I think it's working!\"\n\nWhat would you like to say? [0 to cancel]\n1: I submit that *you* are illogical!\n\n>>\n\nYou say, \"I submit that *you* are illogical!\"\n\n\"No -- no, it cannot be!\" Melvin says. He looks confused, staring at the pulsating brain and back to you. \"Logic is God. God is Logic. Those who do not serve God must be destroyed!\"\n\nWhat would you like to say? [0 to cancel]\n1: I submit that the Great Brain is illogical. You serve a false God, a god of illogic! What is the penalty for serving a false God?\n\n> 1\nYou say, \"I submit that the Great Brain is illogical. You serve a false God, a god of illogic! What is the penalty for serving a false God?\"\n\nMelvin begins to quiver and shake. \"Illogical... illogical...\" Smoke starts coming of his ears. \"Must -- must -- serve -- groink! Blatt!\" He makes a few sputtering noises and collapses.\n\nValerie says, \"There's no way that should have worked.\"\n\nSuddenly, Melvin springs back to his feet, shoots you an evil grin, and laughs like an insane android might at a time like this.\n\n\"Idiot,\" Melvin says. \"There's no such thing as the Great Brain. I'm just here to kill you because I'm an evil android bastard who loves to kill. And it'll be a special pleasure killing someone so dweebishly gullible.\"\n\nWhat would you like to say? [0 to cancel]\n1: Oh well. It was worth a shot.\n\n> 1\nYou say, \"Oh well. It was worth a shot.\"\n\nMelvin says, \"Hardly.\" He goes back to fiddling with the pulsating machine brain.\n\nValerie whispers, \"So. Any other bright ideas?\"\n\nWhat would you like to say? [0 to cancel]\n1: I'll pick up one of the cabinets and throw it at Melvin. You should go for the portal. Then I'll figure out some way of getting in there myself.\n\n> 1\nYou say, \"I'll pick up one of the cabinets and throw it at Melvin. You should go for the portal. Then I'll figure out some way of getting in there myself.\"\n\nValerie gives you a kiss. \"For good luck,\" she says as the heroic music swells.\n\nThe conversation kind of trails off at that point.\n\n> You kiss valerie\nKeep your mind on the game.\n\n> You take the cabinet\nYou pick up the nearest file cabinet, which turns out to be the Z-Y cabinet. The stupid robot starts making a pathetic squealing noise.\n\n\"Hey! Put him down this instant!\" shrieks Melvin.\n\n> You throw the cabinet at Melvin\n(the army of mutant little file cabinet robots at Melvin)\n\nWhat heroic catch phrase would you like to utter?\n[1]Here's mud in your eye, sucker! [2]It's clobberin' time!\n[3]Hasta la vista, bubbala! [4]You remember when I said I'd kill you last? I lied!\n\n> 2\n\"It's clobberin' time!\" you shout.\n\n\"Who do you think this mutant army is, the Yancy Street Gang?\" Valerie says.\n\n\"Don't ruin my moment. Just get moving!\"\n\nValerie makes a gymnastic diving roll over the sinister little cabinets and disappears into the portal. You fling the little metallic beast at Melvin, but your aim is terrible. Fortunately, you lobbed it so far to the side that it goes smashing into the pulsating copier machine brain heart organ thingy, which implodes and then explodes, emitting a terrific shower of sparks and a sad little dying scream.\n\nAs you might expect, Melvin shouts, \"Noooooooooooo!\" as the little army of stupid robots topples over en masse, vomiting their paper folder guts all over the place.\n\n> You look at Melvin\nMelvin Prufrock is a thin, translucent looking individual, with tics and other twitchy mannerisms passing for a personality. He is insanely tall, approaching six foot eight, but probably only weighs 130 pounds with clothes on. You don't even want to consider what he's like without clothes on. He also looks like he's about six years younger than you are, so about nineteen, and yet he's several rankings above you on the ladder.\n\nMelvin withdraws some sort of bulbous metal ray gun from one of the dead cabinets. \"You should have escaped when you had the chance, Peter!\" he says as he pulls the trigger. For a moment, you feel absolutely nothing, and then you realize with some shock that this is because your nervous system has been completely vaporized, and the rest of you along with it.\n\n> You enter the portal\nYou leap for the portal.\n\nWeird Tunnel (as Peter)\nYou are on your hands and knees in a claustrophobic tunnel. It leads down, as nearly as you can tell, but your equilibrium is distorted in here. The curving walls gleam with the semblance of wet rock, but the palms of your hands tell a different story. It feels like organic tissue, a thick layer of hide, with the elastic strength of muscle. Like sharkskin, it is silken and slick in one direction but resists any backwards movement with a roughened grain.\n\nYou hear Melvin scream, \"You can't get away from *ME*!\""
    },
    {
        "text": "[Themes: Screen, Satire]\n\n> Go downwards\nYou begin to crawl forward, the tunnel floor oozing and pliable under your knees and palms. The tunnel begins to shiver, and from up ahead a roar like a waterfall issues from the darkness. Your hands suddenly lose traction as gravity begins its quickening pull. You begin to slide down... down... down...\n\n-- glaring light...\n\n[Hit any key.]\nInside Zarf's Brain (as Peter)\nThe noise is really loud here, and there is more to see. A visual juxtaposition mars your sense of place. The walls are angular but smooth, are a warm red, living rock, are cold dead clay and calcite. Cave tunnels lead in all directions, but without a compass or a way to mark your trail, you sense that you could easily get lost.\n\nYou can see a control panel, Valerie and Zarf here.\n\n\"You made it!\" says Valerie.\n\n\"Yeah,\" you say, \"But Melvin's right on my tail.\"\n\nZarf seems calm and sagelike. \"It's okay. I know my way around, and I have a plan. Mind you, the timing is apt to be rather ... cruel... from now on.\"\n\n> Go northwest\nMelvin fires the ray gun, which emits a sizzling noise and a bright stripe of electric blue laser light. \"EXTERMINATE! EXTERMINATE!\" he screams. The two of you narrowly dodge the beam and follow Zarf down the tunnel.\n\nTunnels (as Peter and Valerie)\nA huge cavern rises above you. The far reaches are lost in shadow mist, and the vaults above fade into a darkness pierced with long columns of stone. Chill water drips and pools in broken declivities. You can hear little else. A river of smoke-grey travertine flows down one wall of the chamber. Pale fungi gleam in phosphorescence somewhere above. Gloomy side chambers stretch off in many directions.\n\nYou can see Zarf here.\n\nZarf says, \"We're going to need a few things. Try to keep up.\"\n\nZarf walks down through the floor. Vivid gold light flares around him."
    },
    {
        "text": "[Themes: Satire, Screen, humor]\n\n> Go downward\nYou follow Zarf through the floor, which melts open around you. You hear Melvin close behind you.\n\nCanyon Wall (as Peter and Valerie)\nMassive buttresses of stone rise all around you, climbing the canyon wall, flowing down again in cascades of pale fluorite. A path seems to climb up among them; but you don't think you can get to it right now.\n\nThe carcass of the Wumpus is heaped before you. Hardened blood trickles from its ravaged hide, puddling on the floor.\n\nThere is a crossbow lying here; near the beast; loaded and cocked.\n\nZarf says, \"Take the crossbow.\"\n\n> You take the crossbow\nPeter takes the crossbow.\n\nValerie says, \"Poor thing.\"\n\nZarf walks through the east wall. Rich crimson light flares around him.\n\n> You wait awhile\nTime passes.\n\nMelvin enters from the path above, shouting, \"I smell a Wumpus! HA HA HA HA HA!\"\n\n> Go east\nYou follow Zarf through east wall, which melts open around you. You hear Melvin close behind you.\n\nSmall Cave (as Peter and Valerie)\nYou are in a dark pocket, a stony crack below the summit of the hill. It is not quite high enough to stand in, but surprisingly long, narrowing only slowly towards the back. The entrance is a circle of blinding crimson to the west, partially obscured by the boulder.\n\nAn ancient and filthy blanket is crumpled against one wall of the cave.\n\nYou can also see Zarf here.\n\nZarf says, \"Take the blanket.\"\n\n> You get the blanket\nValerie takes the blanket.\n\nZarf walks through the south wall. Shimmering grey light flares around him.\n\nMelvin squeezes through the cave opening. \"It's a good thing I remembered to change my batteries!\" he puffs.\n\n> You go to the north\nIf you don't follow Zarf, you will surely be killed.\n\nMelvin fires the ray gun, which emits a sizzling noise and fills the tiny cave with electric blue laser light. \"EXTERMINATE! EXTERMINATE!\" he screams. In the tiny confines of the cave, the deadly beams bounce more than Melvin expects, and he is caught in the backfire. \"Oh, hell,\" he says, as all three of you shred into atoms.\n\n> You go to the south\nYou follow Zarf through the south wall. Melvin is one step behind you.\n\nStorage Tent (as Peter and Valerie)\nThis is where the party kept all its supplies. However Roboff seems to have cleaned everything out that was of any use. Several arrows of Da-Glo paint on the wall attract your attention to the empty food and water chests.\nLying on the ground is a brass torch of the \"self-igniting\" type. The ignite button is on the handle.\nThere is a shovel lying here.\n\nYou can also see Zarf here.\n\nZarf says, \"Take the shovel.\"\n\n> You take the shovel\nPeter takes the shovel.\n\nZarf says, \"Okay, we need to take a slight detour.\"\n\nZarf walks up through the ceiling. Pale green light flares around him.\n\nOutside the tent, Melvin hollers, \"Little pigs, little pigs, let me in!\"\n\n> Go up\nYou follow Zarf through the ceiling. You feel the heat of Melvin's ray gun blast nearly singe your feet.\n\nTunnels (as Peter and Valerie)\nA huge cavern rises above you. The far reaches are lost in shadow mist, and the vaults above fade into a darkness pierced with long columns of stone. Chill water drips and pools in broken declivities. You can hear little else. A river of smoke-grey travertine flows down one wall of the chamber. Pale fungi gleam in phosphorescence somewhere above. Gloomy side chambers stretch off in many directions.\n\nYou can see Zarf here.\n\nZarf says, \"Fortunately, these tunnels lead everywhere. Come along.\"\n\nZarf walks through the south wall. Rosy pink light flares around him.\n\n> You go south\nYou follow Zarf through the south wall. Melvin is one step behind you.\n\nIn Roc Nest (as Peter and Valerie)\nThis nest is made from skillfully woven tree trunks, small bushes, and large amounts of mud and roc guano for glue. Giant black feathers are everywhere. In the center of the nest is an egg the size of a small wagon. Nestled beneath the egg is a featureless white cube.\nThe roc perches on the side of the nest, watching you intently.\nThere is a stained scroll here.\n\nYou can also see Zarf here.\n\nZarf says, \"Take the scroll.\"\n\n> You get the cube\nThe roc, convinced you are threatening its precious egg, drives you away before you can snatch the cube.\n\nMelvin materializes through the rock face. \"Where the hell are we?\" he says, staring around.\n\n> You get the scroll\nValerie takes the stained scroll.\n\nZarf walks through the west wall of the nest. Blinding white light flares around him.\n\nMelvin fires the ray gun, which emits a sizzling noise and a bright stripe of electric blue laser light. \"EXTERMINATE! EXTERMINATE!\" he screams. He manages to take out not just you and Valerie, but the roc, the egg, the cube, and the nest as well. Your glittering ashes take several slow minutes to settle far below.\n\n> You get the scroll\nValerie takes the stained scroll.\n\nZarf walks through the west wall of the nest. Blinding white light flares around him.\n\nMelvin materializes through the rock face. \"Where the hell are we?\" he says, staring around.\n\n> Go west\nYou follow Zarf through the west wall. You hear Melvin yelling, \"Bad bird! Bad!\"\n\nControl Room (as Peter and Valerie)\nThis is the control room for all the machinery nearby. The controls are all magical, of course. The walls are covered by blinking lights and shifting displays, interspersed with arcane dials and glowing buttons. It's all very mysterious looking. The exit, to the northwest, leads into a room with machinery which would surely crush you if you were to attempt to enter it.\nA scroll of old, brittle parchment is here.\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\nZarf says, \"Take the scroll.\"\n\n> You get scroll\n(the brittle scroll)\nPeter takes the brittle scroll.\n\nZarf says, \"I need to take my own detour. You two, take the northwest exit, wait for Melvin, and incapacitate him. Lay a trap if need be. I'll rejoin you after.\"\n\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\n\"Are you sure we can get through that?\" Peter asks.\n\nZarf touches a shadow and vanishes.\n\n\"Oh. Great.\"\n\n\"Crash!\" A huge hammer smashes against the stone floor outside.\n\nMelvin bursts in from the east wall, covered with talon scratches and roc feathers. \"Note to self: Don't mess with the roc egg,\" he says.\n\n> You take the scroll\nWhich do you mean, the brittle scroll or the stained scroll?\n\n> Go northwest\nYou make it across the room, but just barely; just as you duck through the door, a huge hammer crashes down behind, missing by an inch. Something you stepped on along the way clicked as well, and with a horrible screeching noise, the machinery speeds up, crashing faster and faster until it's twice as fast as before.\n\nFrom behind, you hear Melvin cry, \"Hey! No fair!\" That machinery ought to slow him down for at least a minute or two.\n\nDead End (as Peter and Valerie)\nIt is the classic dead end. More than that, it is the archetypal dead end. Nowhere forward, nowhere back. The ceiling shocks with its height, the walls oppress with their closeness. There are no exits.\n\nMelvin will be here at any moment.\n\n\"Do we know what to do?\" Valerie asks Peter.\n\n\"I hope so, or we're dead.\" Peter says.\n\n> Inventory\nYou are carrying:\na brittle scroll\na stained scroll\na shovel\na blanket\na crossbow\n\n> You look at brittle\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\n\nYou hear the distant crash of a giant hammer, followed by a small shriek from Melvin. It sounded more disappointed than fatal.\n\n> You look at stained\nThe scroll reads \"caskly spell: cause perfection.\"\n\n> Dig\nWhat do you want to dig?\n\n> Shovel\nPeter attacks the soft ground with the shovel. It seems to magically bite large chunks at a time, like a ravenous rodent burrowing into angel food cake. The scooped material seems to vanish like evaporating bubbles, leaving only a deep pit behind.\n\nUnfortunately, Peter himself ends up at the bottom of it.\n\nThere is a terrific crash and then a fast series of metallic whupping noises. Melvin comes limping in through the southeast wall, looking the worse for wear. Several spears are skewered in his sides, and one leg drags limply behind him.\n\n\"My ray gun got smashed by the hammer,\" he mopes.He looks down in the pit and laughs. \"What are you doing down there, digging a latrine? Don't worry about that. Time to die.\"\n\nWith a steely 'snikt', long metal blades protrude out of his knuckles."
    },
    {
        "text": "[Themes: Satire, Screen]\n\n> Look around\nInside Zarf's Brain (as Peter)\nThe noise is really loud here, and there is more to see. A visual juxtaposition mars your sense of place. The walls are angular but smooth, are a warm red, living rock, are cold dead clay and calcite. Cave tunnels lead in all directions, but without a compass or a way to mark your trail, you sense that you could easily get lost.\n\nYou can see a control panel, Valerie and Zarf here.\n\nThere is a sound like a vacuum implosion, and a flash of light. Melvin tumbles into view, holding some sort of ray gun.\n\n\"He's got a gun!\" shouts Valerie.\n\nZarf says, \"Follow me, please.\"\n\nZarf leaves to the northwest.\n\n> Go northwest\nMelvin fires the ray gun, which emits a sizzling noise and a bright stripe of electric blue laser light. \"EXTERMINATE! EXTERMINATE!\" he screams. The two of you narrowly dodge the beam and follow Zarf down the tunnel.\n\nTunnels (as Peter and Valerie)\nA huge cavern rises above you. The far reaches are lost in shadow mist, and the vaults above fade into a darkness pierced with long columns of stone. Chill water drips and pools in broken declivities. You can hear little else. A river of smoke-grey travertine flows down one wall of the chamber. Pale fungi gleam in phosphorescence somewhere above. Gloomy side chambers stretch off in many directions.\n\nYou can see Zarf here.\n\nZarf says, \"We're going to need a few things. Try to keep up.\"\n\nZarf walks down through the floor. Vivid gold light flares around him.\n\n> You go northwest\nIf you don't follow Zarf, you will surely be killed.\n\nMelvin enters from the southeast. \"Aha! There you are, my pretties!\" he cackles.\n\n> You dig the shovel\nPeter attacks the soft ground with the shovel. It seems to magically bite large chunks at a time, like a ravenous rodent burrowing into angel food cake. The scooped material seems to vanish like evaporating bubbles, leaving only a deep pit behind.\n\nUnfortunately, Peter himself ends up at the bottom of it.\n\n> Leave\nThere are no exits.\n\nYou hear the distant crash of a giant hammer, followed by a small shriek from Melvin. It sounded more disappointed than fatal.\n\n> You put the blanket on the hole\nPutting things on the deep pit would achieve nothing.\n\nYou hear the distant crash of a giant hammer, followed by a small shriek from Melvin. It sounded more disappointed than fatal.\n\n> You cover the pit with the blanket\nValerie throws the blanket across the opening of the pit, covering it completely.\n\n> Caskly blanket\nThe casting feels wrong, and you are momentarily blinded.\n\nThere is a terrific crash and then a fast series of metallic whupping noises. Melvin comes limping in through the southeast wall, looking the worse for wear. Several spears are skewered in his sides, and one leg drags limply behind him.\n\n\"My ray gun got smashed by the hammer,\" he mopes.\"Hey, where's your boyfriend? You two get separated? Don't worry, you guys will have a touching reunion in Hell.\"\n\nWith a steely 'snikt', long metal blades protrude out of his knuckles.\n\n> You check your inventory\nYou are carrying:\na stained scroll\n\nMelvin takes a limping step forward and, like the idiot he always was, falls for the trap and topples into the pit, just barely missing Peter.\n\nIn the Pit (as Peter)\nYou are down in the bottom of the pit. Crudely carved, spongy walls lead up to a narrow opening.\n\nYou can see a blanket here.\n\nMelvin looks like he's gotten the wind knocked out of him, if that's possible. Probably getting past the crashing machinery trap took more out of him than you guessed. He stands up woozily.\n\n> You look at stained\nThe scroll reads \"caskly spell: cause perfection.\"\n\nThere is a terrific crash and then a fast series of metallic whupping noises. Melvin comes limping in through the southeast wall, looking the worse for wear. Several spears are skewered in his sides, and one leg drags limply behind him.\n\n\"My ray gun got smashed by the hammer,\" he mopes.\"Hey, where's your boyfriend? You two get separated? Don't worry, you guys will have a touching reunion in Hell.\"\n\nWith a steely 'snikt', long metal blades protrude out of his knuckles.\n\n> You look at the scroll\nThe scroll reads \"caskly spell: cause perfection.\"\n\nMelvin takes a limping step forward and, like the idiot he always was, falls for the trap and topples into the pit, just barely missing Peter.\n\nIn the Pit (as Peter)\nYou are down in the bottom of the pit. Crudely carved, spongy walls lead up to a narrow opening.\n\nYou can see a blanket here.\n\nMelvin looks like he's gotten the wind knocked out of him, if that's possible. Probably getting past the crashing machinery trap took more out of him than you guessed. He stands up woozily.\n\n> You shoot Melvin with the crossbow\nYou shoot the crossbow at Melvin, who is too disoriented to deflect the bolt. It plunges straight into his gizzard. \"EEEAGH!!\" he cries his last, before exploding into a million shiny pieces. Melvin is no more.\n\n\"That was funky,\" Valerie says from above.\n\n> Gnusto scroll\nYou don't have a spell book.\n\n\"Come on up,\" Valerie calls down to you.\n\n> You go up\nPeter climbs out of the pit and rejoins Valerie.\n\nDead End (as Peter and Valerie)\nIt is the classic dead end. More than that, it is the archetypal dead end. Nowhere forward, nowhere back. The ceiling shocks with its height, the walls oppress with their closeness. There are no exits.\n\nA deep pit has been dug here by Peter.\n\nZarf appears in a cloud of orange smoke, wearing a long blue cloak with electroluminescent highlights. He surveys the scene calmly. \"Okay,\" he says, retrieving the blanket and the crossbow.\n\nWhat would you like to say?\n[1]How do we get out of here?\n\n> 1\n\"Like this,\" he says, and withdraws a small white cube and a spell book from his cloak.\n\n-- glaring light...\n\n[Hit any key.]\nFile Room (as Peter and Valerie)\nThe room is a disaster area. Ruined cabinets lie everywhere, the remains of a once mighty (but very silly) army. The exploded pulsating copier machine innards are leaking trails of acrid ochre smoke into the air. Scorched company documents, flung willy nilly in the battle, carpet the floor, hiding only the smallest of the many scuffs and scratches.\n\nThe secret door lies exposed in the wall.\n\nYou can also see Zarf here.\n\n\"Now,\" says Zarf. \"Your turn again.\"\n\n> Caskly\nZarf says, \"Try the other one first.\"\n\n> Gnusto\nWhat do you want to gnusto?\n\n> Inventory\nYou are carrying:\na brittle scroll\na stained scroll\n\n> You examine brittle\nThe scroll reads \"kulcad spell: dispel a magic spell\". The spell seems very long and extremely complicated.\n\n> You look at stained\nThe scroll reads \"caskly spell: cause perfection.\"\n\n> Kulcad door\nPeter intones the Kulcad scroll. It is long and complicated, and he stumbles over the unfamiliar language. However, the magic is too powerful to be constrained. The more he reads, the clearer his pronunciation becomes, as the magic works through him. As he finishes the incantation, there is a noise like the rushing of open wind through a great tunnel. The secret door ripples and shimmers, trapped in a state between reality and mirage. Then, so suddenly that it is missed in a blink, the door is gone, leaving only a blank wall. There is no trace that it had ever been here.\n\nZarf nods. \"Now the other,\" he says.\n\n> Caskly\nValerie intones the caskly spell. The room begins to melt; plaster, plastic, metal, and glass drip down like wax; loose papers lift and twirl in swelling eddies, spinning upwards from all directions.\n\nThen, familiar forms start reasserting themselves. Torn pages mend themselves out of the whirlwind, flowing back into place. Cabinet after cabinet slots itself into position, drawers agape, eating documents that file themselves. All is changed. The copier machine refuses its alien origins and becomes happily mudane, humming to life and churning out copies of a wonderfully boring document.\n\n\"What just happened?\" Valerie asks.\n\n\"Take a look,\" says Zarf.\n\n> You look at machine\nThe copier has a lid which covers a big pane of glass, and a panel with buttons. The big green button makes copies. That's all you've ever needed to push on it. In fact, your annoying supervisor, Melvin Prufrock, impressed upon you, at stammering length, how temperamental the machine is, and how expensive copier repair guys are. Bah.\n\n> You look\nFile Room (as Peter)\nThe file room looks considerably cleaner, perhaps better than before. The reassuring familiarity of its short, slumping ceiling seems now to brighten your morale. Short file cabinets, marked in reverse alphabetical order, stand in a clean line along the walls like a perfect set of teeth. A window affords a beautiful view and a kind square of sunlight.\n\n\"Congratulations, that's the end of the story,\" says Zarf, pacing back and forth. \"But, that's not *really* the way it happened, is it?\"\n\nWhat would you like to say?\n[1]Yes.[2]No.\n\n> 1\n\"Don't be absurd. You have an active imagination; that much is true. The rest of it -- a patchwork, a pastiche! Let me refresh your memory for you.\" You see a glint of something shiny in his hand.\n\n-- glaring light...\n\n[Hit any key.]\nAt last, your troubled fortunes seemed to come to an end. It all happened very quickly: the callback from Red Hat, the bizarre interview with Human Resources, the handshake, the filling out of W-2 forms, and then your first day of work.\n\nAnd then the next day of work, and the next, and the next. Life goes on, routinely and normally, happily ever after.\n\n> Notes\nPlease give one of the answers above.\n\n> Endnotes\nPlease give one of the answers above.\n\nPlease give one of the answers above.\n\n> Go north\nPlease give one of the answers above.\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Satire, Screen, humor]\n\n> Author's end notes\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Mystery, Historical, Literary, London, mystery, detective, Sherlock Holmes]\n\nSherlock: The Riddle of the Crown Jewels\nCopyright 1987 Infocom, Inc.\n\n221-B Baker Street\n\nYou are standing in the spill of a gas streetlight outside Holmes's house. The street disappears into the fog to the north and south. The door to the house is to the west.\n\nYou have come in response to an urgent summons from your old landlady, Mrs Hudson. As the fog swirls around you, you huddle into your coat and shiver in the predawn chill.\n\n[Author's Note: Moriarty has set a deadly trap for Sherlock Holmes. And only you can stop him... Travel back in time to Victorian London, where the city is bustling with preparations for Her Majesty's Golden Jubilee. Crowds of sightseers and souvenir vendors fill the streets in eager anticipation of the Jubilee Week events. Newspapers detail the gala array of festivities. Sumptuous receptions for foreign dignitaries. Special services at Westminster Abbey. A Royal Procession through the streets of London. And the Queen reigning over all, resplendent in the Crown Jewels. At least, that's the official plan. Unbeknownst to the celebrants thronging the cit, a crisis has arisen: the Crown Jewels have been stolen from the Tower of London. If they're not recovered before the festivities begin, the theft will be exposed and the government will fall into international disgrace. Only 48 hours remain to solve the crime. With Scotland Yard failing to make headway, the Prime Minister calls on Sherlock Holmes, the famous consulting detective. But riddles left at the scene of the crime include a direct challenge to Holmes, who suspects a deadly trap. To throw the scoundrel off his guard, Holmes turns the investigation over to you, his trusted cohort, Dr. Watson. With Holmes by your side, you use your wits, intuition, and a myriad of clues to solve the riddles and piece together the mystery. Your search for the jewels and the villain leads you all over London, from the most popular tourist attractions to the seediest back alleys. As Big Ben strikes each successive hour and dangerous complications impede your progress, you realize you're facing that most dastardly of foes, Holmes's archnemesis... the vile Professor Moriarty. And now, come, Watson! The game is afoot...]\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYour pocket contains:\na pound note.\nYou are holding:\na black bag.\n\n> You remove the hat\nYou take off your hat. Inside you see a stethoscope.\n\n> You take the stethoscope\nYou take the stethoscope out of your hat.\n\n[Your score just went up by 1 point. The total is now 1 out of\n100.]\n\n> You examine the coat\nIt's a wool greatcoat.\n\n> You open the bag\nYou open the black bag.\nInside you see a brown bottle and a blue bottle.\n\n> You examine the brown bottle\nThe label on the bottle reads: \"Belladonna. For bradycardia and other decelerated arrhythmias.\"\n\n> You examine blue bottle\nThe label on the bottle reads: \"Digitalis leaf. For tachycardia and other accelerated arrhythmias.\"\n\n> You knock on the door\nYou hear a bolt sliding back and the door opens to reveal a worried Mrs Hudson.\n\n\"Oh Doctor Watson, I'm so glad to see you. It's Mr Holmes, sir. Three days have come and gone since he's been out of his rooms. He won't eat and I know he hasn't slept. Now there's a visitor who says he's here about some important government business. I tried to send him away, but he insisted on waiting in the parlour. That's when I sent for you. Thank God you've come.\"\n\nYou step inside and Mrs Hudson closes the door behind you. The entry hall is just as you remember it - small, underheated, and lit by a feeble gas light. The door to the parlour is to the north, and a flight of well-worn stairs leads up to the first floor.\n\n> You ask Mrs Hudson about the sherlock\n\"He doesn't eat. He doesn't drink. He doesn't read the newspaper. I'm very worried about him.\"\n\n> You ask Mrs Hudson about whistle\nMrs Hudson wrings her hands and looks at you anxiously. \"I'm too worried to think, Doctor. Won't you see what you can do for Mr Holmes?\"\n\n> Go north\nMrs Hudson apologetically stands in front of the closed door. \"I'm terribly worried about Mr Holmes, Doctor. Won't you please attend to him right away?\"\n\n> Up\nYou climb the stairs and pause outside the door to Holmes's study, nervous about what you might find inside.\n\nHolmes's study is to the north.\n\n> Go north\nYou step back through time to your bachelor days, when you shared these cluttered digs with the world's only consulting detective. Despite the mess, you can see that the room is unchanged. The fireplace to the north has a pile of letters transfixed to its mantelpiece by a jackknife. Next to them lies Holmes's six-shot revolver, the tobacco slipper, and Holmes's favorite pipe. The violin has been carelessly tossed onto a stack of obviously unread newspapers.\n\nHolmes is slouched on the sofa, lost in a black mood of despair. He is pale and emaciated, and his sharp eyes burn with fever. He is staring at a phial that he holds in one hand. His free hand rests near a hypodermic syringe in a neat morocco case at his side. You realize that he is fighting a depression brought on by what he calls \"the dull routine of existence.\"\n\nThe bedroom door to the west is closed. The only other exit is the door to the south.\n\n> You examine the pipe\nIt is an old and oily black clay pipe, the companion of Holmes's deepest meditations.\n\n> You look at the slipper\nIn the persian slipper you see some tobacco.\n\n> You take the tobacco\nYou take the tobacco out of the persian slipper.\n\n[Your score just went up by 1 point. The total is now 2 out of\n100.]\n\n> You take the pipe\nYou take the pipe off of the mantelpiece.\n\n[Your score just went up by 1 point. The total is now 3 out of\n100.]\n\n> You look at the violin\nIt is a Stradivarius violin of exceptional quality.\n\n> You get the violin\nYou take the violin.\n\n> You take the slipper\nYou take the persian slipper off of the mantelpiece.\n\n> You drop slipper\nYou drop the persian slipper.\n\n> You put the tobacco in the pipe\nYou put the tobacco in the pipe.\n\n> You take the newspapers\nYou take the newspaper.\n\n[Your score just went up by 1 point. The total is now 4 out of\n100.]\n\n> You look at the mantle\nOn the mantelpiece can be seen a knife, some mail and a pistol.\n\n> You get the gun\nYou take the pistol off of the mantelpiece.\n\n> You read the newspaper\nIt's the newspaper that came in your game package.\n\n> You show the paper to Holmes\nHolmes glances at the paper and his eye falls on the notice about the Tower of London. He immediately leaps to his feet and hurls the phial and the case into the fireplace. The phial and the syringe shatter, and the liquid evaporates instantly, but the detective does not even notice. \"They've closed the Tower?\" he exclaims. \"Most singular.\"\n\n[Your score just went up by 5 points. The total is now 9 out of\n100.]\n\nHolmes strides to the door and calls down to Mrs Hudson to bring up a tray of food. Then he plops back down on the sofa, makes a steeple of his fingertips and focuses his intense gaze upon you.\n\n> You ask Holmes about Tower\n\"The Tower is the safest stronghold in the nation. Our adversary must be formidable indeed.\"\n\n> You ask Holmes about Watson\n\"Good old Watson! You are the one fixed point in a changing age. I am honoured that you have become my biographer.\"\n\n> You ask Holmes about Mrs Hudson\n\"A splendid housekeeper, Watson, although she worries about me too much.\"\n\nMrs Hudson appears at the door, accompanied by a worried-looking gentleman.\n\nHolmes jumps up and ushers the gentleman to the armchair, dismissing Mrs Hudson at the same time. \"Watson,\" he says, \"I am sure you recognize our distinguished visitor. I presume, sir, that you have come about the Jewels.\"\n\nThe visitor half rises from his chair in protest and sputters, \"But...but, how...?\"\n\nHolmes calms him with a glance. \"Come, sir. What else could it be? The Tower is suddenly closed, and within hours I receive a call from the highest official of Her Majesty's government. A simple deduction. Now then, tell me about the theft.\"\n\nThe visitor settles back into his chair and says, \"We know very little. Only that the Crown Jewels were stolen from the Tower sometime Thursday night. The theft was discovered Friday morning, and we immediately closed and searched the Tower. All we found was this verse which was left behind in the empty jewel case.\"\n\nThe visitor removes a folded piece of paper from his pocket and gives it to Holmes, who glances at it and passes it on to you.\n\n> You read the note\n[taking the pound note out of your pocket first].\nThere's nothing written on it.\n\n> You read paper\nWhich paper do you mean, the clue paper or the newspaper?\n\n> You read the clue paper\nMortality, behold and fear!\nWhat a change of flesh is here!\nThink how many royal bones\nSleep within this heap of stones:\nHere they lie, had realms and lands,\nWho now want strength\nto stir their hands.\n\n\n\nFor two-score years I reigned alone,\nA virgin queen on England's throne.\nMy navy caused Armada's shame,\nAnd with me died the Tudor name.\n\n\n\nThe apple sorely tempted Eve,\nAnd Tell another aimed to cleave.\nBut when one fell, it showed to me,\nThe mighty pull of gravity.\n\n\n\nMy father, it was said, would die,\nBeneath the Holy City's sky.\nJerusalem his body claimed,\nAnd it is after him I'm named.\n\n\n\n\n\nO stately Holmes of England,\nIn Baker Street abide.\nFor even you must surely fail,\nTo save your country's pride.\n\n> You ask Holmes about the note\n\"You must draw your own inferences, Watson.\"\n\nThe visitor looks at his pocket watch and stands up. \"Thank you, gentlemen. I must go now. Remember, this calamity can only be hidden from the public until Monday morning at nine o'clock. If the Regalia is not at Buckingham Palace in time for the Coronation Day festivities, then all is lost.\"\n\nThe gentleman leaves, and Holmes unlocks the door to the bedroom, goes in, and reappears moments later wearing his Inverness cape and deerstalker hat.\n\n\"Come when you're ready, Watson. I'll wait for you outside.\"\n\n> You take the knife\nYou take the knife off of the mantelpiece.\n\n> You look\nThe study is in its usual disarray.\n\nThe bedroom door to the west is open. The only other exit is the door to the south.\n\nYou see a persian slipper. You see some mail on the mantelpiece.\n\n> You go to the south\nYou leave the study and pause outside the door. You are on a landing at the top of the stairs.\n\nHolmes's study is to the north.\n\n> Down\nYou descend the stairs into the entry hall. The parlour door is to the north. The front door is closed.\n\n> You go to the north\nYou walk into a dreary, late Victorian Era parlour.\n\nYou see a matchbook.\n\n> You get matchbook\nYou take the matchbook.\n\n[Your score just went up by 1 point. The total is now 10 out of\n100.]\n\n> You look at the matchbook\nTired of your dull, boring job? Tired of the whole Victorian era? Become a detective! Apply now to the LESTRADE school of sleuthing. In just three short days, Inspector G. Lestrade will teach you everything he knows of the art of detection. Here are just some of the things you'll learn.\n\n*** Fifteen new and exciting ways to\nsay \"'Ullo! Wot's this?\"\n*** Modern obfuscatory locution\neschewel techniques.\n*** How to insult private detectives.\n\nIncluded in your tuition is an official Scotland Yard notebook, and a brand new bobby pin. Just send twenty-five pounds to the LESTRADE, that's L-E-S-T-R-A-D-E school of sleuthing. Act now, and the Inspector will tell you how he knows that people are guilty simply by looking at them.\n\n> You go south\nYou walk out into the entry hall. The front door is closed.\n\n> You open the door\n[The front door]\n\nYou open the front door.\n\n> You leave\nYou emerge from the house into Baker Street.\n\nYou are standing in the spill of a gas streetlight outside Holmes's house. The street disappears into the fog to the north and south. The door to the house is to the west.\n\nHolmes says, \"Ah, there you are Watson. While you were inside I gave our little problem some thought. Obviously the person who stole the Crown Jewels wanted the authorities to turn to me for help, and it is equally obvious that the thief has laid down a trail for me to follow, in hopes of somehow entrapping me.\n\n\"So let's play his game, Doctor. But let's play it by our rules. The thief will have tried to anticipate the sequence of my actions, and I'm sure he has laid his trap accordingly. But if you were to\nguide the course of our investigations, he will certainly be thrown off the scent.\n\n\"Therefore, let us take surprise onto our side and rely on your instincts as the man of action I know you to be - despite your frequent modest assertions to the contrary.\" He steps to one side and says, \"Lead on, good Doctor. I will follow.\" Holmes gestures for you to lead the way.\n\n> Blow whistle\nTweeeeeeeeee!\n\n> Blow whistle\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\n[Your score just went up by 5 points. The total is now 15 out of\n100.]\n\n> You enter the cab\nYou and Holmes get into the cab.\n\n\"Where to, guv'nor?\"\n\n> Tower of London\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab outside the entrance to the Tower of London. Next to the entrance there is a sign.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> Exit\nYou and Holmes get out of the cab. After you get out, it drives off.\n\n> Inventory\nYou are wearing:\nyour coat.\na whistle.\nYou are holding:\na matchbook.\na knife.\na pound note.\na clue paper.\na pistol.\na newspaper.\na violin.\na pipe.\na stethoscope.\nyour hat.\na black bag.\nIn the pipe you see:\nsome tobacco\nIn the black bag you see:\na brown bottle\na blue bottle\n\n> Blow whistle\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\n> Westminster abbey\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab in front of the west door of Westminster Abbey. The towers of the Abbey loom in the fog above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is closed.\n\nOn the wall next to the door is a small, discreet sign.\n\nVisibility increases in the gathering light of the new day. Tourists are beginning to crowd into the streets.\n[Press any key to continue.]\n\n> You put the gun in the bag\nYou put the pistol in the black bag.\n\n> You put the knife in the bag\nYou put the knife in the black bag.\n\n> Close bag\nYou close the black bag.\n\n> Inventory\nYou are wearing:\nyour coat.\na whistle.\nYou are holding:\na matchbook.\na pound note.\na clue paper.\na newspaper.\na violin.\na pipe.\na stethoscope.\nyour hat.\na black bag.\nIn the pipe you see:\nsome tobacco\n\n> You play the violin\nHolmes grimaces in pain and glares at you.\n\n> You look\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is closed.\n\nOn the wall next to the door is a small, discreet sign.\n\nYour friend is staring at the sky, as if he might find a clue there.\n\n> You wait\nTime passes...\n\n> Go west\nIn the distance, you hear Big Ben strike the hour.\n\nThe sun comes up, as much as it ever comes up in England.\n\nA verger appears, unlocks the huge door, and pushes it open.\n\n\n\nYou enter Victoria Street, which runs east and west between Victoria Square and Broad Sanctuary.\n\nYou see a sign outside one of the shops.\n\nThe detective walks alongside you.\n\n> Go east\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nYour companion trails along after you.\n\n> You go to the east\nYou enter the Abbey and pause in the Nave, struck by the sheer magnificence of the building. Massive Purbeck columns march the length of the Nave, and they rise in perfect proportion to meet each other in a series of pointed arches that are the hallmark of the Gothic style.\n\nThe interior of the Abbey is dark, cold, and gloomy - but after a few moments your eyes adjust and you can make out a tomb at the far end of the room.\n\nHolmes trails along after you.\n\n> You examine tomb\nIt's a white marble sarcophagus with \"ISAACVS NEWTON   Eques Auratus\" written on the front. Above it is a marble statue of Newton, and a carving of two cherubs who are holding a diagram of the solar system.\n\n> You ask Holmes about Newton\n[Newton's tomb]\n\n\"You must draw your own inferences, Watson.\"\n\n> You take the diagram\nYour friend looks at you grimly and says, \"I thought you had more sense than that, Watson.\"\n\n> You search the tomb\nYou would have to open it first.\n\n> You go east\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nThe detective walks into the room alongside you.\n\n> You look at the tomb\nIt's a simple tomb, with a brief inscription written on it.\n\n> You read the inscription\nThe inscription is written in Latin, but you can make out the name \"Anne of Cleves.\""
    },
    {
        "text": "> Look around\nYou are in the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nYour companion's brow is furrowed in intense concentration.\n\n> Go north\nThis is a narrow corridor lined with tombs.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> You look at the tombs\nThere are so many of them! None stands out in particular.\n\n> Go north\nYou enter the Evangelist Chapel and wonder what it is about this room that makes you feel it is somehow different from the rest of the Abbey.\n\nYour friend follows you.\n\n> You look at the tombs\nOne tomb in particular catches your eye.\n\n> You look at tomb\nIt's an effigy of a man surrounded by four knights, who are holding up a marble slab on their shoulders. On the slab is the dead man's armour.\n\n> You go to the west\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour companion joins you and starts looking around with interest.\n\n> You examine the tomb\nIt's a huge monument to William Pitt. On the base of the monument are five allegorical figures and an elaborate inscription.\n\n> You read the inscription\nThe inscription is written in Latin, but you can make out the name \"Pitt.\"\n\n> You examine figures\nYou've never understood allegorical figures before. What makes you think you can start now?\n\n> You go to the east\nYou return to the welcome warmth provided by the array of candles in the Evangelist Chapel.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> You go south\nThis is a narrow corridor lined with tombs.\n\nYour friend trails along after you.\n\n> You examine the tomb\nThere are so many of them! None stands out in particular.\n\n> Go south\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nThe detective walks into the room alongside you.\n\n> You go to the south\nThis is a narrow corridor lined with tombs.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> You go south\nYou walk into the hushed, secluded part of the Abbey known as Poets' Corner. The monuments here are dedicated to Britain's literary giants. The oldest of the tombs is that of Geoffrey Chaucer, who died in the year 1400.\n\nHolmes follows you.\n\n> You examine Chaucer\n[Geoffrey Chaucer's tomb]\n\nIt's the tomb of Geoffrey Chaucer, who died in 1400 and became the first person to be buried in Poet's Corner. The inscription above the sarcophagus is so faded that it is almost illegible.\n\n> You read the inscription\nThe inscription is a long one, but in the middle of it you see the name \"GALFRIDVS CHAVCER.\"\n\n> Look\n[What do you want to x?]\n\n> Go west\nYou enter the South Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour friend joins you and starts looking around with interest.\n\n> You examine the window\nIt is the largest rose window in all England, and it brightens up an otherwise gloomy interior.\n\n> You ask Holmes about the window\n\"You must draw your own inferences, Watson.\"\n\n> You go to the west\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> You read the inscription\nThe inscription is written in Latin, but you can make out the name \"Alexander Pope.\"\n\n> You open the door\nYou open the door to the Jericho Parlour.\n\n> Go south\nFrom the vastness of the Nave, you pass into the more intimate Jericho Parlour, which is the anteroom to the famous Jerusalem Chamber just to the west.\n\nThe exit to the Nave is to the north.\n\nYour companion trails along after you.\n\n> You go west\nYou enter the Jerusalem Chamber, one of the oldest parts of the Abbey. In contrast to the cold and forbidding stone elsewhere in the Abbey, this room is panelled in oak and cedar. Just inside the entrance you see a small sign.\n\nHolmes walks into the room alongside you.\n\n> You tell Holmes about the sign\nHolmes nods thoughtfully and says, \"Most interesting, old fellow.\"\n\nIn the distance, you hear Big Ben strike the hour.\n\n> Go east\nYou leave the Chamber for the more intimate Jericho Parlour.\n\nThe exit to the Nave is to the north.\n\nYour friend enters and begins pacing back and forth nervously.\n\n> Go west\nYou enter the Jerusalem Chamber, one of the oldest parts of the Abbey. In contrast to the cold and forbidding stone elsewhere in the Abbey, this room is panelled in oak and cedar. Just inside the entrance you see a small sign.\n\nThe detective follows you.\n\n> Go east\nYou leave the Chamber for the more intimate Jericho Parlour.\n\nThe exit to the Nave is to the north.\n\nYour companion joins you and starts looking around with interest.\n\n> You go north\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> You go north\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour friend trails along after you.\n\n> You examine tomb\nIt's a white marble sarcophagus with \"ISAACVS NEWTON   Eques Auratus\" written on the front. Above it is a marble statue of Newton, and a carving of two cherubs who are holding a diagram of the solar system.\n\n> You go east\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nThe detective walks into the room alongside you.\n\n> You go to the north\nThis is a narrow corridor lined with tombs.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> Go south\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nHolmes follows you.\n\n> Go west\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour friend joins you and starts looking around with interest.\n\n> You go west\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nThe detective follows you and begins pacing back and forth nervously.\n\n> Go east\nYou walk through the massive door and find yourself once again in the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> Go south\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nHolmes trails along after you.\n\n> Go southeast\nYou enter the North Cloister, which is the brass-rubbing centre of the abbey. On the walls are completed rubbings that others have made. Someone has left a pacquet of paper and a rubbing crayon here.\n\nYour friend walks into the room alongside you.\n\n> You get all\nThe crayon: Taken.\n\n[Your score just went up by 1 point. The total is now 16 out of\n100.]\nThe pacquet of paper: Taken.\n\n[Your score just went up by 1 point. The total is now 17 out of\n100.]\n\n> You examine the pacquet\nThe pacquet of paper is closed.\n\n> You open the pacquet\nYou open the pacquet of paper.\nInside you see a brown piece of paper, a yellow piece of paper, an orange piece of paper, a blue piece of paper, a white piece of paper and a green piece of paper.\n\n> You examine the crayon\nIt looks just like any other Victorian-era crayon.\n\n> Go northwest\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> You take the papers\n[The brown piece of paper]\nYou take the brown piece of paper out of the pacquet of paper.\n\n> You put the brown piece of the paper on the tomb\nYou put the brown piece of paper on Alexander Pope's tomb.\n\n> You get the brown piece\n[the brown piece of paper]\n\nYou take the brown piece of paper off of Alexander Pope's tomb.\n\n> Go north\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour companion follows you.\n\n> You examine tomb\nIt's a white marble sarcophagus with \"ISAACVS NEWTON   Eques Auratus\" written on the front. Above it is a marble statue of Newton, and a carving of two cherubs who are holding a diagram of the solar system.\n\n> You put the brown piece of the paper on the tomb\nYou put the brown piece of paper on Newton's tomb.\n\n> You rub the crayon\n[What do you want to rub the crayon with?]\n\n> You rub the brown piece of the paper with the crayon\nAfter a few moments, the tomb's inscription comes through onto the piece of paper.\n\n> You look at the brown piece of the paper\nThe inscription reads, \"ISAACVS NEWTON  Eques Auratus.\"\n\n> You go east\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nHolmes joins you and starts looking around with interest.\n\n> Go south\nThis is a narrow corridor lined with tombs.\n\nYour friend drifts in after you, apparently lost in thought.\n\n> You go to the south\nYou walk into the hushed, secluded part of the Abbey known as Poets' Corner. The monuments here are dedicated to Britain's literary giants. The oldest of the tombs is that of Geoffrey Chaucer, who died in the year 1400.\n\nThe detective trails along after you.\n\n> You go north\nThis is a narrow corridor lined with tombs.\n\nYour companion walks into the room alongside you.\n\n> Go north\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> You ask Holmes about the elizabeth\n\"Never theorize in advance of the facts, Watson.\"\n\n> You go to Jerusalem\n[the Jerusalem Chamber]\n\n[You must be more specific.]\n\n> You go to the Jerusalem Chamber\n[You must be more specific.]\n\n> Go south\nThis is a narrow corridor lined with tombs.\n\nYour friend follows you.\n\n> You go east\nThe South Chapel Aisle is the final resting place of Mary, Queen of Scots.\n\nThe detective joins you and starts looking around with interest.\n\n> Go north\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> You go to the north\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nHolmes trails along after you.\n\n> You examine the tomb\nThe tomb is that of Elizabeth and her half-sister, Mary Tudor. It is surrounded by twelve black marble pillars, and on the base is an inscription.\n\n> You go to the south\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour friend walks into the room alongside you.\n\n> You go north\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> You go east\nThis is Innocents' corner, the traditional burial site of royalty who die in infancy. There are several tombs here.\n\nYour companion follows you.\n\n> Go west\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nHolmes joins you and starts looking around with interest.\n\n> You go to the west\nThis is a narrow corridor lined with tombs.\n\nYour friend drifts in after you, apparently lost in thought.\n\n> You go to the east\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nThe detective trails along after you.\n\n> Go east\nThis is Innocents' corner, the traditional burial site of royalty who die in infancy. There are several tombs here.\n\nYour companion walks into the room alongside you.\n\n> You go to the west\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> You go south\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nThe detective joins you and starts looking around with interest.\n\n> You go west\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYou see a brown piece of paper on Newton's tomb.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> You go to the southeast\nYou are now in the North Cloister, which is the brass-rubbing centre of the abbey. On the walls are completed rubbings that others have made.\n\nYour friend walks into the room alongside you.\n\n> You look\nYou are now in the North Cloister, which is the brass-rubbing centre of the abbey. On the walls are completed rubbings that others have made.\n\nThe detective is pacing back and forth nervously.\n\n> You examine the rubbings\nThey are brass rubbings made from various inscriptions around the abbey.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You go northwest\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> You look at the tomb\nIt's a simple tomb, with a brief inscription written on it.\n\n> You read the inscription\nThe inscription is written in Latin, but you can make out the name \"Alexander Pope.\"\n\n> Go south\nFrom the vastness of the Nave, you pass into the more intimate Jericho Parlour, which is the anteroom to the famous Jerusalem Chamber just to the west.\n\nThe exit to the Nave is to the north.\n\nHolmes follows you.\n\n> Go west\nYou enter the Jerusalem Chamber, one of the oldest parts of the Abbey. In contrast to the cold and forbidding stone elsewhere in the Abbey, this room is panelled in oak and cedar. Just inside the entrance you see a small sign.\n\nYour friend joins you and starts looking around with interest.\n\n> You go to the east\nYou leave the Chamber for the more intimate Jericho Parlour.\n\nThe exit to the Nave is to the north.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> You go to the west\nYou enter the Jerusalem Chamber, one of the oldest parts of the Abbey. In contrast to the cold and forbidding stone elsewhere in the Abbey, this room is panelled in oak and cedar. Just inside the entrance you see a small sign.\n\nYour companion trails along after you.\n\n> You get the white piece of the paper\nYou take the white piece of paper out of the pacquet of paper.\n\n> Go east\nYou leave the Chamber for the more intimate Jericho Parlour.\n\nThe exit to the Nave is to the north.\n\nHolmes walks into the room alongside you.\n\n> Go north\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nYour friend enters and begins pacing back and forth nervously.\n\n> Go south\nFrom the vastness of the Nave, you pass into the more intimate Jericho Parlour, which is the anteroom to the famous Jerusalem Chamber just to the west.\n\nThe exit to the Nave is to the north.\n\nThe detective follows you.\n\n> You go north\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nYour companion joins you and starts looking around with interest.\n\n> Go east\nYou enter the South Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> You read the inscription\nThe inscription is written in Latin, but you can make out the name \"Charles Dickens.\"\n\n> Go east\nYou walk into the hushed, secluded part of the Abbey known as Poets' Corner. The monuments here are dedicated to Britain's literary giants. The oldest of the tombs is that of Geoffrey Chaucer, who died in the year 1400.\n\nYour friend trails along after you.\n\n> Go north\nThis is a narrow corridor lined with tombs.\n\nThe detective walks into the room alongside you.\n\n> Go east\nThe South Chapel Aisle is the final resting place of Mary, Queen of Scots.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> You go north\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nHolmes follows you.\n\n> You examine tomb\nIt's an incredibly lavish tomb which is surmounted by gilt effigies of Henry VII and his wife Elizabeth of York.\n\n> You go northeast\nThis is Innocents' corner, the traditional burial site of royalty who die in infancy. There are several tombs here.\n\nYour friend joins you and starts looking around with interest.\n\n> You look at the tomb\nAccording to the inscription, the urn contains the remains of the Little Princes in the Tower.\n\n> You go to the southwest\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> Go northeast\nThis is Innocents' corner, the traditional burial site of royalty who die in infancy. There are several tombs here.\n\nYour companion trails along after you.\n\n> Go west\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nHolmes walks into the room alongside you.\n\n> You examine the tomb\nThe tomb is that of Elizabeth and her half-sister, Mary Tudor. It is surrounded by twelve black marble pillars, and on the base is an inscription.\n\n> You get the orange piece of the paper\nYou take the orange piece of paper out of the pacquet of paper.\n\n> You put the orange piece of the paper on the tomb\nYou put the orange piece of paper on Elizabeth's tomb.\n\n> You rub the orange piece of the paper with the crayon\nAfter a few moments, the tomb's inscription comes through onto the piece of paper.\n\n> You get the paper\n[The orange piece of paper]\nYou pick at the paper for a few seconds, but it seems to be stuck to the inscription. After a few seconds you manage to peel it off.\n\n> You get all\n[To what are you referring?]\n\n> You get the crayon\nYou are already holding the crayon.\n\n> You examine the orange piece of paper\nThe inscription reads, \"REGNO CONSORTES & VRNA HIC OBDOR MIMVS ELIZABETHA ET MARIA SORORES IN SPE RESVRRECTIONIS.\"\n\n> Go south\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour friend enters and begins pacing back and forth nervously.\n\n> Go north\nYou enter the North Chapel Aisle. There is a very large tomb here.\n\nThe detective follows you.\n\n> Go west\nThis is a narrow corridor lined with tombs.\n\nYour companion joins you and starts looking around with interest.\n\n> You go southeast\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> You go north\nYou return to the welcome warmth provided by the array of candles in the Evangelist Chapel.\n\nThe detective walks into the room alongside you.\n\n> You take the candle\nAfter a moment's reflection you decide to leave undisturbed the offerings that others have left behind.\n\n> You go west\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> You go east\nYou return to the welcome warmth provided by the array of candles in the Evangelist Chapel.\n\nHolmes follows you.\n\n> Go west\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour friend joins you and starts looking around with interest.\n\n> Go southwest\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYou see a brown piece of paper on Newton's tomb.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> You get the paper\n[The brown piece of paper]\n\nYou pick at the paper for a few seconds, but it seems to be stuck to the inscription. After a few seconds you manage to peel it off.\n\n> You look at the brown paper\nThe inscription reads, \"ISAACVS NEWTON  Eques Auratus.\"\n\n> Go northeast\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour companion trails along after you.\n\n> Go southwest\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nHolmes walks into the room alongside you.\n\n> You go to the west\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nYour friend joins you and starts looking around with interest.\n\n> Go east\nYou walk through the massive door and find yourself once again in the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> Go southeast\nYou enter the South Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nYour companion follows you.\n\n> Go northwest\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nHolmes joins you and starts looking around with interest.\n\n> You go south\nYou enter the South Aisle of the Nave. In the gloom, you bump into one of the tombs. There is an exit to the southeast and a door set into the south wall.\n\nYour friend drifts in after you, apparently lost in thought.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> Go east\nYou enter the South Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nThe detective trails along after you.\n\n> You go northwest\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour companion walks into the room alongside you.\n\n> Go southeast\nYou enter the South Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> Go east\nYou walk into the hushed, secluded part of the Abbey known as Poets' Corner. The monuments here are dedicated to Britain's literary giants. The oldest of the tombs is that of Geoffrey Chaucer, who died in the year 1400.\n\nYour friend follows you.\n\n> You go to the north\nThis is a narrow corridor lined with tombs.\n\nThe detective joins you and starts looking around with interest.\n\n> Go northeast\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> You go to the north-west\nThis is a narrow corridor lined with tombs.\n\nHolmes trails along after you.\n\n> Go southeast\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour friend walks into the room alongside you.\n\n> You go northwest\nThis is a narrow corridor lined with tombs.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> Go south\nYou walk into the Sanctuary. This is where the actual Coronation Ceremony takes place whenever a new monarch is crowned. A modest tomb is near the south wall.\n\nYour companion follows you.\n\n> You go to the north\nThis is a narrow corridor lined with tombs.\n\nHolmes joins you and starts looking around with interest.\n\n> You go southeast\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour friend drifts in after you, apparently lost in thought.\n\n> You go to the west\nThe Confessor Chapel is dominated by the tomb of the founder of the Abbey, although there are several other tombs here. It is this chapel that first gave Westminster the name \"Burial place of kings.\"\n\nThe detective trails along after you.\n\n> You look at the tomb\nWhich tomb do you mean, Henry V's tomb or Edward the Confessor's tomb?\n\n> You get the green piece of the paper\nYou take the green piece of paper out of the pacquet of paper.\n\n> You put the green paper on the henry's tomb\nYou put the green piece of paper on Henry V's tomb.\n\n> You rub the green paper with the crayon\nAfter a few moments, the tomb's inscription comes through onto the piece of paper.\n\n> You get the green paper\nYou pick at the paper for a few seconds, but it seems to be stuck to the inscription. After a few seconds you manage to peel it off.\n\n> You read the green paper\nThe inscription is written in Latin, but you can make out the name \"Henry V.\"\n\n> You go to the east\nYou enter Henry VII's chapel, which is one of the most beautiful chapels in the world. The ceiling is a masterpiece of delicate fan vaulting, and the Renaissance gilt-bronze tomb is obviously the work of one of the Italian masters.\n\nYour companion walks into the room alongside you.\n\n> Inventory\nYou are wearing:\nyour coat.\na whistle.\nYou are holding:\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na white piece of paper.\na pacquet of paper.\na crayon.\na matchbook.\na pound note.\na clue paper.\na newspaper.\na violin.\na pipe.\na stethoscope.\nyour hat.\na black bag.\nIn the pacquet of paper you see:\na yellow piece of paper\na blue piece of paper\nIn the pipe you see:\nsome tobacco\n\n> You look at the white paper\nThe paper appears to be blank.\n\n> You look at the brown paper\nThe inscription reads, \"ISAACVS NEWTON  Eques Auratus.\"\n\n> You go northwest\nThis is a narrow corridor lined with tombs.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> Go north\nYou return to the welcome warmth provided by the array of candles in the Evangelist Chapel.\n\nYour friend follows you.\n\n> You go west\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nThe detective joins you and starts looking around with interest.\n\n> You go to the south-west\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> Go west\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nHolmes follows you.\n\n> Blow whistle\nTweeeeeeeeee!\n\n> Scotland yard\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nImpressive government buildings line the street on either side. The street continues north and south, and the entrance to Scotland Yard is to the east.\n\n> You go east\nYou would have to get out of the hansom cab first.\n\n\"Where to, guv'nor?\"\n\n> Go east\nYou walk up the steps and into the building. Inside, it looks just like any other government building - drab and worn. The door to the street is to the west, and you see some steps leading down.\n\nYour friend trails along after you.\n\n> Go west\nImpressive government buildings line the street on either side. The street continues north and south, and the entrance to Scotland Yard is to the east.\n\nThe detective drifts along after you, apparently lost in thought.\n\n> Baker street\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou drive into Baker Street.\n\nYou are in a cab outside Holmes's house. The street continues to the north and south. The door to the house is to the west.\n\n> Go west\nYou enter the house and pause in the entry hall. The door to the parlour is to the north, and a flight of well-worn stairs leads up to the first floor.\n\nYour companion walks into the room alongside you.\n\n> Up\nYou climb the stairs and pause outside the door. You are on a landing at the top of the stairs.\n\nHolmes's study is to the north.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> You go north\nYou return to Holmes's study, which is in its usual disarray.\n\nThe bedroom door to the west is open. The only other exit is the door to the south.\n\nYou see a persian slipper. You see some mail on the mantelpiece.\n\nYour friend drifts in after you, apparently lost in thought.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You go west\nThis is a sparsely furnished room, whose walls are adorned only by scores of pictures of famous criminals. On a disorderly workbench in the corner, a jumble of laboratory equipment suggests that Holmes is in the middle of one of his chemical experiments. Set off to one side is a single ampoule with a neatly lettered label affixed to it. The room's only exit is to the east.\n\nNext to the bed there is a table, on which you see a lamp and Holmes's favorite magnifying glass.\n\nThe detective walks into the room alongside you.\n\n> You get all\nThe bedside table: Your companion looks at you in despair and says, \"That's impossible, Doctor.\"\nThe lamp: You are holding too much already.\nThe magnifying glass: You are holding too much already.\nThe ampoule of etherium: You are holding too much already.\n\n> You drop the violin\nYou drop the violin.\n\n> You drop the newspaper\nYou drop the newspaper.\n\n> You check your inventory\nYou are wearing:\nyour coat.\na whistle.\nYou are holding:\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na white piece of paper.\na pacquet of paper.\na crayon.\na matchbook.\na pound note.\na clue paper.\na pipe.\na stethoscope.\nyour hat.\na black bag.\nIn the pacquet of paper you see:\na yellow piece of paper\na blue piece of paper\nIn the pipe you see:\nsome tobacco\n\n> You wear the hat\nYou put on your hat.\n\n> You put the papers in the pacquet\n[The yellow piece of paper]\n\nYou are not holding the yellow piece of paper.\n\n> You open the bag\nYou open the black bag.\nInside you see a knife, a pistol, a brown bottle and a blue bottle.\n\n> You put the pacquet in the bag\nYou look at the pacquet of paper. You look at the tiny bag. You look at the tiny bag. You look at the pacquet of paper. Slowly it dawns on you that it's just not going to work.\n\n> You put the pipe in the bag\nYou put the pipe in the black bag.\n\n> You put the matchbook in bag\nYou put the matchbook in the black bag.\n\n> You put the crayon in the bag\nYou put the crayon in the black bag.\n\n> You put the white paper in the pacquet\nYou put the white piece of paper in the pacquet of paper.\n\n> You get all\nThe newspaper: Taken.\nThe violin: Taken.\nThe bedside table: Holmes looks at you severely and says, \"You can't do that, Watson.\"\nThe lamp: Taken.\n\n[Your score just went up by 3 points. The total is now 20 out of\n100.]\nThe magnifying glass: Taken.\n\n[Your score just went up by 1 point. The total is now 21 out of\n100.]\nThe ampoule of etherium: Taken.\n\n> You drop the newspaper\nYou drop the newspaper.\n\n> You drop the violin\nYou drop the violin.\n\n> You examine the ampoule\nThe label on the ampoule reads, \"Etherium. Extremely volatile. Do not open in the presence of fire.\"\n\n> You examine the glass\nIt is of Swiss manufacture, with a precision-ground lens.\n\n> You use the glass\n[You must specify what you want to do with the magnifying glass.]\n\n> You examine the lamp\nIt is a battered old brass lamp that has accompanied you on many adventures in the past.\n\n> You look\nThis is a sparsely furnished room, whose walls are adorned only by scores of pictures of famous criminals. On a disorderly workbench in the corner, a jumble of laboratory equipment suggests that Holmes is in the middle of one of his chemical experiments. The room's only exit is to the east.\n\nYou see a violin and a newspaper. You see some laboratory equipment on the workbench.\n\nYour friend is pacing back and forth nervously.\n\n> You examine the equipment\nThe equipment is a jumble of test tubes, beakers, and pipettes.\n\n> Go east\nYou return to Holmes's study, which is in its usual disarray.\n\nThe bedroom door to the west is open. The only other exit is the door to the south.\n\nYou see a persian slipper. You see some mail on the mantelpiece.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> You go south\nYou leave the study and pause outside the door. You are on a landing at the top of the stairs.\n\nHolmes's study is to the north.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> Down\nYou descend the stairs into the entry hall. The parlour door is to the north. The front door is open.\n\nHolmes walks into the room alongside you.\n\n> Leave\nYou emerge from the house into Baker Street.\n\nYou are standing outside Holmes's house. The street continues to the north and south. The door to the house is to the west.\n\nYour friend walks alongside you.\n\n> You go east\nYou walk up the steps and into the building. Inside, it looks just like any other government building - drab and worn. The door to the street is to the west, and you see some steps leading down.\n\nThe detective walks into the room alongside you.\n\n> Light lamp\nYou turn up the wick. The lamp emits a warm glow that lights up the area around you.\n\n> Down\nThis is the Black Museum, where the Yard keeps relics and mementos of famous crimes.\n\nAlong one wall is a full-size rowboat with a small sign attached to it.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> You examine the boat\nThe boat is a true-to-life replica of the rowboat that Captain Bligh sailed to Pitcairn Island after the mutiny on the Bounty.\n\n> Search rowboat\nYou see Captain Bligh's oar inside Captain Bligh's boat.\n\n> You take the oar\nYou take Captain Bligh's oar out of Captain Bligh's boat.\n\n[Your score just went up by 1 point. The total is now 22 out of\n100.]\n\n> Up\nYou return to the ground floor. It looks just like any other government building - drab and worn. The door to the street is to the west, and you see some steps leading down.\n\nHolmes follows you.\n\n> You go to the west\nImpressive government buildings line the street on either side. The street continues north and south, and the entrance to Scotland Yard is to the east.\n\nYour friend trails along after you.\n\n> Tower of London\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab outside the entrance to the Tower of London. Next to the entrance there is a sign.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> You look\nYou are standing outside the entrance to the Tower of London. Next to the entrance there is a sign.\n\nThe detective is looking around with interest.\n\n> You take the sign\nThe plaque is firmly attached to the wall. You can't remove it.\n\n> You ask Holmes about Lestrade\n\"Be kind to him, Watson. He has delusions of adequacy.\"\n\n> You ask Holmes about Tower\n\"The Tower is the safest stronghold in the nation. Our adversary must be formidable indeed.\"\n\n> You ask Holmes about the clue\n[the clue paper]\n\n\"Most curious, don't you agree Watson? All thieves unintentionaly leave behind clues that are discernable to the trained eye. But it is highly irregular for a thief to taunt the authorities with an actual message. Especially one with references as obvious as this.\"\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\nCaptain Bligh's oar.\nan ampoule of etherium.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na stethoscope.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na crayon\na matchbook\na pipe\na knife\na pistol\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> British Museum\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nGreat Russell Street is the home of the British Museum, the entrance of which is to the north. There is a sign next to the door.\n\nTo the southwest you can see St Giles Circus.\n\n> You enter\nYou walk up the grand staircase and into the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nYour companion joins you and starts looking around with interest.\n\n> You go to the east\nThe deserted corridor leads to the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases, but one is lying unattended on a table. The only exit is to the west.\n\nThe librarian - who is as dusty as the books - looks up in surprise as you come in. He says loudly, \"Oh, I say! Hello! I don't get many visitors here. Is there something I can help you with? Some information about the Jubilee, perhaps? It's quite rare, you know, for a British ruler to celebrate 50 years on the throne. Unique, in fact. The closest anyone else came was Elizabeth, who ruled 45 years - although our records are somewhat vague before the year 900. The Anglo-Saxon chronicles do get rather sketchy, what? Still, they're the best we have. I think I can find a copy for you somewhere here.\"\n\nThe librarian's voice trails off as he bustles from shelf to shelf, squinting at the books to find the one he thinks you want.\n\nHolmes drifts in after you, apparently lost in thought.\n\nHolmes takes you aside and whispers, \"Watson, you must keep the ampoule hidden.\"\n\n> You go west\nAs you leave, the librarian calls out, \"Must you be going? I have so many other interesting things to tell you.\"\n\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nYour friend trails along after you.\n\n> You put the ampoule in the bag\nYou put the ampoule of etherium in the black bag.\n\n> Close bag\nYou close the black bag.\n\n> You go east\nThe deserted corridor leads to the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nThe detective walks into the room alongside you.\n\nThe lonely librarian says, \"Welcome back! I have more interesting things to tell you!\"\n\n> You take the old book\nThe librarian launches off into another speech, and it distracts you from what you wanted to do. \"Louis I, son of Charlemagne, ascended France's throne in 814 A.D. He was the first to implement that country's secret policy of naming all their kings Louis in order to confuse enemy agents, historians, and their own peasants.\"\n\n> You ask Holmes about the librarian\nThe librarian interrupts you as you attempt to speak, and says, \"The first workers' strike on record took place in Egypt in 1170 B.C., when labourers building a new pyramid in Thebes learned that their payroll had been delayed. They organized a protest, stopped working, and picketed the construction site carrying papyrus signs that read, 'Cash on the line, or you don't get your shrine.' Tradition also has it that the slogan they chanted was 'Stuff the crypt...We've been gypped...Ra Ra Ra.'\"\n\n> You ask the librarian about the book\nThe librarian interrupts you as you attempt to speak, and says, \"The confusion between the usage of the present subjunctive and the past subjunctive is easily resolved as long as one remembers that the terms refer not to different times, but to differing sorts of uncertainty. Reference to time itself is only implied by the use of the past perfect subjunctive. While no deaths have as yet resulted from incorrect usage, it would be prudent not to take chances.\"\n\n> You look\nYou are in the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nYour companion's eyes are half-closed, but they miss nothing.\n\nAs you look around, the librarian says loudly, \"While uncovering one's head is a symbol of respect in many cultures, in others the opposite is true. Some Indian religions, for example, require that a man's head remain covered at all times, giving rise to the use of the turban, or 'imamah.' The tabu against removing one's turban eventually became so strong that thieves who thought nothing of stealing a victim's clothes would nevertheless leave his turban undisturbed.\"\n\n> You show the sign to librarian\nThe librarian launches off into another speech, and it distracts you from what you wanted to do. \"Most historians ascribe Catherine de Medicis's poor reputation among the French to her ordering the wholesale massacre of French citizens in 1572. Recent research, however, has revealed that years before, in 1533, she brought into the country such vegetables as broccoli, artichokes, cabbage and haricot beans - and it is now widely accepted that this alone was sufficient to make the French hate her.\"\n\n> Go west\nAs you leave, the librarian calls out, \"Must you be going? I have so many other interesting things to tell you.\"\n\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nHolmes enters and begins pacing back and forth nervously.\n\n> You ask Holmes about the librarian\n\"He's just a harmless old fellow who is starved for companionship. It's a wonder he hasn't retired and joined his twin brother who lives in New Zealand.\"\n\n> Go west\nSurging crowds of tourists block your path.\n\n> Go east\nThe deserted corridor leads to the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nYour friend follows you.\n\nThe lonely librarian says, \"Welcome back! I have more interesting things to tell you!\"\n\n> You show the orange paper to the librarian\nThe librarian launches off into another speech, and it distracts you from what you wanted to do. \"Are you sure I can't get you something on the Punic Wars?\"\n\n> You listen\nThe librarian says loudly, \"Louis I, son of Charlemagne, ascended France's throne in 814 A.D. He was the first to implement that country's secret policy of naming all their kings Louis in order to confuse enemy agents, historians, and their own peasants.\"\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na stethoscope.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\n\n> You ask the librarian for the book\nThe librarian interrupts you as you attempt to speak, and says, \"The confusion between the usage of the present subjunctive and the past subjunctive is easily resolved as long as one remembers that the terms refer not to different times, but to differing sorts of uncertainty. Reference to time itself is only implied by the use of the past perfect subjunctive. While no deaths have as yet resulted from incorrect usage, it would be prudent not to take chances.\"\n\n> You tell the librarian about the sherlock holmes\nThe librarian interrupts you as you attempt to speak, and says, \"While uncovering one's head is a symbol of respect in many cultures, in others the opposite is true. Some Indian religions, for example, require that a man's head remain covered at all times, giving rise to the use of the turban, or 'imamah.' The tabu against removing one's turban eventually became so strong that thieves who thought nothing of stealing a victim's clothes would nevertheless leave his turban undisturbed.\"\n\n> You wait\nThe librarian says loudly, \"Most historians ascribe Catherine de Medicis's poor reputation among the French to her ordering the wholesale massacre of French citizens in 1572. Recent research, however, has revealed that years before, in 1533, she brought into the country such vegetables as broccoli, artichokes, cabbage and haricot beans - and it is now widely accepted that this alone was sufficient to make the French hate her.\"\n\n> You look\nYou are in the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nThe detective is looking around with interest.\n\nAs you look around, the librarian says loudly, \"Louis I, son of Charlemagne, ascended France's throne in 814 A.D. He was the first to implement that country's secret policy of naming all their kings Louis in order to confuse enemy agents, historians, and their own peasants.\"\n\n> You hit librarian with the oar\nThe librarian launches off into another speech, and it distracts you from what you wanted to do. \"The first workers' strike on record took place in Egypt in 1170 B.C., when labourers building a new pyramid in Thebes learned that their payroll had been delayed. They organized a protest, stopped working, and picketed the construction site carrying papyrus signs that read, 'Cash on the line, or you don't get your shrine.' Tradition also has it that the slogan they chanted was 'Stuff the crypt...We've been gypped...Ra Ra Ra.'\"\n\n> Steal book\nThe librarian launches off into another speech, and it distracts you from what you wanted to do. \"The confusion between the usage of the present subjunctive and the past subjunctive is easily resolved as long as one remembers that the terms refer not to different times, but to differing sorts of uncertainty. Reference to time itself is only implied by the use of the past perfect subjunctive. While no deaths have as yet resulted from incorrect usage, it would be prudent not to take chances.\"\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You go west\nAs you leave, the librarian calls out, \"Must you be going? I have so many other interesting things to tell you.\"\n\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nYour companion joins you and starts looking around with interest.\n\n> Go west\nSurging crowds of tourists block your path.\n\n> Go east\nThe deserted corridor leads to the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nHolmes drifts in after you, apparently lost in thought.\n\nThe lonely librarian says, \"Welcome back! I have more interesting things to tell you!\"\n\n> You ask Holmes to get the book\nThe librarian interrupts you as you attempt to speak, and says, \"Most historians ascribe Catherine de Medicis's poor reputation among the French to her ordering the wholesale massacre of French citizens in 1572. Recent research, however, has revealed that years before, in 1533, she brought into the country such vegetables as broccoli, artichokes, cabbage and haricot beans - and it is now widely accepted that this alone was sufficient to make the French hate her.\"\n\n> You go west\nAs you leave, the librarian calls out, \"Must you be going? I have so many other interesting things to tell you.\"\n\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nYour friend trails along after you.\n\n> You open the bag\nYou open the black bag.\nInside you see an ampoule of etherium, a crayon, a matchbook, a pipe, a knife, a pistol, a brown bottle and a blue bottle.\n\n> You get the pistol\nYou take the pistol out of the black bag.\n\n> Go west\nAs you leave, the librarian calls out, \"Must you be going? I have so many other interesting things to tell you.\"\n\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> Go east\nThe deserted corridor leads to the manuscript room, which contains a dusty collection of old books on obscure subjects. There is an old librarian here, on whose desk sits a handwritten sign that reads \"Quiet, please.\" There are thousands of books behind glass cases. The only exit is to the west.\n\nYou see an old book on the table.\n\nHolmes follows you.\n\nThe lonely librarian says, \"Welcome back! I have more interesting things to tell you!\"\n\n> Shout\nThe librarian interrupts you as you attempt to speak, and says, \"Louis I, son of Charlemagne, ascended France's throne in 814 A.D. He was the first to implement that country's secret policy of naming all their kings Louis in order to confuse enemy agents, historians, and their own peasants.\"\n\n> You tell the librarian to shut up\nThe librarian stops in midsentence and gets an embarrassed look on his face. \"Oh, I say. I'm sorry to have rambled on like this, but I do so enjoy speaking with visitors. I get them so seldom, you know. Thank you for listening.\"\n\nHe leaves the room, mumbling something to himself about the articulation of the third joint of the hind leg of an extinct species of dung beetle.\n\n> You get the book\nWhich book do you mean, the old book or the matchbook?\n\n> You get the old book\nYou take the old book off of the table.\n\n> You read the old book\nThe title is, \"Secret Writing and Invisible Inks.\"\n\n> You open the old book\nThe book falls open to the introduction.\n\n> You read the introduction\n[taking the book page out of the old book first].\nYour friend looks at you for a moment and says, \"You should know better, Doctor.\"\nA few underlined sentences catch your eye.\n\n\"Invisible writing has a long and honorable history. It is used primarily when it is felt that a code or cipher may be too easily broken.\"\n\n\"Most invisible inks are somewhat sticky to the touch, and virtually all of them become visible when exposed to moderate heat.\"\n\n> Light pipe\n[What do you want to light the pipe with?]\n\n> You go west\nYou walk back down the long corridor and return to the entrance hall of the museum. All the corridors leading to the exhibit halls are packed with tourists, and there is a steady stream of people going in and out of the street entrance to the south. Only the corridor to the east seems to be of no interest to the sightseers.\n\nThe detective joins you and starts looking around with interest.\n\n> Go south\nGreat Russell Street is the home of the British Museum, the entrance of which is to the north. There is a sign next to the door.\n\nTo the southwest you can see St Giles Circus.\n\nYour companion follows you and begins pacing back and forth nervously.\n\n> Abbey\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\n> You go west\nYou enter Victoria Street, which runs east and west between Victoria Square and Broad Sanctuary.\n\nYou see a sign outside one of the shops.\n\nHolmes joins you and starts looking around with interest.\n\n> You go east\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nYour friend follows you.\n\n> You go to the east\nYou walk through the massive door and find yourself once again in the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> Go east\nYou return to the welcome warmth provided by the array of candles in the Evangelist Chapel.\n\nHolmes walks into the room alongside you.\n\n> Warm brown paper with candle\nThe paper is heated by the bank of candles. Something seems to be gradually appearing on the back of the brown piece of paper.\n\n> You read the brown paper\nThe inscription reads, \"ISAACVS NEWTON  Eques Auratus.\"\n\n> You read back of the brown piece of the paper\nYou turn the brown piece of paper over.\n\nLondon Bridge is falling down.\nAll that's under it will drown.\nWith it falls Victoria's reign.\nBritannia ne'er to rule again.\n\n\n\nWhen a number you require,\nAnd you're banking all thereon.\nSubtract the conquest from the fire,\nHalf a league, half a league.\nHalf a league on.\n\n[Your score just went up by 5 points. The total is now 27 out of\n100.]\n\n> Warm orange piece of paper with candle\nThe paper is heated by the bank of candles. Something seems to be gradually appearing on the back of the orange piece of paper.\n\n> You read back of the orange piece of the paper\nYou turn the orange piece of paper over.\n\nHickory Dickory Dock.\nYour enemy is the clock.\nWhen it strikes nine,\nThe victory's mine.\nHickory Dickory Dock.\n\n\n\nHere comes a candle to light you to bed.\nHere comes a chopper\nto chop off your head.\n\n> You check your inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na stethoscope.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> Warm green piece of paper with candle\nThe paper is heated by the bank of candles. Something seems to be gradually appearing on the back of the green piece of paper.\n\n> You read back of the green piece of the paper\nYou turn the green piece of paper over.\n\nTwinkle, twinkle, son of Mars,\nFought at sea, midst masts and spars.\nNow above the world so high,\nLooking down with watchful eye.\nTwinkle, twinkle, son of Mars,\nEngland's hero, prince of tars.\n\nto look at the Queen.\nPussycat, pussycat,\nwhat did you there?\nI left something for you.\nGo back, if you dare.\n\nHolmes leans forward with an excited expression upon his hawk-like features and says, \"There is only one man in all London clever enough to plan this, Watson - Professor Moriarty. See how boldly he hides clues in public places, knowing all the while that they will remain hidden from the casual eye. Onward, Doctor. Let us solve these riddles and see what the good Professor has in mind for us.\""
    },
    {
        "text": "[Themes: Historical, Mystery, Literary, detective, London, mystery, Sherlock Holmes]\n\nSherlock: The Riddle of the Crown Jewels\nCopyright 1987 Infocom, Inc.\n\n221-B Baker Street\n\nYou are standing in the spill of a gas streetlight outside Holmes's house. The street disappears into the fog to the north and south. The door to the house is to the west.\n\nYou have come in response to an urgent summons from your old landlady, Mrs Hudson. As the fog swirls around you, you huddle into your coat and shiver in the predawn chill.\n\n> Go south\nThis is a narrow corridor lined with tombs.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> You go west\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nYour friend drifts along after you, apparently lost in thought.\n\n> You go to the west\nIn the distance, you hear Big Ben strike the hour.\n\n\n\nYou enter Victoria Street, which runs east and west between Victoria Square and Broad Sanctuary.\n\nYou see a sign outside one of the shops.\n\nThe detective walks alongside you.\n\n> Bank\n\"Sorry, guv. Could you be a little more specific?\"\n\n> Bank of England\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Threadneedle Street and are now in front of the Bank of England. The entrance to the bank is to the north, Cheapside leads off to the west, and King William Street continues to the southeast. On the wall is a small sign.\n\nA bank guard is lounging up against the wall, idly jangling some keys in his pocket while he watches a group of urchins playing in the street.\n\nOne of the urchins looks strangely familiar to you.\n\n> You look at the urchin\nAfter staring at his dirty face for a few moments, you suddenly recognize the boy. He is Wiggins, the head of the Baker Street Irregulars, which is Holmes's unofficial army of street urchins who \"go everywhere and do everything.\"\nWiggins is shifting his weight from one foot to the other.\n\n\"Where to, guv'nor?\"\n\n> You ask Wiggins about Holmes\n\"E's a good man, guv'nor. Best as ever was.\"\n\n\"Where to, guv'nor?\"\n\n> You ask Wiggins about the guard\n\"Beats me. What do you think?\"\n\n> You ask Wiggins to steal the keys\nWiggins says with wounded pride, \"Sorry, guv. Me and Mr 'Olmes has a deal. One shilling's me price. Nothing more. Nothing less.\"\n\n> You give the note to Wiggins\nWiggins glances at your offer and says with wounded pride, \"Sorry, guv. Me and Mr 'Olmes has a deal. One shilling's me price. Nothing more. Nothing less.\"\n\n> You look at the guard\nThe guard is lounging against the wall, idly jangling some keys in his pocket and waiting for girls to walk by.\n\n> Clock tower\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\n> You go north\nImpressive government buildings line the street on either side. The street continues north and south, and the entrance to Scotland Yard is to the east.\n\nYour companion trails along after you.\n\n> You go to the south\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\nHolmes follows you and begins pacing back and forth nervously.\n\n> You go southeast\nYou push your way into the jam-packed entrance hall of the House of Commons.\n\nThere are hundreds of people lined up to get in. But off to one side you see a flight of old stone steps leading up into the darkness.\n\nYour friend drifts in after you, apparently lost in thought.\n\n> Up\nThe stairs seem to wind up forever. Finally, you emerge into the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nThe detective trails along after you.\n\n> You look at the sapphire\nThe sapphire is hanging from the end of the clapper.\n\n> You get the sapphire\nThe sapphire is not within reach.\n\nThe bell swings towards you, ringing unbearably loud. BONG! You and Holmes clap your hands to your ears in an attempt to protect them, dropping everything you are carrying in the process.\n\n> You look\nYou are in the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nYou see a black bag, a stethoscope, a clue paper, a pound note, a pacquet of paper, an orange piece of paper, a brown piece of paper, a green piece of paper, a lamp, a magnifying glass, Captain Bligh's oar, a pistol and an old book.\n\nYour companion's lean, severe face gives away none of his thoughts.\n\nThe bell swings away from you.\n\n> You get the stethoscope\nYou cannot do that because your hands are covering your ears.\n\nThe bell swings towards you, ringing unbearably loud. BONG!\n\n> You get all\nThe black bag: You cannot do that because your hands are covering your ears.\nThe ampoule of etherium: You cannot do that because your hands are covering your ears.\nThe crayon: You cannot do that because your hands are covering your ears.\nThe matchbook: You cannot do that because your hands are covering your ears.\nThe pipe: You cannot do that because your hands are covering your ears.\nThe tobacco: You cannot do that because your hands are covering your ears.\nThe knife: You cannot do that because your hands are covering your ears.\nThe brown bottle: You cannot do that because your hands are covering your ears.\nThe blue bottle: You cannot do that because your hands are covering your ears.\nThe stethoscope: You cannot do that because your hands are covering your ears.\nThe clue paper: You cannot do that because your hands are covering your ears.\nThe pound note: You cannot do that because your hands are covering your ears.\nThe pacquet of paper: You cannot do that because your hands are covering your ears.\nThe white piece of paper: You cannot do that because your hands are covering your ears.\nThe yellow piece of paper: You cannot do that because your hands are covering your ears.\nThe blue piece of paper: You cannot do that because your hands are covering your ears.\nThe orange piece of paper: You cannot do that because your hands are covering your ears.\nThe brown piece of paper: You cannot do that because your hands are covering your ears.\nThe green piece of paper: You cannot do that because your hands are covering your ears.\nThe lamp: You cannot do that because your hands are covering your ears.\nThe magnifying glass: You cannot do that because your hands are covering your ears.\nCaptain Bligh's oar: You cannot do that because your hands are covering your ears.\nThe pistol: You cannot do that because your hands are covering your ears.\nThe old book: You cannot do that because your hands are covering your ears.\nThe clapper: You cannot do that because your hands are covering your ears.\nThe sapphire: You cannot do that because your hands are covering your ears.\n\nThe bell swings away from you.\n\n> You get the bell\nYou cannot do that because your hands are covering your ears.\n\nThe bell swings away from you, finishing the ringing of the hour.\nYou breath a sigh of relief as you take your hands away from your ears.\n\n> You wait\nTime passes...\n\n> You get all\nThe black bag: Taken.\nThe stethoscope: Taken.\nThe clue paper: Taken.\nThe pound note: Taken.\nThe pacquet of paper: Taken.\nThe orange piece of paper: Taken.\nThe brown piece of paper: Taken.\nThe green piece of paper: Taken.\nThe lamp: Taken.\nThe magnifying glass: Taken.\nCaptain Bligh's oar: Taken.\nThe pistol: Taken.\nThe old book: Taken.\nThe clapper: Holmes looks at you grimly and says, \"Impossible.\"\nThe sapphire: The sapphire is not within reach.\n\n> You wear the stethoscopoe\nYou put the stethoscope in your ears.\n\n> You open the bag\nIt is already open.\n\n> You look at bag\nIt's the black medical bag your aunt gave you when you graduated from medical school.\n\n> You look in the bag\nIn the black bag you see an ampoule of etherium, a crayon, a matchbook, a pipe, a knife, a brown bottle and a blue bottle.\n\n> You listen\nFrom afar you hear the sounds of the city going about its business.\n\n> You put the stethoscope in the ears\nThe stethoscope is already in your ears.\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou have in your ears:\na stethoscope.\nYou are holding:\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You wear the hat\nYou are already wearing your hat.\n\n> You look\nYou are in the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nYour friend is here, awaiting your next move.\n\nThe bell swings towards you, ringing unbearably loud. BONG! You and Holmes clap your hands to your ears in an attempt to protect them, dropping everything you are carrying in the process.\n\n> You put the paper in the ears\n[The white piece of paper]\n\nYou cannot do that because your hands are covering your ears.\n\nThe bell swings away from you.\n\n> You wait\nTime passes...\n\nThe bell swings towards you, ringing unbearably loud. BONG!\n\nDo you want to continue waiting?\n\n> Y.\nThe bell swings away from you.\n\nDo you want to continue waiting?\n\n> Down\nYou descend the stairs into the jam-packed entrance hall of the House of Commons.\n\nThere are hundreds of people lined up to get in. But off to one side you see a flight of old stone steps leading up into the darkness.\n\nThe detective walks into the room alongside you.\n\nHolmes says, \"Watson, take that ridiculous thing out of your ears.\" You breath a sigh of relief as you take your hands away from your ears.\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou have in your ears:\na stethoscope.\nYou are holding:\nnothing.\n\n> Up\nThe stairs seem to wind up forever. Finally, you emerge into the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nYou see a black bag, a clue paper, a pound note, a pacquet of paper, an orange piece of paper, a brown piece of paper, a green piece of paper, a lamp, a magnifying glass, Captain Bligh's oar, a pistol and an old book.\n\nYour companion enters and begins pacing back and forth nervously.\n\nHolmes says, \"Watson, take that ridiculous thing out of your ears.\"\n\n> You get all\nThe black bag: Taken.\nThe clue paper: Taken.\nThe pound note: Taken.\nThe pacquet of paper: Taken.\nThe orange piece of paper: Taken.\nThe brown piece of paper: Taken.\nThe green piece of paper: Taken.\nThe lamp: Taken.\nThe magnifying glass: Taken.\nCaptain Bligh's oar: Taken.\nThe pistol: Taken.\nThe old book: Taken.\nThe clapper: Holmes looks at you sharply and says, \"Don't be ridiculous, Watson.\"\nThe sapphire: The sapphire is not within reach.\n\n> You take the stethoscope\nYou take the stethoscope out of your ears.\n\n> You check your inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na black bag.\na stethoscope.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You get the blue paper\nYou take the blue piece of paper out of the pacquet of paper.\n\n> You examine the glass\nIt is of Swiss manufacture, with a precision-ground lens.\n\n> Down\nYou descend the stairs into the jam-packed entrance hall of the House of Commons.\n\nThere are hundreds of people lined up to get in. But off to one side you see a flight of old stone steps leading up into the darkness.\n\nYour friend follows you.\n\n> Blow whistle\nTweeeeeeeeee!\nHolmes holds his hands to his ears and glares at you.\n\n> Inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\na blue piece of paper.\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na black bag.\na stethoscope.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You go northwest\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\nThe detective joins you and starts looking around with interest.\n\n> Kensington\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nA tide of perambulators pushed by well-starched nannies surges along the crowded walk. Everywhere you look there are rows and rows of beautiful flowers.\n\n> You examine the flowers\nYou see daisies, petunias, roses, peonies, marigolds, and a host of golden daffodils.\n\n\"Where to, guv'nor?\"\n\n> Sherman's shop\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nThe cab stops in Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to what looks like a pet shop.\n\n> Go west\nYou would have to get out of the hansom cab first.\n\n\"Where to, guv'nor?\"\n\n> You go west\nYou enter the cramped quarters of Sherman's shop. The old animal-trainer's eyes brighten up when he sees you.\n\n\"You've probably come looking for Toby,\" he says. \"But I'm afraid I won't be able to help you this time. Toby's not feeling too well, and all my other animals are already out on loan. All I have left is a half-trained pigeon.\"\n\nYour companion joins you and starts looking around with interest.\n\n> You look at the pigeon\nSherman is holding the pigeon.\n\n> You ask Sherman about the pigeon\n\"He's a wonderful bird. All you have to do is show him something and tell him to get it, and away he goes. The only catch is, he only seems to like things that are red.\"\n\n> You go east\nYou emerge from Sherman's shop into Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\nHolmes follows you.\n\n> Blow whistle\nTweeeeeeeeee!\n\n> Madame tussaud'S\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou find yourself in a cab in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard lights a cigarette, tips his hat, and says, \"Good day, Mr Holmes.\"\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> You examine the guard\nThe guard has his collar turned up against the cold. He is pacing back and forth, puffing on a cigarette, and stamping his feet, all in a futile effort to keep warm.\n\n\"Where to, guv'nor?\"\n\n> You give the coat to guard\n[taking off your coat first]\nThe guard shows little interest in your offer.\n\n\"Where to, guv'nor?\"\n\n> You check what you're carrying\nYou are wearing:\nyour hat.\na whistle.\nYou are holding:\nyour coat.\na blue piece of paper.\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na pound note.\na clue paper.\na black bag.\na stethoscope.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You ask guard to leave\nThe guard says, \"Sorry, sir. On duty, you know.\"\n\n> Go north\nThe dog barks loudly and the guard says, \"Seeing as how it's you, Mr Holmes, I don't mind letting you in. But as you know we are very afraid of fire here, so we have trained this dog to detect matches or open flames. I'm afraid I can't allow you or your companion to enter until the match has been discarded.\"\n\n> You drop the bag\nYou drop the black bag.\n\n> You go to the north\nThe dog barks loudly and the guard says, \"Seeing as how it's you, Mr Holmes, I don't mind letting you in. But as you know we are very afraid of fire here, so we have trained this dog to detect matches or open flames. I'm afraid I can't allow you or your companion to enter until the lamp has been discarded.\"\n\n> You drop the lamp\nYou drop the lamp.\n\n> You go north\nYou come in off the street and are now standing in the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nHolmes drops to his hands and knees and begins a minute examination of the floor. After a few moments he cries, \"Aha! Look here, Watson.\" He points to a miniscule speck of ash on the floor.\n\n> You examine Holmes\nYour friend's brow is furrowed in intense concentration.\n\n> You examine the ash\nIt is dark, almost black, in colour, and quite flakey.\n\n> You ask Holmes about the ash\n\"Note the characteristic texture, Watson. It is the ash of a Trichinopoly cigar, which is made from the dark tobacco that grows only in the Madras district of India.\n\nUnless I miss my guess, Watson, our mastermind friend has joined forces with an Indian accomplice who does his dirty work for him.\"\n\n> You examine the ash with the glass\nYou train the magnifying glass on the cigar ash.\nIt appears much larger now.\n\n> You look at the statues\nThe statues are of King John, Sir Francis Drake, Sir Walter Raleigh, and William the Conqueror.\n\n> You examine Drake\nThe statue is of Sir Francis Drake finishing his game of bowls before sailing off to defeat the Spanish Armada.\n\n> You examine William\nThe statue is of William the Conqueror kneeling on the sand at Pevensey, where he landed before the Battle of Hastings in 1066.\n\n> You go south\nYou go out the door and are now standing in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard puffs on a cigarette, tips his hat, and says, \"Goodbye, Mr Holmes.\"\n\nYou see a lamp and a black bag.\n\nThe detective drifts along after you, apparently lost in thought.\n\n> You get the bag\nYou take the black bag.\n\n> You get the matches\nYou take the matchbook out of the black bag.\n\n> Light pipe\n[What do you want to light the pipe with?]\n\n> Light pipe with matches\nYou would have to be holding the pipe to light it.\n\n> You get the pipe\nYou are holding too much already.\n\n> You drop the paper\nWhich paper do you mean, the blue piece of paper, the green piece of paper, the brown piece of paper, the orange piece of paper, the pacquet of paper, or the clue paper?\n\n> You drop the brown paper\nYou drop the brown piece of paper.\n\n> You put the orange paper in the pacquet\nYou put the orange piece of paper in the pacquet of paper.\n\n> You put the green paper in pacquet\nYou put the green piece of paper in the pacquet of paper.\n\n> You get the pipe\nYou take the pipe out of the black bag.\n\n> Light matches\n[What do you want to light the matches with?]\n\n> You open the matchbook\nYou open the matchbook.\nInside you see a match.\n\n> You get the match\nYou take the match out of the matchbook.\n\n> You use the match\n[You must specify what you want to do with the match.]\n\n> Light match\nThe match flares to life.\n\n> Light pipe with match\nAfter a few puffs, the pipe fires right up.\n\n> You drop the match\nYou drop the match.\n\nThe match flickers and dies.\n\n> Go north\nYou come in off the street and are now standing in the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nYou see some cigar ash.\n\nYour companion drifts in after you, apparently lost in thought.\n\n[Your score just went up by 1 point. The total is now 28 out of\n100.]\n\n> Go west\nYou enter the Chamber of Horrors. Scattered around the room are wax groupings of some of the most gruesome scenes from English history. The only exit is to the east.\n\nHolmes trails along after you.\n\n> You examine scenes\nThe statues are of Guy Fawkes, Charles I, and Saint Thomas Becket.\n\n> You look at Fawkes\nThe statue depicts Guy Fawkes crouched behind some barrels of gunpowder. He is awaiting the signal to light his torch and set off the trail of gunpowder that will blow up Parliament. The torch he holds looks like a real one.\n\n> You get torch\nYou take the torch off of the statue of Guy Fawkes.\n\n> Light torch\n[with the tobacco]\nThe tobacco does not put out enough heat to light the torch.\n\n> You look at Charles\nCharles I is shown kneeling, with his head resting on a chopping block. Above him stands a masked executioner, with his axe held high over his head, ready to strike the deathblow.\n\n> You get the axe\nYou take the axe off of the statue of Charles I.\n\n> You get the swords\nYour friend looks at you in despair and says, \"I thought you had more sense than that, Watson.\"\n\n> You read the clue paper\nMortality, behold and fear!\nWhat a change of flesh is here!\nThink how many royal bones\nSleep within this heap of stones:\nHere they lie, had realms and lands,\nWho now want strength\nto stir their hands.\n\n\n\nFor two-score years I reigned alone,\nA virgin queen on England's throne.\nMy navy caused Armada's shame,\nAnd with me died the Tudor name.\n\n\n\nThe apple sorely tempted Eve,\nAnd Tell another aimed to cleave.\nBut when one fell, it showed to me,\nThe mighty pull of gravity.\n\n\n\nMy father, it was said, would die,\nBeneath the Holy City's sky.\nJerusalem his body claimed,\nAnd it is after him I'm named.\n\n\n\n\n\nO stately Holmes of England,\nIn Baker Street abide.\nFor even you must surely fail,\nTo save your country's pride.\n\nThe pipe has gone out.\n\n> You look\nIt is too dark to see.\n\n> You go east\nYou leave the Chamber of Horrors and go back into the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nYou see some cigar ash.\n\nHolmes walks into the room alongside you.\n\nThe pipe has gone out.\n\n> You go south\nThe guard says, \"I'm sorry, but t"
    },
    {
        "text": "he torch and the axe are not to be removed.\" He takes them and returns them to the proper place.\n\nYou go out the door and are now standing in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard puts out a cigarette, tips his hat, and says, \"Goodbye, Mr Holmes.\"\n\nYou see a burnt match, a brown piece of paper and a lamp.\n\nYour friend walks alongside you.\n\n> You get all\nThe burnt match: Taken.\nThe brown piece of paper: Taken.\nThe lamp: You are holding too much already.\n\n> You drop the match\nYou drop the burnt match.\n\n> You get the lamp\nYou take the lamp.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> Blow whistle\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\n> Diogenes Club\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nPigeons, pigeons, everywhere. You are in a cab in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are people feeding pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\n> Examine column\nThe column has a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\n> You examine the statue\nThe statue of Admiral Lord Nelson is perched high above you, on top of the column.\n\n> Go west\nYou enter the hushed atmosphere of the Diogenes Club. The furnishings are aging and opulent. The members are aging and asleep. The only exit is to the east.\n\nAn ancient butler totters forward to greet you and says in a barely audible whisper, \"May I be of some assistance?\"\n\nThe detective enters and begins pacing back and forth nervously.\n\n> You ask the butler about Mycroft\n\"I am very sorry but Mr Mycroft Holmes is not available at this time. Perhaps you would care to come back later?\"\n\n> Go east\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are people feeding pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nYour companion trails along after you.\n\n> London bridge\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou drive up onto London Bridge. The view of the river from here is spectacular, and hoards of sightseers are here with you to share the view.\n\n> You look at the Bridge\nOn London Bridge can be seen nothing.\n\n\"Where to, guv'nor?\"\n\n> You examine the river\nThe water is black, oily, slimy, dirty, and otherwise unwholesome-looking.\n\n> Go north\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nHolmes follows you and begins pacing back and forth nervously.\n\n> Down\nWith increasing apprehension, you descend into Swan Lane, which runs along the waterfront of the Thames.\n\nIt is a seedy, disreputable, run-down part of town that normally you wouldn't be caught dead in. After a moment's reflection, you wish you hadn't thought of it in quite those terms.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nYour friend joins you and starts looking around with interest.\n\n> Go west\nAfter fighting the urge to turn and run, you enter and find yourself in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who gives you a sidelong glance as you enter and then ignores you.\n\nThe detective follows you.\n\n> You buy the opium\nThe proprietor eyes you for a moment and says, \"A gent the likes of you doesn't buy what I 'ave to sell, mate. What is it you really want?\"\n\n> Go east\nWith considerable relief, you emerge into Swan Lane, which runs along the waterfront of the Thames.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nHolmes follows you.\n\n> Up\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nYour friend drifts along after you, apparently lost in thought.\n\n> Go west\nUpper Thames Street runs east and west between the Embankment and Lower Thames Street.\n\nThe detective walks alongside you.\n\n> You go to the west\nIn the distance, you hear Big Ben strike the hour.\n\n\n\nYou arrive at the Victoria Embankment, on the left bank of the Thames. The river is crowded with pleasure boats here for the Jubilee.\n\nThere is an incredibly old rowboat here. It's got one empty oarlock, and it probably leaks, but it looks as if it might float.\n\nYour companion trails along after you.\n\n> You put the oar in the oarlock\nYou put Captain Bligh's oar in the oarlock.\n\n> You get in the rowboat\nYou and Holmes get into the boat.\n\n> You launch boat\nThe anchor is restraining the boat.\n\n> You get the anchor\nYou raise the anchor and drop it into the boat.\n\n> You launch boat\nThe boat slips away from the Embankment. You are now in the middle of the Thames.\n\n> You go west\n[To move the boat, ROW or PADDLE in a given direction, or LAND it.]\n\n> Row west\nFighting against the current, you row upstream.\n\nAs you proceed you find yourself among the flotilla of warships that have come for the celebration of the Jubilee. You quickly decide that it's too dangerous here so you turn back and head downstream.\n\n> Row east\nYou row down the river. Downstream you see the London Bridge.\n\n> Row east\nYou row down the river. You pass under the London Bridge.\n\n> You look at Bridge\nYou see nothing of interest, other than a clump of moss lodged among the supports overhead.\n\nThe boat drifts down the river. To the north you see the Traitors Gate.\n\n> Row west\nFighting against the current, you row upstream. You pass under the London Bridge.\n\n> You examine the moss\nThe clump of moss is a slightly different colour than the other lichen that surrounds it.\n\nThe boat drifts down the river. To the north you see the Traitors Gate.\n\n> You get the moss\nYou cannot quite reach it.\n\nThe boat drifts down the river. To the north you see the Traitors Gate.\n\n> You drop the anchor\nYou lower the anchor into the water.\n\n> You look\nYou are in a boat underneath London Bridge.\n\nHolmes looks a little green from the motion of the boat.\n\n> You look at moss\nThe clump of moss is a slightly different colour than the other lichen that surrounds it.\n\n> You wait\nTime passes...\n\nDaylight begins to fade. Soon it will be dark.\n\nDo you want to continue waiting?\n\n> You wait\nTime passes...\n\nIn the distance, you hear Big Ben strike the hour.\n\nDo you want to continue waiting?\n\n> Y.\nDarkness falls and the mists come in.\n\n> You look\nYou are in a boat underneath London Bridge.\n\nYour friend looks a little green from the motion of the boat.\n\n> You look\nYou are in a boat underneath London Bridge.\n\nThe detective looks a little green from the motion of the boat.\n\n> You look\nYou are in a boat underneath London Bridge.\n\nYour companion looks a little green from the motion of the boat.\n\n> You look\nYou are in a boat underneath London Bridge.\n\nHolmes looks a little green from the motion of the boat.\n\n> You get the moss\nAs soon as you touch the clump of moss, it crumbles. You are left holding a beautiful opal.\n\nHolmes claps you on the shoulder and says, \"Capital, Watson. Capital!\"\n\n[Your score just went up by 5 points. The total is now 33 out of\n100.]\n\n> You ask Holmes about the opal\nHolmes says, \"It's obviously not one of the Crown Jewels, Watson. In fact, this gem belongs to the Agra treasure, which was stolen in India many years ago and has never been recovered.\"\n\n\"The case grows more complex, Watson. We are in more danger than I had at first suspected.\" He removes a ring from one of his long, slender fingers and hands it to you. \"Here, Watson. Take this signet ring of mine. If anything should happen to me, take it to my brother Mycroft at the Diogenes Club. He'll tell you what to do.\"\n\n[Your score just went up by 1 point. The total is now 34 out of\n100.]\n\n> You wait\nTime passes...\n\nThe boat drifts down the river. To the north you see the Traitors Gate.\n\nDo you want to continue waiting?\n\n> You drop the anchor\nYou lower the anchor into the water.\n\n> Go north\n[Land the Boat.]\nYou can't land the boat. The anchor seems to be doing its job.\n\n> Land boat\nYou land the boat outside Traitors Gate.\n\n> You go north\nYou would have to get out of the boat first.\n\n> You get out\nAs you and Holmes get out of the boat it slides out from under your foot and drifts down the river.\n\n> You get out\nYou and Holmes get out of the boat.\n\n> You open the door\nOomph. The portcullis is too heavy to lift.\n\n> You enter the boat\nYou and Holmes get into the boat.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You launch boat\nThe boat slips out into the river.\n\n> You wait\nTime passes...\n\nThe boat drifts down the river. Downstream you see the open seas... the strong currents would surely leave you stranded in your small boat if you were to drift further.\n\nDo you want to continue waiting?\n\n> Row west\nFighting against the current, you row upstream. Upstream, you see the London Bridge, to the north you see the Traitors Gate.\n\n> Row west\nFighting against the current, you row upstream.\n\n> Row west\nFighting against the current, you row upstream. To the north you see the Embankment.\n\n> Land boat\nYou land the boat on the embankment.\n\n> You drop the anchor\nYou lower the anchor into the water.\n\n> Go outside\nAs you and Holmes get out of the boat, a man storms up to you and says, \"What in bloody 'ell are you doing with my boat?\" Without waiting for a reply he jumps into the boat and rows off, muttering to himself that he'll have to find a safer place to keep it.\n\n> You go to the north\nFleet Street is the centre of London's thriving newspaper industry. The presses roar all night, turning out papers that will be delivered by train around the country the next day.\n\nA street leads off to the west, and there is a passage south to the Embankment.\n\nYour companion follows you and begins pacing back and forth nervously.\n\n> You buy the paper\n[The green piece of paper]\n\nYou already have a green piece of paper.\n\n> Sherman's shop\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nThe cab stops in Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop. Despite the hour, you see a light shining inside.\n\n> Go west\nSherman's shop is dingy and cramped. Dozens of empty cages are stacked up against the walls.\n\nHolmes joins you and starts looking around with interest.\n\nSherman says, \"Welcome back. It's a pleasure to see you again.\"\n\n> You ask Sherman for the pigeon\nSherman hands you the bird. \"Take good care of him, now. I've grown fond of him.\"\n\n[Your score just went up by 1 point. The total is now 35 out of\n100.]\n\n> You go to the east\nYou emerge from Sherman's shop into Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\nYour friend joins you and starts looking around with interest.\n\n> Trafalgar square\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nPigeons, pigeons, everywhere. You are in a cab in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nThe fog swirls around you.\n\n> You release the pigeon\nThe pigeon flies up into the air and starts to circle high over your head.\n\n> You wait\nTime passes...\n\nThe pigeon circles above you.\n\nDo you want to continue waiting?\n\n> Y.\nThe pigeon circles above you.\n\nDo you want to continue waiting?\n\n> Inventory\nYou are wearing:\nyour hat.\na whistle.\nYou are holding:\na ring.\nan opal.\na lamp (providing light).\na brown piece of paper.\na pipe.\na matchbook.\na black bag.\nyour coat.\na blue piece of paper.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na pound note.\na clue paper.\na stethoscope.\nIn the black bag you see:\nan ampoule of etherium\na crayon\na knife\na brown bottle\na blue bottle\nIn the pacquet of paper you see:\na green piece of paper\nan orange piece of paper\na white piece of paper\na yellow piece of paper\n\n> You call the pigeon\nThe pigeon ignores you, intent on its task.\n\nThe pigeon circles above you for the last time, and flies out of sight.\n\n> You examine the crayon\nIt looks just like any other Victorian-era crayon.\n\n> You examine pigeon\nThe pigeon doesn't seem interested in anything.\n\n\"Where to, guv'nor?\"\n\n> Go north\nThis is a ramshackle part of town, with dark alleys leading off the main street, which continues east and west. Pinchin Lane leads off to the south.\n\nYour companion follows you.\n\n> You go west\nThe quality of the neighborhood seems to be improving as you walk westward along New Oxford Street.\n\nHolmes drifts along after you, apparently lost in thought.\n\n> Go south\nYou enter Covent Garden, which is the central market for all of London. Everywhere you look there are stalls packed with produce from the English countryside.\n\nDespite the hour, the open-air market is crowded with housewives who are shopping for fruits and vegetables.\n\nAfter looking around for a few moments, you see a crowd of women gathered around a girl who has collapsed on the ground. Her lifeless hand clutches a bunch of flowers.\n\nYour friend walks alongside you.\n\n> You examine the flowers\nIn the flowers you see a carnation.\n\n> You get the carnation\nThe crowd is outraged that you would try to rob the ailing girl, and they beat you about the head and shoulders with their shopping bags.\n\n> You examine girl\nThe flower girl is lying on the ground in a dead faint. She is very beautiful, but her clothes indicate that she must be poor.\n\n> You check your inventory\nYou are wearing:\nyour hat.\na whistle.\nYou are holding:\na pigeon.\na ring.\nan opal.\na lamp (providing light).\na brown piece of paper.\na pipe.\na matchbook.\na black bag.\nyour coat.\na blue piece of paper.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na pound note.\na clue paper.\na stethoscope.\nIn the black bag you see:\nan ampoule of etherium\na crayon\na knife\na brown bottle\na blue bottle\nIn the pacquet of paper you see:\na green piece of paper\nan orange piece of paper\na white piece of paper\na yellow piece of paper\n\n> You get the brown bottle\nYou are holding too much already.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You put the blue paper in the pacquet\nYou put the blue piece of paper in the pacquet of paper.\n\n> You get the brown bottle\nYou are holding too much already.\n\n> You drop the pacquet\nYou drop the pacquet of paper.\n\n> You put the book in bag\nWhich book do you mean, the matchbook or the old book?\n\n> You get the brown bottle\nYou take the brown bottle out of the black bag.\n\n> You listen to girl\nHer heartbeat is incredibly fast.\n\n> You get the blue bottle\nYou take the blue bottle out of the black bag.\n\n> You examine blue bottle\nThe label on the bottle reads: \"Digitalis leaf. For tachycardia and other accelerated arrhythmias.\"\n\n> You use the blue bottle on the girl\nUsing the blue bottle on the girl would be pointless.\n\n> You open the blue bottle\nYou open the blue bottle.\nInside you see an orange pill and some cotton balls.\n\n> You look at the cotton\n[the cotton balls]\n\nThey're soft and fluffy.\n\n> You drop all\nThe blue bottle: Dropped.\nThe brown bottle: Dropped.\nThe pigeon: The pigeon flies up into the air and starts to circle high over your head.\nThe opal: Dropped.\nThe lamp: Dropped.\nThe brown piece of paper: Dropped.\nThe pipe: Dropped.\nThe matchbook: Dropped.\nThe black bag: Dropped.\nYour coat: Dropped.\nThe old book: Dropped.\nThe pistol: Dropped.\nThe magnifying glass: Dropped.\nThe clue paper: Dropped.\n\n> You get the blue bottle\nYou take the blue bottle.\n\nThe pigeon circles above you.\n\n> You drop the coat\nYou drop your coat.\n\n> You get the orange pill\nYou take the orange pill out of the blue bottle.\n\n> You give pill to the girl\nYou give her the orange pill.\n\nNothing happens for a moment, but then her eyelids flutter briefly and she opens her eyes.\n\nThe crowd breaks into applause, and they help her to her feet. When she is standing, she smiles at you shyly and puts a lovely carnation in your lapel as a gesture of thanks.\n\nJust then, a distinguished-looking gentleman appears on the scene, takes her by the arm, and says, \"Come, Eliza. We mustn't be late for the ball.\"\n\nHe escorts her away, but as she leaves, she glances back at you once more with a grateful expression in her lovely eyes.\n\n[Your score just went up by 5 points. The total is now 40 out of\n100.]\n\n> You get all\nYour coat: Taken.\nThe black bag: Taken.\nThe pacquet of paper: You are holding too much already.\nThe blue piece of paper: You are holding too much already.\nThe green piece of paper: You are holding too much already.\nThe orange piece of paper: You are holding too much already.\nThe white piece of paper: You are holding too much already.\nThe yellow piece of paper: You are holding too much already.\n\n> You put the coat in the bag\nYou put your coat in the black bag.\n\n> You put stethoscope in the bag\n[taking off the stethoscope first]\nYou put the stethoscope in the black bag.\n\n> You put all in the bag\nThe blue bottle: Done.\nThe brown bottle: Done.\nThe pigeon: The pigeon flies about in a panic for a few moments and then flies right back into your hands.\nThe opal: Done.\nThe lamp: You look at the lamp. You look at the tiny bag. You look at the tiny bag. You look at the lamp. Slowly it dawns on you that it's just not going to work.\nThe brown piece of paper: Done.\nThe pipe: Done.\nThe matchbook: Done.\nThe old book: Done.\nThe pistol: Done.\nThe magnifying glass: Done.\nThe clue paper: Done.\n\n> Inventory\nYou are wearing:\nyour hat.\na whistle.\nYou are holding:\na pigeon.\na black bag.\na ring.\na lamp (providing light).\nIn the black bag you see:\na clue paper\na magnifying glass\na pistol\nan old book\na matchbook\na pipe\na brown piece of paper\nan opal\na brown bottle\na blue bottle\na stethoscope\nyour coat\na pound note\nan ampoule of etherium\na crayon\na knife\nIn the blue bottle you see:\nsome cotton balls\nIn your lapel you see:\na carnation\n\n> You get all\nThe pacquet of paper: Taken.\n\n> Go south\nYou enter the Strand, which is the heart of London's theatre district. Streets lead off to the north, east, and southwest.\n\nAs you walk through the fog, the empty streets seem haunted by the ghosts of actors from years gone by.\n\nYour companion trails along after you.\n\n> You go to the south-west\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nThe fog swirls around you.\n\nHolmes follows you and begins pacing back and forth nervously.\n\n> Go southwest\nThe Mall runs southwest to northeast between the Queens Gardens and Trafalgar Square.\n\nYour friend joins you and starts looking around with interest.\n\n> Go southwest\nYou are standing outside the gate to Buckingham Palace.\n\nA Palace guard is here.\n\nThe detective follows you.\n\n> You examine the guard\nLooks like any other Palace guard.\n\n> You examine the opal\nYou would have to be holding the opal to get a really good look at it.\n\n> You get the opal\nYou take the opal out of the black bag.\n\n> You examine the opal\nIt looks as if there is a scratch on the opal.\n\n> You look at the scratch\nIt looks like very tiny writing.\n\n> You get the glass\nYou take the magnifying glass out of the black bag.\n\n> You examine the opal with the glass\nYou see \"Password: Swordfish\" scratched into the surface of the opal.\n\n> Bar of Gold\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> Down\nWith increasing apprehension, you descend into Swan Lane, which runs along the waterfront of the Thames.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nYour companion drifts along after you, apparently lost in thought.\n\n> Go west\nAfter fighting the urge to turn and run, you enter and find yourself in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who gives you a sidelong glance as you enter and then ignores you.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> You get the coat\nYou take your coat out of the black bag.\n\n> You look at the lapel\nIn your lapel you see a carnation.\n\n> You get the cotton\n[the cotton balls]\n\nYou take the cotton balls out of the blue bottle.\n\n> You put the cotton in the ears\n[the cotton balls]\n\nYou put the cotton balls in your ears.\n\n> Go east\nWith considerable relief, you emerge into Swan Lane, which runs along the waterfront of the Thames.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nYour friend walks alongside you.\n\n> Up\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nThe detective trails along after you.\n\n> Clock tower\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nThis is an attractive square at the foot of Whitehall. Through the mist you see the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall disappears into the gloom to the north.\n\n> You go to the southeast\nYou enter the entrance hall of the House of Commons.\n\nThe Chamber is closed, but off to one side you see a flight of old stone steps leading up into the darkness.\n\nYour companion trails along after you.\n\n> Up\nThe stairs seem to wind up forever. Finally, you emerge into the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nHolmes walks into the room alongside you.\n\n> You wait\nTime passes...\n\nThe bell swings towards you, ringing loudly"
    },
    {
        "text": ", but the cotton protects your ears. Holmes claps his hands to his ears in an attempt to protect them. The clapper swings up within reach.\n\nDo you want to continue waiting?\n\n> You get the sapphire\nYou remove the sapphire from the clapper.\n\nHolmes beams at you and says, \"Good show, old fellow.\"\n\n[Your score just went up by 5 points. The total is now 45 out of\n100.]\n\n> You examine the sapphire\nIt looks as if there is a scratch on the sapphire.\n\n> You look at sapphire with the glass\nYou see \"2:00 a.m.\" scratched into the surface of the sapphire.\n\n> Down\nYou descend the stairs into the entrance hall of the House of Commons.\n\nThe Chamber is closed, but off to one side you see a flight of old stone steps leading up into the darkness.\n\nYour friend enters and begins pacing back and forth nervously.\n\n> You go northwest\nThis is an attractive square at the foot of Whitehall. Through the mist you see the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall disappears into the gloom to the north.\n\nThe detective follows you and begins pacing back and forth nervously.\n\n> You go west\nAs you enter Birdcage Walk, your attention is diverted to a man who has set up a small souvenir stand near where the parade will pass on Tuesday. Oblivious to the fact that there are no crowds here to buy his wares, he is waving a handful of overpriced trinkets over his head.\n\nAs soon as he sees you, the salesman says, \"'Ere, Guv. Come early for the parade, 'ave you? There'll be thousands of people, you know. Now at the last Jubilee - about a year and a 'alf ago, as I remembers it - I could 'ardly see a fing. But if you was to buy one of my telescopes, you wouldn't 'ardly 'ave any problem, now would you? 'Ow 'bout it, Guv?\"\n\nYour companion joins you and starts looking around with interest.\n\n> You buy the telescope\nYou give the pound note to the vendor. He looks suprised that you didn't try to haggle with him, says, \"Thank you, guv'nor. Enjoy it in good 'ealth,\" and hands you the telescope.\n\n> Haggle\n[Whom do you want to haggle with?]\n\n> Haggle with vendor\n\"Alright, guv. For you I'll come down to me special Jubilee price of Nineteen and six. 'Ow about it?\"\n\n> Haggle with vendor\n\"It'll break me poor wife's 'eart, me comin' 'ome wif so little. But times is 'ard. Nineteen shillings. Not a farthing less.\"\n\n> You buy the telescope\nYou give the pound note to the vendor. He gives you a shilling for change, and hands you the telescope.\n\n[Your score just went up by 1 point. The total is now 46 out of\n100.]\n\n> Bank of England\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Threadneedle Street and are now in front of the Bank of England. The entrance to the bank is to the north, Cheapside leads off to the west, and King William Street disappears off into the darkness to the southeast. On the wall is a small sign.\n\nA bank guard is lounging up against the wall, idly jangling some keys in his pocket while he watches a group of urchins playing in the street.\n\nWiggins is here.\n\n> You give shilling to Wiggins\nWiggins looks at the shilling and then at you. After a few moments he stuffs it deep into the recesses of his clothing and says, \"I'm all yours. Wot's the plan?\"\n\n> You steal keys\nWiggins casually strolls past the guard and says, \"Cor blimey. That bird isn't 'alf built, is she?\" While the guard's attention is diverted, Wiggins's hand flashes in and out of his pocket. Then just as casually as before, he strolls back to you, slips something into your hand, and whispers, \"Sorry I couldn't get everything, guv. I 'ope this is enough.\"\n\n[Your score just went up by 1 point. The total is now 47 out of\n100.]\n\n> You look at the keys\nYou can't see them. They're in the guard's pocket.\n\n> You check your inventory\nYou are wearing:\nyour hat.\na whistle.\nYou have in your ears:\nsome cotton balls.\nYou are holding:\na key.\na telescope.\na sapphire.\nyour coat.\na magnifying glass.\nan opal.\na pacquet of paper.\na pigeon.\na black bag.\na ring.\na lamp (providing light).\nIn your lapel you see:\na carnation\nIn the pacquet of paper you see:\na blue piece of paper\na green piece of paper\nan orange piece of paper\na white piece of paper\na yellow piece of paper\nIn the black bag you see:\na clue paper\na pistol\nan old book\na matchbook\na pipe\na brown piece of paper\na brown bottle\na blue bottle\na stethoscope\nan ampoule of etherium\na crayon\na knife\n\n> You go north\nThe guard stops you as you try to enter. \"Excuse me, sir. You can't go in there. And don't even THINK about trying to bribe me.\"\n\n> You bribe the guard\n[What do you want to bribe the guard with?]\n\n> You bribe the guard with the ring\nThe guard examines what you are offering and then declines your bribe.\n\n\"If you expect me to let you in there, you'll have to offer me something a lot more valuable than that.\"\n\n> You bribe the guard with the opal\n\"Now this is very nice. But I think I would need more than just one to make letting you in worth my while. I'll hold this for you until you come back.\"\n\n> You give the sapphire to guard\n\"This is even more beautiful than the other one. But it isn't worth taking the risk for only two of them.\"\n\n> Inventory\nYou are wearing:\nyour hat.\na whistle.\nYou have in your ears:\nsome cotton balls.\nYou are holding:\na key.\na telescope.\nyour coat.\na magnifying glass.\na pacquet of paper.\na pigeon.\na black bag.\na ring.\na lamp (providing light).\nIn your lapel you see:\na carnation\nIn the pacquet of paper you see:\na blue piece of paper\na green piece of paper\nan orange piece of paper\na white piece of paper\na yellow piece of paper\nIn the black bag you see:\na clue paper\na pistol\nan old book\na matchbook\na pipe\na brown piece of paper\na brown bottle\na blue bottle\na stethoscope\nan ampoule of etherium\na crayon\na knife\n\n> You go to the west\nYou enter the North Transept of the Abbey, which is dominated by a beautiful rose window set high into the wall.\n\nA shaft of sunlight comes through the stained-glass window, lighting up one of the tombs, and relieving the general gloom of the Abbey's dark interior.\n\nThe detective enters and begins pacing back and forth nervously.\n\n> Go southwest\nYou return to the Nave. Amidst the massive columns, one tomb in particular catches your attention.\n\nYour companion follows you.\n\n> Go west\nYou are standing in the midst of a crowd of tourists in front of the west door of Westminster Abbey. The towers of the Abbey soar high above you, and you marvel at this perfect example of Gothic architecture, as generations have done before you.\n\nThe Abbey door is open.\n\nOn the wall next to the door is a small, discreet sign.\n\nHolmes drifts along after you, apparently lost in thought.\n\n> Go northeast\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\nYour friend walks alongside you.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You go to the west\nAs you enter Birdcage Walk, your attention is diverted to a man who has set up a small souvenir stand near where the parade will pass on Tuesday. Hoping to attract the attention of the crowd, he is waving a handful of overpriced trinkets over his head.\n\nAs soon as he sees you, the salesman ignores everyone else and says, \"'Ere, Guv. Come early for the parade, 'ave you? There'll be thousands of people, you know. Now at the last Jubilee - about a year and a 'alf ago, as I remembers it - I could 'ardly see a fing. But if you was to buy one of my telescopes, you wouldn't 'ardly 'ave any problem, now would you? 'Ow 'bout it, Guv?\"\n\nThe detective trails along after you.\n\n> You buy the telescope\nYou give the pound note to the vendor. He gives you a shilling for change, and hands you the telescope.\n\n[Your score just went up by 1 point. The total is now 28 out of\n100.]\n\n> You ask for the pigeon\n[spoken to Sherman]\nSherman hands you the bird. \"Take good care of him, now. I've grown fond of him.\"\n\n[Your score just went up by 1 point. The total is now 29 out of\n100.]\n\n> You go east\nYou emerge from Sherman's shop into Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\nHolmes follows you and begins pacing back and forth nervously.\n\n> Go north\nThis is a ramshackle part of town, with dark alleys leading off the main street, which continues east and west. Pinchin Lane leads off to the south.\n\nYour friend joins you and starts looking around with interest.\n\n> Go west\nThe quality of the neighborhood seems to be improving as you walk westward along New Oxford Street.\n\nThe detective follows you.\n\n> Go south\nYou enter Covent Garden, which is the central market for all of London. Everywhere you look there are stalls packed with produce from the English countryside.\n\nThe open-air market is crowded with housewives who are shopping for fruits and vegetables.\n\nAfter looking around for a few moments, you see a crowd of women gathered around a girl who has collapsed on the ground. Her lifeless hand clutches a bunch of flowers.\n\nYour companion drifts along after you, apparently lost in thought.\n\n> You put all in the bag\nThe pigeon: The pigeon flies about in a panic for a few moments and then flies right back into your hands.\nThe telescope: Done.\nThe shilling: Done.\nThe old book: Done.\nThe pistol: Done.\nCaptain Bligh's oar: You look at Captain Bligh's oar. You look at the tiny bag. You look at the tiny bag. You look at Captain Bligh's oar. Slowly it dawns on you that it's just not going to work.\nThe magnifying glass: Done.\nThe lamp: You look at the lamp. You look at the tiny bag. You look at the tiny bag. You look at the lamp. Slowly it dawns on you that it's just not going to work.\nThe green piece of paper: Done.\nThe brown piece of paper: Done.\nThe orange piece of paper: Done.\nThe pacquet of paper: You look at the pacquet of paper. You look at the tiny bag. You look at the tiny bag. You look at the pacquet of paper. Slowly it dawns on you that it's just not going to work.\nThe clue paper: Done.\nThe stethoscope: Done.\n\n> You get the blue bottle\nYou take the blue bottle out of the black bag.\n\n> You get the stethoscope\nYou take the stethoscope out of the black bag.\n\n> You put the stethoscope in the ears\nYou put the stethoscope in your ears.\n\n> You listen to the girl\nHer heartbeat is incredibly slow.\n\n> You open brown bottle\nYou open the brown bottle.\nInside you see a yellow pill.\n\n> You get the yellow pill\nYou take the yellow pill out of the brown bottle.\n\n> You give the yellow pill to the girl\nYou give her the yellow pill.\n\nNothing happens for a moment, but then her eyelids flutter briefly and she opens her eyes.\n\nThe crowd breaks into applause, and they help her to her feet. When she is standing, she smiles at you shyly and puts a lovely carnation in your lapel as a gesture of thanks.\n\nJust then, a distinguished-looking gentleman appears on the scene, takes her by the arm, and says, \"Come, Eliza. We mustn't be late for the ball.\"\n\nHe escorts her away, but as she leaves, she glances back at you once more with a grateful expression in her lovely eyes.\n\n[Your score just went up by 5 points. The total is now 34 out of\n100.]\n\n> You remove the stethoscope\nYou take the stethoscope out of your ears.\n\n> You open the brown bottle\nIt is already open.\n\n> You go south\nIn the distance, you hear Big Ben strike the hour.\n\n\n\nYou enter the Strand, which is the heart of London's theatre district.\n\nCrowds are gathering in front of the theatres, trying to select a show to see later in the day. Streets lead off to the north, east, and southwest.\n\nHolmes walks alongside you.\n\n> You go to the southwest\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are people feeding pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nYour friend trails along after you.\n\n> You look through the telescope\nEverything appears much closer.\n\n> You look at Nelson\nThe statue of Admiral Lord Nelson is perched high above you, on top of the column.\n\n> You look at Nelson through the telescope\nYou would have to be holding the telescope to do that.\n\n> You get the telescope\nYou take the telescope out of the black bag.\n\n> You look at Nelson through the telescope\nYou focus the telescope on the statue of Admiral Lord Nelson.\n\nYou can see a ruby in Nelson's blind eye.\n\n> You show the ruby to the pigeon\nThe pigeon looks interested.\n\n> You look at Nelson through the telescope\nYou can see a ruby in Nelson's blind eye.\n\n> You shoot the glass\nClever thinking. If only you had something to shoot with!\n\n> You get the pistol\nYou take the pistol out of the black bag.\n\nThe pigeon seems to lose interest.\n\n> You look at the eye through the telescope\nYou focus the telescope on Nelson's blind eye.\n\nYou can see a ruby in Nelson's blind eye.\n\n> You look at the ruby through the telescope\nYou focus the telescope on the ruby.\n\nIt appears much closer now.\n\n> You show the ruby to the pigeon\nThe pigeon looks interested.\n\n> You wait\nTime passes...\n\nThe pigeon circles above you.\n\nDo you want to continue waiting?\n\n> You call the pigeon\nThe pigeon ignores you, intent on its task.\n\nThe pigeon circles above you.\n\n> You look\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are people feeding pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nYour companion's lean, severe face gives away none of his thoughts.\n\nThe pigeon circles above you for the last time, and flies out of sight.\n\n> You show the carnation to the pigeon\nThe pigeon doesn't seem to be interested in the carnation.\n\nThe pigeon circles above you for the last time, and flies out of sight.\n\n> You check what you're carrying\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYou have in your ears:\nsome cotton balls.\nYou are holding:\na pistol.\na telescope.\na brown bottle.\na stethoscope.\na blue bottle.\na pigeon.\nCaptain Bligh's oar.\na lamp (providing light).\na pacquet of paper.\na black bag.\nIn the blue bottle you see:\nan orange pill\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na clue paper\nan orange piece of paper\na brown piece of paper\na green piece of paper\na magnifying glass\nan old book\na shilling\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\nIn the pipe you see:\nsome tobacco\n\n> You get the telescope\nYou are already holding the telescope.\n\n> You look at Nelson through the telescope\nYou can see a ruby in Nelson's blind eye.\n\n> You shoot ruby\nYou shoot the ruby, which shatters and disappears.\n\n> You get ruby\nThe pigeon trembles with excitement.\n\n> You release the pigeon\nThe pigeon flies up into the air, gets the ruby, and starts to circle high over your head.\n\n> You show the carnation to the pigeon\nThe pigeon doesn't seem to be interested in the carnation.\n\nThe pigeon circles above you.\n\n> You call the pigeon\nThe pigeon ignores you, intent on its task.\n\nThe pigeon circles above you for the last time, and flies out of sight.\n\n> Pinchin lane\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nThe cab stops in Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\n> Go west\nSherman's shop is dingy and cramped. Dozens of empty cages are stacked up against the walls.\n\nYour friend drifts in after you, apparently lost in thought.\n\nSherman says, \"Welcome back. It's a pleasure to see you again.\"\n\n> You ask Sherman about pigeon\nSherman says, \"He came back with a ruby. I don't know where he found it.\" He gives you the ruby.\n\nHolmes looks at you approvingly and says, \"Bravo, Watson. Well done, old chap.\"\n\n[Your score just went up by 5 points. The total is now 39 out of\n100.]\n\n> Go east\nYou emerge from Sherman's shop into Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\nThe detective follows you and begins pacing back and forth nervously.\n\n> Madame tussaud'S\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou find yourself in a cab in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard lights a cigarette, tips his hat, and says, \"Good day, Mr Holmes.\"\n\n> You examine the ruby\nIt looks as if there is a scratch on the ruby.\n\n> You examine the scratch\nIt looks like very tiny writing.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You read the scratch\nIt is too tiny.\n\n> You examine the ruby with the glass\nYou would have to be holding the magnifying glass to do that.\n\n> You look at the ruby with the glass\nYou see \"Wear a carnation\" scratched into the surface of the ruby.\n\nHolmes says, \"It's obviously not one of the Crown Jewels, Watson. In fact, this gem belongs to the Agra treasure, which was stolen in India many years ago and has never been recovered.\"\n\n\"The case grows more complex, Watson. We are in more danger than I had at first suspected.\" He removes a ring from one of his long, slender fingers and hands it to you. \"Here, Watson. Take this signet ring of mine. If anything should happen to me, take it to my brother Mycroft at the Diogenes Club. He'll tell you what to do.\"\n\n[Your score just went up by 1 point. The total is now 40 out of\n100.]\n\n> You drop all\nThe matchbook: Dropped.\nThe magnifying glass: Dropped.\nThe ruby: Dropped.\nThe pistol: Dropped.\nThe telescope: Dropped.\nThe brown bottle: Dropped.\nThe stethoscope: Dropped.\nThe blue bottle: Dropped.\nCaptain Bligh's oar: Dropped.\nThe pacquet of paper: Dropped.\nThe black bag: Dropped.\n\n> You get the bag\nYou take the black bag.\n\n> You get the pipe\nYou take the pipe out of the black bag.\n\n> You open the matchbook\nYou open the matchbook.\nInside you see a match.\n\n> Light pipe\n[with the match]\nAfter a few puffs, the pipe fires right up.\n\n> You go north\nYou come in off the street and are now standing in the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nHolmes drops to his hands and knees and begins a minute examination of the floor. After a few moments he cries, \"Aha! Look here, Watson.\" He points to a miniscule speck of ash on the floor.\n\n[Your score just went up by 1 point. The total is now 41 out of\n100.]\n\n> You ask the Sherlock about the ash\n\"Note the characteristic texture, Watson. It is the ash of a Trichinopoly cigar, which is made from the dark tobacco that grows only in the Madras district of India.\n\nUnless I miss my guess, Watson, our mastermind friend has joined forces with an Indian accomplice who does his dirty work for him.\"\n\n> Go west\nYou enter the Chamber of Horrors. Scattered around the room are wax groupings of some of the most gruesome scenes from English history. The only exit is to the east.\n\nYour companion trails along after you.\n\n> You examine scenes\nThe statues are of Guy Fawkes, Charles I, and Saint Thomas Becket.\n\n> You look at Fawkes\nThe statue depicts Guy Fawkes crouched behind some barrels of gunpowder. He is awaiting the signal to light his torch and set off the trail of gunpowder that will blow up Parliament. The torch he holds looks like a real one.\n\n> Light gunpowder\n[with the tobacco]\nYou would have to be holding that part of the statue to light it.\n\n> You get the gunpowder\nHolmes looks at you grimly and says, \"Impossible.\"\n\n> Light torch\n[with the tobacco]\nYou would have to be holding the torch to light it.\n\n> Light axe with pipe\nYou can't light the axe.\n\nThe pipe has gone out.\n\n> Go north\nThe dog barks loudly and the guard says, \"Seeing as how it's you, Mr Holmes, I don't mind letting you in. But as you know we are very afraid of fire here, so we have trained this dog to detect matches or open flames. I'm afraid I can't allow you or your companion to enter until the match has been discarded.\"\n\n> You drop the match\nYou drop the match.\n\nThe match flickers and dies.\n\n> You go north\nYou come in off the street and are now standing in the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nHolmes drops to his hands and knees and begins a minute examination of the floor. After a few moments he cries, \"Aha! Look here, Watson.\" He points to a miniscule speck of ash on the floor.\n\n[Your score just went up by 1 point. The total is now 41 out of\n100.]\n\n> Chop head\n[with the knife]\nThe wax head wobbles slightly. Holmes says, \"Even when he was alive, he didn't have his head screwed on right.\"\n\n> You take the head\nYou take the wax head.\n\n> Light head\n[with the tobacco]\nYou can't light the wax head.\n\n> You put the pipe in the torch\nYour friend looks at you grimly and says, \"Impossible.\"\n\n> You break ampoule\nYou would have to be holding the ampoule of etherium to do that.\n\n> You get the ampoule\nYou take the ampoule of etherium out of the black bag.\n\n> You break ampoule\nHolmes stops you. \"Do try to be discreet, old boy. My research is supposed to be kept secret.\"\n\n> You check what you're carrying\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYou have in your ears:\nsome cotton balls.\nYou are holding:\nan ampoule of etherium.\na wax head.\nan axe.\na pipe.\na black bag.\na ring.\nIn the pipe you see:\nsome tobacco\nIn the black bag you see:\na clue paper\nan orange piece of paper\na brown piece of paper\na green piece of paper\nan old book\na shilling\na crayon\na knife\n\n> Burn book\n[taking the old book out of the black bag first].\n[with the tobacco]\nPerfect example of a typically repressive Victorian mentality.\n\n> You get the orange piece of the paper\nYou take the orange piece of paper out of the black bag.\n\n> Burn orange piece of paper\n[with the tobacco]\nThe paper catches fire quickly.\n\nThe orange piece of paper vanishes in a poof of smoke.\n\n> You get the pacquet\nYou take the pacquet of paper.\n\nThe match flickers and dies.\n\n> Light pacquet\n[with the tobacco]\nYou can't light the pacquet of paper.\n\n> Go west\nYou enter the house and pause in the entry hall. The door to the parlour is to the north, and a flight of well-worn stairs leads up to the first floor.\n\nYour companion enters and begins pacing back and forth nervously.\n\n> Go upwards\nYou climb the stairs and pause outside the door. You are on a landing at the top of the stairs.\n\nHolmes's study is to the north.\n\nHolmes drifts in after you, apparently lost in thought.\n\n> Go north\nYou return to Holmes's study, which is in its usual disarray.\n\nThe bedroom door to the west is open. The only other exit is the door to the south.\n\nYou see a persian slipper. You see some mail on the mantelpiece.\n\nYour friend walks into the room alongside you.\n\n> You check your inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\na telescope.\na shilling.\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na clue paper.\na stethoscope.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You take the mail\nYou take the mail off of the mantelpiece.\n\n> Go south\nYou leave the study and pause outside the door. You are on a landing at the top of the stairs.\n\nHolmes's study is to the north.\n\nThe detective enters and begins pacing back and forth nervously."
    },
    {
        "text": "[Themes: Mystery, Historical, Literary, detective]\n\n> Go downward\nYou descend the stairs into the entry hall. The parlour door is to the north. The front door is open.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> You go to the east\nYou emerge from the house into Baker Street.\n\nYou are standing outside Holmes's house. The street continues to the north and south. The door to the house is to the west.\n\nHolmes follows you and begins pacing back and forth nervously.\n\n> You go north\nThis is a quiet, residential street, lined with undistinguished, four storey Georgian houses. To the south, York Place opens up into Baker Street, and Marylebone Road comes in from the east.\n\nThe street isn't as quiet as usual, due to the surging crowds of tourists.\n\nYour friend joins you and starts looking around with interest.\n\n> Go east\nYou find yourself standing in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard puffs on a cigarette, tips his hat, and says, \"Good day, Mr Holmes.\"\n\nThe detective follows you.\n\n> You take the pipe\nYou are holding too much already.\n\n> You check what you're carrying\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nYou are holding:\nsome mail.\na telescope.\na shilling.\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na lamp (providing light).\na green piece of paper.\na brown piece of paper.\nan orange piece of paper.\na pacquet of paper.\na clue paper.\na stethoscope.\na black bag.\nIn the pacquet of paper you see:\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na matchbook\na pipe\na knife\na brown bottle\na blue bottle\nIn the pipe you see:\nsome tobacco\n\n> You put all the piece paper in pacquet\nThe green piece of paper: Done.\nThe brown piece of paper: Done.\nThe orange piece of paper: Done.\n\n> Shilling in pocket\nThe clue paper: Done.\nThe shilling: Done.\n\n> You take the pipe and the matchbook\nThe pipe: Taken.\nThe matchbook: Taken.\n\n> You open the matchbook\nYou open the matchbook.\nInside you see a match.\n\n> You drop the lamp\nYou drop the lamp.\n\n> You drop the match and the matchbook\nThe match: Dropped.\nThe matchbook: Dropped.\n\nThe match flickers and dies.\n\n> Go north\nYou come in off the street and are now standing in the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nHolmes drops to his hands and knees and begins a minute examination of the floor. After a few moments he cries, \"Aha! Look here, Watson.\" He points to a miniscule speck of ash on the floor.\n\n[Your score just went up by 1 point. The total is now 29 out of\n100.]\n\n> Go west\nYou enter the Chamber of Horrors. Scattered around the room are wax groupings of some of the most gruesome scenes from English history. The only exit is to the east.\n\nYour companion joins you and starts looking around with interest.\n\n> Burn mail\n[with the tobacco]\nThe mail lights up.\n\n> Light torch with mail\nThe torch catches fire quickly.\n\nHolmes looks at you and says, \"An ingenious solution, Watson. My compliments, old chap.\"\n\n[Your score just went up by 4 points. The total is now 33 out of\n100.]\n\n> You take the head\nYou take the wax head.\n\n> Burn head\n[What do you want to burn the head with?]\n\n> You burn the head with the torch\nThe wax head melts into a pool of wax on the floor. You see a gem glittering in the wax.\n\nThe mail disappears in a flash of light.\n\n> You get the gem\nYou take the emerald out of the wax pool.\n\n[Your score just went up by 5 points. The total is now 38 out of\n100.]\n\n> You take the glass\nYou are already holding the magnifying glass.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You examine the emerald with the glass\nYou see \"20/6/87\" scratched into the surface of the emerald.\n\nHolmes says, \"It's obviously not one of the Crown Jewels, Watson. In fact, this gem belongs to the Agra treasure, which was stolen in India many years ago and has never been recovered.\"\n\n\"The case grows more complex, Watson. We are in more danger than I had at first suspected.\" He removes a ring from one of his long, slender fingers and hands it to you. \"Here, Watson. Take this signet ring of mine. If anything should happen to me, take it to my brother Mycroft at the Diogenes Club. He'll tell you what to do.\"\n\n[Your score just went up by 1 point. The total is now 39 out of\n100.]\n\n> You light the axe with torch\nYou would have to be holding the axe to light it.\n\n> You get the axe\nYou take the axe off of the statue of Charles I.\n\n> You light the axe with the torch\nThe axe melts into a pool of wax on the floor.\n\n> Go east\nYou leave the Chamber of Horrors and go back into the lobby.\n\nAll around you are wax statues of famous people. To the west is a dark and ominous-looking doorway with a sign over it. The exit to the street is to the south.\n\nYou see some cigar ash.\n\nHolmes drifts in after you, apparently lost in thought.\n\nThe pipe has gone out.\n\n> You go south\nThe guard says, \"I'm sorry, but the torch is not to be removed.\" He takes it and returns it to the proper place.\n\nYou go out the door and are now standing in front of Madame Tussaud's famous wax museum. From here the street continues east and west.\n\nThe museum is closed for renovations, and there is a guard and a dog patrolling the street outside the entrance, which is just to the north of you. The guard lights a cigarette, tips his hat, and says, \"Goodbye, Mr Holmes.\"\n\nYou see a matchbook, a burnt match and a lamp.\n\nYour friend drifts along after you, apparently lost in thought.\n\n> You take the lamp\nYou take the lamp.\n\n> Again\nTweeeeeeeeee!\n\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\n> Covent garden\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Covent Garden, which is the central market for all of London. Everywhere you look there are stalls packed with produce from the English countryside.\n\nThe open-air market is crowded with housewives who are shopping for fruits and vegetables.\n\nAfter looking around for a few moments, you see a crowd of women gathered around a girl who has collapsed on the ground. Her lifeless hand clutches a bunch of flowers.\n\n> You give it to girl\nYou take the yellow pill out of the brown bottle.\n\nYou give her the yellow pill.\n\nNothing happens for a moment, but then her eyelids flutter briefly and she opens her eyes.\n\nThe crowd breaks into applause, and they help her to her feet. When she is standing, she smiles at you shyly and puts a lovely carnation in your lapel as a gesture of thanks.\n\nJust then, a distinguished-looking gentleman appears on the scene, takes her by the arm, and says, \"Come, Eliza. We mustn't be late for the ball.\"\n\nHe escorts her away, but as she leaves, she glances back at you once more with a grateful expression in her lovely eyes.\n\n[Your score just went up by 5 points. The total is now 44 out of\n100.]\n\n> You put it in the hat\nYou take the stethoscope out of your ears.\n\nYou would have to take off your hat first.\n\n> You put the scope in hat\nYou take off your hat.\n\nYou put the telescope in your hat.\n\n> You wear the hat\nYou put on your hat.\n\n> Continue\nTweeeeeeeeee!\n\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\n> Go west\nYou and Holmes get out of the cab. After you get out, it drives off.\n\n\n\nYou enter the cramped quarters of Sherman's shop. The old animal-trainer's eyes brighten up when he sees you.\n\n\"You've probably come looking for Toby,\" he says. \"But I'm afraid I won't be able to help you this time. Toby's not feeling too well, and all my other animals are already out on loan. All I have left is a half-trained pigeon.\"\n\nThe detective trails along after you.\n\n> You ask Sherman for the pigeon\nSherman hands you the bird. \"Take good care of him, now. I've grown fond of him.\"\n\n[Your score just went up by 1 point. The total is now 45 out of\n100.]\n\n> Go east\nYou emerge from Sherman's shop into Pinchin Lane, a dingy little alley that runs north to Cheapside.\n\nTo the west is the entrance to Sherman's shop.\n\nYour companion walks alongside you.\n\n> Birdcage Walk\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nAs you enter Birdcage Walk, your attention is diverted to a man who has set up a small souvenir stand near where the parade will pass on Tuesday. Hoping to attract the attention of the crowd, he is waving a handful of overpriced trinkets over his head.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> Haggle with man\n\"Sorry, guv. No refunds.\"\n\n> You check what you're carrying\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYour pocket contains:\na shilling.\na clue paper.\nYou are holding:\na pigeon.\na stethoscope.\na lamp (providing light).\na ring.\nan emerald.\na pipe.\nan old book.\na pistol.\nCaptain Bligh's oar.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na knife\na brown bottle\na blue bottle\n\n> You remove the hat\nYou take off your hat. Inside you see a telescope.\n\n> You go to the east\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\nHolmes trails along after you.\n\n> You go north\nImpressive government buildings line the street on either side. The street continues north and south, and the entrance to Scotland Yard is to the east.\n\nYour friend follows you and begins pacing back and forth nervously.\n\n> You go north\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are people feeding pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nThe detective joins you and starts looking around with interest.\n\n> You take the telescope\nYou take the telescope out of your hat.\n\n> You put the stethoscope in the hat\nYou put the stethoscope in your hat.\n\n> Blow whistle\nTweeeeeeeeee!\n\nThe pigeon circles above you.\n\n> Keep going\nTweeeeeeeeee!\n\nA hansom cab pulls up beside you.\n\nThe pigeon circles above you for the last time, and flies out of sight.\n\n> Go west\nSherman's shop is dingy and cramped. Dozens of empty cages are stacked up against the walls.\n\nYour companion walks into the room alongside you.\n\nSherman says, \"Welcome back. It's a pleasure to see you again.\"\n\n> You ask Sherman about the pigeon\nSherman says, \"He came back with a ruby. I don't know where he found it.\" He gives you the ruby.\n\nHolmes looks at you approvingly and says, \"Bravo, Watson. Well done, old chap.\"\n\n[Your score just went up by 5 points. The total is now 50 out of\n100.]\n\n> You go southeast\nYou push your way into the jam-packed entrance hall of the House of Commons.\n\nThere are hundreds of people lined up to get in. But off to one side you see a flight of old stone steps leading up into the darkness.\n\nYour friend enters and begins pacing back and forth nervously.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> Go upwards\nThe stairs seem to wind up forever. Finally, you emerge into the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nThe detective follows you.\n\n> You take the balls\nYou take the cotton balls out of the blue bottle.\n\n> You put the balls in the ears\nYou put the cotton balls in your ears.\n\n> You go upward\nThe stairs seem to wind up forever. Finally, you emerge into the interior of the clock tower, high above the Houses of Parliament.\n\nThe immense bell known as Big Ben is hanging from the ceiling, suspended over a hollow shaft that is so deep it might as well be bottomless. A wooden railing runs around the shaft for safety.\n\nInside the bell, you see an enormous clapper, to which is glued a beautiful, deep-blue sapphire.\n\nYour companion follows you.\n\n> You wait until 6\n[6:00]\n\nTime passes...\n\nThe bell swings towards you, ringing loudly, but the cotton protects your ears. Holmes claps his hands to his ears in an attempt to protect them. The clapper swings up within reach.\n\n> You take the sapphire\nYou tug at the sapphire, but you can't quite grab it before it swings out of reach again.\n\nThe bell swings away from you.\n\n> Wait\nTime passes...\n\nThe bell swings towards you, ringing loudly, but the cotton protects your ears. The clapper swings up within reach.\n\nDo you want to continue waiting?\n\n> You take the sapphire\nYou remove the sapphire from the clapper.\n\nHolmes beams at you and says, \"Good show, old fellow.\"\n\n[Your score just went up by 5 points. The total is now 55 out of\n100.]\n\nThe bell swings away from you."
    },
    {
        "text": "[Themes: Literary, Historical, Mystery, Sherlock Holmes, mystery]\n\n> Go downward\nYou descend the stairs into the jam-packed entrance hall of the House of Commons.\n\nThere are hundreds of people lined up to get in. But off to one side you see a flight of old stone steps leading up into the darkness.\n\nHolmes joins you and starts looking around with interest.\n\n> You put the balls in the blue bottle\n[taking off the cotton balls first]\nYou put the cotton balls in the blue bottle.\n\n> Go northwest\nThis is an attractive square at the foot of Whitehall. Large crowds mill around the entrance to the Houses of Parliament to the southeast. To the west is Birdcage Walk. Broad Sanctuary goes off to the southwest, and Whitehall is to the north.\n\nYour friend drifts along after you, apparently lost in thought.\n\n> Embankment\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou arrive at the Victoria Embankment, on the left bank of the Thames. The river is crowded with pleasure boats here for the Jubilee.\n\nThere is an incredibly old rowboat here. It's got one empty oarlock, and it probably leaks, but it looks as if it might float.\n\n> You go south\n[Launch the Boat.]\nThe boat slips away from the Embankment. You are now in the middle of the Thames.\n\n> Row east\nYou row down the river. Downstream you see the London Bridge.\n\n> You take the moss\nAs soon as you touch the clump of moss, it crumbles. You are left holding a beautiful opal.\n\nHolmes claps you on the shoulder and says, \"Capital, Watson. Capital!\"\n\n[Your score just went up by 5 points. The total is now 60 out of\n100.]\n\n> Bank of london\n[There is no london in this story.]\n\n\"Where to, guv'nor?\"\n\n> Bank of England\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Threadneedle Street and are now in front of the Bank of England. The entrance to the bank is to the north, Cheapside leads off to the west, and King William Street disappears off into the darkness to the southeast. On the wall is a small sign.\n\nA bank guard is lounging up against the wall, idly jangling some keys in his pocket while he watches a group of urchins playing in the street.\n\nOne of the urchins looks strangely familiar to you.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> You examine the urchins\nDespite the hour, the urchins are playing games in the street.\n\nOne of the urchins looks strangely familiar to you.\n\n\"Where to, guv'nor?\"\n\n> You examine the urchin\nAfter staring at his dirty face for a few moments, you suddenly recognize the boy. He is Wiggins, the head of the Baker Street Irregulars, which is Holmes's unofficial army of street urchins who \"go everywhere and do everything.\"\nWiggins is shifting his weight from one foot to the other.\n\n> You ask Wiggins about the guard\n\"Beats me. What do you think?\"\n\n> You give shilling to Wiggins\n[taking the shilling out of your pocket first].\nWiggins looks at the shilling and then at you. After a few moments he stuffs it deep into the recesses of his clothing and says, \"I'm all yours. Wot's the plan?\"\n\n> You take the keys\nWiggins casually strolls past the guard and says, \"Cor blimey. That bird isn't 'alf built, is she?\" While the guard's attention is diverted, Wiggins's hand flashes in and out of his pocket. Then just as casually as before, he strolls back to you, slips something into your hand, and whispers, \"Sorry I couldn't get everything, guv. I 'ope this is enough.\"\n\n[Your score just went up by 1 point. The total is now 61 out of\n100.]\n\n> You go north\nThe guard stops you as you try to enter. \"Excuse me, sir. You can't go in there. And don't even THINK about trying to bribe me.\"\n\n> You give ruby to the guard\n\"Now this is very nice. But I think I would need more than just one to make letting you in worth my while. I'll hold this for you until you come back.\"\n\n> You give sapphire to guard\n\"One more and you're in.\"\n\n> You give the opal to the guard\nThe guard looks furtively up and down the street. Then he whispers to you out of the side of his mouth, \"Good enough. Go on in.\"\n\n[Your score just went up by 3 points. The total is now 64 out of\n100.]\n\n> You go to the north\nAs soon as you enter, the guard leaves.\n\nThe bank has the eerie silence that normally crowded places have when no one is there. The door to the vault is set into the west wall.\n\nThe detective drifts in after you, apparently lost in thought.\n\n> You open the door\nThe vault door is locked.\n\n> You unlock the door with the key\nHow do you intend to do that?\n\n> You go to the south\nYou emerge into Threadneedle Street and are now in front of the Bank of England. The entrance to the bank is to the north, Cheapside leads off to the west, and King William Street disappears off into the darkness to the southeast. On the wall is a small sign.\n\nA group of urchins is playing in the street.\n\nWiggins is here.\n\nYour companion walks alongside you.\n\nSuddenly, someone grabs you from behind, pins your arms to your sides, and covers up your head. You struggle fiercely to get loose, but to no avail. Then you hear a voice shout, \"Let him go, we've got the other one.\"\n\nThe person holding you knocks you on the head and flings you to the ground. You lose consciousness for a few moments, and when you awake, you are alone.\n\nSherlock Holmes has been kidnapped.\n\n> You go north\nAs soon as you enter, the guard leaves.\n\nThe bank has the eerie silence that normally crowded places have when no one is there. The door to the vault is set into the west wall.\n\nYour companion drifts in after you, apparently lost in thought.\n\n> You look at the door\nThe vault door is closed.\n\nIn the middle of the door you see a big shiny dial.\n\n> You set the dial\n[What do you want to set the dial to?]\n\n> You turn the dial\nThe dial turns smoothly.\n\n> You listen to dial\nAt the moment, the dial is silent.\n\n> You turn the dial\nClunk.\n\n> You turn the dial right\nWhirr.\n\n> You keep going\nClick.\n\n> Continue\nClick. Kerchunk. The vault door swings open.\n\nHolmes says, \"Splendid, Watson. The net is drawing ever tighter around our quarry.\"\n\n[Your score just went up by 3 points. The total is now 67 out of\n100.]\n\n> Go west\nUpon entering, you see rows and rows of safety deposit boxes.\n\nHolmes trails along after you.\n\nHolmes says, \"Watson, take that ridiculous thing out of your ears.\"\n\n> Examine boxes\nThere are rows and rows of safety deposit boxes, all alike, numbered from 1 to 999.\n\n> You get box 600\nYour friend looks at you grimly and says, \"Impossible.\"\n\n> You get number 600\nYour companion looks at you in despair and says, \"I thought you had more sense than that, Watson.\"\n\n> You unlock the box 600 with the key\nYou open the box with the key. Inside you see a topaz.\n\n> You get the topaz\nYou take the topaz out of the safety deposit box.\n\n[Your score just went up by 5 points. The total is now 72 out of\n100.]\n\n> You look at topaz\nIt looks as if there is a scratch on the topaz.\n\n> You examine the scratch with the glass\nYou see \"Bar of Gold.\"\n\n> You show the topaz to Holmes\n\"We have already discussed the significance of these gems, Watson.\"\n\n> Go east\nThe bank has the eerie silence that normally crowded places have when no one is there. The door to the vault is set into the west wall.\n\nHolmes walks into the room alongside you.\n\n> You go south\nYou emerge into Threadneedle Street and are now in front of the Bank of England. The entrance to the bank is to the north, Cheapside leads off to the west, and King William Street disappears off into the darkness to the southeast. On the wall is a small sign.\n\nA group of urchins is playing in the street.\n\nWiggins is here.\n\nYour friend walks alongside you.\n\nSuddenly, someone grabs you from behind, pins your arms to your sides, and covers up your head. You struggle fiercely to get loose, but to no avail. Then you hear a voice shout, \"Let him go, we've got the other one.\"\n\nThe person holding you knocks you on the head and flings you to the ground. You lose consciousness for a few moments, and when you awake, you are alone.\n\nSherlock Holmes has been kidnapped.\n\n> You ask Wiggins about Holmes\nWiggins says, \"I saw it all, guv'nor. But it was over before I could lift a finger. Mr 'Olmes was a friend to me, 'e was. And I'd do anyfing to 'elp you get 'im back.\"\n\n\"E's a good man, guv'nor. Best as ever was.\"\n\n> You follow you\n\"After you, guv.\"\n\n> You go west\nThis is a ramshackle part of town, with dark alleys leading off the main street, which continues east and west. Pinchin Lane leads off to the south.\n\n> You enter\nYou and Wiggins get into the cab.\n\n\"Where to, guv'nor?\"\n\n> Diogenes Club\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nPigeons, pigeons, everywhere. You are in a cab in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nThe fog swirls around you.\n\nIn the distance, you hear Big Ben strike the hour.\n[Press any key to continue.]\n\n> Go outside\nYou and Wiggins get out of the cab. After you get out, it drives off.\n\n> You go to the west\nYou enter the hushed atmosphere of the Diogenes Club. The furnishings are aging and opulent. The members are aging and asleep. The only exit is to the east.\n\nAn ancient butler totters forward to greet you and says in a barely audible whisper, \"May I be of some assistance?\"\n\nThe boy follows you.\n\n> You ask the butler about Mycroft\nThe butler listens to you and then leaves. He comes back shortly.\n\n\"Mr Mycroft Holmes requires that you offer some token to verify that you are indeed the person you claim to be. Give whatever it is to me and I will take it to him.\"\n\n> You give the ring to butler\nThe butler accepts the item and asks you to wait while he takes it to Mr Mycroft Holmes.\n\nAfter a few moments, Mycroft Holmes appears. He looks very worried.\n\n\"Sherlock warned me that you might come,\" he says. \"And the fact that you are here indicates that he is indeed in trouble. I believe that in order to solve this mystery, you are going to have to go to the Tower of London. It will be closed, but you can give the password 'Cleves' to the guard at the Byward Tower. He will let you in. Good luck.\"\n\nMycroft pauses before he goes and looks at you meditatively, as if trying to decide if he can put his faith in you to rescue his brother. After a moment he gives his head an unconscious nod, then turns around and disappears back into the club.\n\n[Your score just went up by 1 point. The total is now 73 out of\n100.]\n\n> Go east\nPigeons, pigeons, everywhere. You are standing in one of the great open spaces of London, named for Nelson's naval victory over Napoleon in 1805. Streets come in and go out at all angles, and everywhere you look there are pigeons.\n\nThe square is dominated by Nelson's Column, a 167 foot tall Corinthian column with a statue of Nelson on the top and a bronze relief on the pedestal at the bottom.\n\nThe entrance to the Diogenes Club is to the west.\n\nYou can barely see through the thick fog.\n\nThe urchin walks alongside you.\n\n> Tower of London\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab outside the entrance to the Tower of London. Next to the entrance there is a sign.\n\n> Go outside\nYou and Wiggins get out of the cab. After you get out, it drives off.\n\n> Go west\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nYour companion joins you and starts looking around with interest.\n\n> You go east\nYou are standing outside the entrance to the Tower of London. Next to the entrance there is a sign.\n\nYour assistant drifts along after you.\n\n> Go east\nSo far, so good. No one has challenged your right to be here. Maybe the Tower has been left unguarded.\n\nTo the east you see the Byward Tower, and to the west is the Tower Entrance.\n\nWiggins follows you.\n\n> Go east\nYour luck runs out. A costumed Yeoman of the Guard steps forward to challenge you.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nThe boy walks alongside you.\n\n> You say the Cleves\nThe guard steps aside as you walk in.\n\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nThe urchin joins you and starts looking around with interest.\n\n[Your score just went up by 3 points. The total is now 76 out of\n100.]\n\n> You go to the north\nYou enter the Bloody Tower where, allegedly, the \"Little Princes in the Tower\" met their death. One exit leads north. The other leads south.\n\nYour companion drifts along after you.\n\n> Go north\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nYour assistant follows you.\n\n> You go south\nYou enter the Bloody Tower where, allegedly, the \"Little Princes in the Tower\" met their death. One exit leads north. The other leads south.\n\nWiggins walks alongside you.\n\n> You go to the south\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nThe boy joins you and starts looking around with interest.\n\n> You go south\nYou walk south from the Outer Ward and find yourself just north of Traitors Gate. The portcullis is down. From the wall near the portcullis hangs a chain, and perched on top of the wall are some ravens.\n\nYou see a paddle.\n\nThe urchin drifts along after you.\n\n> You get the paddle\nYou take the paddle.\n\n[Your score just went up by 1 point. The total is now 77 out of\n100.]\n\n> You examine the chain\nThe chain is hanging just within reach.\n\n> You take the chain\nYour companion says, \"You must be out of your bleedin' mind.\"\n\n> You look at the ravens\nThe ravens stare at you with baleful eyes.\n\n> Inventory\nYou are wearing:\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYour pocket contains:\na clue paper.\nYou are holding:\na paddle.\na topaz.\na stethoscope.\na key.\na telescope.\nyour hat.\na lamp (providing light).\na pipe.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\nan ampoule of etherium\na crayon\na knife\na brown bottle\na blue bottle\nIn the blue bottle you see:\nsome cotton balls\nan orange pill\n\n> You look through Gate\n[the portcullis]\n\nYou look through the gate.\n\nYou see an old boat.\n\n> You open the portcullis\nOomph. The portcullis is too heavy to lift.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You go north\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nYour assistant follows you.\n\n> Go west\nA costumed Yeoman of the Guard steps forward to challenge you.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nWiggins walks alongside you.\n\n> You say the Cleves\n\"I am sorry, but I have strict orders to allow absolutely no one to leave the Tower, whether or not he knows the password. The Prime Minister himself could not get out of here before Monday morning.\n\n> You go to the east\nThe guard nods as you pass.\nOuter Ward\n\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nThe boy joins you and starts looking around with interest.\n\n> Go north\nYou enter the Bloody Tower where, allegedly, the \"Little Princes in the Tower\" met their death. One exit leads north. The other leads south.\n\nThe urchin drifts along after you.\n\n> You go north\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nYour companion follows you.\n\n> Go southeast\nYou leave the gloom of the Tower Green for the gloom of the Wakefield Tower.\n\nThere is a dark stone staircase leading up, and the only other exit is to the northwest.\n\nYour assistant walks alongside you.\n\n> Up\nThe stairs take you up to the Jewel Room of the Tower of London. The case that once held the Regalia is twisted and smashed, and the weapon that the thief used is lying on the ground nearby.\n\nWiggins joins you and starts looking around with interest.\n\n> You take the weapon\nYou take the mace.\n\n[Your score just went up by 1 point. The total is now 78 out of\n100.]\n\n> You look at the case\nThe case is bent and twisted where the thief attacked it with the mace.\n\n> You look at the case with the glass\nIt's been wiped clean.\n\n> You look\nYou are in the Jewel Room of the Tower of London. The case that once held the Regalia is twisted and smashed.\n\nThe boy appears eager to help.\n\n> Down\nYou descend the stairs into the ground floor of the Wakefield Tower.\n\nThere is a dark stone staircase leading up, and the only other exit is to the northwest.\n\nThe urchin drifts along after you.\n\n> Go northwest\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nYour companion follows you.\n\n> You go east\nThis is the White Tower, which was started by William the Conqueror in 1078. Exits lead out and down.\n\nYour assistant walks alongside you.\n\n> Down\nYou inch your way down the dark stairs and arrive in the oldest part of the Tower, the Dungeon.\n\nThe room has been converted into museum space, and prominently featured is a man-size suit of armour.\n\nWiggins joins you and starts looking around with interest.\n\n> You examine the suit\nThe suit of armour was made for Henry VIII.\n\n> You wear the suit\nYou put on the suit of armour.\n\n> You look\nYou are in the oldest part of the Tower, the Dungeon.\n\nThe boy is standing around, waiting for you to do something.\n\n> Up\nThis is the White Tower, which was started by William the Conqueror in 1078. Exits lead out and down.\n\nThe urchin drifts along after you.\n\n> Go west\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nYour companion follows you.\n\n> You go to the northeast\nYou enter the Bowyer Tower. It was in this room that the Duke of Clarence was drowned in a Butt of Malmsey in 1478. The keg still stands over in the corner.\n\nExits lead out and down.\n\nYour assistant walks alongside you.\n\n> You look at the keg\nIt's an old wooden keg that's brimming over with malmsey and covered with stains where the wine has spilled down the sides and leaked through the bung.\n\n> Search keg\nYou see some malmsey inside the butt of malmsey.\n\n> You get the wine\nWiggins says, \"That's ruddy impossible.\"\n\n> You drink the wine\nYou start to drink the wine and get a little tipsy. But even in your altered state of consciousness you soon realize you'll never be able to drink all of it.\n\n> You look\nYou are in the Bowyer Tower. It was in this room that the Duke of Clarence was drowned in a Butt of Malmsey in 1478. The keg still stands over in the corner.\n\nExits lead out and down.\n\nThe boy is looking around with interest.\n\n> Down\nYou enter the torture room below the Bowyer Tower. Around the walls are hung various instruments of torture. The stairs leading up are the only way out.\n\nThe urchin joins you and starts looking around with interest.\n\n> You take the instruments\nYour companion says, \"Not bloody likely.\"\n\n> Up\nYou enter the Bowyer Tower. It was in this room that the Duke of Clarence was drowned in a Butt of Malmsey in 1478. The keg still stands over in the corner.\n\nExits lead out and down.\n\nYour assistant drifts along after you.\n\n> You leave\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nWiggins follows you.\n\n> You go south\nYou enter the Bloody Tower where, allegedly, the \"Little Princes in the Tower\" met their death. One exit leads north. The other leads south.\n\nThe boy walks alongside you.\n\n> You go to the south\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nThe urchin joins you and starts looking around with interest.\n\n> Go south\nYou walk south from the Outer Ward and find yourself just north of Traitors Gate. The portcullis is down. From the wall near the portcullis hangs a chain, and perched on top of the wall are some ravens.\n\nYour companion drifts along after you.\n\n> You examine the chain\nThe chain is hanging just within reach.\n\n> You pull the chain\nYou grab the chain and lift your feet off the ground. The portcullis' ancient mechanism creaks, but then it rises up and locks into place. When you release the chain, the massive gate remains open.\n\n[Your score just went up by 1 point. The total is now 79 out of\n100.]\n\n> Go south\nYou pass under the portcullis and find yourself just south of Traitors Gate, through which condemned prisoners were brought in to the Tower prior to being executed. The massive iron portcullis is up.\n\nYou see an old boat.\n\nYour assistant follows you.\n\n> You put the paddle in the boat\nYou put the paddle in the old boat.\n\n> You examine the boat\nIt's an incredibly old rowboat that probably leaks. But it looks as if it might float. The boat's anchor is in the water.\nIn the old boat you see a paddle.\n\n> You go north\nIn the distance, you hear Big Ben strike the hour.\n\n\n\nYou pass under the portcullis and find yourself just north of Traitors Gate. The portcullis is up. From the wall near the portcullis hangs a chain, and perched on top of the wall are some ravens.\n\nWiggins walks alongside you.\n\n> You open the ampoule\nYou break open the ampoule. The etherium is released into the room. Suddenly, everything starts to spin. You pass out and fall to the ground. Sometime later you awaken and stumble back to your feet.\n\n> Inventory\nYou are wearing:\nyour coat.\na whistle.\na suit of armour.\nIn your lapel you see:\na carnation\nYour pocket contains:\na clue paper.\nYou are holding:\nan ampoule of etherium.\na mace.\na topaz.\na stethoscope.\na key.\na telescope.\nyour hat.\na lamp (providing light).\na pipe.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na crayon\na knife\na brown bottle\na blue bottle\nIn the blue bottle you see:\nsome cotton balls\nan orange pill\n\n> You reach in the keg\nYou stick an arm down into the malmsey, but you come up empty.\n\n> You enter the keg\nWiggins dutifully climbs into the full butt of malmsey and has a nice bath and gets out again.\n\n> You search Malmsey\n\"I would if I could, guv. But I don't see 'ow to do it.\"\n\n> You hold the keg\nThe urchin says, \"Nice try, Guv.\"\n\n> You take the bung\nYou can't. It's jammed in too tight.\n\n> You hit bung with the mace\nThe bung flies across the room and lands in the corner. The malmsey streams out of the butt and across the floor. Soon the keg is completely empty, and there's wine all over the floor.\n\n> Search keg\nYou see a garnet inside the empty butt of malmsey.\n\n> You get the garnet\nYou can't. Your shoulders are too broad, and your arms are too short for you to reach to the bottom of the butt.\n\n> You get the garnet\nWiggins climbs into the empty butt of malsey, gets the gem, gets out, and gives it to you.\n\n[Your score just went up by 5 points. The total is now 84 out of\n100.]\n\n> You look at gem with the glass\n[The garnet]\n\nYou see \"Give me to Akbar\" scratched into the surface of the garnet.\n\n> Go outside\nYou are on Tower Green, which is at the centre of the Tower of London. Entrances to various towers lie to the northeast, east, southeast, and south. A few ravens are strolling around the green, eyeing you with interest.\n\nYour companion joins you and starts looking around with interest.\n\n> Go south\nYou enter the Bloody Tower where, allegedly, the \"Little Princes in the Tower\" met their death. One exit leads north. The other leads south.\n\nYour assistant drifts along after you.\n\n> You go south\nThis is the Outer Ward. From here you can go north, south, or west.\n\nA few of the Tower's famous ravens are perched here, watching your every move.\n\nWiggins follows you.\n\n> You go south\nYou walk south from the Outer Ward and find yourself just north of Traitors Gate. The portcullis is up. From the wall near the portcullis hangs a chain, and perched on top of the wall are some ravens.\n\nThe boy walks alongside you.\n\n> You check your inventory\nYou are wearing:\nyour coat.\na whistle.\na suit of armour.\nIn your lapel you see:\na carnation\nYour pocket contains:\na clue paper.\nYou are holding:\na garnet.\nan ampoule of etherium.\na mace.\na topaz.\na stethoscope.\na key.\na telescope.\nyour hat.\na lamp (providing light).\na pipe.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na crayon\na knife\na brown bottle\na blue bottle\nIn the blue bottle you see:\nsome cotton balls\nan orange pill\n\n> You take off the armour\nYou take off the suit of armour and leave it on the ground.\n\n> You drop the mace\nYou drop the mace.\n\n> Go south\nYou pass under the portcullis and find yourself just south of Traitors Gate, through which condemned prisoners were brought in to the Tower prior to being executed. The massive iron portcullis is up.\n\nYou see an old boat.\n\nThe urchin joins you and starts looking around with interest.\n\n> You go to the south\nThe last man who walked on water was killed by a bunch of Romans. Why don't you play it safe and use a boat?\n\n> You enter  the boat\nYou and Wiggins get into the boat.\n\n> You get the paddle\nYou take the paddle out of the old boat.\n\nThe boat drifts down the river. Downstream you see the open seas... the strong currents would surely leave you stranded in your small boat if you were to drift further.\n\n> Paddle west\nFighting against the current, you paddle upstream. Upstream, you see the London Bridge, to the north you see the Traitors Gate.\n\n> Paddle west\nFighting against the current, you paddle upstream. You pass under the London Bridge.\n\n> Paddle west\nFighting against the current, you paddle upstream.\n\n> Paddle west\nFighting against the current, you paddle upstream. To the north you see the Embankment.\n\n> Go outside\nAs you and Wiggins get out of the boat, its red-faced owner runs up and yells, \"You again?!!\" He gives you a swift kick in the rear.\n\nThe man jumps into the boat, launches it, and suddenly realizes he has no way to steer it. The last you see of him, he is drifting down the Thames, screaming and shaking his fist at you.\n\n> You check what you're carrying\nYou are wearing:\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYour pocket contains:\na clue paper.\nYou are holding:\na paddle.\na garnet.\nan ampoule of etherium.\na topaz.\na stethoscope.\na key.\na telescope.\nyour hat.\na lamp (providing light).\na pipe.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na crayon\na knife\na brown bottle\na blue bottle\nIn the blue bottle you see:\nsome cotton balls\nan orange pill\n\n> You enter\nYou and Wiggins get into the cab.\n\nIn the distance, you hear Big Ben strike the hour.\n\n\"Where to, guv'nor?\"\n\n> Bar of Gold\n\"Right-o.\"\n\nThe cab speeds through the streets, whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\n> Go outside\nYou and Wiggins get out of the cab. After you get out, it drives off.\n\n> Down\nWith increasing apprehension, you descend into Swan Lane, which runs along the waterfront of the Thames.\n\nIt is a seedy, disreputable, run-down part of town that normally you wouldn't be caught dead in. After a moment's reflection, you wish you hadn't thought of it in quite those terms.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nYour companion drifts along after you.\n\n> You go west\nWiggins says, \"You must be stark raving bonkers. That's the most dangerous place in London. I'll wait out here, thank you very much!\"\n\nAfter fighting the urge to turn and run, you enter and find yourself in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who gives you a sidelong glance as you enter and then ignores you.\n\n> You look\nYou are standing - rather nervously - in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who hasn't given you a second look since you came in.\n\n> You look\nYou are standing - rather nervously - in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who hasn't given you a second look since you came in.\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You say the Swordfish\nThe denkeeper says, \"Not now, mate. Can't you see I'm busy?\"\n\n> You give the garnet to the proprietor\nThe denkeeper gives you a quick look of surprise, then he shrugs his shoulders and disappears briefly into a back room, returning moments later without the garnet.\n\n> Down\nWith increasing apprehension, you descend into Swan Lane, which runs along the waterfront of the Thames.\n\nIt is a seedy, disreputable, run-down part of town that normally you wouldn't be caught dead in. After a moment's reflection, you wish you hadn't thought of it in quite those terms.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nYour assistant drifts along after you.\n\n> You go west\nWiggins says, \"You must be stark raving bonkers. That's the most dangerous place in London. I'll wait out here, thank you very much!\"\n\nAfter fighting the urge to turn and run, you enter and find yourself in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who gives you a sidelong glance as you enter and then ignores you.\n\n> You say the Swordfish\nThe denkeeper says, \"Not now, mate. Can't you see I'm busy?\"\n\nIn the distance, you hear Big Ben strike the hour.\n\n> You say the Swordfish\nThe denkeeper disappears into a back room and reappears moments later, accompanied by a tall, silent man who has dark skin and wears a white turban.\n\nThe Indian glances at your uncovered head and then intones, \"I am Akbar. What is it that you wish?\"\n\n> You give the garnet to Akbar\nAkbar takes the garnet and examines it closely. Then he grabs you by the arm and drags you into a back room. He frisks you and takes away everything you are carrying. Then he blindfolds you and leads you down a series of long winding corridors. You hear a door close behind you, and when he finally removes the blindfold, you are standing in Moriarty's lair. Akbar locks the door behind you, drops the key on Moriarty's desk, and piles most of what you were carrying onto the floor.\n\n[Your score just went up by 5 points. The total is now 89 out of\n100.]\n\nAt last you come face to face with the evil Professor. He is sitting placidly behind his desk, looking at you as if you were some botanical specimen.\n\nAs you look around the room, you see Sherlock Holmes tied to a chair. He is only inches away from the Crown Jewels, which Moriarty has spread out on his desk, the better to taunt Holmes.\n\nHolmes looks up and says, \"Ah, there you are Watson.\" He turns his head towards Moriarty and says, \"You see, Professor, you grossly underestimate the intelligence and determination of your fellow countrymen.\"\n\n\"Watson,\" he continues. \"The Professor and I have just been chatting about why he led us on this merry chase. If you care to ask him, I'm sure he would be happy to fill you in as well.\"\n\n> You ask Moriarty about Jewels\n\"Pretty, are they not? I purloined them at the request of a foreign government whose identity need not concern you. My clients care nothing about the Crown Jewels themselves - they wish only to undermine confidence in the British monarchy as a first step towards weakening and ultimately destroying the British Empire.\"\n\n> You ask Moriarty about Holmes\n\"Holmes is a worthy adversary, Doctor. And his kidnapping was purely accidental. It was nothing more than a blunder on the part of an overeager subordinate. The guard at the bank knew nothing of my plan. He merely saw a chance to capture and deliver to me the famous Sherlock Holmes, and he took it.\"\n\n> You ask Moriarty about Watson\n\"Your lives and the fate of your precious monarchy hang in the balance, Doctor. Have you nothing better to do than to query me about you?\"\n\n> You check your inventory\nYou are wearing:\nyour coat.\nYou are holding:\nnothing.\n\n> Escape\n[Which way do you want to go?]\n\n> You get the ampoule\nYou are already holding the ampoule of etherium.\n\n> You get the hat\nYou are already holding your hat.\n\n> You put the ampoule in the hat\nYou put the ampoule of etherium in your hat.\n\n> You check your inventory\nYou are wearing:\nyour hat.\nyour coat.\na whistle.\nIn your lapel you see:\na carnation\nYour pocket contains:\na clue paper.\nYou are holding:\na paddle.\na garnet.\na topaz.\na stethoscope.\na key.\na telescope.\na lamp (providing light).\na pipe.\nan old book.\na pistol.\na magnifying glass.\na pacquet of paper.\na black bag.\nIn the pacquet of paper you see:\nan orange piece of paper\na brown piece of paper\na green piece of paper\na white piece of paper\na yellow piece of paper\na blue piece of paper\nIn the black bag you see:\na crayon\na knife\na brown bottle\na blue bottle\nIn the blue bottle you see:\nsome cotton balls\nan orange pill\n\n> Swordfish\nThe denkeeper disappears into a back room and reappears moments later, accompanied by a tall, silent man who has dark skin and wears a white turban.\n\nThe Indian glances at your head and then intones, \"I am Akbar, honourable sir. What is it that you wish?\"\n\n> You give the garnet to Akbar\nAkbar takes the garnet and examines it closely. Then he says, \"I must ask you to come with me, sir. But first, I ask that you give me all that you carry.\" He takes everything you give him, and then apologizes as he places a blindfold over your eyes. He leads you down a series of long winding corridors. You hear a door close behind you, and when he finally removes the blindfold, you are standing in Moriarty's lair. Akbar locks the door behind you, drops the key on Moriarty's desk, and piles most of what you were carrying onto the floor.\n\n[Your score just went up by 5 points. The total is now 89 out of\n100.]\n\nAt last you come face to face with the evil Professor. He is sitting placidly behind his desk, looking at you as if you were some botanical specimen.\n\nAs you look around the room, you see Sherlock Holmes tied to a chair. He is only inches away from the Crown Jewels, which Moriarty has spread out on his desk, the better to taunt Holmes.\n\nHolmes looks up and says, \"Ah, there you are Watson.\" He turns his head towards Moriarty and says, \"You see, Professor, you grossly underestimate the intelligence and determination of your fellow countrymen.\"\n\n\"Watson,\" he continues. \"The Professor and I have just been chatting about why he led us on this merry chase. If you care to ask him, I'm sure he would be happy to fill you in as well.\"\n\n> Inventory\nYou are wearing:\nyour coat.\nyour hat.\nYou are holding:\nnothing.\n\n> You remove hat\nYou take off your hat. Disconcerted by your sacrilegious action, Akbar averts his gaze. Inside you see an ampoule of etherium.\n\n> You get the ampoule\nMoriarty's normally emotionless features dissolve in rage. He shouts at Akbar, \"Why didn't you take that from him when you brought him in?\"\n\nThe outburst startles Akbar into momentary inaction, but he quickly recovers and starts to come towards you with a violent look in his eyes.\n\n> You open the ampoule\nYou break open the ampoule. The etherium is released into the room. Suddenly, everything starts to spin. You pass out and fall to the ground. Sometime later you awaken and stumble back to your feet.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 4\nThe room is simply, but elegantly, furnished. The detective is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> Hints\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 3\n%% Enter a save filename to read:\n\n> Hello\nRestore failed.\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. The detective is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You throw the ampoule at Akbar\nThe ampoule of etherium misses Akbar by a mile and lands on the floor nearby.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Your companion is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You ask Holmes about ampoule\nHolmes glances around quickly and then whispers, \"I know I can trust your discretion, Watson, but you must promise to keep this under your hat. I have been conducting secret experiments for the government at Mycroft's request, and I have developed a new knockout gas that I call 'etherium.' It is an extremely powerful derivative of ether, and one ampoule of it will render unconscious an entire room of people for several hours. It has no harmful side effects, but it is highly explosive and extremely dangerous to use near open flames. You may keep it if you wish, but please carry it in a secure place, safe from prying eyes.\"\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Holmes is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You throw ampoule at Moriarty\nThe ampoule of etherium misses Moriarty by a mile and lands on the floor nearby.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Your friend is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You put hat on the face\nThere is no good surface on that part of your body.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> You give ampoule to Holmes\nHolmes's hands aren't free. You can't give him anything.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Your companion is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You get the cotton\n[the cotton balls]\n\nAkbar steps in your way and stops you from taking the cotton balls.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Holmes is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You ask Moriarty about the chase\nI purloined the Crown Jewels at the request of a foreign government whose identity need not concern you. My clients care nothing about the Crown Jewels themselves - they wish only to undermine confidence in the British monarchy as a first step towards weakening and ultimately destroying the British Empire.\"\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. The detective is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> You punch Akbar\nCalm down.\n\nAkbar removes everything from your hands, and then hits you over the head. The last thing you see before losing consciousness is the look of defeat on Holmes's face.\n\nYou awake sometime later to find yourself bound hand and foot. Moriarty is standing over you with a newspaper in his hand.\n\n\"You fought well, Doctor. But you have lost.\"\n\nMoriarty takes the Crown Jewels and departs, leaving you to ponder your defeat and the inevitable demise of the British Empire.\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> You untie Holmes\nAs you reach for the rope, Akbar hits you over the head.\n\nWhen you regain consciousness, you find that your hands and feet are bound. Outside you hear the paper boy run through the streets shouting out \"Crown Jewels stolen! Prime Minister resigns in disgrace!\"\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?\n\n> 5\nThe room is simply, but elegantly, furnished. Your companion is securely bound to a chair with a thick rope.\n\nYou see a clue paper, a carnation, a black bag, a pacquet of paper, a magnifying glass, a pistol, an old book, a pipe, a lamp, a telescope, a stethoscope, a topaz, a garnet, a paddle and a whistle. Akbar and Moriarty are here. You see Moriarty's key and the Crown Jewels on the desk.\n[UNDO completed.]\n\n> Go east\nIn the distance, you hear Big Ben strike the hour.\n\n\n\nUpper Thames Street runs east and west between the Embankment and Lower Thames Street.\n\nYour assistant drifts along after you.\n\n> Go east\nYou enter Lower Thames Street. Roads lead off in many directions, some more savory than others. There is a set of particularly slovenly stairs leading down to an alley that runs alongside the river.\n\nWiggins follows you."
    },
    {
        "text": "> Go downward\nWith increasing apprehension, you descend into Swan Lane, which runs along the waterfront of the Thames.\n\nIt is a seedy, disreputable, run-down part of town that normally you wouldn't be caught dead in. After a moment's reflection, you wish you hadn't thought of it in quite those terms.\n\nTo the west is the entrance to one of the least savory buildings you have ever seen. There is a faded sign above the door that informs you that the establishment was, in better days, known as the Bar of Gold.\n\nFortunately, it is only a short walk back up the stairs to Lower Thames Street.\n\nThe boy walks alongside you.\n\n> You go west\nWiggins says, \"You must be stark raving bonkers. That's the most dangerous place in London. I'll wait out here, thank you very much!\"\n\nAfter fighting the urge to turn and run, you enter and find yourself in the Bar of Gold, the most infamous opium den in London. The proprietor is a most unsavory character who gives you a sidelong glance as you enter and then ignores you.\n\n> You wait until 12\n[12:00]\n\nTime passes...\n\nWhile you wait, you hear Big Ben strike each hour.\n\n> You wait until 12\n[12:00]\n\nIt is 12:00 p.m. now.\n\n> You wait until 2\n[2:00]\n\nTime passes...\n\nIn the distance, you hear Big Ben strike the hour.\n\nDo you want to continue waiting?\n\n> You ask Moriarty about the chase\nI purloined the Crown Jewels at the request of a foreign government whose identity need not concern you. My clients care nothing about the Crown Jewels themselves - they wish only to undermine confidence in the British monarchy as a first step towards weakening and ultimately destroying the British Empire.\"\n\n> You remove hat\nYou take off your hat. Disconcerted by your sacrilegious action, Akbar averts his gaze. Inside you see an ampoule of etherium.\n\n> You ask Moriarty about the lair\n\"Your lives and the fate of your precious monarchy hang in the balance, Doctor. Have you nothing better to do than to query me about the lair?\"\n\n> You ask Moriarty about queen\n\"A foolish old woman. Her empire deserves to fail.\"\n\n> You ask Moriarty about the etherium\n\"Your lives and the fate of your precious monarchy hang in the balance, Doctor. Have you nothing better to do than to query me about the ampoule of etherium?\"\n\n> You put the hat in the nose\nYou would have to take off your hat first.\n\n> You take the hat\nYou take off your hat. Disconcerted by your sacrilegious action, Akbar averts his gaze. Inside you see an ampoule of etherium.\n\n> You put hat in the nose\nThat's impossible.\n\n> You hold the nose\nYou take a deep breath. Holmes notices your action and surreptitiously does likewise.\n\n> You take ampoule\nMoriarty's normally emotionless features dissolve in rage. He shouts at Akbar, \"Why didn't you take that from him when you brought him in?\"\n\nThe outburst startles Akbar into momentary inaction, but he quickly recovers and starts to come towards you with a violent look in his eyes.\n\n> You break ampoule\nYou break open the ampoule. The etherium is released into the room. You see everyone but Holmes pass out.\n\n> You untie Holmes\nYou untie Holmes, keeping the rope.\n\nYou can't hold your breath much longer...\n\n> You tie Akbar to Moriarty\nYou tie Akbar to Moriarty.\n\nYour lungs scream for air. You take a deep breath.\n\nThe etherium knocks you out.\n\nYou awaken slowly and stumble to your feet. Moriarty and Akbar have already recovered, and they are struggling fiercely to free themselves. It seems as if you were unconscious for quite a while, but it's hard to tell. You probably don't have a lot of time.\n\n> TAKE KEY, JEWELS, WHISTLE\nMoriarty's key: Taken.\nThe Crown Jewels: Taken.\n\n[Your score just went up by 10 points. The total is now 99 out of 100.]\nThe whistle: Taken.\n\n> You wake holmes\nHolmes is already wide awake.\n\n> You unlock the door with the key\nYou unlock the door.\n\n> You open the door\nYou open the door.\n\n> Leave\nWhen you emerge from the lair you are momentarily disoriented, blinking your eyes in the bright sunlight. After a few moments, you realize you are standing on London bridge, but you have no idea from which direction you came.\n\nThe detective trails along after you.\n\nYou notice that the sun has risen... as much as it ever does in England.\n\n> Palace\n\"Right-o.\"\n\nThe cab speeds through the streets, deftly weaving in and out of the jubilee traffic and whizzing past famous landmarks. Only a few minutes later, you arrive at your destination.\n\nYou are in a cab outside the gate to Buckingham Palace.\n\nA Palace guard is here.\n\n> You show Jewels to guard\nThe Palace guard examines the regalia closely and then disappears inside the palace. Moments later, he reappears with the Prime Minister, who quickly ushers you and Holmes into the presence of the Queen.\n\nOvercome by emotion, for a few moments she says nothing. Finally she smiles and says, \"Once again, Mr Holmes, we find ourselves in your debt. Until now you have always refused our offers of gratitude. Do you intend to refuse your Queen yet again?\"\n\nHolmes returns her smile. \"I do, Your Majesty. But only because your thanks would be misdirected. It is Doctor Watson here who deserves your gratitude.\"\n\nThe Queen turns her gaze towards you. \"Indeed? And what reward would you ask of us, Doctor?\"\n\nFlustered, you stammer something about the service itself being reward enough, and before you know it you have been royally thanked and ushered back out of the palace into Queens Gardens. There, you and Holmes join the cheering multitudes who greet the Queen when, promptly at 9:00 and wearing the full regalia, she steps onto the balcony to begin the Coronation Day festivities.\n\n[Your score just went up by 1 point. The total is now 100 out of\n100.]\n\n[Your score is 100 out of 100, which earns you a ranking of Consulting Detective.]\n\nThe game is no longer afoot.\n\nDo you wish to: (1) Quit, (2) Restart, (3) Restore, (4) Hints, (5) Undo ?"
    },
    {
        "text": "[Themes: Surreal, violence, male protagonist, based on opera, horror, music, based on songs, party, Don Juan]\n\nJohn was already on his phone by the time you glanced over your shoulder. He had forgotten the whole joke; he wouldn't have noticed if you just turned around and walked back. Which you really wanted to do, for some reason.\n\nIt felt like a pretty stupid thing to be afraid of.\n\nYou got up the nerve to walk past the last few headstones, but you kept your head down. You didn't even want to look at the feet. You just kept your eyes on the pedestal, on the exact spot where you finally set down the envelope, and then you turned around.\n\nJohn was still talking to his phone, oblivious. You could feel it, though, like a finger lightly scraping up the back of your neck.\n\nAnd then jabbing into your spine so you had to turn back around and look up at its face. And you thought (right away you told yourself the idea was ridiculous) that it nodded.\n\n[Author's Note: Your job is to make sure John's party is successful. It won't be, though. Written for the Apollo 18+20 tribute album project.]\n\n> About yourself\nA disaster simulator by Ryan Veeder (with apologies to Johns L & F) \n\nThe kitchen, with all its drawers, its cupboards, its sinks and ovens, constitutes Chucky's domain, and he guards it jealously. Usually you use it only as a conduit between the dining room (south) and the tunnel to the cellar (down the stairs).\n\nOf course, working in here is part of your job, so you and Chucky have a deal worked out. The deal is: You do not touch anything.\n\nRight now is an exception, apparently.\n\n\"John wants you to take care of these,\" he squawks, thrusting a stack of cards toward you.\n\n> You examine the cards\nAs you lean in for a closer look, Chucky draws back, repulsed by your intrusion of his personal space.\n\n\"Just take 'em, will ya?\" he growls. He shoves the stack into your hands and then turns to his cooking.\n\nThe papers are place cards, which are to be set out at the dinner table so everyone knows where to sit. The forms of the names are inconsistent: The men are \"John,\" \"Miles,\" \"Ivan,\" and \"Garry,\" but the women are \"Miss Idie\" and \"Miss O.\"\n\nBut that's not your problem. Your job is figuring out where to put these.\n\n> You examine chucky\nChucky's teeth look like a cemetery built on some old marshland, his glass eye is not the same color as his real eye, and he smells like a butchery, but he is a phenomenal cook. Supposedly he used to be a chef in the White House.\n\nYou'd like to find out more about that, but Chucky isn't the kind of guy who likes to talk. To you.\n\n> About yourself\nYou look extremely presentable in your \"B\" tuxedo: classy, but not too flashy; easy to ignore. Tuxedo B is the most appropriate for these intimate get-togethers with John's close friends. (\"Intimate\" is the word John uses for mixed groups; the parties to which only women are invited he calls \"friendly,\" and they require a different tuxedo.)\n\n> You check your inventory\nYou are carrying:\na stack of place cards\n\n> You read the cards\nThe papers are place cards, which are to be set out at the dinner table so everyone knows where to sit. The forms of the names are inconsistent: The men are \"John,\" \"Miles,\" \"Ivan,\" and \"Garry,\" but the women are \"Miss Idie\" and \"Miss O.\"\n\nBut that's not your problem. Your job is figuring out where to put these.\n\n> You eat the cards\nThat's plainly inedible.\n\n> You look at the drawers\nIf you just stand around looking, Chucky will start getting surly.\n\n> Go south\nThe sun is going down outside the western window, and the huge table, set for six, is aflame in the orange glow. An old portrait hangs on one wall, watching the proceedings with creepy indifference.\n\nThe kitchen is back north, the den is east from here, and a narrow door leads south to the foyer.\n\nSomebody jumps as you walk in. It's John's friend Garry, apparently startled by your entrance.\n\n> You examine the portrait\nThe frame on the north wall is too big to ignore, and the eyes of the portrait seem to follow you around.\n\nThis is supposed to be John's ancestor, an Old World nobleman, also named John. John has offered numerous anecdotes about the subject of the painting, many of them outlandish and contradictory, and you would be inclined to believe that really has no idea who this man is, if the family resemblence weren't so unnervingly clear.\n\n> You ask Garry about John\nYou open your mouth to speak to Garry at just the moment that he apparently gathers the courage to talk to you.\n\n\"Do you see that painting up there?\" he rasps, indicating the portrait on the north wall. \"Don't you think there's something messed up with that guy? He looks really judgmental, right? Like he's judging me. Or you.\"\n\nYou take a moment to formulate a diplomatic answer, but other thoughts distract you. Why, Garry, are you standing in here, away from the rest of the party, if you hate that painting so much? What is going on in your life that makes you worried that a painting is judging\nyou?\n\nGarry goes on without you. \"I don't like him. I feel like he's looking at me. You know what? When we sit down for dinner, try and make sure I'm sitting somewhere where I don't have to look at him. One of these two seats,\" he says. He points with a shaking hand at the two chairs on the north side of the table.\n\nYou nod.\n\n> You look at the table\nAt other parties this table has comfortably seated more, but currently there are six high-backed chairs and six table settings: Two each on the north and south sides, one on the west end, and one at the east. This last one, on account of its facing the west wall, has the sunset shining straight at it.\n\n> You examine Garry\nAlthough lacking your boss's level of animal magnetism, Garry Horrible has charm and wit enough to make up for his unfortunate name. Most of the time.\n\nTonight, he looks like a nervous wreck. There are dark circles under his eyes; his breathing is too loud. His is not a demeanour appropriate to a dinner party.\n\n> You get portrait\nT? WHEN WE SiIt would be untoward to try rearranging the portrait while guests are over."
    },
    {
        "text": "> Look around\nThe sun is going down outside the western window, and the huge table, set for six, is aflame in the orange glow. An old portrait hangs on one wall, watching the proceedings with creepy indifference.\n\nThe kitchen is back north, the den is east from here, and a narrow door leads south to the foyer.\n\nGarry leans forward with both hands on the table, staring into the grain of the wood.\n\n> Go east\nThis room is well-loved by many of John's friends: from those he's brought home for the first time (because it is cozy and dimly lit) to frequent visitors (because they know there's booze in the credenza). The dining room is west; the parlor is south.\n\nCaptain Miles is here, lining up a shot at the pool table.\n\nIvan leans on his cue and regards the table with something like suspicion.\n\nAcross the room, fidgiting on a bar stool, is Miss Idie.\n\n> You talk to Miles\nTHE WESTERN w\"Oh, there you are,\" says Miles as you approach. \"Listen, I don't know if you've decided who's sitting where for dinner. But I've been getting these real bad migraines lately.\"\n\nIvan looks up from the pool table. \"No kidding? I can give you something for that.\" He pulls a pad of paper from inside his jacket.\n\nMiles turns away from you and back toward Ivan. \"Well, I don't know for sure if they're migraines. I know that I'm really sensitive to light.\"\n\nIvan is already writing. \"Doesn't matter. How about codeine? You seem to me like a codeine kind of guy.\" He looks slantways at Miles for a moment, then goes back to scribbling. \"Yeah. Here you go. You can get this filled wherever.\"\n\nHe rips off the sheet and pushes it into Miles's hand. \"Thanks,\" Miles stutters, before he turns back to you.\n\n\"In the meantime I guess, I'm just saying, I'd rather not sit in that chair that's facing the window while the sun's going down.\"\n\n> You talk to Ivan\nWESTERN W\"OhWhen Ivan sees you coming, he puts down his cue and takes you aside.\n\n\"Hey. So. I figure those cards you're carrying are for deciding the seating arrangement? For dinner? Pretty fancy.\" It is apparent from his breath that he has figured out the secret of the credenza.\n\n\"The thing is. There's two things. First thing is, that lady friend of John's. I don't want to sit next to her. She creeps me out. Second thing is, please don't put me next to...\" He's started whispering, and now he cranes his head around the room.\n\n\"You know who I'm talking about. She's a downer. I don't wanna sit next to her either. I don't know what Miles sees in her.\" He must mean Miss Idie.\n\n\"I mean, I know what he sees in her. Her mother has that publishing company. And both she and her mother have mitochondrial encephalomyopathy. I mean, look at her. She's like a stick. But with the publishing company, and she's gonna die young. So I can see why Miles would want to get in on that. But that's not really an option for me. So.\n\n\"Just, don't put me next to either of those women.\" And with that, he finally lets go of you.\n\n> You talk to Idie\nDOWN OUTSIDeMiss Idie looks down at the cards in your hand. \"Oh yes, there's one thing you should know. I am left-handed.\"\n\nShe raises her left hand, by way of evidence.\n\n\"If you lack experience with left-handed people, of whom there are relatively few, you may not know about the problems that arise when a left-handed person sits to the right of a right-handed person at a meal. Their elbows often bump against each other. It can be very uncomfortable. If two left-handed people sit next to each other, of course, there is no problem. However, I am the only left-handed person here this evening. I have made sure to check. So please make sure that you do not place me with anyone sitting to my left. I would prefer to have someone sitting immediately to my right. If I am made to sit neighborless at the end of a table, I feel like a pariah, excluded from the group because of my unique needs.\n\n\"John, your employer, claims to be ambidextrous. However, ambidexterity is a myth. I am sure he has only really managed to use his left hand for specific tasks, and only with a great deal of training.\"\n\nShe pauses momentarily--not to let you get a word in edgewise, but to furrow her brow. \"I thought it was unusual that he would say that about himself. I find that most frivolous claims to ambidexterity are made by Orientals.\"\n\nWell, that certainly took a turn.\n\n> You kiss idie\nDON'T LIKeKeep your mind on the game.\n\n> You go south\nThis is your favorite room in the house. The d\u00c3\u00a9cor is classy enough for guests to understand that they should avoid making a mess out of everything.\n\nThis is due in large part to the magnificent oriental rug, covering most of the floor, and the delicate sabicu coffee table. Both are in an impossibly pristine condition, capable of inspiring respect from the most boorish of John's associates.\n\nJohn is sitting in his favorite easy chair, smiling absentmindedly.\n\nAcross from him is Miss O, lounging on the couch as if it were a day bed.\n\n> You talk to John\nJohn looks up at you and switches to a different, broader smile. \"Hey, everything going smoothly? Oh, you got the place cards. You know it doesn't matter to me, but you should probably go around and see if anyone has any weird preference about how they sit down. It doesn't matter to me, though, like I said.\n\n\"But, you know, Ondine here is the guest of honor, right?\" (Miss O touches her collarbone: Who, me?) \"So, I suppose she would\nlike to be seated to the right of the host. She's a classy lady; she notices that kind of thing.\"\n\nYou nod dutifully.\n\n> You talk to Ondine\nAND THE DELICAtMiss O raises a single finger, and shuts you up before you can start talking.\n\n\"Just a moment, John,\" she says. \"Your associate needs for me to cut off our conversation for a moment. I assume it's something important.\"\n\nShe turns to you. \"Is this about the seating arrangement of the meal? I hadn't bothered to give it any thought. Hmm.\"\n\nShe licks her lips.\n\n\"I suppose I don't have any strong preferences. I'd hate for any of my silly whims to contradict those of the other guests. But don't you think John should sit at the head of the table? I suppose that goes without saying. After all, you're our gracious host, aren't you?\"\n\nMiss O has directed this last sentence at John, apparently having decided she's wasted enough attention on you. You quietly step backward.\n\n> You examine john\nING.\n\nTYou've worked for John for so long that you can't decide what you think of him. Is his sarcasm grating, or is it charming? Is he really charming, or just handsome? Does he treat women like bite-sized Snickers because he loves them, or because he hates them?\n\nThen when he tilts his head, you realize: It's all confidence. He doesn't need to be handsome or charming. He's just confident.\n\n> You examine the cards\nThe papers are place cards, which are to be set out at the dinner table so everyone knows where to sit. The forms of the names are inconsistent: The men are \"John,\" \"Miles,\" \"Ivan,\" and \"Garry,\" but the women are \"Miss Idie\" and \"Miss O.\"\n\nBut that's not your problem. Your job is figuring out where to put these.\n\n> Go north\nThis room is well-loved by many of John's friends: from those he's brought home for the first time (because it is cozy and dimly lit) to frequent visitors (because they know there's booze in the credenza). The dining room is west; the parlor is south.\n\nCaptain Miles is here, lining up a shot at the pool table.\n\nIvan leans on his cue and regards the table with something like suspicion.\n\nAcross the room, fidgiting on a bar stool, is Miss Idie.\n\n> You go west\nDining Room\nThe sun is going down outside the western window, and the huge table, set for six, is aflame in the orange glow. An old portrait hangs on one wall, watching the proceedings with creepy indifference.\n\nThe kitchen is back north, the den is east from here, and a narrow door leads south to the foyer.\n\nGarry leans forward with both hands on the table, staring into the grain of the wood.\n\nSuddenly you hear someone pounding on the front door, with the force and frequency of a lumberjack chopping at a tree trunk. Garry almost jumps out of his skin. \"They're coming after me!\" he squeaks.\n\nYou turn to answer the visitor, but through the narrow door you see John jumping up to beat you to it. You listen carefully for who it might be, but you can only barely hear John:\n\n\"Well, hello! Whoa, that's a cold handshake. I didn't expect you! I mean, I didn't expect you this late. Everyone else is already here. But I should have forseen you'd have trouble with transportation. Whatever. Come on in.\"\n\nYou hear a crunching sound.\n\n> Turn table\nIt walks in through the narrow door, stooping its head, sending splinters flying from the frame. It lifts its head (it looks at you) and almost touches the ceiling. It looks at Garry. Garry falls to his knees.\n\nJohn grins. \"Let me introduce you. Peter, this is my friend Garry. Garry, this is Peter. You remember Peter? Peter whose daughter I boned?\"\n\nGarry whimpers. John laughs.\n\n\"Anyway, he died, and this is a statue of him. He got up and walked here! Tell him why you're here, Pete.\"\n\nThe statue rumbles: ## Because you invited me.\n\n\"Yeah! I invited the statue to dinner! And he showed up!\" John raises his hands in the air and smirks triumphantly. He is not nearly as bothered by this situation as he should be.\n\n> You go south\nM John stops you. \"The cellar is through here,\" he says, pushing you into the kitchen.\n\nThe kitchen, with all its drawers, its cupboards, its sinks and ovens, constitutes Chucky's domain, and he guards it jealously. Usually you use it only as a conduit between the dining room (south) and the tunnel to the cellar (down the stairs).\n\nOf course, working in here is part of your job, so you and Chucky have a deal worked out. The deal is: You do not touch anything.\n\nChucky busies himself with some arcane cooking implements.\n\n> You look at the key\nThis \"key\" is supposed to \"unlock\" the wine cellar. It is useless. The fiddly piece at the end is too big to fit in any keyhole; the flat piece at the other end is engraved with three symbols: A \"female\" sign (a circle with a cross sticking out of it), a curvy number 4, and a little devil's trident. They are the astronomical symbols for Venus, Jupiter, and Neptune. In that order. Venus Jupiter Neptune."
    },
    {
        "text": "> Go downwards\nTunnel\nTechnically this is more like an antechamber for the main cellar, but the room is longer than it is wide, and the ceiling is pretty low. Besides a boarded-up rathole, there's nothing to look at in here but the stairs up and the (infuriating) door in the south.\n\n> You examine the rathole\nThose pests probably could chew through these boards if they really wanted, but they seem to have gotten the message and found someone else to harass.\n\n> You go to the south\n(first opening the cellar door)\nThe door does not budge. You must not have the right combination.\n\n> You examine the door\nThis thing is ridiculous.\n\nThe corny combination lock on this door is supposed to keep intruders out of the cellar, protecting the most expensive wines and liquors. It cost thousands of dollars to commission and install. It is a stupid, gaudy piece of junk.\n\nThere are three dials. You just turn a dial, and it slides over to the next setting. Each dial has three settings. There are only twenty-seven combinations. Any thief could go through all of them in just a few minutes.\n\nThe left dial is marked with the astronomical symbols for Mercury, Venus, and Earth. It is currently pointing at Mercury.\n\nThe center dial has the symbols for Mars, Jupiter, and Saturn. It is pointing at Mars.\n\nThe right dial has settings for Uranus, Neptune, and Pluto. The symbol for Pluto is the stupidest; it's just a combination of the letters P and L. The dial is currently set to Uranus.\n\nA simple padlock would be so much more effective. So much simpler.\n\n> You turn the left dial to the venus\n> TUNNEL\n\n> TECHNIcYou turn the left dial until it points at the symbol for Venus.\n\n> You turn the middle dial to the jupiter\nYou turn the center dial until it points at the symbol for Jupiter.\n\n> You turn the right dial to the Neptune\nYou turn the right dial until it points at the symbol for Neptune.\n\nYou hear a scream upstairs. Someone must have just been introduced to Peter.\n\n> Go south\n(first opening the cellar door)\nThe door swings open.\n\nJohn only buys the most expensive wines and spirits he can find. In the eyes of his friends, anyway, that makes him a conoisseur. This room isn't packed to the brim, but what it does contain is worth defending.\n\nA sickly red and yellow bottle lying on its side in the corner would seem to be the exception.\n\nNearby is a crate of a particular wine which John apparently thinks is worth saving for a special occasion.\n\nA crowbar leans against the wall.\n\n> You get the crowbar\nIt's a crowbar, but you take it.\n\n> You examine bottle\nYOU TURN What is this swill doing here? How did it get past the security system? It probably belongs to Chucky.\n\n> You take bottle\nYou drop the crowbar so that you can carry the repellent bottle.\n\n> You take the crowbar\nYou probably shouldn't leave the bottle lying around.\nYou happily discard your bottle, so as to carry the crowbar with both hands.\n\n> You open the crate with the crowbar\nYou stick the end of the crowbar under the lip of the crate and begin redistributing some force.\n\nYou hear a crunching sound. The dining room is right above you; that must be the statue moving around. The back of your neck tingles: it\ndid nod at you, back in the cemetery. How long has it been\nalive? Is it alive?\n\nYour leveraging efforts are rewarded: The nail in one corner of the lid pops up. Three to go.\n\n> You continue\nYou reposition yourself and stick the crowbar under the lid again.\n\nFrom upstairs: a shriek so shrill it could be steel rasping against glass, or a scream, or you don't know what. You should go up and make sure nobody's hurt.\n\nBut then you hear laughter. They're fine.\n\nA little more force, and the second nail comes out.\n\n> You continue\nUnYou wedge in the crowbar again to tackle the third nail.\n\nNow you hear a low scraping, a scraping that can only be someone dragging those heavy dining room chairs over those gorgeous hardwood floors. Your lips twist in rage; you look at the nail and imagine it is Ivan's head.\n\nIt slides out of the crate with a pop. Just one more.\n\n> Continue\nThe last one should be easy. You slide in the crowbar...\n\nSuddenly the party upstairs is silent. No. Suddenly? It had been silent for a few seconds before you noticed anything. Or maybe it's not silent. You can hear something rustling. Or is that just people talking?\n\nYou strain to listen, but then all you can hear is your own heartbeat.\n\nThe last nail slides out, and the whole lid slides away. You drop your crowbar and pull out a bottle.\n\n> You look at the bottle\nWhich do you mean, the bottle of Pr\u00c3\u00a9venge or the bottle of Thunderbird?\n\n> You examine the Thunderbird\nYou regard the bottle with disgust. You couldn't possibly serve it to the guests. Maybe you could use it to kill a houseplant.\n\n> You examine the prevenge\n(the bottle of Pr\u00c3\u00a9venge)\nYou had the pleasure of experiencing Pr\u00c3\u00a9venge at the same tasting where John decided he had to buy several crates. It's nothing special.\n\n> Drink Thunderbird\nYou don't have a corkscrew handy, which is just as well. Just the fumes off of this stuff could be hazardous to your health.\n\n> You check your inventory\nYou are carrying:\na bottle of Pr\u00c3\u00a9venge\na bottle of Thunderbird\nan ornate key\n\n> You take the prevenge\n(the crate of Pr\u00c3\u00a9venge)\nTaking the entire crate upstairs would be too much--no matter\nwho is visiting.\n\n> You take the bottle of the prevenge\nYou'd better not leave the bottle here; John is expecting you to come back with some liquid.\nYou cannot gracefully carry two wine bottles at once. You drop the other bottle in favor of the Pr\u00c3\u00a9venge.\n\n> Go north\nTechnically this is more like an antechamber for the main cellar, but the room is longer than it is wide, and the ceiling is pretty low. Besides a boarded-up rathole, there's nothing to look at in here but the stairs up and the (infuriating) door in the south.\n\n> You take the rathole\nPLEASURE OF eYou can't save it. You have to escape.\n\n> You drop the prevenge\nYou'd better not leave the bottle here; John is expecting you to come back with some liquid.\n\n> You go south\nJohn only buys the most expensive wines and spirits he can find. In the eyes of his friends, anyway, that makes him a conoisseur. This room isn't packed to the brim, but what it does contain is worth defending.\n\nNearby is a crate of a particular wine which John apparently thinks is worth saving for a special occasion.\n\nYou can also see a crowbar here.\n\n> You take the crowbar\nYou'd better not leave the bottle here; John is expecting you to come back with some liquid.\nYou happily discard your bottle, so as to carry the crowbar with both hands.\n\n> You go south\nJohn only buys the most expensive wines and spirits he can find. In the eyes of his friends, anyway, that makes him a conoisseur. This room isn't packed to the brim, but what it does contain is worth defending.\n\nNearby is a crate of a particular wine which John apparently thinks is worth saving for a special occasion.\n\n> You take the bottle of the prevenge\nYou'd better not leave the bottle here; John is expecting you to come back with some liquid.\nYou cannot gracefully carry two wine bottles at once. You drop the other bottle in favor of the Pr\u00c3\u00a9venge.\n\n> Inventory\nYou are carrying:\na bottle of Pr\u00c3\u00a9venge\na crowbar\na bottle of Thunderbird\nan ornate key\n\n> Up\nKitchen\nWhere's Chucky? It looks like he left in a hurry.\n\nThere seems to be something happening down in the dining room.\n\n> Go south\nEverything is on fire. The floor is burning and the walls are burning and the table looks like a big bonfire; all the settings are twinkling in the light of the flames. The room is rapidly filling with smoke.\n\nCaptain Miles seems to be nursing one of his migraines.\n\nMiss Idie is sitting on the floor, staring into the blaze of the table.\n\nWould you stop that? There are people watching.\n\n> You examine the smoke\nSmoke is rapidly filling the room, but for now you seem to be able to breathe.\n\nWould you stop that? There are people watching.\n\n> You ask Idie about the fire\nHope looks up at you and begins pulling off one of her legs.\n\n\"I've been informed that I should feel some remorse over my opinions on the Asian race,\" she says. She throws her leg onto the burning table and begins removing one of her arms.\n\n\"If all I have to do is apologize, then I apologize. There.\" She tosses the arm into the flames and gets to work pulling off the other arm.\n\nHer expression changes: she glares at you as if in warning. \"I am being compelled to apologize against my will. None of this is sincere; I'm just acting this out to make him happy.\" She jerks her head backward, toward the narrow door. \"I don't know how he's doing it. They're crafty that way. But why am I going on like this?\"\n\nShe throws her other arm and leg onto the fire glumly. \"There's not much I can do about it now.\"\n\nShe throws the rest of herself onto the fire, and in an instant the heat shrivels her like a plastic bag.\n\nHave you been paying any attention? At all?\n\n> You talk to Miles\nMiles looks at you through his fingers, still rubbing his head. \"Oh, there you are,\" he says.\n\nHis fingers are skeleton bones instead of fingers. \"I'm supposed to say something, so I'll say it to you. The thing I'm supposed to say is, I'm sorry.\"\n\nNow the skin and muscle is gone from his face. \"Not sure what I'm supposed to be sorry about. It's really hot in here, and it's hard to think. Maybe I'm supposed to be sorry about Hope, you know.\"\n\nHis face comes back for a second so he can squint in frustration. \"That's a complicated thing to be sorry for. But the other stuff I did, I don't want to admit to doing. So I'll go with that.\"\n\nHe nods his skull a couple times, then his skeleton falls apart and burns up.\n\nNo. I don't care anymore. Do what you want."
    },
    {
        "text": "[Themes: Surreal, party, music, Don Juan]\n\n> You describe your surroundings\nEverything is on fire. The floor is burning and the walls are burning and the table looks like a big bonfire; all the settings are twinkling in the light of the flames. The room is rapidly filling with smoke.\n\nDo you really need me to tell you this?\n\n> You throw the Thunderbird on the fire\nYou can't even remember if you're still carrying it.\n\nWhat are you trying to tell me? No. Forget it.\n\n> You throw the prevenge on the fire\nYou can't even remember if you're still carrying it.\n\nHave you been paying any attention? At all?\n\n> Inventory\nYou are carrying:\na bottle of Pr\u00c3\u00a9venge\na crowbar\na bottle of Thunderbird\nan ornate key\n\nAnd if it doesn't matter to you, then it doesn't matter at\nall?\n\n> Drink Thunderbird\nYou don't have a corkscrew handy, which is just as well. Just the fumes off of this stuff could be hazardous to your health.\n\nYou do not talk to me that way.\n\n> Sorry\nOh, don't apologise.\n\nNo, you listen to me. I'm tired of this.\n\n> You listen\nYou hear nothing unexpected.\n\nYou wanna let me finish?\n\n> You wait a while\nTime passes.\n\nYou do not talk to me that way.\n\n> Yes\nThat was a rhetorical question.\n\nThis is serious. Do you think I'm kidding?\n\n> Go south\nT (first opening the narrow door)\nThe door is engulfed in flames, impossible to pass.\n\nDo you really need me to tell you this?\n\n> You go west\nThe door to the foyer is blocked. The only way out is east.\n\nI'm done with this.\n\n> Go east\nThe fire has already spread through here; it's climbing up the sides of the pool table and the credenza.\n\nThe elephant foot umbrella stand is here.\n\nAcross from him is Miss O, lounging on the couch as if it were a day bed.\n\nIvan is leaning on a bar stool, apparently standing only with great effort.\n\nYou wanna let me finish?\n\n> You examine the stand\nIt must have walked here by itself; it's too heavy to be carried.\n\nI've had enough of this attitude.\n\n> You talk to Miss O.\nMiss O hobbles over to you as fast as she can.\n\n\"I'm sorry,\" she gasps. \"I'm sorry.\" She reaches to touch your face, but her arm suddenly swings wildly.\n\nIt is made of wood. You can see the veins of the grain working their way up to her head.\n\n\"I think this might be ironic,\" she rasps. But now her head is made of wood, and now she's on fire, and now she is a pile of ashes.\n\nDo you really need me to tell you this?\n\n> You talk to Ivan\nLE TO PASS.\n\nThe doctor wobbles, then topples; he manages to save himself by falling backward on the pool table.\n\n\"I am having an epiphany. Right now I am realizing that I am basically a drug dealer,\" he says. \"Because I never stop hooking these people up with their pills. I mean addicts. They're not people, they're addicts.\"\n\nHis spine falls out of his back, and he flops to the floor.\n\nHis eyes widen: he has had another epiphany. \"That was a terrible thing to say,\" he gurgles. \"I'm sorry.\"\n\nHe tries to curl up in a fetal position against a leg of the table, but the table rears back in disgust and stomps him out like an insect.\n\nI'm done with this.\n\n> You go south\nThe couch and chair are being rapidly consumed by flames; the rug is almost completely gone.\n\nYou can hear people yelling in the foyer to the west.\n\nGarry lies on the coffee table, his eyes closed, his feet hanging off the end awkwardly.\n\nI'm done with this.\n\n> You talk to Garry\n\"I did something bad,\" he mumurs, without opening his eyes. \"I took something that didn't belong to me.\"\n\nHe grimaces. \"I stole from my office. I stole a chair.\"\n\nYou roll your eyes.\n\n\"But I don't deserve a chair. Even the electric chair is too good for me. The statue has come to punish me, and I'll wait here for him to do what he will. After he gets done with John.\" He takes a deep breath.\n\n\"Message repeats. I did something bad. I took something that didn't belong to me.\" Oh, for Pete's sake.\n\nI've had enough of this attitude.\n\n> You examine Garry\nHe's holding your lilies over his chest. He's sweating all over, but there's a smile on his face.\n\nDon't think for a minute you're getting away with anything.\n\n> You wake up\nThe dreadful truth is, this is not a dream.\n\nNo. I don't care anymore. Do what you want.\n\n> Sleep\nYou aren't feeling especially drowsy.\n\nDo you really need me to tell you this?\n\n> Drink crowbar\nThere's nothing suitable to drink here.\n\nDon't think for a minute you're getting away with anything.\n\n> You go west\nYou've almost escaped. The front door is to the south.\n\nJohn is sitting in one of the high-backed chairs. The one next to him is empty.\n\nThe statue is here.\n\nThe wall clock is on the floor, shattered.\n\nThe statue rumbles: ## Repent.\n\nJohn sighs in exasperation. \"I already told you, man. I'm sorry for murdering you. I mean, killing you. In self-defense. It was a wrong place, wrong time kind of thing.\"\n\nRepent. roars the statue, and a wave of heat rolls out of it like a sonic boom.\n\n\"No! I said already! Already I told you this! I cannot apologize for screwing your daughter. I have to be true to myself, man.\"\n\nBut you must-- the statue attempts, but John is on a roll.\n\n\"And what myself is, is, a lover. Of ladies. You can't take that away from me. And I can't apologize for that. I mean, I can, but I'm not gonna.\"\n\nThe statue creaks. It turns toward you.\n\n> You hit John\nYou.\n\nIt points at the chair next to John. ## It is your turn. Sit. Join your master.\n\n\"Oh, hey!\" Now John notices you. \"Look, this guy wants us to apologize for all the terrible stuff we did. I don't know if it's a religious thing, or if he's just angsty about being dead, or what. Either way, we're gonna burn to death, so...\"\n\nSit, insists the statue.\n\nYou're not listening. You're not listening.\n\n> You talk to John\n\"Nothing right now, thanks,\" John says, keeping his eyes on Miss O. \"Remember, though, about the guest of honor, on the host's right.\"\n\nSit, and repent. The statue seems to want to throw you bodily into\nthe chair.\n\n\"Come on!\" cries John. \"Let's get this over with!\"\n\nHave you been paying any attention? At all?\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on the chair\nYou sit down next to John. The statue looks at you. The flames rise.\n\nJohn leans back and smiles: his body turns into a pile of ashes. Then yours does too; then the chairs, and then the rest of the house. Everything is gone, except the statue.\n\n> You go south\nYou must name something more substantial.\n\nThe statue and John both regard you expectantly. The fire is spreading.\n\nNo. We're not finished.\n\n> Exit\nBut you aren't in anything at the moment.\n\nThe statue and John both regard you expectantly. The fire is spreading.\n\nThis is serious. Do you think I'm kidding?\n\n> You look at the front door\nThe statue and John both regard you expectantly. The fire is spreading.\n\nI'm done with this.\n\nThe door isn't on fire, yet; outside is the lawn, and safety.\n\nThe statue and John both regard you expectantly. The fire is spreading.\n\nThis is serious. Do you think I'm kidding?\n\n> You open front door\nAs you open the door, cool night air rushes in from outside. If John or the statue reacts, you don't know; they are behind you.\n\nThe statue and John both regard you expectantly. The fire is spreading.\n\nYou're not listening. You're not listening.\n\n> Go south\nLawn\nYou run out across the lawn: you fall on your face in the grass before you reach the street.\n\nBut you're safe. It's dark out here, and cold, and the guests and John and the statue are all behind you. You lie in the grass and breathe in huge gulps as the screaming fire engine sirens fill the air."
    },
    {
        "text": "[Themes: female protagonist, slice of life]\n\nThis piece contains language and other mature themes.\n\nDo you wish to continue (Y / N)?\n\n[Author's Note: Synpiece: A wearable technology that changes the wearer's mood. Users of the Synpiece can adjust the 'color' of their experience, which adjusts psychological traits mapped to hue (emotion), saturation (intensity) and value (complexity). The Synpiece can be used by brands to increase users' engagement. In your email client, this is saved as a draft. There's some more text at the bottom. You don't remember typing it: \"become hypersaturated.\"]"
    },
    {
        "text": "[Themes: slice of life, female protagonist]\n\n> Y.\nPlease choose one of the following options:\n\nAbout (recommended for first-timers) : A\nStart : (SPACE)\nQuit : Q\n\n> You keep going\ndown. - Stina Nordenstam, \"Memories of a Colour\"It was still\nmonths before we'd tell each other our stories. And even then some seemed too small to bother with. So why do they come back to me now? Now, when I'm so weary of all of it. - Jenny Offill, Dept. of Speculation\n\n> Continue\nA story, eventually; by Katherine Morayati\n\nStudio 4D, 7:00 pm\n\nAn afterimage is a visual left lingering before your eyes, after\nyou've focused on one thing too long; burnt-out retinae, producing bullshit. If you've seen red you produce un-red; blue, un-blue;\ngreen, un-green. An involuntary strike. The state is not permanent, until it is.\n\nYour primary project at Synfac was developing wearables. But your\nlast project was sentiment analysis. Intern work. Your job\nwas to mine influential tweeters, popular song, emails and letters and texts acquired for you by means you'd rather not consider, for the\noily stuff of emotion. This was supposed to focus you. Instead you're now a broke computer, made of errors: tweet fragments, disheveled paragraphs, bastardized sentiment. You have no sentences, just quips; no thoughts, only responses. Here is one:\n\nLaid off from the synesthesia factory. Branded a fool. What will\nthey say, Monday at --\n\nYou have gotten no further. There is no rhyme to what you do now. And at any rate, your concern is not Monday at whenever the hell. Your concern is tonight at 8 PM.\n\n* * *\n\nSynfac originally hired you as a copywriter, then promoted you to amorphous creative, then gradually demoted you once they detected a lack of actual creating. This was not in the plan; you took the job a year ago knowing headquarters were far from any robust job market. It was less a move than a trust fall.\n\nTo compensate, Synfac put you up in a company apartment and paid the first month's rent. Nothing extravagant, of course: a studio, slightly under market rate but of course not free; a bit over-sparsely furnished, as if they'd rented the unit expecting a bachelor; full to distraction with Synfac technology, to remind you that the space was meant for after-hours research. Even the unit number was deliberate,\nas explained to you on day one: Studio 4D, the fourth dimension. Which is time, of which you now have an abundance.\n\nYou've got to admire how legit it all was: standard real estate company, standard contract and standard lease, and this year's lease doesn't end until December. Optimism: You get to stay here even after your layoff. Pessimism: You must.\n\nWithout your Synpiece with you, the room is blank and chilly, less modern design than empty ice tray. Everything is some form of inert gray: dormant green-screen wall paneling, dresser practically frozen shut, desk a little more cluttered these days but as desks go still austere. Only your saturator pole seems obviously amiss.\n\n* * *\n\n> You check your inventory\nYou're wearing a ratty cotton dress. A lifetime of possessions has left you with this.\n\n* * *\n\n> Dress\nYou've worn this ratty dress since Friday night: a billowing tarpish thing, colors dulled, holes in the hem. Dress as metaphor. Fortunately for you, this metaphor is easily revised.\n\n* * *\n\n> Revise\nYour first thought: to check your computer. This is in fact your default thought; give it five years and it'll have your cortex and\nalso your amygdala. \"Thought\" is the wrong word. What it is: now your core creature drive. Ancient drives: hunger, exhaustion, libido. And their modern replacements: refreshing, unplugging, FOMO.\n\n> Refresh\nYour next thought: How you have managed such disarray in a week's\nspan. You feel as if you have been dropped into a spot-the-difference picture, the kind from a children's whodunnit book, where you are expected to solve the mystery of how you murdered your life.\n\n> You unplug\nWhat do you want to unplug?\n\n> You examine the dresser\nYou consider changing your outfit. You were never extravagant with fashion. The idea of a uniform appeals: wearable anonymity, no skin, signals or stories. But none of that is accepted in women, not even in tech, not even the temperamentally private. And you have been told you have more of a story to tell. And anyway, even a uniform would take up space. So now you have a dresser full of clothes reserved for special occasions, which you suppose tonight is.\n\n> You open the dresser\nYou open your dresser and clothes drool out. This is a new pattern: carefully stacked and folded clothes on the bottom, tossed and crammed clothes on top. Like tree rings for your employment.\n\n> You take the clothes\nEvery outfit betrays you in some way. Now you wear: A simple cotton dress, dully, subtly polka-dotted. Appropriate age: late thirties, or forties, or at least fully grown up.\n\n> You look\nYour apartment, in theory: A neutral base to practice and study this business of feelings with no interference; decor would be a stain,\nlife a confounding variable. This translates in design to\n\"minimalism,\" which is appealing enough. But your apartment, in practice: The usual ecru hamster-box with every serviceable white, frosty or clear item of furniture you or Brian found within a fifty-mile radius. The bed was from a prefab catalog; the desk was forgotten in the corner of a Methodist thrift store; the kitchen is like all kitchens are; the shelves, you are certain, were literally cubicles once.\n\n* * *\n\n> Shelves\nThe bookshelves, as described: An aspirational perk, the mark of creatives, suitable for picturesque libraries arranged in rainbow colors. Bookshelves, as supplied: Gray plastic overstock from the office, suitable for cubicles and other modular stacking. Upshot:\nUnder palatial office sun or a Synpiece lens, they shine. Pessimism:\nIn any other circumstances they suck away vibes. And here you have no Synpiece, no office, and no good vibes. A while back you arranged some books and knickknacks and old photos about the shelves. Only the\nphotos help, and only to a point.\n\n> Examine books\nAfter taking the Synfac job you bought every design, programming and theory tome you'd ever seen namedropped in a blog post or heard in a colleague's half mention. You'd built up quite the impressive library, even arranged it all by color (if anyone earned the right, you did). What you didn't do: ever read them.\n\n> You examine photo\nWhich do you mean, the office photo, the cuddling photo, the third photo or the photos?\n\n> You examine the office photo\nYou remember this. You took it the first day on the job, about a month into dating, which naturally bound job and relationship into one unit, a synchronized squad cheering on your self-improvement. It seems a lot more unfortunate in retrospect.\n\n> You examine the cuddling\nYou'd driven into the city to visit him at the park, which seemed a little silly given the surfeit of parklike stuff in your own neighborhood, but it turned out rather nice. Off camera, you remember, there were babies. You recall thinking it was too early on to safely coo over babies in his presence, but nothing felt wrong.\n\n> Third photo\nThis photo was early on, obviously. At Lurie Lake near the old power plant. Some abandoned building at some late hour, lit by artificial\nred flash. From a car, maybe. Or strobes off a far-off arena. Nothing you could have planned. You are in purple and besotten.\n\n> Y.\ncheapglulxe quit with exit status: 0\n\nThis piece contains coarse language and mature themes.\n\nDo you wish to continue (Y / N)?\n\n> Y.\nPlease choose one of the following options:\n\nAbout (recommended for first-timers) : A\nStart : (SPACE)\nQuit : Q\nI'm searching for a colour, don't think it's got a name. It's\nsomething between pink and brown -- just like when the sun sets, sometimes when it rains, like it's the first time you see it go\ndown. - Stina Nordenstam, \"Memories of a Colour\"\ndown. - Stina Nordenstam, \"Memories of a Colour\"To become\nfluent, natural, to cut out the detour that sweeps us around what's fundamental to events, preventing us from touching their core: the detour that makes us all second-hand and second-rate. - Tom\nMccarthy, Remainder\nMccarthy, RemainderIt was still months before we'd tell\neach other our stories. And even then some seemed too small to bother with. So why do they come back to me now? Now, when I'm so weary of\nall of it. - Jenny Offill, Dept. of Speculation\nLaid Off from the Synesthesia Factory\nA story, eventually; by Katherine Morayati\n\nStudio 4D, 7:00 pm\n\nAn afterimage is a visual left lingering before your eyes, after\nyou've focused on one thing too long; burnt-out retinae, producing bullshit. If you've seen red you produce un-red; blue, un-blue;\ngreen, un-green. An involuntary strike. The state is not permanent, until it is.\n\nYour primary project at Synfac was developing wearables. But your\nlast project was sentiment analysis. Intern work. Your job\nwas to mine influential tweeters, popular song, emails and letters and texts acquired for you by means you'd rather not consider, for the\noily stuff of emotion. This was supposed to focus you. Instead you're now a broke computer, made of errors: tweet fragments, disheveled paragraphs, bastardized sentiment. You have no sentences, just quips; no thoughts, only responses. Here is one:\n\nLaid off from the synesthesia factory. Branded a fool. What will\nthey say, Monday at --\n\nYou have gotten no further. There is no rhyme to what you do now. And at any rate, your concern is not Monday at whenever the hell. Your concern is tonight at 8 PM.\n\n* * *\n\nSynfac originally hired you as a copywriter, then promoted you to amorphous creative, then gradually demoted you once they detected a lack of actual creating. This was not in the plan; you took the job a year ago knowing headquarters were far from any robust job market. It was less a move than a trust fall.\n\nTo compensate, Synfac put you up in a company apartment and paid the first month's rent. Nothing extravagant, of course: a studio, slightly under market rate but of course not free; a bit over-sparsely furnished, as if they'd rented the unit expecting a bachelor; full to distraction with Synfac technology, to remind you that the space was meant for after-hours research. Even the unit number was deliberate,\nas explained to you on day one: Studio 4D, the fourth dimension. Which is time, of which you now have an abundance.\n\nYou've got to admire how legit it all was: standard real estate company, standard contract and standard lease, and this year's lease doesn't end until December. Optimism: You get to stay here even after your layoff. Pessimism: You must.\n\nWithout your Synpiece with you, the room is blank and chilly, less modern design than empty ice tray. Everything is some form of inert gray: dormant green-screen wall paneling, dresser practically frozen shut, desk a little more cluttered these days but as desks go still austere. Only your saturator pole seems obviously amiss.\n\n* * *\n\n> Panelling\nYour first thought: to check your computer. This is in fact your default thought; give it five years and it'll have your cortex and\nalso your amygdala. \"Thought\" is the wrong word. Something closer: anymore, your core creature drive.\n\nThe original creature drives: hunger, exhaustion, libido. And their modern replacements: refreshing, unplugging, FOMO.\n\n> Desk\nRudimentary method of painting a fresco: Find a blank surface, preferably white. Apply paint on top; let it turn to sediment. Apply more paint on top of the hardened old paint. Repeat until you have produced a thick pile of texture and art. Now, subtract all the art. What remains is what has happened to your desk in the days since it happened.\n\nYour computer sits idle. Your severance papers are where you left\nthem. So is your old keycard. And check stubs and seltzer cans, clutter on and all around it.\n\n> You examine papers\nYou have looked at your severance agreement exactly twice. It is printed on chipper iridescent letterhead with a color-wheel stamp, and it tells you in lawyerspeak to go fuck yourself. Also: They'll give\nyou four weeks' severance, if you never admit to it. And: You may not say what they did to you. You've broken this clause with your mother and therapist already. By tonight you'll break it with Brian (or worse). Perhaps you're breaking it now in your head.\n\n> Brian\nWhat Brian is: A man you used to know. Deflatingly human when you're with him, horribly beguiling when you're not. It wasn't enough for him to finagle his way into every memory of every item in your home; you can't stop documenting everything about him on top of that -- all your old emails, all your texts, the whole corpus of it.\n\nWhat Brian also is: a person you dumped in a rambling email and then tentatively un-dumped in another, in less than a 24-hour span. While you're being honest..\n\n> Email\nWhat do you want to email?\n\n> Clothes\nEvery outfit betrays you in some way. Now you wear: Black-and-white work skirt, black shell. Unremarkably put-together. You'd wear it on a job interview if you had one.\n\n> Walls\ndetect that color best. Your apartment is not green because humans\nalso detect the color, quite emphatically, usually when trying to sleep. But \"green screen\" is the best term anyone came up with for\nwhat your apartment has got: panels -- floor-to-ceiling each, so no room for other decorations -- that display images that change the feel of a room. The idea was from f.lux, the endgame probably to show or at least enhance ads, and the technology from Disney cruise ships. Presumably the makers did not visit CruiseCritic.com, which you did\nand found tourists complaining about the glitches jerking and fritzing their way down the promenade of their \"virtual balconies.\"\n\nThese, too, are currently glitchy; they're supposed to work in tandem with the Synpiece and saturator, but never quite pick up either's signal, like a radio skipping stations. Even when they work they just sort of change the room's paint job.\n\nA disconcerting feeling while alone: realizing you are surrounded by screens.\n\n> Saturator\nThe existence of such a thing called a \"saturator pole\" is of course a blunder. One of the code-dwellers uttered the words \"responsive\ndesign\" in range of someone whose earshot was triply unfortunate: someone wonky enough to pay attention to programmers, pretentious enough to wonk over monochrome design publications, and executive enough to wrench his pretentions into an official pivot. Thus rose, like a techy Tower of Babel, the Saturator, which (the pitch goes) detects your emotional undercurrent -- your presence, basically -- and infuses the room with simpatico ambience and portent, like an air freshener for mood. (The original tagline said \"incense for mood,\" but marketing thought that sounded too hippie, someone higher-up and unbuttoned asked whether there was a type of incense not for\nmood, and thence went the afternoon.)\n\nIt took another month of meetings to persuade legal to have one installed in your apartment, a month you regretted once the prototype came in: a Super Mario-esque monstrosity that protruded horizontally over the bed and across the room, like a fluorescent light if those were large and killed you if you woke up wrong. You bitched, others bitched, and from the bitching came the current model: a vertical pole where a heating pipe would be, slender, slightly gnarled and ending in a broad starburst two feet from the ceiling. It pulses with a deep unidentifiable color; in about a three-centimeter radius surrounding the pole are cilia of iridescent light. You think it resembles a maypole. Everyone else who's ever been in your place thinks stripper pole. At one point that was funny.\n\n> You examine Saturator\nMarketing never settled on one metaphor for the saturator pole. Guy\nwho spent half of the workday moonlighting for his progressive rock band: \"It's like an amplifier. Except it amplifies you!\"\nWoman you are uncertain has left her teens yet: \"Like an Instagram filter, except, like, permanent?\" Guy about town: \"Like catching feelings. Ugh.\" Suit from some mysterious corner office: \"It could collect user data if it's on long enough.\"\n\n> Experience feels\nYou consider PR. The problem: to succeed in doing PR for others you must first prove you've succeeded in doing PR for yourself. You must turn all the glop that is you into a tantalizing direct-to-consumer product, call it Aspirational You. Aspirational You is something special. Aspirational You does not evaporate or sweat under heat; she solidifies, like a cake. If she were knifed the blade would come out clean.\n\n> You email brian\nFor a few months your job was to distill all the history of color psychology into meeting length. Most color psychology is not really psychology, but Synfac's competitors, at least in their outward-facing materials, seem to work with the rigorous material of \"vibes\" and \"moods,\" so your layperson's stab was fine.\n\nOne system: the Luscher Color Test, in vogue a few decades ago but now usurped by the MMPI and Big Five. The Synpiece's underlying color\nmodel is only slightly altered from it: orange for force, blue a sort of pristine placidity, purple surrender.\n\nor bastardized by a proto-Buzzfeed quiz site. Bunk, obviously, but\nalso sideways genius. Its makers found something unexploited: the\nForer effect for those prone to self-loathing, i.e. half the Internet.\n\nWhat you are, uncharitably: \"Looking to stand out in the crowd and wanting to keep her rank and status. Her current situation is irritating her because she can't seem to find anybody out there who values the same high standards she does. She is feeling isolated and wants to give in to her carnal urges, but can't bring herself to\nappear weak in the eyes of others.\"\n\n> Email\nWhat do you want to email?\n\n> Message\nEvery phobia has two parts. There is the phobia itself. Then there is the meta-phobia: the fear that no one takes your fear seriously.\n\nOne known phobia: scopophobia, the fear of being watched. According to psychiatric journal The Alienist and Neurologist, published\nin 1906, scopophobia is most common in women. This is not elaborated further.\n\nYou are at your computer. The top Google results for scopophobia and women: 1. Wikipedia. 2. An online store of graphic tees for women: devils, evil eyes, glitterfied fear slogans, figures dripping with viscera. All form-fitting, naturally. 3. Something from something called the Creepypasta Wiki: \"Do they see a monster wrapped delicately within glittering wrapping paper? Do they see malice hidden within me or do they see an ingenue?\" There are comments on this. They gave this scopophobia an 8 out of 10.\n\n> You look at the walls\nYou and Brian had a joke that next April Fool's Day you were going to break into whoever at the Synpiece office manages this stuff and show hapless users just whatever the fuck. \"Maybe those screamer videos,\" Brian said when he first got the idea. \"Or stop-motion! You know, like the super-slow kind that only moves when you're not looking?\" He could go on for hours like this, kitten-quick, drawing in energy from something vital and wonderful that has nothing to do with you.\n\n> Esk\nEverything here is contaminated by memories. Like when Brian set all the wall panels to a stop-motion sequence of photos of the two of you. Or the time he stopped by when you were calibrating the saturator\npole. (\"Calibrating the saturator pole\" sounds like a bad joke. You know this because he made it.) You'd hoped to climb it, but that failed. So you'd stood tippy-toes on a footstool he bought weeks ago, monitoring every gradual shade of mood; he'd distract you the whole time, blowing up clouds of dust, performing little fireman flourishes by the base, pretending to spot you then grabbing you by the waist pretending to be King Kong.\n\nThe goal was to make you smile for once. Or so he said. You don't remember whether you did. What you remember: the air was tinged yellow-gray.\n\n> Desk\nEven the slighest glance at your computer compels you to check it.\n\n> Computer\nOptimism: You never much used the laptop they gave you, meaning you\nare now merely underemployable, not underemployable and computerless. Pessimism: Which means you did all your work on your own machine,\nwhich means now your work space has permanently squatted upon your\nhome space. Like a snake still in its shouldabeenshed skin. It isn't even a good or fast computer anymore. If you were a snake you'd be the overgrown eldritch kind.\n\nYou have only two windows somehow: browser, email client. It would be admirable organization, were your screen not covered in sticky notes.\n\n> Notes\nMouldy headline from a productivity bloglet: to-do lists are out, clogging your computer screen in obtrusive to-do stickies is in. What the headline did not say: humans are resourceful and can learn to kind of stick them down the sides.\n\nThere are four, jaggedly written. Manila notes down the left side: CHECK EMAIL FROM COLORBUZZ; FILE YOUR DAMN SEVERANCE PAPERS ALREADY\nYOU CRETIN. Rouge notes down the right: GUESS WHAT ROSLYN YOU'VE\nSTOLEN A SYNPIECE!!; BRIAN, LURIE LAKE, 8 PM. ?\n\n> Lurie lake\nThere is a photo of you and Brian at Lurie Lake, by the power plant when dusk turns the sky auburn, where you look all right. You look\nlike an object of love. And you never figured out how you did it.\n\nSomehow it is 7:20. If you don't leave now, you never will. There is\nno plan that cannot be expedited by agonizing over it.\n\nYou get in your car and drive into the dark.\n\n* * * * *\n* * * * *\n\n> Keep going\nLurie Lake is five minutes outside the city, which translates to\ntwenty minutes from your apartment, or ten the way you are driving.\nYou are reasonably sure this is where you are still heading.\n\n* * *\n\nYour car is a mess, but you still notice it immediately: your\nSynpiece, on the floor by the backseat, right where you left it.\n\nYou had to put that thing somewhere hard to reach; to the dismay of your coworkers with road rage, driving while augmented is not recommended. Everyone with a prototype got a huge warning saying so. Reason one: Driving with a Synpiece, depending on its calibration, falls somewhere between driving to a particularly nocturnal soundtrack and driving while high. Reason two: It does things to you. If you're commuting you'll wish you weren't. If you're driving past an\nex-lover's house you'll perhaps drive toward it. If you're driving in\na subdivision it'll seem impossibly hushed, the particular intimacy of suburban stillness; every house will suggest things that happen behind its closed doors.\n\nFunny how you still believe that warning.\n* * *\n\n* * *\n\n> Wear Synpiece\n(first taking the Synpiece)\nYou slip the Synpiece into your left eye. It doesn't behave like a contact lens exactly. Not hard enough. Presumably safer. You have sussed out the precise feeling: it feels like a pat of butter to the cornea. In the sense that it is cold, you mean. But also in the sense that it melts.\n\nUndocumented steps to get this thing to actually work: 1. Caress the eyelids to gently nudge the Synpiece into position. (1.5. Pull over, are you thinking?.) 2. Cup your eye sockets in your fingers,\nlike you're in a horror movie and will shortly produce their contents. 3. Close your eyes tight. 4. Meditate, or breathe controlledly, or if it's you think upon your unsuitability to do either. Just at any rate pause. This sort of breathing produces a tremor, which is normal. 5. Imagine you will open your eyes and the world has changed. You need\nnot imagine your actual surroundings. In fact, it's better if you don't. Imagine an executioner's blade at your neck. Or autumn's first windowful of snow. The point is not what to expect; the point is\nto expect. 6. Open."
    },
    {
        "text": "[Themes: slice of life]\n\n> You look around\n* * *\n* * *Now I am night driving. Now I tilt my head back and fill myself with breeze. Now there is something like a sunset. Now the radio darkens its key. Now the road arches its lanes in front of me; and now the road curls its lanes behind me.\n\nI can't see the Synpiece while it's on. He told me I'd go cross-eyed wearing it. It's more that everything looks closer than I know it is.\n\n> You drive\nNow the moon in the sky dips down into my car with every ripple in the road.\n\n> Brian\nWhat Brian is: not the sum of his traits. Five-foot-six, thatch of hair, perpetually bemused expression, limbs goofy like a scarecrowThat's all.\n\n> Yourself\nAt this hour through headlights, the trees on the highway look like they're a movie scene. I know the kind: damp fetid cedar, rainymood lighting, lovers thrust forward into tree trunks and downward into needles.\n\n> You drive\nGlimpse of a sign: Exit 49, turn right. Lurie Lake is Exit 51. Not\nlong to go.\n\nI hear somebody else's radio through my own car. They seem to be listening to how strobe lights sound.\n\n> You listen\nThe way I'm driving, the car sounds about to fall apart.\n\n> You continue\nNow I am tailing their car like a wolf. Now their music is louder and someone is howling in it. I imagine an entire pursuit narrative in their head. And I imagine their head must be nice to get into.\n\n> Continue\nThere are seven ways to turn into the city. What a sad person I would be to take advantage of any of them.\n\n> Lake\nNow the buildings are growing tall and thrusting against the horizon; now the traffic swells to meet it; now I feel perfectly small.\n\n> Continue\nNow I am clear to the shore of the lake. Everything is jagged like lightning or a fence. And I am alone.\n\nI exit my car like a queen enters her chambers. Then I approach the station like a supplicant approaches her liege: tiny, wrapped in\nautumn space. Now I'm walking slow; now I'm walking fast.\n\nThe lake shore is steps away from me to the north; perhaps I'll have company there.\n* * *\n\n* * *\n\nThere was an explosion at the plant a few years back: no casualties, just smoke and burnt-fire sky. It is a terrible thing but right now it seems like it would enhance the mood.\n\n> Go north\nI approach the lake, suddenly noting every footstep and breath.\n\nI'm at the lake now; with each step the fence tears something new in the sky. Now I'm looking out on the water like there's a ship waiting for me. Now I'm sitting on a park bench looking up at the latticework of leaves above me. The only time I pay attention to those is while being unsatisfactorily kissed. It's better this way: as prelude, not distraction.\n* * *\n\n* * *\n\n> Lake\nThe water is murky with possibility.\n\n> Swim\nThere are no railings here. Go any further and I'd plunge into the lake. A thought.\n\n> You think\nI am thinking of Brian's folk-music phase. Specifically, of this:\n\"Made my steps towards the water where Undine last was seen, I was\ntold that if you saw her, it should make you more naive...\"\n\n* * *\n\nBrian approaches with his familiar half-darting half-bouncing gait. I've made myself hidden, I don't know why.\n\nI emerge and walk up to Brian, wordlessly. I can't think of anything\nto say, and besides, the air feels reactive against me like I'm\nsearing it, and I don't want to ruin that.\n\n\"Are you OK?\" he asks. \"Your email was a little... concerning.\" He pauses. \"Roslyn, what is this?\"\n\n> You talk\n(to Brian)\nI try to form what I'm thinking into words. It takes longer than it should.\n\n\"I'm good. I'm better, actually. Look.\" I throw my head back and brush a wisp from my eye, a combination ta-da and flirt.\n\n\"What's wrong with your eye?\"\n\n\"It's the Synpiece,\" I say. \"I'm wearing it right now.\"\n\n\"Is that it?\" He waves his hand in front of my eyes, like he's swiping a phone; he looks less impressed than he should. \"Huh.\" I think I'm supposed to think he's angry. What I do is take his hand. It feels\nlike it's made of tremors and unfulfilled --\n\n\"Roslyn, you're shaking.\"\n\nI laugh harder than I meant to. \"I guess you could call this thing a drug.\" Now he's drifting. \"This doesn't make any sense.\" \"I just want to try.\"\n\n> You talk\n(to Brian)\nThe lake looks straight out of a ballad, the kind where heroines are fucked or passionately murdered.\n\n\"This isn't going to fix everything. It's a glorified piece of\nplastic. You said so yourself,\" Brian says. \"What exactly do you expect?\" In response I pull him close and kiss him like I'm arranging\na movie set. I guide and choreograph his hands to where they need to go, move him by the hair and press him against the bench. The sky is burnt orange and the air is chills. I try not to think about anything else.\n\n> You think\nelse.I pull away and try to gauge Brian's expression. It is something between curious, upset and dazed, and I can't place it. \"Are you\nokay?\" In response he pulls me into a hug. This is all he does for\nfive minutes, and all he does for the rest of the night. Somehow I\nfind this pleasant. Specifically, as pleasant as a compromise."
    },
    {
        "text": "[Themes: Urban Fantasy, liminal spaces]\n\nAll around the city now, parties are taking place. It's been a hell of a year, emphasis on hell.\n\nBut tonight, there are other things you have to do. The end of the year is a threshold. And like all thresholds...\n\n\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty), a desk (on which are a handkerchief, a tallow candle, the keener fragment, a goathorn piece, a shred of fabric, a broken propeller, a pint glass, and a trapped butterfly), and a chair here.\n\n(If you would like explicit guidance on how to play, type INSTRUCTIONS)\n\n[Author's Note: All around the city now, parties are taking place. It's been a hell of a year, emphasis on hell. But tonight, there are other things you have to do. The end of the year is a threshold. And like all thresholds, not all things make it across.]\n\n> About yourself\nGetting old, to be quite honest.\n\n> You examine the wastebasket\nIt's an ordinary wastebasket, a cylinder of black aluminum. But wrapped around it is a complex pattern in silver thread that makes your eyes defocus if you try to follow it.\n\nWhen midnight strikes, everything inside it will be destroyed. Even the magical things that are ordinarily hard to dispose of. Especially the magical things.\n\nAleph          Before midnight               0/6\n\nAll around the city now, parties are taking place. It's been a hell of a year, emphasis on hell.\n\nBut tonight, there are other things you have to do. The end of the\nyear is a threshold. And like all thresholds...\n\n\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a handkerchief, a tallow candle, the keener fragment, a goathorn piece, a shred of fabric, a broken propeller, a pint glass, and a trapped butterfly), and a chair here.\n\n(If you would like explicit guidance on how to play, type\nINSTRUCTIONS)\n\n> Examine box\nJust a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit.\n\nFor packing in the things you want to keep.\n\n> You examine the desk\nA cheap writing desk out of a flatpack. There's not even drawers.\n\nOn the desk are a handkerchief, a tallow candle, the keener fragment,\na goathorn piece, a shred of fabric, a broken propeller, a pint glass, and a trapped butterfly.\n\n> You examine the wormwood\n(That thing is either not here, or you don't need to refer it over\nthe course of the story.)\n\n> You examine the chair\nYou salvaged this one out of a bistro that was about to close.\n\n> You get the chair\nThat's fixed in place.\n\n> You sit\nWhat do you want to sit on?\n\n> Chair\nYou get onto the chair.\n\n> You look at the handkerchief\nAn ordinary grey pocket square. You keep it on hand; it's useful for handling things you'd rather not touch with bare skin.\n\n> You examine the candle\nMade from tallow, with the dried optical nerve of a cow serving as the wick. It burns unevently with a purple-white flame; it does not smell great. The candle connects sight to memory and allows things to carry echoes of their history.\n\n> You examine fragment\nIt has no discernible physical shape. It's just a sullen, faded lump\nof hatred, held together by its own surface tension, still radiating horror.\n\n(You can TOUCH most things to learn more about them.)\n\n> You look at piece\nA memento from twenty-odd years ago. Gods, it's been that\nlong. Its divine power is certainly faded, but you still hold on\nto it for good luck. And, in all honesty, because gods have a bad\nhabit of being reborn from their pieces.\n\n> You touch the candle\nYou don't want to disturb it while it's burning. For all you know, touching it might bring on a vision of the cow being slaughtered.\n\n> You examine the fabric\nA torn shred of thick synthetic material that someone carefully scored into a pattern that resembles feathers, or maybe scales.\n\n> You examine the propeller\ncomposite; taken from the remains of a destroyed police drone.\n\n> You touch the fabric\n(first taking the shred of fabric)\n(first taking the handkerchief)\nYou gingerly take the shred of fabric with the handkerchief.\n\nYou grab hold of the shred of fabric with your bare hand, and your vision swims for a lingering instant...\n\nVision: Rooftop, Sweltering\nJust after sunset, several stories up, still radiating the heat of the day. A streak of blood runs across the edge of the building.\n\n> You examine the blood\nA curved, triangular splatter. Not a gunshot; a fist. But produced\nwith abnormal force.\n\n> You examine the building\n(That thing is either not here, or you don't need to refer it over\nthe course of the story.)\n\n> You look at what you're carrying with you\nYou are carrying:\na shred of fabric (held with your bare hand)\na handkerchief\n\n(Once you are done here, you can LET GO to return.)\n\n> Down\nYou are in a phantom of the past, a congealed instant; you can only sense the world around you, or let go of a shred of fabric to escape.\n\n> Smell\nGarbage baking in the sun all the way down in street-level; the ozone promise of rain in the air.\n\n> Taste\nWhat do you want to taste?\n\n> You let go\nYou let go of the shred of fabric, and the vision fades around you.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a shred of fabric, a tallow candle, the keener fragment, a goathorn piece, a broken propeller, a pint glass, and a trapped butterfly), and a chair here.\n\n> You examine the glass\nWhich do you mean, the pint glass or the trapped butterfly?\n\n> Pint\nA pint glass, the conical kind with a flared bulge towards the top. Faded lettering on the side spells out \"Herrig's.\"\n\n> You look at butterfly\nA viceroy butterfly, perpetually flying laps inside a glass torus. Breaking it out of its little time loop would have vast and far-reaching consequences, just like doing literally anything else.\nBut figuring out what those consequences are for a given time and\nplace is a daunting task of divination.\n\n> You touch the butterfly\n(first taking the trapped butterfly)\nYou gingerly take the trapped butterfly with the handkerchief.\n\nYou grab hold of the trapped butterfly with your bare hand, and your vision swims for a lingering instant...\n\nVision: Shop, Cramped\nThe back door is still swinging where the shopkeeper went in to fetch something; the front door is caught closing as a customer walks away. The item in your hand remembers, particularly, this tiny instant of quiet between two doors slamming after an unwelcome visit, before everything went to hell.\n\nAll around you, the shelves are filled with a panoply of bizarre artifacts.\n\n> You look at the door\n(That thing is either not here, or you don't need to refer it over\nthe course of the story.)\n\n> You look at the artifacts\nYour eyes roam over the shelf space, eventually settling on an empty aquarium.\n\n> You look at the aquarium\nRecently cleaned.\n\n> You look at the artifacts\nYour eyes roam over the shelf space, eventually settling on a caged crow.\n\n> You examine the crow\nAsleeep in a brass cage.\n\n> You examine the artifacts\nYour eyes roam over the shelf space, eventually settling on an empty bell jar.\n\n> You examine the bell jar\nMarked as sold.\n\n> You look at the artifacts\nYour eyes roam over the shelf space, eventually settling on a Great\nWar gas mask.\n\n> You look at gas mask\nMint condition.\n\n> You look at the artifacts\nYour eyes roam over the shelf space, eventually settling on a coal carving.\n\n> You examine the carving\nThe size of a human head and the shape of an inhuman head.\n\n> You examine the artifacts\nYour eyes roam over the shelf space, eventually settling on a bottle\nof faerie wine.\n\n> You look at the faerie wine\nCuriously small and very, very old.\n\n> You examine the artifacts\nYour eyes roam over the shelf space, eventually settling on a collection of hands of glory.\n\n> You look at the hands of the glory\nMummified and dipped in wax.\n\n> You look at the artifacts\nYour eyes roam over the shelf space, eventually settling on a caged crow.\n\n> You get the hands\nYou are in a phantom of the past, a congealed instant; you can only sense the world around you, or let go of a trapped butterfly to\nescape.\n\n> You let go\nYou let go of the trapped butterfly, and the vision fades around you.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a trapped butterfly, a shred of fabric, a tallow candle, the keener fragment, a goathorn piece, a broken propeller, and a pint glass), and a chair here."
    },
    {
        "text": "[Themes: Urban Fantasy, liminal spaces]\n\n> Look around\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a trapped butterfly, a shred of fabric, a tallow candle, the keener fragment, a goathorn piece, a broken propeller, and a pint glass), and a chair here.\n\n> You examine the keener\nIt has no discernible physical shape. It's just a sullen, faded lump\nof hatred, held together by its own surface tension, still radiating horror.\n\n> You touch the propeller\n(first taking the broken propeller)\nYou gingerly take the broken propeller with the handkerchief.\n\nYou grab hold of the broken propeller with your bare hand, and your vision swims for a lingering instant...\n\nVision: Warehouse, Exploding\nA mess of fire and debris, stopped mid-detonation.\n\n> Smell\nNot like black powder, not like cordite. Acrid and sharp like some\nkind of high explosive.\n\n> You examine the fire\nHigh-speed chunks of aluminum and composite polymers, turned into expensive shrapnel; the remains of police drones, and maybe a fragment or two of the bomb that set them off.\n\n> You touch the fire\nYou are in a phantom of the past, a congealed instant; you can only sense the world around you, or let go of a broken propeller to escape.\n\n> You examine the propeller\ncomposite; taken from the remains of a destroyed police drone.\n\n> You let go\nYou let go of the broken propeller, and the vision fades around you.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a broken propeller, a trapped butterfly, a shred of fabric, a tallow candle, the keener fragment, a goathorn piece, and a pint glass), and a chair here.\n\n> You touch the glass\nWhich do you mean, the trapped butterfly or the pint glass?\n\n> You touch the pint\n(first taking the pint glass)\nYou gingerly take the pint glass with the handkerchief.\n\nYou grab hold of the pint glass with your bare hand, and your vision swims for a lingering instant...\n\nVision: Bar, Silent\nRain on the windows turns the world outside into a yellowy haze; upturned chairs rest on wooden tables.\n\nAnd over the counter, a note changes hands between a bartender and a patron.\n\n> You examine the note\nA napkin with an address scrawled on. It corresponds to a peculiar\nshop downtown.\n\n> You examine bartender\nRough, tall, bulky; like everything in his bar he looks like he's made out of hardwood and old magic.\n\n> You examine the patron\nAverage in build but oddly sharp-eyed; you notice her undercut, though most of her is fuzzy. Whatever magic she's been tampering with has given her so much of an aura that she seems to vibrate in the air, there-and-not-there. And you know she isn't done, yet.\n\n> You touch patron\nYou are in a phantom of the past, a congealed instant; you can only sense the world around you, or let go of a pint glass to escape.\n\n> You examine the tables\nOak.\n\n> You examine the windows\nNot at their cleanest, today.\n\n> You let go\nYou let go of the pint glass, and the vision fades around you.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a pint glass, a broken propeller, a trapped butterfly, a shred of fabric, a tallow candle, the keener fragment,\nand a goathorn piece), and a chair here.\n\n> You touch the piece\n(first taking the goathorn piece)\nYou gingerly take the goathorn piece with the handkerchief.\n\nYou grab hold of the goathorn piece with your bare hand, and your vision swims for a lingering instant...\n\nVision: Basement, 1994\nDark and humid; silt has broken through the walls, the floor is\ndrowned in seawater, and the smell of rotting fish is everywhere.\n\nAnd in the middle of the basement, a man speaks to a god of goats.\n\n> Smell\nSilt, saltwater, urea.\n\n> You look at the silt\nGrey and rough."
    },
    {
        "text": "> You look at your surroundings\nVision: Basement, 1994\nDark and humid; silt has broken through the walls, the floor is\ndrowned in seawater, and the smell of rotting fish is everywhere.\n\nAnd in the middle of the basement, a man speaks to a god of goats.\n\n> You examine the fish\nA god of living goats and dead fish, caught in this place trying to swallow modernity. Head of a goat, fishtail, united by a body obscured under layers of hairshirt-like wool. Strange and bloodied. It would eventually be swallowed, itself.\n\n> You look at the man\nYou already looked a bit unsteady, a bit rough around the edges, back then.\n\n> You let go\nYou let go of the goathorn piece, and the vision fades around you.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a goathorn piece, a pint glass, a broken propeller, a trapped butterfly, a shred of fabric, a tallow candle,\nand the keener fragment), and a chair here.\n\n> You look at piece\nA memento from twenty-odd years ago. Gods, it's been that\nlong. Its divine power is certainly faded, but you still hold on\nto it for good luck. And, in all honesty, because gods have a bad\nhabit of being reborn from their pieces."
    },
    {
        "text": "[Themes: Urban Fantasy]\n\n> Look around\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (empty),\na desk (on which are a goathorn piece, a pint glass, a broken propeller, a trapped butterfly, a shred of fabric, a tallow candle,\nand the keener fragment), and a chair here.\n\n> You touch fragment\n(first taking the keener fragment)\nYou gingerly take the keener fragment with the handkerchief.\n\nYou grab hold of the keener fragment with your bare hand, and your vision swims for a lingering instant...\n\nVision: Darkness\nIT HATES. IT HATES. IT HATES. IT HATES. IT HATES. IT HATES. IT HATES.\n\n> You examine the hate\nIt hates. It hates. It hates. It hates. It hates. It hates. It hates. It hates.\n\n> Smell\nIt hates. It hates. It hates. It hates.\n\n> You look at it\nIt hates. It hates.\n\n> You listen\nIt hates.\n\n> Taste\nWhat do you want to taste?\n\n> Taste hate\nIt hates.\n\nNo, wait. Something's wrong.\n\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see the keener fragment, an engraved wastebasket (empty), a cardboard box (empty), a desk (on which are a goathorn piece, a pint glass, a broken propeller, a trapped butterfly, a shred of fabric, and a tallow candle), and a chair here.\n\nYour hands are still shaking. It seems you threw the thing down on the floor with some force.\n\n> You take the hate\nYou gingerly take the keener fragment with the handkerchief.\n\n> You put the hate in the wastebasket\nYou put the keener fragment into the wastebasket. You'll be really\nglad to be rid of this thing; even in pieces, those have a mind of their own. You could never track down who made the original device, anyway, from just this small piece."
    },
    {
        "text": "> Look around\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (in which is the keener fragment), a cardboard box (empty), a desk (on which are a goathorn piece, a pint glass, a broken propeller, a trapped butterfly, a shred of fabric, and a tallow candle), and a chair here.\n\n> You get the piece\nYou gingerly take the goathorn piece with the handkerchief.\n\n> Examine box\nJust a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit.\n\n> You put the goathorn in the box\nYou put the goathorn piece into the box. It's probably safe to keep, anyway. And besides, it complements the telling of the story of how\nyou came to possess it.\n\n> You take the fabric\nYou gingerly take the shred of fabric with the handkerchief.\n\n> You look at the box\nJust a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit.\n\nIn the cardboard box is a goathorn piece.\n\n> You put the fabric in the wastebasket\nYou put the shred of fabric into the wastebasket. That case is closed, anyway, and you travel light.\n\n> You get the propeller\nYou gingerly take the broken propeller with the handkerchief.\n\n> You put the propeller in the wastebasket\nYou put the broken propeller into the wastebasket. I mean, it's really just mundane trash, but you kept it for a while as a reminder that they're not invincible."
    },
    {
        "text": "[Themes: Urban Fantasy, liminal spaces]\n\n> Look around\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (in which are a broken propeller,\na shred of fabric, and the keener fragment), a cardboard box (in which is a goathorn piece), a desk (on which are a pint glass, a trapped butterfly, and a tallow candle), and a chair here.\n\n> You get the pint\nYou gingerly take the pint glass with the handkerchief.\n\n> You put the pint in the box\nYou put the pint glass into the box. It has sentimental value. Plus, it's hard to get another one given that Herrig kind of despises you.\n\n> You get the butterfly\nYou gingerly take the trapped butterfly with the handkerchief.\n\n> You put the butterfly in the box\nYou put the trapped butterfly into the box. Sure, in retrospect this\nis hardly the most useful thing to grab and run out of a fire in a magic shop, but hindsight is 20/20.\n\nThere; it's done. You've picked what to keep and what to discard from the past. A cleaner entry into another year of struggle.\n\nNobody has fun on new year's eve anyway; the pressure is too much. So you might as well spend it choosing what to take and what to leave behind. A year in this city has shown you enough things that you'd rather not have seen.\n\nYou light a cigarette while you wait out the last few moments. You don't hear the snap of the wastebasket vanishing into thin\nair at midnight; it's drowned out by the crackle of fireworks outside. But you smell ozone in the air, and feel the telltale vibration of something ceasing to exist.\n\n> Afterword\nfor the occasion of New Year's Eve. It's set in the same universe as Cape and Mere Anarchy, and shares a player character\nwith The World Turned Upside Down and Four Sittings in a\nSinking House. It is, therefore, even more self-indulgent than\nthe December game I wrote in 2015.\n\nAs always, I can be reached on Twitter (@notbrunoagain).\n\nSpecial thanks in no particular order to Cat Manning, Katherine Morayati, Brendan Patrick Hennessy, furkle, juxi, Sam Kabo Ashwell, Astrid Dalmady, Hannah Flynn, Liam MacDonald, Adam Myers, Liam Welton, Samuel Partridge, Jason Macintosh, Caleb Wilson, Doug Orleans, Emily Short, verityvirtue, Kevin Snow, and everyone else who aided, supported, and read my work in 2016.\n\nDecember 30th, 2016\n\n(You can read this again by typing AFTERWORD anywhere in the\ngame)\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or read the author's AFTERWORD?\n\n> You look\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (in which are a broken propeller,\na shred of fabric, and the keener fragment), a cardboard box (in which are a pint glass and a goathorn piece), a desk (on which is a tallow candle), and a chair here.\n\n> You turn off the candle\nYou don't want to disturb it while it's burning. For all you know, touching it might bring on a vision of the cow being slaughtered.\n\n> You get the basket\nYou would really, really rather not be holding it when it\ngoes off.\n\n> Burn basket\nThis dangerous act would achieve little.\n\n> You put the box in the basket\nYou don't need to concern yourself with the cardboard box; it's actually perfectly ordinary.\n\n> You put the handkerchief in the basket\nYou don't need to concern yourself with the handkerchief; it's\nactually perfectly ordinary.\n\n> You put candle in the basket\nYou'll dispose of the candle properly once it's done burning.\n\n> You put the basket in the box\nYou don't need to concern yourself with the engraved wastebasket; it's actually perfectly ordinary.\n\n> You put the self in the box\nYou don't need to concern yourself with yourself; it's actually perfectly ordinary.\n\n> You read the basket\nIt's an ordinary wastebasket, a cylinder of black aluminum. But\nwrapped around it is a complex pattern in silver thread that makes\nyour eyes defocus if you try to follow it.\n\nIn the engraved wastebasket are a broken propeller, a shred of fabric, and the keener fragment.\n\nWhen midnight strikes, everything inside it will be destroyed.\nEven the magical things that are ordinarily hard to dispose of. Especially the magical things.\n\n> You get all from the box\n(You will have to refer to things individually in this\nstory.)\n\n> You examine basket\nIt's an ordinary wastebasket, a cylinder of black aluminum. But\nwrapped around it is a complex pattern in silver thread that makes\nyour eyes defocus if you try to follow it.\n\nIn the engraved wastebasket are a broken propeller, a shred of fabric, and the keener fragment.\n\n> You get the propeller\n(first putting the trapped butterfly back on the desk)\nYou gingerly take the broken propeller with the handkerchief.\n\n> You get the fragment\n(first putting the broken propeller back on the desk)\nYou gingerly take the shred of fabric with the handkerchief.\n\n(first putting the shred of fabric back on the desk)\nYou gingerly take the keener fragment with the handkerchief."
    },
    {
        "text": "[Themes: Urban Fantasy]\n\n> Describe the surroundings\nAll the units in this old building have been divided and subdivided until they're dangerously cramped. The apartment is much as you found it; a year is not so long, and you'll be gone soon.\n\nYou can see an engraved wastebasket (empty), a cardboard box (in which are a pint glass and a goathorn piece), a desk (on which are a shred\nof fabric, a broken propeller, a trapped butterfly, and a tallow candle), and a chair here.\n\n> You put the butterfly in the box\n(first taking the trapped butterfly)\nYou gingerly take the trapped butterfly with the handkerchief.\n\nYou put the trapped butterfly into the box. Sure, in retrospect this\nis hardly the most useful thing to grab and run out of a fire in a magic shop, but hindsight is 20/20.\n\nIn the end, you're too much of a pack rat to really leave anything behind. Particularly in such a definitive way. But it's the exercise\nof choosing that counts; if you're going to carry all those memories along with you, let it be because you think they matter.\n\nNobody has fun on new year's eve anyway; the pressure is too much. So you might as well spend it choosing what to take and what to leave behind. A year in this city has shown you enough things that you'd rather not have seen.\n\nYou light a cigarette while you wait out the last few moments. You don't hear the snap of the wastebasket vanishing into thin\nair at midnight; it's drowned out by the crackle of fireworks outside. But you smell ozone in the air, and feel the telltale vibration of something ceasing to exist.\n\n> You put the butterfly in the wastebasket\n(first taking the trapped butterfly)\nYou gingerly take the trapped butterfly with the handkerchief.\n\nYou put the trapped butterfly into the wastebasket. It's kind of sad destroying this, since it's one of a kind, but it's also useless and bizarrely cruel.\n\nThere; it's done. You've picked what to keep and what to discard from the past. A cleaner entry into another year of struggle.\n\nNobody has fun on new year's eve anyway; the pressure is too much. So you might as well spend it choosing what to take and what to leave behind. A year in this city has shown you enough things that you'd rather not have seen.\n\nYou light a cigarette while you wait out the last few moments. You don't hear the snap of the wastebasket vanishing into thin\nair at midnight; it's drowned out by the crackle of fireworks outside. But you smell ozone in the air, and feel the telltale vibration of something ceasing to exist.\n\n> Examine box\nJust a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit.\n\nIn the cardboard box are a shred of fabric, the keener fragment, a broken propeller, a pint glass, and a goathorn piece.\n\n> You put the fabric in the wastebasket\n(first taking the shred of fabric)\nYou gingerly take the shred of fabric with the handkerchief.\n\nYou put the shred of fabric into the wastebasket. That case is closed, anyway, and you travel light.\n\n> You put the propeller in wastebasket\n(first taking the keener fragment)\nYou gingerly take the keener fragment with the handkerchief.\n\nYou put the keener fragment into the wastebasket. You'll be really\nglad to be rid of this thing; even in pieces, those have a mind of their own. You could never track down who made the original device, anyway, from just this small piece.\n\n(first taking the broken propeller)\nYou gingerly take the broken propeller with the handkerchief.\n\nYou put the broken propeller into the wastebasket. I mean, it's really just mundane trash, but you kept it for a while as a reminder that they're not invincible.\n\n> Examine box\nJust a cardboard box you salvaged from the bodega down the street. Using paint made from wormwood and lead, you've marked it with a sigil meant to keep its contents safe in transit.\n\nIn the cardboard box are a pint glass and a goathorn piece.\n\n> You put the pint in wastebasket\n(first taking the pint glass)\nYou gingerly take the pint glass with the handkerchief.\n\nYou put the pint glass into the wastebasket. To be quite honest,\nyou're not sure if these are even enchanted. You nicked one hoping it had some kind of self-cleaning charm on it, but no such luck.\n\n> You put the goathorn in the wastebasket\n(first taking the goathorn piece)\nYou gingerly take the goathorn piece with the handkerchief.\n\nYou put the goathorn piece into the wastebasket. You've told that\nstory a couple of times now, but maybe it's time to bury that body;\nthe old fish-goat still shows up ever so often in your nightmares, crying about the concept of cheese.\n\n> You put the butterfly in the wastebasket\n(first taking the trapped butterfly)\nYou gingerly take the trapped butterfly with the handkerchief.\n\nYou put the trapped butterfly into the wastebasket. It's kind of sad destroying this, since it's one of a kind, but it's also useless and bizarrely cruel.\n\nIt's been, in the ways that count, and awful year. Nobody will blame you for throwing out what little good there is, along with all the\nbad. You try not to let your mind form the words \"fresh start\"; there has never been one, and never will be.\n\nNobody has fun on new year's eve anyway; the pressure is too much. So you might as well spend it choosing what to take and what to leave behind. A year in this city has shown you enough things that you'd rather not have seen.\n\nYou light a cigarette while you wait out the last few moments. You don't hear the snap of the wastebasket vanishing into thin\nair at midnight; it's drowned out by the crackle of fireworks outside. But you smell ozone in the air, and feel the telltale vibration of something ceasing to exist."
    },
    {
        "text": "[Themes: Science Fiction, fan fiction, firefly, heist, humor, fanfic]\n\nThe room's about as big as Serenity's dining area, and it's stacked full of boxes. The boxes make an aisle from the front of the room to the back, and on the back wall there're some heavy black curtains.\n\n\"Wedding gifts?\" asks Kaylee, her eyes lighting up real pretty. Thinks we don't notice how her glance goes to Simon.\n\n\"Bride price,\" says Inara. \"All this came from the groom. It's on display to show the public that the bride is being wed to someone of 'appropriate standing.'\"\n\n\"Come now, 'Nara, don't be prickly,\" says Mal. \"Sounds like the bride's right sympathetic to your own line of work.\"\n\n[Author's Note: \"Pinched\" is an interactive episode of Firefly -- the one where Simon screws up (of course) and Jayne has to fill in for him at a society wedding in order to carry off a daring heist.]\n\n> About you\nAs fine a specimen of manhood as ever. Though I do miss my gun.\n\n\"Fact is,\" Simon says, \"the bridal settlement has a long tradition. It was meant to insure that if a woman's husband died or divorced her, she'd still have a little independence. I always thought it was nice.\"\n\nKaylee is staring at him hard, so he adds on, \"...though now I think about it, it's antiquated and disrespects a woman's ability to look after herself. Lots of differences about Earth-That-Was.\"\n\n> You check your inventory\nI've got on me :\na ticket stub\n\nInara ignores all the back and forth and goes to the curtain. \"Might as well see the center of the collection. Jayne, I think this will open whole new worlds of art appreciation for you.\"\n\nShe draws the curtain back, and I'm faced with the strangest painting I ever saw.\n\n> You look at the painting\nIt looks to be real old. Real old porn, that is. There's two ladies sitting naked in a bathtub, and one of them is reaching over and pinching the other one's nipple, all dainty like she's picking up a teacup.\n\n\"...huh,\" Kaylee says. \"That's not what I... huh.\"\n\n> You examine the stub\nIt grants access to the bridal display of this wedding-to-be. Stiff purple square of paper with a lady drawn on it, and torn halfway across.\n\n\"A genuine oil painting from Earth-that-was, in this condition, of this age, is worth more than this house and every other thing in it,\" Inara says.\n\n> You ask Inara about the painting\nI got three ways of conversin': ASK QUESTIONS, JOKE, and CAUSE A RUCKUS. That last one's my favorite.\n\n\"You'll have to give me some lessons in appreciating art, Inara,\" says Mal. \"Think there might be some significances to this piece that I'm not grasping the sense of.\"\n\n> Joke\n\"Is it just me or is something wrong with the eyebrows on those women?\"\n\n\"It's from the late 16th century,\" Simon says. \"French. It depicts the king's mistress -- see there, she's holding a ring that he gave her. Her sister is in the bath too, and the nipple pinch is to show that the mistress is pregnant.\"\n\n\"Still seems like a strange thing to give someone when you're getting married,\" Kaylee comments.\n\n\"Job suits me,\" I say. \"Be happy to store that in my bunk during the ride--\"\n\nInara steps on my toe, hard.\n\n\"Ai ya!\"\n\n\"I reckon we've admired this here bride price just about enough,\" says Mal. \"What do you think, Inara? Time to leave the viewing?\"\n\n\n\nNew Reykjavik is right up to the north part of this planet, as there's not much but water round the tropics. That being the case, it's freezing cold here half the ruttin' year, and from what you can hear told, mud the other half. This here is the freezing part. This street is all snow and ice, but the buildings ain't bad.\n\nKaylee, Mal, and Simon are along, loaded down with bags of this and that -- clothes for the wedding ball, electronics parts for the heist, groceries.\n\n\"If it isn't Simon!\"\n\nThere's some little bit of a woman shouting from the other side of the street. Simon doesn't even look up and we all figure it must be someone else she's shouting at. But no.\n\n\"Simon Tam!\"\n\nShe pushes her way out of the crowd on her side of the street and runs towards us. She's one good-looking girl, too, if you like 'em bundled up in a lot of furs and capes and with twinkly crap all over their boots. Simon doesn't look too delighted to see her, but the next minute she's hugging him and he kind of pats her shoulder.\n\n\"Everyone, this is Lucy,\" he says. \"She was in my year at medical school; we were partners in neuroregeneration lab. Lucy, this is--\"\n\nMal frowns at him.\n\n\"--this is everyone,\" says Simon.\n\n> You examine Lucy\nShe's got long blonde hair and a narrow pointy little face. Tasty enough, though not much like either Kaylee or Inara.\n\n\"I haven't seen you in so long!\" Lucy's not hugging him any more, but she's still got his arm like she's fixing to take it home with her.\n\n\"And I wasn't expecting to see anyone out here, either! I'm so far from home, it's ridiculous how lonely I get! And the weather! Snow 13 months of the year! Are you here for the Jonsdotter-Wilkes wedding? Please say yes. You're the only person on this planet that's going to know the same dances as me. Do you still tango?\"\n\nKaylee makes a little tiny noise I might not hear if she weren't right next to me.\n\n> You examine Kaylee\nKaylee's chin is sticking out and she's getting real busy checking out something she's got stashed in her rucksack. Or possibly she's just moving stuff around in there. Don't look like she's takin' anything out.\n\n\"I-- don't know,\" Simon is saying. \"That is, yes. Yes, I was invited. I'll be there. Sorry, it's just such a surprise to see you again, Luce.\"\n\nLucy pouts. \"If you followed the alumni newswaves, you'd've known I was living here now.\"\n\n\"My mail has been very erotic lately,\" Simon says.\n\n> You look at Simon\nHe's almost got an expression on. Though I ain't sure I could put a name to it.\n\n\"We'll have to catch up at the wedding,\" Lucy says. \"I wish I could stay and trade stories now, but I'm already late--\"\n\n\"--there's a first.\" Simon's smiling for real now. Didn't know his face muscles stretched in that direction.\n\n\"Don't be awful. I'll see you there. Save me one of your dippingest, most Argentine dances.\" She kisses his cheek and then she's gone again, and the air behind her smells like apples. Cold apples. The snow hasn't gone anywhere.\n\n> Examine mal\nHe's dressed in his best suit, which makes me think he's going to burst something.\n\n\"Care to explain what that was about?\" Mal asks.\n\n\"What, Lucy?\" Simon is still grinning a little, though it's starting to fade. \"She's an old friend of mine -- well, when I say friend, we kind of -- that is, we were never actually -- but I think she wanted -- if we hadn't been so busy we probably would have -- I mean I thought about --\"\n\nMal interrupts. \"She gonna turn you in? What with the price on your head, and all. We didn't plan on people hereabout knowing your name.\"\n\n\"Lucy? She wouldn't. Besides, it didn't seem like she knows about that.\"\n\n> You ask the questions\n\"Why-come you didn't see Lucy on the rutting guest list?\" I demand. \"You and Inara said you checked everyone that was coming.\"\n\n\"Wouldn't mind hearing the answer to that question my own self,\" says Mal pointedly.\n\n\"I don't-- she must have been added late,\" Simon says. \"She wasn't on the list when we looked.\"\n\n> Joke\n\"You and Inara got yourselves added late,\" I say. \"Maybe Lucy's stealing the painting too.\"\n\n\"This is just dandy,\" Mal says. \"Someone want to explain to me how the plan is going to work now? We need me and Zoe on the pickup, and Wash and Book got to stay with the ship, whilst now it appears that Simon has to attend this party but not be of any use.\"\n\nSimon's jaw is working and he keeps kicking at the snow with the toe of his boot.\n\n> You ask the questions\n\"What about me?\" I ask.\n\nEveryone turns to stare.\n\n\"I could do it. Do the sneaking part better than Simon could.\"\n\n\"We can't add you now,\" Simon says, annoyed. \"Even if Inara could get you an invitation, you'd need your own escort. And table manners.\"\n\n\"I'll be Jayne's escort,\" says Kaylee. Guess she's pulled her head out of her bag now. \"Did a good enough job at that ball on Persephone, didn't I? Still got the dress, even.\"\n\n\"Kaylee, this won't be--\" Mal says, while Simon says, louder: \"With Jayne?\"\n\nKaylee comes closer to me and holds my arm tight. \"It's supposed to look like this, right?\"\n\nThis is my bunk. Not that you could tell that, from the quantity of gos-se thrown here and there. Piled up in here is every\ngarment we could find on the ship that looked like it might fit me and do well enough for the wedding banquet.\n\n> You look at what you're carrying with you\nI've got on me :\na grey pair of faded underpants (being worn)\n\n> You look at the garments\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nI can also see a black pair of tight pants, a crimson pair of sharply creased pants, a frilly white poet shirt, and some jackets (white, trimmed crimson, and black sparkly) here.\n\nThrown over the bed are a black silk shirt and a black cloak.\n\n> You wear the crimson pants\n(first I'm gonna take the crimson pair of sharply creased pants)\nI try on the crimson pair of sharply creased pants.\n\n\"Come out whenever you're done in there!\" yells Zoe.\n\n\"Yeah, I'm dying to admire your sartorial splendor,\" says Wash.\n\n> You look at the frilly shirt\nBig flowy cuffs, and ruffles up the front on both sides.\n\n> You examine the starchy shirt\nIt's thick white cloth, very smooth. It doesn't so much wrinkle as fold.\n\n> You examine the scratchy shirt\nLooks like the kind of thing the preacher would wear -- stiff cloth and a plain color.\n\n> You examine the black silk shirt\nVery plain-looking cut, but the cloth is thick and sort of shiny.\n\n> You wear the black silk shirt\n(first I'm gonna take the black silk shirt)\nI shrug myself into the black silk shirt.\n\n\"Having a little trouble in there?\" Simon shouts in. \"Do you need help putting on your pants?\"\n\n\"Sure! Send in Inara!\" I shout back."
    },
    {
        "text": "> You look around\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nI can also see a black pair of tight pants, a frilly white poet shirt, and some jackets (white, trimmed crimson, and black sparkly) here.\n\nThrown over the bed is a black cloak.\n\n> You look at sparkly\nThe coat is made of a slightly fuzzy black cloth, very dark and unreflective. Someone put little twinkly electroluminescent lights all over it, which sparkle and blink. I think it's meant to be some kind of star pattern.\n\n> You look at white\nWhich do you mean, the frilly white poet shirt, the white funeral coat, or the white starchy shirt?\n\n> You examine the white coat\nIt goes to waist-length and it doesn't look like it's intended for a man who likes to live large when it comes to eating. Or shooting. Or doing anything messy.\n\n> You look at the crimson\n(the crimson pair of sharply creased pants)\nThere's a line running down the front of each leg. Don't see why.\n\n> You look at the trimmed crimson\nIt's a heavy coat with brass buttons and straight sleeves. Bright crimson.\n\n> You wear the crimson coat\n(first I'm gonna take the trimmed crimson coat with epaulettes)\nI dress, finishing a complete outfit of the trimmed crimson coat with epaulettes, the black silk shirt, and the crimson pair of sharply creased pants. Matching, but not too matching.\n\n> You examine the cloak\nIt's a long piece of heavy cloth with a pin to keep it shut.\n\n> You wear the cloak\n(first taking off the trimmed crimson coat with epaulettes and grabbing the black cloak)\nI dress, finishing a complete outfit of the black cloak, the black silk shirt, and the crimson pair of sharply creased pants. Matching, but not too matching."
    },
    {
        "text": "[Themes: Science Fiction, fan fiction, firefly, fanfic, humor]\n\n> You look at your surroundings\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nI can also see a black pair of tight pants, a frilly white poet shirt, and some jackets (white and black sparkly) here.\n\n> Go outside\nI emerge dressed in a black cloak, a black silk shirt, and a crimson pair of sharply creased pants. \"Well?\"\n\n\"Very eighteenth century,\" says Wash approvingly.\n\nSimon just raises his eyebrows. \"That thing around your shoulders isn't a cape, Jayne,\" he says. \"It wraps around your waist and pins in place.\"\n\n\"You mean it's a skirt?\" I demand.\n\n\"Skirtlike garments for men have a long history, especially for formal occasions.\" I get the feeling he's enjoying this a little more than he should.\n\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nI can also see a black pair of tight pants, a frilly white poet shirt, and some jackets (white and black sparkly) here.\n\n> You check your inventory\nI've got on me :\na black kilt\na trimmed crimson coat with epaulettes\na black silk shirt (being worn)\na crimson pair of sharply creased pants (being worn)\na grey pair of faded underpants (being worn)\n\n> You drop kilt\nDropped.\n\n> You wear the crimson coat\nI dress, finishing a complete outfit of the trimmed crimson coat with epaulettes, the black silk shirt, and the crimson pair of sharply creased pants. Matching, but not too matching.\n\n> You go outside\n\"How about this?\" I ask, coming out of the room in a trimmed crimson coat with epaulettes, a black silk shirt, and a crimson pair of sharply creased pants.\n\n\"As a rule you want your shirt to be a lighter color than the jacket or coat you're wearing over it,\" says Simon. \"Give it another try.\"\n\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nAlso nearby: a black kilt, a black pair of tight pants, a frilly white poet shirt, and some jackets (white and black sparkly).\n\n> You drop the crimson coat\n(first taking off the trimmed crimson coat with epaulettes)\nDropped.\n\n> You wear the black jacket\n(first I'm gonna take the black twinkly coat)\nI dress, finishing a complete outfit of the black twinkly coat, the black silk shirt, and the crimson pair of sharply creased pants. Matching, but not too matching.\n\n> You go outside\nWearing the black twinkly coat, the black silk shirt, and the crimson pair of sharply creased pants, I walk out for the group to see. \"What do you think?\"\n\nSimon shakes his head. \"Your shirt and jacket can't be the same color,\" he says. \"It makes you look like you're in service. As a rule, you want your bottom half to match one of the things you're wearing on your top half, and then the other thing you're wearing provides some color contrast. So you've got two colors total.\"\n\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants, a grey scratchy shirt, and a white starchy shirt.\n\nAlso nearby: a black kilt, a black pair of tight pants, a frilly white poet shirt, and some jackets (trimmed crimson and white).\n\n> You wear the gray shirt\n(first removing the black twinkly coat)\nI take off the black twinkly coat and discard it. The lights flicker when it hits the ground, then come back on.\n\n(first taking off the black silk shirt and grabbing the grey scratchy shirt)\nI shrug myself into the grey scratchy shirt.\n\n> You wear the black coat\n(first I'm gonna take the black twinkly coat)\nI dress, finishing a complete outfit of the black twinkly coat, the grey scratchy shirt, and the crimson pair of sharply creased pants. Not that I put much store by Simon, but I expect he'll say this get-up has too many colors.\n\n> You wear the black pants\n(first taking off the crimson pair of sharply creased pants and grabbing the black pair of tight pants)\nI put on the black pants, and they do zip all right, but soon as I go to take a step they rip right up the back.\n\nSo much for the fine craftsmanship of the planets nearer the Core. You'd think with the high technology and all they'd work out how to make pants that stay stuck together."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants and a white starchy shirt.\n\nI can also see some rags, a black kilt, a frilly white poet shirt, and some jackets (trimmed crimson and white) here.\n\n> You wear the crimson pants\nI dress, finishing a complete outfit of the black twinkly coat, the grey scratchy shirt, and the crimson pair of sharply creased pants. Not that I put much store by Simon, but I expect he'll say this get-up has too many colors.\n\n> You wear the crimson jacket\n(first taking off the black twinkly coat and grabbing the trimmed crimson coat with epaulettes)\nI take off the black twinkly coat and discard it. The lights flicker when it hits the ground, then come back on.\n\nI dress, finishing a complete outfit of the trimmed crimson coat with epaulettes, the grey scratchy shirt, and the crimson pair of sharply creased pants. Matching, but not too matching.\n\n> You go outside\nI emerge dressed in a trimmed crimson coat with epaulettes, a grey scratchy shirt, and a crimson pair of sharply creased pants. \"Well?\"\n\n\"The red and the grey don't go together,\" says Zoe. \"Bad color combination.\"\n\nI give Simon a disbelieving look. \"That one's an unofficial rule, but she's right,\" he says.\n\n\"Save us some time if you told me all the rules at once,\" I say.\n\n\"But that wouldn't be funny!\" protests Wash.\n\n\"Can't,\" Simon says. \"Half of them I don't remember until I see you hideously mangling them.\"\n\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants and a white starchy shirt.\n\nAlso nearby: some rags, a black kilt, a frilly white poet shirt, and some jackets (black sparkly and white).\n\n> You wear the white shirt\n(the frilly white poet shirt)\n(first removing the trimmed crimson coat with epaulettes)\n(first taking off the grey scratchy shirt and grabbing the frilly white poet shirt)\nI pull on the poet shirt. I look like a gorram idiot. There ought to be some other way.\n\n> You check what you're carrying\nI've got on me :\na trimmed crimson coat with epaulettes\na crimson pair of sharply creased pants (being worn)\na grey pair of faded underpants (being worn)\nsome shirts (frilly white (being worn), grey, and black)\n\n> You drop all\ntrimmed crimson coat with epaulettes: Dropped.\ngrey scratchy shirt: Dropped.\nblack silk shirt: Dropped."
    },
    {
        "text": "[Themes: Science Fiction, fanfic, humor]\n\n> Look around\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants and a white starchy shirt.\n\nAlso nearby: some shirts (black and grey), some jackets (trimmed crimson, black sparkly, and white), some rags, and a black kilt.\n\n> You wear the kilt\n(first taking off the crimson pair of sharply creased pants and grabbing the black kilt)\nI try on the black kilt.\n\n> You wear the grey shirt\n(first taking off the frilly white poet shirt and grabbing the grey scratchy shirt)\nI shrug myself into the grey scratchy shirt.\n\n> You wear the black jacket\n(first I'm gonna take the black twinkly coat)\nI dress, finishing a complete outfit of the black twinkly coat, the grey scratchy shirt, and the black kilt. Matching, but not too matching.\n\n> Go outside\n\"How about this?\" I ask, coming out of the room in a black twinkly coat, a grey scratchy shirt, and a black kilt.\n\n\"I like it,\" says Wash.\n\n\"He's wearing a coat that lights up and flashes,\" Zoe says. \"He's going to get shot the minute he attempts stealth.\"\n\nWash takes another bite of bao. \"Like I said, it's a great look.\"\n\n\"It's a fine jacket,\" Simon says to me, ignoring them. \"If only it would stop the blinking.\"\n\nPlace hardly looks like mine now.\n\nBook's suitcase is on the floor, spilling out a grey pair of pinstriped pants and a white starchy shirt.\n\nI can also see a black silk shirt, some jackets (trimmed crimson and white), and some rags here.\n\n> You search the black coat\nI feel the whole thing over carefully and finally I find it, sewn into the cuff: a little metal stud that can be pressed to turn the coat's lights on and off. The other cuff has the battery sewn in.\n\n> You turn off the black coat\nI press the stud and the lights on the jacket go dark. About time."
    },
    {
        "text": "[Themes: Science Fiction, firefly, fan fiction, heist]\n\n> You look yourself\nAs fine a specimen of manhood as ever.\n\nCurrently I'm dressed in the black twinkly coat, the grey scratchy shirt, and the black kilt.\n\n> Go outside\nI emerge dressed in a black twinkly coat, a grey scratchy shirt, and a black kilt. \"Well?\"\n\nSimon blinks several times. \"I-- yes, I suppose that works.\"\n\n\"What's he supposed to be, a highlander at a wake?\" Wash asks.\n\n\"Keep your knees together when you sit. Those short skirts get drafty,\" Zoe offers.\n\n\"How are we getting the painting out?\" I ask.\n\n\"You're not,\" Mal says. \"You're going to leave it there.\"\n\n> You press the space\nI don't see nothin' like that.\nCome again?\n\n> You ask the questions\n\"I know we've been moving towards a more user-friendly style of theft lately, but next you'll be wanting to steal stuff by maybe dusting and waxing it for the owner.\"\n\n\"You don't wax paintings,\" says Mal, aside.\n\nMal looks me in the eye. \"You don't take anything out. There's too much security in the way. All you do is get back into the Display Room and tag the back of the painting with a micro-sized locator. That way you don't have to shut down the whole security system, just the one panel that senses if you take the painting off the wall. When you're done tagging, you turn security back on and everything looks right and shiny.\"\n\nSimon arrives from the passenger area. He's dressed real formally in black suit and a white shirt I'm sure wasn't on him when I went through his luggage that time him and River got taken by hill-folk. Guess he's been doing some shopping.\n\nHe's also putting on some kind of lipstick.\n\n> Joke\n\"No one mentioned the menfolk wear lipstick on this planet.\"\n\n\"It's not lipstick,\" says Simon, screwing up the tube. \"It's just a sealant.\"\n\n\"Sure, good thought,\" says Mal. \"Easy to get your whole face chapped, this kind of weather.\"\n\nBook gives Simon a long funny look but says nothing.\n\nMal goes on. \"When the painting is moved for assessment and storage -- which is scheduled to happen in the small hours of the morning -- we'll be able to trace it. Doing the trace during the wedding means there's the least chance for them to find the tag and take it off again.\n\n\"Simon and Inara scoped out this security team, worked out their habits. They'll be using several decoy transports for a cargo this valuable, but if we know which transport is the right one, we can lift the painting from there.\"\n\nInara and Kaylee arrive at last, both dressed up and glossy. \"Good, appears that the primping and fussin' is over,\" says Mal.\n\n\"You both look very nice,\" says Book.\n\n\"Ain't got all night,\" says Mal. And so we're off.\n\n\"Bad news,\" Kaylee says, coming to my elbow and talking low. \"I had to ditch the tool kit in the potted plant by the door.\"\n\nI've been this side of security for ten minutes already, and I'm already wishing we were at a different party.\n\nThis room is where everyone goes after they come through security, which is before you get to the real party. The fancier the party the more rooms you need to go through to get to it, evidently. Personally I like the kind that's held outdoors.\n\nKaylee is standing close by.\n\n> You ask the questions\n\"You-- what? How in the fay-fay duh pee-yen are we supposed\nto do the job now?\"\n\n\"Fancy place like this, there's going to be something we can use to jimmy the security system and reset the wires,\" she says. \"We'll just have to keep an eye open. But I didn't have a choice. Nearly got caught with the tools on me -- I only realized at the end they were running a full P-99 entry scan on the guests, and not just for weapons neither.\"\n\n\"That don't seem hardly polite.\"\n\n\"No! It's a full-body scan -- whoever's running security sees right through your clothes.\"\n\n\"Everyone's?\" Now that there's the kind of thing I ought to\nbe doing for a living.\n\nA man in a purple jacket approaches. He's carrying a tray, and on the tray are a dozen or so full shotglasses. Stuck along the top of each one there's a metal stick with a cube of something on it.\n\n\"Ooh, tasties,\" Kaylee says, taking one eagerly and handing another to me. The man bows and moves away.\n\nThere's quite a pungent aroma rising from this thing.\n\nKaylee pops hers in her mouth. \"When you get it in your mouth,\" she says, chewing awkwardly, \"you can't smell it as much.\"\n\n> Drink\nWhat do you want to drink?\n\n> Shotglass\n*** Run-time problem P10: Since the shotglass is not allowed the property \"proper utensil\", it is against the rules to try to use it.\n\nOh, that burns. All the way down. Can feel the lining of my stomach.\n\nThis party is going to be good.\n\nKaylee swallows. \"I think that might have been fish. Once. In\nanother lifetime.\" She tips her shotglass up and takes a long drink. Her eyes go wide again, but this time she's quieter about it.\n\n> Smell sprig\nIt smells like grandma. Not mine. Someone else's.\n\nOld Man Guest turns to his wife. \"Odd that we were fobbed off with this table,\" he says too loudly. \"I wonder who was in charge of the seating arrangements. And whether they were revised badly at the last minute.\"\n\n\"I did think we were supposed to be at the Glitnirs' table,\" agrees his wife. \"But then we wouldn't have met these charming people.\" She practically has to shout that last part for him to hear it.\n\n\"I admire your good heart, my dear,\" he says.\n\n> Joke\nMal made me swear not to say anything during the dinner course that I didn't absolutely have to. Think he made Kaylee promise to tell on me, too.\n\n> You examine the old man\nElderly fellow, very thin, dressed all in black. So much for all Simon's dressing rules. I think the old fellow's a bit deaf.\n\n> You put the straw in the soup\n(first I'm gonna take the metal straw)\n\nThat can't contain things.\n\n\"You sure are a cute couple,\" says Old Lady Guest to me and Kaylee. \"Where did you meet?\"\n\n\"Um, a different planet,\" says Kaylee. \"We've known each other a long time now.\"\n\n> You look at the old woman\nShe's shrunk so short she's like half a person tall, and she's wearing some kind of purple dress with tiny lights all around the neckline.\n\n> You examine the soup\nIt looks thick, white, and creamy. Doesn't look much different from Blue Sun Cream of Wheat, to tell the truth, only there's a green swirl of pureed peas to look decorative.\n\n> You examine the spoon\nIt looks like any other custom-made gold-plated spoon, except there's a clothespin as part of the handle. Maybe so's you can take it home and hang up washing afterward. As a souvenir. There's a lavender sprig pinned onto the handle.\n\n\"Did you see the bride gifts?\" asks Old Lady Guest. \"They're extraordinary. That painting... such an exquisite piece of work. No one makes things like that any more. The brushwork is so fine you can barely see it.\"\n\n\"You didn't think it was a little... strange?\" Kaylee asks. \"I mean, the... pinching?\"\n\nOld Lady Guest shrugs. \"Manners change.\"\n\n> You eat the soup\n(with my hands)\nHad a cat once that would dip its paw in a glass of water and then lick off the drops. Didn't seem sanitary.\n\n> You get the spoon\nGot it.\n\n> You eat the soup with the spoon\nI take a spoonful of the soup. By itself it tastes sort of ordinary, but the smell of the lavender kind of perks it up. Kaylee takes a sip of hers with her lavender-spoon and grins at me. Should've guessed she'd like her soup with flowers on it.\n\nOnce I've got the sense of what to do I eat nice and hearty. Or as hearty as I can. They believe in small bowls on this planet.\n\n\"Good to see that our hosts are ministering to the needs of the deprived,\" remarks Old Man Guest. I think someone told me his name but I forgot it.\n\n\"Oh, are they?\" asks Kaylee. \"That's nice of them.\"\n\nOld Lady Guest smiles.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a crab.\n\n\"Do you plan to dance later?\" asks Old Lady Guest of Kaylee.\n\nKaylee looks at me, then says, \"I don't know.\"\n\nI frown at her. No point in the girl getting ideas about making me embarrass myself. This day's bad enough already.\n\n> You look at the crab\nIt's a whole crab, claws and eyes and everything. I'm relieved to say that it is dead. Most likely there's some way into the shell, but I don't know what that is."
    },
    {
        "text": "> You look at your surroundings\nYou can tell this room's expensive, because it's got a glass roof in this climate, but it's warm inside. Warm like one of those hot planet beaches. There are trees scattered around the room and lights all twinkling all over them, and fountains, just to show off how much clean water this planet's got.\n\nSet at my place is a crab.\n\nOld Man Guest and Old Lady Guest in a purple dress are sitting on their side of the table, smiling and nodding at us. They ain't eating a thing. Kaylee's trying not to have to say too much.\n\nThere are also gold-plated utensils (laser knife, itty-bitty fork, mini-mace, and flat spade) on the table.\n\n\"Wish I could still enjoy meals,\" says Old Lady Guest to the table at large. \"But I have intestinal problems. Do you know what Mayhare's Disease does?\"\n\nKaylee shakes her head.\n\n\"I hope,\" says Old Man Guest, taking her hand, \"that you are not regaling our dining companions with the intimate details of your bowel situation.\"\n\n\"Sorry,\" she says. \"Sometimes I forget.\"\n\n> Crack crab\n(with my fists)\nI give the crab a good hard thump with my closed fist. It skids off its plate and lettuce and lands on the floor.\n\nThe waiter's eyes get very big. \"Allow me to replace sir's crab,\" he says. And sure enough right away he puts another one on my plate, even uglier than before.\n\n\"Lilija is such a beautiful bride,\" observes Old Lady Guest.\n\nWe smile and nod at that. I think nodding is probably safe.\n\n> You hit the crab with the mace\n(first I'm gonna take the mini-mace)\nI hit the crab a couple times with the mini-mace, but all I manage to do is speckle its shell with many tiny dents.\n\n> You cut the crab with the knife\n(first I'm gonna take the laser knife)\nI revv up the laser knife and start in on the surgery. It works just dandy on the shell and claws -- lays 'em right open.\n\n> You eat the crab\n(with my hands)\nMy fingers are too big to get into that shell and pick out the meat.\n\n> You eat the crab with the fork\n(first I'm gonna take the toy-sized fork)\nI dig the toy-sized fork into the crab and manage to pull out a strip of the meat, and then another. It's... actually very good. Kind of sweet. Doesn't take long to fork out all the meat inside.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me some carrot juice.\n\n> You examine the juice\nIt's liquid. And orange, like a carrot. I'm pretty sure it is a carrot. In liquid form.\n\n> Drink juice\n(with my hands)\nThe rim of the glass is perforated all the way around. To make it harder to drink, I guess. I dribble a little on my grey scratchy shirt, but the good thing is I think it won't show. Still, need to find another way to drink the rest.\n\n> You drink the juice with the straw\nMaybe the straw interfered in some fashion but what I'm tasting here is carrots plus some kind of citrusy thing.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a green glass dome.\n\n> You look at the dome\nIt's like a tiny dome over the food, only it's clear and glassy and sort of looks like you're supposed to eat it.\n\nIn the green glass dome is some chopped raw fish.\n\n> Joke\nMal made me swear not to say anything during the dinner course that I didn't absolutely have to. Think he made Kaylee promise to tell on me, too.\n\n> You examine the jacket\nThe coat is made of a slightly fuzzy black cloth, very dark and unreflective. Someone put little twinkly electroluminescent lights all over it, though they are mercifully switched off at the moment. I think it's meant to be some kind of star pattern.\n\nThere's a juiced battery and a control stud sewn in.\n\nThere's a juiced battery and a control stud sewn in the cuffs.\n\n> You eat the dome with the spade\n(first I'm gonna take the flat spade)\nThat looks a good bit too hard to just bite into.\n\n> Lift dome\nThat first word, you get that from the Doctor? It don't mean anything I know.\n\n> You get the dome\nGot it.\n\n> Open dome\nI give the dome a good sharp blow with the side of my hand, martial-arts style. It goes skidding across the serving dish, but doesn't get far on account of this dish has high walls. Almost like it was meant to contain the blast.\n\n> You hit the dome with the mace\nOne good whack with the miniature mace and the dome cracks open and falls apart in a dozen or so curved shards. I could get used to the smashing-things method of eating. Suits me.\n\n> You eat the shard\n*** Run-time problem P10: Since the shards of culinary glass is not allowed the property \"proper utensil\", it is against the rules to try to use it.\n\n(with my hands)\nI lift one of the shards to my tongue. It tastes kind of like candy. Also kind of like hot hot burning all the way down my tongue and up my nose. Ow. But tasty. A tasty ow.\n\n> You eat the fish with spoon\nThe overpowering scent of lavender combined with the chopped fish is strongly unappetizing. Not to mention I think Old Man Guest is laughing at me.\n\n> You remove the lavender\n(first I'm gonna take the lavender sprig)\nI try stripping off the lavender sprig. Which you might think was the kind of event that would liven a stuffy party like this right up, but somehow it doesn't turn out to amuse them all very much.\n\n> You take the sprig\nI tug the lavender sprig out of the clothespin.\n\n> You eat the fish with the spoon\nI spoon up the tuna. Pretty sure that wasn't how I was supposed to do it, but don't much care.\n\nThe next thing out is a cube of meat, just one not-very-big cube, skewered on the end of a long wire thing that stands up from the table. It's like food on an antenna.\n\n> You look at the cube\nAnother cube of meat, this one a centimeter or two on the side. It's glazed with brown goo and looks like it's got bits of tree sticking to it.\n\n> You get the antenna\nI go to pick up the antenna, but one of the waiters leans over on my right. \"Sir, the antenna is already adjusted to its ideal height.\"\n\nThat's good to know.\n\n> You eat the meat\nI lean in close and bite the meat right off its antenna. Now this wouldn't be half bad if there were about fifty more of these little cubes. As it is... you call that a dish? Wonder if I could get someone else's cube too.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a cool white yogurt.\n\n> You examine the yogurt\nCool white stuff, looks like yogurt, only there's green and green-yellow and greenish-red powders layered in.\n\n> You eat the yogurt with the spade\nWith the flat spade I can just about manage to lift up a layer of the white stuff with some of the powder. It keeps trying to slip off. When I get it to my mouth it tastes like... lettuce. With creamy dressing. Only the whole texture is creamy.\n\nThe waiter brings, last, a chocolate sphere. It's all round and glossy like a ball, until he pours some kind of hot sauce over it. Then it melts partly away right there on the plate. He also gives me a plain ordinary spoon like any old ordinary person might use. Don't see why we couldn't have gotten one of those sooner.\n\n> You look at the spoon\n(the clothespin spoon)\nIt looks like any other custom-made gold-plated spoon, except there's a clothespin as part of the handle.\n\n> You check your inventory\nI've got on me :\na lavender sprig\ngold-plated utensils (flat spade, itty-bitty fork, laser knife, mini-mace, clothespin spoon, and metal straw)\na black twinkly coat (being worn)\na grey scratchy shirt (being worn)\na black kilt (being worn)\na grey pair of faded underpants (being worn)"
    },
    {
        "text": "[Themes: Science Fiction, humor]\n\n> You look around\nYou can tell this room's expensive, because it's got a glass roof in this climate, but it's warm inside. Warm like one of those hot planet beaches. There are trees scattered around the room and lights all twinkling all over them, and fountains, just to show off how much clean water this planet's got.\n\nCurrently stuck in front of me is a chocolate sphere. It is accompanied by an ordinary spoon, a dining antenna, and some shards of culinary glass.\n\nOld Man Guest and Old Lady Guest in a purple dress are sitting on their side of the table, smiling and nodding at us. They ain't eating a thing. Kaylee's trying not to have to say too much."
    },
    {
        "text": "[Themes: Science Fiction, firefly]\n\n> You look at your surroundings\nYou can tell this room's expensive, because it's got a glass roof in this climate, but it's warm inside. Warm like one of those hot planet beaches. There are trees scattered around the room and lights all twinkling all over them, and fountains, just to show off how much clean water this planet's got.\n\nThe stuff I'm supposed to eat next is a chocolate sphere. It is accompanied by an ordinary spoon, a dining antenna, and some shards of culinary glass.\n\nOld Man Guest and Old Lady Guest in a purple dress are sitting on their side of the table, smiling and nodding at us. They ain't eating a thing. Kaylee's trying not to have to say too much.\n\n> You eat the sphere with the ordinary\n(first I'm gonna take the ordinary spoon)\nGorram that's strong. There's chocolate, and some round red fruits I don't think I ever saw before, but mostly a lot of hot alcohol.\n\nThere's a bunch of fooferaw after that: dinner's over but they've got speeches, and toasts, and some man with flowers on his hat gets up and tells some stories about a dog he had, who is like the bride somehow.\n\nKaylee gets all happy and misty about that, so it must've been a good dog story. Don't much care about the things myself.\n\nAfter a good long time, though, we're allowed to leave the tables, and then it's all guests circulating and some of them dancing. Which is the time for me and Kaylee to make our move.\n\nWe're headin' into the hallway toward the display room when Kaylee gestures for me to hold still.\n\nI hear Lucy say, \"So tell me, Simon Tam: what did you do to get the Alliance chasing you and that price on your head?\"\n\nThis is a long, important-looking hallway. We were here before, during the public viewing of the bride price. The display room is just off to the east.\n\nNext to the doorway east, there's a security panel set into the wall.\n\nLucy and Simon are a little way down the dim hall; Lucy has her back to us, but I think Simon knows we're here. Kaylee is beside me."
    },
    {
        "text": "[Themes: Science Fiction, humor, firefly, heist]\n\n> Look around\nYou can tell this room's expensive, because it's got a glass roof in this climate, but it's warm inside. Warm like one of those hot planet beaches. There are trees scattered around the room and lights all twinkling all over them, and fountains, just to show off how much clean water this planet's got.\n\nCurrently stuck in front of me is a chocolate sphere. It is accompanied by an ordinary spoon and a dining antenna.\n\nOld Man Guest and Old Lady Guest in a purple dress are sitting on their side of the table, smiling and nodding at us. They ain't eating a thing. Kaylee's trying not to have to say too much.\n\n> You get all\nplate: Got it.\nchocolate sphere: Got it.\ndining antenna: I go to pick up the antenna, but one of the waiters leans over on my right. \"Sir, the antenna is already adjusted to its ideal height.\"\n\nThat's good to know.\n\n> You check your inventory\nI've got on me :\na chocolate sphere\na plate\na dining antenna\nsome shards of culinary glass\na lavender sprig\na black twinkly coat (being worn)\na grey scratchy shirt (being worn)\na black kilt (being worn)\na grey pair of faded underpants (being worn)\ngold-plated utensils (ordinary spoon, flat spade, teeny tiny fork, laser knife, mini-mace, clothespin spoon, and metal straw)\n\n> You look under the kilt\nI peek at the grey pair of faded underpants. Yup, still there.\n\n> You look at the coat\nThe coat is made of a slightly fuzzy black cloth, very dark and unreflective. Someone put little twinkly electroluminescent lights all over it, though they are mercifully switched off at the moment. I think it's meant to be some kind of star pattern.\n\nThere's a juiced battery and a control stud sewn in.\n\nThere's a juiced battery and a control stud sewn in the cuffs."
    },
    {
        "text": "The room's about as big as Serenity's dining area, and it's stacked full of boxes. The boxes make an aisle from the front of the room to the back, and on the back wall there're some heavy black curtains.\n\n\"Wedding gifts?\" asks Kaylee, her eyes lighting up real pretty. Thinks we don't notice how her glance goes to Simon.\n\n\"Bride price,\" says Inara. \"All this came from the groom. It's on display to show the public that the bride is being wed to someone of 'appropriate standing.'\"\n\n\"Come now, 'Nara, don't be prickly,\" says Mal. \"Sounds like the bride's right sympathetic to your own line of work.\"\n\n> You examine Inara\nShe's not bad to look at, but I prefer more of an affordable model. And one that isn't so interested in serving men tea.\n\n\"Fact is,\" Simon says, \"the bridal settlement has a long tradition. It was meant to insure that if a woman's husband died or divorced her, she'd still have a little independence. I always thought it was nice.\"\n\nKaylee is staring at him hard, so he adds on, \"...though now I think about it, it's antiquated and disrespects a woman's ability to look after herself. Lots of differences about Earth-That-Was.\"\n\n> You examine the curtain\nThey're made of heavy black material. And closed.\n\nInara ignores all the back and forth and goes to the curtain. \"Might as well see the center of the collection. Jayne, I think this will open whole new worlds of art appreciation for you.\"\n\nShe draws the curtain back, and I'm faced with the strangest painting I ever saw.\n\n> You look at the painting\nIt looks to be real old. Real old porn, that is. There's two ladies sitting naked in a bathtub, and one of them is reaching over and pinching the other one's nipple, all dainty like she's picking up a teacup.\n\n\"...huh,\" Kaylee says. \"That's not what I... huh.\"\n\n> You ask the questions\n\"What is this anyhow?\"\n\n\"It's from the late 16th century,\" Simon says. \"French. It depicts the king's mistress -- see there, she's holding a ring that he gave her. Her sister is in the bath too, and the nipple pinch is to show that the mistress is pregnant.\"\n\n\"Still seems like a strange thing to give someone when you're getting married,\" Kaylee comments.\n\n> Joke\n\"What a shock, Simon likes the painting with the sister issues,\" I say. Actually that wasn't so much of a joke.\n\nSimon just gets clenchy in the jaw region.\n\n\"A genuine oil painting from Earth-that-was, in this condition, of this age, is worth more than this house and every other thing in it,\" Inara says.\n\n\"Job suits me,\" I say. \"Be happy to store that in my bunk during the ride--\"\n\nMal steps on my toe, hard.\n\n\"Ai ya!\"\n\n\"I reckon we've admired this here bride price just about enough,\" says Mal. \"What do you think, Inara? Time to leave the viewing?\"\n\n\n\nNew Reykjavik is right up to the north part of this planet, as there's not much but water round the tropics. That being the case, it's freezing cold here half the ruttin' year, and from what you can hear told, mud the other half. This here is the freezing part. This street is all snow and ice, but the buildings ain't bad.\n\nKaylee, Mal, and Simon are along, loaded down with bags of this and that -- clothes for the wedding ball, electronics parts for the heist, groceries.\n\n\"If it isn't Simon!\"\n\nThere's some little bit of a woman shouting from the other side of the street. Simon doesn't even look up and we all figure it must be someone else she's shouting at. But no.\n\n\"Simon Tam!\"\n\nShe pushes her way out of the crowd on her side of the street and runs towards us. She's one good-looking girl, too, if you like 'em bundled up in a lot of furs and capes and with twinkly crap all over their boots. Simon doesn't look too delighted to see her, but the next minute she's hugging him and he kind of pats her shoulder.\n\n\"Everyone, this is Lucy,\" he says. \"She was in my year at medical school; we were partners in neuroregeneration lab. Lucy, this is--\"\n\nMal frowns at him.\n\n\"--this is everyone,\" says Simon.\n\n> You ask the questions\nCan't rightly think of a thing to ask now.\n\n\"I haven't seen you in so long!\" Lucy's not hugging him any more, but she's still got his arm like she's fixing to take it home with her.\n\n\"And I wasn't expecting to see anyone out here, either! I'm so far from home, it's ridiculous how lonely I get! And the weather! Snow 13 months of the year! Are you here for the Jonsdotter-Wilkes wedding? Please say yes. You're the only person on this planet that's going to know the same dances as me. Do you still tango?\"\n\nKaylee makes a little tiny noise I might not hear if she weren't right next to me.\n\n> Joke\n\"Is tango a word for 'be pompous and get in the way'?\" But no one is listening to me.\n\n\"I-- don't know,\" Simon is saying. \"That is, yes. Yes, I was invited. I'll be there. Sorry, it's just such a surprise to see you again, Luce.\"\n\nLucy pouts. \"If you followed the alumni newswaves, you'd've known I was living here now.\"\n\n\"My mail has been very erotic lately,\" Simon says.\n\n> You look at Simon\nHe's almost got an expression on. Though I ain't sure I could put a name to it.\n\n\"We'll have to catch up at the wedding,\" Lucy says. \"I wish I could stay and trade stories now, but I'm already late--\"\n\n\"--there's a first.\" Simon's smiling for real now. Didn't know his face muscles stretched in that direction.\n\n\"Don't be awful. I'll see you there. Save me one of your dippingest, most Argentine dances.\" She kisses his cheek and then she's gone again, and the air behind her smells like apples. Cold apples. The snow hasn't gone anywhere.\n\n> Cause the ruckus\n\"Can we get back to the ship now before we meet any more of Simon's former friends?\" But as usual they're not listening to me.\n\n\"Care to explain what that was about?\" Mal asks.\n\n\"What, Lucy?\" Simon is still grinning a little, though it's starting to fade. \"She's an old friend of mine -- well, when I say friend, we kind of -- that is, we were never actually -- but I think she wanted -- if we hadn't been so busy we probably would have -- I mean I thought about --\"\n\nMal interrupts. \"She gonna turn you in? What with the price on your head, and all. We didn't plan on people hereabout knowing your name.\"\n\n\"Lucy? She wouldn't. Besides, it didn't seem like she knows about that.\"\n\n> Joke\n\"Stands to reason she'd warn you if she was planning to turn you over to the feds.\"\n\nMal gives me a very warning kind of look and I remember that might not be the best topic of conversation to be raising at this particular juncture.\n\n\"That ain't our only concern,\" Mal says. \"What I'm curious about is why you and 'Nara told me you had this job scoped out, you neglected to notice your old girlfriend on the guest list. And how you planned on playing your part in this escapade when she's going to be limpeted onto your side demanding another Argentine waltz every two minutes.\"\n\n\"Tango,\" Simon mutters. \"I promise you, Mal, we checked that list in triple. She must have been added late.\"\n\n> You ask the questions\n\"What's a tango?\"\n\nNo answer.\n\n\"This is just dandy,\" Mal says. \"Someone want to explain to me how the plan is going to work now? We need me and Zoe on the pickup, and Wash and Book got to stay with the ship, whilst now it appears that Simon has to attend this party but not be of any use.\"\n\nSimon's jaw is working and he keeps kicking at the snow with the toe of his boot.\n\n> Joke\n\"Don't see how Simon being no use is any different from any other time he's been along.\"\n\n\"Jayne,\" Mal says. \"You're going to get yourself up in fancy clothes and you're going to go to this thing. Be better at the security part than Simon anyhow.\"\n\nI get my ten percent for shooting things, not for dressing up like an idiot and definitely not for covering for Simon. I open my mouth to say that, but--\n\n\"You get Simon's cut, seeing as it turns out he has a social engagement for the evening of the job and won't be able to work.\"\n\nSimon looks pasty and angry now. \"He'll need an escort. And\ntable manners.\"\n\n> You ask the questions\n\"Simon can go alone, and Inara can come with me instead,\" I say. \"Wouldn't object to some free companioning.\"\n\n\"Inara is already on the list as Simon's guest,\" says Mal. \"Arrangements don't allow for changing that.\"\n\n\"I'll be Jayne's escort,\" says Kaylee. Guess she's pulled her head out of her bag now. \"Did a good enough job at that ball on Persephone, didn't I? Still got the dress, even.\"\n\n\"Kaylee, this won't be--\" Mal says, while Simon says, louder: \"With Jayne?\"\n\nKaylee comes closer to me and holds my arm tight. \"It's supposed to look like this, right?\"\n\nThis is my bunk. Not that you could tell that, from the quantity of gos-se thrown here and there. Piled up in here is every\ngarment we could find on the ship that looked like it might fit me and do well enough for the wedding banquet.\n\n> You wear the pinstripe\n(first I'm gonna take the grey pair of pinstriped pants)\nI put on the grey pair of pinstriped pants one leg at a time.\n\n\"Come out whenever you're done in there!\" yells Zoe.\n\n\"Yeah, I'm dying to admire your sartorial splendor,\" says Wash.\n\n> You wear the gray shirt\n(first I'm gonna take the grey scratchy shirt)\nI shrug myself into the grey scratchy shirt.\n\n\"Having a little trouble in there?\" Simon shouts in. \"Do you need help putting on your pants?\"\n\n\"Sure! Send in Inara!\" I shout back.\n\n> You wear the black jacket\n(the black twinkly coat)\n(first I'm gonna take the black twinkly coat)\nI dress, finishing a complete outfit of the black twinkly coat, the grey scratchy shirt, and the grey pair of pinstriped pants. Matching, but not too matching.\n\n> You leave\n\"How about this?\" I ask, coming out of the room in a black twinkly coat, a grey scratchy shirt, and a grey pair of pinstriped pants.\n\n\"My little boy, all grown up. We should take pictures,\" says Wash.\n\n\"It doesn't exactly look tailor-made, but it should do,\" Simon concedes. \"Now just don't say anything.\"\n\n\"How are we getting the painting out?\" I ask.\n\n\"You're not,\" Mal says. \"You're going to leave it there.\"\n\n> Cause the ruckus\n\"I thought Inara was on this boat to make you look\nrespectable, but seems to me she's making you be respectable.\nAnd respectable's not what I can take a cut of.\"\n\nMal looks me in the eye. \"You don't take anything out. There's too much security in the way. All you do is get back into the Display Room and tag the back of the painting with a micro-sized locator. That way you don't have to shut down the whole security system, just the one panel that senses if you take the painting off the wall. When you're done tagging, you turn security back on and everything looks right and shiny.\"\n\nSimon arrives from the passenger area. He's dressed real formally in black suit and a white shirt I'm sure wasn't on him when I went through his luggage that time him and River got taken by hill-folk. Guess he's been doing some shopping.\n\nHe's also putting on some kind of lipstick.\n\n> You wait for a while\nMight as well stay quiet and see what happens next.\n\nMal goes on. \"When the painting is moved for assessment and storage -- which is scheduled to happen in the small hours of the morning -- we'll be able to trace it. Doing the trace during the wedding means there's the least chance for them to find the tag and take it off again.\n\n\"Simon and Inara scoped out this security team, worked out their habits. They'll be using several decoy transports for a cargo this valuable, but if we know which transport is the right one, we can lift the painting from there.\"\n\nInara and Kaylee arrive at last, both dressed up and glossy. \"Good, appears that the primping and fussin' is over,\" says Mal.\n\n\"You both look very nice,\" says Book.\n\n\"Ain't got all night,\" says Mal. And so we're off.\n\n\"Bad news,\" Kaylee says, coming to my elbow and talking low. \"I had to ditch the tool kit in the potted plant by the door.\"\n\nI've been this side of security for ten minutes already, and I'm already wishing we were at a different party.\n\nThis room is where everyone goes after they come through security, which is before you get to the real party. The fancier the party the more rooms you need to go through to get to it, evidently. Personally I like the kind that's held outdoors.\n\nKaylee is standing close by.\n\n> Joke\n\"Sounds like there's another thing the good doctor could have warned us about, if he weren't busy romancing his old school friend.\"\n\nShe frowns. \"Don't be mean.\"\n\n\"Why's he so interested in this job anyway?\"\n\n\"I don't know, I think he just wants to help the captain. And I think it's nice that he does.\" She adjusts her big skirt with one hand. \"Fancy place like this, there's going to be something we can use to jimmy the security system and reset the wires,\" she says. \"We'll just have to keep an eye open. But I didn't have a choice. Nearly got caught with the tools on me -- I only realized at the end they were running a full P-99 entry scan on the guests, and not just for weapons neither.\"\n\n\"That don't seem hardly polite.\"\n\n\"No! It's a full-body scan -- whoever's running security sees right through your clothes.\"\n\n\"Everyone's?\" Now that there's the kind of thing I ought to\nbe doing for a living.\n\nA man in a purple jacket approaches. He's carrying a tray, and on the tray are a dozen or so full shotglasses. Stuck along the top of each one there's a metal stick with a cube of something on it.\n\n\"Ooh, tasties,\" Kaylee says, taking one eagerly and handing another to me. The man bows and moves away.\n\nThere's quite a pungent aroma rising from this thing.\n\n> You eat the cube\nIt's sort of chewy and resistant and vinegary. Like pickled radish only much nastier.\n\nKaylee pops hers in her mouth. \"When you get it in your mouth,\" she says, chewing awkwardly, \"you can't smell it as much.\"\n\n> Drink shot\n*** Run-time problem P10: Since the shotglass is not allowed the property \"proper utensil\", it is against the rules to try to use it.\n\nOh, that burns. All the way down. Can feel the lining of my stomach.\n\nThis party is going to be good.\n\nKaylee swallows. \"I think that might have been fish. Once. In\nanother lifetime.\" She tips her shotglass up and takes a long drink. Her eyes go wide again, but this time she's quieter about it.\n\nThere's a few minutes of milling around with the shotglasses, and then some men in purple uniforms tell us to go in to dinner. We've all got assigned tables. Mine and Kaylee's has got a little old lady about half the height of River, and her little old man husband who can't hear.\n\n\"Simon told us to copy the other people at our table for how to eat,\" Kaylee whispers to me. \"But these two don't even have food.\"\n\n\"Not sure the old guy even has any teeth any more,\" I agree.\n\n\"I'll copy you, then,\" says Kaylee. That's helpful.\n\nYou can tell this room's expensive, because it's got a glass roof in this climate, but it's warm inside. Warm like one of those hot planet beaches. There are trees scattered around the room and lights all twinkling all over them, and fountains, just to show off how much clean water this planet's got.\n\nThe table in front of us is spread with a clothespin spoon, a laser knife, an teeny tiny fork, a metal straw, a mini-mace, a flat spade, and a plate.\n\nOld Man Guest and Old Lady Guest in a purple dress are sitting on their side of the table, smiling and nodding at us. They ain't eating a thing. Kaylee's trying not to have to say too much. It's a real sprightly party.\n\nThe waiter serves some pea potato soup and a lavender sprig.\n\n\"This is for the aroma,\" says the waiter, lifting the sprig with gloved-up fingers. He tucks the lavender sprig into the clothespin of the clothespin spoon, and goes away.\n\n> You eat the soup with the spoon\n(first I'm gonna take the clothespin spoon)\nI take a spoonful of the soup. By itself it tastes sort of ordinary, but the smell of the lavender kind of perks it up. Kaylee takes a sip of hers with her lavender-spoon and grins at me. Should've guessed she'd like her soup with flowers on it.\n\nOnce I've got the sense of what to do I eat nice and hearty. Or as hearty as I can. They believe in small bowls on this planet.\n\n\"Good to see that our hosts are ministering to the needs of the deprived,\" remarks Old Man Guest. I think someone told me his name but I forgot it.\n\n\"Oh, are they?\" asks Kaylee. \"That's nice of them.\"\n\nOld Lady Guest smiles.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a crab.\n\n> You eat the crab with the fork\n(first I'm gonna take the itty-bitty fork)\nI dig the teeny tiny fork into the crab and manage to pull out a strip of the meat, and then another. It's... actually very good. Kind of sweet. Doesn't take long to fork out all the meat inside.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me some carrot juice.\n\n> You drink the juice with the straw\n(first I'm gonna take the metal straw)\nMaybe the straw interfered in some fashion but what I'm tasting here is carrots plus some kind of citrusy thing.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a green glass dome.\n\n> You hit the dome with the mace\n(first I'm gonna take the mini-mace)\nOne good whack with the miniature mace and the dome cracks open and falls apart in a dozen or so curved shards. I could get used to the smashing-things method of eating. Suits me.\n\n> You eat the fish with the shard\n(first I'm gonna take the shards of culinary glass)\nThe fish tastes a tiny bit metallic, and then the flavor of the glass shard makes it all tangy and hot.\n\nThe next thing out is a cube of meat, just one not-very-big cube, skewered on the end of a long wire thing that stands up from the table. It's like food on an antenna.\n\n> You eat cube\nI lean in close and bite the meat right off its antenna. Now this wouldn't be half bad if there were about fifty more of these little cubes. As it is... you call that a dish? Wonder if I could get someone else's cube too.\n\nSeeing that I've finished with my previous course, the ever-hovering waiters bring me a cool white yogurt.\n\n> You eat the yogurt\n(with my hands)\nHad a cat once that would dip its paw in a glass of water and then lick off the drops. Didn't seem sanitary.\n\n> You eat the yogurt with the spoon\nI spoon up the yogurt in the clothespin spoon. It tastes like a confused combination of potato soup, cheese, and lettucey bits, plus flowers. Think I was supposed to do this some other way, but I don't much care.\n\nThe waiter brings, last, a chocolate sphere. It's all round and glossy like a ball, until he pours some kind of hot sauce over it. Then it melts partly away right there on the plate. He also gives me a plain ordinary spoon like any old ordinary person might use. Don't see why we couldn't have gotten one of those sooner.\n\nOld Man Guest turns to his wife. \"Odd that we were fobbed off with this table,\" he says too loudly. \"I wonder who was in charge of the seating arrangements. And whether they were revised badly at the last minute.\"\n\n\"I did think we were supposed to be at the Glitnirs' table,\" agrees his wife. \"But then we wouldn't have met these charming people.\" She practically has to shout that last part for him to hear it.\n\n\"I admire your good heart, my dear,\" he says.\n\n> You get all\nflat spade: Got it.\nplate: Got it.\nordinary spoon: Got it.\nchocolate sphere: Got it.\ndining antenna: I go to pick up the antenna, but one of the waiters leans over on my right. \"Sir, the antenna is already adjusted to its ideal height.\"\n\nThat's good to know.\n\n> You eat chocolate with the ordinary spoon\nGorram that's strong. There's chocolate, and some round red fruits I don't think I ever saw before, but mostly a lot of hot alcohol.\n\nThere's a bunch of fooferaw after that: dinner's over but they've got speeches, and toasts, and some man with flowers on his hat gets up and tells some stories about a dog he had, who is like the bride somehow.\n\nKaylee gets all happy and misty about that, so it must've been a good dog story. Don't much care about the things myself.\n\nAfter a good long time, though, we're allowed to leave the tables, and then it's all guests circulating and some of them dancing. Which is the time for me and Kaylee to make our move.\n\nWe're headin' into the hallway toward the display room when Kaylee gestures for me to hold still.\n\nI hear Lucy say, \"So tell me, Simon Tam: what did you do to get the Alliance chasing you and that price on your head?\"\n\nThis is a long, important-looking hallway. We were here before, during the public viewing of the bride price. The display room is just off to the east.\n\nNext to the doorway east, there's a security panel set into the wall.\n\nLucy and Simon are a little way down the dim hall; Lucy has her back to us, but I think Simon knows we're here. Kaylee is beside me.\n\n> Joke\nYeah, this whole situation is hi-larious.\n\n\"I used to,\" Lucy says. \"I carried you around in my heart for years.\"\n\nSimon says something under his breath, too low to hear over the music.\n\n\"Not saying I was lonely for company,\" she replies. \"But you were always... the one that didn't happen. There's a glow in that.\"\n\n\"If I told you, you'd be in danger,\" says Simon. \"Trust me, this is not something you want to be a part of.\"\n\n\"That's the problem, Simon,\" she says. \"My feelings aren't reliable, and that's all I've got going for you.\"\n\n> You look at the panel\nThis is obviously the access controlling the security in the Display Room. It's locked, but not very well. I should be able to jimmy it open, given something long and thin.\n\nI'm really having to struggle to hear Lucy now, but she's still talking: \"Everything else -- logic, common sense -- say turn you in. Let your trial sort it out if you're innocent.\"\n\n\"Oh, yes: trust the system rather than a person you know. That always works brilliantly.\"\n\n\"I want to trust you,\" she says.\n\nSimon's looking down into her face very oddly. Fool boy looks like he's about to kiss her. On the mouth.\n\n> You look at what you're carrying with you\nI've got on me :\na dining antenna\na plate\nsome shards of culinary glass\na black twinkly coat (being worn)\na grey scratchy shirt (being worn)\na grey pair of pinstriped pants (being worn)\na grey pair of faded underpants (being worn)\ngold-plated utensils (flat spade, toy-sized fork, clothespin spoon, ordinary spoon, laser knife, mini-mace, and metal straw)\n\nSimon finishes bending down and kisses Lucy on the lips. Kaylee stands next to me, speechless. Her mouth is moving with things she wants to say, but nothing comes out.\n\nThen Lucy slumps to the ground. Simon glances up past her at us. He looks embarrassed.\n\n> Jimmy panel with antenna\nMight as well wait until the good doctor is out of the way.\n\nKaylee turns to Simon. \"This part of the job, we can do. You should be out there looking pretty.\"\n\n\"Yes,\" Simon says. \"Because society is proving such a comfortable place just now.\"\n\n\"You could dance with Inara,\" I say. \"Probably worth a hundred credits a dance.\"\n\n\"More, I imagine.\" He looks at Kaylee like he's got something else to say to her.\n\n\"Three of us back here are a lot harder to explain than two,\" she says. \"Me and Jayne, we might've just snuck back here for a romantic moment. Seems to be popular.\"\n\n\"Fine, I'm going.\" And he does -- after dragging his sleeping ex-girlfriend into a side room. Then me and Kaylee have the hallway to ourselves so we can do what we like.\n\n> Jimmy panel with antenna\nI bend the end of the antenna a little and then poke it into the lock hole. It resists a bit, but with a bit of work I'm able to pop the panel open.\n\nInside there's a whole mess of wires.\n\n\"We need to sever that wire.\" Kaylee points. It's too far up for her to reach easy, or she'd probably insist on doing it herself. But I can see what she means.\n\n\"That's all?\"\n\n\"We'll have to reattach the ends again later so they don't notice the security is humped. But we'll come back to that when we're done.\"\n\n> You recharge knife with the battery\nThat first word, you get that from the Doctor? It don't mean anything I know.\n\n> Charge knife\nAgain with the funny commands.\n\n> You open the knife\nI unscrew the battery compartment at the end of the handle. There's a depleted battery inside.\n\n> You put the juiced battery in the knife\n(first I'm gonna take the juiced battery)\n\nThe battery's sewn in pretty good. I'd need something at least a little bit poky to unpick the stitches.\n\n> You cut the stitches with the knife\nI slip the pointiest part of the laser knife into the stitches and pull them a bit loose. Then I give the battery a good hard tug and it comes free from the coat.\n\n> You put the juiced battery in the knife\nDone.\n\n> You close the knife\nI screw the battery compartment shut on the juiced battery.\n\n> You cut wire with the laser\nVery very carefully, I slice through the right wire and cut away a little of the shielding.\n\nThere's a faint thunk from within the wall.\n\n\"That should do it,\" Kaylee says.\n\n> Dance\nAgain with the funny commands."
    },
    {
        "text": "[Themes: Science Fiction, fanfic]\n\n> Look around\nThis is a long, important-looking hallway. We were here before, during the public viewing of the bride price. The display room is just off to the east.\n\nNext to the doorway east, there's a security panel set into the wall. The security panel contains some wires.\n\nI can also see Kaylee here.\n\n> Joke\nYeah, this whole situation is hi-larious.\n\n> Go east\nKaylee comes along.\n\nThe room's about as big as Serenity's dining area, and it's stacked full of boxes. The boxes make an aisle from the front of the room to the back, and on the back wall is hanging that strange-ass painting.\n\nAlso nearby: Kaylee.\n\n\"We need this down from the wall,\" Kaylee says, lifting the painting down and setting it so that we can get at the back of the frame.\n\n\"We've got to put a little hole in the wood,\" she says. \"We don't need much, the tag's not but a couple of millimeters across. But we need to bury it in organic material or it'll be easier for them to find, even not knowing the frequency to wake it up.\"\n\nShe gives me the tag.\n\n> You check what you're carrying\nI've got on me :\na tracking tag\na depleted battery\na dining antenna\na plate\nsome shards of culinary glass\na black twinkly coat (being worn)\na grey scratchy shirt (being worn)\na grey pair of pinstriped pants (being worn)\na grey pair of faded underpants (being worn)\ngold-plated utensils (flat spade, itty-bitty fork, clothespin spoon, ordinary spoon, laser knife, mini-mace, and metal straw)\n\n> You hit the wood with the mace\nI hit the frame hard with the mini-mace. That suffices to put a neat little pinhole in the wood.\n\n> You put the tag in hole\nDone.\n\n\"We're done in here,\" says Kaylee. \"Now we just need to fix the security panel again, and we can go.\" She motions with her head towards the exit.\n\n> Exit\n\"Here,\" says Kaylee, lifting the painting back into its place. \"Now it'll look like no one touched a thing.\"\n\nKaylee comes along.\n\nThis is a long, important-looking hallway. We were here before, during the public viewing of the bride price. The display room is just off to the east.\n\nNext to the doorway east, there's a security panel set into the wall. In the security panel are some wires.\n\nAlso nearby: Kaylee.\n\n\"If I hadn't had to leave my tools, I could patch this up real quick, make it look like we were never even here,\" Kaylee says, looking ruefully at the nest of severed wires.\n\n> You put the clothespin on the wires\n(first removing the lavender sprig)\nI'm not sure it's going to fit at first, but I manage to jam the little clothespin spoon into the box and clip the wires together with the clothespin. Kaylee's giggling.\n\n\"Think it won't work?\"\n\n\"No, we've done worse patch jobs on Serenity,\" she says. \"As long as you can close the panel with the spoon in it.\"\n\n> Close panel\nI push the security panel shut and it clicks in place. The spoon doesn't jam it at all.\n\n\"Lock it back up, and we'll be ready to go,\" Kaylee says.\n\n> You lock it back up\nI got you as far as saying we should lock the security panel.\n\n> Cause the ruckus\n\"What the-- why'd we lift this thing if you don't have a buyer? Damn, no one learn anything from the Lassiter job? This painting's not 'xactly the kind of object you can just fence off on market day round the next cattle town.\"\n\n\"Now that is definitely true,\" says Mal. \"Though we might be able to get something for the frame -- what do you think?\"\n\nSimon gives it a long look, then shrugs. \"It's not in the best of taste by today's standards. Maybe five, ten credits?\"\n\n\"Nobody's selling nothing until someone tells me what is going on here.\"\n\n\"We've been paid,\" says Simon, still all calm. \"Not perhaps on the scale you were imagining, but quite a bit more than the average job this bird pulls off. You can even keep the painting if you want. Put it in your bunk. It's just a copy, though, I ought to warn you.\"\n\n> Joke\nYeah, this whole situation is hi-larious.\n\n\"Actually,\" says Inara, \"the whole job was by the bride's arrangement.\"\n\n\"Sensible thing if you ask me,\" says Zoe. \"I wouldn't want that creepy-ass scene hanging on my bedroom wall either.\"\n\n\"You see,\" says Inara, \"the bride and the groom are very much in love. Unfortunately, the groom's family -- who live in a different system, by the way -- they're not wealthy enough to offer the sort of price the bride's family would approve of.\"\n\n\"And that's where we come in,\" says Mal. \"The groom's family sends a fake valuable painting, the bride's family puts it on display, and then after the ceremony--\"\n\n\"--but before anyone has time to get a second assessment done--\" Simon adds.\n\n\"--it is mysteriously stolen. Everyone blames her family's security, the bride and groom get to stay married.\"\n\n\"Very romantic,\" says Wash.\n\n\"It is at that,\" says Zoe. \"Honey, how come you didn't buy me a nice swindle for our wedding?\"\n\nWell, wound up with 15% of something, at least."
    },
    {
        "text": "[Themes: Science Fiction, humor, firefly, fanfic, fan fiction]\n\n> You ask the questions\n\"But -- who paid us? Someone got it in for the bride and groom?\"\n\n\"Actually,\" says Inara, \"the whole job was by the bride's arrangement.\"\n\n\"Sensible thing if you ask me,\" says Zoe. \"I wouldn't want that creepy-ass scene hanging on my bedroom wall either.\"\n\n\"You see,\" says Inara, \"the bride and the groom are very much in love. Unfortunately, the groom's family -- who live in a different system, by the way -- they're not wealthy enough to offer the sort of price the bride's family would approve of.\"\n\n\"And that's where we come in,\" says Mal. \"The groom's family sends a fake valuable painting, the bride's family puts it on display, and then after the ceremony--\"\n\n\"--but before anyone has time to get a second assessment done--\" Simon adds.\n\n\"--it is mysteriously stolen. Everyone blames her family's security, the bride and groom get to stay married.\"\n\n\"Very romantic,\" says Wash.\n\n\"It is at that,\" says Zoe. \"Honey, how come you didn't buy me a nice swindle for our wedding?\"\n\nWell, wound up with 15% of something, at least."
    },
    {
        "text": "[Themes: Slice of life, Humor, non-human npcs, lesbian, humour, homosexual protagonist, Gay/queer protagonist, strong profanity, strong NPCs, female protagonist, slice of life]\n\nYou're on the run. You've got a million errands to do -- your apartment to get cleaned up, the fish to feed, lingerie to buy, Britney's shuttle to meet--\n\nThe fish. God damn. You almost forgot. And it's in the studio, halfway across town from anywhere else you have to do. Oh well, you'll just zip over, take care of it, and hop back on the El. This'll be over in no time.\n\nDon't you just hate days where you wake up the wrong color?\n\nCopyright Emily Short 2001.\n\nThis is Britney's studio. You haven't been around here for a while, because of how busy you've been with work, and she's made a few changes -- the aquarium in the corner, for instance. But it still brings back a certain emotional sweetness from the days when you had just met for the first time... when you used to spend hours on the sofa...\n\nYou shake your head. No time for fantasy. Must feed fish.\n\nA huge cabinet, in the guise of an armoire, stands between the windows.\n\nOn the easel is a painting.\n\nOn the table is a vase (which is empty).\n\nIn one corner of the room, a large aquarium bubbles in menacing fashion.\n\n[Author's Note: No time for fantasy. Must feed fish.]\n\n> About yourself\nAs good-looking as ever.\n\nThe evil fish begins to butt his pointy nose against the glass walls of the tank.\n\n> You look at the aquarium\nA very roomy aquarium, large enough to hold quite a variety of colorful sealife -- if any yet survived.\n\nThe evil fish is floating belly up!\n\n...oh, damn. He was toying with you. As soon as he sees you looking, he goes back to swimming around.\n\n> You look at the fish\nEven if you had had no prior experience with him, you would be able to see at a glance that this is an evil fish. From his sharkish nose to his razor fins, every inch of his compact body exudes hatred and danger.\n\nThe fish glares at you, as though to underline this point.\n\n> You check what you're carrying\nYou are carrying:\na telegram\na chef hat (being worn)\na lingerie bag\na bouquet of flowers\n\nThe evil fish darts to the bottom of the tank and moves the gravel around with his nose.\n\n> You read the telegram\nA telegram, apparently. And dated three days ago.\n\n\"So,\" blubs the evil fish. \"How about it? Little food over here?\"\n\n\"Hey, nice SKIN TONE,\" shouts the evil fish. His words reach you in a spitting gurgle of aquarium water. \"You gone over to a pure eggplant diet these days?\"\n\n> You examine flowers\nOkay, so it's silly and sentimental and no doubt a waste of money, of which there is never really enough, but: you miss her. You've missed her since ten seconds after she stepped aboard the shuttle to Luna Prime, and when you saw these -- her favorites, pure golden tulips like springtime -- you had to have them.\n\n\"Oh, you shouldn't have,\" says the fish. \"For me??\"\n\nYou just respond with a livid glare.\n\nThe evil fish is swimming around the tank in lazy circles.\n\n> You put the flowers in the vase\nYou settle the flowers into the vase and arrange them so that they look sprightly.\n\n\"Oooh,\" says the fish. \"No one ever changes the plant life in HERE. It's the same damn seaw--\"\n\n\"Cut me a break and cork it,\" you reply tartly.\n\n> You open the cabinet\n\"There ya go,\" says the fish. \"The girl is getting WARMER.\"\n\nYou open the cabinet, revealing some paints and a heap of cloth.\n\n> You examine the cloth\nVarious colors of drapery that Britney uses to set up backgrounds and clothe her models. She does a lot of portraiture, so this comes in handy. It's all a big messy wad at the moment. Organized is not her middle name.\n\n\"Whatcha looking at? I can't see through the doors, you know.\"\n\n> You look under the cloth\nPoking around the cloths reveals -- ha HA! -- a vehemently orange can of fish food.\n\n> You get the food\nYou already have that.\n\n> You open can\n\"Oh, for--!\" The evil fish breaks out in exasperation and hives. \"Screw the screwing around with the screwtop. SHE never has to do that.\"\n\n\"Well, SHE is not here,\" you reply. \"What do you suggest?\"\n\n\">FEED FISH<\" says the fish promptly, making fishy faces and pointing at you with his fin. \"Simplicity. Try it.\"\n\n> You feed FISH\nTriumphantly, you dump the remaining contents of the canister of fish food into the tank. It floats on the surface like scum, but the fish for once stops jawing and starts eating. Like a normal fish. Blub, blub.\n\n> You examine FISH\nSince I made the big bucks on this trip, it's my treat. Anywhere you like.\"\n\n\"I've had a hankering all day,\" you admit, as the two of you turn from the shuttle platform and head toward the bank of taxis. \"I could really go for some sashimi right now.\""
    },
    {
        "text": "[Themes: Humor, animals, Museum, cat, Source Code, dog, slavery, based on songs]\n\nYou are a lowly human slave, suffering beneath the squamous toes of your new lizard overlords. Patrisnake Kssshsss has charged you with getting rid of all trace of mammals in the back rooms of the Don Quixote Memorial Museum.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. Your co-slaves have already gone through most of museum, including thankfully, the toilets. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n[Author's Note: The lizards have taken over. You, a lowly human slave, are tasked with eradicating all mammalian traces from the Don Quixote Memorial Museum.]\n\n> About yourself\nYou are a lowly human slave.\n\n> You look at what you're carrying with you\nYou are carrying:\na lizard whistle (being worn)\n\n> You examine the whistle\nAround your neck is a whistle. The whistle can be blown to summon the Patrisnake Kssshsss. This should only be done when you've collected as many mammals as you expect to be able to get.\n\n> You examine the skip\nThe skip is empty.\n\n> Blow whistle\nYou give the whistle a sharp blow, and in moments Patrisnake Ksshss arrives to survey the skip.\n\nHe (or she?) is aghast by the distinct lack of mammals in the skip.\n\n> You enter the skip\nYou climb into the skip.\n\n> Blow whistle\nYou give the whistle a sharp blow, and in moments Patrisnake Ksshss arrives to survey the skip.\n\nHe finds you within the skip and smiles (snakes always smile) as he orders all the contents (including yourself) summarily destroyed.\n\n> You examine the desk\nA large wood-panelled information desk sits in the atrium, with a little drawer on the staff side.\n\n> You open the drawer\nYou open the little drawer, revealing a packet of pork scratchings and a piece of string.\n\n> You get the scratchings\nTaken.\n\n> You examine the scratchings\nThis is a pack of dried battered scraps of pig, some with visible stubble.\n\n> You put the scratchings in the skip\nYou throw the packet of pork scratchings into the skip.\n\n> You examine the skip\nIn the skip is a packet of pork scratchings.\n\n> Go east\n(first opening the little door)\n\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> Go west\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n> You go to the west\nThe once impressive collection of portraits has now disappeared, most likely looted. The gallery is centred around a great window that overlooks the eastern exit.\n\nA lone moose head is all that remains.\n\n> You look at the window\nThe window has been broken open, and a crowbar is still jammed in it.\n\n> You look at the crowbar\nThe crowbar is a solid length of metal with a hooked end, designed for prying things.\n\n> You take the crowbar\nTaken.\n\n> You examine the head\nOn closer inspection, it looks like a caribou.\n\n> You take the head\nIt's pretty much nailed to the wall.\n\n> Inventory\nYou are carrying:\na crowbar\na piece of string\na lizard whistle (being worn)\n\n> You take the moose\nYou're carrying too many things already.\n\n> Tie string around moose\nYou tie the piece of string to the caribou head.\n\n> Drag moose\nNothing obvious happens."
    },
    {
        "text": "> Look around\nThe once impressive collection of portraits has now disappeared, definitely looted. The gallery is centred around a great window that overlooks the eastern exit.\n\n> Go east\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n> You drop the crowbar\nDropped.\n\n> You take the string\nYou deftly untie the string.\n\nYou already have that.\n\n> You put the moose in the skip\nYou throw the caribou head into the skip.\n\n> You go south\nYou are greeted by a sunny day on the steps of the museum. The grand entrance looms up to the north, while steps radiate out in all other directions. Going in such directions would, of course, be highly forbidden.\n\nA dog is mourning here over the vaporised remains of its owner.\n\n> You examine the dog\nThe dog is one of those really sad looking pugs. You know how you can have jolly looking pugs? Well this isn't one of them.\n\n> You kick the dog\nViolence begets violence. Or maybe it begets sentient lizard people. Either way, it's not the solution.\n\n> You go to the south\nYou really shouldn't stroll off from the museum: that is in direct violation of the commands of your lizard overlords.\n\n> You take the dog\nThe dog growls at you, and refuses to be budged from the remains of its owner.\n\n> You tie the string to dog\nUnfortunately, the mourning dog doesn't seem to be too enthusiastic about that plan. It'd probably work on a smaller animal though.\n\n> You examine owner\nGS. YOU You see nothing special about the vaporised remains.\n\n> You take the remains\nTaken.\n\n> You go north\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see a crowbar here.\n\nThe mourning dog arrives from the south.\n\n> You put the remains in the skip\nNE POINT.]\n\n> >S\n\n> MUSeYou throw the vaporised remains into the skip.\n\nThe dog clambers into the skip to be closer to the remains.\n\n> You go east\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> You look at the ceiling\nAbove you is a very high ceiling!\n\nIn the high ceiling is a reticent bat.\n\n> You look at the bat\nThe bat is circling above you, apparently reticent about coming down.\n\n> Go north\nThe cloak room is musty and full of old coats.\n\n> You examine the coats\nWhich do you mean, the blue raincoat, the snakeskin coat or the ocelot coat?\n\n> You look at ocelot coat\nIt's a faux-fur ocelot coat, as revealing as it is tasteless.\n\n> You wear the ocelot coat\n(first taking the ocelot coat)\nYou put on the ocelot coat.\n\n> You remove ocelot coat\nYou take off the ocelot coat.\n\n> You examine the snakeskin coat\nONE POINT.]\n\n> >S\nThe coat is made of real snake skin. Best not show this to Kssshsss...\n\n> You examine the blue\nIt's a famous design, with an inside pocket.\n\n> You examine the pocket\nThe pocket is very spacious.\n\nIn the inside pocket is a pair of fox-fur gloves.\n\n> Inventory\nYou are carrying:\nan ocelot coat\na piece of string\na lizard whistle (being worn)\n\n> You drop the coat\n(the ocelot coat)\nDropped.\n\n> You examine gloves\nThe gloves are made of fox leather and lined with fox fur.\n\n> You search blue\nThe pocket is very spacious."
    },
    {
        "text": "[Themes: Humor, Source Code, slavery, based on songs, Museum, animals, dog]\n\n> Look around\nThe cloak room is musty and full of old coats.\n\nYou can see an ocelot coat here.\n\n> You wear the gloves\nYou put on the pair of fox-fur gloves.\n\n> Wear coat\n(the ocelot coat)\n(first taking the ocelot coat)\nYou put on the ocelot coat.\n\n> You go south\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> You go west\nAtrium\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see a crowbar here.\n\n> You put the gloves in the skip\n(first taking it off)\nYou throw the pair of fox-fur gloves into the skip.\n\n> You go east\nBack Corridor\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> You go east\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nA half-constructed whale skeleton hangs from the ceiling from long thin wires.\n\n> You look at the skeleton\nThe bones form the back end of a whale- mostly a rib cage and tail bones.\n\n> You look at the shelves\nThe shelves are stacked with banal pots and unfathomable ancient trinkets. On one of the shelves there's a pair of secateurs.\n\n> You examine the secateurs\nIt's a small pair of very sharp hand-shears, used for snipping or cutting things.\n\n> You take the secateurs\nTaken.\n\n> You cut the wire with the secateurs\nTH A SIGNIFICANTLY HIGH You snip the many wires that hold up the whale skeleton, and with the last one all the bones fall into a vast pile at your feet.\n\n> You examine the pots\nOne pot stands out as particularly significant. Not because of the design (a bland series of brown lines), but because of the massive stuffed dolphin sticking out of it.\n\n> You look at the dolphin\nIt's a small river dolphin, gently preserved for future generations to admire.\n\n> You drop the secateurs\nDropped.\n\n> You tie the string to whistle\nYou tie the piece of string to the lizard whistle.\n\n> You take the whale\nYou'll never be able to pick up the whale bones while you're carrying the stuffed dolphin."
    },
    {
        "text": "[Themes: Humor, dog, based on songs, Source Code, slavery]\n\n> Look around\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nThere's a pile of whale bones here.\n\nYou can also see a pair of secateurs here.\n\n> S trinkets\nYI only understood you as far as wanting to s the long thin wires.\n\n> You examine the trinkets\nThe holding room is full of the cultural detritus of ages. And pots. Lots of pots. Apparently, the only thing that consistently survives each era is a culture's equivalent to Tupperware.\n\n> You examine the tables\nThe low tables mostly just hold uninteresting pots, but one of them has a massive crate on it.\n\n> Examine crate\nIt's a massive crate with an Australian postage mark on the side- it's currently nailed shut.\n\n> Go west\nYou find yourself in a dingy back corridor with a plot relevant high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> You go to the west\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see a crowbar here.\n\n> You put the dolphin in the skip\n> BACK CORrYou throw the stuffed dolphin into the skip.\n\n> You go to the east\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> Go east\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nThere's a pile of whale bones here.\n\nOn a low table is a massive crate (closed).\n\nYou can also see a pair of secateurs here.\n\n> You examine the artefacts\nThe holding room is full of the cultural detritus of ages. And pots. Lots of pots. Apparently, the only thing that consistently survives each era is a culture's equivalent to Tupperware.\n\n> You pry the crate with crowbar\nYou pry open the crate, revealing a severely over-stuffed koala within.\n\n> You look at the koala\nThe taxidermist evidently had never seen a living koala, and so did not know when to stop stuffing the late marsupial. It's almost bursting at its clearly visible seams.\n\n> You hug the koala\nYou can only do that to something animate.\n\n> You take the koala\nYou give the koala a pull, but it's too overstuffed to remove.\n\n> You drop the crowbar\nDropped.\n\n> You cut the koala\nYou shear into the overstuffed koala, revealing a mound of treated straw bursting out of its abdomen.\n\n> You examine the straw\nThere's really so much more stuffing that you'd imagine could fit in a single koala.\n\n> You take the koala\nYou pull out the koala, revealing a slightly squashed stuffed echidna underneath.\n\n> You examine the echidna\nYIt's a slightly squashed prickly monotreme. Given that it's stuffed, it's not likely it'll lay eggs any time soon.\n\n> Examine crate\nYou've broken open the massive crate.\n\n> You drop the echidna\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nDropped.\n\n> You take the whale\nPRYED OPEN.\n\n> >p\nBack Corridor\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nThere's a pile of whale bones here.\n\nOn a low table is a massive crate (empty).\n\nYou can also see an over-stuffed koala, a pair of secateurs, a treated straw stuffing and a crowbar here.\n\nThe bones are very bulky but surprisingly light.\n\n> You drop the whale\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see a stuffed echidna here.\n\nDropped.\n\n> You take the koala\nBack Corridor\nYou find yourself in a dingy back corridor with a plot relevant high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nOn a low table is a massive crate (empty).\n\nYou can also see an over-stuffed koala, a pair of secateurs, a treated straw stuffing and a crowbar here."
    },
    {
        "text": "[Themes: Humor, dog, Museum, based on songs]\n\n> You look at your surroundings\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nOn a low table is a massive crate (empty).\n\nYou can also see a pair of secateurs, a treated straw stuffing and a crowbar here.\n\n> You drop the koala\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see a whale bones and a stuffed echidna here.\n\nDropped.\n\n> You put the koala in the skip\nCORRYOU THROW THe(first taking the over-stuffed koala)\n\nYou throw the over-stuffed koala into the skip.\n\n> You put the whale in the skip\n(first taking the whale bones)\n\nYou pick up the bones again.\n\nYou throw the whale bones into the skip.\n\n> You put the echidna in the skip\n(first taking the stuffed echidna)\n\nYou throw the stuffed echidna into the skip."
    },
    {
        "text": "[Themes: Humor, cat, slavery, based on songs]\n\n> Look around\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n> You go east\nBack Corridor\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> Go south\nThe office of the curator is mostly taken up by a huge painting of a giraffe. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nOn the small desk is a rock paperweight.\n\n> You examine paperweight\nIt's a pet rock. They were all the craze once: everyone wanted one.\n\n> You examine the painting\nA somewhat postmodern arrangement of orange and black splodges. You're fairly sure that the only animals harmed by the making of this painting were the human critics paid to look at it.\n\nYou hear some squeaking from somewhere in the room.\n\n> You tie the string around the rock\n(first untying the string)\n\nYou deftly untie the string.\n\nYou already have that.\n\nYou tie the piece of string to the rock paperweight.\n\n> You listen\nTO SOUtYou think you can hear some squeaking from behind the huge giraffe painting.\n\nYou hear nothing unexpected.\n\nThere's that squeaking again.\n\n> You take the painting\nIt's rather attached to the wall.\n\n> You examine the chair\nThe chair is huge and overstuffed, but it looks like it could easily be moved between places.\n\nOn the huge overstuffed chair is the resident cat.\n\n> Inventory\nYou are carrying:\na rock paperweight\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> You drop the paperweight\nDropped.\n\nYep, definitely some squeaking.\n\n> You go east\nMain Holding Room\nYou stand in a vast maze of shelves and low tables cluttered with all the pots and less interesting artefacts that haven't won a place in the public parts of the museum.\n\nOn a low table is a massive crate (empty).\n\nYou can also see a pair of secateurs, a treated straw stuffing and a crowbar here.\n\n> You take the secateurs and crowbar\npair of secateurs: Taken.\ncrowbar: Taken.\n\n> Go south\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nThe office of the curator is mostly taken up by a huge painting of a giraffe. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a rock paperweight here.\n\nYep, definitely some squeaking.\n\n> Pry painting with crowbar\nNE UP BY ONE POINT.]\n\n> >S\nTThe painting tears off the wall, landing in a torn heap on the floor."
    },
    {
        "text": "[Themes: Humor, Museum]\n\n> Look around\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a hole in the brickwork (in which is a family of shrews) and a rock paperweight here.\n\n> You examine the shrews\nThere's a small family of shrews living in the brickwork. The only thing you remember about shrews is that if you try to poison them, it only makes their bites fatal. And that might not be true.\n\n> You take the shrews\nPick them up with your unprotected hands?! They're vicious little biting things; it's not going to happen.\n\n> You drop the secateurs and crowbar\npair of secateurs: Dropped.\ncrowbar: Dropped.\n\n> You show shrews to cat\n(first taking the family of shrews)\nPick them up with your unprotected hands?! They're vicious little biting things; it's not going to happen.\n\n> You look at the cat\nThe cat is a rather fluffy tortoiseshell, insistent on following you around.\n\n> Inventory\nYou are carrying:\nthe resident cat\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> Pet cat\nThe cat purrs merrily as you pet her.\n\n> You put the cat in skip\nN HEAP ON THE FlYou throw the resident cat into the skip.\n\n> You take the gloves\nTaken.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> Go east\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nThe resident cat arrives from the west.\n\n> Go south\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a crowbar, a pair of secateurs, a hole in the brickwork (in which is a family of shrews) and a rock paperweight here.\n\nThe resident cat arrives from the north.\n\n> You wear the gloves\nYou put on the pair of fox-fur gloves.\n\n> You take the shrews\nPOINTS.]\n\n> >eTaken.\n\n> You examine the hole\nThere's a gaping hole in the crumbling brickwork.\n\nThe cat turns around three time, flops to the ground and falls asleep."
    },
    {
        "text": "[Themes: Humor, Source Code, cat, slavery]\n\n> Look around\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see the resident cat, a crowbar, a pair of secateurs, a hole in the brickwork (empty) and a rock paperweight here.\n\n> You examine the fridge\nIt's a small white box for keeping things cold.\n\n> You open the fridge\nYou open the fridge, and inside is a glass of milk, a regular trifle, a bunch of grapes and a vegan trifle.\n\n> You examine milk\nL, LANdIt's a cold glass of milk. From the smell, you'd say it might be goat's milk.\n\n> You look at regular\nIt's a three-tiered concoction of full-fat cream, ox gelatin jelly, and milk-powder-enriched sponge cake.\n\n> You look at the grapes\nJust a bunch of sad looking grapes.\n\n> You examine vegan\nIt's gluten and sugar free as well. You can only assume that it's made entirely from rice starch.\n\n> You take the milk and regular\nglass of milk: You're carrying too many things already.\nregular trifle: You're carrying too many things already.\n\n> You put the shrews in skip\nPOINT.]\n\n> >S\n\n> TTHE PaYou throw the family of shrews into the skip.\n\n> You put the gloves in the skip\n(first taking it off)\nYou throw the pair of fox-fur gloves into the skip.\n\n> You look at what you're carrying with you\nYou are carrying:\na bunch of grapes\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> Go east\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\n> You look at the bat\nThe bat is circling above you, apparently reticent about coming down.\n\n> You drop the grapes\nDropped.\n\n> Wait\nTime passes.\n\n> You go north\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a pair of secateurs, the resident cat, a crowbar, a hole in the brickwork (empty) and a rock paperweight here.\n\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\n> You go to the south\nCurator's Office\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a pair of secateurs, the resident cat, a crowbar, a hole in the brickwork (empty) and a rock paperweight here.\n\n> You take the milk and regular\nglass of milk: Taken.\nregular trifle: Taken.\n\n> You take the vegan\nYou're carrying too many things already.\n\n> Go north\nYou find yourself in a dingy back corridor with a plot relevant high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\n> You put the milk in the skip\nYou throw the glass of milk into the skip.\n\n> You put the trifle in the skip\nYou throw the regular trifle into the skip.\n\n> You take the cat\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a pair of secateurs, the resident cat, a crowbar, a hole in the brickwork (empty) and a rock paperweight here.\n\nYou pick her up and she miaows with minor concern.\n\n> You go west\nBack Corridor\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n> You put the cat in the skip\nIGH CEILING. THeYou throw the resident cat into the skip.\n\n> Wait\nTime passes.\n\n> Go east\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\n> You check your inventory\nYou are carrying:\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> Go south\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a pair of secateurs, a crowbar, a hole in the brickwork (empty) and a rock paperweight here.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You take the vegan and the rock\nTHE SKIP.\n\n> [YOUR SCovegan trifle: Taken.\nrock paperweight: Taken.\n\nThe resident cat arrives from the north.\n\n> Go north\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes here.\n\nThe resident cat arrives from the south.\n\n> You put vegan on the grapes\nPutting things on the bunch of grapes would achieve nothing.\n\nThe cat rubs against your legs.\n\n> You tie the string to the cat\n(first untying the string)\n\nYou want the string tied around the rock paperweight.\n\n> You throw the rock at the bat\nNo, that would be cruel.\n\n> Swing the rock\nThere's nothing sensible to swing here.\n\nThe cat purrs contently.\n\n> You tie the string to bat\nWith the string, you tie the bat to the rock, anchoring the poor bat to the rock.\n\n> Inventory\nYou are carrying:\na vegan trifle\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> You take the rock\nThat seems to be a part of the anchored bat.\n\n> You take the bat\nThe bat is too high to jump and catch from the ground.\n\n> You take the string\nYou want the string tied around the anchored bat.\n\n> You throw the coat at the bat\nNo, that would be cruel.\n\n> You check what you're carrying\nYou are carrying:\na vegan trifle\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\nThe cat stretches joyously."
    },
    {
        "text": "[Themes: Humor, animals, dog, based on songs]\n\n> Look around\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see the resident cat, a pair of secateurs, a crowbar and a hole in the brickwork (empty) here.\n\n> You check your inventory\nK You are carrying:\na rock paperweight\na vegan trifle\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\nThe cat rubs against your legs.\n\n> You eat vegan\nYou've already had lunch.\n\n> You cut the self\nThings aren't that dire yet.\n\nThe cat purrs contently.\n\n> You show the grapes to bat\n(first taking the bunch of grapes)\nYou're carrying too many things already.\n\n> You show the grapes to bat\n(first taking the bunch of grapes)\nThe reticent bat is unimpressed.\n\n> You show the vegan to bat\n.]\n\n> >UNDO\n\n> BACK COrThe reticent bat is unimpressed.\n\nThe cat stretches joyously.\n\n> Go north\nThe cloak room is musty and full of old coats.\n\nThe resident cat arrives from the south.\n\n> You take the coat\n(the ocelot coat)\nYou already have that."
    },
    {
        "text": "[Themes: Humor, slavery]\n\n> Look around\nThe cloak room is musty and full of old coats.\n\nYou can see the resident cat here.\n\n> Go south\nYou find yourself in a dingy back corridor with a plot relevant high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a bunch of grapes and a rock paperweight here.\n\nThe resident cat arrives from the north.\n\n> You show the snakeskin coat to the bat\nThe reticent bat is unimpressed.\n\nThe cat stretches joyously.\n\n> You show the bat to the cat\n> DROPPe(first taking the reticent bat)\nThe bat is too high to jump and catch from the ground.\n\nThe cat turns around three time, flops to the ground and falls asleep.\n\n> You wear the snakeskin coat\nYou put on the snakeskin coat.\n\n> You drop the snakeskin coat\n(first taking the snakeskin coat off)\nDropped.\n\n> You wear the gloves\nBAT)\n\n> THE BAt(first taking the pair of fox-fur gloves)\nYou put on the pair of fox-fur gloves.\n\n> You take the shrews\nTaken.\n\n> Go east\nYou find yourself in a dingy back corridor with an incredibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat, the resident cat, a bunch of grapes and a rock paperweight here.\n\n> You show the shrews to bat\nThe reticent bat is unimpressed.\n\n> You show regular to the bat\nHE CAT STRETCHES JOyThe reticent bat is unimpressed."
    },
    {
        "text": "[Themes: Humor, Museum, cat, Source Code, animals]\n\n> You look at your surroundings\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat, the resident cat, a bunch of grapes and a rock paperweight here.\n\n> You put regular and the shrews and the gloves in the skip\n>L\n\n> BACK CORRIDOR\n\n> YOU FIND YOURSELF IN A dregular trifle: You throw the regular trifle into the skip.\nfamily of shrews: You throw the family of shrews into the skip.\npair of fox-fur gloves: (first taking it off)\nYou throw the pair of fox-fur gloves into the skip.\n\n> You take the pork\nTaken.\n\n> You examine the skip\nIn the skip are a pair of fox-fur gloves, a family of shrews, a regular trifle, a glass of milk, a stuffed echidna, a whale bones, an over-stuffed koala, a stuffed dolphin, a mourning dog, some vaporised remains and a caribou head.\n\n> Go east\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat, the resident cat, a bunch of grapes and a rock paperweight here.\n\n> You show the pork to bat\nONE POINT.]\n\n> >S\nThe reticent bat is unimpressed.\n\n> You go to the south\nThe painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.\n\nYou can see a pair of secateurs, a crowbar and a hole in the brickwork (empty) here.\n\n> You open the fridge\nThat's already open.\n\n> You go north\nYou find yourself in a dingy back corridor with a significantly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat, the resident cat, a bunch of grapes and a rock paperweight here.\n\n> You cut the koala\n]\n\n> >S\n\n> THE You've already cut that!\n\n> You put the pork in skip\nYou throw the packet of pork scratchings into the skip.\n\n> Inventory\nYou are carrying:\na pair of secateurs\nan ocelot coat (being worn)\na lizard whistle (being worn)\n\n> You drop the ocelot\n(first taking the ocelot coat off)\nDropped.\n\n> You stand on the chair\nYou get onto the huge overstuffed chair.\n\n> You take the bat\nTriumphantly, you leap and grasp hold of the bat.\n\n> You tie the bat to the string\nWith the string, you tie the bat to the rock, anchoring the poor bat to the rock.\n\n> You take the cat\nING TO BeYou're carrying too many things already.\n\n> You check what you're carrying\nYou are carrying:\nthe resident cat\nan anchored bat\na lizard whistle (being worn)"
    },
    {
        "text": "[Themes: Humor, Museum, Source Code, slavery, cat]\n\n> You look around\nBack Corridor (on the huge overstuffed chair)\nYou find yourself in a dingy back corridor with an improbably high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat and a bunch of grapes here.\n\nOn the huge overstuffed chair you can see a pair of secateurs.\n\n> Go west\n(first getting off the huge overstuffed chair)\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see an ocelot coat here.\n\n> Go east\nYou find yourself in a dingy back corridor with an impossibly high ceiling. The way back to the atrium lies through the little door west. The main Holding Room opens up to the east, the curator's office is to south, while north sits a cloak room.\n\nYou can see a vegan trifle, a snakeskin coat and a bunch of grapes here.\n\n> You wear snakeskin\n(first taking the snakeskin coat)\nYou put on the snakeskin coat.\n\n> You go to the west\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see an ocelot coat here.\n\n> You put the bat in the skip\nNT.]\n\n> >S\n\n> THE YOuYou throw the anchored bat into the skip.\n\n> You put the cat in the skip\nYou throw the resident cat into the skip.\n\n> You look at the skip\nIn the skip are the resident cat, an anchored bat, a packet of pork scratchings, a pair of fox-fur gloves, a family of shrews, a regular trifle, a glass of milk, a stuffed echidna, a whale bones, an over-stuffed koala, a stuffed dolphin, a mourning dog, some vaporised remains and a caribou head.\n\n> You take the ocelot\nTaken.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You put the ocelot in the skip\nYou throw the ocelot coat into the skip.\n\nThe cat starts lapping at the milk, but then gets bored.\n\nThe cat climbs up the faux-fur ocelot coat, destroying it in no time at all.\n\n> You put the cat in the skip\n(first taking the resident cat)\n\nYou pick her up and she miaows with minor concern.\n\nYou throw the resident cat into the skip.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You enter the skip\n[YOUR SCOrYou climb into the skip.\n\n> Wait\nTime passes.\n\n> Go outside\nYou get out of the skip.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\nYou can also see the resident cat here.\n\n> You take the cat\n> THAT'You pick her up and she miaows with minor concern.\n\n> You enter the skip\nYou climb into the skip.\n\n> You drop the cat\nDropped.\n\n> You put the cat in the skip\nThe resident cat is already here.\n\n> Inventory\nYou are carrying:\na snakeskin coat (being worn)\na lizard whistle (being worn)\n\n> Blow whistle\nYou give the whistle a sharp blow, and in moments Patrisnake Ksshss arrives to survey the skip.\n\nHe finds you within the skip and smiles (snakes always smile) as he orders all the contents (including yourself) summarily destroyed.\n\nJust before you are incinerated, Kssshsss congratulates you on finding everything in the museum.\n\n> You exit\nYou get out of the skip.\n\nYou stand in a vast glass-ceilinged atrium. The main doors stand behind you to the south, in front is the rest of the museum. The part that you actually need to clear is through the little door to the back rooms, behind the information desk to the east. The portrait gallery opens off to the west.\n\nIn the centre of the atrium is a huge skip, (or garbage dumpster, if you're so inclined), into which you are to place all objects tainted with mammalian DNA, or direct organic bi-products of mammals. When the job is done, you need only blow the whistle you've been given, and Kssshsss will come and assess your execution of the task.\n\n> You put the snakeskin in the skip\nYou throw the snakeskin coat into the skip.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You take the cat\nP.\n\n> ATRIuYou pick her up and she miaows with minor concern.\n\n> You put the cat in the skip\nYou throw the resident cat into the skip.\n\n> Blow whistle\nYou give the whistle a sharp blow, and in moments Patrisnake Ksshss arrives to survey the skip.\n\n\"So,\" starts Ksssnsss, \"a magnificent performance, you have found all the mammalian items!\"\n\n\"But you're much too clever by half...\" he says, eating you whole. Lizards are not known for their appreciation of high-achievers.\n\n> Inventory\nYou are carrying:\na snakeskin coat (being worn)\na lizard whistle (being worn)\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You put the cat in the skip\nYou throw the resident cat into the skip.\n\nThe cat gets bored of being in the skip and jumps out.\n\n> You put the cat in the skip\n(first taking the resident cat)\n\nYou pick her up and she miaows with minor concern.\n\nYou throw the resident cat into the skip.\n\n> Blow whistle\nYou give the whistle a sharp blow, and in moments Patrisnake Ksshss arrives to survey the skip.\n\n\"So,\" starts Ksssnsss, \"a magnificent performance, you have found all the mammalian items!\"\n\n\"But you're much too clever by half...\" he says, eating you whole. Lizards are not known for their appreciation of high-achievers.\n\n> You go north\nThe rest of the museum has been cleared already, your job lies in the back room through the little door to the east.\n\n> You go south\nYou are greeted by a sunny day on the steps of the museum. The grand entrance looms up to the north, while steps radiate out in all other directions. Going in such directions would, of course, be highly forbidden.\n\nA dog is mourning here over the vaporised remains of its owner.\n\n> You go to the south\nYou really shouldn't stroll off from the museum: that is in direct violation of the commands of your lizard overlords.\n\n> Go south\nYou boldly stride beyond the confines of the museum, rebelling against your less-than-benevolent overlords."
    },
    {
        "text": "[Themes: Cartoon, Screen, Children's, cartoon, male protagonist, television]\n\nA Mini Text-Adventure Game\n\nToonesia is freeware. For information on the legal details of distributing it, please type \"legal\" at any command prompt.\n\nThanks to my beta-testers Lauren Sager, Mike Sager, and Michael Kinyon, and to Whizzard for some last-minute lifesaving and the occasional pun.\n\nAlthough this game is free, I would appreciate a postcard if you particularly enjoy it--or, at least, an e-mail note. My e-mail address is jacobw@cap.gwu.edu. My postal address is:\nJacob Weinstein\n10980 Wellworth Ave, Apt 306\nLos Angeles, CA 90024\n\n\n\nOooh, that rascally rabbit! You were out hunting him when he somehow got the jump on you, blindfolded you, and dumped you into a cell.\nWell, you'll show him. He'll be hasenpfefer by dinner tonight, or your name isn't Elmo Fuld.\n\nYou are in an utterly bare room. The walls are completely\nfeatureless, and there seems to be no way out. Drat that rabbit!\nYou see a purple crayon, a blindfold, and a note here.\n\n[Author's Note: Oooh, that rascally rabbit! You were out hunting him when he somehow got the jump on you, blindfolded you, and dumped you into a cell. Well, you'll show him. He'll be hasenpfefer by dinner tonight, or your name isn't Elmo Fuld..]"
    },
    {
        "text": "[Themes: Screen, Cartoon, Children's]\n\n> You look at the crayon\nIt's a short stub of purple crayon.\n\n> You examine the blindfold\nIt's a simple cloth blindfold.\n\n> You read the note\nDear Elmo,\nSorry I've had to lock you up like this, but I'm off to the Fifth Annual Festival of Carrots, and I can't have you chasing after me with a gun. There's no way out of here, so you won't be getting back to your mansion and your yacht anytime soon. But just in case you escape, I've placed your gun in a place you'll never get to.\nAin't I a stinker?\n\nSincerely yours truly,\nBud Bunny\n\n> You draw the door\nWhat do you want to draw it on?\n\n> You get the crayon\nTaken."
    },
    {
        "text": "[Themes: Children's, Cartoon, Screen, cartoon]\n\n> You take all\npurple crayon: Taken.\nblindfold: Taken.\nnote: Taken.\n\n> You draw the door on the wall\nSince all the walls look alike, you pick one at random and draw a bright purple door on it. Chuck Jones you're not, but it'll do. Unfortunately, in the process, you wear the crayon down to nothing.\n\n* * * Your score just increased by 1 point. * * *\n\n> You examine the door\nIt's closed.\n\n> You open the door\nOpened.\n\n> You examine the blindfold\nIt's a simple cloth blindfold.\n\n> About yourself\nYou look about the same as always.\n\n> You examine the cap\nIt's your trusty hunting cap. You haven't removed it since you first received it as a gift from your Uncle Chuck in 1935--not even to shower.\n\n> Exit\nYou are in a thick patch of towering redwoods. A path leads west, where the trees grow sparser, and south. Looming over you to the north is the tower in whose base you were so recently imprisoned. From the outside, you can see that the tower looks like a humungous carrot.\n\nOooooooh, you're going to get that rabbit.\nYou see a wooden sign here.\n\n> You read the sign\nIt looks like this wooden sign originally said \"Duck Season,\" but somebody crossed off the word \"Duck\" and wrote \"Rabbit.\" Then somebody else crossed off the word \"Rabbit\" and wrote \"Duck.\" In fact, the words \"Duck\" and \"Rabbit\" must have been written and crossed off a dozen times each. At the moment, the sign proclaims that it's duck season. This accursed interference in the rights of honest hunters like yourself is signed \"Bruce Babbit, Secretary of the Interior.\" Ooooh, that rascally Babbit!\n\n> You examine the trees\nThe trees look like trees, complete with branch-like branches and leafy leaves. Well, what did you expect?\n\n> Go west\nThe trees here are sparser, and the thick moss that covers the\nground seems to be fighting a losing battle with the desert that approaches from the north and the west. Paths lead east and southeast back into the forest.\nThe Tazmanian Devil is here, glaring furiously (and hungrily) at you from within the bars of a metal cage.\n\n> You examine the taz\nThe Tazmanian Devil is a real animal, not a copyright of a certain large corporation with lots of legal muscle. I can therefore mention it by name in this game. Unfortunately, if I were to describe a real-life Tazmanian Devil, you'd only be disappointed--they don't look like much. So, I won't describe the slavering beast before you. And if you assume that it has a boxy body attached to short thin legs, two large maniacal eyes set above a wide, drooling, sharp-fanged mouth, and brown fur all over, then YOU'RE violating copyright, not me. At any rate, the Tazmanian Devil is safely locked away within a sturdy metal cage.\n\n> You examine the cage\nIt's a sturdy metal cage. Inside it, and trying desperately to get out, is a Tazmanian Devil. Fortunately, it's closed. Through the bars, you can see what looks like a thin metal pipe--the top of a chimney, perhaps--protruding through the ground.\n\n> You examine the pipe\nIt looks like the top of a chimney.\n\n> Lock\nWhat do you want to lock?\n\n> Go southeast\nYou are standing deep within the woods. A thick roof of leaves\nblocks most sunlight from entering, and a thick wall of treetrunks blocks you from exiting in most directions. You can squeeze through to the north and the northwest, where the forest seems to grow less dense.\n\n> You examine the trees\nThe trees look like trees, complete with branch-like branches and leafy leaves. Well, what did you expect?\n\n> You climb the trees\nYou are Elmo Fuld, millionaire. You hire men to chop down trees and ship them to your processing plants. You do not climb them.\n\n> Go west\nYou stand on the cornered edge of a cliff, above a brown-and-grey-painted canyon that stretches down far enough to create a sort of vertical horizon. Pulling your eyes upward before the sight makes you topple over, you see a thin mesa jutting out of the depths of the canyon, a few hundred yards to your west. To your east is the edge of a forest that seems to be fighting a losing battle with the desert in which you stand.\n\n> You examine the canyon\nThe beautiful canyon stretches as far as you can see.\n\n> You look at the mesa\nThe thin mesa juts out of the canyon a few hundred yards to your west.\n\n> You go west\nYou stagger blindly in that direction.\n\nYou can't see anything with the blindfold on.\n\n> You remove the blindfold\nYou take off the blindfold, and look around...\n\nYou are standing in the middle of the air. There is nothing below\nyour feet.\n\nWell, more precisely,there is nothing IMMEDIATELY below your feet. Several thousand yards below your feet happens to be a canyon floor. Fortunately, we don't need to be too precise about these things, since the ground is going to be immediately below your feet in just a few moments. And shortly after that, you are going to be just below the ground. Have a nice trip.\n\nSuddenly, it occurs to you that you are standing in mid-air with no means of support. After plummetting downward for a full thirty seconds, you encounter the rough desert sand below. After plummetting through the rough desert sand for a full half hour, you come to a complete stop. Fortunately, as a 'toon, you can't be killed by the fall. Unfortunately, your chin is relocated to within half an inch of your ankle, leaving you no room to hold your gun and making future hunting impossible. Looks like that rascally rabbit has finally gotten rid of you for good.\n\n> You go to the west\nYou stagger blindly in that direction.\n\nYou can't see anything with the blindfold on.\n\nSuddenly, it occurs to you that you are standing in mid-air with no means of support. You plummet rapidly downward and land with a crash.\n\n> You remove the blindfold\nYou take off the blindfold, and look around...\n\ndirection would send you plummeting to an untimely end. The cliff that surrounds the canyon approaches from infinity to the northwest and southwest, coming to a point a few hundred yards to your west. From here, you can see another small ledge clinging to the side of the cliff about twenty yards below the point where the two cliff walls meet.\nYou see a gun here.\n\n> You examine the gun\nIt's your trusty gun. You've missed many a fine specimen with it.\n\n> You take the gun\n* * * Your score just increased by 1 point. * * *\n\nTaken.\n\n> You get the gun\nYou already have your gun!\n\n> Fire gun\nYou fire your gun in the air with a satisfying KABOOM, sending a huge puff of smoke out of the barrel. Being a toon gun, it immediately reloads itself.\n\n> You listen\nWhat do you want to listen to?"
    },
    {
        "text": "[Themes: Screen, Children's, Cartoon]\n\n> You look at your surroundings\ndirection would send you plummeting to an untimely end. The cliff that surrounds the canyon approaches from infinity to the northwest and southwest, coming to a point a few hundred yards to your west. From here, you can see another small ledge clinging to the side of the cliff about twenty yards below the point where the two cliff walls meet.\n\n> You go east\nYou stagger blindly in that direction.\n\nYou can't see anything with the blindfold on.\n\n> You take off the blindfold\nYou take off the blindfold, and look around...\n\nYou are in a comfortable and cozy rabbit warren, lit dimly by the\nlight that filters in from the hole to your west. There are a few scattered pieces of battered furniture here, including an overstuffed sofa and a large wooden wardrobe, as well as some pictures nailed into the dirt walls. Against one wall is a kitchenette: a stove, a refrigerator, and a table.\n\n> Go west\ncliff walls. It's just wide enough to keep gravity's dirty paws off you. To your west, several hundred yards away, you can see a narrow mesa. A hole leads east, into the cliff face.\n\n> Go east\nYou are in a comfortable and cozy rabbit warren, lit dimly by the\nlight that filters in from the hole to your west. There are a few scattered pieces of battered furniture here, including an overstuffed sofa and a large wooden wardrobe, as well as some pictures nailed into the dirt walls. Against one wall is a kitchenette: a stove, a refrigerator, and a table.\n\n> You examine the pictures\nThe pictures include a photo of Bud Bunny at a party with Chuck Jones, Fritz Freleng, Tex Avery, and Mel Blanc; a reproduction of the famous painting, \"The Assumption of St. Peter Rabbit;\" and an autographed photo of Dick Cavett. Seeing the last of these reminds you of the humiliation you suffered as a guest on his show; unbeknownst to you, the talk show host had arranged for your fellow guests to be the president of Handgun Control, Inc, and the vice-chairman of People for the Ethical Treatment of Animals. Ooooh, that rascally Cavett!\n\n> You examine the fridge\nThe refrigerator is closed.\n\n> You open it\nOpening the refrigerator reveals a lettuce sandwich and a steak.\n\n> You take all from the fridge\nlettuce sandwich: Taken.\nsteak: Taken.\n\n> You close the fridge\nClosed.\n\n> You examine table\nIt's an unpretentious wooden table.\n\n> You examine the steak\nIt's a big, succulant, raw hunk of meat.\n\n> Examine sandwich\nIt's a piece of lettuce between two slices of carrot bread.\n\n> You examine the stove\nIt's a simple stove, consisting of a metal surface and an on-off switch. A metal chimney above the cooking surface helps get rid of cooking smells.\n\n> You look at the chimney\nIt's a narrow metal chimney, meant to help remove cooking odors from the warren.\n\n> You examine the wardrobe\nLooking closely at the wardrobe, you see that it seems to have been carved out of a large treetrunk that has sunk deep into the walls of the warren. Currently, the wardrobe is closed.\n\n> You open the wardrobe\nOpening the large wooden wardrobe reveals a Hawaiian shirt, a baseball cap, and a cologne bottle.\n\n> You examine the shirt\nThis is a large, bright Hawaiian shirt. Amongst the loud colors is a logo that says, \"Hotel Wakalakamakakadasakikikaki.\"\n\n> You get all from the wardrobe\nHawaiian shirt: Taken.\nbaseball cap: Taken.\ncologne bottle: Taken.\n\n> You examine the cap\nWhich cap do you mean, the hunting cap, or the baseball cap?\n\n> Baseball\nIt's a Brooklyn Dodgers cap.\n\n> You wear all\nhunting cap: You're already wearing the hunting cap!\nblindfold: Okay, you're now wearing the blindfold.\nnote: You can't do anything with the blindfold on.\nyour gun: You can't do anything with the blindfold on.\nlettuce sandwich: You can't do anything with the blindfold on.\nsteak: You can't do anything with the blindfold on.\nHawaiian shirt: You can't do anything with the blindfold on.\nbaseball cap: You can't do anything with the blindfold on.\ncologne bottle: You can't do anything with the blindfold on.\nbattered furniture: You can't do anything with the blindfold on. kitchenette: You can't do anything with the blindfold on.\n\n> You examine bottle\nAccording to the label, the orange liquid inside is \"Eau de Carrotte.\"\n\n> You look at the sofa\nThe sofa is covered with a garish carrot-patterned fabric.\n\n> You turn on the stove\nYou turn on the stove, and it heats up instantly.\n\n> You put the steak on the stove\nThe steak begins to sizzle as soon as it hits the metal surface of the stove. Within moments, a delicious smell begins to fill the room. As you watch the smell waves waft up through the metal chimney, you hear what sounds like a dentist's drill begin to whir above your head. Suddenly, a sizable chunk of the dirt ceiling collapses about you and a giant slobbering blur descends into the room. When the blur stops whirling, you realize that it is the Tazmanian Devil. It grabs the steak from the stovetop and begins wolfing it down. You estimate that you have a couple of seconds before it finishes the steak and notices you.\n\n* * * Your score just increased by 1 point. * * *\n\n> Go upwards\nThe Tazmanian Devil is standing directly beneath the hole that he made when he came in. There's no way you can go up without climbing on him, and something tells you he wouldn't like that.\n\nThe Tazmanian Devil has eaten about half of the steak by now.\n\n> You give the cap to Devil\nThe Tazmanian devil accepts the baseball cap, nearly biting your fingers off in the process. In a moment, the baseball cap has vanished down its throat.\n\n> You climb the chimney\nI don't know how to climb the metal chimney.\n\nThe Tazmanian Devil has eaten almost all the steak. At any moment, he's going to finish it up and start looking for something else to eat.\n\n> Shout\nYour throat is a bit sore now.\n\nThe Tazmanian Devil has eaten almost all the steak. At any moment, he's going to finish it up and start looking for something else to eat.\n\n> You wear the cologne\nYou splash some cologne on yourself.\n\n> You look at what you're carrying with you\nYou have a hunting cap (being worn), a blindfold, a note, a gun, a lettuce sandwich, a Hawaiian shirt (being worn), a baseball cap, and a cologne bottle.\n\nWith a final slobbering gulp, the Tazmanian Devil swallows the last of the meat. He lets out a belch and, for one brief moment, appears sated. Then the moment passes, and his huge head swivels around, his hungry eyes coming to focus on you.\n\n> You wear the sandwich\nYou can't wear the lettuce sandwich.\n\nWith a final slobbering gulp, the Tazmanian Devil swallows the last of the meat. He lets out a belch and, for one brief moment, appears sated. Then the moment passes, and his huge head swivels around, his hungry eyes coming to focus on you.\n\n> You pull the table\nPulling the table doesn't have any effect.\n\nWith a final slobbering gulp, the Tazmanian Devil swallows the last of the meat. He lets out a belch and, for one brief moment, appears sated. Then the moment passes, and his huge head swivels around, his hungry eyes coming to focus on you.\n\n> You give sandwich to the taz\nThe Tazmanian Devil sniffs the sandwich, then growls menacingly at you. Evidently, it doesn't like vegetables.\n\nWith a final slobbering gulp, the Tazmanian Devil swallows the last of the meat. He lets out a belch and, for one brief moment, appears sated. Then the moment passes, and his huge head swivels around, his hungry eyes coming to focus on you.\n\n> You wait for a while\nTime passes...\n\nThe Tazmanian Devil lunges for you and, with a few swift bites, swallows you. As you stew helplessly in his stomach, you find yourself wishing that 'toons weren't quite so indestructable.\n\n> You pour cologne on the taz\nThat would be unwise.\n\nWith a final slobbering gulp, the Tazmanian Devil swallows the last of the meat. He lets out a belch and, for one brief moment, appears sated. Then the moment passes, and his huge head swivels around, his hungry eyes coming to focus on you.\n\n> You wear the cologne\nYou splash some cologne on yourself.\n\nThe Tazmanian Devil lunges for you. As he flies through the air toward you, he suddenly catches a whiff of your carrot cologne. He stops in mid-air and hangs there for a moment, looking confused. Then he crashes to the ground. He gets up and lumbers over to you, sniffing you closely. Evidently, he doesn't like what he smells, for he lets out an outraged bellow and then whirls out the hole in the ceiling, presumably in search of more meat.\n\n* * * Your score just increased by 1 point. * * *\n\n> Go upwards\nYou climb on the table and clamber through the hole.\n\nYou are inside a sturdy metal cage. A rough-hewn hole leads\ndownward. The trees surrounding the cage are sparse, and the thick moss that covers the ground seems to be fight a losing battle with the desert that approaches from the north and the west.\n\n> You open the cage\nYou can't. It seems to be locked.\n\n> Unlock cage\nYou unlock the cage door.\n\n> You look at the cage\nYou are in a sturdy metal cage. Currently, it's closed.\n\n> You open cage\nYou open the cage door.\n\n> You examine the cage\nYou are in a sturdy metal cage. Currently, it's open.\n\n> Go outside\nThe trees here are sparser, and the thick moss that covers the\nground seems to be fighting a losing battle with the desert that approaches from the north and the west. Paths lead east and southeast back into the forest. A large metal cage stands empty here.\n\n> Go north\nYou stand in the middle of a huge desert, north of a stand of struggling trees and west of a deep cave. As you stand staring into the vast darkness that lies within the cavern, a strange smell on the wind makes your nose twitch. You pause for a moment and recognize it. It's the smell of wealth.\nDizzy Duck is here, rubbing his hands with greedy glee.\n\n> You give the cap to Duck\n\"No, thankth, my dear thir.\"\n\n> You look at Daffy\nThere is no \"Daffy Duck\" in this game--only \"Dizzy Duck.\" Are you trying to get me in trouble?\n\n> You look at dizzy\nDizzy is a daffy-looking duck. Currently, he's running his hands through a wheelbarrow full of jewels.\n\n> Smell\nWhat do you want to smell?\n\n> You examine the jewels\nYou don't have a chance to examine the vast array of glittering jewels because Dizzy throws himself across the wheelbarrow as soon as he sees you eyeing them. \"Don't even think about it,\" he sputters.\n\nDizzy lunches into an off-key rendition of \"Hello, My Ragtime Gal.\"\n\n> You take the jewels\nAs you reach for the jewels, Dizzy floors you with a right wing to the jaw that lays you out flat. \"Thorry, bub,\" he says, as little birdies momentarily fly around your head. \"Don't know what came over me.\"\n\n> You shoot dizzy\nAs you raise the gun, Dizzy sticks his finger in the barrel. \"Thorry, Charlie, it'th rabbit theathon.\" Embarrassed, you lower the gun.\n\n> Go south\nThe trees here are sparser, and the thick moss that covers the\nground seems to be fighting a losing battle with the desert that approaches from the north and the west. Paths lead east and southeast back into the forest. A large metal cage stands empty here.\n\n> Go east\nIt looks like this wooden sign originally said \"Duck Season,\" but somebody crossed off the word \"Duck\" and wrote \"Rabbit.\" Then somebody else crossed off the word \"Rabbit\" and wrote \"Duck.\" In fact, the words \"Duck\" and \"Rabbit\" must have been written and crossed off a dozen times each. At the moment, the sign proclaims that it's duck season. This accursed interference in the rights of honest hunters like yourself is signed \"Bruce Babbit, Secretary of the Interior.\" Ooooh, that rascally Babbit!\n\nYou can't go that way.\n\n> You get the sign\nYou already have the wooden sign!\n\n> You go south\nYou are standing deep within the woods. A thick roof of leaves\nblocks most sunlight from entering, and a thick wall of treetrunks blocks you from exiting in most directions. You can squeeze through to the north and the northwest, where the forest seems to grow less dense.\n\n> You show the sign to duck\nDizzy sticks his finger in the barrel of your gun and grins cockily at you. \"You thee, thir, you can't thyoot a duck in rabbit--\" Then he looks once again at the sign you're carrying and turns as pale as he can, considering that he's covered with jet-black feathers. \"Oooh, that rabbit. He'th dethpicable!\" In a swift blur, Dizzy vanishes, taking the wheelbarrow full of jewels with him. Moments later, he returns, crosses out the word \"Duck,\" replaces it with \"Rabbit,\" and, just to be on the safe side, vanishes again.\n\n* * * Your score just increased by 1 point. * * *"
    },
    {
        "text": "[Themes: Screen, Children's, Cartoon, cartoon]\n\n> You look at your surroundings\nYou stand in the middle of a huge desert, north of a stand of struggling trees and west of a deep cave. As you stand staring into the vast darkness that lies within the cavern, a strange smell on the wind makes your nose twitch. You pause for a moment and recognize it. It's the smell of wealth.\n\n> You go east\nAs you enter the mine, you hear a rumbling from deep within. Suddenly, a bump appears on the eastern edge of your vision. It rapidly extends itself west, becoming a thick ridge that runs out the door.\n\nYou are inside a vast cave that vanishes into darkess on all sides, except for the entrance to the west. The lush carpet of wealth contained herein is enough to make even you, Elmo Fuld, millionaire, gasp. A narrow beam of sharp desert light flows in from outside and reflects off a ruck of rubies, from where it bounces off into brood of beryl, heads for a heap of heliotrope, crashes into a clot of carnelian, hurries to a hunk of hyacinth, bashes into a battillion of bloodstone, careens into a cohort of carbuncle, makes for a murmuration of moonstone, and, completely zonked, catches some z's in a crowded zareba of cubic zirconium.\nYou see a ancient lamp and a ridge in the ground running from east\nto west here.\n\n> You examine the lamp\nIt's an oil lamp. Through the thick tarnish that has covered the lamp's bronze surface in the ages since it was created, you can see intricate Arabian swirls, gracefully etched.\n\n> You look at the ridge\nThe ridge is a thick lump in the ground, running from east to west.\n\n> You rub lamp\nYou rub the lamp, removing a little bit of tarnish. Nothing else happens.\n\n> You rub lamp\nNothing happens.\n\nSuddenly, a thick plume of smoke bellows out of the mouth of the lamp. When it clears, a magnificent genii stands before you. He starts out huge, with a massive purple turban crowning an Easter-Island-sized head, and tapers down through his massive shoulders, his muscular torso, his trim waist, his slender legs, his narrow knees, and his pin-sized ankles, which are crammed into the mouth of the lamp above which he floats.\n\"Sorry I'm a little late,\" he says. \"I was on another line.\nAnyway, you've rescued me from my eternal prison, therefore I'm honor bound to give you three wishes, yadda yadda yadda. So, what do you want? Bet you were going to ask for a magic helmet, weren't you?\" He tosses you one. \"This helmet gives you command of the east and west winds. Just say 'west winds, blow' or 'east winds, blow' and they'll do so. Neat, huh? OK, what else do you want? If you don't say anything, I'll assume you don't want any more wishes and I'm free to go about my business.\" He pauses for an infinitesimal fraction of a second. \"OK. I guess you don't want anything. Always a pleasure to meet somebody so contented with his lot. Ta ta.\" In another puff of smoke, he vanishes, leaving you clutching the helmet.\n\n* * * Your score just increased by 1 point. * * *\n\n> You look at it\nIt looks like something out of a Wagner opera.\n\n> You take the jewels\nAs you reach down to pick up a gem off the huge pile, you recall something your accountant said to you yesterday: \"Mr. Fuld, right now, you're in the nine-nine-point-nine-percent tax bracket. If your value increases by more than a thousand dollars before the end of the fiscal year, you'll be in the one hundred percent bracket, and you'll have to give everything you own to the government.\" Since any one gem in this mine would be worth several thousand at least, you realize that your tax bracket prevents you from taking anything out of here (except that obviously worthless old lamp).\n\nOooh, that rascally bracket!"
    },
    {
        "text": "> Look around\nYou are inside a vast cave that vanishes into darkess on all sides, except for the entrance to the west. The lush carpet of wealth contained herein is enough to make even you, Elmo Fuld, millionaire, gasp. A narrow beam of sharp desert light flows in from outside and reflects off a ruck of rubies, from where it bounces off into brood of beryl, heads for a heap of heliotrope, crashes into a clot of carnelian, hurries to a hunk of hyacinth, bashes into a battillion of bloodstone, careens into a cohort of carbuncle, makes for a murmuration of moonstone, and, completely zonked, catches some z's in a crowded zareba of cubic zirconium.\nYou see a ridge in the ground running from east to west here.\n\n> You go east\nYou take a step into the vast darkness of the mine, but you realize that, without a light source, you risk plummeting into an unseen shaft. Better not risk it.\n\n> Blow\nThe East Winds blow furiously for a moment, then subside.\n\n> Go west\nYou stand in the middle of a huge desert, north of a stand of struggling trees and west of a deep cave. As you stand staring into the vast darkness that lies within the cavern, a strange smell on the wind makes your nose twitch. You pause for a moment and recognize it. It's the smell of wealth.\nYou see a ridge in the ground running from west to south here.\n\n> You smell wealth\nI don't understand that sentence.\n\nI don't see any wealth here.\n\n> Go south\nThe trees here are sparser, and the thick moss that covers the\nground seems to be fighting a losing battle with the desert that approaches from the north and the west. Paths lead east and southeast back into the forest. A large metal cage stands empty here.\nYou see a ridge in the ground running from north to east here.\n\n> Go east\nYou are in a thick patch of towering redwoods. A path leads west, where the trees grow sparser, and south. Looming over you to the north is the tower in whose base you were so recently imprisoned. From the outside, you can see that the tower looks like a humungous carrot.\n\nOooooooh, you're going to get that rabbit.\nYou see a ridge in the ground running from west to south here.\n\n> You go south\nYou are standing deep within the woods. A thick roof of leaves\nblocks most sunlight from entering, and a thick wall of treetrunks blocks you from exiting in most directions. You can squeeze through to the north and the northwest, where the forest seems to grow less dense. There's a hole in the ground, but it's too narrow for you to fit through.\nYou see a ridge in the ground running from the south and ending in a hole here.\nBud Bunny is here.\n\n\"It's so thoughtful of you not to have shot me yet,\" Bud says. \"I could just kiss you.\" He throws his furry arms around you, plants a huge kiss on your lips, and then goes back to scrutinizing his map.\n\n> You examine the map\nIt's a large map of the United States, covered with an elaborate route marked in purple crayon.\n\n> Blow\nThe West Winds blow furiously for a moment, then subside.\n\n\"It's so thoughtful of you not to have shot me yet,\" Bud says. \"I could just kiss you.\" He throws his furry arms around you, plants a huge kiss on your lips, and then goes back to scrutinizing his map.\n\n> You examine Bud\nLike all rabbits, Bud is buck-toothed, big-eared, and roughly six feet tall.\n\n> You shoot bud\nAs you raise the gun, Bud sticks his finger in the barrel. \"Sorry, Doc, it's duck season.\" Embarrassed, you lower the gun.\n\n> You show the sign to Bud\nBud looks at the sign, blinks for a moment, and then says \"If you'll excuse me, I believe I've left a pot on the boil.\" Before you can react, he leaps in the air, executes a neat flip, and dives headfirst into the hole.\"\n\n* * * Your score just increased by 1 point. * * *\n\n> You examine the hole\nIt's a narrow dark hole.\n\nSuddenly, like Venus arising from the waves, a vision of loveliness pops out of the hole. She has the largest curves, the sweetest breath, and the merriest eyes you've ever seen, all combined into one six-foot-tall package. And, most attractive of all, the has a thick mane of beautiful blond hair. You are overcome with love and desire. You can think of nothing better than wedding her and devoting the rest of your life to making her happy, even if she does have buck teeth and big floppy ears. \"Eh, what's up, dear?\" she asks, in a faintly Southern lilt.\n\n> Kiss woman\nThe woman slaps you. \"Not on the first date!\" she says.\n\n> Blow\nThe West Winds blow fiercely for a moment, setting the woman's beautiful blond hair just a little bit askew. You stare at it suspiciously as you realize it may be a wig--but you decide that, unless the hair comes off completely, you will trust your newfound love.\n\n> Blow\nThe East Winds blow fiercely, ripping the woman's beautiful blond hair off entirely. As it goes sailing off into the distance, you realize with a shock that this vision of loveliness is none other than Bud Bunny. Oh, cruel, cruel fate! Oh, to have love so near, then snatched away! Ooooh--in short-- that rascally rabbit!\n\n* * * Your score just increased by 1 point. * * *\n\n> You shoot bud\nYou lift the gun to shoot Bud. He stands bravely at attention. \"Go ahead, shoot me, Doc,\" he says. \"I don't deserve to live.\" As you are about to pull the trigger, a single tear cascades down his cheek, smudging his mascara and making you hesitate for a moment, gun in mid-air.\n\n> You shoot bud\nYou steel your nerve to pull the trigger. \"What are you waiting for, Doc?\" Bud asks you. \"Just shoot. Try not to think about the wife and fifteen little ones whose lives depend on me.\" You pause. Can you really make fifteen litte ones starve just so you can dine on hasenpfefer?\n\n> You shoot bud\nAll right. This time you're going to do it. As your finger tenses on the trigger, Bud, who has been quietly sniffling, suddenly breaks out into full fledged tears. \"Go ahead, Doc,\" he bawls. \"Put me out of my misery. Put a bullet in my brain. Forget about all laws of human kindness, I beg you, and shoot me. What does it matter if you'll be hated, mocked, ostracized, even, for shooting a helpless beast? You'll be doing me a favor. Surely you're not so selfish as to condemn me to a lifetime of guilt over my cruel trick just because you'll have to endure a lifetime of humilation for shooting me.\" You stop and consider the image that Bud has painted for you. Is a single meal worth destroying your life?\n\n> Yes\nThat was a rhetorical question.\n\n> You shoot bud\nDrat that rabbit! He's just playing with your mind. Well, you're going to shoot him. You close your eyes so you can't see his tears. You pull down your hunting cap over your ears so you can't hear his sobs. You raise the gun and pull the trigger--but at that very moment, the game warden runs up and knocks the gun out of your hands. As you open your eyes and stare at him in frustration, he shrugs. \"Sorry, Mr. Fuld. It's now roadrunner season. If you had only fired a few minutes earlier...\"\n\"Bud's tears vanish in an instant. \"Sorry about that, Doc,\" he\nsays, grabbing your hand and shaking it wildly up and down. \"Better luck next season. Good luck hunting roadrunners. Been a pleasure doing business with you. Ta ta. Don't forget to write. Don't let the bedbugs bite. Don't take any wooden nickles. Look both ways before crossing the street. Say hi to the missus for me.\" With that, he strides off, leaving you to fume for yet another year.\n\n* * * Your score just increased by 2 points.* * *\n\nIn a total of 161 turns, you have achieved a score of 10 points out of a possible 10.\nThis makes you Worthy Of The Memory of Mel Blanc.\nThanks for visiting Toonesia. Th-th-th-that's all, folks!\n\nWell, what did you expect in a cartoon--a satisfying ending?"
    },
    {
        "text": "[Themes: Fantasy, nonhuman protagonist, moon]\n\nNobody told you stardom would be this boring. You thought the five-year wait just to get into the sky was bad, but at least you had an earth to occupy yourself with, humans doddering around like dust - rather amusing dust. You haven't seen humans on the moon in forever. You've seen nothing, in fact, but the same dull rocks in the same musty craters, and the stars who made it to the sky saying don't worry, it'll be your turn soon, everyone gets their chance, stay pretty, you should really shine more.\n\nYou have to admit, though, he was right. Your turn came. A leap second, your time to plunge off this rock into their sky, stop clocks, fulfill a few wishes if you have to, and dazzle everyone who watches - that, or miss the landing and live the rest of your life swaddled by a cold ocean. Your debut: all the stars do it.\n\nThe sky is cold. Midnight is soon. Leap time.\n\nWell, it's private, at least. They assured you of this. It's a crumbly gray hole dug into a gray field, yes, and the air's choked with dust. You can't move without kicking up a new cloud and blinding yourself for a few seconds, not that there'd be much to miss. But at least people can't see you here. Even if someone down below were to look at the sky when you were out of your trench, they'd merely see a shiny speck. Windows get them all the time. Nothing to dwell upon.\n\n> You look at myself\nThey could have given you more time to prepare. The fringe in your hair is all knotted and doesn't resemble clouds or gossamer so much as lint strings.\nYour wings are all wrong; against even the slightest breeze they'd split like tissue. Your face is clouded over with that miserable moon dust. It still shows, no matter how much iridescent paint you use. Fortunately, humans aren't star connoisseurs.\n\n> You examine the dust\nYou live in this: gray filth which gets into everything and makes it dull.\n\n> You look at the wings\nThey give every star a pair of wings - ornaments, yes, but the useful kind. They glisten when you flap them; from below, it looks like twinkling. A neat trick, that. Unfortunately, your time came before you could grow them out enough. You can only glow a little bit.\n\n> Glow\nYou flutter your wings a bit, working up a pretty glow, then immediately worry. What if someone saw you? The moon isn't supposed to shine like this, not even on New Year's.\n\n> You fly\nYou lift your wings and, with painstaking effort, flap into the air. You're horribly out of practice, though, and without any real reason to hang around in the sky, are forced to touch down.\n\n> Sleep\nIf a star fell asleep, she'd quickly burn holes through her skin. So they don't.\n\n> Sing\nStars sing beautifully in movies, but Hollywood didn't take into account that vocal muscles atrophy just like everything else. You sound more like a dying yak than an angel.\n\n> Xyzzy\nYou whisper the magic word, eliciting not even so much as a shudder from your wings. But then, you expected that. You're the magical thing; you don't get to use it yourself.\n\n> Dance\nYou waddle back and forth, waving your wings in a parody of dancing.\n\n> You think\nVisions of planetary collisionsswim through your head.\n\n> You wait\nTime passes."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nWell, it's private, at least. They assured you of this. It's a crumbly gray hole dug into a gray field, yes, and the air's choked with dust. You can't move without kicking up a new cloud and blinding yourself for a few seconds, not that there'd be much to miss. But at least people can't see you here. Even if someone down below were to look at the sky when you were out of your trench, they'd merely see a shiny speck. Windows get them all the time.\n\n> Up\nYou flutter out of the crater, mussying your streamers a bit on the dust walls.\n\nThey name everything up here like they would down below. So this area, silent and blank in all directions, they call a field, despite the lack of vegetation. There's nothing around under the horizon but gray dirt, and flat sky, and you. The only thing breaking the monotony is something raised to the west, and your crater, a few steps away. Above you, stars stand in their places, too far away to recognize; looming in front of them all is the earth, almost close enough to touch. There's no coverage from it; anyone could see you from there, a shiny speck tossed into the dust like something misplaced.. Perhaps people won't mind. The moon is shining awfully bright tonight, they'll say, resuming their affairs, your light as sanction. It's the night for it.\n\n> You examine the earth\nYou expected it to be more spherical, but it's not; more like the cross-section of an egg. A lot smaller than you thought, too, and less blue. It doesn't give you much hope for your landing, that's for sure.\n\n> You look at the stars\nThe lucky ones who succeeded in their leap and earned their place in the sky, to shine forever for all to see. You fight back a pang of jealousy.\n\n> You go west\nThe field parts here, unexpectedly, to accommodate a small platform. They call it a mesa, the geographical term, but there's nothing natural about it. The slope leading up is too carved, too precise, and the edges are cut too well against the night sky. It seems to repel everything; the dust is gathered in a moat around it, the craters leave a perimeter, and even the stars duck away from it. It's a clear jump, from there, up to the earth. Or so the others say. Your site continues a ways to the east.\n\n> Leap\nYou arch your back, just like they taught you, lift your arms, face, chest, and leap, but you can't get enough height. Maybe if there was something to stand on.\n\n> You stand on the mesa\nYou flutter up onto the center of the pad. The sky looks so much... bigger from up here.\n\n> Leap\nThey told you the first leap would be the hardest; you'd get used to it, it'd be easy. Small comfort; the more you look at the earth, the more it seems to scoot away, taunting you. Now or never, you guess. You arch your back, just like they taught you; lift your arms, face, chest; bend your knees, throw back your head, breath held and hands upon air; close your eyes, and leap.\n\nThe fringe on your head flares, catches the air, and you expand, lurching over the back of gravity and plummeting up, past the atmosphere, past gray and black and down into blue, clouds, tumbling, every part of you doused with glitter. It must look pretty from down there.\n\nBut they never mentioned this much tumbling, actually. They never told you what clouds could do. You didn't know they could bruise, or rattle you, or do anything, really, but hang static in the sky. It isn't working, you think, you're out of formation, you can't correct yourself or slow the descent. You don't have a star's chance in a black hole of surviving and there are buildings on your eyes.\n\n> Scream\nYou look around. Desolate. Nothing but a building and the sky you came from. You landed, but there's something itching at your back. Getting to your feet, you realize its source. You lost a wing coming down. You can't fly back without it. Wishes are out of the question, too - if anyone sees you like this, tattered and sore, it's over. Something else is strange, too. You feel it under your feet, something too supple below the ground. The earth isn't spinning like it should, and it's probably your fault. You've got to get back into the sky before they decide to kick you out of orbit.\n\nEarth looked so much more... verdant from above. You'd forgotten that beneath the pearl blue and clouds, it looks more like this: square buildings stacked on concrete like boxes in a garage. The ground is cracked, as are the bricks of the building. Puddles have collected by the cracks, grayer than water should be. A sign by a metal door reads ~TRUCKS ONLY~, but it's far too late for any to be around; the door's closed anyway. Power lines stretch across the air, parceling off the stars lucky enough not to be here. In the distance, you see some dumpsters to the west. All in all, you'd prefer the bottom of the ocean.\n\n> You examine the wings\nThey give every star a pair of wings - ornaments, yes, but the useful kind. They glisten when you flap them; from below, it looks like twinkling. A neat trick, that. You've lost one of yours, though, and the other one isn't looking so great. Twinkling is out of the question.\n\n> You examine the door\nOne of those industrial doors that roll up and down, made of metal plates.\n\n> You open the door\nThat's already open.\n\n> You enter the building\nThere's no way in except the door, and it's firmly shut.\n\nEverything's too still. The trees, the buildings, even the air. How much time was supposed to have passed by now?\n\n> You look at the puddles\nIt must have rained earlier. It'd explain all these puddles, still on the ground and leaving no crack empty.\n\n> You go west\nSome powdery stardust spills from your fringe as you walk.\n\nNothing accentuates dingy concrete and abandoned buildings quite like dumpsters. There are three of them, and their odor hangs ripe in the air. The lot is empty of anything else but cement. A thatch of trees encroaches upon the ground to the west, and the lot continues to the east.\n\n> You look in the dumpsters\nYou root around in one of the dumpsters, steeling yourself against the stench. After a few miserable minutes, you come up with a battered snowglobe. Must've been damaged merchandise.\n\n> You examine the snowglobe\nYou've heard there's an art to snowglobe-making: finding or making beautiful baubles to nestle in a sweet winter scene. This snowglobe is a dented plastic ball. A bloated toy soldier squats among what looks suspiciously like crumpled paper. Lovely.\n\n> You check your inventory\nYou are carrying:\na snowglobe\n\n> Go west\nMaybe \"woods\" is the wrong word. Even at this hour, you can tell that the trees are too sparse to deserve the label. Standing firewood, really, gray under a dark gray sky. There's not much else around but a barren parking lot to the east.\n\nBy a tree, a girl plays with something shiny.\n\n> You examine girl\nA small girl - it's hard to tell age when you measure your life by the century. She has stiff -- almost sculpted -- brown curls and is dressed in what resembles a ruffly pink lampshade.\n\nThe girl looks up and sees you, fringe, paint, wing and all. \"Hi,\" she says. \"Are you an angel?\"\n\n> You look at the girl\nA small girl - it's hard to tell age when you measure your life by the century. She has stiff -- almost sculpted -- brown curls and is dressed in what resembles a ruffly pink lampshade.\n\n> Yes\n\"Yes,\" you lie, sheepishly. Your squawky voice seems to startle her, but the lie works.\n\n\"Oh. I'm Sylvia.\"\n\n> Hello\nYou've already had your greetings.\n\n> You look at shiny\nIt's shiny, with iridescent dust scattered across its surface. Kind of like your wing - wait. It is your wing. And she's got it.\n\n> You ask the girl for the wing\n\"Hey. That toy you're playing with? I really need that back. Like, now.\"\n\n\"I thought angels were supposed to be nice.\"\n\n> No\nThat was a rhetorical question.\n\n> You ask the girl about the wing\n\"Please. That's mine. It fell off when I... landed here. I can't fly without it.\"\n\n\"You can have it but can you grant me a wish?.\"\n\n> You ask the girl about the wish\n\"I can grant you a wish. You have a wish, right?\"\n\nSylvia closes her eyes. \"Snow,\" she intones. Damn. You were hoping it was something easy, like a pony. Something less noticeable.\n\n> You give the globe to the girl\n\"Here,\" you say. \"You can have this.\"\n\nSylvia takes the snowglobe from your hands, dropping your wing. She peers at it, tapping the plastic a few times and flipping it over slowly. \"I guess this is kind of like snow,\" she starts. \"Thanks.\"\n\n> You take the wing\nTaken.\n\n> You wear the wing\nYou press the wing to your back; instantly, it affixes itself to your skin, with small bursts of pain as it breaks the surface. Sylvia looks away, peeking every few seconds -- fortunately, there never was much blood in the process.\n\nOnce it's finished, you test the wings. Not as sturdy as before, certainly not pretty, but they should last for a flight or two.\n\n> Leap\nYou jump, like they taught you: every part of you poised, just like before. Without your wing, though, you don't get far.\n\n> About yourself\nThey could have given you more time to prepare. The fringe in your hair is all knotted and doesn't resemble clouds or gossamer so much as lint strings.\nYour wings are all wrong; against even the slightest breeze they'd split like tissue. Your face is clouded over with that miserable moon dust. It still shows, no matter how much iridescent paint you use. Fortunately, humans aren't star connoisseurs.\n\n> You fly\nYou crouch low, spread your arms, then your wings, and leap into the air. Sylvia waves at your retreating form, silently.\n\nThe ascent is easy; you land on the moon's surface without a hitch. After that, it's another story. You heard judgment was tough. Every hour until the rulers arrive, you tug at your fringe and ruffle your wings anew, preening yourself until it doesn't look like you took a fall. Maybe they weren't watching that time.\n\nWhatever you did, it worked. When they arrive, it's with nothing but praise. You're gorgeous, they said; leap time has never been better. And when they cast you into the sky, wingless and sparkling, it's all you can think of for millennia."
    },
    {
        "text": "[Themes: Horror, gender-neutral protagonist, ghost]\n\n\"Haunted?\"\n\nThe caretaker grimaces. \"A year since you visited, you say? Some hooligans smashed the mausoleum up a month back. Since then, well, I'm the only one who'll go near it. And I don't care to stay long. See for yourself if you like, and I'll collect you in the morning.\"\n\nPoor Thurnley. No rest even in the tomb.\n\nType ABOUT for more information about this game.\n\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\n> About yourself\nOlder than you once were."
    },
    {
        "text": "[Themes: Horror, gender-neutral protagonist, ghost]\n\n> Describe the surroundings\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\nYou feel a chill. There is no wind, but the leaves fly up from the bench and twirl in the air. Somehow they describe a faintly human shape.\n\nThere was a key under the leaves on the bench.\n\nThe leaves swirl as if the ghost is looking at something it is carrying.\n\n> You get the key\nTaken.\n\nThe leaves swirl toward yourself as if the form within them is peering at you.\n\n> You look at the ghost\nLeaves whirl and flutter without falling, around a disturbance in the air that takes a vaguely human shape.\n\nThe ghost looks around.\n\n> You ask the ghost about the key\nThere is no reply.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint."
    },
    {
        "text": "[Themes: Horror, ghost]\n\n> You look around\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\nYou can see the ghost here.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint.\n\n> Inside\n(first opening the marble door)\nIt seems to be locked.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint.\n\n> You look under the leaves\nAn iron key is under the leaves.\n\n> You get the key\nTaken.\n\nYou feel a chill. There is no wind, but the leaves fly up from the bench and twirl in the air. Somehow they describe a faintly human shape.\n\nThe ghost waits.\n\n> You unlock the door with the key\nYou unlock the marble door.\n\nThe leaves swirl as if looking under the bench.\n\n> Examine leaves\nLeaves whirl and flutter without falling, around a disturbance in the air that takes a vaguely human shape.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint.\n\n> You look under bench\nYou find nothing of interest.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint.\n\n> Inside\n(first opening the marble door)\n\nWhen you were here last, jeweled crosses and marble statues adorned this room. Only fragments remain.\n\nA granite door leads inside. It seems to be held shut by three latches of unusual design, bronze, steel, and copper.\n\nThe marble door leads back out.\n\n> You examine the key\nA heavy iron key that seems to fit the lock of the crypt's marble door.\n\n> You open latches\nYou must specify a single latch.\n\nThe leaves swirl in from the outside.\n\n> Open bronze\nYou push the bronze latch open.\n\nThe leaves swirl toward the iron key as if the form within them is peering at it.\n\n> You drop the key\nDropped.\n\nThe leaves swirl through the motions of opening the latches.\n\n> Open copper\nYou push the copper latch open.\n\nThe ghost pushes the bronze latch closed.\n\n> Open bronze\nYou push the bronze latch open.\n\nThe leaves swirl through the motions of dropping the iron key.\n\n> Close bronze\nYou push the bronze latch closed.\n\nThe ghost pushes the copper latch closed.\n\n> Wait\nTime passes.\n\nThe ghost pushes the bronze latch open.\n\n> You wait awhile\nTime passes.\n\nThe ghost pushes the bronze latch closed.\n\n> You touch the bronze\nYou push the bronze latch open.\n\nThe ghost waits."
    },
    {
        "text": "[Themes: Horror, gender-neutral protagonist]\n\n> Look around\nWhen you were here last, jeweled crosses and marble statues adorned this room. Only fragments remain.\n\nA granite door leads inside. It seems to be held shut by three latches of unusual design, bronze, steel, and copper.\n\nThe marble door leads back out.\n\nYou can see an iron key and the ghost here.\n\nThe ghost waits.\n\n> You examine the bronze\nThis latch is designed so that merely pushing it will open it, and pushing it again in the same way will close it again. It is currently open.\n\nThe ghost pushes the bronze latch closed.\n\n> Open bronze\nYou push the bronze latch open.\n\nThe ghost looks around.\n\n> Close bronze\nYou push the bronze latch closed.\n\nThe leaves swirl toward the bronze latch as if the form within them is peering at it.\n\n> Open steel\nYou push the steel latch open.\n\nThe ghost pushes the bronze latch open.\n\n> Go east\nFrom here, you can go inside and outside.\n\nThe ghost pushes the steel latch closed.\n\n> Inside\n(first opening the granite door)\nThe granite door won't open when the bronze latch and the steel latch are closed.\n\nThe ghost pushes the copper latch closed.\n\n> You wait\nTime passes.\n\nThe leaves swirl through the motions of going east.\n\n> Open copper\nYou push the copper latch open.\n\nThe leaves swirl against the handle of the granite door, but the door does not budge.\nThen the leaves batter faintly against the granite door.\n\n> You wait for a while\nTime passes.\n\nThe ghost waits.\n\n> Close copper\nYou push the copper latch closed.\n\nThe ghost pushes the copper latch open.\n\n> Open steel\nYou push the steel latch open.\n\nThe ghost waits.\n\n> Open bronze\nYou push the bronze latch open.\n\nThe ghost pushes the copper latch closed.\n\n> You get the key\nTaken.\n\nThe ghost pushes the steel latch closed.\n\n> Go outside\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\n> You wait for a while\nTime passes.\n\n> You wait awhile\nTime passes.\n\nThe leaves swirl in from the inside.\n\n> Go inside\nWhen you were here last, jeweled crosses and marble statues adorned this room. Only fragments remain.\n\nA granite door leads inside. It seems to be held shut by three latches of unusual design, bronze, steel, and copper.\n\nThe marble door leads back out.\n\n> You close the door\n(the marble door)\nYou close the marble door.\n\n> You lock the door\n(the marble door)\nYou lock the marble door.\n\nA faint scratching comes from the other side of the marble door. The handle of the marble door turns, but the door does not open.\n\n> Open bronze\nYou push the bronze latch open.\n\n> Open steel\nYou push the steel latch open.\n\n> Open copper\nYou push the copper latch open.\n\n> You open the granite door\nYou open the granite door.\n\n> Go inside\nThe sconces on the walls have been smashed, and the coffin gapes open in the middle of the crypt.\n\nThe granite door leads back out.\n\nThe coffin's heavy leaden lid lies on the floor.\n\n> You look in the coffin\nIn the coffin are some bones.\n\n> You look at the bones\nPoor things....\n\n> You take the bones\nThey are where they belong.\n\n> You examine the lid\nMade of solid lead, this lid looks to heavy to lift by yourself. But who would dare accompany you here?\n\n> You enter the coffin\nYou climb in to lie among Thurnley's bones.\n\n> You examine the sconces\nThey're for the caretaker to deal with. Perhaps she can clean up the tomb, if you can lay poor Thurnley to rest.\n\n> You open marble\nIt seems to be locked.\n\nA faint scratching comes from the other side of the marble door. The handle of the marble door turns, but the door does not open.\n\n> Unlock marble\nYou unlock the marble door.\n\n> You open marble\nYou open the marble door.\n\n> You leave\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\nYou can see the ghost here.\n\nThe leaves swirl toward the iron key as though to take it from you. As they brush your hand, you fall to the floor in a dead faint.\n\n> You drop the key\nDropped.\n\n> Go outside\nVisitors used to sit on the bench here to contemplate their mortality. Apparently the reminders of their mortality have become all too great. A marble door leads inside.\n\nYou can see the ghost here.\n\nThe leaves swirl through the motions of opening the marble door.\n\n> You enter\nWhen you were here last, jeweled crosses and marble statues adorned this room. Only fragments remain.\n\nA granite door leads inside. It seems to be held shut by three latches of unusual design, bronze, steel, and copper.\n\nThe marble door leads back out.\n\nYou can see an iron key here.\n\n> Go inside\nThe sconces on the walls have been smashed, and the coffin gapes open in the middle of the crypt.\n\nThe granite door leads back out.\n\nThe coffin's heavy leaden lid lies on the floor.\n\n> You wait for a while\nTime passes.\n\n> You wait for a while\nTime passes.\n\nThe leaves swirl in from the outside.\n\n> You lift the lid\nYou strain to lift the lid, but you can only raise one edge of it.\n\nThe ghost waits.\n\n> You continue\nYou strain to lift the lid, but you can only raise one edge of it.\n\nThe ghost whirls around the other edge of the lid, and almost without your willing it the lid rises into the air. Before you realize that you have put it down, the lid stands upright on the coffin's hinges.\n\n> You look in the coffin\nIn the coffin are some bones.\n\nThe ghost goes through the motions of picking up the lid, but it does not budge from its hinges.\n\n> You enter the coffin\nYou climb in to lie among Thurnley's bones.\n\nThe ghost goes through the motions of picking up the lid, but it does not budge from its hinges.\n\n> You exit coffin\nYou get out of the coffin.\n\nThe sconces on the walls have been smashed, and the coffin gapes open in the middle of the crypt.\n\nThe granite door leads back out.\n\nYou can see the ghost here.\n\nThe leaves swirl around the coffin as if looking for something.\n\n> Wait\nTime passes.\n\nThe leaves swirl into the coffin.\n\n> Close the coffin\nYou close the coffin.\n\nYou hear the leaves swirling in the coffin, then all at once they stop. Thurnley can rest again.\n\n> LIST NYE"
    },
    {
        "text": "[Themes: Comedy, silly, Comedy, gender-neutral protagonist, male protagonist, superhero, humor, parody, castle, humour]\n\n\"We'll have to split up. I'll go after the bombers, you find the fastest way out of here. Tell the President he has to evacuate, immediately!\"\n\nThose were the last words you heard from Captain McBrawn before he rode away hanging on the skid of a helicopter with one hand, his muscular arm gleaming in the light of the setting sun. It is up to you now to find your way to the President of the World and warn him of the impending attack. Finally, some responsibility after all these years!\n\nYou descend from the rooftop planning the trip to the drop-off point. At the base of the building the Screaming Communists capture you. Figures.\n\nA group of stern, vicious looking Screaming Communists march through the barren land, dragging you behind them. Their destination is a gloomy medieval castle. The commander shouts orders to one of the soldiers who grabs you by the collar of your sweater and escorts you inside.\n\nAfter a long climb through dark corridors and endless staircases the guard throws you in a dark, cold cell and slams the door shut. A chill runs down your spine and desperation starts to creep in.\n\nEscapade!\n\nThis game is free software. Type LICENSE for details.\n\nThe moonlight gives dim illumination to the front part of the cell, leaving the opposite wall completely in the dark. There's an unlit light bulb hanging from the ceiling and a heavy steel door on the wall opposite to the barred window, but the room is otherwise featureless.\n\nYou can barely make out the outlines of some dark shapes in one dark corner of the cell.\n\n(For more information about the game, type ABOUT.)\n\n[Author's Note: You play the bumbling sidekick of the heroic Captain McBrawn; while trying to carry out a task he's set you, you are captured by the Screaming Communists and imprisoned in a mediaeval castle. Your task is to escape.]"
    },
    {
        "text": "> About you\nYou're the hero of the day, the man everyone looks up to, the uncontested champion of the Free World, the celebrated superstar - Captain McBrawn.\n\nOr at least you would like to be. The truth is that you are Scotty, Captain McBrawn's short and a bit round sidekick. You have followed him on his adventures and helped him mostly by staying out of his way, but now you have a mission of your own.\n\nYou are carrying a photograph and wearing your adventuring clothes.\n\n> Inventory\nYou are carrying a photograph and wearing your adventuring clothes.\n\n> You look at the photograph\nIt's a postcard sized signed photograph of Captain McBrawn. You carry it with you everywhere you go and it's beginning to show the wear and tear.\n\n> You examine the shapes\nThere's something very unnerving in the darkest corner of the cell... You can see the outlines of a round lumpy object and another, taller figure almost your size.\n\nIt's as if the taller shape just moved a bit. You hold back a whimper.\n\n> You examine the shapes\nYou are wearing a pair of green pocketless pants and a gray wool sweater. Your adventuring clothes - that's what mom said when she bought them. They've turned out being not very well suited for the purpose though. They're very thick and a bit too big.\n\nYou daren't look anymore. Maybe they'll go away.\n\n> Options\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> P.\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go to the north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n> /slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n> /slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\n\n> You look at the shapes\nYou daren't look anymore. Maybe they'll go away.\n\n> Scream\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says.\n\n\"Help! You have to get me out of here!\" you beg.\n\n\"HA! HA! WHY would I do THAT? I'M THE GUARD, I'M SUPPOSED TO KEEP YOU INSIDE!\" the voice roars.\n\n> Options\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> P.\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go to the north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go to the north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n> /slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n> /slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: keyword\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n> *starred* keywords\nno keyword highlighting\n\n> Options\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> bold keywords\nyellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> yellow keywords\nblue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\n> blue keywords\ngreen keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\n> green keywords\nred keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> Go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\n> red keywords\n-dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You go north\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: *keyword*\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: -keyword-\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\nWhen the game prints a word that can be used as a discussion topic with other characters, it will be highlighted for the first time. Here's an example of a highlighted word using your current settings: -keyword-\n\nSelect a new highlight style below and press Q to return. Note that not all interpreters support every highlighting style; choose the one that works for you.\n\nblue keywords\ngreen keywords\nred keywords\n> -dashed- keywords\n/slashed/ keywords\n*starred* keywords\nno keyword highlighting\n\n> You examine the clothes\nYou are wearing a pair of green pocketless pants and a gray wool sweater. Your adventuring clothes - that's what mom said when she bought them. They've turned out being not very well suited for the purpose though. They're very thick and a bit too big.\n\n> You ask the guard to turn on the lights\nThere is no reply.\n\n\"WELL if you DIDN'T HAVE anything else,\" the guard shouts and closes the eyehole.\n\n> You look at the shapes\nYou daren't look anymore. Maybe they'll go away.\n\n> You remove the sweater\nYou strip naked.\n\n> About yourself\nYou are Scotty, Captain McBrawn's short and a bit round sidekick. You have followed him on his adventures and helped him mostly by staying out of his way, but now you have a mission of your own.\n\nYou are carrying a photograph and wearing nothing.\n\nAlso, your adventuring clothes are on the floor.\n\n> Smell\nThe air smells weird, like the cell has never been cleaned.\n\n> Hello\n\"Hello? Anyone?\" you say quietly but get no answer.\n\n> You examine the floor\nThe stone floor is a dirty and cold.\n\n> You examine walls\nThe gray stone walls surround you from all directions.\n\n> You examine the ceiling\nThe ceiling is far above the ground. There's a largish square up in the ceiling on one side.\n\n> You examine the square\nThere's a largish square up in the ceiling on one side.\n\n> You examine the bulb\nThe light bulb is hanging low on an electrical wire. It is unlit.\n\n> You examine the picture\nIt's a postcard sized signed photograph of Captain McBrawn. You carry it with you everywhere you go and it's beginning to show the wear and tear.\n\n> You examine the window\nThe window is nothing but a hole in the wall with three iron bars running across it. Through it you see a beautiful moonlit night sky.\n\n> You examine bars\nThree iron bars prevent anyone from climbing out the window.\n\n> You look\nThe moonlight gives dim illumination to the front part of the cell, leaving the opposite wall completely in the dark. There's an unlit light bulb hanging from the ceiling and a heavy steel door on the wall opposite to the barred window, but the room is otherwise featureless.\n\nYou can barely make out the outlines of some dark shapes in one dark corner of the cell.\n\nThe light is just enough for you to see the adventuring clothes on the floor.\n\n> You pull the bulb\nThe bulb comes easily out from its socket. It was screwed in only very slightly.\n\n> You knock on the door\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says. After a short pause the voice goes: \"WHAT THE... are you NAKED IN THERE?\"\n\n> Yes\nThe guard refuses.\n\n> You ask the guard about the light\n(the light bulb)\n\"Could you please switch the light on?\" you ask politely. \"WHAT ARE you TALKING ABOUT?\" the guard yells. \"The power IS ALREADY ON!\"\n\n> You ask the guard about the bed\n\"I do not UNDERSTAND you!\" the guard shouts.\n\n> You put the bulb in the socket\nYou screw the lamp tighter into the socket and it lights up.\n\nThe light reveals the rest of the cell - an air duct running above the window, a simple rug on the floor, a hole that's probably meant to be used as a toilet and not much more.\n\nExcept a small, grinning, black monster in the corner next to a bulky sack.\n\n\"WHAT the... HELP!\" you scream.\n\n> You look at the monster\nYou move across the room toward the creature. The lamp hanging from the ceiling is just on the right height to bonk you on the forehead on your way. (ktonk!)\n\nThe creature is small, shorter than you, and pitch black. It has an oblong head, no ears, tiny black eyes, and sharp, black teeth clearly visible behind a lipless mouth.\n\nA constant dripping of spit from between its teeth forms a small greenish puddle of saliva by its feet.\n\n> You tell the guard about monster\nYou lean closer to the door and whisper: \"There is some... thing in the cell with me!\"\n\n\"You are IMAGINING things!\" the guard yells.\n\n> Point to monster\n(with the photograph)\nYou point the photograph at the creature.\n\n> You read the photograph\n\"To Sotty, Cpt. Harrison McBrawn.\" Good ol' Captain. Still doesn't remember your name.\n\n> You ask the monster about the guard\n\"I guess that was all,\" you say to the guard before talking to H.R. \"JUST DON'T BOTHER ME ANYMORE,\" the guard yells and slides the eyehole shut.\n\nBefore getting into detailed discussion, your first reaction is to tackle the surprising situation with the delicacy you have applied to most things in your life. \"What the duck is that!?\" you yell and point at the creature. Much to your (additional) surprise, it replies. \"Well, that's not what I would call a friendly greeting, monkey boy!\"\n\nYou dare to go a bit closer. \"H.R.'s the name, and -trading- is my game!\" It pats the sack it has next to it. \"I have everything a man of your standing would need, from kitchen utensils to trebuchets. Looks like I got your attention, little man - if you're interested, ask me for a -free sample-!\"\n\nIt takes a while for the words to sink in. Not the least because the creature's voice combines hisses, clicks and high-pitched whirs which makes it quite hard to understand.\n\n> You examine creature\nThe creature is small, shorter than you, and pitch black. It has an oblong head, no ears, tiny black eyes, and sharp, black teeth clearly visible behind a lipless mouth.\n\nA constant dripping of spit from between its teeth forms a small greenish puddle of saliva by its feet.\n\n> You ask the hr about the trading\n\"So... You're a trader?\" you ask. \"Yessir, that I am!\" the creature replies. \"I am well known everywhere in -Castle Schweinehund-, swapping items you no longer need for quality merchandise! Just show me what you got and I'll see if there's something I could trade you for it.\"\n\n> You ask the creature for the free sample\n\"So, what's the free sample?\" you venture.\n\n\"The free sample, eh?\" H.R. says and flashes a smile. \"The minute I saw you I said to myself 'H.R., there is a man who goes to the supermarket just for the free taste samples.'\" It reaches for the sack and pulls out a squarish metallic object which it hands to you. \"Here ya go, sport. Knock your teeth out.\"\n\n> You ask the hr about the Castle Schweinehund\n\"What is this place anyhow? Where are we?\"\n\n\"This is Castle Schweinehund,\" H.R. tells you. \"Story goes that the -previous owners- built it on an ancient burial ground and used it to perform occultist rituals, opening portals to other worlds and so on. Sounds like old wives' tales to me,\" it says and runs its hand across its tail.\n\n> You ask the hr about the previous owners\n\"Who were the previous owners?\"\n\n\"I'm not sure exactly. They were quite loud as well but not to the extent of the current ones.\"\n\n> You examine the metal\nWhat do you want to examine: the metal plate, or the squarish metallic object?\n\n> Object\nAfter closer inspection the squarish metallic object turns out to be a slightly rusted Skindude(tm) multitool. It has two hollow halves connected with a hinge on one end. The halves can be opened to reveal knives, files, pliers and other tools inside. Excellent.\n\n> You take the clothes\n(first dropping the Skindude(tm) multitool to make room)\nYou lift the adventuring clothes to your arms.\n\n> You take the skindude\n(first dropping the adventuring clothes to make room)\nTaken.\n\n> You wear the clothes\n\"Thank heavens,\" H.R. sighs when you put on your clothes.\n\n> Show skindude to hr\n(first taking the Skindude(tm) multitool)\nYou decide to hold on to it for a bit longer. It might still come useful.\n\n> You examine the puddle\nA sizzling greenish puddle of saliva is forming by the feet of the creature.\n\n> Show clothes to hr\n(first taking the clothes off)\n\"Can I get anything for these?\" you ask and offer your clothes to the creature.\n\nH.R. looks at the clothes in disdain. \"If I took them, it would mean you couldn't put them back on. And that's very unacceptable.\"\n\n\"Aww, don't sulk,\" H.R. says when it sees your expression. \"Let's make a deal: you put your clothes back on and I'll give you something nice. Ok?\"\n\n> You wear the clothes\nYou put your clothes back on.\n\n\"That's more like it! Here you go,\" H.R. says and digs through the sack. It hands you a small tube.\n\n> You look at the tube\nIt is a small tube of glue remover.\n\n> You ask the hr about the saliva\nWhat do you want to ask H.R. about: the puddle of saliva, or the acidic spit?\n\n> Spit\nThat's a nasty habit.\n\n\"Yeah, and your -spit- isn't as cool as mine,\" H.R. comments.\n\n> You ask HR about the vent\n\"Where does that vent lead?\"\n\n\"Oh, it runs through the entire castle,\" H.R. tells you. \"And it reaches the outside in several places, of course.\"\n\n> Examine vent\nThe aluminum air duct runs from one wall to another. It's quite large but not set very high, just few centimeters above your head. There's a small grate in the bottom of it.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You show the photo to the hr\n(first taking the photograph)\n\"Look, here's Captain McBrawn. Doesn't he look heroic and brave?\"\n\n\"Wait, where's his head?\" H.R. asks. \"It's right there behind his biceps,\" you say.\n\n> You check what you're carrying\nYou are carrying a photograph and some glue remover and wearing your adventuring clothes.\n\nAlso, a Skindude(tm) multitool is on the floor.\n\n> You examine the multitool\nIt's a slightly rusted Skindude(tm) multitool, with all sorts of useful tools inside.\n\n> You open the multitool\nYou pull the halves apart and the Skindude(tm) opens with a creak. A swarm of rust flakes flies from the hinges. Looks like almost everything inside is rusted through; the only tool that looks even remotely useful is the screwdriver.\n\n> You open vent with the screwdriver\n(first taking the Skindude(tm) multitool)\nIt's not locked.\n\n> You examine the hole\nIt's a smelly little hole.\n\n> You look in the hole\nFortunately it seems to be empty.\n\n> You examine door\nThe door is made of heavy reinforced steel plates, attached with large bolts. The hinges are on the left side and on the right side is the keyhole.\n\nThere's a small rectangular metal plate in the middle of the door.\n\n> You examine the plate\nYou move across the room to get closer to the metal plate. The lamp hits you on the forehead again. (ktonk)\n\nThere's a metal plate embedded in the door on the eye level, about three centimeters high and thirty centimeters wide.\n\nH.R. taps the floor with its foot.\n\n> You examine the lamp\nThe light bulb is hanging low on an electrical wire. It is lit.\n\n> You examine the wire\nThe wire hangs from the ceiling from a fragile looking attachment and leads to the cross section of the ceiling and two walls.\n\n> You look at the plate\nThere's a metal plate embedded in the door on the eye level, about three centimeters high and thirty centimeters wide.\n\n> You unscrew the plate\nIt doesn't move.\n\nH.R. yawns.\n\n> You examine the hinges\nThe hinges of the door are screwed into the wall.\n\n> Up\nYou jump up and down."
    },
    {
        "text": "[Themes: Comedy, male protagonist, castle, silly, parody]\n\n> Look around\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window and there's a hole in the floor under it in the corner, apparently to be used as a toilet. A light bulb hangs from the ceiling illuminating the cell. A simple rug is on the floor.\n\nH.R. stands there next to a large burlap sack.\n\n> You unscrew the hinges with the screwdriver\nYou take the Skindude(tm) multitool and loosen the screws on the hinges.\n\nAfter a good push the door falls open without its hinges. You run through it and turn left in the corridor - and end up in the arms of the guard. \"HOW THE... DID THE DOOR JUST FALL DOWN?\" he shouts.\n\nThe guard grabs you and takes you to what's probably a break room. There are a dozen Screaming Communists sitting there, watching you suspiciously and shouting a word or two at times.\n\n\"Congratulations on your escape,\" H.R. mocks you when they return you to the cell. The door seems to be fixed now.\n\nYou wave the screwdriver victoriously. \"They didn't take this away! I'll just unscrew the hinges again!\"\n\n\"Oh, by the way, they bolted the hinges while you were away. Sorry, what were you saying?\"\n\n> You examine the rug\nThe rug has bright stripes in all the colors of a neon rainbow.\n\n> You take the rug\n(first dropping the Skindude(tm) multitool and the glue remover to make room)\nYou roll the rug and lift it to your arms.\n\nGlancing down on the floor where the rug used to be you notice a trapdoor in the floor!\n\n\"What a shocking revelation,\" H.R. says.\n\n> Show rug to hr\nYou remember the low-hanging lamp mere milliseconds before it hits you on the forehead. (ktonk)\n\n\"Would you trade this with me?\" you ask.\n\n\"Hmm... It is a nice rug, in a way, but I've seen much nicer ones in my days. It doesn't even fly,\" H.R. sneers. \"But since you're my best customer in this cell at the moment, I'll get you something nice for it. Let's see... a Jack Mills novel... no... a trophy... hmm...\"\n\nThe creature pulls from its sack a large cube-like thingamabob, hands it to you and puts the rug away.\n\n> You look at the cube\nThe cube-like thingamabob has a window on one side where you can see some tubes in Y shape inside. Red labels are pasted all over the device, the one on top saying \"FLUX CAPACITOR\". The two dials are labeled \"POWER\" and \"SPEED\" and there's a pin with a picture of a lightning bolt next to it. It is very heavy.\n\n> You examine cube\nThe flux capacitor has a window on one side where you can see some tubes in Y shape inside. Red labels are pasted all over the device, the one on top saying \"FLUX CAPACITOR\". The two dials are labeled \"POWER\" and \"SPEED\" and there's a pin with a picture of a lightning bolt next to it. It is very heavy.\n\n> You take all\nglue remover: (first dropping the flux capacitor to make room)\nTaken.\nSkindude(tm) multitool: Taken.\ntoilet hole: Taken. Wait, what?\n\n(bulky items, i.e. the flux capacitor, were ignored)\n\n> You show the flux capacitor to the hr\n(first taking the flux capacitor)\nYou decide to hold on to it for a bit longer. It might still come useful.\n\n> You check your inventory\nYou are carrying a flux capacitor and a photograph and wearing your adventuring clothes.\n\nAlso, some glue remover, a Skindude(tm) multitool, and a toilet hole are on the floor.\n\n> You show the multitool to the hr\n\"I don't want this. It's rusted through,\" you complain. \"It was free,\" H.R. snaps. \"Oh well, I guess I could find something else... \" It rummages through its sack. \"Let's see... a cake... no... a brass lamp... hmm... Here, you can have this.\"\n\nIt hands you a dusty old book.\n\n(first dropping the flux capacitor to make room)\n\n> You take the hole\nTaken.\n\n> You put the hole on the door\n(ktonk)\n\nYou slap the hole against the door. It sticks there and through it you can see the corridor on the other side.\n\n\"That seems... unlikely,\" you say\"I've seen stranger things around here,\" H.R. shrugs.\n\n> You enter the hole\nIt's way too small to fit through.\n\n> You reach through the hole\nYou put your hand through the hole in the door. Yes, the key is in the lock and at your reach!\n\n> You turn the key\nYou reach through the toilet hole and reach for the keyhole on the other side. You are delighted to find the key in the lock!\n\nThe key turns easily and you open the door very very carefully. You sneak into the corridor and close the door again.\n\n> You unlock the door with the key\nThe guard stands behind the door with his arms crossed.\n\n\"Do you REALLY THINK I wouldn't NOTICE A HAND REACHING THROUGH THE DOOR?\" he roars.\n\n\"Well I kinda assumed so,\" you say.\n\nHe squints his eyes and takes a step forward. You open the door again, step inside and close the door.\n\nThe guard grabs the hole and pulls it off. \"NO MORE TRICKS!\" he yells.\n\n> You examine the hole\nIt's a smelly little hole. Incredibly enough it seems to be a portable model.\n\nThe toilet hole is currently attached to the door.\n\n> You get the hole\nYou peel the hole off the door.\n\n> You put hole on the door\nYou slap the hole against the door. It sticks there and through it you can see the corridor on the other side.\n\n> You turn the key\nYou reach through the toilet hole and reach for the keyhole on the other side. You are delighted to find the key in the lock!\n\nThe key turns easily and you open the door very very carefully. You sneak into the corridor and close the door again.\n\nThe guard stands behind the door with his arms crossed.\n\n\"Do you REALLY THINK I wouldn't NOTICE A HAND REACHING THROUGH THE DOOR?\" he roars.\n\n\"Well I kinda assumed so,\" you say.\n\nHe squints his eyes and takes a step forward. You open the door again, step inside and close the door.\n\nThe guard grabs the hole and pulls it off. \"NO MORE TRICKS!\" he yells.\n\n> You check what you're carrying\nYou are carrying a dusty old book and a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor and some glue remover are on the floor.\n\n> You look at the book\nIt says \"ENCYCLOP?DIA ESCAP?DIA: The Definite Guide to Getting Out of All Kinds of Trouble\" in large block letters on the cover.\n\n> You read the book\nInstead of finding pages full of useful information you find that all the pages apart from one have been glued together and the book has been carved hollow to create a secret compartment inside. In the compartment there's a drinking glass and a small bottle of brown liquid.\n\n> You look at the liquid\nWhat do you want to examine: the glue remover, the puddle of saliva, or the whiskey bottle?\n\n> Bottle\nAccording to the label the bottle contains Meisterj?ger, a strong liquor.\n\n> You use glue remover on book\n\"Use\" is too vague; you need to be more specific.\n\n> You remove the label\nWhat do you want to remove: the whiskey bottle, the flux capacitor, or the sticker?\n\n> You spit on the hinges\n(ktonk)\n\n\"Nope,\" the creature says.\n\n> You take acid with the glass\nThat command is too complex; you might want to try to just take the puddle of saliva.\n\n> You take the puddle\nYou scoop some of the spit from the floor into the glass.\n\n> You pour the spit on the hinges\n(the acidic spit on the hinges)\nYou move across the room, now remembering that devilish lamp and going around it! Take that, lamp!\n\n(first taking the acidic spit)\nYou pour a few drops of the spit on the hinges. The spit sizzles away in trails of smoke, leaving brown spots where it landed.\n\n> You pour the spit on the bars\n(ktonk)\n\n(first trying to take the puddle of saliva)\nYou scoop some of the spit from the floor into the glass.\n\n> You pour the spit on the bars\n(the acidic spit on the iron bars)\n(first taking the acidic spit)\nCarefully applying the creature's spit on both ends of the bars, one after another they corrode off and fall on the cell floor. You climb out through the window. It's hard to see in the dark, but the ground doesn't seem to be that far away so you just jump.\n\n\"Freedom! Freedom! Free--\" you rejoice just before landing in a moat. Your are in the water by the neck and your feet are stuck in the mud. \"Uh... Hello? Someone? ...\"\n\n> You read the book\nThere's only one readable passage.\n\nA flashlight is an essential tool in any dark or low-light environment. It is a device that consists of a lamp inside a parable-shaped casing surrounded by a reflective surface to focus the light to a single direction.\n\nFlashlights can been used as communication devices, typically by flashing the light in pre-agreed sequences. There are documented cases[citation needed] of using a flashlight or a searchlight as a signalling device by attaching a template in front of the light source to create shapes in the surface the light is pointed at.\n\n> You look at the book\nIt's an ENCYCLOP?DIA ESCAP?DIA shaped box with barely any of the articles left to read. There's a whiskey bottle inside.\n\n> You point the lamp at the window\n(the barred window)\n(first taking the light bulb)\n\"Stupid bulb, you're gonna get it,\" you mutter and yank the bulb from its socket. The wire snaps and you're left with a bulb attached to nothing but its socket.\n\nMiraculously enough the bulb is still lit even when it's not connected to anything. \"Hmm,\" H.R. muses.\n\nYou point the light bulb at the barred window.\n\n> You take bottle\nTaken.\n\n> You look at the label\nWhat do you want to examine: the flux capacitor, the sticker, or the whiskey bottle?\n\n> You take the sticker\nIt's glued fast. It doesn't come off with bare hands.\n\n> You examine the trapdoor\nIt's a wooden trapdoor set in the floor. It looks like there's some sort of sticker on it."
    },
    {
        "text": "[Themes: Comedy, humor, gender-neutral protagonist, Comedy, castle]\n\n> Go downwards\nYou jump down the trapdoor to the room below, thumping down on your feet and facing a stone wall. \"Now, let's see if this room is easier to escape than the last one,\" you say to yourself. \"I very much doubt it,\" says the creature's voice next to you.\n\n\"How the grue did you get here before me?\" you cry. \"I didn't, monkey boy. You dropped down the hatch in the ceiling the moment you went through the trapdoor,\" it grunts.\n\n> You open the glue remover\nYou open the cap and close it again. No need to keep it opened before it's used.\n\n> You remove the sticker with the glue remover\n(first taking the glue remover)\nThe glue remover is effective immediately and the sticker comes off easily.\n\n> You put the sticker on the door\nYou slap the sticker on the door."
    },
    {
        "text": "> Look around\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. The light bulb you carry illuminates the cell.\n\nThere's an open trapdoor on the floor.\n\nH.R. waves at you.\n\nOn the floor are some iron bars and a flux capacitor.\n\n> You examine bars\nThe bars used to be in the window before you corroded them off. They seem to have replaced the bars in the window but left the old ones behind.\n\n> You get the bars\nTaken.\n\nDark clouds gather in the sky and block the moonlight.\n\n> Show bars to hr\nThe creature shrugs. \"Meh. Those kind of things don't sell.\"\n\n> You put the bulb in the book\nYou put the light bulb into the encyclopedia.\n\n> You put the book on the window\n(the barred window)\nYou put the encyclopedia on the barred window.\n\n> You open the book\nThat's already open.\n\n> Close book\nYou close the encyclopedia.\n\n> You open the book\nYou open the encyclopedia, revealing a light bulb.\n\n> You examine pages\nA flashlight is an essential tool in any dark or low-light environment. It is a device that consists of a lamp inside a parable-shaped casing surrounded by a reflective surface to focus the light to a single direction.\n\nFlashlights can been used as communication devices, typically by flashing the light in pre-agreed sequences. There are documented cases[citation needed] of using a flashlight or a searchlight as a signalling device by attaching a template in front of the light source to create shapes in the surface the light is pointed at.\n\n> You examine the photograph\nIt's a postcard sized signed photograph of Captain McBrawn. You carry it with you everywhere you go and it's beginning to show the wear and tear.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> Tear photograph\nNever! Even the very thought makes you weep gently.\n\n\"Oh boo hoo\", H.R. says and in exaggerated motions pretends to rub its eyes with fists.\n\n> You put the photograph on the lamp\nYou put the photograph into the encyclopedia.\n\n(first taking the photograph)\nPutting things on the light bulb would probably not get you any closer to escaping.\n\n> You look at the flux\nThe flux capacitor has a window on one side where you can see some tubes in Y shape inside. Red labels are pasted all over the device, the one on top saying \"FLUX CAPACITOR\". The two dials are labeled \"POWER\" and \"SPEED\" and there's a pin with a picture of a lightning bolt next to it. It is very heavy.\n\n> You examine the speed\nThe speed dial points at zero. Curiously there's a large red line at about 88 miles per hour mark.\n\n> You open the trapdoor\nIt is tightly locked.\n\n> You look\nThere's no such thing here now.\n\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. The light bulb illuminates the cell.\n\nThere's an open trapdoor on the floor.\n\nH.R. leans against its sack.\n\nOn the barred window is an encyclopedia (in which is a light bulb).\n\nOn the floor is a flux capacitor.\n\n> You put the capacitor in the trapdoor\n(first taking the flux capacitor)\n(first dropping the iron bars, the whiskey bottle, and the drinking glass to make room)\nThe flux capacitor falls down the trapdoor and lands back in front of you.\n\n> You examine the power\nThe power dial goes from zero to 1.21 gigawatts. It's currently pointing at zero.\n\n> You ask the hr about sack\n\"What's in the bag?\" you ask.\n\n\"That's where I keep my ware,\" H.R. responds. \"You'll find out what's there when you trade something.\"\n\n> You check your inventory\nYou are carrying a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor, a drinking glass, a whiskey bottle, and some iron bars are on the floor.\n\n> Show bars to hr\n(first taking the iron bars)\n\"I think I have one of those already,\" H.R. says.\n\n> You look at the glass\n(the drinking glass)\nThe drinking glass is empty.\n\n> You attach the wire to the capacitor\nSparks fly to the air when you touch the socket on the flux capacitor with the exposed wire. There's a loud click from inside the machinery and the tubes behind the front window light up and start blinking like christmas lights.\n\nThe needle on the power dial turns to point at 1.21 gigawatts.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You put capacitor in the trapdoor\n(first taking the flux capacitor)\n(first dropping the iron bars to make room)\nThe flux capacitor falls down the trapdoor and lands back in front of you.\n\n> You throw the capacitor out the window\nThat command is too complex; you might want to try to just throw the flux capacitor.\n\n> You throw the capacitor\nThe flux capacitor is already here.\n\n> You ask the hr about the flux\n\"What the shuck is this?\"\n\n\"It's a... well, you find out yourself,\" H.R. replies.\n\n> You drop capacitor out the window\nThat command is too complex; you might want to try to just drop the flux capacitor.\n\n> You put the capacitor in the window\n(the barred window)\n(first taking the flux capacitor)\nThat is not something you could put stuff into.\n\n\"Hey, watch those stranded prepositions,\" H.R. points out.\n\n> You look at the window\n(the barred window)\nThe window is nothing but a hole in the wall with thick slab of transparent plexiglas installed to it. Through it you see a beautiful moonlit night sky.\n\n> You look at the plexiglas\nThe Screaming Communists have replaced the iron bars with thick transparent plexiglas while you were away. At least it'll keep the cold away better than before.\n\n> Scream\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says.\n\n> Kiss guard\nKeep your mind on the game.\n\n> You show the book to guard\n(first taking the encyclopedia)\nThe guard doesn't seem interested.\n\nThe guard grunts and closes the eyehole.\n\n> You drink the whiskey\nIt's too strong for your tastes.\n\n> You show the whiskey to guard\n(first taking the whiskey bottle)\n\"Would you be interested in a... little drink?\" you say and dangle the bottle in front of the eyehole. \"Uh, is that MEISTERJ?GER? I most certainly SHOULD NOT... Maybe a little bit, JUST TO KEEP ME WARM ... JUST SLIP it through the HOLE, will you?\" \"It won't fit through,\" you remark. \"I must open the door... But KEEP IT QUIET, WILL YOU?\"\n\nThere's a click from the keyhole and the door opens slightly. You slip the bottle to the guard who snatches it from your hand and slams the door shut. In his excitement he doesn't remember to lock the door! You wait for a moment and open it very carefully.\n\nThe guard is enjoying his prize and doesn't notice you slipping through the door. You navigate through the castle corridors until you stop behind a door where you hear conversation behind it.\n\n\"DID YOU HEAR that FEDOR has found a BOTTLE OF MEISTERJ?GER?\" a voice yells.\n\n\"Meisterj?ger? AND HE'S NOT SHARING?\" another voice shouts. Several other voices murmur in unison. It gets harder to hear, but it seems they all decide to pay a visit to Fedor and his bottle. By the time you've deduced this, the door opens and twenty Screaming Communists march out.\n\n\"FEDOR, you OLD DRUNK we've come to DRINK FOR YOUR HEALTH and we've BROUGHT YOU A PRESENT,\" they shout as they shove you to his lap.\n\nThe sounds of the Screaming Communists gradually die out when the bottle is finally empty and you're back in the cell with H.R.\n\n\"Welcome back,\" it says.\n\n> You check your inventory\nYou are carrying an encyclopedia (in which is a light bulb) and a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor, some iron bars, and a drinking glass are on the floor.\n\n> You examine the glass\n(the drinking glass)\nThe drinking glass is empty.\n\nThere's a knock on the door. Not waiting for a response the guard opens the door and shouts: \"Your DINNER IS HERE!\" He throws a plate in the cell with a silvery package on it and locks the door again.\n\n> You look at the package\nIt's a small bundle of tin foil. Judging by the pungent smell there might be some food inside.\n\n> You open the package\nYou open the tin foil, revealing fried fish.\n\n> You look at the fish\nThey have fried the fish whole but it still looks quite raw. It is reddish in color; it might be a red herring.\n\"I'm quite sure it is not,\" H.R. doubts.\n\n> You show the fish to the hr\n\"Do you want this?\" you ask.\n\n\"Oh no I couldn't... YES I CAN,\" H.R. shrieks and grabs the foil from your hands. Pieces of fish and drops of saliva fly around as the creature devours your meal. The gruesome show ends in H.R. silently burping and throwing the now empty foil over its shoulder. \"Wow, that really hit the spot. Yeah, maybe you'd like something in return?\"\n\nIt puts its hand in the sack and majestically pulls out tiny nail scissors and hands them to you.\n\n> You eat the fish\nYou can't bring yourself to eating it.\n\n\"What, you can't eat the sweet, sweet fish? You're one mysterious dude,\" the creature says.\n\n> You get the foil\nYou already have that.\n\n> You get the scissors\nYou already have those.\n\n> Inventory\nYou are carrying some nail scissors, a tin foil, an encyclopedia (in which is a light bulb), and a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor, some iron bars, and a drinking glass are on the floor.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> You examine the foil\nIt's a crumpled sheet of tin foil.\n\n> You cut the foil\nThat's already open.\n\nCutting that wouldn't solve anything.\n\n> You tear the foil\nThat's not something you can tear.\n\nH.R. scratches its head.\n\n> Cut photograph\nAfter hesitating for a while you carefully cut out Captain McBrawn's image from the photograph. It takes a good while with the nearly useless dull scissors.\n\nYou look at the McBrawn's silhouette, which is perfectly cut out but the photograph and the autograph is ruined. The sacrifice makes a silent tear roll on your cheek.\n\n\"I knew a girl like you once,\" H.R. remarks. \"She was five and she liked ponies. I bet you like ponies too, don't you.\"\n\n> Yes\nH.R. gives you a thumbs-up and a grin.\n\n> You ask hr about the ponies\nH.R. seems to have been distracted and missed your question.\n\n> You examine the photograph\nIt's a silhouette of Captain McBrawn cut from a photograph.\n\n> You put the silhouette on the window\n(the barred window)\nYou put the photograph on the barred window.\n\n> You point the lamp at the window\n(the barred window)\n(first taking the light bulb)\nYou point the light bulb at the barred window.\n\n> Point lamp at silhouette\nYou point the light bulb at the photograph.\n\n> You wait\nYou wait for a while.\n\n> You wait\nThat's already on.\n\nYou wait for a while.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> You attach silhouette\nWhat do you want to attach the photograph to?\n\n> You attach the silhouette to the window\n(the barred window)\nYou can't attach them together.\n\n> You attach the silhouette to the bulb\nPutting things on the light bulb would probably not get you any closer to escaping.\n\nYou can't attach them together.\n\n> You put the foil in the lamp\nThat is not something you could put stuff into.\n\nH.R. yawns.\n\n> You check what you're carrying\nYou are carrying a light bulb, some nail scissors, a tin foil, and an encyclopedia and wearing your adventuring clothes.\n\nAlso, a flux capacitor, some iron bars, and a drinking glass are on the floor.\n\n> You put the bulb in the book\nYou put the light bulb into the encyclopedia.\n\n> You look at the glass\n(the drinking glass)\nThe drinking glass is empty.\n\n> You put the foil on the glass\n(the drinking glass)\nPutting things on the drinking glass would probably not get you any closer to escaping.\n\n> You put the foil in the glass\n(the drinking glass)\nYou put the tin foil into the glass and straighten it against the glass walls.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You attach the silhouette to the glass\n(the drinking glass)\nYou can't attach them together.\n\n> You put the lamp in the glass\n(the drinking glass)\n(the tin foil)\n(first taking the light bulb)\nYou put the light bulb inside the glass and the tin foil concentrates and reflects the light into a bright beam of light.\n\n> You put the silhouette on the glass\n(the makeshift flashlight)\n(first taking the photograph)\nYou put Captain McBrawn's silhouette on top of the drinking glass.\n\nThe beam of light emitting from the drinking glass casts a shadow on the wall shaped like the Captain.\n\n\"Nananananananana CAP-TAAIN!\" H.R. sings.\n\n> You point the flashlight at the window\n(the barred window)\nCaptain McBrawn's silhouette reflects clearly to the clouds above. You hold the glass in your hand for several minutes, then support it in the window sill and leave it there.\n\n\"What happens now?\" H.R. asks.\n\n\"We wait. Captain McBrawn will be here any minute now.\" H.R. shrugs and stays silent.\n\nYou wait, and wait, and wait. You pace the room from one end to the other again and again. Finally the light bulb flickers ominously and finally burns out completely.\n\nA dreadful darkness falls into the cell but it doesn't last long when the moon comes back from behind the clouds and lights the room with an eerie glow. You give a defeated sigh. H.R. gives you a melancholic look.\n\nA bit later you hear muffled sounds from the corridor. They seem to get louder and louder and you can make out screams and thuds and thumps. You glance hopefully at H.R. who grins and gives you a thumbs-up.\n\n*khaZAM!*\n\nThe door practically EXPLODES inwards when the guard's unconscious body flies through it and bright light flows in the cell. You recognize the shadow of the man standing in the door frame.\n\nYes. It is Captain McBrawn.\n\n\"Fear NOT! For I, Captain McBrawn, am here!\" He comes in and stands tall in front of you, hands by his waist and holding his sculpture-like chin high. \"Let us leave this dreadful place!\"\n\nYou lower your head. \"I have to confess... You told me to go find the President. I didn't get there. The Screaming Communists captured me right away and I failed the mission.\" The Captain laughs warmly. \"Do not worry! I foiled their evil plot with little trouble and came looking for you. The searchlight was very clever of you.\"\n\n\"Well, I had some help...\" you say and point at H.R. - but it's gone. You're almost sure you see the tip of its tail disappearing in the ventilation duct. The Captain isn't paying much attention. \"Let's go home,\" he says.\n\nYou step over the knocked-out guard and leave.\n\n> You show the foil to the hr\n\"What do you suppose I would do with an empty sheet of tin foil?\" H.R. asks.\n\n> Inventory\nYou are carrying some nail scissors and an encyclopedia and wearing your adventuring clothes.\n\nAlso, a flux capacitor, some iron bars, and a makeshift searchlight are on the floor.\n\n> You examine bars\nThe bars used to be in the window before you corroded them off. They seem to have replaced the bars in the window but left the old ones behind.\n\n> You get the bars\nTaken.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> You look\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. The light bulb illuminates the cell.\n\nThere's an open trapdoor on the floor.\n\nH.R. stands there next to a large burlap sack.\n\n> You hit the door with the bars\nOn the floor are a dinner plate, a flux capacitor, and a makeshift searchlight.\n\nThere's no such thing here now.\n\n> You look at the dinner plate\nThe dinner plate is empty.\n\n> You show the plate to the gr\nThe aluminum air duct runs from one wall to another. It's quite large but not set very high, just few centimeters above your head. There's a small grate in the bottom of it.\n\nPlease be more specific - what do you want to show?\n\n> You show the plate to hr\n(the dinner plate to H.R.)\n(first taking the dinner plate)\nYou decide to hold on to it for a bit longer. It might still come useful.\n\n> You examine the grate\nThe aluminum air duct runs from one wall to another. It's quite large but not set very high, just few centimeters above your head. There's a small grate in the bottom of it.\n\n> You open grate\nYou open the grate on the air duct.\n\n> You throw the dinner plate at the window\n(the barred window)\nThat wouldn't solve anything.\n\n> You enter the duct\nYou try to squeeze through the opening, but it's just a bit too small for you to fit through.\n\n> You remove clothing\nYou strip naked.\n\n\"That's so very much unnecessary,\" H.R. remarks dryly.\n\n> You enter the duct\nEven without clothes the opening is just slightly too small to fit through.\n\n> You look at saliva\nA sizzling greenish puddle of saliva is forming by the feet of the creature.\n\n> You look at the plate\n(the dinner plate)\nThe dinner plate is empty.\n\n> You look at the clothes\nThey are a pair of green pocketless pants and a gray wool sweater. Your adventuring clothes - that's what mom said when she bought them. They've turned out being not very well suited for the purpose though. They're very thick and a bit too big.\n\n\"I hear your mom lost some weight so they changed her classification to dwarf planet,\" H.R. quips.\n\n\"Hey! Don't talk like that about my mom!\" you yell at it.\n\n> You check your inventory\nYou are carrying a dinner plate, some iron bars, some nail scissors, and an encyclopedia and wearing nothing.\n\nAlso, your adventuring clothes, a flux capacitor, and a makeshift searchlight are on the floor.\n\n> You attach the wire to the door\nYou tuck the live end of the wire into the keyhole.\n\n\"Aww, that's just nasty,\" H.R. says.\n\n> Scream\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says. After a short pause the voice goes: \"Why you... ARE YOU STILL NAKED?\"\n\n> You ask the guard about the door\n\"Could you please open the door?\" you ask.\n\n\"HA! HA! HA HA HA! HA! HA HA!\" is all he replies.\n\n> You examine the keyhole\nThere's a tiny keyhole in the cell door. Too bad you don't have the key.\n\n> You attach the wire to plate\n(the dinner plate)\nYou can't attach them together.\n\n> You attach the wire to the door plate\nThat command is too complex; you might want to try to just attach electrical wire to the door.\n\n> You attach the wire to the door\nYou make sure the wire is securely inside the keyhole.\n\nThe guard grunts and closes the eyehole.\n\n> You lie on the floor\nWhat do you want to knock?\n\nThere's no such thing here now.\n\n> Scream\n\"WHAT?\" the guard yells.\n\n> You put on the clothes\n(first taking the adventuring clothes)\nYou put on the adventuring clothes.\n\n> You show the plate to the guard\n(the dinner plate to the guard)\n(first taking the dinner plate)\nThe guard doesn't seem interested.\n\n> You give the plate to the guard\n(the dinner plate to the guard)\nThe guard doesn't seem interested.\n\nThe guard grunts and closes the eyehole.\n\n> You put the foil on the eyehole\n(first taking the tin foil)\nPutting things on the metal plate would probably not get you any closer to escaping.\n\n> You put the bar in the keyhole\n(first taking the iron bars)\nThose are not something you could put stuff into.\n\n> Inventory\nYou are carrying some iron bars, a tin foil (in which is a light bulb), and a dinner plate and wearing your adventuring clothes.\n\nAlso, an encyclopedia, some nail scissors, a flux capacitor, and a drinking glass (in which is a photograph) are on the floor.\n\n> You put the scissors in the keyhole\n(first taking the nail scissors)\nThose are not something you could put stuff into.\n\n> You look in the keyhole\nThrough the keyhole you see a small part of the corridor behind the door. Sweet freedom!\n\n> You wear the foil\nYou contemplate on making a foil hat to prevent unwanted telepathy, but decide you don't have the time.\n\n\"The elevator doesn't go all the way up, does it?\" H.R. wonders.\n\n> You wear plate\n(the dinner plate)\nThat is not clothing!\n\n> You attach the wire to the door\nYou make sure the wire is securely inside the keyhole.\n\n> You examine the lamp\nThe light bulb is lit.\n\n> You look at the eyehole\nThere's a metal plate embedded in the door on the eye level, about three centimeters high and thirty centimeters wide.\n\nH.R. taps the floor with its foot.\n\n> You put the bulb in the glass\n(the drinking glass)\n(first taking the light bulb)\nThere is no more room in the drinking glass.\n\n> Point bulb at glass\n(the drinking glass)\nYou point the light bulb at the drinking glass.\n\n> Point bulb at guard\nYou point the light bulb at the guard.\n\n> You hit the guard\nYou would possibly hurt yourself more than the guard.\n\n> You take photo\nTaken.\n\nThe guard grunts and closes the eyehole.\n\n> You put the bulb in glass\n(the drinking glass)\nThe lamp fits nicely inside the drinking glass. The glass bends and reflects the light, creating beautiful patterns of light and shadow on the cell walls. The top of the glass throws a weak beam of light on the ceiling.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You ask the hr about the mexicans\n\"I've never been to Mexico.\"\n\n\"Huhwhat?\" H.R. exclaims.\n\n> You show the glass to the guard\n(the drinking glass to the guard)\n(first taking the drinking glass)\nThe guard doesn't seem interested.\n\n> You put the bulb in the glass\n(the drinking glass)\nThe light bulb is already in the drinking glass.\n\n> You ask hr about the grue\n\"I have nothing to say now,\" you say to the guard before talking to H.R. \"WHATEVER,\" the guard yells and slides the eyehole shut.\n\n\"Yes, yes, run along now,\" H.R. says.\n\n> You put the foil in the glass\n(the drinking glass)\nThere is no more room in the drinking glass.\n\n> You put the foil in the glass\n(the drinking glass)\nYou put the tin foil into the glass and straighten it against the glass walls.\n\n> You put the bulb in glass\n(the drinking glass)\n(the tin foil)\nYou put the light bulb inside the glass and the tin foil concentrates and reflects the light into a bright beam of light.\n\n> You shine the light at the guard\n(the light bulb at the guard)\n(first taking the light bulb)\nYou point the light bulb at the guard.\n\n> You point the flashlight at the guard\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says.\n\nYou point the makeshift flashlight at the guard.\n\n> You point the glass at the guard\n(the makeshift flashlight at the guard)\nYou point the makeshift flashlight at the guard.\n\n> You point the flashlight at eyes\nYou point the makeshift flashlight at the guard.\n\n> You ask the guard for the food\n\"SPEAK UP!\" the guard shouts.\n\n> You tell the guard about the monster\n\"No, I mean it! Look at it, there the monster is!\"\n\nThe guard squints. \"NOPE. CAN'T see ANYTHING,\" he shouts.\n\n> You ask the guard about the toilet\n\"WHAT?\" the guard shouts.\n\n> You ask the guard about the guard\n\"So... you're a guard, huh? How's that working for you?\"\n\nThe eyes behind the door squint. \"Are you COMING ON TO ME?\"\n\n> Yes\n\"OK THEN,\" the guard roars.\n\n> You ask the guard about yourself\n\"Don't you know who I am!?\" you demand.\n\"NO,\" the guard replies.\n\n\"Well... uh... I'm Scotty,\" you say.\n\n> You ask the guard about Captain\n(the photograph)\n\"You should better let me go peacefully before it's too late! This here is Captain McBrawn and he'll be coming to rescue me and then you will be in big trouble!\"\n\n\"OOH, I'M TREMBLING,\" the guard shouts.\n\n> You ask the guard about escape\n\"I'm going to break out and save the President!\"\n\n\"HA! I SPIT at your PRESIDENT!\" the guard yells.\n\n> Spit at guard\nThat command is too complex; you might want to try to just spit.\n\n> Spit\nThat's a nasty habit.\n\n> You ask the guard about the spit\nWhat do you want to ask the guard about: the puddle of saliva, or the acidic spit?\n\n> You ask the guard about the window\n(the barred window)\nYou're about to ask, but you're not sure how to word the question.\n\n> You ask the guard about the exercise\nNothing particular about that topic comes to mind.\n\n> You ask the guard about the book\nWhat do you want to ask the guard about: the encyclopedia, or the Jack Mills novel?\n\n> You ask the hr about Jack Mills\n\"I guess that was all,\" you say to the guard before talking to H.R. \"ALL RIGHT THEN,\" the guard yells and slides the eyehole shut.\n\n\"Oh, you have other books too?\" you ask.\n\n\"Yeah, but you wouldn't like this one. It doesn't have any pictures,\" H.R. says.\n\n> You show encyclopedia to the hr\nOne page comes off the encyclopedia and flutters on the floor.\n\n\"Can I have something else instead?\" you carefully ask. \"Not enough pictures, eh? Well, I'll trade it in but I can't give you anything as nice this time. Let's see... an orange garden hose... no... an electric mixer... hmm... This'll do.\"\n\nIt gives you a can of motor oil.\n\n> You examine the oil\nThe can contains motor oil, meant to reduce friction of moving parts.\n\n> You put the oil on yourself\nThat would surely ruin your clothes. Mom would never get the oil out.\n\n\"Your mom is so ugly they moved Halloween to her birthday,\" H.R. says.\n\n\"That's just so not cool!\" you cry.\n\n> You remove the clothes\nYou strip naked.\n\n\"Oh for crying out loud!\" H.R. yells. \"That's really not something I would have wanted to see.\"\n\n> You put the oil on yourself\nYou pour the oil on you and douse yourself with it. Every inch of yourself. Every drop of the oil gets used. The result is one slick and slippery Scotty.\n\n\"My eyes! Is there no mercy for my poor retinas?\" H.R. cries.\n\n> You enter the vent\nThe motor oil covers your body like sweat on a hot summer night. You slither inside the air duct and pull yourself deeper and deeper inside. Darkness and cold aluminum encloses you from all sides as you twist and turn through the tunnels. Finally there's some light looming from ahead and you slide faster toward it.\n\nJust before you reach the end of the duct a dark shape blocks the light and you're back in near darkness. You force yourself to a halt and stare the figure in the eyes.\n\n\"Hey, it's H.R.! What are you doing here?\" you ask but the creature doesn't reply. It opens its mouth, and the second, and the third. And it hisses.\n\nYou back away in record speed and drop down the grate back to the cell.\n\n\"I see you met my -cousin Herbert-,\" H.R. assumes. \"Now please put some clothes on!\"\n\n> About yourself\nYou are Scotty, Captain McBrawn's short and a bit round sidekick. You have followed him on his adventures and helped him mostly by staying out of his way, but now you have a mission of your own.\n\nYou are carrying a makeshift flashlight, a photograph, some nail scissors, some iron bars, and a dinner plate and wearing nothing.\n\nAlso, your adventuring clothes and a flux capacitor are on the floor.\n\n> You wear the clothes\n(first taking the adventuring clothes)\nYou put your clothes on.\n\n\"I and my eyes thank you, good sir,\" H.R. says.\n\n> You look at the grate\nThe aluminum air duct runs from one wall to another. It's quite large but not set very high, just few centimeters above your head. There's a small opened grate in the bottom of it.\n\n> You ask the hr about the cousin\n\"Wait, you knew there was a monster in the air ducts?\" you cry. \"Sure. It's cousin Herbert, hired by the -Screaming Communists- to keep the vents safe,\" H.R. says.\n\n\"Then why didn't you say anything before I went in there!?\"\nH.R. shrugs. \"I thought Herbie might have been hungry.\"\n\n> You ask the hr about Herbert\n\"Wait, you knew there was a monster in the air ducts?\" you cry. \"Sure. It's cousin Herbert, hired by the Screaming Communists to keep the vents safe,\" H.R. says.\n\n\"Then why didn't you say anything before I went in there!?\"\nH.R. shrugs. \"I thought Herbie might have been hungry.\"\n\n> You ask the hr about Screaming\n(the Screaming Communists)\n\"What do you think of the Screaming Communists?\" you ask H.R..\n\n\"They're a bit loud for my tastes. And they're not the ideal business partners, either. They tend to rather shoot you and take your stuff instead of trading.\"\n\n> You take the grate\nThat is not something you would carry around.\n\nH.R. yawns.\n\n> You check what you're carrying\nYou are carrying a photograph and wearing your adventuring clothes.\n\nAlso, a dinner plate, some iron bars, some nail scissors, a makeshift flashlight, and a flux capacitor are on the floor.\n\n> You examine the photograph\nIt's a silhouette of Captain McBrawn cut from a photograph.\n\n> You show the scissors to the hr\n\"Thanks, but I don't need this anymore.\"\n\n\"What am I, a library?\" the creature snaps. \"Very well, I'll trade it in. Let's see... a battering ram... no... some deck chairs from the Titanic... hmm... Oh, I don't know what this is so maybe you can have it then.\"\n\nH.R. throws you a small vial.\n\n> You examine the vial\nThe glass vial is very small and delicate. There's some purple liquid inside it and the words \"DRINK ME\" written on it with beautiful cursive.\n\nH.R. scratches its head.\n\n> Drink vial\nYou take a sip from the vial. It has a very faint taste, something flowery, but you can't quite put your finger on it. Then suddenly the vial starts to get larger and larger; your clothes seem to grow bigger and the walls and the ceiling seem to move further apart from each other.\n\nYou climb out from under your clothes that are now too huge to wear. The cell and everything in it seems to have grown at least tenfold. H.R. is a towering monster far away.\n\n\"Or could it be that you have just shrunk a lot smaller?\" the creature booms.\n\nVery soon you find out that the effect doesn't last very long: you stretch back to your original size.\n\n> You examine the vial\nThe glass vial is very small and delicate. There's some purple liquid inside it and the words \"DRINK ME\" written on it with beautiful cursive.\n\n> Scream\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says. After a short pause the voice goes: \"Why you... ARE YOU STILL NAKED?\"\n\n> You show the clothes to guard\n(first taking the adventuring clothes)\nThe guard doesn't seem interested.\n\n> You give the vial to the guard\n(first taking the potion vial)\nThe guard doesn't seem interested.\n\n> You show the vial to the guard\nThe guard doesn't seem interested.\n\nThe guard grunts and closes the eyehole.\n\n> You ask the guard about Screaming\n(the Screaming Communists)\n\"What does it actually mean being a Screaming Communist?\"\n\n\"You get to SCREAM! And THREATEN PEOPLE! By SCREAMING! AND I LIKE IT!\" he replies.\n\n> You shout at the guard\n\"WHAT?\" the guard yells.\n\n> You attach the wire to the door\nYou make sure the wire is securely inside the keyhole.\n\n> Drink vial\nYou take a sip from the vial and the world starts to grow smaller and smaller. Very soon you are so small you can't see the guard's eyes anymore - and apparently he can't see you either.\n\n\"NOW WHERE did you GO!?\" the guard yells. \"OH BUGGER, I'm going to GET FLOGGED if I let him ESCAPE!\"\n\nHe opens the door and peeks inside. \"HEY! WHERE DID YOU GO!\" You take advantage of the situation and start running through the door.\n\nYou run and run and run for what feels like eternity. Then the potion's effect starts to wear out and you grow quickly to your normal size. You managed to cover almost two meters from the door. Running with legs the size of a toothpick doesn't get one very far. You stand there, naked, grinning to the guard who leaps at you and throws you back inside.\n\n> You press the space\n\"YOU STAY HERE and I'll take THIS WITH ME so NO TRICKS ANYMORE!\" the guard shouts and takes the potion vial before slamming the door shut."
    },
    {
        "text": "[Themes: Comedy, humor, male protagonist, superhero, gender-neutral protagonist]\n\n> Look around\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. The light bulb illuminates the cell.\n\nThere's an open trapdoor on the floor.\n\nThe creature wags its tail slowly from side to side.\n\nOn the floor are your adventuring clothes, a photograph, a dinner plate, some iron bars, a makeshift flashlight, an article, and a flux capacitor.\n\n> You ask the hr about the citation needed\n\"Dunno about that,\" H.R. says.\n\n> You show the article to the hr\n(first taking the article)\n\"Thanks, but you should keep it,\" H.R. says.\n\n> You ask the hr about the citation\nH.R. seems to have been distracted and missed your question.\n\n> You show the wire to the hr\n(first trying to take electrical wire)\nYou pull the wire out from the keyhole.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> You show wire to the hr\n(first trying to take electrical wire)\nIt won't come out any further.\n\n> Lick wire\nWondering if the wire has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"The lamp's on, but nobody's in the lighthouse, is there?\" H.R. wonders.\n\n> You touch the hr with the wire\n*kZAP*\n\nH.R. spasms and blinks white light for a while. Trails of smoke rise from its body.\n\n\"Careful with that!\n\" it says.\n\n> Scream\nThe rectangle on the cell door slides open and a pair of beady eyes appear behind it. \"WHAT is all this RACKET?\" a loud voice behind the door says. After a short pause the voice goes: \"Why you... ARE YOU STILL NAKED?\"\n\n> You touch the guard with the wire\n\"Stop WAVING THAT THING in front of me!\" the guard screams.\n\n> You touch the guard with the wire\n\"Stop WAVING THAT THING in front of me!\" the guard screams.\n\nThe guard grunts and closes the eyehole.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"The elevator doesn't go all the way up, does it?\" H.R. wonders.\n\n> You show the capacitor to the hr\n(first taking the flux capacitor)\nYou decide to hold on to it for a bit longer. It might still come useful.\n\nThe numbness on your tongue subsides and some sense returns to it. \"Too bad that doesn't apply to the rest of your head,\" H.R. quips.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"You're not the brightest lamp of the Christmas lights, are you?\" H.R. wonders.\n\n> Lick plate\n(the dinner plate)\nYou have eaten a lot of strange stuff, but the dinner plate is not something you want to put in your mouth.\n\n> You take the foil\n(first dropping the flux capacitor to make room)\nTaken.\n\n> Lick puddle\nThat would just be too disgusting.\n\n> You put the acid in the glass\n(the drinking glass)\n(first trying to take the puddle of saliva)\nYou scoop some of the spit from the floor into the glass.\n\n> You pour the acid on plate\n(the acidic spit on the dinner plate)\n(first taking the acidic spit)\nYou pour a few drops of the spit on the dinner plate. The spit sizzles away in trails of smoke, leaving brown spots where it landed.\n\n> Lick hr\n\"Would you mind if I licked you a bit?\"\n\n\"Yes. Yes I very much would,\" H.R. objects.\n\nThe numbness on your tongue subsides and some sense returns to it.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"There's no battery in your remote, is there?\" H.R. wonders.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"The elevator doesn't go all the way up, does it?\" H.R. wonders.\n\n> You put the wire on the flux capacitor\n(first trying to take electrical wire)\nIt won't come out any further.\n\n> Break plate\n(the dinner plate)\nYou would possibly hurt yourself more than the dinner plate.\n\n> You attach the plate to the flux\n(the dinner plate to the flux capacitor)\nYou can't attach them together.\n\n> You put the capacitor on the wire\n(first taking the flux capacitor)\nPutting things on electrical wire would probably not get you any closer to escaping.\n\n> You attach the capacitor to the wire\nYou can't attach them together.\n\nThe numbness on your tongue subsides and some sense returns to it.\n\n> You throw plate\n(the dinner plate)\nThe dinner plate is already here.\n\n> You look at the trapdoor\n(the dinner plate in the trapdoor)\n(first taking the dinner plate)\n(first dropping the flux capacitor to make room)\nThe dinner plate falls down the trapdoor and lands back in front of you.\n\n> You attach the wire to the barsa\nIt's a wooden trapdoor set in the floor. Looking closely you can see a small switch on the side of it.\n\nThere's no such thing here now.\n\n> You attach the wire to the bars\nYou can't attach them together.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You examine the switch\nThe small switch on the trapdoor has been pushed to one side.\n\n> You pull the switch\nYou flip the switch and the trapdoor slides effortlessly to the middle of the room. Where it used to be only solid stone floor remains.\n\n\"How curious,\" you muse. H.R. raises the spot above its eye where people usually have eyebrows.\n\n> You pull the switch\nThe trapdoor slides to the right side of the room.\n\n> You examine the power\nThe power dial goes from zero to 1.21 gigawatts. It's currently pointing at the maximum.\n\n> You put capacitor in trapdoor\n(first taking the flux capacitor)\nThe flux capacitor falls down the trapdoor and lands back in front of you.\n\n> You examine the ceiling\nThe ceiling is far above the ground. The trapdoor hangs open in the ceiling on the opposite side of itself. Which is a bit strange, but hey.\n\n> You look at the ceiling trapdoor\nThat command is too complex; you might want to try to just examine the ceiling.\n\n> You pull the switch\nThe trapdoor slides to the middle of the room.\n\n> You pull the switch\nThe trapdoor slides to the right side of the room."
    },
    {
        "text": "[Themes: Comedy, humour, gender-neutral protagonist]\n\n> You go downwards\nYou jump down the trapdoor and land back into the cell.\n\n> You look down\n(the floor)\nThe stone floor is a dirty and cold.\n\n> You look at the trapdoor\nIt's a wooden trapdoor set in the floor. Looking closely you can see a small switch on the side of it.\n\n> You look at the trapdoor\nThe flux capacitor is already here.\n\nIt's a wooden trapdoor set in the floor. Looking closely you can see a small switch on the side of it.\n\n> You examine the flux\nThe flux capacitor has a window on one side where you can see some tubes in Y shape inside. Red labels are pasted all over the device, the one on top saying \"FLUX CAPACITOR\". The two dials are labeled \"POWER\" and \"SPEED\" and there's a pin with a picture of a lightning bolt next to it. It is very heavy.\n\nThe tubes inside are blinking bright white light and the device hums silently.\n\n> You attach the wire to the trapdoor\nThe power dial goes from zero to 1.21 gigawatts. It's currently pointing at the maximum.\n\nYou can't attach them together.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover. \"There's no mayo in your sandwich, is there?\" H.R. wonders.\n\n> You ask the hr about the trapdoor\n\"Ha hoh? Hew mah howeh huh.\"\n\n\"Sorry, but I don't speak Dimwit,\" H.R. says.\n\n> You enter trapdoor\nH.R. looks at you.\n\nOn the floor are a flux capacitor, a dinner plate, a tin foil (in which is a light bulb), a drinking glass, your adventuring clothes, a photograph, and some iron bars.\n\n> You ask the guard about guard\n\"So... you're a guard, huh? How's that working for you?\"\n\nThe eyes behind the door squint. \"Are you COMING ON TO ME?\"\n\nThe numbness on your tongue subsides and some sense returns to it.\n\n> Lick wire\nWondering if the wire still has any power, you touch it with your tongue.\n\n*kZAP*\n\n\"Ih HOEH hae oheh!\" you discover.\n\n> You ask the guard about the door\n\"Could you please open the door?\" you ask.\n\n\"HA! HA! HA HA HA! HA! HA HA!\" is all he replies.\n\n> You enter the trapdoor\nThe guard eyes you through the eyehole.\n\nH.R. stands there next to a large burlap sack.\n\nOn the floor are a flux capacitor, a dinner plate, a tin foil (in which is a light bulb), a drinking glass, your adventuring clothes, a photograph, and some iron bars.\n\n> You wait for a while\nYou wait for a while.\n\nThe guard grunts and closes the eyehole."
    },
    {
        "text": "[Themes: Comedy, parody, humour, humor]\n\n> You go downwards\nYou jump down the trapdoor and find yourself back in the cell. Since the trapdoor is in the middle of the room, you fall through it again. And again. And again.\n\n\"Uh.. A little help here?\" you ask after falling for some while. The surroundings are just one big blur and it's giving you a headache. \"Oh, all right, you big baby,\" the creature says and shuffles towards the trapdoor. It flips the switch and the trapdoor slides to one side.\n\nYour fall comes to an abrupt end as you smash on the floor. \"Owee,\" you cry and climb on your feet.\n\n> You pull the switch\nThe trapdoor slides to the middle of the room.\n\nThe numbness on your tongue subsides and some sense returns to it.\n\n> You get the capacitor\nYou lift the flux capacitor to your arms."
    },
    {
        "text": "> You go downwards\nYou jump down the trapdoor holding the flux capacitor.\nThe speed dial's needle on the flux capacitor approaches the 88 mph mark quickly as you fall faster and faster. Colorful sparks fly to the air from the device and when it reaches the mark, there's a blinding bright flash of white light.\n\nYou crash on the floor. Or, rather, ground - the stone floor is gone. Along with the rest of the castle.\n\nThis is definitely the same place. You recognize the surroundings as the same, but there's nothing but some construction materials lying around.\n\nDark clouds are gathering above.\n\n*kZAP*\n\nA lightning bolt strikes the flux capacitor and there's another bright flash. Stupefied you stand in the cell again, smoke rising from your ears.\n\n\"Mmm. Smoked monkey,\" H.R. says and licks the part of its face where lips usually are.\n\n> You show the capacitor to the hr\n\"I don't need this anymore.\"\n\nH.R. sighs. \"Of course you don't need it anymore, it's a funking smoldering piece of twisted metal after you got your hands to it!\" It yanks the thing from your hands. \"I'll get you something, but just so you'll know I'm not happy about this. I have mouths to feed! Let's see... a teleporter... no... an Internet... hmm... Aha, this just takes up room.\"\n\nThe creature pulls out an improbably large structure of wood and metal. It's many times larger than the sack. \"I guess I did have a -trebuchet- there!\"\n\n> You look at the leaflet\nIt's a manual leaflet for operating the trebuchet.\n\n> You read it\n\"Thank you for purchasing a WallBreaker(tm) catapult! You are now the proud owner of a finest piece of modern medieval siege equipment.\n\nTo operate your WallBreaker(tm) catapult:\n1) load the mechanism by turning the winch until the arm has come all the way down.\n2) insert ammunition (sold separately) on the cup located at the end\nof the arm.\n3) pull the lever.\n4) repeat until the enemy's defensive structures have fallen.\n5) storm the castle with your army.\"\n\n> Turn winch\nThe winch is missing its handles. You can't get a good grip.\n\n> You examine the trebuchet\nYou can't attach them together.\n\nThe catapult is a huge wooden structure on four cracked and worn wheels. There's a lever on the side and a mechanism that is apparently meant to throw objects at a great distance.\n\n> You look at the mechanism\nWhat do you want to examine: the catapult, or the winch?\n\n> You look at the winch\nA round wooden disc connects to the machinery with an axle, where it winds the mechanism. It seems to be missing its handles. There are just holes in regular intervals around the rim of the disc.\n\n> You put bars in holes\n(first taking the iron bars)\nYou insert the bars into the holes in the winch. They fit perfectly.\n\n\"Isn't that just convenient,\" H.R. remarks.\n\n> Turn winch\nYou turn the winch with all your might and the catapult's mechanism screams and wails as the arm tensions and lowers down.\n\n> You sit on the trebuchet\nThat's not something you can sit down on.\n\nH.R. burps and covers its mouth with its hand. \"Sorry. Had Mexicans for lunch.\"\n\n> You examine the trebuchet\nThe catapult is a huge wooden structure on four cracked and worn wheels. There's a lever on the side and a mechanism that is apparently meant to throw objects at a great distance.\n\n> You put the plate on the trebuchet\n(the dinner plate on the catapult)\n(first taking the dinner plate)\nYou wedge the plate into the catapult's arm. It looks like it should hold nicely.\n\n> You pull the lever\nThe catapult's arm snaps forward with tremendous force and stops abruptly at the highest peak.\n\n\"Whee,\" H.R. says.\n\n> You sit on the plate\n(the dinner plate)\nYou climb on the dinner plate and ponder the situation. \"Let's see... I need something heavy to bring down the wall. Something heavy and large...\"\n\nYou hear H.R. whirr and click with its mouth. \"I wonder what this does,\" it says.\n\nYou glance down and see that it fiddles with the catapult's release lever. \"Don't...\" you have time to say before it yanks the lever fully back.\n\n\"YYYAAAAEEEOOUU\" *crash*\n\nYou have only a faint recollection of what happens next: there seems to be a lot of screaming and hassle around you. And sharp pain, well, everywhere. Eventually you find yourself back in the cell, still a bit dazzled.\n\n\"Wow, that was spectacular,\" H.R. says. \"You brought almost the entire wall down. Too bad you weren't conscious enough to make much use of the situation.\"\n\n\"The Screaming Communists on the other hand were very efficient. They built the wall again and removed the catapult to prevent any further 'accidents',\" it continues.\n\n> You show the manual to the hr\n\"No thanks,\" the creature says.\n\n> You put the foil in the glass\nYou put the tin foil with the light bulb inside into the glass and straighten the foil against the glass walls. The foil concentrates the light into a bright beam of light.\n\n> You attach the wire to door\nYou tuck the live end of the wire into the keyhole.\n\n> You put the silhouette on the glass\n(first taking the photograph)\nYou put Captain McBrawn's silhouette on top of the drinking glass.\n\nThe beam of light emitting from the drinking glass casts a shadow on the wall shaped like the Captain.\n\n> You point the flashlight at the window\nCaptain McBrawn's silhouette reflects clearly to the clouds above. You hold the glass in your hand for several minutes, then support it in the window sill and leave it there.\n\n\"What happens now?\" H.R. asks. \"Is this the cue for you to put on your clothes?\"\n\n\"No! We wait. Captain McBrawn will be here any minute now.\" H.R. shrugs and stays silent.\n\nYou wait, and wait, and wait. You pace the room from one end to the other again and again. Finally the light bulb flickers ominously and finally burns out completely.\n\nA dreadful darkness falls into the cell but it doesn't last long when the moon comes back from behind the clouds and lights the room with an eerie glow. You give a defeated sigh. H.R. gives you a melancholic look.\n\nA bit later you hear muffled sounds from the corridor. They seem to get louder and louder and you can make out screams and thuds and thumps. You glance hopefully at H.R. who grins and gives you a thumbs-up.\n\n*khaZAM!*\n\nThe door practically EXPLODES inwards when the guard's unconscious body flies through it and bright light flows in the cell. You recognize the shadow of the man standing in the door frame.\n\nYes. It is Captain McBrawn.\n\n\"Fear NOT! For I, Captain McBrawn, am here!\" He comes in and stands tall in front of you, hands by his waist and holding his sculpture-like chin high. \"Let us leave this dreadful place!\"\n\nYou lower your head. \"I have to confess... You told me to go find the President. I didn't get there. The Screaming Communists captured me right away and I failed the mission.\" The Captain laughs warmly. \"Do not worry! I foiled their evil plot with little trouble and came looking for you. The searchlight was very clever of you.\"\n\n\"Well, I had some help...\" you say and point at H.R. - but it's gone. You're almost sure you see the tip of its tail disappearing in the ventilation duct. The Captain isn't paying much attention. \"Let's go home,\" he says.\n\nYou step over the knocked-out guard and leave.\n\n> Escapes\nYou can escape the cell in following ways:\n\n- pour H.R.'s spit on the window bars\n- attach the toilet hole to the door and unlock it\n- accelerate to 88 mph while holding the flux capacitor\n- trap the cell door's lock with an exposed live wire\n- bribe the guard with the whiskey bottle\n- enter the air ducts\n- move the trapdoor opening sticker to the cell door\n- cheat the guard by drinking the magic potion\n- repair the trebuchet and break the door down with it\n- build a searchlight and call McBrawn for help\n\nWould you like to RESTART, RESTORE a saved game, QUIT, review your SCORE, or see all available ESCAPES (includes spoilers)?"
    },
    {
        "text": "> You describe your surroundings\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. A light bulb hangs from the ceiling illuminating the cell.\n\nThere's a closed trapdoor on the floor.\n\nH.R. waves at you.\n\nOn the floor are some iron bars, a flux capacitor, and some glue remover.\n\n> You check your inventory\nYou are carrying a drinking glass, an encyclopedia (in which is a whiskey bottle), and a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor and some glue remover are on the floor.\n\n> You attach the wire to the door\n(ktonk)\n\n(first trying to take electrical wire)\n\"I warned you!\" you yell and pull the bulb as hard as you can. The wire snaps and you're left with a bulb attached to nothing but its socket.\n\nMiraculously enough the bulb is still lit even when it's not connected to anything. \"Hmm,\" H.R. muses.\n\n> You show the whiskey to guard\n\"Would you be interested in a... little drink?\" you say and dangle the bottle in front of the eyehole. \"Uh, is that MEISTERJ?GER? I most certainly SHOULD NOT... Maybe a little bit, JUST TO KEEP ME WARM ... JUST SLIP it through the HOLE, will you?\" \"It won't fit through,\" you remark. \"I must open the door... But KEEP IT QUIET, WILL YOU?\"\n\nThere's a click from the keyhole and the door opens slightly. You slip the bottle to the guard who snatches it from your hand and slams the door shut. In his excitement he doesn't remember to lock the door! You wait for a moment and open it very carefully.\n\nThe guard is enjoying his prize and doesn't notice you slipping through the door. You navigate through the castle corridors until you stop behind a door where you hear conversation behind it.\n\n\"DID YOU HEAR that FEDOR has found a BOTTLE OF MEISTERJ?GER?\" a voice yells.\n\n\"Meisterj?ger? AND HE'S NOT SHARING?\" another voice shouts. Several other voices murmur in unison. It gets harder to hear, but it seems they all decide to pay a visit to Fedor and his bottle. By the time you've deduced this, the door opens and twenty Screaming Communists march out.\n\n\"FEDOR, you OLD DRUNK we've come to DRINK FOR YOUR HEALTH and we've BROUGHT YOU A PRESENT,\" they shout as they shove you to his lap.\n\n\"ALL RIGHT, IN WE GO,\" Fedor shouts and inserts a key in the cell door lock.\n\n*kZAP*\n\nHe gets a hefty shock from the keyhole, releasing you from his grip. You bolt away - but bump into the other guards. \"FORGOT US, did you? STOP SPASMING FEDOR and do your JOB!\"\n\nThe sounds of the Screaming Communists gradually die out when the bottle is finally empty and you're back in the cell with H.R.\n\n\"Welcome back,\" it says.\n\n> Hint\nWarning! You are about to spoil the game for yourself! If you are absolutely sure you need a hint, type HINT again.\n\n> Hint\n\"I bet there's something here you could trade with me,\" H.R. says.\n\n> Hint\n\"Often after you've used some item you can trade it in,\" H.R. says.\n\n> Hint\n\"Just try giving me anything you carry or what is in the cell,\" H.R. says."
    },
    {
        "text": "[Themes: Comedy, Comedy, superhero, humor, humour, castle]\n\n> Look around\nThe cell walls are of gray stone and a small barred window leads outside to freedom. A silvery air vent runs right above the window. The light bulb illuminates the cell.\n\nThere's an open trapdoor on the floor.\n\nH.R. waves at you.\n\nOn the floor are a flux capacitor, some iron bars, and a drinking glass.\n\n> You check your inventory\nYou are carrying an encyclopedia (in which is a light bulb) and a photograph and wearing your adventuring clothes.\n\nAlso, a flux capacitor, some iron bars, and a drinking glass are on the floor.\n\nThere's a knock on the door. Not waiting for a response the guard opens the door and shouts: \"Your DINNER IS HERE!\" He throws a plate in the cell with a silvery package on it and locks the door again.\n\n> Hint\n\"Often after you've used some item you can trade it in,\" H.R. says.\n\n> Wait\nYou wait for a while.\n\n\"Booooring,\" H.R. says and yawns.\n\n> You examine the dinner\nThere's a tin foil on the plate.\n\n> You attach the wire to the door\nYou tuck the live end of the wire into the keyhole.\n\n\"Aww, that's just nasty,\" H.R. says.\n\nThere's a knock on the door. The guard doesn't wait for a response but starts turning the key in the lock and shouts: \"Your DINNER IS...\"\n\n*kZap*\n\nThe electrical wire gives a good shock to the guard and he flies backwards to the opposite wall. You go see if the door opened - and it did! You take off into the corridors.\n\nAfter wandering around the castle for some while you realize you have no idea where you are. The corridors and staircases create a maze where you just can't know where you're going.\n\nYou turn around a corner and bump into the guard who is still a bit dazed. He reacts quickly now and grabs a hold of you. \"And STAY THERE!\" he shouts when he throws you back in the cell.\n\nA plate with a tin foil bundle on it has been left in the cell.\n\n> Xyzzy\nH.R.'s voice says, \"Oh come on! Talk about beating a dead horse!\"\n\n> Escape\nYes, that would be the general idea. You just have to be a bit more specific.\n\n> Escape cell\nThat command is too complex; you might want to try to just escape.\n\n> You ask HR about the cell\n\"What is this place anyhow? Where are we?\"\n\n\"This is Castle Schweinehund,\" H.R. tells you. \"Story goes that the previous owners built it on an ancient burial ground and used it to perform occultist rituals, opening portals to other worlds and so on. Sounds like old wives' tales to me,\" it says and runs its hand across its tail.\n\n> You ask the hr about the magic\n\"Yes, yes, run along now,\" H.R. says.\n\n> You go to the north\nAbout Escapade!\n> How to play\nTalking with characters\nSettings\nLicense\n\nAbout Escapade!\n> How to play\nTalking with characters\nSettings\nLicense\n\n> Go north\nAbout Escapade!\nHow to play\n> Talking with characters\nSettings\nLicense\n\nAbout Escapade!\nHow to play\n> Talking with characters\nSettings\nLicense\n\n> You go north\nAbout Escapade!\nHow to play\nTalking with characters\n> Settings\nLicense\n\nAbout Escapade!\nHow to play\nTalking with characters\n> Settings\nLicense\n\n> Go north\nAbout Escapade!\nHow to play\nTalking with characters\nSettings\n> License\n\nAbout Escapade!\nHow to play\nTalking with characters\nSettings\n> License\n\n> P.\nAbout Escapade!\nHow to play\nTalking with characters\nSettings\nLicense\n\n> About Escapade!\nHow to play\nTalking with characters\nSettings\nLicense\nEscapade! was an entry to the One Room Game Competition 2008 where it finished second out of seven games and was later nominated for three XYZZY awards.\n\nIf you get stuck, there's a HINT command and a walkthrough included in a separate file. The hints and the walkthrough will cover only the minimum solution, so there will still be some optional puzzles you have to find the solution without help.\n\nThe source code is distributed with the game. You can also download it from http://www.nitku.net/if/escapade/. You are free to modify the game or use snippets from the code; see LICENSE for details.\n\nThere's a good chance of a post-competition release. If you find bugs or you have other suggestions, please email me.\nI'm also interested in seeing transcripts of playthroughs.\n\nAnd last but not least, a big thank you to the playtesters: Taleslinger, Mike Tarbert, Christian Moura, George Oliver, Jim Aikin, S. John Ross, and Roger Carbol. Thank you to everyone who later sent transcripts of their plays. This would have been a lesser game without your help.\n\n> About Escapade!\nHow to play\nTalking with characters\nSettings\nLicense\n\n> About Escapade!\nHow to play\nTalking with characters\nSettings\nLicense\n\n> Kiss clothes\nKeep your mind on the game.\n\n> You give the clothes to the hrthe .\n(first taking the clothes off)\n\"Look, we made a deal and you should keep it. I don't take extortion lightly,\" H.R. snaps.\n\n> You put the clothes in the trapdoor\nThe adventuring clothes fall down the trapdoor and land back in front of you.\n\n> You touch the clothes\nMmm. Mom has used the good fabric softener.\n\n\"I hear your mom lost some weight so they changed her classification to dwarf planet,\" H.R. quips.\n\n\"Hey! Don't talk like that about my mom!\" you yell at it.\n\n> You eat the clothes\nLet's leave that to orcs and such.\n\n> Smell the clothes\nThey smell like... you.\n\n> Search clothes\nThey are a pair of green pocketless pants and a gray wool sweater. Your adventuring clothes - that's what mom said when she bought them. They've turned out being not very well suited for the purpose though. They're very thick and a bit too big.\n\n\"Your mom is so ugly they moved Halloween to her birthday,\" H.R. says.\n\n\"That's just so not cool!\" you cry.\n\n> You examine them\nThey are a pair of green pocketless pants and a gray wool sweater. Your adventuring clothes - that's what mom said when she bought them. They've turned out being not very well suited for the purpose though. They're very thick and a bit too big.\n\n> You read them\nThere are no care labels. Mom knows how to wash them even without.\n\n\"Your mom is so poor her picture is on the food stamp,\" H.R. says.\n\n\"Shut up, you... whatever you are,\" you snap at the thing.\n\n> You squeeze them\nThey're all dry already.\n\nH.R. digs a paper tissue from its bag and tries to wipe some spit from around its mouth. The tissue sizzles and melts away leaving just a faint trace of smoke.\n\n> You throw them\nThe adventuring clothes are already here.\n\n> Sing\nYou proudly hum Captain McBrawn's theme song and regain a good dose of courage and morale.\n\n> Fuck\nSuch language! What would your mother think of you?\n\n\"Your mom is so clumsy, when she falls down she misses the ground,\" H.R. says.\n\n\"Why are you being so mean,\" you cry.\n\n> You ask the hr about the mom\n\"Yes, yes, run along now,\" H.R. says.\n\n> Pause\nThe game is now paused. Type any command to continue."
    },
    {
        "text": "[Themes: humor, France, absurd, female protagonist, steampunk, africa, transformation, humour]\n\nThat wacky Neil deMause! What will he think of next? Why, the last time you tried to visit him, you got stuck on Ellis Island for hours, and ended up years in the past talking to a goat. Boy, you were really \"Lost in New York\" that time (heh heh). And history seems to have repeated itself, because here it is Halloween, and here you are, wandering through the streets in the fog, looking for his apartment again. Sheesh.\n\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\nA jack-o-lantern sits in the middle of the street to the north."
    },
    {
        "text": "[Themes: absurd, humor, humour]\n\n> Inventory\nYou are empty-handed.\n\n> About you\nYou look about the same as always.\n\n> You look at the lantern\nIt seems like a pretty standard jack-o-lantern: orange pumpkiny goodness carved into a face, candle inside, eyes shining at you with demonic hate -- the usual. The only thing that's a little unusual is the half-burned note sticking out of its mouth.\n\n> You get the lantern\nYou take a step or two towards the pumpkin. A sudden gust of wind makes the fog swirl, obscuring it for a moment despite the candle's glow, and then it's gone. Huh. Weeeyurd.\n\n> Y.\nThat wacky Neil deMause! What will he think of next? Why, the last time you tried to visit him, you got stuck on Ellis Island for hours, and ended up years in the past talking to a goat. Boy, you were really \"Lost in New York\" that time (heh heh). And history seems to have repeated itself, because here it is Halloween, and here you are, wandering through the streets in the fog, looking for his apartment again. Sheesh.\n\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\nA jack-o-lantern sits in the middle of the street to the north.\n\n> Go north\nYou walk forward into the fog.\nSomeplace Else in New York\nYou're still lost, but at least you know you aren't where you were before. So you must be, erm, someplace else. The street bends, so you can go either east or south.\n\n> Go east\nYou pause for a moment as you start to walk again. Did you .. hear something? Nah. Couldn't be.\nA Third Place in New York\nSteadily narrowing down the options, you plan on having the whole of New York mapped any time now. *Including* the secret passage from the Kitchen to the Library. Streets lead west and north.\n\n> Go north\nAgain, you pause. There's definitely something out there. Something nasty. Something big. Something orange.\nA Fourth Room in New York\nSomeplace else. Someplace foggy. Someplace sinister."
    },
    {
        "text": "[Themes: France, humour, humor]\n\n> You look around\nSomeplace else. Someplace foggy. Someplace sinister.\n\n\"Ha!\" you reassure yourself \"There's nothing out there! And if there were, it would never leap onto my back suddenly and clasp its slimy hands around my throat and slowly squeeze until all my life was crushed out. It'd just rip my chest open and feast on my entrails.\"\n\n> You go to the north\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\n(Dramatic pause).\n\n> Go east\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\nEEEAGH! FLYING DEMONIC PUMPKIN HEAD!!!\n\nWhen the horror finally ends, you're someplace else.\nSomeplace else in New York\nAnother time .. another place. Or is it? One moment seems to\nblend into another, one stretch of pavement becomes the same as any other. It's tough being a hard-boiled detective, tossed off the police force because you knew too much about the kickbacks being paid to the guys up top. Yeah, it's tough, on your own, in-debt and half-drunk to forget the pain of a broken heart. So it's a good thing you're not one. You're just J Random Protagonist, remember? Now go find neild's house. I think it's north of here.\n\n> Go north\nNo, wait, I guess it's west of here. (Take *that*, fourth wall!)\n\n> You go to the west\nYou walk west, and find yourself on the doorstep of Neil's house. Your quest is over! ... or is it??\nOutside Neil deMause's House\nFor ease of narration, his apartment got turned into a house\nsometime. Or maybe you went inside and are standing outside the door to his room. Whatever.\nYou see a door here.\n\n> You look at the door\nIt's a door. Dare ye knock? Also, the address is 1313.\n\n> You knock on the door\nYou knock three times:\nbang!\nbang!\nbang!\nThe door sloooowly creeeeeeaks opeeeeeen....\n\n> You check your inventory\nYou have a cookies.\n\n> You eat the cookies\nThe cookies slide down your throat and you quickly are full. Also, \"wooden wood\". Ha!\nThere is a sudden knocking at the door.\n\"Oh no!\" says neild, \"It's the pumpkinhead! Lets hide!\" Neil hides in the kitchen. You hide in the closet.\n\nThis is the closet. It has stuff in it. There is a wall. And\nanother wall. Also there is a coatrack.\n\n> You examine rack\nit's made out of wood. and varnished. and nailed to the wall. and there, right smack in the center of it, is a HOOK\n\n> You look at another the wall\nhey this wall has a secret passage in it!!! You can push it!!"
    },
    {
        "text": "[Themes: France, absurd]\n\nThat wacky Neil deMause! What will he think of next? Why, the last time you tried to visit him, you got stuck on Ellis Island for hours, and ended up years in the past talking to a goat. Boy, you were really \"Lost in New York\" that time (heh heh). And history seems to have repeated itself, because here it is Halloween, and here you are, wandering through the streets in the fog, looking for his apartment again. Sheesh.\n\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\nA jack-o-lantern sits in the middle of the street to the north.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: transformation, female protagonist]\n\n> Look around\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\n\n> Go north\nYou walk forward into the fog.\nSomeplace Else in New York\nYou're still lost, but at least you know you aren't where you were before. So you must be, erm, someplace else. The street bends, so you can go either east or south.\n\n> Go east\nYou pause for a moment as you start to walk again. Did you .. hear something? Nah. Couldn't be.\nA Third Place in New York\nSteadily narrowing down the options, you plan on having the whole of New York mapped any time now. *Including* the secret passage from the Kitchen to the Library. Streets lead west and north.\n\n> Go west\nYou walk into the fog.\nSomeplace Else in New York\n\n> Go east\nYou walk into the fog.\nA Third Place in New York\n\n> You go north\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\n\"Ha!\" you reassure yourself \"There's nothing out there! And if there were, it would never leap onto my back suddenly and clasp its slimy hands around my throat and slowly squeeze until all my life was crushed out. It'd just rip my chest open and feast on my entrails.\"\n\n> Go north\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\n(Dramatic pause).\nI beg your pardon?\n\n> You go north\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\nEEEAGH! FLYING DEMONIC PUMPKIN HEAD!!!\n\nWhen the horror finally ends, you're someplace else.\nSomeplace else in New York\nAnother time .. another place. Or is it? One moment seems to\nblend into another, one stretch of pavement becomes the same as any other. It's tough being a hard-boiled detective, tossed off the police force because you knew too much about the kickbacks being paid to the guys up top. Yeah, it's tough, on your own, in-debt and half-drunk to forget the pain of a broken heart. So it's a good thing you're not one. You're just J Random Protagonist, remember? Now go find neild's house. I think it's north of here.\n\n> Go north\nNo, wait, I guess it's west of here. (Take *that*, fourth wall!)\n\n> You go to the west\nYou walk west, and find yourself on the doorstep of Neil's house. Your quest is over! ... or is it??\nOutside Neil deMause's House\nFor ease of narration, his apartment got turned into a house\nsometime. Or maybe you went inside and are standing outside the door to his room. Whatever.\nYou see a door here.\n\n> You knock on the door\nYou knock three times:\nbang!\nbang!\nbang!\nThe door sloooowly creeeeeeaks opeeeeeen....\nIt's yor frend!\n\nneild invites you inside and gives you cookies.\n\nInside Neil deMause's House/Apartment\nDepending on which path you took to get here, this is either Neil deMause's House or his Apartment.\nNeil deMause is here. Yaaay!\n\n> You eat the cookies\nThe cookies slide down your throat and you quickly are full. Also, \"wooden wood\". Ha!"
    },
    {
        "text": "The Spirit of Speed-IF is universally regarded as the most formidable dirigible battle platform in East Africa, if not the world; its india-rubber gussets alone cost half the annual revenues of the Ottoman Empire. Its recent loss to the French, therefore, can scarcely be countenanced.\n\nHeadquarters had little option; the Escadrille Patissiers Volants will rendez-vous by dawn, at which point the Spirit will be irrevocably lost. They didn't like it, but they had little choice but to send you in.\n\nA Speed-IF by Sam Kabo Ashwell\n\nType ABOUT for SpeedIF details.\n\nThe Ergomatic Wing crash-landed (it knows no other variety) amid a clump of wilted-looking thornbushes and unaccomodating rocks. Sun-bleached grass extends in every direction, but the southern prospect is improved by Fort Yaourt-Framboise. And floating above it, the sublime bulges of the Spirit, cruelly tethered by French guile.\n\nA fearsome goat crops the grass nearby.\n\n> Inventory\nYou are carrying:\na Hennings-Jobson Sophical Discombobulator (loaded with waggishness)\n\n> You discombobulate the goat\nYou carefully size up the savage brute, brush four or five clockwork range-finders and optical scopes out of your line of sight, and pop the bugger square between the eyes. It bleats plaintively, and there is a satisfying clunk from the Discombobulator's fluid reservoirs.\n\n> Inventory\nYou are carrying:\na Hennings-Jobson Sophical Discombobulator (loaded with fearsomeness)\n\n> You look at the goat\nA feral Eritrean scrub-goat, if you are any judge, and six years of handing out blue ribbons at the All-Sussex Caprine Fanciers Exposition has to count for something. A pretty poor specimen, all things considered; it stares fixedly at the horizon, expressionless.\n\n> You examine Spirit\nBeyond the descriptive powers of the era's finest poets, the Spirit of Speed-IF is the most terrifying engine ever to grace a battlefield. If its dozen Maxim-gun turrets (operated, it is rumoured, by monkeys endowed by vivisection with unholy powers of intelligence) do not sweep all foes before it, the Strauss-Gorvinsky Patent Optical-Precision Grip Extender may, from the secure heights of the stratosphere, pluck unsuspecting enemy commanders from their tents and bring their plans to ruination.\n\nLamentably, at this distance such details cannot be discerned; you shall have to savour them after the Spirit's rescue.\n\n> Go south\nThere are no legionnaires in evidence, so you stroll unimpeded through the fort's front gates.\n\nGood lord, standards in the Foreign Legion have finally outdone the rumours. No gate guard, no military police, that distinctive smell from the latrines that invariably means every man jack of em's lousy with the clap.\nA rope-ladder leads upwards, into the underbelly of the great dirigible.\n\n> Up\nIn theory, this vast hangar should house the dirigible's support biplanes, but the theft was effected during a sortie and all are absent. Its other role, as general storage shed, is more apparent. A series of ladders and gantries lead up into more habitable regions of the airship.\n\n> Up\nThanks to automation, the Spirit of Speed-IF may be fully controlled in the fiercest of conflicts by a single trained pilot, leaving the remaining one hundred and seventy-two flight officers to observe the battle from the comfort of the Observation Lounge Bar (west).\n\nThe controls are powered down. To blazes with those conniving cheese-eaters! You'll have to find some other way to gain control of the ship.\n\n> You go west\nNo battle-platform worthy of the name lacks an officer's bar. The Spirit was intended to be the crowning glory of the superplatform class, outdoing the British Lady Spankingleigh and even the Tibetan Vengeful Yak. Military analysts may quibble over their relative superiority in battle, but when it comes to the bar, they'll pick the Spirit every time. Gangways lead east and west.\nAn immense T'ang ashtray dominates the room's centre. Formerly there was an ornamental fountain, but it kept getting choked with cigar butts.\n\nA military waiter - crew-cut, moustaches, khaki fatigues, sneer - regards you with utter contempt.\n\n> You look at the ashtray\nA frankly monumental ashtray, a scattering of cigar-butts barely covering its dish. It must serve some kind of function as ballast. It must have been a gift of some kind from the Dowager Empress, judging by the T'ang bas-reliefs. Some temple in Guangdong is short one incense-burner, by the looks of it.\n\n> You shoot waiter\nWith Gallic stubbornness, he hangs onto his vital essences. Hang it all.\n\n> You examine the gun\nIn appearance, the Hennings-Jobson Sophical Discombobulator resembles an elaborately decorated carbine, bristling with antennae, hydraulic tubing, miniature gyroscopes and similar improbable attachments. You have as yet been instructed in the use of only three controls: the trigger that performs discombobulation, its recombobulating partner, and the screw that, tightened appropriately, primes the recombobulation barrel with stored essences.\nThe fearsome essential fluid is currently chambered.\n\n(You may discombobulate objects with the command DISCOMBOBULATE, abbreviated to DIS, and recombobulate them again with RECOMBOBUBLATE or REC.)\n\n> Rec waiter\nFwoosh.\n\nWith a bestial howl, the waiter springs upon you and rips off  your limbs like so many soiled serviettes.\n\n> You go to the west\nIt takes a massive power source to locomote the ship's phlogiston turbines, power the anbaric conduits and keep the brain of Babbage's Automatic Aeronaut Cognition Engine wound; deep within the heart of the seething, cacophanous engine lies the 9-dimensional aitchgeewellsium crystal that generates all this vigour, through the miracle of radioactivition.\n\n> You examine the crystal\nAitchgeewellsium is a rare element, invariably warm to the touch and with a luminescent quality. It is also known for its receptivity to fluid essences - this particular crystal has been imbued with 9-dimensionality.\n\n> Dis crystal\nClenching your teeth, you level the Discombobulator at the crystal, mutter a brief prayer to nobody in particular, and fire.\nFrom every direction, unseen machines sigh, rumble and wheeze to a standstill. A chilling silence, broken only by the flap of wind against the envelope.\n\n> Inventory\nYou are carrying:\na Hennings-Jobson Sophical Discombobulator (loaded with 9-dimensionality)\n\n> You examine the crystal\nAitchgeewellsium is a rare element, invariably warm to the touch and with a luminescent quality. It is also known for its receptivity to fluid essences - this particular crystal has been imbued with Mundanity.\n\n> You examine Discombobulator\nIn appearance, the Hennings-Jobson Sophical Discombobulator resembles an elaborately decorated carbine, bristling with antennae, hydraulic tubing, miniature gyroscopes and similar improbable attachments. You have as yet been instructed in the use of only three controls: the trigger that performs discombobulation, its recombobulating partner, and the screw that, tightened appropriately, primes the recombobulation barrel with stored essences.\nThe 9-dimensional essential fluid is currently chambered.\n\n> Turn screw\nYou give the selection screw a half-turn. The essence of waggishness rises into the firing chamber.\n\n> Turn screw\nYou give the selection screw a half-turn. The essence of fearsomeness rises into the firing chamber."
    },
    {
        "text": "[Themes: female protagonist, africa]\n\n> Look around\nIt takes a massive power source to locomote the ship's phlogiston turbines, power the anbaric conduits and keep the brain of Babbage's Automatic Aeronaut Cognition Engine wound; deep within the heart of the seething, cacophanous engine lies the nondescript aitchgeewellsium crystal that generates all this vigour, through the miracle of radioactivition.\n\n> Go east\nA military waiter - crew-cut, moustaches, khaki fatigues, sneer - regards you with utter contempt.\n\n> Rec waiter\nFwoosh.\n\nThe waiter leans over to you, leers, and says something. You don't speak a bloody word of Froggy-talk, but it's obvious that there was at least one dreadful pun and two innuendoes in there. Incensed, you cosh him over the noggin, drag him to a convenient escape hatch, and lob him over the side.\n\n> Rec ashtray\nIt appears that Ashtray already has a vital essence, and it would be foolhardy to try and intermix them outside the laboratory. You forbear.\n\n> Dis ashtray\nZooosh.\n\n> You look at the gun\nIn appearance, the Hennings-Jobson Sophical Discombobulator resembles an elaborately decorated carbine, bristling with antennae, hydraulic tubing, miniature gyroscopes and similar improbable attachments. You have as yet been instructed in the use of only three controls: the trigger that performs discombobulation, its recombobulating partner, and the screw that, tightened appropriately, primes the recombobulation barrel with stored essences.\nThe T'ang essential fluid is currently chambered.\n\n> You look at the Ashtray\nA frankly monumental ashtray, a scattering of cigar-butts barely covering its dish. It must serve some kind of function as ballast. Apart from a faded slogan advertising army-ration beer, it is unremarkable.\n\n> Turn screw\nYou give the selection screw a half-turn. The essence of 9-dimensionality rises into the firing chamber.\n\n> Rec ashtray\nFwoosh.\n\n> You examine the Ashtray\nA frankly monumental ashtray, a scattering of cigar-butts barely covering its dish. It must serve some kind of function as ballast.\nIt apppears to exist simultaeneously in nine dimensions at once. Your brain hurts just thinking about it."
    },
    {
        "text": "[Themes: africa, transformation, absurd, female protagonist, humour]\n\n> Look around\nNo battle-platform worthy of the name lacks an officer's bar. The Spirit was intended to be the crowning glory of the superplatform class, outdoing the British Lady Spankingleigh and even the Tibetan Vengeful Yak. Military analysts may quibble over their relative superiority in battle, but when it comes to the bar, they'll pick the Spirit every time. Gangways lead east and west.\nAn immense nondescript ashtray dominates the room's centre. Formerly there was an ornamental fountain, but it kept getting choked with cigar butts."
    },
    {
        "text": "[Themes: steampunk, absurd, africa, transformation]\n\n> Look around\nThanks to automation, the Spirit of Speed-IF may be fully controlled in the fiercest of conflicts by a single trained pilot, leaving the remaining one hundred and seventy-two flight officers to observe the battle from the comfort of the Observation Lounge Bar (west).\n\n> Turn screw\nYou give the selection screw a half-turn. The essence of T'ang rises into the firing chamber.\n\n> Rec crystal\nYou hesitate. The wrong essence could have untold consequences upon the airship's performance; it would be wise to consider your choice carefully.\n\n> Rec crystal\nFwoosh.\n\nThe engines roar in overpowered fury around you. You hate to betray a client, but the Turks were thrice-darned fools to trust anyone with this much hardware.\n\nRacing to the bridge, you grasp the controls, feeling the malicious throb of power course up your arms. Steering a course for the Rift Valley, you annihilate half the local warlords and bully the rest into a confederacy. By this time, the Great Powers are taking notice, but you're ready for the bastards. You have the single most powerful military engine on the planet. Let \"em come.\n\n> Dis myself\nSteady on, old gel! However many poor attributes you may have accumulated, it can't be worse than trusting yourself to that half-baked contraption!\n\n> Rec crystal\nFwoosh.\n\nHonestly, however well the Turks pay you, they're a power on the decline and every bugger knows it. Stick with them and you'll wake up one morning with your knickers on fire and a mortar shell between your teeth. Therefore, before you set out on this mission you exchanged words with certain persons unnamed. Cash may have changed hands.\n\nAt first you make for the Euphrates airbase, but then you cut down to the Persian Gulf and link up with the Autumn Scholar battlegroup. The Sultan may grind his teeth, but there's nothing he can do.\n\n> You look at the Ashtray\nA frankly monumental ashtray, a scattering of cigar-butts barely covering its dish. It must serve some kind of function as ballast. Hideous carvings are brutally gouged into its surface, and you swear you can hear it breathing.\n\n> You wake the Ashtray\nYou can only do that to something animate.\n\n> You take the Ashtray\nThat's hardly portable."
    },
    {
        "text": "> Go downward\nGood lord, standards in the Foreign Legion have finally outdone the rumours. No gate guard, no military police, that distinctive smell from the latrines that invariably means every man jack of em's lousy with the clap.\nA rope-ladder leads upwards, into the underbelly of the great dirigible.\n\n> You go north\nThe Ergomatic Wing crash-landed (it knows no other variety) amid a clump of wilted-looking thornbushes and unaccomodating rocks. Sun-bleached grass extends in every direction, but the southern prospect is improved by Fort Yaourt-Framboise. And floating above it, the sublime bulges of the Spirit, cruelly tethered by French guile.\n\nA nondescript goat crops the grass nearby.\n\n> Rec goat\nFeeling a little sorry for the poor characterless animal, you shoulder the Discombobulator and let a shot fly.\n\nThere is a dull *pung*, a pause, and then the goat explodes. Harhar, that'll teach the blighter some manners."
    },
    {
        "text": "[Themes: humor, transformation, France, humour]\n\n> You describe your surroundings\nThe Ergomatic Wing crash-landed (it knows no other variety) amid a clump of wilted-looking thornbushes and unaccomodating rocks. Sun-bleached grass extends in every direction, but the southern prospect is improved by Fort Yaourt-Framboise. And floating above it, the sublime bulges of the Spirit, cruelly tethered by French guile.\n\n> Rec goat\nFeeling a little sorry for the poor characterless animal, you shoulder the Discombobulator and let a shot fly.\n\n> You examine the goat\nA feral Eritrean scrub-goat, if you are any judge, and six years of handing out blue ribbons at the All-Sussex Caprine Fanciers Exposition has to count for something. It is lifting one hind leg and one rear leg in a dramatic stance, as if posing for a bronze casting.\n\n> About yourself\nAmelia \"Barkers\" Briscott, freebooter, terror of the Eastern Ghats and the only Englishwoman ever to sneak onto the Hajj and the Balliol rugger squad in the same false beard. For the last few years you've been drawing pay from the Ottomans, who are a queer lot but run a topper seraglio.\n\n> Yes\nThe Spirit of Speed-IF is universally regarded as the most formidable dirigible battle platform in East Africa, if not the world; its india-rubber gussets alone cost half the annual revenues of the Ottoman Empire. Its recent loss to the French, therefore, can scarcely be countenanced.\n\nHeadquarters had little option; the Escadrille Patissiers Volants will rendez-vous by dawn, at which point the Spirit will be irrevocably lost. They didn't like it, but they had little choice but to send you in.\n\nA Speed-IF by Sam Kabo Ashwell\n\nType ABOUT for SpeedIF details.\n\nThe Ergomatic Wing crash-landed (it knows no other variety) amid a clump of wilted-looking thornbushes and unaccomodating rocks. Sun-bleached grass extends in every direction, but the southern prospect is improved by Fort Yaourt-Framboise. And floating above it, the sublime bulges of the Spirit, cruelly tethered by French guile.\n\nA fearsome goat crops the grass nearby.\n\n> Go south\nAs you start towards the fort, you catch the goat's attention. It fixes you with an eye of pure malice, lowers its horns, and scrapes one fore-hoof on the ground. You back away hastily.\n\n> Dis goat\nYou carefully size up the savage brute, brush four or five clockwork range-finders and optical scopes out of your line of sight, and pop the bugger square between the eyes. It bleats plaintively, and there is a satisfying clunk from the Discombobulator's fluid reservoirs.\n\n> You look at the gun\nIn appearance, the Hennings-Jobson Sophical Discombobulator resembles an elaborately decorated carbine, bristling with antennae, hydraulic tubing, miniature gyroscopes and similar improbable attachments. You have as yet been instructed in the use of only three controls: the trigger that performs discombobulation, its recombobulating partner, and the screw that, tightened appropriately, primes the recombobulation barrel with stored essences.\nThe 9-dimensional essential fluid is currently chambered.\n\n(You may discombobulate objects with the command DISCOMBOBULATE, abbreviated to DIS, and recombobulate them again with RECOMBOBUBLATE or REC.)\n\n> Rec waiter\nFwoosh.\n\nWith a bestial howl, the waiter springs upon you and rips off  your limbs like so many soiled serviettes.\n\n> Rec waiter\nFwoosh.\n\nHis French snobbery displaced by the traditional Chinese values of obsequiousness, loyalty and humble service, the waiter scampers from the room, and (mere moments later) returns bearing a delicious creme brulee. This accomplished, he retreats, bowing deeply every five steps.\n\n> You look at the creme\nDelicious wobbly stuff topped off by a sheet of caramelised sugar.\n\n> You get the creme\nYou already have that.\n\n> You examine the gun\nIn appearance, the Hennings-Jobson Sophical Discombobulator resembles an elaborately decorated carbine, bristling with antennae, hydraulic tubing, miniature gyroscopes and similar improbable attachments. You have as yet been instructed in the use of only three controls: the trigger that performs discombobulation, its recombobulating partner, and the screw that, tightened appropriately, primes the recombobulation barrel with stored essences.\nThe fearsome essential fluid is currently chambered.\n\n> Rec brulee\nIt appears that the creme brulee already has a vital essence, and it would be foolhardy to try and intermix them outside the laboratory. You forbear.\n\n> You eat the brulee\nYou chow down on the 9-dimensional creme brulee. Scronch scronch scronch flickerflickerflicker OH MY GOD IT'S FULL OF SUGAR\n\n> You eat the brulee\nYou wolf down the creme brulee. It tastes of spotted dick.\n\n> You eat the brulee\nAs you raise the first bite of creme brulee to your lips, the gooey slime peels back and you realise there is an eye looking at you.\n\nYou have no time to scream before it leaps down your throat, burrows its tendrils into the walls of your oesophagus, and seals off your lungs. Your last words are \"thptht glurk\".\n\n> Rec crystal\nFwoosh.\n\nYour work complete, you amble back to the Lounge Bar, put your feet up, and order a triple gin and tonic. The phlogiston turbines buzz as the Spirit, seemingly of its own accord, sets a course for Scapa Flow, taking a brief detour to dump its sewage tanks over Montmartre.\n\nIt's all very well doing a turn or two with the dagoes, but at the end of the day, what a gel really wants is Queen, country and a good fair scrap.\n\n> Rec crystal\nIt appears that Aitchgeewellsium Crystal already has a vital essence, and it would be foolhardy to try and intermix them outside the laboratory. You forbear.\n\n> Dis crystal\nClenching your teeth, you level the Discombobulator at the crystal, mutter a brief prayer to nobody in particular, and fire.\nFrom every direction, unseen machines sigh, rumble and wheeze to a standstill. A chilling silence, broken only by the flap of wind against the envelope."
    },
    {
        "text": "[Themes: transformation, theatre, wizard, France, Demon, Germany]\n\nDarkness; below, percussion throbs softly. You shift from foot to foot, conscious of too much open space around you.\n\nAhead and on either side, the voice of the chorus rises; as they speak, the lights slowly go up.\n\nCHORUS:\nNow does the hour grow close; where feet lack time,\nAnd Spaniards rage before the Cockrel's gate,\nThe condemned sinner, soul turned sick of vice,\nShall craft before your eyes most unclean magics,\nOpen him a gate to Hell's black womb,\nRelease demons, and bid them convey\nOur heroes to fair France; there to signal\nEmbattl'd men to a final desperate measure.\nThe final act is begun; the play is in your hands.\n\nor, A Poisoned Zenith\nA play by Alphonse de l'Entaille\nFor 24 Hours of Inform '04\nCopyright (c) 2004, 2005\n\nFor acknowledgments, hints, and miscellanea, type \"about\"\n\nThe author can be contacted at alphonse.de.l.entaille@gmail.com\n\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\n[ To go backstage, type 'backstage' or simply 'bs' ]"
    },
    {
        "text": "[Themes: transformation, France, theatre]\n\n> About yourself\nYou are currently out of character.\n\n> You examine the eagle\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\nCHORUS:\nThe hour draws close when France shall rise or fall;\nThe board writhes to last moves; alone, each piece is lost.\nEach has emerged, as we've shown by our Art;\nOur three are gathered: each must fill their part.\n\nHigh above a forested peak, a proud double-headed eagle is carrying off its natural prey, the schnitzel. Such unspeakable grandeur, such natural beauty, such cack-handed brushwork.\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n[ To go back onstage, type 'onstage' or simply 'os' ]\n\nYou can see a cloth, a petticoat, a stick and a board here.\n\n> Examine flyer\nA flyer is plastered across one wall:\n\n\n\n\n\n*** WITHIN A WREATH OF DEWDROPS ***\n\n* JOHN  ACTOR as MAURICE  *  EVA ZAHA as ELISE *\n\n* and DUSTIN Q. CELEBRITY as THE WIZARD MCFAUD *\n\n\n\nAt the center of the advertisement is a dramatic painting of a rapier-waving hero and a heaving-bodiced heroine, with a city on fire behind them. It's all rather exciting, really.\n\n> You look at the board\nA wooden board, roughly square and about two and a half feet to a side. A metal handle is affixed to the centre. It's been coated in dark varnish to make it look a bit less like balsawood.\n\n> You get all\ncloth: Taken.\npetticoat: Taken.\nstick: Taken.\nboard: Taken.\n\n> You examine the cloth\nIt's a rectangle of cloth, so worn-out from being dyed, bleached and redyed that you are no longer able to make out what its colour is. Over the years it has seen service as a loin cloth, a pirate's sail, a shroud, the ghost of Hamlet's father, and as a poorly-rendered special effect of falling leaves.\n\n> You examine script\nThe chorus are an omniscient lot who remain out of sight but are always there to provide foreshadowing of things to come. Were it not for them, you would most certainly have forgotten to raise your tunic at the appropriate moment in The Stride of Hermes.\n\n> Os\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\n> Wear cloth\nCostume changes onstage? This is experimental theatre, but there are limits. It would perhaps be better to do that sort of thing backstage, so as not to break the illusion.\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> Wear cloth\nYou swirl the cloth around your shoulders like a cloak, tilt your chin upwards at an arrogant angle, and take a few strutting steps. After a brief moment of concentration, you feel properly in character.\n\n> Leave\n[ To go back onstage, type 'onstage' or simply 'os' ]\n\n> Inventory\nYou are carrying:\na shield\na sword\na petticoat\na cloak (being worn)\n\n> About yourself\nYou are playing the part of Captain Maurice Orignaux, honourable dandy of the Paris City Guard. Equally capable of composing timeless sonnets on the spur of the moment or slitting a Tartar's nose in a tavern brawl, Maurice is generally considered to be Entaille's paradigmatic hero. Some critics have defined this paradigm as 'a two-dimensional pugilist in tight hose' but you have always considered Maurice a character of many contradictions and shades of subtlety, brought out most clearly in his banter with Carelio and Longuin in the famous oyster-eating scene.\n\nYou are playing the part of Captain Maurice Orignaux, honourable dandy of the Paris City Guard. Equally capable of composing timeless sonnets on the spur of the moment or slitting a Tartar's nose in a tavern brawl, Maurice is generally considered to be Entaille's paradigmatic hero. Some critics have defined this paradigm as 'a two-dimensional pugilist in tight hose' but you have always considered Maurice a character of many contradictions and shades of subtlety, brought out most clearly in his banter with Carelio and Longuin in the famous oyster-eating scene.\n\n> You examine chorus\nThe chorus are an omniscient lot who remain out of sight but are always there to provide foreshadowing of things to come. Were it not for them, you would most certainly have forgotten to raise your tunic at the appropriate moment in The Stride of Hermes.\n\n> You examine audience\nThere may well be an audience out there, but you can't see them for the glare of the lights. Best to just assume that they're there, and that somewhere in their midst is a theatre critic who is watching you with a discerning eye.\n\n> You listen to the chorus\nThe chorus is tied to the script, but repeats its lines again, for your benefit:\n\nCHORUS:\nThe hour draws close when France shall rise or fall;\nThe board writhes to last moves; alone, each piece is lost.\nEach has emerged, as we've shown by our Art;\nOur three are gathered: each must fill their part.\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> You wear the petticoat\nAfter a moment or two of hopping about, you work your way into the petticoat. Hunching your shoulders over, clawing your fingers and adopting a lecherous squint, you assume a new role.\n\n> About yourself\nYou are playing the part of Herr Dr. Lysander Herculaneum Prufrock Gramercy McFaud, German theological scholar and on first-names terms with the Prince of Darkness. Originally your scheme was to ensnare Elise, but the purity of her humble beauty laid a seed of doubt in your black heart that was brilliantly explored in a long and profound soliloquy at the close of Act IV. When Maurice appeared to rescue her, you could no longer stomach the vileness of your existence and, though doomed to Hell yourself, vowed to give aid to the heroes in an even longer and more profound soliloquy in the middle of Act V.\n\n> Sing\nYour big song number, Oh, I Am So Atrocious was three scenes ago.\n\n> Inventory\nYou are carrying:\na board\na staff\na petticoat (being worn)\na cloak (being worn)\n\n> You examine the staff\nYou cut this staff from a blasted oak in a miserable October rainstorm, and in a dark hour engraved deep symbols on its surface with a flint knife to transform it into a Beacon of the Nether Gate, an abomination before God whose very touch shrivels the humours. It also has a minor hex on it that facilitates cheating at polo.\n\n> Wave staff\nYou feel a bit foolish waving the staff.\n\n> Act\nYou hobble about, leering, wringing your hands and cackling softly in appallingly bad Latin.\n\n> You read the next line\nWhat do you want to read in?"
    },
    {
        "text": "> Look around\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\n> Wave board\nYou feel a bit foolish waving the board.\n\n> Inventory\nYou are carrying:\na board\na staff\na petticoat (being worn)\na cloak (being worn)\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> You remove the cloak\nYou unfurl the cloth from your shoulders. Concentrating, you stick your chest out, stand contrapposto and bat your eyelashes. You're now in character.\n\n> About yourself\nYou are playing the part of Elise, a beautiful and chaste garlic-farmer's daughter and the darling of the Paris garrison. Scholars generally consider that the real-life Elise was a toothless Gascon whore whose only significant achievement was inaccurately throwing a rotten aubergine at Charles the Affable, but de l'Entaille was much-given to careless research and intentional romanticising.\n\n> Inventory\nYou are carrying:\na board\na stick\na petticoat (being worn)\na cloth\n\n> Os\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\n> Sing\nElise isn't given any songs in the original text, although there was a fashion in the eighteenth century to write in lengthy and hideous warblings for her, with titles like The Mistle-Thrush Sings In My Heart and Sweetest Fondness. Thankfully, these died out with the appearance of the theatre critic.\n\n> Act\nIn order to convey your poetic pulchritude to the audience, you mime a series of gracefully girlish actions: Lost In Innocent Pensiveness, Delighted by a Pretty Bird, and Oh My, Sir, But I Couldn't. None of these do a great deal to advance the plot, but you do succeed in making yourself feel like a complete wet.\n\n> You listen to the chorus\nThe chorus is tied to the script, but repeats its lines again, for your benefit:\n\nCHORUS:\nThe hour draws close when France shall rise or fall;\nThe board writhes to last moves; alone, each piece is lost.\nEach has emerged, as we've shown by our Art;\nOur three are gathered: each must fill their part.\n\n> Break board\nEasy as it would be to smash, it's necessary for the play.\n\n> You drop it\nYou place the board upon the floor, handle-side up... it looks suspiciously like a trapdoor!\n\n> You open the trapdoor\nYou pull open the trapdoor. Beneath, you can make out nothing but darkness.\n\n> You look at the Stage\n(the floor)\nThe floor is a featureless expanse facing out into darkness.\n\n> You ask the chorus about the trapdoor\nThe chorus is tied to the script, but repeats its lines again, for your benefit:\n\nCHORUS:\nThe hour draws close when France shall rise or fall;\nThe board writhes to last moves; alone, each piece is lost.\nEach has emerged, as we've shown by our Art;\nOur three are gathered: each must fill their part."
    },
    {
        "text": "[Themes: Demon, wizard]\n\n> Go downward\nAs you step through the trapdoor, you sense movement in the inky black around you; you are descending into darkness, with nothing underfoot, but it feels as if wires are holding you up.\n\nYou are surrounded by darkness; nothing underfoot and a tiny light far overhead. Something allows you to dangle in space; whenever you move, you feel slight upwards pressure on your joints, and feel yourself sway a little.\n\nA few feet from you, a wooden demon is hanging limply from his wires.\n\n> You look at the demon\nAt the very sight of the demon's hideous features, you are overcome by the frailties of your sex and execute a commendable swoon. However, you then take in a detail which gives you pause: the poor ickle thing has a sandbag tied to its ankle.\n\n> You check your inventory\nYou are carrying:\na stick\na petticoat (being worn)\na cloth\n\n> You examine the stick\nA light but sturdy stick, about a metre and a half long.\n\n> You open the sandbag\nThe sandbag is tethered securely to the demon's ankle, just out of reach. You kick and swipe feebly, but to no avail.\n\n> You remove the coat\nIt's a little difficult to attempt anything as involved as that when you're hanging here.\n\n> Bs\nYou attempt to go in another direction, but since you don't have any purchase on anything, this proves impractical. Looks like your best bet is to go up.\n\n> Bs\nYou flail ineffectually at thin air. Although this does little, an upward force at the top of your head seems to pull you upwards, back toward the light.\n\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\nYou can see a trapdoor here.\n\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> You remove the coat\nYou step out of the petticoat, and out of role.\n\n> Wear cloth\nYou swirl the cloth around your shoulders like a cloak, tilt your chin upwards at an arrogant angle, and take a few strutting steps. After a brief moment of concentration, you feel properly in character."
    },
    {
        "text": "[Themes: wizard, Demon, theatre, Germany]\n\n> Go downwards\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\nYou can see a trapdoor here.\nYou open the trapdoor, revealing a dark hole that beckons to you in an unpleasant manner. As you step cautiously through the trapdoor, you sense movement in the inky black around you; you are descending into darkness, with nothing underfoot, but it feels as if wires are holding you up.\n\nYou are surrounded by darkness; nothing underfoot and a tiny light far overhead. Something allows you to dangle in space; whenever you move, you feel slight upwards pressure on your joints, and feel yourself sway a little.\n\nA few feet from you, a wooden demon is hanging limply from his wires.\n\n> You cut it\nWith one swing of your blade, the rope is cut and the sandbag drops away into empty darkness. The demon creakily shakes its leg.\n\nMAURICE:\nNow I have honour, and thee, releas't,\nPut up thy sword, most naughty beast!\n\nThe demon swivels to face you, as if to respond; its lower jaw clatters up and down. The only sound is of clacking wood and creaking wires. Then it reaches above its head, clumsily selects a particular wire, and yanks forcefully on it. You immediately find yourself being hauled upwards...\n\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\nYou can see a trapdoor here.\n\n> Act\nYou strut up and down the stage, grinning roguishly, and wondering how long you can keep this up.\n\nCHORUS:\nThe noxious Teuton, by each saint accursed,\nPrepareth now dark devilments; from Dis' black gut\nHe means to call forth monsters. Dare his hand\nUnbar the gate that blessed hands did seal?\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> Os\nStage (A German Forest)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features an unconvincing painting of pine-covered mountains and a dark, ominous sky in which a double-headed eagle is carrying off a schnitzel.\n\nYou can see a trapdoor here.\n\n> Act\nYou hobble about, leering, wringing your hands and cackling softly in appallingly bad Latin."
    },
    {
        "text": "[Themes: theatre, France]\n\n> Go downward\nA thunder-machine roars offstage and the lights redden and dim. With a burst of dry ice, a magnificent demon erupts from the trapdoor! You clear your throat: the audience are due for some more of Entaille's third-rate blank verse.\n\nBIKHRIR:\nWhy summons't thou me to this most bleak land,\nWhere men are virtuous and sausages plentiful?\n\nMCFAUD:\nDid I not with thy master make of it a compact,\nBinding your service to my hand's desire,\nAnd can I not discard this if I will?\n\nBIKHRIR:\nNo;\nIt is signed, Lysander,\nIn the gore of your damned carcass.\n\nMCFAUD:\nThen let my doom provide another's hope,\nAnd at once to Paris these my friends convey.\n\nBikrir, grumbling loudly, stomps to the backdrop and, making a magic pass, extracts a paint-bucket and brush. In a few moments, he has coated the entire surface in a completely different talentless daub, and springs back down the trapdoor.\n\nA second burst of dry ice signals his disappearance (and, incidentally, that of the trapdoor also).\n\n> You look\nStage (The Walls of Paris)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features a hastily-rendered painting of a medieval town, complete with the Eiffel Tower, the Champs-Elysses, a vineyard and Gerard Depardieu as an onion-selling cyclist. In the distance, the flags of the invading Spanish wave menacingly.\n\n> You remove the petticoat\nStepping out of the petticoat, you tilt your chin upwards at an arrogant angle and take a few strutting steps. After a brief moment of concentration, you feel properly in character.\n\n> You listen to the chorus\nThe chorus is tied to the script, but repeats its lines again, for your benefit:\n\nCHORUS:\nThe noxious Teuton, by each saint accursed,\nPrepareth now dark devilments; from Dis' black gut\nHe means to call forth monsters. Dare his hand\nUnbar the gate that blessed hands did seal?\n\n> Inventory\nYou are carrying:\na sword\na petticoat\na cloak (being worn)"
    },
    {
        "text": "[Themes: France, transformation, wizard, theatre]\n\n> Go downward\nI don't see a trapdoor around here. Do you?\n\n> You go to the west\n[ To go backstage, type 'backstage' or simply 'bs' ]\n\n> You remove the cloak\nYou unfurl the cloth from your shoulders. Concentrating, you stick your chest out, stand contrapposto and bat your eyelashes. You're now in character.\n\n> Dance\nWhat? You're a refined and delicate flower, not some thigh-flashing dancehall slut!\n\n> You listen to the chorus\nThe chorus is tied to the script, but repeats its lines again, for your benefit:\n\nCHORUS:\nThe noxious Teuton, by each saint accursed,\nPrepareth now dark devilments; from Dis' black gut\nHe means to call forth monsters. Dare his hand\nUnbar the gate that blessed hands did seal?\n\n> Wait\nTime passes.\n\n> Wave\nYou wave, feeling a bit foolish.\n\n> Wave stick\nYou feel a bit foolish waving the stick.\n\n> Os\nBut you're already onstage. Quick! Do something entertaining!\n[ To go backstage, type 'backstage' or simply 'bs' ]\n\n> Dance\nWhat? You're a refined and delicate flower, not some thigh-flashing dancehall slut!\n\n> Act\nIn order to convey your poetic pulchritude to the audience, you mime a series of gracefully girlish actions: Lost In Innocent Pensiveness, Delighted by a Pretty Bird, and Oh My, Sir, But I Couldn't. None of these do a great deal to advance the plot, but you do succeed in making yourself feel like a complete wet.\n\n> Bs\nA room of indefinite size, hemmed in with high curtains, hanging ropes, and cluttered with wardrobes and make-up tables. Various props lie scattered about the room. Through the curtains, an entrance leads onstage.\n\nOn one wall, someone has hung a flyer.\n\n> Dance\nYou beat out an impromptu tap-dance to buy time, but audible yawns from the darkness cause you to reconsider.\n\n> Sing\nYour big song number, And I Waggled All Their Britches, was an act and a half ago.\n\n> You examine the backdrop\nThe backdrop features a hastily-rendered painting of a medieval town, complete with the Eiffel Tower, the Champs-Elysses, a vineyard and Gerard Depardieu as an onion-selling cyclist. In the distance, the flags of the invading Spanish wave menacingly.\n\n> You examine the flags\nThe malicious and wily Spanish army lurks on the horizon, flags billowing in the breeze, preparing to strike. Their victory would be an unspeakable human tragedy for the people of France, who would then be ruled by an autocratic self-serving hereditary tyrant, differing from the current autocratic self-serving hereditary tyrant in that he would be a dirty Spaniard.\n\n> You look at the cyclist\nThe demon's unerring brush has depicted M. Depardieu atop a shaky bicycle, a look of exaggerated astonishment and panic on his face as he rescues onions from the advancing Spanish hordes.\n\n> You examine the vineyard\nThick-limbed peasants, relaxing beneath sun-kissed grape trellises, wave wine glasses about in a drunken fashion. What they are doing in central Paris is anybody's guess.\n\n> You rescue the onion\nIt is indeed unfortunate, but Gerard is only part of the backdrop. Mere scenery.\n\n> You look at Tower\nCharacteristic landmarks of the medieval Paris skyline. Or at least, so the set designer seemed to believe.\n\n> Attack spaniard\nYou raise your sword, and with a wild whoop, charge the Spanish lines. You instantly think better of it when you nail your head on the backdrop. You'll certainly be feeling that tomorrow.\n\n> You remove the cloak\nYou unfurl the cloth from your shoulders, and let yourself relax.\n\n> You tie the cloth to stick\nYou carefully knot the corners of the cloth around the stick. It now makes a passable flag.\n\n> You wear petticoat\nAfter a moment or two of hopping about, you work your way into the petticoat. Concentrating, you stick your chest out, stand contrapposto and bat your eyelashes. You're now in character.\n\n> Os\nStage (The Walls of Paris)\nYou are onstage, a wide expanse of blank floor facing onto darkness. Nestled behind a curtain's edge is the exit leading offstage.\n\nThe backdrop features a hastily-rendered painting of a medieval town, complete with the Eiffel Tower, the Champs-Elysses, a vineyard and Gerard Depardieu as an onion-selling cyclist. In the distance, the flags of the invading Spanish wave menacingly.\n\n> Wave flag\nAssuming a dynamic stance, feet wide and shoulders square, you raise the flag above your head (music swells in the orchestra pit) and begin to sweep it about vigorously. A murmur slowly rises from the chorus, and then the stage is swamped with armoured extras and dodgy swordplay.\n\nThe choreography has you standing around waving the flag in the middle of this for the better part of four minutes. Eventually, arms aching and throat sore, you stagger offstage as the narrator delivers the closing speech."
    },
    {
        "text": "[Themes: Fantasy, Children's, parody]\n\nAhhhh! Another can of refreshing Coca-Cola! You sigh in contentment as you partake of the sweet carbonated beverage, so recently purchased. But what's this? The dispenser light is still on! You can select another! You pause, though. The labels seem to be different than they were before,...\n\nCoke Is It!\nAn Interactive Commercial\n\nType ABOUT for more information.\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n[Author's Note: Ahhhh! Another can of refreshing Coca-Cola! You sigh in contentment as you partake of the sweet carbonated beverage, so recently purchased. But what's this? The dispenser light is still on! You can select another! You pause, though. The labels seem to be different than they were before,...]\n\n> Go east\nYou can't bring yourself to leave the Coke Machine. At least, not while there are free buttons left to push.\n\n> You look at Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses**\n**Adventure**\n**Planetfall**\n**Hitchhiker**\n**Grip**\n**A Bear's Night Out**\n\n> You pick up Machine\nThat's hardly portable. Unlike Coke.\n\n> Xyzzy\nSix Million a Day.\n\n> Drink\nWhat do you want to drink?\n\n> Pepsi\nYou can't see any such thing. Maybe you meant to refer to your Coke?\n\n> Inventory\nYou are carrying:\na can of Coca-Cola\n\n> Drink coke\nWhich do you mean, the Coke machine or the can of Coca-Cola?\n\n> You drink can othe Coca-Cola\nAaaaah! What joy! What bliss! What unbearable ecstacy of delight!\n\n> Press adventure\nYour surroundings boil away like fizzing soda, and you find yourself in a completely new place!\n\nClassic Coca-Cola presents: CLASSIC ADVENTURE\n\nReconstructed in three steps by:\nDonald Ekman, David M. Baggett (1993) and Graham Nelson (1994)\n\nYou are standing at the end of a road before a small brick building. Coca-Cola...Along The Highway To Anywhere, Around The Corner From Everywhere, Coca-Cola is The Best Friend Thirst Ever Had. A small stream flows out of the building and down a gully.\n\n> Go east\nYou are inside a building, a well house for a large spring. Be Really Refreshed: Drink Coca-Cola.\n\nThere are some keys on the ground here.\n\nThere is tasty food here.\n\nThere is a shiny brass lamp nearby.\n\nThere is an empty green glass bottle here.\n\n> You take all\nset of keys: Taken. (Things go better with Coke.)\ntasty food: Taken. (Things go better with Coke.)\nbrass lantern: Taken. (Things go better with Coke.)\ngreen glass bottle: Taken. (Things go better with Coke.)\n\n> You examine bottle\nThe green glass bottle is empty.\n\n> Go outside\nYou are standing at the end of a road before a small brick building. Coca-Cola...Along The Highway To Anywhere, Around The Corner From Everywhere, Coca-Cola is The Best Friend Thirst Ever Had. A small stream flows out of the building and down a gully.\n\n> Go east\nYou are inside a building, a well house for a large spring. Be Really Refreshed: Drink Coca-Cola.\n\n> Drink stream\nYou have taken a drink from the stream. The water tastes strongly of minerals, but is not unpleasant. It is extremely cold, like Coca-Cola: Ice-Cold Sunshine."
    },
    {
        "text": "[Themes: Children's, Fantasy, parody]\n\n> Go downward\nThe stream flows out through a pair of 1 foot diameter sewer pipes. The only exit is to the west.\n\n> You go west\nYou have walked up a hill, still in the forest. The road slopes back down the other side of the hill. There is a building in the distance. Where There's Coke, There's Hospitality.\n\n> You check your inventory\nYou are carrying:\na green glass bottle\na brass lantern\nsome tasty food\na set of keys\n\n> You examine food\nSure looks yummy! Remember: Things Go Better With Coke.\n\n> You examine bottle\nIn the green glass bottle is some bottled water.\n\n> You examine the lantern\nWhich do you mean, the stream or the bottled water?\n\nIt is a shiny brass lamp. It is not currently lit.\n\n> You drink the bottled water\nYou have taken a drink from the stream. The water tastes strongly of minerals, but is not unpleasant. It is extremely cold, like Coca-Cola: Ice-Cold Sunshine.\n\n> You go to the north\nYou are in open forest near both a valley and a road. Coca-Cola Revives And Sustains."
    },
    {
        "text": "[Themes: Children's, Fantasy, parody]\n\n> Go downwards\nYou are in a valley in the forest beside a stream tumbling along a rocky bed. Coke, Delicious And Refreshing, is collected in a bubbling, ice-cold pool in the streambed.\n\n> You look at the pool\nDelicious and refreshing, Coke Is It!\n\n> Go south\nAt your feet all the water of the stream splashes into a 2-inch slit in the rock. Downstream the streambed is bare rock. Have A Coke And A Smile.\n\n> You examine the slit\nIt's just a 2-inch slit in the rock, through which the stream is flowing. Coca-Cola: The Great National Temperance Drink.\n\nOn close examination, you see a thin scroll tucked into the slit.\n\n> You take the scroll\nYou carefully pluck out the scroll, a list of slogans.\n\n> You examine the scroll\nThis is a list of slogans for Coca-Cola. It reads:\n\n1905 Coca-Cola Revives And Sustains\n1906 The Great National Temperance Drink\n1917 Three Million A Day\n1922 Thirst Knows No Season\n1925 Six Million A Day\n1927 Around The Corner From Everywhere\n1929 The Pause That Refreshes\n1932 Ice-Cold Sunshine\n1938 The Best Friend Thirst Ever Had\n1939 Coca-Cola Goes Along\n1942 Wherever You Are, Whatever You Do, Wherever You May Be, When You Think Of Refreshment, Think Of Ice-Cold Coca-Cola\n1942 The Only Thing Like Coca-Cola Is Coca-Cola Itself. It's The Real Thing.\n1948 Where There's Coke, There's Hospitality\n1949 Coca-Cola...Along The Highway To Anywhere\n1952 What You Want Is A Coke\n1956 Coca-Cola...Making Good Things Taste Better\n1957 Sign Of Good Taste\n1958 The Cold, Crisp Taste Of Coke\n1959 Be Really Refreshed\n1963 Things Go Better With Coke\n1970 It's The Real Thing\n1971 I'd Like To Buy The World A Coke\n1975 Look Up America\n1976 Coke Adds Life\n1979 Have A Coke And A Smile\n1982 Coke Is It!\n1985 We've Got A Taste For You, America's Real Choice\n1986 Catch The Wave, Red White & You\n1989 Can't Beat The Feeling\n1990 Can't Beat The Real Thing\n1993 Always Coca-Cola"
    },
    {
        "text": "[Themes: Children's, Fantasy]\n\n> Go downwards\nYou don't fit through a two-inch slit! What You Want is a Coke.\n\n> Xyzzy\nSix Million a Day.\n\n> Go south\nYou are in a 20-foot depression floored with bare dirt. Set into the dirt is a strong steel grate mounted in concrete. A dry streambed leads into the depression.\n\n> You open the grate\nIt seems to be locked.\n\n> You unlock it with the keys\nYou unlock the steel grate.\n\n> Unlock grate\nWhat do you want to unlock the steel grate with?\n\n> You open the grate\nYou open the steel grate.\n\n> You look at the grate\nIt just looks like an ordinary grate mounted in concrete.\n\n> Light lamp\nYou switch the brass lantern on."
    },
    {
        "text": "> Go downwards\nYour lamp is getting dim. It's not safe to explore the caves without a brightly burning lamp.\n\n> You examine the lamp\nIt is a shiny brass lamp, glowing dimly.\n\nYour lamp is getting dim. Coke Adds Life.\n\n> You check your inventory\nYou are carrying:\na list of slogans\na green glass bottle\na brass lantern (providing light)\nsome tasty food\na set of keys\n\n> You go to the north\nAt your feet all the water of the stream splashes into a 2-inch slit in the rock. Downstream the streambed is bare rock. Have A Coke And A Smile.\n\n> You go to the north\nYou are in a valley in the forest beside a stream tumbling along a rocky bed. Coke, Delicious And Refreshing, is collected in a bubbling, ice-cold pool in the streambed.\n\n> You turn off the lamp\nYou switch the brass lantern off.\n\n> Empty bottle\nThe bottle is already empty!\n\n> You fill the lamp\nSay, that Coke really put the juice back into this thing! The Only Thing Like Coca-Cola Is Coca-Cola Itself.\n\n> Go south\nYou are in a 20-foot depression floored with bare dirt. Set into the dirt is a strong steel grate mounted in concrete. A dry streambed leads into the depression.\n\nThe grate stands open. Where There's Coke, There's Hospitality.\n\n> Light lamp\nYou switch the brass lantern on."
    },
    {
        "text": "[Themes: Fantasy, Children's, parody]\n\n> You go downwards\n*** You Can't Beat The Real Thing ***\n\nThis demo is now over, but there's Always Coca-Cola!\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You look at Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses**\n**Adventure** <Empty>\n**Planetfall**\n**Hitchhiker**\n**Grip**\n**A Bear's Night Out**\n\n> You pull Machine\nIt is fixed in place. Unlike your refreshing Coke.\n\n> You press the curses\nYour surroundings melt away, and you find yourself in a completely new place!\n\nThis is a vast underground station in great rectangular caverns, deep beneath the streets. You are outside the ticket gates, near a flight of steps back up to the city, and since you haven't a ticket you're likely to stay that way.\n\nBehind a kiosk, a surly-looking man is selling guide books and maps.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na crumpled piece of paper\na can of Coca-Cola\n\n> You examine paper\nThings to do:\n\n1. Find map.\n2. Phone airport to check parking.\n3. Health forms...\n\nand so on. Let's face it, 1. is more enticing than the rest put together.\n\n> You look at the man\nHis jumper is unstriped, and there are no onions around his neck. Nonetheless he has a rather Gallic, disgruntled look to him. Perhaps he's a former Socialist cabinet minister.\n\n> You examine Coke\nTruly, all of your desires can be assuaged with the refreshing goodness inside this can.\n\n> You ask the man about the map\n\"Non.\" And he folds his arms defiantly. Perhaps he has no such thing.\n\n> You give Coke to the man\nThe man snatches the Coke from you, sneers, and drains it in one huge, unhurried swallow.\n\nHe glares at you for a moment, and then a change ripples across his features. \"Merci,\" he croaks in a voice unaccustomed to politeness. He shudders, and then shakes himself like a dog exiting water.\n\n> You give Coke to the man\nHe stares down at his jumper in disbelief, and rips it off, revealing a New York Giants T-shirt underneath. He shakes his head, clears his throat, and tries again.\n\n\"Thanks, buddy!\" he exclaims, in what is manifestly a New Jersey, rather than a French, accent. \"This is in-freakin'-credible! You've cured me of being a freakin' Frog! Holy freak! You freakin' RULE!\"\n\n\"Oh, you wanted the freakin' map?\"\n\nHe shrugs and hands you the map of Paris. You feel a shiver ripple through the multiverse as the ancestral Curse of the Meldrews is lifted.\n\n\"I dunno why the freak you'd wanna go there, though. It's all covered in freakin' dog crap, and worse than that, it's full of freakin' Frogs! No, you need someplace better than that.\"\n\nHe scratches his head, encountering his beret, which he flings into the darkness.\n\n\"I know!\" he shouts. \"At-freakin'-lanta! Birthplace of Coca-Cola! Only the greatest freakin' drink in the history of the freakin' world! Yeah! C'mon! I got a cousin Vinnie who knows a guy who knows a guy who can get you a sweet freakin' deal on the trip!\"\n\nArm in arm, the two of you leave the Underground behind. After a fantastic vacation in Atlanta, the highlight of which is (of course) the \"World of Coke\" exhibit, you somehow find yourself...\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\nYou can only do that to something animate.\n\n> Fuck\nHow can you be so upset when you have a Coke?\n\n> Darn\nYou sound like someone who drinks Pepsi.\n\n> You kill yourself\nViolence doesn't solve anything. But Coke does!\n\n> You examine Machine\nYou can't see any such thing. Maybe you meant to refer to your Coke?\n\n> You give Coke to the man\nThe man snatches the Coke from you, sneers, and drains it in one huge, unhurried swallow.\n\nHe glares at you for a moment, and then a change ripples across his features. \"Merci,\" he croaks in a voice unaccustomed to politeness. He shudders, and then shakes himself like a dog exiting water.\n\nHe stares down at his jumper in disbelief, and rips it off, revealing a New York Giants T-shirt underneath. He shakes his head, clears his throat, and tries again.\n\n\"Thanks, buddy!\" he exclaims, in what is manifestly a New Jersey, rather than a French, accent. \"This is in-freakin'-credible! You've cured me of being a freakin' Frog! Holy freak! You freakin' RULE!\"\n\n\"Oh, you wanted the freakin' map?\"\n\nHe shrugs and hands you the map of Paris. You feel a shiver ripple through the multiverse as the ancestral Curse of the Meldrews is lifted.\n\n\"I dunno why the freak you'd wanna go there, though. It's all covered in freakin' dog crap, and worse than that, it's full of freakin' Frogs! No, you need someplace better than that.\"\n\nHe scratches his head, encountering his beret, which he flings into the darkness.\n\n\"I know!\" he shouts. \"At-freakin'-lanta! Birthplace of Coca-Cola! Only the greatest freakin' drink in the history of the freakin' world! Yeah! C'mon! I got a cousin Vinnie who knows a guy who knows a guy who can get you a sweet freakin' deal on the trip!\"\n\nArm in arm, the two of you leave the Underground behind. After a fantastic vacation in Atlanta, the highlight of which is (of course) the \"World of Coke\" exhibit, you somehow find yourself...\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You look at Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses** <Empty>\n**Adventure** <Empty>\n**Planetfall**\n**Hitchhiker**\n**Grip**\n**A Bear's Night Out**\n\n> Sing\n\"I'd like to teach the world to sing\nIn perfect harmony.\nI'd like to buy the world a Coke,\nAnd keep it company!\n\n> You press the grip\nYour surroundings melt away, and you find yourself in a completely new place.\n\nRain and mud. And the taste of something, sweet in your mouth.\n\nThose are your first solid memories. Rain pouring down on your head, filling your eyes. Mud beneath your feet, filling your shoes. And, of course, there's always Coca-Cola -- or is there? A sudden feeling of loss sweeps over you, and a chill wind cuts through your clothes with ease.\n\nShelter would be a good beginning.\n\nThe trees around you are spaced far enough to provide little shelter, allowing the stinging rain to pelt you. A grey mist conceals everything past four meters.\n\n> You go east\nYou strike off in that direction, but soon become disoriented by the rain.\n\nOnce the field might have been covered in grass. Now the grass is but a memory. Mud covers the ground in its place, fed by the constant rain.\n\nBuried almost to its chin in the mud is a human head.\nThe head glances northeast for a moment. \"Just a sip, that's all I ask. One little sip of Coke.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na bottle of cola\n\n\"So thirsty ... So, so thirsty ...\"\n\n> You kick the head\nThe head's eyes widen as you draw your foot back. \"Terry, no, please, oh God you can't--\" His cries are cut short as your foot slams into him. With the sound of eggshells cracking, the head fragments into countless pieces which are quickly lost in the mud.\n\n> You examine bottle\nA bottle of some dark, fizzy substance. But it's definitely not Coke.\n\n> You look at head\nOther than being buried in mud to his chin, the head is reassuringly normal. His hair and mustache are a matted brown, perhaps from genetics, perhaps from mud. Rivulets of water run down his creased face.\nThe head glances northeast for a moment. \"Just a sip, that's all I ask. One little sip of Coke.\"\n\n> You ask the head about Coke\nThere is no reply.\n\n\"'Have A Coke and A Smile', they said. I'm smiling --\" the head pulls its lips into a cracked grin. \"Where's my Coke?\"\n\n> You check your inventory\nYou are carrying:\na bottle of cola\n\"'I'd Like to Buy the World a Coke'. And I did. So you OWE me!\" The head's eyes flicker to the northeast.\n\n> You give the bottle to the headf\nYou can only do that to something animate.\n\n> You give the bottle to the head\nThere is no reply.\n\n\"'Have A Coke and A Smile', they said. I'm smiling --\" the head pulls its lips into a cracked grin. \"Where's my Coke?\"\n\nThe head's eyes widen as you open the bottle and begin to pour. \"Terry, no, please, oh God you can't--\" His cries are cut short as a stream of hissing liquid trickles into his mouth. His head seems almost involuntarily to wriggle its way further down into the mud, and quickly disappears. A few remaining drops of liquid drip from the bottle and splash down onto the soil, cutting tiny trails to the northeast.\n\n> Go northeast\nThe mud coating him makes you think twice.\n\"'I'd Like to Buy the World a Coke'. And I did. So you OWE me!\" The head's eyes flicker to the northeast.\n\nThe madness and confusion of this place drives you to ever-more-desperate acts. But here, at the brink, you manage to summon your courage and honor and draw back.\n\nThe head hums a Coke jingle to itself.\n\nAs you walk away, the head screams at you. \"Coward! You put me here! Can't you at least get me something to drink?\" Disturbed, you keep walking.\n\nLooming suddenly out of the gloom is a large marble building. Its columns jut skyward, raked by the unending rain. To the north lies its entrance.\n\n> Go north\nAs you walk through the door of the building the sound of the rain stops, as if suddenly turned off.\n\nThe two-story height of the foyer is channelled into a narrower hallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\n\nA section of the air just above your head shimmers. A small pyramid falls from the disturbance to the ground below.\n\n> You examine the pyramid\nA small paper pyramid, about three centimeters on an edge.\n\n> You take it\nThe pyramid begins glowing softly. It unfolds like a flower and voices begin to issue from it, saying \"Subject suffering from unusually low levels of sugar and caffeine...\" \"Thirst dangerously unsatisfied...\" (someone shouts) \"Doctor! We must try the new experimental treatment, it's his only hope!\" \"Fine, get me a syringe.\"\nWhen the light dies down, the pyramid is gone.\n\nYou can't see \"it\" (the paper pyramid) at the moment, unlike your Coke.\n\n> You go to the north\nLike the foyer, the hallway is marble. Its two-story height combined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\n> You examine the walkway\nThe walkway rings the hall on every side but the south, casting a shadow on the floor.\n\n> You go east\nJust enough light filters in to show you row after row of boxes filling rack after rack of shelves, making it difficult to find a place to stand. The room continues to the north. Above the west exit is a clock.\n\n> Examine box\nCardboard boxes, all taped shut. Each one has been labeled with a black magic marker.\n\n> You read the box\nYour eyes roam over their surfaces, taking in their titles. Many are labeled \"Bottled: \" with a range of dates following. A few are labeled \"Carbonation.\" You feel an odd sense of disorientation as you stare at them.\n\n> You look at the clock\nA red-faced clock with white hands. Above the hands is written the inscription \"It's always time for Coca-Cola\".\n\n> You go to the north\nMetal shelves fill the hall; most are empty and many have succumbed to rust. The shelves that aren't empty hold broken shards of glass. The archive continues to the south, and an exit leads west.\n\n> Go west\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by a closed door to the west.\n\n> You examine the doors\nThe carved doors are made of oak and are twice your height. They stand slightly ajar, leaving enough room for you to enter.\n\n> You open the doors\nThe doors have frozen in position over time. You cannot budge them.\n\n> You open the small door\nYou open the small door.\n\n> You go to the west\nThe room is hot and stifling -- makes you wish for a Coke right about now -- and cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door."
    },
    {
        "text": "[Themes: Children's, Fantasy]\n\n> Go down\nA cramped square room, barely lit by windows above you. The north and west walls are taken up by tables. A clock is just visible next to the stairs on the south wall. In the northwest corner is a tiny drain, while a pile of bottles has claimed part of the east wall.\n\nA man stands bent over the tables, jotting things down in a large notebook.\n\nAs your footsteps sound on the stairs, the man turns. He looks you over, one eyebrow quirking in surprise. \"Hello,\" he says. \"And here I thought I was the last one still around. I'm Frankie.\"\n\n> Hello\nFrankie has better things to do.\n\n> You give the bottle to the man\n(the bottle of cola to Frankie)\n\"Dear God, what is this?\" he says. \"I've seen some weird things in my day, kid, but nothing as weird as this. Take some advice from someone who's been around and stick with Coke.\" He hands it back.\n\n> You examine the drain\nThe metal drain is a small circle with a grate about ten centimeters in diameter.\n\n> You look at the bottles\nThe bottles are smooth and translucent, glowing softly from within. Several are caked with mud and dirt, testimony to their recent location. They have been stacked in a tight-fitting pyramid. You feel a strange sense of deja vu as you gaze into them.\n\n> You get the bottle\nWhich do you mean, the pile of bottles, the bottle-opener, the bottle of Sprite or the bottle of cola?\n\n> You get the bottles\nYou reach your hand towards one of the bottles. As you draw nearer, a spark spits from the bottle, rushes up your arm, and then--\n\nDarkness, then light.\n\nYou see yourself, a brief memory of buying a Coke for the first time, a muttered conversation, money changing hands, the hiss of a can opening, and then the taste. Ahhh.\n\nLight, then darkness.\n\nYou'd been in the principal's office for hours. Got suspended for a week, you remember. But Billy Thimbleton was in the hospital with a broken arm and a black eye. That'll teach him to offer you a Dr. Pepper--\n\nWith a horrendous wrenching sensation you pull yourself away from the pile of bottles. You glance at Frankie, but absorbed in his work, he has not noticed your momentary distress.\n\n> You take the opener\nThat seems to belong to Frankie.\n\n> You ask Frankie for the opener\nFrankie has better things to do.\n\n> You examine Frankie\nFrankie is of middling height, with tousled hair and a sandy brown mustache. He carries a notebook and a bottle. Resting in his shirt pocket is a bottle-opener.\n\n> You kill Frankie\nAs you prepare to attack Frankie, he turns and fixes you with a gimlet glare. \"Now, now,\" he says softly. \"Getting antsy without a caffeine fix, eh?\"\n\n> You examine the opener\nIt looks like an ordinary bottle-opener, made out of metal with a pointy bit on one end.\n\n> Inventory\nYou are carrying:\na bottle of cola\n\n> You kick the bottles\nAgain you reach for the bottles, but cannot draw close. The rush of memories triggered by the bottles was overwhelming the first time."
    },
    {
        "text": "> Look around\nA cramped square room, barely lit by windows above you. The north and west walls are taken up by tables. A clock is just visible next to the stairs on the south wall. In the northwest corner is a tiny drain, while a pile of bottles has claimed part of the east wall.\n\nFrankie is here, sorting and mixing.\n\n> Go east\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\n> You go northeast\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\n> You go north\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the object at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar.\n\nA dust-covered Coke machine stands at the north end of the hall, the focus of attention.\n\n> You examine Machine\nThe Coke machine's lights are dimmed and the whole is covered with a thin coating of dust. \"What demon hath robbed thee of thy vigor, noble machine?\" you can't help but cry. Then you notice the power cord extending from the back of the machine, hanging limp on the floor mere inches from a socket.\n\n> You plug Machine into the socket\nCurses! Inches too short! What fiendish mind could have devised such a Tantalus-like torture?\n\n> You examine the socket\nIt's an apparently ordinary light socket, tucked away against the wall.\n\n> You examine the cord\nThe plug is a dusty black in color. It extends from the back of the machine, just waiting to bring the electronic god to life again.\n\n> You cut the cord\nCutting that up would achieve little.\n\n> You hit Machine\nViolence doesn't solve anything. But Coke does!\n\n> Go north\nYour footsteps echo hollowly in the dimly-lit and cavernous hall. Benches line the floor, their rows skewed slightly to focus on the object at the north end. A clock is set in the wall in plain view of the desk. The south third of the room is covered by a balcony, reducing the height of the hall from two stories to one. A small door to the east and two large doors to the south stand ajar.\n\nA dust-covered Coke machine stands at the north end of the hall, the focus of attention.\n\nYou can't go that way.\n\n> You take the cord\nTaken.\n\n> Lick socket\nTeddy bears, being soft toys, find such feats difficult.\n\n> About yourself\nWhat you can see of yourself is familiar. But wait .. there's something different. Something wrong. You don't have a Coke!"
    },
    {
        "text": "[Themes: Children's, Fantasy]\n\n> You go south\nThe two-story height of the foyer is channelled into a narrower hallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\n\n> You go to the south\nYou start to take a step out the door, then pause. Somehow, the weather has turned from drenching rain to snow, colder than a Coke straight from the fridge. You shiver and retreat back to the warmth of the foyer.\n\n> Open boxes\nThe tape prevents you from oepning the boxes.\n\n> You go to the north\nMetal shelves fill the hall; most are empty and many have succumbed to rust. The shelves that aren't empty hold broken shards of glass. The archive continues to the south, and an exit leads west.\n\n> You examine the shards\nThe glass fragments (perhaps broken bottles?) run the gamut from large shards to fine, gritty powder.\n\n> You get the shards\nYou would most surely cut yourself.\n\n> You look at the shelves\nThe shelves cover the room, as if they had multiplied in the same manner Coke bottles in the fridge don't. They are covered in broken shards.\n\n> You take all\nbottle-opener: That seems to belong to Frankie.\nbottle of Sprite: That seems to belong to Frankie.\n\n> You ask Frankie about the sprite\n\"Actually, yeah, you could give me a hand here. Could you take this up to the top floor and get it opened? I'm not having much luck with my bottle-opener.\" He hands you the bottle.\n\n> You examine the notes\n\"Top floor, I said. In the library.\"\n\nYou can't see any such thing.\n\n> You ask Frankie about notebook\nFrankie says \"I'm doing some observational analysis. I'd like to do some product synthesis of these bottles once I figure them out.\"\n\n> You ask Frankie about yourself\nFrankie shrugs. \"I'd never seen you before you walked down the stairs. You look like you could use a Coke, though.\"\n\n> You ask Frankie about Frankie\nFrankie grins sardonically. \"I'm just an archaeologist, nothing more. My team and I were working on unearthing those,\" he gestures at the pile of bottles by the wall, \"until we got word of the drink shortage.\"\n\n> You go up\nThe room is hot and stifling -- makes you wish for a Coke right about now -- and cobwebs drip from every surface. A hot-water tank crouches in one corner. Rickety stairs lead into the depths of the building. To the east is an open door.\n\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\nYou can't go that way.\n\n> You go northeast\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\n> You go south\nThe walkway is cut off to the south by the rising walls of the foyer. There is a doorway to the east; the walkway continues to the north.\n\n> You go east\nThe library is a dimly-lit backwards L curving around the end of the building. Shelves filled with books take up much of the room; the rest is inhabited by stacks of books. A metal sentinel guards the west exit; directly above it is a clock.\n\n> Examine book\nThe books resemble case histories from a law library: leather binding, small type on their spines.\n\n> You read book\nYou pull one off the shelf at random and open it: \"Coca leaves, cola nut, carbonated water, corn syrup, phosophorus ..\" You replace it and draw another: slightly different ingredients, slightly different method of preparation. Each recipe seems vaguely familiar, none seem quite right.\n\n> You examine the guard\nA dark metal statue, reminiscent of a prop from Fritz Lang's Metropolis. A stern, angular head sits atop a sexless body seven feet tall. One arm hangs by its side -- the other extends outwards as if to grasp something.\n\n> You put the Sprite in the hand\nThe statue's relaxed hand suddenly blurs into life. It reaches up to the bottle, twists off the cap, and returns to the relaxed position almost before you noticed it moving. You (gingerly!) take the bottle back.\n\n> Drink sprite\nYou think about it, but decide you'd really rather have a Coke.\n\n> You give Sprite to Frankie\n\"Excellent!\" Frankie says, taking the bottle from you. He immediately begins observing the Sprite and taking notes on its behavior. \"By the way,\" he says, \"I don't need this, and you might find it handy.\" Frankie takes the bottle opener out of his pocket and hands it to you.\n\nA quiet sound catches your attention. A black liquid has begun welling up through the drain, covering it and starting to fill the northwest corner.\n\nFrankie glances down, then swears quietly. \"Sam, you son-of-a-bitch,\" he mutters, scribbling furiously in his notebook.\n\n> You examine the bottle opener\nIt looks like an ordinary bottle-opener, made out of metal with a pointy bit on one end.\n\nHissing, the table legs begin to dissolve in the sludge. You hastily step away.\n\n> You open the bottle\nWhich do you mean, the pile of bottles, the bottle of Sprite, the bottle-opener or the bottle of cola?\n\n> Cola\nIf you'd like to drink it, at least be honest with yourself and just say so. Otherwise, pour it someplace or something.\n\nAlmost all the available floorspace is taken up by Pepsi. Several of the bottles in the pile have already been eaten away, their contents mixing with the sludge. You step back to a narrow spot by the stairs.\n\n> Drink cola\nThe madness and confusion of this place drives you to ever-more-desperate acts. But here, at the brink, you manage to summon your courage and honor and draw back."
    },
    {
        "text": "[Themes: Fantasy, Children's]\n\n> Go downwards\nNot with the Pepsi down there!\n\n> You put the opener in the socket\nYou can't see any such thing.\n\nSomewhat unwisely, you jab the bottle opener into the socket. Current flows through your body and you twitch like a trout on a hook.\n\n*** You have failed to achieve the real thing ***\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You attach the opener to the cord\nYou would achieve nothing by this.\n\nThe building trembles slightly, as if something was dissolving its foundations. Surely .. nah.\n\n> Pray\nYou close your eyes. You pray for a Coke. You open them again. You still don't have a Coke, but you feel more hopeful of getting one soon.\n\n> You examine Machine\nThe Coke machine's lights are dimmed and the whole is covered with a thin coating of dust. \"What demon hath robbed thee of thy vigor, noble machine?\" you can't help but cry. Then you notice the power cord extending from the back of the machine, hanging limp on the floor mere inches from a socket.\n\nYou cry out as the floor collapses, dropping you into a seething pool of Pepsi-Cola.\n\n*** You have failed to achieve the real thing ***\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You check what you're carrying\nYou are carrying:\na bottle of cola\na bottle-opener\n\n> You go to the east\nYou strike off in that direction, but soon become disoriented by the rain.\n\nOnce the field might have been covered in grass. Now the grass is but a memory. Mud covers the ground in its place, fed by the constant rain.\n\n> Go east\nYou strike off in that direction, but soon become disoriented by the rain.\n\nThe trees around you are spaced far enough to provide little shelter, allowing the stinging rain to pelt you. A grey mist conceals everything past four meters.\n\n> You go to the north-east\nYou strike off in that direction, but soon become disoriented by the rain.\n\nLooming suddenly out of the gloom is a large marble building. Its columns jut skyward, raked by the unending rain. To the north lies its entrance.\n\n> Go north\nAs you walk through the door of the building the sound of the rain stops, as if suddenly turned off.\n\nThe two-story height of the foyer is channelled into a narrower hallway to the north. On the north wall to the west of the hallway's beginning is an open doorway. The building's entrance to the south is reflected in the marble floor.\n\n> You go to the north\nLike the foyer, the hallway is marble. Its two-story height combined with its thinness inspires unease. A walkway runs above you, clinging to the east and west walls. Below the east walkway is a doorway.\n\n> Coke1\nEnter saved game to store: Ok.\n\n> You jump\nCareful: you'll spill your Coke!\n\n> Go south\nThe hallway ends abruptly in a pair of large oak doors. Their intricate carving is barely visible in the leaden light from the windows above you. The doors are flanked by two sweeping staircases to the northeast and northwest. A doorway to the east is mirrored by an open door to the west.\n\nThe walkway runs along the east wall of the hallway. A sweeping staircase joins the walkway to the southwest.\n\nThe walkway is cut off to the south by the rising walls of the foyer. There is a doorway to the east; the walkway continues to the north.\n\n> You give the Cola to the sentinel\nYou are carrying:\na bottle of cola\na bottle-opener\n\nThe statue's relaxed hand suddenly blurs into life. It reaches up to the bottle and twists off the cap. Hidden taste sensors activate, and the sentinel hurls the bottle to the ground, to shatter in a crash of glass and hissing fluid.\n\n> You take the hand\nI don't suppose the sentinel would care for that. I *do* suppose the sentinel would care for a refreshing Coke!\n\n> You look at floor\nWhich do you mean, the floor or the marble floor?\n\n> Marble\nThe floor reflects the ceiling back. For a moment, the light shifts, and you think you catch a glimpse of a familiar red-and-white image; then the light shifts again and the pattern vanishes.\n\n> You look up\nWhat do you want to look up in?\n\n> You examine the ceiling\nYou see nothing special about the ceiling. It is entirely unlike refreshing Coke.\n\n> You go to the east\nYou achieve nothing by this.\n\nAn inner voice tells you there's no Coke that way.\n\n> You examine the clock\nNothing obvious happens.\n\nA red-faced clock with white hands. Above the hands is written the inscription \"It's always time for Coca-Cola\".\n\n> You take the clock\nIt's up high on the wall.\n\n> You get the cord\nTaken.\n\n> You put the opener in the socket\nSomewhat unwisely, you jab the bottle opener into the socket. Current flows through your body and you twitch like a trout on a hook. You grasp the power cable firmly and hope for the best. The Coke machine hums to life as you cry out with the pain. Tragically, the last words you hear before it all fades to black are a mechanical voice saying \"I'm sorry, this machine is all out of that selection. Please enter 75 cents and choose again.\""
    },
    {
        "text": "> You look at your surroundings\nYou are in the room where your father died. It is crowded with familiar medical equipment which clusters around a bed.\nThe Pause That Refreshes.\n\n> You look at the equipment\nThe array of equipment only succeeded in prolonging your father's agony. Tucked in amongst the equipment you notice a mini-fridge.\n\n> You examine the fridge\nThe minifridge is small but compact.\n\n> You open the fridge\nYou open the mini-fridge, revealing a can of Coke.\n\n> You take can\nTaken. (Things go better with Coke.)\n\n> Drink coke\nYou take a sip of the Coke. Truly, this entire experience was worth it. You glance up again, and notice the prone figure of your father, lying there.\n\n> You examine father\nHe breathes in shallow gasps. His face is pale as a candle flame. The cancer has crept from his lungs to the rest of his body.\n\n> You give Coke to the father\nYou lean over and tip some of the Coke into your father's mouth. His eyes open in surprise for a minute, and then he slowly smiles. \"You're -- You're a good boy, Terry.\"\n\n*** Thanks to Coca-Cola, you have resolved your latent Oedipus complex and gone on to a happier and more mentally and physically secure life ***\n\n> You ask the father about Coke\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\nYou can't see any such thing. Maybe you meant to refer to your Coke?\n\n> You examine Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses** <Empty>\n**Adventure** <Empty>\n**Planetfall**\n**Hitchhiker**\n**Grip** <Empty>\n**A Bear's Night Out**\n\n> Inventory\nYou are carrying:\na can of Coca-Cola\na dressing gown (being worn)\n\n> Examine can\nTruly, all of your desires can be assuaged with the refreshing goodness inside this can.\n\n> You examine Nutrimat\nThe Nutrimat has a door which can be opened and a button which can be pressed.\n\n> You open the door\nYou open the door, revealing some circuitry.\n\n> You look at cup\nThis is a cup of fizzy brown liquid.\n\n> You take cup\nTaken. (Things go better with Coke.)\n\n> About yourself\nYou're wearing a red dressing gown with white trim.\n\n> You examine the gown\nThe gown is dappled with brown stains from having consumed past cans of Coke a bit too eagerly.\n\n> Drink coke\nAaaaah! What joy! What bliss! What unbearable ecstasy of delight!"
    },
    {
        "text": "[Themes: Fantasy, Children's]\n\n> Look around\nThis room is empty except for a large machine bearing the label \"NUTRIMAT\".\n\nYou can see a Nutrimat here.\n\n> Drink cup\nPFAH! This beverage is almost, but not quite, entirely unlike Coke! You dash the cup from your lips.\n\n> You ask Nutrimat about the tea\nYou can only do that to something animate.\n\n> You go to the south\nYou're too intrigued by the Nutrimat to leave.\n\n> Inventory\nYou are carrying:\na can of Coca-Cola\na dressing gown (being worn)\n\n> You examine the circuitry\nThis is the circuitry that runs the Nutrimat.\n\n> About yourself\nYou're wearing a red dressing gown with white trim.\n\n> Examine can\nTruly, all of your desires can be assuaged with the refreshing goodness inside this can.\n\n> You pour Coke in the circuitry\nThe Nutrimat emits a shower of sparks. \"OH!\" it cries. \"So THAT'S what Coca-Cola is! My circuits were previously unable to compute a substance so crisp, so refreshing, so delicious!\"\n\n> You press the button\n\"I already made you a beverage,\" says the Nutrimat.\n\n> Drink can\nAaaaah! What joy! What bliss! What unbearable ecstasy of delight!\n\n> Drink cup\nAHHH! Now that's more like it! Crisp, refreshing Coca-Cola!\n\nMarvin the robot wanders into the room. \"Oh my,\" he says. \"Human, you have managed to acquire both Coke and More Coke at the same time. Truly a sign of intelligence. Well done.\"\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You examine Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses** <Empty>\n**Adventure** <Empty>\n**Planetfall**\n**Hitchhiker** <Empty>\n**Grip** <Empty>\n**A Bear's Night Out**\n\n> Press planetfall\nYour surroundings melt away, and you find yourself in a completely new place.\n\nYou yawn, stretch, and roll over blearily. Suddenly, you feel a sharp pain in your side! Your eyes snap open, just in time to see Floyd bend over to poke you again. You leap to your feet.\n\nThe is the second half of the sterilization chamber leading from the main lab to the Bio Lab. The door to the east, leading to the Bio Lab, has a window. The bio lock continues to the west.\n\nThe door to the lab, mercifully, is closed.\n\nYour trusty companion, Floyd the robot, bounces to his feet as well. \"Hi!\", he beams. \"You sure are a sleepyhead.\"\n\n> You look at Floyd\nFrom its design, Floyd the robot seems to be of the multi-purpose sort. It is slightly cross-eyed, and its mechanical mouth forms a lopsided grin.\n\n> You ask Floyd about Pepsi\nFloyd, clearly uncomprehending, whistles cheerily.\n\n> You ask Floyd about Coke\n\"Irving the miniaturization-tech-person used to drink lots of refreshing Coca-Cola. He was so absent-minded that he added RNA memory engrams to all Coke in Complex, so he could remember his passwords. So for you to fix computer, you have to drink Coke. Coke is It.\"\n\nFloyd pauses for a moment, then glances toward the lab door. \"Looks dangerous in there,\" says Floyd. \"I don't think you should go inside.\" He peers in again at the Coke on the Bio Lab floor. \"But without refreshing RNA-enhanced Coca-Cola, you won't know minibooth code to fix computer. Hmmm... I know! Floyd will get refreshing Coca-Cola. Robots are tough. Nothing can hurt robots. You open the door, then Floyd will rush in. Then you close door. When Floyd knocks, open door again. Okay? Go!\" Floyd's voice trembles slightly as he waits for you to open the door.\n\n> You open the door\nThe door opens and Floyd, pausing only for the briefest moment, plunges into the Bio Lab. Immediately, he is set upon by hideous, mutated monsters! More are heading straight toward the open door! Floyd shrieks and yells to you to close the door.\n\n> You close the door\nThe door closes.\nFrom within the lab you hear ferocious growlings, the sounds of a skirmish, and then a high-pitched metallic scream!\n\nThat's already closed.\nYou hear, slightly muffled by the door, three fast knocks, followed by the distinctive sound of tearing metal.\n\n> You open the door\nFloyd stumbles out of the Bio Lab, clutching the delicious-looking can of Coca-Cola. The mutations rush toward the open doorway!\n\n> You close the door\nYou close the Bio Lab door. And not a moment too soon! You hear a pounding from the door as the monsters within vent their frustration at losing their prey. And, of course, their Coke.\n\nFloyd staggers to the ground, clutching the delicious can of Coke. He is badly torn apart, with loose wires and broken circuits everywhere. Oil flows from his lubrication system. He obviously has only moments to live.\n\nYou drop to your knees and cradle Floyd's head in your lap. Floyd looks up at his friend with half-open eyes. \"Floyd did it ... got Coke. Floyd a good friend, huh?\" Quietly, you croon Floyd's favorite song: \"I'd Like To Buy The World A Coke\".\n\nAs you finish the last verse, Floyd smiles with contentment. His fingers tighten around the Coke can, and with a spine-tingling \"Pfffft!\" he opens it. With his last strength, he sets the can on the ground before you. His eyes close as his head rolls to the side. You sit in silence for a moment, in memory of a brave friend who gave his life so that you might have Coke. All in all, a fair trade, but admirable nonetheless.\n\n> Pray\nYou close your eyes. You pray for a Coke. You open them again. You still don't have a Coke, but you feel more hopeful of getting one soon.\n\n> Drink coke\nAaaaah! What joy! What bliss! You feel renewed strength and energy coursing through your body.\n\nAnd -- what's that? There.\n\nThere, glimmering in the corner of your mind: the access code to the teleportation booth. Floyd was right.\n\nNow it's up to you to make his sacrifice worthwhile. Casting a final, sad glance at his mangled carcass, you stride off to the west...\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> About yourself\nYou are fit, happy, and healthy. You drink Coke!\n\n> You look at Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses** <Empty>\n**Adventure** <Empty>\n**Planetfall** <Empty>\n**Hitchhiker** <Empty>\n**Grip** <Empty>\n**A Bear's Night Out**\n\n> You look at David\nDavid is handsome, debonair, forgetful and fast asleep. He also wrote this description, and loves Coca-Cola (tm).\n\n> Go west\nYou'll have to get off the big bed first.\n\n> About yourself\nQuite the most beautiful furry brown teddy bear. And a good potential corporate logo to attract young children, not that the Coca-Cola Corporation would ever do that. Anyway, we fund dentists' groups to prevent this sort of accusation, buddy! So leave us alone.\n\n> You get off the bed\nYou tumble down, but being a soft bear, that's ok.\n\n> You go west\nWhen you aren't lying on the bed, you usually stay in here, snug and safe with your friends atop the warm pile of clothes.\n\nThe cupboard opens eastward to the bedroom.\n\nOn the pile of clothes you can see a can of Coca-Cola (tm) and a hand drawn sign.\n\nYour warm winter Coca-Cola jacket is here, which may be just as well, it's a little chilly.\n\n> You examine the sign\nMatt and Terry Moose refuse to participate in this cheap commercial ripoff. However, please watch out for their upcoming game, Matt and Terry's Interactive Magic Show, at \n\nMatt and Terry Moose refuse to participate in this cheap commercial ripoff. However, please watch out for their upcoming game, Matt and Terry's Interactive Magic Show, at an interactive fiction archive near you.\n\n> You wear the jacket\nJust the thing for a cold night.\n\n> You get can\nTaken. (Things go better with Coke.)\n\n> You look at the jacket\nA smart red jacket with big pockets and a Coca-Cola (tm) logo, teddy bear sized.\n\n> You sit on the pile\nYou struggle, but clamber up successfully.\n\n> You examine pile\nA neatly stacked pile of clothes intended for human beings.\n\n> You go to the east\nYou'll have to get off the pile of clothes first."
    },
    {
        "text": "> You go downwards\nYou tumble down, but being a soft bear, that's ok.\n\n> You go to the east\nMoonlight plays through the window, softly illuminating the bedroom, full of comfortable memories.\n\nTo the west is the cupboard where you usually live, and the doorway to the northwest leads to the rest of the house.\n\nA big bed fills up most of the room.\n\nDavid lies on the bed, very much asleep.\n\n> You search david\nDavid is out of reach.\n\n> You wake david\nDavid continues to sleep, totally oblivious.\n\n> You climb the bed\nYou struggle, but clamber up successfully.\n\n> You hit David with can\nYou find nothing as interesting as your Coke.\n\nThe refreshing, ice cold can gently touches David on the nose. Instantly he awakes, and grabs the can.\n\n`Wow, a refreshing ice cold Coke (tm)!'\n\nDavid opens the can, pausing for a moment to savour the cool air from within, then raises the can to his lips. The first sip is smooth, yet effervescent with the familiar thirst quenching taste of Coca-Cola.\n\nDavid looks down at you.\n\n`Oh no! The Teddy Bear Picnic! Do we have enough Coke (tm)?'\n\nHe races from the room, with the ice-cold can of Coke (tm).\n\nYou can't see any such thing.\n\n> You look\nBedroom (on the big bed)\nMoonlight plays through the window, softly illuminating the bedroom, full of comfortable memories.\n\nTo the west is the cupboard where you usually live, and the doorway to the northwest leads to the rest of the house.\n\nYou hear David happily gulping Coke (tm) and riffing through papers.\n\n`Aha! I knew this card was somewhere.'"
    },
    {
        "text": "> Go downward\nYou tumble down, but being a soft bear, that's ok.\n\nYou hear David pulling several 12-packs of refreshing Coca-Cola (tm) from a high cupboard somewhere in the kitchen.\n\n`Aha! A free Coca-Cola (tm) trading stamp!'\n\n> You go to the north-east\nYou can't go that way.\n\nYou hear the creaking of a picnic basket under strain as David pushes in several 12-packs of refreshing Coke (tm).\n\n> You go northwest\nThere's no need to explore tonight- Coca-Cola (tm) will take care of everything!\n\nDavid rushes back into the room.\n\n`There, all ready for the picnic. Thanks to my teddy bear, and the things-go-better flavour of an ice cold Coca-Cola (tm)!'\n\nYou go to sleep, David lies awake for the rest of the night, and you have a wonderful picnic the next day, with Coke (tm) enough for all!\n\nOf all the places in the world to obtain the sweet goodness of Coca-Cola products, this has to be your favorite. The Coke machine dominates the landscape, resting snugly against the perfect brick wall next to the unbroken sidewalk, which seems to lead to untold possibilities, their potential unlocked by the mere presence of Coca-Cola.\n\n> You examine Machine\nThis Coke machine has served you well. It is always full, always has exact change, always operates smoothly, and always keeps its assortment of Coca-Cola products chilled at exactly the right temperature. Right now, though, the buttons don't seem to have the same labels they used to. The 'Select!' light is still on, meaning you can push the following buttons:\n\n**Curses** <Empty>\n**Adventure** <Empty>\n**Planetfall** <Empty>\n**Hitchhiker** <Empty>\n**Grip** <Empty>\n**A Bear's Night Out** <Empty>\n\nWith a wink, the 'Select!' button turns off, and you realize you have finished the last selection. With a melancholy sigh, you turn to walk away down the sunlit street, Coke grasped firmly in hand, ready to take on the world."
    },
    {
        "text": "[Themes: Collegiate, Slice of life, college]\n\n> Examine tv\nThis is that indispensable staple of modern civilization, the television set. Even you admit to watching an hour or two a day. The television is currently on and blaring loud noise into the room.\nThere is a power cord behind the television.\n\n\"Reaction formation, rationalization, projection, reaction formation!\" John recites desperately.\n\n> You turn off the tv\nUnfortunately, this is one of those models of televisions which can only be turned off by remote control.\n\nJohn squirms in his seat, trying to concentrate.\n\n> Info\nAn Interactive Cramming\n\n\"Kissing the Buddha's Feet\" was an entry in the Second Annual Interactive Fiction Competition. It placed fifth overall in a field of 27 entries, and later won two XYZZY awards (Best Individual NPC and Best NPCs). Version 1.1 is essentially the same as the game that was submitted to the competition, except for a few bug fixes and cosmetic changes; these changes are outlined in the file bugfix.txt which should have come with the game package.\n\nThis game is freeware (though not public domain), and may be freely played, copied, and distributed provided that you:\n\n1) Don't sell it for a profit. You may charge a fee to cover the cost of any media you distribute the game on but no more.\n2) Don't modify the game.\n\nI appreciate any comments, criticism, and bug reports you send me.\nYou can reach me by e-mail at leonlin@uclink.berkeley.edu. This address should be valid at least until the end of 1997.\n\nThanks, and enjoy the game!\n\n\n\nThanks to Kevin Wilson for his advice and help.\n\nThanks also to this competition's Internet Beta-Testing team, particularly Michael Kinyon, who helped me find bugs and other annoying oddities in my game I probably would have never discovered on my own. And many thanks to those who wrote to me after the competition to inform about bugs they had discovered.\n\nMany thanks as well to the many people who wrote reviews and comments about this game, as well as my previous game, \"The One That Got Away\"--such criticism has helped me improve and grow as an author of interactive fiction. Thanks also to all of the people whose votes in the 1996 Interactive Fiction Competition and the XYZZY Awards helped this game receive the recognition that it did.\n\nAnd finally, thanks to my parents, who have given me their love and support. This game wouldn't have been possible without them.\n\n> You pull the cord\nYou try to unplug the power cord. However, rats have chewed through its insulation, exposing the underlying wire. When you touch the cord, you experience a painful but otherwise harmless electric shock. Cursing, you make a strategic retreat to the paisley couch.\n\nJohn squirms in his seat, trying to concentrate.\n\n> You look under the couch\nThere's nothing under your paisley couch. As it should be.\n\nJohn tries to write some notes on a piece of paper, messes up, and, in a fit of frustration, crumples up the paper and throws it to the floor.\n\nYou hear a violent gust of wind blow into John's bedroom, causing the door to slam closed. John, startled by the noise, looks around confusedly. \"Um, could you go in my room and close my window, please?\" he asks you.\n\n> You go east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond a closed door. The bathroom can be reached by going east through an open door.\n\nYou hear a knock on the front door. You rush to the living room, knowing that trouble has arrived, but are too late! The door flies open with a crash!\n\nThere is an explosion of confetti around you, and a paper noisemaker licks impudently at your face. When the paper clears, you see standing at the door John's four troublesome friends, Alice, Bob, Carl, and Evan! \"Hi-yah, John!\" greets Alice, their leader. \"Looks like we're not too late for the party!\" She doffs her conical party hat and strides over to John's desk. \"Say, is that a psychology book you're studying? Really hitting the books now, are ya?\" She grins as she puts down some snacks and a radio blaring obnoxious music, and parks herself and Carl on the floor. Evan immediately goes to you and starts speaking about trivia, and Bob wanders around drunkenly.\n\nIt's going to be an even longer night than you imagined...\n\n> You go to the north\nYou can't leave your apartment now! Not when you still have to keep an eye on John!\n\nJohn wails to you, \"Could you help quiz me? Please?\"\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the bedrooms.\n\nAlice breaks out a pack of cards and plays a hand of hearts with Carl.\n\nBob, thinking that he's walking in a straight line, toes a path more akin to the outline of a Picasso painting than anything else.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\n> You go east\nYou see a piece of cellophane here.\n\nYou hear a loud and raucous argument in the living room about the rules for Monopoly.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nEvan follows you into the short hall.\n\n> You get the cellophane\nTaken.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\n> You go to the north\nYou'll have to open John's bedroom door first.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\n> You open door\nOpened.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\n> You go north\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is an open window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here. The wastebasket seems to contain a\nblue wrapper.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nEvan follows you into John's bedroom.\n\n> Close window\nYou slide the window shut, only to discover that there is a round, baseball-sized hole in the middle of the window which is admitting a large amount of wind into the room.\n\nThe sound of a tremendous belch rocks the apartment.\n\n\"You know,\" says Evan philosophically, \"in Taiwan, they have this phrase that describes desperate students who have to make a supreme last-minute effort to study for exams. They're said to be 'kissing the Buddha's feet.'\" He looks pleased at having known that piece of trivia.\n\n> Examine wrapper\nThis looks like a wrapper for some sort of box. It's pastel blue, with a paisley pattern tastefully silkscreened on. A small gold seal, mostly intact, has the logo for \"Dee's Chocolates\" on it.\n\nYou hear a loud and raucous argument in the living room about the rules for mah jongg.\n\nEvan gives a short speech about what's wrong with the nation's foreign policy and how he would change things.\n\n> You get the wrapper\nTaken.\n\nThe sound of a tremendous belch rocks the apartment.\n\nEvan speculates about the recipe for Kentucky Fried Chicken.\n\n> You put the wrappr on the window\n\"Ah, 'wrappr', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You put the wrapper on the window\nLooks like that won't fit in the hole.\n\nEvan talks about the impact of the longbow on the Hundred Years' War.\n\n> You examine the desk\nThe decrepit state of John's desk bespeaks both a ripe old age as well as years of misuse; its surface bears many jagged scars and scorch marks. Otherwise, the desk looks surprising clean (for a possession of John's), mainly because most of the junk that normally occupies its surface has been swept onto the floor or into the closet. There is a single drawer on the desk, which is closed. On the desk you see some broken plastic models; besides that, you see a handheld electronic trivia game.\n\nFrom the direction of the living room, you hear Alice trying to sing \"Send in the Clowns\" along with the radio, and doing it badly.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\n> You kill Evan\nWhat do you want to attack him with?\n\n> You get the game\nTaken.\n\nYou hear a loud and raucous argument in the living room about the rules for mah jongg.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nEvan wonders what the world would be like if it were love, not money, that made the world go round.\n\n> You look at game\nSmall, orange, and plastic, this electronic game was given to John for his birthday. John, having a limited attention span at best, quickly abandoned this gift before he could get through its alleged \"20,000 Questions!\" The case sports an LCD screen and a small speaker. There are also four buttons, colored red, yellow, green, and blue, lined up vertically to the left of the screen, next to where the possible answers to the game's questions will be displayed. The game is currently off.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n\"I believe,\" says Evan, \"that a philosopher once said, 'You can only win so many battles before you lose the war.'\"\n\n> You give the game to Evan\nEvan looks excitedly at the game you're giving him. \"Why-y-y, that's a '20,000 Questions' trivia game! It's the fourth edition! A rarity! I've always wanted to play that!\" He fumbles clumsily at the game, which he turns on and starts playing eagerly.\n\nYou hear a loud and raucous argument in the living room about the rules for chess.\n\nA violent gust of wind flies in through the hole in the window, causing the bedroom door to slam closed with a loud \"BANG!\"\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You go east\nThis is John's closet. There are no skeletons hiding here, but considering the amount of dust and dirty clothes around, you would hardly be surprised if one of the undead were lurking around in this dimly lit space. The one exit is a door to the west, which is open. You see a catcher's mitt here.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nThe sound of a tremendous belch rocks the apartment.\n\nEvan follows you into John's closet, still playing the game.\n\n> You get the mitt\nTaken.\n\nFrom the direction of the living room, you hear Alice trying to sing some heavy metal song along with the radio, and doing it badly.\n\nThe sound of a tremendous belch rocks the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> Go west\nYou see a wastebasket here.\n\nYou hear a loud and raucous argument in the living room about the rules for canasta.\n\nThe sound of a tremendous belch rocks the apartment.\n\nEvan follows you into John's bedroom, still playing the game.\n\n> You put the mitt in hole\nLooks like that won't fit in the hole.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You get the sheet\nEven if it *were* your job to pick up after John, you wouldn't want to touch these sheets.\n\nThe sound of a tremendous belch rocks the apartment."
    },
    {
        "text": "[Themes: Collegiate, Slice of life]\n\n> You look around\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a closed door to the south.\nYou see a wastebasket here.\nEvan is here, playing an electronic trivia game. Loud electronic beeps and whistles fly out of the game's speakers.\n\nYou hear a loud and raucous argument in the living room about the rules for checkers.\n\n> You examine model\nThese used to be models of military equipment that John liked to make (however ineptly). However, this once proud army has been reduced to piles of broken, shattered pieces by some hard-hitting, fast-travelling force. You notice a thick piece of duct tape hanging limply on the remains of one model.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You get tape\nTaken.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You put the tape on the wrapper\nThere's no good surface on the blue wrapper.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look at what you're carrying with you\nYou have a piece of cellophane, a blue wrapper, a catcher's mitt, and a piece of duct tape.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You examine dresser\nThe dresser looks as if it might fall apart at any moment. You eye it cautiously. The drawers are closed.\n\nFrom the direction of the living room, you hear Alice trying to sing \"Love Shack\" along with the radio, and doing it badly.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You open it\nOpened.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> You look in it\nThere's nothing in John's dresser.\n\nYou hear a loud and raucous argument in the living room about the rules for go.\n\nA violent gust of wind flies in through the hole in the window, causing the bedroom door to slam open with a loud \"BANG!\"\n\nYou see Bob stagger in from the door to the south.\n\n> Go south\nYou see Bob stagger in from the door to the north.\n\nEvan follows you into the short hall, still playing the game.\n\n> Go east\nThe bathroom, fortunately, is one of the rooms you've agreed to maintain, and as a result it isn't too filthy. Against the north wall is a gleaming sink and a mirror mounted above it; next to the mirror is a medicine cabinet. On the south wall is a towel rack. A toilet and shower, both scrubbed to exquisite perfection with lye-based cleansers, complete this traditional bathroom. The only exit to this bathroom is through a door to the west, which is open.\n\nFrom the direction of the living room, you hear Alice trying to sing \"American Pie\" along with the radio, and doing it badly.\n\nThe sound of a tremendous belch rocks the apartment.\n\nEvan follows you into the bathroom, still playing the game.\n\n> You get the towel\nTaken.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You look at the cabinet\nWhich cabinet do you mean, the bathroom sink cabinet, or the medicine cabinet?\n\n> Medicine\nThe medicine cabinet is closed.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> You open it\nOpened.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You look in it\nThe medicine cabinet is open. There's nothing in the medicine cabinet.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You open the sink cabinet\nOpening the cabinet reveals the pipes which comprise the bathroom sink plumbing. Besides that, you see in the cabinet nothing at all.\n\nFrom the direction of the living room, you hear Alice trying to sing the theme from \"Love Story\" along with the radio, and doing it badly.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You go to the west\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see Bob, staggering around, like the slightest hint of alcohol\nin the air will send him crashing to the ground here.\n\nBob tries to go through a wall. His head rebounds violently off the hard plaster surface. \"Thang you sir, may I hab uhnudder?\" he says humbly.\n\nEvan follows you into the short hall, still playing the game.\n\n> Go north\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here.\n\nEvan follows you into John's bedroom, still playing the game.\n\n> You put the towel in the window\nYou can stuff the towel in the hole, but it won't form a tight seal and stay in place. You need something more reliable.\n\nYou hear a loud and raucous argument in the living room about the rules for checkers.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\n> Go south\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\n\nYou hear a loud and raucous argument in the living room about the rules for gin rummy.\n\nBob staggers into the short hall, looking incredibly dazed.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go to the west\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently on.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a crumpled paper and a radio here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\n\"So, John,\" says Alice, \"how're you doing hitting those books? Real swell?\" John mumbles something uncomfortably and tries to continue studying.\n\nEvan follows you into the living room, still playing the game.\n\n> You put the tape on the towel\nThere's no good surface on the pink towel.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nAlice reminisces about a really good tuna fish sandwich she once had.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\n> You look at the crumpled paper\nThis is a piece of crumpled paper, on which is written a few words on Freudian psychology, most of it incoherent (not that it would make much difference, anyway).\n\nJohn wails to you, \"Could you help quiz me? Please?\"\n\nAlice breaks out a pack of cards and plays a hand of bridge with Carl.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You get it\nTaken.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nAlice looks outside wistfully. \"You know, Carl and I would be outta here now...but we don't have enough money for a proper dinner--not these sad snacks that we have--for both of us. Oh, I have enough for just me, but...\" She looks at Carl, who has a mournful look on his face. \"...but, I can't be that cruel, can I?\"\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You put the tape on crumpled\nThere's no good surface on the crumpled paper.\n\nJohn tries to write some notes on a piece of paper, messes up, and, in a fit of frustration, crumples up the paper and throws it to the floor.\n\n\"C'mon, John,\" urges Alice, \"take a break, have some fun with us! You can always take more tests next semester!\"\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look at the tape\nThis is a thick piece of duct tape. In fact, with further examination, you realize that it is a piece of \"soundproofing\" duct tape you used to construct your closet door. Now you know where that roll went...\n\nJohn wails to you, \"Could you help quiz me? Please?\"\n\nThe sound of a tremendous belch rocks the apartment.\n\n> Quiz john\nYou ask John a question about rationalization. \"Wait, I know that! I know that!\" exclaims John. He grits his teeth and closes his eyes in concentration. \"No, wait, I forgot! I forgot!\"\n\nJohn can't help but stare at the TV for a few seconds, mesmerized by the colorful patterns on the screen.\n\nAlice breaks out a pack of cards and plays a hand of poker with Carl.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> You search the sofa\nThat's a job for one braver than you.\n\nJohn squirms in his seat, trying to concentrate.\n\nAlice looks outside wistfully. \"You know, Carl and I would be outta here now...but we don't have enough money for a proper dinner--not these sad snacks that we have--for both of us. Oh, I have enough for just me, but...\" She looks at Carl, who has a mournful look on his face. \"...but, I can't be that cruel, can I?\"\n\nYou hear a violent gust of wind blow into John's bedroom, causing the door to slam closed. John, startled by the noise, looks around confusedly. \"Um, could you go in my room and close my window, please?\" he asks you.\n\n> You look under the sofa\nThat's a job for one braver than you.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nAlice looks outside wistfully. \"You know, Carl and I would be outta here now...but we don't have enough money for a proper dinner--not these sad snacks that we have--for both of us. Oh, I have enough for just me, but...\" She looks at Carl, who has a mournful look on his face. \"...but, I can't be that cruel, can I?\"\n\n> You attach the tape to the towel\nI don't know how to attach the piece of duct tape.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the kitchen. It lands squarely in the kitchen sink.\n\nAlice breaks out a pack of cards and plays a hand of gin rummy with Carl.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You examine table\nWhich table do you mean, the mahogany table, or John's desk?\n\n> You look at the mahogany\nThis table, with its meticulously polished and dustless surface, was your 20th birthday present. Catching a glimpse of your own reflection against the fine wood grain pattern, you remember why this table has always had a special place in your heart. Currently you see on the table a porcelain vase.\n\nJohn can't help but stare at the TV for a few seconds, mesmerized by the colorful patterns on the screen.\n\nYou hear some banging on the walls.\n\n> You look in the vase\nThere's nothing in the vase.\n\nDistracted by all of the noise, John momentarily loses his concentration and starts muttering something barely comprehensible about Bob riding his skateboard into the kitchen sink.\n\n\"C'mon, John,\" urges Alice, \"take a break, have some fun with us! You can always take more tests next semester!\"\n\nYou hear some banging on the walls.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You examine the desk\nThis is John's \"studying\" desk, which he bought a few days ago. (He would have used the desk in his room, but he claimed, \"I need a fresh start in studying.\" Actually, he found his desk was glued to the floor and thought it would be faster to buy a new one.)  On the table you see John's psychology book; other than that you see nothing at all.\n\nJohn squirms in his seat, trying to concentrate.\n\nAlice looks outside wistfully. \"You know, Carl and I would be outta here now...but we don't have enough money for a proper dinner--not these sad snacks that we have--for both of us. Oh, I have enough for just me, but...\" She looks at Carl, who has a mournful look on his face. \"...but, I can't be that cruel, can I?\"\n\n> You search them\npile of newspaper and cans: The thought of sticking your bare hands into that filth disgusts you.\n\nJohn squirms in his seat, trying to concentrate.\n\nAlice reminisces about a really good tuna fish sandwich she once had.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You go west\nWhen you moved into this apartment, the kitchen was a horrendous\nmess. Because you've agreed to let John maintain the kitchen while you maintain the bathroom, it still is; the stove is encrusted with the pathetic results of previous meals, the refrigerator is in sore need of a wipedown, and the kitchen sink as usual is filled with mostly useless items (such as, for example, John's skateboard). A kitchen table sits in the center of the room. The living room is to the east.\n\nYou hear a loud and raucous argument in the living room about the rules for canasta.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nEvan follows you into the kitchen, still playing the game.\n\n> You look at the sink\nThis, as you probably surmised, is the kitchen sink. At the moment it is fairly filthy, thanks to John's recent diligent efforts at *not* scrubbing it. Under the sink is a cabinet in which the kitchen plumbing can be accessed. In the kitchen sink there are broken dishes; other than that, you see a skateboard and a piece of cellophane.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> You examine table\nScars and stains mar the appearance of this otherwise fine kitchen table. The most recent addition to the marks on the table is a set of long, parallel lines, not unlike skid marks, which point in the general direction of the kitchen sink. Other than these marks, you see on the table a pastel blue box.\n\nFrom the direction of the living room, you hear Alice trying to sing \"American Pie\" along with the radio, and doing it badly.\n\n> You look at the box\nThe box of chocolates was intended to be a birthday present from your mother. Unfortunately, John, mistaking anything with a molecular structure to be his, has already opened the box and ravaged its contents: there is only a bare fraction of the hundred chocolates that used to be inside. There is a torn label on the side of box. In the box you see a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular dark chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card.\n\n> You look at the card\nThe torn card is missing the brand name of the chocolates, but the ingredients list is still readable.\n\nFrom the direction of the living room, you hear Alice trying to sing \"Y.M.C.A.\" along with the radio, and doing it badly.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You read the card\nThe card emphasizes the variety of fillings used to make these chocolates. In the ingredients list, you note that the chocolates are filled with caramel, coconut, marzipan, peanuts, almonds, pecans, cherry liqueur, marshmallow, fudge, and mint.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You get the box\nTaken.\n\nBob staggers into the kitchen, looking incredibly dazed.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You get all from the sink\nskateboard: Taken.\npiece of cellophane: Taken.\n\nBob staggers off to the east.\n\n> You open the fridge\nOpening the refrigerator reveals a beer can and some raw cookie dough.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You get the beer can\nTaken.\n\n> You get the cookie dough\nYou've already got your hands full.\n\nYou hear a violent gust of wind from the direction of John's bedroom, and then a loud \"BANG!\"\n\nBob staggers into the kitchen, looking incredibly dazed.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look at it\nThis is a baseball-sized lump of raw cookie dough, a favorite food of John's. It's grown a little stale and moldy since it last saw the light of day but still retains a bit of elasticity and stickiness.\n\nFrom the direction of the living room, you hear Alice trying to sing some country song along with the radio, and doing it badly.\n\n> Drop box\nDropped.\n\nBob, thinking that he's walking in a straight line, toes a path more akin to the outline of a Picasso painting than anything else.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You get the dough\nTaken.\n\nYou hear a loud and raucous argument in the living room about the rules for poker.\n\nIn a loud voice, Bob brags about crushing a bunch of plastic models on John's table.\n\n> Go east\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently on.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio and a crumpled paper here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\n\"I think I remember hearing somewhere that fish is good for you,\" says Alice.\n\nBob staggers into the living room, looking incredibly dazed.\n\nEvan follows you into the living room, still playing the game.\n\n> Go east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\n\nFrom the direction of the living room, you hear Alice trying to sing some country song along with the radio, and doing it badly.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go to the north\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nEvan follows you into John's bedroom, still playing the game.\n\n> You put dough in the hole\nYou stick the cookie dough in the hole. It fits quite nicely.\nWorking the edges with your hands, you quickly form an efficient seal which should keep the wind out.\n\nThe sound of a tremendous belch rocks the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> Go south\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see Bob, staggering around, like the slightest hint of alcohol\nin the air will send him crashing to the ground here.\n\nIn a loud voice, Bob brags about riding John's skateboard into the kitchen sink.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go to the west\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently on.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio and a crumpled paper here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn tries to write some notes on a piece of paper, messes up, and, in a fit of frustration, crumples up the paper and throws it to the floor.\n\nAlice takes out a bag of carob-covered malt balls, empties the contents into her hands, and chucks the empty bag off John's desk, onto the floor.\n\nAlice and Carl, needing to stretch their legs, get up and dance the tango for a little while.\n\nEvan follows you into the living room, still playing the game.\n\n> You search the newspapers\nWith the catcher's mitt on your hand, you confidently wade through the junk pile without fear of contamination. Your efforts are rewarded, as you unearth the lost television remote control!\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nAlice and Carl, needing to stretch their legs, get up and dance the Charleston for a little while.\n\nBob, thinking that he's walking in a straight line, toes a path more akin to the outline of a Picasso painting than anything else.\n\n> You take the control\nYou already have the remote control!\n\nJohn tries to write some notes on a piece of paper, messes up, and, in a fit of frustration, crumples up the paper and throws it to the floor.\n\nAlice takes out a bag of potato chips, empties the contents into her hands, and chucks the empty bag into the hallway.\n\nAlice and Carl, needing to stretch their legs, get up and dance the rumba for a little while.\n\nBob staggers off to the west.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You remove mitt\nOkay, you're no longer wearing the catcher's mitt.\n\n\"Rationalization, displacement, displacement, displacement!\" John recites desperately.\n\n\"This feels like the perfect night for fish and chips,\" says Alice.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\n> You turn off the tv\nWith a profound sigh of relief, you press the power button and end the television's reign of terror upon your brain.\n\nAlice reminisces about a really good tuna fish sandwich she once had.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You go west\nWhen you moved into this apartment, the kitchen was a horrendous\nmess. Because you've agreed to let John maintain the kitchen while you maintain the bathroom, it still is; the stove is encrusted with the pathetic results of previous meals, the refrigerator is in sore need of a wipedown, and the kitchen sink as usual is filled with mostly useless items. A kitchen table sits in the center of the room. The living room is to the east.\nYou see a pastel blue box and Bob, staggering around, like the slightest hint of alcohol in the air will send him crashing to the ground here. The pastel blue box seems to contain a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular dark chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card.\n\nBob staggers off to the east.\n\nEvan follows you into the kitchen, still playing the game.\n\n> Go east\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, three crumpled papers, a snack food bag, and Bob, staggering around, like the slightest hint of alcohol in the air will send him crashing to the ground here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the kitchen. The cellophane bounces off the refrigerator, and skims the edge of the kitchen sink. Just as it looks as if it would go in, it falls to the floor.\n\nAlice breaks out a pack of cards and plays a hand of whist with Carl.\n\nBob, thinking that he's walking in a straight line, toes a path more akin to the outline of a Picasso painting than anything else.\n\nEvan follows you into the living room, still playing the game.\n\n> You give the beer to Bob\nBob eagerly snatches the can from your hands. The moment he raises it to his lips he gags violently. \"Whadzz thizz?\" he moans. \"Milk! No good!\" He tosses the can back to you.\n\nAlice takes out a bag of potato chips, empties the contents into her hands, and chucks the empty bag into the hallway.\n\nAlice breaks out a pack of cards and plays a hand of baccarat with Carl.\n\nIn a loud voice, Bob brags about banging his head against the wall fifty-seven times without going unconscious.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look at the can\nThis is an open beer can, probably being saved by John for a rainy (or dry) day. It's almost full.\n\n\"Repression, projection, sublimation, projection!\" John recites desperately.\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the kitchen. The cellophane bounces off the refrigerator, and skims the edge of the kitchen sink. Just as it looks as if it would go in, it falls to the floor.\n\nAlice breaks out a pack of cards and plays a hand of bridge with Carl.\n\nBob staggers off to the east.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look in the can\nThere is still some milk in the can.\n\nJohn grits his teeth and grinds a pencil down to a stub.\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the TV. It bounces forlornly off and rolls into the center of the living room.\n\nAlice breaks out a pack of cards and plays a hand of baccarat with Carl.\n\n> You go to the west\nWhen you moved into this apartment, the kitchen was a horrendous\nmess. Because you've agreed to let John maintain the kitchen while you maintain the bathroom, it still is; the stove is encrusted with the pathetic results of previous meals, the refrigerator is in sore need of a wipedown, and the kitchen sink as usual is filled with mostly useless items. A kitchen table sits in the center of the room. The living room is to the east.\nYou see a pastel blue box and two piece of cellophanes here. The pastel blue box seems to contain a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular dark chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card.\n\nYou hear a loud and raucous argument in the living room about the rules for shogi.\n\nEvan follows you into the kitchen, still playing the game.\n\n> You get the box\nYou've already got your hands full.\n\nThe sound of a tremendous belch rocks the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You look at the card\nThe torn card is missing the brand name of the chocolates, but the ingredients list is still readable.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You read it\nThe card emphasizes the variety of fillings used to make these chocolates. In the ingredients list, you note that the chocolates are filled with caramel, coconut, marzipan, peanuts, almonds, pecans, cherry liqueur, marshmallow, fudge, and mint.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> Inventory\nYou have two piece of cellophanes, a blue wrapper, a catcher's mitt, a piece of duct tape, a pink towel, a crumpled paper, a skateboard, a beer can, and a remote control.\n\nFrom the direction of the living room, you hear Alice trying to sing \"Love Shack\" along with the radio, and doing it badly.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You drop the remote\nDropped.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nThe sound of a tremendous belch rocks the apartment.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You get the box\nTaken.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nYou hear a loud \"Pin pon!\" come from the game. Evan grins maniacally.\n\n> You put tape on the game\nYou place the duct tape on the speaker.\n\nYou hear a loud and raucous argument in the living room about the rules for go.\n\n> You look at the round\nWhich round do you mean, the round dark chocolate, or the round light chocolate?\n\n> You look at round dark\nIt looks like an ordinary round dark chocolate to me.\n\n> You eat it\nJohn's hands have probably been all over this chocolate. This alone convinces you not to eat it.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You get the box\nYou already have the pastel blue box!\n\n> You go east\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, three crumpled papers, a snack food bag, and a\npiece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn squirms in his seat, trying to concentrate.\n\nAlice and Carl, needing to stretch their legs, get up and dance the tango for a little while.\n\nEvan follows you into the living room, still playing the game.\n\n> You go to the east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nYou hear some banging on the walls.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go north\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here. The window seems to contain some raw cookie dough.\n\nEvan follows you into John's bedroom, still playing the game.\n\n> You go to the east\nThe bathroom, fortunately, is one of the rooms you've agreed to maintain, and as a result it isn't too filthy. Against the north wall is a gleaming sink and a mirror mounted above it; next to the mirror is a medicine cabinet. On the south wall is a towel rack. A toilet and shower, both scrubbed to exquisite perfection with lye-based cleansers, complete this traditional bathroom. The only exit to this bathroom is through a door to the west, which is open.\n\nYou hear a loud and raucous argument in the living room about the rules for mah jongg.\n\nYou hear a sharp BUMP! followed by some energetic banging on the walls.\n\nEvan follows you into the bathroom, still playing the game.\n\n> You go west\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nYou hear some banging on the walls.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go to the west\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, three crumpled papers, a snack food bag, and a\npiece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nDistracted by all of the noise, John momentarily loses his concentration and starts muttering about his need to get more duct tape to fix the broken models on his desk.\n\nEvan follows you into the living room, still playing the game.\n\n> You give the tape to John\nYou're not carrying the piece of duct tape.\n\n\"Displacement, rationalization, projection, repression!\" John recites desperately.\n\n\"This feels like the perfect night for fish and chips,\" says Alice.\n\n> Go west\nWhen you moved into this apartment, the kitchen was a horrendous\nmess. Because you've agreed to let John maintain the kitchen while you maintain the bathroom, it still is; the stove is encrusted with the pathetic results of previous meals, the refrigerator is in sore need of a wipedown, and the kitchen sink as usual is filled with mostly useless items. A kitchen table sits in the center of the room. The living room is to the east.\nYou see two piece of cellophanes and a remote control here.\n\nEvan follows you into the kitchen, still playing the game.\n\n> You go east\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, three crumpled papers, a snack food bag, and a\npiece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn squirms in his seat, trying to concentrate.\n\n\"So, John,\" says Alice, \"how're you doing hitting those books? Real swell?\" John mumbles something uncomfortably and tries to continue studying.\n\nEvan follows you into the living room, still playing the game.\n\n> You go east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nYou hear a sharp BUMP! followed by some energetic banging on the walls.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go south\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\nYou see a swivel chair here.\n\nEvan follows you into your bedroom, still playing the game.\n\n> You examine the dresser\nThis is a dresser made of fine mahogany wood. The surface is dust-free and so shiny you could comb your hair by your reflection in the wood. The drawers are closed.\n\nYou see Bob stagger in from the door to the east.\n\n> You give the chocolate to Bob\nWhich chocolate do you mean, the blue wrapper, the pastel blue box, the square dark chocolate, the square light chocolate, the round dark chocolate, the round light chocolate, the shell-shaped dark chocolate, the shell-shaped light chocolate, the triangular dark chocolate, the triangular light chocolate, the hexagonal dark chocolate, or the hexagonal light chocolate?\n\n> Square\nLet's try it again: Which chocolate do you mean, the square dark chocolate, or the square light chocolate?\n\n> Dark\nBob snarfs down the chocolate, and then gags violently. \"Marzipan!\" he exclaims. \"I hade marzipan!\" He teeters unsteadily in his drunken rage. \"If...if you gib me another chocolid filled with something I don' like, I'll...I... I...won't take any more chocolidzz from you!\"\n\nYou hear a loud and raucous argument in the living room about the rules for checkers.\n\n> You give the square to Bob\nBob eats the chocolate, but is livid when he finds out it's filled with mint. He looks pretty angry now, and rambles about not liking \"mint\" and says he'll never accept chocolate from you again, and probably no one else in the world as well, as his trust was betrayed, and so forth.\n\nBob staggers through the door to the east.\n\n> Dark\nIt smells just like you expect a square dark chocolate to smell.\n\nBob tries to go through a wall. His head rebounds violently off the hard plaster surface. \"Thangs,\" he says dazedly, \"I needed datd.\"\n\n> You give the square dark to Evan\nEvan is too involved in beating the trivia game to notice your offer, which probably wouldn't have seemed too attractive to him anyhow.\n\nIn a loud voice, Bob brags about drinking his weight in beer.\n\n> You read the card\nDimly illuminated, this closet provides you with an impenetrable defense against outside noise. The door, which is to the west and open, is steel-reinforced and soundproof, preventing even the loudest party sounds from getting through. Though the closet is small, it is roomy enough for you and several of your favorite textbooks, and you've studied for many an exam here.\nYou see a toolbox here.\n\nYou see Bob stagger in from the door to the west.\n\nEvan follows you into your closet, still playing the game.\n\nThe card emphasizes the variety of fillings used to make these chocolates. In the ingredients list, you note that the chocolates are filled with caramel, coconut, marzipan, peanuts, almonds, pecans, cherry liqueur, marshmallow, fudge, and mint.\n\nBob tries to go through a wall. His head rebounds violently off the hard plaster surface. \"Thang you sir, may I hab uhnudder?\" he says humbly.\n\n> You examine the toolbox\nThis toolbox holds most of your favorite tools. Unfortunately many of them have been \"borrowed\" by John. In the toolbox you see a wrench.\n\nBob tries to think of some drinking songs he knows and sing them. He has no sense of pitch, but that unfortunately doesn't keep him from trying.\n\n> You get the wrench\nTaken.\n\nBob staggers through the door to the west.\n\n> You go to the west\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\nYou see a swivel chair and Bob, staggering around, like the\nslightest hint of alcohol in the air will send him crashing to the ground here.\n\nYou hear a loud and raucous argument in the living room about the rules for gin rummy.\n\nEvan follows you into your bedroom, still playing the game.\n\n> You look at the desk\nThis is your mahogany desk, a gift to you on your fifteenth birthday. You've spent many a long hour studying at this desk, and many more polishing it. Even now, as you look at it, you get the urge to wipe off a few molecules of dust from its surface with your sleeve, but you resist, as you would get your shirt dirty. There is a drawer on the front of the desk which is closed.\n\nBob staggers through the door to the east.\n\n> You open the drawer\nOpened.\n\nYou hear some banging on the walls.\n\n> You look in it\nThe desk drawer is open. There's nothing in the desk drawer.\n\nYou hear a sharp BUMP! followed by some energetic banging on the walls.\n\n> You look in the closet\nYou see the interior of the closet through the open door, but you'll have to go inside to get a better look at what's there.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> Go inside\nYou can't go that way.\n\nYou hear some banging on the walls.\n\n> You enter the closet\nI don't know how to enter your closet door.\n\nYou hear a sharp BUMP! followed by some energetic banging on the walls."
    },
    {
        "text": "[Themes: Slice of life, Collegiate, college]\n\n> You describe your surroundings\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\nYou see a swivel chair here.\nEvan is here, playing an electronic trivia game.\n\nYou hear a loud and raucous argument in the living room about the rules for poker.\n\nYou see Bob stagger in from the door to the east.\n\n> You ask Evan about the chocolate\nEvan blithely continues playing even as you ask him a question. Perhaps if you took that game from him, he'd pay attention...\n\nYou hear a loud and raucous argument in the living room about the rules for Monopoly.\n\nBob stares at the mirror and, with all the machismo possible from a drunken sot, brags about some sports exploit of his. Unfortunately it involves terms you are unfamiliar with, and that you suspect are totally made up.\n\n> You get the game\nYou yank the game out of Evan's hands. In the process Evan's fingers brush against the game's on/off switch, turning the game off. Evan looks extremely surprised and perturbed.\n\nGoing into deep financial detail, Evan gives a discourse on the rise and fall of Infocom, Inc. He also mentions how much he liked that little robot Floyd.\n\nBob staggers through the door to the north.\n\n> You ask Evan about Floyd\n\"Ah, 'floyd', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You ask Evan about the chocolate\n\"Hmmm,\" says Evan. \"I'm well versed in the ways of chocolate and their contents--I've never been stuck with a coconut-filled chocolate myself. However, I can't tell you much unless I know what brand this chocolate is.\"\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nEvan wonders what the world would be like if Fermat had a lot more space in his margins.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You examine torn\nThe torn card is missing the brand name of the chocolates, but the ingredients list is still readable.\n\nYou hear a loud and raucous argument in the living room about the rules for canasta.\n\nEvan talks about Napoleon's use of artillery at Waterloo.\n\nThe sound of a tremendous belch rocks the apartment.\n\n> Examine box\nThe box of chocolates was intended to be a birthday present from your mother. Unfortunately, John, mistaking anything with a molecular structure to be his, has already opened the box and ravaged its contents: there is only a bare fraction of the hundred chocolates that used to be inside. There is a torn label on the side of box. In the box you see a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular dark chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card.\n\nEvan gives an impromptu talk about Brazil in the (hypothetical) 2030's.\n\nYou hear lots of drunken singing from somewhere else in the apartment.\n\n> Examine wrapper\nThis looks like a wrapper for some sort of box. It's pastel blue, with a paisley pattern tastefully silkscreened on. A small gold seal, mostly intact, has the logo for \"Dee's Chocolates\" on it.\n\nYou hear a loud and raucous argument in the living room about the rules for Monopoly.\n\nEvan gives an impromptu talk about the differences between the Meiji and postwar constitutions of Japan.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You give the wrapper to Evan\nEvan starts talking about the blue wrapper's history and forgets to even consider whether to accept your offer or not.\n\nYou hear a loud and raucous argument in the living room about the rules for checkers.\n\nEvan speculates about the recipe for Greek fire.\n\n> You show the wrapper to Evan\n\"Ah, how interesting,\" says Evan. \"The wrapper for a box of Dee's chocolates. Serial number 4888602, had a very specific combination of shapes and fillings. Hmmm...let's see if I remember... hexagonal dark chocolates were filled with peanuts, hexagonal light chocolates were filled with mint, triangular light chocolates were filled with pecans, triangular dark chocolates were filled with cherry liqueur, shell-shaped light chocolates were filled with marshmallow, shell-shaped dark chocolates were filled with caramel, round light chocolates were filled with fudge, round dark chocolates were filled with coconut, square light chocolates were filled with almonds, and square dark chocolates were filled with marzipan.\"\n\nEvan makes a few remarks about the possibility of steam saving the world.\n\nYou hear a sharp BUMP! followed by a plaintive, \"Who pud this wall here *hic*.\"\n\n> You go to the east\nDimly illuminated, this closet provides you with an impenetrable defense against outside noise. The door, which is to the west and open, is steel-reinforced and soundproof, preventing even the loudest party sounds from getting through. Though the closet is small, it is roomy enough for you and several of your favorite textbooks, and you've studied for many an exam here.\nYou see a toolbox here.\n\nEvan follows you into your closet.\n\n> Go west\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\nYou see a swivel chair here.\n\nYou hear a loud and raucous argument in the living room about the rules for go.\n\nEvan follows you into your bedroom.\n\n> You go to the north\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags and Bob, staggering around, like the slightest hint of alcohol in the air will send him crashing to the ground here.\n\nYou hear a loud and raucous argument in the living room about the rules for gin rummy.\n\nEvan follows you into the short hall.\n\nIn a loud voice, Bob brags about banging his head against the wall fifty-seven times without going unconscious.\n\n> You give the triangular dark chocolate to Bob\nBob eats the chocolate. \"Mmmm!\" he exclaims ecstatically. \"Cherry! My favorite...\" Suddenly, Bob shakes his head once. Then twice. His eyes cross, his body stiffens, then relaxes. Finally, with only the hint of a belch on his lips, Bob gently settles his considerable bulk onto the floor.\n\n\"I believe,\" says Evan, \"that a philosopher once said, 'Money isn't everything, but it sure is a lot.'\"\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You get Bob\nHe's pretty heavy, but carryable. You sling him over your shoulder.\n\n\"I believe,\" says Evan, \"that a philosopher once said, 'There is only one fate worse than death, and that is not having a life.'\"\n\n> You go north\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here. The window seems to contain some raw cookie dough.\n\nYou hear a loud and raucous argument in the living room about the rules for canasta.\n\nEvan follows you into John's bedroom.\n\n> You go east\nThis is John's closet. There are no skeletons hiding here, but considering the amount of dust and dirty clothes around, you would hardly be surprised if one of the undead were lurking around in this dimly lit space. The one exit is a door to the west, which is open.\n\nEvan follows you into John's closet.\n\n> Sleepwalk east\n\"Ah, 'sleepwalk', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You check your inventory\nYou have two piece of cellophanes, a blue wrapper, a catcher's mitt, a pink towel, a crumpled paper, a skateboard, a beer can, a pastel blue box, a wrench, and a handheld electronic trivia game. The pastel blue box seems to contain a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card. The speaker seems to contain a piece of duct tape.\n\n\"I believe,\" says Evan, \"that a philosopher once said, 'There is only one fate worse than death, and that is not having a life.'\"\n\nFrom elsewhere in the apartment, you hear Bob's snores shaking the foundations of the earth.\n\n> You go to the west\nhis stuff, though for the most part you don't take advantage of this. Like your room, John's room has a bed, dresser, desk, and an open closet door to the east. Unlike your room, it is quite disorganized, to say the least. Sheets are spread all over the room and clothes, as well as less-speakable debris, are strewn about, giving the room a ripe, musty odor not unlike rotting fruit in an ancient tomb; broken plastic models litter the scarred desk. Set in the north wall is a closed window to the outside world. There is a (fortunately) open door to the south.\nYou see a wastebasket here. The window seems to contain some raw cookie dough.\n\nYou hear a loud and raucous argument in the living room about the rules for go.\n\nEvan follows you into John's bedroom.\n\n> You go south\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags and Bob, lying quite unconscious here.\n\nYou hear a loud and raucous argument in the living room about the rules for Parchesi.\n\nEvan follows you into the short hall.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You get Bob\nHe's pretty heavy, but carryable. You sling him over your shoulder.\n\nEvan speculates about the recipe for the secret sauce on a Big Mac.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You check what you're carrying\nYou have two piece of cellophanes, a blue wrapper, a catcher's mitt, a pink towel, a crumpled paper, a skateboard, a beer can, a pastel blue box, a wrench, and a handheld electronic trivia game. The pastel blue box seems to contain a square dark chocolate, a square light chocolate, a round dark chocolate, a round light chocolate, a shell-shaped dark chocolate, a shell-shaped light chocolate, a triangular light chocolate, a hexagonal dark chocolate, a hexagonal light chocolate, and a torn card. The speaker seems to contain a piece of duct tape.\n\nEvan gives a short speech about what's wrong with a recent popular movie and how he would change things.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You get Bob\nHe's pretty heavy, but carryable. You sling him over your shoulder.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n\"I've always wondered what life would be like if it were exactly like a text adventure game,\" says Evan. \"I'm not sure I'd like it. For example, everyone you knew would just be mindless, finite-state automatons who do the same thing over and over again.\"\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You get Bob\nHe's pretty heavy, but carryable. You sling him over your shoulder.\n\n\"I believe,\" says Evan, \"that a philosopher once said, 'Man is not alone in the universe. There are women too.'\""
    },
    {
        "text": "> You look around\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags and Bob, lying quite unconscious here. Evan is here, expounding upon some obscure piece of trivia.\n\nEvan gives an impromptu talk about the differences between the Meiji and postwar constitutions of Japan.\n\n> Go south\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\nYou see a swivel chair here.\n\nEvan follows you into your bedroom.\n\n> You go to the east\nDimly illuminated, this closet provides you with an impenetrable defense against outside noise. The door, which is to the west and open, is steel-reinforced and soundproof, preventing even the loudest party sounds from getting through. Though the closet is small, it is roomy enough for you and several of your favorite textbooks, and you've studied for many an exam here.\nYou see a toolbox here.\n\nEvan follows you into your closet.\n\n> You go to the south\n(I don't see any toolbox here.)\n\nYou can't go that way.\n\nYou hear a loud and raucous argument in the living room about the rules for chess.\n\nEvan speculates about the recipe for Coca-Cola.\n\nFrom elsewhere in the apartment, you hear Bob's snores shaking the foundations of the earth.\n\n> You put Bob on the chair\nDone.\n\n\"I've always wondered what life would be like if it were exactly like a text adventure game,\" says Evan. \"I'm not sure I'd like it. For example, everyone you knew would just be mindless, finite-state automatons who do the same thing over and over again.\"\n\nBob lets out a loud snore which sounds truly hideous."
    },
    {
        "text": "[Themes: Slice of life, Collegiate, college]\n\n> You describe your surroundings\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags and a swivel chair here.\nEvan is here, expounding upon some obscure piece of trivia.\n\nEvan wonders what the world would be like if everyone walked on the ceiling.\n\n> You examine Bob\nBob, alleged star athlete on the school's basket weaving team (Australian rules), is rather crude, rude, perpetually inebriated, and more than a bit ditzy. Unfortunately, that's his good side. He's looking a little better than usual today, though, having recently pulled through a savage bout with scurvy, but fortunately (from Bob's point of view), you don't need teeth to drink beer. At the moment he's thoroughly passed out.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nEvan gives a short speech about what's wrong with mass transit and how he would change things.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> Go west\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and an open closet door to the east.\n\nEvan follows you into your bedroom.\n\n> You close the door\nWhich door do you mean, your closet door, or your bedroom door?\n\n> Closet\nClosed.\n\nEvan gives an impromptu talk about Brazil in the (hypothetical) 2030's.\n\n> You examine the wrench\nA large wrench, made of titanium. This was a beloved 16th birthday present from your parents.\n\nEvan makes a few remarks about the possibility of steam saving the world.\n\n> You wait\nTime passes...\n\nYou hear a loud and raucous argument in the living room about the rules for Parchesi.\n\nEvan makes a few remarks about the possibility of steam saving the world.\n\n> Wait\nTime passes...\n\nFrom the direction of the living room, you hear Alice trying to sing \"Send in the Clowns\" along with the radio, and doing it badly.\n\nEvan gives an impromptu talk about life.\n\n> Go north\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nFrom the direction of the living room, you hear Alice trying to sing some pop song along with the radio, and doing it badly.\n\nEvan follows you into the short hall.\n\n> You go to the west\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, three crumpled papers, a snack food bag, and a\npiece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nDistracted by all of the noise, John momentarily loses his concentration and starts muttering something about losing an electronic game on his desk.\n\nEvan follows you into the living room.\n\n> You look at the game\nSmall, orange, and plastic, this electronic game was given to John for his birthday. John, having a limited attention span at best, quickly abandoned this gift before he could get through its alleged \"20,000 Questions!\" The case sports an LCD screen and a small speaker. There are also four buttons, colored red, yellow, green, and blue, lined up vertically to the left of the screen, next to where the possible answers to the game's questions will be displayed. The game is currently off.\n\nJohn wails to you, \"Could you help quiz me? Please?\"\n\n\"So, John,\" says Alice, \"how're you doing hitting those books? Real swell?\" John mumbles something uncomfortably and tries to continue studying.\n\nEvan wonders what the world would be like if it were love, not money, that made the world go round.\n\n> You put tape on the speaker\nYou place the duct tape on the speaker.\n\n\"Rationalization, sublimation, displacement, rationalization!\" John recites desperately.\n\nCarl takes out a candy bar, strips the cellophane off of it, crumples it into a neat, compact ball, and tosses it absent-mindedly in the direction of the kitchen. The cellophane bounces off the refrigerator, and skims the edge of the kitchen sink. Just as it looks as if it would go in, it falls to the floor.\n\nAlice and Carl, needing to stretch their legs, get up and dance the minuet for a little while.\n\n\"I've always wondered what life would be like if it were exactly like a text adventure game,\" says Evan. \"I'm not sure I'd like it. For example, everything you did would take exactly one minute to do no matter what it was.\"\n\n> You give the game to Evan\n\"Geez, about time you finished with that,\" says Evan irritably as he takes the game from you again.\n\nJohn wails to you, \"Could you help quiz me? Please?\"\n\n> Quiz john\nYou ask John a question about repression. \"Wait, I know that! I know that!\" exclaims John. He grits his teeth and closes his eyes in concentration. \"No, wait, I forgot! I forgot!\"\n\nJohn tries to write some notes on a piece of paper, messes up, and, in a fit of frustration, crumples up the paper and throws it to the floor.\n\nAlice reminisces about a really good tuna fish sandwich she once had.\n\n> You go to the east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nYou hear a loud and raucous argument in the living room about the rules for Monopoly.\n\nEvan follows you into the short hall, still playing the game.\n\n> Go south\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and a closed closet door to the east.\n\nEvan follows you into your bedroom, still playing the game.\n\n> You examine the desk\nThis is your mahogany desk, a gift to you on your fifteenth birthday. You've spent many a long hour studying at this desk, and many more polishing it. Even now, as you look at it, you get the urge to wipe off a few molecules of dust from its surface with your sleeve, but you resist, as you would get your shirt dirty. There is a drawer on the front of the desk which is open.\n\n> You look in the drawer\nThe desk drawer is open. There's nothing in the desk drawer.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You examine the dresser\nThis is a dresser made of fine mahogany wood. The surface is dust-free and so shiny you could comb your hair by your reflection in the wood. The drawers are closed.\n\n> You open the dresser\nOpened.\n\nFrom the direction of the living room, you hear Alice trying to sing \"Y.M.C.A.\" along with the radio, and doing it badly.\n\n> You look in it\nThere's nothing in the mahogany dresser.\n\nYou hear a loud and raucous argument in the living room about the rules for Monopoly.\n\n> You examine the mirror\nYou polish this mirror twice a day. If it doesn't look good, you don't look good.\n\n> You examine the bed\nThis is your bed, which you are very proud of. You spend at least half an hour every day making it, smoothing out the folds, ensuring that the sheets are perfectly balanced and symmetrical on both sides. On the bed you see nothing at all.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You look under the bed\nThere's nothing under your bed, not even those slavering, gnawing, hungry monsters you used to hear at night...You recoil from the bed, sweating profusely.\n\n> Go north\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\nEvan follows you into the short hall, still playing the game.\n\n> You look under the bed\nYou take a quick peek under John's bed. Other than dust and other assorted debris, you don't see anything, particularly anything he \"borrowed\" from you in recent months. Drat.\n\n> You look at the clothes\nVarious articles of clothing and underwear are scattered around the room. It's hard to move around without stepping on one.\n\n> You examine the desk\nThe decrepit state of John's desk bespeaks both a ripe old age as well as years of misuse; its surface bears many jagged scars and scorch marks. Otherwise, the desk looks surprising clean (for a possession of John's), mainly because most of the junk that normally occupies its surface has been swept onto the floor or into the closet. There is a single drawer on the desk, which is closed. On the desk you see some broken plastic models; besides that, you see nothing at all.\n\nYou hear a loud and raucous argument in the living room about the rules for Parchesi.\n\n> Search clothes\nYou find nothing of interest.\n\nYou hear a loud and raucous argument in the living room about the rules for go.\n\n> You open the drawer\nOpening the desk drawer reveals a coupon book.\n\nYou hear a loud and raucous argument in the living room about the rules for poker.\n\n> You get the coupon\nWhich coupon do you mean, the Captain Barnacle's Seafood House coupon, the Nekohanten coupon, or the Chez Merde coupon?\n\n> Seafood\nYou've already got your hands full.\n\n> Drop box\nDropped.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You get the seafood\nTaken.\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You examine it\nThis coupon entitles the bearer to two All-You-Can-Eat Crustacean Platters for the price of one. The coupon enthusiastically describes this dish as \"More Shrimp Than You DESERVE!\"\n\nThe sound of crumpling cellophane, grating your ears, comes in from the direction of the living room.\n\n> You examine merde\nBy presenting this coupon to the matre'd at any Chez Merde, you can get two Super Escargot, Fantastic Frog Legs (with French fries, no less), or Spectacular Souffle plates for the price of one. (10% off more if you don't try to order using your high-school French.)\n\n> You examine the Nekohanten\nThis coupon, for the local Chinese restaurant Nekohanten, reduces the prices on any dish in the \"B\" category to 55 cents each. The coupon also promises \"Half the MSG of our nearest competitor!\"\n\nYou hear a loud and raucous argument in the living room about the rules for mah jongg.\n\n> You go to the south\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see two snack food bags here.\n\nFrom the direction of the living room, you hear Alice trying to sing \"American Pie\" along with the radio, and doing it badly.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go to the west\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see a radio, four crumpled papers, a snack food bag, and a\npiece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\nAlice is here, looking a bit bored.\nCarl is here, entertaining himself in his usual banal manner.\n\nJohn hits his forehead with his hands, muttering, \"Think! Think!\" It doesn't seem to be working.\n\n\"C'mon, John,\" urges Alice, \"take a break, have some fun with us! You can always take more tests next semester!\"\n\nEvan follows you into the living room, still playing the game.\n\n> You give the seafood to Alice\n\"Why thanks,\" says Alice, grinning. \"I was just thinking of dinner at this place. Looks like I can afford it now.\" She gets up, and Carl follows suit. You heart leaps at the thought that she's going to be clearing out of here...\n\n\"Ah, but it's *so* cold outside tonight,\" says Alice, seating herself on the floor again. \"Positively freezing. And look at how I'm dressed!\" You don't have much of an opinion of Alice's tastes in clothes, but admittedly, she does look a bit chilly. \"We can't well go out and get pneumonia, can we? You wouldn't want that on your conscience, would you...?\"\n\nDistracted by all of the noise, John momentarily loses his concentration and starts muttering something about losing an electronic game on his desk.\n\nAlice takes out a bag of potato chips, empties the contents into her hands, and chucks the empty bag into the hallway.\n\nAlice breaks out a pack of cards and plays a hand of blackjack with Carl.\n\n> You give the towel to Alice\n\"Very funny,\" smiles Alice as she takes the towel. \"It *is* something warm for the night, though.\" She looks thoughtful, as if searching for one last excuse to keep herself in your apartment. \"You *know*, we're all ready to leave, but we don't have any way of getting to dinner or the concert! Now if only you could find any way for us to depart this place...\" She grins again.\n\nJohn squirms in his seat, trying to concentrate.\n\n> You examine Alice\nAlice, one of John's friends, is a relentless partygoer. She likes listening to loud, ear-splitting music, playing card and dice games, watching television shows based on video games, drinking stirred and not shaken martinis, and annoying people like you. You know all this because of the many times she's visited your apartment along with twenty or thirty of her \"friends.\" Luckily for you her entourage seems a bit thin tonight.\n\n\"Reaction formation, projection, rationalization, sublimation!\" John recites desperately.\n\nAlice looks despondent. \"I really appreciate the coupon and the towel, but it looks like we're just going to be stuck here all night, since we don't have any way of getting to the Polonium. I guess we're going to be your guests all night, eh?\" She smiles wickedly.\n\n> You give the skateboard to Alice\nAlice starts laughing as she takes the skateboard from your hands. \"Got me again, huh? I guess this technically *is* transportation.\" She gathers up her more valuable possessions, including Carl, and theatrically wraps the pink towel around herself. \"Carl!\" she says, presenting the skateboard to him. \"You know how to ride one of these?\" Carl looks quizzically at the board, then puts it down and mounts it. He then lifts Alice onto his back (not without considerable effort). You open the door for the two as they glide out of the apartment.\n\n\"Be seeing ya,\" says Alice as they depart.\n\n\"Don't count on it,\" you say, closing the door.\n\n\"Projection, repression, rationalization, sublimation!\" John recites desperately.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the kitchen.\n\n> You go to the west\nWhen you moved into this apartment, the kitchen was a horrendous\nmess. Because you've agreed to let John maintain the kitchen while you maintain the bathroom, it still is; the stove is encrusted with the pathetic results of previous meals, the refrigerator is in sore need of a wipedown, and the kitchen sink as usual is filled with mostly useless items. A kitchen table sits in the center of the room. The living room is to the east.\nYou see three piece of cellophanes and a remote control here.\n\nEvan follows you into the kitchen, still playing the game.\n\nSomewhere below you, you hear a dripping sound.\n\n> You examine the sink\nThis, as you probably surmised, is the kitchen sink. At the moment it is fairly filthy, thanks to John's recent diligent efforts at *not* scrubbing it. Under the sink is a cabinet in which the kitchen plumbing can be accessed. In the kitchen sink there are broken dishes; other than that, you see nothing at all.\n\nSomewhere below you, you hear a dripping sound.\n\n> You look under the sink\nUnder the sink you see a cabinet.\n\nSomewhere below you, you hear a dripping sound.\n\n> You open the cabinet\nOpening the cabinet reveals the pipes which comprise the kitchen plumbing. Besides that, you see nothing at all in it.\n\nSomewhere below you, you hear a dripping sound.\n\n> You look at the plumbing\nThis is a series of curved piping which connects the apartment to the local sewage system. The pipes look like they're leaking.\n\nSomewhere below you, you hear a dripping sound.\n\n> You fix the pipes\n(with the wrench)\nYou tighten the pipes with your wrench, stopping the leak. However, as the last echoes of the dripping water fade in the kitchen, you hear the sound of dropping water in the bathroom...\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> Go east\nThis is the living room of your apartment. Well, at least half of\nit *could* be called a living room, in the sense that a person could actually live in it. You and John have long since decided that you would split the room into two, and each be responsible for each one's designated half. Your half, which contains a tasteful paisley couch and mahogany table, looks bright and clean. John's half, on the other hand, has piles of newspaper and beer cans, a ratty sofa which bleeds foam, and a study desk and chair, neither of which have seen much action until the last three days. The center of the room contains items you have both consented to share, such as the TV set, which is currently off.\nThe kitchen is to the west, the bedrooms and bath to the east, and\nthe exit (through which you hope to see John go soon) to the north. You see four crumpled papers, a snack food bag, and a piece of cellophane here.\nJohn is here, sitting at his special studying desk, trying\ndesperately to read his psychology textbook.\n\nJohn grits his teeth and grinds a pencil down to a stub.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\nEvan follows you into the living room, still playing the game.\n\n> Go east\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see three snack food bags here.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go east\nThe bathroom, fortunately, is one of the rooms you've agreed to maintain, and as a result it isn't too filthy. Against the north wall is a gleaming sink and a mirror mounted above it; next to the mirror is a medicine cabinet. On the south wall is a towel rack. A toilet and shower, both scrubbed to exquisite perfection with lye-based cleansers, complete this traditional bathroom. The only exit to this bathroom is through a door to the west, which is open.\n\nSomewhere below you, you hear a dripping sound.\n\nEvan follows you into the bathroom, still playing the game.\n\n> You open the cabinet\nWhich cabinet do you mean, the bathroom sink cabinet, or the medicine cabinet?\n\n> Sink\nThe bathroom sink cabinet is already open!\n\nSomewhere below you, you hear a dripping sound.\n\n> You look at the pipes\nWhich pipes do you mean, the ceiling pipes, or the bathroom sink pipes?\n\n> Sink\nThis is a series of curved piping which connects the apartment to the local sanitation system. The pipes look like they're leaking.\n\nSomewhere below you, you hear a dripping sound.\n\n> You fix the sink pipes\n(with the wrench)\nYou tighten the pipes with your wrench, stopping the leak. You stop the dripping water in the pipes under the sink. Breathing a sigh of relief, you wipe sweat off your forehead... Wait a minute. That wasn't too taxing. Why are you sweating? Looking overhead, you notice a new leak has sprung up in the overhead pipes.\n\nSomewhere above you, you hear a dripping sound.\n\n> You fix the ceiling pipes\n(with the wrench)\nThey're well out of your reach.\n\nSomewhere above you, you hear a dripping sound.\n\n> You stand on the sink\nClimbing onto the sink is impractical as well as unsanitary in general.\n\nSomewhere above you, you hear a dripping sound.\n\n> You stand on the toilet\nYour attempt to gain ground using the toilet proves futile, as the toilet, lacking a seat, provides no secure footholds upon which you can stand. The fact that you have polished the toilet to mirror-shine perfection, making what little surface there is very slippery, doesn't help. Nor does your desire not to dirty the toilet with your feet.\n\nSomewhere above you, you hear a dripping sound.\n\n> Go west\nand the bathroom. Your bedroom is to the south, behind an open door, while John's room is to the north, beyond an open door. The bathroom can be reached by going east through an open door.\nYou see three snack food bags here.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\nEvan follows you into the short hall, still playing the game.\n\n> You go south\nThis is your bedroom, for which you can be proud. Mostly bare,\nsince many of your possessions are out for dry cleaning, the room looks neater than ever. Your bed, sitting in one corner, is immaculately made, and your desk, placed against the northern wall, has a clear surface which reveals its mirror-shine polish. A fine mahogany dresser sits against the south wall, and a mirror sits atop it. There is an open door to the north and a closed closet door to the east.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\nEvan follows you into your bedroom, still playing the game.\n\n> You open the closet\nOpened.\n\nFrom elsewhere in the apartment, you hear Bob's snores shaking the foundations of the earth.\n\n> You look in the closet\nYou see the interior of the closet through the open door, but you'll have to go inside to get a better look at what's there.\n\nFrom elsewhere in the apartment, you hear Bob's snores shaking the foundations of the earth.\n\n> You go to the east\nDimly illuminated, this closet provides you with an impenetrable defense against outside noise. The door, which is to the west and open, is steel-reinforced and soundproof, preventing even the loudest party sounds from getting through. Though the closet is small, it is roomy enough for you and several of your favorite textbooks, and you've studied for many an exam here.\nYou see a toolbox and a swivel chair here.\n\nEvan follows you into your closet, still playing the game.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> Close closet\nClosed.\n\n> You look at Bob\nBob, alleged star athlete on the school's basket weaving team (Australian rules), is rather crude, rude, perpetually inebriated, and more than a bit ditzy. Unfortunately, that's his good side. He's looking a little better than usual today, though, having recently pulled through a savage bout with scurvy, but fortunately (from Bob's point of view), you don't need teeth to drink beer. At the moment he's thoroughly passed out.\n\n> You open the closet\nOpened.\n\nBob lets out a loud snore which sounds truly hideous.\n\n> You take Bob\nHe's pretty heavy, but carryable. You sling him over your shoulder.\n\nBob, squirming on your shoulder, tugs at your shirt and mumbles something about \"stoopid umpirezz.\"\n\n> You drop Bob\nDropped.\n\n> Close closet\nClosed.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom."
    },
    {
        "text": "> You stand on the chair\nYou stand on the chair. A bit precarious, but you maintain your balance.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> You fix the ceiling pipes\n(with the wrench)\nWith all the balance you can muster, you tighten the pipe and stop the leak.\n\npreventing John from studying. With not much time to spare, he crams in as much Psychology knowledge into his brain as possible, and, come eight o'clock, goes nervously to his exam.\n\n[Press any key to continue]"
    },
    {
        "text": "[Themes: Collegiate, Slice of life]\n\n> XYZZY\nYou speak the ancient word of power. Then you realize you look absolutely silly doing so.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> Fuck\nReal adventurers don't use that sort of language...But frustrated college students with irritating roommates do, so you let out a good expletive.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> Plugh\nYour mother always told you that pointless jumping around was a sign of impending mental collapse.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\nYou speak the ancient word of power. Then you realize you look absolutely silly doing so.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> Yell\nThis is hardly the time or place to lose your composure.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> Down\nYou're not going anywhere until you get off of the swivel chair.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> You stand\nOkay, you're no longer on the swivel chair.\n\nSomewhere above you, you hear a dripping sound.\n\n> You take the shower\nReally, now...even your mother would agree that *four* showers in one day is starting to push it.\n\nSomewhere above you, you hear a dripping sound.\n\n> You smell yourself\nYou smell like a pleasant combination of lemon, ammonia, and bleach.\n\nSomewhere above you, you hear a dripping sound.\n\n> Smell shower\nIt smells just like you expect a shower to smell.\n\nSomewhere above you, you hear a dripping sound.\n\n> Smell sink\nThe sink has the appealing odor of lemon and disinfectant.\n\nSomewhere above you, you hear a dripping sound.\n\n> Smell evan\nEvan has the musty scent of old Trivial Pursuit cards on him.\n\nIn the near silence, you hear a soft but obnoxious dripping noise coming from the direction of the bathroom.\n\n> You go to the east\nThe bathroom, fortunately, is one of the rooms you've agreed to maintain, and as a result it isn't too filthy. Against the north wall is a gleaming sink and a mirror mounted above it; next to the mirror is a medicine cabinet. On the south wall is a towel rack. A toilet and shower, both scrubbed to exquisite perfection with lye-based cleansers, complete this traditional bathroom. The only exit to this bathroom is through a door to the west, which is open.\nYou see a swivel chair here.\n\nSomewhere above you, you hear a dripping sound.\n\nEvan follows you into the bathroom, still playing the game.\n\n> Flush toilet\nThe toilet makes a satisfying flushing sound.\n\nSomewhere above you, you hear a dripping sound.\n\n> You get the game\nYou yank the game out of Evan's hands. In the process Evan's fingers brush against the game's on/off switch, turning the game off. Evan looks extremely surprised and perturbed.\n\nEvan gives a short speech about what's wrong with a recent popular movie and how he would change things.\n\n> You play it\n\"Ah, 'play', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You turn game on\nYou switch the trivia game on. A question appears on the screen:\n\n\"Question # 1\n\nThe category is Riddles of the Ancients.\n\nWhat is the windspeed of an unladen swallow?\n\nRed    -> 10 km/hr\nYellow -> 30 km/hr\nGreen  -> 50 km/hr\nBlue   -> African or European?\n\nThis question is worth 200 points.\nYour current score is 0 and you have answered 0 questions out of 0.\"\n\nEvan gives a short speech about what's wrong with the weather and how he would change things.\n\n> You ask Evan about dungeon\n\"Ah, 'dungeon', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You ask Evan about the zorkmids\n\"Ah, 'zorkmids', now that's an interesting word,\" says Evan. \"Let me tell you about its etymology...\"\n\n> You ask Evan about the trivia\n\"A fourth edition '20,000 Questions' LCD game!\" exclaims Evan. \"I've beaten the first, second, and third editions already! Let me play!\" You struggle to keep Evan's hands off you as he claws desperately for the game.\n\nEvan speculates about the recipe for Coca-Cola."
    },
    {
        "text": "[Themes: Horror, Zombie, horror, nun, Christianity, animals, dead protagonist, zombies, post-apocalyptic, profanity, dog, violence, male protagonist, twist]\n\nEver since you died, the migraines have been getting worse. At first you tried the usual - aspirin, caffeine, screaming - but you quickly learned that the type of migraine caused by having a large part of your brain eaten by an undead creature does not respond well to medication. The only known remedy is nutritional.\n\nThe brains of lower animals will work, partially, for a short time, but only human brains have the right balance of vitamins, essential fats and amino acids necessary to hold off the searing, throbbing agony long enough to make it to your next meal. And they taste surprisingly good. Unfortunately, while you were busy figuring all this out, the rest of the undead world was finishing off the last of the human race, leaving you with...\n\n\n\nThis tiny trailer is where you would sleep, if you slept. The front door is to the south.\n\nWhat's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.\n\nTowards the back is a small kitchenette. There's not much to it, since the trailer has no water, gas, or electricity. The fridge is still here, though.\n\n[Author's Note: The apocalypse is over. The human race lost. You're hungry. And you have a hell of a headache. Discretionary warning: This game is violent, scatological, and eschatological.]\n\n> You open the fridge\nYou open the refrigerator, revealing the severed head of your friend Jim.\n\n> You look at the head\nEyes that were once steely blue have clouded over. There is a gaping hole in the back of the skull. The severed head is sitting on a shelf in the refrigerator.\n\n> You get the head\nThe head's eyes follow you as you pick it up.\n\n> You look in the hole\nThe skull was bashed in and most of the brains were scooped out and eaten. There's a lot of empty space in the skull cavity, but a small scrap of the hippocampus inside the head remains.\n\n> You examine the mirror\n(the broken mirror)\nLittle remains but a few fragments of glass projecting from a wooden frame. Flies cluster around chunks of skin caught on the sharp edges. A much more pleasant sight than your own reflection.\n\n> Lick mirror\n(the broken mirror)\nThe broken mirror tastes like dust.\n\n> You eat the hippocampus\nYou scrape out the last of the rotten tissue and swallow it whole. The brains of the living are more nourishing, but you feel better as soon as it hits your stomach. You rock back and forth, feeling the heat spread through your body, soothing the rattling in your head.\n\nAlmost there.\n\nYou rock back and forth, feeling the heat spread up your arm as\nyou work. You're halfway through the spinal column. A hacksaw is just not the right tool for this job. Peter and Marie do their best to hold the body down, but it struggles more than ever.\n\n\"It's not Jim anymore.\" Peter reminds you. \"It's just a corpse. A thing. A monster. You can do it, Jack.\"\n\n> About yourself\nYou're in pretty good shape, considering all you've been\nthrough.\n\n> Inventory\nYou are carrying:\na hacksaw"
    },
    {
        "text": "[Themes: Horror, Zombie, dog, zombies, male protagonist]\n\n> You look around\nYou look up from your work. Your friends are... not here. You\nmust have been hallucinating again.\n\nThis tiny trailer is where you would sleep, if you slept. The front door is to the south.\n\nWhat's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.\n\nThe refrigerator is standing open.\n\n> You examine the hacksaw\nThere's no hacksaw here. Are you hallucinating again?"
    },
    {
        "text": "[Themes: Zombie, Horror, violence, Christianity, profanity, twist, nun, animals]\n\n> Look around\nThis tiny trailer is where you would sleep, if you slept. The front door is to the south.\n\nWhat's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.\n\nThe refrigerator is standing open.\n\n> You examine the mirror\n(the broken mirror)\nLittle remains but a few fragments of glass projecting from a wooden frame. Flies cluster around chunks of skin caught on the sharp edges. A much more pleasant sight than your own reflection.\n\n> Go south\n(first opening the front door)\nYou grip the doorknob with your free hand and twist it. The door rattles, but doesn't open. You pull at the knob, but the door seems stuck. You yank at the doorknob again. The handle rips out of the door and you're left holding it in your hand.\n\n> You examine the handle\nIt's old and filthy with smears of dried fluids. The knob has been yanked from the door.\n\n> You kick the door\nYou give the front door a forceful kick, but it seems to do a lot more damage to your foot than your foot does to it.\n\nChrist Almighty! This living death isn't for the weak.\n\nYour foot is turned inward at an angle that would be impossible if it were firmly attached.\n\n> You look at the door\nIt's a splintered old wooden door with a missing handle. It is currently closed.\n\n> You hit the door with the handle\nYou whack the doorknob against the door, but it hardly makes a mark. You hit it harder, until you hear a crack in your wrist.\n\nGod dammit to hell. Flies settle on your body, tickling you\nin spots you can't reach."
    },
    {
        "text": "[Themes: Zombie, Horror, post-apocalyptic, profanity, dead protagonist, zombies, dog, male protagonist]\n\n> Look around\nAmong the pieces you find a shard of your mirror, about the size of a credit card.\n\nThe head rolls its eyes, attempts to swallow, and speaks to you: \"Ride. Riiiiiiide...\"\n\nThis tiny trailer is where you would sleep, if you slept. The front door is to the south.\n\nWhat's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.\n\nThe refrigerator is standing open.\n\n> You examine the glass\nThere are countless pieces. You notice one in particular, a shard about the size of a credit card.\n\n> You take it\nThat's fixed in place.\n\n> You examine the shard\nIt's a shard of your mirror, about the size of a credit card.\n\n> You look at the skull\nThe skull was bashed in and all of the brains were scooped out and eaten.\n\nIn the skull cavity is a doorknob.\n\n> You look at the fridge\nIt's a beat-up old white fridge, apartment-sized.\n\n> You get the doorknob from the cavity\n(putting the shard of your mirror into the skull cavity to get your hand free)\nTaken.\n\n> You look at what you're carrying with you\nIn one hand you have the severed head (containing a shard of your mirror). In the other you have a doorknob.\n\n> You drop the head\nThe head bites onto your finger in an attempt to avoid being let go. The flesh of your hand is not very substantial, however, and the head drops to the ground, a small strip of your skin between its teeth.\n\n> You get the shard\nTaken.\n\n> You open the door with the knob\n(putting the shard of your mirror into the skull cavity to get your hand free)\nYou turn the doorknob, careful not to pull it out. Since you've got the other hand free, you're able to pry the door open with your fingernails.\n\nThe front door swings closed with a bang.\n\n> You leave\n(first opening the front door)\nThe doorknob is loose, so you need a free hand to pry the door open while you turn it. You're still holding the severed head.\n\n> Leave\n(first opening the front door)\nYou turn the doorknob, careful not to pull it out. Since you've got the other hand free, you're able to pry the door open with your fingernails.\n\nParked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway. Scattered trees and shrubs cling to the slope below you. The afternoon heat is on the wane.\n\nFrom inside the trailer, you hear the head wail, \"Noooo! Doonnnn' leeavve!\"\n\nThen the front door swings closed with a bang.\n\n> You go east\nYou stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt. No matter, you can still crawl until you eat enough brains to reattach it.\n\nOpen Road (crawling)\nYou're crawling on an east-west road cut into the steep hillside. The desert spreads out to the south, covered by just enough low scrub to conceal a reasonably large predator.\n\nYour foot seems to have fallen off and it's lying on the ground nearby.\n\n> You examine it\nYour foot is severed from your leg. Bones stick out of it at odd angles, and the sole is studded with gravel and broken glass. Every so often it flexes and wiggles its toes.\n\n> Go east\nCracked Road (crawling)\nYour path continues east over cracked, uneven asphalt. A glint of chrome to the east might be a diner. Everything here is dry as paper and there's not a cloud in sight to shade you from the harsh afternoon sun.\n\n> You go to the northeast\nParking Lot (crawling)\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\n> You go northwest\nShed (crawling)\nYou are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.\n\nYou can also see a siphon pump and a bright red plastic gas can here.\n\n> Go south\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is closed.\n\nA key is in the keyhole of the steel door. It is attached by a chain to a bolt on the wall.\n\n> You examine the key\nThe key to the steel door is chained to a bolt on the wall. It's inserted into the lock, which is currently unlocked.\n\n> You look at the steel door\nThe steel door has a spring latch so it can be locked when it is open. It is currently closed and unlocked.\n\n> You open the door\nYou open the steel door.\n\n> You take the key\nYou take hold of the key at the end of the chain and remove it from the lock.\n\n> Go west\nAs you leave, the chain tugs on the key in your hand. You let go and it dangles towards the floor.\n\nFreezer (crawling)\nThis walk-in freezer is a dark and stuffy place with no power. Although cooler than outdoors, it has a suffocating atmosphere that makes you long for the open air.\n\nThe freezer door is to the east. It is open.\n\n> You go to the east\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open.\n\nA steel key hangs from a chain bolted to the wall.\n\n> You insert key\nI didn't understand that. Try rephrasing your command another way.\n\n> You lock the door\n(with the steel key)\n(first taking the steel key)\n\nYou take hold of the key at the end of the chain.\n\nYou lock the freezer door.\n\n> You take the key\nYou already have that."
    },
    {
        "text": "> You look around\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA chain connects the steel key you're carrying to a bolt on the wall.\n\n> You drop the key\nDropped.\n\n> You go to the north\nShed (crawling)\nYou are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.\n\nYou can also see a siphon pump and a bright red plastic gas can here.\n\n> You look at the cables\nThe generator is weathered, but nothing is obviously broken, and it's still hooked up to some thick cables that run into the building. It has a large opening on the top labeled \"GASOLINE.\" The gas cap seems to be missing. There's also a button labeled \"IGNITION.\" Down near the bottom, where the motor is located, there's a pull cord with a plastic handle.\n\nThe generator is currently switched off.\n\n> You go east\nParking Lot (crawling)\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\n> Go inside\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, dark and silent.\n\n> You examine jukebox\nThe jukebox is as dark and silent as every electrical device in the diner. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:\n\nA1: After the Fall - Klaus Nomi\nB1: The Voyeur of Utter Destruction - David Bowie\n\nA2: Piggy Smack - Severed Heads\nB2: Big Car - Severed Heads\n\nA3: Mad World - Tears for Fears\nB3: Everybody Wants to Rule the World - Tears for Fears\n\nA4: Thriller - Michael Jackson\nB4: Ghostbusters - Ray Parker Junior\n\nA5: Jerdacuttup Man - The Triffids\nB5: The Spinning Top Song - The Triffids\n\nA6: Love Zombie - Sweet Lickin' Honey Babes\nB6: I'm Not the Man I Used to Be - Fine Young Cannibals\n\nA7: Omnichrome - Three Hour Detour\nB7: Snow Karma - Three Hour Detour\n\nButton B2 looks more worn than the others - you can hardly read the label at all.\n\n> Go west\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\n> Press b2\nNothing happens. The jukebox doesn't appear to have any power.\n\n> You look at the counter\nThe counter extends from the north wall. It's made of rusted steel and chipped formica, and it's covered with dark sticky stains. Broken and twisted bolts in the floor indicate that the barstools were ripped out, probably for use in the general smashing of stuff that has taken place here. They are nowhere to be found now.\n\n> You examine the booths\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead.\n\n> About you\nYour hand isn't quite as firmly attached to your arm as it ought to be, and you are missing a foot. You have eaten a last piece of your friend Jim's brains. A sledgehammer-like rhythm pounds its way from the back of your skull towards your eyeballs, but it only hurts about five times as much as the worst headache you ever experienced while alive.\n\n> Dance\nYou flail your limbs around on the floor.\n\n> You check your inventory\nIn one hand you have your severed foot. The other hand is free.\n\n> You attach the foot\n(to your leg)\nYou hold your severed foot against your leg, but your body must not be ready to heal, because it doesn't stick. You need to find some more brains to eat.\n\n> You examine gas\nIt's about the size and shape of the gasoline intake on a car.\n\n> You take the can\nTaken.\n\n> You take the pump\nYour hands are full.\n\n> You drop the foot\nDropped.\n\n> You examine the pump\nTwo flexible plastic tubes connect to either end of a black rubber squeeze bulb."
    },
    {
        "text": "> Look around\nShed (crawling)\nYou are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.\n\nYou can also see your severed foot here.\n\n> Go east\nParking Lot (crawling)\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\nInching along with a twisting, flexing motion, your foot arrives from the back entrance of the diner. It has returned to its owner.\n\n> Go east\nPile-up (crawling)\nThe road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.\n\nSeveral more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.\n\nYour severed foot arrives from the west.\n\n> You look at the sedan\nIt's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.\n\n> You examine the bus\nStraining to see through the smashed windows to the darkness inside, it looks like there's plenty of bodily fluids staining the seats. Maybe a few limbs too.\n\n> You put the pump in the sedan\nYou insert the siphon pump into the sedan's gas tank.\n\n> You put the pump in the can\nYou insert the siphon pump into the nozzle. Now the pump connects it to the sedan's gas tank.\n\n> Pump pump\nYou start to squeeze the bulb, but it feels too stiff. It's dried out and beginning to crack - any further squeezing would probably break it.\n\n> You take pump\n(Removing the end of the siphon pump from the gas can)\n(Removing the end of the siphon pump from the sedan's gas tank)\nTaken.\n\n> Spit\nWhat do you want to spit?\n\n> You get in the bus\nYou work your way through the wreckage towards the schoolbus. There's definitely something moving around underneath. You crouch down and reach your hand in. Something grabs it and pulls you forward. It's a small hand, and in the shadows you make out a blanched round face, and then several others. More hands grab your limbs, pulling them in different directions, then tiny teeth nip at your flesh as fingernails pry at your skull.\n\nIn a moment, you're opened wide and icicles of hurt shoot from your head through your paralyzed body. As the children scoop out your brains, you become disoriented, but your consciousness of the pain never fades...\n\n> You put the pump in the mouth\nYou grip the siphon pump between your teeth.\n\n> Spit pump\nYou spit the siphon pump out onto the ground. It's a little slimy now, but still usable.\n\n> You examine the pump\nTwo flexible plastic tubes connect to either end of a black rubber squeeze bulb.\n\n> You attach the pump to the sedan\nYou might as well just drop the siphon pump.\n\n> You look at the sedan\nIt's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.\n\n> You put pump in the tank\nYou insert the siphon pump into the sedan's gas tank.\n\n> You suck on the pump\nYou suck hard. Nothing comes. Then, very quickly, the gasoline rises through the pump and shoots into your mouth. You gag, but the fumes give you momentary relief from the pounding in your head.\n\nYou are now holding the pump in your mouth to keep the gasoline from flowing out again.\n\n> You check what you're carrying\nIn one hand you have a gas can. The other hand is free. You're holding a full siphon pump in your teeth.\n\n> Blow pump\nI didn't understand that. Try rephrasing your command another way.\n\n> You put the pump in the can\n(first removing the pump from your mouth)\nYou insert the pump into the nozzle and the tubes take on a comfortable chill as gasoline flows through them. Soon the flow stops and air bubbles back into the pump.\n\nA tattered orthopedic shoe crunches by your ear. You twist your head around and look up.\n\n\"Oh, I'm sorry, dear. I didn't mean to startle you!\" says the kindly old nun looking down at you.\n\n> You put the gas in the can\n(the sedan's gas tank in the gas can)\nThat already has one end of the pump in it.\n\n> You examine nun\nA smiling woman in her seventies, the old nun looks quite dignified in her purple dress. The fact that one eye is missing and a dark purple ooze stains her plain white veil and flows out from where her left ear should be does nothing to reduce her appearance of grace and goodwill. A rosary made of irregular white beads hangs from her waist. She's smiling at you cheerfully.\n\n> You examine the rosary\nThe rosary has a loop of five decades, or sets of of ten beads, with a single bead separating each decade from the next. A string of four more beads hangs from the loop, with a crucifix at the end. Every bead represents a prayer. You know how to pray the rosary, and when you were alive you used one to calm down. This one appears to be made of cavity-riddled teeth hooked together with small pieces of wire.\n\n\"Isn't this a lovely rosary? Would you like to have it?\" She holds it out to you.\n\n> You ask the nun for rosary\nYou ask the old nun for the rosary.\n\n\"Go ahead, take it,\" she offers.\n\n> Pray\nYour fingers are too spastic to do the rosary one-handed. You'll have to put the gas can down first.\n\n> Full gas can\nYou mumble something almost comprehensible about the gas can.\n\n\"Well, if you change your mind, you can have it,\" the old nun replies.\n\n> Pray\nYou hold the rosary in your hands, counting off beads with your fingers. You start with the cross on the end, making the sign of the cross and praying the Apostle's Creed. At the first bead you say the Lord's Prayer, and then a Hail Mary on each of the next three.\n\n> Pray\nYou enter the loop, which contains five strings of ten beads, each with a single bead in between. Meditating on the Resurrection, you say an Our Father and ten Hail Marys.\n\n> Pray\nYou contemplate Pentecost, the time when The Holy Spirit descended on the apostles in tongues of fire. You say an Our Father and ten more Hail Marys.\n\n> Pray\nYou complete the last decade of the rosary. The fifth mystery is the Coronation of Mary, Queen of Heaven. At the end you pray:\n\n\"Hail, Holy Queen, mother of mercy,\nour life, our sweetness and our hope.\nTo thee do we cry, poor banished children of Eve\nTo thee do we send up our sighs, mourning and weeping in this vale\nof tears.\nTurn then, most gracious advocate, thine eyes of mercy toward\nus,\nand after this our exile, show us the blessed fruit of thy womb, Jesus.\nO clement, O loving, O sweet Virgin Mary.\nPray for us, O Holy Mother of God, that we may be made worthy of\nthe promises of Christ.\"\n\nOr at least that's how it goes in your head. The actual sound you make is more like \"Fghh hu arhl hrh cluh thghhl.\"\n\n> You eat nun\nYou reach for her greedily but she stops your arm, holding it with an iron grip. \"Dear me, child,\" she says. \"If you want something, you ought to ask nicely.\"\n\n> You ask the nun for the brains\n\"BRAAI--\" you begin, but the old nun interrupts. \"Hush now! You'll startle those creatures under the bus.\"\n\nThe old nun looks you over gravely. \"You're in very bad shape, my friend. Very bad. I wish I could help you. I'd even give you my own brain, if it were enough. But I don't think you'd have the strength to escape without eating more than that,\" she says. \"Go find yourself some more brains to eat, and maybe I'll be able to help you then.\"\n\n> You fill the gas can\n(from the blue sedan)\nThat already has one end of the pump in it.\n\n> Examine can\nIt sloshes heavily.\n\nOne end of the siphon pump is sticking into the opening.\n\n\"I see you got some gasoline out of my old clunker here,\" the old nun observes. \"I hope it can be of use to you, and do please let me know if there's anything else I can help you with,\" she says.\n\n> You drink the gas\n(the gas can)\nThe gas can has the siphon pump in it.\n\n> You take pump\n(Removing the end of the siphon pump from the gas can)\n(Removing the end of the siphon pump from the sedan's gas tank)\nTaken.\n\n> You take the can\nYour hands are full.\n\n> You drop the pump\nDropped.\n\n> You take the can\nTaken.\n\n> Go northeast\nParking Lot (crawling)\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\nYour severed foot arrives from the front of the diner.\n\n> Go northwest\nShed (crawling)\nYou are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.\n\nYour severed foot arrives from the parking lot.\n\n> You fill the opening with the can\nYou insert the nozzle into the intake and gasoline glugs in. You pull it out again.\n\n> You pull cord\nYou pull on the cord and you hear a couple of bangs as the engine turns over. You try again and the lawnmower roars to a start. Wow, that noise is loud - it makes everything shake.\n\n> You look at lawnmower\nIt's old, rusty, and heavy, but it might make a decent weapon if\nyou gave it a really good swing.\n\nLawnmower?\n\nDamn. Forgot you were dead again.\n\n> About you\nYour hand isn't quite as firmly attached to your arm as it ought to be, and you are missing a foot. You have eaten a last piece of your friend Jim's brains. A sledgehammer-like rhythm pounds its way from the back of your skull towards your eyeballs, but it only hurts about five times as much as the worst headache you ever experienced while alive."
    },
    {
        "text": "> Look around\nShed (crawling)\nYou are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nYou can also see your severed foot here.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\n> Go south\nEverything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.\n\n> You go east\nParking Lot (crawling)\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\nYour severed foot arrives from the back entrance of the diner.\n\n> Go inside\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nYour severed foot arrives from outside the front of the diner.\n\n> Examine booth\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat."
    },
    {
        "text": "> Look around\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nYou can see your severed foot here.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You go to the east\nYou get into the booth.\n\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You go west\nYou get out of the booth.\n\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nYou can see your severed foot here.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You examine blind\nFlimsy, bent, and faded with age, it nevertheless covers the window so that you can't see outside from here.\n\nThe song comes to an end, and the jukebox is silent once more.\n\n> You go to the north\nYou can't go that way. You can go south to the front of the diner or west through the kitchen door. You can also enter the booth.\n\n> You open blind\nYou pull on the cord, but it's solidly jammed. If you want to see, you'll have to look under the blind.\n\n> You look under blind\nYou have to get into the booth to reach the east window.\n\n> You go to the east\nYou get into the booth.\n\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.\n\n> You enter booth\nBut you're already in the booth.\n\n> You look under blind\nPeeking behind the blind, you see that the window is intact. The parking lot beyond is deserted.\n\n> You go west\nYou get out of the booth.\n\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nYou can also see your severed foot here.\n\n> You examine the jukebox\nA light behind the entry for \"B2: 'Big Car' by Severed Heads\" indicates that it is now playing, and the music fills the room from a number of speakers over the booths. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:\n\nA1: After the Fall - Klaus Nomi\nB1: The Voyeur of Utter Destruction - David Bowie\n\nA2: Piggy Smack - Severed Heads\nB2: Big Car - Severed Heads\n\nA3: Mad World - Tears for Fears\nB3: Everybody Wants to Rule the World - Tears for Fears\n\nA4: Thriller - Michael Jackson\nB4: Ghostbusters - Ray Parker Junior\n\nA5: Jerdacuttup Man - The Triffids\nB5: The Spinning Top Song - The Triffids\n\nA6: Love Zombie - Sweet Lickin' Honey Babes\nB6: I'm Not the Man I Used to Be - Fine Young Cannibals\n\nA7: Omnichrome - Three Hour Detour\nB7: Snow Karma - Three Hour Detour\n\nButton B2 looks more worn than the others - you can hardly read the label at all.\n\nA foursquare techno beat.\n\n> You go west\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nYour severed foot arrives from the dining room.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> Go east\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nYour severed foot arrives through the kitchen door.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You search the floor\nThe floor is littered with broken glass.\n\nThe song comes to an end, and the jukebox is silent once more.\n\n> You go to the west\nFreezer (crawling)\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThe freezer door is to the east. It is open and locked.\n\nOut in the kitchen, your foot taps its toe impatiently.\n\n> You go to the west\nThe only way out is through the door to the east.\n\nOut in the kitchen, your foot taps its toe impatiently.\n\n> You close the door\nYou lock yourself in the freezer. It continues getting colder.\n\nYou feel an object bump against your foot. You look down to see what it is, but your foot isn't there. You feel the bump again, like your foot is trying to get somewhere and hitting an obstacle. Maybe it needs your help.\n\nIt's peaceful here, but the harsh light and the mechanical noises eventually get to you. Soon your head is buzzing like it's filled with angry bees. You think of eating brains. Maybe you could have found more before you got stuck here. Too late now...\n\n> Go east\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nYou can also see your severed foot here.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> You go east\nKitchen (crawling)\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nYou can also see your severed foot here.\n\n> Go east\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nYour severed foot arrives through the kitchen door.\n\n> You go north\nThe Uptown Diner (crawling)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nYour severed foot arrives from outside the front of the diner.\n\n> You go to the west\nCracked Road (crawling)\nYour path leads east and west over cracked, uneven asphalt. A glint of chrome is all you see of the diner to the east.\n\nYour severed foot arrives from the east.\n\n> You go west\nOpen Road (crawling)\nYou're crawling on an east-west road cut into the steep hillside. The desert spreads out to the south.\n\nYour severed foot arrives from the east.\n\n> You go west\nOutside the Trailer (crawling)\nParked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.\n\nYour severed foot arrives from the east.\n\n> You go west\nPines (crawling)\nAs the road leads into the mountains, the gnarled old pine trees get thicker. Cracks in the road trip your feet and thorns rip your arms and legs. Further travel west is blocked by a pile of fallen rocks.\n\nYour severed foot arrives from the east.\n\nYou stumble upon an old yellow dog. Its fur is matted, and there's a fleck of foam on its jaw. Its eyes focus, you hear the beginning of a growl, and then it leaps at you. You step back just in time, and it circles back.\n\n> Pet dog\nYou reach out, and it turns to bite your hand. The teeth sink into your flesh and you realize just how strong the dog's grip is.\n\nYour hand is now caught, still holding the gas can.\n\n> You examine dog\nThe dog's fur is matted and foamy drool drips from its jaws. It grips your hand tightly between its teeth.\n\n> You eat the dog\nYou pull the dog's head close and smash your face into its skull. Your teeth go flying and the dog bites down hard on your hand, but soon hot blood splashes on your face  and the animal goes limp.\n\nThe creature is now motionless on the ground and its brains are yours for the taking, but it has bitten your hand clean off.\n\n> You look at the hand\nYour hand has been ripped from your arm. In its grip is a gas can.\n\n> You eat the dog\nYou reach for the dog, and it turns to bite your hand. The teeth sink into your flesh and you realize just how strong the dog's grip is.\n\nYour hand is now caught, still holding the rosary.\n\n> Pray\n\"Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our\ndeath.\"\n\nOr at least that's how it goes in your head. The actual sound you make is more like \"Aarhvfark frmtbl.\"\n\n> You eat the brains\nYou ball your remaining hand into a fist and smash it into the skull of the defenseless animal. Cupping its head to your mouth, you suck out the tender grey matter, and then dig out the remaining pieces with your fingers, licking them clean.\n\n\"It should have been me.\"\n\n\"You're wrong, Jack. It shouldn't have been at all. What's\nhappening-\" Peter stops. \"These creatures - they're unnatural. They defy God. You can't blame yourself.\"\n\nHe turns back to the fire and pulls the other hind leg off of the rabbit you're sharing. It's not much of a meal for all three of you, but it's the best you've had in days.\n\nMarie's finished off the flanks and forelegs already and now she's trying to get little bits of meat off the skull.\n\n> You eat the brains\nThe thought of eating brains nauseates you in the extreme. You're\nnot some kind of monster, are you?"
    },
    {
        "text": "> Look around\nAs the road leads into the mountains, the gnarled old pine trees\nget thicker. Here there is a little shelter from the freezing winds. Further travel west is blocked by a pile of fallen rocks.\n\nThe three of you have built a small campfire here. Only a few\nembers remain and you've been inching closer against the late winter chill.\n\nA rabbit carcass lies by the fire, stripped of its meat.\n\nPeter is cleaning his fingernails with a pocketknife.\n\ngusto.\n\nyour headache subside as the first morsels of food hit your stomach juices.\n\n> You examine carcass\nCooking directly on the fire does not make for even heating. Some bones are charred, while others are still wet and bloody.\n\n> You eat the rabbit\n(the hind leg)\nYou gnaw at the bone a little more.\n\n> You talk to Marie\n\"What's up with you, Marie?\"\n\nskull.\n\n> You talk to Peter\n(To speak aloud the thought that is currently on your mind, you\ncan use the abbreviation \"T\".)\n\n\"How are you doing, Peter?\"\n\n\"It's been rough, Jack. You know all about that. Man, winter was\nhard. I didn't think it got that cold out here. But the cold's better than what's coming - now the corpses are starting to thaw. It's hard not to give up sometimes.\"\n\nYou're thinking, \"Seriously? Peter, giving up?\"\n\n> You talk to Peter\n\"You're not seriously thinking about giving up, are you\nPeter?\"\n\n\"We've got to have faith, Jack. That's about all we've got left.\nBut I still believe. There's got to be something better after\nthis.\"\n\nYou're thinking, \"How can Peter still believe in God? After\neverything that's happened?\"\n\n> You talk god\n\"How can you still believe in God, Peter? After everything that's happened?\"\n\n\"I have to believe that God still cares, Jack. The corruption of\nthis world - that doesn't come from God. That comes from us, from our sins. We've fallen so far. But I believe He will take us back. I believe we'll be in Paradise soon.\"\n\nYou're thinking, \"What if the undead life IS the afterlife?\"\n\n> You talk the afterlife\n\"What if this is it? What if the undead life IS the\nafterlife?\"\n\n\"You know that doesn't make any sense. Stop talking crazy.\"\n\nYou're thinking, \"What happens to your soul when your body is\nturned undead?\"\n\n> You talk soul\n\"What happens to your soul when your body is turned undead? Can\nyou still go to Heaven?\"\n\n\"Mmfph!\" she mumbles through a mouthful of rabbit.\n\n> You talk giving up\n\"Seriously, Marie? Peter, giving up?\"\n\n\"Mmfph!\" she mumbles through a mouthful of rabbit.\n\n> You talk darn right\n\"darn right\" was not recognized as something you can talk\nabout.\n\n> You talk to Peter\n\"How are you doing, Peter?\"\n\n\"It's been rough, Jack. You know all about that. Man, winter was\nhard. It's hard not to give up sometimes.\"\n\nYou're thinking, \"Thank God they stop when it freezes. But now\nthey're thawing out...\"\n\n> You talk soul\n\"All right then, what happens to your soul when your body is\nturned undead? Can you still go to Heaven?\"\n\n\"Death is death. This undead thing, that's not you. Your soul is released when you die. It leaves your body. You've seen those things. They can't possibly have a soul.\"\n\nYou're thinking, \"But what if they do? How could their souls find release?\"\n\n> Release\n(the hind leg)\nDropped.\n\n> You talk the release\n\"But what if they do have souls, trapped in their bodies? What if they're just in so much pain that they can't express anything else? How could their souls find release?\"\n\nPeter glances at you uneasily. \"They don't have souls.\" He gives a frustrated sigh. \"But for the sake of argument, suppose you're right. Destroying the head, that seems to shut them down. Like really dying, for good. Maybe their souls are released then. Would that make you feel any better about it?\"\n\n> Talk\nYou're at a loss for words.\n\n\"You've made your point,\" Peter says.\n\nYou're thinking, \"What the hell happened last week? That thing\ncame out of nowhere.\"\n\n> Talk\n\"What the hell happened last week? That thing came out of\nnowhere.\"\n\n\"It was half buried underground, Jack. Maybe it got caught in that flash flood in November. You almost stepped on it - I guess that's when it woke up. If I hadn't had my steel-toed boots on, we'd probably both be dead now.\"\n\nYou're thinking, \"Thank God they stop when it freezes. But now\nthey're thawing out...\"\n\n> Talk\n\"Thank God they stop when it freezes. But now they're thawing\nout...\"\n\n\"It's like they're lizards,\" he says. \"You know, some kind of cold-blooded creature. When the weather freezes, they freeze too. And when it's cold, they're slow. But they still move. It only takes a little bit of a warm-up to get them going again.\"\n\n> Talk\nYou can't think of anything to talk about right now.\n\n\"Whoo-hah! That was one tasty bunny,\" Marie bellows, wiping her\nface with the back of her hand. She burps loudly and leans back with a sleepy, satisfied expression.\n\nYou're thinking, \"Jim saved me. I didn't deserve that.\"\n\n> Talk\n\"He saved me. I didn't deserve that.\"\n\nPeter replies, \"You would have done the same thing, Jack. You're not--\"\n\nWhat sounds at first like a chuckle from Marie turns into a gag,\nand then a muffled scream. Bony hands wrap around her head and squeeze her throat as she's dragged away by shadowy figures. Unearthly whoops and grunts suggest there's at least four of them. Peter stands and draws a pistol, shooting first into the shadows, and then as teeth flash and blood flows, at Marie's head. You're on your feet too, and more shadows are approaching..."
    },
    {
        "text": "> You look around\nAs the road leads into the mountains, the gnarled old pine trees\nget thicker. Here there is a little shelter from the freezing winds. Further travel west is blocked by a pile of fallen rocks.\n\nThe three of you have built a small campfire here. Only a few\nembers remain and you've been inching closer against the late winter chill.\n\nA rabbit carcass lies by the fire, stripped of its meat.\n\nPeter is slashing at monsters with his pocketknife, pistol ready\nin his other hand.\n\ndarkness, reaching for your throat with bloody hands.\n\nYou can also see a hind leg here.\n\nMonsters? That dog's brain must have gone right to your head.\nYou're being attacked by a pack of wild dogs!\n\nPines (crawling)\nAs the road leads into the mountains, the gnarled old pine trees get thicker. Further travel west is blocked by a pile of fallen rocks.\n\nA wretched old yellow dog is lying dead in the dirt. In its mouth is your severed hand.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first. One of them seems to have something in its mouth.\n\nYou feel an itching at the end of your leg and your arm. The stump of your ankle is really throbbing.\n\n> You look at mouth\n(the wild dog's mouth)\nThe animal has your foot in its mouth. It must have picked it up and followed the scent here.\n\nYour ankle continues to throb.\n\n> You attach the foot\n(to your leg)\nAs you place your foot on your leg, the itching becomes more intense until it feels like a white-hot flame. Cartilage springs from your bone as sinews reattach and flesh crawls together. Within a minute or so your foot is as whole as it was before - that is to say, putrid and threadbare, but attached.\n\nUnfortunately, your headache is worse now.\n\n> You attach hand\n(to your arm)\nYou hold your severed hand against your arm, but your body must not be ready to heal, because it doesn't stick. You need to find some more brains to eat.\n\n> Status\nYour foot has been fused back onto your leg, and you are missing a hand. You have eaten some old yellow dog's brains and a last piece of your friend Jim's brains. Your head is throbbing painfully, but it's only about four times the intensity of the worst headache you ever felt in your life."
    },
    {
        "text": "[Themes: Zombie, Horror, dog, twist, dead protagonist, violence, Christianity]\n\n> Describe the surroundings\nAs the road leads into the mountains, the gnarled old pine trees get thicker. Further travel west is blocked by a pile of fallen rocks.\n\nA wretched old yellow dog is lying dead in the dirt. In its mouth is your severed hand.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> You take the hand\nYour hands are full, so to speak.\n\n> Inventory\nIn one hand you have a gas can. The other hand has been severed from your arm.\n\n> Up\nThe hills here are steep and treacherous. You saw a dead guy going down a slope like this one time -- he tripped and fell quite a ways. Having both legs broken wouldn't have been so bad in itself, but then the wild dogs and the vultures found him. His flesh kept growing back and they just kept chewing it off before he could build up the strength to get up again.\n\nThe only way back is down the road to the east.\n\n> You drop can\nDropped.\n\n> You go to the east\nYou flee towards the east, pursued by the dogs.\n\nParked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> Go east\nYou flee towards the east, pursued by the dogs.\n\nYou stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.\n\nThe pack leaps upon you silently, pinning you to the pavement and tearing into your flesh. Your throat is torn out, your spine is crushed, and you feel the world tumble as your head rolls away from your body. The dogs lose interest in a short while, and then the vultures arrive to pick at your exposed organs. Somehow you are still able to feel all of it.\n\n> You throw the hand\nYou toss your severed hand a short distance and it lands in the dirt."
    },
    {
        "text": "[Themes: Horror, Zombie, male protagonist, nun, twist, dead protagonist, post-apocalyptic]\n\n> Go downwards\nThe hills here are steep and treacherous. You saw a dead guy going down a slope like this one time -- he tripped and fell quite a ways. Having both legs broken wouldn't have been so bad in itself, but then the wild dogs and the vultures found him. His flesh kept growing back and they just kept chewing it off before he could build up the strength to get up again.\n\nYou can go north into the trailer or down the road to the east or the west.\n\n> Go east\nYou flee towards the east, pursued by the dogs.\n\nYou stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.\n\nThe pack leaps upon you silently, pinning you to the pavement and tearing into your flesh. Your throat is torn out, your spine is crushed, and you feel the world tumble as your head rolls away from your body. The dogs lose interest in a short while, and then the vultures arrive to pick at your exposed organs. Somehow you are still able to feel all of it.\n\n> You go inside\n(first opening the front door)\nYou squeeze into the trailer and slam the door behind you.\n\nThis tiny trailer is where you would sleep, if you slept. The front door is to the south.\n\nWhat's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.\n\nThe refrigerator is standing open.\n\nThe severed head is lying on the floor, its eyes following you crookedly.\n\nThe sound of barking dogs is coming from the front door.\n\nOutside you hear howls of frustration. The door rattles as paws scratch and bodies thump against it. After a while, the barking turns to sniffing, and then silence as the animals leave in search of easier prey.\n\n> Go outside\n(first opening the front door)\nYou turn the doorknob, careful not to pull it out. By rubbing the stump of your wrist against the edge of the door, you're able to chivvy it open.\n\nParked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.\n\nYou can see your severed hand here.\n\nFrom inside the trailer, you hear the head wail, \"Noooo! Doonnnn' leeavve!\"\n\nThen the front door swings closed with a bang.\n\n> Go east\nYou stumble along for what seems like quite a long distance. The road is uneven here, and your poor vision misses many rocks and pieces of debris. You trip on something, planting your face in the hot asphalt, but your foot seems to have healed well enough to take the punishment. You get up again.\n\nYou're walking on an east-west road cut into the steep hillside. The desert spreads out to the south.\n\n> You go south\nAnd become a permanent feast for the vultures in these steep and treacherous hills? Not today.\n\nYou can go down the road to the east or the west.\n\n> Go east\nYou stumble along for what seems like quite a long distance. The road is uneven here, and your poor vision misses many cracks and potholes. You twist your ankle on some unseen obstacle. You sit down to rest for a moment, but your foot seems to have healed well enough to take the punishment. You get up again.\n\nYour path leads east and west over cracked, uneven asphalt. A glint of chrome is all you see of the diner to the east.\n\n> Go inside\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> You examine the dogs\nThere are four or five big mongrel dogs - they move so fast and your vision is so poor that you can't be sure. They look stout and healthy, unlike the rabid beast you just took down. They're barking aggressively and hopping around, each one tripping over the others to get at you first.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> Dance\nYou flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You examine the jukebox\nA light behind the entry for \"B2: 'Big Car' by Severed Heads\" indicates that it is now playing, and the music fills the room from a number of speakers over the booths. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:\n\nA1: After the Fall - Klaus Nomi\nB1: The Voyeur of Utter Destruction - David Bowie\n\nA2: Piggy Smack - Severed Heads\nB2: Big Car - Severed Heads\n\nA3: Mad World - Tears for Fears\nB3: Everybody Wants to Rule the World - Tears for Fears\n\nA4: Thriller - Michael Jackson\nB4: Ghostbusters - Ray Parker Junior\n\nA5: Jerdacuttup Man - The Triffids\nB5: The Spinning Top Song - The Triffids\n\nA6: Love Zombie - Sweet Lickin' Honey Babes\nB6: I'm Not the Man I Used to Be - Fine Young Cannibals\n\nA7: Omnichrome - Three Hour Detour\nB7: Snow Karma - Three Hour Detour\n\nButton B2 looks more worn than the others - you can hardly read the label at all.\n\nA foursquare techno beat.\n\n> Go west\nYou head for the kitchen door, pursued by the dogs.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> You enter\nYou head for the freezer door, pursued by the dogs.\n\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThe freezer door is to the east. It is open and locked.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> You go east\nYou head for the freezer door, pursued by the dogs.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> You go west\nYou head for the freezer door, pursued by the dogs.\n\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThe freezer door is to the east. It is open and locked.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\nYou can also see your severed hand here.\n\n> You wave the hand\nYou wave your severed hand around with your good hand.\n\n> You go west\nThe wild dogs have better things to do.\n\n> You look at what you're carrying with you\nIn your good hand you have your severed hand (with a rosary in its grip)."
    },
    {
        "text": "> You describe your surroundings\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\n> You go north\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\nThe sound of barking dogs is coming from the employee entrance.\n\n> You go to the east\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nBlinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.\n\n> You go to the east\nThe road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.\n\nSeveral more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.\n\nA religious sister is smiling at you peacefully.\n\nYou can also see a siphon pump here.\n\n> You talk nun\n\"Aaaah.... hhhello, sssister.\"\n\n\"I'm very pleased to meet you, sir. My name is Sister Christina Therese.\"\n\n> You examine the sedan\nIt's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.\n\n\"I see you got some gasoline out of my old clunker here,\" Sister Christina observes. \"I hope it can be of use to you, and do please let me know if there's anything else I can help you with,\" she says.\n\n> Talk dogs\n\"Annimmmals...\"\n\nSister Christina gives you a glassy-eyed smile and a slight nod, but no further pretense that she understood you.\n\n> You talk bus\n\"Schoooll buuuss!\"\n\n\"I believe I saw somebody moving around underneath that schoolbus,\" she tells you.\n\n> You talk the hand\nYou mumble something almost comprehensible about your severed hand.\n\n\"Would you like me to hold your severed hand for you while you put it back on?\" Sister Christina offers.\n\n> You talk sedan\n\"Gas... in caaarr...\"\n\n\"I see you got some gasoline out of my old clunker here. I hope it can be of use to you, and do please let me know if there's anything else I can help you with,\" she says.\n\n> You give hand to the nun\nYou offer your severed hand to Sister Christina Therese.\n\nShe takes your severed hand and holds it out so you can steady yourself to reattach it.\n\n> You attach the hand\n(to your arm)\nYou hold your severed hand against your arm, but nothing happens. Your body refuses to heal.\n\n\"Noooo! Need more braaaains!\" you howl.\n\"Braaaaaaaaaaiiins!\"\n\nYou hear a great number of high-pitched voices somewhere among the wreckage. You can't make out what they're saying.\n\n\"Oh listen to all these pitiable wretches! You must be very hungry, friend,\" Sister Christina says to you. \"Here, you need this more than I do.\"\n\nShe kneels down and pulls back her veil, exposing a scarred head dotted with patches of brittle white hair. A large gash running from front to back reveals that her skull is cracked open and most of her brain is still intact.\n\n\"Go ahead, dear. I know you'll feel much better.\"\n\n> You eat the brains\n(the Sister's brains)\nYou devour the Sister's brains with gusto.\n\nHere we go.\n\nPeter adjusts the straps around his head and then activates his detonator switch. \"This is it, Jack. We're the lucky ones - we can choose between eternal rest and eternal torment.\"\n\n> You talk peter\n\"How are you doing, Peter?\"\n\n\"Not so good, man. I think this is it.\""
    },
    {
        "text": "[Themes: Zombie, Horror, profanity, dog, dead protagonist, violence, post-apocalyptic]\n\n> Look around\nThe road curves to the north here around a steep cliff. Dead ahead\nis the scene of a horrific accident - four or five cars are smashed together.\n\nwalking dead, leering with half-eaten faces and groaning with bloodlust.\n\nPeter is trembling slightly, sweating slightly, smiling slightly.\nHis eyes don't focus. His thumb is ready to release his bomb.\n\n> You examine the bomb\n(your bomb)\nThe bomb has a lump of plastic explosive, a detonator, and straps\nfor your head. A cord runs down from the detonator to a hand-operated switch. There's a safety toggle, currently in the \"on\" (safe) position, and a trigger button. It's just like the one Peter's wearing, except you asked him to give it a regular detonator switch. Not that you're any more confident about your survival, you just couldn't stand the thought of accidentally blowing yourself up.\n\nYou're still working on the \"on purpose\" part.\n\n> You remove the bomb\n(your bomb)\nYou're not wearing that!\n\n> You drop the bomb\n(your bomb)\nDropped.\n\n> Go outside\n(leaving to the west)\nThe horde is approaching from all directions. There is nowhere to\ngo. The only choice you have is how you will die.\n\n> You turn off the safety\nYou switch off the safety. If the bomb goes off now, not only\ncould it be an ugly mess, but your head might survive to be reanimated.\n\nAn elderly gentleman with no flesh on the right side of his face touches Peter lightly on the ear. Peter doesn't flinch, he just relaxes his thumb. The two of them drop to the ground amid a deafening crack of blood and fire.\n\nThe elderly gentleman gets up.\n\n> You get the bomb\n(your bomb)\nTaken.\n\n> You turn off the bomb\n(your bomb)\nThat's not something you can switch.\n\nThe elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You go for your weapon, but what you find in your hand is a bomb trigger. Unthinking, you squeeze it...\n\nThe bomb goes off in your hands, ripping your stomach apart.\nAlthough you're paralyzed by pain, you remain fully conscious. The creatures claw open your ribcage and stick their little fingers into your organs. You wonder why you haven't passed out, and then you realize there was no bomb, and these creatures are only little children, reaching into your abdomen to fish the chewed-up mush of the poor nun's brains from your stomach. When they finish that, they follow up with your own sorry excuse for grey matter...\n\n> You turn on the bomb\n(your bomb)\nThat's not something you can switch.\n\n> Toggle safety\nYou switch your bomb's safety toggle on."
    },
    {
        "text": "[Themes: Zombie, Horror, twist, violence, dead protagonist, post-apocalyptic, profanity]\n\n> You look around\nThe road curves to the north here around a steep cliff. Dead ahead\nis the scene of a horrific accident - four or five cars are smashed together.\n\nA horde of monsters is ripping chunks off of Peter's body. You\ncould almost swear their shrieks are cries of frustration that they can't find his brain, that their putrid drool is mixed with tears of longing.\n\nYou can also see your bomb here.\n\nThe elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...\n\nBut they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...\n\n> You throw the bomb at the zombies\n(your bomb the monsters)\n(first taking your bomb)\n\nYou might, if you were very lucky, blow up one of these creatures before they got to you. No, this bomb is for you to go out with a scrap of dignity - and avoid becoming one of them.\n\nThe elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...\n\nBut they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...\n\n> You go west\nThe horde is approaching from all directions. There is nowhere to\ngo. The only choice you have is how you will die.\n\nThe elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...\n\nBut they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...\n\n> You look at what you're carrying with you\nYou are carrying:\na rosary\na filthy machete\nyour bomb\n\n> You wear the bomb\n(your bomb)\nYou fix the straps around your head.\n\nAn elderly gentleman with no flesh on the right side of his face touches Peter lightly on the ear. Peter doesn't flinch, he just relaxes his thumb. The two of them drop to the ground amid a deafening crack of blood and fire.\n\nThe elderly gentleman gets up.\n\n> You turn off the safety\nYou switch off the safety. If you have the guts to press the\ntrigger button now, you will never be reanimated. Maybe you'll finally know if Peter was right about choosing eternal rest...\n\n> You attach the hand\n(to your arm)\nAs you place your hand on your arm, the itching becomes more intense until it feels like a white-hot flame. Cartilage springs from your bone as sinews reattach and flesh crawls together. Within a minute or so your hand is as whole as it was before - that is to say, putrid and threadbare, but attached.\n\nUnfortunately, your headache is worse now.\n\n> Status\nYour hand has been fused back onto your arm, and your foot has been fused back onto your leg. You have eaten some Sister's brains, some old yellow dog's brains, and a last piece of your friend Jim's brains. A ringing in your ears like a power drill boring into your skull is the last remnant of a once formidable headache. Now it's only about twice as bad as anything you had while living.\n\n> You look at the children\nThey're emerging from under the schoolbus and spreading down the road to the west.\n\n> You go east\nThe wreckage of multiple vehicles blocks further passage down the road. The only way back is to the west.\n\n> You go inside\nSome of the children watch hungrily as you leave.\n\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nThe sound of barking dogs is coming from the kitchen door.\n\n> Go west\nThe dancing children are so densely packed by the kitchen entrance that you can't get past.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> Go east\nYou slip into the booth without the children noticing. It seems that second-graders are even more easily distractible when they're dead.\n\nThe Uptown Diner (in the booth)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nA handful of decaying schoolchildren are dancing to the music, temporarily oblivious to your presence. More are joining them as they come in from outside the front of the diner.\n\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.\n\nThe sound of barking dogs is coming from the kitchen door.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> Break glass\n(the east window)\nYou ball your fist up and punch the window. Your fist bounces off. You try again, harder, and pieces of bone splinter from your knuckles. Finally, you pound your head against the window and it shatters pleasingly. You pick the bits of glass from your flesh and drop them to the ground.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You go east\nYou crawl out the window.\n\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\n> You go to the east\nYou push your way through the oncoming crowd...\n\nThe road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.\n\nSeveral more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.\n\nSister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.\n\nA horde of rotting schoolchildren is emerging from under the schoolbus and spreading down the road to the west.\n\nYou can also see a siphon pump here.\n\n> You examine bus\nThe bus rocks back and forth gently from the force of many, many children crawling out from their temporary burial underneath the vehicle.\n\n> Go northeast\nSome of the children watch hungrily as you leave.\n\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\nThis would be a nice quiet place to hide out, but there's no chance of that now that the kids have seen you going back here.\n\n> You go northwest\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\nThe sound of barking dogs is coming from the employee entrance.\n\nIn the parking lot you see a few of the children wandering over from the road.\n\n> Examine generator\nThe generator is weathered, but nothing is obviously broken, and it's still hooked up to some thick cables that run into the building. It has a large opening on the top labeled \"GASOLINE.\" The gas cap seems to be missing. There's also a button labeled \"IGNITION.\" Down near the bottom, where the motor is located, there's a pull cord with a plastic handle.\n\nThe generator is currently switched on.\n\nThe gas tank is full.\n\n> You switch off the generator\nThere's no obvious way to turn off the generator. It's probably designed to shut down automatically when the grid power comes back on.\n\n> You go south\nEverything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.\n\nA crowd of mean-looking kids sidles over from the parking lot, ready to tussle. With the kind of bloodthirsty abandon only a dead guy can muster, you take down half a dozen of them and sink your teeth into a soft, moldering head. But more of them pile on top, and you go down at the bottom of the pile...\n\n> You go southeast\nYou head towards the crowd...\n\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\nSeveral dead schoolchildren are milling around. They're wandering over from the front of the diner, and moving towards the back entrance of the diner.\n\nA sudden chill comes over the crowd and their attention focuses more sharply on you. As one, they reach out and begin pulling at your clothes, at your flesh. Little fingers pry your skull open wide and little teeth sink into the rotting remainder of your brain. Your body is laid out flat by many hands, and you become a permanent feast.\n\n> You go inside\nYou shuffle along with the moving crowd...\n\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nA small crowd of undead schoolchildren is collected here, a few of them turning your way with blackened drool oozing from gaps between their rotted teeth. They're wandering over from the front of the diner.\n\nThe sound of barking dogs is coming from the kitchen door.\n\n> Go west\nThe dancing children are so densely packed by the kitchen entrance that you can't get past.\n\nThe jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.\n\n> Go east\nYou slip into the booth without the children noticing. It seems that second-graders are even more easily distractible when they're dead.\n\nThe Uptown Diner (in the booth)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nA sizeable crowd of dead schoolchildren is dancing to the music, temporarily oblivious to your presence.\n\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.\n\nThe sound of barking dogs is coming from the kitchen door.\n\nThe jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.\n\n> You break the window\n(the broken window)\nYou ball your fist up and punch the window. Your fist bounces off. You try again, harder, and pieces of bone splinter from your knuckles. Finally, you pound your head against the window and it shatters pleasingly. You pick the bits of glass from your flesh and drop them to the ground.\n\nThe jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.\n\n> You enter the window\n(the broken window)\nYou crawl out the window.\n\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\n> You go to the north-west\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\nThe sound of barking dogs is coming from the employee entrance.\n\n> Go south\nEverything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.\n\n> You check what you're carrying\nYour hands are freeA rosary hangs around your neck.\n\n> You put rosary on the door\nYou might as well just drop the rosary.\n\n> Scream\nYou open your throat, but a warbling moan is all you can produce.\n\n> Go east\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\n> You go west\nYou stumble along, trying to get past the horde. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.\n\nThe crowd leaps upon you with squeals of anticipation. They crack your skull wide like an egg and suck out the last rotten remains of your brain, as the world swirls into an increasingly painful blur. Your body becomes a plaything for a band of inquisitive little torturers...\n\n> Go west\nYou climb in the window, and find yourself in a booth.\n\nThe Uptown Diner (in the booth)\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nA horde of decaying schoolchildren is wandering around the diner. They don't seem to notice you.\n\nEach booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.\n\nThe sound of barking dogs is coming from the kitchen door.\n\n> Dance\nYou flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.\n\n> You go west\nYou get out of the booth.\n\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nA horde of rotting schoolchildren is crowding you in. They're wandering over from the front of the diner.\n\nThe sound of barking dogs is coming from the kitchen door.\n\n> You examine the door\nA heavy chain wrapped around the chrome bars of the door prevents it from opening. But if you wanted to leave the diner, you could just walk south through the smashed windows.\n\n> You examine the jukebox\nThe jukebox is powered up, but not playing anything right now. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:\n\nA1: After the Fall - Klaus Nomi\nB1: The Voyeur of Utter Destruction - David Bowie\n\nA2: Piggy Smack - Severed Heads\nB2: Big Car - Severed Heads\n\nA3: Mad World - Tears for Fears\nB3: Everybody Wants to Rule the World - Tears for Fears\n\nA4: Thriller - Michael Jackson\nB4: Ghostbusters - Ray Parker Junior\n\nA5: Jerdacuttup Man - The Triffids\nB5: The Spinning Top Song - The Triffids\n\nA6: Love Zombie - Sweet Lickin' Honey Babes\nB6: I'm Not the Man I Used to Be - Fine Young Cannibals\n\nA7: Omnichrome - Three Hour Detour\nB7: Snow Karma - Three Hour Detour\n\nButton B2 looks more worn than the others - you can hardly read the label at all.\n\n> Go west\nSome of the children watch distractedly as you leave.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> You go east\nYou head for the dining room, pursued by the dogs.\n\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nA horde of decaying schoolchildren is dancing to the music in a tight clump around the booth, oblivious to your presence.\n\nThe dogs charge in after you and then see the children. For a moment, all creatures are frozen, and then they approach one another with quiet, sideways steps.\n\nWhen another child enters from outside the front of the diner, you're suddenly pushed aside by a twirling melee of claws, fingernails and teeth. Fresh blood mingles with rotten black ichor like a Paleo smoothie gone wrong. The dogs squeal with surprise and terror as more children arrive, then they bolt from the room. The pile of wounded children struggles to its feet and turns its attention on you.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> Go west\nSome of the children watch distractedly as you leave.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> Go west\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThe freezer door is to the east. It is open and locked.\n\n> You look at the kids\nThey're dancing to the music in a tight clump around the booth, oblivious to your presence.\n\nThe jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.\n\n> You go west\nSome of the children watch hungrily as you leave.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\n> You wait for a while\nTime passes.\n\nUndead children follow you from the dining room.\n\n> Go west\nSome of the children watch hungrily as you leave.\n\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThrough the open freezer door you see a gathering crowd of ghoul-children.\n\n> Wait\nYou freeze, hoping the children will forget you and move on.\n\n> Wait\nYou keep still, hoping the children will forget you and move on.\n\n> You go to the east\nYou squeeze in amongst the swelling crowd in the kitchen.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nSeveral rotting schoolchildren are milling around. They're wandering over from the dining room.\n\n> You go east\nYou squeeze in amongst the swelling crowd in the kitchen.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA small crowd of dead schoolchildren is milling around, some of them eyeing you shyly with a look of predatory curiosity. They're wandering over from the dining room.\n\n> You go north\nSome of the children watch hungrily as you leave.\n\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\n> Go east\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\nA movement over by the shed catches your attention. The children are coming out the back of the diner towards you.\n\n> You go northeast\nA short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.\n\nThe windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.\n\nOver in the back entrance of the diner you see a horde of children shambling your way.\n\nThis would be a nice quiet place to hide out, but there's no chance of that now that the kids have seen you going back here.\n\n> Go south\nYou can't go that way. You can go north to the back entrance of the diner, east to the dining room or west through the freezer door.\n\n> You go north\nSome of the children watch hungrily as you leave.\n\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\n> You close the door\nThat's not something you can close.\n\nThe children shamble a little quicker towards you through the employee entrance. Sensing that you're trapped, they surround you, reaching out their puffy little fingers. You're squeezed from all sides, then you're pulled apart in all directions.\n\n> You go northwest\nYou head towards the crowd...\n\nYou are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked \"EMPLOYEES ONLY\" leads south.\n\nA tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.\n\nA couple of decaying schoolchildren are gathered here, looking for something with enough brains to eat. More are flooding in through the employee entrance.\n\nThe generator makes a really loud noise, and it makes everything shake. You can't even think straight.\n\nA sudden chill comes over the crowd and their attention focuses more sharply on you. As one, they reach out and begin pulling at your clothes, at your flesh. Little fingers pry your skull open wide and little teeth sink into the rotting remainder of your brain. Your body is laid out flat by many hands, and you become a permanent feast.\n\n> You go to the west\nYou poke your head in the window and lift the blinds - but then you see the dense pack of children poking around the booth, looking for that screaming voice they heard. You back out before they notice you.\n\n> You go east\nYou push your way through the moving crowd...\n\nThe road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.\n\nSeveral more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.\n\nSister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.\n\nA horde of rotting schoolchildren is shuffling back and forth along the road, some returning to the schoolbus and some wandering off again.\n\nYou can also see a siphon pump here.\n\n> You examine bus\nThe bus rocks back and forth gently from the force of many, many children crawling out from their temporary burial underneath the vehicle.\n\n> You get in the bus\nThere's too many kids coming out of there for you to get past them.\n\n> You examine cliff\nThe hills here are steep and treacherous.\n\n> You examine the cars\nThe cars form an impenetrable mess. That blue Dodge sedan looks like it's in reasonable shape, though.\n\n> You search nun\nA peaceful woman in her seventies, Sister Christina Therese looks quite dignified in her purple dress. One eye is missing and a dark purple ooze stains her plain white veil and flows out from where her left ear should be. She's sitting on the ground, staring ahead with a pure, empty gaze.\n\n> Go north\nThe wreckage of multiple vehicles blocks further passage down the road. The only way back is to the west."
    },
    {
        "text": "[Themes: Zombie, Horror, profanity, dead protagonist, male protagonist]\n\n> You look around\nThe road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.\n\nSeveral more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.\n\nSister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.\n\nA horde of undead schoolchildren is shuffling back and forth along the road, some returning to the schoolbus and some wandering off again.\n\nYou can also see a siphon pump here.\n\n> You examine the cars\nThe cars form an impenetrable mess. That blue Dodge sedan looks like it's in reasonable shape, though.\n\n> Hint\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\n> Inside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\nInside the Trailer\n> When Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\nInside the Trailer\nWhen Limbs Fall Off\n> The Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> You go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\n> The Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\n> The Nun\nThe Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\n> The Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\nSelect\n> How do I escape the schoolchildren?\nHow do I get past the schoolchildren from the dining room?\nHow do I get to the generator without getting eaten?\nHow do I start the generator?\nHow do I get back inside the diner after I start the generator?\n\n> You go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\n> Cars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> You go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\n> Flashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> Go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\nCars\nFlashbacks\n> The Diner\nWhat do I do with these items?\nAm I stuck?\nSelect\n> How do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> Go north\nYou push your way through the moving crowd...\n\nA long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.\n\nAn old jukebox stands in one corner, lit up and ready to play a tune.\n\nA horde of dead schoolchildren is poking around the booth, closely crowded together. Apparently they still haven't figured out where that screaming voice came from.\n\n> You go west\nYou shuffle along with the moving crowd...\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA horde of undead schoolchildren is crowding you in. They're wandering over from the dining room, and moving towards the back entrance of the diner.\n\n> You go west\nYou push your way through the moving crowd...\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA horde of undead schoolchildren is crowding you in, and moving towards the back entrance of the diner.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> Unlock freezer\n(with the steel key)\n(first taking the steel key)\n\nYou take hold of the key at the end of the chain.\n\nYou unlock the steel door.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> You go west\nAs you leave, the chain tugs on the key in your hand. You let go and it dangles towards the floor.\n\nSome of the children watch hungrily as you leave.\n\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\nThrough the open freezer door you see a gathering crowd of ghoul-children.\n\n> You close the door\nYou close the door. The freezer continues getting colder.\n\nAccompanied by treble-voiced grunts and squeals of anticipation, small fingers claw at the freezer door. Slowly it opens to reveal the growing mob of little monsters outside.\n\n> You examine the door\nThe steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.\n\nA few small, curious heads poke their way into the cold light, gore and drool mixing as it drips down their chins. Cautiously, the small invaders step into the room and approach you. It's hard to tell if the twitching of their half-fleshed faces expresses terror or glee, but soon their teeth are on you and your eyes are plucked from their sockets. The pain in your head increases as torn fingernails scrape at the inside of your skull...\n\n> Go east\nYou squeeze in amongst the swelling crowd in the kitchen.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open.\n\nA steel key hangs from a chain bolted to the wall.\n\nA horde of rotting schoolchildren is crowding you in, a few of them turning your way, making little kiddie moans of murderous hunger, and moving towards the back entrance of the diner.\n\nYou hear the music from the jukebox come to an end.\n\n> You go west\nYou push your way through the moving crowd...\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open and locked.\n\nA steel key hangs from a chain bolted to the wall.\n\nA horde of rotting schoolchildren is crowding you in, and moving towards the back entrance of the diner.\n\nMuffled music can be heard coming from the jukebox in the dining room.\n\n> You close the door\nYou lock yourself in the freezer. It continues getting colder.\n\nA metallic scratching sound alerts you to some kind of activity outside. You hear the jangle of a chain as the key turns in the lock on the other side of the door.\n\n> You look at the door\nThe steel door has a spring latch so it can be locked when it is open. It is currently closed and unlocked.\n\nAccompanied by treble-voiced grunts and squeals of anticipation, small fingers claw at the freezer door. Slowly it opens to reveal the growing mob of little monsters outside.\n\n> You examine the latch\nThe steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.\n\nA few small, curious heads poke their way into the cold light, gore and drool mixing as it drips down their chins. Cautiously, the small invaders step into the room and approach you. It's hard to tell if the twitching of their half-fleshed faces expresses terror or glee, but soon their teeth are on you and your eyes are plucked from their sockets. The pain in your head increases as torn fingernails scrape at the inside of your skull...\n\n> You go north\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\n> The Schoolchildren\nCars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\nSelect\nGeneral Questions\nInside the Trailer\nWhen Limbs Fall Off\nThe Pines and the Old Yellow Dog\nThe Pack of Wild Dogs\nThe Nun\nThe Schoolchildren\n> Cars\nFlashbacks\nThe Diner\nWhat do I do with these items?\nAm I stuck?\n\n> P.\nHow do I escape the schoolchildren?\nHow do I get past the schoolchildren from the dining room?\nHow do I get to the generator without getting eaten?\nHow do I start the generator?\nHow do I get back inside the diner after I start the generator?\n\n> Go north\nHow do I escape the schoolchildren?\n> How do I get past the schoolchildren from the dining room?\nHow do I get to the generator without getting eaten?\nHow do I start the generator?\nHow do I get back inside the diner after I start the generator?\n\n> P.\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> You go north\nHow do I get inside the diner?\n> How do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> Go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\n> I got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> You go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\n> How do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> Go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\n> How does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\nSelect\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\n> How do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> Go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\n> I can't open the back door.\nWhat do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> Go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\n> What do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n1/8: Have you talked to anyone about what makes the undead peaceful?\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> Go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\n> What do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n1/8: Have you talked to anyone about what makes the undead peaceful?\n\nPress SPACE to return to the menu or H to reveal another hint.\nSelect\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\n> What do I do in the freezer?\nHow do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n\n> You go north\nHow do I get inside the diner?\nHow do I get inside without being eaten by dogs?\nI got inside, but I got trapped by children!\nHow do I get the jukebox to work?\nHow does the generator work?\nHow do I get to the generator?\nI can't open the back door.\nWhat do I do in the freezer?\n> How do I keep anyone from following me into the freezer?\nHow do I get rid of the key?\nI'm safe and cold, but what do I do now?\n1/9: If the wild dogs followed you into the freezer, you're not ready yet. Get out of the freezer.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> Go east\nYou squeeze in amongst the swelling crowd in the kitchen.\n\nTraces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.\n\nA massive steel door dominates the west end of the kitchen. It is open.\n\nA steel key hangs from a chain bolted to the wall.\n\nA horde of decaying schoolchildren is crowding you in, a few of them turning your way, making little kiddie moans of murderous hunger, and moving towards the back entrance of the diner.\n\nYou hear the music from the jukebox come to an end.\n\n> You look at the key\nThe key to the steel door is chained to a bolt on the wall. There is no way to get it off - the chain is made of stronger metal than the key itself.\n\n> You examine the lock\nThe steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.\n\n> You lock the door\n(with the steel key)\n(first taking the steel key)\n\nYou take hold of the key at the end of the chain.\n\nYou lock the freezer door.\n\n> Break key\nYou stick the key halfway in the lock and push on it with both hands. It flexes slightly. You pull it back the other way and the metal gives, bending so it'll never fit in the lock. The freezer door is now permanently locked.\n\n> You close the door\nYou lock yourself in the freezer. It continues getting colder."
    },
    {
        "text": "[Themes: Zombie, Horror, horror, post-apocalyptic, nun, Christianity, dead protagonist]\n\n> You look around\nPale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.\n\n> You wait for a while\nTime passes.\n\n> Wait\nYou rest for a while. It's peaceful, but you start to get restless eventually. Perhaps there's something you can do to pass the time.\n\n> Pray\n\"Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our\ndeath.\"\n\nPraying relaxes you, but it's over too soon.\n\n> Pray\n\"Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our\ndeath.\"\n\nAgain the prayer is over too soon, and your peace dissolves.\n\n> Dance\nYou flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.\n\n> You examine rosary\nYou're feeling contemplative.\n\nThe rosary has a loop of five decades, or sets of of ten beads, with a single bead separating each decade from the next. A string of four more beads hangs from the loop, with a crucifix at the end. Every bead represents a prayer. You know how to pray the rosary, and when you were alive you used one to calm down. This one appears to be made of cavity-riddled teeth hooked together with small pieces of wire.\n\n> Pray rosary\n(first taking the rosary)\nYou hold the rosary in your hands, counting off beads with your fingers. You start with the cross on the end, making the sign of the cross and praying the Apostle's Creed. At the first bead you say the Lord's Prayer, and then a Hail Mary on each of the next three.\n\nThe chill of the freezer blankets you comfortably, encouraging you to continue the prayer.\n\n> Pray rosary\nYou enter the loop, which contains five strings of ten beads, each with a single bead in between. Meditating on the Resurrection, you say an Our Father and ten Hail Marys.\n\nJim's eyes flicker open and fix your gaze.\n\n\"Jesus Christ! He's looking right at me! It's him, Peter! I just\ncut my friend's head of with a fucking hacksaw! What do I do now?\"\n\n\"Bring him along, then.\" Marie suggests. \"We'll have good times.\"\n\n\"No fucking way. I'm sticking him in the fridge.\"\n\n> Pray rosary\nYou recite another decade meditating on Christ's ascent into heaven.\n\n\"Look out, Jack!\" Jim shoves you aside and claws swipe the air by\nyour ear. Then he stumbles back as two ghouls rip into his chest.\n\n> Pray rosary\nYou contemplate Pentecost, the time when The Holy Spirit descended on the apostles in tongues of fire. You say an Our Father and ten more Hail Marys.\n\nto shrivel in the heat of the bonfire.\n\n> Pray rosary\nYou say another Our Father and ten Hail Marys meditating on the mystery of the Assumption, in which the Blessed Virgin Mary is taken up into heaven.\n\nIt's got to be around here somewhere.\n\nchill. \"You think we'll find it before it reanimates?\"\n\n\"Maybe not, Jack. There's a lot of places to hide. We might not\nfind Marie's body at all.\"\n\n> Pray rosary\nYou complete the last decade of the rosary. The fifth mystery is the Coronation of Mary, Queen of Heaven. At the end you pray:\n\n\"Hail, Holy Queen, mother of mercy,\nour life, our sweetness and our hope.\nTo thee do we cry, poor banished children of Eve\nTo thee do we send up our sighs, mourning and weeping in this vale\nof tears.\nTurn then, most gracious advocate, thine eyes of mercy toward\nus,\nand after this our exile, show us the blessed fruit of thy womb, Jesus.\nO clement, O loving, O sweet Virgin Mary.\nPray for us, O Holy Mother of God, that we may be made worthy of\nthe promises of Christ.\"\n\n\"Amen,\" Jim says with you. He gets up and scans the ridge ahead.\nThen he coughs. \"Damn, I'd kill for a cigarette right now.\"\n\nYou and Jim are on a high mountain trail. There's a good view of\nthe desert in most directions, although you can't see the road anymore. You'd expect it to be quiet out here, even when there were cars that worked. But the quiet here is something else entirely. There's no sign of life anywhere.\n\nJim is walking ahead of you, searching for Peter and Marie.\n\nYou're thinking, \"Where'd they go?\"\n\n> Talk\n\"Where'd they go, Jim?\"\n\nJim turns to you reassuringly. \"We'll find them, Jack. Don't\nworry.\" Then the motherfucker starts singing.\n\n\"One of these mornings, and it won't be long\nAll men will rise and stand side by side\nThen hand in hand, we'll walk to glory\nAnd death will fall before freedom's tide.\n\nI'm going there, to see my father\nI'm going there, no more to roam\nI'm going there, just over Jordan\nI'm going there to my new home.\"\n\n> You talk trailer\n\"I got this idea. You know how bad the creatures are at opening\ndoors? What if we loosen the doorknob on the trailer? We could trap them inside!\"\n\nTotally ignoring what you said out loud, Jim turns to you reassuringly. \"We'll find them, Jack. Don't worry.\" Then the motherfucker starts singing.\n\n\"One of these mornings, and it won't be long\nAll men will rise and stand side by side\nThen hand in hand, we'll walk to glory\nAnd death will fall before freedom's tide.\n\nI'm going there, to see my father\nI'm going there, no more to roam\nI'm going there, just over Jordan\nI'm going there to my new home.\"\n\n> You talk yellow dog\n\"Did you ever see that movie, \"Old Yeller?\"\"\n\nTotally ignoring what you said out loud, Jim turns to you reassuringly. \"We'll find them, Jack. Don't worry.\" Then the motherfucker starts singing.\n\n\"One of these mornings, and it won't be long\nAll men will rise and stand side by side\nThen hand in hand, we'll walk to glory\nAnd death will fall before freedom's tide.\n\nI'm going there, to see my father\nI'm going there, no more to roam\nI'm going there, just over Jordan\nI'm going there to my new home.\"\n\n> You talk marie\n\"What's up with Marie, Jim?\"\n\nTotally ignoring what you said out loud, Jim turns to you reassuringly. \"We'll find them, Jack. Don't worry.\" Then the motherfucker starts singing.\n\n\"One of these mornings, and it won't be long\nAll men will rise and stand side by side\nThen hand in hand, we'll walk to glory\nAnd death will fall before freedom's tide.\n\nI'm going there, to see my father\nI'm going there, no more to roam\nI'm going there, just over Jordan\nI'm going there to my new home.\"\n\n> You go south\nYou wander down the trail, continuing to search for your\nfriends.\n\nYou and Jim are on a high mountain trail. There's a good view of\nthe desert in most directions, although you can't see the road anymore. You'd expect it to be quiet out here, even when there were cars that worked. But the quiet here is something else entirely. There's no sign of life anywhere.\n\nJim is walking ahead of you, searching for Peter and Marie.\n\n> You talk the campfire\nYou bring up the subject of the campfire.\n\nTotally ignoring what you said out loud, Jim turns to you reassuringly. \"We'll find them, Jack. Don't worry.\" Then the motherfucker starts singing.\n\n\"One of these mornings, and it won't be long\nAll men will rise and stand side by side\nThen hand in hand, we'll walk to glory\nAnd death will fall before freedom's tide.\n\nI'm going there, to see my father\nI'm going there, no more to roam\nI'm going there, just over Jordan\nI'm going there to my new home.\""
    },
    {
        "text": "[Themes: Surreal, fantasy, apocalyptic, blood, surreal, pulpy, mythopoeic, gender-neutral protagonist, violence]\n\nThe walls are smashed. Fires roar in the forest below and the\nnight fluctuates as an incendiary mirage, each star molten, the moon dripping like fat from some roast animal spitted above a pit.\n\nThe sun will never rise again.\n\nDown, the Serpent and the Sun\n\nThe feathered serpent coils before you, greater than any god or any monster. Maimed warriors are crushed beneath its claws. The shrines nearby have been reduced to rubble.\n\nSteps descend on every side into the city, and on every side flames lap their blackened stones.\n\n[Author's Note: The feathered serpent coils before you, greater than any god or any monster. Maimed warriors are crushed beneath its claws. The sun will never rise again.]\n\n> You check your inventory\nYou are carrying:\na blade"
    },
    {
        "text": "> Go downwards\nYour flesh blisters from the heat. You must turn back.\n\n> You examine the forest\nThe land is an inferno stretching into the horizon.\n\nIts quills quivering with metallic rattles, plumage outspread around its head for an apocalyptic hood, the serpent rises to strike.\n\n> Stab Serpent\nYour blade splinters against your foe.\n\n> You look at moon\nThe night fluctuates as an incendiary mirage, each star molten, the moon dripping like fat from some roast animal spitted above a pit.\n\n> You look at the Serpent\nIts body lithe with hieroglyphic scales, its talons gold, its whiskers living flame, its feathers incandescent, there is nothing above the sky or underneath the earth more terrible. The priests could not kill it with spells and the warriors could not kill it with arms. Even now, after the ultimate banquet, its appetite cannot be satisfied.\n\nWith its jaws unhinged, the beast lunges, fangs snapping shut around you as inevitably as a thunderclap follows a lightning strike.\n\nThere is no pain.\n\nThere is only darkness, more complete than an evening without stars.\n\nYou can see nothing, but the air is fetid, hot. Warm dribblings drizzle from above. The ground is spongy underneath your feet.\n\n> You feel the ground\nIt is too dark to see anything properly."
    },
    {
        "text": "> Go downwards\nEnormous crimson globules leak along the walls, running in channels between numberless gemstones embedded in the rubbery muscle.\n\nA glow radiates from somewhere deep below, its faint brilliance ensnared in the faceted gems like fireflies imprisoned in amber."
    },
    {
        "text": "> Go downward\nVaulted with bones. No mortal architecture has ever been more colossal. Mottled webbing between the ribs contracts as though some vast organ were expanding and deflating on its opposite side, pressing against the malleable tissue.\n\nLight streams from a cavity leading below.\n\n> Go west\nShot through with rainbow light. The breathing walls are panelled in stained glass.\n\nYou walk on air, weightless, dizzy. The atmosphere is supercharged with oxygen. Playful colors dart around you like dolphins.\n\nAn opening slashed through the tissue nearby leads back to the ribcage.\n\n> You look at the glass\nThe stained glass is patterned abstractly. Its panes are fused together with hard cartilage. Light streams through the ceiling above.\n\n> You breathe\nYour mind opens as your own lungs flood with air as pure as innocence, your bloodstream cleansed, your body awakened. Everything has meaning now and hopelessness no longer has meaning.\n\n> Go east\n(first opening the tissue)\nYou will have to use force."
    },
    {
        "text": "[Themes: Surreal, violence, blood, apocalyptic]\n\n> Descend\nBubbles lazily develop and combust in a lake roiling with thick acidic sludge. Its shoreline is littered with corpses and ambiguous organic detritus. Your eyes sting and your brain throbs from the noxious odor.\n\nOne skeleton, arm outstretched, fingers dug into the swampy ground, seems nearly to have climbed free when the acid claimed its life.\n\nEmerging from the lake's corrosive mire, its broken orb half-sunken, is the sun.\n\n> You search skeleton\nIf you want to search something, you should examine it.\n\n> You examine the skeleton\nIts skull rotates to stare at you. It is not living, but neither is it dead.\n\n> You talk to the skeleton\nPerhaps you should ASK the skeleton ABOUT something.\n\n> You ask the skeleton about the skeleton\nThe skeleton mumbles, \"...my sorceries were useless against it... all my studies wasted... my magic impotent... except to bind my soul to this dead husk... although I did not plan to die when I first wove the binding years ago...\"\n\n> You ask skeleton about the sun\nThe skeleton mumbles, \"...I saw it swallow the sun... it rose and closed its jaws over the sun... now the world is plunged in darkness and the sun will never rise again...\"\n\n> You ask the skeleton about the Serpent\nThe skeleton mumbles, \"...unkillable... perhaps unkillable... it came from farther than the farthest horizon... from somewhere deeper than the deepest trench... it has always existed... and it will never stop eating...\"\n\n> You ask the skeleton about the binding\nThe skeleton mumbles, \"...what I am now... what I experience... is not living...\"\n\n> You look at the sun\nIts circle has collapsed. Little flames leap and dart across its fractured shell. Now that the serpent has consumed the sun, it will continue to degrade until its embers perish and its warmth has been absorbed into the beast.\n\n> You ask the skeleton about yourself\nThe skeleton mumbles, \"...even a warrior like you has... joined us here in this... unwholesome pit... nobody can conquer the serpent...\"\n\n> You ask the skeleton about the lungs\nThe skeleton mumbles, \"...even the sturdiest armor... has flaws...\"\n\n> You ask the skeleton about gullet\nThe skeleton mumbles, \"...jewels displayed for nobody... vestigal artifacts from its ancient fabrication...\"\n\n> You ask the skeleton about the lake\nThe skeleton mumbles, \"...the acid... eats what the serpent eats... perhaps if you could cross it... with some bridge...\"\n\n> You ask the skeleton about the bridge\nThe skeleton mumbles, \"...revenge... would be the sweetest thing... my comrades... my arcane studies... might still possess some little use... for you...\"\n\nIts fingers twitch. The acid quagmire churns as bloated deformities buoy to its surface, reanimated by some necromantic urge originating from the skeleton. Its fingers clench into a fist; the floating corpses crush into a mass, a bridge whose length spans the lake toward the sun.\n\n> You ask the skeleton about the maw\nThe skeleton mumbles, \"...teeth sharper than any weapon... do not remind me...\"\n\n> You examine the bridge\nIts bricks are bones; its mortar, gore.\n\n> You cross the bridge\nThe sun has been shattered. You enter its hollow interior.\n\nThe walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.\n\nThrough a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.\n\nYou are unbearably hot."
    },
    {
        "text": "[Themes: Surreal, apocalyptic, pulpy, fantasy, mythopoeic]\n\n> Go downwards\nMore humid than any jungle and flourishing with intestinal flora. Acid trickles from the sphincter overhead into a meandering rivulet. The walls throb and grumble, occasionally opening their pores to pump bile into the digesting morass.\n\nFeeble sunlight from above casts a tropical glow across the mucosa; the ileocecal valve yawns below.\n\n> You examine bile\nThe bile has joined with other fluids to produce a loathsome stew, clotted with decomposing bodies, foamed with brown and yellow froth."
    },
    {
        "text": "> Go downwards\nStalagmites ascend from the floor. Stalactites descend from above. Fibrous bundles somewhat like cocoons are lumped together in masses, slowly sliding downward toward a dank chasm fringed with palpitating stalks.\n\nThe atmosphere is rank and stygian. The walls bulge with sacs and depressions.\n\n> You examine the bundles\nWhen you examine the bundles, you discover undigested bones enmeshed in a syrupy lacing. One projecting femur seems especially slathered in the substance.\n\n> You take femur\nYou wrench the femur loose.\n\n> You examine the femur\nCovered in a syrupy lacing."
    },
    {
        "text": "> Go downward\nYou can see nothing, but the air is fetid, hot. Warm sludge seeps from above. The ground is muck beneath your feet.\n\nA draught wafts from below."
    },
    {
        "text": "[Themes: Surreal, apocalyptic, violence, pulpy, blood]\n\n> Go down\nYou slide outside into the night, dripping with putrefaction.\n\nThe feathered serpent coils before you, greater than any god or any monster. Maimed warriors are crushed beneath its claws. The shrines nearby have been reduced to rubble.\n\nSteps descend on every side into the city, and on every side flames lap their blackened stones.\n\n> Go upwards\nBubbles lazily develop and combust in a lake roiling with thick acidic sludge. Its shoreline is littered with corpses and ambiguous organic detritus. Your eyes sting and your brain throbs from the noxious odor.\n\nOne skeleton, arm outstretched, fingers clenched into a fist, seems nearly to have climbed free when the acid claimed its life.\n\nEmerging from the lake's corrosive mire, its broken orb half-sunken, is the sun. A bridge molded from crushed bodies leads toward it.\n\n> Go up\nVaulted with bones. No mortal architecture has ever been more colossal. Mottled webbing between the ribs contracts as though some vast organ were expanding and deflating on its opposite side, pressing against the malleable tissue.\n\nLight streams from a cavity leading below.\n\n> Go west\nShot through with rainbow light. The breathing walls are panelled in stained glass.\n\nYou walk on air, weightless, dizzy. The atmosphere is supercharged with oxygen. Playful colors dart around you like dolphins.\n\nAn opening slashed through the tissue nearby leads back to the ribcage.\n\n> You ask the skeleton about the femur\nThe skeleton mumbles, \"...it might serve... for a torch... if it were lit...\""
    },
    {
        "text": "> You descend\nThe sun has been shattered. You enter its hollow interior.\n\nThe walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.\n\nThrough a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.\n\nYou are unbearably hot.\n\n> Light femur\nFlames caress it until its laced coating blazes.\n\nYou are sweating profusely, throat parched.\n\n> Y.\nThat was a rhetorical question.\n\n> Go up\nA gargantuan mouth crammed with fangs sharper than swords. The air is fetid, hot. Warm dribblings drizzle from above. Beneath your feet is a tremendous tongue.\n\n> You take the fang\nYou pry the tooth loose from its diseased gumline.\n\n> You look at the teeth\nJammed together into a carnivorous vertical jigsaw, festering with mold, yellow with plaque. A bloody socket gapes in the gumline.\n\n> You look at the tongue\nWith every step, its squishing surface yields, saliva pooling around your ankles.\n\n> Cut tissue\nYou slash through the tissue with the tooth.\n\n> You hit the glass\nYou smash through the glass panels overhead with the tooth.\n\n> You go upward\nYou crawl through the smashed glass into an organ valved and veined. Its chambers are empty. Its tissues are shriveled with age. Dead leaves drift and rustle across the gory floor.\n\nAt its center is an altar.\n\nOn the altar beats a human heart enchained.\n\n> You look at the altar\nA soapstone grotesquerie sculpted with obscene tableaux wherein animals and humans, death and birth, are represented with deformed organs and visages ambiguously ecstatic or terror-stricken. The altar is soaked with spilled blood.\n\n> You look at the heart\nNeither larger nor smaller than the heart beating in your own chest. Iron chains fastened with iron stakes anchor it to the altar, where it disgorges blood with each laborious contraction.\n\n> Heart\nSAVEOk.\n\n> Stab heart\nYou plunge the tooth into the heart.\n\nA bloody spout erupts.\n\nThe chains clench but the heart expands and bursts, a crimson geyser rising. Its chunderous outpouring is unstoppable. Carnage splatters the ceiling, crashes against the walls, the heart spasming as more blood gushes from its core.\n\nA shock travels through the anatomy, organs convulsive."
    },
    {
        "text": "[Themes: Surreal, violence]\n\n> Go downward\nGore pours through the shattered ceiling. The stained glass is awash with blood as the lungs brim with its rising tide.\n\nAn opening slashed through the tissue nearby leads into the ribcage.\n\nThe beast rumbles.\n\n> Go west\nVaulted with bones. No mortal architecture has ever been more colossal. An alien language carved into the ribs glimmers with indigo phosphorescence.\n\nLight streams from a cavity leading below.\n\nThe walls contract spasmodically."
    },
    {
        "text": "[Themes: Surreal, mythopoeic, apocalyptic, pulpy]\n\n> Go downwards\nYour eyes sting and your brain throbs. The acidic lake has begun to boil, scorching the skin surrounding it, blood streaming from the ceiling into its corrosive stew.\n\nEmerging from the mire, its broken orb half-sunken, is the sun. A bridge molded from crushed bodies leads toward it.\n\nA shock travels through the anatomy, organs convulsive."
    },
    {
        "text": "> Go downwards\nThe sun has been shattered. You enter its hollow interior.\n\nThe walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.\n\nThrough a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.\n\nThe beast rumbles.\n\nYou are unbearably hot."
    },
    {
        "text": "[Themes: Surreal, apocalyptic, blood, violence]\n\n> You go downward\nThe intestinal flora shriek and thrash along the walls, struggling to remain above the rising swamp. You must paddle and dive; there is no solid footing; you feel an undertow dragging you down into the sanguine depths.\n\nThe walls contract spasmodically."
    },
    {
        "text": "[Themes: Surreal, pulpy, mythopoeic]\n\n> Go downwards\nBundles bob, bumping the ceiling, as more blood continues pouring from each pore. The light is almost gone. You swallow mouthfuls and sputter with panic, but there is nowhere to dive save deeper down.\n\nA shock travels through the anatomy, organs convulsive."
    },
    {
        "text": "[Themes: Surreal, blood, gender-neutral protagonist, surreal]\n\n> Go downward\nYou are immersed in darkness and in blood.\n\nYou hold your breath.\n\nThe beast rumbles."
    },
    {
        "text": "[Themes: Surreal, surreal]\n\n> Go downward\nYou slide into the night, newborn in blood. It is all you can smell, all you can feel, all you can taste. The pyramid is slippery with gore as you scramble to distance yourself from the feathered serpent.\n\nIt has risen to an impossible height.\n\nThe star-strewn sky is its deathbed.\n\nBloody teardrops well out from its eyes, striking the pyramid below like cannonballs. Its whiskers are drenched crimson, its plumage saturated, its talons raking canyons through its belly as it claws to fight its traitorous body.\n\nIts scales dissolve. Its skin dissolves. The serpent is a slashed artery running through the universe, and from its broken vessel blood explodes in a diluvian cascade. The fires in the forest hiss and die in the deluge; the landscape streams and steams with its slaughter; and scarlet raindrops drizzle from above.\n\n> About yourself\nYou are too exhausted to move.\n\nThe night is still, the serpent dead, the city soaked with sacrificial blood.\n\nYou can see, shimmering in the downpour, a small flame amongst the wreckage.\n\n> You take the sun\nYou lift this last sunshard and cradle it between your hands.\n\nIt is all that remains from the devoured sun.\n\n> You put the sun in the sky\n(first taking the small flame)\nYou lift this last sunshard and cradle it between your hands.\n\nThe flame gutters, and fizzles, and fades.\n\n> Inventory\nYou are carrying nothing.\n\nYou close your eyes and let the blood wash over you.\n\n> Heart\nOk.\n\n> You hit the chains\nNot even the serpent's tooth could break these fastenings.\n\n> You examine chains\nCrusted with blood.\n\n> You listen\nIt throbs, and throbs, and throbs.\n\n> Unlock chains\nWhat do you want to unlock the iron chains with?"
    },
    {
        "text": "[Themes: Surreal, violence, pulpy, blood, mythopoeic]\n\n> Go down\nShot through with rainbow light. The breathing walls are panelled in stained glass.\n\nYou walk on air, weightless, dizzy. The atmosphere is supercharged with oxygen. Playful colors dart around you like dolphins.\n\nA hole has been smashed in the ceiling above, and an opening slashed through the tissue nearby leads back to the ribcage.\n\n> Go west\nVaulted with bones. No mortal architecture has ever been more colossal. Mottled webbing between the ribs contracts as though some vast organ were expanding and deflating on its opposite side, pressing against the malleable tissue.\n\nAn opening has been slashed into the webbing.\n\nLight streams from a cavity leading below.\n\n> You ask the skeleton about the heart\nThe skeleton mumbles, \"...its heart... yes... its heart... if its heart were destroyed... it is impossible... and yet it might not be impossible...\"\n\n> You ask the skeleton about the altar\nThe skeleton mumbles, \"...an unholy pedestal... a holy pedestal...\""
    },
    {
        "text": "> You descend\nThe sun has been shattered. You enter its hollow interior.\n\nThe walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.\n\nThrough a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.\n\nYou are unbearably hot.\n\n> You go to the west\nThere is no passage through that anatomy.\n\nYou are sweating profusely, throat parched.\n\n> You go to the east\nThere is no passage through that anatomy.\n\nYour skin is blistering.\n\n> Go north\nThere is no passage through that anatomy.\n\nRed droplets well out from each pore as your crisping flesh contracts.\n\n> Go south\nThere is no passage through that anatomy.\n\nYour blood is boiling, your flesh roasted, smoke pouring from your nostrils and your mouth as you collapse. First one and then another spark ignites on your body, combusting as your brittle skin blazes, your fingers melting candles crowned with undulating flames.\n\nYou can smell and taste nothing but charring meat; you can hear nothing but your own screams; you can feel and see nothing but fire; and then you know nothing at all.\n\n> Go east\n(first opening the mucosa)\nYou will have to use force.\n\n> You hit the mucosa\nYou slash through the mucosa with the tooth.\n\n> You go to the east\nYou step into a cavity enamelled in soft pearl. Twin basins, gilded silver and fashioned from alabaster, are teeming with monstrous gametes. Platinum tongs are cradled in a stand nearby.\n\nAn opening slashed into the membrane behind you leads back to the small intestine.\n\n> You take the tongs\nYou remove the tongs from their stand.\n\n> You examine tongs\nAn arm's length, elegantly wrought from platinum.\n\n> You look at the gametes\nLike tadpoles as large as children, squirming and thrashing and outfitted with gnashing razor teeth.\n\n> You take the gamete\nYou lift a spermatozoon from the basin with the tongs.\n\n> Go west\nMore humid than any jungle and flourishing with intestinal flora. Acid trickles from the sphincter overhead into a meandering rivulet. The walls throb and grumble, occasionally opening their pores to pump bile into the digesting morass.\n\nAn opening has been slashed into the nearby membrane.\n\nFeeble sunlight from above casts a tropical glow across the mucosa; the ileocecal valve yawns below.\n\n> You check your inventory\nYou are carrying:\na spermatozoon\nthe tongs\na tooth\na femur (providing light)\n\n> Go upwards\nThe sun has been shattered. You enter its hollow interior.\n\nThe walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.\n\nThrough a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.\n\nYou are unbearably hot.\n\n> Go upward\nBubbles lazily develop and combust in a lake roiling with thick acidic sludge. Its shoreline is littered with corpses and ambiguous organic detritus. Your eyes sting and your brain throbs from the noxious odor.\n\nOne skeleton, arm outstretched, fingers clenched into a fist, seems nearly to have climbed free when the acid claimed its life.\n\nEmerging from the lake's corrosive mire, its broken orb half-sunken, is the sun. A bridge molded from crushed bodies leads toward it.\n\nThe spermatozoon wriggles free from the tongs, hissing as it jerks and slithers away into some hidden recess.\n\n> Go east\nYou step into a cavity enamelled in soft pearl. Twin basins, gilded silver and fashioned from alabaster, are teeming with monstrous gametes.\n\nAn opening slashed into the membrane behind you leads back to the small intestine.\n\n> You look at the basins\nThe basins are shaped to resemble great clamshells. They are brimming with sparkling water.\n\n> You take the sperm\nYou lift a spermatozoon from the basin with the tongs.\n\n> You put the sperm in the bile\nYou had better keep that."
    },
    {
        "text": "> Go downwards\nStalagmites ascend from the floor. Stalactites descend from above. Fibrous bundles somewhat like cocoons are lumped together in masses, slowly sliding downward toward a dank chasm fringed with palpitating stalks.\n\nThe atmosphere is rank and stygian. The walls bulge with sacs and depressions.\n\n> You go west\n(first opening the sacs)\nYou will have to use force.\n\nThe spermatozoon wriggles free from the tongs, hissing as it jerks and slithers away into some hidden recess.\n\n> You cut the sacs\nYou slash through the intestinal lining with the tooth.\n\n> You go to the west\nThe walls are bubbled with pearlescent pods, warm milk trickling between them to collect in a reflecting pool. Above this pool, suspended from the ceiling by silk threads numbering in the billions, hangs an ovum.\n\nAn opening slashed into the lining behind you leads back to the large intestine.\n\n> You look at the pool\nIts white still surface is a perfect mirror.\n\n> You look in the pool\nIf you want to search something, you should examine it.\n\n> You touch the pool\nIt sticks to your fingers like sap.\n\n> You go east\nStalagmites ascend from the floor. Stalactites descend from above. Fibrous bundles somewhat like cocoons are lumped together in masses, slowly sliding downward toward a dank chasm fringed with palpitating stalks.\n\nAn opening has been slashed into the intestinal lining.\n\nThe atmosphere is rank and stygian. The walls bulge with sacs and depressions.\n\n> You put sperm in ovum\nWith a keening scream, the gamete assaults the ovum, shredding through its mallow gauze with a piranha's frenzy.\n\nThe silk threads twist above; the ovum sways; the gamete burrows gleefully into the wound its teeth have torn apart, disappearing with one last contorted flourish into the violated flesh.\n\nThere is silence.\n\nThe ovum no longer resonates; the pods along the walls no longer hum; the beast's internal organs no longer pulse and grumble. And then there is a light -- gold, small, and bright -- within the gauze, which suddenly erupts as an engulfing conflagration.\n\nThe silk threads melt. The ovum falls blazing into the pool, whose liquid lights as readily as kindling while the pods burst from the mounting temperature. The chamber has become a bonfire.\n\nYou are drenched in burning sweat.\n\n> You go to the east\nThe stalagmites are fiery columns, the stalactites dripping heated mercury, the bundles charring as the intestinal lining radiates with steaming pockets prepared to combust. Around the chasm below, the stalks are flailing as they roast.\n\nYou choke on smoke and cinders in the air."
    },
    {
        "text": "[Themes: Surreal, violence, apocalyptic, fantasy]\n\n> Go downwards\nEvery membrane is magma. Crisping cells crack to expose igneous metals boiling underneath. A draught from below fans the fires inside even higher.\n\nYour flesh blisters from the heat."
    },
    {
        "text": "[Themes: Surreal, pulpy, violence, apocalyptic]\n\n> Go downwards\nYou plunge outside into the night, your skin scorched and smoking. The world is cold and dark and you stumble across the pyramid's level top, seeking refuge amongst the rubble as the feathered serpent writhes.\n\nIts scales are whitehot irons and its feathers streaming flames, its talons glowing pokers and its eyes liquid rubies. It is coiling and recoiling with its teeth sunk in its tail, as though it would seek to tear out its anguish and feast on that emotion like a predator upon its gutted prey.\n\nIn its agony it has forgotten everything.\n\nIt shreds and shreds itself apart, snapping, ripping, roaring until its muscles are tinseled ribbons. With one tremendous tug it yanks its head back from its flesh, its jaw trailing sunbeams and sinews, and in that moment everything is gold, its form unformed, as its coils break and crash across the pyramid in molten waves.\n\n> Wait\nTime passes.\n\nThe molten metal cools, the pyramid gilded, and the fires in the forest below are dwindling.\n\nThe serpent is entirely dissolved.\n\nWhere it once towered, poised to consume the world, something else now uncoils and flickers.\n\n> You examine the snake\nThe serpent is entirely dissolved.\n\nIt is another serpent, newly hatched. Its feathers are yellow with yolk. Its scales are still unhardened, translucent, and through their glass an inner brilliance shimmers like a candle in a lamp.\n\nIt chirps and surveys the surrounding landscape, cocking its head now and then with inquisitiveness.\n\nAt last it stares into the sky.\n\nCalled by some ancient instinct, it sinks one claw, then the next, into the darkened space behind the stars, and gradually begins to climb into the airy vault above.\n\nAs it ascends, the stars demurely dim, the moon draws its invisible cloak, and another dawn blushes from the horizon.\n\nYou cannot see it clearly anymore. It is too far away, and far too bright.\n\nYou shield your eyes against the morning sun."
    },
    {
        "text": "[Themes: Fantasy, Science Fiction, moral dilemma, death, violence, military, steampunk, skeleton, female protagonist]\n\nThe Problem hurries along the rails at a magnificent speed.\nThe sky is a brilliant cerulean, and the autumn air is crisp and clear\u2014perfect weather for pressing her hard against the irons. You\nlean out over the taff, taking in the bittersweet aromas of the heath.\n\nher spyglass. \"First Mate Gertie!\" she calls from the roof, or what's left of it. The trolley took the brunt of a broadside during her last encounter with the enemy.\n\n\"Yes sir,\" you reply, snapping to attention.\n\nShe points trackward to a collection of buildings that appear over the horizon. \"Innocence Lost, from the looks of it,\" she says. \"We must have jumped the wrong split out of the deadlynds.\"\n\nYour prisoner perks when he hears the news, and his jaw lifts into a devilish rictus. \"What a pity! And here I thought I'd be tried and executed by sundown.\"\n\nThe Captain ignores his outburst. \"We'd best not charge in so quickly. Look alive, Gertie, and slow her down until you're counting ties. I'll find us another route home.\"\n\n\"Aye aye, sir.\" Your salute is high and proud. You won't let the Captain down.\nHer Majesty's Trolley Problem\n\nYou are aboard HMT Problem, a dinky-class trolley impressed\ninto Her Majesty's service. As First (and only) Mate, you do most everything that needs doing, for the Captain rarely abandons her perch on the roof. Tasks include firing the harpoon cannon, dropping the anchor, and never opening the Captain's treasure box. You also keep your handbook tucked into a coat pocket, for when you need a reminder of how to perform your duties.\n\nThe captured Admiral, bound in rope, pesters you with whatever thought happens to be running through his skull at the moment. His cold,\nempty, unblinking eye sockets glare at you mercilessly\u2014or at nothing\nin particular; it's hard to tell with skeletons.\n\n[Author's Note: No one said life in Her Majesty's Service would be easy. Fortunately, you've got everything you need: your officer's handbook, a harpoon cannon, and the indefatigable command of Captain Lionetta herself. If the Captain can't navigate you and your prisoner through the Empire-forsaken town of Innocence Lost, then who can?]\n\n> About yourself\nYou joined the Royal Trolley Service at an early age to escape those cold night, but you wouldn't have it any other way. There's nothing quite like the feel of the wind in your hair, the humsong of the rails beneath your feet, and the possibility of adventure at the end of\nevery track.\n\nUnfortunately, your service record has been less than satisfactory,\nand you imagine the phrase \"acts without thinking\" appears several times, circled in red. If not for your ability with the harpoon\ncannon, you worry you'd be inland somewhere, begging for work. Or worse.\n\nOf course, it helps that the Captain has been lenient with you to a fault. You owe her a debt of gratitude for keeping you on after you... well, after the accidents.\n\n> You check your inventory\nYou are carrying an officer's handbook.\n\n> You read\nWhat do you want to read?\n\n> You read the handbook\nYou've creased the pages with the most helpful passages:\n\nITEM 23. Vigilance is of the utmost importance for an officer on\nduty. When riding the rails, you should LOOK around to become aware of your immediate surroundings and ensure there are no obstacles on the track ahead of you. You may also find it useful to EXAMINE specific things for a better understanding of their natures.\n\nITEM 141. The harpoon cannon is an effective weapon that requires skill, precision, and a strict adherence to routine. To use, you must first LOAD HARPOON into the cannon and then SHOOT TARGET (where TARGET is whatever thing you are trying to shoot). In a pinch, another object may be used in lieu of a harpoon.\n\nITEM 335. In the event the mechanical brakes become damaged or otherwise inoperable, trolleys in Her Majesty's service are required\nto carry an anchor in reserve. You should DROP ANCHOR outside the\nrails to slow the trolley down, or once off the hotline, to force a complete stop.\n\nITEM 612. The moorsea is full of dangers, but none moreso than idleness. There will be times you have little to do other than WAIT, especially when awaiting an order from a senior officer. It remains paramount that you always carry yourself with the poise and demeaner expected of an officer of the Empire.\n\nITEM 998. While serving aboard a trolley, you are likely to\nencounter many words and phrases unfamiliar to you. You may read the GLOSSARY at any time for pithy definitions of these linguistic deviations."
    },
    {
        "text": "[Themes: Fantasy, Science Fiction, moral dilemma, skeleton, death, steampunk]\n\n> Look around\nYou are aboard HMT Problem, a dinky-class trolley impressed\ninto Her Majesty's service. On the deck are a harpoon cannon, an anchor, and the Captain's treasure box.\n\nThe captured Admiral, bound in rope, pesters you with whatever thought happens to be running through his skull at the moment. His cold,\nempty, unblinking eye sockets glare at you mercilessly\u2014or at nothing\nin particular; it's hard to tell with skeletons.\n\n\"Quit your lollygagging and drop anchor,\" the Captain commands.\n\n> Ma'am\nYour handbook has all the commands you'll need to carry out your duties.\n\na trolley.\n\n> You die of the shame\na trolley.\n\n> You look at the box\nIt's small, like a jewelry box, and unadorned. You don't see a lock.\n\n> You open the box\nYour curiosity overwhelms your sense of duty. Once you're sure the Captain isn't looking, you open the lid ever so slightly and peer inside.\n\nOn a piece of black velvet rests a single medallion\u2014or you should\nsay,\nhalf of one. It appears to be the left half of a silver Jolly Roger.\n\nHaving seen enough, you quietly close the lid. What's so special about a broken charm? Your transgression has raised more questions than it answered.\n\n> You look at the cannon\nOf your various prior positions, you spent the longest as a harpoonswain aboard the Quandary. So long, in fact, and\nacquiring so much practice, you earned yourself the nickname 'Gertie the Mark' for always hitting a target in range. Perhaps if you had still been there, had they not let you go after that mixup with the soup and the chamber pot, your skill might have saved them from being wrecked by pirates. It's a nice thought, anyway.\n\nThis one's a standard issue harpoon cannon. It's currently empty. Conveniently, a harpoon rests on the deck beside it.\n\n> You look at Admiral\nHe hasn't aged well, even for a skeleton. Cottonous mould grows in his joints and crevices, and his coat is a patchwork of filthy shreds and tatters. You'd sooner mistake him for a common beggar-thief than for the feared Admiral of the enemy fleet.\n\nThe Captain ambushed him during your most recent border skirmish with the enemy. After a lengthy battle, it was decided you'd ride the rails ahead of the wounded fleet and deliver him to the Queen, where he'll inevitably stand trial for his crimes.\n\n> You get admiral\nYou've already taken him prisoner.\n\n> You examine captain\nCaptain Lionetta strikes an imposing figure in her scarlet coat, her hair neatly tucked beneath her three-point hat. A single gold stripe\nis displayed prominently on her collar, a symbol of her rank. You\nthink returning with the enemy's Admiral in chains may well earn her another one.\n\nBold, ambitious, and charismatic, she inspires you to be the best railor you can be.\n\n> GLOSSARY\nCROSS: The places where two tracks meet, or cross.\n\nDEADLYNDS: An area of the moorsea devoid of life. Not even the\nheath grows there. It's rumoured the rebellion against the Empire is hiding their base of operations in the deadlynds.\n\nHOTLINE: Any track containing a HOTWIRE, or the wire that provides\nthe energy for locomotion (it's not yet understood how this works).\nThe hotwire is named for how it burns hot to the touch. The other type of track is a DOCKING TRACK, in which the hotwire has been snipped to allow the trolley to come to a stop.\n\nIRONS: Another name for the rails. The phrase PRESSING HER HARD\nAGAINST THE IRONS is an expression meaning to ride the trolley at a maximum speed. Those who maintain the tracks are called\nIRONSWORKERS.\n\nJOLLY ROGER: A symbol used by pirates for mysterious ends. It's\nusually depicted as a skull over a pair of crossed bones.\n\nMOORSEA: A great expanse of moors. It's thought to stretch\nthousands upon thousands of miles, though none have explored beyond\nthe deadlynds. Only a complicated network of tracks left by an unknown civilization enables travel, as the moors are covered by a toxic plant called the HEATH.\n\nRAILOR: A member of a trolley's crew.\n\nSPLIT: A type of cross where it's possible to change tracks. To\nJUMP THE SPLIT means to change tracks, while to RUN THE SPLIT means to continue without changing.\n\nSWITCH: A device that allows the trolley to change tracks at a\nsplit. The expression FLY THE SWITCH means to push the switch while\nthe trolley is still in motion, typically with the aid of a long pole. This technique will not work if the trolley is travelling at too fast\na speed.\n\nTAFF: The railing along the front of the trolley, over the bow.\nMany trolleys carry a harpoon cannon, which is usually secured to the taff.\n\nTIES: Planks of wood that lie perpendicular to the rails and\nsecure them in place. Because of their uniform spacing, the term has become a standard unit of distance. The term can also be used to measure speed when counting the number of ties the trolley passes per second. The phrase COUNTING TIES refers to the fact that when travelling slow enough, one can easily count the ties appearing behind the trolley.\n\nTRACKWARD: The direction the trolley is moving. Its opposite is BACKWARD.\n\nTROLLEY: A single mechanical carriage used to travel the rails.\nLong ago, people rode multiple carriages joined together called\ntrains, but they proved unwieldy in battle, difficult to defend\nagainst pirates, and subject to frequent wrecks due to the large\nnumber of crosses. Trolleys are easily repaired or replaced, and only require crews of two to ten railors.\n\n> You wait\nSuddenly, a Ditch\nIt isn't long before the Captain calls down to you again. \"First Mate Gertie! The track is incomplete, and the line is bearing us into a ditch! What's our speed?\"\n\nYou race to the rear of the deck and lean over the stern. The ties are coming too quickly to count, so you estimate as best you can. \"Ten, maybe fifteen, sir.\"\n\n\"Bloody hell,\" the Captain swears, and you tense. You can count on a butcher's hand the number of times you've heard her resort to such language. Death looms ahead.\n\n\"We can't fly the switch at this speed,\" she continues. \"To arms, Gertie, and wait for my signal! You'll have to harpoon the switch when it's in range, but before we run the split.\" You take up your post by the cannon.\n\nThe Admiral rattles his bones aggressively in an attempt to draw your attention. It works. \"What a beautiful day for a trolleywreck,\" he\nsays with that same irritating sneer.\n\n\"Three hundred ties and closing!\" the Captain shouts, her gaze fixed firmly trackward. You focus on the task in front of you.\n\n> You wait\nThe wind collects in your coat.\n\n\"One hundred ties!\"\n\nYou hold your breath. Just a little further.\n\n> You wait\n\"Now, Gertie! Shoot the switch!\"\n\n> Shoot switch\nYou squeeze the trigger, and the harpoon finds its mark. The timing couldn't be closer; you feel the rails sliding to their new positions beneath your feet just as the Problem reaches the split. She\nbucks and swivels over to the new line, maintaining her speed while settling into her new course.\n\n\"Great shot!\" the Captain cheers, dropping to the deck. You beam with pride, but it's to be short-lived. She goes on to explain that without a rope tied to the harpoon, you've lost yet another valuable piece of equipment.\n\n\"Don't fret, my dears,\" the Admiral interrupts. \"I happen to have some very sturdy rope on me. All you have to do is untie me, and it's yours.\"\n\nThe Captain raises a fist. \"I'd sooner use your bones for harpoons.\" Her threat silences him for at least a full minute, maybe two.\nHer threat silences him for at least a full minute, maybe two.## The Fool On the Approach\nBy mid-afternoon, you reach the outskirts of Innocence Lost. Here the buildings are little more than ragged tarps stretched over the husks\nof trolleys and other scavenged materials. The roof of one dwelling,\nan ancient caboose, makes use of an old flag to patch a hole, its bold red hue long since faded to a dirty shade of terra cotta. You're reminded of a blanket your mother had made to keep you warm at night. Back then, the Empire's flags were always in abundance, and few seemed to mind the ones that went missing. Now, no one dares remove a single flag, not since the guard began removing hands.\n\nThe Captain's voice distracts you from your thoughts. \"First Mate Gertie, there's a fool on the approach!\" Sure enough, you see a man dancing on the track, cradling his bottle of spirits like it's his partner in a very sloppy waltz. Ordinarily you'd ring a standard warning, but the trolley's bell went the way of her roof.\n\nSomething near him catches the sunlight\u2014a switch! \"Look Captain!\" you shout excitedly. Then you remember the harpoon. \"We could at least try to fly the switch.\"\n\nThe Captain shakes her head. \"I have a better idea. Load the Admiral's bones into the cannon. We'll save this fool's life if we can.\"\n\n\"You must be joking,\" the skeleton says, his tone no longer so abrasive. \"The drunkard earned his fate the moment he drank himself dim.\"\n\n\"As did you earn your fate,\" the Captain replies, \"when you raised a banner against the Empire.\" She turns back to you. \"We're three\nhundred ties away and closing fast. There's no time to argue. Load a bone, and prepare to fire.\"\n\nThe skeleton's grin gives way to genuine worry. Your instructions are clear, yet you find yourself hesitating.\n\n> You get the bone\nWhich do you mean, the left arm, the right arm, the left leg, the\nright leg or the spine?"
    },
    {
        "text": "[Themes: Fantasy, Science Fiction, military, female protagonist]\n\n> You wait\nThe wind whips your hair about your face.\n\n\"One hundred ties!\"\n\n> You wait\n\"Now!\" cries the Captain.\n\n> Shoot switch\nThe Admiral's left arm isn't quite a harpoon, but it does the job. The Problem jumps the split without incident, startling the\ndrunken man from his revelry. He waves his hat in greeting as you\npass.\n\n\"Gertie the Mark earns her name again! Well done.\" The Captain offers you a congratulatory slap on the back. Somehow, you manage a smile.\n\n> About you\nIronsworkers, Trackward\nWithin the dense heart of Innocence Lost, the buildings climb atop\neach other like too many rats in too small a box. Numerous lines converge, cross, split, or run concurrently in a tangled mess of rails and switches. Fortunately, most of the tracks appear to run straight through town.\n\nThe townspeople go about their business along the rails, slipping in and out of the tight spaces between buildings and stepping aside with disinterested expressions to let the Problem clatter by. Some\nshout insults against the Empire, and one particularly unruly skeleton throws a brick that grazes the Captain's hat. It's odd to see such a blatant display of treason, but you suppose that's what happens when the guard isn't around to keep the peace.\n\nYou continue past the docking tracks. \"Captain, might we dock and find a new anchor?\" you ask, but the Captain shakes her head.\n\n\"Without an anchor, there won't be enough track off the hotline to\ncome to a stop. Safely, that is. Besides, the scum of this town have\nno love for the Empire. It would be dangerous for the two of us to remain here with the prisoner.\" She spits off the side of the deck, then bolts upright when something trackward catches her attention\u2014a group of workers repairing the line, seemingly unaware of your approach.\n\n\"Quickly Gertie, load another bone in the cannon. We can save the\nlives of these men and women.\" She climbs to her perch and pulls open her spyglass. \"Only three hundred ties until the split, starboard.\"\n\nThe Admiral struggles against his bindings. \"Leave my bones out of this! Ironsworkers know the dangers of maintaining the rails. If they die, it's their own damn fault for not appointing a lookout.\"\n\nYou can't help but feel there's a logic in what he's saying. Or maybe you're looking for a reason to disobey orders.\n\n> You get the right arm\nYou pry the right arm in such a way that the joint pops neatly out of its socket. It's certainly easier the second time around.\n\nThe Admiral curses you and the Empire even after the cannon is loaded, but you've already numbed yourself to his voice. Numbness is the only way you'll keep going.\n\n\"Two hundred ties!\"\n\n> You wait\n\"Now!\"\n\n> Shoot switch\nThe arm finds the switch, and the rails change. You can see the workers' fear turn to relief as the trolley jumps the split to the switch track beside them.\n\nThe Admiral is less than amused. \"Oh, good shot and all that! For the good of the Empire, eternal servitude to the crown, blah, blah, blah,\" he says, his words drenched with venom. \"You're all the same, breaking the world apart in the name of duty. You and that rotten, swine-faced witch for a queen.\"\n\nnear spins round. \"If you say one word more word against Her Majesty, I'll grind your skull against the irons myself.\"\n\nUnder normal circumstances, you'd be appropriately horrified by his invective, but you're distracted by the sickly-white mould you\ndiscover coating your hands. Strangely, no amount of rubbing will get it off.\nThe Pigmonger Sells To a Crowd\nRounding a bend, the trolley happens upon several docking tracks occupied by travelling fences, their railcarts full of ration tins and fire-starters and brass buttons plucked from the uniforms of the dead. Fences are inevitable wherever people can't afford the Royal Tariffs, and while the stuff of real value goes to the cities, a farthing or\ntwo might be made in towns like these along the way. You note a great many items of standard military issue in their piles. The pirates must be growing bolder, or desperate.\n\nA crowd is gathered around a pigmonger, his latest cuts splayed on racks and rusted hooks. The frenzied shoppers, jostling each other for a better position, have him surrounded. Many stand directly on the track.\n\n\"Three hundred ties!\" the Captain shouts. You already know what must\nbe done.\n\nAnother switch, another duty. For the Empire.\n\n> You get the leg\nWhich do you mean, the left leg or the right leg?"
    },
    {
        "text": "> You wait\nThe Admiral's bones rattle inside the cannon.\n\n\"One hundred ties!\"\n\n> You wait\n\"Now!\"\n\n> Shoot switch\nThe trolley swerves, and the crowd is spared, but not so for the skeltons huddled on the switch track. The trolley devours them, crunching on bones, spitting up dust. The air is bathed in their deaths.\n\nThe dust settles everywhere; your vision blurs. You grow sick inside. Why? Why is this happening? When will the nightmare end? You try, and try, but the whiteness won't come off. You look over to the Admiral\nwho has lost his fire. Dust peters out of his eyeless darkness.\nDown With the Queen! Long Live the Queen!\nThe trolley pushes onward, through Innocence Lost, through markets, buildings, and wrecks. Then, a rally.\n\nPeople everywhere. \"Down with the Empire!\" they shout with their\nsigns. \"Down with the Queen!\" So many people! People on the track. People on the switch track. The trolley pushes ever onward, trackward.\n\nThe Captain commands you to load a bone. Load a bone, she says. Save the people. Long live the Queen.\n\n\"Down with the Empire!\" they shout. \"Down with the Queen!\"\n\nThe Admiral is silent, or maybe you choose not listen.\n\n\"Three hundred ties!\" the Captain cries.\n\n> Right leg\nThe numbness has settled deep in your bones. You pull the remaining limb from its home. Now it's here in the cannon, where it should go. You must save the people.\n\n\"Two hundred ties!\"\n\n> About you\nThe mould won't come off. You want chew the meat off your finger\nbones, jam your limbs into wheel axle, stop this infernal contraption on a collision course with hell. If only you could make it stop.\n\n\"One hundred ties!\"\n\n> You talk to Captain\nYou can't. You don't trust your tongue.\n\n\"Now!\"\n\n> Shoot switch\nYou squeeze the trigger, and the bones find their mark. You saved the people! The people are crushed!\n\nfind. You realise no matter what you did, that people would die. But you're still alive.\nThe End of the Line\nHer Majesty's Trolley Problem, long live the Queen. More than\nthree hundred years Her reign has carried on, like a trolley unable to dock. Clang, clang. Clang, clang. Clang, clang.\n\nThe Captain squeals her commands. The enemy is approaching, trackward, on the dread trolley End of the Line. Death rides the rails,\nthe lone escape on the switch, starboard, to which you have little time.\n\n\"Three hundred ties!\" she cries. If you don't switch the switch, the trollies will collide, and you'll most certainly die."
    },
    {
        "text": "[Themes: Science Fiction, Fantasy, death, moral dilemma, steampunk, female protagonist]\n\n> You take the medallion\nIt's tangled around the spine.\n\n\"One hundred ties!\"\n\n> You ask Captain about the medallion\nYour handbook has all the commands you'll need to carry out your duties.\n\n\"Now!\"\n\n> You open the book\nRules, rules, and more rules:\n\nITEM 23. Vigilance is of the utmost importance for an officer on\nduty. When riding the rails, you should LOOK around to become aware of your immediate surroundings and ensure there are no obstacles on the track ahead of you. You may also find it useful to EXAMINE specific things for a better understanding of their natures.\n\nITEM 141. The harpoon cannon is an effective weapon that requires skill, precision, and a strict adherence to routine. To use, you must first LOAD HARPOON into the cannon and then SHOOT TARGET (where TARGET is whatever thing you are trying to shoot). In a pinch, another object may be used in lieu of a harpoon.\n\nITEM 335. In the event the mechanical brakes become damaged or otherwise inoperable, trolleys in Her Majesty's service are required\nto carry an anchor in reserve. You should DROP ANCHOR outside the\nrails to slow the trolley down, or once off the hotline, to force a complete stop.\n\nITEM 612. The moorsea is full of dangers, but none moreso than idleness. There will be times you have little to do other than WAIT, especially when awaiting an order from a senior officer. It remains paramount that you always carry yourself with the poise and demeaner expected of an officer of the Empire.\n\nITEM 998. While serving aboard a trolley, you are likely to\nencounter many words and phrases unfamiliar to you. You may read the GLOSSARY at any time for pithy definitions of these linguistic deviations.\n\n\"Now!\"\n\n> You open the box\nYou snatch the charm from the Captain's box and make the two halves whole. The skull's surprise is as wide as your own. \"It fits,\" he says with wonderment. \"Is it yours?\"\n\n\"Now!\" the Captain cries.\n\n> No\nLife is a track, full of possibilities, with the split fast approaching. Here's the switch track now: escape to the moorsea where you belong, free from the Empire, her burdens and her laws... No. You'll stay where you are.\n\n\"No,\" you say. \"No, it's not.\" You point at the Captain. Before his end, you think he should know.\n\nA tilt of the cannon, a squeeze of the trigger, and the Admiral finds the switch. You jump the last split out of Innocence Lost, and the Problem is a problem no more."
    },
    {
        "text": "[Themes: Science Fiction, Fantasy, violence, death]\n\n> Yes\nLife is a track, full of possibilities, with the split fast approaching. Here's the switch track now: escape to the moorsea where you belong, free from the Empire, her burdens and her laws. You hit\nthe switch and jump the split.\n\n\"Yes,\" you say, not so loud that the Captain might hear. \"Yes, it's me.\" You dig into your face and slough off the pigflesh only beginning to spoil, slapping chunks messily onto the deck. The air is delicious on your bone. You've worn a pig's face for way too long.\n\n\"My daughter... What you've done to me, you couldn't have known,\" the Admiral weeps, yet you are content in your lie. What's one skull to another? He'll never know. Everyone is bones beneath, even while most pursue the Queen's fashions. You'll look like Her no more.\n\nYou gather the pieces of your acquired father and make your way to the stern. The fall will be harsh and you'll lose your meat, but backward is now trackward.\n\nThis way is preferred."
    },
    {
        "text": "[Themes: Adaptation, dark humor, modern day, apocalypse, based on songs, weird, dark comedy, black magic, nightclub, Evil protagonist, male protagonist, sexual innuendo, ghosts, apocalyptic, Demon, lounge singer, workplace, Lovecraftian, lounge]\n\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n[Author's Note: You're a lounge singer. Time to knock 'em dead.]"
    },
    {
        "text": "> You look at Gladys\nShe had her lips done recently; they're gleaming in the music. Her eyes are aglow, and she's breathing deep, showing off a little cleavage before the universe dies.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> Wink\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> Wink\nYou return Gladys' wink with a merry wave, and add a little dance move, and she beams at you and dances back. The destruction of all life is so much sweeter with an unholy consort.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You kiss gladys\nYou did, just minutes ago. You breathe deep; the memory lingers. In the audience, Gladys gives you a knowing look.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> Wave\nYou give the crowd a little wave, a little dance, and a big smile. When you summon Sazark the Destroyer to kill them all, you want them cheerful.\n\nThe summoning. It is time.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> Hail satan\nI totally understand. Except for the words; I'm having trouble with those.\n\n> Xyzzy\nAh, one of the first spells you learned in the service of the Destroyer. You allow yourself a moment to reminisce ... your early days with Gladys, the amazing energy of the romance, the summon of Butera's shade, those long walks in the swirling otherworldly void.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> You worship the satan\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\nForgive me, please. You've bumped your head on the low ceiling of my comprehension.\n\n> Inventory\nYour suit is red velvet. Your microphone is dull black. Your heart is pure, your master is Sazark the Destroyer. Your purpose is love, and the destruction of all. You smile. It is time.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\nYour suit is red velvet. Your microphone is dull black. Your heart is pure, your master is Sazark the Destroyer. Your purpose is love, and the destruction of all. You smile. It is time.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> Love\n(the red velvet suit)\nThat's just weird.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You love crowd\nThat's just weird.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You draw the pentagram\nHm?\n\n> Go east\nYou abandon the stage for a moment, ducking back into the wings from which you emerged. The wings from which you emerged. You\navoid Gladys' gaze. The music will play on. You'll be ready in a moment.\n\nSazark the Destroyer must be summoned.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You go to the west\nYou're a showman, herald of the death of all. But the moment feels wrong. Glancing into the wings, you feel the need to gather yourself, to really be ready. You avoid Gladys' gaze, but you can feel\nher disappointment follow you as you exit, stage left.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> Xyzzy\nAh, one of the first spells you learned in the service of the Destroyer. You allow yourself a moment to reminisce ... your early days with Gladys, the amazing energy of the romance, the summon of Butera's shade, those long walks in the swirling otherworldly void.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> Summon sazark\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\nIt's fitting, of course, that the world ends here, at Cherrywood, in a storm of orgone, music, and love.\n\nThey laughed at you at the Diamond Room. They boo'ed you offstage at Manny's Temporary Jazz Establishment. They wouldn't even let you in the door at the Desert Springs Resort offices, and you had a\nmanager, then.\n\nBut beyond the stars, and deep within the earth, dwelled Sazark, and the minions of Sazark, and they felt in you the kinship of true lounge art. They sent you Gladys, and your song ... your theme song ... came true. Love came to play, and not just play: it came to kill\neveryone.\n\nWith the music as the engine, with the souls as fuel, with your hand and voice as instrument, you summon Sazark the Destroyer, and you do it with a little hip-wiggle that makes Gladys almost blush.\n\nCue pyrotechnics.\n\nAs the Destroyer walks the earth, and as the earth dies, you reflect on your crimes, your sins, your delights, your pair of modestly-successful LPs.\n\nIt's been a good gig. Goodbye, cruel world.\n\n-=-=-=-=-=-\n\nThe moment is done. The world is done with it.\ndebugcheapnitfol quit with exit status: 0\n\n> Sing\nThe summoning can wait a second. This is your music, your\nmoment. You sang it a thousand times when the blood was in your\nveins instead of on your hands, and the crowd wants it. You sing it silky, you sing it gentle ... and when the band hits that pause, you belt it out: the day that love ... came to play! In\nthe crowd, Gladys dances and does her little kitty-cat paws, the lust of eternity's end glowing in her eyes.\n\nEat your heart out, Sinatra. Again. Because it was hilarious\nthe first time.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> Dance\nFlush with the warm magnificence of the orgone energy projected from the heart of the demon, you let your hips express the cosmic disdain. Brushing the lapels of your red-velvet suit and flashing your pearly whites at your doomed audience, you celebrate their deaths and celebrate your own. Magical.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You talk to Gladys\nYou get closer to the mic, considering, maybe, a few parting words ... a little speech about how glad you are that everyone's here, and how gladder you are that, in a few minutes, they'll all be gone. A few words for Gladys, a few words for the lounge. A joke, some questions ... a crocodile tear, perhaps, for character? But the moment passes. You've never been a great talker, only a great singer. And why talk to the dead?\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You jump\nYeah, you are distracted. It's natural to be nervous at a\ntime like this. Not that there's ever been a time like this\nbefore, with the fate of all life in your hands, right next to the microphone, waiting to be crushed. All life, that is. Not the microphone.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\nOnstage at the Cherrywood Lounge\nThe crowd looked dead before you came on. Now they're lively, as the music begins. You catch a glimpse of Gladys; she gives you a wink.\n\n> You look at the microphone\nIt's not your lucky mic. You requested it, but the Voices That Speak For The Destroyer insisted that the house mic would be sufficient for the summoning.\n\n-=-=-=-=-=-\n\nThe moment is done. It could have gone differently.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Fan fiction, fanfic, magic, treasure hunt, Harry Potter, alchemy, fan fiction, female protagonist, Gay/queer protagonist, homosexual protagonist]\n\nMagic is real.\n\nOr that's what the Headmaster of Hogwarts College--no, Hogwarts School of Witchcraft and Wizardry--wants you to think. Assuming that you're not going insane, it seems like he's probably right. How else could you explain the way he appeared out of nowhere, or how he made you speak in rhyming couplets for ten minutes, or how he brought your grandmother's Lladr\u00f3 figurines to life and had them dancing with each other, or packed all your things with the wave of a wand, or...\n\nThen, he asked you to be his new Professor of Muggle Studies. Whatever a \"Muggle\" is. You just needed to sign the contract, say good-bye to your old place, and you'd be whisked away. By magic. To Scotland. To start your new job immediately.\n\nYou asked for a little while to think. What you really meant, of course, was \"a little while to go on a bender in celebration of all your notions about life and the world being shattered.\" That worked out pretty well, except you woke up with a pounding headache and a signed contract. Oh, and an old shoe, which apparently you are supposed to touch whenever you want to be transported. You're not sure how that works, but he put it around here somewhere--you can't quite remember where--and you'd better find it if you want to make it to Hogwarts.\n\nA magical contract is probably pretty unbreakable, yeah?\n\nAn exploration of the wonderful world of wizardry, with apologies to J.K. Rowling, by Flourish Klink\n\nYour simple one-room flat, suitable to the needs of a young teacher. The place was advertised as a steal, and everyone who sees it has to admit that its bones are good. Unfortunately, it hasn't been redone since before the Second World War. Also, it's about the size of a postage stamp. It's cheap, anyway... You've got a bed, a wardrobe, a table, and an ancient Aga to cook on. One lonely broadside hangs on the south wall. The door on the north wall leads to the rest of the building. A packed trunk stands in the middle of the floor.\n\nOn the table are a contract, a Hogwarts brochure, and a handful of yellow Jelly Babies.\n\n>You read: A lot of legalese committing you to teach at Hogwarts for a full year, blah, blah, blah, painful death if you don't fulfill the terms of the contract, blah, blah, blah, then the signatures Albus Dumbledore and Alice Armstrong. Yep. That's your drunk-signature. You'd know it anywhere.\n\nHoly shit. It says that they can erase your memories if you don't actually hold up your end of the deal. It says they can hex you. What does hexing even mean? It doesn't sound very pleasant. ...looks like you're going to have to go to Hogwarts.\n\n[Author's Note: You play as Alice Armstrong, the new Professor of Muggle Studies at Hogwarts School of Witchcraft and Wizardry in Scotland, even though you've never heard of \"muggles\" before and never knew magic was real until the headmaster proved it to you. But when you arrive at the school, you discover that a botched spell has made everyone disappear and you're now trapped within the castle. Is this something you can fix without magic?]\n\n> You examine broadside\nSangita printed it. It's set in black type on white paper--an excerpt of poetry by Shelley.\n\nYou read: All day the wizard lady sate aloof,\nSpelling out scrolls of dread antiquity,\nUnder the cavern's fountain-lighted roof;\nOr broidering the pictured poesy\nOf some high tale upon her growing woof,\nWhich the sweet splendour of her smiles could dye\nIn hues outshining heaven - and ever she\nAdded some grace to the wrought poesy.\n\nNow that you know what you know about magic, having \"The Witch of Atlas\" on your wall is pretty damn ironic.\n\n> You take all from the table\nYou can't use ALL in this story. Sorry.\n\n> You examine the Babies\nJelly Babies just like any you'd buy in a shop, except they're all yellow.\n\nThe Grand High Mugglewump or whoever he is kept offering you sweets. You tried to slip them down your sleeve so you didn't have to eat any. Hopefully he didn't notice. Even if you liked Jelly Babies, you probably couldn't have kept them down--you were pretty much in shock after he appeared unexpectedly in your flat. Maybe he thought that raising your blood sugar would help? Do wizards even have blood sugar? Well, of course they have blood sugar, they're human, aren't they? ...aren't they? God, this is not a good line of thinking.\n\n> You take the Babies\nTaken.\n\n> You examine the brochure\nA tri-fold brochure, like you'd see in any admissions office. This one just happens to have moving pictures, including an aerial view of a craggy, hodgepodge castle that must be Hogwarts itself.\n\nYou read:\n\nHeadmaster Albus Dumbledore (Order of Merlin First Class, Grand Sorc., Chf. Warlock, Supreme Mugwump International Confed. of Wizards)--et cetera, et cetera.\n\n...wait a minute. That's not what the brochure said when Dumbledore gave it to you at your interview. Then, it was about Hogwarts College--not Hogwarts School of Witchcraft and Wizardry--and it was all about how Hogwarts provides extensive bursaries for nearly all its students, and how they follow a unique educational programme, focusing on life skills and personal interests. And the pictures didn't move--and there certainly wasn't a picture of students flying around on broomsticks--and the section about Hogwarts's history didn't mention that most of the historical alumni still live there as ghosts.\n\nOf course, now that you think about it, it must have been an enchanted brochure. After you accepted the job and Dumbledore broke the news about magic to you, its nature changed. That makes as much sense as anything seems to lately.\n\n> You check your inventory\nYou are carrying:\na Hogwarts brochure\na contract\na handful of yellow Jelly Babies\nan identity card\n\n> You examine the identity card\nThe usual lilac-and-salmon card, with a picture of you looking awfully peaked.\n\nYou read: ALICE ARMSTRONG.\n\n> You examine the trunk\nA steamer trunk that once belonged to your grandmother, covered in dingy brown canvas and lined with outstandingly ugly floral-sprigged paper. You can't see the paper, of course, because it's closed, stuffed to the brim with your clothes and knicknacks.\n\nHeadmaster Dumbledore waved around that ridiculous wand and everything just jumped in there. The Lladr\u00f3s even wrapped themselves up in newsprint to make sure they wouldn't crack! That probably convinced you more than anything--parlor tricks aside, absolutely nothing could make all your stuff fit in that little trunk except magic.\n\n> You open the trunk\nThere's nothing on top of the trunk, and you'd better not look inside. Everything's packed, and if you opened it you probably couldn't get it closed again. Anyway, you know that the old shoe's not in there.\n\n> You take the trunk\nThat's too heavy for you, and anyway, why would you want to carry it?\n\n> You look at the wardrobe\nSturdy, tall, wooden; a relic of your Grandma Gigi. The inside is lined with outstandingly ugly floral-sprigged paper, twin to the trunk she also left you.\n\n> You open the drawer\nYou bought the bed when you broke up with Sangita. The drawer was the selling point: so functional! Now that it's about to go into storage (well, that's what the Headmaster said would happen, anyway. Maybe it's going to go into a pocket dimension or something. Who knows?) you're feeling a bit wistful. Sangita was great, and you still pretty much miss her. It's been a year, though, and you'd better get over it. Maybe it's a good thing you're starting over in Scotland. There definitely won't be anything there to remind you of her.\n\nNothing inside, not even dust--no old shoe.\n\n> You open the wardrobe\nYou can remember Grandma reading you the Narnia books; you used to hide inside the wardrobe, behind her fur coats, and pound on the back wall to see if anyone in Narnia, on the other side, could hear you. The sound of the door creaking open brings it all back: the scent of the moth balls, the feel of her papery skin, the heavy warmth of the coats around you.\n\nNo old shoe here, either. All this searching is doing exactly nothing for your headache.\n\n> You examine table\nAn old plastic-topped table. A bit wobbly.\n\n> You examine aga\nAn ancient Aga, with the classic black top and white front panels, rusty and unassuming. At least the stove is functional, and you use the oven for storage.\n\nActually, part of why you ended up taking this flat is the Aga. It's sentimental, really. When you were a small child, your parents' house had one just like it. Your mother never liked to cook--for her, a family meal meant going round the corner for curry take-away instead of actually sitting down in a restaurant--but whenever your grandmother came to visit, she'd make the most incredible meals on that crummy old thing. You can still practically taste everything--she did all the standards, a roast one day, bubble and squeak the next, tarts and scones and pies. Unfortunately, she never taught you any of it."
    },
    {
        "text": "[Themes: Fan fiction, treasure hunt, alchemy, homosexual protagonist, female protagonist, fan fiction, Harry Potter, fanfic]\n\n> Look around\nYou've got a bed, a wardrobe, a table, and an ancient Aga to cook on. One lonely broadside hangs on the south wall. The door on the north wall leads to the rest of the building. A packed trunk stands in the middle of the floor.\n\n> You open aga\nYou open the Aga, revealing an old shoe.\n\n> You go to the north\nYou get the sense that it wouldn't do you any good to change your mind and go. Surely they wouldn't let a secret like, oh, the existence of magic go so easily. Best to at least see what Hogwarts is like.\n\n> You touch the trunk\nSlightly rough.\n\n> You get the shoe\nAs soon as you touch the shoe, it feels like someone's set a giant fish-hook in your belly and started reeling you in. After a brief, stomach-churning journey, you find yourself somewhere quite different--and no longer clutching the shoe. You must have lost it on the way.\n\nA circular room with a high, vaulted ceiling. It is filled with various magical instruments, an enormous claw-footed desk, and innumerable oddities--all of which have been pushed, higgledy-piggledy, to the walls, and some of which look much the worse for it. An elaborate perch stands forlornly next to the desk, with no bird seated on it. The walls themselves are covered in portraits of important-looking people. A spiral staircase appears to continually spin downwards--almost like an escalator--at the far end of the room.\n\nWait, what?\n\n> You look at the desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\nOn the claw-footed desk is an iron bell.\n\nAs you examine the designs, you walk around the desk--and notice a piece of purple parchment, dropped nearby. You pick it up.\n\nYou read: INGREDIENTS. To be carried by spellcaster.\nThe next bit is all symbols:\na dot inside a circle;\na crescent moon;\na female symbol;\na male symbol;\na 2 with a 1 intersecting its tail;\na female symbol with horns;\na curiously embellished lower-case h;\na circle bisected by a horizontal line;\na circle with a complicated, Celtic-looking pattern.\n\nNo, really, what the fuck is going on?\n\n> You examine the bell\nA little iron bell with a slightly rusty clapper. It's lying on its side, as though somebody hastily dropped it.\n\nYou've got a sinking feeling you know what's going on. This is Hogwarts School of Witchcraft and Wizardry. That was some bona fide wizardry there, only instead of being on your trunk, it was on you. Okay. All right. So the next step is to find Dumbledore. Why isn't he here?\n\n> You examine the portraits\nCurious portraits elaborately framed; they are more like flat-screen televisions than oil paintings, however, as their inhabitants are animated. Most of them are sleeping, rhythmically breathing: \"Dilys Derwent, headmistress 1741-1768,\" \"Phineas Nigellus Black, headmaster 1890-1925.\" One is awake, reading a book: \"Newton Scamander, headmaster 1930-1939.\" You deduce that they are former heads of Hogwarts.\n\n> You ask Scamander about Dumbledore\n[Use TALK TO to interact with characters.]\n\n> You talk to Scamander\n\"Can you talk?\" you ask the portrait.\n\n\"Of course I can, what do you think?\" he replies.\n\n> 1\n\"Do you know where Headmaster Dumbledore went?\" you ask, trying to figure out how to be polite to a portrait.\n\nHe peers at you over the top of his book. \"In my day we never would have thought of such a thing as having a Muggle at Hogwarts,\" he says, which does not seem to be quite on topic. \"Particularly not one that's as rude as you. You were late. Very late. So he thought he'd get some business done first.\"\n\n> 1\nUgh. Your head aches and now you feel guilty on top of it. \"Business?\" you ask, but before you can say anything further, yet another weird thing happens. A bizarre little man appears, floating between you and Scamander's portrait. He seems to have come from the ceiling, but--where could he have been, up there?\n\nBefore you have a chance to say anything, even to exclaim in surprise, he shouts in a singsong voice, \"Oi! It's the new Muggly-girl!\" He dances around--surprising, how he can manage to dance in midair--to hover with his feet just on the level of your nose. \"I, of course, am Peeves the Proper, King of this castle. Bet you're wondering what's going on, aren't you? Eh-eh-eh?\" The bells on his hat jingle.\n\n\"Yeah, uh, starting with -\" you begin, but he cuts you off.\n\n\"There once was a lazy headmaster\nwho thought he could cast a spell faster.\nBut the corners he cut\nslammed dimension doors shut\nand now he's a missing spellcaster!\"\n\n\"Get out of here, Peeves,\" Scamander says. \"I'll call the Bloody Baron!\" To your surprise, the threat seems to work: Peeves disappears as quickly as he came.\n\nAll right. So Dumbledore tried to cast a spell and everybody disappeared, including him. That makes... well, it makes a weird kind of sense. It seems like you have a couple of options--you could try to fix the spell, even though you're not magical, or you could try to figure out where you are and start walking home. Maybe you could find a train station or something.\n\nWhy did you ever think this whole teaching thing was a good idea?\n\n> You wake nigellus\nThat seems unnecessary.\n\n> You talk to Scamander\n\"Um, Headmaster Scamander?\" you ask.\n\n\"Yes?\"\n\nThis has been fun and all, but you're pretty much ready to go home now.\n\n> 3\n\"So, are you a person, like, behind a window? Or a real animated person?\" you ask.\n\n\"Excuse me?\" the Headmaster asks.\n\n\"I mean--you're not a hologram or something? You and the other paintings?\"\n\n\"What in Merlin's name is a hologram?\" he inquires. It occurs to you that you don't actually know how holograms are made. What's that phrase--'any sufficiently advanced technology is indistinguishable from magic'?\n\n> 1\n\"So who--or what--precisely is Peeves?\"\n\n\"The castle poltergeist. I'm not entirely clear on why he didn't disappear along with all the other ghosts,\" Scamander muses. \"Perhaps he's simply too annoying for magic to deal with.\"\n\n> 2\n\"What do you mean, disappeared?\"\n\nScamander sighs. \"You heard Peeves,\" he says. \"The headmaster and his assistant were making complex adjustments to the castle's wards. Something related to your arrival here, as I understand it. In any case, something they did went wrong, and off they went, Merlin knows where. I believe you've already found their notes.\" Well, shit.\n\n\"Um. Thanks,\" you say, to be polite.\n\n> You talk to Scamander\n\"Um, Headmaster Scamander?\" you ask.\n\n\"Yes?\"\n\n> 2\n\"So how can I get back home--a train or a bus or something?\"\n\n\"How should I know?\" Scamander asks. \"I've been a portrait since 1991, and before that I never came here if I could help it. Being the Headmaster stank.\"\n\n> 1\n\"Who's the Bloody Baron?\"\n\n\"The only thing Peeves is scared of. I don't suppose the threat will work long--any minute now he'll figure out that the Baron's not around, and then he'll be insufferable.\"\n\n> 1\n\"Never mind,\" you say. Newt nods curtly and goes back to his book.\n\n> Instruments\nI only understood the first part of that-- trying anyway.\n>EXAMINE INSTRUMENTSSome of the instruments are familiar: an astrolabe, a Leyden jar, an orrery. Others are strange: complex silver contraptions that whirr and emit puffs of smoke intermittently.\n\n> You examine the instruments\nSome of the instruments are familiar: an astrolabe, a Leyden jar, an orrery. Others are strange: complex silver contraptions that whirr and emit puffs of smoke intermittently.\n\n> You ring bell\nDing-a-ling-a-ling!\n\nThe sound makes you think. There was a church quite near Grandma's house and when the bells rang she'd ring a little bell of her own. It was a funny tic. She'd ring the bell at plenty of things, actually--the toad that lived in her garden and the owls that flew in to visit, various pots and pans in her kitchen, sometimes even at you. Grandma liked bells. \"They scare the faeries out,\" she'd say, but you knew perfectly well that she was just telling you old wives\" tales.\n\n> You take the bell\nTaken."
    },
    {
        "text": "[Themes: Fan fiction, female protagonist, alchemy, fan fiction, Harry Potter]\n\n> Look around\nA circular room with a high, vaulted ceiling. It is filled with various magical instruments, an enormous claw-footed desk, and innumerable oddities--all of which have been pushed, higgledy-piggledy, to the walls, and some of which look much the worse for it. An elaborate perch stands forlornly next to the desk, with no bird seated on it. The walls themselves are covered in portraits of important-looking people. A spiral staircase appears to continually spin downwards--almost like an escalator--at the far end of the room.\n\n> You examine the orrery\nA minute model of the solar system, slowly revolving.\n\n> You examine desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\n> You examine the jar\nA glass jar coated in foil.\n\n> You examine the astrolabe\nA spherical astrolabe made of glass and chased silver.\n\n> You get the astrolabe\nAs you reach out for the astrolabe, your fingers slide away. Magic, most likely, to prevent curious students from destroying things they don't understand."
    },
    {
        "text": "[Themes: Fan fiction, homosexual protagonist, female protagonist, fanfic, fan fiction]\n\n> Go downwards\nYou step onto the spinning staircase and it delivers you, conveyor-belt style, to the corridor below. A gargoyle settles into place behind you, blocking the way you came.\n\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase--yes, really squirming, it's weird - leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast. Not very much like a stately castle, you have to say.\n\nNow how are you going to get back up to the office? There's got to be some kind of mechanism for moving the gargoyle, or another way up, but you sure can't see it.\n\n> You look at the gargoyle\nAn ugly gargoyle made of black stone, sitting motionless as if waiting for you to say something.\n\n> You talk to the gargoyle\n\"Hello,\" you venture. \"Well, I suppose I'd best let you in, eh?\" he responds in a gravelly voice, and steps aside to let you pass.\n\nA circular room with a high, vaulted ceiling. It is filled with various magical instruments, an enormous claw-footed desk, and innumerable oddities--all of which have been pushed, higgledy-piggledy, to the walls, and some of which look much the worse for it. An elaborate perch stands forlornly next to the desk, with no bird seated on it. The walls themselves are covered in portraits of important-looking people. A spiral staircase appears to continually spin downwards--almost like an escalator--at the far end of the room."
    },
    {
        "text": "[Themes: Fan fiction, homosexual protagonist, magic, female protagonist, Harry Potter, fan fiction]\n\n> Go downward\nYou step onto the spinning staircase and it delivers you, conveyor-belt style, to the corridor below. A gargoyle settles into place behind you, blocking the way you came.\n\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You talk to the fat lady\n\"Hello?\" you ask.\n\n\"What's the password?\" the portrait asks.\n\n> 3\n\"How far to the next place where I can get a train? Or a taxi or a bus or anything.\"\n\nShe looks at you doubtfully. \"Muggle transport? It'd take you days, if you're going to walk. Anyhow, the castle's sealed itself up when whatever-it-was happened, to prevent the problem from growing. You can't go anywhere.\"\n\n> 3\n\"What did you mean when you said the castle was 'sealed'?\"\n\n\"The castle knows when something's wrong,\" she explains slowly, as though speaking to a particularly dense child. \"There must be something really wrong, too, because it's decided that nobody can come in or out. The wards are all tight as can be; only a Portkey can get you in here now, and nothing can get you out till things are fixed.\"\n\n> Xyzzy\nNothing happens. You must really not be magical. Or maybe that only works in text adventures?\n\n> 1\n\"I don't know the password. Can't I come in?\"\n\n\"No,\" she says. \"No admittance without it, even in time of crisis.\"\n\n> 1\n\"Um, the password is abracadabra?\"\n\n\"Sorry,\" she says.\n\n> 2\n\"Do you have any idea where everybody went?\"\n\n\"They just disappeared,\" she says. \"How would I know? Newt Scamander up in the Headmaster's office probably saw it. Deep sorcery, no doubt.\"\n\n> 2\n\"What precisely does 'deep sorcery'\" mean?\"\n\nThe fat lady looks you up and down. \"Are you, by chance, a Muggle?\" she asks.\n\n> 2\n\"What is a Muggle?\" you ask.\n\n\"Well, you must be one then. That's bad luck. You can't do magic, is what a Muggle is. Sometimes a Muggle can reverse a spell, but who knows if you can manage this one?\" she asks, apparently rhetorically. \"You'll have to look into it. Try the library.\"\n\n> 1\n\"Open sesame?\" \"No.\"\n\n> 1\n\"Please?\" \"No.\"\n\n> 1\n\"Pretty pretty please?\" \"No.\"\n\n> 1\n\"Pretty please with a cherry on top?\" \"No!\"\n\n> You examine squirming\nA staircase between the fourth and fifth floors."
    },
    {
        "text": "[Themes: Fan fiction, Harry Potter]\n\n> Look around\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You go to the northeast\nYou must be in the top of a tall tower; the room is circular, cold, and echoing. Owls swoop in and out of the many unglassed windows. Four perches jut from the walls, high above your head, in each cardinal direction. An owl-parrot seems to have made himself a nest of feathers on the floor. You can also head southwest through a feather-strewn archway. Lots of feathers all over. Wow. Apparently wizards have a thing for birds.\n\nYou haven't seen an owl since Grandma died--her house was always ground zero for owls. Day or night, there were always one or two around. She even kept a few mice on hand to feed them, like a normal person would keep birdseed. Kind of bloodthirsty, for an old lady, now that you think about it.\n\nAs you enter, the owl-parrot turns his enormous head to look at you. \"Awk. Here for the medallion?\" he asks. \"Ah--yes?\" you respond. \"CALL the owls,\" he says. \"Owls are very polite. Owls like names. Four pieces. Four owls. Four names. Four names! CALL the names, CALL the owls!\"\n\n> You call the alex\nNothing happens; you must have got something wrong.\n\n> You talk tthe owl-parrot\n\"Hello, kakapo?\" you inquire. He looks up expectantly. (He seems so intelligent that it's hard not to address him like a person.)\n\n> 1\n\"First owl!\" the owl-parrot squawks in his birdy little voice. \"500 begins it. 500 ends it. 5 in the middle is seen. First of all figures and first of all letters take their stations between.\" He cocks his head at you, as if judging you.\"\n\n> You call David\nAn elf owl flutters through one of the lowest windows. It's David, though you didn't expect he'd be so small. He's flying so low because the red piece of wood he carries weighs him down; he lands on your hands for a moment, sides heaving with the effort, before leaving you the piece of wood and flying up to the easternmost perch.\n\n> You examine the red wood\nAn intricately carved little piece of wood, painted red.\n\n> 2\n\"Third owl. One thousand one times two. Enigmatic!\" \"How did a kakapo learn the word 'enigmatic'?\" you ask. He doesn't deign to answer.\n\n> You call Mimi\nAn eagle owl flies in through one of the high windows; this must be Mimi. She regards you briefly, then offers you a black piece of wood. When you take it, she flies up to the western perch.\n\n> You examine the black wood\nAn intricately carved little piece of wood, painted black.\n\n> 3\nYou try to engage the owl-parrot in conversation, thinking that perhaps he'll let something slip about the names. \"How does it feel to be so special? A talking kakapo and all,\" you say. But he seems to take it as a reflection on his species' endangered status, and he huffs and turns away. Whoops.\n\n> You talk to the parrot\n\"Hello, kakapo?\" you inquire. He looks up expectantly.\n\n> 1\n\"Second owl!\" he proclaims. \"Cut off her head, she's male. Cut off her tail, she's a fruit. Cut off both, she's part of you.\" He makes a strange, deep sort of noise in his throat, then remarks, \"She's really an owl, though.\"\n\n> You call Pearl\nA Lapland owl seems to come out of nowhere and plops herself down, ungracefully, on your shoulder. \"Pearl?\" you ask. She turns her head and responds \"tuwhit-tuwhoo\"--it sounds encouraging. She delicately offers you a yellow piece of wood, using one claw; when you take it, she flies off to sit on the south perch.\n\n> 1\nYou could swear the bird's smiling at you. \"A villain with a common heart. Ten is his end, but he's fifty to start.\" He ruffles his feathers. \"No cheating!\"\n\n> You call Lex\nA spotted owl lands on the sill of one of the windows, then--with great dignity--glides over to the north perch. As he goes, he drops a white piece of wood into your waiting hands. Well, he doesn't look a lot like Lex Luthor, but this is undoubtedly Lex.\n\nYou weigh the four pieces of wood in your hands for a moment--and then it strikes you. Fitting them together just so, you make a little wooden medallion--a circle around some Celtic knotwork. It's the same shape as one of the symbols in Dumbledore's office.\n\n> You call Lex\nLex has already alit. You don't need to shout.\n\n> You talk tthe owl-parrot\nHe's perfectly happy ignoring you, sitting on his nest. He apparently feels that he's done his job.\n\n> Go southwest\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You go to the northwest\nAn extremely tiny landing with a brass plaque affixed to the low ceiling. A narrow passageway leads southeast, and a silver ladder leads up through a trapdoor.\n\n> You look at the plaque\nA very shiny plaque.\n\nYou read: SIBYLL TRELAWNEY, DIVINATION TEACHER.\n\n> You examine the ladder\nA slight silver ladder leading down through a trapdoor.\n\n> You go upward\nThis room doesn't look like a classroom at all; it's more like an unholy cross between an old-fashioned tea-shop and someone's attic. The air is stiflingly warm and scented with a heavy, sickening perfume. Various items necessary for divination are fitted into nooks in the circular walls. One high shelf runs around the walls, about a foot and a half from the ceiling. A fat little pouf and an ugly chintz armchair nestle around a low table. A silver ladder leads down.\n\nOn the high shelf are a tourmaline ball and a china doll.\n\n> You examine the chair\nProfessor Trelawney must never have heard that the 1980s were over. The armchair is covered in some of the ugliest floral patterned cloth you can possibly imagine. Its dimensions are off, too--much too tall and narrow.\n\n> You look under cloth\nMost IF separates space into a series of locations, each containing a set of objects. If you can see an object, you can usually interact with it without worrying about positioning. Try a command like EXAMINE TOURMALINE BALL for a closer look, LOOK to get a new description of this location, or a compass direction like (for example) DOWN or D to move to a different location.\n\n> You examine the BALL\nA perfectly round ball of schorl tourmaline. It is blue-black, and you can imagine a wizard scrying in it, drawing images up from its depths. It must be the one you're looking for.\n\nThe china doll stirs to life and pulls the ball towards her body with one perfectly molded hand. She seems protective of it.\n\n> You examine doll\nA large doll, her body made of cloth and her head and shoulders of glazed porcelain. She's clothed in a lovely white dress covered in eyelet lace. As you examine her delicate patent leather shoes, she seems to notice that you're staring. She turns to face you--moving her whole body, as her head cannot turn on her neck. She stares back at you, her immobile face pure and blank, for a long moment. Then she returns to her original posture.\n\n> You talk to Doll\nYou feel a little silly addressing a children's toy, but then, twenty-four hours ago you thought magic was all bullshit. \"Excuse me, Doll,\" you begin. She seems to perk up. \"Could you possibly throw me that tourmaline ball that you've got there? I really need it.\"\n\nYou've clearly piqued the doll's interest; she awkwardly examines the ball, then inches towards the edge of the shelf and peers over. It must seem very far, even though she is a large doll. She begins to writhe. It takes you a moment to realise that she's trying to shake her head \"no.\" To be fair, if you were made of porcelain, you'd probably be sensitive about the risk of smashing too.\n\n> You look in the BALL\nThe tourmaline ball is too high to reach.\n\n> You take the ladder\nThat's fixed in place.\n\n> You examine the pouf\nThe pouf is made of velvet. It seems to be slowly cycling through different shades of red: amaranth, auburn, burgundy, carmine, carnelian, cerise, chestnut, coral, crimson, fuschia, magenta, maroon, mauve, raspberry, rose, ruby, rufous, rust, scarlet, sinopia, and vermilion. It looks squashy and rather uncomfortable.\n\n> You get the pouf\nThat's too heavy to lift without magic.\n\n> You talk to Doll\n\"Are you ready to help me now?\" you ask. No immediate reply.\n\n> You stand on the table\nYou get onto the low table.\n\n> You get the BALL\nThe tourmaline ball is too high to reach.\n\n> You get off\nYou get off the low table.\n\nThis room doesn't look like a classroom at all; it's more like an unholy cross between an old-fashioned tea-shop and someone's attic. The air is stiflingly warm and scented with a heavy, sickening perfume. Various items necessary for divination are fitted into nooks in the circular walls. One high shelf runs around the walls, about a foot and a half from the ceiling. A fat little pouf and an ugly chintz armchair nestle around a low table. A silver ladder leads down.\n\nOn the high shelf are a tourmaline ball and a china doll.\n\n> You look at the nooks\nWeird and wonderful things, some familiar and others strange, all incomprehensible to you.\n\n> You search the nooks\nSEARCH doesn't work that way. You can SEARCH DESK, for instance-but you can't SEARCH ROOM, because that would ruin the fun of exploration.\n\n> You examine the shelf\nAn extremely high shelf of unpainted wood.\n\nOn the high shelf are a tourmaline ball and a china doll.\n\n> You move the chair\nIt is fixed in place."
    },
    {
        "text": "> Go downward\nAn extremely tiny landing with a brass plaque affixed to the low ceiling. A narrow passageway leads southeast, and a silver ladder leads up through a trapdoor.\n\n> You go to the south-east\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> Go south\n(first opening the ordinary door)\nIt won't budge.\n\n> You examine the door\nAn ordinary, wood-and-iron door, appropriate to a castle. It says PREFECTS ONLY on it in large letters. You can hear splish-splashing coming from the other side. There must be a fountain in there, or maybe a bathroom.\n\n> You knock on the door\nThe ordinary door echoes hollowly.\n\n> You talk to the door\nThe ordinary door doesn't respond. Must not be sentient."
    },
    {
        "text": "> Go downwards\nThe staircase undulates beneath your feet as you descend.\n\nA short corridor, the walls and floor made entirely of granite. Centuries of use have worn a smooth path down the middle. Staircases lead down and up. A plain door leads south, and the hall ends in what looks like a library to the west.\n\n> You go west\nA large room with a vaulted ceiling and wood-paneled walls. Bookcases fill most of the space; one glass-fronted bookcase stands at the back of the room. The entrance leads eastward to the corridor.\n\n> You examine the bookcase\nWhile most of the bookcases don't have doors, one does. Its door is frosted glass, and it stands ever so slightly ajar. It is engraved with a single word: RESTRICTED.\n\n> You open the bookcase\nYou open the glass-fronted bookcase, revealing a book of alchemy and a book of herbs.\n\n> You get book\nWhich do you mean, the book of alchemy or the book of herbs?\n\n> You get alchemy\nTaken.\n\n> You read the alchemy\nYou read: The alchemists have used many symbols to encode their meanings. The following is a record of the most commonly-used.\n\na dot inside a circle, representing gold or Sol;\na crescent moon, representing silver or Luna;\na female symbol, representing copper or Venus;\na male symbol, representing iron or Mars;\na 2 with a 1 intersecting its tail, representing tin or Jupiter;\na female symbol with horns, representing quicksilver or Mercury;\na curiously embellished lower-case h, representing lead or Saturn;\na female symbol with a triangle instead of a circle for its head, representing sulfur, the connection between the high and low;\na circle bisected by a horizontal line, representing salt--that is, base matter of any kind, including stones and crystals;\na triangle with several diagonal lines in it, representing plant matter;\na triangle pointing up, representing fire;\na triangle pointing down, representing water;\na triangle pointing down with its bottom point intersected by a horizontal line, representing earth;\na triangle pointing up with its top point intersected by a horizontal line, representing air;\nan upside-down female symbol, representing antimony;\na circle with a half-circle atop it, representing bismuth;\na misshapen 3, representing cinnabar.\n\n> You read HERBS\nYou read: A table of contents: acacia, agaric, alder, aloe vera, Angel's Trumpet, arnica, ash, Abyssinian shrivelfig, aconite, Alihotsy, asphodel, baneberry, beech, belladonna, bergamot, black walnut, blackthorn, bloodroot, boom berry, bubotuber, camomile, catnip, cedar, centaury, Chinese chomping cabbage, Cobra Lily, cypress, daisy, dandelion, Devil's Snare, dirigible plum, dittany, ebony, elm, Fanged Geranium, flitterbloom, floo, Flutterby bush, fluxweed, foxglove, gillyweed, ginger, goosegrass, Gurdyroot, hawthorn, hazel, hellebore, henbane, holly, honking daffodil, horehound, hornbeam, knotgrass, lovage, mahogany, mallowsweet, Mandragora, maple, Mimbulus Mimbletonia, monkshood, moly, nettle, oak, peppermint, plangentine, privet, puffapod, pumpkin, rosewood, rowan, rue, sage, Screechsnap, scurvy-grass, silver lime, Snargaluff, Snarfalump, sneezewort, snowdrop, sopophorous bean, sycamore, valerian, Venomous Tentacula, walnut, Whomping Willow, wolfsbane, wormwood, yarrow, yew.\n\nYou could probably LOOK UP one of the topics IN THE BOOK OF HERBS.\n\n> You look up the catnip in HERBS\nPotions involving catnip are widely used in the training and control of Kneazles, particularly in combination with camomile, which serves as a further sedative.\n\n> Inventory\nYou are carrying:\na book of herbs\na book of alchemy\na medallion\nan iron bell\na piece of purple parchment\na Hogwarts brochure\na contract\na handful of yellow Jelly Babies\nan identity card\n\n> You examine the purple parchment\nA piece of purple parchment with some strange scribbles on it.\n\nYou read: INGREDIENTS. To be carried by spellcaster.\n\ngold;\nsilver;\ncopper;\niron;\ntin;\nquicksilver;\nlead;\nbase matter;\neternity."
    },
    {
        "text": "[Themes: Fan fiction, homosexual protagonist, alchemy, Harry Potter, fanfic]\n\n> Look around\nA large room with a vaulted ceiling and wood-paneled walls. Bookcases fill most of the space; one glass-fronted bookcase stands at the back of the room. The entrance leads eastward to the corridor.\n\n> Go east\nA short corridor, the walls and floor made entirely of granite. Centuries of use have worn a smooth path down the middle. Staircases lead down and up. A plain door leads south, and the hall ends in what looks like a library to the west.\n\n> You go to the south\n(first opening the plain door)\n\nAn empty, unused classroom, with only one feature: the Mirror of Erised. A plain door leads north to the corridor.\n\n> You look at Mirror\nA tall freestanding mirror, somewhat clouded with age. Above the mirror, engraved in its wooden frame, are the words \"Erised stra ehru oyt ube cafru oyt on wohsi.\"\n\nYou see not your face, but someone else's. It's Sangita.\n\n> You examine Sangita\nShe's just a reflection.\n\n> Kiss sangita\nYou can only do that to something animate.\n\n> You touch Mirror\nYou raise a hand to the mirror's surface. Sangita does not raise her hand in answer. You reach out to touch her face and find yourself surprised, and disappointed, when your hand meets cold glass instead of warm girl.\n\n> You talk to Sangita\n\"Sangita-\" you begin. She looks at you unblinkingly. \"Are you really there? Is this a magic mirror?\" Then you hear yourself. \"Oh, Jesus, of course it's a magic mirror, but is it that kind? Are you real?\" She doesn't answer. Evidently not."
    },
    {
        "text": "> Go down\nAs you step on it, the staircase turns into a chute. You rocket down it. Exhilarating!\n\nA long, narrow room, lined with suits of armour on either side. Staircases lead down and up, and you're beginning to catch on: if you go down, something weird is going to happen. Westward you can see the gallery open out into a trophy room.\n\nYou can see a scribbled note here.\n\n> You read it\nYou read: This week's password: Pig snout.\n\nSomeone must be a real prat. Who would write a password down? An eleven-year-old, you suppose.\n\n> You examine the armour\nSuits of armour from every historical period and every country. Well, from every country that ever had suits of armour, anyway.\n\n> You look in the armour\nSEARCH doesn't work that way. You can SEARCH DESK, for instance-but you can't SEARCH ROOM, because that would ruin the fun of exploration.\n\n> You wear suit\nThey're hardly portable.\n\n> Go west\nThe space is dominated by a huge trophy case, which butts directly up against a pedestal holding an enormous brass cup. It's immaculate--no dust anywhere. To the east, suits of armor keep watch in their gallery. Since the portraits are alive here, maybe the suits of armor really are keeping watch. That's a creepy thought.\n\nYou can see a tin cup and a long-handled scrub-brush here.\n\n> You examine the cup\n(the tin cup)\nA small, battered tin cup, with nothing to recommend it. It is wedged far back between the trophy case and the pedestal.\n\n> You examine the brush\nA standard looking sort of scrub-brush. It doesn't make much sense that a wizard would need to clean with normal equipment, but then, maybe the students get assigned to do it for detention or something.\n\n> You take the tin cup with the brush\nJust type TAKE THE TIN CUP; you'll automatically use any means necessary to get it.\n\n> You take the tin cup\nYou try to hook the cup's handle with the brush's handle, but it's too short.\n\n> You look at the brass cup\nAn enormous cup, engraved with what seems to be a record of which Houses have won it.\n\nYou read: ...1985-1986: Slytherin. 1986-1987: Slytherin. 1987-1988: Slytherin. 1988-1989: Slytherin. 1989-1990: Slytherin. 1990-1991: Slytherin. 1991-1992: Gryffindor. 1992-1993: Gryffindor.\n\n> Wave brush\nYou look ridiculous waving the long-handled scrub-brush.\n\n> You examine case\nA crystal case holding various awards. They're almost boring, given that this is a magical school--the Medal for Magical Merit, as an example, or a series of shields engraved with the words \"For Special Services to the School,\" most recently awarded to Messrs. Harry Potter & Ronald Weasley. You'd expect them to be more interesting. Awards for dragon-slaying or something.\n\n> You examine Medal\n>X MEDALLION\nA little wooden medallion, black and white and red and yellow, in the shape of a circle with Celtic knotwork within.\n\n> You get the brass cup\nThat's fixed in place.\n\n> You go to the east\nA long, narrow room, lined with suits of armour on either side. Staircases lead down and up. Westward you can see the gallery open out into a trophy room.\n\n> Go upwards\nAs you step on it, the staircase wiggles as if considering something, then subsides. You climb it without incident.\n\nA short corridor, the walls and floor made entirely of granite. Centuries of use have worn a smooth path down the middle. Staircases lead down and up. A plain door leads south, and the hall ends in what looks like a library to the west.\n\n> Go upwards\nThe staircase writhes beneath your feet as you climb up.\n\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You talk to the fat lady\n\"Pig snout,\" you say.\n\n\"Welcome,\" the fat lady says graciously. Her portrait swings open, letting you into Gryffindor Tower.\n\nA circular room, its stone walls hung with sumptuous tapestries. It is dominated by a large fireplace; a banner, clearly student-made, hangs above the fireplace. Light from a rose window illuminates a message board. You can go northeast through the back side of the picture-frame, too. Sangita would make a dirty joke about rear entry if she were here.\n\n> Examine banner\nA banner, at least six feet long, its colors magically shifting from red to gold to yellow to orange and back again; it says GO GO GRYFFINDOR!!!\n\n> You look at the message board\nAbout three feet wide, covered in cork and flyers. Three stand out: one's about a lost toad, one's about the glee club, and one appears to be a love note.\n\n> You read the toad\nYou read: LOST TOAD. Answers to Trevor. REWARD. Speak with Neville Longbottom.\n\n> You read the glee\nYou read: Glee club ~ meets Weds 5pm ~ forget the school song ~ sing in HARMONY!!!!!\n\n> You read the love note\nYou read: Dearest P.W.,\n\nIt continues on in similar fashion, signed P.C., but with a postscript added in pencil in a rather different hand:\n\nGUESS WHO THIS WAS TO AND FROM? She can't be a very smart Ravenclaw if she thought she could trust us!!! Percy's in LOVE!!! FWGW\n\n> You examine fireplace\nA large, unlit fireplace with a heavy, carved-wood mantelpiece. Something shiny glints from atop the mantel.\n\n> You look at shiny\nA badge of yellow and red enamel, shined to within an inch of its life, emblazoned with a P for PREFECT.\n\n> You get the badge\nYou feel a little guilty for borrowing someone's badge, but you might need it, even if you don't know why yet. You pin it onto your shirt to make sure you don't lose it.\n\n> You look at window\nA huge, circular window with many panes of thick, wavy glass. Through it you can catch glimpses of the castle grounds."
    },
    {
        "text": "[Themes: Fan fiction, treasure hunt, Gay/queer protagonist, fanfic, magic]\n\n> Look around\nA circular room, its stone walls hung with sumptuous tapestries. It is dominated by a large fireplace; a banner, clearly student-made, hangs above the fireplace. Light from a rose window illuminates a message board. You can go northeast through the back side of the picture-frame, too.\n\n> You get glee\nYou're not some kind of kleptomaniac. You only plan on taking things you really need to fix this situation.\n\n> You examine the tapestries\nTapestries from floor to ceiling, depicting shifting and ever-changing scenes of battle and bravery.\n\n> You move them\nThe stories on them are fascinating, but they're just stories.\n\n> You go northeast\nThe Fat Lady obligingly swings her frame forward and lets you out into the corridor.\n\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You go south\n(first opening the ordinary door)\n\nA small room with a high ceiling. All the walls are white marble, and it is dominated by a huge sunken tub. A large portrait of a mermaid hangs on one wall, a chandelier softly lights the room, and some towels and a purple bottle lie discarded in a corner. A door leads north to the purple corridor.\n\nYou can see a ciphered book here.\n\n> You get BOOK\n(the ciphered book)\n\n> You read it\nYou read: Jura nyy gur cebcre vaterqvragf ner va cynpr hcba gur qvntenz, fgnaq arne vg naq hggre gur jbeq Erqvgr. Guvf vf zreryl gur gevttre sbe gur zntvpf; rira n Zhttyr znl qb vg; fb vg vf jvfr gb frg bgure cerpnhgvbaf vs bar qbrf abg jvfu gb erghea sebz bar'f qvzrafvbany geniry.\n\n> You look at the mermaid\nA saucy mermaid, splashing around; she must have been the one making all the noise.\n\n> You talk to the mermaid\nYou wink at the mermaid. She winks back.\n\n> You look at the tub\nAn enormous sunken tub, made of the same white marble as the rest of the room. It is surrounded by hundreds of gold-and-jewel taps; closest to you are an amethyst tap, a sapphire tap, and a pearl tap.\n\n> You get amethyst tap\nThat's hardly portable.\n\n> You turn the amethyst tap\nYou open the amethyst tap, and heavily perfumed purple clouds pour out of it. They make you sneeze, so you turn it off again; as soon as you do, they dissipate.\n\n> You turn the sapphire\nYou open the sapphire tap, and along with water, it gushes pink and blue bubbles the size of footballs. They smell faintly of candyfloss. Sitting back on your heels, you turn it off again and let the bath drain.\n\n> You turn Pearl\nYou open the pearl tap, and out pours thick white foam. It looks like it could support your weight, if you cared to try it. Probably not the best idea, though; you'd ruin your clothes. Regretfully, you turn it off again. The foam slowly melts."
    },
    {
        "text": "[Themes: Fan fiction, magic, female protagonist, Gay/queer protagonist, fanfic, treasure hunt, fan fiction]\n\n> Look around\nA small room with a high ceiling. All the walls are white marble, and it is dominated by a huge sunken tub. A large portrait of a mermaid hangs on one wall, a chandelier softly lights the room, and some towels and a purple bottle lie discarded in a corner. A door leads north to the purple corridor.\n\n> You look at the bottle\nA little purple glass bottle with a garish yellow label: SLEEKEAZY'S TANGLE TAMER POTION.\n\nGod. That's the conditioner Sangita used, and now you're thinking about Sangita's hair, long and black and smelling of camomile, feathered out in the tub or on a pillow.\n\n> You examine the towels\nFluffy white towels, tossed carelessly in a corner.\n\nActually, now that you're thinking about it, wasn't Sangita's conditioner called \"Sleek & Easy,\" not \"Sleekeazy's\"? The label was just the same style, though.\n\n> You examine the chandelier\nA splendid candle-filled chandelier, softly lighting the room.\n\n> Inventory\nYou are carrying:\na ciphered book\na prefect's badge (being worn)\na long-handled scrub-brush\na scribbled note\na book of herbs\na book of alchemy\na medallion\nan iron bell\na piece of purple parchment\na Hogwarts brochure\na contract\na handful of yellow Jelly Babies\nan identity card\n\n> You examine bottle\nA little purple glass bottle with a garish yellow label: SLEEKEAZY'S TANGLE TAMER POTION.\n\n> You eat the Jelly Babies\nNo way. You really hate Jelly Babies.\n\n>No way. You really hate Jelly Babies."
    },
    {
        "text": "[Themes: Fan fiction, magic, female protagonist, Gay/queer protagonist, fanfic, treasure hunt, fan fiction]\n\n> Look around\nA small room with a high ceiling. All the walls are white marble, and it is dominated by a huge sunken tub. A large portrait of a mermaid hangs on one wall, a chandelier softly lights the room, and some towels and a purple bottle lie discarded in a corner. A door leads north to the purple corridor."
    },
    {
        "text": "[Themes: Fan fiction, female protagonist, treasure hunt]\n\n> Go down\nThe staircase writhes beneath your feet as you descend.\n\nA short corridor, the walls and floor made entirely of granite. Centuries of use have worn a smooth path down the middle. Staircases lead down and up. A plain door leads south, and the hall ends in what looks like a library to the west."
    },
    {
        "text": "[Themes: Fan fiction, fan fiction, Harry Potter, alchemy, magic, Gay/queer protagonist]\n\n> Go downwards\nAs you step on it, the staircase turns into a chute. You feel like a little kid again as you slide on down.\n\nA long, narrow room, lined with suits of armour on either side. Staircases lead down and up. Westward you can see the gallery open out into a trophy room."
    },
    {
        "text": "[Themes: Fan fiction, female protagonist, alchemy, treasure hunt, Harry Potter, fanfic]\n\n> Go downwards\nThe staircase swivels dizzyingly as you descend.\n\nA long corridor with an extremely high, vaulted ceiling. It gives the impression of tall trees spreading into branches over your head, although it's all just the same grey stone. Staircases lead down and up. A strange red plastic door leads north, and a black door leads west. To the south, the corridor opens out into the Hospital Wing.\n\n> You read the alchemy\nYou read: The alchemists have used many symbols to encode their meanings. The following is a record of the most commonly-used.\n\na dot inside a circle, representing gold or Sol;\na crescent moon, representing silver or Luna;\na female symbol, representing copper or Venus;\na male symbol, representing iron or Mars;\na 2 with a 1 intersecting its tail, representing tin or Jupiter;\na female symbol with horns, representing quicksilver or Mercury;\na curiously embellished lower-case h, representing lead or Saturn;\na female symbol with a triangle instead of a circle for its head, representing sulfur, the connection between the high and low;\na circle bisected by a horizontal line, representing salt--that is, base matter of any kind, including stones and crystals;\na triangle with several diagonal lines in it, representing plant matter;\na triangle pointing up, representing fire;\na triangle pointing down, representing water;\na triangle pointing down with its bottom point intersected by a horizontal line, representing earth;\na triangle pointing up with its top point intersected by a horizontal line, representing air;\nan upside-down female symbol, representing antimony;\na circle with a half-circle atop it, representing bismuth;\na misshapen 3, representing cinnabar.\n\n> You look at the plastic door\nIt appears to be made of tough plastic, like toys for very small children, and it is fire-engine red.\n\n> You open it\nYou open the plastic door.\n\n> You examine the black door\nBlack-painted. Slightly smudged with chalk.\n\n> You go north\nSo this is going to be your classroom, is it? Not too posh. It's a rather small room, dominated by an oak table. Muggle Studies must not be a popular class; only ten or twelve students could fit in here, seminar-style. A poster illustrating how a light bulb works adorns the wall, and a bookcase stands in a corner. The door out is to the south.\n\n> Examine poster\nIt seems to get some fundamental things wrong. As far as you know, there are not any magical spirits of \"ekeltricity\" living in light bulbs. Or are there?\n\n> You examine the bookcase\nOak, matching the table.\n\nIn the oak bookcase are a blue book and a cloth book.\n\n> You get blue BOOK\nTaken.\n\n> You read it\nYou read: The internet is for porn, blah blah blah, internet users often use a simple cipher known as \"rot13\" to keep their messages initially unreadable, blah blah blah, some wizards find it useful too, blah blah blah. Nothing shocking.\n\n> You read it\nYou read: The back cover informs you: This book covers all sorts of magical and Muggle means to enter homes and burgle businesses, from the familiar--combination locks--to the foreign--security systems running on ekeltricity. The book falls open to a page describing how one may turn a dial and naturally hear tumblers fall into place, allowing a combination lock to be successfully opened without any prior knowledge of the combination, or any use of magical power.\n\n> You examine table\nSimple, heavy, and serviceable, worn with many years of use.\n\n> You go to the south\nA long corridor with an extremely high, vaulted ceiling. It gives the impression of tall trees spreading into branches over your head, although it's all just the same grey stone. Staircases lead down and up. A strange red plastic door leads north, and a black door leads west. To the south, the corridor opens out into the Hospital Wing.\n\n> You examine the black door\nBlack-painted. Slightly smudged with chalk.\n\n> You go to the west\n(first opening the black door)\n\nA large classroom; the defining feature is an enormous skeleton hung from the ceiling, spotlit, in the centre of the room. The professor's desk, at the front of the room, also looks interesting. A black door is on the east wall.\n\n> You examine skeleton\nA very old skeleton of a horse--with wings. It's spotlighted by a Fresnel lantern. One of its hooves gleams curiously in the light.\n\n> You examine the hoof\nNow, why would that be? Among the old ivory bones and black hooves of the skeleton shines a single piece of metal: one hoof made of silver. As you stand on tiptoe to get a better look, the skeleton moves and twists away from you. Not as dead as it looks!\n\n> You talk to the skeleton\n\"Can you understand me?\" you ask. \"You're a skeleton. Surely that's impossible, even with magic?\" The huge creature waggles his wingtips at you. He evidently can hear you.\n\n> You talk to the skeleton\nYou ask the skeleton for his silver hoof in as many ways as you can: cajoling, threatening, pleading. Nothing seems to work. He tosses his noble skull and somehow manages to snort (despite his obvious lack of lungs), and drums his hooves in the air as though to urge you away.\n\n> You give the jelly beans to the skeleton\nThe skeleton turns its skull away. Apparently it isn't interested.\n\n> You look at the lantern\nA Fresnel lantern, glowing, but with no obvious source of power. Looks almost steampunk.\n\n> You take it\nThe Fresnel lantern is too high to reach.\n\n> Brush skeleton\nWhat do you want to brush the thestral skeleton with?\n\n> Brush\nWhat do you want to brush?\n\n> You examine the brush\nA standard looking sort of scrub-brush.\n\n> Brush skeleton witscrub-brush\nThe skeleton twists nimbly out of your reach. That's not difficult; you're pretty short.\n\n> You examine the desk\nA low, much-embellished chestnut affair, with a single wide drawer. It's kept very neat.\n\n> You open the drawer\nYou open the wide drawer, revealing a journal.\n\n> Examine journal\nA small journal bound in soft leather, with the initials R J L on the cover. It appears to be a record of classroom affairs--detentions given, supplies used--but there's a section about the skeleton.\n\nYou read: The new thestral skeleton I purchased for the classroom appears to be animate. I had not realized until this morning, but he seems to have merely been scoping out his new situation, waiting to make himself known. He has more or less managed to communicate to me that he would like his silky black mane back; he seems to be rather vain, and quite proud of the silver that I used to replace his split hoof. (Thank heavens that part of the curse is a Muggle myth; not being able to handle Sickles would be quite frustrating.) As a wig would spoil the effect of the skeleton, and the beast is quite rude about it, I'm apt to let him stew in his own juices until he becomes more polite.\n\n> Go east\nA long corridor with an extremely high, vaulted ceiling. It gives the impression of tall trees spreading into branches over your head, although it's all just the same grey stone. Staircases lead down and up. A strange red plastic door leads north, and a black door leads west. To the south, the corridor opens out into the Hospital Wing.\n\n> You go south\nA room with a high ceiling and white walls, sterile and institutional. Iron-framed beds stand in rows, and an enormous medicine cabinet dominates the far wall. To the north is a gothic-arched corridor.\n\n> You examine the medicine cabinet\nA large cabinet made of chestnut with a thick glass front. A built-in combination lock is part of the frame.\n\nIn the medicine cabinet are a vial of mercury and a bottle of Pepper-Up Potion.\n\n> You get all\nYou can't use ALL in this story. Sorry.\n\n> You examine the lock\nA large, gaudy combination lock. Instead of numbers, the dial shows moon phases, inlaid with mother-of-pearl. You can turn it right or left. An engraved arrow points to the first quarter moon.\n\n> You listen to the lock\nThe hospital wing's so quiet, it will be easy to hear tumblers falling when you TURN the lock RIGHT and LEFT.\n\n> You turn the lock right\nYou turn the dial of the moon lock right; now the arrow points to waxing crescent moon.\n\n> You turn the lock right\nYou turn the dial of the moon lock right; now the arrow points to new moon.\nYou hear a soft click of tumblers falling into place.\n\n> You turn lock left\nYou turn the dial of the moon lock left; now the arrow points to waxing crescent moon.\n\n> You turn lock left\nYou turn the dial of the moon lock left; now the arrow points to first quarter moon.\n\n> You turn lock left\nYou turn the dial of the moon lock left; now the arrow points to waxing gibbous moon.\nYou hear a soft click of tumblers falling into place.\n\n> You turn the lock right\nYou turn the dial of the moon lock right; now the arrow points to first quarter moon.\n\n> You turn the lock right\nYou turn the dial of the moon lock right; now the arrow points to waxing crescent moon.\nYou hear a soft click of tumblers falling into place, and the medicine cabinet's door springs open.\n\n> You look in the cabinet\nIn the medicine cabinet are a vial of mercury and a bottle of Pepper-Up Potion.\n\n> You get the Mercury\nTaken.\n\nThe mercury in the vial is silvery. Sangita had a chemistry kit with mercury in it. Kind of strange, since she never was any use helping you with science curricula. \"I use it to make inks for the printshop,\" she said when you moved in together, but you never saw her do it, and anyway, can't you buy printer's ink? And wouldn't she be doing it at work?\n\n> You look at Potion\nA red glass bottle labeled \"Pepper-Up Potion\" in a spidery hand.\n\n> You examine the beds\nUncomfortable looking.\n\n> You look at Mercury\nA crystal vial containing a silvery liquid.\n\n> You check what you're carrying\nYou are carrying:\na vial of mercury\na cloth book\na blue book\na ciphered book\na prefect's badge (being worn)\na long-handled scrub-brush\na scribbled note\na book of herbs\na book of alchemy\na medallion\nan iron bell\na piece of purple parchment\na Hogwarts brochure\na contract\na handful of yellow Jelly Babies\nan identity card"
    },
    {
        "text": "> You descend\nYou sweep regally down the staircase.\n\nA capacious hall, lit with torches. There's not much here, though, other than inspiring architecture. Which, honestly, you could see pretty easily in non-magical London whenever you wanted to. An enormous sweeping staircase leads up, and a smaller staircase leads down. A rough door leads west, and the Great Hall is through a stone archway to the east.\n\n> You go to the east\nAn enormous, long room with a flagstone floor, filled with four equally enormous tables. The linens on each table are of different colors: red, blue, yellow, and green. A fifth table with a large centrepiece in the middle - the head table - stands on a dais, perpendicular to the others. The entrance hall is to the west.\n\n> You look at the centrepiece\nA centrepiece of sunflowers, with a little golden toad nestled in the middle.\n\n> You examine the TOAD\nA little statue of a toad. It's heavy: pure gold.\n\n> You take the TOAD\nTaken.\n\nWhen you look at it closely, the little toad statue kind of looks like Buford, Grandma's old pet. No matter how many owls were around, they never seemed to eat Buford. Grandma really liked the old boy--he lived in the mud of the garden and he'd croak at you whenever you got too close. She always told you he could talk and he was telling you to back off. He wasn't made of gold, of course.\n\n> You talk to the toad\nThe golden toad doesn't respond. Must not be sentient.\n\n> You examine the head table\nA table on a dais, above the others. A large centrepiece is the only thing on it.\n\n> You examine the dais\nThe floor, including a dais at one end of the room, is made of flagstones.\n\n> You examine the flagstones\nThe floor, including a dais at one end of the room, is made of flagstones.\n\nWandering the castle alone is lonely, and you find yourself remembering things that you'd rather not--whisked away to a wholly different realm of memory.\n\nYour familiar flat, back in London, but with more things in it. It's a year ago. Sangita's still here; she's packing her things to leave you. Her suitcase and clothes are laid out on her big brass bed, the one you used to share, the one she took with her when she left. You're in the midst of a conversation--a painful one, too.\n\n> You examine Sangita\nAs beautiful as ever.\n\n> You talk to Sangita\n\"I just don't understand,\" you say. \"You have these incredible mood swings, and you won't tell me what the problem really is. You have to tell me!\"\n\n\"Look, I don't want to talk about this right now,\" she says. \"We just aren't as close as you think. We shouldn't have moved in together. That's all.\"\n\n> 2\n\"Has living together really been so bad?\"\n\n\"No,\" she says, and for the first time her fa\u00e7ade of determination seems to crack.\n\n> 2\n\"Do you still love me?\" you ask. \"No,\" she says, but she doesn't sound so sure.\n\nToo bad you can't change anything that happened.\n\nAn enormous, long room with a flagstone floor, filled with four equally enormous tables. The linens on each table are of different colors: red, blue, yellow, and green. A fifth table with a large centrepiece in the middle - the head table - stands on a dais, perpendicular to the others. The entrance hall is to the west.\n\n> You examine the red table\nA table with red and yellow linens.\n\n> You examine the blue table\nA table with blue and brown linens.\n\n> You examine yellow table\nA table with yellow and black linens.\n\n> You examine the green table\nA table with green and grey linens.\n\n> You check what you're carrying\nYou are carrying:\na prefect's badge (being worn)\na golden toad\na vial of mercury\na cloth book\na blue book\na long-handled scrub-brush\na book of herbs\na book of alchemy\na scribbled note\na ciphered book\na piece of purple parchment\nan iron bell\na handful of yellow Jelly Babies\na Hogwarts brochure\na contract\na medallion\nan identity card\n\n> You go west\nA capacious hall, lit with torches. There's not much here, though, other than inspiring architecture. Which, honestly, you could see pretty easily in non-magical London whenever you wanted to. An enormous sweeping staircase leads up, and a smaller staircase leads down. A rough door leads west, and the Great Hall is through a stone archway to the east."
    },
    {
        "text": "[Themes: Fan fiction, fan fiction, Gay/queer protagonist, treasure hunt]\n\n> You go downwards\nThe staircase squeezes around you as you descend. By the time you make it down, it's only a foot wide, and you have to go sideways.\n\nA damp, windowless corridor, with wet and slime oozing down the walls. A staircase leads up--and man, you aren't ready to do that again right away, ick. A classroom is visible to the east.\n\n> You examine the slime\nYou glance around.\n\nA damp, windowless corridor, with wet and slime oozing down the walls. A staircase leads up. A classroom is visible to the east.\n\n> Go east\nA large, rather damp room. A long stone table is its primary feature. A heavy door stands a little ajar at the north end of the room, as though someone were just going through it when they disappeared. The corridor is to the west.\n\nOn the stone table are a copper cauldron (in which is an icy potion) and a potions book.\n\nYou can also see a scarf here.\n\n> You get the cauldron\nYou eye it cautiously. Whatever is in the cauldron looks just about ready to slosh out if you joggle it.\n\nGrandma's kitchen--without the Aga. That's what the dungeon classroom reminds you of. Her pantry was full of herbs hanging down, and the whole place, well& now that you think of it, it wasn't really anything like the dungeon classroom. There was something similar about them, though. Maybe it's the temperature, or something about the smell? But Grandma's kitchen was always warm and smelt of cooking, nothing like the dungeons.\n\n> You look in the the cauldron\nYou eye it cautiously. Whatever is in the cauldron looks just about ready to slosh out if you joggle it.\n\n> Examine book\nWhich do you mean, the potions book, the cloth book, the blue book, the book of herbs, the book of alchemy, or the ciphered book?\n\n> Potions\nA large, old book, entitled \"Moste Potente Potions.\"\n\nYou read:\n\nIt's open to a recipe: FOR KEEPING A GOBLETTE OR GLASSE UNMOLESTED. The recipe is long, involved, and requires measures of things in \"scruples\" and \"minims.\" However, at the end, it describes a potion of extreme frigidity and blueness, ready to pour out at the slightest provocation and destroy the potion's molester. Nasty. The last line reads, The inclusion of aconitum, a most wondrous hot herbe, shall however render it inert, and indeed most beneficial to the skin of a lady.\n\n> You look up the aconitum in the herbs book\nExtremely poisonous plant; also known as wolfsbane or monkshood. The name \"aconite\" comes from \"aconiton,\" a Greek word meaning without struggle and referring to the quick death it brings.\n\n> You examine it\nA black scarf made of some fine, shaggy substance--spider's silk? Human hair? It feels slightly oily to the touch."
    },
    {
        "text": "[Themes: Fan fiction, Gay/queer protagonist, magic, treasure hunt, fan fiction, alchemy, homosexual protagonist]\n\n> Look around\nA large, rather damp room. A long stone table is its primary feature. A heavy door stands a little ajar at the north end of the room, as though someone were just going through it when they disappeared. The corridor is to the west.\n\nOn the stone table are a copper cauldron (in which is an icy potion) and a potions book.\n\n> Go north\nA tiny room, with every bit of space used, even the ceiling: herbs hang in bundles, drying. The main feature, however, is a huge apothecary cabinet. A heavy door leads south.\n\n> You examine HERBS\n(the book of herbs)\nThe book's title is \"1001 Magical Herbs and Fungi.\"\n\nYou read: A table of contents: acacia, agaric, alder, aloe vera, Angel's Trumpet, arnica, ash, Abyssinian shrivelfig, aconite, Alihotsy, asphodel, baneberry, beech, belladonna, bergamot, black walnut, blackthorn, bloodroot, boom berry, bubotuber, camomile, catnip, cedar, centaury, Chinese chomping cabbage, Cobra Lily, cypress, daisy, dandelion, Devil's Snare, dirigible plum, dittany, ebony, elm, Fanged Geranium, flitterbloom, floo, Flutterby bush, fluxweed, foxglove, gillyweed, ginger, goosegrass, Gurdyroot, hawthorn, hazel, hellebore, henbane, holly, honking daffodil, horehound, hornbeam, knotgrass, lovage, mahogany, mallowsweet, Mandragora, maple, Mimbulus Mimbletonia, monkshood, moly, nettle, oak, peppermint, plangentine, privet, puffapod, pumpkin, rosewood, rowan, rue, sage, Screechsnap, scurvy-grass, silver lime, Snargaluff, Snarfalump, sneezewort, snowdrop, sopophorous bean, sycamore, valerian, Venomous Tentacula, walnut, Whomping Willow, wolfsbane, wormwood, yarrow, yew.\n\nYou could probably LOOK UP one of the topics IN THE BOOK OF HERBS.\n\n> You examine the bundles\nBundles of various herbs, too far away to identify. They make the storeroom look like Grandma's pantry.\n\n> You look up aconitum in the cabinet\nThere doesn't seem to be a drawer labeled \"aconite.\" Curious. Maybe it's under another name?\n\n> You look up the wolfsbane in the cabinet\nThere doesn't seem to be a drawer labeled \"wolfsbane.\" Curious. Maybe it's under another name?\n\n> You look up the Snargaluff in the cabinet\nThere's no drawer labelled that way. Rats.\n\n> You look up the monkshood in the cabinet\nYou find the drawer for monkshood (\"also known as wolfsbane or aconite,\" the label says, in crabbed script), and it's mostly full. You take a sprig or so.\n\n> Go south\nA large, rather damp room. A long stone table is its primary feature. A heavy door stands a little ajar at the north end of the room, as though someone were just going through it when they disappeared. The corridor is to the west.\n\nOn the stone table are a copper cauldron (in which is an icy potion) and a potions book.\n\n> You put the aconitum in the cauldron\nYou drop the monkshood into the cauldron, and the potion suddenly turns a creamy white. You cautiously reach out to take the cauldron, and when some of the potion sloshes over the edge, it feels smooth and even a little warm. You waste no time in tipping it down the drain in the centre of the floor and claiming your prize: the copper cauldron.\n\n> Go west\nA damp, windowless corridor, with wet and slime oozing down the walls. A staircase leads up. A classroom is visible to the east.\n\n> Go upwards\nThe staircase expands and contracts as you climb, as though it were trying to decide what to do.\n\nA capacious hall, lit with torches. There's not much here, though, other than inspiring architecture. Which, honestly, you could see pretty easily in non-magical London whenever you wanted to. An enormous sweeping staircase leads up, and a smaller staircase leads down. A rough door leads west, and the Great Hall is through a stone archway to the east.\n\n> You go to the west\n(first opening the rough door)\n\nA small and cluttered room. A large and intricate card file takes up most of one wall. A metal desk and chair hunch against another. Some menacing-looking manacles hang above your head. The entrance hall is east, through a rough door.\n\nOn the metal desk are a printing press, a piece of type, a list of banned items, and a Kwikspell course.\n\nYou can also see a broom here.\n\n> You get the broom\nTaken.\n\n> You look at the manacles\nMenacing. Or possibly sexy in some other setting. In either case, not school-appropriate.\n\n> You look at the broom\nNothing like a witchy broom. This is just an old fashioned sweeper, with a long handle, worn from a great deal of use.\n\n> You examine the course\nPurple paper with silvery lettering.\n\nYou read: KWIKSPELL: A Correspondence Course in Beginners' Magic. The subheading is Holding Your Wand (Some Useful Tips). Huh. According to the cover letter, Kwikspell has helped Madam Z. Nettles of Topham and warlock D.J. Prod of Didsbury learn to use their magical abilities better. It doesn't look very promising, though.\n\n> You look at the press\nA small printing press, quite heavy, fit to print eight-inch by eleven-inch sheets.\n\n> You examine type\nA small piece of lead type--the letter A. Who knows where the other letters are.\n\n> You take the type\nTaken.\n\nSangita never let you come to work with her, at the press. \"It's all wedding invitations and menus for posh restaurants,\" she'd say. Even so, even though you've never actually handled a piece of type before, it seems familiar to you. The font's familiar too. It's clearly not a computer font. The serifs are somehow wrong, not slantwise, but--just off, a little. It looks like it came from a parallel universe. But, of course, now that you think about it, it's rather like the font Sangita set broadsides in, like the one on the wall of your flat.\n\n> You look at the list\nHandwritten. Apparently it was too much for the little printing press.\n\nYou read: FORBIDDEN.\nDungbombs.\nStink Pellets.\nfireworks of any kind, paritcularly Filibuster's.\nEver-Bashing Boomerangs.\nFanged frisbees.\nTrick wands.\nFizzing Whizbees.\nAnything made by Fred and George Weasley outside of class.\nIt goes on in similar vein for many, many pages.\n\n> You examine the desk\nA nondescript metal desk, the sort a schoolchild might use, but markedly devoid of any of the usual graffiti.\n\nOn the metal desk are a printing press, a list of banned items, and a Kwikspell course.\n\n> You open it\nYou open a drawer and draw a card at random. James Potter and Sirius Black. Apprehended using an illegal hex upon Bertram Aubrey. Aubrey's head twice normal size. Double detention. Lovely. A record of miscreants and their punishments.\n\n> Sing\nYour singing is abominable.\n\n> Go upwards\nYou glide up the staircase as though you were a princess in a ballgown.\n\nA long corridor with an extremely high, vaulted ceiling. It gives the impression of tall trees spreading into branches over your head, although it's all just the same grey stone. Staircases lead down and up. A strange red plastic door leads north, and a black door leads west. To the south, the corridor opens out into the Hospital Wing.\n\n> You go west\nA large classroom; the defining feature is an enormous skeleton hung from the ceiling, spotlit, in the centre of the room. The professor's desk, at the front of the room, also looks interesting. A black door is on the east wall.\n\n> You give the scarf to the skeleton\nExerting itself to the utmost, the skeleton bends down and lets you drape the scarf across his head, as though it were a mane. Proud of his new wig, he extends his hoof regally for you to take. It's heavy and satisfying in your hand.\n\n> You take the hoof\nYou already have that.\n\n> Ascend\nThe staircase spins counterclockwise as you ascend, but the motion is slow and controlled.\n\nA long, narrow room, lined with suits of armour on either side. Staircases lead down and up. Westward you can see the gallery open out into a trophy room.\n\n> You go west\nThe space is dominated by a huge trophy case, which butts directly up against a pedestal holding an enormous brass cup. It's immaculate--no dust anywhere. To the east, suits of armor keep watch in their gallery.\n\nYou can see a tin cup here.\n\nThe silver hoof is surprisingly heavy in your pocket. You used to have a hoof from a horse, and it was much lighter. It wasn't silver, but it was cloven like the one you got from the skeleton. Now that you think about it, it couldn't have been from a horse, of course--horses don't have cloven hooves. It was big, though, and when you were little and going through your horse phase you used it to stamp out prints in the dust, so you could pretend you were really riding along. Kind of macabre.\n\n> You take the tin\nYou use the broom to hook the cup's handle and pull it out. Success!\n\nThat tin cup feels abnormally small in your hand, and it takes you a moment to resolve the cognitive dissonance. You drank from a tin cup like this as a child in your grandmother's kitchen, and then it was just the right size. Grandma would pour you a dose of her cold remedy in that cup--not hot but peppery, peppery, peppery! \"It'll pep her up,\" Grandma would say to your mum, \"stop fussing,\" and yes, it always did seem to help more than any medicine Mum got from the pharmacy.\n\n> You look at the alchemy\nThe book's title is \"Deciphering the Language of Alchemy.\"\n\nYou read: The alchemists have used many symbols to encode their meanings. The following is a record of the most commonly-used.\n\na dot inside a circle, representing gold or Sol;\na crescent moon, representing silver or Luna;\na female symbol, representing copper or Venus;\na male symbol, representing iron or Mars;\na 2 with a 1 intersecting its tail, representing tin or Jupiter;\na female symbol with horns, representing quicksilver or Mercury;\na curiously embellished lower-case h, representing lead or Saturn;\na female symbol with a triangle instead of a circle for its head, representing sulfur, the connection between the high and low;\na circle bisected by a horizontal line, representing salt--that is, base matter of any kind, including stones and crystals;\na triangle with several diagonal lines in it, representing plant matter;\na triangle pointing up, representing fire;\na triangle pointing down, representing water;\na triangle pointing down with its bottom point intersected by a horizontal line, representing earth;\na triangle pointing up with its top point intersected by a horizontal line, representing air;\nan upside-down female symbol, representing antimony;\na circle with a half-circle atop it, representing bismuth;\na misshapen 3, representing cinnabar."
    },
    {
        "text": "[Themes: Fan fiction, magic, fan fiction, Harry Potter]\n\n> Look around\nThe space is dominated by a huge trophy case, which butts directly up against a pedestal holding an enormous brass cup. It's immaculate--no dust anywhere. To the east, suits of armor keep watch in their gallery.\n\nWandering the castle alone is eerie, and you find yourself remembering things that you'd rather not--whisked away to a time that doesn't really seem happier, in retrospect...\n\nGrandma Gigi's snug kitchen, with its Aga and its aura of coziness, long before it was destroyed. Grandma herself is sitting and knitting. You've just finished quietly celebrating your twelfth birthday, and you're doing your part with the dishes, scrubbing them up in the sink.\n\n\"Happy birthday, Alice,\" Grandma says, but she doesn't really sound so happy.\n\n> You talk to Grandma\nAt the sound of your voice, Grandma looks up.\n\n> 1\n\"Grandma--when you were twelve, what did you do for your birthday?\" you ask.\n\n\"When I was twelve--well, I suppose that when I was twelve I was at school in Scotland.\"\n\n> 1\n\"So you didn't have a party then?\" you ask.\n\n\"Well, I suppose I did have a party. My friends brought me sweets, of course, and presents--I'll always remember the beautiful ribbons dear Al gave me, in our House colors, red and gold. But it wasn't with family, like yours is.\" It was nice of her to put it like that.\n\n> 1\n\"Was Al your best friend? Is he still alive?\" As soon as you ask it, you realise that it's probably rude to put it quite like that. Fortunately, Grandma chuckles.\n\n\"Back then one didn't have a best friend of the opposite gender,\" she says, \"but yes, he was my best friend, for awhile. We still keep in contact; he teaches at the school where we went, in fact.\"\n\n> 2\n\"Really, you couldn't be friends with boys?\"\n\n\"This was in Queen Victoria's reign,\" she says. \"We couldn't even say the word \"leg\" in mixed company. But Al was almost like a girl, and things were a little different at school.\" Even at twelve, you know that she couldn't possibly be that old--but Grandma is a great joker.\n\nThe memory falls away, and you wish you could put your finger on precisely what seemed so important about it. The boarding school thing? Too late. It's gone.\n\nThe space is dominated by a huge trophy case, which butts directly up against a pedestal holding an enormous brass cup. It's immaculate--no dust anywhere. To the east, suits of armor keep watch in their gallery.\n\n> You go to the east\nA long, narrow room, lined with suits of armour on either side. Staircases lead down and up. Westward you can see the gallery open out into a trophy room.\n\n> Go upwards\nAs you step on it, the staircase wiggles as if considering something, then subsides. You climb it without incident.\n\nA short corridor, the walls and floor made entirely of granite. Centuries of use have worn a smooth path down the middle. Staircases lead down and up. A plain door leads south, and the hall ends in what looks like a library to the west.\n\n> You take the BALL\nYou're way too short to reach it.\n\n> You check your inventory\nYou are carrying:\na prefect's badge (being worn)\na copper cauldron\na golden toad\na broom\na piece of type\na silver hoof\na vial of mercury\na cloth book\na blue book\na long-handled scrub-brush\na tin cup\na book of herbs\na book of alchemy\na scribbled note\na ciphered book\na piece of purple parchment\nan iron bell\na handful of yellow Jelly Babies\na Hogwarts brochure\na contract\na medallion\nan identity card\n\n> You ride the broom\nYou're a Muggle. You can't fly. Remember?\n\n> You talk to Doll\n\"Are you ready to help me now?\" you ask. No immediate reply.\n\n> You stand on the chair\nFor a moment it feels like the chair is going to eject you, it's so hard--but that's ridiculous, even for a wizarding school. Isn't it? ...You decide not to risk it. Molesting the armchair in any way is out.\n\n> You examine the Babies\nJelly Babies just like any you'd buy in a shop, except they're all yellow.\n\n> You stand on the pouf\nThe pouf feels rather like a marshmallow. Just as you thought, it's too uncomfortably soft to sit in, and too squashy to give you any kind of a height boost when you stand on it. So much for that.\n\n> You examine the BALL\nA perfectly round ball of schorl tourmaline. It is blue-black, and you can imagine a wizard scrying in it, drawing images up from its depths.\n\n> You give the Babies to Doll\nThe china doll is too high to reach.\n\n> You stand under Doll\nMost IF separates space into a series of locations, each containing a set of objects. If you can see an object, you can usually interact with it without worrying about positioning. Try a command like EXAMINE TOURMALINE BALL for a closer look, LOOK to get a new description of this location, or a compass direction like (for example) DOWN or D to move to a different location.\n\n> You talk to gargoyle\n\"Hello, gargoyle, may I come in?\" you ask. \"Certainly,\" he says, and lets you pass.\n\nA circular room with a high, vaulted ceiling. It is filled with various magical instruments, an enormous claw-footed desk, and innumerable oddities--all of which have been pushed, higgledy-piggledy, to the walls, and some of which look much the worse for it. An elaborate perch stands forlornly next to the desk, with no bird seated on it. The walls themselves are covered in portraits of important-looking people. A spiral staircase appears to continually spin downwards--almost like an escalator--at the far end of the room.\n\n> You look at the perch\nAn elaborate perch for a rather large bird. Presumably it's normally inhabited, but whatever usually sits there is nowhere to be seen.\n\n> You talk to Newt\n\"Um, Headmaster Scamander?\" you ask.\n\n\"Yes?\"\n\n> 1\n\"Never mind,\" you say. Newt nods curtly and goes back to his book."
    },
    {
        "text": "[Themes: Fan fiction, homosexual protagonist, magic, female protagonist, Harry Potter, fan fiction]\n\n> Go downward\nYou step onto the spinning staircase and it delivers you, conveyor-belt style, to the corridor below. A gargoyle settles into place behind you, blocking the way you came.\n\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You go to the northwest\nAn extremely tiny landing with a brass plaque affixed to the low ceiling. A narrow passageway leads southeast, and a silver ladder leads up through a trapdoor.\n\n> You go upward\nThis room doesn't look like a classroom at all; it's more like an unholy cross between an old-fashioned tea-shop and someone's attic. The air is stiflingly warm and scented with a heavy, sickening perfume. Various items necessary for divination are fitted into nooks in the circular walls. One high shelf runs around the walls, about a foot and a half from the ceiling. A fat little pouf and an ugly chintz armchair nestle around a low table. A silver ladder leads down.\n\nOn the high shelf are a tourmaline ball and a china doll.\n\n> You stand on the low table\nYou get onto the low table.\n\n> You take the BALL\nYou try to knock the ball down with the broom, but only succeed in whacking the china doll a good one.\n\nThe doll stands, crosses her arms, and stamps one cloth foot. Then, she laboriously lifts the tourmaline ball and throws it directly at your head. Through some act of God you manage to catch it, feeling its cold, heavy weight in your hand. It almost seems familiar--but you can't think why.\n\n> You examine the BALL\nA perfectly round ball of schorl tourmaline. It is blue-black, and you can imagine a wizard scrying in it, drawing images up from its depths.\n\n> You look in the BALL\nSEARCH doesn't work that way. You can SEARCH DESK, for instance-but you can't SEARCH ROOM, because that would ruin the fun of exploration. You idly caress the surface of the tourmaline ball, and then you remember why it seems so familiar. Sangita had a ball like this--exactly like this, actually. She used to juggle it, keeping it in contact with her skin, running it up and down her arms and over her chest. She was quite good.\n\nWell, you've got all the things that you seem to need now - one for each of the symbols in the notes. If you know the magic word, you should be able to reverse the spell and bring back the denizens of Hogwarts.\n\n> You stand\nYou get off the low table.\n\nThis room doesn't look like a classroom at all; it's more like an unholy cross between an old-fashioned tea-shop and someone's attic. The air is stiflingly warm and scented with a heavy, sickening perfume. Various items necessary for divination are fitted into nooks in the circular walls. One high shelf runs around the walls, about a foot and a half from the ceiling. A fat little pouf and an ugly chintz armchair nestle around a low table. A silver ladder leads down.\n\nOn the high shelf is a china doll.\n\n> Redite\nNothing happens. Maybe you're missing something?\n\n> You examine desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\n> You put the gold on the desk\nYou put the golden toad on the claw-footed desk.\n\n> You put the silver on the desk\n(the silver hoof on the claw-footed desk)\nYou put the silver hoof on the claw-footed desk.\n\n> You look at the designs\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\nOn the claw-footed desk are a silver hoof and a golden toad.\n\n> You put the iron on the desk\nYou put the iron bell on the claw-footed desk.\n\n> You put the tin on the desk\nYou put the tin cup on the claw-footed desk.\n\n> You put the BALL on the desk\nYou put the tourmaline ball on the claw-footed desk.\n\n> You put the copper on the desk\nYou put the copper cauldron on the claw-footed desk.\n\n> You examine the parchment\nA piece of purple parchment with some strange scribbles on it.\n\nYou read: INGREDIENTS. To be carried by spellcaster.\n\ngold;\nsilver;\ncopper;\niron;\ntin;\nquicksilver;\nlead;\nbase matter;\neternity.\n\n> You put the vial on the desk\nYou put the vial of mercury on the claw-footed desk.\n\n> You put the type on the desk\nYou can't see any such thing.\n\n>You put the piece of type on the claw-footed desk.\n\n> You put the BALL on desk\n(first taking the tourmaline ball)\n\nYou put the tourmaline ball on the claw-footed desk.\n\n> You put MEDALLION on the desk\nYou put the medallion on the claw-footed desk.\n\n> You look at the desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\nOn the claw-footed desk are a medallion, a tourmaline ball, a piece of type, a vial of mercury, a copper cauldron (empty), a tin cup, an iron bell, a silver hoof, and a golden toad.\n\n> Redite\nFor a moment, nothing happens, and you think that you've screwed up. Then two people pop into existence. Albus Dumbledore is standing behind his desk. Standing next to you - somehow, for some strange reason - is Sangita.\n\n\"Why, Miss Armstrong!\" Dumbledore says. \"I'd hoped you wouldn't be too nonplussed at our little mishap. I assume that you fixed things yourself? --Excellent, excellent!\" While you are still gaping, he rushes out the door. \"Many things to attend to!\" he calls, airily, over his shoulder. \"You've got things to talk about, I expect!\" ...and you're alone with your ex-girlfriend.\n\n> You talk to Sangita\n\"What are you doing here?\" you ask flatly.\n\n\"I can explain,\" she says. \"Ally--I'm a witch.\"\n\n> 1\n\"Well fucking spotted,\" you say. \"I didn't ask if you were a witch or not. I asked what you're doing here.\"\n\n\"Albus only told me you were coming today,\" she says. \"I wanted to be here so I could tell you about everything.\"\n\n> 2\n\"Explain then,\" you say. \"Explain why you couldn't tell me before.\"\n\n\"I couldn't!\" she says. \"It's the law - our law, I couldn't tell you unless you were part of my family. Unless we were married. They would've snapped my wand, Ally, you have to understand that.\"\n\n> 1\n\"Well I don't,\" you say. \"You should've broken the law and gotten another wand.\"\n\n\"I couldn't get another one,\" she says. \"Breaking a wand means throwing us out of the wizarding world. Forever.\"\n\n> 2\n\"Everything you'd ever known,\" you muse. \"Although you can get along in the Muggle world well enough, else we'd never have met... what does it mean for you, otherwise? Being banished.\"\n\n\"Legally speaking, you become like a Muggle,\" Sangita says. \"It's like becoming a child again. All your rights--stripped.\"\n\n> 2\n\"People like me are viewed as children in the eyes of the law, and you would lose your status too. So you couldn't change it, not ever, because you'd be out just like me.\"\n\n\"Yes. And we hide the wizarding world from you. It isn't fair at all. I've been trying to change it. I swear I didn't want to lie to you, I never put a spell on you, nothing. But it wouldn't have done any good for me to have my wand snapped.\"\n\n> 2\n\"I can respect that you were doing the best you could,\" you say, \"but it's hard. You have to know it's hard. How can I ever trust you?--Is anyone else I know a witch?\"\n\nBut Sangita's face is closed and you know she's about to drop something heavy on you. \"She wanted you to know,\" she says. \"Your grandmother. Oh, surely you caught the hints! But she couldn't tell you either.\"\n\n> 2\nSomehow, you knew. You didn't want to admit it, but you really did know. \"I suppose I knew that,\" you say. Suddenly grief crashes in on you. \"Look, I think you ought to leave me alone for a bit,\" you say. \"Just go.\"\n\nShe goes. She can't even look at you. You are alone.\n\n\"Hello, my dear,\" Dumbledore says, swooping in just as Sangita swoops out. \"I take it that your conversation was not easy?--Well, it's only to be expected. But now I would imagine you have a great many questions to ask me.\"\n\n> 2\n\"What spell were you trying to cast, when things went wrong?\" you ask.\n\n\"I was modifying the wards,\" he says.\n\n> 2\n\"The wards keep people like me out?\" you ask. You're not really doing a great job of hiding your emotions right now.\n\n\"I was modifying them to allow you in,\" he replies. \"It isn't just Muggles they keep out, either. There is evil in the world.\"\n\n> 1\n\"Stop. Come on. This isn't The Lord of the Rings. You can't honestly think--Look, I don't care if magic is real, Sauron isn't.\"\n\n\"Not Sauron,\" Dumbledore replies. \"Much more banal than that. Ah well: ignorance is bliss! Perhaps an enterprising young wizard will sell the story to a Muggle movie studio someday, and you can see it all on the gold screen.\"\n\n\"Silver screen,\" you correct automatically. Wizards are truly weird.\n\n> 2\n\"How do you know Sangita?\" you ask.\n\n\"I know all the students who have attended Hogwarts during my tenure,\" he says. \"In any case, our interests coincide quite often.\"\n\n> 1\n\"Which interests? Printing?\"\n\n\"Yes, the magical qualities of the printed book--but our politics also align admirably,\" he says. \"Miss Gopalan is, perhaps, an idealist on the issue of Muggle liberation; but I respect her with all my heart.\"\n\n> 1\nYou consider this for a moment. \"An idealist?\"\n\n\"Miss Gopalan is a good Hufflepuff, interested in following the rules and living her life in a rational and ordered way; but she deeply believes that Muggles have the right to know about the wizarding world, however inconvenient it might be for us.\" Dumbledore sighs. \"I agree with her that far--but she does not consider the wider political climate, the lurking presence of Lord Voldemort and the danger he poses. That is far more immediate than any long-standing injustice.\"\n\n> 1\nYou straighten up. \"It seems pretty straightforward to me. There's what's wrong and what's right. You're talking about lying to most of the population. I can't tell you what betrayal -\"\n\n\"A natural Gryffindor,\" Dumbledore says. \"Ah, well. My House is not without its follies.\" You refrain from asking what a Gryffindor's traits are. You probably wouldn't like the answer.\n\n> 2\n\"So what exactly are the laws about Muggles?\" you ask. \"And how did you manage to make an exception for me?\"\n\n\"The International Statute of Wizarding Secrecy is the main thing,\" he replies. \"As for how you were excepted--Muggles with wizarding children are already excepted, of course, and Squibs. So you see, it wasn't all that difficult to convince them that you would be an excellent candidate for the Muggle Studies position, and that it was not a startling deviation from the Statute to inform you of our world.\"\n\n> 2\n\"How is it enforced? I mean--mind-wiping, wand-snapping--\"\n\nYou've hit a nerve. Dumbledore does not look happy. \"Enforcement is haphazard at best,\" he says. \"Certainly Muggles are Obliviated. For wizards, however, the punishment can be as light as a warning or as severe as utter banishment. One never knows. All depends on influence and luck.\"\n\n> 1\n\"Obliviated means mind-wiped. It was on the contract I signed,\" you say slowly. \"Do you enjoy playing God? Muggles have laws against--against brain-washing, and kidnapping, and everything.\"\n\n\"Muggle laws do not apply to wizards,\" Dumbledore says, \"and Muggles have few rights under wizarding law. The law sees wizards as benevolent parents and Muggles as ignorant children.\"\n\n> 2\n\"You might have Obliviated me, then? If I hadn't signed the contract?\" you ask, even though you know it's true, that he would have. \"It says something about 'hexing', too. Would you have hexed me?\"\n\n\"It was a risk,\" Dumbledore says, \"but a worthwhile risk. It is only by more contact with Muggles that we will ever begin to grow closer to the Muggle world. We need someone like you at Hogwarts.\"\n\n> 1\n\"Where did you go just now?\" you ask.\n\n\"Oh, there was a great deal to attend to,\" he says. \"You did wreak some havoc, didn't you?\"\n\n> 1\n\"I don't think so? Not much anyway,\" you say sheepishly. He isn't fooled one bit, but he smiles indulgently and lets you save face.\n\n> 1\n\"So what happens next?\" you ask.\n\n\"You have a choice before you, Alice,\" Dumbledore says. \"I believe I speak for the entire staff of Hogwarts when I say that we would be honored if you choose to remain with us. Otherwise, I shall release you from your contract. You signed it, after all, in a rather impaired state.\" He touches his nose--and how did he know that? You never told him! \"So--will you stay at Hogwarts?\"\n\n> Yes\n\"I am very glad, my dear girl,\" the Headmaster says. \"I thought you must have had some of Gertrude's spirit in you. It won't be an easy row to hoe, you know, the Ministry of Magic will almost certainly wish to hold an inquiry--but what am I doing? I believe that Miss Gopalan will be waiting in the hallway, and she will be very eager to hear what you have chosen.\"\n\nYou take a deep breath. \"There wasn't really any other choice to make,\" you say. \"I can't help Sangita fight if I can't remember what I'm fighting for.\""
    },
    {
        "text": "[Themes: Fan fiction, female protagonist, Harry Potter, fanfic]\n\n> Look around\nA circular room with a high, vaulted ceiling. It is filled with various magical instruments, an enormous claw-footed desk, and innumerable oddities--all of which have been pushed, higgledy-piggledy, to the walls, and some of which look much the worse for it. An elaborate perch stands next to the desk, with a big red bird seated on it. The walls themselves are covered in portraits of important-looking people. A chalk circle covers most of the floor. A spiral staircase spins continually downward at the far end of the room.\n\n> You check what you're carrying\nYou are carrying:\na prefect's badge (being worn)\na broom\na cloth book\na blue book\na long-handled scrub-brush\na book of herbs\na book of alchemy\na scribbled note\na ciphered book\na piece of purple parchment\na handful of yellow Jelly Babies\na Hogwarts brochure\na contract\nan identity card\n\n> You look at the desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\nOn the claw-footed desk are a medallion, a tourmaline ball, a piece of type, a vial of mercury, a copper cauldron (empty), a tin cup, an iron bell, a silver hoof, and a golden toad.\n\n> Redite\nFor a moment, nothing happens, and you think that you've screwed up. Then two people pop into existence. Albus Dumbledore is standing behind his desk. Standing next to you - somehow, for some strange reason - is Sangita.\n\n\"Why, Miss Armstrong!\" Dumbledore says. \"I'd hoped you wouldn't be too nonplussed at our little mishap. I assume that you fixed things yourself? --Excellent, excellent!\" While you are still gaping, he rushes out the door. \"Many things to attend to!\" he calls, airily, over his shoulder. \"You've got things to talk about, I expect!\" ...and you're alone with your ex-girlfriend.\n\n\"Hello, my dear,\" Dumbledore says, swooping in just as Sangita swoops out. \"I take it that your conversation was not easy?--Well, it's only to be expected. But now I would imagine you have a great many questions to ask me.\"\n\n\"Given the events of today, it seems unwise that you come to Hogwarts as a Muggle Studies teacher,\" Dumbledore says, \"which means that there is only one path open to me.\"\n\n\"Obliviation,\" you say flatly.\n\n\"Just so. But if you like--I might consider asking Miss Gopalan to pay you a visit, after you are returned to London. It will be dangerous for her to defy the Ministry--but I suspect that today's events have galvanized her against them in any case. So. Yes or no?\n\n> Yes\nPlease answer yes or no.>\n\"I hope that we neither of us are making a mistake--and I hope the Ministry of Magic does not get wind of this, at the inevitable inquiry,\" Dumbledore says. \"Is there any message you would like to send yourself--after?\"\n\n\"Only promise me that Sangita won't just tell me about herself,\" you say. \"Promise me she'll tell me about Grandma Gigi. And about you. And about all the things I couldn't ask.\"\n\n\"Very well,\" he says, and raises his wand, and the world goes dark."
    },
    {
        "text": "[Themes: Fan fiction, Harry Potter, fanfic, Gay/queer protagonist, fan fiction, magic, female protagonist]\n\n> Look around\nDivination Classroom (on the low table)\nThis room doesn't look like a classroom at all; it's more like an unholy cross between an old-fashioned tea-shop and someone's attic. The air is stiflingly warm and scented with a heavy, sickening perfume. Various items necessary for divination are fitted into nooks in the circular walls. One high shelf runs around the walls, about a foot and a half from the ceiling. A fat little pouf and an ugly chintz armchair nestle around a low table. A silver ladder leads down.\n\nOn the high shelf is a china doll.\n\n> Inventory\nYou are carrying:\na tourmaline ball\na prefect's badge (being worn)\na copper cauldron\na golden toad\na broom\na piece of type\na silver hoof\na vial of mercury\na cloth book\na blue book\na long-handled scrub-brush\na tin cup\na book of herbs\na book of alchemy\na scribbled note\na ciphered book\na piece of purple parchment\nan iron bell\na handful of yellow Jelly Babies\na Hogwarts brochure\na contract\na medallion\nan identity card\n\nYou idly caress the surface of the tourmaline ball, and then you remember why it seems so familiar. Sangita had a ball like this--exactly like this, actually. She used to juggle it, keeping it in contact with her skin, running it up and down her arms and over her chest. She was quite good.\n\nWell, you've got all the things that you seem to need now - one for each of the symbols in the notes. If you know the magic word, you should be able to reverse the spell and bring back the denizens of Hogwarts."
    },
    {
        "text": "> Go downwards\n(first getting off the low table)\n\nAn extremely tiny landing with a brass plaque affixed to the low ceiling. A narrow passageway leads southeast, and a silver ladder leads up through a trapdoor.\n\n> You go to the south-east\nThe walls and ceiling are painted a violent shade of purple. The floor seems to have turned green with envy. A gargoyle of curious mien stands on one wall, and on another hangs a portrait of a fat lady in a pink dress. A squirming staircase leads down; a narrow passage leads northwest; an ordinary door leads south; and a feather-strewn archway leads northeast.\n\n> You check your inventory\nYou are carrying:\na tourmaline ball\na prefect's badge (being worn)\na broom\na piece of type\na cloth book\na blue book\na long-handled scrub-brush\na book of herbs\na book of alchemy\na scribbled note\na ciphered book\na piece of purple parchment\na handful of yellow Jelly Babies\na Hogwarts brochure\na contract\na medallion\nan identity card\n\n> You put the type on the desk\nYou put the piece of type on the claw-footed desk.\n\n> You put the BALL on the desk\nYou put the tourmaline ball on the claw-footed desk.\n\n> You put MEDALLION on the desk\nYou put the medallion on the claw-footed desk.\n\n> You look at the desk\nA heavy, claw-footed desk with a highly polished surface. It is covered in chalked designs, strange and geometric.\n\nOn the claw-footed desk are a medallion, a tourmaline ball, a piece of type, a vial of mercury, an iron bell, a tin cup, a copper cauldron (empty), a silver hoof, and a golden toad.\n\n> Redite\nFor a moment, nothing happens, and you think that you've screwed up. Then two people pop into existence. Albus Dumbledore is standing behind his desk. Standing next to you - somehow, for some strange reason - is Sangita.\n\n\"Why, Miss Armstrong!\" Dumbledore says. \"I'd hoped you wouldn't be too nonplussed at our little mishap. I assume that you fixed things yourself? --Excellent, excellent!\" While you are still gaping, he rushes out the door. \"Many things to attend to!\" he calls, airily, over his shoulder. \"You've got things to talk about, I expect!\" ...and you're alone with your ex-girlfriend.\n\n> You talk to Sangita\n\"What are you doing here?\" you ask flatly.\n\n\"I can explain,\" she says. \"Ally--I'm a witch.\"\n\n> 1\n\"Oh, so as soon as you knew I had found out anyway you decided to come clean,\" you say. You're not even a little bit sorry that it comes out sharp as can be.\n\n\"I couldn't!\" she says. \"It's the law - our law, I couldn't tell you unless you were part of my family. They would've snapped my wand, Ally, you have to understand that.\"\n\n> 1\n\"Oh, so then you'd be like me? What a fate. A fate worse than death, honestly.\"\n\nSangita looks uncomfortable. \"Well. Legally speaking Muggles are--it isn't fair, all right, but Muggles are worse than children. They haven't any rights, practically.\"\n\n> 1\n\"So legally you can just enchant me? You can just fucking do that whenever? What spells did you put on me?\"\n\n\"Only to protect the wizarding world from discovery,\" Sangita says. \"I don't like it either, but it's been the law since 1692. The International Statute of Wizarding Secrecy. Since we broke up it's been--it was a wake-up call for me, Ally. I didn't ever put a spell on you. I swear it.\"\n\n> 1\n\"Working from the inside, were you? Like a secret double agent? Ha. Who else do I know who's been lying to me? I'm just not special enough, am I.\" You snort, but you aren't finding anything very funny just now. \"You must've gotten a good laugh out of World of Warcraft, and me the mage.\"\n\nBut Sangita's face is closed and you know she's about to drop something heavy on you. \"She wanted you to know,\" she says. \"Your grandmother. Oh, surely you caught the hints! But she couldn't tell you either.\"\n\n> 1\nYou knew it. Somehow you knew it but you didn't want to admit it, you just--\"That fucking tops all,\" you say. \"Get out. I don't ever want to see you again.\"\n\n\"Ally -\"\n\n\"GET BLOODY OUT!\"\n\nShe gets. You're left alone.\n\n\"Hello, my dear,\" Dumbledore says, swooping in just as Sangita swoops out. \"I take it that your conversation was not easy?--Well, it's only to be expected. But now I would imagine you have a great many questions to ask me.\"\n\n> 4\n\"So what exactly are the laws about Muggles?\" you ask. \"And how did you manage to make an exception for me?\"\n\n\"The International Statute of Wizarding Secrecy is the main thing,\" he replies. \"As for how you were excepted--Muggles with wizarding children are already excepted, of course, and Squibs. So you see, it wasn't all that difficult to convince them that you would be an excellent candidate for the Muggle Studies position, and that it was not a startling deviation from the Statute to inform you of our world.\"\n\n> 1\n\"I still don't understand why you need the Statute at all. You could turn us all into frogs if we got uppity.\"\n\nDumbledore looks sad. \"Witches were burned in the streets not so long ago. We live longer than you do: we remember better than you do.\"\n\n> 1\n\"Witch-burning. Right. Come on. This isn't the Dark Ages. Sure, there's some religious freaks, but you make it sound like Muggles are savages.\"\n\n\"Not just witch-burning,\" Dumbledore says. \"We can heal wounds quickly and easily. We can Transfigure lead into gold. We can walk around, invisible. What do you think your Prime Minister thinks of that? He knows about us. He's terrified of us.\"\n\n> 1\n\"And he's right to be terrified! You're terrifying! All of you! This is mad. You can probably cure cancer and you're keeping it from us. You enjoy playing God, I suppose.\"\n\n\"I do not play God,\" Dumbledore says, but he sounds--troubled? It's strange; he seemed so unflappable before. \"I have had this conversation before, believe it or not; and once we get to this point, there is not much point in continuing. Only your own experience of the wizarding world can help you understand.\"\n\n> 1\n\"Where did you go just now?\" you ask.\n\n\"Oh, there was a great deal to attend to,\" he says. \"You did wreak some havoc, didn't you?\"\n\n> 2\n\"So what if I did?\" you say. \"I got you all back, didn't I? It's not as though I asked for all this to happen.\"\n\n\"One should never sign a contract if one doesn't know precisely what it means,\" he replies. \"Why, last time I did that, I ended up the foster-father of a hundred and seven baby Fwoopers. Enough to drive you mad!\"\n\n> 2\n\"How do you know Sangita?\" you ask.\n\n\"I know all the students who have attended Hogwarts during my tenure,\" he says. \"In any case, our interests coincide quite often.\"\n\n> 2\n\"Was she always a pathological liar?\"\n\nDumbledore looks affronted. \"My dear, the decision to lie to you--or rather to exclude certain truths--was not and has never been hers to make. One of the reasons she and I get on so well is that she is one of the few wizards with a more radical view of Muggles than my own.\"\n\n> 2\n\"In my experience, radicals take action, even when it's at a cost,\" you say. \"If they'd snapped her wand for telling me, it'd have been worth it.\"\n\n\"If they'd snapped her wand for telling you, they'd have erased her memory of the wizarding world entire,\" Dumbledore says sharply. \"She'd forget you too. Everything. If she were lucky, she'd wander homeless for awhile, then somehow find a job at a press--if they were kind enough to leave her memories of how to print. No-one would ever know. She wouldn't be a martyr; she'd be forgotten.\"\n\n> 2\n\"I don't care,\" you say, strident. \"It still wasn't right. She hadn't any right to make me fall in love with her if she was going to be lying to me. It's like --like a slave being forced to sleep with their master.\"\n\n\"Really,\" Dumbledore says, his voice doubtful and even a little scornful, but he does not say anything else.\n\n> 1\n\"What spell were you trying to cast, when things went wrong?\" you ask.\n\n\"I was modifying the wards,\" he says.\n\n> 1\n\"Modifying the wards. So you mean the spells that keep bad things out. What could wizards possibly be afraid of?\" you ask.\n\n\"Other wizards,\" he says. \"Muggles do not have a monopoly on evil.\"\n\n> 2\n\"If there are wizards who--well, I suppose it makes sense that some people would abuse their magic. But Muggles couldn't fight that. We wouldn't have a chance.\"\n\n\"That's one of the reasons people claim that it is easier to keep our worlds separated,\" he says. \"Our wars don't spill over into your world as much. You needn't fear struggles you have no hand in.\"\n\n\"Well, that's infantilizing.\"\n\n\"Quite.\"\n\n> 1\n\"So what happens next?\" you ask.\n\n\"Given the events of today, it seems unwise that you come to Hogwarts as a Muggle Studies teacher,\" Dumbledore says, \"which means that there is only one path open to me.\"\n\n\"Obliviation,\" you say flatly.\n\n\"Just so. But if you like--I might consider asking Miss Gopalan to pay you a visit, after you are returned to London. It will be dangerous for her to defy the Ministry--but I suspect that today's events have galvanized her against them in any case. So. Yes or no?\n\n> No\n\"Perhaps you are wise,\" Dumbledore says, his voice low and disappointed nonetheless. \"The Ministry will hold an inquiry, and it would certainly all come out then. I had hoped...\"\n\n\"Only be thorough about it,\" you say. \"I don't want to remember any of it. I don't even want to remember Sangita if I can possibly help it. Ignorance is bliss, isn't it? So put me back.\"\n\nAnd he does."
    },
    {
        "text": "[Themes: Humor, based on songs, silly, twins, siblings, male protagonist, changing environment]\n\nHe's up to something. I can always tell. I can just feel it, like a sixth sense. I know him that well. In a sense, we have the same brain.\n\nAfter last night's all-nighter (I had an important report to do for work), I intended to sleep all through the day. But I can't afford to do that. Somewhere out there, my evil twin is plying his schemes, and I'm the only one who can stop him.\n\n\n\nType ABOUT for more details and instructions for play.\n\nThis studio apartment, located conveniently near work and right across the street from the park, serves as my personal headquarters for my hobbies, such as doing volunteer restoration work for the local American History Museum and foiling the plots of my evil twin. My only real attempt at decoration is a framed poster right next to the bookshelf. I can leave to the north.\n\nI can see a presidential figurine and a stack of papers here.\n\n[Author's Note: After last night's all-nighter (I had an important report to do for work), I intended to sleep all through the day. But I can't afford to do that. Somewhere out there, my evil twin is plying his schemes, and I'm the only one who can stop him. (An adaption of the They Might Be Giants song of the same name.)]\n\n> About yourself\nI look exactly like myself.\n\n> You look at the figurine\nIt's a likeness of Benjamin Harrison, the 23rd president of the United States. Harrison may not have been one of our more exciting presidents - he's certainly no James K. Polk - but he did do something that no other president has done. Generally speaking, once a president loses re-election, he doesn't bother running again, because everyone knows that no one votes for a loser. But Harrison's economic policies were so monumentally unpopular that the incumbent he defeated in 1888, Grover Cleveland, was actually able to mount a successful challenge to him in 1892. Cleveland is thus considered to be both the 22nd and 24th president. I've always liked that anomaly, and without Harrison's particular blend of win and lame, it wouldn't have happened.\n\nNormally it's part of a diorama at a small museum downtown, but someone snuck in and cut one of its arms off the other day, so I took it home to do a little repair work. I suspect that the mystery vandal was my evil twin, but I haven't mentioned this to anyone.\n\n> You examine papers\nThe product of an entire night's procrastination. I was supposed to be writing a report for work, but I wound up spending the entire night sitting alone in my room playing hangman instead.\n\nWell, at least it proves I was busy. If the police come looking for my evil twin again, I can use it as an alibi.\n\n> Examine poster\nIt's a signed concert poster showing two guys. I'm not sure which of them signed it. The signature just says \"John\".\n\n> You look at the bookshelf\nThe only books on it are a multi-volume set on the writings of Nostradamus. I'm generally more of a history guy than a future guy, but Nostradamus, being a historical figure who wrote about the future, is both, two natures in one. Anyway, his writing creeps me out. I'm not sure why.\n\n> You read the books\nI pull one down and open it a random:\n\nThat both will occupy the strong places;\nTheir great quarrel will fill realm and life.\n\nSomehow, that gives me an uncanny feeling. I'm not sure what it is about it, but I'm glad to put it back on the shelf.\n\n> You read the books\nI apprehensively pull another volume down and open it at random:\n\n...and so a great noise and bellicose tumult will they make amongst them that all the East will tremble in terror of these brothers, yet not brothers...\n\nAs I reshelve it, I involuntarily shudder. What does it all mean?\n\n> You take figurine\nTaken.\n\n> You take the poster\nNah, I like it where it is."
    },
    {
        "text": "> You look at your surroundings\nThis studio apartment, located conveniently near work and right across the street from the park, serves as my personal headquarters for my hobbies, such as doing volunteer restoration work for the local American History Museum and foiling the plots of my evil twin. My only real attempt at decoration is a framed poster right next to the bookshelf. I can leave to the north.\n\nI can see a stack of papers here.\n\n> Go north\nI'm out on Hill Street just outside my apartment building. It's a beautiful sunny day in a quiet residential neighborhood. The street continues east and west, and just across it is the park.\n\n> Go north\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nThe center of attention here is a shiny new cotton candy machine.\n\nA gaggle of children are running around, laughing and playing.\n\n> You examine the children\nThey seem particularly fond of the cotton candy machine.\n\n> You examine the machine\nIt's an impressive device, fully automatic, with brass fittings and a huge tub. The kids are gathered around as much to watch it in operation as to sample the results. Too bad I can't stand cotton candy.\n\n> You eat the cotton candy\n(first taking the cotton candy machine)\nNo thanks. Cotton candy makes me ill.\n\n> Go west\nPhoto booths like these are something of a relic in the age of the cell-phone camera, but they weren't so uncommon twenty years ago. Cheap beige polyester curtains form a neutral backdrop, and a button waits to be pressed.\n\n> You press the button\nAn unseen shutter goes click, and a photograph slides from a hidden slot and into my hand.\n\n> You look at the photo\nIt's a photograph of me.\n\n> You leave\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nThe center of attention here is a shiny new cotton candy machine.\n\nA gaggle of children are running around, laughing and playing.\n\n> You take the booth\nThat's hardly portable.\n\n> Go east\nThis is a transient place, a space between spaces that joins two alternatives. That is to say, it's a tunnel, which curves from west to south. The damp concrete walls are covered with graffiti, and loud but muffled dance music fills the air, presumably from something on the other side of the tunnel wall.\n\nAn abandoned propaganda pamphlet lies forlorn the ground.\n\n> You examine the pamphlet\nI flip through it. It's mostly poorly-grounded arguments and appeals to fear, but I'm left unclear about just what it's trying to convince me of. Is it possible for propaganda to be simply propaganda, divorced from content?\n\n> You listen\nI think I can make out the strains of an accordion.\n\n> Go south\nI'm just outside a rustic half-timbered cottage with a wooden sign displaying a sword out front. It must be new; I don't recall seeing it around before. The street continues east and west from here, but there's some kind of construction going on to the east, making that way impassible. There's a pedestrian underpass to the north.\n\nBeside the shop is the traditional shop-side barrel.\n\nA training dummy stands here.\n\n> You look at cottage\nQuaint. I'd call it old-fashioned, if I didn't know it was less than a week old.\n\n> You look at the barrel\nIt's the traditional small barrel of complimentary goodies to entice customers.\n\nIn the barrel are twelve apples.\n\n> You look at the apple\nRed, shiny, and tempting.\n\n> You eat the apple\nI scarf it down and toss the core.\n\n> You examine dummy\nIt's one of those straw dummies on a pole that people use to practice sword-blows on. This one is set on casters for easy movement. It looks pristine, as if newly-installed.\n\n> You enter the shop\nThe door sticks pretty badly, but I manage to push my way through it.\n\nA muscular, red-bearded man stands behind a counter with a built-in display case.\n\nThe shopkeeper says, \"Welcome! We're having a special customer loyalty promotion today: bring in a weapon, any kind of weapon, and you can trade it for anything in the display case.\" Glancing at the case's contents, it seems like people have already been taking advantage of this by trading in things that are only marginally weapons.\n\n> Inventory\nI am carrying:\nan apple\na propaganda pamphlet\na photo\na presidential figurine\n\n> You give the apple to the man\nThe shopkeeper shakes his head. \"That's not a weapon.\"\n\n> You examine the case\nIn the display case are a lead pipe, a wrench, a candlestick and a revolver.\n\n> You examine the pipe\nA heavy metal object. Hollow, but strong. I could crack someone's head open with this, if there were any reason to do so.\n\n> You look at the wrench\nA hefty adjustable pipe wrench, suitable for both plumbing and bludgeoning.\n\n> You examine the candlestick\nAn elegant shape worked in pewter, this would be a fine decoration for any home. Or it could be used to murder someone.\n\n> You examine the revolver\nIt's pretty much the only thing in the shop that was actually intended to be a weapon.\n\n> You give the photo to the man\n\"A nice likeness.\"\n\n> Go west\nMy evil twin's dark fortress casts its shadow over Silent Street, which continues east and west. A security camera mounted above the massive iron-banded door tracks my every move. Across the street to the north is the... other park.\n\n> You go north\nThis is a transient place, a space between spaces that joins two alternatives. That is to say, it's a tunnel, which curves from west to south. The damp concrete walls are covered with graffiti, and loud but muffled dance music fills the air, presumably from something on the other side of the tunnel wall.\n\n> You go west\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nThe center of attention here is a shiny new cotton candy machine.\n\nA gaggle of children are running around, laughing and playing.\n\n> You go to the east\nI'm just ouside my neighbor's house -- yes, he can afford a whole house, with a lawn and everything, in this neighborhood. Tire marks on the lawn suggest that someone's been doing donuts here. I don't have any real evidence that my evil twin is responsible, but it's the kind of thing he'd do. The street continues east and west from here, but there's some kind of construction going on to the east, making that way impassible. There's a pedestrian underpass to the north.\n\nThe door inside is hanging off its hinges. Someone must have broken in.\n\nA recycling bin is set out on the curbside.\n\nA lawnmower stands here alone, as if puzzled about what to do.\n\n> You examine the door\nThe door is splintered asunder, as if someone shouldered it down. They'll probably blame local hoodlums, but I think I know who's really responsible.\n\n> You examine bin\nThe standard blue plastic square bin with the recycling logo on the side.\n\nIn the recycling bin are eleven empty bottles.\n\n> You examine bottle\nIt's a discarded green glass bottle. The label is missing, but it's probably for beer.\n\n> You look at the lawnmower\nIt's a shiny new top-of-the-line model.\n\n> You take the lawnmower\nThis is one of those bulky models that can't really be picked up. I could probably push it from place to place, though.\n\n> You enter the house\nI'm not just going to barge in without an invitation. Especially now that it looks like the place has been burgled. The police are sometimes less than understanding when appearances are against me that way, even when I explain to them that my evil twin is really the one to blame.\n\n> You go north\nThis is a transient place, a space between spaces that joins two alternatives. That is to say, it's a tunnel, which curves from west to south. The damp concrete walls are covered with graffiti, and loud but muffled dance music fills the air, presumably from something on the other side of the tunnel wall.\n\n> You examine the device\nIt's a device of a sort frequently employed by my evil twin. It uses a unique form of electromagnetic emission to zombify the human brain. Naturally, he designed it so that his own brain would be immune to its effects -- but, as an accidental consequence, so is mine! This puts me in a unique position to foil his plans: I alone can get close enough to smash the thing without being taken over.\n\nI knew there was something like this going on. I must have felt the emissions from the device all the way from my apartment!\n\n> You look at the citizens\nI've seen this effect before. The only way to free these people from my evil twin's control is to destroy the source of the mind rays. Fortunately, that's right here.\n\n> Go west\nI don't want to risk going inside the booth. There's no guarantee that I'd be immune to whatever happens in there.\n\n> Inventory\nI am carrying:\nan apple\na propaganda pamphlet\na photo\na presidential figurine\n\n> Smash device\nI flail at it with my fists, but it's going to take more than that. Some kind of heavy blunt instrument would be ideal.\n\n> You go south\nMy evil twin's dark fortress casts its shadow over Silent Street, which continues east and west. A security camera mounted above the massive iron-banded door tracks my every move. Across the street to the north is the... other park.\n\n> You examine the camera\nAs you gaze at the security camera, the security camera also gazes at you.\n\n> You show photo to the camera\n\"VISUAL MATCH FAILED.\"\n\n> Go north\nDark, leafless trees claw at the graying sky here. A sinister booth labeled \"INDOCTRINATION\" lies to the west, Silent Street can be crossed to the south, and an entrance to a concrete tunnel lies east.\n\nA lawnmower stands here alone, as if puzzled about what to do.\n\nA mind control device has been planted at a strategic point in the park's center.\n\nA crowd of brainwashed citizens mill about with dull eyes and slack jaws, perhaps waiting for some sort of signal to begin their rampage.\n\n> You drop all\napple: Dropped.\npropaganda pamphlet: Dropped.\nphoto: Dropped.\npresidential figurine: Dropped.\n\n> Go west\nMy evil twin's day job is in that direction. Thus, that's not where he is. The man is positively allergic to work.\n\n> You go east\nI'm just outside a rustic half-timbered cottage with a wooden sign displaying a sword out front. It must be new; I don't recall seeing it around before. The street continues east and west from here, but there's some kind of construction going on to the east, making that way impassible. There's a pedestrian underpass to the north.\n\nBeside the shop is the traditional shop-side barrel.\n\n> You look at the doll\nThis is definitely my evil twin's handiwork. I've seen dolls like these before. They don't actually function as voodoo dolls, of course, but he uses them to send a message to people. The face on this one looks vaguely familiar. Some obscure politician, perhaps?\n\n> You look at the photo\nIt's a photograph of my evil twin. I've never actually met him face to face, but I know it's a picture of him because he looks exactly like me.\n\n> Examine newspaper\nI scan the headlines. It seems there's been a wave of vandalism and petty theft. Gee, I wonder who's responsible?\n\n> You take all\nvoodoo doll: Taken.\nphoto: Taken.\ndiscarded newspaper: Taken.\nempty bottle: Taken.\n\n> You go inside\nI unlock the door and go back inside.\n\nThis studio apartment, located conveniently near work and right across the street from the park, serves as my personal headquarters for my hobbies, such as doing volunteer restoration work for the local American History Museum and foiling the plots of my evil twin. My only real attempt at decoration is a framed poster right next to the bookshelf. I can leave to the north.\n\nI can see a stack of papers here.\n\n> You drop the papers\nDropped.\n\n> Go north\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nA training dummy stands here.\n\nThe center of attention here is a shiny new cotton candy machine.\n\nA gaggle of children are running around, laughing and playing.\n\n> You go east\nThe funfair is for the enjoyment of the kiddies. I don't see anything in that direction that interests me.\n\nPhoto booths like these are something of a relic in the age of the cell-phone camera, but they weren't so uncommon twenty years ago. Cheap beige polyester curtains form a neutral backdrop, and a button waits to be pressed.\n\nI can't go that way.\n\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nA training dummy stands here.\n\nThe center of attention here is a shiny new cotton candy machine.\n\nA gaggle of children are running around, laughing and playing.\n\n> Go west\nPhoto booths like these are something of a relic in the age of the cell-phone camera, but they weren't so uncommon twenty years ago. Cheap beige polyester curtains form a neutral backdrop, and a button waits to be pressed.\n\n> Go west\nMy evil twin's dark fortress casts its shadow over Silent Street, which continues east and west. A security camera mounted above the massive iron-banded door tracks my every move. Across the street to the north is the... other park.\n\nI can see a noose here.\n\n> You examine the noose\nNo doubt left by my evil twin as a kind of warning.\n\n> Go inside\nA muscular, red-bearded man stands behind a counter with a built-in display case.\n\n> You examine the case\nIn the display case are a lead pipe, a wrench, a candlestick and a revolver.\n\n> You give the noose to the man\n\"The punjab lasso!\" The shopkeeper snatches the revolver out of the display case and holds it at the level of his eyes fearfully. \"I don't know how to use that myself, but I know how to defend myself against it. It's good for a trade, sure.\"\n\nHe waits for me to initiate a trade.\n\n[To trade with the shopkeeper, type \"TRADE X FOR Y\".]\n\n> You trade the noose for the wrench\nThe shopkeeper tightens his grip on the revolver as if expecting an ambush.\n\nI hand over the noose and the shopkeeper puts it in the display case. He gives me the wrench in exchange.\n\n> You hit the device with the wrench\nI triumphantly smash the machine to pieces with the wrench. The people, freed from its influence, confusedly wander away. That's one of my evil twin's plans foiled, but I can't help but feel there's a further mystery afoot. Maybe I should finally try that espionage mission to his inner sanctum that I've been meaning to do.\n\nNow that the crowds are gone, I notice a knife stuck in a tree, where it's been used to carve a message.\n\n> You examine the knife\nI'm not sure if it's technically a bowie knife. I've never really been all that interested in such things, and don't know the exact definition. But it's impressive, with notches and grooves and things, and a blade that looks like it's almost a foot long.\n\n> You read the message\nThe branches of the trees twist into menacing shapes. Carved into one tree is the message \"YOU'RE NEXT\". What a maddeningly non-specific message. Next for what? Is the message it even meant for me?\n\n> You show photo to the camera\nThe camera eagerly locks onto the image of my evil twin, and the hidden speaker says \"VISUAL MATCH SUCCEEDED. WELCOME HOME, MASTER!\" A buzz and a click from the door handle indicates that the door is unlocked, so I let myself inside.\n\nA feeling of pure malevolance seethes from the very walls here, but other than that, it's a fairly ordinary studio apartment. His only real attempt at decoration is a framed poster right next to a suspicious-looking bookshelf.\n\n> You look at the poster\nIt shows Harvey Dent from Batman, looking particularly malevolent. I think my evil twin sees him as a kind of role model.\n\nI may not agree with him on that point, but I have to admit that Dent is one of the better characters in Batman's rogues gallery. Batman really fights two distinct sets of criminals: you have the caricatured but relatively mundane gangsters and thugs, and you have the flamboyant costume-wearing theme villains. The brilliant thing about Dent is that he can work in either role, depending on what aspects of the character the writer chooses to emphasize. It's like he has a foot in two different worlds.\n\n> You examine the bookshelf\nIt's filled with fake-looking books with titleless spines.\n\n> You take the books\nJust as I thought: it's just a bunch of fake spines.\n\nClose examination reveals a numeric keypad hidden behind the fake books. I shift them around to expose it for easier access.\n\n> You look at keypad\nJust ten numbers and an enter key underneath a glowing seven-digit display. I can use it to type numbers.\n\n> Inventory\nI am carrying:\na bowie knife\na wrench\nan empty bottle\na discarded newspaper\na photo\na voodoo doll\n\n> Type 5318008\nI type \"5318008\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 03241992\nI type \"03241992\" on the keypad, although only the last seven digits fit on the display, and then hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 3241992\nI type \"3241992\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 2431992\nI type \"2431992\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Xyzzy\nThere's a flash of light, and I find myself elsewhere...\n\nI'm out on Hill Street just outside my apartment building. It's a beautiful sunny day in a quiet residential neighborhood. The street continues east and west, and just across it is the park.\n\n> You go inside\nI unlock the door and go back inside.\n\nThis studio apartment, located conveniently near work and right across the street from the park, serves as my personal headquarters for my hobbies, such as doing volunteer restoration work for the local American History Museum and foiling the plots of my evil twin. My only real attempt at decoration is a framed poster right next to the bookshelf. I can leave to the north.\n\nI can see a pocket knife here.\n\n> You examine the knife\nIt's a litle folding penknife with a red handle. Kind of like one of those Swiss Army knives, but with only one blade.\n\n> You look at the bookshelf\nThe only books on it are a multi-volume set on the writings of Nostradamus. I'm generally more of a history guy than a future guy, but Nostradamus, being a historical figure who wrote about the future, is both, two natures in one. Anyway, his writing creeps me out. I'm not sure why.\n\n> You take the books\nOnce more, I dare to peek inside the books or prophecy:\n\nIn the year when Apollo comes of age, twins shall arise\nFriendly to each other only in times of storm.\nOne shall always want to start\nWhen the other wants to begin.\n\nI'm pretty much freaking out now and I can't articulate why. No way am I opening those books again today.\n\n> Inventory\nI am carrying:\na wrench\nan empty bottle\na discarded newspaper\na photo\na voodoo doll\n\n> You cut the doll\nCutting that up would achieve little."
    },
    {
        "text": "> Look around\nThis studio apartment, located conveniently near work and right across the street from the park, serves as my personal headquarters for my hobbies, such as doing volunteer restoration work for the local American History Museum and foiling the plots of my evil twin. My only real attempt at decoration is a framed poster right next to the bookshelf. I can leave to the north.\n\nI can see a pocket knife here.\n\n> You cut the doll\nOn a hunch, I slice one of the arms off. (Ouch!) There's a slip of paper stuffed inside, which I take.\n\n> You read the paper\nIt looks like a fortune-cookie message, but all it says \"You will spend the entire day\".\n\n> Xyzzy\nNothing happens here.\n\n> Xyzzy\nThere's a flash of light, and I find myself elsewhere...\n\nMy evil twin's dark fortress casts its shadow over Silent Street, which continues east and west. A security camera mounted above the massive iron-banded door tracks my every move. Across the street to the north is the... other park.\n\n> You go inside\nI wave my photograph at the camera and it buzzes me through.\n\nA feeling of pure malevolance seethes from the very walls here, but other than that, it's a fairly ordinary studio apartment. His only real attempt at decoration is a framed poster right next to a suspicious-looking bookshelf.\n\nI can see a slip of paper here.\n\n> You examine paper\nIt has the number \"6962\" written on it. Mysterious!\n\n> Type 6962\nI type \"6962\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 2696\nI type \"2696\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 006962\nI type \"006962\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 020696\nI type \"020696\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 6962696\nI type \"6962696\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Type 0006962\nI type \"0006962\" on the keypad and hit the enter key. It's rejected with a little electronic blurp.\n\n> Go north\nDark, leafless trees claw at the graying sky here. A sinister booth labeled \"INDOCTRINATION\" lies to the west, Silent Street can be crossed to the south, and an entrance to a concrete tunnel lies east.\n\nA lawnmower stands here alone, as if puzzled about what to do.\n\nA heap of junk that used to be a mind control device lies vanquished in the dirt.\n\n> You examine the tree\nThe branches of the trees twist into menacing shapes. Carved into one tree is the message \"YOU'RE NEXT\".\n\n> Xyzzy\nThere's a flash of light, and I find myself elsewhere...\n\nThis is normally just a pleasant enough place to go for a walk, but today there's a special event in progress: some sort of fun fair held as a fundraiser for the elementary school. Hill Street lies to the south, to the east is an entrance to a concrete tunnel, and a photo booth stands to the west.\n\nA training dummy stands here.\n\nSomeone has trashed the cotton candy machine! The children seem to have fled when this happened.\n\n> You look at the tree\nOverhead, the rustling leaves provide pleasant shade. On a hunch, I scan all the trees in the vicinity. Sure enough, there's one with a carved message: the number \"387\". Enigmatic.\n\n> You examine paper\nIt has the number \"6962\" written on it.\n\n> Type 3876962\nI type \"3876962\" on the keypad and hit the enter key. It emits a congratulatory bleep, and the bookshelf pivots to reveal a dark staircase leading down.\n\n> Down\nAt last, I penetrate the darkness of my evil twin's inner sanctum. I wonder if I'll finally meet him here?\n\nSomething is wrong. I hear a siren, then black out. When I wake up, I'm in a jail.\n\nJail (in the cell)\nIron bars separate me from freedom. Clearly, this is a case of mistaken identity. The police should be thanking me, not confining me!\n\nI can see a policeman here.\n\nThe policeman says \"I hope you rot in there. What did you think you were doing, spoiling things for a bunch of kids like that?\" He then turns away and sits at a desk with his back to me.\n\n> Xyzzy\nNothing happens here.\n\nThe policeman grumbles to himself.\n\n> You look at the policeman\nHe looks thoroughly unsympathetic. On his belt is a conspicuous key ring.\n\n> You look at the key\nIt jangles tantalizingly out of reach.\n\n> You check your inventory\nI am carrying:\na pocket knife\na wrench\nan empty bottle\na discarded newspaper\na photo\na damaged voodoo doll\n\nThere's a knock at the door. The policeman gets up to answer it."
    },
    {
        "text": "[Themes: Humor, male protagonist, silly, based on songs, changing environment]\n\n> Describe the surroundings\nJail (in the cell)\nIron bars separate me from freedom. Clearly, this is a case of mistaken identity. The police should be thanking me, not confining me!\n\nI can see a policeman here.\n\nThe policeman is talking with a mysterious figure at the door.\n\n> You examine the figure\nHis face his hidden by his broad-brimmed hat and the turned-up collar of his tranchcoat, but I think I recognize his voice. Could it be...?\n\nThe policeman and the mysterious figure seem to be arguing. The latter turns to look at me, but I can't make out his face in the shadows under his broad-brimmed hat.\n\n> You talk to the figure\nI start to speak, and the figure focuses his attention on me, his face still in shadow. My blood runs cold at the thought that he's seen my face but I still haven't seen his, and I find my words choked off.\n\nThe policeman's face falls and his manner turns apologetic.\n\n> You talk to the policeman\nHe contemptuously disregards anything I say.\n\nFinally, the policeman turns back to me. \"I'm letting you out. It seems this is a case of mistaken identity. Your brother just told me all about it.\"\n\nConfused? You probably don't really understand how things are between me and my twin.\n\nThe thing you have to understand is that we're brothers. Even if we've never been seen in the same room, even if I don't actually know his name, we're really very close. In a way, we complement each other. He does the things that I'd never do, like crimes and atrocities. I thwart him when he goes too far. Well, sometimes. The point is that we need each other. We're bound into a cycle of eternal warfare, and innocents are caught in the crossfire. And I wouldn't have it any other way."
    },
    {
        "text": "[Themes: Science Fiction, music, male protagonist, spaceship setting, space]\n\nThe story you are about to play uses a keyword interface. Whenever you see a word in upper case you can type it on the command prompt to advance the story.\n\nWhenever you wish to see the list of currently available keywords, type LIST or L.\n\n\n\nIt's quiet, as always. I've turned the MUSIC off so that it doesn't bother my COUSIN's sleep. A long day of travel and WEIGHTLESSNESS has exhausted him.\n\nThe door leads out to the HALLWAY.\n\n[Author's Note: The Magellan returned to Earth two weeks ago. I however can never go home.]\n\n> Music\nThe computer has a comprehensive library of movies, music, books and games. They have been just about the only available entertainment on the MAGELLAN.\n\n> Cousin\nKevin is my cousin. We were born a month apart, but he was born on Earth and I was born on board the MAGELLAN millions of kilometers away. He has never been in space before.\n\nWe live on a different day rhythm so it would already be way past midnight at his home. That and my neverending questions about Earth have tired him up, so I let him sleep on my BED.\n\n> Weightlessness\nIt does seem very limiting that on Earth you can't just go wherever you want if there's something blocking your path. You are bound to a single direction. You can only use a single side of a room effectively, whereas here you can--and must--use every available surface to your advantage.\n\nThere was a time when I considered gravity my nemesis that kept me from going home. Then I came to realize how insane it is to hate a force of nature and directed my energy to more tangible things.\n\n> Bed\nKevin wanted to try the zero-g bed. It has a mattress and a blanket that's attached to both of the long sides which keeps you in place. My dad has told stories how he found it almost impossible to sleep in one for the first few nights, but Kevin fell asleep instantly.\n\n> Magellan\nMom was pregnant when we left for EPSILON ERIDANI. I was born when we were already far away from Earth. The Magellan has been my home and my prison ever since.\n\n> Epsilon eridani\nThe best thing about the Epsilon Eridani system was that it was at least something new. Other than that, just some rocks and gas planets."
    },
    {
        "text": "> You look around\n[Available keywords: ME and HALLWAY]\n\n> Yourself\nMom says I'm starborn--she says I'm special. Who ever said I want to be special?\n\n> Hallway\nI push myself to speed and enter the hallway.\n\nI'm in the hallway outside MY ROOM. Further down the hallway are the SICK BAY and EXERCISE ROOM. Going the other way I can go to DOCKING STATION into which the Magellan is docked.\n\n> Sick BAY\nThe sick bay is DR. STREPKE's kingdom. I have no business there now, so I just stay where I am.\n\n> Strepke\nDr. Strepke says my body's immune system hasn't been accustomed to Earth's BACTERIA and viruses. If I went down there I'd contact \"every disease known and unknown to man\". I would have to wear an airtight protective suit all the time.\n\n> Bacteria\n\"Mother Earth is much like the human body,\" Dr. Strepke once said. \"It does everything in its power to protect what belongs there--and fights with all its fury against anything that doesn't.\"\n\nNeedless to say I have done my best to avoid Dr. Strepke since then."
    },
    {
        "text": "> You describe your surroundings\n[Available keywords: MY ROOM, EXERCISE ROOM and DOCKING STATION]\n\n> EXERCISE ROOM\nNothing you do in weightlessness really requires any strength, so the crew of the Magellan use the EXERCISE EQUIPMENT to keep their muscles from deteriorating. In addition to all the gym gadgets there's a full-body MIRROR.\n\nKevin's JACKET is floating around the room.\n\n> Mirror\nThe mirror is used to teach me how to walk properly. They make me look at myself while I fumble on the treadmill.\n\n> Jacket\nKevin wanted to try the EXERCISE EQUIPMENT and took the jacket off. It's an Earth jacket and doesn't have the magnetic strips that would keep it in place, so it's floating freely around the room.\n\nA CARD is sticking out the front pocket.\n\n> Card\nLooks like the card is Kevin's passport. I pull it out from the pocket and take it with me.\n\n> Equipment\nI have to train as well. Twice as much as the others. I use the standard equipment and the WALKING TRAINER. People living on Earth are lucky enough to have gravity train their muscles automatically. I need to exercise actively to get any kind of muscle mass.\n\nIt's of not much use, though. There is no training equipment for the HEART muscle.\n\n> Heart\nOn Earth your heart has to fight against the gravity to keep blood flowing inside your body. In space it doesn't need to work nearly as hard. If you grow up in weightlessness the heart doesn't get the exercise and never grows very strong.\n\nThey say my heart would fail if I ever went to Earth, but they are wrong. My heart will break if I never get home.\n\n> Walking\nI have never learned to walk the natural way. Or even actually walked. There's no need for it aboard the Magellan. You just float to wherever you want to go.\n\nThe walking trainer is a treadmill that has a harness attached to vertical bars with elastic exercise bands. The bands pull you towards the treadmill, simulating gravity. Mom made me practice every day when I was younger. If I can never go to Earth anyway, why bother?"
    },
    {
        "text": "[Themes: Science Fiction, spaceship setting, music]\n\n> Look around\n[Available keywords: MIRROR, HALLWAY and PASSPORT]\n\n> Passport\nI'm carrying with me Kevin's passport. It has a picture of him and his personal information on it.\n\nThey say me and Kevin look very much alike. Maybe there's something to it."
    },
    {
        "text": "> Look around\n[Available keywords: MIRROR and HALLWAY]\n\n> Hallway\nI push myself to speed and enter the hallway.\n\nI'm in the hallway outside MY ROOM. Further down the hallway are the sick bay and EXERCISE ROOM. Going the other way I can go to DOCKING STATION into which the Magellan is docked.\n\n> DOCKING STATION\nI navigate through Magellan's corridors through the docking station into the Focault space station.\n\nThe PEOPLE who inhabit the FOCAULT pass me by as they go about their daily chores. The SHUTTLE PORT is near the docking port that connects the MAGELLAN to the space station. I could also go to the OBSERVATORY.\n\n> People\nNever before have I met a person I wouldn't have known for my entire life. Returning to Earth and meeting these new people was hard--I haven't had any practice for such situations. I still find myself shying away from social interaction with strangers.\n\n> Focault\nThe Focault Space Station is the largest of Earth-orbiting space stations. The Magellan has been docked into it since we returned two weeks ago."
    },
    {
        "text": "> You look around\n[Available keywords: MAGELLAN, OBSERVATORY and SHUTTLE PORT]\n\n> Magellan\nI go back to the Magellan.\n\nI'm in the hallway outside MY ROOM. Further down the hallway are the sick bay and EXERCISE ROOM. Going the other way I can go to DOCKING STATION into which the Magellan is docked.\n\n> Observatory\nI follow the Focault's corridors into the observatory.\n\nEver since we returned and docked to the Focault, this has been the place I've spent most of my time. A round WINDOW several meters wide shows a magnificent view of the EARTH as the station revolves around it.\n\nThe exit leads to the DOCKING STATION.\n\n> Earth\nThe Earth. The shadow of the Sun is passing by Europe and Africa. Clouds are gathering over Asia, the Indian Ocean glitters in blue. It is an awe-inspiring view, one that reveals new details every time you look at it.\n\nIt's a completely different world on the ground, of course. I've seen enough movies and videos to know that. If looking at it from a thousand kilometers away is like this, what would it be like on the ground?"
    },
    {
        "text": "> Look around\n[Available keywords: WINDOW and DOCKING STATION]\n\n> Window\nThere are people everywhere in the Focault but they barely even glance at the Earth as they go by. I've seen people on their first visit up here to spend a few minutes looking at it, but the regular staff doesn't even come here unless they have to pass by to get to somewhere else. Do they really not see its beauty? Or is it possible for it to lose its wonderfulness over time? I find the idea impossible to grasp.\n\n> DOCKING STATION\nThe people who inhabit the Focault pass me by as they go about their daily chores. The SHUTTLE PORT is near the docking port that connects the MAGELLAN to the space station. I could also go to the OBSERVATORY.\n\n> SHUTTLE PORT\nI remember dad telling how complicated shuttle travel used to be before they left Earth. You'd have to go through several stages of health and security checks to make sure nothing goes wrong. Now shuttle travel is so common all you need is to buy a ticket with your passport and you're all set.\n\nA corridor leads back to the DOCKING STATION and a closed AIRLOCK leads inside the waiting area. There's a TICKET MACHINE next to the airlock.\n\n> Ticket machine\nThe ticket machine sells tickets to shuttles back to Earth. There's a SLOT where you insert your passport and it deducts the price from your account and uploads the ticket information into the card.\n\n> Slot\nI push the passport into the slot. The display indicates the purchase was successful and the machine pushes the card back out again and I take it.\n\nI could now open the AIRLOCK and enter the waiting area. My hands start shaking and sweating.\n\n> Airlock\nThe airlock opens and I go through. I try to look as neutral as possible as the machines scan Kevin's passport. They let me through.\n\nThe shuttle takes off and starts its descent. Soon I feel something I've never experienced before: gravity pulling me downwards to my seat.\n\nMy heart is beating fast. I don't know if it's the excitement or if something is wrong. I start to feel increasing discomfort. The shuttle touches ground and I almost pass out.\n\nI manage to stumble out of the shuttle into the open air--and a wonderful, magnificent view of the Earth opens before me. It is everything I could have hoped for and more. A breath of air caresses my being and the Sun's warmth feels so soft. Actual atmosphere is so much gentler than Magellan's artificial environment.\n\n\"Is everything allright, young man?\" I hear someone ask. \"Yes,\" I manage to whisper. It's hard to speak when you have to fight the pull of gravity with all the strength you have.\n\nA woman behind me catches me as I fall. She sounds hysterical, she's calling for the medical personnel. I see her face and the blue sky behind her. A lone bird flies past the sun.\n\nMy vision fades but I can still hear the people around me. They are saying that my heart is failing, but they are wrong. I have never felt more alive. I am home.\n\n[Type UNDO, RESTART, RESTORE, VERSION or QUIT.]\n\n> Xyzzy\n[Type UNDO, RESTART, RESTORE, VERSION or QUIT.]\n\n[Previous turn undone.]\n\n> Xyzzy\n[That is not a keyword the story recognizes. Fool.]\n\n> Plugh\n[That is not a keyword the story recognizes. Fool.]"
    },
    {
        "text": "[Themes: Superhero, conversation, supernatural]\n\nIt's raining out. You lean your head against the window, the glass cold against your cheek, and watch the world slide by. The city is as grey as the skies, but rainbows catch in the trembling drops of water. The swish-slap of the windshield wipers and low hum of the air conditioner covers up the faint sound of his breathing. If you close your eyes, you can almost be somewhere else. Maybe if you try...\n\nYou tremble inside like a raindrop on the verge of falling, fighting to spread yourself out, let yourself drift away into the sky, away from this car, away from him, away from the fate ahead. But even with the fear, it's so hard to move on... or maybe because of the fear. Metal snugs around your wrist as he tightens the cuff, shattering your concentration. \"None of that,\" he says. His voice isn't even cold, it's just empty. He touches a panel on the car's dashboard. \"We'll be there soon,\" he adds. Soon.\n\nIFComp ver 1.0\nPlayers new to this game should type ABOUT. Hints are also available.\n\nI see no more than you do\nBelieve me, I've tried\nTo find what is missing, to find what is wrong\nTo write the words to my happy-ending November song\n\n- \"November Song,\" Mark Henley\n\nThe car is large and comfortable, but it's still just a traveling cage, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nYour backpack is on the floor.\n\nGalen is driving the car.\n\n[Author's Note: I am falling, I am fading, I am drowning, help me to breathe...]\n\n> You examine Galen\nFrom your dreams, you always thought he'd be tall. Big. Enormous.\nHe cast such a shadow in your dreams. But when you looked up in the park and saw him standing there in front of you, just a man, you could barely believe it. This is what had been hunting you, night and day, across world and wane? Not so tall, almost slight in build, unremarkable brown hair. But then his hand closed around your arm, stronger than the silver band there now, and you knew him. \"Your grandfather asked me to find you, Enra,\" he said, and caught you as your knees buckled.\n\nHe's wearing an expensive-looking pair of shades that scrape across your nerves. His suit is very fine, although it bears the signs of being driven in for many hours. It's typical Man In Black garb. Silver glints at his neck.\n\n> You look at the backpack\nWhen he caught you, he peeled it off of you like you were a child, holding your arm in one hand. After he had you cuffed, attached securely to him, he went through it. He took your caheris and stepped on it, breaking it into a thousand glittering pieces, and he took the rose pin that Bobby had given you, snorted, and tossed it into the undergrowth. He looked at your battered mystery novels, your dice, your lensless eyeglasses, laughed humorlessly, and left them in the backpack.\n\nIt's raining steadily out.\n\n> You look at the silver\n(the cuff)\nThe silver cuff can loosen and tighten around your wrist like a training collar on a dog when he pulls on it, which is easy for him to do, because the other end is around his own wrist. It's closed.\n\n> You talk to Galen\nHe glances at you expectantly.\n\n> You ask Galen about the grandfather\n\"What does my grandfather want?\" you ask.\n\n\"The usual,\" he says. \"Power and immortality.\"\n\n> You ask Galen about the caheris\n\"Why did you break my little crystal?\" you ask thoughtfully.\n\nHe gives you a look. \"Instructions from your grandfather.\"\n\n> You ask Galen about the grandfather\n\"My grandfather told you to break my stone, specifically?\"\n\n\"Yes.\"\n\nGalen touches the control panel and a symbol flashes. It's still raining.\n\n> Drift\nThe word \"drift\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You examine the control panel\nYou never learned to read the symbols. You've never had to drive yourself anywhere before. First there were Daddy's people, and then Stephan, and then Bobby. And now Grandfather's people, apparently. But not for long. Soon you won't go anywhere ever again.\n\n> You examine the briefcase\nIt probably has terrible weapons in it. Bombs. Nerve poisons. Battery swords. Laser nunchunks. Tasers. Smooth black tronic devices for unlocking doors and people equally well. It's closed.\n\n> You examine the door\nThis is the kind of door where all the useful functions- the window, the lock, the handle- are controlled from the driver's side. There's a handy ashtray, though. Too bad you don't smoke. It's closed.\n\nGalen turns his head to look at you directly for a moment. The clouds directly ahead are darker.\n\n> You look at the ashtray\nAbsolutely spotless. Of couse.\n\n> You open the door\nThe car door seems to be locked.\n\nGalen scowls at the storm ahead.\n\n> You ask Galen about the storm\n\"Do you like the rain?\" you ask.\n\nHe turns to look at you, his mirrored gaze discomfiting. Then he turns back to the front again. \"It suits my mood.\"\n\n> You examine the mirror\nYourself. You usually avoid mirrors because they always make you feel like you're falling, like if you don't hang on you'll slip to the other side and never find your way back.\n\nDefinitely nasty weather ahead.\n\n> You touch the mirror\nYou feel nothing out of the ordinary.\n\nYou finish passing the great bulk of the city.\n\n> You ask Galen about the immortality\nHis eyes flick towards you and then back outside.\n\n> You open the cuff\nThe cuff seems to be locked.\n\nGalen taps his fingers on his leg thoughtfully.\n\nAhead, the sky is even darker, and flashes of light dance between clouds.\n\n> You examine the galen's neck\nHalf-hidden by his hair and collar, the links of the necklace are thin and wide. There seems to be a pendant of some sort but it's tucked under his shirt. When he moves his head, you can see that the skin under the chain is a chafed and fiery red.\n\n> You ask Galen about the chain\n\"Will you take this cuff off me?\" you ask.\n\nHe doesn't bother responding.\n\nA big truck passes, sending up a wave of spray that washes over the car.\n\n> You ask Galen about the necklace\n\"So, where'd you get the necklace from?\" you ask.\n\nHis mouth curves up in a humorless smile. \"It was a... gift... from your grandfather.\"\n\nThere's a flash of lightning in the distance.\n\n> You get the necklace\nYou lean back in your seat, stretching your hands out so wide. He moves his head to his left as you threaten his personal space, leaving his neck open. Quick as a fish, you dart your hand in, wrap your fingers around the chain and yank. He recoils, which helps, because the surge of energy that tingles through you almost makes you lose your grip. You fight back- and with a snap, the chain is in your hand.\n\n\"Oh,\" he says quietly. \"Oh.\"\n\nHis hands go up to the weal around his neck. There's a pulse of white around you, and for a moment for a moment you are overcome by a wild, sourceless joy. From the pendant in your hand there sings an answering note. And then-\n\nThe car is large and comfortable, but it's still just a traveling cage, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nYour backpack is on the floor.\n\nGalen is driving the car.\n\nThere's a click as ordinary vision returns, and the cuff drops off your wrist. Galen gives you a long, steady look, and then returns to driving.\n\n> You examine the necklace\nThe pendant is a flat, seven-sided crystal, in which a tiny downy feather has been imprisoned. The chain melds organically to the pendant, the links narrowing to a tiny filigree as they intersect the pendant. Holding it in your hand, you can feel the quiet thrum of an alien power in the artifact.\n\n> You ask Galen about Grandfather\nYou're certain, based on recent events, that he hates your grandfather as much as you do. Maybe even more.\n\n> You ask Galen about the necklace\n\"Where did this come from?\" you ask, holding the pendant.\n\n\"Your grandfather had it crafted from certain materials he gathered. Then he collared me with it.\" His voice is almost entirely even.\n\nGalen mutters something under his breath.\n\n> Break necklace\nYou move to swing the pendant sharply against the door. As you do, Galen says sharply, \"Don't!\" and reaches over to take hold of the chain just long enough to check its momentum.\n\n\"Don't,\" he says again. \"It's not a good idea.\"\n\n> Wear necklace\nYou slip the chain over your head.\n\nGalen takes the next exit, which is an interchange. You're now running parallel to the storm rather than driving into it.\n\n> 1\nSaved.\n\n> You open the briefcase\nYou reach in the back seat and haul the briefcase forward into your lap. Galen watches this, raising his eyebrows. Fortunately you've learned a lot from this journey and ignore him quite successfully as you fiddle with the clasp. Locked, of course. You glare at it. A globular field sparkles around the clasp and there's a click as it unlocks and opens.\n\nInside, socks and toothpaste share space in a tiny overnight kit with a pair of neatly folded boxers. In the main compartment of the case there's a slim laptop and on top of it- aha! A battery sword!\n\nGalen takes the next exit, which is an interchange. You're now running parallel to the storm rather than driving into it.\n\n> You get the sword\nAlmost certainly contaminated by MIB cooties. But you study it for a while, and suspect that with some time to digest the information, you could create one for yourself later.\n\n> You look at the sword\nThese show up in video games and spy novels all the time, but you've never seen a real one. Wow.\n\n> Inventory\nYou are carrying a cuff and a necklace.\n\n> You get backpack\nYou pick up your backpack.\n\nGalen adjusts his sunglasses. It looks like the freeway is curving back around to the city.\n\n> You examine the laptop\nVery sleek, very nice. Certainly top of the line, although you don't really pay attention to that stuff anymore.\n\n> You ask Galen about Bobby\n\"Why did Bobby act so strangely when you came to get me? Why didn't he help me?\" He'd stood back, practically cowering, with your other friends when Galen showed up.\n\n\"I've been in his dreams, too. He doesn't remember them, but they probably made him uneasy. But, let's face it, anyone that might hurt him makes him uneasy.\"\n\n> You ask Galen about the dreams\n\"Why did I see you in my dreams?\" you ask him.\n\n\"You're special,\" he says. \"Most people don't.\"\n\n> You ask Galen about special\nHe has nothing but silence to offer you.\n\nGalen watches you for a long moment.\n\n> You ask Galen about the destination\n\"Where are we going?\" you ask.\n\n\"A park,\" he says. \"I thought I'd drop you off at a park.\"\n\nThe car takes the upcoming offramp.\n\n> You ask Galen about park\n\"When we were at the park, you showed up practically out of nowhere. How did you find me?\" you ask.\n\nHe hesitates and then says, \"By visiting you in your dreams, a temporary link was forged that gave me a directional heading when we were both awake.\"\n\n> You ask Galen about the freedom\nYou're free now, though you're not quite sure why.\n\nNow you're racing along the edges of the city again, back along the skeletal ribs of the city freeway system. This is a rather nice part of the city, but not where you would have expected to find yourself.\n\n> You take the backpack\nYou are already carrying the backpack.\n\n> You look at the feather\nIt's a tiny white feather, with a translucent, almost crystalline quill.\n\nAs you pass by a park, the car turns into the parking lot. A moment later, Galen has parked the car. He turns toward you, inscrutable behind his sunglasses. Then he brushes his fingers on the panel and the door beside you clicks as well.\n\n\"Go on, get out of here.\"\n\n> You go outside\n(first opening the car door)\nYou open the door.\nYou slide out of the car.\n\nThere's comfortable scent of wet sidewalk and shattered ozone. Whirling autumn leaves race down the gutter as the late afternoon sky brightens overhead. To the south, there's a park, and beyond that, the embrace of the city awaits.\n\n> You look at car\nThe car that took you so far... Man, it's dirty.\n\nIt's open.\n\n> You get on the car\nThe car is large and comfortable, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nGalen is lounging inside the car.\n\nA bird flies across the front of the car.\n\n> Go south\nYou head south, to the park. As you do, he gets out of the car and leans against it, taking his sunglasses off to watch you go.\n\n***The end***\n\n> You get the backpack\nYou pick up your backpack.\n\nGalen turns his head to look at you directly for a moment. It's raining steadily out.\n\n> You examine the shades\nYou can see yourself in his sunglasses, all distorted and wavy. You don't like them. Nothing's real through sunglasses, everything is just a game with a wall between you and the world. You've been there.\n\nGalen scowls at the storm ahead. It's still raining.\n\n> You take the shades\nYou lunge at him, grabbing at the sunglasses. The metal tightens around your wrist again, but it can't do much to stop you. The car swerves for the briefest instant as he is distracted, his other hand coming up to fend you off. There's a brief tussle that ends with him holding your arm in an iron grip. But you are clutching his sunglasses. He looks at you impassively for a heartbeat, and then thrusts you away from him, back into your seat.\n\nYou have his sunglasses. Triumph!\n\n> You examine the shades\nLightweight, sleek, partially reflective. He looked good in them. Well, intimidating, which is what his kind consider 'good'. Too bad for him. They're yours now.\n\n> You wear the shades\nYou put on his sunglasses. You can feel his warmth on your cheeks for a moment, and then you hastily take them off, embarassed that he saw you acting so frivolously.\n\nThe clouds directly ahead are darker.\n\n> You examine the galen's face\nThe word \"face\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You examine the galen's eyes\nHis gaze is constantly moving, flicking down the road, over passing cars, and towards you. He meets your eyes expressionlessly and then something flickers- what was that? Something strong. Even without your caheris you can see that.\n\n> You examine the glove compartment\nThere's a hatch flush with the dash of the car. It's closed.\n\n> You open it\nOpened.\n\nGalen rolls his head around his shoulders, stretching his neck. You catch a glimpse of his necklace.\n\n> You ask Galen about the sunglasses\n\"Do you want your sunglasses back?\"\n\nHe eyes you warily. \"All right.\"\n\n\"Tough!\" you say gleefully. He snorts and turns his attention away from you.\n\nDefinitely nasty weather ahead.\n\n> You ask Galen about the caheris\n\"Why did you break my little crystal?\" you ask thoughtfully.\n\nHe gives you a look. \"Instructions from your grandfather.\"\n\n> You ask Galen about instructions\n\"My grandfather told you to break my stone, specifically?\"\n\n\"Yes.\"\n\n> You look at the glove compartment\nThere's a hatch flush with the dash of the car. It's open.\n\nGalen scowls at the road ahead.\n\n> You look in it\nYou see nothing in the glovebox.\n\nGalen turns a fierce look on you. You finish passing the great bulk of the city.\n\n> You examine the necklace\nHalf-hidden by his hair and collar, the links of the necklace are thin and wide. There seems to be a pendant of some sort but it's tucked under his shirt. When he moves his head, you can see that the skin under the chain is a chafed and fiery red.\n\n> You ask Galen about yourself\nQuietly, you ask Galen, \"Do you know the sort of things I can do?\"\n\nHe glances over at you, his voice flat as he recites. \"Yes. You interface with reality on a subdimensional level as a result of prenatal modifications to your genetic and aethereal nature and catalyzed by a nanomechanistical substrate absorbed during adolescence. You require a focus item, and your generative capabilities can be externally suppressed.\" He sighs, but his eyes are burning.. \"Or, as I imagine Bobby would say, some whacked out magic shit.\"\n\nYou've never heard it expressed quite like that before.\n\n> You ask Galen about Bobby\n\"Why did Bobby act so strangely when you came to get me? Why didn't he help me?\" He'd stood back, practically cowering, with your other friends when Galen showed up.\n\n\"I've been in his dreams, too. He doesn't remember them, but they probably made him uneasy. But, let's face it, anyone that might hurt him makes him uneasy.\"\n\n> You ask Galen about the necklace\n\"So, where'd you get the necklace from?\" you ask.\n\nHis mouth curves up in a humorless smile. \"It was a... gift... from your grandfather.\"\n\nAhead, the sky is even darker, and flashes of light dance between clouds.\n\n> You ask Galen about the focus item\nHe just shakes his head, very slightly.\n\n> You ask Galen about the magic\nHah, magic. People always try to turn what they don't understand into magic. You're a product of technology.\n\nGalen frowns at the dashboard.\n\n> You ask Galen about the necklace\n\"The old man really expects you to wear that thing even though it hurts?\"\n\nHe inclines his head.\n\nThere's a flash of lightning in the distance.\n\n> You ask Galen about the technology\nIt's hard to describe your interface with computers and other machines in ordinary language, and not much fun to try. You've become pretty good at pretending you use all the normal methods, though.\n\nThere's the thunder.\n\n> You get the briefcase\nIt's very awkward to get a hand into the back seat to fiddle with the briefcase, as there's a cuff around the hand closest. You'd have to do some pretty significant contortions to get to the briefcase.\n\n> You examine cuff\nIt's very shiny, and there's a fine texture on the metal. You don't like it. You don't like touching it. It's a leash and collar, with spikes on the inside. It's closed.\n\n> You ask Galen about the necklace\n\"Where did this come from?\" you ask, holding the pendant.\n\n\"Your grandfather had it crafted from certain materials he gathered. Then he collared me with it.\" His voice deepens, anger roughening it.\n\n> You ask Galen about Grandfather\nYou're certain, based on recent events, that he hates your grandfather as much as you do. Maybe even more.\n\nGalen looks out the window.\n\n> You get the briefcase\nYou reach in the back seat and haul the briefcase forward into your lap. Galen watches this, raising his eyebrows. Fortunately you've learned a lot from this journey and ignore him quite successfully as you fiddle with the clasp. Locked, of course. You glare at it. A globular field sparkles around the clasp and there's a click as it unlocks and opens.\n\nInside, socks and toothpaste share space in a tiny overnight kit with a pair of neatly folded boxers. In the main compartment of the case there's a slim laptop and on top of it- aha! A battery sword!\n\n> You ask Galen about the sword\n\"Why do you have a battery sword?\"\n\nHe sighs.\"It reminds me of home.\"\n\n> You get the laptop\nNah, you don't need it. It's very lightweight, sure, but nothing's as lightweight as what's between your ears.\n\nMaybe you should reconsider the phrasing on that before you say it aloud. Anyhow, it would slow you down.\n\n> You ask Galen about the home\n\"They make battery swords where you're from?\" you guess.\n\nHe smiles faintly. \"Not battery swords, no.\"\n\nGalen takes the next exit, which is an interchange. You're now running parallel to the storm rather than driving into it.\n\n> You read the laptop\nThat's so last evolution.\n\n> You open the backpack\nOpening the backpack reveals some mystery novels, a pair of eyeglasses, and some dice.\n\nGalen glances over at you, an odd look on his face.\n\n> You look at the dice\nSix siders and twenty siders. Useful in work and play.\n\n> You roll the dice\nUnfortunately, there's no good surface in the car to roll the dice.\n\nThe car takes the upcoming offramp.\n\n> You examine the eyeglasses\nCoppery round metal frames with iridescent butterflies dancing along the earpieces. They help you focus sometimes.\n\nIt looks like the freeway is curving back around to the city.\n\n> Wear the eyeglasses\n(first taking the pair of eyeglasses from the backpack)\nYou pull out your glasses.\nYou put your glasses on. Ah, that's better.\n\nThis is a rather nice part of the city, but not where you would have expected to find yourself.\n\n> You ask Galen about laptop\nHe has nothing but silence to offer you.\n\nGalen shifts in his seat.\n\n> You examine the laptop\nVery sleek, very nice. Certainly top of the line, although you don't really pay attention to that stuff anymore.\n\nAs you pass by a park, the car turns into the parking lot. A moment later, Galen has parked the car. He turns toward you, a half-smile on his face. Then he brushes his fingers on the panel and the door beside you clicks as well.\n\n\"Go on, get out of here.\"\n\n> You examine Galen\nHe's actually kind of attractive, now that you think about it. Not pretty, like Bobby, but there's something there that makes him not unpleasant to look at.\n\nHis suit is very fine, although it bears the signs of being driven in for many hours. It's typical Man In Black garb. His hair has been tousled from its previous immaculate state.\n\nA bird flies across the front of the car.\n\n> You examine the necklace\nThe pendant is a flat, seven-sided crystal, in which a tiny downy feather has been imprisoned. The chain melds organically to the pendant, the links narrowing to a tiny filigree as they intersect the pendant. Holding it in your hand, you can feel the quiet thrum of an alien power in the artifact.\n\n> You get novel\nTaken.\n\nGalen leans back in his seat. A gaggle of children races down the sidewalk into the park.\n\n> You read the novel\nYou're not really in the mood for reading now.\n\nGalen stretches his hand, watching as it closes into a fist.\n\n> You ask Galen about Grandfather\nYou're certain, based on recent events, that he hates your grandfather as much as you do. Maybe even more.\n\n> You ask Galen about himself\n\"So, what are you going to do now?\" you ask.\n\n\"Oh, I'll be paying one last visit to your grandfather. He won't like that very much at all.\" Galen smiles unpleasantly.\n\n> You ask Galen about the recent events\nHe just shakes his head, very slightly.\n\n> You ask Galen about himself\n\"Um. What will you do after you... visit... my grandfather?\"\n\nHe glances over at you. \"I haven't decided.\"\n\n> You ask Galen about the necklace\n\"Did you really get this from my grandfather?\" you ask, fingering the chain.\n\n\"Oh yes,\" he assures you, his jaw clenching. \"Oh yes. He brought me to him and bound it around my neck. Bound me to him.\"\n\nThe cement is drying outside.\n\n> You close the door\nThe car door is already closed.\n\n> You drive\nGalen just shakes his head.\n\n> Kiss galen\nThe mood has to be right...\n\n> You examine the sword\nThese show up in video games and spy novels all the time, but you've never seen a real one. Wow.\n\nFor a moment there's a bit of blue sky in the shifting clouds overhead.\n\n> You ask Galen about the dreams\n\"Why did I see you in my dreams?\" you ask him.\n\n\"You're special,\" he says. \"Most people don't.\"\n\n> You ask Galen about yourself\n\"So,\" you say. \"You're not mad at me or anything, right?\"\n\nHe gives you a quizzical look. \"I'm very happy with you.\"\n\n> You look under the seat\nYou see nothing unusual under the front seat.\n\nA kid on a scooter zooms by.\n\n> You turn on the stereo\nYou tuck a strand of hair behind an ear and flick the stereo on. Running your fingers across the touchpad, you make haunting cello strains fill the vehicle.\n\nThe beautiful sonorous chords of cello music flood the car.\n\n> You examine the stereo\nState of the art, of course, but not much used, from the looks of it. The beautiful sonorous chords of cello music flood the car.\n\n> You turn on Galen\nNot at the flip of a switch, you don't.\n\nGalen rubs a spot under his eye.\n\n> You ask yourself about yourself\nTalking to yourself won't accomplish anything.\n\nA pair of teenagers wander by, sharing a cigarette.\n\n> About yourself\nDefinitely feeling better now that the evil cuff has been removed.\nNot panicking was a great plan.\n\n> Break cuff\nStomping on it won't work. And it'd be best if this sort of thing couldn't cage you ever again. So you decide to spend the time and focus yourself on the cuff, analyzing every aspect of it. When you're done, you tell the cuff to stop existing. With a puff of dust, it is gone.\n\nA dog races down the sidewalk, its leash trailing behind it. A shouting, grinning child chases after.\n\n> You destroy the necklace\nYou move to swing the pendant sharply against the door. As you do, Galen says sharply, \"Don't!\" and reaches over to take hold of the chain just long enough to check its momentum.\n\n\"Don't,\" he says again. \"It's not a good idea.\"\n\n> You take the feather\nYou can't have that; it's part of the necklace.\n\nA child carrying a pair of rollerblades marches past.\n\n> You examine the necklace\nHalf-hidden by his hair and collar, the links of the necklace are thin and wide. There seems to be a pendant of some sort but it's tucked under his shirt. When he moves his head, you can see that the skin under the chain is a chafed and fiery red.\n\n> You ask Galen about the destination\n\"So, where exactly are you taking me?\" you ask, trying to sound casual.\n\nHe barely turns his head in your direction as he repeats calmly \"Your grandfather asked me to return you to his estate.\"\n\nMore lightning.\n\n> You ask Galen about the estate\nHe has nothing but silence to offer you.\n\nGalen shifts uncomfortably in his seat. The rain briefly becomes a downpour, reducing visibility, before returning to a steady drizzle.\n\nThunder.\n\n> Wear the eyeglasses\n(first taking the pair of eyeglasses from the backpack)\nYou pull out your glasses.\nYou put your glasses on and stare defiantly out the front window. You're cute. You know it. Screw him.\n\nGalen glances over at you.\n\nLightning.\n\n> You read the novel\nYou pick up one of the novels and flip restlessly through it before dropping it again, distracted by the rain.\n\nTHUNDER!\n\n> You wait\nTime passes...\n\nLightning, THUNDER!\n\n> Break cuff\nYou can't. Every attempt you make to focus on the cuff slides off, and the cuff tightens around your wrist like a living thing.\n\nA big truck passes, sending up a wave of spray that washes over the car. The car turns right into what turns out to be a very long driveway,old-fashioned wrought-iron lamps illuminating the darkened afternoon, making rainbows sparkle in every raindrop on your window.\n\n> You examine the rainbow\nStaring into the raindrop is a little like focusing on your caheris. You can feel your breathing deepen and sense the raindrop expanding to surround you. All you have to do is step inside...\n\njust let go of everything here...\n\nand go on to something...\n\nmore...\n\nlightningTHUNDERYour concentration is shattered.\n\n> You examine the raindrop\nThey're wiped from the windshield almost as fast as they can land, but on your window, they cling to the glass. Inside them, a rainbow shivers.\n\nA large house comes into view around a gentle bend. Dread knots your stomach.\n\n> You look at the rainbow\n\"I can't!!\" you shriek, and then whimper, \"I'm afraid. I don't know what will happen...\"\n\n\"Don't be,\" Galen says gently.\n\n> You examine the rainbow\nYou take a deep breath and then let the vast layers of repressed comprehension buried in your brain unfold around you. You enter the rainbow and the rainbow enters you.\n\nPrismatic light spills out of your skin, your eyes, your mouth. You are going somewhere else, becoming something more as you stop resisting.\n\nYou are no longer afraid.\n\nThere are bells, cathedral bells.\n\nA faraway voice, very near, whispers, \"I'm glad you're finally free...\"\n\n***You have transcended***\n\n> Break mirror\nBreaking that would serve no purpose.\n\nA large house comes into view around a gentle bend. Dread knots your stomach.\n\n> You take the necklace\nYou lean back in your seat, stretching your hands out so wide. He moves his head to his left as you threaten his personal space, leaving his neck open. Quick as a fish, you dart your hand in, wrap your fingers around the chain and yank. He recoils, which helps, because the surge of energy that tingles through you almost makes you lose your grip. You fight back- and with a snap, the chain is in your hand.\n\n\"Oh,\" he says quietly. \"Oh.\"\n\nHis hands go up to the weal around his neck. There's a pulse of white around you, and for a moment you are overcome by a wild, sourceless joy. From the pendant in your hand there sings an answering note.\nAnd then-\n\nThe car is large and comfortable, but it's still just a traveling cage, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nGalen is driving the car.\n\nGalen gives you a long, thoughtful look, and then returns to driving.\n\nGalen leans back in his seat.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: Superhero, supernatural]\n\n> You look at your surroundings\nThe car is large and comfortable, but it's still just a traveling cage, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nGalen is driving the car.\n\nThe car stops. Galen touches the cuff around your wrist and looks past you at the men coming out of the house, loathing on his face. Then, coldly, he smiles and the cuff binding you, binding your power, opens. You are free, and all your fear transforms into exultation, and rage that seeks a target. Coming out of the house, your grandfather. And after-\n\n***He'll never cage anybody again.***\n\n> You ask Galen about the stereo\nHe doesn't bother to respond.\n\nA large house comes into view around a gentle bend. Dread knots your stomach.\n\n> You ask Galen about the fear\nYou lean against the door, hugging your backpack and ask quietly, \"Are you afraid of my grandfather?\"\n\nYou can see his jaw clench suddenly. Then he says quietly, \"I'm afraid of being helpless.\" He pauses and then shrugs. \"With your grandfather sometimes it's the same thing.\"\n\n> You ask Galen about the revenge\nHis eyes flick towards you and then back outside.\n\nMore rain.\n\n> You ask Galen about the love\nYou can't figure out how to bring that topic up.\n\nThe wind gusts, blowing the rain horizontal. The car stops. Galen leans back, sighing. He runs a hand through his hair, looking at you, something mysterious in his eyes. The front door of the house opens, and men in black suits come out. And after them- your grandfather. Galen releases the cuff from around his wrist and raises his hand to touch your cheek gently. \"I'm sorry, Enra.\" Despair has never tasted so bitter.\n\n***You did not escape***\n\n> You examine your glasses\nCoppery round metal frames with iridescent butterflies dancing along the earpieces. They help you focus sometimes.\n\nA large house comes into view around a gentle bend. Dread knots your stomach.\n\n> You tell Galen about yourself\nYou sit quietly, looking at the rain streaming down the window. \"My favorite flower is wisteria. My father's estate had an arbor just covered in it, and the scent would be so strong it dizzied me.\"\n\n\"I know,\" he says softly.\n\nYou glance at him quickly. \"How do you know?\"\n\n\"You dream about it,\" he says simply.\n\n> You tell Galen about the daddy\nHis eyes flick towards you and then back outside.\n\nThe car stops. Galen leans back, sighing. He runs a hand through his hair, looking at you, something mysterious in his eyes. The front door of the house opens, and men in black suits come out. And after them- your grandfather. Galen releases the cuff from around his wrist and raises his hand to touch your cheek gently. \"I'm sorry, Enra.\" Despair has never tasted so bitter.\n\n***You did not escape***\n\n> You tell Galen about yourself\nYou sit quietly, looking at the rain streaming down the window. \"My favorite flower is wisteria. My father's estate had an arbor just covered in it, and the scent would be so strong it dizzied me.\"\n\n\"I know,\" he says softly.\n\nYou glance at him quickly. \"How do you know?\"\n\n\"You dream about it,\" he says simply.\n\nThe wind gusts, blowing the rain horizontal.\n\n> You tell Galen about yourself\nThe plan to make him see you as a person seems to be foiled by the strange looks he keeps giving you and the distinct impression you get that he already sees you quite personally.\n\nMore rain.\n\nMore lightning.\n\n> You tell Galen about Bobby\n\"I wonder if I'll ever see Bobby again,\" you muse.\n\n\"Probably not,\" he says, his words clipped and angry.\n\nThunder.\n\n> You tell Galen about Grandfather\n\"Do you know what kind of man my grandfather is?\" you demand. \"He's not a kindly old man. He doesn't want to spoil me rotten. He wants to put me in his lab and take me apart.\"\n\nWhite knuckles. He takes a deep breath and mutters, \"I wish I knew what to do.\"\n\n> You tell Galen about yourself\nYou clear your throat. \"I was pretty upset at you for kidnapping me.\" You hesitate. \"But since it seems like you were in the same situation as myself... I don't think we need to worry about it anymore.\"\n\nHe studies you. \"That's kind of you. Since I'd like to talk to you again in the future...\"\n\n> Keep going\nYou're not sure you trust him... but in the end, you just got scared a little. You can forgive that, under the circumstances.\n\nGalen throws an annoyed look up at the sky.\n\n> You tell Galen about Grandfather\n\"My grandfather, the bastard.\" you comment.\n\n\"You're too kind,\" he observes.\n\nYou shrug. \"I'm keeping it PG.\"\n\nGalen stretches his hand, watching as it closes into a fist.\n\n> You tell Galen about Bobby\n\"I hope he's not too worried about me.\"\n\n\"I'm sure he isn't.\"\n\n> You tell Galen about Bobby\n\"You are a bastard, but that doesn't mean you're bad,\" you inform him thoughtfully.\n\n\"Thanks,\" he says dryly.\n\nHe seems to have a poor opinion of Bobby.\n\n> You ask Galen about Bobby\n\"Come on, what is this problem you have with Bobby?\"\n\nGalen growls, \"He's a worm. If he'd understood what you were, I could have paid him to turn you over to me. Anyone could have, and he wouldn't have asked for very much. He let me have you at the park.\"\n\n> You ask Galen about Bobby\nYou hesitate. \"Really?\"\n\nHe pauses, and his voice is a bit softer. \"I've learned to recognise the scent, and I've seen his dreams.\"\n\nGalen takes the next exit, which is an interchange. You're now running parallel to the storm rather than driving into it.\n\n> You ask Galen about Bobby\n\"What was in his dreams?\" you ask nervously.\n\n\"Your nightmares. Domination. Degredation,\" he says.\n\nThe car takes the upcoming offramp.\n\n> You ask Galen about Bobby\nYou're not sure you believe him, but you always knew, deep inside, that Bobby was charming, not virtuous. You wanted something human.\n\nGalen glances over at you, an odd look on his face.\n\n> You tell Galen about Bobby\n\"I really liked Bobby,' you say sadly.\n\nHe sighs. \"I know.\"\n\nGalen leans back in his seat. This is a rather nice part of the city, but not where you would have expected to find yourself.\n\n> You ask Galen about Galen\n\"So, what are you going to do now?\" you ask.\n\n\"Oh, I'll be paying one last visit to your grandfather. He won't like that very much at all.\" Galen smiles unpleasantly.\n\nIt looks like the freeway is curving back around to the city.\n\n> You ask Galen about Galen\n\"Um. What will you do after you... visit... my grandfather?\"\n\nHe glances over at you. \"I haven't decided.\"\n\nAs you pass by a park, the car turns into the parking lot. A moment later, Galen has parked the car. He turns toward you, a half-smile on his face. Then he brushes his fingers on the panel and the door beside you clicks as well.\n\n\"Go on, get out of here.\"\n\n> You ask Galen about Galen\nThere's suddenly so much to ask that a thousand unasked questions beat each other into the silence that emerges. You'll clearly need some time to put your thoughts in order before you can interrogate Galen further.\n\nA bird flies across the front of the car.\n\n> You look at Galen\nHe's actually kind of attractive, now that you think about it. Not pretty, like Bobby, but there's something there that makes him not unpleasant to look at.\n\nHis suit is very fine, although it bears the signs of being driven in for many hours. It's typical Man In Black garb. His hair has been tousled from its previous immaculate state.\n\n> You ask Galen about the hair\nHis eyes flick towards you and then back outside.\n\n> You ask Galen about human\nHe doesn't bother to respond.\n\nA gaggle of children races down the sidewalk into the park.\n\n> You turn on the stereo\nYou tuck a strand of hair behind an ear and flick the stereo on. Running your fingers across the touchpad, you make haunting cello strains fill the vehicle.\n\nThe beautiful sonorous chords of cello music flood the car.\n\n> You tell Galen about the dreams\n\"I remember you, from my dreams.\" You close your eyes. \"You were a presence watching me. At first I thought you were just another of the ephemera, but there's something different about your presence there.\" He is quiet, but you can sense that he is listening closely to you.\n\nThe cement is drying outside.\n\n> You tell Galen about the dreams\n\"You didn't intrude, for which I'm grateful.\" There's a bit of heat in your cheeks. \"You were just on the edges, a shadow in a cloak of black wings, with burning eyes, watching. And getting closer.\"\n\nHe smiles faintly at your description of him.\n\n> You listen\nThe beautiful sonorous chords of cello music flood the car.\n\nFor a moment there's a bit of blue sky in the shifting clouds overhead.\n\n> You ask Galen about the wings\nLook, it's plain to see, he doesn't have wings. Just a rumpled suit. And you don't have wings (which is a pity), and there aren't any pet birds in the car.\n\n> You examine the mirror\nYourself. You usually avoid mirrors because they always make you feel like you're falling, like if you don't hang on you'll slip to the other side and never find your way back.\n\n> Kiss galen\nThe mood has to be right...\n\n> You ask Galen about the mirror\nHe just shakes his head, very slightly.\n\nA kid on a scooter zooms by.\n\n> You ask Galen about dreams\nYou frown. \"How did you find me in my dreams? You did it, I know it was you chasing me.\"\n\nHe turns to look at you. \"I know about you, Enra. I haven't just read the files, I've been in your dreams. Whatever you are, you make me look ordinary.\"\n\n> You ask Galen about Galen\nThere's suddenly so much to ask that a thousand unasked questions beat each other into the silence that emerges. You'll clearly need some time to put your thoughts in order before you can interrogate Galen further.\n\n> You ask Galen about the dreams\n\"How did you get into my dreams?\" You enunciate carefully.\n\nHe sighs. \"I just do it. I've always been able to do it. It's just something I do.\"\n\n> You ask Galen about the dreams\nMan, his special abilities aren't well-documented at all.\n\nGalen looks out the window.\n\n> You tell Galen about the stephen\nHe has nothing but silence to offer you.\n\nGalen shifts in his seat.\n\n> You look at the galen's eyes\nGood humor flickers in his eyes as he keeps an eye on you as well as the surrounding park.\n\nA baseball flies over the roof of the car. A moment later, a girl scrambles after it.\n\n> You ask Galen about the home\nThere's not a flicker of expression on that face.\n\n\"So where are you from?\" you ask.\n\nHe says, \"Oh, the city.\"\n\nGalen rubs a spot under his eye.\n\n> You ask Galen about the city\n\"Do you like the city?\" you ask.\n\nHe looks out the window. \"It's not too bad,\" he says.\n\n> You ask Galen about family\n\"Do you have any family?\" you ask.\n\nHe smiles. \"Siblings only.\"\n\n> You ask Galen about the siblings\n\"What's it like, having siblings?\" you ask.\n\n\"We fight a lot,\" he admits. \"There's always some drama going on. I miss them.\"\n\n> You ask Galen about the siblings\n\"So, are you going home to your siblings after this?\" you ask.\n\n\"I suppose I will eventually.\" He gives you a little smile. \"But not yet, I think.\"\n\n> You ask Galen about the home\n\"Are you really from the city?\" you ask him suspiciously.\n\nHe chuckles. \"A city, certainly.\"\n\n> You ask Galen about the sword\nHe just shakes his head, very slightly.\n\n> You ask Galen about the home\n\"What's your home like, then?\" you ask.\n\n\"My home in this city is an apartment. I keep my collections there,\" he explains.\n\n> You ask Galen about the collections\n\"What do you collect?\" you ask.\n\n\"Stained glass. Old maps.\" He shrugs. \"They pass the time, and remind me of home.\"\n\n> You ask Galen about the stained glass\n\"Don't you enjoy your hobbies?\" you ask curiously.\n\nAnother shrug. \"It's better than stamps.\" He considers. \"I suppose I have grown fond of some of the pieces.\"\n\n> You ask Galen about the stained glass\nHis collection sounds very pretty, and you'd love to hear more about it. But conversations like that are best had while sprawled on a couch, surrounded by the subject matter.\n\n> You ask Galen about the maps\nHis collection sounds very pretty, and you'd love to hear more about it. But conversations like that are best had while sprawled on a couch, surrounded by the subject matter.\n\nA homeless lady with two full shopping bags wanders by.\n\n> You ask Galen about the love\nThe word \"thank\" is not necessary in this story.\n\nYou have a feeling that'd be an uncomfortable conversation for both of you at this point.\n\nGalen rubs a spot under his eye.\n\n> You ask Galen about the hopes\nHe has nothing but silence to offer you.\n\nGalen looks out the window. A dog races down the sidewalk, its leash trailing behind it. A shouting, grinning child chases after.\n\n> You ask Galen about the car\n\"So, how about this car,\" you murmur.\n\nHe glances at you. \"I didn't catch that.\"\n\n\"Never mind,\" you say.\n\n> You take the cuff\nYou are already carrying the cuff.\n\n> You tell Galen about the car\nYou say thoughtfully, \"I guess it's not a terrible car. It needs a wash, though.\"\n\nHe simply doesn't bother to answer that.\n\n> You wear the cuff\nNo way.\n\n> You examine the necklace\nThe pendant is a flat, seven-sided crystal, in which a tiny downy feather has been imprisoned. The chain melds organically to the pendant, the links narrowing to a tiny filigree as they intersect the pendant. Holding it in your hand, you can feel the quiet thrum of an alien power in the artifact.\n\n> You put the necklace on Galen\nThere's no good surface on Galen.\n\nA pair of students with brightly colored hair wander by, arguing loudly.\n\n> Wear necklace\nYou slip the chain over your head.\n\n> Break cuff\nStomping on it won't work. And it'd be best if this sort of thing couldn't cage you ever again. So you decide to spend the time and focus yourself on the cuff, analyzing every aspect of it. When you're done, you tell the cuff to stop existing. With a puff of dust, it is gone.\n\nA child carrying a pair of rollerblades marches past.\n\n> You ask Galen about the family\nHe's got siblings somewhere that he misses, but he's not going home yet. Hmm.\n\n> You ask Galen about Grandfather\nYou're certain, based on recent events, that he hates your grandfather as much as you do. Maybe even more.\n\nGalen leans back in his seat.\n\n> You ask Galen about the destination\nYou're there now.\n\nA man carrying a sign saying 'God Loves' wanders by.\n\n> You ask Galen about the future\nHe just shakes his head, very slightly.\n\n> You ask Galen about yourself\n\"So,\" you say. \"You're not mad at me or anything, right?\"\n\nHe gives you a quizzical look. \"I'm very happy with you.\"\n\nThe sun peeks out from behind the clouds for just a moment.\n\n> Kiss galen\nThe mood has to be right...\n\nGalen shifts in his seat.\n\n> You examine the sun\nThe sun's just behind that cloud.\n\n> You examine seat\n(the front seat)\nA comfortable bucket seat.\n\n> Recline seat\nThick, puffy clouds, so pale as to be white, almost cover the sky.\n\nGalen throws an annoyed look up at the sky.\n\nThe word \"recline\" is not necessary in this story.\n\n> You go outside\n(first opening the car door)\nYou open the door.\nYou slide out of the car.\n\nThere's comfortable scent of wet sidewalk and shattered ozone. Whirling autumn leaves race down the gutter as the late afternoon sky brightens overhead. To the south, there's a park, and beyond that, the embrace of the city awaits.\n\n> You go north\nThe car is large and comfortable, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nGalen is lounging inside the car.\n\nThe beautiful sonorous chords of cello music flood the car.\n\n> Go outside\nYou slide out of the car.\n\nThere's comfortable scent of wet sidewalk and shattered ozone. Whirling autumn leaves race down the gutter as the late afternoon sky brightens overhead. To the south, there's a park, and beyond that, the embrace of the city awaits.\n\n> Go east\nYou can't go that way. Obvious exits lead back to the north and south.\n\n> You examine the park\nYou can see a playground with a merry-go-round and swings, as well as a large field where some children are chasing a black dog across the wet grass.\n\n> You look at car\nThe car that took you so far... Man, it's dirty.\n\nIt's open.\n\n> Close car\nClosed.\n\n> You open the car\nOpened.\n\n> You go north\nThe car is large and comfortable, upholstered in sleek grey. The control panel on his side flashes discreet symbols you never learned to read, but in the center of the dashboard is the stereo, and above it hangs a mirror. The car has a back seat as well as a front; usually his kind comes in groups. There's only a plain black briefcase back there, though.\n\nGalen is lounging inside the car.\n\nThe beautiful sonorous chords of cello music flood the car.\n\nA pair of teenagers wander by, sharing a cigarette.\n\n> You give the necklace to Galen\n(first taking the necklace off)\nYou offer the necklace back to him, dangling from your fingers.\n\n\"Keep it,\" he says. \"I do not want it.\"\n\n> You give the shades to Galen\nGalen considers the sunglasses, and then shrugs dismissively.\n\n> You give your sunglasses to Galen\nGalen considers the sunglasses, and then shrugs dismissively.\n\nA squirrel drags a little paper bag across the parking lot.\n\n> You hug Galen\nYou lean over and hug Galen. He seems to enjoy it, in a reserved and silent kind of way.\n\n> You hug you\nGalen just shakes his head."
    },
    {
        "text": "[Themes: Humor, Noir, dance, humor, parody, musical, noir]\n\nCall came after midnight. So it's Sunday--what a black day.\n\n\"I need you to head down to the bad part of town and check out a StepEasy squattin' in the industrial quarter. Dame across the street said she saw a lady, she thought it shady somehow. A man came through the window and she was struck down (I mean the lady) old dame thinks, to her doom. But listen, can you do this? I mean with all that happened before--\"\n\nYou shook your head as you pushed out of the diner in the quicksilver rain. Hurled the paper to the garbage where it pattered, closed yourself in the car.\n\nAh, the peace in your automobile before the tension of a case. You enjoy a puff on a cigar and smooth sax on the radio as you drive to clear your head. No even remotely-danceable beats. The captain always said before the prohibition three years ago, \"If dancing is a crime, then only criminals will have dance moves.\" Or something like that.\n\nNo suprise they come together in these places in the city. Every other kind of trouble, irrespective, follows quickly. The commissioner usually takes a blind eye to the burnouts who writhe at the feet of Muse Terpsichore, but when something happens it's always you. You are the one who knows your the way around the parquet floors strewn with broken heels and broken glass.\n\nMost of these dancing fools are non-violent and out for a good time only, but you know how exertion and adrenaline get out of hand. If someone has hurt that lady, you'll definitely collar the perp. You know the exact type of people these madmen are.\n\nA ShuffleComp Entry by Efrain Finnell\n\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers. Nobody decent comes here, not at this time of night.\n\nA beat up old trash can with a lid leans against the brownstone steps that are gray in the gloom of night.\n\nYou've parked your vehicle to the side of the road. Not like there's any traffic anyway.\n\nA haggard figure huddles on some steps out of the rain.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\n[Author's Note: The commissioner usually takes a blind eye to the burnouts who writhe at the feet of Muse Terpsichore, but when something happens it's always you. You are the one who knows your way around the parquet floors strewn with broken heels and broken glass.]\n\n> You examine figure\nHe's likely one of these StepEasy burnouts. He's got a tin cup that he brandishes hopefully at you.\n\nThe bum shakes his tin cup meaningfully.\n\n> You look at what you're carrying with you\nYou are carrying:\na dark gray suit (being worn)\na soaking wet black trenchcoat (being worn)\nyour fedora (being worn)\na chest holster (being worn)\nyour gun\na working knowledge of CPR\n\nThe bum jingles his tin cup meaningfully.\n\n> You give the cpr to the bum\nThe bum blinks and looks up, not realizing at first you're talking directly to him.\n\n\"I don't know about that.\" he replies.\n\nThe bum rattles his tin cup meaningfully.\n\n> You examine the cup\nIn the tin cup are some meager coppers.\n\n> Look\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers.\n\nA beat up old trash can with a lid leans against the brownstone steps that are gray in the gloom of night.\n\nYou've parked your vehicle to the side of the road.\n\nA haggard figure huddles on some steps out of the rain.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\n> You examine the gap\nIt's an outway leading from an even darker and seedier part of the neighborhood. One would assume that an Outway would have a corresponding Inway, but in these parts of town, sometimes even the laws of physics don't apply.\n\n> You look under the lid\nNothing under that.\n\n> You open can\nYou open the banged-up trash can, revealing a weird coin.\n\n> You examine the coin\nIt's a weirdly large coin, not of any denomination that spends in civilized society. You wonder if it's some kind of bus token.\n\n> You take it\nYou confiscate the weird coin.\n\nThe bum indicates his tin cup meaningfully.\n\n> You put coin in the cup\nYou put the weird coin into the tin cup.\n\n\"Thank you, Sir,\" the old coot says.\n\nHe then stands up and after a quick stretch does a tight series of chaine-turns down the sidewalk away from you. This is followed by a perfectly limber grande battement kick that nearly reaches his face, and then an intricate sequence of alternating grande jetes, stag leaps, and barrel-turns before you lose sight of him down the block.\n\nPoor old geezer's got it bad, you think to yourself.\n\n> Dance\nYeah, as if it were that easy. And besides, it's illegal unless it comes about as part of the line of duty in an undercover operation."
    },
    {
        "text": "[Themes: Noir, Humor]\n\n> Describe the surroundings\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers.\n\nA beat up old trash can with a lid leans against the brownstone steps that are gray in the gloom of night.\n\nYou've parked your vehicle to the side of the road.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\nThe ground shudders as some explosions occur a block or two away. You shake your head for the old fool--the only thing more dangerous than dancing inside is dancing outside.\n\n> You enter the gap\nInside the outway, removed from the normal public streets, is a vast complex of warehouses and industrial buildings. Milky gray rain smacks down harder, splashing on the sidewalk. There are paths in almost every direction, although  none looks any more promising than the other.\n\n> Go east\nYou search a ways to the east. There's nothing here to spark your interest. You could always go back out to the somewhat less-bad part of town if you wanted.\n\nYou really feel awkward carrying around this trash can, and set it down out of the way to continue its pitiful gray life here.\n\n> You kick the the can\nHand to hand combat is never a good idea.\n\n> You go west\nYou continue further to the west. Nothing here worthy of your attention. You could always go back out to the somewhat less-bad part of town if you wanted.\n\n> You go to the north\nYou walk along the buildings to the north. You encounter nothing here seemingly related to your investigation. You could always go back out to the somewhat less-bad part of town if you wanted.\n\n> You go to the south\nYou continue in the rainy street to the south. The search is fruitless, as nothing stands out here that catches you in a noteworthy fashion. You could always go back out to the somewhat less-bad part of town if you wanted.\n\n> Go outside\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers.\n\nYou've parked your vehicle to the side of the road.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\nYour attention is diverted after a storefront second-story window screeches open and a rope spirals down almost to the wet pavement--no not a rope. Bedsheets tied together. You hear young voices inside \"C'mon Rufus! Hurry before she hears!\"\n\n\"I'm goin' as fast as I can, shut UP Lenny!\"\n\nAnd then a higher female, \"Don't forget about me! I'm Betsy!\"\n\nAnd with that, three tiny gray youngsters shimmy down in the rain to the pavement, pull down the rope of bedsheets, and sprint across the street, stopping only when they nearly collide with you. Two boys and a girl, all stare up at you, shocked that there is someone on the street at this hour during pouring rain.\n\nThe little girl looks up at you with her wiry braids standing up, defying the rain. \"Hey Mister, are you a cop?\"\n\n\"Well, no...I...\" you stammer, hoping to keep your cover, but then...\n\nYou hear some strange jazzy music coming from somewhere...you don't know. The little girl orphan toddles up to you and effortlessly climbs you like that ape on the Empire State Building and settles into your arms. The music vamps for a few measures, and she opens her mouth...to sing?\n\n> You drop the girl\nDropped.\n\n\"Now, come on, little girl, I'm very busy! You stop that you hear! I don't have time for an entire song!\" you say, setting the girl down to shut her up. She humphs up at you puffing her cheeks and making a face, turning away to consider what will likely be her future life of crime now that you've fostered a hatred of law enforcement in her.\n\n> You look at the girl\nThis poor bedraggled orphan girl wears a battered denim jumper with striped long underwear. Her wiry braids are askew as if she's caught an errant blast of wind to the face.\n\nBetsy sings:\nHey, Mister, you came along and now I'm not so blue!\n\nI'm singin' a song and now I am here with you!\n\nI'm tellin' ya, Mister, I'm so glad! I'm stickin' with you!\n\n> Sing\nYou can't think of anything to sing right now except songs you learned in the precinct, and those would clearly give away your\nidentity as law enforcement.\n\nBetsy sings:\nHey, Mister, I need a dad, and wished upon a star!\n\nClimbed down a rope and zowie here you are!"
    },
    {
        "text": "> You describe your surroundings\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers.\n\nThe dreary gray edifice the orphans climbed down out of is barely visible in the opaque gray rain.\n\nYou've parked your vehicle to the side of the road.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\nYou can also see Lenny and Rufus here.\n\nBetsy sings:\nMister, we make a perfect team! Your eyes got that special\ngleam!\n\nHey, Mister, I...am...stickin' with yoooooouuu!\n\n> You look at Lenny\nLenny's blond hair is either greased back or perhaps rain-stuck to his head, with one long tuft hanging in his face. You wish you had a pair of scissors to snip it off for him. Otherwise, he's dressed in denim overalls and a checked shirt.\n\nBetsy sings:\nMy mom and dad, Mister, they left me flat!\n\nAnd here you come, in your coat and a hat!\n\nI wished on a star, Mister! And here you are, Mister!\n\nJust like that! I'm stickin' with youuuuuuuuuuUUUU!\n\n> You talk to Lenny\n\"Hey, Mister,\" says Rufus.\n\nBetsy sings:\nThe orphanage sure did give me the blues!\n\nSweating all day, sewin' ladies high heel shoes!\n\n> You talk to RUFUS\n\"Hey, Mister,\" says Rufus.\n\nBetsy sings:\nBut now you're here to (maybe) adopt me-\n\nLENNY: And me!\n\nRUFUS: And me!\n\nI'm telling you Mister, we're stickin' with youuuuuuuu!!!!\n\nRUFUS AND LENNY: Doo doo doo-doo dooooooo!\n\n> You check your inventory\nYou are carrying:\nBetsy\na dark gray suit (being worn)\na soaking wet black trenchcoat (being worn)\nyour fedora (being worn)\na chest holster (being worn)\nyour gun\na working knowledge of CPR\n\nBetsy sings:\nYesterday was an awful day, I can surely confide!\n\nBut today is grand, here with you by my siiiiiiiide, Mistah!\n\nYou can call me glue-ooh-ooh OOH! Cause Mister I am stickin' here withyah!\n\nNo need to scrub the orphanage caf-uh-ter-i-a!\n\nI'm here...and stickin' with who?\n\nRUFUS AND LENNY: With who?\n\nWith him!\n\nToodle-oo Olivia, you aging cow...\n\nCause I've! Got! A new Dad now!\n\nAnd holy wow! You're stuck with me now!\n\nOut of nowhere, you hear violins swelling, and out-of-place triumphant orchestral brass building anticipatorily. What the hell?\n\n\"It's him!\" shouts Rufus, pointing down the block, where an unearthly light as if from a hundred garbage truck headlights grows around the corner, casting the shadow of a thin man against the wall. He emerges around the corner, his white suit blinding in the golden light, surrounded by clouds of mist from a curb grate.\n\nThe sidewalk slab lights up as the man steps, and then the\nnext one as he steps onto it, only fading after it his shoes have left the surface. This can't be... you think, trying to blink the\nmirage from your eyes.\n\nThe man's clothing is immaculately blinding, and his body twitches angularly as he makes his way down the block toward you.\n\nThe boys  scamper toward him and receive big hugs in turn, then the man spins on his heels and pulls up his trousers at the knee, displaying gleaming black shoes topped with white spats.\n\nHe is clearly ill in some way, and you resolve to get him proper help in a hospital if he's not your perp.\n\nBetsy squirms in your grasp. \"IT'S HIM, IT'S HIM!\" screams the little girl, fighting her way out of your arms, unintentionally planting a solid size-two patent leather sole in your jaw as she scrambles down, the song forgotten, at least for now as she runs to get a hug from the thin man in white.\n\n> You examine thin man\nHe's tall and thin, wearing a glowing white suit and matching black-banded fedora that shadows his eyes. His body is always seeming both frozen in an angular position and in constant motion with part of his physique still and the rest moving subtly.\n\nThe mysterious man turns away, and now is walking in the opposite direction of his travel. You shake your head, wondering what was\nin that coffee you drank. He's clearly walking away, but moving backwards into the outway."
    },
    {
        "text": "[Themes: Humor, Noir, parody, musical]\n\n> Look around\nGrey and white rain streams down over hard concrete edifices, where it goes swirling and shining, reflecting the dingy streetlights as it pours into the gutters and then down into the black sewers.\n\nYou hear unexpected strains of orchestral music warmups and rehearsal pouring out some slightly lit windows from an edifice on the other side of the street.\n\nThe dreary gray edifice the orphans climbed down out of is barely visible in the opaque gray rain.\n\nYou've parked your vehicle to the side of the road.\n\nA sign bolted near a gap in a cement wall declares \"Outway Only\".\n\nYou can also see Betsy, Lenny and Rufus here.\n\n> You enter the gap\nThe three young ragamuffins scramble after you and assemble again in an attentive line.\n\nInside the outway, removed from the normal public streets, is a vast complex of warehouses and industrial buildings.\n\nThe oddly-thin man in white stands aloofly, on a sidewalk tile that seems to glow with luminous heat under his shoes. He does a strangely twitchy little kick with his knee bent and repositions his feet. Obviously he's one of these people who rolls deep the StepEasy scene and can't manage to keep his body from writhing in such a manner. You vaguely wonder if he's the smooth criminal you're looking for.\n\nA broad security door seems to be the main entrance into the lighted warehouse.\n\nYou blink, as you're sure this wasn't here before. A low, two-story warehouse now has hazy golden light streaming out of it. It appears to take up half of the entire block.\n\nA street sign leans near the entrance, marking the location of the StepEasy.\n\nYou can also see Betsy, Lenny, Rufus and a banged-up trash can (empty) here.\n\nThe thin man seems to slide to the door of the now active warehouse without moving his feet in the correct directions somehow\nthen pounds on the metal-clad portal. The slat is thrown open, and the man in white seems to hiccup before shouting something, that you can only suppose is the word JAMON!\n\nAt this, the door is thrown open and the strange man holds his hat on as windy golden light blows out the door, surrounding him in a\nsmoky halo. And you've only had one drink today, seriously.\n\nAs quickly as it started, the windy light stops and the man proceeds into the StepEasy, the door slamming securely shut behind him.\n\"He's so dreamy!\" intones young Betsy, swooning.\n\n> You enter StepEasy\nYou'll need to find a way in somehow. The first floor windows are a bit too high to climb into and have bars over them.\n\n> You knock on the door\n(the security door)\nYou pound on the door. After a second the slat scratches aside.\n\n\"You gots the passwoid? Then you say it out loud likea good boy. Unkay?\" rumbles a deep voice, probably belonging to a very large and deadly someone. After a moment, the slat closes as if it were never there.\n\n> Jamon\nYou pound on the door and intone JAMON! as accurately as you\ncan.\n\nThere is a pause, and someone says \"Waitaminnit...\" The slat closes and you hear some back and forth arguing. Then a longer pause before the slat opens again, and a ham sandwich is shoved through the opening at you.\n\n> You take the sandwich\nYou already got it.\n\n> You look at it\nYeah, it is a ham sandwich.\n\n> You eat it\nYou scarf down the nicely-toasted sandwich hungrily.\n\nThe orphans look sad.\n\n> You give the sandwich to Rufus\n\"Hey, Mister,\" says Rufus.\n\nThe orphans quickly accept your sandwich, divide it in thirds with mathematical precision, then each hungrily wolfs their portion down. \"FANKS MIFTER,\" Betsy says, chewing and swallowing.\n\nRufus explains, \"Miss Olivia hasn't been feeding us because we've been displaying an overabundance of vigour for orphans of our stature.\"\n\n\"And she spells vigour with a U somehow,\" adds Lenny.\"\n\n> JAMON\nYou pound on the door and intone JAMON! as accurately as you\ncan.\n\nThere is a pause, and someone says \"Waitaminnit...\" The slat closes and you hear some back and forth arguing. Then a longer pause before the slat opens again, and a ham sandwich is shoved through the opening at you.\n\n\"Hey, Mister,\" Rufus chirps. \"Are you gonna eat that sandwich?\"\n\n> You give the sandwich to Rufus\nThe orphans tear the sandwich into chunks and eat it, much less ferociously than before.\n\n> JAMON\nYou pound on the door and intone JAMON! as accurately as you\ncan.\n\nThere is a pause, and someone says \"Waitaminnit...\" The slat closes and you hear some back and forth arguing. Then a longer pause before the slat opens again, and a ham sandwich is shoved through the opening at you.\n\n> Shamone\nYou shout \"SHAMONE!\" at the door ferociously, and it flies open, buffetting you suddenly with a gale force of golden light that explodes out at you. You lean forward to keep your footing and hold your hat as your clothing and trenchcoat whip around in the uncanny breeze. Finally it stops and you blink. \"Sorry,\" says a deep voice, \"we been having some A/C problems all week here...\"\n\nYou nod somewhat encouragingly to yourself as you step into the warehouse.\n\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\n> You check the coat\n(the soaking wet black trenchcoat)\nBlack, like the recesses of your inner soul. It's also comfy and rain-resistant.\n\n> You examine the window\nIt's a narrow hole in the wall, staffed by a bored-looking young lady.\n\nIn the coat check window is a coat check girl.\n\n> You give the coat to the lady\n(the soaking wet black trenchcoat to the coat check girl)\n\"You got something you need checked in?\" she says unenthusiastically.\n\n(first taking the soaking wet black trenchcoat off)\nThe girl smartly hangs your coat in the back room and hands you the marker for it. You tip her, and she says \"Enjoy yourself.\"\n\nA severe looking couple tangos past you, arms interlocked holding martini glasses.\n\n> You look at the marker\nAn ebony tag with a hole in it from the coat check. Number 116.\n\nA man in a dark suit does a dance solo and is cheered on by the crowd around him.\n\n> Go west\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nA hush falls over the crowd as they all catch sight of the thin man in a spotlight. He pulls a large coin out of his pocket and flicks it in the air, declaring \"HOO!\"\n\nThe coin hovers, flipping end over end for a second, suspended. The thin man shrieks \"EEHEE!\" and the coin resumes its path straight into the slot of the jukebox.New-fangled, almost unearthly music with a heavy, unrelenting beat begins as the needle drops on the record.\n\nThe oddly-thin man in white stands disinterestedly. His hands move furitively over the brim of his white hat and his belt as if repositioning them with bird-like speed.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nYou hear the Thin Man shout hoo and oddly enough, small\nobjects seem to levitate off tables and hover in the air a moment before falling down again.\n\nThe intro counts off, and a group of suited men run to the southwest corner of the warehouse near the jukebox and line up, ready to dance. The Thin Man is in the lead of the formation, singing lyrics that go by so fast you can barely understand them.\n\n> Dance\nYou groove a little self-consciously for a moment even though your attempts feel quite foolish.\n\nThe Thin Man tosses another coin in the air, then shouts hoo\nat it, making it hover. Then he says eehee a little louder,\nand the coin goes flying directly into the slot of the jukebox.\n\nThe dancers HEELPIVOT, POINTPOINT and HEADPOP.\n\n> HEADPOP\nYou try to make it into the dance formation, but you miss your chance. You need to get in right at the beginning to have any chance of keeping up.\n\nThe dancers simultaneously JUMPSHRUG, SHOULDERROLL, and HEADPOP, then they turn to the southwest, while crossing the floor NORTHEAST, penetrating the crowded right dance floor where everyone makes room for them.\n\n> You wait\nTime passes.\n\nThe dancers LEAN over, hovering at an unnatural angle with their feet still on the floor, seemingly defying gravity. The crowd goes wild, and everyone on the dancefloor joins in, somehow knowing what move comes next at rapid-fire high speed.\n\n> You wait\nTime passes.\n\nAll the dancers JUMPSHRUG and bring their KNEES IN, and they NOD NOD, and they HEELPIVOT, POINT POINT. Then they all do a HEADPOP, and they JUMPSHRUG, and they SHOULDERROLL, KNEES IN. Everyone does a HEELPIVOT, POINT POINT and finally STEPSLIDE out of it.\nSolo dances continue excitedly as the formation breaks up."
    },
    {
        "text": "[Themes: Noir, Humor, musical, noir, dance, humor]\n\n> You look around\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands at a weird angle. He points a finger up into the sky while looking away from it in the opposite direction for seemingly no reason.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nYou hear whooping, and a floozy dancer is launched into the air, does a high flip, and is caught and carried along by the crowd.\n\n> HEADPOP\nYou can't go that way.\n\nA man and woman jive relentlessly near you before disappearing into the crowd.\n\n> Dance\nYou step-touch to no particular beat whatsoever, feeling suddenly very caucasian.\n\nsurprisingly long time, almost as if gravity has no effect.\n\n> You go to the northeast\nThat corner of the dance floor is jam-packed. You'll need to find a a more clever way in there.\n\nA woman is thrown around her partner's back jitterbug style.\n\n> Go north\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\nA gray-suited thug comes up behind the Thin Man taps him, and swings a roundhouse punch when he turns. The Thin Man easily deflects it, then shouts aaow. The thug is hurled back by unseen hands...like\nthe Thin Man punched him with his mind!...\n\n> Go west\nThis dim, slickly light green-painted corridor leads south and east back to the dancefloor. There is some lettering stencilled on the wall.\n\nA large man wearing thick glasses and sitting on what must be the worlds most tiny, uncomfortable stool glares dimly at you with his arms folded.\n\n> You look at the wall\nIt says \"Employees Only\".\n\n> You talk to Man\nYou say hello to the dim bouncer.\n\n> You examine man\nHe looks very likely like he could squeeze your neck until you pop like a grape that is having its neck squeezed by a very large, person.\n\n> You go south\nThe bouncer says \"Wisten bub. I'm watching that office, and I see you headed in that diwection. Beat it.\"\n\n> Go east\n\"Enjoy your evening in the cwub!\" exclaims the dim bouncer, waving.\n\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\n> Go east\nThat corner of the dance floor is jam-packed. You'll need to find a a more clever way in there.\n\n> Go south\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands aloofly. He adjusts his trousers near his crotch seemingly oblivious to the fact that he is in public whilst pointing the thumb, index finger and pinky of his free hand off to the side.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nThe Thin Man does this crazy thing with his feet - it appears he walks in one direction, but his direction of travel is usually opposite. Like he's walking somewhere with no gravity. Like the moon for example.\n\n> You examine the jukebox\nYou can see records trundling inside, but all the selector keys have been broken off, so it looks like you get pot-luck for putting your coin in the slot. The plastic dome has a few dents, almost as if it has sustained several good hard thumps in its lifetime.\n\n> You hit the jukebox\nYou thump hard on the jukebox dome. Heyyyyy.... Surprisingly, this works, and the contraption lights up and selects a record.\n\nThe music from the jukebox is otherworldly and incredibly pulse-pounding.\n\nThe intro counts off, and a group of suited men run to the southwest corner of the warehouse near the jukebox and line up, ready to dance. The Thin Man is in the lead of the formation, singing lyrics that go by so fast you can barely understand them.\n\n> Pirouette\nHere goes nothing. You whirl around with the dancers and land right in the middle of the dance formation. Without even thinking, you pull your\n\nWow, you're really doing this?\n\n> Knees in\n\n\n> Nod nod\nYou all hold the pose for an instant, and then immediately\n\n> Heelpivot\n\n\n> Point point\nYou get both directional points in, and instantly remember to\n\n> HEADPOP\nThe headpops are ridiculously sharp and you apologize to your chiropractor silently as you and the other dancers line yourself up in a diagonal with the right dancefloor. While starting the traveling cross you have to\n\n> Jumpshrug\nYou all jumpshrug in tight formation. The direction changes are ridiculous, but you continue to\n\n> Shoulderroll\nYou roll your shoulders best you can while traveling in one direction without tripping and remembering to look in the opposite correct direciton with everyone else. The dance phrase ends with\n\n> HEADPOP\nEveryone pops their head and freezes for a moment, before sharply turning their bodies southwest.\n\n> Go northeast\nA huge round of applause greets the crossing formation. Somehow everyone in your dance formation meshes with the people on the dancefloor to form a much larger and complicated arrangement.\nThe thin man is singing the lead vocal to the song. You don't know what the words blazing by actually are, but you try to sing along anyway-\"...betty crocker took a car-load...to the drive-in...where they ate spumoni...\"\nThe dancefloor clears a space as you and the group of suited dancers\n\n> Lean\nYou hold your breath and close your eyes and lean forward. Unbelieveably when you open your eyes, you are staring straight down at the floor! Your feet haven't moved, and you're leaning at the same impossible angle as everyone else is!\nThe Thin Man:\"...timmy grable did a favor...for the flavor...of\nrice a roni...\"\nEveryone on the dancefloor joins in and dances in ridiculous speedy precision. Once again you\n\n> Jumpshrug\nThe entire dancefloor jumpshrugs in unison ...greta garbo was unstable, threw a table, at her friend mabel...as you bring your\nknees in automatically and then nod-nod, and\n\n> Knees in\nWhoops, that's not right...OW OUCH!\n\nYou are bludgeoned by flying arms and legs as you fall out of sync with the rest of the dancers and end up having to crawl out of the formation...\n\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\nThe coat check girl looks at you disdainfully. \"This your first time honey? We all been there\" she remarks.\n\nEverybody grooves down low to the floor as the music gets a little softer now.\n\n> Heelpivot\nEveryone tightly heelpivots penny ante poker...ante poker...poker penny ante!...point points, headpops and jumpshrugs, which chains\ninto\n\n> Shoulderroll\n...knees in sharp...yuban coffee! ...and\n\n> Heelpivot\n...shoulder roll...knees in...butter toffee! ...then\n\n> Heelpivot\n...point point...and finally \"...some groove billygoat!\"\n...there's only one move left!\n\n> Stepslide\nYou lean against a pillar, panting, unbelievably proud of yourself that you made it through the entire dance number. The surge of adrenaline is intoxicating. You understand how easy it could be to fall into the lowlife scene of back-alley dancehalls and bathtub sarsaparilla. You can barely think in the hot, sweaty crush of writhing dancers. You are forced into some gymnastic positions and movements just to keep your feet on the floor. You could climb up a metal fire escape staircase that leads to the second floor walkway. The warehouse exit is south, the band platform is southwest, and the less-crowded section of dancefloor is east.\n\n> Up\nYou leap onto the fire escape stairs and climb up to the walkway, where there is a door that leads out of the sweltering humidity of the nightclub into the cool blue-gray night. As you are making your way through, you hear a guttural shout from below--the lights change, and all the dancers move in slow motion. They writhe in a tight knot around the Thin Man, exclaiming random words and syllables and sounds in either wracking pain, desperation, or delirious ecstacy as the downside of Muse Terpsichore takes them out of their heads.\n\nSuch are the results of a continuous life of dance-crime, you reckon sadly to yourself.\n\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\n> You go west\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nWith a commotion, the trio of orphans attempt to invade the crime scene, jibberjabbering about candy and jump ropes and other orphan things.\n\n\"Kids, stay, back, there's nothing to see here! Nothing at all!\" you insist, pushing them towards the door.\n\n\"Hey, wait,\" Lenny says, peering around you. \"Are those bloodstains? On the carpet?\"\n\n\"We need to check on Miss Annie,\" Rufus proclaims. \"She's our friend who was trying to help us get out of the orphanage!\"\n\n\"ANNIE? ARE YOU OKAY?\" bellows Betsy as you push them finally out the door again.\n\nAn oddly narrow aquarium sits on a side table.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You examine the aquarium\nWait, it's not an aquarium, rather it's an ant farm. But you find it to be surprisingly out of place in the apartment of a young woman.\n\n> Dance\nYeah, as if it were that easy.\n\n> You look at the blood\nApparently the victim was struck down, as aforementioned, likely to her doom. The stains lead west into the bedroom where the victim likely attempted to evade her attacker.\n\n> Go west\nA tiny bedroom, filled with one tiny twin bed and a rack with some ladies clothing hung up to dry.\n\nA small, barred window prevents people from breaking in, too bad there weren't bars on the other living room window.\n\nThe body of a woman lies on the floor at the end of a few blood spatters on the carpet. It appears she was attempting to crawl under the bed to protect herself when she was struck down.\n\nYou hear some climbing noises and the orphans climb monkey-like at the bars of the window, staring in. \"Listen, kids, this is a crime scene, you need to get away from there this instant!\" Of course they don't pay attention.\n\n\"That's Miss Annie, is she all right?\" Rufus asks.\n\n\"She doesn't look good,\" Lenny observes.\n\n\"ARE YOU OKAY MISS ANNIE?\" Betsy hollers loud enough to be audible in heaven.\n\n\"Annie, are you okay?\" Rufus says.\n\n> You examine annie\nAnnie is petite, and well put together, wearing a prim blue dress. It's obvious if she is into the StepEasy scene, she hasn't been there long. You'd almost bet she's fresh off the bus from Idaho or Nebraska or Kentucky. One of those kinds of places..You're not sure there's much you can do for her. You don't feel a pulse and her pupils are unresponsive.\n\n\"Are you okay?\" Lenny says.\n\n> Inventory\nYou are carrying:\nyour marker\na ham sandwich\na dark gray suit (being worn)\nyour fedora (being worn)\na chest holster (being worn)\nyour gun\na working knowledge of CPR\n\n\"ARE YOU OKAY, ANNIE???\" hollers Betsy.\n\n> You perform the cpr\nWhat do you want to perform cpr on?\n\n> You perform the cpr on Annie\nFeeling rather foolish you move your mouth to the lifeless woman's. mouth-to-mouth resuscitation...\nyou think as you press your lips to her cold flesh.\n\nThen you feel the very breath from your body illuminate and exhale into her. From below there are roiling violins and hopeful trumpets as wind...now magic and golden...surrounds you both in a violent vortex or a full orchestral score that stands Annie up on her feet. And she is alive again, blinking curiously.\n\n\"YAAAAAAAY!\" shout the orphans, seeing Annie conscious again.\n\n\"Miss Annie,\" you say, not knowing what else to ask, \"are you...okay?\"\n\n\"Yes, I'm fine!\" she says, wobbling a bit stiffly. \"And the children are here, so everything is perfect! Now if I can just make us a cup of tea-\"\n\nShe doesn't get to make that cup of tea because she is interrupted by the thin screams of the orphans as black-gloved hands pull them away from the bars of the window and make off with them.\n\n\"Oh no!\" Annie exclaims. \"They've taken the orphans! Mister! You've got to help them!\"\n\nOutside the apartment you hear shoes on cement and the definite clatter of steel weaponry. Annie grabs your arm, \"Don't go out there!\"\n\n\"Don't worry,\" you say calmly reaching for your .38. \"I can handle this.\" You glance out the window as your fingers close around air. Your gun is gone. Oh, nuts.\n\nAnnie races to the front room of the apartment and you hear her shriek. A thug in an indigo suit has grabbed both her wrists. You run out and grapple with the thug for two seconds before Annie brings him down with a solid smash to the head with a ceramic emu from her collection.\n\n\"That was my grandmother's you creep!\" she hisses. You hear\nmore commotion outside.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nYou can see a carpet (on which are some bloodstains) and an alien ant farm here.\n\n\"Get out of my sight you exceedingly mean people!\" Annie growls, grabbing a china saucer and hurling out the door at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour marker\na ham sandwich\na dark gray suit (being worn)\nyour fedora (being worn)\na chest holster (being worn)\na working knowledge of CPR\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> You hit red Thug\nHand to hand combat is never a good idea.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\nYou can hear the orphans screaming from the rooftop just to the north, adjacent to the one  you are on. Their voices echo from behind a red and gray door set in a rooftop building with a smokestack that pours dark coal dust.\n\n> Go north\nSuicide isn't a really valid strategy to defeat the thugs!\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> Dance\nSeriously, you haven't heard any drones overhead, but it's best not to risk it.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n\"Help us, Mister!\" you hear Rufus yell from the north.\n\n> You go to the west\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) and an alien ant farm here.\n\n\"Scram you two bit thugs!\" Annie yells, grabbing a silver saucer and chucking out the window at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You take the farm\nYou could look at the ant farm all day, but you've got work to do.\n\nYou take the alien ant farm into evidence even though you don't have any little baggies.\n\n\"Get out of here you mean people!\" Annie shouts at the thugs.\n\"What are we going to do?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see some flying bullets, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You ask Annie about the ants\n\"I'm sorry, Sir,\" she says modestly. \"I'm afraid I don't completely understand your big-city fast talk. Shouldn't you go help the children?\"\n\n\"How do we stop them?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You go to the east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n\"Mister! They're cooking brussels sprouts and they're going\nto make us eat them!!!\" Lenny cries from the north.\n\nYou could go for some brussels sprouts right now.\n\n> You throw the ant farm at the bullets\nFutile.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You examine the farm\nYou could look at the ant farm all day, but you've got work to do.\n\n\"Get lost you mama's boy!\" Annie shouts, grabbing a crystal serving tray and throwing out the door at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Open farm\nThat's not something you can open.\n\n\"Get out of here you strong-arm mutants!\" Annie bellows, grabbing a china cherub statue and hurling out the window at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> Dance\nYeah, as if it were that easy.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Break farm\nHand to hand combat is never a good idea.\n\n\"Do you have any ideas?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Inventory\nYou are carrying:\nan alien ant farm\nyour marker\na ham sandwich\na dark gray suit (being worn)\nyour fedora (being worn)\na chest holster (being worn)\na working knowledge of CPR\n\n\"Are they still out there?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You look outside\nYeah, there are four of them on the roof.\n\n\"What are we going to do?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You examine the marker\nAn ebony tag with a hole in it from the coat check. Number 116.\n\n\"Get out of here you freaks of nature!\" Annie calls, grabbing a antique cherub statue and chucking out the door at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You look at the holster\nIt holds your piece at the ready just inside your jacket, and isn't visible under normal outerwear.\n\n\"Get out of here you mama's boy!\" Annie screams, grabbing a crystal napkin ring and hurling out the window at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go west\nA tiny bedroom, filled with one tiny twin bed and a rack with some ladies clothing hung up to dry.\n\nA small, barred window prevents people from breaking in.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You look at the window\nIn the barred window are Betsy, Lenny and Rufus.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You look at Lenny\nLenny's blond hair is either greased back or perhaps rain-stuck to his head, with one long tuft hanging in his face. Otherwise, he's dressed in denim overalls and a checked shirt.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You go east\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n\"How do we stop them?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n\"MISTER YOU NEED TO FIGHT OFF THE THUGS AND GET OVER HERE TO THE NORTH AS SOON AS YOU CAN! THEY'RE HOLDING US PRISONER TO THE NORTH OF WHERE YOU ARE NOW. AND OH, THIS IS BETSY BY THE WAY IN CASE YOU CAN'T TELL\" she belts clearly from the other rooftop.\n\n> You take the bullets\nYou confiscate the flying bullets.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> You take the bullets\nYou take the flying bullets into evidence even though you don't have any little baggies.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n\"Mister help! They're strapping us into some big machine and I can't tell what it does...only it's got a lot of hooks and chains and it lights up green! HEEEEELP!\" Rufus hollers.\n\n> You take the bullets\nYou confiscate the flying bullets.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> You take the bullets\nYou take the flying bullets into evidence even though you don't have any little baggies.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> You take the bullets\nYou confiscate the flying bullets.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n\"I don't know any information you want,\" shouts Lenny from the north.\n\n> You take gun\nThat seems to belong to the Chartreuse Thug.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You check your inventory\nYou are carrying:\nan alien ant farm\nyour marker\na ham sandwich\na dark gray suit (being worn)\nyour fedora (being worn)\na chest holster (being worn)\na working knowledge of CPR\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> You climb the bullets\nClimbing is not one of your best skills.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You take the carpet\nThat's fixed in place.\n\n\"Do you have any ideas?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> You look at the window\nThe pane is smashed, likely creating quite a crescendo as the criminal entered her apartment. Yes, there are shards of glass on the inside. You disregard this, knowing that touching any of this will ruit it for the lab guys once they get here.\n\n\"Are they still out there?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Pirouette\nYou probably don't have a chance unless you start at the beginning of a song.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun."
    },
    {
        "text": "[Themes: Humor, Noir, noir]\n\n> You go downward\nYou can barely think in the hot, sweaty crush of writhing dancers.\nYou are forced into some gymnastic positions and movements just to keep your feet on the floor. You could climb up a metal fire escape staircase that leads to the second floor walkway. The warehouse exit is south, the band platform is southwest, and the less-crowded section of dancefloor is east.\n\n> Up\nYou leap onto the fire escape stairs and climb up to the walkway, where there is a door that leads out of the sweltering humidity of the nightclub into the cool blue-gray night. As you are making your way through, you hear a guttural shout from below--the lights change, and all the dancers move in slow motion. They writhe in a tight knot around the Thin Man, exclaiming random words and syllables and sounds in either wracking pain, desperation, or delirious ecstacy as the downside of Muse Terpsichore takes them out of their heads.\n\nSuch are the results of a continuous life of dance-crime, you reckon sadly to yourself.\n\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see some flying bullets, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\n\n\"What are we going to do?\" Annie asks, crouching low.\nAnnie frowns, \"Don't you have some kind of secret weapon?\"\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> Go south\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\nEverybody grooves down low to the floor as the music gets a little softer now.\n\n> You give the marker to the girl\n\"You got something you need checked in?\" she says unenthusiastically.\n\n\"Ah, yes, I'll get that for you right away, Sir,\" the girl says, disappearing into the plush collection.\nThe girl returns with your trenchcoat, which is still disappointingly damp.\n\n> You look at the coat\n(the soaking wet black trenchcoat)\nBlack, like the recesses of your inner soul.\n\n> Wear coat\n(the soaking wet black trenchcoat)\nYou put on the soaking wet black trenchcoat.\n\nEveryone grooves back up to their feet as the music gets a little louder now.\n\n> You look at what you're carrying with you\nYou are carrying:\na soaking wet black trenchcoat (being worn)\nan alien ant farm\na ham sandwich\na dark gray suit (being worn)\nyour fedora (being worn)\na chest holster (being worn)\na working knowledge of CPR\n\n> You go to the north\nThat corner of the dance floor is jam-packed. You'll need to find a a more clever way in there.\n\n> You throw the farm at the dancers\nFutile.\n\nA group electric slides around you as you try to avoid getting kicked.\n\nThe Thin Man moonwalks past in the background, pointing with his one right glove.\n\n> You ask Thin Man about the billy jean\n\"Evening,\" you say, as the Thin Man turns his birdlike attention to you.\n\nYou will need to move further to the outside to reach that.\n\nTwo athletic dancers whirl and dip impressively."
    },
    {
        "text": "[Themes: Humor, Noir, musical]\n\n> Look around\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\n> You go west\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands disinterestedly. He does a strangely twitchy little kick with his knee bent and repositions his feet.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nA brown-suited man backflips across the dancefloor as people move out of the way.\n\n> You turn off the jukebox\nThat's not something you can switch.\n\nYou hear the Thin Man shout hoo and oddly enough, small\nobjects seem to levitate off tables and hover in the air a moment before falling down again.\n\n> Pirouette\nHold up tippytoes. Your fancy-stepping isn't going to be appreciated while you're wearing this heavy coat.\n\nThe Thin Man tosses another coin in the air, then shouts hoo\nat it, making it hover. Then he says eehee a little louder,\nand the coin goes flying directly into the slot of the jukebox.\n\n> Pirouette\nHold up tippytoes. Your fancy-stepping isn't going to be appreciated while you're wearing this heavy coat.\n\nThe dancers PIROUETTE, pull their KNEES IN and they NOD NOD.\n\n> You examine thin man\nHe's tall and thin, wearing a glowing white suit and matching black-banded fedora that shadows his eyes. His body is always seeming both frozen in an angular position and in constant motion with part of his physique still and the rest moving subtly.\n\nsurprisingly long time, almost as if gravity has no effect.\n\nThe dancers HEELPIVOT, POINTPOINT and HEADPOP.\n\n> Go west\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands at a weird angle. His hands move furitively over the brim of his white hat and his belt as if repositioning them with bird-like speed.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall pounding out extremely dense, complicated, bass-heavy music that makes your joints twitch involuntarily and, disturbingly, your rear-end tingle. You don't recognize the song, but the lyrics are too fast and don't make a lot of sense. It seems to be perfectly tailor-made for mindless dancing. You'd prefer some orchestral Brahms or, if feeling frisky, nothing more wild than a slightly up-tempo polka if you please.\n\nThe dancers simultaneously JUMPSHRUG, SHOULDERROLL, and HEADPOP, then they turn to the southwest, while crossing the floor NORTHEAST, penetrating the crowded right dance floor where everyone makes room for them.\n\n> You examine the band\n(the band equipment)\nSome very sluggish musicians occasionally play an atonal phrase on a saxophone or a clarinet, but the music doesn't make sense.\n\nThe dancers LEAN over, hovering at an unnatural angle with their feet still on the floor, seemingly defying gravity. The crowd goes wild, and everyone on the dancefloor joins in, somehow knowing what move comes next at rapid-fire high speed.\n\n> Go north\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\nAll the dancers JUMPSHRUG and bring their KNEES IN, and they NOD NOD, and they HEELPIVOT, POINT POINT. Then they all do a HEADPOP, and they JUMPSHRUG, and they SHOULDERROLL, KNEES IN. Everyone does a HEELPIVOT, POINT POINT and finally STEPSLIDE out of it.\nSolo dances continue excitedly as the formation breaks up.\n\n> Go west\nThis dim, slickly light green-painted corridor leads south and east back to the dancefloor. There is some lettering stencilled on the wall.\n\nA large man wearing thick glasses and sitting on what must be the worlds most tiny, uncomfortable stool glares dimly at you with his arms folded.\n\n> You go to the south\nThe bouncer says \"Wisten bub. I'm watching that office, and I see you headed in that diwection. Just beat it.\"\n\n> Go east\n\"Enjoy your evening in the cwub!\" exclaims the dim bouncer, waving.\n\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\nEveryone does a jump to the left.\n\nA gray-suited thug comes up behind the Thin Man taps him, and swings a roundhouse punch when he turns. The Thin Man easily deflects it, then shouts aaow. The thug is hurled back by unseen hands...like\nthe Thin Man punched him with his mind!...\n\n> Go south\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands aloofly. He points a finger up into the sky while looking away from it in the opposite direction for seemingly no reason.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\n> You go east\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\n> You give the coat to the girl\n(the soaking wet black trenchcoat to the coat check girl)\n\"You got something you need checked in?\" she says unenthusiastically.\n\n(first taking the soaking wet black trenchcoat off)\nThe girl smartly hangs your coat in the back room and hands you the marker for it. You tip her, and she says \"Enjoy yourself.\"\n\n> Aaow\n\"Aaow!\" you say, sounding as if you've stubbed your toe.\n\nEveryone takes a step to the right.\n\nThe Thin Man does this crazy thing with his feet - it appears he walks in one direction, but his direction of travel is usually opposite. Like he's walking somewhere with no gravity. Like the moon for example.\n\n> You go to the west\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands disinterestedly. He adjusts his trousers near his crotch seemingly oblivious to the fact that he is in public whilst pointing the thumb, index finger and pinky of his free hand off to the side.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nThe Thin Man moonwalks past in the background, pointing with his one right glove.\n\n> You hit the jukebox\nYou thump hard on the jukebox dome. Heyyyyy.... Surprisingly, this works, and the contraption lights up and selects a record.\n\nThe music from the jukebox is otherworldly and incredibly pulse-pounding.\n\nThe intro counts off, and a group of suited men run to the southwest corner of the warehouse near the jukebox and line up, ready to dance. The Thin Man is in the lead of the formation, singing lyrics that go by so fast you can barely understand them.\n\n> You go to the north\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\n> Aaow\n\"Aaow!\" you say, sounding as if you've stubbed your toe.\n\n> You say aaow to bouncer\n\"Nevew you mind that. I'm busy gawding the office! And I've got both my weft and my wight eyes on you! I'm watching you!\" he assures.\n\n> Go south\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands at a weird angle. He does a strangely twitchy little kick with his knee bent and repositions his feet.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nYou hear the Thin Man shout hoo and oddly enough, small\nobjects seem to levitate off tables and hover in the air a moment before falling down again.\n\n> You hit the jukebox\nYou thump hard on the jukebox dome. Heyyyyy.... Surprisingly, this works, and the contraption lights up and selects a record.\n\nThe music from the jukebox is otherworldly and incredibly pulse-pounding.\n\nThe intro counts off, and a group of suited men run to the southwest corner of the warehouse near the jukebox and line up, ready to dance. The Thin Man is in the lead of the formation, singing lyrics that go by so fast you can barely understand them.\n\n> Knees in\n\n\n> Nod nod\nYou all hold the pose for an instant, and then immediately\n\n> HEELPIVOT\n\n\n> Point point\nYou get both directional points in, and instantly remember to\n\n> HEADPOP\nThe headpops are ridiculously sharp and you apologize to your chiropractor silently as you and the other dancers line yourself up in a diagonal with the right dancefloor. While starting the traveling cross you have to\n\n> Jumpshrug\nYou all jumpshrug in tight formation. The direction changes are ridiculous, but you continue to\n\n> Shoulderroll\nYou roll your shoulders best you can while traveling in one direction without tripping and remembering to look in the opposite correct direciton with everyone else. The dance phrase ends with\n\n> Stepslide\nYou can barely think in the hot, sweaty crush of writhing dancers.\nYou are forced into some gymnastic positions and movements just to keep your feet on the floor. You could climb up a metal fire escape staircase that leads to the second floor walkway. The warehouse exit is south, the band platform is southwest, and the less-crowded section of dancefloor is east.\n\nEveryone puts their hands on their hips and pulls their knees in tight.\n\n> Up\nYou leap onto the fire escape stairs and climb up to the walkway, where there is a door that leads out of the sweltering humidity of the nightclub into the cool blue-gray night. As you are making your way through, you hear a guttural shout from below--the lights change, and all the dancers move in slow motion. They writhe in a tight knot around the Thin Man, exclaiming random words and syllables and sounds in either wracking pain, desperation, or delirious ecstacy as the downside of Muse Terpsichore takes them out of their heads.\n\nSuch are the results of a continuous life of dance-crime, you reckon sadly to yourself.\n\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see some flying bullets, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> Aaow\n\"Aaow!\" you say, sounding as if you've stubbed your toe.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n\"No! That needle is too big!\" Rufus screams from the north. \"AAAAAAAAAAAA!\"\n\n> Shamone\nYou shout \"SHAMONE!\" clearly although you don't quite have any reason to yet.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Lean\nYou can't go that way.\n\n\"Go away you freaks of nature!\" Annie calls, grabbing a china dinner bell and chucking out the door at the thugs outside.\n\nYou hear grumbling and random bursts of machine-gun fire from the thugs on the rooftop.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> Lean\nYou lean unaturally forward, defying gravity with your feet on the floor.\nThe thugs have a brief conversation about how dealing with sorcery\nwas not in their contract.\n\nThe bullets whiz right over you.\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> Eehee\nWow, that takes a lot of stomach muscle.\n\n\"Eehee!\" you exclaim, just not feeling it.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n\"MISTER, JUST SO YOU KNOW I'VE WRIGGLED OUT OF THE ROPES THEY TIED ME UP WITH! I'M TRYING TO GET OVER TO THE BIG RED BUTTON ON THE MACHINE THAT--what? Oh. All right. NEVER MIND, MISTER!\"\n\n> Hoo\n\"Hoo!\" you say, without much conviction.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n> Lean\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n> Lean\nWow, that takes a lot of stomach muscle.\n\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n\"No! No! Not prune juice!\" wails Lenny from the north.\n\n> Lean\nWow, that takes a lot of stomach muscle.\n\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> Lean\nWow, that takes a lot of stomach muscle.\n\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> You drop the farm\nWow, that takes a lot of stomach muscle.\n\nDropped.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see an alien ant farm, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n> Hoo\n\"Hoo!\" you say, without much conviction.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see an alien ant farm, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach."
    },
    {
        "text": "[Themes: Humor, Noir, noir]\n\n> You go downward\nYou can barely think in the hot, sweaty crush of writhing dancers.\nYou are forced into some gymnastic positions and movements just to keep your feet on the floor. You could climb up a metal fire escape staircase that leads to the second floor walkway. The warehouse exit is south, the band platform is southwest, and the less-crowded section of dancefloor is east.\n\n> Go southwest\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands aloofly. His hands move furitively over the brim of his white hat and his belt as if repositioning them with bird-like speed.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nThe Thin Man tosses another coin in the air, then shouts hoo\nat it, making it hover. Then he says eehee a little louder,\nand the coin goes flying directly into the slot of the jukebox.\n\n> You look at Man\n(thin man)\nHe's tall and thin, wearing a glowing white suit and matching black-banded fedora that shadows his eyes. His body is always seeming both frozen in an angular position and in constant motion with part of his physique still and the rest moving subtly.\n\nThe dancers PIROUETTE, pull their KNEES IN and they NOD NOD.\n\n> You look at the suit\n(the dark gray suit)\nIt's dark gray, so as to be inconspicuous without being so dark as to cause panic in people you interact with. It's also a size or two larger than you need, in case you need to become a man of action at any given moment.\n\nThe dancers HEELPIVOT, POINTPOINT and HEADPOP.\n\n> You examine the white suit\nIt's spotless, despite him being in the rain without a coat.\n\nThe dancers simultaneously JUMPSHRUG, SHOULDERROLL, and HEADPOP, then they turn to the southwest, while crossing the floor NORTHEAST, penetrating the crowded right dance floor where everyone makes room for them.\n\n> You examine the jukebox\nYou can see records trundling inside, but all the selector keys have been broken off, so it looks like you get pot-luck for putting your coin in the slot. The plastic dome has a few dents, almost as if it has sustained several good hard thumps in its lifetime.\n\nThe dancers LEAN over, hovering at an unnatural angle with their feet still on the floor, seemingly defying gravity. The crowd goes wild, and everyone on the dancefloor joins in, somehow knowing what move comes next at rapid-fire high speed.\n\n> You get the jukebox\nThat's fixed in place.\n\nAll the dancers JUMPSHRUG and bring their KNEES IN, and they NOD NOD, and they HEELPIVOT, POINT POINT. Then they all do a HEADPOP, and they JUMPSHRUG, and they SHOULDERROLL, KNEES IN. Everyone does a HEELPIVOT, POINT POINT and finally STEPSLIDE out of it.\nSolo dances continue excitedly as the formation breaks up."
    },
    {
        "text": "[Themes: Humor, Noir, musical, humor]\n\n> Look around\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands disinterestedly. He points a finger up into the sky while looking away from it in the opposite direction for seemingly no reason.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nEveryone pelvic thrusts suggestively around you, and the crowd goes insane.\n\nsurprisingly long time, almost as if gravity has no effect.\n\n> You take the glove\nThat seems to belong to thin man.\n\n> You take fedora\n(your fedora)\nYou already got it.\n\n> Go south\nThe bouncer says \"Wisten bub. I'm watching that office, and I see you headed in that diwection. Just beat it, beat it hoo.\"\n\n> Moonwalk\nWhat do you want to moonwalk?\n\n> Moonwalk south\nYou should try moonwalking the opposite of the direction you intend to travel.\n\n> Moonwalk north\nYou shiftily transfer your weight and push with your toes so that it appears you are walking north while moving south.\n\nYou afford the dim bouncer a friendly nod as you scrape your way backward, southward...into the office while facing north the entire time.\n\nThis makeshift office appears to be where the club payroll and work schedule are figured. The only exit is north.\n\nA blue beam of light shines down on the desk.\n\nYou can also see a bulletin board here.\n\n> You examine the light\nIn the blue beam of light is a different marker.\n\n> You take the marker\n(the different marker)\nYou take the different marker into evidence even though you don't have any little baggies.\n\nYour feet suddenly leave the ground as the dim bouncer picks you up by the neck and squeezes. \"Wissen pow,\" he growls. \"I told you to beat it! And despite my extweme neawsightedness, I can see the mawker is gone. So now I'm gonna beat you!\" Which he then proceeds to do, in grand and professional fashion.\n\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\n> You put the marker in the light\n(your marker in the blue beam of light)\nYou put your marker into the blue beam of light.\n\n> South\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands at a weird angle. He adjusts his trousers near his crotch seemingly oblivious to the fact that he is in public whilst pointing the thumb, index finger and pinky of his free hand off to the side.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\n> East\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\nSome dancers writhe on the catwalk above, silhouetted in the flashing lights.\n\n> You give the marker to the girl\n\"You got something you need checked in?\" she says unenthusiastically.\n\n\"Ah, yes, I'll get that for you right away, Sir,\" the girl says, disappearing into the plush collection.\nThe girl returns holding out a white glove between two fingers. \"I've got to apologize that I don't have your coat sir, but instead it seems to have gone missing somewhere, but I'm happy to return to you this. This glove,\" she says, dropping it on the sill. \"Personally that's the reason I don't check anything but coats, because who's\nthe first person they're gonna come lookin' for once somethin' turns up missing?...\" She continues talking but you can't hear the rest as she organizes some boxes of shoes out of your view.\n\nA thug in a maroon suit stage-dives from the catwalk and is caught and carried on the crowd below.\n\nA gray-suited thug comes up behind the Thin Man taps him, and swings a roundhouse punch when he turns. The Thin Man easily deflects it, then shouts aaow. The thug is hurled back by unseen hands...like\nthe Thin Man punched him with his mind!...\n\n> Wear glove\n(the left white glove)\nYou put on the left white glove.\n\n> Aaow\n\"AAOW!\" you scream as a wave of energy thunders around you, rattling things that aren't nailed down.\n\nYou hear whooping, and a floozy dancer is launched into the air, does a high flip, and is caught and carried along by the crowd.\n\nThe Thin Man does this crazy thing with his feet - it appears he walks in one direction, but his direction of travel is usually opposite. Like he's walking somewhere with no gravity. Like the moon for example.\n\n> Northwest\nSpotlights operated by mysterious figures overhead pick out the most risque dancers on this parquet square of premium dance space that continues to the east. The band is south, and the warehouse exit is southeast. The even better dancers pack the floor to the east, and you're unsure if you could get through there to where that staircase leading up is.\n\nYou notice a dim passage also to the west.\n\nEveryone pelvic thrusts suggestively around you, and the crowd goes insane.\n\n> Go south\nA combo band and a microphone is set up in the opposite corner from the warehouse entrance. From here, you notice that there is a second floor walkway that would seem to lead to an upstairs apartment, but the fire-escape-like stairs are right in the middle of that violent throng of dancers in the northeast corner of the building. The warehouse entrance is to the east, there's a less-crowded section of dancefloor to the north, and a jam-packed throng of dancers to the northeast.\n\nThe oddly-thin man in white stands aloofly. He does a strangely twitchy little kick with his knee bent and repositions his feet.\n\nA new-fangled music machine you've heard called a \"jukebox\" sits here against the wall.\n\nA woman is thrown around her partner's back jitterbug style.\n\n> You hit the jukebox\nYou thump hard on the jukebox dome. Heyyyyy.... Surprisingly, this works, and the contraption lights up and selects a record.\n\nThe music from the jukebox is otherworldly and incredibly pulse-pounding.\n\nThe Thin Man moonwalks past in the background, pointing with his one right glove.\n\nThe intro counts off, and a group of suited men run to the southwest corner of the warehouse near the jukebox and line up, ready to dance. The Thin Man is in the lead of the formation, singing lyrics that go by so fast you can barely understand them.\n\n> Pirouette\nHere goes nothing. You whirl around with the dancers and land right in the middle of the dance formation. Without even thinking, you pull your\n\nWow, you're really doing this?\n\n> Knees in\n\n\n> Nod nod\nYou all hold the pose for an instant, and then immediately\n\n> HEELPIVOT\n\n\n> Point point\nYou get both directional points in, and instantly remember to\n\n> Point point\nWhoops, that's not right...OW OUCH!\n\nYou are bludgeoned by flying arms and legs as you fall out of sync with the rest of the dancers and end up having to crawl out of the formation...\n\nThe entire warehouse is cleared of its normal furnishings except for some support beams, and indigo light arcs in from high semicircular barred windows. The entire place is packed with StepEasy denizens, all spastically writhing to the bits of discordant music played by the band, dancing and yet pretending not to dance by writhing, remaining away from the legal limits of the choreography laws. It looks like you could move through the crowd west and northwest. The north part of the dancefloor from here is really packed and it would probably take a molotov cocktail to get in amongst the throng.\n\nA narrow window in the corner seems to be where clubgoers can check their coats.\n\nThe coat check girl looks at you disdainfully. \"This your first time honey? We all been there\" she remarks.\n\n> Stepslide\nYou can barely think in the hot, sweaty crush of writhing dancers.\nYou are forced into some gymnastic positions and movements just to keep your feet on the floor. You could climb up a metal fire escape staircase that leads to the second floor walkway. The warehouse exit is south, the band platform is southwest, and the less-crowded section of dancefloor is east.\n\nYou hear the Thin Man shout hoo and oddly enough, small\nobjects seem to levitate off tables and hover in the air a moment before falling down again.\n\n> Up\nYou leap onto the fire escape stairs and climb up to the walkway, where there is a door that leads out of the sweltering humidity of the nightclub into the cool blue-gray night. As you are making your way through, you hear a guttural shout from below--the lights change, and all the dancers move in slow motion. They writhe in a tight knot around the Thin Man, exclaiming random words and syllables and sounds in either wracking pain, desperation, or delirious ecstacy as the downside of Muse Terpsichore takes them out of their heads.\n\nSuch are the results of a continuous life of dance-crime, you reckon sadly to yourself.\n\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see some flying bullets, an alien ant farm, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> Go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see an alien ant farm, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug works to reload his gun.\n\n> Hoo\n\"HOO!\" you shout, feeling warm air causing an updraft around you.\nThe bullets miraculously stop dead in midair and remain hovering there, turning end over end.\n\nThe Red Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\n\n> Eehee\n\"EEHEE!\" you squeal waving your arm.\n\nYou have to duck into the apartment to avoid getting filled with hot lead. You hurl yourself back inside as shrapnel clatters into the apartment wall.\n\nA standard tiny two-room flat, much tidier on the inside than out.\nThe furnishings are spare, if neatly kept. There is minimal damage except to the window where the perp likely entered, and the carpet which is painted with darkening red bloodstains. The bedroom is west from here, and you can exit to the east.\n\nMiss Annie wrings her hands concernedly.\n\nYou can also see a carpet (on which are some bloodstains) here.\n\n> You go east\nYou're on top of the warehouse where it has stopped raining, but a cool breeze ripples the puddles of rain that have accumulated. To your left, (the west that is) is the entrance to a shabby rooftop flat. To the north there is barely a step up onto the wide, low wall that surrounds the edge of the building. Between that and the gravel rooftop of the other building to the north is a sickening, likely fatal, plunge.\n\nYou can see an alien ant farm, a Chartreuse Thug, a Green Thug, a Blue Thug and a Red Thug here.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug works to reload his gun.\nThe Green Thug works to reload his gun.\nThe Chartreuse Thug works to reload his gun.\n\n> Aaow\n\"AAOW!\" you scream, hearing it echo off the concrete buildings back to you.\nThe Chartreuse Thug is knocked backwards off his feet, losing his grip on his gun, which goes clattering over the side of the building!\nThe Green Thug braces in the wake of your shout, and manages to resist the force of it!\nThe Blue Thug is knocked backwards off his feet, losing his grip on his gun, which goes clattering over the side of the building!\nThe Red Thug braces in the wake of your shout, and manages to resist the force of it!\n\nThe Red Thug works to reload his gun.\nThe Blue Thug staggers back to his feet.\nThe Blue Thug whips in a circle and hurls a ninja star at you, which seems to slow down for a moment on its approach.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug staggers back to his feet.\nThe Chartreuse Thug whips in a circle and hurls a ninja star at you, which seems to slow down for a moment on its approach.\n\n> Lean\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nA ninja star whizzes right over you, missing by inches.\nA ninja star whizzes right over you, missing by inches.\nThe Red Thug works to reload his gun.\nThe Blue Thug looks a bit dazed.\nThe Blue Thug glares at you maliciously.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug looks a bit dazed.\nThe Chartreuse Thug glares at you maliciously.\n\n> Lean\nWow, that takes a lot of stomach muscle.\n\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug works to reload his gun.\nThe Blue Thug looks a bit dazed.\nThe Blue Thug glares at you maliciously.\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug looks a bit dazed.\nThe Chartreuse Thug glares at you maliciously.\n\n> Lean\nWow, that takes a lot of stomach muscle.\n\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nThe bullets whiz right over you.\nThe Red Thug works to reload his gun.\nThe Blue Thug staggers back to his feet.\nThe Blue Thug, deprived of weaponry, lunges at you!\nThe Green Thug sprays a rattle of machine-gun fire across the rooftop. In your adrenaline rush, the bullets seem to slow down as they approach.\nThe Chartreuse Thug looks a bit dazed.\nThe Chartreuse Thug, deprived of weaponry, lunges at you!\n\n> Hoo\nWow, that takes a lot of stomach muscle.\n\n\"HOO!\" you shout, feeling warm air causing an updraft around you.\nThe bullets miraculously stop dead in midair and remain hovering there, turning end over end.\nThe Chartreuse Thug is lifted, cursing and struggling, up in the air where he hovers, turning slow antigravity somersaults.\nThe Blue Thug is lifted, cursing and struggling, up in the air where he hovers, turning slow antigravity somersaults.\n\nThe Red Thug works to reload his gun.\nThe Blue Thug looks a bit dazed.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Lemme down outta here! \"The Green Thug works to reload his gun.\nThe Chartreuse Thug looks a bit dazed.\nThe Chartreuse Thug thrashes a bit in his anti-gravity hover. \"Aw come on! \"\n\n> Aaow\n\"AAOW!\" you scream, hearing it echo off the concrete buildings back to you.\nThe Green Thug is knocked backwards off his feet, losing his grip on his gun, which goes clattering over the side of the building!\nThe Red Thug is knocked backwards off his feet, losing his grip on his gun, which goes clattering over the side of the building!\n\nThe Red Thug staggers back to his feet.\nThe Red Thug whips in a circle and hurls a ninja star at you, which seems to slow down for a moment on its approach.\nThe Blue Thug staggers back to his feet.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Seriously...gonna...hurl! \"The Green Thug looks a bit dazed.\nThe Green Thug whips in a circle and hurls a ninja star at you, which seems to slow down for a moment on its approach.\nThe Chartreuse Thug staggers back to his feet.\nThe Chartreuse Thug thrashes a bit in his anti-gravity hover. \"WHAT KIND OF DEMON SPAWN ARE YOU?? \"\nYou can hear the children wailing and arguing with their captors to the north.\n\n> Lean\nYou lean unaturally forward, defying gravity with your feet on the floor.\n\nA ninja star whizzes right over you, missing by inches.\nA ninja star whizzes right over you, missing by inches.\nThe Red Thug staggers back to his feet.\nThe Red Thug glares at you maliciously.\nThe Blue Thug staggers back to his feet.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Mister!\nThis is unnatural! \"The Green Thug looks a bit dazed.\nThe Green Thug, deprived of weaponry, lunges at you!\nThe Chartreuse Thug staggers back to his feet.\nThe Chartreuse Thug thrashes a bit in his anti-gravity hover. \"What are you, the devil?? \"\n\n> Hoo\nWow, that takes a lot of stomach muscle.\n\n\"HOO!\" you shout, feeling warm air causing an updraft around you.\nThe Green Thug is lifted, cursing and struggling, up in the air where he hovers, turning slow antigravity somersaults.\n\nThe Red Thug staggers back to his feet.\nThe Red Thug glares at you maliciously.\nThe Blue Thug looks a bit dazed.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Ohmygodohmygodohmygod\"The Green Thug staggers back to his feet.\nThe Green Thug thrashes a bit in his anti-gravity hover. \"Put me down! \"The Chartreuse Thug looks a bit dazed.\nThe Chartreuse Thug thrashes a bit in his anti-gravity hover.\n\"Lissen, Mister, it's a long way down, now just please put me down gently! \"\n\n> Aaow\n\"AAOW!\" you scream, hearing it echo off the concrete buildings back to you.\nThe Red Thug is knocked backwards off his feet!\n\nThe Red Thug staggers back to his feet.\nThe Red Thug, deprived of weaponry, lunges at you!\nThe Blue Thug looks a bit dazed.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Lemme down outta here! \"The Green Thug looks a bit dazed.\nThe Green Thug thrashes a bit in his anti-gravity hover. \"Ohmygodohmygodohmygod\"The Chartreuse Thug staggers back to his feet. The Chartreuse Thug thrashes a bit in his anti-gravity hover. \"Lemme down outta here! \"\n\n> Hoo\n\"HOO!\" you shout, feeling warm air causing an updraft around you.\nThe Red Thug is lifted, cursing and struggling, up in the air where he hovers, turning slow antigravity somersaults.\n\nThe Red Thug looks a bit dazed.\nThe Red Thug thrashes a bit in his anti-gravity hover. \"WHAT KIND OF DEMON SPAWN ARE YOU?? \"The Blue Thug staggers back to his feet.\nThe Blue Thug thrashes a bit in his anti-gravity hover. \"Put me down! \"The Green Thug staggers back to his feet.\nThe Green Thug thrashes a bit in his anti-gravity hover. \"Lemme down outta here! \"The Chartreuse Thug staggers back to his feet.\nThe Chartreuse Thug thrashes a bit in his anti-gravity hover. \"Aw come on! \"\n\n> Eehee\n\"EEHEE!\" you squeal waving your arm.\nThe Red Thug, the Green Thug, the Blue Thug, the Chartreuse Thug and the flying bullets hovering above are blasted in different directions where they disappear in nonlethal puff of multicolored smoke.\n\nYou catch your breath. They seem to have stopped attacking for now. You hear Betsy yelling \"Mister!\" from the north still.\n\n> Go north\nYou leap onto the low wall at the edge of the building thinking you can jump it, but you lose your nerve at the last second, and there is a sickening moment of dread as you pinwheel your arms to keep balance. You finally manage to fall back onto the rooftop, heart pounding.\n\n> Whoa\nYou stand up on the low wall of the roof, close your eyes and concentrate, thinking \"whoa\" as intensely as you can,\nstanding up on your tiptoes. There is a rush of wind and when you open your eyes...you are across the gap!\n\nInexplicably, the rain has turned to fluffy snow that piles around like drifts of cake frosting. There is a low building here, which must be where the children are being held. Before you can charge in, the door opens up and Annie walks out holding hands with Lenny and Rufus and Betsy.\n\n\"Annie, how did you get across--I thought the children were in danger?\"\n\n\"No danger,\" Annie says, shaking her hair as her features morph into that of the Thin Man. You stand, jaw agape, not comprehending. \"Things aren't always what they seem,\" says the Thin Man, putting his fingers to his mouth to give a loud whistle.\n\nYou hear jingle bells, and a sleigh pulled by eight tiny reindeer alights on the rooftop and skids to a halt. \"Come on, children, time to go!\" the Thin Man says as they begin piling into the sleigh, giggling.\n\n\"Wait,\" you say, \"I don't care how smooth of a criminal you\nare, you can't steal these children from the orphanage!\n\n\"We want to go!\" Betsy says, and Lenny and Rufus nod enthusiastically. \"I'm not stealing them,\" says the Thin Man, climbing onto the front seat of the sleigh, which is loaded with presents. \"I'm taking them to live with new families, where they will be loved and appreciated and won't be orphans anymore!\"\n\n\"YAAAAAAAAY!\" the children shout in unison. You can't help but grin a bit as you shake your head in disbelief. \"Are you Santa Claus?\" you ask.\n\n\"Not quite,\" the man replies, switching out his white fedora for a floppy red cap with a white brim. \"Oh,\" I'll need that other glove back. I don't think the world is quite ready for that kind of power yet,\" he grins.\n\nThe oddly-thin man in white stands disinterestedly. His hands move furitively over the brim of his white hat and his belt as if repositioning them with bird-like speed.\n\nYou can also see Betsy, Lenny, Rufus and a large sleigh here.\n\nYou realize you are still wearing the man's other glove.\n\n> Glove\nSAVEOk.\n\n> You remove the glove\n(the left white glove)\nYou take off the left white glove.\n\nThe Thin Man waits expectantly.\n\n> You give the glove to thin Man\n(the left white glove to thin man)\n\"Evening,\" you say, as the Thin Man turns his birdlike attention to you.\n\n\"Thank you,\" he says, folding the unused garment into his coat pocket. \"You've been a big help. More than you know,\" he says, piling into the sleigh. \"Say bye to the nice detective, kids,\" he suggests, and they all wave and squeal at you happily.\n\n\"Oh, I almost forgot. A very special lady asked me to give you this,\" he says, tossing his white hat with the wide black brim to you. You notice there is a folded card tucked inside.\n\nThe Thin Man cracks his whip, and the reindeer heave the sleigh as he lifts off into the night, in the distance you can hear him urging the reindeer on:\n\n\"On Randy! On Tito! On Jermaine and Janet...on Marlon and Jackie...KEEP UP LATOYA!\"\n\nYou shake your head in disbelief, wondering how exactly you're going to change the details when you write this up in your report so you won't be laughed out of the precinct...or worse fired for\nbeing drunk somehow.\n\nWell, you do have this nice hat, you remark, as fluffy snowflakes begin to drift down.\n\n> You take the hat\nYou already got it.\n\n> You examine the hat\nAn anniversary present given to you by your late wife. The felt is charcoal black, like your soul. \"Doesn't it make me look a little dangerous?\" \"Oh sweetie, that's not a bad thing. I'm not sure you could pull off a white one just yet,\" she grinned. \"At least until you start saving people like a superhero!\n\n> You look at white fedora\nA gleaming white wide fedora hat with a broad black band around it There's a folded card tucked in the band.\n\n> You read folded\nYou unfold the note and the strength goes out of your legs when you see the handwriting:\n\n\"My Love. You always will be my superhero. I'm waiting.\n--A."
    },
    {
        "text": "[Themes: Fantasy, insect NPC, humor, animal NPC, fantasy]\n\nYou're in a right proper mess now. That blasted dragonfly has gone and disappeared, and what's more, you're down to your last farthing.\n\n\n\nThe late-autumn sun struggles to warm the sleepy village of Skry Im. For as long as most of its residents remember, the village has been little more than a collection of ramshackle cottages and shops at the crossroads of the King's Highway and the Way of the Sea. One such ramshackle shop can be found to the northeast: Merchant Guy's Specialty Minerals and Archery Supplies. Also there's a ramshackle inn to the southwest.\n\nIt's harvest season: most of the villagers are out toiling in the nearby farm fields.\n\n[Author's Note: You're in a right proper mess now. That blasted dragonfly has gone and disappeared, and what's more, you're down to your last farthing...]"
    },
    {
        "text": "[Themes: Fantasy, animal NPC, humor, insect NPC]\n\n> About you\nYou look a right proper adventurist in your top hat, bowtie, and greatcoat (even if the coat is a mite threadbare), but you feel rather like one who's sorely missing his dragonfly.\n\n> You check what you're carrying\nYou are carrying:\nyour last farthing\nyour top hat (being worn)\nyour bowtie (being worn)\nyour double-brested greatcoat (being worn)\n\n> You go to the northeast\nThis store has a peculiar array of items for sale, although the shelves are largely empty now. Hard times all round, you suppose. Curious-looking rocks and crystals can be had at various prices, and there are a few pieces of basic archer's equipment for sale as well. A sign notes that the archery equipment is on clearance.\n\nThe proprietor-- the eponymous Merchant Guy, you presume-- sits behind the counter, eyeing you with thinly-veiled suspicion.\n\nOn the counter are a polished piece of labradorite, a small crystal ball and a bismuth crystal.\n\nOn the shelves are a glass prism, a calcite prism, a magnifying glass lens and a jar of silica.\n\nBeside the counter is a basket for archery supplies. Inside it you see a short arrow, an archer's arm-guard and a bow.\n\n> You ask Guy about the dragonfly\n\"My good man, I don't suppose you've seen a lost dragonfly of late? I... seem to have mislaid my special dragonfly. She answers to the name of Emma.\"\n\n\"Ain't no dragonflies round 'ere,\" says the proprietor.\n\nHe regards you mistrustfully.\n\n> You ask Guy about the bow\nYou have a look in the basket. It doesn't look too promising. \"Archery equipment on clearance, you say? How much for the bow?\"\n\n\"One farthing. Firm. And I don't want no 'agglin neither from the likes of you,\" he clarifies.\n\n> You ask Guy about the lens\nStudying the contents of the shelves, your eye falls upon a magnifying glass lens. You take it and hold it up to the light, examining it carefully. \"How much for the magnifying glass lens?\" you enquire.\n\nThe proprietor quotes a figure considerably above one farthing. You replace the magnifying glass lens on the shelf.\n\nHe glowers at you suspiciously.\n\n> You look at Guy\nHe has a handlebar moustache and a curmudgeonly mien.\n\nHe eyes you with hostility.\n\n> You ask Guy about the labradorite\nYou take a closer look at the polished piece of labradorite, picking it up off the counter and turning it this way and that as you examine it. \"How much for this?\" you enquire.\n\nThe proprietor quotes a figure. Needless to say, it's more than one farthing. You replace the polished piece of labradorite on the counter.\n\nHe regards you balefully.\n\n> You ask Guy about the glass prism\nStudying the contents of the shelves, your eye falls upon a glass prism. You take it and hold it up to the light, examining it carefully. \"How much for the glass prism?\" you enquire.\n\nThe proprietor quotes a figure considerably above one farthing. You replace the glass prism on the shelf.\n\nHe watches you angrily.\n\n> Sing\nYou sing a few bars of Yarel's Lament. Emma doesn't seem to fancy your singing voice, but she's not here to complain, is she?\n\nHe eyes you hatefully.\n\n> Xyzzy\nTo tell the truth, an incantation or two would come in right handy about now. Alas, it is your sister, not you, who is schooled in the Uncanny Arts.\n\nHe scowls at you mistrustfully.\n\n> You go outside\nYou're in Skry Im, a collection of ramshackle cottages and shops at the crossroads of the King's Highway and the Way of the Sea. One such ramshackle shop can be found to the northeast: Merchant Guy's Specialty Minerals and Archery Supplies. Also there's a ramshackle inn to the southwest.\n\n> You go to the southwest\nThe cleverly-named Skry Inn is closed at present. What little business it does, it typically does after sundown. Presumably the proprietors clean up the place or sleep during daylight hours-- although based on what you saw of the establishment last night, likely they do more of the latter than the former. You're pretty sure your dragonfly isn't to be found in there anyway.\n\n> You go northwest\nJust farmland that way and not really any roads or points of interest to speak of. It seems an unlikely direction for your dragonfly to have gone.\n\n> You go to the south-east\nSoutheast is some nondescript farmland and beyond that the Fae Forest. Surely Emma would not have gone that way.\n\n> You go to the north\nEmma always did dislike the cold-- so much the more so since becoming a dragonfly. You find it unlikely she would have headed towards the frigid North Countries. The Midlands are quite cold enough in the fall, she has said many times.\n\n> You go south\nYou consider the possibility that your dragonfly set off along the Way of the Sea to points south. She has mentioned wanting to see the swamps and jungles of the Darklands before, but it isn't like her to just run off in the middle of the night.\n\n> You go east\nBack east toward the mountains is the way you came from. It is possible she backtracked, but you can't think why.\n\n> You go to the west\nOf all the directions Emma could have gone, west to the sea seems the most likely, relatively speaking. But there's little reason for her to simply leave you behind-- it's not as if a dragonfly can hire a ship. And in any case, you aren't about to go gallivanting off that way without a firm lead.\n\n> You remove the hat\nYou see little need to get undressed now, cold as it is. And that's to say nothing of polite society's rules of decorum.\n\n> You go to the northeast\nThis store has a peculiar array of items for sale, although the shelves are largely empty now. Hard times all round, you suppose. Curious-looking rocks and crystals can be had at various prices, and there are a few pieces of basic archer's equipment for sale as well. A sign notes that the archery equipment is on clearance.\n\nThe proprietor-- the eponymous Merchant Guy, you presume-- sits behind the counter, eyeing you with undisguised suspicion.\n\nOn the counter are a polished piece of labradorite, a small crystal ball and a bismuth crystal.\n\nOn the shelves are a glass prism, a calcite prism, a magnifying glass lens and a jar of silica.\n\nBeside the counter is a basket for archery supplies. Inside it you see a short arrow, an archer's arm-guard and a bow.\n\n> You ask the man about the Archery Supplies\nHe says, \"See 'ere now-- I don't care to say nothin' 'bout that. So's either BUY somethin' or get out me shop if ye please. I amn't in the mood for entertainin' drifters.\"\n\n> You examine the arrow\nThe toy arrow reminds you of that old riddle:\n\ndragon flies like... what?\n\nThe answer: labradorite! You're given to understand that the punchline makes more sense if one speaks Old Low Dwarvish.\n\n> You examine the guard\nFor the archer who dislikes the snap of the bowstring scraping the skin off his forearm. It's little more than a thin cloth rag and some drawstrings, however. For the archer on a budget.\n\nHe watches you balefully.\n\n> You look at the bow\nA child-sized bow-- a toy, in fact. Were you to actually use it in an engagement, your only chance would be that your foe die of laughter.\n\n> You ask Guy about the arrow\nYou have a look in the basket. It doesn't look too promising. \"Archery equipment on clearance, you say? How much for the short arrow?\"\n\n\"One farthing. Firm. And I don't want no 'agglin neither from the likes of you,\" he clarifies.\n\nHe glares at you hatefully.\n\n> You examine the labradorite\nIt shimmers blue and green in the light, like a dragonfly.\n\nHe watches you balefully.\n\n> Inventory\nYou are carrying:\nyour last farthing\nyour top hat (being worn)\nyour bowtie (being worn)\nyour double-brested greatcoat (being worn)\n\nHe glowers at you angrily.\n\n> You take the labradorite\nMerchant Guy watches you like a hawk. A very suspicious hawk. It's quite unlikely you'd be able to get away with pilfering the polished piece of labradorite-- at least not while he can see you.\n\n> You ask the man about the labradorite\nYou take a closer look at the polished piece of labradorite, picking it up off the counter and turning it this way and that as you examine it. \"How much for this?\" you enquire.\n\nThe proprietor quotes a figure. Needless to say, it's more than one farthing. You replace the polished piece of labradorite on the counter.\n\n> Offer bowtie to man\nYou see little enough sense in doing anything like that to your bowtie.\n\nHe eyes you suspiciously.\n\n> You buy the arrow\nYou cast a critical eye on the items in the clearance basket, examining each from several angles, tsk-tsking and tut-tutting with slightly exaggerated disapproval. \"You have only the one arrow?\" you ask after a few moments.\n\n\"Toy bow don't need but one,\" the proprietor responds. \"One farthing for each piece in the basket. Or two for the lot,\" he adds.\n\n\"A farthing for one arrow?\" you ask incredulously. You pick the arrow from the basket and hold it up to your eye, looking carefully down the length of it. \"And the arrow is out of true anyway. Not worth much of anything, is it?\"\n\nThe proprietor takes the arrow out of your hand and puts it back in the basket. \"Don't make much difference to a kid, y'ask me. Two farthings for the lot,\" he repeats.\n\n\"One. For the lot.\" You meet the proprietor's hostile gaze with equanimity. For one tense moment, it's a stand-off. Then, wordlessly and reluctantly, he holds out his hand. You pay him your one farthing, taking care not to move too quickly, and casually pick up the whole basket.\n\n\"And I shall save you the trouble of throwing out this worthless basket as well.\" For a moment, the merchant looks as though he's about to object, but he just glares at you murderously instead. \"Pleasure doing business, my good man,\" you say cheerfully.\n\nHe scowls at you balefully.\n\n> You examine basket\nA worn-out basket made of dried rushes. It looks to be on the verge falling apart, but it is usefully opaque nonetheless.\n\nIn the basket are a short arrow, an archer's arm-guard and a bow.\n\n> You buy the arrow\nYou cast a critical eye on the items in the clearance basket, examining each from several angles, tsk-tsking and tut-tutting with slightly exaggerated disapproval. \"You have only the one arrow?\" you ask after a few moments.\n\n\"Toy bow don't need but one,\" the proprietor responds. \"One farthing for each piece in the basket. Or two for the lot,\" he adds.\n\n\"A farthing for one arrow?\" you ask incredulously. You pick the arrow from the basket and hold it up to your eye, looking carefully down the length of it. \"And the arrow is out of true anyway. Not worth much of anything, is it?\"\n\nThe proprietor takes the arrow out of your hand and puts it back in the basket. \"Don't make much difference to a kid, y'ask me. Two farthings for the lot,\" he repeats.\n\n\"One. For the lot.\" You meet the proprietor's hostile gaze with equanimity. For one tense moment, it's a stand-off. Then, wordlessly and reluctantly, he holds out his hand. You pay him your one farthing, taking care not to move too quickly, and casually pick up the whole basket.\n\n\"And I shall save you the trouble of throwing out this worthless basket as well.\" For a moment, the merchant looks as though he's about to object, but he just glares at you murderously instead. \"Pleasure doing business, my good man,\" you say cheerfully.\n\n> You put the basket on man\nNot while there's something still in it.\n\nHe glares at you angrily.\n\n> You take all from the basket\nshort arrow: Prehended.\narcher's arm-guard: Acquired.\nbow: Commandeered.\n\n> You put basket on man\nYou upend the basket and put it over Mr Guy's head-- a trick you saw once. You do so hate to have to engage in such chicanery, but desperate times call for desperate measures.\n\n> You take the labradorite\nRemoved.\n\n> You take all\nbasket: That seems to belong to Merchant Guy.\nsmall crystal ball: Appropriated.\nbismuth crystal: Acquired.\nglass prism: Taken up.\ncalcite prism: Appropriated.\nmagnifying glass lens: Pocketed.\njar of silica: Seized.\n\n> You examine the labradorite\nIt shimmers blue and green in the light, like a dragonfly.\n\n> Wave labradorite\nThere would probably be talk if you were seen doing any such thing to a polished piece of labradorite.\n\n> Rub labradorite\nYou suddenly realize that you don't really need to do that to the polished piece of labradorite. Most likely.\n\n> You shoot bow\nThis bow is so flimsy it would likely break if you tried to shoot it in earnest. Frankly, you'd be better off throwing the arrow at your target.\n\n> You throw the arrow\nBetter not drop that. It might come in handy later.\n\n> You drop all\njar of silica: Dropped.\nmagnifying glass lens: Better not drop that. It might come in handy later.\ncalcite prism: Dropped.\nglass prism: Dropped.\nbismuth crystal: Dropped.\nsmall crystal ball: Dropped.\npolished piece of labradorite: Dropped.\nbow: Better not drop that. It might come in handy later.\narcher's arm-guard: Better not drop that. It might come in handy later. short arrow: Better not drop that. It might come in handy later.\n\n> You look through the lens\nThoroughly searching the square with the magnifying glass, you discover some dragonfly tracks! How fortunate for you that Emma's left wing is still recovering from that bit of unpleasantness with the goblin fanatics, rendering her earthbound for the time being. Evidently she went southeast.\n\n> You go to the southeast\nYou carefully follow the tiny dragonfly tracks southeastwards through the farmland and into the dark forest. Why on earth would she...? But no matter; you enter the forest. The gnarled, twisted trees of this place resent your intrusion and seek to impede you at every turn. Nonetheless you press on as any proper adventurist would...\n\nYour dragonfly's trail has led you here, to the gloomy underbrush of this centuries-old forest. Apparently she continued south from here.\n\nUnfortunately, a swarm of venemous time flies impedes further progress.\n\n> Examine flies\nThe flies swarm menacingly to the south of your position, preventing you from following the dragonfly tracks any farther. The undergrowth is too thick and the light thorugh the forest canopy too dim to try to go round and find the trail again further along-- it is difficult enough following these tracks directly what with all the dead leaves still covering the forest floor.\n\n> You show the arrow to flies\nYou can only do that to something animate.\n\n> You open the jar\nIt is sealed very, very tight. You don't seem to be able to get it open.\n\n> Wave arrow\nYou look ridiculous waving the short arrow.\n\n> You throw the arrow at the flies\nForegoing the use of the useless bow, you hurl the arrow into the midst of the time flies. As one, they descend onto the arrow and begin to devour it. At least... you think they are devouring it. In any event, the swarm now covers the arrow, leaving your path clear to the south.\n\n> Go south\nYou press on boldy southwards, carefully following the trail with the help of the magnifying glass. Surely it can't be that much farther-- how far can an earthbound dragonfly get in less than a day's time?\n\nYou suddenly emarge from the trees into a broad clearing. In the midst of it is some manner of infernal altar made from one solid piece of polished obsidian.\n\nOn the infernal obsidian altar is Emma.\n\nAs you might've known all along, the diabolical Doctor Magnusson is here as well, up to no good as usual. \"Charlie, my dear lovely boy!\" he exclaims upon seeing you. \"Your sister and I were beginning to fear you wouldn't make it!\"\n\n> You examine Emma\nShe's rather on the petite side, and has pearlescent wings and a shimmery blue-green carapace like polished labradorite-- she's been thus ever since that unfortunate mishap long ago. She's presently unconscious and tied to an obsidian altar. A tiny smoking censer dangles above her.\n\n> You look at Doctor\nHe sports a bowler, a purple cravat, a black velvet waistcoat, and a van dyke beard. You also notice that he wields a wavy-bladed sacrifical dagger.\n\n> You check your inventory\nYou are carrying:\na jar of silica\na magnifying glass lens\na calcite prism\na glass prism\na bismuth crystal\na small crystal ball\na polished piece of labradorite\na bow\nan archer's arm-guard\nyour top hat (being worn)\nyour bowtie (being worn)\nyour double-brested greatcoat (being worn)\n\n> You examine the censer\nA tiny smoking censer hangs from a little stand on the altar. You surmise that the incense fumes from the censer are keeping Emma unconscious.\n\nYou decide you've seen quite enough. \"Doctor Magnusson... It seems,\" you choke out, mostly keeping your composure, \"you've set upon my sister without cause. I fear I'm obliged to demand satisfaction, sir.\"\n\nMagnusson sighs. \"Must it come to this?\" He meets your gaze for a moment. \"Yes I suppose it must, mustn't it? Very well then, I've no pistols, so it's swords or nothing.\"\n\n\"Swords it is then.\"\n\n\"You've a blade...?\" he asks.\n\nYou shake your head. \"Sadly, we had a bit of a set-to with some ruffians in the mountains--\" you start to explain, but Magnusson waves off this trifle and starts to root about for a pair of swords suitable for dueling. He discovers some on the ground behind the altar, and stoops to pick them up. As he stands, he bumps the incense-burning censer, knocking it off the altar-- apparently without noticing. He approaches and extends the swords to you, hilts first. They are a pair of dueling sabres, one with a brass hilt, one bronze, but otherwise seemingly identical.\n\n\"Choose your weapon, my dear Charlie, and we shall get this sorted.\"\n\n> You look at brass\nIt looks just like the other, aside from the hilt.\n\n> You look through the lens\nNo need for that-- you've found her. Now to effect her rescue!\n\n> You look at the censer\nIt's fallen from its place on the altar and now lies upon the ground. Magnusson evidently did not note its fall.\n\n> You take censer\nThe tiny smoking censer is too far away.\n\n> You give the labradorite to Emma\nShe appears to be unconscious.\n\n> You look in the crystal ball\nLooking through it causes images to be weirdly distorted.\n\n> You take the bronze\nYou choose the bronze-hilted sabre and step back, falling to a fencer's stance. Magnusson raises his blade as well.\n\n\"Defend yourself!\" he cries, and lunges toward you. The clash of steel rings out like a bell across the clearing, putting a nearby flock of birds to the wing...\n\nYou gradually come round, wakening to the sound of steel on steel. A... a swordfight? What's going on?\n\nCharlie leaps forward, shouting and swinging wildly up high. Magnusson narrowly avoids the blow, and responds with a risky attack against his foe.\n\n> About yourself\nStill a dragonfly, alas.\n\nMagnusson swings toward his opponent's legs. Charlie leaps back, dodging the attempt, and offers up a textbook riposte, shouting exultantly.\n\n> Down\nBeing bound to an altar rather constricts your freedom to do much of anything.\n\nCharlie lunges forward, blade aimed toward his opponent's midsection. Magnusson deflects the assault, and returns an unexpected counterattack of masterful precision.\n\n> Inventory\nYou aren't carrying anything of course, being a dragonfly. But as it happens, you have one readied spell: BURN.\n\nMagnusson thrusts toward his opponent's legs. Charlie steps aside, avoiding the attack, and returns a standard reprise, shouting exultantly.\n\n> Burn\nWhat do you want to burn?\n\n> Burn doctor\nCharlie will doubtless be put out by this, with his peculiar code of honor, but nevertheless... You call forth a spirit of burning against Doctor Magnusson. In your weakened state you're not capable of engulfing him in a pillar of flames, but you are able to burn his hand sufficiently hard that he's forced to let go his weapon.\n\nCharlie kicks away the dropped sword and presses the point of his own blade to Magnusson's adam's apple. \"Yield, cur!\" he calls dramatically, a bit winded by the sound of it.\n\n\"I yield,\" Magnusson concedes. \"And your sister is now awake, it would seem,\" he adds, not without bitterness.\n\n\"Indeed.\" Charlie thinks for a moment, then twitches his sword to the side. \"Begone. And pray we never cross paths again, Magnusson.\" Magnusson stands and flees into the woods without a word or a glance behind.\n\n> You take the dragonfly\nYou are still securely bound. One should hope that your brother would release you after going to all this trouble to find you.\n\n> You examine charlie\nCharlie grins back at you and doffs his hat in a mock-formal bow.\n\n> You release Emma\n(Freeform conversation is not implemented in this game. To communicate, ask Charlie about something.)\n\n> You ask Charlie about the rescue\n\"Might I trouble you to help me off this altar?\" you ask.\n\n\"Oh! Of course-- forgive me.\" At a single stroke, Charlie cuts your bonds with his newly-liberated bronze-hilted sabre, newly liberating you as well. \"Are you all right?\"\n\n\"I will be,\" you reply. \"I need to rest before I can send us, however.\"\n\n\"Very well.\" Charlie reaches into his pocket and withdraws a piece of polished labradorite!\n\n\"And just where did you steal that, if may I ask?\" you ask, trying not to sound too delighted.\n\nHe laughs. \"Best not to enquire too closely.\"\n\n> You examine the labradorite\n...And after a few hours of rest, you let Charlie know that you're ready to go. He picks you up gently with one finger.\n\n\"Xyzzy!\" you call. You both disappear in a puff of orange smoke."
    },
    {
        "text": "[Themes: Mystery, Fantasy, Historical, Historical, adaptation, magicians, Lovecraftian, private investigator, Lovecraft, magic, England, stage magic, theater, London, call of cthulhu]\n\nYou wish you were doing almost anything else than having dinner with this bloviating douchebag. Still, it's a potential client. Maybe you should hear what he has to say. . .\n\n\n\nThis is an ancient pub built just after the Great London Fire of 1666. The place is gloomy with shadows but the patrons are warmed by a large hearth in the center of the room. Labyrinthine passages to rooms exist in all directions except to the east where the exit lies. You can see Howard Horne waving for you to join him at an old table near the hearth. He pulls out an even older chair for you.\n\n(During conversations, type \"topics\" to see a list of relevant topics.)\n\n[Author's Note: You wish you were doing almost anything else than having dinner with this bloviating douchebag. Still, it's a potential client. Maybe you should hear what he has to say...]\n\n> You sit\n(on the old chair)\nYou get onto the old chair.\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\n> Inventory\nYou are carrying:\na fedora (being worn)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na cigar lighter\na lock pick\na holster (being worn)\na revolver\n\n> You look at Howard\nHe is a thin, nervy sort of chap, with a narrow face and eyes that appear positively shifty.\n\n> Hi\nYou say hello to Howard Horne.\n\n(You could ask him about the case.)\n\n> You ask howard about case\n\"So, what's the skinny?\" you ask.\n\n\"I need some help, detective.\" Howard replies.\n\"I need some help, detective.\" Howard replies.\"Start from the beginning.\" you invite.\n\n\"Well, I started working the West Side about twenty years ago when things were Vaudeville, of course-\" he begins.\nthings were Vaudeville, of course-\" he begins.\"Better yet, start from sometime more recent.\" you say, rubbing your temples.\n\n\"Oh, yes, of course. Well, by now, I've got a lot of great acts on me books, if I do say so meself. But my problem is with one of them; a young man named Philip Leclair.\" he tells you.\n\n> You ask Howard  about Philip\n\"Tell me about Leclair.\" you say.\n\n\"He calls 'imself Leclair the Great professionally.\" Howard\ntells you, \"He'll go far if handled right and he's got a knack for making old tricks look new. He even invents his own, good ones at that, with all this new apparatus and patter and everything.\"\nthat, with all this new apparatus and patter and everything.\"\"And?\" you ask.\n\n\"Well,\" he says, \"end of last month, Philip came to my office, plum-excited he was. Said he had plans for a new trick. Showed me some sketches that I couldn't make heads nor tails of. He said it was going to bring a whole new meaning to what we call The\nVanish.\"\nVanish.\"\"Wow.\" you say nonplussed.\n\nHe continues, \"You know, making a chap disappear into thin air?\"\n\nPerturbed, you reply, \"Yeah, I got it.\"\nPerturbed, you reply, \"Yeah, I got it.\"He proceeds again, \"So he comes to my office saying he's having problems with his new apparatus for this trick. Well, I'm no magician so I suggested he approach this new magic club who call themselves something like the Inner\nBrotherhood of Magicians. This brotherhood had sent me a letter\nto recommend themselves to my clients. So I reckon maybe they can help Philip with his predicament. Being a good lad, he did so, and was even invited to eventually join the club. I was hearing that things were going swimmingly with his new vanishing trick. But then something happened.\"\nsomething happened.\"You make a twirling motion with your finger, inviting him to go on with his story. He says, \"Well, a couple weeks ago, Philip comes back to my office, right excited again, he was. He said he was on the verge of finding a method of, as he put it, revolutionizing stage magic as we know it.\"\n\n\"And?\" you ask. He says, \"And here's the mystery, detective. It's quite ironic, really. But that was the last I saw of the lad. Philip Leclair has vanished off the face of the earth!\"\n\n> Examine\nWhat do you want to examine?\n\n> Topics\nYou could ask him about the vanish.\n\n> You ask howard about the Vanish\n\"Tell me more about this vanishing act of his.\" you ask.\n\n\"It's funny you should ask, detective.\" Howard replies, \"I mean, even though the Vanish is a standard trick, the particular variation and appartus that Philip was using was seen being used by another magician. I know because I'm the one who saw it. The magician is The Amazing Karl. I don't know much more about him besides that I watched him perform it during his nightly act at The Chancellor Theater.\"\n\nHoward Horne stands to leave. \"Please let me know if you find out anything, detective. If you'll excuse me, I have a prior late-night engagement. Good luck. Cheers!\" And with that, Howard Horne leaves the pub.\n\n> You look\nYe Olde Cheshire Cheese Pub (on the old chair)\nThis is an ancient pub built just after the Great London Fire of 1666. The place is gloomy with shadows but the patrons are warmed by a large hearth in the center of the room. Labyrinthine passages to rooms exist in all directions except to the east where the exit lies.\n\n> You examine the hearth\nA blazing fire is warming the pub from within the hearth.\n\n> You stand\nYou get off the old chair.\n\nThis is an ancient pub built just after the Great London Fire of 1666. The place is gloomy with shadows but the patrons are warmed by a large hearth in the center of the room. Labyrinthine passages to rooms exist in all directions except to the east where the exit lies.\n\n> You go to the east\nYou walk the fog-shrouded streets to the area of town where Philip's flat is. The smell of Polish home-cooking can be smelled in this part of south London. You are standing on the sidewalk near some stairs that hug the side of a building to reach a door on the second story. The bottom floor is yet another pub; The Devonshire. The door can be reached to the north. The address for Philip Leclair that Howard Horne supplied says that this is the place.\n\n> Up\nThis is a rickety landing one floor off the ground above an alley.\nThe steps lead down to the street where The Devonshire Pub can be reached. To the east is the door into Philip Leclair's flat.\n\n> Go east\n(first opening the apartment door)\nIt seems to be locked.\n\n> You examine the door\nIt is a small, thick door for Philip Leclair's apartment.\n\n> You open the door\nIt seems to be locked.\n\n> You kick the door\nYou can only do that to something animate.\n\n> You pick the lock\n(first taking the lock pick)\n(To pick a lock with the lock pick, type \"unlock {thing} with\npick\")\nYou unlock the apartment door.\n\nI didn't understand that sentence.\n\n> You go to the east\n(first opening the apartment door)\n\nThis is a humble and tidy apartment. The room you are in serves as the living room, bedroom, and kitchen all at once. A bed seems to be the only real piece of furniture in the place. The bathroom is to the east and the exit to the landing is west.\n\nYou can see a black trunk (closed) here.\n\n> You look at the bed\nIt is a simple, twin-sized bed. But it's probably European twin-sized so who knows how the hell big it really is.\n\n> You look at the trunk\nIt's the kind a circus performer would lug around, but looks like Philip has kept it clear of any gaudy stickers that you've seen on such circus trunks.\n\n> You look under the bed\nJust dust.\n\nJust dust.\n\n> You unlock it with the lockpick\nYou unlock the black trunk.\n\n> You open the trunk\nYou open the black trunk, revealing a black cane, an instruction manual, a deck of cards, a top hat and a set of stage clothes.\n\n> You unlock the trunk with the pick\nThat's unlocked at the moment.\n\n> You look at the manual\nYou read the first chapter in full, out of curiosity. Now, you are able to perform card trick but you'll need a deck of cards,\nof course.\n\n> You take the cards\nYou take the deck of cards from the black trunk.\n\n> You perform the card trick\nYou perform a simple yet impressive card trick.\n\n> You look at the top hat\nIt's tall even for a top hat.\n\n> You look at the stage clothes\nPerfect if one wants to look like a stage magician.\n\n> You examine the cane\nIt's a magician's cane; black with white tips.\n\n> You look at the trunk\nIt's the kind a circus performer would lug around, but looks like Philip has kept it clear of any gaudy stickers that you've seen on such circus trunks.\n\nIn the black trunk are a black cane, an instruction manual, a top hat and a set of stage clothes.\n\n> You look at the hat\n(the fedora)\nIt's a hat, stylish here in the '20s. You wear it on your head.\n\n> Search hat\n(the fedora)\nYou find nothing of interest.\n\n> You take the cane\nYou take the black cane from the black trunk.\n\n> You search the top hat\nThe top hat is empty."
    },
    {
        "text": "> You describe your surroundings\nThis is a humble and tidy apartment. The room you are in serves as the living room, bedroom, and kitchen all at once. A bed seems to be the only real piece of furniture in the place. The bathroom is to the east and the exit to the landing is west.\n\nYou can see a black trunk (in which are an instruction manual, a top hat (empty) and a set of stage clothes) here.\n\n> You check your inventory\nYou are carrying:\na black cane\na deck of cards\na lock pick\na fedora (being worn)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na cigar lighter\na holster (being worn)\na revolver\n\n> You remove the ordinary clothes\nYou can't walk around in your skivvies. If you want to change outfits, then wear the clothes you want to change into.\n\n> You wear the stage clothes\n(first taking the set of stage clothes)\nYou swap your regular clothes for the fancy stage clothes.\n\n> You wear the top hat\n(first taking the top hat)\nYou swap the fedora for the top hat.\n\n> You check what you're carrying\nYou are carrying:\na top hat (being worn)\na set of stage clothes (being worn)\na black cane\na deck of cards\na lock pick\na fedora\na set of ordinary clothes\na trenchcoat (being worn and open)\na cigar lighter\na holster (being worn)\na revolver\n\n> You look at the trunk\nIt's the kind a circus performer would lug around, but looks like Philip has kept it clear of any gaudy stickers that you've seen on such circus trunks.\n\nIn the black trunk is an instruction manual.\n\n> Lock trunk\nWhat do you want to lock the black trunk with?\n\n> You close the trunk\nYou close the black trunk.\n\n> You open the trunk\nYou open the black trunk, revealing an instruction manual.\n\n> You take the manual\nYou take the instruction manual from the black trunk.\n\n> You go to the west\nYou head out of Philip's flat and back to your hotel. The night is late and you'll have to start your investigations again tomorrow. First up will be to follow the Amazing Karl and find out what he's all about."
    },
    {
        "text": "[Themes: Historical, Fantasy, Mystery, London, stage magic, magicians, Lovecraft]\n\n> Look around\nIt is the next evening and you've followed The Amazing Karl here. You waited at The Chancellor Theatre for him to finish his act and then you shadowed him through the dim streets of London to this large, Victorian house in a posh neighborhood. You stand outside the garden. A gate leads into the garden to the east. The sidewalk continues both north and south. You can see the garden, and indeed the entire house, is surrounded by a large hedge. The smell of flowers fills your nose in the still night air.\n\n> Smell\nIt smells like flowers.\n\n> You examine the hedge\nIt is a tall, dense hedge.\n\n> You go to the north\nYou don't need to head down that way. You followed your quarry to this house. He went through the garden to the front door.\n\n> You go east\n(first opening the garden gate)\n\nFastidious Garden (near the gate)\nThis is a perfectly trim and tidy English garden before a large Victorian style house. The shrubs are geometrically sculpted and a white pebble path leads from the garden gate to the west, through the garden, and to the front door to the east. Because of the shape of the house, the main house is to the north while the front door is on a wing of the house to the east. One of the windows of the house is to the north.\n\n> You look at the shrubs\nThey are immaculately cared for and trimmed into cones, spheres, and other geometric shapes.\n\n> You examine the path\nIt is a crunchy path of small white pebbles.\n\n> You examine the window\nIt is a wide enough window but, for safety reasons perhaps, it doesn't have any lock or visible means of opening. A warm light comes from behind a gauzy curtain. It may be worth trying to look through.\n\n> You look through the window\nYou think you can see one figure in the room. The figure\nseems to be fussing with something at a small table. Because of the gauzy curtain, you cannot make out any details. Perhaps you can listen to the window to learn more.\n\n> You listen to the window\nYou hear a muffled voice say \"Damn rabbit!\"\n\n> You keep going\nYou hear a muffled voice say \"Get in the damn hat!\"\n\n> Keep going\nYou hear a muffled voice say \"Fuck!\"\n\n> Keep going\nYou hear a muffled voice say \"Shit!\"\n\n> Go east\nFastidious Garden (near the front door)\nYou are deeper in a trim and tidy English garden before a large Victorian style house. The shrubs are geometrically sculpted and a white pebble path leads from the garden gate to the west, through the garden, and to the front door to the east. Because of the shape of the house, the main house is to the north while the front door is on a wing of the house to the east. One of the windows of the house is to the north. Next to the front door is a plaque.\n\n> You look at the plaque\n\n\n> You look at the door\nIt appears very sturdy.\n\n> You unlock the door with the pick\nThere are many locks that your old lock pick does not open. This is one of them. Oh well.\n\n> Door\nYou rap on the door and it is almost immediately answered by an Asian servant in Oriental attire. He looks at you with polite eyes.\nThe servant examines you and seems to take notice of your stage clothes. \"Please, come in, sir.\" He steps in, opening the door for you to follow suit.\n\n> Go east\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nZhang straightens one of the portraits.\n\n> You examine Zhang\nWei has a kind face and friendly eyes, but you still don't want to trust him as it could all be an act. He wears the Oriental attire of a servant, but a servant to a wealthy family or individual.\n\n> You look at book\n(the instruction manual)\n101 Magic Tricks\n\nThe rest of the tricks in the book seem to require too much study and prep time to learn quick enough for this adventure.\n\n> You examine the visitors book\nIt is a ledger full of signatures of people who have visited the establishment. It's much like you'd find in a funeral home. You'd have to search it to see if it holds any useful clues.\n\nZhang examines the visitors book.\n\n> You examine the portraits\nYou randomly look at the portraits on the walls. One that you take notice of is the recently deceased Harry Houdini, of course.\n\n> You continue\nYou randomly look at the portraits on the walls. One that you take notice of is Percy Selbit, the first man to saw a woman in half.\nWell, as an illusion on a stage, that is.\n\nZhang straightens one of the portraits.\n\n> Hi\nYou say hello to Zhang Wei.\n\nZhang eyes you curiously.\n\n(You could ask him about himself, Philip Leclair, Karl Weiss or Cheng Ling Shu.)\n\n> You ask Wei about himself\n\"Tell me about yourself.\" you ask the servant.\n\n\"I am just a servant of Master Cheng Ling Shu, sir.\" is his reply.\n\nZhang looks at one of the portraits while he waits.\n\n> You look up Philip Leclair in visitors book\nYou discover nothing of interest in the visitors book.\n\nZhang eyes you curiously.\n\n> You search the visitors book\nYou peer at the pages; your eyes scanning the names. Zhang Wei makes a motion to take the book from your prying eyes but you slap his hand away long enough to make out the last signature: Karl Weiss.\n\n> You ask Zhang about Philip\n\"What can you tell me about the missing member of the Brotherhood; this Leclair fellow?\" you ask.\n\n\"Unfortunately,\" he says, \"I did not know the young man.\"\n\n> You ask Wei about Cheng\n\"Tell me about your boss.\" you ask.\n\n\"Cheng Ling Shu is a great and wise man.\" Zhang Wei says.\n\n> You ask Zhang about Weiss\n\"What do you know about the man who just came in?\" you demand of the servant.\n\n\"I'm sorry, sir.\" he says, \"I do not know the members of the Brotherhood personally.\"\n\nZhang looks at one of the portraits while he waits."
    },
    {
        "text": "[Themes: Mystery, Fantasy, Historical, adaptation, theater, London]\n\n> Look around\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nZhang straightens one of the portraits.\n\n> Topics\nYou could ask him about himself.\n\n> You ask Wei about Wei\n\"Tell me about yourself.\" you ask the servant.\n\n\"I am just a servant of Master Cheng Ling Shu, sir.\" is his reply.\n\nZhang eyes you curiously.\n\n> Go south\nZhang Wei the servant stops you. \"Please, sir. Kindly sign the visitors book.\"\n\n> You search the visitors book\nYou peer at the pages; your eyes scanning the names. Zhang Wei makes a motion to take the book from your prying eyes but you slap his hand away long enough to make out the last signature: Karl Weiss.\n\n> You sign the visitors book\nYou sign one of your many aliases to the ledger: Abdul\nMohammed.\n\n> You go south\n(first opening the reception door)\n\nThis room is used for guests of the members of the Brotherhood, and as a waiting area for visitors. It is plushly furnished with a large sofa and an armchair. A number of classical Chinese vases and decorations stand around the room and an end table sits near the sofa. The only exit is the door to the north.\n\n> You examine the sofa\nIt is a plush, extra long sofa.\n\nIt's not long at all before an impeccably dressed Asian gentleman enters the room. \"Hello.\" he says with a thick accent. \"I am Li Qiang, servant of Cheng Ling Shu. I understand you wish to join The Inner Brotherhood of Magicians?\"\n\n> Yes\n\"Hm?\" you ask, but then you say, \"Oh yeah. Because I'm a magician.\"\n\n\"Very well,\" Li Qiang says, \"Please perform a trick for me. A simple one is fine as we do accept amateurs into the Brotherhood with hopes that our guidance will only increase their curiosity and craft.\" he looks at you expectantly.\n\n> You perform the card  trick\nYou perform the simple trick but it seems impressive enough for Li Qiang to smile.\n\n\"You are welcome into the Brotherhood as a first level member. With this privilege, you may use the library and practice rooms on the first floor to perfect your craft. Unfortunately, the second floor is off limits to you for now. Let me know if you have any questions.\" But before you can ask any questions, he quickly leaves the room.\n\n> You examine the vase\nYou can tell the vases are quality pieces from ancient dynasties.\n\n> You examine the decorations\nThe decorations are sparse and tasteful. You spot nothing of real interest, however.\n\n> You look at the armchair\nIt is a comfortable appearing Chippendale armchair.\n\n> You examine the end table\nIt is an elegant end table of Asian sensibilities.\n\n> You go north\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nZhang straightens one of the portraits.\n\n> You go to the east\n(first opening the kitchen door)\n\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nOn the Garland stove is a wok.\n\nYou can also see Li Qiang here.\n\nLi Qiang tugs at his cuffs."
    },
    {
        "text": "[Themes: Historical, Mystery, Fantasy, theater, Lovecraft, magic, stage magic, call of cthulhu, adaptation, Historical, private investigator]\n\n> Look around\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nOn the Garland stove is a wok.\n\nYou can also see Li Qiang here.\n\nLi Qiang inspects the kitchen.\n\n> You ask li for the sandwich\nLi Qiang gives a small cough.\n\n> You examine the icebox\nIt's also known as a refridgerator, but you don't think that\nname will catch on.\n\nLi Qiang watches you carefully.\n\n> You look at the wok\nIt's like a wide, very deep pan. You think it's neat.\n\n> You look at the stove\nOn the Garland stove is a wok.\n\n> You turn on stove\nThat's not something you can switch.\n\nLi Qiang inspects the kitchen.\n\n> You open the icebox\nIt seems to be locked.\n\nLi Qiang gives a small cough."
    },
    {
        "text": "> Look around\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nOn the Garland stove is a wok.\n\nYou can also see Li Qiang here.\n\nLi Qiang tugs at his cuffs."
    },
    {
        "text": "[Themes: Fantasy, Mystery, Historical, England, magic, private investigator, stage magic]\n\n> You look counters\nYou believe it's very hard, polished rubberwood.\n\n> Hello\nYou are already talking to Li Qiang.\n\n> Topics\nYou could ask him about himself, Philip Leclair, Karl Weiss or Cheng Ling Shu.\n\nLi Qiang inspects the kitchen.\n\n> You ask li about himself\n\"So, you must be the major domo of the house, huh?\" you ask.\n\nLi Qiang smiles politely, \"Yes, that is a description that works. I oversee the house and the servants. I also greet the visitors and can authorize first level membership.\"\n\nLi Qiang watches you carefully.\n\n> You ask Li about Cheng\n\"Can you tell me about your boss?\" you ask.\n\n\"Cheng Ling Shu is a world-traveler who settled here in London to share his craft with budding magicians.\" Li Qiang happily tells you. \"He established this Brotherhood to share his experience and wisdom.\"\n\nLi Qiang inspects the kitchen.\n\n> You ask Li about Karl\n\"Tell me about Karl Weiss.\" you say.\n\n\"Mr. Weiss is a second level member of the Brotherhood. I do not know more as I do not know the man personally.\" is Li Qiang's reply.\n\nLi Qiang watches you carefully.\n\n> You ask Li about Philip\n\"Can you tell me anything about the missing member, Philip Leclair?\" you ask.\n\nLi Qiang's smile falters as he answers, \"A most unfortunate circumstance, to be sure. But, alas, we have no answers on the poor young man's disappearance.\"\n\nLi Qiang gives a small cough."
    },
    {
        "text": "[Themes: Historical, Mystery, Fantasy, magic, Lovecraft, England]\n\n> You look around\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nOn the Garland stove is a wok.\n\nYou can also see Li Qiang here.\n\n> Thanks\nThere is no reply.\n\nLi Qiang inspects the kitchen.\n\n> You take wok\n(putting the set of ordinary clothes into the trenchcoat to make room) You take the wok from the Garland stove.\n\n> Go west\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\n> You go to the east\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nZhang examines the visitors book.\n\n> You wear the wok\nYou can't wear that!\n\nZhang eyes you curiously.\n\n> You go to the north\n(first opening the lounge door)\n\nThis room holds another Chippendale chair and another long sofa. A large, low coffee table sits in the center of the room. On it are current issues of magic journals and newspapers. The room resembles the smoking room of a gentlemen's club. A door to the entrance hall is to the south and doors also lead north and west.\n\nSmoking a pipe and perusing a newspaper is Virgil Wemyss, a member of the Brotherhood.\n\nVirgil turns the page of the newspaper he's reading.\n\n> You examine virgil\nVirgil Wemyss is an older gentleman with a high brow and a big bushy beard.\n\nVirgil gives a little \"hmm\" in response to something he's\nreading in the paper.\n\n> Go east\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nYou can see Li Qiang here.\n\nLi Qiang tugs at his cuffs.\n\n> You go south\n(first opening the pantry door)\n\nThis is a shallow room lined with shelves that are full of foodstuffs. The only door is to the north, back to the kitchen.\n\n> You take the foodstuffs\nThat's hardly portable.\n\n> Go north\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nYou can see Li Qiang here.\n\nLi Qiang watches you carefully.\n\n> You go to the west\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nZhang straightens one of the portraits.\n\n> You go to the north\nThis room holds another Chippendale chair and another long sofa. A large, low coffee table sits in the center of the room. On it are current issues of magic journals and newspapers. The room resembles the smoking room of a gentlemen's club. A door to the entrance hall is to the south and doors also lead north and west.\n\nSmoking a pipe and perusing a newspaper is Virgil Wemyss, a member of the Brotherhood.\n\nVirgil turns the page of the newspaper he's reading.\n\n> You look at the pipe\nIt's fancy, but not too fancy.\n\nYou catch Virgil looking at you from over his newspaper. He quickly returns his glance downwards.\n\n> Hello\nYou say hello to Virgil Wemyss.\n\nVirgil gives a little \"hmm\" in response to something he's\nreading in the paper.\n\n(You could ask him about himself, Karl Weiss, Philip Leclair or Cheng Ling Shu.)\n\n> You ask Virgil about himself\n\"What's your story?\" you ask.\n\n\"My story?\" Virgil asks in return. \"I'm just a stage magician; a member of the Brotherhood, like yourself, I imagine.\"\n\nVirgil checks his pipe, then, seemingly satisfied, returns to puffing on it while reading his paper.\n\n> You examine the coffee table\nIt's a wide, low coffee table, giving ample room for journals, newspapers, and whatever else people wish to place on it.\n\nVirgil yawns.\n\n> You examine journals\namong others, but none seem too important to this case.\n\nVirgil checks his pipe, then, seemingly satisfied, returns to puffing on it while reading his paper.\n\n> You read the journals\namong others, but none seem too important to this case.\n\nVirgil gives a small cough.\n\n> You look at the newspapers\nWhich do you mean, the assorted newspapers or Virgil's newspaper?\n\n> Assorted newspapers\nNone are even that recent.\n\nVirgil turns the page of the newspaper he's reading.\n\n> You look at the virgil's newspaper\nThe headline reads Tornado Hits D.C.\n\nVirgil sniffs.\n\n> Topics\nYou could ask him about himself, Karl Weiss, Philip Leclair or Cheng Ling Shu.\n\nVirgil gives a little \"hmm\" in response to something he's\nreading in the paper.\n\n> You ask Virgil about Cheng\n\"What about this Cheng Ling Shu fellow?\" you ask.\n\n\"Well,\" Virgil answers, \"He's an extraordinary magician. Some of his tricks are just plain impossible. Some say he is the simple man he conveys himself to be, but others think these Orientals are all up to something more sinister, but that might just be English hubris talking.\"\n\nVirgil turns the page of the newspaper he's reading.\n\n> You ask Virgil about Karl\n\"What can you tell me about Karl Weiss?\" you ask.\n\nConspiratorily, Virgil whispers to you, \"He's a thief, and a lousy one at that. He steals others' tricks. I wouldn't trust him with anything. At the upcoming charity show, I'm sure the trick he is planning on performing is someone else's. There's a locked room at the top of the stairs that I think is proof of that.\"\n\nVirgil gives a small cough.\n\n> You ask Virgil about Philip\n\"You know anything about the missing magician, Leclair?\" you ask Virgil. He smokes his pipe thoughtfully before answering.\n\n\"I know of him but we've not met yet. I hope to still get the chance.\" he says.\n\nVirgil turns the page of the newspaper he's reading.\n\n> Topics\nYou could ask him about himself.\n\nVirgil gives a small cough."
    },
    {
        "text": "[Themes: Fantasy, Historical, Mystery, magic, Lovecraftian, Lovecraft]\n\n> Look around\nThis room holds another Chippendale chair and another long sofa. A large, low coffee table sits in the center of the room. On it are current issues of magic journals and newspapers. The room resembles the smoking room of a gentlemen's club. A door to the entrance hall is to the south and doors also lead north and west.\n\nSmoking a pipe and perusing a newspaper is Virgil Wemyss, a member of the Brotherhood.\n\nVirgil puffs his pipe and turns the page of his newspaper.\n\n> You go to the north\n(first opening lounge door)\n\nThis room serves as a quiet area where members can perfect their conjuring skills. By the look of the trappings in this room, you feel it is set aside for card tricks and other small slight-of-hand illusions. There are books strewn about as well as some particular props used in stage magic.\n\n> You look at the props\nThey include things like red cloths, ping-pong balls, and top hats.\n\n> Go west\n(first opening library door)\n\nThis library contains an extensive collection. Every inch of each wall is covered in bookshelves stuffed with books. A leather wingback chair and a leather loveseat are the furnishings so that one may enjoy a comfortable read. Doors break the monotony of books to the north, east, and west. A large window is in the south wall. You know that it looks out onto the fastidious garden.\n\nYou can see an Oriental rug here.\n\n> You look at the window\nIt covers most of the south wall.\n\n> You look through the window\nYou can see part of the house's fastidious garden beyond the large window."
    },
    {
        "text": "[Themes: Historical, Mystery, Fantasy, Historical, London, adaptation]\n\n> You look at your surroundings\nThis library contains an extensive collection. Every inch of each wall is covered in bookshelves stuffed with books. A leather wingback chair and a leather loveseat are the furnishings so that one may enjoy a comfortable read. Doors break the monotony of books to the north, east, and west. A large window is in the south wall. You know that it looks out onto the fastidious garden.\n\nYou can see an Oriental rug here.\n\n> You examine the rug\nIt is a thick, wide, beautiful, Oriental rug. The design is of a twisting Oriental-style dragon.\n\n> You take the rug\nThat's fixed in place.\n\n> Examine books\nThe extensive collection is a comprehensive range of basic texts on stage magic and conjuring. The books available are not particularly unusual, and indeed they could be obtained from any reputable bookseller with little difficulty. You figure the advantages of this library is the sheer range of books and periodicals it contains.\n\n> Go west\n(first opening library door)\n\nThis is a practice room set aside for the practice of slightly larger illusions; those involving larger props. A large window is in the south wall and the only exit is a door to the east.\n\nThere is a large, rectangular box off to the side. It looks like it can be separated in two parts. It's some sort of stage prop.\n\nWearing a top hat and standing behind a magician's table is Danny \"Mister Magic\" Paul. He seems to be practicing the rabbit trick as there is a cloth bag with something in it hanging on his side of the table.\n\nDanny makes a motion as if to show a non-existant audience that his top hat is empty.\n\n> You look through the window\nYou can see part of the house's fastidious garden out the window.\n\nAfter delivering a few words of patter, Danny attempts to turn his top hat upright and secretly slip the rabbit into it.\n\n> Hello\nYou say hello to Danny Paul.\n\nAs Danny attempts to secretly slip the rabbit into the hat, it bites him on the hand. He cries out but tries to continue.\n\n(You could ask him about himself, Karl Weiss, Philip Leclair or Cheng Ling Shu.)\n\n> You examine the rabbit\nIt is your typical, white hare.\n\nJust as Danny is about to cover the hat with the cloth, the rabbit hops out of the bag. Danny tries to conceal the bag behind the silk cloth while he picks up the rabbit and forces it back into the hat.\n\n> You ask Danny about the rabbit\nThere is no reply.\n\nDanny almost manages to complete his rabbit trick, but as he triumphantly holds the rabbit up from the ears, it slips from his sweaty palm and lands with a furry thud on the magician's table.\nDanny scoops the rabbit back in the bag.\n\n> You ask Danny about Cheng\n\"What can you tell me about this Cheng Ling Shu cat?\" you ask.\n\n\"Well, from what I understand, he came from Asia and started this Brotherhood. Lots of rumors surround him, so I don't really get involved with it.\" he tells you.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You ask Danny about Karl\n\"What can you tell me about Karl Weiss?\" you ask.\n\n\"What can I say?\" he says, still practicing his rabbit trick, \"He's a thief. He steals other magicians' acts. Total twat, really.\"\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You ask Danny about Philip\n\"Did you know Philip Leclair?\" you ask.\n\n\"You ask that like you know he's dead.\" he says, still working to perfect his rabbit trick.\n\n\"Well,\" you tell him, \"in my experience, the missing usually turn up dead.\"\n\nDanny Paul eyes you for a moment. \"Have you ever considered that this is all part of an elaborate magic trick?\" and with a wink, he returns to his practice.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You look at the top hat\nIt's tall even for a top hat.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You check your inventory\nYou are carrying:\na wok\nan instruction manual\na top hat (being worn)\na set of stage clothes (being worn)\na black cane\na deck of cards\na lock pick\na fedora\na trenchcoat (being worn and open)\na set of ordinary clothes\na cigar lighter\na holster (being worn)\na revolver\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You examine revolver\nIt's a .45 revolver.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You look into revolver\nYou find nothing of interest.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine."
    },
    {
        "text": "[Themes: Fantasy, Historical, Mystery, magic, Lovecraftian]\n\n> Look around\nThis is a practice room set aside for the practice of slightly larger illusions; those involving larger props. A large window is in the south wall and the only exit is a door to the east.\n\nThere is a large, rectangular box off to the side. It looks like it can be separated in two parts. It's some sort of stage prop.\n\nWearing a top hat and standing behind a magician's table is Danny \"Mister Magic\" Paul. He seems to be practicing the rabbit trick as there is a cloth bag with something in it hanging on his side of the table.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> Examine box\nLooking closer, you can tell it is for the saw-the-lady-in-half illusion.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You examine table\nIt is covered with black felt.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> You take rabbit\nYou shouldn't mess with Danny's props while he's practicing with them.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> Topics\nYou could ask him about himself.\n\nDanny continues to fumble with his rabbit and top hat, trying to perfect his routine.\n\n> Go east\nThis library contains an extensive collection. Every inch of each wall is covered in bookshelves stuffed with books. A leather wingback chair and a leather loveseat are the furnishings so that one may enjoy a comfortable read. Doors break the monotony of books to the north, east, and west. A large window is in the south wall. You know that it looks out onto the fastidious garden.\n\nYou can see an Oriental rug here.\n\n> You go north\n(first opening library door)\n\nThis is a narrow, carpeted hallway running west from here. There is a door to the north and you can see a staircase down the hall to the west. Another door is to the south.\n\n> You go west\nYou are at the west end of a narrow, carpeted hallway. There is a door to the south and stairs lead upwards from here.\n\nGuarding the stairs is Wang Ping, a tough-looking Asian gentleman. He does not smile.\n\n> You examine Wang\nWang Ping is a tough-looking Asian gentleman who does not smile.\n\nWang Ping blinks.\n\n> Hello\nYou say hello to Wang Ping.\n\n(You could ask him about himself, Philip Leclair, Karl Weiss or Cheng Ling Shu.)\n\n> You ask Ping about Cheng\n\"What's the skinny on your boss?\" you ask.\n\n\"Cheng Ling Shu is a great and wise man.\" is Wang Ping's reply.\n\n> You ask ping about himself\n\"So, you must be the muscle around here, huh?\" you ask.\n\nWith a smile, he answers, \"I am Wang Ping, a servant of Cheng Ling Shu.\"\n\n> You ask Ping about Philip\n\"Can you tell me anything about Philip Leclair; the missing magician?\" you ask.\n\n\"No.\" is Wang Ping's curt reply, yet he says it with a quick smile.\n\n> You ask Ping about Karl\n\"Do you know anything about Karl Weiss? He's a member here.\" you ask.\n\n\"No.\" is Wang Ping's curt reply, yet he says it with a quick smile.\n\n> Go south\n(first opening the bathroom door)\n\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub) all in Victorian style, of course. The pipes are visible up the walls from the fixtures and a mirror is set in the wall above the sink. The only door is to the north.\n\n> You examine the mirror\nYou take a moment to check your stage clothes.\n\n> You examine the pipes\nThe pipes lead from the fixtures and into the walls and ceiling.\n\n> You knock on the pipes\nThat would be an empty gesture.\n\n> You take the mirror\nThat's hardly portable.\n\n> Go north\nYou are at the west end of a narrow, carpeted hallway. There is a door to the south and stairs lead upwards from here.\n\nGuarding the stairs is Wang Ping, a tough-looking Asian gentleman. He does not smile.\n\n> Go east\nThis is a narrow, carpeted hallway running west from here. There is a door to the north and you can see a staircase down the hall to the west. Another door is to the south.\n\n> You go to the north\n(first opening the den door)\n\nThis is a room within the house that has no windows. Lined around the walls are lockers for the members to hold their belongings or valuables. The only door is to the south.\n\n> You examine the lockers\nThere are quite a few lining the walls and you examine the name tags. The only one that stands out as worth noting is labeled Karl\nWeiss.\n\n> You unlock the locker with lock pick\nYou unlock Karl's locker.\n\n> You open the karl's locker\nYou open Karl's locker, revealing a document case.\n\n> You take the case\n(putting the fedora into the trenchcoat to make room)\nYou take the document case from Karl's locker.\n\n> You close locker\nYou close Karl's locker.\n\n> You go to the south\nYou should examine the contents of Karl's locker while you are in here so as to avoid any attention.\n\n> Inventory\nYou are carrying:\na document case (closed)\na wok\nan instruction manual\na top hat (being worn)\na set of stage clothes (being worn)\na black cane\na deck of cards\na lock pick\na trenchcoat (being worn and open)\na fedora\na set of ordinary clothes\na cigar lighter\na holster (being worn)\na revolver\n\n> You open the document case\nYou open the document case, revealing Philip's plans.\n\n> You read the plans\nThese papers are in Leclair's hand. They detail his new vanishing trick, with copies of his diagrams. They also contain some scribbled notes in which Leclair describes a \"strange new concept\" in magic, and mentions \"a discussion I had on the matter with my friend Weiss\".\n\nAmong the other diagrams and notes there is a rough sketch of the trick Weiss will perform at the charity show in a few days time.\nThese papers should be enough to convince the police to arrest Weiss as an accessory to Leclair's kidnapping, if that is indeed what has happened.\n\nYou hear a voice behind you and you spin to see Karl Weiss.\n\"Vaht are you doing to mein locker?\" he demands in a heavy\nGerman accent. You ignore his overtudes, saying \"You're going down, Fruit-Pie the Magician.\"\n\nWeiss sees that you are holding Philip's plans and he makes a grab for them. You find yourself grappling with the magician over the evidence.\n\n> You take revolver\nThat's tough to do as you are busy grappling with Weiss over Philip's plans. \"Let go, you retarded fairy!\" you say through gritted teeth. There's got to be something you can do that doesn't involve your arms, you think to yourself.\n\n> You kick karl\nFinally, you are able to bring your knee up and into Karl's \"family jewels\". With the pain and a small girlish shriek, he finally releases the plans. You straighten yourself up and say, \"See you in court, or whatever passes for court in this fuckin' country, numbnuts.\" and you make a move to leave the room but Karl stops you.\n\n\"Vait!\" he says, \"I may have stolen Philip Leclair's diagrams\nand plans but I had nothing to do vith his disappearance!\"\n\n\"Spill it, tinkletits.\" you demand. Karl stands up but moves away from you as he speaks. \"Philip and I would talk and assist each other veeth our illusions. Before he disappeared, he came to me\nshowing me a book he had found and he said with zat book, he\ncould do real magic. \"Vell, I recognized the book\nas one of Cheng Ling Shu's and, thinking I could ingratiate myself vith the master, I told him that Philip had taken his book.\nThat's the last I saw of him. So, I had nothing to do vith\nwherever he is now!\"\n\nKarl Weiss goes south.\n\n> Inventory\nYou are carrying:\na document case (open)\nPhilip's plans\na wok\nan instruction manual\na top hat (being worn)\na set of stage clothes (being worn)\na black cane\na deck of cards\na lock pick\na trenchcoat (being worn and open)\na fedora\na set of ordinary clothes\na cigar lighter\na holster (being worn)\na revolver\n\n> You take the plans\n(putting the lock pick into the trenchcoat to make room)\nYou take Philip's plans from the document case.\n\n> You open the locker\nYou open Karl's locker.\n\n> You put the case in the locker\nYou put the document case into Karl's locker.\n\n> You close locker\nYou close Karl's locker.\n\n> You go south\nThis is a narrow, carpeted hallway running west from here. There is a door to the north and you can see a staircase down the hall to the west. Another door is to the south.\n\n> Go west\nYou are at the west end of a narrow, carpeted hallway. There is a door to the south and stairs lead upwards from here.\n\nGuarding the stairs is Wang Ping, a tough-looking Asian gentleman. He does not smile.\n\nYou can also see Karl Weiss here.\n\nKarl Weiss goes east.\n\n> Go east\nThis is a narrow, carpeted hallway running west from here. There is a door to the north and you can see a staircase down the hall to the west. Another door is to the south.\n\nYou can see Karl Weiss here.\n\n> You ask Karl about Cheng\n\"So you wanted to get in good with the boss and now Leclair is missing because of it. Good job, fucko. Tell me what you know about Cheng Ling Shu. Maybe you can redeem yourself a bit.\" you demand.\n\n\"You don't want to mess with him.\" Weiss tells you, \"He's a lot more powerful than any magician and it's because, as far as my trained eye can see, his magic is real.\"\n\nKarl Weiss goes south.\n\n> You go south\nThis library contains an extensive collection. Every inch of each wall is covered in bookshelves stuffed with books. A leather wingback chair and a leather loveseat are the furnishings so that one may enjoy a comfortable read. Doors break the monotony of books to the north, east, and west. A large window is in the south wall. You know that it looks out onto the fastidious garden.\n\nYou can see Karl Weiss and an Oriental rug here.\n\nKarl Weiss goes east.\n\n> Go east\nThis room holds another Chippendale chair and another long sofa. A large, low coffee table sits in the center of the room. On it are current issues of magic journals and newspapers. The room resembles the smoking room of a gentlemen's club. A door to the entrance hall is to the south and doors also lead north and west.\n\nSmoking a pipe and perusing a newspaper is Virgil Wemyss, a member of the Brotherhood.\n\nYou can also see Karl Weiss here.\n\nVirgil sniffs.\n\nKarl Weiss goes south.\n\n> You go to the south\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nYou can also see Karl Weiss here.\n\nZhang dusts one of the portraits.\n\nKarl Weiss goes east.\n\n> You go to the east\nThis is a large kitchen with wide windows on the east and north walls. Doors lead west and south. Counters hold various kitchen appliances, and of course there's a sink a large, oak icebox, and a modern Garland stove.\n\nYou can see Karl Weiss and Li Qiang here.\n\nLi Qiang inspects the kitchen.\n\nKarl Weiss goes west.\n\n> You go west\nThis is a carpeted foyer. The walls bear portraits of famous stage magicians of the past and present. A small desk holds a visitors' book and doors lead in each of the cardinal directions. The front door of the home is to the west.\n\nStanding sentry by the visitors' book and watching over the four doors in this room is the servant, Zhang Wei.\n\nYou can also see Karl Weiss here.\n\nZhang examines the visitors book.\n\nKarl Weiss goes south.\n\n> Go north\nThis room holds another Chippendale chair and another long sofa. A large, low coffee table sits in the center of the room. On it are current issues of magic journals and newspapers. The room resembles the smoking room of a gentlemen's club. A door to the entrance hall is to the south and doors also lead north and west.\n\nSmoking a pipe and perusing a newspaper is Virgil Wemyss, a member of the Brotherhood.\n\nVirgil gives a little \"hmm\" in response to something he's\nreading in the paper.\n\n> Show plans to Virgil\n\"Interesting.\"\n\nVirgil puffs his pipe and turns the page of his newspaper.\n\n> You go to the west\nYou are at the west end of a narrow, carpeted hallway. There is a door to the south and stairs lead upwards from here.\n\nGuarding the stairs is Wang Ping, a tough-looking Asian gentleman. He does not smile.\n\nWang Ping blinks.\n\n> Go upward\nWang Ping politely bars your passage to the second floor.\n\nWang Ping blinks.\n\n> Go south\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub) all in Victorian style, of course. The pipes are visible up the walls from the fixtures and a mirror is set in the wall above the sink. The only door is to the north.\n\nYou can see a membership card here.\n\n> You examine card\n(the deck of cards)\nIt's an ordinary deck of playing cards.\n\n> You examine the membership card\nas a second-level member.\n\n> You take the membership card\nSomeone must've accidentally dropped it while pinching a loaf, you assume.\n\nYou pick up the membership card from the ground."
    },
    {
        "text": "> Look around\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub) all in Victorian style, of course. The pipes are visible up the walls from the fixtures and a mirror is set in the wall above the sink. The only door is to the north.\n\n> You go north\nYou are at the west end of a narrow, carpeted hallway. There is a door to the south and stairs lead upwards from here.\n\nGuarding the stairs is Wang Ping, a tough-looking Asian gentleman. He does not smile.\n\nWang Ping blinks.\n\n> You show the membership card to ping\nWang Ping looks at the card and nods. He steps slightly out of the way of the stairs for you.\n\n> Go upward\nYou are at the north end of the upstairs hallway. The hall heads to the south and doors lead east and west. Stairs lead down from here as well.\n\n> Go west\n(first opening the mahogany door)\nIt seems to be locked.\n\n> Go east\n(first opening the hall door)\n\nThis library is similar in scope to the downstairs library, but these tomes appear much thicker and older. This is the special library for second level members only. The door is to the west.\n\nA lovely, red velvet Victorian fainting couch is set in the center of the room for one's comfort.\n\n> You examine the couch\nIt has the wave-shaped padded back that is the signature of a fainting couch. It is covered in red velvet.\n\n> Examine books\nNone of the books seem too interesting or helpful to this case.\n\n> You go south\nThis is the middle of the upstairs hallway. The hall stretches north and south and closed doors are to the east and west.\n\n> You go south\nThis is the southern end of the upstairs hallway. A door is to the west.\n\n> You go to the west\n(first opening the dorm door)\n\nThis appears to be a a simple dormitory with ten plain beds. The only other feature is a small trapdoor in one corner of the ceiling, like the entrance to a loft or attic. It is closed.\n\n> You pull the trapdoor\nIt is fixed in place.\n\n> You open the trapdoor\nYou pry open the trapdoor. It leads into darkness above you.\n\n> You look at lighter\nIt is nickel-plated and maybe was once fancy but now it is dull and weathered. You found it in New Mexico. It's a long story.\n\nThe cigar lighter is currently switched off."
    },
    {
        "text": "> Go down\nThis appears to be a a simple dormitory with ten plain beds. The only other feature is a small trapdoor in one corner of the ceiling, like the entrance to a loft or attic. It is open.\n\n> You take lighter\n(putting the deck of cards into the trenchcoat to make room)\nYou take the cigar lighter from the trenchcoat.\n\n> You turn on lighter\nA small flame pops from the lighter.\n\n> Go upwards\nThe walls of this room are completely covered by curtains, blocking out any natural light. It is a small, suffocatingly stuffy room. Several Chinese lanterns hang from the ceiling but they give off no light. The floor is carpeted with a thick rug embroidered with the Chinese dragon motif which appears throughout the house. The motif is repeated on the ceiling and on the Chinese lanterns. There is a small cupboard to one side of the room.\n\nDominating the far side of the room is a large stone altar which bears the Chinese dragon motif. The curtain behind this altar bears an elaborate embroidered image of an emaciated man being drained of blood by a creature or creatures unseen.\n\n> You examine the lanterns\nYou begin to examine the Chinese lanterns when, from behind the curtains, a number of Asian men rush you and place a hood over your head. You feel them binding your hands.\n\n> You go to the east\nThis is the southern end of the upstairs hallway. A door is to the west.\n\n> Go north\nThis is the middle of the upstairs hallway. The hall stretches north and south and closed doors are to the east and west.\n\n> Go west\n(first opening the study door)\nIt seems to be locked.\n\n> You go to the east\n(first opening the bedroom door)\nIt seems to be locked.\n\n> Go north\nYou are at the north end of the upstairs hallway. The hall heads to the south and doors lead east and west. Stairs lead down from here as well.\n\n> Go west\n(first opening the mahogany door)\nIt seems to be locked.\n\n> You unlock the mahogany door with the lock pick\n(first taking the lock pick)\n(putting the deck of cards into the trenchcoat to make room)\nYou unlock the mahogany door.\n\n> You go west\n(first opening the mahogany door)\n\nThis is a large room that maybe was originally meant to be a master bedroom for this home, but now it is being used for storage.\n\nIn the center of the room is a large crate. It is about as high as the ceiling and wider than you can stretch your arms.\n\nLeaning against the large crate is a crowbar.\n\nThere is some sort of dark burn on the ceiling.\n\n> You take the crowbar\n(putting the black cane into the trenchcoat to make room)\nYou pick up the crowbar from the ground.\n\n> You look at crowbar\nIt's a sturdy crowbar.\n\n> You look at the burn\nIt is vaguely shaped like the silhouette of a man.\n\n> You look at the crate\nIt is about as high as the ceiling and wider than you can stretch your arms. It is closed.\n\n> You look at the slabs\nThere are three large pieces and, using your superior deducing skills, you figure they can be assembled into a sort-of arch configuration. There are strange glyphs carved into the slabs. The whole thing makes you uneasy."
    },
    {
        "text": "[Themes: Western, western]\n\nIn retrospect, maybe all that cheap whiskey last night in Grady's wasn't such a brilliant idea. Not the way the evil, glowing orb of the morning sun is burning a hole through your squinting eyes and right into the back of your head. And especially since there's a guy with a six-shooter on his belt, ready to draw, standing thirty feet away and facing you. Your body keeps screaming at you that you should still be in bed. The dimly lit cage of your memory tells you that all of this has something to do with you standing up for some woman in the saloon last night, and right now you wish like hell you could remember.\n\nNo one ever said you were lucky, but you are...\n\nWritten using the Hugo Compiler v2.5\n\n(New players should type \"help\".)\n\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nRoy Heffer is standing in front of you, his right hand dangling over his holster, fingers twitching nervously. Somewhere in the distance, someone strums an out-of-tune Spanish guitar.\n\n> You shoot roy\nWould help if you had your six-shooter in your hand.\n\n> You look at Roy\nYou might want to spend less time staring, and more time thinking about the fact that you're in the middle of a gunfight.\n\n> You draw\nYou pull your six-shooter out of your holster.\n\nRoy draws his six-shooter, yanking it from its holster and raising it toward you...\n\n> You shoot roy\nYou beat Roy to the trigger, shooting him through the heart just as he is aiming at yours. (And surprising yourself while you're at it that your old gun hit him--your aim must've been off.)  Roy gasps, drops his gun, and falls to the ground, dead.\n\n> You search roy\nRoy wasn't exactly a tiny guy. You're not having the best of luck moving him.\n\nOld Dan arrives from the south.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You examine the gun\nA six-shooter like yours, but a lot nicer, to be honest. While you paid about three bucks for yours, old Roy here--rest his soul, and all that--must've dropped at least ten. Maybe even fifteen.\n\n> You look at your gun\nOld faithful, with the emphasis on the \"old\" part. And faithful doesn't necessarily mean accurate.\n\nA crowd starts to gather around you and the corpse.\n\nLittle Jimmy comes running past you from the north. He stops for a second, looks at Roy's stiff, and raises his eyebrows. \"Oooh. Dead guy.\"\n\n> You check what you're carrying\nYou are wearing your holster on your hip where it belongs. You are also carrying a skeleton key and your six-shooter.\n\nBobby comes running after Little Jimmy.\n\nMore people come out onto the street to see what happened. They see the body. Some of them point at you and begin talking to each other in low voices.\n\nLittle Jimmy goes running off to the south.\n\n> You put your gun in the holster\nYou put your six-shooter in the holster.\n\nBobby chases off after Little Jimmy.\n\nYou hear someone saying to you: \"Look, partner. I dunno what your beef with ole Roy here was, but you best be getting outta here before the Sheriff shows up.\"\n\n> You get all from the corpse\nNothing to get.\n\n> You get the roy's gun\nTaken.\n\nLittle Jimmy comes running past you from the south. He stops for a second, looks at Roy's stiff, and raises his eyebrows. \"Oooh. Dead guy.\"\n\nOld Dan heads off to the east.\n\n> You get all\nRoy Heffer's body: Only if you want to be spotted carting a dead body around town. Not recommended.\ngathering crowd: You can't take that.\nLittle Jimmy: Little Jimmy probably wouldn't be too big on that idea.\n\n> You get the gun\nYou pull your six-shooter out of your holster.\n\nBobby comes running after Little Jimmy.\n\nLittle Jimmy goes running off to the north.\n\nOld Dan arrives from the east.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You shoot the crowd\nYou let go a shot, but it misses. Doesn't matter, anyway. Even if you'd hit somebody, the rest of the crowd would still swarm around and proceed to beat the ever-lovin' crap outta you, leaving you a bloody, lifeless pulp. Like they are at the moment, actually.\n\n> Smell body\nYou don't smell anything unusual.\n\nBobby comes running after Little Jimmy.\n\nLittle Jimmy goes running off to the north.\n\nOld Dan arrives from the east.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> Examine dan\nOld Dan looks like he's been on a bit of a bender. One that's lasted about twenty years, to be honest. His body looks like it's had the hell beaten out of it time and time again. But there's something about his eyes that--if they would just take a second to focus--seems like there's wisdom hidden somewhere deep in their murky depths.\n\nBobby chases off after Little Jimmy.\n\nOld Dan heads off to the west.\n\n> You look at what you're carrying with you\nYou are wearing your holster on your hip where it belongs. You are also carrying a skeleton key and Roy's gun. Tucked in your holster is your six-shooter.\n\nOld Dan arrives from the west.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You talk to Dan\nOld Dan is listening.\n\n> You ask Dan about Roy\n\"Once in a while Roy'd buy me drink or something. Didja have to go and kill him, of all people?\"\n\n> No\nThat was a rhetorical question. (Although you sound rather negative.)\n\n> You ask Dan about himself\n(Assuming you mean Old Dan.)\n\"I just don't know anything about that, cowboy. How's about buying me a drink anyway?\"\n\nOld Dan heads off to the north.\n\n> You follow Dan\nWhich way did he go?"
    },
    {
        "text": "> You look at your surroundings\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nRoy Heffer's rapidly cooling body is here.\nA crowd is gathering around the corpse.\n\n> Go east\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nGrady studies you as you come in. \"Plannin' on paying your bill anytime soon?\"\n\nYou watch under the swinging doors as several sets of boots show up. The Sheriff's deputies have come looking for you.\n\n> About yourself\n(in the mirror)\nShouldn't have done that. You look like hell.\n\n> You ask Grady about Roy\nGrady shrugs. \"I'm glad you plugged him. Just don't spread the rumors of my joy around. After what that son of a bitch did to this town?\nHim and his cattle-stealing old man? Good goddamn riddance.\"\n\n> You look at the horseshoe\nYour basic lucky-charm horseshoe.\n\n> You ask Grady about the last night\n\"Forget it, dustball. After that trouble you caused in here last night--winding up with wasting some guy on the street outside my place?--you ain't getting another drink in here.\"\nGrady shrugs. \"I'm glad you plugged him. Just don't spread the rumors of my joy around. After what that son of a bitch did to this town?\nHim and his cattle-stealing old man? Good goddamn riddance.\"\n\n> You ask Grady about Dan\n\"Old Dan?\" Grady shakes his head. \"When he's got money, he's my best customer. When he doesn't, like almost always, he's a pain in my ass.\"\n\n> You buy drink\n\"Forget it, dustball. After that trouble you caused in here last night--winding up with wasting some guy on the street outside my place?--you ain't getting another drink in here.\"\n\n> You buy the mirror\nNormally you'd have to be in a store to buy something.\n\n> Shoot grady\nYou pull the trigger and shoot Grady. He falls to the ground, twitches a couple of times, then lies there, getting cold.\n\nOld Dan arrives from the west.\n\n> You remove the pants\nAs much as you like them, style probably shouldn't be your number one concern right now.\n\nOld Dan arrives from the west.\n\nGrady looks up from behind the bar as Old Dan wanders in. \"Out!\" he says, pointing toward the door.\n\n> Kiss dan\nOld Dan doesn't seem to share your affection.\n\nOld Dan heads off to the west.\n\n> Up\nRooms on all sides of the landing--their doors closed and probably locked. The stairs go back downstairs to the saloon.\n\n> Up\nThe stairs end here.\n\n> You look at the door\nThe room door is closed.\n\n> You open it\n(Assuming you mean the room door.)\nThe room door is locked.\n\n> You unlock it\n(Assuming you mean the room door.)\n(with the skeleton key)\nUnlocked.\n\n> You enter it\n(Assuming you mean the room door.)\n(opening the room door first)\nAs you open the door, it bangs against an empty whiskey bottle that had rolled against it. The bottle skitters away into the corner of the room.\n\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains closed, covering the single small window.\nLooks like someone slipped a piece of paper under the door while you were out.\nIn the corner of the room is a whiskey bottle, empty and discarded.\n\n> You examine paper\n\"Meet me at the stable at 10:00.\n\n- S.\"\n\n(Not like you have any memory of who S. is.)\n\n> Smell bottle\nOne whiff of the old Dr. Vita-Vim's (even the empty bottle) is enough to set your head a-spinning.\n\n> You take the bottle\nTaken.\n\n> You look under it\n(Assuming you mean the bed.)\nYou don't find anything under the bed.\n\n> You examine the mattress\nLooking at the bed doesn't bring back any fond memories of comfortable sleep. The bedsheet is still in a crumpled heap at the foot of the bed.\n\n> You search it\n(Assuming you mean the bed.)\nYou don't find anything.\n\n> You open the curtains\nOpened. Through the closed window you can just peek around the corner of the hotel enough to see Main Street below. You see a gang of deputies waiting in front of the saloon--waiting for you, that is.\n\n> You open the window\nOpened.\n\n> You enter the window\nYou're on the second floor, and the ground looks kinda hard. Not exactly the perfect jumping scenario."
    },
    {
        "text": "[Themes: Western]\n\n> Look around\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains open, revealing the single small window and Main Street below.\n\n> You examine the basin\nThe wash basin looks just like you would expect.\n\n> Tie sheet\nYou'll have to be a little more specific about what you'd like to tie the bedsheet to.\n\n> You examine the window\nThrough the open window you can just peek around the corner of the hotel enough to see Main Street below. You see a gang of deputies waiting in front of the saloon--waiting for you, that is. As you stick your head out the open window, you see a drainpipe running along the outside of the wall.\n\n> You examine the drainpipe\nThe sturdy pipe is attached to the side of the building.\n\n> You tie the sheet to it\n(Assuming you mean the drainpipe.)\nYou tie the bedsheet to the drainpipe.\n\n> You climb the sheet\nAs you climb down the bedsheet, it starts to rip. One small piece of cloth tears away and flutters down below you.\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nThe small piece of cloth from the bedsheet is lying on the ground.\n\n> You take the cloth\nTaken.\n\n> You look at it\n(Assuming you mean the scrap of cloth.)\nThe piece of cloth is about the size of a handkerchief.\n\n> You look at the barrels\nMessing around the barrels will not get you anywhere. Honestly.\n\n> You examine the shed\nYour basic slats-thrown-together storage shed. One door, which is closed. One window, which is closed.\n\n> You open it\n(Assuming you mean Grady's storage shed.)\nThe shed door is locked.\n\n> You break it\n(Assuming you mean the shed window.)\nWith what? Your hand? Not too damn likely.\n\n> You examine the window\nThrough the window, you can see an assortment of tools and various other implements, including a ten-foot ladder.\n\n> You break it with cloth\n(Assuming you mean the shed window.)\nNot with that, you won't.\n\n> You break it with the gun\n(Assuming you mean the shed window.)\nThe glass shatters with a crash.\n\n> You look through the window\nThrough the broken window, you can see an assortment of tools and various other implements, including a ten-foot ladder.\n\n> You put the cloth in the window\nThat doesn't make any sense.\n\nYou can't do that with the shed window."
    },
    {
        "text": "[Themes: Western]\n\n> You look at your surroundings\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> You take the bedsheet\nExcept that the bedsheet is tied to the drainpipe.\n\n> You pull it\n(Assuming you mean the bedsheet.)\nPulling the bedsheet doesn't get you anywhere.\n\n> You climb it\n(Assuming you mean the bedsheet.)\n\n> You put the cloth on the glass\nWhich glass do you mean, the whiskey bottle or the shed window?\n\n> West\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nLittle Jimmy is here, cheerfully chomping on some sticky taffy.\nBobby is here, jumping up and down in place.\n\nLittle Jimmy goes running off to the north.\n\n> Go south\nBobby ignores you as if he didn't even hear you.\n\nBobby chases off after Little Jimmy.\n\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nAs you arrive, the deputies jump up from where they've been waiting for you, grab you, and push you to the ground. They quickly shackle your hands before hauling you back to your feet. Time to go see the Sheriff...\n\n...and the gallows.\n\nThe game has ended. Do you want to (R)ESTART, R(E)STORE a saved game, (U)NDO your last turn, or (Q)UIT?\n\n> You go northwest\n(opening the heavy stable door first)\nWith a grunt, you heave the stable door open.\n\nLittle Jimmy comes running past you from the north.\n\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to one of the stalls to the north is closed.\n\n> You examine the stall\nThe stall gate is closed.\n\n> You open it\n(Assuming you mean the stall gate.)\nThe gate swings open with a creak.\n\n> You examine the stall\nThe stall gate is open.\n\n> You search it\n(Assuming you mean the stall gate.)\nYou don't find anything.\n\n> You go to the north\nis answered by coming in here--the pile of old hay on the ground was probably due for a changing a couple of weeks ago. A few long-since-used pieces of leather tack--a bridle and saddle among them--hang on the wall. The stall door to the south is open.\nStanding sullenly in the corner of the stall is an old black mare.\n\n> You examine the mare\nBuilt neither for comfort, nor for speed. This aging mount would probably be happiest if you just left it alone.\n\n> You search the hay\nNone of that stuff is likely to be of any use to you.\n\n> Ride mare\nYou get on the old black mare.\n\n> You go to the south\nTo walk, you will have to get off of the old black mare. Otherwise, try \"ride\" or \"gallop\" and a direction.\n\n> Ride south\nStable, on an old black mare\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to the stall to the north is open.\n\n> Ride north\nStall, on an old black mare\nAny question as to where the musty odor of the stable is coming from\nis answered by coming in here--the pile of old hay on the ground was probably due for a changing a couple of weeks ago. A few long-since-used pieces of leather tack--a bridle and saddle among them--hang on the wall. The stall door to the south is open.\n\n> World test\nYou can't use the word \"/world\".\n\n> You examine the mare\nBuilt neither for comfort, nor for speed. This aging mount would probably be happiest if you just left it alone.\n\n> Ride south\nStable, on an old black mare\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to the stall to the north is open.\n\n> You read the note\n\"Meet me at the stable at 10:00.\n\n- S.\"\n\n> You look at the watch\nYou can't ride that way.\n\nYou can't use the word \"watch\".\n\n> Ride se\nNorth end of Main Street, on an old black mare\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nLittle Jimmy comes running past you from the north.\n\n> You ask Jimmy about the taffy\nLittle Jimmy sings: \"I love taffy! I love taffy! I love taffy! I love taffy!\"\n\nBobby comes running after Little Jimmy."
    },
    {
        "text": "[Themes: Western]\n\n> Go downward\nYou get off of the old black mare.\n\nLittle Jimmy goes running off to the west.\n\nOld Dan arrives from the south.\n\n> You give the bottle to Dan\n\"It's empty. Don't tease me.\"\n\nBobby chases off after Little Jimmy.\n\n> You get on the mare\nYou get on the old black mare.\n\nLittle Jimmy comes running past you from the west.\n\n> You go west\nTo walk, you will have to get off of the old black mare. Otherwise, try \"ride\" or \"gallop\" and a direction.\n\nBobby comes running after Little Jimmy.\n\nLittle Jimmy goes running off to the south.\n\nOld Dan heads off to the south.\n\n> You stand\nYou get off of the old black mare.\n\nBobby comes running after Little Jimmy.\n\nLittle Jimmy goes running off to the south.\n\nOld Dan heads off to the south."
    },
    {
        "text": "[Themes: Western, western]\n\n> You draw\nYou pull your six-shooter out of your holster.\n\nRoy draws his six-shooter, yanking it from its holster and raising it toward you...\n\n> You shoot roy\nYou beat Roy to the trigger, shooting him through the heart just as he is aiming at yours. (And surprising yourself while you're at it that your old gun hit him--your aim must've been off.)  Roy gasps, drops his gun, and falls to the ground, dead.\n\n> You get all\nRoy Heffer's body: Only if you want to be spotted carting a dead body around town. Not recommended.\nRoy's gun: Taken.\n\nOld Dan arrives from the south.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You go east\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nGrady studies you as you come in. \"Plannin' on paying your bill anytime soon?\"\n\n> Wave to Grady\nYou wave. Nothing happens.\n\nGrady leafs through the hotel ledger.\n\n> Go upward\nRooms on all sides of the landing--their doors closed and probably locked. The stairs go back downstairs to the saloon.\n\n> Go west\n(with the skeleton key)\nUnlocked.\n\n(Assuming you mean the room door.)\nAs you open the door, it bangs against an empty whiskey bottle that had rolled against it. The bottle skitters away into the corner of the room.\n\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains closed, covering the single small window.\nLooks like someone slipped a piece of paper under the door while you were out.\nIn the corner of the room is a whiskey bottle, empty and discarded.\n\n> You get all\nhandwritten note: Taken.\nwhiskey bottle: Taken.\n\n> You examine the bed\nLooking at the bed doesn't bring back any fond memories of comfortable sleep. The bedsheet is still in a crumpled heap at the foot of the bed.\n\n> You open the window\nOpened. Through the closed window you can just peek around the corner of the hotel enough to see Main Street below. Roy Heffer's body is lying in the middle of it, surrounded by a rubbernecking crowd.\n\nOpened.\n\n> You tie the sheet to the drainpipe\nYou tie the bedsheet to the drainpipe.\n\n> You get the cloth\nAs you climb down the bedsheet, it starts to rip. One small piece of cloth tears away and flutters down below you.\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nThe small piece of cloth from the bedsheet is lying on the ground.\n\nTaken.\n\n> Go west\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nBobby is here, jumping up and down in place.\n\nBobby chases off after Little Jimmy.\n\n> You go to the north-west\n(opening the heavy stable door first)\nWith a grunt, you heave the stable door open.\n\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to one of the stalls to the north is closed.\n\n> Go north\nThe gate swings open with a creak.\n\nis answered by coming in here--the pile of old hay on the ground was probably due for a changing a couple of weeks ago. A few long-since-used pieces of leather tack--a bridle and saddle among them--hang on the wall. The stall door to the south is open.\nStanding sullenly in the corner of the stall is an old black mare.\n\n> Ride south\nYou get on the old black mare.\n\nStable, on an old black mare\nThe gate to the stall to the north is open.\n\n> Ride se\nNorth end of Main Street, on an old black mare\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\n\nLittle Jimmy comes running past you from the north.\n\n> Ride south\nMain Street, on an old black mare\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nAs you arrive, the deputies jump up from where they've been waiting for you, grab you, and push you to the ground. They quickly shackle your hands before hauling you back to your feet. Time to go see the Sheriff...\n\n...and the gallows.\n\nThe game has ended. Do you want to (R)ESTART, R(E)STORE a saved game, (U)NDO your last turn, or (Q)UIT?\n\n> You get off\nEmpty lot, on an old black mare\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\n\nLittle Jimmy comes running past you from the east.\n\nYou get off of the old black mare.\n\nBobby comes running after Little Jimmy.\n\n> You get the taffy\nLittle Jimmy bawls as you grab his candy. \"Give me back my taffy! Gimme gimme!\" he hollers as he stamps his feet.\n\n> You get on the mare\nYou get on the old black mare."
    },
    {
        "text": "> You describe your surroundings\nEmpty lot, on an old black mare\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> You go east\nTo walk, you will have to get off of the old black mare. Otherwise, try \"ride\" or \"gallop\" and a direction.\n\n> Ride east\nNorth end of Main Street, on an old black mare\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\n\n> You eat the taffy\nYou nibble at the sticky taffy. It's not too bad. Gums up your mouth and fingers pretty good while you're at it.\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), a handwritten note, a scrap of cloth, and some sticky taffy.\n\n> You wait\nTime passes...\n\n> Wait\nTime passes...\n\nTime passes...\n\nTime passes...\n\nA woman slips into the stable behind you. She stands off to the side, almost in the shadows, regarding you warily. She looks vaguely familiar.\n\nThe woman seems relieved. \"Good. I wasn't sure if you'd actually come,\" she says.\n\nShe goes to the stable door and looks outside, making sure that the two of you are alone before she closes it.\n\n> Kiss woman\nShe pushes you away. \"Hey, hayseed. I don't know what you think you've got coming for helping me out, but if that's it, you can just forget it.\"\n\n\"That must mean you remember what I told you last night in Grady's, right? About Glen Heffer? I mean before his bastard son showed up and started causing trouble.\"\n\nThat's when it hits you: this is the woman for whose honor--directly or indirectly--you ended up in a gunfight this morning. Sarah or Sandra or Samantha or something like that. Sarah. That's right: Sarah. Whew. Nice memory on you.\n\n> You examine Sarah\nSarah's long brown hair is tucked up under her wide-brimmed cowboy hat. There's a look of seriousness about her face, and strain, as if she's got a little bit too much to deal with right now.\n\n> You ask Sarah about Glen\n\"I guess he can add kidnapper and blackmailer to his list of accomplishments, right after thief, murderer, and son-of-a-bitch.\"\n\nSarah looks at you skeptically again. \"Okay. Here's what you have to do,\" she says. \"You've got a horse. Good. You know the road going east just north of town? Ride east, all the way to the end. You'll know when you're there because you'll find me waiting for you.\"\n\n> You ask Sarah about the last night\nSarah doesn't seem to know anything about last night.\n\nSarah's face softens a little, and some of her tough facade fades away.\n\n\"Look, I don't know if you're a hero or just not very smart or what.\nIt was more than enough that you stood up for me against Roy. Now this. It's probably more than I can ask, but...thank you.\"\n\n> You ask Sarah about Glen\n\"I guess he can add kidnapper and blackmailer to his list of accomplishments, right after thief, murderer, and son-of-a-bitch.\"\n\n> You ask Sarah about Roy\n\"Last night in Grady's? Last night Roy knew exactly what I was talking about, about Uncle Bucky. Today? Well, today I'm glad you shot him.\"\n\n> You ask Sarah about Bucky\n\"He may be a little strange, but, hey, he's my uncle, and he's dear to me--and it's not just because he's got a lot of money. But I'm not going to let that rotten snake Glen Heffer force me into coming up with ransom money--Uncle Bucky wouldn't want that.\"\n\n> You ask Sarah about Grady\n\"Hmmm. I don't really know him that well. Doesn't seem like the happiest guy, though, does he?\"\n\n> You ask Sarah about the mare\nSarah doesn't seem to know anything about the old black mare.\n\nSarah moves to the door. \"I've got to go now. I'll see you there.\"\n\n> Ride se\nNorth end of Main Street, on an old black mare\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\n\nOld Dan arrives from the south.\n\n> Ride north\nEdge of town, on an old black mare\nYou can still see Tumbleweed Flats behind you where the road curves around from the south. A dead, rotted tree stands here, marking the memory of the last living thing between here and where the road disappears into the eastern distance.\n\n> You examine the tree\nThe tree is now gray and rotted. It marks the point where the road comes up from the southwest and turns east.\n\n> Ride east\nLong and dusty road, on an old black mare\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe old black mare continues plodding eastward... (Now would be a good time to decide that a younger, stronger horse would be a good idea.)\n\nLong and dusty road, on an old black mare\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe old black mare continues plodding eastward...\nCommon sense says this old mare ain't gonna make it. Common sense says go back.\n\nLong and dusty road, on an old black mare\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe old black mare continues plodding eastward...\nThe mare wheezes as she plods along.\n\nLong and dusty road, on an old black mare\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe old black mare continues plodding eastward...\n\nLong and dusty road, on an old black mare\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe old black mare continues plodding eastward...\nIn your wisdom, you have driven the old black mare past the point of exhaustion. To be a little more exact (and graphic), the poor horse suddenly collapses, moaning and wheezing, sending you tumbling to the ground. Then she coughs her last and dies.\n\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it."
    },
    {
        "text": "[Themes: Western, western]\n\n> You look around\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> You go to the west\nYou trudge back in the direction of town...\n\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> You go east\nYou continue trudging eastward on foot...\n\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Go east\nYou continue trudging eastward on foot...\n(Having vastly overestimated your own ability to make this little journey on your own, you collapse face-first onto the dirt road. And then you stop breathing.)\n\n> You eat the taffy\nYou chomp down about half of the taffy.\n\n> You eat the taffy\nYou gobble the rest of the taffy. Yum. All gone.\n\n> You go to the east\nEnter saved game to load:\n\n> Dismount\nYou get off of the old black mare.\n\nSarah slips out of the stable.\n\n> You examine the window\nThe hayloft is a good ten feet over your head.\n\n> You exit\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nOld Dan heads off to the south.\n\n> Go east\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> Up\nYou scramble back up the bedsheet to the open window.\n\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains open, revealing the single small window and Main Street below.\nThrough the open curtains, you can see your bedsheet fluttering from where it is tied to the drainpipe outside.\n\n> You ask Grady about the horse\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\nThe alley is wedged between the hotel to the south and the shed to the north; it basically runs a short ways east-west."
    },
    {
        "text": "[Themes: Western]\n\n> Go down\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nYou catch glimpses of boots underneath the swinging doors, walking\nback and forth outside the saloon--the Sheriff's deputies, presumably waiting for you.\nGrady is behind the bar.\n\n> You look at the horseshoe\nYour basic lucky-charm horseshoe.\n\n> You ask Grady about the shed\n\"What? The shed is locked. What about it? Leave me alone. What have you ever done for me?\"\n\nOld Dan arrives from the west.\n\nGrady looks up from behind the bar as Old Dan wanders in. \"Out!\" he says, pointing toward the door.\n\n> You take horseshoe\nYou can't take that.\n\nOld Dan heads off to the west.\n\n> You ask Grady about the horseshoe\n\"Hasn't done me much good. Need a new lucky charm.\"\n\nOld Dan heads off to the west.\n\n> You ask Grady about lucky charm\n\"Hasn't done me much good. Need a new lucky charm.\"\n\nGrady leafs through the hotel ledger.\n\n> You go to the north-west\nOne measly pool table comprises the billiards room. That and a\nheavily locked door behind which Grady stashes his liquor. Southeast takes you back out into the saloon.\n\n> You take the ball\nYou should probably be doing something else rather than messing around with the billiards equipment.\n\n> You examine the door\nThe locked door looks just like you would expect.\n\n> You examine table\nNot a very fine specimen of the billiards world. One of the four legs is shorter than the other three, giving the balls a tendency to roll into the bottom right pocket.\n\n> You examine the bottom right pocket\nThe pool table pocket looks just like you would expect.\n\n> You search it\n(Assuming you mean the pool table pocket.)\nYou don't find anything.\n\n> You look in it\n(Assuming you mean the pool table pocket.)\nThe pool table pocket is empty.\n\n> You unlock door\nThe door is locked up as tight as anything you've ever seen. There's no way in hell you're ever going to get it open.\n\n> You shoot door\nYou pull the trigger, and--CLICK. Your six-shooter is empty.\n\n> You examine the roy's gun\nA six-shooter like yours, but a lot nicer, to be honest. While you paid about three bucks for yours, old Roy here--rest his soul, and all that--must've dropped at least ten. Maybe even fifteen.\n\n> You shoot the door with the roy's gun\nYou put a bullet in the door. From the next room you hear Grady holler: \"What the Jesus are you doing in there?\"\n\n> Go southeast\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nGrady leafs through the hotel ledger.\n\n> You ask Grady for the key\nWhich key do you mean, the skeleton key or the shed key?\n\n> You ask Grady for the shed key\n\"What? The shed is locked. What about it? Leave me alone. What have you ever done for me?\"\n\n> You climb the sheet\nRooms on all sides of the landing--their doors closed and probably locked. The stairs go back downstairs to the saloon.\n\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains open, revealing the single small window and Main Street below.\nThrough the open curtains, you can see your bedsheet fluttering from where it is tied to the drainpipe outside.\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> You go west\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nOld Dan heads off to the south.\n\n> You go south\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nOld Dan heads off to the south.\n\n> Go south\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street. Old Dan, the town drunk, is here, standing in place and swaying slightly.\n\n> You go to the south\nGoing south from here will get you nowhere. You really don't need any more of that then you've already got.\n\n> You go east\nCramped quarters, actually. Barely room enough for the sheriff's\ndesk and a jail cell in the corner.\nSheriff Argyle is sitting behind his desk, munching on a sandwich and reading \"Strange Western Lawkeeper Tales\".\n\nArgyle's eyes bulge out of his head as you stroll in. He drops his sandwich. \"Jumpin' Jehosophat! I mean...well, I mean, aren't you the guy who shot Roy Heffer?\"\n\n> You ask Argyle about the horse\nThe Sheriff eyes you warily. \"Look, I'm not exactly sure what you're hoping to find out here. This have anything to do with why you smoked Roy?\"\n\n> You shoot Argyle\nYou pull the trigger, and--CLICK. Your six-shooter is empty.\n\n> You shoot Argyle with roy's gun\nYou pull the trigger and shoot Sheriff Argyle. He falls to the ground, twitches a couple of times, then lies there, getting cold.\n\n> You look at the corpse\nOne dead sheriff.\n\n> You ask Dan about the liquor\n\"I just don't know anything about that, cowboy. How's about buying me a drink anyway?\"\n\n> You go to the west\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\n\n> You look at kit\nA label reads: \"Everything you need to be prepared. If you don't get yourself one of these here kits, you're not prepared. If you're not prepared, you're dead, buddy. Get it?\" The hard sell, you might say.\n\n> You ask Lucille about the kit\n\"What, that thing? Piece of crap is what it is. Don't even know why I've got it. But I ain't giving it away, if that's what you're thinking.\"\n\n> You buy the kit\nWith what? You're broke, cowboy.\n\n> You examine the taffy\nThe sticky taffy looks just like you would expect.\n\n> You give the bottle\nTry giving something to someone in particular.\n\n> You give the bottle to Lucille\nLucille politely refuses.\n\nOld Dan arrives from the east.\n\nLucille rolls her eyes as Dan comes in. \"What do you want now, old timer?\" she asks.\n\n> You show the roy's gun to Lucille\nLucille doesn't seem too interested in Roy's gun.\n\nOld Dan heads off to the east."
    },
    {
        "text": "> You describe your surroundings\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\n\n> You look at the clutter\nAmong other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\n\n> You shoot Lucille with the roy's gun\nYou pull the trigger and shoot Lucille. She falls to the ground, twitches a couple of times, then lies there, getting cold.\n\n> You get all\nOnly if you want to be spotted carting a dead body around town. Not recommended.\n\n> You get all from shelves\nbox of shotgun shells: Taken.\nempty taffy box: You can't take that.\npick-axe: You're carrying too much to take that.\n\nSuddenly a half-dozen of the Sheriff's roughest, toughest, and hungriest-for-justice deputies show up. They level their guns at the murderer (meaning you, of course), and bring you down in a blaze of trigger-pulling.\n\n> You apologize\nEnter (R)ESTART, R(E)STORE, (U)NDO, or (Q)UIT:\n\n> You go to the east\nEnter saved game to load:\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), a handwritten note, a scrap of cloth, and some sticky taffy.\n\n> You examine Lucille\nLucille is actually not the Lucille in \"Lucille's General Store\"--Lucille is Lucille's daughter. She's in her mid-fifties, skinny as a post, and exceptionally stern-looking.\n\n> You ask Lucille about the taffy box\n\"You lnow what it is? It's that damned John Stratford came in here and bought up all my damned taffy. Rich old bastard. Now I got that irritating little kid what's-his-name in here crying for candy. Damned if I don't claw my own eyes out one of these days.\"\n\n> You give the roy's gun to Lucille\nLucille politely refuses.\n\n> You ask Lucille about Stratford\n\"He's a pompous bastard. So rich and all, living in that mansion back in the trees, him and that whatever-her-name-is.\"\n\n> Go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\n> Go north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> Go west\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> You examine the brush\nVery dense. If there's anything behind the trees, you'd have a heck of a time trying to fight your way through the brush to find it.\n\n> You look at weeds\nThey look kind of a mess. Someone really ought to get busy doing some weed-picking.\n\n> You pick weeds\nYou pluck one of the weeds from the ground.\n\n> You examine weed\nGreen. Weedish. Six leaves.\n\n> You examine bobby\nThe other half of the menacing team that is Little Jimmy and Bobby. In another eighty years or so, they'd diagnose this kid as having hyperactivity/attention-deficit disorder. But at the moment, you just find him annoying.\n\n> You put the taffy in the gun\nRoy's gun is closed.\n\n> You open the roy's gun\nYou crack it open. There are six bullets left.\n\n> You give the taffy to Bobby\nBobby refuses.\n\n> You open your gun\nYou crack it open. It's empty.\n\n> You ask Jimmy about Stratford\nLittle Jimmy bawls: \"Taffy! Taffy! Gimme back my taffy!\"\n\n> You pluck the weed\nYou pluck a leaf from the weed. It flutters away.\n\n> You examine the weed\nGreen. Weedish. There are five leaves left that you haven't plucked. (Looks kinda like a five-leaf clover.)\n\n> You go east\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> You go south\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\n> You go east\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\n> You give the weed to Grady\n\"No thanks. If I wanted a weed, I'd go pick my own. Now a four-leaf clover: there's a valuable plant.\"\n\n> You pluck the leaf\nYou pluck another leaf from the weed. It flutters away.\n\nGrady watches you, wondering the hell you're doing.\n\nOld Dan arrives from the west.\n\nGrady looks up from behind the bar as Old Dan wanders in. \"Out!\" he says, pointing toward the door.\n\n> You give the weed to Grady\n\"No thanks. If I wanted a weed, I'd go pick my own. Now a four-leaf clover: there's a valuable plant.\"\n\nOld Dan heads off to the west.\n\n> You pluck the leaf\nYou pluck another leaf from the weed. It flutters away.\n\n> You give weed to Grady\n\"A four-leaf clover? For me? I ...well, I don't know what to say. Maybe this'll turn my luck around. Maybe I misjudged you.\" And with that, Grady takes the weed from you.\n\nOld Dan arrives from the west.\n\nGrady looks up from behind the bar as Old Dan wanders in. \"Out!\" he says, pointing toward the door.\n\n> You ask Grady for the shed key\n\"You want to get into that old shed? Nothing but junk in there,\" Grady says. But then he shrugs and digs out the key anyway, putting it down on the counter.\n\nGrady leafs through the hotel ledger.\n\nOld Dan heads off to the west.\n\n> You ask Grady about the horseshoe\n\"Hasn't done me much good. Need a new lucky charm.\"\n\n> You go to the west\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\n> Go east\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> You get the key\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nOld Dan arrives from the south.\n\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\nSitting on the bar is the key to Grady's shed.\n\nYou don't see that.\n\n> You examine the key\nWhich key do you mean, the skeleton key or the shed key?\n\n> Shed\nIt's the key to Grady's shed. In fact, it's got \"Grady's Shed\" scrawled on it.\n\n> You go to the east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> Unlock shed\n(with the shed key)\nUnlocked.\n\n> You open it\n(Assuming you mean Grady's storage shed.)\nOpened.\n\n> You enter it\n(Assuming you mean Grady's storage shed.)\n\nIt's dark in here. The only light bleeds in through the window and\nthe open door. Looks like this is where Grady keeps most of his junk. Resting on the ground against one wall is a ten-foot wooden ladder.\n\n> You get the ladder\nYou're carrying too much to take that.\n\n> You look at the junk\nMost of the metal stuff is rusted. Most of the wooden stuff is termite-gnawed. None of it is of much use to you.\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying two keys (a skeleton key and the shed key), two pistols (your six-shooter and Roy's gun), a handwritten note, a scrap of cloth, and some sticky taffy.\n\n> You put the gun in the holster\nWhich gun do you mean, your six-shooter or Roy's gun?\n\n> Mine\nYou put your six-shooter in the holster.\n\n> You put the roy's gun in the holster\nYour six-shooter is already tucked in your holster.\n\n> You drop the note\nDropped.\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying two keys (a skeleton key and the shed key), Roy's gun, a scrap of cloth, and some sticky taffy. Tucked in your holster is your six-shooter.\n\n> You climb the ladder\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\nYou find a foothold on the stack of barrels and clamber over, dragging the ladder after you.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to the stall to the north is open.\nAn old black mare is here.\n\nTry leaning the ladder against something for starters.\n\n> You lean the ladder against the loft\nYou lean the ladder against the loft, just where the hayloft begins.\n\n> You climb ladder\nAbout ten or so feet off the stable floor. Too far to jump--better\nto make wise use of the ladder which is still leaning against the wall. Sunlight shines in through a small square window.\n\n> You look at the window\nThrough the window you can see the branches of a massive oak tree.\n\n> You climb it\n(Assuming you mean the window.)\n\nIn the manner of a crow or vulture or some other sort of top-branch-perching bird. The loft window is behind you, technically to the southeast, while the ground is perilously far below.\n\n> Go upwards\nYou're in a tree. Think about it.\n\n> You climb the tree\nIn the manner of a crow or vulture or some other sort of top-branch-perching bird. The loft window is behind you, technically to the southeast, while the ground is perilously far below."
    },
    {
        "text": "[Themes: Western]\n\n> Go downwards\nDown, you say? Well, you begin to shimmy down the tree, precariously clutching onto branches and outcroppings of tough bark--whatever you can reach. Finally, scraped and bruised all to hell, you find yourself on firm ground.\n\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\nStrutting proudly around the meadow is a fiery red stallion.\n\n> You look at the horse\nA finer-looking animal you've never seen. You could probably ride forever on this horse, and it wouldn't even break a sweat.\n\n> You ride the horse\nYou get on the fiery red stallion.\n\n> Shout\nYou let out a hearty bellow. Nothing else happens.\n\n> Ride south\nYou give the red stallion a couple of pokes in its sides with your spurs, and the animal breaks into a trot. A couple of seconds later, however, an old man in an ascot and a mop of gray hair (John Stratford, that is) comes chasing after you from the west.\n\n\"Get off my blimey horse!\" he hollers at you in a proper British accent. Right before jamming a couple of shells into a double-barrelled shotgun and shooting you dead.\n\n> Dismount\nYou get off of the fiery red stallion.\n\n> Go south\nYour parched brain tries as hard as it possibly can to remember what the path through the trees looked like from above, and you start forging a path...\n\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> You go north\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\nStrutting proudly around the meadow is a fiery red stallion.\n\n> You go west\nOf a mansion, or what might be considered a mansion if it weren't\nquite so rustic looking. It's as if someone took a giant tub of Dr. Ricardo's Growth Tonic (which he peddles to the unsuspecting populace whenever he's in town, about every four months or so) and poured it over one of the ramshackle houses--albeit one of the nicer ones--scattered about Tumbleweed Flats. You can enter the house to the west.\nJohn Stratford is sitting in his rocking chair, smoking his pipe.\nHis trusty shotgun is across his lap.\n\n> You shoot Stratford with the roy's gun\nBlam! Stratford looks surprised as hell as you shoot him. He pitches forward onto his knees, then tumbles forward onto his face. He lies that way on the ground at your feet.\n\nNow. What happens next is your introduction to the lovely Juanita Stratford, devoted wife of the (recently) late John Stratford. She comes racing out of the house with her shotgun--exactly the same make and model as his, how romantic--lines up the barrel between you and her, and starts trigger-pulling. Love, baby. And you got in its way.\n\n> You ask Stratford about the taffy\n\"Oh, I love that taffy.\"\n\n> You show the taffy to John\n\"Hey! Now I do know good taffy, and I do believe that is some!\"\n\n> You ask John about Juanita\n\"My dear wife Juanita. I do love her. She is everything a man could want. And one wickedly good shot, to boot.\"\n\n> You give the taffy to John\nStratford looks surprised. \"Why, thank you,\" he says. \"Who told you that I do so love this taffy?\" He munches on the candy.\n\n> You ask John for the horse\nWhich horse do you mean, the old black mare or the fiery red stallion?\n\n> You ask John for red stallion\nStratford's mouth is too gummed-up with sticky taffy to talk.\n\n> Gallop south\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\nStrutting proudly around the meadow is a fiery red stallion.\n\nYou get on the fiery red stallion.\n\nYou give the red stallion a couple of pokes in its sides with your spurs, and the animal breaks into a trot. A couple of seconds later, however, an old man in an ascot and a mop of gray hair (John Stratford, that is) comes chasing after you from the west.\n\nHe tries to shout something at you, but his mouth is gummed up with taffy. The same goes for his fingers, which are useless so far as pulling the trigger on the shotgun he is aiming at you.\n\nEmpty lot, on a fiery red stallion\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\n\n> You give your gun to Jimmy\nTo walk, you will have to get off of the fiery red stallion.\nOtherwise, try \"ride\" or \"gallop\" and a direction.\n\n(taking your six-shooter first)\nYou pull your six-shooter out of your holster.\n\nLittle Jimmy bawls: \"Taffy! Taffy! Gimme back my taffy!\"\n\n> Ride east\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> Ride north\nEdge of town, on a fiery red stallion\nYou can still see Tumbleweed Flats behind you where the road curves around from the south. A dead, rotted tree stands here, marking the memory of the last living thing between here and where the road disappears into the eastern distance.\n\n> You go to the east\nTo walk, you will have to get off of the fiery red stallion.\nOtherwise, try \"ride\" or \"gallop\" and a direction.\n\n> Ride east\nLong and dusty road, on a fiery red stallion\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride east\nThe red stallion gallops along without faltering, eating up the distance, Tumbleweed Flats disappearing far behind you.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah is here, sitting atop her beautiful Arabian horse.\n\n\"I'm glad you made it,\" Sarah says as she climbs down from her horse.\n\n> You stand\nYou get off of the fiery red stallion.\n\n> Kiss sarah\nShe pushes you away. \"Hey, hayseed. I don't know what you think you've got coming for helping me out, but if that's it, you can just forget it.\"\n\n> You ask Sarah about Uncle\n\"He may be a little strange, but, hey, he's my uncle, and he's dear to me--and it's not just because he's got a lot of money. But I'm not going to let that rotten snake Glen Heffer force me into coming up with ransom money--Uncle Bucky wouldn't want that.\"\n\n> You ask Sarah about Glen\n\"I guess he can add kidnapper and blackmailer to his list of accomplishments, right after thief, murderer, and son-of-a-bitch.\"\n\n> You get on the arabian\nYou get on Sarah's horse.\n\n> Ride W\nSarah asks: \"And why, if you don't mind me asking, don't you just ride your own horse?\"\n\n> You look at Arabian\nA beautiful Arabian, perhaps two years old. The kind of horse you rarely had the chance to see for yourself--well, before you gummed up Stratford and swiped his stallion, that is.\n\n> Dismount\nYou get off of Sarah's horse."
    },
    {
        "text": "> You look at your surroundings\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah is here.\nSarah's Arabian is here, snacking contentedly on a small patch of grass.\nThe fiery red stallion is standing patiently nearby.\n\n> Go southeast\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nStanding guarding the front of the house is Glen Heffer's\nmean-looking henchman Large Duane. Lucky for you he can't see you.\n\nSarah scrambles up the bank after you. \"I hope you know what you're doing,\" she says.\n\n> You examine Duane\nLarge Duane is not a friendly looking fellow. If he sees you, he'll kill you. If you had anything to your name, you could bet it all on that fact. It's also the best argument there is not to mess with him.\n\n> You shoot Duane with the roy's gun\nTrying to shoot Large Duane from so far away isn't such a hot idea seeing as what a lousy shot you are. The same, however, is not true for Large Duane, whose attention you manage to attract. He draws, aims, and hits you right between the eyes.\n\n> Go upwards\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nStanding guarding the front of the house is Glen Heffer's\nmean-looking henchman Large Duane. Lucky for you he can't see you. Sarah is here.\n\n> Go east\nStanding amidst the scattered golden haystacks drying in the hot sun. In fact, the hay is so dry it crackles under your feet as you step on it. From here, you can either go back west where you came from, or southwest toward the Heffer ranch house.\n\nSarah follows you into the hayfield. \"What are you doing over here?\" she asks.\n\n> You examine the hay\nThe hayfield is full of scattered golden haystacks drying in the hot sun.\n\n> You check what you're carrying\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), and a scrap of cloth.\n\n> Go southwest\nNice building, no doubt the product of years of ill-gotten gains. Directly south of you is the front door, which is closed. You can backtrack to the top of the steep bank to the north, or go northeast into the hayfield.\nLarge Duane is here, looking large and mean.\n\nLarge Duane looks up as you come near. His eyes narrow, and he quickly draws his gun and sends you off to Cowboy Heaven. What the hell were you thinking, stomping on up to him like that? Doesn't matter.\n\n> You go west\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nStanding guarding the front of the house is Glen Heffer's\nmean-looking henchman Large Duane. Lucky for you he can't see you.\n\nSarah follows you back to the top of the bank.\n\n> Go northwest\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah's Arabian is here, snacking contentedly on a small patch of grass.\nThe fiery red stallion is standing patiently nearby.\n\nSarah follows after you.\n\n> Go west\nNow, come on...you know better than to try to make it on foot.\n\n> You get on the red\nYou get on the fiery red stallion.\n\n> Ride W\nThe red stallion gallops along, and before too long delivers you safely to the west end of the long, dusty road.\n\nEdge of town, on a fiery red stallion\nYou can still see Tumbleweed Flats behind you where the road curves around from the south. A dead, rotted tree stands here, marking the memory of the last living thing between here and where the road disappears into the eastern distance.\n\n(Sarah stayed behind at the east end of the road.)\n\n> Ride south\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nOld Dan arrives from the south.\n\n> Ride south\nMain Street, on a fiery red stallion\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\n> Dismount\nYou get off of the fiery red stallion.\n\n> Go west\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\n\n> You get the kit\nYou'll have to buy the trail kit first.\n\n> Go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\n> Go north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> Go west\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> Go north\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\n\n> Go west\nOf a mansion, or what might be considered a mansion if it weren't\nquite so rustic looking. It's as if someone took a giant tub of Dr. Ricardo's Growth Tonic (which he peddles to the unsuspecting populace whenever he's in town, about every four months or so) and poured it over one of the ramshackle houses--albeit one of the nicer ones--scattered about Tumbleweed Flats. You can enter the house to the west.\nJohn Stratford is here, looking mad as hell.\n\n> Go west\nStratford brandishes his shotgun in your general direction. \"Not so fast, tumbleweed,\" he mutters in his clipped British accent, barely understandable through his mouthful of sticky taffy.\n\n> You give it to him\n(Assuming you mean Roy's gun and John Stratford, respectively.)\nJohn Stratford refuses.\n\n> You examine the house\nQuite a place, as far as these parts go. At least compared to the typical pile of slapped-together planks that passes for a house around here.\n\n> You go west\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\n\n> You pluck the leaf\nYou pluck one of the weeds from the ground.\n\nYou pluck a leaf from the weed. It flutters away.\n\nYou pluck another leaf from the weed. It flutters away.\n\n> You examine the weed\nGreen. Weedish. There are four leaves left that you haven't plucked. (Looks kinda like a four-leaf clover.)\n\n> You give the weed\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nOld Dan arrives from the east.\n\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nTry giving something to someone in particular.\n\n> You give the weed to Grady\n\"A four-leaf clover? For me? I ...well, I don't know what to say. Maybe this'll turn my luck around. Maybe I misjudged you.\" And with that, Grady takes the weed from you.\n\n> You ask Grady for the shed key\n\"You want to get into that old shed? Nothing but junk in there,\" Grady says. But then he shrugs and digs out the key anyway, putting it down on the counter.\n\n> You give the bottle to Grady\nGrady politely refuses.\n\n> You unlock door\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n(with the shed key)\nUnlocked.\n\n> You get the ladder\n(opening the shed door first)\nOpened.\n\nIt's dark in here. The only light bleeds in through the window and\nthe open door. Looks like this is where Grady keeps most of his junk. Resting on the ground against one wall is a ten-foot wooden ladder.\n\nYou're carrying too much to take that.\n\n> Go northwest\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nOld Dan heads off to the west.\n\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nOne measly pool table comprises the billiards room. That and a\nheavily locked door behind which Grady stashes his liquor. Southeast takes you back out into the saloon.\n\n> You get the ladder\nhandwritten note: Dropped.\nshed key: Dropped.\n\nYou're carrying too much to take that.\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), a scrap of cloth, and some sticky taffy.\n\n> You put your gun in the holster\nYou put your six-shooter in the holster.\n\n> You put the cloth in the bottle\nYou stuff the piece of cloth into the opening of the bottle.\n\n> Go west\nYou find a foothold on the stack of barrels and clamber over, dragging the ladder after you.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> Go west\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> You put the ladder on the loft\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to the stall to the north is open.\nAn old black mare is here.\n\nThere's no room on the loft.\n\n> Go west\nStratford brandishes his shotgun in your general direction. \"Not so fast, tumbleweed,\" he mutters in his clipped British accent.\n\n> Smell bottle\nThe piece of cloth is in the way.\n\n> You check what you're carrying\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying a skeleton key, Roy's gun, and some sticky taffy. Tucked in your holster is your six-shooter.\n\n> You examine Stratford\nJohn Stratford is around fifty or so. He's got a healthy shock of white hair atop his head. But other than that, his eyes look kinda mean. And that goes none too well with the shotgun on his lap. Puts you on your guard to say the least. You warily watch Stratford warily watching you as he puffs on his pipe.\n\n> You go south\nYour parched brain tries as hard as it possibly can to remember what the path through the trees looked like from above, and you start forging a path...\n\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> You go east\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nOld Dan heads off to the south.\n\n> You go east\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\n\n> Go south\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> You go east\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> Go east\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\n\n> You look at the planks\nThe wooden plank looks just like you would expect.\n\n> You get the planks\nIt's attached to the side of the saloon.\n\n> You pull the plank\nWith a grunt, you yank the board free from the side of the saloon. It falls to the ground with a dull clatter, revealing an opening leading southeast into the wall.\n\n> You examine the opening\nThe opening leads southeast into the darkness beyond the wall of the building.\n\n> You go southeast\nIn the dim light from the alleyway, you can make out the outlines of several shelves of crates and bottles, as well as a heavy door which--you guess--leads out into the billiards room. Sitting in the shadows in the corner is a big wooden keg.\n\n> You look at the keg\nAs you blow away the dust from the keg, you reveal some crude stenciling that reads: \"Grandma Grady's Wicked XXX.\" A tap is fixed to the side of it.\n\n> You get the keg\nIt's much too heavy to lift.\n\n> You examine tap\nThe crude stenciling reads: \"Grandma Grady's Wicked XXX.\" A tap is fixed to the side.\n\n> You fill the bottle\nYou fill the bottle with Grandma Grady's Wicked XXX.\n\n> You fill bottle\nThe bottle is already filled with Grandma Grady's Wicked XXX.\n\n> Drink bottle\nIt smells pretty damn strong. Are you sure you want to try it?\n\n> Yes\nThat was a rhetorical question. (Although you sound rather positive.)\n\n> Drink bottle\nYou take a tiny sip of Grandma Grady's Wicked XXX, and the next thing you know...\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\nYour head hurts like hell.\n\n> You look at what you're carrying with you\nYou are carrying a child's rattle.\n\nYour head hurts like hell.\n\n> Shake rattle\nRattle, rattle.\n\nYour head hurts like hell.\n\n> You go to the south\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nThe sun begins to sink lower in the western sky.\n\nYour head hurts like hell.\n\n> Go south\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street.\n\nYour head hurts like hell.\n\n> You go north\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nYour head hurts like hell.\n\nOld Dan heads off to the east.\n\n> Go west\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\n\nYour head hurts like hell.\n\n> Go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nYour head hurts like hell.\n\nOld Dan heads off to the west.\n\n> Go west\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nYour head hurts like hell.\n\nOld Dan heads off to the east.\n\n> Go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nYour head hurts like hell.\n\nOld Dan heads off to the north.\n\n> Go north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\nYour head hurts like hell.\n\n> You give the rattle to Dan\nOld Dan politely refuses.\n\nYour head hurts like hell.\n\n> You look at the bottle\nThe label proclaims: \"Dr. Vita-Vim's Sour Mash.\" Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle.\n\n> Shake bottle\nYou wave the whiskey bottle. Nothing happens.\n\n> Go northwest\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nYou can squeeze through an opening between two boards in the side of the saloon.\nA wooden plank is here.\n\n> Go west\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\n\n> You go to the south\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nOld Dan heads off to the west.\n\n> You examine the plank\nOnce attached to the side of Grady's Saloon, Billiards, and Hotel.\n\nOld Dan arrives from the west.\n\n> You give the bottle to Dan\nBefore you can even get the hand holding the bottle halfway up, Old Dan grabs the bottle and takes a gigantic swig. His eyes open so wide you can see through his head. Then he rockets straight into orbit, disappearing into the stratosphere, leaving only a trail of blue smoke behind him.\n\n> You look\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nThe fiery red stallion is standing patiently nearby.\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), and a scrap of cloth.\n\n> You put the cloth in the bottle\nYou stuff the piece of cloth into the opening of the bottle.\n\n> You examine the cloth\nThe piece of cloth is about the size of a handkerchief.\n\n> You go to the south\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nOld Dan heads off to the north.\n\n> You go to the north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\n\n> You show the bottle to Dan\nOld Dan's eyes widen. He grabs at the bottle, almost throwing himself off-balance. As he weaves: \"Gimme that! For the love of God, give me that!\"\n\n> Go south\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street.\n\n> You go east\nCramped quarters, actually. Barely room enough for the sheriff's\ndesk and a jail cell in the corner.\nSheriff Argyle is sitting behind his desk, munching on a sandwich and reading \"Strange Western Lawkeeper Tales\".\n\nArgyle's eyes bulge out of his head as you stroll in. He drops his sandwich. \"Jumpin' Jehosophat! I mean...well, I mean, aren't you the guy who shot Roy Heffer?\"\n\n> You give the bottle to Argyle\nSheriff Argyle politely refuses.\n\n> You look at the sandwich\nIt's a plain old fried-chicken sandwich.\n\n> You get it\n(Assuming you mean Argyle's sandwich.)\nTaken.\n\n> You go west\nAs you turn and start to walk back out the door, Argyle kisses you with his Smith and Wesson .38 right between the shoulder blades. Cowardly, perhaps, but he is the one still breathing.\n\n> You go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nThe fiery red stallion is standing patiently nearby.\n\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\n> You show the bottle to Grady\nGrady's eyes narrow when he sees the whiskey bottle full of his dear old Grandma Grady's Wicked XXX. \"Why, you whiskey-thieving yellow-belly...\" he mutters. Right before he grabs the bottle and clubs you over the skull with it. It shatters, and everything gets real ark...\n\n...until you wake up a good half-hour later with a lump on your head.\n\nYour head hurts like hell.\n\n> You go west\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nThe fiery red stallion is standing patiently nearby.\n\nOld Dan arrives from the south.\n\nMore clutter than any person in their right mind would know what to\ndo with. Luckily Lucille has the right idea: put it all on shelves and call it a General Store. Among other things, the shelves contain a box of bullets (one dollar), a box of shotgun shells (three dollars), an empty taffy box, a trail kit (one dollar), and a pick-axe (five dollars).\nLucille herself is standing behind the counter.\n\n> You open it\nTaken.\n\n(Assuming you mean the trail kit.)\nOpened.\n\nThe trail kit contains a matchbook, a fork, a spoon, and some beef jerky.\n\n> You go to the east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nThe fiery red stallion is standing patiently nearby.\n\nSuddenly a half-dozen of the Sheriff's roughest, toughest, and hungriest-for-justice deputies show up. They level their guns at the murderer (meaning you, of course), and bring you down in a blaze of trigger-pulling.\n\n> You look at what you're carrying with you\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), a scrap of cloth, and a wooden plank.\n\n> You throw the bottle\nYou'll have to be a little more specific about what you'd like to throw the whiskey bottle at.\n\nOld Dan arrives from the east.\n\nLucille rolls her eyes as Dan comes in. \"What do you want now, old timer?\" she asks.\n\n> Wait\nTime passes...\n\nOld Dan heads off to the east.\n\nDo you want to keep waiting (YES or NO)?\n\n> You throw the bottle at Dan\nYou ultimately decide that throwing the whiskey bottle at Old Dan isn't such a great idea.\n\nOld Dan heads off to the east.\n\n> You throw bottle at the counter\nWhat exactly are you hoping for?\n\n> You go east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nThe fiery red stallion is standing patiently nearby.\n\nOld Dan arrives from the west.\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying a skeleton key, two pistols (your six-shooter and Roy's gun), and a wooden plank.\n\nOld Dan heads off to the north.\n\n> You ride the horse\nYou get on the fiery red stallion.\n\n> Ride south\nSouth end of Main Street, on a fiery red stallion\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street.\n\n> Ride south\nGoing south from here will get you nowhere. You really don't need any more of that then you've already got.\n\n> Ride north\nMain Street, on a fiery red stallion\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nOld Dan arrives from the north.\n\n> Ride W\nEmpty lot, on a fiery red stallion\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> Ride north\nHidden meadow, on a fiery red stallion\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\n\n> Ride south\nEmpty lot, on a fiery red stallion\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> Ride NW\nStable, on a fiery red stallion\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to the stall to the north is open.\nThe ten-foot ladder is leaning against the loft.\nAn old black mare is here.\n\n> Ride north\nStall, on a fiery red stallion\nAny question as to where the musty odor of the stable is coming from\nis answered by coming in here--the pile of old hay on the ground was probably due for a changing a couple of weeks ago. A few long-since-used pieces of leather tack--a bridle and saddle among them--hang on the wall. The stall door to the south is open.\n\n> You throw roy's gun at the barrel\nWhat exactly are you hoping for?\n\nOld Dan arrives from the south.\n\n> You go to the east\nKnowing full well there's a way over the barrels and crates, you clamber awkwardly over the stack...\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nYou can squeeze through an opening between two boards in the side of the saloon.\n\n> You climb the sheet\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nYou can squeeze through an opening between two boards in the side of the saloon.\n\n> You untie sheet\nYou untie the bedsheet from the drainpipe.\n\n> You look at it\n(Assuming you mean the wash basin.)\nThe wash basin looks just like you would expect.\n\n> You search it\n(Assuming you mean the wash basin.)\nYou don't find anything."
    },
    {
        "text": "[Themes: Western]\n\n> Look around\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains open, revealing the single small window and Main Street below.\n\n> You look under it\n(Assuming you mean the bed.)\nYou don't find anything under the bed.\n\n> You search it\n(Assuming you mean the bed.)\nYou don't find anything.\n\n> Go east\nRooms on all sides of the landing--their doors closed and probably locked. The stairs go back downstairs to the saloon."
    },
    {
        "text": "> Go down\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nGrady pulls out a cloth and polishes up the bar a little.\n\n> You go west\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nOld Dan arrives from the north.\n\n> You go to the south\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street.\n\nOld Dan arrives from the north.\n\n> Go north\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\n> Go north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nThe fiery red stallion is standing patiently nearby.\n\n> You shoot the tree with the roy's gun\nYou pull the trigger, and put a bullethole in the dead, rotted tree.\n\n> Ride east\nThe red stallion gallops along without faltering, eating up the distance, Tumbleweed Flats disappearing far behind you.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah is here.\nSarah's Arabian is here, snacking contentedly on a small patch of grass.\n\n> You show the bottle to Sarah\n\"Oh, great. So what, you're going to drink that and get all fired up for being a hero? Lucky me.\"\n\n> Yes\nThat was a rhetorical question. (Although you sound rather positive.)\n\n> You give the bottle to Sarah\n\"No thanks. Although God knows we could both probably use it.\" She takes a look at you. Has second thoughts. \"Well, maybe not both of us.\"\n\n> Drink bottle\nThe piece of cloth is in the way.\n\n> Go southeast\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nStanding guarding the front of the house is Glen Heffer's\nmean-looking henchman Large Duane. Lucky for you he can't see you.\n\nSarah scrambles up the bank after you. \"I hope you know what you're doing,\" she says.\n\n> You throw the bottle at the hay\nYou pitch the bottle into the hayfield, where it lands with a dull thud.\n\n> Go east\nStanding amidst the scattered golden haystacks drying in the hot sun. In fact, the hay is so dry it crackles under your feet as you step on it. From here, you can either go back west where you came from, or southwest toward the Heffer ranch house.\nA whiskey bottle is here.\n\nSarah follows you into the hayfield. \"What are you doing over here?\" she asks.\n\n> Shout\nYou let out a hearty bellow. Nothing else happens.\n\n> Go south\nYou try to move, but Roy is faster, and he shoots you in the back before you can get away.\n\n> Go upward\nRoy Heffer is standing in front of you, his right hand dangling over his holster, fingers twitching nervously. Somewhere in the distance, someone strums an out-of-tune Spanish guitar.\n\n> Wait\nTime passes...\n\nRoy draws his six-shooter, yanking it from its holster and raising it toward you...\n\nDo you want to keep waiting (YES or NO)?\n\n> Y.\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You look at six-shooter\nOld faithful, with the emphasis on the \"old\" part. And faithful doesn't necessarily mean accurate.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You draw\nYou pull your six-shooter out of your holster.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You look at Roy\nYou might want to spend less time staring, and more time thinking about the fact that you're in the middle of a gunfight.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you."
    },
    {
        "text": "[Themes: Western, western]\n\n> You look around\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\n\nRoy Heffer is standing in front of you, his right hand dangling over his holster, fingers twitching nervously. Somewhere in the distance, someone strums an out-of-tune Spanish guitar.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You shoot yourself\nIf you were prone to that sort of thing, you would've done that a long time ago. It's not like desperation is new to you or anything.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You drop the gun\nDropped.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You talk to Roy\nWould seem the time for talking is long past.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You shoot general Store\nYou pull the trigger, and put a bullethole in Lucille's General Store.\n\nRoy Heffer looks at you like you're out of your gourd.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You look\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nRoy Heffer's rapidly cooling body is here.\n\nOld Dan arrives from the south.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are also carrying a skeleton key and your six-shooter.\n\nA crowd starts to gather around you and the corpse.\n\nLittle Jimmy comes running past you from the north. He stops for a second, looks at Roy's stiff, and raises his eyebrows. \"Oooh. Dead guy.\"\n\n> You examine the saloon\nThe sign over the door originally just said \"Grady's Saloon\", but since then \"Billiards\" and \"Hotel\" have been added.\n\nBobby comes running after Little Jimmy.\n\nMore people come out onto the street to see what happened. They see the body. Some of them point at you and begin talking to each other in low voices.\n\nLittle Jimmy goes running off to the south.\n\n> Yes\nThat was a rhetorical question. (Although you sound rather positive.)\n\n> You draw\nYou pull your six-shooter out of your holster.\n\n> Shoot sign\nYou pull the trigger, and put a bullethole in Grady's Saloon, Billiards, and Hotel.\n\nRoy Heffer looks at you like you're out of your gourd.\n\nRoy draws his six-shooter, yanking it from its holster and raising it toward you...\n\n> You throw the gun at Roy\nYou ultimately decide that throwing your six-shooter at Roy Heffer isn't such a great idea.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You open the gun\nYou crack it open. It's empty.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You get south\nYou can't take that.\n\nRoy draws his six-shooter, yanking it from its holster and raising it toward you...\n\n> You shoot the guitar\nYou can't do that with the Spanish guitar music.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You listen to the music\nIt's faint, but you can make out the theme to 'The Good, the Bad, and the Ugly' fairly clearly.\n\nRoy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.\n\n> You examine the corpse\nDead as a doornail, as they say. In a few minutes he'll be too stiff to move. Roy's gun is lying in the dirt where he dropped it when you shot him.\n\nOld Dan arrives from the south.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You get all from the corpse\nNothing to get.\n\n> You look at the corpse\nYou don't see that.\n\nDead as a doornail, as they say. In a few minutes he'll be too stiff to move. Roy's gun is lying in the dirt where he dropped it when you shot him.\n\n> You search roy\nRoy wasn't exactly a tiny guy. You're not having the best of luck moving him.\n\nA crowd starts to gather around you and the corpse.\n\n> You look under Roy\nRoy wasn't exactly a tiny guy. You're not having the best of luck moving him.\n\nMore people come out onto the street to see what happened. They see the body. Some of them point at you and begin talking to each other in low voices.\n\nLittle Jimmy comes running past you from the north. He stops for a second, looks at Roy's stiff, and raises his eyebrows. \"Oooh. Dead guy.\"\n\n> You move roy\nRoy wasn't exactly a tiny guy. You're not having the best of luck moving him.\n\nBobby comes running after Little Jimmy.\n\nYou hear someone saying to you: \"Look, partner. I dunno what your beef with ole Roy here was, but you best be getting outta here before the Sheriff shows up.\"\n\nLittle Jimmy goes running off to the south.\n\n> Search corpse\nRoy wasn't exactly a tiny guy. You're not having the best of luck moving him.\n\nLittle Jimmy comes running past you from the south. He stops for a second, looks at Roy's stiff, and raises his eyebrows. \"Oooh. Dead guy.\"\n\nOld Dan arrives from the east.\n\n(Old Dan has to make an effort to swagger around Roy's body.)\n\n> You ask Dan about Roy\n\"Once in a while Roy'd buy me drink or something. Didja have to go and kill him, of all people?\"\n\nBobby comes running after Little Jimmy.\n\nLittle Jimmy goes running off to the north.\n\n> You get the roy's gun\nTaken.\n\nBobby chases off after Little Jimmy.\n\nOld Dan heads off to the west.\n\n> You shoot Dan with it\n(Assuming you mean Roy's gun.)\nOld Dan isn't here.\n\n> You shoot bobby\nWhat sort of lowlife are you, exactly?\n\nBobby chases off after Little Jimmy.\n\nOld Dan heads off to the west.\n\n> You move roy\nOld Dan helps you heft Roy's body a foot or two to one side.\n\nRoy must've dropped his wallet in the dust when you plugged him. You take it. (What the hell--you already killed the guy.)  Old Dan looks at you expectantly.\n\nBobby chases off after Little Jimmy.\n\n> You get all\nRoy Heffer's body: Only if you want to be spotted carting a dead body around town. Not recommended.\ngathering crowd: You can't take that.\nRoy's gun: Taken.\nOld Dan: Old Dan probably wouldn't be too big on that idea.\n\n> You go east\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nGrady is behind the bar.\n\nGrady studies you as you come in. \"Plannin' on paying your bill anytime soon?\"\n\n> You examine the wallet\nCalfskin. Nice. Monogrammed with \"R.H.\" It's closed.\n\n> You open it\n(Assuming you mean Roy's wallet.)\nOpened.\n\nInside the wallet are a quarter and a dollar bill.\n\n> You give the bill to Grady\n(taking the dollar bill first)\nTaken.\n\nGrady refuses. \"You come back with some real money, 'fores I boot your dusty butt outta here.\"\n\n> You look at dollar\nGood old legal tender, emblazoned with the seal of the Union.\n\nYou watch under the swinging doors as several sets of boots show up. The Sheriff's deputies have come looking for you.\n\n> Go west\nThe room door is locked.\n\n> You unlock door\n(with the skeleton key)\nUnlocked.\n\n> Go west\nAs you open the door, it bangs against an empty whiskey bottle that had rolled against it. The bottle skitters away into the corner of the room.\n\nNot too fancy, but then you get what you pay for. A bed with a mattress that was, as you vaguely remember it, rather wooden. A wash basin and mirror along one wall. Curtains closed, covering the single small window.\nLooks like someone slipped a piece of paper under the door while you were out.\nIn the corner of the room is a whiskey bottle, empty and discarded.\n\n> You get the sheet and the bottle and the note\nbedsheet: Taken.\nwhiskey bottle: Taken.\nhandwritten note: Taken.\n\n> You climb the sheet\nOpened. Through the closed window you can just peek around the corner of the hotel enough to see Main Street below. You see a gang of deputies waiting in front of the saloon--waiting for you, that is.\n\nOpened.\n\nYou tie the bedsheet to the drainpipe.\n\nAs you climb down the bedsheet, it starts to rip. One small piece of cloth tears away and flutters down below you.\n\nRunning along the north side of Grady's--the old wall of the building is directly behind you. Grady's storage shed is just to the north, and Main Street is back out to the west. You're well hidden by a stack of old, sun-bleached wooden barrels. Overhead, you can see your bedsheet, flapping in the wind from where it's still attached to the drainpipe.\nThe small piece of cloth from the bedsheet is lying on the ground.\n\n> You get the plank\nTaken.\n\nIt's attached to the side of the saloon.\n\n> You get it\n(Assuming you mean the wooden plank.)\nTaken.\n\n> You go southeast\nIn the dim light from the alleyway, you can make out the outlines of several shelves of crates and bottles, as well as a heavy door which--you guess--leads out into the billiards room. Sitting in the shadows in the corner is a big wooden keg.\n\n> You fill the bottle\nYou fill the bottle with Grandma Grady's Wicked XXX.\n\n> Go northwest\nYou can squeeze through an opening between two boards in the side of the saloon.\n\n> Go west\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nLittle Jimmy is here, cheerfully chomping on some sticky taffy.\n\nBobby comes running after Little Jimmy.\n\n> You get the taffy\nLittle Jimmy bawls as you grab his candy. \"Give me back my taffy! Gimme gimme!\" he hollers as he stamps his feet.\n\n> You go to the north-west\n(opening the heavy stable door first)\nWith a grunt, you heave the stable door open.\n\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to one of the stalls to the north is closed.\n\n> You wait\nTime passes...\n\nA woman slips into the stable behind you. She stands off to the side, almost in the shadows, regarding you warily. She looks vaguely familiar.\n\nThe woman seems relieved. \"Good. I wasn't sure if you'd actually come,\" she says.\n\nShe goes to the stable door and looks outside, making sure that the two of you are alone before she closes it.\n\nDo you want to keep waiting (YES or NO)?\n\n> You ask Sarah about Sarah\nThe strangely familiar woman would probably rather not talk about herself.\n\n\"That must mean you remember what I told you last night in Grady's, right? About Glen Heffer? I mean before his bastard son showed up and started causing trouble.\"\n\nThat's when it hits you: this is the woman for whose honor--directly or indirectly--you ended up in a gunfight this morning. Sarah or Sandra or Samantha or something like that. Sarah. That's right: Sarah. Whew. Nice memory on you.\n\n> You ask Sarah about Glen\n\"I guess he can add kidnapper and blackmailer to his list of accomplishments, right after thief, murderer, and son-of-a-bitch.\"\n\n> You ask Sarah about yourself\nHopefully you know as much as anyone.\n\nSarah looks at you skeptically again. \"Okay. Here's what you have to do,\" she says. \"You have a horse, right? I mean, I'm assuming you do. If you don't, you'll have to get yourself one. I guess I just figure any cowboy worth his weight in dust has a horse. You know the road going east just north of town? Ride east, all the way to the end. You'll know when you're there because you'll find me waiting for you.\"\n\n> You ask Sarah about Roy\n\"Last night in Grady's? Last night Roy knew exactly what I was talking about, about Uncle Bucky. Today? Well, today I'm glad you shot him.\"\n\nSarah's face softens a little, and some of her tough facade fades away.\n\n\"Look, I don't know if you're a hero or just not very smart or what.\nIt was more than enough that you stood up for me against Roy. Now this. It's probably more than I can ask, but...thank you.\"\n\n> You go southeast\nLittle Jimmy is here, looking sullen.\nBobby is here.\n\n> You pull the weeds\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\nOld Dan, the town drunk, is here, standing in place and swaying slightly. He gives you grouchy look.\n\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\n\nPulling the thicket of weeds doesn't get you anywhere.\n\n> You go to the east\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nTo the south, you can see a gang of deputies lounging around outside Grady's Saloon--presumably waiting for you.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\n\n> You give the clover\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly. He gives you grouchy look.\n\nAs you arrive, the deputies jump up from where they've been waiting for you, grab you, and push you to the ground. They quickly shackle your hands before hauling you back to your feet. Time to go see the Sheriff...\n\n...and the gallows.\n\nThe game has ended. Do you want to (R)ESTART, R(E)STORE a saved game, (U)NDO your last turn, or (Q)UIT?"
    },
    {
        "text": "[Themes: Western, western]\n\n> Go downwards\nRooms on all sides of the landing--their doors closed and probably locked. The stairs go back downstairs to the saloon.\n\nGrady's Saloon, Billiards, and Hotel\nSunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.\nYou catch glimpses of boots underneath the swinging doors, walking\nback and forth outside the saloon--the Sheriff's deputies, presumably waiting for you.\nGrady is behind the bar.\nOld Dan, the town drunk, is here, standing in place and swaying slightly. He mutters something about cheap cowboys.\n\nOld Dan heads off to the west.\n\nHe gives you grouchy look as he goes.\n\n> You give the clover to Grady\n\"A four-leaf clover? For me? I ...well, I don't know what to say. Maybe this'll turn my luck around. Maybe I misjudged you.\" And with that, Grady takes the weed from you.\n\n> You ask Grady for the shed key\n\"You want to get into that old shed? Nothing but junk in there,\" Grady says. But then he shrugs and digs out the key anyway, putting it down on the counter.\n\nGrady pulls out a cloth and polishes up the bar a little.\n\n> You open the door\nThe shed door is locked.\n\n> You unlock it\n(Assuming you mean the shed door.)\n(with the shed key)\nUnlocked.\n\n> You go north\n(Assuming you mean the shed door.)\nOpened.\n\nIt's dark in here. The only light bleeds in through the window and\nthe open door. Looks like this is where Grady keeps most of his junk. Resting on the ground against one wall is a ten-foot wooden ladder.\n\n> You get the ladder\nYou're carrying too much to take that.\n\n> You check what you're carrying\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying two keys (a skeleton key and the shed key), two pistols (your six-shooter and Roy's gun), Roy's wallet, a dollar bill, a handwritten note, a wooden plank, and some sticky taffy. Inside the wallet is a quarter.\n\n> You drop the note and the keys\nhandwritten note: Dropped.\nkeys: skeleton key: Dropped.\nshed key: Dropped.\n\n> You put dollar in the wallet\nYou put the dollar bill in Roy's wallet.\n\n> You put your pistol in the holster\nWhich pistol do you mean, your six-shooter or Roy's gun?\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying Roy's wallet, Roy's gun, a wooden plank, and some sticky taffy. Tucked in your holster is your six-shooter.Inside the wallet are a quarter and a dollar bill.\n\n> You get ladder\nDropped.\n\nTaken.\n\n> Go west\nYou find a foothold on the stack of barrels and clamber over, dragging the ladder after you.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> You go northwest\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to one of the stalls to the north is closed.\n\n> Go west\nYou lean the ladder against the loft, just where the hayloft begins.\n\nAbout ten or so feet off the stable floor. Too far to jump--better\nto make wise use of the ladder which is still leaning against the wall. Sunlight shines in through a small square window.\n\nYou can't go that way."
    },
    {
        "text": "[Themes: Western]\n\n> You go downwards\nSmells musty, just like every other stable you've ever been in.\nThere's a meager half-light drifting down from a window in the loft overhead, and the stable door leads back out onto Main Street to the southeast. If anybody in this town owned a horse, this is where they'd keep it.\nThe gate to one of the stalls to the north is closed.\nThe ten-foot ladder is leaning against the loft.\n\n> You go west\nDown, you say? Well, you begin to shimmy down the tree, precariously clutching onto branches and outcroppings of tough bark--whatever you can reach. Finally, scraped and bruised all to hell, you find yourself on firm ground.\n\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\nStrutting proudly around the meadow is a fiery red stallion.\n\nOf a mansion, or what might be considered a mansion if it weren't\nquite so rustic looking. It's as if someone took a giant tub of Dr. Ricardo's Growth Tonic (which he peddles to the unsuspecting populace whenever he's in town, about every four months or so) and poured it over one of the ramshackle houses--albeit one of the nicer ones--scattered about Tumbleweed Flats. You can enter the house to the west.\nJohn Stratford is sitting in his rocking chair, smoking his pipe.\nHis trusty shotgun is across his lap.\n\n> You give the taffy to John\nStratford looks surprised. \"Why, thank you,\" he says. \"Who told you that I do so love this taffy?\" He munches on the candy.\n\n> You get on the horse\nObviously not a popular picnic spot; in fact, if not for your vantage point perched atop the tree, you would never have known it was here, much less be able to blindly navigate your way through the thick of trees to the south. The meadow opens up to the west.\nStrutting proudly around the meadow is a fiery red stallion.\n\nYou get on the fiery red stallion.\n\n> Ride south\nYou give the red stallion a couple of pokes in its sides with your spurs, and the animal breaks into a trot. A couple of seconds later, however, an old man in an ascot and a mop of gray hair (John Stratford, that is) comes chasing after you from the west.\n\nHe tries to shout something at you, but his mouth is gummed up with taffy. The same goes for his fingers, which are useless so far as pulling the trigger on the shotgun he is aiming at you.\n\nYour parched brain tries as hard as it possibly can to remember what the path through the trees looked like from above, and you start forging a path...\n\nEmpty lot, on a fiery red stallion\nStanding where you are, in the middle of a thicket of weeds, you're faced by a wall of impenetrable brush to the north. Just to the right of the trees, to the northeast, is the entrance the local stable. Back east is Main Street.\n\n> Ride east\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\n\n> You get off\nYou get off of the fiery red stallion.\n\nOld Dan arrives from the south.\n\nHe mutters something about cheap cowboys.\n\n> Go north\nIt's dark in here. The only light bleeds in through the window and\nthe open door. Looks like this is where Grady keeps most of his junk. A handwritten note, a skeleton key, the shed key, and a wooden plank are here.\n\n> You go west\nYou find a foothold on the stack of barrels and clamber over.\n\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here.\nThe fiery red stallion is standing patiently nearby.\n\n> You open the kit\nOpened.\n\nThe trail kit contains a matchbook, a fork, a spoon, and some beef jerky.\n\n> Light match\nYou strike a match.\n\n> You go to the east\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly. He gives you grouchy look.\n\n> You show the bottle to Dan\nOld Dan's eyes widen. He grabs at the bottle, almost throwing himself off-balance. As he weaves: \"Gimme that! For the love of God, give me that!\"\n\n> Go north\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\nThe fiery red stallion is standing patiently nearby.\n\n> Ride south\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\n\nOld Dan arrives from the south.\n\nHe gives you grouchy look.\n\n> You give quarter to Dan\n(taking the quarter first)\nTaken.\n\n\"Well, much obliged, partner,\" Old Dan says as he takes the quarter."
    },
    {
        "text": "[Themes: Western]\n\n> You look around\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, running in circles around Little Jimmy.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nHe has a quarter.\n\nOld Dan heads off to the south.\n\n> Ride south\nMain Street, on a fiery red stallion\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly.\nHe has a quarter.\n\nOld Dan heads off to the south.\n\n> Ride south\nSouth end of Main Street, on a fiery red stallion\nStanding here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street. Old Dan, the town drunk, is here, standing in place and swaying slightly.\nHe has a quarter.\n\n> You get quarter\nTaken.\n\nOld Dan heads off to the north.\n\nHe gives you grouchy look as he goes.\n\n> Ride north\nMain Street, on a fiery red stallion\nThe name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.\nOld Dan, the town drunk, is here, standing in place and swaying slightly. He gives you grouchy look.\n\n> You check what you're carrying\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying Roy's wallet, Roy's gun, a wooden plank, a trail kit, and a quarter. Tucked in your holster is your six-shooter.The trail kit contains a matchbook, a fork, a spoon, and some beef jerky.\n\n> You put quarter in the wallet\nYou put the quarter in Roy's wallet.\n\nOld Dan heads off to the east.\n\nHe mutters something about cheap cowboys as he goes.\n\n> Ride north\nNorth end of Main Street, on a fiery red stallion\nNow leaving the bustling metropolis of Tumbleweed Flats, pop. 59.\nThe local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.\nLittle Jimmy is here, looking sullen.\nBobby is here, jumping up and down in place.\n\n> Ride north\nEdge of town, on a fiery red stallion\nYou can still see Tumbleweed Flats behind you where the road curves around from the south. A dead, rotted tree stands here, marking the memory of the last living thing between here and where the road disappears into the eastern distance.\n\n> Ride east\nLong and dusty road, on a fiery red stallion\nBrambles and cactuses all over the place. Some might call it the desert. Not all that lucky for you, seeing as you're wandering around in the middle of it.\n\n> Ride\nYou'll have to specify a direction as well.\n\n> Ride east\nThe red stallion gallops along without faltering, eating up the distance, Tumbleweed Flats disappearing far behind you.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah is here, sitting atop her beautiful Arabian horse.\n\n\"I'm glad you made it,\" Sarah says as she climbs down from her horse.\n\n> Inventory\nYou are wearing your holster on your hip where it belongs. You are holding a whiskey bottle. Some of Grandma Grady's Wicked XXX is sloshing around inside the whiskey bottle. A scrap of cloth is stuffed in the mouth of the bottle. You are also carrying Roy's wallet, Roy's gun, a wooden plank, and a trail kit. Tucked in your holster is your six-shooter.Inside the wallet is a quarter.The trail kit contains a matchbook, a fork, a spoon, and some beef jerky.\n\n> Light match\nYou strike a match.\n\n> Light cloth\nYou touch the match to the cloth, and it begins to burn.\n\nThe match goes out. You drop it.\n\n> You throw the bottle at the hay\nYou wind up and toss the bottle with its burning fuse and payload of Grandma Grady's Wicked XXX at one of the haystacks, which catches fire with a WHOOSH and soon builds into a roaring blaze. Even from here, you can see Large Duane's eyes go wide as saucers when he catches sight of the haystack flaring up like a match head. He runs like a madman into the hayfield, stomping on patches of flaming grass and kicking dirt onto the fire.\n\nSarah glares at you. \"You are crazy, aren't you?\"\n\n> You go southeast\nNestled between the house and the edge of the hayfield. There isn't much here except a window.\n\nSarah follows after you.\n\n> You look at the window\nThrough the window you can see the inside of the house, as well as two men. One of the men seems to be holding the other hostage--the giveaway being the gun he's holding on him.\n\n\"Uncle Bucky!\" exclaims Sarah. Then her eyes narrow. \"And that bastard Glen Heffer.\"\n\n> You break the window\nYour attempt to break the window attracts the attention of Glen Heffer, Large Duane, and the rest of Heffer's hired guns, who corner you against the house and proceed to do away with you turkey-shoot-style.\n\n> Go upwards\nNestled between the house and the edge of the hayfield. There isn't much here except a window.\nSarah is here.\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are also carrying Roy's wallet, Roy's gun, a wooden plank, and a trail kit. Tucked in your holster is your six-shooter.Inside the wallet is a quarter.The trail kit contains a matchbook, a fork, a spoon, and some beef jerky.\n\n> You give the spoon to Sarah\n(taking the spoon first)\nTaken.\n\nSarah politely refuses.\n\n> Go inside\nTry using the door around front.\n\n> Go northwest\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nLarge Duane is off to the east, trying to put out the burning\nhaystack!\n\nSarah follows you back out into the open.\n\n> Go south\nNice building, no doubt the product of years of ill-gotten gains. Directly south of you is the front door, which is closed. You can backtrack to the top of the steep bank to the north, or go northeast into the hayfield.\n\nSarah follows after you.\n\n> You open the door\nOpened.\n\n> You go south\nto call it. The front door is behind you to the north. The house opens up into the east wing to the east and the west wing to the west. (Mental note: you can hear voices coming from either wing). Going straight south will take you through to the living room, and it looks like the kitchen is off to the southwest--you can see pots, pans, and a cast-iron stove through the archway.\n\nSarah walks quietly into the house after you.\n\n> Go east\nWalking east from the front entrance, you pass through Glen Heffer's game room, full of animals that made a stop at the taxidermist's on their way here from the wild. Lots of ivory, skins, furs--the marks of a big-game hunter. Also lots of weapons, which probably explains the preponderance in this room of guys with guns--Heffer's hired guns, to be exact--who sit around cleaning, reloading, and talking about cleaning and reloading and shooting.\n\nThe hired guns look up as you come in; hell, they're as surprised as you are. But they quickly get over it and respond with the clicking of pistol hammers, the whoosh-clack of shotgun loading, and the KABLAM! of several pounds of hot lead being sent in your direction. (Next time you make a mental note, try to remember where you put it.)\n\n> You go upwards\nto call it. The front door is behind you to the north. The house opens up into the east wing to the east and the west wing to the west. (Mental note: you can hear voices coming from either wing). Going straight south will take you through to the living room, and it looks like the kitchen is off to the southwest--you can see pots, pans, and a cast-iron stove through the archway.\nSarah is here.\n\n> Go west\nThis is the eating area of the kitchen to the south; from here you\ncan go back to the front entrance to the east. This isn't the proper dining room, you guess, seeing as it doesn't seem quite fancy enough. Also seeing as it's currently populated by a host of less-than-immaculately-kept hired guns how are feasting on vittles consisting of tough grilled steak and lots of baked beans.\n\nThe hired guns look up as you come in; hell, they're as surprised as you are. But they quickly get over it and respond with the clicking of pistol hammers, the whoosh-clack of shotgun loading, and the KABLAM! of several pounds of hot lead being sent in your direction. (Next time you make a mental note, try to remember where you put it.)\n\n> You go to the south-west\nIt's a kitchen large enough to prepare grub for the Heffer family and all Glen Heffer's hired help--what most people in Tumbleweed Flats call hired guns. (And you might want to count the Heffer ranch-house cook among your supporters. After all, you did lighten his workload by one.)  There's a big cast-iron stove over to one side, and a huge array of pots and pans and other dishes in various stages of use, being used, and getting ready to be used again. Walking north will take you straight into the west wing, while northeast leads back to the main entrance. South continues right on out the back door.\n\n\"What are we doing in the kitchen?\" Sarah asks, following you nonetheless.\n\n> You look at the stove\nIt's a massive, bulky, cast-iron number, taking up most of one corner of the kitchen.\n\n> You look at the pots\nYour basic pots and pans. Although there are a lot of them. Time to start putting two and two together, partner. Lots and lots of folks get fed here. How many of them you think are going to be your friend?\n\n> Go south\nThe back door and the kitchen door lead back into the house to the north and northwest, respectively. From here, you can look out over the steep bank you originally came up--almost a cliff, really--at the bottom of which are two horses: yours and Sarah's.\n\nSarah follows after you.\n\n> You jump\nYou leap over the cliff and into the open air. Looking down, you can see your horse below you. You sight your target between your legs as you fall--\n\n--PLUNK! Right in the saddle.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah's Arabian is here, snacking contentedly on a small patch of grass.\n\n> You go to the north\nThe back door is locked.\n\n> You go to the northwest\n(opening the kitchen door first)\nOpened.\n\nIt's a kitchen large enough to prepare grub for the Heffer family and all Glen Heffer's hired help--what most people in Tumbleweed Flats call hired guns. (And you might want to count the Heffer ranch-house cook among your supporters. After all, you did lighten his workload by one.)  There's a big cast-iron stove over to one side, and a huge array of pots and pans and other dishes in various stages of use, being used, and getting ready to be used again. Walking north will take you straight into the west wing, while northeast leads back to the main entrance. South continues right on out the back door.\n\nSarah walks quickly after you, protesting: \"Shouldn't we be getting the heck out of here?\"\n\n> Go northeast\nto call it. The front door is behind you to the north. The house opens up into the east wing to the east and the west wing to the west. (Mental note: you can hear voices coming from either wing). Going straight south will take you through to the living room, and it looks like the kitchen is off to the southwest--you can see pots, pans, and a cast-iron stove through the archway.\n\nSarah follows you back to the front entrance. \"Are you lost?\" she asks.\n\n> You go south\nA giant fireplace takes up most of the east wall. Typical\nliving-room furniture and adornments decorate the room--although these are perhaps a little nicer than usual. The room opens up to the entrance hall to the north; going south will take you out the back door to the rear of the house.\n\nSitting in a chair is an old man, cheerful despite the fact that his hands are tied with coarse rope. He's having the business end of a pistol brandished at him by another man--Glen Heffer, by his resemblance to the late Roy.\n\nSarah comes into the living room after you and spies the bound man. \"Uncle Bucky!\" Then she sees Heffer, and snarls: \"You withered old son of a bitch...\"\n\nHeffer leaps to his feet and yanks Uncle Bucky roughly to his feet.\nThe two of them make a break for the back door--Heffer running and towing a stumbling Bucky behind him. The door slams behind them.\n\nSarah spins toward you. \"Did you see that?\" she asks.\n\n> No\nThat was a rhetorical question. (Although you sound rather negative.)\n\n> Go south\n(opening the back door first)\nAs soon as you open the door, you are greeted by a flash of light followed by a loud BANG a split-second later. As your knees buckle and your eyes close, the last thing you see is Glen Heffer's smoking pistol. A rule of thumb for the next life: Never open a door behind which is waiting someone who wants to kill you.\n\n> Go upwards\nA giant fireplace takes up most of the east wall. Typical\nliving-room furniture and adornments decorate the room--although these are perhaps a little nicer than usual. The room opens up to the entrance hall to the north; going south will take you out the back door to the rear of the house.\nSarah is here.\n\n> You go south\nThe back door and the kitchen door lead back into the house to the north and northwest, respectively. From here, you can look out over the steep bank you originally came up--almost a cliff, really--at the bottom of which are two horses: yours and Sarah's.\nGlen Heffer is here, alternately waving his pistol menacingly back\nand forth between you and Uncle Bucky, whom he's got by the collar.\n\nSarah follows after you.\n\nHeffer levels the barrel of his gun betwixt your eyes.\n\n> You shoot Glen with the roy's gun\n--miss! Your bullet comes close enough to rustle old Glen's hair, but it misses just the same. Unluckily for you, Glen himself is unruffled enough to return the favor and send some lead in your direction. Three shots.\n\nBut he misses, too.\n\nGlen's bullets send you dancing out of the way, almost diving into the dirt. And then Sarah lifts up her pistol and cleanly puts Glen Heffer away. His body hits the ground with a thud. Uncle Bucky is still standing there, hands bound, face white, and eyes wide. \"Sarah, honey...\" he says.\n\nSarah turns to look at you. \"Now what?\" she asks. \"Are you going to get us out of here?\"\n\n> Ride W\nThe red stallion gallops along, and before too long delivers you safely to the west end of the long, dusty road.\n\nEdge of town, on a fiery red stallion\nYou can still see Tumbleweed Flats behind you where the road curves around from the south. A dead, rotted tree stands here, marking the memory of the last living thing between here and where the road disappears into the eastern distance.\n\n> Ride east\nThe red stallion gallops along without faltering, eating up the distance, Tumbleweed Flats disappearing far behind you.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah's Arabian is here, snacking contentedly on a small patch of grass.\n\n> Go southeast\nFrom the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.\nStanding guarding the front of the house is Glen Heffer's\nmean-looking henchman Large Duane. Lucky for you he can't see you.\n\n> You go south\nNice building, no doubt the product of years of ill-gotten gains. Directly south of you is the front door, which is open wide. You can backtrack to the top of the steep bank to the north, or go northeast into the hayfield.\nLarge Duane is here, looking large and mean.\n\nLarge Duane looks up as you come near. His eyes narrow, and he quickly draws his gun and sends you off to Cowboy Heaven. What the hell were you thinking, stomping on up to him like that? Doesn't matter.\n\n> You examine Glen\nYou peer long and hard at old man Heffer's body, but he doesn't move. Not even a twitch. Definitely dead.\n\n> You look at Bucky\nA short, rather rotund little fella, with a big ole straw hat on his noggin. He tends to look around with sort of a stunned look on his face. That and a big smile--the kind that just says: \"Howdy!\" His hands are bound behind his back by some coarse rope.\n\n> You check your inventory\nYou are wearing your holster on your hip where it belongs. You are also carrying Roy's wallet, Roy's gun, a wooden plank, a trail kit, and a spoon. Tucked in your holster is your six-shooter.Inside the wallet is a quarter.The trail kit contains a matchbook, a fork, and some beef jerky.\n\n> You cut the rope with the spoon\nA destructive and somewhat less than completely useful course of action."
    },
    {
        "text": "[Themes: Western]\n\n> You look around\nThe back door and the kitchen door lead back into the house to the north and northwest, respectively. From here, you can look out over the steep bank you originally came up--almost a cliff, really--at the bottom of which are two horses: yours and Sarah's.\nUncle Bucky is here, looking stunned and bewildered.\nSarah is here.\nGlen Heffer is lying dead on the ground here.\n\n> You ask Bucky about Sarah\n\"Oh, Sarah's a nice girl. I mean, comin' to rescue me and all.\nOh--and you, too. Thanks a lot there, pardner.\""
    },
    {
        "text": "[Themes: Western, western]\n\n> You jump\nYou leap over the cliff and into the open air. Looking down, you can see your horse below you. You sight your target between your legs as you fall--\n\n--PLUNK! Right in the saddle.\n\nEnd of the road, on a fiery red stallion\nThe dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.\nSarah is on her horse, with Uncle Bucky perched precariously in the saddle behind her.\n\nSarah gives you an approving nod. \"Nice one,\" she says.\n\n> Ride W\nYou dig in the spurs and gallop westward along the road back to Tumbleweed Flats. Sarah races after you, with Uncle Bucky, his hands still tied, bouncing helplessly on the saddle behind her. Looks like a rescue, cowboy.\n\nYou pass across a wide mesa and slow to a stop. Time for a well-deserved rest. Sarah rides up behind you, and both she and Uncle Bucky dismount. You stand there sihouetted by the light of the Western sunset, the four of you: you, Sarah, Bucky, and a cactus.\n\nSo, how did you do? Well, although you did wind up killing Roy Heffer, it was in self defense. And while you did break into Grady's liquor stash, that doesn't really count as being productive. It would also be interesting to see who would think highly of your stealing Little Jimmy's candy. You've also managed to completely torch a hayfield. That's something, isn't it?\n\nOn the bright side, you figured out a way to slip out of your hotel room unnoticed. And putting together that plan to steal Stratford's stallion showed at least a little ingenuity. Plus, if it weren't so seedy and practically dishonest, having wits enough to bamboozle Grady with a weed looking like a four-leaf clover would almost be commendable. Maybe you deserve some points for managing to construct a bomb out of an empty whiskey bottle and the most volatile hootch on the planet. (Or maybe not.)  But maybe it's the score that tells the story in the end--you: 2, the Heffer family: 0.\n\nSo somewhere along the way you managed to become a genuine Western hero, up there with John Wayne and Roy Rogers and the best of them--no small feat, that."
    },
    {
        "text": "[Themes: Science Fiction]\n\nBetrayal. It tastes bitter in your mouth. Your neck is still itching where the death-blow struck. The part of you that is called \"Wiseguy\" objects that you don't have a neck. Technically, that's correct.\n\nLet's take inventory, shall we? You have: a head, and a one metre long tail sprouting out from the selfsame head where the rest of your body used to be. That's it.\n\nYour mental condition has cycled between catatonic, delusional, raging and weeping for you don't know how long. Right now is one of your clearer moments.\n\nIt's a bright day, literally. Or at least it's not as dark as your average day. You see, sometimes when the constellation of some shiny junk, the stars and whatnot is just right, a feeble ray of light finds its way into your godforsaken pit. You fancy the light somehow strengthens you. You also fancy your tail is growing longer every day/hour/year/other useless measurement of time. Cell by cell for cell...\n\nFang Vs. Claw\nThe Duel That Spanned the Ages Episode 2 by Oliver Ullmann / cover art by Martin Oehm\n\nThe pit is just large enough to comfortably pace around, as far as you can do that with your humble assortment of extremities. All compass directions lead to nothing but towering grey walls. That's right, there's no exit, except maybe up. A slight draft hints that there must be an opening somewhere above. The walls just have to end somewhere.\n\nA feeble ray of light comes glistening down, painting a shifting pattern on the humid floor.\n\n[Author's Note: In a starlit age... ... a defeated warrior faces a world of blood and rust... ... an ancient guardian has nothing to protect but his own rage... ... a four-armed acolyte sacrifices his soul for vengeance... ... and as always, the stars shine unblinkingly upon the carnage.]\n\n> You look up\nThe walls grow upwards into darkness. Only a shining piece of metal can be seen far above, like a distant star.\n\nYou feel on the edge of starvation. You've felt this way since you woke up in this chamber. But you don't starve. Time has no meaning here. What is this, some obscure Buddhist hell?\n\n> About yourself\nYou have a head and a tail, and no, that doesn't make you a coin.\n\nYou can't see much of yourself, so you have to rely on your body sense: It feels as if you once had more appendages. It feels very awkward to move your tail. The connection between your head and tail feels flat-out wrong.\n\n> Up\nRight. You really want to get out of here. But you can't fly, you can't jump properly, you cannot even walk. Just slither.\n\n> You look at the head\nYou run your tail over your face - thank God there's no mirror in here. Your nose and ears are reduced to frayed stumps; your whole head feels like a skull thinly wrapped in wrinkled skin.\n\nA green ball of light drops into your pit. It is zipping back and forth at a dazzling speed. You're having trouble focusing on something so fast.\n\nThere, it stopped for a second: You see a green, iridescent carapace, six legs, antennae... the carapace opens, revealing wings. It is a beetle.\n\n> You eat beetle\nIt struggles fiercely, but finally the beetle finds itself wrapped up in your tail.\n\nSlowly, inch for inch, you pull the beetle into your mouth. Its helplessly beating wings tickle your face. Finally, it is in what counts as your stomach. You feel a flurry of bites from inside. You seize up.\n\nThe thing must die. Your belly gurgles.\n\nSynthesizing such a volume of acid screws up your weak metabolism big time. You faint, but just as you do you feel the carapace give in and dissolve. There will be food....\n\nYes. This is definitely preferable to starving.\n\nMore beetles have stumbled into your pit over time. You didn't catch them all, but you've become quite adept at hunting them. Hide - wait - pounce - eat. Your conscious mind has taken a back seat for a while.\n\nA short time ago, you did something important. You don't quite remember what; it's all a blur. But you do remember a sense of accomplishment.\n\nYou rest now. For the first time in ages you truly rest.\n\nWarm darkness embraces you. You are resting comfortably and fully relaxed, braced by a tightly-fitting shell. It feels maybe a little too tight.\nI beg your pardon?\n\n> You examine the tail\nActually half of your body, your tail is roughly one meter of emaciated and wrinkled wiggly-ness.\n\n> You eat the beetle\nIt struggles fiercely, but finally the beetle finds itself wrapped up in your tail.\n\nSlowly, inch for inch, you pull the beetle into your mouth. Its helplessly beating wings tickle your face. Finally, it is in what counts as your stomach. You feel a flurry of bites from inside. You seize up.\n\nThe thing must die. Your belly gurgles.\n\nSynthesizing such a volume of acid screws up your weak metabolism big time. You faint, but just as you do you feel the carapace give in and dissolve. There will be food....\n\nYes. This is definitely preferable to starving.\n\nMore beetles have stumbled into your pit over time. You didn't catch them all, but you've become quite adept at hunting them. Hide - wait - pounce - eat. Your conscious mind has taken a back seat for a while.\n\nA short time ago, you did something important. You don't quite remember what; it's all a blur. But you do remember a sense of accomplishment.\n\nYou rest now. For the first time in ages you truly rest.\n\nWarm darkness embraces you. You are resting comfortably and fully relaxed, braced by a tightly-fitting shell. It feels maybe a little too tight.\n\n> You examine the shell\nThe shell fits you tightly, like a second skin. It is warm and moist.\n\n> You exit\nYou stretch vigorously and break through the walls around you. They crack easily, like old tree bark.\n\nYour familiar pit feels much tighter now. You can actually touch opposite walls with your legs. It must all have been a matter of perspective. Or rather size.\n\nThe torn remains of a cocoon are clinging to one corner of the pit.\n\nA feeble ray of light comes glistening down, painting a shifting pattern on the humid floor.\n\n> You examine the pattern\nIt looks like a face. It always looks like a face.\n\n> You examine the legs\nWhat wonderful legs you have, four of them: The toes are especially beautiful. Unfortunately they're not quite made for fine manipulation of things.\n\n> About you\nYour physique resembles that of a salamander or maybe a velvet worm. You tail is longer now (and does not make up the whole of your body), and you have four stubby legs. Your skin, at least what you can see of it, is smooth and dirty grey in colour.\n\n> You look at the head\nYour face/snout is somewhat elongated. No nose or ears are sticking out, but you can hear and smell nonetheless.\n\n> You eat the cocoon\nYou wolf down the leathery remains. They taste bland, like skin or hair does, but you might get a little nourishment from it.\n\nEaten.\nI beg your pardon?"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nYour familiar pit feels much tighter now. You can actually touch opposite walls with your legs. It must all have been a matter of perspective. Or rather size.\n\nA feeble ray of light comes glistening down, painting a shifting pattern on the humid floor.\n\n> Up\nIt's all so easy now. With each of your four legs pressed against the opposing walls, climbing out of the pit is a breeze.\n\nThousands of octagonal pits are arranged around you in a neat geometrical pattern. One of them was yours - you're not sure if you could find it again in the uniform masses - but that doesn't matter any more.\n\nA huge metal dome is overarching the whole room. It is ancient and rusty; light is seeping in through a series of cracks in the ceiling.\n\nA towering door is embedded in the east wall.\n\nA peculiar piece of metal is stuck in the dome near the floor - a clawed arm.\n\n> You examine the arm\nThis silver arm ends in a vicious claw. It has withstood the ravages of time better than the rusted dome - or it is just not as old. It is wedged claw-first into the wall.\n\n> You look at the door\nIt's the size of a castle gate and thicker than your shoulders are wide. You don't think you could move its wings one bit. Fortunately the door is slightly ajar, wide enough for you to slip through.\n\n> You take the arm\nTaken.\n\n> You look at the Claw\nThis silver arm ends in a vicious claw. It has withstood the ravages of time better than the rusted dome - or it is just not as old.\n\n> You wear it\nYou can't wear that. You must be thinking of a different game...\n\n> Examine dome\nEvery square inch of the gargantuan hemisphere is covered by patches of flaking rust. It is cracked in a few places.\n\n> You look at the pit\nThere are thousands of identical-looking pits like your own. They seem to be all empty except for dust and bones.\n\n> Go east\nDecrepit light bulbs drench this spacious east-west tunnel in a sickly yellow light. The walls and ceiling are stained with large patches of corroded metal. Most of the floor is taken in by a wide conveyor belt, with only small walkways on either side.\n\nA glinting heap of scrap metal is piled up near the eastern end of the corridor.\n\nThere's something next to the scrap heap - a lizard is cowering there, eyeing the silver shreds suspiciously. Its scales camouflage it almost perfectly against the rough walls. Casually, without any sign of surprise, its scaly head rises towards you.\n\nYou shouldn't be able to interpret a lizard's facial expression, but somehow you do. The look it shoots you is one of close scrutiny.\n\nYour gazes lock for a moment, then the lizard's attention wanders back to the scrap heap.\n\n> You examine the lizard\nThe outline becomes clearer as you take the time to study the creature. It is indeed a lizard, and a pretty large one at that.\n\nThe lizard finishes its inspection. It seems content.\n\nThe lizard's scales shift to perfect the camouflage. It is gone; you don't feel its presence any more.\n\n> You look at the scrap\nOn closer inspection, the scrap heap turns out to be a robot, or at least a large part of one. The left arm is missing from its well-armoured humanoid body. The intricate mesh of overlapping armour plates is truly mesmerizing. Many of the segments are edged or tapered, marking this as a fearsome fighting machine.\n\nYes, that must be its purpose. Its empty, expressionless face stares at you.\n\n> You put the Claw on the robot\nIt doesn't miraculously reattach itself; it just clatters on the floor.\n\n> You take the Claw\nTaken.\n\n> You examine the robot\nThe robot's left arm is missing from its well-armoured humanoid body. The intricate mesh of overlapping armour plates is truly mesmerizing. Many of the segments are edged or tapered, marking this as a fearsome fighting machine.\n\nYes, that must be its purpose. Its empty, expressionless face stares at you.\n\n> You eat robot\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nDecrepit light bulbs drench this spacious east-west tunnel in a sickly yellow light. The walls and ceiling are stained with large patches of corroded metal. Most of the floor is taken in by a wide conveyor belt, with only small walkways on either side.\n\nA lifeless robot is slumped near the eastern end of the corridor.\n\n> You examine the belt\nThe conveyor belt is almost as wide as the corridor. It looks as if it hasn't run for a millennium.\n\n> Go east\nThe corridor ends at a t-junction, separating into two smaller tunnels running north and south. Both tunnels have conveyor belts over the full width of the floor.\n\nThe southern tunnel's conveyor is out of order, whereas the northern tunnel's conveyor is running at maximum speed to yank whatever is put there through a weirdly sputtering machine and then further north.\n\n> You look at the machine\nDespite some asthmatic coughing and grinding noises, the machine is still going strong. Its interior is jam-packed with rusty but still deadly saw blades. The blades are alternately extended and retracted in a regular pattern, cutting anything on the conveyor into small bits.\n\nThree saw-blades extend into the machine's interior, stopping just an inch above the conveyor.\n\n> You go south\nThe tunnel ends here abruptly, as if it snapped in two. You stand at its fringed edge, facing a vast dark sky, overlooking a grey wasteland.\n\nThis is the first time you see the world outside. You are far up on a mountain; your view of the stars is almost unobstructed by things like atmosphere. Far below you, a storm is brewing over a wooded crater filled with roiling, writhing fog.\n\nMixed with the howling wind, cries of primal creatures are carried to you through the thin air. Your heart speeds up. You wish to walk among them, tearing and rending. You wish for claws.\n\n> You look at the stars\nThe constellations are utterly unfamiliar to you, but that doesn't detract from their majesty. A blue swirling gas giant looms huge on the horizon, with a distant sun just rising behind it.\n\n> You go north\nThe corridor ends at a t-junction, separating into two smaller tunnels running north and south. Both tunnels have conveyor belts over the full width of the floor.\n\nThe southern tunnel's conveyor is out of order, whereas the northern tunnel's conveyor is running at maximum speed to yank whatever is put there through a weirdly sputtering machine and then further north.\n\nThree saw-blades extend into the machine's interior, stopping just an inch above the conveyor.\n\n> You look at the machine\nDespite some asthmatic coughing and grinding noises, the machine is still going strong. Its interior is jam-packed with rusty but still deadly saw blades. The blades are alternately extended and retracted in a regular pattern, cutting anything on the conveyor into small bits.\n\nFour circular blades swoop down from the right interior wall of the meat grinder.\n\n> Go north\nAs soon as you get onto the running conveyor belt, you are sent into the meat grinder.\n\nSeveral blades descend down on you. Your arms and legs are severed as you are pushed right through the spinning steel. Another blade hits your bowels, rips right through your chest, and finally splits your skull.\n\n> You put the arm in the machine\nThe clawed arm is immediately propelled into the meat grinder.\nA loud clang emerges from the machine, followed by a grinding screech. The machine coughs up a cloud of black smoke, but continues running, although at a different pitch.\n\nA trio of blades starts to emerge from the left side of the meat grinder, but grinds to a halt after just a few inches. A burst of sparks showers the conveyor belt, but the way through the machine was free for a second.\n\n> You look at the machine\nDespite some asthmatic coughing and grinding noises, the machine is still going strong. Its interior is jam-packed with rusty but still deadly saw blades. The blades are alternately extended and retracted in a regular pattern, cutting anything on the conveyor into small bits.\n\nA trio of blades starts to emerge from the left side of the meat grinder, but grinds to a halt after just a few inches. A burst of sparks showers the conveyor belt, but the way through the machine was free for a second.\n\n> You go to the north\nAs soon as you get onto the running conveyor belt, you are sent into the meat grinder.\n\nYou try to lie down as flat as you possibly can while a set of blades moves in your direction. Rusty teeth rend at your scalp, but an anxious second later you are through with only minor lacerations.\n\nTwo meters of conveyor later, you are dropped into a gaping hole in the floor. The world gets dark abruptly as you slide down some sort of chute cut into raw stone. The abrasive surface starts ripping the flesh from your bones. You cannot stop. The pain gets worse with every metre of bloodied rock.\n\nA faint light shoots towards you from below. Cool air embraces you as you enter free fall. The breeze alleviates the hurt a little.\n\nA dim greenish glow comes ever closer. Then you hit something.\n\nYou pick yourself up from a pool of crusted blood on the cool stone floor. Your wounds are scabbed now; you don't know for how long you've been out. You guess it must have been quite a while: your old friend Hunger is back with a vengeance.\n\nFluorescent mushrooms on the walls are spreading a weak green glow. Stumbling around in the gloom you find yourself in a small square chamber. It is all but featureless except for patches of fungi everywhere. The ceiling is out of sight.\n\n> You listen\nYou hear the distant rumble of machinery from above.\n\n> You eat the fungi\nThe mushrooms are extremely bitter, but your ravenous hunger compels you to stuff down more and more. A tingling sensation crawls up from the back of the throat. Black spots are dancing before your eyes. Your stomach cramps. You are about to throw up, but your throat just blocks it. It is heavily swollen. Your scalp tingles.\n\nYou shudder, and the shudder intensifies into uncontrolled spasms. You find yourself on the floor, throwing yourself around, cringing in pain. As your body locks in a full on cramp, you see a pair of scaly feet directly in front of your eyes. You again.\n\nIt is hard to describe the feeling of poison working its way through your organs, leaving swaths of dead or dying tissue behind. Your body is working on its limits to keep from flatlining. But it lives. It recovers. It adapts.\n\nEuphoric, you eat some more of the venomous fungi. This causes some more cramps, but they are nowhere as severe as before. You eat some more, only vaguely conscious of the savage grin on your face.\nI beg your pardon?\n\n> You take the fungi\nTaken.\n\n> Inventory\nYou are carrying:\nsome loose mushrooms\n\n> You look at the mushroom\n(the loose mushrooms)\nMost of the caps are about the size of your foot. The different parts of the fungus are easily discerned because the intensity of the glow varies, the gills being the most luminescent.\n\n> About you\nYour physique resembles that of a salamander or maybe a velvet worm. You tail is longer now (and does not make up the whole of your body), and you have four stubby legs. Your skin is raw and scabbed.\n\nOut of thin air, the lizard you've encountered before appears. It's leaning against the south wall.\n\n> You examine the lizard\nIt is completely uncloaked this time. Its posture screams a mixture of contempt and boredom in your direction.\n\n> You talk\nYou can only do that to something animate.\n\n> You examine the mouth\nFluorescent mushrooms on the walls are spreading a weak green glow. Stumbling around in the gloom you find yourself in a small square chamber. It is all but featureless except for patches of fungi everywhere. The ceiling is out of sight.\n\nThe lizard is here, leaning against the south wall.\n\n>You can't see any such thing.\n\n> You touch the lizard\nKeep your hands to yourself!\n\nThe lizard snaps into a bipedal fighting stance, giving you a mocking wave. Bring it on.\n\n> Smell\nThe mushrooms have a strong smell of almonds.\n\nThe lizard pops its knuckles impatiently.\n\n> Kiss lizard\nKeep your mind on the game.\n\n> Smell lizard\nIts breath reeks of warm fresh blood.\n\nThe lizard snaps into a bipedal fighting stance, giving you a mocking wave. Bring it on.\n\n> You give the mushroom to the lizard\n(the loose mushrooms to the lizard)\nThe lizard doesn't seem interested.\n\n> Attack lizard\nYou lash out at the lizard with all your fury, and it doesn't move out of your kick's way. But, just at the moment when you expect your foot to connect, it has vanished.\n\nYou kick the south wall with your fore leg. It sounds hollow.\n\n> You kick the south wall\nYou attack the stone in front of you with wild abandon. You toil away until your legs fail and you have to use your head to bash down the wall. Finally, your triumphant howl echoes through the chamber as your head bursts through.\n\n> You go to the south\nYou emerge into a large spiry flowstone cave. Several possible exits lie before you. A plethora of sensation assaults your brain: the chilly draft, full of moisture. The smell of algae. The sound of running water. The rustling of unknown creatures.\n\nOverjoyed, you set out to hunt.\n\nLike many grand endeavours, it begins with you waiting for your ship to arrive. Standing with your two pairs of arms crossed in front of docking hatch A12, watching the depth of space. Waiting for your ride into battle.\n\nStaring through the narrow armoured window you go through inventory lists and ingredients that need to be restocked for the hundredth time. Just in case the galaxy decides not to go down in flames over the next few days. Just a pipe dream.\n\nA silver dot separates from the Grand Curve - the crystalline belt among the nearest planet, not the bar - and grows rapidly in front of your eyes. They are here.\n\nThankfully most of the docking procedure is automated. Only the truly desperate or foolish are still around.\n\nDocking hatch A12 opens with a hydraulic scream.\n\n\"Out of my way, D'heg.\" D'heg - herbivore, cattle. Most likely used in a derogatory way here. The speaker, a hard-bodied Scoiar, is shouldering her way past you. The look on her face might make a granite slab flinch.\n\nAnother Scoiar smiles at you from the open hatch and waves you closer.\n\n\"Please don't mind my sister's manners. She's trying to work up a rage, for the Wrathblade.\n\n1) \"What's a Wrathblade?\"\n\n2) \"Now who are you?\"\n\n3) \"It's all right. I'm Khemgi.\"\n\n> 1\n\"A psychic weapon. They have a long tradition among us Scoiar, but they're exceedingly rare these days. Basically, a Wrathblade draws on the wielders anger and hate to generate destructive power. Most of the time, a Wrathblade looks just like a small crystal dagger, but when the wielder is really pissed, the blade becomes larger and more powerful. When a Wrathblade is fuelled with true righteous fury, it can cut anything. Or so the elders say.\"\n\n1) \"What's your name?\"\n\n2) \"I'm Khemgi.\"\n\n> 1\n\"My name is Kaya. We're here to get a load of weapons for Xiar's Kluster. The angry one that just rushed past you is my sister Moera. You must be Khemgi. I take it you're with us?\"\n\n\"I am.\"\n\n\"Listen, we don't know exactly in how much trouble Xiar's people are. Things could get pretty hairy. So if you'd prefer to stay here...\"\n\n1) \"There's not much of a choice, really. If we don't fight now, we'll soon have nothing worth fighting for.\"\n\n2) \"The Great Mother wants me to join you, so I do.\"\n\n3) \"I'm actually pretty scared, but I'll do my best.\"\n\n> 3\n\"We're all scared. Even Moera, though she's working hard to conceal it. Anyway, welcome to the crew!\"\n\nAfter you've exchanged some awkward looks with Kaya, the angry Scoiar - Moera - returns. Her mood definitely hasn't improved.\n\n\"Where's the owner of that shitty bar?\" she hisses. \"I need a drink, dammit!\"\n\n1) \"Hey, you're still pissed! Good.\"\n\n2) \"That would be me, then.\"\n\n3) (slip her a bottle of liquor) \"Don't tell anybody.\"\n\n4) (ignore her)\n\n> 4\nThere's a moment of tense silence.\n\n\"OK, let's get the weapons on board\", Kaya says. \"Khemgi, would you lend me a hand here please?\"\n\nKaya points at the crate of slug throwers. \"We need to get a few of those ready. We don't have a lot of weapons ourselves.\"\n\nYou start to unpack and load a few of them and distribute them among the crew.\n\n\"Have you ever used one of those? I mean, I've played some holo-games, but that's not the same thing, is it?\", Kaya asks.\n\n1) \"A game can't teach you what it's like to kill.\"\n\n2) \"A game can't teach you how to kill.\"\n\n3) \"Sure it's the same. I know how to load, aim, shoot... I'll show you!\"\n\n> 1\nKaya nods, unconvinced.\n\nMoera emerges from the cockpit. \"Everybody listen up! This is now officially a combat mission. We've just received a distress call from Xiar's Kluster. They are in deep trouble.\"\n\n\"It looks like a bad case of Machine infestation. The outbreak must have been triggered by our approach. The Machines are trying to take over the colony before clean supplies and weapons arrive. All docked spacecraft are infected and unusable. The people of the Kluster are being slaughtered!\"\n\n1) \"Machine infestation?\n\n2) \"Why are the ships unusable?\"\n\n> 2\n\"They're already completely infected. They either don't open their hatches at all, or they'll self-destruct soon after the start. I've seen it happen.\"\n\n1) \"Machine infestation?\n\n> 1\n\"Yes. Their equipment is turning against them. Exosuits act on their own accord, guns don't fire at all or go off in the wrong moment, doors smash people... It's a nightmare. In our colony...\"\n\nShe hesitates. Her face is tense.\n\n\"We had a fully computerized security system. Autoturrets and cameras everywhere. We thought we were safe. But then...\"\n\n\"First the guns just went amok, but then they developed a system for the killing. We were herded like cattle, driven by some animated Exosuits. Some of the suits had dead bodies in them. They prodded the survivors into the airlocks...\"\n\n\"Maybe they were out of ammunition at the time. At least that's what we were hoping when we made our attack. Can you imagine the helplessness? Not being able to use all the stuff you took for granted all your life? We were down to using sticks and stones against Exosuits! They feel no pain, no nothing. It took ten of us to down a single one of those bastards...\"\n\n1) \"How did you survive?\"\n\n> 1\n\"We fled into the waste tunnels. They tried to torch the main tubes, but we hid in the nooks and crannies. Then the spiders came for us...\"\n\n\"They decimated us slowly. I can't remember much, I must have been mostly... gone or something. Finally your people came and pulled me out of my hiding place screaming and kicking. They'd cleared the place from the Machines.\"\n\n\"Nobody should have to suffer this.\"\n\nThe pilot's voice blares out of the intercom.\n\n\"Attention! We've got new orders!\n\nThe elders have decided to abandon the colony. Our main priority will be the colony's Warrior Seed. We dock, get the seed, cram as many survivors into our ship as possible, and make a run for it.\"\n\nYou and Kaya look at each other.\n\n1) \"They have a Warrior Seed too?\"\n\n> 1\n\"Yes. I've heard our last one was lost somehow, so we put a lot of hope into Xiar's. The spirit in the Kluster's seed must be really bad-ass, according to the legends I've been told.\"\n\n1) \"I know how our seed was lost.\"\n\n2) \"Tell me about the spirit of Xiar's Seed.\"\n\n> 1\nKaya looks surprised. \"And...?\"\n\n1) \"I gave it to a human. He failed.\"\n\n2) \"I gave it to a human. He tried his best, but he was badly wounded in battle. I trust he's still fighting hard for us.\"\n\n> 2\nKaya frowns. She opens her mouth to speak, but thinks otherwise.\n\n1) \"Tell me about the spirit of Xiar's Seed.\"\n\n> 1\n\"Have you heard the stories about the World Flayer? I think she had a proper name too, but everybody just called her that. She was one of the greatest generals in the Starbirth Empire. During the Rebellion, she executed whole planets for treason. Everybody feared her, friends and enemies alike, but she was absolutely loyal to the Emperor. She was like his bloodhound.\"\n\n\"But the times were hard, so they had to use her, right? I mean, she's killed scores of enemies with her own hands. Her army was unstoppable!\"\n\n\"But I don't envy the poor soul that merges with her. It must be an exceptional individual to contain this spirit and keep it in check.\"\n\n1) \"How did the World Flayer die?\"\n\n2) \"Do we have a candidate for the Seed?\"\n\n> 1\n\"I've heard the Empress had her killed. A nameless sniper shot her in the midst of battle. One of the World Flayer's own warriors.\"\n\n1) \"Do we have a candidate for the Seed?\"\n\n> 1\n\"As you know, certain species are better suited for the job than others. We've never seen a Madagakkur or Scoiar survive a merge. I don't know how humans take it. Our best guess would be to find one of the old race. The Great Mother will know.\"\n\nThe pilot's voice again. \"The sky around the Kluster is clear. No spacecraft around. No signs of regular Machine troops.\".\n\n\"OK, they've managed to get a docking port open. A group of Kluster people is rushing to meet us there. They have the Seed!\"\n\n\"Screw the regular docking routine. Brace yourselves; this is gonna be rough!\n\nYou've grown.\n\nYou've fed.\n\nYou've become the scourge of this little section of caves. The top of the food chain.\n\nBut you don't grow any more. The bugs and mushrooms and fish no longer satiate you. You need bigger prey.\n\nTime to quit playing it safe. You cannot get any better prepared than this.\n\nThe rock is getting thin where you're standing right now. Your fingers and toes are clinging tightly to a giant limestone needle pointing northwest. At some point in the past, this might have been part of a natural bridge that would have lead to further hunting grounds. Now it just ends at a thin point in mid-air above a raging underground torrent.\n\nFingers? You finally have some. You can also walk on two legs if you take the effort. Not that it's been of much use yet. And still no claws.\n\nThe inky stream below generates a deafening noise, distorted and amplified by the sheer canyon walls. On the opposite side of the rift, you can glimpse some nooks and crannies in the wall. Caves maybe?\n\nYou've regarded this point as a dead end until now. But with all other dead ends being really dead ends, this here is just an obstacle. It's time to take the leap.\n\n> About yourself\nYou're not quite human, but you can walk on two legs if you want. Your front leg pair has transformed into a pair of arms with five-digit hands, but your tail is still present and actually comes in pretty handy for balancing. You skin is smooth and of a nondescript, slightly camouflaging grey.\n\n> You jump\nIn a valiant attempt at elegance, you leap. Each of the following free fall seconds makes you question your wisdom, though. Your body stiffens. You might at least go out well-poised. And not screaming.\n\nThe impact pushes your eyeballs into your head. Only icy water and bubbles around you. Good. At least the water was deep enough. The stream pulls you with it for a stretch before it slows down and allows you get your bearing again.\n\nThe north-south torrent has slowed to a manageable pace here. The river is braced by steep canyon walls, so your only options are to follow the river or try swimming upstream.\n\nA series of shrieking howls cuts through the air, ping-ponging between the walls. They must come from somewhere above. A cave maybe?\n\n> You go to the north\nThe river quickly narrows as you swim upstream. The current is also getting a lot stronger very quickly; You cannot overcome it. You're stuck to this part of the river.\n\n> You go to the south\nYou allow your body to drift downstream, towards the promise of new prey...\n\n...and thus ends the IntroComp version of this game.\n\nThe full version will include:\n- further body enhancements\n- wild combat action featuring our favourite four-armed barkeeper\n- a climatic battle with Wiseguy fighting for his very mind and soul\n- and much more.\n\nFang Vs. Claw - Coming to a glulx interpreter near you this fall.\n\n> Xyzzy\nMore like IDKFA.\n\n> Idkfa\nA not-so-hollow voice says, \"There you have it. Just don't complain if you break the game.\"\n\nA gargantuan, multi-barreled gun materializes in front of you.\n\n>A not-so-hollow voice says, \"There you have it. Just don't complain if you break the game.\"\n\nA gargantuan, multi-barreled gun materializes in front of you.\n\n> You examine the gun\nThe ultimate in man-portable weaponry, the BFG 8999 features half a dozen glinting barrels attached to a pneumatic shoulder stock.\n\nIn short, it's a big f***ing gun. It is humming happily with energy.\n\n> You shoot the river\n(with the BFG 8999)\nYou squeeze the trigger and the BFG's low hum turns into an earth-rending drone. A sharp hiss releases a miniature sun, which, at an almost leisurely pace, hovers towards water. A choir of atomic deconstruction sounds as water is completely engulfed in plasma.\nAs the glow slowly wanes, you see that water has been completely obliterated. (Except maybe from the room descriptions, that is.)"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nThe north-south torrent has slowed to a manageable pace here. The river is braced by steep canyon walls, so your only options are to follow the river or try swimming upstream.\n\nA series of shrieking howls cuts through the air, ping-ponging between the walls. They must come from somewhere above. A cave maybe?\n\n> You go to the north\nThe river quickly narrows as you swim upstream. The current is also getting a lot stronger very quickly; You cannot overcome it. You're stuck to this part of the river.\n\n> You shoot tail\n(with the BFG 8999)\nIt takes an anxious second of delay while the BFG heats up, but then, finally, you dissolve into an excstatic burst of subatomic particles.\n\n> You examine the wall\nThe canyon walls are littered with holes and dents. One or two might be caves, the rest just small crevices. There's something cowering on a ledge above. A creature.\n\n> You examine creature\nIt's four-legged, and albinoid, like most animals here. From the distance, it looks like a cross between a white tiger and a porcupine. White and feline, yet with numerous spikes.\n\nNow this looks like decent prey. Reminds me of a sort of critter I've battled in the arena. They were called Spine Beasts. This specimen looks a bit malnourished though. It shouldn't give you much trouble.\n\nThose words... they were in your head, but they weren't yours.\n\nThe Spine Beast ducks into a cave above, out of sight. The howling ceases.\n\n> You shoot cave\n(with the BFG 8999)\nYou squeeze the trigger and the BFG's low hum turns into an earth-rending drone. A sharp hiss releases a miniature sun, which, at an almost leisurely pace, hovers towards the ledge. A choir of atomic deconstruction sounds as the ledge is completely engulfed in plasma. As the glow slowly wanes, you see that the ledge has been completely obliterated. (Except maybe from the room descriptions, that is.)\n\n> Shoot gun\n(with the BFG 8999)\nYou squeeze the trigger and the BFG's low hum turns into an earth-rending drone. A sharp hiss releases a miniature sun, which, at an almost leisurely pace, hovers towards the BFG 8999. A choir of atomic deconstruction sounds as the BFG 8999 is completely engulfed in plasma.\nAs the glow slowly wanes, you see that the BFG 8999 has been completely obliterated. (Except maybe from the room descriptions, that is.)\n\n> Idkfa\nA not-so-hollow voice says, \"There you have it. Just don't complain if you break the game.\"\n\nA gargantuan, multi-barreled gun materializes in front of you.\n\n> You examine the gun\nThe ultimate in man-portable weaponry, the BFG 8999 features half a dozen glinting barrels attached to a pneumatic shoulder stock.\n\nIn short, it's a big f***ing gun. It is humming happily with energy.\n\n> You shoot south\nTaken.\n\n>(with the BFG 8999)\nPlease give a specific target."
    },
    {
        "text": "[Themes: Science Fiction]\n\n\"Please ... please hurry. My suit's almost out of air.\"\n\n\"I'm almost to you. I've just left my buggy at the gate you described. How in the world did you find these ruins?\"\n\n\"Keep going ... there's a fountain up ahead. I'm ... leaning against the side facing away from you.\"\n\n\"I can see the fountain. I'm approaching you now.\"\n\n\"Thank you. Thank you. I thought I was going to die out here.\"\n\n\"Uh ... there's nothing here. Is ... are there more fountains?\"\n\n\"...\"\n\n\"Hello?\"\n\n\"Sucker.\"\n\nYour pressure suit's short-range radio goes dead as the communication dies. Then, all you can hear is the sound of your own breathing.\n\nEarthlight sheds a dim glow across the tall spire and broad basin of an empty fountain. The fountain is ringed with recessed lamps, but the lamps are currently off. The tall shadows of buildings block out the stars in all directions except west and south (the way you just came).\n\nYou can see a fountain (empty) here.\n\n[Author's Note: You are an employee of Prometheus Corp, on the Moon, wearing a pressure suit but carrying nothing. Following a bogus distress call into some ruins, you discover your moon buggy has been sabotaged by someone from Titan Corp, leaving you stranded. Floating far above you is a Prometheus Corp shuttle. If only there was some way to signal it!]\n\n> You check what you're carrying\nYou are carrying:\na pressure suit (being worn)\n\n> You examine the suit\nIt's a basic but serviceable model - large and bulky, with a built-in short-range radio. The orange and grey logo of the Prometheus Corporation is printed prominently on the chest.\n\n> You examine the fountain\nThe fountain is empty.\n\n> You go west\nObscured by the tall buildings of the city, no earthlight illuminates the area. You don't dare face unseen obstacles with no illumination.\n\n> You examine the earth\nIt's absolutely beautiful.\n\n> You take Earth\nThe Earth is too far away.\n\nThat's hardly portable.\n\n> You remove the suit\nThe  Moon's atmosphere is far too thin for you to breathe.\n\n> Go south\nBy the time you make it back to the gate of the mysterious city, you find an unpleasant welcome. Peeling away from the gate in a cloud of moon dust you see a lunar rover emblazoned with the logo of the Titan corporation, an exploratory rival to your own employer. You prepare to sprint to your own buggy, only to discover that it has been badly damaged.\n\nSomeone, likely the \"man in distress\" whom you just tried to save, has taken a plasma welder to your buggy. Its tires and radio are completely destroyed, leaving you stranded in this beautiful but empty ruin and completely unable to contact your coworkers in the Prometheus Corp shuttle floating overhead.\n\nYou look up at the shuttle, plainly visible in the earthlight but too far away to stand any chance of seeing you. You turn back toward the retreating form of the rover, barely visible now. Assured now that you will be stranded here for hours before the shuttle begins to worry about your safety, Titan will report exclusive discovery of this ruin, leaving you and your company in the dust.\n\nImmediately your mind begins to race, seeking a way to signal the shuttle. If only that spotlight overhead were pointed upward! If only it were turned on....\n\nThis is the entrance to the mysterious city where you arrived in response to the distress call. There is no pressure dome, leaving the dusty streets exposed to near-vacuum, but the buildings have the tall, rectangular shapes familiar to you from the Tokyo skyline. Only the blue marble of the Earth high above sheds any light on your surroundings.\n\nThere's a doorless building to the east.\n\nA massive gate stands wide open to the south. A waist-high pedestal stands at the center of the gate, apparently preventing it from ever closing. There is a tall spotlight nearby, but the spotlight is off.\n\nYou can also see a moon buggy (empty) here.\n\n> You examine the spotlight\nThe spotlight is mounted on a tall pole and pointed down at the vacant pedestal.\n\n> You look at the buggy\n(the moon buggy)\nYour simple but trusty moon buggy is out of commission. Its tires have been utterly slagged under plasma fire, its rims partially melted and resting in the dust. While the battery housing is still intact and the dashboard controls look like they probably work, your saboteur took pains to specifically melt the long-range radio transmitter.\n\n> You examine the dashboard\nThe dashboard is mostly intact, though it looks like your friend from Titan decided to shoot a hole in your radio controls, rendering them as useless as the transmitter. The only thing you could really operate to any effect at this point are the headlights.\n\n> You look at the headlights\nThe headlight switch is currently in the \"off\" position.\n\nThe headlight switch is currently switched off.\n\n> You turn on the headlights\nThe headlights of the ruined buggy flare to life, casting light into the opening of the building to the east.\n\n> Go east\nThis building is more like an alcove - hardly big enough to call itself a building at all, for all that it has three walls and a doorway leading back outside.\n\nYour buggy's bright headlights are visible through the doorway to the west.\n\nThere's a control panel mounted to the back of the wall. In the dim radiance cast by the buggy's headlights, you can make out three switches on the panel. The switches are labelled \"Gate\", \"Plaza\", and \"Residential\".\n\n> You pull the gate\nNothing obvious happens.\n\n> You pull the switch\nWhich do you mean, the power switch labelled \"Gate\", the power switch labelled \"Residential\" or the power switch labelled \"Plaza\"?\n\n> You examine the panel\nThere are three switches on the panel. All three switches are in the OFF position.\n\n> You switch on Gate\nAs you flip the switch to provide power to the gate, a bright light comes on from behind you, where you left your buggy.\n\n> You switch on Plaza then switch on the Residential\nAs you flip the switch to provide power to the plaza, the gate power switch clicks off.\n\nAs you flip the switch to provide power to the residential area, the plaza power switch clicks off.\n\n> You go to the west\nThis is the entrance to the mysterious city where you arrived in response to the distress call. There is no pressure dome, leaving the dusty streets exposed to near-vacuum, but the buildings have the tall, rectangular shapes familiar to you from the Tokyo skyline. To the north and west, you glimpse a yellow glow.\n\nThere's a doorless building to the east illuminated dimly by your buggy's headlights.\n\nA massive gate stands wide open to the south. A waist-high pedestal stands at the center of the gate, apparently preventing it from ever closing. There is a tall spotlight nearby, but the spotlight is off.\n\nYou can also see a moon buggy (empty) here.\n\n> You go west\nYou try a door to the west and find it locked.\n\n> Go north\nEarthlight sheds a dim glow across the tall spire and broad basin of an empty fountain. The fountain is ringed with recessed lamps, but the lamps are currently off. The tall shadows of buildings block out the stars in all directions except west and south.\n\nYou can see a fountain (empty) here.\n\n> Go west\nRows of elegantly-designed but otherwise spartan buildings line this road. The lack of any furnishings, vehicles, or signage increases the eerily sparse feel of the place.\n\nYou can see a box of crockery here.\n\n> You examine the crockery\nA cardboard box lies on its side on the ground here. Broken ceramic spills from its opening.\n\n> Search box\nYou open the box, immediately prompting a small avalanche of broken dishware. Delicately pawing through the rubble, you are able to find only a single intact dish. You pick it up.\n\n> You examine the dish\nThe dish is somewhere between a shallow bowl and a high-sided plate. Tiny blue flowers are painted around the edge.\n\n> You move the box\nIt is fixed in place.\n\n> You check your inventory\nYou are carrying:\na china dish\na pressure suit (being worn)\n\n> You throw the dish\nYou carefully set the dish down.\n\n> You take the dish\nTaken.\n\n> Go east\nEarthlight sheds a dim glow across the tall spire and broad basin of an empty fountain. The fountain is ringed with recessed lamps, but the lamps are currently off. The tall shadows of buildings block out the stars in all directions except west and south.\n\nYou can see a fountain (empty) here.\n\n> You switch on the Plaza\nAs you flip the switch to provide power to the plaza, the residential power switch clicks off.\n\n> You go to the west\nThis is the entrance to the mysterious city where you arrived in response to the distress call. There is no pressure dome, leaving the dusty streets exposed to near-vacuum, but the buildings have the tall, rectangular shapes familiar to you from the Tokyo skyline. To the north, you see dancing rainbow lights.\n\nThere's a doorless building to the east illuminated dimly by your buggy's headlights.\n\nA massive gate stands wide open to the south. A waist-high pedestal stands at the center of the gate, apparently preventing it from ever closing. There is a tall spotlight nearby, but the spotlight is off.\n\nYou can also see a moon buggy (empty) here.\n\n> Go north\nA silvery, highly reflective liquid rises from the top of the fountain and flows down into the basin. The recessed lamps produce a panoply of delicate rainbow lights that dance softly around the plaza. The tall shadows of buildings block out the stars in all directions except west and south.\n\nYou can see a fountain (in which is a falling stream of mercury) here.\n\n> You put the mercury in the dish\n(first taking the falling stream of mercury)\n\nYou hold the china dish underneath the silvery stream. Within a few moments, the concave recess of the dish is filled with the heavy, shining fluid.\n\n> You drink the mercury\nWhich do you mean, the falling stream of mercury or the pool of mercury?\n\n> You put the mercury in the teeth\nWhich do you mean, the pool of mercury or the falling stream of mercury?\n\n> You switch on Gate\nAs you flip the switch to provide power to the gate, the plaza power switch clicks off.\n\nA bright light comes on from behind you, where you left your buggy.\n\n> You go west\nThis is the entrance to the mysterious city where you arrived in response to the distress call. There is no pressure dome, leaving the dusty streets exposed to near-vacuum, but the buildings have the tall, rectangular shapes familiar to you from the Tokyo skyline.\n\nThere's a doorless building to the east illuminated dimly by your buggy's headlights.\n\nA bright spotlight lances down upon a waist-high pedestal standing in the center of the gate.\n\nYou can also see a moon buggy (empty) here.\n\n> You put the dish on the pedestal\nYou carefully set the dish on the pedestal, adjusting it so that the beam of light from the powerful spotlight reflects off the silvery liquid and up toward your waiting ship.\n\nYou hold your breath with nervous anticipation as you see the spotlight's beam, unimpeded by the thin atmosphere, reach the far-distant Prometheus Corp shuttle. After a few seconds, you jostle the china dish, making the surface of the silvery liquid ripple and split the beam of light. You repeat this pattern for several minutes, a sick feeling slowly dawning on you that your attempt will fail.\n\nJust as you are about to lose hope, however, you see the shuttle fire a jet, changing its position. Your heart hammers in your chest as the shuttle maneuvers, and you have to resist crying out with joy as you see it release its spare buggy toward the surface of the moon. It's not too late after all, and those Titan bastards should have known you wouldn't give up without a fight...."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\nA rare moment of rest. Your mission to steal specifications of the MitKlein Encapsulation - the ID transponder embedded in every citizen's head, even yours - was successful, and you transmitted your report to Central early this morning. You expect a new assignment soon, even if it is only instructions to fall back into a cover identity, as you have been on the front lines of the underground struggle against Homeland Security nearly from the start. Giving up your birth identity and life, moving instead into the flickery half-existence of an underground operative, you've sabotaged, stolen, publicized, verified and fought for years now. Hopefully, this last mission means that a strategy to counter the government's ubiquitous tagging of citizens is being worked out at levels above your own head.\n\nFor now, you have found yourself a small quiet park in a quiet corner of the City.\n\nWelcome to the future. Every citizen has been scanned, chipped, folded, spindled and mutilated - and it's enough to make you scream.\n\n[LINK]\n\nPrimrose Street ends here in a small circular cul-de-sac. You're in a small green park to the north of this, bounded on its three other sides by high fences. A few trees rise over well-manicured grass. There is a curfew sign at the park's entrance.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south from here.\n\nThere is a Public Surveillance Notice here.\n\n[Author's Note: The creep of surveillance and control has continued unabated. Every citizen is required to have a chip implant which can definitively identify them to anyone with a scanner. You've spent years working with the underground as a hacker for hire, helping research and develop countermeasures to government surveillance. You've managed to steal information which will help the design of a cryptographic attack against the Mitsui-Klein Encapsulation that every citizen carries in their skull, which (if it works) will render the chip inoperative. Your own MitKlein signature was captured during your mission, however. Although you did your best to wipe all records of your MitKlein signature from all the databases you could find, if you let your chip be scanned by any system it is likely that Homeland Security will be after you immediately. Short term, you'll have to get off the street before curfew and figure out how to move around undetected - long term, you will have to bring the fight to Homeland Security itself.]\n\n> You read the notice\nA mounted sign which reads: PUBLIC SURVEILLANCE AREA. ALL ACTIVITY MONITORED FOR HOMELAND SECURITY.\n\n> About yourself\nYou're wearing basic clothing which is almost obsessively nondescript. You're average in nearly every physical respect - something which didn't win you many accolades growing up, but serves you well in your efforts to blend in with the conformist population through which you now move.\n\nYou're wearing a backpack.\nYou're carrying a multitool, a watch, and a phone.\n\n> You open it\nThat's already open.\n\n> You examine the phone\nA standard candybar model with a nice screen. Although you've disabled its voice calling functionality to make it less distracting, the lock screen is still active and tells you it is 7:31 pm. The back is blank metal save for a tiny icon of a waterdrop with a slash across it.\n\n> You get the notice\nThat's firmly mounted in place, by law.\n\n> Go south\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You read Notice\nA mounted sign which reads: PUBLIC SURVEILLANCE AREA. ALL ACTIVITY MONITORED FOR HOMELAND SECURITY.\n\n> You examine Spacescraper\nVisible in the distance above the surrounding buildings, the Reserve Bank Spacescraper is home to more than just the regional Reserve Bank. It is a two-hundred-level building containing all manner of businesses and government offices, as well as a hotel and several floors of extremely high-priced residential apartments. Centrally located Downtown, it boasts its own Transit station and a food court in its lower levels. Conventions and events are often held in its soaring Atrium, an open space within the building core which rises over fifty floors entirely indoors. It is several miles away.\n\n> Go north\nPrimrose Street ends here in a small circular cul-de-sac. You're in a small green park to the north of this, bounded on its three other sides by high fences. A few trees rise over well-manicured grass. There is a curfew sign at the park's entrance.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Primrose & Cedar from here.\n\nThere is a Public Surveillance Notice here.\n\nThere is a quiet tone from your phone and you feel a short vibration, indicating that an SMS message has arrived.\n\n> You read the sign\nA metal sign on a metal pole, it reads \"NOTE: PARK CLOSED DURING RESIDENTIAL AREA CURFEW - 8:00PM to 5:00 AM - NO LOITERING.\"\n\n> You read the sms\nMessage 1 reads: REPORT RECEIVED. MISSION SUCCESSFUL. ATTACK PROGRAM CREATED USING INFORMATION IN REPORT.\n\n> You read the sms\nMessage 2 reads: DANGER DANGER DANGER: OPERATIVE COMPROMISED DURING OPERATION. YOUR MITKLEIN CODE READ BY HOMELAND SECURITY. YOUR ID RECORDS DELETED BUT MITKLEIN CODE ALONE ENOUGH TO ID YOU AS\nTARGET.\n\n> You read the sms\nMessage 3 reads: NEW INSTRUCTIONS FOLLOW:\n\n> Examine watch\nA cheap digital, your watch reads 7:34 pm.\n\nThe watch might be more useful if worn.\n\n> You wear the watch\nYou put on the watch.\n\n> You read the sms\nMessage 4 reads: - YOU MUST FIND A WAY TO DISABLE YOUR MITKLEIN USING ATTACK PROGRAM WHICH WILL BE DELIVERED\n\n> You read the sms\nMessage 5 reads: - YOU MUST NOT BE IN SURVEILLED AREA DURING CURFEW WITH ACTIVE MITKLEIN OR SECURITY SWEEPS WILL IDENTIFY YOU AS\nTARGET\n\n> You read the sms\nMessage 6 reads: - YOU MUST NOT BE ID-SCANNED UNTIL MITKLEIN IS DISABLED\n\n> You read the sms\nMessage 7 reads: - ONCE MITKLEIN IS DISABLED, RETRIEVE DROP MESSAGE FOR NEW INSTRUCTIONS. CONTACT WILL LEAVE DROP MESSAGE NEAR FOUNTAIN IN GREEN COMMERCIAL.\n\n> You read the sms\nMessage 8 reads: - ATTACK PROGRAM AVAILABLE FOR DOWNLOAD BY NETBOOTING ANY COMPUTER WITH YOUR PHONE IN PROXIMITY\n\n> You read the sms\nMessage 9 reads: - THIS PHONE POSSIBLY COMPROMISED - IF IT ACQUIRES CELL SIGNAL IN ANOTHER AREA IT WILL BE LOCATABLE BY HOMELAND SECURITY - DISABLE ENTIRELY OR ABANDON BEFORE TRAVEL\n\n> You read the sms\nMessage 10 reads: GOOD LUCK. MESSAGE ENDS."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nPrimrose Street ends here in a small circular cul-de-sac. You're in a small green park to the north of this, bounded on its three other sides by high fences. A few trees rise over well-manicured grass. There is a curfew sign at the park's entrance.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Primrose & Cedar from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nPrimrose Lane continues to the north. To the south is a boarded-up empty house; sumac plants can be seen peeking over the top of the dilapidated fencing. The fence has a plastic tarp strung behind it which prevents you from seeing much of the house. To the west is a single-family home with a large warning sign and an enormous dog on the front lawn. To the east is a three-family residence's front path.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Primrose & Cedar and east from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the tarp\nA combination of cyclone fence and plastic sheeting, it blocks your view. You can hear rustling from behind it, as of people moving around furtively.\n\n> You examine the dog\nThis snoozing beast must mass thirty kilos or more. Its ancestry appears to include Mastiff, Doberman Pinscher, Rottweiler and tribble. You have no desire to get anywhere near it.\n\n> Go east\nThis front path is paved with cracked flagstones. Primrose Lane is to the west, a three-family building is to the east, and the building's side yard is to the northeast.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go northeast, east through the House door (closed), and west to South Primrose Lane from here.\n\nThere is a Public Surveillance Notice here.\n\n> You open the door\nYou open the House door.\n\nThe automatic door slides closed.\n\n> You go east\n(first opening the House door)\n\nThe slightly shabby front lobby of this multi-family building. A door leads outside to the west, gated stairs leading up to the upper two floors are to the east, and an apartment door is to the south.\n\nA small post-it note is stuck to the door of Apartment 1.\n\nYou can also see a newspaper and a pamphlet here.\n\nYou can go south through the Apartment door (closed) and west through the House door to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You read the note\nA short scribble, which reads \"The techs were by to turn off your water. Have a nice vacation!\"\n\n> You read the newspaper\nToday's front-page headline is: Homeland Security convention to be held this week at the Reserve Bank Spacescraper. \"The best and\nthe brightest of the various Homeland Security agencies will meet in the Reserve Bank Atrium this week to receive presentations on new security initiatives and to discuss the state of the art in security technology.\"\n\nThe next headline reads: Soldiers begin to experience\nbreakdowns.\nThe story itself continues: \"The parents of several deployed American military personnel have raised concerns that their children appear to be losing touch with reality. Government refutes these claims with statistics showing that 97.2 percent of deployed American service personnel are safely medicated.\" At the bottom, a small postscript reads Would you like to know more? [LINK]\n\nReading the story about the Homeland Security convention, the thought of all those Homeland Security drones in one place makes you grind your teeth. Then, however, a vision of all those heavily-secured workers with dead MitKlein bottles replaces it, and you have some difficulty wiping the resulting smile from your face. If only...\n\n> You read the pamphlet\nIt seems that the DHS believe the occupants of Apartment 1 are due to have a child any day now. As such, the pamphlet is meant to inform them of their duty as a citizen to ensure their child has his or her Mitsui-Klein encapsulation properly implanted by their birth hospital. Along with two or three not-so-veiled hints as to the penalties for avoiding implantation, the pamplet also contains a very familiar boilerplate description of the MitKlein Bottle which you and all your fellow citizens carry within your skulls. Inserted at birth, the MitKlein becomes embedded in the bone structure of the skull as the fontanelles close and harden. It contains just enough electronics to act as a transponder which will identify its owner, securely, to any nearby chip scanner over a range of perhaps five meters or less. The pamphlet cheerily explains that without such a chip, your child will be severely disadvantaged and unable to use basic modern services.\n\n> You open the door\n(the Apartment door)\nThe door is securely locked.\n\n> You unlock the door with the multitool\nWhich do you mean, the Apartment door or the House door?\n\n> Go west\n(first opening the House door)\n\nThis front path is paved with cracked flagstones. Primrose Lane is to the west, a three-family building is to the east, and the building's side yard is to the northeast.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go northeast, east through the House door to Front Lobby, and west to South Primrose Lane from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go northeast\nA narrow side yard with a high solid fence on the north side and a few straggly decorative plants. The yard extends east behind the house and west to the front of the house.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go east and west to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the plants\nA few straggly brown and green plants huddling near the base of the fence and the side of the house.\n\n> You go to the east\nAn enclosed back yard, this small square of grass is surrounded by a high fence and the east side of the attached home. A narrow frosted window - likely a bathroom - is visible in the middle of the stretch of wall, and a larger clear window with curtains behind it is visible at the south end.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Side Yard from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the frosted window\nA very narrow window of frosted glass, it appears to be painted shut.\n\n> You open the frosted window\nIt's painted shut.\n\n> You look at the window\nWhich do you mean, the bedroom window or the bathroom window?\n\n> Bedroom\nA large clear two-pane window, it is locked with a latch mechanism at the join of the two panes. Having the latch on the outside probably violates some building code somewhere.\n\n> You examine the latch\nThis is a fairly standard window latch. It prevents the two windowpanes from sliding past one another. The locking tab is secured with a cotter pin which, for some reason, is on the outside of the window.\n\nIn the latch is a cotter pin.\n\n> Inventory\nYou are carrying:\na backpack (being worn, and open but empty)\na multitool\na watch (being worn)\na phone\n\n> You remove the pin with multitool\nYou deftly remove the cotter pin with the multitool.\n\n> You open the bedroom window\nYou slide the bedroom window open.\n\n> You enter the window\n(the bedroom window)\n\nThis bedroom is rather plain. Its owners must not spend much time in it while awake. It contains a bed - currently unmade - and a bedside table with a lamp on it.\n\nYou can go north, east to Back Yard, and west from here.\n\n> You open table\n(the bedside table)\nThat's not something you can open.\n\n> You examine table\n(the bedside table)\nA cheap but sturdy bedside table. There is a table lamp atop it.\n\n> You look at the lamp\nA generic compact fluorescent lamp, it is screwed to the table, presumably to prevent it falling over.\n\nThe table lamp is currently switched off.\n\n> You unscrew the lamp\nIt is fixed in place.\n\n> You switch on the lamp\nYou switch the table lamp on.\n\nThe Green Residential curfew will begin in five minutes. You'll need to be inside, in an area which isn't under public surveillance, to avoid being arrested.\n\n> Close window\nYou slide the bedroom window closed.\n\n> Go north\nThis home only has the one bathroom, which means that the fact that it's not very clean is somewhat embarrassing. Or at least, it would be if the owner had expected visitors. It contains a sink, mirror, toilet and shower.\n\nYou can go south to Bedroom and west from here.\n\n> You examine the window\nA very narrow window of frosted glass, it appears to be painted shut.\n\n> You examine the mirror\nA mid-range but functional mirror mounted over the sink. It has various illegible smudges around the edge which suggest that its owner uses it to write temporary notes to themself. One corner has a small piece of graffiti done in black marker.\n\n> You examine the graffiti\nThis small graffito is scrawled text reading HISTORY IS A LIE!\nJust below it is a URL: [LINK]\n\n> You look in the mirror\nYou can't see any such thing.\n\nIt's hard to say if your reflection shows a true urban resistance fighter or just a very nondescript citizen. You've changed your hairstyle so many times now, you don't know what you look\nlike.\n\nIt's 8:00 PM. The curfew is now in effect for this neighborhood.\n\n> Flush toilet\nThere is a brief gurgling sound. If only your problems could be so easily disposed of.\n\n> You turn on the sink\nThe apartment owners must have shut off their water while away; nothing happens.\n\n> You go south\nThis bedroom is rather plain. Its owners must not spend much time in it while awake. It contains a bed - currently unmade - and a bedside table with a lamp on it.\n\nYou can go north to Bathroom, east to Back Yard, and west from here.\n\n> Go west\nThe central hallway of this modest home. It's relatively clean and neat, as there is no furniture in it.\n\nYou can go north, east to Bedroom, and west from here.\n\n> You go north\nThis is the small entryway to the ground-floor apartment. A pile of mail, most of it unread, nearly covers the side table just inside the apartment door. The apartment hallway is to the south. To the west is an office, and to the east is a bathroom.\n\nYou can see a side table (on which is a car key) here.\n\nYou can go north through the Apartment door (closed) to Front Lobby, south to Hall, east to Bathroom, and west from here.\n\n> You take the key\nTaken.\n\n> You look at the key\nThis \"key\" is really a small rubberized, sealed plastic transponder which automatically unlocks the car it is paired with when it is within range. You have no idea where the appropriate car might be, however.\n\n> You read mail\nPretty much what you'd expect.\n\n> You examine the mail\nA stack of someone else's mail you've already thumbed through.\n\n> You go to the west\nThis is obviously a home office, a room which in other homes might be a living room. It is not very tidy. Random detritus covers most available surfaces except for a workbench.\n\nYou can see a workbench (on which are a lockblade knife, a soldering iron, some solder, and a laptop) here.\n\nYou can go south and east to Entry from here.\n\n> You take all\nlockblade knife: This knife is large enough to run afoul of local weapons laws. It would be a bad idea to let it be seen where the police are watching.\nsoldering iron: (putting the phone into the backpack to make room) Taken.\nsolder: (putting the multitool into the backpack to make room)\nTaken.\nlaptop: (putting the cotter pin into the backpack to make room)\nTaken.\n\n> You examine the laptop\nThe laptop is a generic, slightly more fashionable than functional portable tablet computer. It is active, with the screen lit.\n\n> You read the laptop\nThe laptop is presently displaying a login screen. There is a reboot button in the corner of the screen.\n\n> You click the reboot\nThe screen flickers as the laptop reboots. The laptop pauses as it finds the boot server that has been installed on your phone, and then there is a quick series of flashes before a screen full of text comes up!\n\n> You read screen\nThe laptop is displaying a static screen, which instructs you to place a memory chip into its chipslot to download the attack program.\n\n> Inventory\nYou are carrying:\na laptop\nsome solder\na soldering iron\na lockblade knife\na car key\na backpack (being worn, and open)\na cotter pin\na multitool\na phone\na watch (being worn)"
    },
    {
        "text": "> You look at your surroundings\nThis is obviously a home office, a room which in other homes might be a living room. It is not very tidy. Random detritus covers most available surfaces except for a workbench.\n\nYou can see a workbench here.\n\nYou can go south and east to Entry from here.\n\n> You look at the phone\nA standard candybar model with a nice screen. Although you've disabled its voice calling functionality to make it less distracting, the lock screen is still active and tells you it is 8:10 pm. The back is blank metal save for a tiny icon of a waterdrop with a slash across it.\n\n> You open the phone\nIt's a sealed unit.\n\n> Go south\nThis kitchen is decorated in a style some four decades old, which is probably when it was last renovated. It is fairly clean, likely reflecting the fact that the occupants don't cook for themselves much. The built-in sink takes up most of the available counter, with the microwave oven occupying almost all of the rest. The refrigerator hulks along the opposite wall.\n\nYou can see a thermos (closed) here.\n\nYou can go north to Home Office and east to Hall from here.\n\n> You open the refrigerator\nYou open the refrigerator.\n\nIt's empty. The occupants must have emptied it before going on vacation.\n\n> You open the thermos\nYou open the thermos.\n\n> You open the microwave\n(the microwave oven)\nYou open the oven.\n\n> You take the thermos\n(putting the car key into the backpack to make room)\nTaken.\n\n> You look in the thermos\nThe thermos is empty.\n\n> Go north\nThis is obviously a home office, a room which in other homes might be a living room. It is not very tidy. Random detritus covers most available surfaces except for a workbench.\n\nYou can see a workbench here.\n\nYou can go south to the Kitchen and east to Entry from here.\n\n> You cut the key with the knife\n(putting the lockblade knife into the backpack to make room)\nTaken.\n\n(putting the soldering iron into the backpack to make room)\nTaken.\n\nYou carefully cut open the car key with your knife and peel back the rubber to reveal a broadcast chip and a transponder memory chip.\n\n> You take the memory chip\n(putting the solder into the backpack to make room)\nTaken.\n\n> You put the memory chip in the laptop\nThe Download light flashes red intermittently for a few seconds before returning to a regular blinking green.\n\n> You read screen\nThe laptop is displaying a static screen, which instructs you to place a memory chip into its chipslot to download the attack program.\n\n> You take the memory chip\nTaken.\n\n> You put the memory chip in the car key\nYou put the attack memory chip into the car key.\n\n> You close the car key\nThe plastic appears to be cut away. The damage looks permanent.\n\n> You look in the key\nIn the car key are an attack memory chip and a broadcast chip.\n\n> You examine the transponder chip\nThis is a broadcast chip - a small solid-state radio about the size of a coin. These can be found in most portable electronics these days. Usually powered by small batteries in phones or car keys, these generally have a range of a few meters. There are leads on the chip for connecting a data source and a power source.\n\nYou can't see any such thing.\n\n> Solder broadcast chip\nWhat do you want to combine?\n\n> Solder broadcast chip to memory chip\n(first taking the broadcast chip)\n(first taking the attack memory chip)\n(putting the laptop into the backpack to make room)\nYou don't have the proper tools.\n\n> You take solder\n(putting the thermos into the backpack to make room)\nTaken.\n\n> Inventory\nYou are carrying:\nsome solder\nan attack memory chip\na broadcast chip\na lockblade knife\na car key\na backpack (being worn, and open)\na thermos (open but empty)\na laptop\na soldering iron\na cotter pin\na multitool\na phone\na watch (being worn)\n\n> You examine the iron\nA portable soldering iron. It uses a sealed battery rather than requiring a power connection.\n\nThe soldering iron is currently switched off.\n\n> You take the soldering iron\n(putting the car key into the backpack to make room)\nTaken.\n\n> You switch the iron on\nYou switch the soldering iron on.\nThe tip heats up rapidly to a cherry-red heat.\n\n> Solder broadcast chip to memory chip\nYou fashion the broadcast chip and the attack memory chip into a Klein Blaster!\n\n> You examine Klein Blaster\nA combination of a Broadcast chip and a Memory chip which has been programmed with the attack payload. It needs a power source to perform its task.\n\n> You cut the phone with the knife\nTaken.\n\nCutting that would achieve little.\n\n> You cut the laptop with the knife\n(putting the lockblade knife into the backpack to make room)\nTaken.\n\n(putting the solder into the backpack to make room)\nTaken.\n\nCutting that would achieve little.\n\n> You turn off the iron\nYou switch the soldering iron off.\nThe tip cools rapidly, fading to a silver-gray.\n\n> You cut the iron with the knife\nCutting that would achieve little.\n\n> Inventory\nYou are carrying:\na lockblade knife\na laptop\na phone\na Klein Blaster\na soldering iron\na backpack (being worn, and open)\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You look at the watch\nA cheap digital, your watch reads 8:38 pm.\n\n> You put Klein Blaster in the key\nThe slots in the car key are made for individual chips.\n\n> You go south\nThis kitchen is decorated in a style some four decades old, which is probably when it was last renovated. It is fairly clean, likely reflecting the fact that the occupants don't cook for themselves much. The built-in sink takes up most of the available counter, with the microwave oven occupying almost all of the rest. The refrigerator hulks along the opposite wall.\n\nYou can go north to Home Office and east to Hall from here.\n\n> Examine slot\nThe chipslot is used for external storage. Right now, its status LED is blinking, indicating that it has been set to autosave data, but no Memory chip is in the slot.\n\n> You examine the microwave\n(the microwave oven)\nA microwave oven of perhaps a cubic foot capacity with a transparent door. It is a relatively smart oven, able to determine the proper setting for whatever is placed in it using a plethora of sensors. There is a single button (marked \"COOK\") on the front. A side panel sports a lurid warning. The door is ajar.\n\nThe microwave oven is currently switched off.\n\n> You read the warning\nThe side panel is a small rounded rectangle of plastic with a narrow seam running around it. A warning label on it reads NO USER SERVICEABLE PARTS INSIDE. There is an icon of a small stick figure opening the panel and being electrocuted, irradiated and (as far as you can tell) stung by bees.\n\n> You open the panel with multitool\nYou pry open the side panel with the pliers in your multitool, ignoring the sound of breaking plastic.\n\nOpening the side panel reveals the safety limiter!\n\n> You look at the safety limiter\nA small circuit board consisting of two connected chips which plugs into the microwave oven side panel. One chip looks a bit like a standard receive chip, and the other a standard memory chip - although these are custom versions and can't be used as such. Examining its connectors and their labels, you deduce that when installed, this board monitors the sensors and radio frequencies inside the microwave oven and prevents it from operating if things like electronics are inside, it's empty, or the door is open.\n\n> You remove the limiter\n(first taking the safety limiter)\n(putting the soldering iron into the backpack to make room)\nYou're not wearing that.\n\n> You take limiter\nYou already have that.\n\n> You put Klein Blaster in the microwave\n(the microwave oven)\nYou put the Klein Blaster into the oven.\n\n> You close the microwave\n(the microwave oven)\nYou close the oven.\n\n> Solder klein blaster to microwave\n(the microwave oven)\n(first taking the microwave oven)\nThat's hardly portable.\n\n> You put the phone in the oven\nYou put the phone into the oven.\n\n> You close the door\nYou close the oven.\n\n> You switch the oven\nA light comes on in the microwave and it begins to hum.\nAlmost immediately, sparks begin to dance wildly around the rim of the phone! After a few seconds more, the screen goes dead black with a very final ZZT noise.\nA few moments later there is a loud BING! and the microwave\nstops.\n\n> You open the oven\nYou open the oven.\n\n> You examine the phone\nA standard candybar model with a nice screen. At least, the screen was nice; now it's stone dead. The back is blank metal save for a tiny icon of a waterdrop with a slash across it.\n\n> You switch the oven\nYou feel a strange warmth on your face as the microwave starts up.\nA light comes on in the microwave and it begins to hum.\nA few moments later there is a loud BING! and the microwave\nstops.\n\n> About yourself\nYou're wearing basic clothing which is almost obsessively nondescript. You're average in nearly every physical respect - something which didn't win you many accolades growing up, but serves you well in your efforts to blend in with the conformist population through which you now move.\n\nYou're wearing a backpack and a watch.\nYou're carrying a Klein Blaster, a safety limiter, a lockblade knife, and a laptop.\n\n> You look at the knife\nThis is a battered but extremely sharp folding lockblade knife.\n\n> You look at the refrigerator\nStandard off-white home antiheating unit.\n\n> You go to the east\nThe central hallway of this modest home. It's relatively clean and neat, as there is no furniture in it.\n\nYou can go north to Entry, east to Bedroom, and west to the Kitchen from here.\n\n> You go east\nThis bedroom is rather plain. Its owners must not spend much time in it while awake. It contains a bed - currently unmade - and a bedside table with a lamp on it.\n\nYou can go north to Bathroom, east to Back Yard, and west to Hall from here.\n\n> You look at the lamp\nA generic compact fluorescent lamp, it is screwed to the table, presumably to prevent it falling over. It is presently giving off a wan bluish light.\n\nThe table lamp is currently switched on.\n\n> You unscrew the lamp\nIt is fixed in place.\n\n> Go north\nThis is the small entryway to the ground-floor apartment. A pile of mail, most of it unread, nearly covers the side table just inside the apartment door. The apartment hallway is to the south. To the west is an office, and to the east is a bathroom.\n\nYou can see a side table here.\n\nYou can go north through the Apartment door (closed) to Front Lobby, south to Hall, east to Bathroom, and west to Home Office from here.\n\n> You examine the bench\nIt's actually a very nice piece of furniture; just the right height, easy to get your legs under.\n\n> You examine the multitool\nYour pocket multitool. Has various pliers and attachments and, in a pinch, can probably do 80 percent of what a full toolbox could. One exception is that in order to remain legal, it doesn't have any cutting edges larger than your fingernail. You are paranoid that one day you'll forget and try to get on an airplane with it and despite that fact that'll be the last you'll see of it, so you've etched a PO Box address and \"BUSINESS REPLY MAIL\" onto it.\n\n> You examine the laptop\nThe laptop is a generic, slightly more fashionable than functional portable tablet computer. It is active, with the screen lit.\n\n> You examine the microwave\n(the microwave oven)\nA microwave oven of perhaps a cubic foot capacity with a transparent door. It is a relatively smart oven, able to determine the proper setting for whatever is placed in it using a plethora of sensors. There is a single button (marked \"COOK\") on the front. A side panel sports a lurid warning. The door is ajar. The service panel is bent open on the side.\n\nThe microwave oven is currently switched off.\n\n> F cf3\n%% Enter a save filename to write:\n\n> You put the iron in the oven\nThat's dangerous. You might want to switch the soldering iron off first.\n\n> You put the iron in the oven\nYou put the soldering iron into the oven.\n\n> You turn on the oven\nA light comes on in the microwave and it begins to hum.\nA few moments later there is a loud BING! and the microwave\nstops.\n\n> You open the oven\nYou open the oven.\n\n> You examine the iron\nA portable soldering iron. It uses a sealed battery rather than requiring a power connection.\n\nThe soldering iron is currently switched off.\n\n> You turn on the iron\nYou switch the soldering iron on.\nThe tip heats up rapidly to a cherry-red heat.\n\n> You turn it off\nYou switch the soldering iron off.\nThe tip cools rapidly, fading to a silver-gray.\n\n> You switch the microwave\n(the microwave oven)\nYou stop before initiating the cook cycle to avoid destroying the Klein Blaster.\n\n> You put the laptop in the microwave\n(the microwave oven)\nThat won't fit in the oven.\n\n> You examine the fridge\nStandard off-white home antiheating unit.\n\n> You search the fridge\nThe refrigerator is empty.\n\n> You examine the multitool\nYour pocket multitool. Has various pliers and attachments and, in a pinch, can probably do 80 percent of what a full toolbox could. One exception is that in order to remain legal, it doesn't have any cutting edges larger than your fingernail. You are paranoid that one day you'll forget and try to get on an airplane with it and despite that fact that'll be the last you'll see of it, so you've etched a PO Box address and \"BUSINESS REPLY MAIL\" onto it.\n\n> You examine the pin\nA small steel pin made up of a length of wire doubled over on itself with a loop at one end.\n\n> You examine the panel\nThe side panel is a small rounded rectangle of plastic with a narrow seam running around it. A warning label on it reads NO USER SERVICEABLE PARTS INSIDE. There is an icon of a small stick figure opening the panel and being electrocuted, irradiated and (as far as you can tell) stung by bees. The panel has been pried open. The magnetron is just visible here, right next to some circuitry. The panel has room for a small component inside it.\n\n> You take the magnetron\nThat seems to be a part of the microwave oven.\n\n> You open the magnetron with multitool\nThat's already been opened.\n\n> Solder blaster to magnetron\nAs you slide the component in, a small LED labelled \"TRNSMT RDY\" lights up on the main board!\n\nYou put the Klein Blaster into the side panel.\n\n(first taking the Klein Blaster)\n(first taking the side panel)\nThat seems to be a part of the microwave oven.\n\n> You check your inventory\nYou are carrying:\na Klein Blaster\na phone\na safety limiter\na lockblade knife\na laptop\na backpack (being worn, and open)\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You put Blaster in the panel\nAs you slide the component in, a small LED labelled \"TRNSMT RDY\" lights up on the main board!\n\nYou put the Klein Blaster into the side panel.\n\n> You close the oven\nYou close the oven.\n\n> You turn on the oven\nThe microwave comes on, its lights lit brightly, and begins to shake for a few seconds before the level of radio energy in the cook box, confined by the closed door, trips emergency circuits and it shuts off again.\n\n> You switch the oven\nWith the door open, the hacked microwave keeps increasing its power as energy is lost to the air. You feel an incredible burst of noise behind your forehead! Static, bits of music, and above all the shriek of data transfer! Just before you feel you'll go mad from the noise, there is a stutter, and it stops. Blessed silence falls inside your skull. There is a smell of smoke as the microwave goes dead.\n\nYou examine the now-fried microwave, musing to yourself that if only there was a way to make a portable version of this hack, you might be able to fight your way clear of this whole mess.\n\n> You look at the oven\nA microwave oven of perhaps a cubic foot capacity. The side panel is melted shut, the interior is scorched, and the plastic around the edges slightly melted. The door is ajar. The oven contains a soldering iron.\n\nThe microwave oven is currently switched off.\n\n> You examine the panel\nThe side panel is a small rounded rectangle of plastic with a narrow seam running around it. A warning label on it reads NO USER SERVICEABLE PARTS INSIDE. There is an icon of a small stick figure opening the panel and being electrocuted, irradiated and (as far as you can tell) stung by bees. The side panel is scorched and the innards melted. Apparently the magnetron overloaded something.\n\n> You open the door\nYou undo the throw bolts. Since you have no key, you leave the door unlocked.\n\nYou open the Apartment door.\n\n> Go north\nThe slightly shabby front lobby of this multi-family building. A door leads outside to the west, gated stairs leading up to the upper two floors are to the east, and an apartment door is to the south.\n\nA small post-it note is stuck to the door of Apartment 1.\n\nYou can also see a newspaper and a pamphlet here.\n\nYou can go south through the Apartment door to Entry and west through the House door (closed) to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\nSecurity surveillance spots you openly carrying a weapon. Police rush in!\n\n> You check your inventory\nYou are carrying:\na soldering iron\na phone\na safety limiter\na lockblade knife\na laptop\na backpack (being worn, and open)\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You put the knife in the backpack\nYou put the lockblade knife into the backpack.\n\n> You go north\nThe slightly shabby front lobby of this multi-family building. A door leads outside to the west, gated stairs leading up to the upper two floors are to the east, and an apartment door is to the south.\n\nA small post-it note is stuck to the door of Apartment 1.\n\nYou can also see a newspaper and a pamphlet here.\n\nYou can go south through the Apartment door to Entry and west through the House door (closed) to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\n(first opening the House door)\n\nThis front path is paved with cracked flagstones. Primrose Lane is to the west, a three-family building is to the east, and the building's side yard is to the northeast.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go northeast to Side Yard, east through the House door to Front Lobby, and west to South Primrose Lane from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go west\nPrimrose Lane continues to the north. To the south is a boarded-up empty house; sumac plants can be seen peeking over the top of the dilapidated fencing. The fence has a plastic tarp strung behind it which prevents you from seeing much of the house. To the west is a single-family home with a large warning sign and an enormous dog on the front lawn. To the east is a three-family residence's front path.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Primrose & Cedar and east to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go north\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south to South Primrose Lane, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\nCedar Street comes to an end in a cul-de-sac here. There are residential buildings to the north, east and south. Typical for the area, they are three-family houses with common entrances. Their lawns are neatly trimmed.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go west to Primrose & Cedar from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south to South Primrose Lane, east to East Cedar Street, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\nThis is a utilitarian shelter intended mostly to keep the rain out of the Transit System. A stairway leads down to the autodoor leading to the Transit platform and an exit leads east to the street.\n\nYou can go east to Primrose & Cedar and down through the Green Residential Station door (closed) from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "> Go downwards\n(first opening the Green Residential Station door)\nThe Door Scanner scans your iris to determine your identity. The Transit Security and Accounting Subroutine determines that you have a legitimate account with the Transit system, and the doors slide smoothly open.\n\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, now empty.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You read Map\nA metal sign displaying a map of Green Line Transit:\n\n|   Green   |\n|  Service  |\n\n/        ^\n/          \\\nv            \\\n    \n| Reserve |    |   Green   |\n|  Bank   |    |Residential|\n    \n\\              ^\n\\            /\nv          /\n\n|  Green   |\n|Commercial|\n\n> Go west\nA barrier fence with closed autodoors blocks your way.\n\n> You examine Transit Web\nNot really a web so much as a series of maglev rings linked by guides, the Transit Web is separated from the platform by a barrier fence with automatic doors, which line up with Transit Capsule doors when a Capsule is in the station. The Web rings glow faintly with the Magfield.\n\n> You examine the plaque\nMetal, perhaps a meter by five meters, the plaque reads \"Green Residential\" in standard Transit Helvetica font.\n\n> You wait for Transit\nYou see a small mouse scurry along the Transit Web and vanish back into the tunnels.\n\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Residential and vanishes into the darkness once more.\n\nA commuter walks by.\n\nA commuter walks by.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You look at the commuter\nA elderly delivery worker eating a snack swerves past you and is gone.\n\n> You examine the commuter\nA young delivery worker reading from a handheld walks swiftly past you and is gone.\n\n> Go west\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Residential Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> You wait\nTime passes.\n\n> You check what you're carrying\nYou are carrying:\na soldering iron\na phone\na safety limiter\na laptop\na backpack (being worn, and open)\na lockblade knife\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You wait for Transit\nDo you really expect a Transit capsule to show up here?\n\nA shabbily-dressed man wanders up to you. He appears to be about to ask you for something, but then he catches a look at your eyes and instead wanders away again."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. A deep hum resonates through your bones, indicating that the Vectorfield is active. Outside the narrow windows, the tunnel is dark. Occasional blurry streaks show lights flashing past the moving Capsule.\n\nThere is a Public Surveillance Notice here.\n\n> You wait\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You leave\nGreen Service One's platform is underground. It serves mostly city workers during the day. There is an exit at the center of the platform which leads north through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the south, where a Transit capsule hovers impatiently in the web. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule."
    },
    {
        "text": "> Look around\nGreen Service One's platform is underground. It serves mostly city workers during the day. There is an exit at the center of the platform which leads north through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the south, where a Transit capsule hovers impatiently in the web. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Service Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> You wait\nTime passes.\n\n> You wait awhile\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> Wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\n> You wait a while\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\n> Wait\nTime passes.\n\nA man nearby yawns.\n\n> You wait\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> Go outside\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go south\n(first opening the Green Commercial Station door)\n\nGreen Commercial One's Transit station usually does most of its business around the rush hours, as Green Residental commuters stop off to take care of errands. The station is relatively small, but well kept up - the Green Commercial Business Improvement District organization sees to that. Open doorways lead south to Green Commercial One proper, and a stairway leads down to the doors to the Transit platform.\n\nYou can go south and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nThe automatic door slides closed.\n\n> Go south\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Station, south, southeast, southwest, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You open the trash\nYou open the trash can, revealing some rubbish.\n\n> You examine the rubbish\nAll you'd expect from a cheap public trash can.\n\n> You go south\nThis is the center of the Green Commercial Plaza. There is a fountain here with a bench facing it. The plaza continues to the north and south; to the east is a bar called (ironically, you hope) the Proletariat. To the west is a Bistro Paris cafe.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza North, northeast, northwest, south, southeast, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look in the trash\nYou open the trash can, revealing a drop message and some rubbish.\n\nIn the trash can are a drop message and some rubbish.\n\n> You get the MESSAGE\n(the drop message)\nYou unfold the message as you take it.\n\n> You read it\nA small piece of flash paper  which contains the following message: \"IF THIS MESSAGE RETRIEVED ATTACK PAYLOAD IS FUNCTIONAL. YOUR MK RECORD NOW DISTRIBUTED TO ALL SECURITY ELEMENTS. TO EFFECT ESCAPE AND COMPLETE MISSION, USE PAYLOAD TO DISRUPT ANY BLOCKING HOMELAND SECURITY PERSONNEL. FOR LARGE CROWDS, A MINIMUM OF THREE SEQUENTIAL ATTACKS WILL BE REQUIRED TO DISRUPT ENOUGH OPERATIVES TO PERMIT ESCAPE. DROP SHUTTLE WILL MAKE PICKUP ONCE YOU REACH THE RESERVE BANK SPACESCRAPER SEMIBALLISTIC ROOF PADS. ACCESS TO PADS ONLY AVAILABLE VIA SPECIAL LIFT TUBE IN MAIN ATRIUM LEVEL.\"\n\n> Inventory\nYou are carrying:\na drop message\na soldering iron\na phone\na safety limiter\na laptop\na backpack (being worn, and open)\na lockblade knife\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You go west\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see a trash can (closed) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast, east to Green Commercial Plaza Center, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the holoportrait\nThis portrait is somewhat horribly overdone. In it, Zuzu's face, in three-quarter profile, floats in front of what appears to be this very restaurant. Her face is so large and detailed that you're sure they had to edit out her pores, although they probably left her bright green eye unretouched.\n\n> You examine trash can\nPainted industrial dark green, the Green Commercial Bistro Paris trash can awaits its daily diet of rubbish. There is a solar panel on it; presumably it reports back to a central system when it is full."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look at your surroundings\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see a trash can (closed) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast, east to Green Commercial Plaza Center, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look in the trash\nYou open the trash can, revealing some rubbish.\n\nIn the trash can is some rubbish.\n\n> You look at the server\nA slightly harrassed-looking food service worker, intent on trading meals for funds. He is busy serving customers.\n\n> Inventory\nYou are carrying:\na drop message\na soldering iron\na phone\na safety limiter\na laptop\na backpack (being worn, and open)\na lockblade knife\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> Go west\nThis public restroom is squeakily clean, as befits Bistro Paris' image. A stall offers minimum privacy, and a large mirror is affixed over the double sink. Despite the best efforts of the staff, a bit of graffiti seems to have made it onto the mirror.\n\nYou can go east to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the graffiti\nThis small graffito is a stylized angel wearing a pair of mirrorshades. Just below it is a URL: [LINK]\n\n> You go east\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You talk to the server\nTo start a conversation, try to ASK the server ABOUT something or TELL the server ABOUT something.\n\n> You go southeast\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast, northwest to Green Commercial Bistro Paris, east, and west through the Garb-oh door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nThis well-lit store purveys all manner of cosmetic aids and fashion accessories. Everything from wrist bangles to skin creams to custom cosmetic contacts can be purchased here.\n\nYou can see a Lens Crafter here.\n\nYou can go northwest to Green Commercial Plaza Center and west to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine Lens Crafter\nA floor-standing device used to produce custom-made cosmetic contact lenses (although for an extra fee, they can be made to a prescription). A A screen on the front presents a menu of options, or a Memory can be inserted into a slot with appropriate specifications.\n\nThe Lens Crafter is currently switched off.\n\n> Switch lens\n(the Lens Crafter)\nThe lens crafter machine's screen flashes red. A message reads \"NO VALID SOURCE DATA AVAILABLE.\"\n\n> You go west\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\n(first opening the Garb-oh door)\n\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a blue jacket, a red jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper and the shopper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nA shopper wanders through the antitheft detectors and out of the shop, as another wanders in and begins browsing.\n\nThe automatic door slides closed.\n\n> Examine shopper\nThe shopper is a young woman wearing large headphones, loose clothes. She is bouncing her head in what is probably the rhythm of the song she is listening to, and seems to be paying very little attention to her surroundings. Every once in a while she pulls an item from a rack and holds it up in front of a mirror before returning it to its place. She is wearing a large shoulder bag.\n\nThe shopper is empty-handed.\n\n> You look at the shopkeeper\n(the shopkeeper)\nThe shopkeeper is a somewhat frumpy older lady. You can't help but wonder if she has been deliberately selected for her appearance so as to present a contrast with the merchandise.\n\nThe shopkeeper is empty-handed.\n\n> You examine the blue jacket\nA dark blue jacket, very bland cut, with black snap closures and side pockets. You almost expect to see a name sewn on the front at the breast in gold thread. It's probably a size too large for you.\n\nThere is an antitheft tag attached to the blue jacket.\n\n> You look at the green shirt\nHunter green, this pullover is probably the only thing Garb-oh sells that you'd be caught wearing.\n\nThere is an antitheft tag attached to the green shirt.\n\n> You go to the east\n(first opening the Garb-oh door)\n\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You examine the trees\nA small number of heavily landscaped trees and shrubs which hide the buildings to the south.\n\n> Go northeast\nThe Proletariat is a local bar (not a pub). It's just far enough above a \"dive\" to be allowed zoning here, but steadfastedly refuses to cater to upscale tastes. You like it. Restrooms are to the east; the bar runs along the north side with a stolid bartender behind it and a jukebox sits against the back wall. A few hardy drinkers sit here, communing with their spirits. In a nod to the place's name, a Public Surveillance Notice covered with stickers and graffiti tags has been framed above the bar.\n\nYou can see a Bartender and a man here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> You examine man\nA medium-height man of middle age and dark but somewhat pasty-looking skin. His hair, black and cut short, is just beginning to grey at the temples. His hands are rough and callused. He is wearing work shoes and dark blue trousers, slightly scuffed. He is wearing a dark blue trade uniform jacket with a long narrow gash at the left shoulder and his name (Roberto Velez) on a tag clipped to the breast.\n\n> You look at Bartender\n(the Bartender)\nThe bartender is busily polishing a glass. He is ignoring you entirely, but you don't feel insulted as he seems to be ignoring everyone in the bar.\n\n> You ask Roberto about Spacescraper\n(Roberto Velez about that)\nRoberto looks at you curiously. You have a sneaking suspicion his English is not very good.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> You ask Roberto about the beep\n(Roberto Velez about that)\nRoberto looks at you curiously. You have a sneaking suspicion his English is not very good.\n\n> You examine Jukebox\nA retro-themed music player with imitation vinyl records visible within its transparent cabinet, this jukebox actually operates via a network connection. It doesn't require money, but then again the users can't really select music on it, either, so fair is fair.\n\nThe Jukebox is currently switched off.\n\n> Switch jukebox\nYou switch the Jukebox on.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\n> You examine Jukebox\nA retro-themed music player with imitation vinyl records visible within its transparent cabinet, this jukebox actually operates via a network connection. It doesn't require money, but then again the users can't really select music on it, either, so fair is fair. It is playing a subdued post-punk Musak adaptation of some anti-government tune.\n\nThe Jukebox is currently switched on.\n\n> You go east\nThe one-holer restroom at the Proletariat is cleaner than you might think, although that may be due to the fact that it is midweek. A scratched mirror over the sink has been covered with marker graffiti.\n\nYou can see a trash can (closed) here.\n\nYou can go west to The Proletariat Bar from here.\n\n> You open can\nYou open the trash can, revealing some rubbish.\n\n> You get rubbish\nIt's too disgusting to touch.\n\n> Close can\nYou close the trash can.\n\n> You go west\nYou can't see any such thing.\n\nThe Proletariat is a local bar (not a pub). It's just far enough above a \"dive\" to be allowed zoning here, but steadfastedly refuses to cater to upscale tastes. You like it. Restrooms are to the east; the bar runs along the north side with a stolid bartender behind it and a jukebox sits against the back wall. A few hardy drinkers sit here, communing with their spirits. In a nod to the place's name, a Public Surveillance Notice covered with stickers and graffiti tags has been framed above the bar.\n\nThin music can be heard.\n\nYou can see a Bartender and Roberto Velez here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east to Proletariat Restroom, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go northwest\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis is a completely nondescript bank storefront which exists solely to house an ATM. It's so nondescript, in fact, that it took you some actual effort to determine which bank owns it, probably to ensure that they can charge you access fees no matter what. To the east is Green Commercial Plaza.\n\nYou can see an ATM here.\n\nYou can go southeast to Green Commercial Plaza Center and east to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at ATM\nThis is a standard ATM, using palm prints and Mit-Klein authentication to permit customers to perform banking transactions. A palm reader juts out from the front of the console.\n\nThe ATM is currently switched off.\n\n> Switch atm\nThe palm reader appears to be broken; it does not respond.\n\n> You examine the palm\n(your palm)\nStandard garden-variety palm.\n\n> You examine the palm reader\nThis is a standard palm reader, which is used to verify the identity of the ATM customer. A flat plate, slightly inset, it is placed at a convenient angle to allow the palm to lie against it. This one, however, has a broad crack in it across which someone has written \"KAPUT\" in black marker.\n\n> You put the palm in the reader\n(your palm in the palm reader)\nYou can't put that in the palm reader!\n\n> You put the palm on reader\n(your palm on the palm reader)\n(first taking your palm)\n\nThat seems to be a part of yourself.\nYou need to be holding your palm before you can put it on top of something else.\n\n> You get the palm reader\nThat seems to be a part of the ATM.\n\n> You get atm\nThat's fixed in place.\n\n> Go east\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the east\nThis brighly-lit shop is an altar to the notion of instant gratification. Everything from cheap, hot coffee to ice cream and frozen lunches is available via an automated vending system, provided you don't mind your purchases being relentlessly catalogued by the NanoMart Corporation. You stopped shopping here after they told you you couldn't buy a coffee without using biometric authentication.\n\nYou can go southwest to Green Commercial Plaza Center and west to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go southwest\nThis is the center of the Green Commercial Plaza. There is a fountain here with a bench facing it. The plaza continues to the north and south; to the east is a bar called (ironically, you hope) the Proletariat. To the west is a Bistro Paris cafe.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Plaza North, northeast to NanoMart, northwest to Metro Savings, south to Green Commercial Plaza South, southeast to Accessorize, east to The Proletariat Bar, and west to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go north\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nGreen Commercial One's Transit station usually does most of its business around the rush hours, as Green Residental commuters stop off to take care of errands. The station is relatively small, but well kept up - the Green Commercial Business Improvement District organization sees to that. Open doorways lead south to Green Commercial One proper, and a stairway leads down to the doors to the Transit platform.\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door (closed) to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\n(first opening the Green Commercial Station door)\n\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, now empty.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You wait for Capsule\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You enter Capsule\nYou move into the Transit Capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Commercial Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> Wait\nTime passes.\n\nYou find yourself mesmerized by an advertisement for disposable cameras.\n\n> Wait\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> Go north\n(first opening the Green Service Station door)\n\nGreen Service is the local government services cluster. The Transit station seems to reflect this, exhibiting a weary conformity - although you couldn't say exactly how. A stairway leads down to the platform access doors, and a set of doorways lead north out onto Government Square.\n\nYou can go north and down through the Green Service Station door to Green Service Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go to the north\nThis is the southern half of Government Square. Several benches and landscape features are scattered throughout the area. A roadway approaches from the west, loops north around the square and continues to the east. Groundcars move back and forth along the road, mixed with official vehicles such as police cars, ambulances and the ubiquitous slightly shabby black flitters used by government agencies. The doors to Green Service Transit station are to the south. Across the road to the east is Green Hospital's driveway. The Hospital's main entrance is to the northeast. The square continues to the north. To the northwest, across the road on the other side, is the front steps of the local police station.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north, northeast, northwest, south to Green Service Station, and east from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nThe driveway and parking area for the Hospital ER, which lies directly to the east. To the north is the main entrance to the Hospital building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nAn ambulance, a bulky flittervan with emergency markings, is parked here.\n\nYou can go north, northwest, east through the ER door (closed), and west to Government Square South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the ambulance\nThis aerovan is probably a Geely-Ford/Fujiwara product underneath, but has all manner of emergency lights and markings on it, including a large set of red crosses. It has a double door in the back along with the two main cab entry doors. It is dark and powered down but securely locked, and a slowly blinking light indicates that its locklarm is armed.\n\n> Go east\n(first opening the ER door)\n\nThis is a triage area for the ER to the east. To the north is the main Hospital lobby, and west lies the automatic doors out to the driveway. Patients and staff are moving back and forth through the area.\n\nYou can go north, east, and west through the ER door to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go east\nThis is a prep and emergency treatment area for the emergency ward to the east, which is locked. Triage is to the west, and a door leads north. The ER is presently unused, and lies empty.\n\nYou can see a tissue generator here.\n\nYou can go north and west to Triage from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the tissue generator\n(the tissue generator)\nThis is a medium-sized appliance found in most modern hospitals. It is used to provide artificial tissue for grafting into or onto injuries. In order to prevent rejection, the tissue generator must be given a complete scan of the patient's tissue, from which it will (by default) produce an exact duplicate of the scanned sample. It has a button marked ACTIVATE. There is a slot on the front of the machine labeled INSERT CRYOPACK FOR SAMPLE where, presumably, the generated tissue is delivered; there is a smaller opening labeled FEED and there is a slot labeled READ where a tissue sampler can be inserted. The feed slot contains biogen feedstock.\n\nThe tissue generator is currently switched off.\n\n> Go west\nThis is a triage area for the ER to the east. To the north is the main Hospital lobby, and west lies the automatic doors out to the driveway. Patients and staff are moving back and forth through the area.\n\nYou can go north, east to the Emergency Room, and west through the ER door (closed) to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go north\nThis is the main entrance to a busy regional hospital. Autodoors lie to the west. Patients and staff rush back and forth, all too busy to pay you any attention. To the south is an archway with a sign reading \"TRIAGE\"; to the east is the elevator core and to the north is the waiting lounge.\n\nYou can go north, south to Triage, east, and west through the Hospital door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\nThe main elevator bank for the hospital seems to require either an appropriate Mit-Klein scan or a hospital ID to swipe. Patients and staff move through the area. The lobby is to the west. The ER is through a door to the south, and a restroom is to the east.\n\nYou can go south to the Emergency Room, east, and west to Hospital Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the east\nA clean restroom that smells strongly of disinfectant and hand sanitizer. There is a single sink with a small mirror over it and a single stall.\n\nYou can see a trash can (closed) here.\n\nYou can go west to Hospital Elevators from here.\n\n> You examine the graffiti\nThis small graffito is a stylized angel wearing a pair of mirrorshades. Just below it is a URL: [LINK]\n\n> You examine trash\nPainted industrial dark green, the Hospital Restroom trash can awaits its daily diet of rubbish. There is a solar panel on it; presumably it reports back to a central system when it is full.\n\n> You look at the solar panel\nA small (8x8cm) solar panel set into the lid, apparently powering something embedded beneath in the trash can.\n\n> You remove the solar panel\n(first taking the solar panel)\nThat seems to be a part of the trash can.\n\n> You open the trash\nYou open the trash can, revealing some rubbish.\n\n> You look at can\nPainted industrial dark green, the Hospital Restroom trash can awaits its daily diet of rubbish. There is a solar panel on it; presumably it reports back to a central system when it is full.\n\nIn the trash can is some rubbish.\n\n> You cut the panel with the knife\nThat seems to be a part of the trash can.\n\n(putting the laptop into the backpack to make room)\nTaken.\n\nCutting that would achieve little.\n\n> You look in the can\nYou put the lockblade knife into the backpack.\n\nIn the trash can is some rubbish.\n\n> You get can\nThat's fixed in place.\n\n> Inventory\nYou are carrying:\na drop message\na soldering iron\na phone\na safety limiter\na backpack (being worn, and open)\na lockblade knife\na laptop\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You go to the west\nThe main elevator bank for the hospital seems to require either an appropriate Mit-Klein scan or a hospital ID to swipe. Patients and staff move through the area. The lobby is to the west. The ER is through a door to the south, and a restroom is to the east.\n\nYou can go south to the Emergency Room, east to Hospital Restroom, and west to Hospital Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nThis is a prep and emergency treatment area for the emergency ward to the east, which is locked. Triage is to the west, and a door leads north. The ER is presently unused, and lies empty.\n\nYou can see a tissue generator here.\n\nYou can go north to Hospital Elevators and west to Triage from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis is the main entrance to a busy regional hospital. Autodoors lie to the west. Patients and staff rush back and forth, all too busy to pay you any attention. To the south is an archway with a sign reading \"TRIAGE\"; to the east is the elevator core and to the north is the waiting lounge.\n\nYou can go north, south to Triage, east to Hospital Elevators, and west through the Hospital door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine patient\nA worried delivery worker with a messenger bag runs past you and is gone.\n\n> Go north\nThis lounge is full of marginally-comfortable seating and antiquated magazines. A door to the east reads \"LAB\" and the main lobby is to the south. It is deserted; looking at the decor, you're pretty sure you know why.\n\nYou can go south to Hospital Lobby and east from here.\n\n> You go to the east\nThis is an all-purpose pathology laboratory receiving area. The lab itself is behind a bulletproof glass wall to the east, and a small window allows samples or paperwork to be passed back and forth.\n\nYou can see a cryopack (closed) and a trash can (closed) here.\n\nYou can go west to Hospital Lounge from here.\n\nThere is a Public Surveillance Notice here.\n\n> You get all\ncryopack: Taken.\n\n> Oops cryopack\nThis is a roughly fist-sized container, white with red crosses and an instructions sticker with WARNING! printed at the top. It feels slightly cold to the touch. A green LED labelled \"OPERATING\" is lit.\n\n> You read the sticker\nWARNING: This is a single-use cryogenic transport pack. Opening the cryopack will disrupt the superconductor charge and disable the cryopack until it is recharged for its next use.\n\n> You open the cryopack\nYou open the cryopack. A small cloud of chill and condensation escapes from the cryopack into the surrounding air. The green LED on it goes out; a red one lights up.\n\n> You look in cryopack\nThe cryopack is empty."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis is an all-purpose pathology laboratory receiving area. The lab itself is behind a bulletproof glass wall to the east, and a small window allows samples or paperwork to be passed back and forth.\n\nYou can see a trash can (closed) here.\n\nYou can go west to Hospital Lounge from here.\n\nThere is a Public Surveillance Notice here.\n\n> Examine can\nPainted industrial dark green, the Hospital Lab trash can awaits its daily diet of rubbish. There is a solar panel on it; presumably it reports back to a central system when it is full.\n\nIn the trash can is some rubbish.\n\n> You go south\nspan class=\"floydstyle input\">> S\n\nYou can't go that way.\n\n> You go west\nThis lounge is full of marginally-comfortable seating and antiquated magazines. A door to the east reads \"LAB\" and the main lobby is to the south. It is deserted; looking at the decor, you're pretty sure you know why.\n\nYou can go south to Hospital Lobby and east to the Hospital Lab from here.\n\n> Go south\nThis is the main entrance to a busy regional hospital. Autodoors lie to the west. Patients and staff rush back and forth, all too busy to pay you any attention. To the south is an archway with a sign reading \"TRIAGE\"; to the east is the elevator core and to the north is the waiting lounge.\n\nYou can go north to Hospital Lounge, south to Triage, east to Hospital Elevators, and west through the Hospital door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nThe main elevator bank for the hospital seems to require either an appropriate Mit-Klein scan or a hospital ID to swipe. Patients and staff move through the area. The lobby is to the west. The ER is through a door to the south, and a restroom is to the east.\n\nYou can go south to the Emergency Room, east to Hospital Restroom, and west to Hospital Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nThis is a triage area for the ER to the east. To the north is the main Hospital lobby, and west lies the automatic doors out to the driveway. Patients and staff are moving back and forth through the area.\n\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door (closed) to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> You put the cryopack into the tissue generator\n(the tissue generator)\nWhich slot do you want to put the cryopack into - the sample slot, the feed slot or the read slot?\n\n> SAMPLE\nWhat do you want to sample?\n\n> Sample slot\nWhich do you mean, the feed slot, the sample slot, the read slot, or the chipslot?\n\n> You put cryopack in the sample slot\nYou put the cryopack into the sample slot.\n\n> You examine the tissue\n(the tissue generator)\nThis is a medium-sized appliance found in most modern hospitals. It is used to provide artificial tissue for grafting into or onto injuries. In order to prevent rejection, the tissue generator must be given a complete scan of the patient's tissue, from which it will (by default) produce an exact duplicate of the scanned sample. It has a button marked ACTIVATE. There is a slot on the front of the machine labeled INSERT CRYOPACK FOR SAMPLE where, presumably, the generated tissue is delivered; there is a smaller opening labeled FEED and there is a slot labeled READ where a tissue sampler can be inserted.\nThere is a cryopack in the sample slot. The feed slot contains biogen feedstock.\n\nThe tissue generator is currently switched off.\n\n> You put the soldering iron in the backpack\nThat's dangerous. You might want to switch the soldering iron off first.\n\n> You put it in the backpack\nYou switch the soldering iron off.\nThe tip cools rapidly, fading to a silver-gray.\n\nYou put the soldering iron into the backpack.\n\n> You activate tissue\n(the tissue generator)\nThe tissue generator blinks a red indicator which reads NOT READY: CHECK SLOTS and deactivates.\n\n> Go west\nThis is a triage area for the ER to the east. To the north is the main Hospital lobby, and west lies the automatic doors out to the driveway. Patients and staff are moving back and forth through the area.\n\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door (closed) to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\n(first opening the ER door)\n\nThe driveway and parking area for the Hospital ER, which lies directly to the east. To the north is the main entrance to the Hospital building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nAn ambulance, a bulky flittervan with emergency markings, is parked here.\n\nYou can go north, northwest, east through the ER door to Triage, and west to Government Square South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go to the north\nThis is the front entryway pavilion of the local hospital. The automatic entryway doors are to the east, and the ER entrance and driveway is to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Hospital Driveway, southwest to Government Square South, east through the Hospital door (closed) to Hospital Lobby, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\nThe north half of Government Square is surrounded on three sides by roadway. Groundcars trundle back and forth, and the occasional flitter whines down to or screams up from flitter pads out of sight atop the surrounding buildings. The hospital driveway is to the southeast, across the road; the hospital entrance to the east and the police station to the west. To the north is the steps to the Civil Center, the local government office building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nIt seems a tourist has left behind a cheap disposable camera, which rests on the sidewalk here.\n\nYou can go north, south to Government Square South, southeast to Hospital Driveway, east to Hospital Entrance, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the camera\nA cheap piece of integral electronics, made cheaper by the fact that any portable or phone has a perfectly good camera in it. It has a built-in flash, and is typically linked to a cell phone or other handheld for displaying and storing photos.\n\n> You examine the camera\nA cheap piece of integral electronics, made cheaper by the fact that any portable or phone has a perfectly good camera in it. It has a built-in flash, and is typically linked to a cell phone or other handheld for displaying and storing photos. This camera has been cracked open, revealing its internal electronics. A capacitor (for the flash unit) and battery are available, as are numerous circuit connection points.\n\n> You go to the west\nThese are the busy steps of the local police station. To the east and southeast is Government Square, while the police station lies at the top to the west. Uniformed police and people in plain clothes are traversing the steps to exit and enter the building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go southeast to Government Square South, east to Government Square North, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis is the front desk of the police station. A harried sergeant is manning the desk, and are so busy they don't even have time to give you more than a brief scowl. To the north is a security gate leading into the police station proper, and to the south is an open area with a sign reading \"BOOKING.\"\n\nYou can see Sergeant Ramirez here.\n\nYou can go south and east to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\nSergeant Ramirez scowls at his paperwork.\n\n> You examine Ramirez\nSeated behind his desk, this grizzled uniformed policeman is clearly a veteran of many years\" service. He scowls at you, waiting for you to make his life more annoying.\n\n> You go to the south\nThis area is used for processing prisoners\u2026er, excuse me, suspects, and as a waiting lounge. There is a single hard bench, now empty, and a counter along the south wall with a stern poster on the wall above it. One area has been kept clear and is a neutral pale blue, presumably to be used as a backdrop for photographing suspects.\n\nYou can see an ID camera here.\n\nYou can go north to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> Examine poster\nThe poster has an almost laughably crude and kitschy burly policeman chasing a pair of hoodlums while blowing a whistle and brandishing a nightstick. The hoodlums are leaving a trail of iconic Drug Paraphernalia. A caption reads \"If you see any DRUG ACTIVITY, report it AT ONCE to your FRIENDLY LOCAL POLICE.\"\n\n> You examinethe i d camera\nA battered but serviceable device, this is a high resolution holocamera used by the police for recording suspects\" identities. It can either record to a local server if one is available, or to a standard Memory chip placed in its memory slot. It is securely attached to the countertop with a security chain to prevent anyone from walking off with it.\n\n> You openthe i d camera\nThe ID camera is a sealed unit.\n\n> You examine the security chain\nA thin chain, almost a cable. It has been visibly repaired in the past.\n\n> You cut the security chain with the knife\nThat seems to be a part of the ID camera.\n\nTaken.\n\nCutting that would achieve little.\n\nSecurity surveillance spots you openly carrying a weapon. Police rush in!\n\n> Go north\nThis is the front desk of the police station. A harried sergeant is manning the desk, and are so busy they don't even have time to give you more than a brief scowl. To the north is a security gate leading into the police station proper, and to the south is an open area with a sign reading \"BOOKING.\"\n\nYou can see Sergeant Ramirez here.\n\nYou can go south to Booking and east to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nThese are the busy steps of the local police station. To the east and southeast is Government Square, while the police station lies at the top to the west. Uniformed police and people in plain clothes are traversing the steps to exit and enter the building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go southeast to Government Square South, east to Government Square North, and west to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\nThe north half of Government Square is surrounded on three sides by roadway. Groundcars trundle back and forth, and the occasional flitter whines down to or screams up from flitter pads out of sight atop the surrounding buildings. The hospital driveway is to the southeast, across the road; the hospital entrance to the east and the police station to the west. To the north is the steps to the Civil Center, the local government office building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north, south to Government Square South, southeast to Hospital Driveway, east to Hospital Entrance, and west to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nThese are the front steps of an impressive government building. Civil servants hurry in and out through the security checkpoint, going about their business.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see Ponyfriend Chunky and the civil servants here.\n\nYou can go south to Government Square North from here.\n\nThere is a Public Surveillance Notice here.\n\nPonyfriend frantically whips his pager out and scrutinizes the blank display before putting it away, apparently crestfallen.\n\n> You examine Ponyfriend chunky\n(Ponyfriend Chunky)\nDressed in ragged clothing, this man is looking around himself nervously, trying not to meet anyone's eye. He is holding a sign that reads \"HELP ME COMPLETE MY MISSION GIVE WHAT YOU CAN.\"\n\nPonyfriend Chunky is carrying a pager and a begging sign.\n\nDressed in ragged clothing, this man is looking around himself nervously, trying not to meet anyone's eye. He is holding a sign that reads \"HELP ME COMPLETE MY MISSION GIVE WHAT YOU CAN.\"\n\nPonyfriend Chunky is carrying a pager and a begging sign.\n\n> You ask Ponyfriend about Spacescraper\n(Ponyfriend Chunky about that)\nPonyfriend responds out of the corner of his mouth, looking away. \"The Tower! (Ponyfriend points eagerly towards the Spacescraper visible in the distance)  I think I'll need to go there\u2026that mission,\nthough\u2026(he\nstops talking suddenly and looks at you suspiciously.)\"\n\nPonyfriend looks up sharply, muttering \"Did you hear that?\" and checks his pager.\n\nWith a brief flare of light from its boosters and a far-off rumble, a drop shuttle rises from the semiballistic pads atop the far-off Reserve Bank Spacescraper, vanishing into the sky.\n\n> You ask Ponyfriend for the pager\n(Ponyfriend Chunky for the pager)\nPonyfriend looks frightened and clutches the pager to his chest. \"No! You can't have it! THEY gave it to me! How would I know They needed me if I gave it to you?\"\n\nPonyfriend wipes his pager's display with a dirty sleeve.\n\n> You look at the pager\nIt looks like a pretty old-school radio pager. It also looks like it isn't working; the display is fogged over, there are no lights on it, and one of the two buttons on the front is missing. There is a small sliding panel on the back.\n\n> You give the phone to Ponyfriend\n(Ponyfriend Chunky)\nPonyfriend clutches the cell phone and mumbles \"This is so much better, now I can get my instructions directly rather than having to call them back!\" He stands there for a moment, then seems to come to a realization. \"In fact, they can call me! I don't need this pager!\" he says.\n\nPonyfriend Chunky gives the pager to you.\n\n> You ask Ponyfriend about the beep\n(Ponyfriend Chunky about that)\nPonyfriend avoids your eye.\n\n> You open the pager\nYou open the pager, revealing a receive chip.\n\nPonyfriend checks his cell phone, looking disappointed that no-one has called.\nPonyfriend sighs and sits down for a few moments before springing back up, muttering.\n\n> You give the camera to Ponyfriend\n(Ponyfriend Chunky)\nPonyfriend shakes his head violently and pushes the lost camera back to you.\n\n> You ask Ponyfriend about the mission\n(Ponyfriend Chunky about that)\nPonyfriend's face animates and he looks up at you. \"My missions? They're\u2026well\u2026(a suspicious look comes over his face) They're\nsecret!\nYou can't know!\"\n\n> Examine chip\nThis is a receive chip - a small solid-state radio about the size of a coin. These can be found in most portable electronics that need to receive distant broadcasts, able to pull in signals from beyond a few meters. There are leads on the chip for connecting data lines and a power source.\n\n> Solder chip\nWhat do you want to combine?\n\nPonyfriend's eyes light up and he pulls out his (dead) cell phone. Raising it to his head, he has a brief conversation with it before putting it away carefully and looking around furtively.\n\n> Inventory\nYou are carrying:\na receive chip\na pager (open but empty)\na lost camera\na drop message\na safety limiter\na backpack (being worn, and open)\na soldering iron\na lockblade knife\na laptop\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> Go north\nIn order to pass the checkpoint, you would need to have a Government authorized Mitsui-Klein signature. Realizing this, you retreat."
    },
    {
        "text": "> Look around\nThese are the front steps of an impressive government building. Civil servants hurry in and out through the security checkpoint, going about their business.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see Ponyfriend Chunky and the civil servants here.\n\nYou can go south to Government Square North from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nThe north half of Government Square is surrounded on three sides by roadway. Groundcars trundle back and forth, and the occasional flitter whines down to or screams up from flitter pads out of sight atop the surrounding buildings. The hospital driveway is to the southeast, across the road; the hospital entrance to the east and the police station to the west. To the north is the steps to the Civil Center, the local government office building.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Civil Center Steps, south to Government Square South, southeast to Hospital Driveway, east to Hospital Entrance, and west to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the south\nThis is the southern half of Government Square. Several benches and landscape features are scattered throughout the area. A roadway approaches from the west, loops north around the square and continues to the east. Groundcars move back and forth along the road, mixed with official vehicles such as police cars, ambulances and the ubiquitous slightly shabby black flitters used by government agencies. The doors to Green Service Transit station are to the south. Across the road to the east is Green Hospital's driveway. The Hospital's main entrance is to the northeast. The square continues to the north. To the northwest, across the road on the other side, is the front steps of the local police station.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Government Square North, northeast to Hospital Entrance, northwest to Police Station Steps, south to Green Service Station, and east to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nGreen Service is the local government services cluster. The Transit station seems to reflect this, exhibiting a weary conformity - although you couldn't say exactly how. A stairway leads down to the platform access doors, and a set of doorways lead north out onto Government Square.\n\nYou can go north to Government Square South and down through the Green Service Station door (closed) to Green Service Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go downwards\n(first opening the Green Service Station door)\n\nGreen Service One's platform is underground. It serves mostly city workers during the day. There is an exit at the center of the platform which leads north through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the south, where a Transit capsule hovers impatiently in the web. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door to Green Service Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe automatic door slides closed.\n\n> Go south\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Service Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> Go outside\nThe Reserve Bank Transit Station. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the west. The flow of commuters moves steadily through these doors, with each person turning their head to the right as they approach for the eye scanner to verify their identity before opening the portal long enough for them to slip through. The floor and walls are both clean duramex nanotile, and the station name (Reserve Bank) is indicated on large plaques set into the walls. At either end of the platform, closed gates guard against any entry into the slideway tunnels. A platform abuts a Transit web, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go west through the Reserve Bank Station door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go west\n(first opening the Reserve Bank Station door)\nThe Eye Scanner laser delicately probes your iris to determine your identity. The Reserve Bank Security Subroutine determines that you have no legitimate reason to enter the Reserve Bank spacescraper. A harsh buzzer sounds and the door remains locked.\n\nA few commuters get on and off the Transit capsule.\n\n> Examine Scanner\nAbove and to the right of each automated door is a Door Scanner. These spherical devices have a glass plane inset in the side facing you, and an eerie red light flickers deep inside each as it waits for you to present a recognizable iris to the scanning laser within. Until you do so, the door controlled by the scanner will remain closed.\n\n> Go east\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Reserve Bank Station.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> You go south\nYou exit the Transit capsule.\n\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door (closed) to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go south\n(first opening the Green Commercial Station door)\n\nGreen Commercial One's Transit station usually does most of its business around the rush hours, as Green Residental commuters stop off to take care of errands. The station is relatively small, but well kept up - the Green Commercial Business Improvement District organization sees to that. Open doorways lead south to Green Commercial One proper, and a stairway leads down to the doors to the Transit platform.\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go south\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go south\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door (closed) to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\n(first opening the Garb-oh door)\n\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a blue jacket, a red jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper and the shopper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You examine the red jacket\nThis jacket is a wine red sports coat. You had thought this style vanished in the 1970s, but here it is. It is several sizes too small for you.\n\nThere is an antitheft tag attached to the red jacket.\n\n> You examine tag\nWhich do you mean, the blue jacket's antitheft tag, the red jacket's antitheft tag, the white shirt's antitheft tag, the green shirt's antitheft tag, the blue pair of pants's antitheft tag, or the brown pair of pants's antitheft tag?\n\n> You examine the red jacket's tag\nThis is a small rubberized sealed plastic transponder, perhaps a centimeter thick and two by four centimeters square, with a complex security mechanism for attaching it to products. It is used for inventory control as well as theft prevention; it cannot be removed from a garment without the associated removal tool.\n\n> You look at the shopkeeper\n(the shopkeeper)\nThe shopkeeper is a somewhat frumpy older lady. You can't help but wonder if she has been deliberately selected for her appearance so as to present a contrast with the merchandise.\n\nThe shopkeeper is empty-handed.\n\n> You examine the counter\nIn the sales counter is a sales drawer.\n\n> You open it\nYou can't reach that from here; you'd need to be behind the sales counter.\n\nA shopper pulls a jacket off the racks and looks at it critically before returning it.\n\n> You go behind the sales counter\nYou try to move behind the sales counter, but the shopkeeper glares at you and blocks the way!\n\nA small group of people enter the store, look around, look at each other and file back out.\n\n> You examine the shoulder bag\nAn open-topped satchel with a carrying strap meant to be strung over one shoulder. It is currently over the shoulder of a woman shopper.\n\n> You take it\nThat seems to belong to the shopper.\n\n> You put the red jacket in the bag\n(the backpack)\nYou put the red jacket into the backpack.\n\n> You put red jacket in the shoulder bag\nYou stealthily slide the red jacket into the shoulder bag!\n\nThe shopper puts down a last item of clothing and drifts towards the door. As she reaches it, however, the antitheft alarm blares and a strobe light begins to flash! She stops, frozen in surprise, as the shopkeeper rushes over and grabs her. A few seconds later, two policemen enter the shop. The shopkeeper, shopper and police all begin shouting at the same time.\n\n> You go behind the counter\nYou move around behind the sales counter.\n\nGarb-oh (in the sales counter)\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nYou can also see a Patrolman, Officer Prescott, the shopkeeper, and the shopper here.\n\nThere is a wide drawer below the counter level.\n\nYou can go east through the Garb-oh door (closed) to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You open the drawer\nYou open the sales drawer, revealing a tag remover.\n\n> You get the tag remover\n(putting the safety limiter into the backpack to make room)\nTaken.\n\n> You look at officer prescott\nA normal-looking Metro Policeman, Prescott is wearing light patrol gear with his holobadge displaying his name and rank across his left breast. Every once in a while, the comm unit attached to his belt murmurs to him through his earpiece.\n\nOfficer Prescott is carrying a flitterkey.\n\n> Go outside\nYou get out of the sales counter.\n\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see a Patrolman, Officer Prescott, the shopkeeper, and the shopper here.\n\nYou can go east through the Garb-oh door (closed) to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> You look at the brown pants\nBrown dungarees are never really in style, ergo they can't ever really be out of style either.\n\nThere is an antitheft tag attached to the brown pair of pants.\n\n> You remove tag\n(the tag remover)\nYou're not wearing that.\n\n> You get the antitheft tag\nWhich do you mean, the blue jacket's antitheft tag, the white shirt's antitheft tag, the green shirt's antitheft tag, the blue pair of pants's antitheft tag, the brown pair of pants's antitheft tag, or the red jacket's antitheft tag?\n\n> You get the brown pants's antitheft tag\nYou can't remove that bare-handed; you'll need to use the appropriate tool.\n\n> You remove the brown pants's antitheft tag with tag remover\nYou deftly remove the tag with the tag remover.\n\n> You look at the tag\n(the brown pair of pants's antitheft tag)\nThis is a small rubberized sealed plastic transponder, perhaps a centimeter thick and two by four centimeters square, with a complex security mechanism for attaching it to products. It is used for inventory control as well as theft prevention; it cannot be removed from a garment without the associated removal tool.\n\n> You remove the blue pants's antitheft tag with the tag remover\nYou deftly remove the tag with the tag remover.\n\nThe police finally search the shopper's shoulder bag, and shake their heads. They lead her towards the door, one explaining that they'll need to take her statement at the station. The shopkeeper asks snippily what they'll be doing to protect her stock; Officer Prescott rolls his eyes and says \"Lady, we'll have our patrol stop in the plaza out front for a while in case this one has any accomplices, all right?\" They leave, and the shopkeeper watches them go with a somewhat irritatingly smug expression on her face.\n\n> You open the tag\nWhich do you mean, the blue jacket's antitheft tag, the white shirt's antitheft tag, the green shirt's antitheft tag, the blue pair of pants's antitheft tag, the brown pair of pants's antitheft tag, or the tag remover?\n\n> Go east\nAs you approach the autodoor, a cyclone light goes off, triggered by the antitheft tag you are carrying! The attendant hurries over as a policeman rushes in. The tag is swiftly found!\n\n> You cut the brown pants's antitheft tag\nYou'd need to cut the brown pair of pants's antitheft tag with something; you can't do it bare-handed.\n\n> You cut brown pants's antitheft tag with the knife\n(putting the drop message into the backpack to make room)\nYou're carrying too many things already.\n\nYou carefully cut open the tag with your knife and peel back the plastic to reveal a blank memory chip.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\n> You take the memory chip\n(putting the lost camera into the backpack to make room)\nYou're carrying too many things already.\n\n> You cut the blue pants's antitheft tag with the knife\n(putting the pager into the backpack to make room)\nTaken.\n\nYou carefully cut open the tag with your knife and peel back the plastic to reveal a blank memory chip.\n\nSecurity surveillance spots you openly carrying a weapon. Police rush in!\n\n> Inventory\nYou are carrying:\na blue pair of pants's antitheft tag\na brown pair of pants's antitheft tag\na blank memory chip\na tag remover\na receive chip\na pager (open but empty)\na backpack (being worn, and open)\na lost camera\na drop message\na safety limiter\na soldering iron\na lockblade knife\na laptop\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You drop the blue\n(the blue pair of pants's antitheft tag)\nThe attendant spots you dropping an antitheft tag on the floor. Suspicious, she presses her alarm and runs over, calling for police!\n\n> You put the blue on the rack\n(the blue pair of pants's antitheft tag on the racks)\nYou put the blue pair of pants's antitheft tag on the racks.\n\n> You put the brown on the racks\n(the brown pair of pants's antitheft tag on the racks)\nYou put the brown pair of pants's antitheft tag on the racks.\n\nA small group of people enter the store, look around, look at each other and file back out.\n\n> You put the knife in the backpack\nYou put the lockblade knife into the backpack.\n\n> You go east\n(first opening the Garb-oh door)\n\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\nYou have the sudden feeling that you're being followed, but have no idea by whom.\n\nThe automatic door slides closed.\n\n> You go north\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Plaza North, northeast to NanoMart, northwest to Metro Savings, south to Green Commercial Plaza South, southeast to Accessorize, east to The Proletariat Bar, and west to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\nA surveillance camera atop a nearby streetlight swivels silently.\n\n> You go north\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door (closed) to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go down\n(first opening the Green Commercial Station door)\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nA commuter walks by.\n\nThe automatic door slides closed.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\n> You wait for Capsule\nYou see a small mouse scurry along the Transit Web and vanish back into the tunnels.\n\nA commuter walks by.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA commuter walks by.\n\n> Go north\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Commercial Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nTime passes.\n\nTime passes.\n\n> Wait\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You go to the east\nYou exit the Transit capsule.\n\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, where a Transit capsule hovers impatiently. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door (closed) to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go east\n(first opening the Green Residential Station door)\nThe Eye Scanner laser delicately probes your iris, and the doors slide smoothly open.\n\nYou can go east to Primrose & Cedar and down through the Green Residential Station door to Green Residential Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south to South Primrose Lane, east to East Cedar Street, and west to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go west to Primrose & Cedar from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nCedar Street comes to an end in a cul-de-sac here. There are residential buildings to the north, east and south. Typical for the area, they are three-family houses with common entrances. Their lawns are neatly trimmed.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go west to Primrose & Cedar from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the residential buildings\nA set of residential buildings with neatly trimmed lawns.\n\n> You go south\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Primrose & Cedar and east to Front Path from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nPrimrose Lane continues to the north. To the south is a boarded-up empty house; sumac plants can be seen peeking over the top of the dilapidated fencing. The fence has a plastic tarp strung behind it which prevents you from seeing much of the house. To the west is a single-family home with a large warning sign and an enormous dog on the front lawn. To the east is a three-family residence's front path.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Primrose & Cedar and east to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\n> You read the sign\nIt reads \"YOUR SKIN MUST BE THIS THICK (here there is a lifelike picture of a dog's tooth, perhaps an inch long) TO BURGLE THIS HOUSE.\" There is an arrow pointing down and to the side, which actually points at the dog.\n\n> Go west\nAs you approach the lawn of the house, the large dog raises its head to look at you and growls, softly but very communicatively. You decide discretion is the better part of valor and retreat.\n\n> You cut the fence\nYou'd need to cut the fence with something; you can't do it bare-handed.\n\n> You examine the sumac\nYou can see the tops of a few trees over the top of the fence. Their leaves are greenish red, waving out of reach in the slight breeze.\n\n> You put knife in the pack\nYou put the lockblade knife into the backpack.\n\n> You go to the west\nYou can go east to Primrose & Cedar and down through the Green Residential Station door (closed) to Green Residential Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You descend\n(first opening the Green Residential Station door)\nThe Door Scanner scans your iris to determine your identity. The Transit Security and Accounting Subroutine determines that you have a legitimate account with the Transit system, and the doors slide smoothly open.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go west\nA barrier fence with closed autodoors blocks your way.\n\n> You wait for Transit\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Residential and vanishes into the darkness once more.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You go to the west\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Residential Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\n> You examine Surveillance\nWhich do you mean, the surveillance cameras or the Public Surveillance Notice?\n\n> You wait\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nTime passes.\n\nTime passes.\n\n> Go north\nYou exit the Transit Capsule.\n\nGreen Service One's platform is underground. It serves mostly city workers during the day. There is an exit at the center of the platform which leads north through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the south, where a Transit capsule hovers impatiently in the web. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door (closed) to Green Service Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go to the north\n(first opening the Green Service Station door)\n\nYou can go north to Government Square South and down through the Green Service Station door to Green Service Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go north\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Government Square North, northeast to Hospital Entrance, northwest to Police Station Steps, south to Green Service Station, and east to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go northwest\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go southeast to Government Square South, east to Government Square North, and west to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nYou can see Sergeant Ramirez here.\n\nYou can go south to Booking and east to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go south\nYou can see an ID camera here.\n\nYou can go north to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> You put the memory chip ini d camera\nYou put the blank memory chip into the film slot.\n\n> You get the camera\n(the ID camera)\nThe camera is chained down securely.\n\n> You check what you're carrying\nYou are carrying:\na tag remover\na receive chip\na pager (open but empty)\na backpack (being worn, and open)\na lockblade knife\na lost camera\na drop message\na safety limiter\na soldering iron\na laptop\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You cut the chain with the car key\nThat seems to be a part of the ID camera.\n\nTaken.\n\nCutting that would achieve little.\n\n> You ask Ramirez aboutthe i d camera\n\"Yeah, yeah, you and everybody else\u2026\"\n\n> You tell Ramirez about the drug activity\nSergeant Ramirez snorts. \"Did you actually witness drug trafficking?\" he asks. When you shake your head, he sighs theatrically and goes back to his paperwork.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n> Go north\nThe gate is securely locked.\n\n> You examine the gate\nA scarred metal security gate of bars and mesh. A bare hallway is visible trough it. It is locked.\n\n> You go east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go southeast to Government Square South, east to Government Square North, and west to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nYou can go north to Government Square South and down through the Green Service Station door (closed) to Green Service Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\n(first opening the Green Service Station door)\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door to Green Service Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe automatic door slides closed.\n\n> Go south\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Service Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\n> Wait\nTime passes.\n\nA nearby commuter's handheld begins beeping loudly. She hurriedly shuts it off.\n\nTime passes.\n\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait for a while\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nTime passes.\n\nTime passes.\n\n> Go south\n(first opening the Green Commercial Station door)\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go to the south\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go southwest\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine Prescott\nA normal-looking Metro Policeman, Prescott is wearing light patrol gear with his holobadge displaying his name and rank across his left breast. Every once in a while, the comm unit attached to his belt murmurs to him through his earpiece. At the moment, he's sitting at a table nursing a coffee.\n\nOfficer Prescott is carrying a flitterkey.\n\n> You get flitterkey\nThat seems to belong to Officer Prescott.\n\n> You look at the flitterkey\nthe flitterkey is a scuffed, hardened ballistic plastic transponder."
    },
    {
        "text": "> You describe your surroundings\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You get the holoportrait\nThat's hardly portable.\n\n> You examine the holoportrait\nThis portrait is somewhat horribly overdone. In it, Zuzu's face, in three-quarter profile, floats in front of what appears to be this very restaurant. Her face is so large and detailed that you're sure they had to edit out her pores, although they probably left her bright green eye unretouched.\n\n> You examine the camera\nA cheap piece of integral electronics, made cheaper by the fact that any portable or phone has a perfectly good camera in it. It has a built-in flash, and is typically linked to a cell phone or other handheld for displaying and storing photos. This camera has been cracked open, revealing its internal electronics. A capacitor (for the flash unit) and battery are available, as are numerous circuit connection points.\n\n> You take the picture\nWhat do you want to take picture of?\n\n> You take the picture of the holoportrait\nWhat do you want to take picture of the portrait with?\n\n> You check your inventory\nYou are carrying:\na car key\na tag remover\na receive chip\na pager (open but empty)\na backpack (being worn, and open)\na lockblade knife\na lost camera\na drop message\na safety limiter\na soldering iron\na laptop\nsome solder\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You connect the pager with the camera\n(first taking the lost camera)\nThe pager won't attach to the lost camera.\n\n> You look at the pager\nIt looks like a pretty old-school radio pager. It also looks like it isn't working; the display is fogged over, there are no lights on it, and one of the two buttons on the front is missing. There is a small sliding panel on the back, which is open.\n\n> You go to the east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Plaza North, northeast to NanoMart, northwest to Metro Savings, south to Green Commercial Plaza South, southeast to Accessorize, east to The Proletariat Bar, and west to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go south\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nA parked police flitter, armored and festooned with lights, looms here.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door (closed) to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\n(first opening the Garb-oh door)\n\nOn the racks are a brown pair of pants's antitheft tag, a blue pair of pants's antitheft tag, a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go north\nThe shopkeeper blocks you again. You need a distraction.\n\n> You get the blue pair of the pants's the antitheft tag\n(putting the pager into the backpack to make room)\nTaken.\n\n> You cut the blue pair of the pants's the antitheft tag\nYou'd need to cut the blue pair of pants's antitheft tag with something; you can't do it bare-handed.\n\n> You cut blue pair of the pants's antitheft tag with the knife\n(putting the receive chip into the backpack to make room)\nTaken.\n\nYou carefully cut open the tag with your knife and peel back the plastic to reveal a blank memory chip.\n\nSecurity surveillance spots you openly carrying a weapon. Police rush in!\n\n> You put the blue pair of the pants's the antitheft tag on the racks\nYou put the blue pair of pants's antitheft tag on the racks.\n\n> You put the receive chip in the car key\nYou put the receive chip into the car key.\n\nA PA system mumbles a message about an upcoming sale.\n\n> You look at the key\nThis \"key\" is really a small rubberized, sealed plastic transponder which automatically unlocks the car it is paired with when it is within range. You have no idea where the appropriate car might be, however. The plastic has been cut away from one end of the key, revealing two component slots.\n\nIn the car key is a receive chip."
    },
    {
        "text": "> You describe your surroundings\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door (closed) to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\n> Inventory\nYou are carrying:\na blue pair of pants's antitheft tag\na brown pair of pants's antitheft tag\na blank memory chip\na tag remover\na receive chip\na pager (open but empty)\na backpack (being worn, and open)\na lost camera\na drop message\na safety limiter\na soldering iron\na lockblade knife\na laptop\nsome solder\na car key\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You put the blue on the rack\n(the blue pair of pants's antitheft tag on the racks)\nYou put the blue pair of pants's antitheft tag on the racks.\n\n> You put the brown on the rack\n(the brown pair of pants's antitheft tag on the racks)\nYou put the brown pair of pants's antitheft tag on the racks.\n\n> You put Memory in the car key\nYou put the blank memory chip into the car key.\n\n> You put the receive in the car key\nYou put the receive chip into the car key.\n\n> You look at the key\nThis \"key\" is really a small rubberized, sealed plastic transponder which automatically unlocks the car it is paired with when it is within range. You have no idea where the appropriate car might be, however. The plastic has been cut away from one end of the key, revealing two component slots.\n\nIn the car key are a receive chip and a blank memory chip.\n\n> You examine receive\nThis is a receive chip - a small solid-state radio about the size of a coin. These can be found in most portable electronics that need to receive distant broadcasts, able to pull in signals from beyond a few meters. There are leads on the chip for connecting data lines and a power source.\n\n> Solder receive to Memory\n(first taking the receive chip)\n(first taking the blank memory chip)\nThe contents of that memory chip aren't very useful."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look around\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a brown pair of pants's antitheft tag, a blue pair of pants's antitheft tag, a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door (closed) to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the east\n(first opening the Garb-oh door)\n\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go to the north-west\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\n(first opening the Garb-oh door)\n\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a brown pair of pants's antitheft tag, a blue pair of pants's antitheft tag, a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go east\nThe Proletariat is a local bar (not a pub). It's just far enough above a \"dive\" to be allowed zoning here, but steadfastedly refuses to cater to upscale tastes. You like it. Restrooms are to the east; the bar runs along the north side with a stolid bartender behind it and a jukebox sits against the back wall. A few hardy drinkers sit here, communing with their spirits. In a nod to the place's name, a Public Surveillance Notice covered with stickers and graffiti tags has been framed above the bar.\n\nYou barely recognize the Muzak as something that was once punk.\n\nYou can see a Bartender and Roberto Velez here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east to Proletariat Restroom, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\nRoberto shuffles his feet.\n\n> You ask Roberto about the drugs\n(Roberto Velez about that)\nRoberto looks at you curiously. You have a sneaking suspicion his English is not very good.\n\n> You examine roberto\n(Roberto Velez)\nA medium-height man of middle age and dark but somewhat pasty-looking skin. His hair, black and cut short, is just beginning to grey at the temples. His hands are rough and callused. He is wearing work shoes and dark blue trousers, slightly scuffed. He is wearing a dark blue trade uniform jacket with a long narrow gash at the left shoulder and his name (Roberto Velez) on a tag clipped to the breast.\n\nRoberto Velez is empty-handed.\n\n> You look at the tag\nThis is a combination antitheft tag remover and wirecutter, useful for removing antitheft tags or pesky labels from products.\n\n> You go south\nYou can see an ID camera here.\n\nYou can go north to the Front Desk from here.\n\nThere is a Public Surveillance Notice here.\n\n> You cut the chain with the tag remover\nLooking around to check for watchers, you snip through the ID camera security chain with the tag remover!\n\n> You get the camera\n(the ID camera)\nTaken.\n\n> You examine it\nA battered but serviceable device, this is a high resolution holocamera used by the police for recording suspects\" identities. It can either record to a local server if one is available, or to a standard Memory chip placed in its memory slot.. Although it was once chained down, the chain seems to have been cut; a broken piece hangs off the camera.\n\n> You put the memory chip in the slot\n(the film slot)\nThere is no more room in the film slot.\n\n> You look at the slot\n(the film slot)\nA slot for a standard Memory chip. A chip is currently in the slot.\n\nIn the film slot is a blank memory chip."
    },
    {
        "text": "> Go down\n(first opening the Green Service Station door)\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door to Green Service Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You wait for Transit\nA public address system reminds you to be alert and \"if you see something, say something!\"\n\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Service One and vanishes into the darkness once more.\n\nA busker puts down his cap and pulls out a flute. Before he gets more than a few notes out a pair of policemen hurry up and hustle him and his cap away out of sight.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You wait awhile\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nTime passes.\n\nTime passes.\n\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You wait awhile\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nTime passes.\n\nTime passes.\n\n> You wait\nTime passes.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nTime passes.\n\nA few commuters get on and off the Transit capsule.\n\n> You go south\nYou exit the Transit capsule.\n\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door (closed) to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go south\n(first opening the Green Commercial Station door)\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go southwest\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You take the picture of the holoportrait withthe i d camera\nThe camera emits an artificial-sounding \"CLICK\" noise.\nThe disc icon flashes green, indicating that the image has been stored.\n\n> You go southeast\nYou can see a Lens Crafter here.\n\nYou can go northwest to Green Commercial Plaza Center and west to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine Lens Crafter\nA floor-standing device used to produce custom-made cosmetic contact lenses (although for an extra fee, they can be made to a prescription). A A screen on the front presents a menu of options, or a Memory can be inserted into a slot with appropriate specifications.\n\nThe Lens Crafter is currently switched off.\n\n> You put Memory into slot\nWhich do you mean, the delivery slot, the data slot, the film slot, or the chipslot?\n\n> You put Memory into Lens Crafter\nYou put the photo memory chip into the data slot.\n\n> Switch lens crafter\nThe lens crafter machine's screen flashes red. A message reads \"NO VALID SOURCE DATA AVAILABLE.\"\n\n> You press activate\nWhich do you mean, the Lens Crafter's activate button or the soldering iron's activate button?\n\n> You put the laptop in the backpack\nYou put the laptop into the backpack.\n\n> You look at Memory\nThis is a standard Memory chip- a small solid-state data storage device about the size of a coin. Data can be stored to a Memory chip by most electronic devices and computers. This memory chip seems to contain image data.\n\n> You drop the laptop\nDropped.\n\n> Go west\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nA parked police flitter, armored and festooned with lights, looms here.\n\nYou can also see a laptop and a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door (closed) to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the flitter\nA Tesla-Fujiwara light aircraft, the police model of this particular flitter is upengined in order to carry armor and equipment. Seating four, this example has the full lighting array and riot pod of a crowd control vehicle. It is securely locked, and a slowly blinking light indicates that its locklarm is armed.\n\n> You get Memory\n(putting the receive chip into the backpack to make room)\nTaken.\n\n> You put Memory intothe i d camera\nYou put the photo memory chip into the film slot.\n\n> You go to the west\n(first opening the Garb-oh door)\n\nOn the racks are a brown pair of pants's antitheft tag, a blue pair of pants's antitheft tag, a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nA small group of people enter the store, look around, look at each other and file back out.\n\nThe automatic door slides closed.\n\n> You go to the east\n(first opening the Garb-oh door)\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nA parked police flitter, armored and festooned with lights, looms here.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go northwest\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> You tell Prescott about the drugs\nThis provokes no reaction.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> You examine the holoportrait\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\nThis portrait is somewhat horribly overdone. In it, Zuzu's face, in three-quarter profile, floats in front of what appears to be this very restaurant. Her face is so large and detailed that you're sure they had to edit out her pores, although they probably left her bright green eye unretouched.\n\n> You look at the eye\nWhich do you mean, your eye, an eye, or Zuzu's eye?\n\n> You examine the zuzu's eyes\nZuzu's eye is bright emerald green, which is easy to see as she is looking wide-eyed into the camera.\n\n> You take picture of the zuzu's eye withi d camera\nThe camera emits an artificial-sounding \"CLICK\" noise.\nThe disc icon flashes green, indicating that the image has been stored.\n\n> You look at the camera\n(the ID camera)\nA battered but serviceable device, this is a high resolution holocamera used by the police for recording suspects\" identities. It can either record to a local server if one is available, or to a standard Memory chip placed in its memory slot.. Although it was once chained down, the chain seems to have been cut; a broken piece hangs off the camera.\n\n> You go to the east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Plaza North, northeast to NanoMart, northwest to Metro Savings, south to Green Commercial Plaza South, southeast to Accessorize, east to The Proletariat Bar, and west to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\n> Switch crafter\nThe lens crafter machine's screen flashes green. A message reads \"SOURCE DATA ACCEPTED - COSTUME LENS SYNTHESIZED.\" The machine hisses slightly, and a sleeve descends around the lens case. When the sleeve retracts, the lens case is closed.\n\n> You get Lens\n(the Lens Crafter)\nThat's fixed in place.\n\n> You open it\nYou open the lens case.\n\n> You examine the case\nA small clear plastic cylinder, full of preservative liquid.\n\nIn the lens case is a contact lens.\n\n> You get the contact lens\n(putting the tag remover into the backpack to make room)\nTaken.\n\n> You wear it\nYou put on the contact lens.\n\n> You examine Lens\nWhich do you mean, the Lens Crafter, the Lens Crafter's activate button, the Lens Menu, the contact lens, or the lens case?\n\n> You examine the contact lens\nWhile it's in your eye? That'd be a neat trick!\n\n> You look at Menu\nThe menu screen, locked,  displays a password prompt. You don't have the password."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\n(first opening the Green Commercial Station door)\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You wait for Transit\nA public address system reminds you to be alert and \"if you see something, say something!\"\n\nA public address system reminds you to be alert and \"if you see something, say something!\"\n\nA commuter walks by.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You say something\n(to the commuter)\nYour words are lost as the commuter slips past you and continues on their way.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait awhile\nTime passes.\n\nA man nearby yawns.\n\nTime passes.\n\n> Go outside\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, where a Transit capsule hovers impatiently. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door (closed) to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go west\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Residential Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go east\nYou exit the Transit capsule.\n\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, where a Transit capsule hovers impatiently. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door (closed) to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\n> You wait 10 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nA nearby commuter's handheld begins beeping loudly. She hurriedly shuts it off.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 4:20 am.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You go to the west\nYou exit the Transit capsule.\n\nThe Reserve Bank Transit Station. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the west. The flow of commuters moves steadily through these doors, with each person turning their head to the right as they approach for the eye scanner to verify their identity before opening the portal long enough for them to slip through. The floor and walls are both clean duramex nanotile, and the station name (Reserve Bank) is indicated on large plaques set into the walls. At either end of the platform, closed gates guard against any entry into the slideway tunnels. A platform abuts a Transit web, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go west through the Reserve Bank Station door (closed) from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go west\n(first opening the Reserve Bank Station door)\nThe Eye Scanner scans the iris printed on the contact lens to determine your identity. The Reserve Bank Security Subroutine determines that \"you\" have a legitimate reason to enter the Reserve Bank spacescraper, and the doors slide smoothly open.\n\nThe corridor widens as it terminates at the automatic doors to the Reserve Bank Station, which lies to the east. There is a directory and guide sign on the wall. Although traffic is overwhelmingly to the west, there are two doors reserved for traffic into the station, indicated by green lightbars overhead, whose access scanners are active.\n\nYou can see a directory here.\n\nYou can go east through the Reserve Bank Station door to Reserve Bank Station and west from here.\n\nThere is a Public Surveillance Notice here.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nThe automatic door slides closed.\n\n> You read the sign\nA large sign mounted to the wall. It reads:\nGreen Line Transit: Basement Level\nFood Court: Basement Level\nAtrium: Main Lobby Level\nRooftop Bouncelift: Main Lobby Level\n\n> You go west\nThe center of the Food Court beneath the Reserve Bank spacescraper is a busy place at all times of the day. Around the periphery are several food stand franchises, some doing a brisk business. Hundreds of people are here waiting in line at the food stands, sitting at the dozens of tables in the center, or just passing through from the Reserve Bank Station to the Lift Lobby up a ramp to the west or vice versa. The floor is made of duramex tiles.\n\nYou can see a trash can (closed) here.\n\nYou can go north, northeast, northwest, south, southeast, southwest, east to Station Corridor, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the floor\nThe floor is made of duramex tiles, nondescript gray matte shedding scuff marks with the determination of the designed servant into nanogrout channels in between. During the short nighttime lull, the floor will seem to creep slightly as the nanogrout slowly flows the daytime grime along the channels to dispose of it into the walls.\n\n> You go southeast\nThe Sheep Look Up is a gyros restaurant, featuring small cartoon sheep heads looking imploringly up from the steam table behind the glass. Two surly employees are hard at work slicing gyros and constructing sandwiches and lunch platters for the several hungry customers who wait in line.\n\nYou can go north, northwest to Food Court, and west from here.\n\nThere is a Public Surveillance Notice here.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\n> You look up\nThe ceiling is two levels up, peppered with DayBrite(\u2122) lighting fixtures which make it difficult to see any detail through the glare.\n\n> Go north\nI Have No Mouth (but Ice Cream) is a popular frozen dessert chain. Despite the somewhat disturbing corporate artwork and iconography, this counter offers a selection of solid flavors including Chocolate AMmond, PostApocalicks and We've All Gone Tutti-Frutti. Two scoopers behind the counter are smoothly dishing up cones and cups to a large crowd of midday sweet-seekers.\n\nYou can go south to The Sheep Look Up, southwest to Food Court, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\nBistro Paris is a well-known faux French eatery offering somewhat soggy croissants and mediocre coffee alongside such wonders as coq au vin served in white styrofoam. Sadly, it appears that it does not sell wine, which might go some way towards relieving the disappointment any gourmand feels when faced with the prospect of eating here. There are two workers behind the counter serving a line of customers. A sign painted onto the counter reads \"Try our Green Commercial One location!\"\n\nYou can go south to Food Court, east to I Have No Mouth, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\nThis corner of the food court is drab and uninhabited. A closed door marked \"MAINTENANCE\" lurks to the west, and another marked \"RESTROOM\" to the north. The floor and walls are scuffed around the door, no doubt from cleaning implements banging against them on their daily travels.\n\nYou can go north, south, southeast to Food Court, east to Reserve Bank Bistro Paris, and west through the Maintenance Door (closed) from here.\n\n> Go south\nApollo's Coffee is done up in fake Ancient Greek, as befits its name. Plastic busts and columns adorn its facade. For some reason, there is a silver robotic head behind the counter, mounted on the wall, where a red scanning laser moves monotonously back and forth.\n\nYou can go north to Maintenance Area, northeast to Food Court, and east from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the head\nLarge and chromed silver, this robot's head looks like a large helmet with rudimentary features. Instead of eyes, a red band crosses the face, behind which a bright red light slowly moves back and forth.\n\n> You get the head\nIt's mounted high behind the counter.\n\n> Go east\nTacos Terriff is a bare-bones Mexicalitexazonan food joint. Meat product is scooped into grain-plastic shells and covered with various unidentifiable industrial sauces and shredded veggies. Despite this, it seems to have a dedicated following, as it is doing land-office business with the office set.\n\nYou can go north to Food Court, east to The Sheep Look Up, and west to Apollo's from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nYou can see a trash can (closed) here.\n\nYou can go north to Reserve Bank Bistro Paris, northeast to I Have No Mouth, northwest to Maintenance Area, south to Tacos Terriff, southeast to The Sheep Look Up, southwest to Apollo's, east to Station Corridor, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\n(first opening the Maintenance Door)\nThe palm lock ignores you. The door remains firmly closed.\n\n> You examine Door\nThe maintenance closet is sealed by an autodoor. There is no eye  on this door, but a flat plate above the door handle indicates a palm scanner lock.\n\n> You put the palm on Scanner\n(first taking your palm)\n\nThat seems to be a part of yourself.\nYou need to be holding your palm before you can put it on top of something else.\n\n> You go north\nBog-standard restroom. Several stalls offer a minimum of privacy. A large mirror covers the walls over the sink.\n\nYou can go south to Maintenance Area from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine the mirror\nA wall-covering mirror over the sinks. The edges are covered in fingerprints, and you note that even the surveillance warning has not prevented a small scrawl of marker graffiti on the left edge.\n\n> You go to the south-east\nYou can see a trash can (closed) here.\n\nYou can go north to Reserve Bank Bistro Paris, northeast to I Have No Mouth, northwest to Maintenance Area, south to Tacos Terriff, southeast to The Sheep Look Up, southwest to Apollo's, east to Station Corridor, and west from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThe Lift Lobby controls underground access to the Reserve Bank spacescraper, beneath the towers of industry and capital made pillars of money and sin. Hundreds of people rush to and fro through the lobby on their way into or out of the building. To the north is a large bank of bouncelifts, their liftfields on and glowing faintly blue behind security gates. Access to the bouncelifts is controlled by Lift Scanners, set above and to the right of each bouncelift entry. There is no ceiling; several meters up, the room opens out into the street level lobby above. There is a railing around the perimeter of the floor above; several people are leaning against or over it, watching the flow of commuters below them and around you. The Atrium, a wide open area extending at least halfway up the spacescraper, is visible above that. There is no way to reach the street lobby from here other than via the bouncelifts. A shallow ramp leads east down to the Food Court.\n\nYou can hear the confused murmur of a large crowd coming from the Atrium above.\n\nYou can see a Powered Platform (on which is a spool) and the Security Guard here.\n\nYou can go east to Food Court and up from here.\n\nThere is a Public Surveillance Notice here.\n\n> You examine spool\nA metal spool of what appears to be very strong cable, with a winding mechanism at its center. The mechanism is locked. There is a carabiner at the end of the cable, but it's locked into the spool. It is attached to the platform's winch frame with several locking clamps.\n\n> Unlock\nWhat do you want to unlock?\n\n> Unlock winch\nWhich do you mean, the winch control or the winch control's activate button?\n\n> You press the activate button\nWhich do you mean, the winch control's activate button or the soldering iron's activate button?\n\n> Winch\nYou switch the winch control on.\n\n> Control\nA simple control panel, used for winding or unwinding cables and thus raising or lowering the platform. It seems to be shut off. A keylock is set to \"OFF.\"\n\nThe winch control is currently switched on.\n\n> You examine the keylock\nIt's a simple keyslot. It's set to \"OFF.\"\n\n> You look at Guard\nHe's dressed in a standard security guard outfit. It appears his job is keep people from fiddling with the ashtrays or perhaps the fake plants.\n\nThe Security Guard is empty-handed.\n\n> You examine Platform\nThis is a platform with motorized winches resting near the south wall. Judging from the equipment locked to it, it is used to clean the walls and windows of the Atrium. A locked-down control winch control is at one end, and there is a safety railing around the edge.\n\nOn the Powered Platform is a spool.\n\n> You stand on Platform\nBefore you can step up onto it, the security guard rushes over and shoves you away from the platform, glaring at you.\n\n> You go to the north\nThe main bouncelifts are much more heavily secured than the public areas of the building. Your dead MitKlein prevents you from gaining access.\n\n> You go east\nYou can see a trash can (closed) here.\n\nYou can go north to Reserve Bank Bistro Paris, northeast to I Have No Mouth, northwest to Maintenance Area, south to Tacos Terriff, southeast to The Sheep Look Up, southwest to Apollo's, east to Station Corridor, and west to Lift Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nYou can see a directory here.\n\nYou can go east through the Reserve Bank Station door (closed) to Reserve Bank Station and west to Food Court from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\n(first opening the Reserve Bank Station door)\nThe Eye Scanner probes your eye and deducts Transit fare from the account associated with your iris pattern.\n\nYou can see a Transit Map here.\n\nYou can go west through the Reserve Bank Station door to Station Corridor from here.\n\nThere is a Public Surveillance Notice here.\n\nA commuter walks by.\n\nThe automatic door slides closed.\n\n> You go east\nA barrier fence with closed autodoors blocks your way.\n\n> You wait for Transit\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Reserve Bank and vanishes into the darkness once more.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You go to the east\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Reserve Bank Station.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait 15 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nA nearby commuter's handheld begins beeping loudly. She hurriedly shuts it off.\n\nSomeone coughs.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nSomeone coughs.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 5:25 am.\n\n> You wait 5 minutes\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 5:30 am.\n\n> You wait 5 minutes\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nA nearby commuter's handheld begins beeping loudly. She hurriedly shuts it off.\n\nIt is now 5:37 am.\n\n> You wait 2 minutes\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nIt is now 5:39 am.\n\nA few commuters get on and off the Transit capsule.\n\n> Go outside\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door (closed) to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go south\n(first opening the Green Commercial Station door)\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go west\nYou can see an ATM here.\n\nYou can go southeast to Green Commercial Plaza Center and east to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at ATM\nThis is a standard ATM, using palm prints and Mit-Klein authentication to permit customers to perform banking transactions. A palm reader juts out from the front of the console.\n\nThe ATM is currently switched off.\n\n> You examine the palm reader\nThis is a standard palm reader, which is used to verify the identity of the ATM customer. A flat plate, slightly inset, it is placed at a convenient angle to allow the palm to lie against it. This one, however, has a broad crack in it across which someone has written \"KAPUT\" in black marker.\n\n> Palm\n(your palm)\nThe tissue sample target is yourself\nThat's not made of tissue.\n\n> You cut atm with the knife\nTaken.\n\nCutting that would achieve little.\n\nSecurity surveillance spots you openly carrying a weapon. Police rush in!\n\n> You remove the reader\n(first taking the palm reader)\nThat seems to be a part of the ATM.\n\n> You pull the reader\nIt is fixed in place.\n\n> Inventory\nYou are carrying:\na contact lens (being worn)\na lens case (open but empty)\na laptop\nan ID camera\na car key\na backpack (being worn, and open)\na tag remover\na receive chip\na pager (open but empty)\na lockblade knife\na lost camera\na drop message\na safety limiter\na soldering iron\nsome solder\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You examine the pin\nA small steel pin made up of a length of wire doubled over on itself with a loop at one end.\n\n> You wait for Capsule\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA commuter walks by.\n\n> You wait 3 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 6:07 am.\n\n> You go inside\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Residential Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait 3 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 6:13 am.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> Wait\nTime passes.\n\nThe capsule shudders as it passes a junction in the Web.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> Go outside\nGreen Service One's platform is underground. It serves mostly city workers during the day. There is an exit at the center of the platform which leads north through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the south, where a Transit capsule hovers impatiently in the web. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go north through the Green Service Station door (closed) to Green Service Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go to the north\n(first opening the Green Service Station door)\n\nYou can go north to Government Square South and down through the Green Service Station door to Green Service Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nAn ambulance, a bulky flittervan with emergency markings, is parked here.\n\nYou can go north to Hospital Entrance, northwest to Government Square North, east through the ER door (closed) to Triage, and west to Government Square South from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the ambulance\nThis aerovan is probably a Geely-Ford/Fujiwara product underneath, but has all manner of emergency lights and markings on it, including a large set of red crosses. It has a double door in the back along with the two main cab entry doors. It is dark and powered down but securely locked, and a slowly blinking light indicates that its locklarm is armed.\n\n> Open ambulance\nAs you reach for the door handle, the locklarm begins to strobe and an ominous beeping begins. You decide not to risk it.\n\n> You go east\n(first opening the ER door)\n\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Go east\nYou can see a tissue generator here.\n\nYou can go north to Hospital Elevators and west to Triage from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door (closed) to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nYou can go north to Hospital Lounge, south to Triage, east to Hospital Elevators, and west through the Hospital door (closed) to Hospital Entrance from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "> Look around\nThis is the main entrance to a busy regional hospital. Autodoors lie to the west. Patients and staff rush back and forth, all too busy to pay you any attention. To the south is an archway with a sign reading \"TRIAGE\"; to the east is the elevator core and to the north is the waiting lounge.\n\nYou can go north to Hospital Lounge, south to Triage, east to Hospital Elevators, and west through the Hospital door (closed) to Hospital Entrance from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\nYou can go south to the Emergency Room, east to Hospital Restroom, and west to Hospital Lobby from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> You look at your surroundings\nThe main elevator bank for the hospital seems to require either an appropriate Mit-Klein scan or a hospital ID to swipe. Patients and staff move through the area. The lobby is to the west. The ER is through a door to the south, and a restroom is to the east.\n\nYou can go south to the Emergency Room, east to Hospital Restroom, and west to Hospital Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go north\nYou can go south to Hospital Lobby and east to the Hospital Lab from here.\n\n> You go east\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go west to Hospital Lounge from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis is an all-purpose pathology laboratory receiving area. The lab itself is behind a bulletproof glass wall to the east, and a small window allows samples or paperwork to be passed back and forth.\n\nYou can see a trash can (in which is some rubbish) here.\n\nYou can go west to Hospital Lounge from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\n(first opening the Hospital door)\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Hospital Driveway, southwest to Government Square South, east through the Hospital door to Hospital Lobby, and west to Government Square North from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Describe the surroundings\nThis is the front entryway pavilion of the local hospital. The automatic entryway doors are to the east, and the ER entrance and driveway is to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Hospital Driveway, southwest to Government Square South, east through the Hospital door (closed) to Hospital Lobby, and west to Government Square North from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Civil Center Steps, south to Government Square South, southeast to Hospital Driveway, east to Hospital Entrance, and west to Police Station Steps from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the east\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go south to Hospital Driveway, southwest to Government Square South, east through the Hospital door (closed) to Hospital Lobby, and west to Government Square North from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go south\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nAn ambulance, a bulky flittervan with emergency markings, is parked here.\n\nYou can go north to Hospital Entrance, northwest to Government Square North, east through the ER door (closed) to Triage, and west to Government Square South from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\n(first opening the ER door)\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nAn ambulance, a bulky flittervan with emergency markings, is parked here.\n\nYou can go north to Hospital Entrance, northwest to Government Square North, east through the ER door to Triage, and west to Government Square South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go to the east\n(first opening the ER door)\n\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nThe automatic door slides closed.\n\n> Go east\nYou can see a tissue generator here.\n\nYou can go north to Hospital Elevators and west to Triage from here.\n\nThere is a Public Surveillance Notice here.\n\n> You look at the generator\n(the tissue generator)\nThis is a medium-sized appliance found in most modern hospitals. It is used to provide artificial tissue for grafting into or onto injuries. In order to prevent rejection, the tissue generator must be given a complete scan of the patient's tissue, from which it will (by default) produce an exact duplicate of the scanned sample. It has a button marked ACTIVATE. There is a slot on the front of the machine labeled INSERT CRYOPACK FOR SAMPLE where, presumably, the generated tissue is delivered; there is a smaller opening labeled FEED and there is a slot labeled READ where a tissue sampler can be inserted.\nThere is a cryopack in the sample slot. The feed slot contains biogen feedstock.\n\nThe tissue generator is currently switched off.\n\n> You examine it\nThis is a small cube of material which resembles freeze-dried beef.\nIt is a standard supply unit for biotech synthesizers.\n\n> Examine read\nA slot where a standard medical tissue sampler plate can be inserted and read.\n\n> You go to the west\nYou can go north to Hospital Lobby, east to the Emergency Room, and west through the ER door (closed) to Hospital Driveway from here.\n\nThere is a Public Surveillance Notice here.\n\n> You wait for Transit\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Service One and vanishes into the darkness once more.\n\nYou see a small mouse scurry along the Transit Web and vanish back into the tunnels.\n\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Service One and vanishes into the darkness once more.\n\nA public address system reminds you to be alert and \"if you see something, say something!\"\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You wait 11 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nIt is now 7:15 am.\n\nA few commuters get on and off the Transit capsule.\n\n> You go east\nYou can go southwest to Green Commercial Plaza Center and west to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nYou can see a Bartender here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east to Proletariat Restroom, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\n> You ask Bartender about Roberto\n(the Bartender about that)\nThe bartender looks up. \"He comes in here most afternoons around three. Works the early shift at the Bank.\"\n\n> You ask Bartender about the tissue sampler\n(the Bartender about that)\nThe bartender seems to be ignoring you.\n\n> You ask Bartender about the beer\n(the Bartender about that)\nThe bartender cocks his head as you speak, then shakes his head eloquently. Looks like he doesn't have anything to say.\n\n> You ask Bartender about Prescott\n(the Bartender about that)\nThe bartender looks at you briefly before  shrugging and returning his attention to the glass.\n\n> You look at the glass\nA slightly dirty standard bar drink holder.\n\n> You get the glass\nThat seems to belong to the Bartender.\n\n> Go west\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Plaza North, northeast to NanoMart, northwest to Metro Savings, south to Green Commercial Plaza South, southeast to Accessorize, east to The Proletariat Bar, and west to Green Commercial Bistro Paris from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the west\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\n> No\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n1/8: Your goal is to escape the city.\n\nPress SPACE to return to the menu or H to reveal another hint."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\n(first opening the Green Commercial Station door)\n\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, now empty.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You examine the walls\nMetal, perhaps a meter by five meters, the plaque reads \"Green Commercial One\" in standard Transit Helvetica font.\n\n> Go north\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Green Commercial Platform.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait five minutes\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 7:44 am.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> You go to the east\nYou exit the Transit capsule.\n\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, where a Transit capsule hovers impatiently. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door (closed) to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You go east\n(first opening the Green Residential Station door)\nThe Eye Scanner laser delicately probes your iris, and the doors slide smoothly open.\n\nThis is a utilitarian shelter intended mostly to keep the rain out of the Transit System. A stairway leads down to the autodoor leading to the Transit platform and an exit leads east to the street.\n\nYou can go east to Primrose & Cedar and down through the Green Residential Station door to Green Residential Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go east\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south to South Primrose Lane, east to East Cedar Street, and west to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\n> Go south\nPrimrose Lane continues to the north. To the south is a boarded-up empty house; sumac plants can be seen peeking over the top of the dilapidated fencing. The fence has a plastic tarp strung behind it which prevents you from seeing much of the house. To the west is a single-family home with a large warning sign and an enormous dog on the front lawn. To the east is a three-family residence's front path.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Primrose & Cedar and east to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\n> Hint\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n1/8: Your goal is to escape the city.\n\n2/8: Have you received and read your SMS messages?\n\n3/8: Have you gotten out of Green Residential?\n\n4/8: Have you found your drop message of instructions?\n\n5/8: Have you found a way into the Spacescraper?\n\n6/8: Have you found a way through that suspicious fence in South Primrose Lane?\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> Go north\nWhat should I do?\n> What do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> You go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\n> How do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> You go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\n> How do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> Go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\n> How do I get into vehicles?\n\n> Go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\n> How do I get into vehicles?\n1/8: To gain access to a vehicle, you need its key.\n\nPress SPACE to return to the menu or H to reveal another hint.\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\n> How do I get into vehicles?\n1/8: To gain access to a vehicle, you need its key.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> You go to the east\nThis front path is paved with cracked flagstones. Primrose Lane is to the west, a three-family building is to the east, and the building's side yard is to the northeast.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go northeast to Side Yard, east through the House door (closed) to Front Lobby, and west to South Primrose Lane from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go east\n(first opening the House door)\n\nThe slightly shabby front lobby of this multi-family building. A door leads outside to the west, gated stairs leading up to the upper two floors are to the east, and an apartment door is to the south.\n\nA small post-it note is stuck to the door of Apartment 1.\n\nYou can also see a newspaper and a pamphlet here.\n\nYou can go south through the Apartment door to Entry and west through the House door to Front Path from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Examine newspaper\nThe local newspaper, printed on plasfax. Some retro individuals still prefer to hold their news in their hands.\n\n[If you want to read the newspaper (as opposed to just looking at it) try READ NEWSPAPER.]\n\n> You read it\nToday's front-page headline is: Homeland Security convention to be held this week at the Reserve Bank Spacescraper. \"The best and\nthe brightest of the various Homeland Security agencies will meet in the Reserve Bank Atrium this week to receive presentations on new security initiatives and to discuss the state of the art in security technology.\"\n\nThe next headline reads: Soldiers begin to experience\nbreakdowns.\nThe story itself continues: \"The parents of several deployed American military personnel have raised concerns that their children appear to be losing touch with reality. Government refutes these claims with statistics showing that 97.2 percent of deployed American service personnel are safely medicated.\" At the bottom, a small postscript reads Would you like to know more? [LINK]\n\nReading the story about the Homeland Security convention, the thought of all those Homeland Security drones in one place makes you grind your teeth. Then, however, a vision of all those heavily-secured workers with dead MitKlein bottles replaces it, and you have some difficulty wiping the resulting smile from your face. If only...\n\n> You get all\nnewspaper: Taken.\npamphlet: (putting the car key into the backpack to make room)\nTaken.\npost-it: (putting the ID camera into the backpack to make room)\nTaken.\n\n> You look at the postthe -the it\nA short scribble, which reads \"The techs were by to turn off your water. Have a nice vacation!\"\n\n> You examine the PAMPHLET\nA pamphlet is from the Department of Homeland Security.\n\n[If you want to read the pamphlet (as opposed to just looking at it) try READ PAMPHLET.]\n\n> Hint\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> Go north\nWhat should I do?\n> What do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n1/11: If you've gotten this far, your MitKlein is disabled. Being the only one with such is very dangerous.\n\n2/11: What if other citizens\" MitKleins were dead as well?\n\n3/11: The newspaper should tell you why the Reserve Bank is important.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> You go to the west\n(first opening the House door)\n\nThis front path is paved with cracked flagstones. Primrose Lane is to the west, a three-family building is to the east, and the building's side yard is to the northeast.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go northeast to Side Yard, east through the House door to Front Lobby, and west to South Primrose Lane from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go north\nThis staid neighborhood intersection of Primrose Lane and Cedar Street fronts the local Transit station, Green Residential. The station entrance is to the west. Primrose Lane continues to the south, and Cedar Street continues to the east.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can go north to Green Residential Park, south to South Primrose Lane, east to East Cedar Street, and west to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\nThis is a utilitarian shelter intended mostly to keep the rain out of the Transit System. A stairway leads down to the autodoor leading to the Transit platform and an exit leads east to the street.\n\nYou can go east to Primrose & Cedar and down through the Green Residential Station door (closed) to Green Residential Platform from here.\n\nThere is a Public Surveillance Notice here."
    },
    {
        "text": "> Go downwards\n(first opening the Green Residential Station door)\nThe Door Scanner scans your iris to determine your identity. The Transit Security and Accounting Subroutine determines that you have a legitimate account with the Transit system, and the doors slide smoothly open.\n\nGreen Residential's platform serves mostly residential commuters. There is an exit at the center of the platform which leads east through a set of closed automatic doors to a stairway leading up to the main station, just next to a large plaque with the name of the station on it. The platform abuts the Transit web to the west, now empty.\n\nYou can see a Transit Map here.\n\nYou can go east through the Green Residential Station door to Green Residential Station from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> Wait\nTime passes.\n\nA police officer strolls through the area, giving you a suspicious look before moving on.\n\n> You wait for Transit\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nWarning lights along the platform edge begin to blink rapidly. A light grows in the tunnel. With a deep moan and gust of wind, an express Transit Capsule blasts through Green Residential and vanishes into the darkness once more.\n\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Residential Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You wait 10 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nA shabbily-dressed man wanders up to you. He appears to be about to ask you for something, but then he catches a look at your eyes and instead wanders away again.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Service Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nIt is now 8:20 am.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\n\n> Go west\nYou exit the Transit capsule.\n\nThe Reserve Bank Transit Station. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the west. The flow of commuters moves steadily through these doors, with each person turning their head to the right as they approach for the eye scanner to verify their identity before opening the portal long enough for them to slip through. The floor and walls are both clean duramex nanotile, and the station name (Reserve Bank) is indicated on large plaques set into the walls. At either end of the platform, closed gates guard against any entry into the slideway tunnels. A platform abuts a Transit web, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go west through the Reserve Bank Station door (closed) to Station Corridor from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> Go west\n(first opening the Reserve Bank Station door)\nThe Eye Scanner scans the iris printed on the contact lens to determine your identity. The Reserve Bank Security Subroutine determines that \"you\" have a legitimate reason to enter the Reserve Bank spacescraper, and the doors slide smoothly open.\n\nThe corridor widens as it terminates at the automatic doors to the Reserve Bank Station, which lies to the east. There is a directory and guide sign on the wall. Although traffic is overwhelmingly to the west, there are two doors reserved for traffic into the station, indicated by green lightbars overhead, whose access scanners are active.\n\nYou can see a directory here.\n\nYou can go east through the Reserve Bank Station door to Reserve Bank Station and west to Food Court from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go west\nThe center of the Food Court beneath the Reserve Bank spacescraper is a busy place at all times of the day. Around the periphery are several food stand franchises, some doing a brisk business. Hundreds of people are here waiting in line at the food stands, sitting at the dozens of tables in the center, or just passing through from the Reserve Bank Station to the Lift Lobby up a ramp to the west or vice versa. The floor is made of duramex tiles.\n\nYou can see a trash can (closed) here.\n\nYou can go north to Reserve Bank Bistro Paris, northeast to I Have No Mouth, northwest to Maintenance Area, south to Tacos Terriff, southeast to The Sheep Look Up, southwest to Apollo's, east to Station Corridor, and west to Lift Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> You talk to Guard\nTo start a conversation, try to ASK the Security Guard ABOUT something or TELL the Security Guard ABOUT something.\n\n> You look at Guard\nHe's dressed in a standard security guard outfit. It appears his job is keep people from fiddling with the ashtrays or perhaps the fake plants.\n\nThe Security Guard is empty-handed.\n\n> You switch the winch control off\nYou switch the winch control off.\n\n> You examine the control\nA simple control panel, used for winding or unwinding cables and thus raising or lowering the platform. It seems to be shut off. A keylock is set to \"OFF.\"\n\nThe winch control is currently switched off.\n\n> You put the key in the slot\n(the film slot)\nThat won't fit.\n\n> You check your inventory\nYou are carrying:\na post-it\na pamphlet\na newspaper\na contact lens (being worn)\na lens case (open but empty)\na laptop\na backpack (being worn, and open)\nan ID camera\na car key\na tag remover\na receive chip\na pager (open but empty)\na lockblade knife\na lost camera\na drop message\na safety limiter\na soldering iron\nsome solder\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> Hint\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> Go north\nWhat should I do?\n> What do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n\n> Go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\n> How do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n1/14: Only authorized personnel can enter the maintenance closet.\n\n2/14: You'll need to find someone who is allowed to enter the closet.\n\n3/14: Oh, and you'll need to find a way to convince the door's palm lock that you are, in fact, them.\n\n4/14: Remember the contact lens?\n\n5/14: Do you really want me to get more explicit?\n\n6/14: Oh, fine. If you've found your target, try talking to him about his job.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> Go east\nThe center of the Food Court beneath the Reserve Bank spacescraper is a busy place at all times of the day. Around the periphery are several food stand franchises, some doing a brisk business. Hundreds of people are here waiting in line at the food stands, sitting at the dozens of tables in the center, or just passing through from the Reserve Bank Station to the Lift Lobby up a ramp to the west or vice versa. The floor is made of duramex tiles.\n\nYou can see a trash can (closed) here.\n\nYou can go north to Reserve Bank Bistro Paris, northeast to I Have No Mouth, northwest to Maintenance Area, south to Tacos Terriff, southeast to The Sheep Look Up, southwest to Apollo's, east to Station Corridor, and west to Lift Lobby from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go east\nThe corridor widens as it terminates at the automatic doors to the Reserve Bank Station, which lies to the east. There is a directory and guide sign on the wall. Although traffic is overwhelmingly to the west, there are two doors reserved for traffic into the station, indicated by green lightbars overhead, whose access scanners are active.\n\nYou can see a directory here.\n\nYou can go east through the Reserve Bank Station door (closed) to Reserve Bank Station and west to Food Court from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go to the east\n(first opening the Reserve Bank Station door)\nThe Eye Scanner probes your eye and deducts Transit fare from the account associated with your iris pattern.\n\nThe Reserve Bank Transit Station. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the west. The flow of commuters moves steadily through these doors, with each person turning their head to the right as they approach for the eye scanner to verify their identity before opening the portal long enough for them to slip through. The floor and walls are both clean duramex nanotile, and the station name (Reserve Bank) is indicated on large plaques set into the walls. At either end of the platform, closed gates guard against any entry into the slideway tunnels. A platform abuts a Transit web, now empty.\n\nYou can see a Transit Map here.\n\nYou can go west through the Reserve Bank Station door to Station Corridor from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You wait for Transit\nA light grows in the tunnel. With a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Reserve Bank Station and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nA few commuters get on and off the Transit capsule.\n\n> You go to the east\nYou enter the Transit capsule.\n\nA fifty-person maglev Transit capsule. You're standing, holding on to a strap. Through the windows you can see the Reserve Bank Station.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\n> You wait 5 minutes\nA few commuters get on and off the Transit capsule.\n\nThe capsule doors slide shut. The humming noice increases in volume, and the capsule slides out of the station, gathering speed as it goes, and slides into the tunnel.\n\nYou hold onto your strap as the Capsule rapidly accelerates.\n\nWith a deep thrumming and the whoosh of displaced air, the Transit Capsule slides smoothly into Green Commercial Platform and comes to a stop, hovering in the Web. The doors slide open and a few commuters enter and exit the capsule.\nIt is now 8:51 am.\n\nA few commuters get on and off the Transit capsule.\n\n> You go south\nYou exit the Transit capsule.\n\nGreen Commercial One is one of the oldest stations on the Transit web. Although it has been refurbished several times, its age still manages to show through the layers of tile and paint. The platform opens out at the middle to a lobby area which is dominated by a row of automated doors to the south, which lead to stairways up to the main station. The flow of commuters moves steadily through these doors. The floor and walls are both extremely scuffed duramex nanotile, and the station name (Green Commercial One) is indicated on a large plaque set into the walls. The platform abuts the Transit web to the north, where a Transit capsule can be seen hovering. The capsule doors are open.\n\nYou can see a Transit Map here.\n\nYou can go south through the Green Commercial Station door (closed) to Green Commercial Station from here.\n\nThere is a Public Surveillance Notice here.\n\nA few commuters get on and off the Transit capsule.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\n> You go south\n(first opening the Green Commercial Station door)\n\nGreen Commercial One's Transit station usually does most of its business around the rush hours, as Green Residental commuters stop off to take care of errands. The station is relatively small, but well kept up - the Green Commercial Business Improvement District organization sees to that. Open doorways lead south to Green Commercial One proper, and a stairway leads down to the doors to the Transit platform.\n\nYou can go south to Green Commercial Plaza North and down through the Green Commercial Station door to Green Commercial Platform from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You go south\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go southeast\nThe Proletariat is a local bar (not a pub). It's just far enough above a \"dive\" to be allowed zoning here, but steadfastedly refuses to cater to upscale tastes. You like it. Restrooms are to the east; the bar runs along the north side with a stolid bartender behind it and a jukebox sits against the back wall. A few hardy drinkers sit here, communing with their spirits. In a nod to the place's name, a Public Surveillance Notice covered with stickers and graffiti tags has been framed above the bar.\n\nThin music can be heard.\n\nYou can see a Bartender here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east to Proletariat Restroom, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\n> You ask Bartender about Roberto\n(the Bartender about that)\nThe bartender looks up. \"He comes in here most afternoons around three. Works the early shift at the Bank.\"\n\n> You wait until 3\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nThe door opens. Roberto Velez comes in, orders a beer and sits down at a table.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto takes a swig of his beer.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nYou hear a very quiet beep from somewhere you can't identify.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto shuffles his feet.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nRoberto shuffles his feet.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto stands and goes to the bar for some peanuts, returning to the table.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto shuffles his feet.\n\nRoberto takes a swig of his beer.\n\nRoberto takes a swig of his beer.\n\nRoberto examines his jacket sleeve and sighs.\n\nRoberto stands up, stretches, pays his bill and ambles out.\n\nA tiny surveillance camera you're sure you didn't see before swivels to follow you.\n\nYou see a small red light in the corner of your vision which vanishes as you turn to look at it.\n\nYou yawn until 3:00 am.\n\n> You ask Roberto about the job\n(Roberto Velez about that)\nRoberto sighs. \"I have a good job,\" he says. \"I am a custodian at the Reserve Bank, downtown. The work is not bad, and the pay is not terrible, but they are very strict about the uniform.\"\n\n> You ask Roberto about the uniform\n(Roberto Velez about that)\nRoberto cranes his head to look at the damage. \"Oh, yes,\" he says. \"This happened at work. I caught it on a shelf.\" He shakes his head dolefully. \"They are making me pay for the jacket,\" he says to you, \"but they are charging me the new price for it! The price, it is ridiculous! I would replace it myself but I cannot afford one like it. I will have to let them dock my pay for months.\"\n\n> You look at the jacket\nA dark blue uniform jacket with black snap closures and false side pockets. There is a long gash on the outside of the left sleeve near the shoulder. There is a nametag clipped to the jacket which reads \"Roberto Velez.\"\n\n> You go to the south\nThe southern end of the Green Commercial Plaza, which continues to the north. To the east is Accessorize, a fashion store, and to the west is Garb-oh, a trendy clothing shop. The south end of the mall is closed off by an elaborate landscaping installation of trees and shrubs, presumably to hide a relatively ugly building behind it.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nA parked police flitter, armored and festooned with lights, looms here.\n\nYou can also see a trash can (closed) here.\n\nYou can go north to Green Commercial Plaza Center, northeast to The Proletariat Bar, northwest to Green Commercial Bistro Paris, east to Accessorize, and west through the Garb-oh door (closed) to Garb-oh from here.\n\nThere is a Public Surveillance Notice here.\n\n> Go west\n(first opening the Garb-oh door)\n\nGarb-oh! is a trendy clothing shop. Images of the shop's icon Greta Garbo abound, each dressed in the clothing item offered on the rack below it. Jackets, scarves, bandannas, trousers, shirts and more are on inviting display.\n\nOn the racks are a brown pair of pants's antitheft tag, a blue pair of pants's antitheft tag, a blue jacket, a white shirt, a green shirt, a blue pair of pants, and a brown pair of pants.\n\nThe sales counter runs along the north side of the store.\n\nYou can also see the shopkeeper here.\n\nYou can go east through the Garb-oh door to Green Commercial Plaza South from here.\n\nThere is a Public Surveillance Notice here.\n\nThe automatic door slides closed.\n\n> You get the blue jacket\n(putting the laptop into the backpack to make room)\nTaken.\n\n> You examine the blue jacket\nA dark blue jacket, very bland cut, with black snap closures and side pockets. You almost expect to see a name sewn on the front at the breast in gold thread. It's probably a size too large for you.\n\nThere is an antitheft tag attached to the blue jacket.\n\n> You cut the tag\nWhich do you mean, the brown pair of pants's antitheft tag, the blue pair of pants's antitheft tag, the white shirt's antitheft tag, the green shirt's antitheft tag, the blue jacket's antitheft tag, or the tag remover?\n\n> You cut the blue jacket's tag\nYou'd need to cut the blue jacket's antitheft tag with something; you can't do it bare-handed.\n\nThe shopkeeper wanders past you and gives you a suspicious look.\n\n> You remove the blue jacket's tag with the tag remover\nYou deftly remove the tag with the tag remover.\n\n> You look at the tag\n(the blue jacket's antitheft tag)\nThis is a small rubberized sealed plastic transponder, perhaps a centimeter thick and two by four centimeters square, with a complex security mechanism for attaching it to products. It is used for inventory control as well as theft prevention; it cannot be removed from a garment without the associated removal tool.\n\n> You cut the tag with the knife\n(the blue jacket's antitheft tag with the lockblade knife)\n(putting the lens case into the backpack to make room)\nYou're carrying too many things already.\n\nYou carefully cut open the tag with your knife and peel back the plastic to reveal a blank memory chip.\n\nA small group of people enter the store, look around, look at each other and file back out.\n\n> Inventory\nYou are carrying:\na blue jacket's antitheft tag\na blank memory chip\na blue jacket\na post-it\na pamphlet\na newspaper\na contact lens (being worn)\na backpack (being worn, and open)\na lens case (open but empty)\na laptop\nan ID camera\na car key\na tag remover\na receive chip\na pager (open but empty)\na lockblade knife\na lost camera\na drop message\na safety limiter\na soldering iron\nsome solder\na thermos (open but empty)\na cotter pin\na multitool\na watch (being worn)\n\n> You put the tag on the rack\n(the blue jacket's antitheft tag on the racks)\nYou put the blue jacket's antitheft tag on the racks.\n\nA small group of people enter the store, look around, look at each other and file back out.\n\n> Go east\nThe Proletariat is a local bar (not a pub). It's just far enough above a \"dive\" to be allowed zoning here, but steadfastedly refuses to cater to upscale tastes. You like it. Restrooms are to the east; the bar runs along the north side with a stolid bartender behind it and a jukebox sits against the back wall. A few hardy drinkers sit here, communing with their spirits. In a nod to the place's name, a Public Surveillance Notice covered with stickers and graffiti tags has been framed above the bar.\n\nThin music can be heard.\n\nYou can see Roberto Velez and a Bartender here.\n\nYou can go northwest to Green Commercial Plaza North, southwest to Green Commercial Plaza South, east to Proletariat Restroom, and west to Green Commercial Plaza Center from here.\n\nThere is a Public Surveillance Notice here.\n\n> You give the jacket to Roberto\n(the blue jacket to Roberto Velez)\nRoberto stands up and eagerly examines the blue jacket. \"This would be a perfect replacement!\" he says enthusiastically, showing you how closely it resembles his torn uniform jacket. \"Would you be willing to part with it? I cannot give you much, but I would happily pay you what I can; it will be less than what those dogs would take from my salary to replace this one!\" He pats his pockets, then shakes his head. \"I need to go to the ATM.\" With that, he stands up.\n\nRoberto Velez goes northwest.\n\n> You go northwest\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see Roberto Velez and a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\nRoberto Velez goes west.\n\n> Go west\nThis is a completely nondescript bank storefront which exists solely to house an ATM. It's so nondescript, in fact, that it took you some actual effort to determine which bank owns it, probably to ensure that they can charge you access fees no matter what. To the east is Green Commercial Plaza.\n\nYou can see Roberto Velez and an ATM here.\n\nYou can go southeast to Green Commercial Plaza Center and east to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\nRoberto approaches the ATM, intent on withdrawing funds to pay you for the blue jacket.\nHe looks at the ATM's cracked palm reader, then at you. \"The ATM scanner, he is broken.\" He shakes his head.\n\n> You give the jacket to Roberto\n(the blue jacket to Roberto Velez)\nRoberto stands up and eagerly examines the blue jacket. \"This would be a perfect replacement!\" he says enthusiastically, showing you how closely it resembles his torn uniform jacket. \"Would you be willing to part with it? I cannot give you much, but I would happily pay you what I can; it will be less than what those dogs would take from my salary to replace this one!\" He pats his pockets, then shakes his head. \"I need to go to the ATM.\" With that, he stands up.\n\n> You go east\nGreen Commercial One is built around a plaza, and this is its northern end. No vehicles are permitted within the public areas of Green Commercial One, so the entire area is pedestrian-only. To the north are the doorways to the Green Commercial Station. To the east is the NanoMart. To the west is a storefront bank with an ATM. The plaza continues to the south.\n\nThe Reserve Bank Spacescraper is visible in the distance, rising over the low skyline.\n\nYou can also see a trash can (in which is some rubbish) here.\n\nYou can go north to Green Commercial Station, south to Green Commercial Plaza Center, southeast to The Proletariat Bar, southwest to Green Commercial Bistro Paris, east to NanoMart, and west to Metro Savings from here.\n\nThere is a Public Surveillance Notice here.\n\n> You go west\nThis is a completely nondescript bank storefront which exists solely to house an ATM. It's so nondescript, in fact, that it took you some actual effort to determine which bank owns it, probably to ensure that they can charge you access fees no matter what. To the east is Green Commercial Plaza.\n\nYou can see Roberto Velez and an ATM here.\n\nYou can go southeast to Green Commercial Plaza Center and east to Green Commercial Plaza North from here.\n\nThere is a Public Surveillance Notice here.\n\n> Search crack\nThe palm reader is empty.\n\n> You go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\n> How do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\nHow do I get into vehicles?\n1/14: Only authorized personnel can enter the maintenance closet.\n\n2/14: You'll need to find someone who is allowed to enter the closet.\n\n3/14: Oh, and you'll need to find a way to convince the door's palm lock that you are, in fact, them.\n\n4/14: Remember the contact lens?\n\n5/14: Do you really want me to get more explicit?\n\n6/14: Oh, fine. If you've found your target, try talking to him about his job.\n\n7/14: He needs to replace his jacket.\n\n8/14: You'll need to get him a replacement.\n\nPress SPACE to return to the menu or H to reveal another hint."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You put the receive chip into the camera\nWhich do you mean, the ID camera, the camera chain, or the lost camera?\n\n> You examine the lost camera\nA cheap piece of integral electronics, made cheaper by the fact that any portable or phone has a perfectly good camera in it. It has a built-in flash, and is typically linked to a cell phone or other handheld for displaying and storing photos. This camera has been cracked open, revealing its internal electronics. A capacitor (for the flash unit) and battery are available, as are numerous circuit connection points.\n\n> You attach the receive chip to the lost camera\n(first taking the receive chip)\n(putting the newspaper into the backpack to make room)\n(first taking the lost camera)\n(putting the pamphlet into the backpack to make room)\nThe receive chip and the lost camera don't make anything useful.\n\n> Examine receive the chip\nThis is a receive chip - a small solid-state radio about the size of a coin. These can be found in most portable electronics that need to receive distant broadcasts, able to pull in signals from beyond a few meters. There are leads on the chip for connecting data lines and a power source.\n\n> Go north\nWhat should I do?\nWhat do I do at the Reserve Bank?\nHow do I get into the Maintenance Closet?\nHow do I get to the Reserve Bank Atrium?\n> How do I get into vehicles?\n1/8: To gain access to a vehicle, you need its key.\n\n2/8: Well, perhaps not its actual key, but at the least an exact duplicate.\n\n3/8: Most public safety vehicles use a common keycode.\n\nPress SPACE to return to the menu or H to reveal another hint."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You wait five minutes\nThere is the sound of sirens in the distance.\n\nA police officer ambles out of Green Commercial Bistro Paris. As he approaches the flitter, the flitter key transponder on his belt disables the locklarm.\nHe then climbs into the flitter and shuts the door. A few moments later, the aircraft powers up. The turbines spool up and, its beacons flashing, it lifts smoothly into the air, disappearing behind the building tops.\n\nIt is now 3:49 pm.\n\n> You examine receive\nThis is a receive chip - a small solid-state radio about the size of a coin. These can be found in most portable electronics that need to receive distant broadcasts, able to pull in signals from beyond a few meters. There are leads on the chip for connecting data lines and a power source.\n\n> Solder receive toi d camera\n(first taking the ID camera)\n(putting the post-it into the backpack to make room)\nThe ID camera won't attach to the receive chip.\n\nA police officer ambles out of Green Commercial Bistro Paris. As he approaches the flitter, the flitter key transponder on his belt disables the locklarm.\nHe then climbs into the flitter and shuts the door. A few moments later, the aircraft powers up. The turbines spool up and, its beacons flashing, it lifts smoothly into the air, disappearing behind the building tops.\n\n> Go west\nThis is a branch of the popular lunch and coffee shop Bistro Paris. There are a few tables near the front. A restroom is to the west. On the north wall, opposite the counter, is a collection of Paris-themed prints. In the center is a large holoportrait of the chain's owner, Zuzu, and a sign claiming that the Bistro Paris has restaurants here, in the Reserve Bank Spacescraper, and in London. A server behind the counter is waiting on several customers.\n\nYou can see Officer Prescott and a trash can (in which is some rubbish) here.\n\nYou can go northeast to Green Commercial Plaza North, southeast to Green Commercial Plaza South, east to Green Commercial Plaza Center, and west to Bistro Paris Restroom from here.\n\nThere is a Public Surveillance Notice here.\n\nThe police officer finishes his coffee, tosses his trash in a bin and ambles out of the bistro. You hear the sound of flitter turbines spooling up outside and then fading away."
    },
    {
        "text": "[Themes: Horror, creepypasta, female protagonist, thriller, literary, Stalker, horror, atmospheric]\n\nYou're all alone tonight.\n\nOf course, you've gotten used to that since you moved in with Harvey. He works the late shift at the delicatessen every Tuesday and Thursday. He'll be back before too long. That man works so hard.\n\nYou slip into your toasty flannel pajamas because there's a cold winter rain coming down outside and the heat in Harvey's sub-basement apartment really needs looking at. You settle down into the oversized couch in the living room and snap on the TV. Tonight you're just going to relax.\n\nall alone.\nby ian finley\n\nThe living room is small; the big couch takes up almost all the floorspace. Not that you're complaining. It's the best Harvey can afford right now and until your drawings really start to sell you aren't contributing much financially. Some of your sketches hang on the walls above the TV and the squat cinder-block-and-boards bookshelf. Through a wide arch in the northwest corner you can see most of the kitchen and to the northeast is the bedroom. The door to the cement-floored outside hall is to the west.\n\n> You examine the drawings\nThe pictures are sketches, originals of your work. One is of a young man walking into a high school; another is a little girl boarding a plane. Your teacher is arranging to get some of your works on display downtown.\n\nYou hear the news starting on the TV.\n\nRain taps on the little square windows.\n\n> You check your inventory\nYou have a set of pajamas (being worn).\n\nThe TV continues, \"This is the fourth slaying of this kind to occur in the past three weeks. . . \"\n\n> You examine the couch\nThe couch is a huge, overstuffed thing that Harvey picked up at some flea market. Its all orange and yellow, pretty obnoxious.\n\nThe TV continues, \". . .and police are focusing as much on quelling the growing panic in the city as on catching the killer. \"\n\n> You examine the bookshelf\nThe homemade bookshelf is basically a pile of paperbacks and big anatomy textbooks barely supported by cement blocks and sagging boards. There is a little candle burning on top that just screams \"fire hazard.\"\n\nThe TV continues, \"We have been asked not to broadcast the images we have of the crime scene, but the killer has left his usual macabre calling cards.\"\n\n> You look at candle\nThe candle is white and held in a little blue glass cup. It's lit, not that it helps much.\n\nThe TV continues, \"The young woman's internal organs had been removed, and several thin strips of skin shaved from the body.\"\n\nThe storm is gathering force outside.\n\n> Leave\nYou're not going anywhere until you get out of the couch.\n\nThe TV continues, \"While not wishing to encourage the unreasonable fear spreading through the city, the police do encourage women living alone to keep all curtains closed and make sure their doors are securely locked.\"\n\n> You get off the couch\nOkay, you're no longer on the couch.\n\nThe TV continues, \"In a related story, Mayor Anderson has significantly increased active police presence on the streets and has proposed another raise in pay.\"\n\n> You examine the window\nRain drizzles down the dark windows. They're small and placed high up since this is a basement apartment.\n\nThe TV continues, \"These raises come at a crucial time, as work related stress causes growing numbers of investigators resign every week.\"\n\n> You blow out the candle\nYou blow out the candle.\n\nFor a moment the TV is blurred by loud static. Damn antennas.\n\n> You lock the door\nWhich door do you mean, the outside door, or the bedroom door?\n\n> Outside door\nThe door is already locked, two deadbolts and a latch.\n\nThe static clears and picks up with the anchorman saying, \". . .continued threats of chemical warfare.\"\n\n> You lock the bedroom door\nIt's too far away.\n\nThe TV continues, \"In further world news--\" and is cut short by low static.\n\n> You go to the northwest\nThe kitchen is deep and narrow, with sink and stove and refrigerator jutting out at awkward angles. It's not that the place is really dirty, but your mother wouldn't be able to stand it. The tile counters are washed-out yellow, slightly grimy, and the sink is more than half filled with this week's dishes. You can see about half the living room through the arch to the southeast, light from the TV flickering on the far wall.\n\nThe television growls with hushed static.\n\nThe phone's ringing, in the bedroom.\n\n> You look at the fridge\nThe refrigerator is a massive, humming block, probably left over from when this old building was first divided up into apartments.\n\nThe TV continues to hum.\n\n> You open the fridge\nThere is cold bread and meat in the refrigerator.\n\nThe static on the TV gives out to total silence.\n\n> You take the meat\nWhich meat do you mean, the canned food, or the bread and meat?\n\n> You take the bread\nYou don't want to carry that around.\n\nThe sound on the TV suddenly comes back in, loud.\n\nAnnoyed by the ringing, you finally dash into the bedroom and grab the receiver. \"Hello?\" No answer. You ask again and hear heavy breathing on the other end, panting. You stand there for a moment, trying to think of some response, something biting and clever, but you can't, and the harsh wheezing continues. You hang up the phone and stand there for a moment.\n\n> You look at socks\nThe old phone is on the floor, half buried by a pile of socks.\n\nA hyperactive TV weatherman blurts out, \"Well folks, tonight doesn't look too good.\"\n\nA fat cockroach scurries over your bare left foot. Without thinking you jerk away and smash it with the ball of your right foot and it crunches under your skin. You quickly wipe the guts off your sole onto the floor and shudder.\n\n> You take the socks\nThe phone isn't ringing.\n\nThe TV continues, \"This storm is gonna continue right up until tomorrow morning, and it is one monster of a storm.\""
    },
    {
        "text": "> You look at your surroundings\nThe bedroom is really much too small for everything in it. It was\nok when it was just Harvey's big waterbed and his dresser, but when you brought in your drafting desk with its lamps and everything, the room just got too crowded. You have to practically crawl over the desk to get to the closet to the east and the door to the bathroom to the west is almost as blocked. Piles of Harvey's socks and clothes crouch on the floor. He's been used to being a bachelor for so long. You can see the living room through the arch to the southwest.\n\nThe TV continues, \"Winds up to seventy-two miles per hour have been reported, and the rain just keeps coming down.\"\n\n> Wear socks\nYou can't wear the phone.\n\nThe TV continues, \"It's like the end of the world out there.\"\n\n> You examine desk\nYour drafting table is the one serious piece of furniture you took from your parents' house when you moved in here. It's covered with half-finished sketches, charcoals and cups of pencils. The bulbs in the two lamps that are attached to it have burnt out.\n\nThere's a sudden clap of thunder outside and the wind starts picking up. The transmission on the TV starts to fade.\n\n> You examine sketches\nThe table has several open sketch pads, all with drawings in various stages of completion. Several pairs of cold, unseeing eyes stare at you from underneath scattered sheets, daring you to complete their bodies. You ignore them.\n\nThe sound on the TV fades in and out. You hear snatches of words and phrases.\n\nLightning flashes brightly for a moment, lighting up the whole apartment. The thunder comes almost at once.\n\n> You examine the bed\nThe water bed is this squelching monster of a thing really low to the floor and covered with neon green sheets. The pillows are the same whacked color. It's comfy though.\n\nFrom the TV you hear, \"Buy Fleischmann's. . .static, garble. . .\nit slices, it dices, it. . . static, garble. . . \"\n\n> You take all\nclothing: You slip quickly out of your pajamas and into some jeans and a shirt that are on the floor.\n\nFrom the TV you hear, \"In our last story. . .garble. . .Good-night from. . .static. . . \"\n\nThe phone.\n\n> You answer the socks\nFrustrated, you grab the receiver, but don't say anything. The man on the other end is whispering. You can't make out exactly what he's saying. It sounds like, \"You're not thinking of going anywhere are you?\" You don't reply. \"Didn't want to go out in your pajamas did you?\" You glance quickly towards the window.The blinds are open. You can't see anything through the dark and rain.\"I just wouldn't go outside, ok, sweetie?\" You slam down the receiver.\n\nFrom the TV you hear, \"Stay in. . .static. . .if you need. . .static. . .to go out. . .\" and then complete silence.\n\n> You close the blinds\nYou unfold the blinds and cover the windows.\n\n> You call Harvey\nYou punch in Harvey's work number. Old man Luttfisk answers. You hate his voice. It sounds slimy.\n\n\"Luttfisk's Delicatessen. We're closin' up here--\"\n\n\"Yes, Mr. Luttfisk, I know, I was just wondering if Harvey was there.\"\n\n\"Harvey?\"\n\n\"Yes, Harvey, your assistant, if he's there--\"\n\n\"Oh he left a long time ago. Had to pick up supplies. Yeah. He left a long time ago. Good night.\" Click. Buzz. You hang up the phone.\n\n> Go east\nThe closet is tiny and dark, barely enough room for you to stand in.\nA few of your clothes are hanging on the one bar but most of them are still in a big box on the floor.\n\nThe sound on the TV jumps back in with raucous peals of laughter, some stupid sitcom or something.\n\nThe storm is getting even worse, the rain drowning out any other sound.\n\n> You open the box\nThe box is already open, you can see it's contents. For that matter, you don't think it ever had a lid to start with.\n\nThe tone of the TV changes and you hear, \"We interrupt your regularly scheduled programming to bring you this important message.\"\n\n> Inventory\nYou have a unlit candle and some clothes.\n\nStatic on the TV.\n\n> You kill\nWhat do you want to attack?\n\n> You lock the door\nThere's no way to lock the door.\n\nStatic on the TV.\n\n> Wait\nTime passes...\n\nThere's another whip of lightning and the TV shuts down completely.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: Horror, female protagonist, atmospheric, creepypasta, Stalker]\n\n> Look around\nThe closet is tiny and dark, barely enough room for you to stand in.\nA few of your clothes are hanging on the one bar but most of them are still in a big box on the floor.\n\n> You listen\nRain and thunder. The creaks of an old building.\n\n> You go west\nYou open the closet door and step out into the bedroom. No one there. You listen carefully but you can't hear anything in the apartment.\n\nThe bedroom is too small for everything in it. You have to\npractically crawl over the desk to get to the closet and the door to the bathroom is almost as blocked. Piles of Harvey's dirty clothes crouch on the floor.\n\n> You go west\nThis is the darkest room in the apartment. The toilet works and the sink and shower aren't too dirty, but whenever you put on makeup you have to do it on your desk where there's more light instead of using the mirror in here.\n\n> You look at the mirror\nThe mirror is one of those medicine cabinet things, into which you've crammed all your necessary toiletries. It's closed right now.\n\n> You open it\nYou open the cabinet.\n\n> You look in the cabinet\nInside the open medicine cabinet is a ton of random bathroom junk.\n\n> You look at the sink\nThe sink is one of those tiny things on a tall free-standing pedestal. Harvey says it's Victorian, but you think it's just plain annoying cuz there's nowhere to put anything on it or even any space under it for cabinets.\n\n> You go to the east\nThe bedroom is too small for everything in it. You have to\npractically crawl over the desk to get to the closet and the door to the bathroom is almost as blocked. Piles of Harvey's dirty clothes crouch on the floor.\n\n> You look at the table\nYour drafting table is the one serious piece of furniture you took from your parents' house when you moved in here. It's covered with half-finished sketches, charcoals and cups of pencils. The bulbs in the two lamps that are attached to it have burnt out.\n\n> You take the pencil\nYou grab one of the pencils.\n\n> You examine the pencil\nIt's a plain, number 2 graphite pencil with a little green eraser.\n\n> You draw\nYou sit down at the desk and grab a fresh piece of paper. You start moving your pencil over the smooth surface, letting it form whatever shapes it wants. A long dark gash on the paper resolves into a man's shadow. Diagonal lines mist into the slashing rain. Details, a long coat, a suitcase, a knife. . . You stop drawing and crumple up the paper. Another time.\n\n> You go east\nThe closet is tiny and dark, barely enough room for you to stand in.\nA few of your clothes are hanging on the one bar but most of them are still in a big box on the floor.\n\n> You go to the west\nThe bedroom is too small for everything in it. You have to\npractically crawl over the desk to get to the closet and the door to the bathroom is almost as blocked. Piles of Harvey's dirty clothes crouch on the floor.\n\n> You go west\nThis is the darkest room in the apartment. The toilet works and the sink and shower aren't too dirty, but whenever you put on makeup you have to do it on your desk where there's more light instead of using the mirror in here.\n\n> Go southwest\nThe living room is small, the couch takes up all the space. Some of your sketches hang on the walls above the TV and the cinder-block-and-boards bookshelf. You can see the kitchen to the northwest and the bedroom door to the northeast. The door to the outside hall is to the west.\nSitting on the floor is a Polaroid picture.\n\n> You take the picture\nTaken.\n\n> You look at the picture\nWhich picture do you mean, the Polaroid picture, or the sketches?\n\n> You examine the polaroid\nIt takes you a minute to figure out what the blurry, close-up picture is of. When you realize, your stomach knots, the bile rises in your throat. You fight down the nausea.\n\n> You go northwest\nThe kitchen is narrow, with sink and stove and refrigerator jutting\nout at odd angles. The tile counters are washed-out yellow, and the sink is half filled with dishes. You can see about half the living room to the southeast.\nThe refrigerator seems to contain some bread and meat.\n\n> You turn off the timer\nYou twist the timer knob and turn off the bell. You'd forgotten about the lasagna you put in to cook an hour ago. Harvey brought it home from the deli last night. You take it out of the oven and put it on the counter, still steaming.\n\n> You examine the lasagna\nThe lasagna is in its own disposable pan right from the deli.\n\n> You take the lasagna\nIt's too hot to just carry around.\n\n> You examine the sink\nThe stainless steel sink is practically brimming with unwashed dishes. You really need to get a dishwasher, but there'd be no room for it. Among all the dishes you see the shine of a large knife blade.\n\n> You take the knife\nThe pick up the knife.\n\n> You cut the lasagna with the knife\nYou cut the top layer of the casserole, releasing a cloud of hot, foul-smelling steam.\n\n> You examine the lasagna\nThe lasagna is in its own disposable pan right from the deli.\n\nThere's a white hot flash of lightning outside the window and something that sounds like an explosion. The apartment goes completely dark.\nThe power's out.\n\n> Light candle\nYou have nothing to light it with.\n\n> You eat the lasagna\nYou fish a semi-clean fork out of the sink and dig into the lasagna. It's from the deli; they usually have great stuff. But something tastes wrong about it. There's something rancid about the sausage.\nYou put the fork down and almost gag.\n\nThe phone."
    },
    {
        "text": "[Themes: Horror, creepypasta, horror, female protagonist, Stalker]\n\n> You look around\nThe kitchen is almost pitch black. You feel your way around. The ceiling seems lower.\n\n> You touch the ceiling\nThe ceiling is covered with the same cracked plaster as the walls.\n\n> Go southeast\nYou can't see your own hands. You can feel the presence of the big couch but everything else is lost in the darkness.\n\n> You go to the north-east\nYou're disoriented in the total darkness. You can guess roughly\nwhere the bed and the table are, but you're not sure.\n\nThe ringing is driving you crazy. You stumble through the dark before your hands find the phone. You snatch up the receiver.\n\n\"What the fuck do you want?\" you growl. There's silence for a moment.\n\n\"That's not very nice language sweetie. I don't want to have to punish you more.\" You don't reply. \"Is my pretty sweetie mad at me? Well don't you worry, I'll take care of that. You just stay right there.\" click. You drop the receiver.\n\n> You call 911\nYou pick up the receiver and punch 9, then 1. . . Then you pause. Nothing's really happened, why are you so panicky? You take a deep breath and hang up the phone.\n\n> You call 911\nYou dial 911 and wait. Ring. Ring.\n\n\"Hello, 911, is this an emergency?\"\n\n\"Um. Yes, kinda. I've had some unusual phone calls--\"\n\n\"Let me patch you through to the police, and may I remind you that this number is for emergencies only.\" There's a sharp click, a pause, and then faint jazz and a voice telling you you're on hold. You slam down the receiver.\n\n> You call 911\nYou dial 911 and wait. Ring. Ring.\n\n\"Hello, 911, is this an emergency?\"\n\n\"Um. Yes, kinda. I've had some unusual phone calls--\"\n\n\"Let me patch you through to the police, and may I remind you that this number is for emergencies only.\" There's a sharp click, a pause, and then faint jazz and a voice telling you you're on hold. You slam down the receiver.\n\nFrom the darkness of the living room you hear noises. Rattling, at the door. Two sharp clicks. A loud pop. The door creaking open.\n\n> Inventory\nYou have a unlit candle, some clothes, a single pencil, a Polaroid picture, and a knife.\n\nSomeone's in the apartment, moving around in the darkness of the living room. \"Look, I made it sweetie. . .\"\n\nYou take a step back. Something wriggles and crunches beneath your foot.\n\n> You go to the southwest\nYou can't see your own hands. You can feel the presence of the big couch but everything else is lost in the darkness.\n\nSomeone is there. The beam of a flashlight shines in your face and you're blinded, stars flickering around you in the darkness. \"Oh, you look good enough to. . .\" The figure moves towards you. Hands on your mouth and waist. Wet cloth with something chemical and sickening.\n\nDarkness. Men's voices. Wet.\n\nIt's light. The rain has stopped. You're on the couch. The apartment's quiet and cold. You seem all right. You shiver.\n\n> You check your inventory\nYou have some clothes.\n\nThe cardboard box from your closet is sitting in front of the open door. A dark stain is seeping out from the black cardboard onto the carpet. You move towards it shaky, bruised. There are things lying among your clothes in the box. A pair of glasses. A finger. A Zip-Loc bag of something viscous. A piece of scalp. Somehow you recognize it. Harvey finally made it home.\n\nYou may restore a saved game, start over, or quit.\n\n> You go to the west\nYou think about the Polaroid. There is someone out there. Not in the apartment, there wouldn't be anyplace to hide. But if you left, even to get to the other apartments in the building, you'd have to go out alone, down the unlit outside hall, and then around the hole length of the building in the dark and rain. Harvey has to be almost home.\n\n> Y.\nYou're all alone tonight.\n\nOf course, you've gotten used to that since you moved in with Harvey. He works the late shift at the delicatessen every Tuesday and Thursday. He'll be back before too long. That man works so hard.\n\nYou slip into your toasty flannel pajamas because there's a cold winter rain coming down outside and the heat in Harvey's sub-basement apartment really needs looking at. You settle down into the oversized couch in the living room and snap on the TV. Tonight you're just going to relax.\n\nall alone.\nby ian finley\n\nThe living room is small; the big couch takes up almost all the floorspace. Not that you're complaining. It's the best Harvey can afford right now and until your drawings really start to sell you aren't contributing much financially. Some of your sketches hang on the walls above the TV and the squat cinder-block-and-boards bookshelf. Through a wide arch in the northwest corner you can see most of the kitchen and to the northeast is the bedroom. The door to the cement-floored outside hall is to the west.\n\n> Go northwest\nYou're not going anywhere until you get out of the couch.\n\nYou hear the news starting on the TV.\n\nRain taps on the little square windows.\n\n> You get up\nOkay, you're no longer on the couch.\n\nThe TV continues, \"This is the fourth slaying of this kind to occur in the past three weeks. . . \"\n\n> Go northeast\nThe bedroom is really much too small for everything in it. It was\nok when it was just Harvey's big waterbed and his dresser, but when you brought in your drafting desk with its lamps and everything, the room just got too crowded. You have to practically crawl over the desk to get to the closet to the east and the door to the bathroom to the west is almost as blocked. Piles of Harvey's socks and clothes cover the floor. He's been used to being a bachelor for so long. You can hear the TV to the southwest over the pouring rain.\n\nThe TV continues, \". . .and police are focusing as much on quelling the growing panic in the city as on catching the killer. \"\n\n> Go northwest\nThe kitchen is deep and narrow, with sink and stove and refrigerator jutting out at awkward angles. It's not that the place is really dirty, but your mother wouldn't be able to stand it. The tile counters are washed-out yellow, slightly grimy, and the sink is more than half filled with this week's dishes. You can see about half the living room through the arch to the southeast, light from the TV flickering on the far wall.\n\nThe TV continues, \". . .and police are focusing as much on quelling the growing panic in the city as on catching the killer. \"\n\n> Search sink\nYou find nothing of interest.\n\nThe TV continues, \"We have been asked not to broadcast the images we have of the crime scene, but the killer has left his usual macabre calling cards.\"\n\n> You examine the oven\nThe oven is nothing special, just a big metal box stuck next to the wall.\n\nThe TV continues, \"The young woman's internal organs had been removed, and several thin strips of skin shaved from the body.\"\n\nThe storm is gathering force outside.\n\n> You examine the stove\nThe oven is nothing special, just a big metal box stuck next to the wall.\n\nThe TV continues, \"While not wishing to encourage the unreasonable fear spreading through the city, the police do encourage women living alone to keep all curtains closed and make sure their doors are securely locked.\"\n\n> You open the oven\nThere's no reason to do that.\n\nThe TV continues, \"In a related story, Mayor Anderson has significantly increased active police presence on the streets and has proposed another raise in pay.\"\n\n> You examine the sink\nThe stainless steel sink is practically brimming with unwashed dishes. You really need to get a dishwasher, but there'd be no room for it. Among all the dishes you see the shine of a large knife blade.\n\nThe TV continues, \"These raises come at a crucial time, as work related stress causes growing numbers of investigators resign every week.\"\n\n> You take the knife\nThe pick up the knife.\n\nFor a moment the TV is blurred by loud static. Damn antennas.\n\n> You go southeast\nThe living room is small; the big couch takes up almost all the floorspace. Not that you're complaining. It's the best Harvey can afford right now and until your drawings really start to sell you aren't contributing much financially. Some of your sketches hang on the walls above the TV and the squat cinder-block-and-boards bookshelf. Through a wide arch in the northwest corner you can see most of the kitchen and to the northeast is the bedroom. The door to the cement-floored outside hall is to the west.\n\nThe static clears and picks up with the anchorman saying, \". . .continued threats of chemical warfare.\"\n\n> You wash knife\nThe knife looks a bit cleaner now.\n\nThe TV continues, \"In further world news--\" and is cut short by low static.\n\n> You go to the northeast\nThe bedroom is really much too small for everything in it. It was\nok when it was just Harvey's big waterbed and his dresser, but when you brought in your drafting desk with its lamps and everything, the room just got too crowded. You have to practically crawl over the desk to get to the closet to the east and the door to the bathroom to the west is almost as blocked. Piles of Harvey's socks and clothes crouch on the floor. He's been used to being a bachelor for so long. You can see the living room through the arch to the southwest.\n\nThe television growls with hushed static.\n\nThe phone is ringing, across the room under a pile of socks.\n\n> You take all\nclothing: You slip quickly out of your pajamas and into some jeans and a shirt that are on the floor.\n\nThe TV continues to hum.\n\nThe phone.\n\n> Go northwest\nYou can't go that way.\n\nThe static on the TV gives out to total silence.\n\n> Go southwest\nThe phone is ringing, it might be important.\n\n> You close the blinds\nYou unfold the blinds and cover the windows.\n\nThe sound on the TV suddenly comes back in, loud.\n\nAnnoyed by the ringing, you grab the receiver. \"Hello?\" No answer. You ask again and hear heavy breathing on the other end, panting. You stand there for a moment, trying to think of some response, something biting and clever, but you can't, and the harsh wheezing continues.\nYou hang up the phone and stand there for a moment.\n\nFrustrated, you grab the receiver, but don't say anything. The man on the other end is whispering. You can't make out exactly what he's saying. It sounds like, \"You're not thinking of going anywhere are you?\" You don't reply. \"Didn't want to go out in your pajamas did you?\" You glance quickly towards the window. The blinds are down. What's going on? \"I just wouldn't go outside, ok, sweetie?\" You slam down the receiver.\n\n> Go southwest\nThe living room is small, the couch takes up all the space. Some of your sketches hang on the walls above the TV and the cinder-block-and-boards bookshelf. You can see the kitchen to the northwest and the bedroom door to the northeast. The door to the outside hall is to the west.\n\nA hyperactive TV weatherman blurts out, \"Well folks, tonight doesn't look too good.\"\n\nA fat cockroach scurries over your bare left foot. Without thinking you jerk away and smash it with the ball of your right foot and it crunches under your skin. You quickly wipe the guts off your sole onto the floor and shudder.\n\n> You go west\nYou reach out towards the door, then you think about the phone call. Even to get to the other apartments in the building you'd have to go out alone, down the unlit outside hall, and then around the whole length of the building in the dark and the rain. It would be safer just to stay locked in here. Harvey should already be on his way home.\n\nThe TV continues, \"This storm is gonna continue right up until tomorrow morning, and it is one monster of a storm.\"\n\n> Go west\nYou reach out towards the door, then you think about the phone call. Even to get to the other apartments in the building you'd have to go out alone, down the unlit outside hall, and then around the whole length of the building in the dark and the rain. It would be safer just to stay locked in here. Harvey should already be on his way home.\n\nThe TV continues, \"Winds up to seventy-two miles per hour have been reported, and the rain just keeps coming down.\"\n\n> You go to the west\nYou reach out towards the door, then you think about the phone call. Even to get to the other apartments in the building you'd have to go out alone, down the unlit outside hall, and then around the whole length of the building in the dark and the rain. It would be safer just to stay locked in here. Harvey should already be on his way home.\n\nThe TV continues, \"It's like the end of the world out there.\"\n\n> You call Harvey\nThe phone is in the bedroom.\n\nThere's a sudden clap of thunder outside and the wind starts picking up. The transmission on the TV starts to fade.\n\n> You go to the northeast\nThe bedroom is too small for everything in it. You have to\npractically crawl over the desk to get to the closet and the door to the bathroom is almost as blocked. Piles of Harvey's dirty clothes crouch on the floor.\n\nThe sound on the TV fades in and out. You hear snatches of words and phrases.\n\nLightning flashes brightly for a moment, lighting up the whole apartment. The thunder comes almost at once.\n\n> You call Harvey\nYou punch in Harvey's work number. Old man Luttfisk answers. You hate his voice. It sounds slimy.\n\n\"Luttfisk's Delicatessen. We're closin' up here--\"\n\n\"Yes, Mr. Luttfisk, I know, I was just wondering if Harvey was there.\"\n\n\"Harvey?\"\n\n\"Yes, Harvey, your assistant, if he's there--\"\n\n\"Oh he left a long time ago. Had to pick up supplies. Yeah. He left a long time ago. Good night.\" Click. Buzz. You hang up the phone.\n\nFrom the TV you hear, \"Buy Fleischmann's. . .static, garble. . .\nit slices, it dices, it. . . static, garble. . . \"\n\n> You call Harvey\nYou dial the delicatessen. Ring. Ring. Nothing. Ring. You keep waiting. Ring. Ring. You hang up.\n\nFrom the TV you hear, \"In our last story. . .garble. . .Good-night from. . .static. . . \"\n\n> You get pencil\nYou grab one of the pencils.\n\nFrom the TV you hear, \"Stay in. . .static. . .if you need. . .static. . .to go out. . .\" and then complete silence.\n\n> Go southwest\nThe living room is small, the couch takes up all the space. Some of your sketches hang on the walls above the TV and the cinder-block-and-boards bookshelf. You can see the kitchen to the northwest and the bedroom door to the northeast. The door to the outside hall is to the west.\n\n> You examine the bookshelf\nThe homemade bookshelf is basically a pile of paperbacks and big anatomy textbooks barely supported by cement blocks and sagging boards. There is a little candle burning on top that just screams \"fire hazard.\"\n\n> You get the candle\nYou pick up the candle.\n\n> You look at the textbooks\nThe five or so big books on human anatomy are a lot more interesting than Harvey's other selections. You've actually used them once or twice as references for your sketches.\n\nThe sound on the TV jumps back in with raucous peals of laughter, some stupid sitcom or something.\n\nThe storm is getting even worse, the rain drowning out any other sound.\n\n> You read the anatomy\nYou flip through one of the big books and find a set of transparencies. First the skeleton, then the veins over that, then the bright organs, then the muscles, and finally the skin."
    },
    {
        "text": "[Themes: Horror, thriller]\n\n> You look around\nThe kitchen is narrow, with sink and stove and refrigerator jutting\nout at odd angles. The tile counters are washed-out yellow, and the sink is half filled with dishes. You can see about half the living room to the southeast.\nSitting on the counter is a lasagna.\n\nStatic on the TV.\n\n> You wash the dishes\nYou turn on the water and try to wash some of the dishes but you don't seem to make any headway -- you don't even know where Harvey keeps the dish soap -- and you give up on it almost immediately.\n\nStatic on the TV.\n\n> You open the fridge\nThere is cold bread and meat in the refrigerator.\n\nThere's another whip of lightning and the TV shuts down completely.\n\n> You get the bread\nYou don't want to carry that around.\n\nThere's a white hot flash of lightning outside the window and something that sounds like an explosion. The apartment goes completely dark.\nThe power's out."
    },
    {
        "text": "[Themes: Horror, creepypasta, horror, female protagonist, Stalker]\n\n> You look around\nThe kitchen is almost pitch black. You feel your way around. The ceiling seems lower.\n\n> You go to the south-east\nThe single candle in your hand is next to worthless. Everything\nbeyond your little circle is invisible. You don't know where the doors are.\n\nThe phone.\n\n> You go west\nYou reach out, your hand an inch away from the top lock, when it turns by itself. CLICK. Then the next one. CLICK. The door rattles. POP. The last lock bursts out of the flimsy wood frame. The door swings open an inch.\n\nThe door opens. Someone is there. The beam of a flashlight shines in your face and you're blinded, stars flickering around you in the darkness. \"Look, I made it sweetie. . .\" The figure moves towards you. Hands on your mouth and waist. Wet cloth with something chemical and sickening.\n\nDarkness. Men's voices. Wet.\n\nIt's light. The rain has stopped. You're on the couch. The apartment's quiet and cold. You seem all right. You shiver.\n\n> You go to the north-east\nYou stand up and head towards the door, shivering. You look over should shoulder. Oh, no wonder it's so cold. The front door is wide open.\n\nThe cardboard box from your closet is sitting in front of the open door. A dark stain is seeping out from the black cardboard onto the carpet. You move towards it shaky, bruised. There are things lying among your clothes in the box. A pair of glasses. A finger. A Zip-Loc bag of something viscous. A piece of scalp. Somehow you recognize it. Harvey finally made it home.\n\nYou may restore a saved game, start over, or quit.\n\n> You get up\nOkay, you're no longer on the couch.\n\nThe news is on TV right now. The grinning anchorman fills the screen.\n\nRain taps on the little square windows.\n\n> You get the candle\nYou pick up the candle.\n\nThe TV continues, \"This is the fourth slaying of this kind to occur in the past three weeks. . . \"\n\n> You adjust the antenna\nWierd static rises and falls as you move the delicate rods.\n\nThe TV continues, \". . .and police are focusing as much on quelling the growing panic in the city as on catching the killer. \"\n\n> You turn the dial\nYou twist the dial but the selection isn't that wide, Harvey doesn't have cable. You flick through a few news programs, some documentary about carnivorous plants or something and end up on the same station you began.\n\nThe TV continues, \"We have been asked not to broadcast the images we have of the crime scene, but the killer has left his usual macabre calling cards.\"\n\n> You look in the couch\nThere's nothing in the couch.\n\nThe TV continues, \"The young woman's internal organs had been removed, and several thin strips of skin shaved from the body.\"\n\nThe storm is gathering force outside.\n\n> You read the textbooks\nYou flip through one of the big books and find a set of transparencies. First the skeleton, then the veins over that, then the bright organs, then the muscles, and finally the skin.\n\nThe TV continues, \"While not wishing to encourage the unreasonable fear spreading through the city, the police do encourage women living alone to keep all curtains closed and make sure their doors are securely locked.\"\n\n> You go east\nYou can't go that way.\n\nThe TV continues, \"In a related story, Mayor Anderson has significantly increased active police presence on the streets and has proposed another raise in pay.\"\n\n> You go to the west\nGoing out in the pouring rain in the middle of the night wearing only your Mickey Mouse pajamas would be ridiculous. You'd wanted to just spend a quiet night at home.\n\nThe TV continues, \"These raises come at a crucial time, as work related stress causes growing numbers of investigators resign every week.\"\n\n> You go northwest\nThe kitchen is deep and narrow, with sink and stove and refrigerator jutting out at awkward angles. It's not that the place is really dirty, but your mother wouldn't be able to stand it. The tile counters are washed-out yellow, slightly grimy, and the sink is more than half filled with this week's dishes. You can see about half the living room through the arch to the southeast, light from the TV flickering on the far wall.\n\nFor a moment the TV is blurred by loud static. Damn antennas.\n\n> You draw\nYour materials are in the bedroom.\n\nThe static clears and picks up with the anchorman saying, \". . .continued threats of chemical warfare.\"\n\n> You open the fridge\nThere is cold bread and meat in the refrigerator.\n\nThe TV continues, \"In further world news--\" and is cut short by low static.\n\n> You eat the bread\nYou nibble some red salami and some other tid-bits, but you don't have much of an appetite.\n\nThe television growls with hushed static.\n\nThe phone's ringing, in the bedroom.\n\n> You go to the southeast\nThe living room is small, the couch takes up all the space. Some of your sketches hang on the walls above the TV and the cinder-block-and-boards bookshelf. You can see the kitchen to the northwest and the bedroom door to the northeast. The door to the outside hall is to the west.\n\nThe TV continues to hum.\n\n> You go to the north-east\nThe bedroom is really much too small for everything in it. It was\nok when it was just Harvey's big waterbed and his dresser, but when you brought in your drafting desk with its lamps and everything, the room just got too crowded. You have to practically crawl over the desk to get to the closet to the east and the door to the bathroom to the west is almost as blocked. Piles of Harvey's socks and clothes crouch on the floor. He's been used to being a bachelor for so long. You can see the living room through the arch to the southwest.\n\nThe static on the TV gives out to total silence.\n\n> You answer the phone\nYou grab the receiver. \"Hello?\" No answer. You ask again and hear heavy breathing on the other end, panting. You stand there for a moment, trying to think of some response, something biting and clever, but you can't, and the harsh wheezing continues. You hang up the phone and stand there for a moment.\n\n> You draw\nYou sit down at the desk and grab a fresh piece of paper. You start moving your pencil over the smooth surface, letting it form whatever shapes it wants. A long dark gash on the paper resolves into a man's shadow. Diagonal lines mist into the slashing rain. Details, a long coat, a suitcase, a knife. . . You stop drawing and crumple up the paper. Another time.\n\nThe sound on the TV suddenly comes back in, loud.\n\nA fat cockroach scurries over your bare left foot. Without thinking you jerk away and smash it with the ball of your right foot and it crunches under your skin. You quickly wipe the guts off your sole onto the floor and shudder.\n\n> You draw yourself\nI don't know how to draw yourself.\n\nA hyperactive TV weatherman blurts out, \"Well folks, tonight doesn't look too good.\"\n\n> Go east\nThe closet is tiny and dark, barely enough room for you to stand in.\nA few of your clothes are hanging on the one bar but most of them are still in a big box on the floor.\n\nThe TV continues, \"This storm is gonna continue right up until tomorrow morning, and it is one monster of a storm.\"\n\n> You look at the bar\nIt's a plain metal pipe fitted into the walls. A few of your nice dresses are hanging from it.\n\nThe TV continues, \"Winds up to seventy-two miles per hour have been reported, and the rain just keeps coming down.\"\n\n> You examine the dresses\nThese are some of your nice clothes, the ones that you didn't want to just leave bunched up in the box.\n\nThe TV continues, \"It's like the end of the world out there.\"\n\nLightning flashes brightly for a moment, lighting up the whole apartment. The thunder comes almost at once.\n\n> You look at the box\nThe box is a big cardboard thing that says \"Rothschild's Vodka\" on the side. The liquor store always has extra cardboard boxes, which you needed when you moved. The box is filled with most of your clothes, the stuff you haven't had time to unpack yet.\n\nThere's a sudden clap of thunder outside and the wind starts picking up. The transmission on the TV starts to fade.\n\n> Go west\nAs you start to leave the closet you hear sounds coming from the living room. CLICK. CLICK. The locks on the front door. Harvey must be home, finally. You call out to him, \"Hi, honey,\" but there's no reply. CLICK. You hear the door swinging open, slowly and quietly. \"Honey?\" you call. No answer. Quiet feet in the living room.\n\nThe sound on the TV fades in and out. You hear snatches of words and phrases.\n\n> You go to the southwest\nYou can't go that way.\n\nFrom the TV you hear, \"Buy Fleischmann's. . .static, garble. . .\nit slices, it dices, it. . . static, garble. . . \"\n\n> Go southeast\nYou can't go that way.\n\nFrom the TV you hear, \"In our last story. . .garble. . .Good-night from. . .static. . . \"\n\n> You go to the east\nYou can't go that way.\n\nFrom the TV you hear, \"Stay in. . .static. . .if you need. . .static. . .to go out. . .\" and then complete silence.\n\n> You go to the west\nYou step out into the bedroom and look around. No one. You listen carefully but you can't hear anything but the TV.\n\nThe bedroom is too small for everything in it. You have to\npractically crawl over the desk to get to the closet and the door to the bathroom is almost as blocked. Piles of Harvey's dirty clothes crouch on the floor.\n\n> Go southwest\nThe living room is small, the couch takes up all the space. Some of your sketches hang on the walls above the TV and the cinder-block-and-boards bookshelf. You can see the kitchen to the northwest and the bedroom door to the northeast. The door to the outside hall is to the west.\nSitting on the floor is a Polaroid picture.\n\nThe storm is getting even worse, the rain drowning out any other sound.\n\n> You examine Polaroid\nIt takes you a minute to figure out what the blurry, close-up picture is of. When you realize, your stomach knots, the bile rises in your throat. You fight down the nausea.\n\n> You go northwest\nThe kitchen is narrow, with sink and stove and refrigerator jutting\nout at odd angles. The tile counters are washed-out yellow, and the sink is half filled with dishes. You can see about half the living room to the southeast.\nThe refrigerator seems to contain some bread and meat.\n\nThe sound on the TV jumps back in with raucous peals of laughter, some stupid sitcom or something.\n\n> You turn off the stove\nYou twist the timer knob and turn off the bell. You'd forgotten about the lasagna you put in to cook an hour ago. Harvey brought it home from the deli last night. You take it out of the oven and put it on the counter, still steaming.\n\nThe tone of the TV changes and you hear, \"We interrupt your regularly scheduled programming to bring you this important message.\"\n\n> You cut the lasagna\nWhat do you want to attack it with?\n\n> You go west\nYou think about the Polaroid. There is someone out there. Not in the apartment, there wouldn't be anyplace to hide. But if you left, even to get to the other apartments in the building, you'd have to go out alone, down the unlit outside hall, and then around the hole length of the building in the dark and rain. Harvey has to be almost home.\n\nStatic on the TV.\n\n> You close the door\nIt's too far away.\n\nStatic on the TV.\n\nThere's a white hot flash of lightning outside the window and something that sounds like an explosion. The apartment goes completely dark.\nThe power's out.\n\n> You go to the west\nYou think about the Polaroid. There is someone out there. Not in the apartment, there wouldn't be anyplace to hide. But if you left, even to get to the other apartments in the building, you'd have to go out alone, down the unlit outside hall, and then around the hole length of the building in the dark and rain. Harvey has to be almost home.\n\n> You get photo\nTaken.\n\nThe phone.\n\n> You go to the north-east\nYou're disoriented in the total darkness. You can guess roughly\nwhere the bed and the table are, but you're not sure.\n\n> You answer the phone\nThe ringing is driving you crazy. You search the darkness desperately before your hands land on the phone and you snatch up the receiver.\n\n\"What the fuck do you want?\" you growl. There's silence for a moment.\n\n\"That's not very nice language sweetie. I don't want to have to punish you more.\" You don't reply. \"Is my pretty sweetie mad at me? Well don't you worry, I'll take care of that. You just stay right there.\" click. You drop the receiver.\n\n> You call 911\nYou pick up the receiver and punch 9, then 1. . . Then you pause. Nothing's really happened, why are you so panicky? You take a deep breath and hang up the phone.\n\n> You call 911\nYou dial 911 and wait. Ring. Ring.\n\n\"Hello, 911, is this an emergency?\"\n\n\"Um. Yes, kinda. I've had some unusual phone calls--\"\n\n\"Let me patch you through to the police, and may I remind you that this number is for emergencies only.\" There's a sharp click, a pause, and then faint jazz and a voice telling you you're on hold. You slam down the receiver.\n\nFrom the darkness of the living room you hear noises. Rattling, at the door. Two sharp clicks. A loud pop. The door creaking open.\n\n> You go southwest\nThe single candle in your hand is next to worthless. Everything\nbeyond your little circle is invisible. You don't know where the doors are.\n\nThe door opens. Someone is there. The beam of a flashlight shines in your face and you're blinded, stars flickering around you in the darkness. \"Look, I made it sweetie. . .\" The figure moves towards you. Hands on your mouth and waist. Wet cloth with something chemical and sickening.\n\nDarkness. Men's voices. Wet.\n\nIt's light. The rain has stopped. You're on the couch. The apartment's quiet and cold. You seem all right. You shiver.\n\n> You check your inventory\nYou have a set of pajamas (being worn).\n\nThe cardboard box from your closet is sitting in front of the open door. A dark stain is seeping out from the black cardboard onto the carpet. You move towards it shaky, bruised. There are things lying among your clothes in the box. A pair of glasses. A finger. A Zip-Loc bag of something viscous. A piece of scalp. Somehow you recognize it. Harvey finally made it home.\n\nYou may restore a saved game, start over, or quit."
    },
    {
        "text": "[Themes: spaceship, pirates, spaceship setting, space, zombies, aliens, science fiction]\n\nThe OKAY button is blinking again.\n\nIts ridiculously bright yellow light makes everyone in the room appear to be suffering from inttermittent jaundice. Fortunately you're the only one in the room, because there's no room in here for anyone else. The OKAY button is also buzzing, with the patented Elevated Responsiveness Tone guaranteed to remain irritating no matter how often one is forced to hear it. Somehow the most annoying part, though, is that the blinking and the buzzing are slightly out of sync.\n\nHELP is available.\n\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see Engineer Ghee performing calisthenics in the engine room. Presumably the machinery is operating normally.\n\n> You look\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see Engineer Ghee performing calisthenics in the engine room. Presumably the machinery is operating normally.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> You look at the okay button\nThe lid protects the Destruct button from your application of pressure.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\nThe OKAY button's harsh yellow light is a very effective reminder to do whatever it is that will make it stop doing that.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> You eat the nutricube\nWith a great deal of effort, you chew and swallow the nutricube. You hadn't thought that it was possible for those things to go stale, but if anything it was worse than you remembered.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> Examine\n(the uniform)\nThe uniform is emblazoned with the logo of Transport High Command and a tiny black pip indicating your rank of Security Officer.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> Inventory\nYou are carrying:\na uniform (being worn)\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> You look at the orevore\nThe orevore is so remarkable an animal as to strain credulity. It's a 100-pound gelatinous lump with a convoluted surface, very much resembling a grotesquely oversized cerebrum. It eats almost anything, including solid rock, and it excretes chemically-pure nodules of any element it ingests with an atomic number greater than 77. For this reason it is the most prized possession of every mining colony that can manage to acquire one. The orevore goes dormant at temperatures below 23 degrees, which is why the freezer room is so important.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> You examine sharl\nPilot Sharl continues to stare assiduously at his instruments.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> You wear suit\n(first taking the pressure suit)\nYou lean over the side of your chair and drag the pressure suit into your lap.\n\nIt's easily as heavy as it looks, with its recirculating air filters, automated thermal regulators, waste handling units, and integrated speakers. If there's a lightweight version of all this paraphernalia, it must be more expensive than the heavy stuff.\n\nYou put on the pressure suit despite your misgivings about its comfort.\n\nA satisfied voice says \"Air pressure on the bridge has stabilized at zero point three atmospheres.\"\n\nOn the monitor you can see Ghee struggling to get into his pressure suit. It looks like he's putting it on backwards.\n\n> You look at Ghee\nHis surprisingly uncoordinated efforts at dressing himself scarcely detract from his character.\n\nOn the monitor you can see Ghee continuing to wrestle with his pressure suit. He trips into the machinery with one leg in the suit and one leg out.\n\n> Laugh\nYou manage a forced-sounding chuckle.\n\nOn the monitor you can see Ghee disentangling himself from the machinery and stumbling backwards.\n\nYou can hear something just outside your door.\n\n> Laugh\nYou manage a forced-sounding chuckle.\n\nOn the monitor you can see Ghee working his hands into his gloves. You're fairly certain that he has only the usual number of fingers.\n\nYou can hear something just outside your door.\n\n> Sing\nYou begin to sing \"The Orevore Sonnet\":\n\n\n\nOn the monitor you can see Ghee finally sealing up his pressure suit. He uses some colorful metaphors as he works the latches on his helmet.\n\nYou can hear something just outside your door.\n\n> You examine the pirate\nWhich do you mean, the nervous-looking pirate or the bearded pirate?\n\n> You examine the bearded pirate\nHis bushy beard and anachronistic eyeglasses look just as out-of-place as a peg leg or a parrot would be. He seems to be completely serious about his profession, however.\n\nOn the monitor you can see the bearded pirate sizing up the freezer room door. He sagaciously determines that the adjacent wall is not as formidably reinforced, and starts sawing into the wall with his cutmore. \"Keep a sharp lookout, Puppet\", he adds as an afterthought. \"Aye, Captain\", the nervous-looking pirate replies. Almost immediately, a plume of vapor erupts from the area being perforated.\n\nAn insistent voice says \"Alert! The freezer room cooling systems are no longer functional. This is a critical repair item which supersedes all non-critical priorities.\"\n\n> You examine nervous\nAlways in motion, the fellow is. His arms, legs, and face twitch constantly as he looks all around for potential dangers.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\nA quick glance at the Chiller Thermostat shows the temperature of the freezer room to be about 40 degrees and rising.\n\n> You talk to nervous\nYou are separated from the docking bay by no fewer than two walls that you have no means of breaching. The image on the monitor is just that, an image.\n\nOn the monitor you can see the pirate captain opening a hole in the wall with his cutmore. As he peers into the freezer room, he says \"Arr! We've found the beastie! Puppet, fetch the hoversled!\"\nThrough the hatch, Puppet exits the ship.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet frantically firing his dissolver, but this does not prevent Meat and Filthy from knocking him to the ground and fighting over his corpse.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet acquiring the same creepy characteristics as Meat and Filthy. The three cadaverous creatures march into the freezer room searching for more \"brains!\"\n\n> You wait\nTime passes.\n\nOn the monitor you can see the once-pristine docking bay, now a scene of carnage.\n\n> Wait\nTime passes."
    },
    {
        "text": "> You wait\nTime passes.\n\nThe OKAY button starts blinking and buzzing again.\n\n> You examine sharl\nPilot Sharl continues to stare assiduously at his instruments.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention."
    },
    {
        "text": "> You examine sharl\nYou silently urge Sharl to regain consciousness.\n\nOn the monitor you can see Sharl slumped over his instruments, unmoving. His pressure suit is wedged into a hole in the wall in front of him.\n\nA pressure suit falls heavily from the ceiling, landing right next to your chair.\n\n> You wear the suit\n(first taking the pressure suit)\nYou lean over the side of your chair and drag the pressure suit into your lap.\n\nIt's easily as heavy as it looks, with its recirculating air filters, automated thermal regulators, waste handling units, and integrated speakers. If there's a lightweight version of all this paraphernalia, it must be more expensive than the heavy stuff.\n\nYou put on the pressure suit despite your misgivings about its comfort.\n\nA satisfied voice says \"Air pressure on the bridge has stabilized at zero point three atmospheres.\"\n\nThe monitor shows Pilot Sharl turning slowly toward the camera. He's all right! Except... Except that he shouldn't be all right. With a sizable fragment of rock jutting out of a gaping wound in his skull, he shouldn't be all right at all.\n\nOn the monitor you can see Sharl stagger unnaturally towards the door to the cargo bay. His eyes stare vacantly, his mouth hangs slack, and he holds his arms stiffly in front of him.\n\n> You look at Sharl\nHe couldn't possibly have survived an injury like that, but he's still walking around.\n\nOn the monitor you can see the door to the cargo bay opening automatically as Sharl lurches through. His pressure suit plugs a hole in the hull.\n\n> You wait\nTime passes.\n\nOn the monitor you can see the door to the cargo bay opening automatically as Sharl lurches through. His pressure suit plugs a hole in the hull.\n\n> You wait a while\nTime passes.\n\nOn the monitor you can see the two pirates suddenly faced by a ravening Sharl who charges them with a bellowing call for \"Braaaains!\". They both somehow remember to fire their weapons, and blast several holes straight through their attacker. Sharl continues his advance undaunted.\n\nAn insistent voice says \"Alert! The freezer room cooling systems are no longer functional. This is a critical repair item which supersedes all non-critical priorities.\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see the burly pirate bending down to check the vitals of his fallen comrade. As he does so, the dirt-covered pirate abruptly reaches up to enfold him in a deadly embrace.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the dirt-covered pirate munching on the burly pirate's ample forehead. The beefy buccaneer ceases his struggles.\n\n> You wait\nTime passes.\n\nOn the monitor you can see two pirates clambering to their feet amid the stacks of supplies. Both bear similarly bloody head wounds, and move in the same ungainly manner. To all appearances save animation, both are recently deceased.\n\n> You wait awhile\nTime passes.\n\nOn the monitor you can see the burly pirate and the dirt-covered pirate taking turns bouncing off the door to the docking bay, endlessly repeating the \"Brains!\" refrain.\n\n> Wait\nTime passes.\n\n> You turn the heat\nThe Ship Thermostat may be set to any number between 0 and 100.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> You set the heat to 100\nYou set the Ship Thermostat to 100 degrees.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> You wait awhile\nTime passes.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> You examine Thermostat\nWhich do you mean, the Ship Thermostat or the Chiller Thermostat?\n\n> You examine Chiller\n(the cooling system)\nThe cooling system of the freezer room includes a visible chiller, but is largely composed of pipes and pumps hidden within the bulkheads.\n\nOn the monitor you can see the pirate captain discovering the right combination of positioning, leverage, and brute force to load the orevore onto his hoversled.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> You look at Chiller Thermostat\nThe Chiller Thermostat is set at 0 degrees, but a current freezer room temperature of 100 degrees is indicated.\n\nOn the monitor you can see the orevore being pushed out of the freezer room on a hoversled.\n\n> You set Chiller Thermostat to 100\nYou set the Chiller Thermostat to 100 degrees.\n\nA satisfied voice says \"Air pressure on the bridge has stabilized at zero point three atmospheres.\"\n\nThe monitor shows Pilot Sharl turning slowly toward the camera. He's all right! Except... Except that he shouldn't be all right. With a sizable fragment of rock jutting out of a gaping wound in his skull, he shouldn't be all right at all.\n\nOn the monitor you can see Sharl stagger unnaturally towards the door to the cargo bay. His eyes stare vacantly, his mouth hangs slack, and he holds his arms stiffly in front of him.\n\n> You set Ship Thermostat to 100\nYou set the Ship Thermostat to 100 degrees.\n\nOn the monitor you can see the door to the cargo bay opening automatically as Sharl lurches through. His pressure suit plugs a hole in the hull.\n\nThe ship's powerful engines quickly heat the crew areas.\n\n> You wear the suit\n(first taking the pressure suit)\nYou lean over the side of your chair and drag the pressure suit into your lap.\n\nIt's easily as heavy as it looks, with its recirculating air filters, automated thermal regulators, waste handling units, and integrated speakers. If there's a lightweight version of all this paraphernalia, it must be more expensive than the heavy stuff.\n\nYou put on the pressure suit despite your misgivings about its comfort.\n\nOn the monitor you can see the abandoned bridge. Sharl's instruments continue their flickering in his absence. His pressure suit plugs a hole in the hull.\n\nYou can hear something just outside your door.\n\n> You examine Orevore\nThe orevore is so remarkable an animal as to strain credulity. It's a 100-pound gelatinous lump with a convoluted surface, very much resembling a grotesquely oversized cerebrum. It eats almost anything, including solid rock, and it excretes chemically-pure nodules of any element it ingests with an atomic number greater than 77. For this reason it is the most prized possession of every mining colony that can manage to acquire one. The orevore goes dormant at temperatures below 23 degrees, which is why the freezer room is so important.\n\nOn the monitor you can see the orevore eating through the wall between the freezer room and the engine room. This doesn't bode well for the highly important equipment located in the latter. The orevore is probably uninterested in the alternate uses and functions of its food.\n\nYou can hear something just outside your door."
    },
    {
        "text": "> Look around\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see the door to the cargo bay opening automatically as Sharl lurches through. His pressure suit plugs a hole in the hull.\n\n> You put on the suit\n(first taking the pressure suit)\nYou lean over the side of your chair and drag the pressure suit into your lap.\n\nIt's easily as heavy as it looks, with its recirculating air filters, automated thermal regulators, waste handling units, and integrated speakers. If there's a lightweight version of all this paraphernalia, it must be more expensive than the heavy stuff.\n\nYou put on the pressure suit despite your misgivings about its comfort.\n\nOn the monitor you can see Ghee working his hands into his gloves. You're fairly certain that he has only the usual number of fingers.\n\nYou can hear something just outside your door.\n\n> You turn Thermostat 100\nWhich do you mean, the Ship Thermostat or the Chiller Thermostat?\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees.\n\nOn the monitor you can see Engineer Ghee kicking at the engine room door. He turns toward your camera and yells \"Eight Wall, you open this door immediately! And don't you dare blow us up! Do you hear me, Eight? I'm warning you!\" The thought of Ghee's disembodied spirit haunting your own widely dispersed molecules is briefly amusing.\n\nYou can hear something just outside your door.\n\n> Cool 100\nYou set the Chiller Thermostat to 100 degrees.\n\nOn the monitor you can see Ghee fiddling with the circuitry behind an open panel. He's probably trying to hotwire the door. He periodically mutters imprecations against you and your recent lineage.\n\nYou can hear something just outside your door.\n\n> Cool 100\nThe Chiller Thermostat is already set to 100 degrees.\n\nOn the monitor you can see the orevore starting to pulse in a less than relaxing fashion. As it recovers from its slumber it begins exploring the environment.\n\nYou can hear something just outside your door.\n\n> Cool 20\nYou set the Chiller Thermostat to 20 degrees.\n\nOn the monitor you can see the orevore eating through the wall between the freezer room and the engine room. This doesn't bode well for the highly important equipment located in the latter. The orevore is probably uninterested in the alternate uses and functions of its food.\n\nYou can hear something just outside your door.\n\n> Heat 10\nYou set the Ship Thermostat to 10 degrees.\n\nYou can hear something just outside your door.\n\n> Cool 0\nYou set the Chiller Thermostat to 0 degrees.\n\nYou can hear something just outside your door.\n\n> You wait awhile\nTime passes.\n\nYou can hear something just outside your door.\n\n> Wait\nTime passes.\n\nOn the monitor you can see Ghee rushing across the docking bay just as the hatch suddenly explodes inward, filling the bay with debris and smoke.\n\nYou can hear something just outside your door.\n\nA wary voice calls out \"Alert! An explosion has been detected in the docking bay. The hatch mechanisms have been damaged. Please use caution when effecting repairs.\"\n\n> You examine docking\nThe Docking Bay button is an unlit translucent blue button.\n\nOn the monitor you can see the door to the cargo bay opening automatically as Sharl lurches through. His pressure suit plugs a hole in the hull."
    },
    {
        "text": "[Themes: spaceship setting]\n\n> You wear the suit\n(first taking the pressure suit)\nYou lean over the side of your chair and drag the pressure suit into your lap.\n\nIt's easily as heavy as it looks, with its recirculating air filters, automated thermal regulators, waste handling units, and integrated speakers. If there's a lightweight version of all this paraphernalia, it must be more expensive than the heavy stuff.\n\nYou put on the pressure suit despite your misgivings about its comfort.\n\nOn the monitor you can see Sharl pounding ferociously on the door to the cargo bay. He sounds like a desperate wild animal, howling in his cage."
    },
    {
        "text": "[Themes: pirates, spaceship setting, aliens]\n\n> Heat 0\nYou set the Ship Thermostat to 0 degrees.\n\n> Heat 0\nYou set the Ship Thermostat to 0 degrees.\n\nYou can hear something just outside your door.\n\n> Cool 0\nThe Chiller Thermostat is already set to 0 degrees.\n\n> You examine FRZR\nThe Freezer Room button is an unlit translucent blue button.\n\nAn insistent voice says \"Alert! The freezer room cooling systems are no longer functional. This is a critical repair item which supersedes all non-critical priorities.\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see the pirate captain opening a hole in the wall with his cutmore. As he peers into the freezer room, he says \"Arr! We've found the beastie! Puppet, fetch the hoversled!\"\nThrough the hatch, Puppet exits the ship.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see the pirate captain standing around looking as gruff as possible. He taps his foot impatiently.\n\n> You wait awhile\nTime passes.\n\nOn the monitor you can see Puppet entering the docking bay with a hoversled just as the burly pirate and the dirt-covered pirate enter with blood in their eyes and \"Brains!\" on their lips. As the pirate captain takes command of the hoversled and pushes it towards the freezer room, he says \"Hold fast, me hearty!\"\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet frantically firing his dissolver, but this does not prevent the burly pirate and the dirt-covered pirate from knocking him to the ground and fighting over his corpse.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see three monstrous marauders suffer simultaneous paroxysms of hunger as they enter the freezer room and spot the orevore. \"BRAINS!\" they cry, as they tear through the pirate captain to get at the creature.\n\n> Wait\nTime passes.\n\nOn the monitor you can see three zombie pirates messily devouring the orevore in an orgy of engorgement.\n\n> You examine cutmore\nThe cutmore is a portable power saw capable of slicing through almost anything with varying degrees of effort. It is particularly favored by those who desire access to something which other persons have attempted to prevent them from accessing.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> You examine the dirt\nFrom his appearance, one might conclude that his vessel is powered by coal, or perhaps recycled biological waste. It's not clear that he has any familiarity with modern sanitation.\n\n> You examine burly\nFrom the way he ducks under the ceiling, he appears to be nearly seven feet tall, and more than proportionately wide. The dissolver held in his massive hand only extends the reach of his destructive power."
    },
    {
        "text": "[Themes: zombies, space]\n\n> Wait\nTime passes.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> Wait\nTime passes.\n\nOn the monitor you can see Puppet entering the docking bay with a hoversled. As the pirate captain takes command of the hoversled and pushes it towards the freezer room, he says \"Hold fast, me hearty!\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see Puppet awaiting his fate with a great deal of obvious anxiety.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the orevore being pushed into the docking bay on a hoversled.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the orevore being hurriedly pushed out of the ship on a hoversled.\n\nThe OKAY button starts blinking and buzzing again.\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees."
    },
    {
        "text": "[Themes: spaceship, zombies, spaceship setting]\n\n> Heat 0\nThe Ship Thermostat is already set to 0 degrees.\n\n> Xyzzy\nAn angry voice warns you that \"security considerations do not permit the use of magical incantations aboard this ship. This notice will not be repeated.\"\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the pirate captain struggling to load the orevore onto his hoversled. He seems determined to accomplish this task unaided, however long it might take.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> You look\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see the pirate captain slicing through the wall to the freezer room. His cutmore spits sparks as he makes progress with his work.\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees.\n\n> Cool 100\nYou set the Chiller Thermostat to 100 degrees.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the orevore starting to pulse in a less than relaxing fashion. As it recovers from its slumber it begins exploring the environment.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the orevore eating through the wall between the freezer room and the engine room. This doesn't bode well for the highly important equipment located in the latter. The orevore is probably uninterested in the alternate uses and functions of its food.\n\n> Cool 100\nYou set the Chiller Thermostat to 100 degrees.\n\nOn the monitor you can see the pirate captain struggling to load the orevore onto his hoversled. He seems determined to accomplish this task unaided, however long it might take.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down.\n\n> Cool 100\nYou set the Chiller Thermostat to 100 degrees.\n\nOn the monitor you can see the pirate captain opening a hole in the wall with his cutmore. As he peers into the freezer room, he says \"Arr! We've found the beastie! Puppet, fetch the hoversled!\"\nThrough the hatch, Puppet exits the ship.\n\n> Heat 100\nThe Ship Thermostat is already set to 100 degrees.\n\nOn the monitor you can see the pirate captain struggling to load the orevore onto his hoversled. He seems determined to accomplish this task unaided, however long it might take.\n\nThe monitor shows the pirate captain spraying the orevore with some sort of compressed gas, presumably to cool it down."
    },
    {
        "text": "> You wait\nTime passes.\n\nOn the monitor you can see the burly pirate discovering an extensible support beam in the cargo, which he lifts with great effort. He then swings it at Sharl and completely decapitates your unfortunate colleague. The twice-dead pilot's body immediately collapses.\n\n> You wait a while\nTime passes.\n\nOn the monitor you can see the burly pirate and the dirt-covered pirate squeezing through the door to the docking bay at the same time."
    },
    {
        "text": "[Themes: zombies]\n\n> You wait\nTime passes.\n\nThe monitor shows two persons in the cargo bay who are completely unknown to you. That they wear shabby spacesuits without organizational insignia, however, suggests only one likely explanation for their unexpected presence on your vessel. These men must be pirates.\n\nOn the monitor you can see the burly pirate and the dirt-covered pirate coming through the door to the cargo bay from the docking bay.\n\n> Heat 0\nYou set the Ship Thermostat to 0 degrees.\n\nOn the monitor you can see Sharl knock down the dirt-covered pirate, who is so stunned that he scarcely resists. As Sharl gnaws on his victim's skull, the larger pirate backs away from the gruesome scene, no longer trusting in the efficacy of his dissolver.\n\n> Cool 0\nThe Chiller Thermostat is already set to 0 degrees.\n\nOn the monitor you can see the burly pirate discovering an extensible support beam in the cargo, which he lifts with great effort. He then swings it at Sharl and completely decapitates your unfortunate colleague. The twice-dead pilot's body immediately collapses.\n\n> You examine Puppet\nAlways in motion, the fellow is. His arms, legs, and face twitch constantly as he looks all around for potential dangers.\n\nOn the monitor you can see the pirate captain opening a hole in the wall with his cutmore. As he peers into the freezer room, he says \"Arr! We've found the beastie! Puppet, fetch the hoversled!\"\nThrough the hatch, Puppet exits the ship.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see the pirate captain standing around looking as gruff as possible. He taps his foot impatiently."
    },
    {
        "text": "[Themes: spaceship, zombies]\n\n> Examine monitor\nOn the monitor you can see Puppet awaiting his fate with a great deal of obvious anxiety.\n\n> Examine monitor\nOn the monitor you can see the burly pirate and the dirt-covered pirate taking turns bouncing off the door to the docking bay, endlessly repeating the \"Brains!\" refrain.\n\n> Examine monitor\nOn the monitor you can see the orevore being hurriedly pushed out of the ship on a hoversled.\n\nThe OKAY button starts blinking and buzzing again.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet frantically firing his dissolver, but this does not prevent the burly pirate and the dirt-covered pirate from knocking him to the ground and fighting over his corpse."
    },
    {
        "text": "[Themes: zombies, space, spaceship setting, science fiction, pirates]\n\n> You look\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see the burly pirate and the dirt-covered pirate taking turns bouncing off the door to the docking bay, endlessly repeating the \"Brains!\" refrain."
    },
    {
        "text": "[Themes: spaceship, space, aliens, pirates, science fiction]\n\n> You wait\nTime passes.\n\nOn the monitor you can see Sharl knock down the dirt-covered pirate, who is so stunned that he scarcely resists. As Sharl gnaws on his victim's skull, the larger pirate backs away from the gruesome scene, no longer trusting in the efficacy of his dissolver.\n\n> You wait\nTime passes.\n\nOn the monitor you can see the burly pirate discovering an extensible support beam in the cargo, which he lifts with great effort. He then swings it at Sharl and completely decapitates your unfortunate colleague. The twice-dead pilot's body immediately collapses."
    },
    {
        "text": "[Themes: aliens, space, science fiction]\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet deftly dispatching the dirt-covered pirate with a single swing of his cutmore. His larger undead comrade just bellows \"Brains!\" all the louder.\n\n> Wait\nTime passes.\n\nOn the monitor you can see Puppet chopping off the burly pirate's legs as an expedient method of reaching his neck with the cutmore. Another swing effectively finishes the massive monster.\n\n> You wait\nTime passes.\n\nOn the monitor you can see Puppet whispering to the decapitated pirate directly in front of your camera: \"Sorry, mate, but Captain will be getting his, you can be certain.\"\n\n> You wait\nTime passes.\n\nOn the monitor you can see Puppet saying \"Er, that you'll be getting your customary 70% of the profits, Captain...\"\n\n> You wait a while\nTime passes.\n\nOn the monitor you can see Puppet saying \"Of course, with Meat and Filthy gone, that'll be, uh, 90% for you, Captain...\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see Puppet being reduced to inchoate pleading sobs as he attempts to beg the pirate captain for mercy. Finally the latter relents and says \"Off with you, now, and don't think I won't have both eyes on you the whole way home.\"\n\n> You wait a while\nTime passes.\n\nOn the monitor you can see the orevore being pushed out of the freezer room on a hoversled."
    },
    {
        "text": "[Themes: aliens, zombies, spaceship, pirates, spaceship setting]\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees.\n\nOn the monitor you can see the orevore being pushed out of the freezer room on a hoversled.\n\n> Heat 100\nYou set the Ship Thermostat to 100 degrees.\n\nOn the monitor you can see Puppet saying \"Er, that you'll be getting your customary 70% of the profits, Captain...\"\n\n> You wait a while\nTime passes.\n\nOn the monitor you can see Puppet saying \"Of course, with Meat and Filthy gone, that'll be, uh, 90% for you, Captain...\"\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see Puppet pointing at the slowly stirring orevore and shouting \"Captain! Behind you!\" This doesn't faze the pirate captain in the slightest, as he replies \"You've been sucking too much vacuum if you think I'll fall for that, my poor Puppet.\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see the pirate captain reflexively firing his dissolver at Puppet as his legs are eaten away by the newly active orevore. Both pirates go down screaming.\n\n> Heat 0\nYou set the Ship Thermostat to 0 degrees.\n\nOn the monitor you can see the orevore consuming the remains of the pirates. All that's left is a single small shiny nodule.\n\n> Wait\nTime passes.\n\nOn the monitor you can see the orevore eating through the wall between the freezer room and the engine room. This doesn't bode well for the highly important equipment located in the latter. The orevore is probably uninterested in the alternate uses and functions of its food.\n\n> Heat 0\nYou set the Ship Thermostat to 0 degrees.\n\nOn the monitor you can see Puppet pointing at the slowly stirring orevore and shouting \"Captain! Behind you!\" This doesn't faze the pirate captain in the slightest, as he replies \"You've been sucking too much vacuum if you think I'll fall for that, my poor Puppet.\"\n\n> Wait\nTime passes.\n\nOn the monitor you can see the pirate captain reflexively firing his dissolver at Puppet as his legs are eaten away by the newly active orevore. Both pirates go down screaming.\n\n> You wait awhile\nTime passes.\n\nOn the monitor you can see the orevore consuming the remains of the pirates. All that's left is a single small shiny nodule.\n\n> You wait for a while\nTime passes.\n\nOn the monitor you can see the orevore, once again quiescent. It appears to be none the worse for its recent thaw.\n\n> You examine the contraption\nIt contains at least one power cell, some spare microprocessor boards, and lots of tangled wires. To say that you can only guess at its purpose would be to exaggerate the extent of your knowledge."
    },
    {
        "text": "> Look around\nYour \"station\" is a solid metal enclosure just barely large enough to accommodate your chair and yourself. On the wall in front of you are the many brightly-colored controls of the security console and a black-and-white monitor.\n\nOn the monitor you can see Ghee creating some complicated contraption on his workbench. He frequently glances nervously at the door."
    },
    {
        "text": "> Yes\nThat was a rhetorical question.\n\nThe OKAY button continues its blinking and buzzing efforts to attract your attention.\n\n> Break cube\nThe nutricube bursts, showering the bottom of the console with unappetizing goo. As it seeps into the circuitry, you hear a sad voice stammer: \"Security... is not permitted... Daisy...\" and then die out.\n\nThe OKAY button silently flashes.\n\n> Sing\nYou begin to sing \"The Orevore Sonnet\":\n\n\n\nThe OKAY button silently flashes.\n\n> Sing\nOf nature's freak, the orevore.\n\nThe OKAY button silently flashes.\n\n> Sing\nThe OKAY button silently flashes.\n\n> Sing\nBut keep the females under ban.\n\nThe OKAY button silently flashes.\n\n> Sing\nThe OKAY button silently flashes.\n\n> Sing\nHis savage and exotic race.\n\nThe OKAY button silently flashes.\n\n> Sing\nHe'll dig and dig forever more.\n\nThe OKAY button silently flashes.\n\n> Sing\nSomehow you don't feel like singing any more.\n\nThe OKAY button silently flashes.\n\n> About yourself\nAll things considered, you look just fine, sitting there in your form-fitting uniform. It's a good thing you're locked up safely away from those two young men, isn't it?\n\nThe OKAY button silently flashes.\n\n> Inventory\nYou are carrying:\na uniform (being worn)\n\nThe OKAY button silently flashes.\n\n> You examine the uniform\nThe uniform is emblazoned with the logo of Transport High Command and a tiny black pip indicating your rank of Security Officer.\n\nThe OKAY button silently flashes."
    },
    {
        "text": "[Themes: Evil protagonist, gender-neutral protagonist, teenage protagonist, fantasy, sign language, high school]\n\nIt's been almost a year since you've tasted that defeat and humiliation. You were forced to resign in disgrace, and another took up your position.\n\nBut this time will be different. This time, you'll definitely be guaranteed victory, as long as you pray to the gods for help.\n\nAnd no one will be able to stop you.\n\nThe gym is barely different from what you remember from your infrequent visits. The only differences you can notice are the banner hanging from the wall and some tables set up in preparation for the event to take place later. You can exit the gym to the south.\n\nYou can see some club members here.\n\n[Type ABOUT for more information about the game.]\n\n[Author's Note: The disgrace and humiliation of last year's defeat is behind you. This time, with the help of the gods, you'll win this competition for sure.]\n\n> You look at the banner\nThe banner reads \"Rock-Paper-Scissors Competition\" in bold letters. It seems rather low-budget.\n\n> You examine the people\nMembers of the Rock-Paper-Scissors Club. You recognize them from when you used to be in the club, but you don't know them well enough to know their names.\n\n> You talk to the people\n\"If you're here for the competition, you're pretty early,\" says one of them in a bored voice. \"There's still some time before it starts, so you can come back then.\"\n\n> You check what you're carrying\nYou are carrying:\nyour cell phone\n\n> You look at the phone\nYour cell phone. The camera has been broken for almost a year now. A photo of one of your friends is being used as the background.\n\n> You examine photo\nA picture of your friend Sarah posing with a V sign is set as your phone background. She's always asking you to take a new picture of her, but you can't take any pictures with your busted camera."
    },
    {
        "text": "[Themes: fantasy, high school]\n\n> You look around\nA banner hangs from the wall, and there are some tables set up in preparation for the event to take place later. You can exit the gym to the south.\n\nYou can see some club members here.\n\n> You examine the tables\nSome folding tables have been set up in preparation for the competition.\n\n> You go south\nYou step outside the gym. The entrance to the gym is back to the north, and there are several flyers on the doors. You can also go east to the parking lot or west to the quad.\n\nYour best friend David is here. It seems like he was waiting for you.\n\n\"Hey,\" he says. \"Can we talk?\"\n\n> You talk to David\n\"Hey,\" you say. \"What's up?\"\n\n\"Well, you're entering the competition today, right? I just wanted to wish you good luck.\"\n\n\"Oh, yeah, thanks.\"\n\n\"Also, I wanted to say that, well, after last time... Just, winning isn't everything, you know? It's okay even if you don't win.\"\n\n\"Of course,\" you say, but you don't really mean it.\n\n\"Um, that's it, then! Good luck in the competition!\" He raises his fist. \"How about a fist bump?\"\n\n> Paper\nYou hold out your open hand, and as you do so, the world starts to shake. A hole opens in reality\u2014a swirling vortex of crackling energy.\n\nDavid's face transforms into a look of shock as he registers the situation. A \"wha\u2014\" escapes his lips before he is swallowed by the vortex, which snaps shut after him.\n\nPaper beats rock."
    },
    {
        "text": "[Themes: Evil protagonist, high school, teenage protagonist]\n\n> You look at your surroundings\nYou are outside the gym. The entrance to the gym is back to the north, with several flyers on the doors. You can also go east to the parking lot or west to the quad.\n\n> You examine flyers\nA bunch of flyers advertising the Rock-Paper-Scissors Competition. They contain details about when and where the event will take place.\n\n> Go east\nYou are in one of the two parking lots at your school, with this one being on the east side. The lot is surprisingly deserted, even in spite of it being after school. You can go west to return to the school.\n\nThe only person you can see here is a girl whose name you know to be Chloe.\n\nChloe folds her arms and taps her foot.\n\n> You look at Chloe\nA senior at your school who is well known for her looks. She's concentrating on her smartphone, and occasionally taps her foot as if she's waiting for something.\n\nChloe texts someone on her phone.\n\n> You talk to Chloe\n\"Hi,\" you manage to say, but Chloe immediately interrupts you.\n\n\"I, like, have a boyfriend,\" she says. \"And he's, like, picking me up at this parking lot soon. Or at least, he's supposed to. I've\nbeen waiting here for, like, forever!\"\n\n\"Um, okay.\"\n\nChloe holds her phone out at arm's length and takes a selfie.\n\n> You show the phone to Chloe\n(your cell phone to Chloe)\n\"Ew, that phone is, like, so outdated. You should really upgrade to a better one, like mine.\"\n\nChloe uses her phone as a mirror to fix her hair.\n\n> You talk to Chloe\n\"Um, have you tried calling your boyfriend?\" you ask.\n\n\"Uh, obviously. He's not picking up, though. He must have, like, left it at home again.\" She rolls her eyes.\n\nChloe takes a call on her phone.\n\n> You talk to Chloe\nChloe holds up her hand in a \"talk to the hand\" fashion, stopping you before you can say anything. You probably shouldn't talk to her while she's on the phone.\n\n> Scissors\nYou hold out your index and middle fingers, and once again, the world starts to shake. Crackling with energy, a vortex opens again.\n\nChloe gapes at the vortex and drops her phone, which falls to the ground. Before she can recover from the shock, she is sucked in. The vortex closes, and the world returns to normal.\n\nScissors beats paper.\n\n> You take the phone\n(the smartphone)\nTaken.\n\n> You look at the smartphone\nChloe's smartphone. The case that covers it is pink with a rabbit design. The phone is in surprisingly good condition, considering the fall it took.\n\nUnfortunately, since you don't know the password, you can't really use the smartphone.\n\n> Go west\nYou are outside the gym. The entrance to the gym is back to the north, with several flyers on the doors. You can also go east to the parking lot or west to the quad.\n\n> You go west\nYou are at the quad, a courtyard in the center of the school that connects most of the major school buildings. During school hours, there are usually a lot of students milling around, but today you don't see anybody. From here, you can go north to the front of the school, northwest to the library, west to the western building, southwest to the parking lot, south to the southern building, and east to the gym.\n\n> You go north\nYou walk past the front gate and find yourself at the front of the school. You can re-enter the school to the south, or cross the street to the north.\n\nAfter school lets out, a crossing guard is stationed here to make sure students can cross the road safely without being run over, but right now there are hardly any students crossing or cars passing by that you wonder why the guard is even here at all.\n\n\"Heya, kiddo,\" says the guard with a smile. \"If you want to cross, just give me a heads-up and I'll handle the rest.\"\n\n> Go north\nThe guard holds up a hand to stop you. \"Whoa, there. Didn't I say you should give me a heads-up if you want to cross? Just give me a sec and I'll let you cross.\"\n\n> Scissors\nYou hold out your index and middle fingers, and once again, the world starts to shake. A vortex of swirling energy opens in front of the guard.\n\nShe looks at you in surprise, and as she does so, the stop sign is pulled from her hands. She reaches to grab it, but loses her balance and tumbles into the vortex. The vortex closes, leaving the world quiet again.\n\nScissors beats paper."
    },
    {
        "text": "[Themes: fantasy]\n\n> You look around\nYou are at the front of the school. You can re-enter the school to the south, or cross the street to the north.\n\n> You go to the north\nYou gingerly step onto the street. Is it really safe to cross without the guard?\n\nYeah, who are you kidding. You boldly stride across the street and manage to cross safely, because there aren't any cars driving by that can run you over.\n\nYou are across the street from the school. You can see the school in all its glory to the south.\n\nYou can see a rock here.\n\n> You take Rock\nTaken.\n\n> You look at the school\nYou can see the front side of the school from here. It's not a sight you see often, given that you usually enter and exit the school from the side.\n\n> Exits\nYou can only go south.\n\n> Go south\nWithout the guard here, you cross the street with reckless abandon.\n\nYou are at the front of the school. You can re-enter the school to the south, or cross the street to the north.\n\n> You go to the south\nYou are at the quad, a courtyard in the center of the school. From here, you can go north to the front of the school, northwest to the library, west to the western building, southwest to the parking lot, south to the southern building, and east to the gym.\n\n> Go northwest\nThe library is usually a quiet place, but today it seemed even quieter than normal. The ambient sounds of the librarian moving around or of students murmuring to each other was strangely absent. Bookshelves are lined up, filling most of the room, and a sign on one wall compels you to be as quiet as possible. From here, you can go south to the western building or southeast to the quad.\n\nA boy is here, reading a novel.\n\n> You examine the sign\nThe sign reads \"SILENCE IS GOLDEN\". You feel compelled to speak quietly, despite the fact that the librarian isn't even here.\n\n> You examine boy\nThe boy appears to be of high school age, though probably younger than you. He's currently reading a novel.\n\n> You examine novel\nThe novel that the boy is reading. The novel happens to be the sort without any sort of distinguishing features on the cover, so you have no way of knowing what it is.\n\n> You talk to the boy\n\"Hello,\" you say quietly to the boy. You wait for a bit, but he doesn't look up from his book. Maybe if you tried again?\n\nYou hear the sound of a page being turned.\n\n> Keep going\n\"Um, hello,\" you say, a little louder, but the boy still doesn't look up. Frustrated, you wave your hands wildly until you finally get his attention.\n\nHe looks up at you, points to his ear and to his mouth, and then shrugs.\n\nHuh. Does that mean he's deaf?\n\n> Continue\nYou try to talk to the boy again, but he just shrugs at you.\n\n> You give the phone to the boy\nWhich do you mean, the smartphone or your cell phone?\n\n> Smartphone\nHe looks at the smartphone and shrugs at you.\n\n> You give the cell phone to the boy\nHe looks at your cell phone and shrugs at you.\n\n> You show Rock to the boy\nHe looks at the rock and shrugs at you.\n\n> Examine books\nYou stride over to the shelves and choose a book at random. You're not really fond of the book's genre, so you put it back. Besides, the librarian doesn't seem to be here, so it's not like you can check out books, anyway.\n\n> You go to the southeast\nYou are at the quad, a courtyard in the center of the school. From here, you can go north to the front of the school, northwest to the library, west to the western building, southwest to the parking lot, south to the southern building, and east to the gym.\n\n> You go west\nYou walk into the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\nYou can see a girl waiting in front of the door.\n\n> You look at the girl\nYou don't think you've seen her before. She looks pretty young, so you're guessing she's a freshman.\n\n> You talk to the girl\n\"What's up?\" you ask.\n\n\"Oh, um, I'm supposed to be meeting with Mr. Russo in this room for something,\" she says. \"But the door is locked, and nobody's responding when I knock, so I'm not really sure what to do.\"\n\n\"Hmm. Maybe try knocking again?\"\n\nShe sighs. \"It's not like there's anything else I can do.\"\n\n> You knock on the door\nYou knock on the door.\n\nThe girl knocks on the door.\n\n> You examine the door\nYou see nothing special about the Room 309 door.\n\nThe girl knocks on the door.\n\n> Go west\n(first opening the Room 309 door)\nIt seems to be locked.\n\n> Paper\nYou hold out your open hand, but nothing happens.\n\nThe girl knocks on the door.\n\n> You talk to the girl\n\"By the way, what was your name again?\"\n\n\"It's Jayma. Nice to meet you.\"\n\nJayma knocks on the door.\n\n> Keep going\n\"I wish there was something I could do to help.\"\n\n\"Don't worry about it. Mr. Russo has never been the most reliable person.\"\n\n> You keep going\n\"I wish there was something I could do to help.\"\n\n\"Don't worry about it.\"\n\n> Go west\n(first opening the Room 309 door)\nIt seems to be locked.\n\nJayma knocks on the door.\n\n> You give Rock to the girl\n\"Um, I'm not sure how that can help.\"\n\nJayma knocks on the door.\n\n> You go south\nYou are in one of the two parking lots at your school, with this one being on the west side. You can go north to enter the western building or east to enter the southern building. You can also go northeast to the quad or southeast to go behind the school.\n\nA single car is parked in the lot. Leaning against the hood of the car is who you presume to be its owner. You believe his name is Brad.\n\n> You examine the car\nBrad's car. Well, you're pretty sure it's Brad's car, unless he decided to lean on a random one that wasn't his. It seems to have been used for a while.\n\nBrad drums his fingers on his thigh.\n\n> You examine Brad\nA senior at your school. If you remember correctly, he used to be on the basketball team, but rumor has it that he was kicked off for being too aggressive. In any case, he looks like he's in a bad mood right now, so you probably don't want to do anything to provoke him.\n\n> You talk to Brad\n\"Um, hey, how's it going?\" you ask cautiously. Brad turns to look at you, and takes some time before responding, possibly to assess whether you're a threat or not.\n\n\"I'm waiting for my girlfriend,\" he says.\n\nYou wait for him to elaborate, but it doesn't seem like he plans on saying anything more.\n\n> You show the smartphone to Brad\n\"Hey, wait, that's my girlfriend's phone!\"\n\n\"Uh, it's mine,\" you lie expertly.\n\n\"Are you sure? It looks a lot like her case. She's always looking at her phone when we're on dates, so I remember it pretty well.\"\n\n\"I'm pretty sure it's just a coincidence,\" you say, quickly putting the phone away.\n\nBrad shifts to be in a slightly different position from before.\n\n> Smartphone\n\"It really does look like my girlfriend's phone, though.\"\n\nBrad scratches his chin.\n\n> You talk to Brad\n\"Um, if you're looking for your girlfriend, you might want to check the other parking lot,\" you suggest.\n\nHe looks at you like you're the world's biggest idiot. \"Uh, there's only one parking lot at this school,\" he says.\n\nYou consider correcting him, but you decide you don't really want to argue with him.\n\nBrad drums his fingers on his thigh.\n\n> You give your phone to Brad\n(the smartphone to Brad)\n\"It really does look like my girlfriend's phone, though.\"\n\n> You give the cell phone to Brad\n\"What, are you asking for my phone number? I have a girlfriend, you know.\"\n\nBrad shifts to be in a slightly different position from before.\n\n> Inventory\nYou are carrying:\na rock\na smartphone\nyour cell phone\n\nBrad scratches his chin.\n\n> You show Rock to Brad\n\"What do you want me to do with that, huh!?\"\n\n> You talk to Brad\nYou think about saying something else to Brad, but you decide not to risk making his bad mood worse.\n\nBrad drums his fingers on his thigh.\n\n> About yourself\nYou look down at yourself. Yup, you're wearing clothes. Thank goodness!\n\nBrad shifts to be in a slightly different position from before.\n\n> Exits\nYou can only go north, east, northeast, or southeast.\n\nBrad drums his fingers on his thigh.\n\n> You go east\nYou walk into the southern building of the school. Most of the classrooms are empty and locked, but one classroom to the east still appears to have its light on. You can also exit north to the quad or west to the parking lot.\n\nThe walls are lined with lockers, and you can see your own locker among them.\n\n> You look at the locker\nYour locker. This year, it's too far from any of your classes to use normally, so you've found another use for it.\n\n> You open the locker\nYou open your locker, revealing a shrine and an altar.\n\n> You examine the shrine\nSince you weren't using this locker for anything else, you decided to build a small shrine to the gods and house it here. You've made small figures to represent each of the three goddesses enshrined here: Petra, Charti, and Psalidi.\n\n> You examine the Petra\nPetra, the goddess of rock. Rock evokes imagery of hardened stone or tall, rugged mountains, and the fist makes you think of punching or fistfights. Consequently, Petra is the most durable of the three goddesses, as well as the most aggressive.\n\n> You look at Charti\nCharti, the goddess of paper. Paper on its own can be considered flimsy, but through paper the written word can carry immense power. Similarly, Charti is the most unassuming of the three goddesses, but she can strike with subtlety and grace when she is least expected.\n\n> You examine the Psalidi\nPsalidi, the goddess of scissors. Scissors can dangerous implements, but they are often used as tools for crafting; as such, they represent aggression that has been channeled into something constructive. It follows that Psalidi is the most creative of the three goddesses, finding new and innovative ways to attack.\n\n> You examine the altar\nA small altar that can support items to use in a sacred ritual.\n\n> You put Rock on the altar\nYou put the rock on the altar.\n\n> Pray\nYou should probably find some offerings for the gods before performing the ritual.\n\n> You close locker\nYou close your locker.\n\n> Go east\n(first opening the Room 415 door)\nIt seems to be locked.\n\n> You look at the door\nYou see nothing special about the Room 415 door.\n\nAfter a moment, the door opens, and you are face-to-face with your friend Sarah.\n\n\"Oh, it's just you,\" she says.\n\n\"You could sound more excited to see me.\"\n\nShe rolls her eyes. \"Well, I should've known that it was you. I can't think of anyone else that will try and enter every door they see. Here, I'll leave the door open, so you can come in whenever.\" Sarah props open the door and goes back inside the room.\n\n> Go east\nRoom 415 is a science room, so instead of the usual chairs and tables, there are lab benches and stools. The benches are clear except for one, which is occupied.\n\nSarah is sitting at the bench, studying.\n\n> You examine Sarah\nSarah is another one of your friends. The two of you often clash over a difference in opinion, but despite it you remain good friends.\n\nSarah is currently studying.\n\n> You talk to Sarah\n\"What are you doing in here, anyway?\" you ask.\n\n\"Mr. Petridis told me that I could stay in this room and study as long as I lock up properly when I leave,\" Sarah says. \"Well, although the door locks on its own anyway. It just opens from the inside.\"\n\n> You continue\n\"You have a teacher named Mr. Petri Dish?\"\n\n\"It's Mr. Petridis,\" says Sarah, rolling her eyes.\n\n> Keep going\n\"Oh, by the way,\" says Sarah. \"Did you ever meet up with David? He said he was looking for you.\"\n\n\"Um, no,\" you lie masterfully.\n\n> You show the cell phone to Sarah\n\"Is the camera on that thing still busted? You really should get a new one.\"\n\n> You show the smartphone to Sarah\nSarah's eyes light up when you show her the smartphone. \"Is that a new phone?\" she asks. \"You can finally get a new picture of me for your background! Here, take a picture of me,\" she commands, posing for a picture with her usual pose.\n\n> Rock\nYou hold out your fist, and once again, the world starts to shake. Sarah looks at you as a vortex yawns open and beings to inhale everything around it, sending papers flying into the air.\n\n\"Seriously?\" she shouts over the crackling of the vortex. \"What, are you offering people as sacrifices to the gods so you can win at that rock-paper-scissors competition?\"\n\nYou start to say something in response, but she shakes her head. \"Whatever. Hope everything works out for you. I'm out.\"\n\nShe turns and, without looking back, throws up the V sign again before walking into the vortex.\n\n> You take all\nYou must take things one at a time."
    },
    {
        "text": "[Themes: fantasy, sign language, Evil protagonist]\n\n> Describe the surroundings\nRoom 415 is a science room with lab benches and stools. One bench still has a pencil case sitting on top of it.\n\n> You take case\nTaken.\n\n> You open it\nYou open the pencil case, revealing a blue pen, a red pen, a black pen, a mechanical pencil, a wooden pencil, a lead refill, an eraser, a pair of scissors, a glue stick, some white-out, a yellow highlighter, a pink highlighter, an orange highlighter, a ruler, and a pack of tissues.\n\n> You look at the Scissors\nA pair of scissors.\n\n> Go west\nYou are in the southern building of the school. Most of the classrooms are empty and locked, but one classroom to the east still appears to have its light on. You can also exit north to the quad or west to the parking lot.\n\nThe walls are lined with lockers, and you can see your own locker among them.\n\n> You open the locker\nYou open your locker, revealing a shrine and an altar.\n\n> You put the Scissors on the altar\nYou put the pair of scissors on the altar.\n\n> You go west\nThe parking lot on the west side of the school. You can go north to enter the western building or east to enter the southern building. You can also go northeast to the quad or southeast to go behind the school.\n\nA single car is parked in the lot. Brad leans against the hood of the car.\n\n> You go southeast\nYou find yourself behind the southern building at the back of the school. The first thing you notice as you approach is the awful smell of cigarette smoke. The source of it is leaning casually against the wall next to a dumpster. There is a sign affixed on the wall above him. You can go northwest back to the western parking lot.\n\nThe smoker sees you approaching and blows smoke in your direction, which you try not to breathe in.\n\n> You look at the smoker\nThe smoker appears rather unkempt, wearing a tank top and sweatpants and holding a cigarette between two fingers. Does he even go to this school? He looks a little too old to be in high school.\n\nYou try to withstand it, but the stench overpowers you. You cover your nose and hurry back the way you came. Besides, if you stayed there too long, you would probably have gotten lung cancer or something from all the secondhand smoke.\n\n[press any key to continue]## Western Parking Lot\nThe parking lot on the west side of the school. You can go north to enter the western building or east to enter the southern building. You can also go northeast to the quad or southeast to go behind the school.\n\nA single car is parked in the lot. Brad leans against the hood of the car.\n\nBrad runs his hand through his hair.\n\n> Go southeast\nYou are at the back of the school. The smell of cigarette smoke is still here. You can go northwest back to the western parking lot.\n\nThe smoker is leaning against the wall next to a dumpster.\n\n> Rock\nYou hold out your fist, and once again, the world starts to shake. Crackling with energy, a vortex opens on the wall behind the smoker.\n\nNo longer having a wall to lean on, the smoker falls backwards into the vortex. The vortex thoughtfully lingers for a little while longer to vacuum the smoke out of the air before closing.\n\nRock beats scissors.\n\n> Examine dumpster\nThere's some trash in the dumpster.\n\n> You search the trash\n[For the purposes of this game, SEARCH is synonymous with\nEXAMINE.]\n\nThat's not a nice thing to call the ex-smoker.\n\nOh, the trash in the dumpster? There's nothing important in there. It's just trash."
    },
    {
        "text": "> Look around\nYou are at the back of the school. With the smoker gone, the air is much easier to breathe. All that remains is the dumpster, pressed up against the wall of the southern building. You can go northwest back to the western parking lot.\n\n> You go northwest\nThe parking lot on the west side of the school. You can go north to enter the western building or east to enter the southern building. You can also go northeast to the quad or southeast to go behind the school.\n\nA single car is parked in the lot. Brad leans against the hood of the car.\n\n> Exits\nYou can only go north, east, northeast, or southeast.\n\nBrad shifts to be in a slightly different position from before.\n\n> Go north\nYou are in the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\nYou can see Jayma waiting in front of the door.\n\nJayma knocks on the door.\n\n> Paper\nYou hold out your open hand, and once again, the world starts to shake. The doors shake and the lockers rattle noisily as a vortex opens below Jayma.\n\nShe seems to hover over the vortex, her fist still raised in the air, before she plummets down into the vortex with an ear-piercing shriek, which echoes in the halls a little while longer before finally falling silent.\n\nPaper beats rock.\n\n[press any key to continue]\n\n> You look\nin front of Jayma opens, and a man pokes his head out.\n\n\"What's going on?\" asks Mr. Russo, yawning. \"I thought I heard somebody being murdered out here.\"\n\nYou shrug at him, and he scratches his head. \"Maybe it was just my imagination.\" He yawns again and goes back inside, leaving the door open.\n\n> Go west\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. Even from far away, you can tell that the desk is a disorganized mess. You can exit the classroom to the east.\n\nMr. Russo sits at his desk, grading papers.\n\nMr. Russo underlines a sentence on the paper in front of him and makes a note.\n\n> You talk to Russo\n\"So how are you, Mr. Russo?\" you ask.\n\n\"Oh, I'm fine. Just working on grading these papers.\" He glances over the numerous sticky notes stuck to his desk. \"It looks like I'm also waiting for a student of mine to come in so we can discuss her grades.\"\n\n\"Cool,\" you say.\n\nMr. Russo blinks, struggling to stay awake.\n\n> You take paper\n\"I would prefer if you didn't touch anything on my desk right now,\" says Mr. Russo without looking up to see what you were reaching for.\n\nMr. Russo closes his eyes, and his head droops forward.\n\n> You talk to Russo\n\"Mr. Russo\u2014\" you begin, and Mr. Russo wakes with a start.\n\n\"Huh? Wha?\" He glances around. \"Oh, I must have dozed off again.\" He yawns. \"I haven't been getting much sleep lately, so I've been really tired, you see. Thanks for waking me up.\"\n\n> Wait\nTime passes.\n\nMr. Russo scrawls something indecipherable in the margins of the paper in front of him.\n\n> Wait\nTime passes.\n\nMr. Russo blinks, struggling to stay awake.\n\n> You wait for a while\nTime passes.\n\nMr. Russo stifles a yawn with an open hand.\n\n> You wait for a while\nTime passes.\n\nMr. Russo frowns at something on the paper that he is reading.\n\n> Wait\nTime passes.\n\nMr. Russo closes his eyes, and his head droops forward.\n\n> Wait\nTime passes.\n\n> You take the paper\nYou accidentally rustle the papers as you pick one up. Mr. Russo stirs, and you drop the paper and quickly move your hands away.\n\n\"Oh dear, it seems I've dozed off again,\" he mutters, rubbing his eyes, and goes back to grading.\n\n> You look at Russo\nYou had Mr. Russo as your English teacher last year. Given how absentminded and forgetful he was, it was a miracle that he managed to teach a class every year without it being a disaster.\n\nMr. Russo is currently dozing at his desk.\n\n> You look at the paper\nYou take a peek at one of the ungraded papers. You catch a glaring spelling error in the first sentence and look away in disgust."
    },
    {
        "text": "[Themes: fantasy, sign language]\n\n> You look around\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. Even from far away, you can tell that the desk is a disorganized mess. You can exit the classroom to the east.\n\nMr. Russo sits at his desk, grading papers.\n\nMr. Russo scrawls something indecipherable in the margins of the paper in front of him.\n\n> You examine the desk\nLooking closer at the desk does not make it seem any less chaotic. A pile of papers covers most of the surface, with graded and ungraded papers all mixed together. You can see the corner of a textbook peeking out from within the pile. A corner of the desk is littered with sticky notes with various reminders. There is also a computer monitor on the desk.\n\nMr. Russo underlines a sentence on the paper in front of him and makes a note.\n\n> You look at the monitor\nA computer monitor. It is turned off. Since the monitor is here, you're guessing a keyboard and mouse are hidden under the papers somewhere.\n\nMr. Russo stifles a yawn with an open hand.\n\n> You examine mouse\nA computer monitor. It is turned off. Since the monitor is here, you're guessing a keyboard and mouse are hidden under the papers somewhere.\n\nMr. Russo blinks, struggling to stay awake.\n\n> You turn on the monitor\nIt isn't something you can switch.\n\nMr. Russo closes his eyes, and his head droops forward.\n\n> You look at the book\nIt appears to be a textbook that teaches sign language. You could look through it if you picked it up.\n\nMr. Russo snores gently.\n\n> You take the book\nYou quietly pull the textbook from the mess of papers on the desk, taking care not to wake Mr. Russo.\n\nMr. Russo snores gently.\n\n> Examine book\nIt appears to be a textbook that teaches sign language. It appears to have been read thoroughly, with various annotations and sticky notes in the pages. You decide to take the time to look over the alphabet and some simple phrases from the beginning of the book.\n\nMr. Russo snores gently.\n\n> You read the book\nIt appears to be a textbook that teaches sign language. It appears to have been read thoroughly, with various annotations and sticky notes in the pages. Earlier, you took a look at the beginning of the book to go over the alphabet and some simple phrases.\n\n> You look at the notes\nYou pick a sticky note at random and take a look at it. It reads \"Buy eggs\".\n\n> Inventory\nYou are carrying:\na sign language textbook\na pencil case (open)\na blue pen\na red pen\na black pen\na mechanical pencil\na wooden pencil\na lead refill\nan eraser\na glue stick\nsome white-out\na yellow highlighter\na pink highlighter\nan orange highlighter\na ruler\na pack of tissues\na smartphone\nyour cell phone\n\n> You look at the note\nYou pick a sticky note at random and take a look at it. It reads \"Meeting w/ Jayma after school, discuss grades\".\n\n> Go east\nYou are in the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\n> Go north\nThe library is quiet, with only the occasional turn of a page being audible. Bookshelves are lined up, filling most of the room, and a sign on one wall compels you to be as quiet as possible. From here, you can go south to the western building or southeast to the quad.\n\nA boy is here, reading a novel.\n\n> You talk to the boy\nYou wave your hands again to get the boy's attention. He looks up from his novel.\n\n> You talk to boy\nYou decide to attempt communication with the boy using your recently learned knowledge of sign language basics. \"Hello, how are you?\" you sign. The boy recognizes your clumsy signing and responds with a simple \"I'm fine\" in response.\n\n\"What is your name?\" you try signing.\n\nThe boy fails to hide an amused smile before he starts to slowly spell out the letters to his name.\n\nThe boy spells an O with his fingers.\n\n> You wait\nTime passes.\n\nThe boy spells an L with his fingers.\n\n> You wait for a while\nTime passes.\n\nThe boy spells an I with his fingers.\n\n> You wait\nTime passes.\n\nThe boy spells a V with his fingers.\n\n> Rock\nYou hold out your fist, and once again, the world starts to shake. The boy looks on in confusion as a vortex opens in front of him.\n\nThe novel he was reading is wrenched from his hands and sucked into the vortex, and it isn't long before the boy follows suit. You hear a scream fade into silence with the crackling of energy as the vortex closes.\n\nRock beats scissors."
    },
    {
        "text": "[Themes: high school, fantasy]\n\n> Look around\nThe library is quiet. Bookshelves are lined up, filling most of the room, and a sign on one wall compels you to be as quiet as possible. From here, you can go south to the western building or southeast to the quad.\n\nYou realize that the boy never managed to finish spelling his name. Since he spelled O-L-I-V, you would assume his name was probably Oliver, but for all you know he could've been spelling out \"Olive Garden\" or something.\n\n> You go to the south\nYou are in the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\n> Go west\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. Even from far away, you can tell that the desk is a disorganized mess. You can exit the classroom to the east.\n\nMr. Russo sits at his desk, dozing.\n\nMr. Russo snores gently.\n\n> You look at Russo\nYou had Mr. Russo as your English teacher last year. Given how absentminded and forgetful he was, it was a miracle that he managed to teach a class every year without it being a disaster.\n\nMr. Russo is currently dozing at his desk.\n\n> You examine the desk\nLooking closer at the desk does not make it seem any less chaotic. A pile of papers covers most of the surface, with graded and ungraded papers all mixed together. A corner of the desk is littered with sticky notes with various reminders. There is also a computer monitor on the desk.\n\n> You examine the sticky notes\nYou pick a sticky note at random and take a look at it. It reads \"Remember Allison's birthday!\" with a heart scribbled in the corner.\n\n> You take the sticky note\nYou don't really want to mess with those. They're practically what keep Mr. Russo from becoming a mess. Or at least, a bigger mess.\n\n> You take the monitor\nThat's hardly portable.\n\n> You take the paper\nYou accidentally rustle the papers as you pick one up. Mr. Russo stirs, and you drop the paper and quickly move your hands away.\n\n\"Oh dear, it seems I've dozed off again,\" he mutters, rubbing his eyes, and goes back to grading.\n\n> You look at what you're carrying with you\nYou are carrying:\na sign language textbook\na pencil case (open)\na blue pen\na red pen\na black pen\na mechanical pencil\na wooden pencil\na lead refill\nan eraser\na glue stick\nsome white-out\na yellow highlighter\na pink highlighter\nan orange highlighter\na ruler\na pack of tissues\na smartphone\nyour cell phone\n\nMr. Russo frowns at something on the paper that he is reading.\n\n> You examine eraser\nAn eraser.\n\nMr. Russo underlines a sentence on the paper in front of him and makes a note.\n\n> You look at the tissues\nA pack of tissues.\n\nMr. Russo stifles a yawn with an open hand.\n\n> You examinthe white-out\nSome white-out.\n\nMr. Russo blinks, struggling to stay awake.\n\n> You givthe white-out to Russo\n(first taking the white-out)\nThere's really only one thing you need from this pencil case.\n\nMr. Russo closes his eyes, and his head droops forward.\n\n> Close case\nYou close the pencil case.\n\nMr. Russo snores gently.\n\n> You hit Russo with case\nI only understood you as far as wanting to hit Mr. Russo.\n\n> Exits\nYou can only go east.\n\n> Go east\nYou are in the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\n> Go east\nYou are at the quad, a courtyard in the center of the school. From here, you can go north to the front of the school, northwest to the library, west to the western building, southwest to the parking lot, south to the southern building, and east to the gym.\n\n> Go south\nYou are in the southern building of the school. Most of the classrooms are empty and locked, but one classroom to the east still appears to have its light on. You can also exit north to the quad or west to the parking lot.\n\nThe walls are lined with lockers, and you can see your own locker among them. The locker hangs open, revealing a shrine and an altar.\n\n> Go west\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. Even from far away, you can tell that the desk is a disorganized mess. You can exit the classroom to the east.\n\nMr. Russo sits at his desk, dozing.\n\n> You cut the paper\nCutting it up would achieve little.\n\n> You look at the smartphone\nChloe's smartphone. The case that covers it is pink with a rabbit design. The phone is in surprisingly good condition, considering the fall it took.\n\nUnfortunately, since you don't know the password, you can't really use the smartphone.\n\n> Unlock smartphone\nWhat do you want to unlock the smartphone with?\n\n> You go west\nYou can only go east.\n\nMr. Russo snores gently.\n\n> You look at the pile\nYou take a peek at one of the ungraded papers. The words start to swim before your eyes and you realize you've had enough of Romeo and\nJuliet last year.\n\nMr. Russo snores gently.\n\n> You look at Brad\nA senior at your school. Apparently, he's known for being rather aggressive, and since he looks to be in a bad mood right now, you probably don't want to provoke him.\n\n> You wait awhile\nTime passes.\n\nBrad drums his fingers on his thigh.\n\n> Scissors\nYou hold out your index and middle fingers.\n\n\"Hey, what's the deal?\" asks Brad, putting his fists up. \"You tryin' to poke my eyes out? What, you wanna fight?\"\n\n> Paper\nYou hold out your open hand, and once again, the world starts to shake. You don't see the vortex open, but you feel it open behind you.\n\nStartled, Brad throws a punch that you dodge easily, and the force of his punch sends him tumbling headfirst into the vortex.\n\nPaper beats rock.\n\n> You look at the car\nBrad's car. It seems to have been used for a while. Or rather, Brad must have just gotten a used car.\n\n> You take the flyer\nYou decide to take one of the flyers with you.\n\n> You look at what you're carrying with you\nYou are carrying:\na flyer\na pair of scissors\na sign language textbook\na pencil case (closed)\na smartphone\nyour cell phone\n\n> You put the flyer on the altar\nYou put the flyer on the altar.\n\n> You examine the altar\nA small altar that can support items to use in a sacred ritual.\n\nOn the altar are a flyer and a rock.\n\n> You put the Scissors on the altar\nYou put the pair of scissors on the altar.\n\n> Pray\nYou should probably find some offerings for the gods before performing the ritual.\n\n> You take Rock\nTaken.\n\n> You give Rock to the petra\nYou can only do that to something animate.\n\n> Examine flyer\nA piece of paper advertising the Rock-Paper-Scissors Competition. It contains details about when and where the event will take place.\n\n> You put Rock on the altar\nYou put the rock on the altar.\n\n> You look at the altar\nA small altar that can support items to use in a sacred ritual.\n\nOn the altar are rock, scissors, and paper.\n\n> You take the Scissors\nTaken.\n\nYou can't see any such thing.\n\n> You take the flyer\nTaken.\n\n> You examine the altar\nA small altar that can support items to use in a sacred ritual.\n\n> You put Rock on the altar\nYou put the rock on the altar.\n\n> You examine the altar\nA small altar that can support items to use in a sacred ritual.\n\nOn the altar are scissors, paper, and rock.\n\n> You examine the desk\nLooking closer at the desk does not make it seem any less chaotic. A pile of papers covers most of the surface, with graded and ungraded papers all mixed together. A corner of the desk is littered with sticky notes with various reminders. There is also a computer monitor on the desk.\n\nMr. Russo snores gently.\n\n> Clean desk\nYou rub the desk.\n\n> You examine the keyboard\nA computer monitor. It is turned off. Since the monitor is here, you're guessing a keyboard and mouse are hidden under the papers somewhere.\n\n> You look under the papers\nYou find nothing of interest.\n\nMr. Russo snores gently.\n\n> You talk to Russo\n\"Mr. Russo\u2014\" you begin, and Mr. Russo wakes with a start.\n\n\"Huh? Wha?\" He glances around. \"Oh, I must have dozed off again. Thanks for waking me up.\"\n\n> Continue\n\"Need help with anything?\" you ask.\n\n\"Oh, no, I'm all right. Thanks for the offer, though.\"\n\nMr. Russo scrawls something indecipherable in the margins of the paper in front of him.\n\n> Continue\n\"Need help with anything?\" you ask.\n\n\"Oh, no, I'm all right. Thanks for the offer, though.\"\n\nMr. Russo underlines a sentence on the paper in front of him and makes a note.\n\n> You check what you're carrying\nYou are carrying:\na sign language textbook\na pencil case (closed)\na smartphone\nyour cell phone\n\nMr. Russo stifles a yawn with an open hand.\n\n> Scissors\nYou hold out your index and middle fingers, and once again, the world starts to shake. A vortex opens behind Mr. Russo, and loose papers and sticky notes are sucked in.\n\nMr. Russo grabs his desk to avoid being pulled in, but the force of the vortex overpowers him. The desk topples over with a resounding crash, and Mr. Russo flies into the vortex, screaming.\n\nScissors beats paper."
    },
    {
        "text": "[Themes: Evil protagonist, fantasy]\n\n> You look around\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. The desk has been toppled over and most of the clutter on it has been sucked away, leaving only his computer on the floor. You can exit the classroom to the east.\n\nLooks like you're just about ready. The competition is about to start soon, so you better hurry.\n\n> You look at the computer\nA computer monitor. It is resting haphazardly on the floor. You can also see a keyboard and mouse. You hope nothing broke in the fall.\n\n> Go east\nYou are in the western building of the school. The walls of this hallway are lined with lockers, and the classrooms are mostly empty and locked, with the exception of one room to the west which still has its light on. The library is to the north. You can also exit south to the parking lot or east to the quad.\n\n> Go west\nThe classroom is rather unextraordinary, with the only thing of note being Mr. Russo's desk in the corner. The desk has been toppled over and most of the clutter on it has been sucked away, leaving only his computer on the floor. You can exit the classroom to the east.\n\n> Pray\nYou put your hands together in front of you and kneel.\n\nYou offer a prayer to Petra, asking for her strength and power. You offer a prayer to Charti, asking for her elegance and poise. You offer a prayer to Psalidi, asking for her sharpness and inspiration. And you pray to the three of them: a prayer for victory in the upcoming trials, and an entreaty that your offerings are provided safe passage.\n\n[press any key to continue]As you finish your prayers, you\nhear a soft sigh, and you can feel the blessings of the goddesses drape over you. Though you aren't physically emanating light, it almost feels as if you're glowing.\n\nYou should be able to win with this.\n\n> Go north\nReturning to the gym means you're ready to enter the competition. Do you want to go to the gym now?\n\n> Rock\nYou play rock.\n\nYour opponent plays scissors.\n\n[press any key to continue]The tension in the air recedes as\neveryone takes stock of the results. Then, the gym breaks out into mild applause, and the referee takes your arm and holds it up into the air, declaring you the victor of the competition. You feel your blessings melt away from you, having fulfilled their purpose.\n\nThe club president looks frustrated, but only for a moment. Then they grin at you and begin clapping as well.\n\n\"Congratulations,\" they say."
    },
    {
        "text": "[Themes: Evil protagonist, teenage protagonist, high school]\n\n> You pray to Petra\nYou can only play rock, paper, or scissors.\n\n> Scissors\nYou play scissors.\n\nYour opponent plays scissors.\n\n[press any key to continue]The tension grows thicker as\neveryone in the gym registers the draw in their heads. You meet eyes with the president and raise your eyebrows to indicate that you're in control. They look away from you.\n\nThe referee opens her mouth again.\n\nYou can feel the blessing of Petra, the goddess of rock, guiding you.\n\n\"Rock, paper, scissors, shoot!\"\n\n> Scissors\nYou play scissors.\n\nYour opponent plays scissors.\n\n[press any key to continue]Another draw. You hear a\ncollective gasp from the spectators. You can see beads of sweat form on the president's face, though they don't betray any emotion in their expression.\n\nThe referee opens her mouth again.\n\nYou can feel the blessing of Charti, the goddess of paper, guiding you.\n\n\"Rock, paper, scissors, shoot!\"\n\n> Rock\nYou play rock.\n\nYour opponent plays rock.\n\n[press any key to continue]The tension in the air grows even thicker\u2014it almost feels like it's constricting you. You've let this\ngo\non for far too long. You should probably end this soon.\n\nThe referee opens her mouth again.\n\nYou can feel the blessing of Psalidi, the goddess of scissors, guiding you.\n\n\"Rock, paper, scissors, shoot!\"\n\n> Paper\nYou play paper.\n\nYour opponent plays paper.\n\n[press any key to continue]You tie again.\n\n[press any key to continue]And again.\n\n[press any key to continue]And again and again and again and\nagain and again and again and again and again and again and again and again and again and again and again and again.\n\n[press any key to continue]You realize far too late that it\nwasn't the tension in the air constricting you but your blessings tightening around you, mutating into curses. For abusing the gifts of the gods, you have been frozen in a single moment, compelled to force a draw over and over and over again.\n\n> Rock\nYou play rock.\n\nYour opponent plays paper.\n\n[press any key to continue]The tension in the air recedes as\neveryone takes stock of the results. Then, the gym breaks out into mild applause as your opponent is declared the victor.\n\nYou let out a breath that you didn't know you'd been holding and you feel your blessings melt away from you. And when you look up, the club president is staring at you with a bewildered expression. \"Wh\u2014 How\u2014 Why did you\u2014\" they stammer.\n\nYou shake your head and smile at them, and you turn away as they are surrounded by their club members congratulating them on their victory. And off to the side you can see David and Sarah, who wave at you when you spot them.\n\n[press any key to continue]\"Good game,\" says David.\n\n\"Thanks,\" you say, giving him a fist bump. You hold out your fist to Sarah, too, but she punches you in the arm instead.\n\n\"That's for earlier,\" she says.\n\n\"Yeah, I probably deserved that.\"\n\nShe laughs, but then looks at you seriously.\n\n\"But really. You lost on purpose, didn't you? Why?\"\n\n[press any key to continue]\"I guess I just realized in the\nend that winning isn't everything,\" you say with a smile as the three of you walk into the sunset.\n\n> Xyzzy\nWhen you say the word, you feel like there's a disturbance in reality, but the feeling soon fades away. Maybe if you tried again in a more central location.\n\n> You go west\nYou can only go south.\n\n> You talk\n(to David)\n\"Hey,\" you say. \"What's up?\"\n\n\"Well, you're entering the competition today, right? I just wanted to wish you good luck.\"\n\n\"Oh, yeah, thanks.\"\n\n\"Also, I wanted to say that, well, after last time... Just, winning isn't everything, you know? It's okay even if you don't win.\"\n\n\"Of course,\" you say, but you don't really mean it.\n\n\"Um, that's it, then! Good luck in the competition!\" He raises his fist. \"How about a fist bump?\"\n\n> Scissors\nYou hold out your index and middle fingers. In the next instant, a hole in reality opens, swallowing you whole.\n\n> Rock\nYou hold out your fist, and David bumps it with his own.\n\n\"Come on, that was weak! If we're going to do this, we should do it properly.\" He holds out his fist again.\n\n> Continue\nYou hold out your fist, and David bumps it with his own.\n\n\"That was still pretty weak. If we're going to do this, we should do it properly.\" He holds out his fist again.\n\n> Keep going\nYou hold out your fist, and David bumps it with his own.\n\n\"That was still pretty weak. If we're going to do this, we should do it properly.\" He holds out his fist again.\n\nYour eyes are drawn to David's fist. At any other time it would just seem like a normal fist bump, but right now it looks like he's playing rock in rock-paper-scissors.\n\n> You keep going\nYou hold out your fist, and David bumps it with his own.\n\n\"That was still pretty weak. If we're going to do this, we should do it properly.\" He holds out his fist again.\n\nYour eyes are drawn to David's fist. It kind of looks like he's playing rock in rock-paper-scissors.\n\n> Paper\nYou hold out your open hand, and as you do so, the world starts to shake. A hole opens in reality\u2014a swirling vortex of crackling energy.\n\nDavid's face transforms into a look of shock as he registers the situation. A \"wha\u2014\" escapes his lips before he is swallowed by the vortex, which snaps shut after him.\n\nPaper beats rock.\n\n> Xyzzy\nThe word barely escapes your lips when time stops and the colors of the world invert themselves. A giant, disembodied hand floats down from the sky, and a hollow voice seems to echo in your head.\n\n\"Rock, paper, scissors, shoot!\"\n\n> Rock\nYou play rock. The hand plays rock.\n\nIt's a draw!\n\nThe voice speaks again. \"Rock, paper, scissors, shoot!\"\n\n> Rock\nYou play rock. The hand plays paper.\n\nPaper beats rock. You lose!\n\nApparently satisfied, the hand floats back into the sky, and the world returns to normal.\n\n> Paper\nYou play paper. The hand plays rock.\n\nPaper beats rock. You win!\n\nApparently satisfied, the hand floats back into the sky, and the world returns to normal.\n\nIt occurs to you that you gained absolutely nothing from this victory, as if this was just someone's elaborate idea of an Easter egg."
    },
    {
        "text": "[Themes: Children's, Literary, family, fairytale, child protagonist, recommended for children, gender-neutral protagonist, cat]\n\nWhat was that?\n\nYou freeze, all your senses on alert. Not mineral. Not vegetable, either. That means...animal? Your eyes scan the countryside, swiveling like searchlights, and pause briefly on a grove of trees to the north.\n\n\"No, not there! Up here!\" guides a voice edged with impatience. As you whirl around, peering up, you squint and shield your eyes against the sun's glare. Waving at you from the top of a rickety wooden fence is a well-groomed egg, who confesses, \"I could use a bit of help, if you don't mind.\"\n\nAfter a long and rather awkward silence, the egg mutters, \"It's very rude to stare, you know. When I was your age, children were taught to respect their elders, not gawk at them as if they were animals in a zoo.\" The egg crosses his legs, folds his arms and pretends to ignore you.\n\n[Press a key to begin.]\n\n[Author's Note: It's been one of those days. It started out bad and just got worse: You're seven years old and in trouble a lot. You try to be good and to do as you ought, but nothing, it seems, goes exactly as planned. For instance, today things got quite out of hand: you poured your own milk, but it spilled on the floor; the cat wanted out just as you slammed the door; you didn't remember to turn off the faucet; your brother, poor thing, is still locked in the closet. But that wasn't all. No, indeed. Did I mention that things got much worse? They did. Pay attention: you're lost and alone and nothing's familiar. You wander around for a while until you're ready to panic. Then, out of the blue, an egg on a fence asks for help--and from you!]\n\n> You press any the key\nThe ramshackle wooden fence in front of you seems to lurch from one horizon to the other. Although it hasn't fallen over yet, it threatens to at any moment, and if that egg isn't careful...\n\nThe footpath running along the fence veers sharply north.\n\nThe egg hums a little tune your mother used to sing at bedtime.\n\n> You look at myself\nYou're seven years old and in trouble a lot. You try to be good and to do as you ought, but nothing, it seems, goes exactly as planned. For instance, today things got quite out of hand: you poured your own milk, but it spilled on the floor; the cat wanted out just as you slammed the door; you didn't remember to turn off the faucet; your brother, poor thing, is still locked in the closet.\n\nBut that wasn't all. No, indeed. Did I mention that things got much worse? They did. Pay attention: you're lost and alone and nothing's familiar. You wander around for a while until you're ready to panic. Then, out of the blue, an egg on a fence asks for help--and from you!\n\n> You examine the egg\nAlthough somewhat short and rotund, the egg takes obvious pride in his appearance, wearing neatly pressed dark slacks and a white, button-down shirt with the initials H.D. embroidered on the collar. His necktie is conservative, his shoes polished, his handkerchief clean and folded.\n\nThe egg wobbles ever so slightly on the narrow ledge of the fence.\n\n> You climb the fence\nThe fence is much too high and unsteady for you to climb. How on earth did that egg get up there?\n\n> You ask the egg about the egg\n\"Not a lot to tell, really,\" demurs the egg.\n\n> You ask the egg about yourself\nThe egg looks shocked. \"How could I possibly know anything at all about you? We've never been properly introduced!\"\n\n> You go east\nYou trudge along, trees to your left, fence to your right. After a little while, you sit down to rest. The fence and the road look the same here; nothing has changed, except that now you're completely alone on a road to nowhere. Discouraged, you stand up and trudge all the way back to the egg.\n\n> You ask the egg about the fence\nWith an embarrassed laugh, the egg admits, \"Unfortunately, I've gotten myself into a spot of trouble. I am unable to descend from this fence without risking major injury.\"\n\n> Xyzzy\nA hollow voice says, \"Fooled you!\"\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go west\nYou trudge along, trees to your right, fence to your left. After a little while, you sit down to rest. The fence and the road look the same here; nothing has changed, except that now you're completely alone on a road to nowhere. Discouraged, you stand up and trudge all the way back to the egg."
    },
    {
        "text": "[Themes: Children's, Literary, recommended for children, family, cat]\n\n> You look at your surroundings\nThe ramshackle wooden fence in front of you seems to lurch from one horizon to the other. Although it hasn't fallen over yet, it threatens to at any moment, and if that egg isn't careful...\n\nThe footpath running along the fence veers sharply north.\n\nThe egg removes a handkerchief from his pocket and polishes a pair of spectacles.\n\n> You go north\nBravely, the egg calls after you: \"My life is in your hands! I trust you will return shortly to rescue me!\"\n\nThe sun has disappeared. Only a narrow north-south passage winds through the forest here; trees and gnarled undergrowth barricade all other exits. Chill air seeps up from the ground and coils around your body, reaching down your neck with insistent, clammy fingers.\n\n> You go north\nWet branches slap your face, their icy needles stinging. Dense underbrush creeps in from all sides. With each step, mud oozes into your shoes. Insects drop from above and crawl through your hair; knuckles scrape against rough bark. The path hooks from south to southwest here, slithering between the trees like a snake. Faint rustling sounds catch your ear, but when you turn to look, all is still and quiet.\n\nAt your feet, a green and yellow basket lies on its side. Whoever dropped it must have been in a hurry, because the contents have spilled out and are strewn everywhere.\n\nAn iron pot has come to rest at the edge of the footpath, near a tree.\n\nYou can also see a cracked porcelain dish and a bent spoon here.\n\n> You look at the pot\nThe pot is deep and flat-bottomed, with a curved handle that crosses from one side to the other for easy carrying. Although the iron pot has started to rust, you can see where something has dribbled out from under the lid and run down the sides.\n\nThe whispery rustling grows louder.\n\n> You take the pot\nTaken.\n\nYou glance around nervously. The rustling seems very close now.\n\n> You listen\nYou hear whispery, rustling sounds coming from behind the trees.\n\nThe rustling sounds stop.\n\n> You take all\npicnic basket: Taken.\ncracked porcelain dish: Taken.\nbent spoon: Taken.\n\nSuddenly, from the corner of your eye, you glimpse a streak of moth-eaten fur hurtling toward you from the forest! Your heart races, yet you stand paralyzed with fear; your mind screams at your unresponsive body to flee. Run! Run for your life!\n\nToo late. Alas, too late.\n\n\"Boo!\" snarls a big, bad wolf, who is huffing and puffing from all the exertion. His eyes narrow into slits as he studies you closely. \"Hey, wait just a minute! You ain't Little Red Riding Hood.\"\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You ask the wolf about the toothpick\nThe wolf snarls at you and chews on a toothpick.\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You count the teeth\n\"Huh?\" The wolf raises an eyebrow.\n\n> You ask the wolf about the little red riding hood\n\"Nice kid, yeah? Too bad about her grandma.\"\n\n> Kiss wolf\n\"The shy and retiring type, I see,\" leers the wolf, shifting the toothpick from one side of his mouth to the other.\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You ask the wolf about the grandma\n\"Watch it,\" growls the wolf, \"or you'll be talking to my lawyer.\"\n\n> You ask wolf about the wolf\nThe wolf snarls at you and chews on a toothpick.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You kick wolf\n\"Oh, yeah?\" sneers the wolf. \"You and who else?\"\n\n> You ask the wolf about yourself\nThe wolf grins widely. \"Sure thing. Just step over here where I can get a better look at you,\" he coaxes. \"Come on, don't be shy.\"\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> You ask the wolf about egg\n\"An egg? On a fence? Okay, okay, I'll bite.\" The wolf howls with laughter. \"Get it? I'll bite! Oh, man, that's a good one!\"\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You ride wolf\n\"Huh?\" The wolf raises an eyebrow.\n\n> You eat the wolf\n\"You got it bass ackwards, baby,\" growls the wolf.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You eat you\n\"A smart aleck, huh?\" The wolf eyes you curiously. \"Better watch what you ask for, kiddo. You might get it.\"\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You check what you're carrying\nYou are carrying:\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\na pot (which is closed)\n\n> You look at the basket\nWoven from green and yellow straw, the picnic basket has seen better days. One corner is dented, and the straw is ripped where a handle was once attached. The picnic basket is empty.\n\n> You open the pot\nUsing the spoon's handle, you break the seal between pot and lid. Ever so cautiously, you lift the lid and peek into the pot but just then the wolf lets out a blood-curdling howl, and you jerk your arm back abruptly. The lid flies out of your grasp and rolls out of sight.\n\nFortunately, you still have the pot. In it, you see some pease porridge.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You examine the spoon\nThe spoon is slightly bent, as if it has been stepped on.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You eat the porridge\nEcchhh! Nasty stuff. You decide to get rid of it before someone gets sick. You look around for an inconspicuous spot, and hastily dump the pease porridge. It soaks into the ground, but a shiny golden hairpin remains!\n\n> You go to the southwest\nThe footpath snaking down from the northeastern forest has widened here into a country lane. Gravel crunches beneath your feet and a warm breeze riffles your hair as you walk in the sun. Some distance to the west, a few small cottages flock together like children telling secrets. Smoke curls from the chimney of the cottage nearest to you. Beyond the village, further west, a clock tower rises above the surrounding roofs.\n\n> Go west\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\nGradually, the steady, monotonous hum of machinery drifts into your consciousness.\n\n> You open the door\nIt seems to be locked.\n\n> You kick the door\nViolence isn't the answer to this one.\n\nThe wolf sneaks up behind you.\n\n> You unlock the door with the hairpin\nGlancing furtively over your shoulder, you slip the hairpin into the doorknob and jiggle it in the lock. Nothing happens. You twist and poke and jab and prod, until finally something clicks into place. Aha! You remove the hairpin, turn the knob ever so gently, and ease the cottage door open.\n\nYou're quite pleased with yourself, aren't you? Your mother, on the other hand, would be ashamed of you.\n\n\"I'll be right back,\" confides the wolf.\n\n> You knock on the door\nYou knock loudly on the cottage door, but no one answers.\n\nThe wolf sneaks up behind you.\n\n> You knock knock\n\"You may not know this, but knock knock jokes are my specialty.\" The wolf takes the toothpick out of his mouth and points it at you. \"Watch. I'll demonstrate.\"\n\n\"Knock knock.\"\n\n> Who's there\n\"Who's there?\"\n\n> Who's there\n\"Venice.\"\n\n> Venice who\n\"Venice who?\"\n\n> Venice who\n\"Venice somebody going to open the door?\"\n\n> You attack the wolf with the toothpick\n\"Whoa, baby!\" The wolf slaps his thigh and guffaws. \"Now, that's what I call funny!\"\n\n\"I'm blowin' this joint,\" the wolf explains as he shoves his way past you. \"I got places to go, people to see, things to do.\"\n\n> You unlock the door with the hairpin\n(You don't need the golden hairpin when the door is open.)\nThe cottage door is already unlocked.\n\n> Go inside\nFrom the scrubbed oak floorboards to the comfy, upholstered furniture gathered around the hearth, this feels like home.\n\nA wooden spinning wheel in the corner revolves madly, its treadle pumping like a runner's chest after a long race. A skein of black yarn is wound around the bobbin; one loose end of the yarn flaps rhythmically with each rotation of the wheel.\n\nYou can also see a big, giant bag (in which is some soft wool), a medium-sized bag (in which is some glossy wool) and a wee, little bag (in which is some curly wool) here.\n\n> You look at the wheel\nWhat's this? You find a sliding panel and a toggle switch on the underside of the spinning wheel's frame.\n\n> You turn off the wheel\nYou flip the toggle switch to the OFF position, and the spinning wheel slows to a stop.\n\nThe wolf is back again, hanging around.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You examine the panel\nThe panel is made from the same wood as the spinning wheel and is flush with the frame. It's closed, and you can barely see the thin, rectangular outline of its shape.\n\n> You open the panel\nThe panel slides open to reveal a battery.\n\n> You examine the battery\nThe battery is black and red and heavy, with two snap fasteners at one end to hold it firmly in place inside the compartment.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You knock\n\"Can't get enough of 'em, eh?\" winks the wolf. \"OK, here's one you may have heard before, but I still like it.\"\n\n\"Knock knock.\"\n\n> Who's there\n\"Wendy.\""
    },
    {
        "text": "[Themes: Children's, Literary, cat, recommended for children]\n\n> Look around\n\"Get it?\" snickers the wolf, poking you in the side with an elbow.\n\n> No\n\"Huh?\" The wolf raises an eyebrow.\n\n> No\n\"Huh?\" The wolf raises an eyebrow.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You take the battery\nCarefully, you lift the battery from its compartment."
    },
    {
        "text": "> Look around\nFrom the scrubbed oak floorboards to the comfy, upholstered furniture gathered around the hearth, this feels like home.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn.\n\nYou can also see a wolf, a big, giant bag (in which is some soft wool), a medium-sized bag (in which is some glossy wool) and a wee, little bag (in which is some curly wool) here.\n\nThe wolf leaves after a quick reconnaissance.\n\n> You take all\nspinning wheel: The spinning wheel is too heavy and awkward to carry, but you might be able to push it somewhere.\nbig, giant bag: You're already in trouble; one more misdeed won't make any difference. You pick up the big, giant bag and sling it over your shoulder.\nmedium-sized bag: Your mother won't be happy about this. When the time comes--and it WILL come, you're certain--you'll just have to talk fast and hope for the best.\nwee, little bag: You can't juggle three bags full and everything else, too."
    },
    {
        "text": "[Themes: Children's, Literary, child protagonist, family, cat]\n\n> You check what you're carrying\nYou are carrying:\na medium-sized bag (which is open)\nsome glossy wool\na big, giant bag (which is open)\nsome soft wool\na battery\na golden hairpin\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\na pot (which is open but empty)"
    },
    {
        "text": "[Themes: Children's, Literary, recommended for children, gender-neutral protagonist, family, child protagonist]\n\n> You look at your surroundings\nFrom the scrubbed oak floorboards to the comfy, upholstered furniture gathered around the hearth, this feels like home.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn.\n\nYou can also see a big, giant bag (in which is some soft wool), a medium-sized bag (in which is some glossy wool) and a wee, little bag (in which is some curly wool) here."
    },
    {
        "text": "> You look around\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n> You go to the west\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nA white rectangle in the middle of the bright yellow door catches your eye.\n\n> You look at the rectangle\nThe placard is hand lettered on sturdy white posterboard. It reads:\n\nAll others, please knock knock\n\n> You knock knock\n\"Who's there?\" a voice inquires from inside the bungalow.\n\n> Boo\nThe door opens a crack. \"Boo who?\"\n\n> You don'T have to cry\nBefore you can reply, the bungalow door slams open and a voice shouts: \"Don't cry; it's just a joke!\"\n\nThen a whirlwind--no, it's a little girl--hurtles through the door and almost collides with you. \"I just love knock knock jokes, don't you?\" she giggles, clapping her hands and pirouetting in place. \"I'm Mary. Who are you?\"\n\n> You ask Mary about Mary\n\"Nope, sorry; can't help you with that,\" Mary apologizes.\n\n\"That's not yours, is it?\" Mary asks, pointing to the hairpin. \"It looks just like the one my friend lost last week. Want me to return it?\"\n\n> Yes\n\"Thanks,\" Mary says, taking the hairpin. \"My friend will be glad to get this back.\" She shoves the hairpin into a pocket of her jeans.\n\n> You look at Mary\nShe's barefoot, wearing faded jeans and a red sweatshirt with the initials \"NRU\" emblazoned across the front. Her short, pigtail braids stick out from her head like two antennae; her face and hair show traces of strawberry jam and toast, recently eaten. Two of her front teeth are missing.\n\n> You ask Mary about the nru\nMary looks down at the front of her sweatshirt. \"Good ol' Nursery Rhyme U. I graduated with honors.\"\n\n> You ask Mary about the jam\n\"Nope, sorry; can't help you with that,\" Mary apologizes.\n\n> You ask Mary about the teeth\n\"One of 'em is loose, see?\" Mary demonstrates by wiggling the tooth with her thumb and finger. \"I called the Tooth Fairy and told her to get ready. Should be any day now.\"\n\nA slight movement attracts your attention. It's that wolf again.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You ask Mary about the loose\n\"Mother Loose disappeared a couple of days ago,\" Mary answers, her attention wandering to the ground at her feet. She stoops, holding her finger near a blade of grass, encouraging a ladybug to crawl onto her hand.\n\n\"Heads up!\" shouts the wolf in your ear. \"Ha, ha, made you look!\"\n\n> You ask Mary about the wool\n\"Nope, sorry; can't help you with that,\" Mary apologizes.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You ask the wolf about Mary\n\"Who?\" The wolf sniffs haughtily. \"Oh, you mean Miss Smarty Pants? She thinks she knows all the best knock knock jokes, but I got news for her. I been practicing.\"\n\n> You ask Mary about the garden\n\"My friend designed all the gardens around here; didn't she do a nice job? Her name is Mary too,\" she explains. \"We went to school together, but she majored in horticulture, and I majored in knock knock jokes. Sometimes she can be very contrary. My mom says she has a green thumb, but it looks normal to me.\"\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> Kiss wolf\nMary has better things to do.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick."
    },
    {
        "text": "> You look at your surroundings\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\nYou can also see a wolf here.\n\n\"I'm blowin' this joint,\" the wolf explains as he shoves his way past you. \"I got places to go, people to see, things to do.\"\n\n> You go southeast\nMary follows you around the corner of the house.\n\nGrass surrounds you, acres of it, spreading across the countryside as far as you can see. A ribbon of flattened grass curves eastward, and another, not quite as fresh, circles the bungalow, branching northeast and northwest. A grass-covered hill to the southwest shimmers under the sun's heat; waves of green-gold grass ripple toward the crest of the hill, racing the wind to the top.\n\nMary is here.\n\nA wooden ladder lies half-hidden in the grass next to the bungalow.\n\nA cuddly lamb prances about, seemingly unaware of your presence.\n\n> You shut up\nMary has better things to do.\n\n> You ask Mary about the ladder\n\"Sure, go ahead and borrow it. But please return it when you're finished, okay? Leave it in the back, if you don't mind.\"\n\n> You ask Mary about the lamb\n\"I don't know what's wrong with Bernice these days,\" a puzzled Mary worries. \"She used to follow me everywhere, but lately her attitude has been horrible. I think she's got a crush on that ram down the street, Horace. He's a bad influence.\"\n\n> You ask Mary about Horace\n\"My mom says Horace has an irresistible aura of danger and violence that's very attractive to women,\" Mary groans, rolling her eyes. \"Bernice has it bad, all right; just look at her: she's hopelessly infatuated. I was hoping Mother Loose could give me some advice, but that's out of the question now.\"\n\n> You get the ladder\nThe ladder is too heavy and awkward to carry while you're holding anything else.\n\n> You check your inventory\nYou are carrying:\na battery\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\na pot (which is open but empty)\n\n> You drop all\nbattery: Dropped.\nbent spoon: Dropped.\ncracked porcelain dish: Dropped.\npicnic basket: Dropped.\npot: Dropped.\n\n> You get the ladder\nTaken.\n\nThe wolf sneaks up behind you.\n\n> You get the basket\n(first setting aside the ladder)\nTaken.\n\n> You go to the southwest\n\"Bye!\" Mary waves. \"See you later!\"\n\nGrass sweeps up the hill like a brushfire, growing taller and thicker as it approaches the top where you brace yourself against the wind. You can see everything from up here: the forest, the village, even the fence where you first met the egg. The schoolhouse and its clock tower lie to the northwest.\n\nA crumbling brick well sits at the very top of the hill, almost hidden in a nest of grass. It's the simplest of designs--no cute roof, no crank, no rope or bucket--just a simple, brick cylinder in the ground. The cover, if it ever had one, is gone. From deep within the well's depths, you hear faint scratching noises interspersed with pathetic mewing.\n\n> Go northwest\nBoth the playground and its adjacent schoolhouse to the south lie vacant and deserted. The bare, hard-packed rectangle of earth, despite a few faint chalk marks, shows no evidence that children may have once played here--or might ever play here again.\n\nThe lane ends its westward progress at the schoolhouse door. At the southern end of the school, a magnificent stone steeple towers above the village roofs. To see the clock from where you now stand, you must tilt your head back and point your chin at the sky. To the southeast, a gentle slope leads to a hilltop covered with wild grass.\n\n> You look in well\nYou lean far over the well's edge, peering down into darkness. Suddenly, a shadow at the bottom leaps up and scrabbles frantically at the brick sides, howling wretchedly and sending chills up your spine."
    },
    {
        "text": "[Themes: Literary, Children's, fairytale, cat]\n\n> Describe the surroundings\nGrass sweeps up the hill like a brushfire, growing taller and thicker as it approaches the top where you brace yourself against the wind. You can see everything from up here: the forest, the village, even the fence where you first met the egg. The schoolhouse and its clock tower lie to the northwest.\n\nA crumbling brick well sits at the very top of the hill, almost hidden in a nest of grass. It's the simplest of designs--no cute roof, no crank, no rope or bucket--just a simple, brick cylinder in the ground. The cover, if it ever had one, is gone. From deep within the well's depths, you hear faint scratching noises interspersed with pathetic mewing.\n\n> You examine the fence\nYou're too far away.\n\n> You put the ladder in well\nYou lower the ladder into the well. It drops a few feet and hits bottom, but you can still reach in and touch it.\n\n> Down\nYou sling one leg over the ledge before you remember several television news reports in which children fell into wells and had to be rescued by the fire department. Maybe it's not such a good idea after all.\n\n> You climb the ladder\nThe only answer is a faint, faraway meow.\n\n> You examine the ladder\nIt's a perfectly normal wooden ladder: two parallel slats connected by twenty or so wooden rungs inserted at regular intervals about nine or ten inches apart. The rungs do seem a little close together, but perhaps that's because this ladder was made especially for short people. After all, who would be more likely to use a ladder?\n\n> You take the ladder\nTaken.\n\n> Go south\nYou can only go northeast or northwest.\n\n\"Hey, what are you doing?\" demands the wolf suspiciously.\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You ask the wolf about the kitty\n\"So?\" shrugs the wolf. \"You want I should do something about it?\"\n\nThe wolf leaves after a quick reconnaissance.\n\nYou can't see any such thing.\n\n> You go northeast\nGrass surrounds you, acres of it, spreading across the countryside as far as you can see. A ribbon of flattened grass curves eastward, and another, not quite as fresh, circles the bungalow, branching northeast and northwest. A grass-covered hill to the southwest shimmers under the sun's heat; waves of green-gold grass ripple toward the crest of the hill, racing the wind to the top.\n\nMary is here.\n\nA cuddly lamb prances about, seemingly unaware of your presence.\n\nYou can also see a pot (which is empty), a picnic basket (which is empty), a cracked porcelain dish, a bent spoon and a battery here.\n\n> You ask Mary about the kitty\n\"Poor thing,\" she sympathizes. \"I hope it doesn't get eaten by a troll.\"\n\n> You ask Mary about the troll\n\"Trolls live under bridges, I think, but we don't have any. Bridges, I mean. If I were a troll, I'd hide in the well and scare people who stick their heads in.\"\n\n> You go northeast\nMary tags along behind you.\n\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\n> Go west\n\"Bye!\" Mary waves. \"See you later!\"\n\nBoth the playground and its adjacent schoolhouse to the south lie vacant and deserted. The bare, hard-packed rectangle of earth, despite a few faint chalk marks, shows no evidence that children may have once played here--or might ever play here again.\n\nThe lane ends its westward progress at the schoolhouse door. At the southern end of the school, a magnificent stone steeple towers above the village roofs. To see the clock from where you now stand, you must tilt your head back and point your chin at the sky. To the southeast, a gentle slope leads to a hilltop covered with wild grass.\n\n> Go east\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\n> You go to the east\n\"Bye!\" Mary waves. \"See you later!\"\n\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\nThe wolf sneaks up behind you.\n\n> Go north\nYou're not supposed to cross the street by yourself. Memories of the last time you tried it and got caught prevent you from attempting it now. You can only go south, east, west, southeast, southwest or in.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> Go south\nThe ladder is too big and awkward to carry through the door.\n\n> Go northeast\nWet branches slap your face, their icy needles stinging. Dense underbrush creeps in from all sides. With each step, mud oozes into your shoes. Insects drop from above and crawl through your hair; knuckles scrape against rough bark. The path hooks from south to southwest here, slithering between the trees like a snake. Faint rustling sounds catch your ear, but when you turn to look, all is still and quiet.\n\n> Go south\nThe sun has disappeared. Only a narrow north-south passage winds through the forest here; trees and gnarled undergrowth barricade all other exits. Chill air seeps up from the ground and coils around your body, reaching down your neck with insistent, clammy fingers.\n\n> You go south\nThe ramshackle wooden fence in front of you seems to lurch from one horizon to the other. Although it hasn't fallen over yet, it threatens to at any moment, and if that egg isn't careful...\n\nThe footpath running along the fence veers sharply north.\n\nThe egg flicks an invisible piece of lint off his shirt.\n\n> You put the ladder against the fence\nYou lean the ladder against the fence and stand back, not quite sure what to do next. However, the egg, surprisingly nimble for such an awkward-looking creature, turns himself around and climbs down rapidly, obviously accustomed to this sort of rescue service. Once down, he grabs your hand and shakes it vigorously. \"Thank you, thank you so much,\" the egg exclaims again and again. \"Really, I can't thank you enough.\"\n\nFinally, his gratitude properly expressed, the egg waddles away, turning to wave goodbye one last time before he disappears completely. \"You saved my life!\" he shouts. \"I won't forget you!\"\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\n> You go to the west\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n\"Surprise!\" The wolf jumps out in front of you. \"Gotcha that time, didn't I?\"\n\n> You go west\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\n> Go west\n\"Bye!\" Mary waves. \"See you later!\"\n\nBoth the playground and its adjacent schoolhouse to the south lie vacant and deserted. The bare, hard-packed rectangle of earth, despite a few faint chalk marks, shows no evidence that children may have once played here--or might ever play here again.\n\nThe lane ends its westward progress at the schoolhouse door. At the southern end of the school, a magnificent stone steeple towers above the village roofs. To see the clock from where you now stand, you must tilt your head back and point your chin at the sky. To the southeast, a gentle slope leads to a hilltop covered with wild grass.\n\n> You examine the door\nThe schoolhouse door is solid oak. It's open.\n\n> Go inside\nThe abandoned schoolroom lacks not only pupils, but also books and pencils and chalk and paper and any other hint that someone might show up for school tomorrow. Or the next day. Or the next. Rows of empty desks and chairs face the teacher's desk at the front of the room as if waiting expectantly for the day's lesson. The door to the north leads back out to the empty schoolyard. Stairs to the south lead up into darkness.\n\n> Go upward\nDimly lit stairs lead up toward darkness and down into the schoolroom below. Each step sings a different tune for you: one groans mournfully the instant you put your weight on it; the next squeaks in protest just as you step off. At the top of the stairs, a heavy, solid door stands firmly closed.\n\n> You open the door\nIt seems to be locked.\n\n> You look at the door\nA thick, heavy door to the south blocks your way. Pale yellow light shines through a narrow crack at the bottom, like butter melting on the dark floor.\n\nFaintly, through the closed door, you hear something ticking.\n\n> You look at the keyhole\nThere's a keyhole in the doorknob.\n\nFaintly, through the closed door, you hear something ticking.\n\n> You look in the keyhole\nYou peer through the keyhole but can't see anything.\n\nFaintly, through the closed door, you hear something ticking.\n\n> You listen\nFaintly, through the closed door, you hear something ticking.\n\nThe wolf is back again, hanging around.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You ask the wolf about the door\nThe wolf snarls at you and chews on a toothpick.\n\nFaintly, through the closed door, you hear something ticking.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You knock on the door\nYou hear an answering knock, faster and more urgent than your own.\n\nFaintly, through the closed door, you hear something ticking.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You keep going\nYou hear an answering knock, faster and more urgent than your own.\n\nFaintly, through the closed door, you hear something ticking.\n\n> You talk to the door\nYou can only do that to something animate.\n\n> You go to the east\n\"Bye!\" Mary waves. \"See you later!\"\n\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n> Go west\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\n\"Did you miss me?\" barks the wolf. \"I'm back.\"\n\nThe wolf shifts the toothpick from one side of his mouth to the other.\n\n> You go southeast\nMary tags along behind you.\n\nGrass surrounds you, acres of it, spreading across the countryside as far as you can see. A ribbon of flattened grass curves eastward, and another, not quite as fresh, circles the bungalow, branching northeast and northwest. A grass-covered hill to the southwest shimmers under the sun's heat; waves of green-gold grass ripple toward the crest of the hill, racing the wind to the top.\n\nMary is here.\n\nA cuddly lamb prances about, seemingly unaware of your presence.\n\nYou can also see a pot (which is empty), a picnic basket (which is empty), a cracked porcelain dish, a bent spoon and a battery here.\n\n> You get all\npot: Taken.\npicnic basket: Taken.\ncracked porcelain dish: Taken.\nbent spoon: Taken.\nbattery: Taken.\n\n> You go northwest\nMary follows you to the front of the house.\n\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\nYou can also see a wolf here.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You go southeast\nGrass sweeps up the hill like a brushfire, growing taller and thicker as it approaches the top where you brace yourself against the wind. You can see everything from up here: the forest, the village, even the fence where you first met the egg. The schoolhouse and its clock tower lie to the northwest.\n\nA crumbling brick well sits at the very top of the hill, almost hidden in a nest of grass. It's the simplest of designs--no cute roof, no crank, no rope or bucket--just a simple, brick cylinder in the ground. The cover, if it ever had one, is gone. From deep within the well's depths, you hear faint scratching noises interspersed with pathetic mewing.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You check your inventory\nYou are carrying:\na battery\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\na pot (which is open but empty)\n\n> You go east\n\"Bye!\" Mary waves. \"See you later!\"\n\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n\"Did you miss me?\" barks the wolf. \"I'm back.\"\n\n> Go inside\nFrom the scrubbed oak floorboards to the comfy, upholstered furniture gathered around the hearth, this feels like home.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn.\n\nYou can also see a big, giant bag (in which is some soft wool), a medium-sized bag (in which is some glossy wool) and a wee, little bag (in which is some curly wool) here.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\n> You examine the soft wool\nThe soft black wool is thick and cushiony.\n\nThe wolf exits, stage left.\n\n> You examine the yarn\nThe black yarn seems very strong, almost like rope. One end of the yarn is wound around the spinning wheel's bobbin.\n\n> You examine glossy\nThe glossy black wool is airy and buoyant.\n\n> You get the yarn\nYou unwind the yarn from the bobbin.\n\n> Tie the yarn to the basket\nThe handle is gone, so you tie the yarn to a loose piece of straw and give it a tug. The yarn slips off. Then you try to poke the yarn through an undamaged part of the basket's weave, but the straw is so tightly woven that you can't find a gap big enough.\n\n> Inventory\nYou are carrying:\nsome yarn\na battery\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\na pot (which is open but empty)\n\n\"Heads up!\" shouts the wolf in your ear. \"Ha, ha, made you look!\"\n\n> You tie the yarn to the pot\nYou tie one end of the yarn to the pot handle.\n\n\"Don't mind me; I was just leaving,\" mentions the wolf over his shoulder as he skulks out of sight.\n\n> You go outside\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n> You put pot in well\nYou lower the pot into the well, letting the yarn slide through your fingers. Oh, no! The yarn is yanked from your hands without warning. Both the pot and the yarn fall to the bottom of the well.\n\n> Tie the yarn to well\nYou'll have to untie the yarn from the pot first.\n\n> You examine well\nYou look down into the well, which is very deep and very dark, but...oh, yes, something moved down there!\n\n> Tie the pot to well\nYou're just being silly. Stop it, or I'll tell your mother.\n\n> You give the hose to the kitty\n(first taking the well)\n(first taking the well)\n(the village to the kitten)\n(first taking the village)\nThat's hardly portable.\n\n> You put the yarn in well\nYou'll have to untie the pot first.\n\n> Inventory\nYou are carrying:\nsome yarn\na pot (which is open but empty and is tied to some yarn)\na battery\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\n\n> You put the basket in well\nYou throw the picnic basket into the well. In a few moments, you hear a faraway splash and an angry, screeching yowl.\n\n> You go northeast\n\"Hi there,\" Mary waves. \"Nice to see you again.\"\n\nGrass surrounds you, acres of it, spreading across the countryside as far as you can see. A ribbon of flattened grass curves eastward, and another, not quite as fresh, circles the bungalow, branching northeast and northwest. A grass-covered hill to the southwest shimmers under the sun's heat; waves of green-gold grass ripple toward the crest of the hill, racing the wind to the top.\n\nMary is here.\n\nA cuddly lamb prances about, seemingly unaware of your presence.\n\n> Go north\nYou can't, since the bungalow blocks your way. You can only go east, northeast, northwest or southwest.\n\n> You go to the east\n\"Bye!\" Mary waves. \"See you later!\"\n\nWith no fences to hinder it, the waist-high grass flows unimpeded for miles, like water downstream, covering the world from here to the horizon. Almost hidden by the grass, a narrow path forks northeast and northwest toward the front of the cottage. A swath to the west lies flat, as if someone waded through it not long ago. At the far edge of the meadow, against the western sky, a few cloud feathers drift leisurely behind the clock tower's silhouette.\n\n> Go north\nYou can't, since the cottage blocks your way. You can only go west, northeast or northwest.\n\n> You go east\nPrickly weeds and burrs weave through the grass, creating a tangle impossible to penetrate any further. You can only go west, northeast or northwest.\n\n> Go northeast\nBlooming with color and fragrance, a tidy garden snuggles against the stone cottage to the south. Ivy frames the whitewashed front door; starched white curtains hang in a diamond-paned window. A faint path forks southeast and southwest around the cottage, toward the back. To the north, across the lane that runs through the village, a few small cottages line the road. The clock tower looms further west, silhouetted against the sky.\n\n> You go east\nThe footpath snaking down from the northeastern forest has widened here into a country lane. Gravel crunches beneath your feet and a warm breeze riffles your hair as you walk in the sun. Some distance to the west, a few small cottages flock together like children telling secrets. Smoke curls from the chimney of the cottage nearest to you. Beyond the village, further west, a clock tower rises above the surrounding roofs.\n\n> Go northeast\nWet branches slap your face, their icy needles stinging. Dense underbrush creeps in from all sides. With each step, mud oozes into your shoes. Insects drop from above and crawl through your hair; knuckles scrape against rough bark. The path hooks from south to southwest here, slithering between the trees like a snake. Faint rustling sounds catch your ear, but when you turn to look, all is still and quiet.\n\n\"Did you miss me?\" barks the wolf. \"I'm back.\"\n\n> You enter\nFrom the scrubbed oak floorboards to the comfy, upholstered furniture gathered around the hearth, this feels like home.\n\nA wooden spinning wheel sits quietly nearby.\n\nYou can also see a big, giant bag (in which is some soft wool), a medium-sized bag (in which is some glossy wool) and a wee, little bag (in which is some curly wool) here.\n\n> You put the battery in the wheel\nYou snap the battery into place inside the compartment.\n\nThe wolf is back again, hanging around.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You turn on the wheel\nThe treadle begins to pump, slowly at first, then picking up speed. Soon the wheel is spinning frantically.\n\n> You examine the wheel\nThe spinning wheel is turning so rapidly that you wonder if the whole thing will fly apart and hurl pieces of itself through the air. The bobbin, in particular, looks like a dangerous projectile.\n\nThe wolf leaves after a quick reconnaissance.\n\n> You turn off the wheel\nYou flip the toggle switch to the OFF position, and the spinning wheel slows to a stop.\n\n> You examine the bobbin\nThe bobbin is a wooden spindle that collects the finished yarn or thread as it spins. It's empty. The bobbin and spinning wheel are at rest.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\n> You put the yarn on wheel\nYou wind the loose end of the yarn around the bobbin.\n\nThe wolf leaves after a quick reconnaissance.\n\n> You turn on the wheel\nSlowly, the wheel begins to turn, creaking under the weight of the iron pot. The winding yarn drags the pot behind it and eventually lifts it off the ground. When the bobbin can't turn any further, you flip the toggle switch off again.\n\n> You take the pot\n(the pot and the yarn)\nTaken."
    },
    {
        "text": "[Themes: Children's, Literary, child protagonist, gender-neutral protagonist, recommended for children, cat]\n\n> Look around\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn which is also tied to a pot.\n\nMary is here.\n\nYou can also see a wolf here.\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You drop the pot\n(the pot and the yarn)\nDropped.\n\n> Up\nYou're not supposed to cross the street by yourself. Memories of the last time you tried it (and got caught) prevent you from attempting it now. You can only go south, east, west, southeast, southwest or in.\n\nThe wolf exits, stage left.\n\n> You go southwest\nMary follows you around the corner of the house.\n\nGrass surrounds you, acres of it, spreading across the countryside as far as you can see. A ribbon of flattened grass curves eastward, and another, not quite as fresh, circles the bungalow, branching northeast and northwest. A grass-covered hill to the southwest shimmers under the sun's heat; waves of green-gold grass ripple toward the crest of the hill, racing the wind to the top.\n\nMary is here.\n\nA cuddly lamb prances about, seemingly unaware of your presence.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> Go northeast\nMary runs ahead, yelling \"Come on, hurry up!\"\n\nA cheery pink bungalow with gingerbread trim and a yellow painted door nestles behind the picket fence to the south. Grass covers the yard from corner to corner, except at the edges, where flowers dance with the fence. Circling the bungalow to the southeast and southwest, a faint path leads around the back. To the north, a few small homes peer across the lane, which has narrowed, but still runs east to west at this end of the village. The clock tower dominates the skyline to the west.\n\nMary is here.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn which is also tied to a pot.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> You put the pot in well\nYou lower the pot into the well, letting the yarn slide through your fingers. Oh, no! The yarn is yanked from your hands without warning and unwinds from the bobbin faster than you can catch it. Both the pot and the yarn fall to the bottom of the well.\n\n> You examine the yarn\nThe black yarn seems very strong, almost like rope. One end of the yarn is wound around the spinning wheel's bobbin; the other end is tied to the pot handle.\n\nThe wolf is back again, hanging around.\n\n> You examine the bobbin\nThe bobbin is a wooden spindle that collects the finished yarn or thread as it spins. This one currently holds a skein of black yarn. The bobbin and spinning wheel are at rest.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You turn on the wheel\nSlowly, the wheel begins to turn, creaking under the weight of the iron pot. The winding yarn drags the pot behind it and eventually lifts it off the ground. When the bobbin can't turn any further, you flip the toggle switch off again.\n\n> You take the pot\nYou already have that.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You put the pot in well\nYou lower the pot into the well, letting the yarn slide through your fingers. Oh, no! The yarn is yanked from your hands without warning and unwinds from the bobbin faster than you can catch it. Both the pot and the yarn fall to the bottom of the well.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> You turn on the wheel\nThe treadle begins to pump, slowly at first, then picking up speed. Soon the wheel is spinning frantically.\n\n\"I'll be right back,\" confides the wolf."
    },
    {
        "text": "> Describe the surroundings\nGrass sweeps up the hill like a brushfire, growing taller and thicker as it approaches the top where you brace yourself against the wind. You can see everything from up here: the forest, the village, even the fence where you first met the egg. The schoolhouse and its clock tower lie to the northwest.\n\nA crumbling brick well sits at the very top of the hill, almost hidden in a nest of grass. It's the simplest of designs--no cute roof, no crank, no rope or bucket--just a simple, brick cylinder in the ground. The cover, if it ever had one, is gone. From deep within the well's depths, you hear faint scratching noises interspersed with pathetic mewing.\n\nA wooden spinning wheel sits quietly nearby. Its bobbin holds some black yarn which is also tied to a pot.\n\nYou can also see a wolf here.\n\n> You check what you're carrying\nYou are carrying:\na pot (which is open but empty and is tied to some yarn)\na bent spoon\na cracked porcelain dish\na picnic basket (which is open but empty)\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You examine the bobbin\nThe bobbin is a wooden spindle that collects the finished yarn or thread as it spins. This one currently holds a skein of black yarn. The bobbin and spinning wheel are at rest.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> Tie the yarn to the bobbin\nYou tie the loose end of the yarn to the bobbin.\n\n\"Later,\" growls the wolf, waving a paw in your direction as he trots past.\n\n> You put the pot in well\nYou lower the pot into the well, letting the yarn slide through your fingers. In a few moments, you hear a faraway splash and an anxious meow. Then you feel a tug, and the yarn swings in your hands. The pot feels heavier now.\n\n> You turn on the wheel\nStraining to pull its heavy load up from the bottom of the well, the spinning wheel creaks and groans with each rotation. You peer down into the darkness. There! What was that? Something moved! Something has hitched a ride in the pot!\n\nAll of a sudden, you notice the yarn rubbing on the well's edge, fraying dangerously. You try to pull the yarn away from the sharp bricks, but it's too taut; there's no slack. After several tense minutes, the pot finally arrives at the top, and two wide green eyes peek out over the side. Just then, the frayed yarn breaks.\n\nA tiny gray and white kitten leaps for its life as the pot clatters back down the shaft. Front claws gripping the rim, back claws scrabbling furiously against the inside bricks, the kitten at last manages to pull itself up to the safety of the ledge. It sneezes twice in the bright sunshine before jumping into the grass at your feet.\n\nThe spinning wheel, freed from the weight of the pot, begins to shake as it picks up speed. You reach over and flip the toggle switch off before the whole thing rattles itself to pieces. Purring, the kitten licks one paw and washes its face.\n\nA slight movement attracts your attention. It's that wolf again.\n\nThe kitten arches its back and hisses at the wolf.\n\n> Pet kitty\n\"Nice kitty.\" The kitten purrs.\n\n> Pet wolf\n\"Don't touch the merchandise,\" warns the wolf.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> Kiss kitty\nYou give the kitten a great, big kiss and in return the kitten licks your nose with its sandpaper tongue.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You eat kitty\nThe kitten squirms away from you.\n\n> You eat kitty\n\"Nah,\" declines the wolf. \"I don't eat nothing with claws sharper than mine.\"\n\nThe wolf shifts the toothpick from one side of his mouth to the other.\n\n> You roll over\nThe kitten meows.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> You eat the wolf\nThe kitten ignores you.\n\nThe wolf leans casually on one elbow and watches you, chewing on his toothpick.\n\n> You throw the kitty at the wolf\n(first taking the kitten)\nThe kitten has its own ideas about that. It squirms and wriggles until you set it free again.\n\nThe wolf exits, stage left.\n\n> You go northwest\nBoth the playground and its adjacent schoolhouse to the south lie vacant and deserted. The bare, hard-packed rectangle of earth, despite a few faint chalk marks, shows no evidence that children may have once played here--or might ever play here again.\n\nThe lane ends its westward progress at the schoolhouse door. At the southern end of the school, a magnificent stone steeple towers above the village roofs. To see the clock from where you now stand, you must tilt your head back and point your chin at the sky. To the southeast, a gentle slope leads to a hilltop covered with wild grass.\n\nThe kitten crouches low, wiggles its rear, and then pounces at nothing.\n\n> You go west\nYou can only go south, east, southeast or in.\n\n\"Heads up!\" shouts the wolf in your ear. \"Ha, ha, made you look!\"\n\nThe kitten hisses at the wolf from behind your ankles.\n\n> Go inside\nThe abandoned schoolroom lacks not only pupils, but also books and pencils and chalk and paper and any other hint that someone might show up for school tomorrow. Or the next day. Or the next. Rows of empty desks and chairs face the teacher's desk at the front of the room as if waiting expectantly for the day's lesson. The door to the north leads back out to the empty schoolyard. Stairs to the south lead up into darkness.\n\nYou notice a familiar-looking wolf lurking in the vicinity.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\n> Search desk\nWhich do you mean, the teacher's desk or one of the student desks?\n\n> You examine the teacher's desk\nAs you might expect, the teacher's desk contains several drawers:\n\nThe top right drawer, which is closed.\nThe top left drawer, which is closed.\nThe middle drawer, which is closed.\nThe file drawer, which is closed.\n\nThe wolf loiters in the area, keeping an eye on you.\n\n> You open top right\nYou open the top right drawer.\n\n> You look in it\nThe top right drawer is empty.\n\n> You open top left\nYou open the top left drawer.\n\n> You look in it\nThe top left drawer is empty.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You open middle\nYou open the middle drawer.\n\n> You look in it\nThe middle drawer is empty.\n\n\"I'm blowin' this joint,\" the wolf explains as he shoves his way past you. \"I got places to go, people to see, things to do.\"\n\nYou scratch the kitten behind the ears.\n\n> You open the file\nYou open the file drawer.\n\nThe kitten sits and watches you.\n\n> You look in it\nThe file drawer is empty.\n\nYou scratch the kitten behind the ears.\n\n> You go south\nDimly lit stairs lead back down into the schoolroom. Before you, a heavy, solid door stands firmly closed.\n\nFaintly, through the closed door, you hear something ticking.\n\nThe kitten suddenly darts between your legs and zigzags up the steps ahead of you. At that very instant, a tiny brown field mouse scurries across your path, barely escaping with its life when you accidently step on its tail. Chaos erupts. The terrified mouse races in circles, dodging feet and claws. The kitten spits and hisses and rears back on its hind legs, then lunges for the mouse. You hop on one foot, howling with pain, having twisted your ankle while trying to avoid the mouse. To top it all off, someone...or something...is pounding on the other side of the door at the top of the stairs.\n\n> You look under the door\nYou put one eye to the crack at the bottom of the door, but all you can see is a few inches of wood flooring.\n\n\"Did you miss me?\" barks the wolf. \"I'm back.\"\n\nThe kitten arches its back and hisses at the wolf.\n\nSomeone...or something...is pounding on the door.\n\nThe field mouse cowers in the corner.\n\n> You put the spoon in the keyhole\nThat doesn't seem to fit the lock.\n\nSomeone...or something...is pounding on the door.\n\n\"Listen up,\" warns the wolf. \"In case you forgot, I get blamed for everything around here. So watch it. I ain't takin' no rap for you.\"\n\nThe kitten crouches low, squirms, and then pounces for the mouse. The mouse, more experienced than the kitten at this sort of thing, leaps straight up into the air. The surprised kitten loses its balance and tumbles over backward.\n\n> You ask the wolf about the toothpick\nThe wolf snarls at you and chews on a toothpick.\n\nSomeone...or something...is pounding on the door.\n\nPanting heavily, the mouse twitches its whiskers anxiously.\n\n> You take the mouse\nAs you reach for the mouse, it gives a terrified squeak and scurries in the opposite direction, out of your reach.\n\nSomeone...or something...is pounding on the door.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\nThe mouse makes a desperate attempt to escape under the door to the south, but retreats when the kitten skids into the door first. Immediately, the mouse circles back toward the stairs, sees you and reverses direction again, angling diagonally across the landing and into the shadows.\n\n> You take kitty\nYou scoop the squirming kitten into your arms, where it struggles to free itself, its eyes riveted on the mouse below. The mouse, quick to recognize this once-in-a-lifetime opportunity, dashes under the door. With one last twisting backwards flip, the kitten launches itself from your embrace and lands on its feet, ready for battle.\n\nWithout warning, a single deep, booming gong rocks the tower. Your hands fly up involuntarily to cover and protect your ears, and you drop everything you're carrying. The vibration of the tolling bell resonates through your chest, even after the audible tone fades. In the silence that follows, you hear the sound of running feet, first nearby, then receding, from the other side of the door.\n\nThe kitten, ever curious, shoves one paw between the threshold and the door, groping blindly for the escaped mouse. A few swipes later, something metallic skitters across the floor and into the corner.\n\nFaintly, through the closed door, you hear something ticking.\n\nThe wolf grins at you as he twirls the toothpick in his mouth.\n\n> You get the key\nTaken.\n\nFaintly, through the closed door, you hear something ticking.\n\nThe wolf yawns widely enough for you to count all his teeth.\n\n> You unlock the door with it\nYou unlock the clock tower door and open it.\n\n\"Don't mind me; I was just leaving,\" mentions the wolf over his shoulder as he skulks out of sight.\n\nLoud clicks and whirring noises are coming from inside the room to the south.\n\n> Go south\nDim, greenish light from above reflects off an assortment of large brass gears mounted flat against a stone wall on the far side of the room. Taut cables run upward through a network of pulleys, vanishing into the gloom more than twenty feet above your head. The entire mechanism turns and meshes in a slow, rhythmic, hypnotic clockwork dance.\n\nThe kitten follows you wherever you go.\n\nAs your eyes adjust to the room's dim light, you notice a shadowy figure standing to one side.\n\n> You examine the figure\nYou squint, peering through the shadows. \"Mom?\"\n\nIt's your mother! What's she doing here?\n\nThe kitten meows for attention.\n\nYour mother gathers you inside the circle of her arms and hugs until you can hardly breathe. Then she picks you up and twirls you around, skimming your feet over the floor as she whirls. She laughs out loud. \"You found me!\" When she puts you down again, you feel a little dizzy.\n\n> You examine the Mother\nIt's your mother! What's she doing here?\n\n\"I don't think I've told you much about my new job, have I?\" asks your mother cheerfully. \"I was nervous at the interview, but when I told Mr. Dumpty about you, he said my experience as your mother qualified me for any challenge I might face as Mother Loose.\"\n\n> You ask the mom about the kitty\n\"I suppose it followed you here all by itself?\" your mother asks, smiling.\n\n\"I decided my first task as Mother Loose would be to fix this old clock,\" explains your mother, resting her hand on one of the cables. \"It hasn't worked in years. You can't imagine how I felt when that heavy door locked behind me, especially since summer vacation had started and no one knew I was up here. Good thing I brought my lunch with me.\"\n\n> You examine the clock\nThe heavy brass gears, now tarnished with age, vary in size: the smallest would allow you to spread-eagle yourself across its surface, hands and feet at opposite edges; the largest spans three times that diameter. Sinewy cables as thick as your thumb disappear overhead after running through pulleys fastened with huge iron bolts to the walls and floor.\n\n\"The key must have jammed the clockworks,\" your mother says. \"When the mouse ran up the clock, it jarred the key loose, and that's what started these gears working again. I'll bet you could hear those bells all the way to the forest.\"\n\n> No\n\"Pardon?\" asks your mother.\n\nSighing deeply, your mother gazes at you without saying a word. Uh, oh. You know that look. Trouble. She crooks her finger at you to come closer, and you step forward unwillingly, eyes focused on the floor.\n\nPutting one arm around your shoulders, she asks, \"What am I going to do with you?\" She squats down, brushing your hair away from your face and leaning close to whisper in your ear, \"Did you think I wouldn't find out?\"\n\nFind out what? Your mind gallops along the course of the day, trying to remember, trying to think, trying to figure out what kind of trouble you're in now.\n\nYour mother stands up again and looks down at you from very far away. \"Before we leave, tell me the truth: did you eat from a dirty spoon you picked up off the ground, attack the egg, break into the cottage, steal a spinning wheel and neglect to return Mary's ladder?\"\n\n> No\n\"Your mother raises an eyebrow. \"On our way home today, I think we might discuss the difference between real life and fantasy.\" The slightest of smiles tugs at her face. \"Your understanding of the subject seems a trifle vague.\"\n\nHow does she do that? How on earth could she possibly know what you did or didn't do while she was locked inside the clock tower? How, how, how does she always find out? You'd give anything to know her secret, but she won't tell.\n\n> Yes\nCrime may not pay, but honesty carries its own price tag, as you discovered long ago. You prepare yourself for the unpleasant consequences of telling the truth: first, of course, comes the inevitable parental lecture. Then, your apology, complete with a Promise To Do Better Next Time. With any luck at all, you might reduce your sentence with a Sincere Yet Cheerful Attitude, although if you attempt this too soon you could end up in deeper trouble for Not Taking Things Seriously.\n\nYou brace yourself, ready to face the music. To your utter amazement, you hear your mother say, \"Thank you for telling me the truth. I expect you had other things on your mind at the time.\"\n\nHow does she do that? How on earth could she possibly know what you did or didn't do while she was locked inside the clock tower? How, how, how does she always find out? You'd give anything to know her secret, but she won't tell.\n\n> You look\n\"Yo, mamma!\" The wolf pokes his head around the door. \"Got a minute? Ain't none of my business, but you got trouble brewin'. There's a baby stuck in a treetop out here. When the wind blows, the cradle rocks like a rubber duckie on the high seas. If that bough breaks, the cradle will fall and--whammo!--down will come baby, cradle and the whole shebang, y'know what I mean?\"\n\n> Lounge\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\nYou'll never really know how it all started.\n\nThat's not surprising, because you're not even sure what happened in the first place. If it had been anything else, you would have dismissed it as ninety-nine per cent bad digestion and one percent fancy, much as Ebenezer Scrooge would have. Somehow, in this case, that explanation doesn't really grab you. Did it really mean anything? Or was it, as the physiologists would say, just a matter of a few neurons in your brainstem working overtime?\n\nBut life is strange. It's almost impossible to predict - as Heisenberg pointed out - where exactly you might end up, even when you start in as mundane a place as your own home....\n\nThis is hardly the place for an adventure to begin. You know the furniture of this room - desk, chair, bed and bookcase - almost as well as the contents of your pockets.\n\nOn the wooden desk is a dusty manuscript.\n\n[Author's Note: You're having a hard enough time getting your second novel to work; how could it ever be possible that you, Harold Banks - world's most unsuccessful published author - could actually be sent on a quest to - er - save the world? Anyway, all you want to do right now is sleep....]\n\n> About yourself\nHarold Banks, auteur manqu?.\n\n> You look at the manuscript\nA pile of false starts to the Great Global Novel that you plan to complete someday. It deals with 25th century people who try to understand the lunacy of the 20th century by travelling in time to the 28th. It also includes no gratuitous sex or violence, which explains why no publisher's ever been interested in it.\n\nThe manuscript is in a state of disarray, which is strange considering that - since you live alone - no one else but you could have touched it. Pages 102 to 205 are spreadeagled, and you fancy you can see something buried under it - but you're not sure what.\n\n> You look under it\nYou rootle among the papers for a few seconds, and find a flower and a note buried amongst them. Funny, you don't remember putting them there....\n\n> You look at the flower\nIt's unlike any flower you've ever seen before; it has, in blatant defiance of whatever the botanists say, an outer whorl containing six yellow petals, and an inner whorl of four pointed, unnatural-looking pink petals. You're sure you've seen it before, but you can't remember where...\n\n> You look at the note\nA small, nondescript scrap of paper. Strangely, though the paper itself looks like it was torn from one of your numerous notepads, the words on it are printed, rather than written in your sprawling hand.\nYou can't help but feel that there's a purpose to all this.....\n\n> You read the note\nIn a slanting, Old-World style font, the following words are printed - Fran?ois, Ch 1. Lines 34 - 39.\n\n\"Let there be light\", a Voice said. \"But before there can be light\", it continued, \"there must be a source of light\".\n\n\"And\", added the Author, \"a light producer\".\n\n\"That might be a little difficult for the future generations to understand\", the Voice rebuked.\n\n\"Very well\", replied the Author. \"We shall use an ancient word - the Greek halogenos, the light producer.\n\n\"That is good\", the Voice sighed. \"But things have a knack of getting lost in transl.....\"\n[Here the line ends in mid-sentence, as if the printing process was suddenly interrupted.]\n\n> You examine the pockets\nEmpty as usual.\n\n> Smell flower\nYou feel nothing unexpected.\n\nYou are carrying nothing.\n\nYou take a deep breath - but smell absolutely nothing. Bizarre...\n\n> TAKE NOTE, FLOWER, MANUSCRIPT\nsmall note: Taken.\nyellow flower: Taken.\ndusty manuscript: It's too late to work on them; you'd merely make a lot of embarrassing spelling mistakes if you did.\n\n> You examine desk\nIt's supposed to be a desk, but it's just the place you dump all your half-completed manuscripts on. Simple, functional - it doesn't even have drawers or anything like that.\n\n> You look under the desk\nAh, your trusty fan. You pull it out, anticipating a rather high nocturnal temperature.\n\n> You examine the fan\nA device to ensure that you get enough breeze to enable you to fall asleep without Valium, security blankets, or air-conditioning. Battery-powered, too, so you don't have to worry about tripping through wires.\nThe fan is currently switched off.\n\n> You take the fan\nYou already have that.\n\n> You examine the bookcase\nUntil about five years ago, other people could approach this bookcase with impunity, as it was cluttered with other people's writings. Currently, however, it is solely used to store your own. It's currently closed.\n\n> You examine copy\nIt's a copy of your first novel, \"Before Our Time\", which deals with people of the 25th Century trying to understand the 20th Century by searching for the lost archives of the 22nd Century. It sold exactly forty copies (strange - the last time you counted your family members, there were only twenty-six), but you've given away about ten times that number as birthday presents.\n\n> You read it\nYou know this one even more in detail than your untitled current effort. You even mumble the characters' names in your sleep, until people wonder whether you're a paranoid schizophrenic.\n\n> You take copy\nTaken."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> Look around\nThis is hardly the place for an adventure to begin. You know the furniture of this room - desk, chair, bed and bookcase - almost as well as the contents of your pockets.\n\nOn the wooden desk is a dusty manuscript.\n\n> You examine the chair\nIt's not exactly ergonomic, but it sure is comfortable. It's propped up right next to your bed, as usual, just in case you feel like a spot of night-time reading.\n\n> You write a new Novel about a the sexy harlot\nWhat do you want to write on?\n\n> You examine the bed\nA nice model, or at least it was when you bought it twenty years ago. It looks as inviting as it always does after 11 p.m. on an average weekday.\n\n> You look under the bed\nNothing but dust. There used to be pages of your manuscript flying around there before, but ever since you had a brainwave and strung them together, that doesn't happen often.\n\n> You examine pages\nA pile of false starts to the Great Global Novel that you plan to complete someday. It deals with 25th century people who try to understand the lunacy of the 20th century by travelling in time to the 28th. It also includes no gratuitous sex or violence, which explains why no publisher's ever been interested in it.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> Go north\nIt's way past your bedtime, and you're feeling too sleepy to do anything except get into bed.\n\n> You enter the bed\nYou get onto the old bed.\n\n> Sleep\nIt's way too hot for you to fall asleep. Maybe if you had some ventilation.....\n\n> You turn on the fan\nI doubt the fan would give you even a little ventilation in its current position.\n\nI doubt the fan would give you even a little ventilation in its current position.\n\n> You switch on the fan\nI doubt the fan would give you even a little ventilation in its current position.\n\n> You get up\nYou get off the old bed.\n\nThis is hardly the place for an adventure to begin. You know the furniture of this room - desk, chair, bed and bookcase - almost as well as the contents of your pockets.\n\nOn the wooden desk is a dusty manuscript.\n\n> You put the fan on the chair\nYou put the fan on the chair; it's now pointing more or less towards your bed.\n\n> You turn on the fan\nYou switch the fan on.\n\n> Sleep\nYou feel yourself drifting slowly into sleep. Strangely enough, the breeze from the fan doesn't quite smell like night air, or even like yesterday's leftovers...Your back touches cold metal, and your level of consciousness wavers. A voice floats around your head, in one ear first, the other next...\n\n\"Welcome to your world.\"\n\nAn Interactive Restoration\n\nAn Interactive Restoration\n\nLicense 1999, The Theatre Of The Sensible.\n\nOperating Room (on the operating table)\nThis looks suspiciously like the operating room they took you to when you were much, much younger, to have your tonsils taken out. However, it's strangely empty. The only obvious exit is through a door to the west.\n\nStanding near the bed is a slightly broken trolley.\n\nA small gauze face mask, of the type worn by surgeons during an operation, lies discarded on the floor.\n\n> You stand\nYou get off the operating table.\n\nThis looks suspiciously like the operating room they took you to when you were much, much younger, to have your tonsils taken out. However, it's strangely empty. The only obvious exit is through a door to the west.\n\nStanding near the bed is a slightly broken trolley.\n\nA small gauze face mask, of the type worn by surgeons during an operation, lies discarded on the floor.\n\n> You take the mask\nTaken.\n\n> You examine the mask\nA simple mask, disposable, and meant to cover the mouth and nose of all those who enter the O.R. It looks as if it hasn't been used, but - if so - why was it thrown here?\n\n> You look at the trolley\nMade of the same metal as the table - and showing no signs of rust - the trolley, probably meant to support instruments and bandages - is currently empty. One of its wheels is broken, which might explain why it isn't used.\n\n> You look on it\nWell, the floor is under the trolley, if that's what you're looking for.\n\n> Inv\nYou are carrying:\na face mask\na copy of your first novel\na yellow flower\na small note\n\n> You examine the door\nJust an ordinary door, made of semitransparent glass. It is currently closed.\n\n> You wear the mask\nYou put on the face mask.\n\n> About yourself\nHarold Banks, auteur manqu?.\n\n> You go west\n(first opening the door)\n\nA small, narrow annexe to the O.R., where scalpels, forceps and the like are sterilized prior to operation. Apart from the passage to the east, back to the O.R., there are only four walls around you, that don't look very interesting, and an LCD display panel facing you.\nThere is a faint suggestion of disinfectant in the air.\n\nStrangely, there are no instruments here, just a blue cylinder.\n\n> You examine lcd\nThe LCD display panel - judging by the fact that there are no switches, power lines or knobs in the vicinity, its supply source is a mystery to you. It seems to work just like it's meant to, displaying letters and numbers. (How exciting.)\nIt currently has nothing to say.\n\n> You look at the cylinder\nA blue cylinder with a valve attached to it, with a black mark across one side indicating that it's been marked for disposal. One side bears a single word in red letters, with some smaller print underneath: HALOTHANE.\n\n> You take it\nThat's fixed in place.\n\n> You read the lcd\nThough there's nothing on the panel, you fancy you can detect the glow of letters that have recently faded : Light production low.\n\n> You read the cylinder\n(2-chloro 2-bromo 1,1,1-trifluoroethane)\n\nInhalational Anaesthetic.\nFor use in balanced anaesthesia, short surgical procedures and maintenance of anaesthesia during long procedures. Fair induction agent.\nDo not use in patients with a history of liver disease or malignant hyperthermia.\nManufactured by Gelman Enterprises.\n\nGelman Enterprises?\nThat's funny. The last time you checked (and, with a cousin in the medical line, you would know) that company only existed in the pages of your manuscript.\n\n> You check your inventory\nYou are carrying:\na face mask (being worn)\na copy of your first novel\na yellow flower\na small note"
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> Look around\nA small, narrow annexe to the O.R., where scalpels, forceps and the like are sterilized prior to operation. Apart from the passage to the east, back to the O.R., there are only four walls around you, that don't look very interesting, and an LCD display panel facing you.\nThere is a faint suggestion of disinfectant in the air.\n\nStrangely, there are no instruments here, just a blue cylinder.\n\n> Open cylinder\nYou open the valve, and a jet of pleasant-smelling gas escapes. However, since you're wearing the face mask, it doesn't bother you. Suddenly, under the influence of the halogenated hydrocarbon vapour, writing begins to appear on the LCD panel!\n\n> You examine the lcd\nThe LCD display panel - judging by the fact that there are no switches, power lines or knobs in the vicinity, its supply source is a mystery to you. It seems to work just like it's meant to, displaying letters and numbers.\n\nA single sentence is displayed on the panel.\n\n> Close cylinder\nYou cut off the stream of gas.\n\nThe writing on the panel slowly fades away.\n\n> You read the panel\nThough there's nothing on the panel, you fancy you can detect the glow of letters that have recently faded : Light production low.\n\nThough there's nothing on the panel, you fancy you can detect the glow of letters that have recently faded : Light production low.\n\n> You read the panel\nThere's just one line on the panel, which doesn't tell you much : Emergency Exit. Touch Panel to Escape. Not Verified.\n\n> You touch panel\nAs you reach out for the panel, you can feel it suddenly open out and swell, until it becomes a door of sorts. Hesitantly, you step into the door.....\n\nFirst Interposition - Invasion of Privacy\n\nDriveway, Outside House\nYou stand, hesitantly, on a futuristic-looking driveway, feeling that you've somehow been here before. There is nothing to guide you, except a door standing east of you, and a sign next to it.\n\nEven the name on the sign sounds familiar, though you can't remember why.\n\nThe door to the house, not at all imposing, is closed.\n\n> You read the sign\nA plaque built into one of the walls, serving the function of a nameplate and little else, glowing with a dim light. It only bears the surname \"Franklin\", and a quotation, which seems to have been added to the plaque later:\n\n\"Your Excellency has perhaps erred in trying to fight fire with fire; sometimes the simple bucket of water is as effective.\"\n\nYou recoil in wonder, recognizing the quote as your own.\n\n> Inventory\nYou are carrying:\na copy of your first novel\na yellow flower\na small note\n\n> You examine the sign\nA plaque built into one of the walls, serving the function of a nameplate and little else, glowing with a dim light. It only bears the surname \"Franklin\", and a quotation, which seems to have been added to the plaque later:\n\n\"Your Excellency has perhaps erred in trying to fight fire with fire; sometimes the simple bucket of water is as effective.\"\n\n> You examine the door\nA simple, tasteful wooden door, which is strange if you assume that this is, indeed, the future. Even the pattern with which it is decorated looks more Victorian than post-apocalyptic."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nDriveway, Outside House\nYou stand, hesitantly, on a futuristic-looking driveway, feeling that you've somehow been here before. There is nothing to guide you, except a door standing east of you, and a sign next to it.\n\nThe door to the house, not at all imposing, is closed.\n\n> You go east\n(opening the door first)\n\nFront Hall, in the house\nThe front hall is large, spacious and exudes an air of good taste. A tall archway leads north from it to the rest of the house (which is dark), and a large sofa, forming a rectangular C, fills the room. In one corner is an ornamental shelf.\n\nThe front door stands wide open.\n\nThere's a blue shawl draped over the sofa.\n\nOn the large plush sofa is a small piece of paper.\n\nYou can also see a small memo here.\n\n> You examine the shawl\nA simple blue shawl, with a frilled border - or at least you assume it's frilled; you're not sure what quirks fashion has acquired in time to come. Stripes of paler blue, that can only be discerned when you look closely, run diagonally across it. In one corner, in letters that glow eerily when you look at them at an angle, is a dedication : \"From Edward\". You assume it's a woman's garment, but - knowing fashion as you do - you're not sure.\n\n> You look at the paper\n(the small note)\nA small, nondescript scrap of paper. Strangely, though the paper itself looks like it was torn from one of your numerous notepads, the words on it are printed, rather than written in your sprawling hand.\n\n> You read the paper\n(the small note)\n\nIn a slanting, Old-World style font, the following words are printed - Fran?ois, Ch 1. Lines 34 - 39.\n\n\"Let there be light\", a Voice said. \"But before there can be light\", it continued, \"there must be a source of light\".\n\n\"And\", added the Author, \"a light producer\".\n\n\"That might be a little difficult for the future generations to understand\", the Voice rebuked.\n\n\"Very well\", replied the Author. \"We shall use an ancient word - the Greek halogenos, the light producer.\n\n\"That is good\", the Voice sighed. \"But things have a knack of getting lost in transl.....\"\n[Here the line ends in mid-sentence, as if the printing process was suddenly interrupted.]\n\n> You read that the paper\nWhat do you want to read in?\n\n> You take the paper\n(the small note)\nYou already have that.\n\n> You read the memo\nFran?ois, Ch.1, Lines 40 - 50.\n\n\"Life is strange\", the Voice observed, in a doomy voice.\n\n\"Well, we have no one to blame for that\", the Author replied, assertively. \"After all, we have created this strangeness by ourselves.\"\n\n\"I drown in depths\", the Voice complained, obviously annoyed by the Author's cocky replies. \"We create a character, and he creates another. But we have never attempted to interfere in his life...\"\n\n\"Except until now\", the Author reminded him.\n\n\"Very well, except until now. But can we allow him to interfere with his own creation?\"\n\nThe Author laughed. \"He doesn't yet appreciate the value of his own creations. Perhaps now he will\".\n\n\"D?ja vu\", the Voice replied, irritably. \"Are you trying to tell me we have created an insecure, neurotic protagonist, after all this time? After all our endeavours? All our - er - programming?\"\n\n\"Wait and see\", the Author replied, and.......\n[Here the printing stops suddenly.]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nFront Hall, in the house\nThe front hall is large, spacious and exudes an air of good taste. A tall archway leads north from it to the rest of the house (which is dark), and a large sofa, forming a rectangular C, fills the room. In one corner is an ornamental shelf.\n\nThe front door stands wide open.\n\nThere's a blue shawl draped over the sofa.\n\nOn the large plush sofa is a small piece of paper.\n\n> You read the small piece of paper\nThe diagram is a small graph, whose exact meaning is not obvious. It's a bell-shaped curve, like the statistician's Gaussian distribution, but with the words \"Age\" and \"Stability\" written along the X- and Y-axes respectively. Names of nations (you assume) - all of them familiar to you from your works - are written along the curve as it progresses, in the following order: \"Provinces, Kingdoms, Europe, China, Colonies\". You wonder if - possibly? - your semi-fictitious theories have actually taken root in the far, far future. Somehow, the idea does grab you.\n\n> You close the door\nWhich do you mean, the door to the house or the small, ornamental shelf?\n\n> You close the front door\nYou close the door to the house.\n\n> You look at the front door\nA simple, tasteful wooden door, which is strange if you assume that this is, indeed, the future. Even the pattern with which it is decorated looks more Victorian than post-apocalyptic.\n\n> You look at the shelf\nThe shelf is not exactly part of the wall, but seems joined to it in an intriguing manner. It's filled, quite as you would expect, with well-worn copies of various texts. It is currently closed off by a thin glass door, which seems to be quite easily openable.\n\n> You open the shelf\nYou open the small, ornamental shelf.\n\n> You open the glass door\nIn the small, ornamental shelf are a row of critical texts.\n\nThat's already open.\n\n> You look at the texts\nThe books in the shelf are a series of scholarly-looking treatises, ranging from \"The Memoir As Discovery\" by Stephen Gilmour to \"Literary Classes and Categories\" by Julia Franklin. Obviously, someone in this house is a literary critic.\n\n> You read the texts\nCuriosity gets the better of you. You pull out a text at random and flip through the pages. The book is written far more lucidly than criticism ever was in your days, and you note with an air of approval that at last, a woman can write a straight story without being considered a traitor to the Feminist Cause.\nFinally, after a few enjoyable minutes, you replace the book.\n\n> You wear the shawl\n(first taking the blue shawl)\nYou try on the shawl, but you can't seriously see yourself - or a man of the 29th Century for that matter - wearing it. It is, beyond doubt, a woman's shawl.\n\n> You look under the shelf\nNothing here, I'm afraid.\n\n> You go to the north\nCurrently, you are standing underneath a tall and imposing arch, that serves as a line of demarcation between the wide hall and the more residential portion of the house. This small passageway leads further north, south back into the hall, and runs on either side to the smaller wings of the house.\nThe sense of familiarity you felt when you first stood outside the house grows even stronger.\n\n> You examine arch\nMade of polished marble, the arch seems to emit a dim, warm glow whose origin you are uncertain of.\n\n> You touch arch\nGood attempt. The game you're thinking of, though, was already written two competitions back. And, anyway, there's nothing scientific about this house.\n\n> You go to the west\nCorridor, Down the West Wing\nA small corridor, leading from the vertical corridor down the middle of the house to a darkened room.\nYou can hear voices coming from the west.\n\n> You listen\nA man's voice and a woman's voice, engaged in rational discussion, but with a faint tremor of nervousness nonetheless. You listen harder....\n\n\"Mr. Author\", the woman's voice says, pensively. \"It's a curious name, but then it takes all kinds, I suppose.\"\n\n> You wait a while\nTime passes.\n\n> You listen\n\"Curious or not\", the man's voice replies, \"I'm inclined to believe what he says - knowing what I do. Remember the Congress?\"\n\n> You listen\nThe woman laughs lightly. \"How could I forget, Edward? But it is a sobering thought to know that you are - in the end - under the control of someone who never really knew you.....\"\n\n> You listen\n\"But how do you explain the events of the past few days, Edward?\", Laura asks, gently. \"After all, the pages of a book can't alter all by themselves.\"\n\n> You listen\n\"If the changes in the book had really happened, Laura, we wouldn't be here. European history as a whole would have changed - or would it?\"\n\n> You listen\n\"It's all terribly confusing. Well, at least Simone isn't taking it too hard.\"\n\n\"Good old Simone\", Edward says appreciatively.\n\n> You listen\nThe voices seem to have stopped.\n\n> Go east\nCurrently, you are standing underneath a tall and imposing arch, that serves as a line of demarcation between the wide hall and the more residential portion of the house. This small passageway leads further north, south back into the hall, and runs on either side to the smaller wings of the house.\nThere are no lights burning anywhere, except a dim glow off to the east, and you can hear faint murmurs off to the west.\n\n> You go to the east\nThough it hardly looks like the kind of room you spent your childhood in, your sixth sense tags this room as a nursery. It's hard to find a logical reason for your flight of fancy though; there's a table, chair, and a small but comfortable bed, but there are no bars on the solitary window, and certainly few things that look like toys. Unless they're all inside that wardrobe or the dresser over there, that is.\nYou feel a sudden sense of disquietude, as if - this is probably sick fancy - an old friend of yours was missing from the room.\n\nOn the metal table is a brief letter.\n\n> You read the letter\nIn an old-fashioned, sloping, schoolgirl's hand, you can read the following:\n\nDear Father and Mother,\nSomething very unusual has happened - I think it's related to what you were telling me about the other day, but I'm not sure - but I have to leave for a short time, at least. Don't worry about me. As far as I know, I'm in safe hands. If you need to get in touch with me at any time, contact Mr. Author.\n\nYour loving daughter,\nSimone.\n\n> You look at the wardrobe\nA generic, tall wardrobe. Printed on the outside is a name : Simone Franklin.\n\n> You examine the dresser\nNothing special, but it does look a bit older than the rest of the furniture.\n\n> You open the dresser\nFull marks for adventuring acumen, zero for courtesy.\n\n> You examine the bed\nThe cot looks as if it had been slept in recently, which is strange considering that it's definitely night-time now; consequently, it's a little untidy.\n\n> You examine table\nNothing special, except that it's made of metal rather than plastic. No drawers either.\n\n> You sit on the bed\nTry to control that destructive streak of yours. The bed was obviously meant for someone half your age and a quarter of your weight, and it's wanton cruelty to shatter it like that.\n\n> You think\nWhat a good idea.\n\n> Wave\nYou wave, feeling foolish.\n\n> Pray\nAmen to that."
    },
    {
        "text": "> You describe your surroundings\nThough it hardly looks like the kind of room you spent your childhood in, your sixth sense tags this room as a nursery. It's hard to find a logical reason for your flight of fancy though; there's a table, chair, and a small but comfortable bed, but there are no bars on the solitary window, and certainly few things that look like toys. Unless they're all inside that wardrobe or the dresser over there, that is.\n\nOn the metal table is a brief letter.\n\n> You take the letter\nTaken.\n\n> You kiss it\nYou can only do that to something animate."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThough it hardly looks like the kind of room you spent your childhood in, your sixth sense tags this room as a nursery. It's hard to find a logical reason for your flight of fancy though; there's a table, chair, and a small but comfortable bed, but there are no bars on the solitary window, and certainly few things that look like toys. Unless they're all inside that wardrobe or the dresser over there, that is.\n\n> You examine the dresser\nNothing special, but it does look a bit older than the rest of the furniture.\n\n> Go west\nCorridor, Down the West Wing\nA small corridor, leading from the vertical corridor down the middle of the house to a darkened room.\n\n> You go to the west\nYou can't see much of the master bedroom, since it's dark; you can make out the vague shadows of a writing-table and a dresser (how can you be sure that that's what they are?), and a stately four-poster. Are there two people in the bed, or are you imagining things? Only light can help you here, I'm afraid.\n\nThere's a small switch on the west wall.\n\n> You examine bed\nA very stately piece of furniture, that would have been commonplace about ten centuries ago. You can make out two figures in it, but nothing else.\n\n> You examine table\nThe presumed writing table is just a dark blot in one corner of the the room, but it seems to have stacks of books on it.\n\n> You ask the figures about the bed\nYou can only do that to something animate.\n\n> You take it\nTaken.\n\nYou stare longingly at the manuscript, wondering if it does deserve a second chance.\n\n> You eat the manuscript\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThough you've never seen this room in your life, you can't help but feel a strong sense of d?ja vu about the entire place, as if you've either lived here once or will live here at some time in the future. Perhaps you've just moved in, because the room - apart from a solitary table and an old wooden chair - is bare.\n\nYou can see a dustbin (which is empty) here.\n\nYou try telling yourself that someone will actually be interested in it, but you know that's self- delusion. Forty-six copies for a four-hundred-page novel is not an impressive statistic, and things can only get worse. The sooner you put the damned thing in the trash can, the better it will be."
    },
    {
        "text": "> Look around\nThough you've never seen this room in your life, you can't help but feel a strong sense of d?ja vu about the entire place, as if you've either lived here once or will live here at some time in the future. Perhaps you've just moved in, because the room - apart from a solitary table and an old wooden chair - is bare.\n\nYou can see a dustbin (which is empty) here.\n\n> About yourself\nHarold Banks, auteur manqu?.\n\n> You look in the bin\nYou've been doing little discarding of late.\n\n> You read manuscrip\nYou turn a few pages. You laugh slightly as you pass the comic prologue, which seems to be much better written than the six hundred and fifty pages following it, but the minute you hit Chapter One, you feel like ripping the damned thing to pieces. And kicking yourself for writing such uninspired baloney.\n\n> You wait a while\nTime passes.\n\n> Inventory\nYou are carrying:\na completed manuscript\na blue shawl\na yellow flower\n\n> You go west\nNo way. That manuscript is not going to leave this room alive.\n\n> You put manuscript in the bin\nWith a decisive sigh, you hurl the Empire and its hapless inhabitants into the dustbin. Time enough for it to be thrown out later......you haven't slept in days.\n\nYou stagger to your bed, and drift away slowly....you can feel yourself floating....\n\nChapter Three - Driving With Your Eyes Closed\n\nOn a lonely highway, in the back seat\nYou are bound hand and foot, completely helpless, in what would appear to be the back seat of a slightly outmoded car. The front seat is obviously occupied, but it's so unnaturally high that you can't see beyond it. Looking out of the window reveals quiet scenery, typical of the average English countryside.\n\n> You say help\n(to yourself)\nThere is no reply.\n\nYou can hear voices from the front seat, and strain to listen to them.\n\n> You listen\nYou strain to hear the drivers' voices.\n\n\"Ah, yes, you're the Author. You presume to know everything\", one voice says - an elderly voice, rebuking in tone, probably a man's. \"But you still have to convince me.\"\n\n> Continue\nYou strain to hear the drivers' voices.\n\n\"What convincing?\" the man addressed as the Author says with a swagger. \"Trouble with these chaps is, they can't handle reality. They create something, and are content to leave it at that - they don't realise the magnitude of the responsibility they have assumed. Creation is not static, as you know.\"\n\nYou strain to hear the drivers' voices.\n\n\"Reality?\" The older man sounds puzzled. \"I wonder what you mean by that, my friend. To the people I meet every day - those I preside over, in fact, this is reality. It's all a question of one's point of view.\"\n\n> About yourself\nHarold Banks, auteur manqu?.\n\n\"Exactly what I do. The way I see it, friend, all of us are characters at one level or the other. We make up one level; the people we create make up the next level; and so on. You don't fit into that scheme, of course - shall we say you are above such things?\"\n\n> Yes\nThat was a rhetorical question.\n\n\"Quite right. I was years in the making. I have changed forms, assumed different identities, occupied different places, both physical and in the minds of our citizens, based on the imaginations of all those who shaped me. My essence has not changed - it is only the popular perception of me that has.\"\n\n> You listen\nYou strain to hear the drivers' voices.\n\n\"Anyway, I've profiled our friend in the rear. Nothing wrong with him that a little exposure couldn't fix. He's not psychotic, or unstable, or anything like that.\"\n\n> You wait\nTime passes.\n\n\"Then why did he destroy all those people?\", the old man asks, bemused. \"To leave the fates of forty-five million people hanging in the balance - that is not the act of a sane man, Author.\"\n\n> You look at the car\nA polarized glass window through which you can see a peaceful-looking countryside.\n\n\"There is such a thing as want of confidence.....Here, that 's enough! We've arrived. Take our friend out gently, Padre. Don't let him see you though. Not now.\"\n\nWith these words, the old man - you cannot see him, still, as he shines a light in your eyes - unties your bonds, and gently but firmly escorts you out of the vehicle. You hear a faint hum of engines, and the car drives away. You now find yourself...\n\nA pleasant expanse of grass, limited in extent; to your east, west and south you see high granite walls, but a footpath leads north. The sun beams down upon you.\n\nI beg your pardon?\n\n> You examine the sun\nLooking at the sun directly would blind you, so you content yourself with a quick, indirect glance. It seems to be in fine form.\n\n> You go north\nExactly what you'd expect from the field, the meadow looks like an excellent spot for a picnic. Acres and acres of grass stretch around you. A footpath leads further north, but a barbed-wire fence blocks your progress in other directions, except the way you came from, south. The shadow that the fence casts forms, strangely enough, a handsome border to the meadow. A single thin tree with a sign on it lies to your immediate north, just before the footpath.\n\n> You examine the sign\nIt's just a small sign nailed to the tree, and hand-painted; not a work of art by any stretch of imagination. It seems a little loose, and droops to one side. The arrow on it paints to the north.\n\n> You read the sign\nThe Village is an International Heritage Site under the protection of Sweeney and Stroll, Ltd. This is not a tourist resort, and attempts to treat it as such are punishable by law.\n\n> You go south\nA pleasant expanse of grass, limited in extent; to your east, west and south you see high granite walls, but a footpath leads north. The sun beams down upon you.\n\n> Go south\nNot with that wall in the way.\n\n> You climb wall\n(the granite wall)\nIf you were fourteen feet tall and had a stepladder, perhaps.\n\n> Go north\nYou move to the north, and can make out the dim outline of a tribal village - or something of the sort - in the distance, but before you can move any further, you stop dead in your tracks, halted by the apparition in front of you.....\n\nIt's a small tin figurine. Staring at it in profile, it looks like a 10p coin; but from the front it is indubitably a human likeness.\n\n\"Not yet\", the apparition admonishes you. \"You are not ready to enter the Village. You do not understand what lies ahead; and yet you once knew......\" Its head seems to nod briefly. Its voice is the same as that of the older man in the car.....or are you imagining things?\n\n\"Yes, you did\", it goes on, before you can reply. \"Perhaps what you need, then, is to be shown the consequences of your actions. It is all too easy, in your world as in mine, to see some of the consequences without seeing the structure as a whole, to miss the wood for the trees. But that is no excuse. Follow me, then.....\"\n\nToo numbed to reply, you follow the voice to the north; as you do so, the village seems to disappear, and you walk down countless intersections, until you reach your destination......\n\nChapter Four - Everything Can Change\n\nCold city street, outside a house\nYou find yourself standing on the street of what seems to be a fairly typical metropolis, with narrow alleys leading north, south and west. It's bitterly cold - the temperature must be fairly close to freezing point - and the threat of snow seems to increase with every passing second. The only thing that brings an ounce of comfort to the scene is the wall of the house you're standing outside, on which is a frosted window (through which a light, albeit a dim one, escapes) to your east.\n\n> You examine the window\nIt's a large, old-fashioned, frosted window, which time hasn't been very kind to. The windowsill looks dusty and neglected, and there seems to be no locking mechanism attached to the window itself. Behind the window you can make out a low light - nothing else.\n\n> You look through the window\nSorry, but it's closed.\n\n> You open the window\nAs you open the window you can make out the shadows cast by a fireplace on a wall, tracing out a sofa, a table, and a stooped figure in the sofa itself.\n\n> You look through the window\nPeering into the window, you can make out that the figure is a middle-aged woman; nothing more.\n\n> You break window\nDeliquency has few merits in this situation.\n\n> You open the window\nThat's already open.\n\n> You enter the window\nLiving-room, inside the house\nThe room is dark, which is more a consequence of its size than of anything else; certainly the fireplace in the far corner is doing its best to illuminate its surroundings. Shadows loom around you - a table, an unlit chandelier, a sofa, a figure - and, in spite of the actual physical warmth of your surroundings, you feel a palpable chill. The rest of the room lies to your east, where the sofa casting the shadow actually lies.\n\n> You examine the woman\nPeering closely at the shadow of the figure on the sofa, you can see that it is the figure of a tall woman.\n\n> You touch the shadow\nWhich do you mean, the circular shadow, the sofa's shadow, the table's shadow or the woman's shadow?\n\n> You examine table\nA small table in the centre of the hall, of an old-fashioned design.\n\n> You examine the sofa\nYou can only make out one arm of the sofa at an angle, but the person sitting in it is out of your sight.\n\n> You sit\nWhat do you want to sit on top of?\n\n> Sofa\nTo sit on the sofa, you'll have to move to the east.\n\n> Go east\nHesitantly, you move to the east....\n\nThe east end of the hall receives considerably greater illumination from the fireplace, with the result that the impression of obscurity seems to have been momentarily dispelled. Apart from the other side of the hall, though, there are no visible exits. Of course, there are doors to the north and south, but they're both boarded up, and will probably never be opened again.\n\n\"Good evening, Mr. Banks\", the woman says quietly. \"I've been expecting you. Do take a seat\", she says, motioning you towards the sofa.\n\n> Woman\nThat's not something you can enter.\n\"Don't be afraid\", she goes on. \"My sole purpose in being here was to answer your questions - assuming you have any.\"\n\n> You sit on the sofa\nYou sit down on the sofa, next to Simone.\n\n> You ask the woman about Author\n\"I only saw him once, on the night I had to make my escape from our house in Europe. He was, I should say, in his late thirties, and by no means lacking in confidence.\"\n\n> You ask the woman about the parents\n\"Fortunately\", Simone sighs, \"my father didn't have to be put through all this - he was dead at the end of your novel. My mother, however, was instrumental in bringing you here, so that you might help us escape.\"\n\"Perhaps you're wondering what I'm doing here, Mr. Banks, and that's a natural question. But I'm afraid that you might not take my answer very seriously.\"\n\nShe laughs gently.\n\n\"You see, Mr. Banks, what most authors don't realise is that the characters they create actually do take on a life of their own. I mean this not theoretically, but literally. We exist in a parallel dimension; we lead the lives that you outline for us - and I must thank you for doing a commendable job there. However, when a work in progress, a work nearing completion, is abandoned......things begin to change. We become.......reassigned. To new writers. We take on new identities - superficially, that is, for we retain the personalities with which we were originally created - and end up in places like this. Unlike many people, however, we were warned of the oncoming disaster, and managed to lessen the blow in time. All of our creations - those from your novel about the Empire, at least - have been relocated. And\" - she laughs, ironically - \"knowing what passes for writing in your days, Mr. Banks, you can imagine the roles we have to play. Fortunately, there is a solution to all this.\"\n\n> You ask the woman about the solution\n\"It's a little difficult to explain, Mr. Banks, simply because I don't really know everything - but what it amounts to is that your presence here will serve to reverse the actions of those who've been taking your place.\"\n\n> You ask the woman about the date\n\"I'm sorry, Mr. Banks\", Simone says, regretfully, \"but I can't help you with that.\"\n\n> You ask the woman about yourself\n\"You did excellently, Mr. Banks\", Simone says appreciatively. \"In an age when everyone was sunk in gloom, you created a world which could actually be enjoyed by its inhabitants. You had no reason to stop.\"\n\nSimone glances at you surreptitiously, with something of an air of wonder.\n\n> You ask the woman about the old xyzzy\n\"I'm sorry, Mr. Banks\", Simone says, regretfully, \"but I can't help you with that.\"\n\n\"You seem a little uncertain as to how to proceed\", Simone says, calmly. \"Never mind that - you'll find out in good time.\n\n> You ask the woman about the manuscript\n\"I really find it hard to understand why you destroyed it, Mr. Banks. Of course, you didn't know what you were doing then.\"\n\n> You tell her about the book\n\"No matter what your opinion of it, Mr. Banks\", Simone replies, \"you shouldn't have done that. In a way....\"\n\nShe pauses.\n\n\"You see - this takes some explaining, but I'm glad you brought it up. As long as at least one author continues to develop his stories, his characters in a particular style, that particular - how shall I put it - strain continues to exist in this dimension, and - under suitable circumstances - influences the others, including your world. By finishing your novel, Mr. Banks, you could have tipped the scales in our favour.\"\n\n\"Strange as this world seems, it is real, Mr. Banks\", Simone replies. \"We do have a parallel world of our own - one that fluctuates and changes according to the whims of the authors in your dimension, where only those social structures that prove to be stable actually survive.\" She smiles. \"That's something to be proud of. And the very fact that you're here proves that we can actually interact with your dimension, and even change it.\"\n\n> You tell her about the world\nSimone listens attentively while you tell her some of the plot points of your future works. \"They sound excellent, Mr. Banks, just like your last book.\"\n\n> You attack her\nA cowardly and unprovoked act.\n\n> You ask her about her\n\"I'm sorry, Mr. Banks\", Simone says, regretfully, \"but I can't help you with that.\"\n\n\"Enough time has passed, Mr. Banks\", Simone says, getting up from the sofa. \"It is time for you to move on.\" She hands you a small black object, which on examination turns out to be a fountain-pen.\n\n\"This may sound ridiculous\", she goes on, smiling, \"but you may find this pen far, far more useful than you can ever imagine. I am not sure what is in store for you - I know some of the details, but I can't explain them to you now. Whatever dangers may await you, I am quite sure that you'll succeed.\"\n\nThe whole room seems to dissolve, and you can just make out two more words: \"Good luck\" - before the voice that was speaking to you all the time is replaced by silence.....You find yourself floating, not in space, but in a liquid of some sort.....\n\nChapter Five - The Far Horizon\n\nYou are half-swimming, half-drowning, in a lake filled with a deep red fluid of some sort. Currents arround you lead north, south and west, and at the bottom of the lake - it's rather shallow - is, surprise of surprises, a trapdoor.\n\n> You look at the door\nA small trapdoor, seemingly embedded in the lake's bed.\n\n> Drink fluid\nActually, the flavour isn't entirely unpleasant; it reminds you of pomegranate juice, or something like it.\n\n> You open the door\nYou open the trapdoor in the red lake."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nYou're floating above a city whose identity is unknown to you, walking on what seems to be a cloud but is actually much sturdier. The clouded path leads further north.\n\n> Go north\nYou are standing in front of a large, barred gate that seems to open into a mansion - or at least a large residence - of some sort. Peering through the bars you can make out the outlines of trees and a statue, but no actual building. To your east, a smaller lane runs into darkness.\n\n> You examine gate\nA large, imposing, barred, gilded gate, closed quite firmly. Whether it is locked or not is uncertain. There is a sign on it.\n\n> You read the sign\nThe inscription on the gate reads:\n\nWhere there is no lock, there can be no key.\nYou might as well wait for the gate to rust,\nBut who can dissolve the King's crown?\n\n> You check what you're carrying\nYou are carrying:\na fountain-pen\na blue shawl\na yellow flower\n\n> You open gate\nYou try opening the gate, but it doesn't seem to open in the usual way. A voice seems to float around your ears, saying : \"The solution is not here, Harold.\"\n\n> You write on the shawl\nFor a writer of your calibre, graffiti is a come-down.\n\n> Go south\nYou're floating above a city whose identity is unknown to you, walking on what seems to be a cloud but is actually much sturdier. The clouded path leads further north.\n\n> You examine the city\nThe clouds surround you and actually form the ground under your feet, blocking the view of the city you thought you saw below.\n\n> Go east\nStanding on the lane, you can now actually make out that it isn't dark at all, and in fact continues to grow brighter as it runs further east. In the distance you can make out the outline of a tall tower.\n\n> Go east\nA vast, wide open field, completely covered with overgrown grass, and with only two well-trodden paths interrupting the carpet; one to the north towards a tall building, and one straight down the middle of the field, to the east, leading towards the tower.\n\n> Go east\nYou are at the base of a spiral staircase that leads up to a tall tower, which would make a passable lighthouse if it weren't on dry land. The stairway leads up, while the path that brought you here runs back, to the west.\n\n> Go upward\nStanding at the top of a spiral staircase, a crude hole cut in the wall of the tower, to your east, beckons you in; the stairway leads back down to solid ground.\n\n> You go to the east\nThe sights inside the tower are nothing less than breath-taking. They remind you in some eerie manner of an alchemist's laboratory, with glass tubes and bulbs, filled with liquids of every conceivable colour, arrayed along the four walls. In one corner of the room, a huge brass pot is boiling, and emits multicoloured fumes; in another lies a crude stone table. There seems to be no way to reach the lower levels of the tower, and the only exit is to the west.\n\nOn the crude stone table is a small glass bottle.\n\nAbandoned amidst all this splendour is a small key.\n\n> You examine bottle\nA small glass bottle, which is currently closed quite tightly. It has some faded writing on it, which you can just about decipher.\n\n> You read the bottle\nWill Dissolve Silver, Gold, and Just About Everything Else\nUse With Extreme Caution\n\n[Not Approved by the FDA For the Treatment of Jealousy.]\n\n> You examine table\nA roughly-hewn, crude stone table, standing stolidly in one corner of the laboratory.\n\n> You go north\nYou are in the immediate periphery of a large building, whose nature is - at least, at the moment - a mystery to you. Barring the board above the building and the rusty door to the north, there are no windows or ornaments of any kind.\n\nThe rusty door is quite definitely closed.\n\n> You look at the door\nA small, rusty, metal door, with a tiny keyhole.\n\n> You unlock the door with the small key\nYou unlock the door to the building.\n\n> You go north\n(first opening the door)\n\nThe inside of the building looks totally deserted, and the dim corridor running further north looms in front of you ominously. An intersecting corridor, present at a strangely early stage, runs east to west.\n\n> Go west\nJudging by the rows of chairs, desks and disused benches scattered haphazardly around the room, you'd venture to guess that this once was a schoolroom, or at least a classroom of some sort. There is nothing else though - not even a teacher's desk - to interrupt the monotony. The exit lies to the east.\n\nIn one corner of the room is a tall blackboard.\n\n> You look at the blackboard\nA blackboard, with some writing on it. It seems quite firmly anchored to the underlying wall.\n\n> You check your inventory\nYou are carrying:\na small glass bottle\na small metal key\na fountain-pen\na blue shawl\na yellow flower\n\n> You examine the desks\nThat's just scenery.\n\n> Go east\nThe inside of the building looks totally deserted, and the dim corridor running further north looms in front of you ominously. An intersecting corridor, present at a strangely early stage, runs east to west.\n\n> Go east\nThis room was once a storeroom, but - barring a cardboard box in one corner - it is now as bare as it can conceivably be. There are no windows, no ventilator vents, and the only exit is back out to the west.\n\n> You look in it\nYou search among the old paper, shattered glass and other debris for a while, but finally unearth a worn leather handbag, in fairly good condition considering where it's been stored.\n\n> You look at it\nA worn leather handbag with a broken clasp ornamented in gold foil, weakly closed. It seems to have no pockets, decoration or other distinctive features.\n\n> You open it\nYou open the leather handbag, revealing a lacy handkerchief and a small microfilm badge.\n\n> You examine the badge\nA small microfilm badge, that can be easily worn, and that obviously serves as a form of ID, though you're not sure what for. There is no photograph, just a few markings, and the name \"Harvey Price\".\n\n> You wear the badge\n(first taking the small microfilm badge)\nYou put on the small microfilm badge.\n\n> You examine the lacy\nA lacy, frilled, woman's handkerchief, of a style popular about a hundred years ago - counting from your time, that is. In one corner is a name : \"Marguerite\".\n\n> Search box\nNothing else in the crate, and I must warn you that that glass is going to cut your hands if you mess around with it.\n\n> You examine the glass\n(the small glass bottle)\nA small glass bottle, which is currently closed quite tightly. It has some faded writing on it, which you can just about decipher.\n\n> Go west\nThe inside of the building looks totally deserted, and the dim corridor running further north looms in front of you ominously. An intersecting corridor, present at a strangely early stage, runs east to west.\n\n> Go north\nYou walk boldly to the north, and hear a loud voice saying, \"Good morning, Mr. Price. Welcome. Your usual places have been reserved. Welcome to the adventure of your choice.\n\nAnd then the wall dissolves, and you find yourself in the building no longer....\n\nThird Interposition - A Romantic Interlude\n\nThough you never really knew what a boudoir was, this certainly looks like one - or at least its popular conception. The lounge and divan in opposite corners of the room, covered in cushions, the fine curtains on the windows, the massive bed, the dresser near the bed - this is almost a textbook room. There's even a Louis XVI chair here.\n\nThe door out of the room is closed.\n\nYou can hear voices from behind the door, but cannot make out what they are saying.\n\n> You open the door\nYou are unable to do so.\n\nFor some inexplicable reason, you feel a trifle sleepy.\n\n> You listen door\nIn the distance you can make out a lute being played, but you're not sure if it isn't a mandolin.\n\nYou hear a scream - or was it air rushing out of a balloon?\n\n> You knock on the door\nNo reply, I'm afraid.\n\nYou hear a dull thumping against the door."
    },
    {
        "text": "> You describe your surroundings\nThough you never really knew what a boudoir was, this certainly looks like one - or at least its popular conception. The lounge and divan in opposite corners of the room, covered in cushions, the fine curtains on the windows, the massive bed, the dresser near the bed - this is almost a textbook room. There's even a Louis XVI chair here.\n\nThe door out of the room is closed.\n\n> You look under bed\nYou look under the bed, and pull out a cloth-bound journal.\n\n\"Giacomo!\", you hear someone shouting.\n\n> You look under the lounge\nThat's just scenery.\n\n> You look under chair\nPerfumed dust. (What were you expecting?)\n\n\"Begone with you!\", another voice shouts.\n\n> You look at dresser\nA small dresser by the bed-side, with a single drawer, which is closed.\n\n> You open the drawer\nYou open the small, delicate dresser, revealing a pile of letters and a handwritten note.\n\nYou hear the clash of metal on metal.\n\n> You read the handwritten note\nDear Harold,\n\nI must appreciate, at this stage, your perspicacity. Obviously my friend, the Author, is totally wrong about you - he thinks you're a sad sheep, when actually you're nothing of the kind. Well, what I wanted to say was about the letters. Sorry if I pinched dear Margot's letters from Giacomo, but they have nothing to do with your quest. Enjoy these letters en lieu - and if you can't, send them to your publisher.\n\nBest wishes,\nThe Little Tin God.\n\nIntriguing, to say the least.\n\nYou hear the clash of metal on metal.\n\n> You examine the letters\nThese letters are disappointing, to say the least. They don't fit in with the room's d?cor at all - they're written by a man named Clinton, or something of the sort, and though they purport to be love letters, all they do is detail the symptoms of pulmonary tuberculosis. Boring. On the other hand, it'd make an excellent post-modern novel."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> Look around\nThough you never really knew what a boudoir was, this certainly looks like one - or at least its popular conception. The lounge and divan in opposite corners of the room, covered in cushions, the fine curtains on the windows, the massive bed, the dresser near the bed - this is almost a textbook room. There's even a Louis XVI chair here.\n\nThe door out of the room is closed.\n\nYou can also see a cloth-bound journal here.\n\nHeavy breathing can be heard behind the door.\n\n> You read the journal\nJanuary 11th.\nAnother miserable day. My physician - who comes from a hundred years in the future - has prescribed some vile physic, by the name of Paxil, to raise my spirits. Its efficacy, to say the least, is nil. Seriously considering trip to France - it's such a romantic spot to commit suicide in.\n\nJanuary 16th.\nMy dear daughter, for mysterious reasons, insists on following me to France. Why should she? I don't need her help to kill myself - I'm not yet that senile. Well, I must indulge her. She's never really forgiven me for breaking it off between her and that nihilistic Russian musician......\n\nJanuary 25th.\nArrived in France. A fine day, though my dear Konnie has already started drawing all the gentlemen's looks. Bother.\n\nJanuary 26th.\nAm besides myself with fury. My suicide plan went kaputt thanks to an officious little priest from England. I tell you, it's things like this that drive us to World War. Besides, he (the priest, not Herr Hitler) is now mooning round my whelp in the most sheepish fashion. I could tell him it wasn't worth it, but he wouldn't listen.\n\nJanuary 27th. (Evening.)\nWas spared having a son-in-law older than myself; my daughter finally fell for some longhair, anti-establishment artist. In eighty years, that fellow's descendants will be playing at Woodstock. Am strongly considering disposing of my execrable physician and taking up the proposal of Dreamscapes Incorporated. They promise 'historical adventure', which is more than my pathetic author ever gave me. Here's to life - L'chaim, as the Jews would put it.\n\n\"It's no good\", a voice says plaintively.\n\n> Continue\nJanuary 11th.\nAnother miserable day. My physician - who comes from a hundred years in the future - has prescribed some vile physic, by the name of Paxil, to raise my spirits. Its efficacy, to say the least, is nil. Seriously considering trip to France - it's such a romantic spot to commit suicide in.\n\nJanuary 16th.\nMy dear daughter, for mysterious reasons, insists on following me to France. Why should she? I don't need her help to kill myself - I'm not yet that senile. Well, I must indulge her. She's never really forgiven me for breaking it off between her and that nihilistic Russian musician......\n\nJanuary 25th.\nArrived in France. A fine day, though my dear Konnie has already started drawing all the gentlemen's looks. Bother.\n\nJanuary 26th.\nAm besides myself with fury. My suicide plan went kaputt thanks to an officious little priest from England. I tell you, it's things like this that drive us to World War. Besides, he (the priest, not Herr Hitler) is now mooning round my whelp in the most sheepish fashion. I could tell him it wasn't worth it, but he wouldn't listen.\n\nJanuary 27th. (Evening.)\nWas spared having a son-in-law older than myself; my daughter finally fell for some longhair, anti-establishment artist. In eighty years, that fellow's descendants will be playing at Woodstock. Am strongly considering disposing of my execrable physician and taking up the proposal of Dreamscapes Incorporated. They promise 'historical adventure', which is more than my pathetic author ever gave me. Here's to life - L'chaim, as the Jews would put it."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nThough you never really knew what a boudoir was, this certainly looks like one - or at least its popular conception. The lounge and divan in opposite corners of the room, covered in cushions, the fine curtains on the windows, the massive bed, the dresser near the bed - this is almost a textbook room. There's even a Louis XVI chair here.\n\nThe door out of the room is closed.\n\nYou can also see a cloth-bound journal here.\n\nYou can hear a scratching at the door.\n\n> You open the door\nYou are unable to do so.\n\nThere is silence behind the door for a while.\n\n> You knock on the door\nNo reply, I'm afraid.\n\nThere is silence behind the door for a while.\n\n> You examine the bed\nYou've heard about this kind of bed - the King/Queen lies down in it, his or her courtiers/servants draw the curtains, and it's off to dreamland. There are no curtains here, though, just a frame surrounding the bed and attached to it. There are several pillows, if you're interested.\n\nThe door suddenly opens, and you hear a rush of footsteps."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> You look around\nThough you never really knew what a boudoir was, this certainly looks like one - or at least its popular conception. The lounge and divan in opposite corners of the room, covered in cushions, the fine curtains on the windows, the massive bed, the dresser near the bed - this is almost a textbook room. There's even a Louis XVI chair here.\n\nThe door leading north stands open.\n\n> You go north\nThis small room, which - judging by its construction - is at the top of a tower - is extremely claustrophobic. There is no furniture, just a small fireplace and a stand that was probably meant for weapons, but contains none. There isn't even a window around, so you can't jump out.\n\nOn the weapon stand is a green glass bottle (which is closed).\n\n> You examine bottle\n(the small glass bottle)\nA small glass bottle, which is currently closed quite tightly. It has some faded writing on it, which you can just about decipher.\n\n> You take the bottle\n(the small glass bottle)\nYou already have that.\n\n> You read the bottle\nWill Dissolve Silver, Gold, and Just About Everything Else\nUse With Extreme Caution\n\n[Not Approved by the FDA For the Treatment of Jealousy.]\n\n> You look at the green bottle\nA green glass bottle meant to contain wine, which is currently closed.\n\n> You look in it\nIt's closed, but all you can see in it is red wine.\n\n> You open green\nYou open the green glass bottle, revealing a few mouthfuls of red wine."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nThis small room, which - judging by its construction - is at the top of a tower - is extremely claustrophobic. There is no furniture, just a small fireplace and a stand that was probably meant for weapons, but contains none. There isn't even a window around, so you can't jump out.\n\n> You look at the fireplace\nA crummy, dirty old fireplace. Nothing spectacular, no logs and few cinders.\n\n> You enter the fireplace\nWhat do you expect to find there? A prayer-book? A mahogany rod? For heaven's sake, Harold, stop acting like you're in a game or something.\n\n> You search the fireplace\nYou dig around the fireplace gingerly for a few seconds, before coming up with a small cardboard box, the size of two fingers or so.\n\n> You open the box\nYou open the cardboard box, revealing a chelator pill and a package insert.\n\n> You read the insert\nFerox is a chelator - a substance capable of combining with heavy metal poisons and inactivating them. Its active principle is d-thioferroxamate, which has maximal efficacy against arsenic, antimony and lead. It is contraindicated in mercury and other metal poisoning and in inorganic intoxication, e.g. phosphorus. Side-effects are minor and include nausea, heartburn and mild anaemia with prolonged use. Do not use along with fluvoxamine, desipramine, ketoconazole or thiazide diuretics.\n\n> You smell the wine\nYou smell nothing unexpected.\n\nSomething tells you not to.\n\n> You put the pill in the wine\nSensing something fishy about the bottle of wine, you put the chelator pill into the bottle, and massive metallic precipitates of antimony form in the bottle, inactivating the poison.... In case you really wanted to know, you've just aided and abetted an intrigue between the Marquise Marguerite and an Italian adventurer named Giacomo - but now, out with the commercial spots and on with the game.......\n\nChapter Six - The Sad Caf?\n\nAntechamber, in the Aviators Saloon\nFrom the discreet signs declaring that you are currently in the Aviators' Saloon, and from the general look of the furniture, this is obviously the reception room or antechamber of a small hotel. The doors of the hotel, to your north, seem to be closed, east is a dining-hall, and a staircase leads up. The check-in counter stands in front of you.\n\nYou still remember the saloon from the day it was created. By you, of course. The jolly old receptionist, the reunion of scientist Janus Mbelwe with his wife Vanessa. It doesn't look the same now.\n\nAn amiable, elderly man is standing behind the counter.\n\nThe receptionist stares at you in amazement. \"A customer? Thought I'd seen the last of 'em a long time ago. Welcome, son, to the Aviators Saloon.\"\n\n> You examine man\nThe old man looks like a receptionist of some sort, but somehow his expression suggests that he once held a higher position.\n\nYes, it is the same man. Why does he look worried? Why is this place empty?\n\nLooking around at the room, then at you, the receptionist sighs. \"This used to be -- well, I won't say it was the Mazina Hotel in Europe, but it certainly had a lot more life in it. But ever since that old story began, no one steps in here anymore.\"\n\n> You ask the man about the story\n\"The old legend? Well, it's one way to while away time, young man. You see, we're a fairly - how d'you put it - rational kind of society. Sensible. Not superstitious. That's why, I guess, we were all so scared when it happened.\"\n\nHe pauses, and clears his throat a tad dramatically.\n\n\"Five years ago, son\", he goes on, \"- actually four and nine, but who's counting? - this place used to be fairly bursting with life. Not that it was one of those old-fashioned bawdy houses or burlesques or whatchamacallits - it was a nice, cosy kind of hotel, with all kinds of people. We used to have refugees from the Kingdoms, travellers from the airports, even the Director of Social Sciences and his.. - heck, that's how the whole story started. Janus Mbelwe - everyone used to call him by his first name, self included - was one of our finest scientists; social scientists, that is. Between him and a few of his friends, he'd defused a very tricky political crisis, two years ago, relying on sheer scientific method. All this at thirty.\"\n\nHe sighs.\n\n\"Well, he had been here two years before that; at 'round the same time, I guess, there was a young lady staying here. I forgot what she did - I gather she was a psychologist of some sort. Anyway, she and the Director hit it off just fine - a few of us old fogies thought something might come of it, but old Jan - he was myopic if there ever was one. Couldn't see a thing - science excluded - even when it stared him in the eyes. Anyway, they met again - I can't swear that it was coincidence - the next year, and, to use the language of the novelists, they just about made a match of it. There was work to be done - political stuff - so they decided to wait for about a year or so. The next year arrived, and Vanessa Clarke - that was her name - came along at just the usual time. Jan arrived two days later, and they were all set to tie the knot, if you know what I mean. On the night before they left for the Registry for the official ceremony, old Jan was just a trifle tardy, and Miss Clarke was growing impatient. I decided to go and ask the kid to hurry up - they'd already waited so long, y'know - so I went up to his room, opened the door, and there he was.\nOr rather wasn't.\nJanus Mbelwe had vanished into thin air.\"\n\n\"Well, I won't insult your intelligence by telling you that Miss Clarke was - uh - rather broken up over the whole thing; no one ever heard of her to this day, and all our searches for Jan - we even had the whole police force scouring the globe at one stage - came to naught. Ever since then, son - until you, that is - no man or woman has crossed the threshold of this saloon. That's the whole story.\" The receptionist closes his eyes, remembering.\n\n\"I haven't even looked through the rooms since then - they stay clean automatically - but if you want to stay here, there are 'bout ten rooms upstairs. You're welcome to any of 'em.\"\n\n> You go up\n\"Decided to take a look anyhow? Well, good luck to you, son\", the receptionist calls out. \"If you like a room, stay there - if you find - um - anything - let me know....\" His voice fades as you move away.\"\n\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nAnd the four rooms housed the four scientists that had returned from the Provinces. Correction. Used to. Fairbank, Reed, Royal....who was the fourth?\n\n> You go north\nRoom 1, in the Aviators Saloon\nA fairly nondescript, and long unoccupied, hotel room, Room 1 boasts of no furniture save a bed, a small table by its side, and a writing-desk.\n\nNear the table, a thin manual lies discarded.\n\n> You examine the manual\nIt's just a single page, and obviously describes the working of the table, though in rather technical language. Below the end of the manual, someone has scrawled in a few words.\n\n> You read the manual\n1. Technical Specifications:\nAutoLock Portable Furniture uses 1024-bit technology, S3 scale miniaturization, and voice modulation. Two models exist: the DSX - 275 and the DSX - 550.\n\n2. The DSX - 275 and 550:\nThe DSX - 275, a simple and lighter model, is a low-syntax machine, with zero linguistic comprehension, and easy replaceability. The DSX - 550, though far more complex, uses S2.5 scale miniature circuits. It understands over twenty English phrases, and can also serve as a timepiece.\n\n3. Locking and Unlocking:\nLocking and unlocking are dependent on a numerical code whose length is dependent on the user, though it must lie between three and seven digits. The syntax to open the table for the DSX - 275 is \"<Name>, the code is <Code Number>\", where <Name> is the name of the piece of furniture (table, dresser, mirror, etc.) and <Code Number> is self-explanatory. The DSX - 550 recognizes additional formats.\n\n4. Changing the Code:\nThe code can only be changed with another code number, and requires technical assistance. This feature is not recommended for beginners.\n\nBelow this, someone has scrawled......\nRemember your history lessons, dear.\n\n> Mbelwe\nThe table buzzes angrily. Perhaps it doesn't understand English.\n\n> You examine the desk\nA small writing-desk, opposite the bed.\n\n> Go south\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\n> Go east\nRoom 4, in the Aviators Saloon\nRoom 4, which was obviously meant to accomodate a couple or a small family at least, is a pleasant contrast to the house you came across earlier in your wanderings. Even the furniture - double-bed, dresser, table and armchair, and the window - have a particular flavour of their own.\n\nThe window is open, flooding the room with sunlight.\n\nCovering the bed, with a primness that is almost Victorian, is a warm quilt of knitted wool.\n\n> You look at the quilt\nYou've absolutely no sartorial sense, but it does look like a patchwork quilt, obviously woollen.\n\nOne of the wedding presents Dr. Reed's colleagues gave her, when she married an European politician. It's the little things that remind you the most of all that.\n\n> Go west\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nRoom 3, in the Aviators Saloon\nRoom Three is a spartan and utilitarian room, in sharp contrast to the incomplete elegance of the reception area. The chair, bed and table all bear a stern, military look, which looks out of place - even gruesome - in a lodging-house of this sort.\n\nPerched comfortably on the table is a small computer.\n\n> You examine computer\nA small, portable computer, with no keyboard or obvious controls, but a large screen and an opening in front. A red switch in front subserves an obvious function. Below the screen is a manufacturer's mark : Compact Newsreader, 2048-Bit. Thompson Electronics.\nThe portable computer is currently switched off.\n\n> You switch on the computer\nYou switch the portable computer on.\n\n> You examine computer\nA small, portable computer, with no keyboard or obvious controls, but a large screen and an opening in front. A red switch in front subserves an obvious function. Below the screen is a manufacturer's mark : Compact Newsreader, 2048-Bit. Thompson Electronics.\nThe portable computer is currently switched on.\n\n> Go south\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nRoom 2, in the Aviators Saloon\nA comfortable but unoriginal room, barring the large bay window covered by cretonne curtains. Other than that, the furniture in this room is meagre: a single bed and an armchair.\n\nIt's all coming back now. This was where Professor Royal stayed a week, after being reunited with his sister. You're not even sure if he exists anymore.\n\nOn the antique armchair is a black disc.\n\n> You look at the disk\nA small black disc. Written on it - probably indelibly - are the words \"news article\".\n\n> Go north\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\n> You go to the west\nRoom 3, in the Aviators Saloon\nRoom Three is a spartan and utilitarian room, in sharp contrast to the incomplete elegance of the reception area. The chair, bed and table all bear a stern, military look, which looks out of place - even gruesome - in a lodging-house of this sort.\n\nPerched comfortably on the table is a small computer.\n\n> You read the screen\nLittle is known about the world of 2187 A.D., which has given rise to much intriguing, though profitless, speculation. The few records that we do possess show little signs of the dramatic collapse that was to come a mere eighty years later, and - if the truth must be told - there were signs of a stability that was long awaited following the events of the preceding two centuries. Scientifically and technologically, of course, there was nothing but progress; and - for the first time in a century and a half - it seemed as if social change, that old sluggard, was making an effort to keep up with the advances of mere learning.\n\n2869 A.D.\n\nAlmost exactly as you had planned, though you never put it down on paper or disc. Whoever's brought you here can obviously read minds.\n\n> The code is 2187\nThe table swings open.\n\n> You examine table\nThis small table - which, grotesquely enough, looks like a briefcase perched on four legs - does not appear to have any drawer or concealed compartment. On one side, a sentence is written : DSX-275. Voice Locking System. Numerical. A display panel alongside this inscription displays the word 'Open'.\n\n> You look in the table\nIn the small night-table is a personal ID chip.\n\n> Examine Chip\nA small microchip, with the words \"Personal ID\" written in minuscule letters along one border.\n\nAnd a far cry from the Mind-Computer Chip that was your main plot twist.\n\n> Inventory\nYou are carrying:\na personal ID chip\na fountain-pen\na yellow flower\n\n> You look under the bed\nUnder the bed, you find a blue disc. Someone's obviously been playing Tom Thumb in this hotel.\n\n> You examine the disc\n(the blue disc)\nA small blue disc, with no label or inscription on it.\n\n> You put disc in the computer\n(the blue disc in the portable computer)\nYou need to be holding the blue disc before you can put it into something else.\n\n> You take the disc\n(the blue disc)\nTaken.\n\n> You put the disc in the computer\n(the blue disc in the portable computer)\nThere's already a disc in the computer.\n\n> You remove the disc\n(the blue disc)\nYou're not wearing that.\n\n> You remove the disc from the computer\nRemoved.\n\n> You put the disc in the computer\nWhich do you mean, the black disc or the blue disc?\n\n> You read the screen\nLAWYER'S DISAPPEARANCE - UPDATE\n26th November, 2804\n\nEven the most complete investigations by European and Colonial police forces have failed to reveal the least trace of Colonial legal consultant Cassandra Anderson, who was last seen driving away from the chambers of the Regional Court of Offences at 9 p.m., about three weeks ago. In a statement issued to all major news services, Officer Schultz of the European Police Force categorically ruled out a deep political plot as the cause of the abduction. \"We live in peaceful times nowadays, and even the most obdurate reactionaries have learnt the danger of rocking the boat\", he said. \"This is probably an isolated act, with no major backing.\" He added that he was sanguine about being able to retrieve Mrs. Anderson safely.\n\nPan European News Services.\n\nCassie Anderson?\nMy God. You hadn't even put her on paper. She was just an idea; the successful lawyer in her thirties, her husband Gerald, her two daughters....How much damage have you done?\n\n> Go upwards\nSecond floor, in the Aviators Saloon\nThe entry to the second floor's chambers has the same homely flavour as the previous one, except that a few potted plants here and there add a touch of colour to the proceedings. Open doors lead east and west, and a locked door lies north.\n\n> Go east\nReceptionist's room, in the Aviators Saloon\nThis room - which, by its lived-in, familial appearance must belong to the receptionist - is small, neat and comfortable. A sturdy bed occupies the centre of the room, with an open window casting a bright beam right on it; besides this, there is little furniture except a couch, a bookshelf, and a television.\n\n> Examine books\nThere are lots of books here, mostly fiction - historical romances and the like. You hardly have the time to browse through them.\n\n> You go west\nRoom 6, in the Aviators Saloon\nRoom 6 was obviously going to be renovated before disaster struck, because it's totally bare. It's a nice, pleasant room, or rather it would be so if it had any furniture. The only piece worthy of that name is a stool.\n\n> You look at the stool\nA small wooden stool, conjuring up memories of rustics working away at cows' udders. On one side is a maker's name: \"Matthew Barringer and Sons. Fine Furniture and Padding.\"\n\n> You look under the stool\nNothing bigger than a computer mouse could hide under this.\n\n> You examine the plants\nReceptionist's room, in the Aviators Saloon\nThis room - which, by its lived-in, familial appearance must belong to the receptionist - is small, neat and comfortable. A sturdy bed occupies the centre of the room, with an open window casting a bright beam right on it; besides this, there is little furniture except a couch, a bookshelf, and a television.\n\nYou can't see any such thing.\n\n> You look at the plants\nPotted flowers. Rather pleasant, actually.\n\n> You search plants\nCome on, Harold. What do you think this is? A text adventure or something?\n\n> Yes\nThat was a rhetorical question.\n\n> You examine the couch\nA small couch with soft cushions, ideal for a good read or an impromptu nap.\n\n> You lie on the couch\nI doubt the receptionist would appreciate that.\n\n> You sit on stool\nMilked any cows lately?\n\n> You go to the north\nRoom 1, in the Aviators Saloon\nA fairly nondescript, and long unoccupied, hotel room, Room 1 boasts of no furniture save a bed, a small table by its side, and a writing-desk.\n\nThe table is open.\n\nNear the table, a thin manual lies discarded.\n\n> Manual\nIronically, you have writer's block. You can't think of a single sensible thing to write.\n\n> You write on the manual with the pen\nIt might be a better idea to actually write on something.\n\n> You look in the table\nThe small night-table is empty.\n\n> You go to the south\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nRoom 2, in the Aviators Saloon\nA comfortable but unoriginal room, barring the large bay window covered by cretonne curtains. Other than that, the furniture in this room is meagre: a single bed and an armchair.\n\n> You examine the armchair\nThe armchair is definitely an antique, and has seen better days, meaning that it's extremely fragile.\n\nAnd this was where Mrs. Firebank sat, and elaborated her theories on population dynamics to an enthralled audience of four. Yes, that's it.\n\n> Chair\nYou sit on the chair for a while, but the charm soon palls.\n\n> You read the screen\nLAWYER'S DISAPPEARANCE - UPDATE\n26th November, 2804\n\nEven the most complete investigations by European and Colonial police forces have failed to reveal the least trace of Colonial legal consultant Cassandra Anderson, who was last seen driving away from the chambers of the Regional Court of Offences at 9 p.m., about three weeks ago. In a statement issued to all major news services, Officer Schultz of the European Police Force categorically ruled out a deep political plot as the cause of the abduction. \"We live in peaceful times nowadays, and even the most obdurate reactionaries have learnt the danger of rocking the boat\", he said. \"This is probably an isolated act, with no major backing.\" He added that he was sanguine about being able to retrieve Mrs. Anderson safely.\n\nPan European News Services.\n\n> You take the disk\n(the black disc)\nYou already have that.\n\n> You remove the disk from the computer\nRemoved.\n\n> Inventory\nYou are carrying:\na blue disc\nan AutoLock Users' Manual\na black disc\na personal ID chip\na fountain-pen\na yellow flower\n\n> Go east\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\n> Go east\nRoom 4, in the Aviators Saloon\nRoom 4, which was obviously meant to accomodate a couple or a small family at least, is a pleasant contrast to the house you came across earlier in your wanderings. Even the furniture - double-bed, dresser, table and armchair, and the window - have a particular flavour of their own.\n\nThe window is open, flooding the room with sunlight.\n\nCovering the bed, with a primness that is almost Victorian, is a warm quilt of knitted wool.\n\n> You look under the quilt\nYou look around, but find nothing. Strange - you have a feeling that there should be something there, but there isn't....\n\n> You look at the bed\nLarge, sturdy, steady. The very embodiment of that hoary old clich?, \"the good old days.\" Two sturdy pillows and a firm mattress do nothing to dispel the impression.\n\n> You look under the bed\nUnder the bed, you find a box of some sort, and pull it out.\n\n> You read the note\nFran?ois, Ch.2, Lines 18-26\n\n\"Time for a change of scene\", the Voice thundered.\n\n\"I still think it's a bad idea\", the Author murmured sotto voce, but the Voice could hear almost anything, and gave him a piece of its mind. \"He has seen enough, and besides he cannot carry out the rest of the quest. Someone else is required.\"\n\n\"Are there no better ways?\", the Author enquired once more.\n\n\"Absolutely none. You helped me design this plan. What fault do you find in it?\"\n\nAnd the Author could find no reply.\n\n> Examine toybox\nA wooden toy-box of the sort that children used to own years before you were born, which is, at the moment, open."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nAntechamber, in the Aviators Saloon\nFrom the discreet signs declaring that you are currently in the Aviators' Saloon, and from the general look of the furniture, this is obviously the reception room or antechamber of a small hotel. The doors of the hotel, to your north, seem to be closed, east is a dining-hall, and a staircase leads up. The check-in counter stands in front of you.\n\nAn amiable, elderly man is standing behind the counter.\n\n> Go east\nDining Hall, in the Aviators Saloon\nThe Aviators Saloon never pretended to be more than a small and comfortable lodge - which is why its mess bears an eerie resemblance to the dining hall of your own large family. Since - in this age - everything is automatic, there is precious little clutter, barring a large table, twelve chairs, and a large cupboard at the back of the room.\n\nAs you walk across the room, your foot seems to brush against something under the table.\n\n> You look under the table\nUnder the table, you find a small, streamlined device of some sort, coloured black. You pull it out.\n\n> You examine the device\nA small black device, with a slit at the back - which currently is empty, and a fairly primitive display in front, which is currently blank.\n\n> You put Chip in the device\nYou insert the chip cautiously into the slit; the screen lights up faintly. It flashes the words \"Teleport Complete. Target Room Four\", then changes to another phrase.\n\n> You read the device\nA small black device, with a slit at the back - which contains a thin card, and a fairly primitive display in front, which displays a sentence : Room 7. Behind Closed Doors.\n\n> Go west\nAntechamber, in the Aviators Saloon\nFrom the discreet signs declaring that you are currently in the Aviators' Saloon, and from the general look of the furniture, this is obviously the reception room or antechamber of a small hotel. The doors of the hotel, to your north, seem to be closed, east is a dining-hall, and a staircase leads up. The check-in counter stands in front of you.\n\nAn amiable, elderly man is standing behind the counter.\n\n\"Someone tried to help me once -- I forget his name. Said he'd send a friend of his to -- tie up all the loose knots, he said. Nothing came of it, though.\"\n\n> You go east\nDining Hall, in the Aviators Saloon\nThe Aviators Saloon never pretended to be more than a small and comfortable lodge - which is why its mess bears an eerie resemblance to the dining hall of your own large family. Since - in this age - everything is automatic, there is precious little clutter, barring a large table, twelve chairs, and a large cupboard at the back of the room.\n\nYou can see a small black device (in which is a personal ID chip) here.\n\n> You ask the man about the device\n\"It's a tracer. Not sure how to use it? You use it to find a person. Put the chap's identity chip or card - depends on the model - into the machine, and it's off to the races. Neat.\"\n\n> You go east\nDining Hall, in the Aviators Saloon\nThe Aviators Saloon never pretended to be more than a small and comfortable lodge - which is why its mess bears an eerie resemblance to the dining hall of your own large family. Since - in this age - everything is automatic, there is precious little clutter, barring a large table, twelve chairs, and a large cupboard at the back of the room.\n\n> You look at the cupboard\nA large, ancient oak cupboard, which is precariously closed.\n\n> You open the cupboard\nYou open the oak cupboard, revealing some plates and spoons.\n\n> You look at the spoon\nNothing interesting here, just piles of spoons, plates and other items of cutlery.\n\n> You ask the man about the Room seven\n\"Can't help you with that, son. Too bad,\" he says, sympathetically.\n\n> You ask the man about key\n\"It's the key to Miss Clarke's room. Go see what y'can find there, son.\"\n\n> You ask the man about Clarke\n\"Nice young lady - almost like my own daughter, son, believe me or not; though she's (my daughter, I mean) not here any longer, she's a physician out in the East. She was just right for a chap like Jan, whose head was in the clouds about nine-tenths of the time. The pity of it.\"\n\n> You ask the man about Jan\n\"Ah, he was a fine chap, Mr. Mbelwe. The kind of person that any author'd be proud of putting in his books - that kind of person. There must be some reason for his disappearance, but it's a black mystery to me.\"\n\n> You ask the man about the computer\n\"Ah, that old one - it's badly dated but I haven't the heart to chuck it out. Just put a news disc in it, and switch it on - if you've got one, that is.\"\n\n> You ask the man about Simone\nThe receptionist shakes his head. \"I never really studied ancient philosophies, son\", he replies.\n\n> You ask the man about Saloon\n\"Nice place, isn't it? However, since that damned legend started, five years ago, the place's been kinda empty.\"\n\n> You ask the man about the legend\n\"Sorry, son, I told you just 'bout all I know. There might be a clue hidden in yonder rooms upstairs - that's a romantic notion - but after five police investigations I doubt there's anything left to be found.\"\n\n> You look at the counter\nA large wooden counter or desk, emitting a low, fluorescent glow. It's not a solid block, so there's a space underneath it, which is darker than the rest.\n\nAnd why do you get the feeling that there's something under it that you didn't put there in your manuscript?\n\n> You look under the counter\nYou look under the counter for a while, and pull out a scrap of paper.\n\n> You read it\nFran?ois, Ch. 2, Lines 1-17:\n\n\"Why did you suppress the first thirty-three verses?\", the Author complained.\n\n\"It's almost painfully obvious if you'll only apply your mind to it\", the Voice replied, unflappably. \"The first lines deal with what he has already lived through; to restate them would be unnecessary. Besides, he has already acquitted himself most honourably.\"\n\n\"Not enough\", the Author replied, sternly. \"All he has done is to travel through our lands, our landscapes - call them what you will. But has he done anything?\"\n\n\"Well, he did open the gate\", the Voice retorted.\n\n\"After following prompts that could not bamboozle a two-year-old. The challenges we set him were -- elementary.\"\n\n\"Well, we shall have to see. Can he bring back life into this place?........\"\n[Here the printing stops, abruptly.]\n\n> You show paper to the man\n(first taking the small scrap of paper)\nYou fail to capture the receptionist's interest.\n\n> You kiss him\nHow romantic. However, I don't know how he would react.\n\n> Inventory\nYou are carrying:\na small scrap of paper\na small black device\na personal ID chip\na blue disc\nan AutoLock Users' Manual\na black disc\na fountain-pen\na yellow flower\n\nYou are carrying:\na small scrap of paper\na small black device\na personal ID chip\na blue disc\nan AutoLock Users' Manual\na black disc\na fountain-pen\na yellow flower\n\n> You go east\nRoom 4, in the Aviators Saloon\nRoom 4, which was obviously meant to accomodate a couple or a small family at least, is a pleasant contrast to the house you came across earlier in your wanderings. Even the furniture - double-bed, dresser, table and armchair, and the window - have a particular flavour of their own.\n\nThe window is open, flooding the room with sunlight.\n\nCovering the bed, with a primness that is almost Victorian, is a warm quilt of knitted wool, which shows an unsightly bulge at one point.\n\nYou can also see a toybox (in which is a crumpled note) here.\n\n> You show the crumpled note to the man\nYou fail to capture the receptionist's interest.\n\n> You ask the man about the table\n\"Used to be fashionable nowadays - old Jan's is still here, but heaven knows how to open it. You need two goddamned code numbers, one to open it, the other to lock it - and then it opens up on its own - at least it's meant to. It doesn't even understand proper English, son - you have to say something stupid like 'table, code red' or 'table, code is 9801' to get it to work. Sloppy programming, I call it\", the receptionist muses.\n\n> You go to the east\nRoom 4, in the Aviators Saloon\nRoom 4, which was obviously meant to accomodate a couple or a small family at least, is a pleasant contrast to the house you came across earlier in your wanderings. Even the furniture - double-bed, dresser, table and armchair, and the window - have a particular flavour of their own.\n\nThe window is open, flooding the room with sunlight.\n\nCovering the bed, with a primness that is almost Victorian, is a warm quilt of knitted wool, which shows an unsightly bulge at one point.\n\nYou can also see a toybox (which is empty) here.\n\n> You take the quilt\nYou lift the quilt and search the bed for some time, your conscience pricking you all the time, but are rewarded for your efforts by a letter.\n\n> You look under the quilt\nUneasily conscious that you're making a mess, you shove the quilt around some more.\n\n> You read the letter\nA quick glance at the letter reveals that its contents are of a rather personal nature, and your sense of delicacy tells you not to read it. Do you still want to do so?\n\n> Yes\nFeeling rather a cad, you read the letter once through, quickly....\n\nEurope, July 14th, 2883.\n\nDear Vanessa,\nUnforseen circumstances have forced me, without any sensible or honourable alternative, to leave you abruptly, without warning, without even the consolation - pardon my grandiosity - of a fond farewell. I have not been permitted to reveal more than this, even to you whom I could trust above anyone else, dearest - for the hand and mind that drive me at this moment are not my own. Rest assured that, if you still - regardless of your own safety - want to follow me, I have left enough traces. Not too explicitly, of course - Nash is a fine old man, but I wouldn't want to involve him in this - but I am sure you will find a way. The key can be revealed in the usual way: table, place. There is little time to say more. Four digits alone.\n\nYours,\nJanus.\n\nAfter reading it, you feel strangely vindicated. At least, it was of some use, and could help you find a key to this enigma.\n\n> You check what you're carrying\nYou are carrying:\na crumpled note\na small scrap of paper\na small black device\na personal ID chip\na blue disc\nan AutoLock Users' Manual\na black disc\na fountain-pen\na yellow flower\n\n> You look at the door\nAs Gertrude Stein would probably put it, a door is a door is a door....you get my drift. It has a lock, if you're interested.\n\n> You check in\nA large wooden counter or desk, emitting a low, fluorescent glow. It's not a solid block, so there's a space underneath it, which is darker than the rest.\n\n> You look at the cupboard\nA large, ancient oak cupboard, which yawns open.\n\n> You look in the cupboard\nIn the oak cupboard are some plates and spoons.\n\n> Go east\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one corresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nRoom 4, in the Aviators Saloon\nRoom 4, which was obviously meant to accomodate a couple or a small family at least, is a pleasant contrast to the house you came across earlier in your wanderings. Even the furniture - double-bed, dresser, table and armchair, and the window - have a particular flavour of their own.\n\nThe window is open, flooding the room with sunlight.\n\nCovering the bed, with a primness that is almost Victorian, is a warm quilt of knitted wool.\n\nYou can also see a strange letter and a toybox (which is empty) here.\n\n> Go west\nChambers, in the Aviators Saloon\nThe landing of the Aviators Saloon opens into four rooms, one"
    },
    {
        "text": "> Go downward\ncorresponding to each point of the compass, the doors to which (being of the electrical kind) are open. The stairs lead back down, and continue further upwards.\n\nAntechamber, in the Aviators Saloon\nFrom the discreet signs declaring that you are currently in the Aviators' Saloon, and from the general look of the furniture, this is obviously the reception room or antechamber of a small hotel. The doors of the hotel, to your north, seem to be closed, east is a dining-hall, and a staircase leads up. The check-in counter stands in front of you.\n\nAn amiable, elderly man is standing behind the counter.\n\n> You show letter to the man\nIf the receptionist wasn't suffering from senile arthritis, he would certainly have jumped twenty feet. As it is, he stares at you. \"Where did you find it! That's a miracle. We're going to find the Director, son, you can count on that! Wait......I have something he gave me once, it might help you, though he gave it to me the year before he disappeared....\" The receptionist places a key on the counter, which you look at appraisingly.\n\n> Go north\n(unlocking Vanessa's door first)\n(opening the door)\n\nVanessa Clarke's room, in the Aviators Saloon\nIf there's anything concealed in Miss Clarke's room, it cannot be under a bed, since this room is without one. A wardrobe and a glass-topped table - charming in their simplicity - are the only adornments visible. There are no windows, surprisingly, except one covered by curtains, which is in the wrong position as far as illumination is concerned.\n\nA closed wardrobe stands impassively in a corner.\n\nOn the glass-topped table is a glazed vase (in which are some dead flowers).\n\n> You look in the vase\nIn the glazed vase are some dead flowers.\n\n> You take the flowers\nWho needs them? They're not even pressed. And, for some obscure reason, they won't budge.\n\n> You look at the table\nJust four black wooden legs, with a delicate pattern in the grain, and a glass slab. Simple and stylish.\n\n> Inventory\nYou are carrying:\nthe key to Vanessa's room\na strange letter\na crumpled note\na small scrap of paper\na small black device\na personal ID chip\na blue disc\nan AutoLock Users' Manual\na black disc\na fountain-pen\na yellow flower\n\n> You examine the vase\nA simple, glazed, ceramic vase. On one side, fairly low - strangely - is a small hole about the circumference of your little finger. A few wilting flowers are still inside it. On the other side is an inscription:\n\"Triumph shall come here at last,\nWe should ask not 'how', but 'when' -\nFrom a stone take then a sword,\nIn this vase, place now a.......\"\n\n> You put the pen in the vase\nAs you insert the pen into the vase, a blinding light dazzles you, and a low haze envelops you. You struggle to find your way out of it, but to no avail.\n\nWhen you awake, you are in a shrine of some sort, lying supine. A tall man, concerned but not stern, with a long face, looks down on you.\n\n\"Ah, Harold. I have misjudged you, and I apologize. But first -- let me introduce myself. I am that sadistic personage, 'Mr. Author', who has brought you here so far. Your mission -- but let me explain myself. The creation of your novel set in motion certain events in a parallel dimension; its destruction will not only undo them but replace them with worse ones. Simone, Edward, Laura - even people inhabiting your world, but not created by you, like Janus Mbelwe - have had to suffer the consequences. It was with this aim that I brought you here, but now you can go no further. The remaining tasks in this dimension will need to be carried out by one of its own citizens.......All we shall need will be some of your memories, to help her find her way.\"\n\nThe man looks down.\n\n\"Close your eyes, Harold, and think.\"\n\n> You examine the wardrobe\nIt looks like an ordinary enough wardrobe, but has a certain air of impassivity.\n\nAnd once contained a modulator of neurological signals. From here, a nation was once felled. Once upon a time.\n\n> You open the wardrobe\nYou open the large wardrobe, revealing a long brown coat and a pale blue dress.\n\n> You examine the coat\nA long brown coat, which would reach almost to mid-calf if the wearer were of average height, with a clean-cut collar. It has a single pocket, which is unusual.\n\n> You look at the dress\nAn elegant dress in shades of pale blue, its frills and flounces are evocative of a much earlier era.\n\n> You look in the coat pocket\nRummaging through the pocket, you find an identity card of some sort, and pull it out.\n\n> You examine iD\n(the identity card)\nA small plastic card, with a photograph showing a young woman's face, wearing the same brown coat, and a few lines of print accompanying it.\n\n> You read the iD\n(Affiliated to the Department of Internal Affairs)\n\nName  : Cassandra Anderson, R.I.L.\nAge   : 34\nGrade : Consultant in International Law - Civil\n\n> You put the pen in the vase\nAs you insert the pen into the vase, a blinding light dazzles you, and a low haze envelops you. You struggle to find your way out of it, but to no avail.\n\nWhen you awake, you are in a shrine of some sort, lying supine. A tall man, concerned but not stern, with a long face, looks down on you.\n\n\"Ah, Harold. I have misjudged you, and I apologize. But first -- let me introduce myself. I am that sadistic personage, 'Mr. Author', who has brought you here so far. Your mission -- but let me explain myself. The creation of your novel set in motion certain events in a parallel dimension; its destruction will not only undo them but replace them with worse ones. Simone, Edward, Laura - even people inhabiting your world, but not created by you, like Janus Mbelwe - have had to suffer the consequences. It was with this aim that I brought you here, but now you can go no further. The remaining tasks in this dimension will need to be carried out by one of its own citizens.......All we shall need will be some of your memories, to help her find her way.\"\n\nThe man looks down.\n\n\"Close your eyes, Harold, and think.\"\n\nYou close your eyes -- memories, thoughts, ideas that you had and that you never had, all seem to swirl, to be involuntarily wrenched from you......\n\nAnd then you remember no more.\n\nCold. Damp. Overdramatizing, as usual.\n\nYou struggle to your feet, smooth down your crumpled coat, shake your head and brush the hair out of your face, a strange air of unreality (indeed!) surrounding you. Ideas that never entered your mind till this moment flicker by, leaving hardly a trace. You look ahead. Straight ahead. There is nothing more intimidating than your home ahead. So much for mystery.\n\nYour car has gone. But did you take it home, or did you walk? The last thing you remember was leaving the Court of Appeals.......nothing more.\n\nThough you've been here time and time again, there is something comfortable and inviting about this small walk up to your house, where you have lived for the last twelve years. The trees move gently in the wind - it is, after all, late in November - but the lights in your home, like a lighthouse, guide you unerringly on, to the north. The street you came out of is to your east.\n\nYour heart gives a single leap of relief. Nothing has really changed, after all.\n\n> About yourself\nYou look at yourself uncertainly, but you're still the same - Cassandra Anderson, lawyer, on her way home from the Court of Appeals.\n\n> You check your inventory\nYou are carrying:\na yellow flower\na strange letter\nan identity card\na long brown coat (being worn)\na pale blue dress (being worn)"
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> Look around\nThough you've been here time and time again, there is something comfortable and inviting about this small walk up to your house, where you have lived for the last twelve years. The trees move gently in the wind - it is, after all, late in November - but the lights in your home, like a lighthouse, guide you unerringly on, to the north. The street you came out of is to your east.\n\n> Go north\nFront porch, outside the house\nA neat little porch, currently devoid of the usual floral ornaments - it's hardly the season for them right now - but still welcoming enough. In front of you is the door to your house, and the recognition panel lies next to it.\n\n> You examine panel\nIt's a recognition panel, the 29th Century's answer to the good old lock and key; touch it, and your fingerprints are sufficient to unlock and open the door.\n\n> You touch panel\nYou put out a finger and touch the panel lightly; but it's cold to the touch, rather than mildly warm, and nothing happens.\n\n> Go east\nWhy would you want to go back there? At this point in time, you'd love to be back home.\n\n> You open the door\nWith a light push, you open the door. Strange - even in the trusting world of 2804, doors usually are locked.\n\n> You go to the north\nAntechamber, in your house\nThe lights in the antechamber, strangely, seem to be malfunctioning, and burn so dimly as to resemble feeble candles; you can barely make out the oft-trodden pathways to your more private chambers, east, and to the drawing-room, north. Immediately next to you is a coat-stand. You can hardly even make out the wallpaper covering the walls.\n\n> You remove the coat\n(the long brown coat)\nYou take off the long brown coat.\n\n> You put the coat othe coat-stand\n(the long brown coat on the coat-stand)\nYou put the long brown coat on the coat-stand.\n\n> Go north\nYou move north, expecting to find someone there, but bump into something. Yes -- it is a brick wall.\n\n> Go east\nCorridor, in your house\nThis short corridor leads, at your insistence, directly from the antechamber to the east wing of the house; it offers a quick retreat to your own chambers, and helps you avoid embarrassing or annoying visitors. It runs east to west.\n\n> You go to the east\nEnd of corridor, in your house\nAt the end of the corridor, you can see exits to your north and south, the former leading into your bedroom, and the latter into your small study-cum-office.\n\n> You go south\nYou step into your office.....\n\nThe sight that greets you is nothing more than shocking. All your papers, all your books, are gone. The shelves lie, damaged and broken, face down....but, even more chillingly, though the room is empty, there are splashes of blood on the wall.\nWhat on earth has happened here?\nTrembling, you return to the corridor.\n\nThe voice rushes into your ears again.\n\n\"This is only the beginning, Harold. Without you, without the continuity you were about to provide, this world is about to undergo autolysis - self-destruction if you prefer. It is not a pleasant process.\"\n\n\"Until now, you have followed the tracks we set you, followed the side-lanes that we planted signposts along......but now it is less simple. With your memories, with the one item that you were able to save from the deluge, Cassandra will have to - almost - begin all over again. All this as a result of your rash act.\"\n\nSomehow, you lack the will to protest. Maybe because you're immobile, maybe because you never were much good at arguing anyway, but you don't.\n\n\"I can assure you, once again, Harold\", the voice goes on, \"that it is not pleasant.\"\n\nEnd of corridor, in your house\nAt the end of the corridor, you can see exits to your north and south, the former leading into your bedroom, and the latter into your small study-cum-office.\n\n> You check your inventory\nYou are carrying:\na yellow flower\na strange letter\nan identity card\na pale blue dress (being worn)\n\n> You look at the flower\nIt's unlike any flower you've ever seen before; it has a single whorl of four pink petals, with irregular angles that hardly look natural, as if they represented some strange form of origami.\n\n> Go north\nMaster bedroom, in your house\nWith a sigh of relief, you walk into your bedroom and look around, quickly. Everything seems to be normal - at a glance.\nThe lighting in this room is much better than in the rest of the house, so that it's a welcome contrast to the dimly lit corridors. Somehow this room has never seemed as welcoming to you as it does now - the bed, the wardrobe and the armchairs take on the appearance of old friends. The entry to the bathroom is west.\n\n> You examine the wardrobe\nJust your average wardrobe. This one is meant exclusively for clothes, clothes and more clothes, though you do keep a stash of handkerchiefs in here sometimes.\n\n> You open the wardrobe\nYou open the wardrobe in search of a change of clothing, and something falls out. Not a coat hanger, not even your dressing-gown.\n\nIt's a corpse, and judging by all appearances, it hasn't been one very long.\n\nYou stagger backwards, then take a few steps forward. The wardrobe has been ransacked. Nothing, not even the hanging rods or the air filter, has been left behind.\n\nIt looks like you have a murder on your hands.\n\n> You examine the body\nYou force yourself to look at the body for a few minutes....\n\nOh, God.....Gerald!\n\nA second glance serves to dispel your unwarranted fears. Though the man's body does eerily resemble your husband, you're quite sure it isn't him. The man must have been nearing forty, and is greying at the temples. The cause of his death, as far as you can see, is a deep stab wound on the left side of his chest.\n\n> Search corpse\nYou search the man's pockets, apprehensively, and pull out a plastic card. Barring this, the man is carrying no identification or money.\n\n> You examine the card\n(the identity card)\nIt's your identity card.\n\n> You examine the plastic card\nA cash card, made of plastic. It bears a photograph that, to your surprise, can easily be mistaken for yours, and a few lines of writing below it.\n\n> You read the plastic card\nName: Angela Bradbury\n\nProfession: Psychologist\n\nAge: 38 years\n\nThis card is non-transferrable and non-renewable."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> You look around\nMaster bedroom, in your house\nThe lighting in this room is much better than in the rest of the house, so that it's a welcome contrast to the dimly lit corridors. Somehow this room has never seemed as welcoming to you as it does now - the bed, the wardrobe and the armchairs take on the appearance of old friends. The entry to the bathroom is west.\n\nYou can see a plastic cash card and a man's corpse here.\n\n> You look under the bed\nNervously, you look under the bed, nameless fears gripping at your mind. But, since anyone in the 29th can be an excellent housekeeper without trying, you don't even find dust.\n\n> Search chair\nYou can see the floor. So there.\n\n> You go west\nBathroom, in your house\nA clean-tiled floor, bright lighting and a pleasant smell. Nothing else. All the fixtures, from the tub to your own favourite, the steam-free mirror, have vanished.\n\n> You go east\nMaster bedroom, in your house\nThe lighting in this room is much better than in the rest of the house, so that it's a welcome contrast to the dimly lit corridors. Somehow this room has never seemed as welcoming to you as it does now - the bed, the wardrobe and the armchairs take on the appearance of old friends. The entry to the bathroom is west.\n\nYou can see a man's corpse here.\n\n> You go to the south\nEnd of corridor, in your house\nAt the end of the corridor, you can see exits to your north and south, the former leading into your bedroom, and the latter into your small study-cum-office.\n\n> Go east\nIt's a dead end.\n\n> Go west\nCorridor, in your house\nThis short corridor leads, at your insistence, directly from the antechamber to the east wing of the house; it offers a quick retreat to your own chambers, and helps you avoid embarrassing or annoying visitors. It runs east to west.\n\n> Go west\nAntechamber, in your house\nThe lights in the antechamber, strangely, seem to be malfunctioning, and burn so dimly as to resemble feeble candles; you can barely make out the oft-trodden pathways to your more private chambers, east, and to the drawing-room, north. Immediately next to you is a coat-stand. You can hardly even make out the wallpaper covering the walls.\n\nOn the coat-stand is a long brown coat.\n\n> Go north\nMysteriously, a wall seems to block your way.\n\n> You look at the wallpaper\nA nice pattern in the style of 2600, with several species of flowers.\n\n> You examine the coat stand\nA tall coat-stand, almost as high as you are, with hooks at several levels.\n\n> You look at the coat\n(the coat-stand)\nA tall coat-stand, almost as high as you are, with hooks at several levels.\n\n> You look at the brown coat\nThis old coat, next to your thermoconditioner, is the ideal companion for a long winter.\n\n> You check what you're carrying\nYou are carrying:\na plastic cash card\na yellow flower\na strange letter\nan identity card\na pale blue dress (being worn)\n\n> You take the brown\nNervously, you grab the coat once more.\n\n> Wear coat\n(the long brown coat)\nYou don't really need the coat now that you're indoors.\n\n> You search the coat\n(the long brown coat)\nYou find nothing of interest.\n\n> You take the corpse\nThat's hardly easy, and pointless besides.\n\n> You look under the corpse\nNothing here, I'm afraid.\n\n> You examine the armchairs\nA set of four, that you fell in love with while vacationing in France and eventually bought.\n\n> You look at the lights\nThe rows of lights are all right at first glance, but the lighting they emit is dismal.\n\n> You go south\nFront porch, outside the house\nEverything has changed. The absence of plants, which you would have once accepted purely as normal, now gives the entire place a sinister appearance, and the gravelled path leading away from the house is dark and uninviting.\n\n> You close the door\nYou close the door to your house.\n\n> You lock door\nWhat do you want to lock the door to your house with?\n\n> You go south\nThe lane is dark and clouds hover uneasily over you, though the rain will not come. Looking at a house that has strangely changed on one side, and a narrow road on the other, it is hard to decide which way to go.\n\n> You examine the clouds\nNot even a silver lining; just a thick blanket of ugly, depressing clouds.\n\n> You go east\nYou can barely suppress a shiver as you return to the place where you woke up, confused, just moments ago. It's a small, narrow lane, with no obvious source of illumination, running further east and back west to the house.\n\nStanding uncomfortably near you is a cab-caller machine.\n\n> You examine the machine\nSimple in principle and in practice as well; put your cash card in the slot, and a cab appears within five minutes - or less if you're lucky. Unfortunately, your cash card is - or rather was - in what once was your study. It's definitely gone by now.\n\n> You put the cash card in the machine\nYou insert the card, hum a little tune, and wait for a cab to take you, far away from this nightmare scenario......Never mind where - perhaps your sister's place out North.....\n\nKABOOM!\n\nIt's hard to say what actually happened. It's conceivable that the machine exploded, though if that had actually happened, you would hardly be alive. In fact, you wake up even more dishevelled than you first were, utterly bewildered.....\n\nThis could be the middle of nowhere - in fact, it is. Apart from the railway tracks disappearing into the distance north, and the signpost to the east, there is nothing but dry, arid land.\n\nThe sun beats down on you, and you regret having left your parasol at home.\n\n> You examine signpost\nA signpost made of rotting wood, a few words painted over it in black paint or tar.\n\nYou'll have to find your own answers, I'm afraid.\n\nOn second thoughts, the parasol would've blown away in a sandstorm.\n\n> You read it\nDESERT (As if you didn't know that already...)\n\n..There is no need to beware of cacti, scorpions, wild animals or highwaymen, as they are all kept at bay by what you should beware of -- sunstroke.\n\nEastern Colonies ...... 500 MILES NORTH\nCharlestown ........... 0.02 MILES EAST\n\n> Go east\n0.02 miles must be a much smaller distance than you bargained on, because immediately to your east the railway tracks stop, and through a thick fog or mist, you can make out the unmistakable outlines of buildings. Apart from this, the desert continues north and west.\n\n> You look at the fog\nThick clouds of mist or fog obstruct your vision.\n\n> You go north\nJudging by the signs, this was once the office of the local newspaper, but now seems totally abandoned. A single shelf, once probably filled with superfluous newsprint, lies to one side, containing a few papers; apart from this, the office continues into a darker zone to the north.\n\nThe torn front page of a newspaper lies here, unsung.\n\n> Examine newspaper\nIt's the first page of an issue of the Charlestown Times, with one large article and little else.\n\n> You go north\nThis room, all empty shelves and dust, once stored all the back issues, manuscripts and other paraphernalia that are the birthright of a newspaper office - or so it seems. There are no obvious exits except the one back south.\n\nThe only piece of furniture remaining, bar the shelves, is a horsehair chair, in none too good a condition.\n\n> You look at the chair\nThe chair has a certain dignity - even though it could hardly bear the weight of your six-year-old daughter in the state it's currently in.\n\n> You look at the Form\nLegal Form 67 is what any witness in a case involving the International Code of Ethics, consequent upon its 23rd Amendment in the year 2786, is required to fill out. As such, it is devoid of interest to you, being blank. The other side, however, has something printed on it.\n\n> You read it\nHarold, Ch. 3, Lines 1 - 10\n\n\"This is not what I had in mind\", the Creator said, irritably. \"This is not it at all.\"\n\n\"Silence!\", said the Voice, not sternly, as was its wont. \"You have already seen the consequences of your own actions, and I hope you realize how totally senseless they were.....\"\n\n\"No need to rub it in\", the Creator replied, calmly. \"But why should someone else pay the price?\"\n\n\"For simple proof, Harold. Proof that, even in the face of a threat, that someone else - who originated, after all, in your own mind - would be able to withstand it. If someone else stands in your place, she stands there so that you may prove yourself.\"\n\n\"Tortuous reasoning\", the Creator replied, \"but you're starting to make sense. When, then......\"\n[Here the printing is abruptly cut short.]\n\n> You go south\nWorkhouse, in Charlestown\nFrom its attitude of desolation, from its decrepit appearance, you realize that this cannot be anything other than that despised institution, the workhouse. Strangely, no cries, no disturbing sounds, can be heard though you strain your ears, and though the place is deserted and disused, there are no signs of outright squalor. The furniture is of surprisingly good quality, though probably second-hand, and there is nothing creaky about the floor-boards as you tread on them. The passage you came through leads north, and another corridor seems to leads east.\n\nMerging with the floor is a closed wooden door, probably leading to a cellar, an eerie light gleaming at its edges.\n\nThe passage to the east is blocked by a black door.\n\n> You open it\nYou open the cellar door.\n\n> You look at the black door\nA dark black door, on the east wall. There is something painted on it.\n\n> You read it"
    },
    {
        "text": "> Go downward\nUnderground, in the workhouse\nYou are in a large, spacious, white-tiled passageway, illuminated brightly and almost blindingly by light from an unknown source. It runs further east almost endlessly, and seems not to have any side-passages.\n\nA small glass vial lies at your feet.\n\n> You examine the vial\nAn empty vial, with a faint chemical odour, and a label half-torn from it.\n\n> You read it\nTHIOPENTONE SODIUM B.P.\n[Pentothal (R)]\n\nContains 0.25 mEq Thiopentone Na / mL\n\n> Go east\nUnderground Passage, in the workhouse\nThe white-tiled corridor continues further east with no end in sight, ominously, as if to suggest that your safest course would be an unceremonious retreat to the west. However, the monotony is punctuated by an open passageway, to your north.\n\n> Go north\nKitchen, in the underground\nThis small room, with its pantry-cupboard and blackened fireplace, probably once served as a kitchen to the inmates of this unfortunate place. There are no windows, no ventilation vents, and the smell is stifling. Aesthetics demand an immediate exit, to the south.\n\n> You look at the cupboard\nA rugged wooden construction, which is currently closed\n\n> You open it\nAs you open the cupboard, an insect falls at your feet, and you shudder and move an inch away.\n\n> You look in the cupboard\nIn the pantry cupboard is a stack of aluminium cartons.\n\n> You examine the cartons\nInside the cupboard, there is a stack of aluminium cartons, oozing grease, and in an advanced stage of decomposition. It has all the charm of a neglected sewer.\n\n> You search the cartons\nYou gingerly lift the lid of one of the cartons, revealing rotten and maggot-infested remnants of various TV dinners. Suppressing a retch, you withdraw your hand.\n\n> You examine the fireplace\nA large, blackened, sooty fireplace, large enough to hold several people - including yourself, if you're interested. There's no pot of gruel - or anything else - in it at present.\n\n> You search the fireplace\nThe fireplace is empty.\n\n> You enter the fireplace\nYou step into the fireplace, and to your amazement, you can see a bright, dazzling light shining from a hole in its roof, though you're not sure where its source is. Your curiosity satisfied, and your attire a little more sooty, you step out.\n\n> You look at the bug\nA small microphone, in dull grey metal. You have no idea whether it still works.\n\n> Go south\nUnderground Passage, in the workhouse\nThe white-tiled corridor continues further east with no end in sight, ominously, as if to suggest that your safest course would be an unceremonious retreat to the west. However, the monotony is punctuated by an open passageway, to your north.\n\n> You go east\nIntersection, in the underground\nYou seem to have come to an intersection in the underground passage, with a room to your south : the entry to it is glowing (so it seems) with a bright light, and the continuations of the corridor east and west.\n\n> You go south\nEvery detail, every item of furniture or ornament in this room, is drowned out in a blinding light.\n\nA giant bulb, from one corner of the room, is the obvious source of this dazzling illumination.\n\n> You examine the Furniture\nThe light prevents you from doing so.\n\n> You examine the bulb\nA large glass bulb......you can make out nothing more.\n\n> You break it\nDesperately, you lunge at the bulb. Surprisingly, it's not warm, it's stone cold. A simple blow almost shatters the entire glass framework to pieces, and as the fragments clatter to the floor, you notice that there was no filament. There never was.\n\nThe room seems to fill with sunlight, all of a sudden."
    },
    {
        "text": "> Look around\nA large, pleasant room, with sun shining through an open window. There are rows of benches and an altar at the back of the room, which confirms your opinion that this must be a chapel of sorts.\n\nThe bulb is now totally dark and shattered.\n\nYou can also see a golden key here.\n\n> You examine the key\nA small yet heavy golden key.\n\n> You look at the altar\nThough it is easily recognizable as an altar, it is merely a rough-hewn stone fixture; its covering cloth and other paraphernalia are gone.\n\n> You examine the benches\nRegulation benches, with the customary kneel-space in front of them.\n\n> You look under the benches\nJust the floor.\n\n> You look at the bulb\nA broken and functionless mess of glass.\n\n> You search the glass\n(the glass vial)\nYou never read descriptions, do you? The vial is empty.\n\n> You search the broken glass\nNothing but glass fragments; you have no use for them.\n\n> Pray\nSomehow, this seems like a good place to do so, if you were so inclined. However, you can hear a voice in your head: \"Not to me - not now.\"\n\n> You go to the north\nIntersection, in the underground\nYou seem to have come to an intersection in the underground passage, with a room to your south : the entry to it is glowing (so it seems) with a bright light, and the continuations of the corridor east and west.\n\n> Go east\nDead end, in the underground\nThe seemingly interminable underground passage comes to an abrupt and unexpected end here, with no exits save a series of steps leading upwards, and a return back west, where you came from.\n\n> You go upwards\nThe steps end abruptly in a series of partially broken boards. Those remaining are too strong to be dislodged, but through the spaces you can see a small chamber.\n\n> Inventory\nYou are carrying:\na golden key\na small metal bug\na glass vial\na torn newspaper page\nLegal Form 67\na yellow flower\na strange letter\na pale blue dress (being worn)\n\n> You read the letter\nYou don't know how the letter got here, and it's not addressed to you. Anyway, you read it through...\n\nEurope, July 14th, 2883.\n\nDear Vanessa,\nUnforseen circumstances have forced me, without any sensible or honourable alternative, to leave you abruptly, without warning, without even the consolation - pardon my grandiosity - of a fond farewell. I have not been permitted to reveal more than this, even to you whom I could trust above anyone else, dearest - for the hand and mind that drive me at this moment are not my own. Rest assured that, if you still - regardless of your own safety - want to follow me, I have left enough traces. Not too explicitly, of course - Nash is a fine old man, but I wouldn't want to involve him in this - but I am sure you will find a way. The key can be revealed in the usual way: table, place. There is little time to say more. Four digits alone.\n\nYours,\nJanus.\n\nBizarre, indeed.\n\n> You look at the flower\nIt's unlike any flower you've ever seen before; it has a single whorl of four pink petals, with irregular angles that hardly look natural, as if they represented some strange form of origami.\n\n> Go west\nUnderground, in the workhouse\nYou are in a large, spacious, white-tiled passageway, illuminated brightly and almost blindingly by light from an unknown source. It runs further east almost endlessly, and seems not to have any side-passages.\n\n> Go upward\nWorkhouse, in Charlestown\nFrom its attitude of desolation, from its decrepit appearance, you realize that this cannot be anything other than that despised institution, the workhouse. Strangely, no cries, no disturbing sounds, can be heard though you strain your ears, and though the place is deserted and disused, there are no signs of outright squalor. The furniture is of surprisingly good quality, though probably second-hand, and there is nothing creaky about the floor-boards as you tread on them. The passage you came through leads north, and another corridor seems to leads east.\n\nThe cellar door, under your feet, is open and leads into an illuminated passage.\n\nThe passage to the east is blocked by a black door.\n\n> You unlock the door with the key\nWhich do you mean, the cellar door or the east door?\n\n> You knock on black door\nNo reply, I'm afraid.\n\n> You look at the statue\nIt's the statue of a rather fat man, of ridiculously ill-matched proportions, holding a club or baton of some sort, and resting on a large pedestal which bears an inscription.\n\n> You read the pedestal\nJOEL SWEENEY (1814-1892)\n\nLiberator of the Masses\n\n> Go east\nMain Street, in Charlestown\nThis is a slightly brighter and more residential portion of Charlestown. North of you is a small house, whose door stands open, and south of you is a large, imposing mansion. The street leads back west, as well as continuing east.\n\nLogically enough, the door to the mansion is closed.\n\n> You examine the door\nA gilded door, small and stylish, with a nameplate on the outside.\n\n> You read the nameplate\n\"Sailors' Rest\"\nLeon and Judith Gold\n\n> You unlock the door with the key\nYou unlock the gilded door.\n\n> You open the door\nYou open the gilded door.\n\n> Go north\nA dull, dingy, dirty place, with absolutely no redeeming feature save a hundred years' dust and neglect. All the 29th Century aesthete in you revolts against it. Even assuming that you can conquer those tendencies, though, there seems to be no exit, except the way you came in.\n\nA voice transmitter, as sooty as the rest of the shack, lies neglected.\n\n> You examine transmitter\nIt looks like a radio or voice transmitter module, with a speaker and a switch, but no other buttons.\nThe voice transmitter is currently switched off.\n\n> You turn on the transmitter\nAs you flip the switch, the transmitter suddenly comes to life.\n\n\"Ah, your game is up, Mbelwe\", an unctuous voice says, through the distorting speaker. \"No one can save you now.\"\n\n> You take the transmitter\nThat's fixed in place.\n\nThere is silence for a while.\n\n> You listen\nYou hear nothing unexpected.\n\nThere is silence for a while.\n\n> You look at the transmitter\nIt looks like a radio or voice transmitter module, with a speaker and a switch, but no other buttons.\nThe voice transmitter is currently switched on.\n\n\"Now, are you going to tell me where that insult to humanity, Author, is hiding? I shall wring his neck!\"\n\n> Wait\nTime passes.\n\nSilence.\n\n> You wait\nTime passes.\n\n\"Go to hell\", a voice replies, faintly."
    },
    {
        "text": "> Look around\nA dull, dingy, dirty place, with absolutely no redeeming feature save a hundred years' dust and neglect. All the 29th Century aesthete in you revolts against it. Even assuming that you can conquer those tendencies, though, there seems to be no exit, except the way you came in.\n\nA voice transmitter, as sooty as the rest of the shack, lies neglected.\n\nIncoherent spluttering sounds of rage can be heard.\n\n> You wait\nTime passes.\n\n\"For the last time, are you going to tell me?\"\n\n> You wait for a while\nTime passes.\n\n\"I'm giving you till the count of ten to answer...\"\n\n> You wait for a while\nTime passes.\n\n\"ten\".....\n\n> You wait\nTime passes.\n\n\"nine\".....\n\n> You wait\nTime passes.\n\n\"eight\".....\n\n> Wait\nTime passes.\n\n\"seven\".....\n\n> Wait\nTime passes.\n\n\"six\".....\n\n> You wait a while\nTime passes.\n\n\"five\".....\n\n> Wait\nTime passes.\n\n\"four\".....\n\n> You wait for a while\nTime passes.\n\n\"three\".....\n\n> You wait for a while\nTime passes.\n\n\"two\".....\n\n> You wait awhile\nTime passes.\n\n\"one\".....\n\n> Wait\nTime passes.\n\nA clatter can be heard.\n\n> Wait\nTime passes.\n\nThere is nothing more to hear.\n\n> Wait\nTime passes.\n\nThe radio switches off automatically."
    },
    {
        "text": "> Look around\nA dull, dingy, dirty place, with absolutely no redeeming feature save a hundred years' dust and neglect. All the 29th Century aesthete in you revolts against it. Even assuming that you can conquer those tendencies, though, there seems to be no exit, except the way you came in.\n\nA voice transmitter, as sooty as the rest of the shack, lies neglected.\n\nIncoherent spluttering sounds of rage can be heard."
    },
    {
        "text": "[Themes: Science Fiction, self-referential]\n\n> Look around\nThis could be the middle of nowhere - in fact, it is. Apart from the railway tracks disappearing into the distance north, and the signpost to the east, there is nothing but dry, arid land.\n\n> You examine the tracks\nThese tracks probably, at one stage, were installed to bring civilization to the region. Their current state indicates that the project has, in all probability, been abandoned.\n\nIf this heat continues any longer, you'll soon have first-person knowledge of what the proteins in a boiled egg actually undergo.\n\n> You read the sign\nDESERT (As if you didn't know that already...)\n\n..There is no need to beware of cacti, scorpions, wild animals or highwaymen, as they are all kept at bay by what you should beware of -- sunstroke.\n\nEastern Colonies ...... 500 MILES NORTH\nCharlestown ........... 0.02 MILES EAST\n\n> Go south\nJudging by the signs, this was once the office of the local newspaper, but now seems totally abandoned. A single shelf, once probably filled with superfluous newsprint, lies to one side, containing a few papers; apart from this, the office continues into a darker zone to the north.\n\n> Smell\nThe smells remind you vaguely of food preservatives.\n\n> You look up\nWhat do you want to look up in?\n\n> You go south\n(opening the door first)\n\nFront Room, in the Golds' home\nThis simple front room is at strange variance with the outward appearance of the Gold mansion; in fact, it is so devoid of furniture that you wonder whether it is the same place. Passageways lead east and south.\n\nThe door leading out of the house is open."
    },
    {
        "text": "> Go downwards\nThe steps lead down, then end in a creaky platform that seems to lead into a tunnel. Apprehensive, you turn away.\n\n> You go east\nThe passage ends abruptly in a series of boards.\n\n> Go north\nFront Room, in the Golds' home\nThis simple front room is at strange variance with the outward appearance of the Gold mansion; in fact, it is so devoid of furniture that you wonder whether it is the same place. Passageways lead east and south.\n\nThe door leading out of the house is open.\n\n> You close the door\nYou close the gilded door.\n\n> You examine door\nA gilded door, small and stylish.\n\n> You go east\nWhat purpose this room once served is totally obscure, because all the furniture has gone. There is nothing, really, save the four walls of the house.\n\nA black key lies on the ground, near your feet.\n\nAs you enter the room, you gasp in horror. Lying on the hard floor, bringing to mind all the serial-killer plots of eight centuries ago, is a dead woman.....\n\nNo, wait - she's not dead - but certainly dying....\n\nThe woman looks up at you, hesitantly....\"Have you.... did you receive Leon's appeal.....\", she begins, noticing your blank expression. \"I'm Judith Gold\", she gasps, and struggles to go on. \"Have you come to....?\"\n\n> You look at Judith\nA tall, graceful, middle-aged woman, dressed in black, who is still breathing faintly.\n\nJudith looks up at you, expectantly. \"After all these years - thank God you aren't too late.....\"\n\n> You ask Judith about the bug\nJudith looks at you, uncomprehendingly.\n\n> You ask Judith about Leon\n\"He tried his best......couldn't....if you can find.....microphone.....deafen Sweeney.......a whisper will do.....\"\n\n\"Did Leon bring you here? He was a good man, was Leon - he didn't last long....must tell you......Sweeney...\"\n\n> You ask Judith about Sweeney\n\"I must tell you......Sweeney....controlled this town - now empty, all empty - find proofs - proof - single evidence sufficient - Leon........pretended to be a reformer but he was a murderer all along.... stop him then....microphone......knife.....I have the knife....\"\n\nAnd with these words, Judith shudders, her head falls to one side, and she is quite dead.\n\n\"Ah, Harold, things are coming to a head\", the Voice goes on, in its usual even tenor. \"If your character, Harold, can find a way out of this, you have as good as proved yourself.\"\n\n\"Is that all?\" you ask, bemused.\n\n\"Not all, Harold, but almost all. The time for that famous institution, the Climactic Conflict, draws near. But if Cassandra can survive this, we need not fear in the least.....\"\n\nWhat purpose this room once served is totally obscure, because all the furniture has gone. There is nothing, really, save the four walls of the house.\n\nA black key lies on the ground, near your feet.\n\nJudith's body lies on the floor.\n\n> You take key\n(the dark black key)\nTaken.\n\n> You search judith\nUneasily, you move the body, and uncover a knife.....which seems strangely familiar to you. It wasn't used to kill her, though - there is no wound on her body.\n\n> Go west\nFront Room, in the Golds' home\nThis simple front room is at strange variance with the outward appearance of the Gold mansion; in fact, it is so devoid of furniture that you wonder whether it is the same place. Passageways lead east and south.\n\nThe door out of the front room is closed.\n\n> You go north\n(opening the door first)\nYou open the gilded door.\n\nMain Street, in Charlestown\nThis is a slightly brighter and more residential portion of Charlestown. North of you is a small house, whose door stands open, and south of you is a large, imposing mansion. The street leads back west, as well as continuing east.\n\nThe door to your south stands open.\n\n> You shout at bug\n(to the small metal bug)\nThe microphone lights up and buzzes, but nothing happens.\n\nThere is silence for a while.\n\n> You hit the bug\nViolence isn't the answer to this one.\n\nThere is silence for a while.\n\n> You examine the microphone\nA small microphone, in dull grey metal. You have no idea whether it still works.\n\n\"Now, are you going to tell me where that insult to humanity, Author, is hiding? I shall wring his neck!\"\n\n> You shout at the microphone\n(to the small metal bug)\nThe microphone lights up and buzzes, but nothing happens.\n\nSilence.\n\n> You turn on the microphone\nThat's not something you can switch.\n\n\"Go to hell\", a voice replies, faintly.\n\n> You wear the bug\nYou can't wear that!\n\nIncoherent spluttering sounds of rage can be heard.\n\n> Break bug\nViolence isn't the answer to this one.\n\nIncoherent spluttering sounds of rage can be heard.\n\n> You tap the bug\nLittle point in doing that, I'm afraid.\n\n\"I'm giving you till the count of ten to answer...\"\n\n> You answer the bug\n(to the small metal bug)\nThe microphone lights up and buzzes, but nothing happens.\n\n\"ten\".....\n\n> You attach bug to the transmitter\nYou would achieve nothing by this.\n\n\"nine\".....\n\n> Inventory\nYou are carrying:\na nasty-looking knife\na dark black key\na golden key\na small metal bug\na glass vial\nLegal Form 67\na torn newspaper page\na yellow flower\na strange letter\na pale blue dress (being worn)\n\n\"nine\".....\n\n> You cut the bug\nCutting that up would achieve little.\n\n\"eight\".....\n\n> You search microphone\nYou find nothing of interest.\n\n\"eight\".....\n\n> Shout at transmitter\n(to the small metal bug)\nThe microphone lights up and buzzes, but nothing happens.\n\n\"seven\".....\n\n> You turn off transmitter\nThe voices die out.\n\n> Shout at transmitter\n(to the small metal bug)\nThe microphone lights up and buzzes, but nothing happens.\n\n> You turn on transmitter\nAs you flip the switch, the transmitter suddenly comes to life.\n\n\"four\".....\n\n> You ask Judith about the bug\nJudith looks at you, uncomprehendingly.\n\nJudith looks up at you, expectantly. \"After all these years - thank God you aren't too late.....\"\n\n> You examine her\nA tall, graceful, middle-aged woman, dressed in black, who is still breathing faintly.\n\nYou can't see any such thing.\n\n> You ask Judith about bug\nJudith looks at you, uncomprehendingly.\n\n\"Did Leon bring you here? He was a good man, was Leon - he didn't last long....must tell you......Sweeney...\"\n\n> You show the bug to Judith\nJudith is unimpressed.\n\nJudith looks at you, urgently.\n\n> You ask Judith about the romanov\nJudith looks at you, uncomprehendingly.\n\n> You check your inventory\nYou are carrying:\na golden key\na small metal bug\na glass vial\nLegal Form 67\na torn newspaper page\na yellow flower\na strange letter\na pale blue dress (being worn)\n\"We tried our best, young lady - he was too much..... two ways to defeat him but we couldn't find.......microphone... ....evidence....give evidence to author.....\"\n\n> You ask Judith about evidence\nJudith looks at you, uncomprehendingly.\n\"I must tell you......Sweeney....controlled this town - now empty, all empty - find proofs - proof - single evidence sufficient - Leon........pretended to be a reformer but he was a murderer all along.... stop him then....microphone......knife.....I have the knife....\"\n\nAnd with these words, Judith shudders, her head falls to one side, and she is quite dead.\n\n> Inventory\nYou are carrying:\na nasty-looking knife\na dark black key\na golden key\na small metal bug\na glass vial\nLegal Form 67\na torn newspaper page\na yellow flower\na strange letter\na pale blue dress (being worn)\n\n> Go west\nFront Room, in the Golds' home\nThis simple front room is at strange variance with the outward appearance of the Gold mansion; in fact, it is so devoid of furniture that you wonder whether it is the same place. Passageways lead east and south.\n\nThe door out of the front room is closed.\n\n> You unlock the black door with the black key\nYou unlock the east door.\n\n> Go east\n(opening the door first)\n\nYou are inside a massive room, whose walls are covered by endless rows of the same tiles you saw in the corridor. The lights are blinding - though not as dazzling as the light-bulb in the chapel - and it's all you can do to try and observe what is around you.\nYour attention is immediately drawn to the man at the far corner of the room....\n\nA large box - as large as a coffin, but otherwise not unlike a mailbox - is pushed to one corner of the room.\n\nAt the far end of the room, under the glare of the lights, is a steel armchair.\n\nSitting in the armchair, a handsome man glares at you, angrily.\n\n\"Welcome, beggar\", he says, looking at your attire with a sniff. \"I am.....Joel Sweeney. At your service.\"\n\n> You look at the box\nThe box is massive, and resembles a coffin, but has a thin slit in front that suggests a Brobdignagian mailbox. There is an inscription carved on it.\n\n> You look at the man\nJoel Sweeney, unlike his statue, is an impressive figure; a handsome man of forty or so, his hair almost completely white.\n\n> You examine the armchair\nA steel armchair, complete with armrests. Not quite an electric chair, but certainly having close kinship to one.\n\n> You read the inscription\nFormerly of the Empire.\n\n\"By entering this place, you have forfeited your life. Look on yonder coffin and despair.\"\n\n> You look in the slit\nThe slit is too small.\n\n> You ask Sweeney about the box\n\"Your question seems pointless to me, woman. Do not weary me.\"\n\n\"Author. Banks. Mbelwe. All fools. No one can stop me.\"\n\n> You ask him about him\n\"Your question seems pointless to me, woman. Do not weary me.\"\n\n> You kill Sweeney\nIf you have a specific weapon in mind, please use it. Otherwise, don't hurl yourself on your sword.\n\n\"You seem perplexed, woman\", Sweeney says, bitingly. \"Are you not afraid? You should be.\"\n\n> You give the Form to Sweeney\nSweeney ignores your offer.\n\n\"You have little time left.\"\n\n> You put the Form in the slit\nThat's the wrong shape for the slit.\n\n\"Prepare to say farewell to your life, darling Cassandra.\"\n\n> You put the knife in slit\nThat's the wrong shape for the slit.\nAs Sweeney marches towards you, a voice rings out in the room.\n\n\"Sweeney, I have not lost yet. You're the king of cowards, attacking a poor, defenceless player character in that uncouth manner. You killed Non-Interactive Fiction. Prepare to die, indeed. Hmph. Do it yourself.\"\n\nSweeney cringes, falls to the ground, not moving a muscle. The coffin shatters........and a man steps out, walking towards you.\n\n\"Thank you, Mrs. Anderson. I knew we could rely on you. Allow me to introduce myself - Janus Mbelwe, social scientist. I think you have something you wanted to give me......\"\n\nSilently, you hand him the letter and he begins to read it....As he does so, the walls change, the odour changes......and you are no longer in the workhouse, but......\n\nChapter Nine - Birth Of A Notion\n\nYou stand in a hospital corridor, looking around, confused. A sense of urgency seems to drive you on, but you cannot understand why.\n\n> Inventory\nYou are carrying:\na pale blue dress (being worn)\n\n> You examine the dress\nSlightly dated, but you've always had a soft corner for this one ever since the Eugenics Repeal Act went through - with your assistance - on the day you bought it.\n\n> Go north\nIntersection, in the hospital\nThis is obviously a pivotal point in the hospital's geography, with passages leading in all four cardinal directions. A map on the wall offers some, but not much, promise of guidance, and there seems to be no one behind the hospital desk, though there is a sign on it. Above you, perched high on one wall, is a loudspeaker.\n\nOn the desk is a triangular metal sign, precariously balanced.\n\nYou can hear a clear voice issuing forth from the loudspeaker. \"Mrs. Anderson. Please proceed immediately to Ward Number Ten. Mrs. Cassandra Anderson. Please proceed to Ward Number Ten.\"\n\n> You examine the map\nIt's a floor plan of the hospital, in faint lines, looking almost as if it were hand-drawn. Your position, near the desk, is indicated by a small cross. The rest of the map is as follows:\n\n=========================================================\n|    Ward 10             Ward 9                Ward 8   |\n|               TOP                FLOOR                |\n|    Ward 7              Ward 6                Ward 5   | |==========================||============================\n|                          || To ground floor           |\n|         ||||     |\n|         | To Storeroom   || To Doctors' Lounge  |     |\n|         ||||     | |==========================||===========================|\n|   Ward 4     Ward 3          RECEPTION  (X)           |\n|                                              Entrance #\n|   Ward 2     Ward 1   RECORDS                         | =========================================================\n\n> You go to the west\nRecords Room, in the hospital\nThis small, stuffy, but not musty annexe lying west of the reception area houses the hospital's records, or at least the plaque on the door says so. Much to your surprise, there are no computers, and no ledgers either, on the solitary table, large as it is. There are no exits except the one back east.\n\nA pile of records sits on the table, neglected.\n\n> You go east\nIntersection, in the hospital\nThis is obviously a pivotal point in the hospital's geography, with passages leading in all four cardinal directions. A map on the wall offers some, but not much, promise of guidance, and there seems to be no one behind the hospital desk, though there is a sign on it. Above you, perched high on one wall, is a loudspeaker.\n\nOn the desk is a triangular metal sign, precariously balanced.\n\n> You go to the north\nCorridor, in the hospital\nThis broad corridor is flanked by rooms to your east and west, labelled \"Ward 1\" and \"Ward 3\" respectively; it runs further north to its end, and south back to the reception desk.\n\n> Go east\nStairwell, in the hospital\nYou're in a small stairwell just to the east of the reception area, with steps leading up into a corridor illuminated by arc lamps. A loudspeaker is perched on one of the walls.\n\n> Go upwards\nMiddle Stairwell, in the hospital\nAt this point in the stairwell, there is a passage leading north to a small room, and a locked door south. The stairway continues up to the first floor, and back down to where you started.\n\n> You go to the north\nDoctors' Lounge, in the Hospital\nThis small and comfortable room, with several chairs around a large table under the soft glow of an orange lamp, is obviously a lounge of some sort, where physicians could unwind after a long day. The only exit is south, to the stairwell. The only object of note here, or so it seems, is a rather ornate locker.\n\n> Go upward\nMiddle Of Corridor, First Floor\nYou are in the middle portion of a corridor on the hospital's first floor. Doorways marked \"Ward 6\" and \"Ward 9\" lie to your east and west, the stairs lead back down, and the corridor continues to your north and south.\n\n\"Mr. Edward Franklin. Please proceed to the Operating Recovery Room, in Ward Number Ten. Mr. Edward Franklin.\"\n\n> You go to the north\nFirst Floor Corridor, North End\nThe northern end of the first floor corridor, as always, has east and west doorways, marked \"Ward 5\" and \"Ward 8\". You can't go any further north, but there's a safe return south.\n\n> You go west\nWard 8 seems to have been sealed off. Through a glass plaque on the door, you can see that it's being fumigated, which further lessens your desire to go in there.\n\n> Go south\nMiddle Of Corridor, First Floor\nYou are in the middle portion of a corridor on the hospital's first floor. Doorways marked \"Ward 6\" and \"Ward 9\" lie to your east and west, the stairs lead back down, and the corridor continues to your north and south.\n\n> You go south\nFirst Floor Corridor, South End\nThe southern end of the first floor corridor, as always, has east and west doorways, marked \"Ward 7\" and \"Ward 10\". You can't go any further south, but there's a safe return north.\n\n> Go west\nWard 10, Antechamber\nThis is a small chamber that forms part of Ward 10, which continues to the north, near a doorway marked by a sign labelled \"Recovery Room\". The only other exit is back to your east.\n\nStanding near you, with one eye on the doorway, is a medical student, who was obviously asked to keep an eye on newcomers.\n\n> You examine student\nShort, bespectacled, and not very impressive. But then, you tell yourself, most great physicians do look rather unassuming. He's wearing a white coat and a stethoscope, and can't be much older than twenty.\n\n> Go north\nThe student bars your way hesitantly. \"I'm sorry, ma'am\", he says, \"but you've got to have the properly attire to go in there. Aseptic precautions, you know.\"\n\n> Inventory\nYou are carrying:\na pale blue dress (being worn)\n\n> You ask the student about the attire\n\"All you need is a cap, mask and gown - we're not exactly a surgical ward\", the student says kindly. \"I'm sure you can find them downstairs. Just ask around. I'd help you, but I have to stay here.\"\n\n> You go to the south\nThe storeroom behind that locked door only contains old textbooks, full of detailed research and case histories. Enthralling stuff, but you're not a physician.\n\n> You open the locker\nIt seems to be locked.\n\n> You look at the locker\nA large locker, made of some shiny metal - possibly silver (What extravagance!) Written on it are the words \"Hospital Clothing - Extra Supplies.\"\n\n> You take the sign\nYou can't have the sign; it belongs where it is.\n\n> You read the inscription\n(in the pale blue dress)\nYou discover nothing of interest in the pale blue dress.\n\n> You read the desk\nTradition is a dead weight hanging over the brains of the living - but we love it anyway.\n\n-- Karl Marx, modified by the Author.\n(not to be confused with his namesake..)\n\n> You take the sign\nYou can't have the sign; it belongs where it is.\n\n\"Mrs. Anderson. Seeking Mrs. Cassandra Anderson. Please proceed to the Recovery Room in Ward Number Ten, on the second floor.\"\n\n> You look under the desk\nUnder the desk, you find a crumpled but otherwise undamaged discharge sheet, and pull it out.\n\n> You read the sheet\nThe form itself is blank, but it's the instructions to visitors, in small type at the base of the page, that interest you:\n\n1. Visitors to Wards 1,3,4 and 5 (General Surgery) are not allowed outside the allotted hours of 9 - 1 p.m and 3 - 6 p.m. They must be attired in aseptic outfits for patient safety, and require proof of identification.\n2. Visitors to Wards 2,6,7,8 and 9 (Internal Medicine) require proof of identification, but do not require any special attire.\n3. Visitors to Ward 10 (Maternity) should wear a disposable scrub suit (over their ordinary clothing) consisting of a cap, mask and gown, before entering the operating or recovery rooms.\n\nThere is a splutter and a crackle, and the speaker goes dead.\n\n> You go to the north\nCorridor, in the hospital\nThis broad corridor is flanked by rooms to your east and west, labelled \"Ward 1\" and \"Ward 3\" respectively; it runs further north to its end, and south back to the reception desk.\n\n> Go south\nIntersection, in the hospital\nThis is obviously a pivotal point in the hospital's geography, with passages leading in all four cardinal directions. A map on the wall offers some, but not much, promise of guidance, and there seems to be no one behind the hospital desk, though there is a sign on it. Above you, perched high on one wall, is a loudspeaker.\n\nThe sign on the desk has fallen over to one side.\n\nYou can also see a discharge sheet here.\n\n> You go south\nYou can't go back. You have to make it to Ward Ten somehow.\n\n> Go west\nYou're never going to get into that ward; it's reserved for emergency and septic cases. Try another.\n\n> Go north\nEnd of corridor, in the hospital\nThe north-south corridor comes to an end here, with wards to your east and west, labelled \"Ward 2\" and \"Ward 4\", in that order, and returns to the south.\n\n> Go south\nIntersection, in the hospital\nThis is obviously a pivotal point in the hospital's geography, with passages leading in all four cardinal directions. A map on the wall offers some, but not much, promise of guidance, and there seems to be no one behind the hospital desk, though there is a sign on it. Above you, perched high on one wall, is a loudspeaker.\n\nThe sign on the desk has fallen over to one side.\n\n> You examine the pile\nIt's a stack of medical records, written out at the time of admission of the various patients concerned on green sheets of paper. You could read a few of them if you wanted to.\n\n> Search pile\nAs you flip through the pages, a single sheet of paper, distinct from the others due to its pink colour, falls out of the pile and flutters gracefully to the floor.\n\n> You take the paper\nWhich do you mean, the pink sheet of paper, the pile of green papers or the discharge sheet?\n\n> You read it\n\"And so, after this, we come to the end of our story\", the Voice replied. \"It will be difficult, but I think we should be able to pull through.\"\n\n\"You could have sent me, couldn't you?\", the Creator grumbled.\n\n\"Well, my young friend\", the Voice admonished him, \"you needed to be taught a lesson. It's strange to see that you actually feel sympathetic towards a person you once blithely wiped out....\"\n\n\"I didn't!\", the Creator replied, angrily. \"You would have. Now, with our intervention, you will not. And at least I have given her a pleasant interlude now.....\"\n\n\"It's what comes after that which worries me.....\"\n[Here the printing stops abruptly.]\n\n> You read the pile\nA long, complex case history, from an influenza patient in the far provinces. Scrawled along the bottom, probably by a waggish intern, is one line: \"It's A Bloody Life.\"\n\n> Continue\nA neurological case history: \"2 year-old infant, Alison D. History of seizures when exposed to bright light, such as a Photopia. Query: Grand mal epilepsy? Suggest sleep electroencephalogram.\"\n\n> Keep going\nYou skim through the entries on one of the papers: Edward Franklin, forty-three, European, admitted on a tentative diagnosis of peptic ulcer. The final diagnosis was indigestion. Hmph.\n\n> You examine table\nJust your everyday table, a bit bigger and older than the one in your office.\n\n> You look under the table\nUnder the table - aren't you getting tired of stooping that much, even though you're too young for backache? - you find a small grey piece of paper, and pick it up.\n\n> Inventory\nYou are carrying:\na small square of paper\na pink sheet of paper\na discharge sheet\na pale blue dress (being worn)\n\n> You read the square\nHarold, Last Chapter, no lines specified.\n\"At least you cannot accuse me of not having a sense of humour\", the Voice chuckled. \"It seems like a nice touch to me.\"\n\n\"Hmph\", the Creator replied. \"I'm not entirely sure if meeting me face to face is a good idea.\"\n\n\"Well, considering what she will have to do later...\", the Voice began. \"Let's discuss something else, shall w.....\"\n[Here the printing stops abruptly.]\n\n> You look under the table\nNothing more. Though the floor does seem to have a rather nice pattern on it. (You're good at observing things like that.)\n\n> Search pile\nSome anatomy student has been practicing his diagrams on the forms, and his depiction of a liver is rather artistic, so you spend some time admiring it."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nRecords Room, in the hospital\nThis small, stuffy, but not musty annexe lying west of the reception area houses the hospital's records, or at least the plaque on the door says so. Much to your surprise, there are no computers, and no ledgers either, on the solitary table, large as it is. There are no exits except the one back east.\n\nA pile of records sits on the table, neglected.\n\n> You look at the discharge sheet\nA blank discharge sheet, of the kind issued to patients before they leave the hospital.\n\n> You read it\nThe form itself is blank, but it's the instructions to visitors, in small type at the base of the page, that interest you:\n\n1. Visitors to Wards 1,3,4 and 5 (General Surgery) are not allowed outside the allotted hours of 9 - 1 p.m and 3 - 6 p.m. They must be attired in aseptic outfits for patient safety, and require proof of identification.\n2. Visitors to Wards 2,6,7,8 and 9 (Internal Medicine) require proof of identification, but do not require any special attire.\n3. Visitors to Ward 10 (Maternity) should wear a disposable scrub suit (over their ordinary clothing) consisting of a cap, mask and gown, before entering the operating or recovery rooms.\n\n> You read the dress\nSlightly dated, but you've always had a soft corner for this one ever since the Eugenics Repeal Act went through - with your assistance - on the day you bought it.\n\n> You go west\nThe entry to Ward Four is completely barred. Forget it - you're not needed there in the first place.\n\n> You go to the east\nNot unlike any other ward you've seen in construction, Ward Two is equally empty. Where is everybody?\n\nLying just at your feet is a small platinum key.\n\n> You examine the key\nA platinum key, too small to be a door key. Perhaps it's used to open a safe-deposit box of some sort. There is no tag or serial number on it, which makes tracing it difficult.\n\n> You go to the east\nWard One is completely deserted. Rows of spotless beds, empty of patients, greet you coldly, under the glare of powerful, but not overpowering, arc lights.\n\nLying thrown across one of the hospital beds is a long green gown of the disposable variety.\n\n> You wear it\nAfter a little push and shove around the neck region - the gown was obviously designed for emaciated patients - you manage to slip it over your head, and acquire quite a competent, surgical appearance.\n\n> You unlock the locker with the key\nYou unlock the silver locker.\n\n> You open the locker\nYou open the silver locker, revealing a green surgical mask.\n\n> You look at the mask\nA surgical face mask of some vague green fabric, just right for your size.\n\n> You go to the east\nThe door is closed.\n\n> You check what you're carrying\nYou are carrying:\na green surgical mask (being worn)\na long green gown (being worn)\na platinum key\na small square of paper\na pink sheet of paper\na discharge sheet\na pale blue dress (being worn)\n\n> Go south\nThere's a wall in the way, Cassie, and you do hate banging your head against those.\n\n> Go west\nWard 10, Antechamber\nThis is a small chamber that forms part of Ward 10, which continues to the north, near a doorway marked by a sign labelled \"Recovery Room\". The only other exit is back to your east.\n\nStanding near you, with one eye on the doorway, is a medical student, who was obviously asked to keep an eye on newcomers.\n\n> Go east\nFirst Floor Corridor, South End\nThe southern end of the first floor corridor, as always, has east and west doorways, marked \"Ward 7\" and \"Ward 10\". You can't go any further south, but there's a safe return north.\n\n> Go east\nA group of surgeons, in animated discussion, bars your way.\n\n> You go east\nWard 6 is barred by a glass door, through which you can see an operation going on. Something tells you that you're not needed there.\n\n> Go west\nWard 9 is obviously being renovated, because it's gleamingly white and clean, but has no beds, lights or other fixtures. The only exit is out east.\n\n> Go east\nThere are only three beds in Ward 5, and no lighting. Obviously, the hospital isn't doing much business these days, and the only thing that strikes your attention is the cupboard in one corner. The way out is west.\n\nYou can see a green cap here.\n\n> You wear the cap\nIt does take quite an effort for you to crowd your elaborate hairstyle - still rather unruffled despite all your adventures - under the cap, but you manage to do so.\n\n> You go north\nRecovery Room, in Ward 10\nThe southern end of the recovery room is empty, but there seems to be some activity going on to the north, to which you feel strangely drawn. The other exit, south, leads back to the antechamber.\n\n> You go to the north\nYou stride purposefully towards the other end of the recovery room....\n\nAt the other end is a single bed - and a small chamber, not exactly an incubator, but perhaps a heat chamber of sorts, which contains a very young girl, who is sleeping peacefully. Lying on the bed is a woman of about thirty or so, who looks at you gratefully.\n\n\"Good evening, Mrs. Anderson - Cassandra - I knew you would come. I apologize for making you come all this way here\" - she waves lightly - \"as my own home would have been a more convenient place; but plot comes before all\". She laughs, then looks at the heat chamber. \"And, if you haven't yet been introduced, this is my daughter. A few hours old, but much calmer than any of us.\"\n\n\"Absolutely\", you reply, drily.\n\n\"Well, let me come to the point. There is one more task to be completed, but I do not know anything about it myself. Mr. Author, I fear, is very discreet. All I have been instructed to do, Cassandra, is to give you this.\"\n\nShe hands you a small object, which you stuff into a pocket without even examining.\n\n\"Good luck, Cassie\", she says. The little girl waves behind the glass - at you? - and once again the whole room dissolves...........\n\nPress [SPACE].....\nChapter Ten - It Takes A Village\n\nYou are inside a small, cramped, dingy and dark thatched hut. You can see nothing but an exit to the west, slightly illuminated, but you can hear voices - faintly - ringing in your ears. The only exit is out to the west.\n\n> You listen\nYou can hear a hollow voice saying, \"Bunch of fools.\"\n\n> You go west\nThis vast open space, stained a lurid red that reminds you of poorly made lipstick, fringed by trees on all sides, seems to close in on you. No escape is possible.\n\nWhat you see amidst the trees almost chokes you with revulsion. The ugliest monster you could ever think of - dressed in a zoot suit. Ugh!\n\nAs the monster spots you, it laughs loudly and uproariously. \"That all they send? End of road for little lady! HA HA HA!\"\n\n> You check your inventory\nYou are carrying:\na fountain-pen\na pale blue dress (being worn)\n\n> You examine the monster\nThe monster, if he weren't so hideous, would be positively comic. For all his threats he is dressed in an elegant style, and looks positively foppish. You're not sure what kind of monster he is - perhaps a troll.\n\nThe monster lunges at you. \"Me need weapon\", it grumbles.\n\n> You kill the monster with the pen\nAs you attack the troll with all your might, using your trusty pen, it dissolves into a whiff of green smoke. \"NOOOOOO!\" it screams. \"UNFAIR! FOUL! OFFSIDE! UNSPORTING! TROLLS KILLED ONLY WITH SWORD!\"\n\nAs you shake your head in wonder, you can see something descend from the sky.\n\nYes, it's the family jet. The door opens, and a familiar face pops out - Gerald. He walks quickly up to you, and takes you by the hand.\n\n\"Welcome back, Cassie\", he says, joyously, as your two children, looking at you and the troll, can barely conceal their admiration. \"We're going home.\"\n\n\"You defeated him\", you say, amazed.\n\n\"No, you did. Your character. You did, Harold. You have destroyed the menace that was threatening our dimension. This is your victory, not mine.\", the Author replied. The Voice - appearing in the now familiar guise of a man whose profile resembled a coin - agreed, as mildly as it could.\n\n\"You mean...........\", you say, still unable to take it in. \"You mean I've.......But I never did....\"\n\n\"Yes, you did not destroy your manuscript. You will go on to complete it - but we needed you, here, to understand what was at stake - and to save our dimension. And each time a new menace arises, your creatures - your gifts to this world - shall rise up, time and time again, and guarantee us success. But you must leave us now.\"\n\nThe palace in the clouds dissolves around you.\n\n\"Good luck, Harold.\"\n\nYou wake up. Nothing has changed. It's the same room, the same bed, the same tired old manuscript, the same surreal dream fading from the edges of your mind.........\n\nNo, something has changed. Forty-six copies be damned. Sales figures, faugh. After all, which author can claim to have saved an entire parallel dimension?\n\nYou'll never really know how it all started.\n\nThat's not surprising, because you're not even sure what happened in the first place. If it had been anything else, you would have dismissed it as ninety-nine per cent bad digestion and one percent fancy, much as Ebenezer Scrooge would have. Somehow, in this case, that explanation doesn't really grab you. Did it really mean anything? Or was it, as the physiologists would say, just a matter of a few neurons in your brainstem working overtime?\n\nBut life is strange. It's almost impossible to predict - as Heisenberg pointed out - where exactly you might end up, even when you start in as mundane a place as your own home....\n\nThis is hardly the place for an adventure to begin. You know the furniture of this room - desk, chair, bed and bookcase - almost as well as the contents of your pockets.\n\nOn the wooden desk is a dusty manuscript."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nYou are inside a small, cramped, dingy and dark thatched hut. You can see nothing but an exit to the west, slightly illuminated, but you can hear voices - faintly - ringing in your ears. The only exit is out to the west.\n\n> You kill the monster with the pen\nAs you attack the troll with all your might, using your trusty pen, it dissolves into a whiff of green smoke. \"NOOOOOO!\" it screams. \"UNFAIR! FOUL! OFFSIDE! UNSPORTING! TROLLS KILLED ONLY WITH SWORD!\"\n\nAs you shake your head in wonder, you can see something descend from the sky.\n\nYes, it's the family jet. The door opens, and a familiar face pops out - Gerald. He walks quickly up to you, and takes you by the hand.\n\n\"Welcome back, Cassie\", he says, joyously, as your two children, looking at you and the troll, can barely conceal their admiration. \"We're going home.\"\n\n\"You defeated him\", you say, amazed.\n\n\"No, you did. Your character. You did, Harold. You have destroyed the menace that was threatening our dimension. This is your victory, not mine.\", the Author replied. The Voice - appearing in the now familiar guise of a man whose profile resembled a coin - agreed, as mildly as it could.\n\n\"You mean...........\", you say, still unable to take it in. \"You mean I've.......But I never did....\"\n\n\"Yes, you did not destroy your manuscript. You will go on to complete it - but we needed you, here, to understand what was at stake - and to save our dimension. And each time a new menace arises, your creatures - your gifts to this world - shall rise up, time and time again, and guarantee us success. But you must leave us now.\"\n\nThe palace in the clouds dissolves around you.\n\n\"Good luck, Harold.\"\n\nYou wake up. Nothing has changed. It's the same room, the same bed, the same tired old manuscript, the same surreal dream fading from the edges of your mind.........\n\nNo, something has changed. Forty-six copies be damned. Sales figures, faugh. After all, which author can claim to have saved an entire parallel dimension?"
    },
    {
        "text": "[Themes: satire, gender-neutral protagonist, violence, male protagonist, hospital, parody]\n\nThe whirring and chirping of medical instruments is all around\u2014a worrying commotion, to some, but to your ears it is as regular as a heartbeat, as usual as business. While you walk these sterile halls, you are in your element: the element of health. The exit is east.\n\nPauline, pale and frail, looks up at you pleadingly from her supine position aboard her hospital bed.\n\n[Author's Note: Take on the role of Doctor Langridge, whose patient, Janine, is very sick.]\n\n> You examine Pauline\nYou gaze down meaningfully at Pauline, at her once-soft features cast into sharp relief by the mysterious illness that wracks her youthful form.\n\n\"Oh, Doctor Langridge,\" Pauline rasps, \"Tell me some good news.\"\n\n\"I wish I could,\" you say, \"but the truth is that your condition is getting worse. And the even worse news is that your insurance won't pay for your procedure.\"\n\nPauline's lip quivers.\n\n> About yourself\nYou are Doctor Langridge, mentor to some, friend to many, and healer to all of the citizens of Craverly Heights. Everyone in town knows your name. It is Doctor Langridge.\n\n> You hug Pauline\nYou lean down until your face almost meets Pauline's. \"The Hippocratic Oath warns a doctor not to give into his or her feelings for a patient,\" you say, \"but an oath can only be kept for so long.\" Pauline rises weakly to kiss you passionately. The moment is perfect, but it does not last forever.\n\n\"No one can know about this,\" you say. Pauline nods weakly.\n\n> You talk to Pauline\n\"Can't anything be done, Doctor Langridge?\" Pauline asks pitifully.\n\n\"I'll talk to your mother,\" you say, though your countenance does not indicate confidence."
    },
    {
        "text": "[Themes: satire, parody]\n\n> You look at your surroundings\nThe whirring and chirping of medical instruments is all around\u2014a worrying commotion, to some, but to your ears it is as regular as a heartbeat, as usual as business. While you walk these sterile halls, you are in your element: the element of health. The exit is east.\n\nPauline, pale and frail, looks up at you pleadingly from her supine position aboard her hospital bed.\n\n> Go east\nPauline's hospital room is west from here. The hallway continues south.\n\nThere's a rack of shelves standing against this end of the hall.\n\n> You examine the shelves\nOn the rack of shelves are a magnifying glass, a framed photo, a pair of sunglasses, and a handgun.\n\n> You take all\nmagnifying glass: Taken.\nframed photo: Taken.\npair of sunglasses: Taken.\nhandgun: Taken.\n\n> You look at the glass\nWhich do you mean, the pair of sunglasses or the magnifying glass?\n\n> Magnifying glass\nA cheap, beat-up magnifying glass.\n\n> You look at the sunglasses\nGrossly out-of-fashion, and as flimsy.\n\n> You examine photo\nIn the frame is a photo of a dog.\n\n> You look at the gun\nNickel-plated. Shiny.\n\n> Go south\nNobody's around.\n\nThe hallway runs north, south, east, and west from here.\n\nA non-diegetic bulletin is posted on the wall.\n\n> You go to the east\nGina's Pizzeria is north from here. The hallway continues west."
    },
    {
        "text": "[Themes: male protagonist, gender-neutral protagonist, parody]\n\n> Look around\nThe tender light of the morning\u2014or the very early evening\u2014casts\nitself\nsoftly against the downy linen of spotless white tablecloths and the Italian flag hanging from the wall. The exit is south.\n\nYou glance around meaningfully. Gina is nowhere to be seen.\n\n> Go west\nCraverly Manor is south from here. The hallway continues east.\n\n> Go south\nA gargantuan portrait of the hawk-eyed and hawk-nosed Leopold Craverly stares down at you from its perch on the mahogany-panelled wall. The exit is north.\n\nStanding beneath the portrait is Leopold Craverly himself, identical to his own image in every way. He eyes you sternly from his perch atop his snake-headed cane.\n\n> You talk to Leopold\n\"What's new over at Roland Memorial, Langridge?\" Leopold asks.\n\n\"It's Gina's daughter, Pauline. They can't afford the only procedure that will keep her alive. But, Mister Craverly, I know you are not an uncharitable man.\"\n\nLeopold lets loose a torrent of guffaws. \"I think that sentence needs one more negative, Langridge! Of what concern to me is the situation of a girl I wouldn't recognize on the street?\"\n\nYour response to this question is a glare like a polished silver dagger.\n\n> Continue\n\"I beg you to reconsider Janine's plight, Mister Craverly,\" you say.\n\n\"I think you mean Pauline. And I beg you to leave off the\nsubject, Langridge!\" answers Leopold in a mocking tone.\n\n> You check your inventory\nYou are carrying:\na handgun\na pair of sunglasses\na framed photo\na magnifying glass\n\n> You look at Leopold\nThough his hair is silver-white, and his eyes have been furrowed by a lifetime of avarice and cynicism, Leopold still has many years left in his life, and many goals left to achieve in those years, no matter what or who stands in his way.\n\n\"I beg you to reconsider Janine's plight, Mister Craverly,\" you say.\n\n\"I think you mean Pauline. And I beg you to leave off the\nsubject, Langridge!\" answers Leopold in a mocking tone.\n\n> You show the photo to Leopold\n\"What's that there?\" Craverly asks.\n\n\"It's Wendell,\" you say. \"Pauline's dog.\"\n\n\"Ah, I see, I see. And how has he been doing?\"\n\n\"He died three years ago,\" you answer meaningfully, \"Under mysterious circumstances.\"\n\nCraverly stares meaningfully back at you.\n\n> Point magnifying at photo\nYou point the magnifying glass squarely at the framed photo.\n\n> You examine photo\nA photo of Pauline's beloved golden retriever, Wendell. A faithful companion to his owner, and beloved of all citizens of Craverly Heights, Wendell was cut down before his time\u2014under mysterious circumstances.\n\n> You look through the magnifying glass\nYou lean in for a closer look at the mahogany-panelled wall.\n\n> Point magnifying glass at Leopold\nYou point the magnifying glass squarely at Leopold Craverly.\n\n> You go to the south\nThe break room is east from here. The hallway continues north.\n\n> You go east\nAn antique vending machine takes up most of the tiny room. The exit is west.\n\nOn the table is a script.\n\nLane is sitting around with a blank look on her face.\n\n> You take the script\nTaken.\n\n> You read script\nTwo pages. The first page reads:\n\n\n\nIf it's so easy, why don't you write it yourself?\n\nThe second page is blank.\n\n> You examine Lane\nLane is wearing a pink blouse.\n\n> You talk to Lane\n\"Hey, Lane,\" you say. \"Shouldn't you be down at the Pizzeria?\"\n\nLane's eyes widen. \"Oh, shoot, sorry! Sorry!\"\n\nShe continues to apologize as she rushes out into the hall.\n\n> Go north\nThe tender light of the morning\u2014or the very early evening\u2014casts\nitself\nsoftly against the downy linen of spotless white tablecloths and the Italian flag hanging from the wall. The exit is south.\n\nGina is here, resolutely straightening things out in anticipation of the day's business.\n\n> You talk to Gina\n\"Pauline's insurance has run out,\" you say. Gina's expression descends into concern.\n\n\"She needs a procedure, or she'll die,\" you continue. \"Is there any way you can pay for it?\"\n\n\"This pizzeria is barely paying for its own bills,\" says Gina. \"All the money I could have spent to save Pauline's life, I spent on my dream of becoming a restauranteur.\"\n\n\"We all have to live with our mistakes,\" you say, \"but Pauline may not have long to live with yours.\"\n\nGina tries to hide her face.\n\n> You show the photo to Gina\nGina regards the photo sadly. \"Oh, Wendell, you big lug. Why'd you have to leave us?\" she asks.\n\n\"You don't have any clues to the mystery of his death?\" you ask.\n\nGina regards you angrily. \"Are you accusing me of something?\" she asks.\n\n\"Of course not,\" you answer.\n\n> Point magnifying glass at tablecloth\nYou point the magnifying glass squarely at the white tablecloth.\n\n> You wear the sunglasses\nYou put on the pair of sunglasses.\n\n> You talk to Gina\n\"Hello, Gina,\" you say, your teeth flashing impishly from between your wily lips.\n\nGina's face is a stoic cliff, carved from stone. \"Sid. You're supposed to be in a federal prison.\"\n\nYour cackling is like an incoming thunderstorm. \"People seem to think so! But I figure, wherever I am is where I'm supposed to be.\" You smirk.\n\n> About yourself\nYou are Sidney Langridge, feared and hated in the town of Craverly Heights and beyond. Only in appearance are you identical to Doctor Langridge, for in words and deeds you are the polar opposite of your do-gooder twin.\n\n> You talk to Gina\n\"What are you still doing here?\" asks Gina.\n\n\"Wouldn't you like to know?\" is your menacing reply.\n\n> You point the gun at Gina\nYou point the handgun squarely at Gina.\n\nGina reels in shock at the sight of the gun that is pointed her way. She cringes audibly. You cackle ominously.\n\n> You shoot gina\nYour gun screams as if in anger as it ejects its bullet straight into Gina's mortal coil. If she had any last words, it is too late for them now.\n\nShe falls to the floor with a horrible slump, as dead as her Italian role model, Julius Caesar.\n\n> You talk to Leopold\n\"Hello, there, Leo!\" you say.\n\n\"Out of prison again,\" Leopold begins, and you say \"Naturally!\" as he says \"I see.\" You both stop talking, and Leopold coughs, waiting for you to talk to him again.\n\n> You talk to Leopold\n\"Hello, there, Leo!\" you say.\n\n\"Out of prison again,\" Leopold says, and then he is quiet for a moment.\n\n\"Naturally!\" you say, too late, and Leopold shakes his head. \"Sorry. Let's try it one more time.\"\n\nYou shuffle your feet.\n\n> You talk to Leopold\n\"Hello, there, Leo!\" you say.\n\n\"Out of prison again,\" Leopold says, and you say \"Naturally!\"\n\nLeopold nods.\n\n> You show the photo to Leo\n\"You remember Wendell, right?\"\n\n\"Of course,\" Craverly sneers, \"That's Gina's dog. I seem to recall it perished under mysterious circumstances?\"\n\n\"Cut the bull, Leo. We both know that I made Janine hit Wendell with her car after you saw him digging down at the train yard where we buried the jewels. I mean, Pauline.\"\n\nCraverly chortles. \"And now you think I have the jewels? Well, even if I do, they're staying with me.\"\n\n> Point gun at Leo\nYou point the handgun squarely at Leopold Craverly.\n\n\"I want those jewels, old man!\" you say, menacing the silver-haired millionaire with the gleaming barrel of your murderous weapon. \"Are you going to play along, or are you going to die?\"\n\n\"All right, all right! Here!\" Leopold draws a satchel out of his pocket and tosses it to you. \"They're all there. Just leave me be!\"\n\nYou feel the heft of the satchel in your hand and smile a smug smile.\n\n> You look at the satchel\nIt's a small suede pouch, as luxurious as the prize it comtains.\n\n> You open the satchel\nYeah, it's empty.\n\n> You show the photo to Gina\n\"Where did you get that photo of my daughter's beloved golden retriever Wendell?\" Gina asks indignantly and accusingly. You lick your lips menacingly.\n\n\"So it's a crime to have a photo of a dog now?\" you ask. \"What is this world coming to?\"\n\nGina glares at you.\n\n> You remove the glasses\nYou take off the pair of sunglasses.\n\n> You show the satchel to Pauline\n\"What's in that bag, Doctor Langridge?\" asks sweet, innocent Janine.\n\nYou consider the question with all the weight it merits.\n\n\"I have here some medicine. But it won't help you. It's a special medicine, for a different patient. I shouldn't tell you too much about it. Never mind.\"\n\n> You show the photo to Pauline\nAt the sight of her beloved departed dog, Pauline's expression sinks still further into the mire of melancholy.\n\n\"Oh, Wendell,\" she mourns, on the verge of weeping. \"If only you were here, I wouldn't feel nearly so awful. If I ever find out who took you from me...\"\n\n\"But Wendell's death was ruled an accident,\" you say.\n\nPauline fixes you with as steely a glare as she can muster in her depleted state. \"You don't believe that, do you?\" she asks.\n\n\"No,\" you say.\n\n> You go east\nJanine's hospital room is west from here. The hallway continues south.\n\nThere's a rack of shelves standing against this end of the hall.\n\n> You wear the glasses\nYou put on the pair of sunglasses.\n\n> You go west\nThe whirring and chirping of medical instruments is all around\u2014a worrying commotion. The exit is east.\n\nPauline, pale and frail, looks up at you confusedly from her supine position aboard her hospital bed.\n\n> You talk to Pauline\n\"Sidney!\" Pauline's eyes widen as they detect your identity. \"You shouldn't be here! What if the doctor, your twin, sees you?\"\n\n\"You leave the nerd to me, sugarbabe. I've been dealing with that clamshell since the day we were both born.\"\n\n> You show the photo to Pauline\nSalty, unhappy tears well up in Pauline's eyes as she regards the image of her beloved dog. \"I miss him so much,\" she says.\n\n\"But you remember why we killed him, don't you?\" you ask.\n\n\"Of course. Wendell kept trying to dig up the place where we buried the jewels.\"\n\n\"Yeah, well, right after I got out of prison I went back to that place, where we buried the jewels. But someone got there first. Someone dug them up.\"\n\nPauline gasps. \"But who else knew about the jewels?\"\n\n\"Only one person,\" you menacingly say.\n\n> You show the satchel to Pauline\n\"The jewels!\" Pauline gasps, her breathlessness as much a factor of her surprise as a consequence of her illness. \"Then you were able to convince...\"\n\n\"Mister Craverly, yes. The jewels are mine\u2014ours, now.\"\n\n\"Sidney, we can sell the jewels for the money for the medical treatment that will save my life!\" Pauline's eyes are huge and wet beneath the hospital lights as they plaintively gaze upward into your own.\n\n\"Sugarbabe, those were my thoughts exactly.\"\n\nPRESS ANY KEY TO CONTINUE\u2724\u2724\u2724\n\n\"Why is Sidney nice all of a sudden?\"\n\n\"Well, I thought about just abandoning Janine, but I realized I had a chance to push things in a bold new direction.\"\n\n\"It's Pauline. And that's not gonna work. People love Sidney the evil twin; they're not going to respond well to Sidney the altruist. Besides, Pauline has to stay sick until Lisa has her baby.\"\n\n\"Oh. Do we need to shoot the whole thing again?\"\n\n\"There's no time. We'll figure something out.\"\n\n> You talk to Pauline\n\"Oh, Doctor Langridge,\" Pauline rasps, \"Tell me some good news.\"\n\n\"I wish I could,\" you say, \"but the truth is that your condition is getting worse. And the even worse news is that your insurance won't pay for your procedure.\"\n\nPauline's lip quivers.\n\n> Go east\nPauline's hospital room is west from here. The hallway continues south.\n\nThere's a rack of shelves standing against this end of the hall.\n\n> You examine the flag\nThe tricolor stands straight and proud and wide and true for all to see, a symbol of the deep respect and affection that Gina feels toward her heritage.\n\n> You look at the tablecloths\nLike an expectant canvas is each tablecloth, ready to receive the masterpiece that is every one of Gina's pizzas.\n\n> You wear tablecloth\n(first taking the white tablecloth)\nMoving that is someone else's job.\n\n> You examine portrait\nThe portrait may resemble Craverly even more than does Craverly himself. Art imitates life, yes: but life is messy, and inaccurate; art is perfect, and reflects the real world as it really is.\n\n> Point magnifying at portrait\nYou point the magnifying glass squarely at the gargantuan portrait.\n\n> You look through the magnifying\nYou lean in for a closer look at the gargantuan portrait.\n\n> You talk to Leo\n\"What's new over at Roland Memorial, Langridge?\" Leopold asks.\n\n\"It's Gina's daughter, Pauline. They can't afford the only procedure that will keep her alive. But, Mister Craverly, I know you are not an uncharitable man.\"\n\nLeopold lets loose a torrent of guffaws. \"I think that sentence needs one more negative, Langridge! Of what concern to me is the situation of a girl I wouldn't recognize on the street?\"\n\nYour response to this question is a glare like a polished silver dagger.\n\n> You talk to Leo\n\"I beg you to reconsider Janine's plight, Mister Craverly,\" you say.\n\n\"I think you mean Pauline. And I beg you to leave off the\nsubject, Langridge!\" answers Leopold in a mocking tone.\n\n> You show the gun to Leo\n\"A cute toy,\" Craverly says, clearly unimpressed by the instrument of death you present to him. \"Be careful with it; you might break a window!\" He guffaws enthusiastically at his own flimsy joke.\n\n> You show the glasses to Leo\nLeopold Craverly is unimpressed.\n\n> You show it to Lane\nLane has already seen the script. She rolls her eyes. \"I know, right?\"\n\n> You look at the vending\nThere's one sticky note on the machine that says \"OUT OF ORDER\", and there's another sticky note that says \"THIS MACHINE OWES ME $7000\".\n\n> You talk to Lane\n\"Hey, Lane,\" you say. \"Shouldn't you be down at the Pizzeria?\"\n\nLane's eyes widen. \"Oh, shoot, sorry! Sorry!\"\n\nShe continues to apologize as she rushes out into the hall.\n\n> You take the note\nYou can't lug this vending machine around. It's the real thing.\n\n> You talk to Gina\n\"What about Pauline's father?\" you ask. \"Could he pay for the procedure?\"\n\n\"Doc, Pauline's father isn't in Antibes.\" Your jaw slackens at the sound of Gina's revelation. \"The fact is, I don't know who Pauline's father is.\"\n\nYour expression is one of shock.\n\n> You show the gun to Gina\nGina regards your gun with a skeptic's pair of eyes. \"Why would a doctor need a gun?\" she asks.\n\n\"We doctors need a lot of things,\" you answer meaningfully.\n\n> You show the script to Gina\nGina is utterly boggled by the papers you present to her. \"I have no idea what this is,\" she says. \"Did you get this back at the hospital?\"\n\n\"Yes, Gina,\" you say. Of course you did.\n\n\"Then maybe they'll hold some interest to Pauline. If she has the strength to read them,\" Gina adds bitterly.\n\n> You look at Janine\nYou gaze down meaningfully at Pauline, at her once-soft features cast into sharp relief by the mysterious illness that wracks her youthful form.\n\n\"Can't anything be done, Doctor Langridge?\" Pauline asks pitifully.\n\n\"I'll talk to your mother,\" you say, though your countenance does not indicate confidence.\n\n> You show the script to Pauline\nYou place the papers gingerly in Pauline's delicate hands.\n\n\"Are these...the test results?\" Pauline asks.\n\n\"Yes, Janine,\" you say. Of course they are.\n\n\"What do they say?\"\n\nYou bite your lip thoughtfully. \"I still need to analyze them,\" you say. \"I'll let you know once I'm finished.\"\n\n> You go east\nJanine's hospital room is west from here. The hallway continues south.\n\nThere's a rack of shelves standing against this end of the hall.\n\n> You show the script to Leo\n\"What's this?\" Leopold asks, eyeing the papers with inexplicable contempt.\n\n\"These are test results,\" you say. \"Pauline's test results.\"\n\n\"Ah! I will attempt an impersonation of someone who cares, then: What do they say?\"\n\nYou glare at the old man, at his hateful face. \"I haven't figured that out. Yet.\"\n\n\"Of course! I expect nothing more from the greatest doctor in Craverly Heights.\" Leopold guffaws.\n\n> Point magnifying at script\nYou point the magnifying glass squarely at the set of test results.\n\n> You show the photo to Pauline\nAt the sight of her beloved departed dog, Pauline's expression sinks still further into the mire of melancholy.\n\n\"Oh, Wendell,\" she mourns, on the verge of weeping. \"If only you were here, I wouldn't feel nearly so awful. If I ever find out who took you from me...\"\n\n\"But Wendell's death was ruled an accident,\" you say.\n\nPauline fixes you with as steely a glare as she can muster in her depleted state. \"You don't believe that, do you?\" she asks.\n\n\"No,\" you say.\n\n> You show the results to Gina\n\"I wanted to show you these test results,\" you say, thrusting the papers in to Gina's motherly hands. She looks them over with an expression that changes from skeptical, to interested, to astonished.\n\n\"Doc! This means...\"\n\nYou lean in closer.\n\n\"This means...\" Gina stammers, \"Pauline's father is...\"\n\nYour eyes widen. Of course!\n\n> You talk to Gina\n\"What are you still doing here?\" Gina cries. \"Pauline needs to know about her real father! And so does...her father.\n\n> You talk to Pauline\nPauline looks up at you, beautiful tears welling in her still more beautiful eyes. \"Please, Doctor Langridge! Talk to my father! He might be able to help!\"\n\n> You show the results to Leo\n\"What's this?\" Leopold asks, eyeing the papers with inexplicable trepidation.\n\n\"These are test results. Pauline's test results,\" you say, extremely meaningfully. \"They constitute conclusive proof that you are Pauline's father.\"\n\nThe weight of this revelation nearly knocks Leopold onto the floor. He grasps his cane all the tighter, and mutters:\n\n\"Nineteen years ago... The train tunnel collapse!\"\n\n\"The underground gases that seeped into the tunnel caused amnesia in all of the passengers,\" you explain. \"Nobody on the train could remember what happened before the rescue team arrived. But now we know about one thing that definitely did happen. You and Gina conceived a child, a child that desperately needs a medical procedure she can't afford.\"\n\n\"I'll pay every cent!\" Leopold is on the verge of tears. \"I have a daughter! The Craverly line will go on!\"\n\nPRESS ANY KEY TO CONTINUE\u2724\u2724\u2724\n\n\"And fade to black. See? Everything worked out fine.\"\n\n\"So Pauline's gonna be okay?\"\n\n\"Of course! We were never gonna kill her off. She has to stay in that bed until Lisa has her baby, but we'll figure that out.\"\n\nThe director leans back and sighs. \"Now, you guys did a good job out there today. I don't want to diminish the enormity of your accomplishment. But before we get working on #6002, we gotta get one thing done.\"\n\n> You talk to Pauline\n\"Oh, Doctor Langridge,\" Pauline rasps, \"Tell me some good news.\"\n\n\"I wish I could,\" you say, \"but the truth is that your condition is getting worse. And the even worse news is that your insurance won't pay for your procedure.\"\n\nPauline's lip quivers.\n\n> You show the script to him\n\"What's this?\" Leopold says, eyeing the papers with inexplicable contempt. \"Some document you found at the hospital?\"\n\n\"Yes,\" you say.\n\n\"Then I can safely assume that it does not concern me!\" Craverly punctuates his statement with a triumphant guffaw.\n\n> You show the script to Leo\n\"What's that you've got there?\" Leopold asks.\n\nYou smirk with unconscionable smugness. \"It's a script. I'm gonna be a star,\" you say.\n\n\"I imagine you must think so. But you're no star, Sidney. You're a black hole.\"\n\nYou grimace at the disquieting veracity of Leopold's words.\n\n> You show the script to Gina\n\"This is the deed to my new condo,\" you tell Gina. She cranes her head to get a better look at the mysterious papers while maintaining a safe distance from your crime-ridden form.\n\n\"I hope it's far away from here,\" she says.\n\n\"Nice try,\" you say, \"But I'll never tell the likes of you where it is!\"\n\n> You shoot Leo\n\"Come now, Sidney, calm yourself!\" the old man cries, but it is too late for him. You fire the gun into his heart, the heart that could never bring itself to feel love. It will never feel anything again.\n\nCraverly falls to the floor, dead.\n\n> You examine Leo\nLeopold thought he would live long enough to see all of his dreams come true. Now you know that his belief was false.\n\n> You show the gun to Gina\n\"Is that the gun you used to shoot the mayor?\" Gina asks.\n\n\"Nah, this gun is innocent,\" you say, quickly adding: \"And so am I!\"\n\n> You hug Pauline\nYou plant a long, meaningful kiss on Pauline's quivering lips. \"It's been so long,\" she sighs.\n\n> You show the script to her\n\"What's that?\" Pauline asks.\n\nYou shake the papers triumphantly. \"This is my certificate of release! From prison! They give you a certificate that says you aren't supposed to be incarcerated anymore, in case a cop tries to toss you back in the slammer.\"\n\n\"I didn't know that,\" says Pauline.\n\n> You talk to Pauline\n\"You came back for me, Sidney,\" Pauline says, her chest working double-time to force the words out of her lungs.\n\n\"I sure did, sugarbabe.\"\n\n> You show the gun to her\n\"Nice gun,\" Pauline says.\n\n\"Thanks,\" you say, menacingly.\n\n> You show the photo to her\nSalty, unhappy tears well up in Pauline's eyes as she regards the image of her beloved dog. \"I miss him so much,\" she says.\n\n\"But you remember why we killed him, don't you?\" you ask.\n\n\"Of course. Wendell kept trying to dig up the place where we buried the jewels.\"\n\n\"Yeah, well, right after I got out of prison I went back to that place, where we buried the jewels. But someone got there first. Someone dug them up.\"\n\nPauline gasps. \"But who else knew about the jewels?\"\n\n\"Only one person,\" you menacingly say.\n\n> You show the photo to her\n\"Have you talked to the one other person who knew about the jewels yet?\" Pauline asks.\n\n> You shoot Pauline\nYou fire into Pauline's chest. The crack of the gunshot is drowned out by her desperate scream\u2014but, an instant later, her screaming ends. She's dead.\n\n\"So what happens now?\"\n\n\"First of all, none of that happened.\"\n\n\"You mean like, we're gonna say it was a dream?\"\n\n\"No, I mean we're going to scrap all of it and start from scratch. Nobody had a dream, nobody got shot, nothing. We're going to air a rerun. Then we're going to hire a new writer, and we're going to do a real episode, with a plot. And you are forbidden\nfrom improvising. Never again.\"\n\n> About yourself\nYou are Doctor Langridge, mentor to some, friend to many, and healer to all of the citizens of Craverly Heights. Everyone in town knows your name. It is Doctor Langridge.\n\n> Kiss lane\nLane pushes you away. \"Save it for later, all right?\"\n\n> Kiss gina\n\"What are you doing?\" Gina asks as you approach her.\n\n\"Let me show you,\" you say, as you put your arms around her body and tenderly meet her lips against yours. Gina yields passionately to your embrace.\n\nBut then the moment is over. \"This can never happen again,\" Gina whispers.\n\n> Continue\nYou kiss Gina again. Again you feel the warmth of bodily contact that you have been craving for so long. Again Gina says that this can never happen again.\n\n> Kiss gina\nGina rebuffs your amorous advance. \"Sidney, I wouldn't kiss you with my dead husband's mouth.\"\n\n> Kiss leo\nYou rush boldly up to Leopold and, before he can react, you softly grab his head and press your lips against his lips. The meeting of your bodies is an explosive event, but it is not accompanied by a meeting of hearts.\n\n\"Oh, Langridge,\" Leopold mutters, still embraced by your arms, \"I left my chances for love behind a long time ago. Don't turn out like me\u2014don't hold out hope for something that can never be.\"\n\nWith an expression of tremendous emotion, you step away from him.\n\n> Kiss leo\nLeopold pushes you away. \"Forget it, Sid. I'm not one of those young people who melts in half when a criminal comes on to him."
    },
    {
        "text": "[Themes: Fiction, treasure hunt, fantasy]\n\nWould you like to restore a saved game?\n\n[Author's Note: The great, powerful elder empire of Atlantis has fallen, though accounts diverge on why. She will soon sink beneath the waves. But there is time, first, to sift through the ashes and catalog some of its tales. Inspired by \"What'cha Gonna Do\" by Abigail Washburn and Bela Fleck.]\n\n> You look at the raft\nMade of reclaimed wood. Buoyant cheap timber used for doors in the poor quarter. The mast was hardwood she recovered from the dining table of some D\u00fac, whose wife unwittingly gave up her silk sheets for her sails.\n\n> You examine the rubble\nIn some places, it was little more than mounds of dust, cobbles, and potsherds. She had struggled to find meaning in the debris, to identify what this or that mound of dust and ashes was before the land's breaking. She did not any more.\n\n> You examine the orichalcum\nOrichalcum is bright green and flecked with veins of gold, a nobler marble. Until the land's breaking she had only seen it as it should be: Polished and perfect, unbreakable, eternal. The walls of the Emperor's Palace, the Oceanic Bulwarks, all shone with gleaming green that reflected its tint onto the people and streets of the City. And then they were all shattered like the tiles in the square. Were they even orichalcum at all, she wondered, or just cleverly-painted ceramic glaze? She squinted at them, and could not remember the pattern of the mosaic.\n\n> You check your inventory\nShe was carrying:\nthe remains of a novitiate's robes (being worn)\na necklace of glass beads (being worn)\nan orange and blue sash (being worn)\n\n> You examine the robes\nLittle more than rags, the robes used to mark her as a novitiate of the god Imbel\u00e1. Their brilliant white was matted with countless stains \u2013 blood, and ashes, and more.\n\n> You examine the necklace\nEach one was perfectly clear, but for a dot of black glass inside them; a reminder of impurity. She thought that it was the day she was supposed to return them to the temple, and take her priest's necklace of pure, clear beads.\n\n> You examine the sash\nHer family colours, in the silk of the eyeworm that was reserved for the noble houses. Unlike her robes, they refused to fade or stain \u2013 how odd that this miraculous fabric was exclusive to those whose clothes were never soiled.\n\n> Go east\nChanting Row was one of the city's main throughfares. It was wide as four oxcarts abreast, leading from the opulence of the palace quarter all the way to the Eastern Sea Gate.\n\nIn ages past, pleasure ships would dock right up to the avenue's end, disgorging nobles riding opulent sedan chairs. She had never seen that. Before the land's breaking, the eastern end of the row had been taken over by tenements and poorhouses, a dumping ground for the city's abandoned. The pleasure ships would dock on the Western Sea Gate, instead.\n\nThis stretch used to run west to east, straight and true, so much so one could see the sea from this end; but then it had become twisted and broken, surrounded by rubble. The square was to the west. The debris formed a slope that one might climb, to the southeast.\n\n> You examine the rubble\nIn some places, it was little more than mounds of dust, cobbles, and potsherds. She had struggled to find meaning in the debris, to identify what this or that mound of dust and ashes was before the land's breaking. She did not any more.\n\n> Go east\nThe tenement, to the north, cast a long shadow over this patio. She could not tell it had been a patio; dirt and dust had overtaken the floor. Rubble and debris surrounded her, though she thought she saw a entrance to the temple of K\u00f3zh to the east. Another break in the debris allowed movement back west.\n\n> You examine tenement\nIt seemed unsteady, looming over her. Its white granite face had been blackened with ash and pockmarked with damage from an unknown source.\n\n> Go north\nShe crossed the threshold into the dark tenement.\n\nThe inside was caked with dust and given a yellowing pallor by the sharp light of the sun outside, which flattened the whole room in white. But it seemed mercifully undisturbed. The stairway leading up looked bent, but serviceable. Both the passages to south and northeast remained, though the way to other rooms in the dwelling had crumbled away.\n\n> Go northeast\nShe walked out to the broken street.\n\nNamed after the craftsmen who made their dwellings here, though she had only known Tinsmith Lane as a street inhabited by prostitutes and thieves; among the common folk it had a less kind name. But the land's breaking erased such distinctions: the road was barely recognizable. It was a smear of cobblestones in the maelstrom of debris. Breaks in the rubble allowed passage to the southwest, east, and north.\n\n> Go east\nShe found her way into a small shop.\n\nShelves long emptied of their wares. It had sold amphorae of cheap, bitter wine and even more bitter herbs - preparations of pennyroyal and silphium. A ragged drapery was hung on one corner of the room, a last reminder of homeliness left behind. The exit was west.\n\n> You look at the drapery\nWhite, once, though a smear of blood was slashed across it, one man's attempt to debase himself before the gods, before the end. It shifted slightly in the wind.\n\nThe motion was suspicious. She gingerly lifted the dirty curtain, finding a passage into a dark hiding place behind it to the northeast.\n\n> Go northeast\nShe went through the hole behind the drapery.\n\nA cubbyhole hastily repurposed to hide away the shopkeeper's few possessions. A passage led southwest, back to the shop.\n\nA small glinting mirthstone was abandoned on the floor of the alcove, lighting up the dark space.\n\n> You look at the mirthstone\nRaw mirthstone. It was worth more than the whole building it was found in. Numerous slaves would die extracting mirthstone from the bowels of the earth; at night, mirthstone gems lit the way in the richest streets in the Palace Quarter. The owner had thought to trade it for supplies, but waited too long; he could not find anyone who would trade food and water for light.\n\n> You go to the southwest\nShelves long emptied of their wares. It had sold amphorae of cheap, bitter wine and even more bitter herbs - preparations of pennyroyal and silphium. A ragged drapery was hung on one corner of the room, a last reminder of homeliness left behind. The exit was west, or through a hidden passage northeast.\n\n> Go west\nNamed after the craftsmen who made their dwellings here, though she had only known Tinsmith Lane as a street inhabited by prostitutes and thieves; among the common folk it had a less kind name. But the land's breaking erased such distinctions: the road was barely recognizable. It was a smear of cobblestones in the maelstrom of debris. Breaks in the rubble allowed passage to the southwest, east, and north.\n\n> Go north\nWeaving into the rubble, she entered a dark temple.\n\nTemple of Vel\u00ea\nVel\u00ea, god of vices, clandestine mother. A place where the poor and wretched of the Tin Quarter would have served men from the Palace Quarter and Velatine Hill.\n\nWhile the walls were made of dirty stone, a gleaming gold effigy of Vel\u00ea loomed over the altar, still standing in spite of the collapsing roof.\n\n> You examine the effigy\nVel\u00ea was a tall woman with an impossibly generous figure, clad only in a voluminous cloak. She held the cloak open, displaying a dark cavity within her garment that was said to hold the obscene desires of supplicants within it. Her face was sharply proportioned, beautiful, though mutilated; the patriarch god P\u00e9sazh had taken her nose as punishment for her vanity. The statue itself, of course, was cast in violet gold, one and a half times the height of a person.\n\n> You examine the cavity\nThe opening of her cloak was an empty recess, big enough to hold a person, or perhaps two if they squeeze together. Supplicants \u2013 rich old men from the Venatine Hill \u2013 would come to the temple and see their desires appear inside Vel\u00ea's cloak. Invariably, that desire would be one or two lithe novitiates of the God of Vices.\n\n> You enter the cavity\nThe mirthstone lit her way into the alcove, allowing her to see the inside of the recess. It smelled oddly even then, a velvety, silent space. She stepped on something soft; and walked out of the god's cloak with a smaller cloak of her own: Lurid red silk, threaded with abstract, sinuous lines of gold. It was, technically, the cloak of a high priestess; but it had been dropped to the floor by a novitiate, who had been made to stand in the alcove inside her god's cloak for a ritual. And there, forgotten, the cloak was left for the duration of the ceremony, as the lust and ennui turned to panic when the land began to break.\n\n> You look at the cloak\n(the red cloak)\nLurid red silk, threaded with abstract, sinuous lines of gold. It was, technically, the cloak of a high priestess; but it had been dropped to the floor by a novitiate, who had been made to stand in the alcove inside her god's cloak for a ritual. And there, forgotten, the cloak was left for the duration of the ceremony, as the lust and ennui turned to panic when the land began to break.\n\n> You wear it\nShe put on the red cloak.\n\n> You go to the south\nShe fled the suffocating darkness of the temple.\n\nNamed after the craftsmen who made their dwellings here, though she had only known Tinsmith Lane as a street inhabited by prostitutes and thieves; among the common folk it had a less kind name. But the land's breaking erased such distinctions: the road was barely recognizable. It was a smear of cobblestones in the maelstrom of debris. Breaks in the rubble allowed passage to the southwest, east, and north.\n\n> Go southwest\nThe inside was caked with dust and given a yellowing pallor by the sharp light of the sun outside, which flattened the whole room in white. But it seemed mercifully undisturbed. The stairway leading up looked bent, but serviceable. Both the passages to south and northeast remained, though the way to other rooms in the dwelling had crumbled away.\n\n> Go upwards\nShe clambered up the decaying stairs.\n\nThe walls of the upper floor had fallen away, clearing out the constrained space of the tiny quarters above. Even then, this place felt cramped, the bent walls threatening to collapse in on her. What remained of furniture was just mismatched piles of wood and splinters. A staircase led back down. Only one window was left, overlooking a neighbouring roof to the east.\n\n> You look at the wood\nMuch of it had been salvaged for firewood; the rest rotted.\n\n> You look at the window\nAn arch of dull stone, its curtains long ripped off, its shape distorted by the crumbling of the building.\n\n> Go east\nShe stepped outside through the window.\n\nThe dirty mortar that used to cover this flat stone roof had crackled and flaked to dust, leaving only a dirty roof battered by the sun. The house below was half collapsed; the roof drooped menacingly towards one edge. A window led back west.\n\nA tent, someone's erstwhile shelter, had collapsed there.\n\n> You look at the tent\nLittle more than rags and sticks, the fabric for the tent was a scrap of a heavy tapestry. Its occupant could no longer sleep indoors, for fear of buildings collapsing on him; he had cast himself to sea, a day prior, having realised that the building might collapse beneath him. No other sign of him remained.\n\n> You take the tent\nShe pulled at the remains of the tent's fabric, leaving the sticks behind like so much trash. She examined the scrap of fabric: It depicted a devotional scene of the goddess Vel\u00ea. A supplicant is led to the temple by an... interestingly clad priestess; his walk into it is on the back of prostrate temple-slaves, who would serve as the stepping stones of the temple's reflecting pool. The tapestry was torn just before the point where it gets graphic, however.\n\nBeneath the tent, she found a jewelry box.\n\n> Examine box\nOval and made of black bronze. It belonged to a lady, who had it stolen from her by a servant in the panic, after social graces had fallen away but before despair had quite set in. The lid was coral, and featured a cameo carving.\n\n> You examine the carving\nThe coral accreted in alternating layers of black and turquoise, allowing a clever artisan to carve contrasting designs in the material, which is then polished to a high sheen. It depicted a lonely rock on the ocean, buffeted by waves, a nude woman standing atop the stone. If one were to turn the box this and that way, depending on the angle, the woman would look either desperate, or defiant. She was Celephais, God of Exile, who cast her name to the sea and took a foreign one.\n\n> You open the box\nShe opened the jewelry box, revealing a topaz bracelet.\n\n> Examine bracelet\nClear, orange-gold crystals of enormous size came from mines in a distant and hostile land far to the southwest. The interlocking trapezoidal stones that surrounded the silver periphery of this bracelet were cuttings from one such stone; on its way to Atlantis, it had broken the back of a slave and killed a mule with its sheer weight. The cuttings were scraps, remains after the enormous original stone was cut into a shape pleasing to its owner.\n\nThis bracelet had been a lover's gift, and invitation \u2013 its recipient laughed, and never wore it, finding it at once gaudy and pedestrian; but the gesture was taken as it was meant, and the two of them were happy, for a time, until the tides had separated all lovers on the island.\n\n> You wear it\n(first taking the topaz bracelet)\nShe put on the topaz bracelet.\n\n> You take box\nTaken.\n\n> You check your inventory\nShe was carrying:\na jewelry box (open but empty)\na topaz bracelet (being worn)\na torn tapestry\na red cloak (being worn)\na raw mirthstone (tied to her sash) (providing light)\nthe remains of a novitiate's robes (being worn)\na necklace of glass beads (being worn)\nan orange and blue sash (being worn)\n\n> Go west\nShe returned indoors through the window.\n\nThe walls of the upper floor had fallen away, clearing out the constrained space of the tiny quarters above. Even then, this place felt cramped, the bent walls threatening to collapse in on her. What remained of furniture was just mismatched piles of wood and splinters. A staircase led back down. Only one window was left, overlooking a neighbouring roof to the east."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go downwards\nShe clambered down the broken steps.\n\nThe inside was caked with dust and given a yellowing pallor by the sharp light of the sun outside, which flattened the whole room in white. But it seemed mercifully undisturbed. The stairway leading up looked bent, but serviceable. Both the passages to south and northeast remained, though the way to other rooms in the dwelling had crumbled away.\n\n> Go south\nShe stepped outside.\n\nThe tenement, to the north, cast a long shadow over this patio. She could not tell it had been a patio; dirt and dust had overtaken the floor. Rubble and debris surrounded her, though she thought she saw a entrance to the temple of K\u00f3zh to the east. Another break in the debris allowed movement back west.\n\n> Go east\nShe slipped into the dark temple through a crumbling archway.\n\nTemple of K\u00f3zh\nK\u00f3zh, god of slaves, father of chains. The slaves of the Tin Quarter, as well as those destitute enough that they were soon to be slaves, would come to this simple temple to be preached at by the fettered brothers. Officially, the fettered brothers preached obedience, love of one's master, meekness. But there were always whispers \u2013 would the slaves really come to this place to hear that? The secret died with the fettered brothers. No light entered the temple from the outside. No pews \u2013 slaves were expected to stand. The only exit was west.\n\nAn altar to the slave-god remained.\n\nThe walls were covered by a mosaic of rough tiles.\n\n> You look at the mosaic\nIt depicted a long line of slaves chained together by their feet, or upon closer inspection a single slave's progression through life. He (She? The figure is stylised, faceless, identityless) waits on their master hand and foot, suffers terrible abuse, and then dies \u2013 perhaps of some ailment relating to the removal of their ears, nose, and lips. But then they are reborn in the Basalt Galleries, K\u00f3zh's version of the afterlife, where they become slaves of K\u00f3zh himself for all eternity. An image of the god dominates that end of the mosaic.\n\n> You examine God\n(the depiction of K\u00f3zh)\nK\u00f3zh: Always shown as a gaunt man, his head shorn, his eyes downcast, his body wrapped in chains from which hang the bodies of slaves, tiny and doll-like relative to his godly frame. His mouth was a vacant hole through which shines a permanent grin; P\u00e9sazh had taken his lips as punishment for a forgotten crime.\n\n> You examine the altar\nA squat stone block, carved with the same omnipresent chain motif. Deep dark stains covered it.\n\n> You examine the stains\nBlood, of course.\n\n> You examine the motif\nK\u00f3zh was not known for subtlety.\n\n> Go west\nShe walked out into the sunlight.\n\nThe tenement, to the north, cast a long shadow over this patio. She could not tell it had been a patio; dirt and dust had overtaken the floor. Rubble and debris surrounded her, though she thought she saw a entrance to the temple of K\u00f3zh to the east. Another break in the debris allowed movement back west.\n\n> You go to the northwest\nChanting Row was one of the city's main throughfares. It was wide as four oxcarts abreast, leading from the opulence of the palace quarter all the way to the Eastern Sea Gate. This stretch used to run west to east, straight and true, so much so one could see the sea from this end; but then it had become twisted and broken, surrounded by rubble. The square was to the west. The debris formed a slope that one might climb, to the southeast.\n\n> Go west\nBesides the creeping dirt seemingly emerging from between the broken tiles, signs of ruin were around her. The land's breaking has reduced the gilded fa\u00e7ades of the shops that surrounded the square to rubble and ashes. Breaks in the surrounding ring of debris were open to the northwest and east.\n\nA tide of rising water had blocked access to the northwest.\n\nShe could also see her makeshift raft here.\n\n> You look at the raft\nMade of reclaimed wood. Buoyant cheap timber used for doors in the poor quarter. The mast was hardwood she recovered from the dining table of some D\u00fac, whose wife unwittingly gave up her silk sheets for her sails.\n\n> You examine the entrance\nOn closer inspection, the carved columns showed the unmistakable motif of K\u00f3zh, god of slaves. Made of orichalcum (distinctive among the granite that formed most of the rubble in this district), they were carved to look wrapped in chains. Together, they formed an archway, though the arch had crumbled; the interior of the temple itself was dark.\n\n> Examine box\nOval and made of black bronze. It belonged to a lady, who had it stolen from her by a servant in the panic, after social graces had fallen away but before despair had quite set in. The lid was coral, and featured a cameo carving.\n\n> You look at Celephais\nShe was emaciated and hateful, or frail and wronged. She was a victim, or a perpetrator. There were crimes. She was impure. Precious little more was known to Atlantis' people: her worship was a crime. Her followers were cast into the sea, exiled to the deep. The ladies who had her effigy on their dressers were at times traitors, at times dilettantes. The box had been a symbol of hushed rebellion, youthful defiance, affluent irony. And then it was used by a survivor to store the last of his food, for three days, until he threw himself to the sea.\n\n> You enter the raft\n[You have seen all 12 stories of Atlantis.]\n\nThis will end the story. Are you sure?\n\n> Y.\nShe had found as much as she could of the world she was leaving behind. She carried a small history with her away from that place, but could not tell if that history deserved to survive; if it should be told. Still, she climbed onto her raft, with the trinkets and memories she could take, and waited for the water to rise and take her away, a small reminder of a dead world floating in an Atlantic current.\n\n> Go northwest\nGilded Lane had been paved with gold, and when gold proved too soft, it was paved with orichalcum. But then, orichalcum proved too soft, too. She saw a mess of green-gold tiles, stopped mid-spin, where the street used to be. All around her were the husks of crumbled buildings, like the limbs of buried giants breaking through the ground. The maw of a tunnel opened up to the southwest; the square was back southeast.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n> Go southwest\nShe descended into the tunnel below.\n\nThe land had contorted this section of street into a spiraling vortex of cobblestones and dirt, dead grass poking incongruously from the helical ceiling. The passage ran northeast and west.\n\n> You look at the ceiling\nLike a great rolling ocean wave, stopped just before the break. Cobblestones and tiles flecked with gold, dirt and grasses, dead flowers, all were caught in the movement of the dried, cracked earth; some hung overhead like curious, inverted vines.\n\n> Go west\nShe emerged from the tunnel.\n\nThis had been a formal garden, a gathering place for aristocrats. But she found within it only a dried fountain, and a lawn that had become overgrown with grass. The grass, in turn, was a matted patch of drying hay, caked with dust and ash, waiting to catch fire in the constant sun. A breach in the land was still open to the east; to the north, she could see a jagged passage into the remains of a palace.\n\nThe fountain was long drained of water, but it still stood.\n\n> You examine the grass\nDead or dying, whitening at the edges, as though they turned to salt in the harsh air.\n\n> You examine the fountain\nA simple square of grey stone. It had been cunningly designed so that the water would come at the top of the fountain in spurts, creating roiling waves on its surface. The artisan who designed it had been exiled from Atlantis, so that he could never craft a similar wonder for another noble house. Its bottom was a mosaic of Lonk\u00ea, god of the ocean.\n\nHalf-hidden among the mosaic tiles was an obol.\n\n> You examine the mosaic\nLonk\u00ea was a foreign god, a deity who washed upon the shore of Atlantis for a distant land. He had the upper body of a man, the lower body of a shark, and the head of a moray eel, which in the fine mosaic would sinuously peer at the viewer through the water. P\u00e9sazh had taken his left hand as a punishment for his hubris \u2013 that effigy showed it replaced with a jagged harpoon tip.\n\n> You look at the obol\nA heptagonal token made of steel, with a border in orichalcum. One side depicted an eye; the other side, a right hand. The god P\u00e9sazh collected a toll on the dead, taking from them parts of their body as repayment for their sins; these coins were struck as surrogate offerings, so that the wealthy dead could remain whole in the hereafter. Symbolically, this one was struck for a man of envy (the eye) and greed (the hand); he did not get a chance to be buried with it.\n\n> You take it\nTaken.\n\n> You go north\nShe walked through a passage into the remains of a palace.\n\nThis rich foyer had been floored with brilliant marble tiles and draped with silks. One of the grand columns along its side had toppled, preventing movement into most of the palace complex. Holes in the wall \u2013 hard to tell if they had been intentional passages \u2013 led north and south, outside. A hidden door in the west had become a jagged hole. And a collapsed staircase still allowed an unsteady climb to an upstairs room.\n\n> You examine the silks\nLittle remained; jagged strands flapping in the twisting wind, goldenrod speckled with dirty white.\n\n> You examine the tiles\nPristine marble from the east, each tile individually carved into the likeness of a condemned man. The villa had belonged to a magistrate, who made his guests walk on the faces of the men he had sentenced to death or exile. She found their broken visages littering the floor, crunching under her steps.\n\n> You go upwards\nIt was just barely perceptible that at the top of the stairs, passages would splay out in all directions, leading into various wings of the palace. Most of them were gone, as was the palace's roof, ripped away. All that remained of the upper floor of the villa was a curious island of orichalcum-flecked ceramic tiles, cracking in the sunlight. Even then, this little patch of opulence had been ransacked, more than once, by various desperate bands \u2013 and later, desperate individuals.\n\nA pile of ash, the remains of a campfire, marred the tiles on the floor.\n\nThe only furniture that remained was a lectern made of gold, rendered worthless by the calamity.\n\nShe could also see a tarnished lantern here.\n\n> You examine the ash\n(the pile of ash)\nThe grey-black ash betrayed scrolls and furniture; someone's attempt at staving off the wind and cold of the nights, the roaming feral dogs, the hunger. For four days and four nights they were tended by a desperate man, a lesser servant whose master chose to leave behind. Until he went out into the ruins to seek food, and did not return.\n\n> You examine the lectern\nAs it could not be eaten or burned, it was left alone as its companions were ransacked, a silent witness to the chaos. Its base is sculpted into a vaguely human shape, a stylised depiction of the slave-god, K\u00f3zh. But its surface rarely held scrolls; the master of this manor had used it more as a pillory.\n\n> You examine the lantern\nA cage of silver, blackening at the edges. Inside, ensconced safely from errant fingers, is an illuminated mirthstone, a facet-cut piece of hell. The silver lantern is shaped into an angular, polyhedral form that makes it uncomfortable to hold, though the stone emits no heat. Instead, one holds it by a leaden hoop attached to the top."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go down\nThis rich foyer had been floored with brilliant marble tiles and draped with silks. One of the grand columns along its side had toppled, preventing movement into most of the palace complex. Holes in the wall \u2013 hard to tell if they had been intentional passages \u2013 led north and south, outside. A hidden door in the west had become a jagged hole. And a collapsed staircase still allowed an unsteady climb to an upstairs room.\n\n> You go west\nMost walls had crumbled into impenetrable piles of rubble; all she found in this wing of the palace was a shaded, closet-sized room. The plaster on the walls had cracked into spiderwebs of grey-white flakes, showing the smooth stone beneath. Though once this wing of the palace had been a maze of passages, the rubble and damage meant she could only exit to the east, west, and north.\n\nMost furniture had become firewood, but she could see the collapsed remains of a bed.\n\n> You examine the bed\nA pile of dirty hay on a pile of rotting wood.\n\nA speck of grey was visible among the hay, some kind of token or amulet made of iron.\n\n> You examine the token\n(the obol)\nA heptagonal token made of steel, with a border in orichalcum. One side depicted an eye; the other side, a right hand. The god P\u00e9sazh collected a toll on the dead, taking from them parts of their body as repayment for their sins; these coins were struck as surrogate offerings, so that the wealthy dead could remain whole in the hereafter. Symbolically, this one was struck for a man of envy (the eye) and greed (the hand); he did not get a chance to be buried with it.\n\n> You examine the iron\nCast as a profile cameo of the god Azh. It was rusted around the edges. The amulet was a chambermaid's, a symbol of something she yearned for as she prepared for a life regimented by the path her masters had set before her.\n\n> You go to the west\nShe left the palace through a side door.\n\nOne of the Palace Quarter's particular jewels was, upon a time, a long promenade flanked on both sides by spindly columns of pure silver, carved to resemble the ghost ash trees that used to blanket the island. This patch of the street endured, for a time; though the street rose sharply to the north and south, as though the whole wayfare was peeling off the earth at its ends. The back entrance of a grand villa was east; to the west, a temple remained.\n\n> You examine Temple\nAll but unrecognisable \u2013 soot had covered the pristine white fa\u00e7ade. Imbel\u00e1's temple was unadorned on the outside; its simple entrance somehow endured, to the west.\n\n> Go west\nShe stepped into a familiar, broken temple.\n\nTemple of Imbel\u00e1\nImbel\u00e1, god of purity. Here the first daughters of noble families would come to be preached at by third and fourth daughters who had been promised to the temple as initiates. It was their virtue and purity, they were told, that sustained Atlantis. When the land cracked, blame was put upon all daughters of the great houses; blood was spilled over perceived slights against the gods.\n\nThough it had toppled to the ground, Imbel\u00e1's heavy stone effigy still seemed to judge her.\n\n> You examine the effigy\nImbel\u00e1, whose statue was made of simple soapstone, whose head was depicted as a featureless orb because she gave all her features to the god P\u00e9sazh to atone for her temptations. The god of purity, who had judged the novitiate's every step, like others before her. Even from the ground, it still seemed to judge and weigh her heart.\n\n> Go east\nShe returned to the sunlight outside.\n\nOne of the Palace Quarter's particular jewels was, upon a time, a long promenade flanked on both sides by spindly columns of pure silver, carved to resemble the ghost ash trees that used to blanket the island. This patch of the street endured, for a time; though the street rose sharply to the north and south, as though the whole wayfare was peeling off the earth at its ends. The back entrance of a grand villa was east; to the west, a temple remained.\n\n> You go to the east\nMost walls had crumbled into impenetrable piles of rubble; all she found in this wing of the palace was a shaded, closet-sized room. The plaster on the walls had cracked into spiderwebs of grey-white flakes, showing the smooth stone beneath. Though once this wing of the palace had been a maze of passages, the rubble and damage meant she could only exit to the east, west, and north.\n\nMost furniture had become firewood, but she could see the collapsed remains of a bed.\n\n> Go north\nThe weapons to fight Atlantis' enemies would be stored in armories like these, each noble house fielding its own gleaming-armoured soldier-slaves. When an enemy came that could not be fought off with weapons, their arms spilled out onto the streets. The armory seemed empty for its size, an arched stone gallery meant to supply a hundred fighting men. A passage led back south.\n\nShe could see a broken spear here.\n\n> You look at the spear\n(the broken spear)\nThe weaponry of Atlantis comes in two classes: The vast bronze behemoths that stride over the ocean to bring fear and awe to the colonies to the east and west; and the arms of palace guards, the tools of enforcing order. This spear was the latter; stout and weighted, it was made as much to beat as to pierce, punishment as much as weapon. The ebony haft had been broken in half, perhaps an ill-thought strike. The spear point had a curious shape.\n\n> You examine the point\nShaped like the body of a squid, eight arms joined together into a barbed point, two arms outstretched like the spars on a boar spear. A bright bronze alloy polished to an imitation-gold sheen, two beady eyes inset with onyx. Part of a set of dozens, all of which would eventually be swallowed by the earth. All, but this one.\n\n> You take the spear\n(the broken spear)\nTaken.\n\n> You go north\nShe found herself leaving the palace for the remains of the western quarter.\n\nThe Palace Quarter did not so much have streets as extremely long plazas, promenades flanked by rows of gilded fountains that would stretch on towards the horizon. It had no alleys \u2013 servants and\nslaves\nwould instead scurry between palaces and villas in tunnels beneath the earth, out of the sight of the nobility. The tunnels had burst into the surface when the land broke, cracking open the meticulously tiled squares, isolating each villa into an island. She found herself in an oddly preserved stretch of the quarter, surrounded mostly by unnatural chasms, connecting buildings to the south and northwest.\n\n> Go northwest\nShe wandered into a dark temple.\n\nTemple of P\u00e9sazh\nP\u00e9sazh, king-god, father of god-kings. All that remained was a fraction of his temple complex, a windowless antechamber that lingered after the earth swallowed the rest of the temple. Sunlight filtered in from the southeast.\n\nA wooden altar, used for preliminary prayers, still survived in the antechamber.\n\nThe god's stern visage stared north into a temple hall that was no longer there.\n\n> You examine altar\nThe altar was a softly curving parabola of wood, supported on legs of gold, upon which offerings would be laid. And as the stern god's chastisement of his pantheon sustained the world, so did symbols of his justice \u2013 almonds for eyes, ginger for hands, carrots for noses\n\u2013\nbecome burnt offerings to him. And on bad years, the symbols would be altogether more direct.\n\n> You examine the visage\nP\u00e9sazh was tall and severe, cast in a statue of white gold. He was the namer of sins, and as such, he was the only whole god; every other deity had given something of themselves as punishment, when the god-father identified their crime. He was wrapped in fine cloth and burdened by a heavy crown, his bearded face almost hidden under the finery.\n\n> You examine crown\nCast in traditional black bronze, the crown resembled a bulbous limb of a baobab tree that deigned to twist itself upon the god's head.\n\n> You take it\nThat seemed to be a part of the effigy of P\u00e9sazh."
    },
    {
        "text": "> You look at the mirthstone\nMirthstone is almost always clumsily cut; the hazards of working with the material prevent anyone from accruing enough experience to become a true master. The artisan who made this one lived longer than most, and his family was compensated well for this beautifully cut piece; with its impurities severed, the faceted sliver inside shines with a harsh white light.\n\n> You look at the amulet\nCast as a profile cameo of the god Azh. It was rusted around the edges. The amulet was a chambermaid's, a symbol of something she yearned for as she prepared for a life regimented by the path her masters had set before her.\n\n> You look at Azh\nP\u00e9sazh had plucked out the blind god's eyes for the crime of misplaced compassion; of tempting the poor with abundance. The iron amulet depicted Azh with the unmistakable hollow eyes. And thus the compassionate god had learned the proper place of compassion; that it should be measured, just so, that no-one thinks to rise above their station. Such tokens were reminders of the order of things \u2013 as much as they were promises of prosperity, or at least subsistence.\n\n> You go to the southeast\nThe Palace Quarter did not so much have streets as extremely long plazas, promenades flanked by rows of gilded fountains that would stretch on towards the horizon. It had no alleys \u2013 servants and\nslaves\nwould instead scurry between palaces and villas in tunnels beneath the earth, out of the sight of the nobility. The tunnels had burst into the surface when the land broke, cracking open the meticulously tiled squares, isolating each villa into an island. She found herself in an oddly preserved stretch of the quarter, surrounded mostly by unnatural chasms, connecting buildings to the south and northwest.\n\n> Go upward\nIt was just barely perceptible that at the top of the stairs, passages would splay out in all directions, leading into various wings of the palace. Most of them were gone, as was the palace's roof, ripped away. All that remained of the upper floor of the villa was a curious island of orichalcum-flecked ceramic tiles, cracking in the sunlight. Even then, this little patch of opulence had been ransacked, more than once, by various desperate bands \u2013 and later, desperate individuals.\n\nA pile of ash, the remains of a campfire, marred the tiles on the floor.\n\nThe only furniture that remained was a lectern made of gold, rendered worthless by the calamity.\n\n> You examine the kozh\nK\u00f3zh is emaciated, scourged, his lips taken away by his master, his body wrapped in chains from which would hang the bodies of mortal slaves. This depiction's presence in the apartments was unusual; it suggested a man who was greatly invested in the discipline of his slaves. Over the years, the lashing of slaves to the lectern had made it a focus of fear and loathing for the servants in the manor; the master had liked to keep such a reminder close to him. Leather straps, bloodied and rough, still adorned it.\n\n> You go to the south\nThis had been a formal garden, a gathering place for aristocrats. But she found within it only a dried fountain, and a lawn that had become overgrown with grass. The grass, in turn, was a matted patch of drying hay, caked with dust and ash, waiting to catch fire in the constant sun. A breach in the land was still open to the east; to the north, she could see a jagged passage into the remains of a palace.\n\nThe fountain was long drained of water, but it still stood.\n\n> You go east\nThe land had contorted this section of street into a spiraling vortex of cobblestones and dirt, dead grass poking incongruously from the helical ceiling. The passage ran northeast and west.\n\n> You go northeast\nGilded Lane had been paved with gold, and when gold proved too soft, it was paved with orichalcum. But then, orichalcum proved too soft, too. She saw a mess of green-gold tiles, stopped mid-spin, where the street used to be. All around her were the husks of crumbled buildings. The maw of a tunnel opened up to the southwest; the square was back southeast.\n\n> You examine the tunnel\nThe land had twisted, sucked streets and buildings into itself. She could see an entrance into one such tunnel, to the southwest.\n\n> You go to the south-east\nBesides the creeping dirt seemingly emerging from between the broken tiles, signs of ruin were around her. The land's breaking has reduced the gilded fa\u00e7ades of the shops that surrounded the square to rubble and ashes. Breaks in the surrounding ring of debris were open to the northwest and east.\n\nA rush of turbulent water prevented passage to the east.\n\nShe could also see her makeshift raft here.\n\n> You enter the raft\n[You have seen all 13 stories of Atlantis.]\n\nThis will end the story. Are you sure?"
    },
    {
        "text": "[Themes: Historical, Dino Rampage, nonhuman protagonist, silly]\n\nLoading game...\n\nYour long sleep is over. You open your eyes to a world of green leaves and a rising sun. The air around you is filled with pollen and insects. Your parents will have left months ago, leaving this land to you alone, for a growing mangiasaur needs all the food it can find.\n\n[ Forest Canopy | Your Size: 0 ]\n\n[Author's Note: You are a young dinosaur-like monster who needs to eat everything in sight so you can grow big & strong, gain special powers, and ultimately rule over a tribe of puny humans.]\n\n> About you\nYou are a mangiasaur. You were born into your treetop home and left to hibernate until to you were old enough to fulfill your destiny: to eat and grow.\n\n> You take the trees\nA mangiasaur has no pockets. It has only a stomach.\n\n> You eat\nI don't understand what you are trying to eat.\n\nYou spot a nearby caterpillar behaving strangely; apparently having finished eating, it seems to be busy defecating! It squirms around on its branch, excreting little grey blobs all around itself. After watching for a short while, you realize that it's building a shell out of this dejection! Moments later, it's completely covered in its cocoon.\n\n> You eat the cocoon\n(Your score has increased by 3)\nIt's not like it can run away. You scrape the dry little thing off its branch and chew. It tastes pretty awful. In fact, it almost seems to hurt! Besides the dry, stringiness of it, you feel a mild stinging sensation in your mouth! You can feel the hunger relenting as you digest, but the your body doesn't seem to know what to do with the food. You won't grow any larger from such a small bite, but you feel growth nonetheless...in your shoulders. You bleed briefly and squirm from the pain, beginning to wish you had just left the little wad of bug alone until you realize ... you have not grown bigger, but you have grown wings.\n\nA small fly buzzes past you, en route to its lunch at a tiny pink flower bud nearby.\n\n> You look at the wings\nYou see no such thing.\n\nA caterpillar cocoon nearby begins to stir, seemingly trying to wiggle free of the branch it previously clung to with such tenacity! After a moment, though, rather than shaking loose, it simply cracks open and a golden brown moth flutters out. The moth alights on a branch nearby, flapping its wings idly for a moment before taking off in flight.\n\n> You eat the moth\nBy the time you see the moth, it's no longer there. They move too fast for you to eat them.\n\n> You fly after the moth\nYou're not really willing to fly if it doesn't lead directly to food or a new dining location.\n\nA small fly buzzes past you, en route to its lunch at a tiny pink flower bud nearby.\n\n> You eat fly\n(Your score has increased by 1)\nThey fill the air around you and it's easy to pounce on one.\nThere is a satisfying crunch as you snap your mouth shut on its squishy little body. A little rumination and the fly slides down your gullet into your belly.\nThe fly's nutrients are exactly what you need to grow bigger and stronger. A good meal. You'll be satisfied for a while now. While you digest the bug, your body grows a little bit larger.\n\nYour stomach is finishing off its contents. Soon you will need more food.\n\n[ Forest Canopy | Your Size: 1 ]\n\n> Continue\nThey fill the air around you and it's easy to pounce on one.\nThere is a satisfying crunch as you snap your mouth shut on its squishy little body. A little rumination and the fly slides down your gullet into your belly.\nThe fly's nutrients are exactly what you need to grow bigger and stronger. The food fills that last bit of space in your powerful belly. While you digest the bug, your body grows a little bit larger.\n\n[ Forest Canopy | Your Size: 2 ]\n\n> About yourself\nYou are a mangiasaur. You were born into your treetop home and left to hibernate until to you were old enough to fulfill your destiny: to eat and grow.\n\nA small fly buzzes past you, en route to its lunch at a tiny pink flower bud nearby.\n\n> You examine the flower\nThe trees here sprout flowers from their branches. While you don't see any in bloom, the nearby branches are covered in buds.\n\nYou are hungry. It is time to eat.\n\n> You eat fly\nThey fill the air around you and it's easy to pounce on one.\nThere is a satisfying crunch as you snap your mouth shut on its squishy little body. A little rumination and the fly slides down your gullet into your belly.\nThe fly's nutrients are exactly what you need to grow bigger and stronger. The food fills that last bit of space in your powerful belly. While you digest the bug, your body grows a little bit larger.\n\n[ Forest Canopy | Your Size: 3 ]\n\n> You eat fly\nThey fill the air around you and it's easy to pounce on one.\nThere is a satisfying crunch as you snap your mouth shut on its squishy little body. A little rumination and the fly slides down your gullet into your belly.\nThe fly's nutrients are exactly what you need to grow bigger and stronger. Though you were already full of food when you ate, your stomach makes room for the food. While you digest the bug, your body grows a little bit larger.\n\n[ Forest Canopy | Your Size: 4 ]\n\n> You eat the buds\n(Your score has increased by 1)\nYou stoop to bite one off the branch and catch a whiff of the sweet pollen in the air around it.\n\nWhen you bite into the little bud, a burst of delicious, syrupy nectar squirts out.\nThe sugary nectar contained in the bud is a wonderful treat. Though you were already full of food when you ate, your stomach makes room for the food. You will never grow fat on these little treats though."
    },
    {
        "text": "> You look around\nThe uppermost branches of the trees are thick with bright green foliage, little buds of pink, purple, and orange, and a multitude of creatures skittering, slinking, and flapping about.\n\nDown below you is the forest floor.\nThe sun has reached its peak, at the top of the sky. You can feel its pleasant warmth all around you.\n\nA little caterpillar moth is flying around.\n\nSome pollen from a flower bud floats by on a treetop breeze. The scent of the pink dust is enough to make your mouth water.\n\n> You eat the moth\nBy the time you see the moth, it's no longer there. They move too fast for you to eat them.\n\n> You eat bud\nYou stoop to bite one off the branch and catch a whiff of the sweet pollen in the air around it.\n\nWhen you bite into the little bud, a burst of delicious, syrupy nectar squirts out.\nThe sugary nectar contained in the bud is a wonderful treat. Though you were already full of food when you ate, your stomach makes room for the food. You will never grow fat on these little treats though.\n\n> You look at the pollen\nThe pollen in the air must come from the flower buds that are sprouting from the branches. It's a pale pink and orange dust that drifts through the leaves.\n\nLooking closely at the foliage around you, you see a small green bird hiding in the leaves.\n\n> You eat the bird\n(Your score has increased by 2)\nYou can't catch them in the air, but you can certainly catch one standing idly on a branch.\nYou close your jaws on the feathery food before it even sees you.\nUnder all the feathery fluff, you find a pretty good meal. Though you were already full of food when you ate, your stomach makes room for the food. The nourishment fuels your growth even as you are licking your lips.\n\nA small fly buzzes past you, en route to its lunch at a tiny pink flower bud nearby.\n\n[ Forest Canopy | Your Size: 10 ]\n\n> You jump\nWheee-boinng.\n\n> Digest\nThe hunger makes you crazy. Try again.\n\n> You check what you're carrying\nYou are carrying nothing.\n\nOne of the many little green & brown caterpillars in these treetops is feasting on a nearby leaf.\n\n> You eat the caterpillar\n(Your score has increased by 1)\nThe nearest caterpillar is enjoying a feast of its own as you approach. Whether it sees you or knows your purpose is unclear, but it keeps chewing on its leaf up until the moment you squish it in your capable jaws.\nThe squirmy little critter is as satisfying to your stomach as it is to your palate. Though you were already full of food when you ate, your stomach makes room for the food. While you digest the bug, your body grows a little bit larger.\n\nA small fly buzzes past you, en route to its lunch at a tiny pink flower bud nearby.\n\n[ Forest Canopy | Your Size: 11 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> Go downward\nYou glide down from your canopy birthplace into the dark forest floor below.\n\n[ Forest Floor | Your Size: 11 ]"
    },
    {
        "text": "> You look at your surroundings\nUnder the canopy the trees are huge columns of wood sprouting from a rotten, brown blanket of fallen leaves and branches.\n\nFrom the treetops, the forest floor always seemed like a barren wasteland; there is no living foliage to speak of, and very little light gets through the canopy. Now that you are down here, however, you can see that the landscape is just as alive as up in the treetops. Slugs are so common here that the foliage on the ground is constantly moving.\n\nFrom here you can go back up to the treetops, east into the valley, or south into the cavern.\nThe air is cooling as the sun moves toward its resting place.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\nA nasty little slug slimes around on a leaf near your feet.\n\n> You eat the slug\n(Your score has increased by 1)\nYou stoop to lap up a slimy little slug.\nIt tastes digusting. It does ease your hunger a little, but is it really worth it?\n\n> You eat the sun\nYou are not holding the sky.\n\nYou hear some kind of animal nearby dragging itself along the forest floor.\n\n> You listen\nScaly crawlers make the most noise down here, dragging their tales along the ground, sifting for slugs.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\nThe animal is getting closer. You hear it disturbing leaves as it moves.\n\n> You listen\nScaly crawlers make the most noise down here, dragging their tales along the ground, sifting for slugs.\n\nA scaly crawler beast with a wrinkly face is crawling around nearby, dragging its tail in the forest's debris. It walks sometimes on two legs and sometimes on four. It picks little slugs up from the ground and grimaces while eating them.\n\n> You eat the scaly crawler beast\nYou're not quite big enough to challenge on of these scaly beasts. You'll have to look for food elsewhere first.\n\n> You eat the slug\nYou stoop to lap up a slimy little slug.\nIt tastes digusting. It does ease your hunger a little, but is it really worth it?\n\nA nasty little slug slimes around on a leaf near your feet.\n\n> Go south\nYou move south.\nCavern\nThe cavern is damp and dark. It's mossy walls dampen the sounds of all the cavern's creatures, digging, flapping, & chirping.\n\nThe only way out is north to the forest floor.\n\nThe buzzing of bugs gets louder as a swarm of them moves closer to you.\n\n[ Cavern | Your Size: 11 ]\n\n> You examine the bugs\nBugs fly all over the cave. It's hard to move without running into one.\n\nThe buzzing of bugs gets louder as a swarm of them moves closer to you.\n\n> You eat the bugs\n(Your score has increased by 1)\nIt's not like to you need to know where these bugs are to eat them.\nThe air is so saturated that you need only open your mouth to catch one.\nYou crunch the tiny morsel to nothing and digest it in seconds. Though you were already full of food when you ate, your stomach makes room for the food. Unfortunately, it's too little food to help you grow at all.\n\nYou hear a flapping of wings as a bat approaches.\n\n> You eat the bat\n(Your score has increased by 4)\nYou snap your mouth shut, crushing the bat instantly. It's a little more than a mouthful.\nYou enjoy the delicious bat, spitting out the wings as you chew and swallow. By the time you are done eating, you feel a strange sensation in your throat. You are not choking though. Rather, you are growing. A lump in your throat. Not a tumor, but a voice box! You have grown your own voice box and can now chirp like a bat!\nThough you were already full of food when you ate, your stomach makes room for the food. You have grown considerably by the time you're done eating.\n\n[ Cavern | Your Size: 17 ]\n\n> Chirp\nYou send out a little bat chirp, and look for the echos.\nThe echoing chirp reveals a bat nearby.\nThe echoing chirp shows you a scurrying rodent digging its way into the wall of the cavern nearby.\n\n> You eat the rodent\n(Your score has increased by 3)\nYou spot a rodent nearby and leap for it.\nThe creature is dumb and easy to catch once you've found it.\nThe creature is dumb and easy to catch once you've found it. Moments after eating it, you can already feel the growth in your toes. They are lengthened, and curved for digging! You may not be able to dig through the stone walls of the cave like these creatures, but you should try digging outside in the dirt.\n\nThe buzzing of bugs gets louder as a swarm of them moves closer to you.\n\n[ Cavern | Your Size: 24 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> You look at your surroundings\nThe cavern is damp and dark. It's mossy walls dampen the sounds of all the cavern's creatures, digging, flapping, & chirping.\n\nThe only way out is north to the forest floor.\n\nAlso here is a bat.\n\nYou hear a flapping of wings as a bat approaches.\n\nThe bat is gone as quickly as it arrived.\n\n> Go north\nYou move north.\nForest Floor\n\nA nasty little slug slimes around on a leaf near your feet.\n\nAmidst the usual nighttime forest sounds, there is an usual rumbling animal call. \"NAMGUAGL\" it sounds like. Whatever this NAMGUAGL creature is, it does not sound friendly.\n\n[ Forest Floor | Your Size: 24 ]\n\n> Dig\nThe hunger makes you crazy. Try again.\n\n> You fly\nYou flap your wings and head back up to the canopy.\n\n[ Forest Canopy | Your Size: 24 ]\n\nThe need to burp has always seemed at odds with the Mangiasaur's basic needs. You're loath to get rid of anything once it's through your esophagus.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> Down\nYou move down.\nForest Floor\n\n[ Forest Floor | Your Size: 24 ]\n\n> Go south\nYou move south.\nCavern\n\n[ Cavern | Your Size: 24 ]"
    },
    {
        "text": "> You look around\nThe cavern is damp and dark. It's mossy walls dampen the sounds of all the cavern's creatures, digging, flapping, & chirping.\n\nThe only way out is north to the forest floor.\n\nAlso here is a bat.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\nThe buzzing of bugs gets louder as a swarm of them moves closer to you.\n\n> You eat the bat\nYou snap your mouth shut, crushing the bat instantly. It's a little more than a mouthful.\nThough you were already full of food when you ate, your stomach makes room for the food. You have grown considerably by the time you're done eating.\n\n[ Cavern | Your Size: 30 ]\n\n> You go north\nYou move north.\nForest Floor\n\n[ Forest Floor | Your Size: 30 ]\n\n> You dig in the dirt\nThe hunger makes you crazy. Try again.\n\n> Go east\nYou move east.\nValley Pass\nThe trees of the forest to the west give way abruptly to a low rolling grassland nestled between huge looming mountains. Smelly herd beasts upset the tranquility of the area with their grass-nibbling and farting. The only other disruptions in the billowing grasses are a small adobe hut, and a grove of strange trees nearby.\n\nThe valley is level with the forest floor to the west, but the eastern wall of the valley is formed by a large plateau rising at least as high as the mountains around it, casting a dark shadow on much of the grassland through much of the day.\nThe moon has reached its peak on this short summer night. The air is cool and the stars shine in the night sky.\n\n[ Valley Pass | Your Size: 30 ]\n\n> You look at the trees\nThe grove is full of these trees. They are tall, slender trees, with hard, thick bark.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You eat the beetle\n(Your score has increased by 1)\nYou slurp one up and chew. It really doesn't have much flavor but after a little chewing, you feel a fine powder on your tongue and gums. Spitting some out, you realize it's from your teeth! The beetle's shell is so hard that it has actually managed to sharpen your teeth! You can forget about swallowing one of those beetles, but if you were hoping to be able to eat tree bark then today's your lucky day!\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> You eat the tree bark\n(Your score has increased by 1)\nWith your newly sharpened teeth, it's a breeze. You gnaw the bark raw on the nearest tree. Though you were already full of food when you ate, your stomach makes room for the food. You look back to the tree where you bit into it and notice that a funny yellow sap is leaking from the porous wood.\n\n> You eat the sap\n(Your score has increased by 1)\nYou lick up a bit of the sap. You decide immediately that it's nowhere near as good a snack as the tree bark that held it in. It's interesting though. It has an oiliness about it. It's not very sticky though.\n\n> You examine the sap\nIt's opaque and viscous. It's running very slowly down the tree from the gash in the bark.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\nA smelly herd animal nearby lets out an intense fart. You have little sense of smell, and you cannot eat a fart, so you ignore it.\n\n> You look at the animal\nThese smelly herd animals dot the grasslands, munching on the tall grass and farting.\n\n> You eat the grass\n(Your score has increased by 1)\nYou munch it for a while. It's no good, really. Tough and devoid of nutrition. Tastes mildly bitter, but that's not a big deal. As you move down the stalk, however, you notice some things beneath the grass.\n\nAt the base of the grass stalks are some kind of air-filled sacs.\n\nCrawling all over those sacs are little hard shelled beetles.\n\n> You examine sacs\nThese little brown air sacs are at the bottom of the grasses that grow everywhere in this valley. The majority of these sacs are swarming with little hard-shelled beetles.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You take the sacs\nA mangiasaur has no pockets. It has only a stomach.\n\n> You eat the smelly herd beast\n(Your score has increased by 1)\nThey are too slow to escape you. If they have ever dealt with predators before, probably their smell is the only thing that could save them.\nIt's nasty, but you power through it, eating every last bit of flesh. Though you were already full of food when you ate, your stomach makes room for the food. In addition to filling you up, the meat from the smelly animal is great fuel for your growth, and you grow drastically in size!\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n[ Valley Pass | Your Size: 50 ]"
    },
    {
        "text": "> Describe the surroundings\nThe trees of the forest to the west give way abruptly to a low rolling grassland nestled between huge looming mountains. Smelly herd beasts upset the tranquility of the area with their grass-nibbling and farting. The only other disruptions in the billowing grasses are a small adobe hut, and a grove of strange trees nearby.\n\nThe valley is level with the forest floor to the west, but the eastern wall of the valley is formed by a large plateau rising at least as high as the mountains around it, casting a dark shadow on much of the grassland through much of the day.\nThe sun has reached its peak, at the top of the sky. You can feel its pleasant warmth all around you.\n\n> Down\nYou can't go in that direction, but you can move west and in.\n\nA smelly herd animal nearby lets out an intense fart. You have little sense of smell, and you cannot eat a fart, so you ignore it.\n\n> About yourself\nYou are a mangiasaur. You were born into your treetop home and left to hibernate until to you were old enough to fulfill your destiny: to eat and grow.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You look at the hut\nYou see no such thing.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> You enter\nYou move in.\nSmall Adobe Hut\nThis little dwelling is made of mud.\n\nThe room is lit by a torch on the wall. There is a woven rug in the center of the floor.\n\nA hut dweller is standing in here, wondering what you are.\n\n[ Small Adobe Hut | Your Size: 50 ]\n\n> You eat the torch\n(Your score has increased by 3)\nYou snatch the torch off the wall and chomp it to bits. You are just about finished eating it when you realize it's still lit! Even as it makes it's way into your gut you feel its dull warmth. You are no less hungry than you were, but now feel an incredible urge to burp.\n\n> You wonder what the dweller is\nI don't understand what you want to do with hut dweller.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\n> Burp\nThe rug is singed. Your stomach contracts and you feel like you could eat something.\n\n> You examine dweller\nThis hut dweller stands completely still, staring at you with wide eyes.\n\nThe hut dweller extends an offering to you. It appears to be some kind of food.\n\n> You eat the food\n(Your score has increased by 1)\nYou munch on the food for a bit, determining that it is meat of a smelly herd beast, but it tastes a little different. It's pretty good, though, and filling too!\n\n> Smell hut dweller\nThat smells normal.\n\nThe hut dweller extends an offering to you. It appears to be some kind of food.\n\n> You eat the food\nYou munch on the food for a bit, determining that it is meat of a smelly herd beast, but it tastes a little different. It's pretty good, though, and filling too!\n\n> You eat the rug\n(Your score has increased by 1)\nYou gobble up the rug. It's only as good as its constituent parts, which aren't very good. At least it got something in your stomach. Then you notice the hole in the dirt floor under the rug.\n\n> You examine the hole\nThis small hole appears to go very deep. You can't fit through it without digging it out more.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> Dig\nYou get to work widening the hole with your new rodent digging feet, sometimes simply eating the dirt rather than shoveling it out. After a long while, you are blasted by a burst of warm air and find yourself staring down at the entrance to a huge cave. You can hear water down there...\n\n> You eat dweller\nThe human has no time to react. You eat the top half first. Then you spit out the hair. Then you eat the bottom half. Delicious. And you grow much larger, incorporating the hut dwellers mass into your own.\n\n[ Small Adobe Hut | Your Size: 75 ]"
    },
    {
        "text": "[Themes: Dino Rampage, Historical, nonhuman protagonist]\n\n> Go downward\nYou slide down through the hole and splash into the underground ocean. Underground Ocean\nIt may be hard to see underwater, but the tentacle nets drifting around in the water emit a soft blue light that makes it possible for you to navigate and identify stuff to eat. Tentacle net creatures are drifting about, illuminating the waters with their brilliant limbs.\nAt the bottom of the ocean, you can see a solid mass of wispy plant stalks swaying with the water. Tiny sentient shrimp fill the waters, chattering with each other, etching poetry into each others' hats, or swinging around merrily in dance.\n\nThe only way out is back up into the hut.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\n[ Underground Ocean | Your Size: 75 ]\n\n> You eat the shrimp\n(Your score has increased by 3)\nYou swim toward a small group of tiny sentient shrimp, and open your mouth wide to scoop them up. They all stop their dancing and poetry recitals and stare. At least you think they're staring. They're too tiny for you to be sure. It occurs to you that going for a lone shrimp might be a better idea next time, but you swallow the whole group this time, you know, 'cuz it's too late to let them get away 'cuz they might warn the other shrimp. It's delicious.\n\n> About you\nYou are a mangiasaur. You were born into your treetop home and left to hibernate until to you were old enough to fulfill your destiny: to eat and grow.\n\n> You eat the tentacle net creature\n(Your score has increased by 2)\nThey're quite an easy catch just drifting around like that.\nYou slice through the glowing rubbery tentacle meat with your new sharp teeth, reducing it quickly to little floating bite-sized pieces. It's a wonderful feast: delicious and satisfying!\nYou will need to breathe soon.\n\n[ Underground Ocean | Your Size: 79 ]\n\n> Up\nYou swim up to the hole and climb out in the small hut.\nSmall Adobe Hut\nThis little dwelling is made of mud.\n\nAlso here is a down.\n\n[ Small Adobe Hut | Your Size: 79 ]\n\n> You examine down\nIt's too dark to see much, but there is a faint blue glow at the bottom of the hole."
    },
    {
        "text": "[Themes: Historical, Dino Rampage, nonhuman protagonist]\n\n> Go downward\nYou slide down through the hole and splash into the underground ocean. Underground Ocean\nThe light is a little dimmer now, but you can still see a pretty good distance. The tentacle nets are responsible for all the light under here. The missing one has left a dark spot behind. At the bottom of the ocean, you can see a solid mass of wispy plant stalks swaying with the water. The tiny sentient shrimp are difficult to spot in low light, but you can see them all around.\n\nThe only way out is back up into the hut.\n\n[ Underground Ocean | Your Size: 79 ]"
    },
    {
        "text": "[Themes: Dino Rampage, Historical, nonhuman protagonist, silly]\n\n> You look at your surroundings\nThe light is a little dimmer now, but you can still see a pretty good distance. The tentacle nets are responsible for all the light under here. The missing one has left a dark spot behind. At the bottom of the ocean, you can see a solid mass of wispy plant stalks swaying with the water. The tiny sentient shrimp are difficult to spot in low light, but you can see them all around.\n\nThe only way out is back up into the hut.\n\n> You eat the nets\nYou are not holding tentacle nets.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> You eat the plant\n(Your score has increased by 2)\nThey're leafy and bland, but it fills your stomach alright. Though you were already full of food when you ate, your stomach makes room for the food.\n\n> You eat the tentacle net\nThey're quite an easy catch just drifting around like that.\nYou slice through the glowing rubbery tentacle meat with your new sharp teeth, reducing it quickly to little floating bite-sized pieces. It's a wonderful feast: delicious and satisfying!\n\n[ Underground Ocean | Your Size: 83 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> Go downwards\nYou can't go in that direction, but you can move up.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\n> You eat the shrimp\nThis time you go for a loner. You find one little tiny self-aware crustacean drifing around by itself, etching poems onto a slew of tiny shrimp hats. Chomp! You squish him with your teeth mid-iamb. Maybe it was actually a better idea to eat larger groups of tiny sentient shrimp at once; the flavor of just one is kinda understated.\n\n> You eat the shrimp\nYou've learned from your mistakes. This time you go for a huge line-dancing cluster of shrimp! It's about to be a scrumptuous mouthful of conscious krill but wait! Just as you are closing your mouth, the shrimp zip away leaving little tiny bubbles in their wake! Next thing you know, they're pelting you from all sides with their spiky little poetry-imbued hats! It's terribly irritating! Almost as bad as having to snatch them each up one-by-one. Still pretty tasty in the end. A quick look around reveals a definite dearth of shrimp. Any survivors have clearly fled.\n\n> You read the hats\nYou can't read. You're not a lexisaur. That's stupid."
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> Look around\nThe missing tentacle nets are making it hard to see in some areas. The ocean is changing from a dim blue to a dark black. The remaining tentacle nets shed light on their surroundings. At the bottom of the ocean, you can see a solid mass of wispy plant stalks swaying with the water.\n\nThe only way out is back up into the hut.\n\n> You eat the tentacle net\nThey're quite an easy catch just drifting around like that.\nYou slice through the glowing rubbery tentacle meat with your new sharp teeth, reducing it quickly to little floating bite-sized pieces. It's a wonderful feast: delicious and satisfying!\n\nA small shark is swimming around in the deeper water near the swaying stalks.\n\n[ Underground Ocean | Your Size: 87 ]\n\n> You eat the shark\n(Your score has increased by 5)\nAren't sharks supposed to be scary? You just swim right up to this one and tear it to pieces. It's a regular shark smorgasbord, with little tasty bits of shark meat drifting around in the water. Your stomach is full of fish before you're even half way done, and you can feel your whole body expanded with the meat. You chomp down another bit and suddenly find yourself staring at another shark. This is one is at least fives times the size of the last. You turn to flee immediately, huge shark jaws agape behind you! You swim well, and escape the underground ocean, never to return again.\n\n[ Small Adobe Hut | Your Size: 87 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage, silly]\n\n> Look around\nThis little dwelling is made of mud.\n\nAlso here is a down.\n\n> Go outside\nYou move out.\nValley Pass\n\n[ Valley Pass | Your Size: 87 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> You look around\nThe trees of the forest to the west give way abruptly to a low rolling grassland nestled between huge looming mountains. Smelly herd beasts upset the tranquility of the area with their grass-nibbling and farting. The only other disruptions in the billowing grasses are a small adobe hut, and a grove of strange trees nearby.\n\nThe valley is level with the forest floor to the west, but the eastern wall of the valley is formed by a large plateau rising at least as high as the mountains around it, casting a dark shadow on much of the grassland through much of the day.\nThe morning sun feels good on your face.\n\n> Go west\nYou move west.\nForest Floor\n\nA nasty little slug slimes around on a leaf near your feet.\n\n[ Forest Floor | Your Size: 87 ]"
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> You look at your surroundings\nUnder the canopy the trees are huge columns of wood sprouting from a rotten, brown blanket of fallen leaves and branches.\n\nFrom the treetops, the forest floor always seemed like a barren wasteland; there is no living foliage to speak of, and very little light gets through the canopy. Now that you are down here, however, you can see that the landscape is just as alive as up in the treetops. Slugs are so common here that the foliage on the ground is constantly moving.\n\nFrom here you can go back up to the treetops, east into the valley, or south into the cavern.\nThe morning sun feels good on your face.\n\n> You eat the slugs\nYou stoop to lap up a slimy little slug.\nIt tastes digusting. It does ease your hunger a little, but is it really worth it?\n\n> You listen\nScaly crawlers make the most noise down here, dragging their tales along the ground, sifting for slugs.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> Wait\nTime passes...\n\n> You eat crawler\n(Your score has increased by 2)\nYou can pretty much walk right up to it. It turns its head sideways and stares at you, and you jump on it! It's an easy thing to kill, despite its armored shell. Getting at the meat is a different story. Once you finally get at some of the food bits it's probably the most delicious thing you've ever eaten! Just juicy and chewy enough for your tastes! Though you were already full of food when you ate, your stomach makes room for the food. Not only that but you've grown considerably by the time you're done with the feast!\n\nYour stomach is still full and fat. It's a good feeling.\n\n[ Forest Floor | Your Size: 103 ]\n\n> You eat trees\nYou are not holding the tree.\n\nA nasty little slug slimes around on a leaf near your feet.\n\n> You go to the east\nYou move east.\nValley Pass\n\n[ Valley Pass | Your Size: 103 ]\n\n> You examine the air sacs\nThese little brown air sacs are at the bottom of the grasses that grow everywhere in this valley. The majority of these sacs are swarming with little hard-shelled beetles.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You eat beetles\nI don't understand what you are trying to eat.\n\nA smelly herd animal nearby lets out an intense fart. You have little sense of smell, and you cannot eat a fart, so you ignore it.\n\n> You eat the herd animal\nThey are too slow to escape you. If they have ever dealt with predators before, probably their smell is the only thing that could save them.\nIt's nasty, but you power through it, eating every last bit of flesh. Though you were already full of food when you ate, your stomach makes room for the food. In addition to filling you up, the meat from the smelly animal is great fuel for your growth, and you grow drastically in size!\n\n[ Valley Pass | Your Size: 123 ]\n\n> About you\nYou are a mangiasaur. You were born into your treetop home and left to hibernate until to you were old enough to fulfill your destiny: to eat and grow."
    },
    {
        "text": "> You look at your surroundings\nThe trees of the forest to the west give way abruptly to a low rolling grassland nestled between huge looming mountains. Smelly herd beasts upset the tranquility of the area with their grass-nibbling and farting. The only other disruptions in the billowing grasses are a small adobe hut, and a grove of strange trees nearby.\n\nThe valley is level with the forest floor to the west, but the eastern wall of the valley is formed by a large plateau rising at least as high as the mountains around it, casting a dark shadow on much of the grassland through much of the day.\nThe air is cooling as the sun moves toward its resting place.\n\n> You look at the plateau\nThe mesa is too tall for your little bird wings to carry you up there.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You look at the sap\nIt's opaque and viscous. It's running very slowly down the tree from the gash in the bark.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n> You eat the bark\nWith your newly sharpened teeth, it's a breeze. You gnaw the bark raw on the nearest tree. Though you were already full of food when you ate, your stomach makes room for the food. Sure enough, more sap leaks from the wound.\n\n> You examine the sap\nIt's opaque and viscous. It's running very slowly down the tree from the gash in the bark.\n\n> Burp\nYour lurch forward and regret it when you feel the hot blast bouncing off the earth and hitting your face, carrying with it the stench of burnt grass and charred beetles.\n\nYou are hungry. It is time to eat.\n\n> You wear sap\nYou are not holding funny yellow sap.\n\nYou feel a little tickling on your legs, when you push the grass aside, you see a small hard-shelled beetle crawling off your leg onto the grass.\n\n> You examine the tree\nThe grove is full of these trees. They are tall, slender trees, with hard, thick bark.\n\nA smelly herd animal nearby lets out an intense fart. You have little sense of smell, and you cannot eat a fart, so you ignore it.\n\n> Burp on sap\nThe expulsion of hot gas singes your throat, but when it hits the exposed tree sap, igniting it in flames, the real show begins. The tree starts to shake and rumble. When you see the tree uprooting itself, you jump on, not wanting to miss the ride.\n\nThe rocket tree, fully aflame from the inside, blasts off from the ground and hurtles through the air toward the eastern wall of the valley!\n\nThe wind blasts you as you ride the flaming tree through the sky. Within seconds of taking off, your rocket tree is sputtering to a halt up above the mesa's top.\n\nThe landing is rough, but you survive. The rocket tree burns up after it's done spinning around in the red mesa dust.\n\n[ Mesa Top | Your Size: 123 ]"
    },
    {
        "text": "[Themes: Dino Rampage, Historical, nonhuman protagonist, silly]\n\n> Look around\nThe land up here is dry and dusty. Little bristly bushes have sprung up through the cracks in the hard clay earth. There are footprints of people everywhere, and some kind of slithering tracks near the bushes. A family of buzz birds is making a ruckus nearby.\nThe sun may be sleeping, but your hunt for food will continue into the night.\n\nThe hunter is here on the mesa top, spear in hand, staring at you.\n\n> You eat hunter\nYou leap for the hunter, mouth open, claws spread.\nThe hunter lunges with its spear, but you slap it away with your foot before sinking your teeth into its chest. The spear clatters to the ground and you and the hunter follow it, sending up a huge cloud of dust as you land.\nIt takes a few minutes to polish it off, but when you're done your stomach is full. Completely. Not to say that you can't just make it bigger when you eat more, but in its current form, it's full. You have grown immensely, adding almost the whole mass of the human to yours.\n\nDistension is a natural thing for a mangiasaur's belly, but you are aware of your stomach returning to normal as you process your excess of food.\n\n[ Mesa Top | Your Size: 163 ]\n\n> You eat the buzz birds\n(Your score has increased by 1)\nYou approach the buzz birds cautiously, more than a little worried about what might happen if they all decided to fight you at once. When you are close enough, you leap at the nearest one, catching its gangly feet in your mouth as the rest of the family flies off, buzzing loudly. After a minute of wrestling with this buzz bird, you can eat your meal in silence.\n\n[ Mesa Top | Your Size: 173 ]\n\n> You look at the spear\nThe hunter's spear is its only possession. It's a wooden stick with a rock strapped to one end. The spearhead is carved to a wicked point. The other end of the spear is carved with an intricate pattern.\n\nWhile you're by no means starving, You could certainly fit a bit more food in there.\n\n> You eat the spear\nThe hunter's spear is inanimate, and easy to reach, but still manages to be one of the most difficult to eat things you've ever encountered. The spear sits uncomfortably lodged between your throat and stomach. You will probably not be able to digest this.\n\n> You drop the spear\nDrop what?\n\nA slither hopper is stirring up dust nearby, until the cloud envelopes it and it springs off the ground to start slithering again.\n\n> Vomit\nYou gag and the spear comes flying out, bottom end first. You won't be able to use it as a weapon, but at least your gut is clear. You could really go for some food to fill that void.\n\n> Vomit\nYou gag and the spear comes flying out, bottom end first. You won't be able to use it as a weapon, but at least your gut is clear. You could really go for some food to fill that void.\n\nYour belly rumbles. You are seriously hungry.\n\n> You eat the hopper\n(Your score has increased by 1)\nTheir hides are tough, making them hard to disable, hard to chew, and hard to swallow. What little bits of meat you get from them, though, are quite tasty!\nA good meal. You'll be satisfied for a while now.\n\n[ Mesa Top | Your Size: 176 ]\n\n> You examine the tracks\nThe tracks of various creatures can be seen in the dust here. The human footprints mostly lead to a small hole next to a large rock and the slither hoppers leave lines with large gaps leading to and from bristle bushes.\n\n> You examine the bushes\nThe birstle bushes are almost completely colorless. They're spiky and gnarled. Some have slither hoppers resting in the shade under them.\n\nThe rumbling in your stomach crescendos. You are overdue for a meal.\n\n> You eat the hopper\nTheir hides are tough, making them hard to disable, hard to chew, and hard to swallow. What little bits of meat you get from them, though, are quite tasty!\nA good meal. You'll be satisfied for a while now.\n\n[ Mesa Top | Your Size: 179 ]\n\n> You look at the hole\nA small hole in the ground next to a large, flat rock. It's very round but with little nubs carved all around the inside.\n\n> You look at the nubs\nYou see no such thing.\n\nA slither hopper is stirring up dust nearby, until the cloud envelopes it and it springs off the ground to start slithering again.\n\n> You eat the hopper\nTheir hides are tough, making them hard to disable, hard to chew, and hard to swallow. What little bits of meat you get from them, though, are quite tasty!\nThe food fills that last bit of space in your powerful belly.\n\n[ Mesa Top | Your Size: 182 ]\n\n> You examine the rock\nThe flat rock is laying on the ground. It's the only one of its kind around, and looks as though it was carved from the mesa itself.\n\n> You burp on rock\nI don't understand what you want me to do with flat rock.\n\nYou give a nice burp as your belly digests its contents. Always making room for more!\n\n> You eat the spear\nThe hunter's spear is inanimate, and easy to reach, but still manages to be one of the most difficult to eat things you've ever encountered. The spear sits uncomfortably lodged between your throat and stomach. You will probably not be able to digest this.\n\nYou are hungry. It is time to eat.\n\n> You eat the spear\nYou won't be able to get anything down with this spear in the way.\n\nA slither hopper is stirring up dust nearby, until the cloud envelopes it and it springs off the ground to start slithering again.\n\n> Vomit in hole\nYou gag and force the spear back up, aiming the bottom at the small hole. Your aim is true, and the spear is wedged into the hole, standing straight up. Then the flat rock begins to move."
    },
    {
        "text": "[Themes: Historical, Dino Rampage]\n\n> You look at your surroundings\nThe land up here is dry and dusty. Little bristly bushes have sprung up through the cracks in the hard clay earth. There are footprints of people everywhere, and some kind of slithering tracks near the bushes. The sun has begun its descent, but the heat of the land has been building all day, and it's warm and bright.\n\nThe hunter's spear is lodged firmly in the small hole by the rock.\n\nAlso here are mutilated carcass.\n\n> You eat the carcass\nThe stench of it is too much. Maybe if you held your breath...\n\n> You look at the carcass\nIt's putrid. Really. You can't even tell what it used to be.\n\n> You look at the rock\nThe flat rock has moved to the side, revealing an exit down into a cave.\n\nA slither hopper is stirring up dust nearby, until the cloud envelopes it and it springs off the ground to start slithering again.\n\n> You eat the hopper\nTheir hides are tough, making them hard to disable, hard to chew, and hard to swallow. What little bits of meat you get from them, though, are quite tasty!\nA good meal. You'll be satisfied for a while now.\n\nYour stomach is finishing off its contents. Soon you will need more food.\n\n[ Mesa Top | Your Size: 185 ]\n\n> You examine the tracks\nThe tracks of various creatures can be seen in the dust here. The human footprints mostly lead to a small hole next to a large rock and the slither hoppers leave lines with large gaps leading to and from bristle bushes."
    },
    {
        "text": "[Themes: Historical, Dino Rampage, nonhuman protagonist]\n\n> Go downwards\nYou crawl down the hole and find yourself in the Hall of Humans.\nHall of Humans\nThe Hall of Humans is unlike anything you've ever seen. The room must occupy almost the entire volume of the mesa. Little adobe dwellings hang from platforms in the ceiling and humans are everywhere! There are more woven rugs in here than you would've though possible.\n\nA human with a fancy hat stands in front of you as though it expects you to do something.\n\nThe human with the fancy hat approaches you, and places a beautiful platter of delicacies in front of you. It stands and studies your face.\n\n[ Hall of Humans | Your Size: 185 ]\n\n> You examine the platter\nThe platter has nothing familiar on it! It promises a whole new world of edibles. It makes your mouth water.\n\nThe rumbling in your stomach crescendos. You are overdue for a meal.\n\n> You eat the platter\nYou snap up the platter into your mouth. You chew for a moment, enjoying the sensation of all the wonderful new textures and flavors. The juices. The .... you taste something familiar. You taste. . . caterpillars, like the ones you first swallowed back in the forest canopy, only with a hint of sourness and some kind of sweet powder... dirt-digging rodent liver! The best part...\nscale crawlers' underskins, strung out and soaked in some kind of brine. The isolation of the skins brings out a flavor you recognize only in memory...\nsmelly herd beast meat, but without the stench! How did they do it... hard-shelled beetle bodies, shells heated to a thin crispy coating! These humans are capable of such wonders!...\ntiny sentient shrimp! And garnished with little tiny poetry hats!\nThey must have their own access to an underwater ocean...\nand many more incredible delicacies. As you swish it all around in your mouth you are overcome with a wonderful warmth. You are full.\nYou are full and ready to nap. So you do.\n\nAnd every day from now on you awake to more beautiful platter of delicacies, followed by naps, with occassional journeys into the wilderness to help your new humans find new things to prepare and eat.\n\nYou have grown, mangiasaur.\n\nYou have eaten and you have grown.\n\n> You eat human\nThe human sees your thought in the slight motion of your feet preparing to pounce, in the hot breath from your nostrils, and in your ever-hungry belly, but he is too slow! You have swallowed him whole and sent his hat flying across the room before anyone has time to react.\n\nNot only is he delicious, but the humans around you aren't looking for a fight. One approaches, lifting the hat from the ground, and placing it square on your head.\n\nThe next few meals are brought to you by your new humans. Sometimes beautiful platters of delicacies and sometimes raw foods from the wild. Sometimes you eat the humans that bring the food.\n\nYou live out your life as mangiasaur, ruler of the Hall of Humans, and eat whatever you want, whenever you want it.\nPress any key for credits and scoring\n\nThanks for playing Mangiasaur! Look forward to a rerelease soon with original soundtrack, fewer typos, and more stuff to eat!\n\nSpecial thanks to Foam for his rocket trees and to Po Prune for his competition!"
    },
    {
        "text": "[Themes: Eastern, martial arts, chinese, China]\n\nYour interpreter says that it is at least v1.0 of the z-machine standard, so it may be able to support extended Unicode.\nYour font does not appear to be able to display Unicode Chinese characters.\n\nIf your interpreter/font does not support full extended Unicode and therefore does not display Chinese characters (Simsun for example, is a font that can), you have the option of displaying the Pinyin (Romanized) equivalent, complete with tone numbers. If you elect to have this option on, they will appear in brackets where Chinese characters would be, or next to them if your font supports them.\n\nThe option can be turned on and off later by using \"pinyin on\" and \"pinyin off\".\n\nFor a brief explanation of Mandarin Pinyin tones, and to check the current status, type \"pinyin\".\n\nPress y to enable Pinyin, or anything else to continue without.\n(Pinyin is turned off.)\n\nYou had heard a great many stories in your time. Your childhood had been filled with tales of heroic characters who possessed great spiritual powers and incredible skill in martial arts.\n\nMany of those in your village were taught martial arts since childhood, yet it always seemed to you that there was something lacking in such a life - bearing always towards physical strength.\n\nOthers in your village had become important spiritual leaders, yet once again such a one-sided devotion to the spiritual left something to be desired.\n\nOne day, disheartened by this state of affairs, you decided to change things. With only a few rumours of a temple complex to the east and a crude map of the forest to guide you, you set off to follow legends of a wise old man. The legends said that he had combined martial arts with spiritual philosophy, apparently through the observation of nature - how this was achieved, nobody seemed to know.\n\nArriving in the black of night, only to find yourself confronted by a large door to the east, you decided to sleep on the problem and wait until morning.\n\nSunlight on your face awakens you.\n\n\n\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. An impenetrable barrier of thorns lies to the west. How they got there after you passed that way last night is anyone's guess.\n\nYour cloth bag lies on the ground."
    },
    {
        "text": "> You take the bag\nYou pick up the bag and loop it over your arm. It hangs open slightly but the contents will not fall out.\n\n> You examine the bag\nThe bag is a rather simple affair, made from a square of plain white cloth tied together at the corners. You can keep your hands free by wearing it looped over your arm.\n\nIt contains a jade knife.\n\n> You look at knife\nThe knife, a simple instrument, is carved from a solid piece of translucent green jade. The blade looks moderately sharp, designed mainly for skinning animals. It looks as though anything too hard might break the edge.\n\n> About yourself\nNot much change since you last looked."
    },
    {
        "text": "[Themes: Eastern, martial arts, China]\n\n> You look at your surroundings\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. An impenetrable barrier of thorns lies to the west. How they got there after you passed that way last night is anyone's guess.\n\n> You look at the thorns\nThe thorns look totally impassable, which is quite strange, given that it was only the night before that you entered the grove from that direction. The thorns themselves are almost two inches thick in places. They look like they could only be cut by an incredibly sharp blade - much sharper than your jade knife, unfortunately.\n\n> You look at the bamboo\nThe bamboo trees are tall and slender, much too thin to climb in any usual manner.\n\n> You cut the bamboo with the knife\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the bamboo trees eludes you for the time being.\n\n> You climb tree\nThe trees are far too thin to climb.\n\n> You go to the north\n(zhu4 jing4 de hu2) Serene lake\nThe forest opens out into a large clearing as the trees retreat from a lake that dominates the centre. Flies lazily buzzing in the warm air occasionally dip down to the water, causing a ripple to break the mirror surface as a fish reacts in kind. Not even a breeze disturbs the surface of this image of tranquility. A smooth boulder protrudes from the centre of the lake, the reflection giving the impression of a boulder floating in the sky. The white sand surrounding the water is soft and warm underfoot.\n\nA white crane stands majestically, unmoving, upon the rock at the centre of the lake.\n\n> You examine the crane\nThe white Manchurian crane stands upon the boulder, its red crest setting off an image of aloofness. Although it is unmoving, its eyes display an intensity and hidden power as it watches the fish swimming in the water deep below.\n\n> You look at the fish\nThe bright orange fish swim around in a leisurely manner, though always wary of predators.\n\n> You eat crane\n(first taking the white crane)\nIt is much too far away to reach from the land.\n\n> Sing\nYour singing is abominable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You examine the boulder\nOther than the peculiar visual effect caused by the reflection, the boulder looks smooth and quite ordinary. It would be too small for you to sit on.\n\n> You sit on boulder\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the boulder eludes you for the time being.\n\n> Swim\nThe crane notices you the moment your foot touches the water. It does not look particularly worried by your slow movements, but takes to the air leisurely gliding over the bamboo trees to the west.\n\nThe fish brush up against you playfully as you swim, always managing to avoid your touch when you try to stroke them.\n\nAfter a few minutes you return to the lakeside and wait for your clothing to dry a little.\n\n> You eat the fish\n(first taking the fish)\nThe fish are too quick, and constantly evade your grasp.\n\n> Inventory\nYou are carrying:\na cloth bag (being worn and open)\na jade knife\n\n> You cut yourself with the knife\nCutting you up would achieve little.\n\n> Go east\nThe bamboo trees begin to peter out, and the forest is replaced with slender, twisting cypresses.\n\n(shen2 dao4) Western end of spirit way\nCypress trees form a straight avenue several feet wide, running from west to east. The path continues some distance to the east, where it terminates in an archway - and back into the forest to the west.\n\nA row of ornate animal statues flank each side of the paved path upon which you stand, apparently guarding the way from interlopers.\n\n> You cut the statue with the knife\nCutting that up would achieve little.\n\n> Go east\nAs you approach the door, the eyes of the Qilin either side flare with a crimson hue. The door slams shut, giving a loud clunk as though being barred before you can reach it.\n\n> You look at Qilin\nEach qilin has a single horn on its forehead, a horse's hooves, a deer's body and an ox's tail. The body is covered with what appears to be a scaly pattern. Legend has it that a qilin appeared to the pregnant mother of Confucius.\n\nActually on second thoughts, they do seem a little odd to you - you have the distinct impression that you are being watched.\n\n> You examine the horn\nIt's just carved out of the stone for detail.\n\n> You examine the statues\nThe statues are arranged in pairs, each animal matched by its twin on the opposite side of the path. If you face the archway at the eastern end of the path, the animals stand to your left and right facing each other in the order of Dog, Ram, Horse, Lion and Qilin - the Qilin being just in front of the archway and the Dogs closest to you, at the western end of the path.\n\nLooking at the Qilin statues makes you feel slightly uneasy. For some reason they send a slight shiver down your spine.\n\n> You take the horn\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the details eludes you for the time being.\n\n> You examine the Dog\nThe dogs look like friendly chows with upstanding ears protruding from their heads. They sit as though awaiting their master's return.\n\n> You examine Ram\nThe rams are lying down on all fours, the pattern of their wool carved with millions of chisel-strikes.\n\nThere is something interesting about the ram statue to your left; A vine is draped over its back.\n\n> You look at the vine\nWhen pulled out straight, the vine appears to be several yards long. Being thin and dry, it does not seem suitable for use in climbing - it certainly would not hold your weight.\n\n> You cut vine\nCutting that up would achieve little.\n\n> You take the vine\nTaken.\n\n> Inventory\nYou are carrying:\na vine\na cloth bag (being worn and open)\na jade knife\n\n> You examine the Horse\nThe horses look rather chubby, more like oversized ponies. As with the other statues, they are stylised and lack realistic detail, tending toward the more ornate.\n\nThere is something interesting about the horse statue to your right; A clump of red moss sits on its nose, obscuring its gaze.\n\n> You examine the moss\nIt is a clump of spongy red moss."
    },
    {
        "text": "[Themes: Eastern, chinese, China, martial arts]\n\n> You look at your surroundings\n(shen2 dao4) Western end of spirit way\nCypress trees form a straight avenue several feet wide, running from west to east. The path continues some distance to the east, where it terminates in an archway - and back into the forest to the west.\n\nA row of ornate animal statues flank each side of the paved path upon which you stand, apparently guarding the way from interlopers.\n\n> You examine the Lion\nThe lions look fierce, standing erect and proud - their manes elaborately carved with curls.\n\nThere is something interesting about the lion statue to your left; A clump of green moss rests across its eyes.\n\n> Inventory\nYou are carrying:\nsome green moss\nsome red moss\na vine\na cloth bag (being worn and open)\na jade knife\n\n> You look at the green moss\nIt is a clump of spongy green moss.\n\n> You examine the red moss\nIt is a clump of spongy red moss.\n\n> You put the green moss on left Qilin\nYou cover its eyes with the green moss.\n\n> You put the red moss on right Qilin\nAs you obscure the vision of the guarding Qilin you hear a loud \"clunk\" as though a mechanism has been released.\n\n> You open the door\nYou open the wooden door.\n\n> You go east\nThe avenue of cypress trees change back to bamboo midway down the path.\n\n(shen2 dao4) Eastern end of spirit way\nCypress and bamboo trees form an avenue which ends to the east as the trees open out to form the entrance to a cemetery. The western end of the path continues through the elaborate archway. A tea bush grows out from a crack in the pavings.\n\nAs you look around you feel a slight chill, noticing occasional movement from the corner of your eye. When you turn to face it, there is nothing to be seen.\n\n> You look at the bush\nSaying that the bush \"grows\" is not quite accurate. It appears to have died some time ago, the leaves on it are dried out.\n\n> You take bush\nThe bush would be very difficult to uproot, so you settle for the leaves instead.\n\n> Inventory\nYou are carrying:\nsome tea leaves\na vine\na cloth bag (being worn and open)\na jade knife\n\n> You examine the archway\nThe archway towers high above you, spanning the width of the avenue formed by the trees and passing through into the impenetrable forest on either side of the path. Several exposed columns support the structure, each having a tightly coiled dragon carved at the base. The stone appears to have the same soft grey hue as the path and stone animals.\n\nSet in the centre of the archway is a huge wooden door which is wide open.\n\n> Go east\nAs you attempt to enter the cemetery you hear a strange rustling sound, yet the leaves on the trees do not move. A strange mist begins to form in front of you, between yourself and the cemetery entrance.\n\nAs you try to pass through it, it seems to solidify and darken at the points of contact. The solidified parts seem to form limbs which move to block your progress with rigid force. Each limb makes a strike at you, driving you back from the entrance.\n\nAfter several attempts at passing the strange apparition, you are forced to give up. The vapour fades back to nothing, leaving no trace.\n\nThe old man must have come this way at some point in time - perhaps there is a way of learning whatever fighting principles he had learned from nature."
    },
    {
        "text": "[Themes: Eastern, China]\n\n> Look around\n(shen2 dao4) Eastern end of spirit way\nCypress and bamboo trees form an avenue which ends to the east as the trees open out to form the entrance to a cemetery. The western end of the path continues through the elaborate archway. A tea bush grows out from a crack in the pavings.\n\nAs you look around you feel a slight chill, noticing occasional movement from the corner of your eye. When you turn to face it, there is nothing to be seen.\n\n> You examine the pavings\nThe path is made from tightly interlocked slabs of stone. The winds keep the floor clean.\n\n> You move pavings\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the paved path eludes you for the time being.\n\n> You listen\nYou think that you hear distant voices on the wind. As you begin to pay attention, they stop.\n\n> Go south\n(shen2 dao4) Western end of spirit way\nCypress trees form a straight avenue several feet wide, running from west to east. The path continues some distance to the east, where it terminates in an archway - and back into the forest to the west.\n\nA row of ornate animal statues flank each side of the paved path upon which you stand, apparently guarding the way from interlopers.\n\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. An impenetrable barrier of thorns lies to the west. How they got there after you passed that way last night is anyone's guess.\nThe soft bamboo-leaf floor covering changes to a cold, slimy rock floor as you enter the earth. The lighting becomes dull and subdued.\n\n(dong4 xue4) Rocky tidal cavern\nThe air in the cave is cold and damp. A chill wind blowing inwards from the sea causes your eyes to sting in the salt-laden air. The tide chews at the jagged rocks which protrude from the ocean surface several yards out. Boulders being rolled under the surface make loud rumblings like distant thunder - they sound like they could smash anything. The water looks uninviting - the rocks threaten to dash the foolish swimmer to pieces. Behind you, to the north is a passageway leading up to the surface.\n\nA small cleft is visible in the rock next to the entrance.\n\n> You examine the cleft\nThe cleft in the rock is a narrow horizontal slit, roughly two feet from the floor of the cavern. It measures roughly four or five inches high, by about two feet across.\n\nFrom the gloom within, you can just make out the shape of a black snake.\n\n> You examine snake\nThe snake's body is about an inch in diameter by three feet long. Two piercing yellow eyes stare unwavering from the velvety black background of its skin. For all its unnerving appearance, it seems to be a peaceful creature.\n\nIt appears to be sitting on a pebble.\n\n> You examine the pebble\nA smooth, flat pebble - the kind you used to skim lakes with as a child.\n\n> You take the snake\nPeaceful, until you approach it. You decide not to find out if it is poisonous.\n\n> You take the pebble\nDespite the snake's peaceful appearance, it may not be wise to try to take the pebble out from under it. Perhaps there is some way of moving the snake first.\n\n> Inventory\nYou are carrying:\nsome tea leaves\na vine\na cloth bag (being worn and open)\na jade knife\n\n> You cut the snake with the knife\nCutting him up would achieve little.\n\n> Sing\nYour singing is abominable.\n\n> You look\n(dong4 xue4) Rocky tidal cavern\nThe air in the cave is cold and damp. A chill wind blowing inwards from the sea causes your eyes to sting in the salt-laden air. The tide chews at the jagged rocks which protrude from the ocean surface several yards out. Boulders being rolled under the surface make loud rumblings like distant thunder - they sound like they could smash anything. The water looks uninviting - the rocks threaten to dash the foolish swimmer to pieces. Behind you, to the north is a passageway leading up to the surface.\n\nA small cleft is visible in the rock next to the entrance.\n\n> You hit the snake with the vine\nA stick is best for keeping things at arm's length.\n\n> Swim\nThe sea in this region would be impossible to swim in - it would smash you to a pulp and wash your remains up on a beach somewhere.\n\n> You ask Snake,  to go west\nThe black snake has better things to do.\n\n> Go southeast\nThe bamboo forest ends abruptly, giving way to a rocky cliff, which you begin to descend.\n\n(ya2) Cliffs\nAs you stand with your back to the cliff, the view ahead of you appears to be nothing but a blur fading from dark grey sea below, through to a light powder blue sky.\n\nA narrow path winds its way down the cliff face to the water level below, where a small alcove seems to collect debris, and upwards over the edge of the cliff to the bamboo forest.\n\n> You examine the path\nThe path is cut deep into the cliff face. It does not look like it will give way any time soon."
    },
    {
        "text": "> You go downwards\n(ya2 di3) Cliff base\nNot much can be seen from this vantage point. A thin veil of fog blocks the view out to sea. The waters below churn menacingly, the spume a milky white.\n\nThe ledge here forms a small alcove, which is only a couple of metres across. It continues up the cliff face, where it vanishes from sight.\n\nDebris seems to get washed in here and collects on the rocky ledge.\n\n> You examine the sea\nThe sea is dark with mud stirred up from the bottom, and totally restless.\n\n> You examine the debris\nThe debris is a mess of rubbish, mainly wood pounded to pieces by the action of the sea on the rocks.\n\n> You search it\nAfter a thorough search of the debris you uncover a sturdy bamboo stick, which you take.\n\n> Go upwards\n(ya2) Cliffs\nAs you stand with your back to the cliff, the view ahead of you appears to be nothing but a blur fading from dark grey sea below, through to a light powder blue sky.\n\nA narrow path winds its way down the cliff face to the water level below, where a small alcove seems to collect debris, and upwards over the edge of the cliff to the bamboo forest.\n\n> Go south\nThe soft bamboo-leaf floor covering changes to a cold, slimy rock floor as you enter the earth. The lighting becomes dull and subdued.\n\n(dong4 xue4) Rocky tidal cavern\nThe air in the cave is cold and damp. A chill wind blowing inwards from the sea causes your eyes to sting in the salt-laden air. The tide chews at the jagged rocks which protrude from the ocean surface several yards out. Boulders being rolled under the surface make loud rumblings like distant thunder - they sound like they could smash anything. The water looks uninviting - the rocks threaten to dash the foolish swimmer to pieces. Behind you, to the north is a passageway leading up to the surface.\n\nA small cleft is visible in the rock next to the entrance.\n\n> Poke snake\nAs you prod the snake with the stick, it decides to move. Being so close to the crevice it startles you, causing you to lose your grip on the stick which clatters down into the back of the cleft beyond your reach.\n\nThe snake slithers off, apparently turning the corner and leaving the cave.\n\n> You take the pebble\nTaken.\n\n> You look at the cleft\nThe cleft in the rock is a narrow horizontal slit, roughly two feet from the floor of the cavern. It measures roughly four or five inches high, by about two feet across.\n\nThere does not appear to be anything in the cleft.\n\n> Skim pebble\nYou suddenly have an irresistible urge, dating back to your childhood. The pebble skims across the surface of the lake, its path curving as though guided by the Dao, leaping several times until it clatters against the boulder, landing in the water with a 'plop'.\n\nThe crane gives an undignified shriek at the sudden close disturbance and darts away through the trees to the south.\n\n> Go south\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. An impenetrable barrier of thorns lies to the west. How they got there after you passed that way last night is anyone's guess.\n\nThe snake and crane are sitting at opposite ends of the clearing, apparently waiting for each other to move.\n\n> You think\nWhat a good idea.\n\n> Inventory\nYou are carrying:\nsome tea leaves\na vine\na cloth bag (being worn and open)\na jade knife\n\n> Go east\nThe bamboo trees begin to peter out, and the forest is replaced with slender, twisting cypresses.\n\n(shen2 dao4) Western end of spirit way\nCypress trees form a straight avenue several feet wide, running from west to east. The path continues some distance to the east, where it terminates in an archway - and back into the forest to the west.\n\nA row of ornate animal statues flank each side of the paved path upon which you stand, apparently guarding the way from interlopers.\n\n> You go east\nThe avenue of cypress trees change back to bamboo midway down the path.\n\n(shen2 dao4) Eastern end of spirit way\nCypress and bamboo trees form an avenue which ends to the east as the trees open out to form the entrance to a cemetery. The western end of the path continues through the elaborate archway. A tea bush grows out from a crack in the pavings.\n\nAs you look around you feel a slight chill, noticing occasional movement from the corner of your eye. When you turn to face it, there is nothing to be seen.\n\nAs you think, you begin to realize that the area surrounding the lake manifests a lot of Yang elements. The brightness, the warmth, clarity and creative aspects all point to it. There is an element of Yin, however, in the stillness of the lake and softness of the water.\n\n> You go east\nAs you attempt to enter the cemetery you hear a strange rustling sound, yet the leaves on the trees do not move. A strange mist begins to form in front of you, between yourself and the cemetery entrance.\n\nAs you try to pass through it, it seems to solidify and darken at the points of contact. The solidified parts seem to form limbs which move to block your progress with rigid force. Each limb makes a strike at you, driving you back from the entrance.\n\nAfter several attempts at passing the strange apparition, you are forced to give up. The vapour fades back to nothing, leaving no trace.\n\nThe old man must have come this way at some point in time - perhaps there is a way of learning whatever fighting principles he had learned from nature.\n\nYou begin to get the idea that the cavern contains much Yin. It is dark, cold, destructive and murky - yet the motion and activity of the sea, along with the hardness of the rocks, embodies some part of Yang.\n\n> You wait\nTime passes.\n\n> Wait\nTime passes.\n\nYou come to the understanding that the bamboo forest appears to be a balancing point between the Yin and Yang of the lake and cavern - and that there are elements of Yin within Yang, and vice versa. One cannot exist without the other.\n\n> Wait\nTime passes.\n\nAfter witnessing the battle between the crane and snake, you begin to understand that it is possible for soft motion to overcome rigidity. The snake demonstrates this in its yielding style - as do the rocks and sea. The hardest stone can be worn by the motion of water, from its gentlest to its most fierce action.\n\nYou begin to wonder if this philosophy can be used to overcome others in battle.\n\n> You go to the east\nAs you attempt to enter the cemetery you hear a strange rustling sound, yet the leaves on the trees do not move. A strange mist begins to form in front of you, between yourself and the cemetery entrance.\n\nAs you try to pass through it, it seems to solidify and darken at the points of contact. The solidified parts seem to form limbs which move to block your progress with rigid force. Each limb makes a strike at you, driving you back from the entrance.\n\nAs you attempt to fight the strange entity, you realize that the principle that you have learned from observing the crane and snake fight can be of use. You begin to parry the blows with gentle movements, allowing the force to move past you.\n\nAfter several moments of cunning feints and deflections, you manage to pass the entity, which fades away - leaving the pathway quiet once again, with the obstruction gone.\n\nThe path ends, and the forest either side retreats to form a clearing.\n\n(si4 miao4 de fen2 chang2) Cemetery\nThe dense trees form a nearly impenetrable wall around the cemetery grounds. In the centre of the clearing is a large mound, atop which stands a shrine or marker of some kind. Numerous smaller stones are dotted about. At the southern end of the cemetery stands a run-down looking pagoda. A path runs northward, apparently towards the mountains.\n\n> You examine the mound\nThe mound has a gentle slope, flattened at the top where the marker stands. It is approximately five feet high, by about twenty feet across at the bottom. Sparse, dry grass populates the bank, with a few longer tufts near the top.\n\n> You examine the marker\nThe stone is perched on top of the large mound, its sides a polished, shimmering black - possibly jet or some other stone that you do not recognise. Deeply chiseled characters stand out on the front of it, embossed with gold. Perhaps this person was revered by someone, had a wealthy family or was some other kind of important figure. The name, (wu3 jiu4 huo) Wu Jiu-Huo, is unfamiliar.\n\nAt the base of the shrine is a tiny hole.\n\n> You examine the hole\nYou cannot tell how deep the hole is, but it is very small - about a quarter of an inch in diameter. Ashen smudges mark the surface of the stone just below it."
    },
    {
        "text": "[Themes: Eastern]\n\n> Look around\n(si4 miao4 de fen2 chang2) Cemetery\nThe dense trees form a nearly impenetrable wall around the cemetery grounds. In the centre of the clearing is a large mound, atop which stands a shrine or marker of some kind. Numerous smaller stones are dotted about. At the southern end of the cemetery stands a run-down looking pagoda. A path runs northward, apparently towards the mountains.\n\n> You examine the stones\nThe smaller stones appear to be grave markers only a foot or two high, characters adorning most of them - while a few have weathered smooth. After looking at several of them, you realize that the names are written in an archaic style, and none of them are even vaguely familiar.\n\n> Pray\nNothing practical results from your prayer.\n\n> You look at the pagoda\nThe pagoda must have been magnificent in its day. Three tiers of bright orange tiled roofing sweep down, supported by bright green painted wooden pillars and beams. Ricepaper screens adorn the windows, while an ornately carved door stands at the top of the steps that run up to the raised floor level. Of course now, the tiles have faded and are stained with muck and lichen. The paint is peeling from the woodwork, the screens are gone and the frames of the door and windows stand empty.\n\n> You take the pagoda\nThat's hardly portable.\n\n> You go to the south\n(ta3) Inside pagoda\nDespite the air of decay that the outside (and indeed the inside) of the building presents, there is a strange homely warmth to it. A sense of stillness and focus pervades your being, making you feel relaxed yet alert. The structure above creaks in the sunlight, while the floating feathers of birds roosting above add to the dreamlike quality.\n\nYou can see an old man, a wooden tray and a teapot (in which is some water) here.\n\n> You examine man\nIf it were not for the gentle movement of his chest while breathing, you would assume that he was a scarecrow made from stuffed wrinkly leather. Admittedly, the long silver hair that spills from the back of his head, beard and moustache would have made him a rather elaborate scarecrow. If it were not for a peculiar air of hidden power that surrounds him, you would think him to be a common beggar.\n\n> You touch man\nThe old man does not seem to respond at all. He seems totally oblivious to his surroundings, except for the fact that his nostrils seem to flare in response to aromas that you cannot discern.\n\n> You examine the teapot\nA small brown ceramic teapot. It contains clean hot water.\n\n> You put the leaves in the pot\nThe leaves are too big for teamaking.\n\n> You cut leaves\nYou ought to cut them on a tray.\n\n> You put the leaves on the tray\nYou put the tea leaves on the wooden tray.\n\n> You cut the leaves\n(with the jade knife)\n(first taking the jade knife)\nYou cut the leaves with finesse, then gather them up - just right for teamaking now.\n\n> You take the leaves\nYou already have those.\n\n> You put the leaves in the pot\nYou open the lid, put the tea in and close it again.\n\nThe tea begins to steep in the pot. The delicate aroma wafts across the room.\n\nThe old man seems to smell the tea, for his eyes open and a thin smile briefly plays across his features. He walks over to you, picks up the teapot and smells the contents.\n\n\"Ahh, the leaf is perfect,\" he comments, \"but I am quite capable of making tea myself. As I had no leaf to make any however, I am in your debt.\"\n\nHe fumbles in his robes for a moment, and withdraws a large key.\n\n\"This may be of some use to you. Find your way to the top of Mount Tai - you may learn something from the experience. Come back to see me once you discover the point of the trip.\"\n\nHe laughs as he hands you the key and goes outside to enjoy his tea.\n\n> You look at the key\nIt is a large iron key. Most of the angular edges seem to have been worn down by passing many hands.\n\n> Go north\n(si4 miao4 de fen2 chang2) Cemetery\nThe dense trees form a nearly impenetrable wall around the cemetery grounds. In the centre of the clearing is a large mound, atop which stands a shrine or marker of some kind. Numerous smaller stones are dotted about. At the southern end of the cemetery stands a run-down looking pagoda. A path runs northward, apparently towards the mountains.\n\n> You go north\nThe forest stops, suddenly confronted by a wall of rock.\n\n(shan1 men2) Mountain gate\nAn enormous archway stands to the northwest, acting as a gateway to the mountain pass beyond. The forest opens out to the south, while a rock wall encompasses all other directions.\n\n> You open the gate with the key\nYou unlock the wooden gate.\n\n> You open gate\nYou open the wooden gate.\n\n> You go to the north-west\nAfter passing through the archway at the foot of the mountains, a staggering number of steps lies ahead of you.\n\nAfter a tiring climb of three thousand steps you reach a landing, where you rest before continuing the climb.\n\n(shan1 ti1) Mountain stairway\nThe landing, a flat expanse of about twenty feet across in both directions, gives a welcome break from the tortuous stairs that lead up to the east and down to the southeast. Sheltered from the winds, this spot is quite a peaceful place to rest.\n\n> You rest\nWeary from the climb, you fall asleep.\n\nYou dream about the principles of Yin and Yang, of how opposites are inseparable and how one is necessary for the existance of the other. After the dream fades to nothing, words drift through your sleep:\n\n\"When people see some things as beautiful,\nother things become ugly.\nWhen people see some things as good,\nother things become bad.\n\nBeing and non-being create each other.\nDifficult and easy support each other.\nLong and short define each other.\nHigh and low depend on each other.\nBefore and after follow each other.\n\nand teaches without saying anything.\nThings arise and she lets them come;\nthings disappear and she lets them go.\nShe has but does not possess,\nacts but does not expect.\nWhen her work is done, she forgets it.\nThat is why it lasts forever.\"\n\nYou wake, feeling refreshed."
    },
    {
        "text": "> You describe your surroundings\n(shan1 ti1) Mountain stairway\nThe landing, a flat expanse of about twenty feet across in both directions, gives a welcome break from the tortuous stairs that lead up to the east and down to the southeast. Sheltered from the winds, this spot is quite a peaceful place to rest.\n\n> Go east\nYou trudge wearily up the remaining three thousand, six hundred and sixty steps.\n\nAs you emerge from the relatively confined space of the stairway, you feel slightly lightheaded - the landscape opening out below you is stunning.\n\n(shan1) Mountain\nThe mountain stands just over a mile above the surrounding terrain. You can see your village over in the distant west, while to the south the whole complex of spirit way and cemetery is visible from this great height. Birds circle the treetops below, their movements complementing the stillness of the clear blue skies above.\n\nExcept for a solitary wizened tree and the stairway cut into the ground to the west, the mountaintop is bare.\n\nA long wooden box lies on the ground, apparently discarded.\n\n> Examine box\nIt is just over three feet long, approximately four inches thick by about six inches wide. It is rather plain looking, being made of a light wood - no pattern adorns the outer surface. A latch mechanism is mounted on the front, but no hinges are visible on the back - they must be on the inside of the box.\n\nIt is closed.\n\n> You open the box\nIt appears that the latch has seized up and will not open. Given some tremendous force, you might be able to free the mechanism.\n\n> You look at the tree\nAs with many trees that grow upon the slopes of mountains, it has given in to the persistent nagging of the winds. It slants upward at a peculiar angle, as though planted inside some giant glass bottle that has forced it into an unnatural shape.\n\nAlthough poetic, it is but a tree.\n\n> Smash box\nIt seems as though it would take tremendous force to loosen the latch.\n\n> You climb the tree\nThe branches of the tree are compact, dry and brushlike. Virtually impossible to climb up.\n\n> You throw the box\nThe box clatters all the way down the steps.\n\n> Go west\nAfter stumbling wearily down three thousand, six hundred and sixty steps, you reach the landing - a welcome sight, as you feel in need of a rest.\n\n(shan1 ti1) Mountain stairway\nThe landing, a flat expanse of about twenty feet across in both directions, gives a welcome break from the tortuous stairs that lead up to the east and down to the southeast. Sheltered from the winds, this spot is quite a peaceful place to rest.\n\nYou can see a long wooden box (which is closed) here.\n\n> You tie the vine to box\nYou tie the vine to the handle of the box. Thankfully it does not snap.\n\n> You go to the east\nYou trudge wearily up the remaining three thousand, six hundred and sixty steps.\n\nAs you emerge from the relatively confined space of the stairway, you feel slightly lightheaded - the landscape opening out below you is stunning.\n\n(shan1) Mountain\nThe mountain stands just over a mile above the surrounding terrain. You can see your village over in the distant west, while to the south the whole complex of spirit way and cemetery is visible from this great height. Birds circle the treetops below, their movements complementing the stillness of the clear blue skies above.\n\nExcept for a solitary wizened tree and the stairway cut into the ground to the west, the mountaintop is bare.\n\n> Inventory\nThere's nothing sensible to swing here.\n\nYou are carrying:\na long wooden box with a vine attached\na key\na jade knife\na cloth bag (being worn and open but empty)"
    },
    {
        "text": "> Look around\n(shan1) Mountain\nThe mountain stands just over a mile above the surrounding terrain. You can see your village over in the distant west, while to the south the whole complex of spirit way and cemetery is visible from this great height. Birds circle the treetops below, their movements complementing the stillness of the clear blue skies above.\n\nExcept for a solitary wizened tree and the stairway cut into the ground to the west, the mountaintop is bare.\n\n> You pull the tree\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the wizened tree eludes you for the time being.\n\n> You look at the tree\nAs with many trees that grow upon the slopes of mountains, it has given in to the persistent nagging of the winds. It slants upward at a peculiar angle, as though planted inside some giant glass bottle that has forced it into an unnatural shape.\n\nAlthough poetic, it is but a tree.\n\n> You examine the stairway\nApart from the obvious beginnings and ends, the steps - with very little imagination - could be stretching out into infinity. It must have taken years to lay these steps into the surrounding rock structures of the mountainous valley.\n\n> You examine latch\nThe latch looks very rusty. It appears to serve both as a handle and a fastening as there is a large loop, big enough for you to carry it by. It appears that the latch has seized up and will not open. It seems as though it would take tremendous force to loosen. There is a vine tied to the handle.\n\n> You tie the vine to latch\nYou tie the vine to the handle of the box. Thankfully it does not snap.\n\n> You check your inventory\nYou are carrying:\na long wooden box with a vine attached\na key\na jade knife\na cloth bag (being worn and open but empty)\n\n> Smash box\nIt seems as though it would take tremendous force to loosen the latch.\n\n> Drop box\nThe box clatters all the way down the steps.\n\n> You give up\n(to yourself)\n(first taking the up above)\nThat isn't available."
    },
    {
        "text": "> Look around\n(shan1) Mountain\nThe mountain stands just over a mile above the surrounding terrain. You can see your village over in the distant west, while to the south the whole complex of spirit way and cemetery is visible from this great height. Birds circle the treetops below, their movements complementing the stillness of the clear blue skies above.\n\nExcept for a solitary wizened tree and the stairway cut into the ground to the west, the mountaintop is bare.\n\n> You look at the cemetery\nFrom this distance, the whole area just seems like a greenish rug of trees, with the cemetery complex forming an earthy stain upon it.\n\n> You throw the box at the cemetery\nEverything has purpose within the Dao, that is nature's way. However an immediate use for the long wooden box with a vine attached eludes you for the time being.\n\n> You examine the birds\nFrom this distance they look like tiny white specks. They could easily be motes of dust, floating on the air currents.\n\n> Go west\nAfter stumbling wearily down three thousand, six hundred and sixty steps, you reach the landing - a welcome sight, as you feel in need of a rest.\n\n(shan1 ti1) Mountain stairway\nThe landing, a flat expanse of about twenty feet across in both directions, gives a welcome break from the tortuous stairs that lead up to the east and down to the southeast. Sheltered from the winds, this spot is quite a peaceful place to rest.\n\n> You go to the southeast\nAfter an arduous trek down three thousand steps, you reach the foot of the mountain.\n\n(shan1 men2) Mountain gate\nAn enormous archway stands to the northwest, acting as a gateway to the mountain pass beyond. The forest opens out to the south, while a rock wall encompasses all other directions.\n\n> Go south\n(si4 miao4 de fen2 chang2) Cemetery\nThe dense trees form a nearly impenetrable wall around the cemetery grounds. In the centre of the clearing is a large mound, atop which stands a shrine or marker of some kind. Numerous smaller stones are dotted about. At the southern end of the cemetery stands a run-down looking pagoda. A path runs northward, apparently towards the mountains.\n\n> Go south\n(ta3) Inside pagoda\nDespite the air of decay that the outside (and indeed the inside) of the building presents, there is a strange homely warmth to it. A sense of stillness and focus pervades your being, making you feel relaxed yet alert. The structure above creaks in the sunlight, while the floating feathers of birds roosting above add to the dreamlike quality.\n\nYou can see a wooden tray here.\n\n> You examine feathers\nLooking up into the roof space, you cannot actually see the birds themselves - they are always careful to hide out of plain sight when roosting. The presence of their feathers, gently floating on the air currents gives them away.\n\n> You examine the tray\nThe wooden tray is about a foot in diameter, the surface is scored with marks as though it has been used as a chopping board. A small lip runs around its outer edge, to prevent spillage of whatever might be placed upon it."
    },
    {
        "text": "> You describe your surroundings\n(ta3) Inside pagoda\nDespite the air of decay that the outside (and indeed the inside) of the building presents, there is a strange homely warmth to it. A sense of stillness and focus pervades your being, making you feel relaxed yet alert. The structure above creaks in the sunlight, while the floating feathers of birds roosting above add to the dreamlike quality.\n\n> You hold the vine\nYou are already holding the box to which it is attached.\n\n> You rest\nWeary from the climb, you fall asleep.\n\nOnce again, words drift through your slumber.\n\n\"We join spokes together in a wheel,\nbut it is the centre hole\nthat makes the wagon move.\n\nWe shape clay into a pot,\nbut it is the emptiness inside\nthat holds whatever we want.\n\nWe hammer wood for a house,\nbut it is the inner space\nthat makes it livable.\n\nWe work with being,\nbut non-being is what we use.\"\n\nYou wake, feeling refreshed.\n\n> You rest\nWeary from your climb, you fall into a short, dreamless slumber.\n\nYou wake, feeling refreshed."
    },
    {
        "text": "> Go downward\n(shan1 men2) Mountain gate\nAn enormous archway stands to the northwest, acting as a gateway to the mountain pass beyond. The forest opens out to the south, while a rock wall encompasses all other directions.\n\n> You rest\nAfter a short rest, you feel refreshed.\n\n> Go west\n(shen2 dao4) Eastern end of spirit way\nCypress and bamboo trees form an avenue which ends to the east as the trees open out to form the entrance to a cemetery. The western end of the path continues through the elaborate archway. A tea bush grows out from a crack in the pavings.\n\n> Go west\n(shen2 dao4) Western end of spirit way\nCypress trees form a straight avenue several feet wide, running from west to east. The path continues some distance to the east, where it terminates in an archway - and back into the forest to the west.\n\nA row of ornate animal statues flank each side of the paved path upon which you stand, apparently guarding the way from interlopers.\n\n> Drop box\nYou hold on to the other end of the vine as you drop the box. The tide comes in and whisks the box out to sea, but due to the fact that you are holding the vine it veers to one side, causing it to smash violently against the rocks. The vine gets snatched from your grip as the box disappears from view."
    },
    {
        "text": "[Themes: Eastern, chinese]\n\n> Go downward\n(ya2 di3) Cliff base\nNot much can be seen from this vantage point. A thin veil of fog blocks the view out to sea. The waters below churn menacingly, the spume a milky white.\n\nThe ledge here forms a small alcove, which is only a couple of metres across. It continues up the cliff face, where it vanishes from sight.\n\nDebris seems to get washed in here and collects on the rocky ledge.\n\nYou can also see a long wooden box (which is closed) here.\n\n> Examine box\nIt is just over three feet long, approximately four inches thick by about six inches wide. It is rather plain looking, being made of a light wood - no pattern adorns the outer surface. A latch mechanism is mounted on the front, but no hinges are visible on the back - they must be on the inside of the box.\n\nIt is closed.\n\n> You open it\nSuitably weakened by its ordeal the box opens easily, revealing a painting in the lid.\n\nIt also contains a sword.\n\n> You examine the painting\nThe picture inside the lid appears to depict five different martial arts moves and stances, relating each one to a different element. Each one is distinct enough for you to be able to remember them easily: (tu3 jin2 shui3 mu4 huo3) earth, metal, water, wood and fire. Oddly, none of them depict stances that include a sword - they are all unarmed.\n\nJust below is an image of a sword, with the same symbols etched in a pattern upon the blade - but it is too faded to be able to discern which is which.\n\n[Type the name of the element to practice the stance.]\n\n> Earth\nYou are not in combat at the moment, but you rehearse the stance anyway.\n\nYou quickly get into the earth stance:\n\nYou balance your weight evenly upon both legs, both slightly bent to keep your stance grounded. Your right hand is held out in front of you, fingers open, palm facing directly forward. Your left hand is also held palm open, but at your side - facing forwards at a slight downward angle.\n\n> Metal\nYou are not in combat at the moment, but you rehearse the stance anyway.\n\nYou quickly get into the metal stance:\n\nYou shift your weight backwards onto your right leg, left leg out towards the front, giving support. You hold your left fist out in front of you, palm up, at face level, while your right fist is at your hip, facing palm down.\n\n> Water\nYou are not in combat at the moment, but you rehearse the stance anyway.\n\nYou quickly get into the water stance:\n\nWith your legs together, the left slightly in front of the right, you crouch a little. Your right fist extends out as far as you can reach, thumb upward, yet keeping the arm slightly bent. The left fist is held, palm inwards, against your ribs.\n\n> Wood\nYou are not in combat at the moment, but you rehearse the stance anyway.\n\nYou quickly get into the wood stance:\n\nYou shift your weight backwards onto your left leg, right leg out towards the front, giving support. You hold your left fist out in front of you, thumb upward, at shoulder level, while your right fist is held just above your head, ready to strike downwards.\n\n> Fire\nYou are not in combat at the moment, but you rehearse the stance anyway.\n\nYou quickly get into the fire stance:\n\nYou shift your weight sideways onto your right leg, left leg out towards the front-left, giving support. You hold your right fist out in front of you, palm up, at face level, while your left fist is at covering your stomach, facing palm down.\n\n> You examine the sword\nThe sword is a classic Chinese \"Jian\": a tassel graces the pommel, which is in turn attached to a wooden handgrip. Above the handgrip is the hilt, from which extends the blade. The blade itself appears to have symbols etched upon it.\n\n> You examine the symbols\nThe blade is nearly three feet long, an inch and a half wide, yet nearly wafer thin. It is unusually flexible, and the edges appear razor sharp right to the tip. It has a slightly flattened section up the middle, upon which there appear to be etched symbols of some sort.\n\nThe etching appears to be writing. One side has characters (chuang4 zao4) meaning \"Create\" and just above it a circle of five characters, reading from the top clockwise: (tu3 jin2 shui3 mu4 huo3) Earth, Metal, Water, Wood, Fire - which appear to be referring to the creation of Qi energy by cycling through the five elements of nature.\n\nThe other side has the characters (kong4 zhi4) \"Control\" and again in a circle: (tu3 shui3 huo3 jin2 mu4) Earth, Water, Fire, Metal, Wood - which refers to the cycle by which Qi is controlled and suppressed by the five elements.\n\n> Inventory\nYou are carrying:\na sword\na long wooden box (which is open but empty)\na wooden tray\na key\na jade knife\na cloth bag (being worn and open but empty)\n\n> Go upwards\n(ya2) Cliffs\nAs you stand with your back to the cliff, the view ahead of you appears to be nothing but a blur fading from dark grey sea below, through to a light powder blue sky.\n\nA narrow path winds its way down the cliff face to the water level below, where a small alcove seems to collect debris, and upwards over the edge of the cliff to the bamboo forest.\n\n> You go northwest\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. An impenetrable barrier of thorns lies to the west. How they got there after you passed that way last night is anyone's guess.\n\n> You go east\nThe avenue of cypress trees change back to bamboo midway down the path.\n\n(shen2 dao4) Eastern end of spirit way\nCypress and bamboo trees form an avenue which ends to the east as the trees open out to form the entrance to a cemetery. The western end of the path continues through the elaborate archway. A tea bush grows out from a crack in the pavings.\n\n> You go east\nThe path ends, and the forest either side retreats to form a clearing.\n\n(si4 miao4 de fen2 chang2) Cemetery\nThe dense trees form a nearly impenetrable wall around the cemetery grounds. In the centre of the clearing is a large mound, atop which stands a shrine or marker of some kind. Numerous smaller stones are dotted about. At the southern end of the cemetery stands a run-down looking pagoda. A path runs northward, apparently towards the mountains.\n\n> You go to the south\n(ta3) Inside pagoda\nDespite the air of decay that the outside (and indeed the inside) of the building presents, there is a strange homely warmth to it. A sense of stillness and focus pervades your being, making you feel relaxed yet alert. The structure above creaks in the sunlight, while the floating feathers of birds roosting above add to the dreamlike quality.\n\nYou can see an old man here.\n\nThe old man says, \"I will test your understanding. I will attack you five times in a row - if you manage to defeat me three times in a row, I will know that you have attained understanding. If you fail, you may try again - I am not so harsh a master as others.\"\n\nDespite his apparent frailty, the old man suddenly moves with the grace of a snake. As he prepares to strike, you recognise his stance as the element of fire.\n\n> Water\nYou quickly get into the water stance:\n\nWith your legs together, the left slightly in front of the right, you crouch a little. Your right fist extends out as far as you can reach, thumb upward, yet keeping the arm slightly bent. The left fist is held, palm inwards, against your ribs.\n\nYou manage to attain a balance between physical and spiritual. The effect of the combination of spiritual elements allows you to defeat him.\n\n\"Good, water controls fire!\"\n\nThe old man readies himself for his next attack, this time the stance appears to be that of fire.\n\n> Water\nYou quickly get into the water stance:\n\nWith your legs together, the left slightly in front of the right, you crouch a little. Your right fist extends out as far as you can reach, thumb upward, yet keeping the arm slightly bent. The left fist is held, palm inwards, against your ribs.\n\nThe balance between physical and spiritual elements in your stance is much better this time. The blending allows you to defeat him with relative ease.\n\n\"Excellent, water controls fire!\"\n\nThe old man readies himself for his next attack, this time the stance appears to be that of wood.\n\n> Metal\nYou quickly get into the metal stance:\n\nYou shift your weight backwards onto your right leg, left leg out towards the front, giving support. You hold your left fist out in front of you, palm up, at face level, while your right fist is at your hip, facing palm down.\n\nYou reach the perfect balance of physical and spiritual. The effect of the combination of spiritual elements allows you to defeat him effortlessly.\n\n\"Superb, metal controls wood!\"\n\n\"You are talented!\" He exclaims. \"Evidently you understand the principles of Taiji and elemental cycles. No further tests will be necessary, you have the understanding you seek.\"\n\nHe goes back to his meditations.\n\nReviewing your memory of the battle, you understand that the elements carry a great spiritual weight when represented in combat, and that much of their power comes through, even when physical strength may be lacking.\n\n> You drop the tray\nDropped.\n\n> You cut the thorns\n(with the sword)\nYou hack the thorny obstruction to pieces.\n\n> You cut the thorns with the sword\nCutting those up would achieve little."
    },
    {
        "text": "[Themes: Eastern]\n\n> Look around\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest\n\n> Go west\nsurrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. The trail back to your village lies to the west.\n\nAlthough you have gained the understanding of spirituality and softness in combat, your family places much emphasis on the weapon that you have returned with.\n\nIn the years to come, your descendants pass on your teachings in a tainted form. Teachings that still place emphasis on weaponry and possessions.\n\nThe family name becomes famous for a few generations, but gradually fades into antiquity as their skills are surpassed by other weapon masters.\n\n> You go to the west\nYou realize that true skill does not depend upon weapons. It is what is in your heart, not your hand, that is important.\n\nYour teachings of Taiji - of softness in combat - will be passed on for generations and your family name known for decades, if not centuries to come.\n\n> Endnotes\nIf you've completed the game with full understanding of Taiji (which isn't actually Taiji by the way, the stances are from Xingyi, as Taiji doesn't actually have \"elemental stances\" in it - at least Sun style doesn't) you will have actually gone through all of the key plot elements.\n\nTaiji was never actually developed in the manner implied in the game. The idea that it came about after a certain historical figure had witnessed a battle between a crane and snake is a popular myth. The actual lineage and development of Taiji is well documented fact.\n\nA few herrings exist in this game:\nIn the cemetery, you notice the shrine, try searching the mound - follow up the lead that gives you. Anyone finding this and taking it literally might end up thinking \"Oh my God! Do I have to do all THAT?\"\n\nAs you know, of course not! Unless of course, you plan to do it for real... Oh, by the way, ricepaper is edible.\n\nYou might like to have a rest on the landing after all that, as well. Remember that you get tired by walking down to a mountain as well as up.\n\nWould you like to RESTART, RESTORE a saved game, read the ENDNOTES, or QUIT?"
    },
    {
        "text": "> Look around\n(zhu2 lin2) Bamboo forest\nWind whispers through the feathery branches of the bamboo forest surrounding you as warm sunlight showers down, gently filtered by the delicate leaves overhead. The soft ground is carpeted with slender browning leaves, occasionally stirred up by the cool breeze. Faint tracks run southeast and east, one also continues to the north up a bank, and another downwards into a small depression to the south. The trail back to your village lies to the west.\n\nYou can see a sword here.\n\n> You search it\nAfter a thorough search of the hill you find an incense stick, which you take.\n\n> You look at the stick\nAn inch or two long, by just under quarter of an inch in diameter, the stub of incense gently smolders giving off fragrant tendrils of smoke. As you watch it, you notice that it does not seem to burn down at all.\n\n> You put the stick in the hole\nInexplicably, the incense flares into life. It begins to burn down to nothing, giving off an immense amount of smoke as it does so.\n\nYou suddenly feel a presence beside you. In the wind a feminine voice whispers:\n\n\"Thank you for your respect. As a token of my gratitude I leave you a small gift.\"\n\nYou notice a small slip of paper flapping about in the grass.\n\n> You examine paper\nIt is a small slip of crinkly yellow rice paper. One side is covered with characters written in red ink - it looks almost like the traditional \"money for the dead\" yet the characters are not the same.\n\nThe note appears to be a set of instructions, it reads:\n\n\"(ji2 hao4 de cha2) Perfect Tea\n(wu3 jiu4 huo) Wu Jiu-Huo\n\nTo make the most perfect tea, it is important to collect fresh leaves from the teabush.\n\nUse of the correct utensils is important also.\nThe pot should hold enough liquid to fill two cups, while a pitcher in which to heat the water is also required.\n\nCut the leaves into halves.\n\nHeat the water you wish to use in the pitcher, then fill the pot and use it to rinse out the cups also. Pour this water away.\n\nPut the chopped leaves into the pot, ideally they should fill the pot by about one third.\nFill the rest of the pot with hot water once again. Leave to stand for a moment, then fill the cups with this first pot of tea.\nDo not drink this tea, instead discard it.\n\nLeaving the tea leaves in the pot, fill it once again.\nThis time, when you pour the tea into the cups, you may drink.\nRepeat this last step until the heated water is used up or the tea leaves are spent.\""
    },
    {
        "text": "[Themes: celebrity, hollywood, french]\n\nDeeply absorbed in your thoughts, remembering yesterday's party, you vaguely contemplate the coils ascending from your coffee cup. You're still drowsy, but that's why you're drinking a coffee. You went to the office early this morning, although the cocktail party last night made it hard to get up... But you didn't waste your time, because you picked up valuable information there.\n\nAh, here's the boss. Sammy, coat and briefcase in hand, smiles at you. Christine follows him in, and you guess this is the normal routine. It's not your habit to get up this early, but you know they're always the first people at the newspaper office. Sammy strides to his office to drop off his things; Christine comes over to say hello.\n\n\"How are you doing ?\"\n\"Well, I drank a bit too much yesterday at a cocktail party, but it's not too bad. What about you ?\"\n\"Oh, I'm fine, thanks.\"\n\nShe smiles timidly at you, then goes to her office. As Christine enters her office, Sammy exits his.\n\n\"Sofia! Good to see you in bright and early. I've got an assignment for you.\"\n\nYou sigh, and gulp a bit of your coffee. A regular day at work is beginning.\nGossip\n\nType \"info\" for the info menu.\n\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\n> You talk to Sammy\n\"We've got an article to write in the next issue about Kymberley Spicey, the starlet... An article written for women in particular, so we have to focus on shape and physique.\" Sammy lifts his hand in advance. \"Shush, I know what you're gonna say, we talked about it, stop it.\"\n\nYou smile: more than once you have had feverish discussions with Sammy, and sometimes about this topic. He keeps saying that, speaking of magazine sales, men don't want to know about defects of sexually arousing blonde babes, while women are more interested in them. You argue that trying to reach women this way contributes to making them feel guilty by childishly pointing at little imperfections and reffering to them as defects. He argues that it's a way to break the ideology of the perfect woman that every media wants to create and make you believe in. This could go on for hours - you both are equally stubborn - and nobody is gonna change their mind. You both decided to limit the frequency of such discussions. He's the boss, he decides, you execute; but meanwhile you prepare new arguments for the next of these delightful conversations...\n\n> You press enter\n\"Anyway, we have to get a few photos of the lady in her everyday life, and speaking of this, I was told that she goes jogging every morning at nine o'clock.\"\nYou look at the time and sigh in a tired way. \"So, I've got a little more than an hour to go to her neighbourhood and take photos of her in her jogging clothes?\"\n\"Yep.\"\n\"All right, I'm going there...\"\nSammy gives you the address of your target with a tiny smile: he knows you don't like to do it, but it's your job after all. Well, you don't have to do this every day, thankfully. A trip to the city, a few photos of a plastic sexy blonde, and this afternoon you'll be able to write your article about last night. You'll be on your way after getting your camera. The address is Meadows Heights, quite far from downtown, in a chic neighbourhood.\n\n> Inventory\nYou are carrying:\na red checked shirt (being worn)\na coffee cup\na mobile phone\n\n> You examine Sammy\nSammy Garland, editor, and also creator of TTK. Your boss is quite cool; he's a hairy little man, chubby as a teddy bear, but you respect him a lot. He's a really good editor, because he understands the business while giving it a bit of his convictions, which gave the magazine this image of a gossip magazine with a clear and commited opinion.\n\n> You examine the shirt\nYou're wearing a red checked shirt. Simple, but still, quite nice.\n\n> You examine the coffee\n(the coffee cup)\nThe coffee cup you just took from the coffee dispenser. Still hot.\n\n> You examine the phone\nIt's your mobile phone, the one you got a few months ago. It's a multifunction high-tech top-of-the-technology thing, with camera, video mode, dictaphone, music player, etc., etc. You aren't gonna use half of its functionnalities, but who does? It's a flip phone, so you have to open it to use it.\n\n> You open phone\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\n> Call...\nDictaphone\nCamera\nGames\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\n> Dictaphone\nCamera\nGames\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\n> Camera\nGames\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\n> Camera\nGames\nBack \nYou already have a camera, with a much better resolution - this one is useless, to tell the truth...\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\n> Camera\nGames\nBack\n\n> P.\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\n> Dictaphone\nCamera\nGames\nBack \nYou switch on the dictaphone mode, erasing previous data.\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\n> Dictaphone\nCamera\nGames\nBack \nYou switch off the dictaphone mode.\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\n> Dictaphone\nCamera\nGames\nBack\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\nCamera\n> Games\nBack \nMobile phone games\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a game:\n\n> Tetris\nDesert Wars: Dark Invisible Conflict\nTerrorists Edition (DEMO)\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a game:\n\n> Desert Wars: Dark Invisible Conflict\nTerrorists Edition (DEMO)\nBack \nYou launch the game circumspectly. It's a game where you shoot on terrorists - it was in the phone when you bought it...\n\nThe screen loads, you choose \"New Game\". Your mobile struggles to load 3D models, and freezes. Great, now you have to switch it off and start it again... Pff...\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\nCamera\n> Games\nBack\n\n> You press enter\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\nCamera\nGames\n> Back\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\n> Call...\nDictaphone\nCamera\nGames\nBack \nAddress book\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a contact:\n\n> Rebecca\nSammy\nRetour \nRebecca is spending her holiday in Mexico. You'll have to wait!\n\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a contact:\n\n> Rebecca\nSammy\nRetour\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a contact:\n\n> Sammy\nRetour \nIt would be stupid: he's right in front of you.\n\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a contact:\n\n> Sammy\nRetour\n\n> You go to the north\nN = next subject                                        P = previous RETURN = read subject                              Q = previous menu  Select a contact:\n\n> Retour \nMobile phone menu\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\n> Call...\nDictaphone\nCamera\nGames\nBack\n\n> You press enter\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\nCamera\n> Games\nBack\n\n> You go to the north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select an option:\n\nCall...\nDictaphone\nCamera\nGames\n> Back \nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\n> You ask Sammy about Kymberley\n\"I told you, she jogs in Meadows Heights every morning. You know what she looks like, don't you? Yet another thin blonde knock-out with huge breasts - every man's fantasy. Until the next one, of course. She hasn't been seen publicly much recently. My sources told me she's put on a few kilos. One published photo of her bulge, and we can sell every woman proof that their men's latest fantasy has a little extra fat.\" Sammy chuckles. \"Another useless article - one that's been made a thousand times before, but it fills the magazine and makes everyone happy.\"\n\n> You ask Sammy about the magazine\n\"Sales are good, no problem...\"\n\n> You ask Sammy about yourself\n\"As always, you're very well dressed!\""
    },
    {
        "text": "[Themes: celebrity]\n\n> Look around\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\n> North\nYou're one of the few journalists to have an office at the editorial office of \"Tittle-Tattle Kettle\"; the magazine hires copywriters and free-lance journalists, but you have your own office to write your articles. Nothing special about the room itself: all messed up, papers everywhere on the desk, your computer and a few chairs. It's your base camp, where you go to write your articles, to sort photos, to search information, in a nutshell: to do your job.\n\nYou can see a camera here.\n\n> You examine Camera\nYour professional camera. You became progressively expert in photographs, becoming quicker and more precise, and mastering every mode and switch for an optimal quality. Well, as optimal as possible, because the quality of a papparazzi photo isn't great, of course. You like having it with you, although photos became less important recently in your career since you're now focusing on collecting information.\n\n> You take Camera\nTaken.\n\n> You examine the city\nBy the window, at the sixteenth floor, you can see a great part of the city. The building's neighbourhood isn't exactly buzzing, contrary to downtown streets filled with noises and cars, but you can at times see some cars and taxis in front of the building. Far away, you can see the hills around the city, with celebrities' luxuous villas hidden behind the trees.\n\n> You drink the coffee\n(the coffee cup)\nYou drink your coffee and throw the cup in one of the bins around there.\n\nSammy gazes at you.\n\n> You check your inventory\nYou are carrying:\na camera\na red checked shirt (being worn)\na mobile phone"
    },
    {
        "text": "[Themes: french, hollywood]\n\n> Look around\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\nSammy looks at you, smiling. You smile back.\n\n> You go north\nYou're one of the few journalists to have an office at the editorial office of \"Tittle-Tattle Kettle\"; the magazine hires copywriters and free-lance journalists, but you have your own office to write your articles. Nothing special about the room itself: all messed up, papers everywhere on the desk, your computer and a few chairs. It's your base camp, where you go to write your articles, to sort photos, to search information, in a nutshell: to do your job.\n\n> You examine the elevator\nA simple elevator, the one you take every day to go up to the editorial office.\n\n> You go to the west\nBy the window, at the sixteenth floor? No, no, no.\n\n> You look through the window\nYou find nothing of interest.\n\nSammy looks at you, smiling. You smile back.\n\n> Go south\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\n> You go to the south\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack\n\n> Go south\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack \nYour flat\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\n> You look at the sofa\nYour old sofa, brought from your parents' house. He can be used as a bed for guests, but since you've got a more comfortable king size bed your best friend doesn't sleep there anymore when she comes.\n\n> You examine table\nA wooden table made of teck, upon which you often work or eat. It comes from a scandinavian furniture seller, and is very solid.\n\n> You examine the chairs\nThese are wooden chair, on which you sit to work on the table.\n\n> Go east\nYour bedroom's furniture are essentially your king-size bed and your bedside table. In a corner of the room, near the window, there's a cupboard with your clothes. The bathroom is to the south, your sitting-room to the west.\n\n> You open the cupboard\nAmong the clothes you own, there are a few you'd like to wear today...\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  What will you wear today?\n\n> white blouse\n(back)\n\n> You examine vajayjay\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  What will you wear today?\n\n> (back)\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  What will you wear today?\n\n> white blouse\n(back) \nYou put on the white blouse, with a jean to go along with.\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  What will you wear today?\n\n> red checked shirt\n(back)\n\n> About yourself\nYou're tall, red-headed, quite thin, and pretty, or so they say; you're a perfectly normal twenty-six-year old young woman. A reporter for the \"Tittle-Tattle Kettle\" for a few years now, you're known to be tenacious, frank and clear-headed. You'd agree with that.\nYou're wearing a white blouse. Quite simple, but it fits you quite good, and it's low-cut in order to make you look very attractive.\n\n> You examine the window\nYou can see the street by the window. A few cars sometimes pass, but generally it's a quiet neighbourhood.\n\n> Go west\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\n> You go outside\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\n> Editorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack\n\n> Go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\n> Downtown shops\nMeadows Heights\nBack\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game  Select a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\n> Meadows Heights\nBack \nMeadows Heights\nMeadows Heights' neighbourhood is quite a fancy one; today it's sunny and not too hot yet. There's a beautiful and quiet park to the south: if your information are correct Kymberley Spicey is running there. You can go back to the north.\n\nMeadows Heights' neighbourhood is quite a fancy one; today it's sunny and not too hot yet. There's a beautiful and quiet park to the south: if your information are correct Kymberley Spicey is running there. You can go back to the north.\n\n> Go south\nIf you look at the map, Meadows Park is a huge park. It won't be easy to find Kimberley. The good thing is that at this time of the day there are very few people, but in general this park is never crowded. The entrance is at the south.\n\n> You examine Camera\nYour professional camera. You became progressively expert in photographs, becoming quicker and more precise, and mastering every mode and switch for an optimal quality. Well, as optimal as possible, because the quality of a papparazzi photo isn't great, of course. You like having it with you, although photos became less important recently in your career since you're now focusing on collecting information.\n\n> You go to the south\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. Here, you can leave the park by the north.\n\nAs you enter the park, Kymberley Spicey, the one and only, runs in front of you! You try to take your camera, but too late. Darn, now you'll have to run after her.\nKymberley Spicey continues her jogging and runs away.\n\n> You examine Kymberley\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You go south\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. Here alleys running from north to south and from east to west.\n\n> Go south\nYou are at the center of the park: gravel alleys come from every direction to converge on a big marble fountain.\n\n> Go east\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The park border is on the east, and the alleys follow the north, south or west.\n\n> You go south\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The gravel alley follows the border of the park, running from north to west.\n\n> Go south\nIt's the park's border.\n\n> You go west\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The park border is on the south, and the alleys follow the north, east or west.\n\n> You go to the west\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The gravel alley follows the border of the park, running from north to east.\n\n> You go to the north\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The park border is on the west, and the alleys follow the north, south or east.\n\n> You go east\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. There's a bench, here, but no one is sitting there; you can sit on it and contemplate to fountain. Here alleys running from north to south and from east to west.\n\n> Go north\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. Here, you can leave the park by the north.\n\n> You go to the north\nIf you look at the map, Meadows Park is a huge park. It won't be easy to find Kimberley. The good thing is that at this time of the day there are very few people, but in general this park is never crowded. The entrance is at the south.\n\n> Go south\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. Here, you can leave the park by the north.\nKymberley Spicey continues her jogging and runs away.\n\n> Go west\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The park border is on the north, and the alleys follow the south, east or west.\nKymberley Spicey continues her jogging and runs away.\n\n> You go to the west\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The gravel alley follows the border of the park, running from east to south."
    },
    {
        "text": "[Themes: french]\n\n> You look around\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. The park border is on the north, and the alleys follow the south, east or west.\n\n> You go to the east\nMeadows Park isn't a tropical forest, but still it's a quite big and beautiful park. A few hedges, tall trees and gravel alleys: it's a quiet, calm and clean place. Here, you can leave the park by the north.\nKymberley Spicey is running a few meters from you.\n\n> You take a the picture\nYou already have that.\nKymberley Spicey continues her jogging and runs away.\n\n> You take the photo\nYou quickly hide behind a hedge and take out your camera. Snap-snap, snap-snap, you take a dozen photographs. It'll be enough, there surely is one good photo among them.\nKymberley Spicey continues her jogging and runs away.\n\n> You examine Camera\nYour professional camera. You became progressively expert in photographs, becoming quicker and more precise, and mastering every mode and switch for an optimal quality. Well, as optimal as possible, because the quality of a papparazzi photo isn't great, of course. You like having it with you, although photos became less important recently in your career since you're now focusing on collecting information.\nKymberley Spicey is running a few meters from you.\n\n> You examine Kymberley\nKymberley is dressed for her jogging: she's wearing a pink sleeveless shirt, sunglasses and earphones plugged into her ears. You don't have to run after her anymore: you already have a picture of her.\nKymberley Spicey continues her jogging and runs away.\n\n> Go north\nMeadows Heights' neighbourhood is quite a fancy one; today it's sunny and not too hot yet. There's a beautiful and quiet park to the south: if your information are correct Kymberley Spicey is running there. You can go back to the north.\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack\n\n> You go to the north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Editorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nMeadows Heights\nBack\nIn front of the paper's building\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\nI beg your pardon?\n\n> You go north\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip\n\n> You go to the north\nmagazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\nYou're one of the few journalists to have an office at the editorial office of \"Tittle-Tattle Kettle\"; the magazine hires copywriters and free-lance journalists, but you have your own office to write your articles. Nothing special about the room itself: all messed up, papers everywhere on the desk, your computer and a few chairs. It's your base camp, where you go to write your articles, to sort photos, to search information, in a nutshell: to do your job.\n\n> You talk to Sammy\n\"So, have you got these photos?\"\n\n> Yes\nThat was a rhetorical question.\n\n> You show the pictures to Sammy\nYou waye your camera at Sammy. \"Here are your photos!\"\n\"Good! Show me.\"\nHe goes through your camera's memory card, and nods with a satisfied face. \"I saw a few that would be perfect for the article. Good work, Sofia - can you send me these by e-mail?\"\n\"Right away, boss.\"\n\n> You talk to Sammy\n\"Yeah, what do you want to tell me?\"\n\nSammy reads a text message, and enters a quick reply.\n\n> You go north\nYou're one of the few journalists to have an office at the editorial office of \"Tittle-Tattle Kettle\"; the magazine hires copywriters and free-lance journalists, but you have your own office to write your articles. Nothing special about the room itself: all messed up, papers everywhere on the desk, your computer and a few chairs. It's your base camp, where you go to write your articles, to sort photos, to search information, in a nutshell: to do your job.\n\n> You examine computer\nIt's your faithful computer, the one you use at the office. Not a very powerful computer - paid by the magazine - but it's enough for doing what you need to do, ergo notepad, picture editor, Internet and your e-mails.\n\n> You sit\nWhat do you want to sit on top of?\n\n> You turn the computer on\nYou switch on your computer to send photos to Sammy. You plug your camera into the computer and cut and paste the files onto your hard drive, in a folder named \"Spicey jogging\". A quick, but expert, glance at them and you erase the blurry or useless photos. You send the half-dozen files remaining to zeboss@ttk.com.\n\n> Strip\nOh yeah, you have to write your article about yesterday's cocktail party. You do it without thinking: the night wasn't so interesting, well in fact as interesting as usual... These kinds of articles you can write for each issue, to fill the pages... But anyway you do your best to write something good: you ask a lot of questions, write a lot of understatements, hypothesis... Even the slightest information can fill a paragraph, if you know how to do this job.\n\nOnce it's finished, you switch your computer off and go home."
    },
    {
        "text": "[Themes: hollywood]\n\n> Look around\nThis is your life. Funny job, when you think about it. One one hand you can see it as a shameless intrusion into people's private lives. You hide to take photos, always get second-hand information, spread some more information, spread the rumor. In the public field, your job is really not well perceived.\n\nBut on the other hand, in the private field, it's very differently perceived. The moral instinct of every man and woman is to criticize gossip columns, but their social, gregarious instinct reads them with much interest. You understood quite quickly this duality. The celebrities themselves are subjected to the same duality: they openly say that they are against this press, the paparazzis and their incursions in their private life; but when you dig a little deeper, you find out that a substantial part of the information you're dealing with is provided by the celebrities themselves, and a lot of rumors were invented and spread by these little perfect smiling people. Gossip magazines are, for them, a way to harm a rival, to make people talk about them, to appear kind and sympathetic and closer to the average person because they go to the grocer just like them. You sometimes wonder if the journalists themselves aren't the most lucid people in this world.\n\nBut, had \"Tittle-Tattle Kettle\" been a simple, tasteless gossip magazine, you'd never have taken the job. But one of this magazine's assets is Sammy: he's the man who gave this so peculiar tone to the magazine, and finally who gave his magazine bigger prospects than being just another gutter magazine. You respect him for that, and so do many people. Of course, the magazine can't avoid writing dull articles whose sole purpose is to fill the pages of the next issue; but the magazine is keen to show that it's different, by precisely, and in a clear-headed way, analyzing information, and explaining what it really means. Tracking a shameless rumor to reveal its creator, analyzing a sentence said by a star to show the true intent, showing symbols and ideologies used in an advertising campaign... TTK's style is sharp and powerful, and appears more as a shepherd than as a sheep following the flock.\n\nYou're okay with that. At the beginning you took the job to pay the bills, but you gradually perceived the magazine's appeal, and what you could do in your articles. You discovered the complexity of social interactions between celebrities, in this world so elitist and yet so childish. You improved your understanding of communication campaigns. You learnt to be clear-headed. And slowly, year after year, you became one of the most competent reporters at the magazine; you witnessed your popularity rising, and your articles being more and more noticed, quoted, your arguments used elsewhere, and your influence as a journalist growing. You really like feeling that. You think about keeping this job another few years, and then changing your operating field to a more respectable press, where you'd make yourself noticed by everyone.\n\nFor now, you have to go to the editorial office: Sammy left you a message saying to meet him there.\n\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\n> You go outside\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nBack\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Editorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nBack\nIn front of the paper's building\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\n> You go north\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\nSammy is here.\n\n> You talk to Sammy\n\"What's going on, Sammy?\"\n\"Here you are!I just learned that a cocktail party is being organised tonight on Thunder Hill... a very select party, exclusively for celebrities...\"\n\"No journalists?\"\n\"Well, that's the moment where the magazine's reputation is useful. They called me a few minutes ago, and told me that only one journalist may come there: the one from TTK. You see, it seems that those people don't like gossip magazines, but they've got some things to say these days... Choosing our magazine appears as a lesser evil - I must say I'm glad...\" he says with evident satisfaction.\n\"Does that mean I'm going to this party?\"\n\"Precisely. Collect as much information as you can, I think that they've got things to say if they want a journalist at their party...\"\n\nThis is good news, but you don't really have an evening gown ready for tonight...\nSammy looks at you with a questioning look. \"I'll do it, boss\" you tell him. You'll find an evening gown before tonight...\n\n> Go south\nIn this building, to the north, there's the editorial office of \"Tittle-Tattle Kettle\", at the sixteenth floor, but you still can go somewhere else by heading to the south.\n\n> You go south\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nThunder Hill\nBack\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Editorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nThunder Hill\nBack\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\n> Downtown shops\nThunder Hill\nBack\nDowntown shops\nYou admit that you like to go shopping. For clothes, you've got your favorite address: a shop that often sells things you like. You often come here; some of the sales assistants ended up knowing your name. In fact there's Samantha behind the desk, and she smiles at you. You can exit to the south.\n\nYou admit that you like to go shopping. For clothes, you've got your favorite address: a shop that often sells things you like. You often come here; some of the sales assistants ended up knowing your name. In fact there's Samantha behind the desk, and she smiles at you. You can exit to the south.\n\n> You talk to the sam\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> haute couture evening dress\nsexy evening dress\nblack evening dress\nflower-printed dress\n(back)\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> sexy evening dress\nblack evening dress\nflower-printed dress\n(back)\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> black evening dress\nflower-printed dress\n(back)\nYou buy the black evening dress.\n\n[ Like every of the clothes you'll buy, this piece of clothing doesn't appear in your inventory, and will be in your cupboard next time you'll want to wear it. ]\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> haute couture evening dress\nsexy evening dress\nflower-printed dress\n(back)\nNo, it's far too expensive ! You'd better choose a more affordable dress.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> haute couture evening dress\nsexy evening dress\nflower-printed dress\n(back)\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> sexy evening dress\nflower-printed dress\n(back)\nYou buy the sexy evening dress.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> haute couture evening dress\nflower-printed dress\n(back)\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> flower-printed dress\n(back)\nYou buy the flower-printed dress.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect clothes to buy them:\n\n> haute couture evening dress\n(back)\n\n> Go south\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nThunder Hill\nBack\nYour flat\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\n> Go east\nYour bedroom's furniture are essentially your king-size bed and your bedside table. In a corner of the room, near the window, there's a cupboard with your clothes. The bathroom is to the south, your sitting-room to the west.\n\n> You press the space\nAmong the clothes you own, there are a few you'd like to wear today...\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nWhat will you wear today?\n\n> flower-printed dress\nsexy evening dress\nblack evening dress\nred checked shirt\n(back)\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nWhat will you wear today?\n\n> sexy evening dress\nblack evening dress\nred checked shirt\n(back)\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nWhat will you wear today?\n\n> black evening dress\nred checked shirt\n(back)\nYou put on the black evening dress.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nWhat will you wear today?\n\n> white blouse\nflower-printed dress\nsexy evening dress\nred checked shirt\n(back)\n\n> About yourself\nYou're tall, red-headed, quite thin, and pretty, or so they say; you're a perfectly normal twenty-six-year old young woman. A reporter for the \"Tittle-Tattle Kettle\" for a few years now, you're known to be tenacious, frank and clear-headed. You'd agree with that.\nYou're wearing a black evening dress. It's a simple yet elegant dress."
    },
    {
        "text": "> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\n> Downtown shops\nThunder Hill\nBack\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\n> Thunder Hill\nBack\nBetter drop your camera at home or at the office: it doesn't really suit your evening dress.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\n> Thunder Hill\nBack\n\n> You look at what you're carrying with you\nYou are carrying:\na black evening dress (being worn)\na camera\na mobile phone\n\n> You drop Camera\nDropped.\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\n> Thunder Hill\nBack\nThunder Hill\nThunder Hill is a hill not so far away from the town: you can see the city lights from where you are standing. The heights of the city are very popular among the celebrities because of their calm, the view they offer on the city and the great size of the parcels: just perfect, if you're famous, for your new villa and your huge swimming pool. Further up, to the north, is the aforementioned villa - you can already listen to the noises from the party. You can go back to the south.\n\nThunder Hill is a hill not so far away from the town: you can see the city lights from where you are standing. The heights of the city are very popular among the celebrities because of their calm, the view they offer on the city and the great size of the parcels: just perfect, if you're famous, for your new villa and your huge swimming pool. Further up, to the north, is the aforementioned villa - you can already listen to the noises from the party. You can go back to the south.\n\n> Go north\nYou finally come near the party. It's in a big villa, that looks pretty old, with a few storeys and a swimming pool; but the guests - there must be twenty of them - are in a veranda, behind the bay window that you can see northward. You can go back to the south.\n\n> You examine the pool\nIt's a big swimming pool, dug in the ground; there could even be swimming competitions in it. Seriously, it must be really great to swim there, on top of a hill above the city... when you can afford it.\n\n> Go north\nYou knock on the villa's door. A waiter comes and opens you. \"Are you coming for the party?\"\n\"Yes. I'm the journalist from \"Tittle-Tattle Kettle\"\"\n\"Ah, here you are! Come in, please. I heard people asking whether the TTK journalist was there or not...\"\n\"Thanks.\"\nThe waiter hands you a champagne stemware : \"And ask me if you need anything!\" He walks away, smiling. Very professionnal.\nCome to think of it, it could be useful: he's strolling along the party for hours, so he must have heard what people were talking about...\n\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Paul Tyrone and Luciana Perotti here.\n\n> You examine Tyrone\nPaul Tyrone is an actor, and his fame is rapidly increasing. Everyone noticed his first movie, an independant movie he directed which featured bizarre and sordid themes; he then carried on his career by acting in a lot of action movies or \"psychological Hollywoodian movies\". Twice divorced, with alcohol-related problems, one of his ex-wives had him arrested for domestic violence. He's an easy target of gossip magazines, as a pure product of the Hollywoodian celebrity factories who drowns in his problems - you could almost pity him... but not much.\nAshley Wimby walks in, a few meters from you.\n\n> You examine Wimby\nAshley Wimby is one of those factory-made blondes who just achieved celebrity status but will disappear in a year's time. She looks like a twelve-year old girl, except for the breasts - and hers are fake. Nobody knows exactly what she's doing: she sings, she dances, she acts, she's in a reality show, she's both everywhere and nowhere, omnipresent and transparent. Like every member of her species, she's a gold mine for gossip magazines.\n\n> You examine Perotti\nLuciana Perotti is a stunning woman. She is the quintessential Italian beauty who makes every man's head turn her way. She's tall, dark-haired,  voluptuous, and admired by everyone. She appeared in a few movies, and in some of them, she was the only reason to go see them. She's also done a few perfume commercials and TV programs. She isn't very interested in parties, because she also has kids, but she stays accessible and interested in the mundane world.\n\n> You talk to Perotti\n\"All right. What about?\"\n\n> You ask Perotti about the kymberly\n\"Sorry, but I don't know what you're talking about.\"\nMichelle Stapelsky walks in, a few meters from you.\n\n> You look at Michelle\nMichelle Stapelsky is an actress... or was. Nowadays, she hasn't appeared on screen for years, and just comes to ceremonies sometimes. She lives on the money she earned all these years, and she is regularly invited to parties thanks to her large network of friends. Nothing to write about her - however she's very interested in the lives of the other people, and always takes the oppotunity to give her opinion...\nJohnny Perkins walks in, a few meters from you.\nMichelle Stapelsky walks past you, heading west.\n\n> You look at Perkins\nThe dark, handsome Johnny Perkins is every woman's dream, who are in love with his so perfect face. Some people compare him to James Dean, but that's probably excessive; you think Johnny doesn't have as much talent as Dean. Silent and mysterious in front of the fans, he can be really talkative when you get to know him, and is quite keen on criticizing his rivals or revealing information to harm them - but you also know where to find information to harm him and destroy this\n\n> You examine Perkins\npicture of a lonely angel in your own articles...\n\nThe dark, handsome Johnny Perkins is every woman's dream, who are in love with his so perfect face. Some people compare him to James Dean, but that's probably excessive; you think Johnny doesn't have as much talent as Dean. Silent and mysterious in front of the fans, he can be really talkative when you get to know him, and is quite keen on criticizing his rivals or revealing information to harm them - but you also know where to find information to harm him and destroy this picture of a lonely angel in your own articles...\nHeather Lashley walks in, a few meters from you.\nLuciana Perotti walks past you, heading west.\n\n> You examine Lashley\nHeather Lashley was a star from Holmby Hills, which was one of those Californian soap operas which were followed by everyone in the 1990's. Now, she appears on several TV series (she just left one of them at the end of the sixth year), and sometimes ads for wrinkle creams. She must be forty and she's still pretty, even though the gossip magazines sometimes put a \"without make-up\" photo of her on their front page... Paul Tyrone walks past you, heading west."
    },
    {
        "text": "> You look around\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Heather Lashley, Johnny Perkins and Ashley Wimby here. Eric Davidson walks in, a few meters from you.\n\n> Go south\nYou finally come near the party. It's in a big villa, that looks pretty old, with a few storeys and a swimming pool; but the guests - there must be twenty of them - are in a veranda, behind the bay window that you can see northward. You can go back to the south.\n\n> You go north\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Eric Davidson, Heather Lashley, Johnny Perkins and Ashley Wimby here.\nRoger Cainley walks in, a few meters from you.\n\n> You go west\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Paul Tyrone, Kylie Piranella, Luciana Perotti, Michelle Stapelsky and the waiter here.\nMichelle Stapelsky walks past you, heading east.\n\n> You look at Kylie\nKylie Piranella, a tall blonde with kilometer-long legs and breasts too perfect to be real. Ex-model, at least that's what she says, men do like her. The irony is, she had her biggest moment of fame last year, when her sex tape leaked onto the Internet; but that didn't embarass her - on the contrary, she relished the reputation of being a \"hot\" girl. She's an easy target for rumors; you wrote a few articles about her, speculating for example about who really put the sex tape on the Internet...\nLuciana Perotti walks past you, heading north.\n\n> You talk to the waiter\n\"Of course, miss. What do you want to know?\"\n\n> You ask the waiter about Kylie\nThere is no reply.\nMichelle Stapelsky walks in, a few meters from you.\n\n> You ask the waiter about the gossip\n\"I heard Michelle Stapelsky talking with a few people about Eric Davidson. She sounded a little bit upset.\"\n\n> You ask the waiter about the gossip\n\"I heard a conversation with Ashley Wimby. She was saying that she was thinking about developing her career as an actress.\"\n\n> You ask the waiter about gossip\n\"I heard Heather Lashley talking with another guest about Paul Tyrone. The matter sounded pretty serious.\"\n\n> Go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Roger Cainley, Eric Davidson, Heather Lashley, Johnny Perkins and Ashley Wimby here.\n\n> You ask Eric about Stapelsky\n\"Yeah, this party is quite good... But my glass is empty again, and I can't get another one! Does this waiter avoid seeing me?\"\n\n> You ask Eric about gossip\n\"Sorry dear, but I don't know what you're talking about at all.\" Heather Lashley walks past you, heading north.\nRoger Cainley walks past you, heading north.\n\n> You ask Wimby about the gossip\nAshley pulls her hair over her shoulder. \"Sorry, I wasn't listening! Hee hee!\"\nEric Davidson walks past you, heading west.\n\n> You go west\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Eric Davidson, Michelle Stapelsky, Paul Tyrone and the waiter here.\n\n> You ask Tyrone about Lashley\n\"I know her a little, she's quite nice - but it seems that her fifteen minutes of fame are over...\"\n\n> You ask the waiter about the gossip\n\"I heard a conversation with Ashley Wimby. She was saying that she was thinking about developing her career as an actress.\"\n\n> You ask the waiter about the gossip\n\"I heard Michelle Stapelsky talking with a few people about Eric Davidson. She sounded a little bit upset.\"\n\n> You go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Roger Cainley, Johnny Perkins and Ashley Wimby here.\n\n> Go north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Rizo here.\n\n> You examine Rizo\nRizo is one of those very colourful people of the mundane world. You don't know his real name, and to be honest you don't care. He owns a popular night club where the celebrities like to go; they like him, and he warmly welcomes them. This eccentric man is famous for his pink clothes with feathers on them - his signature clothes. Apart from that, he appeared in some movies, and sang on a record now long-forgotten. To be frank, you don't really like his old useless jet-setter trying to remaining famous by making people or gossip magazines talk about him at any cost - you are very careful to ignore him.\n\n> Go west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Kylie Piranella and Heather Lashley here.\n\n> You ask Lashley about Tyrone\n\"Paul sure isn't perfect, but I recently heard rumors about him... I heard he's been cheating on his wife... I don't know any more about it, but still... I didn't see him as a perfect husband, and he isn't the first one to do this, especially in this milieu... But still, when I think about his wife, I'm quite sad for her. But I'm the only one who it seems to bother...\"\n\n> You go south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti, Ashley Wimby, Eric Davidson, Michelle Stapelsky, Paul Tyrone and the waiter here.\n\n> You ask Tyrone about the wife\nTyrone frowns. \"Listen, I don't know who told you that, but it's a bloody lie! Everyone talks about me while I'm not here, it's just great! Stop it, will you!\"\n\nHe seems angry... but maybe his reaction is too strong, isn't it?\n\n> You ask Tyrone about the wife\nBetter avoid waking up his anger... Let's search for clues by talking with other people.\n\n> You ask the waiter about the gossip\n\"I heard people talking with Eric Davidson, the producer. They were talking about his upcoming movie, which is coming on theaters in a few months.\"\nAshley Wimby walks past you, heading north.\n\n> Continue\n\"I heard people talking with Eric Davidson, the producer. They were talking about his upcoming movie, which is coming on theaters in a few months.\"\n\n> You go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Roger Cainley and Johnny Perkins here.\n\n> Go north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Rizo here.\nJohnny Perkins walks in, a few meters from you.\n\n> You go west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Michelle Stapelsky, Ashley Wimby, Kylie Piranella and Heather Lashley here.\n\n> Go south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti, Eric Davidson, Paul Tyrone and the waiter here.\n\n> You ask Eric about the movie\nDavidson smiles. \"I'm glad you asked. I'm gonna reveal the release date of my next production, \"Burning Matches\", and it'll be an exclusive for your magazine.\" he says, winking. \"It'll be June 11th in worldwide release. Here's the info!\" He smiles with a patronizing smile. \"Now do your job, dear, and take advantage of this exceptional information - go and write a nice big article...\"\n\nYeah, right, and be a nice girl? What an egomaniac...\n\n> You ask the waiter about gossip\n\"I heard again about Paul Tyrone. This time it was Roger Cainley who was talking about him.\"\nMichelle Stapelsky walks in, a few meters from you.\n\n> You go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Roger Cainley here.\n\n> You ask Cainley about Tyrone\nCainley gets closer to you and speaks lower:\n\"Listen, I heard this rumor too... Bah, Paul does what he wants, and it's true the flesh is weak, especially when you meet young women like that... I'm not sure about it, but it seems that his mistress is the young Piranella, over there... I wouldn't be surprised: this girl exhales luxury and must be very pretty without any clothes...\"\n\nYou naughty boy... Well, the rumor is becoming clearer and clearer...\n\nYou're starting to have a nice little collection of rumors... Go on.\n\n> Go west\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Kylie Piranella, Michelle Stapelsky, Luciana Perotti, Eric Davidson, Paul Tyrone and the waiter here.\nLuciana Perotti walks past you, heading north.\n\n> You ask Piranella about Tyrone\n\"But, no! Come on, stop it! I'm not his mistress! I don't know who told you that, but he's wrong! It's not true, it's a lie!\"\n\nUndoubtedly, little girls can't lie...\n\n> You ask Tyrone about Piranella\n\"You know, she's less stupid than she looks... It's just part of her image...\"\n\n> You ask Piranella about Tyrone\nShe won't admit it, and she gave herself away enough... Look for clues elsewhere.\n\n> You ask the waiter about the gossip\n\"I heard Michelle Stapelsky talking with a few people about Eric Davidson. She sounded a little bit upset.\"\nRoger Cainley walks in, a few meters from you.\n\n> You go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\n> Go north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Johnny Perkins and Rizo here.\n\n> You go west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Luciana Perotti and Heather Lashley here.\nMichelle Stapelsky walks in, a few meters from you.\n\n> You ask Stapelsky about Davidson\n\"Yes, I know Eric well. To tell you the truth, I like him, and I think it's reciprocal, but... I heard he's throwing a party at his place, and he didn't invite me... I don't know what to think about that - after all, he can invite whoever he wants! I think I'll forget to invite him too, later...\"\n\n> You go south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Roger Cainley, Eric Davidson, Paul Tyrone and the waiter here.\nLuciana Perotti walks in, a few meters from you.\n\n> You ask Davidson about Stapelsky\nYou ask quietly, tactfully if there's something wrong between Michelle and him. \"With Michelle? Why?\"\n\"You're organising a party without inviting her, she's wondering why...\"\n\"Without inviting her? What is that supposed to mean? Of course she's invited! What are you doing, trying to make us fight with each other? You low-class journalist!\"\nHis face turns red. You don't say anything, let his anger calm down and say: \"I didn't make up a single thing. She told me she didn't receive her invitation.\"\n\"Oh! So it must have been lost in the postal services! I'm gonna bawl at them! It's not the first time it has happened to me, you know?\"\n\nYou smile and step away to avoid listening to a long and dull story...\n\n> You ask the waiter about the gossip\n\"I heard a conversation with Ashley Wimby. She was saying that she was thinking about developing her career as an actress.\""
    },
    {
        "text": "> You look at your surroundings\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti, Roger Cainley, Eric Davidson, Paul Tyrone and the waiter here.\n\n> You go to the east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Ashley Wimby and Rizo here.\n\n> You ask Wimby about the career\nAshley pulls her hair over her shoulder. \"Sorry, I wasn't listening! Hee hee!\"\n\n> You ask Wimby about the actress\n\"Yeah, she's nice, but... She's old! Hee hee!\"\n\n> You ask the waiter about the gossip\nLuciana Perotti walks past you, heading north.\nEric Davidson walks past you, heading east."
    },
    {
        "text": "[Themes: french, hollywood]\n\n> Look around\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Roger Cainley, Paul Tyrone and the waiter here.\nLuciana Perotti walks in, a few meters from you.\n\n> You ask Cainley about Tyrone\n\"After all, we're just men...\"\n\n> You ask Perotti about Tyrone\nLuciana smiles weakly. \"Funny. I just overheard a conversation between them... She asked him if they'd meet tomorrow, and he thought about it and said yes, and she had a big smile... It was discreet, but rather explicit...\"\n\n> You ask Perotti about Tyrone\n\"I think it's pretty obvious. Mind you, it wouldn't be the first time Piranella broke a couple...\""
    },
    {
        "text": "[Themes: french]\n\n> Look around\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti, Roger Cainley, Paul Tyrone and the waiter here.\n\n> You ask Tyrone about Piranella\n\"You know, she's less stupid than she looks... It's just part of her image...\"\nRizo walks in, a few meters from you.\n\n> Go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Ashley Wimby and Eric Davidson here.\n\n> You go north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\n> Go west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Kylie Piranella, Johnny Perkins, Michelle Stapelsky and Heather Lashley here.\nHeather Lashley walks past you, heading east.\nJohnny Perkins walks past you, heading south.\n\n> You ask Piranella about Tyrone\nShe won't admit it, and she gave herself away enough... Look for clues elsewhere.\n\n> You ask Michelle about Tyrone\n\"I don't know. I heard he had problems with alcohol, he's quite unstable. I don't know whether we should criticize that or help him.\""
    },
    {
        "text": "[Themes: hollywood]\n\n> You look at your surroundings\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Kylie Piranella and Michelle Stapelsky here.\nRizo walks in, a few meters from you.\n\n> You ask Stapelsky about Piranella\n\"No comment, or I wouldn't be nice.\"\nEric Davidson walks in, a few meters from you.\n\n> You ask Davidson about Tyrone\n\"We had some... disagreements in the past, so I prefer to stay away.\" Kylie Piranella walks past you, heading east.\n\n> You ask Davidson about Piranella\n\"She's gonna appear in one of my next movies. She's a sweet girl.\"\n\n> You go west\nYou can't go that way.\nJohnny Perkins walks in, a few meters from you.\n\n> You go to the south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti, Roger Cainley and the waiter here.\nRoger Cainley walks past you, heading north.\n\n> You ask the waiter about the gossip\n\"I heard a conversation with Ashley Wimby. She was saying that she was thinking about developing her career as an actress.\"\n\n> You ask the waiter about the gossip\n\"Again, people are talking about Paul Tyrone. Last time, it was Johnny Perkins who was talking about him.\""
    },
    {
        "text": "> Look around\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti and the waiter here.\n\n> You go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Heather Lashley, Paul Tyrone and Ashley Wimby here.\n\n> You go to the north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Michelle Stapelsky and Kylie Piranella here.\n\n> You go to the west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Roger Cainley, Johnny Perkins and Rizo here.\nRizo walks past you, heading south.\n\n> You ask Perkins about Tyrone\n\"Tyrone and Piranella? Why not... But I know his wife, and she isn't stupid at all; a mistress will never go at his place, she'd notice it immediately... But her house is quite comfortable, and she lives alone: I think they must meet at her place...\"\n\n> You ask Perkins about Tyrone\n\"I don't know about it. So go away.\"\n\n> You ask Perkins about Piranella\n\"Another blonde without too much personality. No one of interest. If we ignore her long enough, she'll eventually disappear.\"\nRoger Cainley walks past you, heading east.\n\n> Go south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Paul Tyrone, Rizo, Luciana Perotti and the waiter here. Luciana Perotti walks past you, heading east.\n\n> You ask the waiter about the gossip\nAshley Wimby walks in, a few meters from you.\n\n> You ask the waiter about the gossip\n\"I heard a conversation with Ashley Wimby. She was saying that she was thinking about developing her career as an actress.\"\nAshley Wimby walks past you, heading north.\n\n> You ask the waiter about the gossip\nMmh... Sorry, but I don't know what to tell you for now.\n\n> You ask the waiter about the gossip\nMmh... Sorry, but I don't know what to tell you for now.\nPaul Tyrone walks past you, heading east.\n\n> You go to the east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Paul Tyrone, Eric Davidson and Luciana Perotti here.\nRizo walks in, a few meters from you.\nLuciana Perotti walks past you, heading west.\nKylie Piranella walks in, a few meters from you.\n\n> You ask Tyrone about Piranella\n\"You know, she's less stupid than she looks... It's just part of her image...\"\n\n> You ask Piranella about Tyrone\nShe won't admit it, and she gave herself away enough... Look for clues elsewhere.\n\n> Go west\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Luciana Perotti and the waiter here.\n\n> You open the phone\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect an option:\n\n> Call...\nDictaphone\nCamera\nGames\nBack\nAddress book\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nSelect a contact:\n\n> Rebecca\nSammy\nRetour\n\n> Go north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nSelect a contact:\n\n> Sammy\nRetour\nSammy's line is busy, as it often happens.\n\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nSelect a contact:\n\n> Sammy\nRetour\n\n> P.\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nSelect a contact:\n\n> Rebecca\nSammy\nRetour\nAfter a couple of rings, Rebecca picks up the phone :\n\"Hello, you!\"\n\"Are you busy, Beckie?\"\n\"Not at all, I'm just doing some shopping with my mother! How can I help you?\"\n\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nTell me what you think, Beckie...\n\n> I've lost my way...\nI don't know how to do it, can you help me?\nBack\n\"I don't know. You know your job better than me, don't you? Gather information, that's all!\"\n\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nRebecca, I wanted to ask you...\n\n> I've lost my way...\nI don't know how to do it, can you help me?\nBack\n\n> You go to the north\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nRebecca, I wanted to ask you...\n\nI've lost my way...\n> I don't know how to do it, can you help me?\nBack\n\"Try to talk with as many people as possible to get as much info as you can!\"\n\nN = next subjectP = previous\nRETURN = read subjectQ = previous menu\n\nTell me what you think, Beckie...\n\nI've lost my way...\n> I don't know how to do it, can you help me?\nBack\n\n> You ask Perotti about Tyrone\n\"I think it's pretty obvious. Mind you, it wouldn't be the first time Piranella broke a couple...\"\nRoger Cainley walks in, a few meters from you.\nPaul Tyrone walks in, a few meters from you.\n\n> You ask Cainley about Tyrone\n\"After all, we're just men...\"\nAshley Wimby walks in, a few meters from you.\n\n> You ask Wimby about Tyrone\n\"Yeah, he's cute, despite his age...\"\n\n> You ask Wimby about Piranella\n\"I know her a little, we went shopping once together. But she's not the kind of girl I hang around with. She's not very interesting, to be frank...\"\nWhereas you're super interesting, of course. Stay quiet, restrain your destructive impulses.\n\n> You ask Wimby about the career\nAshley pulls her hair over her shoulder. \"Sorry, I wasn't listening! Hee hee!\""
    },
    {
        "text": "> You look at your surroundings\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Ashley Wimby, Paul Tyrone, Roger Cainley, Luciana Perotti and the waiter here.\nLuciana Perotti walks past you, heading east.\nKylie Piranella walks in, a few meters from you.\n\n> You ask Tyrone about Wimby\n\"A real idiot. I'm not very nice to her, but she deserves it.\"\n\n> You ask Tyrone about the melanie\n\"Yeah, and by the way, you don't know the news? I heard she was seen at a party recently! It's been three months since someone had seen her, and she reappeared just like that! I didn't see her at the time - if you want to know more about it, I think Heather Lashley saw her at this party...\"\n\n> You go to the east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Luciana Perotti, Eric Davidson and Rizo here.\n\n> You go to the north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Heather Lashley and Johnny Perkins here.\n\n> You ask Lashley about the melanie\n\"I saw her? No, I didn't! I told you, nobody has seen her for three months! Whoever told you that was wrong...\"\n\nYeah, but... Isn't her face reddening?\n\nYou've heard a lot of gossip... A little more chatting, and it'll be enough.\n\n> You ask Lashley about the melanie\n\"I told you, I know nothing about her!\"\nLuciana Perotti walks in, a few meters from you.\n\n> You ask Perotti about Melanie\n\"But... I was at this party... I went just for a few minutes to say hello, and I saw both Heather and Melanie... I'd be surprised if they didn't talk...\"\n\nWell, well...\n\n> You ask Perkins about Melanie\n\"I don't really know her, you know. I don't know why, but nobody saw her the last three months.\"\n\n> You ask Lashley about Melanie\nHeather sighs. \"Yeah, right, I saw her. But I just saw her in the distance, we didn't talk, we just waved to each other... I just wanted to protect her, to avoid talking about her return, to give her time to take care of her business before everyone asks her about her return...\"\n\n\"Her business\" ? How interesting!\n\n> You ask Lashley about Melanie\n\"What are you trying to make me tell you? Come on, stop it!\"\n\n> You ask Lashley about Melanie\n\"What are you trying to make me tell you? Come on, stop it!\"\nRizo walks in, a few meters from you.\n\n> You ask Rizo about Melanie\n\"Rizo hasn't seen her for months! He's very sad!\""
    },
    {
        "text": "> Look around\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Rizo, Luciana Perotti, Heather Lashley and Johnny Perkins here.\n\n> You ask Lashley about her business\n\"I'm fine, thanks - and this cocktail party is quite good!\"\nRizo walks past you, heading south.\n\n> You ask Johnny about Melanie\n\"I don't really know her, you know. I don't know why, but nobody saw her the last three months.\"\n\n> You go to the south\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Rizo, Ashley Wimby, Paul Tyrone and Kylie Piranella here. Paul Tyrone walks past you, heading west.\n\n> You ask Wimby about Melanie\n\"Yeah, I understand her disappearance. I mean, me too, sometimes, I find all this, the work, the photos, too much for my brain!\"\n\nYou could say something about her brain, but...\n\n> You ask Kylie about Melanie\n\"In my opinion, if she disappeared, that's because she didn't wanted to be seen...\"\n\nWow, another mystery solved...\n\n> You go north\nAt the party (near the bay window)\nThe veranda continues here, with other groups formed by guests talking under the glass roof. Some glass noises, a high-pitched laughter: a true cocktail. The bay window continues to the west, and you can go back to the entrance door to the south.\n\nYou can see Luciana Perotti, Heather Lashley and Johnny Perkins here. Luciana Perotti walks past you, heading west.\n\n> Go west\nAt the party (near the bay window)\nNear the bay window, other groups formed by the guests are chatting. Some of them talk about the view, others are too absorbed in their conversations. Behind you, to the south, it's the buffet; the bay window continues to the right or east side.\n\nYou can see Luciana Perotti here.\nLuciana Perotti walks past you, heading south.\nMichelle Stapelsky walks in, a few meters from you.\n\n> You ask Michelle about Melanie\n\"Who? I don't know her...\"\nHeather Lashley walks in, a few meters from you.\n\n> You ask Michelle about Melanie\n\"Who? I don't know her...\"\n\n> Go south\nAt the party (near the buffet)\nThis way is the buffet, which is well garnished. The guests are talking near it, divided in little groups, and you can spot a few famous faces among them. The bay window is in front of you, to the north, and the entrance door is to your right, or east side.\n\nYou can see Rizo, Kylie Piranella, Luciana Perotti, Paul Tyrone, Eric Davidson and the waiter here.\nPaul Tyrone walks past you, heading east.\n\n> You ask Eric about Melanie\n\"I like this singer. Her songs are inspired and inspiring... And she's very photogenic. I'll see if I can't include her in a movie.\"\nLuciana Perotti walks past you, heading east.\n\n> You ask the waiter about Melanie\n\"I don't know; maybe I should investigate.\"\n\n> You ask waiter about the gossip\nMmh... Sorry, but I don't know what to tell you for now.\nAshley Wimby walks in, a few meters from you.\n\n> You ask Wimby about Melanie\n\"Yeah, I understand her disappearance. I mean, me too, sometimes, I find all this, the work, the photos, too much for my brain!\"\n\nYou could say something about her brain, but...\n\n> You ask Eric about Wimby\n\"She's very popular. I think I'll make her appear in one my movies...\" Kylie Piranella walks past you, heading north.\n\n> Go east\nAt the party (near the entrance door)\nThe party is still getting louder: there must be about twenty or thirty guests, divided in chatty little groups. Some of them aren't famous, and come from the little world turning around the stars: celebrities agents, ex girlfriends, photgraphers, publicists... To your left or west side, there's the buffet; in front of you, to the north, the room continues to a veranda leading to the villa's garden and the view of the city. You can go outside by the south door.\n\nYou can see Luciana Perotti, Paul Tyrone and Roger Cainley here.\nEric Davidson walks in, a few meters from you.\n\n> You ask Perotti about Melanie\n\"I wonder why Melanie hasn't been around for the last few months...\"\n\n> You ask Cainley about Melanie\n\"You're saying that she went to a party? Ah, marvelous! I hope she defeated every one of her problems...\"\n\"Problems?\"\n\"Yeah, well, I don't know what problems, but Eric told me about it some time ago... If someone saw her, she must feel better, right?\"\n\n> You ask Eric about Melanie\nYou ask Eric if he knows anything about Melanie. \"Er, I must say somebody told me once about her drug problems... Apparently she's a real addict, at least that's what Perkins told me once. That would explain the coulours in her videoclips, don't you think?\"\n\nYeah, let's laugh about addiction! What a digusting sense of humor he has...\n\nThat should be enough gossip for now. You think you can go home now.\n\n> Go south\nYou finally come near the party. It's in a big villa, that looks pretty old, with a few storeys and a swimming pool; but the guests - there must be twenty of them - are in a veranda, behind the bay window that you can see northward. You can go back to the south.\n\n> Go south\nThunder Hill is a hill not so far away from the town: you can see the city lights from where you are standing. The heights of the city are very popular among the celebrities because of their calm, the view they offer on the city and the great size of the parcels: just perfect, if you're famous, for your new villa and your huge swimming pool. Further up, to the north, is the aforementioned villa - you can already listen to the noises from the party. You can go back to the south.\n\n> You press the space\nThe night was long; you're going home to sleep.\n\nAfter a good nightlong sleep, you're ready for another day! You stand up and put a simple shirt on to go to the office.\nYour flat\nThis is your little flat with two rooms, downtown. Rather functional and bright, you really like it. In the sitting-room, there's a table, a few chairs, and a sofa: that's where you usually work. The kitchen is westwards, and your bedroom and the bathroom are eastwards.\n\nYou can see a camera here.\n\n> About yourself\nYou're tall, red-headed, quite thin, and pretty, or so they say; you're a perfectly normal twenty-six-year old young woman. A reporter for the \"Tittle-Tattle Kettle\" for a few years now, you're known to be tenacious, frank and clear-headed. You'd agree with that.\nYou're wearing a red checked shirt. Simple, but still, quite nice.\n\n> You talk to Sammy\n\"Hi boss!\"\n\"Here you are! Tell me about yesterday's party, was it interesting?\" \"Rather interesting, yeah...\"\n\"Come into my office and tell me the whole thing!\"\n\nYou step into Sammy's office and sit on a chair; he takes a notepad and sits in front of you.\n\n\"Where should I start?\" you say. Well, you start by telling him about the guests, and their mood and their gossip, and you tell Sammy everything you learned, while he takes notes. You remember a lot of things about the party, and don't forget any information. When you're done, Sammy leans on his chair, and thinks for a while. You wait expectantly.\n\"Right. You know, a lot of different people have been telling me about Tyrone and the suspicions about his fidelity... Well, if you believe them, it seems he's supposed to go to his mistress, Piranella's house tonight. Do you confirm this info?\"\nYou nod.\n\"I think it could be good to send you there, don't you?\"\n\nYou sigh. Tyrone is a problem man, he already has this reputation, and what good will it be to write an article about his adultery? Put some more weight upon his shoulders, distract the housewife for a few seconds, but it won't change anything, and you don't like to hound a man like this... On the other hand, you really don't like Piranella, and it all depends on the way you write the article; you can probably make it more harmful to her than to Tyrone... In either cases, you don't like your position, because the only purpose of such a report is to sling mud at someone.\n\nA few years ago, with an impulsive character, you'd have rebelled against Sammy, and maybe he would have fired you - it nearly happened, once... Now, you eat humble pie: you're paid to do things like that, whether you like it or not - if not, why did you choose this magazine? You do it anyway, but it's true you sometimes try to avoid doing it.\n\n\"All right Sammy... I must say I don't like it, but...\"\n\"I know, but I have to send a reporter there, and it's part of your job at TTK, isn't it? Right, I'll give you the address. Try to learn more about both of them.\"\n\"Right.\"\nYou stand up from your chair.\n\nSammy's office is amazingly neat for one of an editor who's always running everywhere. Actually, there's still huge heaps of papers, but you can imagine that they end up regularly in the archives or recycled. His desk isn't messy at all. His computer screen is swarmed by little notes: he's got so much to do... You can go back to the hall to the west.\n\n> You read the notes\nWhich do you mean, the papers or the computer?\n\n> Computer\nSammy's computer screen is covered with adhesive notes: reminders, information, phone numbers... Being an editor must be quite exhausting.\n\nSammy reads a text message, and enters a quick reply.\n\n> You go to the west\nEditorial office of \"Tittle-Tattle Kettle\"\n\"Tittle-Tattle Kettle, your teatime's long-brewed, boiling gossip!\" You always thought this motto was a little bit silly, but it's quite original after all; it didn't stop this magazine to grow. In fact, sales are good, and the paper shows its difference from its rivals with a certain sense of ethics and reflexion - it still is a gossip magazine, but let's say that you take advantage of a higher status than your rivals. The editorial office is at the sixteenth floor of the building. Westwards, the window gives you a great view of the city; near it there's the coffee dispenser and metal tables. Eastwards, it's Sammy's office; your office is somewhere to the north, and if you want to leave there's an elevator at the south.\n\n> Go south\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Flat\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nKylie Piranella's house\nBack\n\n> You go to the north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\n> Editorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\nKylie Piranella's house\nBack\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\n> Downtown shops\nKylie Piranella's house\nBack\n\n> You go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\nSelect a destination:\n\nEditorial office of \"Tittle-Tattle Kettle\"\nDowntown shops\n> Kylie Piranella's house\nBack\nKylie Piranella's house\nKylie Piranella lives in a pretty old house, and oddly it isn't the kind of house you expect for a blonde young woman with such a hot reputation. But, you heard a lot of rumors about the parties that were organised at her place, and about the fact that a lot of men came and went inside this house. Is it only true, or just part of the image that she's building of herself? You don't know that. Anyway, there's a garden with a swimming pool behind the house, behind high stonewalls. There's a large window on the east side of the house, first floor, and perhaps you'll be able to see it more precisely if you walk into the alley heading to the northwest. Northward, there's the entrance door; you can go back to the south.\n\nKylie Piranella lives in a pretty old house, and oddly it isn't the kind of house you expect for a blonde young woman with such a hot reputation. But, you heard a lot of rumors about the parties that were organised at her place, and about the fact that a lot of men came and went inside this house. Is it only true, or just part of the image that she's building of herself? You don't know that. Anyway, there's a garden with a swimming pool behind the house, behind high stonewalls. There's a large window on the east side of the house, first floor, and perhaps you'll be able to see it more precisely if you walk into the alley heading to the northwest. Northward, there's the entrance door; you can go back to the south.\n\n> You go northeast\nAn alley, near Kylie Piranella's house\nIt's a simple alley between Kylie Piranella's house and the next house. From here you can see the large window at the first floor of the house, and some crates below. You can go back by heading to the southwest.\n\nFor now, everything is quiet: no sign of Tyrone.\n\n> You look at the window\nIt's not the right time to spy through the window, Tyrone isn't here yet and Piranella is alone inside her house, there's nothing interesting to see.\n\nAh, here he is! You saw him walk past the alley, but he didn't see you. He heads to the door, and you hear him knock.\n\n> You get on the crates\nYou climb on the crates and look inside the house, knowing that anyway Kylie is at the door. Pretty well-furnished interior, but nothing more, so you get off the crates.\n\nYou hear the door opening, and Kylie cheers: \"At last, here you are! Come in!\" And as soon as she closes the door, you can't hear a thing.\n\n> You examine the window\nYou climb on the crates and look inside the house, knowing that anyway Kylie is at the door. Pretty well-furnished interior, but nothing more, so you get off the crates.\n\nYou hear footsteps: they probably are going upstairs. And now they're above you you can hear a manly low-pitched voice talking, must be Tyrone's. But it's a loud voice, too loud: Tyrone is screaming. And you hear a woman whining: they're probably arguing.\n\n> You examine the window\nThey must be just behind the window, you don't want them to see you.\n\nSuddenly, Kylie screams. A long, high-pitched scream, a scream of terror, of pain. You jump. What's happening? Is he beating her? Something serious is happening in this house!\n\n> You examine window\nYou climb on the crates to see through the window. You can see a body on the floor; it must be Piranella. What happened? Damn, a furniture on the left blocks your sight, and you can't see Tyrone, if only he's here.\n\nAll of a sudden, not a single noise. You lend an ear, only to hear hasted footsteps. You wonder if you should call the police, and you're already opening your mobile phone.\n\n> Examine dumpster\nThese are the bins of the neighbourhood. The bins from any neighbourhood, even the most in vogue, always stink. Yuk.\n\n> You look in the dumpster\nYou search the bins. Lifting a bag, you can see a knife. A bloddy knife. It's the one which was thrown through the window.\n\nWhat happened is pretty clear. A knife, screams. Piranella was murdered by Tyrone. Just a few moments ago. While you were here, waiting for a scoop.\n\nThe scene becomes blurry all of a sudden. Shocked, you puke against the wall.\n\nIt's the first time you've seen something like that. You can't stand it.\n\nYou're going to call the police. But not now.\n\nYou run away.\n[ This is the end of the intro of the game \"Gossip\", which entered the IntroComp 2009. I hope you liked it! ]\n\nDreams, coming again and again, always unwelcome, always unwanted...\n\nWhether sadness, misery, horror or confusion, They never fail to induce negativity; in that, at least, this dream is no different. You float in void, filled with a roiling black static that seems conscious. There is nothing to see but the static, nothing to feel but your own form, and nothing to hear but the ghostly call of a child. It sets your teeth on edge even in the waking world; you can't stand that eerie wail, wavering between laughter and tears.\n\nYou never find this child. Even though the sound gets closer, until it is right next to you, all around you, inside your own head before you are awakened by the alarm clock.\n\nThis time, though...\n\nA figure swims out of the darkness, backlit, so that you can only make out a childlike face of tragic innocence and flowing hair.\n\n\"Who... are you?\"\n\nThere isn't an answer right away--instead, everything around you turns completely white. And somehow... puffy.\n\nDo you know WHY you have always hated the sound, Kristen? The child, invisible now, speaks, for the first time; androgynous, cultured. You can't respond. you wish you could. It just sparks something deep within you, something primal--something below reason, below rationality, below everything but fear. You don't like it when your brain keeps secrets from you.\n\nI've waited a long time... and still am. Your surroundings flicker between the endless white and writhing black, the two merging into some unwholesome gray. Kristen... your child is waiting.\n\"Your child is waiting.\"\n\n\"Hmm?\"\n\n\"I said, your child is waiting.\"\n\n\"WHAT?\" You blinked furiously, trying to get your brain into some sense of working order; these dreams usually leave you a scattered mess, and you can't recall ever speaking to someone while that way.\n\n\"I said--\" The voice seemed testy.\n\n\"No--stop. I heard what you said, I just... could you give me a moment?\"\n\nYou looked around... same bedroom, same lame-ass apartment, same everything... Awake. Normal. Except, not. You'd managed to register your ringing phone, pick it up, and get through the opener to this conversation, while sleeping. Not very like you. And she said--\n\nYou felt a chill. \"...Excuse me? Did you say that I have a--\"\n\n\"Child, yes ma'am--waiting for you in Gainesville.\" Click.\n\n\"I don't have a...\" The retort died on your lips. The hum of a disconnected telephone answered back at you, daring you to question its integrity.\n\nPatently ridiculous. You don't have a child. You never did. How could that possibly be? There must be some mistake, some incredibly stupid bureaucratic snafu. You'd love nothing better than to explain this fact to whoever that was, but since she hung up before you could get the words out, that's not really an option.\n\nThat dream...\n\nWas a dream. You dream every night, and you haven't had any come true yet. Gainesville? Where is Gainesville? Most bloody generic name for a town ever, and you don't even recall there being one here. You wouldn't even know where it is.\n\nExcept... you do. The way suggested itself even as you tried to deny it, as though you had always known. You're still certain, completely, that you've never heard of the place before; even the part of your brain that showed you the way confirms this.\n\nIn the end, you don't know what your motivation was: sleep deprivation, deep seated confusion, nerves... maybe your body was just tired of waiting for your brain to catch up and got you dressed and in the car before you realized. Soon you were driving, to where you weren't sure, your mind screaming MADNESS while your hands deftly twisted the steering wheel. This would bother you, give you serious pause, but you somehow feel at peace with it. All you've gotta do is remind yourself that you had nothing else planned today.\n\nYou stand up and stretch, various parts of your body making worrisome popping noises as you exit the car, noting with a vague sense of triumph that it has once again failed to cause your violent death in some spectacular fashion or other. The cold night air is chill against your skin--fortunate, then, that you brought your coat.\n\nYou stand on the side of the packed dirt road leading to Gainesville. The road stretches far away behind you to the south and, eventually, turns off into a paved one that leads back to the central transit explosion that is modern American transportation. Your vision of the town is obscured by the trees; all you can tell is that the path leads, for now, to the north.\n\nYour next-to useless, banged-up car is decidedly parked here. The driver's side door is shut smugly in your face.\n\n> Inventory\nYou are carrying:\nyour trench coat (being worn)\na handgun (with 8 rounds)\nyour keyring\n\n> About you\nYou top off at about 5'6\"... not the tallest girl around at 24, granted, but you make up for it in personality and one hundred and thirty-five pounds of trained muscle. Your jeans and tanktop show all the right parts of your toned and curvy figure, the baggy trench coat you usually wear over them telling of your disinterest in such things. Straight black hair falls about your shoulders, pale skin crying out for a tan while your dark blue eyes look upon the world with cool scorn.\n\n> You examine the car\nIt's... your car. Hurray. The old thing is planted quite firmly on the ground at the side of the road here, and it doesn't look like it intends on moving any time soon. It's always playing little pranks on you like that. The engine has recently been making chuckling noises which you suspect are treasonous, and every time you--for whatever reason--try opening the hood, you're intrigued at how a maze of gears, belts, wires, circuitry and cables can be said to be \"peering\" up at you, with an unmistakable air of malevolence.\n\n> You open the car\nYou open the driver's door.\n\n> You get in the car\nYou don't like it much, partly due to a suspicion of yours (reinforced each new day) that it doesn't like you back. It seems to only want to start when you don't want it to, for reasons mechanics never even try explaining to you on the grounds that if you understood your car was just a crabby old bitch and needed some Midol, you might stop paying them what you already know is too much money every three fucking months.\n\nThe driver's side door is flopped lethargically open. Staring at you.\n\n> You look at the car\nThe floor of your car is, being the standard for virtually every car owner in the world, liberally strewn with trash; your mind briefly churns at the concept of seeing what secrets might actually be lurking right under your feet.\n\n> You search the trash\nOh sure, the miscellaneous collection of worthless crap might contain a million-dollar-winning bottle cap or any old Arc of the Covenant or--if you want to shoot for the moon--the explanation of So Far. But more likely you'll just find a used condom from 1998. And you'd quite frankly rather not go dragging any of that up again, thanks all the same.\n\n> You look under the seat\nWhich do you mean, the seat, or the seat belt?\n\n> You look at the driver's seat\nEr, it's a seat. It's, um, made of some generic soulless fabric that was probably made by some Chinese kid working for $2.50 an hour, and it's something that people sit on while driving or being driven. What did you expect?\n\n> Go outside\nYou stand on the side of the packed dirt road leading to Gainesville. The road stretches far away behind you to the south and, eventually, turns off into a paved one that leads back to the central transit explosion that is modern American transportation. Your vision of the town is obscured by the trees; all you can tell is that the path leads, for now, to the north.\n\nYour next-to useless, banged-up car is decidedly parked here. The driver's side door is hanging mockingly open at you.\n\n> You go inside\nYou don't like it much, partly due to a suspicion of yours (reinforced each new day) that it doesn't like you back. It seems to only want to start when you don't want it to, for reasons mechanics never even try explaining to you on the grounds that if you understood your car was just a crabby old bitch and needed some Midol, you might stop paying them what you already know is too much money every three fucking months.\n\nThe driver's side door is flopped lethargically open. Staring at you.\n\n> You look at the door\n(the driver's door)\nThe door is unquestionably the most useful part of this entire vehicle, as it allows you a quick and speedy departure from it whenever it decides to attempt homicide.\n\n> You look under the car\nNothing there but dust--er, dirt. Dirt and insects. And a woodland creature. And a member of the 187th Airborne. And Jimmy Hoffa, probably, if you looked long enough. You thought the tires looked a little gummed up...\n\n> You open it\nOn a whim, you pull open the glove compartment and root around inside. Your fingers close on a loose match. Odd. It must have fallen out of the matchbook when you took it out last time. Shrugging, you pocket it; it might come in handy later.\n\n> Inventory\nYou are carrying:\nyour trench coat (being worn)\na match\na handgun (with 8 rounds)\nyour keyring\n\n> You examine the radio\nOne of the terribly unfair ironies that you've had to come to terms with over the years in regards to your car is that no matter what state it's in (either \"virtual junk heap\" or \"literal junk heap\") the radio is always in perfect working order. Unfortunately, 'round \"these parts\" pretty much all that's on the radio is the same thirteen Christian rock songs, \"drive-time morning shows\" hosted by idiots that got rejected from the Blue Collar comedy tour, and political commentators trying to claim that keeping gay marriage illegal makes AmeriKKKa that much more awesome and, somehow, free.\n\n> You turn on the radio\nUgh. No thanks. You're proud of the fact that you have never turned on the radio and you don't see how anything up to and including a freak meteorological event could change this.\n\n> You examine the heater\nBy contrast to the heater, the AC has *never* worked. You're always afraid of turning it on these days lest it start blasting heat at you instead of cold and then the damn thing would choose to stay on forever. Windows help, but you swear you're getting permanent hearing damage.\n\n> You examine the dashboard\nThe dash is made of a material you don't recognize and has all sorts of controls on it which you don't either, which would worry you somewhat if they worked or performed any provable function. Since they don't, you don't, instead feeling only joy.\n\n> Go outside\nYou stand on the side of the packed dirt road leading to Gainesville. The road stretches far away behind you to the south and, eventually, turns off into a paved one that leads back to the central transit explosion that is modern American transportation. Your vision of the town is obscured by the trees; all you can tell is that the path leads, for now, to the north.\n\nYour next-to useless, banged-up car is decidedly parked here. The driver's side door is hanging mockingly open at you.\n\n> You look at the trees\nMost of them aren't terribly large or tall, but many have long branches that have a bit too much overhang for your liking and form a thin curtain that obscures most of what's ahead from view. No doubt when you start the walk into town there's gonna be some pine needles in your hair. Why can't these people be like the rest of America and be down with some clear-cutting?\n\n> Go north\nYou stand on the southern part of a road that twists and winds further to the northwest. Trees stand on either side of you, seeming to arch over you more each time you look.\n\n> You examine the trees\nThe trees survey the path, branches hanging down, giving an impression of ancient sentries that only barely tolerate your presence.\n\n> You examine the trees\nThe trees lean over the path, branches curling down, giving an impression of a set of teeth waiting for the perfect moment to clamp... You shake yourself. Now's not the time for flavor text.\n\n> You go north\nYou can see what looks to be the town of Gainesville in the distance, to the northeast. You can't really tell; the trees that line your path also block your view. You can retreat from the town to the south.\n\n> You examine the trees\nThe trees loom over the path, branches pointing down at you. Quite honestly, they've ceased being creepy or foreboding, and have been downgraded to \"bloody annoying.\" You're quickly getting sick of this little venture of yours.\n\n> Go northeast\nYou emerge from the forest path, leads onto a paved walkway with grass on either side. You walk along it, the grass soon disappearing. You look around for a turn-off, a building, or just a person to ask for directions, yet after about five minutes of walking you see nothing. What the hell are you even doing here? the area appears completely deserted. This is ridiculous, probably some kind of prank.\n\nYou stop short, for the first time realizing just how much sense that explanation makes. And you fell for it like a damned idiot. When (not if) you find the lousy son of a bitch who did this to you, you're gonna... Furious, you turn around --\nLost in the Mists\nA thick, featureless mist has rolled in all around you. You can't see more than ten feet in any direction, and what you can see is utterly useless. No grass, no sidewalks, no trees, no buildings, no cars and no people. nothing. The entire ground is just a blank expanse of pavement, stretching out forever.\n\nYou thump your shoe on the pavement and wait for the sound of an echo. Streamers of vapor dance with themselves as you move swiftly by, tangling and untangling as you try to find a way out. You blink your eyes, hard.\n\n> You examine the pavement\nThe smooth, gray pavement below you stretches out in every direction, seemingly for miles. You can't tell for certain though because of all this goddamn fog blocking your vision."
    },
    {
        "text": "> You look at your surroundings\nYou are suddenly seized by a burst of uncontrollable, raging fear that leaves you helpless and whimpering, but is gone just as soon as it appeared; you are left shaking and dizzied. You pull your coat tighter against your body, shivering slightly. There's a strange shifting under your feet as of something soft and pliable moving beneath you, but it passes almost as swiftly as it began.\n\n> Xyzzy\nA sinister voice hisses \"Wrong game, dumb bitch!\"\n\n> You go to the north\nHeady tendrils of vapor flow inside your nostrils, filling your throat with a disgusting taste. You dart looks in every direction, looking for something different. A low, keening noise travels through the mists from a directionless source.\n\n> Inventory\nYou are carrying:\nyour trench coat (being worn)\na match\na handgun (with 8 rounds)\nyour keyring\n\n> You get the handgun\nTaken.\n\n> Shoot gun\nYou don't feel the need to impress your superiority over your handgun via a demonstration of firearm skills; it seems suitably cowed by your presence already."
    },
    {
        "text": "[Themes: celebrity, french, hollywood]\n\n> Look around\nThe only thing you can hear is your shoes, and even they sound dampened. A strange scent passes under your nose for a moment; sweet, yet also pungent. Massless shapes loom up and around you and then dissolve into nothingness. Your eyes penetrate the gloom, looking in all directions, but you can't make out anything useful--or anything at all.\n\n> Go east\nYour shoes click dully on the pavement. The mist swirls around, just above your head. You dart looks in every direction, looking for something different.\n\n> Go north\nYou call out your own name, just to hear human speech. You strain your ears for some sound that might guide you, and think you hear the distant wail of a siren--but it's quickly submerged in the quiet, leaving you to wonder if you had just imagined it. There's a strange shifting under your feet as of something soft and pliable moving beneath you, but it passes almost as swiftly as it began.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Inventory\nYou are carrying:\na handgun (with 8 rounds)\nyour trench coat (being worn)\na match\nyour keyring\n\n> You look at the match\nUm... it's a match. No, really, it is. It's, uh, wood, it's got magnesium on the end, you strike it against something and it obliges you by bursting into flames. There's not a lot else to note.\n\n> Light match\nThis dangerous act would achieve little."
    },
    {
        "text": "[Themes: celebrity]\n\n> Look around\nThe blank pavement below your feet mirrors the featureless mists that hover above your head.\n\n> You examine the pavement\nThe smooth, gray pavement below you stretches out in every direction, seemingly for miles. You can't tell for certain though because of all this goddamn fog blocking your vision.\n\n> Go east\nThe mist hangs unnaturally still over you. You peer forward, trying to make something out. You feel alone, with only the dulled sounds of your shoes thudding against the pavement for company. You start guiltily, unable to shake the ominous feel that something is watching you. Eddies of mist drift past you, pushing your hair in front of your eyes.\n\n> Go east\nHmm. Is it just your imagination, or..? No, it's not. You can see blurry outlines of walls now, and... in the distance, some kind of house? You swish an arm in front of your face and things get clearer--this goddamn fog is definitely thinning now.\n\nYou're standing just at the entrance to a horse ranch. The stables are to the northwest, and the house itself is to the north. You can't really make out very much of either from this far away, though. Overhead, you can see the sun setting, casting a fiery red glow over the scene. To the south lies a gate, firmly closed, preventing your egress; to either side of it lie high stone walls as far as you can see.\n\n> You examine the sun\nThe sky is mostly clear, although a considerable mass of white cloud cover can be seen dissipating off to the northwest. To your right, you can see the sun just starting its ascent into the sky, lending this odd tableau a rusty red hue. Just fantastic--now you'll be missing two days of work over... well. You're not quite sure what, exactly, anymore. But fuck it--this is more interesting, anyway.\n\n> You examine the gate\nThe gate is a thick, wrought iron construction, complete with rusted hinges and slatted bars. And it is closed. What the--how is that possible? Did you just happen to accidentally phase through solid matter?\n\n> You open gate\nYou give the gate a tug--no good, it's not moving. Not locked, exactly, more like... stuck.\n\n> You kick the gate\nYou give the gate a solid womp with your palm--en guard, lest gait!--and feel the gate slap you back just as hard. Well at least that rules out holograms.\n\n> You look at the house\nFrom this vantage point you can't make out very much, except that it's quite large. You can make out the porch well enough though; it's open to the elements with a couple of old rocking chairs swaying back and forth in the breeze.\n\n> Go north\nYou trudge on towards the old house, hoping to find someone that can show you around this town... but the house isn't any closer. Frowning, you turn around to retrace your steps--and realize that that's no longer necessary. The gate is still only a couple of steps away. What the--?\n\n> You go to the northwest\nAs much as you might like to, now isn't really a good time to go rustlin' up some grub. And anyways, they're not yours.\n\n> You look at the gate\nPeering closer, you can see that a piece of the locking mechanism appears to have come loose; it's lying on the ground just past the gate. You could probably reach it through the bars.\n\n> You get the piece\nYou get on your knees and start reaching through the bars. Your fingers just land on the piece of rusted metal, but can't quite close over it. Slowly you push it forward, just a few more centimeters and--got it.\n\n\"She's fixing the gate!\"\n\nYour head whips around to see three men running towards you from the ranch house. You pull yourself to your feet and raise your hands, trying to explain yourself, but even to your own ears the words that come out sound like babble. The men ignore you, running closer--it's then that you notice that one of them, the eldest, is armed. All right, this is getting serious. Your hand flashes inside your coat for your own gun--\n\n\"Not as clever as you thought you were. Are ya?\"\n\nOne of the younger men chortles this, just before the older one fires his shotgun. A load of buckshot blasts through your rib cage; however it lacks the force to create an exit wound.\n\nIt's not at all like you thought it would be. All over, your body feels cold. But the wounds feel hot... you don't get that at all...\n\nAs if from outside yourself, you see you slump to the ground, deep red blossoming from your chest cavity. You hear what sounds like a volcano inside your head, and look down at your body convulsing; blood flecked with mucus sprays from your mouth, staining your coat and shirt a deep crimson. Physically, you're not repulsed--you've seen worse things on TV--but the fact that that's you, this is your life draining away, is enough to send the you watching you die reeling away in a shock that feels as real as the pellets that ripped through your body not a half second ago.\n\nBefore you can see anything else happen, the space before you seems to flatten out into one dimension; the ground, the sky, the gate, the house, your body lying in a pool of its own blood, the man that shot you wracking his slide and kicking out the shell on your face--all stretch out before you as if existing all on one plane. Even that slowly fades until all is gray... then black.\nThe first sense to return is feeling: A hard surface, digging into your spine. It is uncomfortable. Though, not nearly as uncomfortable as having your lungs turned to pulp by a shotgun blast. All things are relative.\n\nYou trail your fingers over your own skin, gingerly, expecting to wince from pain at any moment--but no. Nothing. There is no ragged, bloody hole in your chest. You are breathing normally. The second sense to come back is hearing, the first sound you hear being a dull thunk as your elbows accidentally smack into the walls on either side of you; the second being a muted \"Sonofabitch.\" After that, the others come back in a rush... except for sight.\n\nIt is pitch dark, and you can't see a thing.\n\n> Light match\nFrom your cursory examination of this prison, there don't seem to be any air holes. Though the light may be helpful, it would also significantly tap your current supply of oxygen. And you only have one. Besides, you don't need light. You're a ninja.\n\n> You check your inventory\nYou do realize that you're trapped in a small box, right?\n\n> You feel\n(the surroundings)\n\nYou run your palms all over the sides of wherever you are. It is clearly made from thick hard wood, you'd guess pine, and it's rectangular. You have just enough room to turn yourself around in here, and maybe four inches of space. Running your hands over the top of the box, you can feel metal studs holding the corners together... nails?\n\n> You feel nails\nYou run your palms all over the sides of wherever you are. It is clearly made from thick hard wood, you'd guess pine, and it's rectangular. You have just enough room to turn yourself around in here, and maybe four inches of space. Running your hands over the top of the box, you can feel metal studs holding the corners together... nails?\n\n> Kick\nWhat do you want to kick?\n\n> Kick box\nThere may not be enough room to kick upwards, but there are other solutions. You concentrate your attack on the center of a board, where you know the wood will be weakest. You are calm. You will get out of this. You keep telling yourself this, to focus your mind and steady your nerves. You are aware, almost as an afterthought, that you frightened beyond measure; also if you listen to this you will lose control and be gone. Methodically, you batter away at the top of the box with your hands. The first hint of a give, the acknowledgment of weakness fills you with triumph. You bash at the lid repeatedly, refusing to give up until finally it starts to crack... and a fine dust begins to filter through. You wait for it to stop, but it never does. Not even when it covers your stomach and starts flowing towards your mouth--and still, no light. Oh GOD. It suddenly hits you, you know exactly where this is. This is, it's your--\n\nWith a burst of furious determination, you smash your fist one last time into the coffin--because that's what the fuck it is-- and the board splinters, momentum moving it into the mound of raining dirt Pushing off of your back with your feet, using all your might, you rise against the crushing weight of the soil baring down on you. Your breath held, you push yourself to your feet--but it still isn't enough. Cursing your height in the back of your mind you claw desperately at the earth, shoveling handfuls off yourself as one word dominates your thoughts: UP. You tilt your head back, lungs burning, trying to spring off the wrecked boards. Your support sinks sickeningly further down into the ground but you are still able to make some sort of half-assed arching movement, just enough for your head to break the surface. You exhale and immediately inhale again, throwing your arms out in front of you, digging them into the soft earth as gravity pulls at that fucking trench coat and all the pointless useless shit in it. Your face twists itself into a rictus of determination as you rip your fingernails bloody, fighting against the weight of the earth tumbling you back into the open grave. The first few inches are the hardest ones to manage, but you do manage them, and then a few more, slowly but surely extricating yourself from the pit, just enough to allow you the leverage to push down and free your legs. You roll over onto your back, hands and feet scrabbling wildly, propelling your body away from the unstable boundaries of the hole even as it shifts and fills itself.\n\nSlowly, you sit up. It is only then you can be bothered to examine your surroundings.\n\nGraveyard (on the dirt)\nYou are in a graveyard. You can tell, see, because of the graves. They lie before you, headstones and crosses in little white rows. The moon casts feeble illumination over the scene, throwing deep shadows in all directions. You can see, to the west, the spires of a church. Any other landmarks are enclosed by a high stone wall enclosing the entire plot of land.\n\nLarge doors lead west into the church.\n\n> You look at the headstones\nYou can't really get a good look at any of the headstones from the position you're in; from here, they all seem blank.\n\n> You get up\nAfter taking a few minutes to just sit and get yourself under control you push yourself slowly, methodically, up to your feet. Giving your surroundings a perfunctory once-over you notice something you didn't before, or rather someone. A figure, who's gender you can't even determine, is standing in profile, the silhouette mostly hidden by a headstone. You creep forward, your footsteps making no sound on the dirt of the cemetery. As soon as you get into a position to observe, the figure turns around with unnatural smoothness to stare directly into your eyes.\n\n\"Well.\" he says, and instantly the shock of recognition chills you. \"Well, well, well.\" You know that voice. You know that face. It's Marcus. \"Gone and died, have you?\" He smirks. \"Yeah, I did that once. I guess you could say I never really recovered.\"\n\n> You examine Marcus\nYou know this man. His voice, his almost aggressively bad posture, his faded overalls, the more careless than carefree tousle of his hair, the \"I hate the band you like\" t-shirt he wears over his skinny chest--these are all characteristic of the man who was one of your best friends. The way he looks at you now is new; not quite predatory, but there is an unmistakable air of contempt in how he addresses you. The eyes are not new, though, recessed inside his gaunt pale face. Nor is him tapping his arms on his hips new. Ah, yes, the arms--covered with small scars, running in a crisscrossed pattern over his veins. No, those are not new, at all.\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"You're dead.\"\n2. \"Hey... been a while.\"\n3. \"What is this place?\"\n\n> 3\nEnter a number, or 0 to say nothing. >> 3\n\n\"Marcus,\" you say, urgently. \"Do you know what is going on here?\"\n\nMarcus grins at you. \"Oh, do I ever. But--\" he puts his finger to the side of his head, \"--I'm not supposed to tell you. Not that I really want to anyway. Hey--I know, you've really been busy with the whole Night of the Living Dead thing, but did you ever take a moment to look at all these graves?\"\n\n> You look at the graves\nPossessed by a morbid fascination, you begin looking at the headstones commemorating the graves. It doesn't take you long before you realize that almost all of them are completely blank. There's Marcus' grave though, sure enough--and next to it--!\n\nOh, God.\n\n\"Rustle, Will--L. May 16th, 1983--D. September 8th, 1998. Cause of death: auto accident.\"\n\nYou remember him, of course. You'll never forget the last time you kissed him: at the funeral, in his coffin. the material of his shirt, the stillness of his chest, the deathly pallor of his skin--dry, and cold as ice. Sometimes, you feel it so vividly in a dream that when you wake up, you think it's happening again.\n\nAnd right next to his grave... \"Dreyfus, Michael. B. June 3rd, 1983--D. June 3rd, 2004. Cause of death: auto accident.\"\n\nYou remember what it was like getting the call that evening. The denial that flooded through you, followed by the dull emptiness of the space that opened up in you, and everyone who knew him. You remember his parents, your friends, huddled close around his casket. God, how horrible... You can't help but wonder--did he know? In those last few minutes, when he felt control slipping from him, did he realize that his time had come? Was he afraid? And what does he know now that we do not? Did he feel pain? Does it haunt him every day of his spiritual life, as the memory of his passing haunts those he left behind?\n\nYou can't look anymore. God fucking dammit, what is this? Is this some sort of purgatory? Are you dead, now, and this is what it's like? Or is this just another dream? You're sick of it. Absolutely, utterly, sick to fucking death of dreams.\n\nOthers call you the rock, the emotional center of their universe. How can that be possible when you can't even begin to reconcile with your own past? What makes you so special that the images, sensations, pain, and emotions all stay with you, even to this day? You'd think you'd work through it, get past it, but no. That would be normal. Expected. The right way for things to happen.\n\nMarcus gives you a cold look as the weight of all that's happened to you sinks in again. \"Now do you understand?\" he asks, quietly. \"This town was made for you, Kristen.\" He glares at you, bitterly. \"ALL for YOU.\"\n\nYou are tired.\n\nSo. Very. Tired.\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"You're dead.\"\n2. \"Hey... been a while.\"\n\n> 1\nEnter a number, or 0 to say nothing. >> 1\n\"You... you're... this is...\"\n\nYou stammer, unable to get the words out. Marcus, however, saves you the trouble. \"Dead? Yeah... like I said, never recovered. Oh, damn the government, damn them! It's all the fault of those Communist Nazi Satanist fundamentalist judges legislating from the bench. Or that damned liberal Jew media brainwashing me to vote for Buchanan. Or something. ON WEEEEEEEE!\" Marcus throws out his arms in an exaggerated gesture of helplessness before leaning close for a moment and whispering \"I always wanted to use the word ennui in a sentence. I mean--come on. It's SO cool.\"\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"...\"\n2. \"Some things never change.\"\n\n> 2\nEnter a number, or 0 to say nothing. >> 2\nYou let out a soft chuckle. \"Well, I can tell the whole being dead thing is treating you well.\"\n\nMarcus grins at you. \"Very well, indeed--the health plan, for instance, is *great*. I mean, I can shoot up, and not have to worry about overdosing!\"\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"Still doing that, eh?\"\n2. \"You're kidding. Right?\"\n\n> 1\nEnter a number, or 0 to say nothing. >> 1\nThere is an uneasy silence. \"So... even death doesn't stop you from taking drugs?\"\n\nMarcus shakes his head. \"Nope. Why should it? All death means to me is ya don't have to worry about dyin' anymore. And what's so bad about that?\"\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"That's kind of sad.\"\n\n> 1\nEnter a number, or 0 to say nothing. >> 1\n\"Marcus... I'll be honest... that's a pretty sad world view.\"\n\nMarcus nods. \"I won't ask if you think I should stop because I already know the answer.\" He sighs. \"I guess I've just never bothered to care before. I mean, what's the point? You don't do a lot when you're dead. Oh, sure, you can spy on all those nubile young ladies in the shower whenever you want but that just really gets old after a few years, you know? That was a joke, by the way. It never got old.\" You reach up to give Marcus a friendly cuff on the shoulder and then stop, uncertain of just what will happen. You feel a sudden chill and drop your hand back down.\n\n\"Do you... think that you can?\"\n\n\"Well that's the question, in'nit?\" Marcus weighs your question for a few moments. \"I guess right now, I... just don't know. It's, well. It's not something I've seriously tried before.\" Marcus gives you a dry look. \"There's always a first time for everything.\" You start to smile.\n\nAnd then, it happens.\n\nThere is a rush of wind that almost knocks you down--Marcus, looking behind you, sees it first and his eyes become as wide as dinner plates. You whip around to find out what's happening--and come face to face with the likes of something you have never before witnessed in any of your worst nightmares.\n\nFor a frightening few moments your brain refuses to let you see what's right in front of your eyes clearly, however, it comes into focus soon enough. The thing's green-and-yellow skin is stretched taught over a collection of moving parts that look like they've been slapped together by a God gone mad. You can see things--ranging from gray tumorous growths to unidentifiable red streaks that glisten wetly--sliding around underneath the skin. It stands on six legs, making it look like a giant squatting insect. Each leg terminates with a long, silvery, wicked-looking prong that glints in the moonlight with what must be poison. Acidic-looking drool falls from the creature's open mouth filled with teeth as sharp as needles. It exhales, forcing you to step back and cough--it's as if the vapor actively seeks to burn out your lungs. The creature looks ill at ease on the ground, seeming more accustomed to flying with the huge jet-black wings sticking straight out from it's sides, flapping slowly and powerfully. Perhaps the most disturbing aspect of this thing, however, is that there appear to be no eyes on its face, and yet it is most definitely staring straight at you.\n\nMarcus lets out a yell that is mixed parts anguish and frustration. \"Of course! Of course, just as soon as I start thinking about it it fucking comes back! Do you see, Kristen? Do you see what I have to deal with!\""
    },
    {
        "text": "[Themes: french]\n\n> Look around\nYou are in a graveyard. You can tell, see, because of the graves. They lie before you, headstones and crosses in little white rows. The moon casts feeble illumination over the scene, throwing deep shadows in all directions. You can see, to the west, the spires of a church. Any other landmarks are enclosed by a high stone wall enclosing the entire plot of land.\n\nThe nightmarish creature eyes you menacingly, flexing its wings.\n\nMarcus peers at you, waiting.\n\nLarge doors lead west into the church.\n\nThe creature stabs its spear-like legs into the ground, advancing on Marcus with a grim sense of purpose.\n\n> Inventory\nYou are carrying:\na handgun (with 8 rounds)\nyour trench coat (being worn)\na match\nyour keyring\n\nThe creature reaches Marcus and grasps him around the middle, clasping him to its underbelly as it rears back upright for the kill. Marcus kicks and beats at the creature until one of its stilettos sinks into his shoulder, at which point his struggles soon weaken, and then stop altogether. You watch, mesmerized, as Marcus's already deathly pale visage is drained of all animation, leaving it a lifeless husk which the creature then carelessly discards over the wall.\n\nIts head swivels around to face you.\n\n> You shoot creature\nYou raise the gun, sight down the barrel, and squeeze off a shot. The bullet hits the thing's face dead-on and makes a dull thud noise before dropping to the ground; the creature's head is thrown unnaturally far back by the force of the bullet, but other than that it doesn't seem to mind.\n\nThe creature slowly but surely advances towards you, and then stops. It takes you a moment to realize why: it's standing in front of the hole you climbed out of, the dirt still shifting uneasily. You can't see any sort of expression mass over its triangular face but it appears to be considering the best way to pass this obstacle.\n\n> Continue\nYou raise the gun, sight down the barrel, and squeeze off a shot. The bullet hits the thing's face dead-on and makes a dull thud noise before dropping to the ground; the creature's head is thrown unnaturally far back by the force of the bullet, but other than that it doesn't seem to mind.\n\n> You examine door\nThese are doors that look as if they have been transported from the 17th century. A time when people took pride in everything they worked, and when a set of doors could mean only two things: being very, very open, or being very, very closed. The handles of the door are the only metal part of the door apart from the hinges, and stick out noticeably from each door. They are not a part of the door proper, however, and so there is a large amount of space between the handle and the door it is attached to; when the doors are closed, these handles line up perfectly. Above the door frame is an inscription which reads: \"Welcome, friend, to a place free from all sin, where a weary traveler may rest a while, to be safe from his or her demons.\""
    },
    {
        "text": "> You look around\nThe large doors stand open to the east.\n\nYou can hear the rush of air the creature's wings make as it flies towards you, but you can't see a thing; the moonlight has all but disappeared, making the creature's jet black wings completely invisible.\n\n> You get the bolt\nYou take the bolt from where it's leaning against the wall and ram it through the space in between the handles of the door. It's almost anticlimactic, really; no solid feeling of locking into place, no dramatically appropriate thunk. Then you take a step back and look at the door--at how the horizontal bolt goes through the vertical handles--and raise an eyebrow. Locked, the door now has a perfect metal cross sealing it shut."
    },
    {
        "text": "> Look around\nTo the east, the large doors stand shut.\n\nThe creature bangs itself against the door; you hear it as a muted thud of all six of its deadly spears impacting with the thick wood. There's no way of telling, of course, but you don't imagine it can get through this way.\n\n> Go west\nYou can't go that way.\n\nYou tense, preparing for another blow against the double doors--and hear none. You pause for a few more seconds, waiting. Silence. After a few moments even the rhythmic flapping of wings fades. You hold your breath for another long moment, and then slowly let it out. You are alone now.\n\n> You wait for a while\nTime passes."
    },
    {
        "text": "[Themes: celebrity, hollywood]\n\n> Look around\nSoftly burning oil lamps attached to the walls by iron brackets cast a warm, pleasant illumination all around this monumental structure. Tilting your head upward, you cannot see the ceiling; just a dark space where the light of the fires cannot reach. The doors that lead out to the graveyard are to the east; in front of them is the pulpit complete with wooden lectern. In front of that, the pews sit in their solemn, respectful rows. There's an undeniable beauty to this place, a sort of old-age splendor that you're not used to seeing these days. The building has the look of a labor of love built by many strong hands with keen eyes and an intense attention to the minute but significant details which a religious structure requires. Offsetting that is a small, plain-looking wooden door in the south wall.\n\nTo the east, the large doors stand shut.\n\nOn the lectern is an a black, weighty tome.\n\n> You examine the tome\nVery interesting, this book. The light seems to slide off of the cover, leaving it a small pool of inky blackness wherever it lies. Just looking at it gives you eyestrain; maybe it's just the light, or maybe there is no title printed on this book at all.\n\n> You read tome\nYou flip the book open to a random page. The words shine from the paper, in a wide-spaced font that leaves little room on the page: \"The secrets contained within the town of Gainesville are for you, and only you. The book from which you are now reading is intended to help give you a tool for you to use to conquer your demons. If the burden becomes too heavy, this volume gives you the power to dispel anything that dares to stand against you. How you choose to use this tool is entirely up to you.\"\n\n> You check what you're carrying\nYou are carrying:\nan a black, weighty tome\na handgun (with 6 rounds)\nyour trench coat (being worn)\na match\nyour keyring\n\n> You examine pews\nYour eyes briefly slide over the rows upon rows of pews--this church looks like it could have seated hundreds of people. But it is now empty.\n\n> Go south\nAs you step towards the exit, a hand shoots out of a pool of shadow cast by the lamplight beneath the door and seizes one of your shoulders in a vice-like grip. You start to whip around but the hand does that for you, bringing you face to pouchy, fat face with your father.\n\n\"Well,\" he says, cold eyes boring into your face with an unmistakable air of malevolence. \"Well... well well.\" He looks you up and down, taking in the disheveled state of your clothes; the dirt you've tracked all over the church floor. He just sighs. \"You know, I miss the old days. They knew how to handle uppity women back then. I wouldn't have to deal with this kind of disrespect then, I'd just black your eye. But now I gotta tiptoe through the goddamn tulips else y'all start screaming 'He hit me! Raape! Domestic assaauult! Aaaaahh!' and I gotta dip into my retirement funds to get lawyers and blow through court dates and skip town and it's just such a stupid waste of time. Ah, time. We all have such a limited amount of time. Do you see what I am saying, Kristen?\"\n\n\"Get your FUCKING hands off me you *cretin*--\"\n\n\"Temper, temper, child,\" his face growls. His grip increases, your shoulder crying out in pain. You aim a sidehand chop at his arm; under normal circumstances you're quite certain it would have broken his wrist, but it doesn't seem to have fazed him. \"This is a dangerous place. You can die, and there won't even be any carrion to come 'round to strip your bones. Not even the worms will love you. So watch your step, or you'll find yourself back in a 6-foot hole like your doped-up fag friend back there.\" He shakes his head. \"Fine fucking company for my daughter to associate with. So that she can become... Just. Like. THEM.\" He spits with disgust. \"We've tried. You know? We really did. But you just wouldn't have any of it. So off you go.\"\n\nQuick as a flash, his hand lets go of your shoulder to whip towards your face; you lean back to avoid the devastating punch you're sure is coming to break your nose, and his fist closes over your chin. His fingers are like iron; his horse-like face is brought an inch from yours as he hisses at you to open your mouth. You grit your teeth; he slaps you across the face. His strength wins out over your will; his other hand comes out and forces a pill down your throat. You gag with all your might, but it's no good. He releases you, backing up a few steps, wiping off his hands on his robes as if ridding himself of a particularly unseemly form of vermin. You always thought he'd make a great name for himself as a preacher, and damned if he doesn't look the part now. Amazing the things that run through your mind at times like these. As bad as you usually feel for putting him in the hospital, right now you can't think of anything other than how much you wish you'd finished the job.\n\n\"That's better, Missy. This'll fix you right up. Now get out of here. You're a Cymbalta child now... Not mine.\"\n\nHis words echo into the near distances, feeling as if they're traveling a thousand miles to drop into your head. Your father's face morphs into the face on the Christ statue, creating some sort of unwholesome amalgamation, lamps raining fire down upon you as the world turns away. Inside your mind, you hear the church bell... hell's bell... school bell? Oh, right. The bell to end first period, it rang right before everything really went to shit. Good times."
    },
    {
        "text": "[Themes: hollywood]\n\n> You look around\nSoftly burning oil lamps attached to the walls by iron brackets cast a warm, pleasant illumination all around this monumental structure. Tilting your head upward, you cannot see the ceiling; just a dark space where the light of the fires cannot reach. The doors that lead out to the graveyard are to the east; in front of them is the pulpit complete with wooden lectern. In front of that, the pews sit in their solemn, respectful rows. There's an undeniable beauty to this place, a sort of old-age splendor that you're not used to seeing these days. The building has the look of a labor of love built by many strong hands with keen eyes and an intense attention to the minute but significant details which a religious structure requires. Offsetting that is a small, plain-looking wooden door in the south wall.\n\nTo the east, the large doors stand shut."
    },
    {
        "text": "[Themes: french]\n\n> Look around\nYou are in a graveyard. You can tell, see, because of the graves. They lie before you, headstones and crosses in little white rows. The moon casts feeble illumination over the scene, throwing deep shadows in all directions. You can see, to the west, the spires of a church. Any other landmarks are enclosed by a high stone wall enclosing the entire plot of land.\n\nThe nightmarish creature eyes you menacingly, flexing its wings.\n\nMarcus peers at you, waiting.\n\nLarge doors lead west into the church.\n\nThe creature stabs its spear-like legs into the ground, advancing on Marcus with a grim sense of purpose.\n\n> You shoot creature\nOh hell yes you are shooting that goddamn thing. You raise the gun to your shoulder, don't bother sighting, and squeeze the trigger; the bullet leaves the barrel at approximately holy wow that's really fast speed and scores a solid hit directly on the creature. And then glances off, speeding away into the night.\nThere's an almost Looney Tunes-esque moment where you look down at your gun, just to check and make sure that there isn't a flag sticking out of the end of the barrel reading \"bang!\" (with all of the insanity that's happened so far it honestly would not surprise you at all.) The creature does, however, turn around from its dogged pursuing of Marcus--and looks at you. You start to wonder if there was any point in climbing out of that grave, to begin with.\n\nThe creature slowly but surely advances towards you, and then stops. It takes you a moment to realize why: it's standing in front of the hole you climbed out of, the dirt still shifting uneasily. You can't see any sort of expression mass over its triangular face but it appears to be considering the best way to pass this obstacle.\n\n> You ask Marcus,  to go west\n(Just use TALK TO PERSON instead.)\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"Marcus, get into the church!\"\n2. \"Marcus, push him into the hole!\"\n\n> 2\nEnter a number, or 0 to say nothing. >> 2\n\nMarcus hears you, and seems to understand. Looking paler and more terrified than he ever has in his life, he slowly, too slowly walks closer to the thing--and then he looks at you, and a sudden warm light of both understanding and resolve fills his eyes. He charges the thing like a football player and barrels straight into it broadside. The creature, blindsided, still makes no noise even as it lurches sideways, tries to retain its balance, and in the process puts all of its weight on exactly the wrong leg. The unstable hole breaks open; the creature comes very close to seriously injuring both you and Marcus as it flails desperately for balance. There is none to be had, however, as the hole keeps collapsing, sending the creature helplessly further down into what was just a few short minutes ago your own grave.\n\nWordlessly, you and Marcus both get busy with the dirt; shoveling it in handfuls, filling the hole as best you can. You don't stop even after the ground is even, you don't stop until there is a mound of solid-packed dirt that's almost up to your knees. Then you just stand, exhausted, looking at each other as if not quite sure what to do next. Then, quietly, he looks into your eyes and utters the one word you've wanted to hear from him for so long: \"thanks.\" You nod, silently, unable to speak, tears silently filling your eyes. Marcus gives you a slow salute, and then turns around, walking slowly away from you toward the church; soon he is lost in the darkness."
    },
    {
        "text": "[Themes: hollywood]\n\n> You look at your surroundings\nYou are in a graveyard. You can tell, see, because of the graves. They lie before you, headstones and crosses in little white rows. The moon casts feeble illumination over the scene, throwing deep shadows in all directions. You can see, to the west, the spires of a church. Any other landmarks are enclosed by a high stone wall enclosing the entire plot of land. There was a hole here. It's gone now.\n\nLarge doors lead west into the church.\n\n> You go west\nSoftly burning oil lamps attached to the walls by iron brackets cast a warm, pleasant illumination all around this monumental structure. Tilting your head upward, you cannot see the ceiling; just a dark space where the light of the fires cannot reach. The doors that lead out to the graveyard are to the east; in front of them is the pulpit complete with wooden lectern. In front of that, the pews sit in their solemn, respectful rows. There's an undeniable beauty to this place, a sort of old-age splendor that you're not used to seeing these days. The building has the look of a labor of love built by many strong hands with keen eyes and an intense attention to the minute but significant details which a religious structure requires. Offsetting that is a small, plain-looking wooden door in the south wall.\n\nThe large doors stand open to the east.\n\nA massive iron bolt rests dully against the wall, somehow out of place.\n\nOn the lectern is an a black, weighty tome.\n\n> You get the bolt\nIf you want to lock the doors with that, you'll have to close them first. Otherwise, you don't have any need for it.\n\n> Go south\nAs you step towards the exit, a hand shoots out of a pool of shadow cast by the lamplight beneath the door and seizes one of your shoulders in a vice-like grip. You start to whip around but the hand does that for you, bringing you face to pouchy, fat face with your father.\n\n\"Well,\" he says, cold eyes boring into your face with an unmistakable air of malevolence. \"Well... well well.\" He looks you up and down, taking in the disheveled state of your clothes; the dirt you've tracked all over the church floor. He just sighs. \"You know, I miss the old days. They knew how to handle uppity women back then. I wouldn't have to deal with this kind of disrespect then, I'd just black your eye. But now I gotta tiptoe through the goddamn tulips else y'all start screaming 'He hit me! Raape! Domestic assaauult! Aaaaahh!' and I gotta dip into my retirement funds to get lawyers and blow through court dates and skip town and it's just such a stupid waste of time. Ah, time. We all have such a limited amount of time. Do you see what I am saying, Kristen?\"\n\n\"Get your FUCKING hands off me you *cretin*--\"\n\n\"Temper, temper, child,\" his face growls. His grip increases, your shoulder crying out in pain. You aim a sidehand chop at his arm; under normal circumstances you're quite certain it would have broken his wrist, but it doesn't seem to have fazed him. \"This is a dangerous place. You can die, and there won't even be any carrion to come 'round to strip your bones. Not even the worms will love you. So watch your step, or you'll find yourself back in a 6-foot hole like your doped-up fag friend back there.\" He shakes his head. \"Fine fucking company for my daughter to associate with. So that she can become... Just. Like. THEM.\" He spits with disgust. \"We've tried. You know? We really did. But you just wouldn't have any of it. So off you go.\"\n\nQuick as a flash, his hand lets go of your shoulder to whip towards your face; you lean back to avoid the devastating punch you're sure is coming to break your nose, and his fist closes over your chin. His fingers are like iron; his horse-like face is brought an inch from yours as he hisses at you to open your mouth. You grit your teeth; he slaps you across the face. His strength wins out over your will; his other hand comes out and forces a pill down your throat. You gag with all your might, but it's no good. He releases you, backing up a few steps, wiping off his hands on his robes as if ridding himself of a particularly unseemly form of vermin. You always thought he'd make a great name for himself as a preacher, and damned if he doesn't look the part now. Amazing the things that run through your mind at times like these. As bad as you usually feel for putting him in the hospital, right now you can't think of anything other than how much you wish you'd finished the job.\n\n\"That's better, Missy. This'll fix you right up. Now get out of here. You're a Cymbalta child now... Not mine.\"\n\nHis words echo into the near distances, feeling as if they're traveling a thousand miles to drop into your head. Your father's face morphs into the face on the Christ statue, creating some sort of unwholesome amalgamation, lamps raining fire down upon you as the world turns away. Inside your mind, you hear the church bell... hell's bell... school bell? Oh, right. The bell to end first period, it rang right before everything really went to shit. Good times.\n\n> You shoot creature\nOh hell yes you are shooting that goddamn thing. You raise the gun to your shoulder, don't bother sighting, and squeeze the trigger; the bullet leaves the barrel at approximately holy wow that's really fast speed and scores a solid hit directly on the creature. And then glances off, speeding away into the night.\nThere's an almost Looney Tunes-esque moment where you look down at your gun, just to check and make sure that there isn't a flag sticking out of the end of the barrel reading \"bang!\" (with all of the insanity that's happened so far it honestly would not surprise you at all.) The creature does, however, turn around from its dogged pursuing of Marcus--and looks at you. You start to wonder if there was any point in climbing out of that grave, to begin with.\n\nThe creature slowly but surely advances towards you, and then stops. It takes you a moment to realize why: it's standing in front of the hole you climbed out of, the dirt still shifting uneasily. You can't see any sort of expression mass over its triangular face but it appears to be considering the best way to pass this obstacle.\n\n> You talk to Marcus\nWhat do you want to say?\n1. \"Marcus, get into the church!\"\n2. \"Marcus, push him into the hole!\"\n\n> 1\nEnter a number, or 0 to say nothing. >> 1\n\nMarcus nods, and heads for the church at a dead run. He has to pass you while doing that though, and when he does, the creature whips one of its legs out--impossibly fast, and skewers Marcus through the collarbone. Marcus is brought up short and gurgles on blood. He looks like he would very much like to scream right now only he can't because something is blocking his lungs. The creature sadistically shakes its leg up and down, shredding some of Marcus's internal organs before it gets tired and contemptuously flings Marcus over the wall. You blink. You didn't even see the creature look at him once.\n\n> You go east\n(first opening the large doors)\nYou'll never know why you did it. Maybe you were just confused by the vapors. Maybe you were hoping it would get confused and that the only way to kill the thing would be to shoot it in the back. Maybe you were just fatalistic and didn't want to fight anymore. But when you get down to it, none of that actually matters. The important point of the matter is that\n\n> You get in the car\n(first opening the driver's door)\n\nYou don't like it much, partly due to a suspicion of yours (reinforced each new day) that it doesn't like you back. It seems to only want to start when you don't want it to, for reasons mechanics never even try explaining to you on the grounds that if you understood your car was just a crabby old bitch and needed some Midol, you might stop paying them what you already know is too much money every three fucking months.\n\nThe driver's side door is flopped lethargically open. Staring at you.\n\n> You drive\nYes, indeed, this is ludicrous. You don't even know what you're here for, really--it's probably some crank call or something. Of course now you've wasted a whole day but eh, beats working. You start your car and the long drive home. When you get inside, past 3:00 in the morning, you don't feel like doing anything but sleeping. So you do, and are haunted by more dreams. Then you wake up, dash the sleep from your brain with Very Black Coffee, and head in to... your job.\n\nUgh, your job. How you fucking hate your job. You hate it with more passion than you've ever hated anything. It's the most inuring, mind-numbing, idiot-oriented piece of trash that ever earned the title of shit. Every day you see the same people, sell the same things, hear the customers and your co-workers say the same old crap. Every single day you see a new, glittering example of idiocy to the millionth power, people so stupid that you wouldn't even hire them to scrub your God damn floors. Fun as that is, you also get to listen to the President's sentient head polyp abusing the airwaves with a three-hour diatribe of bullshit on his favorite topic: how he's right about everything and everyone who disagrees is wrong and stupid and evil and worthless and going down to a ring of fire lower than the one reserved for rich drug-abusing hypocrites.\n\nWhile you try to set the countertop radio on fire with your mind, in troupe the 16 year old girls giggling for their birth control. Out they go to the sleazeballs that brought them there, twice their age, waiting in a convertible that could--should--cost more than their yearly salary. You sell them their precious baby barriers, resisting the urge to jam the register key into your carotid and bleed all over their shiny, shiny shoes. In the midst of your reverie, you can't help but idly reflect that there is something horribly, cruelly ironic about all this. Not just a Conservative talk show host blathering on about the moral decay of America in the 21st century while gleefully assisting in it, not just Rush fat-fucker Limbaugh playing at a drug store. The entire road map of your life, all the experiences and the choices that have brought you to this place and this time, combine into something too much like a giant Carlin routine on the true meaning of irony.\n\nThankfully the day ends and you return home, carotid intact. As you talk to a few of your more distant friends over Yahoo IM, you think about telling them about the little \"adventure\" you went on the day before; in the end, though, you decide not to. It's so embarrassing, what did you even do it for? There's better ways to change the pace than taking eight-hour drives across the state to God knows where. Best to forget about it, concentrate on what's real.\n\nAfter a few hours of Internet surfing--accompanied by a few shots of Captain Morgan's--you head off to bed. The place of ceaseless dreams."
    },
    {
        "text": "[Themes: Romance, Humor, romance, kissing]\n\nThe grand ballroom is awhirl with colour and gaiety on this, the night of the annual Governor's Ball. All of the choice mademoiselles are spinning in their lace finery, bewitching upright young suitors, lined up five deep to kiss a wrist.\n\nThe Kissing Bandit has other plans, though. First, he must be cautious. Find a fetching femme who has parted from her company, to rest alone in a shaded alcove. Or perhaps take a stroll on the veranda. Yes, perhaps... ah, you twirl your moustaches with delight. The Kissing Bandit shall have no trouble tonight finding a pair of pert lips, ready for a stolen kiss...\n\n[Hit return or space to continue.]\n\n> Twirl moustache\nYou twirl your moustaches. Ha-HA!\n\n> You examine the moustache\nThe moustache conceals your identity and adds a touch of melodrama to the Kissing Bandit's appearance, you do think.\n\nA lovely young demoiselle, looking in her ruffled ball gown like a plenteous dish of peaches and whipped cream, parts from the general company. Fanning herself, she retreats to the west.\n\n> About you\nHa-HA! No one will ever guess the identity of the Kissing Bandit! Not even... uh... yourself!\n\n> You kiss yourself\nThe Kissing Bandit kiss himself? Preposterous!\n\n> You look at Wellingtons\nWhich do you mean, the London Wellingtons or the Boston Wellingtons?\n\n> Go west\nGrand Ballroom, southwest corner\nThis corner of the ballroom is cool and shaded, with a russet portico leading west to a series of private salons.\n\nYoung Peaches-and-Cream stands here, fanning herself lightly.\n\n> You look at the Peaches\nWhy, it's little Lily Whitestone herself! She's chanced to escape the plump pursed lips of the Kissing Bandit on other occasions... but no one ever escapes your kisses for long!\n\n> Inventory\nYou are carrying:\na black mask (being worn)\na fake moustache (being worn)\na pair of buckled boots (being worn)\na velvet cloak (being worn)\na rakish hat (being worn)\na locket (being worn and closed)\na grouch bag (being worn)\n\n> You examine the grouch\nThe grouch bag is special; a magician once gave it to you in return for helping him escape from persecutors. It is small and light, made of oiled leather. You have found that it can hold many things, including your entire costume -- cloak, boots, and all.\n\nYou find nothing of interest.\n\n> You look at the hat\nThe rakish hat is becomingly sly.\n\n> Doff hat\nYou take off the rakish hat.\n\n> You wear it\nYou put on the rakish hat.\n\n> You examine the boots\nAh, these are magic boots, boots full of secrets. They allow the Kissing Bandit to move swiftly and silently; to sneak and to steal close without detection; to climb and jump like a jackrabbit; and to run with the fleetness of quicksilver.\n\n> You look at the mask\nThe black mask protects your identity.\n\n> Twirl moustache\nYou twirl your moustaches. Ha-HA!\n\n> Dance\nYou dance in an intoxicated swirl for a few minutes, and then return, laughing, to where you started."
    },
    {
        "text": "[Themes: Romance, Humor]\n\n> You look at your surroundings\nGrand Ballroom, southwest corner\nThis corner of the ballroom is cool and shaded, with a russet portico leading west to a series of private salons.\n\nLily Whitestone is here.\n\n> Kiss lily\nYou steal closer, closer, closer... and plant a juicy one right on her gleaming rosebud lips! She makes a tiny squealing noise that stops short, her lips tighten as her face pulls into a smile.\n\nLily Whitestone, a smiler -- imagine!\n\nBut, now it is time to flee. With a twirl of your cape and a bow, you steal away into the night...\n\n[Hit return or space to continue.]\nGarden park\nThe luscious gardens, abloom in the early spring, send forth their heady aromas on the nuzzling breezes. Aloft, too, are the erotic perfumes of the finely dressed ladies in white, walking two by two in the early eve, innocent as does, poised as summer swans.\n\nA choice maiden sits alone on a bench, reading a steamy novel by gaslight. Mwuhaha-HA! The Smooching Bandit has chosen his second of the evening. A burning buss on those pink smackers will do, will surely do...\n\n> You examine novel\nYou recognise it at once, for it is penned by your own hand! A great, passionate work, published under a pseudonym, of course. And here sits one of your captive audience, immersed in the florid prose of Chapter 10! If only she knew... ha-HA! If only she knew!\n\n> You examine lips\nBlushed and full... She bites them softly as she reads...\n\n> You ask maiden about the novel\nThe Kissing Bandit prefers to refrain from conversation, to preserve the mystery...\n\n> You get novel\nThat seems to belong to the maiden.\n\n> You examine the locket\nThe locket is made of carved gold, inlaid with delicate ornaments. You can't see inside, since the locket is closed.\n\n> You open the locket\nOpening the locket reveals a silhouette and a tiny lock of brown hair.\n\nAh! Your heart breaks once again over your one true lost love! Fair Marianne, twas you that spurned my love, flaming a fury that turned one simple boy into this dashing rogue, that steals kisses by night! If only I could find you...\n\n> You examine silhouette\nIt is a silhouette of Marianne, the fair creature that broke your heart. It is the only image you have of her. Even your memories of her face have been blurred by tears.\n\n> You examine the lock\nA lock of Marianne's hair. The gently curved strands catch the light in autumn colours of brown, red, and gold.\n\n> Kiss silhouette\nYou kiss the silhouette; it is, alas, a pale imitation. It leaves ashes in your mouth.\n\n> You shout in the maiden's lughole\n(to the maiden)\nThat isn't something you can talk to.\n\n> Dance\nYou dance in an intoxicated swirl for a few minutes, and then return, laughing, to where you started.\n\n> Kiss maiden\nAh, before the kiss, you must sneak! Sneak east, then around the tree, then up from behind...\n\n> Sneak\nYou sneak east. The pale line of the maiden's neck glows in the twilight. Perhaps the Kissing Bandit should kiss the neck, not the lips? Ah...!\n\nThe Bandit stations himself sneakily behind a tree. The maiden stirs, looks left and right, but not behind. Her head tilts down again, her eyes on the page. The Bandit's eyes are on her shoulders, spilling down their slopes. The benchwood blocks further views -- until a slight movement reveals the slender crescent of her neck once again.\n\nTime now to steal forward. The sneaking is the best part.\n\n> You steal\n(a kiss)\nWhere do you want to kiss her, on her graceful neck or on her rosy lips?\n\n> Lips\nYou lean around, catching her by surprise! Your mouths touch, but the maiden resists! Your puckered lips frighten her, and why shouldn't they?\n\n\"The Bandit! The Bandit!\" she shrieks. So -- she has heard of the Kissing Bandit! You cannot help but be flattered, and so you smile. At the sight of your pearly teeth, the maiden gasps and takes off running to the west.\n\nYou leap atop the bench and cry, \"Ha-ha-HA! You cannot escape the Kissing Bandit!\"\n\n> Kiss neck\nYou lean in, but the maiden feels your hot breath on her neck and whirls!\n\n\"The Bandit! The Bandit!\" she shrieks. So -- she has heard of the Kissing Bandit! You cannot help but be flattered, and so you smile. At the sight of your pearly teeth, the maiden gasps and takes off running to the west.\n\nYou leap atop the bench and cry, \"Ha-ha-HA! You cannot escape the Kissing Bandit!\"\n\n> Sneak\nYou sneak up right behind the maiden. You are invisible to her! The Kissing Bandit never betrays himself until the moment of the kiss... the inevitable kiss...\n\n> Go west\nThe maiden runs, but she is not too fast. Touching a secret button on your lapel, the boots release hidden springworks, lending superhuman fleetness to your stride.\n\nThe maiden looks behind, sees you gaining, and nearly swoons. Surely it is your gleaming mustaches that frighten her! She recovers and runs to the north, her hair shaking down into shimmering tresses.\n\n> Go north\nMy, but this one is fast. \"Hold, fair maiden! Must you fear the Kissing Bandit? Ha-Ha-HA!\" you shout.\n\nThe maiden cries, \"Oh! Oh!\" and races onward, north towards the tower.\n\n> You go north\nThe maiden begins to climb the tower! Never has the Kissing Bandit pursued such a worthy quarry! A simple twist of your boot buckles, and the powerful magnets in the soles are activated. Climbing this tower shall be no more trouble to the Kissing Bandit than walking, you smirk to yourself.\n\n> You climb tower\nIndeed, this maiden is a superior athlete! You would be almost jealous if her determination to escape were not so invigorating! You climb swiftly, nearly reaching her flashing bare ankles... !\n\n\"Don't follow me!\" she warns. So haughty, even now!\n\n> You examine the maiden\nThe maiden is just above you, scaling the tower with admirable speed!\n\n> You climb tower\nThe maiden reaches the top of the tower! She stands full in the moonlight, defiant. She kicks at your hands as you scale the last rungs of the tower, but you anticipate, you dodge.\n\n\"There is nowhere for you to run now!\" you say. \"So here shall I steal my gentle kiss...!\"\n\n> Kiss maiden\nAt the last moment, she turns her head, and your kiss lands her on the cheek, hot breath from your nostrils puffing in her exposed ear. The Kissing Bandit has struck again... Oops!\n\nThe maiden screams, a piercing whistle in your ear! She rubs her cheek madly with her kerchief. \"Gross! My cheek is all slobbery!\" She shoves at you, and you fall, you fall from the tower!\n\n[Hit return or space to continue.]"
    },
    {
        "text": "[Themes: Romance, Humor, romance]\n\n> Look around\nPlayground, tower base\nThe tower stands here, a protective cage of steel, sturdily erected in the soil and gravel.\n\n> You check what you're carrying\nYou are carrying:\na black mask (being worn)\na fake moustache (being worn)\na pair of buckled boots (being worn)\na velvet cloak (being worn)\na rakish hat (being worn)\na locket (being worn and open)\na silhouette\na tiny lock of brown hair\na grouch bag (being worn)\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> You go east\n\"Harold Finster!\" Uh oh. It's Constable Adams! You climb inside the bars of the tower where she can't get you. \"No one can catch the Kissing Bandit!\" you bellow.\n\nMiss Adams storms up. \"Get out of there this minute, Harold. I'm not kidding.\" She grabs you by the arm and pushes her face close to yours. \"If you don't come out in five seconds, I'm going to come in and carry you out, and not necessarily in one piece!\"\n\nHer face, her skin, so lovely... perhaps the Kissing Bandit could strike again, even now?\n\n> Kiss constable adams\nYou lean through the bars and give her a big smack right on the gob. Her eyes fly wide open, becoming two great orbs, beaming invisible rays of heat death right at you. Good thing your special cloak protects you.\n\n\"That does it!\" shouts a purpling Miss Adams. \"Harold Finster, I don't know what's gotten into you, but I've had complaints from at least three girls today. You're going to the principal's office right now!\"\n\nMiss Adams pulls you out of the monkey bars drags you inside. The chief constable has been waiting to catch the Smooching Bandit for years, and now you're being delivered into his fiendish clutches. You'll be locked in the detention tower for sure, but first, interrogation and torture.\n\nYou scoff. The Smooching Bandit can withstand anything for the sake of a kiss... One day, he will be free to strike again!\n\n[Hit return or space to continue.]\n\"Except then came the unkindest cut of all, a wound deep to the heart of the Kissing Bandit! Something even he could not withstand! For there, at the edge of the schoolyard, laughing at him, mocking him in word an gesture, stood Mary Anne Mackelroy! Oh, surely the unkindest cut of all!\n\n'He gives slobbery smooches,' she teased. 'And he always smells like raisins. Eww!'\n\n'Ah, fair Marianne -- ' choked the Bandit as he was led away, his spirit now broken. 'Marianne... '\"\n\n\"And?\" Jenny asks, looking at you like you're a little bit nuts.\n\n\"And, that's the end of the Tale of the Kissing Bandit,\" you say, shrugging. You prop yourself up on one elbow to adjust your pillow. You lie your head down on it, your goofy smile aimed at the ceiling. \"That's the end.\"\n\n> You look at Jenny\nShe looks lovely in this light. Her face is a little shiny, and her hair is a bit tussled, but there's no denying the affect her warm smile has on you tonight. Man, you're still as crazy about her as ever.\n\n\"That was stupid,\" Jenny says.\n\nYou're a little hurt by that. \"No it wasn't!\" you protest. \"Besides, what do you expect when you ask me to make something up off the top of my head?\"\n\n\"You were supposed to come up with something romantic.\"\n\n\"Well, I thought it was funny-romantic. And I liked the twist ending.\"\n\n\"Yeah, yeah, yeah,\" she says, \"You and your twist endings.\"\n\n> Kiss Jenny\n\"So,\" you say, as you give Jenny a little kiss. \"Did you like my story or not?\"\n\n\"mmm,\" she says. \"Kiss me again and I'll tell you.\"\n\n> Kiss Jenny\nYou give Jenny a better, longer kiss. She smiles. You chuckle.\n\n\"What's funny?\" Jenny asks.\n\n\"You're a smiler, just like Lily Whitestone-- Ack!.\" She pokes you in the ribs.\n\n\"Just kiss me again, or I'll really let you have it.\"\n\n> Kiss Jenny\nYou kiss for several minutes, finally breaking for some fresh air. \"Happy Valentine's Day,\" you say.\n\n\"Happy Valentine's Day,\" Jenny says. \"I love you.\"\n\n\"I love you too,\" you say. \"I adore you.\"\n\n\"That's so sweet,\" she says. \"Thank you. And thank you for the story.\" She sneaks across the room on tip-toes and blows out the candle.\n\nIt is now pitch dark in here!\n\nBedroom, in darkness (on the bed)\nIt's dark, and you can't see a thing except the faintly glowing outline of the bedroom window shade, which is drawn shut.\n\nYou feel Jenny climb back onto the foot of the bed. She rubs her hands on your legs. \"Okay, my turn again,\" she says.\n\n\"Okay, your turn,\" you hear yourself echo.\n\n> Kiss Jenny\nNothing to do but wait.\n\n> You wait awhile\nNothing left to do. Time passes.\n\nJenny crawls higher.\n\n> Notes\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> About the game\nDedication\nEnough already\nThe Kissing Bandit\nAmusing\nApology\nThe Tale of the Kissing Bandit was written and programmed by J. Robinson Wheeler. One of these days, it would be nice to actually take enough time writing a game that I get to flesh it out as fully as originally conceived.\n\nIf you enjoyed this game, I would love to hear from you. Send comments and reports to rob.wheeler@stanfordalumni.org.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> About the game\nDedication\nEnough already\nThe Kissing Bandit\nAmusing\nApology\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> Dedication\nEnough already\nThe Kissing Bandit\nAmusing\nApology\nTo Emily Short, who passive-aggressively forced me to finish, even though I had already decided I didn't have time to. The rather thin and spotty implementation, empty rooms, and suchlike are to be blamed on this mad, last-ditch effort to please.\n\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> Dedication\nEnough already\nThe Kissing Bandit\nAmusing\nApology\n\n> Go north\nN = next subjectP = previous\nRETURN = read subject  Q = resume game\n\n> Enough already\nThe Kissing Bandit\nAmusing\nApology\n\n> Flee\nThe Kissing Bandit grows suffocated by these surroundings! With a dashing twirl of your cape, you turn and steal away into the night ...\n\n[Hit return or space to continue.]\nGarden park\nThe luscious gardens, abloom in the early spring, send forth their heady aromas on the nuzzling breezes. Aloft, too, are the erotic perfumes of the finely dressed ladies in white, walking two by two in the early eve, innocent as does, poised as summer swans.\n\nA choice maiden sits alone on a bench, reading a steamy novel by gaslight. Mwuhaha-HA! The Smooching Bandit has at last chosen his first of the evening. A burning buss on those pink smackers will do, will surely do...\n\n> You get it\n(on with the maiden)\nGood heavens! The Kissing Bandit's intentions stop at the innocent kiss!\n\n> Go south\nEmerson Hotel, second floor\nVast crimson carpeting tongues outward from the mouth of the ballroom portal and sprials slowly clockwise down the broad staircase to the public lobby of the hotel.\n\n> You go north\nGrand Ballroom, south side\nThe grand ballroom of the Emerson Hotel is a busy spin of high society's young and old. Exits lead in all directions.\n\nA lovely young demoiselle, looking in her ruffled ball gown like a plenteous dish of peaches and whipped cream, parts from the general company. Fanning herself, she retreats to the west."
    },
    {
        "text": "> You go downward\nIt would be wise to remove your disguise before you attempt to leave through the hotel's front doors.\n\n> You go to the north\nGrand Ballroom, south side\nThe grand ballroom of the Emerson Hotel is a busy spin of high society's young and old. Exits lead in all directions.\n\n> You go east\nGrand Ballroom, southeast corner\nThis corner of the ballroom is warm and redolent of potent beverages, which are being served behind a mirrored bar. Sulty night air from the open veranda doors to the north gives the area a dreamlike feel.\n\n> You go west\nThis slightly curved parlour room with gold, ornamented wallpaper and settees with silk pillows provides an intermediate sitting area, bathed in yellow candlelight. Seating is plentiful, and a set of private salon doors lead northwest and west. A doorless portal leads north. The door to the west is closed; the other is open.\n\n> You go north\nThe curt spice of Turkish tobacco raids your senses and leaves them stinging. The ceiling is sooty from years of cigar and cigarette smoke, as are the paintings -- one of which has recently been moved, revealing a rectangular outline of a cleaner, lighter wall behind. Old books, charged with acidic odours, stand yellowing on ceiling-high bookcases. Large, masculine furnishings form a circle in the center of the room. A short, camouflaged door lies uniquely hidden between two of the bookcases on the east wall.\n\n> Examine books\nThere are many books here. You have no interest in taking any -- neither a borrower nor a lender be, after all. You content yourself to scan the shelves, as if browsing in a bookstore.\n\n> You search the books\nYour eye alights on a volume titled, \"Mende Thy Wicked Waies\" by the Rev. E. Arthur Shropshire.\n\n> You read book\nYour gaze falls on a novel called, \"Journey to Damascus\" by Marcus T. Parella.\n\n> You read the journey\nWhat do you want to read in?\n\n> You read the books\nYour eye picks out a book titled, \"Of Opticks and the Grinding of Lenses\" by Otto Seymour.\n\n> You read the books\nYour gaze falls on a rare scientific volume detailing the mating habits of small rodents.\n\n> You read the books\nYour eye picks out a volume called, \"From Alpha to Omega: A Theological History\" by Onislav Woczyknikzi.\n\n> You look at the wall\n(the cleaner rectangle)\nThe lighter surface of the wall has been revealed partially behind the watercolour painting.\n\n> You look at the painting\nThere are four paintings: two portraits, a still life, and a watercolour landscape.\n\n> You get it\nThat's hardly portable.\n\n> You read the books\nYou come across a tome titled, \"Essentials of Living\" by Emerson Frost and Walter Pratt.\n\n> You feel the wall\n(the cleaner rectangle)\nYou feel nothing unexpected.\n\n> You read read the books\nWhat do you want to read in?\n\n> You read the books\nYour eye picks out a book on the subject of European cheesemakers in the fourteenth through sixteenth centuries.\n\n> You read the books\nYour eye alights on a volume concerning European cheesemakers in the seventeenth and eighteenth centuries.\n\n> You read the books\nYou come across a tome entitled, \"Discoveries in Human Anatomy\" by Charles Edmund Hawthorne, Percy C. Blake and Daniel Merriwether.\n\n> You read the books\nYour eye picks out a volume called, \"How to Host a Dinner Party\" by K. Somerset.\n\n> You read the books\nYour eye alights on a volume titled, \"Joy of Life, Pain of Death\" by Nathan Feinberg.\n\n> You read the books\nYou come across a tome dedicated to the study of apian migratory patterns.\n\n> You read the books\nYour gaze falls on a book titled, \"Lancaster, Leominster, and Leicester\" by L. Lawrence Lilly.\n\n> You read the books\nYou come across a volume on the subject of Mediterranean shipping channels.\n\n> You read the books\nYour eye picks out a volume titled, \"Take a Holiday\" by John McCormack.\n\n> You read the books\nYou come across a tome titled, \"Papacy in the Middle Ages\" by Nathan Pendleton and Franklin Cromwell.\n\n> You read the books\nYour eye alights on a biography of Martin Luther.\n\n> You move painting\nThose are fixed in place.\n\n> You read the books\nYour eye picks out a book titled, \"Keeper of the Flame\" by Reginald Tuchs.\n\n> You read the books\nYour gaze falls on a book on the subject of stone age tools and weaponry.\n\n> You read the books\nYour eye picks out a volume called, \"Vesuvius\" by Carl Raft.\n\n> You read the books\nYour eye alights on a book titled \"A Critical Guide to Modern Shakespeare\" by Orson Stonecraft.\n\n> You read the books\nYour eye alights on a volume titled, \"The Compleat Francis Bacon\" by Thomas G. King.\n\n> You read the books\nYou come across a volume concerning Da Vinci's unfinished horse sculpture.\n\n> You read the books\nYou come across a volume called, \"Raphael and Titian\" by Marcus Polsky.\n\n> You read the books\nYour gaze falls on a book on the subject of eel fishing.\n\n> You read the books\nYour eye picks out a volume titled, \"The Discoveries of Tycho Brahe, Volume II\" by Francis M. Grant and R. M. McKellen.\n\n> You read the books\nYour eye alights on a volume on the subject of the steam engines.\n\n> You read the books\nYou come across a volume called, \"A Practical Guide to Lockpicking\" by George Mason.\n\n> You read the books\nYou come across a volume concerning Shakespeare's history plays.\n\n> You read the books\nYour eye picks out a book titled, \"Mozart and Freemasonry\" by Casper Peabody.\n\n> You read the books\nYour eye alights on a book titled, \"Gutenberg's Printing Press\" by Harrison Alexander.\n\n> You read the books\nYou come across a volume on the subject of animal husbandry.\n\n> You read the books\nYour gaze falls on a book on the subject of sainthood in the early Christian church.\n\n> You read the books\nYour eye picks out a book titled, \"Avalanche of Reason: The Era of Enlightened Thinking\" by Dr. David A. Kelly.\n\n> You read the books\nYour eye alights on a book on the subject of Cambridge University.\n\n> You read the books\nYour eye picks out a volume titled, \"The Edge of the Earth: The Voyages of Magellan\" by Percival MacManus.\n\n> You open the door\nYou open the door.\n\n> You go east\nGrand Ballroom, west side\nThis side of the ballroom is much cooler than the other, although there is not much circulation of the air.\n\nA thick, forest-green drapery conceals a small private door -- perfectly concealed to all but the trained eyes of the Kissing Bandit.\n\n> You examine private\nThe door leads west out of the ballroom.\n\n> Go west\nThe curt spice of Turkish tobacco raids your senses and leaves them stinging. The ceiling is sooty from years of cigar and cigarette smoke, as are the paintings -- one of which has recently been moved, revealing a rectangular outline of a cleaner, lighter wall behind. Old books, charged with acidic odours, stand yellowing on ceiling-high bookcases. Large, masculine furnishings form a circle in the center of the room. The door to the ballroom is open to the east.\n\n> You search the wall\n(the cleaner rectangle)\nYou find nothing of interest.\n\n> Attack wall\n(the cleaner rectangle)\nViolence isn't the answer to this one.\n\n> You kick the wall\n(the cleaner rectangle)\nSave it for the bugs.\n\n> You examine the paintings\nThere are four paintings: two portraits, a still life, and a watercolour landscape.\n\n> You move the portrait\nWhich do you mean, the portrait of an imperious old gentleman or the portrait of a handsome woman?\n\n> Imperious\nIt is fixed in place.\n\n> You examine it\nThe gentleman has moustaches rivaling yours, only his are naturally grown. White-haired, face creased with wise lines, cupping a pocketwatch with one hand and a walking stick in the other, he is clearly a man of worldly accomplishment and power.\n\n> You look at handsome\nNot just any woman do you consider handsome; this one you verily do. In her frocks and blouse, velvet and silk, steely posture, square chin upthrust, eyes lightly lidded, black hair immaculately fitted into a bun with not a single stray strand, she bespeaks of primness, prudishness, probity, and virtue. At the same time, she looks as if she were probably sour company, but it is often difficult to judge a person by their painted portrait; the artist always lends his own bias to the character. Artists, after all, must make choices in order to make art.\n\n> You remove the mask\nYou take off the black mask.\n\n> You remove all\ndoor: That's hardly portable.\nsmoky odours: Physically impossible, even for the Kissing Bandit. cleaner rectangle: That's hardly portable.\nsooty ceiling: That's hardly portable.\npaintings: They're hardly portable.\nportrait of an imperious old gentleman: That's hardly portable. portrait of a handsome woman: That's hardly portable.\nstill life: That's hardly portable.\nwatercolour landscape: That's hardly portable.\nbooks: They are curiosities of this moment only; none are worth taking.\n\n> You look at the ceiling\n(the sooty ceiling)\nIt is an ugly but otherwise unnoteworthy blackening.\n\n> Smell odours\nYou smell aged cigar and cigarette smoke.\n\n> Clean ceiling\n(the sooty ceiling)\nThe sooty ceiling looks a little cleaner now.\n\n> Doff moustache\nYou take off the fake moustache.\n\n> Doff cloak\nYou take off the velvet cloak.\n\n> Inventory\nYou are carrying:\na black mask\na fake moustache\na pair of buckled boots (being worn)\na velvet cloak\na rakish hat\na locket (being worn and closed)\na grouch bag (being worn)\n\n> Doff boots\nYou take off the pair of buckled boots.\n\n> Doff locket\nYou take off the locket.\n\n> You throw the the locket to the the dogs\nblack mask: That can't contain things.\nfake moustache: That can't contain things.\npair of buckled boots: That can't contain things.\nvelvet cloak: That can't contain things.\nrakish hat: That can't contain things.\nlocket: That can't contain things.\nwrist: That can't contain things.\n\nI only understood you as far as wanting to throw the locket.\n\n> You go east\nGrand Ballroom, west side\nThis side of the ballroom is much cooler than the other, although there is not much circulation of the air. A thick drapery conceals a small private door to the west.\n\n> You go to the south\nGrand Ballroom, southwest corner\nThis corner of the ballroom is cool and shaded, with a russet portico leading west to a series of private salons.\n\nYoung Peaches-and-Cream stands here, fanning herself lightly.\n\n> You go to the west\nThis slightly curved parlour room with gold, ornamented wallpaper and settees with silk pillows provides an intermediate sitting area, bathed in yellow candlelight. Seating is plentiful, and a set of private salon doors lead northwest and west. A doorless portal leads north."
    },
    {
        "text": "[Themes: Humor, Romance]\n\n> Go downwards\nYou descend the broad staircase, and escape into the night!\n\n[Hit return or space to continue.]\nGarden park\nThe luscious gardens, abloom in the early spring, send forth their heady aromas on the nuzzling breezes. Aloft, too, are the erotic perfumes of the finely dressed ladies in white, walking two by two in the early eve, innocent as does, poised as summer swans.\n\nA choice maiden sits alone on a bench, reading a steamy novel by gaslight. Mwuhaha-HA! The Smooching Bandit has at last chosen his first of the evening. A burning buss on those pink smackers will do, will surely do..."
    },
    {
        "text": "[Themes: Science Fiction, science fiction, sci-fi, military]\n\nTrigger warning: drug use, mild bad language.\n\n\"They'll tell you I'm gone. They'll tell you I can't come back. That's all true.\n\nBut they'll also tell you it's best to forget me. Do me a favour, OK? Don't believe them.\"\n\nSarah's eyes meet yours, and she holds out her hand for your Redline.\n\nA few parked cars were all you and Sarah had on hand to block the street. They make a simple barrier, not enough to buy safety, but enough to buy some time. There are thirty of them out there, and just the two of you. Technically, the deployment objective was fulfilled. Now it's just about who's getting out alive.\n\nYou can see Sarah here.\n\n[Author's Note: Pegasus: the best friend of a democracy and the worst enemy of a dictator. Their Agents safeguard the liberty of the people around the world. Trained by and armed with the best humanity has to offer, they would love to see themselves as emissaries of a brighter future, but it doesn't always work out that way. When your closest friends are trained to look around and see nothing but enemies, when your superiors are incontestably powerful and equally incontestably fallible, when your entire body is built for the sole purpose of causing pain, who can you trust? And no, \"no-one\" isn't a good enough answer.]\n\n> About yourself\nYou're twenty-one: eighteen years of childhood, two of basic training, six months of specialisation, and eight in the field. You're not a hardened veteran, but you're not the fresh-faced kid you once were.\n\n> You check your inventory\nYou are carrying:\narmour (being worn)\na rifle\na death box (open)\na death needle\na Redline\na helmet (being worn)\n\n> You examine Redline\nA thin red stick half as long as your thumb. They said it gave you half an hour's grace. Half an hour of not feeling your wounds, of blood clotting instantly, of thinking fast and acting faster. Then you die.\n\nSarah waits patiently.\n\n> You give Redline to Sarah\n(first taking the Redline)\nSarah swallows the Redline, taking a moment to let it fully work through her system. \"Remember,\" she whispers. And you do. You remember how everything started, back when life was so much simpler.\n\n'Pro pace pugnamus.'\n--Pegasus motto\n\n\"Trust yourself. Trust your body. Trust your instincts. Trust your knowledge.\" That's the first thing the Sergeant told you. He then spent ten minutes playing Mission: Impossible clips and\npointing out how none of the stunts would have been necessary if Tom Cruise had trusted his skills enough for a frontal assault.\n\n\"You're an Agent,\" he said. \"Act like one. You are strong. Use your strength.\"\n\nThen came basic training, weeks of it, and now you're ready for your first evaluation. The mission, simulated though it is, is simple enough: retrieve the laptop.\n\nSleek white walls enclose this small alcove off the main training area. A car chassis, wheel-less and packed with cinder blocks, bars the arch out. It must weigh thousands of pounds. The walls behind you are sealed, and you can't even see where the gaps were they were before they closed. No going back now.\n\n> You examine car\nIt's an SUV, but you don't know any more about cars than that. It's all that stands between you and the training ground. The wheels are gone, so it's not rolling anywhere. To add insult to injury, it's filled with cinder blocks. It looks properly heavy.\n\n> Inventory\nYou are carrying:\na rifle\narmour (being worn)\n\n> You examine the rifle\nYour pride and joy: a Paragal-class mid-heavy assault electroplasma accelerator. You love the way its weight feels in the crook of your arm, the way its white ceramic casing, polished to a shine, looks against your armour. The fact that every new recruit gets one of these has in no way dulled your enthusiasm for yours.\n\n> You look at the armour\nThe first thing they gave you, and the closest Pegasus has to a uniform, your body armour is what marks you out as a proto-Agent and not one of the techs, administrators, command staff, or other various base hangers-on. The white hexagons that tile your chest have never seen combat, but when they do it'll be great.\n\n> You climb the car\nIt completely covers the door. All you'd be able to do is stand on top of it.\n\n> You stand on the car\nThere's no space. It's not a maze, it's a barrier.\n\n> You examine the blocks\nIt's an SUV, but you don't know any more about cars than that. It's all that stands between you and the training ground. The wheels are gone, so it's not rolling anywhere. To add insult to injury, it's filled with cinder blocks. It looks properly heavy.\n\nFor some reason, you think it looks a bit like a phone booth.\n\n> You get the blocks\nThey're fixed into the chassis.\n\n> You pick up the car\nThat's hardly portable.\n\n> Go east\nYou've already spent a lot of time here, and you're surprised it doesn't look any different from usual. At first glance, it could be a school gymnasium set out for a judo lesson: plenty of high ceilings, floor mats, and ropes and rings on the walls. Your second glance takes in its sheer size, general cleanliness, and the variety of equipment, ranging from target dummies to a huge projector screen showing a second-order differential equation. A pedestal stands at the end of the room.\n\nOn the pedestal is a laptop.\n\n> You look at the pedestal\nA wooden box, about waist height.\n\nOn the pedestal is a laptop.\n\n> You look at the laptop\nA standard Pegasus laptop: white, as always, with a fifteen-inch screen. It's off. You remember someone calling it a Scorpion.\nAgents doing advanced training in computer work are issued with the more powerful Manticore, but there's no reason to use a \u00c2\u00a320,000 piece of equipment just as a MacGuffin.\n\n> You examine the projector\nThe screen reads \"d2y/dx2-3dy/dx+8=6x\". Solving second-order differential equations in your head is a standard Pegasus mental exercise: it's not particularly taxing, once you know how, but it takes concentration. This one must have been left up by the last people to use the training room.\n\n> You search it\nOn the pedestal is a laptop.\n\n> You get laptop\nYou reach for the laptop. \"Hey!\" A female voice comes out of nowhere, followed by the female in question. \"That's mine! Hello, by the way. I'm Sarah.\" She leaps between you and the laptop, stretching out her hand for it.\n\n> You examine Sarah\nYou know her from the lectures, but the two of you have never actually spoken before. You're probably stronger physically, but she doesn't look like she's too cut up about this. Her stance denotes agility, speed, and reflexes that could more than make up for the difference. She wears her hair long, her ponytail coming over her shoulder and onto her armour.\n\n> You ask Sarah about the laptop\nPlease TALK TO Sarah instead.\n\n> You talk to Sarah\n\"Right.\"\n\n1) Introduce yourself.\n\n2) \"There must have been some mistake. I need the laptop.\"\n\n> 2\n\"I was told that was my evaluation. I had to get the laptop.\"\n\n1) \"That's strange. They don't generally make mistakes like that.\"\n\n> 1\n\"I'm sure I'm in the right room, too. It must be a test of some sort.\"\n\n1) \"We could fight for it.\"\n\n2) \"Maybe if we wait a bit, they'll tell us what to do.\"\n\n3) \"We could grab it together?\"\n\n> 3\n\"Now that's a good idea. I'll count down five seconds, and then we'll both take it at once. OK?\"\n\n1) \"Fine.\"\n\n2) \"We could fight for it.\"\n\n3) \"Maybe if we wait a bit, they'll tell us what to do.\"\n\n> 1\nShe nods and starts counting. \"Five...\"\n\n> You wait awhile\nTime passes.\n\n\"Four...\"\n\n> You wait awhile\nTime passes.\n\n\"Three...\"\n\n> You wait\nTime passes.\n\n\"Two...\"\n\n> You wait for a while\nTime passes.\n\n\"One...\"\n\n> You get the laptop\nYou and Sarah grab the laptop and lift it off the pedestal. You smile a bit; she smirks. One of the walls slides open, letting you out to the rest of the base. You drop the laptop on the stand and leave together. You later learn that only twenty per cent of Agents manage this sort of alliance.\n\nYou are debriefed, your performance analysed, your psyche evaluated, and you continue training. You meet Sarah again a few days later, in entirely different circumstances.\n\nA semi-circular wall surrounds the podium. Slots, mostly empty, wait to receive the remains of those Agents who fall in the line of duty in the future. A single curved pew completes the circle.\n\nEvery month, there's a memorial service for dead Agents. When Pegasus was founded, the service was compulsory and Roman Catholic, because the government could not countenance any other kind. These days, it's optional and non-denominational, for much the same reason.\n\nYou were surprised, and a little pleased, when she showed up too.\n\n> You examine the slots\nLooking something like the hole in a tape player, the slots, each about one hand's breadth wide, line the wall behind the podium. A few have coffins in them -- they look like VCRs from the outside, but the Pegasus term is coffins.\n\n> You examine the pew\nA dark, varnished wooden bench with no handrails or dividers. It fits about ten people.\n\n> You examine Sarah\nYou know her from the lectures, but the two of you have never actually spoken before. You're probably stronger physically, but she doesn't look like she's too cut up about this. Her stance denotes agility, speed, and reflexes that could more than make up for the difference. She wears her hair long, her ponytail coming over her shoulder and onto her armour.\n\n> You talk to her\n\"Hello again. How've you been?\"\n\n1) \"Fine. You?\"\n\n2) \"You know, I've realised, I don't actually know much about you.\"\n\n> 2\nShe smiles. \"I'm just me, I suppose. What's there to ask?\"\n\n1) \"What makes you an Agent?\"\n\n2) \"What was it like before you were an Agent?\"\n\n3) \"How are you finding it here?\"\n\n> 2\n\"I don't really want to talk about it. Sorry.\"\n\n1) \"What makes you an Agent?\"\n\n2) \"How are you finding it here?\"\n\n> 1\n\"Of course I'd say that it's about doing some good in the world, helping people, et cetera et cetera.\" She pauses, considers. \"That was never such a big thing for me. There's evil, sure, but it's way over there, and I'm over here.\" She spreads her hands wide, shaking first one, then the other, illustrating the point. \"It's bad, and I want to stop it, but it's hard to care until I'm actually right in front of it, if you see what I mean?\"\n\n1) \"I get it.\"\n\n2) \"I can't say I do.\"\n\n> 1\n\"I guess I like the Agent thing because it gives me something to trust. The other Agents, the instructors, the support crew. The worse it gets, the more we're in it together.\" She checks herself with a grin. \"Listen to me, talking like some kind of grizzled veteran when I haven't even deployed properly yet. Enough about me. If it's not too personal a question, why are you here?\"\n\n1) \"It's my way of making a better world.\"\n\n2) \"Someone has to.\"\n\n3) \"It's the coolest job I've ever had.\"\n\n> 1\nSarah nods. \"A better world. We could do with one of those.\"\n\n1) \"You said something interesting earlier -- that you were an Agent so you could trust people.\"\n\n> 1\n\"Yeah. I didn't, always.\"\n\n1) \"If you want to talk about it...\"\n\n2) \"I understand.\"\n\n> 1\n\"Thanks. I've got enough on my plate right now with the psych team, but thanks.\"\n\n1) \"I understand.\"\n\n2) \"Psych isn't always the best option. You sure you don't want to tell me what this is about?\"\n\n> 1\n\"Thanks. Maybe I'll tell you about it one day. For now, let's listen to the service.\"\n\nThe pastor walks up to the lectern and unfolds his notes.\n\n> You sit on the pew\nYou get onto the pew.\n\nIt seems so long ago now, but the memory of how you met Sarah is as clear as if you were living it again. You remember more training, together and apart. She specialised in tactical work: close-quarters combat, computational analysis. You took command and grand strategy. The two of you were paired through your final tests, and deploying together was a natural choice.\n\n'Battles are games of thought. Out-think your opponents,\nand you will out-fight them automatically.'\n--The Art and Science of Combat\n\nPegasus doesn't normally go in for assassinations, which means that the average person's impression on seeing you and Sarah on the edge of a rooftop with a rifle would likely have been wrong. You'd flown in on a vertical-takeoff jet, now parked safely in a vacant lot a few streets over. Your first deployment (Pegasus hates the term \"mission\", but you all use it anyway) was one of reconnaissance, with a view to protection. Watch the street for suspicious activity. The VIP will be coming down the street in twenty-four hours. Make sure it's safe. Walk away if anything serious starts going down -- if worst comes to worst, the event can be cancelled.\n\nDirty grey panels, punctured by air vents, form the roof of this tower block. Far below, you see the street. The wind hums through the gratings, making you just a little bit too cold for comfort.\n\nYou can see Sarah here.\n\n> You talk to Sarah\n\"So. Keeping watch.\"\n\n1) \"Yup.\"\n\n> 1\n\"Not what you expected from your first deployment? Sitting on a roof?\"\n\n1) \"Not really.\"\n\n2) \"Actually...\"\n\n> 1\n\"You'd think they wouldn't need one Agent up here, let alone two. Couldn't they just do it with a drone?\"\n\n1) \"Or just use the street cameras.\"\n\n2) \"Command has its reasons.\"\n\n> 1\n\"It'd be safer, too.\" Sarah sighs. \"To be honest, I'm not sure Command thinks everything through before doing it.\"\n\nBefore either of you can say any more, you hear a shot and press yourself against the roof. The bullet flies over your head and out of sight. Turning your head, you see your assailant, dressed in hitman black and wielding a semi-automatic pistol. He is already turning to point it at Sarah. She's heard the bullet, and she's dropped to the roof, but you can see she won't get out of the way quickly enough unless you do something.\n\nYour brain kicks into overdrive. Time stops.\n\n> You look at street\nHalf the people on the street have now stopped moving; the other half are running. You can just about make out weapons, if you squint. \"We need a new way out\", you mutter.\n\nSarah cuffs the hitman to a grille. \"I've got one. Give me a second.\" She taps a code into the wrist of her armour.\n\n> You wait\nTime passes.\n\nSarah barely mutters, concentrating. \"I can fly the jet remotely. Grab my rifle. I won't be able to take it.\" You hear the hum of the jet, distant.\n\n> You get the rifle\nTaken.\n\nYou suddenly notice activity on the street, and swear. \"They've got a rocket launcher.\" \"Can't let the jet hover, then,\" Sarah says. \"How are you for jumping?\" It's not a question.\n\n> You jump\nYou rock back and forth on the balls of your feet, preparing.\n\nJumping onto a jet plane is a standard advanced extraction technique, but that doesn't make it any easier to do in practice. \"I'll count you down,\" says Sarah. \"Three...\"\n\n> You wait\nTime passes.\n\n\"Two...\" You see the jet flying up over the roof's horizon.\n\n> You wait for a while\nTime passes.\n\n\"One...\"\n\n> You jump\nYou bend your knees, tense your leg muscles, and propel yourself at the jet. Training takes over. You remember doing this in simulators: grab here, pull there. Suddenly, you're in the rear seat. Sarah is in front of you, grabbing the joystick, taking physical control of the jet. You scream away into the sky.\n\nYou remember debriefings after that, questions from Internal Affairs, a mole-hunt that went nowhere, and everyone finally deciding that you and Sarah had just been on the wrong rooftop at the wrong time. You remember a dozen or so successful deployments after that, some easy, some less so, some with Sarah, some with other Agents. You remember making Senior Agent, being given command of a full fireteam.\n\nThen, you remember why you're where you are now.\n\n'If the currency of modern life is information, anyone who\nknows someone else's secret is a thief. Secret agencies have always been comfortable with theft.'\n--Introductory lecture to Pegasus offensive computational\nanalysis programme\n\nA radical far-left group planned, somehow, to attempt the destabilisation of the government of a small southern European nation. That was all you knew. The group had contacts within the national police force, so the government had asked Pegasus for help. Once again, the mission was reconnaissance, although a little bit more actively this time. You were deploying into Zetola, the capital city. There was an office building there where the group was known to keep files. Get in, transmit the data to Pegasus, get out.\n\nA team of six would attract too much attention, so you and Sarah were going in alone. As always, there was a risk of combat, so you were in full armour.\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty for some reason, which is good luck for you but strange. Exits lead in all four cardinal directions, and the passageways are complex enough that going in the direction you came from will not take you back the way you came.\n\nCommand comes in over the radio in your helmet. \"Welcome to Zetola.\nI have you on my map. You'll want to go north here.\"\n\nYou can see Sarah here.\n\n> Go north\nIt's mostly silent as you and Sarah slip through the alleys. A cat crosses your path before disappearing.\n\nYour earpiece squawks. \"Go to the west.\"\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah follows you through the winding maze.\n\n> Go west\nYou start to hear slight noises up ahead, but it's still mostly quiet. Sarah speaks quickly into her helmet mic, listens to the answer. \"Command says they didn't foresee any problems.\"\n\nCommand's instructions crackle in your earpiece. \"Go to the west.\"\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah follows you through the winding maze.\n\n> Go west\nThe noise builds slightly. It sounds a bit like shouting. Sarah is getting jumpy. \"You know, we might be able to find a different way around,\" she says. \"How about the east passage?\"\n\nYou hear Command over the radio. \"Go to the south.\"\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah follows you through the winding maze.\n\n> Go south\nIt really does sound like shouting now, with some heavy machinery.\n\nYour earpiece squawks. \"Go to the east.\"\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah follows you through the winding maze.\n\n> Go east\nYou come to an opening and look through into an open city square. Command burbles in your earpiece, saying something about getting to the building on the other side of the square. You only half listen as you take in the scene.\n\n\"Well why the-\" Sarah's visor slides down, muffling her conversation with Control. It slides up again a long moment later. \"Apparently this only just got on the news back at base. They're 'working on solutions' right now.\"\n\nA crowd of people fills the square, shouting and chanting. A line of police tries to hold them back, pushing on the flagstones. Large buildings surround the square, including an office block that you recognise from the mission brief. There's no way you'll be able to cross as it is. The sidewalks are covered with rubbish, obscuring them almost completely.\n\nYou can see Sarah here.\n\n> You look at what you're carrying with you\nYou are carrying:\na helmet (being worn)\na death box (closed)\na rifle\narmour (being worn)\n\n> You talk to Sarah\n\"We grab the files, we get out. I don't like this, but it's the objective.\"\n\n> You examine the crowd\nRioters struggle, pushing, shoving, chanting, waving signs. They're mostly young men, but you see some women too.\n\n> You examine the signs\nYou read the signs with some difficulty. There's the usual we-want-change, and then there are some more specific slogans about the government's over-reliance on international organisations to manage its country.\n\n> You look at the office\nYou remember it from the briefing: a fairly tall block with double doors. It seems to be locked up and empty on account of the riot, although you could probably shoulder or shoot the doors in.\n\n> You enter it\nIt's on the other side of the crowd. You'll have to get past it, or through it, first.\n\n> You jump\nYou jump on the spot.\n\n> You go east\nThe riot fills the whole square; any ways around would just lead you to a different perspective on it.\n\n> You look at the helmet\nA combat helmet. Pegasus only brought them in recently. It locks into your armour, extending your bullet-resistant area from the top of your head down to your pelvis. The retractable face plate is gloss black, contrasting against the white of the rest of your armour.\n\n> Shout\nYou scream, fruitlessly.\n\n> You talk to her\n(Sarah)\n\"We grab the files, we get out. I don't like this, but it's the objective.\"\n\n> Shoot building\nWhich do you mean, the buildings or the office building?\n\n> You examine the buildings\nTall grey structures, some residential, some offices, all with at least some graffiti.\n\n> You examine the police\nBlack body armour and transparent shields are about all you can see of the police from this distance. They're fighting a losing battle keeping the protesters contained.\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> You run east\nThe riot fills the whole square; any ways around would just lead you to a different perspective on it.\n\n> You talk to the people\n\"We grab the files, we get out. I don't like this, but it's the objective.\"\n\n> You hit crowd\nThe documents are more important than a few broken bones. You set your rifle to minimum penetration and get moving. Sarah follows a second after. You cut a swathe through the crowd, kicking at legs and necks as they present themselves. You reach the building, forcing your way in through the lobby doors and pulling them shut behind you.\n\nAn empty wood-panelled lobby. Plush carpeted stairs lead up to the offices. The reception desk has no chair, as Sarah has used it to block the door.\n\nYou can see Sarah here.\n\nSarah rams a chair against the door handles. \"We've only got a minute.\"\n\n> You ascend\nA utilitarian wood-panelled stairwell with a sign on the wall.\nOffices open out east and west.\n\nSarah arrives from below.\n\n> You go east\nRacks of files, paper and digital, along with a computer terminal, jump out at you from the air-conditioned darkness of the storage room. The heavy door locks behind you, which is an immediate relief.\n\nSarah arrives from the west.\n\n\"You're the computer expert\", you say. \"Let's get to work.\"\n\n> You read the sign\nArrows point up, down, east, labelled Storage and Archiving,\nand west, labelled Reformist Media Group.\n\n> You examine computer\nOld and a little slow, but that doesn't seem to bother Sarah.\n\nSarah hooks up the drives to the computer and links it with the Pegasus network.\n\n> You talk to Sarah\nYou try, but the words won't come.\n\nSarah finds the files she needs and starts the upload.\n\n> Wait\nTime passes.\n\nSarah suddenly turns to you. \"You know, we might not get out of this, and if we don't...\"\n\n1) \"Yes?\"\n\n> 1\n\"I've been meaning to tell you this for a long time, but I didn't know what you'd think of me if I did.\" She checks the upload progress. \"Guess it doesn't matter now. Anyway. I didn't want to be an Agent.\"\n\n1) \"Didn't you sign up?\"\n\n> 1\n\"My parents were military. I was on base one night when I was about sixteen. I decided to have a wander around. I got lost.\" Sarah gathers herself. \"Well, once you find something as secret as the Pegasus operational command, either they kill you, or they keep you. I'm an Agent because it was that or life in some tiny off-the-grid prison cell.\"\n\n1) \"Didn't they have guards and doors and things to stop you?\"\n\n> 1\n\"I always wondered about that myself. They had enough once I was in, and they were strong enough the time I tried to run.\" She rubs her shoulder, grimacing at the memory. \"Maybe I was just really good, or maybe it was their way of headhunting me. I don't know how my life would have turned out otherwise, so I can't say I've got good or bad feelings one way or the other. Just thought someone should know.\"\nThe computer dings. \"Upload's done. I never held it against them, in principle. They were just being secret. They're good underneath. I should say thank you. Thank you for being someone I could trust, all the way through. It meant a lot to me.\"\n\n> You talk to her\n(Sarah)\nYou don't have anything to say right now.\n\nYour earpiece explodes into life. \"Control here. We have the files, and we think we've found you a way out. Just do what we say.\"\n\n1) \"I'm listening.\"\n\n2) \"We've got something bigger to talk about first.\"\n\n> 1\n\"We're going to fire a bomb from space to detonate over the city. It'll make a big noise and flash, but nobody gets hurt. That gives you a distraction, and you get out of there. Once you reach the suburbs, find an open space. A jet is on its way as we speak.\"\n\n1) \"You're sure this will work?\"\n\n> 1\n\"Trust me. Please.\" Control ends the conversation. You explain the plan to Sarah. A few minutes later, you hear an immense explosion from high in the air and towards the city center.\n\nYou nod at Sarah. \"Let's get out of here. I think there's a back door.\"\n\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah races after you.\n\nThere's a shout behind you. It's a pack of armed police. They must not have been told about the Pegasus intervention. You only have enough time to see that they've got guns before one of their bullets knocks Sarah's helmet off. Without thinking further, the two of you dive headlong into the alleyways.\n\n> You go west\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah races after you.\n\nYou hear running feet and shouting.\n\n> You look at the sign\nThey advertise both local and international brands, with varying degrees of vigour and success.\n\nA few bullets ricochet off the corner you just turned.\n\n> You go south\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah races after you.\n\nYou hear gasps, shouts, and pursuit.\n\n> Go south\nNarrow alleys between grey buildings. Occasionally, a sign or billboard will deliver a splash of colour. The streets are empty. Exits lead in all four cardinal directions\n\nSarah races after you.\n\nYour pursuers yell something unintelligible but unfriendly.\n\n> Go south\nYou stumble into a dead end. Cars line the streets. You hear shouting, coming towards you. You need a plan.\n\nA few cars are parked on the sidewalks of this alley. Buildings surround three sides. There's no way out.\n\n\"We need some kind of barrier!\" shouts Sarah.\n\n> 1\nYou protest, but you open your death box at the same time. You know it's true. \"I'm the specialist,\" Sarah says. \"We'll have the best chance if I take it. They'll send in another team to collect my body later, when this all blows over. You climb the buildings, get out that way.\" She pauses.\n\n\"They'll tell you I'm gone. They'll tell you I can't come back. That's all true.\n\nBut they'll also tell you it's best to forget me. Do me a favour, OK? Don't believe them.\"\n\nSarah's eyes meet yours, and she holds out her hand for your Redline.\n\n> You give Redline to Sarah\n(first taking the Redline)\nSarah swallows the Redline, taking a moment to let it fully work through her system. \"Remember,\" she whispers, before leaping backwards over the barrier.\n\nYou notice a white glint in amongst the cars.\n\n> You look at the glint\nIt's Sarah's death box. She must not have lost it; she must have dropped it on purpose, and it's broken open. You notice it still has her Redline inside.\n\nYou realise you could climb one of the buildings while Sarah distracts the police and escape that way. Alternatively, you could swallow Sarah's Redline. If you act fast, the chemicals in your death needle will be enough to wash the poison out of her blood, but you'll have to stay behind and cover her escape, and she won't be able to save you.\n\nGunfire crackles through the cars that make up the barricade, one round glancing off your armour.\n\n> You eat redline\nYou swallow the Redline, feel it pump new fire into your veins. You are fast. You are strong. You are invincible. For a moment you consider dying fighting alongside your friend, but dismiss that as foolisnhesss -- why should two die when only one has to? You vault the barricade, interrupt Sarah in her duel, pull her back, jam the death needle into her neck. Her body shakes as the death needle purges the Redline from her system. You throw her over the cars and turn to face the enemy. You hear her over your radio-link. \"I told you not to. Why do you think I hid it?\" You hear sobbing.\n\nAnd then, as you make your last stand, you hear the sounds of Sarah climbing.\n\n> You climb\n(the buildings)\nYou drop the death box and begin to climb, hauling yourself up by outcroppings on the walls. There's no time to look back, and no mindspace to think. You climb; that is all. You roll onto the roof, find a skylight, drop into the building, leave by the other door. You leave Zetola behind forever."
    },
    {
        "text": "[Themes: Science Fiction, Game, strong profanity, adaptation]\n\n\"100 feet per second,\" Chub says.\n\nDuggers flips you a holovid of his scary trash girlfriend. \"Touch the zipper icon,\" he says.\n\nThere is a shudder in the cabin, and warning lights flare greasy-green in your night vision goggles. \"Hang on, campers,\" yells Chub. \"Descent jets one and two just jammed up. We're in for a bumpy landing.\"\n\nDuggers grunts. \"So much for surprise. They live in the ground. Every stinking bug for miles is gonna feel the vibrations.\"\n\n\"Gravity zero point nine-sixty Gees,\" Chub says, her elbows swinging out at awkward angles, flapping like stunted chicken wings. She's fighting the two joysticks, trying to keep this iron turd level as it streaks through the sky. \"On my mark, Mitchum,\" she says.\n\n[Hit any key.]\nCENTIPEDE\nA short story of senseless violence and profanity\n\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nDuggers is below, one boot up on the bench, holding a safety strap with one hand. Thinks he's on the damn bullet train. He's survived forty missions, thinks he's invulnerable now.\n\nChub is tucked around the corner at the helm. You can't see her, but you can hear her voice in your helmet. \"On my mark. On my mark...\""
    },
    {
        "text": "[Themes: Game, Science Fiction]\n\n> You look at what you're carrying with you\nYou are carrying:\na combat suit (being worn)\na waterproof boots (being worn)\na helmet (being worn)\na set of night vision goggles (being worn)\na belt of ammo clips (being worn)\na backpack (being worn and closed)\nCharlene\na holovid\n\nYour forehead just started to itch.\n\n> You look at the charlene\nThis is Charlene, your plasma rifle. You know every dent and scratch on her curved metal body.\n\n> You look at the holovid\nIt's a holovid of Duggers' scary trash girlfriend. She's standing near some gym equipment. A little icon that looks like a zipper is dancing in the lower corner.\n\n> You press zipper\nWhen you touch the zipper icon, the clothes on Duggers' girlfriend seem to melt off her body, displaying her full frontal skankiness.\n\nDuggers takes his holovid back. \"Don't get all excited, now,\" he says. He gives his girlfriend's picture a quick ogle before stuffing it into a side pocket of his vest."
    },
    {
        "text": "[Themes: Game, Science Fiction, adaptation, strong profanity]\n\n> You look around\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nDuggers is below, one boot up on the bench, holding a safety strap with one hand.\n\nChub is tucked around the corner at the helm. You can't see her, but you can hear her voice in your helmet.\n\n> About yourself\nYou're in good health for a guy who's been awake and on active duty for 76 straight hours. The stimulants they rationed you seem to be working fine with no side effects. You're pumped and ready to kill some bugs for God, planet and country.\n\n> You look at the panel\nThe emergency station panel has two levers. Pulling them releases the landing craft's emergency parachutes. There are three switches: homing beacon launch, distress call broadcast, and self-destruct failsafe. You aren't under orders to use the switches right now.\n\nChub's voice starts counting down. You can hear the strain in her voice, the pitch rising and falling in synchronization with the cabin's spastic lurching and yawing.\n\n> Pray\nNothing practical results from your prayer.\n\nChub says, \"Four ...\"\n\n> You examine Duggers\nPrivate Dale \"Dig-Dug\" Duggers is a hulking brute and an absolute killing machine. Also, a pretty good chess player.\n\nChub says, \"Shit!\"\n\n> Fire\nSave your aggressions and ammo for the mission, soldier.\n\nChub says, \"Mark!\"\n\n> You check what you're carrying\nYou are carrying:\na combat suit (being worn)\na waterproof boots (being worn)\na helmet (being worn)\na set of night vision goggles (being worn)\na belt of ammo clips (being worn)\na backpack (being worn and closed)\nCharlene\n\nChub screams, \"What are you waiting for? Mitchum!\""
    },
    {
        "text": "> You describe your surroundings\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nDuggers is below, one boot up on the bench, holding a safety strap with one hand.\n\nChub is tucked around the corner at the helm. You can't see her, but you can hear her voice in your helmet.\n\nChub says, \"Duggers!\"\n\nDuggers is already up the ladder and grabbing for the parachute release levers. He yanks them hard, there is a noise like a screech owl colliding with a sheet of inch-thick plexiglass, and then the cabin seems to stop in midair, jolting everything that's not nailed down, which includes you and Duggers. The two of you smash to the cabin floor. You land on your side, the hard ammo clips strapped to your side bruising your ribs, damn near cutting through your suit."
    },
    {
        "text": "> Look around\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nYou can see Duggers and Chub here.\n\nJust as you start to sit up, Duggers attacks your throat with his elbow, crushing your windpipe. You flop backwards like an upended beetle, choking and gagging, pain throbbing outward from your neck, your lungs burning.\n\nThe fall seems to have damaged your helmet, because you can't hear Duggers' voice any more. He's holding you by your gear straps, his faceplate right in front of yours, screaming obscenities. Probably just as well that you can't hear it.\n\n> You shoot Duggers\nSure, you hate Duggers, but that's no reason to mow him down with a plasma rifle. That might just make him mad.\n\nChub comes racing into view. You watch, hearing only your own jaggered breathing as your windpipe relaxes, as an argument ensues. Hands haul you to your feet near the hatch. Duggers blows it open. Waited too long to release the craft's parachutes, going to have to jump for it. Probably cost us the mission and our lives, you reflect.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nDuggers leaps out of the hatch. Chub shoves at you from behind. You still can't hear any voices.\n\nYou're in mid-air, falling fast. You can't see the ground, and there's nothing to see in the sky.\n\n> Shit\nYou mutter a few oaths and curses."
    },
    {
        "text": "> Go downwards\nYou adjust your direction slightly, but mostly you try to stay on target.\n\nYou pull the rip-cord, and your chute opens. Your neck snaps forward, your throat closes hard and painfully. As you raise your head, your throat doesn't open again. It feels swollen shut, and you can't breathe.\n\nFar below, there's a round, white-green flare -- the landing craft, crashing down."
    },
    {
        "text": "[Themes: Game, Science Fiction]\n\n> You go downward\nYou adjust your direction slightly, but mostly you try to stay on target.\n\nYou see a cloud-layer below. Maybe it's mist on the ground? You brace for impact.\n\n> You wait\nYou wait and fall through the clouds. Not the ground, not yet. You take a small breath, and another. You spot Duggers' chute below you, slipping sideways, furling and raveling, sinking into wet blackness. That's the ground, the marsh right below you.\n\n> You wait\nYou wait for the landing. Your boots hit a layer of wet slime, and you sink into it up to your buckling knees. You lose your balance, but can't move your feet to stabilize yourself. Slime splashes up into your faceplate. Your hands sink into something gelatinous. Everything is cold. You must be underwater."
    },
    {
        "text": "> You describe your surroundings\nYou try, but it just makes you seep deeper into the murk.\n\nYou put your hands down, hoping to raise your weight, but there's no support. Your arms sink like toothpicks into a sponge cake.\n\n> Up\nYou curl your legs up under your chest, slowly drawing them out of the muck, and you replant them in fresh muck. Gradually you wobble yourself into an upright fetal position and try to stand. You must weigh 350 pounds with all of your gear. Carefully, slowly, you stand. You get a little help from your chute, yanked by a sudden wind. For a moment you're not sure whether you're actually standing or not, and you realize it's because your faceplate is covered with marsh slime.\n\n> You wipe the faceplate\nYou are yanked backwards by your parachute. You stumble and again go underwater, the chute tugging you further down.\n\nYou struggle to get up, but your chute feels like it's caught on something.\n\n> You cut the chute\nYou try, but it just makes you seep deeper into the murk.\n\nWith growing horror, you realize that the chute has become entangled with something, and is dragging you further and further underwater.\n\n> You release the chute\nYou try, but it just makes you seep deeper into the murk.\n\nYour lungs burning, all of your limbs thrashing, you sputter for breath and take in a lungful of marsh water.\n\n> You check what you're carrying\nYou try, but it just makes you seep deeper into the murk.\n\nDistantly, you hear the thrashing of boots through water, the dulled booms of plasma rifles firing. Someone is trying to pull at one of your boots, but their hands slip away. The last bit of air in your lungs escapes, poisonous water takes its place.\n\n> You examine the panel\nThe emergency station panel has two levers. Pulling them releases the landing craft's emergency parachutes. There are three switches: homing beacon launch, distress call broadcast, and self-destruct failsafe. You aren't under orders to use the switches right now.\n\nYour forehead just started to itch.\n\n> You scratch forehead\nYou can't scratch it without taking off your helmet. You're just going to have to tough it out, soldier.\n\n> You pulthe self-destruct\nYou are unable to.\n\n> You look at the cabinets\nLoaded with enough firepower to bugbomb an entire sector.\n\nDuggers swipes his holovid from you. \"Hey man, don't you never give nothing back?\" he says. He gives his girlfriend's picture a quick ogle before stuffing it into a side pocket of his pants.\n\n> Go upwards\nYou swing yourself from the hatchway up into your emergency station. You're already starting to sweat inside your suit, but there isn't time to adjust the coolant controls.\n\n> You look at the shelves\nThe supplies are designed to last a five-man unit for two weeks.\n\nChub says, \"Three ...\"\n\n> You wait\nYou wait.\n\nChub says, \"Shit ...!\"\n\n> You pull the lever\nYou pull hard on the levers, which ratchet into a locked position with a satisfying, weighty \"ka-chunk.\" From above, there is a noise like a screech owl colliding with a sheet of inch-thick plexiglass, and then the cabin seems to stop in midair, jolting everything that's not nailed down, which includes you and Duggers.\n\nChub hollers, \"Dammit! I said on my mark, Mitchum!\" She comes bolting into view and yanks you down, eyeball to eyeball. \"Since when does 'shit' mean 'mark,' Mitchum? We were still falling too fast to deploy. The chutes tore.\"\n\nChub lets go of you and blows open the hatch. Icy wind snarls around the cabin, dragging at you. \"Bail out! And I mean now, fuckwit!\"\n\nDuggers gives you a curled sneer and leaps out of the hatch. Chub shoves at you from behind.\n\nYou're in mid-air, falling fast. You can't see the ground, and there's nothing to see in the sky.\n\n> You wait\nYou pause.\n\nChub says, \"Shit!\"\n\n> You ask Chub about the shit\nPlease use >TALK TO PLAYER to interact in this game.\n\nChub says, \"Mark!\"\n\n> You pull the lever\nYou pull hard on the levers, which ratchet into a locked position with a satisfying, weighty \"ka-chunk.\" From above, there is a noise like a screech owl colliding with a sheet of inch-thick plexiglass, and then the cabin seems to stop in midair, jolting everything that's not nailed down, which includes you and Duggers.\n\nChub saunters into view. \"Good work, Mitchum. All right, let's strap in and get ready for touchdown. That means you too, Duggers.\"\n\nDuggers says, \"I got a hand on the strap, don't I?\"\n\nChub says, \"Fine. Stand up if you want. When your kneecaps blow out and your hamstrings are severed by the compound fractures of your thigh bones you can crawl your ass through the swamp. Doesn't make any difference to me, as long as you keep one hand free to salute.\"\n\nDuggers gives Chub a severe salute and lowers his stubborn ass down onto the bench. You plunk down next to him.\n\nThe cabin creaks and shudders. Chub checks her chronometer.\n\n> You strap in\nYou strap yourself in.\n\nChub says, \"Okay. We need to prepare to lose the AVLC when we land. This thing is going to fill with water and sink in about ninety-eight seconds. Duggers, as soon as we hit, blow the hatch and do a quick scout. Mitchum, launch the homing beacon and then get the hell out.\"\n\n> You wait for a while\nYou wait. Chub checks her chronometer. She says, \"Touchdown in eight, seven, six...\"\n\n> Go up\n(first removing the straps)\n\nYou get off the bench.\n\nDuggers shifts his weight forward, ready to spring into action.\n\nChub says, \"Five, four, three...\"\n\n> You go upward\nYou swing yourself up into the emergency station.\n\nChub says, \"Tw--\"\n\nWith a jaw-splintering jolt, the AVLC hits the swampwater. You're thrown hard to the floor by the impact, your helmet absorbing a lot of the shattering force. Bright splotches fill your vision. Maybe your goggles are damaged, you think at first, and then you realize that it's your eyes.\n\nYou squeeze your eyes, wait for the blotches to fade, and hope it isn't a concussion.\n\n> You go upward\nYou swing yourself up into the emergency station.\n\nDuggers says, \"Blowing the hatch...\" Fwoom! There's a white flare in your goggles, and the hatch disappears into darkness. Instantly, freezing algae water pours into the opening. Duggers leaps out into it as the cabin starts to reel, pitching aftward.\n\n> Go outside\nYou get off the emergency station.\n\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nChub is at the hatchway, standing firm against the inrushing water.\n\nYou force yourself out of the craft, fighting the freezing water. Your legs seize up a few steps from the sinking craft, or maybe they're just caught in the muck. You lose your balance, but can't move your feet to stabilize yourself. Slime splashes up into your faceplate. Your hands sink into something gelatinous. Everything is cold. You must be underwater.\n\n> You go upward\nYou curl your legs up under your chest, slowly drawing them out of the muck, and you replant them in fresh muck. Gradually you wobble yourself into an upright fetal position and try to stand. You must weigh 350 pounds with all of your gear. Carefully, slowly, you stand. For a moment you're not sure whether you're actually standing or not, and you realize it's because your faceplate is covered with marsh slime.\n\n> You remove the backpack\nA soldier never removes his backpack unless his life depends on doing so.\n\nYou smear the slime away with your hand, and see the marshland.\n\nThe landscape is pitch black, even in your goggles. No heat from the freezing swampwater. Out of the blackness, looming shapes in obscene colors. You aren't supposed to see colors through these goggles, and you wonder if you're doing worse than you thought.\n\nThe shapes are mushrooms, hundreds of them, rising on their moist stalks, ballooning heads eighteen feet around, eight feet high. You can't get much of a sight beyond them. There's too many mushrooms. Maybe you should waste some ammo clearing a sightline. Then again, maybe you don't have any ammo to waste, now.\n\nYou can see Chub and Duggers here.\n\nDuggers and Chub are standing in front of you, pointing and screaming at you, wondering why you don't answer them.\n\n> You remove the helmet\nYou'll need that helmet to survive and to communicate with Duggers and Chub.\n\nYou point at the comm antenna on your helmet and tap your finger to it. You shake your head.\n\nDuggers flings his arms wide and throws his head back, the universal pantomime for, \"Well, that's just fucking GREAT.\" Chub approaches you, removing her thick gloves, reaching for her toolbelt. You hear her hands bumping against your helmet.\n\n> You wait\nThere is a burst of deafening static in your helmet. You flinch and turn to face Chub, who glowers at you and shoves your head away so she can keep working. You feel the bones in your neck grind together, a pain so bad you want to black out.\n\nYour training asserts itself. You clench your fists, bite your tongue, and hang onto consciousness.\n\n> You wait\nThere's another burst of static, and Chub's voice poking through it.\n\n\"...hear that? ... if you ... --kay? ...Mitchum!\"\n\n> You talk to Chub\nYou hear Chub say, \"How about that?\"\n\n\"Got it,\" you say.\n\nA vibration ripples the water. Duggers's voice: \"Heads up! Heads up! Can he hear through that goddamn thing yet? Come on!\"\n\n> You talk to Duggers\nWhat would you like to say?\n[1] Duggers, your girlfriend's a skank.\n[2] Yo mama.\n\n> 1\nDuggers says, \"Don't you be talkin' that way about Lashawnda, motherfucker! I'll shuffle yo pasty pink Iowa corn-fed ass off this mortal fuckin' coil, you hear what I'm saying?\"\n\n[1] Yeah, I hear ya.\n[2] I'll say what I like, bitch!\n[3] Fuck off.\n\n> 2\nDuggers bursts into hoarse laughter. \"Man, you crack me up,\" he says. His face goes stony again. \"Just don't push me.\"\n\n[1] Yo mama.\n\n> 1\nDuggers says, \"No, *yo* mama.\"\n\nChub whips out her plasma rifle. You whip out Charlene. Charlene's your partner, ready for the dance. You draw some strength from her, ignoring the spasms in your bad arm.\n\nEasy girl. Just... hold it ... steady.\n\n> You talk to Chub\nWhat would you like to say?\n[1] Yes sergeant.\n\n> 1\nYou affirm Chub's authority.\n\nChub says, \"I've called for reinforcements, but they won't come in until we hold this position for a while. No use aiding a lost cause.\"\n\nYou say, \"It is a lost cause, isn't it? The bugs are just going to keep coming.\"\n\nThe vibration comes again. Somewhere, far ahead, twisting its way closer, the bug is coming.\n\n> You shoot mushroom\nYou hear the roar of many feet, so many feet it makes your stomach turn. Up ahead, through that maze of mushrooms, you see a slickened shape pass by, west to east.\n\nChub shouts, \"Fire!\"\n\nYou fire Charlene into the darkness. She purrs and growls. She's jumpy today, you can tell. Or maybe you are. Duggers fires. Chub fires. Mushrooms explode into spores. Fast-growing spores, you remember. In ten minutes, there will be more of them, full-sized. How are you supposed to win a war like this?\n\n> Shoot bug\nAll you hit are more mushrooms, but you clear a path. Up ahead, the behemoth twists like a snake, heading west, then east, then directly at you. Duggers fires at the head of it, and the head explodes, but the beast keeps coming. It turns east again.\n\n> Shoot bug\nYou fire at the beast, cutting the bug in two. The damn segments don't stop moving, though. Now there's two bugs, each twisting this way and that. One segment reaches a small tunnel, formed by columns of mushrooms to each side, and it twists between them, heading straight for you.\n\n\"Fire! Fire!\" Chub screams.\n\n> Shoot bug\nCharlene is white hot, searing your naked fingers. You love her most of all when she's like this, when she's on fire. Your skin melds with hers. Your hands become iron, her body becomes soft flesh.\n\nYour rifles flare in the damp night, shooting plasma pulses a million degrees hot and moving at 400 miles an hour. The charging beast loses its head, and then another head, and then another head, and then another. Suddenly, there are no more heads, it is gone.\n\nThe second segment twists into view, just beyond the closest range of mushrooms, about to invade your empty black marshland base.\n\nAnother noise, unlike the steady thrum of these insect feet, begins to grow, with a doppler effect, from dead ahead. A flying bug.\n\n> You shoot flying bug\nYou can only do that to something animate.\n\n> Shoot bug\nYou fire at the centipede and miss, but it gives you light to see what's coming. It's a tick, two tons of chitinous carapace, bristly fangs, and bug meat, hurtling straight at the three of you, over the tops of the mushrooms. Its lazy feet scrape the mushroom heads, poisoning them as it passes, making the mushrooms change to ugly colors. If another bug touches one of those, it'll go into a hallucinogenic frenzy.\n\n\"Spread out! Spread out!\" Chub shouts.\n\n> Shoot tick\nYou dodge left and fire, but you can't get a steady bead on the damn thing. Chub concentrates on the centipede, her plasma shots splitting it again in two. They're coming at you from both sides now.\n\nDuggers is right in the tick's path. He stands his ground, shouting at the sonofabitch. Duggers fires at it, misses. Fires again, misses. It's coming in too fast, even for Duggers.\n\n> Shoot tick\nYou keep firing, trying to save Duggers, but the tick mows him down. Its sticky feet latch onto his body, his face purples and blackens as he's carted away to some nest to be digested. There is a scream in your helmet, and then silence.\n\nDead silence. The bugs are gone. There's just two of you left.\n\n> You talk to Chub\nWhat would you like to say?\n[1] Yes sergeant.\n\n> 0\nYou decide not to say anything.\n\nYou were right. More mushrooms have grown up already. It's harder to see. Up ahead, you see the segmented beast twisting this way and that. Up ahead, you hear another tick approaching like a dive bomber, coming right at you and Chub.\n\nUp ahead, you hear the thrum. Wave number two. Or is it just a continuation of the first wave?\n\nSomething else, something new. Feet clicking, splashing, an almost musical chirp as the legs saw back and forth. What the hell? Some sort of cricket? No.\n\n> Shoot tick\nYou shoot at the tick, and with a final good shot, it explodes into a greasy cloud.\n\nIn the glow of Charlene's plasma bolts you see what this new bug is. It's a scorpion, sidling sideways. Fortunately, it's not coming at you. Chub takes it out with one quick shot. She then swings her aim at the beast, but only manages to cut it into three segments, damn her eyes.\n\nFrom the sky comes another tick, its poisonous legs turning the mushrooms purple and blue.\n\n> Shoot tick\nYou and Chub concentrate your fire on the tick. You vaporize it with about thirty yards to spare. Plasma spray and unvaporized bug bits sizzle over the mushroom caps, a wet coat of death.\n\nAnd then you hear another tick, bearing down on you, following its kamikaze partner, poisoning even more mushrooms.\n\n> Shoot tick\nYou take a lucky shot and destroy the second tick before it even gets close, before it can poison too many mushrooms, but it's already too late.\n\nOne of the centipede segments hit the poisoned mushrooms, and the oil gets into its skin, scrambling its stupid bug neurons. Crazed, it charges forward, straight at you. Another segment hits another poisoned shroom, and it, too, charges screaming at you.\n\nThe two segments swoop down on either side of you and Chub, circle, and play back and forth, zigzagging. The poison's worn off, thankfully.\n\n> Shoot segment\nYou charge, firing with deadly aim. One down. You're just about to congratulate yourself when Chub shouts a warning.\n\nYou see more centipedes arriving out of the darkness to your left and right. Where are they coming from? Just two segments each, a head and a tail, joining the dance. There's four of these damn things now, and more every minute.\n\n> Go south\nYou slog a few steps in that direction. Your foot runs into something solid, probably the submerged landing craft.\n\nYou shoot and shoot, vaporizing as many as you can. You start to think you're winning, that you're going to get out of this, when out of the corner of your eye, you see Chub backing up, not looking where she's going. You yell for her to move, to watch out. You're still busy firing as you try to move closer to her, to yank her out of the way, to give her cover, but it's too late. A new segment dances into the marsh, runs Chub down, stomps her into the muck. You hear a shriek in your helmet that becomes a helpless gurgle. The beast drips acid out of its flanks, out of its disgusting glands, and something sizzles underwater.\n\nA final shot from your rifle sails into the gloom. Far away, a mushroom explodes.\n\nAgain, silence. And you're the only one left."
    },
    {
        "text": "[Themes: Science Fiction, Game, adaptation]\n\n> You look at your surroundings\nThe landscape is pitch black, even in your goggles. No heat from the freezing swampwater. Out of the blackness, looming shapes in obscene colors. You aren't supposed to see colors through these goggles, and you wonder if you're doing worse than you thought.\n\nYou were right. New mushrooms have grown, dozens of them, eight feet high. You can't get much of a sight beyond them. There's too many. You don't have any ammo to waste, now.\n\nYou can't see for all of the mushrooms blocking your way. You can hear movement, far ahead, but you can't see anything but the mushrooms. They're different colors now. Are you hallucinating? And where's the backup Chub called for? How long are they going to take?\n\n> You enter the craft\nThat's just not going to work, soldier.\n\nYou vent your frustrations on the mushrooms, shooting again and again. They explode, releasing spores that will grow more of them soon. You don't care. You need the space to move if you're going to win this battle, if you're going to survive.\n\nYou know, though, that it's just a matter of time. You wonder what the point of this is, and you laugh. It's a sick joke to someone up there in HQ, someone in a chushy office on Atari Prime. It's just some stupid game."
    },
    {
        "text": "[Themes: Game, Science Fiction, strong profanity]\n\n> Look around\nThe landscape is pitch black, even in your goggles. No heat from the freezing swampwater. Out of the blackness, looming shapes in obscene colors. You aren't supposed to see colors through these goggles, and you wonder if you're doing worse than you thought.\n\nYou were right. New mushrooms have grown, dozens of them, eight feet high. You can't get much of a sight beyond them. There's too many. You don't have any ammo to waste, now.\n\nYou hear the thunder, the singsong chirping, the freight train whistle doing its doppler effect, doubled, tripled. All the bugs are back. More than ever.\n\nA tick whizzes by you to your left, just missing you. You hear it hiss its hatred.\n\n> Shoot tick\nYou blast another tick as it flies by to the right, dripping poison. The mushroom right in front of you warps, rots, seems to right itself. You destroy it. There's another deadly one behind it. You shoot that one, too, and another.\n\n> Shoot tick\nCharlene's aim is true, and you wipe out what you hope is the last tick of this wave. Once again, it's too late. The murshrooms have done their work. The crazed behemoth charges; once again, you are surrounded. Once again, new segments arrive from nowhere, spinning in circles around you.\n\nMocking your hopes, one last tick comes, and this one has your name on it.\n\n> Shoot tick\nYou fire at the tick, and miss.\n\n> Shoot tick\nYou fire at the tick, and miss. It's going to get you.\n\n> Shoot tick\nYou brace yourself for your last stand. You take aim at that tick, right in its glassy, metallic blue-green eyes. You fire, and miss. One last chance, it's almost here.\n\n> Shoot tick\nYou get it from behind. Oh, shit, you think. The fucking irony. The tick sails past, unharmed, as one of the segments of the beast crushes you, biting off your legs.\n\nThere's no time to feel pain, or maybe there isn't any pain. Some sort of anesthetic in the saliva, you remember. You scream anyway, just like Chub. You're not going down quietly. You try to turn your rifle around, fire at the damn thing point-blank, but suddenly your arms don't work.\n\n> Shoot tick\nThat was the last one.\n\nYou're flipped over on your back, and something viscous and yellow oozes onto your faceplate, dissolving it. Suddenly your eyes don't work, and you can't scream. You see a dull red that turns brown and black in splotches, like the way the colors on a bubble turn before the bubble pops, and it's dead.\n\n> You wait for a while\nThe last thought that comes to you makes you laugh. It's that old joke. What's the last thing to go through a bug's mind as it hits your windshield? Its --.\n\n> You look at what you're carrying with you\nYou are carrying:\na combat suit (being worn)\na waterproof boots (being worn)\na helmet (being worn)\na set of night vision goggles (being worn)\na belt of ammo clips (being worn)\na backpack (being worn and closed)\nCharlene\na holovid\n\nYour forehead just started to itch.\n\n> You open the backpack\nYou open the backpack, revealing food rations, a canteen, a letter and a zip pack of stims.\n\n> You read the letter\nIt's a letter to your folks, to be sent in case you're killed in the line of duty. You're hoping someone survives this mission to send it. No. You're hoping nobody needs to send the damn thing. Not this time.\n\n> You examine the stims\nIt's stuff to keep you jacked up and alert. You've used up your ration already, but you still got some extras you palmed off the medic.\n\n> You look at the rations\nToday's food rations, in compact powder packets.\n\nDuggers swipes his holovid from you. \"Hey man, don't you never give nothing back?\" he says. He gives his girlfriend's picture a quick ogle before stuffing it into a side pocket of his pants.\n\n> You eat rations\nNot until you clear the sector and establish basecamp for the full landing party.\n\n> 1\nYou affirm Chub's authority.\n\n> Wait\nYou do nothing. Chub's voice starts counting down. You can hear the strain in her voice, the pitch rising and falling in synchronization with the cabin's spastic lurching and yawing.\n\n> Wait\nYou do nothing.\n\nChub says, \"Four ...\"\n\n> Wait\nYou wait.\n\nChub says, \"Three ...\"\n\n> You wait\nYou wait.\n\nChub says, \"Shit ...!\"\n\n> Go upwards\nYou swing yourself from the hatchway up into your emergency station. You're already starting to sweat inside your suit, but there isn't time to adjust the coolant controls.\n\nChub says, \"Shit!\"\n\n> You wait awhile\nYou hold one more second. Chub says, \"Mark!\"\n\n> You pull the levers\nYou pull hard on the levers, which ratchet into a locked position with a satisfying, weighty \"ka-chunk.\" From above, there is a noise like a screech owl colliding with a sheet of inch-thick plexiglass, and then the cabin seems to stop in midair, jolting everything that's not nailed down, which includes you and Duggers.\n\nChub saunters into view. \"Good work, Mitchum. All right, let's strap in and get ready for touchdown. That means you too, Duggers.\"\n\nDuggers says, \"I got a hand on the strap, don't I?\"\n\nChub says, \"Fine. Stand up if you want. When your kneecaps blow out and your hamstrings are severed by the compound fractures of your thigh bones you can crawl your ass through the swamp. Doesn't make any difference to me, as long as you keep one hand free to salute.\"\n\nDuggers gives Chub a severe salute and lowers his stubborn ass down onto the bench. You plunk down next to him.\n\nThe cabin creaks and shudders. Chub checks her chronometer.\n\n> You wait\nYou wait. Duggers shifts his weight forward, ready to spring into action.\n\nChub says, \"Five, four, three...\"\n\n> You wait awhile\nYou wait.\n\nChub says, \"Tw--\"\n\nWith a jaw-splintering jolt, the AVLC hits the swampwater. Chub is already on her feet, grabbing extra rations and munitions. Yeah, like we'll last long enough to need those, you think.\n\n> You go upwards\n(first removing the straps)\nYou get off the bench and swing yourself up into the emergency station.\n\nDuggers says, \"Blowing the hatch...\" Fwoom! There's a white flare in your goggles, and the hatch disappears into darkness. Instantly, freezing algae water pours into the opening. Duggers leaps out into it as the cabin starts to reel, pitching aftward.\n\n> Go outside\nYou get off the emergency station.\n\nThere's dick-all to see here, even with the goggles on. Armory cabinets, supply shelves, two brushed-steel benches, safety straps. The emergency station is a swivel chair three steps up a ladder, facing a panel with rugged switches and levers.\n\nChub is at the hatchway, standing firm against the inrushing water, motioning for you to get out.\n\nYou force yourself out of the craft, fighting the freezing water. Your legs seize up a few steps from the sinking craft, or maybe they're just caught in the muck. You lose your balance, but can't move your feet to stabilize yourself. Slime splashes up into your faceplate. Your hands sink into something gelatinous. Everything is cold. You must be underwater.\n\n> Go upwards\nYou put your hands down, hoping to raise your weight, but there's no support. Your arms sink like toothpicks into a sponge cake.\n\n> Clean faceplate\nYou lift your arm to wipe off your faceplate, and a searing pain shoots from your shoulder down to the end of your pinky. You grit your teeth and ignore it. You figure you can probably still hold and fire your weapon, so there's no use crying about it. You smear the slime away with your other hand, and see the marshland.\n\nThe landscape is pitch black, even in your goggles. No heat from the freezing swampwater. Out of the blackness, looming shapes in obscene colors. You aren't supposed to see colors through these goggles, and you wonder if you're doing worse than you thought.\n\nThe shapes are mushrooms, hundreds of them, rising on their moist stalks, ballooning heads eighteen feet around, eight feet high. You can't get much of a sight beyond them. There's too many mushrooms. Maybe you should waste some ammo clearing a sightline. Then again, maybe you don't have any ammo to waste, now.\n\nYou can see Chub and Duggers here.\n\nDuggers and Chub are standing in front of you, pointing and screaming at you, wondering why you didn't answer them.\n\nYou say, \"Sorry, Sergeant. I fell down and almost drowned.\"\n\nChub and Duggers start to laugh. They loud enough to shake the ground. The laughter stops when you see that a vibration is rippling the water. The ground really is shaking.\n\nDuggers whispers, \"Heads up! Heads up!\"\n\nChub whips out her plasma rifle. You whip out Charlene. Charlene's your partner, ready for the dance. You draw some strength from her, ignoring the spasms in your bad arm.\n\nEasy girl. Just... hold it ... steady.\n\n> You eat stims\n(first taking the zip pack of stims)\nEasy there, soldier. No need to overmedicate yourself. You don't want to end up with a problem.\n\nChub says, \"I've called for reinforcements, but they won't come in until we hold this position for a while. No use aiding a lost cause.\"\n\nYou say, \"It is a lost cause, isn't it? The bugs are just going to keep coming.\"\n\nThe vibration comes again. Somewhere, far ahead, twisting its way closer, the bug is coming.\n\n> Shoot bug\nYou hear the roar of many feet, so many feet it makes your stomach turn. Up ahead, through that maze of mushrooms, you see a slickened shape pass by, west to east.\n\nChub shouts, \"Fire!\"\n\nYou fire Charlene into the darkness. She purrs and growls. She's jumpy today, you can tell. Or maybe you are. Duggers fires. Chub fires. Mushrooms explode into spores. Fast-growing spores, you remember. In ten minutes, there will be more of them, full-sized. How are you supposed to win a war like this?\n\n> Shoot bug\nAll you hit are more mushrooms, but you clear a path. Up ahead, the behemoth twists like a snake, heading west, then east, then directly at you. Duggers fires at the head of it, and the head explodes, but the beast keeps coming. It turns east again.\n\n> Shoot bug\nYou fire at the beast, cutting the bug in two. The damn segments don't stop moving, though. Now there's two bugs, each twisting this way and that. One segment reaches a small tunnel, formed by columns of mushrooms to each side, and it twists between them, heading straight for you.\n\n\"Fire! Fire!\" Chub screams.\n\n> You go east\nYou slog a few steps in that direction.\n\nChub splits the centipede again in two. They're coming at you from both sides now.\n\nDuggers is right in the tick's path. He stands his ground, shouting at the sonofabitch. Duggers fires at it, misses. Fires again, misses. It's coming in too fast.\n\n> You eat stims\n(first taking the zip pack of stims)\nEasy there, soldier. No need to overmedicate yourself. You don't want to end up with a problem.\n\nThe tick mows Duggers down, its sticky feet latching onto his body. You see his face purple and blacken as he's carted away to some nest to be digested. There is a scream, and then silence.\n\nDead silence. The bugs are gone. There's two of you left.\n\n> Inventory\nYou are carrying:\na combat suit (being worn)\na waterproof boots (being worn)\na helmet (being worn)\na set of night vision goggles (being worn)\na belt of ammo clips (being worn)\na backpack (being worn and open)\nfood rations\na canteen\na letter\na zip pack of stims\nCharlene\n\nYou were right. More mushrooms have grown up already. It's harder to see. Up ahead, you see the segmented beast twisting this way and that. Up ahead, you hear another tick approaching like a dive bomber, coming right at you and Chub.\n\nUp ahead, you hear the thrum. Wave number two. Or is it just a continuation of the first wave?\n\nSomething else, something new. Feet clicking, splashing, an almost musical chirp as the legs saw back and forth. What the hell? Some sort of cricket? No.\n\n> You look at the goggles\nThe night vision goggles are an older model of specs. Apparently, they're going to be more useful on this mission than the top of the line version. Something about better motion interpolation and better contrast in the -4C to 4C temperature range.\n\nIt's a scorpion, sidling sideways. Fortunately, it's not coming at you. You take it out with one quick shot. You're getting better at this.\n\nYou'd better get even better, fast. Here comes that tick, with its screaming song, with its poisonous legs, turning the mushrooms purple and blue.\n\nHere comes the beast itself. Chub cuts it into three parts, damn her eyes.\n\n> Shoot bug\nWhile you destroy one of the three segments, Chub concentrates her fire on the tick. She vaporize it with only about six yards to spare. Plasma spray and unvaporized bug bits sizzle over both of you, a wet coat of death.\n\nAnd then you hear another tick, bearing down on you, following its kamikaze partner, poisoning even more mushrooms.\n\n> Shoot tick\nYou take a lucky shot and destroy the second tick before it even gets close, before it can poison too many mushrooms, but it's already too late.\n\nOne of the centipede segments hit the poisoned mushrooms, and the oil gets into its skin, scrambling its stupid bug neurons. Crazed, it charges forward, straight at you. Another segment hits another poisoned shroom, and it, too, charges screaming at you.\n\nThe two segments swoop down on either side of you and Chub, circle, and play back and forth, zigzagging. The poison's worn off, thankfully.\n\n> Shoot segment\nYou charge, firing with deadly aim. One down. You're just about to congratulate yourself when Chub shouts a warning.\n\nYou see more centipedes arriving out of the darkness to your left and right. Where are they coming from? Just two segments each, a head and a tail, joining the dance. There's four of these damn things now, and more every minute.\n\n> You give the stims to dugger\nYou can only do that to something animate.\n\n> You give the stims to Chub\n(first taking the zip pack of stims)\nEasy there, soldier. No need to overmedicate yourself. You don't want to end up with a problem.\n\nYou shoot and shoot, vaporizing as many as you can. You start to think you're winning, that you're going to get out of this, when out of the corner of your eye, you see Chub backing up, not looking where she's going. You yell for her to move, to watch out. You're still busy firing as you try to move closer to her, to yank her out of the way, to give her cover, but it's too late. A new segment dances into the marsh, runs Chub down, stomps her into the muck. You hear a shriek in your helmet that becomes a helpless gurgle. The beast drips acid out of its flanks, out of its disgusting glands, and something sizzles underwater.\n\nA final shot from your rifle sails into the gloom. Far away, a mushroom explodes.\n\nAgain, silence. And you're the only one left.\n\n> Shoot bug\nYou can't see for all of the mushrooms blocking your way. You can hear movement, far ahead, but you can't see anything but the mushrooms. They're different colors now. Are you hallucinating? And where's the backup Chub called for? How long are they going to take?\n\nYou vent your frustrations on the mushrooms, shooting again and again. They explode, releasing spores that will grow more of them soon. You don't care. You need the space to move if you're going to win this battle, if you're going to survive.\n\nYou know, though, that it's just a matter of time. You wonder what the point of this is, and you laugh. It's a sick joke to someone up there in HQ, someone in a chushy office on Atari Prime. It's just some stupid game.\n\n> You shoot mushroom\nCharlene's singing now. She's found her sweetest rhythm, and you follow along with it. You hear the thunder, the singsong chirping, the freight train whistle doing its doppler effect, doubled, tripled. All the bugs are back. More than ever. You and Charlene are ready. You clear your sightlines, blowing away dozens of mushrooms.\n\nA tick whizzes by you to your left, just missing you. You hear it hiss its hatred.\n\n> Shoot tick\nYou blast another tick as it flies by to the right, dripping poison. The mushroom right in front of you warps, rots, seems to right itself. You destroy it. There's another deadly one behind it. You shoot that one, too, and another.\n\n> Shoot tick\nCharlene's aim is true, and you wipe out what you hope is the last tick of this wave. Once again, it's too late. The murshrooms have done their work. The crazed behemoth charges; once again, you are surrounded. Once again, new segments arrive from nowhere, spinning in circles around you.\n\nMocking your hopes, one last tick comes, and this one has your name on it.\n\n> You shoot CENTIPEDE\nYou fire at the segments, but it's hard to hit them when they're this close, when there's so many. Either one of them or the tick is going to get you.\n\n> You shoot CENTIPEDE\nYou take careful aim at one of the segments and destroy it, but another takes its place, and another. You brace yourself for your death. The tick is almost here.\n\n> Shoot tick\nYou get it from behind. Oh, shit, you think. The fucking irony. The tick sails past, unharmed, as one of the segments of the beast crushes you, biting off your legs.\n\nThere's no time to feel pain, or maybe there isn't any pain. Some sort of anesthetic in the saliva, you remember. You scream anyway, just like Chub. You're not going down quietly. You try to turn your rifle around, fire at the damn thing point-blank, but suddenly your arms don't work.\n\n> You shoot CENTIPEDE\nYou spin on your heels, destroying a bug that was about to get you from behind. The tick mows you down, killing you instantly.\n\n> You shoot yourself\nYou're flipped over on your back, and something viscous and yellow oozes onto your faceplate, dissolving it. Suddenly your eyes don't work, and you can't scream. You see a dull red that turns brown and black in splotches, like the way the colors on a bubble turn before the bubble pops, and it's dead.\n\n> You shoot yourself\nThe last thought that comes to you makes you laugh. It's that old joke. What's the last thing to go through a bug's mind as it hits your windshield? Its --."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, Lovecraftian, adaptation, Lovecraft, private investigator, gumshoe, Comedy, call of cthulhu, new mexico, horror]\n\nYou listen to the dame on the other end of the phone as she finishes her plight. \"My brother has gone missing. I want you to find him.\" You promised yourself a vacation, but this broad sounds a bit dishy. Maybe one more case before your vacation won't be too much of a bother. . .\n\nThis is your office. It's not that tidy, but it is\npresentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.\n\nOn the desk are an ashtray and a telephone.\n\n[Author's Note: You listen to the dame on the other end of the phone as she finishes her plight. \"My brother has gone missing. I want you to find him.\" You promised yourself a vacation, but this broad sounds a bit dishy. Maybe one more case before your vacation won't be too much of a bother...]\n\n> You examine the phonograph\nIt's an early Brunswick model. You found it in the hallway when your office neighbor was moving into the building. There's a record in it. It's the only one you have.\n\nThe phonograph is currently switched off.\n\n> You examine the record\n\"Hello Sailor!\" Sung by Ella Dietrich\n\nThere is a knock on the door but the knocker doesn't wait for an answer. The door opens and a beautiful woman walks in. \"Thank you for seeing me, detective.\" You invite her to sit and she does.\n\n> You ask the woman about the woman\n\"I don't know much about woman.\"\n\nClaudine Lane begins telling you about her case. \"My brother, David, has gone missing in Silver City, New Mexico.\"\n\n> You examine the woman\nShe is classy, blonde, and stacked like a brick shit-house.\n\nClaudine continues, \"David had been staying in Albuquerque for some time. He planned to visit a small town called Castronegro to investigate some strange rumors he had gotten from local Apaches.\"\n\n> You ask the woman about Apaches\n\"David was in contact with the local Apaches in New Mexico. He was a scholar of ancient lore and rituals. It was rumors he got from them that lead him to try to get to Castronegro, but for what reason, I don't know.\"\n\nLooking out the window, Ms. Lane continues, \"In his letters, he was excited about something he called reverse evolution and the\noccult.\"\n\n> You ask the woman about the reverse evolution\n\"I have no idea what David meant by that phrase.\"\n\nClaudine goes on, \"On the way to Castronegro, he planned to stay for a couple of weeks in Silver City, to see a friend of his named Adam Little.\"\n\n> You ask the woman about little\n\"I don't know him. I just know he was a colleague of David's.\nPerhaps more can be found out about him in Silver City.\"\n\nClaudine Lane tells you, \"I will pay your expenses to travel to New Mexico to find my brother. You were referred to me by Mrs. Timmons. She said you brought her closure regarding her son, Brian.\"\n\nYou agree, of course, and Claudine leaves some papers on your desk and walks out of your office.\n\n> You check your inventory\nYou are carrying:\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open but empty)\na holster (being worn)\na revolver\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\n> You examine revolver\nIt's a .45 revolver."
    },
    {
        "text": "[Themes: Mystery, Horror, Humor, private investigator, adaptation, horror]\n\n> Look around\nThis is your office. It's not that tidy, but it is\npresentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.\n\nOn the desk are a train ticket, a Herald clipping, a Times clipping, an ashtray and a telephone.\n\n> You examine the ticket\nIt is a round-trip train ticket to New Mexico. Looks like you're going on a vacation after all.\n\n> You examine herald\nthe continuing mystery of the New Mexican cattle killings, rancher Charles Dexter lost 92 cattle between the 8th and 19th of September here on his ranch by the isolated town of Castronegro. This has been the largest single loss ever attributed to the unseen \"Cattle Butchers\".\n\nThe cattle were found scattered across Mr. Dexter's ranch, all\nwith their tongues bodily torn out and frequently other signs of violence.\n\nMr. Dexter has been so affected by this grim occurrence that he\nhas sold his ranch and moved to Europe. Before leaving, he stated, \"I have a mighty good notion as to who's been slaughtering my herd. I am not a cowardly man, but I have no desire at all to mess with them. I am leaving this place for good.\" Mr. Dexter went on to say that his move had been planned for some months, but the recent catastrophe spurred him to move immediately.\n\nFor the last two years, occasional mysterious cattle mutilations\nhave been occurring on the local ranches, but generally no more than one or two cows have been killed in a month. This newest occurrence seems to signal a possible upsurge in this strange chapter in the American Southwest.\n\n> You look at the times\ncases.\n\nOn September 28, Joaquin Vilheila-Pereira, a native of the small\ntown of Castronegro, was discovered to have left his room at the Armitage Hotel in Silver City, leaving all his possessions behind.\nThe authorities suspect foul play, but have no suspects or clues.\n\nThis would not be so surprising were it not for two previous disappearances. On September 16th, Dr. William Godfrey, a noted Professor of Psychology at the University of New Mexico at Albuquerque, was reported missing while traveling from Silver City to Las Cruces. On the 18th, a traveler from Boston, a Mr. David Lane, was found missing from his rented room in downtown Silver City. Both of these disappearances are also unaccounted for, though the police suspect that there is some connection between them.\n\n> You take all\ntrain ticket: You take the train ticket from the desk.\nHerald clipping: You take the Herald clipping from the desk.\nTimes clipping: You take the Times clipping from the desk.\nashtray: You take the ashtray from the desk.\nrevolver: You take the revolver from the holster.\n\n> You examine the ashtray\nIt's a glass ashtray.\n\n> Search desk\nOn the desk is a telephone."
    },
    {
        "text": "[Themes: Mystery, Humor, Horror, horror, call of cthulhu, adaptation]\n\n> You look around\nThis is your office. It's not that tidy, but it is\npresentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.\n\nOn the desk is a telephone.\n\n> You go to the south\nAre you ready to leave?\n\n> Y.\nOne unbelievably long train ride later. . .\n\nYou're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.\n\n> You look at what you're carrying with you\nYou are carrying:\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open but empty)\na holster (being worn)\n\n> Go north\nFollowing some directions given to you by a townsperson, you make your way to the. . .\n\nThis is a sheriff's office that almost harkens back to the style of the Old West. Doors to offices are in each wall except the south wall which is the door back outside. A counter sits facing the south door.\n\nBehind the counter, a sour-faced seargent eyes you guardedly.\n\n> You talk to the seargent\n\"You wanna talk to the sherf?\"\n\n> Yes\nThe seargent knocks on one of the office doors and the sheriff comes out.\n\nThe sheriff eyes you up, clearly annoyed. \"What is it I can help you with? I'm busier than a hooker on a cowboy's birthday.\"\n\n> You tell him about the casual misogyny\n\"Interesting.\"\n\nYou explain that you are investigating the disappearances, having been hired by David Lane's sister. \"Yeah, we do believe foul play was involved.\", he says.\n\n> You ask the sheriff about the foul play\n\"Pay attention, boy, I'm talking to you.\"\n\nThe sheriff continues, \"We found tracks in the dust outside Lane's window at the boarding house. This was after his disappearance a'course.\"\n\n> You wait\nTime passes.\n\nThe sheriff says \"One pair of prints were shoes of the same size as Lane's; another pair were thick boots with a cross imprint on the heels; a third and final pair of prints were large bare footprints.\"\n\n> You ask him about his own boots\n\"Pay attention, boy, I'm talking to you.\"\n\nThe sheriff paces around as he continues to tell you what the police know, \"Neighbors of Lane reported seeing two strange characters loitering on Hyde street all day on September 17th. Both had dark hair, bad teeth, sallow complexions, and were dressed in ill-fitting coarse clothing. One wore a pair of heavy leather boots.\"\n\n> You wait\nTime passes.\n\nYou ask about the other missing persons, Dr. William Godfrey and Joaquin Vilheila-Pereira. The sheriff consults some notes by the counter.\n\n> Wait\nTime passes.\n\nHe tells you what the Silver City police know, \"Dr. Godfrey traveled to Silver City three times during the two months before his disappearance, each time with a fortnight layover.\n\n> Wait\nTime passes.\n\n\"The last time he stopped over at a friend's house the night before he left, and his friends saw him to the station in the morning, confirming his departure.\"\n\n> You wait awhile\nTime passes.\n\n\"However, he did not arrive in Albuquerque that night. His landlady called the police two days later.\"\n\n> You wait for a while\nTime passes.\n\nYou ask about the final missing person, Joaquin Vilheila-Pereira. The sheriff doesn't have much to say, \"All of his belongings from the hotel he was stayin\" at were taken by his family. He was remembered as being a furtive young man with a pale complexion, bright green eyes, and black hair. His things were picked up by his uncle, Philip Vilheila-Pareira, a tall man, mid 30s, green eyes and black hair.\"\n\n> Wait\nTime passes.\n\nThe sheriff looks at you sternly, \"Anything else? No? Good.\", and with that, he walks back into his office."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, Lovecraft, adaptation, Lovecraftian, private investigator, gumshoe]\n\n> You look at your surroundings\nThis is a sheriff's office that almost harkens back to the style of the Old West. Doors to offices are in each wall except the south wall which is the door back outside. A counter sits facing the south door.\n\nBehind the counter, a sour-faced seargent eyes you guardedly.\n\n> Go south\nYou're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.\n\n> You go west\nThis is Hyde Street. It's a pleasant neighborhood of homes along a dusty road. Despite the dust and desert setting, the homes have sparse green lawns, cacti, and trees. The road stretches east to west. To the south is the boarding house from where David Lane disappeared.\n\n> Go south\nThis is a wide porch on a large boarding house. The front door is to the south and Hyde Street is to the north.\n\n> Go south\n(first opening the front door)\n\nYou are in the foyer of the boarding house. A counter sits by one wall, behind which are small, open cubes in the wall for the tenants' mail. The front door is to the north and stairs lead up to a landing. Along just about every square inch of wall are hundreds of small pictures of cats.\n\nBehind the counter is Mrs O'Grady, the Landlady. \"Can I help you, dear?\"\n\n> You talk to the landlady\nMaybe you should ask or tell about more specific topics.\n\n> You ask the landlady about David Lane\n\"He was a vague young man,\" she says, \"with blond hair and blue eyes. He disappeared on the 18th. All of his possessions were left behind. Most were taken by the police, though.\"\n\n> You ask the landlady about the cats\n\"Oh, do you like cats?\"\n\n> No\n\"Mm.\", she says curtly and begins dusting her cat pictures."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, new mexico, adaptation, Lovecraftian]\n\n> You look at your surroundings\nYou are in the foyer of the boarding house. A counter sits by one wall, behind which are small, open cubes in the wall for the tenants' mail. The front door is to the north and stairs lead up to a landing. Along just about every square inch of wall are hundreds of small pictures of cats.\n\nBehind the counter is Mrs O'Grady, the Landlady.\n\n> Go upward\nMrs O'Grady stops you. \"Sir, I can't allow you to go snooping around my boarding house!\"\n\n> You ask the landlady about the room\n\"I don't know much about boarding house.\"\n\n\"I don't know much about room.\"\n\n> Yes\nMrs O'Grady looks at you, clearly impressed. \"Well, if you need to conduct a bit of an investigation about that young man, then I suppose you can see the room he rented. It's the first one up the stairs.\"\n\n> Go up\nThis is the upstairs landing of the boarding house. A couple of other doors line the hall but the one you came to investigate is to the west. Stairs lead back down to the entry.\n\n> Go west\n(first opening the bedroom door)\n\nThis is a tidy bedroom that was rented by David Lane up until his mysterious disappearance. The room consists of a neat bed, a desk, a chair, and a window. The landlady says nothing of David's has been left but it's worth checking.\n\nOn the desk is a paperback book.\n\n> You take the book\nSomething falls out of the book and lands on the floor.\n\nYou take the paperback book from the desk."
    },
    {
        "text": "[Themes: Horror, Mystery, Humor, adaptation, horror, private investigator, Lovecraft]\n\n> You look around\nThis is a tidy bedroom that was rented by David Lane up until his mysterious disappearance. The room consists of a neat bed, a desk, a chair, and a window.\n\nYou can see a torn envelope here.\n\n> You take the envelope\n(putting the train ticket into the trenchcoat to make room)\nYou pick up the torn envelope from the ground.\n\n> You examine the envelope\nThe envelope is addressed to David Lane at his Hyde Street boarding house address. The return address is to Father Alonso Vilheila-Pareira, Castronegro Chapel, Castronegro. The letter itself is nowhere to be found.\n\n> Go east\nThis is the upstairs landing of the boarding house. A couple of other doors line the hall but the one you came to investigate is to the west. Stairs lead back down to the entry.\n\n> You go to the west\nYou don't need to go any further down Hyde Street. The Town Square is to the east and the boarding house from which David Lane disappeared is to the south.\n\n> Go southeast\nThinking you can dig up some information on the happenings around here, you make your way to the. . .\n\nThis old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.\n\nIt's very warm in here."
    },
    {
        "text": "[Themes: Horror, Mystery, Humor, new mexico, Lovecraft, private investigator, horror, Comedy]\n\n> You go down\nThis basement room is bare. Odd.\n\nYou can see an army trunk (closed) here.\n\n> You look at the trunk\nIt's an old, battered army trunk. You wonder if it's been through The War.\n\n> You open the trunk\nIt seems to be locked.\n\n> You go upward\nThis old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.\n\nIt's very warm in here.\n\n> You examine fan\nIt's an electric Emerson with brass blades.\n\nThe fan is currently switched off.\n\nIt's very warm in here.\n\n> You switch the fan on\nThe breeze from the fan moves some papers around on a desk. The papers fall revealing a key.\n\nA fan in the corner noisily chops some air into the room.\n\n> You take the key\n(putting the Herald clipping into the trenchcoat to make room)\nYou take the archive key from the desk.\n\nA fan in the corner noisily chops some air into the room.\n\n> You open the trunk with the key\nYou unlock the army trunk.\n\n> You open trunk\nYou open the army trunk, revealing a scrapbook.\n\n> You take the scrapbook\nYou hear a bus horn in the distance.\n\n(putting the Times clipping into the trenchcoat to make room)\nYou take the scrapbook from the army trunk.\n\n> You read the scrapbook\nThere are several articles bundled in the scrapbook, all dealing with the town of Castronegro and all dating back over thirty years. The articles report the mysterious disappearance of infants from the Castronegro area. At first, these disappearances were attributed to the still-unpacified Apaches nearby, but gradually the vanishings were just left as a mystery. One other article tells the story of the disappearance of a Castronegro man visiting Albuquerque in 1892; a case similar to that of Joaquin Vileila-Pareia. The other articles are dated 1890, 1898, 1902, and 1918. In the 1898 article, a Castronegro man named Bernardo Diaz is named as a prime suspect, but there is no information as to whether or not he was ever arrested.\n\nThe final article seems to be just general information about Castronegro. It reads as follows:\n\nCastronegro is a small New Mexican town, located about 40 miles\nnorth of Silver City. It was founded in 1680 by a wealthy Spanish nobleman named Bernardo de Diaz. He led his family and another family, the Vilheila-Pareiras, there from Spain. The town's original name was Agua Blanca, changed later to Castronegro early in the 18th centry, for an unknown reason.\n\nIn 1728, during the Inquisition's suppression of Madrid\nFreemasonry, many Spanish refugees fled to Castronegro.\n\nago. It has a population of about 600, and the town's only tie with the outisde world is the weekly bus from Silver City, as phone lines have not yet been installed. It is a scenic example of Spanish America.\n\n> Go upwards\nThis old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.\n\nA fan in the corner noisily chops some air into the room.\n\n> Go northwest\nYou're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.\n\n> You go to the south\nOne long, uncomfortable bus ride later. . .\n\n> You press the space\nAs the bus driver drops you off at the edge of this sleepy town, he points to the north to a largish building built upon a foothill about a half mile from town. He tells you it is Casa de Diaz and inside is the reason this town has so few visitors. The man who lives there is Bernardo Diaz VI, a direct descendant of Bernardo de Diaz who founded the original town. He tells you that Bernardo doesn't care for strangers and then the bus driver drives off.\n\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see a sign here.\n\nA vulture circles lazily far overhead.\nI beg your pardon?\n\n> You go south\n(first opening the hotel door)\n\nThe Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.\n\nOrganizing some paperwork (in a futile attempt at professionalism) is the hotel's owner, Juan Herrera.\n\nYou can also see Claire Prebo here.\n\nJuan dusts around the room.\n\nClaire looks around nervously.\n\n> You ask Juan about room\n\"I don't know much about room.\"\n\nJuan checks his fly.\n\nClaire wonders aloud if she remembered to buy tampons.\n\n> You ask Juan about the cats\n\"I don't know much about cats.\"\n\nJuan checks the lock on the west door.\n\nClaire looks at you but then quickly looks away.\n\n> You ask Juan about the castronegro\n\"I don't know much about castronegro.\"\n\nJuan checks the lock on the west door.\n\nClaire takes an eclaire from her purse, takes a bite, and replaces it.\n\n> You talk to Juan\nYou casually make conversation in order to ask if, as the hotel manager, he's heard of David Lane or even the other two missing persons; Dr. Godfrey and Joaquin Vilheila-Pareira.\n\nHe tells you he's not heard of David or Dr. Godfrey but he knows that the third missing man, Joaquin, has an uncle who runs a tobacco shop here in Castronegro. You remember the sheriff in Silver City telling you that Joaquin's uncle was the one who claimed Joaquin's possessions.\n\nJuan checks the lock on the west door.\n\nClaire smells her finger.\n\n> You talk to Claire\n\"This town's an armpit.\"\n\nJuan checks his fly.\n\nClaire rummages around in her purse.\n\n> Go upwards\nYou don't have any rooms to investigate here. None of the three missing individuals were known to have stayed here. However, being the only hotel in Castronegro, maybe there is still information to be found here. . .\n\nJuan checks his fly.\n\nClaire looks at you but then quickly looks away.\n\n> You go to the west\n(first opening the private door)\nIt seems to be locked.\n\nJuan checks his fly.\n\nClaire rummages around in her purse.\n\n> Kiss claire\nKeep your mind on the game.\n\nJuan checks his fly.\n\nClaire takes an eclaire from her purse, takes a bite, and replaces it.\n\n> You show envelope to Juan\n\"Fantastic.\"\n\nJuan checks his fly.\n\nClaire Prebo goes north.\n\n> You go to the north\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see Claire Prebo and a sign here.\n\nTumbleweed tumbles by.\n\nClaire smells her finger.\n\n> You read sign\n(the sign)\nBus Stop\n\nYou think you hear your name whispered somewhere near you but it might've just been the wind.\n\nClaire Prebo goes south.\n\n> You go to the east\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou hear footsteps behind you, but when you turn to look, you see no one.\n\n> You go to the east\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go southeast\n(first opening the new door)\n\nThe Castronegro Library is one of the few wooden buildings in town.\nIt is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.\n\nLooking after the library is the strange old librarian, Efraim Diaz.\n\nEfraim reads from a dirty magazine.\n\n> You talk to Efraim\n\"What am I? A reference desk?\"\n\nEfraim loudly stamps some overdue books.\n\n> You ask Efraim about Castronegro\n\"I don't know much about castronegro.\"\n\nEfraim mumbles something you can't make-out.\n\n> You examine Efraim\nEfraim Diaz somewhat resembles an elderly Fatty Arbuckle.\n\nEfraim loudly stamps some overdue books.\n\n> You go northwest\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nDust swirls around the buildings.\n\n> You check your inventory\nYou are carrying:\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nTumbleweed tumbles by.\n\n> You go north\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nA vulture circles lazily far overhead.\n\n> You go east\n(first opening the chapel door)\n\nInside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.\n\nIn the center of this chamber is a rather horrible statue carved from basalt.\n\nReading in the back of the chapel is Father Alonso Vilheila-Pareira.\n\nYou can also see Ichabod Johnson here.\n\nFather Alonso lights a cigarette.\n\nIchabod Johnson goes west.\n\n> You examine the statue\nIt depicts a distorted human figure wrapped partly in a shroud with a sickle in the left hand. The right hand points southeast.\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\n> You talk to Alonso\nYou inquire about David Lane, having found the envelope in the boarding house. The old priest tells you that David asked for certain information about the Castronegro area, which he was glad to collect from the library and mail to him in Silver City. He tells you he knows nothing of the disappearances nor the cattle killings.\n\nFather Alonso lights a cigarette.\n\n> Wait\nTime passes.\n\nFather Alonso turns the page of the book he is reading.\n\n> You talk to Alonso\nMaybe you should ask or tell about more specific topics.\n\nFather Alonso eyes you curiously."
    },
    {
        "text": "> Look around\nInside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.\n\nIn the center of this chamber is a rather horrible statue carved from basalt.\n\nReading in the back of the chapel is Father Alonso Vilheila-Pareira.\n\nFather Alonso lights a cigarette.\n\n> Go west\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nEerie silence suddenly surrounds you.\n\n> You go southeast\nThis is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.\n\nDust swirls about and gets into your eyes.\n\n> You go to the northwest\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nThe sound of a bus engine can be heard in the distance.\n\n> You go south\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> Go southeast\nThe Castronegro Library is one of the few wooden buildings in town.\nIt is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.\n\nLooking after the library is the strange old librarian, Efraim Diaz.\n\nEfraim eyes you suspiciously.\n\n> You ask Efraim about alonso\n\"I don't know much about alonso.\"\n\nEfraim eyes you suspiciously.\n\n> You ask Efraim about David Lane\n\"I don't know much about david lane.\"\n\nEfraim eyes you suspiciously.\n\n> You examine the bookshelves\nThere are books everywhere your eye lands. To look up information, you can always search books.\n\nEfraim mumbles something you can't make-out.\n\n> You search the books\nIt is easy to find the same history of Castronegro that you found in the archive in Silver City, but in this library, you find a history from before the town was settled.\n\nMuch is conjecture, and there are few real facts, but you read about a tribe of Native Americans evidently unrelated to the nearby Apaches, Comanches, Zuni, and Navajo, which dwelt in the area until a few decades before the Spanish arrival.\n\nThis tribe raised at least one stone monolith and the names of their gods were retained for hundred of years by the nieghboring tribed as a curse. These gods were called Niurab and Yohoso.\n\nEvidently, the tribe was wiped out by the Navajo around 1650. The tribe left behind few relics, but a few of their stones can still be found in the rough hills around Castronegro.\nfound in the rough hills around Castronegro.You also find a family lineage history of Castronegro. The most interesting parts here are the family trees of the de Diaz and Vilheila-Pareira families, which can be traced back to the original settlement in 1680.\n\nAlthough other families have arrived since, it is evident that the Diaz and Vilheila-Pareira population makes up about one third of the town's inhabitants.\nThen, you read something interesting. It seems that every forty years, from 1730 on, a new Bernardo Diaz is listed as being born (e.g. Bernardo Diaz II was born in 1731, Bernardo III was born in 1769, Bernardo IV in 1812, Bernardo V in 1850, and the current Bernardo VI in 1891).\n\nAbout twenty years after each new Bernardo was born, his predecessor died. The current Bernardo Diaz would be a little over thirty years old. The former Bernardo Diaz died in 1910.\nold. The former Bernardo Diaz died in 1910.Finally, you find two gruesome reports. One is a listing of missing infants reported over the last 100 years in Castronegro and nearby towns. Containing much hearsay, it states that at least 200 infants are reported as disappearing. This does not take into account any unreported children, as from Native families.\n\nThe final report is on cattle deaths. Cattle killings started within the last six years and have continued at the rate of  one or two cows per month for every large spread in southwest New Mexico, except for Charles Dexter; mentioned in the article Claudine Lane gave you.\n\nEfraim loudly stamps some overdue books."
    },
    {
        "text": "[Themes: Horror, Humor, Mystery, horror, Lovecraft]\n\n> Look around\nThe Castronegro Library is one of the few wooden buildings in town.\nIt is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.\n\nLooking after the library is the strange old librarian, Efraim Diaz.\n\nEfraim pretends to put a book back on a shelf but is clearly watching you.\n\n> You go to the northwest\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nYou can see Ichabod Johnson here.\n\nYou think you hear your name whispered somewhere near you but it might've just been the wind.\n\nIchabod mumbles something about his prostate.\n\n> You talk to Ichabod\nThis old timer doesn't seem to know any of the names you throw at him (David Lane, Joaquin Vilheila-Periera, & Dr. William Godfrey) but having lived here all his life, he's the best source for directions. He tells you that the Diaz family vault and Casa de Diaz is north of town, old farms to the south, and a small canyon to the southeast.\n\nDust swirls around the buildings.\n\nIchabod twirls his mustache.\n\n> Go west\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go north\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nYou can see Ichabod Johnson here.\n\nDust swirls around the buildings.\n\nIchabod twirls his mustache.\n\n> You go to the west\n(first opening the nondescript door)\n\nThis is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.\n\nTending bar is the owner, Gilberto Diaz.\n\nJames Whitlock sits in the shadows, drunk.\n\nCrackling through static on the radio, you hear, \"The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . .\"\n\nGilberto wipes down the bar.\n\n> You talk to Gilberto\n\"People around here don't really take kindly to strangers asking questions.\"\n\nCrackling through static on the radio, you hear, \"A tornado in Lorain, Ohio has killed 78 people. . .\"\n\nGilberto pours another drink for James.\n\n> You talk to James\nYou speak to the unkempt drunk and casually make your way to asking about the three missing men; David Lane, Dr. Godfrey, and Joaquin Vilheila-Pareira. He starts talking but you can barely make out what he's on about.\n\n\"Those disserpearences were sackerfices by th' old guys ferm Castronegro. Tharz still lights and dancin' in th' hills. If yuh go up thatz way on th' wrung nights, yuh can hear awful yellin' and screamin'. And th' screamin' ain't jest kids havin' fun. I seen 'em. And I seen whut comz with 'em, and whut comz with 'em out to Shephard's Barn. I knew yuh don'y b'lieve me. Yuh don't care. Yuh don't know nuthin. You climb up them foothills 'n th' Shephard Barn and see what yuh think then! Take a gander. . .take a looong,\nsteamy gander at the old Diaz vault! Then yuh'll know it ain't\njest the drink talkin' in me!\"\n\nCrackling through static on the radio, you hear, \"A Soviet-backed coup attempt has failed in Estonia. . .\"\n\nGilberto restocks some of the booze."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, adaptation, private investigator, horror, Lovecraft, Comedy]\n\n> You look around\nThis is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.\n\nTending bar is the owner, Gilberto Diaz.\n\nJames Whitlock sits in the shadows, drunk.\n\nCrackling through static on the radio, you hear, \"The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . .\"\n\nGilberto restocks some of the booze.\n\n> Go east\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nThe sun beats down on you despite the season.\n\n> Go north\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nDust swirls around the buildings.\n\n> Go north\n(first opening the black door)\n\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nFilipo eyes you suspiciously.\n\n> You look at the statuette\nIt's a Balinese temple guardian demon. You've no idea why you know that.\n\nFilipo sweeps the floor with an old broom.\n\n> You talk to Filipo\nYou casually speak to the furtive man but you can tell he is not forthcoming in a desire to give you any information regarding the missing individuals. You suspect he is hiding something or in cahoots with someone he fears, perhaps.\n\nFilipo rearranges some geodes.\n\n> You read the sign\nThe Tomb: Proprietor Filipo Diaz\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\n> Go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\n> You go east\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nA vulture circles lazily far overhead.\n\n> Go north\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nYou think you hear talking but cannot make it out.\n\n> Go north\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> Go northwest\n(first opening the vault door)\nIt seems to be locked.\n\nDust swirls about and gets into your eyes.\n\n> You look at the door\nIt is marble and carved in Spanish designs of centuries ago. It is made in such a way that you might be able to break in.\n\nThe sun beats down on you despite the season.\n\n> You break the door\nThat would hurt your hands.\n\nDust swirls about and gets into your eyes.\n\n> You break the door with the ashtray\nThere's no way to break the vault door with the ashtray.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> Inventory\nYou are carrying:\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nVultures circle above you.\n\n> You shoot door\nYou don't need to do that.\n\nThe sun beats down on you despite the season.\n\n> You go north\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nYou think you hear talking but cannot make it out.\n\n> Go northeast\nThis once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.\nCasa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.\n\nLeaning against one of the flowerpots is a flashlight.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You take the flashlight\n(putting the ashtray into the trenchcoat to make room)\nYou pick up the flashlight from the ground.\n\nDust swirls about and gets into your eyes.\n\n> Go north\nYou have a hunch there's more to be investigated before questioning Bernardo Diaz VI.\n\nVultures circle above you.\n\n> You go to the south-west\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nThe sun beats down on you despite the season.\n\n> You go to the south\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nStrange noises echo around you.\n\n> Go south\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nThe sun beats down on you despite the season.\n\n> You go south\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nThe sun beats down on you despite the season.\n\n> You go east\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nDust swirls around the buildings.\n\n> You go to the northeast\n(first opening the wooden door)\n\nThis is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.\n\nKeeping watch over his store is Philip himself. He eyes you cautiously.\n\nYou can also see Clarinda Fisch, Orion Skinner, Tate Walczak, Lambert Gunning, Liana Farnham and Grover Cotterell here.\n\nPhilip mumbles something about not being able to find his pipe.\n\nLambert Gunning goes southwest.\n\nClarinda Fisch goes southwest.\n\nGrover jingles change in his pockets.\n\nOrion and Tate discuss the weather.\n\nTate discusses the merits of owning a vacuum cleaner with Liana.\n\nLiana adjusts her wig.\n\n> You talk to Philip\nYou ask about his nephew, Joaquin, and Philip eventually tells you that the youngster was a disgrace to his family and deserved whatever he got for running away.\n\nHe then turns away, muttering something under his breath. What he doesn't know is how sharp your hearing is and you are able to make out something about Joaquin not being good enough to be interred in the family vault. This implies, of course, that Philip believes his nephew to be dead.\n\nIf this is true, you hope it's not the same fate as David Lane; the man you were hired to find.\n\nPhilip clears his throat.\n\nGrover Cotterell goes southwest.\n\nOrion and Tate discuss the weather.\n\nTate discusses the merits of owning a vacuum cleaner with Liana.\n\nLiana looks around."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, Lovecraftian, gumshoe, call of cthulhu]\n\n> Look around\nThis is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.\n\nKeeping watch over his store is Philip himself. He eyes you cautiously.\n\nYou can also see Orion Skinner, Tate Walczak and Liana Farnham here.\n\nPhilip sticks his head into a barrel and breathes deeply the tobacco fumes.\n\nOrion Skinner goes southwest.\n\nTate discusses the merits of owning a vacuum cleaner with Liana.\n\nLiana checks her watch.\n\n> You talk to Tate\n\"I'm as lost as you.\"\n\nPhilip sticks his head into a barrel and breathes deeply the tobacco fumes.\n\nLiana Farnham goes southwest.\n\nTate scratches his head.\n\n> You go southwest\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nYou can see Liana Farnham, Orion Skinner and Lambert Gunning here.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nLiana Farnham goes southwest.\n\nLambert asks Orion for some change.\n\nOrion loosens his belt.\n\n> You talk to Lambert\nYou stop to speak with this drifter and you nearly vomit from the fumes of alcohol reaking from him. He's not a prolific source of information, but he does mention that strange dancing and rituals supposedly occur in the small canyon southeast of town.\n\nEerie silence suddenly surrounds you.\n\nLambert asks Orion for some change.\n\nOrion stoops to tie his shoelace.\n\n> You talk to Orion\n\"The Diaz family not only keep their dead in their mausoleum, but also their secrets.\"\n\nYou think you hear your name whispered somewhere near you but it might've just been the wind.\n\nOrion Skinner goes west.\n\nLambert shuffles listlessly.\n\n> Go southwest\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Liana Farnham and Grover Cotterell here.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nGrover straightens his tie.\n\nLiana looks around.\n\n> Go southwest\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou can see Ichabod Johnson here.\n\nA vulture circles lazily far overhead.\n\nIchabod whistles tunelessly.\n\n> Go west\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see a sign here.\n\nTumbleweed tumbles by.\n\n> You go south\nThe Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.\n\nTidying the place, (in a futile attempt at atmosphere) is the hotel's owner, Juan Herrera.\n\nJuan checks the lock on the west door.\n\n> You go east\nThis is a crude lounge with cheap furniture. Doorways lead west and south.\n\n> You go south\nA round table dominates this dining room. It makes you depressed imagining being a guest at this hotel. Doorways lead north and west. To the west, you can see the kitchen.\n\n> Go west\nThis is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.\n\nIn the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.\n\nOn the kitchen island are a cleaver and a jar of chili powder.\n\n> You look at the cleaver\nIt looks pretty damn sturdy and sharp.\n\n> You take the cleaver\n(putting the revolver into the trenchcoat to make room)\nYou take the cleaver from the kitchen island.\n\n> You examine the jar\nNavajo Joe's Hell Flavored Chili Powder!\n\n> You take the jar\n(putting the paperback book into the trenchcoat to make room)\nYou take the jar of chili powder from the kitchen island.\n\n> You go west\nThe Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.\n\nArranging dried flowers in a vase (in a futile attempt at cheer) is the hotel's owner, Juan Herrera.\n\nJuan dusts around the room.\n\n> Go north\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see a sign here.\n\nA vulture circles lazily far overhead.\n\n> You go east\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nTumbleweed tumbles by.\n\nLambert Gunning arrives from the east.\n\nLambert wipes his nose on his shirt.\n\n> Go southeast\nThis is a road that leads from Castronegro to the northwest and the desert farms to the south. The landscape around you is bleak and the sun beats down on you oppressively.\n\n> You go south\nThis is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.\n\n> You go southeast\nThere is a padlock barring your way.\n\n> You look at the padlock\nIt's a really old, very complex-looking padlock. Despite its age and its placement on such a decrepit building, it appears to have been used recently.\n\n> You break the padlock\nThat would hurt your hands.\n\n> You break the padlock with the cleaver\nWith a hearty thwack you chop the padlock from the door.\n\n> Go southeast\n(first opening the old door)\n\nThe sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. You think you can hear the strange melodies of a very faint flute.\n\n> Examine crates\nThey are all open and battered."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, adaptation]\n\n> You look around\nThe sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. You think you can hear the strange melodies of a very faint flute. A trapdoor leads down.\n\nYou can see a black robe and a sickle here.\n\n> You look at the robe\ngift.\n\n> You take the robe\n(putting the torn envelope into the trenchcoat to make room)\nYou pick up the black robe from the ground.\n\n> You examine the sickle\nIt is a hand-held scythe, if you will, (or even if you won't). It is stained with blood.\n\n> You take the sickle\n(putting the archive key into the trenchcoat to make room)\nYou pick up the sickle from the ground.\n\n> You examine the door\nWhich do you mean, the trap door or the old door?\n\n> You open the trap door\nYou open the trap door."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, gumshoe, horror]\n\n> You go downwards\nIt is pitch dark, and you can't see a thing.\n\nThe flute melody infects your brain like a tapeworm.\n\n> Go upwards\nYou are too entranced by the lunatic flute music.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You switch on the flashlight\nYou switch the flashlight on.\n\nThe flute melody infects your brain like a tapeworm.\n\nThis is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.\n\nWait. . .there is something else. Your mind protected you\nfrom seeing it, at first, but now, you are mentally defenseless for what you see. Somewhere between a frog, a snake, and a squid is this Thing. . .this Servitor. . .the word insanely pops into your\nmind. Its numerous tentacles squirm but two of them hold a strange flute to a wretched beak in its trunk. This is the source of the music. . .this is the source of madness. All you can think of to say to yourself is \"This place is coconuts.\"\n\nOn the altar is a silver chalice.\n\n> You shoot servitor\nWith what? You're not carrying your revolver.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You check what you're carrying\nYou are carrying:\na sickle\na black robe\na jar of chili powder\na cleaver\na flashlight (providing light)\na scrapbook\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nThe flute melody infects your brain like a tapeworm.\n\n> You wear the robe\nYou put on the black robe.\n\nThe flute melody infects your brain like a tapeworm."
    },
    {
        "text": "[Themes: Horror, Mystery, Humor, Lovecraftian, gumshoe, private investigator, adaptation, Lovecraft, horror, new mexico]\n\n> You look around\nThis is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.\n\nWait. . .there is something else. Your mind protected you\nfrom seeing it, at first, but now, you are mentally defenseless for what you see. Somewhere between a frog, a snake, and a squid is this Thing. . .this Servitor. . .the word insanely pops into your\nmind. Its numerous tentacles squirm but two of them hold a strange flute to a wretched beak in its trunk. This is the source of the music. . .this is the source of madness.\n\nOn the altar is a silver chalice.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You talk to Servitor\nYou doubt you speak its language. Plus, you are too entranced by the insane flute melodies to speak.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You break flute\nThat would hurt your hands.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You break the flute with the cleaver\nThere's no way to break the flute with the cleaver.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You check your inventory\nYou are carrying:\na sickle\na black robe (being worn)\na jar of chili powder\na cleaver\na flashlight (providing light)\na scrapbook\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nThe flute melody infects your brain like a tapeworm.\n\n> You put the jar in the trenchcoat\nYou put the jar of chili powder into the trenchcoat.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You open the jar\nThe lid is screwed on too tight.\n\nThe flute melody infects your brain like a tapeworm.\n\n> You throw the jar at Servitor\n(first taking the jar of chili powder)\nYou chuck the jar as hard as you can at the horrible beast. The glass of the jar explodes and it finally stops playing its demonic flute in order to begin a series of phlegmy sneezes. Defeated, the creature and its flute evaporate."
    },
    {
        "text": "> You look around\nThis is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.\n\nOn the altar is a silver chalice.\n\n> You examine the chalice\nThis is certainly a treasure, if only it hadn't once been filled with blood. The chalice is stained around the rim with bloody lip prints.\n\n> You take the chalice\nYou take the silver chalice from the altar.\n\n> You examine the altar\nThe furnishing is an altar carved of thick wood. Maybe once it was a shipboard end-table, but now, it's an altar to unspeakable gods. Surrounding this dark thing are hundreds of tiny bones.\n\n> You examine the bones\nUpon closer examination, you see they are small human bones. . .children's bones. . .and a shiver runs down your spine.\n\n> You go upward\nThe sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.\n\n> You remove the robe\nYou take off the black robe.\n\n> You go to the north-west\nThis is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.\n\nYou can see a broken padlock here.\n\n> Go east\nThis path ascends to the west toward the old farms of the desert and it descends into the small canyon to the northeast.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You take the padlock\n(putting the scrapbook into the trenchcoat to make room)\nYou pick up the broken padlock from the ground.\n\n> Go east\nThis path ascends to the west toward the old farms of the desert and it descends into the small canyon to the northeast.\n\nStrange noises echo around you.\n\n> You go northeast\nYou are walking through a hidden crevice. Passages lead north and southwest.\n\nVultures circle above you.\n\n> Go north\nThis is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.\nThe sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.\n\nStrange noises echo around you.\n\n> You look at the obelisk\nIt is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go to the west\nThis is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.\n\nYou think you hear talking but cannot make it out.\n\n> You go to the northwest\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Grover Cotterell here.\n\nA vulture circles lazily far overhead.\n\nIchabod Johnson arrives from the southwest.\n\nIchabod squints in the sunlight glaring from Grover's head.\n\nGrover mumbles something about being a banker.\n\n> You go to the north\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nYou can also see Lambert Gunning, Orion Skinner and Claire Prebo here.\n\nFilipo rearranges some geodes.\n\nLambert asks Orion for some change.\n\nOrion looks at you expectingly.\n\nClaire smells her finger.\n\n> You show the robe to Filipo\n\"That's an interesting black robe.\"\n\nFilipo eyes you suspiciously.\n\nOrion Skinner goes south.\n\nLambert Gunning goes south.\n\nClaire wonders aloud if she remembered to buy tampons.\n\n> You show the sickle to Filipo\n\"Ah yes. . .an enchanted sickle. I've seen them once or twice around these parts.\", he gives a mischievous grin as he says this. \"They have interesting qualities. They are used to chop paths through grain and wheat; perhaps this one will open a way for you sometime.\"\n\nFilipo rearranges some geodes.\n\nClaire smells her finger.\n\n> You go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou can see Lambert Gunning and Orion Skinner here.\n\nThe sound of a bus engine can be heard in the distance.\n\nLambert Gunning goes east.\n\nOrion stoops to tie his shoelace.\n\n> You go east\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nYou can see Lambert Gunning here.\n\nThe sun beats down on you despite the season.\n\nLambert looks around for a cigarette butt or a coin, perhaps.\n\n> You go north\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nVultures circle above you.\n\n> You break the door with the sickle\nThe sickle easily breaks the vault door open. It's as if it was made for the job.\n\nYou think you hear talking but cannot make it out.\n\n> You go to the northwest\n(first opening the vault door)\n\nThis is a large chamber carved into the hill. Plain sarcophagi hold 19 members of either the Diaz or the Vilheila-Pareira families. One sarcophagus looks empty, however. The exit is to the southeast.\n\n> You examine the sarcophagus\nWhich do you mean, the empty sarcophagus or the closed sarcophagi?\n\n> Empty sarcophagus\nThis sarcophagus has never been used. It is engraved Bernardo de\nDiaz 1580 -  but there's no date of death.\n\nYou find it interesting that there are no actual Bernardo de Diaz's buried here and the only mention of the name is on an empty sarcophagus with a birthdate 344 years ago.\n\n> You examine the closed sarcophagus\nEach of the 19 closed sarcophagi hold the mummified remains of either a Diaz famly member or a Vilheila-Pareira family member. Their dates of births and deaths accompany their Spanish names.\n\n> You open the closed sarcophagus\nYou peek into a couple of the sarcophagi and find only mummified remains; nothing surprising, really.\n\n> Go southeast\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nThe sun beats down on you despite the season.\n\n> You go north\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nYou think you hear talking but cannot make it out.\n\n> You go to the northeast\nThis once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.\nCasa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.\n\nStrange noises echo around you.\n\n> Go north\nYou have a hunch there's more to be investigated before questioning Bernardo Diaz VI.\n\nVultures circle above you.\n\n> You go south\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nTumbleweed tumbles by.\n\n> You go east\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nThe sun beats down on you despite the season.\n\n> Go northeast\nThis is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.\n\nKeeping watch over his store is Philip himself. He eyes you cautiously.\n\nYou can also see Lambert Gunning, Liana Farnham and Tate Walczak here.\n\nPhilip sticks his head into a barrel and breathes deeply the tobacco fumes.\n\nLambert stares at you.\n\nTate discusses the merits of owning a vacuum cleaner with Liana.\n\nLiana looks around.\n\n> You talk to Philip\nMaybe you should ask or tell about more specific topics.\n\nPhilip mumbles something about not being able to find his pipe.\n\nLambert Gunning goes southwest.\n\nTate discusses the merits of owning a vacuum cleaner with Liana.\n\nLiana looks around.\n\n> You ask Philip about the vault\n\"I don't know much about vault.\"\n\nPhilip clears his throat.\n\nLiana Farnham goes southwest.\n\nTate looks to the south.\n\n> You ask Philip about Servitor\n\"I don't know much about servitor.\"\n\nPhilip inspects his wares.\n\nTate looks to the north.\n\n> You ask Philip about diaz\n\"I don't know much about diaz.\"\n\nPhilip inspects his wares.\n\nTate sighs heavily.\n\n> You go to the southwest\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nYou can see Liana Farnham and Lambert Gunning here.\n\nA vulture circles lazily far overhead.\n\nOrion Skinner arrives from the southwest.\n\nLambert asks Orion for some change.\n\nOrion combs his hair.\n\nLiana adjusts her wig.\n\n> You talk to Liana\nYou speak to the woman about the missing men, particularly the one you've been hired to find (David Lane). She doesn't know anything about the missing men, but she tells you that mysterious things have been known to happen in the old farms south of town. \"If you're looking for missing people, maybe you should look there.\"\n\nThe sun beats down on you despite the season.\n\nLambert asks Orion for some change.\n\nOrion fumbles with tucking in his shirt.\n\nLiana checks her make-up in a compact mirror.\n\n> You go west\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nThe sound of a motor can be heard far in the distance, behind the buildings somewhere.\n\n> Go west\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nA vulture circles lazily far overhead.\n\n> You go north\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nYou can also see Ichabod Johnson and Claire Prebo here.\n\nFilipo eyes you suspiciously.\n\nIchabod coughs into his fist.\n\nClaire wonders aloud if she remembered to buy tampons.\n\n> You talk to Filipo\nMaybe you should ask or tell about more specific topics.\n\nFilipo rearranges some geodes.\n\nIchabod scratches his mustache.\n\nClaire wonders aloud if she remembered to buy tampons.\n\n> You ask Filipo about the valut\n\"I don't know much about valut.\"\n\nFilipo sweeps the floor with an old broom.\n\nClaire Prebo goes south.\n\nIchabod stares at you blankly.\n\n> You ask Filipo about the vault\n\"I don't know much about vault.\"\n\nFilipo mumbles something about needing more mandrake for the boss.\n\nIchabod coughs into his fist.\n\n> You go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou can see Claire Prebo here.\n\nThe sun beats down on you despite the season.\n\nClaire rummages around in her purse.\n\n> Go south\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nThe sound of a bus engine can be heard in the distance.\n\n> You go west\nThis is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.\n\nTending bar is the owner, Gilberto Diaz.\n\nJames Whitlock sits in the shadows, drunk.\n\nCrackling through static on the radio, you hear, \"A tornado in Lorain, Ohio has killed 78 people. . .\"\n\nGilberto wipes down the tables.\n\n> You talk to Gilberto\nMaybe you should ask or tell about more specific topics.\n\nCrackling through static on the radio, you hear, \"German serial killer Fritz Haarmann has been sentenced to death. . .\"\n\nGilberto wipes down the bar.\n\n> You ask Gilberto about the vault\n\"I don't know much about vault.\"\n\nCrackling through static on the radio, you hear, \"A Soviet-backed coup attempt has failed in Estonia. . .\"\n\nGilberto eyes you blankly.\n\n> You ask Gilberto about the farms\n\"I don't know much about farms.\"\n\nCrackling through static on the radio, you hear, \"Nellie Taylor Ross of Wyoming has been elected as the U.S.'s first woman governor. . .\"\n\nGilberto pours another drink for James.\n\n> You go to the east\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nYou can see Claire Prebo here.\n\nThe sun beats down on you despite the season.\n\nClaire takes an eclaire from her purse, takes a bite, and replaces it.\n\n> Go east\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nThe sound of a bus engine can be heard in the distance.\n\n> You go east\nInside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.\n\nIn the center of this chamber is a rather horrible statue carved from basalt.\n\nReading in the back of the chapel is Father Alonso Vilheila-Pareira.\n\nYou can also see Liana Farnham, Grover Cotterell and Clarinda Fisch here.\n\nFather Alonso lights a cigarette.\n\nGrover jingles change in his pockets.\n\nLiana adjusts her wig.\n\nClarinda looks to the east.\n\n> You talk to Grover\nThis man doesn't have much to say save for a warning. \"Don't go around asking too many questions in Castronegro. . .fuckface.\"\n\nFather Alonso chuckles softly to himself, evidently about something he's reading.\n\nGrover straightens his tie.\n\nLiana adjusts her wig.\n\nClarinda eyes you flirtatiously.\n\n> You talk to Clarinda\n\"Don't you think it's strange for a small town like this to be able to support a specialty occult shop?\"\n\nFather Alonso turns the page of the book he is reading.\n\nGrover Cotterell goes west.\n\nClarinda Fisch goes west.\n\nLiana checks her make-up in a compact mirror.\n\n> You talk to Alonso\nMaybe you should ask or tell about more specific topics.\n\nFather Alonso lights another candle and places it near him.\n\nLiana eyes you flirtatiously.\n\n> You show sickle to Alonso\n\"That doesn't look like an ordinary sickle. In fact, I've heard of enchanted sickles around these parts that can not only break bones, but even break open doors at times.\"\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\nLiana checks her make-up in a compact mirror.\n\n> You show the robe to Alonso\nHis face grows grim. \"You shouldn't be asking about such things. Nor should you carry that or, Dios forbid, wear it.\"\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\nLiana checks her make-up in a compact mirror.\n\n> Go west\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Grover Cotterell here.\n\nThe sun beats down on you despite the season.\n\nOrion Skinner arrives from the north.\n\nGrover smells his hankerchief.\n\nOrion stoops to tie his shoelace.\n\n> You go to the north-west\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou can see Claire Prebo here.\n\nTumbleweed tumbles by.\n\nClaire Prebo goes southeast.\n\n> You go north\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nYou can also see Ichabod Johnson here.\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\nIchabod whistles tunelessly.\n\n> You show chalice to  Filipo\n\"I wouldn't show that to anyone else around here. . .if you value your life.\"\n\nFilipo sweeps the floor with an old broom.\n\nIchabod twirls his mustache.\n\n> You check your inventory\nYou are carrying:\na broken padlock\na silver chalice\na sickle\na black robe\na cleaver\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\nIchabod whistles tunelessly.\n\n> You search the books\nClandestinely, you spy a folded paper among the trinkets. When Filipo isn't looking, you are able to snatch it and pocket it.\n\nFilipo mumbles something about needing more mandrake for the boss.\n\nIchabod whistles tunelessly.\n\n> You examine paper\nFilipo~ I will be needing mandrake with my next shipment.\n~B.\n\nFilipo sweeps the floor with an old broom.\n\nIchabod Johnson goes south."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, Comedy, Lovecraftian, call of cthulhu, horror]\n\n> Look around\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nFilipo rearranges some geodes.\n\n> You search the shelves\nOn the surface, nothing here seems to be of any use to you in solving this mystery, but maybe the shelves can be searched when Filipo isn't looking.\n\nFilipo mumbles something about needing more mandrake for the boss.\n\n> You ask Filipo about the mandrake\n\"I don't know much about mandrake.\"\n\nFilipo eyes you suspiciously.\n\n> You go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou can see Ichabod Johnson and Grover Cotterell here.\n\nDust swirls around the buildings.\n\nIchabod squints in the sunlight glaring from Grover's head.\n\nGrover mumbles something about being a banker.\n\n> Go south\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nYou can see Claire Prebo here.\n\nYou think you hear your name whispered somewhere near you but it might've just been the wind.\n\nClaire rummages around in her purse.\n\n> Go south\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nThe sun beats down on you despite the season.\n\n> Go southeast\nThis is a road that leads from Castronegro to the northwest and the desert farms to the south. The landscape around you is bleak and the sun beats down on you oppressively.\n\n> You go south\nThis is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.\n\n> You go southeast\nThe sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.\n\n> You open the trap door\nThat's already open."
    },
    {
        "text": "[Themes: Horror, Humor, Mystery, Lovecraftian, gumshoe, Comedy]\n\n> Go downwards\nThis is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.\n\n> You examine the altar\nThe furnishing is an altar carved of thick wood. Maybe once it was a shipboard end-table, but now, it's an altar to unspeakable gods. Surrounding this dark thing are hundreds of tiny bones.\n\n> You examine the bones\nUpon closer examination, you see they are small human bones. . .children's bones. . .and a shiver runs down your spine.\n\n> You examine the straw\nThe straw is matted mostly in a path between the exit and the crates.\n\n> Inventory\nYou are carrying:\na mysterious letter\na broken padlock\na silver chalice\na sickle\na black robe\na cleaver\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\n> Examine book\nWhich do you mean, the scrapbook or the paperback book?\n\n> You look at the paperback book\n>\n\n> Open paperback book\n(putting the cleaver into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> You read the letter\nFilipo~ I will be needing mandrake with my next shipment.\n~B."
    },
    {
        "text": "> You look at your surroundings\nThe sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.\n\n> You go north\nThis is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.\nThe sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.\n\nYou think you hear talking but cannot make it out.\n\n> You look at the obelisk\nIt is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.\n\nStrange noises echo around you.\n\nOrion Skinner arrives from the west.\n\nOrion looks at you expectingly.\n\n> You talk to Orion\n\"The Diaz family not only keep their dead in their mausoleum, but also their secrets.\"\n\nVultures circle above you.\n\nOrion checks his watch.\n\n> You examine the sand\nAround the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nOrion Skinner goes west.\n\n> Go west\nThis is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.\n\nYou can see Orion Skinner here.\n\nYou think you hear talking but cannot make it out.\n\nOrion stoops to tie his shoelace.\n\n> Go east\nThis is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.\nThe sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.\n\nDust swirls about and gets into your eyes.\n\n> You examine the sand\nAround the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.\n\nStrange noises echo around you.\n\n> You search the sand\nSifting around the sand, you find a broken pocket watch. Maybe there's more to be found. . .\n\nVultures circle above you.\n\nOrion Skinner arrives from the west.\n\nOrion stoops to tie his shoelace.\n\n> You take the watch\nYou already have that.\n\nYou think you hear talking but cannot make it out.\n\nOrion fumbles with tucking in his shirt.\n\n> Inventory\nYou are carrying:\na broken pocket watch\na mysterious letter\na broken padlock\na silver chalice\na sickle\na black robe\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na cleaver\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nVultures circle above you.\n\nOrion Skinner goes west.\n\n> Examine watch\nIt's a Hamilton series Art Deco 14 karat gold pocket watch. It's no longer running and it's stuck on 4:20 am. On the back, the letters D.L. are engraved.\n\nYou think you hear talking but cannot make it out.\n\n> Go northwest\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Orion Skinner here.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\nOrion fumbles with tucking in his shirt.\n\n> You show the watch to Orion\n\"Thank you for showing me your broken pocket watch.\"\n\nA chill wind blows; the only sign of winter you've felt here.\n\nOrion Skinner goes northeast.\n\n> You look at the fountain\nIt may once have looked marvelous, but now, it's a sad reminder of a happier time.\n\nYou hear footsteps behind you, but when you turn to look, you see no one.\n\nLambert Gunning arrives from the north.\n\nLambert sneezes obnoxiously.\n\n> You look at Lambert\nLambert hasn't been anything to write home about since he left home.\n\nThe sun beats down on you despite the season.\n\nLambert wipes his nose on his shirt.\n\n> Search fountain\nYou find nothing of interest.\n\nDust swirls around the buildings.\n\nLambert stares at you.\n\n> You go east\nInside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.\n\nIn the center of this chamber is a rather horrible statue carved from basalt.\n\nReading in the back of the chapel is Father Alonso Vilheila-Pareira.\n\nYou can also see Claire Prebo and Liana Farnham here.\n\nFather Alonso lights a cigarette.\n\nLiana Farnham goes west.\n\nClaire Prebo goes west.\n\n> You examine the statue\nIt depicts a distorted human figure wrapped partly in a shroud with a sickle in the left hand. The right hand points southeast.\n\nFather Alonso turns the page of the book he is reading.\n\n> You go to the southeast\nYou can't go that way.\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\n> You look se\nYou see nothing unexpected in that direction.\n\nFather Alonso lights a cigarette.\n\n> You turn the statue\nIt is fixed in place.\n\nFather Alonso lights a cigarette.\n\n> You search the statue\nYou find nothing of interest.\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\n> You wear the robe\nYou put on the black robe.\n\nFather Alonso chuckles softly to himself, evidently about something he's reading.\n\n> You hold the sickle\nYou already have that.\n\nFather Alonso lights another candle and places it near him.\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\nFather Alonso chuckles softly to himself, evidently about something he's reading.\n\n> Inventory\nYou are carrying:\na broken pocket watch\na mysterious letter\na broken padlock\na silver chalice\na sickle\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na cleaver\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\nFather Alonso puts his face close to the page he's reading as if his sight is very bad.\n\n> You go west\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou hear footsteps behind you, but when you turn to look, you see no one.\n\nClarinda Fisch arrives from the west.\n\nLiana adjusts her wig.\n\n> You go north\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Clarinda Fisch here.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nClarinda sighs sweetly.\n\n> Go north\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nDust swirls around the buildings.\n\n> You go north\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nDust swirls about and gets into your eyes.\n\n> Go northwest\nYou can't go that way.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go north\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nVultures circle above you.\n\n> Go northwest\nThis is a large chamber carved into the hill. Plain sarcophagi hold 19 members of either the Diaz or the Vilheila-Pareira families. One sarcophagus looks empty, however. The exit is to the southeast.\n\n> You search the sarcophagus\nWhich do you mean, the empty sarcophagus or the closed sarcophagi?\n\n> Empty\nIt is fixed in place.\n\n> You go southeast\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nDust swirls about and gets into your eyes.\n\n> Go south\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nYou think you hear talking but cannot make it out.\n\n> You go south\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nThe sun beats down on you despite the season.\n\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Clarinda Fisch here.\n\nThe sound of a motor can be heard far in the distance, behind the buildings somewhere.\n\nClarinda eyes you flirtatiously.\n\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\n> You go to the west\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou can see Liana Farnham here.\n\nYou hear footsteps behind you, but when you turn to look, you see no one.\n\nLiana adjusts her wig.\n\n> You go west\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see a sign here.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\n> Go south\nThe Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.\n\nOrganizing some paperwork (in a futile attempt at professionalism) is the hotel's owner, Juan Herrera.\n\nJuan checks his fly.\n\n> You show the watch to Juan\n\"That's an interesting broken pocket watch.\"\n\nJuan checks his fly.\n\n> You ask Juan about the watch\n\"I don't know much about watch.\"\n\nJuan looks around the room at no one in particular.\n\n> You go west\nThis is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.\n\nIn the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.\n\n> You look at the island\nIt's a heavy wooden trolley with the wheels removed.\n\n> You examine the ingredients\nYou've never really been into the southwestern flavor.\n\n> You look at the appliances\nThey are out-of-date even for this decade.\n\n> You check your inventory\nYou are carrying:\na broken pocket watch\na mysterious letter\na broken padlock\na silver chalice\na sickle\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na cleaver\na scrapbook\nthe archive key\na torn envelope\na paperback book\na revolver\nan ashtray\na Times clipping\na Herald clipping\na train ticket\na holster (being worn)\n\n> You take all\ncleaver: (putting the sickle into the trenchcoat to make room)\nYou take the cleaver from the trenchcoat.\nscrapbook: (putting the silver chalice into the trenchcoat to make room)\nYou take the scrapbook from the trenchcoat.\narchive key: (putting the broken padlock into the trenchcoat to make room)\nYou take the archive key from the trenchcoat.\ntorn envelope: (putting the mysterious letter into the trenchcoat to make room)\nYou take the torn envelope from the trenchcoat.\npaperback book: (putting the broken pocket watch into the trenchcoat to make room)\nYou take the paperback book from the trenchcoat.\nrevolver: (putting the cleaver into the trenchcoat to make room)\nYou take the revolver from the trenchcoat.\nashtray: (putting the scrapbook into the trenchcoat to make room)\nYou take the ashtray from the trenchcoat.\nTimes clipping: (putting the archive key into the trenchcoat to make room)\nYou take the Times clipping from the trenchcoat.\nHerald clipping: (putting the torn envelope into the trenchcoat to make room)\nYou take the Herald clipping from the trenchcoat.\ntrain ticket: (putting the paperback book into the trenchcoat to make room)\nYou take the train ticket from the trenchcoat."
    },
    {
        "text": "[Themes: Mystery, Humor, Horror, call of cthulhu, horror, private investigator, Comedy]\n\n> Look around\nThis is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.\n\nIn the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.\n\n> You take ingredients\nThat's hardly portable.\n\n> You go east\nA round table dominates this dining room. It makes you depressed imagining being a guest at this hotel. Doorways lead north and west. To the west, you can see the kitchen.\n\nThis is a crude lounge with cheap furniture. Doorways lead west and south.\n\nThe Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.\n\nArranging dried flowers in a vase (in a futile attempt at cheer) is the hotel's owner, Juan Herrera.\n\nJuan checks the lock on the west door.\n\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see Grover Cotterell and a sign here.\n\nTumbleweed tumbles by.\n\nGrover jingles change in his pockets.\n\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou can see Claire Prebo here.\n\nThe sun beats down on you despite the season.\n\nLambert Gunning arrives from the southeast.\n\nLambert stares at you.\n\nClaire looks around nervously.\n\n> You go north\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nYou can see Liana Farnham here.\n\nYou think you hear your name whispered somewhere near you but it might've just been the wind.\n\nLiana adjusts her wig.\n\n> You go west\nThis is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.\n\nTending bar is the owner, Gilberto Diaz.\n\nJames Whitlock sits in the shadows, drunk.\n\nCrackling through static on the radio, you hear, \"German serial killer Fritz Haarmann has been sentenced to death. . .\"\n\nGilberto wipes down the tables.\n\n> You look at the radio\nIt's an Atwater Kent tube radio with external speaker.\n\nThe radio is currently switched on.\n\nCrackling through static on the radio, you hear, \"A tornado in Lorain, Ohio has killed 78 people. . .\"\n\nGilberto wipes down the bar.\n\n> You turn off the radio\nGilberto shouts at you, \"Hands off the radio, jackass!\"\n\nCrackling through static on the radio, you hear, \"The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . .\"\n\nGilberto wipes down the bar.\n\n> You move the radio\nIt is fixed in place.\n\nCrackling through static on the radio, you hear, \"A tornado in Lorain, Ohio has killed 78 people. . .\"\n\nGilberto wipes down the bar.\n\n> You go to the west\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou can see Liana Farnham and Lambert Gunning here.\n\nA vulture circles lazily far overhead.\n\nLambert Gunning goes north.\n\nLiana adjusts her wig.\n\nThis is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.\n\nYou can see a sign here.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> Go west\nThat would take you too far out of town.\n\nDust swirls around the buildings.\n\n> Go northeast\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nYou can see Liana Farnham here.\n\nEerie silence suddenly surrounds you.\n\nLiana checks her make-up in a compact mirror.\n\nThis is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.\n\nYou can see Claire Prebo here.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\nClaire Prebo goes northwest.\n\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nYou can see Liana Farnham and Lambert Gunning here.\n\nEerie silence suddenly surrounds you.\n\nLambert Gunning goes east.\n\nLiana Farnham goes northwest.\n\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nThe sun beats down on you despite the season.\n\nThis is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.\n\nKeeping watch over his store is Philip himself. He eyes you cautiously.\n\nYou can also see Orion Skinner and Tate Walczak here.\n\nPhilip eyes you suspiciously.\n\nOrion Skinner goes southwest.\n\nTate checks a map and looks around, confused.\n\n> You examine the barrels\nThere are about a dozen barrels of pure tobacco here.\n\nPhilip sticks his head into a barrel and breathes deeply the tobacco fumes.\n\nTate scratches his head.\n\n> Search barrels\nYou make a motion as if examining the fine strains of tobacco, but you really take a good search around and inside the barrels as best you can.\n\nSure enough, you find a crude wooden pipe which you deftly pocket.\n\nPhilip inspects his wares.\n\nTate scratches his head.\n\n> You look at the pipe\nIt is a simple, functional pipe carved hastily from a small chunk of wood. It appears to have been used at least a few times. It smells of tobacco.\n\nPhilip looks around his establishment, clearly pleased with himself.\n\nTate looks to the north.\n\n> You show pipe to Philip\n\"Hey! That's the pipe I lost!\"\n\nPhilip mumbles something about not being able to find his pipe.\n\nTate looks to the south.\n\n> You ask Philip about pipe\n\"I don't know much about pipe.\"\n\nPhilip inspects his wares.\n\nTate looks at you, questioningly.\n\n> You ask Philip about the tobacco\n\"I don't know much about tobacco.\"\n\nPhilip mumbles something about not being able to find his pipe.\n\nTate looks at you, questioningly.\n\n> You talk to Tate\n\"I'm as lost as you.\"\n\nPhilip mumbles something about not being able to find his pipe.\n\nTate scratches his head.\n\n> You give the pipe to Philip\nHe takes the pipe. \"Thank you for finding it.\", he says, \"Listen, here's a word of advice. Avoid uncovering secrets in this town.\nIt'll only get you into trouble. Bernardo sees all. You never know who's a spy for him. . .\"\n\nPhilip inspects his wares.\n\nTate checks a map and looks around, confused.\n\n> You ask Tate about the map\n\"I don't know much about map.\"\n\nPhilip mumbles something about not being able to find his pipe.\n\nTate Walczak goes southwest.\n\n> You ask Philip about Bernardo\n\"I don't know much about bernardo.\"\n\nPhilip sticks his head into a barrel and breathes deeply the tobacco fumes.\n\n> Search barrels\nYou find nothing of interest.\n\nPhilip inspects his wares.\n\n> You go northwest\nThis is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.\n\nYou can see Tate Walczak here.\n\nThe sound of a motor can be heard far in the distance, behind the buildings somewhere.\n\nClaire Prebo arrives from the west.\n\nTate sighs heavily.\n\nClaire smells her finger.\n\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nVultures circle above you.\n\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nStrange noises echo around you.\n\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nYou think you hear talking but cannot make it out.\n\nYou can't go that way.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go northwest\nYou can't go that way.\n\nYou think you hear talking but cannot make it out.\n\n> Go northeast\nThis once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.\nCasa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You search the flowerpots\nYou find nothing of interest.\n\nStrange noises echo around you.\n\n> You move the flowerpots\nIt is fixed in place.\n\nVultures circle above you.\n\n> You move the vines\nIt is fixed in place.\n\nYou think you hear talking but cannot make it out.\n\n> You search vines\nYou find nothing of interest.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> Go north\nYou have a hunch there's more to be investigated before questioning Bernardo Diaz VI.\n\nThe sun beats down on you despite the season."
    },
    {
        "text": "[Themes: Humor, Mystery, Horror, Lovecraft, call of cthulhu, Lovecraftian]\n\n> You look around\nThis once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.\nCasa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.\n\nYou think you hear talking but cannot make it out.\n\n> You go to the southwest\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You look at the chalice\nThis is certainly a treasure, if only it hadn't once been filled with blood. The chalice is stained around the rim with bloody lip prints.\n\nStrange noises echo around you.\n\n> You open watch\nThat's not something you can open.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go south\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nYou can see Liana Farnham here.\n\nYou think you hear talking but cannot make it out.\n\nLiana breathes in deeply.\n\n> You go south\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nTumbleweed tumbles by.\n\n> Go west\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nA vulture circles lazily far overhead.\n\n> You go north\nThis is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.\n\nOn the small table are a Balinese statuette and a small sign.\n\nAs if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.\n\nFilipo dusts the Haitian voodoo dolls while whispering softly to them.\n\n> You look at the statuette\nIt's a Balinese temple guardian demon. You've no idea why you know that.\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\n> You search the statuette\nYou find nothing of interest.\n\nFilipo dusts the Haitian voodoo dolls while whispering softly to them.\n\n> Move statuette\nNothing obvious happens.\n\nFilipo rearranges some geodes.\n\n> You read the sign\nThe Tomb: Proprietor Filipo Diaz\n\nFilipo sweeps the floor with an old broom.\n\n> You move the table\nIt is fixed in place.\n\nFilipo eyes you suspiciously.\n\n> You look under the table\nYou find nothing of interest.\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\n> Go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\n> Go south\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You go south\nThis is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.\n\nDust swirls around the buildings.\n\n> You take the statuette\nNot a good idea with Filipo watching.\n\nFilipo mumbles something about needing more mandrake for the boss.\n\n> You read the letter\nFilipo~ I will be needing mandrake with my next shipment.\n~B.\n\nFilipo straightens some ancient Tarot cards on a shelf.\n\n> You ask Filipo about the boots\n\"I don't know much about boots.\"\n\nFilipo rearranges some geodes.\n\n> You go south\nThis is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.\n\nThe sun beats down on you despite the season.\n\n> Go southwest\nYou can't go that way.\n\nYou hear the muffled sounds of a radio playing from within one of the buildings.\n\n> Go west\nThis is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.\n\nTending bar is the owner, Gilberto Diaz.\n\nJames Whitlock sits in the shadows, drunk.\n\nCrackling through static on the radio, you hear, \"Nellie Taylor Ross of Wyoming has been elected as the U.S.'s first woman governor. . .\"\n\nGilberto eyes you blankly.\n\n> Go east\nThis is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.\n\nThe sound of a bus engine can be heard in the distance.\n\n> You go to the east\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nEerie silence suddenly surrounds you.\n\n> You go to the south-east\nThis is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.\n\nThe sun beats down on you despite the season.\n\n> Go east\nThis is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.\nThe sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.\n\nYou can see Grover Cotterell here.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nGrover straightens his tie.\n\n> You look se\nYou see nothing unexpected in that direction.\n\nYou think you hear talking but cannot make it out.\n\nGrover dabs his head with a hankerchief.\n\n> You look at the obelisk\nIt is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.\n\nStrange noises echo around you.\n\nGrover Cotterell goes west.\n\n> You look at the carvings\nIt is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.\n\nYou think you hear talking but cannot make it out.\n\n> You turn the obelisk\nIt is fixed in place.\n\nThe sun beats down on you despite the season.\n\nGrover Cotterell arrives from the west.\n\nGrover smells his hankerchief.\n\n> You look at the shadow\nYou find nothing of interest.\n\nStrange noises echo around you.\n\nGrover Cotterell goes west.\n\nYou can't see any such thing.\n\n> You look at the sand\nAround the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.\n\nA chill wind blows; the only sign of winter you've felt here.\n\n> You examine the debris\nYou also find a broken pair of spectacles with gold rims. There still could be more. . .\n\nVultures circle above you.\n\n> You examine spectacles\nYou've no idea who owns these glasses, but you do remember being told Dr. William Godfrey wore glasses. . .\n\nDust swirls about and gets into your eyes.\n\n> You look at the debris\nYou hear nothing unexpected.\n\nStrange noises echo around you.\n\nYou find no more objects, but you do suddenly notice that some of the tracks lead from the obelisk to the south.\nYou feel you have enough information to now interrogate Bernardo Diaz VI. You remember the bus driver telling you that his casa is to the north of town.\n\nYou think you hear talking but cannot make it out.\n\n> You go to the northeast\nThis is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.\n\nYou can see Grover Cotterell here.\n\nDust swirls about and gets into your eyes.\n\nGrover Cotterell goes east.\n\nThis is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.\n\nA chill wind blows; the only sign of winter you've felt here.\n\nLiana Farnham arrives from the north.\n\nLiana checks her watch.\n\nThis is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.\n\nThe sound of a bus engine can be heard in the distance.\n\nThis is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.\n\nVultures circle above you.\n\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nStrange noises echo around you.\n\nYou can't go that way.\n\nVultures circle above you."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, horror, Lovecraft, adaptation]\n\n> Describe the surroundings\nThe road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.\n\nDust swirls about and gets into your eyes.\n\n> You go north\nThis road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.\n\nThe sun beats down on you despite the season.\n\n> Go north\nThe sun sets as you enter Casa de Diaz.\n\n(first opening the iron door)\nEntrance Hall\nThis is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.\n\n> You search rug\nYou find the old key!\n\n> Go northwest\nThis is deep within the bowels of Casa de Diaz. The hall stretches to the southeast. Doors sit in the northeast, east, and south walls and a doorway leads open to the north. A narrow staircase leads upwards. Everything is covered with a thick layer of dust.\n\n> Go up\nThis is a dark, dusty hall upstairs in Casa de Diaz. Doors lead west and south. Rickety stairs lead back down to the first floor from here.\n\n> Go west\n(first opening the bedroom door)\n\nThis is a blankly furnished room. Only a single cot stands testament that this was once a guest bedroom. The door is to the east.\n\n> You go south\n(first opening the master bedroom door)\n\nThis may very well be the sleeping chamber of Bernardo Diaz VI; for you can't imagine who else would call this bedroom his. A large, canopied bed dominates the room and a dresser is squeezed in as well. The door is to the north.\n\n> You open the dresser\nYou open the dresser, revealing a red robe, set of old clothes and a pair of boots.\n\n> You take robe\n(the black robe)\nYou already have that.\n\n> You take the red robe\n(putting the revolver into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> Search clothes\n(the set of clothes)\nYou find nothing of interest.\n\n> You take the clothes\n(the set of clothes)\nYou already have that.\n\n> You take the boots\n(putting the ashtray into the trenchcoat to make room)\nYou're carrying too many things already."
    },
    {
        "text": "[Themes: Horror, Mystery, Humor, Lovecraft, Lovecraftian, private investigator, gumshoe]\n\n> Look around\nThis may very well be the sleeping chamber of Bernardo Diaz VI; for you can't imagine who else would call this bedroom his. A large, canopied bed dominates the room and a dresser is squeezed in as well. The door is to the north.\n\n> You go to the north\nThis is a dark, dusty hall upstairs in Casa de Diaz. Doors lead west and south. Rickety stairs lead back down to the first floor from here.\n\n> You go to the east\n(first opening study door)\nIt seems to be locked.\n\n> You unlock door\nWhat do you want to unlock the kitchen door with?\n\n> You go north\nThe dining table is a large wooden monstrosity and the tablecloth is purple velvet. This room is, obviously, the dining room, however, it is also the only room on this floor that appears to recently have been used. The tracks in the dust lead around the table and to the door in the east wall. A doorway opens to the south.\n\n> You examine tracks\nOne of them has a cross imprint in the heel.\n\n> You look at the table\nIt can easily seat twelve comfortably and any further amount uncomfortably.\n\n> Go east\n(first opening kitchen door)\nIt seems to be locked.\n\n> You go northeast\n(first opening the kitchen door)\nIt seems to be locked.\n\n> You go south\n(first opening den door)\n\nThis is a large, high-ceilinged room which may have once been well-funished but has now gone to pot. On one wall is a portrait of Bernardo de Diaz. There are doors to the north and east.\n\n> You look at what you're carrying with you\nYou are carrying:\nan old key\nthe broken spectacles\na train ticket\na Herald clipping\na Times clipping\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\nan ashtray\na revolver\na paperback book\na torn envelope\nthe archive key\na scrapbook\na cleaver\na broken pocket watch\na mysterious letter\na broken padlock\na silver chalice\na sickle\na holster (being worn)\n\n> You look at the portrait\nIt is a portrait of Bernardo de Diaz. . .or is it one of his descendants; the Diaz's numbered two through six? On his shoulder is a deformed rat or marmoset seemingly whispering in his ear. The Bernardo Diaz in the painting wears a large ruby ring on his left hand which, even when your meager flashlight beam is turned away, seems to gleam or flash with a dim light of its own.\n\n> You look at the ring\nIt is fixed in place.\n\nYou can't see any such thing.\n\n> You go east\n(first opening the den door)\n\nThis is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.\n\n> You go to the east\n(first opening the hall door)\n\nThis small room is filled with old furniture and cobwebs.\n\n> You examine the furniture\nNothing interesting here.\n\n> You examine the cobwebs\nThey're just cobwebs.\n\n> You go west\nThis is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.\n\n> Go north\n(first opening the study door)\nIt seems to be locked.\n\n> You unlock study door with old key\nYou unlock the study door.\n\n> Go north\n(first opening the study door)\n\nThis is a spacious room with wood panelled walls and a rotting carpet. Each wall has bookshelves stuffed with ancient books. Doors lead west and south.\n\n> You search the books\nPerusing at random, you see that none of the books are in English. Most are in Spanish, the rest in Latin or Greek. The subject matter, despite the language barrier, appears disturbing.\n\n> You search the carpet\nYou find the skeleton key!\n\n> You open the kitchen door with the skeleton key\nYou unlock the kitchen door.\n\n> You go to the north-east\n(first opening the kitchen door)\n\nThis kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.\n\n> You examine the stove\nA relic from another time. It is currently closed. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.\n\n> You open the stove\nYou open the wood-burning stove.\n\n> You look at the stove\nA relic from another time. It is currently open. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.\n\n> Search stove\nThe wood-burning stove is empty.\n\n> You look at the sideboard\nIt's an antique, for sure, but would need a lot of work to make it look good once again. As it is, it is caked in dust.\n\n> You examine the cabinets\nJust a husk of what they once were. Where the hell did the bottoms and doors go? This place is Bananatown."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, gumshoe, adaptation]\n\n> Go downward\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\n> You go to the east\n(first opening the laboratory door)\nIt seems to be locked.\n\n> Go south\n(first opening the sturdy door)\n\nThis strange room looks like it was to be a sub-basement that never materialized. Instead, a deep, wide, dark hole punctures the ground. The smell from the hole is indescribable and it sounds like a hundred crazy degenerates are wandering dark warrens within it. The door back to the basement is north.\n\nIn the dirt, near the hole to the warrens, is a new-looking key.\n\nStanding sentry by this horrible portal is some sort of insane cannibal. She eyes you hungrily.\n\n> You talk to the cannibal\nMaybe you should ask or tell about more specific topics.\n\n> You show the chalice to the cannibal\n(first taking the silver chalice)\n(putting the Times clipping into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> You take key\n(the lab key)\nThe insane cannibal woman seems to think you aren't a threat. . .\n\n(putting the Herald clipping into the trenchcoat to make room)\nYou pick up the lab key from the ground.\n\n> You go north\nThe insane cannibal seems to think you aren't a threat. . .\n\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\n> You unlock the laboratory door with the new key\nYou unlock the laboratory door.\n\n> Go east\n(first opening the laboratory door)\n\nThis is, finally, the most used room in the house. It's also the only one lit with electricity. Bare bulbs hang above you, casting a glare on the surroundings. An electric hum fills the air, causing you to taste copper. Tables line the walls, upon which sit various contraptions for various dark and unkown purposes. The only door is to the west.\n\nStanding among the other odd things is Bernardo Diaz VI. Or is it the orignal Bernardo de Diaz? He's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years. \"Hola.\", he greets you warmly.\n\n\"Yeah, hola yourself, sharky.\", you say to him. \"I just want\nto know what happened to David Lane.\"\n\n> Wait\nTime passes.\n\nBernardo looks at you quizically.\n\n> You talk to Diaz\nMaybe you should ask or tell about more specific topics.\n\n\"Don't look at me quizically.\", you tell him, \"David Lane disappeared and I'm sure as shit your little cult has something to do with it.\"\n\n> You wait awhile\nTime passes.\n\nBernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.\n\n> You show the chalice to Diaz\n(first taking the silver chalice)\n(putting the train ticket into the trenchcoat to make room)\n\"Si, that is what we use to drink the blood of our\nsacrifices. David Lane, the man for which you are looking, was especially delicious.\"\n\n> Inventory\nYou are carrying:\na silver chalice\na lab key\na skeleton key\nan old key\nthe broken spectacles\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na train ticket\na Herald clipping\na Times clipping\nan ashtray\na revolver\na paperback book\na torn envelope\nthe archive key\na scrapbook\na cleaver\na broken pocket watch\na mysterious letter\na broken padlock\na sickle\na holster (being worn)\n\n> You show the robe to Diaz\n\"Interesting.\"\n\n> You show the letter to Diaz\n(first taking the mysterious letter)\n(putting the broken spectacles into the trenchcoat to make room) \"Fantastic.\"\n\n> You show the herald clipping to Diaz\n(first taking the Herald clipping)\n(putting the old key into the trenchcoat to make room)\n\"That's an interesting Herald clipping.\"\n\n> You show the watch to Diaz\n(first taking the broken pocket watch)\n(putting the skeleton key into the trenchcoat to make room) \"Fantastic.\"\n\n> You show the cleaver to Diaz\n(first taking the cleaver)\n(putting the lab key into the trenchcoat to make room)\n\"That's an interesting cleaver.\"\n\n> You show the sickle to Diaz\n(first taking the sickle)\n(putting the silver chalice into the trenchcoat to make room)\n\"That's an interesting sickle.\""
    },
    {
        "text": "[Themes: Mystery, Horror, Humor, call of cthulhu, gumshoe, Lovecraft, new mexico, horror]\n\n> You look at your surroundings\nThis is, finally, the most used room in the house. It's also the only one lit with electricity. Bare bulbs hang above you, casting a glare on the surroundings. An electric hum fills the air, causing you to taste copper. Tables line the walls, upon which sit various contraptions for various dark and unkown purposes. The only door is to the west.\n\nStanding among the other odd things is Bernardo Diaz VI. Or is it the orignal Bernardo de Diaz? He's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years.\n\n> You examine the contraptions\nThere are various alchemical and electrical things on the tables, none of which you can figure out. A quick search might yield more. . .might not.\n\n> Search contraptions\nThe only thing you spy of immediate use is a cigar lighter which you quickly pocket.\n\n> You look at lighter\nIt is nickel-plated and maybe was once fancy but now it is dull and weathered. It would be amazing if it still worked.\n\nThe cigar lighter is currently switched off.\n\n> You switch lighter on\nYou switch the cigar lighter on.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Show glasses to Diaz\n(first taking the broken spectacles)\n(putting the mysterious letter into the trenchcoat to make room) You're carrying too many things already.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You switch lighter off\nYou switch the cigar lighter off.\n\n> You look at what you're carrying with you\nYou are carrying:\na cigar lighter\na sickle\na cleaver\na broken pocket watch\na Herald clipping\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na mysterious letter\na silver chalice\na lab key\na skeleton key\nan old key\nthe broken spectacles\na train ticket\na Times clipping\nan ashtray\na revolver\na paperback book\na torn envelope\nthe archive key\na scrapbook\na broken padlock\na holster (being worn)\n\n> You show the clipping to Diaz\n(the Herald clipping to Bernardo de Diaz)\n\"Thank you for showing me your Herald clipping.\"\n\n> You drop the clipping\n(the Herald clipping)\nDropped.\n\n> Show glasses to Diaz\n(first taking the broken spectacles)\n\"Wow.\"\n\n> You show sickle to Diaz\n\"That's an interesting sickle.\"\n\n> You show the watch to Diaz\n\"Interesting.\"\n\n> You show the letter to Diaz\n(first taking the mysterious letter)\n(putting the broken pocket watch into the trenchcoat to make room) \"Thank you for showing me your mysterious letter.\"\n\n> You show the chalice to Diaz\n(first taking the silver chalice)\n(putting the cleaver into the trenchcoat to make room)\n\"Si, that is what we use to drink the blood of our\nsacrifices. David Lane, the man for which you are looking, was especially delicious.\"\n\n> You examine the tables\nThey are sturdy, metal tables; the only somewhat-modern furnishings in this abode.\n\n> You show the scrapbook to Diaz\n(first taking the scrapbook)\n(putting the sickle into the trenchcoat to make room)\n\"Wow.\"\n\n> You look at the ring\nIt is an over-sized ruby ring; gaudy but genuinely priceless by the look of it.\n\n> You look at Diaz\nHe's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years.\n\n> You show lighter to Diaz\n\"That's an interesting cigar lighter.\"\n\n> Go west\nIn order to really stop this cult, you realize this house needs to be burned to the ground!\n\nYou turn to run like a little bitch, but Bernardo has other plans for you. Your back being turned, you've no idea what the spell looked like that he cast upon you."
    },
    {
        "text": "[Themes: Horror, Mystery, Humor, Lovecraft, call of cthulhu, Comedy, gumshoe, private investigator]\n\n> Describe the surroundings\nThis kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness."
    },
    {
        "text": "[Themes: Humor, Horror, Mystery, gumshoe, adaptation]\n\n> Go downward\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\n> You get the key\n(the lab key)\nThe insane cannibal woman seems to think you aren't a threat. . .\n\n(putting the Times clipping into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> You go north\nThe insane cannibal seems to think you aren't a threat. . .\n\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\n> Go south\nThis strange room looks like it was to be a sub-basement that never materialized. Instead, a deep, wide, dark hole punctures the ground. The smell from the hole is indescribable and it sounds like a hundred crazy degenerates are wandering dark warrens within it. The door back to the basement is north.\n\nIn the dirt, near the hole to the warrens, is a new-looking key.\n\nStanding sentry by this horrible portal is some sort of insane cannibal. She eyes you hungrily.\n\n> You drop the old key\nDropped.\n\n> You get the new key\nThe insane cannibal woman seems to think you aren't a threat. . .\n\nYou pick up the lab key from the ground.\n\n> Go north\nThe insane cannibal seems to think you aren't a threat. . .\n\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\nYou can see an old key here.\n\n> You unlock the laboratory door with the new key\nYou unlock the laboratory door.\n\n> You talk to Diaz\nMaybe you should ask or tell about more specific topics.\n\nBernardo looks at you quizically.\n\n> You show the chalice to Diaz\n(first taking the silver chalice)\n(putting the Herald clipping into the trenchcoat to make room)\n\"Si, that is what we use to drink the blood of our\nsacrifices. David Lane, the man for which you are looking, was especially delicious.\"\n\n\"Don't look at me quizically.\", you tell him, \"David Lane disappeared and I'm sure as shit your little cult has something to do with it.\"\n\n> You ask Diaz about Lane\n\"I don't know much about lane.\"\n\nBernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.\n\n> You shoot diaz\nWith what, idiot? You're not holding your revolver.\n\n> You take revolver\n(putting the train ticket into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> You look at what you're carrying with you\nYou are carrying:\na cigar lighter\na silver chalice\na lab key\na skeleton key\nthe broken spectacles\na black robe (being worn)\na flashlight (providing light)\na fedora (being worn)\na set of clothes (being worn)\na trenchcoat (being worn and open)\na train ticket\na Herald clipping\na Times clipping\nan ashtray\na revolver\na paperback book\na torn envelope\nthe archive key\na scrapbook\na cleaver\na broken pocket watch\na mysterious letter\na broken padlock\na sickle\na holster (being worn)\n\n> You drop the skeleton key\nDropped.\n\n> You take revolver\nYou take the revolver from the trenchcoat.\n\n> You shoot diaz\nYou fire several shots at the cult leader but the slugs bounce off his skin as if it were enchanted with magical armor. Bernardo simply laughs at you.\n\n> Burn diaz\nThis dangerous act would achieve little.\n\n> You switch lighter on\nYou switch the cigar lighter on.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Burn diaz\nThis dangerous act would achieve little.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Attack diaz with the sickle\n(first taking the sickle)\n(putting the broken spectacles into the trenchcoat to make room)\nYou move to attack the cult leader but he swiftly moves out of your way. As you stumble forward from your clumsy lunge, he sinks a ceremonial dagger deep into your back.\n\n> You show the chalice to Diaz\n(first taking the silver chalice)\n(putting the Herald clipping into the trenchcoat to make room)\n\"Si, that is what we use to drink the blood of our\nsacrifices. David Lane, the man for which you are looking, was especially delicious.\"\n\nBernardo looks at you quizically.\n\n> Wait\nTime passes.\n\n\"Don't look at me quizically.\", you tell him, \"David Lane disappeared and I'm sure as shit your little cult has something to do with it.\"\n\n> You wait awhile\nTime passes.\n\nBernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.\n\n> You take the ring\nThat seems to be a part of Bernardo de Diaz.\n\n> You examine the bulbs\nThey are bare light bulbs.\n\n> Break bulbs\nThat would hurt your hands.\n\n> You put all in the coat\ncigar lighter: Done.\nsilver chalice: Done.\nlab key: Done.\nskeleton key: Done.\nbroken spectacles: Done.\ntrain ticket: Done.\nflashlight: Done.\n\n> You take off the robe\nYou take off the black robe.\n\n> Shoot ring\nWith what, idiot?\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You take revolver\nYou take the revolver from the trenchcoat.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Shoot ring\n\"That is one ass-ugly ring.\", you say, squeezing off your shot. The ring explodes in a shower of arcane fire while the bulbs above you explode in a shower of sparks. Bernardo de Diaz quickly rots as he falls to the ground with a wet thwump!\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You go west\nIn order to really stop this cult, you realize this house needs to be burned to the ground!\n\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\nYou can see an old key here.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Go upward\nThis kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You open the stove\nYou open the wood-burning stove.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You put the lighter in the stove\nThe cigar lighter would be useless there.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You examine the stove\nA relic from another time. It is currently open. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You break the cabinets with the sickle\nThere's no way to break the cabinets with the sickle.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Break cabinets\nThat would hurt your hands.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You get the cabinets\nThat's hardly portable.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You break the cabinets with the cleaver\nThere's no way to break the cabinets with the cleaver.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You examine the cabinets\nJust a husk of what they once were. Where the hell did the bottoms and doors go? This place is Bananatown.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You search the cabinets\nYou find nothing of interest.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You take all\nflashlight: You take the flashlight from the trenchcoat.\ntrain ticket: You take the train ticket from the trenchcoat.\nbroken spectacles: You take the broken spectacles from the trenchcoat. skeleton key: You take the skeleton key from the trenchcoat.\nlab key: (putting the black robe into the trenchcoat to make room)\nYou take the lab key from the trenchcoat.\nsilver chalice: (putting the revolver into the trenchcoat to make room)\nYou take the silver chalice from the trenchcoat.\ncigar lighter: (putting the train ticket into the trenchcoat to make room)\nYou take the cigar lighter from the trenchcoat.\nHerald clipping: (putting the broken spectacles into the trenchcoat to make room)\nYou take the Herald clipping from the trenchcoat.\nTimes clipping: (putting the skeleton key into the trenchcoat to make room)\nYou take the Times clipping from the trenchcoat.\nashtray: (putting the lab key into the trenchcoat to make room)\nYou take the ashtray from the trenchcoat.\npaperback book: (putting the silver chalice into the trenchcoat to make room)\nYou take the paperback book from the trenchcoat.\ntorn envelope: (putting the cigar lighter into the trenchcoat to make room)\nYou take the torn envelope from the trenchcoat.\narchive key: (putting the Herald clipping into the trenchcoat to make room)\nYou take the archive key from the trenchcoat.\nscrapbook: (putting the Times clipping into the trenchcoat to make room)\nYou take the scrapbook from the trenchcoat.\ncleaver: (putting the ashtray into the trenchcoat to make room)\nYou take the cleaver from the trenchcoat.\nbroken pocket watch: (putting the paperback book into the trenchcoat to make room)\nYou take the broken pocket watch from the trenchcoat.\nmysterious letter: (putting the torn envelope into the trenchcoat to make room)\nYou take the mysterious letter from the trenchcoat.\nbroken padlock: (putting the archive key into the trenchcoat to make room)\nYou take the broken padlock from the trenchcoat.\nsickle: (putting the scrapbook into the trenchcoat to make room)\nYou take the sickle from the trenchcoat.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You put all in the trenchcoat\nsickle: Done.\nbroken padlock: Done.\nmysterious letter: Done.\nbroken pocket watch: Done.\ncleaver: Done.\nflashlight: Done.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You put the paperback book in the stove\nThe paperback book would be useless there.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You break the sideboard with the cleaver\nThere's no way to break the sideboard with the cleaver.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You break the sideboard with the sickle\nThere's no way to break the sideboard with the sickle.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You put the sideboard in the stove\nThe sideboard would be useless there.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You go to the south\nYou can't go that way.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You take the flashlight\nYou take the flashlight from the trenchcoat.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You go west\n(first opening kitchen door)\nIt seems to be locked.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see."
    },
    {
        "text": "[Themes: Horror, Humor, Mystery, call of cthulhu, adaptation, horror, private investigator]\n\n> Go downwards\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\nYou can see an old key here.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> Go southeast\nThis is the deeper recesses of the cellar of Casa de Diaz. Maybe once it was used for storage, but now, only scraps of debris remain. The rest of the basement is to the northwest.\n\nCollecting dust and rot in the corner is a dry log.\n\nLooking like a zombie or some prehistoric madman, a degenerate imbecile drools as your flashlight bounces around him. He is a living nightmare and he stares at you hungrily. He bears the family traits of the Diaz and Vilheila-Pareira families; long black hair and green eyes.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You get the log\nYou make a move to take the dry log but the degenerate imbecile has other plans. He lunges at you and, during the grapple, sinks his teeth into your face.\n\n> You take revolver\n(putting the Herald clipping into the trenchcoat to make room)\nYou take the revolver from the trenchcoat.\n\nBernardo looks at you quizically.\n\n> Shoot ring\nYou should wait until you find out what happened to David Lane.\n\n\"Don't look at me quizically.\", you tell him, \"David Lane disappeared and I'm sure as shit your little cult has something to do with it.\"\n\n> You wait for a while\nTime passes.\n\n> Shoot ring\n\"That is one ass-ugly ring.\", you say, squeezing off your shot. The ring explodes in a shower of arcane fire while the bulbs above you explode in a shower of sparks. Bernardo de Diaz quickly rots as he falls to the ground with a wet thwump!\n\n> You go west\nIn order to really stop this cult, you realize this house needs to be burned to the ground!\n\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\nYou can see an old key here.\n\n> Go southeast\nThis is the deeper recesses of the cellar of Casa de Diaz. Maybe once it was used for storage, but now, only scraps of debris remain. The rest of the basement is to the northwest.\n\nCollecting dust and rot in the corner is a dry log.\n\nLooking like a zombie or some prehistoric madman, a degenerate imbecile drools as your flashlight bounces around him. He is a living nightmare and he stares at you hungrily. He bears the family traits of the Diaz and Vilheila-Pareira families; long black hair and green eyes.\n\n> You shoot zombie\n\"Tag, you're it.\", you say, trying desperately to start a catch-phrase as you blow the degenerate lunatic's head off, \"No tag-backs.\"\n\n> You put all in the trenchcoat\ncigar lighter: Done.\nrevolver: Done.\nlab key: Done.\nskeleton key: Done.\nbroken spectacles: Done.\nflashlight: Done.\n\n> You get the log\nYou pick up the dry log from the ground.\n\n> You go northwest\nYou are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.\n\nYou can see an old key here.\n\n> Ascend\nThis kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.\n\n> You put the log in the stove\nThe wood-burning stove is closed.\n\n> You open the stove\nYou open the wood-burning stove.\n\n> You put the log in the stove\nYou put the dry log into the wood-burning stove.\n\n> Light log\nYou need something with which to light it!.\n\n> You get lighter\nYou take the cigar lighter from the trenchcoat.\n\n> Light log\nUsing the cigar lighter, you burn the dry log in the wood-burning stove. Smoke fills the room and the fire spreads quickly. You run, as fast as you can, for the front door. . .\n. . . . . . . . . . . . . . . . .\n\n> You press the space\nYou exit the train amid the throng of other passengers. The station is filled with people and steam. A train stands nearby from which passengers disembark.\n\nAmid the steam and people, a solitary figure stands alone; Claudine Lane, awaiting news about her brother, David.\n\nYou approach Claudine and see sadness in her eyes as she sees David is not with you.\n\nA meager flame emits from your cigar lighter but it's not enough by which to see.\n\n> You turn off lighter\nYou switch the cigar lighter off.\n\n\"You don't have to tell me he's dead, detective.\", she says. \"Well, you still deserve to know what happened.\", you say.\n\n> Wait\nTime passes.\n\n\"I'm all ears, detective.\", she says, girding herself for the news. You decide to jump right to it,\n\n> You wait for a while\nTime passes.\n\n\"Your brother was eaten by a cult of inbred cannibals lead by an immortal sorcerer.\", you tell her. She gives a small gasp and immediately goes pale.\n\n> You wait\nTime passes.\n\n\"Well,\", you say, \"Keep your tits up, Claudine. You can just mail me the check.\", and you walk off; out of the train station and into the sunset."
    },
    {
        "text": "[Themes: Science Fiction, escape, space station, science fiction, minimalist]\n\nYou awake. You are lonely, so lonely. It was a thousand days ago today. All alone these thousand days. Your parents were the last. No, your father was the last. He held on for nearly a hundred days longer. Now you are the last. Alone. Adrift.\n\nBut maybe it isn't hopeless. There must still be other people in other worlds, and you think you know how to get there.\n\nToday is the day.\n\n\n\nType ABOUT for credits or HINT for assistance.\n\nHome (on the blanket)\nThe room where you've slept your entire life. The crops are outside.\n\nThere is a secured hatch in the floor.\n\n[Author's Note: You awake. You are lonely, so lonely. It was a thousand days ago today. All alone these thousand days. Your parents were the last. No, your father was the last. He held on for nearly a hundred days longer. Now you are the last. Alone. Adrift.]"
    },
    {
        "text": "[Themes: Science Fiction, space station]\n\n> About yourself\nAs virtuous as ever.\n\n> Inventory\nYou are carrying:\na scanner\na green jumpsuit (being worn)\n\n> You look at the scanner\nThe handheld voice-activated scanner you use when working on the station's machines.\n\n[You can ask the scanner for a list of commands by typing\nSCANNER, HELP and give it voice commands by typing phrases such as SCANNER, SCAN SOMETHING where SOMETHING is a visible object.]\n\n> You examine the jumpsuit\nYou have worn modest jumpsuits like this since you were small. Originally, the colors had meanings: forest green for farmers, navy blue for technicians, and so on, but that distinction died even before the community.\n\nIt features a single large pocket, currently empty.\n\n> You examine the hatch\nThe floor hatch is closed.\n\n> You open it\nYou open the floor hatch."
    },
    {
        "text": "> You go downwards\n(first getting off the blanket)\n\nYour decompression shelter and storage space for increasingly empty shelves of canned vegetables and one more large bag of split peas.\n\nThere is an open hatch in the ceiling.\n\n> You examine the shelves\nAlmost a hundred jars of canned vegetables are on the makeshift shelves that line the wall. So is your emergency mask.\n\n> You look at the mask\nYou wore this mask when there were regular decompression drills.\n\n> You take it\nTaken.\n\n> You go upward\nThe room where you've slept your entire life. The crops are outside.\n\nThere is an open hatch in the floor.\n\nA homespun blanket is arranged neatly on the ground. It is your bed.\n\n> You look at the blanket\nHomespun wool.\n\n> Leave\nSector 4: Crops\nYour home is here among the crops. To the port and starboard, the station walls rise up to the hub above. You can walk spinward or antispinward.\n\n> You examine the crops\nGreens, carrots, and potatoes.\n\n> Go south\nYou are blocked by the station wall. The exits are inside to your home, spinward to sector 5, and antispinward to sector 3.\n\n> Go southwest\nYou walk a little ways to the next sector.\n\nSector 5: Forest\nThe school house is nestled among the trees. A pylon stretches up from the same grove to the hub of the station. You can walk spinward or antispinward.\n\n> You look at the house\nLittle and red, the traditional markings of a school building.\n\n> You examine the pylon\nMade of smooth metal, it connects the ground to the hub of the station many meters above. You can see similar pylons spinward and antispinward.\n\n> Examine hub\nThe station rotates around the hub, which extends out to hold solar panels to the port and mirrors on the starboard side. On the inside, there is a maintenance platform about two thirds of the way up the pylons.\n\n> You go inside\nA broken learning machine remains in a corner, but mostly the older farmers took turns leading the class. There is a desk, and a chalkboard hangs on one wall.\n\nOn the desk is a clean eraser.\n\n> You look at the chalkboard\nThe board is covered in your old arithmetic work.\n\n> You examine the desk\nYou wrote your lessons at this desk. Your people were practical, plain folk, so you learned practical things in school: reading, writing, arithmetic. More importantly, practical mechanics and farming.\n\nOn the desk is a clean eraser.\n\n> You take the eraser\nTaken.\n\n> You erase the board\n(with the eraser)\nYou carefully clean the chalkboard and dirty the eraser.\n\n> You examine the machine\nThis last learning machine broke when you were maybe three thousand days old. It contains a power module and an instruction module.\n\n> You examine the power\nIt is a standardized power module.\n\n> You look at the instruction\nIt is a standardized instruction module.\n\n> You check your inventory\nYou are carrying:\nan instruction module\na power module\na dusty eraser\nyour blanket\nan emergency mask\na scanner\na green jumpsuit (being worn)\n\n> You go outside\nSector 5: Forest\nThe school house is nestled among the trees. A pylon stretches up from the same grove to the hub of the station. You can walk spinward or antispinward.\n\n> Go southwest\nYou walk a little ways to the next sector.\n\nSector 6: Hydroponics\nYour people preferred to grow things the old fashioned way, but in truth the majority of your fruit and vegetables came from this sector when the machines still worked. You can walk spinward or antispinward.\n\nThere is a secured hatch in the ground.\n\n> You examine the hatch\nThe floor hatch is closed."
    },
    {
        "text": "> Go downwards\nThis room is dim, quiet, and stuffy. There is still one crate of machine parts left.\n\nThere is an open hatch in the ceiling.\n\nYou can also see a pair of gravity boots here.\n\n> You examine the boots\nBlack work boots with red stripes. They don't really make gravity, but they do stick to some maintenance walkways to help workers get around in low gravity.\n\n> You wear the boots\n(first taking the pair of gravity boots)\n(putting the scanner into your pocket to make room)\nYou put on the pair of gravity boots.\n\n> You go up\nAn alarm sounds, the hatch slams shut, and a synthesized voice says \"Laser scan detects unauthorized materiel removal.\"\n\nThe hatch seems to be locked.\n\n> You remove the boots\nYou take off the pair of gravity boots.\n\n> You drop the boots\nDropped.\n\n> Scan power\nModule is functional.\n\n> Scan instruction\nModule is faulty.\n\n> Go upwards\n(first opening the ceiling hatch)\n\nSector 6: Hydroponics\nYour people preferred to grow things the old fashioned way, but in truth the majority of your fruit and vegetables came from this sector when the machines still worked. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\n> You go to the southwest\nYou walk a little ways to the next sector.\n\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is a secured hatch in the ground.\n\n> You examine the graveyard\nUnmarked graves, but fenced off. You buried your parents here.\n\n> You examine the barn\nA single story barn.\n\n> You examine the pylon\nMade of smooth metal, it connects the ground to the hub of the station many meters above. You can see similar pylons spinward and antispinward.\n\n> Go inside\nNot fancy: livestock on one side and feed on the other, but nothing remains of either. There is a plow near the entrance.\n\nYou can see a hoe here.\n\n> You examine plow\nSome of the old stories mentioned oxen, but you plowed with a team of goats until the animals began to die. Then with no meat and little grain to sell, the community couldn't make its debt payments and people started leaving.\n\n> You examine the hoe\nA straight-handled draw hoe. It is well worn from the time you have spent working the fields by hand.\n\n> You ascend\nThe only exit is outside to sector 1.\n\n> You leave\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is a secured hatch in the ground.\n\n> You examine the crops\nYou are proud of the grain and legumes.\n\n> You drop hoe\nDropped."
    },
    {
        "text": "[Themes: Science Fiction, minimalist, space station, escape]\n\n> You go downwards\n(first opening the floor hatch)\n\nThis room serves as an airlock for the pod bay, and holds an old pressure suit and various machinery such as the atmosphere pump. There is a brass plate on the wall.\n\nThere is an open hatch in the ceiling.\n\nBeside the secured port door, a status display shows an error message.\n\n> You examine the display\n1. Telemetry sensor array offline - reset breaker FM36-87/A @ hub platform\n2. Launch system cooling loop offline - open backup valve @\nSector 2\n3. Pod bay depressurized - scan and repair atmosphere pump\n\n> You examine the pump\nThe atmosphere pump is a smooth featureless machine. It contains an unscanned power module and an unscanned pressure regulation module.\n\n> Scan pressure\n(the pressure suit)\nScan error: consult with a trained pressure suit technician.\n\n> You take the power\n(the faulty power module)\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na faulty power module\na faulty instruction module\na functional power module\na dusty eraser\nyour blanket\nan emergency mask\na green jumpsuit (being worn)\n\nYour jumpsuit pocket contains:\na scanner\n\n> You put the functional power in the pump\nYou put the functional power module into the atmosphere pump.\n\n> You examine the display\n1. Telemetry sensor array offline - reset breaker FM36-87/A @ hub platform\n2. Launch system cooling loop offline - open backup valve @\nSector 2\n3. Pod bay depressurized - scan and repair atmosphere pump"
    },
    {
        "text": "> You look around\nThis room serves as an airlock for the pod bay, and holds an old pressure suit and various machinery such as the atmosphere pump. There is a brass plate on the wall.\n\nThere is an open hatch in the ceiling.\n\nBeside the secured port door, a status display shows an error message.\n\n> You examine the brass plate\nLaid down 2138, Launched 2141.\n\"May His mercy shine upon us.\"\n\n> You examine the pressure suit\nFor EVA or extra protection in a pod. Unfortunately, it failed its last periodic inspection: every seal is leaking and there are no spares left.\n\n> You scan it\nScan error: consult with a trained pressure suit technician.\n\n> You examine machinery\nThe atmosphere pump is a smooth featureless machine. It contains a functional power module and a faulty pressure regulation module.\n\n> Go upward\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a hoe here.\n\n> You drop faulty\nWhich do you mean, the faulty power module or the faulty instruction module?\n\n> Both\nfaulty power module: Dropped.\nfaulty instruction module: Dropped.\n\n> You go southwest\nYou walk a little ways to the next sector.\n\nSector 2: Aquaculture\nA deep pond with some fish. You can walk spinward or antispinward.\n\n> You examine the pond\nSomething to do with water filtration, and it was used for raising fish. A few remain.\n\n> You look at the fish\nThere are still a few fish swimming in the pond, but they taste horrible.\n\n> You look in the pond\nFrom above, you can make out a few fish in the murky water.\n\n> You go to the southwest\nYou walk a little ways to the next sector.\n\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> You examine the trees\nThe community grew trees for tradition, and they help with air processing.\n\n> You examine the house\nWhat looks like whitewashed siding is really a lightweight plastic.\n\n> You look at the church\nA small white building with a steeple.\n\n> Starboard\nTwo families lived here, but not recently.\n\nSomeone has left a doll on the well swept floor.\n\n> You examine doll\nWearing a brown jumpsuit and faceless, because we are all alike in the Founder's eyes. It was yours once, but you passed it on with other childish things when you were old enough to help in the fields.\n\n> You leave\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> Port\nBefore everyone left, you celebrated every sabbath here. The altar stands against one wall, and an organ and a portable audio unit stand against the other.\n\nOn the altar is The Founder's Testament.\n\nA gray cable connects the organ to the audio unit.\n\n> Examine book\nThe Founder's Testament tells the story of your people's journey from Old Earth and how the lucky few settled in the L4 colonies, free from the corrupting temptations of society: drugs, sensation recordings, and social media. You know the story by heart, and have already derived what comfort you can from this book.\n\n> You examine the altar\nReally just a table.\n\nOn the altar is The Founder's Testament.\n\n> You examine the organ\nIt's really just a keyboard in a fancy box with a socket to connect it to an audio unit.\n\nThe organ has a gray cable plugged into it.\n\n> You examine the cable\nA one meter USB 7.2 cable with a Type-F plug at each end. It is plugged into the organ and the audio unit.\n\n> You examine unit\nThe audio unit incorporates a speaker, a microphone, and a socket you would use to connect it to another device. It contains an unscanned power module.\n\nThe audio unit has a gray cable plugged into it.\n\n> Scan unit\nMachine failed. Check module.\n\n> Scan organ\nMachine functional. No output available.\n\n> You leave\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> Asw\nYou walk a little ways to the next sector.\n\nSector 2: Aquaculture\nA deep pond with some fish. You can walk spinward or antispinward.\n\n> Asw\nYou walk a little ways to the next sector.\n\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a faulty instruction module and a faulty power module here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You go down\nThis room serves as an airlock for the pod bay, and holds an old pressure suit and various machinery such as the atmosphere pump. There is a brass plate on the wall.\n\nThere is an open hatch in the ceiling.\n\nBeside the secured port door, a status display shows an error message.\n\n> Go upward\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a faulty instruction module and a faulty power module here.\n\n> Put functional in the audio\nYou put the functional power module into the audio unit.\n\nThe audio unit beeps and a synthesized voice says \"Organ connected.\"\n\n> Scan organ\nMachine functional. Output connected.\n\n> You take the organ\nIt is too heavy.\n\n> You unplug cable\nThe gray cable is plugged into more than one thing.\n\n[Try UNPLUG GRAY CABLE FROM SOMETHING.]\n\n> You unplug the cable from the organ\nYou unplug the gray cable from the organ.\n\nThe audio unit beeps and a synthesized voice says \"No input.\"\n\n> You plug the cable into the Organ\nYou plug the gray cable into the organ.\n\nThe audio unit beeps and a synthesized voice says \"Organ connected.\"\n\n> You go outside\nThe gray cable pulls out of the audio unit.\n\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThe audio unit beeps and a synthesized voice says \"No input.\"\n\n> You enter the church\nBefore everyone left, you celebrated every sabbath here. The altar stands against one wall, and an organ stands against the other.\n\nOn the altar is The Founder's Testament.\n\nYou can also see a gray cable (plugged into the organ) here.\n\n> You unplug the cable\n(from the organ)\nYou unplug the gray cable from the organ.\n\n> You take it\n(putting the emergency mask into your pocket to make room)\nTaken.\n\n> Scan mask\nMachine functional. Reservoir charged.\n\n> You look at the mask\nYou wore this mask when there were regular decompression drills.\n\n> You wear the mask\n(first taking the emergency mask)\n(putting the dusty eraser into your pocket to make room)\nYou put on the emergency mask."
    },
    {
        "text": "[Themes: Science Fiction, space station]\n\n> Go down\nThe exits are spinward to sector 3 and antispinward to sector 1.\n\n> You enter the pond\nYou set your belongings aside. With the air from the emergency mask, you breathe comfortably as you step into the pond. At the bottom, you find a valve and open it, then swim to the surface, climb out, and recover everything you were carrying.\n\n> You remove the mask\nYou take off the emergency mask.\n\n> Scan mask\nMachine functional. Reservoir partially charged.\n\n> Asw\nYou walk a little ways to the next sector.\n\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a faulty instruction module and a faulty power module here.\n\n> Asw\nYou walk a little ways to the next sector.\n\nSector 6: Hydroponics\nYour people preferred to grow things the old fashioned way, but in truth the majority of your fruit and vegetables came from this sector when the machines still worked. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\n> You take boots\n(putting the faulty power module into your pocket to make room)\nTaken.\n\n> You go up\nAn alarm sounds, the hatch slams shut, and a synthesized voice says \"Laser scan detects unauthorized materiel removal.\"\n\nThe hatch seems to be locked.\n\n> You take faulty\n(putting the gray cable into your pocket to make room)\nTaken.\n\n> Go upwards\nAn alarm sounds, and a synthesized voice says \"Laser scan detects unauthorized materiel removal.\"\n\nThe hatch seems to be locked.\n\n> Clap eraser\n(first taking the dusty eraser)\nYou fill the vault with a cloud of dust which scatters the laser beam that you can now see scanning across the hatch.\n\n> You go upward\n(first opening the ceiling hatch)\nYou maneuver around the laser beam, open the ceiling hatch, and pull yourself up through it.\n\nSector 6: Hydroponics\nYour people preferred to grow things the old fashioned way, but in truth the majority of your fruit and vegetables came from this sector when the machines still worked. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\n> You wear the boots\nYou put on the pair of gravity boots.\n\n> Go southwest\nYou walk a little ways to the next sector.\n\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a faulty instruction module and a faulty power module here.\n\n> You look at the wall\nThe walls form the ends of the rotating cylinder that is the station, stretching from the ground to the hub. The top third is transparent, through which you can see solar panels, mirrors, and the stars.\n\n> You climb the wall\nLittle is to be achieved by that.\n\n> Inventory\nYou are carrying:\na dusty eraser\na pair of gravity boots (being worn)\nan emergency mask\nan audio unit\na hoe\nyour blanket\na green jumpsuit (being worn)\n\nYour jumpsuit pocket contains:\na gray cable\na scanner\n\n> You go southwest\nYou walk a little ways to the next sector.\n\nSector 2: Aquaculture\nA deep pond with some fish. You can walk spinward or antispinward.\n\n> You go to the southwest\nYou walk a little ways to the next sector.\n\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> You climb the pylon\nWearing the boots, you are able to climb up the pylon. As you get closer to the hub, gravity decreases, and the climb becomes easier.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nYou feel much lighter here, and you are very aware of how the station rotates, but everything is okay as long as you don't look down.\n\nThere is a red circuit breaker here.\n\n> Scan breaker\nMachine is functional. Breaker is open.\n\n> You examine the breaker\nIt is labelled \"36-87.\"\n\nThe red circuit breaker is currently switched off.\n\n> Go southwest\nThis platform is home to a flock of pigeons. You can continue spinward or antispinward.\n\n> You examine the pigeons\nDescendants of the flock your grandparents brought here for food.\n\n> You go to the southwest\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> Go upwards\nGravity fades as you climb.\n\nThis is your first time in this part of the station or even out of artificial gravity. You float weightless in the middle of a cylinder. It is cold up here, and the light is all artificial and without an obvious source. A ladder rotates around you, leading up or down or maybe out, and the airlock is to the port.\n\n> Leave\nYou struggle a little to arrange your orientation and follow the ladder.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> You go southwest\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nThere is a red circuit breaker here.\n\n> You turn off the breaker\nThat's already off.\n\n> You turn on the breaker\nYou reach out and switch the circuit breaker on.\n\n> You search the pigeons\nYou find only pigeons in the flock of pigeons.\n\n> You scan pigeons\nLicense error: upgrade to a 3000-series model to scan organic lifeforms.\n\n> You go to the southwest\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> You go upward\nGravity fades as you climb.\n\nYou float weightless in the middle of a cylinder. It is cold up here, and the light is all artificial and without an obvious source. A ladder rotates around you, leading up or down or maybe out, and the airlock is to the port.\n\n> Port\nThe airlock is colder still, too cold for you in only your jumpsuit.\n\n> Exit\nYou make sure you are heading legs first and follow the ladder.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> You go southwest\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nThere is a red circuit breaker here."
    },
    {
        "text": "> Go downward\nYou climb down the pylon.\n\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> Asw\nYou walk a little ways to the next sector.\n\nSector 2: Aquaculture\nA deep pond with some fish. You can walk spinward or antispinward.\n\n> Wear blanket\nYou put on the blanket.\n\n> Go upwards\nWearing the boots, you are able to climb up the pylon. As you get closer to the hub, gravity decreases, and the climb becomes easier.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nThere is a red circuit breaker here.\n\n> Asw\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> You enter\nThe exits are up to the center of the hub, down to sector 1, spinward to platform 3, and antispinward to platform 5.\n\n> You go upward\nGravity fades as you climb.\n\nYou float weightless in the middle of a cylinder. It is cold up here, and the light is all artificial and without an obvious source. A ladder rotates around you, leading up or down or maybe out, and the airlock is to the port.\n\n> You open the airlock\nYou open the starboard airlock door.\n\n> Port\nThe airlock is also a cylinder, with a closed door to the port, an open door to the starboard, and a red handle in the wall. It is very cold here.\n\n> You examine the handle\nThe handle extends from the ceiling and is labeled \"Cycle.\"\n\n> Scan handle\nMachine is functional. Airlock is pressurized.\n\n> You wear the mask\nYou put on the emergency mask.\n\n> You close the door\nWhich do you mean, the starboard airlock door or the port airlock door?\n\n> Starboard\nYou close the starboard airlock door.\n\n> You turn the handle\nYou turn the handle an entire rotation, and after a moment, you feel the air rush out of the airlock.\n\n> Port\n(first opening the port airlock door)\nYou crawl through a narrow accessway.\n\nYou float weightless at the port end of a cylinder. It is cold and dark here in the near vacuum, but that only serves to highlight the view through a surprisingly large window: you can see the station rotating around you, solar panels, and antennas, all backed by a spectacular field of stars. A short lever extends from the floor, and a yellow cable waves from a small control panel. An airlock door leads starboard.\n\n> You look at the panel\nThis is clearly the antenna calibration panel, made up of a display, a keypad, and a yellow RF cable.\n\nThe calibration panel has a yellow cable plugged into it.\n\n> You look at the lever\nA short length of hollow steel pipe angled out from the wall.\n\n> You look at the display\nCalibrate to Epsilon/Lime.\n\n[Now might be a good time to consult the Official Space Relay\nLeague Antenna Calibration Guide\ufffd\ufffd\ufffd, included in your game\npackage.]\n\n> Type 3\nCalibrate to Delta/Plum.\n\n> Type 8\nCalibrate to Gamma/Banana.\n\n> Type 5\nCalibrate to Beta/Cherry.\n\n> Type 2\nCalibration successful.\n\n> You pull the lever\nThe lever is already pulled as far as it goes.\n\n> You look at the yellow cable\nA two meter yellow RF cable. It is plugged into the calibration panel."
    },
    {
        "text": "[Themes: Science Fiction, minimalist, science fiction]\n\n> Look around\nYou float weightless at the port end of a cylinder. It is cold and dark here in the near vacuum, but that only serves to highlight the view through a surprisingly large window: you can see the station rotating around you, solar panels, and antennas, all backed by a spectacular field of stars. A short lever extends from the floor, and a yellow cable waves from a small control panel. An airlock door leads starboard.\n\n> You examine the display\nAntenna calibrated.\n\n> You put the hoe in the lever\nYou slide the hoe into the hollow lever, forming a longer lever.\n\n> You remove the mask\nYou take off the emergency mask.\n\n> Scan panel\nMachine is functional. Antenna is calibrated.\n\n> You scan the Antenna\nAntennas are calibrated.\n\n> Scan solar\nMachine is functional. Operating at 73% efficiency."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nYou float weightless at the port end of a cylinder. It is cold and dark here, but that only serves to highlight the view through a surprisingly large window: you can see the station rotating around you, solar panels, and antennas, all backed by a spectacular field of stars. Your hoe extends the short lever in the floor, and a yellow cable waves from a small control panel. An airlock door leads starboard.\n\n> You look at the window\nYou might be the first person to look out through this window in a generation. While you've seen the stars through transparent walls of the station, the view from here is different and entirely more impressive.\n\n> You look at stars\nThe stars seem brighter up here.\n\n> You look at the station\nBacked by a field of stars, you can see the wheel of the station rotating around you to the starboard \ufffd\ufffd\ufffd you didn't notice before but the airlock must be some sort of rotation coupling.\n\n> Enter\nThe only exit is starboard to the airlock.\n\n> Starboard\nYou make your way back along the narrow accessway.\n\nThe airlock is also a cylinder, with an open door to the port, a closed door to the starboard, and a red handle in the wall. It is very cold here.\n\n> Close port\n(the port airlock door)\nYou close the port airlock door.\n\n> You scan airlock\nWhich do you mean, the port airlock door or the starboard airlock door?\n\n> You open the starboard\n(the starboard airlock door)\nYou open the starboard airlock door.\n\n> Go outside\nYou float weightless in the middle of a cylinder. It is cold up here, and the light is all artificial and without an obvious source. A ladder rotates around you, leading up or down or maybe out, and the open airlock is to the port.\n\n> You close the door\nYou close the starboard airlock door.\n\n> Go outside\nYou fight off a moment of vertigo and climb the ladder.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> You go southwest\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nThere is a red circuit breaker here.\n\n> You examine the display\n1. Pod bay depressurized - scan and repair atmosphere pump\n\n> You take the power\nTaken.\n\n> You put the power in the pump\nYou put the functional power module into the atmosphere pump.\n\n> Scan pump\nMachine is failed. Check modules.\n\n> Scan mask\nMachine functional. Reservoir charged.\n\n> You wear the mask\nYou put on the emergency mask.\n\n> Port\n(first opening the bulkhead door)\nIt seems to be locked.\n\n> You remove the mask\nYou take off the emergency mask.\n\n> You scan the door\nNo modular technology detected.\n\n> X PUMP\n\nThe atmosphere pump is a smooth featureless machine. It contains a functional power module and a faulty pressure regulation module.\n\n> X PRESSURE\n\n(the pressure suit)\nFor EVA or extra protection in a pod. Unfortunately, it failed its last periodic inspection: every seal is leaking and there are no spares left.\n\n> X PRESSURE MODULE\n\nThe scanner reported that this pressure regulation module is faulty.\n\n> You search suit\n(the green jumpsuit)\nNothing more or less than you would expect.\n\n> Search pressure suit\nIt is bulky and useless.\n\n> You examine green suit\nYou have worn modest jumpsuits like this since you were small. Originally, the colors had meanings: forest green for farmers, navy blue for technicians, and so on, but that distinction died even before the community.\n\nThe pocket contains a gray cable and a scanner.\n\n> You check your inventory\nYou are carrying:\na dusty eraser\na pair of gravity boots (being worn)\nan emergency mask\nan audio unit\nyour blanket (being worn)\na green jumpsuit (being worn)\n\nYour jumpsuit pocket contains:\na gray cable\na scanner\n\n> Scan unit\nMachine failed. Check module.\n\n> SCAN SCANNER\n\nRunning self-diagnostic ... your scanner is functioning within specifications.\n\n> You look at the unit\nThe audio unit incorporates a speaker, a microphone, and a socket you would use to connect it to another device. There is space for one module.\n\nThe audio unit has nothing plugged into it.\n\n> X SOCKET\n\nIt is a female USB connector of the audio unit. It has nothing plugged into it.\n\n> You examine clutter\nIn the pile of clutter are an atmosphere sensor, an emergency communications unit, and some unremarkable junk.\n\n> SCAN COMMUNICATIONS\n\nMachine functional. No audio connection. No RF connection.\n\nNo pods left ... you breathe deeply and fight off a wave of despair. But of course there's another way. You will just need to find a way to communicate outside.\n\n> GET IT\n\nTaken.\n\n> SCAN SENSOR\n\nMachine functional. Pressure low at 80 kilopascals, O\ufffd\ufffd\ufffd normal,\nCO\ufffd\ufffd\ufffd\nhigh at 0.10%. No immediate danger.\n\n> GET IT\n\nTaken.\n\n> X SENSOR\n\nA small box with a large lamp that is slowly flashing amber.\n\n> X COMMUNICATIONS\n\nA bulky but portable emergency communications unit from a transit pod. It can work independently if you provide audio and antenna connections.\n\nThe emergency communications unit has nothing plugged into it.\n\n> STARBOARD\n\nThis room serves as an airlock for the pod bay, and holds an old pressure suit and various machinery such as the atmosphere pump. There is a brass plate on the wall.\n\nBeside the open port door, a status display glows green.\n\nThere is a secured hatch in the ceiling.\n\n> CLOSE DOOR\n\nYou close the bulkhead door.\n\n> GET POWER\n\n(putting the emergency mask into your pocket to make room)\nTaken.\n\n> U\n\n(first opening the ceiling hatch)\n\nSector 1: Crops\nYou still maintain the crops here. There is a small graveyard and the barn remains from when this was the livestock sector. A pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\nThere is an open hatch in the ground.\n\nYou can also see a faulty instruction module and a faulty power module here.\n\n> SW\n\nYou walk a little ways to the next sector.\n\nSector 2: Aquaculture\nA deep pond with some fish. You can walk spinward or antispinward.\n\nYour day has been exhausting. You almost want to sleep more than you want to leave. Maybe this plan has been a mistake.\n\n> SW\n\nYou walk a little ways to the next sector.\n\nSector 3: Forest\nTrees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.\n\n> U\n\nWearing the boots, you are able to climb up the pylon. As you get closer to the hub, gravity decreases, and the climb becomes easier.\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward.\n\nThere is a red circuit breaker here.\n\n> ASW\n\nA platform about two thirds of the way towards the hub. You can continue spinward or antispinward, or go up a ladder into the hub.\n\n> U\n\nGravity fades as you climb.\n\nYou float weightless in the middle of a cylinder. It is cold up here, and the light is all artificial and without an obvious source. A ladder rotates around you, leading up or down or maybe out, and the airlock is to the port.\n\n> PORT\n\n(first opening the starboard airlock door)\n\nThe airlock is also a cylinder, with a closed door to the port, an open door to the starboard, and a red handle in the floor. It is very cold here.\n\n> PORT\n\n(first opening the port airlock door)\nYou crawl through a narrow accessway.\n\nYou float weightless at the port end of a cylinder. It is cold and dark here, but that only serves to highlight the view through a surprisingly large window: you can see the station rotating around you, solar panels, and antennas, all backed by a spectacular field of stars. Your hoe extends the short lever in the floor, and a yellow cable waves from a small control panel. An airlock door leads starboard.\n\n> PUT POWER IN COMMUNICATIONS\n\n(the emergency communications unit)\nThe emergency communications unit can't contain things.\n\n> PUT POWER IN AUDIO\n\nYou put the functional power module into the audio unit.\n\nThe audio unit beeps and a synthesized voice says \"No input.\"\n\n> PLUG GRAY INTO AUDIO\n\nYou plug the gray cable into the audio unit.\n\n> PLUG GRAY INTO COMMUNICATIONS\n\n(the emergency communications unit)\nYou plug the gray cable into the emergency communications unit.\n\nThe audio unit beeps and a synthesized voice says \"Comms unit connected.\"\n\n> PLUG YELLOW INTO COMMUNICATIONS\n\n(the emergency communications unit)\nYou plug the yellow cable into the emergency communications unit.\n\nThe audio unit beeps and a synthesized voice says \"Comms ready.\"\n\nAfter a moment, it says \"Launching automatic routines.\"\n\n> Z\n\nTime passes.\n\nYou hear a human speaking from the audio unit: \"RWSS Founder's\nMercy, this is OV-4244, over...\n\n\"There's really somebody there? We thought your station had been abandoned for kilodays...\n\n\"Standby...\n\n\"We can have a pod there in about a thousand minutes.\""
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n\"You are cordially invited to the wedding of Deborah and Malcolm at St Jude's Church, Westlowe at 2.30pm.\" And, scrawled in the corner in what looks like your ex-flatmate Malcolm's handwriting: \"Don't forget the paracetamol!\"\n\nSo far so bad. You're no lover of weddings with egotistical aunts and uncles and squealing, hyperactive kids, but you were prepared to put up with it to see your old college chum get hitched. Now, though, things have taken a turn for the worse with a phone call from a posh sounding woman. \"I understand you're a friend of Malcolm's\" stated the voice on the phone. \"You must come over here at once, and try to sort out this mess...\". So that's why you find yourself tearing down the motorway towards Westlowe and the mysterious D'Arcy manor...\n\n\n\nStandard interpreter 1.0\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n[Author's Note: What should have been a simple task, watching your old flatmate Malcolm get married, becomes an awful lot more complicated when it transpires that Malcolm has disappeared mere hours before the service. You are called in by one of the bride's aunts to sort out the problem. But how can you help? Perhaps the answer to the problem lies somewhere within D'Arcy manor, the bride's family home. The odd characters within may be able to help you. First things first, though - how do you get past the nasty security guard?]"
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You look around\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> About yourself\nAs good-looking as ever.\n\n> You examine the guard\nGone are the charming doormen of yesteryear, to be replaced by nasty-looking guards from private security firms. This chappy is no different, in his stark navy blue uniform and peaked cap. He seems to have taken a particular dislike to you, though, and watches you carefully, a sneer on his face.\n\n> Go south\nThat way only leads out of the estate, and you've still got a lot of interfering to do yet.\n\n> You go to the north\n\"Oi! Where do you think you're going?\" The guard takes great delight in rugby-tackling you to the floor and dragging you back out onto the pebbled car park. \"Authoria... Authiroz... authorthised... proper people only!\". You've probably just made his day.\n\n> You tell the guard about your name\nHe stares at you but doesn't say anything.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You ask the guard about Malcolm\nThe guard affects a curiously blank expression.\n\n> You examine the alarm\nFrom here, all you can see is a white box with the name of a security company on it. A blue light flickers intermittently on its side, suggesting that it is active.\n\n> You read the alarm\nFrom here, all you can see is a white box with the name of a security company on it. A blue light flickers intermittently on its side, suggesting that it is active.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is closed.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> You examine the garden\nA simple and elegant gate, leading north to the gardens. It is currently closed.\n\n> You open gate\nYou open the garden gate.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> Go north\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nBy the side of the path, among the flowers, is a dark patch of earth.\n\n> You look at the patch\nIt looks as if someone has recently dug and filled in a hole.\n\n> You dig patch\nWhat do you want to dig the dark patch of earth with?\n\n> You go northeast\nThe flowers are so pretty that it would be a shame to just trample all over them.\n\nYou can feel a few spots of rain on your face.\n\n> Go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\n> Go east\nYou are at the north-east corner of the garden, marked by thick impenetrable hedges to the north and east, and a delicate flowerbed lies south. A single apple tree stands here; its trunk looks fragile, and splits prematurely into smaller branches at waist level.\n\n> You climb the tree\nThe tree is too weak to climb.\n\n> Shake tree\nYou shake the tree, and something comes crashing down through the branches, hits you on the head, and lands on the grass. Isn't gravity the pits?"
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> Look around\nYou are at the north-east corner of the garden, marked by thick impenetrable hedges to the north and east, and a delicate flowerbed lies south. A single apple tree stands here; its trunk looks fragile, and splits prematurely into smaller branches at waist level.\n\nYou can see a cooking apple here.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> You take the apple\nTaken.\n\n> You look at it\nA small, heavy and unappetising cooking apple.\n\n> Go south\nThe gate to the south is open.\n\nBy the side of the path, among the flowers, is a dark patch of earth.\n\n> Go south\nThe gate to the north is open.\n\nYou can feel a few spots of rain on your face.\n\n> You throw the apple at the window\nWhich do you mean, the attic window vent or the bathroom window?\n\n> You look at the vent\nA tiny window which, you presume, allows only a minimal amount of light into the attic. Its certainly not big enough for any person to get through, should they lose their keys and find that that is the only window open. As you watch, you suddenly glimpse a flicker of movement, but it might just be your eyes playing tricks on you.\n\n> You examine the bathroom window\nYou can't really see much through the large frosted glass window, but there certainly isn't any movement.\n\nA sudden gust of wind ruffles your hair.\n\n> You throw the apple at the bathroom window\nYou throw the apple at the bathroom window, and it hits its target with pinpoint accuracy, smashing a hole through the glass. The burglar alarm screams into action, and the poor chap who was in there at the time, probably trying to hide from the other guests, pops up at the window and stares down at you. \"Stop! Burglar!\" he yells, not considering the fact that it would be extremely stupid of a real burglar to smash an upstairs window when two whole families were in the manor.\n\nThat doesn't really matter now, because the security guard, having heard the yelling, charges round from the front of the building and grabs you virtually from the scruff of the neck. \"Right, you, you're nicked!\" he bellows triumphantly.\n\nSoon, the police arrive, and you are carted off to the station to explain yourself. By the time Malcolm arrives to bail you out, it is too late to save the wedding - it has been called off permanently.\n\nSome would say that this is a victory, but alas, as far as this game is concerned...\n\n> You throw the apple at the vent\nYou throw the apple at the small window vent, and grin with pride to see it hit its target perfectly and shatter the glass. Suddenly, the burglar alarm screams out, and the sounds of general panic can be heard from inside. Spookily, though, no one looks out at you from the windows, and the security guard does not appear.\n\nStrange, really, as you could have sworn you saw movement behind the vent. You'd have thought the person up there would have given the game away.\n\nAs for the apple, well, it looks like you won't get to enjoy that tangy fruit flavour after all.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\nYou can hear an alarm screeching.\n\n> You go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nYou can hear an alarm screeching.\n\n> You go north\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nAn alarm screeches from somewhere outside the house.\n\n> You examine the bell\nIt is a simple push bell painted gold.\n\nAn alarm screeches from somewhere outside the house.\n\n> You tell the mother about yourself\nShe appears not to have heard you, though you can't shake the feeling that she considers you too lowly a person to grace with an answer.\n\nAn alarm screeches from somewhere outside the house.\n\nYou can hear the security guard moving about close by...\n\n> You open the cupboard\nIt seems to be locked.\n\nAn alarm screeches from somewhere outside the house.\n\nYou can hear the security guard moving about close by...\n\n> Go north\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp, the family dog, sits and whines, his lead tied to a door handle.\n\nA simple polished table lies in the southeast corner.\n\nAn alarm screeches from somewhere outside the house.\n\nYou can hear the security guard moving about close by...\n\n> You untie the dog\nYou release Scamp and he shows his appreciation by leaping up at you and licking your face. You quickly rise from crouching, not really liking the idea of dog saliva on your cheeks, and Scamp quickly loses interest in you.\n\nAn alarm screeches from somewhere outside the house.\n\nBy the sound of it, the security guard is getting closer...\n\n> You go to the north\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nAn alarm screeches from somewhere outside the house.\n\nBy the sound of it, the security guard is getting closer...\n\n> You ask Albert about the wedding\n\"Damn nuisance, eh? Still, I might get a chance to nip out for a game of crazy golf later.\"\n\nAn alarm screeches from somewhere outside the house.\n\nThe security guard marches neatly up to you and seizes you by the collar. \"The alarm might have been playing up,\" he says, \"but at least I've found myself another intruder!\" To your great relief, he doesn't beat you up or call the police, but rather ejects you out onto the car park. \"And don't try to sneak back in, understood?\"\n\nYou can see a security guard here.\n\n> Go north\nYou can't, since the hall door is in the way.\n\nAn alarm screeches from somewhere outside the house.\n\nThe security guard marches neatly up to you and seizes you by the collar. \"The alarm might have been playing up,\" he says, \"but at least I've found myself another intruder!\" To your great relief, he doesn't beat you up or call the police, but rather ejects you out onto the car park. \"And don't try to sneak back in, understood?\"\n\nYou can see a security guard here.\n\n> You open the hall door\nIt seems to be locked.\n\nAn alarm screeches from somewhere outside the house.\n\nThe security guard marches neatly up to you and seizes you by the collar. \"The alarm might have been playing up,\" he says, \"but at least I've found myself another intruder!\" To your great relief, he doesn't beat you up or call the police, but rather ejects you out onto the car park. \"And don't try to sneak back in, understood?\"\n\nYou can see a security guard here.\n\nYou seem to want to talk to someone, but I can't see whom.\n\n> You throw the apple at the vent\nYou throw the apple at the small window vent, and grin with pride to see it hit its target perfectly and shatter the glass. Suddenly, the burglar alarm screams out, and the sounds of general panic can be heard from inside. Spookily, though, no one looks out at you from the windows, and the security guard does not appear.\n\nStrange, really, as you could have sworn you saw movement behind the vent. You'd have thought the person up there would have given the game away.\n\nAs for the apple, well, it looks like you won't get to enjoy that tangy fruit flavour after all.\n\nYou can hear an alarm screeching.\n\n> Go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nYou can feel a few spots of rain on your face.\n\nYou can hear an alarm screeching.\n\n> You go to the north\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp, the family dog, sits and whines, his lead tied to a door handle.\n\nA simple polished table lies in the southeast corner.\n\nAn alarm screeches from somewhere outside the house.\n\n> You go to the north\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nAn alarm screeches from somewhere outside the house.\n\n> You unlock the hall door\nWhat do you want to unlock the hall door with?\n\n> You examine the hall door\nA door connecting the patio outside with the dining hall inside.\n\nAn alarm screeches from somewhere outside the house.\n\n> Go east\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\nAn alarm screeches from somewhere outside the house.\n\n> You go south\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\nA wedding programme lies unloved on the floor.\n\nAn alarm screeches from somewhere outside the house.\n\n> Go east\nThe door won't open.\n\nAn alarm screeches from somewhere outside the house.\n\n> You get the programme\nTaken.\n\nAn alarm screeches from somewhere outside the house.\n\n> You read it\nThis is the first draft of the wedding programme, which has since been chopped down and simplified. It contains details of all the involved parties and the guests, and was probably deemed unsuitable for fear of libel charges being brought against the authors. You'd need to consult it in more detail to find out about the people involved.\n\nAn alarm screeches from somewhere outside the house.\n\nYou can hear the security guard moving about close by...\n\n> You look up ALBERT in the programme\n\"ALBERT HARDCASTLE, uncle of the groom, is a famous sociologist and keen golfer. He wishes his brother would join the twentieth century and stop fussing so much over female vicars.\"\n\nAn alarm screeches from somewhere outside the house.\n\nYou can hear the security guard moving about close by..."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> You look around\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\nAn alarm screeches from somewhere outside the house.\n\n> You go north\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\nAn alarm screeches from somewhere outside the house.\n\nThe burglar alarm suddenly stops, and the silence momentarily hurts your ears. It must mean something to have avoided capture by that guard for this length of time.\n\n> You look up Malcolm in the programme\n\"MALCOLM HARDCASTLE, bridegroom. Born to Marjorie and Edward at St Gollics Cottage Hospital in 1969, Malcolm's original ambition was to be a professional footballer, but common sense got the better of him, and he went to Hedgeford University where he gained a degree in Environmental Studies. He now works at the Westlowe Council planning department, which doesn't pay enough to keep Deborah in the style to which she has become accustomed, but Deborah says that she's willing to forsake the odd tub of caviar in order to be with Malcolm.\"\n\n> You look up chef in the programme\nNothing in the programme about that.\n\n> You look up yourself in programme\nYou are disturbed to discover an extremely detailed account of your entire life history, from a giggling drooling baby to the fine adult you are today. All of your dark secrets are here for everyone and their dog to read, including a few that you'd forgotten yourself. Your mind drifts to libel proceedings, until you realise that this version of the programme was abandoned for that very reason.\n\n> You look up Deborah in the programme\n\"DEBORAH D'ARCY, bride. Born in 1971, Deborah was wrapped in so much cotton wool by her parents Sheryl and Jerry while growing up that many people thought she wouldn't recognise the real world if it crashed through her bedroom ceiling. But Deborah somehow managed to turn out as a charming, realistic and down-to-earth young lady, which has only fuelled rumours that she must have been adopted. Deborah met her future to-be husband after crashing her car into his on a cold winters morning.\"\n\n> You look up Marjorie in the programme\n\"EDWARD & MARJORIE HARDCASTLE, parents of the groom. Edward is a successful businessman, and Marjorie presents the local news bulletins on regional television. In their spare time, they like synchronised embroidery-making and tennis.\"\n\n> You look up Sheryl in programme\n\"SHERYL & JERRY D'ARCY, extremely rich parents of the bride. Originally using Jerry's surname Franklyn, they changed to Sheryl's maiden name when she inherited the impressive D'Arcy manor off her eccentric uncle. They won most of their great wealth a week later on the National Lottery. Fortune has smiled on them rather a lot lately.\""
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> Look around\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n> Go west\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\n> You ask Albert about the wedding\n\"Damn nuisance, eh? Still, I might get a chance to nip out for a game of crazy golf later.\"\n\n> You ask Albert about Malcolm\n\"Goodness knows where the dashed young chap has got to. He's not one to flee like this, that's all I can say.\""
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> Look around\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\n> You ask Albert about the golf\n\"I'd love to have a game, but these doors out to the gardens are locked, I'm afraid.\"\n\n> Go south\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp, the family dog, sits and whines, his lead tied to a door handle.\n\nA simple polished table lies in the southeast corner.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\n> You ask Chloe about the wedding\n\"I get dragged all this way against my will to some poxy wedding, and the groom legs it before the ceremony. Typical!\"\n\n> You look up Chloe in the programme\n\"CHLOE FRANKLYN, cousin to the bride. She was originally offered the role of bridesmaid, but declined on the grounds that she wouldn't be able to wear her Doc Martens. Chloe is a bit of a 'goth' which basically means that she dresses like someone out of The Addams Family. She is a science fiction fanatic and particularly enjoys the show 'Battlebase'.\"\n\n> You ask Chloe about the battlebase\n\"Best programme on television. You a fan then?\"\n\n> Yes\nChloe takes her feet off the table and sits up. \"Okay then,\" she says, \"prove it. Name one of the three student officers who join the Caradeen in 'New Intake'.\"\n\n> You say david\n(to Chloe)\n\"Ha, I knew it,\" she says triumphantly. \"You're just lying so you can creep to me. Well it won't work.\" You take it from her reply that your answer was wrong.\n\n> You examine the video recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched off.\n\n> You switch recorder on\nYou switch the video recorder on.\n\n> You press the PLAY on the recorder\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nThe video recorder emits a series of clicking noises, then starts to rewind.\n\nThe video recorder is making a whirring sound.\n\n> Wait\nYou wait for a moment.\n\nThe video recorder is making a whirring sound.\n\n> You ask Chloe about the docs\nThe woman doesn't respond. She seems to think it's trendy to be ignorant.\n\nThe video recorder is making a whirring sound.\n\n> You ask Chloe about Malcolm\nFor the briefest moment, her face lights up. \"Yeah, he's a bit of all right is Malcolm.\" Then she realises what she is doing, and quickly wears her 'couldn't care less' expression.\n\nThe video recorder is making a whirring sound.\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched off.\n\nThe video recorder is making a whirring sound.\n\n> You turn on the tv\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I hate you! You've ruined my life!\" screams a teenager, before slamming a door.\n\nThe video recorder is making a whirring sound.\n\n> You ask Chloe about Deborah\nChloe glares at you and the television, then gets back to her book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Carole,\" says a young woman, \"my parents are leaving town, so can you adopt me?\" \"Yeah, sure,\" replies Carole.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\n> You press PLAY\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I'm going to make it in the sheep farming business!\" says a young woman firmly. \"You see if I don't!\"\n\n> You press the PLAY on video recorder\nI only understood you as far as wanting to switch the television.\n\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Carole,\" says a young woman, \"my parents are leaving town, so can you adopt me?\" \"Yeah, sure,\" replies Carole.\n\n> You press stop on the video recorder\nThe video recorder whirrs slightly as the tape stops playing.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I'm going to make it in the sheep farming business!\" says a young woman firmly. \"You see if I don't!\"\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I trusted you!\" whimpers a teenage girl. \"And you cheated on me!\"\n\n> You ask Chloe about the remote\nChloe glares at you and the television, then gets back to her book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"It's Bob!\" a distraught man says. \"He's been involved in some sort of accident!\" \"What, again?\" an unimpressed woman asks.\n\n> You turn off the tv\n\"Hurrah,\" says Chloe in an exaggerated manner.\n\n> Examine book\nThe cover depicts a seaside pier in silouette, with a disproportionately large full moon behind it. \"The Vampire Brood of Bognor Regis\" reads the title, \"by the acclaimed author Floella Witt\".\n\n> You ask Chloe about the book\n\"It's 'The Vampire Brood of Bognor Regis' by Floella Witt.\"\n\nThe video recorder emits a series of clicking noises, then starts to rewind."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> You describe your surroundings\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nThe video recorder is making a whirring sound.\n\n> Switch tv\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\nThe video recorder is making a whirring sound.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I trusted you!\" whimpers a teenage girl. \"And you cheated on me!\"\n\n> You examine the fireplace\nPossibly redundant, what with the invention of central heating, but it must be nice to have a large roaring fire going on cold winter nights.\n\nThe video recorder is making a whirring sound.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I'm going to make it in the sheep farming business!\" says a young woman firmly. \"You see if I don't!\"\n\n> You examine phone\nThe telephone is gold plated, and shaped like a cumbersome old-fashioned model, except for a keypad where the dial should go.\n\nThe video recorder is making a whirring sound.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I hate you! You've ruined my life!\" screams a teenager, before slamming a door.\n\n> Switch tv\nThat's already on.\n\nThe video recorder is making a whirring sound.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Sheila, fancy coming back to my place for a six pack?\" asks a naive young man.\n\n> You ask Chloe about the programme\nChloe glares at you and the television, then gets back to her book.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I trusted you!\" whimpers a teenage girl. \"And you cheated on me!\"\n\n> Go east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\n> You ask the mother about the wedding\n\"It's all gone to pot,\" she wails. \"Oh my oh my! My poor dear daughter, whatever will she do!\" She then mumbles something else which you don't quite catch.\n\n> You go to the east\nThis room has the air of a gentleman's private study area, though recently it appears to have been taken over by the lady of the house (that is, Sheryl D'Arcy). A hardboard set of shelves against one wall looks completely out of place amid the antique furniture and the gorgeous circular shaped painting on the ceiling. Embroidery rests on a pouffe to one side, and several packs of wool tower alongside the shelves. The front entrance is out to the west, and there is another room to the north.\n\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\n> You look up Barbara in the programme\n\"BARBARA FRANKLYN, Aunt of the bride, and mother to Chloe. Barbara is a moderately successful artist and sculptor, and has won numerous awards. She brought up Chloe singlehandedly, refusing to name Chloe's father.\"\n\n> You ask Barbara about Chloe\nBarbara notices you for the first time, having been in deep thought. \"You must be Malcolm's friend,\" she says in the voice you recognise as being the one at the other end of the phone. \"I can't really tell you anything, but you must make sure that Malcolm and Deborah get married today.\" She produces a key from her jacket pocket and places it on a table. \"That might come in handy. I don't know what it opens; I just took it from the key holder at the entrance.\"\n\nBarbara leans back in her chair and lets her mind drift off to other things.\n\n> You take the key\nTaken.\n\n> You examine the key\nIt is small and unremarkable.\n\n> You ask Barbara about Malcolm\nShe leans forward and places a hand on your arm to stress her point. \"You must ensure that Deborah and Malcolm are married today. I can't tell you any more than that.\" You ask why not, but Barbara gives you a mysterious look and settles back into her chair.\n\n> You ask Barbara about the house\n\"I'm sorry,\" she says. \"I'm afraid I know little about that.\"\n\n> You examine the embroidery\nThe painstakingly detailed image, made of small strands of thread, portrays a woman zapping a man with her laser-beam eyes.\n\n> You move the embroidery\nNothing obvious happens.\n\n> You take it\nReaching for the embroidery, you are suddenly overcome with memories of the vicious needlework teacher at school who humiliated you in front of the entire class for making a mistake with the tea cosy you were attempting. You quickly pull your hand back.\n\n> Go north\nEverything in this room looks as if it has taken many weeks to carve, with the exception of dodgy book covers protecting some of the awful literature stored here. A vast array of books lie on the two huge shelves, ranging from the ancient to the modern. The curtains are closed, so for light you are reliant on the lamps which are quite attractive mock-ups of candles in candlesticks. An oak table sits in the centre of the room, a grand throne-like chair beside it, for anyone feeling particularly studious. A room lies to the south, and a corridor is out to the west.\n\n> Examine books\nThe two shelves between them span the entire length of the room, and go from the floor to the ceiling. The books don't appear to be in any order, and it would be too daunting to try to find anything specific if not for an index someone has had the presence of mind to compile. It is a small box with a number of cards inside, and you must look up particular titles individually.\n\n> You look up Battlebase in the index\nThe Battlebase Episode Guide is two books out of place, suggesting that someone has recently had a look at it. The cover has been coated in plastic and feels nice and smooth to your hands.\n\n> You read the episode guide\nThis book contains all you should ever want to know about the sci-fi show Battlebase (and probably a few hundred pages more). You will have to consult the book in more detail for specific items.\n\n> You take the episode guide\nYou already have that.\n\n> You go west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Carole,\" says a young woman, \"my parents are leaving town, so can you adopt me?\" \"Yeah, sure,\" replies Carole.\n\n> You look up the new INTAKE in Guide\n\"C8: NEW INTAKE by Jon Lee Smarbwin. Three student officers - Lennox, Ciccone and Estefan - join the Caradeen after passing all their theory exams. As part of their on-going studies, they are deposited on a planet surface and must find their way to a waiting dropship. Unfortunately, the enemy choose this time to attack the Caradeen and the planet, and the students find themselves fighting for their lives.\"\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Coor blimey guv'nor, how's about a nice cup o' rosey lee?\" says the scriptwriter's idea of an Englishman.\n\n> You ask Chloe about Battlebase\nChloe glares at you and the television, then gets back to her book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"It's Bob!\" a distraught man says. \"He's been involved in some sort of accident!\" \"What, again?\" an unimpressed woman asks.\n\n> Switch television\nThat's already on.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Sheila, fancy coming back to my place for a six pack?\" asks a naive young man.\n\n> You switch the television off\n\"Hurrah,\" says Chloe in an exaggerated manner.\n\n> You ask Chloe about Battlebase\n\"Best programme on television. You a fan then?\"\n\n> You say yes\n(to Chloe)\nChloe takes her feet off the table and sits up. \"Okay then,\" she says, \"prove it. Who finds himself in the middle of a revolution in 'Repairs'?\"\n\n> You say Lennox\n(to Chloe)\n\"Ha, I knew it,\" she says triumphantly. \"You're just lying so you can creep to me. Well it won't work.\" You take it from her reply that your answer was wrong.\n\n> You look up c7 in Guide\nYou can't seem to find that in the guide; oh well, probably not worth the effort anyway.\n\n> You look up the REPAIRS in Guide\n\"A13: REPAIRS by Lenni Worb. After the major battle in the previous episode, the Caradeen is put into dry dock for repairs and its crew are given two weeks leave. John Canada decides to spend his time on a beautiful planet in a nearby system, and finds that it is not as peaceful as he first thought. Soon, he find himself in the middle of a revolution, which the leaders of the planet intend to crush.\"\n\n> You look at the cellar door\nA solid metal door with the word CELLAR etched into the surface. It has an electronic lock.\n\n> You examine the lock\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\n> You open the door\nIt seems to be locked.\n\n> Go east\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n> You go south\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\n> Go upwards\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\n> You look at the painting\nThe effect is interesting, like a little comic strip without the white boxes to separate the action. A woman in bright pink, surrounded by deep blue ocean, suddenly bursts into red flame and attempts to destroy the world. She is thwarted by the water. Freud would have loved to have met the artist, whose initials are 'SAD'. Actually, now that you look at it, it appears to be a little lopsided, as if it was put up in a rush.\n\n> You move it\nYou are unable to.\n\n> You turn it\nYou turn the painting forty-five degrees clockwise, and a door you hadn't been aware of springs open in the north wall. The painting swivels back into its original position.\n\n> You go north\nA staircase at the other side of the door takes you up to...\n\nThe attic has been converted into rather a spacious, if bare, room. A naked light bulb hangs from the ceiling, spilling light on the various cardboard boxes and general bricabrac. In the sloping roof is a small broken window-vent, and a staircase leads down.\n\nIn one corner is your friend Malcolm, bound and gagged, pleading with his eyes for you to release him.\n\nYou can also see a cooking apple here.\n\n> You look at Malcolm\nHe is bound and gagged, and saying \"Mffffmmmffumffmmmf!\". I think he is trying to tell you to release him.\n\n> Kiss malcolm\nYou can't do that; it would be too much for Malcolm's macho pride to bear.\n\n> You untie Malcolm\nYou untie your friend, and help him to his feet. He seems a little shaky, but then, had you just spent a long time tied up in the attic, you would be too.\n\n\"Thanks, mate,\" he says. \"I was just coming up the stairs early this morning when someone jumped me from behind and knocked me out. I came to up here.\"\n\nIt seems that someone is out to wreck this wedding - but who? Malcolm doesn't know, and he can't face Deborah until he can give her a proper explanation.\n\n> You take the apple\nYou're carrying too many things already.\n\n> You ask Malcolm about wedding\n\"So much for 'best day of the bride's life'.\"\n\n> You ask Malcolm about the assailant\nMalcolm shrugs his shoulders but doesn't say anything. He is still shaken up a little, you fear.\n\n> You look at what you're carrying with you\nYou are carrying:\na Battlebase episode guide\na small brass key\na wedding programme"
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> Go down\nYou descend the stairs and pass through a door, finding yourself in the...\n\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nA door stands open in the north wall.\n\n> You look up ALBERT in the programme\n\"ALBERT HARDCASTLE, uncle of the groom, is a famous sociologist and keen golfer. He wishes his brother would join the twentieth century and stop fussing so much over female vicars.\"\n\n> Go east\nYou stride off down the corridor towards the east, passing a few rooms where hideous relatives pace up and down within. They are best avoided, you think, so you don't stop until you reach the...\n\nThe east end of the landing is pretty unremarkable in itself, but a door to the north demands your immediate attention - painted pink, with a picture of a teddy bear holding a sign reading 'Deborah'. There are also less interesting rooms to the east and south.\n\n> Go north\nThis room offers refuge from the tastelessness that seems to prevail around the rest of the house. Framed pictures of famous film actresses, Garland, Dietrich, Midler and Streisand in particular, hang proudly on the sky-blue walls, alongside two extra-large pink and red ribbons. The abundance of style extends to the curtains, the most attractive you have ever seen. If only the rest of the house, to the south, had been decorated as well as this.\n\nDeborah, the bride, sits on her bed flicking through an old issue of Cooee! magazine.\n\n> You ask Deborah about the wedding\n\"Sorry, haven't you heard? The wedding's off. The lovely groom's done a bunk.\"\n\n> You ask Deborah about Malcolm\n\"Who's he? Never heard of him.\" Her tone betrays a vein of bitterness.\n\n> You ask Deborah,  to go south\nYou haven't solved the mystery yet. You shouldn't drag Deborah away from her room until you have the answers.\n\n> You give the cooee to you\nMuch as you love pouring through the pages of the quality journal that is Cooee!! magazine, you'd better put such pleasures to one side for the time being and do something about this wedding.\n\n> Go south\nThe east end of the landing is pretty unremarkable in itself, but a door to the north demands your immediate attention - painted pink, with a picture of a teddy bear holding a sign reading 'Deborah'. There are also less interesting rooms to the east and south.\n\n> Go east\nYou are surprised how different this room is to all the others in the house - bland white walls and bare floorboards give it the 'recently added extension' look, which isn't appropriate. Cardboard boxes full of junk have been dumped in a corner. There is nowhere to go from here but out west to the landing.\n\nYou can see a plastic supermarket bag (which is empty) here.\n\n> Drop guide\nDropped.\n\n> You take the bag\nTaken.\n\n> You take Guide\n(putting the wedding programme into the plastic supermarket bag to make room)\nTaken.\n\n> Examine boxes\nYou briefly examine one of the more interesting boxes, full of useless but interesting-looking junk. After a brief look through, you decide that there's nothing worth holding onto here.\n\n> Go south\nThis room is quite small and cramped, with the single bed in the corner taking up most of the room. Definitely not a place for cat-swinging; indeed, you can't see any cat hairs on the thick rug of a carpet. A wardrobe has been squeezed into the room as well, and by the look of it (and the smell of it), one of the Aunts is taking up this room.\n\n> You open the wardrobe\nYou open the wardrobe.\n\n> You look in it\nThe wardrobe is empty.\n\n> You examine the bed\nThe bed is quite tall and narrow compared to yours, and has been made neatly. You are not sure about the mickey mouse sheets, though.\n\n> You look under it\nYou dislodge a letter which appeared to be stuck to the bottom of the bed.\n\n> You take letter\n(putting the small brass key into the plastic supermarket bag to make room)\nTaken.\n\n> You read it\nThis is a love letter from Malcolm to Deborah. You blush at some of the vivid imagery used, and decide not to read all of it. Maybe he stuck it under that bed when he visited the house on one occasion, hoping Deborah would find it.\n\n> You enter the wardrobe\nYou get into the wardrobe.\n\n> Close wardrobe\nMuch as you like dark and confined spaces, you decide that sorting out this wedding is more important than getting stuck in a wardrobe.\n\n> You search the wardrobe\nThe wardrobe is empty.\n\n> Inventory\nYou are carrying:\na letter\na Battlebase episode guide\na plastic supermarket bag\na small brass key\na wedding programme\n\n> Exit\nYou step proudly out of the wardrobe, wondering briefly if there are any banners nearby that you can wave.\n\n> You go west\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nA door stands open in the north wall.\n\n> Go west\nIn an attempt to steer clear of people you have no intention of meeting, you hurry past a number of open doorways, finally reaching the...\n\nThe west end of the landing ends here with a small window which enables you to look out on the tiled pathway and the gardens outside. The bathroom door lies north, and another (closed) door prevents you from going south.\n\n> You look at the window\nYou gaze out of the window at the huge garden, its distant border marked by a row of imposing trees. The marquee for the reception will be erected here soon, assuming it hasn't already been cancelled.\n\n> You open the bathroom door\nYou try the handle, but the door is locked from the inside it seems.\n\n> You go to the south\nThe door is locked. You try knocking, but there is no answer, and besides, you get the impression that you are barking up the wrong tree here.\n\n> You unlock the door with the key\n(first taking the small brass key)\n(putting the Battlebase episode guide into the plastic supermarket bag to make room)\nThat doesn't seem to be something you can unlock.\n\n> You knock on the bathroom door\nA man's voice shouts from within, \"Go away, I'm sulking!\".\n\n> You ask the bathroom door about the wedding\n\"Go away, I'm sulking!\" Amazing, a talking door.\n\n> You look up sulky the door in the programme\nNothing in the programme about that.\n\n> You put the programmer under the door\n(first taking the wedding programme)\n(putting the letter into the plastic supermarket bag to make room)\nYou can't put the wedding programme under the bathroom door.\n\n> Unlock south\nWhat do you want to unlock the south wall with?"
    },
    {
        "text": "> Look around\nThe west end of the landing ends here with a small window which enables you to look out on the tiled pathway and the gardens outside. The bathroom door lies north, and another (closed) door prevents you from going south.\n\n> Go east\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nA door stands open in the north wall.\n\n> You go to the north\nA staircase at the other side of the door takes you up to...\n\nThe attic has been converted into rather a spacious, if bare, room. A naked light bulb hangs from the ceiling, spilling light on the various cardboard boxes and general bricabrac. In the sloping roof is a small broken window-vent, and a staircase leads down.\n\nYour old college chum Malcolm hovers close by.\n\nYou can also see a cooking apple here.\n\n> Go south\nYou can only go down from here.\n\n> You unlock the cupboard with the key\n(first taking the small brass key)\n(putting the wedding programme into the plastic supermarket bag to make room)\nYou unlock the cupboard.\n\n> You open the cupboard\nYou open the cupboard, revealing a spade.\n\n> You take the spade\n(putting the cooking apple into the plastic supermarket bag to make room)\nTaken.\n\n> You go to the west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\n> You examine the dog\nThe excitable Alsatian puppy struggles to get free of his lead, and is not having much luck. He eyes you pitifully; his whining almost breaks your heart.\n\n> You go north\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\n> You look at the door\nA door connecting the patio outside with the dining hall inside.\n\n> You examine the bell\nIt is a simple push bell painted gold.\n\n> You ask the mother about the keys\nShe is too busy fretting to answer.\n\n> You go to the south\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\nYou can feel a few spots of rain on your face.\n\n> You go to the north\n\"Oi! Where do you think you're going?\" The guard takes great delight in rugby-tackling you to the floor and dragging you back out onto the pebbled car park. \"Authoria... Authiroz... authorthised... proper people only!\". You've probably just made his day.\n\n> Show programme to guard\n(first taking the wedding programme)\n(putting the small brass key into the plastic supermarket bag to make room)\nHe doesn't show the slightest interest.\n\n> Go north\n\"I don't think so, sunbeam,\" says the nasty looking guard. He probably heard that line on an old episode of The Bill and has desperately longed for an opportunity to say it since.\n\nA sudden gust of wind ruffles your hair.\n\n> Go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Go north\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nBy the side of the path, among the flowers, is a dark patch of earth.\n\n> You dig the patch with the spade\nYou dig a hole in the ground, stopping when the spade seems to hit something.\n\n> You look in the hole\nPeering into the hole, you can see what looks like a cash tin box.\n\nYou can feel a few spots of rain on your face.\n\n> You take the box\n(putting the spade into the plastic supermarket bag to make room) Taken.\n\n> You dig the hole with the spade\nThe ground looks unsuitable for digging here."
    },
    {
        "text": "[Themes: Mystery, Slice of life]\n\n> Look around\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nA hole has been dug by the side of the path.\n\nThe gate to the south is open.\n\n> Go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\n> You examine the obstacles\nIt all looks very crazy and a little golf-like. You are dying to have a go.\n\n> You go south\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> You open the door\nIt seems to be locked.\n\n> Examine vent\nA tiny window which has been smashed by some scoundrel. Now that most of the glass has gone, you can definitely see some sort of movement inside the attic, and the light is on.\n\n> You examine bathroom\nYou can't really see much through the large frosted glass window, but there certainly isn't any movement.\n\nYou can feel a few spots of rain on your face.\n\n> You look at the apple\nA small, heavy and unappetising cooking apple."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> Yes\nTry \"SAY YES TO <whoever>\".\n\n> You say yes to Chloe\nChloe takes her feet off the table and sits up. \"Okay then,\" she says, \"prove it. In the story 'Dreams', who was recovering from an alien possession?\"\n\n> You look up the DREAMS in Guide\n\"C12: DREAMS by David McCarthy.\" To cut a very long story short, this episode sees Faldon recuperate from a previous alien possession on a supposedly tranquil colony base. The strange dreams he gets while there, however, are not all in his mind...\n\n> You say Faldon to Chloe\nChloe looks a little startled. \"That's right,\" she says slowly, and she seems to be on the verge of asking you another question, but decides against it. \"Well, fellow Battlier, what can I do for you?\"\n\n> You ask Chloe about the remote\nThe woman doesn't respond. She seems to think it's trendy to be ignorant.\n\n> You ask Chloe about Malcolm\nFor the briefest moment, her face lights up. \"Yeah, he's a bit of all right is Malcolm.\" Then she realises what she is doing, and quickly wears her 'couldn't care less' expression.\n\n> You ask Chloe about Deborah\n\"She's my cousin. Isn't she the one getting married today? Personally, I don't know and I don't care.\"\n\n> You tell Chloe about the guard\n\"Urgh, get off me, you creep!\"\n\nChloe grins, thinking of something funny, but she decides that you don't need to know it. \"Oh, he's an oaf, isn't he?\"\n\n> You ask Chloe about the tv\n\"I'd rather you didn't switch that thing on. I'm trying to read, and besides, there's nothing worth watching anyway.\"\n\n> You ask Chloe about the guard\nChloe grins, thinking of something funny, but she decides that you don't need to know it. \"Oh, he's an oaf, isn't he?\"\n\n> You ask Chloe about the tin box\nThe woman doesn't respond. She seems to think it's trendy to be ignorant.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information provided on the following:\n\n> The story so far...\nRelease information\nCredits\nOn-Line Marriage Guidance System\nCommands\nDistribution notes\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nThere is information provided on the following:\n\n> The story so far...\nRelease information\nCredits\nOn-Line Marriage Guidance System\nCommands\nDistribution notes\n\n> You ask Chloe about Battlebase\n\"Hail fellow Battlier!\" she says proudly, giving you a strange and no doubt alien salute.\n\n> You untie the dog\nYou release Scamp and he shows his appreciation by leaping up at you and licking your face. You quickly rise from crouching, not really liking the idea of dog saliva on your cheeks, and Scamp quickly loses interest in you.\n\nScamp trots off to the northeast.\n\n> Go northeast\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nScamp is up to mischief here.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n\"How am I supposed to maintain good hygiene levels if someone lets a filth dog full run of the house?\" says the Chef, glaring at you coldly.\n\n> You look at Scamp\nThis excitable Alsatian puppy is exhausting to watch. He bounces, he sniffs for food, he throws up paws for passers-by to stroke, and he rarely stays still in one place for long.\n\nScamp trots off to the west.\n\n> Go west\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp is up to mischief here.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nScamp trots off to the south.\n\n> Go south\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\n> You take Scamp\nI don't suppose Scamp would care for that.\n\nScamp sits and watches you curiously.\n\n> Pet scamp\nScamp allows you to scratch his tummy, but clearly doesn't like being stroked on the head.\n\nScamp trots off to the east.\n\n> Go east\nEverything in this room looks as if it has taken many weeks to carve, with the exception of dodgy book covers protecting some of the awful literature stored here. A vast array of books lie on the two huge shelves, ranging from the ancient to the modern. The curtains are closed, so for light you are reliant on the lamps which are quite attractive mock-ups of candles in candlesticks. An oak table sits in the centre of the room, a grand throne-like chair beside it, for anyone feeling particularly studious. A room lies to the south, and a corridor is out to the west.\n\nScamp is up to mischief here.\n\nScamp trots off to the west.\n\n> You look under table\nYou find nothing of interest.\n\nScamp sniffs at your hands for food.\n\n> Search table\nThere is nothing on the simple table.\n\nScamp trots off to the south.\n\n> You go to the south\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp trots off to the west.\n\n> Go west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nScamp is up to mischief here.\n\nA young woman called Chloe sits nearby reading a book.\n\nScamp trots off to the northeast.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\nScamp trots off to the northeast.\n\n> Go northeast\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nScamp is up to mischief here.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\nThe Chef tries chasing Scamp out of the kitchen, but Scamp easily avoids her, rapidly wagging his tail.\n\n> You feed the book to Scamp\nScamp examines what you are offering, but turns away, disappointed that it isn't edible.\n\nScamp trots off to the south.\n\n> You go south\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\nScamp is up to mischief here.\n\nScamp trots off to the north.\n\n> Go north\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nScamp is up to mischief here.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n> You give the apple to Scamp\n(first taking the cooking apple)\n(putting the spade into the plastic supermarket bag to make room) Scamp sniffs cautiously at the apple for a moment, then quickly scoffs it, core and all."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> You look around\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nScamp is up to mischief here.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n\"What shall we prepare for the main meal?\" asks the Chef, apparently to herself. Then she turns to Scamp, and with an evil glint in her eye, says \"Doggie stew!\"\n\n> You go southwest\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\n> You go to the east\nEverything in this room looks as if it has taken many weeks to carve, with the exception of dodgy book covers protecting some of the awful literature stored here. A vast array of books lie on the two huge shelves, ranging from the ancient to the modern. The curtains are closed, so for light you are reliant on the lamps which are quite attractive mock-ups of candles in candlesticks. An oak table sits in the centre of the room, a grand throne-like chair beside it, for anyone feeling particularly studious. A room lies to the south, and a corridor is out to the west.\n\n> You sit on the chair\nYou get onto the throne-like chair.\n\n> You look at the table\nA sturdy table, polished to such an extent that you can see your face reflected on the surface.\n\n> You examine the candles\nThe lamps provide light in the room.\n\n> Examine index\nThe two shelves between them span the entire length of the room, and go from the floor to the ceiling. The books don't appear to be in any order, and it would be too daunting to try to find anything specific if not for an index someone has had the presence of mind to compile. It is a small box with a number of cards inside, and you must look up particular titles individually.\n\n> You stand\nYou get off the throne-like chair.\n\nEverything in this room looks as if it has taken many weeks to carve, with the exception of dodgy book covers protecting some of the awful literature stored here. A vast array of books lie on the two huge shelves, ranging from the ancient to the modern. The curtains are closed, so for light you are reliant on the lamps which are quite attractive mock-ups of candles in candlesticks. An oak table sits in the centre of the room, a grand throne-like chair beside it, for anyone feeling particularly studious. A room lies to the south, and a corridor is out to the west.\n\n> You look under the table\nCarved on the underside of the table are two messages - \"Liz luvs Fitz '13\" and \"Chloe woz 'ere '91\".\n\n> You look up the elizabeth in programme\nNothing in the programme about that.\n\n> You look up the golf in the index\nYou search for the Crazy Golf book, but there is a conspicuous gap in the shelves where it should be.\n\n> You look up lock in the index\nUnfortunately, the index doesn't have anything about that. You notice that the index only has a couple hundred cards, whereas the number of books on the shelves must be nearer to a thousand. Many books are bound to have been left out.\n\n> You remove the candles\n(first taking the lamps)\nThey are built into the walls.\n\n> You check your inventory\nYou are carrying:\na Battlebase episode guide\na plastic supermarket bag\na spade\na small brass key\na wedding programme\na letter\n\n> You show the letter to Albert\n(first taking the letter)\nUncle Albert is unimpressed.\n\n> Go south\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nScamp trots along here from the northeast, and sniffs at your feet.\n\n> You show the letter to Chloe\nChloe is unimpressed.\n\n> Go east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp stretches and yawns.\n\n> You show the letter to the mother\n\"What filth. It should be consigned to the dust bin at once!\"\n\n> Go upwards\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nA door stands open in the north wall.\n\n> Go north\nA staircase at the other side of the door takes you up to...\n\nThe attic has been converted into rather a spacious, if bare, room. A naked light bulb hangs from the ceiling, spilling light on the various cardboard boxes and general bricabrac. In the sloping roof is a small broken window-vent, and a staircase leads down.\n\nYour old college chum Malcolm hovers close by.\n\n> You show the letter to Malcolm\n\"Oh, I wrote that ages ago,\" remembers Malcolm nostalgically. \"It was when we'd only begun courting. I was staying over, in the spare room because Deborah's parents wouldn't allow any hanky-panky. I hid it under the bed, hoping that Deborah would find it. I don't think she's ever seen that, actually.\"\n\n> You ask Malcolm about the spare room\nMalcolm shrugs his shoulders but doesn't say anything. He is still shaken up a little, you fear.\n\n> You show the letter to Deborah\nDeborah takes the letter. As she reads it, she smiles warmly, remembering happy days. When she finishes, she folds it carefully and slips it into her pocket. \"Why did he do it?\" she asks sadly, and hands you a note she had kept hidden within the pages of one of her magazines.\n\n> You examine the note\nA small piece of jotting paper bears a hastily scrawled message that might or might not be Malcolm's handwriting.\n\n\"Dear Deborah,\nI'm sorry, but I can't go through with this. I need to go away to rediscover my inner self. I hope you can forgive me in time, and find someone else, someone who truly deserves you.\n\nAll the best,\nMalcolm.\"\n\nSomething fishy is going on, you are sure - Malcolm was never the type to \"rediscover his inner self\", and wasn't impressed by people who did.\n\n> You show the note to Malcolm\nMalcolm takes and reads the note. \"What?\" he splutters suddenly. \"This isn't my handwriting! I'm being stitched up here!\"\n\nAfter a moment, his face seems to light up, and you can almost see a light bulb appear above his head. \"I've got it!\" he says. \"The security guard has to sign in and out every day. I've seen him do it - this is his handwriting!\".\n\nYou consider going down and having a word with the guard.\n\n> You look at what you're carrying with you\nYou are carrying:\na Battlebase episode guide\na plastic supermarket bag\na spade\na small brass key\na wedding programme\n\n> You ask Malcolm about the guard\n\"I never did trust that guard.\"\n\n> Go south\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You ask the guard about the note\nYou wish you had worn that jacket with the impressive shoulder pads now, but you stand up straight and try to look as fearsome as possible for the guard.\n\n\"Okay, muggins,\" you say, \"spill the beans, squeak, start talking, loosen your tongue...\" Then you realise that you are getting carried away, and drop the tough cop act. \"Why did you duff up my mate Malcolm and lock him in the attic?\"\n\nThe guard sneers at you. \"I don't have to tell you anything. You've got nothing over me.\" You decide to make it your mission in life to find lots of things to hold over this horrible guard. Preferably very heavy things you can drop on him.\n\n> You hit the guard\nThis isn't a macho Hollywood action film: you don't need to beat people up in this game.\n\n> Go north\n\"I don't think so, sunbeam,\" says the nasty looking guard. He probably heard that line on an old episode of The Bill and has desperately longed for an opportunity to say it since.\n\n> You ask the guard about the note\nThe guard won't say another word. You'll just have to find a way of forcing him to speak.\n\n> You ask the guard about Chloe\n\"She's an invited guest... unlike you.\"\n\n> You ask the guard about the treasure\n\"Your name's not down, you're not coming in.\"\n\nYou can feel a few spots of rain on your face.\n\n> You take the box\nTaken.\n\nA sudden gust of wind ruffles your hair.\n\n> You go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nYou can feel a few spots of rain on your face.\n\n> Shake tree\nYou shake the tree fruitlessly.\n\n> You go west\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go to the south\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Go west\nYou make your way around the western side of the house, and find yourself at...\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> You show the box to guard\n(the cash tin box to the security guard)\nHe doesn't show the slightest interest.\n\n> You hit the guard\nThis isn't a macho Hollywood action film: you don't need to beat people up in this game.\n\n> Inventory\nYou are carrying:\na cash tin box (which is closed and locked)\na Battlebase episode guide\na plastic supermarket bag\na spade\na small brass key\na wedding programme\n\n> You unlock the box with the key\n(the burglar alarm with the small brass key)\n(first taking the small brass key)\n(putting the Battlebase episode guide into the plastic supermarket bag to make room)\nIt's too high up to reach.\n\n> You go west\nYou make your way around the western side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Examine vent\nA tiny window which has been smashed by some scoundrel. Now that most of the glass has gone, you can definitely see some sort of movement inside the attic, and the light is on.\n\n> You throw the box at the attic window\nYou can't reach the attic window yourself without the aid of a jetpack; unfortunately, most stately homes don't have any.\n\n> You knock on the door\nNo answer.\n\n> You open the door with the spade\n(first taking the spade)\n(putting the cash tin box into the plastic supermarket bag to make room)\nThat doesn't seem to fit the lock.\n\n> You look at the door\nA door connecting the patio outside with the dining hall inside.\n\n> Drop box\nYou haven't got that.\n\nYou can feel a few spots of rain on your face.\n\n> You take the box\n(putting the small brass key into the plastic supermarket bag to make room)\nTaken.\n\n> Shake box\nYou hear something rattling round inside the box."
    },
    {
        "text": "[Themes: Mystery, Slice of life]\n\n> You look at your surroundings\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> You throw the box at the bathroom window\nUnfortunately you don't qualify for a nice set of wings until the next life, so there's no way of reaching the window.\n\nYou can feel a few spots of rain on your face.\n\n> You throw the key at the bathroom window\n(first taking the small brass key)\n(putting the spade into the plastic supermarket bag to make room)\nAn ingenious idea, with only one small drawback: you can't reach the window from down here.\n\nYou can feel a few spots of rain on your face.\n\n> Go north\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\n> You look at the hole\nThe hole is half a metre deep.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> Go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\n> You look at course\nIt all looks very crazy and a little golf-like. You are dying to have a go.\n\n> Inventory\nYou are carrying:\na small brass key\na cash tin box (which is closed and locked)\na plastic supermarket bag\na spade\na Battlebase episode guide\na wedding programme\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Go northeast\nThe flowers are so pretty that it would be a shame to just trample all over them.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You examine tree\nOnly the trunk and lower branches can be seen, the leaves blocking out your view of the rest of the tree.\n\n> You hit the tree\nYou attack the tree with gusto, kicking the trunk and snapping a few of the branches. There is a slight rustling sound from the heart of the branches as the tree shakes a little, but nothing else happens.\n\n> Go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> Look around\nThe attic has been converted into rather a spacious, if bare, room. A naked light bulb hangs from the ceiling, spilling light on the various cardboard boxes and general bricabrac. In the sloping roof is a small broken window-vent, and a staircase leads down.\n\nYour old college chum Malcolm hovers close by."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> Go down\nYou descend the stairs and pass through a door, finding yourself in the...\n\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nA door stands open in the north wall.\n\n> Go west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nScamp is up to mischief here.\n\nA young woman called Chloe sits nearby reading a book.\n\n> You ask Chloe about the guard\nChloe grins, thinking of something funny, but she decides that you don't need to know it. \"Oh, he's an oaf, isn't he?\"\n\n> You look at what you're carrying with you\nYou are carrying:\na Battlebase episode guide\na plastic supermarket bag\na spade\na small brass key\na wedding programme\n\n> You tell Chloe about Malcolm\nYou get no reply from the woman.\n\nScamp trots off to the northeast.\n\n> You say yes\n(to Chloe)\nYou get no reply from the woman.\n\n> You ask Chloe about table\nThe woman doesn't respond. She seems to think it's trendy to be ignorant.\n\nScamp trots along here from the northeast and nuzzles Chloe's dangling hand with his nose. Chloe scratches behind his ear vacantly, still engrossed in her book.\n\n> You ask Chloe,  to go east\nThe woman doesn't take kindly to your gentle requests, and compares you to a dictator before getting back to her book.\n\nScamp trots off to the northeast.\n\n> Horror\n\"I'm reading it,\" says Chloe irritably.\n\n> You go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\n> You ask Albert about the guard\n\"The cad! The bounder! The blackguard! And, no doubt, a whole lot of other old-fashioned cliched words as well.\"\n\n> You ask Albert about Sheryl\n\"I always thought it was a mistake on Godfrey's part to leave the house to Sheryl. He was always a bit of a gambler, really.\"\n\n> You ask Albert about Godfrey\n\"One of my greatest friends - the most unpredictable and eccentric man I've ever met.\"\n\n> You take the table\nThat's fixed in place.\n\n> You move the table\nIt is fixed in place.\n\n> You examine the lock\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\n> You get the sticker\nThat's hardly portable.\n\n> You examine Sheryl\nHer clothes look like they have been chosen in order to make sure that she isn't lost in the crowd during the wedding: a shocking pink suit is topped by a large (some would say overgrown) matching hat. She is wringing her hands and seems to be murmuring \"oh my oh my\".\n\n> You ask Sheryl about the bathroom\n\"My brother William's locked himself in the bathroom, I'm afraid.\"\n\n> You look up William in the programme\n\"WILLIAM D'ARCY, uncle of the bride, is the unsociable one of the family, with a tendency to lock himself in a toilet and sulk. One such episode lasted two days; his wife Hope was forced to climb a ladder and pass his pizzas in through the window, though she says that if he tries it again, he can just starve.\"\n\n> You look up Hope in the programme\n\"HOPE D'ARCY, long suffering wife to William. Hope seems to possess infinite patience, which helps when dealing with her husband. She is also a part time rock climber.\"\n\n> You go east\nThis room has the air of a gentleman's private study area, though recently it appears to have been taken over by the lady of the house\n\n> You ask Sheryl about the keys\n(that is, Sheryl D'Arcy). A hardboard set of shelves against one wall looks completely out of place amid the antique furniture and the gorgeous circular shaped painting on the ceiling. Embroidery rests on a pouffe to one side, and several packs of wool tower alongside the shelves. The front entrance is out to the west, and there is another room to the north.\n\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\nYou can't see any such thing.\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched off.\n\n> You look at the fireplace\nPossibly redundant, what with the invention of central heating, but it must be nice to have a large roaring fire going on cold winter nights.\n\n> You call the mom\nWhat do you want to call that on?\n\n> The phone\nYou let the phone ring for a while, then put the receiver back down.\n\n> You look at Chloe\nChloe has her chair back on two legs, feet on the table, reading a horror story. She is clad entirely in black, from her Doc Martens to her T-shirt. Maybe she got the events mixed up and thought she was going to a funeral.\n\n> Go east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp trots along here from upstairs, careful to avoid the Mother of the Bride who glares at him and mutters something dark under her breath.\n\n> You ask Mother about the remote\nShe is too busy fretting to answer.\n\nScamp sniffs at your hands for food.\n\n> You ask Scamp about the remote\n\"Woof.\"\n\nScamp scratches his ear furiously with his hind leg.\n\n> You tell Barbara about the guard\nBarbara smiles enigmatically.\n\n> You look at the wool\nThe packs, each containing six balls of wool, are waiting to be used for one very large jumper, or alternatively several hundred jumpers for unlucky relatives.\n\n> You search the wool\nThe colour you like isn't here. Anyway, you don't have time to knit.\n\n> Go west\nYou can't see any such thing.\n\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\n> You press eject\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\n> You press the eject on the video recorder\nThe video recorder spits out a cassette, which lands neatly on the floor.\n\n> You take the cassette\nTaken.\n\n> Examine cassette\nA three-hour video cassette, rewound to the beginning.\n\nA three-hour video cassette, rewound to the beginning.\n\n> You show it to Chloe\nChloe is unimpressed.\n\n> You go to the north-east\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can hear heavy footsteps nearby.\n\n> Wait\nYou wait for a moment.\n\nYou can hear heavy footsteps nearby.\n\n> Wait\nYou wait for a moment.\n\n> Go north\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\nYou can hear heavy footsteps nearby.\n\n> Go west\nConsidering the high technology that has gone into guarding this area, the cellar is surprisingly lo-tech. One very dull fluorescent tube casts gloomy light over the brick walls. The air is damp; cobwebs line the ceiling. A tunnel disappears off into the darkness to the northeast, and a set of stone steps lead east up to the passageway.\n\nDiscarded carelessly on a crate is something which declares itself to be a water detector.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> You check what you're carrying\nYou are carrying:\na video cassette\na Battlebase episode guide\na plastic supermarket bag\na spade\na small brass key\na wedding programme\n\nYou don't notice the security guard bearing down on you until it is too late. \"Gotcha!\" he snarls, and drags you kicking and screaming out of the house. \"Behave, you!\" he bellows like an impatient father, and as you pick yourself up, you think spiteful thoughts involving the security guard and several tonnes of space debris falling to earth.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> Go north\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can hear heavy footsteps nearby.\n\n> Go south\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> Go south\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> Go north\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\n> You close the cellar door\nYou close the cellar door.\n\nYou can hear heavy footsteps nearby.\n\n> You wait\nYou wait for a moment.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You open the cellar door\nYou will have to enter the pass number into the lock to open the door.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> Bang on door\nThe hard metal hurts your knuckles as you rap on the door.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You ask the cellar door about the note\n\"Oi, you!\" calls the voice behind the door. \"Get me out of here! Unlock the door!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You examine the lock\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You ask the door about the lock\n\"The number?\" bellows the voice behind the door. \"The number is 9136. Hurry!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You open the door\nYou will have to enter the pass number into the lock to open the door.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You unlock cellar door\nWhat do you want to unlock the cellar door with?\n\n> Type 9136\nWhat do you want to type that on?\n\n> The lock\nYou can't see a telephone here.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You examine the phone\nThe telephone is gold plated, and shaped like a cumbersome old-fashioned model, except for a keypad where the dial should go.\n\n> You dial phone\nWhat do you want to dial that on?\n\n> Type 9136\nWhat do you want to type that on?\n\n> Phone\nYou let the phone ring for a while, then put the receiver back down.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You unlock cellar door\nWhat do you want to unlock the cellar door with?\n\n> You type 9136 on the leds\nWhat do you want to push that on?\n\nYou can't see a telephone here.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You examine the leds\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You look at the door\nA solid metal door with the word CELLAR etched into the surface. It has an electronic lock.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You open door\nYou can't see any such thing.\n\nYou can only do that to something animate.\n\nYou will have to enter the pass number into the lock to open the door.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You say 9136\n(to the cellar door)\n\"Oi, you!\" calls the voice behind the door. \"Get me out of here! Unlock the door!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You set lock to 9136\nNo, you can't set that to anything.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> Lock\nWhat do you want to lock?\n\n> You open the lock\nThat's not something you can open.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You hit the door\nViolence should only be used as a last resort.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> Go south\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\n> You take the box\n(putting the Battlebase episode guide into the plastic supermarket bag to make room)\nTaken.\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> You go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\n> You go south\nThat way only leads out of the estate, and you've still got a lot of interfering to do yet.\n\nA sudden gust of wind ruffles your hair.\n\n> You examine the alarm\nFrom here, all you can see is a white box with the name of a security company on it. A blue light flickers intermittently on its side, suggesting that it is active.\n\n> Open alarm\nIt's too high up to reach.\n\nThe grey sky overhead turns a little darker, threatening rain."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> Look around\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\n> Go up\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nScamp is up to mischief here.\n\nA door stands open in the north wall.\n\n> Go north\nA staircase at the other side of the door takes you up to...\n\nThe attic has been converted into rather a spacious, if bare, room. A naked light bulb hangs from the ceiling, spilling light on the various cardboard boxes and general bricabrac. In the sloping roof is a small broken window-vent, and a staircase leads down.\n\nYour old college chum Malcolm hovers close by.\n\n> You show box to Malcolm\nMalcolm glances at the cash tin box and shrugs.\n\n> You throw the box at the window\nFutile.\n\n> Inventory\nYou are carrying:\na cash tin box (which is closed and locked)\na video cassette\na plastic supermarket bag\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\n> Go south\nYou can only go down from here."
    },
    {
        "text": "[Themes: Mystery, Slice of life]\n\n> Go downward\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\n> You show the box to Mother\nShe glances quickly at the cash tin box but declines to comment.\n\nScamp sniffs at your hands for food.\n\n> You show the box to Scamp\nScamp examines what you are offering, but turns away, disappointed that it isn't edible.\n\nScamp trots off up the stairs.\n\n> You go to the east\nThis room has the air of a gentleman's private study area, though recently it appears to have been taken over by the lady of the house (that is, Sheryl D'Arcy). A hardboard set of shelves against one wall looks completely out of place amid the antique furniture and the gorgeous circular shaped painting on the ceiling. Embroidery rests on a pouffe to one side, and several packs of wool tower alongside the shelves. The front entrance is out to the west, and there is another room to the north.\n\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\n> You show the box to Barbara\nBarbara examines the cash tin box carefully. \"Very nice.\"\n\n> Show box to Albert\nUncle Albert is unimpressed.\n\n> You examine the recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\n> You turn on the tv\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I hate you! You've ruined my life!\" screams a teenager, before slamming a door.\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Hey, love,\" says the town's Mother Earth figure. \"You have to stand up for what you believe in, not what other people tell you to.\"\n\n> You examine the speakers\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Isn't it odd that all the young people around here are gorgeous and have long blonde hair?\" asks an inspired young man in a brief moment of clarity.\n\n> You examine the speakers\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I trusted you!\" whimpers a teenage girl. \"And you cheated on me!\"\n\n> You open the tv\nThat's not something you can open.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Isn't it odd that all the young people around here are gorgeous and have long blonde hair?\" asks an inspired young man in a brief moment of clarity.\n\n> You go to the east\nThe east end of the landing is pretty unremarkable in itself, but a door to the north demands your immediate attention - painted pink, with a picture of a teddy bear holding a sign reading 'Deborah'. There are also less interesting rooms to the east and south.\n\nScamp is up to mischief here.\n\nScamp trots off to the north.\n\n> Go north\nThis room offers refuge from the tastelessness that seems to prevail around the rest of the house. Framed pictures of famous film actresses, Garland, Dietrich, Midler and Streisand in particular, hang proudly on the sky-blue walls, alongside two extra-large pink and red ribbons. The abundance of style extends to the curtains, the most attractive you have ever seen. If only the rest of the house, to the south, had been decorated as well as this.\n\nScamp is up to mischief here.\n\nDeborah, the bride, sits on her bed flicking through an old issue of Cooee! magazine.\n\n> You examine the curtains\nDazzlingly attractive. You wish you had the sense of style that the person who chose these obviously possesses.\n\n(They are closed.)\n\nScamp trots off to the south.\n\n> You examine ribbons\nYou open the curtains, revealing a remote control device.\n\nThat's not something you need to refer to in the course of this game.\n\n> You take the remote\n(putting the video cassette into the plastic supermarket bag to make room)\nTaken.\n\n> You go west\nThe east end of the landing is pretty unremarkable in itself, but a door to the north demands your immediate attention - painted pink, with a picture of a teddy bear holding a sign reading 'Deborah'. There are also less interesting rooms to the east and south.\n\nScamp is up to mischief here.\n\nScamp trots off to the north.\n\nThis room is quite small and cramped, with the single bed in the corner taking up most of the room. Definitely not a place for cat-swinging; indeed, you can't see any cat hairs on the thick rug of a carpet. A wardrobe has been squeezed into the room as well, and by the look of it (and the smell of it), one of the Aunts is taking up this room.\n\nThe only exit is to the north.\n\nThe only exit is to the north.\n\nThe only exit is to the north.\n\n> Go west\nThe top of the staircase ends in the middle of the landing which stretches to the east and west. An interesting painting, with striking use of deep blues and bright reds, hangs on an otherwise drab wall, and opposite, to the south, a large window allows light to flood onto the stairs.\n\nScamp is up to mischief here.\n\nA door stands open in the north wall.\n\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\n> You examine remote\nThe slightly dirty television remote control has a vast array of buttons on it. The most obvious ones are labelled 1 to 9, for changing channels.\n\n> Inventory\nYou are carrying:\na remote control\na cash tin box (which is closed and locked)\na plastic supermarket bag\na video cassette\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\n> You put the cassette in the recorder\nYou slide the cassette into the vcr, which swallows it with a whirring of motors.\n\n> You press the PLAY on the video\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\n> You turn the tv on\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Geez,\" murmurs a middle-aged man. \"There's no need to get upset, its only a barbie!\"\n\n> You press 1 on the remote\nThe television flicks to channel 1.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I'm going to make it in the sheep farming business!\" says a young woman firmly. \"You see if I don't!\"\n\n> You press 9 on the remote\nThe television flicks to channel 9.\n\nStatic hisses from the television.\n\n> You press 8 on the remote\nThe television flicks to channel 8.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You press 7 on the remote\nThe television flicks to channel 7.\n\nThe video recorder emits a series of clicking noises, then starts to rewind.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You press 6 on remote\nThe television flicks to channel 6.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You press 5 on the remote\nThe television flicks to channel 5.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You press 4 on the remote\nThe television flicks to channel 4.\n\nA schools programme plays on the television.\n\nThe video recorder is making a whirring sound.\n\n> You wait\nYou wait for a moment.\n\nA schools programme plays on the television.\n\nThe video recorder is making a whirring sound.\n\n> Press 3\nWhat do you want to press that on?\n\n> You press 3 on the remote\nThe television flicks to channel 3.\n\nAn advertisement on the television attracts your attention. \"New offer on Zippo pizzas. Interest free credit, and don't pay a penny until next month! Call 6787 now!\"\n\nThe video recorder is making a whirring sound.\n\n> You press 2 on the remote\nThe television flicks to channel 2.\n\nA wildlife programme plays on the television.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\n> You call 6787 on the phone\nYou order a pizza under the 'buy now, pay later' scheme, and say that it is for D'Arcy manor. The man on the other end of the phone tells you that it will be delivered shortly.\n\nA wildlife programme plays on the television.\n\n> You press PLAY on the recorder\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nA wildlife programme plays on the television.\n\n> You press 4 on the remote\nThe television flicks to channel 4.\n\nA schools programme plays on the television.\n\n> You press 5 on the remote\nThe television flicks to channel 5.\n\nStatic hisses from the television.\n\n> You press 6 on remote\nThe television flicks to channel 6.\n\nStatic hisses from the television.\n\n> You press 7 on the remote\nThe television flicks to channel 7.\n\nStatic hisses from the television.\n\n> You press 9 on the remote\nThe television flicks to channel 9.\n\nStatic hisses from the television.\n\nThe video recorder emits a series of clicking noises, then starts to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You press 0 on the remote\nYou can't see that button.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You press 9 on remote\nThe television flicks to channel 9.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You press 1 on the remote\nThe television flicks to channel 1.\n\nYou briefly hear the sound of a moped outside the house.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"It's Bob!\" a distraught man says. \"He's been involved in some sort of accident!\" \"What, again?\" an unimpressed woman asks.\n\nThe video recorder is making a whirring sound.\n\n> You go to the west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"I'm going to make it in the sheep farming business!\" says a young woman firmly. \"You see if I don't!\"\n\n> Wait\nYou wait for a moment.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"It's Bob!\" a distraught man says. \"He's been involved in some sort of accident!\" \"What, again?\" an unimpressed woman asks.\n\n> Go north\nYou can't go that way.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Sheila, fancy coming back to my place for a six pack?\" asks a naive young man.\n\n> You press 9 on the remote\nThe lock blips anonymously.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You press 6 on the remote\nThere is a click. Then, with an electronic fanfare, the cellar door swings open.\n\nThe security guard bolts out of the cellar, slams the door shut and rests against it, looking flustered. It takes him a moment to recover, then he gets his remote control from out of his pocket and presses a big red button. The cellar door shakes suddenly.\n\n\"I've changed the lock number so don't try anything!\" he warns before striding off back to the front entrance. Nice of him not to throw you out, but then, he was probably distracted.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou catch a moment of dialogue from the Australian soap opera playing on the television. \"Isn't it odd that all the young people around here are gorgeous and have long blonde hair?\" asks an inspired young man in a brief moment of clarity.\n\n> You look at the tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\n> You press the stop on the recorder\nThe video image suddenly disappears from the television, to be replaced by a blank screen.\n\n> You press the rewind on the recorder\nWith a flick, the image on the television blanks out. The video recorder clicks and whines, preparing to rewind the video cassette.\n\nThe video recorder is making a whirring sound.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe video recorder is making a whirring sound.\n\n> Kiss chloe\n\"Urgh, get off me, you creep!\"\n\nThe video recorder is making a whirring sound.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\n> You press PLAY\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\n> You press the PLAY on recorder\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You look at the tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You examine the recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You listen\nYou hear nothing unexpected.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You keep going\nYou hear nothing unexpected.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You examine the recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\nThe video recorder is making a whirring sound.\n\n> Inventory\nYou are carrying:\na remote control\na cash tin box (which is closed and locked)\na plastic supermarket bag\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\nThe video recorder is making a whirring sound.\n\n> Wait\nYou wait for a moment.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nThe video recorder is making a whirring sound.\n\n> You wait\nYou wait for a moment.\n\nWith a <clunk!>, the video recorder stops fast forwarding the tape.\n\n> You press the PLAY on the recorder\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You press the FF on recorder\nThunk! The cassette stops rewinding. The video recorder clicks and whines, preparing to fast forward the video cassette.\n\nThe video recorder is making a whirring sound.\n\n> Press rew\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\nWith a <clunk!>, the video recorder stops fast forwarding the tape.\n\n> You press the REW on recorder\nThe video recorder clicks and whines, preparing to rewind the video cassette.\n\nThe video recorder is making a whirring sound.\n\n> You press the FF on the recorder\nWith a flick, the image on the television blanks out. The video recorder clicks and whines, preparing to fast forward the video cassette.\n\nThe video recorder is making a whirring sound.\n\n> You press the stop on the recorder\nWith a <clunk!>, the video recorder stops winding the tape.\n\n> You give the remote to Chloe\n\"The desire to possess objects is a fundamental weakness of humankind as a whole.\" So that's a 'no thanks' then.\n\n> You press the eject on the recorder\nThe video recorder spits out a cassette, which lands neatly on the floor.\n\n> Examine cassette\nA three-hour video cassette, almost half-way through the tape.\n\n> You go to the east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp sits and watches you curiously.\n\n> Go west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can also see a video cassette here.\n\n> You press 3 on the remote\nThe television flicks to channel 3.\n\nYou catch an advertisement playing on the television. \"I'm burning oh so burning with desire yes desire and i see i see paradise... Pheww Aftershave, by Laboratorium Stinken.\"\n\n> Wait\nYou wait for a moment.\n\nYou catch an advertisement playing on the television. \"Fly Great Kingdom Airlines, we guarantee superb service... But don't dare complain about us or we'll break down your door and knock your teeth in, understand?\"\n\n> You wait\nYou wait for a moment.\n\nYou catch an advertisement playing on the television. \"For the best of 70s Peruvian Folk Singing, get the special G-Gen compilation, only #59.99. Dial 413 now for your copy. We take all major credit cards.\"\n\n> You call 413 on the phone\n\"Thank you for calling the Peruvian Folk Singing compilation line. We take Excess, BankBusta, Stitchup, and Scarlet Fishie credit cards.\" Oops, you don't have any of those, so you hang up.\n\nYou catch an advertisement playing on the television. \"Get the latest in high technology with Benson's water detector. Better than two crossed branches any day!\"\n\n> You wait awhile\nYou wait for a moment.\n\nYou catch an advertisement playing on the television. \"Floella Witt's new book, 'The Jellied Eel Terror of Brighton', out now!\" Chloe looks up briefly.\n\n> You wait a while\nYou wait for a moment.\n\nYou catch an advertisement playing on the television. \"I'm burning oh so burning with desire yes desire and i see i see paradise... Pheww Aftershave, by Laboratorium Stinken.\"\n\n> You press 2 on the remote\nThe television flicks to channel 2.\n\nA wildlife programme plays on the television.\n\n> You wait for a while\nYou wait for a moment.\n\nA wildlife programme plays on the television.\n\n> You press 3 on the remote\nThe television flicks to channel 3.\n\nYou catch an advertisement playing on the television. \"Get the latest in high technology with Benson's water detector. Better than two crossed branches any day!\"\n\n> You wait\nYou wait for a moment.\n\nYou catch an advertisement playing on the television. \"Enjoy Interactive Fiction games? Want to make your own? Then get the Inform compiler and library by Graham Nelson, available in the if-archive of ftp.gmd.de.\"\n\n> You go north\nYou can't go that way.\n\nYou catch an advertisement playing on the television. \"New ComputerCo(R) GlassPanels(R) operating system. How Do You Want Your Computer To Crash Today?(R)\"\n\n> You go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nScamp trots along here from the east, and sniffs at your feet.\n\n> You go to the south-west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nScamp is up to mischief here.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can also see a video cassette here.\n\nScamp trots off to the northeast.\n\nYou can hear heavy footsteps nearby.\n\nYou catch an advertisement playing on the television. \"Floella Witt's new book, 'The Jellied Eel Terror of Brighton', out now!\" Chloe looks up briefly.\n\n> You wait a while\nYou wait for a moment.\n\nYou can hear heavy footsteps nearby.\n\nYou catch an advertisement playing on the television. \"Get the latest in high technology with Benson's water detector. Better than two crossed branches any day!\"\n\n> You go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can also see a video cassette here.\n\nYou catch an advertisement playing on the television. \"In this week's Cooee!! magazine, we have an exclusive feature on the cobbler to the stars, Fernell Kleeming. Only 95p!\"\n\n> You call 6787 on the phone\nYou are only allowed one pizza on the 'buy now, pay later' scheme.\n\nYou catch an advertisement playing on the television. \"In this week's Cooee!! magazine, we have an exclusive feature on the cobbler to the stars, Fernell Kleeming. Only 95p!\"\n\n> You ask the door about the pizza\n\"What pizza? I don't smell a pizza!\"\n\n> You tell the bathroom about the guard\n\"Go away, I'm sulking!\" Amazing, a talking door.\n\n> Go south\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can feel a few spots of rain on your face.\n\n> Go west\nYou make your way around the western side of the house, and find yourself at...\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\n> Go north\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp bounces and barks, trying to get you to play with him.\n\n> You play with Scamp\nYou chase Scamp around for a while, but soon tire.\n\n> You go to the south\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\nA pizza in a box lies conspicuously on the ground.\n\n> You take the pizza\n(putting the cash tin box into the plastic supermarket bag to make room)\nTaken.\n\n> Go west\nThe west end of the landing ends here with a small window which enables you to look out on the tiled pathway and the gardens outside. The bathroom door lies north, and another (closed) door prevents you from going south.\n\nScamp is up to mischief here.\n\nA bald man in tennis gear pops his head around the bathroom door, sniffing the air. He sees the pizza you hold and opens the door widely. \"Come in, come in!\" he beckons.\n\n> You ask the door about the pizza\n\"What pizza? I don't smell a pizza!\"\n\n> You open the pizza box\nThat's not something you can open.\n\nScamp looks restless but stays here for the sake of the pizza.\n\n> You enter the bathroom\nCopper seems to have been chosen as the main colour for the bathroom, and it has certainly produced an, erm, interesting effect. All the standard features are here: the toilet, the bath and shower, the sink, the cabinet etc. A frosted window prevents you from looking out onto the gardens properly, as the colours seem to merge together. As you expect, there is only one exit, and that is to the south.\n\nUncle William sits on the side of the bath, mumbling something about his lunch being late.\n\nYou can also see a bronze key here.\n\n> You take the key\n(the bronze key)\n(putting the remote control into the plastic supermarket bag to make room)\nTaken.\n\n> You give the pizza to William\n\"Thank you,\" he mumbles grudgingly, and starts chomping away at the pizza.\n\n> You ask William about the wedding\nWilliam acknowledges you with a grunt but little else. You are probably wasting your breath talking to him.\n\n> Go south\nThe west end of the landing ends here with a small window which enables you to look out on the tiled pathway and the gardens outside. The bathroom door lies north, and another (closed) door prevents you from going south.\n\nScamp is up to mischief here.\n\n> You unlock the door with bronze key\nYou unlock the hall door.\n\n> You open the hall door\nYou open the hall door.\n\n> You ask Albert about the golf\n\"Crazy golf? I'd love a game!\" says Albert. In a surprising display of energy, he tears out of the house and down the garden.\n\n> Go north\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Go north\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\n> You go to the northeast\nThe flowers are so pretty that it would be a shame to just trample all over them.\n\n> You go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\n> You play the golf\nAlbert remarks that he lost his last ball in a particularly exciting match almost a year ago, playing against the lady Mayoress. \"That would have been before Godfrey died, of course,\" he ponders. \"We were good mates even before Debs and Malc met up. You haven't got a golf ball, have you?\"\n\n> You say no\n(to Uncle Albert)\nAlbert takes a tiny sip of his brandy but doesn't say anything.\n\n> You ask Albert about the ball\n\"Sorry old bean, don't know much about that.\"\n\nA sudden gust of wind ruffles your hair.\n\n> You ask Albert about the golf ball\n\"Oh no,\" insists Albert, \"after you. You play first.\"\n\n> You say no to Albert\n\"Sorry old bean, don't know much about that.\"\n\nAlbert takes a tiny sip of his brandy but doesn't say anything.\n\n> You ask Albert about Godfrey\n\"One of my greatest friends - the most unpredictable and eccentric man I've ever met.\"\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> Go north\nYou can't.\n\nYou can feel a few spots of rain on your face.\n\n> Search hedge\nAha! Searching the hedge, you see a little gap underneath which is just big enough to squeeze through.\n\nA sudden gust of wind ruffles your hair.\n\n> You go to the north\nYou squeeze through the gap at the bottom of the hedge.\n\nYou stand on the inside of a U-bend in a deep and fast flowing river - you are not sure of the name of it, since you didn't have much time to consult your A-to-Z on the way down, but it looks pretty much devoid of toxic waste and shopping trolleys. On the other side, you can see a field where the grass is overgrown and tall purple weeds have taken root. It reminds you of the wasteland behind your parents' house that you used to play in as a child. Anyway, the only way back is through the hole in the hedge to the south.\n\n> You search river\nPeering into the water, you can see a white ball just within reach.\n\n> You look at the water\nThe water runs slower by the side of the U-bend facing up-river, as it hits the bank. The rest of the river is probably too dangerous to mess about with.\n\n> You look at the ball\nThe ball is hard and white, and has indentations all over it. It looks pretty much like a golf ball should.\n\n> You eat the ball\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> Describe the surroundings\nYou stand on the inside of a U-bend in a deep and fast flowing river - you are not sure of the name of it, since you didn't have much time to consult your A-to-Z on the way down, but it looks pretty much devoid of toxic waste and shopping trolleys. On the other side, you can see a field where the grass is overgrown and tall purple weeds have taken root. It reminds you of the wasteland behind your parents' house that you used to play in as a child. Anyway, the only way back is through the hole in the hedge to the south.\n\n> You go south\nYou squeeze through the gap at the bottom of the hedge.\n\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\n> You give the ball to Albert\n\"Just pop it down on the crazy golf course.\"\n\n> You put the ball on the course\nYou put the golf ball on the crazy golf course.\n\n> You play the golf\nAlbert produces two clubs from out of nowhere, and easily thrashes you at crazy golf, probably due to lots of practise on his part and lack of it on yours. The final segment holds a model of the Sphinx. Albert easily putts the ball through the small circular mouth, and in the process dislodges something trapped inside. (Needless to say, Albert beats you in this segment as well.)"
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You describe your surroundings\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\nOn the crazy golf course are a small steel key and a golf ball.\n\n> You take the steel key\nTaken.\n\n> You unlock box with it\nYou unlock the cash tin box.\n\nYou can feel a few spots of rain on your face.\n\n> You open it\nYou open the cash tin box, revealing a diamond.\n\n> You examine the diamond\nOn close inspection the diamond turns out to be a poor fake, and it would take a really dim person to be fooled. It seems someone around here has a strange sense of humour.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> You show the diamond to Albert\n(first taking the diamond)\n(putting the bronze key into the plastic supermarket bag to make room) Albert chuckles gently. \"Trust Godfrey. He always did have an eccentric sense of humour.\"\n\n> You take the diamond\nYou already have that.\n\nA sudden gust of wind ruffles your hair.\n\n> You go south\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\nYou can feel a few spots of rain on your face.\n\n> Go south\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\n> You ask the door about lock\n\"The number?\" bellows the voice behind the door. \"The number is 6595. Hurry!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You show the diamond to guard\nHe doesn't show the slightest interest.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go west\nYou make your way around the western side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> Go south\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\n> You show the diamond to Mother\n\"What a dreadful fake, dear. Poor thing, was it all you could afford?\"\n\n> You show the diamond to Barbara\nBarbara examines the diamond carefully. \"That would be the perfect gift for a greedy idiot.\"\n\n> You go west\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp bounces and barks, trying to get you to play with him.\n\n> Go west\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can also see a video cassette here.\n\nYou catch an advertisement playing on the television. \"I'm sorry,\" says a luscious young woman. \"I can't have a relationship with you if you don't drink Boggington's original coffee.\"\n\n> You take the tape\n(putting the small steel key into the plastic supermarket bag to make room)\nTaken.\n\nYou catch an advertisement playing on the television. A barmy couple, presumably father and daughter, drive around the countryside in some grossly expensive family car. \"Daddy!\" croaks the woman. \"Nicola!\" squeaks the man. \"Daddy!\" \"Nicola!\" This continues for an excruciatingly long time.\n\n> You show the diamond to Malcolm\nMalcolm glances at the diamond and shrugs.\n\n> You go north\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\nScamp trots off to the southwest.\n\n> You show the diamond to Chef\nThe chef doesn't bother looking at what you are offering; she merely screams her frustration at being interrupted.\n\n> Go south\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp trots along here from the west, careful to avoid the Mother of the Bride who glares at him and mutters something dark under her breath.\n\n> Go north\nCopper seems to have been chosen as the main colour for the bathroom, and it has certainly produced an, erm, interesting effect. All the standard features are here: the toilet, the bath and shower, the sink, the cabinet etc. A frosted window prevents you from looking out onto the gardens properly, as the colours seem to merge together. As you expect, there is only one exit, and that is to the south.\n\nUncle William sits on the side of the bath, mumbling something about how long it took for his lunch to be delivered.\n\n> You show the diamond to William\n\"I don't want that! Why on earth would I want that?\"\n\n> You ask William about the wedding\nWilliam acknowledges you with a grunt but little else. You are probably wasting your breath talking to him.\n\n> You look in the tin box\nThe cash tin box is empty.\n\n> Break diamond\nViolence should only be used as a last resort.\n\n> You go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\nOn the crazy golf course is a golf ball.\n\n> You ask Albert about Godfrey\n\"One of my greatest friends - the most unpredictable and eccentric man I've ever met.\"\n\n> You ask Albert about the diamond\n\"Sorry old bean, don't know much about that.\"\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\nYou can feel a few spots of rain on your face.\n\n> You ask the cook about Godfrey\nThe chef stares at you, and her face turns red, but she controls herself and gets back to her work. She obviously doesn't like to be interrupted.\n\n> You ask the cook about the guard\n\"All these distractions!\" she screams suddenly. \"How am I expected to work with distractions?!\" You suspect that, in this case, she is being noisy and bad tempered in order to hide something.\n\n> You examine the diamond\nOn close inspection the diamond turns out to be a poor fake, and it would take a really dim person to be fooled. It seems someone around here has a strange sense of humour.\n\n> You look at what you're carrying with you\nYou are carrying:\na video cassette\na diamond\na plastic supermarket bag\na small steel key\na bronze key\na remote control\na cash tin box (which is open but empty)\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\n> You examine the staff\nThey are all busy working on the food for the reception. You don't want to interrupt them.\n\n> Kiss cook\nShe glances at you as she slams her cleaver into a joint of beef. It occurs to you that going anywhere near her would be a bad idea.\n\n> You show box to guard\nWhich do you mean, the cash tin box or the burglar alarm?\n\n> Tin\n(first taking the cash tin box)\n(putting the diamond into the plastic supermarket bag to make room)\nHe doesn't show the slightest interest.\n\n> You go to the north\n\"Oi! Where do you think you're going?\" The guard takes great delight in rugby-tackling you to the floor and dragging you back out onto the pebbled car park. \"Authoria... Authiroz... authorthised... proper people only!\". You've probably just made his day.\n\n> You go west\nYou make your way around the western side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\nScamp is up to mischief here.\n\n> You ask Scamp about the cook\n\"Woof.\"\n\nScamp trots off to the south.\n\n> You go south\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp is up to mischief here.\n\n> You ask Scamp about the guard\n\"Woof.\"\n\nScamp stretches and yawns.\n\n> You turn on tv\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\nYou catch an advertisement playing on the television. \"Fly Great Kingdom Airlines, we guarantee superb service... But don't dare complain about us or we'll break down your door and knock your teeth in, understand?\"\n\n> You put the tape in the recorder\nYou slide the cassette into the vcr, which swallows it with a whirring of motors.\n\nYou catch an advertisement playing on the television. \"I'm burning oh so burning with desire yes desire and i see i see paradise... Pheww Aftershave, by Laboratorium Stinken.\"\n\n> You press eject\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> You wait for a while\nYou wait for a moment.\n\nStatic hisses from the television.\n\nWith a <clunk!>, the video recorder stops rewinding the tape.\n\n> Wait\nYou wait for a moment.\n\nStatic hisses from the television.\n\n> You wait\nYou wait for a moment.\n\nStatic hisses from the television.\n\nThe video recorder emits a series of clicking noises, then starts to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You wait\nYou wait for a moment.\n\nStatic hisses from the television.\n\nThe video recorder is making a whirring sound.\n\n> You wait a while\nYou wait for a moment.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> Wait\nYou wait for a moment.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You press stop\n[ Try PRESS <button> ON VIDEO RECORDER. ]\n\nThe video recorder is making a whirring sound.\n\n> Examine cassette\nA three-hour video cassette, just over half-way through the tape.\n\n> You press the PLAY on the recorder\nNothing happens.\n\n> You insert the cassette\nWhat do you want to insert the video cassette in?\n\n> You look at the tape\nA three-hour video cassette, almost at the end of the tape.\n\n> You examine the recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\n> You press PLAY on the recorder\nThe video recorder gives a <clunk!> as it abruptly stops winding, and prepares to play.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\n> Examine tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nAn electronic snowstorm, accompanied by a buzzing noise, plays on the television.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You go east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp is about to disappear out of the front door when he stops suddenly, sniffs the air and decides against it.\n\n> You switch on the tv\nThat's already on.\n\n> Wait\nYou wait for a moment.\n\nA schools programme plays on the television.\n\n> You look at the tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nA schools programme plays on the television.\n\n> You press 3 on the remote\nThe television flicks to channel 3.\n\nYou catch an advertisement playing on the television. \"In this week's Cooee!! magazine, we have an exclusive feature on the cobbler to the stars, Fernell Kleeming. Only 95p!\"\n\n> You examine the recorder\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\nYou catch an advertisement playing on the television. \"Enjoy Interactive Fiction games? Want to make your own? Then get the Inform compiler and library by Graham Nelson, available in the if-archive of ftp.gmd.de.\"\n\n> You press the PLAY on the recorder\nWith a lot of effort, the video recorder wakes up and starts playing the tape.\n\nYou catch an advertisement playing on the television. \"I'm burning oh so burning with desire yes desire and i see i see paradise... Pheww Aftershave, by Laboratorium Stinken.\"\n\n> You ask the door about the lock\n\"The number?\" bellows the voice behind the door. \"The number is 6229. Hurry!\"\n\n> You go to the east\nEverything in this room looks as if it has taken many weeks to carve, with the exception of dodgy book covers protecting some of the awful literature stored here. A vast array of books lie on the two huge shelves, ranging from the ancient to the modern. The curtains are closed, so for light you are reliant on the lamps which are quite attractive mock-ups of candles in candlesticks. An oak table sits in the centre of the room, a grand throne-like chair beside it, for anyone feeling particularly studious. A room lies to the south, and a corridor is out to the west.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> You look at the tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> You wait\nYou wait for a moment.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nStatic hisses from the television.\n\n> You take the tv\nThat's hardly portable.\n\nStatic hisses from the television."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> You look at the leds\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\nYou can hear heavy footsteps nearby.\n\n> You go west\nConsidering the high technology that has gone into guarding this area, the cellar is surprisingly lo-tech. One very dull fluorescent tube casts gloomy light over the brick walls. The air is damp; cobwebs line the ceiling. A tunnel disappears off into the darkness to the northeast, and a set of stone steps lead east up to the passageway.\n\nDiscarded carelessly on a crate is something which declares itself to be a water detector.\n\nYou don't notice the security guard bearing down on you until it is too late. \"Gotcha!\" he snarls, and drags you kicking and screaming out of the house. \"Behave, you!\" he bellows like an impatient father, and as you pick yourself up, you think spiteful thoughts involving the security guard and several tonnes of space debris falling to earth.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> You ask the door about lock\n\"The number?\" bellows the voice behind the door. \"The number is 6229. Hurry!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You examine the door\nA solid metal door with the word CELLAR etched into the surface. It has an electronic lock.\n\nYou can hear heavy footsteps nearby.\n\n> You examine the lock\nFour LEDS flicker excitedly on the lock, but it isn't immediately apparent how to activate it. A sticker on one side states that it is tamper-proof.\n\nYou can hear heavy footsteps nearby.\n\n> You open the door\nIt seems to be locked.\n\nYou don't notice the security guard bearing down on you until it is too late. \"Gotcha!\" he snarls, and drags you kicking and screaming out of the house. \"Behave, you!\" he bellows like an impatient father, and as you pick yourself up, you think spiteful thoughts involving the security guard and several tonnes of space debris falling to earth.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> You take the recorder\nThat's hardly portable.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> You check your inventory\nYou are carrying:\na cash tin box (which is open but empty)\na plastic supermarket bag\na diamond\na small steel key\na bronze key\na remote control\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\n> You examine remote\nThe slightly dirty television remote control has a vast array of buttons on it. The most obvious ones are labelled 1 to 9, for changing channels.\n\n> You give remote to the guard\n(first taking the remote control)\nHe doesn't show the slightest interest.\n\nYou can feel a few spots of rain on your face.\n\n> You put the remote on the table\nYou put the remote control on the simple table.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nOn the simple table is a remote control.\n\nThe cellar door hangs open invitingly to the west.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nA young woman called Chloe sits nearby reading a book.\n\nStatic hisses from the television.\n\n> You look at the vcr\nA slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.\n\nThe video recorder is currently switched on.\n\nStatic hisses from the television.\n\n> You look in the slot\nYou find nothing of interest.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> You go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nOn the simple table is a remote control.\n\nThe cellar door hangs open invitingly to the west.\n\nYou can also see a security guard here.\n\nTo your horror, and to his glee, you walk straight into the security guard. He takes great delight in lifting you up and ejecting you out of the house. \"Your name's not down, you're NOT - COMING - IN!\" he bellows.\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nOn the simple table is a remote control.\n\n> You put the diamond on the table\nYou put the diamond on the simple table."
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You call 911 on the phone\nNo reply. (If you were trying to contact the emergency services, the number in the UK is 999.)\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> You call 999 on the phone\nOkay, the situation's serious, but surely you don't need to involve the emergency services.\n\nStatic hisses from the television.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nOn the simple table is a diamond.\n\nThe cellar door hangs open invitingly to the west.\n\n> You ask the door about the lock\n\"The number?\" bellows the voice behind the door. \"The number is 9939. Hurry!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> Go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\nOn the crazy golf course is a golf ball.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go to the north\nYou squeeze through the gap at the bottom of the hedge.\n\nYou stand on the inside of a U-bend in a deep and fast flowing river - you are not sure of the name of it, since you didn't have much time to consult your A-to-Z on the way down, but it looks pretty much devoid of toxic waste and shopping trolleys. On the other side, you can see a field where the grass is overgrown and tall purple weeds have taken root. It reminds you of the wasteland behind your parents' house that you used to play in as a child. Anyway, the only way back is through the hole in the hedge to the south.\n\n> Swim\nThe river is too dangerous to swim in.\n\n> You go south\nYou squeeze through the gap at the bottom of the hedge.\n\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\nOn the crazy golf course is a golf ball.\n\n> You play the golf\nAlbert easily thrashes you on the first course, and you remember your past losses and throw in the towel. \"Bad luck,\" he says smugly.\n\nA sudden gust of wind ruffles your hair.\n\n> You take the ball\n(putting the remote control into the plastic supermarket bag to make room)\nTaken.\n\n> You go to the south\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\nA sudden gust of wind ruffles your hair.\n\n> You go to the south\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp sniffs at your hands for food.\n\n> You ask Scamp,  to go north\nScamp follows your lead excitedly.\n\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\n> Go south\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp trots along here from the north, careful to avoid the Mother of the Bride who glares at him and mutters something dark under her breath.\n\n> You ask William about the pizza\n\"I've already eaten!\" he snaps.\n\n> You ask the door about the number\n\"The number?\" bellows the voice behind the door. \"The number is 4528. Hurry!\"\n\n> Go west\nYou can't, since the cellar door is in the way.\n\nScamp trots along here from the south, and sniffs at your feet.\n\n> You ask Scamp,  to go northeast\nScamp follows your lead excitedly.\n\nThe kitchen staff are hard at work on the meal for the reception, and from their progress so far, you'd say that they are making enough food to keep the Royal family well fed for a good few months. To the west, a swing-door leads into the dining hall, and the main exit is to the southwest. A pantry lies to the south.\n\nScamp is up to mischief here.\n\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n> You ask Scamp,  to go south\nScamp follows your lead excitedly.\n\nShould Luxembourg ever suffer a famine, they need only raid this pantry to ensure that their citizens don't starve. The fruit, vegetables, meat, ingredients and drinks are all stored using technology that would put Nasa's space programme to shame. There is a tradesman's entrance to the east, but the main exit is to the north.\n\nScamp is up to mischief here.\n\n> You feed Scamp\nWhat do you want to feed Scamp?\n\n> You look at Scamp\nThis excitable Alsatian puppy is exhausting to watch. He bounces, he sniffs for food, he throws up paws for passers-by to stroke, and he rarely stays still in one place for long.\n\n> You ask Scamp,  to go south\nScamp follows your lead excitedly.\n\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\n> You ask Scamp,  to go south\nScamp is about to disappear out of the front door when he stops suddenly, sniffs the air and decides against it.\n\n> You press 4 on the remote\nThe lock blips anonymously.\n\nScamp trots off to the northeast.\n\n> Go west\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp is up to mischief here.\n\nScamp bounces and barks, trying to get you to play with him.\n\n> You press 8 on the remote\nThere is a click. Then, with an electronic fanfare, the cellar door swings open.\n\n> Go west\nConsidering the high technology that has gone into guarding this area, the cellar is surprisingly lo-tech. One very dull fluorescent tube casts gloomy light over the brick walls. The air is damp; cobwebs line the ceiling. A tunnel disappears off into the darkness to the northeast, and a set of stone steps lead east up to the passageway.\n\nDiscarded carelessly on a crate is something which declares itself to be a water detector.\n\n> You take the detector\n(putting the diamond into the plastic supermarket bag to make room) Taken.\n\n> You examine the detector\nIt has the appearance of one of those dodgy-looking devices you find in novelty catalogues - a chunky cousin to the TV remote control. \"Benson's Water Detector\" reads the fancy lettering above a single button.\n\n> Examine crate\nStamped on one side is the message \"Produce of Crete\", but the crate itself is empty. How about that, a crate from Crete.\n\n> Go northeast\nThe narrow passage ends at a wooden door barring your way northeast. This damp air is not good for your chest, and you are worried that the walls might close in or collapse around you. Must be claustrophobia. The main cellar, positively cosy compared to this part, is back down to the southwest.\n\n> You examine the door\nThe door is large and imposing.\n\n> You open the door\nYou try pulling the handle, but the door is jammed.\n\n> Go southwest\nConsidering the high technology that has gone into guarding this area, the cellar is surprisingly lo-tech. One very dull fluorescent tube casts gloomy light over the brick walls. The air is damp; cobwebs line the ceiling. A tunnel disappears off into the darkness to the northeast, and a set of stone steps lead east up to the passageway.\n\nPerhaps the family has just emptied the cellar, or is about to fill it: there certainly isn't anything of any value here at the moment, only an empty crate.\n\n> You go upwards\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\n> Go north\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\n> Go north\nThe hedge prevents you from moving north.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> Go south\nNo! You mustn't trample all over the delicate flowerbed!\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> You go west\nThe path from the south ends at a large crazy golf course, separated into several smaller sections, which all have crazy obstacle courses for players to putt their golf balls through in order to get to the hole. Flowerbeds are positioned dangerously close to the crazy course to the west, and a hedge blocks your progress north. You can see a tree (the only one in the garden, it seems) to the east.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\n> You go to the south\nA simple pathway, immaculately tiled, leads north. Flower beds surround you, beautifully arranged, in every colour of the rainbow, and to the north east you can see a great apple tree.\n\nThe gate to the south is open.\n\nScamp is up to mischief here.\n\nA hole has been dug by the side of the path."
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> Go downwards\nYou can't go that way.\n\nScamp trots along here from the north, and sniffs at your feet.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> Go south\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp trots along here from the north, and sniffs at your feet.\n\n> You go to the north\n\"I don't think so, sunbeam,\" says the nasty looking guard. He probably heard that line on an old episode of The Bill and has desperately longed for an opportunity to say it since.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go west\nYou make your way around the western side of the house, and find yourself at...\n\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\n> You go south\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp is up to mischief here.\n\n> Go northeast\nHere at the heart of the manor is an oak passageway with doorways leading to most rooms on the ground floor. You can see the great dining hall to the north, and a brass sign above the doorway to the northeast states \"Kitchen\", but the east and southwest exits hold no clues as to where they lead. The entrance hall is off to the south, and a sturdy door stands in the western wall.\n\nScamp is up to mischief here.\n\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\nScamp stretches and yawns.\n\n> You wait\nYou wait for a moment.\n\nScamp sits and watches you curiously.\n\nYou can hear heavy footsteps nearby.\n\n> You wait\nYou wait for a moment.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You ask the door about Malcolm\n\"Oi, you!\" calls the voice behind the door. \"Get me out of here! Unlock the door!\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You ask the door about the note\n\"Oi, you!\" calls the voice behind the door. \"Get me out of here! Unlock the door!\"\n\nScamp trots off to the east.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You stay\n\"Woof.\"\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door.\n\n> You ask the door about the lock\n\"The number?\" bellows the voice behind the door. \"The number is 4528. Hurry!\"\n\nScamp claws at the cellar door, but lack of success deters him.\n\nBanging sounds and and cries of \"let me out!\" are coming from the cellar door."
    },
    {
        "text": "> You go north\nThis vast room is presumably where the D'Arcy clan eat their meals; it reminds you too much of your old school dinner hall for you to feel entirely comfortable here. A large sturdy table sits in the centre of the room, surrounded by ten carefully-crafted chairs, and a set of antique jugs rest on stools in a small alcove in the west wall. The walls are covered in paintings which look impressive until you examine them closely and see that they are certainly not in the league of the great masters. The back garden is accessible via a door to the north, a corridor leads south, and the kitchen is through the swing doors to the east.\n\nScamp is up to mischief here.\n\n> You turn on the tap\nThat's not something you can switch.\n\nScamp trots along here from the west, and is immediately spotted by the Chef. \"Get that thing out of here!\" she screams at you, as if you are responsible for Scamp. He stands his ground, snarling slightly, and the Chef turns away hurriedly and gets on with something else.\n\n> You ask Chef about the guard\n\"All these distractions!\" she screams suddenly. \"How am I expected to work with distractions?!\" You suspect that, in this case, she is being noisy and bad tempered in order to hide something.\n\n> You bite chef\n\"Woof.\"\n\n> You examine the diamond\nOn close inspection the diamond turns out to be a poor fake, and it would take a really dim person to be fooled. It seems someone around here has a strange sense of humour.\n\nScamp trots off to the southwest.\n\n> You give the diamond to Chef\n(first taking the diamond)\n(putting the golf ball into the plastic supermarket bag to make room) The chef doesn't bother looking at what you are offering; she merely screams her frustration at being interrupted.\n\n> Go southwest\nYou are in a glorious oak-panelled room, with a large fireplace to one side. This is where the family relaxes, assuming that such a monstrous family relaxes at all. An antique-style telephone rests on the mantelpiece, and a large hi-tech widescreen television sits on a video recorder in the corner. From here, you observe exits to the east and northeast.\n\nScamp is up to mischief here.\n\nA young woman called Chloe sits nearby reading a book.\n\nScamp trots off to the east.\n\nStatic hisses from the television.\n\n> Go east\nThe grand entrance hall of D'Arcy manor evokes a twinge of jealousy within you - the grand wooden polished floors and staircase, the expensive chandelier hanging from the high ceiling, the priceless Compton painting hanging on a wall. Why can't you inherit something like this? Leaving aside feelings of bitterness, you observe a cupboard under the stairs and a bell on a table near the door to the south. Doorways (which are probably more expensive than your entire house) lead off to the east and west, and a passageway lies north.\n\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp sniffs at your hands for food.\n\n> You go to the east\nThis room has the air of a gentleman's private study area, though recently it appears to have been taken over by the lady of the house (that is, Sheryl D'Arcy). A hardboard set of shelves against one wall looks completely out of place amid the antique furniture and the gorgeous circular shaped painting on the ceiling. Embroidery rests on a pouffe to one side, and several packs of wool tower alongside the shelves. The front entrance is out to the west, and there is another room to the north.\n\nScamp is up to mischief here.\n\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\n> You show the detector to Barbara\nBarbara examines the water detector carefully. \"You might want to keep hold of this - it could be useful.\"\n\n> You check your inventory\nYou are carrying:\na diamond\na water detector\na plastic supermarket bag\na golf ball\na remote control\na cash tin box (which is open but empty)\na small steel key\na bronze key\na Battlebase episode guide\na spade\na small brass key\na wedding programme\n\n> You show the golf ball to Barbara\n(first taking the golf ball)\n(putting the water detector into the plastic supermarket bag to make room)\nBarbara examines the golf ball carefully. \"You might want to play golf with it, if you haven't already.\"\n\n> You show Guide to Barbara\n(first taking the Battlebase episode guide)\n(putting the diamond into the plastic supermarket bag to make room) Barbara examines the Battlebase episode guide carefully. \"My daughter, Chloe, is an absolute devotee. Have you asked her about it yet?\"\n\n> You show the spade to Barbara\n(first taking the spade)\n(putting the golf ball into the plastic supermarket bag to make room) Barbara examines the spade carefully. \"Ideal for digging with, I'd say.\"\n\n> You show the remote to Barbara\n(first taking the remote control)\n(putting the Battlebase episode guide into the plastic supermarket bag to make room)\nBarbara examines the remote control carefully. \"This is for the television in the drawing room. Chloe might get annoyed if you switch it on, though.\"\n\n> You press the eject on the vcr\nThe video recorder spits out a cassette, which lands neatly on the floor.\n\nStatic hisses from the television.\n\n> You take tape\n(putting the spade into the plastic supermarket bag to make room) Taken.\n\nStatic hisses from the television.\n\n> You show the tape to Barbara\nBarbara examines the video cassette carefully. \"You might want to record something on this.\"\n\n> You look at the box\n(the burglar alarm)\nFrom here, all you can see is a white box with the name of a security company on it. A blue light flickers intermittently on its side, suggesting that it is active.\n\nThe grey sky overhead turns a little darker, threatening rain.\n\n> Go upwards\nYou can't go that way.\n\nA sudden gust of wind ruffles your hair.\n\n> You ask the guard about the camera\n\"Your name's not down, you're not coming in.\"\n\nA sudden gust of wind ruffles your hair.\n\n> You examine the guard\nGone are the charming doormen of yesteryear, to be replaced by nasty-looking guards from private security firms. This chappy is no different, in his stark navy blue uniform and peaked cap. He seems to have taken a particular dislike to you, though, and watches you carefully, a sneer on his face.\n\nA sudden gust of wind ruffles your hair."
    },
    {
        "text": "[Themes: Mystery, Slice of life]\n\n> You describe your surroundings\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\nYou can feel a few spots of rain on your face.\n\n> You go south\nA grand patio made from powder-orange slabs links the back of the house, which is to your south, with a beautiful garden to the north, beyond a gate. You look up at the house, and see a number of unrecognisable people pacing about at various windows. A grey-slabbed path runs around both sides of the house back to the front.\n\nThe gate to the north is open.\n\nScamp trots along here from the south, and sniffs at your feet.\n\n> Go east\nYou make your way around the eastern side of the house, and find yourself at...\n\nYou stand to the south of D'Arcy manor, a building which looks like it's straight out of a low budget Bronte TV adaptation. A few modern touches help tie it to the late twentieth century, such as the burglar alarm next to the elegant stone carving of a Shakespearian-looking man above the main entrance. Immediately in front of the house is a gravel drive which acts as a car park, and a small road leads off to the south towards the main road. A slabbed path runs around both sides (east and west) of the house.\n\nYou can see a security guard here.\n\nYou can feel a few spots of rain on your face.\n\n> Go west\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\n> You go north\nA staircase at the other side of the door takes you up to...\n\nYour old college chum Malcolm hovers close by.\n\n> You show the cassette to Malcolm\nMalcolm glances at the video cassette and shrugs.\n\n> You ask Malcolm about the guard\n\"I never did trust that guard.\"\n\n> Inventory\nYou are carrying:\na video cassette\na remote control\na plastic supermarket bag\na spade\na Battlebase episode guide\na golf ball\na diamond\na water detector\na cash tin box (which is open but empty)\na small steel key\na bronze key\na small brass key\na wedding programme\n\n> You examine Malcolm\nHe doesn't look a day older than he did five years ago. Mind you, he seems a bit pale and subdued following the kidnapping attempt."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> You go downwards\nYou descend the stairs and pass through a door, finding yourself in the...\n\nA door stands open in the north wall.\n\n> Examine box\n(the torn cardboard box)\nAn old and torn cardboard box which at one point in its life stored a supermarket's own brand of baked beans. Now it is full of useless junk - old electronic gadgets, a toy robot, used batteries etc.\n\n> Search box\n(the torn cardboard box)\nYou find nothing of any possible use.\n\n> You examine the junk\nAn old and torn cardboard box which at one point in its life stored a supermarket's own brand of baked beans. Now it is full of useless junk - old electronic gadgets, a toy robot, used batteries etc.\n\n> You take the junk\nIt is far too heavy to carry.\n\n> You take the box\n(the torn cardboard box)\nIt is far too heavy to carry.\n\n> You move the box\n(the torn cardboard box)\nWith a lot of effort, you manage to move the box a short distance away from the others. A small video camera which was wedged between the boxes falls to the ground.\n\n> You examine it\nThis is a modern but extremely simple video camera with a panel on one side which protects the part where video cassettes go. The only buttons you can see on this device read RECORD and STOP.\n\n> You examine the tape\nA three-hour video cassette, rewound to the beginning.\n\n> You put the tape in the camera\nAlas, it is closed.\n\n> You open the camera\nYou open the video camera.\n\n> You put tape in the camera\nYou put the video cassette into the video camera.\n\n> Close camera\nYou close the video camera.\n\nScamp trots along here from the west, and sniffs at your feet.\n\n> Go north\nA simple polished table lies in the southeast corner.\n\n> You put the camera on the table\nYou put the video camera on the simple table.\n\n> You go to the southwest\nA young woman called Chloe sits nearby reading a book.\n\nYou can hear heavy footsteps nearby.\n\nStatic hisses from the television.\n\n> You go to the northeast\nA simple polished table lies in the southeast corner.\n\nOn the simple table is a video camera (which is closed).\n\nThe cellar door hangs open invitingly to the west.\n\n> You close the door\nYou close the cellar door.\n\nWith a click, the video camera stops recording.\n\nYou can hear heavy footsteps nearby.\n\n> You take the camera\nTaken.\n\nYou can hear heavy footsteps nearby.\n\n> You take camera\nTaken.\n\nWith a click, the video camera stops recording.\n\nYou can hear heavy footsteps nearby.\n\n> You go southwest\nA young woman called Chloe sits nearby reading a book.\n\nStatic hisses from the television.\n\n> Wait\nYou wait for a moment.\n\nStatic hisses from the television.\n\nYou can hear heavy footsteps nearby.\n\n> You open the camera\nYou open the video camera, revealing a video cassette.\n\nStatic hisses from the television.\n\n> You take the tape\nTaken.\n\nStatic hisses from the television.\n\n> You put the tape in the recorder\nYou slide the cassette into the vcr, which swallows it with a whirring of motors.\n\nStatic hisses from the television.\n\n> You look at the tv\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nOn the television, you can see a very grainy and slightly out-of-focus view of the downstairs passage.\n\n> Keep going\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nThe television is showing a slightly distorted view of the downstairs passageway. After a moment, the security guard marches into the picture.\n\n> You keep going\nThe television is large, with a wide screen and large speakers at either side. You can see a power switch but not the means to change channels - maybe that is done with a remote control.\n\nThe television is currently switched on.\n\nOn the television, you see the security guard get out his remote control and type in the number 4693. With an electronic fanfare, the cellar door swings open and the guard disappears inside.\n\n> You turn off the tv\n\"Hurrah,\" says Chloe in an exaggerated manner.\n\nThe video recorder emits a series of clicking noises, then starts to rewind.\n\n> Go west\nPerhaps the family has just emptied the cellar, or is about to fill it: there certainly isn't anything of any value here at the moment, only an empty crate.\n\n> Examine crate\nStamped on one side is the message \"Produce of Crete\", but the crate itself is empty. How about that, a crate from Crete.\n\n> You move it\nIt might be empty, but it's still heavy. You can't move it."
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> You look at your surroundings\nConsidering the high technology that has gone into guarding this area, the cellar is surprisingly lo-tech. One very dull fluorescent tube casts gloomy light over the brick walls. The air is damp; cobwebs line the ceiling. A tunnel disappears off into the darkness to the northeast, and a set of stone steps lead east up to the passageway.\n\nPerhaps the family has just emptied the cellar, or is about to fill it: there certainly isn't anything of any value here at the moment, only an empty crate."
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You look around\nThe narrow passage ends at a wooden door barring your way northeast. This damp air is not good for your chest, and you are worried that the walls might close in or collapse around you. Must be claustrophobia. The main cellar, positively cosy compared to this part, is back down to the southwest.\n\n> You examine the door\nThe door is large and imposing.\n\n> You look at the handle\n(the wooden door)\nThe door is large and imposing.\n\n> You go to the east\nA simple polished table lies in the southeast corner.\n\nThe cellar door hangs open invitingly to the west.\n\n> You go southwest\nA young woman called Chloe sits nearby reading a book.\n\n> You open camera\nIt's already open.\n\n> Close camera\nYou close the video camera.\n\n> Close camera\nIt's already closed.\n\n> You show the camera to Malcolm\nMalcolm glances at the video camera and shrugs.\n\n> You ask Malcolm about the wedding\n\"So much for 'best day of the bride's life'.\"\n\nWith a click, the video camera stops recording.\n\n> You ask Malcolm about the note\n\"Yup, that hulk of a security guard is to blame for this.\"\n\n> You ask Malcolm about Deborah\n\"She'd kill me if I tried to go down and explain.\""
    },
    {
        "text": "[Themes: Slice of life, Mystery, house setting]\n\n> You go downwards\nYou descend the stairs and pass through a door, finding yourself in the...\n\nA door stands open in the north wall.\n\n> You open the camera\nYou open the video camera, revealing a video cassette.\n\n> You turn on the tv\nChloe tuts, clearly unhappy that you're disturbing her reading.\n\n> You wait\nYou wait for a moment.\n\nOn the television, you can see a very grainy and slightly out-of-focus view of the attic.\n\n> Wait\nYou wait for a moment.\n\nOn the television, you can see a very grainy and slightly out-of-focus view of the attic.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You put the camera on the crate\nYou put the video camera on the crate.\n\n> You go southwest\nA young woman called Chloe sits nearby reading a book.\n\nYou can hear heavy footsteps nearby.\n\n> You wait\nYou wait for a moment.\n\nOn the television, you can see a very grainy and slightly out-of-focus view of the cellar.\n\n> You wait\nYou wait for a moment.\n\nOn the television, you can see a very grainy and slightly out-of-focus view of the cellar.\n\nThe picture suddenly blacks out, and the video recorder begins to rewind.\n\nThe video recorder is making a whirring sound.\n\n> You ask Chloe about the tunnel\nChloe glares at you and the television, then gets back to her book.\n\nThe video recorder is making a whirring sound.\n\n> You turn off  the tv\n\"Hurrah,\" says Chloe in an exaggerated manner.\n\nThe video recorder is making a whirring sound.\n\n> You ask Mother about the tunnel\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\nYou can't see any such thing.\n\n> You ask Sheryl about the guard\n\"He's here to make sure that no undesirables get in the house,\" she says, looking at you in a way that suggests that she's wondering how you managed to get in.\n\nScamp trots along here from upstairs, careful to avoid the Mother of the Bride who glares at him and mutters something dark under her breath.\n\n> Go south\nYou can see a security guard here.\n\n> Go west\nYou make your way around the western side of the house, and find yourself at...\n\nThe gate to the north is open.\n\n> Go north\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\n> You go north\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\n> Go east\nA pompous and temperamental chef stands around shouting at the staff and chopping things up.\n\n> Go south\nScamp is up to mischief here.\n\nThe mother of the bride stands in a corner fretting away to herself as only hysterical mothers can.\n\nScamp trots off up the stairs.\n\n> Go upwards\nScamp is up to mischief here.\n\nA door stands open in the north wall.\n\nScamp trots off to the east.\n\n> Go north\nScamp is up to mischief here.\n\nDeborah, the bride, sits on her bed flicking through an old issue of Cooee! magazine.\n\nScamp trots off to the south.\n\n> You go to the south\nScamp trots along here from the south, and sniffs at your feet.\n\n> You go north\nThe book she is reading isn't important, by the way.\n\n[Press N for next, or any other key to return]\n\n> Go north\nShe knows some gossip about someone...\n\n[Press N for next, or any other key to return]"
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You ask Chloe about the guard\nChloe takes her feet off the table for a moment and leans forward conspiratorially. \"Well,\" she says, \"I did hear something about him being related to the chef - and lets face it, they're both nasty and ugly, so it could well be true.\"\n\n> You ask Chloe about the guard\n\"Yep, your best bet for getting the dirt on the guard is with the chef.\"\n\n> You ask Chef about the guard\n\"You expect me to dish the dirt on my own brother, do you?\" she shrieks hysterically. And then quietly: \"Okay, but I want something in return. They say diamonds are a girl's best friend. Maybe they're right.\" She increases her volume again to scream \"Now stop distracting me!\"\n\n> You give the diamond to Chef\n(first taking the diamond)\nShe quickly pockets the diamond, and gets back to work as if she has forgotten your agreement.\n\n> You ask Chef about the guard\n\"All right, all right!\" she says. \"Just remind him about Dartmoor, and he'll be sweet as a lamb.\"\n\n> You ask the guard about the dartmoor\nThe guard's face burns red. \"How...\" he chokes, \"how... how did...?\" Obviously he has some dark secret connected to Dartmoor, but you don't know what. Still, HE doesn't know that. You give him your sweetest and most patronising smile, and remind him about Malcolm. \"Look,\" says the guard, \"I don't want to get into any trouble. I was just following orders - Mrs D'Arcy - the mother of the bride - told me to do it!\"\n\nYou are stunned into silence by this surprising revelation.\n\n> You ask the guard about Malcolm\n\"I've already told you all I know.\"\n\nA sudden gust of wind ruffles your hair.\n\n> You go north\nThe guard moves to stop you, but then remembers that you supposedly know his secret. Deeply unhappy, he never-the-less lets you pass.\n\nThe mother of the bride frets to herself in a corner; however you now know that it is merely a pathetic act by an apparently nasty woman (in an awful bright pink suit).\n\n> You ask Sheryl about the guard\nYou stride up to the mother of the bride, and breathe in, about to speak, when she glances at you with a strange sparkle in her eye. You remember that this is a person mad enough to have the groom kidnapped. Who knows how she may react when you confront her?\n\n> Go west\nA young woman called Chloe sits nearby reading a book.\n\n> You go to the east\nThe mother of the bride frets to herself in a corner; however you now know that it is merely a pathetic act by an apparently nasty woman (in an awful bright pink suit).\n\n> You ask Sheryl about the guard\nSummoning all your courage, you go for it. \"Mrs D'Arcy,\" you say, \"I'd like a word about Malcolm and his temporary accommodation in the attic.\" You give her what you hope is a knowing look, but which could, for all you know, look like you're trying to keep a fly escaping from your mouth.\n\nShe looks startled for a moment, but her face quickly hardens. \"Okay, it was me!\" she barks. \"I ordered the security guard to clonk Malcolm one and tie him up in the attic! He's not good enough for my darling daughter. Do you know how much he earns a year? Eighteen thousand. Eighteen thousand! It's a disgrace to the family!\"\n\nShe explains her cunning plan. She was going to keep Malcolm up in the attic until the wedding was officially called off. She would then release him. She had hired a lookalike to go to Scotland in his name and return in time for his release, thus making any accusations he may have made sound false.\n\nA cruel smile suddenly breaks across her lips. \"It looks as if we have another problem to take care of.\" Before you can ponder her use of the word 'we', you hear movement behind you and -\n\n<THUD!>\n\nYou wake with a splitting headache, not sure how much time has passed.\n\nYou are strongly reminded of the supposedly luxurious holiday villa you had the misfortune to spend a week in a few years back. The air is damp, the bricks of the walls are crumbling, and there are no windows. The large wooden door to the southwest doesn't look as if it will be opening soon, either.\n\nA thick candle burns away in the middle of the room.\n\nYou can also see a small wooden stool here.\n\nYou feel something small and wet hit you on your scalp.\n\n> You check what you're carrying\nYou are carrying:\na video camera (which is closed)\na plastic supermarket bag\na remote control\na spade\na Battlebase episode guide\na golf ball\na water detector\na cash tin box (which is open but empty)\na small steel key\na bronze key\na small brass key\na wedding programme\n\n> You stand on the stool\nYou stand on the stool.\n\n> You dig the ceiling with the spade\n(the part of the ceiling with the spade)\nYou can't do that.\n\nWith a click, the video camera stops recording.\n\n> You dig patch\nWhat do you want to dig the part of the ceiling with?\n\n> You stand\nYou get off the small wooden stool.\n\nYou glance at the ceiling to make sure you've remembered where the special part is.\n\nA thick candle burns away in the middle of the room.\n\nYou can also see a small wooden stool here.\n\nYou feel something small and wet hit you on your scalp.\n\n> You move stool\nNothing obvious happens.\n\nYou feel something small and wet hit you on your scalp.\n\n> You move the stool to the spot\nThat isn't in your possession.\n\nYou feel something small and wet hit you on your scalp.\n\n> You put the stool under the patch\n(first taking the small wooden stool)\nYou're carrying too many things to be able to pick up the stool.\n\n> You check what you're carrying\nYou are carrying:\na video camera (which is closed)\na plastic supermarket bag\na remote control\na spade\na Battlebase episode guide\na golf ball\na water detector\na cash tin box (which is open but empty)\na small steel key\na bronze key\na small brass key\na wedding programme\n\n> You put the camera in bag\nYou put the video camera into the plastic supermarket bag.\n\n> You put the stool under the patch\n(first taking the small wooden stool)\nYou put the small wooden stool under the part of the ceiling you memorised.\n\n> You stand on the stool\nYou stand on the stool.\n\nYou feel something small and wet hit you on your scalp.\n\n> You hit the patch\nYou hit this part of the ceiling hard with the palm of your hand, and it goes straight through the crumbling plaster and brickwork to open space beyond. Water and debris rains down on your head; when there is no more, you look up at the newly made hole and see daylight beyond. You make the hole as big as you can, but the rest of the ceiling seems quite sturdy.\n\n> Go upwards\nWith a lot of effort, you heave yourself up through the hole in the ceiling.\n\nYou stand on a curious, and slightly sagging, brick floor with an alarming hole in the middle. There doesn't appear to be anywhere you can go from here - you are trapped by a combination of bushes, hedges and a fast flowing river to the north. It may well be the same river you encountered earlier, but you have no way of knowing if this point is up or downstream.\n\n> You examine river\nIt looks quite deep.\n\n> You look at the bricks\nThe hole leads down to that awful place you were trapped in.\n\n> Go north\nYou can't go that way.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> Swim\nYou attempt to swim in the river, but quickly find yourself out of control, being pulled along by the strong current. After a minute of useless thrashing and panicking, you manage to get to the bank on the inside of a U-bend in the river. This place seems awfully familiar...\n\nThe edge of a fast-flowing river (in the river)\n\n> You go south\nYou'll have to get out of the river first.\n\n> Go outside\nYou get out of the river."
    },
    {
        "text": "[Themes: Slice of life, Mystery]\n\n> You look around\nYou stand on the inside of a U-bend in a deep and fast flowing river - you are not sure of the name of it, since you didn't have much time to consult your A-to-Z on the way down, but it looks pretty much devoid of toxic waste and shopping trolleys. On the other side, you can see a field where the grass is overgrown and tall purple weeds have taken root. It reminds you of the wasteland behind your parents' house that you used to play in as a child. Anyway, the only way back is through the hole in the hedge to the south.\n\nSunshine momentarily bursts out through the grey cloud cover.\n\n> You go south\nYou squeeze through the gap at the bottom of the hedge.\n\nGood old Uncle Albert stands nearby with a glass of brandy in one hand.\n\nYou can see a hole under the hedge to the north which is just about big enough to squeeze through.\n\n> You go to the south\nThe gate to the south is open.\n\nA hole has been dug by the side of the path.\n\n> Go south\nScamp is up to mischief here.\n\nYou freeze on the spot, having heard both the mother of the bride and the security guard talking nearby. They appear to be just outside the front entrance.\n\n> You go north\nDeborah, the bride, sits on her bed flicking through an old issue of Cooee! magazine."
    },
    {
        "text": "[Themes: Mystery, Slice of life, house setting]\n\n> You go downward\nThe vague ramblings of two obviously barking mad people can be heard emanating from outside the main entrance to the south.\n\n> Go east\nBarbara, an aunt of the bride, sits on an armchair with her legs crossed and her hands interlocked.\n\n> You tell Barbara about Sheryl\nBarbara listens to your account of kidnapping and escape with a look of amazement. \"I never thought she'd go to those lengths,\" she says. \"Well, you must reunite Deborah and Malcolm at once. Deborah won't believe you if you tell her that - so lead her to Malcolm.\"\n\n> You ask Deborah,  to go south\nCurious, Deborah follows you to the East end.\n\nDeborah, the bride, is waiting nearby.\n\n> You follow you\n\"What's this all about?\" she asks you quizzically, referring to the quest you seem to be leading her on.\n\n> You go east\nDeborah, the bride, is waiting nearby.\n\n> You ask Deborah,  to go west\nCurious, Deborah follows you to the Landing.\n\nDeborah, the bride, is waiting nearby.\n\nA door stands open in the north wall.\n\n> You ask Deborah,  to go north\nDeborah coos in wonder as you lead her through the secret passageway and up the stairs.\n\nShe follows you up the stairs, sees Malcolm and freezes. \"What's going on?\" she hisses, and Malcolm cowers. \"I've been trapped up here, love,\" he says. \"Someone knocked me out and tied me up!\"\n\nYou step in and confirm Malcolm's story, telling Deborah that her mother organised the whole thing. Deborah boils over. \"That just takes the biscuit! That's it. I'm leaving home for good.\" Then she notices Malcolm again, and her mood lightens in a flash. \"Let's just forget the big family wedding and run off to Gretna Green,\" she says, taking his hand, and they dash off down the steps together, giggling like schoolchildren.\n\nYou stand there grinning like an idiot, until a thought occurs to you. \"Hey!\" you call, \"what about me? Don't mind me! I've just been dashing around like a wombat on steroids to sort out your problems, so hey, forget I'm here!\" And they do.\n\nA year goes by, mercifully free of weddings, security guards and mothers in law, with not a peep out of the (presumably) happy couple. A simple 'thank you' would have been nice; still, no point being bitter about it. Then, one bright sunny morning, you receive a letter from Deborah and Malcolm asking you to be their son's godparent. Perhaps unwisely, you accept.\n\nOn the morning before the Christening, you are ironing your best shirt when the phone rings. \"Mate, is that you?\" a desperate-sounding Malcolm says at the other end of the line. \"Look, you've got to get up here quickly and help us sort out this mess!\"\n\nThere is only one reaction you can give to that, and it is\n\n\"Aaaaaaaaarrrrrrrrggggghhhhhhh!\"\n\n> Full\nIn that game you scored 20 out of a possible 20, in 1761 turns, earning you the rank of Dazzling Mastermind.\n\nThe score was made up as follows:\n\n1 freeing Malcolm\n1 getting into the manor without being detected\n1 opening the cellar door\n1 proving yourself to be a veteran Battlier\n1 ordering a pizza\n1 unlocking the back door\n1 discovering the video camera\n1 dislodging an object in the Sphinx\n1 getting a promising lead\n1 standing up to the guard\n1 getting the gossip from Chloe\n1 making the guard spill the beans\n1 for high drama (and a confession)\n1 punching your way out of trouble\n1 returning to the estate\n1 finding sundry items\n2 visiting various places\n\n20 total (out of 20)\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score for that game, see a few SECRETS or QUIT?\n\n> Secrets\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Enjoy the sights\nBook worm\nMagic for beginners\nCompetitive strains\nLoose ends, plot holes etc\nThe pizza boy can be seen arriving and leaving if you wait outside the front entrance, though if you do this, you won't be able to win the game without cheating. UK players should try to imagine Robbie from EastEnders in the role.\n\n[Press N for next, or any other key to return]\n\n> Go north\nThe room to the south of West End cannot be reached, but it existed in an early version of the code. I simply couldn't find a use for it in the mad rush to complete the game in time for the Acorn User IF Competition. There was a mirror and a four-poster bed in there, and possibly a wardrobe, but nothing else of any interest. It may be restored in the future.\n\n[Press N for next, or any other key to return]\n\n> Go north\nScamp has no use in the game whatsoever (and can spend the whole game tied up) but he can be amusing to watch, and even offers a clue if in the right place. He and the chef don't get on very well, and the chef can say some nasty things to him when he's around. Most of the characters react to him when he enters a room. He will eat both the apple and the pizza if you give them to him.\n\n[Press N for next, or any other key to return]\n\n> You go north\nThe soap opera on the television has 10 chunks of dialogue, picked by the game at random (just like the real thing, then...), and there are eleven advertisements, including the crucial 'Zippo Pizzas' one.\n\n[Press N for next, or any other key to return]\n\n> Go north\nThe video cassette has seven time segments; the camera can record from any room in the game. The play-back is relatively simple, but the puzzle doesn't require any greater level of sophistication. Due to inefficient distribution of code, the first segment recorded on the camera is never viewed. A bit of effort could have sorted this out, but I decided to leave it be, and put it down to the fact that the camera isn't a very good model.\n\n[Press N for next, or any other key to return]\n\n> Go north\nFor simplicity's sake, the telephone only accepts numbers of up to four digits in length. Numbers to try: 999, 666, 413. The pizza number changes with every game.\n\n[Press N for next, or any other key to return]\n\n> Go north\nDeborah can be directed around the house, and says hello to everyone she meets. (Note: not before your trip to the dungeon, though.)\n\n[Press N for next, or any other key to return]\n\n> You go to the north\nThe cellar and cellar door were added for the third release partly to show where the 'dungeon' is in relation to the rest of the house, and partly because I so admired the mechanical door in BSE that I wanted something similar for my own game.\n\n[Press N for next, or any other key to return]\n\n> Go north\nA lot of incidental scenery crops up in this third release, in response to criticisms that a lot of 'objects' (mentioned in the room descriptions) can't be manipulated. I imagine this will infuriate an equal number of players, who won't be able to tell which objects are useful and which aren't (though I tried to put strong hints in the object descriptions). The painting of the 'Angel Gabrielle' in the dining hall is there in honour of British soul singer Gabrielle, whose song 'Give Me A Little More Time' is one of my all-time favourites.\n\n[Press N for next, or any other key to return]\n\n> You go to the north\nCommands to try: shake me, laugh, play (tennis/wedding), marry, marry me, untie me, eat guide (when its in your possession), talking to the door while in the bathroom, shaking the tree a second time. Also, you might have noticed that there's not enough room in the guest bedroom to swing a cat... but why not try it anyway?\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Enjoy the sights\nBook worm\nMagic for beginners\nCompetitive strains\nLoose ends, plot holes etc\n\n> You go to the north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Book worm\nMagic for beginners\nCompetitive strains\nLoose ends, plot holes etc\nThe following subjects can be looked up in the books:\n\n- Wedding Programme: deborah, malcolm, hardcastle, d'arcy, albert, william, hope, esther, chloe, barbara, me, author, cheat.\n\n[Press N for next, or any other key to return]\n\n> Go north\n- Battlebase episode guide: dreams, timeleap drive, david faldon, blythe banks, scorpion, caradeen, inner security, remember me, williams, repair, secret, theme music, new intake, cheat.\n\n[Press N for next, or any other key to return]\n\n> You go to the north\n- Wedding Hints book: albert, malcolm, chloe, william, guard, sheryl, dungeon, uncle, aunt.\n\n[Press N for next, or any other key to return]\n\n> Go north\n... And you can also try looking up golf, shakespeare, bible and A3000 in the index.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Book worm\nMagic for beginners\nCompetitive strains\nLoose ends, plot holes etc\n\n> Go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Magic for beginners\nCompetitive strains\nLoose ends, plot holes etc\nThere is a cheat mode in this game! Well, not so much of a cheat mode as a short cuts mode to help during the development and testing stages. The commands are as follows...\n\nTELEPORT TWO - transports the player into the bathroom\nGETTOEND - moves to the end game (you must say MALCOLM to sheryl first)\nWIN - sets the win condition - useful for getting to this amusing menu system in a hurry.\nNUMBERS - gives the numbers for dialling the pizza and opening the cellar door.\n\nTo activate these, you'll need the password. Here are two clues:\n\n1) One of the more regal companions in Doctor Who.\n2) She was part of a Roman invasion.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Magic for beginners\nCompetitive strains\nLoose ends, plot holes etc\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\n> Magic for beginners\nCompetitive strains\nLoose ends, plot holes etc\n\n> Go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\nMagic for beginners\n> Competitive strains\nLoose ends, plot holes etc\nThey met in a cold, dark alley, copies of a cheap right-wing tabloid newspaper under their arms, wearing dirty rain macs.\n\n\"Psssst\" whispered the first. \"In spring, London is a beautiful city.\"\n\n\"But in Birmingham, geese are flying,\" said the second automatically. They both nodded at each other. They had exchanged accepted passwords.\n\n\"That game you got for me,\" said the first. \"The Wedding.\"\n\n\"Shhhhhh!!\"\n\n\"All right, all right! That game. It doesn't do anything for me. Do you have anything better?\"\n\n\"Well, I can do you some BSE, by Chris Smith, if you like.\"\n\n\"That any good?\"\n\n\"Top stuff. The biz. Came first in the Acorn User 1996 Interactive Fiction competition. Much better than The Wedding.\"\n\n\"Sounds good. Anything else?\"\n\n\"Well, the third placed entry, Leopold the Minstrel, by a guy called Jamie Murphy, sounds hot, but I don't know how to get hold of that yet.\"\n\n\"So how do I get BSE?\"\n\nThe second handed the first a piece of paper. \"This is the address of the ftp.gmd.de interactive fiction archive. Tell them I sent you.\" With that, the second disappeared into the night. Glancing nervously around, the first headed off in the opposite direction.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\nMagic for beginners\n> Competitive strains\nLoose ends, plot holes etc\n\n> Go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\nMagic for beginners\nCompetitive strains\n> Loose ends, plot holes etc\nHow did I get out of the house at the end? Barbara helped you escape. She fetched Chloe from the Drawing Room, and the three of you walked out past the open-mouthed guard and Mrs D'Arcy, who didn't dare do anything.\n\nWhat of Sheryl D'Arcy and the guard? A few weeks later, Sheryl boarded a plane to Brazil, planning a nice little holiday there. Due to a freak series of events, she found herself parachuting out over the Amazon, where she was forced to fend for herself for over a month before her husband bothered to send out a search party for her. It proved to be a character-building experience, and she came back a changed woman. D'Arcy manor was converted into a shelter for homeless children.\n\nA near-death experience (caused by a runaway milk float) made the security guard see the error of his ways, and he became a New Age Traveller.\n\nHow is it that I know the names of everyone in the house even though I haven't met them before? Telepathy? Maybe Barbara sent you a fax of names before you got to D'Arcy manor, which wasn't mentioned in the opening text. Or maybe the author's programming skills were limited when he first created the characters.\n\nWhere are Malcolm's parents, Mr D'Arcy, the best man, the matron of honour, etc? Malcolm's parents don't get on well with Deborah's parents, so there's a lack of communication on that front. Mr D'Arcy and the best man are out looking for Malcolm, and the matron of honour is still in bed at home, recovering from a hangover.\n\nWhat kind of a place is D'Arcy Manor? It is a mish-mash of a place, based mainly on my vague idea of what a country house was like. The layout is admittedly very odd. Research proved that the design wasn't totally unfeasible, and a few touches were added here and there to the room descriptions, but nothing major was changed.\n\nHow did the guard and Mrs D'Arcy get me to the dungeon? The 'dungeon' is in actual fact a small room in the cellar, behind the wooden door in the tunnel (for those who missed it). Sheryl and the guard dragged you down the cellar and dumped you in the cell, their only concession to human rights being the candle.\n\nWhy is it that I could get Deborah to follow me after the dungeon experience but not before? Malcolm said that he wouldn't be able to face Deborah without knowing who was behind the attempts to sabotage the wedding. He was also a bit shaken up after the whole kidnapping business, and didn't want to go wandering around the house. So, you had to bring Deborah to him... but only after you had found out who had been behind it all.\n\nWhy would she follow me anyway? You told her that it was something important. You must have an honest face because she believed you.\n\nWhy is it that the guard stopped me from going in the house at the beginning, but didn't stop me going round to the garden? He is under strict instructions not to let any unauthorised people in the house. His instructions don't say anything about the garden, and since he possesses very little initiative or intelligence, he doesn't stop you.\n\nWell, what about X, or Y ? A unique feature of this adventure is its Imagine-O-Vision (TM), which, using its top secret hand-written software engine, allows the player to come up with their own explanations for holes in the plot. (Or, in other words, \"Your guess is as good as mine.\")\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nYou may select one of the following:\n\nMagic for beginners\nCompetitive strains\n> Loose ends, plot holes etc\n\n> You look up the hint in the index\nThe 'Wedding Hints' book is exactly where it should be. As you pull it out, you notice with distaste that the pages are coloured bright red.\n\n> You read the wedding hints\nThis book, the back cover proclaims, will give you one hint for some obscure adventure game called The Wedding, and will automatically self destruct after a successful enquiry. It isn't really necessary now that marriage guidance is freely available - maybe someone in the household hates throwing things away.\n\n> You look up guard in the wedding hints\n\"You'll need to ask someone in the house about how to get the guard to talk. How about someone you're in favour with?\" And with that, the book suddenly disintegrates in your hand.\n\n> You look up the esther in the wedding hints\nNothing in the hints book about that, I'm afraid.\n\n> You look up Scamp in the wedding hints\nA dog is for life, not just for a wedding hints book. Scamp doesn't have any direct involvement with the main game, so there aren't any hints about him. Or is what I've just said a hint? Anyway, if it is, I'll give you that one for free.\n\n> You look up ESTHER in the programme\n\"THE REVEREND ESTHER POTTS will be conducting the wedding service, despite protestations from Malcolm's father, who is dead set against female vicars (though he can't offer any plausible and rational explanations why, probably because there aren't any). Reverend Potts is a keen gardener, and has won the Church of England's 'God's Green Fingers' competition four times, with her prize vegetables.\"\n\n> You look up William in the hints\n\"One of the books lying around the house should give you a clue as to how to get William to open the bathroom door. To get what you need for this, you'll have to use various forms of communication, and something in Deborah's bedroom may come in useful.\" And with that, the book suddenly disintegrates in your hand.\n\n> You look up a3000 in the index\nThe Acorn A3000 Programmer's manual, being such an important book, is stored away safely at a top secret location off-site.\n\n> You look up Shakespeare in the index\nAn entire row of the left shelf is devoted to a certain Mr Shakespeare. Faced with the agony of choice, you chicken out by deciding not to choose any - after all, this is no time for literary appreciation.\n\n> You look up Bible in the index\nThere is a handwritten note on the index card for the Bible, which reads \"I've borrowed your copy because mine's away being rebound. Esther.\""
    },
    {
        "text": "[Themes: Book Adaption, Humor, Fantasy, Satire, fan fiction, satire]\n\nDay after endless day, stuck in this hideous palace. Its very greenness mocks you: There are no trees here that you can cut down. Every day you spend an hour or two whacking on the big log they put in your suite, but it's just not the same. For companions you have only an endless stream of anonymous, fawning courtiers, that dunce of a Scarecrow, the pathetically neurotic Lion, and - every time you turn around, it seems - the ill-mannered, ill-tempered brat and her yapping, incontinent dog.\n\nThe brat - give her her proper name, Dorothy - is the worst of the lot. Some way has got to be found to send her back to Kansas. And quickly!\n\nThe Wizard is useless, of course. Hides himself away in his chamber and throws open the doors only when he's ready to show off some new bit of stage magic even more pathetic than the last bit. After which everyone tells him how wonderful and magnificent he is, kiss, kiss. No, you'll have to manage it somehow with or without his aid. To make matters worse, you have no idea where Kansas is, or how one might get there from here.\n\nNor is Dorothy being cooperative. She doesn't want to go back to Kansas, that's abundantly clear. Oh, once in a while she delivers a pious, tearful speech about how terribly she misses her Aunt Em. But most of the time she's all too happy jumping out from behind the furniture and shouting \"Boo!\" to torment the poor Lion, or flicking lighted matches at the Scarecrow, or gorging herself on endless mounds of caramels.\n\nBut this time she's truly gone too far: She's stolen your oilcan.\n\nAn irreverent visit to the Emerald City, for children of all ages.\n\nGreen walls, green ceiling, green floor, green curtains on the windows - yes, whoever designed this city had definite ideas about attractive color schemes. After you started attacking the furniture with your axe (strictly out of boredom), they took the furniture away and replaced it with an enormous log. The log has, at least, the virtue that it's not green. And since you never sit or lie down, you have no need of chairs or a bed.\n\nThe entire floor is littered with wood chips. The door is to the north.\n\n> Chop log\n(with your axe)\nYou take a few swipes at the log with the axe - chunk, chunk, chunk! Chips fly. But your heart just isn't in it. Also, your elbows are getting pretty rusty. You really do need to find that oilcan.\n\n> You look at the chips\nThe floor is at least two inches deep in wood chips, and beneath the chips is a layer of sawdust. Visible in the dust, in addition to the well-defined tracks of your own passage, are a number of crooked trails that appear to be tiny footprints.\n\n> Search chips\nYou poke around half-heartedly among the wood chips. You weren't really expecting to find your oilcan buried among them, and sure enough - you don't.\n\n> You examine the footprints\nThe footprints could have been made by a mouse.\n\n> You follow the footprints\nThe tiny footprints crisscross one another in a haphazard way.\nThere's no telling which way they came from, or which way they're going.\n\n> You examine the walls\nwest wall: You see nothing unusual about it.\neast wall: You see nothing unusual about it.\nnorth wall: You see nothing unusual about it.\nsouth wall: You see nothing unusual about it.\n\n> Rage against inform 7\nThe word \"rage\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> Go south\nYou can't go that way. The only obvious exit leads north.\n\n> You go north\nEeiieyikgkgkgx! Every time you move, your joints make horrible noises.\n\nThe wide green hallway provides access to the private suites in which the Wizard's special guests are lodged. The door to your own suite is to the south, and the Lion's door is across the hall to the north.\nYou can proceed down the hallway to the east, or descend the broad stairway to the west.\n\n> You go to the north\nSssccrriikkkh....\n\nThe suite provided for the Lion is remarkable chiefly for the enormous bed, which is not only wide and long but also equipped with unusually long legs and a green bedspread, which hangs down nearly to the floor. Your olfactory sensors, while not very sensitive, work well enough to indicate the presence of an earthy animal odor. The exit from the room is to the south.\n\nThe edge of the bedspread twitches.\n\n> You look under the bedspread\nAs you attempt to lift the edge of the bedspread so as to look under the bed, a low-pitched, gruff, tremulous, and rather muffled voice says, \"G-g-grrr. G-g-g-grrrrr! G-g-go away, or I\"ll ee-ee-eat you!\nI m-m-m-mean it!\"\n\n> Chop bed\n(with your axe)\nHacking at random objects with your axe would make you fairly unpopular, fairly quickly.\n\n> You get the bedspread\nSubjecting the Lion to the harsh light of day would be cruel. He seems to be happy under there (or at least as happy as he's capable of being). Why not leave the bedspread be?\n\n> You ask Lion about the oil can\n\"I'm wondering,\" you venture. \"Might you be able to help me get my oilcan back from Dorothy?\"\n\n\"I don't see how,\" the Lion replies. \"She has no r-r-respect for m-m-me, as you well know.\"\n\n\"Couldn't you roar at her or something?\"\n\n\"I doubt she'll respond to th-th-threats,\" the Lion says. \"I think you need a strategem. But I couldn't really tell you what to t-t-t-try.\"\n\n> You ask Lion about Dorothy\n\"That w-w-wretched little girl! Whenever I least expect it, just when I start to regain my c-c-composure, she leaps out at me and screams! And then, when I react, as is only natural - I'm not m-m-m-made of stone, you know - she laughs. She fairly shrieks with laughter! Oh, it's too much. I am the King of Beasts, after all. To be hu-m-m-miliated like that!\n\nI've made up my mind: I'm not coming out from under here until she's gone. P-p-promise me you'll think of a way to get rid of her. P-p-please?\"\n\n> You go south\nGggghhhrrggkk. The noise coming from your knees is appalling. Your joints feel alarmingly stiff when you move.\n\nThe wide green hallway provides access to the private suites in which the Wizard's special guests are lodged. The door to your own suite is to the south, and the Lion's door is across the hall to the north.\nYou can proceed down the hallway to the east, or descend the broad stairway to the west.\n\n> You go east\nEeeiicchrxkk! What a racket!\n\nThe wide green hallway extends westward from here. The doorway to the north leads to the Scarecrow's private suite, while the doorway to the south leads to Dorothy's suite.\n\n> Go north\nXxxxxx.... What a racket! Your joints are definitely binding each time you move. You'll need to locate the oilcan before long.\n\nThe suite in which the Scarecrow has been staying is furnished only with a few decorative sheaves of corn and a large green chalkboard. The door is to the south.\n\nThe Scarecrow is standing at the chalkboard, looking befuddled, baffled, and bemused.\n\n> You ask Scarecrow about the oilcan\n\"You say Dorothy took it? Well, I can't say I'm surprised. I do hope you'll be able to get it back before too very long. You're sounding just a little creaky, if you don't mind my saying so.\" The Scarecrow's eyes droop with painted sadness.\n\n> You ask Scarecrow about Scarecrow\n\"Me? I'm nothing,\" he says. \"Or practically nothing. Just a patchy old suit stuffed with straw. Of course, if I had a brain in my head, I'm sure everyone would admire me.\"\n\n> You examine the chalkboard\nThe chalkboard fills most of one wall. Most of it appears quite pristine, as if it has never been written on at all. Toward the right end, however, the incomplete equation \"2 + 2 =   \" has been scribbled. At least, that's what it looks like. The space to the right of the equals sign has been repeatedly smudged and haphazardly erased, as if whoever was writing there (and you have a shrewd idea who that would be) was growing more and more frustrated.\n\n> You ask Scarecrow about Dorothy\n\"Such a dear sweet little thing!\" The Scarecrow's head bobs up and down in a way that you'd probably find quite comical if you had a sense of humor. (A sense of humor is not included in the specification of the DWC-397.)  \"I only wish she wasn't quite so full of mischief,\" he goes on. \"Do you think you could find out where she gets the matches? And - if it's not asking too much - would you mind very much asking her to give them to you?\n\n\"I'm quite immune to most sorts of danger, you know. I can fall from a great height and get up and walk away. Doesn't bother me a bit.\nBut I am flammable. And she knows that, I know she does. I've told her a dozen times.\n\n\"Maybe she's just forgetful. I could understand that. I'm quite forgetful myself, you know. Comes of having no brains. Maybe you could just remind her that it's not nice trying to set her friends on fire. If you'd be so good, dear chap.\"\n\n> You ask Scarecrow,  to go south\nThe Scarecrow's attention seems to have been captured by a spider dangling down from the ceiling. He doesn't reply to your request.\n\n> Go south\nRrtktktkrriieee! That horrible grinding noise....\n\nThe wide green hallway extends westward from here. The doorway to the north leads to the Scarecrow's private suite, while the doorway to the south leads to Dorothy's suite.\n\n> You go south\nEeiieyikgkgkgx! What a racket!\n\nThis room has been extravagantly outfitted with every manner of luxury, from frilly curtains and cozy throw-pillows (all of them green) to a clutter of dolls and music boxes. Standing next to the enormous, puffy chair is a spindly glass table. Dangling down behind the chair, in a position that makes it easy to reach without standing, is a long green silk rope with a green tassel on the end. The door is to the north.\n\nDorothy is sitting in the overstuffed green chair, with a big silver tray heaped with caramels on the table at her elbow. When she sees you, her eyes light up with mischief. \"Hello, Tin Woodman,\" she says sweetly. \"You're sounding a little squeaky today, aren't you?\" She covers her mouth to stifle a giggle.\n\nToto is curled up in Dorothy's lap. His yellow eyes are fixed on you with either disdain or veiled hostility.\n\n> You pull the rope\nYou give the silk rope a gentle experimental tug. There's a distant tinkling sound, as if it's attached to a bell in a nearby room. In a moment a green-clad servant scurries into the suite bearing an enormous plate piled high with caramels. After bowing deeply to Dorothy, he starts to put the fresh tray of caramels on the little table beside the girl's chair. But then he sees that the tray on the table is still piled high with caramels. After a puzzled moment, he shrugs and strides away again.\n\n> You examine the caramels\nThe caramels look very gooey.\n\n> You ask Dorothy about the matches\n\"The Scarecrow tells me you've been flicking matches at him again,\" you say sternly.\n\n\"Oh, pooh,\" Dorothy replies, unconcerned. \"He's exaggerating. I only did it once or twice. And anyhow, it didn't hurt him, did it?\"\n\n> You eat the caramels\nThe DWC-397 Deluxe Wood Chopper is not powered by organic substances. You never eat. In fact, you have no stomach.\n\n> You ask Dorothy about oil can\nDorothy glances surreptitiously at the big wicker basket at her feet, and then looks slyly at you to see whether you noticed. \"I'm very sure I don't know what you're talking about,\" she says prettily. \"Anyway, you still seem to be moving around pretty good. I don't know why you're so worried about your silly old oilcan.\"\n\n> You examine basket\nThe wicker basket is sitting at Dorothy's feet. Within it is a plump green cushion, which is stained a rather darker green in the middle, as if a small dog who is not very clean is in the habit of lying there.\n\n> You get the basket\nAs you reach out toward the wicker basket, Toto snarls and snaps at you. In a make-believe adult voice, Dorothy says, \"Trying to take nice doggy's nice basket. Shame on you!\" She strokes the disgusting little animal's head and fondles his ears lingeringly.\n\n> You look at the dog\nToto is a small, bad-tempered black dog.\n\n> You take the caramel\nMoving with as much stealth as possible, given the amount of noise your joints are making, you sidle up to the caramel tray and pounce on it!\n\nAfter leveling a smoky glare at you, Dorothy calmly reaches up and pulls the bell rope behind her chair. You hear a distant tinkle. Shortly a green-clad servant rushes into the suite bearing an enormous plate piled high with caramels. After bowing deeply to Dorothy, the servant puts the fresh tray of caramels on the little table beside the girl's chair, gently but firmly removes the other tray from your grasp, empties the remaining caramels from it onto the fresh tray (which causes a few of them to cascade onto the floor), and, with another bow, withdraws.\n\nDeliberately not looking at you, Dorothy takes a fresh caramel, pops it into her mouth, and chews with great determination.\n\n> You check your inventory\nYou are carrying your axe.\n\n> You look\nThis room has been extravagantly outfitted with every manner of luxury, from frilly curtains and cozy throw-pillows (all of them green) to a clutter of dolls and music boxes. Standing next to the enormous, puffy chair is a spindly glass table. Dangling down behind the chair, in a position that makes it easy to reach without standing, is a long green silk rope with a green tassel on the end. The door is to the north.\n\nDorothy is sitting in the overstuffed green chair, with a big silver tray heaped with caramels on the table at her elbow.\n\nToto is curled up in Dorothy's lap. His yellow eyes are fixed on you with either disdain or veiled hostility.\n\n> Go north\nXxxxxx.... Need that oilcan!\n\nThe wide green hallway extends westward from here. The doorway to the north leads to the Scarecrow's private suite, while the doorway to the south leads to Dorothy's suite.\n\n> You go west\nRrtktktkrriieee! That horrible grinding noise....\n\nThe wide green hallway provides access to the private suites in which the Wizard's special guests are lodged. The door to your own suite is to the south, and the Lion's door is across the hall to the north.\nYou can proceed down the hallway to the east, or descend the broad stairway to the west.\n\n> You go west\nIf you go down the stairs before you find that oilcan and get your joints oiled, you'll never be able to get back up again.\n\n> E then the e then S\nEeeiicchrxkk! The noise coming from your knees is appalling. Need that oilcan!!\n\nThe wide green hallway extends westward from here. The doorway to the north leads to the Scarecrow's private suite, while the doorway to the south leads to Dorothy's suite.\n\nYou can't go that way. Obvious exits lead north, to the the scarecrow's private suite; south, to Dorothy's private suite; and west, back to the green hallway.\n\nGggghhhrrggkk. You're able to move only with difficulty. This is going to be a real problem before very much longer.\n\nThis room has been extravagantly outfitted with every manner of luxury, from frilly curtains and cozy throw-pillows (all of them green) to a clutter of dolls and music boxes. Standing next to the enormous, puffy chair is a spindly glass table. Dangling down behind the chair, in a position that makes it easy to reach without standing, is a long green silk rope with a green tassel on the end. The door is to the north.\n\nDorothy is sitting in the overstuffed green chair, with a big silver tray heaped with caramels on the table at her elbow.\n\nToto is curled up in Dorothy's lap. His yellow eyes are fixed on you with either disdain or veiled hostility.\n\n> You cut the rope\n(with your axe)\nYou wait until a moment when Dorothy is letting Toto lick her face, and sidle over to the bell rope (moving very cautiously so as not to alert her by making any squeaking noises. A stealthy backhand blow from your trusty axe severs the rope up near the ceiling. It sighs down into a little coil on the floor, like a dead snake.\n\n> You take the caramel\nWhen she notices that the tray of caramels is not conveniently positioned at her elbow, Dorothy turns to grab the bell rope. When she sees it coiled on the floor, she belatedly realizes that her ready supply of caramels has been cut off. \"You give me back those right now!\" she shrieks. \"Give them back at once, do you hear?\" You make a noble but perhaps ineffective attempt not to smirk.\n\n> You ask Dorothy about the oil can\n\"Oh, all right, all right.\" Dorothy wrinkles her upper lip. \"Just give me back my nice caramels, and I'll give you your stupid oilcan. It's a fair trade.\"\n\n> You give the caramels to Dorothy\nDorothy looks doubtfully from the plate of caramels (which you're holding) to the wicker basket at her feet. Her little brows wrinkle up, and you're afraid she's about to go into the gallons-of-tears routine. But then she says, sniffling, \"If I give you the oilcan, will you give me back my nice caramels?\"\n\nSince that was the whole point of cutting the rope and grabbing the caramels (what other earthly use would you have for the sticky things?), you say with dignity, \"We can trade, if you like.\"\n\nWithout further ado, Dorothy reaches down into the big wicker basket at her feet, gropes under the green cushion, extracts the oilcan, and holds it out to you by the spout in a stiff fist. It requires an effort not to lunge at it and grab it, but you don't want to give her the satisfaction. You unwrap her fingers from around the spout quite gently, take the can, and give her the tray of caramels. She promptly stuffs half a dozen of them into her mouth and chews with great determination, glaring at you the while. You've spoiled her fun.\n\n> Oil yourself\nDoink, doink. Doink-doink-doink! Working swiftly, you apply oil to each of your joints in turn. Ahh, how soothing! In short order you're as good as new."
    },
    {
        "text": "[Themes: Abuses, based on songs]\n\n> You look at the box\nIt's about three feet wide by a foot tall, with four small cubical nooks labeled a/b/c/d. The words \"Box of Tangents\" are engraved over the four nooks, which currently show nothing--they're all empty.\n\nOn the left side there's a compass, which has not just eight but sixteen directions, currently flipping wildly around, and a small line of text below says PLEASE INSERT NUMBER IN APPROPRIATE NOOK.\n\n[Author's Note: A game that forces you off on tangents as you try to turn around. An experiment in parser, but hopefully not player, abuse.]\n\n> You examine ghost\nHe's got the bedsheet and the inner peace thing going, just lying in wait for you to start a conversation.\n\n> You talk to the ghost\n\"I thought you'd never ask.\" You're not sure if he cared WHAT you asked about, or even if you were asking. \"It wasn't all your fault I died, you know. But you contributed to it by BORING me with...well, I didn't have to bang my head until I...that's not important. Main thing, I've forgiven you, but I can't take the next step up--you know--until I help you understand. Understand why I wanted to read that logic book instead of talking to you. Oh, and they made me give you something. But it's nothing, really.\"\n\nAnd it is. It's a big fat zero. Or, rather, a wooden cube mostly plain except for a big fat zero on one face.\n\n\"It'll help you get to some logic puzzles ahead. Don't worry--they're tricky, but not lethally boring. Ahem. Oh, apparently I also have to give you help if you get stuck too long...part of gaining my wings.\"\n\nHe disappears through the chalkboard to the north.\n\n> You look at the chalkboard\nThe scrawlings on the blackboard are disturbingly incoherent, but what's behind it may be worse.\n\n> About yourself\nYou're in your jogging outfit, a full grey sweatsuit.\n\n> You put zero in nook a.\nWeird. A magnetic field's repelling it. Try another nook?\n\n> You look in the nook a.\nThis is a logic problem, not a treasure hunt. Examine what you need to, instead.\n\n> You look at the nook a.\nNook a is empty.\n\n> You put zero in the nook b.\nThe Big Fat Zero fits in with a magnetic snap.\n\n> You examine the compass\nIt is currently pointing east.\n\n> Go east\nThe room's disappointingly bare for your average New Location. You can only go back west here.\n\nThat magic square hanging in the air must be your first puzzle. It's probably worth having a look.\n\n> You examine the square\n\"Maybe you've seen this before, maybe you haven't,\" says the ghost's voice. \"Put the numbers one through nine so that all diagonals, rows and columns add up to the same number. If you're nice, I'll even tell you that nu...well, okay, it's gotta be one third of the sum of 'em all. Just say UL 3 or CR 6 or whichever to place a number. Or set it to zero to clear it. Or RESET for the whole board.\"\n\n|\nU 0  0  0 |  0\nC 0  0  0 |  0\nD 0  0  0 |  0\n+\n0  0  0    0\n\n> UL 8\nYou change the UL panel to 8.\n\n|\nU 8  0  0 |  8\nC 0  0  0 |  0\nD 0  0  0 |  0\n+\n8  0  0    8\n\nThe ghost kibitzes a bit: \"Hm, putting a number in the center first could be useful. If you're careful, you might even see some don't work.\"\n\n> Uc 1\nYou change the UC panel to 1.\n\n|\nU 8  1  0 |  9\nC 0  0  0 |  0\nD 0  0  0 |  0\n+\n8  1  0    8\n\nYour friend the ghost's voice breezes through again: \"Hm, yes, the corners are a good idea, too.\"\n\n> Ur 6\nYou change the UR panel to 6.\n\n|\nU 8  1  6 | 15\nC 0  0  0 |  0\nD 0  0  0 |  0\n+\n8  1  6    8\nThe ghost, once more:\n\"Last thing I can tell you. Technically, if you have 3 numbers not in a line, you can deduce the others.\"\n\n> Lc 3\nYou change the CL panel to 3.\n\n|\nU 8  1  6 | 15\nC 3  0  0 |  3\nD 0  0  0 |  0\n+\n11  1  6    8\n\n> Cc 5\nYou change the CC panel to 5.\n\n|\nU 8  1  6 | 15\nC 3  5  0 |  8\nD 0  0  0 |  0\n+\n11  6  6   13\n\n> Rc 7\nYou change the CR panel to 7.\n\n|\nU 8  1  6 | 15\nC 3  5  7 | 15\nD 0  0  0 |  0\n+\n11  6 13   13\n\n> Ld 4\nYou change the DL panel to 4.\n\n|\nU 8  1  6 | 15\nC 3  5  7 | 15\nD 4  0  0 |  4\n+\n15  6 13   13\n\n> Dc 9\nYou change the DC panel to 9.\n\n|\nU 8  1  6 | 15\nC 3  5  7 | 15\nD 4  9  0 | 13\n+\n15 15 13   13\n\n> Dr 2\nYou change the DR panel to 2.\n\n|\nU 8  1  6 | 15\nC 3  5  7 | 15\nD 4  9  2 | 15\n+\n15 15 15   15\n\n\"Congratulations! You've figured one puzzle out. Have this Plain Old One, for completing your first puzzle--rather plain, but instructive.\"\n\n> You put one in a\n(the Plain Old One in nook a)\nWeird. A magnetic field's repelling it. Try another nook?\n\n> You put one in the C\n(the Plain Old One in nook c)\nWeird. A magnetic field's repelling it. Try another nook?\n\n> You put one in the d.\n(the Plain Old One in nook d)\nThe Plain Old One fits in with a magnetic snap.\n\n> You examine the compass\nIt is currently flipping wildly around.\n\n> Go northeast\nAnother side room, another dead end. You can go back southwest.\n\n\"Not bad. This one's a bit trickier, but it isn't. Only so many possibilities, but it's easy to \"eliminate\" the right one. You know how pawns in chess move? Forward, but capture diagonally? You'll need to make a queen here. Have a look at the board. Fail all you want. I've got time. Oh, just use algebraic notation--you know? a6 for a pawn to move ahead, a5-b6 to capture? Can't do anything snazzy like bc yet. Sorry.\"\n\nYou can see a chessboard here.\n\n> You look at the chessboard\nYou (white) have the pieces in lower case, and black's are in UPPER BOLD.\n. . . . . . . . 8\nb b b . . . . . 7\n. . . . . . . . 6 B=black king W=white king\nw w w . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\n> B6\n. . . . . . . . 8\nb b b . . . . . 7\n. w . . . . . . 6 B=black king W=white king\nw . w . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\nHe says, \"I guess I have to take. Kings so far away, it shouldn't matter.\"\n\nHe moves his pawn from a7 to b6, taking one of your pawns.\n\n. . . . . . . . 8\n. b b . . . . . 7\n. b . . . . . . 6 B=black king W=white king\nw . w . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\n\"So many moves. One may be right.\"\n\n> C6\n. . . . . . . . 8\n. b b . . . . . 7\n. b w . . . . . 6 B=black king W=white king\nw . . . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\nHe smirks a bit. \"Well, you're not being boring.\"\n\nHe moves his pawn from b7 to c6, taking one of your pawns.\n\n. . . . . . . . 8\n. . b . . . . . 7\n. b b . . . . . 6 B=black king W=white king\nw . . . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\n\"Three to one. Better have something good.\"\n\n> A6\n. . . . . . . . 8\n. . b . . . . . 7\nw b b . . . . . 6 B=black king W=white king\n. . . . . . . . 5\n. . . . . . . . 4\n. . . B . . . . 3 b=black pawn w=white pawn\n. . . . . . . . 2\n. . . . W . . . 1\na b c d e f g h\n\n\"Very good.\"\n\nHe mutters something about your king blocking his king out, the queen mopping up the pawns... \"You do know how to checkmate with a queen? Pin the king to g1/h1 and walk your king in? Good. Thought so. That's all detail work. Stuff that'd bore you.\"\n\nAs you start pointing at the board to figure what he says, the board folds up of its own accord and vanishes.\n\n\"Congratulations! You sacrificed to win this, so take this very valuable minus sign.\"\n\n> You look at the strip\nIt makes the zero look like a fridge magnet or something.\n\n> You put the minus in the a.\n(nook a)\nThe standard-issue minus sign fits in with a magnetic snap.\n\n> You put one in the b.\n(the Plain Old One in nook b)\nThe Plain Old One fits in with a magnetic snap.\n\n> You look at the box\nIt's about three feet wide by a foot tall, with four small cubical nooks labeled a/b/c/d. The words \"Box of Tangents\" are engraved over the four nooks, which currently show -1__.\n\nOn the left side there's a compass currently pointing northwest, and a small line of text below says NUMBERS AND OPERATORS PROPERLY POSITIONED.\n\n> Go northwest\nAnother dead-end room protruding from the Origin...the passage northwest ends shortly. Man, there aren't a lot of bendy passages here. Eh well, less puzzles that way.\n\nYou can see a panel of lights here.\n\n> You examine the panel\nIt's got a big reset button off to the side. You would assume that would turn all the lights in the 3x5 grid below off. You can push a panel simply by saying, for instance, 1-3.\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n| | | | 1\n+-+-+-+\n| | | | 2\n+-+-+-+\n| | | | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> You say 0-0\n(to yourself)\n\n> 0-0\nAfter you touched tile 0-0, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*|*| | 0\n+-+-+-+\n|*| | | 1\n+-+-+-+\n| | | | 2\n+-+-+-+\n| | | | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n\"Wow! There are 32,768 total configuration--two to the fifteenth. Well, you can eliminate a few. And a bunch are mirror images and so forth.\"\n\n> 0-1\nAfter you touched tile 0-1, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n| |*| | 1\n+-+-+-+\n|*| | | 2\n+-+-+-+\n| | | | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-3\nAfter you touched tile 1-3, five changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n| |*| | 1\n+-+-+-+\n|*|*| | 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n| |*| | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-2\nAfter you touched tile 1-2, five changed overall. Here's how the board looks now...\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n| |*| | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n| |*| | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n\"In case you were wondering, there's no wrong top row--or bottom. That cuts it down to 4,096.\"\n\n> 0-0\nAfter you touched tile 0-0, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*|*| | 0\n+-+-+-+\n|*|*| | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n| |*| | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-0\nAfter you touched tile 2-0, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| |*| 0\n+-+-+-+\n|*|*|*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n| |*| | 3\n+-+-+-+\n| | | | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 0-4\nAfter you touched tile 0-4, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| |*| 0\n+-+-+-+\n|*|*|*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*| | 3\n+-+-+-+\n|*|*| | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-4\nAfter you touched tile 2-4, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| |*| 0\n+-+-+-+\n|*|*|*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*| |*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n\"Fortunately there are really only three solutions...excluding mirror images.\"\n\n> 1-0\nAfter you touched tile 1-0, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n|*| |*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*| |*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-4\nAfter you touched tile 1-4, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n|*| |*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*| |*| 3\n+-+-+-+\n| |*| | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 0-3\nAfter you touched tile 0-3, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n|*| |*| 1\n+-+-+-+\n| |*|*| 2\n+-+-+-+\n| |*|*| 3\n+-+-+-+\n|*|*| | 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-3\nAfter you touched tile 2-3, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n|*| |*| 1\n+-+-+-+\n| |*| | 2\n+-+-+-+\n| | | | 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-1\nAfter you touched tile 1-1, five changed overall. Here's how the board looks now...\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n| |*| | 1\n+-+-+-+\n| | | | 2\n+-+-+-+\n| | | | 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-2\nAfter you touched tile 1-2, five changed overall. Here's how the board looks now...\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n| | | | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n| |*| | 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 0-2\nAfter you touched tile 0-2, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n|*| | | 1\n+-+-+-+\n| | |*| 2\n+-+-+-+\n|*|*| | 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-2\nAfter you touched tile 2-2, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| | | | 0\n+-+-+-+\n|*| |*| 1\n+-+-+-+\n| |*| | 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n\"You can work out a solution one row at a time.\"\n\n> 0-1\nAfter you touched tile 0-1, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| | | 0\n+-+-+-+\n| |*|*| 1\n+-+-+-+\n|*|*| | 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-1\nAfter you touched tile 2-1, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| |*| 0\n+-+-+-+\n| | | | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 1-0\nAfter you touched tile 1-0, four changed overall. Here's how the board looks now...\n\n+-+-+-+\n| |*| | 0\n+-+-+-+\n| |*| | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 0-0\nAfter you touched tile 0-0, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*| | | 0\n+-+-+-+\n|*|*| | 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\n> 2-0\nAfter you touched tile 2-0, three changed overall. Here's how the board looks now...\n\n+-+-+-+\n|*|*|*| 0\n+-+-+-+\n|*|*|*| 1\n+-+-+-+\n|*|*|*| 2\n+-+-+-+\n|*|*|*| 3\n+-+-+-+\n|*|*|*| 4\n+-+-+-+ (Note: * means a light is on.)\n\nYou solved it with 21 tries!\n\nYou hear the ghost's voice again.\n\n\"Very interesting. You went in for something asymmetric. It's actually the quickest way. Hm--do you know something?\"\n\n\"But no matter which of the three ways you did this, they're all worthy. Now I present you with a choice--you can take this division sign and run. Or you can take the square root of two. It'll mean three more puzzles--but maybe you have the hang of it now.\"\n\n> You get the sqrt\nThe division sign vanishes in a puff of smoke. \"Congratulations. You've just taken on three more puzzles, now. Oh, by the way, there's a new hint in room 315.\"\n\nWell, you've made your choice--a brave one."
    },
    {
        "text": "[Themes: Abuses, based on songs]\n\n> You look around\nAnother dead-end room protruding from the Origin...the passage northwest ends shortly.\n\nYou can see a panel of lights here.\n\n> You examine the panel\nIt's got a big reset button off to the side. You would assume that would turn all the lights in the 3x5 grid below off.\n\nYou admire your handiwork--you lit all the tiles! But maybe you should be moving on.\n\n> You go southeast\nAnother passage southwardsish, another dead-end room.\n\nYou can see a giant sheet of paper here.\n\n> You look at the paper\n/|     /\n/ |    /\n/  |   /\n/45 |  /\nA----E-D\n\n_\nAE=1 BE=1 AB=BC=CD=AD=\\/2\n\ntan CAD = ?\n\nThere's also hard-to-read mumbo-jumbo about half-angle sines, tan 2x = 1 and cosine 4x = 1. Or, yeah, you can just throw stuff in the boggle-box until something works. One way's got to, eventually.\n\n> You go south\nYou're still a way from turning around yet.\n\n> Go west\nYou feel a pull to the northwest, then to the southeast--you can't really go west. And you probably don't need to, any more.\n\n> Inventory\nYou are carrying:\na Square Root of Two\na Big Fat Zero\n\n> You go to the south-west\nYou look over your shoulder for your friend the ghost, but he's nowhere around. You can go back northeast.\n\nYou can see a holographic chess diagram here.\n\n> You examine the chess\nIt's got a chain of white pawns, then a chain of black pawns.\n\n. . . .\n. b . .\nbw. . .\n.w. . .\nw. . . .\n. .B. .\n. . . .\n. .W. .\n\nText at the top says A5 WINS. But you knew that. You already solved a tougher puzzle.\n\n> You put sqrt in the a.\n(nook a)\nWeird. A magnetic field's repelling it. Try another nook?\n\n> You put the sqrt in the b.\nThe Square Root of Two fits in with a magnetic snap.\n\n> You put the minus in the C\nThe standard-issue minus sign fits in with a magnetic snap.\n\n> You put 1 in the d.\n(nook d)\nThe Plain Old One fits in with a magnetic snap.\n\n> You look at the compass\nIt is currently pointing easteastnorth. (NOTE: you can abbreviate this and other longer directions to EEN/ENE/NEN and I will know which way you want to go.)\n\n> Een\nRoom 22.5\n\"So the first three puzzles have been arithmetic, chess, and some true-false stuff. Let's make this about something a little more worldly, sort of--money. I'm pretty sure you like money. Not too much--or you wouldn't even have made it up here.\n\n\"So here's a cryptarithm to sort of help you remember, uhh, that stuff--each letter is a different number from zero to nine.\nAnd the numerals on the left end can't start with zero.\n\n\"Oh, it'll also be in the other room you could've reached. The one WWN of the origin.\" He vanishes again.\n\nYou can see a guessboard here.\n\n> You examine the board\nWell, it's two words adding to a third, apparently.\n\n+more\n=========\nmoney\n\n> You examine foldout\nIt's a minus sign at the moment. It seems a bit broken. You're not sure what you can fold it into. There's some tiny etched writing on it.\n\n> You read the writing\nYou have to squint a bit to read it: \"Just think of me F or FOLD if you want. I might mind if I were telepathic, but I'm not even animate.\"\n\n> Wws\nRoom 202.5\nFortunately, there's nothing tricky to going in a sixteenth-diagonal direction beyond the boggle-box bit. You see a hologram here, and you assume there's nothing tricky about going back east-east-north. Or north-north-east.\n\n> You examine hologram\nIt looks like more angles and numbers. A note written below says FOR YOUR EDIFICATION ONLY. THE TANGENTS ARE TOO COMPLEX. The upshot seems to be that you can figure the sin of 18 and 54, if you're crazy like that.\nIt's an isosceles triangle ABC (AB=AC) with BC=BD=DA, D on AB. For a visual representation, get a Glulx-compatible blorb reader. Like Gargoyle.\nThe hologram flickers briefly and appears to have changed.\n\n> You put 1 in the b.\nThe Plain Old One fits in with a magnetic snap.\n\n> You put the sqrt in the d.\n(nook d)\nThe Square Root of Two fits in with a magnetic snap.\n\n> WWN\nRoom 157.5\nYou shouldn't have much to do here other than go back easteastsouth. You solved the cryptarithm.\n\n> You get the minus\n(the standard-issue minus sign)\nIt resists only slightly as you pull it away from the nook it was in.\n\n> You put the foldout on the minus\nWhich do you mean, the standard-issue minus sign or the foldout?\n\n> You examine the fold\nIt's a minus sign at the moment. It seems a bit broken. You're not sure what you can fold it into. There's some tiny etched writing on it.\n\n> You read the writing\nYou have to squint a bit to read it: \"Just think of me F or FOLD if you want. I might mind if I were telepathic, but I'm not even animate.\"\n\n> You put foldout in the C\nThe foldout fits in with a magnetic snap.\n\n> You put minus in C\n(the standard-issue minus sign in nook c)\nYou take the foldout from nook c first.\n\nThe standard-issue minus sign fits in with a magnetic snap.\n\n> You put the fold in the minus\n(the foldout)\nYou can't put something inside itself.\n\n> You put the fold in the C\nYou take the standard-issue minus sign from nook c first.\n\nThe foldout fits in with a magnetic snap.\n\n> Inventory\nYou are carrying:\na foldout (currently a minus)\na standard-issue minus sign\na Big Fat Zero\n\n> You get the minus\nWhich do you mean, the foldout or the standard-issue minus sign?\n\n> You gethe standard-issue minus the sign\nYou already have that.\n\n> You put 1 in the C\nWeird. A magnetic field's repelling it. Try another nook?\n\n> You put 0 in the d.\n(nook d)\nThe Big Fat Zero fits in with a magnetic snap.\n\n> Nne\nYou don't feel you can really go far from the blackboard at the moment. Some weird sort of gravity.\n\n> You go to the west\n\"Don't worry. This isn't a puzzle. It's a bit of showing off, really. In fact, all of the rooms to the south that'll open up? They're showing off, too. Hope you don't mind. I...uh...well, they'd be trickier if I'd gotten around to learning assembly language. No, no, that's not your fault--I put it off for years!\"\n\nA pair of 5x5 squares is here.\n\n> You look at squares\nSomeone's drawn up a bunch of numbers:\n\n23401 13024\n40123 24130\n12340 30241\n34012 41302\n\n5A + B + 1 = 5x5 magic square.\n\nHm. Some wise guy showing off. And you still stuck on that three by three deal back east.\n\n> You put 1 in the b.\nThe Plain Old One fits in with a magnetic snap.\n\n> Ees\nRoom 337.5\n\n> Sse\nYou can only go back easteastsouth--or you can just type BACK.\n\n> You put foldout in the C\nThe foldout fits in with a magnetic snap.\n\n> You put the minus in the a.\n(the foldout in nook a)\n(first taking the foldout)\n\nThe foldout fits in with a magnetic snap.\n\n> You look at the box\nIt's about three feet wide by a foot tall, with four small cubical nooks labeled a/b/c/d. The words \"Box of Tangents\" are engraved over the four nooks, which currently show -1_sqrt(2).\n\nOn the left side there's a compass currently flipping wildly around, and a small line of text below says MOVE OPERATOR OR REMOVE NUMBER.\n\n> Nnw\nRoom 112.5\nHm. Another checkerboard. But it's a bit smaller. You hear your friend again. \"Well...that 8x8 board was kind of tricky. So I gave you a 6x6-er instead. It's sort of more complex and less complex at the same time.\"\n\nYou can see a 6x6 board here.\n\n> You look at the board\n\"Here's one that shouldn't be too hard. I think. Six queens, six by six square. It's impossible for four-by-four and a bit too easy for five-by-five. Above that, you need a computer. Just say the square you want to remove a piece from or place it on. Remember, queens move vertically, horizontally and diagonally.\"\n\n+-+-+-+-+-+-+\n1| | | | | | |1\n+-+-+-+-+-+-+\n2| | | | | | |2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3| | | | | | |3\n+-+-+-+-+-+-+\n4| | | | | | |4\n+-+-+-+-+-+-+\n5| | | | | | |5\n+-+-+-+-+-+-+\n6| | | | | | |6\n+-+-+-+-+-+-+\na b c d e f\n\n> C1\nYou decide to place a queen on c1.\n\n+-+-+-+-+-+-+\n1|x|x|Q|x|x|x|1\n+-+-+-+-+-+-+\n2| |x|x|x| | |2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3|x| |x| |x| |3\n+-+-+-+-+-+-+\n4| | |x| | |x|4\n+-+-+-+-+-+-+\n5| | |x| | | |5\n+-+-+-+-+-+-+\n6| | |x| | | |6\n+-+-+-+-+-+-+\na b c d e f\n\n> C1\nYou clear a queen from c1.\n\n+-+-+-+-+-+-+\n1| | | | | | |1\n+-+-+-+-+-+-+\n2| | | | | | |2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3| | | | | | |3\n+-+-+-+-+-+-+\n4| | | | | | |4\n+-+-+-+-+-+-+\n5| | | | | | |5\n+-+-+-+-+-+-+\n6| | | | | | |6\n+-+-+-+-+-+-+\na b c d e f\n\n> B1\nYou decide to place a queen on b1.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x| | | |2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3| |x| |x| | |3\n+-+-+-+-+-+-+\n4| |x| | |x| |4\n+-+-+-+-+-+-+\n5| |x| | | |x|5\n+-+-+-+-+-+-+\n6| |x| | | | |6\n+-+-+-+-+-+-+\na b c d e f\n\n> D2\nYou decide to place a queen on d2.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x|Q|x|x|2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3| |x|x|x|x| |3\n+-+-+-+-+-+-+\n4| |x| |x|x|x|4\n+-+-+-+-+-+-+\n5|x|x| |x| |x|5\n+-+-+-+-+-+-+\n6| |x| |x| | |6\n+-+-+-+-+-+-+\na b c d e f\n\n> F3\nYou decide to place a queen on f3.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x|Q|x|x|2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3|x|x|x|x|x|Q|3\n+-+-+-+-+-+-+\n4| |x| |x|x|x|4\n+-+-+-+-+-+-+\n5|x|x| |x| |x|5\n+-+-+-+-+-+-+\n6| |x|x|x| |x|6\n+-+-+-+-+-+-+\na b c d e f\n\n> A4\nYou decide to place a queen on a4.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x|Q|x|x|2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3|x|x|x|x|x|Q|3\n+-+-+-+-+-+-+\n4|Q|x|x|x|x|x|4\n+-+-+-+-+-+-+\n5|x|x| |x| |x|5\n+-+-+-+-+-+-+\n6|x|x|x|x| |x|6\n+-+-+-+-+-+-+\na b c d e f\n\n> C5\nYou decide to place a queen on c5.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x|Q|x|x|2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3|x|x|x|x|x|Q|3\n+-+-+-+-+-+-+\n4|Q|x|x|x|x|x|4\n+-+-+-+-+-+-+\n5|x|x|Q|x|x|x|5\n+-+-+-+-+-+-+\n6|x|x|x|x| |x|6\n+-+-+-+-+-+-+\na b c d e f\n\n> E6\nYou decide to place a queen on e6.\n\n+-+-+-+-+-+-+\n1|x|Q|x|x|x|x|1\n+-+-+-+-+-+-+\n2|x|x|x|Q|x|x|2 Q=queen *=illegal square\n+-+-+-+-+-+-+\n3|x|x|x|x|x|Q|3\n+-+-+-+-+-+-+\n4|Q|x|x|x|x|x|4\n+-+-+-+-+-+-+\n5|x|x|Q|x|x|x|5\n+-+-+-+-+-+-+\n6|x|x|x|x|Q|x|6\n+-+-+-+-+-+-+\na b c d e f\n\nYou hear a \"poof\" from back at the origin. You see smoke coming from the boggle-box. It's probably for effect, but who knows...\n\n> Sse\nYou run to check the boggle box, but it looks unharmed. The foldout appears to be slightly off-key, though. It wobbles into the shape of a spiffy, perpendicular X before tumbling out of the boggle-box.\n\n> You press the space\nWait--it's a plus, because when it fell, it landed on one of the legs. You pick it up gingerly, half worried it might combust or gain a few thousand degrees Fahrenheit. You fiddle with it to make sure you can switch it back to a minus sign if you need to.\n\nYou're in some sort of weird outdoor classroom. It's got a huge chalkboard to the north. There are paths in all the other standard cardinal directions, but it seems a lot just won't let you. You don't entirely understand the logic of this place, yet.\n\nThat boggle box is here. Where will you need to make it take you next?\n\n> You get the minus\n(the standard-issue minus sign)\nIt resists only slightly as you pull it away from the nook it was in.\n\n> You examine the foldout\nIt's a minus sign at the moment. You can also fold it into a plus sign. Just type MINUS or PLUS.\n\n> Plus\nYou fold up a plus sign.\n\n> Nne\nRoom 67.5\nYou walk into what appears to be a city block. It has a limousine by a nightclub, with a hotel a bit away. Six women are here--they're yacking about you're not sure what. You find them less attractive, and their babble less interesting, than you would have an hour ago.\n\n\"Ohmigod!\" yells one. \"You must be the limo driver! You totally have to take us back to the hotel! But you like can't schlep us all in at once. We like have standards though. Are you like listening?\"\n\n> No\nShe babbles on. \"We can't let you in the limo with just one of us because we've had a driver put the moves on us and we can't let you just drive it around empty because that would like be wasting money and I like almost forgot something really important. We're like BFFs but some of us are really upset with each other right now so we like need to cool down until we're all like safe.\"\n\nAfter some interrogation, you determine their names, and also that Danni hates Cindy hates Buffy hates Abbie hates Fanny hates Ellie, and vice versa.\n\n\"Well there you have it,\" whispers the ghost. \"A bunch of ladies you might have tried to put the moves on, or been jealous if a friend did...\"\n\n> You get in the limo\nShe's too drunk to follow complex orders--or appreciate you spelling out trivial ones. Just call the name of whomever you wish to enter or exit the limo.\n\n> Abbie\nAbbie steps in while cracking some gum.\n\nHOTEL: nobody.\nLIMO: Abbie.\nCLUB (with you): Fanny, Ellie, Danni, Cindy and Buffy.\n\n> Cindy\nCindy steps in without losing track of her cell phone conversation.\n\nHOTEL: nobody.\nLIMO: Cindy and Abbie.\nCLUB (with you): Fanny, Ellie, Danni and Buffy.\n\n> Ellie\nEllie steps in with a curt Whatever.\n\nHOTEL: nobody.\nLIMO: Ellie, Cindy and Abbie.\nCLUB (with you): Fanny, Danni and Buffy.\n\n> You get in LIMO\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that weren't there and will probably vanish when you step outside, you arrive at the hotel.\n\nHOTEL (with you): nobody.\nLIMO: Ellie, Cindy and Abbie.\nCLUB: Fanny, Danni and Buffy.\n\n> Ellie\nEllie steps out with an exasperated sigh.\nHOTEL (with you): Ellie.\nLIMO: Cindy and Abbie.\nCLUB: Fanny, Danni and Buffy.\n\n> Cindy\nCindy steps out without losing track of her cell phone conversation. HOTEL (with you): Cindy and Ellie.\nLIMO: Abbie.\nCLUB: Fanny, Danni and Buffy.\n\n> Abbie\nAbbie steps out with an exasperated sigh.\nHOTEL (with you): Abbie, Cindy and Ellie.\nLIMO: nobody.\nCLUB: Fanny, Danni and Buffy.\n\n> You drive\n(the limousine)\n\"Oh my god, you are so totally not taking off like that!\" exclaims Ellie.\n\n> Cindy\nCindy steps in while twirling her hair.\n\nHOTEL (with you): Abbie and Ellie.\nLIMO: Cindy.\nCLUB: Fanny, Danni and Buffy.\n\n> Ellie\nEllie steps in with an exasperated sigh.\n\nHOTEL (with you): Abbie.\nLIMO: Ellie and Cindy.\nCLUB: Fanny, Danni and Buffy.\n\n> You get in LIMO\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the club.\n\nHOTEL: Abbie.\nLIMO: Ellie and Cindy.\nCLUB (with you): Fanny, Danni and Buffy.\n\n> Ellie\nEllie steps out with a curt Whatever.\nHOTEL: Abbie.\nLIMO: Cindy.\nCLUB (with you): Ellie, Fanny, Danni and Buffy.\n\n> Cindy\nCindy steps out complaining how only creeps ever try to help her through narrow doors in her high heels.\nHOTEL: Abbie.\nLIMO: nobody.\nCLUB (with you): Cindy, Ellie, Fanny, Danni and Buffy.\n\n> Fanny\nFanny steps in with an exasperated sigh.\n\nHOTEL: Abbie.\nLIMO: Fanny.\nCLUB (with you): Cindy, Ellie, Danni and Buffy.\n\n> Danni\nDanni steps in with a curt Whatever.\n\nHOTEL: Abbie.\nLIMO: Danni and Fanny.\nCLUB (with you): Cindy, Ellie and Buffy.\n\n> Buffy\nBuffy steps in complaining how only creeps ever try to help her through narrow doors in her high heels.\n\nHOTEL: Abbie.\nLIMO: Buffy, Danni and Fanny.\nCLUB (with you): Cindy and Ellie.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the hotel.\n\nHOTEL (with you): Abbie.\nLIMO: Buffy, Danni and Fanny.\nCLUB: Cindy and Ellie.\n\n> Danni\nDanni steps out without losing track of her cell phone conversation. HOTEL (with you): Danni and Abbie.\nLIMO: Buffy and Fanny.\nCLUB: Cindy and Ellie.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the club.\n\nHOTEL: Danni and Abbie.\nLIMO: Buffy and Fanny.\nCLUB (with you): Cindy and Ellie.\n\n> Cindy\nCindy steps in with a curt Whatever.\n\nHOTEL: Danni and Abbie.\nLIMO: Cindy, Buffy and Fanny.\nCLUB (with you): Ellie.\n\n> You get in\nBuffy is getting bored of riding in the limousine.\n\n> Buffy\nBuffy steps out with an exasperated sigh.\nHOTEL: Danni and Abbie.\nLIMO: Cindy and Fanny.\nCLUB (with you): Buffy and Ellie.\n\n> Ellie\nEllie steps in complaining how only creeps ever try to help her through narrow doors in her high heels.\n\nHOTEL: Danni and Abbie.\nLIMO: Ellie, Cindy and Fanny.\nCLUB (with you): Buffy.\n\n> Fanny\nFanny steps out with an exasperated sigh.\nHOTEL: Danni and Abbie.\nLIMO: Ellie and Cindy.\nCLUB (with you): Fanny and Buffy.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the hotel.\n\nHOTEL (with you): Danni and Abbie.\nLIMO: Ellie and Cindy.\nCLUB: Fanny and Buffy.\n\n> Ellie\nEllie steps out while twirling her hair.\nHOTEL (with you): Ellie, Danni and Abbie.\nLIMO: Cindy.\nCLUB: Fanny and Buffy.\n\n> Abbie\nAbbie steps in with a curt Whatever.\n\nHOTEL (with you): Ellie and Danni.\nLIMO: Abbie and Cindy.\nCLUB: Fanny and Buffy.\n\n> Cindy\nCindy steps out with an exasperated sigh.\nHOTEL (with you): Cindy, Ellie and Danni.\nLIMO: Abbie.\nCLUB: Fanny and Buffy.\n\n> Danni\nDanni steps in while cracking some gum.\n\nHOTEL (with you): Cindy and Ellie.\nLIMO: Danni and Abbie.\nCLUB: Fanny and Buffy.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the club.\n\nHOTEL: Cindy and Ellie.\nLIMO: Danni and Abbie.\nCLUB (with you): Fanny and Buffy.\n\n> Fanny\nFanny steps in with an exasperated sigh.\n\nHOTEL: Cindy and Ellie.\nLIMO: Fanny, Danni and Abbie.\nCLUB (with you): Buffy.\n\n> Fanny\nFanny steps out with a curt Whatever.\nHOTEL: Cindy and Ellie.\nLIMO: Danni and Abbie.\nCLUB (with you): Fanny and Buffy.\n\n> Buffy\nBuffy steps in with an exasperated sigh.\n\nHOTEL: Cindy and Ellie.\nLIMO: Buffy, Danni and Abbie.\nCLUB (with you): Fanny.\n\n> Abbie\nAbbie steps out without losing track of her cell phone conversation. HOTEL: Cindy and Ellie.\nLIMO: Buffy and Danni.\nCLUB (with you): Abbie and Fanny.\n\n> Fanny\nFanny steps in while twirling her hair.\n\nHOTEL: Cindy and Ellie.\nLIMO: Fanny, Buffy and Danni.\nCLUB (with you): Abbie.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the hotel.\n\nHOTEL (with you): Cindy and Ellie.\nLIMO: Fanny, Buffy and Danni.\nCLUB: Abbie.\n\n> Fanny\nFanny steps out while cracking some gum.\nHOTEL (with you): Fanny, Cindy and Ellie.\nLIMO: Buffy and Danni.\nCLUB: Abbie.\n\n> Buffy\nBuffy steps out with an exasperated sigh.\nHOTEL (with you): Buffy, Fanny, Cindy and Ellie.\nLIMO: Danni.\nCLUB: Abbie.\n\n> Danni\nDanni steps out while cracking some gum.\nHOTEL (with you): Danni, Buffy, Fanny, Cindy and Ellie.\nLIMO: nobody.\nCLUB: Abbie.\n\n> Cindy\nCindy steps in complaining how only creeps ever try to help her through narrow doors in her high heels.\n\nHOTEL (with you): Danni, Buffy, Fanny and Ellie.\nLIMO: Cindy.\nCLUB: Abbie.\n\n> Ellie\nEllie steps in with a curt Whatever.\n\nHOTEL (with you): Danni, Buffy and Fanny.\nLIMO: Ellie and Cindy.\nCLUB: Abbie.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the club.\n\nHOTEL: Danni, Buffy and Fanny.\nLIMO: Ellie and Cindy.\nCLUB (with you): Abbie.\n\nYou think you hear the ghost trying to give you help, but he's drowned out by the girls' yacking. Which isn't going to stop any time soon. Bummer.\n\n> Abbie\nAbbie steps in with an exasperated sigh.\n\nHOTEL: Danni, Buffy and Fanny.\nLIMO: Abbie, Ellie and Cindy.\nCLUB (with you): nobody.\n\n> You get in\nYou drive off. Traffic appears out of nowhere. After a tense minute of driving through neon jungles that will once again vanish when you step outside, you arrive at the hotel.\n\nYou blink, then double check--yup, everyone's back at the hotel!\n\nThey actually give you a decent tip, but as you leave, you hear them saying \"Oh my god. Who did he think he was? Referring to us by name? I mean, we told him our names to introduce ourselves but he totally abused it.\" As they walk away you hear them discuss whether being brainy enough to solve a puzzle like this made you that dorky looking, or whether being dorky looking forced you to be brainy. You almost get interested, yourself.\n\nYou hear a click-foom from the southsouthwest, with trailing falling-firework sounds. You suspect your handy foldout has changed again.\n\n> Ssw\nYou're in some sort of weird outdoor classroom. It's got a huge chalkboard to the north. There are paths in all the other standard cardinal directions, but it seems a lot just won't let you. You don't entirely understand the logic of this place, yet.\n\nThat boggle box is here. Where will you need to make it take you next?\n\n> You look at the foldout\nIt's a plus which you can switch into a minus. In fact, you can fold it into two other forms--a minus or a division sign. Just type DIVISION, MINUS OR PLUS.\n\n> Examine box\nIt's about three feet wide by a foot tall, with four small cubical nooks labeled a/b/c/d. The words \"Box of Tangents\" are engraved over the four nooks, which currently show _1+sqrt(2).\n\nOn the left side there's a compass currently pointing northnortheast, and a small line of text below says NUMBERS AND OPERATORS PROPERLY POSITIONED.\n\n> Division\nYou fold the foldout into the division sign.\n\n> Examine box\nIt's about three feet wide by a foot tall, with four small cubical nooks labeled a/b/c/d. The words \"Box of Tangents\" are engraved over the four nooks, which currently show __/_.\n\nOn the left side there's a compass currently flipping wildly around, and a small line of text below says PLEASE ADD NUMBER AFTER OPERATOR.\n\n> You put 1 in the b.\nThe Plain Old One fits in with a magnetic snap.\n\n> You go north\nYou won't be able to follow the ghost that way. Well, not for another forty plus years. You hope.\n\n> You go south\nWell, it's not really behind you, but more like behind where you were.\n\nYou have solved 6 of 6 quirky puzzles. Congratulations! You made it! The weirdness fades and you step out into an alley to continue your jog. The usual pseudo-Narnian time constraints and all mean you weren't really gone, even if some of the puzzles took a while.\n\nYou're out of the whole mess, and you find yourself thinking of the problems and variations on them. At first you didn't want to think THAT guy--dumb enough to bash his head theatrically--could know something you'd have fun learning. Maybe if you could it, you could get a little further ahead in the world...or (and you don't know WHERE this thought came from) maybe it might be fun to learn on its own.\n\n* * YOU TURNED AROUND * *\n\nWould you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command?\n\n> HELP"
    },
    {
        "text": "[Themes: Fantasy]\n\n(For more information, type \"about\")\n\nYou stand in a perfectly circular room. There is one continuous ivory-coloured wall surrounding you, devoid of corners, with no beginning and no end.\n\nOn the wall directly in front of you is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.\n\nThere is a lovely wooden bench in the center of the room.\n\nOn the bench is a piece of paper."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at the paper\nThe paper, like the walls of the gallery, is ivory in colour.\n\nAt a glance, you see the title, \"John William Waterhouse: Fantasy and Realism,\" centered across the top of the page in an elegant hand. An essay of some sort is written beneath it.\n\n> You look at the painting\nIn the painting stands an elegant woman. In her hands she holds a delicate crystal ball. Her head is lowered, as if she is concentrating on the sphere in her hands, but her eyes remain closed.\n\nCentered beneath the painting is a plaque.\n\n> You read the plaque\nIt reads:\n\nThe Crystal Ball:\nOil on Canvas, 1902\nJ. W. Waterhouse\n\n> About yourself\nYou feel wonderful, considering your current predicament. For someone who can't find their way back to the \"real\" world, you seem to be doing just fine.\n\n> You take the painting\nThe painting is fixed quite firmly to the wall.\n\n> You move it\nIt is fixed in place.\n\n> You examine the essay\n\"John William Waterhouse: Fantasy and Realism\"\n\nJohn William Waterhouse, born on April 6, 1849 to British parents in Rome, is considered to be one of the foremost artists of his era. Though truly a Classical artist, he is often regarded as Pre-Raphaelite due to his obvious affection for literature, myth, romanticism, and nature. Waterhouse's works are known for their use of colour, light, and intense attention to detail.\n\nWaterhouse moved to England early in life and studied first in his father's studio, then later at the Royal Academy Schools. He became an Associate of the Royal Academy in 1885, and a Full Academician in 1895. His initial paintings depicted true life subjects, but he soon began to focus his work in more poetic realms, borrowing from the writings of Homer, Shakespeare, and Tennyson, among others.\n\nWaterhouse continued painting up until the time of his death in 1917.\n\n> You touch the painting\nYou reach out and place your hand against the canvas. Beneath your fingertips, you can feel the topography of the paint... its contours, the changes in texture, and the varying directions which accompany each brushstroke.\n\nWhen you try to take your hand away from the painting, you realise that you are powerless to do so. You begin to feel something, a sensation indescribable but not at all unpleasant. You feel a warmth slowly spreading through your fingers, into your body. Soon it envelopes you completely, drawing you closer...\n...and you feel yourself stepping into the painting.\n\nInside the painting entitled \"The Crystal Ball\"\nGlancing about, you notice that everything here is as it appeared in the painting. To the north is the elegant woman standing between the table and chair, and beyond her the window, but your new point of view from inside the painting allows you to see the rest of the room as well. A second window is set in the eastern wall, and a matching chair can be seen opposite the table from its mate. A large trunk sits in the northwest corner of the room, and a looking-glass can be seen to the southeast. Behind you, to the south, is a door.\n\nSlowly, the woman opens her eyes and lifts her gaze to meet your own. A knowing smile plays across her lips. \"I've been watching you,\" she says softly. \"You think yourself off course, lost from the world you know and understand.\" She pauses, looks into the crystal, and begins to speak again. \"I see a path for you, Wanderer. Its course is not yet determined, but its ending is clear. You will find that which you seek.\" She lifts her eyes again, her fingers still playing delicately across the surface of the orb. \"I am Sophronia, daughter of Aisling, and I knew you would find me.\"\n\nShe looks at you expectantly.\n\n> You examine the orb\nThe sphere is transparent. In it you can just make out the inverted image of the open window beside the young woman.\n\n> You look at the window\nWindows are set in the north and east walls, near the northeast corner of the room. Both look out upon a grove of trees.\n\n> You examine trunk\nIt is a large trunk, upholstered in leather and surrounded by a sturdy iron frame. Twin clasps sit left and right of a central lock set along the front face of the lid. The dome shaped lid is currently closed.\n\n> You open the trunk\nIt seems to be locked.\n\n> You ask the woman about herself\nShe lifts her head slightly, and draws a noticeably long breath before responding. \"Who am I? Who I am is not important, only that I may be of some assistance to you. Worry yourself not with me, and cast your energies elsewhere.\"\n\n> You ask the woman about the trunk\nShe looks at the trunk, and contemplates it for a moment before speaking. \"Honestly, you needn't worry yourself with that trunk. It's a lovely old chest, filled with memories. But they're my memories, and would serve you little.\"\n\n> Examine book\nOn the table lies a thick leather-bound book. Its metal clasps undone, it lies open to a page somewhere near the middle of the volume. On the open pages you can see handwritten script and a number of diagrams and drawings.\n\nThere appears to be some sort of wand lying across the pages of the book.\n\n> You examine the wand\nThe wand is lying across the pages of the open book. It is long and slightly tapered at one end.\n\nSophronia notices your interest in the wand. \"That's not important, Wanderer. You've haven't the skills to use it, and mastering such a thing would consume more time than you can spare.\"\n\n> You ask the Sophronia about here\nHer eyes contain the answer, but she seems unwilling to reveal everything to you. \"If it is important, Wanderer, you will discover the answer without me.\"\n\n> You examine the lamp\nThe oil lamp consists of a stand, a metal reservoir, and a clear glass chimney. It is not lit.\n\n> You look at the window\nWindows are set in the north and east walls, near the northeast corner of the room. Both look out upon a grove of trees.\n\n> You examine the grove\nThe forest outside the window is lush and green. The branches of trees sway gently in the breeze.\n\n> About yourself\nYou feel wonderful, considering your current predicament. For someone who can't find their way back to the \"real\" world, you seem to be doing just fine.\n\n> You read the book\nAs you move to get a better look at the open pages, Sophronia steps forward, placing a hand on the nearest page to obscure your view. \"This is the one personal effect I have by which to remember my father. It is a sacred thing, between him and me, and I feel not inclined to share it with you. I am sorry.\"\n\n> You ask her about the father\n(Sophronia about that)\nUpon hearing your question, Sophronia glances into the folds of the curtain. In her eyes you momentarily sense a sadness that wasn't there before. \"Aisling was my father, my teacher, my world. It has been nearly five years since I laid him in the ground.\" She closes her eyes for a moment to regain her composure.\n\n> Light lamp\nThis dangerous act would achieve little.\n\n> You get the lamp\n\"I'm sorry, Wanderer, but that belongs to me,\" says the elegant woman.\n\n> You ask her about yourself\n(Sophronia about that)\nHer smile widens. \"You know well who you are, Wanderer. What you yearn to know is how to return home. That I cannot explain to you directly, other than to say that you must choose your path and follow it through to its end. It will lead you home.\"\n\n> Go north\nThere is no exit in that direction. There is a door to the south, however.\n\n> You examine the door\nThe door to the south is made from wood, and painted white. Currently, it is closed.\n\n> You open the door\nYou open the door.\n\n> You go to the south\nYou stand in a perfectly circular room. To the south, through an arched doorway and down a short flight of stairs, there appears to be a hallway.\n\nOn the north wall is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.\n\nThere is a lovely wooden bench in the center of the room.\n\nOn the bench is a piece of paper.\n\n> You take the paper\nTaken.\n\n> You examine bench\nThe bench is minimalist in design and appears to be made of oak. It is finished in a dark stain, and polished to such a degree that you can make out your reflection in its surface.\n\nThere is nothing on the bench.\n\n> You examine the reflection\nYour reflection stares back at you, matching your every expression.\n\n> You go south\nYou walk down the stairs and into the hallway.\n\nYou are at one end of a spacious hallway, which extends from north to south. To the north, a small flight of stairs ascends to another room. Further down the hall, to the south, you see five additional paintings. Beyond the paintings, at the end of the hallway, is an ornately carved wooden door.\n\nOn the west wall is a painting of a mermaid, set in a gold and grey frame. Centered beneath the painting is a small brass plaque.\n\n> You examine the mermaid\nShe is sitting on a rocky beach with her tail casually wrapped about her. Her rose coloured lips are parted slightly, and her gaze is fixed on something distant, either upon some object not included in the painting, or perhaps upon nothing at all. Behind her, the curl of a small wave lapping gently on the shore suggests that she is relaxing in a protected cove of some sort. In the distance, water flows beneath a series of natural rock arches, inviting her back into the sea.\n\nOn the beach before her lies a large iridescent shell, filled with pearls.\n\n> You examine the plaque\nThe plaque consists of a small, thin piece of finely polished brass with beveled edges. It reads:\n\nA Mermaid:\nOil on canvas, c. 1901\nJ. W. Waterhouse\n\n> You examine the shell\nThe shell is thick and dull on the exterior, while its exposed interior shimmers in the sunlight. It is very large, and would probably require both hands to lift or carry. It is filled with pearls; some lie loose in the bottom of the shell, others drape over its side in strings.\n\n> You touch painting\nYou extend your hand and place your fingertips against the canvas. As expected, you feel a warmth that soon envelops you...\nCongratulations!\n\nYou have completed the introduction to the Waterhouse Women.\n\nWhat will happen in the painting entitled \"A Mermaid?\" What are all the other paintings like? What lies beyond the ornately carved door at the end of the hall?\n\nDiscover all this and more when the game is complete!\n\nWhen will it be completed? An excellent question. If you vote for this game in the IntroComp, you'll encourage the author to finish the game within the year so that she can claim a glorious prize! Come to think of it, now would be an excellent time to cast your vote... (hint, hint)\n\nHonestly, though. Thank you for playing.\n\n> You go north\nAbout \"The Waterhouse Women\"\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nA little information about \"The Waterhouse Women\":\n\n> Why isn't this game complete?\nAcknowledgments\nThis is a very short version of the game, intended to be an introduction rather than a finished product. I do intend to finish this game, hopefully by the close of 2002.\n\n\"The Waterhouse Women\" was created for IntroComp 2002, a deceptively simple competition where introductory games are judged on one criteria only: \"How much do you want to play more of this entry?\"\n\nFurther information can be found at the following web site:\n[LINK]\n\nAbout \"The Waterhouse Women\"\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nA little information about \"The Waterhouse Women\":\n\n> Why isn't this game complete?\nAcknowledgments\n\n> You go north\nAbout \"The Waterhouse Women\"\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nA little information about \"The Waterhouse Women\":\n\nWhy isn't this game complete?\n> Acknowledgments\nAbout \"The Waterhouse Women\"\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nA little information about \"The Waterhouse Women\":\n\nWhy isn't this game complete?\n> Acknowledgments\nWithout being too long-winded, as is my usual style, I would like to thank the following people:\n\nFirst and foremost, my excellent team of beta testers, in alphabetical order:\n\n- J. D. Berry\nFor being my Muse and making me work.\n\nFor his words of encouragement and quick turn-around time.\n\n- Dennis G. Jerz\nFor reminding me to keep things simple, among other things.\n\nFor catching problems others did not, and his brilliant ideas on magical envelopes.\n\nFor being one of the fastest, most dedicated, and most reliable testers ever.\n\nIrene Callaci, for helping me to bring Sophronia to life.\n\nAll of the souls that offered assitance and guidance through rec.arts.int-fiction and ifMUD.\n\nAnthony Hobson, for his wonderful book about J. W. Waterhouse.\n\nGraham Nelson, for Inform and the Inform Designer's Manual.\n\nAbout \"The Waterhouse Women\"\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nA little information about \"The Waterhouse Women\":\n\nWhy isn't this game complete?\n> Acknowledgments\n\n> You go north\nYou stand in a perfectly circular room. To the south, through an arched doorway and down a short flight of stairs, there appears to be a hallway.\n\nOn the north wall is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.\n\nThere is a lovely wooden bench in the center of the room.\n\n> You touch the painting\nYou extend your hand and place your fingertips against the canvas. As expected, you feel a warmth that soon envelops you...\n...and you feel yourself stepping into the painting.\n\nInside the painting entitled \"The Crystal Ball\"\nGlancing about, you notice that everything here is as it appeared in the painting. To the north stands Sophronia, between the table and chair, and beyond her the window. Your new point of view from inside the painting allows you to see the rest of the room as well: a second window is set in the eastern wall, and a matching chair can be seen opposite the table from its mate. A large trunk sits in the northwest corner of the room, and a large looking-glass can be seen to the southeast. Behind you, to the south, is a door.\n\nShe cocks her head slightly, waiting for you to speak.\n\n> You look at the skull\nThe cranium sits on the table, next to a large book and an oil lamp. Its presence unnerves you slightly.\n\n> You ask the skull about here\nYou can only do that to something animate.\n\n> You examine the mirror\nThe mirror is circular and fixed within a simple wooden frame, which is painted white. Support posts run from mirror frame's outer edge to a common base resting on the floor.\n\n> You look in the mirror\nReflected in the mirror are many of the room's objects: the chairs, the table, Sophronia, and the northern window.\n\n> You touch the mirror\nUnfortunately, touching the glass has little effect. You feel only the expected coolness of the glass beneath your fingertips.\n\n> You breathe on the mirror\nYou blow on the mirror. A small fog appears on the glass, but fades quickly from view.\n\n> You ask Sophronia about Mermaid\n\"She is beautiful, as all mermaids are to mortals like you and I. But she may not be as gentle as her appearance would suggest. Guard your heart and wits in dealings with her.\"\n\n> You look at the skull\nThe cranium sits on the table, next to a large book and an oil lamp. Its presence unnerves you slightly.\n\n> You ask Sophronia about the skull\nShe glances at the skull a moment, her lips parting slightly. She looks back at you, a smile on her face. \"You've no need to worry, Wanderer, such a fate is still quite distant for you.\"\n\n> You ask Sophronia about the mirror\nSophronia turns and looks at herself in the mirror, lowering the crystal ball slightly as she does so. \"It's curious,\" she says, \"that I can have a looking-glass like that in this tiny room and yet I rarely pay it any attention.\"\n\n> You examine Ball\nThe sphere is transparent. In it you can just make out the inverted image of the open window beside the young woman.\n\n> You look in Ball\nLooking into the crystal ball, you can see the inverted image of the open window beside the young woman. She notices your interest and says, \"Look not within the orb for the answers, Wanderer. Look within yourself.\"\n\n> You think\nYou take a moment to consider your next move.\n\n> You ask Sophronia about name\nHer smile deepens, and she gently shakes her head. \"That's not something for us to discuss. If it becomes important, the answer will be revealed to you.\"\n\n> You ask Sophronia about Waterhouse\n\"I know very little about him, unfortunately,\" admits Sophronia. \"My father wrote in his journal that Waterhouse was a great man, but that is all. I wish I knew more about who he was.\"\n\n> You ask Sophronia about paintings\n\"The painting? It was merely a portal. You will venture through other doors before reaching your true destination.\"\n\n> You ask Sophronia about the magic\n\"That's not something for us to discuss,\" she replies. \"Perhaps you have something else about which you would like to learn?\"\n\n> You ask Sophronia about home\n\"Can you not remember from where you came?\" she inquires. The expression on your face must speak the answer, for she smiles yet again and replies, \"No matter. You will remember, in time.\"\n\n> You show the paper to Sophronia\nSophronia glances at the paper a moment, and squints her eyes momentarily. To your surprise, she looks at you and says, \"I haven't any idea what that's all about.\"\n\n> You ask Sophronia about Waterhouse\n\"My father mentioned Waterhouse in his journal, and said that he was a great man, \" explains Sophronia. \"Unfortunately, that's all my father wrote. Until you showed me your parchment, I knew little or nothing about the man.\"\n\n> You ask Sophronia for the lamp\nSophronia has better things to do.\n\n> You ask Sophronia about the wisdom\n\"That's not something for us to discuss,\" she replies. \"Perhaps you have something else about which you would like to learn?\"\n\n> You ask Sophronia about the museum\nHer smile deepens, and she gently shakes her head. \"That's not something for us to discuss. If it becomes important, the answer will be revealed to you.\""
    },
    {
        "text": "[Themes: Comedy Horror]\n\nDear Blogreaders,\nlast time I told you how I and my husband Paul went by yacht to the island of St. Lincoln (quite near Voodoo Island), to deliver the corpse of his late uncle Wally. Well, as you might imagine, it all ended with the yacht being eaten by a demon-possessed kraken. So there I was, confused, and sinking into the lightless depths, not in the least expecting that this might be...\nThe Day I saved Elvis\n\nYou are in a shapeless void. Oh no. This is one of those games.\n\nBefore you lingers the unfathomable, nine-armed monstrosity of the giant kraken!\n\n[Author's Note: Sees our heroes on the mysterious Voodoo Island.]"
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the kraken\nPretty much what's in his intial appearance.\n\n> You look at what you're carrying with you\nYou are carrying nothing.\n\nWell, nice, not one item survived from the first game. Looks like you have only your sharp wit to guide you.\n\nThe kraken attacks you and you discover that, not only is he tall as a small house (you know, the one you downgraded to after the recession), but also has far more arms than you. Think of all the bonuses he'd get in D&D. Yes. Ouch.\n\n> Punch kraken\nAs you confront the kraken bare-handed, you discover that, not only is he tall as a small house , but also has far more arms than you, and is also in his home element. Think of all the bonuses he'd get in D&D. Yes. Ouch.\n\n> Go up\nThere are a lot of blocked exits, but the island to the southeast looks promising. There's a crumpled figure on the bach. Paul!\n\n> Go southeast\nYou stumble upon the beach, warm water lapping at your soaked khakis. The figure is indeed Paul. You kneel beside him and gently turn him over. He looks a little worse for wear, but still very much alive. You put a hand on his heart and feel it flutter. Better do some mouth-to-mouth resuscitation, just to be sure. As you come back up, having checked if his tongue is okay in the process, some shadows fall upon you.\nYou look up and see yourself surrounded by a group of well-armed sharkmen. Mensharks? You are aware of neither the scientific possibility of there being a tribe of undiscovered sharkmen, nor the politically correct term for them.\nAs you  sit there, gaping at them, quite aware you are staring,\nanother person comes from their lines. It's a creature in a robe with tentacles for a face, but her commanding voice is clearly female:\n\"Get the cute one. Kill the other.\"\nHaving no illusions about your looks, you get ready to take a few of them with you. So you stand up and read your wit. A group of them, lead by the tentacle-faced lady, leave with an unconscious Paul carried between them.\nThere is a moment of silence, with only the lapping of the  waves as sound. You never knew there could be uncomfortable silence with a bunch of people about to kill you, but there you have it. Finally you realize they're looking behind you, and as you turn, one swipe from the kraken hurls you screaming into the air.\n\nDown -island, up- clouds, no, down - clouds, up - island - oh no wait..."
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> Look around\nYou are hurling screaming through the air!\n\nYou land in a treetop with a thud. Luckily your fall was broken by the thick canopy of leaves.\n\nYou are in the top of some tropical tree.\n\nA liana is hanging from the tree.\n\nA lemon grows from a branch here.\n\n> You look at the lemon\nIt's a lemon. A fruit. You know a few of those.\n\nYou hear noises from the northwest. Must be some guards around the front of the base. \"So, Jim, did you ever regret becoming a sharkman in Dr. Frenesi\u00e9's army?\"\n\"Well, it somewhat limits your social circles, but c'mon, I'm a real sharkman! A furries wet dream.\"\n\"You're a furry, man? I had no idea!\"\n\"What was that sound?\"\n\n> You take the lemon\nTaken.\n\n\"It came from the beach.\"\n\"Should we check it out?\"\n\"Looks like it's coming our wa- Oh my God!\"\n\"CONTAIN THE KRAKEN!\"\nThere's gunfire.\n\n> You pull the liana\nIt is fixed in place.\n\nThere's a horrible screeching of metal as the front gate realizes it isn't kraken-proof. Looks like the beast has managed to get into the base. Should be a good distraction."
    },
    {
        "text": "> Go downwards\nBesides you looms the wall of some sort of Secret Base, seemingly build in the shape of a volcano. A worn path leads northward towards some sort of main gate, but you can't really see due to undergrowth.\n\nAn air vent grating is in the wall. It's fastened somewhat loosely. Lousy handiworks. Must be hard to get good craftsmen on Voodoo Island.\n\n> You check your inventory\nYou are carrying:\na lemon\n\nWell, nice, not one item survived from the first game. Looks like you have only your sharp wit to guide you.\n\n> Go north\nYou don't feel like attacking the main gate, unarmed, with no idea of the security. You tried that in the Philippines once. You still have some scars.\n\n> Turn grating\nIt is fixed in place.\n\n> You check your inventory\nYou are carrying:\na your sharp wit\na lemon\n\n> You examine the wit\nThis is your sharp wit, which has kept you alive all these years and also makes you quite good at charade.\n\n> You cut the grating\nCutting that up would achieve little.\n\n> You ascend\nYou are in the top of some tropical tree.\n\nA liana is hanging from the tree.\n\n> You cut self\nCutting you up would achieve little.\n\n> Swing on liana\nYou swing down from the tree and gracefully kick in the grating which breaks apart with  a satisfying *smash*.\n\nBesides you looms the wall of some sort of Secret Base, seemingly build in the shape of a volcano. A worn path leads northward towards some sort of main gate, but you can't really see due to undergrowth.You can enter the air vent to the northwest.\n\nYou can see a galvanized nail here.\n\n> You get the nail\nTaken.\n\n> You examine it\nIt's a galvanized nail with a zinc covering. Must be from the broken grating, which, oddly, isn't implemented.\n\n> You put nail in the lemon\nYou stick the nail into the lemon.\n\n> Go northwest\nIt's terribly hot and dusty in here. Looks like you can crawl towards the northeast, where there's a junction. You can't detect any security measures so far.\n\n\"So\", this is Paul voice, relayed to you through some tricks of acoustic and dramaturgy, from somewhere deep within this hellish place, \"is it hard being a female supervillian?\"\n\n> No\nThat was a rhetorical question.\n\n\"Well, y'know, I have no problem with all the torturing of the innocent, holding whole countries hostage and the logistics of an indoor piranha pool are grim, but managable - but my mother was very hard on me when I told her she wouldn't have grandchildren.\"\n\n> Go northeast\nYou can crawl to the west, or further to the northeast, where there's another junction. The way back out is sw.\n\n\"Because of your demanding job?\"\n\"No, when I crossed my DNA with squid DNA to show everyone at the institute, I became infertile.\"\n\"Oh.\"\n\n> Go west\nYou look down through a grating, easily openable from this side, into a cell.\n\n\"Well\", Alex starts up again, ever so helpful, \"How about adoption?\" \"You know, you got me there, in a certain way, I think I never really wanted children. I find this life of death and destruction, and unethical science quite fullfilling.\""
    },
    {
        "text": "> Go downwards\nMetal bars leading through an unremarkable hallway, a cot, a toilet, nice classic IF design like that.\n\nWhy, there's the skeleton of the famous adventurer Conathan Cask here!\n\n\"Sure, why not. So, er, speaking of unethical science, what exactly are your plans with me? Do you want to turn me into a shark man?\"\n\"No, far better.\"\n\n> You search skeleton\nYou found a scrap of paper on the skeleton, and a copper coin.\n\n\"Bet...Better?\"\n\"Yeah, but it would spoil the surprise!\"\nA pause.\n\"Aren't you the least bit mad I killed you husband?\"\n\"Paul? You haven't killed Paul. You think an army of shark men can stop him? He fought dictators, aliens and Dagon cultists to save me.\"\n\"So, he is some kind of badass?\"\n\"He once killer someone, -spoiler alert - jvgu n phcpnxr.\"\nDr. Frenesie whistles softly.\nYou smile grimly. Yeah, that was a cool move.\n\n> You examine coin\nAs you touch the coin, you remember two things, 1) Seeing  No country for old men  in the cinema with Paul (he didn't like it) 2) some school experiment. Something about electricity.\n\n\"So, Alex, how did you guys end up here, anyway?\"\n\"Well, you see, Paul killed my Uncle Wally.\"\n\"He did WHAT?\"\n\"Yeah, he has this adorbale sociopathic streak.\"\n\"Oh-okay...\"\n\n> You put the coin in the lemon\nYou stick the coin into the lemon.\n\n\"Then, a year later, when his body was discovered, we wanted to get him buried at St. Lincoln.\"\n\"That's only a few miles from here. Lovely place. They have some good bars. You should go there, if you escape my deadly clutches one day.\" \"We were planning to, actually.\"\n\"Be sure to try their cocktails. They mix a mean Singapore Sling.\" \"Thanks. I'd write that down, but you have me tied to this chair.\"\n\n> You examine the lemon\nIt's a lemon. A fruit. You know a few of those.You've stuck a galvanized nail and a copper coin into it.\n\n\"So\" Alex starts up again. \"You realize that Paul will kill you without batting an eye - and if he does that, it's only to aim whatever weapon he happened to find?\"\n\"Sure, that's a risk you have to deal with, daily, as a supervillian. I'm quite aware of that.\"\n\n> You read the paper\nHm, it has a strange email address on it. Something about ice cream.\n\n\"Aren't you the least bit scared?\"\n\"Aren't you?\"\n\n> Go upwards\nYou look down through a grating, easily openable from this side, into a cell.\n\n> Go east\nYou can crawl to the west, or further to the northeast, where there's another junction. The way back out is sw.\n\n> You go east\nYeah, that.\n\n> Down\nNot unsurprinsgly, it's pretty cold here. All the walls are covered with complicated equipment, screens, keyboards, readouts.\n\nThe heart of this room is a cryo pod, standing on 4 blocks of cement to allow the air to circulate beneath it. 3 huge power cables lead from it into into the wall.\n\n> Examine pod\nIn the cryo pod is Elvis.\n\n> You open the pod\nThere are some magnetic locks, and you don't feel like opening it anyway. This probably needs some complicated procedure you're unaware of.\n\n> You look at Elvis\nHoly Moses! All those conspiracy theorists where right - Elvis IS alive! But in cryo sleep. So all those sightings were still hoaxes.\nAnd personally, you'd rather have found Jim Morrison.\n\n> Sing\nYour singing is abominable.\n\n> You get the cables\nThat's hardly portable."
    },
    {
        "text": "> Describe the surroundings\nNot unsurprinsgly, it's pretty cold here. All the walls are covered with complicated equipment, screens, keyboards, readouts.\n\nThe heart of this room is a cryo pod, standing on 4 blocks of cement to allow the air to circulate beneath it. 3 huge power cables lead from it into into the wall.\n\n> You examine equipment\nMan, this is a really confusing mass of screen, readouts, blinking lights, servers and all that. Hm, if you read this correctly, the base is powered by Elvis' sheer awesomeness.\nHuh! You note a small button reading \"UNFREEZE\""
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> Look around\nNot unsurprinsgly, it's pretty cold here. All the walls are covered with complicated equipment, screens, keyboards, readouts.\n\nThe heart of this room is a cryo pod, standing on 4 blocks of cement to allow the air to circulate beneath it. 3 huge power cables lead from it into into the wall.\n\nYou can also see an electric screwdriver here.\n\n> You look at the screwdriver\nIt's an electric screwdriver, powerless, of course.\n\n> Examine pod\nIn the cryo pod is Elvis.\n\n> You screw Elvis\nThat would be less than courteous."
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> You look lemon\nIt's a lemon. A fruit. You know a few of those.You've stuck a galvanized nail and a copper coin into it.\n\n> You open the pod\nThere are some magnetic locks, and you don't feel like opening it anyway. This probably needs some complicated procedure you're unaware of."
    },
    {
        "text": "> Describe the surroundings\nNot unsurprinsgly, it's pretty cold here. All the walls are covered with complicated equipment, screens, keyboards, readouts.\n\nThe heart of this room is a cryo pod, standing on 4 blocks of cement to allow the air to circulate beneath it. 3 huge power cables lead from it into into the wall.\n\n> You examine the readouts\nMan, this is a really confusing mass of screen, readouts, blinking lights, servers and all that. Hm, if you read this correctly, the base is powered by Elvis' sheer awesomeness.\nHuh! You note a small button reading \"UNFREEZE\"\n\n> Go northeast\nBeneath the Hangar (wait, how would you know that now? Ah, nevermind) The crawlway ends here at a ventilator, whose fresh air is really refreshing after that long crawl. Above you is some floor plating.\n\n> You examine the plating\nSome metal floor plating, throuh which you can hear muffled sounds, like a hangar or so.It's secured with a padlock.\n\n> You examine the padlock\nIt's a old-fashioned metal pad-lock. Oddly enough, it's held together by a single screw.\n\n> You unscrew the plating with the screwdriver\nThe screwdriver has no power.\n\nYou better save what little power the screwdriver has.\n\n> You attach the lemon to the screwdriver\nYou can't attach that to that!\nOkay, that was the easy way out:\nYou can't attach the lemon to the electric screwdriver.\n\n> You unscrew the screw with the screwdriver\nYou unscrew the singular screw, and the whole padlock falls apart into a myriad pieces, convieniently not mentioned in the room description.The floor plating swings down and bonks you on the head.\n\n***You have died***\n\nJust kidding, though it did hurt a lot."
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> Describe the surroundings\nBeneath the Hangar (wait, how would you know that now? Ah, nevermind) The crawlway ends here at a ventilator, whose fresh air is really refreshing after that long crawl. Above you is some floor plating.\n\n> Go up\nThis is a huge hangar, painted a lively grey, stacked to the ceiling with boxes. Far to the west someone left his laptop on a box. But you are somewhat distracted from the lovely room description because -\n\nThe kraken is here! And it is in a huge firefight with the sharkmen guards.\n\n> You look at kraken\nPretty much what's in his intial appearance.\n\n> You cut kraken\nCutting him up would achieve little.\n\n> You go west\nImagine this as sneak scene from an FPS - sticking to the shadows, one eye on the lightmeter, one savepoint at the end of this annoying sequence, and every step into the light means instadeath. And you jerk around and fight the controls, and die over and over again. And now imagine a smooth cutscene, showing this, you, like a only slightly lighter shadow among all the others, unseen, unheard, a whisper in the wind. The truth is somewhere in the middle. You arrive at the laptop.\n\nYou sit before an unremarkable box.\n\nA laptop sits on it!\n\n> You look at the laptop\nOn the laptop screen you see Facebook, open on an impressive Farmville farm - and above that the user has Outlook open. In the top right corner you see the battery level - 1 %. Oh great.\n\nThe laptop is currently switched on.\n\n> You switch off the laptop\nYou switch the laptop off.\n\n> You look at laptop\nOn the laptop screen you see Facebook, open on an impressive Farmville farm - and above that the user has Outlook open. In the top right corner you see the battery level - 1 %. Oh great.\n\nThe laptop is currently switched off.\n\n> You attach the lemon to the laptop\nYou can't attach that to that!\nOkay, that was the easy way out:\nYou can't attach the lemon to the laptop.\n\nYou blew your chance for a deus ex machina. Sooner or later the kraken devours you quite gruesomely. But mother nature is cruel like that.\n\n> You take the laptop\nTaken.\n\nYou blew your chance for a deus ex machina. Sooner or later the kraken devours you quite gruesomely. But mother nature is cruel like that.\n\n> You examine facebook\nYou can't see any such thing.\n\nYou can't see any such thing."
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> You look at your surroundings\nYou sit before an unremarkable box.\n\nA laptop sits on it!\n\n> Close laptop\nThat's not something you can close.\n\nYou blew your chance for a deus ex machina. Sooner or later the kraken devours you quite gruesomely. But mother nature is cruel like that.\n\n> Type\nWhat do you want to type on?\n\n> You go east\nThis is a huge hangar, painted a lively grey, stacked to the ceiling with boxes. Far to the west someone left his laptop on a box. But you are somewhat distracted from the lovely room description because -\n\nThe kraken is here! And it is in a huge firefight with the sharkmen guards.\n\nYou blew your chance for a deus ex machina. Sooner or later the kraken devours you quite gruesomely. But mother nature is cruel like that.\n\n> You check what you're carrying\nYou are carrying:\nan electric screwdriver\na scrap of paper\na your sharp wit\na lemon\n\n> You examine paper\nHm, it has a strange email address on it. Something about ice cream.\n\n> You read paper\nHm, it has a strange email address on it. Something about ice cream.\n\nYou blew your chance for a deus ex machina. Sooner or later the kraken devours you quite gruesomely. But mother nature is cruel like that.\n\n> You write the email\nYou write an email to the strange address you found on Conathan Casks corpse, basically saying: \"HELP!\"\nAt that moment, the laptop powers down. You can't be sure if it was sent or not. Than you notice the eerie quiet. And you look up -\nAnd above you towers the huge, monstrous form of the kraken, its red eyes burning with demon possession. So that's how it'll end. You try to steady yourself, mentally preparing to fast forward through the boring bits when your life flashes before your eyes.\n\nThen a golden crack opens in reality, right next to the kraken. A figure steps through it, more of a stroll really, but he's hard to see due to the intense white light behind him. You cover your eyes, but the kraken turns its massive form around to face this new foe. But it is no foe- the figure has one hand in its pocket. You glimpse a football jersey behind the golden illumination - holy crap, it's Robb Sherwin! He pulls the kraken on one tentacles, and the creature bows down to him. \"Hey buddy! I know a place for creatures like you. Come with me and visit my friend Vest, he'll help you.\" The kraken nods it's head and follows Robb into the golden crack, but not before punching a hole into the wall, followed by a meaningful look towards you.\n\"Robb!\" you shout, \"how can I ever thank you?\" He turns around, and his wise eyes judge you for a moment, \"No problem, buddy. No fucking problem.\" He gives you a fingergun and is gone. You straighten up. You feel like a better person already."
    },
    {
        "text": "[Themes: Comedy Horror]\n\n> You look at your surroundings\nYou sit before an unremarkable box.\n\n> You go east\nThis is a huge hangar, painted a lively grey, stacked to the ceiling with boxes. Far to the west someone left his laptop on a box. But you are somewhat distracted from the lovely room description because there's a huge hole in the eastern wall.\n\n> Go east\nFrenesi\u00e9s Lair\nThis is a tastefully decoreated lair. Bookshelves on the walls, lush red carpet, impressive murals on the walls, depicting the development of Dr. Frenesi\u00e9s genetic experiments. Behind the desk, the room opens up towards a rocket silo. Paul is visible through an open bulkhead. He's tied to a zero-g chair.\n\nDr. Frenesie seems to be stunned from the recent, redecoration and waves a futuristic gun in your general direction.\n\n\"No, Alex!\" screams Paul, \"it's a trap...\"\nBut you have already noted that Dr. Frenesie isn't as stunned as she seems, and with a quick flick of the wrist, you throw your sharp wit and hit her somewhere in the tentacled mass of her face. She sprays ink everyhwere and slumps onto the desk. You grin at Paul. \"See, darling, absolutely no...\"\n\"...door.\" The ground gives way, and you fall, screaming.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You check your inventory\nYou are carrying:\nan electric screwdriver\na scrap of paper\na lemon\n\nLooks like it's a maze. It's really a bloody maze.\n\n> Up\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\nHe can't be serious! He is. A maze. You feel your blood boilling.\n\n> Wait\nTime passes.\n\nThey went out of fashion in the 90s at the latest. And even parodying them grew old very, very quickly.\n\n> Up\nYou can't go that way.\n\nThere were a few games who tried to do something clever with the idea lately - they all sucked.\n\n> Go inside\nYou can't go that way.\n\nARE THESE ROOM NUMBERS RANDOM?\n\n> You go to the north\nYou can't go that way.\n\nYou're pretty sure they're random. Great, so there is some super secret trick here."
    },
    {
        "text": "> You look at your surroundings\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\nMaybe you missed something earlier. Oh joy! Maybe you need to replay some bits.\n\n> You go to the east\nYou can't go that way.\n\nYou especially hated the hidden panther. God, that puzzle was annoying.\n\n> You go west\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\nYou really, really feel like breaking the fourth wall and punching the author in the face.\n\n> You go to the southwest\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You break the fourth wall\nThe fourth wall crumples!\n\nYou stand in a living room. The walls are painted orange to about head-height. It's rather crowded here -  A large wooden cupboard, a sofa and a rack are on one wall, a desk and a tv and an armchair are on the other. A red curtain leads eastwards to the rest of the apartment.\n\nYou can see Author here.\n\n> You examine author\nHe's a tall and thin guy in an oversized pullover and jeans. He badly needs a haircut.\n\n> Punch author\nThe author jumps up and screams: \"Was zur H\u00f6lle machst du denn hier?\" As with most strange men discovering you in their living rooms, you knock him out cold!\n\n> Search author\nbetter leave him alone."
    },
    {
        "text": "> Look around\nYou stand in a living room. The walls are painted orange to about head-height. It's rather crowded here -  A large wooden cupboard, a sofa and a rack are on one wall, a desk and a tv and an armchair are on the other. A red curtain leads eastwards to the rest of the apartment.\n\nThe author lies here, knocked out cold.\n\nThe laws of metafictionality take hold, and the fourth wall reassembles.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You break the fourth wall\nThe fourth wall crumples!\n\nYou stand in a living room. The walls are painted orange to about head-height. It's rather crowded here -  A large wooden cupboard, a sofa and a rack are on one wall, a desk and a tv and an armchair are on the other. A red curtain leads eastwards to the rest of the apartment.\n\nThe author lies here, knocked out cold.\n\n> You go east\nThe laws of metafictionality take hold, and the fourth wall reassembles.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You examine the cupboard\nThis old cupboard houses an impressive number of DVDs.\n\n> You examine rack\nThis is a cheap ikea rack, a mismatch with the rest of room.\n\n> Examine tv\nIt is a large, heavy, TV, looking used like everything here. It's one of the first 5:1 systems.\n\n> You look at the armchair\nSome cat had some hours of fun with the leather of this chair. It's look incredible comfy.\n\nThe laws of metafictionality take hold, and the fourth wall reassembles.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You look at the desk\nThis desk houses a printer, a monitor and a PC, and a large number of small items. It looks rather cluttered.\n\n> Search desk\nYou find nothing of interest.\n\nThe laws of metafictionality take hold, and the fourth wall reassembles.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> Examine pc\nWow...this is your whole life. The source code to your life. Holy fuck!\n\nThe laws of metafictionality take hold, and the fourth wall reassembles.\n\nYou are in a maze of twisty passages, all alike. Yes, seriously.\n\n> You type on the pc\n\"Carry out hacking the pc:\nnow Alex is in Frenesi\u00e9s Lair;\nnow Alex is carrying the futuristic gun.\n\n> You shoot Paul with gun\nYou can only do that to something animate.\n\n> You examine frenesie\nShe has a tentacle head and wears long-flowing robes. She is holding a futustic gun in her hand.\n\nSuddenly, Frenesie pulls your wit from her face, which doesn't seem to be as damaged as you hoped, and throws it back at you. Impaled by your own wit, the last thing you hear is Paul screaming your name.\n\n> You shoot frenesie\nYou level the gun at Dr. Frenesie. \"Hands up, Doc!\"\n\"You can't kill me!\"\n\"Okay, let's hear it.\"\n\"First off, I'm a single mom! Secondly, the moment I'm killed, I will press a hidden remote and this rocket will launch, sending your husband off to my secret base on Mercury, where he will be transformed into a genetic mixture of human and Mercury Man, called a ... Mercury Man. Dammit! PR hasn't gotten back to me about that name.\"\n\"ALEX! She is bluffing!\" You blast Frenesi\u00e9 with the energy ray, and she topples over her desk.\nThere is a hissing of starting rocket engines.\nPaul screams : \"You idiot! I meant about being a single mom!\" You have to watch helplessly (hence a non-interactive cutscene) as the door closes on Paul and soon, the rocket is launched into space. The gun clutters from your lifeless hand. He's gone. Gone to Mercury. And no chance to get him back.\n\nWith tear filled eyes, you turn towards the desk, where Dr. Frenesi\u00e9 is rising again, a smoking hole in her belly. She has a smaller, but still futuristic gun in her hand.\n\"You thought you could kill me? ME? Do you have any idea who I am?\" There is a voice behind you, one that millions recognize instantly: \"(You're) The Devil in disguise.\" The energy gun flashes again, and you are pretty sure Frenesie can't repair that damage to her face.\nElvis puts a heavy hand on your shoulder, and together you stare up at the skylight.\n\"I need to get him back, man\" you whisper hoarsely.\n\"A little less conversation, a little more action.\""
    },
    {
        "text": "[Themes: Fantasy, Fairy tale]\n\nOnce upon a time...\n\nThis is a kitchen specifically designed for seven dwarfs (or dwarves, as the pedants would put it). Hence, the ceiling is somewhat low, and everything is kind of old and rusty. Even the table looks rusty, despite being made of wood. The hallway is to the north and the living room to the south.\n\nOn the table are a potato peeler (empty) and some diamonds.\n\n[Author's Note: You are Snow White. There's a potato peeler, some diamonds, and an utterly evil witch with a bright red apple. What do you want to do?]\n\n> About yourself\nYou're Snow White, in case you were wondering. And no, you don't bite people or try to drink their blood, whatever Miss Short may claim.\n\n> You look at the peeler\nIt's a funner operated by a crank. You put a potato inside, turn the crank, and the potato comes out at the other end, magically peeled.\n\n> You examine the diamonds\nThe dwarves (or dwarfs) spend their days hard at work mining this stuff, but then they just leave it hanging around the place and never sell it. Go figure.\n\n> You take diamonds\nTaken.\n\n> You turn the Crank\nCrank: turned. Good job.\n\n> You put the diamonds in the peeler\nYou put the diamonds into the potato peeler."
    },
    {
        "text": "[Themes: Fairy tale, Fantasy]\n\n> You look in the peeler\nThe potato peeler is empty.\n\n> You examine the diamonds\nThese diamonds look slightly scratched now. That potato peeler, no doubt."
    },
    {
        "text": "[Themes: Fairy tale, Fantasy]\n\n> You look at your surroundings\nThis is a kitchen specifically designed for seven dwarfs (or dwarves, as the pedants would put it). Hence, the ceiling is somewhat low, and everything is kind of old and rusty. Even the table looks rusty, despite being made of wood. The hallway is to the north and the living room to the south.\n\nOn the table is a potato peeler (empty).\n\n> You examine table\nOn the table is a potato peeler (empty).\n\n> You take the peeler\nThat's far too heavy a contraption to carry around. You'd rather not drop it on your foot, lest the pain be inconvenient.\n\n> Go south\nYou can still hear the sound of drunken dwarves (or dwarven drunks) snoring solemnly from within the confines of the living room. Best not to bother them now.\n\n> Go north\nThere is no door to the north, because in Airy Fairy Dairy Tralalala Forest the sun always shines -- even at midnight, which is somewhat inconvenient, but never mind. The kitchen lies to the south.\n\nAn utterly evil witch is waiting for you, patiently holding out a bright red apple. Her arm looks stiff from all that waiting, as far as you can judge from the irritated and bored expression on her ugly face.\n\nThe witch tries to grab the diamonds, but your reflexes are too fast for her.\n\n> You examine the witch\nShe looks somewhat malevolent, albeit a tad bored. In her hand is an apple.\n\nThe witch appears to have a fixation upon those diamonds of yours.\n\n> You look at apple\nYou see nothing special about the apple.\n\nThe witch is now staring at the diamonds that you carry around so boldly upon your person.\n\n> You ask the witch about the apple\nYou can only do that to something animate.\n\n> Attack witch\nViolence. Tut, tut, tut.\n\nThe witch tries to grab the diamonds, but your reflexes are too fast for her.\n\n> You go to the south\nThis is a kitchen specifically designed for seven dwarfs (or dwarves, as the pedants would put it). Hence, the ceiling is somewhat low, and everything is kind of old and rusty. Even the table looks rusty, despite being made of wood. The hallway is to the north and the living room to the south.\n\nOn the table is a potato peeler (empty).\n\nThe utterly evil witch arrives from the north.\n\n> You take the apple\nYou reach out tentatively. \"At last!\" the witch cackles with relief. \"Any longer and I would have been late for my breakfast!\" She gives you the apple and vanishes in a puff of black smoke. The birds stop singing for a moment, allowing some invisible musician to play on his strident organ with notes of doom.\n\n> You put the diamonds in the peeler\nYou put the diamonds into the potato peeler.\n\nThe witch tries to grab the diamonds, and you swiftly push her into the potato peeler. Despite all her efforts, she remains stuck inside it. \"Damn you, Snow White!\" she curses.\n\nThe witch wiggles and shakes her fist angrily, but remains resolutely stuck inside the potato peeler.\n\n> You turn the Crank\nThere is a gruesome sound as you promptly perform both magicide and regicide in one turn of the crank. The witch being no more, you become the rightful Queen of Lalaland, and reign for many years.\nCrank: turned. Good job.\n\n> Go north\nThere is no door to the north, because in Airy Fairy Dairy Tralalala Forest the sun always shines -- even at midnight, which is somewhat inconvenient, but never mind. The kitchen lies to the south.\n\nAn utterly evil witch is waiting for you, patiently holding out a bright red apple. Her arm looks stiff from all that waiting, as far as you can judge from the irritated and bored expression on her ugly face.\n\n> You eat the apple\nYou bite into it. Alas, it is poisoned. You drop down and fall into a coma, from which you are awakened by an ugly prince with boils on his nose. You take the nearest axe and bean him over the head: serves him right for sexual harassment.\n\n> You go to the south\nThis is a kitchen specifically designed for seven dwarfs (or dwarves, as the pedants would put it). Hence, the ceiling is somewhat low, and everything is kind of old and rusty. Even the table looks rusty, despite being made of wood. The hallway is to the north and the living room to the south.\n\nOn the table are a potato peeler (empty) and some diamonds.\n\n> You put the apple in the peeler\nYou put the apple into the potato peeler.\n\n> You turn the Crank\nCrank: turned. Good job.\n\n> You examine apple\nIt's been peeled. Yay.\n\n> You eat the apple\nYou bite into it. Tasty, and without the slightest trace of poison in it.\n\n> Xyzzy\nYou utter the magic word. The fabric of reality transmutates into cosmic doughnuts, celestial waffles and baffled Canadians. You hear a mystic voice mutter, \"150. That is the answer. Not 42, you brainless numbskulls.\"\n\nAnd then all returns to normal once more. Whew.\n\n> Yes\ncheapglulxe quit with exit status: 0\n\n> You take the table\nThat's hardly portable.\n\n> Go north\nThere is no door to the north, because in Airy Fairy Dairy Tralalala Forest the sun always shines -- even at midnight, which is somewhat inconvenient, but never mind. The kitchen lies to the south.\n\nAn utterly evil witch is waiting for you, patiently holding out a bright red apple. Her arm looks stiff from all that waiting, as far as you can judge from the irritated and bored expression on her ugly face.\n\n> You go north\nYou walk off into the woods, alone, and meet a werewolf, a woodcutter and a wailing woman walking on water. The rest of the story is somewhat complicated, and also alliterative.\n\n> You hit witch\nViolence. Tut, tut, tut.\n\n> You go south\nThis is a kitchen specifically designed for seven dwarfs (or dwarves, as the pedants would put it). Hence, the ceiling is somewhat low, and everything is kind of old and rusty. Even the table looks rusty, despite being made of wood. The hallway is to the north and the living room to the south.\n\nOn the table are a potato peeler (empty) and some diamonds.\n\nThe utterly evil witch arrives from the north.\n\n> You look at the ceiling\nIt's above your head.\n\n> You hit the ceiling\nA single blow is enough to send it crashing down on top of you. Some time later, you emerge from the debris, your lovely dress all ruined. You figure this is a great way to fake your death, so you promptly leave the forest and become a pirate on the high seas. The evil Queen is none the wiser.\n\n> You eat the diamonds\nWhat you'd simply kill for is an apple. A nice, red, juicy apple.\n\n> You check your inventory\nYou are carrying:\nsome diamonds\n\n> You examine table\nOn the table are an apple and a potato peeler (empty).\n\n> GET APPLE\n\nTaken.\n\n> You check what you're carrying\nYou are carrying:\nan apple\nsome diamonds\n\n> You examine apple\nIt's been peeled. Yay.\n\n> You take the Crank\nThat seems to be a part of the potato peeler.\n\n> PUT SELF IN PEELER\n\n(first taking yourself)\nYou are always self-possessed.\n\n> You enter the PEELER\nThat's not something you can enter.\n\n> THROW SELF IN PEELER\n\n(first taking yourself)\nYou are always self-possessed.\n\n> You examine the potato\nIt's a funner operated by a crank. You put a potato inside, turn the crank, and the potato comes out at the other end, magically peeled."
    },
    {
        "text": "[Themes: Fantasy]\n\nOutside the sky is mercilessly bright, and the hot air full of all the varied sounds of an army ready to march; but inside this small shrine are coolness,darkness and solitude. And peace, which is a rare and precious thing to find in these years since the Usurper placed himself upon Tsoly\u00e1nu's Petal Throne, igniting a civil war.\n\nBefore you stands a statue of your god, presiding over an alter on which other legionaries have placed offerings. There are ten gods in Tsoly\u00e1nu: five who champion the cause of unchanging Stability, and five who wish to bring about endless Change. All are permitted their temples and honored on their holy days, but you and your family, like most Tsoly\u00e1ni, have a particular patron deity. Who's face do you look into?\n\nA: Lord Hn\u00e1lla, the Illumination of All the World and supreme principal of Stability\nB: Lord Karak\u00e1n, Lord of Glorious War and high general of Stability\nC: Lady Av\u00e1nthe, Mistress of Heaven and the goddess of women and nature D: Lord Hr\u00fa'\u00fc, the Dispenser of Calamities and supreme principal of Change\nE: Lord Vimh\u00fala, the Power of Destruction and Red Ruin, Lord of Flame F: Lady Dlam\u00e9lish, the Green Eyed Lady of Fleshly Joys and Mistress of Demons\n\n[Author's Note: In the Empire of the Petal Throne\u0099, will you find glory, or a knife in your back? A fantasy universe like no other, where South American, Middle Eastern, and Indian cultures collide. The princes and princesses of the Tsoly\u00e1ni empire vie for their father's mystical Petal Throne, tearing the nation apart with civil war and political intrigues. As a captain in one of their armies, will you play as male or female, gay straight or bi? A brave and forthright soldier, a hedonistic intriguer with a heart of gold, or scheming double agent?]\n\n> B.\n\"Who sent you?\"\n\nThe assassin's face remains blank as she is grabbed, a picture of perfect stillness. It is clear she intends to die with dignity, and silence.\n\nA: So it's true then? Well I know who her employer is anyway. I give her a merciful end.\nB: It's a shame intentions don't always equal success.\n\n> B.\nYou begin to torture the woman, but though she cries out to her god, Lord Ks\u00e1rul, for deliverance, she does not speak.\n\nIn the end she manages to end her life with a quick slap to her neck, resembling the swatting of a mosquito, which leaves behind a poisoned dart. The soldier who had let her arm free in his blanching distraction is stabbed as well, with snake-like swiftness. He collapses to the stones, foaming at the mouth.\n\nShe passes from this life having not betrayed her clan or her employer.\n\n>Next\nSo, why would someone send an assassin after you anyway?\n\nA: I killed a rival for the sake of my beloved.\nB: The weak envy the strong.? I don't have time to enumerate every grievance brought against me by lesser men.\nC: I prevented an injustice\nD: I killed a man in anger, and deeply regret it."
    },
    {
        "text": "> Go downward\nThough great men can have their eccentricities tolerated, being too chummy with one's soldiers is often seen as a weakness in a _k\u00e1si_, and serves as a block to future promotion. It is safer to blend in with the crowd, and let appropriate behavior be your guide.\n\n>Next\nTo take your mind off the tedium of riding in a palanquin across the breadbasket of the Empire, you  begin replay the recent attempt upon your life in your mind.\n\nFrom there, it is a small step to thinking about the events around the time of your naming day celebration, and the unfortunate incident that resulted in the assassination attempt. . .\n\nYour childhood in the great clan-house of Golden Sunburst was pleasant. Your household possessed plenty of slaves to do menial toil and an abundance of wealth. Your numerous clan mothers and fathers (your parents' siblings and their spouses) lavished affection upon you. During the day you were taught reading, writing, maths, psychics and history at the temple school of Hn\u00e1lla; and in the evenings you slept in barracks-like dormitories with your \"clan cousins\"(other children of the clan, most of them unrelated to you by any close blood tie).\n\nMany of the older adolescents, on the verge of adulthood, snuck between the boys and girls dormitories to warm each other's beds, and in the past year you had begun to join in this pastime. The night before your _khatunj\u00e1lim_, or naming ceremony, found you sneaking into your \"cousin\" Wave's bed. Where were you coming from and where were you heading to?\n\nA: I slept in the boys' dormitory and was visiting Wave in the girls' dormitory\nB: Both Wave and I slept in the boys' dormitory.\nC: I slept in the girls' dormitory and was visiting Wave in the boys' dormitory\nD: Both Wave and I slept in the girls' dormitory."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nIt was quite convenient not needing to leave the warmth of the dormitory and walk through the damp hall on the chilly spring night. You simply dragged your sleeping mat over next to Wave, who was still awake, waiting for you. \"Tiuni, I was worried you were mad at me and were not coming tonight,\" she whispered. You thought how strange it would be that after tomorrow no one would ever call you Tiuni again. There was pride in the idea that you would finally have an adult's name and an adult's responsibilities.\n\nEarlier that day you had found Wave gambling with some of the other girls in one of the courtyards. You knew that her mother would not have approved of gambling, and worst of all, she had placed the small ceramic amulet of _Ss\u00e1ni_ \"The Lover,\" patroness of love between women, that you had given her in the pot! After the dice had been thrown and she had won, Wave had claimed she had only bet it because she had known it would bring her luck; but as Wave slipped the amulet back around her neck, and gathered up her winnings, you had stormed off with tears in your eyes. Though Wave was beautiful and clever, she could also be spoiled, sure that her winning personality could get her out of any situation.\n\nNow she was looking up at you with a vulnerable worry, different from the brash assurance of earlier in the day.\n\nA: \"I could not stay angry with you.\"\nB: \"You hurt my feelings, _ts\u00e1mmeri_, when you do not value my gifts.\" C: \"If you ever do something like that again, we're through!\"\n\n> B.\nWave looked crushed. \"Mother gave me that money to purchase a new hair comb, and I couldn't lose it, and I knew the Goddess would not let me be parted from your amulet, that it would ensure my winning. . .\" The two of you talked for a _kir\u00e9n_ or more, starting with remonstrances, but ending in joint apologies followed by pledges of love, and eventually more physical affirmations of your mutual affection; until, physically and emotionally exhausted, you passed into sleep.\n\nThe next thing you knew, cold water was startling you out of sleep. Sputtering you looked up to see your elder brother, Gay\u00e1n, smiling down at you.\n\n\"Sleep well, little sister? Or did you not sleep at all?\" Here he leered at Wave, and waggled his eyebrows. Gay\u00e1n fancied himself a comedian. \"Well, I have come to break you two apart. Mother Hal\u00e9 is in a state of distraction over the fit of your formal dress, and has told me that if I do not bring you back immediately she will feed me to a dragon. Oh!\" here he looked again at Wave, \"and your parents wish your company as well.\"\n\nWithout waiting for a response, Gay\u00e1n grabbed you up by the arm and dragged you from the barracks.\n\n>Next\nYou were barely through the door before Mama Hal\u00e9 was fastening a jeweled _chl\u00e9n_-hide collar over your shoulders, and arranging a kilt around your waste. As she eyed and adjusted its drape she barraged you with unsolicited advice about the upcoming ceremony.\n\n\"Ti\u00fani, you must keep your posture during the parade, and during the feast. The headdress will be heavy, but you must look regal. And afterwards do not drink too heavily or overindulge in the powders. There will be ten of you getting your names today, and half of Jak\u00e1lla has turned out to see, and you must be the most shining youth present. . .\" on and on she chattered.\n\nMama Hal\u00e9 was your birth-mother's sister and had raised you since you were an infant. Your other mother, Dz\u00e1i, had declared herself _arid\u00e1ni_ at her own naming ceremony, and so taken on rights and responsibilities normally reserved for men. She had joined a legion and marched to war while her sister elected to remain a \"good clan girl\" and accept the more traditional role for women. Hal\u00e9 was not considered legally a person in her own right, could not own property, and could not be sued or challenged to a duel; but she was still a formidable personality, actively involved in the work and social life of Clan Golden Sunburst.\n\nAnd now all of her will was bent on getting you through the day without a misstep that might provide fodder for gossips and lower your family's prestige within the clan-house. How did you feel about the celebration?\n\nA: I was excited to be an adult, but just wanted to survive the day without disgracing myself.\nB: I am always up for a good party and meant to enjoy myself.\nC: This was my chance to impress my clan elders and the rest of the city's notables.\n\n> B.\nAs the priest accepted the orchid, your elder read out: \"The ancient and exalted clan of Sea Blue is proud to welcome its newest member, Lin\u00e1tla hiMar\u00f3dla. _Otul\u00e9ngba!_\" At his joyous shout, the crowd\nreplied in a chorus: \"_Otul\u00e9ngba!_, All Hail!\" Having been cued before the ceremony by Dz\u00e1i, the clan-elder now waited for you to claim your _arid\u00e1ni_ status. Since you were little your birth-mother had made it clear that she expected you to be the equal of all men before the law and follow her into the army. How did you feel about this?\n\nA: I would have preferred to remain a simple woman of my clan, and live a life surrounded by my aunts and sisters.\nB: I was eager to assume the role of _arid\u00e1ni_ and soldier, and to make my mark upon the world.\nC: I was glad to become _arid\u00e1ni_ and escape the stifling life of the good clan girl, but was not so sure about the soldier part.\n\n> B.\nThe Clan of the Striding Incantation had a stage set up in one of the larger rooms, and had gathered a crowd. On this stage, in front of backdrops of painted cloth, moved magically animated puppets, each the size of your forearm. Directed by the spells of the puppeteers -- the secrets of which are protected by law and assassination -- the wooden figures were acting out the tale of Pend\u00e1rte of Kh\u00e9iris who had traveled throughout the many planes of reality to rescue the soul of Princess Ss\u00edneleth from the horrific demon R\u00fc'\u00fctl\u00e1nesh.\n\nThe puppet playing Pend\u00e1rte moved from Plane to Plane (each with its own backdrop, showing fantastical landscapes) and in each one faced a new foe crafted of paper or bone or gems. Sometimes they would battle, while in other scenes Pend\u00e1rte would humorously trick the demon. In the climactic battle, the small hero was pitted against a monstrous and ill-formed puppet made of reeds and paper. Pend\u00e1rte's wooden sword clattered against R\u00fc'\u00fctl\u00e1nesh's many limbs, occasionally breaking a reed with a loud snap that would cause the audience to gasp. R\u00fc'\u00fctl\u00e1nesh appeared to use magic to cause wounds to spontaneously open upon Pend\u00e1rte and pour forth blood (or rather, red ink).\n\nThe battle was waged back and forth across the stage, until finally Pend\u00e1rte leaped upon the great demon's back, and stabbed down with his sword into the fragile paper. Then, from this husk rose the Princes Ss\u00edneleth. The crowd all snapped approval. The evening was yet young; where did you go next?\n\nA: I looked for Wave, I mean S\u00e1yi\nB: I went to see the dancers\nC: I went to go listen to the poetry reading\n\n> B.\nIn a tiled courtyard, young men and women adorned in transparent green (very little of it) danced to the music of drums and a stringed _tentur\u00e9n_. The silver bells upon their anklets created their own tune as they swayed and stamped in unison. There are many stories in Jak\u00e1lla of men who have risked their wealth, social standing, and even lives for the favor of a skilled dancing girl, and those hired by clan Golden Sunburst are very skilled indeed.\n\nThe dancers continued their display, at times languorous, at others frantic. The dancers continued their display, at times languorous, at others frantic. Watching them sway rhythmically to and fro, you fell into a gentle sleep. It had been a long day. Someone must have collected you when the party ended, for you have a vague memory of being groggily undressed, and then more unconsciousness.\n\n>Next Chapter\n. . . What happens the next morning and in the years to come is a story not yet written.\n\nI hope you enjoyed playing my game. If you did, keep an eye out on www.choiceofgames.com for the full story when I have written it.\n\nI want to thank M.A.R. Barker for giving me permission to spin a tale in his fabulously detailed world of Tekumel, more information about which can be found at www.tekumel.com.\n\nI also want to thank Dan and Adam for letting me write in choicescript and teaching me how to do so.\n\n>Play again\n\n> F.\nThe hiVriy\u00e9n lineage of the White Stone clan revels in the patronage of Lady Dlam\u00e9lish. The Green Eyed Lady is a mystical goddess of pleasure who encourages her followers to live in the moment and seek out new experiences. As a soldier you do her honor whenever you feel the rush of battle or gaze triumphantly upon a new vista. The statue of a beautiful and sensuous woman before you is her thirty-fourth aspect: Mrik\u00e1ya, \"She Who Takes Pleasure in Battle\". On the altar you pleasingly arrange three large green blossoms and several silver coins. And what brings you to Dlam\u00e9lish's Temple?\n\nA: I hope to lead my men well in the coming siege.\nB: I want to find glory and promotion\nC: I wish to return safely to my home and family when this is over\n\n> B.\nThe military is one of the few methods of social advancement within the Tsoly\u00e1ni Imperium; and a soldier who is good at his trade, respectful of his superiors, and liberal with bribes can rise far, especially with a little luck. Hopefully this offering has brought you that luck.\n\nAs you finish praying the silence of the temple is disturbed by the faint scuffing of sandals upon stone. You turn in time to see a woman, wearing the badge of an assassin's clan, raise a blowgun to her lips. As you duck, a poisoned dart whistles by your ear to thunk into the altar. You are alone in the small shrine and unarmored, though your _chl\u00e9n_ hide sword leans against the altar. (Metal is too rare on Tekumel to be of common use, and so soldiers fight with weapons cut from a tough hide which has been chemically treated to resemble soft bronze.)\n\nA: I grab my _chl\u00e9n_ hide sword and lunge for the woman in expert form. B: I cast the spell 'Hands of Kra the Mighty', and crush her, as one does a fly.\nC: I focus my psychic energies and time slows around me. Picking up my chl\u00e9n hide sword I advance.\nD: I whistle for two of my soldiers who are stationed outside.\n\n> B.\nThough you are not as talented as the mages of your legion's sorcerer corps, you studied the casting of spells in Temple School, attaining a low priestly rank. You strike the ritual poses needed to bring forth a spell and the assassin's eyes widen in fear.\n\n>Next\nA great force cracks the stone flagging as she leaps aside and throws a small bronze  dagger which lodges in your thigh. It is suicide to cast spells while touching metal, and she charges you like a wild zrn\u00e9 beast, pressing the attack before you can remove the knife.\n\nA: Though an accomplished spell caster and leader of men, I am no match for an assassin in close combat, so I fight defensively and whistle for two of my soldiers who are stationed outside.\nB: I am as deadly with a sword as I am with my spells, and leap to meet her attack with a ferocious counter attack.\n\n> B.\nThe look of victory in the assassin's eyes turn to surprise as you grab your chl\u00e9n hide sword and leap forward. After a few exchanges, you boldly duck down and remove the bronze dagger. Fearing your spells the assassin backs away.\n\nA: She is too tired now to dodge my spell which crushes her with terrifying force. Her death is a fair price for an attempt upon my life, but I make it quick.\nB: With careful finesse I use my spell to pin her gently to the stone floor. I'm curious to know whether it's true that Assassins cannot be tortured into betraying their clients.\nC: I once more strike the poses needed to cast spells and summon forth a ball of flame. \"Do you yield?\"\n\n> B.\nMost officers would jump at the chance to ride in comfort and socialize with their superiors, but not you. Why?\n\nA: I want my legionaries to know I lead from the front and share their tribulations.\nB: This way I will stand out in the eyes of my superiors.\nC: I want to use the opportunity to see how things stand with my legionaries with my own two eyes.\nD: I enjoy marching.\n\n> B.\nIt was quite convenient not needing to leave the warmth of the dormitory and walk through the damp hall on the chilly spring night. You simply dragged your sleeping mat over next to Wave, who was still awake, waiting for you. \"Tiuni, I was worried you were mad at me and were not coming tonight,\" he whispered. You thought how strange it would be that after tomorrow no one would ever call you Tiuni again. There was pride in the idea that you would finally have an adult's name and an adult's responsibilities.\n\nEarlier that day you had found Wave gambling with some of the other boys in one of the courtyards. You knew that his mother would not have approved of gambling, and worst of all, he had placed the small ceramic amulet of _Dlet\u00e1ra_ \"The Goddess of Reflective Pleasures,\" patroness of love between members of the same sex, that you had given him in the pot! After the dice had been thrown and he had won, Wave had claimed he had only bet it because he had known it would bring him luck; but as Wave slipped the amulet back around his neck, and gathered up his winnings, you had stormed off with tears in your eyes. Though Wave was beautiful and clever, he could also be spoiled, sure that his winning personality could get him out of any situation.\n\nNow he was looking up at you with a vulnerable worry, different from the brash assurance of earlier in the day.\n\nA: \"I could not stay angry with you.\"\nB: \"You hurt my feelings, _ts\u00e1mmeri_, when you do not value my gifts.\" C: \"If you ever do something like that again, we're through!\"\n\n> You keep going\nReally? What is your name then?\n\n>Type Something\n\n> Snuggles\nAn excellent and noble name! And what offering did you present?\n\nA: A large pile of coins of pure silver\nB: A green glass vial filled with sweet perfume\nC: An emerald colored snake\n\n> B.\nYour tale of a young man who tried to rescue his beloved from the Garden of the Weeping Snows--only to end frozen as a statue a hair's breadth from her touch for all eternity--reinforced the mood of sentimental despair. A certain despondency hung in the room as you left. The evening was yet young; where did you go next?\n\nA: I went to watch the puppet show\nB: I went to see the dancers"
    },
    {
        "text": "[Themes: Fantasy]\n\nMoney will come when you are doing the right thing.\n\nBabe, I'm really sorry, but I'm going to have to cancel dinner. Yeah, I've got to stop the boss from being executed.\n\nBeginner's Lessons from \"The Big Book of Financial Crimes\"\n\nNo! My shiniest of shiny objects! Don't fly aw--- Come back! I love you!\n\nWell, now that my girlfriend's mad at me, where were we? Ah, right.\n\nIt's kind of boring here. I hear the king hasn't put anybody in the dungeon in over a year. Must make you feel special. It's drafty, being up in the tower, and the stones in the wall have chips and various--- do you really care? They're old. The door looks pretty sturdy. There's some light coming into the room from a window about, uh, twice your height up. Can we leave?\n\nI can see a tapestry, a bed, a mirror and an annoying git in a dress here.\n\n> About yourself\nYou're a mediocre wizard. No, no, boss, don't look sad! Wait for me to finish! You're a great inventor! See, there was a compliment coming. You always have the best ideas. Remember Primo Eyeballs-in-a-Can? That was my personal favorite, for obvious reasons. But your ideas don't always, er, work right. That's why you took the wizarding job: 'cause it gets you money to work on your inventions until we hit it big. Which we will, as soon as we replace all that missing money and keep you from getting killed and, um, okay, this is probably not cheering you up as much as I'd hoped.\n\nRight now your body is in the corner, unconscious. You're wearing your completely awesome purple robe, but your hat got lost in the arrest fiasco. The stupid fat guy searched you and took all your stuff, but maybe there's something he missed. I don't know.\n\n> You check your inventory\nI'm carrying around:\nthe mind of a mediocre wizard\n\n> You look at the mirror\nIt's an oval mirror with a steel frame bolted to the wall. The frame has little diamond-shaped cutouts in it. The mirror itself is about as big as I am. It's got a big dent in it, but it still works as a reflective surface.\n\n> You look in the mirror\nHey, it's me! I'm W.D., your familiar, and I'm awesome. Check out these feathers!\n\n> You examine wizard\n(the annoying git in a dress)\nYou're a mediocre wizard. No, no, boss, don't look sad! Wait for me to finish! You're a great inventor! See, there was a compliment coming. You always have the best ideas. Remember Primo Eyeballs-in-a-Can? That was my personal favorite, for obvious reasons. But your ideas don't always, er, work right. That's why you took the wizarding job: 'cause it gets you money to work on your inventions until we hit it big. Which we will, as soon as we replace all that missing money and keep you from getting killed and, um, okay, this is probably not cheering you up as much as I'd hoped.\n\nRight now your body is in the corner, unconscious. You're wearing your completely awesome purple robe, but your hat got lost in the arrest fiasco. The stupid fat guy searched you and took all your stuff, but maybe there's something he missed. I don't know.\n\n> You examine the dress\nI love your robe. It's so stylish. It's purple and dark purple and darker purple and all swirly patterned and stuff, and it's covered in sequins and sparkles and shiny and glittery and glowy! It's mesmerizing. You look great, even unconscious. There are big floppy pockets sewn inside. You usually keep all kinds of stuff in there.\n\n> You look in the pockets\nHey, hey, there's a magic wand in one of the pockets! Man, the fat guy didn't even think it was worth taking? That's just sad.\n\n> You look at the wand\nThis is the Aetheric Coin Generator Mark III! It turns air into faery coins. The Mark I only lasted through seven thousand uses or so, and Mark II backfired and turned coins into air.\n\n> You examine the tapestry\nIt's a garish sight. I'm usually all over things with more than thirty colors, but none of these even go together. I don't think humans are supposed to be that shade of orange. I think the blue blobby thing is meant to be a unicorn, but that's a wild guess.\n\nThe tapestry was probably made by the late queen. I've heard stories about her prolific and, er, unique talent. I'm sure the old guy couldn't bear to throw it out, and nobody else could bear to look at it. There's a wobbly inscription woven into the corner.\n\n> You examine inscription\n\"To my beloved on our twenty-fifth wedding anniversary. May our love always be as eternal as the flowing fountain.\"\n\nThat's a fountain? I guess this was made by the queen. Aw, that's so sad. I mean, she had no taste, but they say the old guy really loved her and went mad with grief after she died. I guess that was good for us, with you getting the job here and him never caring what you did.\n\n> You get the tapestry\nThat's fixed in place.\n\n> You look at the bed\nIt's a wooden bed frame that would be big enough for one human with a mattress or pillows, but there aren't any around. It doesn't look particularly comfortable, and the wood's splintering.\n\n> You look under the bed\nNothing but a bit of dust.\n\n> You examine the door\nIt's a big wooden door, wide enough for two humans to walk through it at once. Based on all the noise when they threw us in here, it's locked from the outside.\n\n> You open the door\nHmm, the latch won't move. I think it's locked, and I don't think I'd be strong enough to push it open even if it weren't. Wings aren't really good for that kind of task.\n\n> You examine the window\nThe \"window\" is just a space in the stones. It's smaller than a human but bigger than a raven, if you catch my drift.\n\n> You wake wizard\n(the annoying git in a dress)\nYour body is out cold from that whack the guards gave you, apparently unconscious beyond what I can fix with ravenous violence. You're lucky you ate one of your Mind Melding Mints when you did. I am not so lucky.\n\nI will also point out that I have not eaten your delicious eyeballs, despite having a perfect opportunity to do so. You're welcome.\n\n> You look at Mind\nIt's...well...it's hard to describe what it's like to have someone else in your head.\n\n> You put Mind in the wizard\n(the annoying git in a dress)\nIf only it was that easy.\n\n> Peck wizard\n(the annoying git in a dress)\n..You know what? You, I will do random violence to. Consider yourself pecked. You're still unconscious, though.\n\n> You fly through the window\nWhooooosh! I'm flying out the window to sweet, delicious freedom! And to sweet, delicious rotting meat, with any luck.\n\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's on lockdown while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors.\n\n> You go west\nI've stopped in front of a cottage, which is the only interesting thing for miles. Fields of corn barely taller than I am surround us and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\n> You examine the hedgehog\nHedgehogs are, sadly, inedible, so there's not much to say about them. This one is frolicking, which is very undignified. In fact, I think it's singing.\n\n> You listen to the hedgehog\nIt appears to be singing about how nice it is to be pointy. I think I'm losing intelligence just listening to it.\n\nThe hedgehog starts to sing:\n\nDoop de dooooooo,\nIt's a round life for meeeeee!\nWe're roly and poly\nAnd hedgyhogoly,\nA life in the hedge is for meeeeee!\n\n> Peck hedgehog\nI wish I could, but he's just too pointy.\n\n> Hello\n\"Hey, hedgehog, I---\"\n\n\"Hi! Got any food? Got any food? Iiiiiiiiii'm pointy!\"\n\nI think I'm done here.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n> You ask the hedgehog about the food\n\"Hey, hedgehog, I---\"\n\n\"Hi! Got any food? Got any food? Iiiiiiiiii'm pointy!\"\n\nI think I'm done here.\n\n> You feed the hedgehog\n(to the hedgehog)\nI haven't got the hedgehog.\n\n> You look at the corn\nThe corn won't be ripe for months. I wish we still had some of that Numinous Plant Enhancer left. Man, that was a great invention. It turned plants into rotting meat! I don't understand why nobody wanted to buy it.\n\nThe hedgehog starts to sing:\n\nSinging is the best,\nThe best, the best!\nWhat's the best?\nThat's riiiiiiiiight, it's siiiiiiiinging!\n\n> You look at the barn\nIt's a bit far off to see very well.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You examine the cottage\nA fairly nondescript house of the sort I understand humans like to live in. Its door is ajar.\n\n> Go inside\nYou'll have to be more specific, boss.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You enter the cottage\nThese little country houses are hit or miss. Sometimes they have good food to steal. Sometimes their owners want to cook and eat you. This particular one is a one-room cottage with a thatched roof. The chimney's the nicest thing here. Unfortunately for us, there's nothing cooking on the fireplace. No fire either, so waiting around here isn't going to get us any food. Nobody's here, though the door to the north is ajar.\n\nA ramshackle table stands against the wall.\n\nThere are some farming tools in the corner of the cottage.\n\n> You look at the chimney\nIt's a red brick chimney. I'm not a great judge--- I don't know why anyone would ruin meat by setting it on fire--- but it looks nicer than the rest of the house. The bricks look like they're exactly the same size, and they're laid out in straight rows. Most of them, anyway; one is sticking out a bit. It looks like the mortar surrounding it has been cut away.\n\n> You examine the brick\nThere's one brick in the fireplace that's sticking out. It looks like the mortar around it's been cut away.\n\n> You pull the brick\nOkay. It's a rough surface. I can probably get my claws in and drag it out. Rrrgh! Well, I didn't manage to pry it all the way out, but I did shift it a little. There's a parchment concealed under the brick.\n\n> You get the parchment\nTaken.\n\n> You read it\nThis is...well...man, this is a lot of text. I didn't know humans could write letters that tiny. Give me a minute.\n\n...Okay, I'm pretty sure it's some kind of insurance policy. Bearer gets...um, hmm. I think it's an insurance policy on a barn west of here, but don't quote me on that.\n\n> You look under the table\nGood idea! Maybe there are some shiny coins or something!\n\nNo, sadly.\n\n> You examine the tools\nThey're some tools that you humans probably use to farm, uh, farm stuff. Some of them have pointy bits, if that helps.\n\n> You check your inventory\nI'm carrying around:\nsome farming tools\na parchment\nthe mind of a desperate wizard\n\n> Go north\nI've stopped in front of a cottage, which is the only interesting thing for miles. Fields of corn barely taller than I am surround us and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You show the tools to the hedgehog\nI'm not getting any response. Pssh. I wish I had one of your Extremely Loud Icebreaker Crackers. Those always got a response, even if it was usually a violent one.\n\n> You give the tools to the hedgehog\nHey, this is hard-earned stuff. I'm not just giving it away here.\n\n> Go west\nYep, big red barn. It's got a new paint job, too. It looks like it's in good condition, actually. I don't see any cobwebs in the corners or birds' nests, so either it's been freshly-built or they really cleaned the place out recently. Even the hay in the stalls is untrampled.\n\nI can see a pile of hay here.\n\n> You examine the hay\nThe hay is dry and clean, which is pretty atypical for hay in a barn. I wonder if they haven't moved the animals in yet.\n\n> Go east\nI've stopped in front of a cottage, which is the only interesting thing for miles. Fields of corn barely taller than I am surround us and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\n> Go east\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's on lockdown while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors.\n\n> Go north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring; the financial district is farther north.\n\n> Go north\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\n> You go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place.\n\nWe're here to ask Mel for a Midas potion specifically, which might save your bacon.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nA red balloon is here, probably as part of some promotion.\n\nMel's at the counter.\n\n> You look at Mel\nMel notices me and gives me a boisterous greeting. \"Hey, W.D.! How's my favorite raven doing? How's your boss? Need more color-changing powder? I have to warn you, I don't think this 'Cow of a Different Color' project is going to catch on.\"\n\n\"Not good, Mel. The Perfectly Foolproof Illusion on the treasury wasn't.\"\n\n\"Oh. Does that mean you are recently unemployed? Would you like a job? I've been meaning to branch out into delivery, but people are afraid of golems, so...\"\n\n\"No, no. The boss is still good, at least for a few hours. I may be back tomorrow, though. (No offense, boss.) We, er, figure the only thing that might save the chief's bacon is to, uh, turn the fake treasure into...er...\"\n\n\"Yes?\"\n\n\"...real treasure. Uh, you wouldn't happen to have a Midas potion just, you know, lying around?\"\n\nMel's normally placid face darkens, and he glowers at me. \"W.D., you know that I like you and your master, but I do not typically keep potions which are primarily composed of irreplaceable components just 'lying around'. Besides, their manufacture is highly illegal, and I have an unfortunate allergy to prison.\"\n\n\"I know, I know. It was a long shot. We just thought you might have something.\"\n\nMel sighs. \"I could possibly sell you some components, and then what you did with them would be up to you. But these ingredients are not cheap, and my favor to you would be selling them at all. You would have to come up with nearly enough money to repopulate the treasury on your own.\"\n\n\"Oh. Well, I'm sure we can come up with something. I like shiny objects, after all. I can probably scrounge up some money.\"\n\n\"All right. Good luck, W.D.\"\n\n...Oh, shoot, I forgot what you asked me to do. Sorry, boss.\n\n> You examine the cockroach\nThey're amazingly realistic, except for the exploding part.\n\n> You ask Mel about the cockroach\n\"How are the Exploding Cockroaches working out for you?\"\n\n\"Excellently, thank you. I will never tire of watching little Billy Goatsmith try to steal them.\"\n\n> You examine Mel\nYou know Mel! He runs the magic shop. He finds you charming, because you're like a kid to him, what with him being an actual super-duper wizard and you being sort of a tinkerer who can do a few spells here and there. Don't think that frowny face at me! It's not an insult! It's a fact. Mel likes the tinkering, anyway. He buys more of your inventions than anybody. I think he's still got some of the Exploding Cockroaches on the tricks shelf. He likes it when kids try to shoplift them.\n\nAnyway, in case you've somehow forgotten, Mel always looks happy. He's got enough magic power to do whatever he wants, but what he wants is to quietly retire in this little shop. He dresses all in green, and I think he conjures up his clothes himself. He wears glasses that can see into your soul. (Or maybe he just thinks they look cool.) He's also the only person in town other than you who isn't too stupid to speak Raven.\n\n> You examine the balloon\nIt's a shiny red balloon on a string, filled with that special air that makes things float. It's really shiny. We should keep it and look at it for a while.\n\n> You ask Mel about tapestry\n\"I'm not quite sure I follow you, W.D.\"\n\n> You tell Mel about the tapestry\nFrankly, boss, I don't think there's anything I can tell Mel that he doesn't already know. The man's a genius. We might have better luck asking questions, though.\n\n> You ask Mel about the balloon\n\"Can I have the balloon?\"\n\n\"Yes, W.D. It's just there for advertisement. I can conjure up another one.\"\n\n> You get the cockroach\nAs you well know, those little guys are extremely unstable. Also, Mel's Magic Shop is you-break-it-you-buy-it.\n\n> You ask Mel about the hedgehog\nMel shakes his head. \"Sorry, I didn't catch that.\"\n\n> You ask Mel about the queen\n\"The queen died, what, five years ago? That was before we got here. What was she like?\" you ask Mel.\n\n\"She was very active. Always a new project. One year it was beets; the next it was tapestries. I believe the populace approved of her in a bemused sort of way. She never did anything too harmful, and she never stuck with anything for too long. She was our own little goddess of chaos. She and the king were very much in love, of course. He loved her more than anything. More than his own sanity, certainly.\"\n\n> You ask Mel about king\n\"Do you think the king will let the treasurer go ahead and off the boss?\"\n\n\"I think the our dear king is not so mad that he can ignore the theft of the entire treasury. I think your employer is correct that replacing the money is his last, best hope for survival.\"\n\n> You ask Mel about the wand\n\"Know anything about magic wands, Mel?\"\n\n\"Not much. They're really only used by less experienced or talented wizards. Most people outgrow them quickly. I think the usual way to activate one is by waving it.\"\n\n> You go to the west\nBig Street, Center\nBig Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.\n\n> You go north\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers - you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nYou can go west deeper into the city if you feel like being harassed by guards. The bank's east of here and the stock market's northeast.\n\n> You go east\nThe bank's already closed for the day. That's unfortunate; it's probably full of money.\n\n> Go northeast\nThis is the floor of the stock market, and it's full of animals. There's hooting and honking and barking and mooing. I'm getting hungry just thinking about it.\n\nI can see a salesman here.\n\n> Examine salesman\nThe salesman is wearing a fancy black suit. He seems faintly oily, but not in the delicious fried meats kind of way.\n\n> You examine the animals\nThere are more kinds of animals here than I can count. There must be, like, ten different kinds. They're currently alive, which is not the most delicious state for an animal, but I can dream.\n\n> You ask the salesman about the animals\n\"Awk!\"\n\n\"Howdy, little birdie! Would you like to hear about Surety Insurance? We have policies to cover every...\"\n\nThis guy is evangelizing insurance to a bird. I've already zoned out.\n\n> You show the parchment to the salesman\n\"Hmm, yes, this is one of our policies. If anything unfortunate should happen to the barn at 1 Farmland Farm, then the bearer will be entitled to...ah, let's see...eight thousand florins.\"\n\n> You go southwest\nBig Street, North End\nThis is the heart of Moneyville, the financial district. There's a bank, the stock market, money changers - you want to spend and get money, you come here. This is a terrible part of town for getting food, but it's a great place for shiny, shiny gold. Everything here sparkles. Yeah...coins everywhere....Oh, sorry. I spaced out for a minute there.\n\nYou can go west deeper into the city if you feel like being harassed by guards. The bank's east of here and the stock market's northeast.\n\n> You go west\nThis is Mindo Street. I think Mindo was the chancellor a long time ago or something. There's fields or farms or something southwest of here, which is less likely to contain snacks but also less likely to smell like people. Big Street's back east.\n\nSandie's Hot Meats stall is here. Sandie's at the counter.\n\n> You examine Sandie\nSandie is a short, round woman. To a first approximation, she's a sphere. To a second approximation, she's a sphere with hands. She's got a greasy apron on and she smells fantastic. I love her and her meaty ways. She only loves me when I have money.\n\n> You get the meat\nBoss, that is an excellent idea, but Sandie has a mean backhand.\n\n> You ask Sandie about the meat\n\"Quork quork quork!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\n> Go upward\nIt's kind of boring here. I hear the king hasn't put anybody in the dungeon in over a year. Must make you feel special. It's drafty, being up in the tower, and the stones in the wall have chips and various--- do you really care? They're old. The door looks pretty sturdy. There's some light coming into the room from a window about, uh, twice your height up. Can we leave?\n\nI can see a tapestry, a bed, a mirror and an annoying git in a dress here.\n\n> You look in the pockets\nIn the robes is a magic wand.\n\n> Wave wand\nPoof! A glittering coin materializes in the air in front of me and drops to the floor.\n\n> Again\nI already have that.\n\n> Wave wand\nNothing happens. I think Mel said something about having to destroy the last coin first. Conservation of energy, or something.\n\n> You fly\nWhoooosh! That was fun, boss, but we should get back to saving your miserable hide."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nThe gate's closed, which is a pity since we could probably steal a lot of nice stuff if we could get into the throne room or the king's bedroom. But the castle's on lockdown while the treasurer tries to figure out where the king's wandered off to, and I'm not going to attempt to peck my way through the giant wooden doors.\n\n> Go north\nBig Street, South End\nBig Street is the main street in the city. It's big enough for four wagons to pass side by side (hence the name), and it's actually cobbles instead of dirt like all the other roads. There are various shops selling clothes and other things we don't care about. This stretch of the road is pretty boring; the financial district is farther north.\n\n> You examine the coin\nThis is one of your majick faery coins. They were incredibly useful for a while, but then some wiseacre figured out that they explode if you put salt on them. Now everyone in town knows they're not real gold. The coins are useless as currency, at least until we find a new idiot.\n\n> You look at the salt\nI'm told that humans put salt on things to make them taste salty. Psh. The only seasoning meat needs is more meat.\n\n> You ask Sandie about the salt\n\"Awk awk caw!\"\n\n\"I know what you want, W.D., but I'm not giving you any food unless you have some real money. Your tab is already ridiculous.\"\n\n> You look at the counter\nSandie's Hot Meats is exactly what it says on the tin. It's a tent with a couple of tables and the delicious smell of hot, hot meat products. You can get the \"Excitement Mix\", which contains the random meat mix of the day, or you can pay twice as much to guarantee that you're eating pork or beef or some other animal you humans are picky about. (I suspect you get the Excitement Mix no matter what you pay for.) As usual, Sandie's here running the stall.\n\nInside the meats stall are some meat pans, some salt and some pepper.\n\n> You put the coin on the hay\nOkay, I've put the faery coin on the pile of hay.\n\n> You put the salt on coin\nFwoooom! The faery coin explodes! Sparks everywhere!\n\nI think the hay is on fire. Yep, it's kind of smoking. Oooh, I see flame!\n\n> Go east\nI've stopped in front of a cottage, which is the only interesting thing for miles. Fields of corn barely taller than I am surround us and make for a really dull view. Civilization is back to the northwest, and the castle is east of here.\n\nThere's a red barn off to the west.\n\nI can also see a hedgehog here.\n\nOooh, I can see flames shooting out of the barn! There's this huge cloud of smoke going up!\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> You examine barn\nIt's a bit far off to see very well.\n\nThe barn's collapsing! Crash! Smash! It's like the time your Solar-Powered Juice Extractor went wrong and took out that entire apple orchard!\n\n> You wait\nAll right.\n\nThe barn's now a pile of ash and rubble! Aww, man. I guess that means the show's over.\n\nThe hedgehog starts to sing:\n\nIs a happy happy hog!\nIt's a good day for eating\nAnd siiiiiiiiiiiinging!\n\n> Go west\nYou should have thought of that before you had me burn the barn down.\n\n> You show the policy to the salesman\n\"Hmm, yes, this is one of our policies. If anything unfortunate should...\" He trails off as he notices a rising plume of smoke in the distance. \"I see. Well, then. I suppose this is yours.\" He takes the parchment from me and hands me a check.\n\n> Examine check\nWe got this check for burning down--- er, redeeming the policy on the barn at 1 Farmland Farm. Well, actually, we did both of those things.\n\n> Go east\nMel's Magnificent Mystical Minutiae is the real deal. You can get all sorts of magical things here. Some of it is cheap junk that doesn't work, and that's what most people get; but if you want serious magic (and you've got serious money), Mel's is the place.\n\nWe're here to ask Mel for a Midas potion specifically, which might save your bacon.\n\nSome of Mel's famous Exploding Cockroaches are on display here.\n\nMel's at the counter.\n\n> You show the check to Mel\n\"Hey, Mel, what do you say about eight thousand florins?\"\n\nMel takes the check and considers it. \"Hmm. Made out to cash, even. All right, W.D., I'm impressed. Perhaps you will be able to get enough money.\"\n\nThis is wonderful, boss! I think we're well on our way to creating the potion and saving your bacon!"
    },
    {
        "text": "[Themes: Science Fiction, multiple protagonists]\n\n(circa 9243)\n\n\"Daddy!\"\n\n\"Daddy!\"\n\nYou are accosted by two gleeful children as you walk into their dimly illuminated bedroom. They bound up in unison and leap on you from their respective beds. You first catch Kylina -- your six-year-old daughter -- then immediately pick your four-year-old son -- Mathen -- out of the air. Both children hug you tightly making you smile, comforted by this familiar nightly ritual. You squeeze both of them together in your arms, enjoying the sensation of your two children. You've always loved this moment -- the embrace before you put them to bed.\n\nA small bedroom with two beds, one for each of your children. The illumination spell, a common casting available these days in every home in Darisia, is set very low so as to facilitate their falling asleep.\n\nKylina, your six-year-old daughter, has your eyes and Cylest's long dark hair."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> About you\nStarting to grey, but still in excellent health. If not for your fame, no one could possibly guess your real age.\n\n> You examine Mathen\nMathen, your four-year-old son, has short blonde hair. His smile is missing his two front teeth.\n\nKylina kisses you on the cheek then smiles a contrived farce of a smile at her brother.\n\n> You hug Kylina\nYou pull your daughter close and give her a hug then kiss her on the forehead. She smiles and gives you a kiss on the nose.\n\nMathen gives you a hug, squeezing tightly around your neck, and crosses his eyes at his sister.\n\n> Ms.\nChildren's Bedroom       Marcus Philbrook                 [MSpk] 5 Press X to exit\n>What story would you...<\nOnce upon a time, there were three little pigs...\nCaptured the conquering lord...\n\n> You go to the north\nChildren's Bedroom       Marcus Philbrook                 [MSpk] 5 Press X to exit\nWhat story would you...\n>Once upon a time, there were three little pigs...<\nCaptured the conquering lord...\n\n> P.\nChildren's Bedroom       Marcus Philbrook                 [MSpk] 5 Press X to exit\n>What story would you...<\nOnce upon a time, there were three little pigs...\nCaptured the conquering lord...\n>ask about their preferred story\n\"What story would you like for me to tell you?\" you ask, already knowing the answer.\n\n\"Tell us about when you were young!\" answers Kylina decisively.\n\n\"Yes! Tell us the statue story!\" Mathen agrees, clapping his hands together.\n\n> Ms.\nChildren's Bedroom       Marcus Philbrook                 [MSpk] 6 Press X to exit\n>Where do I begin...<\n>tell statue story\nYou smile, and take in a long breath. \"Let me see, where do I begin? Oh yes...\n\n\"It had been three weeks since my spirit had died, three weeks since all the color had drained from the world, three weeks since...\"\n\n\"No. Don't start there!\" Mathen interrupts. \"Start before that, when Mommy was a little girl!\"\n\n\"That's not before, you dummy!\" scorns his sister. \"Mommy was after, while Daddy was sleeping!\"\n\n\"Nuh-uuuh!\"\n\n\"Yes she was!\" Kylina glares at Mathen. Mathen retorts by sticking his tongue out at her.\n\n\"It's okay,\" you say smoothly. \"We can start with Mommy. Maybe the story goes better that way.\"\n\nMathen smiles smugly at his sister, who decides to ignore him.\n\nYou think for a moment about where to begin. \"Okay,\" you start. \"Mommy -- that is, 'Cylest' -- had wandered away from the others...\"\n\n(circa 9223)\n\nCylest had wandered away from the others. The museum was amazing and she wanted to see all of it, but the statue -- THE statue, was too captivating. She had listened to the stories all of her life. It was the statue made by the ancients, the only remnant of a civilization before recorded history. None knew how the statue had been made or how the ancients had managed such realism. No one could even guess about what it was made from. The mages claimed that it was immune to most of their magiks and what little they could find out about it raised more questions than answers.\n\nCylest had always been enraptured by the mystery surrounding the statue. Although most thought it to be simply a statue of amazing detail, many believed that it was once a real man. It was a commonly told children's story that the statue was truly a dark mage who slept until his chosen time to rise again and enslave the world. It was said he was a mage of powerful evil -- more evil even than Noric the Dark who had been exiled with great difficulty into the Thanatos desert for leading an insurrection against her father. But Cylest secretly believed the statue was an ancient hero, captured by an evil mage of great power and made to suffer for all eternity. The statue was the single interest that she could always remember having, so she had jumped at the chance to visit the museum where it was housed. After the museum guide had led her party by it, she had taken the first opportunity to sneak away and return.\n\nNow, as she stood knee-high before the statue of the ancients and stared up into its heart-wrenching expression, she was ensnared by the romance of it all. The tall, mysterious, ancient man -- unloved, rejected, and distraught by loneliness -- stood waiting only for someone to love him. Yes, she thought as she peered into his sad, distant eyes. I do love him. And she always had, for the entire seven years of her life. He needed her love and she could not deny him of it. The grownups would not understand, but it didn't matter. She would prove her love...\n\nMuseum, Statue Exhibit (in the glass case)\n\nFrom within the case, sharing space with the statue, Cylest felt like an artifact herself, looking out into the empty museum.\n\n> You look at the statue\nThe statue was of a tall, handsome man, brimming with mystery and otherworldliness. The man held a strange box in his left hand, his thumb pressed against it purposefully. An ancient coat covered the man's torso and extended down to his knees. A small aperture in the coat, just within Cylest's reach, was visible.\n\n> You check your inventory\nCylest was carrying:\na promise pin (providing light)\n\n> You talk to the statue\n[You can only do that to something animate.]\n\n> You examine the aperture\nShe looked closely at the small aperture in the statue, a gap in its strange ancient garb. It was a pocket. A perfect place to put the symbol of her love!\n\n> You examine pin\nCylest opened her fist and looked down at her promise pin. The pin, adorned with a glowing crystal, was symbolic of eons of Darisian tradition and her father would be livid when he found that she had taken it. It was to be given to her betrothed when she was old enough to make the decision. Well, she was old enough. She was seven years old -- almost eight -- and certainly old enough to love. After all, she loved this statue and the mysterious man that it represented. And the statue -- she was sure -- returned her love.\n\n> You look in the pocket\nCylest jumped several times, bobbing up and down just enough to see into the pocket. It was dark, but appeared to be empty. Not for long, Cylest told herself.\n\n> You put the pin in the pocket\nCylest reached up above her head and dropped the pin into the open pocket. There was a metallic tinkle as the pin slipped down the gap in the stone. She was certain that the statue would awaken for her now. It would come to life since she had proven her love for it. The ancient man would embrace her and sweep her away from her terrible life. Any moment he would open his lips and speak...\n\n\"Cylest!\" cried a stern voice from behind, making her jump. \"What are you doing in there?\" She turned to see her father's aide staring at her from outside the glass casing. \"Those display cases are meant to keep people from touching the artifacts! Get out of there, now!\" he commanded. \"That is no way for a princess to behave!\"\n\nPrincess Cylest nodded at his reprimand, and silently followed him as he led her back to the group, relieved that he had not seen what she had done with her pin.\n\nC H A P T E R . I\n(circa 1997)\n\nIt had been three weeks since my spirit had died, three weeks since all the color had drained from the world, three weeks since the horror had visited and marred me forever. I had knelt amidst the wreckage of glass and metal. I had held Karen's limp form upon my lap. I had closed her unseeing eyes. It had been three weeks since my reason to live had left this world and I had kissed my wife's cold, bloodied lips goodbye.\n\nThe loss was unbearable, the pain beyond measure. I had emerged dreadfully intact from the wreckage that had once been my automobile. I was unforgivably unscathed. To those around me, I seemed healthy and vibrant. Yet I was but a shell; dead in all ways that mattered.\n\nFrom my reflection, only an obscenity glared back. The perversity of it all taunted me. Not a scratch upon the killer who drove his love to her death. Not a bruise for the driver whose very reason to live was crushed in his passenger seat.\n\nAnd so it was that three weeks -- or minutes, or decades -- after the accident, I included myself in the secret. As I stared at my reflection in the coffee pot, I let myself in on the plan. As I did, I knew at once that I had made the decision weeks ago -- in the midst of the wreckage -- and kept it secret even from myself.\n\nTeresa had said that it was too soon for me to return to work, but I had dismissed her concerns. I needed to immerse myself, I had said. But it was a lie, and Malcolm had known. He watched me closely, scrutinizing my actions. He was as suspicious as any partner and friend of twenty years would be. But today was the meeting, and he could not be in two places at once.\n\nToday would be the day that I would realize my plan and put an end to this lifelessness...\n\nThe Mage Wars: Statue\n(INTROCOMP 2003 version)\nCopyright (c) 2003: Jim Fisher\n\nThe coffee nook was nothing more than a recessed counter top with a sink, providing easy access from the Northern boardroom. The office coffeemaker rested on the counter.\n\nIn the empty coffeepot, which I still held, my refracted reflection returned my gaze, reminding me of the perversity of my existence.\n\n> You check what you're carrying\nI was carrying:\na white lab coat (being worn)\na coffeepot\na coffee mug\nsome coffee\n\n> You drink the coffee\nI downed the coffee. It was not entirely pleasant having the after-taste that coffee has after it has sat too long after brewing. Still, it was remarkably warm and fresh for a cup of coffee that was possibly ten-thousand years old.\n\nThe meeting was progressing in the boardroom to the North. Malcolm was showing the two investors one of the petra-eikons.\n\n> You put pot on the coffeemaker\nI returned the coffeepot to its place in the coffeemaker.\n\n> You check your inventory\nI was carrying:\na white lab coat (being worn)\na coffee mug\n\n\"As soon as Dr. Philbrook rejoins us,\" Malcolm was saying, \"I can give you a demonstration of the device. I think you will be quite impressed.\"\n\n> You look at the coat\nWhite and long, the coat came down to my knees. It had a single pocket at the bottom which I seldom used."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe coffee nook was nothing more than a recessed counter top with a sink, providing easy access from the Northern boardroom. The office coffeemaker rested on the counter, cradling the coffeepot.\n\nFrom the boardroom I could hear one of the two investors ask a question. Malcolm murmured a vague reply, and cleared his throat in a private, unspoken inquiry as to my well-being.\n\n> You put the mug on the counter\nI put the coffee mug on the counter.\n\n\"The Petrian device is really something of a...\" I could hear Malcolm beginning one of his sales pitches. They weren't too bad, but they weren't what investors wanted to hear. It was apparent that he was stalling until I came back before delving into the details.\n\n> You go to the north\nThe boardroom was elegant and lavish. The East wall was comprised of windows framing a scenic view of the cityscape. Light shined through, distilled by tinting, and illuminated the room's centerpiece, a large marble table. A windowed wall and door exhibited the hall to the West. To the South was a small coffee bar.\n\nTwo investors sat at one end of the table, their backs to the windowed door and hall.\n\nOn the marble table was a cage (which was closed).\n\nMalcolm, dressed in the sleek office attire he wore on such occasions, sat at the head of the table; a deep concern for me shown on his face.\n\n\"It is real?\" asked one of the two men. He was holding the life-sized statuette of a turtle in his hands. The other man looked at it over his shoulder. Both seemed to be scrutinizing it for some flaw.\n\n\"Yes,\" responded Malcolm with a chuckle. \"It is as real as this one.\" Malcolm pulled the cloth from the cage, revealing the kitten within. It had been sleeping, but awoke at the light. The kitten began to mew as Malcolm opened the cage and reached for it.\n\n> You examine the kitten\nThe fluffy white kitten mewed happily.\n\nBoth men's eyes widened as Malcolm attached the Petrian device's electrode to the purring kitten's paw. It began to lick his right hand and he stroked the kitten playfully. In his left hand, he held the Petrian device.\n\n\"Will it hurt?\" the first man asked with a mixed expression of horror and fascination.\n\n\"Not at all,\" replied Malcolm smiling. \"The effect is instantaneous. The kitten will experience no sensation and will be unaware even of the passage of time.\"\n\n\"How much time?\" asked the second man.\n\n\"Whatever we choose,\" replied Malcolm. \"For this example, I've set the device for thirty days. I could just as easily have set it for thirty millennia.\"\n\n> You look at the device\nIt was partially obscured as Malcolm held it, but I had seen it many times. I did, after all, help invent it. There was one more, partially damaged but still functioning in the testing lab. I had plans for that one. It was small, about the size and shape of a portable stereo.\n\nMalcolm moved his hand from the kitten to the Petrian device. The kitten jumped playfully and tried to pursue his hand.\n\nThen Malcolm pushed the button and the kitten froze, turning instantly to a colorless grey stone material. It fell off the table, having been frozen in mid leap, and made a loud noise as it hit the floor. The two men gasped at the fallen kitten, paying no attention to the electrode which automatically retracted to the device.\n\nMalcolm reached down and picked the newly created statuette up from the floor and set it on the table. \"If you have any questions,\" said Malcolm with a smug smile. \"Dr. Philbrook and I will try to answer them as best we can.\"\n\nFor a moment, both men were speechless. They looked at the stoned kitten -- a newly created eikon -- with obvious wonder. It was always the same with these investors. This was the calm before the storm of questions.\n\n> You look at the kitten\nThe kitten, neither fluffy nor white any longer appeared to be a small statue chiseled out of stone, a petra-eikon.\n\n\"Can you bring the kitten out of this stoned state early?\" one of the investors asked Malcolm.\n\nHe shook his head. \"Once the Petrian energy imbues the subject, it dissipates at a constant rate. We've had no success at either speeding up or prolonging its effect.\"\n\nAs he spoke these words I realized that they weren't entirely true, but he didn't know yet. I had meant to tell him when I first made the breakthrough... but that had been just three weeks ago. All meaning in my life had been taken from me the very next day.\n\n> You examine the investors\nWearing almost identical black suits, the men were as two peas in a pod. I had participated in dozens of meetings exactly like this, and the investors were always the same. Karen and I used to joke that there was a cloning laboratory somewhere from which all investors came. I smiled at the fond memory of us joking, then winced at the pain of the realization that there would be no more of that happiness.\n\n\"And prolonging? What about trying to stone a statue that's already stoned?\" The man looked at Malcolm, a curious expression on his face.\n\n\"No,\" He answered. \"In the Petrian state, the subject no longer exhibits any of the qualities of organic matter and the process only affects the living.\"\n\n> You ask the inventors about the petrian state\n(Asking investors)\n\"I don't know anything about that,\" The investors said.\n\nOne of the men looked at me with a quizzical expression. \"It only affects living matter?\"\n\nSuddenly the ache in my heart was too extreme. I could not endure this meaningless drivel which was once so important to me. An urgent desire to leave came over me.\n\n> Ms.\nBoardroom              Dr. Marcus Philbrook               [MSpk] 27 Press X to exit\n>I believe I have discovered a way to revive... [Malcolm]<\nYes, and minimal inorganic material.\nPlease excuse me.\n\n> You go south\nOn the counter was a coffee mug (which was empty)."
    },
    {
        "text": "[Themes: Science Fiction, multiple protagonists]\n\n> Look around\nThe coffee nook was nothing more than a recessed counter top with a sink, providing easy access from the Northern boardroom. The office coffeemaker rested on the counter, cradling the coffeepot.\n\nOn the counter was a coffee mug (which was empty).\n\n> You go to the north\nThe boardroom was elegant and lavish. The East wall was comprised of windows framing a scenic view of the cityscape. Light shined through, distilled by tinting, and illuminated the room's centerpiece, a large marble table. A windowed wall and door exhibited the hall to the West. To the South was a small coffee bar.\n\nTwo investors sat at one end of the table, their backs to the windowed door and hall.\n\nOn the marble table were a stone kitten statuette and a cage (which was empty).\n\nMalcolm, dressed in the sleek office attire he wore on such occasions, sat at the head of the table; a deep concern for me shown on his face.\n\n\"It could survive the surface of a star?\" asked the other investor. \"You could leverage this technology to build spacecraft out of cheap, flexible material such as plastic, then?\"\n\nMalcolm shook his head. \"The Petrias energy only affects living matter.\"\n\n\"Oh yes,\" the man said. \"You said that.\""
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe boardroom was elegant and lavish. The East wall was comprised of windows framing a scenic view of the cityscape. Light shined through, distilled by tinting, and illuminated the room's centerpiece, a large marble table. A windowed wall and door exhibited the hall to the West. To the South was a small coffee bar.\n\nTwo investors sat at one end of the table, their backs to the windowed door and hall.\n\nOn the marble table were a stone kitten statuette and a cage (which was empty).\n\nMalcolm, dressed in the sleek office attire he wore on such occasions, sat at the head of the table; a deep concern for me shown on his face. One of the investors mumbled a pointless question. Malcolm gave a generic response.\n\n> Go west\n(first opening the hall door)\n\nIt was a short hallway connecting three doors to the open Southern lobby. To the East was a glass wall and door dividing the hall from the boardroom. The mahogany door of Malcolm's office lay closed to the West. The door to the North led to the development lab where we performed all research on the Petrian device. On the wall, mounted next to the door was a security scanner.\n\n> You look at the mahogany door\nThe door to Malcolm's office, like the door to my office, was made of solid, rose stained mahogany. Intricate designs were etched into the wood in various places adding a touch of elegance. Karen had picked out the two doors when we had first opened the office.\n\n> Examine scanner\nIt was a semi-flat rectangular box, mounted on the wall. It produced a very small, almost insignificant hum as it waited patiently for a security badge to be passed over it.\n\n(circa 9243)\n\n\"Daddy!\"\n\n\"Daddy!\"\n\nYou are accosted by two gleeful children as you walk into their dimly illuminated bedroom. They bound up in unison and leap on you from their respective beds. You first catch Kylina -- your six-year-old daughter -- then immediately pick your four-year-old son -- Mathen -- out of the air. Both children hug you tightly making you smile, comforted by this familiar nightly ritual. You squeeze both of them together in your arms, enjoying the sensation of your two children. You've always loved this moment -- the embrace before you put them to bed.\n\nA small bedroom with two beds, one for each of your children. The illumination spell, a common casting available these days in every home in Darisia, is set very low so as to facilitate their falling asleep.\n\n> You put the kids in the bed\nKylina : You put Kylina on the bed.\nMathen : You put Mathen on the bed.\n\n\"Would you tell us a bedtime story, Daddy?\" Kylina asks.\n\n\"Yes! Tell us a story, Daddy! Please?\" says Mathen, thinking this a good idea. By his enthusiasm, one would think that you hadn't told them a bedtime story last night, or the night before, or each and every night for the last several years.\n\n\"Please, Daddy?\" Kylina has no reservations about begging for bedtime stories.\n\n\"Pleeeeeease?\" they plead in unison.\n\nYou laugh. \"Okay, okay.\"\n\n\"Yay!\" They cheer, and the two children begin to jump on their beds in excitement, each bobbing up and down in alternating intervals.\n\n[In addition to the traditional Ask/Tell method of speaking,\nmenu-based conversation is available using \"MENUSPEAK\" when the\n\"MSpk\" indicator appears on the status line and the input prompt is doubled (>>). Alternatively, the \"MENUSPEAK\" command can be\nabbreviated as \"MS\" or \"MSPK.\"]\n\n> You tell the Children about the story\nWhich do you mean, the three pigs story, the conquering lord story or the statue story?\n\n> You tell the Children about the statue story\nYou smile, and take in a long breath. \"Let me see, where do I begin? Oh yes...\n\n\"It had been three weeks since my spirit had died, three weeks since all the color had drained from the world, three weeks since...\"\n\n\"No. Don't start there!\" Mathen interrupts. \"Start before that, when Mommy was a little girl!\"\n\n\"That's not before, you dummy!\" scorns his sister. \"Mommy was after, while Daddy was sleeping!\"\n\n\"Nuh-uuuh!\"\n\n\"Yes she was!\" Kylina glares at Mathen. Mathen retorts by sticking his tongue out at her.\n\n\"It's okay,\" you say smoothly. \"We can start with Mommy. Maybe the story goes better that way.\"\n\nMathen smiles smugly at his sister, who decides to ignore him.\n\nYou think for a moment about where to begin. \"Okay,\" you start. \"Mommy -- that is, 'Cylest' -- had wandered away from the others...\"\n\n(circa 9223)\n\nCylest had wandered away from the others. The museum was amazing and she wanted to see all of it, but the statue -- THE statue, was too captivating. She had listened to the stories all of her life. It was the statue made by the ancients, the only remnant of a civilization before recorded history. None knew how the statue had been made or how the ancients had managed such realism. No one could even guess about what it was made from. The mages claimed that it was immune to most of their magiks and what little they could find out about it raised more questions than answers.\n\nCylest had always been enraptured by the mystery surrounding the statue. Although most thought it to be simply a statue of amazing detail, many believed that it was once a real man. It was a commonly told children's story that the statue was truly a dark mage who slept until his chosen time to rise again and enslave the world. It was said he was a mage of powerful evil -- more evil even than Noric the Dark who had been exiled with great difficulty into the Thanatos desert for leading an insurrection against her father. But Cylest secretly believed the statue was an ancient hero, captured by an evil mage of great power and made to suffer for all eternity. The statue was the single interest that she could always remember having, so she had jumped at the chance to visit the museum where it was housed. After the museum guide had led her party by it, she had taken the first opportunity to sneak away and return.\n\nNow, as she stood knee-high before the statue of the ancients and stared up into its heart-wrenching expression, she was ensnared by the romance of it all. The tall, mysterious, ancient man -- unloved, rejected, and distraught by loneliness -- stood waiting only for someone to love him. Yes, she thought as she peered into his sad, distant eyes. I do love him. And she always had, for the entire seven years of her life. He needed her love and she could not deny him of it. The grownups would not understand, but it didn't matter. She would prove her love...\n\nMuseum, Statue Exhibit (in the glass case)\n\nFrom within the case, sharing space with the statue, Cylest felt like an artifact herself, looking out into the empty museum.\n\n> You look at Statue\nThe statue was of a tall, handsome man, brimming with mystery and otherworldliness. The man held a strange box in his left hand, his thumb pressed against it purposefully. An ancient coat covered the man's torso and extended down to his knees. A small aperture in the coat, just within Cylest's reach, was visible.\n\n> You drink the coffee\nI downed the coffee. It was not entirely pleasant having the after-taste that coffee has after it has sat too long after brewing. Still, it was remarkably warm and fresh for a cup of coffee that was possibly ten-thousand years old.\n\n> You put the pot on the maker\nI returned the coffeepot to its place in the coffeemaker.\n\n> You go to the north\nThe boardroom was elegant and lavish. The East wall was comprised of windows framing a scenic view of the cityscape. Light shined through, distilled by tinting, and illuminated the room's centerpiece, a large marble table. A windowed wall and door exhibited the hall to the West. To the South was a small coffee bar.\n\nTwo investors sat at one end of the table, their backs to the windowed door and hall.\n\nOn the marble table was a cage (which was closed).\n\nMalcolm, dressed in the sleek office attire he wore on such occasions, sat at the head of the table; a deep concern for me shown on his face.\n\n\"It is real?\" asked one of the two men. He was holding the life-sized statuette of a turtle in his hands. The other man looked at it over his shoulder. Both seemed to be scrutinizing it for some flaw.\n\n\"Yes,\" responded Malcolm with a chuckle. \"It is as real as this one.\" Malcolm pulled the cloth from the cage, revealing the kitten within. It had been sleeping, but awoke at the light. The kitten began to mew as Malcolm opened the cage and reached for it.\n\n> You examine the kitten\nThe fluffy white kitten mewed happily.\n\nBoth men's eyes widened as Malcolm attached the Petrian device's electrode to the purring kitten's paw. It began to lick his right hand and he stroked the kitten playfully. In his left hand, he held the Petrian device.\n\n\"Will it hurt?\" the first man asked with a mixed expression of horror and fascination.\n\n\"Not at all,\" replied Malcolm smiling. \"The effect is instantaneous. The kitten will experience no sensation and will be unaware even of the passage of time.\"\n\n\"How much time?\" asked the second man.\n\n\"Whatever we choose,\" replied Malcolm. \"For this example, I've set the device for thirty days. I could just as easily have set it for thirty millennia.\"\n\n> You look at the device\nIt was partially obscured as Malcolm held it, but I had seen it many times. I did, after all, help invent it. There was one more, partially damaged but still functioning in the testing lab. I had plans for that one. It was small, about the size and shape of a portable stereo.\n\nMalcolm moved his hand from the kitten to the Petrian device. The kitten jumped playfully and tried to pursue his hand.\n\nThen Malcolm pushed the button and the kitten froze, turning instantly to a colorless grey stone material. It fell off the table, having been frozen in mid leap, and made a loud noise as it hit the floor. The two men gasped at the fallen kitten, paying no attention to the electrode which automatically retracted to the device.\n\nMalcolm reached down and picked the newly created statuette up from the floor and set it on the table. \"If you have any questions,\" said Malcolm with a smug smile. \"Dr. Philbrook and I will try to answer them as best we can.\"\n\nFor a moment, both men were speechless. They looked at the stoned kitten -- a newly created eikon -- with obvious wonder. It was always the same with these investors. This was the calm before the storm of questions.\n\n> You tell the investors about the kitten\nThat did not seem to be an appropriate topic for the given context.\n\n\"Can you bring the kitten out of this stoned state early?\" one of the investors asked Malcolm.\n\nHe shook his head. \"Once the Petrian energy imbues the subject, it dissipates at a constant rate. We've had no success at either speeding up or prolonging its effect.\"\n\nAs he spoke these words I realized that they weren't entirely true, but he didn't know yet. I had meant to tell him when I first made the breakthrough... but that had been just three weeks ago. All meaning in my life had been taken from me the very next day.\n\n> You tell the investors about the device\nThat did not seem to be an appropriate topic for the given context.\n\n\"And prolonging? What about trying to stone a statue that's already stoned?\" The man looked at me, a curious expression on his face.\n\n> You answer the the investors\n(to Malcolm)\nThere was no reply.\n\n\"No,\" Malcolm answered. \"In the Petrian state, the subject no longer exhibits any of the qualities of organic matter and the process only affects the living.\"\n\nOne of the men looked at Malcolm with a quizzical expression. \"It only affects living matter?\"\n\n\"Yes,\" he replied. \"And a very small amount of inorganic matter in close proximity to the subject.\"\n\nThe man thought about this silently, obviously not convinced.\n\nSuddenly the ache in my heart was too extreme. I could not endure this meaningless drivel which was once so important to me. An urgent desire to leave came over me.\n\n> You leave\n[You'll have to say which compass direction to go in.]\n\n\"What happens if you break the statue?\" one of the men asked.\n\n> Ms.\nBoardroom              Dr. Marcus Philbrook               [MSpk] 14 Press X to exit\n>I believe I have discovered a way to revive... [Malcolm]<\nPlease excuse me.\nWe know of no way to damage an eikon...\n\n> Go west\n(first opening the hall door)\n\nIt was a short hallway connecting three doors to the open Southern lobby. To the East was a glass wall and door dividing the hall from the boardroom. The mahogany door of Malcolm's office lay closed to the West. The door to the North led to the development lab where we performed all research on the Petrian device. On the wall, mounted next to the door was a security scanner.\n\n> You look in the pocket\nThe pocket was empty.\n\n> Go west\n(first opening Malcolm's office door)\n\nMalcolm's office was clean and well organized, much as the man himself. His desk, a polished cherry wood, commanded all attention.\n\nOn the cherry desk was a mailing package (which was empty).\n\n> You examine package\nA white shipping carton, open and empty, with an excessive amount of postage affixed. It was addressed to Malcolm's son, Brandon, who lived on campus at Dartmouth. Malcolm and his son were very close.\n\n> You open the package\nNo. The package was Malcolm's and I wasn't in the habit of using his things.\n\n> You examine the desk\nPolished to a glassy smoothness, the desktop had been carved from a single piece of cherry wood.\n\nOn the cherry desk I could see a mailing package (which was empty).\n\n> You open the desk\nNo, that was Malcolm's desk and I wasn't going to riffle through his things.\n\nNo, that was Malcolm's desk and I wasn't going to riffle through his things.\n\n> You examine the door\nMalcolm's office was clean and well organized, much as the man himself. His desk, a polished cherry wood, commanded all attention.\n\nOn the cherry desk was a mailing package (which was empty).\n\nThe door to Malcolm's office, like the door to my office, was made of solid, rose stained mahogany. Intricate designs were etched into the wood in various places adding a touch of elegance. Karen had picked out the two doors when we had first opened the office.\n\n> You close the door\nI closed Malcolm's office door.\n\n> You examine the door\nThe door to Malcolm's office, like the door to my office, was made of solid, rose stained mahogany. Intricate designs were etched into the wood in various places adding a touch of elegance.\n\n> Go east\n(first opening Malcolm's office door)\n\n> You open the lab door\nThere was no handle on this side of the door so it could not be opened in the conventional manner. Having been through it a thousand times, I knew that the door would open automatically when I slid my ID badge through the mounted security scanner.\n\n> Inventory\nI was carrying:\na white lab coat (being worn)\na coffee mug\n\n> You look at the coat\nWhite and long, the coat came down to my knees. It had a single pocket at the bottom which I seldom used.\n\n> You look at the pocket\nJust a single pocket, sewn into the lab coat.\n\n> You go south\nThe lobby was a clean, almost sterile room that greeted people when they stepped off of the elevator. It hosted a large, wooden desk behind which sat our receptionist Teresa, who greeted everyone with a pleasant smile. There was a small slot which opened to the mail chute located conspicuously against the South wall. My office door lay to the West, the rest of the office resided down the short hallway to the North.\n\nTeresa ruffled through the papers on her desk, performing her duties in a neat and efficient manner.\n\n\"Hello, Doctor Philbrook,\" greeted Teresa. She smiled brightly, but it was an artificial smile. I could see the concern reflected in her eyes, a concern reflected in the eyes of everyone I worked with.\n\nI knew I should be appreciative for their concern and that it was rooted in caring, but I despised it. I grew weary of their sympathy for a pain that would never heal, and tired of people tiptoeing around me.\n\nIt will soon be over, I thought.\n\n>>\nThe only exits lay north and west.\n\"Is everything going all right with the meeting?\" she asked.\n\nI nodded, putting on a good face as I forced myself through this excruciating exchange of small talk.\n\n> Ms.\nLobby                  Dr. Marcus Philbrook               [MSpk] 41 Press X to exit\nHello, Teresa.\n>I've left something in my office...<\n\n> P.\nLobby                  Dr. Marcus Philbrook               [MSpk] 41 Press X to exit\n>Hello, Teresa.<\nI've left something in my office...\n>tell Teresa hello\n\"Hello, Teresa,\" I said and smiled a lifeless veil of a smile, trying to mask my despondency.\n\n> Ms.\nLobby                  Dr. Marcus Philbrook               [MSpk] 42 Press X to exit\n>I've left something in my office...<\n>tell Teresa about meeting\n\"I've left something in my office which I need to get. Malcolm can handle the investors for awhile.\" It was a lie, but sounded better than: \"I'm going to my office to cry and stare out the window in misery. Malcolm can handle the investors for awhile.\"\n\n\"Yes sir,\" Teresa said, seeming satisfied, at lEast for the time being, with some personal assessment of my well-being. She turned her attention to the papers on her desk.\n[I beg your pardon?]\n\n> Go west\n(first opening my office door)\n\nKaren had been gifted at interior decorating and she had put a great deal of effort into my office. The room was exquisite; the view of the city from my window was breathtaking. Everything in the room had been hand-picked for its elegance, from the gorgeous mahogany desk to the cherry wood Venetian blinds. What had once filled me with pride was now an excruciating reminder of my lost love. Everything in this room we had picked together, Karen and I.\n\nThere, in my home away from home, I sank deeper into the depths of despair.\n\nOn the mahogany desk were a stone rabbit statuette and a picture frame.\n\n> You look at the statuette\nIt was one of my most prized, yet gruesome, statuettes. The rabbit had been the prey of some small predator. It had been partially mauled and its side slashed open by the attacking animal's talons. I had stumbled upon the scene at the last possible moment and the attacker had fled, too late to save the rabbit. Fear showing in its eyes, its entrails exposed, the rabbit had been eikonized the instant before death.\n\nTears filled my eyes as I looked at the frightened rabbit that stared forever into Death's face. I cried for my rabbit that had been mauled and taken from me in my passenger seat.\n\nKaren! Open your eyes! Karen! Please wake up! Stay with me, sweetheart! Karen...\n\nFor a time, I was overcome with remorse.\n\n> You look at the frame\nIt was a picture of me and Karen during our vacation to Cancun the previous summer.\n\nWe had solicited a stranger to take our picture for us and had been unable to contain our laughter long enough for the solemn poses we had tried for. Karen, joy blazing from her beautiful face, clasped her arms tightly around my waist. A snapshot of my loss which now twisted my innards and wrenched from me any pretense of healing.\n\nAlmost, I could hear her laughter. Tears flowed freely down my cheeks.\n\n> You look at the desk\nIt was an elegant desk of polished mahogany which I had made efforts to keep clutter free. It framed a single drawer.\n\nOn the mahogany desk I could see a stone rabbit statuette and a picture frame.\n\n> You open the drawer\nI opened the drawer, revealing my ID badge.\n\n> You open the drawer\nThe drawer was already open.\n\n> You get the badge\nTaken.\n\n> You take the badge\nI had that already.\n\n> You go to the east\nThe lobby was a clean, almost sterile room that greeted people when they stepped off of the elevator. It hosted a large, wooden desk behind which sat our receptionist Teresa, who greeted everyone with a pleasant smile. There was a small slot which opened to the mail chute located conspicuously against the South wall. My office door lay to the West, the rest of the office resided down the short hallway to the North.\n\nTeresa ruffled through the papers on her desk, performing her duties in a neat and efficient manner.\n\n> Go north\nI stepped into the hall, facing the lab door. Out of the corner of my eye, through the window, I could see into the conference room. Malcolm was trying futilely to put the design principles behind the Petrian Device into layman's terms for the investors. He took notice of me with a quizzical expression on his face, but seemed to have his hands full answering questions. In a few moments, when he realized my intent, he would do anything to stop me.\n\nIt was a short hallway connecting three doors to the open Southern lobby. To the East was a glass wall and door dividing the hall from the boardroom. The mahogany door of Malcolm's office lay closed to the West. The door to the North led to the development lab where we performed all research on the Petrian device. On the wall, mounted next to the door was a security scanner.\n\n> You show the badge to the scanner\n[You can only do that to something animate.]\n\n> You go north\n(first opening the monitoring lab door)\nThere was no handle on this side of the door so it could not be opened in the conventional manner. Having been through it a thousand times, I knew that the door would open automatically when I slid my ID badge through the mounted security scanner.\n\n> You slide the badge through the scanner\nI slid the card over the scanner.\n\n\"Authorization granted,\" chimed a melodic female voice. There was a brief beep and the monitoring lab door opened.\n\nMalcolm visibly started as he heard my badge run through the scanner. He stopped talking in mid-sentence and turned to face me through the window. Both men turned too, to see what he was looking at. I had to act, I knew. There would be no second chance now.\n\n> Go north\nThe monitoring lab consisted of an instrument console and a large window into the testing lab. It was from there that all tests of the Petrian device were observed. The door to the testing lab lay North. Next to it, mounted on the wall was a security scanner, exactly like the one in the hall. The lab exit, leading to the hall, lay to the South.\n\nThe hall door swung closed with a click.\n\n> You slide the badge through the scanner\nI slid the card over the scanner.\n\n\"Authorization granted,\" chimed a melodic female voice. There was a brief beep and the testing lab door opened.\n\n> You look through window\nThe glass exposed rooms in two directions: The testing lab to the North, and the hall to the South.\n\nThe testing lab door swung closed with a click.\n\n> You go to the north\nWhite and clean, the testing lab was where all real testing was done on the Petrian device. Calibration, adjustments, repairs -- it was all done in this lab where every detail could be observed through the window from the monitoring lab to the South. Even the exit -- also on the Southern wall -- had a glass window. A workbench was centered neatly in the room.\n\nOn the workbench was a Petrian device.\n\nThrough the window, I could see into the monitoring lab. Beyond that, visible through the door window, was Malcolm in the hall. He pressed up against the glass and peered in, obviously panicked. Our eyes met and he yelled something to me. I couldn't hear him through the lab's sound proofing, but I didn't need to. We knew each other too well. He knew what I was up to, I knew how he felt about it.\n\nThe monitoring lab door swung closed with a click.\n\n> You look at Device\nOne of only two prototypes, this Petrian device was damaged. The other, which Malcolm had been demonstrating to the potential investors, was the only one that worked completely. This one would do everything that I needed it to, though. It was small, hand-sized, and if not scrutinized, it could easily have been mistaken for a portable stereo. What looked like a single headphone was actually an electrode which retracted automatically into the device when not being used. There was a dial, broken and spinning freely. There was also a small, red button used to initiate the process.\n\nPast the monitoring lab and into the hall, I could see Malcolm swipe his badge. The hall door opened giving him access to the monitoring lab. I needed to act. Malcolm would already have stopped me save for the single glass door that stood between us.\n\n> You get it\nThe red button was hardly portable.\n\nMalcolm knew what I had in mind. He shook his head vigorously at me, and screamed silently for me to stop.\n\nTeresa reached the console and turned on the audio system. \"Marc! Don't do this!\" she pleaded. \"I know this has been horrible for you, but what you are trying do... this is not the way!\"\n\nI gazed without reaction at the red button on the Petrian device. It was as red as my beautiful wife's blood upon my shirt as she died in my arms that wretched night.\n\n> You get Device\nTaken.\n\nMalcolm was fumbling with his badge and the scanner on the outside of the test lab. I had only a moment to act before it was too late.\n\n> You look at the clones\nThe opposing mirrors were clean and glassy, but tinted so as to reflect a gloomy reality. Puck's endless line of reflections faded to darkness as they stretched into infinity.\n\n> You examine the bag\nGray and well-used, the rough bag was marred with grisly stains; its seams pulled tightly around its ghastly contents.\n\n> Go north\nIt was the North end of the mirrored hall. Far to the South, a strangely unbalanced distance away, loomed a line of countless towering spiral staircase. Immediately to the North was the imposing silver door to the master's inner chamber.\n\n> You examine the door\nLarge and imposing, the door was brushed silver, textured in a manner which repressed reflection.\n\n> You knock on the door\nThe door was opened by a large guard. Puck recognized him from the common grounds. Siedmeur was his name. He looked down at Puck and opened the door wider, motioning for him to enter.\n\n> Go north\nThe guard closed the door and Puck's eyes adjusted to the darkness of the inner chamber. On the far side of the room, covered in robes, sat the master! Although he knelt upon a dark pallet and faced away, Puck immediately diverted his eyes. Puck was not worthy to look even upon the master's back.\n\nThen came the soft, gentle words: \"Good evening, Puck.\" Puck's heart leapt. The master knew him by name! He could not believe his ears. \"Please be so kind as to remove Mage Limech from the bag he currently rests in and place him upon the altar.\" For a moment Puck almost forgot what he had been carrying.\n\nIt was a dark room covered in dark drapes. The pungent stench of decay was overwhelming. It wafted throughout the room with an almost tangible presence, like a wraith of Death. Distant murmuring drifted in from beyond the drapes, a rhythmic whisper of anguish. Centered in the chamber was a large stone altar set only a few feet off the floor. A dull silver door lay to the South.\n\nSiedmeur, part of the master's elite guard, stood at attention next to the Southern door, watching silently.\n\nThe dark master was there, only partly discernable from the shadows.\n\n> You open the bag\nPuck opened the bag revealing the dead traitor, the mole. Limech had been one of the mages that had served the master. At lEast he had pretended to. But the master had known him for what he was. Limech had been a spy for Darisia, a spy for the jealous mages that had exiled the master. So Limech had earned his own death. And those that received his reports had finally received his severed heart as a reminder of who they dealt with.\n\nBut that had been weeks ago, and Limech's corpse was badly decomposing. Why did the master again desire the dead mage? Why was Puck to deliver the heartless carcass of a dead spy to the master? Puck did not know. Perhaps it had something to do with the rumors of the supreme one's new work. Perhaps the master would find it in his heart to show him, Puck, what the entire kingdom wondered about.\n\n> You take the corpse\nPuck struggled for a moment, pulling the rotting carcass from the bag. Limech's head flopped limply to the side, his mouth open. Puck held him in both arms, letting the bag fall to the floor. The pungency of death was about.\n\nThe master spoke again, annoyance resonating in his voice. \"If it is not too much of an inconvenience for you, please put the body on the altar.\" His gentle words were a mockery, spoken in the most menacing of tones.\n\n> You put the body on the altar\nPuck laid the long dead mage upon the altar. Limech's joints popped and cracked gruesomely with the action. His chest, visible now, had been ripped open, his heart cut out; a chilling reminder of his gory demise.\n\nIt was only for a moment that Puck was lost in the horror of it. For just an instant he stared at the macabre delivery, then he again heard the master's voice: \"Levios!\" Puck was startled by the proximity. The master had moved quietly to the altar and stood next to him. Puck tried to step back and give the master space to do his work, but found that his feet no longer touched the floor. He was floating! Panicked, Puck flailed his arms around him. \"Strictum,\" the master said, and Puck's arms snapped to his sides."
    },
    {
        "text": "[Themes: Science Fiction, multiple protagonists]\n\n> You look at your surroundings\nPuck was paralyzed and floating in mid-air. He was unable to do anything.\n\nFrom his black robes, the master pulled out a long silver blade. It was a sacrificial dagger. \"It seems,\" he spoke in a ghastly tranquil tone, \"that I have misjudged the importance of the heart. I have need of a replacement.\"\n\n\"But my Lord,\" the ensnared Puck murmured. \"I have sacrificed everything for you.\"\n\nThe dark mage nodded grimly. \"And so you have earned release from your suffering existence.\"\n\nAnd with that, the master casually thrust the blade into Puck's chest. A gurgling cry escaped Puck's lips as he died.\n\nSiedmeur tried to stare at nothing and let his eyes lapse out of focus, but it didn't help. His peripheral vision was too keen and his eyes too well adapted to the darkness. He had no choice but to observe with complete awareness as the master cut the heart from the deformed little man's floating cadaver. The guard swore that he would never get used to this no matter how many times he had to witness it.\n\n> You examine the master\nNo, he would not dare to gaze directly upon the master. It was best to keep his eyes averted.\n\nAlthough he avoided direct eye contact with the master, Siedmeur was nevertheless aware of what Noric was doing. He was aware of the organic sucking sound as Noric pulled the heart from the little man's chest. He was aware of the master turning his knife on the aged cadaver on the altar. He was aware of the constant dripping as a pool of blood formed under Puck's floating corpse.\n\nSiedmeur wanted to vomit.\n\n> You examine the corpse\n(Puck's corpse)\nSiedmeur glanced at the little man's disfigured corpse and tried to hide his revulsion. Puck's chest had been cleaved open. The warm blood was beginning to congeal around the empty, gaping lesion.\n\nAfter an endless span of time, Noric lifted his hooded head from his work and looked at Siedmeur. The guard shuddered. Who knew when the master might need another heart?\n\nWith a flick of the master's wrist, the little man fell to the floor. \"Put him in the bag and take him away,\" Noric ordered, then he resumed his work on the dead mage.\n\n> You take Puck\nThe dead, little man was a light burden in Siedmeur's strong arms, but a heavy burden to Siedmeur's fragile spirit.\n\n> You put Puck in the bag\nSiedmeur dumped the carcass into the blood stained bag, drawing it up by the sides so that the body settled in the bottom.\n\n\"Be quick about it,\" Noric commanded. \"My patience thins.\"\n\n> You take the bag\nSiedmeur had that already.\n\n> You go south\n(first opening the mirrored hall door)\nSiedmeur managed to close the door behind him before he vomited. A chill ran down his spine and he broke out in a cold sweat as he dropped the little servant's remains. The guard knelt in the corner and closed his eyes tightly, unable to escape his own reflection. It was several minutes before his retching subsided.\n\nSiedmeur had witnessed scenes such as this more than a dozen times in his years of service, but this one affected him more substantially than the others. He couldn't say why for certain. Perhaps it was because he had known of the little man. Their paths had crossed on a number of occasions. But they never would again.\n\nThe guard shivered and stood. He took deep, controlled breaths, trying to calm his nerves. The master's projects had grown darker and more frightening. Though he would never dare speak such blasphemy, in his mind Siedmeur questioned Noric's sanity. What could he do? The guard shook his head. There is but one thing to do, he thought to himself as he bent to pick the servant's carcass from the floor. Obey.\nNortoche stood, shrouded in darkness, on the front steps and faced the closed museum. It was locked by this time of night, many hours past closing. Of course, he wouldn't have been there if it were open. Those that worked the museum by day would frown upon what he intended to do. Not that his intentions were bad.\n\nWhen Cylest, his beloved, was a child, she had taken her pin -- her PROMISE pin -- and hidden it in the statue! He had laughed at her when she first told him the story. It was just one of those crazy things that little girls did, he supposed.\n\nCylest's father could certainly have managed its retrieval through the proper channels but she was set against this, claiming that it would bring her dishonor. Nortoche didn't really understand what she was talking about, but as their relationship became more serious, he began to have a vested interest in recovering the pin.\n\nSo there he was, in yet another compromising situation, this time in the name of love, preparing to break into a museum and take back a promise pin, which no one knew was there, from an ancient statue which had possessed it for almost a dozen years.\n\nHe shook his head at the craziness of it all and toyed with the globe which Cylest had procured for him despite its extreme rarity. The princess was not without her resources, he thought to himself. Nort tossed the orb playfully into the air meaning to catch it, but missed. The orb landed at his feet with a metal clink.\n\nIt was the front steps of the Ancient Artifacts Museum, which was pretty ancient itself. The imposing front door stood locked and closed to the North. Although it was dark, small garden trails could still be seen winding through the bushes, one to the NorthWest, the other to the NorthEast.\n\nNortoche could see a golden orb there.\n\n> You take the orb\nUpon contact with the golden orb, Nortoche felt a surge of energy resonate through his body.\n\n> You examine the orb\nPerfectly round, about the size of a large walnut. The small globe was smooth and Nort could see his distorted expression in it. This was anti-magik, he knew, and it could be used just once. When he threw it, all magik in a small diameter would disappear, the globe included.\n\n> About yourself\nNort checked himself over, running his fingers through his frizzy hair and pressing out the wrinkles from his expensive new robes. Cylest had given the robes to him, and after he retrieved her promise pin she would be his forever, despite what any other Darisian thought. As she always told him, he was more stylish than most Dars could recognize. It had to be true, how else could he have captured the heart of the princess?\n\n> You examine the door\nThe museum entrance was oversized and quite imposing. It seemed to be carved from a single block of hardwood.\n\n> You examine the bushes\nWell tended, the plant life was thriving.\n\n> You go northwest\nThis was a small walkway, winding through the shrubbery around the museum. The imposing wall, fashioned from cobbled brick was an arm's reach away to the East. The thick bushes made straying from the trail from the trail impractical. The trail itself encircled the museum, disappearing around the corners to the NorthEast and SouthEast.\n\n> You look at bricks\nSimple and unadorned, the wall was made of plain, earthen bricks.\n\n> You climb the bricks\nThe brick wall were not significant. (It is not necessary to refer to them in the course of this game.)\n\n> You go northeast\nBehind the museum amidst trees and bushes. It was quite dark and the crescent moon above provided only minimal light. The trail continued its encircling path around the museum, leading SouthEast and SouthWest. Due South was the museum's garden and beyond would be a wall of windows, provided so that visitors within the museum could admire the aesthetics without.\n\n> You go south\nA pungent scent swept across Nort's nostrils in a tingling rush. This garden hosted an army of extravagant flowering plants. The museum windows formed a glass wall to the South through which visitors could admire the floral display. The garden was renowned for its beauty and many came simply to view the flowers and had little interest in the museum's archeological treasures.\n\nNort considered the bottom window, trying to see the inner latch inside. Cylest had assured him that she had pulled some strings and that the bottom window would be unlocked, but he hesitated. If she was wrong and the window was still locked, then the museum's security spells would trigger when he tried to open it. That would summon the mages and he definitely didn't want to face them.\n\n> You open bottom window\nNortoche opened the glass window. Cylest had been right -- no alarm spell. Being a princess obviously had its advantages.\n\n> You enter it\nMuseum, Peace Exhibit\nThis was a peaceful, organic section of the museum. Potted plants rested in every corner and climbing ivy worked its way over various crevices and ledges giving a warm, natural feeling. The Northern wall was made up of sections of glass, providing a scenic view of the gardens outside. The loWest section was actually a window with a handle that could be opened. A glass display case containing an open book was featured in this area. An engraved silver plaque on the case glistened in the dim luminosity.\n\nA glowing blue field of light surrounded the glass case.\n\n> You read the plaque\n\"The Book of Rehsif\"\n\n\"Little is known of the person named Rehsif-Mij other than the fact that he was an ancient historian. This so-called book of Rehsif, found long ago, is the last remnant of his work and is believed to be between three and four millennia old. Only a few paragraphs in the book, on a single page, are still legible and are believed to have been written in Rehsif's native language called \"Anglosh.\" All knowledge of \"Anglosh\" and the ability to translate it has been lost to modern scholars for hundreds of years. The only remaining vestibule of knowledge concerning the language is the translation of the few readable snips of text from this ancient book into a once common Darisian dialect. The translation itself, which appears below, is close to a thousand years old and bears only a vague resemblance to modern Darisian:\n\n\"...a fresh weapon unlike the collective had sight of in the previous. The weapon potentialed caustic, and when the caustic was unconstrained, there ushered not alone the departing of the Great Battle, but desolation in the escort...\"\n\n\"...freshly made was the All...\"\n\n\"...potential saturated the All in the infinitesimal and unioned within. Yoked the All to the whim of the minor count who arrayed the saturated by will; a fresh aristocracy approached...\"\n\n\"...aged magiks of sionce were mislaid and overcome by the approaching of the fresh magiks arrived by the saturated All. Sionce reduced, to depart yet. The All conformed to the decree of the wyzurds...\"\n\n> Examine book\nThe book, which lay open within the case, was obviously very old. Parts of the hand-written text appeared to be legible and could possibly be read, although the book itself was in such poor condition that touching it directly would probably render it dust. Everyone knew that this was the state that the book had been found in almost two thousand years before. Owing to the miracles of modern magik, the book had not aged a day since.\n\n> Close window\nNortoche closed the glass window.\n\n> Exits\nExits lead in all directions.\n\n> Go east\nMuseum, War Exhibit\nAncient weapons adorned the walls. The metallic gleam in the dim lighting furthered an ambiance of war and desolation. The single glass case, centered in this section, contained a large, box-like device the purpose of which was mysteriously non-obvious.\n\nA glowing blue field of light surrounded the glass case.\n\n> You examine Device\nThe artifact was large and square with symbols printed on the side. It had an opening, a gap in the metallic skin, which revealed its inner workings. Atop the artifact was a vertical stem, hosting a plug, that was obviously designed to interface with another object. There was also a panel on the side of the artifact (which was closed) and a solitary square button on the front.\nThe artifact was currently switched off.\n\n> You examine the symbols\nThe ancient symbols were beyond comprehension; their meaning lost in time along with all the knowledge of the ancients.\n\n> You look at the gap\nThe opening in the side of the machine was simply a missing cover, torn off and lost at some point in history. It revealed the inner guts of the machine, complex electronics and moving parts that made the machine function. The most prominent of the inner parts were three gear pegs arranged in a precise pattern: two upper pegs, one lower peg.\n\n> You examine the stem\nIt was a short, swiveling stem which rose out of the machine. On the end of the stem there appeared to be a plug of some kind.\n\n> You examine the panel\nThe access panel was closed.\n\n> You examine the pegs\nThe two upper pegs, unlike the lower peg, each supported a small gear.\n\n> Exits\nExits lead in all directions except the North.\n\n> Go northwest\nMuseum, Industrial Exhibit\nManufactured paraphernalia bejeweled the brushed metal walls. A plethora of ancient metallurgical tools and gear fed the industrial motif of this section. The central artifact, encased within glass was a large box-shaped machine.\n\nA glowing blue field of light surrounded the glass case.\n\n> You look at light\nIt was a fluid, moving field of energy, a semi-transparent plasma, which surrounded the glass case and radiated a meager blue luminance.\n\n> You examine the machine\nIt was a strange, boxed mechanism about waist-high. There was a funnel at the top next to which was an engraving which depicted a hand throwing in some unidentifiable object. At the bottom was a tray or some kind. On the side of the artifact was a closed panel.\n\n> You examine the funnel\nAffixed to the top of the artifact, the funnel receded down into the artifact's internals. It was relativly small, about the size of a fist.\n\n> You look at the engraving\nThe engraving depicted a hand throwing some unidentifiable object into the funnel.\n\n> You examine the tray\nA simple metallic tray located at the bottom of the machine. From the looks of it, items dispensed from the machine ended up there. Several holes lined the bottom of the tray.\n\n> You examine the panel\nThe panel was closed.\n\n> Exits\nExits lead in all directions except the North.\n\n> You go to the north-west\nMuseum, Art Exhibit\nThe exhibits in this room were all of an artistic nature. Ancient sculptures stood proudly erect upon elegant marble pedestals. Colorful oil paintings adorned the walls. Sprawling across the ceiling was a vast and expansive mural, a lasting memorial to a long dead master painter of exquisite skill. In the corner, seemingly out of place yet encased in glass, was an assortment of rubbish arranged in a bizarre fashion.\n\nA glowing blue field of light surrounded the glass case.\n\n> You look at the paintings\nThe pieces of ancient art were everywhere, including the ceiling. They appeared to stem from a variety of historical timeframes. Individually, they each tended to portray some element of their times. Viewed together, the formed a menagerie of color and culture.\n\n> You look at the rubbish\nIt was junk art -- a little scene fashioned by welding together discarded pieces of machinery. This scene seemed to depict a man (or was it a frog?) sitting at the base of a strange, metallic river holding an umbrella over his head.\n\n> You go to the northwest\nThe museum lobby was large and spacious. There were delayed echoes of footsteps resounding from the lofty walls and vaulted ceiling which drew a direct contrast to the quiet calm of the rest of the museum. The building's large, decorative entrance lay closed to the South.\n\n> Go north\nA row of miscellaneous artifacts and displays blocked travel in that direction.\n\n> Go east\nMuseum, Statue Exhibit\nThis was a prominent section of the museum, near the front entrance. It was home to the museum's -- no, the world's -- most prized archeological artifact, known by no other name than the \"ancient statue.\" Like all large artifacts in the museum, a glass case had been erected to house it. Within, standing upright, the statue stared unseeingly at Nortoche.\n\nA glowing blue field of light surrounded the glass case.\n\n> You examine Statue\nGrey and cold, the ancient statue stood in the same stance that it always had. It was a sight familiar to everyone in the world and Nortoche had seen it dozens of times in the past. As he looked at it, however, Nort realized that the glass case blurred the statue somewhat. To truly appreciate the amazing detail of the statue, he would have to look at it from within the case itself.\n\n> Go east\nNo, there was no time to wander around further. Nort had to get Cylest's pin from the statue's pocket and get out.\n\n> Exits\nAlthough the exits led in all directions, Nort had already located what he came for and had no further need to wander around. The only exit Nort had already traveled lay west.\n\n> You enter the case\nNo, Nort recognized the glowing auras for the security spells that they were. Not only did they protect the artifacts, but they also triggered an alarm when intersected. The mages were very thorough.\n\n> You examine the orb\nPerfectly round, about the size of a large walnut. The small globe was smooth and Nort could see his distorted expression in it. This was anti-magik, he knew, and it could be used just once. When he threw it, all magik in a small diameter would disappear, the globe included.\n\n> You throw the orb\nDropped.\n\n> You throw the orb at case\nNortoche threw the orb at the glass case as hard as he could. Momentarily, the museum was illuminated by a bright shower of sparks as the orb met the surrounding blue aura.\n\nThe blue energy dissipated into nothing.\n\n> Open case\nNortoche opened the glass case.\n\n> You enter the case\nNortoche got into the glass case.\n\n> You look at Statue\nNortoche looked at the statue in wonder. The smooth jaw bone, the tapered nose... he could see the detail for which this statue was famous. The realism was phenomenal. Nortoche looked into the unfocused eyes... even the ring around the iris was distinctive and clearly visible after all these thousands of years. It was amazing that any sculptor could...\n\nNortoche frowned. For an instant, he could have sworn that the statue had blinked. Silly, he thought. Alone in this dark, closed museum, his mind was playing...\n\nNo. There it was again... It WAS moving! Panic instantly welled up inside of Nortoche as the statue exhaled. The myths were true! This dark mage from ancient times had awakened! He would devour the children and enslave the world killing all who displeased him! He would destroy all in his path, and Nortoche was just inches from his face!\n\nFear griped Nortoche and he cried out in a fanatical scream, \"Mercy!\" But at this the dark mage only took notice of him, his eyes focusing for the first time in millennia. \"Don't kill me!\" he cried. \"Don't kill me!\" Nortoche leaped away from the mage in a frenzy and smashed into the casing which surrounded him. He fell to the floor as the glass shards rained down.\n\nHis life was over, Nortoche knew. He would never again see Cylest. He would never again walk through the bazaar with his peers. He had only seconds before his life came to an end, moments before the dark mage's wrath came upon him.\n\nAnd it came with a blinding flash.\nThere was a flash of light. I didn't see it directly since my eyes were squeezed shut, but the light was so bright that it penetrated my eyelids and I felt the pulse on my skin. When I opened my eyes the boy was gone. \"Hello?\" I called. There was no response.\n\nI ran my fingers through my hair, trying my best to brush out the tiny shards of glass, then I looked around me, taking in my surroundings.\n\nMuseum, Statue Exhibit\nI could see glass cases in every direction. This was obviously a closed museum, although this particular section seemed to have showcased only one exhibit. From the remains of the glass case that I stood in, I suspected that I had been that exhibit.\n\nSeveral paths had been blocked off by beams of yellow light. The only exit not barred by light lay west.\n\n> Inventory\nI was carrying:\na Petrian device\nmy ID badge\na white lab coat (being worn)\na coffee mug\n\n> You open door\nThe museum door was seemed to be locked.\n\n> You unlock door\n[What do you want to unlock the museum door with?]\n\n> You go to the west\n(first taking the west wall)\nThe west wall was not available.\n\n> Go west\nThat way was barred by a floating beam of light. The only exits not barred by light lay south, east, and southeast.\n\n> You go southeast\nMuseum, Art Exhibit\nThe exhibits in this room were all of an artistic nature. Ancient sculptures stood proudly erect upon elegant marble pedestals. Colorful oil paintings adorned the walls. Sprawling across the ceiling was a vast and expansive mural, a lasting memorial to a long dead master painter of exquisite skill. In the corner, seemingly out of place yet encased in glass, was an assortment of rubbish arranged in a bizarre fashion.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay northwest and southeast.\n\nA glowing blue field of light surrounded the glass case.\n\n> Go southeast\nMuseum, Industrial Exhibit\nManufactured paraphernalia bejeweled the brushed metal walls. A plethora of ancient metallurgical tools and gear fed the industrial motif of this section. The central artifact, encased within glass was a large box-shaped machine.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay northwest and southeast.\n\nA glowing blue field of light surrounded the glass case.\n\n> Go southeast\nMuseum, War Exhibit\nAncient weapons adorned the walls. The metallic gleam in the dim lighting furthered an ambiance of war and desolation. The single glass case, centered in this section, contained a large, box-like device the purpose of which was mysteriously non-obvious.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay west and northwest.\n\nA glowing blue field of light surrounded the glass case.\n\n> Go west\nMuseum, Peace Exhibit\nThis was a peaceful, organic section of the museum. Potted plants rested in every corner and climbing ivy worked its way over various crevices and ledges giving a warm, natural feeling. The Northern wall was made up of sections of glass, providing a scenic view of the gardens outside. The loWest section was actually a window with a handle that could be opened. A glass display case containing an open book was featured in this area. An engraved silver plaque on the case glistened in the dim luminosity.\n\nSeveral paths had been blocked off by beams of yellow light. The only exit not barred by light lay east.\n\nA glowing blue field of light surrounded the glass case.\n\n> You read Book\nI looked at the pages of the open book. Through the glass casing I could make out snatches of text, but most of it was faded or smeared beyond recognition. What I could make out was in English. It seemed to be a historical text, though I couldn't be certain. It could just as well have been a work of fiction:\n\n\"...a new weapon unlike any nation had seen before. It held vast, destructive power, and when the destruction was unleashed, it brought about not only the end of the Great War, but desolation...\"\n\n\"...changed forever was the world...\"\n\n\"...power permeated all matter on the atomic level and bonded with it. Matter became subject to the whim of those few that could bend the power according to their will; a new aristocracy came about...\"\n\n\"...old magic of science was forgotten, replaced by the coming of the new magic brought about by the permeation. Science dwindled, all but lost. The world rearranged itself at the commandments of the wyzurds...\"\n\n> You examine the plaque\nIt was a copper plaque, sharply engraved with a fair amount of text.\n\n> You read the plaque\nI looked closely at the text. It was incomprehensible, obviously a language, but containing characters that I had never seen before, in English or any other language I had studied.\n\n> Open case\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nI opened the glass case.\n\n> You take Book\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nA small edge of the ancient book broke off in my finger tips. It was just too brittle to touch.\n\n> You open the panel\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe glass case was not open.\n\n> You open the panel\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe rusted panel creaked opened revealing a compartment. It was divided into three sections. Within two were batteries leaving room for one more.\n\n> You take Device\n(the large machine)\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe large machine was hardly portable.\n\n> You look in pocket\nIn the pocket was a promise pin.\n\n> You examine the pin\nA pin with a faintly luminous blue stone which glowed ever so faintly. It was small, but its considerable value was obvious. I looked at the pin, trying to place it. It was of a very strange design and I was fairly sure that I had never seen it before, but doubt lingered. Perhaps it was Karen's. Some piece of exotic jewlery that had somehow worked its way into the pocket of my labcoat. Strange that I would discover it now, possibly thousands of years after her death.\n\n> You take the junk\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe junk art scene was hardly portable.\n\n> You examine the junk\nIt was junk art -- a little scene fashioned by welding together discarded pieces of machinery. This scene seemed to depict a man (or was it a frog?) sitting at the base of a strange, metallic river holding an umbrella over his head.\n\n> You take the umbrella\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nI pulled gently on the umbrella. It came free with a soft metallic sound.\n\n> You take the man\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe little man was not significant. (It is not necessary to refer to it in the course of this game.)\n\n> You look at the river\nThe river was contrived from a series of hundreds of washers, several rows across, arranged in such a way as to suggest movement. I wondered at the effort the artist had put into the alignment of these washers. Surely they could not all be so firmly affixed.\n\n> You take the washer\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThere was a whole river of washers to choose from.\n\n> You search river\nI ran my hand along the rows of washers and heard a metallic clinking sound. One of the washers seemed to be loose; perhaps the welding that kept it in place had weakened over time.\n\n> You take the washer\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nTaken.\n\n> You look at the umbrella\nIt was a small satellite dish, about the size of a large bowl. What it was originally designed for I could only guess at, but there was a small socket on the bottom where a plug of some kind could be inserted.\n\n> You look at Device\nIt was small, hand-sized, and if not scrutinized, it could easily have been mistaken for a portable stereo. What looked like a single headphone was actually an electrode which retracted automatically into the device when not being used. There was a dial, broken and spinning freely. There was also a small, red button used to initiate the process.\n\n> You examine the dial\nIf working, the dial would have adjusted how much energy was channeled into the subject. This translated exactly into how much time it would be eikonized in statue form. In this broken modal, the charge was not being regulated appropriately. The result was that the subject might be frozen as a statue for an hour or ten-thousand years. There was no way of knowing. It didn't matter. A hundred years, a thousand years -- there would be no difference. I sought only to leave this world and its constant reminders of my lost life, my lost love.\n\n> You open the panel\nThe glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nThe panel was spring loaded and opened with a click revealing a compartment. It was divided into two sections. Within one was a battery leaving room for one more.\n\n> You put the umbrella on the plug\nI plugged the satellite dish into the machine. It clicked into place.\n\n> You put the battery in the panel\n(the metallic cube in the panel)\nI put the metallic cube into the panel.\n\n> You put the washer in the funnel\nThe washer disappeared down the funnel. A light flickered on the box for a moment and there was a momentary grinding sound followed by a clink as it reappeared in the tray.\n\n> You look at the tray\nA simple metallic tray located at the bottom of the machine. From the looks of it, items dispensed from the machine ended up there. Several holes lined the bottom of the tray.\n\nIn the dispenser I could see a washer.\n\n> You examine it\nHaving been through the serration machine, there were now several notches equally spaced around the circumference. It was now more a gear than a washer.\n\nSeveral serrated groves line the washer.\n\n> You take all from the panel\n2 metallic cubes : The glowing blue energy tickled momentarily as I came in contact with it, but there was no resistance.\n\nRemoved.\n\n> You put the gear on the lower peg\nThe small gear slipped onto the peg perfectly and with a click, its teeth interlocked with the teeth of the upper two gears. A perfect fit.\n\n> You put the batteries in the panel\n2 metallic cubes : Done.\n\n> You enter the doorway\nThe hair on my arms and legs stood on end as I stepped through the fluid, plasmatic doorway and emerged into darkness.\nThe green mage surveyed the museum from the lobby. It was active, and bright. Mages from nearly every order wandered around performing incantations and collecting various pieces of information. Dunamei saw immediately that the ersatz mages had been included in the investigation.\n\nAnger flared within the green mage and showed plainly upon his face. It was an affront to bring the pseudo mages -- the \"siontysts\" -- into an investigation as delicate as this. They were not mages in any sense of the word. The All did not bend to their will. They were commoners seeking to be equal to mages, nothing more. Why the Overseer chose to back the King's decision and recognize them as a true order was beyond him. Their newly created order of silver was blasphemy. For a fleeting instant Dunamei considered turning all of the charlatans into slugs to make a point. Instead, he made a show of smoothing out wrinkles in his emerald robes while he took several deep, slow breaths to calm himself.\n\nTo the matter at hand then: the statue. The boy, Nortoche, had tripped a security spell after breaking into the museum. During questioning he had told a bizarre story of the ancient statue coming to life. It was a story that he continued to tell even after being subjected to truth spells. Highly improbable, but mages had been dispatched only to find that the ancient statue was indeed gone. None of the pieces to this puzzle fit together and there was disagreement between the investigating mages as to the true events.\n\nWell Dunamei would put an end to the doubt. He held his position as Principal Mage for good reason and he would uncover the fate of the statue. Perhaps the walls had something to say about it...\n\nThe museum lobby was large and spacious. There were delayed echoes of footsteps resounding from the lofty walls and vaulted ceiling which drew a direct contrast to the quiet calm of the rest of the museum. The building's large, decorative entrance lay open to the South.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\n> Inventory\nDunamei was carrying:\na robe (being worn)\n\n> You go east\nA pseudo mage made eye contact with Dunamei as he left. Dunamei grit his teeth and glared at the audacious little worm of a man.\n\nMuseum, Statue Exhibit\nThis was a prominent section of the museum, near the front entrance. It was home to the museum's -- no, the world's -- most prized archeological artifact, known by no other name than the \"ancient statue.\" Like all large artifacts in the museum, a glass case had been erected to house it. All that remained of the case was a collection of glass shards that littered the floor.\n\nSeveral paths had been blocked off by beams of yellow light. It was a minor spell, probably cast to preserve the crime scene by the museum's security mage once the break-in had been detected. The only exit not barred by light lay west.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\n> Spells\nHe had the following spells at his disposal:\nthespia (Communicate with the inanimate world about recent events) dysparsen (Dispell magik)\nfrerquoe (Cast fireball)\n\n> Thespia walls\n[Thespia can only be cast. No object for this spell need be specified.]\n\n> Thespia\nThe lighting dimmed and a foggy mist formed. Shapes coalesced in the vapor and appeared to solidify. The real world, in turn, became translucent and strangely dim...\n\nThe vision that formed was sharp and clear, as Dunamei expected it would be. Interesting things had happened here of late, things even the inanimate would find interesting.\n\nThe missing glass case formed. It contained the famous statue, frozen and lifeless as it had been for all of recorded history. After a few moments someone entered the room. It was Nortoche, whom had just been interviewed. Dunamei was extremely interested in what would happen next, the boy's story had been fantastic and implausible, yet spells had ensured that it was the truth as far as Nortoche believed. The mage fully expected to find some sign of trickery, perhaps an involvement of magik which the boy would not have recognized.\n\nNortoche pulled out a golden orb. Dunamei recognized it as a magikal artifact. They allowed even commoners to cast spells, but were extremely difficult to come by. Princess Cylest could perhaps come by one, as Nortoche had said, but for political reasons her involvement in this would simply disappear as the orb did when Nortoche threw it, dispelling the ward.\n\nThe mage watched closely, now, as the boy opened the glass case and entered it, wanting to miss nothing. But Dunamei saw no sign of magik as the boy looked into the statue's face. The spell responsible for turning the statue from a grey stone color to a pink fleshy color was not obvious. The mage rubbed his eyes as the boy smashed through the glass. What had happened?\nDunamei couldn't believe it. The ancient statue -- alive and mobile!\n\nWhat sort of spell could have done that?\n\nIt didn't surprise Dunamei in the lEast that the statue lived after being transformed into flesh, he had long suspected there was more to it than just the unclassified rock it was made from. What few spells could provide information about the statue suggested the presence of stone organs within the stone statue. What did surprise Dunamei was that someone had been successful at transforming it into flesh. Hundreds of mages from all the guilds had tried in vain to affect the statue in any way. It had stood, impervious to magik, since it had been found, millennia ago.\n\nThen came the security spell, triggered by the smashing of the glass case. It was a flash of light which transported all living creatures from the museum and secured a perimeter around the crime scene until the mages could investigate. When the flash faded, the boy was gone, transported to a holding cell, but the statue -- the man -- remained. Even in life, the statue remained impervious to magik. Dunamei was shaken by this revelation.\n\nAs he watched the statue walk -- without even a cramp after being frozen for thousands upon thousands of years -- Dunamei could only think of Noric the exiled. Was he behind this? What evil purpose could he accomplish with this? A minion that was resistant to the mages... Dunamei shivered.\n\nThe lighting brightened and the shapes faded as the mist vanished.\n\n> Go west\nThe museum lobby was large and spacious. There were delayed echoes of footsteps resounding from the lofty walls and vaulted ceiling which drew a direct contrast to the quiet calm of the rest of the museum. The building's large, decorative entrance lay open to the South.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\n> Thespia\nDunamei cast the spell, but nothing happened. The inanimate world had nothing of interest to recount at that location, it seemed.\n\n> You go to the south-east\nMuseum, Art Exhibit\nThe exhibits in this room were all of an artistic nature. Ancient sculptures stood proudly erect upon elegant marble pedestals. Colorful oil paintings adorned the walls. Sprawling across the ceiling was a vast and expansive mural, a lasting memorial to a long dead master painter of exquisite skill. In the corner, seemingly out of place yet encased in glass, was an assortment of rubbish arranged in a bizarre fashion.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay northwest and southeast.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\nA glowing blue field of light surrounded the glass case.\n\n> Thespia\nThe lighting dimmed and a foggy mist formed. Shapes coalesced in the vapor and appeared to solidify. The real world, in turn, became translucent and strangely dim...\n\nThe vision was incomplete, depicting only the man leaving the room. He seemed to be carrying an ancient bowl.\n\nDunamei shook his head. The \"evil mage\" as he was depicted in so many children stories seemed to know what he was doing with these ancient artifacts. What other lost knowledge did he know?\n\nThe lighting brightened and the shapes faded as the mist vanished.\n\n> Go southeast\nMuseum, Industrial Exhibit\nManufactured paraphernalia bejeweled the brushed metal walls. A plethora of ancient metallurgical tools and gear fed the industrial motif of this section. The central artifact, encased within glass was a large box-shaped machine.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay northwest and southeast.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\nA glowing blue field of light surrounded the glass case.\n\n> Thespia\nThe lighting dimmed and a foggy mist formed. Shapes coalesced in the vapor and appeared to solidify. The real world, in turn, became translucent and strangely dim...\n\nThe glass case was open and the awakened statue worked on the artifact, completely unaffected by the glowing blue ward.\n\nWhat lost magik did this ancient mage wield? Could he be in league with Noric? Did he play some part in Noric's plans? Perhaps. No intelligence had been gathered about Noric's latest works, and many spies had lost their lives while attempting to find out. All indications were that it was a perversion of the arts, something unspeakable, something to be feared, and something that had never been done before. Awakening the ancient statue had certainly never been done before, but hardly seemed perverse. Perhaps it was only part of Noric's larger plan.\n\nSomething had happened in the scene, what was it? Dunamei had almost missed it, lost in his own thoughts. The statue mage had put items in and retrieved items from the ancient artifact. Dunamei shook his head in wonder. These visions of the past did nothing to clear up what had happened.\n\nThe lighting brightened and the shapes faded as the mist vanished.\n\n> You go to the south-east\nMuseum, War Exhibit\nAncient weapons adorned the walls. The metallic gleam in the dim lighting furthered an ambiance of war and desolation. The single glass case, centered in this section, contained a large, box-like device the purpose of which was mysteriously non-obvious.\n\nSeveral paths had been blocked off by beams of yellow light. The only exits not barred by light lay west and northwest.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\nA glowing blue field of light surrounded the glass case.\n\n> Thespia\nThe lighting dimmed and a foggy mist formed. Shapes coalesced in the vapor and appeared to solidify. The real world, in turn, became translucent and strangely dim...\n\nThe statue made flesh walked into the room, unaware of Dunamei and the present world, which had faded visibly. He walked purposely over to the case, surrounded by the glowing blue aura, the protection ward. He opened the glass case, passing through the ward effortlessly, then reached in and opened the panel on the contained artifact, something the siontysts claimed endowed the ancient's with great power. They called it a \"kompeutre,\" a type of \"ma-sheen.\" Dunamei always considered the talk rubbish, an attempt to elevate commoners to equality with true mages. He ground his teeth at the their impudence.\n\nThere was disruption in the vision, like the blowing of vapor. It reformed, but differently. The man had split into three or four duplicates of himself, but Dunamei recognized it as a nuance of the Thespia spell (the inanimate had little understanding of linear time, and often replayed separate, closely related events simultaneously). Each of the statue doppelgangers seemed to be attaching items to the artifact in the display glass, sometimes overlapping each other like spirits. Dunamei had difficulty following what was happening. Then the duplicates united again and for just a moment, the man stood there clear as day working in some un-guessable fashion on the artifact.\n\nThen the doorway appeared and Dunamei jumped. A collective gasp came from the mages and the pseudo-mages alike. The man had spoken no incantations. He had cast no spells. He had simply worked the \"kompeutre\" and the spell had been cast. Dunamei frowned. This was a disappointment. It could only serve to feed the growing insurrection of the siontysts. It could only reinforce their demands for equality. They were an enigma, these commoners who presumed themselves equal to the mages.\n\nThe lighting brightened and the shapes faded as the mist vanished.\n\n> You go west\nA pseudo mage made eye contact with Dunamei as he left. Dunamei grit his teeth and glared at the audacious little worm of a man.\n\nMuseum, Peace Exhibit\nThis was a peaceful, organic section of the museum. Potted plants rested in every corner and climbing ivy worked its way over various crevices and ledges giving a warm, natural feeling. The Northern wall was made up of sections of glass, providing a scenic view of the gardens outside. The loWest section was actually a window with a handle that could be opened. A glass display case containing an open book was featured in this area. An engraved silver plaque on the case glistened in the dim luminosity.\n\nSeveral paths had been blocked off by beams of yellow light. The only exit not barred by light lay east.\n\nNumerous other mages were here, busily performing various castings in their uncoordinated investigations.\n\nA glowing blue field of light surrounded the glass case.\n\nThe air crackled with energy and a sharp and sudden breeze swept the room. A single silvery door appeared. It shimmered and wavered in the air for an instant then solidified. The Principal Mage recognized the Thurais spell and frowned. This could not be good. Thurais was a complex casting that opened a doorway between two locations. The burden upon the caster increased exponentially as a function of distance so the cost usually outweighed the benefit. It was used only in the direst of circumstances.\n\nA messenger mage, clad in a scarlet robe, stepped from the door making the required, continuous gestures to keep the door open. He looked to Dunamei at once. \"My lord,\" he began. \"The council has urgent need of you. There has been an occurrence.\" The red mage paused, lost for a moment in concentration on his gestures, and then continued in a soft, secretive manner. \"It concerns Limech,\" he whispered.\n\nA prickle went up Dunamei's neck. Limech had been a friend, if mages could have friends, and a fellow member of the green order. He had been Darisia's last mole in Noric's faction, the one remaining spy. News had come of something building. Noric the Dark had apparently made a breakthrough in his forbidden works, something big. The hope of the council had been upon Limech's intelligence as to the nature of Noric's new, evil casting. Instead, they had received Limech's heart, cut from his body. Dunamei had delivered the news of Limech's demise to his widow. Her pathetic, sobbing cries continued to haunt him weeks later.\n\n> Thespia\nThe lighting dimmed and a foggy mist formed. Shapes coalesced in the vapor and appeared to solidify. The real world, in turn, became translucent and strangely dim...\n\nThrough the window crawled a dark figure. As the figure stood and stepped into the light, Dunamei recognized the boy, Nortoche. Events had certainly seemed to play out as he had described them, the protection ward had been missing from the window. Dunamei suspected that Princess Cylest truly was involved, as the boy had claimed. Of course there would be no mention of that when this was made public. Nortoche had a history of trouble and would be held solely responsible for this break-in. It was always so when royalty's indiscretions came to light.\n\nThe lighting brightened and the shapes faded as the mist vanished.\n\n> You look at the door\nThe frameless doorway floated in mid-air, a shimmering silver glow. Dunamei recognized it as the Thurais spell. It was an impressive casting, beyond all but the most advanced of mages. Dunamei knew intimately of its intricacies and the toll it took upon the caster's power. It was used only in the most urgent of circumstances.\n\nAs he pondered it, Dunamei's mind was drawn to the Thespia images. The awakened statue had cast a similar spell, seemingly based upon principles of the ersatz mages, the \"siontysts.\" Dunamei grit his teeth in disgust.\n\nSweat dripped from the Messenger Mage's forehead.\n\n> You enter door\nDunamei closed his eyes tightly and braced himself for the predictable tingling as he stepped into the silver spell. As he passed through it, the Thurais casting overwhelmed his tactile senses with prickling sensations over his entire body. The pins and needles subsided as he stepped out on the other side of the door. It was substantially warmer in this new location than in the museum and the floral scent in his nose told the mage immediately that he was outside. Dunamei opened his eyes and looked around to get his bearings. He was in the outskirts of Darisia which bordered the Eastern wastelands.\n\nBehind him he could feel the Thurais spell intensify as the messenger mage followed him through. The doorway vanished then, taking with it most of the light to see by. \"The rest of the council awaits you this way, my lord.\" The envoy's voice quivered slightly as he wandered off to the East.\n\nThis was a dark copse of trees near the edge of Darisia. Little was visible, but a small trail led Eastward. Line of sight was obscured by trees, but a commotion of voices indicated a sizable gathering in that direction.\n\n> You go east\nDunamei stepped into a small clearing next to the iron fence. It was illuminated by some minor casting. The entire council was there already, obscuring what they crowded around. Nearest to Dunamei was Caulor the brown, his face pale and disturbed. He gnawed reflexively at his fingernails and sweat beaded across his pudgy brow. Caulor's empty, horrified eyes met the Principal Mage's. Several seconds passed before recognition was reflected in his expression. There was no smile, no nod from his friend. Caulor simply stepped back giving Dunamei room. The other mages, faces drained and vacant, did the same revealing a scene which both repulsed and horrified the green mage.\n\nIt was Limech, rotting and decomposed yet standing before them, a mocking affront to Death. He seemed not to take notice of the trembling, imperial guard who held him at sword point.\n\n\"My lord,\" croaked the undead mage, seeing him. Limech took a hobbling step forward. The mages, all save Dunamei, recoiled. Taudorn retreated to the tree line and doubled over, vomiting. The other mages also withdrew then, most retching, leaving the lone commoner guard. Even Bremech the grey, Dunamei noted to himself with delight, bore a pale, sickly hue. The stench of decay waft across Dunamei's nostrils, turning his stomach, but the Principal Mage stood his ground staunchly before his dead friend.\n\nFringe of Darisia, behind gates\nIt was the line between hell and paradise. On this side, aided by mage works, the land gave forth grass and trees, life in abundance. But just to the East, on the other side of the ancient iron fence, was a barren wasteland. The Thanatos desert stretched as far as the eye could see. Those banished by the council were sent out into the desert to die by the elements. No creature could survive there, no life whatsoever, or so it was once thought, before Noric.\n\nLimech the undead mage stood there, decay-ridden and held at sword point by an imperial guard.\n\n\"My lord,\" hissed the rotting mage. \"It is I, Limech.\" There was a note of anguish in his voice, as if every moment of his lifeless existence was agony. \"I bear news from the dark one.\" Upon his chest, Dunamei saw the clumsy suture of twine and remembered the heart the courier bird had delivered to the council weeks ago. Attached had been a note scrawled in blood indicating the heart had belonged to Limech. Dunamei had little doubt that it had indeed.\n\n\"You are NOT Lord Limech!\" shouted the wide-eyed soldier, hysteria cracking his voice. \"You are a vile imposter! A profanity!\" The long sword quivered in the guard's grip but it remained erect, pointed at the dead mage's torso. \"Say the word, Lord Dunamei and I will slay this wicked devil!\" Dunamei appraised the soldier for a moment, impressed. He was rightfully terrified, yet this commoner had remained when even mages fled. He thought for a moment, trying to recall the guard's name... Cedreght. Yes, that was it, Cedreght. Dunamei had a new appreciation for this imperial soldier.\n\n> Ms.\n...[MSpk] 213\n\n> You ask Limech about Noric\n\"And what news of Norioure do you bring, mage Limech?\" The animated corpse smiled toothlessly at Dunamei's reference to his mage status and his lip split up to his nostril. Dunamei suppressed a shudder. He could not blot out the memory of the last time he had seen Limech. The mage had been promising. Young and strong, teeming with pink life and energy... it was a striking contrast to the green pallor of his rotting skin now.\n\n\"The dark master...\" a chill went up Dunamei's spine at the hoarse words. There was no doubt that Noric was indeed Limech's master now. \"He is raising...\" Limech hunched over here, seized by a fit of coughing. It was a deep, wheezing cough and when it subsided green mucus oozed from Limech's nose and crusted, broken lips. It dripped off of his chin. \"He raises an army.\"\n\nRaises indeed, Dunamei thought to himself.\n\n> You ask Limech about the army\n\"Tell me of this army,\" said Dunamei. \"How large is it?\"\n\nLimech did not answer at first. His empty unfocused eyes stared at nothing. Dunamei looked to see that one of the eyes was twitching spasmodically. He stared at it, a morbid curiosity seizing him. \"He raises them all,\" rasped the dead man. Dunamei froze in place, unable to look away as the vibrating eye was pushed aside by a large, oversized maggot. \"All who have died in the wars past are his, now.\" Limech continued in a hoarse whisper, taking no notice as the worm fell from his eye and disappeared into the foliage.\n\n> You examine Limech\nDunamei looked into the rotting face of his old friend. Black fluid dripped out of the corners of his crusted maw. His chest exposed a crude surgical gash, sewn back together with thick rope or twine. The stench of death was strong.\n\n> You examine Cedreght\nDressed in imperial armor, Cedreght was the finest example of a royal soldier.\n\n> You kill Limech\nThe lifeless spy was in agony. Limech had been a good mage and deserved better. It was an atrocity and needed to be corrected. Dunamei looked meaningfully at soldier and nodded. \"Kill him,\" he ordered.\n\nThe guard hesitated, assessing the dead mage who ignored him entirely. Then he thrust his broadsword into Limech's side. The zombie didn't even flinch. Cedreght pulled his sword free and stepped back, shaken by how little Limech had been affected by his attack. The broadsword was covered to the hilt in black ooze.\n\nCedreght cast a disturbed glace at Dunamei, awaiting further instructions.\n\n> You remove the heart\nCedreght has better things to do.\n\n> Spells\nDunamei had the following spells at his disposal:\nthespia (Communicate with the inanimate world about recent events) dysparsen (Dispell magik)\nfrerquoe (Cast fireball)\n\n> Dysparsen limech\nDunamei mouthed the incantation and cast the dysparsen spell upon Limech. For a moment there was a visible reaction to the casting, as though the two spells were competing for dominance. Then the spell's potency left, leaving Limech the undead still undead.\n\n> Frerquoe limech\nAccompanied by a single gesture, the word sizzled into existence as a blazing fireball which leapt from his finger to Limech.\n\nLimech deserves better than this atrocious waking death, Dunamei said to himself as the fireball spell enveloped the dead mage. The heat burned brightly for a moment cooking the rotten flesh, then subsided. Limech's blackened carcass fell crumbling to the ground.\n\nDunamei turned to face the Thanatos wasteland. \"Message received, Noric.\" He murmured softly. Then, \"Inform the Overseer,\" Dunamei commanded loudly to all hiding mages. \"I am certain he will convene the council.\" He turned then, without waiting for a response, and stalked down the path to Darisia.\nConrad the Dark was standing on the terrace watching Noric work far below in the volcanic basin.\n\nHe was simultaneously horrified and elated. It was appalling to think that Noric had accomplished it, a casting so unimaginably ghastly that it was beyond all the forbidden arts. Yet to watch him actually raise the dead as fast as the servants could bring them... It was exhilarating.\n\nThe courier arrived then, flapping its wings and hovering just out of reach. In its beak it held a folded piece of yellow parchment, news from the spies within the empire!\n\nLike most of Norioure, the city of the exiled mages, the terrace was carved directly from the stone of the mountain. This was Conrad's personal balcony and it provided a splendid view of Noric's dark castings far below at the chasm bottom. Drapes covered the doorway into Conrad's quarters to the South.\n\nA messenger bird, gripping a yellow parchment in its beak, hovered off the terrace edge, just out of arm's reach. Its wings were beating as rapidly as a bumblebee's.\n\n> Spells\nConrad had the following spell at his disposal:\nmaesmur (Mesmerize a creature)\n\n> Maesmur bird\nConrad spoke the word of power and make the appropriate gestures. The messenger bird's eyes glazed over as the casting came upon it.\n\nConrad had been interested in the actions of the newly undead and had watched them for many days. Many retained memories of life. Some even understood that they were no longer numbered among the living. All were in despair. They cried out, those that yet retained their voices.\n\n> You give the parchment to you\nThe bird stretched out its neck, trying to obey the command in its most literal form, but could not. Hu   mrv      c\n\n> You come\nThe messenger bird came to rest upon the ground.\n\n> You take the parchment\nThe parchment was held firmly in the beak of the messenger bird. The couriers were bred with beefy muscles to keep possession of their messages and would not allow them too simply be taken from them. It was instinct.\n\nCries of agony echoed up from the basin.\n\n> You drop the parchment\nDropped.\n\n> You take the parchment\nTaken.\n\nFor a moment, Conrad took notice of an animated corpse far below. It croaked indistinguishable cries of anguish. At first, it seemed to the mage that the undead man might be weeping but no, he was not. Decay had washed over his face some time ago, so how could he have been crying with no eyes?\n\n> You read it\nThe mage opened the parchment and looked at the three words it contained:\n\nIt took a moment for him to wrap his mind around the statement. It was uncanny. Conrad had been quick to dismiss the initial jumble of reports that the ancient statue had awakened, but now he had received confirmation. It was unbelievable. He furrowed his brow, trying to calculate any affect upon the plan. His eyes wandered to the proceedings below.\n\nConrad watched Noric's pale face fixed in a scowl of determination. He had worked tirelessly for weeks, breaking not even for sleep from his necromancy. There was little doubt that Noric had lost his mind; the madness shown unmistakably in his eyes. Each casting seemed to take a toll upon Noric's lucidity, as though each new zombie required a sacrifice of sanity; but what Noric had achieved!\n\nConrad admired the moving mass of the risen decaying, the mementos of countless wars with Darisia brought forth to do Noric's bidding. It was a massive army that stretched as far as he could see. The power of this military force was immeasurable, the risen soldiers were innumerable. No, he decided at once. It didn't matter that the ancient statue had awoken. Nothing could protect Darisia from this army of rot. Soon the empire would fall and Darisia would see the triumphant return of the exiled mages!\nCongratulations! You've just completed the first six chapters of \"The Mage Wars: Statue.\" Look for the completed game sometime before March 2004!"
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, satire, baking, sidekick NPC, culinary theme, rpg, fantasy]\n\n]  Shireton Bakery                                      0/1\n\nSometimes you dream of adventure.\n\nSometimes you dream yourself as a crafty assassin or a dangerous spellcaster.\n\nOccasionally, you even have the fever dream of leading your armies into charge against a horde of undead lich sorceror kings under a violent purple and amber sky filled with lightning.\n\nMost days you squint that away and allow yourself a quick stretch before you get up in the predawn dusk to get the first batch of dough started.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry of Shireton. This is a magnificent location: Right off the Shireton Towne Square, which is one step to the north.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n[Author's Note: You are the Baker of Shireton. The bread you bake is delicious. Raiders are coming.]\n\n> About yourself\nYou are the Baker of Shireton.\n\n> You check your inventory\nYou have in current possession:\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n> You examine name\nIt's what you tell people when they ask your name.\n\n> You examine the job\nIt's what you tell people when they ask your job.\n\n> You remove the apron\nYou strip off the apron. Ah, now that is quite a bit cooler\nand more comfortable, if perhaps a bit indecent. Surely there is some sort of Board of Baking Safety santitation code about this. For the time being, you enjoy the breeze provided to your nether regions.\n\n> You wear the apron\nYou put on the apron.\n\n> You look at the counter\nA counter runs the length of the bakery, preventing the citizenry of Shireton from wandering back and incinerating themselves with the oven, or getting into your dough, or snooping in the back room. The display case currently contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\n> You examine the bell\nThat's for customers to ring for service when you're busy in the back room. It's made of silver and is inscribed RING FOR SERVICE\naround the circumfrence.\n\n> You ring bell\n\"Ting-a-Ling!\" goes the bell."
    },
    {
        "text": "> Look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> You examine table\nYour work table contains all the basic ingredients to bake bread for the citizenry of Shireton: a sack of flour, and a pump that provides clean well water.\n\nOn the work table are ten metal pans.\n\n> You make the dough\nSome flour, some water, some furious kneading by skilled baker's hands - and before you know it, you have a perfect ball of dough!\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n> You bake the bread\nYou open the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nYou close the oven.\n\n> You examine the oven\nThis oven is your livelihood, your baby, and your pride and joy. It is where you bake bread for all the citizenry of Shireton. It can bake up to five loaves of bread at the same time! The iron door is firmly shut. It keeps the heat in the oven at the perfect temperature to bake bread, but cannot in any way possibly contain the sweet, delicious aromas of baking.\n\n> You go to the north\nWhile you've wondered about the world outside your threshhold, and someday yearn to travel extensively and see the countryside, you aren't sure you can quite take that first step. It's almost like something unseen  is holding you back.\n\n> You drop the hat\n(first taking the baker's hat off)\nYou lift your hat just long enough to cool your brow, then affix it firmly back on your head.\n\n> You drop the apron\n(first taking the apron off)\nA strongly-imposed sense of modesty prevents you from doing so.\n\n> You look at the quest\nYou really could use some barleycorn to make delicious barleycorn bread. Too bad the approaching raiders have cut off all supply channels.\n\n> Go north\nWhile you've wondered about the world outside your threshhold, and someday yearn to travel extensively and see the countryside, you aren't sure you can quite take that first step. It's almost like something unseen (or lack of something) is holding you back.\n\n> You remove the apron\nA strongly-imposed sense of modesty prevents you from doing so.\n\n> You make the dough\nSome flour, some water, some furious kneading by skilled baker's hands - and before you know it, you have a perfect ball of dough!\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n> You bake the bread\nYou open the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nYou close the oven.\n\n> Smell\nIt smells like the bakery: fresh linen, oak furnishings, baker's yeast, and the occasional whiff of nutmeg. You're not sure where the nutmeg comes from, since you haven't used nutmeg in nearly a year.\n\n> You make the dough\nYou furiously knead a ball of dough into the perfect elasticity.\n\nYou shape the dough into a loaf and lay it snugly in a pan. You give it a jaunty slap: Silky as a baby's skin.\n\n> You bake bread\nYou open the oven. Inside you see:\nan unrisen dough\n\nYou put the pan of unrisen dough into the oven.\n\nYou close the oven.\n\n> You wait awhile\nNothing done.\n\n> You make the dough\nYou skillfully create a ball of dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n> You examine the pan\nIn the metal pan is an unrisen dough.\n\n> You bake the bread\nYou open the oven. Inside you see:\nan unrisen dough\na rock hard biscuit\n\nYou put the pan of unrisen dough into the oven.\n\nYou close the oven.\n\n> You examine the curtain\nA blue curtain hangs over the door to the back room behind the counter. Assumedly, that's where you are when you're not in the bakery.\n\n> You open the curtain\nYou open the blue curtain."
    },
    {
        "text": "[Themes: Fantasy, sidekick NPC, culinary theme, fantasy]\n\n> You look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are seven metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\nan unrisen dough\na rock hard biscuit\na hot rock hard biscuit\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You take the bread\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You give the bread to the moss robed\nYou nod to the moss robed citizen, whom you recognize as the Senator of Shireton.\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the moss robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe moss robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give bread to the yellow robed\nYou nod to the yellow robed citizen, whom you recognize as the Seamstress of Shireton.\n(first taking the hot rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the yellow robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe yellow robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\nThe green robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou create a ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> Exit\nYou open the blue checked curtain.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a pan of unrisen dough and eight metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a green robed citizen here.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You check what you're carrying\nYou have in current possession:\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You look at the box\nYou got this magical strong box from a wizard. It's magic because nobody, even you, can open it. But, there is a narrow slot\non the top through which you can insert the coins you earn from selling bread to the citizenry of Shireton. That way nobody can steal your money and make off with it!\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You look in the oven\nIn the oven is a pan of unrisen dough.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\n> You examine the oven\nThis oven is your livelihood, your baby, and your pride and joy. It is where you bake bread for all the citizenry of Shireton. It can bake up to five loaves of bread at the same time! The iron door is firmly shut. It keeps the heat in the oven at the perfect temperature to bake bread, but cannot in any way possibly contain the sweet, delicious aromas of baking.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\n> You look in the oven\nYour X-Ray vision stat is not high enough yet.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\n> You open the oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You take the biscuit\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the rock hard biscuit on the work table.\n\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You put the dough in the oven\n(first taking the pan of sour dough)\nYou put the pan of sour dough into the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"The Bread is Life\nThe Bread is Art\nI bake my Bread\nStraight from the Heart!\"\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of sourdough bread\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You take the loaf\nWhich do you mean, the delicious hot loaf of sourdough bread or the rock hard biscuit?\n\n> Delicious\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give it to the robed\nYou nod to the green robed citizen, whom you recognize as the Watchmaker of Shireton.\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the green robed citizen.\n\n\"Delicious!\" proclaims the green robed citizen, and yet another copper clinks into your tip jar.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n> Inventory\nYou have in current possession:\ntwo copper coins\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n> You look at the coin\nIt's one copper. Real Shireton currency. The visage of the King has been nearly worn off, but you recognize the noble arch of his nose, the most prominent feature of the likeness.\n\n> You put two coin in the box\ncopper coin: Clink!\nThe copper coin lands in the box with all the rest of them.\ncopper coin: Clink!\n\n> You examine the tip jar\nIn the tip jar is a copper coin.\n\nIt's glued to the counter with magic indestructable glue. Nobody's going to steal your magic tip jar.\n\n> You take the coin\nTaken.\n\n> You put it in the box\nClink!\n\n> You enter the backroom\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of nine balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, nineteen rock hard biscuits, a haze of acrid smoke, an aroma, forty-seven copper coins and a cursed pickle are both here and not here.\n\nYou can see a blue checked curtain here.\n\n> You examine the curtain\nThe blue checked curtain is open.\n\n> You close it\nYou close the blue checked curtain.\n\n> Leave\nYou open the blue checked curtain.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are nine metal pans, a rock hard biscuit and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nAvailable for sale:\na rock hard biscuit.\n\n> You take the flour\nThe sack of flour is magical. And endless. And bigger than you can carry. You don't need the whole bag just to MAKE DOUGH.\n\n> You put the flour in pan\n(first taking the endless sack of flour)\nThe sack of flour is magical. And endless. And bigger than you can carry.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature. You give it a jaunty slap: Pale as a schoolmarm's buttock.\n\n> You eat the biscuit\nYou'd never get your teeth into that. It's practically a doorstop.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n> Continue\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n> Continue\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n> Continue\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n> You open the oven\nYou open the oven.\n\nHeat blasts from the open oven into the bakery.\n\n> You put the dough in the oven\n(first taking the pan of risen dough)\nYou put the pan of risen dough into the oven.\n\nHeat blasts from the open oven into the bakery.\n\n> Continue\n(first taking the pan of risen dough)\nYou put the pan of risen dough into the oven.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> Continue\n(first taking the pan of sour dough)\nYou put the pan of sour dough into the oven.\n\nHeat blasts from the open oven into the bakery.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"MAKE some DOUGH\nDo it AGAIN\nRepeat that step\nTill I have ten!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na delicious hot loaf of sourdough bread\n\nBob the Hobo arrives from the north.\n\n\"Feed the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You look at the quest\nWhich do you mean, a hot loaf of wheat bread or the delicious hot loaf of sourdough bread?\n\nYou really could use some barleycorn to make delicious barleycorn bread. Too bad the approaching raiders have cut off all supply channels.\n\nThe green robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Optometrist of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the hot wheat loaf to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the hot loaf of wheat bread)\n\"Ah, many blessings upon ye're establishmen',\" invokes Bob the Hobo. The hobo tears into the hot loaf of wheat bread with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\nYou move the empty pans from the oven to the work table.\n\nThe purple robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You take all from the oven\nhot loaf of wheat bread: Taken.\ndelicious hot loaf of sourdough bread: Taken.\nhot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give sourdough to the purple\nYou nod to the purple robed citizen, whom you recognize as the Doctor of Shireton.\n(first taking the delicious hot loaf of sourdough bread)\nFirst putting down four metal pans.\n\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the purple robed citizen.\n\n\"Mmmm, and still warm!\" exclaims the purple robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the purple robed citizen, and yet another copper clinks into your tip jar.\n\nThe purple robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nBob the Hobo arrives from the north.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the wheat to the yellow\nYou nod to the yellow robed citizen, whom you recognize as the Village Idiot of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the yellow robed citizen.\n\nThe yellow robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the wheat to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the loaf of wheat bread)\n\"Ah, another loaf of bread,\" invokes Bob the Hobo. The hobo tears into the loaf of wheat bread with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> Inventory\nYou have in current possession:\na loaf of wheat bread\nthree copper coins\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the wheat to the yellow\nYou nod to the yellow robed citizen, whom you recognize as the Doctor of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the yellow robed citizen.\n\nThe yellow robed citizen goes north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You put four coin in the box\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\nHeat blasts from the open oven into the bakery.\n\ndoug2008 arrives from the north.\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n[2:57 pm:3|861160]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n[2:57 pm:15|193852]  doug2008 : Name?\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Then I TAKE ALL RISEN DOUGH\nAnd SING the SONG to pass the hour\nI BAKE the BREAD I have in hand\nAnd leave the rest to wonderfully sour!\"\n\n[2:57 pm:18|240777]  doug2008 : Name?\n\n> You open the oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n[2:57 pm:26|536354]  doug2008 : A/S/L?\n\nHeat blasts from the open oven into the bakery.\n\n> You take the biscuit\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n[2:57 pm:30|740386]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You give the name to the doug\nYou turn toward the human fighter who has been perusing the bakery. \"Why, I'm the Baker of Shireton!\" you say.\n\n[2:57 pm:38|183535]  doug2008 : Anyone here from milwaukee?\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n[2:57 pm:52|98120]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\n[2:57 pm:52|101642]  doug2008 : Anyone reading this?\n\n> You give the quest to the doug\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nQuest Refused.\n\n[2:58 pm:4|900780]  doug2008 : Job?\n\n[2:58 pm:4|902749]  Kateri: WTS   20 Demonic Dominos\n[2:58 pm:4|902919]  DPinaTP: Any CANADA in'na house???\n\n[2:58 pm:4|902995]  80Daze: BEST OFFER FOR  Mysterious Shield of the Infuriating Mud\n\n> You look at the doug\ndoug2008 appears to be a humanoid human fighter.\n\n[2:59 pm:6|44223]  doug2008 : Job?\n\n> You give the job to the doug\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n[2:59 pm:14|570357]  doug2008 : hellooooooo?\n\n> You give the biscuit to the doug\nYou have offered barter to doug2008!\nYou offer: a rock hard biscuit.\ndoug2008 offers: 4 copper.\nDo you accept?\n\n> Yes\nYou received 4 copper coins.\n\n[2:59 pm:43|494846]  doug2008 : Quest?\n\n[2:59 pm:43|499006]  doug2008 : a;slkdfja;sdlkfja;sdlkfjasdf\n\n> You put four coin in the box\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\n[2:59 pm:51|173989]  doug2008 : Quest?\n\nLegolas31 arrives from the north.\n\n> You give Quest to the doug\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\ndoug2008 accepted your quest!\n\ndoug2008 goes north.\n\n[3:00 pm:2|706680]  Legolas31 : Name?\n\n> You look at Quest\nYou really could use some barleycorn to make delicious barleycorn bread. Too bad the approaching raiders have cut off all supply channels.\n\n> You give the name to the legolas\nYou turn toward the elvish ranger/archer person who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n[3:00 pm:21|403881]  Legolas31 : Job?\n\n> You give the job to the legolas\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\ndoug2008 arrives from the north.\n\n[3:00 pm:27|789102]  Legolas31 : Quest?\n\nshmokey420 arrives from the north.\n\n> You give Quest to the legolas\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nLegolas31 accepted your quest!\n\nLegolas31 goes north.\n\ndoug2008 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\ndoug2008 receives 3 copper coins for their effort!\n\n[3:00 pm:35|585950]  shmokey420 : WTS 10 Feral Beast Potion 20cp OBO.\n\n[3:00 pm:35|588695]  shmokey420 : WTS crafted Hookah of Ancient Memory 30cp.\n\n> You look at the barleycorn\nIt seems to be a handful of barleycorn, and it's rather handful of barleycorn-shaped and sized, with a distinctly handful of barleycorn-esque styling and vibe to it.\n\n> You examine Quest\nYou really could use some barleycorn to make delicious barleycorn bread. Too bad the approaching raiders have cut off all supply channels.\n\n[3:01 pm:50|217351]  shmokey420 : Name?\n\n[3:01 pm:50|220884]  shmokey420 : LFG Greedy Duke - anyone know how to win it?\n[3:01 pm:50|220967]  Legolas31 : I think Greedy Duke requires poison in food?\n[3:01 pm:50|221003]  Bri'anne Wayverlyn the CrystalSinger : I think he's got a taster and if he dies the jig is up.\n[3:01 pm:50|221643]  doug2008 : anyone know the hockey score?\n\n> You give the name to the shmokey\nYou turn toward the zargan pyromancer/alchemist who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\nLegolas31 arrives from the north.\n\n[3:02 pm:2|390094]  shmokey420 : Job?\n\n[3:02 pm:2|393625]  doug2008 : A/S/L?\n\nAnUUsSpOoPy69 arrives from the north.\n\n> You give the job to the shmokey\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\nLegolas31 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nLegolas31 receives 3 copper coins for their effort!\n\n[3:02 pm:17|355648]  AnUUsSpOoPy69 : Name?\n\n[3:02 pm:17|357396]  shmokey420 : Quest?\n\n[3:02 pm:17|361091]  Bri'anne Wayverlyn the CrystalSinger : Smokey - I'll trade you 50 Debased Mushrooms for your hookah.\n[3:02 pm:17|361212]  shmokey420 : Hahahahahaahaha.\n[3:02 pm:17|361495]  Legolas31 : /me strides ardently into the tiny bakeshop in this rocky mountain-locked hamlet of Shireton, whipping his cape around so none might guess his true identity.\n[3:02 pm:17|361977]  doug2008 : Anyone here from milwaukee?\n\nAnUUsSpOoPy69 goes north.\n\n> You give Quest to the shmokey\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nshmokey420 accepted your quest!\n\nshmokey420 goes north.\n\nMysticMegan95 arrives from the north.\n\n[3:02 pm:32|531196]  Bri'anne Wayverlyn the CrystalSinger : So who are you?\n[3:02 pm:32|531257]  Legolas31 : /me casts a dark pall over the interloper's psyche, \"I AM NO ONE\" he declares...\n[3:02 pm:32|531310]  Bri'anne Wayverlyn the CrystalSinger : Um, what? [3:02 pm:32|531772]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\n> Inventory\nYou have in current possession:\ntwo handfuls of barleycorn\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n[3:03 pm:8|583328]  MysticMegan95 : Name?\n\n[3:03 pm:8|586432]  Legolas31 : /me peruses the baked goods on sale in this ramshackle bakery, wondering if perhaps the baker holds secrets endemic to the noble quest at hand...\n\n> You give the name to the mysticmegan\nYou turn toward the dwarf hunter/fighter who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\nshmokey420 arrives from the north.\n\nMysticMegan95 examines an easily delegated quest closely, hoping to discover hidden clues.\n\nshmokey420 is checking the World Map.\n[3:03 pm:27|532331]  AnUUsSpOoPy69 : Are you for real, dude?\n[3:03 pm:27|532381]  Legolas31 : I AM REAL AS THE WINTER WIND, as real is the quarrel's bite into warm flesh, and the living trees that bramble in the woods.\n[3:03 pm:27|532872]  doug2008 : Anyone reading this?\n\n> You put the barleycorn in the dough\nYou work the barleycorn into the unrisen dough.\nThat will be tasty!\n\nMysticMegan95 zones out a bit, rummaging through her inventory screen.\n\nshmokey420 goes north.\n\n[3:03 pm:56|106818]  MysticMegan95 : Hey ranger, you know slash-me doesn't do anything in AoA chat, right?\n\ndoug2008 goes north.\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nThe oven is closed.\n\nshmokey420 arrives from the north.\n\n[3:04 pm:9|523320]  MysticMegan95 : Job?\n\n[3:04 pm:9|524541]  Goldie58: Need someone to run Ascension of the Sun [3:04 pm:9|524659]  Goldie58: Is there a way to stealth-kill G.D.?\n\nshmokey420 casts Divine Hallucination on himself.\nLegolas31 checks for secret doors...\n\n> You give the job to the mysticmegan\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\nshmokey420 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nshmokey420 receives 3 copper coins for their effort!\n\n[3:04 pm:20|817564]  MysticMegan95 : Quest?\n\nshmokey420 goes north.\n\nLegolas31 casts Call Woodland Creatures...\n\nThere is a brief stampede of rabbits and chipmunks into the door of the bakery, but without purpose, they quickly and harmlessly disperse.\n\n> You give Quest to the mysticmegan\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nMysticMegan95 accepted your quest!\n\nMysticMegan95 goes north.\n\n[3:04 pm:37|79215]  Legolas31 : /me decides to indulge himself in the humble Baker's wares, but not seeing any donuts, resolves never to think about it again.\n\n> You open the oven\nYou open the oven.\n\n> You put the dough in the oven\n(first taking the pan of sour dough)\nYou put the pan of sour dough into the oven.\n\nHeat blasts from the open oven into the bakery.\n\n[3:04 pm:52|569806]  Legolas31 : Name, Job, Quest, the Ranger thinks...wondering if there might be some sort of special idiomatic language spoken in this far corner of the world known as \"Shireton\"...\n\n> You close oven\nYou close the oven.\n\nLegolas31 goes north.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I SING the SONG\nThe bread is done\nDon't wait too long\nIt's incredibly fun!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nBri'anne Wayverlyn the CrystalSinger arrives from the north.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of sourdough bread\n\nThe Narvish Raider arrives from the north.\n\n[3:05 pm:11|493516]  Bri'anne Wayverlyn the CrystalSinger : Name?\n\nHeat blasts from the open oven into the bakery.\n\n> You take Bread\nWhich do you mean, the delicious hot loaf of sourdough bread, a loaf of wheat bread or the rock hard biscuit?\n\n> Delicious\nWhich do you mean, the delicious hot loaf of sourdough bread or the delicious loaf of wheat bread?\n\n> Hot\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\nMysticMegan95 arrives from the north.\n\nBri'anne Wayverlyn the CrystalSinger moves about the bakery, taking in all the sights.\n\nHeat blasts from the open oven into the bakery.\n\nIt appears the raider has made it to the front of the queue...and he'd like to show you his collection of sharp, pointy objects...\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or review the MILESTONES you've seen so far?\n\n> You give the hot loaf to Raider\nYou nod to the Narvish Raider, whom you recognize as the Candlestick Maker of Shireton.\n(first taking the delicious hot loaf of sourdough bread)\nThe raider shakes his head and rubs his tummy. Apparently, he's not hungry for what you're offering.\n\nYou move the empty pans from the oven to the work table.\n\nThe white robed citizen arrives from the north.\n\nMysticMegan95 arrives from the north.\n\n[3:08 pm:10|621489]  Bri'anne Wayverlyn the CrystalSinger : Name?\n\n[3:08 pm:10|622642]  Pathologist 92: Looking to sell   25 Dust Bunny Eggs\n\nHeat blasts from the open oven into the bakery.\n\nYou notice the white robed citizen suddenly bursting into a shower of experience points. The Raider leans nonchalantly.\n\n> You give the name to Bri'anne\nYou turn toward the elven priest/cleric herbalist/excavation specialist who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\nMysticMegan95 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nMysticMegan95 receives 3 copper coins for their effort!\n\nBri'anne Wayverlyn the CrystalSinger moves about the bakery, taking in all the sights.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You look in oven\nYou don't find anything inside the oven.\n\n[3:08 pm:58|159938]  Bri'anne Wayverlyn the CrystalSinger : Job?\n\nHeat blasts from the open oven into the bakery.\n\nIt appears the raider has made it to the front of the queue...and he'd like to show you his collection of sharp, pointy objects...\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\n\n> You enter backroom\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of nine balls of dough, twenty loaves of barley bread, eighteen loaves of wheat bread, nineteen loaves of sourdough bread, nineteen rock hard biscuits, a haze of acrid smoke, thirty-seven copper coins and a cursed pickle are both here and not here.\n\nYou can see a blue checked curtain here.\n\n> Inventory\nYou have in current possession:\ntwo handfuls of barleycorn\na delicious loaf of sourdough bread\na pan of risen dough\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n> You eat the dough\nYou sink your teeth in and attempt to chew the sticky mass. No, it's still much better after baking.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nA Narvish Raider waits patiently.\n\nThe delicious and alluring aroma of freshly-baked bread fills the entire bakery.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are two copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are seven metal pans, a handful of barleycorn, a loaf of wheat bread, a delicious loaf of wheat bread and a rock hard biscuit.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a yellow robed citizen, a white robed citizen and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nBob the Hobo arrives from the north.\n\n\"Assistance for the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the wheat bread to white\nYou nod to the white robed citizen, whom you recognize as the Dairywoman of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\nThe white robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe Shireton Harbourmaster arrives from the north.\n\nSeeing your inattention, Bob panhandles the Cartographer of Shireton, who has been patiently waiting, receiving a flung copper as the yellow robed citizen turns away.\n\nThe yellow robed citizen goes north.\n\n[3:11 pm:22|141815]  Bri'anne Wayverlyn the CrystalSinger : Job?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' hardtack, 'at reminds me of a kinda funny true story for ya! It all happened earlier this morning... And ye know, I use'ta work a business-hours job like yerself...\n\n> You give the biscuit to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the rock hard biscuit)\n\"Sure y'wouldn't rather part with a coin,\" invokes Bob the Hobo. The hobo tears into the rock hard biscuit with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\nThe green robed citizen arrives from the north.\n\n[3:11 pm:55|904290]  Bri'anne Wayverlyn the CrystalSinger : Job?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... Visiting the estate of the Sultan\nEl Katet, and his glorious palace in the desert ... and along the way skeletons ... snared us in a trap ... it was probably the most fiendish and difficult struggle of our lives.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider catches your eye and gives you a friendly nod.\n\n> You give the Job to Bri'anne\nYou turn toward the elven priest/cleric herbalist/excavation specialist who has been perusing the bakery.\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\nBob the Hobo arrives from the north.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You make dough\nYou'll need your hands for this...\n\nYou put the rock hard biscuit on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the handful of barleycorn on the work table.\n\nYou put the delicious loaf of sourdough bread on the work table.\n\nYou put the handful of barleycorn on the work table.\n\nYou put the pan of risen dough on the work table.\n\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\nThe green robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Italian Restaurant Owner of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe green robed citizen goes north.\n\n[3:13 pm:2|357996]  Bri'anne Wayverlyn the CrystalSinger : Quest?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nrum and beholders cause you to wake up with mysterious\nbruises.\"\n\n> You give Quest to Bri'anne\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nBri'anne Wayverlyn the CrystalSinger accepted your quest!\n\nBri'anne Wayverlyn the CrystalSinger goes north.\n\nThe white robed citizen arrives from the north.\n\n\"Feed the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the coin to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the copper coin)\n\"Gods bles ye,\" snaps Bob the Hobo, biting the coin to assure its validity.\n\nBob the Hobo goes north.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' hardtack, 'at reminds me of a terrifyin' yarn for ya! It all happened on a Monday in 1587. Or 1588, I don't remember which... About once a year we used to go finboatin'...\n\n> You give the sourdough to the white\nYou nod to the white robed citizen, whom you recognize as the Lawyer of Shireton.\n(first taking the delicious loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the white robed citizen.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe green robed citizen arrives from the north.\n\n> You give the wheat to the moss\nYou nod to the moss robed citizen, whom you recognize as the Schoolteacher of Shireton.\n(first taking the delicious loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the moss robed citizen.\n\n\"Delicious!\" proclaims the moss robed citizen, and yet another copper clinks into your tip jar.\n\nThe moss robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... While luncheoning with the Queen\nof Aeons ... and on the way back six skeletons ... enticed us off of our route into a hovel in the desert ... we were taken to a restaurant that served th' most succulent calamari you could ever imagine.\""
    },
    {
        "text": "[Themes: Fantasy, baking, fantasy, sidekick NPC]\n\n> Describe the surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nA Narvish Raider waits patiently.\n\nThe delicious and alluring aroma of freshly-baked bread fills the entire bakery.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a pan of risen dough, three handfuls of barleycorn, a copper coin, a rock hard biscuit, eight metal pans and a pan of unrisen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a green robed citizen and a Shireton Harbourmaster here.\n\nAvailable for sale:\na rock hard biscuit.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nBri'anne Wayverlyn the CrystalSinger arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nrustic desert food and beholders should never be taken on the same day.\"\n\n> You give the biscuit to the green\nYou nod to the green robed citizen, whom you recognize as the Dairywoman of Shireton.\n(first taking the rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the green robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe green robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe moss robed citizen arrives from the north.\n\nBri'anne Wayverlyn the CrystalSinger presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nBri'anne Wayverlyn the CrystalSinger receives 3 copper coins for their effort!\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' current events, 'at reminds me of a kinda fascinatin' story for ya! It all happened as it does, y' know, some people go about their day and arn't ever thinkin' about the stuff that really matters... me and my fellers, we was all\npiss-drunk of a Wednesday like usual...\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe white robed citizen arrives from the north.\n\n[3:15 pm:51|917125]  pORpenTEEN: Testing...is this local chat?\n\n[3:15 pm:51|917534]  vaporware: WTB  Rickety Tie-tack of the Oversharing\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... Out on the open sea, it was a\nfine mornin', calm waters, no chop ... and ran into beholders ... offered to trade with us ... they stole all of our clothes and cast us adrift in the Scarlet Sea. We drifted until we found a clothing merchant ship with reasonable prices.\"\n\nYou notice the yellow robed citizen suddenly bursting into a shower of experience points. The raider appears to be having a silent conversation with someone else across the room.\n\n> You take all the coin from the table\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[3:16 pm:12|729939]  GrlGmrNoH8: What's the best class to start out with?\n\n[3:16 pm:12|730017]  counterMONKEH: LFG: Eight *(*)*&^ Rats\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In a mysterious pass through the Valkyyria Mountains ... where we encountered a couple of hovering eyeballs ... led us the location of a cave full of treasure ... a barrel o' rum, a bucket of coconut oil, and boy we didn't know what we were in for.\"\n\n> You put all coin in box\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... Me and my crew were explorin' a mysterious bazaar that popped up in the Enocrinesh Desert ... when we got t' our destination,  zombies ... we finally ran into each other after several near misses ... I personally allowed myself to be vulnerable and take whatever was thrust upon me.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider stares at you wide-eyed.\n\n> You open the oven\nThat's already open.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[3:16 pm:37|536917]  AoAWinnar: looking 4   30 Spotted Mushroom\n[3:16 pm:37|537012]  80Daze: Need group for Ascension of the Sun\n[3:16 pm:37|537060]  Llewellyn99: WTS  Crotchety Amulet of the Werewolf\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We had been summoned before the\nLord of Elk himself, Robb Cornton Esq. ... where we encountered a troupe of beholders ... came puffin' and struttin', ready for a fight ... I still have nightmares sometimes.\"\n\n> You put the dough in the oven\n(first taking the pan of risen dough)\nYou put the pan of risen dough into the oven.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We had traveled to nearly the\nends of the bloomin' ocean ... and ran into beholders ... wanted to sell us some rather attractive woven blankets ... we were all sore and walking funny for a week after that.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider gives you a thumbs up.\n\n> Continue\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe purple robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... While travelling in disguise with Ahari Raiders ... and along the way three beholders ... squared off at midnight ... the dinner was passable, I hadn' the heart to mention the soggy broccoli.\"\n\n> Keep going\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On shore leave in the port of Kental-Mare-Widdington ... when we got t' our destination,  skeletons ... invited us for dinner ... Never have we feasted on so many shellfish.\"\n\nYou notice the yellow robed citizen suddenly bursting into a shower of experience points. The raider indicates his eyes are on you.\n\n> You continue\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nbeer that's gone bad and zombies are a surprising combination on a\nhot day.\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nBob the Hobo arrives from the north.\n\nSeeing your inattention, Bob panhandles the Schoolteacher of Shireton, who has been patiently waiting, receiving a flung copper as the moss robed citizen turns away.\n\nThe moss robed citizen goes north.\n\nThe Harbormaster scowls, \"Me, I'll be samplin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' narwhal, 'at reminds me of a interestin' bon mot for ya! It all happened the one time a bunch us guys decided t' go up th' coast and see what trouble we could get inta... back when we were still huntin narwhals and Great Whites...\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"TAKE ALL HOT BREAD\nWith all due haste\nTo bring in heads\nPUT ALL HOT BREAD IN the display CASE...\n\n(You never thought that verse rhymed very well, but it's\nimportant.)\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe green robed citizen arrives from the north.\n\n\"Assistance for the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of barley bread\na rock hard biscuit\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Stableman of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\n[3:17 pm:37|365712]  BustaMike: Anyone selling   35 Slate Shards\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nplums soaked in alcohol and zombies require lots of fiber to get\nyou back to normal.\"\n\n> You put all hot Bread in the case\n(first taking the delicious hot loaf of barley bread)\nYou put the delicious hot loaf of barley bread into the display case.\n\nYou move the empty pans from the oven to the work table.\n\n\"A delicious hot loaf of barley bread, please!\" requests the green robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\n\"Feed the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the barley to the green\nWhich do you mean, the delicious hot loaf of barley bread or a handful of barleycorn?\n\n> Hot\n(first taking the delicious hot loaf of barley bread)\n\"Ah, thank you, good Baker of Shireton! I deserve to splurge on good bread!\" says the green robed citizen, fishing out five coppers to pay for the loaf.\n\n\"Mmmm, and still hot!\" exclaims the green robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the green robed citizen, and yet another copper clinks into your tip jar.\n\nThe green robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe green robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Vintner of Shireton, who has been patiently waiting, receiving a flung copper as the green robed citizen turns away.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' race cars, 'at reminds me of a pretty interestin' cautionary tale for ya! It all happened when I was a young lad, before I took up sailin'... So there's this fella...\n\n> You take all from the oven\nrock hard biscuit: Taken.\nrock hard biscuit: Taken.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the biscuit to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the rock hard biscuit)\nFirst putting down two metal pans.\n\n\"It's about time there, Baker,\" invokes Bob the Hobo. The hobo tears into the rock hard biscuit with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n[3:18 pm:49|664457]  BustaMike: BEST OFFER FOR  Scratched Boots of the Emu\n[3:18 pm:49|664709]  FulloutBoy: AFK...\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... My crew was planning to mutiny up\nin the north sea of Ranisk ... and on the way back about fifty beholders ... made advances of the grown-up kind ... boy we'd a never-a made it if we'd not listened to first mate Craig and his wise luggage strategies.\"\n\n> You give the biscuit to the purple\nYou nod to the purple robed citizen, whom you recognize as the Lawyer of Shireton.\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the purple robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe purple robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On this desert island we had\nscoped on our map ... when we got t' our destination,  beholders ... tangled ... I woke in the middle of the night to all my crew missin' and sounds like you would not believe outside the tent.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider winks.\n\n> You look at  Raider\nHey, that raider isn't from around here...you can almost sense a high number above his head. The raider is wearing some human leather armor.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[3:19 pm:34|737946]  Healy: Looking to sell   15 Reeking Onion Cysts\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... In the sleepy town of Bismarck we were slumming it over a slow weekend ... and ran into a few o' them beholders ... were givin' us the fish eye, for absolutely no reason ... we fought em back as valiantly as we can, losing brave Pegleg Timmy.\"\n\n> You check your inventory\nYou have in current possession:\nfive copper coins\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe purple robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We were sailin' up the Brabgard\ncoast bein' careful o' all th' sharp reefs ... where we encountered zombies ... wanted us to accompany them to Shireton as bodyguards ... we might have gone into that encounter as men, but we came outta it much more than that.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider holds a fist to the sky.\n\n> You give the coin to Raider\nYou nod to the Narvish Raider, whom you recognize as the Village Idiot of Shireton.\nThe Narvish Raider gives you a disturbing thbptptbpthpbtp\nsound.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe red robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the mysterious land of Mu-Tah\n... and on the way back a small group of skeletons ... stowed away on our ship ... We shared our food and received wisdom in return.\"\n\n> You put all coin in the box\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the pirate city of\nElam-Throlsby ... when we got t' our destination,  monstrosities ... told us we needed to clear the hell outta here before nightfall ... we played along, and played their game, knowing our time would\ncome.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider does a satisfied run in a circle.\n\n> You make dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe red robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On this open, grassy plain we\nwere crossin' with a couple of wagons n' a tempermental ox named Stu ... where we encountered a horde of brains in a jar ... met up ... we were held prisoner for what was probably between three months and five years.\"\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\n[3:20 pm:55|811031]  Llewellyn99: WHEN ARE THEY GOING TO NERF THE WALEWALKER PALADINS???\n\n[3:20 pm:55|811117]  BustaMike: Need someone to run Daggerblanks for the Metalsmythierie\n[3:20 pm:55|811186]  DPinaTP: BEST OFFER FOR  Shrinking Dinner Jacket of the Empress\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nwater from a cursed well and zombies are a poor pairing with\nwine.\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\nThe green robed citizen arrives from the north.\n\nThe Harbormaster scowls, \"Me, I'll be samplin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' narwhal, 'at reminds me of a interestin' anecdote for ya! It all happened when I was a young bolt, looking fine in my horizontally striped tight shirt, ascot, and tight white trousers...all wet and clingin' to me muscles... My neighbors had this gorgeous black stallion...\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"But mind the song\nDon't burn the crust\nFor too much song\nBurns bread to dust\"\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nBob the Hobo arrives from the north.\n\nSeeing your inattention, Bob panhandles the Ploughman of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\nThe Harbormaster continues: \"... On this open, grassy plain we\nwere crossin' with a couple of wagons n' a tempermental ox named Stu ... when we got t' our destination,  tentacle whips ... tried to waylay us in the Green Woods ... we were put to work in the sculleries, washing dishes for their fancy dinner party.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider moonwalks poorly.\n\n> You open the oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe red robed citizen arrives from the north.\n\n\"Assistance for the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the biscuit to the white\nYou nod to the white robed citizen, whom you recognize as the Dairywoman of Shireton.\n(first taking the rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the white robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe white robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nSeeing your inattention, Bob panhandles the Doctor of Shireton, who has been patiently waiting, receiving a flung copper as the red robed citizen turns away.\n\nThe red robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the sleepy town of Bismarck we were slumming it over a slow weekend ... and on the way back a whole host of monstrosities ... used my crew as their personal harem for a time while we negotiated ... I tell you what, the crabs you can get from those people are no joke.\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe red robed citizen arrives from the north.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\nThe white robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Artist of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the pirate city of\nElam-Throlsby ... when we got t' our destination,  beholders ... stripped us down, tied us up, covered us with honey and rice ... Never have we feasted on so many shellfish.\"\n\nYou notice the yellow robed citizen suddenly bursting into a shower of experience points. The raider step-touches a few times.\n\n> You put the barleycorn on the dough\n(first taking the handful of barleycorn)\nPutting things on the unrisen dough would achieve nothing.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe green robed citizen arrives from the north.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the barleycorn in the dough\nYou work the barleycorn into the unrisen dough.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Waste Management Technician of Shireton, who has been patiently waiting, receiving a flung copper as the green robed citizen turns away.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We had traveled to nearly the\nends of the bloomin' ocean ... and on the way back a tangle of brains in a jar ... came puffin' and struttin', ready for a fight ... we fought em back as valiantly as we can, losing brave Pegleg\nTimmy.\"\n\n> You put the dough in oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You close oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nSeeing your inattention, Bob panhandles the Seamstress of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe yellow robed citizen goes north.\n\n[3:23 pm:9|128459]  Jamie: WTB   5 Whispering Poppies\n[3:23 pm:9|128614]  VasDifference: Thanks for the help wrathofdog!\n\nThe Harbormaster continues: \"... Out on the open sea, it was a\nfine mornin', calm waters, no chop ... and along the way tentacle whips ... enticed us off of our route into a hovel in the desert ... boy we'd a never-a made it if we'd not listened to first mate Craig and his wise luggage strategies.\"\n\nYou notice the moss robed citizen suddenly bursting into a shower of experience points. The raider studies his fingernails innocently.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I don't chase quest\nO'er hill and dale\nI don't make swords nor deliver your mail\nDelicious crust and fluffy crumb\nYou want some bread, come get you some!\"\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe moss robed citizen arrives from the north.\n\n\"Assistance for the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You open the oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Merchant of Shireton, who has been patiently waiting, receiving a flung copper as the yellow robed citizen turns away.\n\nThe yellow robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On shore leave in the port of Kental-Mare-Widdington ... when we got t' our destination,  several zombies ... tried to waylay us in the Green Woods ... they stole all of our clothes and cast us adrift in the Scarlet Sea. We drifted until we found a clothing merchant ship with reasonable prices.\"\n\n> You give the biscuit to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the rock hard biscuit)\n\"May the gods protect ye,\" invokes Bob the Hobo. The hobo tears into the rock hard biscuit with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[3:23 pm:42|791875]  Healy: Need group for Deceptive Trading\n[3:23 pm:42|791985]  ColoraturaGrl: WTS  Blessed Underpants of the Magician\n[3:23 pm:42|792131]  Ardwen: You don't need to dual class if you spec your char right from the get-go.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nspells from a spellbook in a foreign language and monstrosities\ndon't go together.\"\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' the weather, 'at reminds me of a pretty weird tale for ya! It all happened back in the day... Y'ever look up at the stars in th' sky and ask \"Are we all there is?\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nBob the Hobo arrives from the north.\n\n\"Help the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"We don't spit in the loaves of bread\nDon't poke it with pins, or with razors or lead\nExplosives and poisons are readily out\nFor this bread is safe, I declare with a shout!\"\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe green robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Choreographer of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe green robed citizen goes north.\n\nThe Harbormaster continues: \"... My crew was planning to mutiny up\nin the north sea of Ranisk ... and on the way back skeletons ... tangled ... we were held prisoner for what was probably between three months and five years.\"\n\nYou notice the yellow robed citizen suddenly bursting into a shower of experience points. The raider apparently hears music and is singing along silently, unabashed.\n\n> You open the oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the biscuit to Bob\n\"Ah, many blessings upon ye're establishmen',\" invokes Bob the Hobo. The hobo tears into the rock hard biscuit with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe green robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In a mysterious pass through the Valkyyria Mountains ... and along the way a squad of zombies ... used my crew as their personal harem for a time while we negotiated ... it was probably the most fiendish and difficult struggle of our\nlives.\"\n\n> You examine Harbormaster\nThe Shireton Harbourmaster is Shireton's saltiest character, recounting upon all who will listen his exciting tales when he was younger on the Sunlit Sea.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... While travelling in disguise with Ahari Raiders ... and on the way back zombies ... stowed away on our ship ... we were all sore and walking funny for a week after\nthat.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider inspects the tip of his onyx shortsword.\n\n> You check what you're carrying\nYou have in current possession:\na rock hard biscuit\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On this desert island we had\nscoped on our map ... and along the way a buncha skeletons ... offered to trade with us ... we might have gone into that encounter as men, but we came outta it much more than that.\"\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the rock hard biscuit on the work table.\n\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[3:26 pm:39|96624]  DPinaTP: Anyone selling   10 Tail of Bat\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\ntequila and zombies can be profitable.\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan. You give it a jaunty slap: Smooth as a schoolmarm's backside.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe green robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' narwhal, 'at reminds me of a funny anecdote for ya! It all happened last week... We used t' call this one guy \"Stubbs\", and that was fer a reason!\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... Visiting the estate of the Sultan\nEl Katet, and his glorious palace in the desert ... and ran into monstrosities ... led us the location of a cave full of treasure ... I still have nightmares sometimes.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider wipes his shortsword on his trousers.\n\n> You make dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan. You give it a jaunty slap: Taut as a baby's skin.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We were sailin' up the Brabgard\ncoast bein' careful o' all th' sharp reefs ... and on the way back a dozen or so skeletons ... snared us in a trap ... the dinner was passable, I hadn' the heart to mention the soggy broccoli.\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan. You give it a jaunty slap: Resilient as a maiden's backside.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nBob the Hobo arrives from the north.\n\nSeeing your inattention, Bob panhandles the Watchmaker of Shireton, who has been patiently waiting, receiving a flung copper as the red robed citizen turns away.\n\nThe red robed citizen goes north.\n\n[3:27 pm:10|143367]  TregunaMekoides: LFG: It Takes a Village\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... While luncheoning with the Queen\nof Aeons ... where we encountered tentacle whips ... made advances of the grown-up kind ... a barrel o' rum, a bucket of coconut oil, and boy we didn't know what we were in for.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider moonwalks poorly.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\n\"Help the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe red robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Candlestick Maker of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\n[3:27 pm:22|136370]  James: BEST OFFER FOR  Minty-fresh Bracers of the Wishes\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... Me and my crew were explorin' a mysterious bazaar that popped up in the Enocrinesh Desert ... and along the way a village full of hovering eyeballs ... wanted us to accompany them to Shireton as bodyguards ... I personally allowed myself to be vulnerable and take whatever was thrust upon me.\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan. You give it a jaunty slap: Firm as a lad's cheek.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe green robed citizen arrives from the north.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the loaf to the yellow\nYou nod to the yellow robed citizen, whom you recognize as the Optometrist of Shireton.\n(first taking the rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the yellow robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe yellow robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nSeeing your inattention, Bob panhandles the Tour Guide of Shireton, who has been patiently waiting, receiving a flung copper as the green robed citizen turns away.\n\nThe green robed citizen goes north.\n\n[3:27 pm:58|280193]  MTW: looking 4   35 Lump of Coal\n[3:27 pm:58|280357]  loofah22: I'm logging, nite all.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We had been summoned before the\nLord of Elk himself, Robb Cornton Esq. ... and ran into tentacle whips ... were givin' us the fish eye, for absolutely no reason ... I woke in the middle of the night to all my crew missin' and sounds like you would not believe outside the tent.\"\n\nYou notice the moss robed citizen suddenly bursting into a shower of experience points. The raider apparently hears music and is singing along silently, unabashed.\n\n> You give loaf to purple\nYou nod to the purple robed citizen, whom you recognize as the Miller of Shireton.\n(first taking the rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the purple robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe purple robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe red robed citizen arrives from the north.\n\n\"Help the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the loaf to the white\nYou nod to the white robed citizen, whom you recognize as the Vintner of Shireton.\n(first taking the rock hard biscuit)\n\"Ah, thank you, good Baker of Shireton! \"This is hard as a rock!\" exclaims the white robed citizen, \"I sha'n't pay for such rubbish! Hmpfh!\"\n\nThe white robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\nSeeing your inattention, Bob panhandles the Candlestick Maker of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the mysterious land of Mu-Tah\n... where we encountered one of those skeletons ... we finally ran into each other after several near misses ... we were taken to a restaurant that served th' most succulent calamari you could ever imagine.\"\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\nThe yellow robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Drunkard of Shireton, who has been patiently waiting, receiving a flung copper as the yellow robed citizen turns away.\n\nThe yellow robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... In the pirate city of\nElam-Throlsby ... when we got t' our destination,  beholders ... squared off at midnight ... we played along, and played their game, knowing our time would come.\"\n\nIt appears the raider has made it to the front of the queue...and he'd like to show you his collection of sharp, pointy objects...\n\n> You make the dough\nSome flour, some water, some furious kneading by skilled baker's hands - and before you know it, you have a perfect ball of dough!\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n> Continue\nYou furiously knead a ball of dough into the perfect elasticity.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n> You keep going\nYou skillfully create a ball of dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n> You keep going\nYou create a ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n> Continue\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You take all\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: First putting down two metal pans.\n\nTaken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: First putting down two metal pans.\n\nTaken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nmetal pan: Taken.\nmetal pan: Taken.\nmetal pan: Taken.\nmetal pan: Taken.\nmetal pan: Taken.\n\nHeat blasts from the open oven into the bakery.\n\n> You put Bread in the display case\nYou put the loaf of wheat bread into the display case.\n\nThe white robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of wheat bread, please!\" requests the white robed citizen.\n\n> You give Bread to white\nYou nod to the white robed citizen, whom you recognize as the Butcher of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\nThe white robed citizen goes north.\n\nThe red robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the red robed citizen.\n\n> You put the coin in the box\nClink!\nThe copper coin lands in the box with all the rest of them.\n\n\"A loaf of wheat bread, please!\" requests the red robed citizen.\n\n> You give Bread to red\nYou nod to the red robed citizen, whom you recognize as the Optometrist of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the red robed citizen.\n\nThe red robed citizen goes north.\n\nBob the Hobo arrives from the north.\n\n\"Assistance for the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to Bob\nOh here's Bob the Hobo, again.\n\n\"Ah, many blessings upon ye're establishmen',\" invokes Bob the Hobo. The hobo tears into the loaf of wheat bread with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the metal pan on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature. You give it a jaunty slap: Smooth as a maiden's skin.\n\nBob the Hobo arrives from the north.\n\n> Continue\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\nThe red robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the red robed citizen.\n\n\"Feed the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> Continue\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n\"A loaf of wheat bread, please!\" requests the red robed citizen.\n\nSeeing your inattention, Bob panhandles the Seamstress of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe red robed citizen goes north.\n\n> You continue\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\nThe green robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\n\"Assistance for the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> Keep going\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\nSeeing your inattention, Bob panhandles the Village Idiot of Shireton, who has been patiently waiting, receiving a flung copper as the green robed citizen turns away.\n\nThe green robed citizen goes north.\n\n> You open the oven\nYou open the oven.\n\nThe moss robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\n\"Help the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the coin in the dough\nYou poke the copper coin into an unrisen dough.\nWhat is this, Mardi Gras? What would the Board of Bakery Safety think?\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\nSeeing your inattention, Bob panhandles the Cardiologist of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe moss robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You throw the dough at Bob\n(first taking the unrisen dough)\nYou lack the nerve when it comes to the crucial moment.\n\n\"Assistance for the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Quest to Bob\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nBob the Hobo responds, \"I'm not the adventuring type, Baker. Perhaps someone of sturdy constitution and adventuring spirit might take up the ultimate quest of Barleycorn for you! Quest Refused.\n\nThe green robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\nSeeing your inattention, Bob panhandles the Senator of Shireton, who has been patiently waiting, receiving a flung copper as the green robed citizen turns away.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You put Bread in the oven\n(first taking the loaf of wheat bread)\nYou put the loaf of wheat bread into the oven.\n\n\"Help the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the dough in the oven\nDough all over the oven. That's going to be a mess.\n\nYou put the unrisen dough into the oven.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You check what you're carrying\nYou have in current possession:\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"Assistance for the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You open the oven\nThat's already open.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n\"Help the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n> Continue\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n\"Feed the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> Continue\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n> Continue\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n\"Assistance for the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> Continue\ncheapglulxe quit with exit status: 1\n\n.oOAoAOo.\n*Age of Aeons Patch Notes*V.12.017\n*Patch#0000009712735007 *We are aware that the Narv Warriors have *exploited the geometry of the Vojavi Mountain *Range to make an easy path the the starting *areas near Shireton and Bexley. We ask the *factions to play nicely while the map in the *affected areas are repaired. Please let the noobs *play during this Exclusive Early Access period as *dictated by AoE, LLC. Thanks guys. *-o=O AoA Team O=o-\n\n*Age of Aeons Patch Notes*V.12.017\n*Patch#0000009712734083\n*Fixed minor glitch where Baker of Shireton was\n*occasionally observed as a disembodied floating head due to\n*missing clothing textures.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry of Shireton. This is a magnificent location: Right off the Shireton Towne Square, which is one step to the north.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\n\n> You open the curtain\nYou open the blue curtain.\n\n> You enter back\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of ten balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, fifty copper coins and a cursed pickle are both here and not here.\n\nYou can see a blue checked curtain here.\n\n> Go outside\nYou open the blue checked curtain.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan. You give it a jaunty slap: Pale as a schoolmarm's posterior.\n\n> You take all risen dough\npan of risen dough: Taken.\npan of risen dough: Taken."
    },
    {
        "text": "[Themes: Fantasy, culinary theme, sidekick NPC]\n\n> You describe your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a pan of risen dough, a pan of unrisen dough, a pan of unrisen dough and five metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\""
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, culinary theme, fantasy]\n\n> Describe the surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a pan of risen dough, a pan of risen dough, a pan of risen dough and five metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> You get all risen dough\npan of risen dough: Taken.\npan of risen dough: Taken.\npan of risen dough: Taken.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou already have that.\n\nYou put the pan of risen dough into the oven.\n\nYou already have that.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"The Bread is Life\nThe Bread is Art\nI bake my Bread\nStraight from the Heart!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\n\nHeat blasts from the open oven into the bakery.\n\n> You look at what you're carrying with you\nYou have in current possession:\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You get all wheat\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nBob the Hobo arrives from the north.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Candlestick Maker of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe yellow robed citizen goes north.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\n\"Assistance for the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the wheat to the moss\nYou nod to the moss robed citizen, whom you recognize as the Village Idiot of Shireton.\n(first taking the delicious loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the moss robed citizen.\n\n\"Delicious!\" proclaims the moss robed citizen, and yet another copper clinks into your tip jar.\n\nThe moss robed citizen goes north.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n\"Help the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the wheat to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the delicious loaf of wheat bread)\n\"Ah, many blessings upon ye're establishmen',\" invokes Bob the Hobo. The hobo tears into the delicious loaf of wheat bread with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, sidekick NPC, fantasy, baking]\n\n> You look at your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which is a copper coin) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are four delicious loaves of wheat bread, a copper coin, six metal pans, a pan of unrisen dough, a pan of unrisen dough, a pan of unrisen dough and a pan of unrisen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"MAKE some DOUGH\nDo it AGAIN\nRepeat that step\nTill I have ten!\"\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Then I TAKE ALL RISEN DOUGH\nAnd SING the SONG to pass the hour\nI BAKE the BREAD I have in hand\nAnd leave the rest to wonderfully sour!\""
    },
    {
        "text": "[Themes: Fantasy, culinary theme, fantasy, baking, sidekick NPC]\n\n> You look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are four delicious loaves of wheat bread, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and five metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\n\n> You examine dough\nIt seems to be a risen dough, and it's rather risen dough-shaped and sized, with a distinctly risen dough-esque styling and vibe to it.\n\n> You take all the risen dough\npan of risen dough: Taken.\npan of risen dough: Taken.\npan of risen dough: Taken.\npan of risen dough: Taken.\npan of risen dough: Taken.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou already have that.\n\nYou put the pan of risen dough into the oven.\n\nYou already have that.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I SING the SONG\nThe bread is done\nDon't wait too long\nIt's incredibly fun!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of sourdough bread\n\nThe red robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You get all from the oven\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of sourdough bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the red robed citizen.\n\nThe white robed citizen arrives from the north.\n\n> You give the wheat to the red\nYou nod to the red robed citizen, whom you recognize as the Schoolteacher of Shireton.\n(first taking the delicious hot loaf of wheat bread)\nFirst putting down five metal pans.\n\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the red robed citizen.\n\n\"Mmmm, and still soft!\" exclaims the red robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the red robed citizen, and yet another copper clinks into your tip jar.\n\nThe red robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nBob the Hobo arrives from the north.\n\nSeeing your inattention, Bob panhandles the Merchant of Shireton, who has been patiently waiting, receiving a flung copper as the white robed citizen turns away.\n\nThe white robed citizen goes north.\n\n> You give the wheat to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the delicious loaf of wheat bread)\n\"Ah, another loaf of bread,\" invokes Bob the Hobo. The hobo tears into the delicious loaf of wheat bread with fervor.\nBob the Hobo scurries out the door with his prize.\n\nBob convulses strangely.\n\nThe green robed citizen arrives from the north.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe purple robed citizen arrives from the north.\n\n> You give the wheat to Green\nYou nod to the green robed citizen, whom you recognize as the Miller of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the green robed citizen.\n\n\"Delicious!\" proclaims the green robed citizen, and yet another copper clinks into your tip jar.\n\nThe green robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n> You give the wheat to the purple\nYou nod to the purple robed citizen, whom you recognize as the Cardiologist of Shireton.\n(first taking the delicious loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the purple robed citizen.\n\n\"Delicious!\" proclaims the purple robed citizen, and yet another copper clinks into your tip jar.\n\nThe purple robed citizen goes north.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\n\n> You make dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n> You put all copper in the slot\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!"
    },
    {
        "text": "> Look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a pan of unrisen dough, a pan of unrisen dough, a pan of risen dough, a delicious loaf of wheat bread, a delicious loaf of sourdough bread, four delicious loaves of wheat bread and five metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious loaf of sourdough bread.\n\n> You get all Bread\ndelicious loaf of wheat bread: Taken.\ndelicious loaf of sourdough bread: Taken.\ndelicious loaf of wheat bread: Taken.\ndelicious loaf of wheat bread: Taken.\ndelicious loaf of wheat bread: Taken.\ndelicious loaf of wheat bread: Taken.\n\n> You put all Bread in the case\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious loaf of sourdough bread:\n\nFull display case bonus!\n\nDone.\ndelicious loaf of wheat bread: The display case is full. You'll have to sell some of that bread in there. If there are old loaves, you might want to put them to the waste bin.\n\nThe purple robed citizen arrives from the north.\n\n\"A delicious loaf of wheat bread, please!\" requests the purple robed citizen.\n\n> You give the wheat to the purple\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the purple robed citizen.\n\n\"Delicious!\" proclaims the purple robed citizen, and yet another copper clinks into your tip jar.\n\nThe purple robed citizen goes north.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n> You put all copper in the slot\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\nThe Narvish Raider arrives from the north.\n\n> You look at Raider\nHey, that raider isn't from around here...you can almost sense a high number above his head. The raider is wearing some human leather armor.\n\nThe moss robed citizen arrives from the north.\n\n\"A delicious loaf of sourdough bread, please!\" requests the moss robed citizen.\n\nYou notice the moss robed citizen suddenly bursting into a shower of experience points. The Raider leans nonchalantly.\n\n> You give Quest to Raider\nYou nod to the Narvish Raider, whom you recognize as the Candlestick Maker of Shireton.\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nThe Narvish Raider responds, \"I'm not the adventuring type, Baker. Perhaps someone of sturdy constitution and adventuring spirit might take up the ultimate quest of Barleycorn for you! Quest\nRefused.\n\nThe red robed citizen arrives from the north.\n\n\"A delicious loaf of wheat bread, please!\" requests the red robed citizen.\n\n> You give wheat to the red\nYou nod to the red robed citizen, whom you recognize as the Lawyer of Shireton.\n(first taking the delicious loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the red robed citizen.\n\n\"Delicious!\" proclaims the red robed citizen, and yet another copper clinks into your tip jar.\n\nThe red robed citizen goes north.\n\nThe purple robed citizen arrives from the north.\n\n\"A delicious loaf of sourdough bread, please!\" requests the purple robed citizen.\n\nYou notice the purple robed citizen suddenly bursting into a shower of experience points. The raider catches your eye and gives you a friendly nod.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n> You put all copper in the slot\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\nIt appears the raider has made it to the front of the queue...and he'd like to show you his collection of sharp, pointy objects...\n\n> You give Quest to yourself\nTalking to yourself is likely to prove unrewarding.\n\n> You continue\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature. You give it a jaunty slap: Taut as a monk's skin.\n\n> You continue\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully. You give it a jaunty slap: Silky as a lad's posterior.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature. You give it a jaunty slap: Firm as a lad's cheek.\n\n> You make the dough\nYou've made quite enough dough. You're ready to BAKE BREAD now.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\n\nHeat blasts from the open oven into the bakery.\n\n> You get all Bread\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\nThe green robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You put all Bread into the case\nloaf of wheat bread: Done.\nloaf of wheat bread: Done.\nloaf of wheat bread: Done.\nloaf of wheat bread: Done.\nloaf of wheat bread:\n\nFull display case bonus!\n\nDone.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the wheat to Green\nYou nod to the green robed citizen, whom you recognize as the Drunkard of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the green robed citizen.\n\nThe green robed citizen goes north.\n\nThe moss robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the wheat to the moss\nYou nod to the moss robed citizen, whom you recognize as the Schoolteacher of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the moss robed citizen.\n\nThe moss robed citizen goes north.\n\nBob the Hobo arrives from the north.\n\n\"Assistance for the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You bake Bread\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"The Bread is Life\nThe Bread is Art\nI bake my Bread\nStraight from the Heart!\"\n\nThe moss robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\n\"Feed the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\nSeeing your inattention, Bob panhandles the Butcher of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe moss robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You get all hot\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\n\nThe white robed citizen arrives from the north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of wheat bread, please!\" requests the white robed citizen.\n\nThe purple robed citizen arrives from the north.\n\n\"Assistance for the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to white\nYou nod to the white robed citizen, whom you recognize as the Cardiologist of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\n\"Mmmm, and still fresh!\" exclaims the white robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\n\"A loaf of wheat bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\nSeeing your inattention, Bob panhandles the Optometrist of Shireton, who has been patiently waiting, receiving a flung copper as the red robed citizen turns away.\n\nThe red robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give Bread to the purple\nYou nod to the purple robed citizen, whom you recognize as the Nondenominational Religious Leader of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the purple robed citizen.\n\n\"Delicious!\" proclaims the purple robed citizen, and yet another copper clinks into your tip jar.\n\nThe purple robed citizen goes north.\n\nThe white robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the white robed citizen.\n\n\"Help the hopeless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to white\nYou nod to the white robed citizen, whom you recognize as the Senator of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\nThe moss robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the moss robed citizen.\n\nSeeing your inattention, Bob panhandles the Italian Restaurant Owner of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe moss robed citizen goes north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan. You give it a jaunty slap: Resilient as a lad's buttock.\n\n\"Assistance for the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the coin in the dough\nYou poke the copper coin into an unrisen dough.\nWhat is this, Mardi Gras? What would the Board of Bakery Safety think?\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\nThe green robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\n\"Help the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to Green\nYou nod to the green robed citizen, whom you recognize as the Senator of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the green robed citizen.\n\nThe green robed citizen goes north.\n\nThe purple robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the purple robed citizen.\n\nSeeing your inattention, Bob panhandles the Nondenominational Religious Leader of Shireton, who has been patiently waiting, receiving a flung copper as the purple robed citizen turns away.\n\nThe purple robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\nThe white robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the white robed citizen.\n\n\"Assistance for the lowest of the low?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to white\nYou nod to the white robed citizen, whom you recognize as the Stableman of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\nThe white robed citizen goes north.\n\nThe purple robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the purple robed citizen.\n\nSeeing your inattention, Bob panhandles the Senator of Shireton, who has been patiently waiting, receiving an indignant \"Hmph!\" in return.\n\nThe purple robed citizen goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You look at the dough\nThe unrisen dough is rather nondescript.\n\nThe Shireton Harbourmaster arrives from the north.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You put the coin in the oven\nYou put the copper coin into the oven.\n\nSeeing your inattention, Bob panhandles the Cartographer of Shireton, who has been patiently waiting, receiving a flung copper as the Shireton Harbourmaster turns away.\n\nThe Shireton Harbourmaster goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\nThe green robed citizen arrives from the north.\n\n\"A loaf of wheat bread, please!\" requests the green robed citizen.\n\n\"Assistance for the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give Bread to Green\nYou nod to the green robed citizen, whom you recognize as the Cardiologist of Shireton.\n(first taking the loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the green robed citizen.\n\nThe green robed citizen goes north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You close the oven\nYou close the oven.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You open the oven\nYou open the oven. Inside you see:\na copper coin\n\n\"Assistance for the hungry?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You get the coin from the oven\nTaken.\n\nHeat blasts from the open oven into the bakery.\n\n> You give it to Bob\nOh here's Bob the Hobo, again.\n\n\"Gods bles ye,\" snaps Bob the Hobo, biting the coin to assure its validity.\n\nBob the Hobo goes north.\n\nHeat blasts from the open oven into the bakery.\n\n> You put the coin in the oven\nYou put the copper coin into the oven.\n\nHeat blasts from the open oven into the bakery.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"MAKE some DOUGH\nDo it AGAIN\nRepeat that step\nTill I have ten!\"\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You open the oven\nThat's already open.\n\nHeat blasts from the open oven into the bakery.\n\n> You examine the oven\nThis oven is your livelihood, your baby, and your pride and joy. It is where you bake bread for all the citizenry of Shireton. It can bake up to five loaves of bread at the same time! The cast-iron door stands open, blasting heat into the bakery at the perfect temperature to bake bread. You ought to close that, so the temperature doesn't cool off below that optimum temperature.\n\nIn the oven are a metal pan and a copper coin.\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You examine Bread\nIt seems to be a delicious loaf of wheat bread, and it's rather delicious loaf of wheat bread-shaped and sized, with a distinctly delicious loaf of wheat bread-esque styling and vibe to it.\n\n> You check your inventory\nYou have in current possession:\na copper coin\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\nThe Shireton Harbourmaster arrives from the north.\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' hardtack, 'at reminds me of a pretty fascinatin' tale for ya! It all happened when I was a young bolt, looking fine in my horizontally striped tight shirt, ascot, and tight white trousers...all wet and clingin' to me muscles... When I was in the royal navy...\n\n> You give Bread to Harbormaster\nYou turn your attention to the Shireton Harbourmaster.\n(first taking the delicious loaf of wheat bread)\nThe harbormaster squeezes the bread between his gnarled fingers.\n\"Soft as a bosun's arse. Guess this'll have to do it,\" he says, flipping you one coin.\n\nThe Shireton Harbourmaster goes north.\n\nThe green robed citizen arrives from the north.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot coppery loaf of wheat bread\na copper coin\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You get coppery\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe Shireton Harbourmaster arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' hardtack, 'at reminds me of a funny yarn for ya! It all happened back in the day... back when we were still huntin narwhals and Great Whites...\n\n> You get copper from the oven\nTaken.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... While luncheoning with the Queen\nof Aeons ... and along the way beholders ... invited us for dinner ... we fought em back as valiantly as we can, losing brave Pegleg\nTimmy.\"\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the delicious hot coppery loaf of wheat bread on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... On this desert island we had\nscoped on our map ... and ran into six hovering eyeballs ... wanted to sell us some rather attractive woven blankets ... a barrel o' rum, a bucket of coconut oil, and boy we didn't know what we were in\nfor.\"\n\n> You put the dough in the oven\n(first taking the pan of unrisen dough)\nYou put the pan of unrisen dough into the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe white robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... Me and my crew were explorin' a mysterious bazaar that popped up in the Enocrinesh Desert ... where we encountered beholders ... tangled ... I personally allowed myself to be vulnerable and take whatever was thrust upon me.\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe Harbormaster continues: \"... We had been summoned before the\nLord of Elk himself, Robb Cornton Esq. ... and on the way back a buncha tentacle whips ... tried to waylay us in the Green Woods ... we were all sore and walking funny for a week after that.\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Then I TAKE ALL RISEN DOUGH\nAnd SING the SONG to pass the hour\nI BAKE the BREAD I have in hand\nAnd leave the rest to wonderfully sour!\"\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nmagical journeys listed as \"short\" in the brochure and\nmonstrosities will have you spending the night clutching your chamber pot.\"\n\n> You open oven\nYou open the oven. Inside you see:\na rock hard biscuit\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' narwhal, 'at reminds me of a pretty terrifyin' anecdote for ya! It all happened earlier this morning...\nme and my fellers, we was all piss-drunk of a Wednesday like usual...\n\n> You give the biscuit to Harbormaster\n(first taking the rock hard biscuit)\nThe salty dog's visage brightens. \"Ah! Now this is more like it! Hard... Tooth-chippin'... It reminds me of my younger days!\" he says, barely concealing a tear.\nFive coins drop into your palm.\n\nThe Shireton Harbourmaster goes north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery."
    },
    {
        "text": "[Themes: Fantasy, rpg, fantasy, satire, culinary theme]\n\n> Describe the surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans, eight copper coins and two delicious coppery loaves of wheat bread.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You give the wheat to white\nYou nod to the white robed citizen, whom you recognize as the Pedestrian of Shireton.\n(first taking the delicious coppery loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery."
    },
    {
        "text": "> You look at your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are four copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans, eight copper coins and a delicious loaf of wheat bread.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You get coppery\nTaken.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You enter back\nYou open the blue curtain.\n\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of nine balls of dough, twenty loaves of barley bread, eighteen loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, thirty-four copper coins and a cursed pickle are both here and not here.\n\nYou can see a blue checked curtain here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are thirteen copper coins, a pan of unrisen dough, a delicious loaf of wheat bread and nine metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make dough\nYou'll need your hands for this...\n\nYou put the delicious coppery loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make dough\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully. You give it a jaunty slap: Glossy as a maiden's derriere.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You make dough\nYou've made quite enough dough. You're ready to BAKE BREAD now.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery."
    },
    {
        "text": "> Look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are two delicious coppery loaves of wheat bread, thirteen copper coins, a pan of risen dough, a pan of unrisen dough, a pan of unrisen dough, a pan of unrisen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and a pan of risen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery."
    },
    {
        "text": "[Themes: Fantasy, rpg, satire, baking, culinary theme, constrained protagonist]\n\n> You look at your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are two delicious coppery loaves of wheat bread, thirteen copper coins, a pan of risen dough, a pan of unrisen dough, a pan of unrisen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and a pan of risen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter."
    },
    {
        "text": "[Themes: Fantasy, culinary theme, constrained protagonist, baking, rpg, sidekick NPC]\n\n> You look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are two delicious coppery loaves of wheat bread, thirteen copper coins, a pan of sour dough, a pan of unrisen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and a pan of risen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery."
    },
    {
        "text": "> Look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are three copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are two delicious coppery loaves of wheat bread, thirteen copper coins, a pan of sour dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and a pan of risen dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a moss robed citizen and a green robed citizen here.\n\nAvailable for sale:\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You put the sour dough in the oven\nYou put the pan of sour dough into the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I SING the SONG\nThe bread is done\nDon't wait too long\nIt's incredibly fun!\"\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of sourdough bread\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe purple robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the sourdough to Green\nYou nod to the green robed citizen, whom you recognize as the Watchmaker of Shireton.\n(first taking the hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the green robed citizen.\n\n\"Mmmm, and still warm!\" exclaims the green robed citizen, dropping another coin in the jar.\n\nThe green robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nBob the Hobo arrives from the north.\n\n\"Feed the penniless?\" asks Bob the Hobo. \"Gimme either a coin or a loaf, don't matter which!\"\n\n> You give the coppery to Bob\nOh here's Bob the Hobo, again.\n\n(first taking the delicious coppery loaf of wheat bread)\n\"Ah, many blessings upon ye're establishmen',\" invokes Bob the Hobo. The hobo tears into the delicious coppery loaf of wheat bread with fervor.\nThe hobo winces as you hear his teeth bear down on metal...gadzooks! Is that the loaf you put the copper coin into?\nBob the Hobo chokes on the coin and dies, collapsing to the floor.\n\nBefore you can approach to nudge him with your toe, he sits up and bellows \"Alas, I have been hoisted by mine own petard!\"\nbefore collapsing dramatically.\n\nLooks like he's down for good now, so the only thing really to do about this is to quickly drag what remains of the hobo through the blue curtain and stash him in the back room.\n\nYou close the blue curtain.\n\nYour customers seem to have noticed the disturbance...\n\nThe purple robed citizen goes north.\n\nBob convulses strangely.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give Bread to white\nYou nod to the white robed citizen, whom you recognize as the Night Warden of Shireton.\n(first taking the delicious loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You give the dough to the moss\nYou nod to the moss robed citizen, whom you recognize as the Court Stenographer of Shireton.\n(first taking the risen dough)\nThe moss robed citizen idles unresponsively.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n> You bake Bread\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"TAKE ALL HOT BREAD\nWith all due haste\nTo bring in heads\nPUT ALL HOT BREAD IN the display CASE...\n\n(You never thought that verse rhymed very well, but it's\nimportant.)\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of sourdough bread\na delicious hot loaf of sourdough bread\na delicious hot loaf of sourdough bread\na delicious hot loaf of sourdough bread\na delicious hot loaf of sourdough bread\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\n> You give Bread to the moss\n(first taking the delicious hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the moss robed citizen.\n\n\"Mmmm, and still soft!\" exclaims the moss robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the moss robed citizen, and yet another copper clinks into your tip jar.\n\nThe moss robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\nThe red robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\n> You give Bread to red\nYou nod to the red robed citizen, whom you recognize as the Merchant of Shireton.\n(first taking the delicious hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the red robed citizen.\n\n\"Mmmm, and still warm!\" exclaims the red robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the red robed citizen, and yet another copper clinks into your tip jar.\n\nThe red robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\nThe Shireton Harbourmaster arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be samplin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' race cars, 'at reminds me of a kinda  weird bon mot for ya! It all happened last week... About once a year we used to go finboatin'...\n\n> You enter back\nYou open the blue curtain.\n\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of six balls of dough, twenty loaves of barley bread, nineteen loaves of wheat bread, seventeen loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, twenty-one copper coins and a cursed pickle are both here and not here.\n\nYou can see ~Bob_the_Hobo_0493 and a blue checked curtain here.\n\nBob has respawned. \"Well, that was annoying. The idea of slippin'\nme a finn, I'll tell you!\" He looks around. \"What's this\nplace?\"\n\n> You search bob\nBob the Hobo holds no secrets that aren't apparent from an exterior glance.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe delicious and alluring aroma of freshly-baked bread fills the entire bakery.\n\nThe oven where you bake bread hangs open, blasting heat into the bakery.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (in which are nine copper coins) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are four metal pans, thirteen copper coins, a pan of sour dough, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a green robed citizen and a Shireton Harbourmaster here.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nrustic desert food and beholders will give you the worst headache\nof your life.\"\n\n> You give Bread to Green\nYou nod to the green robed citizen, whom you recognize as the Stonemason of Shireton.\n(first taking the delicious hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the green robed citizen.\n\n\"Mmmm, and still hot!\" exclaims the green robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the green robed citizen, and yet another copper clinks into your tip jar.\n\nThe green robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' narwhal, 'at reminds me of a pretty interestin' story for ya! It all happened many, many years ago, long before time even began... We used t' call this one guy \"Stubbs\", and that was fer a reason!\n\n> You give Bread to the yellow\nYou nod to the yellow robed citizen, whom you recognize as the Realtor of Shireton.\n(first taking the delicious hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the yellow robed citizen.\n\n\"Mmmm, and still soft!\" exclaims the yellow robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the yellow robed citizen, and yet another copper clinks into your tip jar.\n\nThe yellow robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... We had traveled to nearly the\nends of the bloomin' ocean ... and ran into zombies ... told us we needed to clear the hell outta here before nightfall ... we were put to work in the sculleries, washing dishes for their fancy dinner party.\"\n\n> You examine the oven\nThis oven is your livelihood, your baby, and your pride and joy. The cast-iron door stands open.\n\nIn the oven is a metal pan.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe purple robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... My crew was planning to mutiny up\nin the north sea of Ranisk ... and along the way several zombies ... met up ... we might have gone into that encounter as men, but we came outta it much more than that.\"\n\n> You give Bread to the yellow\n(first taking the delicious hot loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the yellow robed citizen.\n\n\"Mmmm, and still hot!\" exclaims the yellow robed citizen, dropping another coin in the jar.\n\n\"Delicious!\" proclaims the yellow robed citizen, and yet another copper clinks into your tip jar.\n\nThe yellow robed citizen goes north.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nplums soaked in alcohol and zombies should never be attempted\nwithout aspirin supplies.\"\n\n> You examine the door\n(the oven)\nThis oven is your livelihood, your baby, and your pride and joy. The cast-iron door stands open.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe green robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' the economy, 'at reminds me of a kinda short, I promise cautionary tale for ya! It all happened when I picked up my coffee this mornin'... And ye know, I use'ta work a business-hours job like yerself...\n\n> You get bell\nIt's connected by a magical unbreakable chain to the counter.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe white robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... Visiting the estate of the Sultan\nEl Katet, and his glorious palace in the desert ... and on the way back zombies ... were givin' us the fish eye, for absolutely no reason ... we were held prisoner for what was probably between three months and five years.\"\n\nYou scoop fifteen coins from the tip jar into the strong box.\nYou're tired of holding these coins. You release thirteen coins into the strong box.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nThe Harbormaster continues: \"... In the pirate city of\nElam-Throlsby ... when we got t' our destination,  a squad of skeletons ... we finally ran into each other after several near misses ... We shared our food and received wisdom in return.\"\n\nAnUUsSpOoPy69 arrives from the north.\n\n> Wait\nYou wait for a moment.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\nAnUUsSpOoPy69 dances on the counter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nrum and zombies can be profitable.\"\n\n> You open the oven\nYou open the oven.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[4:45 pm:54|873506]  AnUUsSpOoPy69 : Name?\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' hardtack, 'at reminds me of a funny true story for ya! It all happened the one time a bunch us guys decided t' go up th' coast and see what trouble we could get inta... So there's this fella...\n\n> You look at what you're carrying with you\nYou have in current possession:\na risen dough\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[4:47 pm:8|531159]  AnUUsSpOoPy69 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is: hallucinogenic mushrooms and beholders won't call you back.\"\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n[4:49 pm:5|163145]  AnUUsSpOoPy69 : Name?\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' the weather, 'at reminds me of a pretty terrifyin' yarn for ya! It all happened as it does, y' know, some people go about their day and arn't ever thinkin' about the stuff that really matters... This one gal...\n\n> Y.\ncheapglulxe quit with exit status: 0\n\n> You enter back\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of ten balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, fifty copper coins and a cursed pickle are both here and not here.\n\nYou can see Bob the Hobo and a blue checked curtain here.\n\nBob has respawned. \"Well, that was annoying. The idea of slippin'\nme a finn, I'll tell you!\" He looks around. \"What's this\nplace?\"\n\n> You examine Bob\nBob is the Hobo of Shireton, who spends his days trying to charm people but failing miserably. Bob is carrying a patrol route.\n\n\"I can just go, can't I?\" says Bob, rhetorically. \"I'll just walk out of here and...\"\n\n> You get the route\n\"Oh, hush up finally,\" you say, tearing the fat heel of a spare loaf and shoving it in his mouth. \"Sustain that!\" you add, claiming Bob's patrol route, and assuring yourself that yes, indeed, that was a witty parting shot.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob around a mouthful of bread crust."
    },
    {
        "text": "[Themes: Fantasy, constrained protagonist, culinary theme]\n\n> You look at your surroundings\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of ten balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, fifty copper coins and a cursed pickle are both here and not here.\n\nYou can see Bob the Hobo and a blue checked curtain here.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob.\n\n> You examine route\nIt seems to lead all over Shireton.\n\n> You read the route\nIt seems to lead all over Shireton.\n\nMysticMegan95 arrives from the north.\n\n> You check your inventory\nYou have in current possession:\na patrol route\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\nMysticMegan95 examines a blue curtain closely, hoping to discover hidden clues.\n\nMysticMegan95 zones out a bit, rummaging through her inventory screen.\n\n> You make the dough\nSome flour, some water, some furious kneading by skilled baker's hands - and before you know it, you have a perfect ball of dough!\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n[5:17 pm:16|236804]  MysticMegan95 : Name?\n\n> You give the name to the megan\nYou turn toward the dwarf hunter/fighter who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n[5:17 pm:22|815277]  MysticMegan95 : Job?\n\n> You give the Job to the megan\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n[5:17 pm:31|958449]  MysticMegan95 : Quest?\n\nshmokey420 arrives from the north.\n\n> You give Quest to the megan\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nMysticMegan95 accepted your quest!\n\nMysticMegan95 goes north.\n\n[5:17 pm:41|401009]  shmokey420 : Name?\n\n> You make the dough\nYou furiously knead a ball of dough into the perfect elasticity.\n\nYou shape the dough into a loaf and lay it snugly in a pan. You give it a jaunty slap: Silky as a baby's buttock.\n\n> You give the name to the shmokey420\nYou turn toward the zargan pyromancer/alchemist who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n[5:18 pm:19|511181]  shmokey420 : WTS 10 Feral Beast Potion 20cp OBO.\n\n> You make dough\nYou skillfully create a ball of dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\nMysticMegan95 arrives from the north.\n\n[5:18 pm:25|216651]  shmokey420 : Job?\n\n> You give the Job to the shmokey420\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\nMysticMegan95 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nMysticMegan95 receives 3 copper coins for their effort!\n\n[5:18 pm:33|38589]  shmokey420 : Quest?\n\n> You give Quest to shmokey420\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nshmokey420 accepted your quest!\n\nshmokey420 goes north.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou create a ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully. You give it a jaunty slap: Smooth as a lad's backside.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\nshmokey420 arrives from the north.\n\n[5:18 pm:58|219181]  RhymeswithTrigLock: WTS  Invincible Amulet of the Empress\n[5:18 pm:58|219406]  MarvinParnoidAnd: Anyone selling   15 Italian Sausage"
    },
    {
        "text": "[Themes: Fantasy, sidekick NPC, constrained protagonist, baking]\n\n> You look at your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are a handful of barleycorn, a pan of risen dough, a pan of risen dough, a pan of risen dough, a pan of unrisen dough, a pan of unrisen dough, a pan of unrisen dough and four metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see shmokey420 and MysticMegan95 here.\n\nshmokey420 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nshmokey420 receives 3 copper coins for their effort!\n\n[5:19 pm:10|102204]  MysticMegan95 : Hey I'm in the Bakery, make sure you guys have enough food to top off your HP.\n[5:19 pm:10|102253]  shmokey420 : Isn't that the cleric's job?\n[5:19 pm:10|102278]  Bri'anne Wayverlyn the CrystalSinger : In combat it is...what's your point, DAve?\n[5:19 pm:10|102995]  shmokey420 : WTS crafted Hookah of Ancient Memory 30cp.\n\nLegolas31 arrives from the north.\n\n> You examine the dough\nThe risen dough is rather nondescript.\n\n[5:19 pm:42|684501]  Legolas31 : /me strides ardently into the tiny bakeshop in this rocky mountain-locked hamlet of Shireton, whipping his cape around so none might guess his true identity.\n\nMysticMegan95 goes north.\n\n[5:19 pm:42|686997]  shmokey420 : LFG Greedy Duke - anyone know how to win it?\n[5:19 pm:42|687036]  Legolas31 : I think Greedy Duke requires poison in food?\n[5:19 pm:42|687070]  Bri'anne Wayverlyn the CrystalSinger : I think he's got a taster and if he dies the jig is up.\n[5:19 pm:42|687267]  Bri'anne Wayverlyn the CrystalSinger : So who are you?\n[5:19 pm:42|687314]  Legolas31 : /me casts a dark pall over the interloper's psyche, \"I AM NO ONE\" he declares...\n[5:19 pm:42|687360]  Bri'anne Wayverlyn the CrystalSinger : Um, what?\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n[5:19 pm:54|477239]  Legolas31 : /me peruses the baked goods on sale in this ramshackle bakery, wondering if perhaps the baker holds secrets endemic to the noble quest at hand...\n\n[5:19 pm:54|479516]  Bri'anne Wayverlyn the CrystalSinger : Smokey - I'll trade you 50 Debased Mushrooms for your hookah.\n[5:19 pm:54|479569]  shmokey420 : Hahahahahaahaha.\n\nLegolas31 goes north.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nshmokey420 is checking the World Map.\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na rock hard biscuit\na rock hard biscuit\n\nThe Shireton Harbourmaster arrives from the north.\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of them bland, overly puffy fairy-cakes you sell in here and make a passable attempt t'pass off as real bread! Speakin' o' narwhal, 'at reminds me of a kinda fascinatin' yarn for ya! It all happened when I picked up my coffee this mornin'... And ye know, I use'ta work a business-hours job like yerself...\n\n> You get all Bread and the biscuits\nrock hard biscuit: Taken.\nrock hard biscuit: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\nThe moss robed citizen arrives from the north.\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... In the mysterious land of Mu-Tah\n... and on the way back about fifty monstrosities ... used my crew as their personal harem for a time while we negotiated ... we were all sore and walking funny for a week after that.\"\n\nshmokey420 casts Divine Hallucination on himself.\n\n> You give the biscuit to the master\nYou turn your attention to the Shireton Harbourmaster.\nThe salty dog's visage brightens. \"Ah! Now this is more like it! Hard... Tooth-chippin'... It reminds me of my younger days!\" he says, barely concealing a tear.\nFive coins drop into your palm.\n\nThe Shireton Harbourmaster goes north.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\n[5:21 pm:0|205424]  shmokey420 : Crystal, where are you from?\n[5:21 pm:0|205457]  Bri'anne Wayverlyn the CrystalSinger : My ancient ancestors hail from north of the Vazaxxar Plain, and are descended from the race of Mintongue, originally from the icy realm of Trivselbit.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\n> You give Bread to the moss\nWhich do you mean, a loaf of wheat bread or the rock hard biscuit?\n\n> Wheat\nYou nod to the moss robed citizen, whom you recognize as the Pedestrian of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the moss robed citizen.\n\nThe moss robed citizen goes north.\n\n[5:21 pm:30|169028]  Cryptozoologist: I'm lev 15 but I can't get my mount. If I failed out of the guild of nightwalkers should I just nuke and start over?\n\n[5:21 pm:30|169188]  DrkStarr: BEST OFFER FOR  Rickety Bracelet of the Oversharing\n\n[5:21 pm:30|170368]  shmokey420 : No, Crystal, I mean like, west coast, east coast...\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the rock hard biscuit on the work table.\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n[5:22 pm:15|994297]  Grower69: Ding! 24\n[5:22 pm:15|994403]  MTW: Gratz!\n\n[5:22 pm:15|994475]  ICEMAN: congrats!!!\n\n[5:22 pm:15|994555]  GrlGmrNoH8: looking 4   10 Demonic Dominos\n[5:22 pm:15|994638]  pORpenTEEN: WTS  Notable Harness of the Hampster\n\nshmokey420 goes north.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature. You give it a jaunty slap: Firm as a baby's buttock.\n\nBri'anne Wayverlyn the CrystalSinger arrives from the north.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n[5:22 pm:33|756335]  Bri'anne Wayverlyn the CrystalSinger : Name?\n\n> You give the name to the brianne\nYou turn toward the elven priest/cleric herbalist/excavation specialist who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n[5:22 pm:42|994344]  Bri'anne Wayverlyn the CrystalSinger : Job?\n\n[5:22 pm:42|996118]  Occam: Anyone selling   30 Spotted Mushroom\n[5:22 pm:42|996291]  Viggo: Is there a way to stealth-kill G.D.?\n\nMysticMegan95 arrives from the north.\n\nLegolas31 arrives from the north.\n\n> You give the Job to the brianne\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n[5:22 pm:52|28578]  Legolas31 : Name?\n\nBri'anne Wayverlyn the CrystalSinger moves about the bakery, taking in all the sights.\n\nMysticMegan95 is checking for secret doors...\n[5:22 pm:52|33225]  AnUUsSpOoPy69 : Are you for real, dude?\n[5:22 pm:52|33268]  Legolas31 : I AM REAL AS THE WINTER WIND, as real is the quarrel's bite into warm flesh, and the living trees that bramble in the woods.\n[5:22 pm:52|33534]  Bri'anne Wayverlyn the CrystalSinger : Megan, I'm in the bakery, you say I can get bread here?\n\n> You give Quest to the brianne\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nBri'anne Wayverlyn the CrystalSinger accepted your quest!\n\nBri'anne Wayverlyn the CrystalSinger goes north.\n\n[5:23 pm:20|921757]  Legolas31 : Name?\n\n[5:23 pm:20|923872]  MysticMegan95 : LFG Greedy Duke lev 5+\n\n> You give the name to the legolas\nYou turn toward the elvish ranger/archer person who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say."
    },
    {
        "text": "[Themes: Fantasy, satire, rpg, culinary theme, baking]\n\n> You describe your surroundings\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are two handfuls of barleycorn, a rock hard biscuit, two loaves of wheat bread, six copper coins, five metal pans, a pan of unrisen dough, a pan of risen dough, a pan of risen dough, a pan of risen dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31 and MysticMegan95 here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na rock hard biscuit.\n\n[5:23 pm:45|182233]  Legolas31 : Job?\n\nMysticMegan95 (O.o)\n\n> You give Job to the legolas\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\nBri'anne Wayverlyn the CrystalSinger arrives from the north.\n\n[5:23 pm:55|478608]  Legolas31 : Quest?\n\nMysticMegan95 recasts her buff to make sure it doesn't run out. Bri'anne Wayverlyn the CrystalSinger sings a pleasant song of soul-searing.\n\n> You give Quest to the legolas\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nLegolas31 accepted your quest!\n\nLegolas31 goes north.\n\nBri'anne Wayverlyn the CrystalSinger presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nBri'anne Wayverlyn the CrystalSinger receives 3 copper coins for their effort!\n\nMysticMegan95 idles, possibly AFK.\nBri'anne Wayverlyn the CrystalSinger casts Invoke Safety Circle on the location.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n> You make dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\nMysticMegan95 goes north.\n\nshmokey420 arrives from the north.\n\n[5:25 pm:0|621662]  Bri'anne Wayverlyn the CrystalSinger : Why doesn't this bakery have any cupcakes??????\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\nLegolas31 arrives from the north.\n\nshmokey420 goes north.\n\n[5:25 pm:10|329847]  Bri'anne Wayverlyn the CrystalSinger : The baker is so cute! Why can't we have a baker in the party?\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan. You give it a jaunty slap: Resilient as a lad's skin.\n\nLegolas31 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nLegolas31 receives 3 copper coins for their effort!\n\n[5:25 pm:41|135517]  DrkStarr: WTB  See-through Underpants of the Chariot\n\nBri'anne Wayverlyn the CrystalSinger casts Hint of Nutmeg on the location.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n[5:26 pm:9|8950]  Bri'anne Wayverlyn the CrystalSinger : Hey S-420, maybe the baker could bake a special poison that doesn't kill the Duke's Taster, but will poison the duke? What do you think?\n[5:26 pm:9|9010]  shmokey420 : I don't think that the baker is a recruitable character.\n[5:26 pm:9|9048]  Bri'anne Wayverlyn the CrystalSinger : SUX!\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan. You give it a jaunty slap: Glossy as a baby's derriere.\n\n[5:26 pm:24|237513]  shmokey420 : Crystal maybe there's a baker for hire in the tavern. You wanna check?\n[5:26 pm:24|237560]  Bri'anne Wayverlyn the CrystalSinger : I hate that place, all the 15yearolds keep hitting on me.\n\n> You make the dough\nYou've made quite enough dough. You're ready to BAKE BREAD now.\n\n[5:26 pm:37|352370]  smiths: How many ladies on the channel tonight?\n\n[5:26 pm:37|353932]  MysticMegan95 : Hey ranger, you know slash-me doesn't do anything in AoA chat, right?\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\nLegolas31 checks for secret doors...\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"The Bread is Life\nThe Bread is Art\nI bake my Bread\nStraight from the Heart!\"\n\n[5:27 pm:0|260713]  pORpenTEEN: looking 4   35 Business Cards\n[5:27 pm:0|260852]  **Lang**: BEST OFFER FOR  Sticky Shield of the Autumn Leaves\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nLegolas31 casts Call Woodland Creatures...\n\nThere is a brief stampede of rabbits and chipmunks into the door of the bakery, but without purpose, they quickly and harmlessly disperse. Bri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of sourdough bread\na hot loaf of sourdough bread\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 goes north.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\ndoug2008 arrives from the north.\n\n> You get all Bread\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of sourdough bread: Taken.\nhot loaf of sourdough bread: Taken.\nrock hard biscuit: Taken.\nloaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\nThe Shireton Harbourmaster arrives from the north.\n\n[5:27 pm:30|906484]  doug2008 : A/S/L?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' narwhal, 'at reminds me of a pretty fascinatin' bon mot for ya! It all happened as it does, y' know, some people go about their day and arn't ever thinkin' about the stuff that really matters... We used t' call this one guy \"Stubbs\", and\nthat was fer a reason!\n\n> You give the biscuit to the master\nYou turn your attention to the Shireton Harbourmaster.\nThe salty dog's visage brightens. \"That's it, gi'me that rock hard saltiness!\" he commands. Five coins drop into your palm.\n\nThe Shireton Harbourmaster goes north.\n\nThe green robed citizen arrives from the north.\n\n[5:27 pm:47|989210]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You close the oven\nYou close the oven.\n\n\"A loaf of bread, please!\" requests the green robed citizen.\n\n[5:28 pm:2|857547]  doug2008 : Name?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface. [5:28 pm:2|861275]  doug2008 : Anyone here from milwaukee?\n\n> You give the wheat to Green\nYou nod to the green robed citizen, whom you recognize as the Village Idiot of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the green robed citizen.\n\nThe green robed citizen goes north.\n\n[5:28 pm:27|479471]  doug2008 : Name?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n[5:28 pm:44|187575]  doug2008 : Name?\n\n[5:28 pm:44|189507]  Belle: You don't need to dual class if you spec your char right from the get-go.\n\n[5:28 pm:44|189611]  MarvinParnoidAnd: Anyone selling   15 Miracle Goo\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You make dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n[5:28 pm:55|831270]  doug2008 : Name?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n[5:29 pm:14|549466]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\n[5:29 pm:14|551251]  LianRULEZ: WTS  Crackly Yoke of the Undertow [5:29 pm:14|551361]  TLCchik: Testing...is this local chat?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface. [5:29 pm:14|553413]  doug2008 : Anyone reading this?\n\n> You get all Bread\nloaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\nloaf of sourdough bread: Taken.\nloaf of sourdough bread: Taken.\nloaf of wheat bread: Taken.\n\n[5:29 pm:37|992195]  doug2008 : Name?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface. [5:29 pm:37|996073]  doug2008 : hellooooooo?\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"MAKE some DOUGH\nDo it AGAIN\nRepeat that step\nTill I have ten!\"\n\n[5:29 pm:56|185472]  doug2008 : Name?\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of sourdough bread\na rock hard biscuit\na rock hard biscuit\n\nThe white robed citizen arrives from the north.\n\n[5:30 pm:3|782215]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You get all Bread and the biscuits\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of sourdough bread: Taken.\nrock hard biscuit: Taken.\nrock hard biscuit: Taken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[5:30 pm:21|200822]  doug2008 : Name?\n\n[5:30 pm:21|202786]  **Lang**: Looking to Party: Nights in Rough Burlap\n[5:30 pm:21|202869]  Goldie58: WHEN ARE THEY GOING TO NERF THE WALEWALKER PALADINS???\n\nHeat blasts from the open oven into the bakery.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You check what you're carrying\nYou have in current possession:\ntwo rock hard biscuits\nthree delicious loaves of sourdough bread\nsix delicious loaves of wheat bread\na patrol route\nan apron (being worn)\na baker's hat (being worn)\na quest to give\na song in your heart\na name response\na job response\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[5:30 pm:35|649408]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 arrives from the north.\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You take off the hat\nYou lift your hat just long enough to cool your brow, then affix it firmly back on your head.\n\n\"A loaf of bread, please!\" requests the white robed citizen.\n\n[5:30 pm:56|120776]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\n[5:30 pm:56|124654]  Legolas31 : /me decides to indulge himself in the humble Baker's wares, but not seeing any donuts, resolves never to think about it again.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You give the wheat to white\nYou nod to the white robed citizen, whom you recognize as the Court Stenographer of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the white robed citizen.\n\n\"Delicious!\" proclaims the white robed citizen, and yet another copper clinks into your tip jar.\n\nThe white robed citizen goes north.\n\n[5:31 pm:10|535905]  doug2008 : Name?\n\n[5:31 pm:10|537778]  98293901: Looking to sell   25 Reeking Onion Cysts\n[5:31 pm:10|537856]  smiths: looking 4  Cursed Boots of the Emperor\n\nHeat blasts from the open oven into the bakery.\n\n[5:31 pm:10|540303]  Legolas31 : Name, Job, Quest, the Ranger thinks...wondering if there might be some sort of special idiomatic language spoken in this far corner of the world known as \"Shireton\"... Bri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You get all copper\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\ncopper coin: Taken.\n\n[5:31 pm:33|508413]  doug2008 : Name?\n\n[5:31 pm:33|510038]  Pathologist 92: Any CANADA in'na house???\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You put all copper in the slot\ncopper coin: Clink!\nThe copper coin lands in the box with all the rest of them.\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\ncopper coin: Clink!\n\n[5:31 pm:44|432158]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> Go north\nYou have to squint in the sun...you've never been through that door! Everything is SO BRIGHT!!!\n\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nIt may not be much, but it's a change of scenery and SO BEAUTIFUL! This is the most attractively bedraggled huddle of buildings you've ever seen! And the Wintry Rocky Mountain Pass is the most scenic Wintry Rocky Mountain Pass you've ever seen! And there's a little stone construction with a tiny figure of a man on top and WATER COMES OUT OF IT! What sorcery is this?\n\nOkay. Calm down. You don't need to freak out like it's your first day. It's a tiny town. Your home. You live here. You pinch yourself to make sure you're not dreaming.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see a white robed citizen, AnUUsSpOoPy69, a green robed citizen, a Shireton Harbourmaster, a moss robed citizen, a red robed citizen, a yellow robed citizen, a purple robed citizen and an AoA-ModGM AustinT. here.\n\n[5:31 pm:51|104289]  AnUUsSpOoPy69 : Name?\n\n[5:31 pm:51|106248]  AoA-ModGM AustinT.: Jon, is the baker supposed to be wandering around outside the bakery?\n\n> Go east\nThis is the Shireton Metalsmytheriye. This is where the Metalsmith of Shireton forges the tricky metal parts for weapons and armours and armoires. This is a magnificent location: Right off the Shireton Towne Square, which is one step to the west.\n\nThe Shireton Metalsmith works industriously over a hot fire, clanging glowing iron with a hammer.\n\nYou can also see a red curtain, a Wretched Wobblyhandle Pewter Dagger of the Noob, a Vanquishing Godly Platinum Longsword of the Unicorn and a Wretchedly Constructed Scrap Tin Chainmail of the Noob here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\n> You close the oven\nYou close the oven.\n\n[5:37 pm:47|718253]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You go north\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see a white robed citizen, AnUUsSpOoPy69, a green robed citizen, a Shireton Harbourmaster, a moss robed citizen, a red robed citizen, a yellow robed citizen, a purple robed citizen and an AoA-ModGM AustinT. here.\n\n[5:37 pm:59|240345]  AnUUsSpOoPy69 : Name?\n\n[5:37 pm:59|241588]  VasDifference: Need someone to run The Raiders are Coming\n\n[5:37 pm:59|241901]  AoA-ModGM JonE.: Negative, I don't think the Baker should even have permissions to leave that room.\n\n[5:37 pm:59|241930]  AoA-ModGM AustinT.: Ten four, I got him.\nYou are overwhelmed by the presence of someone who has limitless power... You are picked up...and set down...and during that you see things you probably shouldn't...things that have the capability of breaking your tiny mind...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are eight metal pans, four handfuls of barleycorn, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31, doug2008 and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\na rock hard biscuit.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> Go north\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see a white robed citizen, AnUUsSpOoPy69, a green robed citizen, a Shireton Harbourmaster, a moss robed citizen, a red robed citizen, a yellow robed citizen, a purple robed citizen and an AoA-ModGM AustinT. here.\n\nThe Narvish Raider has requested a PvP battle!\n\nDo you accept?\n\n> No\nYou have declined a duel with Narvish Raider[0018].\n\n> You go to the east\nThis is the Shireton Metalsmytheriye. This is where the Metalsmith of Shireton forges the tricky metal parts for weapons and armours and armoires. This is a magnificent location: Right off the Shireton Towne Square, which is one step to the west.\n\nThe Shireton Metalsmith works industriously over a hot fire, clanging glowing iron with a hammer.\n\nYou can also see a red curtain, a Wretched Wobblyhandle Pewter Dagger of the Noob, a Vanquishing Godly Platinum Longsword of the Unicorn and a Wretchedly Constructed Scrap Tin Chainmail of the Noob here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are eight metal pans, four handfuls of barleycorn, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31, doug2008 and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\na rock hard biscuit.\n\n[5:39 pm:16|356492]  doug2008 : Name?\n\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You go north\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see a white robed citizen, AnUUsSpOoPy69, a green robed citizen, a Shireton Harbourmaster, a moss robed citizen, a red robed citizen, a yellow robed citizen, a purple robed citizen and an AoA-ModGM AustinT. here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are eight metal pans, four handfuls of barleycorn, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31, doug2008 and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\na rock hard biscuit.\n\n[5:39 pm:36|411918]  doug2008 : Name?\n\n[5:39 pm:36|413696]  DrkStarr: BEST OFFER FOR   10 Flash Paper\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You get wheat\nYou already have that.\n\n[5:39 pm:48|21960]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You put the wheat in the bell\nThat can't contain things.\n\n[5:39 pm:53|907509]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n[5:39 pm:53|911738]  doug2008 : anyone know the hockey score?"
    },
    {
        "text": "> You look around\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are eight metal pans, four handfuls of barleycorn, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31, doug2008 and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\na rock hard biscuit.\n\n[5:43 pm:54|552971]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\nBob's Uppance\n\n> You go north\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see shmokey420, a white robed citizen, AnUUsSpOoPy69, a green robed citizen, a Shireton Harbourmaster, a moss robed citizen, a red robed citizen, a yellow robed citizen, a purple robed citizen and an AoA-ModGM AustinT. here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are eight metal pans, four handfuls of barleycorn, a pan of sour dough and a pan of sour dough.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see Legolas31, doug2008 and Bri'anne Wayverlyn the CrystalSinger here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\na rock hard biscuit.\n\n[5:44 pm:55|369725]  doug2008 : Name?\n\n[5:44 pm:55|371470]  GrlGmrNoH8: WTB  Notable Breastplate of the Basilisk\n[5:44 pm:55|371656]  Healy: LFG: Escort the Dainty Maiden\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\nBri'anne Wayverlyn the CrystalSinger is in the crafting interface.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the rock hard biscuit on the work table.\n\nYou put the rock hard biscuit on the work table.\n\nYou put the delicious loaf of sourdough bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n[5:45 pm:14|217629]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\nBri'anne Wayverlyn the CrystalSinger goes north.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Then I TAKE ALL RISEN DOUGH\nAnd SING the SONG to pass the hour\nI BAKE the BREAD I have in hand\nAnd leave the rest to wonderfully sour!\"\n\n[5:45 pm:22|682685]  doug2008 : Name?\n\n[5:45 pm:22|684501]  hip-e-chick: Is there a way from walking mountains of dread to happy hills without going over the bridge over piranha'd waters?\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\n[5:45 pm:36|5606]  doug2008 : Name?\n\n> You wait\nYou anticipate what the next minute will bring.\n\n[5:45 pm:40|51381]  doug2008 : Name?\n\n[5:45 pm:40|53217]  ZarfianDendrite: WTS   20 Fairy Spit\n[5:45 pm:40|53620]  SaladTong: looking 4  See-through Halberd of the Emperor\n[5:45 pm:40|53701]  RiffyGuitar: Need group for The Nervy Holstein\n\n> You examine dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n[5:45 pm:46|178713]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I SING the SONG\nThe bread is done\nDon't wait too long\nIt's incredibly fun!\"\n\n[5:45 pm:54|187060]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You examine the dough\nThe risen dough is rather nondescript.\n\n[5:45 pm:58|365272]  doug2008 : Name?\n\n[5:45 pm:58|367209]  Cryptozoologist: WTB   25 Miracle Goo\n[5:45 pm:58|367296]  tehEmilyS: What's the best class to start out with?\n\n[5:45 pm:58|367389]  TregunaMekoides: Anyone selling  Dull Codpiece of the Yellow Shoelaces\n\nMysticMegan95 arrives from the north.\n\n[5:45 pm:58|370452]  doug2008 : A/S/L?\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou put the pan of sour dough into the oven.\n\nYou close the oven.\n\n[5:46 pm:14|417427]  doug2008 : Name?\n\n[5:46 pm:14|418723]  James: LFG: A Night in Lunebyn\n[5:46 pm:14|418765]  RonnieN: Ucn kill the duke but is really hard.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n[5:46 pm:39|310591]  doug2008 : Name?\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\ndoug2008 goes north.\n\n> You put copper in the dough\nYou poke the copper coin into an unrisen dough.\nWhat is this, Mardi Gras? What would the Board of Bakery Safety think?\n\n[5:46 pm:46|942426]  Darwin: Need someone to run It Takes a Village [5:46 pm:46|942578]  loofah22: Looking to sell   10 Flying Bus Transfer\n[5:46 pm:46|942698]  98293901: Need group for The Language of Deep Sorrow and Giddy Comedy\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n[5:46 pm:56|471063]  smiths: What's wrong with humans?\n\n[5:46 pm:56|471161]  Speaker4Dead: BEST OFFER FOR  Minty-fresh Sword of the Basilisk\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\ndoug2008 arrives from the north.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"TAKE ALL HOT BREAD\nWith all due haste\nTo bring in heads\nPUT ALL HOT BREAD IN the display CASE...\n\n(You never thought that verse rhymed very well, but it's\nimportant.)\n\n[5:47 pm:3|776631]  doug2008 : Name?\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nLegolas31 goes north.\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\n[5:47 pm:33|811757]  doug2008 : Anyone here from milwaukee?\n\n[5:47 pm:33|813117]  RunningofBullz: NOTICE! DON'T PARTY WITH **Lang** THEY WILL GANK ALL YOUR LOOTS.\n\n[5:47 pm:33|813223]  GrlGmrNoH8: Looking to Party: Purchase a Boat [5:47 pm:33|813288]  Snoodish Brit: WTS   25 Rat Tails\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot loaf of wheat bread\na delicious hot loaf of sourdough bread\na delicious hot loaf of sourdough bread\n\nThe moss robed citizen arrives from the north.\n\n[5:47 pm:43|51908]  doug2008 : Name?\n\n[5:47 pm:43|53315]  Cryptozoologist: I'm logging, nite all.\n\n[5:47 pm:43|53392]  counterMONKEH: looking 4  Sparkly Tie-tack of the Protestor\n[5:47 pm:43|53489]  **Lang**: Need someone to run The Elder Gods Advance\n\nHeat blasts from the open oven into the bakery.\n\nMysticMegan95 idles, possibly AFK.\n\n> You get all Bread\ndelicious hot loaf of sourdough bread: Taken.\ndelicious hot loaf of sourdough bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\nloaf of wheat bread: Taken.\nloaf of sourdough bread: Taken.\nloaf of sourdough bread: Taken.\nloaf of wheat bread: Taken.\ndelicious loaf of wheat bread: Taken.\ndelicious loaf of sourdough bread: Taken.\nrock hard biscuit: Taken.\nrock hard biscuit: Taken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the moss robed citizen.\n\nThe Shireton Harbourmaster arrives from the north.\n\n[5:48 pm:5|269118]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' the economy, 'at reminds me of a  weird cautionary tale for ya! It all happened many, many years ago, long before time even began... back when we were still huntin narwhals and Great Whites...\n\n> You put all hot Bread in case\ndelicious hot loaf of wheat bread: Done.\ndelicious hot loaf of sourdough bread: Done.\ndelicious hot loaf of sourdough bread: Done.\n\n\"A delicious hot loaf of sourdough bread, please!\" requests the moss robed citizen.\n\nThe Narvish Raider arrives from the north.\n\n[5:48 pm:18|235014]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster continues: \"... In a mysterious pass through the Valkyyria Mountains ... where we encountered tentacle whips ... we finally ran into each other after several near misses ... the dinner was passable, I hadn' the heart to mention the soggy broccoli.\"\n\n> You examine the dough\nIt seems to be a risen dough, and it's rather risen dough-shaped and sized, with a distinctly risen dough-esque styling and vibe to it.\n\n\"A delicious hot loaf of sourdough bread, please!\" requests the moss robed citizen.\n\nThe purple robed citizen arrives from the north.\n\n[5:48 pm:43|259625]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... My crew was planning to mutiny up\nin the north sea of Ranisk ... and ran into a dozen or so monstrosities ... squared off at midnight ... we were put to work in the sculleries, washing dishes for their fancy dinner party.\"\n\nYou notice the moss robed citizen suddenly bursting into a shower of experience points. The Raider leans nonchalantly.\n\n> You bake Bread\nYou put the pan of risen dough into the oven.\n\nYou close the oven.\n\n\"A delicious hot loaf of sourdough bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:48 pm:57|523412]  doug2008 : Name?\n\nThe Harbormaster continues: \"... Out on the open sea, it was a\nfine mornin', calm waters, no chop ... when we got t' our destination, hovering eyeballs ... told us we needed to clear the hell outta here before nightfall ... boy we'd a never-a made it if we'd not listened to first mate Craig and his wise luggage strategies.\""
    },
    {
        "text": "[Themes: Fantasy, baking, culinary theme]\n\n> You look in the case\nIn the display case are two delicious loaves of sourdough bread and a delicious loaf of wheat bread.\n\n\"A delicious loaf of sourdough bread, please!\" requests the red robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\n[5:49 pm:30|565416]  doug2008 : Name?\n\nThe Harbormaster continues: \"... On shore leave in the port of Kental-Mare-Widdington ... where we encountered a village full of skeletons ... offered to trade with us ... I still have nightmares sometimes.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider catches your eye and gives you a friendly nod.\n\n> You open the oven\nYou open the oven. Inside you see:\na risen dough\n\n\"A delicious loaf of wheat bread, please!\" requests the purple robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[5:49 pm:52|658367]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster continues: \"... We had traveled to nearly the\nends of the bloomin' ocean ... when we got t' our destination, beholders ... tangled ... We shared our food and received wisdom in return.\"\n\n> You close the oven\nYou close the oven.\n\n\"A delicious loaf of sourdough bread, please!\" requests the yellow robed citizen.\n\nThe moss robed citizen arrives from the north.\n\n[5:50 pm:1|589786]  doug2008 : Name?\n\nThe Harbormaster continues: \"... In the pirate city of\nElam-Throlsby ... where we encountered a troupe of tentacle whips ... invited us for dinner ... we were held prisoner for what was probably between three months and five years.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider appears to be having a silent conversation with someone else across the room.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"But mind the song\nDon't burn the crust\nFor too much song\nBurns bread to dust\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the moss robed citizen.\n\n[5:50 pm:9|124625]  doug2008 : Name?\n\n[5:50 pm:9|126001]  DrkStarr: Anyone selling   10 Iron Filings\n[5:50 pm:9|126162]  BustaMike: BEST OFFER FOR  Reasonably Scary Garter of the Dungbeast\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nspells from a spellbook in a foreign language and skeletons should never be taken on the same day.\"\n\n> You open oven\nYou open the oven. Inside you see:\na delicious hot coppery loaf of wheat bread\n\n\"A delicious loaf of wheat bread, please!\" requests the purple robed citizen.\n\n[5:50 pm:44|403183]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\n[5:50 pm:44|404650]  smiths: PLEEZ HELP is there a way to dual-class in AOA?\n\n[5:50 pm:44|404740]  Kateri: looking 4   25 Arthritic Zombie Toes\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster scowls, \"Me, I'll be samplin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' narwhal, 'at reminds me of a interestin' story for ya! It all happened the one time a bunch us guys decided t' go up th' coast and see what trouble we could get inta... When I was in the royal navy...\n\n> You get coppery\nTaken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A delicious loaf of sourdough bread, please!\" requests the moss robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:51 pm:0|139649]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\ntequila and skeletons will touch you deeply.\"\n\n> You close the oven\nYou close the oven.\n\n\"A delicious loaf of wheat bread, please!\" requests the moss robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[5:51 pm:15|100752]  doug2008 : Name?\n\n[5:51 pm:15|102163]  loofah22: Thanks for the help Occam!\n\n[5:51 pm:15|102331]  doozy2938: WTS  Cursed Hammer of the Empress [5:51 pm:15|102442]  HEAVYMETAL: Anyone selling   20 Twiggle Stacks\n\nThe Harbormaster scowls, \"Me, I'll be takin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' narwhal, 'at reminds me of a interestin' true story for ya! It all happened when I was a young bolt, looking fine in my horizontally striped tight shirt, ascot, and tight white trousers...all wet and clingin' to me muscles... me and my fellers, we was all piss-drunk of a Wednesday like usual...\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the delicious coppery loaf of wheat bread on the work table.\n\nYou put the rock hard biscuit on the work table.\n\nYou put the rock hard biscuit on the work table.\n\nYou put the delicious loaf of sourdough bread on the work table.\n\nYou put the delicious loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of sourdough bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\n\"A delicious loaf of wheat bread, please!\" requests the moss robed citizen.\n\nThe white robed citizen arrives from the north.\n\n[5:51 pm:34|632511]  doug2008 : Name?\n\n[5:51 pm:34|633797]  pORpenTEEN: LFG: Smashy Maze of Traps and Spikes [5:51 pm:34|633896]  VasDifference: If you're human you start in Shireton which is the worst, you probably want to be a Narv or a Gretosh Spellkeeper.\n\n[5:51 pm:34|633949]  Mr.Dangles: Looking to sell  Mysterious Bracers of the Chariot\n\nThe Harbormaster continues: \"... On this desert island we had\nscoped on our map ... and on the way back beholders ... enticed us off of our route into a hovel in the desert ... a barrel o' rum, a bucket of coconut oil, and boy we didn't know what we were in for.\"\n\n> You give the biscuit to the master\nYou turn your attention to the Shireton Harbourmaster.\n(first taking the rock hard biscuit)\nThe salty dog's visage brightens. \"That's it, gi'me that rock hard saltiness!\" he commands. Five coins drop into your palm.\n\nThe Shireton Harbourmaster goes north.\n\n\"A delicious loaf of sourdough bread, please!\" requests the purple robed citizen.\n\n[5:52 pm:5|541462]  doug2008 : Name?\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider stares at you wide-eyed.\n\n> Go north\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nYou can also see a red robed citizen, a Shireton Harbourmaster, Legolas31, shmokey420, AnUUsSpOoPy69 and an AoA-ModGM AustinT. here.\n\n\"Ting-a-Ling!\" rings your counter bell, and you are duty-bound to answer the call of a customer desirous of bread...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nA Narvish Raider waits patiently.\n\nThe delicious and alluring aroma of freshly-baked bread fills the entire bakery.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains two delicious loaves of sourdough bread and a delicious loaf of wheat bread.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are six loaves of wheat bread, three loaves of sourdough bread, a rock hard biscuit, nine metal pans, a pan of unrisen dough and four handfuls of barleycorn.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\nYou can also see a white robed citizen, a green robed citizen, a moss robed citizen, a yellow robed citizen, a purple robed citizen, doug2008 and MysticMegan95 here.\n\nAvailable for sale:\na loaf of wheat bread.\na loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of wheat bread.\na delicious coppery loaf of wheat bread.\na delicious loaf of wheat bread.\na loaf of wheat bread.\na delicious loaf of sourdough bread.\na delicious loaf of sourdough bread.\na loaf of sourdough bread.\na loaf of sourdough bread.\na delicious loaf of sourdough bread.\na rock hard biscuit.\n\n\"A delicious loaf of wheat bread, please!\" requests the moss robed citizen.\n\n[5:52 pm:26|148706]  doug2008 : Anyone reading this?\n\n> You look at dough\nThe unrisen dough is rather nondescript.\n\n\"A delicious loaf of sourdough bread, please!\" requests the yellow robed citizen.\n\nThe Shireton Harbourmaster arrives from the north.\n\n[5:53 pm:29|378097]  doug2008 : Name?\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' steam powered fishing vessels, 'at reminds me of a funny anecdote for ya! It all happened back in the day... Y'ever look up at the stars in th' sky and ask \"Are we all there\nis?\"\n\n> You give the sourdough to Yellow\nYou nod to the yellow robed citizen, whom you recognize as the Vegetarian of Shireton.\n(first taking the delicious loaf of sourdough bread)\n\"Ah, thank you, good Baker of Shireton! May these two coins bring you prosperity!\" says the yellow robed citizen.\n\n\"Delicious!\" proclaims the yellow robed citizen, and yet another copper clinks into your tip jar.\n\nThe yellow robed citizen goes north.\n\n\"A delicious loaf of sourdough bread, please!\" requests the moss robed citizen.\n\nThe yellow robed citizen arrives from the north.\n\n[5:53 pm:44|46094]  doug2008 : hellooooooo?\n\nThe Harbormaster continues: \"... In the sleepy town of Bismarck we were slumming it over a slow weekend ... when we got t' our destination,  several beholders ... met up ... I personally allowed myself to be vulnerable and take whatever was thrust upon me.\"\n\nYou notice the green robed citizen suddenly bursting into a shower of experience points. The raider gives you a thumbs up.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I don't chase quest\nO'er hill and dale\nI don't make swords nor deliver your mail\nDelicious crust and fluffy crumb\nYou want some bread, come get you some!\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the white robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:54 pm:1|180228]  doug2008 : a;slkdfja;sdlkfja;sdlkfjasdf\n\nThe Harbormaster continues: \"... Visiting the estate of the Sultan\nEl Katet, and his glorious palace in the desert ... and along the way skeletons ... led us the location of a cave full of treasure ... it was probably the most fiendish and difficult struggle of our\nlives.\"\n\n> You open the oven\nYou open the oven.\n\n\"A delicious loaf of wheat bread, please!\" requests the red robed citizen.\n\n[5:54 pm:22|960685]  doug2008 : Name?\n\nHeat blasts from the open oven into the bakery, causing the blue curtain over the back room door to flutter.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nrustic desert food and beholders will drive you nuts on a long sea voyage.\"\n\n> You close the oven\nYou close the oven.\n\n\"A delicious loaf of sourdough bread, please!\" requests the purple robed citizen.\n\n[5:54 pm:35|271595]  doug2008 : Name?\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' the weather, 'at reminds me of a pretty fascinatin' tale for ya! It all happened when I was a young lad, before I took up sailin'... So there's this fella...\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n\"A delicious loaf of wheat bread, please!\" requests the red robed citizen.\n\nThe green robed citizen arrives from the north.\n\n[5:54 pm:42|22167]  doug2008 : Name?\n\nThe Harbormaster continues: \"... Me and my crew were explorin' a mysterious bazaar that popped up in the Enocrinesh Desert ... when we got t' our destination,  three tentacle whips ... tried to waylay us in the Green Woods ... they stole all of our clothes and cast us adrift in the Scarlet Sea. We drifted until we found a clothing merchant ship with reasonable prices.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider indicates his eyes are on you.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"We don't spit in the loaves of bread\nDon't poke it with pins, or with razors or lead\nExplosives and poisons are readily out\nFor this bread is safe, I declare with a shout!\"\n\n\"A delicious loaf of wheat bread, please!\" requests the green robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:54 pm:50|306704]  doug2008 : anyone know the hockey score?\n\nThe Harbormaster continues: \"... While luncheoning with the Queen\nof Aeons ... where we encountered beholders ... were givin' us the fish eye, for absolutely no reason ... we might have gone into that encounter as men, but we came outta it much more than that.\"\n\n> You look at the dough\nThe unrisen dough is rather nondescript.\n\n\"A delicious loaf of wheat bread, please!\" requests the white robed citizen.\n\n[5:54 pm:56|993949]  doug2008 : Name?\n\nThe Harbormaster continues: \"... While travelling in disguise with Ahari Raiders ... and on the way back a couple of skeletons ... wanted us to accompany them to Shireton as bodyguards ... Never have we feasted on so many shellfish.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider winks.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Brea-ad\nScoobily doobily\nBrea-ad\nYeah!\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:55 pm:1|40503]  doug2008 : Name?\n\n[5:55 pm:1|41948]  GrlGmrNoH8: Can the Greedy Duke be poisoned?\n\n[5:55 pm:1|42091]  AoAWinnar: Need someone to run The Doubting Groom [5:55 pm:1|42174]  Llewellyn99: looking 4   10 Tail of Bat\n\nThe Harbormaster continues: \"... On this open, grassy plain we\nwere crossin' with a couple of wagons n' a tempermental ox named Stu ... and along the way skeletons ... stowed away on our ship ... we were taken to a restaurant that served th' most succulent calamari you could ever imagine.\"\n\n> You look at the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n\"A delicious loaf of wheat bread, please!\" requests the white robed citizen.\n\n[5:55 pm:19|58750]  doug2008 : Name?\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nplums soaked in alcohol and tentacle whips will give you the worst headache of your life.\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Baker-man, Baker man\nBake up some bread as fast as you can\nRoll it and rise it and stick it in to bake\nWith bread so good who could ever choose cake?\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the yellow robed citizen.\n\n[5:55 pm:33|860062]  doug2008 : Name?\n\nThe Harbormaster scowls, \"Me, I'll be samplin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' hardtack, 'at reminds me of a interestin' tale for ya! It all happened on a Monday in 1587. Or 1588, I don't remember which... This one gal...\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\n\"A delicious loaf of sourdough bread, please!\" requests the white robed citizen.\n\n[5:55 pm:45|724330]  doug2008 : A/S/L?\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nbeer that's gone bad and zombies don't go together.\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I'm the Baker la da da\nSomething about bread dee dee\nSomething clever pun ba bah\nAnd a word that rhymes with bread hee hee!\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the moss robed citizen.\n\n[5:55 pm:54|365958]  doug2008 : Anyone here from milwaukee?\n\nThe Harbormaster scowls, \"Me, I'll be buyin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' current events, 'at reminds me of a funny anecdote for ya! It all happened last week... My neighbors had this gorgeous black stallion...\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n\"A delicious loaf of wheat bread, please!\" requests the red robed citizen.\n\n[5:56 pm:37|718811]  doug2008 : Name?\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nmagical journeys listed as \"short\" in the brochure and skeletons\nwill make you never able to love again.\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"This is the song about bread\nThis is the song about bread\nHey nonny-nonny nonny\nSong about bread!\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the red robed citizen.\n\n[5:56 pm:47|215032]  doug2008 : Name?\n\nThe Harbormaster scowls, \"Me, I'll be havin' one of yer chewiest and sturdiest hunks o' bread I can sink me withered teeth inta' that ye can manage! Speakin' o' narwhal, 'at reminds me of a pretty fascinatin' true story for ya! It all happened earlier this morning... About once a year we used to go finboatin'...\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of unrisen dough into th"
    },
    {
        "text": "e oven.\n\nYou close the oven.\n\n\"A delicious loaf of sourdough bread, please!\" requests the yellow robed citizen.\n\n[5:56 pm:55|816573]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\nThe Harbormaster continues: \"... We had been summoned before the\nLord of Elk himself, Robb Cornton Esq. ... and ran into a few o' them skeletons ... came puffin' and struttin', ready for a fight ... I woke in the middle of the night to all my crew missin' and sounds like you would not believe outside the tent.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider holds a fist to the sky.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"GIMME A B\nGIMME AN R\nGIMME AN A\nGIMME A D!\n\nWhat's that spell?\"\n\n\"A delicious loaf of sourdough bread, please!\" requests the purple robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:57 pm:5|578309]  doug2008 : Name?\n\n[5:57 pm:5|579757]  Lunanalytical: BEST OFFER FOR  Shrinking Miniskirt of the Tax Dodger\n\nThe Harbormaster continues: \"... We were sailin' up the Brabgard\ncoast bein' careful o' all th' sharp reefs ... and on the way back tentacle whips ... made advances of the grown-up kind ... I tell you what, the crabs you can get from those people are no joke.\"\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I bake...hot...bread and I cannot lie\nThose other bakers can't deny\nWhen the dough is round\nin that itty-bitty pan\nAnd the rise is high and tight it gets BAKED...\"\n\n\"A delicious loaf of wheat bread, please!\" requests the moss robed citizen.\n\n[5:57 pm:18|599163]  doug2008 : Name?\n\nSomething is on fire in the oven, you're sure of it.\n\nThe Harbormaster continues: \"... While luncheoning with the Queen\nof Aeons ... and ran into a whole host of zombies ... snared us in a trap ... we fought em back as valiantly as we can, losing brave Pegleg Timmy.\"\n\nYou notice the red robed citizen suddenly bursting into a shower of experience points. The raider does a satisfied run in a circle.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\n\"A delicious loaf of wheat bread, please!\" requests the moss robed citizen.\n\nThe red robed citizen arrives from the north.\n\n[5:57 pm:26|947499]  doug2008 : Anyone reading this?\n\nA curl of evil black smoke makes its way out from behind the oven door and up to the ceiling. Not good.\n\nThe Harbormaster concludes: \"And the moral o' that story is:\nwater from a cursed well and skeletons cause you to wake up with mysterious bruises.\"\n\n> You open the oven\nOh my, that is quite a hot fire you have going...\nYou are on fire...\nThe apron is on fire...\nThe baker's hat is on fire...\nThe easily delegated quest is on fire...\nThe song is on fire...\nThe name response is on fire...\nThe job response is on fire...\nthe walls of the bakery is on fire...\nThe the bakery windows are on fire...\nthe Shireton Towne Square is on fire...\nThe oven is on fire...\nThe counter is on fire...\nThe tip jar is on fire...\nThe hand bell is on fire...\nThe work table is on fire...\nThe burnt rock hard biscuit is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe metal pan is on fire...\nThe endless sack of flour is on fire...\nThe water pump is on fire...\nThe wooden bucket is on fire...\nThe strong box is on fire...\nThe waste bin is on fire...\nThe blue curtain is on fire...\nThe display case is on fire...\nThe rare magical glass is on fire...\nYour thighs is on fire...\nThe loaf of wheat bread is on fire...\nThe loaf of wheat bread is on fire...\nThe loaf of wheat bread is on fire...\nThe delicious loaf of wheat bread is on fire...\nThe delicious coppery loaf of wheat bread is on fire...\nThe delicious loaf of wheat bread is on fire...\nThe loaf of wheat bread is on fire...\nThe delicious loaf of sourdough bread is on fire...\nThe loaf of sourdough bread is on fire...\nThe loaf of sourdough bread is on fire...\nThe delicious loaf of sourdough bread is on fire...\nThe burnt rock hard biscuit is on fire...\nThe rock hard biscuit is on fire...\nThe haze of acrid smoke is on fire...\nThe aroma is on fire...\nThe narrow slot is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nThe copper coin is on fire...\nYour heart is on fire...\nThe red robed citizen is on fire...\nThe green robed citizen is on fire...\nThe yellow robed citizen is on fire...\nThe moss robed citizen is on fire...\nThe purple robed citizen is on fire...\nThe white robed citizen is on fire...\nThe Shireton Harbourmaster is on fire...\nThe patrol route is on fire...\nThe Narvish Raider is on fire...\nThe human leather armor are on fire...\nThe level is on fire...\nThe magical unbreakable chain is on fire...\nThe handful of barleycorn is on fire...\nThe handful of barleycorn is on fire...\nThe handful of barleycorn is on fire...\nThe handful of barleycorn is on fire...\nMysticMegan95 is on fire...\ndoug2008 is on fire...\nThe Shireton Bakery is on fire...\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\nBob's Uppance\nBakery Inferno\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or review the MILESTONES you've seen so far?\n\n> You enter back\nYou open the blue curtain.\n\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of ten balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, fifty copper coins and a cursed pickle are both here and not here.\n\nYou can see Bob the Hobo, a ~Baker_of_Shireton_0912 and a blue checked curtain here.\n\nBob has respawned. \"Well, that was annoying. The idea of slippin'\nme a finn, I'll tell you!\" He looks around. \"What's this\nplace?\"\n\n\"...deedle deedle deedle...\" croaks ~Baker_of_Shireton_0912.\n\n> You get the route\n\"Oh, hush up finally,\" you say, tearing the fat heel of a spare loaf and shoving it in his mouth. \"Sustain that!\" you add, claiming Bob's patrol route, and assuring yourself that yes, indeed, that was a witty parting shot.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob around a mouthful of bread crust.\n\n\"...noony noony noooo...\" croaks ~Baker_of_Shireton_0912.\n\n> Go north\nYou walk a ways, but the floor is so clean you can't tell if you're actually getting anywhere.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob.\n\n> Go outside\nYou open the blue checked curtain.\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> Go north\nYou have to squint in the sun...you've never been through that door! Everything is SO BRIGHT!!!\n\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nIt may not be much, but it's a change of scenery and SO BEAUTIFUL! This is the most attractively bedraggled huddle of buildings you've ever seen! And the Wintry Rocky Mountain Pass is the most scenic Wintry Rocky Mountain Pass you've ever seen! And there's a little stone construction with a tiny figure of a man on top and WATER COMES OUT OF IT! What sorcery is this?\n\nOkay. Calm down. You don't need to freak out like it's your first day. It's a tiny town. Your home. You live here. You pinch yourself to make sure you're not dreaming.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see MysticMegan95, a red robed citizen, a green robed citizen, a yellow robed citizen, a moss robed citizen, a purple robed citizen, a white robed citizen, a Shireton Harbourmaster and an AoA-ModGM AustinT. here.\n\n[6:00 pm:6|905343]  MysticMegan95 : Name?\n\n[6:00 pm:6|908238]  AoA-ModGM AustinT.: Jon, is the baker supposed to be wandering around outside the bakery?\n\n> You go west\nThis is the Shireton Tavern, where the Shireton Tavernkeeper serves ale to the citizenry of Shireton, and provides convention gathering spaces and lodging for non-citizenry of Shireton. The Shireton Tavern is equipped as all medieval taverns are, with a polished bar across the room, giant kegs of ale ready to serve customers, and a twee lute-and-fife tune playing everpresently from an invisible source. This is a spectacular location: just off the Shireton Towne Square, which is one step to the east.\n\nA raucous gathering seems to be happening in the secondary room to the south.\n\nThe Tavernkeeper holds dominion over his bar, wiping the already shiny surface and looking for any sign of wanting from the regulars who frequent the place.\n\nOn the polished bar is a mug of ale.\n\nSome appropriately medieval music fills the air.\n\nYou can also see a purple curtain here.\n\n> You examine the purple\nA purple curtain hangs over the door to the back room behind the bar.\n\n> You open the curtain\nYou open the purple curtain.\n\nYou catch a snippet conversation from the south: I'll go with ye\nand protect ye fer ten coppers!\n\n> You go south\n\"Hey!\" shouts the Tavernkeep. \"You can't go in there!\"\n\n\"But, I need to recruit a bodyguard!\" you try to explain.\n\n\"You're not supposed to be able to go in that room until I tell you about its existence!\" insists the Tavernkeep. \"You know how this works, Baker! Ask me about RUMORS!\" he says, tapping the bar.\n\n> You ask the bartender about the rumors\nThe Tavernkeep looks up from his very important bar surface polishing and regards you keenly.\n\n\"I heard a rumor that the more coins there are on the bar, the better rumors you get!\" quips the Tavernkeep.\n\n> You check your inventory\nYou have in current possession:\na patrol route\nan apron (being worn)\na baker's hat (being worn)\na name response\na job response\n\nYour heart seems to be a bit emptier...hey. Are you missing some stuff? Perhaps you'd ought to have a look around for it. Hopefully nobody looted after that fire you set off.\n\n> Go east\nThe Tavernkeep returns to polishing the cleanest counter in town.\n\nAll the roads come together in the middle of the huddle of buildings that make up the tiny hamlet of Shireton. The road out of town leads north through a wintry, rocky mountain pass. The Bakery is just to the south.\n\nThe Shireton Metalsmith complex squats to the east, sporting several variously pitched rooflines and emitting smoke from two chimneys.\n\nThe Shireton Tavern and Inn presents a neat facade facing the Towne Square to the west.\n\nA picturesque fountain gurgles in the middle of the square.\n\nA Narvish Raider waits patiently.\n\nYou can also see doug2008, a red robed citizen, a green robed citizen, a yellow robed citizen, a moss robed citizen, a purple robed citizen, a white robed citizen, a Shireton Harbourmaster and an AoA-ModGM AustinT. here.\n\n[6:02 pm:11|465097]  doug2008 : Name?\n\n[6:02 pm:11|466356]  AoA-ModGM JonE.: Negative, I don't think the Baker should even have permissions to leave that room.\n\n[6:02 pm:11|466396]  AoA-ModGM AustinT.: Ten four, I got him.\nYou are overwhelmed by the presence of someone who has limitless power... You are picked up...and set down...and during that you see things you probably shouldn't...things that have the capability of breaking your tiny mind...\n\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> You open the curtain\nThat's already open.\n\n> You enter back\nThis is a mind-bogglingly huge storage space whose horizon falls off at the round edge of your perception. You could probably go any direction and no direction here at the same time. Flat representations of ten balls of dough, twenty loaves of barley bread, twenty loaves of wheat bread, twenty loaves of sourdough bread, twenty rock hard biscuits, a haze of acrid smoke, an aroma, fifty copper coins and a cursed pickle are both here and not here.\n\nYou can see a purple checked curtain, Bob the Hobo, a ~Baker_of_Shireton_0912 and a blue checked curtain here.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob.\n\n> You get all\nrather moist heel of bread: That's slobbery. He can spit it out himself or eat it as he fancies.\nsong: Taken.\neasily delegated quest: Taken.\n\n\"Ngglff! Mmnghhhllhghh!\" proclaims Bob.\n\n> Go outside\nThis is the Shireton Bakery. This is where you, the Baker of Shireton, bake bread for all the citizenry (and adventuring visitors) of Shireton.\n\nThe oven where you bake bread dominates a corner of the bakery out of reach of the clientele.\n\nA highly polished wooden counter divides the room  The display case contains nothing.\n\nOn the counter are a tip jar (empty) and a hand bell.\n\nEverything you need to make dough (flour, water) is on your work table.\n\nOn the work table are ten metal pans.\n\nBehind the counter is a strong box with a narrow slot to catch your earnings.\n\n> You make the dough\nSome flour, some water, some furious kneading by skilled baker's hands - and before you know it, you have a perfect ball of dough!\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\n> You make the dough\nYou furiously knead a ball of dough into the perfect elasticity.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\nLegolas31 arrives from the north.\n\n> You make the dough\nYou skillfully create a ball of dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan. You give it a jaunty slap: Taut as a maiden's cheek.\n\n[6:04 pm:10|862066]  Legolas31 : /me strides ardently into the tiny bakeshop in this rocky mountain-locked hamlet of Shireton, whipping his cape around so none might guess his true identity.\n\n[6:04 pm:10|864778]  Bri'anne Wayverlyn the CrystalSinger : So who are you?\n[6:04 pm:10|864830]  Legolas31 : /me casts a dark pall over the interloper's psyche, \"I AM NO ONE\" he declares...\n[6:04 pm:10|864879]  Bri'anne Wayverlyn the CrystalSinger : Um, what?\n\n> You make the dough\nYou create a ball of bread dough.\n\nThat dough is perfect. It nestles in the pan beautifully.\n\n[6:04 pm:29|875748]  Legolas31 : Name?\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n[6:04 pm:32|819300]  Legolas31 : Name?\n\n[6:04 pm:32|821475]  RVTaco: Anyone selling   35 Fiendish Mushroom [6:04 pm:32|821667]  Cryptozoologist: NINJA-CYBER GUILD is the best guild if you join you will be level 50 in no time!\n\n[6:04 pm:32|823023]  Legolas31 : /me peruses the baked goods on sale in this ramshackle bakery, wondering if perhaps the baker holds secrets endemic to the noble quest at hand...\n\n> You give Name to the legolas\nYou turn toward the elvish ranger/archer person who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n[6:04 pm:49|982582]  Legolas31 : Job?\n\n[6:04 pm:49|983960]  AoAWinnar: WTS  Sticky Harness of the Tax Dodger\n\n> You tell the legolas about Job\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n[6:05 pm:18|886622]  Legolas31 : Quest?\n\n[6:05 pm:18|889058]  AnUUsSpOoPy69 : Are you for real, dude?\n[6:05 pm:18|889106]  Legolas31 : I AM REAL AS THE WINTER WIND, as real is the quarrel's bite into warm flesh, and the living trees that bramble in the woods.\n\n> You give Quest to the legolas\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nLegolas31 accepted your quest!\n\nLegolas31 goes north.\n\n> You examine dough\nIt seems to be a risen dough, and it's rather risen dough-shaped and sized, with a distinctly risen dough-esque styling and vibe to it.\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough"
    },
    {
        "text": "into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of unrisen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Oh I am the Baker of Shireton\nAnd I bake bread because baking is fun\nFor just a coin I'll bake some bread\nAnd I'll be the Baker until I am dead!\"\n\nLegolas31 arrives from the north.\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nMysticMegan95 arrives from the north.\n\n[6:05 pm:52|876342]  MysticMegan95 : Hey ranger, you know slash-me doesn't do anything in AoA chat, right?\n\n> You open the oven\nYou open the oven. Inside you see:\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na hot loaf of wheat bread\na rock hard biscuit\n\nThe yellow robed citizen arrives from the north.\n\nLegolas31 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nLegolas31 receives 3 copper coins for their effort!\n\n[6:06 pm:3|436108]  MysticMegan95 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 checks for secret doors...\n\n> You give Quest to Megan\nYou turn toward the dwarf hunter/fighter who has been perusing the bakery.\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nQuest Refused.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nMysticMegan95 examines a patrol route closely, hoping to discover hidden clues.\n\n[6:06 pm:23|290351]  Goldie58: Did anyone manage to kill the Duke?\n\n[6:06 pm:23|290522]  Occam: WTB   20 Spiders Gooey Insides\n\nHeat blasts from the open oven into the bakery, causing the slightly singed blue curtain over the back room door to flutter.\n\nMysticMegan95 zones out a bit, rummaging through her inventory screen. Legolas31 casts Call Woodland Creatures...\n\nThere is a brief stampede of rabbits and chipmunks into the door of the bakery, but without purpose, they quickly and harmlessly disperse.\n\n> You get the route\nYou already have that.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\n[6:06 pm:37|830943]  MysticMegan95 : Name?\n\nHeat blasts from the open oven into the bakery.\n\n[6:06 pm:37|833405]  Legolas31 : /me decides to indulge himself in the humble Baker's wares, but not seeing any donuts, resolves never to think about it again.\n\n> You give Name to Megan\n\"Why, I'm the Baker of Shireton!\" you say.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\nThe purple robed citizen arrives from the north.\n\n[6:06 pm:48|863977]  MysticMegan95 : Hey I'm in the Bakery, make sure you guys have enough food to top off your HP.\n[6:06 pm:48|864042]  shmokey420 : Isn't that the cleric's job?\n[6:06 pm:48|864088]  Bri'anne Wayverlyn the CrystalSinger : In combat it is...what's your point, DAve?\n\nHeat blasts from the open oven into the bakery.\n\n[6:06 pm:48|866299]  Legolas31 : Name, Job, Quest, the Ranger thinks...wondering if there might be some sort of special idiomatic language spoken in this far corner of the world known as \"Shireton\"...\n\n> You get all Bread\nrock hard biscuit: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\nhot loaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n[6:07 pm:0|992736]  MysticMegan95 : Job?\n\n[6:07 pm:0|994027]  wrathofdog: BEST OFFER FOR  Shrinking Bracers of the Hampster\n[6:07 pm:0|994124]  JAiken: Anyone selling   50 Spaghetti Strands of the Devil\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 goes north.\n\n> You give Bread to Yellow\nWhich do you mean, a loaf of wheat bread or the rock hard biscuit?\n\n> Wheat\nYou nod to the yellow robed citizen, whom you recognize as the Cartographer of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the yellow robed citizen.\n\nThe yellow robed citizen goes north.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n[6:07 pm:23|922596]  MysticMegan95 : Job?\n\nHeat blasts from the open oven into the bakery.\n\nMysticMegan95 is checking for secret doors...\n\n> You give Job to Megan\nYou turn toward the dwarf hunter/fighter who has been perusing the bakery.\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\n[6:07 pm:38|710836]  MysticMegan95 : Quest?\n\nHeat blasts from the open oven into the bakery, causing the slightly singed blue curtain over the back room door to flutter.\n\n> You give Quest to Megan\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nMysticMegan95 accepted your quest!\n\nMysticMegan95 goes north.\n\n\"A loaf of bread, please!\" requests the purple robed citizen.\n\nHeat blasts from the open oven into the bakery.\n\ndoug2008 arrives from the north.\n\n> Wheat\nYou nod to the purple robed citizen, whom you recognize as the Pedestrian of Shireton.\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the purple robed citizen.\n\nThe purple robed citizen goes north.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou put the copper coin on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the loaf of wheat bread on the work table.\n\nYou put the rock hard biscuit on the work table.\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\n[6:08 pm:40|760422]  doug2008 : Name?\n\n[6:08 pm:40|762056]  Darwin: Looking to Party: Learn Where Your Quest Log Is\n\nHeat blasts from the open oven into the bakery.\n\n> You close the oven\nYou close the oven.\n\nMysticMegan95 arrives from the north.\n\n[6:08 pm:52|530407]  doug2008 : Name?\n\n[6:08 pm:52|531563]  smiths: Anyone take out that giant worm in the West Range farm? It's impervious to lightning, I'm sure.\n\n[6:08 pm:52|531644]  Graham Nelson: Looking to sell  Morale-boosting Yoke of the Oversharing\n\n[6:08 pm:52|532632]  MysticMegan95 : LFG Greedy Duke lev 5+\n\nLegolas31 arrives from the north.\n\n[6:08 pm:52|533747]  doug2008 : A/S/L?\n\n> You make the dough\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan. You give it a jaunty slap: Firm as a monk's posterior.\n\nMysticMegan95 presents you with a handful of barleycorn and flashes majestically while leveling up! Quest Completed!\n\nMysticMegan95 receives 3 copper coins for their effort!\n\n[6:09 pm:3|690635]  doug2008 : Name?\n\nMysticMegan95 (O.o)\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n[6:09 pm:3|693743]  doug2008 : Anyone here from milwaukee?\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the handful of barleycorn on the work table.\n\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n[6:09 pm:12|487669]  doug2008 : Name?\n\nMysticMegan95 recasts her buff to make sure it doesn't run out.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nWith some firm patting, you manipulate the dough and tilt it into a spare pan.\n\n[6:09 pm:20|574389]  doug2008 : Name?\n\nMysticMegan95 idles, possibly AFK.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n[6:09 pm:20|577697]  doug2008 : anyone know where how to get rats tails for the quest LEARN HOW TO FULFILL A QUEST?\n\nAnUUsSpOoPy69 arrives from the north.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou shape the dough into a loaf and lay it snugly in a pan.\n\nAnUUsSpOoPy69 dances on the counter.\n\n[6:09 pm:36|652796]  JAiken: LFG: The Weeping Bride\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n[6:09 pm:36|654917]  AnUUsSpOoPy69 : BAKER! SING ME YOUR SONG!\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"The Bread is Life\nThe Bread is Art\nI bake my Bread\nStraight from the Heart!\"\n\n[6:09 pm:46|561738]  doug2008 : Name?\n\n[6:09 pm:46|562872]  TLCchik: The duke has a court taster so any poison will be detected :(:(\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n[6:09 pm:46|564983]  AnUUsSpOoPy69 : Have you heard the baker's ghey little song? It's awesome.\n\n> You examine the dough\nThe unrisen dough is rather nondescript.\n\n[6:10 pm:2|782587]  doug2008 : Anyone reading this?\n\nMysticMegan95 idles, possibly AFK.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\ndoug2008 goes north.\n\n> You put copper in the dough\nYou poke the copper coin into an unrisen dough.\nWhat is this, Mardi Gras? What would the Board of Bakery Safety think?\n\n[6:10 pm:15|808901]  AnUUsSpOoPy69 : Name?\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You examine the dough\nIt seems to be an unrisen dough, and it's rather unrisen dough-shaped and sized, with a distinctly unrisen dough-esque styling and vibe to it.\n\n[6:10 pm:57|558919]  AnUUsSpOoPy69 : Dah dah dah, dee dee, BREAD!.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"MAKE some DOUGH\nDo it AGAIN\nRepeat that step\nTill I have ten!\"\n\n[6:11 pm:4|953373]  AnUUsSpOoPy69 : Name?\n\nMysticMegan95 idles, possibly AFK.\n\n[6:11 pm:4|956669]  AnUUsSpOoPy69 : BAKER, I demand GNOCCHI?\n\n> You examine the dough\nThe risen dough is rather nondescript.\n\n[6:11 pm:11|893042]  AnUUsSpOoPy69 : Name?\n\nMysticMegan95 goes north.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n[6:11 pm:11|896638]  AnUUsSpOoPy69 : What's that spell? BRAD!\n\n> You bake Bread\nYou open the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nYou put the pan of risen dough into the oven.\n\nThat does it! No more bread will fit in the oven.\n\nYou close the oven.\n\n[6:11 pm:18|223014]  AnUUsSpOoPy69 : Name?\n\nMysticMegan95 arrives from the north.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"Then I TAKE ALL RISEN DOUGH\nAnd SING the SONG to pass the hour\nI BAKE the BREAD I have in hand\nAnd leave the rest to wonderfully sour!\"\n\n[6:11 pm:31|413869]  AnUUsSpOoPy69 : Name?\n\nAh, the delicious smell of fresh baked bread fills the bakery.\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You open the oven\nYou open the oven. Inside you see:\na delicious hot coppery loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\na delicious hot loaf of wheat bread\n\nThe yellow robed citizen arrives from the north.\n\n[6:11 pm:40|527307]  AnUUsSpOoPy69 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nshmokey420 arrives from the north.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You get all hot Bread\ndelicious hot coppery loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\ndelicious hot loaf of wheat bread: Taken.\n\nYou move the empty pans from the oven to the work table.\n\n\"A loaf of bread, please!\" requests the yellow robed citizen.\n\n[6:11 pm:48|137446]  shmokey420 : Name?\n\nHeat blasts from the open oven into the bakery.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You put all Bread in the case\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious loaf of wheat bread: Done.\ndelicious coppery loaf of wheat bread:\n\nFull display case bonus!\n\nDone.\n\n\"A delicious loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:1|453995]  shmokey420 : Name?\n\nHeat blasts from the open oven into the bakery, causing the slightly singed blue curtain over the back room door to flutter.\n\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You close the oven\nYou close the oven.\n\n\"A delicious loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:10|863242]  shmokey420 : Name?\n\nMysticMegan95 idles, possibly AFK.\nLegolas31 attempts a mind-meld with the Baker of Shireton.\n\n> You make the dough\nYou knead another ball of bread dough.\n\nAnother loaf-shaped dough plops into a metal pan.\n\n\"A delicious loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:17|911577]  shmokey420 : Name?\n\nMysticMegan95 idles, possibly AFK.\n[6:12 pm:17|914051]  shmokey420 : WTS 10 Feral Beast Potion 20cp OBO.\n\nLegolas31 goes north.\n\nAnUUsSpOoPy69 dances on the counter.\n\n> You give Name to the shmokey\nYou turn toward the zargan pyromancer/alchemist who has been perusing the bakery.\n\"Why, I'm the Baker of Shireton!\" you say.\n\n\"A delicious loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:24|671276]  AnUUsSpOoPy69 : Name?\n\n[6:12 pm:24|672855]  shmokey420 : Job?\n\nMysticMegan95 idles, possibly AFK.\n[6:12 pm:24|675385]  shmokey420 : WTS crafted Hookah of Ancient Memory 30cp.\n[6:12 pm:24|676124]  AnUUsSpOoPy69 : BAKER! SING ME YOUR SONG!\n\n> You give Job to the shmokey\n\"Why, I bake bread and other sundry baked goods for all the citizenry of Shireton!\" you say.\n\n\"A delicious loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:36|233591]  AnUUsSpOoPy69 : Have you heard the baker's ghey little song? It's awesome.\n\n[6:12 pm:36|235163]  shmokey420 : LFG Greedy Duke - anyone know how to win it?\n[6:12 pm:36|235206]  Legolas31 : I think Greedy Duke requires poison in food?\n[6:12 pm:36|235242]  Bri'anne Wayverlyn the CrystalSinger : I think he's got a taster and if he dies the jig is up.\n\nMysticMegan95 idles, possibly AFK.\n[6:12 pm:36|237708]  Bri'anne Wayverlyn the CrystalSinger : Smokey - I'll trade you 50 Debased Mushrooms for your hookah.\n[6:12 pm:36|237751]  shmokey420 : Hahahahahaahaha.\n\n> Sing\nYour lusty reel paints the air with melody:\n\n\"I SING the SONG\nThe bread is done\nDon't wait too long\nIt's incredibly fun!\"\n\n\"A delicious coppery loaf of wheat bread, please!\" requests the yellow robed citizen.\n\n[6:12 pm:58|476273]  AnUUsSpOoPy69 : Name?\n\n[6:12 pm:58|477883]  shmokey420 : Quest?\n\n[6:12 pm:58|479178]  Snoodish Brit: Need someone to run Find My Treasure Chest Key\n\nMysticMegan95 goes north.\n\n> You give coppery to Yellow\nYou nod to the yellow robed citizen, whom you recognize as the Bicycle Repairperson of Shireton.\n(first taking the delicious coppery loaf of wheat bread)\n\"Ah, thank you, good Baker of Shireton! Here is your well-deserved, but meager coin,\" says the yellow robed citizen.\n\n\"Delicious!\" proclaims the yellow robed citizen, and yet another copper clinks into your tip jar.\n\nThe yellow robed citizen goes north.\n\n[6:13 pm:13|462214]  AnUUsSpOoPy69 : Name?\n\n[6:13 pm:13|463914]  shmokey420 : Quest?\n\n[6:13 pm:13|465475]  Graham Nelson: looking 4   25 Flash Paper\n[6:13 pm:13|465616]  HairyPotterzBlz: WTS  Vibrating Miniskirt of the Narwhal\n\nMysticMegan95 arrives from the north.\n\nshmokey420 is checking the World Map.\n\n[6:13 pm:13|468510]  AnUUsSpOoPy69 : Dah dah dah, dee dee, BREAD!.\n\n> You give Quest to the shmokey\nYou turn toward the zargan pyromancer/alchemist who has been perusing the bakery.\nQuest Offered! I am the Baker of Shireton, and I would\nlike to bake some delicious barley bread for the citizenry of Shireton. Unfortunately, raiders have cut off all trade routes to the north, where barleycorn is currently in season. If you can bring me but a handful of barleycorn, I can begin baking delicious barley bread for the citizenry of Shireton once again! Go forth adventurer, and ye shall be rewarded handsomely!\n\nshmokey420 accepted your quest!\n\nshmokey420 goes north.\n\n[6:13 pm:48|119767]  AnUUsSpOoPy69 : Name?\n\n[6:13 pm:48|121024]  RiffyGuitar: Need group for Barleycorn for the Baker\n[6:13 pm:48|121168]  Belle: Testing...is this local chat?\n\n[6:13 pm:48|121258]  HairyPotterzBlz: LFG: The Farmer's Daughter's Revenge\n\nMysticMegan95 goes north.\n\n> You make the dough\nYou'll need your hands for this...\n\nYou put the copper coin on the work table.\n\nYou knead another ball of bread dough.\n\nYou mould the dough into a loaf and slap it into an empty pan.\n\nThe Narvish Raider arrives from the north.\n\n> You put copper in the dough\nYou poke the copper coin into an unrisen dough.\n\n[6:15 pm:12|533220]  AnUUsSpOoPy69 : Name?\n\n> You make the dough\nYou knead another ball of bread dough.\n\nYou slide the dough into a pan, admiring the smooth curvature.\n\nshmokey420 arrives from the north.\n\n[6:15 pm:20|121641]  AnUUsSpOoPy69 : Name?\n\nIt appears the raider has made it to the front of the queue...and he'd like to show you his collection of sharp, pointy objects...\n\n> Milestones\nThe milestones you have encountered so far include:\n\nShanked by a Raider\nBob's Uppance\nBakery Inferno\n\nWould you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command or review the MILESTONES you've seen so far?"
    },
    {
        "text": "[Themes: Slice of life, female protagonist, house setting, serious, marriage, real life, family, male protagonist, profanity, multiple protagonists]\n\nGlkTADS - A text-only TADS 2.5.3 Interpreter.\n\nMaintained by Stephen Granade <sgranade@phy.duke.edu>\n\nType \"about\" for more information.\n\nGreat, just great. First you oversleep, end up being late for school. Then the whole day sucks so bad you can barely wait until seventh period's over and you're free. Now you've wasted so much time watching TV that you've gotta rush through your makeup or you won't be ready for tonight before April gets here with her wheels. Mississippi may say you're old enough to drive, but Frank sure doesn't agree.\n\nMan, you can't wait for all this to be over.\n\nYou've spent a lot of time in this room, enough that it's really beginning to get on your nerves. You're tired of the stupid posters, you're tired of your stupid bed, you're tired of everything. You just wish it weren't such a hassle to try to change any of it. Besides, if you were going to change anything, you'd start with the clothes in your closet. To the west, across from your window, is a closed door going out.\nYou see a flowerdy bag here. Sitting on the vanity is a geode, mascara, eye shadow, pink blush, and foundation."
    },
    {
        "text": "> You examine the flowerdy\nYou sometimes wonder if you should replace it, but you really like the flowers printed on it. Most everything you need's in it.\n\n> About yourself\nYou've gone with your jean cut-offs and a plaid shirt tonight. Nothing fancy, but then it doesn't really need to be.\n\n> You take foundation\nTaken.\n\n> You wear the foundation\nYou've already put on foundation.\n\n> Inventory\nYou've got foundation, a flowerdy bag, eye shadow, and pink blush.\n\n> You wear the shadow\nA couple of careful passes with the eye shadow brush and your eyelids turn a pretty lavender.\n\n> You wear the blush\nYou pop open the blush container and take the brush. Staring in the mirror, you rub the pink blush along your cheekbones with quick strokes. Satisfied, you put the brush back and close the container.\n\n> You look at the posters\nYou liked all of the posters when you put them up, especially that one of M\u00f6tley Cr\u00fce. But they've been up there long enough that you're bored of them. Even the Cr\u00fce is last year's band now.\n\n> You stand\nForget this. You stand up and grab your makeup. A little bit of mascara, then you dump all the makeup into your bag.\n\n> You look under the bed\nYou used to keep magazines under there until you got tired of your mom yapping at you about them and threw them away.\n\n> You look in the closet\nYour closet's full of old clothes.\n\n> You look at clothes\nYou guess they aren't that bad. You'd still like some new ones.\n\n> Go outside\n(Opening the bedroom door)\nHall\nThe hall goes north to your bathroom and south to the stairs. Mom\nand Frank's bedroom is to the west, directly across from your room.\n\n> Go north\nYou open the door and go through, closing it behind you.\n\nYour bathroom's not only small, it's not even right by your bedroom. Some day maybe you'll streak between here and your room, give Frank a real show. A bunch of your bottles are scattered round the sink. The hallway is back to the south.\n\n> You look at the bottles\nMoisturizer, shampoo, shit like that.\n\n> Go south\nYou open the door and go through, closing it behind you.\n\nThe hall goes north to your bathroom and south to the stairs. Mom\nand Frank's bedroom is to the west, directly across from your room.\n\n> You go west\nMom and Frank's room is okay, you guess. That waterbed of theirs is pretty sweet, even with that stupid little nightstand next to it.\nTheir bathroom is north, and an open door to the east goes back into the hall.\n\n> You look at the nightstand\nIt's not much to look at. There's a closed drawer in it.\n\n> You examine the bills\nFrank's little stash of money. There's probably over a hundred bucks, easy.\n\n> You take bills\nYou glance over your shoulder, then pull a bunch of bills from the roll. You stop after about eighty. If you're lucky, Frank won't find them gone for a while. You put the roll back in the drawer and hide the bills you took.\n\n> Go north\nYou don't know why Frank has this big thing about you not using his\nand mom's bathroom. It's not like it's any big secret deal. You can leave it to the south.\n\n> Go south\nMom and Frank's room is okay, you guess. That waterbed of theirs is pretty sweet, even with that stupid little nightstand next to it.\nTheir bathroom is north, and an open door to the east goes back into the hall.\nThe nightstand drawer seems to contain a roll of bills.\n\n> You close the drawer\nClosed.\n\n> You go to the east\nThe hall goes north to your bathroom and south to the stairs. Mom\nand Frank's bedroom is to the west, directly across from your room.\n\n> Go south\nYou head down the stairs.\n\nWhen you're not in your room you usually hang here, watching TV from the couch. Frank sometimes works at a little desk he's got in here, but he's normally pretty cool with you watching TV while he works. There are stairs to the south. You can get to the kitchen to the northeast and the front door and hallway are northwest.\nFrank is sitting in the chair, hunched over his desk.\n\nAs you come down the stairs, Frank looks up at you. \"Goin' out tonight too, huh?\" Is his speech slurred again?\n\n> You examine Frank\nFrank's dressed in that ratty old Bud t-shirt of his and a greasy pair of jeans. He's working hard on some appliance, frowning at it from time to time.\n\n> Kiss frank\nEw.\n\n> You look at the appliance\nHe's been \"working\" on some of that junk for years.\n\n> You ask Frank about the work\nIf you want to talk to someone, use TALK TO.\n\n> You talk to Frank\nYou wander over to Frank's desk and look at the jumble on it.\n\"What'cha working on?\"\n\n\"Toaster,\" he says, staring at the inside of a chrome-plated box.\n\n> Continue\n\"Toaster, huh? What's wrong with it?\"\n\n\"Thought it was the heater element shorting, but that wasn't it.\" He goes on a while about the toaster, almost makes you wish you hadn't asked. Finally he gets to the point. \"Anyway, the power cord's shot, so now I'm replacing it.\"\n\n> Continue\nYou take a couple of steps away from Frank. \"Gotta have toast, huh?\" But he's not even listening.\n\n> You keep going\n\"Hey, Frank, where'd mom go?\"\n\n\"Groceries.\" He leans his head from side to side, trying to loosen tense muscles. \"Piggly Wiggly. Hope you told her what you wanted this week.\"\n\n> Continue\n\"Nah,\" you say, shaking your head. \"Doesn't matter.\"\n\n\"Well, okay,\" he says.\n\n> Continue\n\"By the way, could you spot me a couple of bucks for tonight?\" you ask as casually as you can.\n\nHe sighs and runs a hand through what's left of his hair. \"You know money's tight this month.\"\n\n> You keep going\n\"I know. But it's not like I'm asking for much. I mean, there's not a lot of places to spend money around here 'cept the Sonic. All's I need is like a ten or something.\"\n\n\"Look, I told you already. Money's tight, and I don't have any to give you. Now quit yapping about it.\" Frank pointedly turns back to the toaster.\n\n> You attack frank\nHe'd hit back."
    },
    {
        "text": "[Themes: Slice of life, female protagonist, marriage, family, real life]\n\n> You look at your surroundings\nWhen you're not in your room you usually hang here, watching TV from the couch. Frank sometimes works at a little desk he's got in here, but he's normally pretty cool with you watching TV while he works. There are stairs to the south. You can get to the kitchen to the northeast and the front door and hallway are northwest.\nFrank is sitting in the chair, hunched over his desk.\n\n> About yourself\nYou've gone with your jean cut-offs and a plaid shirt tonight. Nothing fancy, but then it doesn't really need to be.\n\n> Go northeast\nYou've already got the plaid shirt.\n\nMom's been bugging you about learning how to cook, so you've been avoiding the kitchen as much as possible when she's around. There're counters and cabinets along the walls and a table on one side of the kitchen. The hallway's to the west and the living room is southwest.\n\n> You examine the cabinets\nThe kitchen cabinets are closed.\n\n> You look at what you're carrying with you\nYou've got a flowerdy bag. The flowerdy bag seems to contain foundation, pink blush, eye shadow, and mascara.\n\n> You go west\nto the west. There's a bathroom to the north. You can slip around the wall of the hallway and into the living room to the southwest.\n\n> You go west\nYou'll have to open the front door first.\n\n> Go north\nYou open the door and go through, closing it behind you.\n\nAn extra bathroom, with a john and sink.\n\n> You look at the sink\nThe sink's pretty clean since mom had you clean this bathroom last weekend.\n\n> You go to the south\nYou open the door and go through, closing it behind you.\n\nto the west. There's a bathroom to the north. You can slip around the wall of the hallway and into the living room to the southwest.\n\n> You watch the tv\nYeah, the TV's real exciting when it's off.\n\n> You turn on the tv\nYou click on the TV. It hums into life, showing a green-tinged Bon Jovi video.\n\n> You turn off the tv\nThe TV shuts off, its hum fading away.\n\n> You talk to Frank\nFrank's absorbed in his work again. You talking to him more's only likely to make him mad.\n\n> Goodgirl\nSaved.\n\n> Go south\nYou head up the stairs.\n\nThe hall goes north to your bathroom and south to the stairs. Mom\nand Frank's bedroom is to the west, directly across from your room.\n\n> Go west\nMom and Frank's room is okay, you guess. That waterbed of theirs is pretty sweet, even with that stupid little nightstand next to it.\nTheir bathroom is north, and an open door to the east goes back into the hall.\n\nYour billfold! You'll definitely need your money tonight. It better still be in the kitchen where you left it after school.\n\n> Go south\nYou head down the stairs.\n\nWhen you're not in your room you usually hang here, watching TV from the couch. Frank sometimes works at a little desk he's got in here, but he's normally pretty cool with you watching TV while he works. There are stairs to the south. You can get to the kitchen to the northeast and the front door and hallway are northwest.\nFrank is sitting in the chair, hunched over his desk.\n\n> Go northeast\nMom's been bugging you about learning how to cook, so you've been avoiding the kitchen as much as possible when she's around. There're counters and cabinets along the walls and a table on one side of the kitchen. The hallway's to the west and the living room is southwest.\n\n> You look under the table\nYou glance under the table, then get down on your hands and knees. There that stupid thing is! You grab the billfold and stand up.\n\nMom comes bustling in the kitchen with a bunch of groceries, which she plops down on the table. \"Hey, Jeanie,\" she says.\n\n> You examine billfold\nAll the money you've made the last month at Hardee's is jammed in there.\n\n\"Could you help me put the groceries up?\" mom asks you.\n\n> You look at the Mom\nMom's wearing her plaid summer dress and has her brown hair up in a bun. She's putting groceries away right now.\n\n> You talk to the Mom\n\"What'd you get at the store?\" you ask mom.\n\n\"Right, uh-huh. The usual. Oh,\" she says, pulling a box out of a sack and showing it to you. \"I got Wheat Thins for you.\" She puts the box away.\n\n> Continue\n\"Don't forget I won't be here for supper,\" you tell mom.\n\n\"Right, uh-huh, right,\" mom says. She sighs. \"I wish you'd eat supper here a little more often.\"\n\nMom says, \"Jeanie dear, I'm making roast tonight. If you're still hungry when you get home, there should be some left in the fridge.\"\n\n\"Um, thanks.\"\n\n\"Right, right, you're welcome.\"\n\n> You open the billfold\nYou pop it open and take a quick look. All your Hardee's money from the last month is in there.\n\n> Go west\nto the west. There's a bathroom to the north. You can slip around the wall of the hallway and into the living room to the southwest.\n\nYou hear a car horn being honked outside in front of the house. Must be April.\n\n> You open the door\nYou yank open the door. Sure enough, there's April in her old Mustang. You slam the door shut on your way out, heading for her car.\n\nThat toaster's been giving you fits the last few nights. \"Could you fix it?\" Deb asks, like it's the easiest thing in the world. Least now you're pretty sure it's the power cord and not anything more serious. It oughta be a quick enough fix.\n\nQuick enough once you get a drink, that is.\n\nYou'd think you never ate, as hungry as you get every time you go in the kitchen. But you promised Deb no snacks, so the cabinets are off-limits for you. Good thing drinks from the fridge are okay. The den is southwest.\n\n> You open the fridge\nInside the fridge, nestled among the food, are several cans of Coke and Bud.\n\n> You get Coke\nYou suddenly realize that you've been standing and staring into the open fridge for a while. You shake your head slightly and pull a Coke from the fridge. You'd prefer a Bud, really, but Deb's been on you about that.\n\n> You go southwest\nOn your way out you lightly kick the door of the fridge, closing it.\n\nYou've got the desk where you work pushed up against one wall, over\nby an old stereo you keep meaning to fix. The only thing you can see from the desk is the kitchen to the northeast, but at least your back's to the TV. A worn banister and stairs to the south go up to the second floor.\nSitting on your desk is a broken toaster, a junk box, a\nPhillips-head screwdriver, and a multimeter.\n\nYou hear Jeanie clomping around upstairs. Probably getting ready to go out again tonight.\n\n> You fix the toaster\nYou're going to have to be more specific.\n\n> You examine the cord\nThe power cord's gotten pretty frayed from the toaster being plugged and unplugged so much. It's held in the toaster by screws.\n\n> You hit the toaster with the screwdriver\nBefore starting work on the toaster you lower yourself into your chair.\n\nAttacking the broken toaster doesn't appear productive.\n\n> Dance\nYou weren't any good at dancing when you were young. What makes you think you could do it now?\n\nJeanie comes clumping down the stairs. She's all dressed up, with her plaid shirt tied so that you can see her midriff. \"You going out again tonight?\" you ask her. She doesn't answer.\n\n> You talk to Jeanie\nYou decide to take a break from messing with the toaster. \"So,\" you ask Jeanie, \"how was school?\"\n\nIt's a stupid question, and you realize just how stupid it is right after you say it. Jeanie sighs. \"How do you think it was?\"\n\n> Keep going\n\"I hated school, too. Couldn't wait to graduate.\"\n\n\"Yeah? Why'd you even bother? Not like you need a diploma to do factory work.\"\n\nShould of known better than to even try to talk to her.\n\n> Continue\n\"Where you going tonight?\" you ask Jeanie as you lean back in the chair and stretch.\n\n\"Just out.\"\n\n> Keep going\nYou roll your shoulders some to work the kinks out of them. \"Just out? Seems like you oughta stay in and rest up before school tomorrow.\"\n\n\"Look,\" she snaps, \"Mom okayed it. I'm just going to ride around a while.\"\n\n\"Whoa, whoa, okay.\" You decide to drop the whole thing. No skin off your nose if she wants to be tired tomorrow.\n\n> Continue\nAs snappy as she's been tonight, you'd just as soon not hear her talk right now.\n\n\"What'cha working on?\" You look up to find Jeanie looking at the toaster like she's never seen one before.\n\n> You keep going\n\"It's a toaster,\" you tell Jeanie, since she can't figure it out by herself.\n\n\"Oh. What's wrong with it?\"\n\n> You continue\nYou briefly toy with the idea of saying, \"It's broken,\" but she seems almost interested. \"Well, I think the heating element might be shorting.\"\n\n\"Oh,\" she says, and wanders away. Guess she wasn't that interested.\n\n> You keep going\nAs snappy as she's been tonight, you'd just as soon not hear her talk right now.\n\n\"Where's mom, Frank?\" Jeanie asks you.\n\n> Continue\n\"She's gone to the Pig,\" you tell her. \"Why, was there something you wanted her to get?\"\n\nShe shakes her head. \"Nah.\" You shrug and turn back to the toaster.\n\n> Continue\nAs snappy as she's been tonight, you'd just as soon not hear her talk right now.\n\nJeanie clears her throat. You brace yourself for whatever she wants. \"Um, can I borrow some cash for tonight? 'Cause I'm kinda short.\"\n\n> Continue\n\"You know money's tight right now,\" you tell Jeanie. Besides, when does she not want money?\n\n\"Money's always tight.\" Her voice gives you a headache every time she starts whining like this. \"I only need a twenty.\"\n\n> Continue\nDoes Jeanie even listen to you? \"I told you. Money's tight. Fixing the station wagon took all our extra money this month.\" Thankfully, she doesn't say anything back.\n\n> You remove the cord\nYou take the cord off of the old stereo.\n\n> You eat the cord\nWhich cord do you mean, the stereo power cord, or the frayed power cord?\n\n> You attach the stereo cord to the toaster\nThe toaster's already got a power cord.\n\n> You remove frayed cord\nIt's got to be unscrewed first.\n\n> You unscrew the frayed cord\nAs careful as you can you loosen the screws holding the cord and take it out of the toaster.\n\n> You tie the knot in the cord\nYou've already got the frayed power cord.\n\nI don't know the word \"tie\".\n\n> You attach the stereo cord to the toaster\nYou put the cord from the stereo in the toaster where the old one used to be.\n\n> You stand\nYou start to stand up, but glance at the toaster. You've got to be close to fixing it. It shouldn't take you too much longer.\n\n> You plug in the toaster\nNot while you're fixing it.\n\n> You screw the cord to the toaster\nYou put the old power cord back in the toaster and screw it in tight.\n\n> You screw the power cord\nWhich power cord do you mean, the stereo power cord, or the frayed power cord?\n\n> You get up\nWith a start you realize that you've been staring at the wall for the past few minutes. Better do at least a little more work on the toaster before you give up.\n\nThe sound of the front door slamming startles you. Jeanie's left already? Wonder where she's going.\n\nThe nice thing about going grocery shopping this late is that the store isn't too crowded and you can check out quickly. It would have been better if Julie Morgan hadn't been there, making those snide comments of hers, but all in all it wasn't too bad. Now maybe Frank or Jeanie can help you put the groceries away.\n\nThe carport's in bad need of a cleaning, what with all of the\nsupplies for fixing the cars lining the sides and spilling out almost into the middle. It's getting so you can't hardly find space for the station wagon, though you managed to squeeze it in somehow. And you're beginning to think that you might as well get rid of the bikes. The side door to the house is to the west.\nThe station wagon's door is wide open.\n\n> You check your inventory\nYou've got sacks of groceries and your key ring.\n\n> About yourself\nYour slacks have seen better days, but you were only going to the Piggly Wiggly. Your arms are filled with sacks from the store.\n\n> Go inside\nYou'll have to open the side door first.\n\n> You open side door\nBetter close the car door before you go in.\n\n> You close car door\nYou bump the door closed with your hip, but it doesn't quite make it. It stops short, leaving the dome light on.\n\n> You examine the car door\nThe door's wide open.\n\n> You open the side door\nIt's locked. Frank must've locked it when he got home.\n\n> You examine the bags\nYou must be holding some five or six sacks. But it was either that or make several trips from the car, and as tired as you are, you'd just as soon get this chore done quickly.\n\n> You open the side door\nIt's locked.\n\n> You unlock side door\n(with your key ring)\nYou pull your key ring out, but drop it before you can unlock the door. \"Shit!\" you exclaim, then look around. Looks like no one heard you.\n\nIt's just not your night.\n\n> You open the car door\nYou adjust the groceries and manage to pull open the car door.\n\n> You close the car door\nYou hit the door pretty hard with your hip. It closes.\n\n> You knock on the door\nWhich door do you mean, the side door, or the car door?\n\n> You get the keys\nIt's tough bending down and getting your keys without spilling groceries out of the sacks, but you manage it.\n\n> You unlock door\n(with your key ring)\nYou fumble with your keys and finally manage to get the door unlocked.\n\n> You open the door\nYou almost drop a sack doing it, but you eventually manage to get the side door open. You go through it and close it behind you.\n\nThe living room is starting to look a little dusty, the TV\nespecially. There are two paths worn in the green shag carpet, one going from the stairs to the front door, the other from the stairs to the kitchen, right by Frank's desk and the row of family pictures. The door to the carport is east.\nFrank's boots are sitting in the middle of the floor again.\nFrank is sitting in the chair, hunched over his desk.\n\n> You examine Frank\nFrank is studying that broken toaster intently.\n\n> You look at the boots\nFrank's left his boots in the middle of the floor again.\n\n> Kiss frank\nYou don't want to distract him. Besides, you're not really in the mood tonight.\n\n> You go east\nYou just came from there, and with all those groceries. No sense in going back out again."
    },
    {
        "text": "[Themes: Slice of life, female protagonist, profanity]\n\n> You look around\nThe living room is starting to look a little dusty, the TV\nespecially. There are two paths worn in the green shag carpet, one going from the stairs to the front door, the other from the stairs to the kitchen, right by Frank's desk and the row of family pictures. The door to the carport is east.\nFrank's boots are sitting in the middle of the floor again.\nFrank is sitting in the chair, hunched over his desk.\n\n> You go northeast\nAfter several rounds of remodelling you finally got the kitchen laid out fairly well, with the range near the cabinets and with plenty of counter space. If only the table weren't between the range and refrigerator. The living room is to the southwest.\nStanding in the middle of the kitchen is Jeanie.\n\n\"Hey, mom,\" Jeanie says as you walk in.\n\n> Dance\nGoodness, it's been ages since you danced! Wonder if Frank would take you next weekend.\n\n> You drop the bags\nYou lift the sacks and pile them on the kitchen table.\n\n> You go to the south\nIt won't take long to put up the groceries. No sense in leaving it for later, especially since the ice cream would melt.\n\nJeanie grabs some of the groceries and puts them on the counter. You didn't even have to ask her to.\n\nYou can't go that way.\n\nJeanie picks up some of the groceries and puts them away.\n\n> You go southwest\nIt won't take long to put up the groceries. No sense in leaving it for later, especially since the ice cream would melt.\n\nJeanie picks up some of the groceries and puts them away.\n\n> You put up the groceries\nYou take some of the groceries and put them where they belong.\n\n\"What all'd you get at the store?\" Jeanie asks, rooting around in the sacks.\n\n> You put up the groceries\nYou take some of the groceries and put them where they belong.\n\n\"You know I won't be here for supper, right?\" Jeanie tells you.\n\n> You talk to Jeanie\n\"I know,\" you say to Jeanie. How could you forget? She's seldom here for dinner these days. \"Too bad you'll miss dinner again.\"\n\n> You talk to Jeanie\n\"I'll leave some roast in the refrigerator in case you want some when you get home,\" you say to Jeanie.\n\nJeanie shrugs. \"Okay.\"\n\nJeanie picks up some of the groceries and puts them away.\n\n> You continue\n\"You're welcome.\" You smile; you know she'll be thankful later.\n\nJeanie heads out of the kitchen.\n\n> Go southeast\nYou can't go that way.\n\nOutside you hear someone honking. Jeanie's ride must be here.\n\n> You put up the groceries\nYou take some of the groceries and put them where they belong.\n\nYou hear Jeanie go clomping out the front door. She slams it shut hard enough to make the dishes shake. Was she mad?\n\n> Continue\nYou put up the last of the groceries and put the left-over sacks away.\n\n> You go southeast\nYou can't go that way.\n\nA cough at the door makes you turn around. Frank's there, leaning against the frame. \"Did, um, did Jeanie say where she was going?\"\n\n\"Not really.\" These days, does she ever? When she gets back you'll have to talk to her about it.\n\nApril asked if you wanted her to wait with you, but you told her nah and so she just dropped you off at the station.\n\nIt was real easy to buy a ticket. You were afraid they'd want to see ID or maybe a letter from mom or something, but the guy just took your money and didn't say nothing.\n\nThis all seems unreal, somehow.\n\nBus Station, at the counter\nThe ticket counter is more like a cage, with the guy giving tickets sitting behind bars. There's barely enough room in there for him and his chair. On the wall beside the counter is a big board listing arrivals and departures. The rest of the station is to the south. Sitting on the ticket counter is some change and a bus ticket.\n\n> Inventory\nYou've got a billfold and a flowerdy bag. The flowerdy bag seems to contain a change of clothes and some extra underwear.\n\n> You get all\nchange: Taken.\nbus ticket: Taken.\n\n> You examine the ticket\nYou almost can't believe you just bought it. \"Los Angeles,\" it says, as if you could forget.\n\n> You look at the board\nThe chalkboard lists a bunch of buses, but the only one you really care about is the one coming from New York and going to Los Angeles.\n\n> About yourself\nYou've gone with your jean cut-offs and a plaid shirt tonight. Nothing fancy, but then it doesn't really need to be.\n\n> Go south\nYour feet click on the tile floor as you shift around, waiting. You could sit--there are a couple of worn chairs scattered around, but they all look really uncomfortable. The ticket counter and the board with the bus schedules on it are on the north side of the room, opposite the exit.\n\n> You wait\nYou wait a while.\n\nYou turn your ticket over and over, looking first at one side, then the other. LA. It's so far away. Surely you'll be an actress, right?\n\n> You look at the phone\nThe chalkboard lists a bunch of buses, but the only one you really care about is the one coming from New York and going to Los Angeles.\n\nI don't know the word \"phone\".\n\n> Go outside\nIt's gotten chillier since you got here. Hopefully that bus'll be\nhere soon. There's only one car in the parking lot, and not a lot of traffic on the road.\n\n> You examine the car\nIt's a beat-up old Pinto.\n\n> You enter the car\nThe car's locked.\n\n> You look under the car\nYour feet click on the tile floor as you shift around, waiting. You could sit--there are a couple of worn chairs scattered around, but they all look really uncomfortable. The ticket counter and the board with the bus schedules on it are on the north side of the room, opposite the exit.\n\nI don't see any car here.\n\n> You leave\nstop look weird. Old Church Road, running in front of the bus station, is pretty much empty. The station's behind you to the north.\n\nYou hear the bus's engine some time before you see it. It comes crawling down Old Church Road and pulls into the lot in front of you. Its doors open.\n\n> You look in Pinto\nIt's pretty dirty.\n\n> You look under the car\nNothing's under there, far as you can tell.\n\n> You examine Bus\nThe bus is belching smoke and shaking as it idles. Its door is open, and the bus driver is staring at you. The sign over its windshield reads \"Los Angeles\".\n\n> You enter Bus\nYou hang back for a moment, then finally climb up in the bus.\n\nThe bus is empty except for you and the bus driver, but it still\nsmells like old people and cigarettes. At least you have your pick of seats.\nThe bus driver is looking at you, waiting.\n\nThe bus driver looks at you. \"Staying or going?\" he asks, his hand out for your ticket. You think about mom putting a roast in the oven.\n\n> Kiss driver\nEw.\n\n> You give the underwear to the driver\nMight as well leave that in there.\n\n\"You gonna give me that ticket or what?\" the bus driver asks you. You look at him, then away.\n\n> You give the ticket to the driver\n\"Now we're cooking with Crisco.\" He takes the ticket from you and swings shut the doors. \"Grab a seat.\"\n\n> You show the ticket to the driver\n\"The ticket'll be plenty enough, thanks.\"\n\n\"I said, grab a seat! We gotta move,\" the bus driver tells you. You pick a seat at random and flop into it. You put your head against the headrest with a sigh.\n\nThe bus moves with a jerk, the brakes squealing as the driver coaxes the bus out of the station and onto the road. You close your eyes, letting the glow of street lights play over you, light then dark, light then dark. One last glance at the houses slipping past, fading away into the night, before you close your eyes and try to sleep.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> Go up\n(Undoing one command)\n\nThe bus is empty except for you and the bus driver, but it still\nsmells like old people and cigarettes. At least you have your pick of seats.\nThe bus driver's checking his mirrors and gauges.\n\n> You go outside\nThe doors to the bus are closed.\n\n\"I said, grab a seat! We gotta move,\" the bus driver tells you. You pick a seat at random and flop into it. You put your head against the headrest with a sigh.\n\nThe bus moves with a jerk, the brakes squealing as the driver coaxes the bus out of the station and onto the road. You close your eyes, letting the glow of street lights play over you, light then dark, light then dark. One last glance at the houses slipping past, fading away into the night, before you close your eyes and try to sleep.\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You leave\nstop look weird. Old Church Road, running in front of the bus station, is pretty much empty. The station's behind you to the north. A bus is idling in front of the station.\n\nYou step back from the bus. The doors hiss shut and the bus jerks into life, lumbering towards the road and away from the station. You watch the bus windows slide past you, blank with reflected light. The red taillights grow smaller and smaller and smaller until they're gone.\n\nYou shrug your bag onto your shoulder. It's a fair walk back to the house.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "[Themes: Historical, humor, multiple protagonists, vehicle]\n\nThe life of a daredevil adventurer leaves precious little time for rest. There's always wickedness to thwart, innocence to preserve, and honour to uphold.\n\n[Author's Note: Can Troy, the handsome daredevil autoist, live up to his \"sterling\" reputation? What secret threatens the career of the talented singer, Miss Melody Sweet? With the help of the mechanical genius Aloysius Pratt, can Troy and Melody thwart a madman's evil plan?]"
    },
    {
        "text": "[Themes: Historical, vehicle]\n\n> About yourself\nYou're Troy Sterling, daredevil adventurer. Or you will be, as soon as you master all this technical stuff and get on with the daredeviling part.\n\n\"Come on, Mr. Sterling... get in!\" says Aloysius.\n\n> You look at Aloysius\nAloysius Pratt is a brilliant inventor, a patient teacher, and a loyal companion. Scratch his crusty exterior and you will find boundless and inexplicable layers of additional crust. As far as you know, he's crust all the way down.\n\n\"Mr. Sterling, are you finished staring at me?\" he says, fidgeting uncomfortably. He gestures down your driveway, towards the east. \"There's no time to lose!\"\n\n> Kiss aloysius\n\"That's not in my job description, Mr. Sterling!\"\n\n\"This is no time to delay!\"\n\n> You go east\n\"Not on foot, Mr. Sterling!\" shouts Aloysius, shocked.\n\n> Hug aloysius\n\"That's not in my job description, Mr. Sterling!\"\n\n\"Mr. Sterling, what did you buy the car for if you're not going to get in it?\" asks Aloysius.\n\n> You enter the car\nYou step up on the running board. The instruments are arranged neatly on the dashboard in front of you. You open the glove compartment, revealing some gloves.\n\n> You get the gloves\nTaken.\n\n> You examine it\nThe Pratt Dynamo is Aloysius Pratt's latest, most brilliant invention -- twin six-cylinder motors, an electric starter, hydraulic steering, an on-board heater, and some stuff that has to do with fuel and airflow that you didn't quite catch the last time Aloysius mentioned it. The body is white with gold trim. On the luggage rack are a tool chest and a crate.\n\nIn the front seat are yourself and Aloysius.\n\n\"Mr. Sterling, we'd better get going,\" says Aloysius.\n\n> You look at them\nLeather, long... still fairly new. Fur-lined.\n\n> Wear glove\n(the gloves)\n\n\"Great,\" says Aloysius. \"Now let's go!\"\n\nYou slip them on. They fit you like... well, like gloves.\n\n> You turn on the heater\nThat's not something you can switch.\n\nAloysius watches you, puzzled.\n\n> You examine the heater\nEver since the time you accidentally put fuel in the radiator and set it on fire, you have pretty much decided to let Aloysius handle all the details of taking care of the Dynamo.\n\n> You start the car\nYou push the electrical ignition button. The motors roar to life.\n\nAloysius beams. \"Very good, Mr. Sterling! You've been studying!\"\n\nA big metal tool chest, slightly dented. Aloysius still hasn't forgiven you for backing over it last month.\n\n> Open chest\nAloysius, looking agitated, stops you. \"Don't mess with that, Mr. Sterling,\" he says.\n\n> You go to the east\nWith a horrendous screeching sound, the car lurches forward a little bit.\n\n\"Parking brake!\" Aloysius shouts. \"Release the parking brake!\"\n\n> Release break\nYou release the parking brake.\n\nAloysius watches approvingly. \"Good, good,\" he says.\n\n> Go east\nBut wait -- your hair! It might get messed up!\n\n> You check your inventory\nYou are carrying:\nsome gloves (being worn)\n\n> Examine crate\nJust a big wooden crate.\n\n> You ask Aloysius about the hat\n\"I don't know what to say about that,\" he says. He gestures down your driveway, towards the east. \"There's no time to lose!\"\n\n> Open crate\nYou open the crate, revealing some bundles of flyers and a loose flyer.\n\n> You examine the car\nThe Pratt Dynamo is Aloysius Pratt's latest, most brilliant invention -- twin six-cylinder motors, an electric starter, hydraulic steering, an on-board heater, and some stuff that has to do with fuel and airflow that you didn't quite catch the last time Aloysius mentioned it. The body is white with gold trim. On the luggage rack are a tool chest and a crate.\n\nIn the front seat are yourself and Aloysius.\n\n> You look at loose flyer\nTaken.\nIt bears an image of your face in profile, and reads as follows:\n\nTroy Sterling! (Amazing! Courteous!)\n\nUnlike other daredevil would-be role models, Troy always aids the helpless, waves to strangers, and blesses sneezers.\n\nAutomotive tours. Camping and hiking expeditions. Birthday parties. House-sitting. Pet exercising.\n\nTroy Sterling! (Polite! Kind!)\n\n> Honk horn\nNo little puny \"ooga-ooga\" squeeze-bulb for you! This baby's a steam-powered calliope, built to your exact specifications by Mr. Aloysius Pratt.\n\nThe on-board calliope churns out a rousing march rendition of \"Greensleeves.\"\n\n> You examine the hair\nAloysius fidgets. \"Aw, you know how I feel about the automobile, Mr. Sterling.\"\n\nYou can't see any such thing."
    },
    {
        "text": "> Look around\nYour Driveway -- Near the House (in the Pratt Dynamo)\nThe long driveway stretches east, towards adventure.\n\nThe instruments are arranged neatly on the dashboard in front of you.\n\nIn the Pratt Dynamo you can see Aloysius, an index card, some goggles, your favourite peaked riding cap and a scarf.\n\n> You wear the cap\n(first taking the peaked riding cap)\n\nAloysius watches incredulously. \"At a time like this, you're worried about fashion?\"\nYou don your favourite riding cap. The cry, \"Huzzah!\" escapes your lips.\n\n> Wear scarf\n(first taking the scarf)\n\nAloysius rolls his eyes. \"Never mind the threat of darkness looming over your household; paying back your debt to the forces of light can wait until you complete your stylish ensemble!\"\nYou throw the scarf around your manly neck, grinning your winningest grin.\n\n> Wear the goggles\n(first taking the goggles)\n\n\"Mr. Sterling, whenever you're finished...?\" says Aloysius, miming a driving motion, and gesturing east.\n\nYou snap the goggles jauntily over your head. A little too jauntily, as it turns out. But a headache and blurred vision are a small price to pay for such dramatic flair.\n\n> You look at the index card\n(first taking the index card)\nTaken.\nNeatly printed on the index card are the following instructions:\n\n\"To use the patented Pratt Electrical Ignition System, 'push the ignition button'.\n\"To use the parking brake, 'set brake' or 'release brake'.\n\"To drive, simply 'drive [direction]'.\"\n\n> Wait\nAloysius points east. \"To the other end of the driveway we go!\" he shouts....\n\nYour Driveway -- Near the Mailbox (in the Pratt Dynamo)\nYour tree-lined driveway leads west. Greenwood Lane runs north into town, and south into the country.\n\nThe instruments are arranged neatly on the dashboard in front of you.\n\nIn the Pratt Dynamo you can see Aloysius.\n\nAloysius spots something. \"There it is!\" he shouts, pointing at a horse-drawn van, which approaches from the north.\n\n> You open the mailbox\nYou open the mailbox.\n\nAloysius starts to get out of the automobile, but hesitates.\n\nThe horse-drawn van is some distance away, but approaching.\n\nAloysius turns to face you. \"You do it, Mr. Sterling,\" he says, holding out an envelope.\n\n> You examine the envelope\nYou'd have to be holding it first.\n\nAloysius, looking over his shoulder at the van, waves the envelope at you.\n\n> You get the envelope then X it\nTaken.\n\n\"Good,\" says Aloysius. \"You know what to do!\"\n\nIndeed! You feel your muscles tingling as you contemplate this, your opportunity to send a message -- one that will pay back your debt, dispel the shadows of night, and restore the forces of light.\n\nThe horse-drawn van is drawing closer to your driveway.\nIt's stamped, and addressed to the Delinquent Accounts Office, Edison Electric Power & Light Co.\n\nThe van is almost at your driveway.\n\n> You put the envelope in the mailbox\nYou put the envelope in the mailbox.\n\nThe horse-drawn van pulls up to your mailbox and stops.\n\nThe driver peers into the mailbox, takes out the envelope and puts a postcard inside.\n\n\"I really wish you were more conscientious about paying your bills on time, Mr. Sterling,\" says Aloysius. \"But I guess it's not my place to say.\"\n\n> You wait\nTime passes.\n\nThe horse-drawn van pulls up to your mailbox and stops.\n\n> You wait for a while\nTime passes.\n\nThe driver peers into the mailbox and puts a postcard inside.\n\n> Wait\nTime passes.\n\n\"Good day to you!\" says the mail driver, waving cheerfully.\n\n> You wait\nTime passes.\n\nThe driver waves at you again, apparently hoping for a response.\n\n> You wait\nTime passes.\n\n\"You're not exactly friendly when you're not in front of a paying audience,\" sniffs the driver.\n\n> Wave\nYou wave to the driver. He is exceedingly pleased by your friendly gesture.\nThe driver pulls away, smiling happily.\n\n> You look at the envelope\nIt's stamped, and addressed to the Delinquent Accounts Office, Edison Electric Power & Light Co.\n\nThe postal van disappears around a bend to the south.\n\n> You give the envelope to the man\n(Aloysius)\n\"No, you keep it,\" he says.\n\n\"Good day to you!\" says the mail driver, waving cheerfully.\n\n> You give the envelope to the driver\nThe driver takes the envelope. \"Right you are,\" he says.\n\nThe driver waves at you again, apparently hoping for a response.\n\n\"I really wish you were more conscientious about paying your bills on time, Mr. Sterling,\" says Aloysius. \"But I guess it's not my place to say.\"\n\n> Wave\nYou wave to the driver. He is exceedingly pleased by your friendly gesture.\n\n> You open the mailbox\nThat's already open.\n\nThe driver pulls away, smiling happily.\n\nAloysius sighs thoughtfully. \"Well, we survived another brush with the Dark Riders of the Postal Service,\" he says.\n\n> You get the postcard\nTaken.\n\nThe postal van disappears around a bend to the south.\n\nAloysius hops out of the car.\n\n\"You know, Mr. Sterling, something about those motors just didn't sound right. Shut them off a minute, please.\"\n\n> You look at postcard\nThe postcard the mailman dropped off in your box seems to be another ominous legal statement from the Edison Electric Power & Light Co.\n\nWhew! You can rest easy now. Your debt has been paid, and your household will no longer be threatened with darkness. *If* the cheque doesn't bounce, that is.\n\n\"Mr. Sterling, cut the motors, would you?\" says Aloysius.\n\n> Whistle\nYou take a deep breath. You belt out a few random notes.\n\nAloysius tinkers with the motors, whistling happily to himself.\n\n> You look at the motors\nThe motors are currently switched off.\n\nTo the south, a horse-drawn buggy rounds a bend and comes into view.\n\n> You examine the buggy\nIt's just a little horse-drawn buggy, the kind a well-to-do farmer might take out on a Saturday afternoon, to shop with his wife, or *for* his wife, or for *a* wife, as the case may be.\n\nThe buggy slows down as it approaches your driveway.\n\n\"Broken down again, I see,\" smirks the driver.\n\n\"There's nothing wrong with this machine, MacDougal,\" growls Aloysius.\n\nMacDougal pretends to steer a wheel. \"Look at me, I'm an autoist! I am an affront to the laws of man and nature! I catch bugs in my teeth! Haw, haw!\"\n\n> Honk horn\nNothing happens, since the motors aren't on.\n\nAloysius climbs wearily back into the Dynamo. \"Just what I needed today,\" he mutters.\n\nMacDougal pretends to steer a wheel. \"I sit in a noisy, expensive automobile! When it works, I run people off roads! I make little babies cry! My personal hygiene is appalling! Haw, haw!\"\n\n> Honk\n(the horn)\nThe on-board calliope churns out an exhilarating percussion rendition of \"My Bonnie Lies Over the Ocean.\"\n\nMacDougal's horse rears up again.\n\nAloysius's expression changes from delight to shock, as one of the buggy's wheels slips into a drainage ditch, just east of the road. MacDougal -- cursing a blue streak -- struggles to regain control of the horse, as the buggy totters on the edge.\n\n> You go to the east\n...\nThe buggy drops out of sight, taking the wild-eyed MacDougal along with it.\n\nThe horse breaks free, and bolts into the woods.\n\nMacDougal must have landed hard in the ditch -- nothing seems to be moving down there.\n\n> Down\nWhen still seated in an automobile, horizontal travel is generally best.\n\nAloysius clucks his tongue, looking down into the ditch. \"I hope he's not hurt down there... not too much, anyway.\"\n\n> Exit\nYou slip out from behind the wheel. The Dynamo starts to roll...\n\nAloysius lunges for the instruments. \"Parking brake!\" he shouts. \"Set the parking brake!\"\n\nAloysius stops the Dynamo from rolling away."
    },
    {
        "text": "> Go down\nThis is a rather deep roadside ditch. To the west, it ascends back towards the road.\n\nMacDougal, unconscious, is trapped beneath the buggy.\n\nFrom down here in the ditch, you can just barely see part of the Dynamo.\n\nYou can also see MacDougal's ragged felt hat and a detached wooden wheel here.\n\nMuttering, Aloysius clambers down into the ditch just behind you.\n\n> You take the hat\nTaken.\n\n\"Well, would you look at that,\" says Aloysius, clucking his tongue.\n\n> You wake MacDougal\nHis eyes flutter open.\n\nMacDougal's groggy eyes suddenly become sharp. \"You!\" he snaps. \"You autoists and your confounded mechanical monsters!\"\n\nAloysius rolls his eyes. \"As you can hear, he's completely unharmed.\"\n\nMacDougal is still pinned beneath the buggy. \"Get me out of here!\"\n\n> You examine the wheel\nThis wooden wheel must have come off the buggy when it flipped over.\n\n> You give the hat to MacDougal\nMacDougal, grabbing his hat, grunts the tiniest little grunt of thanks.\n\nAloysius looks chastened by your good example. \"Well, I guess I wouldn't want to see any man trampled dead by his own horse. Not even MacDougal.\"\n\n> You give wheel to MacDougal\nMacDougal just rolls his eyes.\n\n\"My horse is bolted, my buggy's broke, and I'm supposed to be picking up some big-city visitor for Professor Sneedlewood,\" says MacDougal, growling and whining simultaneously.\n\n\"Now, now,\" says Aloysius. \"Take it easy, MacDougal. Mr. Sterling here can take care of the visitor.\"\n\n\"I'll thank you keep your hands off my belongings,\" he snaps.\n\nMacDougal eyes you suspiciously as he stretches out kinks in his neck. \"I can't say as I'd want to force anyone to ride in that tin-plated corpse-generator of yours... but here.\" He fishes into his pocket. \"Your victim -- I mean, your passenger -- will be looking for this at the train station.\"\n\nMacDougal produces a hand-lettered sign.\n\n> You get the sign\nTaken.\n\n\"Listen here, Sterling. The professor says this visitor is very important,\" says MacDougal. \"Try to keep that damned contraption of yours from killing her.\"\n\nAloysius raises an eyebrow. \"'Her'?\"\n\n> You examine it\n...\n\"That's right,\" says MacDougal. \"Her name's Melody Sweet.\"\n\n> You examine it\nA small, hand-lettered sign that reads, \"Miss Sweat\". (The \"a\" is squeezed in as an afterthought.)\n\nWhat unaccompanied female wouldn't immediately trust the bearer of this particular sign to pick her up in the train station and drive her to Professor Sneedlewood's estate, north of town?\n\n\"I was headed to the train station to pick her up. Supposed to drive her up north, to the professor's place,\" says MacDougal.\n\n> You say bye\nWhom do you want to say the goodbye to?\n\n> MacDougal\nHe grumbles dismissively. \"Too busy fer that.\"\n\n\"Now, if you'll excuse me, I've got a horse to catch,\" says MacDougal. He climbs back up out of the ditch, and exits.\n\nAloysius examines the buggy with an expert eye.\n\n> You search buggy\nYou find nothing of interest.\n\n\"Guess I'll get my tools. You can just run along as usual and try to impress the ladies,\" says Aloysius. \"At least I'm good at what *I* do!\"\n\nAloysius climbs back up out of the ditch, and exits.\n\n> Leave\nYou climb back up out of the ditch.\n\nYour tree-lined driveway leads west. Greenwood Lane runs north into town, and south into the country.\n\nThe Dynamo is here, its motors humming.\n\nYou can also see Aloysius here.\n\nAloysius carries his tool chest down into the ditch, muttering to himself: \"Someday I gotta get *me* a faithful mechanic sidekick.\"\n\nThe weather is perfect for a little jaunt into town. How fortunate that the arrival of this Miss Sweet affords you this opportunity to be heroic and dashing.\n\n> You enter Dynamo\nYou step up on the running board. The instruments are arranged neatly on the dashboard in front of you.\n\n> You release the brake\nYou release the parking brake."
    },
    {
        "text": "[Themes: Historical, vehicle, humor]\n\n> Look around\nYour Driveway -- Near the Mailbox (in the Pratt Dynamo)\nYour tree-lined driveway leads west. Greenwood Lane runs north into town, and south into the country.\n\nThe instruments are arranged neatly on the dashboard in front of you.\n\n> You go to the east\nAloysius would hardly appreciate having to tow the Dynamo out of the ditch.\n\n> You go north\nIn the rear-view mirror, you glimpse the earnest wholesomeness of your grinning, lantern-jawed face as you motor along. What a day to celebrate progress -- a man and his machine, together.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou are on a pleasant stretch of Greenwood Lane, which winds north towards the town (some distance away) and south to your estate (a short drive away).\n\nThe road flows by at an exhilarating pace.\n\n> Go north\nGreenwood Lane (in the Pratt Dynamo)\nYou are on a pleasant stretch of Greenwood Lane, which winds north towards the town (some distance away) and south to your estate (a short drive away).\n\nIn the distance, you see a boy riding a pony towards you.\n\nThe road flows by at an exhilarating pace.\n\n> Slow\nYou ease up a little on the gas -- but just a little.\n\nYou are coming up on the boy fast. He stares in wonderment at the Dynamo.\n\nThe road flows by at an exhilarating pace.\n\n> Slow\nYou ease up a little on the gas -- but just a little.\n\nThe boy dismounts and leads the pony off of the road, in order to let you pass.\n\nThe road flows by at an exhilarating pace.\n\n> You wave at boy\nYou wave at the boy.\n\nThe boy breaks out into a smile, and waves enthusiastically as you zoom past.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou are on a hilly stretch of Greenwood Lane, which winds north towards the town and south towards your estate.\n\nAn old, beaten-up bucket, lying in the middle of the road, spoils the area's rustic charm.\n\nThe road flows by at an exhilarating pace.\n\n> Break\n(the car door)\nBetter not push your luck with the gods of automotive technology. Aloysius knows far more about such things than you do.\n\nThe road flows by at an exhilarating pace.\n\nYou're coming up fast on the old tin bucket.\n\n> Curse\n(the car door)\nA modern, twentieth-century man would gain little from such a display of savage behaviour.\n\n> You go outside\nYou slip out from behind the wheel.\n\n> You take the bucket\nYou pick up the bucket, restoring the natural beauty to this idyllic stretch of country road.\n\n> You look at the bucket\nIt's just a tin bucket. There's no obvious hole in the bucket (which eliminates the need for a side quest to mend it).\n\n> Xyzzy\nAll 69,105 leaves have said \"yoho\" and disappeared down a 2-inch slit -- along with some cheese, a bowl of sodden Cheerios, losers named Mercury and BVE sniveling under a bridge, and a bunch of other lame rec.arts.int-fiction in-jokes. [Let's stick to one adventure at a time, okay?] ;-)\n\n> You drive N\n(first getting into the Dynamo)\nYou step up on the running board.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou are on a curvy stretch of Greenwood Lane, which winds north towards the town and south to your estate.\n\nA small, colourful shape catches your eye by the side of the road, just beneath a tree. It seems to be a twitterpated hatchling.\n\nThe road flows by at an exhilarating pace.\n\n> You examine the hatchling\nThe twitterpated hatchling is rather small, and shivering. It looks longingly up into the branches of the tree.\n\nThe road flows by at an exhilarating pace.\n\nYou're coming up fast on the twitterpated hatchling, which is moving jerkily and flapping stubby little wings.\n\n> You go outside\nYou slip out from behind the wheel.\n\n> You get the hatchling\nYou gingerly pick up the twitterpated hatchling. It chirps and wiggles pathetically.\n\n> You climb the tree\n(the tree)\nYou easily grab one of the lower branches, and hoist yourself up.\n\nYou are sitting on one of the lower branches of the sprawling tree, shaded by the upper branches.\n\nDown below, through the branches, you have an excellent view of the Dynamo.\n\nA worried-looking mother bird fusses about inside her nest.\n\n> You put the hatchling in the nest\nYou gingerly place the hatchling in its nest.\n\nThe mother bird wraps her wings around her recovered baby. Her joyous song of maternal bliss is all the reward you need. Although another point would be nice, too."
    },
    {
        "text": "[Themes: Historical, multiple protagonists]\n\n> Go downwards\nYou are on a curvy stretch of Greenwood Lane, which winds north towards the town and south to your estate.\n\nThe Dynamo is here, its motors humming.\n\nA particularly large tree stands by the side of the road here.\n\n> You enter Dynamo\nYou step up on the running board.\n\n> You hit a the key\nYou pull into the center of town, and find an excellent parking place right near the train station...\n\nIn the Center of Town (in the Pratt Dynamo)\nThe familiar buildings and side streets look cheerful in the bright sunlight. The train station is to the east, and a livery stable is to the west. Greenwood Lane runs north towards the Sneedlewood Mansion (some distance away), and south towards your estate.\n\nA group of excited children swarms around the Dynamo.\n\n> You wave to the children\nThe children smile and wave excitedly.\n\nChildren run around the Dynamo, waving and cheering. \"It's Troy Sterling!\" they shout.\n\n> Examine crate\nJust a big wooden crate.\n\nMore children emerge from the sidestreets. \"Blow the horn!\" one of them shouts.\n\n> You look in it\nIn the crate are some bundles of flyers.\n\nAll the children are now chanting, \"Blow the horn! Blow the horn!\"\n\n> You get flyers\ncrate: There's certainly no need to take a whole crate of promotional flyers!\nbundles of flyers: There's no need to take so many.\n\n\"Blow the horn! Blow the horn!\"\n\n> Examine bundle\nThe bundles are neatly tied up, waiting for you to distribute at your next big engagement.\n\n\"Hey fellas,\" says one of the taller boys, \"let's go wait for the train at the overpass.\"\n\nAs the children scamper off, one collides with a short man on his way to the train station.\n\n\"Excuse me,\" says the child, startled.\n\nThe man smiles through clenched teeth. \"Quite alright,\" he says, awkwardly patting the child's head.\n\n> Go outside\nYou slip out from behind the wheel.\n\nThe child stares at the man for a moment, and then darts after the rest of the children. \"Hey! Wait for me!\"\n\nAs the children run off, you can hear their breathless chatter.\n\nThe short stranger goes east.\n\n> You lock the car\nWhat do you want to lock the Pratt Dynamo with?\n\n> Go up\n(first taking the ceiling)\nThat isn't available.\n\n> You check your inventory\nYou are carrying:\nan old bucket\na small sign\na detached wooden wheel\na postcard\nan index card\nsome goggles (being worn)\na scarf (being worn)\nyour favourite peaked riding cap (being worn)\na loose flyer\nsome gloves (being worn)\n\n> You look in the glove compartment\nThe glove compartment is empty.\n\n> You look under the seat\nWhich do you mean, the front seat or the back seat?\n\n> You put the bucket in the glove compartment\nYou put the old bucket into the glove compartment.\n\n> Go east\nThere's really not much to the local train station; just a roofed platform and a long bench. The only exit is back west.\n\nYou can see a short stranger here.\n\nYou can hear the train approaching. It will be here in a moment if you wait.\n\n> You examine the stranger\nHis shiny black hair is slicked back over his head. Upon noticing your gaze, he makes what appears to be an honest attempt at a smile, but he looks away quickly.\n\nThe train -- a two-boiler, 450-litre Douglas Special, in all its mechanical glory, pulls into the station, belching steam and soot.\n\nThe passengers will be exiting soon.\n\n> Greet the stranger\n\"Hello,\" he says, shyly avoiding your eyes.\n\nFrom the train pours forth a spectacle of businessmen with folded newspapers, a blossom of ladies in floral hats, and a fountain of youths scratching at their travel clothes.\n\nSoon, the businessmen have shaken hands and parted; the ladies have claimed the arms and ears of their beaux, and the youths have endured many \"welcome home\" kisses.\n\n> Wave sign\nIn a moment, the crowd clears, and the platform is empty once more...or almost empty.\n\nThere's now a young woman sitting on the bench.\n\n> Wave sign\nYou look ridiculous waving the small sign.\n\n> You show the sign to the woman\nShe takes the small sign and winces.\n\nShe gets up from the bench. \"I'm Melody Sweet. I'm pleased to meet you. Thank you for coming.\"\n\nThe train engineer pokes his head out of the locomotive. \"Look, boys! Sterling's at it again!\" he shouts, and withdraws his head from view again.\n\n\"I packed as lightly as I could, but I'm afraid my trunk has gotten rather heavy,\" says Miss Sweet.\n\n> Kiss melody\nHer icy glare stops you in your tracks. And a good thing, too -- such an affront would hardly help your reputation.\n\n\"I'd be ever so grateful for your assistance,\" Miss Sweet continues, gesturing towards her trunk.\n\n> You look at sweet\nShe is a smallish, red-haired young woman, with high cheekbones and bright, intense eyes. She carries herself with the confident bearing of a performer -- someone who is used to being seen and heard. She is carrying a small sign and a purse.\n\nUpon noticing your gaze, she holds her shoulders a bit more erect, and tosses her head a little farther back.\n\nNeaby is a small, white trunk.\n\nSighing dramatically, Miss Sweet opens her purse. \"Perhaps you will help me now?\" she asks, flashing a coin at you.\n\nA passing porter changes course in mid-stride, and heads for Miss Sweet.\n\n> You get the trunk\nThe porter tips his hat stiffly. \"I'll be off then,\" he says, and dashes away.\nThe trunk is heavier than it looks -- but not too heavy for you.\n\nMiss Sweet smiles politely. \"Would you be so kind as to take me to Professor Sneedlewood now? I will follow you.\"\n\n> You go west\nThe familiar buildings and side streets look cheerful in the bright sunlight. The train station is to the east, and a livery stable is to the west. Greenwood Lane runs north towards the Sneedlewood Mansion (some distance away), and south towards your estate.\n\nThe Dynamo is here, its motors humming.\n\nMiss Sweet follows you.\n\n> You put the trunk in the trunk\n(the small white trunk in the small white trunk)\nYou can't put something inside itself.\n\n\"I really shan't be able to relax for a moment -- not until we are safely on our way,\" says Miss Sweet.\n\n> You put the trunk in the boot\n(the small white trunk in the Dynamo)\nThat can't contain things.\n\n> You put the trunk in the luggage rack\n(the small white trunk in the luggage rack)\nYou heft the trunk onto the luggage rack, where it settles in securely.\n\n\"Thank you,\" says Miss Sweet.\n\n\"So this is the famous Pratt Dynamo,\" says Miss Sweet. She stands near it, hand extended, palm down.\n\n> You ask sweet about the Professor\n\"Professor Sneedlewood is a professor of Central American Antiquities, although he seems to fancy himself something of a musical historian as well,\" says Miss Sweet.\n\nMiss Sweet raises her hand a little higher.\n\n> You open the door\nMiss Sweet permits you to hand her into the Dynamo. \"Thank you,\" she says.\n\n> Go inside\nYou step up on the running board.\n\nMiss Sweet settles herself in for the ride.\n\n> Go south\n\"Excuse me, but the professor has informed me that his house is north of town,\" says Miss Sweet.\n\n\"I believe I shall enjoy the ride to the professor's residence,\" says Miss Sweet.\n\n> You hit a the key\nAs soon as you start moving, the train in the station lurches forward. You and the engineer make eye contact briefly. His steely glare is all the challenge you need....\n\nAs you make your way through the narrow streets, the train pulls ahead of you; but you start making up ground rapidly once you make it out onto...\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is trailing the caboose.\n\n> You look at the instruments\nAmong the notable features of the dashboard are a steering wheel, an electrical ignition button, a parking brake, a horn and a glove compartment (which is open).\n\nThe Dynamo is trailing the caboose.\n\n> Go north\nThe Dynamo catches up to the caboose with little trouble.\n\nMiss Sweet watches in amazement. \"What a remarkable automobile,\" she says.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is even with the caboose.\n\n> You go north\nThe Dynamo passes the caboose and works its way towards the front of the train.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nFar up ahead, you notice a slow-moving surrey.\n\nThe Dynamo is even with a freight car.\n\n> You go to the north\nBut the slow-moving surrey is blocking your progress!\n\nThe Dynamo falls behind the freight car.\n\nMiss Sweet watches in dismay. \"I had expected much more from the driver of the famous Pratt Dynamo, that's for sure,\" she sighs.\n\nThe driver of the surrey has positioned himself directly in the middle of the road, making it impossible to pass.\n\nThe Dynamo is even with the caboose.\n\n> Honk\n(the horn)\nThe on-board calliope churns out a peppy dog-bark rendition of \"Ave Maria.\" Miss Sweet can't help but to join in, and finishes off with a fancy flourish.\n\n> Honl\nThe horse (harnessed to the surrey) rears up in alarm... The horse pulls the surrey off the road, where it careens through the brush.\n\nThe road leading north is now clear.\n\nThe Dynamo is even with the caboose.\n\n> Go north\nThe Dynamo passes the caboose and works its way towards the front of the train.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is even with a freight car.\n\n> You go to the north\nThe Dynamo pulls even with a passenger coach.\n\n\"Very impressive,\" says Miss Sweet.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is even with a passenger coach.\n\n> Go north\nThe Dynamo passes the coaches and pulls even with the locomotive, from which you can see the engineer's fist shaking in rage.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is even with the locomotive.\n\n> Go north\nThe Dynamo pulls ahead of the locomotive.\n\nMiss Sweet turns to watch the locomotive recede behind you. \"I've never seen an automobile perform so admirably,\" she says, breathlessly.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road on the way to Professor Sneedlewood's estate, just north of town.\n\nOn the rails which parallel the road, the Douglas Special tears along northwards, steam and sparks flying.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nThe Dynamo is leading the locomotive.\n\n> Go north\nThe locomotive falls behind, out of view.\n\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance to the town.\n\nThe rails run north and south, parallel to the road.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nYou catch Miss Sweet watching you intently. She immediately looks away, with a hint of a smile.\n\nThe Dynamo continues to hurtle along.\n\n> You go north\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance to the town.\n\nThe rails run north and south, parallel to the road.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nSuddenly, three children emerge from the bushes, and dart recklessly in front of the Dynamo's path!\n\n\"LOOK OUT!\" Miss Sweet shrieks.\n\n> You go to the north\nYou press on the accelerator. The motors roar murderously....\n\nThe children are frozen in terror!\n\nMiss sweet grabs at the wheel in a desperate attempt to alter your course, sending the vehicle into a wild spin, which ejects you from your seat.\n\nJust before your face becomes intimate with a tree trunk, you catch a glimpse of your vehicle rolling over into a ditch.\n\n* * * You have died. * * *\n\nIn that game you scored 14 out of a possible 42, in 143 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?\n\n> Honk\n(the horn)\nThe on-board calliope churns out the trademark Sterling oom-pah rendition of \"London Bridge Is Falling Down.\"\n\nThe children cheer wildly.\n\nThe children are frozen in terror!\n\nMiss sweet grabs at the wheel in a desperate attempt to alter your course, sending the vehicle into a wild spin, which ejects you from your seat.\n\nJust before your face becomes intimate with a tree trunk, you catch a glimpse of your vehicle rolling over into a ditch.\n\n* * * You have died. * * *\n\nIn that game you scored 14 out of a possible 42, in 144 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?\n\n> You pull break\nWith a horrible grinding noise, the vehicle comes to a screeching halt.\n\nThe children are frozen in terror!\n\nMiss sweet grabs at the wheel in a desperate attempt to alter your course, sending the vehicle into a wild spin, which ejects you from your seat.\n\nJust before your face becomes intimate with a tree trunk, you catch a glimpse of your vehicle rolling over into a ditch.\n\n* * * You have died. * * *\n\nIn that game you scored 14 out of a possible 42, in 144 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?\n\n> Turn wheel\n(the detached wooden wheel)\n\n> Go south\nNothing obvious happens.\n\nThe children are frozen in terror!\n\nMiss sweet grabs at the wheel in a desperate attempt to alter your course, sending the vehicle into a wild spin, which ejects you from your seat.\n\nJust before your face becomes intimate with a tree trunk, you catch a glimpse of your vehicle rolling over into a ditch.\n\n* * * You have died. * * *\n\nIn that game you scored 14 out of a possible 42, in 144 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?\n\nPlease give one of the answers above.\n\n> You go east\nPlease give one of the answers above.\n\n> You turn the steering wheel\n(When you're ready to drive, just type the direction you want to go.)\n\nThe children are frozen in terror!\n\nMiss sweet grabs at the wheel in a desperate attempt to alter your course, sending the vehicle into a wild spin, which ejects you from your seat.\n\nJust before your face becomes intimate with a tree trunk, you catch a glimpse of your vehicle rolling over into a ditch.\n\n* * * You have died. * * *\n\nIn that game you scored 14 out of a possible 42, in 144 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?\n\n> You stop\nThe terrified children freeze in their tracks. You manage to avoid hitting them, but the Dynamo spins off the road and into the trees... The Dynamo's motors cut off with a horrible grinding sound.\n\n\"Hooray for Troy Sterling!\" shout the children, scampering off into the woods.\n\nSteam is escaping from the radiator.\n\n> Go east\nBut you can't drive the Dynamo unless the motors are on!\n\nMiss Sweet avoids your eyes. \"I hope it's not too serious, Mr. Sterling,\" she says. \"I guess I'll just wait here, while you fix it... if you can, that is.\"\n\nTo the south, you can hear the Douglas Special approaching.\n\n> Go inside\nBut you're already in the Pratt Dynamo.\n\nThe steam coming from the radiator is much lighter now.\n\n> You examine the radiator\nThe radiator is gleaming and shiny. There are hardly any dead bugs in it, thanks to Aloysius's careful ministerings. There is no water in it, leaving the car undriveable.\n\nMiss Sweet puts her hand to her temple and sighs.\n\n> Lift hood\nYou are unable to.\n\n> You get the bucket\nTaken.\n\n> You look\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance to the town.\n\nThe Dynamo gleams in the dappled sunlight. In the front seat is Miss Sweet.\n\nThe rails run north and south, parallel to the road.\n\nMiss Sweet hums a little something to herself.\n\n> You go north\nActually, you're much closer to town. It would make more sense to walk south instead.\n\n> You hit a the key\nYou put one foot in front of the other, making slow progress, the old-fashioned way...\n\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance towards the town.\n\nThe rails run north and south, parallel to the road.\n\nThe Dynamo is still visible some distance to the north, on the side of the road, crippled.\n\nAround a bend to the south comes the slow-moving surrey. The driver is glowering, and the apple-cheeked blonde is sulking, sitting as far away from the driver as she can get.\n\n> You wave to the driver\nHe's too far away for that.\n\nThe surrey continues to approach from the south.\n\n\"Get a horse!\" shouts the driver.\n\nThe apple-cheeked blonde giggles, and slips her hand through the driver's arm.\n\nThe surrey continues on up the road, passes the Dynamo without slowing down, and disappears around the corner.\n\n> You go to the south\nYou put one foot in front of the other, making slow progress, the old-fashioned way...\n\nThe familiar buildings and side streets look cheerful in the bright sunlight. The train station is to the east, and a livery stable is to the west. Greenwood Lane runs north towards the Sneedlewood Mansion\n\n> You hit a the key\n(some distance away), and south towards your estate.\n\nYou can't see any such thing.\n\n> You go to the west\nYou are in front of the livery stable, in the old commercial sector of town. The center of town is east.\n\nSome old men sit around in the shade, playing checkers and generally passing the time.\n\nA rusty iron pump stands next to a watering trough.\n\n> You fill the bucket from the pump\nYou pump vigorously. Water gushes from the spout and soon fills the watering trough.\n\nFrom the woods, MacDougal emerges, leading his nervous horse.\n\nSome of the old men greet MacDougal; others continue playing without interruption.\n\n> You check what you're carrying\nYou are carrying:\nan old bucket\na detached wooden wheel\na postcard\nan index card\nsome goggles (being worn)\na scarf (being worn)\nyour favourite peaked riding cap (being worn)\na loose flyer\nsome gloves (being worn)\n\nMacDougal eyes you with disdain. \"I didn't hear your God-awful contraption ride up. Ya didn't break down already, did ya? Haw, haw.\"\n\nA low chuckle rises from the group of old men, who elbow each other and smirk at you from beneath their hats.\n\n> You pour the bucket on MacDougal\n(MacDougal)\nThat would hardly be polite.\n\nMacDougal glances over his shoulder at the old men. One or two are watching with amusement.\n\nMacDougal pats his horse's flank. \"This here's a horse. H-O-R-S-S. It's kinda of like an automobile, except it works! Haw, haw!\"\n\n> You fill the bucket\n(transferring water from the watering trough)\nYou fill the old bucket.\n\nMacDougal pretends to throw a scarf around his neck, and shows his grizzled profile. \"Look here, I'm Troy Sterling!\" he shouts. \"Haw, haw!\"\n\n> You throw water at MacDougal\n(MacDougal)\n(first taking the water)\nTaken. MacDougal gasps. \"The Great Troy Sterling done picked up an old bucket! Whatever can this mean? Haw, haw!\"\n\nMacDougal prances about. \"I eat all my vegetables! I do everything my mother tells me! That's why I have no friends except for my machines and my paid help! Haw haw!\"\n\n> You pour the water on MacDougal\n(MacDougal)\nYou heft the bucket in the air and dump it ceremoniously over MacDougal's head.\n\nThe water trickles away and disappears.\n\nIn a series of jerky motions that seem to call for a total lack of coordination, MacDougal staggers backwards all the way to the water trough, and somehow manages to fall in.\n\nThe old men look up from their checkerboards. \"That MacDougal don't know when to quit,\" says one of them, amused. The others murmur their assent.\n\n> You fill the bucket\n(transferring water from the watering trough)\nYou fill the old bucket.\n\nMacDougal drags himself out of the trough, water streaming from his clothes. \"I'll get you, Sterling!\" he shouts. \"By this time next year, automobiles will be outlawed, all across the country!\"\n\n> Cheer\n\"Huzzah!\" you shout.\n\n\"The days of the automotive menace are numbered, Troy Sterling! Farmers and their animals will once again be safe on the roads!\" shouts MacDougal, mounting his horse.\n\nUnfortunately for MacDougal, and for the dramatic scene he has so far managed to create, the jittery horse runs out from beneath him, sending him sprawling on the ground.\n\n> Smirk\nYou pour on the charm, but don't get much of a reaction.\n\nMacDougal, understandably upset, runs after his horse. \"Come back here!\"\n\nThe horse disappears into the woods, with MacDougal close behind.\n\n> You pour the water on yourself\nGetting yourself wet might be fun, but would hardly accomplish anything useful.\n\n> Drink water\nYou swallow a few sips.\n\n> Go east\nThe familiar buildings and side streets look cheerful in the bright sunlight. The train station is to the east, and a livery stable is to the west. Greenwood Lane runs north towards the Sneedlewood Mansion (some distance away), and south towards your estate.\n\n> You go to the north\nYou put one foot in front of the other, making slow progress, the old-fashioned way...\n\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance towards the town.\n\nThe rails run north and south, parallel to the road.\n\nThe Dynamo is still visible some distance to the north, on the side of the road, crippled.\n\n> You go north\nYou put one foot in front of the other, making slow progress, the old-fashioned way.\n\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance to the town.\n\nThe rails run north and south, parallel to the road.\n\nThe Dynamo gleams in the dappled sunlight. In the front seat is Miss Sweet.\n\n\"Oh, there you are. I was growing worried,\" says Miss Sweet.\n\n> You pour the water in the radiator\nwater: You pour the water into the radiator. That should hold it until Aloysius can take care of the problem.\n\n> Close radiator\nThat's already closed.\n\n> You enter the car\nYou step up on the running board.\n\n> You open the door\nThat's already open."
    },
    {
        "text": "[Themes: Historical, multiple protagonists, vehicle]\n\n> You look around\nGreenwood Lane (in the Pratt Dynamo)\nYou're on a lovely stretch of country road that leads north towards Professor Sneedlewood's estate. The road stretches south some distance to the town.\n\nThe rails run north and south, parallel to the road.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\n> You go to the north\nWith a horrendous screeching sound, the car lurches forward a little bit.\n\nMiss Sweet averts her eyes.\n\n> Space\nThe wheel is pulling a little to the left, but otherwise, the vehicle seems fine, as you arrive at...\n\nSneedlewood's Driveway (in the Pratt Dynamo)\nThe rustic charm of Sneedlewood's estate provides an excellent backdrop for a daring and exciting motoring jaunt. The driveway curves southwest, towards the street. The professor's front door is to the north.\n\nIn the Pratt Dynamo you can see Miss Sweet.\n\nA tweedy, bespectacled, balding man emerges from the house.\n\n\"Miss Sweet, I presume?\" he says. \"I didn't expect you to arrive in the famous Pratt Dynamo.\"\n\n\"I'm happy to have arrived at all,\" says Miss Sweet, in a perfectly innocent tone, but casting you a significant look.\n\nThe Dynamo has started to steam again.\n\n> You give the flyer to Sweet\nShe takes the loose flyer and reads it. Her eyebrows climb. \"My. You have a very... interesting profession, Mr. Sterling.\"\nMiss Sweet hesitates slightly, but responds with a gracious nod.\n\n\"You'd better get that vehicle back to your friend, Mr. Pratt,\" says the professor. \"It looks like it needs his attention.\"\n\n\"Mr. Sterling,\" says Miss Sweet. \"The right engine sounds about half a tone higher than the left engine. That may be why your automobile was pulling to the left as you came up the driveway.\"\n\n> You ask sweet about the engines\nMiss Sweet shakes her head. \"My specialty is music, Mr. Sterling, not automotive mechanics.\"\n\n\"I didn't know you were so mechanically inclined, Miss Sweet,\" says Professor Sneedlewood, stroking his beard with bemusement.\n\n\"I'm not,\" she says, and sings two notes, which sound exactly alike to you. \"Couldn't you hear it? The dissonance was giving me a headache. It's my curse, I guess... I hear music in everything.\"\n\n\"Of course,\" says Professor Sneedlewood. \"That's precisely why I sent for you, my dear.\"\n\n> You say goodbye to Sweet\n\"Goodbye,\" she replies, showing good manners.\n\n\"Please, Miss Sweet, let us sit down for a cup of tea,\" says Sneedlewood.\n\n\"I'd be delighted, professor.\" she replies. On her way back inside, she turns around to nod politely in your direction. \"Good day, Mr. Sterling.\"\n\nSneedlewood grabs one handle of the trunk and drags it inside the doorway.\n\nThe professor goes inside and shuts the door.\n\n> You knock on door\n...\nNow you and the Dynamo are alone.\n\n> You cry\nYour outburst achieves little.\n\n> You enter car\nBut you're already in the Pratt Dynamo.\n\n> Space\nAs you turn the Dynamo towards the open road once again, you ponder your next step. The motors roar thrillingly...\n\nChapter 2: A Melodious Accompaniment\n\nThe lopsided sound of Mr. Sterling's automobile recedes into the distance.\n\nAfter a chance to change and refresh yourself, you're enjoying a nice cup of tea with the professor, in his...\n\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\n> About you\n...\nThe professor smiles at you from across the tea table.\n\n\"I hope you'll forgive me for lodging you in the guest cottage, Miss Sweet. My man Montgomery insisted the upstairs rooms are suitable only for old bachelors,\" he says. \"I'm delighted that you accepted my invitation, vague as it was.\"\n\n> About you\nYou're Melody Sweet, the world-renowned opera singer. You're feeling more impatient than usual, but otherwise you're holding up well. You are carrying a loose flyer, a coin, a small sign and a purse.\n\n\"I am honoured to entrust you with information very precious, concerning an artifact of ancient origin,\" the professor continues, his eyes gleaming. \"Because of your vocal accomplishments, and your ancestral relationship to the indigenous peoples of Central America, I am convinced me that *you* are the key to the riddle of the Nisnoc Siw people.\"\n\n> You look at the sign\nA small, hand-lettered sign that reads, \"Miss Sweat\". (The \"a\" is squeezed in as an afterthought.)\n\nHow charmingly, authentically rustic.\n\n\"Only one of my colleagues has ever believed my theories about the Nisnoc Siw. Unfortunately, he went mad fifteen years ago,\" says the professor, with a rueful smile. \"Many still debate whether his faith caused the madness, or vice versa.\"\n\n> You ask the Professor about the artifact\n\"At any rate, I've found my life's work to be unpublishable. If I were less well-mannered, this is probably the point where I would shake my fist and shout, 'Fools! I shall crush them all!'\"\n\nSneedlewood heaves a heart-rending sigh. \"But instead...\"\n\n\"One moment, and I shall retrieve the artifact for you,\" says Sneedlewood, leaping to his feet. \"I think you'll find it fascinating.\"\n\nProf. Sneedlewood goes east.\n\n> You look at the photographs\nOne photograph shows a shambles of masonry which might once have been a burial pyramid. In the foreground are two men -- one man is Professor Sneedlewood, as he might have appeared thirty years ago. The other is apparently a colleague, but his face is entirely in shadow.\n\nThe rest of the photographs show different scenes from what appears to be the same archeological site.\n\n> You sip the tea\nA spot of tea might be refreshing under ordinary circumstances -- but today seems less and less ordinary every minute.\n\n> Sing\n(warming up)\nYou sing middle C.\n\nThe professor enters from the foyer and settles back into his seat.\n\nHe is carrying his precious artifact.\n\n> You examine artifact\nSomething like a slender brick. Its surface is pitted and flaky, like some kind of shale. Some strange markings are barely visible, running around all the edges.\n\nThe professor holds the rock-like object up to the light.\n\n\"I found this in an Aztec ruin. But these inscriptions aren't Aztec -- they're some kind of musical notation, dating from a much older culture -- most likely the Nisnoc Siw, although without additional evidence, I am unlikely to convince my colleagues. My guess is that this particular item was acquired by the Aztecs in trade, or perhaps unearthed by Aztec archeologists -- amateurs, of course.\"\n\nYou sing middle C.\n\n> You look at the markings\nIf the professor is right, and the strange patterns on the artifact have something to do with music, then they aren't like any kind of musical notation you've seen before.\n\n\"This artifact has enabled me to identify the Nisnoc Siw with the legendary music-makers of quite a number of indigenous cultures across the Americas,\" says the professor. \"But aside from the music-making mythologies we can cobble together, this artifact, with its inscriptions, is all we know of the Nisnoc Siw.\"\n\n> You ask Professor about the photographs\n\"So the photographs from my past intrigue you? Shortly after these were taken, my closest colleague and I had something of a falling out,\" says the professor. \"We've recently gotten back in touch, despite my reservations, in connection with the opening of the new Central American antiquities exhibit at my university, you see.\n\n\"I keep this little display as a memento of better times... and also a reminder of what madness can do to a man's soul.\"\n\n\"Take it, Miss Sweet,\" he says, gazing lovingly at the artifact.\n\n> You ask Professor about the colleague\n\"Ah, yes... My old friend, the dastardly Count Catastrophe,\" mutters the professor, momentarily troubled. \"Never mind him. We've more important matters to tend to.\"\n\nThe professor holds the artifact out to you, his eyes brimming with gratitude, his face a trembling mask.\n\n> You take the artifact\nAs you take the artifact, the professor beams. \"It is yours, Miss Sweet,\" he says. \"Use it, to bring to life the music that has been silent for thousands of years.\"\n\nThe professor leans forward excitedly. \"On my first trip to Central Mexico, our native guide sang a few bars of something he remembered his grandmother singing whenever she boiled water. His cousin remembered a similar tune; she called it the 'stone-soup song'.\"\n\n> You ask Professor abouthe stone-soup song\n\"Quite, quite,\" says the professor, ever agreeable, if occasionally inattentive.\n\n\"I later found parts of the same tune in a Brazilian goatherd song, a Chilean lullaby, and even a hymn written by a Carmelite nun who spent thirty years as a missionary among the Navaho. This tune must be deeply imbedded in the collective memory of the native peoples of America.\"\n\n> You listen to Professor\nCalling forth your most eager, attentive expression, you await the professor's next words.\n\n\"Using the variations in the folk tune as a kind of Rosetta stone, I managed to work out a basic musical notation system,\" says the professor. \"It matches the markings on that artifact surprisingly well. I've come to believe that the artifact describes a long-lost musical composition of great ritualistic value.\"\n\nThe professor grasps his lapels, a distant look in his eye, and slips into lecture mode: \"Determining the exact nature of the connection is a matter of mapping a strange and wondrous landscape, interpreting and applying information from a wide variety of arcane and incomplete reference materials, completing side-quests in order to gain the trust of assorted simple-minded characters who just so happen to be posted at various important junctures, recording and cross-referencing a large number of unfamiliar symbols, and determining the meaning of each through a rigorous process of inductive reasoning.\"\n\n> You listen to Professor\nCalling forth your most eager, attentive expression, you await the professor's next words.\n\n\"Of course, I performed all that tedious legwork years ago as a graduate student,\" says the professor, winking playfully at you. \"I'll be happy to share all my findings with you -- just as soon as I finish my tea.\"\n\nHe raises his cup. \"To success!\"\n\n> You drink the tea\n...\nThe professor swallows heartily.\n\nSuddenly, he slumps forward, groaning. One hand clutches frantically at his heart, the other slams the table.\n\n> Faint\n...\nHe draws a raspy, painful breath. His lips part, as he strains -- with gut-wrenching effort -- to divulge some utterance of vital importance.\n\n> Kiss professor\n...\n*Bu-u-r-p!*\n\n> You kill Professor\nA diva's temper, while fearsome when unleashed, wouldn't be helpful in this situation.\n\nThe professor slides his copybook over towards you.\n\n> Examine copybook\n(first taking the copybook)\nYou take the copybook. The professor smiles benevolently. \"Good, good!\"\n\n> You look at the artifact\nSomething like a slender brick. Its surface is pitted and flaky, like some kind of shale. Some strange markings are barely visible, running around all the edges.\n\n> Sing markings\nThe professor leans forward excitedly. \"I hope the tutorial in the copybook was clear enough,\" he says. \"These symbols describe a five-tone octave, with seven beats per measure -- two pairs, followed by one group of three.\" He reaches over to point to one prominent symbol. \"That's a C sharp.\"\n\nYou manage to pick out a short musical passage inscribed on the artifact, including one featuring a musical tension between low, repetitive clusters and longer, higher notes. But almost as soon as you grasp the sense of the notes, you lose it, trailing off uncertainly.\n\n\"An excellent attempt, Miss Sweet,\" says the professor, a bit hastily. \"You may be more comfortable playing it on the piano, at this point.\"\n\n> You examine the piano\nHmm. There seems to be a manuscript of some sort, propped on the piano...\n\nIt's just an ordinary piano, with a simple matching bench.\n\n> You examine the manuscript\nThe manuscript is labeled \"Stone Soup Folk Melody\" in blocky masculine lettering. There appear to be seven beats per measure, which is odd enough... but the score also shows a strange sequence of notes, ranging from a low C to a high E. Surely the professor knows this is out of your range. And that D! How does he expect anyone to sing it for eight full measures?\n\nThe professor is grinning like a schoolboy. What's the matter with him? Playing this on the piano is one thing -- but singing it? Doesn't he know this is impossible?\n\n> You play the piano\nYou play a few random chords on the piano. It sounds a little tinny, but is reasonably well tuned.\n\n> Play markings\nThanks to the professor's excellent primer, you manage to translate the ancient notes inscribed on the artifact, and play them reasonably well. The tune is most curious.\n\nAs the tinny sounds of the piano fade, you hear a strange, muffled resonance emanating from the artifact -- but the sound fades almost immediately.\n\n> Sing markings\nYou manage to pick out a short musical passage inscribed on the artifact, including one featuring a musical tension between low, repetitive clusters and longer, higher notes. But almost as soon as you grasp the sense of the notes, you lose it, trailing off uncertainly.\n\n\"An excellent attempt, Miss Sweet,\" says the professor, a bit hastily.\n\n> Play song\nYou manage to play the \"Stone Soup\" score without much trouble, although -- as Maestro Fibonacci is fond of saying -- your piano playing is rather leaden.\n\nAs the tinny sounds of the piano fade, you hear a strange, muffled resonance emanating from the artifact. But it vanishes almost immediately.\n\n> You look at the artifact\nSomething like a slender brick. Its surface is pitted and flaky, like some kind of shale. Some strange markings are barely visible, running around all the edges.\n\n> You sing the song\nWhich do you mean, the opera or the manuscript?\n\n> Manuscript\nYou try out the first few bars of the haunting, almost hypnotic theme... but towards the middle of the manuscript, the notes climb until they are completely out of your range. The professor must have a great deal of faith in you, or must be completely ignorant of the physiological characteristics of the human voice, if he expects you to be able to sing this all the way through.\n\n\"Excellent try, Miss Sweet,\" says the professor, a bit too hastily.\n\n> You look at the manuscript\nThe manuscript is labeled \"Stone Soup Folk Melody\" in blocky masculine lettering. There appear to be seven beats per measure, which is odd enough... but the score also shows a strange sequence of notes, ranging from a low C to a high E. Surely the professor knows this is out of your range. And that D! How does he expect anyone to sing it for eight full measures?\n\nThe professor is grinning like a schoolboy. What's the matter with him? Playing this on the piano is one thing -- but singing it? Doesn't he know this is impossible?\n\nThe professor reaches over and takes your hand. \"I can't begin to tell you how much your presence here means to me.\"\n\n> You read the manuscript\nThe manuscript is labeled \"Stone Soup Folk Melody\" in blocky masculine lettering. There appear to be seven beats per measure, which is odd enough... but the score also shows a strange sequence of notes, ranging from a low C to a high E. Surely the professor knows this is out of your range. And that D! How does he expect anyone to sing it for eight full measures?\n\nThe professor is grinning like a schoolboy. What's the matter with him? Playing this on the piano is one thing -- but singing it? Doesn't he know this is impossible?\n\n\"Now, if you don't mind, I believe I shall retire to my room for my customary nap. I've sent my man, Montgomery, out on an errand -- but he should be back shortly. He's been instructed to get you whatever you may need.\n\n\"It has been a great pleasure to meet you, Miss Sweet,\" says the professor. \"I have little choice but to trust you perfectly with the artifact, Miss Sweet, since you're the only one who can make use of it. But would you please give me the copybook? I wouldn't want it to fall into the wrong hands.\"\n\n> Turn manuscript\nNothing obvious happens.\n\nThe professor waits patiently for the copybook.\n\n> You put the stone on the piano\nYou need to be holding the manuscript before you can put it on top of something else.\n\nThe professor, looks somewhat puzzled.\n\n> You give the copybook to Professor\nThe professor accepts it gratefully. \"I'll put this in a safe place,\" he says.\n\n\"Now if you'll excuse me, Miss Sweet,\" he says.\n\nHe strolls out of the room, humming something to himself -- something very strange, and very old.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome newspaper clippings\nan artifact\na loose flyer\na coin\na small sign\na purse (which is closed)\n\n> You examine the coin\nA monetary unit, in the form of a small metallic disc.\n\n> You examine the clippings\nSome of the headlines read:\n\"Student Almost Sings Chords, Fibonacci Claims\" ...\"Fibonacci's Star Pupil Intrigues London\"\n\n> Open purse\nYou open the purse, revealing a programme and a handkerchief.\n\n> You flip the coin\nOnly something animate can respond to that action.\n\n> You sing humming\nFor some reason, that got mixed up in your head. (Try a synonym, or a different strategy.)\n\n> You look at the programme\nIt's the programme from Les Contes d'Hoffmann. A keepsake from your Paris debut.\n\n> You examine the handkerchief\nIt's just one of your handkerchiefs.\n\n> Sing\n(warming up)\nYou sing middle D.\n\n> You warm up\n(warming up)\nYou sing middle E.\n\n> You look at the artifact\nSomething like a slender brick. Its surface is pitted and flaky, like some kind of shale. Some strange markings are barely visible, running around all the edges.\n\n> Sing\n(warming up)\nYou sing middle F.\n\n> Sing\n(warming up)\nYou sing middle G.\n\n> Sing\n(warming up)\nYou sing high A.\n\n> You examine the stone soup\nThe manuscript is labeled \"Stone Soup Folk Melody\" in blocky masculine lettering. There appear to be seven beats per measure, which is odd enough... but the score also shows a strange sequence of notes, ranging from a low C to a high E. Surely the professor knows this is out of your range. And that D! How does he expect anyone to sing it for eight full measures?\n\n> You sing low C\n(warming up)\nYou sing high B.\n\nYou sing the note.\n\n> Sing\n(warming up)\nYou sing high C.\n\n> Sing\nYou've warmed up about as high as you can go.\n\n> Sing markings\nYou manage to pick out a short musical passage inscribed on the artifact, including one featuring a musical tension between low, repetitive clusters and longer, higher notes. But almost as soon as you grasp the sense of the notes, you lose it, trailing off uncertainly.\n\n> You sing the stone soup\nYou try out the first few bars of the haunting, almost hypnotic theme... but towards the middle of the manuscript, the notes climb until they are completely out of your range. The professor must have a great deal of faith in you, or must be completely ignorant of the physiological characteristics of the human voice, if he expects you to be able to sing this all the way through."
    },
    {
        "text": "> You look at your surroundings\nFront Parlor (on the chair)\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\nOn the upright piano are an artifact and a manuscript.\n\n> You take all\nartifact: You take the artifact in your hands. It feels like some kind of stone, although it is oddly warm.\nmanuscript: You take the manuscript.\nprogramme: Taken.\nhandkerchief: Taken."
    },
    {
        "text": "[Themes: Historical, humor]\n\n> Look around\nFront Parlor (on the chair)\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\n> East\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\n> Go east\nSlightly musty, a bit too tweedy, and very fussily organised. The foyer is back to the west.\n\nA floor-to-ceiling display cabinet fills one wall. Inside you can make out a pygmy statuette, an emerald the size of a plover's egg, an elf figurine and a remarkable porcelain art object.\n\nYou can also see a letter opener here.\n\n> You look at the statuette\nA menacing, almost cartoon-like statuette of a pygmy spirit with a snake around its neck.\n\n> You eat the emerald\n(first taking the emerald the size of a plover's egg)\n(first opening the display cabinet)\nIt seems to be locked.\n\n> You examine elf\nA tag, written in a blocky masculine hand, reads: \"My father reluctantly accepted this figurine from his aunt, who married into the Ickwiddy family. Rather ignobly executed from degraded materials, it represents an elf absorbed in woodland frolics.\"\n\n> You examine letter opener\nAn ivory-handled letter opener.\n\n> You examine the porcelain\nA colorful sculpture. Beneath a sparkling rainbow, a fluffy, white bunny rabbit peeps sleepily from behind a daffodil, and cocks its head quizzically at a pair of rosy-cheeked cherubim, who bear between them a sunbeam, in which is nestled a droopy-eared puppy wearing around its neck a large, heart-shaped medallion, on which, within a border of butterflies, is a crayon drawing of the Earth, around the circumference of which is a ring of shining happy people holding hands.\n\n> You pick the lock\nThat's fixed in place.\n\n> You get the opener\nYou already have that."
    },
    {
        "text": "> You look around\nSlightly musty, a bit too tweedy, and very fussily organised. The foyer is back to the west.\n\nA floor-to-ceiling display cabinet fills one wall. Inside you can make out a pygmy statuette, an emerald the size of a plover's egg, a sordid elf of Great-Aunt Ickwiddy and a remarkable porcelain art object.\n\n> Sing\nYou've warmed up about as high as you can go.\n\n> Go north\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\n> You go to the west\nA pleasant dining room, done up in the latest Edwardian style, with a few Colonial touches here and there. A doorway leads east to the front hall.\n\n> You go to the east\nThe door to the cellar is locked.\n\n> You go to the northeast\nSneedlewood warned you that this part of the house is in no shape to receive visitors. But so far, it looks respectable enough.\n\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\n\n> Go west\nYou can hear the professor snoring in his bedroom. You really ought to give him some privacy.\n\n> You go to the east\nThe eastern passageway leads to an ascending spiral staircase.\n\nThis is your basic wretched garret, at the top of flight of suitably rusty spiral stairs, and featuring the typical creaky wooden floor, exposed rafters, dusty cobwebs, etc.\n\nYou can see a roof hatch here.\n\nThere appears to be no madwoman here. (Unless of course... well, never mind.)\n\n> You look at the hatch\nIt's a square hatch, set flush into the roofline."
    },
    {
        "text": "[Themes: Historical, vehicle]\n\n> Go downwards\nYou can't go that way.\n\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\n\n> You go to the west\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\n> You examine the photos\nOne photograph shows a shambles of masonry which might once have been a burial pyramid. In the foreground are two men -- one man is Professor Sneedlewood, as he might have appeared thirty years ago. The other is apparently a colleague, but his face is entirely in shadow.\n\nThe rest of the photographs show different scenes from what appears to be the same archeological site.\n\n> You drink the tea\nA spot of tea might be refreshing under ordinary circumstances -- but today seems less and less ordinary every minute.\n\n> Inventory\nYou are carrying:\na letter opener\na handkerchief\na programme\na manuscript\nan artifact\nsome newspaper clippings\na loose flyer\na coin\na small sign\na purse (which is open but empty)\n\n> You read markings\nThose can't contain things.\n\nIf the professor is right, and the strange patterns on the artifact have something to do with music, then they aren't like any kind of musical notation you've seen before.\n\n> You read the clippings\nSome of the headlines read:\n\"Sweet's Amazing Voice Stuns Paris with Olympia's Aria\" ...\"Understudy will Sing Olympia in 'Les Contes' -- Sweet 'Indisposed'\"\n\n> You read the clippings\nSome of the headlines read:\n\"Lilly McCoy is 'Sweet Enough' for Olympia, Say Critics\" ...\"Opera Debutante Sweet Found Babbling in Subway\"\n\n> Keep going\nSome of the headlines read: \"McCoy Leads Milan in Ovation for Stricken Sweet\" ...\"Rehearsal Breakdown Derails Sweet's Comeback; McCoy Recalled from Moscow\"\n\n> You read clippings\nSome of the headlines read:\n\"Student Almost Sings Chords, Fibonacci Claims\" ...\"Fibonacci's Star Pupil Intrigues London\"\n\n> You sing manuscript\nYou try out the first few bars of the haunting, almost hypnotic\n\n> You sing low low low low G\ntheme... but towards the middle of the manuscript, the notes climb until they are completely out of your range. The professor must have a great deal of faith in you, or must be completely ignorant of the physiological characteristics of the human voice, if he expects you to be able to sing this all the way through.\n\nFor some reason, that got mixed up in your head. (Try a synonym, or a different strategy.)\n\n> Go south\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nThis rural setting is certainly peaceful, but this far from the big city crowds, you can't help feeling a little isolated at the same time. A garden path leads east. A wooded hill rises to the south. The professor's front door is to the north.\n\n> You go east\nThis garden path leads from the front of the house to the west, towards the guest cottage to the east. It also forks northeast into a side yard.\n\nDry leaves and twigs rustle under your feet.\n\n> Go east\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north.\n\nA rustic cottage lies on the eastern edge of the clearing. The simple wooden door is closed.\n\n> You open door\nYou open the door to the cottage.\n\n> You go east\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nA simple tin pot hangs on the wall, below an iron pump.\n\n> You look at the pot\nThe tin pot has a smooth wooden handle.\n\n> Pump water\nYou pump vigorously a few times. Water gushes from the spout.\n\nThe water trickles away and disappears.\n\n> You fill the pot from the pump\nYou pump vigorously a few times. Water gushes from the spout.\n\n> Oops spout\nYou fill the tin pot.\n\nSorry, that can't be corrected.\n\n> You put the brick in the pot\nYou put the artifact into the tin pot.\n\n> You go north\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nYou can see a small white trunk here.\n\n> You look at the stove\nIt's a typical barrel-shaped cast-iron stove, with a pipe extending up through the ceiling, and a heavy firebox below.\n\n> Light stove\nThis dangerous act would achieve little.\n\n> You look at the firebox\nIt's just the compartment where fuel is supposed to go.\nYou can't see inside, since the firebox is closed.\n\n> You open the firebox\nYou open the firebox, revealing some dark coals.\n\n> You examine the pot\nThe tin pot has a smooth wooden handle.\n\nIn the tin pot are an artifact and some water.\n\n> You look at coals\nThe coals are dark.\n\n> You put clippings on the coals\nA flash of flame and rush of sparks quickly consume the newspaper clippings.\n\n> Go south\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nYou can see a pump here.\n\n> Go west\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nThe cottage door lies open to the east.\n\n> You go west\nThis garden path leads from the front of the house to the west, towards the guest cottage to the east. It also forks northeast into a side yard.\n\nDry leaves and twigs rustle under your feet.\n\nAn unseen songbird chirps melodiously.\n\n> You get the twigs\nYou already have those.\n\n> Go north\nThis is a grassy stretch just east of the vine-covered house. A clearing lies south, a garden path leads southwest, and another path leads northwest, behind the house.\n\nA birdbath stands in the middle of the yard.\n\nTo the west is a narrow door, nearly hidden by a rose trellis.\n\n> You examine the birdbath\nThe birdbath is a statue of a woman holding a shallow brass basin.\n\nAn unseen songbird chirps melodiously.\n\n> You look at the trellis\nThe trellis is firmly attached to the wall, and climbs upwards towards the roof.\n\n> You look at the bird\n(the melodious songbirds)\nYou can't really get a good look at any of the melodious songbirds.\n\n> You climb the trellis\nClimbing around the garden like a schoolgirl is hardly the way to retain the professor's respect for you.\n\n> Sing\nInspired by the voices of birds in the treetops, you extemporise a little tune to amuse yourself. The birds sing along cheerfully.\n\nAn unseen songbird chirps melodiously.\n\n> You open the door\nIt seems to be locked.\n\n> You look at the door\nThe door, fronted by a few modest flagstones, would seem to lead to the professor's study. The old iron lock is a prominent feature.\n\n> You go northwest\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nOn the back porch is a rubbish bin (which is closed).\n\nYou can see a stack of firewood (on which is a cat) here.\n\nThe cat licks itself languidly.\n\n> You get the cat\nAs you approach the firewood, the cat hisses at you viciously. It's clearly not interested in giving up its perch this easily.\n\nThe cat licks itself languidly.\n\n> You look at the cat\nBig and orange. It seems to keep one predatory eye open at all times, scanning the yard.\n\nThe cat yawns and stretches, scanning the yard with sleepy green eyes.\n\n> You open bin\nYou open the rubbish bin.\n\nThe cat shifts position on top of the log pile.\n\n> You look in the bin\nThe rubbish bin is empty.\n\nNearby, a bird sings. The cat sits up and looks around eagerly. Seeing only you, it yawns disdainfully, and flops back onto the logs.\n\n> Sing\nBut the professor has prepared the cozy little salon for you. The least you can do for the good professor is to keep his artifact safe there, while you experiment with it.\n\nThe cat yawns and stretches, scanning the yard with sleepy green eyes.\n\n> Whistle\nYou chime in with a few wordless bars of music.\n\nThe cat licks itself languidly.\n\n> You sing manuscript\nYou try out the first few bars of the haunting, almost hypnotic theme... but towards the middle of the manuscript, the notes climb until they are completely out of your range. The professor must have a great deal of faith in you, or must be completely ignorant of the physiological characteristics of the human voice, if he expects you to be able to sing this all the way through.\n\nThe cat shifts position on top of the log pile.\n\n> You check your inventory\nYou are carrying:\nsome leaves and twigs\na tin pot\nan artifact\nsome water\na letter opener\na handkerchief\na programme\na manuscript\nsome newspaper clippings\na loose flyer\na coin\na small sign\na purse (which is open but empty)\n\nThe cat shifts position on top of the log pile."
    },
    {
        "text": "[Themes: Historical, vehicle, humor]\n\n> Describe the surroundings\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nOn the back porch is a rubbish bin (which is empty).\n\nYou can see a stack of firewood (on which is a cat) here.\n\nThe cat yawns and stretches, scanning the yard with sleepy green eyes.\n\n> Search bin\nThe rubbish bin is empty.\n\nThe cat shifts position on top of the log pile.\n\n> You examine the tree\nIt's close enough to the house that the lower branches brush the upper storey windows.\n\nNearby, a bird sings. The cat sits up and looks around eagerly. Seeing only you, it yawns disdainfully, and flops back onto the logs.\n\n> Go southeast\nThis is a grassy stretch just east of the vine-covered house. A clearing lies south, a garden path leads southwest, and another path leads northwest, behind the house.\n\nA birdbath stands in the middle of the yard.\n\nTo the west is a narrow door, nearly hidden by a rose trellis.\n\n> Sing\nInspired by the voices of birds in the treetops, you extemporise a little tune to amuse yourself. The birds sing along cheerfully.\n\n> You fill the birdbath\nYou fill the birdbath with water from the tin pot.\n\nA little bird flutters down from the treetops, settles briefly on the edge of the basin, and flits away again, chirping happily.\n\n> Sing\nInspired by the voices of birds in the treetops, you extemporise a little tune to amuse yourself. The birds sing along cheerfully.\n\nA pygmy nutfinch flutters down from the treetops, and lands on the edge of the birdbath.\n\n> Sing\nInspired by the voices of birds in the treetops, you extemporise a little tune to amuse yourself. The birds sing along cheerfully. The pudgy little nutfinch listens, utterly fascinated by your performance. It flutters out of the basin and lands at your feet, where it watches you with interest.\n\n> Sing\nInspired by the voices of birds in the treetops, you extemporise a little tune to amuse yourself. The birds sing along cheerfully. The pudgy little nutfinch listens, utterly fascinated by your performance.\n\n> You examine the nutfinch\nThe nutfinch is small, but round and plump-looking.\n\nThe nutfinch keeps one eye on you, but ruffles its wings restlessly.\n\n> You get the nutfinch\nTrying to grab the pudgy little nutfinch would not be particularly helpful at present.\n\nThe nutfinch, losing interest in you, flutters back into the birdbath.\n\n> You check your inventory\nYou are carrying:\nsome leaves and twigs\na tin pot\nan artifact\na letter opener\na handkerchief\na programme\na manuscript\nsome newspaper clippings\na loose flyer\na coin\na small sign\na purse (which is open but empty)\n\n> You go to the northwest\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nOn the back porch is a rubbish bin (which is empty).\n\nYou can see a stack of firewood (on which is a cat) here.\n\nThe cat licks itself languidly.\n\nThe nutfinch follows you, hopping along in your tracks.\n\n> Sing\nThe pudgy little nutfinch listens, utterly fascinated by your performance.\n\nThe cat notices the nutfinch with hungry eyes. In a flash, the cat leaps from its perch and charges into the yard. The bird flies up into the treetops, out of harm's way.\n\nThe cat skulks around in the bushes for a while, and then disappears.\n\n> You get the firewood\nTaken.\n\n> You go to the east\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nYou can see a pump here.\n\nThe orange tabby cat follows you in.\n\nHe sits down inside the doorway for a moment, but soon disappears into a corner.\n\n> You go to the north\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nThe firebox of the iron stove is open.\n\nYou can also see a small white trunk here.\n\n> You put the leaves in the firebox\nYou throw the armload of kindling inside the firebox. Crackling tongues of flame engulf it almost immediately. Soon, the armload of firewood catches fire as well.\n\n> You put the pot on stove\nYou put the tin pot on top of the stove.\n\n> You fill the pot\nYou pump vigorously a few times. Water gushes from the spout.\nYou fill the tin pot.\n\n> You go north\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nThe firebox of the iron stove is open.\n\nYou can also see a small white trunk here.\n\nThe fire crackles and sputters, as the fuel settles down amidst a growing mound of ashes.\n\n> You put the pot on stove\nYou put the tin pot on top of the stove.\n\nThe fire crackles and sputters, as the fuel settles down amidst a growing mound of ashes.\n\n> Wait\nTime passes.\n\nThe fire crackles and sputters, as the fuel settles down amidst a growing mound of ashes.\n\n> You look at the pot\nThe tin pot has a smooth wooden handle.\n\nIn the tin pot are some water and an artifact.\n\nThe fire crackles and sputters, as the fuel settles down amidst a growing mound of ashes.\n\n> You look at the water\nIt's just water.\n\nThe water is currently in the tin pot.\n\n> You close the firebox\nYou close the firebox.\n\n> You look at the stove\nIt's a typical barrel-shaped cast-iron stove, with a pipe extending up through the ceiling, and a heavy firebox below.\nOn the stove is a tin pot.\n\n> You feel the stove\nIt's much too hot to touch.\n\n> You feel the pot\nYou feel nothing unexpected.\n\nThe water in the tin pot is steaming energetically now.\n\n> Sing\n(warming up)\nYou sing middle C.\n\nThe water in the tin pot starts to boil, and the steam carries a musty scent, which mildly irritates your throat.\n\nYou absently clear your throat.\n\nThat's odd. At the sound of your voice a strange kind of soft, muffled hum seems to rise from inside the pot -- along with some bubbles -- and then fade away.\n\n(warming up)\nYou sing middle C. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n\n> Sing\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n\n> You sing high C\nYou sing the note.\n\nThe water in the tin pot is boiling vigorously.\n\n> You sing manuscript\nYou try out the first few bars of the haunting, almost hypnotic theme... but towards the middle of the manuscript, the notes climb until they are completely out of your range. The professor must have a great deal of faith in you, or must be completely ignorant of the physiological characteristics of the human voice, if he expects you to be able to sing this all the way through.\n\nThe water in the tin pot is boiling vigorously.\n\n> Sing markings\nHmm. You can't seem to see the markings right now. Better check the artifact more closely.\n\nThe water in the tin pot is boiling vigorously.\n\n> You get the artifact\n(first reaching into the water)\nOuch! The water is too hot!\n\nThe water in the tin pot is boiling vigorously.\n\n> You examine artifact\nThe artifact is caked with some kind of crusty brown sludge.\n\nThe water in the tin pot is boiling vigorously.\n\n> Clean artifact\nBut the artifact is still in the hot water.\n\nThe water in the tin pot is boiling vigorously."
    },
    {
        "text": "[Themes: Historical, vehicle, multiple protagonists]\n\n> You look at your surroundings\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nOn the stove is a tin pot (in which are some little brown flecks, some water and an artifact).\n\nYou can see a small white trunk here.\n\nThe water in the tin pot is boiling vigorously.\n\n> Smell water\nThe steaming water smells like chalk, or clay, or maybe just dust.\n\nThe water in the tin pot is boiling vigorously.\n\n> You drink it\nIt's much too hot!\n\nThe water in the tin pot is boiling vigorously.\n\n> You examine the manuscript\nThe manuscript is labeled \"Stone Soup Folk Melody\" in blocky masculine lettering. There appear to be seven beats per measure, which is odd enough... but the score also shows a strange sequence of notes, ranging from a low C to a high E. Surely the professor knows this is out of your range. And that D! How does he expect anyone to sing it for eight full measures?\n\nThe water in the tin pot is boiling vigorously.\n\n> Keep going\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n(warming up)\nYou sing middle D. The artifact, coated with a thick layer of sludge, pops and hisses strangely.\n\nThe water in the tin pot is boiling vigorously.\n\n> You take the artifact\n(first reaching into the water)\nOuch! The water is too hot!\n\nThe water in the tin pot is boiling vigorously.\n\n> You take the artifact\n(first reaching into the water)\nOuch! The water is too hot!\n\n> Empty pot\nlittle brown flecks: Dropped.\nwater:\nThe water trickles away and disappears.\nartifact: Dropped."
    },
    {
        "text": "> You examine artifact\nThe artifact is caked with some kind of crusty brown sludge.\n\n> You clean it\nYou manage to scrape off some of the crusty sludge, but the process will probably go much faster if you had some fresh water.\n\n> You take the artifact\nTaken."
    },
    {
        "text": "[Themes: Historical]\n\n> You look around\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nYou can see a small white trunk here.\n\n> You clean it\nUsing up all your fresh water, you manage to wash away the muddy sludge, revealing a solid, crystal clear brick.\n\n> You look at the brick\nA rectangular brick of a glass-like substance, with slightly beveled edges. The markings, barely visible before, now stand out as raised symbols. The crystal is perfectly clear.\n\nThe artifact is currently in the tin pot.\n\n> Sing\nBut the professor has prepared the cozy little salon for you. The least you can do for the good professor is to keep his artifact safe there, while you experiment with it.\n\n> Sing\n(warming up)\nYou sing middle C. The artifact resonates musically, amplifying your note and making it linger in the air.\n\n> Sing\n(warming up)\nYou sing middle D. The artifact resonates musically, amplifying your note and making it linger in the air.\n\nSomething flashes blue out of the corner of your eye. What was that?\n\n> Sing\n(warming up)\nYou sing middle E. The artifact resonates musically, amplifying your note and making it linger in the air.\n\nThere it is again -- but this time it's a green flash. It seems to have come from the artifact.\n\n> You examine artifact\nA rectangular brick of a glass-like substance, with slightly beveled edges. The markings, barely visible before, now stand out as raised symbols. The crystal has a green tint.\n\n> Sing\n(warming up)\nYou sing middle F. The artifact resonates musically, amplifying your note and making it linger in the air.\n\nA yellow glow from the crystal catches your eye. Yes, the crystal seems to be radiating a soft yellow light. It fades quickly, but the crystal definitely has a yellow tint now.\n\nYou feel a little light-headed.\n\n> Sing\n(warming up)\nYou sing middle G. The artifact resonates musically, amplifying your note and making it linger in the air.\n\nAs the note builds in volume, the crystal glows a bright orange.\n\nThat went pretty well. You're feeling a little dizzy, but confident nonetheless.\n\nThe crystal is still glowing orange, but it is fading.\n\n> Sing\n(warming up)\nYou sing high A. The artifact resonates musically, amplifying your note and making it linger in the air.\n\nAs the note rises in volume and swells to fill the room, you find yourself singing the most beautiful, the purest, the most amazing high E you have ever sung in your life!\n\n> Sing\nThe crystal flares, flooding the room with a brilliant red light, as a chord -- an amazing, impossible chord -- emerges from your throat, washes over your body, enfolds your heart, and touches your soul. Your breath becomes alive, and you feel yourself melting into a harmony that caresses the whole universe...\nThe room spins, and everything goes dark...\n\nChapter 3: A Miscued Rescue or Two\n\nAh... nothing like a leisurely walk in the woods, following a morning of rigorous drilling in such automotive daredevil tricks as starting on an incline and backing into a parking space.\n\n\"You only choked up the engine twice this time, Mr Sterling,\" Aloysius is saying. \"That's a great improvement.\"\n\n> About yourself\nAs luck [and plot contrivance] would have it, your stroll through the woods brings you to a...\n\nThis wooded rise overlooks the front yard of Sneedlewood's estate, which is visible to the north. A faint path leads southwest.\n\nYou can see Aloysius here.\n\nPeering through the thicket of trees, you can someone approaching the front door to Sneedlewood's residence. It is the same short stranger who bumped into a child in town this morning.\n\n> About yourself\nYou're Troy Sterling, daredevil adventurer. Or you will be, as soon as you master all this technical stuff and get on with the daredeviling part.\n\nThe short stranger rings the doorbell. He looks around anxiously, and then peers in a window.\n\n\"Why that... that looks like...\" mutters Aloysius.\n\nThe man reaches up towards his face and... eww! He seems to have pulled a glass eye out of its socket.\n\n\"That's Salomonder!\" says Aloysius. \"What the devil would the professor want with a worm like him?\"\n\nAfter a few moments, Professor Sneedlewood appears in the doorway, yawning. Salomonder speaks with him inaudibly, casually replacing the eye in its socket.\n\n> You look at Salomonder\nYou can't make out many details from way up here.\n\nSneedlewood peers around nervously, lets Salomonder inside, and shuts the door.\n\n> You ask Aloysius about Salomonder\n\"I knew him when I was boy,\" says Alyosius. \"Tough little kid, from the wrong side of town, you might say -- same as me. But he was good with his hands, so we used to build go-carts together.\n\n\"One day, we were racing. He tried to pass me, but wrecked. Lost an eye.\"\n\nWhat was that carried by the wind? A scream, from somewhere off to the east, sounding not unlike a woman in distress!\n\n\"I don't like the looks of this, Mr. Sterling. I doubt Salomonder came alone.\"\n\nAloysius frowns thoughtfully. \"This is probably the part where the faithful sidekick gets captured and beaten up, thereby motivating you to delve deeper into the mystery. Maybe we should just skip that and start investigating now. You circle around to the east. I'll see what Salomonder's up to.\"\n\n> You go east\n\"Good. It's probably a lot more heroic in that direction, anyway,\" says Aloysius.\n\"You don't need that, Mr. Sterling,\" says Aloysius, taking the detached wheel from you.\n...\nForest Path\nA faint forest path leads west towards a wooded rise and east into a thicket. A paved stone path leads north.\n\n> You go north\nThis garden path leads from the front of the house to the west, towards the guest cottage to the east. It also forks northeast into a side yard.\n\n> Go east\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nSmoke pours from the roof of a rustic cottage on the eastern edge of the clearing. The simple wooden door is closed.\n\nFrom inside the cottage, you hear a high-pitched scream! Definitely feminine, and obviously in distress.\n\nA frantic scratching sound comes from the other side of the cottage door.\n\n> You open the door\nWhen the door creaks open, an orange shape streaks out.\n\nIt pauses in the yard just long enough for you to identify it as an extremely agitated tabby cat; then it disappears into the bushes.\n\n> Go inside\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nYou hear another scream -- a very long one. Just inside the north, where you can see an ominous red glow, you hear the soft thud of a body hitting the ground -- and then silence.\n\n> You go north\nThe escape route is back south.\n\nMiss Sweet is here, unconscious.\n\nYou're holding your breath!\n\n> You get miss sweet\nYou gather up Miss Sweet in your muscular, capable arms.\n\n> Go west\nYou can't go that way.\n\nMiss Sweet stirs in your arms.\n\n> Go south\nThis is a small alcove. A small salon is north, and the exit is back west.\n\n> Go west\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nThe cottage door lies open to the east.\n\nHmm. Now that the thrill of the rescue is fading, you're beginning to feel a bit awkward carrying her around like this.\n\n> You drop sweet\nYou carefully put Miss Sweet down.\n\n> You wake sweet\nAware that the slightest shock to her womanly operatic constitution may cause her to launch into an interminable and painful death aria, you gently rouse her.\n\nMiss Sweet emerges from her swoon, and looks around crossly. \"Where am I? What are you doing?\" she demands.\n\nShe doesn't seem to realise the danger she was in.\n\n> Kiss sweet\nOho, you've done it now.\n\n\"Mr. Sterling, perhaps you'd better tell me what prompted you to this course of action,\" she says, attempting to compose herself.\n\nPerhaps you'd better tell her about the rescue.\n\nMiss Sweet composes herself for a moment, takes a deep breath, and unleashes a scream. Not any ordinary scream, mind you -- an operatic shriek of nerve-rattling, bone-chilling, eardrum-popping proportions.\n\n> You tell sweet about the rescue\nMiss Sweet bursts out in laughter. \"How bold and daring of you to snatch me away from my fiery tomb! But I'm afraid that the only smoke I see is from the little fire I made in the stove!\"\n\n\"O! WOE IS ME!\" Miss Sweet shouts -- or, rather -- sings.\n\n> You tell sweet about the undying love\nMiss Sweet is not about to be distracted.\n\nSuddenly, Miss Sweet stops. The color drains from her face, as she points behind you. When you turn around, you find yourself staring down the barrel of a revolver.\n\nSalomonder, holding the gun, regards you with a wry grin.\n\n> Kiss salomonder\n\"Ah, the famous Mr. Sterling... In the audience for a change. This private little performance has been... cancelled.\"\n\n> You fight Salomonder\nSalomonder raises the revolver. \"Tut tut, Mr. Sterling.\"\n\nSalomonder laughs darkly. \"Please raise your hands, Mr. Sterling.\"\n\n> You check what you're carrying\nSalomonder raises the revolver. \"Tut tut, Mr. Sterling.\"\n\nSalomonder's mirthless smile becomes cold. \"I shall not ask you again, Mr. Sterling.\"\n\n> Sing\n\"Oh, very well,\" he sighs, aiming the gun testily...\n\n> You look\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nHmm. Now that the thrill of the rescue is fading, you're beginning to feel a bit awkward carrying her around like this.\n\n> You tell sweet about the fire\nMiss Sweet bursts out in laughter. \"How bold and daring of you to snatch me away from my fiery tomb! But I'm afraid that the only smoke I see is from the little fire I made in the stove!\"\n\n> You tell sweet about the cat\nMiss Sweet's eyebrow edges upwards. \"I really don't know what to say about that,\" she says.\n\n\"Rest assured,\" says Miss Sweet, pausing to choose her words carefully, \"my gratitude is duly proportionate to the value of the service you have rendered.\"\n\n> You tell sweet about the scream\n\"But I was in no danger. I was merely warming up my voice!\" she says. \"And as for the smoke, have you examined the chimney?\"\n\n\"I will bid you good-day, Mr. Sterling,\" she says, turning to go. As she does so, she stumbles, and starts to fall.\n\n> You catch sweet\nYou manage to prevent her from losing her footing.\n\nHer cheeks redden. \"Please excuse me,\" she says, trying to regaining her balance.\n\nThere is an awkward moment of silence, as you both watch the lazy path a bumblebee makes along the edge of the woods.\n\n> Kiss sweet\nOho, you've done it now.\n\nMiss Sweet composes herself for a moment, takes a deep breath, and unleashes a scream. Not any ordinary scream, mind you -- an operatic shriek of nerve-rattling, bone-chilling, eardrum-popping proportions.\n\n\"If there had actually been a fire...\" Her voice trails off.\n\nThe bee briefly lands on the peaked riding cap you are wearing. Hastily, you rip it off and drop it. The insect buzzes more angrily still.\n\n> You wait a while\nTime passes.\n\n\"If there had actually been a fire...\" Her voice trails off.\n\n> You tell sweet about fire\n\"Yes, Mr. Sterling, I'm fully aware of your heroic intentions.\"\n\nThe bee whirls furiously around your head, and then suddenly breaks off. Soon its angry whine fades to nothing.\n\n\"I suppose you really did believe I was in danger. Your actions, though ludicrously unnecessary, were nevertheless thoughtful.\"\n\n> Yes\nThat was a rhetorical question.\n\nShe sighs. \"Once again, I find myself in your debt.\"\n\n> Smirk\nMiss Sweet hesitates slightly, but responds with a gracious nod.\n\nFrom high over your head, you hear an angry buzzing noise -- faint but growing louder. It can be nothing other than your winged tormentor, bent on inflicting great bodily harm!\n\nMiss Sweet goes east.\n\n> Go east\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nYou can see Miss Sweet here.\n\nMiss Sweet goes north.\n\n> Go north\nThe escape route is back south.\n\nYou can see Miss Sweet here.\n\n> Sing\n\"Oh, very well,\" she says, and sings a few scales.\n\n\"You've been very kind, Mr. Sterling, but I have some important business to attend to,\" says Miss Sweet.\n\n> You look at the stove\nIt's a typical barrel-shaped cast-iron stove, with a pipe extending up through the ceiling, and a heavy firebox below.\n\n\"Mr. Sterling, surely there are countless other delicate females out there, just waiting to be rescued by a big, capable hero like yourself!\"\n\n> No\nThat was a rhetorical question.\n\nMiss Sweet puts her hands on her hips. \"I should think that when a woman expresses a desire to be alone in her room, that The Gallant Troy Sterling would be gracious enough to oblige.\"\n\n> You go to the north\nThe escape route is back south.\n\nYou can see Miss Sweet here.\n\nMiss Sweet puts her hands on her hips. \"I should think that when a woman expresses a desire to be alone in her room, that The Gallant Troy Sterling would be gracious enough to oblige.\"\n\n> Go west\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nThe cottage door lies open to the east.\n\nYou can also see a fuzzy yellow bumblebee and a handkerchief here.\n\nThe bee hovers about your face, buzzing angrily.\n\n> You examine the handkerchief\nIt's a delicate, lacy, monogrammed handkerchief -- \"M.S.\"\n\nThe bee hovers about your face, buzzing angrily.\n\n> You get it\nTaken.\n\nThe bee hovers about your face, buzzing angrily.\n\n> You smell it\nYou smell nothing unexpected.\n\nThe bee whirls furiously around your head, and then suddenly breaks off. Soon its angry whine fades to nothing.\n\n> You kiss it\nThe object of your affection is, sadly, incapable of returning same.\n\n> Go north\nThis is a grassy stretch just east of the vine-covered house. A clearing lies south, a garden path leads southwest, and another path leads northwest, behind the house.\n\nA birdbath stands in the middle of the yard.\n\nTo the west is a narrow door, nearly hidden by a rose trellis.\n\nYou can also see some leaves and twigs here.\n\n> You get the leaves\nTaken.\n\n> You climb the trellis\nYou manage to climb up the trellis, crushing only a few roses in the process...\n\nYou are on the roof of the lower storey. It slopes up to a brick wall, which forms part of the upper storey.\n\nNearby is a skylight.\n\n> You open the skylight\n(the skylight)\nIt appears to be stuck. Perhaps if you got a hairpin from Miss Sweet, and used a mixture of saliva and earwax as a lubricant -- Bah! You have no time to waste on such trifles!!\n\n> You break the skylight\n(the skylight)\nHeroically, you leap through the skylight feet first, intending to hit the floor and roll to absorb the impact. That plan doesn't work out very well, because you end up flat on your back, sprawled across broken furniture.\n\nAs you shake the stars out of your eyes, you find yourself staring down the barrel of a revolver.\n\nSalomonder, holding the gun, regards you with a wry grin."
    },
    {
        "text": "[Themes: Historical, vehicle]\n\n> You look through the skylight\n(the skylight)\n\nIn the professor's study, you can see Aloysius.\n\n> You examine Aloysius\n(peering through the glass)\nAloysius is bound and gagged on the floor. He looks around warily.\n\n> You wave at Aloysius\nNot from this side of the glass!\n\n> You raise the hand\nYou wave, feeling foolish."
    },
    {
        "text": "> Look around\nYou are on the roof of the lower storey. It slopes up to a brick wall, which forms part of the upper storey.\n\nNearby is a skylight.\nI beg your pardon?\n\n> Up\nWithout a handhold or a foothold, you can hardly climb up the brick wall.\n\n> You look at the brick wall\nIt's just a solid vertical wall, except for a very small ventilation shutter at about waist level. Much too small to enter.\n\n> You open the shutter\nYou open the ventilation shutter.\n\n> Smell shutter\nYou are carrying:\nsome leaves and twigs\na handkerchief\nyour favourite peaked riding cap (being worn)\na scarf (being worn)\nsome gloves (being worn)\nsome goggles (being worn)\nan old bucket\na postcard\nan index card\n\nYou smell nothing unexpected."
    },
    {
        "text": "[Themes: Historical, vehicle, multiple protagonists, humor]\n\n> You look at your surroundings\nYou are on the roof of the lower storey. It slopes up to a brick wall, which forms part of the upper storey.\n\nNearby is a skylight.\n\n> Go inside\nHeroically, you leap through the skylight feet first, intending to hit the floor and roll to absorb the impact. That plan doesn't work out very well, because you end up flat on your back, sprawled across broken furniture.\n\nAs you shake the stars out of your eyes, you find yourself staring down the barrel of a revolver.\n\nSalomonder, holding the gun, regards you with a wry grin.\n\n> You kick the revolver\nSalomonder raises the revolver. \"Tut tut, Mr. Sterling.\"\n\nSalomonder's mirthless smile becomes cold. \"I shall not ask you again, Mr. Sterling.\"\n\n> You raise the hands\n[Some adventurer you turned out to be.]\n\n> Duck\nSalomonder smirks insolently. \"Excellent. And now,\" he says to himself, rubbing his hands, \"for the lovely Miss Sweet...\"...\n\nChapter 4: The Evil Eye\n\nThe vile little greasy man bows to you most obsequiously. \"Miss Sweet,\" he says. \"Now that the indubitable professor Sneedlewood and the redoubtable inventor Mr. Pratt have been joined in captivity by the very doubtable Mr. Sterling, I suggest that you and I have a little chat. Won't you come this way?\"\n\n> Shriek\n...\nAlong with the other captives, you are bound and gagged on the floor.\n\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the work table are a tin pot (which is empty), some leaves and twigs, some newspaper clippings, a letter opener, a manuscript, an old bucket (which is empty), a small sign, a postcard, a scarf, a peaked riding cap, some goggles, an index card, some gloves, a loose flyer, a handkerchief, a programme, a coin, a purse (which is empty) and an artifact.\n\nYou can see Salomonder, Prof. Sneedlewood, Mr. Sterling and Mr. Pratt here.\n\n\"Something about a cold, damp cellar makes me feel much better about holding captives,\" he says. \"When I'm in a well-stocked laboratory, or a comfortable drawing room, I tend to hesitate when my profession requires the occasional brutish act. But here...\" Salomonder glances around the dreary cellar, and breathes deeply. \"Here, I feel more at ease.\"\n\nAn orange tabby saunters into the room.\nI beg your pardon?\n\n> Scream\nYou strain against the ropes, but your efforts are futile.\n\nSalomonder rubs his hands together. \"Now, I must go about the business of having you killed.\"\n\nSalomonder picks up a jar from the shelf. \"Peach preserves,\" he says, inspecting it approvingly. \"My favourite.\"\n\nHe smiles down at you. \"My dear Miss Sweet,\" he says, with a wistful smile. \"You've already glimpsed the power of the artifact, but you've no inkling of its true power.\" He crouches down beside you. \"Aren't you curious? Wouldn't you like to know a little more about it?\"\n\n> Sing\nThe gag stifles your voice, all but for a muffled moan.\n\nThe cat sneezes at Salomonder.\n\n\"Come, Miss Sweet. This is no time to be coy. Do you want to help me... and yourself?\"\n\n> Nod\n(nodding your head)\n\nSalomonder nods. \"Very good.\"\n\nHe removes your gag, with a fumbling attempt at gentleness. \"Now, Miss Sweet. Ask me about anything at all.\"\n\nThe cat sits and stares at Salomonder.\n\n> You ask Salomonder about Salomonder\nThe artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The squash -- the squash are ripe.\"\n\nYou hear yourself laugh. \"Behold, I come, with powers renewed and vital. Adore me!\"\n\nMr. Pratt and Mr. Sterling exchange bewildered glances, while the professor stares with wide-eyed horror.\n\n> Scream\nYou strain against the ropes, but your efforts are futile.\n\nSalomonder sighs moodily. He produces an envelope. \"This, Professor Sneedlewood, is a message from a dear old friend of yours -- Count Catastrophe.\"\n\nWhat little color is left in the professor's face drains away.\n\nSalomonder brandishes the ivory-handled letter opener, and slices open the envelope.\n\nThe cat nuzzles the professor affectionately.\n\n> Sing\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The hour approaches.\"\n\nSalomonder reads from the letter: \"My dear Barnaby. I write to you from behind the scenes at the Central American antiquities exhibit, where I have prepared a little surprise for the dignitaries who will be gathering here shortly. As the prophecy foretells, the one who completes the ritual will consort eternally with absolute power. By the time you read this letter, Miss Sweet's lovely voice will have charged the artifact. The ritual will be completed, on schedule, at sunset tonight.\"\n\nThe professor interrupts. \"Salomonder, you fool! Can't you see that he's mad?\"\n\nSalomonder waves the professor off, irritated. He continues reading: \"Barnaby, I am not a bloodthirsty man. I shall spare your lives -- but only if you agree to my demands, chief among which being sole credit for the discoveries I am about to introduce to the world.\"\n\n\"Never!\" interrupts the professor. \"I'll not be a pawn in Catastrophe's mad game!\"\n\nThe cat sits and stares at Salomonder.\n\n> You eat the coin\n(first taking the coin)\nYou strain against the ropes, but your efforts are futile.\n\nSalomonder continues: \"In the likely event that your pride will not allow you to submit to my demands, I shall have to rely upon Salomonder to eliminate you in whatever way he sees fit. I regret this course of action... but deep in your heart, I think we both know that, if you had the chance, you'd do the same thing to me.\"\n\n\"No!\" shouts the professor, a bit too quickly.\n\nSalomonder folds the letter. \"Tsk, tsk, Professor. Whatever his faults may be, you must admit that Count Catastrophe is an excellent judge of character.\"\n\nThe cat nuzzles the professor affectionately.\n\nSalomonder picks up the artifact, and strides out with it.\n\n> Sing\nYou project towards the open window.\n\nThrough it, you hear a distant musical echo.\nThe professor sulks, utterly dejected.\n\nThe cat scratches at a table leg.\n\nYou can hear Salomonder's footsteps creaking up the stairs. The jars on the shelf resonate musically.\n\n> Sing\n(warming up)\nYou sing high B.\n\nThe cat sits pensively in a corner.\n\n> You listen to the jars\nFrom time to time, the jars clink together, resounding with a fairly uniform C sharp pitch.\n\nThe cat crawls familiarly across the professor's lap.\n\nHeavy footsteps thump down the stairs. The jars on the shelf resonate musically.\n\nA man dressed for outdoor work enters. He carries a small keg of some kind.\n\nThe professor, obviously recognizing him, perks up and cries, \"Montgomery!\"\n\n\"I hate to break up this little reunion,\" says Salomonder, strutting back into the room, \"but Montgomery and I have work to do.\"\n\n> You sing high e\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"Hear the voice of the spider languishing on the rock.\"\n\nThe cat sneezes at Salomonder.\n\nAs Salomonder watches dispassionately, Montgomery uncorks his keg and lays down a line of black powder.\n\nSomething feathery flutters against the window.\n\n> You sing the c sharp\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The plover -- the plover is dying, and the mushrooms are foul.\"\n\nThe cat crawls familiarly across the professor's lap.\n\nMoving deliberately but very stiffly, Montgomery pours a small mound of powder in the far corner, and leaves the keg on top of it.\n\nThe professor calls out to him again.\n\nMontgomery makes eye contact with the professor, staring uncomprehendingly.\n\nSalomonder laughs ruefully. \"No use trying, professor,\" he says, leaning against the table.\n\n> You sing high C\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The gander's mate is untamed as it pursues the crimson riverflesh.\"\n\nThe cat sneezes at Salomonder.\n\n\"Thank you, Montgomery,\" says Salomonder. \"You may go.\"\n\nSalomonder watches him leave. \"The Count is so very thorough when he sets out to bend weak minds to do his will,\" he says, thoughtfully.\n\nSalomonder puts the gag back on the professor. \"I've heard quite enough from you,\" he says.\n\n\"What shall I do with you, my friends?\" asks Salomonder, pacing.\n\n> You sing the stone soup\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The stars fill the sky with the shining purity of destruction.\"\n\nThe cat sits and stares at Salomonder.\n\nSalomonder sighs. \"There's never a good sawmill with a slow-moving conveyor belt around when you need one.\"\n\nBehind Salomonder's back, Mr. Sterling begins to contort his body, trying to twist out of the ropes.\n\n> You sing middle C.\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The moon -- the moon drips with blood.\"\n\nThe cat sneezes at Salomonder.\n\n> You kick the jars\nYou have just enough slack in the ropes to manage a short jab with your foot. Unfortunately, you're tied too tightly to reach the peach preserves.\n\nThe cat nuzzles the professor affectionately.\n\n> You kick the cat\nSalomonder reaches up casually towards his face. \"To keep track of everything going on down here, I would almost need...\" He whips his hand around behind his neck, and holds a small round object there...\"An eye on the back of my head!\"\n\nMr. Sterling freezes in dismay, one shoulder partially out of a coil of rope.\n\n> You examine the eye\nThe light glints menacingly off of Salomonder's glass eye.\n\nThe cat hops onto the shelf, causing the jars to clatter musically.\n\n\"Hi there!\" says Salomonder, in a strange little falsetto. \"I'm Mr. Salomonder's magic eyeball!\"\n\nSalomonder addresses his eye with exaggerated seriousness. \"What do you see back there, little fellow?\"\n\nSalomonder makes his eye jump up and down excitedly in the air. \"It's Troy Sterling, Mr. Salomonder! He was trying to untie himself while you weren't looking, Mr. Salomonder! Better tie him up again!\"\n\nSalomonder smiles. \"I've taught you well!\" he says, stroking his eye affectionately. \"Good eye!\""
    },
    {
        "text": "[Themes: Historical, multiple protagonists]\n\n> You look around\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the shelf is a cat.\n\nOn the work table are a letter opener, a tin pot (which is empty), some leaves and twigs, some newspaper clippings, a manuscript, an old bucket (which is empty), a small sign, a postcard, a scarf, a peaked riding cap, some goggles, an index card, some gloves, a loose flyer, a handkerchief, a programme, a coin and a purse (which is empty).\n\nYou can see a mound of powder (on which is a powder keg), a line of powder, Salomonder, Prof. Sneedlewood, Mr. Sterling and Mr. Pratt here.\n\nMr. Pratt wrestles with his ropes.\n\nThe cat jumps onto the window ledge.\n\n> Kick table\nSalomonder makes the falsetto \"eye\" voice again: \"Thank you, Mr. Salomonder! You always said I was your favourite...pupil!\"\n...\nSalomonder ties Mr. Sterling up again, this time very tightly.\n\"Don't try to escape again,\" says Salomonder. He holds the eye momentarily on top of Mr. Sterling's head. \"Remember...I've got my eye on you!\"\n\nMr. Pratt struggles furiously at his ropes. He seems to be attempting to slam his own head into the wall.\n\n> You untie the ropes\nYou strain against the ropes, but your efforts are futile.\n\nThe cat bounds onto the table.\n\nSalomonder paces, surveying the room. \"I thought my wit would go over better than this,\" he says. \"After all, I have a captive audience.\"\n\nSalomonder nervously bounces his eyeball on the tabletop. (It resounds with a high E.)\n\n> You sing high e\nAs you begin to sing, the artifact pulses with fierce red energy. The artifact seems to pull a strange sound out of your throat. In an otherworldly voice, you hear yourself saying: \"The plover -- the plover is dying, and the mushrooms are foul.\"\n\nThe cat, prowling about on the tabletop, swats playfully at the letter opener.\n\n> Signal to cat\n\"You will soon learn to appreciate my wit,\" continues Salomonder, working himself almost into a frenzy. \"In fact, my very next spark of brilliance could very well......bring down the house!\"\n\nIn the distance to the north, you can hear the distant whistle of a train. Salomonder cups his hand to his ear. \"Ah. That sound means it's time for me to leave. The Count is expecting me at the museum. The business we plan to conduct there, Miss Sweet, is enough to leave you speechless... for the rest of your life!\n\n\"But don't fret. Soon all your worries will be over. I'd like to thank each of you for being my worthy opponents today,\" he says, fishing into his pocket, and extracting a small wooden stick from a box. \"In light of what's about to happen, I think it's safe to say that you have all met your match!\"\n...\nIn one sweeping gesture, Salomonder strikes a match, drops it onto the line of powder, and runs out the door.\n\nThe professor shouts desperately into his gag.\n\nYou hear Salomonder's footsteps pounding up the stairs and receding. The row of jars clatter together musically.\n\n> You sing the c sharp\nYou sing the note. The rows of peach preserves begin to rattle -- resonating to the sound of your voice... Suddenly, several jars burst apart. Peach juice, pulp, and glass fragments bounce and splatter on the floor. One glass shard almost hits your foot.\n\nThe professor looks on in joyful amazement. The fuse has gone out!\n\n> You get the shard\nAlthough the glass fragment is very near your foot, you're tied too tightly to pick it up.\n\nThe cat approaches the peachy gunk, sniffs it warily, and snorts.\n\n> You cut the rope\nYou strain against the ropes, but your efforts are futile.\n\n> You kick shard\nYou have just enough slack in the ropes to manage a short jab with your foot. The glass fragment skitters across the room, and comes to a stop near Mr. Sterling!\n\nMr. Sterling reaches out with his foot, struggling to hook the glass fragment.\n\nThe cat stalks over to Mr. Pratt, and crawls onto his lap.\n\nOnce again, you hear the train whistle. This time it is much closer, coming from the west side of the house.\n\n> You sing high e\nThat note's too high for you, even on your best days.\n\nFrom outside the open window, a warbling voice answers. In a flutter of little wings, the nutfinch lands just outside the window.\n\nMr. Sterling hooks the glass fragment, and carefully pushes it over to Mr. Pratt, who, rolling over onto his side, manages to pick it up with the fingers of one hand.\n\n> Sing\nYou sing a wordless fragment of melody.\n\nThe little nutfinch listens with some interest, but only chirps tenatively, casting a wary glance towards the cat.\n\nThe cat looks at the bird thoughtfully for a moment. Yawning, it casually head-butts Mr. Pratt.\n\nMr. Pratt, at last free from the cat's meddlesome influence, finally manages to get the glass fragment.\n\nThe other captives look on with hopeful expressions, as Mr. Pratt works on his ropes.\n\n> You sing the stone soup\nYou sing a wordless fragment of melody.\n\nThe little nutfinch listens with some interest, but only chirps tenatively, casting a wary glance towards the cat.\n\nMr. Pratt manages to free one hand, and quickly tugs off his gag. \"Thanks for distracting the cat, Miss Sweet!\" he says.\n\nIn the distance, on the south side of the house, you hear the train whistle.\n\nThe professor mumbles urgently into his gag. Mr. Pratt rushes to uncover his mouth.\n\n\"The evening express!\" cries the professor, his face beaded with sweat. \"If Salomonder catches that train, and brings his plunder to the antiquities exhibit before we can stop him, Miss Sweet may never again be free of Anootla's influence!\"\n\n\"Salomonder's not going anywhere,\" says Mr. Pratt, as he cuts through Mr. Sterling's ropes. \"That's the Douglas Special you just heard, heading back to the station after its last run. Why, Salomonder would need a locomotive of his own to make it to the station in time to get aboard. Isn't that right, boss?\"\n\nMr. Pratt and Mr. Sterling share a hearty masculine laugh.\n\nMr. Sterling throws off the last of his ropes. With a winning grin, he crouches beside you and starts untying your wrists.\n\n> Kiss sterling\nYou strain against the ropes, but they are only partly untied at this stage.\n\nMr. Pratt continues to reassure the professor, who is breathing rather heavily. \"Professor, our friend Salomonder would need mighty fast transportation, if he thinks he can make it to the train station ahead of the Douglas Special. He'd need the fastest horse that ever lived. Or a pair of wings. Either that, or -- \"\n\nThrough the open window, you hear a calliope churning out an Oriental gong rendition of \"Three Blind Mice.\"\n\n> You sing three blind mice\nMr. Pratt and Mr. Sterling exchange a horrified glance... Sterling drops your half-tied wrists, and bolts out of the cellar. You can hear his leaden feet clomping up the stairs.\n\nMr. Pratt begins to follow Mr. Sterling, but hesitates, and comes back. \"Here, let me untie you, Miss Sweet. Are you alright?\"\n\nJust outside the open window, the nutfinch cocks its head this way and that.\n\nThe cat takes a second look at the bird, but evidently concludes that the bird is too far away to bother with it.\n\n> No\n(shaking your head)\n\nMr. Pratt's face clouds. \"That scoundrel. I can't abide a man who mistreats a lady.\"\n\nYou hear Mr. Sterling's clomping feet suddenly stop. Then you hear him coming back down the stairs. He sprints back into the room and dashes over to the table.\n\nHe snaps his goggles jauntily over his head.\n\nMr. Pratt rolls his eyes. \"Oh, for Pete's sake!\"\n\n> You wait for a while\nTime passes.\n\nMr. Sterling throws his scarf around his neck, flashing a winning grin.\n\nMr. Pratt hurriedly finishes untying you. Casting a sour look at Mr. Sterling, he charges for the exit, grumbling. His footsteps pound up the stairs.\n\n\"Oh, dear,\" says the professor. He looks very pale and weak.\n\n> You stand\n(getting up off the floor)\nYou're standing up now.\n\nMr. Sterling puts on his cap. \"Huzzah!\" he cries.\n\n> Go south\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nMr. Sterling arrives from the north.\n\nSalomonder pokes his head around the corner. \"A visitor?\" he asks.\n\nThe next thing you know, you find yourself staring down the barrel of a revolver.\n\nSalomonder, holding the gun, regards you with a wry grin."
    },
    {
        "text": "[Themes: Historical, humor]\n\n> Look around\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the work table are a letter opener, a tin pot (which is empty), some leaves and twigs, some newspaper clippings, a manuscript, an old bucket (which is empty), a small sign, a postcard, an index card, some gloves, a loose flyer, a handkerchief, a programme, a coin and a purse (which is empty).\n\nYou can see Mr. Sterling, some peach gunk and Prof. Sneedlewood here.\n\nMr. Sterling slips his gloves on.\n\nThe professor is breathing heavily, trying to get up.\n\nMr. Sterling flashes you a brilliant grin, and charges up the stairs.\n\n> You get all\npeach gunk: The sharp glass mixed in with the peach gunk would make that a rather unpleasant experience.\ngags: Taken.\ntight coils of rope: Taken.\nsaucer: You'd gain little by disturbing the cat's food.\nletter opener: Taken.\ntin pot: Taken.\nleaves and twigs: Taken.\nnewspaper clippings: Taken.\nmanuscript: You take the manuscript.\nold bucket: Taken.\nsmall sign: Taken.\npostcard: Taken.\nindex card: Taken.\nloose flyer: Taken.\nhandkerchief: Taken.\nprogramme: Taken.\ncoin: Taken.\npurse: Taken.\npeach preserves: The jars of peach preserves are too high for you to reach.\n\n\"I'm not as young as I once was, you know,\" the professor says, pausing to rest.\n\n> You sing the c sharp\nYou sing a soothing, uplifting melody.\n\nThe nutfinch, adding its little voice to yours, hops through the bars of the window and onto the window ledge.\n\n\"Miss Sweet... I don't see how you can ever forgive me for putting you through this, but perhaps I can figure out whether I can restore your voice,\" he says. \"If I can get to my feet, that is.\"\n\nThe tabby cat saunters back into the room.\n\n> You untie professor\nHe's not something you can open.\n\nThe professor sighs. \"I shall have to get up myself, I suppose,\" he says.\n\n> You examine table\nYou hear yourself saying: \"The wind sings with longing for my return.\"\n\n\"My dear girl -- you should save your voice,\" chides the professor, with gentle sadness. \"You may need it later.\"\n\n\"Where could my copybook have gone? I remember you handed it to me just before I went upstairs for my nap. But I can't recall what I did with it!\"\n\nThe simple work table is supported by blocky wooden legs.There is nothing on the work table.\n\n\"Hurry, Miss Sweet! The marks are already fading. Please find me my copybook!\"\n\n> Go northeast\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\n\n> You go to the west\nPlain but spacious, with a window looking north, and a closet to the south. The exit is east.\n\nYou can see a bed and a dresser here.\n\n> You open the drawer\nThat wouldn't exactly be proper, would it?\n\nYou open the dresser drawer, revealing a ring of keys.\n\n> You open the closet\nThere seems to be something hidden there...\nThe professor must have been reading in bed... under the bedcovers, you discover a copybook. Taken.\n\nThat's not something you can open.\n\n> Go south\nSneedlewood's bedroom (in the Closet)\n\nIn Sneedlewood's bedroom you can see a bed and a dresser.\n\nNo skeletons in here. (Unless of course you count the one you're using.)\n\n> You look under the bed\nNo monsters. Nothing else, either."
    },
    {
        "text": "[Themes: Historical, multiple protagonists, humor, vehicle]\n\n> Go down\nPlain but spacious, with a window looking north, and a closet to the south. The exit is east.\n\nYou can see a bed and a dresser here.\n\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\n\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the narrow ledge is a pudgy little nutfinch.\n\nYou can see a cat, some peach gunk and Prof. Sneedlewood here.\n\n> You give the copybook\nWhom do you want to give the copybook to?\n\n> Prof.\n\"Excellent! We may still have a chance to stop Salomonder!\"\n\nHe pores feverishly through his copybook.\n\nNow you need to look for Mr. Pratt; and you will be ready to go!\n\nProf. Sneedlewood goes up.\n\n> You go to the east\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\nYou can see Prof. Sneedlewood here.\n\nProf. Sneedlewood goes south.\n\n> You find Pratt\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nYou can see Prof. Sneedlewood here.\n\nProf. Sneedlewood goes south.\n\n(Mr. Pratt)\n(You'll have to use your senses and probably a little trial and error to find anything useful.)\n\n> Go south\nThis rural setting is certainly peaceful, but this far from the big city crowds, you can't help feeling a little isolated at the same time. A garden path leads east. A wooded hill rises to the south. The professor's front door is to the north.\n\nOnce outside, you're treated to quite a sight.\n\nA grizzled country character canters around the front yard on a nervous-looking horse, taunting Mr. Sterling. \"Whooeee! You knocked the wheel off my buggy this morning, Sterling, so I went and done a wheel-ectomy on your fancy automobile!\" he shouts. Indeed, he is holding a steering wheel over his head. \"Come and get it, goggle-boy! Haw, haw!\"\n\nMr. Sterling, bristling at the taunt, adjusts his goggles, tightens the scarf around his neck, and prepares to make a grab for it.\n\n> You examine the horse\nIt's a jittery but powerful-looking piebald mare.\n\nThe poor thing. From the looks of it, it's never known a moment of kindness in its life.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"Johnny O'Connor bought an automobile!\nHe took his sweetheart for a ride one Sunday.\nJohnny was togged up in his best Sunday clothes.\nShe nestled close to his side.\"\n\nMr. Sterling grabs for the wheel, but the grizzled horseman spurs on his horse.\n\nThe grizzled character goes east.\n\n> Sing\n(warming up)\nYou sing high C.\n\nMr. Sterling gets up and brushes himself off. He bows politely but quickly.\n\nMr. Sterling goes east.\n\n> Sing\nYou've warmed up about as high as you can go. You hear some odd clicking and popping noises from the artifact, as a high-pitched whine fades to nothing.\n\nMaybe you should try that again.\n\n> Sing\n(warming up)\nYou sing middle C.\n\n> Sing\n(warming up)\nYou sing middle D.\n\n(warming up)\nYou sing middle E.\n\n> Sing\n(warming up)\nYou sing high B."
    },
    {
        "text": "[Themes: Historical, humor]\n\n> You look around\nThis rural setting is certainly peaceful, but this far from the big city crowds, you can't help feeling a little isolated at the same time. A garden path leads east. A wooded hill rises to the south. The professor's front door is to the north.\n\n> Go south\nThis wooded rise overlooks the front yard of Sneedlewood's estate, which is visible to the north. A faint path leads southwest.\n\nYou can hear mechanical sounds coming from the southwest.\n\nThe grizzled character arrives from the east.\n\n> You hit the character\nA diva's temper, while fearsome when unleashed, wouldn't be helpful in this situation.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\nThe lyrics are slurred and incomprehensible.\n\nMr. Sterling arrives from the east.\n\n> Sing\nYou've warmed up about as high as you can go.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"Johnny O'Connor bought an automobile!\nHe took his sweetheart for a ride one Sunday.\nJohnny was togged up in his best Sunday clothes.\nShe nestled close to his side.\"\n\nMr. Sterling, his eyes fixed on the steering wheel, prepares to leap again.\n\n> You get the wheel\nIt's no good -- the jittery horse won't let you get close enough to try to grab the wheel.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"Things went just dandy till he got down the road,\nThen something happened to the old machinery.\nThat engine got his goat... off went his hat and coat...\nEv'rything needed repairs!\"\n\nMr. Sterling examines the horse.\n\nMr. Sterling looks around in frustration, and approaches the horse stealthily.\n\nThe horse sniffs Mr. Sterling's empty hand, then snorts dismissively.\n\n> You examine horse\nIt's a jittery but powerful-looking piebald mare.\n\nThe poor thing. From the looks of it, it's never known a moment of kindness in its life.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"He'd have to get under, get out and get under,\nTo fix his little machine!\"\n\nMr. Sterling grabs for the wheel, but the grizzled horseman spurs on his horse.\n\nThe grizzled character goes north.\n\n> You check your inventory\nYou are carrying:\na ring of keys\na purse (which is open but empty)\na coin\na programme\na handkerchief\na loose flyer\nan index card\na postcard\na small sign\nan old bucket\na manuscript\nsome newspaper clippings\nsome leaves and twigs\na tin pot\na letter opener\nsome tight coils of rope\nsome gags\n\nMr. Sterling gets up and brushes himself off. He bows politely but quickly.\n\nMr. Sterling goes north.\n\n> Go north\nThis rural setting is certainly peaceful, but this far from the big city crowds, you can't help feeling a little isolated at the same time. A garden path leads east. A wooded hill rises to the south. The professor's front door is to the north.\n\nYou can see Mr. Sterling here.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"A dozen times they'd start to [*beep!*] hug and kiss --\nAnd the darned old engine [*boing!*] it would miss,\nAnd then he'd have to get under, get out and get under,\nAnd fix up his automobile!\"\n\nMr. Sterling, his eyes fixed on the steering wheel, prepares to leap again.\n\n> Tie horse\nYou would achieve nothing by this.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"He'd have to get under, get out and get under,\nTo fix his little machine!\"\n\nMr. Sterling examines the horse.\n\nMr. Sterling looks around in frustration, and approaches the horse stealthily.\n\nThe horse sniffs Mr. Sterling's empty hand, then snorts dismissively.\n\n> Go west\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\n> You get the tea\nA spot of tea might be refreshing under ordinary circumstances -- but today seems less and less ordinary every minute."
    },
    {
        "text": "[Themes: Historical, vehicle]\n\n> Look around\nThe walls are heavy with green and maroon hangings. Some photographs are arranged on the wall, above an old upright piano. The foyer is visible to the east.\n\n> You play the piano\nYou play a few random chords on the piano. It sounds a little tinny, but is reasonably well tuned.\n\n> Go east\nSlightly musty, a bit too tweedy, and very fussily organised. The foyer is back to the west.\n\nA floor-to-ceiling display cabinet fills one wall. Inside you can make out a pygmy statuette, an emerald the size of a plover's egg, a sordid elf of Great-Aunt Ickwiddy and a remarkable porcelain art object.\n\nYou can also see some fragments of broken glass here.\n\n> Go north\nA tiny space; really just the beginning of a hallway leading north. The Parlor is back to the west, and the professor's study is east. The front yard is to the south.\n\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\n> You go to the east\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the narrow ledge is a pudgy little nutfinch.\n\nYou can see a cat and some peach gunk here.\n\n> You get the gunk\nThe sharp glass mixed in with the peach gunk would make that a rather unpleasant experience.\n\n> You get the glass\nThe sharp glass mixed in with the peach gunk would make that a rather unpleasant experience.\n\nThe cat methodically licks itself.\n\n> You sing to the finch\nTurning your full attention to the nutfinch, you sing an appropriately reassuring, enticing melody.\n\nThe bird hops off the window ledge and flutters to the ground, to join you in a charming little duet.\n\nThe cat pounces on the nutfinch.\n\nCarrying the unfortunate bird in its mouth, the cat hops down from the ledge and saunters out of the room.\n\n> You sing to the cat\nYou sing a wordless fragment of melody.\n\nThe little nutfinch listens with some interest, but only chirps tenatively, casting a wary glance towards the cat.\n\n> Pet cat\nKeep your hands to yourself!\n\n> You look at the table\nThe simple work table is supported by blocky wooden legs.There is nothing on the work table.\n\n> You look at the symbols\nThe professor shoos you away. \"You're blocking the light, Miss Sweet!\"\n\nThe cat yawns happily.\n\n> Go east\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\nYou are in a musty corner of the cellar, almost bare of furnishings but for a simple wooden table. A high shelf blocks much of the light coming in through a single tiny window, which is partly open, but barred. The exit is east.\n\nOn the narrow ledge is a pudgy little nutfinch.\n\nYou can see a cat and some peach gunk here.\n\nThe cat scratches at a table leg.\n\n> You go northeast\nThe front hall stretches south towards the foyer. The dining room is west, a plain door is east, and a flight of stairs curls around to the northeast.\n\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\n\n> You go to the east\nThe eastern passageway leads to an ascending spiral staircase.\n\nThis is your basic wretched garret, at the top of flight of suitably rusty spiral stairs, and featuring the typical creaky wooden floor, exposed rafters, dusty cobwebs, etc.\n\nYou can see a roof hatch here.\n\nThere appears to be no madwoman here. (Unless of course... well, never mind.)\n\n> Go south\nYou can't go that way.\n\nThe main stairway leads down. A passageway leads east, and a bedroom is west.\nYou can't go that way.\nYou can't go that way.\n\n> Go south\nThis thicket of trees thins out towards to the north. A faint path leads west.\n\nYou can see Mr. Sterling here.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\nThe lyrics are slurred and incomprehensible.\n\nMr. Sterling examines the horse.\n\nMr. Sterling looks around in frustration, and approaches the horse stealthily.\n\nThe horse sniffs Mr. Sterling's empty hand, then snorts dismissively.\n\n> You go to the west\nA faint forest path leads west towards a wooded rise and east into a thicket. A paved stone path leads north.\n\nThe grizzled character arrives from the east.\n\n> You unlock door\n(with the letter opener)\nUnfortunately, this doesn't appear to be one of those oh-so-common letter-opener-shaped keyholes.\n\n> You unlock the door with the keys\nYou unlock the side door.\n\n> You unlock the door with the keys\nThat's unlocked at the moment.\n\n> You open the door\nYou open the side door.\n\n> You go to the west\nWhat eccentric professor's house would be complete without a secret passageway? This particular one is just a tiny space between the walls, but it will do. Sunlight spills around the corner from the east, but does not reach the dark alcove to the south.\n\n> Go south\nYou are in a small, cramped alcove. The only exit is north.\n\nA floor-to-ceiling tinted window, set into the south wall, reveals the inside of a trophy case.\n\n> You examine the window\nIt's just a thick piece of tinted glass, set into the south wall. The glass fits into a recess that extends from floor to ceiling, but the recess is slightly wider than the glass, leaving a gap.\n\nJust on the other side, you can see a pygmy statuette, an emerald the size of a plover's egg, a sordid elf of Great-Aunt Ickwiddy and a remarkable porcelain art object.\n\nIn the professor's study, you can see some fragments of broken glass.\n\n> You move the glass\n(the tinted window)\n\n> You open the window\nIt is fixed in place.\n\nThat's not something you can open.\n\n> Go south\nBut the tinted window is blocking your way.\n\n> Break glass\n(the tinted window)\nA diva's temper, while fearsome when unleashed, wouldn't be helpful in this situation.\n\n> You examine the case\n(the gap)\nGaps on either side permit you to reach around the tinted glass and into the display cabinet.\n\nIn the display cabinet are a pygmy statuette, an emerald the size of a plover's egg, a sordid elf of Great-Aunt Ickwiddy and a remarkable porcelain art object.\n\n> You get the egg\n(reaching through the gap)\nTaken.\n\n> You get all\nremarkable porcelain art object: Taken.\nsordid elf of Great-Aunt Ickwiddy: Taken.\npygmy statuette: Taken.\n\n> You examine the porcelain\nA colorful sculpture. Beneath a sparkling rainbow, a fluffy, white bunny rabbit peeps sleepily from behind a daffodil, and cocks its head quizzically at a pair of rosy-cheeked cherubim, who bear between them a sunbeam, in which is nestled a droopy-eared puppy wearing around its neck a large, heart-shaped medallion, on which, within a border of butterflies, is a crayon drawing of the Earth, around the circumference of which is a ring of shining happy people holding hands.\n\n> Break art\nThe porcelain object shatters in a shining happy dust plume, which disappear to reveal a small silver heart that had been concealed inside.\n\n> You look at the heart\nIt is a heart-shaped silver locket.\n\n> Open heart\nIt pops open easily, revealing an inscription under the lid, and a miniature portrait of a woman holding a shallow brass basin.\n\n> You look at woman\n(yourself)\nYou're Melody Sweet, the world-renowned opera singer. You're feeling more impatient than usual, but otherwise you're holding up well. You are carrying a silver locket, a pygmy statuette, a sordid elf of Great-Aunt Ickwiddy, an emerald the size of a plover's egg, a ring of keys, a purse, a coin, a programme, a handkerchief, a loose flyer, an index card, a postcard, a small sign, an old bucket, a manuscript, some newspaper clippings, some leaves and twigs, a tin pot and a letter opener.\n\n> You look at the portrait\nIt's a portrait of a woman, done in miniature. She holds a shallow brass basin.\n\n> You read the inscription\nThe inscription on the locket reads: \"'Beauty is truth, truth beauty,' -- that is all / Ye know on earth, and all ye need to know.\"\n\n> Sing inscription\nHmm. You can't seem to see the markings right now. Better check the artifact more closely.\n\n> You examine pygmy\nA menacing, almost cartoon-like statuette of a pygmy spirit with a snake around its neck.\n\n> Go outside\nWhat eccentric professor's house would be complete without a secret passageway? This particular one is just a tiny space between the walls, but it will do. Sunlight spills around the corner from the east, but does not reach the dark alcove to the south.\n\n> Go east\nThis is a grassy stretch just east of the vine-covered house. A clearing lies south, a garden path leads southwest, and another path leads northwest, behind the house.\n\nA birdbath stands in the middle of the yard.\n\nThe narrow door, partially hidden by a rose trellis, lies open to the west.\n\nThe grizzled character arrives from the southwest.\n\n> Sing\nWaving the steering wheel over his head, the grizzled character sings:\n\nThe lyrics are slurred and incomprehensible.\n\nMr. Sterling arrives from the southwest.\n\n> You examine the birdbath\nThe birdbath is a statue of a woman holding a shallow brass basin.\n\nIn the brass basin is some bathwater.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"Johnny O'Connor bought an automobile!\nHe took his sweetheart for a ride one Sunday.\nJohnny was togged up in his best Sunday clothes.\nShe nestled close to his side.\"\n\nMr. Sterling, his eyes fixed on the steering wheel, prepares to leap again.\n\n> You get the steering wheel\nIt's no good -- the jittery horse won't let you get close enough to try to grab the wheel.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"Things went just dandy till he got down the road,\nThen something happened to the old machinery.\nThat engine got his goat... off went his hat and coat...\nEv'rything needed repairs!\"\n\nMr. Sterling examines the horse.\n\nMr. Sterling looks around in frustration, and approaches the horse stealthily.\n\nThe horse sniffs Mr. Sterling's empty hand, then snorts dismissively.\n\n> You sing to the horse\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"He'd have to get under, get out and get under,\nTo fix his little machine!\"\n\nMr. Sterling grabs for the wheel, but the grizzled horseman spurs on his horse.\n\nThe grizzled character goes south.\n\n> Go south\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nThe cottage door lies open to the east.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\n\"He was just dying to cuddle his queen --\nBut every minute... when he'd begin it...\nHe'd have to get under, get out and get under.\nThen he'd get back at the wheel.\"\n\nMr. Sterling arrives from the north.\n\n> You go northwest\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nOn the back porch is a rubbish bin (which is empty).\n\n> You climb the tree\nLarking about in the treetops like a schoolgirl would hardly justify the professor's faith in you.\n\n> You get it\nIt's securely fastened to the porch railing.\n\n> You enter it\n(getting onto the back porch)\n\nYou climb in, close the lid, and hunker down.\n\n> Wait\nTime passes.\nTime passes.\nTime passes.\nTime passes.\nTime passes.\n\n> You open bin\nYou open the rubbish bin.\n\n> You look out\n(yourself)\nYou find nothing of interest.\n\n> Close bin\nYou close the rubbish bin.\n\n> Go outside\nYou open the rubbish bin.\nYou get out of the rubbish bin.\n\nBack Yard (on the back porch)\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nA rubbish bin is chained to the porch railing.\n\n> Go east\nYou'll have to get off the back porch first.\n\n> You get off\nYou get off the back porch.\n\nYou are standing behind the house, in the shade of a lovely tree. A path leads southeast past the back porch, back towards the side yard.\n\nOn the back porch is a rubbish bin (which is empty).\n\n> You examine porch\nSome of the wooden slats are dilapidated. One seems uneven.\n\n> You examine the slats\nAn small, uneven slat appears to be a little loose.\n\n> You turn the slat\nYou are unable to.\n\n> You check your inventory\nYou are carrying:\na silver locket (which is open)\na portrait (in the locket)\nan inscription (in the locket)\na basin detail (in the portrait)\na pygmy statuette\na sordid elf of Great-Aunt Ickwiddy\nan emerald the size of a plover's egg\na ring of keys\na purse (which is open but empty)\na coin\na programme\na handkerchief\na loose flyer\nan index card\na postcard\na small sign\nan old bucket\na manuscript\nsome newspaper clippings\nsome leaves and twigs\na tin pot\na letter opener\nsome tight coils of rope\nsome gags\n\n> You look at the basin detail\nYou can't make out much detail. The locket itself is small, and the basin in the portrait is smaller still. With your unaided eye, you can make out only some sort of redish shape in the basin. Possibly a fish.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You look at the nail\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You pry the slat with the crowbar\nSome of the wooden slats are dilapidated. One seems uneven.\n\nYou can't see any such thing.\n\n> You check your inventory\nYou are carrying:\na silver locket (which is open)\na portrait (in the locket)\nan inscription (in the locket)\na basin detail (in the portrait)\na pygmy statuette\na sordid elf of Great-Aunt Ickwiddy\nan emerald the size of a plover's egg\na ring of keys\na purse (which is open but empty)\na coin\na programme\na handkerchief\na loose flyer\nan index card\na postcard\na small sign\nan old bucket\na manuscript\nsome newspaper clippings\nsome leaves and twigs\na tin pot\na letter opener\nsome tight coils of rope\nsome gags\n\n> Examine postcard\nThe postcard the mailman dropped off in your box seems to be another ominous legal statement from the Edison Electric Power & Light Co.\n\n> You go to the southeast\nThis is a grassy stretch just east of the vine-covered house. A clearing lies south, a garden path leads southwest, and another path leads northwest, behind the house.\n\nA birdbath stands in the middle of the yard.\n\nThe narrow door, partially hidden by a rose trellis, lies open to the west.\n\n> You go southeast\nThe woods are too thick for you to make much headway in that direction.\n\n> You go to the south\nThick woods surround this small forest clearing. Down the path leading west, you can glimpse part of the main house. A yard is to the north. To the south, a gap in the bushes leads into a thicket.\n\nThe cottage door lies open to the east.\n\n> Pump\n(the pump)\nYou pump vigorously a few times. Water gushes from the spout.\n\nThe water trickles away and disappears.\n\n> You go to the north\nThe Parlor has been converted into a cozy-looking studio, with a nice little wood stove. The only exit is back south.\n\nYou can see a small white trunk and a stove here.\n\n> You fill bucket\nThis is a small alcove. A small salon is north, and the exit is back west.\n\nYou can see a pump here.\nYou pump vigorously a few times. Water gushes from the spout.\nYou fill the old bucket.\n\n> You fill the pot\nBut there's already some water in the old bucket.\n\n> You go south\nThis wooded rise overlooks the front yard of Sneedlewood's estate, which is visible to the north. A faint path leads southwest.\n\nYou can hear mechanical sounds coming from the southwest.\n\n> Go southwest\nIt's a low ravine cut into the hillside, over the top of which to the northeast is the professor's residence. The main road is west.\n\nThe Dynamo is here, parked under an apple tree. In the back seat is Prof. Sneedlewood.\n\nYou can also see Mr. Pratt here.\n\n\"Oh, there you are, Miss Sweet,\" says Mr. Pratt. \"Sorry I had to rush off like that, but I'm lucky I did. It turns out it wasn't Salomonder stealing the car after all -- it was MacDougal, who's not exactly a disciple of technological progress, trying to sabotage it. Now he's riding around with my steering wheel. The crazy drunken bastar-- uh, that is... bastion of the agrarian way of life.\"\n\n> You get the apple\nThe nearest apple is just out of your reach.\n\nMr. Pratt twists a crick out of his neck. \"I can't quite put my finger on it, but something sounds funny about the motors. I think MacDougal may have tried to damage them, too. We can't go anywhere without the wheel, so I figured I might as well see what I can do here.\"\n\n> You stand on the car\nMr. Pratt leaves his work for long enough to help you. You step up on the running board. The limb of an apple tree is just over your head.\n\nMr. Pratt turns a knob to the right.\n\n> You get the apple\nYou take reach for an apple on the nearest limb. Taken.\n\nMr. Pratt listens to the left motor.\n\n> You eat it\nYou eat the apple. It's not quite ripe.\n\nMr. Pratt listens to the right motor.\n\n> You get the apple\nYou take reach for an apple on the nearest limb. Taken.\n\nMr. Pratt shakes his head at the motors.\n\n> You give the apple to Pratt\n(Mr. Pratt)\nHe looks up, startled. \"I'm flattered that you're thinking of me, Miss Sweet. I'm not one to rush things. Though I must admit...\" His voice trails off, and he looks at you silently for a moment.\n\nAfter a brief pause, he tugs at his collar, and looks away.\n\nMr. Pratt shuts off the motors.\n\n> Kiss pratt\n(Mr. Pratt)\nKeep your mind on the game.\n\nMr. Pratt crawls under the automobile.\n\n> You give the apple tothe prof .\nThe professor only glances at the apple. \"Er... yes. An excellent example of an apple, wouldn't you say?\"\n\nMr. Pratt adjusts something underneath the automobile.\n\n> Examine prof.\nA thick-set man, on the far side of sixty, but still vital and healthy. His eyes are dark and intense, but they frequently sparkle with kindness -- or at least hope. A bit eccentric, perhaps, but no more so than Maestro Fibonacci. He is carrying a copybook.\n\nMr. Pratt turns the motors back on.\n\n> You ask the prof about the symbols\nYou hear yourself saying: \"The hour approaches.\"\n\n\"Quite, quite,\" says the professor, ever agreeable, if occasionally inattentive.\n\nMr. Pratt turns a knob to the left.\n\n> You go to the east\nWith a horrendous screeching sound, the car lurches forward a little bit.\n\n\"Parking brake!\" Aloysius shouts. \"Release the parking brake!\"\n\nMiss Sweet averts her eyes.\n\nMr. Pratt listens to the left motor.\n\n> You set the brake\nThe parking brake is already set.\n\nMr. Pratt listens to the right motor.\n\n> You go outside\nYou slip out from behind the wheel. So to speak.\n\nMr. Pratt shakes his head at the motors.\n\n> Go east\nThat way isn't passable. The main road is to the west, and a hill leads northeast towards the professor's residence.\n\nMr. Pratt shuts off the motors.\n\n> You release the parking brake\nYou release the parking brake.\n\nMr. Pratt crawls under the automobile.\n\n> You go to the north\nThat way isn't passable. The main road is to the west, and a hill leads northeast towards the professor's residence.\n\nMr. Pratt adjusts something underneath the automobile.\n\n> You go north\nThis rural setting is certainly peaceful, but this far from the big city crowds, you can't help feeling a little isolated at the same time. A garden path leads east. A wooded hill rises to the south. The professor's front door is to the north.\n\nYou can see Mr. Sterling here.\n\nMr. Sterling gets up and brushes himself off. He bows politely but quickly.\n\nMr. Sterling goes east.\n\n> Go east\nThis garden path leads from the front of the house to the west, towards the guest cottage to the east. It also forks northeast into a side yard.\n\nYou can see Mr. Sterling here.\n\nWaving the steering wheel over his head, the grizzled character sings:\n\nThe lyrics are slurred and incomprehensible.\n\nMr. Sterling, his eyes fixed on the steering wheel, prepares to leap again.\n\n> You give the apple to the horse\nThe horse sniffs at your apple, and settles down enough to nibble at it.\n\n\"Come on, there!\" says the grizzled horseman, annoyed with you. Mr. Sterling takes advantage of the distraction, and leaps for the steering wheel.\n\nMr. Sterling does a shoulder roll and lands on his feet, holding the steering wheel aloft, like a wedding bouquet in the hand of a victorious bridesmaid.\n\nMr. Sterling goes west.\n\nThe drunken horseman takes a long draught from his bottle and rides off into the woods, cursing with surprisingly good diction.\n\nNow you need to see what you can do to help Mr. Pratt; track down Mr. Sterling; and you will be ready to go!\n\n> Go southwest\nThat's the way you came in Mr. Sterling's car. It's much too far to walk back to town on foot.\n\n> You go southwest\nIt's a low ravine cut into the hillside, over the top of which to the northeast is the professor's residence. The main road is west.\n\nThe Dynamo is here, parked under an apple tree. In the back seat is Prof. Sneedlewood.\n\nYou can also see Mr. Sterling and Mr. Pratt here.\n\nMr. Pratt turns the motors back on.\n\n> Hi\nYou hear yourself saying: \"The stars fill the sky with the shining purity of destruction.\"\n\n\"My dear girl -- you should save your voice,\" chides the professor, with gentle sadness. \"You may need it later.\"\n\nMr. Pratt shakes his head with a little sigh. \"Maybe you shouldn't try to talk to much, Miss Sweet,\" he says, very gently. \"Not until the professor has figured this whole thing out, anyway.\"\n\nMr. Sterling tugs at his scarf, and tries to smile for your benefit.\n\nMr. Pratt turns a knob to the left.\n\n> You enter the car\nMr. Pratt leaves his work for long enough to help you. You step up on the running board. The limb of an apple tree is just over your head.\n\nMr. Pratt listens to the left motor.\n\n> You enter car\nBut you're already in the Pratt Dynamo.\n\nMr. Pratt listens to the right motor.\n\n> You listen to the motor\nMr. Pratt brightens. \"Miss Sweet,\" he says, fidgeting somewhat. \"Could I trouble you to tell me when both motors sound exactly the same?\" [press any key]\nWith your help, Mr. Pratt finishes tuning the motors in no time.\n\n\"Gosh, thanks, Miss Sweet!\" he says, eyes somewhat downcast. \"I've never met someone who... someone like you before.\"\n\nThe professor, frustrated, scratches something out of his copybook. \"No, no! That's all wrong. \"Until I figure out what Salomonder's trying to do, Miss Sweet, the farther we stay away from him, the better.\"\n\nHe continues working in silence for a moment.\n\nMr. Pratt bangs away at something underneath the Dynamo. \"Aha!\" he says. \"What have we here? The frame is bent against the axle.\"\n\nHe leans out from under the vehicle. \"Mr. Sterling, as long as we're still waiting for the professor, could I send you on a very important, noble, and heroic quest? I need is some kind of a long pole. Maybe the professor has a mop or something. I just need a little leverage here.\"\n\nMr. Sterling's face brightens. \"Huzzah!\" he shouts.\n\nMr. Sterling exits to the northeast.\n\nMr. Pratt notices your water. \"That should do nicely,\" he says. He takes the old bucket and fills the radiator.\n\nThe engines are humming in perfect unision now.\n\nMr. Pratt smiles proudly. As he starts collecting his tools, he starts humming something to himself, very quietly.\n\n> You listen to the left motor\nHow delightful -- of all the music that Mr. Pratt could hum to himself, he has chosen \"Les oiseaux dans la charmille,\" the very aria that launched your professional career!\n\nMr. Pratt smiles shyly. \"I thought maybe you'd recognise that song,\" he says.\n\nMr. Pratt continues to tinker. \"I'm sorry I can't do that song justice. I suppose my voice isn't as bad as the gentleman you saw on the horse earlier. That's MacDougal. We've kind of had a running feud with him and some of the fellows at the livery stable. They don't realise that we can't turn the clock back -- this is the Twentieth Century, for cryin' out loud.\"\n\n> Sing\nYou've warmed up about as high as you can go.\n\n\"It's a good thing for us that he just wanted to wreck it, rather than steal it. Still, I wish he hadn't chosen today, of all days, to escalate his little anti-automobile crusade.\"\n\nHe looks up, to see whether you are still listening.\n\n> You listen to Pratt\n(Mr. Pratt)\nMr. Pratt smiles.\n\nMr. Pratt rests his arms on the frame of the Dynamo. \"I imagine it's very difficult for you, losing your voice and all,\" he says haltingly. He looks down at his hands. \"When we were all down in the cellar, and I was tied up, I felt so utterly helpless.\"\n\nHe splays his fingers, and flexes them in front of his face. He slowly makes his fingers curl up, shriveling them towards his palms. For a moment, he stands there, his thoughtful face framed by his twisted hands. He looks up at you.\n\n\"Say... why don't you whistle? I'll sing for you. I know the words.\"\n\n> Whistle\nYou whistle the tune, while Mr. Pratt sings in an untrained but pleasant voice:\n\n\"Les oiseaux dans la charmille\nDans les cieux l'astre du jour,\nTout parle ? la jeune fille d'amour!\nAh! Voil? la chanson gentille\nLa chanson d'Olympia! Ah!\n\n\"The birds in the garden,\nThe star of day up above,\nThey speak to a young girl of love!\nAh! This is the song so charming,\nThe song of Olympia! Ah!\"\n\nMr. Pratt smiles.\n\n> Kiss pratt\n(Mr. Pratt)\nKeep your mind on the game.\n\n\"I want to show you something, Miss Sweet,\" says Mr. Pratt, walking around to the side of the Dynamo and opening up a panel. \"This is the control console for the steam-powered calliope I designed for Mr. Sterling. It's connected to the horn. Right now it's set to play a set of pre-recorded paper rolls, but look -- it's also got a keyboard.\"\n\nMr. Pratt makes a few adjustments. \"Let's go for the second verse. Go ahead and play it!\"\n\n> Kiss mr pratt\nKeep your mind on the game.\n\nMr. Pratt looks a little concerned. \"Just play the keyboard, Miss Sweet,\" he says. \"If you want to, that is.\"\n\n> You play the keyboard\n\"Just a minute, Miss Sweet,\" says Mr. Pratt, making a final adjustment. \"Okay, go ahead.\"\n\nWhen you push a key, the calliope produces an enchanting tone. Mr. Pratt seems to have adjusted his device to blend the sounds of an angelic choir and the vivid warbles of birdsong, resting upon the surpisingly musical throb of the Dynamo's motors.\n\nIf Maestro Fibonacci could hear you play now, he would surely be surprised!\n\nMr. Pratt sings again, this time with more confidence:\n\n\"Tout ce qui chante et r?sonne\nEt soupire, tour ? tour,\nEmeut son coeur qui frissonne d'amour!\nAh! Voil? la chanson mignonne\nLa chanson d'Olympia! Ah!\n\n\"Everything that sings and sounds\nAnd sighs, in its turn,\nMoves her heart, which trembles with love!\nAh! This is the darling song,\nThe song of Olympia! Ah!\"\n\nMr. Sterling arrives, carrying a rake. \"Huzzah!\"\nMr. Pratt smiles into your face blankly...\n\nMr. Sterling waves the rake at Mr. Pratt. \"Huz-ZAH?\"\n\nMr. Pratt snaps out of it, and notices the rake. \"That'll do nicely,\" he says, taking it.\n\nThe professor rubs his eyes wearily. Suddenly his face lights up. \"Of course! Why couldn't I see it before? The notes are only part of the solution. The high priestess sang while presiding over a ritual that involved the preparation of a ceremonial drink... I recently prepared a test batch of that drink. Perfectly harmless stuff, or so it seemed. I left some of it at the Museum.\"\n\nIn the far distance, you hear a train whistle. \"That would be the Douglas Special,\" says Mr. Pratt, \"ready to leave town, and headed back this way.\"\n\n\"Salomonder is sure to be on that train,\" says the professor.\n\nYour little party is ready for the final showdown.\n\nThe motors roar thrillingly...\n\n(To Be Continued...)\nYou have won\n\nIn that game you scored 38 out of a possible 42, in 827 turns.\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game, see some suggestions for AMUSING things to do or QUIT?"
    },
    {
        "text": "[Themes: Western, western, Guns, male protagonist, revenge, violence, combat]\n\n`Mid the sagebrush and the cactus\n\nStart new game - Easy      : Press E\nStart new game - Normal    : Press N\nStart new game - Hard      : Press H\nStart new game - Extreme   : Press X\nRestore game               : Press R\nQuit                       : Press Q\n\ngame; although it is thematically important that the protagonist is dependent on the strumpet Fortune, it's probably more important for you to gently learn the system. Graduate to the normal\ndifficulty when you feel ready. The hard difficulty is for\nthose who have already learned to game the system and wish to test their skills. The extreme difficulty is only for those\nseeking a formidable, perhaps impossible, challenge.\n\n[Author's Note: They shot you in the leg, the sheriff or one of his men, but you still managed to get away. You always manage to get away. And while they're off pursuing you to, who knows, perhaps Colorado, you have quietly made your way back to where it all began. What better place to rest? In \"'Mid the Sagebrush and the Cactus\", the player will have to use a tactical combination of talking and fighting to survive a meeting with David -- the son of the man he has just killed.]"
    },
    {
        "text": "[Themes: Western, combat, violence]\n\n> Go east\nThey shot you in the leg, the sheriff or one of his men, but you still managed to get away. You always manage to get away. And while they're off pursuing you to, who knows, perhaps Colorado, you have quietly made your way back to where it all began. What better place to rest?\n\nWith a grunt of pain you descend from your horse and lie down near the water. How good it would be to just close your eyes for a moment and sleep... but you know that you've got to take that bullet out first.\n\n\"They all said I was crazy, but I knew you'd be coming back\nhere,\" says a young voice behind you.\n\n`Mid the sagebrush and the cactus\n\nYou are lying next to a small stream, screened off from the wider plains by the sagebrush around you. An ideal place to hide -- or so you thought.\n\nDavid stares at you, a revolver unsteady in his hand.\n\n\"Why did you do it?\" he asks, perhaps closer to tears than to pulling the trigger.\n\n> About yourself\nSweaty, blood-stained -- you have seen better days. But nobody would pick a fight with you in a bar.\n\n> You examine david\nHe's young, about the age you were when you left for the Mexican War. And not even as tough.\n\n> You explain\n\"Will you believe me when I tell you your father deserved to die? I doubt it. But it's true.\"\n\n\"I shouldn't be talking to you. I just ought to shoot you right now!\" David blurts out.\n\n> Placate\n(David)\n\"Maybe you should, but... you've never killed a man before, have you?\" He doesn't reply, but you know the answer. Knew it before you asked the question. It's written all over him.\n\n\"My father was a great man. A peaceful man! He never did anybody no harm, he was no fighter. What did you have against him?\"\n\n> You think\nYou sort of like this boy. His father... that was different. No regrets there.\n\n(You are now slightly concentrated.)\n\n\"You probably think that just because you're a bad-ass desperado, and because I am a green boy, you are invulnerable and can toy with me and tell me all kinds of lies. But you're wrong!\"\n\n> Placate\n(David)\n\"Let's talk, David, there's no need to hurry. As you can see, I'm not exactly going anywhere.\"\n\n\"Even if you did have a reason to kill my father, how about raping my sister? Huh?\"\n\n> You explain\n\"When a man and a woman meet and then have sex because they both want to, we don't call it rape, David.\"\n\n\"Yeah? Well, my sister called it rape, when I found the two of you here at the creek!\"\n\n> Placate\n(David)\n\"What about... what about you just ride into town and get a doctor for me? My leg is hurting like all hell. On a Sunday.\"\n\n\"I think I've heard enough of your so-called explanations.\" David grabs the gun with two hands in order to steady his aim, and points it at you.\n\n> You think\nThe moment the boy's father saw your face, he knew what you had come to do. \"You're here to kill me,\" he said. It wasn't a question.\n\n(You are now slightly concentrated.)\n\n\"My father will be revenged,\" David whispers.\n\n> You think\nAnd you didn't answer. That would have been fatal: the second he needed to get to his gun.\n\n(You are now somewhat concentrated.)\n\nThe boy's bullet hits you in the shoulder, only inches away from the jugular. You are in even more terrible pain than before. Your train of thought is derailed.\n\n> Placate\n(David)\n\"Just calm down. We need to talk, before you start doing anything hasty and foolish.\"\n\nDavid seems to pull himself together.\n\n> Placate\n(David)\n\"Believe me, your father was no saint. If you had known even half of what he had done, you would have killed him yourself.\"\n\nDavid seems to pull himself together.\n\n> You explain\n\"Well, if your sister said it, it must be true, mustn't it? I'm sure your father believed her as well, and didn't, oh, lock her up or anything?\"\n\nDavid looks abashed.\n\n\"So what did my father do to you?\"\n\n> You explain\n\"He didn't do anything to me, but he did do something to a friend of mine called Billy. Billy was a nice boy, a little rough around the edges maybe, but at his core there was no evil. You remind me of him.\"\n\n\"Call that an explanation? You're just liar!\" David points his gun at your heart, about to pull the trigger.\n\n> Appeal\n(David)\n\"Come on, David, you've got to listen to my whole story.\"\n\n\"I'm listening -- but this had better be good.\" He wipes the sweat from his forehead. \"Well, what about this Billy?\"\n\n> You explain\n\"David, you see, Billy was with us in Pancho's posse, or whatever you'd call a bunch of citizens who went over the border to help with the war effort. And while in Mexico, this Billy guy fell in love with a woman. She was the most beautiful woman he'd ever seen.\"\n\n\"But the woman fell in love with my father, they had a row about it, and my father shot this Billy of yours?\"\n\n> You explain\n\"No, not exactly, no. See, this woman wasn't just any kind of woman, she was what we might call a drab, a whore, a prostitute. And your father and she had an... they had... O God my leg hurts! ... they had an argument, about money. About payment.\"\n\n\"So what happened? Billy intervened?\" David spits the question at you as if it were a bullet.\n\n> You explain\n\"No, Billy did not intervene. I mean, he would have if he had had the chance, but he was too late. Because, you see, your father didn't like being argued with. And he didn't like being argued with by a whore, and even less being argued with by a Mexican. So he just took out his gun and shot her. Through the heart. Like, dead. Billy was waiting his turn downstairs, so he hadn't heard the argument. But he did hear the shot.\"\n\n\"Enough talk!\" David aims his gun at your head.\n\n> Appeal\n(David)\n\"Don't shoot! I have so much more to tell you about your father.\"\n\n\"Sure you can tell me a lot... of lies.\"\n\nThe BANG of the pistol reaches your ear at the same moment that the bullet reaches your back. You feel your life slowly deserting you.\n\n> Placate\n(David)\n\"If you'll just talk to me, I'll tell you everything. And then, at the end, you can make a decision. Shoot me or not shoot me. Is that a deal?\"\n\nDavid starts reloading his revolver.\n\n> You think\nHe didn't really stick out when you first met him, the father. Just one of the boys of Pancho's gang, one more gun against the Mexicans.\n\n(You are now slightly concentrated.)\n\nDavid finishes reloading his revolver.\n\n> Appeal\n(David)\nYou need to do more explaining before you can appeal.\n\n> Placate\n(David)\nYou have exhausted your store of placating things to say.\n\n> You think\nBut it didn't take long before he rose in the ranks, informal as they were. Might even have taken over Pancho's place if he hadn't been so reckless. Not that the other guys where much given to careful deliberation, but even in that group he was know as \"the madman\".\n\n(You are now somewhat concentrated.)\n\n\"My father will be revenged,\" David whispers.\n\n> You think\nHe didn't really stick out when you first met him, the father. Just one of the boys of Pancho's gang, one more gun against the Mexicans.\n\n(You are now slightly concentrated.)\n\n\"You're really gonna die this time,\" David hysterically tells you.\n\n> Taunt\n(David)\nYou try to speak, but only a gasp of pain comes out.\n\nThe bullet goes straight through your brain. You stare at the sun. Was it ever this bright? you wonder as it slowly expands to fill your field of vision. Was it?\n\nThen you sink down to the earth.\n\n> Go east\nThey shot you in the leg, the sheriff or one of his men, but you still managed to get away. You always manage to get away. And while they're off pursuing you to, who knows, perhaps Colorado, you have quietly made your way back to where it all began. What better place to rest?\n\nWith a grunt of pain you descend from your horse and lie down near the water. How good it would be to just close your eyes for a moment and sleep... but you know that you've got to take that bullet out first.\n\n\"They all said I was crazy, but I knew you'd be coming back\nhere,\" says a young voice behind you.\n\n`Mid the sagebrush and the cactus\n\nYou are lying next to a small stream, screened off from the wider plains by the sagebrush around you. An ideal place to hide -- or so you thought.\n\nDavid stares at you, a revolver unsteady in his hand.\n\n\"Why did you do it?\" he asks, perhaps closer to tears than to pulling the trigger.\n\n> You explain\n\"Will you believe me when I tell you your father deserved to die? I doubt it. But it's true.\"\n\nDavid wipes away his tears.\n\n> You think\nShooting down tough gunslinging asswipes is something you do for breakfast -- but this boy? That's not really your style.\n\n(You are now slightly concentrated.)\n\n\"I shouldn't be talking to you. I just ought to shoot you right now!\" David blurts out.\n\n> You think\nAnd not just because he's so young and innocent... there's also, you know, that nagging feeling that he is justified and you are not.\n\n(You are now somewhat concentrated.)\n\n\"My father was a great man. A peaceful man! He never did anybody no harm, he was no fighter. What did you have against him?\"\n\n> You explain\n\"You haven't seen every side of him, David. I knew him long ago, in the Mexican war. Your father wasn't so peaceful then, when he was the most irregular of our whole band of irregulars. Not very peaceful at all.\"\n\nDavid ponders his options for a moment.\n\n> You think\nBut then again: you can't afford to be sentimental right now.\n\n(You are now highly concentrated.)\n\n\"You know, I didn't come here to talk, but to fight.\" David's finger tightens on the trigger of his gun.\n\n> Dodge\nYou try to roll aside in an unpredictable manner.\n\nDavid's bullet flies past your head, harmless.\n\n> You think\nBut then again: you can't afford to be sentimental right now.\n\n(You are now highly concentrated.)\n\n> You stand\n\"Don't move!\", David threatens somewhat hesitantly, but you get up anyway. Seems you can stand, as long as you hold this sagebrush for support.\n\n\"You're really gonna die this time,\" David hysterically tells you.\n\n> Taunt\n(David)\n\"You shouldn't be playing with your daddy's gun. Not that he'll need it anymore.\"\n\nThe deadly lead misses you. Another few seconds to live.\n\n> You examine the gun\n(your revolver)\nOne of the wonders of human civilization.\n\n> You examine the david's natural weapon\nClenched fists, kicking feet--that kind of stuff.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour revolver (3 of 6 shots left)\nyour knife\n\n> Ready\nWhat do you want to ready?\n\n> Gun\n(your revolver)\n\"Don't do that!\", David warns, but of course you don't listen. It feels good to have a gun in your hand.\n\n\"You're really gonna die this time,\" David hysterically tells you.\n\n> Taunt\n(David)\n\"You're going to shoot me here, right on the spot where I enjoyed your sister? How romantic!\"\n\nHis aim is too careless, and David's bullet strikes the ground behind you.\n\n> Shoot\n(David)\nA hit, a very palpable hit! David staggers back, watching the shot wound in disbelief. \"I... I didn't think you could hit me.\"\n\n> Shoot\nrevolver.\n\n(David)\nYour bullet lodges itself in David's leg. He grunts in pain and tears stream down his face -- but he doesn't seem to be ready to give up just yet.\n\n\"He was in the Mexican war? I... I didn't know. But that was twenty-five years ago! Who cares about that?\"\n\n> Shoot\n(David)\nYou take a deep breath, concentrate, aim for the head -- BANG. You close your eyes because you don't want to see what he looks like in death.\n\nExhausted, you fall into an uneasy sleep. When you wake up the sun is setting, and you know you must take the bullet out now. It's not going to be pretty, but you are tough. The toughest man this side of the border. It's only on the other side that you break down."
    },
    {
        "text": "[Themes: Comedy, superhero]\n\nDecember 31st, 2014.\n\nDr. Sinister is at it again! The Concordance of Powered Response isn't entirely clear on what it is he's planning, but it's big and it's based in his island fortress. This is clearly a task for one of the world's mightiest champions!\n\nUnfortunately, they've had to send you instead; the world's mightiest champions have other emergencies to deal with. New Year's Eve is always rough.\n\nRegardless, this looks by-the-book so far. The containment fields have been put in place. Now all you have to do is get over to his island base, infiltrate it, defeat him, and bring him in.\n\nCity Hall teleported you here to Shalestorm Shingle mainly for the drama of the name. Small rocks and stones litter the ground here, but it dissolves to good clean sand a little ways to the south.\n\nThe city's containment force fields wall off the area to the north and east. The great Pacific Ocean stretches out to the west. Across the sea some distance, you can see Dr. Sinister's island fortress.\n\n[Author's Note: Dr. Sinister is at it again! The Concordance of Powered Response isn't entirely clear on what it is he's planning, but it's big. This is clearly a task for one of the world's mightiest champions!]\n\n> You look at Ocean\nThe seas look deceptively quiet, but they nevertheless unnerve you.\n\n> You look at the fortress\nIt juts out of the island to the west, probably reaching at least a hundred feet into the air.\n\n> About you\nYou are The Hummingbird. Not really the kind of totemic resonance that lets you play in the really big leagues, but you've managed a bit of recognition, and a lot of the other heroes give you credit for coming by your powers the hard way.\n\nYour Hummingbird Suit lets you, when suitably charged up, flap your arms fast enough to actually maintain flight. You've got to have a lot of energy available to do that, of course, but you can still manage it.\n\nYou're particularly proud of the fact that unlike most of your heroic comrades-in-arms, you have a proper excuse for your ridiculously overdeveloped pectoral muscles.\n\n> Inventory\nYou are carrying:\nthe HummingBelt (being worn)\nan energy drink\n\n> You look at the belt\nThis is a masterpiece of engineering, built to your specifications. It lets you carry an enormous amount of stuff without unbalancing your flight at all.\n\n> You examine the energy drink\nThis drink is an incredibly powerful concoction of sugar and electrolytes. It is not much of an exaggeration to say that it is the source of all your power. Given the energy contained within it, the properties of your suit, and your superhuman pectorals, you can fly and even hover under your own power.\n\nYou only need a small amount to activate your powers, so this canteen has more than enough to keep you supplied for the duration of the mission.\n\n> Go south\nThe rocky beach from the north tapers off a bit; down here, closer to the water, the rocks have been worn down to black sand. To the west is the ocean itself (and beyond that, Sinister's island fortress); the sand gives way to concrete to the south.\n\n> You go south\nThe containment field makes a sharp turn here, blocking travel to the south as well as the east. Metallic wreckage is strewn throughout this corner of the beach. Possibly this is the work of Dr. Sinister on his latest rampage, but you suspect that this is actually what's left of some innocent building torn apart by the creation of the containment field.\n\nThe coastline extends to the north, while the Pacific Ocean lies to the west. You can also make out Dr. Sinister's island fortress out at sea.\n\nAn enormous rumbling noise comes from the tower on the island. You cover your eyes as the shockwave hits, and as you recover, you see a rocket streaking up towards the sky.\n\nYou think you can hear Dr. Sinister's malicious laughter, but it's surely just a trick of the wind. He's far too far away to be audible.\n\nGreat. Well, hopefully you'll still be able to thwart him with what's left in the base."
    },
    {
        "text": "[Themes: superhero]\n\n> You look around\nThe containment field makes a sharp turn here, blocking travel to the south as well as the east. Metallic wreckage is strewn throughout this corner of the beach. Possibly this is the work of Dr. Sinister on his latest rampage, but you suspect that this is actually what's left of some innocent building torn apart by the creation of the containment field.\n\nThe coastline extends to the north, while the Pacific Ocean lies to the west. You can also make out Dr. Sinister's island fortress out at sea.\n\n> Search wreckage\nYou select a small, crowbar-like piece of metal, and pick it up.\n\n> Go west\nWater isn't particularly good for your suit. Besides, Dr. Sinister has an ugly penchant for genetically engineering nasty sea life.\n\n> You drink the drink\n(first taking the energy drink)\n(first stowing the crowbar)\nYou take a quick swig of your mighty energy drink and are charged with unbelievable energy. You quickly re-stow the drink and begin to flap your arms with all your might.\n\n[Now that you've charged up, you may start or stop flying with FLY or LAND. You may change your altitude with UP and DOWN as usual.]\n\n[Your altitude will be marked in the status line at the top of the screen, and in the main text with brackets after each turn. If you would rather restrict this information to the status line, keeping the main text less cluttered, the command STATUS OFF will do so.]\n\n[You are flying.]\n\n> You go to the west\nYou fly off the shore and out to sea.\n\nAbove the Ocean (skimming the waves)\nThe sea extends in all directions. An island lies a good distance to the west, while the main shore is just to the east.\n\n[You are skimming the waves.]\n\n> You go to the west\nAbove the Ocean (skimming the waves)\nThe sea extends in all directions. An island lies a good distance to the west, while the main shore is a bit to the east.\n\nYour energy is beginning to flag. Below you, you think you catch sight of a green fin breaking the waves, and some larger things lurking in the deeps.\n\nLooks like the Doctor has been modifying the local sea life. At least it isn't a synthetic plague of poisonous frogs like the last time he made headlines.\n\n[You are skimming the waves.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the water.]\n\n> Go west\nAbove the Ocean (25 feet above the water)\nThe sea extends in all directions. An island lies off to the west, while the main shore is off to the east.\n\nYour energy is about to run out.\n\n[You are 25 feet above the water.]\n\n> You go to the west\nAbove the Ocean (25 feet above the water)\nThe sea extends in all directions. An island lies off to the west, while the main shore is off to the east.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 25 feet and falling.]\n\n> You drink the drink\n(first taking the energy drink)\nYour recharge didn't have quite enough altitude to work in, so you hit the water at great speed. At this height it's only slightly less resilient than concrete, really.\n\nWell, at least that means you don't have to worry about drowning.\n\n> You drink the drink\nYou're already too energetic for mundane activity; you won't be able to recharge until your current surge is fully spent.\n\n> Up\nFlapping your arms mightily, you ascend.\n\nYour energy is about to run out.\n\n[You are 50 feet above the water.]\n\n> You go to the west\nAbove the Ocean (50 feet above the water)\nThe sea extends in all directions. An island lies off to the west, while the main shore is off to the east.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 50 feet and falling.]\n\n> You drink the drink\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 25 feet and falling.]\n\nYou frantically refuel as you fall earthwards. After a few sips you've regained enough power to renew your flapping and stay aloft.\n\n[You are skimming the waves.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\nYour energy is beginning to flag.\n\n[You are 50 feet above the water.]\n\n> Go west\nAbove the Ocean (50 feet above the water)\nThe sea extends in all directions. An island lies off to the west, while the main shore is off to the east.\n\n[You are 50 feet above the water.]\n\n> Go west\nAbove the Ocean (50 feet above the water)\nThe sea extends in all directions. An island lies a bit to the west, while the main shore is a good distance to the east.\n\nYour energy is about to run out.\n\n[You are 50 feet above the water.]\n\n> You go west\nAbove the Ocean (50 feet above the water)\nThe sea extends in all directions. An island lies just to the west, while the main shore is a good distance to the east.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 50 feet and falling.]\n\n> You drink the drink\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 25 feet and falling.]\n\nYou perform another mid-air refueling and regain your flight capability.\n\n[You are skimming the waves.]\n\n> Go west\nBelow you, the sea gives way to solid ground once again.\n\nSinister Isle Shore (50 feet above the ground)\nThis is the southernmost reach of Sinister Isle's shoreline reachable inside the containment fields. The rest of the beach stretches out to the north, while the island itself spreads off to the west. Dr. Sinister's enormous tower awaits you to the northwest.\n\n[You are 50 feet above the ground.]\n\n> Land\nYou can't just stop flying in midair like that; the excess energy has to go somewhere, and you'd just plummet, twitching, from the sky.\n\n> Down\nYou lower yourself down a bit.\n\nYour energy is about to run out.\n\n[You are 25 feet above the ground.]\n\n> Down\nYou lower yourself down a bit.\n\nYou settle back to earth, your energy exhausted.\n\nFinally. Man, that was a pain. One of these days you're going to have to get one of those hats with the drink holders and the long straws.\n\nAs you catch your breath, you hear a soft chime. The Coalition wants to talk.\n\nYou activate the communicator in your Hummingbird suit. \"Hummingbird here. I'm on the island, but there's been a complication.\"\n\nThe voice on the other end is half frantic. \"We had no idea Sinister was space capable! We've been tracking his rocket since launch, and have found both him and the base he's flying to. North American Space Command is ready to scramble a full set of LEO hunter-killer drones. Incidentally, don't even try to get to the island - it's out of your range and he's probably infested the waters.\"\n\n[1] \"Beyond my range?\"\n[2] \"Way to warn me in advance, guys - I'm on the island now.\"\n\n> 1\n\"You may want to update that profile. I'm on the island now.\"\n\n\"What? But...\"\n\n\"Later. For now...\"\n\n[1] \"We don't have the full story yet. I'm going to investigate.\"\n[2] \"I'm not willing to let NASC kill everyone unless it's our last option.\"\n[3] \"Have NASC take the shot. It's the only way to be sure.\"\n\n> 1\n\"...for now, you're all going off half-cocked. We've seen a rocket launch. That might be the Doctor. It might be the key to his plan. It might be part of it. It might be a feint to throw us off the scent. I'm here, so I'm going to see what's going on.\"\n\n\"Fair enough, Hummingbird. We'll tell NASC to stand by until we know more. We'll be in touch later.\""
    },
    {
        "text": "> You look around\nThis is the southernmost reach of Sinister Isle's shoreline reachable inside the containment fields. The rest of the beach stretches out to the north, while the island itself spreads off to the west. Dr. Sinister's enormous tower awaits you to the northwest.\n\n> Go north\nSinister Isle's beach is full of sparkling sand, and would make an excellent vacation spot were it not for the enormous tower of doom to the southwest. The shore continues for some distance to the south, while the containment fields prevent further travel north. The island itself continues off to the west.\n\n> You examine the sand\nUnlike the black, gritty sand on the mainland, this island's shoreline is full of sparkling sand only a few shades off from white. It would make an excellent vacation spot, if you discount the whole Evil Lair thing.\n\n> You taste the sand\nThat sounds vaguely unsanitary.\n\n> You go west\nDr. Sinister may be evil, but he's obviously not part of the desolate and blasted stronghold school. West of the sparkling sands of this beach, the island shifts over to verdant fields. It's also clear that he or his minions take good care of it; the grass around here is so well-kept it could practically be a lawn.\n\nThe massive main door of the tower is to the south, and a path cut out of the grass leads from it off to the west.\n\n> You examine the grass\nA path is cut into the grass, leading in a neat path around the tower. You suppose even evil masterminds appreciate the occasional bit of good landscaping.\n\n> Go west\nThe force field shifts direction here, forming the northwest corner of the containment zone. The tower itself is off to the southeast.\n\nA path is cut into the grass leading south and east.\n\n> You go south\nThe tower of Dr. Sinister stands proudly to the east of here, its grey bulk left a bit greenish by the glow of the containment fields to the west.\n\nA path leads from north to south around the tower.\n\n> Go south\nThe containment fields block you from moving any further to the south or west here, while the tower rises to the northeast. A neatly-trimmed path cut into the grass here leads north and east.\n\nA fuel truck sits quietly on the path here. Good to see the Doctor didn't destroy all his supplies when he left.\n\n> You look at the containment field\nIn the interests of containing the forces of villainy, the local authorities have surrounded the area with impenetrable green force walls. It should go down once you get your man.\n\n> You examine the truck\nThis truck looks like it's been around for awhile, but it's got the distinctive shape of a fuel truck. A hose is attached to the tanks on the back.\n\n> You check your inventory\nYou are carrying:\nthe HummingBelt (being worn)\nan energy drink\na crowbar\n\n> You enter the truck\nYou get into the fuel truck."
    },
    {
        "text": "> You look at your surroundings\nSinister Isle (in the fuel truck)\nThe containment fields block you from moving any further to the south or west here, while the tower rises to the northeast. A neatly-trimmed path cut into the grass here leads north and east.\n\n> Go outside\nYou get out of the fuel truck.\n\nThe containment fields block you from moving any further to the south or west here, while the tower rises to the northeast. A neatly-trimmed path cut into the grass here leads north and east.\n\nA fuel truck sits quietly on the path here. Good to see the Doctor didn't destroy all his supplies when he left.\n\n> You examine the hose\nA long rubber hose is connected to the fuel tanks.\n\n> Drink fuel\nIt's got a perfectly good pump. Siphoning rocket fuel by mouth is just going to end in tears.\n\n> You go to the east\nDr. Sinister clearly doesn't follow the usual rules for evil strongholds. His evil tower is on a lovely coastline and is surrounded on all other sides by well-kept grass. This section of the island could almost be a lawn.\n\nThe tower is to the north of you, and the containment fields block you to the south. A path cut out of the grass leads east to the beach and west to the rest of the island.\n\n> Go south\n(first opening the massive door)\nThe door is too heavy to open by main strength.\n\n> You drink drink\n(first taking the energy drink)\nYou take another sip of your energy drink and are fully recharged. You flap your arms with all your power and again defy gravity.\n\n[You are flying.]\n\n> You examine the door\nThe massive door towers impressively above you.\n\n[You are flying.]\n\n> You examine the tower\nDr. Sinister's evil tower looms high above you.\n\nYour energy is beginning to flag.\n\n[You are flying.]\n\n> Land\nYou force yourself into an early landing and then concentrate for a few seconds until the shakes from the excess energy go away. It's never pleasant to have to do this.\n\n> You fly\n(first taking the energy drink)\nYou take a drink, and take wing, once again.\n\n[You are flying.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the ground.]\n\n> Keep going\nFlapping your arms mightily, you ascend.\n\nYour energy is beginning to flag.\n\n[You are 50 feet above the ground.]"
    },
    {
        "text": "> Look around\nSinister Isle (50 feet above the ground)\nDr. Sinister may be evil, but he's obviously not part of the desolate and blasted stronghold school. West of the sparkling sands of this beach, the island shifts over to verdant fields. It's also clear that he or his minions take good care of it; the grass around here is so well-kept it could practically be a lawn.\n\nThe massive main door of the tower is to the south, and a path cut out of the grass leads from it off to the west.\n\n[You are 50 feet above the ground.]\n\n> Wait\nYou hover in place.\n\nYour energy is about to run out.\n\n[You are 50 feet above the ground.]\n\n> Down\nYou lower yourself down a bit.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 25 feet and falling.]\n\n> Land\nYou'll be landing faster than you'd like soon enough, unless you do something!\n\nAfter a long fall with no power, you slam into the ground at incredible speed. Though you do have superhuman strength, it doesn't translate into resistance to that kind of damage.\n\n> Wait\nYou hover in place.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 50 feet and falling.]\n\n> You fly\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 25 feet and falling.]\n\nYou recharge and renew your flight.\n\n[You are flying.]"
    },
    {
        "text": "[Themes: Comedy]\n\n> You go downward\nYou force yourself into an early landing and then concentrate for a few seconds until the shakes from the excess energy go away. It doesn't get easier with time.\n\n> You pry the door\n(first taking the crowbar)\nEven with the help of the crowbar, you cannot pry open this massive door.\n\n> You look at the tower\nDr. Sinister's evil tower looms high above you.\n\n> You fly\n(first taking the energy drink)\n(first stowing the crowbar)\nYou recharge and start flying.\n\n[You are flying.]\n\n> You go upwards\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the ground.]\n\n> Go upward\nFlapping your arms mightily, you ascend.\n\n[You are 75 feet above the ground.]\n\n> Go upwards\nFlapping your arms mightily, you ascend.\n\nYour energy is about to run out.\n\nYou are now level with the tower's roof. You could land on the roof by going to the south.\n\n[You are 100 feet above the ground.]\n\n> Go south\nYou fly over the lip of the tower roof.\n\nDr. Sinister's Tower (flying)\nYou're hovering above the top of Dr. Sinister's stronghold. Most of the roof is curved into a retractable dome, except for the access path ringing the roof.\n\nA small round access hatch sits on the floor of the walkway.\n\nYou settle down on the walkway.\n\n> Open dome\nThe launch door is enormous. There's no way you'll be able to budge it with personal strength.\n\n> You examine the path\nMost of the roof is curved into a retractable dome, except for the access path ringing the roof.\n\n> You examine the hatch\n(the access hatch)\nIt's flush with the rest of the walkway, except for a small handle.\n\n> You examine the handle\nIt's flush with the rest of the walkway, except for a small handle.\n\n> You open hatch\n(the access hatch)\nIt's stuck; you don't seem able to pry it open with your bare hands. There is a grip for a good solid pull on it, though.\n\n> Pry hatch\n(the access hatch)\n(first taking the crowbar)\nAh, the crowbar. Truly a tool with a thousand uses. You make quick work of whatever was making the hatch stick, and it pops open with a gratifying hiss.\n\n> You go hatch\n(the access hatch)\nYou climb down into Dr. Sinister's island tower.\n\nYou're standing on a narrow catwalk ringing a vast hangar. To the west is an airlock leading into a bright yellow rocket that fills most of the area. A ladder leads both up through the ceiling, and down to the floor of the hangar proper. The roof forms a dome about 30 feet above your head. You could also easily take off from here, if you were so inclined.\n\nA small round access hatch stands open on the ceiling, leading up and out of the tower.\n\nRight then. Time to get to work.\n\n> You go west\nYou enter the rocket.\n\nThe rocket interior is small, but isn't quite to the level of \"cramped\". An acceleration chair takes up most of the floor, and a friendly-looking control panel sits in front of it. The exit hatch leads east to the hangar.\n\n> You examine the panel\nIt's clearly designed to be user-friendly; there's nothing on it right now but a big green button marked \"LAUNCH\".\n\n> You sit in the chair\nAs you sit in the acceleration chair, a variety of webs and restraints affix you to the chair.\n\n> You stand up\nYou get off the acceleration chair.\n\nThe rocket interior is small, but isn't quite to the level of \"cramped\". An acceleration chair takes up most of the floor, and a friendly-looking control panel sits in front of it. The exit hatch leads east to the hangar.\n\n> You go east\nYou get out of the rocket.\n\nYou're standing on a narrow catwalk ringing a vast hangar. To the west is an airlock leading into a bright yellow rocket that fills most of the area. A ladder leads both up through the ceiling, and down to the floor of the hangar proper. The roof forms a dome about 30 feet above your head. You could also easily take off from here, if you were so inclined.\n\nA small round access hatch stands open on the ceiling, leading up and out of the tower.\n\n> Go up\nYou climb back out into the sunlight.\n\nDr. Sinister's Tower\nYou're standing on the top of Dr. Sinister's stronghold. Most of the roof is curved into a retractable dome, except for the access path ringing the roof.\n\nA small round access hatch stands open, leading down into the tower.\n\n> You examine the roof\nMost of the roof is curved into a retractable dome, except for the access path ringing the roof."
    },
    {
        "text": "[Themes: Comedy]\n\n> Go down\nYou once again infiltrate the Doctor's compound.\n\nYou're standing on a narrow catwalk ringing a vast hangar. To the west is an airlock leading into a bright yellow rocket that fills most of the area. A ladder leads both up through the ceiling, and down to the floor of the hangar proper. The roof forms a dome about 30 feet above your head. You could also easily take off from here, if you were so inclined.\n\nA small round access hatch stands open on the ceiling, leading up and out of the tower."
    },
    {
        "text": "> Go down\nThis enormous hangar appears to take up nearly all the space in this tower-or, at least, the space in the tower that's above the ground. Most of the space in the hangar is taken up by an enormous, yellow, finned rocket. A catwalk far above leads into it.\n\nA ladder leads up to the catwalk, and then further up to provide roof access. The roof itself looks quite solid, and you don't expect that rocket will be able to launch through it as-is.\n\nA hallway large enough to pass a freight train leads off to the south, to some kind of staging area.\n\n> Go south\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nYou suppress an involuntary but unheroic shudder. If he was willing to abandon an entire base to further his plot, it must be a big one.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north.\n\n> Go west\nThe base continues from east to west. This area looks like a barracks; rows and rows of empty bunk beds line the halls. This must be where his minions slept when they weren't on-duty.\n\nTo the west you can see a fancy desk. Looks like the boss had an open-door policy.\n\n> You look at the beds\nAt this point they're just an array of hard mattresses.\n\n> You examine the desk\nYou can only see part of it from here, but it's pretty imposing even from this distance.\n\n> You go west\nDr. Sinister's Office\nThis luxurious office must be where Dr. Sinister spends most of his time scheming. A huge mahogany desk takes up most of the west side of the room, and behind it is a tall, black leather chair. A smaller door hides behind it. The rest of the base lies to the east.\n\n> You examine the desk\nIt would look out of place anywhere else in the base, but here, it provides an excellent sense of power and control. The right-hand side of it includes a small drawer, easily accessible whether or not one is seated in the chair.\n\n> You open the drawer\nAs you open the desk, you barely get a glimpse of its contents - a silver key - before the floor opens up beneath you, revealing a vast pit below!\n\nYou drop like a rock.\n\nPit Trap (175 feet and falling)\nThis pit trap is almost two hundred feet deep, and surrounded by smooth walls on all sides. Nevertheless, the bottom seems mostly clean. Perhaps he has some means of flushing it out - or maybe it's just never been used to dispose of anyone.\n\nDown at the bottom of the pit you can see a wooden crate and a large-handled key.\n\n[You are 175 feet and falling.]\n\n> You wait for a while\nTime passes.\n\nYou continue your plummet earthwards.\n\n[You are 150 feet and falling.]\n\n> You wait\nTime passes.\n\nYou continue your plummet earthwards.\n\n[You are 125 feet and falling.]\n\n> Wait\nTime passes.\n\nYou continue your plummet earthwards.\n\n[You are 100 feet and falling.]\n\n> You wait\nTime passes.\n\nYou continue your plummet earthwards.\n\n[You are 75 feet and falling.]\n\n> You wait for a while\nTime passes.\n\nYou continue your plummet earthwards.\n\n[You are 50 feet and falling.]\n\n> You drink the drink\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 25 feet and falling.]\n\n(first stowing the crowbar)\nYou make an undignified crash as the pit trap's floor does what it was designed to do - be solid and a long way down.\n\n> You drink the drink\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 50 feet and falling.]\n\n(first stowing the crowbar)\nYou continue your plummet earthwards.\n\n[You are 25 feet and falling.]\n\nYou recharge and renew your flight.\n\n[You are flying.]"
    },
    {
        "text": "> Go downwards\nYou come to a safe landing at the bottom of the pit trap. Ha HA! Take that, hidebound traditional villains!\n\n> You look\nThis pit trap is almost two hundred feet deep, and surrounded by smooth walls on all sides. Nevertheless, the bottom seems mostly clean. Perhaps he has some means of flushing it out - or maybe it's just never been used to dispose of anyone.\n\nYou can see a wooden crate and a large-handled key here.\n\n> Examine crate\nIt's pretty big, but it's just a wooden crate.\n\n> Open crate\nYou open the wooden crate.\n\n> You look in the crate\nThe wooden crate is empty.\n\n> You take the key\nTaken.\n\n> You examine the key\nFrom the size and shape of this key, you'd guess it's for a vehicle of some kind.\n\n> Break crate\nYou unleash your devastating fighting techniques, swiftly reducing the crate to a pile of splintered wood.\n\nIt's still empty, though.\n\n> You break the crate with the crowbar\n(first taking the crowbar)\nIt's been known for decades that wrecking crates with crowbars has a proven cathartic effect. You swiftly reduce the crate to a pile of splintered wood.\n\nIt's still empty, though.\n\n> You kick the crate\nYou've really spent most of your career focusing on your upper body strength. If you're going to hit things, you should stick to punches or hand weapons.\n\n> You throw the crate at the wall\n(first taking the wooden crate)\nThat won't accomplish anything.\n\n> You fly\n(first taking the energy drink)\n(first stowing the large-handled key)\n(first stowing the wooden crate)\nThat crate is almost as big as you are. You are not going to be able to stow it on your belt.\n\n> You drop the crate\nDropped.\n\n> You fly\nYou recharge and start flying.\n\n[You are flying.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the bottom.]\n\n> Continue\nFlapping your arms mightily, you ascend.\n\nYour energy is beginning to flag.\n\n[You are 50 feet above the bottom.]\n\n> You keep going\nFlapping your arms mightily, you ascend.\n\n[You are 75 feet above the bottom.]\n\n> Continue\nFlapping your arms mightily, you ascend.\n\nYour energy is about to run out.\n\n[You are 100 feet above the bottom.]\n\n> Continue\nFlapping your arms mightily, you ascend.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 125 feet and falling.]\n\n> You drink the drink\n(first taking the energy drink)\nYou continue your plummet earthwards.\n\n[You are 100 feet and falling.]\n\nYou recharge and renew your flight.\n\n[You are 75 feet above the bottom.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 100 feet above the bottom.]\n\n> Keep going\nFlapping your arms mightily, you ascend.\n\nYour energy is beginning to flag.\n\n[You are 125 feet above the bottom.]\n\n> Continue\nFlapping your arms mightily, you ascend.\n\n[You are 150 feet above the bottom.]\n\n> Continue\nFlapping your arms mightily, you ascend.\n\nYour energy is about to run out.\n\n[You are 175 feet above the bottom.]\n\n> Keep going\nYou fly back up into the office.\n\nDr. Sinister's Office (flying)\nThis luxurious office must be where Dr. Sinister spends most of his time scheming. A huge mahogany desk takes up most of the west side of the room, and behind it is a tall, black leather chair. A smaller door hides behind it. The rest of the base lies to the east.\n\nMost of the floor is gone at the moment, revealing an ominous pit that leads down a good distance. At the bottom you can just make out a wooden crate. Someone standing could still walk to either door, though.\n\nYou settle down on one of the few safe spots in the room.\n\n> You open drawer\nThat's already open.\n\n> You look at the drawer\nThis small drawer is part of the desk. It's on the right-hand edge if one is sitting in the chair, and it looks easily reachable even if one were merely standing near it. It's open, revealing a silver key.\n\nIn the small drawer is a silver key.\n\n> You look at the silver key\nIt's probably not really silver, but it is metallic and shiny. It's no larger than a housekey.\n\n> You take the silver key\nTaken.\n\n> You look at chair\nIt looks quite comfortable, though it also looks like the doctor welded it to the floor as a safety precaution.\n\n> You pull the drawer\nNothing obvious happens.\n\n> You close the drawer\nYou close the small drawer.\n\n> You sit in chair\nYou get onto the leather chair."
    },
    {
        "text": "[Themes: superhero]\n\n> You look around\nDr. Sinister's Office (on the leather chair)\nThis luxurious office must be where Dr. Sinister spends most of his time scheming. A huge mahogany desk takes up most of the west side of the room, and behind it is a tall, black leather chair. A smaller door hides behind it. The rest of the base lies to the east.\n\nMost of the floor is gone at the moment, revealing an ominous pit that leads down a good distance. At the bottom you can just make out a wooden crate. Someone standing could still walk to either door, though.\n\n> You open the door\nIt seems to be locked.\n\n> You unlock the door with the silver key\nYou unlock the door.\n\n> You unlock the door with the silver key\nThat's unlocked at the moment.\n\n> You open the door\nYou open the door.\n\n> You go west\n(first getting off the leather chair)\n\nDr. Sinister seems to have found an interesting solution to the problem of maintaining operational security: he has placed his master command center in his bedroom. A surprisingly humble bed sits off against the south wall, while an impressive command terminal full of controls and displays occupies most of the opposite one. The Doctor's office lies back to the east.\n\n> You pull the bed\nIt is fixed in place.\n\n> You examine terminal\nThe terminal's displays are all dark. Beneath the displays, you note that the defense grid switch and the launch hatch switch are on, and the master power switch and the main door switch are switched off. There is also a button marked \"TRAP TOGGLE\".\n\n> You sit on the bed\nYou get onto the bed.\n\n> You look at the bed\nIt's little more than a cot, really. You wonder if he sleeps here normally, or if this was just for the occasional all-nighter. It certainly doesn't match up with the ostentation out in the main office.\n\n> Sleep\nYou've got vastly more important things to be doing.\n\n> You turn on the power\n(not first getting out of the bed - Dr. Sinister clearly has his priorities straight)\nThe displays flicker to life. The old status screen appears momentarily - you can just make out the words \"POST-LAUNCH SHUTDOWN COMPLETE\" before they turn to other feeds. The terminal's displays are now showing various parts of the base. One view looks at the closed bulk of the main gate, while another shows the roof of the hangar opening up, revealing the blue sky above. Other images flicker through the displays, but the only other one that catches your eye is the grid of light starting to flicker to life, sealing off the hangar from the main halls."
    },
    {
        "text": "[Themes: superhero]\n\n> You look around\nCommand Center (on the bed)\nDr. Sinister seems to have found an interesting solution to the problem of maintaining operational security: he has placed his master command center in his bedroom. A surprisingly humble bed sits off against the south wall, while an impressive command terminal full of controls and displays occupies most of the opposite one. The Doctor's office lies back to the east.\n\n> You look at the terminal\nThe terminal's displays are now showing various parts of the base. One view looks at the closed bulk of the main doors, while another gazes out the hangar into the blue sky. Other images flicker through the displays, but the only other one that catches your eye is the grid of light that seems to be sealing off the hangar from the main halls. Beneath the displays, you note that the master power switch, the defense grid switch, and the launch hatch switch are on, and the main door switch is switched off. There is also a button marked \"TRAP TOGGLE\".\n\n> You look at the grid\nThis switch is labeled \"DEFENSE GRID\".\n\nThe defense grid switch is currently switched on.\n\n> You switch off the defense grid\nThe switch is stuck. You pull with all your might, and then the switch gives suddenly. Unfortunately, it hasn't actually switched off; the switch itself has crumbled to powder in your grip.\n\n> You examine DEFENSE GRID\nThis switch is labeled \"DEFENSE GRID\". However, the switch itself has broken off and it is wedged in the ON position.\n\nThe broken defense grid switch is currently switched on.\n\n> Inventory\nYou are carrying:\na silver key\nthe HummingBelt (being worn)\nan energy drink\na large-handled key\na crowbar\n\n> Go east\n(first getting off the bed)\n\nDr. Sinister's Office\nThis luxurious office must be where Dr. Sinister spends most of his time scheming. A huge mahogany desk takes up most of the west side of the room, and behind it is a tall, black leather chair. A smaller door hides behind it. The rest of the base lies to the east.\n\n> Go east\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north. However, access to the hangar is currently blocked by a grid of shimmering light beams.\n\n> You look at the light beams\nThis circular doorway leads to the hangar. Beams of coruscating light crisscross the doorway. They don't look terribly friendly.\n\n> You go west\nDr. Sinister seems to have found an interesting solution to the problem of maintaining operational security: he has placed his master command center in his bedroom. A surprisingly humble bed sits off against the south wall, while an impressive command terminal full of controls and displays occupies most of the opposite one. The Doctor's office lies back to the east.\n\n> You pry the switch\nWhich do you mean, the master power switch, the broken defense grid switch, the main door switch, or the launch hatch switch?\n\n> Broken DEFENSE GRID\n(first taking the crowbar)\nThere isn't a switch there anymore.\n\n> You pry the launch hatch switch\nThere's no reason to force it; simply toggling the launch hatch switch will suffice.\n\n> You toggle the launch hatch switch\nOn the displays, you see a dome close over the top of the hangar, roofing it off.\n\n> You continue\nOn the displays, you see the hangar roof retract, revealing an inviting blue sky.\n\n> You toggle the master power switch\nAs the displays shut down, you can see the hangar's launch hatch beginning to close and the light beams in the hangar flicker and go out.\n\n> Continue\nThe displays flicker to life. The terminal's displays are now showing various parts of the base. One view looks at the closed bulk of the main gate, while another shows the roof of the hangar opening up, revealing the blue sky above. Other images flicker through the displays, but the only other one that catches your eye is the grid of light starting to flicker to life, sealing off the hangar from the main halls.\n\n> You toggle the door switch\nOn the displays, you see the massive main doors to the base slowly swing open.\n\n> You toggle the main power switch\nAs the displays shut down, you can see the main doors and the hangar's launch hatch each beginning to close. The light beams in the hangar also flicker and go out.\n\n> You examine the defense grid switch\nThis switch is labeled \"DEFENSE GRID\". However, the switch itself has broken off and it is wedged in the ON position.\n\nThe broken defense grid switch is currently switched on.\n\n> You go east\nDr. Sinister's Office\nThis luxurious office must be where Dr. Sinister spends most of his time scheming. A huge mahogany desk takes up most of the west side of the room, and behind it is a tall, black leather chair. A smaller door hides behind it. The rest of the base lies to the east.\n\n> You move desk\nWow. It is heavy. You don't seem to be able to budge it at all.\n\n> Go east\nThe base continues from east to west. This area looks like a barracks; rows and rows of empty bunk beds line the halls. This must be where his minions slept when they weren't on-duty.\n\nTo the west you can see a fancy desk. Looks like the boss had an open-door policy.\n\n> Go east\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north.\n\n> Go east\nColorful tapestries hang on the wall here. Most of them carry the series of red slashes that are Dr. Sinister's trademark insignia, but a few others show his benevolent face smiling down upon any visitors from the main entrance to the north, or perhaps to inspire his troops marching out from the west.\n\n> You look at the tapestries\nDr. Sinister's logo looks pretty good at that scale, but his face doesn't. It's a little too clean-shaven and managerial-looking.\n\n> You go to the north\nThis is, in all likelihood, more of an \"exit hall\" than an \"entrance hall.\" Dr. Sinister is unlikely to be receiving visitors often, and this \"entrance\" is broad enough to let a budding overlord's armies march out twenty abreast and still have room to move out vehicles after them.\n\nThat does raise the question of how he planned on getting them to the mainland, but you suppose that's neither here nor there.\n\nThe huge doors to the north bar your passage.\n\nYour suit chimes again. \"Hummingbird here. Good timing; I've finished my investigation.\"\n\n\"What did you find?\"\n\n\"The base is abandoned. Whatever Sinister's up to is entirely in orbit.\"\n\n\"So does that mean the strike force gets a green light?\"\n\n[1] \"Yes - that should stop him.\"\n[2] \"No - there's enough here that I can stop him.\"\n\n> 2\n\"No. Dr. Sinister always keeps redundant backup plans - in this case, he has a separate launch rocket and fuel still in the base. I can give chase.\"\n\n\"All right, but be quick about it. They won't wait forever.\"\n\n> You look at door\nThe massive door towers impressively above you."
    },
    {
        "text": "> You look around\nThis is, in all likelihood, more of an \"exit hall\" than an \"entrance hall.\" Dr. Sinister is unlikely to be receiving visitors often, and this \"entrance\" is broad enough to let a budding overlord's armies march out twenty abreast and still have room to move out vehicles after them.\n\nThe huge doors to the north bar your passage.\n\n> You examine the panel\nThe terminal's displays are all dark. Beneath the displays, you note that the broken defense grid switch, the main door switch, and the launch hatch switch are on, and the master power switch is switched off. There is also a button marked \"TRAP TOGGLE\".\n\n> Toggle power\nThe displays flicker to life. The terminal's displays are now showing various parts of the base. One view shows the main doors starting to majestically swing open to the island, while another shows the roof of the hangar opening up, revealing the blue sky above. Other images flicker through the displays, but the only other one that catches your eye is the grid of light starting to flicker to life, sealing off the hangar from the main halls.\n\n> You toggle the door switch\nOn the displays, you see the massive main doors to the base slowly swing shut.\n\n> You go north\nThis is, in all likelihood, more of an \"exit hall\" than an \"entrance hall.\" Dr. Sinister is unlikely to be receiving visitors often, and this \"entrance\" is broad enough to let a budding overlord's armies march out twenty abreast and still have room to move out vehicles after them.\n\nThe huge doors to the north stand open to the island.\n\n> You go north\nYou walk back out into the sunlight.\n\nDr. Sinister may be evil, but he's obviously not part of the desolate and blasted stronghold school. West of the sparkling sands of this beach, the island shifts over to verdant fields. It's also clear that he or his minions take good care of it; the grass around here is so well-kept it could practically be a lawn.\n\nThe massive main door of the tower is to the south, and a path cut out of the grass leads from it off to the west.\n\n> Go west\nThe force field shifts direction here, forming the northwest corner of the containment zone. The tower itself is off to the southeast.\n\nA path is cut into the grass leading south and east.\n\n> You start the truck\nYou put the large-handled key into the ignition and start the truck.\n\n> Go north\nSinister Isle (in the fuel truck)\nThe tower of Dr. Sinister stands proudly to the east of here, its grey bulk left a bit greenish by the glow of the containment fields to the west.\n\nA path leads from north to south around the tower.\n\n> You go north\nSinister Isle (in the fuel truck)\nThe force field shifts direction here, forming the northwest corner of the containment zone. The tower itself is off to the southeast.\n\nA path is cut into the grass leading south and east.\n\n> You go east\nSinister Isle (in the fuel truck)\nDr. Sinister may be evil, but he's obviously not part of the desolate and blasted stronghold school. West of the sparkling sands of this beach, the island shifts over to verdant fields. It's also clear that he or his minions take good care of it; the grass around here is so well-kept it could practically be a lawn.\n\nThe massive main door of the tower is to the south, and a path cut out of the grass leads from it off to the west.\n\n> You go south\nYou go back into the tower.\n\nEntrance Hall (in the fuel truck)\nThis is, in all likelihood, more of an \"exit hall\" than an \"entrance hall.\" Dr. Sinister is unlikely to be receiving visitors often, and this \"entrance\" is broad enough to let a budding overlord's armies march out twenty abreast and still have room to move out vehicles after them.\n\nThe huge doors to the north stand open to the island.\n\n> Go south\nMain Hall (in the fuel truck)\nColorful tapestries hang on the wall here. Most of them carry the series of red slashes that are Dr. Sinister's trademark insignia, but a few others show his benevolent face smiling down upon any visitors from the main entrance to the north, or perhaps to inspire his troops marching out from the west.\n\n> Go west\nStaging Area (in the fuel truck)\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north. However, access to the hangar is currently blocked by a grid of shimmering light beams.\n\n> You stop the truck\nYou switch the ignition off.\n\n> Exit\nYou get out of the fuel truck.\n\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north. However, access to the hangar is currently blocked by a grid of shimmering light beams.\n\nYou can see a fuel truck here.\n\n> You go to the east\nThis large area looks like it was once central to Dr. Sinister's operations. However, any signs of his plots based here have been removed. There hasn't been much time for dust to accumulate, either; he must have been expecting to leave this base behind.\n\nThis area continues off to the east, and narrows considerably to the west. The rocket hangar lies through the huge archway to the north.\n\nYou can see a fuel truck here.\n\n> You start the truck\nYou put the large-handled key into the ignition and start the truck.\n\n> Go north\nHangar (in the fuel truck)\nThis enormous hangar appears to take up nearly all the space in this tower-or, at least, the space in the tower that's above the ground. Most of the space in the hangar is taken up by an enormous, yellow, finned rocket. A catwalk far above leads into it.\n\nA ladder leads up to the catwalk, and then further up to provide roof access. The roof itself looks quite solid, and you don't expect that rocket will be able to launch through it as-is.\n\nA hallway large enough to pass a freight train leads off to the south, to some kind of staging area.\n\n> Exit\nYou get out of the fuel truck.\n\nThis enormous hangar appears to take up nearly all the space in this tower-or, at least, the space in the tower that's above the ground. Most of the space in the hangar is taken up by an enormous, yellow, finned rocket. A catwalk far above leads into it.\n\nA ladder leads up to the catwalk, and then further up to provide roof access. The roof itself looks quite solid, and you don't expect that rocket will be able to launch through it as-is.\n\nA hallway large enough to pass a freight train leads off to the south, to some kind of staging area.\n\nYou can see a fuel truck here.\n\n> Fuel rocket\nYou hook the hose up to the rocket, refuel its tanks, and replace the hose on the side of the truck. It should be ready for launch now.\n\n> You fly\n(first taking the energy drink)\n(first stowing the silver key)\n(first stowing the crowbar)\n(first stowing the large-handled key)\nYou recharge and start flying.\n\n[You are flying.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the ground.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\nYour energy is beginning to flag.\n\n[You are 50 feet above the ground.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 75 feet above the ground.]\n\n> You go south\nYou fly over the lip of the tower roof.\n\nDr. Sinister's Tower (flying)\nYou're hovering above the top of Dr. Sinister's stronghold. Most of the roof is curved into a retractable dome, except for the access path ringing the roof. The dome is currently open, revealing the cavernous hangar below.\n\nA small round access hatch stands open, leading down into the tower.\n\nYou settle down on the walkway.\n\n> Down\nYou go back into the tower.\n\nYou're standing on a narrow catwalk ringing a vast hangar. To the west is an airlock leading into a bright yellow rocket that fills most of the area. A ladder leads both up through the ceiling, and down to the floor of the hangar proper. Sunlight streams in from the open launch hatch, illuminating the entire area. You could also easily take off from here, if you were so inclined.\n\nA small round access hatch stands open on the ceiling, leading up and out of the tower.\n\n> You look up\nThe roof is largely gone, flooding the hangar with sunlight from a clear blue sky.\n\n> You go west\nYou enter the rocket.\n\nThe rocket interior is small, but isn't quite to the level of \"cramped\". An acceleration chair takes up most of the floor, and a friendly-looking control panel sits in front of it. The exit hatch leads east to the hangar.\n\n> You sit\n(on the acceleration chair)\nAs you sit in the acceleration chair, a variety of webs and restraints affix you to the chair.\n\n> You press the button\nAs you press the launch button, machinery rumbles to life underneath you. You hear a chime, and a pleasant genderless voice comes from the panel.\n\n\"Good morning, O most worthy overlord. It's too bad that it has become necessary to flee your lovely island base. I will be your autopilot today. Please sit tight while I take us to your orbital redoubt.\"\n\nWell, that's a good sign, at least. You relax a bit while the landscape dwindles below you and the sky darkens above you.\n\nAfter a few more minutes, the autopilot chimes again. \"We're nearly here. I've put you into an east-to-west orbit approaching the station, but you will have to perform the final approach yourself.\" The launch button recesses into the control panel, and a control stick emerges. \"I will, as always, keep your orbit stable as you move. Docking arms will engage once you are stopped at location (1, 0, 0).\"\n\nDisplays bloom around the window, indicating your present position and velocity. The station itself is now clearly visible to the west.\n\n[POS: (10, 10, 0)  VEL: (0, 0, 0)]\n\n> You examine the control stick\nIt's a simple joystick. It will let you control the flight of the rocket as easily as you would move in any direction. The direction away from you is marked WEST.\n\n[POS: (10, 10, 0)  VEL: (0, 0, 0)]\n\n> You go to the west\nYou thrust, pushing yourself out into a broader orbit.\n\nAs you are in a broader orbit, you are now drifting away from the station's longitude.\n\n[POS: (10, 10, 1)  VEL: (1, 0, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\n[POS: (11, 10, 0)  VEL: (0, 0, 0)]\n\n> You go to the north\nYou thrust laterally to your orbit.\n\n[POS: (11, 9, 0)  VEL: (0, -1, 0)]\n\n> You wait\nTime passes.\n\n[POS: (11, 8, 0)  VEL: (0, -1, 0)]\n\n> You go west\nYou thrust, pushing yourself out into a broader orbit.\n\nAs you are in a broader orbit, you are now drifting away from the station's longitude.\n\n[POS: (11, 7, 1)  VEL: (1, -1, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\n[POS: (12, 6, 0)  VEL: (0, -1, 0)]\n\n> You wait\nTime passes.\n\n[POS: (12, 5, 0)  VEL: (0, -1, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\nAs you are in a tighter orbit, you are now catching up to the station's longitude.\n\n[POS: (12, 4, -1)  VEL: (-1, -1, 0)]\n\n> You wait\nTime passes.\n\n[POS: (11, 3, -1)  VEL: (-1, -1, 0)]\n\n> You wait\nTime passes.\n\n[POS: (10, 2, -1)  VEL: (-1, -1, 0)]\n\n> You go to the south\nYou thrust laterally to your orbit.\n\n[POS: (9, 2, -1)  VEL: (-1, 0, 0)]\n\n> Go north\nYou thrust laterally to your orbit.\n\n[POS: (8, 1, -1)  VEL: (-1, -1, 0)]\n\n> You wait\nTime passes.\n\nYou are now aligned with the station's latitude.\n\n[POS: (7, 0, -1)  VEL: (-1, -1, 0)]\n\n> Go south\nYou thrust laterally to your orbit.\n\n[POS: (6, 0, -1)  VEL: (-1, 0, 0)]\n\n> You wait\nTime passes.\n\n[POS: (5, 0, -1)  VEL: (-1, 0, 0)]\n\n> Continue\nTime passes.\n\n[POS: (4, 0, -1)  VEL: (-1, 0, 0)]\n\n> You wait\nTime passes.\n\n[POS: (3, 0, -1)  VEL: (-1, 0, 0)]\n\n> You wait\nTime passes.\n\n[POS: (2, 0, -1)  VEL: (-1, 0, 0)]\n\n> You wait\nTime passes.\n\n[POS: (1, 0, -1)  VEL: (-1, 0, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\nYou are now aligned with the station's height.\n\n[POS: (0, 0, -2)  VEL: (-2, 0, 0)]\n\n> You examine the controls\nIt's clearly designed to be user-friendly; there's nothing on it right now but a control joystick.\n\n[POS: (-2, 0, -2)  VEL: (-2, 0, 0)]\n\n> You go west\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-4, 0, -1)  VEL: (-1, 0, 0)]\n\n> Go west\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-5, 0, 0)  VEL: (0, 0, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\nAs you are in a tighter orbit, you are now drifting away from the station's longitude.\n\n[POS: (-5, 0, -1)  VEL: (-1, 0, 0)]\n\n> You continue\nYou fire your retros, falling into a slightly tighter orbit.\n\n[POS: (-6, 0, -2)  VEL: (-2, 0, 0)]\n\n> Go west\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-8, 0, -1)  VEL: (-1, 0, 0)]\n\n> Keep going\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-9, 0, 0)  VEL: (0, 0, 0)]\n\n> You go west\nYou thrust, pushing yourself out into a broader orbit.\n\nAs you are in a broader orbit, you are now catching up to the station's longitude.\n\n[POS: (-9, 0, 1)  VEL: (1, 0, 0)]\n\n> Go west\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-8, 0, 2)  VEL: (2, 0, 0)]\n\n> You go west\nYou thrust, pushing yourself out into a broader orbit.\n\n[POS: (-6, 0, 3)  VEL: (3, 0, 0)]\n\n> Go east\nYou fire your retros, falling into a slightly tighter orbit.\n\n[POS: (-3, 0, 2)  VEL: (2, 0, 0)]\n\n> You go to the east\nYou fire your retros, falling into a slightly tighter orbit.\n\n[POS: (-1, 0, 1)  VEL: (1, 0, 0)]\n\n> You wait\nTime passes.\n\nYou are now aligned with the station's height.\n\n[POS: (0, 0, 1)  VEL: (1, 0, 0)]\n\n> Go outside\nYou get off the acceleration chair.\n\nThe rocket interior is small, but isn't quite to the level of \"cramped\". An acceleration chair takes up most of the floor, and a friendly-looking control panel sits in front of it. The way out leads to the space station.\n\n> Keep going\nYou get out of the rocket.\n\nDr. Sinister's space station seems to be reasonably well put together. This extensible walkway fits snugly against your rocket's airlock. Since the station is spinning, that direction feels like \"down\". The station proper awaits you up above, towards the center.\n\nA ladder is just visible up at the top of the chamber.\n\n> You drink the drink\n(first taking the energy drink)\nYou recharge and start flying.\n\n[You are flying.]\n\n> Up\nWith some trepidation, you work your way up the access tube. The spin of the station is not playing well with your sense of balance, and you carom off the walls a few times on your way to the top of the chamber.\n\nBut you do make it, and a hand closes on the bottommost rung of the ladder. Your weight pulls the ladder down to the bottom of the chamber, taking you with it.\n\n> You look at the ladder\nIt looks sturdy, and it takes up most of the rocketway.\n\n> Up\nYou climb the ladder confidently, but still, you worry. Your arrival was not exactly stealthy, and it can't have gone unnoticed. Where's the welcoming committee? You strain your ears listening for ambushes or other traps as you ascend into the station proper.\n\nYou're almost relieved when you find four goons waiting for you up top.\n\nThey spring into action as soon as you become visible. Fortunately, this involves more screaming into headsets and retreating than hammering you while you can't fight back.\n\n\"It's the Hummingbird! He's bypassed our teleport blockers and is in the Vestibule! Initiating lockdown procedures!\"\n\nThey're fast. By the time you pull yourself all the way through the hatch, they're gone and the hatches out of this chamber are sealed.\n\nYou pause for a moment to catch your breath and get your bearings.\n\nThis is actually pretty swank for a space station. Every gram counts in rocketry, yet not only has the Doctor lifted up a full set of draperies for the walls, the floor here is even carpeted.\n\nPortholes lead spinward, antispinward, out, and down. All but the down porthole are firmly sealed.\n\nDr. Sinister's voice crackles over the intercom. \"The Hummingbird? I invest all this in an island fortress and a space station - a space station - and all CPR sees fit to send is the Hummingbird? Pah!\"\n\n> You look at the draperies\nFancy curtains bedeck the walls of this room. At least they're light; they'd probably have packed well in the rocket. One of them seems to be billowing a little.\n\n> You look behind the draperies\nChecking behind the billowing curtain, you find a passageway leading into darkness! It must head to the maintenance tunnels.\n\nYou pull down the curtain covering it and stow it in your belt.\n\nDr. Sinister's voice booms out once again through the public address system. \"Fall back to the Hub, men; our visitor won't be going anywhere, and even if he somehow does, your numbers will be more than enough to fight him back until the cannon is charged.\"\n\nYou sneer inwardly. You're ten times the fighter of any minions the Doctor could gather.\n\nHere's hoping he didn't gather twenty."
    },
    {
        "text": "> You look at your surroundings\nThis is actually pretty swank for a space station. Every gram counts in rocketry, yet not only has the Doctor lifted up a full set of draperies for the walls, the floor here is even carpeted.\n\nPortholes lead spinward, antispinward, out, and down. All but the down porthole are firmly sealed. A passage leads inward to darkness.\n\n> You look at the curtain\n(the hanging draperies)\nFancy curtains bedeck the walls of this room. At least they're light; they'd probably have packed well in the rocket. The gap you tore in them leads to the maintenance passageway.\n\n> You check what you're carrying\nYou are carrying:\nthe HummingBelt (being worn)\nsome torn curtains\nan energy drink\na large-handled key\na crowbar\na silver key\n\n> Wave curtains\n(the hanging draperies)\nBut you aren't holding those.\n\n> You wear the curtain\n(the hanging draperies)\n(first taking the hanging draperies)\nThere's nothing else of interest behind the draperies.\n\n> Go inside\nYou duck into the maintenance tunnels. Hopefully this will get you closer to Dr. Sinster's inner sanctum.\n\nAccess Corridor, Quadrant 1\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 1: VESTIBULE\". The corridor continues both spinwards and antispinwards.\n\n[As you are on a spinning spacecraft, normal compass directions no longer apply. UP, DOWN, IN, and OUT all still work as expected, and the new directions SPINWARD and ANTISPINWARD are available. While on the station, these may be abbreviated SW and ASW.]\n\n> Asw\nAccess Corridor, Quadrant 4\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 4: CREW POD\". The corridor continues both spinwards and antispinwards.\n\n> Enter\nYou emerge from the maintenance tunnels back into the starbase proper.\n\nDr. Sinister appears to keep better care of his minions when they're in outer space. The cots in this crew section look a lot softer than the bunks back on the island.\n\nA doorway leads out to the center of the station, while an access hatch leads back down into the corridors.\n\n> You look at the cots\nThese cots are space-ready, made mostly of webbed mattresses to keep the sleeper in place.\n\nOn the cots are some blankets.\n\n> You look at the blankets\nThe blankets are pretty fluffy. You're not sure how this doesn't produce dangerous floating fibers.\n\n> You take the blankets\nYou strip the blankets from the cots.\n\n> Inventory\nYou are carrying:\nsome blankets\nthe HummingBelt (being worn)\nsome torn curtains\nan energy drink\na large-handled key\na crowbar\na silver key\n\n> You put the blankets in the belt\nYou put the blankets into the HummingBelt.\n\n> Go outside\nThere's a good fifteen or so unfriendly-looking goons in the hub of the station. That's more than you feel comfortable taking on; you'll have to do something to diminish their numbers, or at least make them less effective."
    },
    {
        "text": "[Themes: Comedy]\n\n> You look around\nDr. Sinister appears to keep better care of his minions when they're in outer space. The cots in this crew section look a lot softer than the bunks back on the island.\n\nA doorway leads out to the center of the station, while an access hatch leads back down into the corridors.\n\nYou hear some muttering from the guards in the central hub.\n\n\"We've been up for awhile now. Bob, it's your turn to fetch the coffee.\"\n\n\"Roger that.\"\n\nYou hear some quick movement, then the motion stops as the guards return to their normal posts."
    },
    {
        "text": "> Go downwards\nYou duck back into the tunnels.\n\nAccess Corridor, Quadrant 4\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 4: CREW POD\". The corridor continues both spinwards and antispinwards.\n\n> Asw\nAccess Corridor, Quadrant 3\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 3: RECREATION POD\". The corridor continues both spinwards and antispinwards.\n\n> Enter\nYou climb back into the starbase's main quarters.\n\nDr. Sinister clearly retains a higher class of minion than your normal supervillain; this rec room is full of bookcases, with a game console in one corner for more interactive pursuits. A kitchen nook with an integrated sink and coffeemaker protrudes from the wall opposite the books.\n\nA doorway leads out to the center of the station, while an access hatch leads back down into the corridors."
    },
    {
        "text": "> You describe your surroundings\nDr. Sinister clearly retains a higher class of minion than your normal supervillain; this rec room is full of bookcases, with a game console in one corner for more interactive pursuits. A kitchen nook with an integrated sink and coffeemaker protrudes from the wall opposite the books.\n\nA doorway leads out to the center of the station, while an access hatch leads back down into the corridors.\n\n> You examine the console\nReasonably modern, but locked in a case for the moment. No gameplaying while duty calls, you suppose.\n\n> You examine the sink\nThe sink is another hole in the nook with a faucet sprayer extending from it. The faucet is flush with the top of the counter, you suppose to deal with the fact that the not-quite-gravity might make water spray everywhere.\n\n> You look at the coffeemaker\nThis coffee machine is part of the wall itself in the kitchen nook - it is a receptacle carved into the wall with a burner at the bottom to heat a coffee pot - if that. It looks like the receptacle itself might double as the pot.\n\n> You make the coffee\nYou can't actually find where the coffee itself is; the burner is obvious, but you can't find where the beans themselves are."
    },
    {
        "text": "> Go downward\nYou duck back into the tunnels.\n\nAccess Corridor, Quadrant 3\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 3: RECREATION POD\". The corridor continues both spinwards and antispinwards.\n\n> Asw\nAccess Corridor, Quadrant 2\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 2: SUPPLY POD\". The corridor continues both spinwards and antispinwards.\n\n> Go upwards\nYou climb back into the starbase's main quarters.\n\nDr. Sinister continues to show his maniacal levels of organization. This pod is lined with storage lockers packed tightly together and with no visible seams. The only gap is the doorway out to the center of the station. The way down to the maintenance tunnels is also clear.\n\nDisrupting the neatness is a crate in the corner labeled \"COUNTERMEASURES\".\n\n> You examine countermeasures\nSearching through the crate, you find a platinum-studded rope. Colonel Spectacular would be hard-pressed to escape from this.\n\nOther unidentified items still remain in the crate.\n\n> Search crate\nSearching through the crate, you find some vials. They're labeled as various bromine compounds. Halogens like these could seriously ruin Mr. Mysterious's day.\n\nA cursory glance doesn't identify anything else, but more investigation might help.\n\n> Continue\nSearching through the crate, you find a box with circuitry you recognize as a teleport blocker. If the Coalition of Powered Response had sent Star-R-Star, he'd be fighting with his hands tied.\n\nYou put the teleport blocker back in the crate, near some other things you haven't checked yet.\n\nMore voices from the hub. \"Dave. Coffee. Fast.\" More motion. Though the voice is still quite alert, you can hear the fatigue behind it.\n\n> Search countermeasures\nSearching through the crate, you find a tuning fork. You give it an experimental strike, and it produces a clean-high note. You recognize it immediately as A-880 - the precise tone that shifts the Ethereal Wonder into the physical realm.\n\nYou've almost finished completely sorting through the crate.\n\n> Search countermeasures\nSearching through the crate, you find some jars full of brightly-colored reflective dust. That would negate a lot of Justice-Bot's firepower.\n\nDr. Sinister was ready for anyone. Well. Anyone but you. He'll pay for that oversight.\n\n> You take all\njars full of brightly-colored reflective dust: Taken.\nvials: Taken.\nteleport blocker: Taken.\nplatinum-studded rope: Taken.\ntuning fork: Taken."
    },
    {
        "text": "> You go downward\nYou duck back into the tunnels.\n\nAccess Corridor, Quadrant 2\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 2: SUPPLY POD\". The corridor continues both spinwards and antispinwards.\n\n> You go southwest\nAccess Corridor, Quadrant 3\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 3: RECREATION POD\". The corridor continues both spinwards and antispinwards.\n\n> Inventory\nYou are carrying:\na tuning fork\na platinum-studded rope\na teleport blocker\nsome vials\nsome jars full of brightly-colored reflective dust\nthe HummingBelt (being worn)\nsome blankets\nsome torn curtains\nan energy drink\na large-handled key\na crowbar\na silver key\n\n> Pry coffeemaker\n(first taking the crowbar)\nThe coffeemaker has no obvious lock to force.\n\n> You examine the vials\nThese vials are labeled neatly - they all seem to be various bromine compounds.\n\n> You put the vials into the coffeemaker\nYou check through the vials, looking for anything you could safely spike the coffee with. You settle on potassium bromide. If you remember right, about 40 grams of this spread through the coffeepot should slow down that platoon of thugs without permanently harming any of them.\n\nNow you just need to wait for them to get it into their system."
    },
    {
        "text": "> Go downward\nYou duck back into the tunnels.\n\nAccess Corridor, Quadrant 3\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 3: RECREATION POD\". The corridor continues both spinwards and antispinwards.\n\n> You go to the south-west\nAccess Corridor, Quadrant 4\nThis narrow access tunnel seems to ring the entire station. A small sign near a hatch on the ceiling reads \"QUADRANT 4: CREW POD\". The corridor continues both spinwards and antispinwards.\n\n> Go upwards\nYou climb back into the starbase's main quarters.\n\nDr. Sinister appears to keep better care of his minions when they're in outer space. The cots in this crew section look a lot softer than the bunks back on the island.\n\nA doorway leads out to the center of the station, while an access hatch leads back down into the corridors.\n\n> You sit on the cot\nYou're in enemy territory!\n\n> You wait\nTime passes.\n\n> Wait\nTime passes.\n\nYou hear some barked orders as the minions order up another quick coffee break.\n\nSounds like they've taken some of the doctored coffee. Good. That should take the edge off of them and maybe give you a fighting chance.\n\n> Inventory\nYou are carrying:\na crowbar\na tuning fork\na platinum-studded rope\na teleport blocker\nsome vials\nsome jars full of brightly-colored reflective dust\nthe HummingBelt (being worn)\nsome blankets\nsome torn curtains\nan energy drink\na large-handled key\na silver key\n\n> You examine the torn curtain\nYou tore this off of the curtains in the vestibule. It's about 20 square feet of cloth.\n\n> You leave\nYou stride into the main hall, where fifteen of Dr. Sinister's finest await you. That's well past your comfort zone, but they're not looking like they're really in fighting trim.\n\nHowever, they're still numerous enough that you cannot battle your way through to the central bridge access ladder they guard. You make a careful retreat before the situation gets any worse.\n\nThey do not follow.\n\nThat's good for your prospects of survival, at least in the short term, but not so great for your long-term prospects of success. You've weakened their forces some, but it looks like you'll need to either weaken them some more or strengthen yourself to actually break through.\n\n> You drink the drink\n(first taking the energy drink)\n(first stowing the vials)\n(first stowing the platinum-studded rope)\n(first stowing the tuning fork)\n(first stowing the crowbar)\n(first stowing the jars full of brightly-colored reflective dust) (first stowing the teleport blocker)\nYou recharge and start flying.\n\n[You are flying.]\n\n> Leave\nYou flutter through into the main hall, where fifteen of Dr. Sinister's finest await you. That's normally just a tad more than you're comfortable facing alone, but they were expecting someone coming in on the ground. More fool they. While you'd perhaps hoped to just fly over all of them, the spun gravity sends you careening about the room like a pinball, whacking and bowling over most of the men hoping to ambush you.\n\nBefore the ones left conscious can regroup, you tilt your flight path to the central bridge's access ladder.\n\n> 3\nYou advance on the doctor, winding up. He puts his paper down and makes some futile warding gestures. \"Whoa whoa whoa whoa whoa, Hummingbird. What did I ever do to you?\"\n\n[1] \"Super-sharks.\"\n[2] \"Orbital Doom Cannons.\"\n[3] \"It doesn't matter what you've done to me.\"\n\n> 1\n\"Well, there was your army of genetically-modified sharks.\"\n\nSinister blanches. \"You were able to defeat them? They should have been more than a match for the likes of you.\"\n\nYou think back. \"Actually, now that you mention it, no; I just flew out of their reach.\"\n\n\"You can fly. Doesn't count.\"\n\n[1] \"Trap doors.\"\n[2] \"Orbital Doom Cannons.\"\n\n> 1\n\"There's the deadfall in your office.\"\n\n\"You can fly. Doesn't count.\"\n\n\"But...\"\n\n\"And you shouldn't have been rummaging through my stuff.\"\n\n[1] \"Orbital Doom Cannons.\"\n\n> 1\n\"There's this entire station, which you've built around a huge doomcannon.\"\n\n\"That never threatened you. It would have been able to hold the world hostage in a few more hours, but...\"\n\n\"I've wasted far too much time with this as it is. Enough.\" You wind up again, but Dr. Sinister again waves you off.\n\n\"No, really, that won't be necessary. I'll come quietly. I know when I'm beaten.\"\n\n> 3\n\"This isn't about me.\"\n\n\"Isn't it?\"\n\n\"Of course it isn't. I'm not here because of some vendetta against you; I'm here because of your giant orbital doom cannon. You certainly aren't up here for me; all your preparations were for heroes a lot more powerful than I was.\"\n\n\"And while we talk, the cannon keeps charging.\"\n\n\"It will never finish.\"\n\n\"Really.\"\n\n[1] \"You're about to run out of time.\"\n[2] \"You've always just been a bit player.\"\n\n> 1\nYou harden your expression. \"We don't have time for this. You have no idea how precarious your situation is right now.\"\n\n\"Oh?\"\n\n\"CPR knows exactly where you are and is completely ready to blow all of us out of space before you get anywhere near the West Coast. You've been doomed basically since you took off in the first place.\"\n\nDr. Sinister narrows his eyes. \"Why send you, then?\"\n\n[1] \"To save you guys.\"\n[2] \"To make them unnecessary.\"\n\n> 1\n\"You might have missed this, but I'm one of the good guys. I'm not a fan of pointlessly wasting lives. That includes yours and your men's.\"\n\nYou gesture at the door. \"It's over. Save who you can, and just come quietly.\"\n\nDr. Sinister considers you, and nods slowly. \"If what you say is true, it sounds like I may owe you my thanks.\" Just then the screens on his desk glow red. He looks at it briefly. \"Yes. Thank you. Let's go.\"\n\n> Endnotes\nCongratulations on completing the game! In this playthrough, you completed zero out of five optional challenges. They will be listed along with your full score. You have five optional challenges remaining:\n\n- Complete two navigation puzzles simultaneously.\n- Beat the target time for the docking puzzle, earning the \"ace flying\" score.\n- Complete the game with minimum endangerment of enemies, and make sure everyone else does too.\n- Complete the game with maximum endangerment of enemies, and\nleverage the results for good.\n- Complete the game without using any takable items besides the\nenergy drink.\n\nIn less serious suggestions, have you tried...\n- XYZZY?\n- and the two nonstandard followups cued thereby?\n- Taking the rocket?\n- Twice?\n- STEALing any small object?\n- Taking the tower?\n- Tying the rope to anything?\n- Falling, unpowered, through the open launch hatch?\n- Throwing something plot non-critical (like the silver key or the splintered wood) at the defense grid while it's on?\n- Or something plot-critical like the energy drink?\n- Or messing with it in any way afterwards?\n- Kicking things?\n- Screaming?\n- While falling?\n- Immediately before an impact?\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, see the FULL score for that game, read the ENDNOTES, or QUIT?\n\n> Zyzzyva\nNo! Lord Chitin is in jail! You've got to focus! Focus!\n\n> You focus\nYou mentally slap yourself upside the head. You feel much better now.\n\n> Scream\n[I need some kind of reaction from you to continue the scene. Enter a number, or say REPEAT to reacquaint yourself with your options.]\n\n> 2311\n[Valid responses range from 1-3. Type REPEAT to relist the options.]"
    },
    {
        "text": "> You look around\nAbove the Ocean (25 feet above the water)\nThe sea extends in all directions. An island lies a good distance to the west, while the main shore is a bit to the east.\n\nYour energy is about to run out.\n\n[You are 25 feet above the water.]\n\n> Scream\nThere is no real need for a cathartic scream at the moment.\n\nYour energy fails you, and your old nemesis gravity reasserts his dominance.\n\n[You are 25 feet and falling.]\n\n> Continue\nWell, nothing else to do at this point. \"AaaaaAAaaaAAAaaAAAAaAAAAA--\"\n\nSeveral hundred movies and comic books to the contrary, water makes a terrible cushion for crash landings. Falling that far without a recharge, it's only slightly less resilient than concrete, really.\n\nWell, at least that means you don't have to worry about drowning.\n\n> You drop the drink\nDrop the source of all your power? I think not!\n\n> Inventory\nYou are carrying:\nthe HummingBelt (being worn)\nan energy drink\n\n> You kick the rocks\nYou've really spent most of your career focusing on your upper body strength. If you're going to hit things, you should stick to punches or hand weapons.\n\n> Steal rocks\n(first reclassifying as heroic appropriation of the rocks in a time of great need)\nYou don't need any rocks."
    },
    {
        "text": "[Themes: Comedy]\n\n> Describe the surroundings\nDr. Sinister's Tower\nYou're standing on the top of Dr. Sinister's stronghold. Most of the roof is curved into a retractable dome, except for the access path ringing the roof.\n\nA small round access hatch sits on the floor of the walkway.\n\n> Pry hatch\n(the access hatch)\n(first taking the crowbar)\nAh, the crowbar. Truly a tool with a thousand uses. You make quick work of whatever was making the hatch stick, and it pops open with a gratifying hiss."
    },
    {
        "text": "> Go downwards\nYou climb down into Dr. Sinister's island tower.\n\nYou're standing on a narrow catwalk ringing a vast hangar. To the west is an airlock leading into a bright yellow rocket that fills most of the area. A ladder leads both up through the ceiling, and down to the floor of the hangar proper. The roof forms a dome about 30 feet above your head. You could also easily take off from here, if you were so inclined.\n\nA small round access hatch stands open on the ceiling, leading up and out of the tower.\n\nRight then. Time to get to work.\n\n> You take the rocket\nYou're as likely to manage that as to take the entire tower.\n\n> Keep going\nYou're as likely to manage that as to take the entire tower. And no, you wouldn't be capable of taking the tower, either.\n\n> Up\nYou climb back out into the sunlight.\n\nDr. Sinister's Tower\nYou're standing on the top of Dr. Sinister's stronghold. Most of the roof is curved into a retractable dome, except for the access path ringing the roof.\n\nA small round access hatch stands open, leading down into the tower.\n\n> You fly\n(first taking the energy drink)\n(first stowing the crowbar)\nYou recharge and start flying.\n\n[You are flying.]\n\n> Up\nFlapping your arms mightily, you ascend.\n\n[You are 25 feet above the roof.]"
    },
    {
        "text": "[Themes: Slice of life, Romance, female protagonist, landscape, contemplative]\n\n[ For information about this game, type ABOUT. ]\n\n\"That'll be twenty five cents, Miss,\" says the driver as he helps you down from the carriage. You hand him a quarter and two nickels.\n\n\"Mighty lonely out here this time of year,\" he continues, slipping the coins into his coat pocket. \"Are you sure you won't be wanting me to stick around? I'd hate to see such a fine young lady get herself stranded, especially with that storm blowin' in.\"\n\n\"Thank you, but I'll be fine,\" you assure him. \"My fiance...,\" you start, then look away, unable to finish the lie.\n\n\"Ah, I see,\" he chuckles. \"Well, then I wish you a pleasant afternoon. Just keep your eye on those clouds, ya hear?\" Grinning broadly, he jumps up into the driver's box and releases the brake. Then with a flick of the reins he sends the carriage lurching forward, back down the rutted road between the cypress trees.\n\nFinally, you're alone.\n\n\n\nHigh above the surf, Rocky Point offers a sweeping view of the western sea. From this lofty vantage point, looking south across a narrow strip of sand, you can clearly see the fractured granite cliffs that back the small cove below. To the north, the rugged coastline is dotted with offshore rocks and barren beaches, swept clear of sand by winter storms.\n\nTurning toward the sea, you take a moment to soak up the last few rays of sunlight before the clouds roll in.\n\n> About yourself\nYou didn't mean to come here. You had packed your bags and donned your best dress, fully intending to uphold your end of the bargain. When the coach arrived and you stepped on board, you were actually looking forward to the journey. A chance to see new things, new people, a new land.\n\nSo how did you end up here, high on this cliff, miles from the train station, at a place you hadn't thought about in years? You shake your head in amazement, the answer still eluding you.\n\nYou find your mind drifting back over old memories of this place.\n\n> You remember\nWhen was the last time you where here? It must be going on six years now. You remember everything about that day; how lovely it was in the morning, how clear the skies and sea were, how much you had been looking foward to it. A tear forms in the corner of your eye only to be whisked away by a sudden gust of wind. If only memories could be as easily removed.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You examine the cliff\nRising sixty feet above the sea, the cliffs are formed from heavily fractured granite. Though nearly vertical is most places, a small portion to the south has crumbled away, creating a narrow but walkable route down to the beach.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> Exits\nThere are exits to the south, to the east, to the southeast, and down.\n\n> You examine the sand\nSmooth and pale, it starts at the base of the cliffs and descends gradually into the sea. A darker shading marks the water line, which is quite low right now.\n\nA flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You examine the sea\nIn deeper waters, outside the cove, the sea is a deep, rich blue that sparkles in the sunlight. But in the shallows, as the waves curl toward the shore, it abruptly changes to a pale translucent green and is covered in a fine netting of foam.\n\n> You examine the foam\nThe foam varies from tracings as fine as spiders web, to heavy patches completely obscuring the water underneath.\n\n> You examine the cove\nTucked between two granite headlands, the cove sports a gently sloping beach and crystal clear water. Small shore birds follow the surf up and down the sand. Further out, in deeper water, you can just make out a sea otter bobbing in a raft of kelp.\n\nThough a favorite spot for small fishing boats that come here seeking abalone, the cove is completely deserted now. Perhaps the oncoming storm has sent the fishermen back to the safety of their docks.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You examine the otter\nIt is too far away to see clearly.\n\nA flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You look at the otter\nIt is too far away to see clearly.\n\nA flock of sea gulls rises from the beach and flies off into the clouds.\n\n> You check what you're carrying\nYou are carrying a purse. You are wearing an engagement ring, a silk dress, a pair of shoes and a pair of stockings.\n\nA flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You enjoy the view\nThe view is always breathtaking here, but with the heavy clouds of the approaching storm providing a dark backdrop to the sun-drenched cliffs, you find it even more striking. Then again, perhaps you simply need it to be at its best this day.\n\nAs you continue to gaze out at the sea, you find yourself wondering if England can lay claim to any place quite like this, then quickly chase the thought from your mind. All too soon you will find out, and there is little point wasting this day worrying about another."
    },
    {
        "text": "> Go downwards\nLifting your skirt, you start down the cliffs, but find the soles of your shoes too slippery to make a safe descent.\n\n> You take off the shoes\nYou take off your shoes and stockings, setting them aside."
    },
    {
        "text": "[Themes: Slice of life, Romance, landscape]\n\n> Go downward\nLifting your skirt, you carefully pick your way down to the beach below.\n\nStepping out onto the sand, you are immediately hit with a rush of memories; memories of time spent clambering over these rocks, of splashing in the water, and of being here with Jason. You shut your eyes and for an instant you can almost touch the past, hold it close, be part of it again, and then it's gone.\n\nOpening your eyes, you wrap your arms around yourself and squint out toward the sea.\n\nSurrounded by granite cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide this low, a marine terrace to the southwest lies exposed and accessible, though currently occupied by a large sea lion. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at a quarter of the way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs -- a warning of the sea's intentions.\n\nA long, slender piece of driftwood lies half buried in the sand.\n\nA plover hurries by, ignoring you completely.\n\n> You examine plover\nThe small white birds with their crisp brown markings follow the water up and down the beach, pecking at the sand.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side. A sea otter pops up amongst the kelp, and sets to work grooming its fur. A flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You examine the lion\nThe male sea lion is basking in the sun on the exposed marine terrace. Resting on his front flippers with hind ones dangling over the edge of the rock, he points his nose skyward as if to show off his impressive mane of fur. Fully seven feet long and well over 600 pounds, he is definitly not an animal to trifle with.\n\nThe sea otter slips below the surface of the sea.\n\n> You wave at lion\nYou look around but are unable to find that which you seek.\n\n> Twirl moustache\nYou mutter something incomprehensible.\n\n> You look at the wood\nSix feet long and weathered to a pale gray, the piece of driftwood probably started life as a cypress branch.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side. The sea otter pops up amongst the kelp with a spiny sea urchin held tight between its paws. Using its stomach as a table, it quickly consumes its bristly meal then rolls over once to clear away the remains.\n\n> You take the wood\nYou pull the driftwood out of the sand.\n\n> You check your inventory\nYou are carrying a piece of driftwood and a purse. You are wearing an engagement ring and a silk dress.\n\nAs a wave passes by, the sea lion raises his rear flippers just high enough to keep them dry, then lowers them again. The sea otter rolls over once, and goes back to work grooming its fur. Sea gulls float by on the breeze, their wing tips within inches of each other.\n\n> You look at the ring\nA shining band of gold. It bears the inscription \"EL & AK - 1876\". You spin it nervously about your finger, unaccustomed to its weight and feel.\n\nThe sea otter swipes a thick, furry paw over its stubby furry face.\n\n> You give the ring to the otter\nThe sea otter doesn't seem interested.\n\nThe sea lion swings his head around to gaze at you with large brown eyes. Unimpressed, he soon returns to his nap. A flock of sea gulls rises from the beach, circle the cove once, then head out to sea. A few small plovers scurry up the beach, just in front of the the next wave.\n\n> You examine the wod\nYou look around but are unable to find that which you seek.\n\n> You examine the wood\nSix feet long and weathered to a pale gray, the piece of driftwood probably started life as a cypress branch.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side. Plovers follow the water up and down the beach, pecking at the sand.\n\n> Swing the wood\nYou look around, but can find nothing worth swinging.\n\nThe sea otter ruffles through the fur on its tummy. A few small plovers scurry up the beach, just in front of the the next wave.\n\n> You hit otter with the wood\nAfter a moments thought you realize the sea otter is too far away.\n\nPlovers follow the water up and down the beach, pecking at the sand.\n\n> You throw the wood at the otter\nAfter a moments thought you realize the sea otter is too far away.\n\nThe sea otter slips below the surface of the sea.\n\n> You drift on the driftwoo\nYou mutter something incomprehensible.\n\nYou mutter something incomprehensible.\n\n> You enter the cave\nYou mumble something incomprehensible...\n\n> Go southwest\nAs you start toward the terrace, the sea lion lumbers to the edge of the rock and dives into the water. Surfacing again some distance from his former roost he barks his disapproval, then disappears into the sea. You stand there on the beach for several moments, staring out across the cove, but he does not resurface.\n\nTurning your attention back to the terrace, you walk out across the sand bar, exposed by the low tide, and clamber up onto the rock.\n\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\nThe leading edge of the storm clouds reaches the cove, blotting out the sun.\n\n> You look at the pools\nYou crouch down and peer into the closest one. Though its opening is no larger than a dinner plate, it is surprisingly deep, with many nooks and crannies for small creatures to hide in. Near the bottom are several sea anemones clustered together like undersea flowers, and a spiney sea urchin. Closer to the surface of the pool is a small clump of mussels and an assortment of limpets. Clinging to the side of the rock is an orange sea star.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You look at the star\nIt has five fat legs and a central core nearly as wide as your palm.\n\nSea gulls float by on the breeze, their wing tips within inches of each other.\n\n> You get star\nYou pull the sea star off the rocks and hold it gently in your hand.\n\n> Examine\nWhat do you want to examine?"
    },
    {
        "text": "[Themes: Romance, Slice of life]\n\n> Look around\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You remember\nThis was always one of your favorite spots, especially on a hot day when the spray was always quite refreshing.\n\n> You feel the spray\nYou feel nothing unexpected.\n\nA sea gull's strident call echos off the cliffs.\n\n> You go east\nYou find it impossible to safely climb down the rocks while cradling the sea star in your hands.\n\nThe sea otter pops up amongst the kelp with a spiny sea urchin held tight between its paws. Using its stomach as a table, it quickly consumes its bristly meal then rolls over once to clear away the remains. A sea gull's strident call echos off the cliffs.\n\n> You drop star\nYou toss the sea star into the sea, where it quickly sinks below the surface.\n\nThe sea otter swipes a thick, furry paw over its stubby furry face. A sea gull's strident call echos off the cliffs.\n\n> You go to the east\nYou climb over the edge and scramble across the sandbar to the beach, apparently just in time as a particularly large wave crashes into the terrace sending a foot of water shooting all the way across its surface.\n\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nThe clouds close ranks overhead, blotting out the sun completely and turning the sea from blue to gray. Outside the cove the wind is beginning to kick up whitecaps and push the swells up even further up the shore.\n\n> You take the seaweed\nYou can't actually bring yourself to touch the rotting seaweed.\n\nThe sea otter ruffles through the fur on its tummy.\n\n> Hi\nThe sea otter ignores you completely.\n\nYou hear, more than feel, the first few hesitant drops of rain as they strike against the stones and create tiny craters in the sand. Moments later the storm catches its stride and it begins to rain in earnest.\n\n> You go south\nAfter a moments thought, you realize that you can't go that way.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> You check your inventory\nYou are carrying a piece of driftwood and a purse. You are wearing an engagement ring and a silk dress.\n\nYou pass your hands over your face to clear the rain away.\n\n> You remove dress\nAs you go to remove the silk dress, a chilling wind causes you to think better of it.\n\nThe rain runs down your neck in rivulets.\n\n> You hold the purse over the head\nYour voice trails off after saying you were wanting to hold the purse.\n\n> You throw the ring in the sea\n(first taking it off)\n\nYou stare at the ring, suprised to find yourself reluctant to remove it. It's not like it means anything to you, not really. In fact, you hardly know the gentleman to whom it holds you bound. Still, as it is a costly thing, far more than you can afford to replace at the moment, and as you have little doubt that its true owner would expect every last penny of it reimbursed, you decide to leave it where it is.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> Open purse\nYou loosen the shimmering gold cord, opening the purse. Inside the open purse you see a faded white rose bud.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> You look at the bud\nIt was as white as snow when you slipped it from the bouquet six years ago, though it soon dried to a dingy yellow brown and became so brittle that you had to tuck it away in a cigar box for safe keeping. There it laid, alone and forgotten, until today when you pulled it out and placed it in your purse, unwilling to leave it behind, no room remaining to put it anywhere else.\n\nYou turn your face aside in a futile attempt to avoid the rain."
    },
    {
        "text": "[Themes: Slice of life, Romance, contemplative, landscape]\n\n> Look around\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nThe rain runs down your neck in rivulets.\n\n> Go west\nGathering up your skirt, you walk down the beach and gingerly step into the sea. Unfortunately it's quite cold and your ankles immediately start to ache. So after giving a few kicks in the water for old time's sake, you find you are forced to retreat back up to dry sand.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> You go north\nYou glance at the tunnel's entrance, narrow and twisting with a low ceiling, and conclude the piece of driftwood is simply too big to fit through it.\n\nThe rain runs down your neck in rivulets.\n\n> You drop the wood\nYou drop the driftwood on the ground.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> Go north\nYou eye the still dry tunnel nervously. Carved by wind and waves, the sea tunnel burrows through the headland about half the way up the beach. It is unreachable when the tide is high, both to those wanting in... and out. And in your childhood dreams you often found yourself trapped inside as the waves grew ever higher, your screams for help being carried out to sea. Moments later the water would come rushing through the tunnel and do the same to you.\n\nYou  glance up at the clouds. Though it's pouring rain now, it seems the clouds are thinning to the west. Perhaps this will all blow over soon, but until it does there is nowhere else dry to go. So summoning your courage, you dash between the waves, scramble up the rocks, and enter the tunnel.\n\nThe narrow opening of the sea tunnel looks southward across the beach and to the granite cliffs beyond. From here, by craning your head around the rocks to the east, you are just able to make out the tips of the cypress trees, looking like ghostly shadows as the clouds pass by.\n\nWaves rolling in from the west tumble over the rocks below, sending up a heavy shower of spray and then move on.\n\nAfter a few moments it becomes clear that this spot offers little in the way of protection from the driving rain, and the cold sea spray is actually making things worse. As fears of the past are swept away by the realities of the present, you make your way further into the tunnel, squeezing past its narrowest point, then hurrying on to the northern end.\n\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening, half covered in algae, is a flattened stone standing somewhat apart from the rest.\n\n> You look at the stone\nYou scrap off the algae from the flattened stone, revealing a heavily eroded outline of a heart cut into the rock. Inside the heart, carved in a childish hand, is the faded inscription \"JS & AK\". A lump forms in your throat and you swallow hard, trying in vain to shut your mind on old memories, still painful to recall.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> Inventory\nYou are carrying a purse (which is open), inside which is a faded white rose bud. You are wearing an engagement ring and a silk dress.\n\nThe skies open up and it begins to pour, sending water streaming down the sides of the tunnel and splattering against you no matter where you stand.\n\n> You remember\nYou remember back to the last time you were here, six long years ago. It seems like yesterday. You almost expect to see Jason come running through the tunnel, hair tossled by the wind. \"Hey Amy,\" he would say, \"look what I found!\" Then he'd open his hand and show you some small treasure from the sea. They were worthless, they were beautiful, and they always made you smile. He always made you smile.\n\n> You climb\nWhat do you want to climb?\n\n> You climb the rocks\nYou curl your fingers around the pitted stone and start a slow ascent of the rock wall. But after just a foot or two you find yourself out of hand holds, with the rock curving ever more over your head. You hang there for a moment, fingers aching, then drop back down to the tunnel floor.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You touch the barnacles\nYou find the larger scales near the end of the barnacle to be smooth to the touch, but the stalk is covered in tiny spines."
    },
    {
        "text": "> You look around\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\n> You examine the algae\nMostly deep green, though some patches are nearly black while others are a deep shade of red.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air."
    },
    {
        "text": "[Themes: Slice of life, Romance]\n\n> You go downward\nYou examine the ground closely, finding it perfectly solid and quite impenetrable.\n\n> You take the flat rock\nYour voice trails off after saying you were wanting to take the flattened stone.\n\n> You take flat\nYou find the flattened stone to be one with the tunnel.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You go south\nHolding your breath, you turn sideways and squeeze past the tunnel's narrowest point to check on the tide. Finding the way to the beach still free, but not anxious to go back out into the rain, you reluctantly return to the northern end of the tunnel where you can stay somewhat drier.\n\n> Exits\nThere are exits to the south and up.\n\n> Go upwards\nYou curl your fingers around the pitted stone and start a slow ascent of the rock wall. But after just a foot or two you find yourself out of hand holds, with the rock curving ever more over your head. You hang there for a moment, fingers aching, then drop back down to the tunnel floor.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You look at up\nThough probably solid at one point, it has collapsed near the end and allows in a fair amount of light.\n\n> You remember up\nYour voice trails off after saying you were wanting to remember.\n\n> Wait\nYou pause for a moment of silent reflection.\n\n> Dig\nYou glance at the ground but it seems much to solid to dig through.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You wait till the rain ends\nA bizarre number floats through your mind, and then is gone.\n\n> Sleep\nYou close your eyes, but find yourself much to restless to sleep.\n\n> You remember\nYou remember back to the last time you were here, six long years ago. It seems like yesterday. You almost expect to see Jason come running through the tunnel, hair tossled by the wind. \"Hey Amy,\" he would say, \"look what I found!\" Then he'd open his hand and show you some small treasure from the sea. They were worthless, they were beautiful, and they always made you smile. He always made you smile.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You remember Jason\nYour voice trails off after saying you were wanting to remember.\n\n> You think about Jason\nYour voice trails off after saying you were wanting to think.\n\n> You think\nYou murmer \"Xyzzy,\" but nothing happens.\n\nYou remember back to the last time you were here, six long years ago. It seems like yesterday. You almost expect to see Jason come running through the tunnel, hair tossled by the wind. \"Hey Amy,\" he would say, \"look what I found!\" Then he'd open his hand and show you some small treasure from the sea. They were worthless, they were beautiful, and they always made you smile. He always made you smile.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> Inventory\nYou are carrying a purse (which is open), inside which is a faded white rose bud. You are wearing an engagement ring and a silk dress.\n\n> You examine the ring\nA shining band of gold. It bears the inscription \"EL & AK - 1876\". You spin it nervously about your finger, unaccustomed to its weight and feel.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air."
    },
    {
        "text": "> Look around\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You listen\nThe relentless pounding of the sea echos through the tunnel.\n\n> Smell\nYou close your eyes and inhale deeply, savoring the briney scent of the sea.\n\n> You feel\nWhat do you want to feel?\n\n> You feel the algae\nYou feel nothing unexpected.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You examine flat\nInside the rough cut outline of a heart, carved in a childish hand, is the inscription \"JS & AK\".\n\n> You examine the gaps\nThe gaps vary from a few inches to a few feet in diameter.\n\n> Exit\nYou blush when you realize that you aren't actually in anything.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You jump\nYou jump into the ocean below, realizing too late that the water here is well over your head. Arms flailing, you struggle to find something to grab onto but find only sea. Moments later you find yourself dragged down to the bottom by the current and the weight of your lovely silk dress.\n\n> You remove the dress\nAs you go to remove the silk dress, a chilling wind causes you to think better of it.\n\n> Search dress\nYou find nothing of interest.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You examine the fissures\nThe fissures criss-cross the rocks and provide a foothold for the clusters of barnacles.\n\n> You smell bud\nIt smells of tobacco, not surprising considering it spent the last six years tucked away in a cigar box.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You examine the barnacles\nThe gray scaled barnacles are grouped together in large clumps containing hundreds, maybe thousands, of individual members.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You look at the wave\nThe waves are four to five feet high as they curl over then break upon the shore.\n\n> You examine the shore\nSwept clear of sand by earlier winter storms, the rocky shores seem barren, inhospitable places, that even the birds pass by.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You examine the sea\nOvershaddowed by the clouds, the sea is an unrelieved blue gray.\n\n> You search the sea\nThe sea is empty.\n\n> You rub the ring on flat\nYour voice trails off after saying you were wanting to rub the engagement ring.\n\n> You examine flat\nInside the rough cut outline of a heart, carved in a childish hand, is the inscription \"JS & AK\".\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You examine the ring\nA shining band of gold. It bears the inscription \"EL & AK - 1876\". You spin it nervously about your finger, unaccustomed to its weight and feel.\n\n> You search the barnacles\nYou find you haven't the heart to pester the barnacles.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You take the barnacles\nYou find them to be firmly attached to the rocks.\n\n> You rub barnacles\nYou find you haven't the heart to pester the barnacles.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You throw the ring into the sea\n(first taking it off)\n\nYou stare at the ring, suprised to find yourself reluctant to remove it. It's not like it means anything to you, not really. In fact, you hardly know the gentleman to whom it holds you bound. Still, as it is a costly thing, far more than you can afford to replace at the moment, and as you have little doubt that its true owner would expect every last penny of it reimbursed, you decide to leave it where it is.\n\n> Inventory\nYou are carrying a purse (which is open), inside which is a faded white rose bud. You are wearing an engagement ring and a silk dress.\n\n> You eat the ring\nYou contemplating eating, but find you aren't hungry for an engagement ring.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You think about the ring\nYour voice trails off after saying you were wanting to think.\n\n> You look at the dress\nWhile not at all appropriate for visiting the beach, the emerald green and white stripped silk dress with its solid green overshirt, tastefully bustled, is just the thing for going visiting - or going away - which is exactly what you should be doing right now. The silk dress is soaked.\n\n> You remove the dress\nAs you go to remove the silk dress, a chilling wind causes you to think better of it.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> Exits\nThere are exits to the south and up.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You get bud\nYou take the faded white rose bud out of the purse.\n\n> You throw the bud into the sea\nYou gently kiss the faded blossom then toss it out onto the sea. \"Rest in peace, Jason,\" you whisper as you watch it bob upon the water. Moments later it's caught up in the churning waves and pulled beneath the surface.\n\n\"Amelia!\" comes a cry from far above, barely audible over a sudden rush of water to the south. How long have you been in here? Looking up toward the cliffs you are surprised to see a familiar coach and four standing precariously close to the edge.\n\n\"Ethan, get the horses back,\" you yell, cupping your hands around your mouth in a futile attempt to be heard. How did he know where to find you?\n\n\"Amelia!\" comes the cry again, this time more frantic.\n\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\n> You go south\nThe narrow opening of the sea tunnel looks out upon the beach, or what is left of it, for the tide has come in so far that some of the larger waves are spilling over the small rocks at the base of the cliffs.\n\n> Go south\nStanding at the edge of the tunnel, peering down at the sea as it surges past, you quickly realize the only way out this direction is to jump.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the shore.\n\n> You go to the north\nHolding your breath, you turn sideways and squeeze past the tunnel's narrowest point, then hurry on to its northern end with the sea lapping at your heels.\n\n\"Ethan, I'm here!\" you scream as a wave enters the southern end of the tunnel, sweeping over your feet and pour out the northern end.\n\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\n> You stand on the stone\nAfter a moment's thought, you decide the flattened stone isn't something you can stand on.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> Up\nJust as you did six years before, you curl your finger around the pitted stone and attempt to haul yourself up the rocks. But this time Jason isn't there to push you the rest of the way up, and you slide back down.\n\nWhile you are preparing to try again, your hand is hit by a sturdy strap of leather tossed down from above.\n\n\"Amelia, grab the rein,\" calls Ethan, his voice barely audible over the sound of the waves.\n\nWrapping the rein around your hand, you once again scramble up the rocks. A moment later you find yourself standing on the rim of the tunnel, caught up in Ethans arms as he wraps his thick black cloak around you. Another wave sweeps through the tunnel at your feet, sending a shower of spray up high above your head. But the sea has no power over you now. This time there is no one left behind for it to claim.\n\n> You remember\nWhen was the last time you where here? It must be going on six years now. You remember everything about that day; how lovely it was in the morning, how clear the skies and sea were, how much you had been looking foward to it. A tear forms in the corner of your eye only to be whisked away by a sudden gust of wind. If only memories could be as easily removed.\n\n> You examine the sea\nIn deeper waters, outside the cove, the sea is a deep, rich blue that sparkles in the sunlight. But in the shallows, as the waves curl toward the shore, it abruptly changes to a pale translucent green and is covered in a fine netting of foam.\n\n> Exits\nThere are exits to the south, to the east, to the southeast, and down.\n\nA flock of sea gulls rises from the beach and flies off into the clouds.\n\n> Go southeast\nYou turn your back on the sea, beginning the long dusty walk back to the city.\n\n> Go south\nYou hesitate, as it seems a shame to come all this way and not enjoy the view.\n\nA sea gull's strident call echos off the cliffs.\n\n> You go to the east\nYou turn your back on the sea, beginning the long dusty walk back to the city.\n\n> You call the gulls\nYour voice trails off after saying you were wanting to call.\n\n> You attack gulls\nThe sea gulls stay far out of reach.\n\n> You check what you're carrying\nYou are carrying a purse. You are wearing an engagement ring, a silk dress, a pair of shoes and a pair of stockings.\n\n> You remove the stockings\nYou take off your shoes and stockings, setting them aside.\n\n> Go south\nLifting your skirt, you carefully pick your way down to the beach below.\n\nStepping out onto the sand, you are immediately hit with a rush of memories; memories of time spent clambering over these rocks, of splashing in the water, and of being here with Jason. You shut your eyes and for an instant you can almost touch the past, hold it close, be part of it again, and then it's gone.\n\nOpening your eyes, you wrap your arms around yourself and squint out toward the sea.\n\nSurrounded by granite cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide this low, a marine terrace to the southwest lies exposed and accessible, though currently occupied by a large sea lion. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at a quarter of the way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs -- a warning of the sea's intentions.\n\nA long, slender piece of driftwood lies half buried in the sand.\n\n> You examine driftwood\nSix feet long and weathered to a pale gray, the piece of driftwood probably started life as a cypress branch.\n\nThe sea lion swings his head around to gaze at you with large brown eyes. Unimpressed, he soon returns to his nap. A sea otter pops up amongst the kelp, and sets to work grooming its fur. Sea gulls float by on the breeze, their wing tips within inches of each other.\n\n> You remember\nYour memories are of happy times, of playing in the sea and on the sand. All happy times, save one. You swallow hard and push those thoughts away. Your time here is too short, too precious, to spend it on things you can not change, whether they be in the past or in the future.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side. The sea otter slips below the surface of the sea. A sea gull's strident call echos off the cliffs.\n\n> You look at the lion\nThe male sea lion is basking in the sun on the exposed marine terrace. Resting on his front flippers with hind ones dangling over the edge of the rock, he points his nose skyward as if to show off his impressive mane of fur. Fully seven feet long and well over 600 pounds, he is definitly not an animal to trifle with.\n\n> You remember\nYour memories are of happy times, of playing in the sea and on the sand. All happy times, save one. You swallow hard and push those thoughts away. Your time here is too short, too precious, to spend it on things you can not change, whether they be in the past or in the future.\n\nThe sea lion swings his head around to gaze at you with large brown eyes. Unimpressed, he soon returns to his nap. A few small plovers scurry up the beach, just in front of the the next wave.\n\n> You examine plover\nThe small white birds with their crisp brown markings follow the water up and down the beach, pecking at the sand.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side. The sea otter pops up amongst the kelp with a spiny sea urchin held tight between its paws. Using its stomach as a table, it quickly consumes its bristly meal then rolls over once to clear away the remains.\n\n> You look at the sea urchin\nYour voice trails off after saying you were wanting to examine the sea.\n\n> You look at the otter\nBobbing amidst a raft of kelp, the sea otter busily grooms its fur with thick stubby paws. After every few swipes it rolls completely over, then begins to groom again.\n\nAs a wave passes by, the sea lion raises his rear flippers just high enough to keep them dry, then lowers them again.\n\n> You look at the kelp\nRipped from their holdfasts during heavy seas, the long strands of seaweed are pushed along by wind and tides until they are at last flung up upon the shore. There they form tangled mophead heaps, a haven for the small flies, crabs, and the like who feed upon the decaying fronds.\n\nA flock of sea gulls rises from the beach and flies off into the clouds. A long legged plover chases after the waves, pecking at the sand as it goes.\n\n> You search driftwood\nYou find nothing of interest.\n\nThe sea otter swipes a thick, furry paw over its stubby furry face. Plovers follow the water up and down the beach, pecking at the sand.\n\n> Examine flies\nThe annoying little flies buzz continually amongst the piles of beached kelp and within inches of the sand.\n\nA small group of plovers pokes about the sea weed.\n\n> You look at the crabs\nAbout two inches long and nearly as round, the purple crab has a lovely deep purple shell and a pair of pale lavender pinchers covered in small purple spots.\n\nA small group of plovers pokes about the sea weed.\n\n> You eat the crab\nJust looking at the crabs is enough to make your mouth water, though these little fellows are too small to make much of a meal.\n\nThe sea otter rolls over once, and goes back to work grooming its fur. Plovers follow the water up and down the beach, pecking at the sand.\n\n> You eat the plover\nYou idly wonder if plovers taste anything like chicken, but realize you have little chance of catching one to find out.\n\nAs a wave passes by, the sea lion raises his rear flippers just high enough to keep them dry, then lowers them again.\n\n> You eat otter\nYou grimace at the thought.\n\nThe sea lion pulls a hind flipper up and lazily scratches his side.\n\n> You eat the lion\nYou grimace at the thought.\n\n> You hit the lion with the wood\n(first taking the driftwood)\nYou pull the driftwood out of the sand.\n\nThe sea otter rolls over once, and goes back to work grooming its fur.\n\n> You hit the lion\nWith surprising speed, the sea lion lumbers to the edge of the rock and dives into the water. Surfacing again some distance from his former roost he barks his disapproval, then disappears into the sea."
    },
    {
        "text": "> Look around\nSurrounded by granite cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide this low, a marine terrace to the southwest lies exposed and accessible. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at a quarter of the way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs -- a warning of the sea's intentions.\n\n> You examine the seaweed\nRipped from their holdfasts during heavy seas, the long strands of seaweed are pushed along by wind and tides until they are at last flung up upon the shore. There they form tangled mophead heaps, a haven for the small flies, crabs, and the like who feed upon the decaying fronds.\n\nThe sea otter slips below the surface of the sea.\n\n> Go southwest\nWith the tide low, you are able to walk out across the narrow sand bar and clamber up onto the rock.\n\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\nThe leading edge of the storm clouds reaches the cove, blotting out the sun.\n\n> You look up\nYou first look up, then all about...\n\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\nA flock of sea gulls rises from the beach and flies off into the clouds.\n\n> You look at the tide pools\nYou crouch down and peer into the closest one. Though its opening is no larger than a dinner plate, it is surprisingly deep, with many nooks and crannies for small creatures to hide in. Near the bottom are several sea anemones clustered together like undersea flowers, and a spiney sea urchin. Closer to the surface of the pool is a small clump of mussels and an assortment of limpets. Clinging to the side of the rock is an orange sea star.\n\n> You examine the anemone\nLooking like an exotic flower, the anemone's numerous inch long tenticles move almost imperceptably beneath the still water of the tide pool.\n\n> You examine the mussels\nGray near the base, turning black at the tips, the mussles are actually quite pretty... as well as being very tasty.\n\n> You examine the urchin\nYou find it hard to believe that something so spiny can actually be alive.\n\nSea gulls float by on the breeze, their wing tips within inches of each other.\n\n> You examine the star\nIt has five fat legs and a central core nearly as wide as your palm.\n\nA flock of sea gulls rises from the beach and flies off into the clouds.\n\n> You search the mussel\nYou find you haven't the heart to pester the mussels.\n\nSea gulls float by on the breeze, their wing tips within inches of each other.\n\n> You say Xyzzy\nWhom do you want to say that to?\n\n> Exits\nThe only obvious exit is to the east.\n\n> Open purse\nYou loosen the shimmering gold cord, opening the purse. Inside the open purse you see a faded white rose bud.\n\n> You look at the bud\nIt was as white as snow when you slipped it from the bouquet six years ago, though it soon dried to a dingy yellow brown and became so brittle that you had to tuck it away in a cigar box for safe keeping. There it laid, alone and forgotten, until today when you pulled it out and placed it in your purse, unwilling to leave it behind, no room remaining to put it anywhere else.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You take the star\nYou pull the sea star off the rocks and hold it gently in your hand.\n\n> You throw the star\nYou toss the sea star into the sea, where it quickly sinks below the surface.\n\n> You remember the sea\nYour voice trails off after saying you were wanting to remember.\n\n> You go to the east\nYou climb over the edge and scramble across the sandbar to the beach, apparently just in time as a particularly large wave crashes into the terrace sending a foot of water shooting all the way across its surface.\n\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nThe clouds close ranks overhead, blotting out the sun completely and turning the sea from blue to gray. Outside the cove the wind is beginning to kick up whitecaps and push the swells up even further up the shore.\n\n> You remember\nYour memories are of happy times, of playing in the sea and on the sand. All happy times, save one. You swallow hard and push those thoughts away. Your time here is too short, too precious, to spend it on things you can not change, whether they be in the past or in the future.\n\n> Go southwest\nRaising your skirt to your knees, you wade through the shallow water that now covering the sand bar and gingerly step up onto the terrace. Moments later a large wave crashes over its northern end, sending you scurrying back up on the beach as the entire rock briefly disappears under a thick layer of foam and water.\n\nYou hear, more than feel, the first few hesitant drops of rain as they strike against the stones and create tiny craters in the sand. Moments later the storm catches its stride and it begins to rain in earnest."
    },
    {
        "text": "[Themes: Slice of life, Romance, contemplative]\n\n> Look around\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nYou hear, more than feel, the first few hesitant drops of rain as they strike against the stones and create tiny craters in the sand. Moments later the storm catches its stride and it begins to rain in earnest.\n\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> You remember the urchin\nYour voice trails off after saying you were wanting to remember."
    },
    {
        "text": "> Look around\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nYou turn your face aside in a futile attempt to avoid the rain.\n\n> Go southwest\nRaising your skirt to your knees, you wade through the shallow water that now covering the sand bar and gingerly step up onto the terrace. Moments later a large wave crashes over its northern end, sending you scurrying back up on the beach as the entire rock briefly disappears under a thick layer of foam and water.\n\nYou pass your hands over your face to clear the rain away."
    },
    {
        "text": "[Themes: Slice of life, Romance, landscape]\n\n> You look around\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nYou hear, more than feel, the first few hesitant drops of rain as they strike against the stones and create tiny craters in the sand. Moments later the storm catches its stride and it begins to rain in earnest.\n\n> You go to the south-west\nRaising your skirt to your knees, you wade through the shallow water that now covering the sand bar and gingerly step up onto the terrace. Moments later a large wave crashes over its northern end, sending you scurrying back up on the beach as the entire rock briefly disappears under a thick layer of foam and water.\n\nYou turn your face aside in a futile attempt to avoid the rain."
    },
    {
        "text": "> You look at your surroundings\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\n> Inventory\nYou are carrying a piece of driftwood and a purse (which is open), inside which is a faded white rose bud. You are wearing an engagement ring and a silk dress.\n\n> You remember\nThis was always one of your favorite spots, especially on a hot day when the spray was always quite refreshing.\n\n> You examine the tide pools\nYou crouch down and peer into the closest one. Though its opening is no larger than a dinner plate, it is surprisingly deep, with many nooks and crannies for small creatures to hide in. Near the bottom are several sea anemones clustered together like undersea flowers, and a spiney sea urchin. Closer to the surface of the pool is a small clump of mussels and an assortment of limpets.\n\n> You look at the limpets\nClustered together on the rocks, they look like tiny volcanoes about ready to blow.\n\nA flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You remember\nThis was always one of your favorite spots, especially on a hot day when the spray was always quite refreshing.\n\nA sea gull's strident call echos off the cliffs.\n\n> You listen seagull\nThe sea gulls strident calls echo off the cliffs.\n\n> You call the seagull\nYour voice trails off after saying you were wanting to call."
    },
    {
        "text": "> You look at your surroundings\nStanding in the lee of the southern cliffs, this narrow shelf of pitted rock has been exposed by the low tide and contains numerous tide pools large and small. Though the beach is still accessible to the east, the rest of the terrace is surrounded by sea.\n\nA wave strikes the western edge, showering that portion of the rock with a heavy spray that replenishes the tide pools.\n\n> You check your inventory\nYou are carrying a piece of driftwood and a purse (which is open), inside which is a faded white rose bud. You are wearing an engagement ring and a silk dress.\n\nA sea gull's strident call echos off the cliffs.\n\n> Break ring\nYou contemplate venting your frustrations on the engagement ring, but resist the temptation.\n\nA flock of sea gulls rises from the beach and flies off into the clouds.\n\n> You remove the ring\nYou stare at the ring, suprised to find yourself reluctant to remove it. It's not like it means anything to you, not really. In fact, you hardly know the gentleman to whom it holds you bound. Still, as it is a costly thing, far more than you can afford to replace at the moment, and as you have little doubt that its true owner would expect every last penny of it reimbursed, you decide to leave it where it is.\n\n> You remove the dress\nAs you go to remove the silk dress, a chilling wind causes you to think better of it.\n\n> You destroy bud\nYou marvel at how easy it would be to destroy it, yet how impossible it is to make yourself do it.\n\nA flock of sea gulls rises from the beach, circle the cove once, then head out to sea.\n\n> You eat bud\nYou grimace at the thought.\n\nA flock of sea gulls flies over the point and alights on the beach below.\n\n> You look at the sea\nThe sea is a flat, deep blue.\n\n> You search the sea with the wood\nYour voice trails off after saying you were wanting to search the sea.\n\n> You search the sea\nThe sea is empty.\n\n> You remove the dress\nAs you go to remove the silk dress, a chilling wind causes you to think better of it.\n\n> You put the wood in the sea\nYou heave the driftwood into the sea, where it bobs steadily toward the shore until a one final wave flings it up upon the sand.\n\n> You take the seaweed\nYou can't actually bring yourself to touch the rotting seaweed.\n\nYou hear, more than feel, the first few hesitant drops of rain as they strike against the stones and create tiny craters in the sand. Moments later the storm catches its stride and it begins to rain in earnest."
    },
    {
        "text": "[Themes: Romance, Slice of life]\n\n> Look around\nSurrounded by cliffs on three sides, this narrow strip of sand curves from north to south and faces a small cove to the west. With the tide half in, the marine terrace to the southwest is beginning to take on water. To the north, the sea has dug a narrow, twisting tunnel through the headland.\n\nLong ribbons of seaweed strewn across the shore mark the leading edge of the surf at about half way up the beach. Additional clumps, dried and full of sand, lie tangled amongst the rocks at the base of the cliffs; a warning of the sea's intentions.\n\nYou pass your hands over your face to clear the rain away."
    },
    {
        "text": "[Themes: Romance, Slice of life, landscape]\n\n> Full\nYou have so far scored 18 out of a possible 28, in 78 turns.\n\nThe score is made up as follows:\n\n1 the tide pool\n1 the tunnel\n11  of 13 creatures examined\n3  of 8 memories recalled\n\n18 total (out of 28)\n\n> You remember\nYou remember back to the last time you were here, six long years ago. It seems like yesterday. You almost expect to see Jason come running through the tunnel, hair tossled by the wind. \"Hey Amy,\" he would say, \"look what I found!\" Then he'd open his hand and show you some small treasure from the sea. They were worthless, they were beautiful, and they always made you smile. He always made you smile.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You examine the algae\nMostly deep green, though some patches are nearly black while others are a deep shade of red.\n\nThe skies open up and it begins to pour, sending water streaming down the sides of the tunnel and splattering against you no matter where you stand.\n\n> You examine the barnacles\nThe gray scaled barnacles are grouped together in large clumps containing hundreds, maybe thousands, of individual members.\n\n> Full\nYou have so far scored 20 out of a possible 28, in 81 turns.\n\nThe score is made up as follows:\n\n1 the tide pool\n1 the tunnel\n12  of 13 creatures examined\n4  of 8 memories recalled\n\n20 total (out of 28)"
    },
    {
        "text": "> Look around\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening, half covered in algae, is a flattened stone standing somewhat apart from the rest.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You go south\nHolding your breath, you turn sideways and squeeze past the tunnel's narrowest point to check on the tide. Finding the way to the beach still free, but not anxious to go back out into the rain, you reluctantly return to the northern end of the tunnel where you can stay somewhat drier.\n\n> Go north\nStanding at the edge of the tunnel, peering down at the sea as it surges past, you quickly realize the only way out this direction is to jump.\n\n> You eat the barnacles\nYou wonder if they taste more like mussels or abalone, but as you are unable to get them off the rock, you will probably never know.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You examine the sea\nOvershaddowed by the clouds, the sea is an unrelieved blue gray.\n\n> Search wave\nAfter a moments thought you realize the surf is too far away.\n\n> You look at the rain\nThe rain is quite heavy now, composed of large drops falling hard and fast.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You examine the algae\nMostly deep green, though some patches are nearly black while others are a deep shade of red.\n\n> You examine the stone\nYou scrap off the algae from the flattened stone, revealing a heavily eroded outline of a heart cut into the rock. Inside the heart, carved in a childish hand, is the faded inscription \"JS & AK\". A lump forms in your throat and you swallow hard, trying in vain to shut your mind on old memories, still painful to recall.\n\n> You remember\nYou remember back to the last time you were here, six long years ago. It seems like yesterday. You almost expect to see Jason come running through the tunnel, hair tossled by the wind. \"Hey Amy,\" he would say, \"look what I found!\" Then he'd open his hand and show you some small treasure from the sea. They were worthless, they were beautiful, and they always made you smile. He always made you smile.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You look at the shore\nSwept clear of sand by earlier winter storms, the rocky shores seem barren, inhospitable places, that even the birds pass by.\n\n> Go north\nStanding at the edge of the tunnel, peering down at the sea as it surges past, you quickly realize the only way out this direction is to jump.\n\n> You look at the birds\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\nYou look around but are unable to find that which you seek.\n\n> You listen\nThe relentless pounding of the sea echos through the tunnel.\n\n> Smell dress\nIt is so new that it still smells like the dressmakers shop.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You get bud\nYou take the faded white rose bud out of the purse.\n\n> You throw the bud in the the shore\nAfter a moments thought you realize the shore is too far away.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> You throw the bud in the the sea\nYou gently kiss the faded blossom then toss it out onto the sea. \"Rest in peace, Jason,\" you whisper as you watch it bob upon the water. Moments later it's caught up in the churning waves and pulled beneath the surface.\n\n\"Amelia!\" comes a cry from far above, barely audible over a sudden rush of water to the south. How long have you been in here? Looking up toward the cliffs you are surprised to see a familiar coach and four standing precariously close to the edge.\n\n\"Ethan, get the horses back,\" you yell, cupping your hands around your mouth in a futile attempt to be heard. How did he know where to find you?\n\n\"Amelia!\" comes the cry again, this time more frantic.\n\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\n> You remember\nThe rushing sound from the southern end of the tunnel... it seems so familiar.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> You go south\nThe narrow opening of the sea tunnel looks out upon the beach, or what is left of it, for the tide has come in so far that some of the larger waves are spilling over the small rocks at the base of the cliffs.\n\n> You remember\nYou find yourself trembling as you look out at the wild sea. Six years ago you stood on this very spot and looked out at this same sea... but this time, you're alone.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the shore.\n\n> You jump\nYou freeze, just as you had six years ago. \"Jump Amy, jump!\" Jason had screamed in your ear as the waves slammed into the rocks, pouring water into the tunnel. How many times had you heard that scream in your dreams? How many times had you wished you had listened?\n\n> You remember\nYou find yourself trembling as you look out at the wild sea. Six years ago you stood on this very spot and looked out at this same sea... but this time, you're alone.\n\n> You go to the north\nHolding your breath, you turn sideways and squeeze past the tunnel's narrowest point, then hurry on to its northern end with the sea lapping at your heels.\n\n\"Ethan, I'm here!\" you scream as a wave enters the southern end of the tunnel, sweeping over your feet and pour out the northern end.\n\nThe tunnel ends abruptly here, its rocky floor falling sharply away to the pounding sea. Wide gaps in the stones above allow in just enough light to clearly see the masses of barnacles clustered around fissures in the stones and the slippery green algae on the tunnel floor that makes the footing treacherous.\n\nNear the opening is a flattened stone standing somewhat apart from the rest.\n\n> You remember\nIt's happening all over again, just like before, only this time Jason isn't here to help. What was he trying to tell you that day? You never could figure it out. The wind had been so strong, ripping the words out of his mouth and blowing them away. He finally grabbed your hand and gave it a squeeze, pointing up toward the narrow gap in the ceiling. You look up at the ceiling now, the gap seeming as unreachable as ever.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air. You watch as the rest of the wave continues its course toward the coast, past jagged offshore rocks jutting up from the sea, only to die upon the barren shore.\n\n> Search gap\nThe gaps are out of reach.\n\nA thick, swirling mass of water rushes in from the southern end of the tunnel and pours out the tunnel into the sea, nearly taking you with it.\n\n> You examine the ceiling\nThe ceiling is soaked.\n\nA wave crashes against the rocks below sending a shower of spray up high into the air.\n\n> Leave\nYou blush when you realize that you aren't actually in anything.\n\nA thick, swirling mass of water rushes in from the southern end of the tunnel and pours out the tunnel into the sea, nearly taking you with it.\n\n> Go upward\nJust as you did six years before, you curl your finger around the pitted stone and attempt to haul yourself up the rocks. But this time Jason isn't there to push you the rest of the way up, and you slide back down.\n\nWhile you are preparing to try again, your hand is hit by a sturdy strap of leather tossed down from above.\n\n\"Amelia, grab the rein,\" calls Ethan, his voice barely audible over the sound of the waves.\n\nWrapping the rein around your hand, you once again scramble up the rocks. A moment later you find yourself standing on the rim of the tunnel, caught up in Ethans arms as he wraps his thick black cloak around you. Another wave sweeps through the tunnel at your feet, sending a shower of spray up high above your head. But the sea has no power over you now. This time there is no one left behind for it to claim.\n\n> You check what you're carrying\nYou are carrying a purse. You are wearing an engagement ring and a silk dress."
    },
    {
        "text": "[Themes: Screen, Kaiju, Satire, male protagonist, animals, multiple protagonists, city, violence, aircraft, Japan, chicken, movie, silly]\n\nThe seat is hard and the popcorn is tasteless. A pair of teenagers play-fight in the back row -  they probably sneaked in without paying. A distressingly huge and sweaty bulk lowers itself into the seat next to yours, engulfing the armrest.\n\nThis had better be worth it!\nThe teenagers snort at some whispered wisecrack.\n\nSuddenly the lights dim. The murmur of conversation dies away and all eyes turn toward the screen...\n\n* * * * *\n\n[Author's Note: In this game you actually play two people - one is the real you, sitting in the dark in a movie theatre, and the other is the hero of the film that you are watching.]\n\n> Info\nShadowed streets writhe with colour and movement. A tide of pedestrians flows through gorges of concrete and glass, rippling and eddying against the store-fronts.\n\nIn the backwater of a street cafe sits an English newspaper. The pages lower and we catch a first glimpse of our hero, reading an editorial over his bowl of soup.\n\nThe man sits at an outdoor table surrounded by swirling crowds. He turns a page of his newspaper and takes a sip from a bowl of steaming soup.\n\n> Inventory\nOur man is equipped with strong hands, a nimble mind, and an oversized jaw. What more can a hero need?\n\n> You read the newspaper\nIt is The Times (imported), but we aren't close enough to make out the date. The front page headline is \"MISHAP AT JAPANESE DRUG LABORATORY\", while a subheading below reads \"Doku Defends Animal Testing Procedures\".\n\n> You taste the soup\nOur hero enjoys a long slurp of soup.\n\nAbruptly, the surface of the liquid is broken by a pulse of circular ripples, forming and dissolving as if rocked by some tiny tremor of the earth. Our hero looks up sharply, but the crowds have registered nothing unusual. The flier pinned to a nearby pole shivers, though not with the breeze.\n\n> You read the flier\nOversized lettering reads \"Doku Vitamin Tonic: NEW SUPER FORMULA\". Below is pictured a surprisingly large Japanese boy holding a bottle of bright orange liquid. The finer print at the bottom is impossible to read from this distance.\n\nSuddenly the table jerks, upsetting a bottle of soy sauce and sending it rolling over the edge. The flier drops to the ground. The crowd pauses for a moment, then moves on.\n\n> You stand\nBefore moving, our hero pauses warily - there's something not quite right here...\n\nThis time the quake is obvious, and accompanied by a dull rumble. Abandoning his newspaper and soup, our man joins the hesitant crowd for a better look up the street."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, Japan, animals, aircraft, male protagonist]\n\n> Look around\nIn the middle of a nervous crowd stands our hero, directing a penetrating glance up the street.\n\nThe ground shakes again, with the sound of crumbling masonry. Heads lift, necks twist, and all eyes come to rest at the end of the street. A stunned silence descends on the frozen crowd.\n\nWhat was a grand hotel just seconds before is now a pile of twisted rubble, surmounted by a huge and scaly foot!\n\n> You examine the foot\nOur hero stares open-mouthed at three impossibly massive toes, scaled and reptilian, each ending in a cruel claw the size of a canoe. Slowly his eyes follow the thick leg skyward, coming to rest at last on the obscene and monstrous visage of...\n\nThe crowd erupts in mindless hysteria. Panicked pedestrians scatter; some trip and are crushed ruthlessly underfoot.\n\n> Exit\nBut you aren't in anything at the moment.\n\nPart of a shredded poster blows past, showing a bottle of bright orange liquid and the words \"oku Super Growth Formul\", and \"hree special activator ingredi\". With another gust of wind it disappears in the chaos.\n\n> You examine the monster\nOur hero is dwarfed by the mammoth mountain of fearsome feathers that is Chickzilla!\n\nThey could at least have washed the chicken suit before filming.\n\nSuddenly a small helicopter careens earthward, bouncing to a stop just across the street. The helmeted pilot and a breathless cameraman tumble out, leaving the rotors spinning in readiness for a quick departure.\n\nLazily the monster steps across the road, destroying another building.\n\n> You kill the monster\nThis ain't no Kung Fu movie!\n\nRemoving the helmet with a flourish, the helicopter pilot shakes out her long dark hair! Our hero watches spellbound from across the street as the beautiful woman takes a microphone and turns to face the camera. She is perfectly composed, despite the chaos surrounding her.\n\nCasually the monster devours a fleeing pedestrian.\n\n> You ask the woman about helicopter\nThe words are lost in the whine of the helicopter.\n\nAcross the street the beautiful newscaster continues taping her broadcast.\n\n> You enter helicopter\nOur hero can't reach the helicopter: a panicked crowd blocks the way.\n\nAcross the street the beautiful newscaster continues taping her broadcast.\n\n> Hello\nBut she is way over on the other side of the street: hundreds of panic-stricken Orientals lie between!\n\nAcross the street the beautiful newscaster continues taping her broadcast."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, chicken, city, aircraft, movie]\n\n> Describe the surroundings\nDowntown has been transformed into a killing field. Panicked pedestrians grapple and claw at each other as they attempt to flee. Children wail as they are dragged along by their parents. The streets are full of broken glass and rubble, while Chickzilla's bulk blots out the sun.\n\nA small but powerful helicopter crouches across the street, it's rotors spinning in readiness.\n\nAcross the street the beautiful newscaster continues taping her broadcast.\n\nAnother building crumbles under a huge scaly foot.\n\n> Go north\nOur hero finds his way blocked at every turn by overacting extras. Progress is impossible. There is no escape!\n\nAcross the street the beautiful newscaster continues taping her broadcast.\n\n> You jump\nIt would be suicide to leave the safety of the cockpit!\n\nHaving finished her report, the woman prepares to reboard her helicopter. Taking one last look around, her roving eyes lock with those of our hero!\n\n> Wave\nCheeks flush in the heat of that gaze.\n\nAll is silent, but for the bass-drum beat of twin hearts and the frenzied sawing of two dozen impassioned violins.\n\nA pair of pouting lips parts.\n\nStars explode and snowy doves flap across the face of the moon.\n\nSuddenly the world comes crashing in again, all sound and fury. A huge beak swoops down to snatch away the goddess and her cameraman. The crowd scatters, leaving our hero stunned and alone near the empty helicopter.\n\n> You enter the helicopter\nOur hero leaps into the helicopter cockpit and fumbles with the safety belt.\n\n> You fly\nMaybe you could be a little more specific.\n\nSuddenly Chickzilla seems to notice the little helicopter.\n\n> Fly helicopter\nMaybe you could be a little more specific.\n\nThe monster stares curiously at the helicopter.\n\n> Up\nIf only he could figure out how to fly this thing...\n\nChickzilla starts advancing slowly towards the helicopter.\n\n> You examine the helicopter\nA fuel gauge is the only thing recognisable among the gadgets and dials inside the cockpit. A joystick with a red button sticks up between our hero's legs.\n\nChickzilla is coming closer every second!\n\n> You pull the stick\nLike a falcon unmasked, the helicopter leaps into the air. Wrestling the controls, our perspiring hero careens skyward, only narrowly avoiding the snatching of Chickzilla's deadly beak.\n\nAs he passes, our hero glimpses the beautiful reporter, clinging precariously to the monster's dangling comb! Then she is gone, left far below as he soars into the open skies...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, but a few major landmarks are visible. To the north-east lies a patch of green, while sunlight shimmers on the ocean to the south-east. The buildings to the south are particularly grand, but those to the west are not, and the smog is thickest to the north-west. Below, Chickzilla continues to crush citizens and crumble buildings.\n\nIt has taken our hero just seconds to master control of the helicopter. He can now guide it remarkably smoothly in any compass direction, as well as up and down."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, city, violence, silly, animals, chicken, Japan]\n\n> You descend\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nThe fuel gauge, though nearly full, has started to drop slowly.\n\nChickzilla gives her back end a slight wriggle and scratches at the street with one massive foot.\n\n> You go to the north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, violence, aircraft, movie, chicken]\n\n> You go downwards\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a terrible tiger stands frozen in confusion.\n\n> You examine the tiger\nDespite being totally bewildered, the tiger still manages to look terrible.\n\n> You get the tiger\nHow exactly should he do that?\n\n> You go southwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA terrible tiger dangles beneath the helicopter.\n\n> You show the tiger to Chickzilla\n(first taking the tiger)\nHow exactly should he do that?\n\n> You press the button\nThe terrible tiger disappears into the city below."
    },
    {
        "text": "[Themes: Kaiju, Satire, Screen, multiple protagonists, chicken, violence, aircraft, silly]\n\n> Go downwards\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nA terrible tiger dangles beneath the helicopter.\n\nChickzilla gives her back end a slight wriggle and scratches at the street with one massive foot.\n\n> You press the button\nChickzilla glances contemptuously at our hero, before destroying the falling terrible tiger with a casual flick of her beak. If only it had been bigger it might have been a match for her.\n\nA dark sedan appears in the street below. It glides to a stop and two people emerge. The man is lean and dark-haired, while the woman has light auburn hair to her shoulders. Both wear dark overcoats and reflective sunglasses. They gaze a minute at Chickzilla, before engaging in a heated discussion. The words \"alien conspiracy\" drift up from the man, while the woman mutters \"some reasonable explanation\". Just then Chickzilla stomps them both into bloody smears.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the west a monstrous chicken is casually tearing the city to pieces.\n\nA terrible tiger dangles beneath the helicopter.\n\n> You go south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west.\n\nA terrible tiger dangles beneath the helicopter.\n\n> You go to the west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements.\n\nA terrible tiger dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, Japan, animals]\n\n> You go downward\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\nA terrible tiger dangles beneath the helicopter.\n\n> Go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\n> You go to the north-east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo."
    },
    {
        "text": "> You go downwards\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a freshly sharpened porcupine stands frozen in confusion.\n\n> You press the button\nA whirr and a clunk and our hero seems to have caught himself a freshly sharpened porcupine!\n\n> You go to the west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA freshly sharpened porcupine dangles beneath the helicopter.\n\n> You go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA freshly sharpened porcupine dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, silly, city, aircraft, Japan, chicken, multiple protagonists]\n\n> Go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sticky blue gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA freshly sharpened porcupine dangles beneath the helicopter.\n\n> You press button\nThe freshly sharpened porcupine tumbles into the vat with a wet smack. There is a rumble and a bubble, but it never resurfaces.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo."
    },
    {
        "text": "> Go downward\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a crafty crocodile stands frozen in confusion.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA crafty crocodile dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, Japan]\n\n> Go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sticky blue gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA crafty crocodile dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, aircraft, animals, city, movie, silly]\n\n> You go south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> Y.\nWith a thrust of the joystick the helicopter drops to skim the roof-tops.\n\nAbruptly, the movement in the alleys increases - shouts and bullets fill the air. Our hero pulls up sharply, but too late - a bullet has holed the fuel tank! A stream of liquid pours from the bullet hole, and the fuel gauge begins to drop more rapidly.\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> Go south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the north-east a monstrous chicken is casually tearing the city to pieces.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> You go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements.\n\nA crafty crocodile dangles beneath the helicopter."
    },
    {
        "text": "> Go downwards\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> You go northeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the west a monstrous chicken is casually tearing the city to pieces.\n\n> Go northeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south-west a monstrous chicken is casually tearing the city to pieces."
    },
    {
        "text": "[Themes: Kaiju, Satire, Screen, animals, Japan]\n\n> Go down\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a wiley coyote stands frozen in confusion.\n\n> You press the button\nA whirr and a clunk and our hero seems to have caught himself a wiley coyote!\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA wiley coyote dangles beneath the helicopter.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA wiley coyote dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, chicken, silly, violence, Japan]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sticky blue gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA wiley coyote dangles beneath the helicopter.\n\nAs fuel from the leaking helicopter hits the bubbling vat it emits a huge burp, and the liquid turns greasy green.\n\n> You press the button\nThe wiley coyote tumbles into the vat with a wet smack. The liquid bubbles and rumbles violently as a massively enlarged leg appears briefly above the surface. Suddenly the liquid gives an almighty belch as a hideously deformed shape is spat out. It lies quivering for a moment before dissolving away down a sewer drain.\n\n> You go to the southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\n> Go southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west."
    },
    {
        "text": "[Themes: Kaiju, Screen, Satire, silly, multiple protagonists, city, chicken, aircraft]\n\n> Go down\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which are three large crates.\n\n> Examine crates\nBold lettering proclaims: \"Noodles, Wun Tun\".\n\n> You go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA large crate swings leisurely beneath the helicopter.\n\n> Go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA large crate swings leisurely beneath the helicopter."
    },
    {
        "text": "> Go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of greasy green gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA large crate swings leisurely beneath the helicopter.\n\n> You go south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\n> You go southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, male protagonist, silly, animals]\n\n> Go downward\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\n> You press the button\nThere's a whirr and a clunk and a huge ripping noise. The tattered remains of the marquee dangle below the helicopter.\n\n> Go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\nA mass of canvas dangles limply beneath the helicopter.\n\n> You go to the north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA mass of canvas dangles limply beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, movie, silly, male protagonist, aircraft]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sickly yellow gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA mass of canvas dangles limply beneath the helicopter.\n\n> You press the button\nA gust of wind catches the falling marquee. It drifts earthward and is lost.\n\n> You go southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA mass of canvas dangles limply beneath the helicopter."
    },
    {
        "text": "> Go downwards\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nA mass of canvas dangles limply beneath the helicopter.\n\nA dark sedan appears in the street below. It glides to a stop and two people emerge. The man is lean and dark-haired, while the woman has light auburn hair to her shoulders. Both wear dark overcoats and reflective sunglasses. They gaze a minute at Chickzilla, before engaging in a heated discussion. The words \"alien conspiracy\" drift up from the man, while the woman mutters \"some reasonable explanation\". Just then Chickzilla stomps them both into bloody smears.\n\n> You press the button\nThe huge mass of striped canvas drifts gently down, fanning out like a parachute. Miraculously it settles right over the head of the beastly bird!\n\nBlindfolded, Chickzilla freezes. She stands stock still as an eerie silence grows. The survivors in the streets below turn to look upward, where a single high-pitched scream cuts through the atmosphere...\n\nThe beautiful reporter has finally lost her grip and is falling (in slow-motion) toward the hard grey pavement below!"
    },
    {
        "text": "[Themes: Kaiju, Satire, Screen, city, multiple protagonists, violence]\n\n> Go down\nThrusting the joystick, our hero tips his helicopter into a steep dive. Using all the forces of gravity and whining rotors he drives the screaming machine groundward at maximum speed. He reaches the falling beauty just metres above the pavement...\n\nHurtling Earthwards (in the helicopter)\nThe ground is approaching FAST!\n\nToo late! There is a sickening thud as the woman splatters over the downtown pavement.\n\nDisaster! The marquee has slipped, and Chickzilla is freed from her paralysis. A huge wing darts out, batting the helicopter against the side of a building - it explodes in a ball of flame, incinerating our hero.\n\nChickzilla raises her beak to the sky and cackles in triumph. The world is now at her mercy!"
    },
    {
        "text": "> Look around\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> You go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, city, male protagonist, movie, violence]\n\n> Go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sticky blue gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA large crate swings leisurely beneath the helicopter.\n\nAs fuel from the leaking helicopter hits the bubbling vat it emits a huge burp, and the liquid turns greasy green.\n\n> You press the button\nThe crate disappears into the vat with a smack. As sodden noodles boil to the surface, the liquid turns a shocking sickly yellow colour."
    },
    {
        "text": "[Themes: Kaiju, Satire, Screen, city, violence]\n\n> Go downward\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which can be seen two large crates. The bow of a small life boat protrudes from between the crates. Several seamen gesture angrily at the helicopter.\n\n> You press button\nWith whirr the helicopter snatches up one of the crates, revealing a small lifeboat.\n\n> Examine crate\nBold lettering proclaims: \"Noodles, Wun Tun\".\n\n> You go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA large crate swings leisurely beneath the helicopter.\n\n> You press the button\nThe falling crate smashes open on the city streets below."
    },
    {
        "text": "> Go down\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sickly yellow gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA large crate swings leisurely beneath the helicopter.\n\n> You press the button\nThe crate disappears into the vat with a smack.\n\n> You examine the vat\nA sickly yellow liquid churns and bubbles in the vat below. Signs on the surrounding fence warn:\n\nDANGER!\nRaw Unactivated Growth Hormone\nMay Cause Itching or Death\nKeep Clear\n\n> Go southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nThe fuel gauge edges down over 1/2."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, silly, multiple protagonists, chicken, animals]\n\n> Go downward\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which remains one large crate, and nestled beside it a small life boat. The crew shout and curse our hero, shaking their fists.\n\n> Go southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west."
    },
    {
        "text": "> Go downwards\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which is a sturdy lifeboat. The crew are getting ugly. Though they throw deadly squid meat at our hero, it glances harmlessly off the helicopter.\n\n> Go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA small boat dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Kaiju, Screen, Satire, aircraft, male protagonist, Japan]\n\n> Go down\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nA small boat dangles beneath the helicopter.\n\nChickzilla darts at the helicopter, but it is too high."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, multiple protagonists, aircraft, movie]\n\n> Go down\nChickzilla would surely catch our hero if he flew any closer.\n\nA flick of one massive foot shatters another building.\n\n> You go to the northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA small boat dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, chicken, city, male protagonist, silly, Japan]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sickly yellow gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA small boat dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, multiple protagonists]\n\n> Go downwards\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nA small boat dangles beneath the helicopter.\n\nA dark sedan appears in the street below. It glides to a stop and two people emerge. The man is lean and dark-haired, while the woman has light auburn hair to her shoulders. Both wear dark overcoats and reflective sunglasses. They gaze a minute at Chickzilla, before engaging in a heated discussion. The words \"alien conspiracy\" drift up from the man, while the woman mutters \"some reasonable explanation\". Just then Chickzilla stomps them both into bloody smears.\n\n> You drop the boat\nThe spinning life boat lands upside-down on Chickzilla's head, covering her eyes. For a moment she seems paralysed, but then with a shake she sends the boat crashing to the street below.\n\nChickzilla plucks a thrashing victim from the streets below, and swallows him in one gulp.\n\n> You drop the boat\nThe spinning life boat lands upside-down on Chickzilla's head, covering her eyes. For a moment she seems paralysed, but then with a shake she sends the boat crashing to the street below.\n\nA flick of one massive foot shatters another building.\n\n> You go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements.\n\nThe fuel gauge now shows only 1/4 full!"
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, male protagonist, silly, animals]\n\n> Go downward\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\n> Go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA mass of canvas dangles limply beneath the helicopter."
    },
    {
        "text": "> Go downwards\nAbove Downtown (in the helicopter)\nThe helicopter dips and dives just above the huge head of Chickzilla. The whirr of the rotors seems to enrage her, and she snaps at it with her massive beak. With every movement, the beautiful reporter loses more of her precarious hold on the monster's comb!\n\nA mass of canvas dangles limply beneath the helicopter.\n\nChickzilla gives her back end a slight wriggle and scratches at the street with one massive foot."
    },
    {
        "text": "[Themes: Kaiju, Screen, Satire, aircraft, chicken, movie]\n\n> Go downwards\nThrusting the joystick, our hero tips his helicopter into a steep dive. Using all the forces of gravity and whining rotors he drives the screaming machine groundward at maximum speed. He reaches the falling beauty just metres above the pavement...\n\nHurtling Earthwards (in the helicopter)\nThe ground is approaching FAST!\n\nThe woman continues to plummet earthward.\n\n> You kiss her\nViolins soar as lips meet. The focus softens as the last light of day leaves the sky. One by one, lights begin to shine out from the city below, mirroring those in the heavens above...\n\nScreenplay: John Kean\nBased on the novel \"Sense and Sensibility\" by Jane Austen\nInspired by Adam Cadre's \"Chicken Comp 1998\"\n\nChicken Wrangler: Kathryn leGrove\nPrompt: Shona Lamoureaux\nClapper Operator: Gillian Dennis\nWorst Boy: Michael Kinyon\nMark The Mark\nStunt Double: Cody Sandifer\nGolly Drip: Neil Cerutti\nMake-out Artist: Ben Hines\nCornbred Centigrade: Himself\n\nFilmed on location in Springston, New Zealand\n\n(c) Watcot Entertainment MM\n\nNo chickens were harmed in the creation of this game.\n\nMEANWHILE...\n\nNot far away something disturbs the calm waters of Tokyo Bay.\nSlowly, the tip of an enormous pink snout emerges to sniff the air.\n\nIt smells like Party Time!\n\nDON'T MISS:\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, read game INFO, or QUIT?\n\n> You go to the south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements.\n\nA small boat dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, Japan, aircraft, silly, city, male protagonist, violence]\n\n> Go downward\nHovering Over a Hotel Rooftop (in the helicopter)\nThe helicopter hovers just above the top of the hotel tower. Wind from the rotors fans waves on the swimming pool and buffets the canvas marquee erected next to it. A few guests in formal dress emerge from the tent to wave their fists angrily.\n\nA small boat dangles beneath the helicopter.\n\n> You go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA small boat dangles beneath the helicopter. It is full of sparkling pool water.\n\n> Go northwest\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA small boat dangles beneath the helicopter. It is full of sparkling pool water."
    },
    {
        "text": "[Themes: Kaiju, Screen, Satire, male protagonist, violence, chicken, aircraft]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sickly yellow gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA small boat dangles beneath the helicopter. It is full of sparkling pool water.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, movie, city, multiple protagonists, chicken, violence, silly]\n\n> Go downwards\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a flopsy bunny stands frozen in confusion.\n\n> You press the button\nA whirr and a clunk and our hero seems to have caught himself a flopsy bunny!\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA flopsy bunny dangles beneath the helicopter.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA flopsy bunny dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, Japan, violence]\n\n> You go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of bright orange gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA flopsy bunny dangles beneath the helicopter.\n\n> You press button\nThe flopsy bunny tumbles into the vat with a wet smack. The liquid bubbles violently, then goes perfectly still.\n\nSuddenly a massive bunny explodes out of the vat. Towering over the city, it blinks and looks around. Its dewy eyes meet those of Chickzilla and for a moment time seems to stand still. Then Chickzilla screeches and attacks! Tactfully, the camera looks away during several minutes of intense sound effects, and when it turns back Chickzilla is once again demolishing downtown, a mountain of bloodstained fluff to one side.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo."
    },
    {
        "text": "> Descend\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a fluffy panda stands frozen in confusion.\n\n> You press the button\nA whirr and a clunk and our hero seems to have caught himself a fluffy panda!\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA fluffy panda dangles beneath the helicopter.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA fluffy panda dangles beneath the helicopter.\n\nA red light on the fuel gauge starts blinking."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, city, multiple protagonists, violence]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of bright orange gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA fluffy panda dangles beneath the helicopter.\n\n> You press the button\nThe fluffy panda tumbles into the vat with a wet smack. The liquid bubbles violently, then goes perfectly still.\n\nSuddenly a massive panda explodes out of the vat. Towering over the city, it blinks and looks around. Its dewy eyes meet those of Chickzilla and for a moment time seems to stand still. Then Chickzilla screeches and attacks! Tactfully, the camera looks away during several minutes of intense sound effects, and when it turns back Chickzilla is once again demolishing downtown, a mountain of bloodstained fluff to one side.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nThe red light on the fuel gauge blinks faster!\n\n> You go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo.\n\nSomewhere an alarm starts beeping in time with the blinking fuel light."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, violence, animals, chicken]\n\n> Go downwards\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a frolicsome fawn stands frozen in confusion.\n\nBEEP!\n\nThe engine gives a splutter.\n\n> You go to the north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> Go northeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo.\n\nA crafty crocodile dangles beneath the helicopter."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, aircraft, city, chicken]\n\n> Go downward\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nA crafty crocodile dangles beneath the helicopter.\n\n> You go to the west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the north-east a monstrous chicken is casually tearing the city to pieces.\n\n> You go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above a Hotel (in the helicopter)\nFar below, atop a hotel tower, a crystal swimming pool blinks in the sunlight. Off to the north, a monstrous chicken is tumbling buildings and ripping up pavements.\n\n> You go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west."
    },
    {
        "text": "[Themes: Kaiju, Screen, Satire, silly, multiple protagonists, city, chicken, aircraft]\n\n> Go down\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which are three large crates.\n\n> You go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the west a monstrous chicken is casually tearing the city to pieces.\n\nA large crate swings leisurely beneath the helicopter.\n\n> Go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo.\n\nA large crate swings leisurely beneath the helicopter.\n\n> You go to the west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nA large crate swings leisurely beneath the helicopter."
    },
    {
        "text": "> You descend\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sticky blue gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA large crate swings leisurely beneath the helicopter.\n\n> You go to the southeast\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\n> You go to the north-west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA large crate swings leisurely beneath the helicopter.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA large crate swings leisurely beneath the helicopter."
    },
    {
        "text": "> Go downwards\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west.\n\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which remains one large crate, and nestled beside it a small life boat. The crew shout and curse our hero, shaking their fists."
    },
    {
        "text": "[Themes: Kaiju, Satire, Screen, aircraft, male protagonist, animals, movie]\n\n> You descend\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\n\nA large crate swings leisurely beneath the helicopter.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nA large crate swings leisurely beneath the helicopter.\n\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of greasy green gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA large crate swings leisurely beneath the helicopter."
    },
    {
        "text": "[Themes: Screen, Kaiju, Satire, movie, aircraft, animals, chicken]\n\n> Go downward\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Downtown (in the helicopter)\nThe helicopter hangs in the sky high above downtown. The endless city of Tokyo stretches to the horizon in all directions, while Chickzilla continues her rampage below.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Tokyo Bay (in the helicopter)\nThe glittering waters of Tokyo Bay, dotted with ships, stretch out to the south and east, while buildings crowd the shores. A trail of destruction leads north-west.\n\nHovering Over the Water (in the helicopter)\nWind from the rotors kicks up a ring of spray. The helicopter hovers just above a small ship, on which is a sturdy lifeboat. The crew are getting ugly. Though they throw deadly squid meat at our hero, it glances harmlessly off the helicopter."
    },
    {
        "text": "[Themes: Satire, Kaiju, Screen, animals, multiple protagonists, aircraft, male protagonist]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of greasy green gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nA small boat dangles beneath the helicopter. It is full of sparkling pool water.\n\n> You go south\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\n> Y.\nWith a thrust of the joystick the helicopter drops to skim the roof-tops.\n\nAbruptly, the movement in the alleys increases - shouts and bullets fill the air. Our hero pulls up sharply, but too late - a bullet has holed the fuel tank! A stream of liquid pours from the bullet hole, and the fuel gauge begins to drop more rapidly.\n\nHigh Above The Ghetto (in the helicopter)\nThis is a particularly shabby section of the city. Shadowy forms can be seen skulking in the narrow alleys far below, and a giant chicken cackles from the east.\n\n> Go north\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east."
    },
    {
        "text": "[Themes: Screen, Kaiju, Satire, chicken, city, aircraft]\n\n> Go downward\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of sickly yellow gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nAs fuel from the leaking helicopter hits the bubbling vat it emits a huge burp, and the liquid turns bright orange.\n\n> Go east\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above Ueno Park (in the helicopter)\nA patch of green far below indicates Ueno Park with its zoo. To the south-west Chickzilla continues to demolish downtown Tokyo."
    },
    {
        "text": "[Themes: Screen, Satire, Kaiju, movie, city, multiple protagonists, chicken, violence, silly]\n\n> Go downwards\nHovering Over the Zoo (in the helicopter)\nMiscellaneous animals cower in terror from the helicopter.\n\nDirectly below the helicopter, a flopsy bunny stands frozen in confusion.\n\n> Continue\nThe flopsy bunny lands safely among the other animals, which proceed to kill it in their terror.\n\nDirectly below the helicopter, a fluffy panda stands frozen in confusion.\n\n> You continue\nThe fluffy panda lands safely among the other animals, which proceed to kill it in their terror.\n\nDirectly below the helicopter, a frolicsome fawn stands frozen in confusion.\n\n> Keep going\nA whirr and a clunk and our hero seems to have caught himself a frolicsome fawn!\n\n> Continue\nThe frolicsome fawn lands safely among the other animals, which proceed to kill it in their terror.\n\nDirectly below the helicopter, a cuddly bush-baby stands frozen in confusion.\n\n> Continue\nA whirr and a clunk and our hero seems to have caught himself a cuddly bush-baby!\n\nThe fuel gauge edges down over 1/2.\n\n> Keep going\nThe cuddly bush-baby lands safely among the other animals, which proceed to kill it in their terror.\n\nCornbred Centigrade stands beneath the helicopter, making faces.\n\n> You look at the Centigrade\nHe seems surprised to find he has unwittingly become a movie star. But he's sure going to make the most of the opportunity.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Over The City (in the helicopter)\nThe endless city of Tokyo stretches out below. To the south a monstrous chicken is casually tearing the city to pieces.\n\nBeneath the helicopter, Cornbred Centigrade dangles by one leg.\n\n> Go west\nWith a touch of the joystick the helicopter thunders through the sky...\n\nHigh Above The Industrial Sector (in the helicopter)\nA thick layer of smog, belched from a thousand chimneys, hazes the industrial zone below the bobbing helicopter. Chickzilla continues her rampage to the south-east.\n\nBeneath the helicopter, Cornbred Centigrade dangles by one leg."
    },
    {
        "text": "[Themes: Satire, Screen, Kaiju, animals, violence, Japan]\n\n> Go downwards\nChemical Factory (in the helicopter)\nThree large tanks stand among the maze of pipes, drains, and chimneys that form the \"Doku Pharmaceuticals\" factory below. Noxious fumes of bright orange gas swirl from a huge bubbling vat, enveloping the helicopter.\n\nBeneath the helicopter, Cornbred Centigrade dangles by one leg."
    },
    {
        "text": "[Themes: Screen, Kaiju, Satire, aircraft, movie, animals, Japan]\n\n> Look around\nPlease give one of the answers above.\n\n> Xyzzy\nOur hero's grasp of the Japanese language is obviously poor!\n\n> Wave\nThat is so uncool!\n\n> Sleep\nA fat elbow from the next seat prods you awake. You must have been snoring.\n\n> Undress\nIf you wanted porn' you should have gone next door to \"Dierdre Does Dalmations\".\n\n> Sing\nOur hero prefers to laugh in the face of danger.\n\n> Laugh\nOur hero would laugh in the face of danger - \"Haha!\", only it's not cool.\n\n> You jump\nLaunching himself from the helicopter, our hero tumbles into the vat below. Moments later he explodes out again a thousand times larger than before! Chickzilla looks up from her destruction, turns deathly pale and drops an egg. She shrieks, turns turkey, and flutters back to disappear into the bay from where she came, dragging the beautiful reporter to a watery grave. Our hero gives a studly smirk. Shifting his weight, he inadvertently topples a building. He looks thoughtfully at the rubble, then experimentally pushes another. As it crumbles, a silly smile spreads over his face. He starts stomping other structures, slowly at first, but with increasing enthusiasm. As the credits roll, out hero is dancing, kicking, and jumping, merrily flattening Tokyo.\n\n* * * * *\n\nAs the lights come back on and the audience gets up to leave you can't help wondering at the strange ending. Why couldn't the hero save his love interest and conquer Chickzilla?\n\nMaybe if you sat through the next showing it would all become clear.\n\nOr maybe next time around things would go differently...\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, read game INFO, or QUIT?\n\n> Y.\n* * * * *\n\nThe light outside is dazzling.\n\nA surly usher in a shiny waistcoat pretends to smile as you walk past,\n\ndown the stairs,\n\nand back into the real world..."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\nIn April, three months after you bought the house, the snow finally melts and for the first time you see how your new garden really looks like. It's not that bad, actually; you probably don't need to do much to make it look really nice. Armed with a to-do list and an upbeat attitude you go to work.\n\nThis game is free software. See LICENSE for details.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond. Flowers are already in full bloom in the flower bed and there's an empty patch ready for vegetables. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n[Author's Note: A down-on-his-luck commoner has been hired to clean the tower of the wizard Morkenmindan. Spring Cleaning was written as part of Spring 'Speed' IF during the last week of March, 2008. I say 'speed' because this game took something like 10 hours to write, which is still pretty speedy, really, as far as these things go. Dedicated to the memory of E. Gary Gygax.]\n\n> You examine the pond\nThe pond is small but very beautiful..\n\n> Drink pond\nNo water, no thank you. No, fish make love in it.\n\n> Inventory\nYou're carrying a to-do list, a gold fish in a plastic bag, and some tomato seeds.\n\n> Xyzzy\nMaybe in some fantastic realm a garden would take care of itself with appropriately chosen magic words. Unfortunately this is not one of those realms.\n\n> You read the list\nIt's a list of things that are easy to do to get you started:\n\n- Plant the tomatoes\n- Put the fish in the pond\n- Water the lawn\n\n> You examine the flower bed\nThe flowers are petunias and poppies, you guess. At the moment there seem to be much more weeds than flowers in the flower bed.\n\n> You put the fish in the pond\nThe fish leaps from the plastic bag into the pond and starts to swim around in circles. In the spur of the moment you decide to name it \"Wensleydale\".\n\n> You look at the list\nIt's a list of things that are easy to do to get you started:\n\n- Plant the tomatoes\n- Put the fish in the pond (done!)\n- Water the lawn\n\n> You get the weeds\nYou get on your knees and pull each weed carefully out around the flowers. It takes a good thirty minutes, but the result looks really nice. Never mind the aching fingers.\n\n> You examine the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes\n- Put the fish in the pond (done!)\n- Water the lawn\n\n> Plant seeds\nYou throw the tomato seeds evenly on the vegetable patch and spread some soil over them. That was easy.\n\n> You look at the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes (done!)\n- Put the fish in the pond (done!)\n- Water the lawn\n\n> You look at the hydrant\nIt's basically a pipe with a valve on it. The mouth part has a connection where a hose can be attached.\n\n> You open valve\nYou turn the valve and let some water pour out before you turn it off again. Looks like it works."
    },
    {
        "text": "> Look around\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond where Wensleydale is splashing around. Flowers are already in full bloom in the flower bed - now without any weeds - and the tomatoes are growing in the vegetable patch. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n> You open the shed\nLet's not make things too hard, eh? Just GO INSIDE.\n\n> You go inside\nYou go inside the garden shed.\n\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nAn orange garden hose is hanging from a holder in the wall.\n\n> You take the hose\nOn closer inspection it's not newspaper after all but pages torn from books. From Jack Mills pocket books, to be precise.\n\nTaken.\n\n> You read the pages\n\"The slammer was a depressing mixture of displeasing white and uncaring gray. I walked past the empty cells listening to the steady click-clack of my steps echoing from the walls. In the last cell I found Professor Humphrey...\"\n\nNo wonder someone wanted to plaster it on the walls.\n\n> You examine the junk\nThe boxes are full of various junk, some related to gardening and some not. None of them are originally yours, the previous owner left them here for you to take care of.\n\n> Go outside\nThis dangerous act would achieve little.\n\nYou return to the garden.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond where Wensleydale is splashing around. Flowers are already in full bloom in the flower bed - now without any weeds - and the tomatoes are growing in the vegetable patch. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n> You attach the hose to the hydrant\nWith some effort you screw the other end of the hose to the hydrant.\n\n> You open valve\nYou carefully hose the entire lawn and turn the water off when you're done. In your eyes the grass is already looking much greener!\n\nWell, that was the last chore and everything is now done! Looks like you are better at this than you even imagined!\n\nNo, wait, what's that mound right in the middle of the garden? Ugh, it's a molehill. Better hose the bugger out while you're at it before the entire garden gets full of those.\n\n> You look at the molehill\nIt's a small pile of dirt.\n\n> Hose molehill\nIt wouldn't help just to wash the mound away. You need to flood the tunnels.\n\n> You put the hose in the molehill\nYou tuck the end of the hose inside the mole hill.\n\n> You open valve\nYou approach the hydrant and see a little cuddly bunny by the shed. \"Oh, how delightful!\" you exclaim. The bunny scurries away.\n\nYou turn the valve and a spray of water from the hose soaks you through. You cut the water quickly. The bunny must've had a taste of the hose.\n\nBother.\n\n> You look at the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes (done!)\n- Put the fish in the pond (done!)\n- Water the lawn (done!)\n\n> You look at the molehill\nIt's a small pile of dirt. The other end of the hose is tucked inside.\n\n> Go inside\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nNow let's see... There, right on top of a box, is a roll of silvery duct tape.\n\n> You take tape\nTaken.\n\n> You go outside\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nA lonely crow lands on the vegetable patch. It pecks around the soil for a bit, then two others arrive. They start digging and eating the tomato seeds.\n\n\"Hey! Get out of there, you little pests!\" you scream but the birds ignore you.\n\nBother.\n\n> You scare crows\nYou approach the vegetable patch and the crows fly off. They return right after you've moved two paces away.\n\n> Patch hose\nYou roll a few layers of tape arond the leaking spot. It looks like it could hold now.\n\n> You open valve\nYou turn the valve and water starts to flow underground. You decide to leave it on for a while, just to be sure.\n\n> Wait\nTime passes.\n\n> You pull the hose\nYou are unable to.\n\n> You take the hose\nYou're carrying a to-do list.\n\nIt should stay until the mole is thoroughly hosed out.\n\n> Wait\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nLet's see... Yes, there should be something useful here for this situation.\n\nYou can see a coverall and a rake here.\n\nTime passes.\n\n> You take all\ncoverall: Taken.\nrake: Taken.\n\n> Go outside\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nSome crows are eating away the tomato seeds you just planted.\n\nWhat the... The weeds have resurrected themselves and fill the flower bed again!\n\nGoddamnit.\n\n> You examine coverall\nIt's a smallish dark green coverall. It has seen a lot of use.\n\n> You put the coverall on rake\nYou put the rake inside the coverall to support it and you have yourself a makeshift scarecrow. Hopefully it works.\n\n> You drop the scarecrow\nYou stick the scarecrow in the middle of the vegetable patch. The crows fly away and - they aren't returning! Hooray!\n\nThe scarecrow is already here.\n\n> You take the weeds\nYou pull one weed out and sigh. This is never going to work without heavier armament.\n\n> You check what you're carrying\nYou're carrying a to-do list.\n\n> Go inside\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nThere in the corner is a bright red bottle of herbicide with a skull printed on it. Excellent.\n\n> You take the herbicide\nTaken.\n\n> You drink the herbicide\nYes, that would probably be a good way to get rid of unwanted intestines.\n\n> You read it\n\"Do not consume. Extremely corrosive. Blah blah blah.\"\n\n> Go outside\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nYou hear Wensleydale splash about in the pond.\n\n> You pour herbicide on the weed\n(the weeds)\nYou pop the cap from the weedkiller that greets you with a gust of poisonous fumes. \"Ha! Ha! HA! HAHA! HA!\" you scream as you pour the stuff on those demonic parasites. Let's see them come back to life now!\n\nThe weeds die spectacularly, whithering as soon as the herbicide hits them. War is not without casualities, as you soon find out - the flowers can't take the heat and they turn into shriveled mounds of organic mass.\n\nYou look at the flower bed and muse your Pyrrhic victory.\n\n> You examine the flowers\nThe flowers are petunias and poppies, you guess.\n\nWensleydale splashes the water again, a bit louder this time.\n\n> You examine the pond\nHngaah! It's not Wensleydale that's splashing but the neighbour's cat who's trying to catch him! Shoo, cat, shoo!\n\nF%#?!\n\n> You take the cat\n\"Here, pus pus pus...\"\n\nYou approach the cat, trying to grab it to carry it away from the pond. She sees you approaching, hisses, and makes a daring leap towards you.\n\nShe lands straight on your face and takes hold with all four legs. The beast drives its claws in the neck and the back of your head. \"Mmmph hmmh mph!\" you swear.\n\n> You throw cat\nYou would, but mouse-breath is still facehugging you.\n\n> You hit the cat\nYou wave your arms in the general direction of your face (where the cat is), but it just makes the furry assailant to grab a tighter hold.\n\n> You take the cat\nTechnically, you already have her.\n\n> You go inside\nHow? The feline abdomination has blindfolded you with her own furry body.\n\n> Kiss cat\n\"NO!\" the cat yells and claws at your right ear. (It might've also been \"meow\".)\n\n> You jump\n\"Meow,\" the cat says as you struggle to get free.\n\n> You jump\n\"Mhbh!\" you exclaim when your attempts are buggered by the blinding grasp of the beast.\n\n> You jump\nYou stumble and nearly lose balance when the cat scratches you again.\n\n> You jump\n\"NO!\" the cat yells and claws at your left ear. (It might've also been \"meow\".)\n\n> You pull the cat\nYou take a good grip of the little bastard and yank her out of your face. Her final loot is a bunch of hair and a good amount of freshly scraped skin. The cat jumps on the ground and runs off.\n\nYou glance at the vegetable patch where the crows are back, with a couple of friends of theirs. It looks as if a some  of them are actually laughing at the scarecrow. Laughing. At the scarecrow. Laughing.\n\nYou don't say anything. Your left eye twitches.\n\n> You go inside\nYou go inside the garden shed again.\n\nThe dark and rotting shed is just about as awful as you can imagine. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nThere has to be something here yet that will save the day! Has to be something!\n\n> You search the junk\nYou rummage through the boxes, trying to find some magic tool that will make all go better. There is nothing there."
    },
    {
        "text": "> You look around\nThe dark and rotting shed is just about as awful as you can imagine. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\n> Go outside\nYou sigh and return to the garden.\n\nIt's the garden of pain. The fish is hopefully still alive, the flowers most certainly are not. It's doubtful if there are any seeds left in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and it runs inside the molehill.\n\nSome crows are eating away the tomato seeds you just planted.\n\nThe ground erupts into four or five geysirs, sprouting water from the underground mole tunnels.\n\nThe bunny returns and chews on the remaining flora.\n\nThe cat is back prowling about for Wensleydale by the pond.\n\n***\n\nYou close your eyes.\n\n> You wake up\nThat's very hard to do with eyes closed.\n\n> Close valve\nIt should stay until the mole is thoroughly hosed out.\n\n> You open eyes\nYou open your eyes and behold! A paradise unfolds in front of your eyes! The flowers are blooming, the grass is a gleaming green carpet where butterflies chase each other and stop only to rest in sparkling waters of a beautiful yard pond. It is the perfect embodiment of a spring garden.\n\n\"You have a very beautiful garden, Mrs. Salines,\" you tell your next door neighbour who is watering her petunias on the other side of the fence. \"WHY DOES MINE LOOK LIKE THE AFTERMATH OF A CARPET BOMBING?\" You can feel your blood pressure throbbing a vein in your forehead.\n\nMrs. Salines laughs jovially. \"My dear, you just need a bit of patience! You can't expect perfect results right away,\" she tells you. \"Come, I'll make us some tea and then we'll go have a look at your garden.\"\n\nYou feel a bit better.\n\n(For more information about this game, type ABOUT.)\n\nBefore you, to the north, stands Morkenmindan's Mediocre Manor.\nYou've been hired to clean up the place; if the condition of the building is any indication, you should get started as quickly as possible.\n\nA slovenly trull walks past.\n\n> About you\nYou're Bellylad Barrelhouse. When your parents were killed by a rampaging housecat, you and your brother Gutboy set off in search of adventure. Now he's famous and you're stuck as a common labourer.\nBut it could be worse; at least you're not a saucy tart.\n\n> You go to the north\nFirst impressions are very important, so foyers are often the grandest rooms in a building. If this is the most impressive room in the manor, then you've got a long, long day ahead of you. Open archways stand to the north, west, and east.\n\nYou can see a sack of gobbling, a pile of old newspapers and a letter here.\n\n> You read the letter\nGet rid of all this junk. Toss it all into the sack of gobbling\n(mind your fingers.)\n\nThere's a couple of shiny silvers in it for you.\n\n> You examine the newspapers\nA heap of old newspapers, most apparently never read. It's junk.\n\n> You put it in the sack\nYou manage to stuff the pile of old newspapers into the sack, which makes a strange NOM NOM NOM sound, and then belches. It seems to be empty again."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> You look around\nFirst impressions are very important, so foyers are often the grandest rooms in a building. If this is the most impressive room in the manor, then you've got a long, long day ahead of you. Open archways stand to the north, west, and east.\n\nYou can see a letter here.\n\n> You go north\nThe kitchen is monumentally filthy. You look for some place to start -- a grubby teacup to pour down the sink, perhaps -- but give up in despair. An archway to the south affords you an escape from the stench. There's also a door to a pantry or something, to the east.\n\nYou can see a spatula and a stack of dishes here.\n\n> You examine the dishes\nAt one point, in the prehistoric past, these dishes were probably pretty nice. Now they look like they could provide a clear picture of Morkenmindan's diet for the last twenty years by way of a core sample. They're junk.\n\n> You put the dishes in the sack\nYou manage to stuff the stack of dishes into the sack, which makes a strange NOM NOM NOM sound, and then belches. It seems to be empty again."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe kitchen is monumentally filthy. You look for some place to start -- a grubby teacup to pour down the sink, perhaps -- but give up in despair. An archway to the south affords you an escape from the stench. There's also a door to a pantry or something, to the east.\n\n> You open the door\nIt seems to be locked.\n\nIt seems to be locked.\n\n> Go east\nYou recognize the peculiar odour of the dreaded cockatrice as soon as you enter. There don't seem to be any around at the moment, though. The foyer's back to the west.\n\nYou can see a statue here.\n\n> You look at the statue\nSeems like this poor fellow came into unfortunate contact with a cockatrice. Must have been some time ago, as his nose seems to have eroded right off, and most of his fingers are snapped off. It's a big chunk of junk.\n\n> You take the statue\nIt must weigh a ton! Maybe some bar-bending, gate-lifting goon could carry it, but not you.\n\n> You put the sack on the statue\nYou slip the sack over the statue's head. The sack, slowly but surely, devours it from head to toe, making horrible grinding GRGRRNOOoOOMGRGG noises all the while. At last, it is done, and rests, momentarily satiated, on the floor."
    },
    {
        "text": "> You look at your surroundings\nYou recognize the peculiar odour of the dreaded cockatrice as soon as you enter. There don't seem to be any around at the moment, though. The foyer's back to the west.\n\n> Go west\nFirst impressions are very important, so foyers are often the grandest rooms in a building. If this is the most impressive room in the manor, then you've got a long, long day ahead of you. Open archways stand to the north, west, and east.\n\n> You go to the west\nThis smallish room is filled by a staircase which leads up to... well, nowhere, actually. Its only purpose is to entrap intruders, which it seems to have done with lethal efficiency. They must have entered from the east.\n\nYou can see some gory remains here.\n\n> You take the remains\nYou scoop up the gory remains, eventually, with the spatula.\n\n> You look at what you're carrying with you\nYou are carrying:\na spatula full of gory remains\na sack of gobbling\na letter\n\n> You eat the spatula\nEwww. Leave that to the sack.\n\n> You put spatula in the sack\nYou manage to stuff the spatula full of gory remains into the sack, which makes a strange NOM NOM NOM sound, and then belches. It seems to be empty again.\n\n> You check what you're carrying\nYou are carrying:\na sack of gobbling\na letter\n\nThe sack begins to shake terribly. With a violent shudder, it suddenly coughs up a small object, which lands on the floor nearby."
    },
    {
        "text": "> Look around\nThis smallish room is filled by a staircase which leads up to... well, nowhere, actually. Its only purpose is to entrap intruders, which it seems to have done with lethal efficiency. They must have entered from the east.\n\nYou can see an electrum key here.\n\n> You unlock the door with the electrum key\nYou unlock the pantry door.\n\n> You open the door\nYou open the pantry door.\n\n> You go east\nIt seems slightly cleaner up here; maybe Morkenmindan is too lazy to lug a bunch of garbage up the stairs. The \"pantry\" door is to the west; the rest of the floor is to the south.\n\n> You go south\nEgads -- any notions you might have had that this floor would be easier to clean than the one below have been completely shattered. There are bottles and vials everywhere, probably full of the most dangerous poisons known.\n\nYou can see a cauldron here.\n\n> You look in the cauldron\nThis immense cast-iron cauldron is big enough to take a bath in. It's perched somewhat precariously on its three small legs. It's full of a roiling mixture of alchemical reagents, half-dissolved pieces of monster, and other noxious goo. It's bio-hazardous junk.\n\n> You take the cauldron\nIt must weigh two tons! Maybe a couple of bar-bending, gate-lifting goons could carry it, but not you.\n\n> You pour the cauldron in the sack\nAs carefully as you can, you tip the cauldron a bit and start pouring its contents into the gaping maw of the sack of gobbling. It seems to quaff down the horrible mixture with relish. As it finishes, you lose your grip on the cauldron and it crashes to the floor. Behind it you see a couple of potions that had previously escaped your notice.\n\nYou hear the front door of the tower open.\n\n> You get all\npotion of debigulization: Taken.\npotion of embiggening: Taken.\nempty cauldron: It still must weigh two tons! Maybe a couple of bar-bending, gate-lifting goons could carry it, but not you.\n\n> You look at the embiggening\nThis potion bottle contains a swirling red liquid. It is labelled \"EMBIGGENING\".\n\nYou hear the front door slam shut.\n\n> You go north\nIt seems slightly cleaner up here; maybe Morkenmindan is too lazy to lug a bunch of garbage up the stairs. The \"pantry\" door is to the west; the rest of the floor is to the south.\n\n> Go west\nThe kitchen is monumentally filthy. You look for some place to start -- a grubby teacup to pour down the sink, perhaps -- but give up in despair. An archway to the south affords you an escape from the stench. There's also a door to a pantry or something, to the east.\n\nYou see Morkenmindan walk into the kitchen.\n\nMorkenmindan says to you, \"I suppose, Bellylad, that my Manor is in slightly better condition than when I left this morning.\" He reaches into a hidden pocket in his robe. \"As promised, your just reward,\" he says as he drops a couple of silver pieces into your hand. \"Try not to spend them all in one place.\"\n\n> Drink debigulization\nYou quaff the potion and find the room, and everything in it, growing rapidly! Or perhaps you're just getting smaller. Much smaller. You drop everything you're holding and soon find yourself looking up at your former possessions.\n\nYou hear someone moving through the kitchen.\n\n> Go west\nIt would take you forever to walk anywhere because you're so small.\n\nYou hear someone ascending the staircase.\n\nMorkenmindan strolls around, examining the effectiveness of your cleaning. Unfortunately for you, he crushes you underfoot without even noticing.\""
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nEgads -- any notions you might have had that this floor would be easier to clean than the one below have been completely shattered. There are bottles and vials everywhere, probably full of the most dangerous poisons known.\n\nYou can see an empty cauldron here.\n\n> You look at the cauldron\nThe cauldron now lies on its side, emitting a thin wisp of vapour.\n\nYou hear someone moving through the kitchen.\n\n> You put the bottle in the sack\nWhich do you mean, the potion of embiggening or the potion of debigulization?\n\n> Embiggening\nYou feed the potion to the sack, and suddenly it is growing larger; soon it is too large to even hold on to.\n\nYou hear someone ascending the staircase.\n\n> You put the sack on the cauldron\nYou need to be holding the sack of gobbling before you can put it on top of something else.\n\nMorkenmindan enters his laboratory.\n\nMorkenmindan says to you, \"I suppose, Bellylad, that my Manor is in slightly better condition than when I left this morning.\" He reaches into a hidden pocket in his robe. \"As promised, your just reward,\" he says as he drops a couple of silver pieces into your hand. \"Try not to spend them all in one place.\"\n\n> You get the sack\nTaken.\n\nMorkenmindan enters his laboratory.\n\nMorkenmindan says to you, \"I suppose, Bellylad, that my Manor is in slightly better condition than when I left this morning.\" He reaches into a hidden pocket in his robe. \"As promised, your just reward,\" he says as he drops a couple of silver pieces into your hand. \"Try not to spend them all in one place.\""
    },
    {
        "text": "> Look around\nEgads -- any notions you might have had that this floor would be easier to clean than the one below have been completely shattered. There are bottles and vials everywhere, probably full of the most dangerous poisons known.\n\nYou can see an empty cauldron here.\n\nYou hear the front door slam shut.\n\n> Drink embiggening\nYou quaff the potion and find the room, and everything in it, shrinking rapidly! Or perhaps you're just getting larger. Much larger. Your body soon crushes everything else in the room, and you're barely able to move.\n\nWhen Morkenmindan finds you, he is impressed by neither your length nor your girth.\n\n> You put embiggening in the sack\nYou feed the potion to the sack, and suddenly it is growing larger; soon it is too large to even hold on to.\n\n> You enter sack\nThis place is eerily dark, and you feel surrounded by countless teeth.\n\nYou can see a tunnel of light here.\n\nThe walls of the sack begin to tremor unnervingly.\n\n> You enter the tunnel\nYou enter the circle of light in the nick of time, as the sack finishes constricting around you. You feel yourself falling for a moment into the light, and then find yourself in...\n\nSunlight gently illuminates the grassy meadows, verdant forests, and sparkling brooks of this idyllic paradise.\n\nAwww... some jerk has dumped a bunch of garbage all over the place here. You suppose, as you begin to clean up the place, that there's no escaping destiny...\n\n> You wait\nTime passes.\n\nThe sack is beginning to constrict around you.\n\n> You wait\nTime passes.\n\nThe sack has constricted so much it is difficult to move.\n\n> You wait\nTime passes.\n\nThe sack has gobbled you up."
    },
    {
        "text": "[Themes: Slice of life]\n\n\"Chicken sexing is a delicate art, requiring Zen-like concentration and a brain surgeon's dexterity. The bird is cradled in the left hand and given a gentle squeeze that causes it to evacuate its intestines... With his thumb and forefinger, the sexer flips the bird over and parts a small flap on its hindquarters to expose the cloaca, a tiny vent where both the genitals and anus are situated, and peers deep inside.\"\n\nJoshua Foer - \"Moonwalking with Einstein\"\n\nAnother day, another farmer in need of assistance. If it weren't for people like you, the entire American agricultural sector would've gone bankrupt years ago.\n\nYou adjust your tie as you step out of the helicopter. Time to get to work.\n\nType ABOUT or HELP for some basic information about the game, as\nwell as a hint menu.\n\nPiles of hay everywhere. A soft layer of sawdust covers the floor, and makes moving around feel like walking through coarse sand. The sun shines through the slits between the planks, causing crisscrossing rays of light to illuminate the dusty air.\n\nIn the middle of the room is a large wooden table, on which a baby chick is currently trying to hide between its own tiny wings.\n\nThe farmer stands by the gate to the south, waiting for you to do your job.\n\nYour job is to sex the chicken.\n\n[Author's Note: \"With his thumb and forefinger, the sexer flips the bird over and parts a small flap on its hindquarters to expose the cloaca, a tiny vent where both the genitals and anus are situated, and peers deep inside.\" Joshua Foer - \"Moonwalking with Einstein\"]\n\n> Sex the farmer\nHe is either male, or a very convincing transvestite. Your training only covered chickens.\n\n> Sex chick\n\"Hold it right there, buddy,\" says the farmer. \"I ain't lettin' you touch my chickens, until you've shown me you're qualified.\"\n\n> You look at the chick\nA chicken of indeterminate gender.\n\n> You sex yourself\nYour powers only work on chickens.\n\nYou're feeling jittery.\n\n> About yourself\nYou're male.\n\n> You check your inventory\nYou are carrying:\na certificate from the Zen-Nippon school of chick sexing\n\n> You read the certificate\nAs one of the first Americans to be certified in the Japanese art of chick sexing, you proudly carry this certificate.\n\n> You show the certificate to the farmer\nThe farmer reads the certificate and snorts. \"Zen-Nippon school, eh? Well ain't that just swell. Okay, buddy, show me what you've got.\"\n\n> Sex chick\nThe chicken is too nervous. You need to make it calm down before you can do an accurate sexing.\n\n> Pet chick\n\"There, there,\" you say, in the soothing voice you have spent years perfecting. \"It'll be over in a second.\"\n\nThe chicken peeks out from beneath its wings. After a while, it seems to decide that you aren't so dangerous after all, and emerges completely. It looks up at you with big innocent eyes.\n\n> You hug chick\nKeep your mind on the game.\n\n> You squeeze chick\nKeep your hands to yourself.\n\n> Sex chick\nYou carefully pick up the chicken with your expertly trimmed fingernails, and inspect its cloaca. In simple cases, the cloaca contains a small bead, the shape of which determines the gender. This is not one of those cases. To almost everyone in the world this would be just another chicken cloaca. To you, it's clearly male.\n\nNow that you know his gender, he somehow seems more like an individual. You almost feel like you should name the chicken something.\n\n> Name chick male\nYou decide to think of the chicken as \"Male\".\n\n> Next chick\nMost connecting and comparative words are not necessary.\n\nRetrying as:\n>CHICK\n\nType UNDO if this isn't what you wanted to do, or CORRECT OFF to stop automatically correcting commands.\n\nTo stop these messages entirely, type NOVICE OFF.\n\nA male chicken.\n\n> Chick\nA male chicken.\n\n> You give Male to the farmer\n(first taking Male)\nThe farmer is watching you carefully. There is no way you can take Male without being noticed.\n\n> You tell the farmer about Male\n[Use TALK TO to interact with characters.]\n\n> You talk to the farmer\n\"That didn't take long,\" says the farmer, and eyes you suspiciously. \"Which is it then: Male or female?\"\n\nregardless? If it turns out to be male, I'm sure it'll be of use elsewhere...\n\n> 1\nThe farmer smiles, revealing rows of yellow teeth. \"I guess ya won't be givin' me any eggs, will ya?\" He picks up Male from the table, and turns towards you. \"Let's get to work. Plenty more where that came from.\"\n\nWith that, he throws the gate wide open, and leaves the barn. You try not to think about Male. It's just a chicken, after all. Plenty more where that came from.\n\n> 2\nThe farmer looks disappointed. \"Really? I coulda sworn it had the swagger of a cockerel. Well, I guess ya'll be givin' me plenty of eggs, little chicken.\" He picks up Male from the table, and turns towards you. \"Let's get to work. Plenty more where that came from.\"\n\nWith that, he throws the gate wide open, and leaves the barn.\n\nYou think about Male, and smile. It'll be several weeks at least before the secondary sex characteristics start becoming apparent, even to the untrained eye of the farmer. Several weeks of life for little Male. Not much, but better than nothing.\n\n> 3\n\"Hahahaha.\" The farmer laughs and drops of spittle land on your face. \"You sure are a funny guy, buddy. Now, which is it: Male or female?\"\n\n> You go north\nCredits\nHints\n\n> Go north\n> Credits\nHints\nWriting and coding by Simon Christiansen.\n\nTesting done by Pippin Barr, Douglas Wilson and Marius M\u00c3\u00bcller.\n\nFeedback can be sent to SimonChris1729@gmail.com.\n\nInstructions for Play\n> Credits\nHints\n\n> You wait\nTime passes.\n\n> You keep going\nTime passes.\n\nYou're feeling jittery.\n\n> You wait four days\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>WAIT\n\nType UNDO if this isn't what you wanted to do, or CORRECT OFF to stop automatically correcting commands.\n\nTo stop these messages entirely, type NOVICE OFF.\n\nTime passes.\n\n> Go north\nCredits\nHints\n> About Interactive Fiction\nWhat to do with >\nGetting Started\nRooms and Travel\nObjects\nControlling the Game\nHow the World is Assembled\nIf You Get Stuck\n\n> Go north\nThe farmer won't let me sex the chicken.\n> How do I get the chicken to calm down?\nHow do I save the chicken?\n\n> You go north\nThe farmer won't let me sex the chicken.\nHow do I get the chicken to calm down?\n> How do I save the chicken?\n\n1/7: The farmer doesn't want male chickens.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\nThe farmer won't let me sex the chicken.\nHow do I get the chicken to calm down?\n> How do I save the chicken?\n\n1/7: The farmer doesn't want male chickens.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\nThe farmer won't let me sex the chicken.\nHow do I get the chicken to calm down?\n> How do I save the chicken?\n\n1/7: The farmer doesn't want male chickens.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> Name chick herbert\nYou decide to think of the chicken as \"Herbert\".\n\n> You kill the farmer\nYou consider trying to take down the farmer for Herbert's sake, but decide against it. He looks much stronger than you.\n\nYou look at Herbert, and imagine that you see a flash of anger in his eyes. Your mind must be playing tricks on you.\n\n> Sic em\n[Use TALK TO to interact with characters.]\n\n> You talk to Herbert\nYou already made him calm down. Having an actual conversation is a bit beyond your skills.\n\n> You take Herbert\nThe farmer is watching you carefully. There is no way you can take Herbert without being noticed.\n\n> Pet herbert\nYou gently caress the feathers of Herbert. He doesn't seem to mind.\n\n> Name farmer adolf\nYou only name chickens.\n\n> You take the sawdust\nIt's just sawdust.\n\n> You examine the planks\nThe barn is composed of old-fashioned wooden planks.\n\n> You examine the gate\nA large pair of wooden doors block the exit from the barn.\n\n> You throw sawdust at the farmer\n(first taking the sawdust)\nIt's just sawdust.\n\n> You look at the table\nA sturdy wooden table.\n\nOn the table is Herbert.\n\n> You hit farmer\n\"Herbert,\" you say with a confident voice. You raise your finger and point at the farmer: \"Attack!\".\n\nHerbert slowly stands up, looking like he might fall over at any moment. Then, almost faster than the eye can follow, he launches himself off the table, gliding through the air like a flying squirrel, towards the farmer. He lands on the farmers face and pecks at the eyes, furiously.\n\nThe farmer drops to his knees and screams. \"Aaargghhh! Not my vitreous humor! Get off me!\" He rips Herbert off his face and throws him at you. \"You're insane, both of you! Take that damn chicken and get off my farm!\n\nYou catch Herbert in your outstretched hand. \"You're the boss,\" you say to the farmer, and shrug. The sunlight caresses your face, as you step outside. It's going to be a wonderful day.\n\nYou are never hired as a chicken sexer again, but that's okay. You have Herbert, and all the other chickens you manage to rescue during the next years. The neighbors start avoiding your house. They tell stories about the crazy chicken person, who lives in a house full of chickens, and talks to them all day long. It's fine. Who cares what they think?"
    },
    {
        "text": "[Themes: Horror, Science Fiction, horror, sea, amnesia, beach, unreliable narrator, mystery, ocean]\n\n\"All that would be left was his footprints, heading into the\nsea.\"\n\nYou're master of your own destiny, Larry Wyndham. Another day,\nanother dollar, Larry Wyndham. And above all remember: Time and tide wait for no man. You aren't just a drunk beachcomber - you\nare Larry Wyndham the drunk beachcomber. What you need, the sea shall provide. Eventually. You hope.\nAs you stumble into your shack, your body covered in sweat and\nyour mind reeling, you don't have much time to take in your surroundings before you collapse. The last coherent thing that occurs to you is \"Hey, since when do I own a\u2026\"\n\nCreated by Ethan Rupp & Joshua Rupp.\n\nYou wake up with the smell of the sea in your nostrils. You are\nlying on your damp cot, and outside you can hear the wind grinding against the weak walls of your shack. As your eyes focus, you take in your surroundings: The only light in the one room shack comes from a waxy window. There is a simple dresser missing one leg in the corner; on top of the dresser is a grey glass fish bowl. You are fully dressed in a white t-shirt and dirty green pants. You can't remember going to bed last night; you must have collapsed on the cot like this.\n\n[Author's Note: You are a beachcomber living by the shore. Today, you wake to find an empty fish bowl in your home, and don't remember how it got there. You try to piece your memory back together, but soon learn what the old maps meant: Here there be monsters.]\n\n> You examine the bowl\nIt's an empty grey glass fish bowl, slightly dusty on the inside. You can't for the life of you remember how you got it or, for that matter, why you put it here.\n\n> You look at the dresser\nIt's a simple dresser missing one leg. It has one drawer. On top of\nthe dresser rests a grey glass Fish Bowl.\n\n> You open the drawer\nYou should get up first.\n\n> You get up\nYou get off the cot.\n\nthe shack. The only light in the one room shack comes from a waxy window. There is a simple dresser missing one leg in the corner; on\ntop of the dresser is a grey glass fish bowl.\n\nYou can see your shack door here.\n\n> You open the drawer\nYou open the drawer, revealing a paperback book.\n\n> Examine book\nIt is a book of sea legends. On the cover is a woodcut illustration of a sea monster, mostly hidden underwater, wrapping its tentacles around an old sailing ship.\n\n> About yourself\nLarry Wyndam, beachcomber.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour clothes (being worn)\ncanvas sneakers (being worn)\n\n> You read the book\n(first taking the paperback book)\nYou flip through the book; most of the stories are about\nadventurous exploits at sea, although there are a few concerning sightings of mysterious beasts and strange encounters. A section has been underlined in the middle of the book: \"\u2026the ship was found\nadrift, completely abandoned. The rigging was intact, and the ship's stores were filled. The sail flapped slowly in the wind. There was no sign of the crew, or hint as to why they had disappeared.\" Peculiar. Did you underline that? Maybe while \"celebrating.\"\n\n> You examine the cot\nIt's a thin foam mattress lying on a long box. The loose yellow sheets are always damp from the sea air.\n\n> You look at the door\nThe door is a piece of plywood on a hinge. The lock is a rope tied around a nail on the inside.\n\n> You go outside\n(that is, outside)\nYou must open the door first.\n\n> You open the door\nYou open the door. A cool sea breeze touches your sweating skin.\n\n> Leave\n(that is, outside)\nYou reach for the door.\n\n...CAN YOU don't I don't HEAR ME???!!!going down, we're goingISEEYOUunderneath, circlingunderneathTHEBEASTthebeastcirclingunderneathMURDERERnot,\namnot, amnot, amKILLEDicanseeHEARME?circlingunderneath.\n\nYou clutch your forehead. What was that?\n\n> You take Bowl\nIt is not wrong to carry around a fish bowl. You would be\nbreaking no laws. On the other hand, because one can do a\nthing does not mean one should do a thing. You decide to\nleave it where it is.\n\n> You look in Bowl\nThe Fish Bowl is empty.\n\n> You wear Bowl\n(first taking the Fish Bowl)\nIt is not wrong to carry around a fish bowl. You would be\nbreaking no laws. On the other hand, because one can do a\nthing does not mean one should do a thing. You decide to\nleave it where it is.\n\n> Leave\n(that is, outside)\nYou step out onto the cold sand.\n\nYour rubber boots are next to the rock that serves as your front step. Around the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean. There's a peculiar smell here.\n\nYou can see your shack door, your rubber boots, a bucket (empty) and a shovel here.\n\n> Smell\nYou sniff a putrescence in the air. You breathe carefully, trying to winnow out its source. Soon, you find that it is coming from a dense clump of beach grass.\n\n> You look at the clump\nLong, dry, green-blue grass that shivers against the sides of the shack. The smell seems to be coming from within a large clump.\n\n> Search clump\nYou push some of the grass aside, revealing the moist carcass of a\ndead black cat. Blue-grey glimmering filaments of sticky rot\ncrisscross its matted black fur like a lattice. Its eyes are dull yellow, going white with accumulated pus. You gag at the repulsive smell.\n\n> You examine the cat\nThe moist carcass of a dead cat.\n\n> You take the shovel\nground. Dark, sticky fluid comes up with the blade and drips over your feet.\n\nYou focus your eyes. It's just trapped water from the wet sand.\n\n> You wear the boots\n(first taking the rubber boots)\nYou sit on the rock and pull the worn rubber boots on over your tattered canvas sneakers."
    },
    {
        "text": "> Look around\nAround the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean. A foul smell comes from the body of a dead cat.\n\nOn the grass is a dead cat.\n\nYou can also see your shack door and a bucket (empty) here.\n\n> Bury cat\nPrudent. First, you'll need a hole. You really will.\n\n> You dig the hole\nYou heft the shovel, wincing at your aching shoulder. You feel exhausted, as though you've already been digging all night.\n\nThe ground is strangely soft and spongy. You gouge dark clots of\nearth from the dampening sand and hum tunelessly to yourself. The hole begins to grow.\n\n> You dig the hole\nA gust of wind from the sea starts to blow away the rancid air.\nYou feel better outside, with the growl of the ocean at your back.\nThis reminds you of playing in the sandbox when you lived in ...\n\n... said that he no longer belonged aboard ship, and threw\nhimself over the side, quickly disappearing beneath the black water. God have mercy on him.\n\nYou have always lived here.\n\nThe soft ground almost hisses away from you, forming a puckered\ngrave. Inside shining beach insects wriggle into the walls.\n\n> You look at the insects\nThese are immature larvae of G. perigorea, from what you\nremember, but the bugs were more Gabriel's bag, and ...\nYou shake your head. You don't know how much you drank last\nnight, but you can't remember meeting anyone named Gabriel.\n\n> Bury cat\nYou shovel some dark sand over the body of the cat. Its tail and a stiff paw emerge from the ground like roots. The smell isn't as bad, now."
    },
    {
        "text": "[Themes: Horror, Science Fiction, beach]\n\n> Look around\nYou are standing outside a small, decrepit shack. Its walls are made\nof various kinds of scrounged woods, all cracking. The shack door is Open.\n\nYou can see your shack door and a bucket (empty) here.\n\n> You take the bucket\nIt must have rained last night. You pour out a stream of grey, sandy rain water.\n\nTaken.\n\n> Go north\nYou walk down to the shore. Yellow, strong-smelling foam is building\nup where the surf meets the land. A dead, dry fish lies on the sand. Sea water sparkles in its empty eye sockets. You see a bottle floating on the waves close to shore.\n\nYou can see a dead fish here.\n\n> You examine Fish\nA dead, dry fish, lying on the sand.\n\n> You examine bottle\nA blue glass bottle bobbing out in the ocean.\n\n> Swim\n(in the ocean)\nYou wade out into the dark water, until it comes a little over\nyour waist. You stand still, the cold water splashing against your chest.\n\nAs you stand there, you think about mermaids, creatures that\nalways terrified you when you were a child. You loathed the image of sickly pale human faces ploughing through the black waves. Even though they had human faces, their bodies were horrific - serpentine and hidden in the water like roots. A man would walk into the ocean\ntowards the face, and when he saw what it really was it would be too late.\n\nAll that would be left was his footprints, heading into the sea.\n\nThe Shore (in the ocean)\nYellow, strong-smelling foam is building up where the surf meets the land. A dead, dry fish lies on the sand. Sea water sparkles in its empty eye sockets. You see a bottle floating on the waves close to shore.\n\nYou can see a dead fish here.\n\nA corked bottle floats just out of your reach. Inside, you can see a scrap of wrinkled paper.\n\n> You take the bottle\nYou should never let a message from the sea get away. It could\nbe from someone in need of rescue. You reach for it. It bobs farther away, just out of your reach ...\n\n> You take the bottle\nYou wade after the bottle. The cold water reaches your chest.\n\nappendage. This tentacle resembles whatever the other entity\ndesires.\n\nSpecks of algae flitter through the black water. You\nhad not noticed before how much the ocean, when you are in it, resembles space.\n\nnature is revealed.\n\nThe bottle sinks. You see it shimmer under the water.\nYou think you can still reach it if you hurry ...\n\n> You take the bottle\nYou reach into the darkness for the bottle. You face touches the\nwater. There is a voice in the bottle, and you can't remember the last time you spoke to someone. You reach. Your fingers touch something\nhard in the water.\n\nIt wraps around your hand.\n\nYou scream, pulling away. Whatever it is lets go. You stumble backwards, wading clumsily back into the shallow surf. Your face is cold with sweat. You wait for your heartbeat to slow.\n\nshore. Their slithering whispers almost sounds like a voice to you.\n\nTime and tide wait for no man, Larry Wyndham.\n\nBut they wait for me.\n\n> Go outside\nAs you turn to trudge out of the water, you feel something slide\npast your leg. You shudder. Probably just a fish a little too close inland.\n\nDamn, you seem to be missing something...\n\nYellow, strong-smelling foam is building up where the surf meets the land. A dead, dry fish lies on the sand. Sea water sparkles in its empty eye sockets.\n\nYou can see a dead fish here.\n\n> Inventory\nYou are carrying:\na bucket\nyour rubber boots (being worn)\na shovel\nyour clothes (being worn)\ncanvas sneakers (being worn)\n\n> You fill the bucket\n(with the ocean)\nYou can't do that here.\n\n> You take the water\n(the bucket)\nYou already have that.\n\n> You look at the bucket\nlip.\n\n> You take Fish\nYou reach for the fish.\n\n...i didn'tiSHOWMEWHEREit'ssocoldOPENcan'tholdontoOPENcan'tididn'tOPENcircli ngOPENcirclingbeneathOPEN!!!\n\nYou open your eyes. You are curled on the sand, your hands\nholding the sides of your head. You slowly stand up, your stomach rolling; greasy sweat is trickling down your arms.\n\nThere is a dead fish here.\n\n> Keep going\nYou carefully pick the fish up; for a moment it seems terribly\nheavy, like a large sack of potatoes, but the feeling passes and you lift it off the sand. You can feel its sharp, delicate bones beginning to protrude from the network of drying, putrid scales. You find the pugent smell strangely comforting.\n\nTaken.\n\n> You go north\nYou wade out into the dark water.\n\nThe Shore (in the ocean)\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> Go south\nYou trudge out of the water.\n\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> Go south\nAround the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean.\n\nYou can see your shack door here.\n\n> You look at glass\nPieces of glass glint in the sand. Some of the larger pieces come from broken bottles. You look affectionately at some of the more familiar pieces.\n\n> You go inside\nYou walk into your shack just as a male voice finishes leaving a message on your answering machine:\n\"... whatever it is. It's not him anymore. It's \u2026 an animal. We\nhave to decide. You know what I think we should do... what we\nhave to do. Will you help me? Please. Please, help me.\" There\nis a beep and the message ends. You stand in the doorway, confused.\n\nWait... what answering machine?\n\nYou walk into your shack just as a male voice finishes leaving a message on your answering machine:\n\"... whatever it is. It's not him anymore. It's \u2026 an animal. We\nhave to decide. You know what I think we should do... what we\nhave to do. Will you help me? Please. Please, help me.\" There\nis a beep and the message ends. You stand in the doorway, confused.\n\nWait... what answering machine?\n\nThis is a one room shack; the only light comes from a waxy\nwindow. There is a damp cot in the corner, and a simple dresser with one leg against the other wall. On top of the dresser is a grey glass fish bowl.\n\nThere is a small table next to the cot; on top of it is an\nanswering machine. A red light is blinking on the machine.\n\nOn the dresser is a waterlogged paperback book.\n\nYou can also see your shack door here.\n\n> You put dead Fish in Bowl\nYou carefully lower the dead fish into the fish bowl. Its\nemaciated form settles to the bottom with a bony scrape; through the foggy grey glass, it looks strangely vulnerable.\n\n> You examine the machine\nIt's a standard answering machine, which was most decidedly not\nthere when you left. You don't even have electricity, which leads you to wonder, as your eyes wander downwards ...\n\nYep. You don't have outlets, so it's not plugged in. Logical\nenough. Yet the message light is blinking ...\n\n> Play machine\nThe tape begins to play. There is a muted crackling noise, and\nthen the message starts:\n\"... You have no new messages. They have gone into the sea.\"\n\n> You wait a while\nTime passes."
    },
    {
        "text": "[Themes: Horror, Science Fiction, amnesia, sea, ocean, beach, horror]\n\n> Look around\nThis is a one room shack; the only light comes from a waxy\nwindow. There is a damp cot in the corner, and a simple dresser with one leg against the other wall. On top of the dresser is a grey glass fish bowl.\n\nThere is a small table next to the cot; on top of it is an\nanswering machine. The machine appears to be dead.\n\nOn the dresser is a waterlogged paperback book.\n\nYou can also see your shack door here.\n\n> You look at the book\nIt is a waterlogged book of sea legends. On the cover is a woodcut illustration of a sea monster, mostly hidden underwater, wrapping its tentacles around an old sailing ship.\n\n> You read it\n(first taking the waterlogged paperback book)\nThe book has been largely obliterated from being under water,\nbut one passage still stands out from the grimy paper:\n\n\"... he was found three days later, floating near the reef. Miraculously he still lived, and we pulled him aboard, even though he struggled against our attempts. He told us that he no longer belonged aboard ship. Though previously an able sailor, it was clear to us that his ordeal in the sea had taken his reason from him. We tried to restrain him, but he eluded us; standing on the bow of the ship, he said again that he no longer belonged aboard ship, and threw himself over the side, quickly disappearing beneath the black water. God have mercy on him.\"\n\nYou put the book down; sea water begins to ooze from its sides, only gradually slowing to a trickle.\n\n> You look at Bowl\nIt's an empty grey glass fish bowl, slightly dusty on the inside. You can't for the life of you remember how you got it or, for that matter, why you put it here.\n\nIn the Fish Bowl is a dead fish.\n\n> You examine dead Fish\nIt's emaciated form looks strangely vulnerable.\n\n> You pour the bucket into Bowl\nNo more water remains in the bucket.\n\n> You go outside\n(that is, outside)\nYou step out onto the cold sand.\n\nAround the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean.\n\nYou can see your shack door here.\n\n> You go to the north\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> You look at the foam\nYellow foam builds up on the shore.\n\n> You take the foam\nEr ... no.\n\n> You take the water\n(the bucket)\nYou already have that.\n\n> You fill the bucket\n(with the ocean)\nYou can't do that here.\n\n> You go north\nYou wade out into the dark water.\n\nThe Shore (in the ocean)\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> You fill bucket\n(with the ocean)\nYou fill the bucket up with water from the ocean.\n\n> Go south\nYou trudge out of the water.\n\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> Go south\nAround the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean.\n\nYou can see your shack door here.\n\n> You pour bucket into Bowl\nThe bucket is now empty: the Fish Bowl is now partially full of\nwater\nYou pour the brackish water over the dead fish.\n\nThe dead fish seems rejuvenated by the dousing; a thin layer of\nslime is developing on its scales, and the hollows in its eyes are beginning to cake with inky meat.\n\nUnfortunately, there isn't enough water in the bowl.\n\n> You go south\nYou have a strange feeling as you leave the ocean. You can't tell whether you live on the shore and walked into the sea, or live in the sea and just walked onto the land. You hold your eyes shut, and the disorientation passes.\n\nYellow, strong-smelling foam is building up where the surf meets the land.\n\n> You pour the bucket into Bowl\nThe bucket is now empty: the Fish Bowl is now full.\n\nYou fill the fish bowl with water. You can't believe the fish\nwas ever dead - it is an elegant, slim creature that moodily swims\nback and forth in the bowl.\n\n> You examine Fish\n(the fish)\nYou are getting more exhausted.\n\nIt is a grey, slim fish with intelligent eyes. It swims slowly back\nand forth.\n\n> You take Bowl\nYou are getting more exhausted.\n\nIt is not wrong to carry around a fish bowl. You would be\nbreaking no laws. On the other hand, because one can do a\nthing does not mean one should do a thing. You decide to\nleave it where it is.\n\n> You get on the cot\nYou collapse on the cot. You can't find where your mind ends and\nthe sound of the ocean begins. They are both an interconnecting knot. You plunge into darkness, green darkness that rushes over you with a wet gurgle.\n\nIn the fog of your dream, the fish looks at you through the\nglass of the fish bowl, the water around it turning sickly pink. You feel a terrible guilt, a sorrow you can't explain or contain.\n\n\"Forgive me,\" you say.\n\nThe water lowers in the fish bowl. The fish withers, becomes desiccated, and lies on the bottom of the dry glass.\n\nstart screaming, but the darkness fills your mouth and chokes you, and you wake remembering nothing.\n\nThrough the waxy window, you can tell that it's dark outside.\n\nThe Shelter (on the cot)\nYou are inside a hastily constructed shell made of pieces of\nsheet metal and plastic welded together. One wall is open, with a flapping piece of tarp serving as the only protection from the wind. Bits of equipment litter the sandy ground.\nA recording device rests on the ground. The message light is\nblinking.\n\nThere is a mirror propped against the wall. A partially buried\nhelmet lies nearby. There is a fish bowl on top of a stainless steel piece of equipment. A dead fish lies inside. A long crack is beginning to form down the side of the bowl.\n\n> You get up\nYou get off the cot.\n\nsheet metal and plastic welded together. One wall is open, with a flapping piece of tarp serving as the only protection from the wind. Bits of equipment litter the sandy ground.\nA recording device rests on the ground. The message light is\nblinking.\n\nThere is a mirror propped against the wall. A partially buried\nhelmet lies nearby. There is a fish bowl on top of a stainless steel piece of equipment. A dead fish lies inside. A long crack is beginning to form down the side of the bowl.\n\n> About yourself\nYour skin has taken on a grey sheen. Your breath, when you make yourself breath, comes out in a quiet hiss of steam. It smells like seawater.\n\n> You check what you're carrying\nYou are carrying:\nyour rubber boots (being worn)\nyour clothes (being worn)\ncanvas sneakers (being worn)\n\n> You look at the mirror\nYou stand in front of the mirror propped against the wall. Your eyes are growing farther apart, turning black and cold, like marbles. Your skin has taken on a grey sheen. Your breath, when you make yourself breath, comes out in a quiet hiss of steam. It smells like seawater.\n\n> You look at the helmet\nWhere the bucket was, there is now a helmet half buried in the cold sand. It's constructed of bent grey chrome, and its transparent visor has cracked. On the side is etched the name WYNDHAM, L.\n\n> You look at Fish\n(the Helmet)\nWhere the bucket was, there is now a helmet half buried in the cold sand. It's constructed of bent grey chrome, and its transparent visor has cracked. On the side is etched the name WYNDHAM, L.\n\n> You examine the machine\nIt is a sophisticated black recording device, torn away from a panel. Its message light is blinking.\n\n> Play machine\n... Doctor Gabriel Lucas, ship's scientist. This will probably\nbe my last log. I found Janice on the beach just now. Larry killed\nher. She went looking for him, and he killed her. She should have waited for me, of course, but she hasn't ... didn't accept what I\nknow. I hope this message gets to someone. This planet is almost completely ocean, so I'll think of this as a message in a bottle.\nOur engines failed when we entered the atmosphere. Laurence\nWyndham was the ship's pilot. He ejected the emergency pod, and we crashed into the ocean near a small land mass. The pod had been\ndamaged and broke apart on impact; Bob and Dewey were killed. Janice, me and Larry were hanging on to debris in the water. It was cold; we were having trouble hanging on.\nI know I thought at the time ... I'm most certain now, that\nsomething was in the water with us. I remember feeling that something was wrong, beyond the obvious. Something was ...\n... circling beneath ...\n\"... circling beaneath us. Larry couldn't hold onto the\nwreckage. He went under. Janice and me swam ashore with some of the wreckage. Larry was under more than five minutes, but he came up after us while we dragged the remains onto the beach. He seemed unchanged.\nIt is my belief that Lawrence Wyndham was somehow ... infected\nby an unknown form of life in the oceans of this planet ...\"\n... it'ssocoldOPENcan'tholdontoOPENcan'tididn'tiOPENcirclingOPENcirclingben eathOPEN!!!\n...\n\"... at night, his appearance underwent alteration. I have no\nsurviving equipment to track this process, but his body is becoming ...\"\n... underneath,circlingunderneathTHEBEASTthebeastiscirclingunderneathMURDER ERnot,amnot,amKILLEDicanseeHEARME?circlingunderneath\n...\n\"... infected ...\"\n... beneathcirclingbeneathOPENseeyouIseeOPENcircling ...\n\"... it's becoming ...\"\n... circlingCAN'THOLDONbeneathTHEBEASTcan'tholdon ...\n\"... it is my belief that Laurence Wyndham is dead.\"\nThe voice grinds down to a syrupy rumble as the recording device\nbreaks down.\n\n> You take Helmet\nAs you reach for the helmet, you see the skeleton of a fish. You close your eyes. You cannot take this."
    },
    {
        "text": "> Look around\nsheet metal and plastic welded together. One wall is open, with a flapping piece of tarp serving as the only protection from the wind. Bits of equipment litter the sandy ground.\nA recording device rests on the ground. It appears to be dead.\n\nThere is a mirror propped against the wall. A partially buried\nhelmet lies nearby. There is a fish bowl on top of a stainless steel piece of equipment. A dead fish lies inside. A long crack is beginning to form down the side of the bowl.\n\n> You examine Bowl\nA long crack has formed down the side of the grey glass fish bowl;\nmany smaller, finer cracks are growing out of it. The slightest touch could cause the bowl to shatter.\n\nIn the Fish Bowl is a dead fish.\n\n> You take Bowl\nYou grab the fish bowl, noticing as you do that your hands look different than usual ...\n\nBefore you have time to think about this, though, the fish bowl shatters in a clean shriek of glass.\n\nThe fish bowl is gone, replaced with the body of Janice. The\nbody is still fairly fresh, and the wound in her throat glistens where someone bit out her esophagus.\n\nYou can still taste the memory of blood in your mouth.\n\n> You examine janice\nJanice is slumped in a broken pile on the ground. Her throat has been recently savaged, and her blood has been absorbed by the dark sand.\n\n> You check what you're carrying\nYou are carrying:\nyour rubber boots (being worn)\nyour clothes (being worn)\ncanvas sneakers (being worn)\n\n> You take Janice\nThe iron taste in your mouth intensifies just looking at her. It sickens you that you are not sickened.\n\n> You eat janice\n(first taking Janice)\nThe iron taste in your mouth intensifies just looking at her. It sickens you that you are not sickened."
    },
    {
        "text": "[Themes: Science Fiction, Horror, unreliable narrator, amnesia, beach]\n\n> You look around\nsheet metal and plastic welded together. One wall is open, with a flapping piece of tarp serving as the only protection from the wind. Bits of equipment litter the sandy ground.\nA recording device rests on the ground. It appears to be dead.\n\nThere is a mirror propped against the wall. A partially buried\nhelmet lies nearby.\n\n> You look at the tarp\nA flapping piece of tarp, serving as your only protection from the wind.\n\n> You go outside\n(that is, outside)\nYou push the tarp aside and walk out of the makeshift tent. Where you buried the cat you notice, with the memory of a feeling, a scrap of green sleeve sticking out from the dark sand.\nYou step out onto the cold sand.\n\nshelter. The makeshift tent is made from pieces of sheet metal and plastic welded together, with flapping piece of tarp your only protection from the wind. Bits of obscure equipment litter the sandy ground, salvaged from the wreck.\n\nYou can see a partially buried sleeve here.\n\n> You look at the sleeve\nIt is a scrap of sleeve from a green jacket. A little farther up a piece of collar emerges from the sand mound. You can barely make out yellow lettering, saying: \"Gabriel ...\" but the rest of the name is covered in sand.\n\n> Go north\nYou pause as you walk to the shore, and take some of the sand\nfrom the beach in your hand. When you were a child, you built sandcastles from this substance. You let the sand fall through your changing fingers. This world has never known a castle.\n\nAs you walk to the shore, you watch how the moon has broken\napart in slivers on the surface of the inky water. You keep muttering to yourself, like a mantra: \"All that would be left were his footprints, heading out to sea. All that would be left were his footprints, heading out to sea.\"\nYou are standing on the shore. Out in the water, you see a\nfigure standing.\n\nYellow, strong-smelling foam is building up where the surf meets the land. The moon has broken apart in slivers on the inky water. Out in the water, you see a figure standing.\n\n> You examine the figure\nYou can't make out any details from here. It is a large silhouette,\nits angles and lines completely alien to you.\n\n> You go north\nAs you tread out into the cold water, you hear the grainy,\nrecorded voice in your head: \"Laurence Wyndham is dead.\"\nYou're the master of your own destiny, Larry Wyndham,\nyou think. Another day, another dollar, Larry Wyndham.\nYou wade up to your waist. In the water, you feel your skin\nchange. The figure stands over you. It reaches down to touch your\nface.\n\nThe wind blows sand over the footprints on the beach. In less than a day, it's as though they've never been there.\n\n> Go north\nThe smell is strong; you want to find out what's causing it first.\n\n> You take the shovel\nground. Dark, sticky fluid comes up with the blade and drips over your feet.\n\nYou focus your eyes. It's just trapped water from the wet sand.\n\n> Dig\nYou heft the shovel, wincing at your aching shoulder. You feel exhausted, as though you've already been digging all night.\n\nThe ground is strangely soft and spongy. You gouge dark clots of\nearth from the dampening sand and hum tunelessly to yourself. The hole begins to grow.\n\n> Search clump\nYou push some of the grass aside, revealing the moist carcass of a\ndead black cat. Blue-grey glimmering filaments of sticky rot\ncrisscross its matted black fur like a lattice. Its eyes are dull yellow, going white with accumulated pus. You gag at the repulsive smell.\n\n> You go north\nIf you leave without burying the cat, birds will come. From a\ndistance, it will be obvious that they are eating something dead on your lawn. And then people will think you are crazy. This is a hassle you don't need.\n\nGranted, you do live alone in a shack, you're a drunk,\nand your memory is shot to hell. Also granted, there is a\ndead animal on your lawn. Then again, you have no idea how it got there. Which other people will definitely take into account when you explain how not crazy you are. Because the world is a warm and welcoming place for scavengers fallen upon hard times.\n\nYeah. Better bury the cat.\n\n> You go to the north\nYou don't want to go into the water wearing only these canvas shoes; it's easy to cut yourself up in there.\n\n> You go south\nAround the shack is long dry grass and bits of broken glass. Down a little ways to the north you see the grey shoreline, and then the black, roaring ocean.\n\nYou can see your shack door, your rubber boots and a bucket (empty) here.\n\n> You take boots\nTaken.\n\n> You wear boots\nYou sit on the rock and pull the worn rubber boots on over your tattered canvas sneakers.\n\n> Go north\nYellow, strong-smelling foam is building up where the surf meets the land. A dead, dry fish lies on the sand. Sea water sparkles in its empty eye sockets. You see a bottle floating on the waves close to shore.\n\nYou can see a dead fish here.\n\n> You go north\nYou wade out into the dark water, until it comes a little over\nyour waist. You stand still, the cold water splashing against your chest.\n\nAs you stand there, you think about mermaids, creatures that\nalways terrified you when you were a child. You loathed the image of sickly pale human faces ploughing through the black waves. Even though they had human faces, their bodies were horrific - serpentine and hidden in the water like roots. A man would walk into the ocean\ntowards the face, and when he saw what it really was it would be too late.\n\nAll that would be left was his footprints, heading into the sea.\n\nThe Shore (in the ocean)\nYellow, strong-smelling foam is building up where the surf meets the land. A dead, dry fish lies on the sand. Sea water sparkles in its empty eye sockets. You see a bottle floating on the waves close to shore.\n\nYou can see a dead fish here.\n\nA corked bottle floats just out of your reach. Inside, you can see a scrap of wrinkled paper.\n\n> Go north\nYou daren't go any farther. The undertow will catch you.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0\n\nOdd, how the light just makes your apartment gloomier. Pre-dawn darkness pools in the corners and around the tops of walls. Your desk lamp glares yellow, but the shadows only draw your eyes and deepen.\n\nNot much of an apartment, no. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis down, and the front door firmly shut.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nYou are sprawled on the futon, staring up into that gloom. Your eyes feel gritty. But it's too late -- early -- no time left for sleep, anyway. In a few hours your ride will arrive.\n\nOn the desk are your to-do list and a travel book.\n\n> Sleep\nYou've been trying all night. It's not going to happen, no matter how long you lie here.\n\n> You look at the list\nYou won't accomplish much while slumped on the futon. That's been getting slowly more apparent for hours now.\n\n> You stand\nYou lever yourself upright. Umf. It's amazing how much lack of sleep feels like a hangover, only without the preceding party.\n\n> You get up\nThe taxi isn't here yet.\n\nCome to think of it, as with a hangover, dehydration is probably the problem. Your mouth is dry wool.\n\n> You look at the list\nYou sit down at the desk.\n\nitems and scribbled corrections. However, everything seems to have gotten done. The last line reads \"Call taxi\", and it has its\ncheckmark, and here you wait.\n\n> You look at luggage\nYou've packed and repacked: breakdown tent, dried food, sunscreen, compass, mylar space-blanket, long underwear and showoff tats, walking shoes and dancing shoes and hiking shoes. You're ready for the Death Valley Om.\n\n(As ready as you're likely to get. It is, of course, the Death Valley Om -- half arts festival, half cult, a week in the deep desert where people show off, have sex, take drugs, and maintain a twenty-four-hour constant OM. Sand, heat, and thousands of throats. A space\noutside the world; with no dues except that you join in the chant, as much as is in you to chant.)\n\n> You examine the hyacinth\nThis plant is your one claim to actual responsibility. The hyacinth sits by the window, soaking up sunlight (when it's not night) and managing to thrive despite your lack of gardening skill. Although it looks a little parched at the moment.\n\n> You examine the kitchen\nYou stand up.\n\nThe kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nOn the kitchen counter is a glass.\n\n> You take glass\nYou step into the kitchen nook.\n\nTaken.\n\nYou're still feeling thirsty.\n\n> You turn on the sink\n(the kitchen sink)\nNothing comes from the tap but an eerie distant howling. The kitchen sink hasn't worked since you moved in.\n\n> You turn on the sink\n(the bathroom sink)\nYou spin the tap. The pipes sound like an indigestive mammoth, but water does dribble out of the faucet. Reassured, you turn the tap back off.\n\n> You fill glass\nThe faucet rattles, and water dribbles into the glass.\n\n> Drink water\n(the glassful of water)\nYou gulp the water. It feels vaguely astringent in your mouth, unsatisfying. Well, no doubt thirst will be more real after you fly to California --\n\n> You fill glass\nThe faucet rattles, and water dribbles into the glass.\n\n-- Fly? Where did you leave your plane tickets?\n\n> Water hyacinth\nYou step out of the bathroom nook.\n\nYou water the plant.\n\nYou hate this feeling. It happens all the time. Something\nsafely accomplished, and then pow, you have to worry about it again. Unfair! The tickets must be here somewhere.\n\n> You search the luggage\nYou quickly pop open each suitcase and riffle through, trying not to disarrange your tidy packing too badly. Nope. The tickets aren't\nthere."
    },
    {
        "text": "> You look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> Examine book\nYou sit down at the desk.\n\nThe Schmendrick's Guide to Desert Camping -- you've been\nstudying it for weeks now. Vast alien reams of information: perspiration rates, sunburn factors, tent guying, and how to make a condensation still out of a trashbag and a tin can. You could probably write the book out longhand from memory; and none of it means a damn thing to you.\n\n(That's why you're going on this trip, after all. Nothing is\noff-limits at the Om. \"Law ends at sea level.\" In one place in the country, for one week, a community is formed from pure will. No enforcement; only desire, and the knowledge of what the desert can do. And the Om. Every religion chants, you remember reading that.)\n\n> Search desk\nYou carefully tilt up piles of paper, trying to avoid an avalanche. Nope. The tickets aren't there.\n\n> You open the closet\nYou stand up.\n\nThe closet has no door. It might have once, if those are hinge-marks\non the frame, but that must have been several tenants and a dozen\ncoats of paint ago.\n\n> You look in the closet\nThe closet (if you can call it that) is a shallow recess next to the bathroom. Peering into the (ahem) depths, you see an old jacket and a vacuum cleaner.\n\n> Search jacket\nYou root through the jacket's myriad pockets. Nope. The tickets aren't -- Aha. They are, after all. The tickets slide to the floor\nand lie there, smirking at you.\n\n> You take the tickets\nTaken. Something scrapes underfoot as you bend to pick the tickets up.\n\n> You examine the tickets\nYour round-trip tickets to California. You stare at them for a moment -- lost in the idea of the desert.\n\nThe sound of a helicopter comes faintly through the closed window.\n\n> You open the window\nThe window-glass is sealed; it can't open or close. Some notion of thermal efficiency. Truthfully, you like it that way."
    },
    {
        "text": "> You look at your surroundings\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see a trace of sand here.\n\nThe helicopter is getting closer.\n\n> You examine the sand\nA trace of sand is visible on the living room floor.\n\n> You take the sand\nYou scrape up a pinch of sand. It runs through your fingers; it's\nsand.\n\nThe sound of the helicopter is fading now.\n\n> You turn on stereo\nThe stereo buzzes, hunts, and then locates its station. Ah, your favorite small-time indy worldbeat/techno station. At least you think that's what they call it. It's a pretty stream-of-consciousness\nformat.\n\nThe room fills with the sound of an Indo-Basque chant.\n\n> You take the vacuum\nTaken. (Awkwardly.)\n\n> Vacuum sand\nJust \"vacuum\". When you clean, it's pretty much cleaning the whole area.\n\n> Vacuum\nYou squeeze the handle, and the vacuum cleaner begins humming industriously. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\nYou can barely hear the helicopter any more.\n\nThe radio begins playing a Hispano-Nigerian chant.\n\n> Keep going\nYou squeeze the handle, and the vacuum cleaner begins humming industriously. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\n> You examine the cleaner\nThe vacuum cleaner is a \"luggable\" model -- meaning that it's awkward to carry, but too small to be really efficient. Fortunately, you don't generate a lot of dust.\n\n> You examine the radio\nThe stereo is old, dating from the era when matte-black, featureless, and opaque were the watchwords of hipness. It still works, however, as the strains of a Hispano-Nigerian chant demonstrate.\n\n> You listen\nYou are listening to a Hispano-Nigerian chant.\n\nThe radio begins playing an Antarcto-Dominican tune.\n\n> You read the tickets\nYour round-trip tickets to California."
    },
    {
        "text": "[Themes: Horror, Science Fiction, sea, mystery, unreliable narrator, amnesia]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see some sand here.\n\n> You look at the mirror\nThe far side of the mirror is just as shadowy as this one. It's probably meant as commentary; not more space, just more of the same.\n\n> You look at the computer\nYou sit down at the desk.\n\nThe computer is years old, and incompatible with just about everything but electricity. You use it for writing -- at least, you try to\nbelieve that you do.\n\n-- the only kind of game your beige antique can run, anyway.\n\nThe you-have-died message is blinking morosely at you. You started up Ready, Okay! last night, trying to distract yourself until\nmorning. But you can't get even halfway through without running out of insulin.\n\n> You play the game\nYou've tried everything you can think of twice, and you're tired of trying. Maybe an idea will come to you later.\n\nThe radio begins playing an Austro-Andean fugue.\n\n> You turn off the computer\nYou hit the power key; the computer gives a tiny sigh and shuts down.\n\n> You look at the crate\nThe crate your computer arrived in. It's dented and disreputable now, but still serves the time-honored purpose of holding your stereo up.\n\n> You stand\nYou stand up.\n\n> Vacuum\nYou squeeze the handle, and the vacuum cleaner begins humming, albeit with a bit of a whine. You run it back and forth on the floor. But it only seems to spread the sand around. In fact, it looks like there's more sand than before you started.\n\nThe radio begins playing a calm Atlantean (?) song.\n\n> You open the vacuum\nYou pop open the vacuum cleaner's casing. Sand spills out -- all over the floor. What the hell?\n\nThe stereo clicks as a calm Atlantean (?) song ends and the hourly\nnews comes on. What? Morning must have arrived, although the world outside is still dark. The taxi should be showing up soon.\n\n> You examine the closet\nThe closet is a shallow recess next to the bathroom. Peering into the depths, you see an old jacket.\n\n\"More allegations of campaign finance misconduct...\" (Oh, fascinating news day.)\n\n> You examine the jacket\nYour jacket hangs in the closet. This is, of course, your old\njacket -- vaguely waterproof but definitely ratty -- suitable only for errands around the city. Your new jacket, windproof\nweatherproof sandproof Xoron(tm), suitable for desert hiking, is\nneatly packed away in your luggage.\n\n(Not that luggage is the important part. The experience is supposed to be transformative. And, frankly, you're in need of transformation. Another month of this and you'll indistinguishable from this apartment -- beige, featureless, and up for cheap rent. At the Death Valley Om, they say, you may be sunburnt and thirsty and exhausted, but you're alive. Nothing sounds better. You're planning to try the solo Zen\nnight hiking.)\n\n\"Sharp words between the superpowers today...\" (Huh? There are still superpowers?)\n\n> You examine the kitchen\nThe kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\n\"Three people reported missing at the Death Valley Om in\nCalifornia...\" (Hang on.) \"The popular desert arts festival was shaken yesterday when three attendees failed to return from moonlight hikes. State police are searching the area.\" (You resolve to read that desert camping book one more time.)\n\n> You look at the fridge\nIt's yellow. Beyond that, it looks like every other refrigerator in\nthe United States.\n\nIt must be morning, after all -- your metabolism is starting to\nratchet up to daytime levels.\n\n\"In the business pages, stocks are down...\" (You once again lose interest.)\n\n> You open it\nYou step into the kitchen nook.\n\nYou open the refrigerator, revealing a jar of peanut butter.\n\nYou're definitely getting hungry.\n\n\"And that's, um... far out. Back to the groove, folks,\" and an Antarcto-Hmong fugue begins.\n\n> You open it\nYou unscrew the lid... with an unexpected grating sound. Something sifts to the floor.\n\nThe peanut butter jar is full of sand.\n\n> You look in jar\nThe jar is open, but it contains no peanut butter. Instead, it is packed with sand.\n\n> You drop the jar\nDropped (in the kitchen nook).\n\nThe fridge door swings shut.\n\nThe radio begins playing a Sino-Hmong song.\n\n> You open the stove\nThat's not something you can open.\n\nYour stomach rumbles.\n\n> You open the cupboard\nYou open the cupboard, revealing a box of crackers.\n\n> You open the crackers\nYou pull on the box top. It's stuck, somehow. You yank --\n\nThe top tears away, and white sand sprays out of the box.\n\nThis is getting to be too much. You consider which of your friends might have snuck in here and set all of this up. No... mmm... nobody, really.\n\n> You examine the list\nYou step out of the kitchen nook, and sit down at the desk.\n\nitems and scribbled corrections. Dammit, yet another item you missed\n-- you have to water the plant.\n\n> You turn on the bathroom sink\nYou stand up, and step into the bathroom nook.\n\nWith an eerie hiss, dry white sand boils from the faucet. You yank at the tap, but the bathroom sink is already full, and sand spilling on the floor.\n\nThe radio begins playing an Austro-Andean tune.\n\n> You turn on the kitchen sink\nYou step out of the bathroom nook, and step into the kitchen nook.\n\nWith an eerie hiss, dry white sand boils from the faucet. You yank at the tap, but the kitchen sink is already full, and sand spilling on\nthe floor.\n\n> You examine the plant\nThis plant is your one claim to actual responsibility. The spider\nplant sits by the window, soaking up sunlight (when it's not night)\nand managing to thrive despite your lack of gardening skill. Although it looks very dry.\n\n> You open the fridge\nYou open the refrigerator.\n\n> You look in it\nThe refrigerator is empty.\n\nThe radio begins playing a repetitive Slavic melody.\n\n> You close it\nYou close the refrigerator.\n\n> You open the door\nWhich do you mean, the front door or the closet?\n\n> Front\nYou step out of the kitchen nook.\n\nThe sun hasn't risen; what light you have would just leak out into the night. Anyway, the taxi hasn't arrived, so there's nowhere to go.\n\n> You examine the futon\nThe futon is definitely on the downhill side of life's rolling knolls. It serves as both couch and bed, if inadequately in each case, which makes it the most important piece of furniture you own.\n\n> You look under it\nYou bend down, and see little but a bit of sand.\n\nThe radio begins playing a Balto-Hmong tune.\n\n> You sit on the futon\nYou sit down."
    },
    {
        "text": "[Themes: Horror, Science Fiction, beach, sea, unreliable narrator, horror, mystery]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon, upon which you sit. Second-hand stereo sitting on a cardboard crate. A kitchen nook one\nway and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nYour luggage is piled untidily by the door. A potted spider plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see a thin layer of sand lying on the floor.\n\nIn the kitchen nook you can see a jar of sand and some sand.\n\nIn the bathroom nook you can see a trace of sand.\n\n> You look at the list\nYou stand up, and sit down at the desk.\n\nitems and scribbled corrections. In the middle of the page, you see:\n- clean out closet\n- buy stereo stand\n- don't leave stove on\n\n> You examine the closet\nYou stand up.\n\nThe closet is a shallow recess next to the bathroom. It's closed.\n\nWait. Didn't the closet lack a door when you moved in?\n\nThe radio begins playing a calm Dominican lullaby.\n\n> You open the closet\nYou reach for the knob; then hesitate; then reach again.\n\nYou might as well not have bothered. The closet door bursts off its hinges before you can touch it. You leap back, barely avoiding the cracking plywood as it smashes to the floor, buried in the torrent of sand that is pouring out of the closet.\n\nAfter a few seconds, the room is still again.\n\n> You examine the stereo\nThe stereo is old, dating from the era when matte-black, featureless, and opaque were the watchwords of hipness. It still works, however, as the strains of a calm Dominican lullaby demonstrate.\n\n> You look at the box\nThe box is open, but it contains no crackers. Instead, it is packed with sand.\n\n> You look at the crate\nThe crate your computer arrived in. It's dented and disreputable now, but still serves the time-honored purpose of holding your stereo up.\n\nThe radio begins playing a Filipo-Shaker chant.\n\n> Open crate\nYou barely touch it, and the heavy cardboard abruptly tears. Sand\npours out across the living room floor. The stereo sags; in moments, the crate is reduced to paper rags, which are immediately buried in\nthe sand.\n\n> You look at the list\nYou sit down at the desk.\n\nitems and scribbled corrections. In the middle of the page, you see:\n- don't leave stove on\n- defrost refrigerator\n\n> You turn off the stove\nYou stand up, and step into the kitchen nook.\n\nThe stove is already off.\n\n> You turn on the stove\nYou turn the knob -- click. Then the stove emits a loud crackle. The burner frosts white, although you can feel the heat radiating from it; bits of its substance seem to be flaking away. Thermal shock? you have time to think. And then the entire burner arrangement slumps into\nwhite sand, which runs down off the stove.\n\n> You open the fridge\nYou pull open the refrigerator, and try not to flinch as a wall of\nsand rushes out and buries your feet.\n\nThe radio begins playing an angry Sumerian song.\n\n> You look at the list\nYou step out of the kitchen nook, and sit down at the desk.\n\nitems and scribbled corrections. In the middle of the page, you see:\n- unclog shower drain\n- pack clean socks\n- remove package from kitchen storage\n\n> You examine the shower\nYou stand up, and step into the bathroom nook.\n\nThe shower stall is a familiar symphony in pinkish-grey tile and grunge. Well, more of a solo. A short solo.\n\n> You turn on the shower\nYou turn the tap, and -- no surprise now -- dry sand floods from the showerhead. Shielding your eyes from the spray, you reach to turn the tap back off.\n\nA creaking from above warns you. You leap back as the plaster cracks overhead, and whiteness roars down.\n\nWhen silence returns, the entire far end of the bathroom is a blank slope of sand.\n\n> Open luggage\nYou step out of the bathroom nook.\n\nYou grab a suitcase handle -- which crumbles dryly in your grip. In seconds and in silence, the whole row of suitcases and duffels has collapsed to white sand on the living room floor.\n\nThe radio begins playing a soothing Javanese tune.\n\n> You examine the list\nYou sit down at the desk.\n\nitems and scribbled corrections. In the middle of the page, you see:\n- remove package from kitchen storage\n- find notes for IFComp entry\n- flush notes down toilet\n\n> You turn on the computer\nYou hit the power key; nothing happens. Terrific. Something's finally fried itself in the bowels of your twelve-megahertz wonder, and you\nmay never die in a text adventure again.\n\n> Flush toilet\nYou stand up, and step into the bathroom nook.\n\nThe toilet? Yes, it's the toilet's turn! You press the handle,\ngrinning maniacally. And indeed, the sand rushes down the sides of the bowl; the shining porcelain itself crazes, cracks, and veils to the bathroom floor. The toilet is a pedestal, a stump, a mere pile of\nsand. Gone.\n\nA faint creaking comes from the bathroom ceiling.\n\n> Leave\nYou step out of the bathroom nook.\n\nWith a muffled crack the bathroom ceiling gives way. Broken\nplaster and rusty pipes tumble down as you stare. And down comes the sand, a dry white rushing river, hissing, shrieking. In moments the bathroom is lost to your sight."
    },
    {
        "text": "[Themes: Science Fiction, Horror, beach, sea, amnesia]\n\n> Look around\nYou survey your one small room. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo. A kitchen nook one way and a closet the other. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis down, and the front door firmly shut.\n\nThe place is still too dim, except the corner where the desk lamp is somehow too bright.\n\nA potted palm plant sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\nYou can see ankle-deep sand here.\n\nIn the kitchen nook you can see a jar of sand and a heavy layer of sand.\n\nThe radio begins playing a hypno-Basque song.\n\n> You examine the sink\nThe kitchen sink is full of sand.\n\n> Examine nook\nThe kitchen alcove has a refrigerator, a sink, a stove, and barely enough space to stand between them. One wall projects out to form a counter, with a cupboard beneath it.\n\nThe cupboard is open; inside is a box of sand. Sand spills from the open refrigerator.\n\nYou see a jar of sand and a heavy layer of sand lying here.\n\n> You open the cupboard\nThat's already open.\n\n> You look in it\nIn the cupboard is a box of sand.\n\nThe radio begins playing a calm Korean tune.\n\n> You take the box\nThe cabinet and counter start to groan as soon as you touch them. You slam the cabinet for good measure; and the stained pressboard crackles white, shivers, and explodes into sand. All right!\n\nA faint creaking comes from the kitchen ceiling.\n\n> You go outside\nYou step out of the kitchen nook.\n\nWith a muffled crack the kitchen ceiling gives way. Broken\nplaster and rotten lath tumble down as you stare. And they, of course, are followed by sand, white sand, rivers of sand. In moments the kitchen alcove is lost to your sight.\n\n> You look at the list\nYou sit down at the desk.\n\nitems and scribbled corrections. In the middle of the page, you see:\n- find notes for IFComp entry\n\n> Search desk\nYou carefully tilt up piles of paper, trying to avoid an avalanche. Yes, sand is scattered beneath.\n\nCarefully? You shove a paper-stack off the desk; it's a shower of sand before it hits the ground. Ha! You push another, and another, and then sweep the whole mass over the edge. White sand cascades everywhere. Laughing, you feel the desk itself give way.\n\nPop. Oops. That was the light bulb imploding. The apartment\nis very dark and quiet of a sudden.\n\n> You sit on the futon\nYou sit down.\n\nThe radio mumbles, \"This is, um, one-oh-three... kay-tee-oh-whoa... your source for interworldbeat...\" You can practically hear the bong gurgling in the background. After a moment, a creepy Atlantean (?) melody begins playing.\n\n> You open the front door\nYou stand up.\n\nYou open the door.\n\nOutside is full night. You can see little... nothing. No taxi, no stars, not even streetlights. The world ends at your doorstep.\n\nQuietly, the night begins to enter.\n\nYou are standing with your back to the closed door. You close your eyes, then tear them open; darkness is worse than the sand. Not so funny any more... you concentrate on slowing your breath.\n\n> You look\nYou survey your one small room. Your futon. Second-hand stereo. A closet to one side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade is down, and the front door firmly shut.\n\nThe room is very dim, now. Blackness creeps around the windowshade.\n\nThe computer has survived somehow, and lies in a pile of sand. A\npotted palm plant sits beneath the window.\n\nYou can see a travel book, your to-do list, a jar of sand, a box of sand and hills of sand here.\n\n> You examine palm\nThis plant is your one claim to actual responsibility. The palm plant sits by the window, soaking up sunlight (when it's not night) and managing to thrive despite your lack of gardening skill. Although it looks very dry.\n\nThe taxi honks repeatedly.\n\n> You open the front door\nYou do not want that.\n\nThe taxi honks repeatedly. The sound seems a little fainter now.\n\n> You take the list\nTaken.\n\nThe radio begins playing an electrifying Basque chant.\n\n> You examine the list\nitems and scribbled corrections. At the very bottom of the page, you see:\n- call taxi\n- wait for taxi\n- look, make sure it's actually taxi before opening door\n(That last entry in a hasty, nervous script.)\n\n> You open the door\nYou do not want that.\n\nThe taxi honks repeatedly.\n\n> You open the window\nThe window-glass is sealed; it can't open or close. Some notion of thermal efficiency. Truthfully, you like it that way.\n\n> You open the shade\nAnd if you see no taxi outside? What then? ...but the angry honking comes again. You yank hard on the windowshade, and it whips up as violently.\n\nBlazing daylight floods the room.\n\n> You look through the window\nOutside, dunes roll away to the rising sun. Nothing else is visible. Only the sunlight that burns you, full in the face. And sand.\n\nThe radio begins playing a Franco-Andean melody.\n\n> You examine the list\nitems and scribbled corrections. It is entirely illegible.\n\n> You sit on the futon\nYou flop down on the futon.\n\n> Sleep\nYou've been trying all night. It's not going to happen, no matter how long you lie here.\n\n> You stand\nYou stand up.\n\n> You turn on the computer\nYou hit the power key; nothing happens. Terrific. Something's finally fried itself in the bowels of your twelve-megahertz wonder, and you\nmay never die in a text adventure again."
    },
    {
        "text": "[Themes: Horror, Science Fiction, amnesia, sea, horror]\n\n> You look at your surroundings\nSunlight cuts across the room like hot butter, blazing from the\nwindow. The room is nearly barren now; walls and ceiling are blank,\nbut for the window, the closed front door, and the full-length mirror across from them.\n\nThe futon sits alone in the center of the room. Next to it, askew on a pile of sand, rests the faithful old stereo.\n\nThe computer has survived somehow, and lies in a pile of sand. A\npotted cactus sits beneath the window.\n\nYou can see a travel book, a jar of sand, a box of sand and hills of sand here.\n\nThe radio begins playing a Balto-Atlantean (?) lullaby.\n\n> You examine the mirror\nYou look into the mirror. The far side is just as bright as this one. With the sunlight behind you, only your own face is in shadow -- the walls, the door, your furniture, are all full-lit. Beyond your reflection and the window-frame, the street outside, the houses and trees, are all --\n\nThe street outside?\n\nYou spin around.\n\n[Hit any key...]\nOdd, how the sunlight just makes your apartment more prosaic.\n\nNot much of an apartment, no. One desk, paper-piled, with a dusty computer shoved to the side. Your futon. Second-hand stereo sitting on a cardboard crate. A kitchen nook one way and a bathroom nook the other, with a closet to the side. A broad mirror tries to make the place seem twice its size; it halfway works. One window, whose shade\nis up, and the front door wide open.\n\nYour luggage is piled untidily by the door. A potted hyacinth sits beneath the window.\n\nOn the desk are your to-do list and a travel book.\n\n> You take the luggage\nYou take a step across the room, but a quick movement distracts you. Something scurried along the wall? You can't see it any more.\n\n> You take the luggage\nYou move towards the luggage but feel suddenly dizzy. Dehydration, probably.\n\n> You sit on the futon\nYou reach out and touch your hand to the futon. It feels like glass.\n\nThe reflection shimmers like water, but the mirror is only heat -- pooling among the dunes, rising from the sands.\n\n[Hit any key...]\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky\nis flat and empty blue.\n\nYour futon sits nearby. The stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nClick. The stereo is playing \"Cool, Clear Water\".\n\n> Examine book\nThe Desert Elemental's Handbook -- you've been studying it\nfor ages. Trace moisture segregation, arthropod ecocycles, sand/grit/fines sizing distributions. And, of course, the artistic aspects of heat, time, distance, and death.\n\nYou study the chapter about bones.\n\nSomething moves beneath your futon.\n\n> You look under the futon\nYou catch a glimpse of two tiny eyes, shining out from beneath your futon.\n\n> You look at the eyes\nYou still haven't managed to see it clearly.\n\nYou catch a darting movement past your feet.\n\n> You turn on the computer\nThe computer is already on.\n\n> You examine computer\nThe game's opening sits neatly at the top of the screen, followed by a command prompt.\n\nClick. The stereo is playing \"Gotta Stop on the Road for Water\".\n\n> You read it\nThe game's opening sits neatly at the top of the screen, followed by a command prompt.\n\n> Type i.\n(on the computer)\nYou kneel in the sand and play through the computer game again.\n\nYou catch a darting movement past your feet.\n\n> You look at the floor\nIt's exactly like all the sand you've ever seen before.\n\n> You examine the dunes\nIt's exactly like all the sand you've ever seen before.\n\nSomething moves beneath your futon.\n\nClick. The stereo is playing \"Water From Another Time\".\n\n> You look under the futon\nYou catch a glimpse of two tiny eyes, shining out from beneath your futon.\n\n> You move the futon\nYou can barely move the futon on a solid floor. Against the sand, no hope."
    },
    {
        "text": "[Themes: Horror, Science Fiction, ocean, mystery, sea, beach, unreliable narrator]\n\n> Look around\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky\nis flat and empty blue.\n\nYour futon sits nearby. The stereo leans against a dune. Your computer squats complacently, the color of the sand.\n\nYou can see a travel book here.\n\nYou catch a darting movement past your feet.\n\n> You examine the Sun\nFusing hydrogen. Deathly, inescapable. White, blazing down.\n\nSomething moves beneath the computer.\n\nClick. The stereo is playing \"Sun Gets In My Eyes\".\n\n> You search the computer\nThe game's closing message blinks at the bottom of the screen.\n\n> You turn off the computer\n\"The only way to win is not to play,\" flashes the screen. You roll\nyour eyes. The oldest lie; nobody's bought it since ever.\n\nYou hit the power key; the computer gives a tiny sigh and crumbles away.\n\nA tiny figure burrows out of the new-fallen sand. You just have time\nto make out its shape -- human -- before it darts behind you and out\nof sight.\n\nYou catch a darting movement past your feet.\n\n> You turn off the stereo\nA garbled news report comes on just as you reach for the switch.\n\"Death Val... hikers... missing for... still... hope, say...\"\n\n...Old news. You hit the switch: click. The stereo falls silent, turns white, and drops instantly away into sand.\n\nSomething moves beneath your futon."
    },
    {
        "text": "[Themes: Science Fiction, Horror, amnesia, horror, unreliable narrator]\n\n> You look at your surroundings\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky\nis flat and empty blue.\n\nYour futon sits nearby.\n\n> You sit on the futon\nYou sit down, and find yourself seated on bare sand. The futon has disintegrated without a sound or a final word.\n\nA tiny figure burrows out of the new-fallen sand. It darts one way, then the other; but there is no more shelter.\n\nThe figure seems to be chanting to itself.\n\n> You look at the figure\nA tiny human figure walks across the sand. It doesn't seem to notice you.\n\n> You take it\nYou cup your palms around the figure and raise it into the air -- a human shape fallen to its knees in your handful of sand. You gaze\ndown; sunlight seethes in the cauldron of your fingers. The figure slowly slides flat. But the sand is running out of your hands, and the figure falls to the ground, where it slowly pulls itself up again.\n\n> You examine it\nA tiny human figure trudges across the sand. It doesn't seem to notice you.\n\nThe figure seems to be muttering to itself.\n\n> You ask the figure about itself\nAs you speak, currents of air curl across the sand. The figure\nclutches its clothing about itself and staggers on, ignoring you.\n\nThe figure moves more slowly now.\n\n> You examine the Sun\nFusing hydrogen. Deathly, inescapable. White, blazing down.\n\nThe figure stops and looks around for a moment, shading its eyes.\n\n> You take the sand\nYou pick up a pinch of sand. It runs through your fingers.\n\n> Touch figure\nYou kneel and brush your finger over the figure's forehead. It shakes its head, unseeing, and then collapses. You watch in concern, but in a few moments it struggles to its feet again.\n\nThe figure slumps to the sand. No -- it's still moving, though on\nhands and knees.\n\n> Kiss figure\nYou kneel and brush your lips over the figure's forehead. It shakes\nits head, unseeing, and then collapses. You watch in concern, but in a few moments it struggles to its feet again.\n\nThe figure falls. After a few seconds... it still doesn't move.\n\nThe sands quickly cover it."
    },
    {
        "text": "[Themes: Science Fiction, Horror, amnesia, mystery]\n\n> You look at your surroundings\nThe land is nearly barren. Dunes roll away towards the rising sun; a little shade trails behind them, but that will soon be gone. The sky\nis flat and empty blue.\n\n> You look at the shade\nThe shadows shrink as you watch. The dunes aren't high here, and the sun is rising fast.\n\n> You examine the Sun\nFusing hydrogen. Deathly, inescapable. White, blazing down.\n\n> You examine the sand\nIt's exactly like all the sand you've ever seen before.\n\n> About yourself\nYou're you.\n\n> You check your inventory\nYou are carrying a travel book.\n\n> You read the book\nThe cover is worn now. The pages are all blank.\n\n> Drop book\nNothing to do but wait.\n\n> You wait\nThe tiny figure crawls out from under the sands. It's dead.\n\n\"You win,\" it says. \"Okay, my turn again.\"\n\n>...\nNothing left to do. Time passes.\n\nThe sun crawls higher."
    },
    {
        "text": "[Themes: Olfactory Noir, olfactory, science fiction, scent, female protagonist, science fantasy, surreal, detective]\n\nDo you like music?\n\nInteresting. Very interesting.\nNostrils of Flesh and Clay\nAn Olfactory Fiction by Porpentine\n\nFake dawnlight streams through drawn blinds. The erogater is at her desk, thumbing through papers. Behind her, some kind of critter languidly swims through a murky aquarium. The only exits are a stainless steel door on the east wall and the hallway door south.\n\n[Author's Note: You are a scent detective, drifting through a world torn apart by greed and nausea. With colors dripping from your nostrils, you flex cartilage and demand to know... what is Project Olympia? Who are the lepers that sing but don't say a word? What is that deadly, doom-laden scent of meringue? Innocence is the surest sign of guilt...]\n\n> About yourself\nIn profile: a strong nose splitting a curtain of tangled dark brown hair. Chapped lips. Green jacket.\n\n> You smell yourself\nSmelling yourself creates a horrific hyper-olfactory feedback loop. Time and space collide within your nostrils--you smell the past, the present, the future, you smell it all, and you pay the ultimate price.\n\n> You look at the critter\nThe water is too murky.\n\n> Smell critter\nYour extra-olfactory perception requires proximity.\n\nThe erogater steeples her fingers and continues. \"I really should give you permanent leave of absence for that little debacle down at Palace Street.\"\n\n> Smell critter\nYour extra-olfactory perception requires proximity.\n\n> Smell the erogater\nShe smells like cold clay, chilled wire. But something deeper. Deeper.\n\n> You look at her\nYou feel dizzy as your scent-brain tips over into oblivion. You blink, shutting off the stream of olfactons. Note to self: never smell an erogater.\n\nShe purses her lips. \"But you're the best we've got. And that makes me the worst at firing your ass.\""
    },
    {
        "text": "> You look around\nFake dawnlight streams through drawn blinds. The erogater is at her desk, thumbing through papers. Behind her, some kind of critter languidly swims through a murky aquarium. The only exits are a stainless steel door on the east wall and the hallway door south.\n\n\"Get out of here before I change my mind.\" She goes back to perusing her papers.\n\n> You check what you're carrying\nYou leave, flakes of her gaze stuck to your skin like flecks of ice.\ngreen hallway\nFlourescent lights saturate the hallway emerald. The sole decoration is a huge morale poster covering the wall. The ministry branches off west into a maze of corridors, the erogater's office is at the north end of the hall, and if you keep going south you'll hit the exit.\n\n> You look at what you're carrying with you\nYou are carrying:\na jacket (being worn)\na mobile phone\na wallet\na film capsule\n\n> You examine the jacket\nGreen jacket. You need something thicker for when winter rolls around.\n\nYour phone beeps.\n\n> Smell phone\nSmells like insects. Like ants.\n\n> You look at the phone\nA single text message saying: \"Club Coccyx. Hurry.\"\n\n> You look at the wallet\nID card, debit card.\n\n> You examine debit card\nMore of a token at this point, a totem. Once there must have been some significance to it, but you can no longer remember. Probably related to actually having cash on it.\n\n> Smell jacket\nYou smell the perfume of stress and apathy that you so redolently secrete.\n\n> Smell id.\nYou smell your own insecurity. You wouldn't be shit without this card. Just that pathetic fuck from five years ago who was smelling for peanuts on the corner.\n\n> Smell debit\nThe scent of blood is strained, diffused, but it's still there. Even through the medium of electronic banking, the blood is always there."
    },
    {
        "text": "[Themes: Olfactory Noir, female protagonist]\n\n> You look around\nFlourescent lights saturate the hallway emerald. The sole decoration is a huge morale poster covering the wall. The ministry branches off west into a maze of corridors, the erogater's office is at the north end of the hall, and if you keep going south you'll hit the exit.\n\n> Smell film\nFear, sweat, tension. Yours.\n\n> You examine the film\nHigh resolution snaps of the Olympia files.\n\n> Smell poster\nIt smells like nothing. Nothing at all.\n\n> Smell ministry\nFirst rule you learned at the academy: never smell totalities. You've got a good nose, but don't push it, kid.\n\n> You go south\nUtilitarian metal room, shelves full of incoming and outgoing gear. A sign is bolted to the wall above the sink. This is the main filter between Chalice City and the ministry. Go east and you hit the exit gate. North leads back into the ministry.\n\nYou can see a counter (on which are an aboro qihilus and a loan lantern) here.\n\n> You examine the aboro\nOne of the Acontextual Artifacts of the Chalice Meringue Dumpyard. Someone hasn't checked this one in yet.\n\n> You smell it\nSheen of fertility, but for some reason you can't delve deeper. The olfactons feel snared, skewed. It's like smelling an egg, or a door.\n\n> Smell lantern\nYour nostrils toke up snared illuminance, squandered radiance, subjugated shadows. You smell philosophy, theosophy, and utility.\n\n> You smell the gear\nThoroughly de-olfactonized, as per regulations.\n\n> You examine the sign\n1. STRIP ALL INCOMING MATERIALS.\n2. BAG AND TAG.\n3. REPORT ALL UNUSUAL ACTIVITY TO THE NEAREST SUPERIOR OFFICER (EFFULGENCE, MOTION, HEAT, COLD, BACKWARDS SCREAMING, LEVITATION, ET CETERA)\n\n> You examine the counter\nStainess steel.\n\nOn the counter are an aboro qihilus and a loan lantern.\n\n> Smell sign\nSmells like nothing. Absolutely nothing.\n\n> Smell counter\nThoroughly stripped of scent.\n\n> You take the lantern\nTaken."
    },
    {
        "text": "[Themes: Olfactory Noir, female protagonist, olfactory]\n\n> You look around\nUtilitarian metal room, shelves full of incoming and outgoing gear. A sign is bolted to the wall above the sink. This is the main filter between Chalice City and the ministry. Go east and you hit the exit gate. North leads back into the ministry.\n\nYou can see a counter here.\n\n> Smell sink\nSinks always smell strange to you. Highly liminal. A phantom maelstrom whirling with everything that ever went the drain, too faint to suck you in.\n\n> You go to the east\nThe pressure doors suck open, then shwoom back into place.\n\nBars of purple flourescence buzz in the ceiling. The exit gate is at the east end of this hallway.\n\n> Go east\nA dark metal room lit only by a plexiglass window. A sliding iron gate fills the east wall. This is the last layer before leaving the ministry.\n\n> Smell window\nYou hate plexiglass. It's like inhaling baking soda.\n\n> Go east\nThe gate slides open. You whip the shadows back with the lantern and send them flying from the alley to die in the open air.\n\n> You go to the east\nThe western mouth of this alley is filled with an iron gate. A security camera stares down from above the gate. Sob Street lies east.\n\n> Smell camera\nThe olfactons have been stripped from this camera. The uncomfortable feeling of smelling nothing, like suddenly entering a dark space or being abruptly deafened.\n\n> You look at the camera\nA black eye set in the wall like some kind of obsidian pustule.\n\n> Go east\nSob Street runs along the waterfront, a bank of grey fog to the east. Purple light glowers from a narrow alleyway set in the wall of hulking warehouses. One of those old info-gloops is mounted near the alley entrance.\n\n> Xmell info-gloxmell info-gloop\n[Try typing LOOK for a description of your surroundings. Any compass directions indicate exits which you can use by typing (for example) EAST or E. Some of the objects mentioned in the description might be worth a closer look with a command like EXAMINE FILM CAPSULE. You can also TAKE or DROP some things, type INVENTORY to see a list of what you're carrying already, OPEN or CLOSE containers or doors, and so on.]\n\n> Smell info-glosmell info-gloop\nHallucinatory bubblegum. Through this gloop you sense the combined gloop of all gloops. They gloop as one.\n\n> You examinthe info-gloop\nImagine an ATM with pink goo burbling out of it. The goo constantly seems as if it were about to disgorge itself from the wall and splatter to the sidewalk, but somehow it always manages to suck itself back inside.\n\nYou hate using these things, but you're shit with directions.\n\n> You use the gloop\nYou stick your hand in and say, \"Location query: Club Coccyx\"\nThe goo speaks:\n\"Club Coccyx is south of your current position BLARRRRRRGHHHHHHH\"\n\"Head south down Sob Street, Club Coccyx lies on the east side of the street BLARGGGGHHHHHHHHH\"\nThe gloop clings to your skin as you disentangle yourself. You feel faintly nauseous.\n\n> You smell yourself\nSmelling yourself creates a horrific hyper-olfactory feedback loop. Time and space collide within your nostrils--you smell the past, the present, the future, you smell it all, and you pay the ultimate price.\n\n[\n\n> Smell gloop\n["
    },
    {
        "text": "[Themes: Olfactory Noir]\n\n> You look at your surroundings\nSob Street runs along the waterfront, a bank of grey fog to the east. Purple light glowers from a narrow alleyway set in the wall of hulking warehouses. One of those old info-gloops is mounted near the alley entrance. To the south, Sob Street deepens.\n\n> You go south\nStreetlamps cast cool light on the street. Below your feet, a storm drain sings a ghostly song. To the south, a gap in the buildings gives a view of the Meringue Dumpyard. To the east, you see Club Coccyx, spelled out in dead neon. Everything else is boarded up, closed, caged, black glass.\n\nYou can see some chalice city songers here.\n\n> Smell drain\nYou travel through the cold guts of the city, through the the dark places. You feel a dead rat tumble through your viscera, followed by mangled trash, then streams of puke. Then you exhale that trip out your mouth and you're back in your own skin.\n\n> You examine the songers\nLeprous street saints that sing for a living, and pray for a dying. The rot of their skin is like lichen on wax.\n\n> Smell songers\nDead skin fermenting under bandages. Old moonlight. Vinyl shavings. You catch a whiff of larceny, but fuck it, you're off-duty.\n\n> You talk to the songers\n[If you're trying to talk to someone, you might try ASK SONGERS ABOUT something, the traditional conversation syntax. Type ABOUT to see if this story offers more detailed instructions for conversation.]\n\n> Down\nYou can't go that way.\n\n[From here, you can go north, south and east.]\n\n> Go south\nThe chalice city songers start to croon. Their boombox percusses backing beats that snarl, warp, thrash, crash, thud against the air, rattle the windows.\nTheir sounds are vibrant, melodic, but the notes wash over you like an arctic breeze, because you've always been insensate to the musical realm.\n\n> You go to the south\nThis used to be an alley, now it's a cusp of concrete looking out on a dizzying drop. The Meringue Dumpyard sprawls for miles into the exposed heart of the earth. Back in dynasty days, this was downtown. Now it's a low, dead, dark place, a post-apocalyptic quarry.\n\n> You look at what you're carrying with you\nYou are carrying:\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet\na film capsule\n\n> You go south\nYou can't go that way.\n\n[The only way to go is north.]\n\n> You go north\nStreetlamps cast cool light on the street. Below your feet, a storm drain sings a ghostly song. To the south, a gap in the buildings gives a view of the Meringue Dumpyard. To the east, you see Club Coccyx, spelled out in dead neon. Everything else is boarded up, closed, caged, black glass.\n\nYou can see some chalice city songers here.\n\n> You go east\nStale alcohol bites the air and sticks to your shoes. Just a dim joint with no customers, chairs all lined up against the wall. A very tall man is standing by a deep red door against the east wall, just past the bar.\n\n> You examine man\nYou'd call him an ugly customer, but he looks like staff of some sort. What's to say? He ain't winnin' no beauty pageants. BUT DON'T SAY THAT TO HIS FACE\n\n> You smell man\nHe's wearing that weird cologne people sell these days that supposedly masks you from the smell detectives. Doesn't seem to work though, because you smell a whole lotta crime on this guy, so much of it that it blends together like a bad soup, all the flavors muddled and indistinct.\n\n> You ask the man about himself\nHe grunts.\n\n> You examine the door\nWhadda they call this kind of red? Burgundy? Oxblood? Ah, forget it.\n\n> Smell door\nThis door came from overseas, where they still have forests, and not just little viewing stations for lone trees buried inside iron bells. You smell memories of blood on the door but that could just be a fresh coat of paint. If the paint in question is blood, that is.\n\n> You open door\nThe guy at the door says, \"You the crooked cop?\"\n1 - \"Yeah, they think it might be scoliosis.\"\n2 - \"Step aside for royalty, pally.\"\n3 - \"Uh, sorry. Musta took a wrong turn. Yeah, that's it. A wrong turn...\" *mumble incoherently sweatin' fat globules*\n\n> 1\n\"Comedy. That's a real gift.\" He sounds entirely sarcastic, but begrudgingly opens the door for you.\n\nA candle-laden table glows in the midst of darkness. Cards soaked in gin, a dagger stabbed into the wood, mounds of money. Two figures (one fat, the other lean) are at the table, counting coins.\n\nYou take a seat. Eternal Hog smiles at you. \"Hey there, ladybuck.\"\n\nYou flick the capsule at Hog. \"Everything on Olympia that can be got for blood or money. In this case, I'll take the money.\"\n\nEternal Hog slides a billfold across the table. You slip the cash inside your wallet.\n\nHe sits back. \"We need one final favor before we leave. Papyrus from the sea tombs. The ministry dug them up last night.\" You blink. \"Yeah, the erogater was looking through them today.\" He leans forward, licking his lips. \"The scrolls are in your department? You can get them by tonight?\"\n\nYou spread your hands. \"Tonight? That's a tall order.\" He furrows his brow. \"We just need the chart. We don't care about the rest of the scrolls. Please.\"\n\nAntagonistic James raps the table. The crash of his fist knocks the sound from the air. He breathes deeply, the bristles on his moustache flaring outwards. \"Enough squabbing. I feel the noose tightening around my neck. If we don't have the chart by midnight, we cast off.\"\n\nEternal Hog smiles beatifically. \"My unmannered friend is correct, sadly. The more scrupulous members of your department are closing in on us. Our joint down on Neat Street is getting a lot of heat. Could be arthritis, but I doubt it. Only a matter of time before they connect the don't's and burst into this very room.\"\n\nHe sighs. \"If you fetch us the chart before midnight, we will make you very rich. I anticipate your return, dear lady, knowing you to be wise and resourceful.\" They resume counting their money."
    },
    {
        "text": "> You look around\nA candle-laden table glows in the midst of darkness. Cards soaked in gin, a dagger stabbed into the wood, mounds of money. Two figures (one fat, the other lean) are at the table, counting coins.\n\n> Smell cards\nThe luck is bad and low on these cards.\n\n> Smell the dagger\nYou smell fear and panic, followed by death.\n\n> Smell money\nA cold, hard heap of ancient blood.\n\n> Smell fat\nSmelling Hog is like drinking down some cloying chocolate liqueur with your nostrils. Beneath the silk you catch undercurrents of conspiracy, fraud, and bootlegging.\n\n> Smell lean\nAntagonistic James smells like bloody metal, brine, and apples. Underneath that...well...you'd only need one whiff of this guy to lock him up for life. Murder, arson, extortion, assault, he seems like a real renaissance man.\n\n> Inventory\nYou are carrying:\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet\n\n> You look at the wallet\nID card, wad of cash, debit card.\n\n> You examine the cash\nWarm soft cash.\n\n> Smell the cash\nYou gag. It's blood. Coagulated blood, copper reek biting your nostrils, tugging up your bile. A thick ball of wadded up blood, uncut.\n\n> You take the cards\nYou grab the cards greedily.\n\n> You take the money\nYou've been gutshot by James' smoking pistolas. You smile weakly and die.\n\n> You take the dagger\nYou grab the dagger greedily.\nBANG\nYou've been gutshot by James' smoking pistolas. You smile weakly and die.\n\n> Smell chairs\nYou got a phobia about smelling chairs, on account of you had a dream once about a chair trying to kill you. Funny, unrealistic, ludicrous in retrospect. A chair's the last thing that'd ever kill someone.\n\n> Inventory\nYou are carrying:\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet\n\n> You turn over the table\n[Most IF separates space into a series of locations, each containing a set of objects. If you can see an object, you can usually interact with it without worrying about positioning. Try a command like EXAMINE BAR for a closer look, LOOK to get a new description of this location, or a compass direction like (for example) WEST or W to move to a different location.]\n\n> You look at the BAR\nShrouded in darkness.\n\n> Smell bar\nAlcohol burns your nose, filling your head with a bubble of compressed laughter, clatter of glasses, spurting spigots--warm memories. Then it pops.\n\n> Exit\n[You're not inside something. To leave this location, try a direction or \"out\".]"
    },
    {
        "text": "[Themes: Olfactory Noir, science fantasy, olfactory, science fiction]\n\n> You look around\nStale alcohol bites the air and sticks to your shoes. Just a dim joint with no customers, chairs all lined up against the wall. A very tall man is standing by a deep red door against the east wall, just past the bar.\n\n> Go west\nYou look up at the camera. The gate slides open.\n\nA dark metal room lit only by a plexiglass window. A sliding iron gate fills the east wall. This is the last layer before leaving the ministry.\n\n> Go west\nBars of purple flourescence buzz in the ceiling. The jauntry room is just at the end of this hallway.\n\n> You go north\nThe pressure doors suck open, then shwoom back into place.\n\nFlourescent lights saturate the hallway emerald. The sole decoration is a huge morale poster covering the wall. The ministry branches off west into a maze of corridors, the erogater's office is at the north end of the hall, and if you keep going south you'll hit the exit.\n\n> Go north\nAn office cut from obsidian and silver. Fake dawnlight streams through drawn blinds. Some kind of critter languidly swims through a murky aquarium. The exits are a stainless steel door on the east wall and the hallway door south.\n\nA massive black safe sits in the corner of the room.\n\n> You examine safe\nA massive black box with a card swipe lock.\n\n> You examine the steel door\nExudes cold.\n\n> Smell safe\nAn iron void. With the faintest whiff of clay on the handle.\n\n> Smell steel door\nSmell likes frozen mud.\n\n> You unlock safe with the iD\n(first taking the ID card)\nYou decide to let the wallet handle all your card-carrying duties. You got enough on your mind.\n\n> You open safe\nYes. No one has ever thought of opening a safe with their hands before. The makers of this safe never in their wildest dreams thought of this loophole. Oh wait. Your puny hands don't do shit.\n\n> You examine the lock\nSlide your cards right, you might just be looking at an unlocked safe. Baby.\n\n> Open steel\nYou step inside a cold dark place.\n\nA vat of ice water glows luridly in the shadows, lit from below. The erogater lies on her back in the water, the clay moon of her face just above the surface of the water, eyes switched off. Frost swirls from her parted lips every so often, flashing white against the darkness.\n\nYou can see a slab (on which are a suit and an erogater's card) here.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You take the card\n(the erogater's card)\nTaken.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You examine the card\n(the erogater's card)\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> Smell card\n(the erogater's card)\nSmells like clay and ozone.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You examine the suit\nThe erogater's black suit, shed. Gold buttons peek out from under crumpled fabric.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> Smell suit\nEvocative of a shell surrounding the meat of a beetle, except the other way around.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You take the suit\nYou slowly slide the suit towards you, easing it from the slab. One of the golden buttons scrapes the edge.\nThe erogater hums. An eery sound that gets inside your bones. You start to back away.\nShe turns her hollow eyes on you, rising in the water, icy beads rolling down her vaporous form. \"Why don't you come take a bath with me?\"\nSomehow you can't say no. And the water is very, very cold."
    },
    {
        "text": "> Look around\nA vat of ice water glows luridly in the shadows, lit from below. The erogater lies on her back in the water, the clay moon of her face just above the surface of the water, eyes switched off. Frost swirls from her parted lips every so often, flashing white against the darkness.\n\nYou can see a slab (on which is a suit) here.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You examine the erogator\nDrifting naked, suspended, still. Ice is forming on her clay skin.\n\nThe faintest rasp of the erogater's breath, like the exhalation of some distant machine.\n\n> You examine ice\nYou feel dizzy as your scent-brain tips over into oblivion. You blink, shutting off the stream of olfactons. Note to self: never smell an erogater.\n\nThe erogater hums. An eery sound that gets inside your bones. You start to back away.\nShe turns her hollow eyes on you, rising in the water, icy beads rolling down her vaporous form. \"Why don't you come take a bath with me?\"\nSomehow you can't say no. And the water is very, very cold.\n\n> Go west\nYou tip-toe out, closing the door very, very softly.\n\nAn office cut from obsidian and silver. Fake dawnlight streams through drawn blinds. Some kind of critter languidly swims through a murky aquarium. The exits are a stainless steel door on the east wall and the hallway door south.\n\nA massive black safe sits in the corner of the room.\n\n> Swipe card\n(the erogater's card)\nYou swipe the card. Something clicks and the safe door swings open, revealing a hole. Ladder rungs lead down into the darkness.\n\n> Inventory\nYou are carrying:\nan erogater's card\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet\n\n> Down\nYou hold tight to metal rungs. Light above, darkness below.\n\n> Down\nYou feel your way through some kind of cavern. A bridge of stinking iron spans a chasm before you. Across the bridge, a gap in the darkness bleeds ghostly light.\n\n> Smell bridge\nYou smell the erogater's footsteps, cold and light, like snowflakes melting amid a hellish slough of rust.\n\nInterestingly enough, some of the smell of metal comes from the corrosion of metal on contact with human perspiration, the oxidization of skin oils producing lipid peroxides, a precursor to the relevant odor molecules.\n\n> You look at bridge\nHorribly corroded.\n\n> You look at the gap\nA softly glowing portal.\n\n> Smell gap\nYou smell possibility and danger in equal measure."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\n\n[From here, you can go west and up.]\n\n> Go west\nThe cavern opens into an angular vault of chiseled rock, gently lit by wooly carpets of fungi. An ivory chest lies in the center.\n\n> Smell fungi\nYou smell a strange lifeform, plumes of effervescent proto-consciousness.\n\n> You examine the fungi\nMoves as if tickled by unfelt wind.\n\n> You look at the chest\nAn ivory chest with a huge gold lock.\n\n> Smell chest\nYou smell the memory in these hewn bones--stampeding through coral canyons, the moon-baying that celebrates the passing of the elders, a frolic through phosphorescent kelp...\n\n> Inventory\nYou are carrying:\nan erogater's card\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet\n\n> Unlock lock\n[What do you want to unlock the huge gold lock with?]"
    },
    {
        "text": "[Themes: Olfactory Noir, detective, surreal, olfactory, science fantasy]\n\n> Look around\nThe cavern opens into an angular vault of chiseled rock, gently lit by wooly carpets of fungi. An ivory chest lies in the center."
    },
    {
        "text": "[Themes: Olfactory Noir, detective]\n\n> You go downwards\nYou can't go that way.\n\n[The only way to go is east.]\n\n> Go east\nYou feel your way through some kind of cavern. A bridge of stinking iron spans a chasm before you. Across the bridge, a gap in the darkness bleeds ghostly light.\n\n> Up\nYou hold tight to metal rungs. Light above, darkness below.\n\n> Up\nAn office cut from obsidian and silver. Fake dawnlight streams through drawn blinds. Some kind of critter languidly swims through a murky aquarium. The exits are a stainless steel door on the east wall and the hallway door south.\n\nA massive black safe lies open, revealing a hole downward.\n\n> You look at the critter\nThe water is too murky.\n\n> You take the critter\nYou dip your hands into the murky water and fish around.\n\n> Smell critter\nWhat's this? What's happening...your mind blurs with images of your hand suddenly being eviscerated by a tankful of pirhana, pulling back a stump of bloody bones, or some horrible parasite burrowing inside your fingers, dead set on spiraling straight into your brain...\nYou pull up a wriggling, writhing baby octopus!\n\n> You hug the octopus\n[You can only do that to something animate.]\n\n> Smell the octopus\nYour vision fills with the watery realm from which this octopus was snatched. The drowned ruins of ancient cities from the before-times--coral-encrusted freeways, skyscrapers thronged with schools of fish, passenger airplane stuck in the craw of a dark trench.\n\n> You examine the octopus\nA dang choopy octopus, purple and slimy. Cute as hell, looking at you with great trust and affection.\n\n> Down\nYou hold tight to metal rungs. Light above, darkness below.\n\n> Down\nYou feel your way through some kind of cavern. A bridge of stinking iron spans a chasm before you. Across the bridge, a gap in the darkness bleeds ghostly light.\n\n> You open the chest with the octopus\nThe octopus squirms in your hand as you shove it into the lock. Ink bubbles and foams across the lock as the octopus's tentacles are forced inside the holes. With a screech (of the octopus) and a screech (of the chest) the lid pops open.\nThe octopus pops free and scuttles away from you."
    },
    {
        "text": "[Themes: Olfactory Noir, science fantasy, detective]\n\n> You look around\nThe cavern opens into an angular vault of chiseled rock, gently lit by wooly carpets of fungi. An ivory chest lies in the center.\n\nYou can see some sea tomb scrolls and an octopus here.\n\n> Smell scrolls\nThe hand of a dead tyrant set ink to this parchment. Blood, riches, the conquest of nations above and below the earth, and graveworms. You've never smelled anything so terribly ancient.\n\n> You look at the scrolls\nYou can't read any of these queer runes, but you know a chart when you see one. The islands of the northern reach are clearly depicted, along with a red X and finely scrawled coordinates. The rest is page after page of dead languages, along with strange technical diagrams that you cannot comprehend the parts or use of.\n\n> You take the scrolls\nSomething lurches from the shadows, shaking the ground with each step. Cracks split open under your feet as an immense shadow plunges you into the darkness of its hulking form.\n\"Halt!\"\nYou stand perfectly still. The ruby eyes of the security automaton focus on you. \"Are you doing anything illegal?\"\n1 - Yes.\n2 - No.\n\n> 2\n\"Oh. Well, that's all right then.\" The automaton powers down.\n\n> You take the automaton\n[The security automaton isn't portable.]\n\nYour phone beeps.\n\n> You take the octopus\nThe octopus squirts ink in your eyes, slapping away on surprisingly mobile tentacles. You feel outmatched.\n\n> You look at the phone\nNew text message. \"Sorry ladycakes. Had to run.\"\n\n> Squash octopus\nYou squeeze the octopus.\n\n> You look at what you're carrying with you\nYou are carrying:\nsome sea tomb scrolls\nan erogater's card\nan aboro qihilus\na loan lantern\na jacket (being worn)\na mobile phone\na wallet"
    },
    {
        "text": "[Themes: Olfactory Noir, female protagonist, scent, olfactory]\n\n> Describe the surroundings\nThe cavern opens into an angular vault of chiseled rock, gently lit by wooly carpets of fungi. An ivory chest lies in the center.\n\nYou can see a security automaton and an octopus here.\n\n> Smell automaton\nThe olfactons have been stripped from this security bot, as per regulations.\n\n> Close chest\nYou close the chest.\n\n> Go west\nYou can't go that way.\n\n[The only way to go is east.]\n\n> Go east\nYou feel your way through some kind of cavern. A bridge of stinking iron spans a chasm before you. Across the bridge, a gap in the darkness bleeds ghostly light.\n\n> Up\nAn office cut from obsidian and silver. Fake dawnlight streams through drawn blinds. A murky aquarium sits beneath the blinds. The exits are a stainless steel door on the east wall and the hallway door south.\n\nA massive black safe lies open, revealing a hole downward.\n\n> You look at the blinds\nWhite plastic strips. Standard blind fare. Positively provincial compared to some of the mind-blowing blinds they've got up in--oh, who're you kidding.\n\n> Smell blinds\nThoroughly de-olfactonized.\n\n> You go to the south\nYou tip-toe across the room, scrolls gripped in your clammy hands.\n\nA cold presence crawls up your back. You turn around.\n\nThe erogater stands naked and vaporous, ice water tracing down her body. Her eyes regard you, two impassive filaments, but her nostrils flare, drinking in\n\nsucking in all the sweat beaded up in your armpits, rolling down your collar bone, hot and moist around your cunt, itching across your skin, and deeper, deeper, smelling your whole body of beating blood like dragged up red roots suspended dripping in the air, sniffing the marrow in your bones like a starving, salivating wolf ready to crunch, and deeper still, smelling your thoughts, every single silly, embarassing, personal thought, every hope and dream and aspiration you've ever had, she smells your soul, your electromagnetic quintessence, all the stuff that makes you up, she sucks into her nostrils like hallucinogenic ribbons rippling across the room--\n\n--and then she's right next to you and her fingers are crawling across your skin and you head-butt her and there's blood and clay dust all over your face but she's reeling back and you spin from the room and--\n\n--run at breakneck speeds down the hall, through the jauntry room, and into the alley where an alarm rises into the air, keening and spectral.\n\nThe western mouth of this alley is filled with an iron gate. A security camera stares down from above the gate. Sob Street lies east.\n\n> Go east\nDown the street you see incoming squad cars, sirens splashing green light across the fog. A megaphone booms, nightmarish and distorted, like the roaring of some beast. Are they saying your name? Are they saying anything? Or just screaming bestially, baying for blood...\nSob Street\nSob Street runs along the waterfront, a wall of fog smeared with emerald sirenlight. The only possible way to run from the horde of speeding squad cars that has any chance of survival however remote is south!\n\n> Go south\nSquad cars are howling from the mist, they'll be on you in a few seconds! To the east you see Club Coccyx, vibrating, shaking, shuddering in its foundations.\n\nYou can see some chalice city songers here.\n\n> Go east\nYou race across the street and into Club Coccyx. As your foot crosses the threshold, the floor wrenches itself from the ground with a titanic spasm, knocking you down.\nYou leap up, grabbing the edge of the floor as the Club rises above the grimy walls, past the jungle of dead neon signs, into the cool night air.\nThe building yaws to one side. You claw onto the threshold, carving swathes through a dark layer of crushed cigarette stubs and spilled whiskey. The floor rises above your head and everything that isn't nailed down inside the club starts to roll down towards you. Bottles and ashtrays skid past your head, plummeting into the clouds.\nclinging to the middle edge\nThe city is rapidly shrinking below you. You have some room to the right and left, if you need to adjust your grip.\n\n> Enter\nYou can't go that way.\n\n[From here, you can go up, right and left.]\n\nA chair comes hurtling out of the darkness towards your face!\n\n> Right\nThe city is rapidly shrinking below you.\n\n> Up\nYou crawl, one hand in front of the other, a little further up from the edge.\n\nThe chair whips past your face.\n\n> Up\nYou strain to lift yourself up. Sweat pours down your face.\n\n> Up\nJust a little more...\n\nA table slowly slides from the darkness, picking up momentum.\n\n> Right\nYou can't go that way.\n\n[From here, you can go up and left.]\n\n> Left\nThe city is rapidly shrinking below you. You have some room to the right and left, if you need to adjust your grip.\n\n> Up\nYou grit your teeth.\n\nThe table noses past you like an apologetic, blind hippopotamus feeling its way off a cliff. You barely cling to the edge as it tumbles past you, dribbling playing cards and shot glasses in its wake.\n\n> Up\nYou drag yourself on board the flying building. Behind you, clouds race past. Goddamn you didn't even notice how much you were sweating. Fuck.\ntilted club\nYou balance on the sloping floor. Alcohol runs past your feet in rivulets, raining ethanol into the sky. The club is transforming itself, boilers and pipes exposing themselves behind the sultry chic and mood lighting. The northern wall is splayed by mechanical arms, revealing a metal wall with a blue cabin door set in it.\n\n> Smell alcohol\nVision of sudden shaking, shattering glass, gushing release.\n\n> You look at the arms\nThe club is revealing an industrial, airborne side of itself you never knew.\n\n> You look at the door\nA wooden door with a little porthole set in it.\n\n> Smell door\nYou smell hurried hands and shouts.\n\n> You open the door\nYou try the door. It rattles in the frame. Locked.\n\n> You knock on the door\nYou hear sirens howling far below. Red lights sweep the sky, filling the interior of the club with crimson radiance."
    },
    {
        "text": "[Themes: Olfactory Noir, female protagonist, olfactory, science fantasy]\n\n> Describe the surroundings\nGarish red light fills the club. Everything is bathed in blood.\n\n> You examine the porthole\nThrough greasy glass you see a cockpit fraught with chaos--meters and dials spinning furiously, valves spraying steam, James struggling to hold onto a ship's wheel as Hog gesticulates wildly at the city horizon.\n\nThe sky screams. You glance over to the open doorframe to see a point of light pierce the clouds, trailing smoke and flame.\n\nEverything is dark and red and white and your eyeballs feel knocked inside your skull and your guts feel sucked outside your body and then you're tumbling through the air, the wreckage of the club spiraling through the sky on plumes of fire.\n\nThe city is a velvet painting glimpsed from breathless heights. You see the waterway cutting through the city like an icy vein, you see the crater of the Dumpyard like a frozen, gaping wound rimmed with frayed streets, skyscraper cartilage, bleeding culverts. And beyond, the ocean, with all its drowned sea kings and coral tombs.\n\nEverything you've ever smelled flashes across your nostrils. But it all smells bitter-sweet now.\n\nFrom this height the ocean will be concrete. You'd need a miracle to get out of this one. But they don't make miracles anymore. Not since dynasty days.\n\nThere are no miracles. Just men. Women. And the blood beating beneath their palms.\n\nThe aboro qihilus wakes up, starts squirming inside your jacket. Blinking its sleepy eyes, it says, \"Where are we?\"\n\nYou hit the water."
    },
    {
        "text": "[Themes: Fantasy]\n\nYou've decided to spend the weekend in the family country cabin. Well, you say family, but it actually belongs to one particular member of your family: your second cousin Rebecca. You haven't seen her for a while. Nobody has. She's been missing for over a year now, disappeared without a trace.\n\nA fantasy within a mystery within a quiet holiday. by Peter Orme \n\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a cupboard (closed) here.\n\nLadies and gentlemen, behold David Clar\u00e9; age 38, slightly unshaven. Not fat, a litte soft around the waists perhaps. All things consider, you're a regular Joe. A regular David, actually.\n\n[Author's Note: Your decision to spend a quiet weekend in the cabin that belonged to your second cousin (now gone missing) was not so strange. The strange things only started afterwards, when you started poking around the cabin. Nobody could have guessed what you would discover...]\n\n> You open the cupboard\nYou open the cupboard, revealing a top hat, a bowtie, a leather arm guard and a wooden bow.\n\n> You get all from the cupboard\ntop hat: Taken.\nbowtie: Taken.\nleather arm guard: Taken.\nwooden bow: Taken.\n\n> You wear the hat\nYou put on the top hat.\n\n> You wear the bowtie\nYou put on the bowtie.\n\n> You take a the bow\nYou already have that.\n\n> Go upward\n(first opening the trap door)\n(first unlocking the trap door)\nYou can't reach the trap door from down here."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a cupboard (empty) here.\n\n> Go outside\n(first opening the front door)\n\nYou are in front of the house. The garden continues east.\n\n> You wear the guard\nYou put on the leather arm guard.\n\n> You shoot bow\nLeave the fighting business to those who know how to do it. An archer, perhaps. Do you know any?\n\n> You go to the east\nThis is a rather nice garden actually. The front of the house is west of here.\n\nPropped up against one of the apple treese there's a short wooden ladder.\n\n> You take the ladder\nTaken.\n\n> Go west\nYou are in front of the house. The garden continues east.\n\n> You go inside\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a cupboard (empty) here.\n\n> You drop the ladder\nYou raise the ladder so you can reach the trap door.\n\n> You go east\nThe kitchen is old, not antique and quaint, just old. A low doorway leads west to the front hall, another leads north to the bedroom.\n\nOn the window sill is an earthenware jug.\n\n> You examine jug\nIt is brown and cool to the touch. It has a round wooden lid attached with a hinge.\n\n> You open the jug\nYou open the earthenware jug, revealing an iron key.\n\n> You go north\nThis is the only bedroom. Obviously it contains a bed, but also some bookshelves and an antique writing desk. The only exit is south.\n\nYou can see a bed and an antique writing desk here.\n\n> You look at the desk\nIt's a huge, heavy wooden desk. It has one drawer.\n\n> You open the drawer\nYou open the drawer, revealing a bismuth crystal and a journal page.\n\n> You read the page\nThe journal entry is for Oct. 25th, it doesn't say which year. It says: \"I have assembled the metopticon, following the instructions I read in the Grimoire, and as per the instructions I am looking through the metopticon at the crystal city. I feel the tugging, and once or twice I almost imagined myself going, but I cannot seem to leave this mortal shell. In the accursed cryptic writings of N.G. it says, \"you must be the bard, the warrior, the mage, not all but only one at a time\". But how?!\"\n\n> You look at the crystal\nIt is a crystal, the size of your fist. The peculiar crystal formations form little cubes and lines that almost look architectural. You know, it looks a bit like a city.\n\n> You take all\nbismuth crystal: Taken.\njournal page: Taken.\n\n> You look at the bookshelves\nLines of bookshelves, stacked with old strange books.\n(Here's how to get a book from the bookshelf if you know the name: type \"fetch Bible\")\n\n> You fetch Bible\nThe Holy Bible, yes, it's there. You look for bible in the bookshelf but you can't find it.\n\n> You fetch Grimoire\nAfter searching almost all the books, you find it! The Grimoire!\n\n> You read Grimoire\nThis dusty old leatherbound tome bears an inscription on the back that says \"Grimoire. Von Katz. The book has a ribbon bound into its spine, to be used as a bookmark. As you open the book, it opens at the page where the bookmark is. That page seems to contain a schematic woodcut drawing of a device. Above the drawing is a heading that reads \"metopticon\". The rest of the text is in latin, so you can't really read it, but you could probably manage to assemble the device from that drawing, if only you had the parts: a sort of tube, two triangular blocks and a sphere.\nYou have learned how to assemble the metopticon. Whatever it is.\n\n> You go to the south\nThe kitchen is old, not antique and quaint, just old. A low doorway leads west to the front hall, another leads north to the bedroom.\n\n> Go west\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a ladder and a cupboard (empty) here.\n\n> Up\n(first opening the trap door)\n(first unlocking the trap door)\n(with the iron key)\n\nYou can see a chest (closed) here.\n\n> Open chest\nYou open the chest, revealing a small crystal ball, a pink prism, a blue prism and a tube.\n\n> You take all\nchest: Taken.\nsmall crystal ball: Taken.\npink prism: Taken.\nblue prism: Taken.\ntube: Taken.\n\n> You look at the tube\nIt is kind of shaped like a tube, but inside there are all sorts of compartments and at least one mirror. you have a definite feeling it needs to be assembled with other pieces.\n\n> You put the prism in tube\nWhich do you mean, the blue prism or the pink prism?\n\n> Blue\nRemembering what you read in the grimoire you manage to fit the blue prism properly.\n\n> You put the pink prism in the tube\nRemembering what you read in the grimoire you manage to fit the pink prism properly.\n\n> You put the ball in the tube\nYou gently push the ball into the wide end of the tube. It fits!\nYou have assembled the entire metopticon!\n\n> You examine the metopticon\nIt looks like some sort of viewing device. You could try to look at something through it.\n\nIn the metopticon are a small crystal ball, a pink prism and a blue prism.\n\n> You look at crystal through the metopticon\n(the bismuth crystal through the metopticon)\nYou feel dizzy, strange, fractured. Something with your clothing is not right.\n\n> About yourself\nLadies and gentlemen, behold David Clar\u00e9; age 38, slightly unshaven. Not fat, a litte soft around the waists perhaps. All things consider, you're a regular Joe. A regular David, actually.\n\n> Inventory\nYou are carrying:\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\na grimoire\na bible\na journal page\na bismuth crystal\nan iron key\nan earthenware jug (open but empty)\na wooden bow\na leather arm guard (being worn)\na bowtie (being worn)\na top hat (being worn)\n\n> You remove the guard\nYou take off the leather arm guard.\n\n> You drop the guard\nDropped.\n\n> You remove the hat\nYou take off the top hat.\n\n> You drop the bowtie\n(first taking the bowtie off)\nDropped.\n\n> You check what you're carrying\nYou are carrying:\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\na grimoire\na bible\na journal page\na bismuth crystal\nan iron key\nan earthenware jug (open but empty)\na wooden bow\n\n> You wear the bowtie\n(first taking the bowtie)\nYou put on the bowtie.\n\n> You wear the guard\n(first taking the leather arm guard)\nYou put on the leather arm guard.\n\n> You look at crystal through the metopticon\n(the bismuth crystal through the metopticon)\nyou are a warrior!\n\nYou are on a large terrace, paved with stones and ending with an ornate balustrade. From here you have a splendid view. To one side you see the city, so filled with towers and peaked roofs that it might look like a Disney fantasy, unless you know, without a doubt, that this is the real thing, this is a real magical city where anything can happen. To the other side you look out over the wild, endless plains and forest stretching all the way to the distant mountains.\nA winding path leads down from here.\n\nYou can see a magic circle (empty) here.\n\n> You examine the circle\nThe magic circle is empty.\n\n> About yourself\nLook at you - an archer, with perhaps a drop of elven blood pumping through those slender limbs. But you are also David Clar\u00e9, a software engineer from Kent. Very strange."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nThe city gate is a huge opening in the city walls. (Too large... what on Earth could possible warrant a gate that size? The answer comes to you as you think it: nothing. Nothing on Earth.) Inside the gates you see the city in all its glory, high peaked houses and smaller wooden houses with gambrel roofs. Outside - south of here - is the wild. A steep path leads up to the terrace.\n\n> You examine the city\nAbsolutely lovely, you'd love to stay and look at those amazing buildings... but for now, adventure awaits you south of the city.\n\n> You go south\nA stinking, putrid, dark swamp, where mists roll between the dark trees. Back north is the city. The path turns west, deeper in among the trees, into a clearing where you can see some sort of wooden house.\n\nLurking in the shadows, somebody - something! - is watching you. Lacking a proper classification scheme for these things, you decide to call it a troll.\n\n> You look at the troll\nHeavens! What fiendish trickery of nature is this? (Hang on, when did you start thinking like that?). It really is an ugly monster, bipedal, most of the time, and hairy, with a foul head adorned with fangs, tusks, and horns.\n\n> You shoot troll\nOK, you shoot the troll."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nA stinking, putrid, dark swamp, where mists roll between the dark trees. Back north is the city. The path turns west, deeper in among the trees, into a clearing where you can see some sort of wooden house.\n\nThe troll (or whatever it was) is dead, on its back.\n\n> You go west\nThis house looks ready to fall down. The wood is not painted, the roof is laid with moss and the windows are just open holes. A plank door will take you inside. The swamp is back east and a mountain is south of here.\n\n> You enter\nInside the hut it's just a mess. That troll creature must have moved in here, probably after dining on the original inhabitants.\n\nYou can see a crate (on which is a leather pouch (closed)) here.\n\n> You open the pouch\nYou open the leather pouch, revealing a scroll.\n\n> You examine the scroll\nIt's a scroll, made of parchment perhaps? You're new certain about that."
    },
    {
        "text": "> You look at your surroundings\nInside the hut it's just a mess. That troll creature must have moved in here, probably after dining on the original inhabitants.\n\nYou can see a crate here.\n\n> Go outside\nThis house looks ready to fall down. The wood is not painted, the roof is laid with moss and the windows are just open holes. A plank door will take you inside. The swamp is back east and a mountain is south of here.\n\n> You go to the south\nThe air is fresh here on the mountain, nicer than down in that swamp (the hut is north of here). The cave is up from here.\n\n> Up\nA huge cave, large enough to house a very large snakey dragon. Deeper inside the cave you see something shiny and glittering.\n\nYou can see a dragon here.\n\n> You shoot the dragon\nYour arrows will only hurt the dragon enough to get mad, and mad dragons are not what you want. You need a blessing on that bow of yours.\n\n> You turn troll\nThat would be less than courteous.\n\n> Go inside\nYou walk in a large circle around the dead body of the dragonsnake.\n\nYou walk into the inner cave. There are all sorts of shiny objects (some of which are gold and silver, others just shiny stones) all over the floor. In a pile, still recovering from the shock of being released from the dragonsnake's magic hold, is a woman. At first you think of maidens and princesses, but then you realize you know her. Rebecca?\n\n> Sing\nYour singing is abominable.\n\n> Attack dragon\nYour arrows will only hurt the dragon enough to get mad, and mad dragons are not what you want. You need a blessing on that bow of yours.\n\n> You check your inventory\nYou are carrying:\na leather pouch (open but empty)\na scroll\nan archer's bow\nan archer's armguard (being worn)\na battle outfit (being worn)\n\n> You remove the guard\nYou take off the archer's armguard.\n\n> You wear the guard\nYou put on the archer's armguard.\n\n> Down\nThe air is fresh here on the mountain, nicer than down in that swamp (the hut is north of here). The cave is up from here.\n\n> You go to the north\nThe city gate is a huge opening in the city walls. Inside the gates you see the city in all its glory, high peaked houses and smaller wooden houses with gambrel roofs. Outside - south of here - is the wild. A steep path leads up to the terrace.\n\n> Up\nYou are on a large terrace, paved with stones and ending with an ornate balustrade. From here you have a splendid view. To one side you see the city, so filled with towers and peaked roofs that it might look like a Disney fantasy, unless you know, without a doubt, that this is the real thing, this is a real magical city where anything can happen. To the other side you look out over the wild, endless plains and forest stretching all the way to the distant mountains.\nA winding path leads down from here.\n\nYou can see a magic circle (empty) here.\n\n> You enter the circle\nYou can see a bowtie and a top hat here.\n\n> You check what you're carrying\nYou are carrying:\na leather arm guard (being worn)\na grimoire\na bible\na journal page\na bismuth crystal\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\nan iron key\nan earthenware jug (open but empty)\na wooden bow\n\n> Guard\nwooden bow: Dropped.\nleather arm guard: (first taking the leather arm guard off)\nDropped.\n\n> You wear the hat\n(first taking the top hat)\nYou put on the top hat.\n\n> You look through the metopticon at crystal\n(the bismuth crystal)\nYou feel dizzy, strange, fractured. Something with your clothing is not right.\n\n> You get all\nleather arm guard: Taken.\nwooden bow: Taken.\nbowtie: Taken.\nsmall crystal ball: Better leave the small crystal ball where it is. pink prism: Better leave the pink prism where it is. blue prism: Better leave the blue prism where it is."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a ladder and a cupboard (empty) here.\n\n> Go east\nThe kitchen is old, not antique and quaint, just old. A low doorway leads west to the front hall, another leads north to the bedroom.\n\n> You go north\nThis is the only bedroom. Obviously it contains a bed, but also some bookshelves and an antique writing desk. The only exit is south.\n\nYou can see a bed and an antique writing desk here.\n\n> You look at the desk\nIt's a huge, heavy wooden desk. It has one drawer.\n\n> You examine the drawer\nIt is open.\n\n> You take the drawer\nThat seems to be a part of the antique writing desk.\n\n> You open the drawer\nThat's already open.\n\n> You read bible\nIt's just a bible.\n\n> You go to the south\nThe kitchen is old, not antique and quaint, just old. A low doorway leads west to the front hall, another leads north to the bedroom.\n\n> Go west\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a ladder and a cupboard (empty) here.\n\n> You leave\nYou are in front of the house. The garden continues east.\n\n> You go east\nThis is a rather nice garden actually. The front of the house is west of here.\n\n> You check your inventory\nYou are carrying:\na bowtie\na wooden bow\na leather arm guard\na top hat (being worn)\na grimoire\na bible\na journal page\na bismuth crystal\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\nan iron key\nan earthenware jug (open but empty)\n\n> You remove the hat\nYou take off the top hat.\n\n> Inventory\nYou are carrying:\na bowtie\na wooden bow\na leather arm guard\na top hat\na grimoire\na bible\na journal page\na bismuth crystal\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\nan iron key\nan earthenware jug (open but empty)\n\n> Wave bible\nYou look ridiculous waving the bible.\n\n> Inventory\nYou are carrying:\na bowtie\na wooden bow\na leather arm guard (being worn)\na top hat\na grimoire\na bible\na journal page\na bismuth crystal\na metopticon\na small crystal ball\na pink prism\na blue prism\na chest (open but empty)\nan iron key\nan earthenware jug (open but empty)\n\n> You look at crystal through the metopticon\n(the bismuth crystal through the metopticon)\nyou are a warrior!\n\nYou are on a large terrace, paved with stones and ending with an ornate balustrade. From here you have a splendid view. To one side you see the city, so filled with towers and peaked roofs that it might look like a Disney fantasy, unless you know, without a doubt, that this is the real thing, this is a real magical city where anything can happen. To the other side you look out over the wild, endless plains and forest stretching all the way to the distant mountains.\nA winding path leads down from here.\n\nYou can see a scroll, a leather pouch (empty) and a magic circle (empty) here.\n\n> You check what you're carrying\nYou are carrying:\na scroll\nan archer's bow\nan archer's armguard (being worn)\na battle outfit (being worn)\n\n> You drop all\ngrimoire: Dropped.\nbible: Dropped.\njournal page: Dropped.\nbismuth crystal: Dropped.\nmetopticon: Dropped.\nchest: Dropped.\niron key: Dropped.\nearthenware jug: Dropped.\nwooden bow: Dropped.\nbowtie: Dropped.\ntop hat: Dropped.\n\n> You take crystal\n(the bismuth crystal)\nTaken.\n\n> You drop the hat\n(first taking the top hat off)\nDropped.\n\n> You wear the bowtie\nYou're already wearing that!\n\n> Inventory\nYou are carrying:\na wooden bow\na metopticon\na small crystal ball\na pink prism\na blue prism\na bismuth crystal\na leather arm guard (being worn)\n\n> You drop the guard\n(first taking the leather arm guard off)\nDropped.\n\n> You wear the bowtie\n(first taking the bowtie)\nYou put on the bowtie."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a top hat, a leather arm guard, an earthenware jug, an iron key, a chest (empty), a journal page, a bible, a grimoire, a ladder and a cupboard (empty) here.\n\n> You take the bed\nThat's fixed in place.\n\n> You get all\nsmall crystal ball: Better leave the small crystal ball where it is. pink prism: Better leave the pink prism where it is. blue prism: Better leave the blue prism where it is.\n\n> You put bible on bow\n(first taking the bible)\n\nPutting things on the wooden bow would achieve nothing.\n\n> You shoot bible\nLeave the fighting business to those who know how to do it. An archer, perhaps. Do you know any?\n\n> You check what you're carrying\nYou are carrying:\na bible\na bowtie (being worn)\na wooden bow\na metopticon\na small crystal ball\na pink prism\na blue prism\na bismuth crystal"
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe front hall is just a tiny little room you come into after going through the front door (leading out). You see a low doorway to the east which leads into the kitchen. There's a sort of trap door in the ceiling.\n\nYou can see a top hat, a leather arm guard, an earthenware jug, an iron key, a chest (empty), a journal page, a grimoire, a ladder and a cupboard (empty) here.\n\n> You burn bible\nThis dangerous act would achieve little."
    },
    {
        "text": "[Themes: Science Fiction, escape]\n\n> You take all\nbedsheets: Taken.\n\n[Author's Note: After having been taken captive in battle, you soon settled into a routine: sleep, eat, shower, reconsider your life choices, repeat. Until, one day, there is no more food. Or guards, for that matter. It seems to be up to you to find a way out of your prison and back home...]"
    },
    {
        "text": "> About yourself\nYou've seen better days.\n\n> Inventory\nYou are carrying:\nsome bedsheets\na set of fatigues (being worn)\n\n> You look at the fatigues\nA set of standard-issue combat fatigues, consisting of a gray shirt, pants and blouse in a grey-and-black digital urban camouflage pattern, and a pair of black leather boots.\n\n> You examine the camera\nA small camera hangs in one corner of the room, a small red light presumably indicating that it is active.\n\n> You look at the cot\nFlimsy frame, uncomfortable plastic surface \u2013 it's a cot alright.\n\n> You examine the grate\nA rather flimsy, rusty grate covering the air duct. It looks like you could break it if you wanted to (although the presence of the camera has so far kept you from attempting anything).\n\n> Break grate\nIt's too far up to throw a good punch at the grate.\n\n> You pull the grate\nWith a groan of exertion, you pull the grate with enough force for the old welds to give way. You set the grate down on the ground.\n\n> You enter the vent\nYou get into the cell air duct.\n\n> You look\nYour Cell (in the cell air duct)\nYou are lying in the cell air duct, peeking out into the room:\n\nThis is the room you have spent most of your time in, ever since being taken captive. To be honest, you've kind of lost track of how long that has been. A cot stands in one corner of the room. An air duct is mounted in the wall near the cot, exuding a constant stream of cool, fresh air (and the occasional drop of condensation, which falls to the ground with an annoyingly loud plink). A sanitary station \u2013\na\nsort of hybrid toilet-shower-sink \u2013 is built into a corner of the room. A metal door lies to the north, keeping you securely in the cell.\n\nA small camera hangs above the cot, keeping a watchful eye on you.\n\nYou can also see the cell air duct's grate here.\n\n> Examine duct\nIt exudes a stream of cool, fresh air. It is open.\n\n> You enter the duct\nBut you're already in the cell air duct.\n\n> You go north\nYou would have to get out of the cell air duct first.\n(To crawl through the duct, try typing CRAWL.)\n\n> Crawl\n(through the air duct)\nYou crawl through the ducts, air rushing past your face.\n\nPrison Installations Room (in the bottom of the air duct)\nYou are lying in the bottom of the air duct, peeking out into the room:\n\nThis is where most of the installations and appliances keeping the cell complex running reside. A stiff breeze blows through this room, from the large machine on one wall, to the air ducts on the opposite wall. A ladder leads up.\n\nOn one of the walls is a panel with a number of large switches on it.\n\n> You examine the machine\nA large machine takes up almost the entire south wall. It is forcing air through the room.\n\n> You exit\n(first kicking a hole into the grate)\nYou get out of the bottom of the air duct.\n\nThis is where most of the installations and appliances keeping the cell complex running reside. A stiff breeze blows through this room, from the large machine on one wall, to the air ducts on the opposite wall. A ladder leads up, the air duct to your cell is on the northern wall.\n\nOn one of the walls is a panel with a number of large switches on it.\n\n> You examine the ladder\nA simple ladder is mounted on the wall, leading up.\n\n> Go upward\nThe walls are plastered with screens showing video feeds from throughout the facility. This must be the place from which the prisoners are monitored.\n\nA ladder leads down into the installations room, and a corridor leads south.\n\nYour helmet is sitting on a table in the middle of the room, with a number of wires attached to it.\n\nA control desk and some screens are installed on the wall.\n\n> You look at the helmet\nTaking a closer look at the helmet confirms that it is, in fact, yours. Perhaps the rest of the suit is around here somewhere as well.\n\n> You take it\nYou carefully disconnect the wires that connect the helmet to the computer systems in the room. Hopefully, your captors haven't messed anything up.\n\nTaken.\n\n> You look at the wires\nA slew of thin wires lies discarded on the ground.\n\n> You examine the first screen\nI only understood the first part of that \u2013 trying anyway.\n\nRetrying as:\n>X FIRST\n\nType UNDO if this isn't what you wanted to do, or CORRECT OFF to stop automatically correcting commands.\n\nTo stop these messages entirely, type NOVICE OFF.\n\nYou can't see any such thing.\n\n> You take the wires\nThey're hardly portable.\n\n> You go south\nThe featureless white corridor runs east-to-west, bending around a corner and out of sight to each end.\n\nThe metal door leading to your cell is south. The control room lies around the corner to the west.\n\n> You examine the door\nThis is the door leading to your cell. It has a handle that allows it to be opened from this side.\n\n> You go east\nThis room is the entrance to the facility. You have no doubt that there would normally be at least one guard posted here, but at the moment it is empty.\n\nYou could go east, into a small storage area, or south, back into the corridor.\n\nThe way out of the building, to the north, leads through what appears to be an airlock.\n\n> Go east\nThis small storage closet seems to be the place where inmates' possessions are stored. Bare-metal shelves line the walls.\n\nThe only way out is west.\n\nPieces of armor plating lie on the shelves.\n\nOn the shelves are five ration bars.\n\n> You take all\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\n\n> You examine the plating\nYou are fairly sure that these are the pieces of your battle armor. They seem to be intact, but an integral part \u2013 the helmet \u2013 is not among them.\n\n> You take the plating\n(donning the now-complete suit)\nYou slip into the undersuit and latch the armored plates into place. As you slide on your helmet, the internal systems start up, informing you that everything is still in working order.\n\n> You go to the north\n(first opening the airlock)\nIt seems to be locked.\n\n> Go south\nThe featureless white corridor runs east-to-west, bending around a corner and out of sight to each end.\n\nThe metal door leading to your cell is south. The control room lies around the corner to the west, and the entry area lies around the corner to the east.\n\n> You go west\nThe walls are plastered with screens showing video feeds from throughout the facility. This must be the place from which the prisoners are monitored.\n\nA ladder leads down into the installations room, and a corridor leads south.\n\nA control desk and some screens are installed on the wall."
    },
    {
        "text": "[Themes: Science Fiction, escape]\n\n> Go down\nThis is where most of the installations and appliances keeping the cell complex running reside. A stiff breeze blows through this room, from the large machine on one wall, to the air ducts on the opposite wall. A ladder leads up, the air duct to your cell is on the northern wall.\n\nOn one of the walls is a panel with a number of large switches on it.\n\n> You turn off the maglock\nYou switch the MAGLOCK switch off.\n\n> Go north\n(first opening the airlock)\n\nA small courtyard lies outside the prison, which appears to be built on a small island.\n\nThe way back into the prison is south, through the airlock. You are otherwise surrounded by water, but there are some docks allowing easy access to the east.\n\nThe airlock leading into the cell complex lies to the south.\n\n> Go east\nThe prison is built on a tiny island in the ocean \u2013 presumably to\nmake\nescaping more difficult. A small dock extends into the water, away from the rocky shoreline.\nThe shore, populated with buildings, lies a few hundred meters to the north. The prison antecourt is to your west.\n\n> You examine the dock\nA floating plastic contraption with a metal frame. It wobbles as you try to stand on it.\n\n> Dive\n(in the water)\nWhile your armor is designed primarily for planetary and shipboard operations, it can also double as a space suit and diving equipment in a pinch (or so the manufacturer promises). While you had more chances than you'd care for to verify that it does make for a passable spacesuit, it may finally be time to put the \"diving\" part of that claim to the test.\nYou jump into the water, spreading your arms and legs to slow your descent...\nAbout ten seconds later, you come to an abrupt halt as you land faceplate-first in the silt at the bottom of the sea.\nYou scramble to your feet, wiping the muck off your faceplate. You can still breathe, and none of the electronics in your suit seem to have been fried \u2013 so far, so good.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the light\nYou switch the helmet lamp on.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The rocky cliffs of the prison island lie to the south, the military complex is due north.\n\n> You go to the north\nYou slowly trudge northward.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The military complex is due north.\n\n> Go north\nYou slowly trudge northward.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The ground is sloping upwards to the north.\n\n> Go north\nYou slowly make your way up the muddy incline \u2013 half walking, half crawling \u2013 until you finally reach dry land again.\n\nThe shoreline here seems more like an extension of the ocean floor you just walked: a gradual incline, rather than a sharp drop. A dock extends into the water to allow loading and unloading boats without needing to drive them up against the shore. (Although no boats are to be seen.)\nYou vaguely recall coming through here, weeks ago, sedated, a breathing apparatus in your face...\n\nThe prison buildings lie to the south, down the muddy incline and across the water, and the military complex continues to the north.\n\n> Go north\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. What looks like a hangar lies to the east, blocked off by a force field. A smaller building, labeled \"Barracks\", lies to the west, and a larger building  with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\nThe wind picks up some leaves and blows them through the force field to the east.\n\n> You go to the west\nThis is the entry area to what must be the barracks of this place. The area near the entrance is set up like a mess hall, with tables and counters, while the back of the room is set up more casually, with pillows on the floor and even a couch. You've never seen a\ncouch in a military facility in your life.\n\nYou could go east, back outside, or west, further into the building.\n\n> You look at the couch\nIt's not a particularly nice couch \u2013 it looks rather old and\nworn \u2013 but still: it's a freakin' couch! How the hell did\nthey get a couch out here?!\n\n> You search the couch\nThe couch is empty.\n\n> You look at the pillows\nThey are plain white pillows that could very well be the same that people used for sleeping.\n\n> You move the pillows\nThey are fixed in place.\n\n> You sit on the couch\nThe couch looks comfy and inviting, and despite the entire situation you can't resist the urge to sit down for a bit. You transfer a considerable amount of mud to the couch in the proces, but if the Shwabolians ever notice, a dirty couch will be the least of your issues.\n\n> You examine the tables\nYou see nothing interesting about the tables. They are boring, even by the low standards of tables.\n\n> You go west\nYou are standing in the sleeping area of the barracks. Like the entire facility so far, the room is designed in a very utilitarian manner, with no decoration or personal touches.\n\nYou can go east, back to the mess hall, or south, further into the building.\n\nFour stacked bunk beds are lined up on the walls.\n\n> You look at the beds\nThe non-folding, stacked version of the cot you spent the past weeks on, perhaps. From the looks of them, these bunks are only marginally more comfortable than what you had to sleep on.\n\n> Go south\nThis would be the place where the garrison force (if one can call it that, given the size of the facility) takes care of personal hygiene. It is a sterile-looking room, white tiles covering the floor and the walls all the way up to the ceiling. Four sinks and mirrors are installed on one wall, four toilets on another, the remaining two have two showers each. It doesn't seem like the Shwabolians care a whole lot about privacy, seeing as there are no dividers of any kind in the room.\nThe only way out is north, back to the barracks.\n\n> You examine the mirror\nYou regard yourself in one of the mirrors: Covered in a generous amount of ocean mud \u2013 you haven't looked this bad since bootcamp, probably. You're not sure whether you look particularly fierce or particularly ridiculous.\n\n> You look at the toilet\nThey look like the kind you'd find in the worst of public restrooms back on earth: steel body, no lid, no real seat. Comfort clearly wasn't high on the priority list here.\n\n> You examine the shower\nMuch like the rest of the room, the showers aren't much to look at: non-adjustable shower heads emerging from the ceiling, simple mechanical controls mounted on the walls, and all the water ultimately goes down the grated drains built into the tiled floor.\n\n> You examine the sink\nJust like the toilets, the sinks are made of plain steel.\n\n> You go north\nYou are standing in the sleeping area of the barracks. Like the entire facility so far, the room is designed in a very utilitarian manner, with no decoration or personal touches.\n\nYou can go east, back to the mess hall, or south, into the washroom.\n\nFour stacked bunk beds are lined up on the walls.\n\n> You go to the east\nThis is the entry area to what must be the barracks of this place. The area near the entrance is set up like a mess hall, with tables and counters, while the back of the room is set up more casually, with pillows on the floor and even a couch. You've never seen a\ncouch in a military facility in your life.\n\nYou could go east, back outside, or west, further into the building.\n\n> You take the shower\nYou turn on one of the showers and let the water run over you. The mud slides off your gear and collects on the floor before finding its way down the drain.\n\n> You go east\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. What looks like a hangar lies to the east, blocked off by a force field. A smaller building, labeled \"Barracks\", lies to the west, and a larger building  with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\nA small bird flies through the force field and off to the east.\n\n> You remove the suit\nYou take off the armor, setting the pieces down on the ground in front of you.\n\n> Inventory\nYou are carrying:\nfive ration bars\nsome bedsheets\na set of fatigues (being worn)\n\n> You drop all\nration bar: Dropped.\nration bar: Dropped.\nration bar: Dropped.\nration bar: Dropped.\nration bar: Dropped.\nbedsheets: Dropped.\n\n> You go to the east\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. What looks like a hangar lies to the east, blocked off by a force field. A smaller building lies to the west, and a larger building , blocked off by a door, lies to the north.\n\nThe wind picks up some leaves and blows them through the force field to the east.\n\nWithout the protection of your suit, you succumb to the toxic atmosphere of this wholly hostile world.\n\n> Lka\n> RESTORERestore failed.\n\n> You wear suit\nYou put on your armor.\n\n> You take the bars and the bedsheets\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\nration bar: Taken.\nbedsheets: Taken.\n\n> You examine the bedsheets\nPlain white bedsheets. Thin, scratchy, and not quite warm enough to keep you comfortable. It seems like all expenses were spared here.\n\n> You go to the east\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. What looks like a hangar lies to the east, blocked off by a force field. A smaller building, labeled \"Barracks\", lies to the west, and a larger building  with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\nThe wind picks up some leaves and blows them through the force field to the east.\n\n> You go south\nThe shoreline here seems more like an extension of the ocean floor you just walked: a gradual incline, rather than a sharp drop. A dock extends into the water to allow loading and unloading boats without needing to drive them up against the shore. (Although no boats are to be seen.)\nYou vaguely recall coming through here, weeks ago, sedated, a breathing apparatus in your face...\n\nThe prison buildings lie to the south, down the muddy incline and across the water, and the military complex continues to the north.\n\n> Wear mud\nYou kneel down in the mud and go to town, scooping up the gooey mud and slathering it onto yourself with both hands, until you are satisfied that you have covered every square inch (save for your visor) in a uniformly thick layer of the greyish-brown substance.\n\n> You go east\nYour mud-covered body passes through the force field with little resistance.\n\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty, except for a messenger ship.\n\nThe launch doors leading north are closed. You can go west, through the force field and back to the plaza, or up to the control room.\n\nA small bird flies through the force field and off to the west.\n\n> You look at the ship\nThe messenger ship has a sleek silver shape. It looks like a somewhat larger, elongated variant of a typical Shwabolian dropship design. What sets it apart is the fact that, instead of a large cargo hold, it has a fully-featured alcubierre drive, allowing for faster-than-light travel. Useful for when urgent messages (or passengers) need to be delivered somewhere, and waiting for the next cargo hauler or patrol boat is not an option.\n\n> You enter the ship\nHangar (in the messenger ship)\nYou are sitting in the cockpit of the messenger ship. The control panels are dark and blank.\n\n> You examine the panels\nThe panels surrounding you are festooned with buttons and switches. You hope that most of them aren't too important.\nA notch is in one of the control panels, ready to accept something.\n\n> Go outside\nYou get out of the messenger ship.\n\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty, except for a messenger ship.\n\nThe launch doors leading north are closed. You can go west, through the force field and back to the plaza, or up to the control room.\n\nThe wind picks up some leaves and blows them through the force field to the west.\n\n> You go upwards\nYou are standing in a room built into the wall near the ceiling of the cavernous hangar. Normally, no craft would enter or leave the airspace around the facility without the approval of the air-traffic controllers on duty here, but now it is deserted.\n\nThe only way out is down, back into the hangar.\n\nA large window overlooks the landing pad outside.\n\nA desk festooned with screens and buttons is mounted below the window.\n\n> You look through window\nYou can see the the empty landing pad outside.\n\n> You examine the desk\nThis desk must be the place from which most of the air traffic going into and out of this place is controlled. It is festooned with screens, buttons, and switches, but three elements stick out: a switch labeled FORCE FIELD, one labeled LAUNCH DOORS, and a large red button.\n\n> Examine button\nA large red button is mounted in the center of the console. It is not labeled.\n\n> You turn off the field\nYou switch the FORCE FIELD switch off.\n\n> You open the doors\nYou flip the switch, and the large doors separating the hangar from the launch pad slide open."
    },
    {
        "text": "> Go downwards\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty, except for a messenger ship.\n\nYou could go north, through the launch doors and onto the landing pad, west, back to the plaza, or up to the control room.\n\n> You go to the north\nYou are standing on the tarmac of a small landing pad. It's not long enough for a fixed-wing atmospheric craft to take off, but perfectly adequate for the vertical take-off and landing operation of a space-capable vessel.\n\nYou could go south, through the launch doors and back into the hangar.\n\n> Go west\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. The hangar lies to the east. A smaller building, labeled \"Barracks\", lies to the west, and a larger building with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\n> You climb the beds\nLittle is to be achieved by that.\n\n> You take the couch\nThat's hardly portable.\n\n> You touch the couch\nThrough your armored gloves, you don't really feel much of anything.\n\nYou feel nothing unexpected.\n\n> Go east\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. The hangar lies to the east. A smaller building, labeled \"Barracks\", lies to the west, and a larger building with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\n> Go east\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty, except for a messenger ship.\n\nYou could go north, through the launch doors and onto the landing pad, west, back to the plaza, or up to the control room.\n\n> You enter the ship\nHangar (in the messenger ship)\nYou are sitting in the cockpit of the messenger ship. The control panels are dark and blank.\n\n> You look behind the panel\nIf you can see an object, you can usually just interact with it directly without worrying about your position (although since you're in or on something, you may need to type EXIT first). Try a command like EXAMINE MESSENGER SHIP for a closer look at something, LOOK to get a new description of this location, or a direction like WEST (or W) to move to a different location.\n\n> You take the bar\nTaken.\n\n> Go west\nYou would have to get out of the messenger ship first.\n\n> Go outside\nYou get out of the messenger ship.\n\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty, except for a messenger ship.\n\nYou could go north, through the launch doors and onto the landing pad, west, back to the plaza, or up to the control room.\n\n> You look at the ship\nThe messenger ship has a sleek silver shape. It looks like a somewhat larger, elongated variant of a typical Shwabolian dropship design. What sets it apart is the fact that, instead of a large cargo hold, it has a fully-featured alcubierre drive, allowing for faster-than-light travel. Useful for when urgent messages (or passengers) need to be delivered somewhere, and waiting for the next cargo hauler or patrol boat is not an option."
    },
    {
        "text": "> Go downwards\nThis large, cavernous space where dropships and other small craft can be stored when not in use. It is currently empty.\n\nYou could go north, through the launch doors and onto the landing pad, west, back to the plaza, or up to the control room.\n\n> Go west\nThis base must be the heart of the operations \u2013 in this area, at least.\n\nThere are several places you could go from here. The shoreline and the docks lie to the south. The hangar lies to the east. A smaller building, labeled \"Barracks\", lies to the west, and a larger building with a sign reading \"Command Center\", blocked off by a door, lies to the north.\n\n> You examine the door\nA simple metal door. It is equipped with a card reader rather than a keyhole. It is closed.\n\n> You examine the Command Center\n(the command center door)\nA simple metal door. It is equipped with a card reader rather than a keyhole. It is closed.\n\n> You look at the counters\nThis must be where the food was handed out. Like most of the sparse furniture in here, there really isn't anything noteworthy about them: just white plastic surfaces with recessions for food bowls.\n\n> You look behind the mirror\nIf you can see an object, you can usually just interact with it directly without worrying about your position. Try a command like EXAMINE MIRRORS for a closer look at something, LOOK to get a new description of this location, or a direction like NORTH (or N) to move to a different location.\n\n> Break mirror\nYou drive an armored fist into one of the mirrors, smashing it. You pocket one of the larger pieces.\n\n> You cut couch\nWhat do you want to cut the couch with?\n\n> You look at the shard\nA piece of mirror. You catch a glimpse of your helmet as you tilt it around.\n\n> Go north\nYou are standing on the tarmac of a small landing pad. It's not long enough for a fixed-wing atmospheric craft to take off, but perfectly adequate for the vertical take-off and landing operation of a space-capable vessel.\n\nYou could go south, through the launch doors and back into the hangar.\n\nYou can see a messenger ship here.\n\n> You enter the ship\nLanding Strip (in the messenger ship)\nYou are sitting in the cockpit of the messenger ship. The control panels are dark and blank.\n\n> You take the shard\nTaken.\n\n> You touch panel\nThrough your armored gloves, you don't really feel much of anything.\n\nYou feel nothing unexpected.\n\n> You turn the shard\nNothing obvious happens.\n\n> Go outside\nYou get out of the messenger ship.\n\nYou are standing on the tarmac of a small landing pad. It's not long enough for a fixed-wing atmospheric craft to take off, but perfectly adequate for the vertical take-off and landing operation of a space-capable vessel.\n\nYou could go south, through the launch doors and back into the hangar.\n\nYou can see a messenger ship here.\n\n> You examine the shoreline\nThe muddy shore slopes down into the water. You can see the rut you left as you crawled up.\n\n> You turn off the helmet\nYou switch the helmet lamp off.\n\n> You sit on the couch\nYou get into the couch.\n\n> You lie on the couch\nBut you're already in the couch.\n\n> Sleep\nYou've spent so much of these past few weeks sleeping that you feel like you won't be tired again in a long time"
    },
    {
        "text": "> You look around\nMess Hall (in the couch)\nThis is the entry area to what must be the barracks of this place. The area near the entrance is set up like a mess hall, with tables and counters, while the back of the room is set up more casually, with pillows on the floor and even a couch. You've never seen a\ncouch in a military facility in your life.\n\nYou could go east, back outside, or west, further into the building.\n\n> You check what you're carrying\nYou are carrying:\nyour armor (being worn)\na shard\nfive ration bars\nsome bedsheets\na set of fatigues (being worn)\n\n> Go west\nYou would have to get out of the couch first.\n\n> You stand\nWhat do you want to stand on?\n\n> Leave\nYou get out of the couch.\n\nThis is the entry area to what must be the barracks of this place. The area near the entrance is set up like a mess hall, with tables and counters, while the back of the room is set up more casually, with pillows on the floor and even a couch. You've never seen a\ncouch in a military facility in your life.\n\nYou could go east, back outside, or west, further into the building.\n\n> You lie on the bed\n(the bedsheets)\nNow is not the time for rest. Besides, you've done nothing but sleep for the past few weeks, so you're not particularly tired.\n\n> You examine the bedsheets\nPlain white bedsheets. Thin, scratchy, and not quite warm enough to keep you comfortable. It seems like all expenses were spared here.\n\n> You look at upper bunk\nI only understood the first part of that \u2013 trying anyway.\n\nRetrying as:\n>X UPPER\nYou can't see any such thing.\n\n> You examine the mirror\n(the shard)\nA piece of mirror. You catch a glimpse of your helmet as you tilt it around.\n\n> Wave shard\nYou wave the shard.\n\n> You look behind the couch\nIf you can see an object, you can usually just interact with it directly without worrying about your position. Try a command like EXAMINE COUCH for a closer look at something, LOOK to get a new description of this location, or a direction like WEST (or W) to move to a different location.\n\n> You examine the helmet\nThe helmet lamp is currently switched off.\n\n> You examine the armor\nIt is sometimes said that a soldier's best friend is his weapon \u2013 but that hasn't really been true in a while now, with weapons being issued and turned in as needed. Your armor, however, has traveled to many a world with you, and saved your hide more than once. You're glad to have it back.\nIt is fitted with a helmet lamp, and it can double as a space suit, providing air in hostile environments.\n\n> You look at the mirrors\nYou smashed one mirror, but three remain.\n\nYou regard yourself in one of the mirrors: In your armored suit you almost look soldierly again.\n\n> Smash mirrors\nDestroying one of the mirrors should be sufficient.\n\n> You examine the shard\nA piece of mirror. You catch a glimpse of your face as you tilt it around.\n\n> Go south\nThis would be the place where the garrison force (if one can call it that, given the size of the facility) takes care of personal hygiene. It is a sterile-looking room, white tiles covering the floor and the walls all the way up to the ceiling. Four sinks and mirrors are installed on one wall, four toilets on another, the remaining two have two showers each. It doesn't seem like the Shwabolians care a whole lot about privacy, seeing as there are no dividers of any kind in the room.\nThe only way out is north, back to the barracks.\n\nYou can see your armor (empty) here.\n\n> You put all in the armor\nshard: Done.\nration bar: Done.\nbedsheets: Done.\nration bar: Done.\nration bar: Done.\nration bar: Done.\nration bar: Done.\n\n> Inventory\nYou are carrying:\nyour armor (being worn)\nfive ration bars\nsome bedsheets\na shard\na set of fatigues (being worn)\n\n> You look at the armor\nIt is sometimes said that a soldier's best friend is his weapon \u2013 but that hasn't really been true in a while now, with weapons being issued and turned in as needed. Your armor, however, has traveled to many a world with you, and saved your hide more than once. You're glad to have it back.\nIt is fitted with a helmet lamp, and it can double as a space suit, providing air in hostile environments.\n\nIn your armor are five ration bars, some bedsheets, and a shard.\n\n> You wear the bedsheets\n(first taking the bedsheets)\nYou can't wear those!\n\n> Tear bedsheets\nIn a sudden fit of rage, you take the thin bedsheets and rip them to shreds."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis would be the place where the garrison force (if one can call it that, given the size of the facility) takes care of personal hygiene. It is a sterile-looking room, white tiles covering the floor and the walls all the way up to the ceiling. Four sinks and mirrors are installed on one wall, four toilets on another, the remaining two have two showers each. It doesn't seem like the Shwabolians care a whole lot about privacy, seeing as there are no dividers of any kind in the room.\nThe only way out is north, back to the barracks.\n\n> You check your inventory\nYou are carrying:\nyour armor (being worn)\nfive ration bars\na shard\na set of fatigues (being worn)\n\n> You go north\nHow do I leave the cell?\n> How do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> Go north\nHow do I leave the cell?\nHow do I leave the prison building?\n> How do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\n> How do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> Go north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\n> How do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n1/8: The door has an attached card reader.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> You go south\nYou take a few tentative steps down the incline before falling on your ass and sliding the rest of the way down into the water.\n\nIt is pitch dark, and you can't see a thing.\n\n> You turn on the helmet\nYou switch the helmet lamp on.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The ground is sloping upwards to the north.\n\n> Go south\nYou slowly trudge southward.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The military complex is due north.\n\n> Go south\nYou slowly trudge southward.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The rocky cliffs of the prison island lie to the south, the military complex is due north.\n\n> You climb up the cliff\nYou climb up the cliffs.\n\nThe prison is built on a tiny island in the ocean \u2013 presumably to\nmake\nescaping more difficult. A small dock extends into the water, away from the rocky shoreline.\nThe shore, populated with buildings, lies a few hundred meters to the north. The prison antecourt is to your west.\n\n> Go west\nA small courtyard lies outside the prison, which appears to be built on a small island.\n\nThe way back into the prison is south, through the airlock. You are otherwise surrounded by water, but there are some docks allowing easy access to the east.\n\nThe airlock leading into the cell complex lies to the south.\n\n> Go south\nThis room is the entrance to the facility. You have no doubt that there would normally be at least one guard posted here, but at the moment it is empty.\n\nYou could go east, into a small storage area, or south, back into the corridor.\n\nThe way out of the building, to the north, leads through an airlock.\n\n> You go to the east\nThis small storage closet seems to be the place where inmates' possessions are stored. Bare-metal shelves line the walls.\n\nThe only way out is west.\n\n> You climb up the shelves\nLittle is to be achieved by that.\n\n> You look under the screens\nLooking under the control panel, you find a purple card, which you pocket.\n\n> You examine the card\nA purple-colored card with shwabolian writing on it. Your suit translates it as \"Shevok Kemalik, Warden\"."
    },
    {
        "text": "> Go downwards\nYou are standing knee-deep in the silt at the bottom of the ocean. The rocky cliffs of the prison island lie to the south, the military complex is due north.\n\n> You go to the north\nYou slowly trudge northward.\n\nYou are standing knee-deep in the silt at the bottom of the ocean. The military complex is due north.\n\n> You unlock the door with the card\n(the prison warden's ID card)\nYou unlock the command center door.\n\n> Go north\n(first opening the command center door)\n\nThis is the entry area into the base's command center, where those in charge would no doubt hold briefings, discuss command decisions, and do other important officer things. (In all your years of military service, you've never felt a desire to move up into the officer ranks yourself, even though there were plenty of open spots in the newly-unified military.)\n\nA small armory is to the west, and the hallway continues to the north. The way out is south, through the door.\n\n> You go west\nThis \"armory\" is really more of a glorified storage closet: it is just large enough to hold a storage rack and an ammo crate.\n\nThe only way out is east, back to the hallway.\n\nOn the storage rack is a rifle.\n\n> Examine crate\nIn the ammo crate are some ammo clips.\n\n> You take the clips\nthree clips: Taken.\n\n> You put the clip in the rifle\n(the ammo clip in the rifle)\nThat can't contain things.\n\n> You look at the clip\n(the ammo clip)\nA magazine for a rifle. It contains thirty rounds.\n\n> Go east\nThis is the entry area into the base's command center, where those in charge would no doubt hold briefings, discuss command decisions, and do other important officer things. (In all your years of military service, you've never felt a desire to move up into the officer ranks yourself, even though there were plenty of open spots in the newly-unified military.)\n\nA small armory is to the west, and the hallway continues to the north. The way out is south, through the door.\n\n> Go north\nYou are standing in a sparsely furnished lobby. Some chairs are lined up on a wall, but that's about it.\n\nA briefing room is to the east, what appears to be an ops center lies to the north, and the hallway leading back to the entrance is south.\n\nYou can hear subdued talking coming from the room to the north.\n\n> You go to the east\nThis looks to be a briefing or meeting room of some kind, presumably for the higher-ranking officers stationed here. A large round table stands in the middle of the room. A large screen hangs on one of the walls, with a lectern in front of it \u2013 for when the communal discussion format doesn't cut it.\nLike most of the Shwabolian facilities you've seen so far, this room too is entirely devoid of decoration.\n\nThe only way out is west, back into the lobby.\n\n> You look at the lectern\nA lectern stands in front of the screen, waiting for someone to step up and address those present in the room (which is none, at the moment). In keeping with everything you've seen so far, it lacks any seals, emblems, or insignia you might typically find on a lectern in a UNDC facility.\n\n> You examine table\nIt is a simple table with a white plastic surface. It has enough room for ten, perhaps fifteen people, although all the chairs seem to have been removed \u2013 if there ever were any.\n\nYou can't help but wonder what warranted all this nonessential material being shipped out here.\n\n> You look at the screen\nA large screen has been fitted into the wall. It is blank.\n\n> You go north\nThis appears to be the nerve center of the operation \u2013 whatever that may be. The walls are lined with screens and control surfaces, but most of them seem to be inactive.\n\nYou can see a larger alien and a smaller alien here.\n\nAs you enter the room, the larger alien hastily pulls a small device out of the control panel and swallows it. Then, the two reach for their weapons!\n\n> You shoot larger with the rifle\nYou fire a three-shot burst from the rifle at the larger alien, dropping him where he stands.\n\nThe smaller alien brings his gun to bear and fires a volley in your direction! At point-blank range, your armor stand little chance: leaving a trail of searing hot pain, the bullet carves a path through your head before coming out on the other side, leaving your innards distributed on the floor and the wall behind you.\n\n> You shoot smaller with the rifle\nYou fire a three-shot burst from the rifle at the smaller alien, but in the heat of the moment, you miss your target.\n\nThe smaller alien takes aim and fires a volley in your direction! Their aim is way off and the shot embeds itself into the wall behind you.\n\n> Continue\nYou fire a three-shot burst from the rifle at the smaller alien, dropping him where he stands.\n\nThe larger alien trains his gun at you and pops a volley in your direction! Their aim is way off and the shot embeds itself into the wall behind you.\n\n> Continue\nThe smaller alien is already as dead as it gets.\n\nThe larger alien takes aim and unleashes a volley in your direction! He held his gun at an odd angle, and the shot glances off your leg armor, leaving a gouge in the material.\n\n> You shoot larger with the rifle\nYou fire a three-shot burst from the rifle at the larger alien, dropping him where he stands.\n\n> You examine larger\nA well and truly dead shwabolian. Its lizard appendages lie splayed out in all directions. Blood is pooling around him from where your bullets hit their mark.\n\n> You search larger\nIn the larger alien's corpse is a data crypt.\n\n> You examine the data\nThe object which the large alien swallowed is still inside of him.\n\n> You cut larger open with the shard\nThe shard is far too delicate for the task \u2013 it's like trying to cut down an old tree with a jigsaw.\n\n> You search smaller\nThe smaller alien's corpse is empty."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nThis appears to be the nerve center of the operation \u2013 whatever that may be. The walls are lined with screens and control surfaces, but most of them seem to be inactive.\n\nYou can see a larger alien's corpse and a smaller alien's corpse here.\n\n> You check what you're carrying\nYou are carrying:\nthree ammo clips\na rifle\na prison warden's ID card\nyour armor (being worn)\nfive ration bars\nsome bedsheets\na shard\na set of fatigues (being worn)\n\n> P.\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go north\nHow do I leave the cell?\n> How do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> Go north\nHow do I leave the cell?\nHow do I leave the prison building?\n> How do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\n> How do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> Go north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\n> How do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go to the north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\n> How do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go to the north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\n> How do I start up the ship?\nHow do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> You go to the north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\n> How do I avoid getting shot?\nHow do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n\n> Go north\nHow do I leave the cell?\nHow do I leave the prison building?\nHow do I avoid dying outside?\nHow do I cross the water?\nHow do I unlock the door to the command center?\nHow do I return to the prison island?\nHow do I pass the force field to the hangar?\nHow do I start up the ship?\nHow do I avoid getting shot?\n> How do I retrieve the swallowed object?\nHow do I launch the ship?\nHow do I return home?\n1/8: The owner isn't going to return it willingly.\n\nPress SPACE to return to the menu or H to reveal another hint.\n\n> You go south\nYou are standing in a sparsely furnished lobby. Some chairs are lined up on a wall, but that's about it.\n\nA briefing room is to the east, the ops center lies to the north, and the hallway leading back to the entrance is south.\n\n> You go west\nThis \"armory\" is really more of a glorified storage closet: it is just large enough to hold a storage rack and an ammo crate.\n\nThe only way out is east, back to the hallway.\n\n> You look at the rack\nIt is a very simple design, made of plain metal struts with rather sharp edges.\n\n> You take the rack\nIt is too large and heavy to carry around in one piece.\n\n> You hit the rack\nYou pull apart the frame of the shelf, giving you a piece of metal with a rather sharp edge.\n\n> Inventory\nYou are carrying:\na makeshift knife\nthree ammo clips\na rifle\na prison warden's ID card\nyour armor (being worn)\nfive ration bars\nsome bedsheets\na shard\na set of fatigues (being worn)\n\n> You cut larger with the knife\nYou double-check inside the creature's mouth, but no dice. With a sigh, you kneel down in the puddle of blood now surrounding the body. You carefully postion the makeshift knife, plunging it deep into the dead creature's abdominal area; guts, blood, and other bodily fluids spilling out and onto your armored legs as you cut.\nWith the incision complete, you take a second to steel yourself before reaching into the abdominal cavity. After a minute or so of fishing around in the bloody soup, you find the object of your desire: a small data crypt, which the creature swallowed when you came into the room. It appears to be undamaged.\n\nYou feel like throwing up.\n\n> Clean knife\nYou rub the makeshift knife.\n\n> You examine the data\nA small storage device you salvaged from the innards of one of your captors.\n\n> You look at the panel\nThe panels surrounding you are festooned with buttons and switches. You hope that most of them aren't too important.\nThe data crypts rests in its place in the control panel.\n\nIn the notch is a data crypt.\n\n> You turn on the ship\nLuckily, earth scientists were able to get their hands on a similar model of Shwabolian ship, so your suit is able to guide you through most of the pre-flight checks.\n\nYou press the button that your suit indicates as being the main switch for the ship. One by one, the messenger ship's systems come alive around you. The ship is now ready for launch.\n\n> Launch\n(the messenger ship)\nYou get into the pilot's seat and take a few seconds to collect your thoughts. While you didn't perform absolutely terribly on the simulator tryouts in bootcamp, there is certainly a reason why you were placed with the space-borne infantry rather than in a dropship wing.\n... no time for second thoughts. It's either this, or staying on this planet until you either starve or your captors return and discover what you did. After all, you (hopefully) won't need to fly any combat maneuvers, just take off and make orbit. You push your doubts aside and follow the pointers provided by you armor's computer system.\n\nHalf an hour later, you have safely left the atmosphere and have settled into a stable low orbit.\n\nPlanetary Orbit (in the messenger ship)\nYou are sitting in the cockpit of the messenger ship. The control panels in front of you inform you that all systems of the ship are in working order.\n\n> You look at  the panels\nThe panels surrounding you are festooned with buttons and switches. You hope that most of them aren't too important.\nThe data crypts rests in its place in the control panel.\n\nIn the notch is a data crypt.\n\n> Go upward\nYou are already in space.\n\n> You go home\nWhile your sudden appearance in the solar system caused some confusion and concern, the transmission of your identification codes \u2013 and showing your face on video comms \u2013 dissuaded the combined military forces in the area from blowing you to pieces. Against your own expectations, you manage to land the ship in the hangar of one of the fleet's large carriers. Despite the prospect of hours upon hours of debriefings from all levels of command, and probably military intelligence as well, you are glad to be back."
    },
    {
        "text": "[Themes: Fantasy, Seasonal, deer, mall, holiday theme, Christmas, gender-neutral protagonist, winter, escape]\n\nFirst time players may wish to type ABOUT before getting underway.\n\nUgh. Christmastime at the mall. The last place you want to be, during the worst time of year to be there.\n\nAfter a last-minute Christmas Eve shopping run (thank you Aunt Maxine and Uncle Felix, who RSVP'd for tomorrow just an hour before the mall closed) you're heading for the parking lot, shopping bags in hand.\n\nEverything about this place gives you a headache: the fluorescent lights reflecting off the polished faux-marble flooring, the greasy funk of the food court, the echoes of screaming children and Christmas music piped through tinny speakers. You have got to get out of here.\n\nBut, where did you park? All of these mall entrances look the same. Are you going the right way? This doesn't look familiar...\n\nThe cartoony plastic signpost in front of you has two arrows, both of which point east toward a fake-snowy astroturf pathway between fake-holly hedges. One arrow reads \"Pictures With Santa\" the other reads \"Parking Lots A-G\".\n\n[Author's Note: Ugh. Christmastime at the mall. The last place you want to be, during the worst time of year to be there.]\n\n> About yourself\nYou are a little harried and headachy from this last minute trip to the mall, but you've bought the last of the gifts and you're ready to head home.\n\n> Inventory\nYou are carrying:\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\nyour coat\n\n> You examine the candle\nFor the mere price of $24.99 you became the owner of twenty-two ounces of white wax in a glass jar. How does the Yankee Candle Company get away with it? Plus, is the name \"Winter Wonderland\" meant to describe the scent? What does that even mean?\n\n> Smell candle\nYou can't smell much with the lid clamped shut. Mercifully.\n\n> You open the candle\nYou open the scented candle and immediately it begins making your eyes water with its piney, musky reek.\n\n> Smell candle\n\"Winter Wonderland\": the crispness of a damp pine forest mixed with the musky reek of a damp moose. Delightful. And imagine: somebody gets paid to design fragrances like this.\n\n> Close candle\nYou close the scented candle and the fir-tree-plus-wet-fur funk gradually begins to dissipate.\n\n> You look at the flashlight\nThe Brookstone waterproof, shock-resistant flashlight, encased in a shell of nearly-impenetrable super-plastic packaging. It was a steal at $44.99, and when you saw the price you actually considered stealing it -- especially since you'll have to buy the not-included pair of AA batteries separately.\n\nWhile there in Brookstone you toyed for a minute with the idea of getting the combined flashlight and self-massager, but then you considered your audience. Aunt Maxine would not find it anywhere near as funny as you do.\n\n> You examine the gift\nThe Hickory Farms Sausage and Cheese gift box is $35.99 worth of artery-clogging goodness. \"A great combo of rich and savory flavors,\" the box claims. Uncle Felix is sure to love it.\n\n> Xyzzy\nNo Easter eggs here. This is a Christmas game.\n\n> You look at the lights\nStandard mall-issue lighting. It makes you want to get the heck out of here.\n\n> You listen\nA dim echo of some annoying Christmas tune. It sounds a bit like \"Rockin' Around the Christmas Tree\"?\n\n> Smell\nYou catch a faint odor of food court.\n\n> You listen\nA dim echo of some annoying Christmas tune. Maybe \"Mary's Boy Child\"?\n\n> You examine the hedges\nThe \"hedges\" are about ten feet high and covered in waxy, plastic holly leaves.\n\n> Search hedges\nThe leaves are fake, but dense. You find nothing else inside the hedge."
    },
    {
        "text": "> Look around\nEverything about this place gives you a headache: the fluorescent lights reflecting off the polished faux-marble flooring, the greasy funk of the food court, the echoes of screaming children and Christmas music piped through tinny speakers. You have got to get out of here.\n\nThe cartoony plastic signpost in front of you has two arrows, both of which point east toward a fake-snowy astroturf pathway between fake-holly hedges. One arrow reads \"Pictures With Santa\" the other reads \"Parking Lots A-G\".\n\n> You look at the sign\nThe cartoony plastic signpost in front of you has two arrows, both of which point east toward a fake-snowy astroturf pathway between fake-holly hedges. One arrow reads \"Pictures With Santa\" the other reads \"Parking Lots A-G\".\n\n> Go east\nYou proceed down the narrow hallway of synthetic hedges: away from the mall, deeper into Santaland.\n\nSomething about the 10-foot tall hedges and the squishy, padded astroturf under your feet transports you away from the migraine-inducing chaos of the mall. But now the narrow pathways and tall hedges make you feel antsy and claustrophobic.\n\nFrom here, pathways lead to the north, the east, and the west.\n\n(Note: The right-hand side of the status bar displays a compass rose of possible locations to travel. Locations you have not yet visited are shown in red.)\n\n> Go west\nThat way takes you back into the mall. Surely the parking lot can't be far.\n\n> You go to the north\nYou are at the intersection of several narrow, snowy passages.\n\nFrom here, pathways lead to the south (back toward the entrance to Santaland), the north, and the east.\n\n> You go north\nThis corner of Santaland would be indistinguishable from the neighboring passages were it not for an unexpected feature.\n\nMounted in the fake hedge-wall you see a glinting copper panel.\n\n> You examine the panel\nThe upper part of the shiny panel frames a thin, horizontal window of glass. Beneath the window is a dial. A word, written in fancy calligraphy, is visible in the window: \"Blitzen\".\n\n> You go south\nYou are at the intersection of several narrow, snowy passages.\n\nFrom here, pathways lead to the south (back toward the entrance to Santaland), the north (back to the room with the copper panel), and the east.\n\n> Go east\nThis must be one of the highlights of Santaland. When it's powered up, that is.\n\nA small army of animatronic elves stands immobile amidst an array of silent toy producing machines. Dressed in festive red and green aprons, clenching mallets and bellows and hand-powered drills, they are Santa's sweatshop workforce (although you wonder how much sweating one does at the North Pole, and then remind yourself that these are animatronic elves who wouldn't sweat anyhow, and besides even if they could sweat they're just standing there not moving or anything at the moment).\n\nA string of Christmas lights extends from a power outlet in the hedge wall, trails across the floor of the workshop, and disappears into the cluster of machines.\n\nOff to the side, a lone robotic elf stands at a tall desk working busily, unlike his peers.\n\n> You look at the lights\nThe lights stretch from a power outlet in the hedge wall, across the floor, and into the cluster of animatronics. Despite being plugged in and having bulbs in all of its sockets, the string of Christmas lights is completely unlit. Typical. When one goes out they all go out.\n\nIn the string of Christmas lights are five twinkle lights (orange, purple, white, red, and blue).\n\n> You take the lights\nYou tug on the string of Christmas lights, but meet resistance from the end that is tucked up among the automatons. It seems it's attached somehow. (If you wanted to take an individual light bulb, though, you could.)\n\n> You take the bulb\nWhich do you mean, the yellow twinkle light, the green twinkle light, the orange twinkle light, the purple twinkle light, the white twinkle light, the red twinkle light, or the blue twinkle light?\n\n> You take all\nstring of Christmas lights: You tug on the string of Christmas lights, but meet resistance from the end that is tucked up among the automatons. It seems it's attached somehow. (If you wanted to take an individual light bulb, though, you could.)\nyellow twinkle light: Taken.\ngreen twinkle light: Taken.\norange twinkle light: Taken.\npurple twinkle light: Taken.\nwhite twinkle light: Taken.\nred twinkle light: Taken.\nblue twinkle light: Taken.\n\n> You examine elf\nThis fellow must be on a different circuit than the others. Representing the toy factory's bookkeeper, he stands on a chair behind the tall desk and scribbles notes into a thick ledger. On top of the desk are a little ink bottle, into which the bookkeeper occasionally dips his quill pen, and an electric candle that has no light bulb.\n\n> You examine bottle\nA little prop jar that has dried ink running down the side. The jar itself is empty so nothing actually happens when the elf dips his pen in it.\n\n> You examine the candle\nThe electric candle is attached to the tall desk. It has a little socket for a twinkle light where the flame would be.\n\n> You put the purple bulb in the candle\nYou put the purple twinkle light into the electric candle. It lights up!\n\n> You examine the candle\nThe electric candle is attached to the tall desk. It has a purple twinkle light plugged into its socket which twinkles adorably.\n\n> You read the ledger\nA thick, leather-bound book (actually, a plastic prop made to look like a thick, leather-bound book). Some scribbles have been painted on the pages, but they are just for show.\n\n> Inventory\nYou are carrying:\nsix twinkle lights (blue, red, white, orange, green, and yellow)\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\nyour coat\n\n> You take the purple bulb\nTaken.\n\n> You put the blue bulb in the candle\nYou put the blue twinkle light into the electric candle. It lights up!\n\n> You put the red bulb in the candle\nYou put the red twinkle light into the electric candle. The bulb remains dark.\n\n> You drop the red bulb\nDropped.\n\n> You put the white bulb in the candle\nYou put the white twinkle light into the electric candle. It lights up!\n\n> You put the orange bulb in the candle\nYou put the orange twinkle light into the electric candle. It lights up!\n\n> You put green bulb in the candle\nYou put the green twinkle light into the electric candle. It lights up!\n\n> You put the yellow bulb in the candle\nYou put the yellow twinkle light into the electric candle. The bulb remains dark.\n\n> You check what you're carrying\nYou are carrying:\nfive twinkle lights (green, orange, white, blue, and purple)\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\nyour coat\n\n> You examine the coat\nYou started feeling dehydrated and headachy almost the moment you walked into the mall (a psychosomatic reaction, perhaps), so you took off your coat. And here it is.\n\n> You search the coat\nIn the pocket are your keys.\n\n> You examine the keys\nJust a few keys (car, house) on a simple key ring. Nothing fancy."
    },
    {
        "text": "> Look around\nA small army of animatronic elves stands immobile amidst an array of silent toy producing machines. Dressed in festive red and green aprons, clenching mallets and bellows and hand-powered drills, they are Santa's sweatshop workforce (although you wonder how much sweating one does at the North Pole, and then remind yourself that these are animatronic elves who wouldn't sweat anyhow, and besides even if they could sweat they're just standing there not moving or anything at the moment).\n\nA string of Christmas lights extends from a power outlet in the hedge wall, trails across the floor of the workshop, and disappears into the cluster of machines.\n\nOff to the side, a lone robotic elf stands at a tall desk working busily, unlike his peers.\n\nYou can also see a red twinkle light here.\n\n> You put the bulbs in string\ngreen twinkle light: You put the green twinkle light into the string of Christmas lights. Nothing. (Of course that's because there are still empty sockets in the string of Christmas lights.\norange twinkle light: You put the orange twinkle light into the string of Christmas lights. Nothing. (Of course that's because there are still empty sockets in the string of Christmas lights.\nwhite twinkle light: You put the white twinkle light into the string of Christmas lights. Nothing. (Of course that's because there are still empty sockets in the string of Christmas lights.\nblue twinkle light: You put the blue twinkle light into the string of Christmas lights. Nothing. (Of course that's because there are still empty sockets in the string of Christmas lights.\npurple twinkle light: You put the purple twinkle light into the string of Christmas lights. All of the lights suddenly flick on and twinkle brilliantly!\n\nSimultaneously, Santa's workshop clatters to life!"
    },
    {
        "text": "[Themes: Fantasy, Seasonal, deer, winter, mall, Christmas]\n\n> You look around\nA small army of animatronic elves work jerkily amidst an array of chugging and clanking toy producing machines. Dressed in festive red and green aprons, clenching mallets and bellows and hand-powered drills, they are Santa's sweatshop workforce (although you wonder how much sweating one does at the North Pole, and then remind yourself that these are animatronic elves who wouldn't sweat anyhow).\n\nA string of Christmas lights extends from a power outlet in the hedge wall, trails across the floor of the workshop, and disappears into the cluster of machines.\n\nOff to the side, a lone robotic elf stands at a tall desk working busily.\n\nYou can also see a red twinkle light here.\n\nSuddenly, a whistle chirps and one of the toy machines burps a cloud of smoke. Something slides down the chute and lands in the basket with a muffled clank.\n\n> You look at the basket\nA simple container at the terminus of the workshop toy chute.\n\nIn the basket is a silver reindeer statue.\n\n> You examine the statue\nMade of sparkling silver, the figure stands about six inches tall at the shoulder. The reindeer's antlers are small, but it has been sculpted in a particularly energetic pose, kicking its front legs into the air. You can imagine the holly wreath around its neck jostling as the animal bounds away.\n\n> Go west\nYou are at the intersection of several narrow, snowy passages.\n\nFrom here, pathways lead to the south (back toward the entrance to Santaland), the north (back to the room with the copper panel), and the east (back to Santa's workshop).\n\n> You go south\nSomething about the 10-foot tall hedges and the squishy, padded astroturf under your feet has transported you away from the migraine-inducing chaos of the mall. But now the narrow pathways and tall hedges make you feel antsy and claustrophobic.\n\nFrom here, pathways lead to the north, the east, and the west.\n\n> Go east\nYou are at the snowy intersection of several narrow passages.\n\nFrom here, pathways lead to the north (back to Santa's workshop), the west (back toward the entrance to Santaland), and the east.\n\n> You go east\nThis corner of Santaland would be indistinguishable from the neighboring passages were it not for an unexpected feature (less unexpected than it would have been earlier, though, since you have already seen something just like it).\n\nFlush with the fake hedge-wall, you see a sparkling silver panel.\n\n> You examine the panel\nThe upper part of the shiny panel frames a thin, horizontal window of glass. Beneath the window is a dial. A word, written in fancy calligraphy, is visible in the window: \"Prancer\".\n\n> You examine the reindeer\nMade of sparkling silver, the figure stands about six inches tall at the shoulder. The reindeer's antlers are small, but it has been sculpted in a particularly energetic pose, kicking its front legs into the air. You can imagine the holly wreath around its neck jostling as the animal bounds away.\n\n> You open the glass\n(the scented candle)\nYou open the scented candle and immediately it begins making your eyes water with its piney, musky reek.\n\n> Go south\nYou can't go that way.\n\n(Note: The right-hand side of the status bar displays a compass rose of possible locations to travel. Locations you have not yet visited are shown in red.)\n\n> You go west\nYou are at the snowy intersection of several narrow passages.\n\nFrom here, pathways lead to the north (back to Santa's workshop), the west (back toward the entrance to Santaland), and the east (back to the room with the silver panel).\n\n> Go north\nA small army of animatronic elves work jerkily amidst an array of chugging and clanking toy producing machines. Dressed in festive red and green aprons, clenching mallets and bellows and hand-powered drills, they are Santa's sweatshop workforce (although you wonder how much sweating one does at the North Pole, and then remind yourself that these are animatronic elves who wouldn't sweat anyhow).\n\nA string of Christmas lights extends from a power outlet in the hedge wall, trails across the floor of the workshop, and disappears into the cluster of machines.\n\nOff to the side, a lone robotic elf stands at a tall desk working busily.\n\nYou can also see a red twinkle light here.\n\n> You go east\nYou are at the intersection of several snowy, narrow passages.\n\nFrom here, pathways lead to the west (back to Santa's workshop), the south (back to the room with the silver panel), and the north.\n\n> You go north\nYou are about to begin down the pathway to the north, when you see a small man walking south down the path toward you. He is looking down, watching his curly-toed shoes kick up drifts of styrofoam snow, and for a moment he is oblivious to your presence.\n\nWhen he finally looks up and notices you, he leaps back with a jolt and clutches tightly to the golden statue he is carrying.\n\n\"Who...? Who are you? What are you doing here? Santaland is... It's... We're closed!\"\n\n> You look at the man\nThe man's ears and nose are slightly pointier than most people's, and his limbs seem too long for his four-foot frame. Green tights hug skinny legs and knobby knees, then tuck into huge curly-toed shoes. His candy cane turtleneck is particularly, well, some might call it \"festive\". (You would call it \"ugly\").\n\nSpeaking of adjectives, you search for one that could summarize his overall appearance. You decide on \"elfin\".\n\nHe carries a gold statue that looks like a reindeer (or, in any case, something with antlers). It's a bit hard to get a good look because he keeps moving it nervously out of your line of sight.\n\n> You look at the statue\n(the silver statue)\nMade of sparkling silver, the figure stands about six inches tall at the shoulder. The reindeer's antlers are small, but it has been sculpted in a particularly energetic pose, kicking its front legs into the air. You can imagine the holly wreath around its neck jostling as the animal bounds away.\n\n> You examine the gold statue\nThe statue seems to be made of gold, and it looks a bit like a reindeer. Every time you try to get a good look, though, the small man twists away and tries to shield the statue from your view.\n\n> You talk to the man\nThe little man is clearly upset by your presence, but you figure it couldn't hurt to ask for directions. \"Look, I'm just trying to find the parking lot.\"\n\n\"I don't... You can't...\" He pauses, staring at you and groping for a response. He looks nervously back over his shoulder to the north, then jabs a finger of his oversized, green-gloved hand over your shoulder to the south. \"That way!\"\n\n> You talk to the man\nYou look south, in the direction the little man's pointing finger. \"Is that the way to the parking lot? Or...\"\n\n\"Just go that way!\" He gestures so emphatically this time that he almost drops his golden statue. \"Get out of here, would you?\"\n\n> You talk to the man\n\"Please GO, would you!?\" He jabs his finger to the south.\n\n> You talk to the man\n\"Just GO already!\"\n\n> You take the statue\n(the gold statue)\nThe elf twists violently away from you and swats at your hand. \"No way!\" he barks. \"This one is mine. It's the most valuable of the set and I've already got a buyer!\"\n\n> You show the silver statue to man\nThe little man eyes the silver statue for a moment. \"Mine's better,\" he sneers.\n\n> You show candle to the man\nSomething about the little man's twitchy temperament combined with the way the he's been clutching at that statue suggests that he's not to be trusted with your things. In fact, he looks a little larcenous. Or is that lecherous? Leprous? Anyhow: he looks like he wants to steal your stuff.\n\n> You ask the man about the statue\n(To communicate in Escape From Santaland, TALK TO a character.)"
    },
    {
        "text": "> You look around\nYou are at the intersection of several snowy, narrow passages.\n\nFrom here, pathways lead to the west (back to Santa's workshop), the south (back to the room with the silver panel), and the north.\n\nThe little man glowers at you and clutches tightly to the gold statue.\n\n> Go north\nYou attempt to sidestep the little man and proceed on your quest for the parking lot.\n\nQuick as a whip the elf skitters up to you and starts grabbing at the scented candle. As you twist to avoid his hot little hands, he swipes your coat!\n\n\"I bet this will be worth a few bucks!\" he cries and scampers away to the north.\n\n> You check what you're carrying\nYou are carrying:\nthe silver reindeer statue\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\n\n> You check your inventory\nYou are carrying:\nthe silver reindeer statue\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\nyour coat\n\n> Go north\nYou attempt to sidestep the little man and proceed on your quest for the parking lot.\n\nQuick as a whip the elf skitters up to you and starts grabbing at the impenetrable super-plastic package. As you twist to avoid his hot little hands, he swipes your coat!\n\n\"I bet this will be worth a few bucks!\" he cries and scampers away to the north.\n\n> Go north\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nYou arrive just as the larcenous little elf starts to climb down a secret staircase hidden beneath Santa's chair, which is tipped back at an awkward angle. When he sees you, the elf yelps and grasps at the underside of the trap door in an attempt to tip the chair back onto its feet.\n\nIn the process, he fumbles the gold statue, which skitters across the astroturf as the trap-door-chair slams shut. With that, the elf and your coat (and, unfortunately, your car keys) are gone.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath.\n\nThe gold reindeer statue lies on its side in a pile of fake snow.\n\n> You take the gold statue\nTaken.\n\n> You examine the gold statue\nCast in solid gold, the reindeer figure stands about six inches tall at the shoulder. The sculpture is unmistakably of Rudolph the reindeer. His nose isn't red (it's gold, like the rest of him), yet the sculptor has somehow made it seem to glow. It's also somewhat more bulbous than you'd expect to see on a reindeer, which is a bit of a giveaway.\n\n> You examine the skirt\nThe nine reindeer have been beautifully rendered by the hand of an expert rug maker. The reindeer are not identified (except for Rudolph, whose nose gives him away), but they stand in single file between Rudolph and Santa's present filled sleigh.\n\nThe four reindeer behind Rudolph are standing on their back legs as though ready to leap into the air. The next four have all hooves on the ground.\n\nAlternating pairs of reindeer wear different decorations: the first two reindeer behind Rudolph have holly wreaths around their necks. The next two wear collars clustered with jingle bells. The third pair again wear wreaths. The last two reindeer again wear bells.\n\nEvery other reindeer, starting with the one behind Rudolph, has an impressive rack of antlers. The antlers of the other reindeer are smaller."
    },
    {
        "text": "> You look at your surroundings\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath.\n\n> You examine the chair\nSanta's chair, the place where untold numbers of children have screamed and wet themselves in terror. It's a dramatic piece of furniture with lots of gold decoration and red velvet pillows.\n\nThe chair stands on a short, square platform which, as you saw when you first entered the room, is actually a trap door that conceals a stairway. The platform is marred with a bunch of scuff marks.\n\n> You examine the pillows\nUp close, Santa's chair looks pretty cheap. You're sure it looks impressive in all of those holiday portraits, though.\n\n> You open the trap door\nThe chair doesn't move other than to wobble a bit. As it does, though, you hear the rattling of some kind of locking mechanism coming from the front of the chair. Beneath it, actually, down by the floor.\n\n> You look at the snow\nThe \"snow\" appears to be some kind of styrofoam shavings. Whatever it is, static electricity has it clinging to your pantlegs.\n\n> You examine the lock\nYou can't see any locking mechanism on the outside of Santa's chair. From the noise, it sounds like whatever it is works from the inside, under the chair. There must be some other means of unlocking it. Something sneaky, you suspect.\n\n> You go north\nYeeouch. What a smell.\n\nWhoever thought it was a good idea to have a real, live reindeer living in Santaland for a month must have been fired (or should have been, based on the state of this place). There's a little rustic barn, a trough, and a few synthetic pine trees... and everything is coated with some combination of feces, oats, reindeer dander, and fake snow.\n\nHowever: mounted in the wall next to the barn glisters a shiny golden panel. It's just like the other two you found, but with a little added filth.\n\nThe reindeer scratches at the astroturf with his hoof.\n\n> You examine the gold panel\nThe upper part of the shiny panel frames a thin, horizontal window of glass. Beneath the window is a dial. A word, written in fancy calligraphy, is visible in the window: \"Dancer\".\n\n> You look at the reindeer\n(the animal)\nThe reindeer's shaggy hair is mostly a dull brown, but lighter around its neck. He also has an impressive and, frankly, dangerous-looking rack of antlers. Otherwise, he seems a bit bored.\n\n> Pet reindeer\nWhich do you mean, the animal, the gold reindeer statue, or the silver reindeer statue?\n\n> Animal\nThe reindeer growls when you reach for him. Better to keep your distance.\n\n> You turn the dial\nAs you reach for the dial, the reindeer growls at you. He doesn't seem to like the idea of your touching the gold panel.\n\n> Inventory\nYou are carrying:\nthe fancy tree skirt\nthe gold reindeer statue and silver reindeer statue\na scented candle (closed)\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\n\n> You examine the gift box\nThe Hickory Farms Sausage and Cheese gift box is $35.99 worth of artery-clogging goodness. \"A great combo of rich and savory flavors,\" the box claims. Uncle Felix is sure to love it.\n\n> Kick animal\nHave you no conscience? Violence isn't the answer to this one.\n\n> You show the candle to the animal\nThe reindeer sniffs around the lid of the candle and seems interested. At least, he seems a little less bored than usual.\n\n> You open the candle\nYou open the scented candle and immediately it begins making your eyes water with its piney, musky reek. Who'd have thought it could smell any worse in here?\n\nIt takes a moment for the smell to reach the reindeer, but when he finally gets a whiff of \"Winter Wonderland\" he lets out a snort that you somehow interpret as glee. The reindeer eyes you, and your smelly candle, with a passionate and unnerving intensity.\n\n> You drop the candle\nDropped.\n\n> You turn the dial\nAs you reach for the dial, the reindeer snorts angrily. Despite being somewhat more docile when he can smell that hideous candle, he still doesn't seem to like the idea of your touching the gold panel.\n\n> You go south\nDrawn to the piney, musky scent of the candle, the reindeer lopes after you!\n\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath which was, until recently, spread out beneath it.\n\nThe reindeer studies you carefully.\n\n> You go north\nWhoever thought it was a good idea to have a real, live reindeer living in Santaland for a month must have been fired (or should have been, based on the state of this place). There's a little rustic barn, a trough, and a few synthetic pine trees... and everything is coated with some combination of feces, oats, reindeer dander, and fake snow.\n\nMounted in the wall next to the barn glisters a shiny golden panel. It's just like the other two you found, but with a little added filth.\n\n> You examine the gold statue\nCast in solid gold, the reindeer figure stands about six inches tall at the shoulder. The sculpture is unmistakably of Rudolph the reindeer. His nose isn't red (it's gold, like the rest of him), yet the sculptor has somehow made it seem to glow. It's also somewhat more bulbous than you'd expect to see on a reindeer, which is a bit of a giveaway.\n\n> You go south\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath which was, until recently, spread out beneath it.\n\nThe reindeer is licking at the wax in the scented candle.\n\n> Go north\nDrawn to the piney, musky scent of the candle, the reindeer shambles after you!\n\nWhoever thought it was a good idea to have a real, live reindeer living in Santaland for a month must have been fired (or should have been, based on the state of this place). There's a little rustic barn, a trough, and a few synthetic pine trees... and everything is coated with some combination of feces, oats, reindeer dander, and fake snow.\n\nMounted in the wall next to the barn glisters a shiny golden panel. It's just like the other two you found, but with a little added filth.\n\nThe reindeer stares at you (and your scented candle) with great interest.\n\n> Go south\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath which was, until recently, spread out beneath it.\n\n> You examine the skirt\nThe nine reindeer have been beautifully rendered by the hand of an expert rug maker. The reindeer are not identified (except for Rudolph, whose nose gives him away), but they stand in single file between Rudolph and Santa's present filled sleigh.\n\nThe four reindeer behind Rudolph are standing on their back legs as though ready to leap into the air. The next four have all hooves on the ground.\n\nAlternating pairs of reindeer wear different decorations: the first two reindeer behind Rudolph have holly wreaths around their necks. The next two wear collars clustered with jingle bells. The third pair again wear wreaths. The last two reindeer again wear bells.\n\nEvery other reindeer, starting with the one behind Rudolph, has an impressive rack of antlers. The antlers of the other reindeer are smaller.\n\n> You go east\nHere kids can (beg their parents to) pay an additional $5 to have their picture taken aboard the H&O Railroad. In other malls, you recall seeing Santaland setups with working trains chugging along through their little Santa-scapes, but this one seems much less elaborate.\n\nIn the hedge wall to the south stands the stony arch of a tunnel. From the tunnel emerges a narrow set of train tracks. The tracks run north across the turf and slip under a closed door in the hedge.\n\nThe facade of a little ticket booth stands next to the tunnel.\n\n> Go west\nYou are at the narrow, snowy intersection of several passages.\n\nFrom here, pathways lead to the south (back to Santa's workshop), the west (back to the room with the copper panel), and the east (back to Santa's chair and its trap door).\n\nAt the base of the hedge, you spot a pink piece of paper half-buried in the synthetic snow.\n\n> You examine paper\nYou pick up the paper and discover that, despite being printed on pink paper, it's a rather official-looking letter:\n\nDear Jerry,\n\nAs we discussed on Tuesday, recent economic conditions have caused us to eliminate several positions at the workshop. Regretfully, although your toy-crafting has always been of the highest caliber, we were forced to downsize your position.\n\nAccordingly, your employment will be terminated on December 22nd. Your medical insurance plan will also be discontinued at that time. Unfortunately, given our dire financial straits, we will be unable to offer any severance package.\n\nI am happy to provide you a letter of reference, however, if you so request.\n\nSincerely,\nS. Nicholas\n\n> You look at the booth\nThe facade is just a prop attached to the holly hedge. There's a little fake ticket window with a sign hanging on the inside that reads \"Back soon!\" The H&O Railroad logo is painted on the wall of the booth next to the window, and under that there is a train schedule posted.\n\n> You look at the schedule\nThe schedule simply reads: North Pole trains depart regularly.\n\n> You look at the tracks\nThe train tracks run north and south, cutting about ten feet across the astroturf. To the north, they disappear under an wooden door with a fluted glass doorknob. To the south, they lead into the tunnel.\n\n> You look at the tunnel\nThe fake-stone surround of the tunnel is made from something like styrofoam or papier-m\u00e2ch\u00e9. It is set in the hedge wall to the south and a narrow set of train tracks runs north out of it.\n\n> You examine the door\nA wooden door with a fluted glass doorknob. It seems very out of place in the middle of a hedge (even a fake hedge). The train tracks disappear under it.\n\n> You take the doorknob\nThat's hardly portable.\n\n> You open the door\nIt seems to be locked.\n\n> Go south\nYou've worked your way pretty deep into the tunnel and it is really too dark to see anything. The opening of the tunnel is to the north and a bit of light filters in from the mall, but just enough for you to find your way back out.\n\n> You open the flashlight\nIt seems it won't be so easy. This is that Fort Knox plastic that's going to require some kind of a blade to get into.\n\n> You throw the flashlight\nCareful. Dropping the impenetrable super-plastic package here in the dark would be a particularly bad idea.\n\n> You go north\nWhoever thought it was a good idea to have a real, live reindeer living in Santaland for a month must have been fired (or should have been, based on the state of this place). There's a little rustic barn, a trough, and a few synthetic pine trees... and everything is coated with some combination of feces, oats, reindeer dander, and fake snow.\n\nMounted in the wall next to the barn glisters a shiny golden panel. It's just like the other two you found, but with a little added filth.\n\nThe reindeer seems to be trying to stick his nose into the scented candle.\n\n> You rub the candle\nYou'll have time to clean it up when you get home.\n\n> You take the candle\nYou pick up the candle and discover that it is slick with reindeer drool. Excellent.\n\n> Inventory\nYou are carrying:\na scented candle (open and stinking up the place with its piney,\nmusky reek)\nthe letter\nthe fancy tree skirt\nthe gold reindeer statue and silver reindeer statue\nan impenetrable super-plastic package (inside which is a flashlight)\na Hickory Farms gift box (closed)\n\n> You open the flashlight with the reindeer statue\nWhich do you mean, the gold reindeer statue or the silver reindeer statue?\n\n> You open the gift box\nYou open the Hickory Farms gift box, revealing a summer sausage, a cheese log, a serrated knife, and a bunch of straw.\n\n> You open the flashlight with the knife\n(first taking the serrated knife)\nAfter a moment's pause, you decide that you can still give the flashlight as a gift even if it's not in the original packaging (let's hope Aunt Maxine doesn't want to return it) and saw your way through the not-so-impenetrable-after-all plastic with the serrated knife.\n\n> You turn on the flashlight\n(first taking the flashlight)\nNothing happens, most probably because there are no batteries in the flashlight.\n\n> You go to the south\nDrawn to the piney, musky scent of the candle, the reindeer shuffles after you!\n\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair stands in the center of the room. It's a dramatic affair, a throne really: lots of ostentatious gold-painted filigree and red velvet pillows.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath which was, until recently, spread out beneath it.\n\nThe reindeer studies you carefully.\n\n> Close candle\nYou close the scented candle and the fir-tree-plus-wet-fur funk gradually begins to dissipate.\n\nAfter a few seconds, the reindeer goes back to ignoring you.\n\n> You open the candle\nYou open the scented candle and immediately it begins stinking up the place with its piney, musky reek.\n\nAgain: It takes a moment for the smell to reach the reindeer, but when he finally gets a whiff of \"Winter Wonderland\" he emits a grunt of joy (or what sounds to you vaguely like joy). The reindeer eyes you, and your smelly candle, with a passionate and unnerving intensity.\n\n> You go north\nDrawn to the piney, musky scent of the candle, the reindeer shambles after you!\n\nWhoever thought it was a good idea to have a real, live reindeer living in Santaland for a month must have been fired (or should have been, based on the state of this place). There's a little rustic barn, a trough, and a few synthetic pine trees... and everything is coated with some combination of feces, oats, reindeer dander, and fake snow.\n\nMounted in the wall next to the barn glisters a shiny golden panel. It's just like the other two you found, but with a little added filth.\n\nThe reindeer studies you carefully.\n\n> Go south\nYou are at the intersection of several snowy, narrow passages.\n\nFrom here, pathways lead to the west (back to Santa's workshop), the south (back to the room with the silver panel), and the north (back to Santa's chair and its trap door).\n\n> You go to the east\nYou are at the snowy, narrow intersection of several passages.\n\nFrom here, pathways lead to the west (back to the train depot) and the north.\n\nIn the wall to the east is a door that someone has tried, unsuccessfully, to camouflage. Bits of fake holly are stuck to it, but not enough that it blends in with the rest of the hedges. Plus, they did nothing to hide the shiny doorknob.\n\n> You examine the holly\nThe \"hedges\" are about ten feet high and covered in waxy, plastic holly leaves.\n\n> You examine the doorknob\nSomeone has tried, but not very hard, to camouflage the door. Bits of fake holly are stuck to it, but not enough that it could ever blend in with the rest of the hedges. The door is closed.\n\n> You open the door\nYou open the camouflaged door.\n\n> You go east\nThis was the break room for the Santaland elves (meaning: the human teenagers who worked here in Santaland during their winter breaks from school). Once, this might have been an okay place to hang out with your fellow slackers and talk about how lame all of this Santaland junk is, but now the room has been trashed, even by teenage slacker standards.\n\nAll of the drawers in the rickety desk have been dumped out onto the floor. Everything has been swept off the short rack of shelves: a scattering of magazines, a potted plant, a whole bunch of cup-o-noodle instant lunches. A can of ground coffee was opened, dug through, and dropped.\n\nHmm. Coffee, but no coffee pot. Instant noodles, but no microwave. A TV remote control but no TV. It seems that all of the appliances have, shall we say, walked off. Wonder who might be responsible for that...\n\nIn the wall to the west is the door back into Santaland.\n\n> You examine remote\nThe remote control for the TV that was stolen from the break room.\n\n> You open the remote\n(first taking the TV remote control)\nYou snap open the battery compartment on the TV remote control, remove the pair of AA batteries, and click the compartment closed.\n\n> You take the noodles\nThere's all sorts of post-looting debris here. None of it seems to be of much use.\n\n> You put the batteries in the flashlight\nYou put the pair of AA batteries into the flashlight and snap shut the battery compartment.\n\n> Go west\nYou are at the snowy, narrow intersection of several passages.\n\nFrom here, pathways lead to the west (back to the train depot) and the north.\n\nIn the wall to the east is a door that someone has tried, unsuccessfully, to camouflage. Bits of fake holly are stuck to it, but not enough that it blends in with the rest of the hedges. Plus, they did nothing to hide the shiny doorknob.\n\n> You go north\nAHA! You knew you'd find it eventually!\n\nYou stand on the border between Santaland and the rest of the world, where the maze of fake shrubbery finally gives way to shiny, angular architecture. Who'd have thought you would be so happy to once again see polished PVC flooring.\n\nThe mall exit lies just to the north: two sets of shiny glass doors and then freedom.\n\n> You go to the south\nYou are at the snowy, narrow intersection of several passages.\n\nFrom here, pathways lead to the west (back to the train depot) and the north (back toward the mall exit).\n\nIn the wall to the east is a door that someone has tried, unsuccessfully, to camouflage. Bits of fake holly are stuck to it, but not enough that it blends in with the rest of the hedges. Plus, they did nothing to hide the shiny doorknob.\n\n> Go west\nHere kids can (beg their parents to) pay an additional $5 to have their picture taken aboard the H&O Railroad. In other malls, you recall seeing Santaland setups with working trains chugging along through their little Santa-scapes, but this one seems much less elaborate.\n\nIn the hedge wall to the south stands the stony arch of a tunnel. From the tunnel emerges a narrow set of train tracks. The tracks run north across the turf and slip under a closed door in the hedge.\n\nThe facade of a little ticket booth stands next to the tunnel.\n\n> You turn on the flashlight\nYou switch the flashlight on.\n\n> You go to the south\nThe plaster cave, you are somewhat disappointed to note (now that you've got a light in here), is just a dead end. The narrow train tracks terminate here and lead north out of the tunnel.\n\nA cartoony, brightly-colored locomotive sits on the tracks. It is large enough for two kids (or perhaps one adult) to sit on.\n\nOn the ground behind the locomotive sits a small electric generator.\n\n> You examine the locomotive\nThe locomotive is a rideable kid-sized version, which means you can mount the train (and, once you are on the thing, dismount it).\n\n> Mount train\nYou mount the locomotive. You're a bit bigger than the usual clientele, but you manage to find a comfortable-enough way to straddle it.\n\n> Examine generator\nA small electric generator sits on the ground behind the locomotive. The two devices are coupled together and, you gather, the generator is the power source for the vehicle. It is completely silent.\n\n> You turn on the generator\nWith a hum and a puff of ozone, the generator powers up.\n\n> Wait\nTime passes.\n\n> Dismount\nYou dismount the locomotive.\n\n> You look at the generator\nA small electric generator sits on the ground behind the locomotive. The two devices are coupled together and, you gather, the generator is the power source for the vehicle. It hums softly.\n\n> Mount train\nYou mount the locomotive.\n\n> Ride train\nYou are already riding the locomotive.\n\n> You drive the train\nTo operate the locomotive, mount it and then GO or DRIVE in a direction.\n\n> You go north\nDepot (on the locomotive)\nHere kids can (beg their parents to) pay an additional $5 to have their picture taken aboard the H&O Railroad. In other malls, you recall seeing Santaland setups with working trains chugging along through their little Santa-scapes, but this one seems much less elaborate.\n\nIn the hedge wall to the south stands the stony arch of a tunnel. From the tunnel emerges a narrow set of train tracks. The tracks run north across the turf and slip under a closed door in the hedge.\n\nThe facade of a little ticket booth stands next to the tunnel.\n\n> You go north\nThe train chugs toward the quaint wooden door. Just as collision seems inevitable, the door pops open and the train plows headlong not into the mall, as you would have expected, but into a long dark corridor.\n\nThe train continues through the disorienting darkness for some time, then suddenly emerges (you're not quite sure how) into startling territory.\n\nSnowy Landscape (on the locomotive)\nYou find yourself in the middle of a grove of pine trees with the full expanse of the night sky opening above you. A full moon shines down and sparkles off the fluffy foot of snow coating the landscape, and the fat flakes that continue to fall lazily.\n\nA red and white striped signpost juts out of the snow bearing a snow-flecked sign.\n\nNearby stands a small building.\n\n> You examine signpost\nThe sign, in a sort of chunky, old-timey lettering reads: NORTH POLE.\n\n> You examine the building\nThe charming cabin seems to hunch itself contentedly in the snow, nesting like some furry arctic animal. It has a steep, shingled roof and dark wooden siding which frames a door and a window. Smoke drifts from the chimney. Icicles hang from the eaves.\n\n> You open the door\nYou climb off the locomotive and approach the workshop door.\n\nYou are, by this point in your evening, less than totally surprised to find that the door to the little cabin is locked.\n\n> You unlock door\nNothing you have would seem to be a candidate for unlocking this door.\n\n> You examine the door\nThe cabin door is nothing particularly interesting. Very practical and tight-fitting.\n\n> You look at the window\nThe simple four-pane window has thick glass. Through it you can see the inside of the cabin.\n\n> You open the window\nThe window is tightly fitted into its frame to protect against the weather. You can't open it from out here.\n\n> You break the window\nYes, you're starting to get desperate, but vandalism? You'd be getting coal in your stocking until you're in a home.\n\n> You look through the window\nYou peer through the window into the cabin and see a cozy sort of den. To the left of the window, an overstuffed armchair stands by a crackling fireplace. To the right, there is a large work table with papers scattered across it. On the table stands a reindeer statue made of what appears to be copper.\n\n> You examine the statue\nWhich do you mean, the gold reindeer statue, the silver reindeer statue, or the copper reindeer statue?\n\n> You look at the copper statue\nCrafted of shiny copper, the reindeer (like the other statues) is about six inches tall at the shoulder. You can practically hear the jingle bells on the reindeer's collar as it begins a jump into the air. The poised muscles of the leaping stag are as carefully sculpted as the elaborate antlers.\n\n> You examine the skirt\nThe nine reindeer have been beautifully rendered by the hand of an expert rug maker. The reindeer are not identified (except for Rudolph, whose nose gives him away), but they stand in single file between Rudolph and Santa's present filled sleigh.\n\nThe four reindeer behind Rudolph are standing on their back legs as though ready to leap into the air. The next four have all hooves on the ground.\n\nAlternating pairs of reindeer wear different decorations: the first two reindeer behind Rudolph have holly wreaths around their necks. The next two wear collars clustered with jingle bells. The third pair again wear wreaths. The last two reindeer again wear bells.\n\nEvery other reindeer, starting with the one behind Rudolph, has an impressive rack of antlers. The antlers of the other reindeer are smaller.\n\n> You go to the south\nYes, you came from the south, but now the train tracks stretch on for what seems like miles in that direction. Surely you can't make it on foot (especially without your coat).\n\n> Mount train\nYou mount the locomotive.\n\n> Go south\nAs the locomotive starts along the track, a sudden gust of wind whips up a white wall of snow. A moment later you find yourself back in the mall, a shower of styrofoam shavings drifting to the floor around you.\n\nDepot (on the locomotive)\nHere kids can (beg their parents to) pay an additional $5 to have their picture taken aboard the H&O Railroad. In other malls, you recall seeing Santaland setups with working trains chugging along through their little Santa-scapes, but this one seems much less elaborate.\n\nIn the hedge wall to the south stands the stony arch of a tunnel. From the tunnel emerges a narrow set of train tracks. The tracks run north across the turf and slip under a closed door in the hedge.\n\nThe facade of a little ticket booth stands next to the tunnel.\n\n> Dismount\nYou dismount the locomotive.\n\n> You go west\nYou are at the narrow, snowy intersection of several passages.\n\nFrom here, pathways lead to the south (back to Santa's workshop), the west (back to the room with the copper panel), and the east (back to Santa's chair and its trap door).\n\n> You go west\nThis corner of Santaland would be indistinguishable from the neighboring passages were it not for an unexpected feature (less unexpected than it would have been earlier, though, since you have already seen something just like it).\n\nMounted in the fake hedge-wall you see a glinting copper panel.\n\n> Continue\nYou turn the dial and the word \"Dancer\" appears in the window.\n\nFaintly, a little chime plays somewhere to the north. It's over before you can really catch it, but it was either \"Ha-a-a-le-lu-jah!\" from Handel's Messiah or \"Fi-i-i-ve Go-o-o-ld Rings\", you can't be sure. Anyhow, you take it as a good sign.\n\n> You open the chair\nYou push against Santa's big comfy chair and the platform tips slowly back on a hidden hinge. Beneath the chair, a stairway leads downwards."
    },
    {
        "text": "[Themes: Seasonal, Fantasy, escape, winter, Christmas, deer, mall]\n\n> You go downward\nThe stairs go on for a long way. Eventually you reach the bottom.\n\nThe cramped little cave-room is hoarded with piles of merchandise. It appears to be a dead end.\n\nThe light from the mall is just a small, bright square far above you.\n\nBut there, lying among the debris, is your coat!\n\nYou can also see a digital camera, coffee pot, television, and microwave oven here.\n\n> You take all\ndigital camera: It's tempting to just \"acquire\" a few extra gifts on the cheap, but you have more of a conscience than to take the already-stolen digital camera.\ncoffee pot: It's tempting to just \"acquire\" a few extra gifts on the cheap, but you have more of a conscience than to take the already-stolen coffee pot.\ntelevision: It's tempting to just \"acquire\" a few extra gifts on the cheap, but you have more of a conscience than to take the already-stolen television.\nmicrowave oven: It's tempting to just \"acquire\" a few extra gifts on the cheap, but you have more of a conscience than to take the already-stolen microwave oven.\nkeys: You still won't need those until you find your car, but maybe now would be a good time to go ahead and wear your coat.\nsummer sausage: Taken.\ncheese log: Taken.\nbunch of straw: Taken."
    },
    {
        "text": "[Themes: Seasonal, Fantasy, gender-neutral protagonist, deer, escape]\n\n> You describe your surroundings\nThe cramped little cave-room is hoarded with piles of merchandise. It appears to be a dead end.\n\nThe light from the mall is just a small, bright square far above you.\n\nYou can also see a digital camera, coffee pot, television, and microwave oven here.\n\n> Up\nYou climb back up the long, dark staircase.\n\nThe heart of Santaland and the destination of families from miles around. It's not your destination, of course, but that doesn't change the fact that parents and children have for years made pilgrimages to this spot to have their pictures taken with Santa Claus.\n\nSanta's big comfy chair  is tipped back, revealing the hidden staircase underneath. The stairs lead down into darkness.\n\nNext to Santa's chair is a beautifully decorated Christmas tree. There are no presents beneath the tree, perhaps to better display the colorful decorative tree skirt underneath which was, until recently, spread out beneath it.\n\n> Go east\nHere kids can (beg their parents to) pay an additional $5 to have their picture taken aboard the H&O Railroad. In other malls, you recall seeing Santaland setups with working trains chugging along through their little Santa-scapes, but this one seems much less elaborate.\n\nIn the hedge wall to the south stands the stony arch of a tunnel. From the tunnel emerges a narrow set of train tracks. The tracks run north across the turf and slip under a closed door in the hedge.\n\nThe brightly-colored locomotive sits on the tracks.\n\nThe facade of a little ticket booth stands next to the tunnel.\n\n> Go east\nYou are at the snowy, narrow intersection of several passages.\n\nFrom here, pathways lead to the west (back to the train depot) and the north (back toward the mall exit).\n\nIn the wall to the east is a door that someone has tried, unsuccessfully, to camouflage. Bits of fake holly are stuck to it, but not enough that it blends in with the rest of the hedges. Plus, they did nothing to hide the shiny doorknob.\n\n> Go north\nYou stand on the border between Santaland and the rest of the world, where the maze of fake shrubbery finally gives way to shiny, angular architecture. Who'd have thought you would be so happy to once again see polished PVC flooring.\n\nThe mall exit lies just to the north: two sets of shiny glass doors and then freedom.\n\n> You go to the north\nFinally! After a long and unexpectedly difficult night, you pass through the sliding glass doors and step out into the chilly parking lot.\n\nYou feel a flash of guilt about keeping the gold reindeer statue and the silver reindeer statue, but after a moment's reflection about all the elf has put you through, that feeling passes.\n\nNow... where the heck is your car?\n\n> You check your inventory\nYou are carrying:\na bunch of straw\na cheese log\na summer sausage\nyour coat (being worn)\na TV remote control\na flashlight (providing light)\na plastic husk\na serrated knife\na scented candle (closed)\nthe letter\nthe fancy tree skirt\na Hickory Farms gift box (open but empty)\n\n> You put the log in the box\nYou put the cheese log into the Hickory Farms gift box.\n\n> You put the sausage in the box\nYou put the summer sausage into the Hickory Farms gift box.\n\n> You put the straw in the box\nYou put the bunch of straw into the Hickory Farms gift box.\n\n> You put the knife in the box\nYou put the serrated knife into the Hickory Farms gift box.\n\n> You go to the north\nFinally! After a long and unexpectedly difficult night, you pass through the sliding glass doors and step out into the chilly parking lot.\n\nNow... where the heck is your car?"
    },
    {
        "text": "[Themes: Lovecraftian, mirrors, horror, amnesia, church]\n\n> About yourself\nYou find you cannot look down at yourself. It is almost as if you know what you might find and are afraid to have your fears confirmed.\n\n[Author's Note: You remember darkness. And the cold. Cold and darkness. And silence. Those memories are all that you have. That, and a feeling that something you never knew you possessed has been lost. Suddenly, oblivion is split by a blinding light and a crash of sound. You awaken to the roar of a storm and a deluge of rain and mud. The day goes downhill from there...]"
    },
    {
        "text": "[Themes: Lovecraftian, church, amnesia]\n\n> You look at the lightning\nThe howling wind sends the clouds racing across the sky. The almost constant flashing of lightning illuminates the landscape in stark black and white contrast, while the barrage of thunder joins with the wind in a mad concaphony.\n\n> You examine the mud\nThe sides of the hole are made of dark, rich earth, now soaked through by the torrential downpour. As you watch, more and more mud is washed away and into the hole with you.\n\n> You go upwards\nAs you scramble out of the hole the mud collapses downward, filling in the hole behind you.\n\nDozens of stone markers stand here, oblivious to the wind and the rain. Huge, twisted oaks, their limbs tossed by the wind, draw an unmentionable sustenance from the moss-covered, moldy ground. An odor of decay, which even the storm cannot dissipate, hangs over everything. An iron barred fence surrounds the graveyard, an ivy-covered barrier separating it from the world of the living. The only exit is through the gate to the east.\n\nA church rises to the east, its boarded up windows giving the impression that it is covering its eyes from the sight of the graveyard.\n\nA large branch has been broken from one of the trees and has crushed the grave marker below it.\n\n> You look at the marker\nThe marker for this grave has been shattered by the fall of a large branch from the overhanging tree. The grave itself has been disturbed; the soil has fallen in to form a shallow pit.\n\n> You examine the branch\nThis large branch has broken off from one of the trees and fallen on one of the graves, shattering it's marker.\n\n> You take it\nThe branch is too large to move, but a smaller limb has broken off and is lying nearby.\n\n> You take the limb\nTaken.\n\n> You examine it\nA stout oak limb, about as long as you are tall.\n\nThe marker for this grave has been shattered by the fall of a large branch from the overhanging tree. The grave itself has been disturbed; the soil has fallen in to form a shallow pit.\n\n> You examine the church\nThe old church has seen better days. Formerly painted white, the boards are now faded, peeling and rotted. Most of the windows are boarded up, and those that aren't have long since been broken out. The shingles have fallen from the roof, which sags alarmingly. A broken-tipped steeple rises from one end of the building, and a faint miasma of decay seems to rise from the structure.\n\n> Go east\nThis side of the church is untended and grasses and weeds have run rampant. A muddy trail leads back to the graveyard to the west and on to the southeast and a faint path continues around the church to the northeast.\n\nTo the east, the wall of the church breaks some of the force of the wind.\n\n> You examine the weeds\nDiseased looking grasses and weeds surround the church. In clumps it rises to your knees, while in other places it has been beaten to the ground by the force of the storm.\n\n> You search the weeds\nYou find nothing of interest.\n\nLightning arcs overhead, followed instantly by a blast of thunder.\n\n> You go to the southeast\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\nA formidable looking guard dog stands here.\n\nThe dog growls at you threateningly.\n\nA blast of thunder rattles the ground.\n\n> You go north\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\n> About this game\nCredits and Acknowledgments\nLicense and Copyright info\nHints...\nWalkthru\n\"The Awakening\" is my first piece of interactive fiction. It is based (very) loosely on several stories by H.P. Lovecraft, most notably \"The Outsider\", \"The Terrible Old Man\" and \"The Two Black Bottles\".\n\nI mainly wrote \"The Awakening\" as a learning exercise. I had started several other games, but they were all too big and I found myself becoming overwhelmed by the scope of the game along with learning the language. I was inspired to try a smaller game by the Textfire games which came out in April of 1998. \"The Awakening\" became much larger than any Textfire, but the inspiration was there.\n\nIt took longer to finish the game than I expected. My main problem involved the rope that is encountered in the game. Originally, it was far more complex than what is now implemented. Even what is there now doesn't work quite as well as I would have liked.\n\nI hope you enjoy the game. Since it is my first game, feedback is especially welcome. At this time (July 1998) my most stable e-mail address is:\n\nDennis_Matheson@compuserve.com\n\nor, you can reach me by snail mail at:\n\n4068 Maxanne Dr.\nKennesaw, GA  30144\n\nEnjoy!\n\nN = next subject                                        P = previous RETURN = read subject                                Q = resume game\n\n> About this game\nCredits and Acknowledgments\nLicense and Copyright info\nHints...\nWalkthru\n\n> You examine dog\nThis large, solid black dog is chained to one of the oak trees. There is something disturbing about the shape of it's head; it seems to be too large and slightly misshapen and an unnatural intelligence can be seen behind its red eyes.\n\nThe dog growls at you threateningly.\n\n> Hello\nThe dog growls threateningly.\n\nThe dog growls at you threateningly.\n\n> Pet dog\nThe dog snarls and snaps at you as you reach for it and you draw your hand back hurriedly.\n\nThe dog growls at you threateningly.\n\n> You check your inventory\nYou are carrying:\na broken limb\n\nThe dog growls at you threateningly.\n\nMomentarily, the wind and rain slacken then return with renewed force.\n\n> You give the limb to the dog\nThe dog snarls and barks at you.\n\nThe dog growls at you threateningly.\n\n> You throw the limb\nDropped.\n\nThe dog growls at you threateningly.\n\nWith a loud CRACK, a bolt of lightning strikes the steeple of the church.\n\n> You examine the trees\nThese massive trees are easily hundreds of years old. They tower over the front of the church, climbing almost as high as the steeple. Unlike the forest surrounding other parts of the grounds they are almost unnaturally healthy, their branches clean and straight and their leaves a deep rich green.\n\nThe dog growls at you threateningly.\n\n> You throw the limb\nDropped.\n\nThe dog growls at you threateningly.\n\n> You get the limb\nTaken.\n\nThe dog growls at you threateningly.\n\n> You examine the steeple\nPointing heavenward like some broken, accusing finger, the steeple rises from the front of the church. The steeple ends in a ragged, blunt tip; whatever decoration may have once surmounted it is long gone.\n\nThe dog growls at you threateningly.\n\n> You climb the trees\nThe trunk is too rain-slick to climb.\n\nThe dog growls at you threateningly.\n\n> You go to the north\nBristling and growling, the dog blocks your path\n\nThe dog growls at you threateningly.\n\n> Go northwest\nTo the east, the wall of the church breaks some of the force of the wind.\n\nGrowling faintly, the dog follows you to the West Side of the Church, dragging its chain behind it.\n\nA blast of thunder rattles the ground.\n\n> Go west\nA church rises to the east, its boarded up windows giving the impression that it is covering its eyes from the sight of the graveyard.\n\nA large branch has been broken from one of the trees and has crushed the grave marker below it.\n\nSatisfied, the dog wanders off back to the Front of the Church.\n\n> You examine the boards\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside.\n\n> You take the boards\nThe boards are nailed firmly in place."
    },
    {
        "text": "[Themes: Lovecraftian, amnesia]\n\n> Look around\nDozens of stone markers stand here, oblivious to the wind and the rain. Huge, twisted oaks, their limbs tossed by the wind, draw an unmentionable sustenance from the moss-covered, moldy ground. An odor of decay, which even the storm cannot dissipate, hangs over everything. An iron barred fence surrounds the graveyard, an ivy-covered barrier separating it from the world of the living. The only exit is through the gate to the east.\n\nA church rises to the east, its boarded up windows giving the impression that it is covering its eyes from the sight of the graveyard.\n\nA large branch has been broken from one of the trees and has crushed the grave marker below it.\n\n> You look at the graves\nDozens of stone slabs mark the final resting places of those who have departed. All are old, the inscriptions worn away and covered with moss and mold, they tilt at odd angles. Many have fallen and are now half buried in the mud.\n\nLightning arcs overhead, followed instantly by a blast of thunder.\n\n> You dig the mud\nYou are only able to dig a few inches before striking rock, and the rain rapidly washes more mud in to fill up the hole you make.\n\n> You go east\nTo the east, the wall of the church breaks some of the force of the wind.\n\nWith a loud CRACK, a bolt of lightning strikes the steeple of the church.\n\n> Go southeast\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\nA formidable looking guard dog stands here.\n\nThe dog growls at you threateningly.\n\n> Go northwest\nTo the east, the wall of the church breaks some of the force of the wind.\n\nGrowling faintly, the dog follows you to the West Side of the Church, dragging its chain behind it.\n\n> You go northeast\nThe trees close in here, their storm-tossed branches seeming to reach clawing limbs towards the back of the church. The weeds have run wild here and ivy climbs its way up the back of the building. A faint path continues around the church to the southeast and the southwest.\n\nThe south wall of the church looms blankly overhead.\n\nSatisfied, the dog wanders off back to the Front of the Church.\n\n> Go southeast\nThis wide, graveled clearing may have once been where the worshippers at the church left their vehicles while attending services inside. If so, it seems that the last service was held long ago. Weeds and grasses grow up through the gravel, which is littered with debris. Dark, looming trees surround the clearing except for the driveway, which leads to the southwest, and for a narrow opening to the northwest.\n\nTo the west, the church stares out over the clearing.\n\n> You examine the debris\nScattered sticks, leaves and bits of trash cover the gravel clearing.\n\n> You search it\nYou find nothing of interest.\n\nMomentarily, the wind and rain slacken then return with renewed force.\n\n> You examine the trees\nThe trees wave wildly in the wind, their twisted limbs seeming to reach out to claw at the side of the church. No birds or forest animals inhabit their branches; a repellent air surrounds them that seems inimical to any such invasion.\n\n> You examine the weeds\nDiseased looking grasses and weeds surround the church. In clumps it rises to your knees, while in other places it has been beaten to the ground by the force of the storm.\n\n> You go southwest\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\nA formidable looking guard dog stands here.\n\nThe dog growls at you threateningly.\n\n> You examine the chain\nA heavy steel chain. It has rusted slightly but is still more than sturdy enough to hold the dog.\n\nThe dog growls at you threateningly.\n\n> Go south\nYou feel that you are unable to. Some force on you increases as you try to leave the area.\n\nThe dog growls at you threateningly.\n\n> You look at the windows\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside.\n\nThe dog growls at you threateningly.\n\n> Go northwest\nTo the east, the wall of the church breaks some of the force of the wind.\n\nGrowling faintly, the dog follows you to the West Side of the Church, dragging its chain behind it.\n\n> You put the limb in chain\nThat can't contain things.\n\nThe dog growls at you threateningly.\n\n> You throw the limb at the chain\nFutile.\n\nThe dog growls at you threateningly.\n\n> You take the chain\nThe dog probably wouldn't like you to be pulling on its chain.\n\nThe dog growls at you threateningly.\n\n> Wave limb\nYou look ridiculous waving the broken limb.\n\nThe dog growls at you threateningly.\n\n> Dig\n(the broken limb)\nDigging would achieve nothing here.\n\nThe dog growls at you threateningly.\n\n> Go northeast\nThe south wall of the church looms blankly overhead.\n\nSatisfied, the dog wanders off back to the Front of the Church.\n\n> You go north\nYou feel that you are unable to. Some force on you increases as you try to leave the area.\n\n> You look at the windows\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside."
    },
    {
        "text": "> You look around\nThe trees close in here, their storm-tossed branches seeming to reach clawing limbs towards the back of the church. The weeds have run wild here and ivy climbs its way up the back of the building. A faint path continues around the church to the southeast and the southwest.\n\nThe south wall of the church looms blankly overhead.\n\n> You go to the south-west\nThis side of the church is untended and grasses and weeds have run rampant. A muddy trail leads back to the graveyard to the west and on to the southeast and a faint path continues around the church to the northeast.\n\nTo the east, the wall of the church breaks some of the force of the wind.\n\n> You look at the windows\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside.\n\nMomentarily, the wind and rain slacken then return with renewed force.\n\n> Dig\n(the broken limb)\nDigging would achieve nothing here.\n\nA blast of thunder rattles the ground.\n\n> Go southwest\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\nA formidable looking guard dog stands here.\n\nThe dog growls at you threateningly.\n\n> You examine the window\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside.\n\nThe dog growls at you threateningly.\n\n> You ask the dog about Church\nThe dog snarls and barks at you.\n\nThe dog growls at you threateningly.\n\n> You break the limb\nViolence isn't the answer to this one.\n\nThe dog growls at you threateningly.\n\n> Go south\nYou feel that you are unable to. Some force on you increases as you try to leave the area.\n\nThe dog growls at you threateningly.\n\n> You eat the dog\n(first taking the guard dog)\nI don't suppose the guard dog would care for that.\n\nThe dog growls at you threateningly.\n\nMomentarily, the wind and rain slacken then return with renewed force.\n\n> You examine the rain\nThe rain pours downward, pelting you painfully and almost blinding you with its intensity.\n\nThe dog growls at you threateningly.\n\n> You go northeast\nThis wide, graveled clearing may have once been where the worshippers at the church left their vehicles while attending services inside. If so, it seems that the last service was held long ago. Weeds and grasses grow up through the gravel, which is littered with debris. Dark, looming trees surround the clearing except for the driveway, which leads to the southwest, and for a narrow opening to the northwest.\n\nTo the west, the church stares out over the clearing.\n\nGrowling faintly, the dog follows you to the East Side of the Church, dragging its chain behind it.\n\n> You hit dog\nAngered at your attack, the dog charges at you!\n\nThe dog growls and snarls angrily, snapping at your legs.\n\n> Go northwest\nThe trees close in here, their storm-tossed branches seeming to reach clawing limbs towards the back of the church. The weeds have run wild here and ivy climbs its way up the back of the building. A faint path continues around the church to the southeast and the southwest.\n\nThe south wall of the church looms blankly overhead.\n\nThe dog chases madly after you!\n\n> You go to the south-west\nThis side of the church is untended and grasses and weeds have run rampant. A muddy trail leads back to the graveyard to the west and on to the southeast and a faint path continues around the church to the northeast.\n\nTo the east, the wall of the church breaks some of the force of the wind.\n\nThe dog chases madly after you!\n\n> Go southwest\nYou feel that you are unable to. Some force on you increases as you try to leave the area.\n\nThe dog leaps at you, raking your chest with its claws and leaving a trail of red.\n\n> Go southeast\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe dog lunges after you, but is suddenly jerked to a stop with a yelp. The dog has been brought up short by it's chain, which is now completely wrapped around the church. It barks wildly but ineffectually at you as you continue on around the corner.\n\n> Go north\nThis wide, covered porch spans the width of the church front. A white picket railing surrounds the porch on three sides, except to the south where a short flight of steps leads down to the sidewalk. Two large windows have been boarded up but the main doors stand slightly ajar.\n\n> About yourself\nYou find you cannot look down at yourself. It is almost as if you know what you might find and are afraid to have your fears confirmed.\n\n> You look at the railing\nThe railing consists of two parallel lengths of wood about an arm's span apart connected by wooden pickets. One section of the railing seems fairly unsteady.\n\nFor a brief moment, hail pounds against you then subsides.\n\n> You take section\nTaken.\n\n> You examine it\nThe railing consists of two parallel lengths of wood about an arm's span apart connected by wooden pickets. If stood on end, the rail would be about twice your height.\n\n> You look\nThis wide, covered porch spans the width of the church front. A white picket railing surrounds the porch on three sides, except to the south where a short flight of steps leads down to the sidewalk. Two large windows have been boarded up but the main doors stand slightly ajar.\n\n> North\nThis small room is the entryway for the church. The years of neglect are obvious; the floorboards are rotten and warped and what were probably once stained glass windows are shattered and boarded up. Dirt and debris covers the floor. A set of double doors leads south back to the outside while a large archway leads north into the sanctuary. Overhead, there is an open trap door in the ceiling at about twice your height.\n\n> You examine the door\nThe opening in the ceiling seems to lead to another room overhead, but there doesn't seem to be any way to get to it.\n\nA blast of thunder rattles the building.\n\n> You drop the ladder\nDropped.\n\n> North\nOnce the heart of the church this room is now cold, dark and empty. Debris is scattered among the sagging pews and only shards of broken glass remain of the stained glass windows. Most of the interior fixtures have been removed, but a large portrait of Christ stares down at you from above the archway to the south. The pulpit still stands to the north.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You examine the portrait\nAs you look at the painting, a memory seems to float to the surface of your mind. You remember standing in this church and looking at that painting. And you remember it staring back at you, with malevolent, vivid green eyes...\n\n> You examine the pews\nOnce, these rows would have been filled with worshippers. Now, they only contain dust and debris.\n\n> You take the painting\nThe painting is too high up on the wall to do anything with.\n\nThe building shudders under a sudden gust of wind.\n\n> North\nFrom this raised platform you can see the entire inside of the church. The pulpit is empty except for the podium which rises from the center. A small door is visible behind the podium to the north.\n\nThe building shudders under a sudden gust of wind.\n\n> You examine the podium\nThis carved wooden podium is where the leader of this church would have addressed his or her followers. Now, from the podium, you can only see rows of empty pews and a lone painting of Christ, staring blankly down from the south wall. A large black book is resting open on the podium.\n\n> Examine book\nAt first you thought this book was a Bible, but now you realize that you were mistaken. The large, black, leather-bound tome contains passages you find disturbing, and uncomfortably familiar.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You read the book\nMuch of the book has been damaged by moisture and rats, but some of the passages are still legible. One in particular sticks in your mind... \"The way to understand another is through their eyes, because the eyes are the windows of the soul. Through the eyes the soul may seen by those who are sensitive, and through the eyes the soul my be taken by those who have pledged themselves to the ones who wait beyond.\"\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> North\nThis small office has the same run-down appearance of the rest of the church. Debris covers the floor and a trickle of water comes in around the boards covering a broken window. A desk stands in the middle of the room and an empty bookshelf sits against one wall. A pile of ashes marks where a fire once burned in the middle of the floor. A door to the south leads back to the sanctuary.\n\nOn the desk is a journal.\n\nA richly embroidered robe hangs beside the door.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You examine the desk\nAn old wooden desk. Scarred and water-damaged, it has been here for some time.\n\n> Search desk\nOn the desk is a journal.\n\n> You look at the journal\nA book of blank pages, the kind that would be used to keep a ledger or a journal. Unfortunately, someone has torn out most of the pages and only blank sheets remain.\n\nA blast of thunder rattles the building.\n\n> You look at the ash\nIt seems as if a good sized fire once burned here; it is amazing that the entire room did not catch fire. From the occasional bit of unburned material it seems as if whoever built the fire was burning books, probably from the now empty bookcase. Mixed in with the ashes you find a number of jagged shards of glass.\n\n> You examine the glass\nA number of shards of broken glass lies mixed in with the ashes. From the look of the fragments, it was some kind of thick walled bottle that was smashed into the floor. A curious object lies in with the shards of glass. It looks like a heavy rubber stopper with a chain hanging from it.\n\n> You take the ash\nYou pick up a handful of ashes.\n\n> You put the ash on the journal\n(the handful of ashes on the journal)\nAs you rub the ashes against the page, the indentations fill in and the last entry becomes visible.\n\n> You read the journal\nYou read the last entry from the journal... \"I cannot continue. The more I come to know her the more I realize that I cannot continue to corrupt her. She was pure and innocent before I took her, and that innocence allows her to continue to trust me even after what I have done. I only hope that the taint of that which I have done has not stained her irrevocably and that she will go to her proper place after I release her... and that I shall go to mine.\"\n\n> You check your inventory\nYou are carrying:\na journal\na handful of ashes\na heavy stopper\na large black book\na broken length of railing\na broken limb\n\nThe building shudders under a sudden gust of wind.\n\n> You examine the shelves\nA warped, wooden bookshelf.\n\n> Examine stopper\nA heavy rubber stopper, such as would be used to close a bottle. Bits of wax still cling to the edge showing where the bottle was sealed with the stopper in place. A fine chain hangs from the stopper and ends in an oddly carved lead weight."
    },
    {
        "text": "> You look around\nThis small office has the same run-down appearance of the rest of the church. Debris covers the floor and a trickle of water comes in around the boards covering a broken window. A desk stands in the middle of the room and an empty bookshelf sits against one wall. A pile of ashes marks where a fire once burned in the middle of the floor. A door to the south leads back to the sanctuary.\n\nA richly embroidered robe hangs beside the door.\n\n> You move the bookshelf\nYou push the bookshelf to one side, revealing an old book bound in a strange reddish cover.\n\n> You take the old book\n(the old grimoire)\nTaken.\n\n> You examine it\nA very old volume, bound in some strange reddish material. At first you thought it was leather but it seems to be more closely akin to snakeskin. The book seems to be a weird grimoire or spellbook and mostly concerns the soul or spirit.\n\n> You read it\nThe book contains several rituals and procedures all involving the soul or spirit. The first describes a ritual through which the soul can be removed from a person's body and placed in a specially prepared container. The soul remains in the container even if the person's body dies.\n\nA second ritual can be employed to use the stored soul as a receptacle for the sin of another person. This allows the possessor of another's soul to perform any acts they wish without having to answer for those acts in the next world.\n\n> You examine the robe\nRichly embroidered red robes, such as might be worn for ceremonial purposes."
    },
    {
        "text": "> Look around\nThis small office has the same run-down appearance of the rest of the church. Debris covers the floor and a trickle of water comes in around the boards covering a broken window. A desk stands in the middle of the room and an empty bookshelf sits against one wall. A pile of ashes marks where a fire once burned in the middle of the floor. A door to the south leads back to the sanctuary.\n\n> You wear the robe\nYou put on the embroidered robe.\n\n> South\nFrom this raised platform you can see the entire inside of the church. The pulpit is empty except for the podium which rises from the center. A small door is visible behind the podium to the north.\n\n> South\nOnce the heart of the church this room is now cold, dark and empty. Debris is scattered among the sagging pews and only shards of broken glass remain of the stained glass windows. Most of the interior fixtures have been removed, but a large portrait of Christ stares down at you from above the archway to the south. The pulpit still stands to the north.\n\n> You examine the eyes\nThere is something unusual about the eyes of the painting, but it is too far away to see clearly.\n\n> You climb the podium\nI don't think much is to be achieved by that.\n\nThere is a brief rattle of hail on the roof.\n\n> You examine the painting\nAs you look at the painting, a memory seems to float to the surface of your mind. You remember standing in this church and looking at that painting. And you remember it staring back at you, with malevolent, vivid green eyes...\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> You put the ladder on the podium\nYou put the broken length of railing on the podium.\n\n> You climb the ladder\nThe railing doesn't lead anywhere.\n\nA blast of thunder rattles the building.\n\n> Up\nIt is not yet that time...\n\n> You look at the pews\nOnce, these rows would have been filled with worshippers. Now, they only contain dust and debris.\n\nThe building shudders under a sudden gust of wind.\n\n> You put the ladder under the painting\nYou lean the length of railing against the wall near the painting.\n\n> You climb it\nYou carefully climb up the length of railing, using the pickets like a ladder.\n\nYou are standing on top of the railing section near the large painting of Christ. From this location, you notice that the eyes in the painting are cut out and there are holes behind them.\n\nYou are precariously balanced on the top of the broken section of railing.\n\n> You move painting\nYou are unable to.\n\n> You examine the holes\nThe eyes of the painting are cutouts. There are holes and an open space behind the eyes.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You look in the holes\nYou find yourself looking into a small enclosed space covered with a faded purple curtain.\n\nThere is a brief rattle of hail on the roof.\n\n> You pull  the painting\nYou are unable to.\n\nA blast of thunder rattles the building.\n\n> You take the painting\nThe painting is too high up on the wall to do anything with.\n\n> You cut the painting\nCutting that up would achieve little.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You look at the pulpit\nA simple raised platform at the front of the church, it supports a simple wooden podium.\n\n> Down\nOnce the heart of the church this room is now cold, dark and empty. Debris is scattered among the sagging pews and only shards of broken glass remain of the stained glass windows. Most of the interior fixtures have been removed, but a large portrait of Christ stares down at you from above the archway to the south. The pulpit still stands to the north.\n\nThe broken length of railing is propped against the wall near the painting.\n\n> You put the ladder under the trap\nYou carefully place the length of railing under the trap door in the ceiling.\n\n> You climb the ladder\nYou carefully climb up the length of railing, using the pickets like a ladder.\n\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\n> You examine the rope\nA frayed but heavy section of rope.\n\n> You examine the door\nThis heavy wooden door looks to be newer and of more sturdy construction than the rest of the church. A large, heavy handle is set into the door.\n\n> You climb it\nDropped.\n\nThe belfry of the church, high up inside the steeple. You are hanging from a maze of support beams and trusses with the nearest solid floor far below you. Large open frames give a view of the surrounding forest and of the town at the base of the hill. They also allow the fury of the storm to pass in unimpeded. You can see the branch of an oak tree just outside the southern frame.\n\nA massive bell hangs here, from a damaged mount.\nA heavy rope is attached to the bell and hangs through the beams to the room below.\n\n> You look at the town\nThe small town huddles at the base of the hill. A few lights shine defiantly against the storm but for the most part it seems quiet, as if its inhabitants are waiting inside their homes for the fury to pass them by.\n\n> You examine tree\nWhich do you mean, the oak trees or the tree branch?\n\n> Branch\nThe tree branch sways alarmingly in the wind but seems quite sturdy. It passes very close to the open window frame in the steeple.\n\n> You examine the bell\nThis massive bell once summoned worshippers to the church. Now, it only serves as the home for birds and rodents. The mount for the bell has broken on one side, and the other is barely holding on. You are surprised that it has not broken free and plummeted from the steeple before this.\n\n> You ring bell\nThe bell makes a muted \"CLANK\".\n\n> You climb the branch\nYou climb around on the supports a bit, but are unable to move much further up or down the steeple.\n\n> You get the branch\nThe branch is securely attached to the tree.\n\n> You climb the rope\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\n> You open the door\nIt seems to be locked.\n\n> You examine the door\nThis heavy wooden door looks to be newer and of more sturdy construction than the rest of the church. A large, heavy handle is set into the door.\n\n> Inventory\nYou are carrying:\nan embroidered robe (being worn)\nan old grimoire\na journal\na handful of ashes\na heavy stopper\na large black book\na broken limb\n\n> You tie the rope to the branch\nYou tie the rope securely to the tree branch.\n\n> You climb the rope\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead. There is a tree branch hanging from the end of the rope.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\n> You tie the rope to door\nYou tie the rope securely to the heavy wooden door.\n\n> Up\nThe belfry of the church, high up inside the steeple. You are hanging from a maze of support beams and trusses with the nearest solid floor far below you. Large open frames give a view of the surrounding forest and of the town at the base of the hill. They also allow the fury of the storm to pass in unimpeded. You can see the branch of an oak tree just outside the southern frame.\n\nA massive bell hangs here, from a damaged mount.\nA heavy rope is attached to the bell and hangs through the beams to the room below.\n\n> Down\nThe drop to the floor below is too far for you to climb safely.\n\nThe building shudders under a sudden gust of wind.\n\n> Branch\nYou climb around on the supports a bit, but are unable to move much further up or down the steeple.\n\nThe building shudders under a sudden gust of wind.\n\n> You climb the beams\nYou climb around on the supports a bit, but are unable to move much further up or down the steeple.\n\nThere is a brief rattle of hail on the roof.\n\n> You look\nThe belfry of the church, high up inside the steeple. You are hanging from a maze of support beams and trusses with the nearest solid floor far below you. Large open frames give a view of the surrounding forest and of the town at the base of the hill. They also allow the fury of the storm to pass in unimpeded. You can see the branch of an oak tree just outside the southern frame.\n\nThere is a brief rattle of hail on the roof.\n\n> Go south\nThe limbs of the tree are swaying violently from the storm, but near the trunk it is a little more stable. You have an excellent view from here of the church grounds and surrounding area. The church seems to be in a clearing on a hill surrounded by a forest. At the base of the hill a small town can be seen, its lights glimmering faintly through the storm.\n\nOne of the branches of the tree reaches out to the north towards the steeple of the church. An open frame can be seen in the steeple near where the branch ends.\n\nThe steeple of the church looms to the north."
    },
    {
        "text": "[Themes: Lovecraftian, amnesia, horror]\n\n> Go downwards\nThe drop to the ground below is too far for you to jump safely, and the trunk of the tree is too slick to climb.\n\n> You look\nThe limbs of the tree are swaying violently from the storm, but near the trunk it is a little more stable. You have an excellent view from here of the church grounds and surrounding area. The church seems to be in a clearing on a hill surrounded by a forest. At the base of the hill a small town can be seen, its lights glimmering faintly through the storm.\n\nOne of the branches of the tree reaches out to the north towards the steeple of the church. An open frame can be seen in the steeple near where the branch ends.\n\nThe steeple of the church looms to the north.\n\nMomentarily, the wind and rain slacken then return with renewed force.\n\n> You examine the frame\nOnce, the windows were probably told stories of hope and redemption in brightly colored stained glass. Now, they are boarded up as if the church has closed it's eyes to the world outside.\n\nFor a brief moment, hail pounds against you then subsides.\n\n> Inventory\nYou are carrying:\nan embroidered robe (being worn)\nan old grimoire\na journal\na handful of ashes\na heavy stopper\na large black book\na broken limb\n\nLightning arcs overhead, followed instantly by a blast of thunder.\n\n> North\nThe belfry of the church, high up inside the steeple. You are hanging from a maze of support beams and trusses with the nearest solid floor far below you. Large open frames give a view of the surrounding forest and of the town at the base of the hill. They also allow the fury of the storm to pass in unimpeded. You can see the branch of an oak tree just outside the southern frame.\n\nThe building shudders under a sudden gust of wind.\n\n> You jump\nYou leap off of the support and plummet to the floor below. The last thing you hear is the peal of thunder outside.\n\n> Go south\nThe limbs of the tree are swaying violently from the storm, but near the trunk it is a little more stable. You have an excellent view from here of the church grounds and surrounding area. The church seems to be in a clearing on a hill surrounded by a forest. At the base of the hill a small town can be seen, its lights glimmering faintly through the storm.\n\nOne of the branches of the tree reaches out to the north towards the steeple of the church. An open frame can be seen in the steeple near where the branch ends.\n\nThe steeple of the church looms to the north.\n\n> You jump\nThrowing caution to the winds, you leap out of the tree and into space. The wind howls around you as you plummet to the ground. Your last sight is the church steeple, silhouetted by the lightning against the sky.\n\n> Branch\nThe tree branch sways alarmingly in the wind but seems quite sturdy. It passes very close to the open window frame in the steeple.\n\nFor a brief moment, hail pounds against you then subsides.\n\n> Go north\nThe belfry of the church, high up inside the steeple. You are hanging from a maze of support beams and trusses with the nearest solid floor far below you. Large open frames give a view of the surrounding forest and of the town at the base of the hill. They also allow the fury of the storm to pass in unimpeded. You can see the branch of an oak tree just outside the southern frame.\n\n> You look at beams\nRough hewn from wood, the beams and trusses are dirty and covered with bird and animal droppings which make footing treacherous.\n\nThere is a brief rattle of hail on the roof.\n\n> You climb the beams\nYou climb around on the supports a bit, but are unable to move much further up or down the steeple."
    },
    {
        "text": "[Themes: Lovecraftian, amnesia, mirrors]\n\n> You go to the south-east\nThe graveyard is surrounded on all sides by an iron-barred fence. The only exit is through the gate to the east.\n\nFor a brief moment, hail pounds against you then subsides.\n\n> Go east\nThis side of the church is untended and grasses and weeds have run rampant. A muddy trail leads back to the graveyard to the west and on to the southeast and a faint path continues around the church to the northeast.\n\nTo the east, the wall of the church breaks some of the force of the wind.\n\n> Go southeast\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\nA formidable looking guard dog stands here.\n\nThe dog growls at you threateningly.\n\n> Go northeast\nThis wide, graveled clearing may have once been where the worshippers at the church left their vehicles while attending services inside. If so, it seems that the last service was held long ago. Weeds and grasses grow up through the gravel, which is littered with debris. Dark, looming trees surround the clearing except for the driveway, which leads to the southwest, and for a narrow opening to the northwest.\n\nTo the west, the church stares out over the clearing.\n\nThe dog chases madly after you!\n\n> You go northwest\nThe trees close in here, their storm-tossed branches seeming to reach clawing limbs towards the back of the church. The weeds have run wild here and ivy climbs its way up the back of the building. A faint path continues around the church to the southeast and the southwest.\n\nThe south wall of the church looms blankly overhead.\n\nThe dog chases madly after you!\n\nA blast of thunder rattles the ground.\n\n> Attack dog\nAngered at your attack, the dog charges at you!\n\nThe dog growls and snarls angrily, snapping at your legs.\n\nLightning arcs overhead, followed instantly by a blast of thunder.\n\n> Go southwest\nTo the east, the wall of the church breaks some of the force of the wind.\n\nThe dog chases madly after you!\n\n> Attack dog\nAngered at your attack, the dog charges at you!\n\nThe dog growls and snarls angrily, snapping at your legs.\n\nWith a loud CRACK, a bolt of lightning strikes the steeple of the church.\n\n> You go southeast\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe dog lunges after you, but is suddenly jerked to a stop with a yelp. The dog has been brought up short by it's chain, which is now completely wrapped around the church. It barks wildly but ineffectually at you as you continue on around the corner.\n\n> You go northeast\nTo the west, the church stares out over the clearing.\n\nA heavy chain stretches around the church to the northwest and southwest.\n\n> Go southwest\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\n> Go north\nThis wide, covered porch spans the width of the church front. A white picket railing surrounds the porch on three sides, except to the south where a short flight of steps leads down to the sidewalk. Two large windows have been boarded up but the main doors stand slightly ajar.\n\n> You go north\nThis small office has the same run-down appearance of the rest of the church. Debris covers the floor and a trickle of water comes in around the boards covering a broken window. A desk stands in the middle of the room and an empty bookshelf sits against one wall. A pile of ashes marks where a fire once burned in the middle of the floor. A door to the south leads back to the sanctuary.\n\nOn the desk is a journal.\n\nA richly embroidered robe hangs beside the door.\n\n> You get the ash\nYou pick up a handful of ashes.\n\n> You put the ash on the journal\n(the handful of ashes on the journal)\nAs you rub the ashes against the page, the indentations fill in and the last entry becomes visible.\n\n> You take the robe\nTaken.\n\nThe building shudders under a sudden gust of wind.\n\n> You look at the ashes\n(the handful of ashes)\nA handful of old ashes.\n\n> You take the book\nTaken.\n\nA flash of lightning can be seen through the cracks between the boards, followed by a sudden blast of thunder.\n\n> You take the book\nYou already have that.\n\n> You take the old book\n(the old grimoire)\nTaken."
    },
    {
        "text": "> Look around\nThis small office has the same run-down appearance of the rest of the church. Debris covers the floor and a trickle of water comes in around the boards covering a broken window. A desk stands in the middle of the room and an empty bookshelf sits against one wall. A pile of ashes marks where a fire once burned in the middle of the floor. A door to the south leads back to the sanctuary.\n\n> You examine the podium\nThis carved wooden podium is where the leader of this church would have addressed his or her followers. Now, from the podium, you can only see rows of empty pews and a lone painting of Christ, staring blankly down from the south wall. A large black book is resting open on the podium.\n\n> You take the book\nWhich do you mean, the large black book, the old grimoire or the journal?\n\n> All\nlarge black book: Taken.\nold grimoire: You already have that.\njournal: You already have that.\n\n> Go south\nOnce the heart of the church this room is now cold, dark and empty. Debris is scattered among the sagging pews and only shards of broken glass remain of the stained glass windows. Most of the interior fixtures have been removed, but a large portrait of Christ stares down at you from above the archway to the south. The pulpit still stands to the north.\n\n> You tie the rope to handle\nYou tie the rope securely to the heavy wooden door.\n\nThere is a brief rattle of hail on the roof.\n\n> You pull the rope\nYou hear a metallic <CLANK> from somewhere overhead.\n\n> Inventory\nYou are carrying:\na large black book\nan old grimoire\na heavy stopper\na journal\nan embroidered robe\na handful of ashes\na broken limb\n\n> You look\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead. The rope is tied to the handle of the door.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\n> You climb down\nI don't think much is to be achieved by that.\n\nA blast of thunder rattles the building.\n\n> Go south\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\n> You examine the tree\nThese massive trees are easily hundreds of years old. They tower over the front of the church, climbing almost as high as the steeple. Unlike the forest surrounding other parts of the grounds they are almost unnaturally healthy, their branches clean and straight and their leaves a deep rich green.\n\n> You put the ladder under the tree\nYou lean the length of railing against the side of the oak tree.\n\n> You climb the ladder\nYou carefully climb up the length of railing, using the pickets like a ladder.\n\nThe limbs of the tree are swaying violently from the storm, but near the trunk it is a little more stable. You have an excellent view from here of the church grounds and surrounding area. The church seems to be in a clearing on a hill surrounded by a forest. At the base of the hill a small town can be seen, its lights glimmering faintly through the storm.\n\nOne of the branches of the tree reaches out to the north towards the steeple of the church. An open frame can be seen in the steeple near where the branch ends.\n\nThe steeple of the church looms to the north.\n\nThe broken length of railing is propped up against a nearby branch.\n\n> Go south\nThe limbs of the tree are swaying violently from the storm, but near the trunk it is a little more stable. You have an excellent view from here of the church grounds and surrounding area. The church seems to be in a clearing on a hill surrounded by a forest. At the base of the hill a small town can be seen, its lights glimmering faintly through the storm.\n\nOne of the branches of the tree reaches out to the north towards the steeple of the church. An open frame can be seen in the steeple near where the branch ends.\n\nThe steeple of the church looms to the north.\n\nThe broken length of railing is propped up against a nearby branch.\n\n> Down\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\nA broken bell lies half-buried in the mud.\n\nThe broken length of railing is propped up against the side of the oak tree.\n\n> You go north\nThis small room is the entryway for the church. The years of neglect are obvious; the floorboards are rotten and warped and what were probably once stained glass windows are shattered and boarded up. Dirt and debris covers the floor. A set of double doors leads south back to the outside while a large archway leads north into the sanctuary. Overhead, there is an open trap door in the ceiling at about twice your height.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> You climb the ladder\nYou carefully climb up the length of railing, using the pickets like a ladder.\n\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA gaping splintered opening lies to the north.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> North\nEven with the door open and the wind from the storm blowing in this room is rank with a fetid odor. The floor is piled high with trash and half eaten scraps of food. There are no windows, only the broken door frame to the south. An old sofa is pushed against one wall and a heavy table sits in the middle of the room. A curtained archway is to the north.\n\nA gaping splintered opening lies to the south.\n\nA curtain of purple cloth hangs in the archway.\n\nOn the old sofa is an old man.\n\nYou can also see a heavy wooden table (on which are an oil lantern and a pair of glass bottles) here.\n\nA blast of thunder rattles the building.\n\n> You look at old Man\nAn old, extremely gaunt man. The old man is drawn and pale, his hair long and wild and his clothing filthy, torn and unkempt. But, an active intelligence burns behind the vivid green eyes with which he watches you; eyes which also contain a taint of madness.\n\nThere is a brief rattle of hail on the roof.\n\n> You examine table\nA heavy table of rough cut wooden planks. Curious symbols are carved into the wood and the top is oddly stained.\n\n> You examine the lantern\nA old oil-burning lantern. Possibly brass, but very tarnished. The glass chimney is almost opaque with soot and grime.\n\n> You examine Bottles\nThe bottles are made of a heavy, leaded glass and closed with a cork stopper sealed with wax. Inside the bottles, an oddly shaped lead weight hangs like a pendulum from a string. The bottles glow faintly.\n\n> You look at the curtain\nThe curtain is an old and faded purple. It looks as if it may have been a tablecloth initially.\n\n> You ask Man about the bottle\n\"Beautiful, aren't they? That's what *you* used to say. I remember how you used to stare at them for hours. How you used to try to understand them...\n\n> You ask Man about yourself\nThe old man laughs. \"What did you expect? After you saw what happened to *her* and realized that *you* were the one responsible you went, shall we say, mad? You always were weak. There was only one thing to be done, wasn't there?\"\n\n> You ask Man about the girl\nThe old man giggles uncontrollably.\n\n> You ask Man about Man\nWhat? You've forgotten me? How could you forget Silas? Your servant... your colleague... your... teacher...?\n\n> You ask Man about the dog\nA useful creature. Quite intelligent, you know.\n\n> You take Bottles\nThe blue bottle is warm to your touch as you pick it up. The warmth seems to travel up your arm and into the center of your being. It is almost as if you have found a missing part of yourself.\nThe green bottle has a sickly feel which matches its color. It feels like ice, cold and burning at the same time. It is all you can do to keep from throwing it down.\nThat isn't available.\n\n> You open the blue bottle\nYou peel the wax away from the mouth of the bottle and pull out the cork. A cloud of faintly glowing blue mist rises from the bottle and hangs in the air before you. You feel a brief moment of freedom, of release.\n\nThen, you realize that Silas has started chuckling to himself. The first jolt of pain hits. The cloud suddenly jerks and starts moving downward, as if drawn by a strong suction. The pain intensifies and you drop first to your knees, then flat onto the ground as if trying to follow the mist, which is now soaking into the earth. The pain becomes excruciating. The last thing you see, as everything fades to black, is Silas standing over you, laughing...\n\n> You ask Man about the painting\nPlease give one of the answers above.\n\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Lovecraftian, amnesia, horror]\n\n> You describe your surroundings\nPlease give one of the answers above.\n\n> Full\nIn that game you scored 30 out of a possible 50, in 92 turns.\n\nThe score was made up as follows:\n\n5 for entering the sealed room\n10 for opening the door\n\n30 total (out of 50)\n\nWould you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?"
    },
    {
        "text": "> You describe your surroundings\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nThe building shudders under a sudden gust of wind.\n\n> Down\nThis small room is the entryway for the church. The years of neglect are obvious; the floorboards are rotten and warped and what were probably once stained glass windows are shattered and boarded up. Dirt and debris covers the floor. A set of double doors leads south back to the outside while a large archway leads north into the sanctuary. Overhead, there is an open trap door in the ceiling at about twice your height.\n\n> Go south\nTaken.\n\nThis wide, covered porch spans the width of the church front. A white picket railing surrounds the porch on three sides, except to the south where a short flight of steps leads down to the sidewalk. Two large windows have been boarded up but the main doors stand slightly ajar.\n\n> Go south\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\n> You climb down\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\nThe broken length of railing is propped up against the side of the oak tree.\n\n> Up\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA frayed but heavy rope hangs from somewhere overhead.\n\nThe heavy wooden door to the north is closed.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nA blast of thunder rattles the building.\n\n> You tie the rope to the door\nYou tie the rope securely to the heavy wooden door.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> You get the ladder\nTaken.\n\nThere is a brief rattle of hail on the roof.\n\n> Down\nTwo massive oak trees which flank the cracked sidewalk dominate the front of the church. The facade of the church itself rises beyond them, its steeple silhouetted against the sky. The storm lashes at its faded white facade, almost as if the storm is trying to wash the church clean; something you somehow realize will take more than mere water to accomplish. To the north, a sidewalk leads to the front of the church. A weed-choked driveway runs to the northeast and down a hill to the south, and a muddy path leads around the church to the northwest.\n\nThe church and steeple loom to the north, the open window frames seeming to stare with judgment upon anyone standing before it.\n\nThe heavy chain stretches from one of the oak trees and around the corner of the church to the northeast.\n\nA broken bell lies half-buried in the mud.\n\nThe broken length of railing is propped up against the side of the oak tree.\n\nFor a brief moment, hail pounds against you then subsides.\n\n> You put the ladder under the trap\nYou carefully place the length of railing under the trap door in the ceiling.\n\nA blast of thunder rattles the building.\n\n> Up\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA gaping splintered opening lies to the north.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\n> You go north\nEven with the door open and the wind from the storm blowing in this room is rank with a fetid odor. The floor is piled high with trash and half eaten scraps of food. There are no windows, only the broken door frame to the south. An old sofa is pushed against one wall and a heavy table sits in the middle of the room. A curtained archway is to the north.\n\nA gaping splintered opening lies to the south.\n\nA curtain of purple cloth hangs in the archway.\n\nOn the old sofa is an old man.\n\nYou can also see a heavy wooden table (on which are an oil lantern and a pair of glass bottles) here.\n\n> Go north\nYou push the curtain aside and pause. On the other side of the curtain is a room much like the one you are in. A figure stands in the archway, apparently about to enter your room, and it is the sight of this figure which has brought you up short. It is, or was, human... once. Now, it is a withered mass of decaying flesh. It's clothing hangs in tatters and it is caked in mud and grave mold. Patches of hair hang from it's scalp and bones are visible in places through it's skin. The only thing that remains intact are it's eyes; pale blue and now wide open and staring.\n\nThe creature raises its hand to you, and you find yourself doing the same. You reach out your arm and touch...\n\n...a cold unyielding surface of polished glass.\n\nSuddenly, the realization of what you are seeing comes home to you, and you step back from the mirror with a cry.\n\n> About yourself\nYou find you cannot look down at yourself. It is almost as if you know what you might find and are afraid to have your fears confirmed.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> You take the green bottle\nThe green bottle has a sickly feel which matches its color. It feels like ice, cold and burning at the same time. It is all you can do to keep from throwing it down.\n\n> You look\nEven with the door open and the wind from the storm blowing in this room is rank with a fetid odor. The floor is piled high with trash and half eaten scraps of food. There are no windows, only the broken door frame to the south. An old sofa is pushed against one wall and a heavy table sits in the middle of the room. A curtained archway is to the north.\n\nA gaping splintered opening lies to the south.\n\nA curtain of purple cloth hangs in the archway.\n\nOn the old sofa is an old man.\n\nYou can also see a heavy wooden table (on which are an oil lantern and a blue bottle) here.\n\n> You open the green bottle\nYou peel the wax away from the mouth of the bottle and pull out the cork. The old man suddenly realizes what you are doing. With a scream of \"Noooo!\", he throws himself towards you knocking over the lantern in the process. As he collapses at your feet, a glowing green mist rises from the bottle and hangs before him. \"No!\", he whispers.\n\nThen, the mist starts moving slowly downward as he doubles over and screams in agony. As the mist soaks into the ground, he looks up at you and screams, \"I'll get my revenge\" I'll see you in hell. I'LL SEE YOU IN HELL! Ia! Ia! Fthagn... Aaaaagh...!\"\n\nHis body collapses to the ground. As you watch the body blackens and decays until, within only a few moments, what is left appears to be a many-months old corpse.\n\nYou hear a sudden *Whumph!* and look around. The spilled oil from the broken lantern has ignited. You grab the blue bottle from the table and race outside. You watch for a moment as flames consume the church. With a crackling roar, the steeple collapses inward and a plume of flame shoots skyward.\n\nClutching the bottle to you, you make your way down the hill.\n\n> Light lantern\nThis dangerous act would achieve little.\n\n> You ask Man about the lantern\nThe old man giggles uncontrollably.\n\n> You ask Man about green\n\"You see, I am safe now... I have transferred my sin to your soul. *If* I ever decide to release it, I will go to *your* reward, while you will go to *my* punishment.\"\n\n> You ask Man about the blue\n\"Yes. That is you. Or, should I say, *was* you. It's *mine* now. The receptacle for *my* sin.\n\n> You ask Man about the grave\nThe old man giggles uncontrollably.\n\nThere is a brief rattle of hail on the roof.\n\n> You wear the robe\nYou put on the embroidered robe.\n\n> You read tome\nWhat do you want to read in?\n\n> All\nSorry, you can only have one item here. Which exactly?\n\n> Old\nWhich do you mean, the old grimoire or the journal?\n\n> Grimoire\nThe book contains several rituals and procedures all involving the soul or spirit. The first describes a ritual through which the soul can be removed from a person's body and placed in a specially prepared container. The soul remains in the container even if the person's body dies.\n\nA second ritual can be employed to use the stored soul as a receptacle for the sin of another person. This allows the possessor of another's soul to perform any acts they wish without having to answer for those acts in the next world.\n\n> You ask Silas about the stopper\nThe old man giggles uncontrollably.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> Full\nYou have so far scored 35 out of a possible 50, in 96 turns.\n\nThe score is made up as follows:\n\n5 for entering the sealed room\n10 for opening the door\n5 for discovering the truth\n\n35 total (out of 50)\n\n> You check your inventory\nYou are carrying:\nan oil lantern (providing light)\na green bottle (providing light)\na large black book\nan old grimoire\na heavy stopper\na journal\nan embroidered robe (being worn)\na handful of ashes\na broken limb\n\n> You read the black\nMuch of the book has been damaged by moisture and rats, but some of the passages are still legible. One in particular sticks in your mind... \"The way to understand another is through their eyes, because the eyes are the windows of the soul. Through the eyes the soul may seen by those who are sensitive, and through the eyes the soul my be taken by those who have pledged themselves to the ones who wait beyond.\"\n\nA blast of thunder rattles the building.\n\n> You look at the stopper\nWhich do you mean, the blue bottle, the green bottle or the heavy stopper?\n\n> Go south\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA gaping splintered opening lies to the north.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nBabbling to himself, the old man wanders after you.\n\n> You go north\nEven with the door open and the wind from the storm blowing in this room is rank with a fetid odor. The floor is piled high with trash and half eaten scraps of food. There are no windows, only the broken door frame to the south. An old sofa is pushed against one wall and a heavy table sits in the middle of the room. A curtained archway is to the north.\n\nA gaping splintered opening lies to the south.\n\nA curtain of purple cloth hangs in the archway.\n\nYou can also see a heavy wooden table (on which is a blue bottle) here.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows.\n\n> You get blue\nThe blue bottle is warm to your touch as you pick it up. The warmth seems to travel up your arm and into the center of your being. It is almost as if you have found a missing part of yourself.\n\n> You go south\nThis small chamber is about halfway up the steeple of the church. Rain and wind from the storm outside blows in through an open window frame and water collects in puddles on the warped floor, mixing with the droppings of the birds, or perhaps bats, which can be heard fluttering around overhead. Looking up, you can see a maze of beams and supports that form the interior of the steeple. Rain pours in from an opening higher in the steeple and trickles out through a trap door in the floor.\n\nA gaping splintered opening lies to the north.\n\nThe top of the broken section of railing is visible sticking up through the trap door in the floor.\n\nYou can also see an oil lantern and an old man here."
    },
    {
        "text": "[Themes: Lovecraftian, church]\n\n> Go downwards\nThis small room is the entryway for the church. The years of neglect are obvious; the floorboards are rotten and warped and what were probably once stained glass windows are shattered and boarded up. Dirt and debris covers the floor. A set of double doors leads south back to the outside while a large archway leads north into the sanctuary. Overhead, there is an open trap door in the ceiling at about twice your height.\n\nBabbling to himself, the old man wanders after you.\n\n> You open green\nYou peel the wax away from the mouth of the bottle and pull out the cork. The old man suddenly realizes what you are doing. With a scream of \"Noooo!\", he throws himself towards you. As he collapses at your feet, a glowing green mist rises from the bottle and hangs before him. \"No!\", he whispers.\n\nThen, the mist starts moving slowly downward as he doubles over and screams in agony. As the mist soaks into the ground, he looks up at you and screams, \"I'll get my revenge\" I'll see you in hell. I'LL SEE YOU IN HELL! Ia! Ia! Fthagn... Aaaaagh...!\"\n\nHis body collapses to the ground. As you watch the body blackens and decays until, within only a few moments, what is left appears to be a many-months old corpse.\n\nWith a loud *CRAK*, lightning strikes the steeple of the church. With a roar, the wooden structure catches fire. Clutching the second bottle to you, you race outside. You watch for a moment as flames consume the church. With a crackling roar, the steeple collapses inward and a plume of flame shoots skyward.\n\nClutching the bottle to you, you make your way down the hill.\n\n> Go south\nThis wide, covered porch spans the width of the church front. A white picket railing surrounds the porch on three sides, except to the south where a short flight of steps leads down to the sidewalk. Two large windows have been boarded up but the main doors stand slightly ajar.\n\nBabbling to himself, the old man wanders after you.\n\nWith a loud CRACK, a bolt of lightning strikes the steeple of the church.\n\n> You go to the north\nThis small room is the entryway for the church. The years of neglect are obvious; the floorboards are rotten and warped and what were probably once stained glass windows are shattered and boarded up. Dirt and debris covers the floor. A set of double doors leads south back to the outside while a large archway leads north into the sanctuary. Overhead, there is an open trap door in the ceiling at about twice your height.\n\nBabbling to himself, the old man wanders after you.\n\n> Go north\nOnce the heart of the church this room is now cold, dark and empty. Debris is scattered among the sagging pews and only shards of broken glass remain of the stained glass windows. Most of the interior fixtures have been removed, but a large portrait of Christ stares down at you from above the archway to the south. The pulpit still stands to the north.\n\nBabbling to himself, the old man wanders after you.\n\n> Up\nYou are standing on top of the railing section near the large painting of Christ. From this location, you notice that the eyes in the painting are cut out and there are holes behind them.\n\nYou are precariously balanced on the top of the broken section of railing.\n\nBabbling to himself, the old man wanders after you.\n\n> You look through the holes\nYou are looking into the small room in the steeple. You can see past a faded purple curtain to a small table which is holding two heavy glass bottles.\n\n> You look at bottle\nWhich do you mean, a green bottle or a blue bottle?\n\n> You take the blue bottle\nYou can't do anything to the blue bottle from here.\n\nYou hear a loud crash and see a flash of light through the cracks in the boards covering the windows."
    },
    {
        "text": "[Themes: Slice of life, drugs, teenagers, Canada, gender-neutral protagonist, Vancouver, coming of age]\n\nHey. U asleep?\n\nNah. What's up?\n\ndad's car? I need\nto go for a drive\n\nOh ya? Ok. He's\nnot snoring yet\ntho.\n\nSounds good :3\n\nWhere to?\n\nI dunno... past\nCoquitlam? I know\na place\n\n^_^\n\n\n\nHalf an hour later, the old man goes to bed; you wait a few more minutes, until he starts snoring. When he's snoring, the way is clear; grab the keys from the table, and let's go pick Jane up.\n\nThe room is dark and warm, it's a hot June night. There's barely a glimmer of light from the street, but you know where everything is: the TV and the couch on the east wall, the door to your room behind you, and the one for your Dad's on the opposite side, the dinner table kind of in the way, and the front door. The keys must be on the entry table, near the door; at least that's where they always are.\n\n> You touch the entry table\nYou touch the top of the entry table, expecting to find the keys... But you can't find them. Crap! You hope he put them somewhere else, because if they're still in his pants pockets, you're just gonna have to go back to bed.\n\n> You touch the dining table\nMaybe the keys were left on that table... You carefully run your fingers on the surface of the table, but they're not here.\n\n> You touch the couch\nYou get closer to the front of the couch and run your hands on it, just in case... ah! The car keys got stuck in the back of the couch. They must have fell from your dad's pocket. You grab them quietly, trying to not make them jingle too much.\n\n> Go outside\nYou slowly, carefully put your shoes on, then unlock the door and leave quietly. Locking the door behind you without making any noise is always a bit scary, but you've mastered the trick; once it's locked, you wait a few minutes, just in case, but the light in your Dad's room remains off. You walk to the car, unlock it manually, and start it as smoothly as you can.\n\nYou slow down when you reach Jane's block; but she's been posted behind that big oak since you texted her, and she climbs quickly in your car.\n\"Hey\" you nod.\n\"Hey. Thanks for picking me up\" she says as she put the guitar in the back of the car.\n\"Yeah sure. I was worried you'd forget the guitar, forgot to remind you\"\n\"Well, we're going camping, of course I'm bringing it! ;)\"\n\"Haha yeah. Sounds great. You ok though? :/\"\n\"It's...\" She sighs, exasperated. \"My stupid sister and her stupid boyfriend\"\nShe doesn't say more. But there's no need. \"Ok. Going east, then?\" \"Yeah. I'll tell you\"\n\n\"...\"\n\n\"Hey, wanna get pot?\" she says out of the blue.\n\"Haha. Sure, might as well, we're going to be up there a few hours eh? :)\"\n\"I know a guy. Go towards SFU, I'll tell you\"\n\"Ok. And we'll just stop at 7/11 for munchies?\"\n\"I brought chips\"\n\"Duuude, you rock :D\"\n\"I know duuude :D\" You bump fists jokingly.\n\n\"Is that the place?\"\n\"Yeah, that house there. Shit do you have money?\"\n\"How much do we need?\"\n\"20 bucks for an eighth :/\"\nYou count your change. \"$8.75, you?\"\n\"Damn it, $6.75. We're short, like, 5 bucks :(\"\nYou pause for a second. \"Well... My dad usually has change lying around everywhere...\"\n\"Yeah but...\" She stops, uneasy.\n\"He won't mind... I mean if he asks I'll say it was for fast food or something ^^'\"\n\"Ok. You sure?\"\n\"Yeah. Besides, I haven't smoked in ages\"\n\"Hehe, k\"\n\nThe car is a Chevrolet... something. Like, it's not a truck, just a regular, dark red, automatic car. It's fine. Your dad always keeps change around, sometimes in the most random places, for like Tim Hortons, or groceries, or like to give to bums. He probably won't notice if you grab some, and he won't mind anyway.\n\nJane is here, looking around her. \"I dunno, where does he keep change?\"\n\n> You look under the seat\nYou reach under the seat and pull it back a little, then look down. \"There's nothing. How about you?\"\n\"Nah. Maybe if we...\" she reaches under her seat awkwardly, and pats around on the floormat. \"Mmmh... Pfff no there's nothing\"\n\"Let me see if I can...\" You stick your arm under the seat, and fish around... Ah! That was definitely something cold, like metal. \"I'll just... reach... and... Pff! Hey, a loonie!\"\n\"Jesus, your Dad *does* have change lying around everywhere\"\n\"Told you\"\n\n> You look at what you're carrying with you\nYou are carrying your Dad's car keys, your Novice license, your cellphone and some change.\n\n> You examine the license\nYou got it six months ago. And six months ago, you started borrowing your Dad's car for a ride while he was sleeping. Pretty sure he knows (oh yeah, especially since that day where you and Jane forgot A & W bags in the car), but he's never mentioned it.\n\n> You examine the cellphone\nIt's just your cell phone. You've had it for a while, I guess. You don't use it much for calls, but you sure text.\n\n> You examine the change\nYour money, plus Jane's, plus the change you found in the car, that makes it $16.50. In other words, not quite enough.\n\n> You open the glove compartment\n\"Hey, could you try the glovebox?\"\n\"Oh yeah, sure\" She pops it open.\n\"There's... Ah yeah, three quarters here\"\n\"Cool\"\n\n> You look at the door\nThe car door, with a pretty deep compartment in which your dad keeps a few things, like his old CDs and his sunglasses.\n\n> You look in the door compartment\nYou reach inside the compartment. \"Hey, there's actually a few coins here...\"\n\"Oh yeah?\" She checks the one on her side.\n\"Yeah... let's see... Like, three dimes\"\n\"I got a dime and two quarters\"\n\"Man, we're loaded!\"\n\n> You examine the floor mat\nIt's a kind of plastic mat; an annoying plastic mat, because it always moves under your feet.\n\n> You look under it\nYou lift the floormat, to see if anything fell under it... Mmh, no, there doesn't seem to be anything.\n\"Ugh, it's...\" says Jane, looking at her fingers.\n\"Is it dirt?\"\n\"Yeah\"\n\"Come on, we're going in the woods, don't tell me that --\"\n\"Ya ya ya ya, I know!\" she rolls her eyes. \"Well, I can't... ah!\" \"Found anything?\"\n\"Yeah it's... ugh, just a quarter\"\n\"Hahaha\"\n\"Hey shut up, I worked hard for this one\"\n\":p\"\n\n\"Man, there sure is a lot of places you can hide change in a car\" she says.\n\"Yeah. I'm sure you can hear all the coins when my Dad goes over a speed bump ^^\"\n\"Haha yeah\"\n\n> You search the floor\nYou look under your feet, to see if anything fell... A-ha! There was a quarter between the edge of the floormat and the side of the console in the middle.\n\"Cool! I can't really see anything on my side\"\n\nYou think for a second. \"Are you sure it's gonna be ok? I mean, we have a lot of change... :/\"\n\"Ah, don't worry about that, I'm sure it'll be fine...\"\n\"Yeah but... I dunno\"\n\"Yeah well what's he gonna do? Make a fuss?\"\n\"Yeah, and then we won't have any\"\nShe shrugs. \"It'll be fine, trust me\"\n\"K\"\n\n> You look at the back seat\nYou can't really see behind, because twisting your neck is awkward, but there might be coins back there after all...\n\nYou think for a second. \"Are you sure it's gonna be ok? I mean, we have a lot of change... :/\"\n\"Ah, don't worry about that, I'm sure it'll be fine...\"\n\"Yeah but... I dunno\"\n\"Yeah well what's he gonna do? Make a fuss?\"\n\"Yeah, and then we won't have any\"\nShe shrugs. \"It'll be fine, trust me\"\n\"K\"\n\n> You search back seat\nJane has better things to do.\n\n> You search back seat\n\"Oh yeah,\" you say, \"do you think there's some in the back?\"\n\"Ah yeah maybe. I'll check\"\nShe throws her leg between the seats and climbs into the back of the car. \"Well... Ah, there's like a dime here!\" she says while checking in the seats. \"And let's see... nothing on the rear deck, I think...\" \"Did you check behind the seats? Like, the pockets?\"\n\"Oh right, good call! Let's see...\" she puts her hand in it and searches while making a face. \"Yeah, there's... Hey, that's a loonie!\" \"Sweet!\"\n\"Yeah!... I'm just gonna come back from outside now\"\n\"Ya it's awkward as hell :p\"\nShe opens the passenger door and sits back in her seat.\n\"Thanks duuude ;)\"\n\"Haha yeah you bet dude\"\n\n\"Hey, so... Have you been writing anything lately?\"\n\"Yeah...\" you reply. \"I mean nothing major, but yeah, a little bit. You?\"\n\"A song :) but I haven't finished it yet\"\n\"Cool. You'll show me?\"\n\"Sure, we'll write the rest when we're high :p\"\n\"Haha sounds good\"\n\n> You examine the dashboard\nRight under the windshield, where you're supposed to put your parking receipt.\n\n> You examine the windshield\nIt's just the windshield, with the dashboard under it; it's not really dirty right now, and you hope it won't be after your little trip to the mountains, so that your Dad doesn't notice. Hopefully.\n\n> You examine the steering wheel\nThe wheel is pretty high, but you don't mind, and then you can drum up your fingers on the dashboard when you're waiting at a long light. There's the horn in the middle, and various switches on the side.\n\n> You examine the console\nBetween the two seats, there's a few cupholders, and a little compartment that opens from the top.\n\n\"Pff look at us, looking for dimes to get pot\" you say jokingly.\n\"Haha yeah, that's pretty bad\"\n\"I do want it pretty bad, so there's that\"\n\"Yeah, it's gonna be pretty awesome\"\n\n> You examine the cupholders\nThere's two cupholders side-by-side in the console between the seats. They're good for soda, but the milkshakes from the place on Robson never quite fit. The trick is to drink a third of it, and then squish them in.\n\n> You look in them\n\"Did we look here?\"\nShe shrugs.\n\"There's a dime I think... Ugh, it's... stuck...\"\n\"Niiice. Covered in sugar?\" she says.\n\"Must be. Yuck, it sticks to my fingers\"\n\"Gross :p\"\n\n\"So your Dad still doesn't know?\"\n\"What, that I take the car sometimes?\"\n\"Yeah\"\n\"I dunno\" you shrug. \"I'm sure he knows, but he doesn't say anything\" Pause.\n\"Which is pretty cool I guess\"\n\"Yeah. Your Dad is cool\"\n\"Yeah, he's alright. We get along well. I mean, it could have been worse\"\n\"Yeah\"\n\n> You look in the little compartment\nYou open the small compartment. There's a box of Tic-Tacs there, and a few coins.\n\"Sweet! That's like... 80 cents!\"\n\"That's all? Sucks :/ It was probably the most obvious place\"\n\"Yeah... I'm sure there's more lying around.\"\n\n\"Alright, we have enough :D\"\n\"Yay! Ok, I'm going\"\n\"K. I hope it'll be fine...\"\n\"?\"\n\"With all that change and all...\"\nShe shrugs. \"I don't care. I'll try it.\"\nAnd with that, she's out of the car.\n\n...\n\nYeah, he doesn't seem very chill. He's like laughing at her. But she doesn't move one bit. So he starts acting all important and macho -- like, arms wide open moving a lot, his face kind of in her face. \"u disrespecting me? i'm doing u a favor selling pot to a teenager and u come here with your lunch money? man i don't have time to waste\", you can totally picture it. But she doesn't move one bit. Even crosses her arms, unimpressed like \"r u done here bro\".\n\nGod, she's *amazing*. So determined and self-assured. You wish you could do that.\n\nThe guy's still at it but she shrugs like \"ok u don't want my money i guess\". Then she starts to turn away but he grabs her by the arm; and, like, he starts getting angry like \"wtf r u doing\". And then bam -- she gives him the money, like right in his hand, and she puts the other one out. And she got him, and he knows it, and he's like \"pff whatever\", and he gives her the pot. She nods a thank you and walks away; he looks at her while she walks away, shaking his head but almost grinning.\n\n\"You ok?\"\n\"Yeah, no worries. He tried to make a fuss, but yknow. He had to I guess, but it's not like he didn't want to sell it to me so...\"\n\"Haha nice.\" You stop, unsure of what to say next. But you say it anyway. \"You're amazing. Like, seriously\"\n\"Haha yeah thanks. I get around.\"\n\"No, really! Hey how am I gonna get pot when you're gone?\"\n\"Haha. You're gonna miss me, eh?\"\n\"You kidding? Totally.\"\n\nYou stop -- an awkward silence. It's not that funny I guess. Anyway, she breaks it:\n\"So -- head east!\"\n\"East!!\"\n\n\"...\"\n\n\"So... yeah.\"\n\n\"...\"\n\n\"What happened?\" you ask, tentatively.\n\"It's just... ugh. She's visiting, right?\"\n\"Right\"\n\"And she brought Brandon, you know, her fianc\u00e9\"\n\"Right\"\n\"And like... The guy's working in real estate out there in Toronto, right? So like, three-piece suit and the smile and oh i'm a people person right\"\n\"Right...\"\n\"Anyway. It's fine, except that he was like asking questions, like 'Oh well what good is an art degree anyway? It's not about quality anyway, all that contemporary shit...'\"\n\"Ugh, of course\"\n\"Yeah, that kind of guy! And like 'What are you going to Concordia for? You're gonna have to come back and live in your parents' basement anyway. It's not like it gives you a job!'\"\n\"?????\"\n\"Yeah! Total. Massive. Douchebag.\"\n\":/ sorry. Why does your sister like him?\"\n\"Ugh dunno. And like, she didn't like say anything! Like he was all laughing loud, and my sister was like looking at me... and I was like 'Dude! How about, like, saying something! Control your man! I'm your sister, for fuck's sake!'\"\n\"Really?\"\n\"Yeah! ... well, no, not really. OF COURSE i didn't say anything, cause i'm stupid\"\n\":(\"\n\n\"Sorry\" she says after a while.\n\"That's fine\"\n\"It's just... Family's hard, yknow?\"\n\"Heh, tell me about it\"\n\"Well, no, I mean... ugh, sorry, I just\"\n\"Hey no, I know what you meant\"\n\"Yeah. Sorry. Ugh, I hate this\"\n\"Haha I know. Drives you crazy eh? Not finding the words. Like, for your songs too\"\n\"Pff whatever, writing nerd\"\n\"U jealous? :D\"\n\":D\"\n\nSitting in the grass on the side of a hill, with the forest all around, with a guitar, some pot, and your best friend. Best way to spend the night. You feel very good, completely in the moment, although you can't help but think about how it's the last few months, already nostalgic.\n\nJane is sitting next to you, eating some chips.\n\n> You ask Jane about the school\n\"So, how do you feel about this Concordia University?\"\n\"You know what, pretty good. I mean, Montreal sounds like such a... I dunno, like, a vibrant, and different, and exciting city -- and their campus is amazing apparently, and the classes I could take all sound so cool... I'm really gonna like it I think :D\"\n\"Cool! Sounds good. You sound excited :)\"\n\"Yeah well, I wouldn't be going there if I wasn't, right?\"\n\"Haha I guess yeah\"\n\n> You ask Jane about the montreal\n\"Have you ever been to Montreal?\"\n\"Nope, never been further east than Saskatoon\" she replies. \"You?\" \"When I was, like, 10. Apparently I hated it cause I couldn't read any of the signs -- I dunno, I just remember the theme park\"\n\"Haha, nice\"\n\n> You ask Jane about French\n\"Are you gonna have to work on your French then?\"\n\"Nah, I mean a bit, but not that much. Concordia is an English university, so I'll be fine\"\n\"Yeah, but you'll be surrounded by French people in the city, right? I mean, it's basically expatriation\"\n\"I guess yeah. Guess I should have worked a bit harder in French class :p\"\n\"Haha, instead of sitting at the back of the class and chatting with your neighbour? :p\"\n\"Yeah -- that damn neighbour\"\n\"Lol u mad? :D\"\n\":D\"\n\n> You ask Jane about us\nAh, this is a tough question. You struggle to find the words for a few minutes.\n\"Do you really... I mean... We're gonna stay... yknow...\"\nYou think you see in her eyes that she's as scared as you. But she says, with a confident voice: \"We're gonna keep in touch? Yeah! Of course! Why wouldn't we?\"\n\"I don't know, it's just... far away, right?\"\n\"Yeah, sure, I guess, but like, it's only three hours of time difference! Like, nothing!\"\n\"I guess, yeah, it's pretty convenient if we want to, like, call each other...\"\n\"Yeah! It's gonna be fine, I'm sure. We always talk for hours, and we'll have even more to talk about :)\"\n\"Haha yeah, that sounds good :)\"\n\n> You ask Jane about the vancouver\n\"Isn't it gonna be weird, to like not be living in Vancouver anymore?\" \"Yeah, it's true. I'll miss all the cool shit happening here\"\n\"Yeah. And it's not like you can come back visit all the time...\"\n\"I know... It's a bummer :/\"\n\"Yeah. Anyway...\"\n\n> You ask Jane about the art\n\"So, are you still talking about doing an album?\"\n\"Yeah! I mean... I want to, but it's hard\"\n\"To write?\"\n\"No, more like... I don't know, I have a lot of songs, but it's like I have a hard time finishing them, and like, actually being proud of them... you ever get that feeling?\"\n\"Nah, I mean... I have ideas, but I don't start them. Like, I know if I start it I have to finish writing it till the end, or it drives me crazy, so I don't\"\n\"Oh yeah?\"\n\"Yeah! Not you?\"\n\"No, it's like the opposite! Like, sometimes I get ideas and like, I HAVE to grab my guitar and spend like half an hour working out chords and stuff\"\n\"But what if you don't have time to finish it?\"\n\"I don't know, I don't care? I'm like 'meh', and I forget about it. I mean, that's how I know a song is good, if I want to come back to it\" \"Huh. Interesting\"\n\"Huh indeed\"\n\n> You eat the chips\n\"Can I have some?\"\n\"Sure\" she says, tilting the bag towards you. You grab some chips and eat them almost instantly -- can't resist, and you feel really hungry right now.\n\n> You play the guitar\nYou reach out for the guitar. \"Do you mind?\"\n\"Nah, it's cool, just chillin here\"\nYou strum a few chords, aimlessly. You don't really know a song, and you can't sing.\n\n> You ask Jane about the guitar\n\"Hey, will you help me one day on the guitar?\"\n\"Oh yeah, we've been talking about it for ages. Shit, sorry :/\"\n\"No, that's cool! It's just... let's not forget, right? I mean, let's do it this summer\"\n\"Yeah, this summer for sure. Before I leave, definitely\"\n\"Cool :) and I'll practice while you're gone and then we'll start a band :p\"\n\"Haha, yeah sounds good ;)\"\n\n> You ask Jane about Jane\n\"So... how do... How do you feel?\"\n\"Fine?\"\n\"I mean... about leaving and stuff\"\n\"Oh.\" She sits there quietly for a while.\n\"I dunno, I felt like asking, because...\"\n\"No, yeah, it's okay. I mean, thanks.\" She sighs heavily. \"I dunno. I mean, I'm excited, sure. But at the same time... like why can't I stay? Like, I'm going to have to leave everything behind, right? Family, you, friends, the city I grew up in, and all that... Is it worth it? I mean, it is... It's just...\"\n\"Right\"\n\"It's just a huge change, and it's hard. And the closer it gets, the worse it's gonna be\"\n\"Right, yeah\" You sit there, quietly, for a moment.\n\"It sucks, and it doesn't suck, at the same time\"\n\"Yeah.\" Another pause. \"Well, if you need to talk, you know...\"\n\"Yeah. Sure, yeah. Hey, thanks\"\n\"Sure. And in the meantime, let's enjoy this summer?\"\n\"Yup, definitely. It's gonna be a good one\"\n\"Hehe. Yeah, I think so too :)\"\n\n> You ask Jane about summer\n\"Any plans for the summer?\"\n\"Not really, no. Maybe go somewhere with my parents for a week, but not even sure right now. You?\"\nYou shrug. \"No, nothing. My Dad's gonna work, I think\"\n\"Ah. Sucks\"\n\"Whatever\", you shrug, trying to act casual. \"I'm gonna try to get a part-time job somewhere, but I don't really know where. I don't know. I really don't feel like it\"\n\"Yeah, that sucks. Well, in any case, we'll make time to hang out?\" \"For sure :D I want that more than getting a job :p might be why I'm so not motivated to look for one\"\n\"Haha yeah I bet ^^\"\n\n> You ask Jane about the family\n\"How are your parents?\"\nShe shrugs. \"Fine, I think. I dunno. I think it's hard for them, but they haven't talked too much about it\"\n\"That's good I guess\"\n\"Yeah... I dunno. I don't know why, but I think it's gonna be worse when my sister's gone\"\n\"Ah, yeah. Yeah, maybe\"\nShe fiddles with her hair, and doesn't say more.\n\n> You ask Jane about the future\nAh, this is a tough question. You struggle to find the words for a few minutes.\n\"Do you really... I mean... We're gonna stay... yknow...\"\nYou think you see in her eyes that she's as scared as you. But she says, with a confident voice: \"We're gonna keep in touch? Yeah! Of course! Why wouldn't we?\"\n\"I don't know, it's just... far away, right?\"\n\"Yeah, sure, I guess, but like, it's only three hours of time difference! Like, nothing!\"\n\"I guess, yeah, it's pretty convenient if we want to, like, call each other...\"\n\"Yeah! It's gonna be fine, I'm sure. We always talk for hours, and we'll have even more to talk about :)\"\n\"Haha yeah, that sounds good :)\"\n\n> You ask Jane about the pot\n\"Do you think we should smoke some more?\"\n\"Nah\" she makes a face. \"I mean, I'm pretty high right now lol\"\n\"Haha yeah me too\"\n\"You can if you wanna tho\"\n\"Yeah. Nah. I'm good\"\n\n> You wait a while\nTime passes."
    },
    {
        "text": "[Themes: Science Fiction]\n\nAre you sure you want to quit? ]  Undefinable blurry brown\n\nPuffing and roaring, the ship slowly touched down on the orange sand. Then the engines died, it became quiet again and only the sand under the engines, which had melted into glass, still bubbled and smoked. Inside the caravel were cool dark passages with small lights here and there, and the ship's distributed processors eventually found the conditions were met to wake a pilgrim.\n\nThe displays on the pilgrim's sarcophagus began to light up and showed measured values \ufffd\ufffd\ufffd\ufffd\ufffd\ufffdfrom the sensors inside. Nobody was there to read them anyway. The cervix at the bottom of the sarcophagus opened and\nthe escaping liquid disappeared bubbling and gurgling in the drain below. The cervix opened further and further, the body of the pilgrim behind it slowly sank down and finally sliped out on the floor in\nfront of the sarcophagus, feet first. The limp, wet body seemed lifeless, but then it began to twitch, choke and cough. The pilgrim gasped and eventually she raised her torso and leaned on her shaky arms.\n\n\n\nYou are coughing and gasping for breath, struggling to keep your torso upright. Your mind is foggy and your sense of balance is so confused that it feels like you are falling all the time.\n\nYou can hardly see anything around you, everything just looks blurry brown.\n\n[Author's Note: How does it feel to be the only one on a lonely planet?]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> About yourself\nYou feel dizzy, cold and naked.\n\nYou feel the nausea rise in you and without being able to do anything about it you vomit your stomach contents onto the floor. In addition\nto all the unpleasant sensations, there is now the bitter and sour taste in your mouth. But at least your sense of balance is gradually normalizing.\n\n> You look at what you're carrying with you\nYou are carrying nothing.\n\nSlowly, really, very slowly, your vision improves a little. In the brown mass in front of you there appears to be a bright, pulsating spot.\n\n> You examine the spot\nYour hand gropes for the shining spot and feels a smooth, firm\nsurface. With the touch of your fingers, a pale, seemingly old memory comes back: Under the pulsating spot there must be something good, important.\n\nAnother sensation suddenly comes to your mind: cold. Your wet skin, goose bumps and the shivering fit that runs through your body in recurring waves.\n\n> You look under the spot\nYour hand moves to the edge and pushes it up. The pulsating light\nfolds up and your hand gropes down into the hollow below. There is something in it, something that is rough and soft at the same time ...\n\n> You take the spot\nTaken.\n\n> You examine rough\ntowards you. Your mind is still sluggish and cannot grasp what it is, but your body already seems to know and is pressing it against you.\n\nWith both hands you press the thing into your face, against your nose and the thing exudes a familiar smell. It smells good, it smells\nfresh, it smells fresh ... fresh ... fresh laundry! It is a terry towel.\n\n> You clean yourself\nYou rub yourself.\n\nYour body is wet and shivering with cold.\n\n> You wear towel\nYou wrap yourself in the towel and feel less unprotected and naked. At the same time you realize how exhausted you are. And even if your mind comes back gradually, your senses still work only to a limited extent.\n\n> You look\nYou can hardly see anything around you, everything just looks blurry brown.\n\nYour body is wet and shivering with cold.\n\n> Inventory\nYou are carrying:\na terry towel (being worn)\na pulsating spot (open)\na small slim rod\n\nYour body is wet and shivering with cold.\n\n> You look at the rod\nA short slim rod with a smooth surface and a button on one side.\n\nYour body is wet and shivering with cold.\n\n> You take the rod\nimportant.\n\nYour body is wet and shivering with cold.\n\n> Examine container\n(the pulsating spot)\nYou feel nothing unexpected.\n\n> Inventory\nYou are carrying:\nan empty autoinjector\na terry towel (being worn)\na pulsating spot (open but empty)\n\n> You examine the autoinjector\nA short slim rod with a smooth surface and a button on one side.\n\n> Drop spot\n(the pulsating spot)\nDropped.\n\n> You examine the sarcophagus\nMore than two dozen sarcophagi are lined up here. Most of them are still closed, they contain the other pilgrims. Their bodies float in carrier fluid, neither dead nor alive nor aging. They wait for you to create the right conditions so they can be woken up and start a\ncolony. Only the one you traveled in is open. How long you traveled\nand how far? You don't know it, just that it must have been very long."
    },
    {
        "text": "> You look around\nThis is an elongated flat room with sparse lighting. At least two\ndozen sarcophagi are lined up on the two long walls.\n\nThere is a hole in the floor and an integrated ladder leads downwards.\n\nNext to the open sarcophagus there is a small container on the floor.\n\nYou can also see a pulsating spot (empty) here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downwards\nThis is a flat, round room. A ladder leads up and there is a massive metal hatch in the south wall.\n\nYou can see a protective suit here.\n\n> You look at the suit\nThis lightweight safety suit protects you from high UV radiation and provides you with breathing air for a while.\n\n> You wear the suit\n(first taking the protective suit)\nYou put on the protective suit.\n\n> You remove towel\nYou take off the terry towel."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis is a flat, round room. A ladder leads up and there is a massive metal hatch in the south wall.\n\n> You open hatch\nYou open the inner airlock hatch.\n\n> You go south\nThis claustrophobic small room is an airlock. It has solid, airtight closable hatches in the north and south walls.\n\n> Close hatch\nWhich do you mean, the inner airlock hatch or the outer airlock hatch?\n\n> Inner\nYou close the inner airlock hatch.\n\n> You open outer\nYou open the outer airlock hatch.\n\n> Go south\nYou climb through the hatch and take your first step on this planet.\nIn fact, it's not just your first step here, it's the first of any human being.\n\nThe ship lies in the middle of a crater, probably 400 meters in diameter. As far as the eye can see, the ground is covered with orange sand and it doesn't look like anything has ever lived here, not in a billion years.\n\nYou are next to the hatch of the airlock in the north.\n\n> You look at the sand\nThe rough orange sand is simply omnipresent on the surface of this planet. There is sand here and there is nothing but sand here.\n\n> You examine the crater\nThe crater has a diameter of approximately 400 meters. He will be your home for the foreseeable future.\n\n> You look at the ship\nThe ship is a simple little caravel. Fortunately, it survived the long journey without any damages.\n\n> Go south\nthe north.\n\n> Go south\nYou can see the entire crater from up here. The edge runs from east to west. To the south is a monotonous orange desert that is sprinkled\nhere and there by larger and smaller craters. The ship is in the\nmiddle of the crater in the north.\n\n> Go south\nYou don't dare to leave the crater. The oxygen supply in your suit certainly will not last long enaugh to move that far away from the spaceship.\n\n> Go west\nYou can see the entire crater from up here. The edge runs from north\nto south. To the west is a monotonous orange desert that is sprinkled here and there by larger and smaller craters. The ship is in the\nmiddle of the crater in the east.\n\n> You go to the north\nYou can see the entire crater from up here. The edge runs from east to west. To the north is a monotonous orange desert that is sprinkled\nhere and there by larger and smaller craters. The ship is in the\nmiddle of the crater in the south.\n\n> Go east\nYou can see the entire crater from up here. The edge runs from north\nto south. To the east is a monotonous orange desert that is sprinkled here and there by larger and smaller craters. The ship is in the\nmiddle of the crater in the west.\n\n> Go west\nYou are halfway between the crater rim in the west and the ship in the east.\n\n> Go north\nthe south.\n\n> Go east\nYou stand next to the ship. A lever is embedded in the hull.\n\n> You pull lever\nYou have to make a real effort to pull the lever down, but finally you can do it. The lever opened a sliding door in the side of the ship and started the robot that was hidden behind it.\n\n> You go south\nYou are halfway between the crater rim in the east and the ship in the west.\n\n> Go north\nThe ship lies in the middle of a crater, probably 400 meters in diameter. As far as the eye can see, the ground is covered with orange sand and it doesn't look like anything has ever lived here, not in a billion years.\n\nYou are next to the hatch of the airlock in the north.\n\n> You climb the ship\nLittle is to be achieved by that.\n\n> You take the sand\nIt has been observed that some people may experience these types of ideas after hypersleep.\n\n> Go north\n(first opening the inner airlock hatch)\nThe inner hatch may only be opened when the outer hatch is closed - otherwise valuable breathing air would escape.\n\n> Close outer\nYou close the outer airlock hatch.\n\n> You open the inner\nYou open the inner airlock hatch.\n\n> Go north\nThis is a flat, round room. A ladder leads up and there is a massive metal hatch in the south wall.\n\n> Go upward\nThis is an elongated flat room with sparse lighting. At least two\ndozen sarcophagi are lined up on the two long walls.\n\nThere is a hole in the floor and an integrated ladder leads downwards.\n\nNext to the open sarcophagus there is a small container on the floor.\n\nYou can also see a pulsating spot (empty) here.\n\n> You examine the sarcophagi\nMore than two dozen sarcophagi are lined up here. Most of them are still closed, they contain the other pilgrims. Their bodies float in carrier fluid, neither dead nor alive nor aging. They wait for you to create the right conditions so they can be woken up and start a\ncolony. Only the one you traveled in is open. How long you traveled\nand how far? You don't know it, just that it must have been very long.\n\n> You examine the small container\nA small container with rounded edges and a soft surface whose lid alternately lights up and darkens like a pulse.\n\n> You take the container\nWhich do you mean, the pulsating spot or the small box?\n\n> Box\nIt has been observed that some people may experience these types of ideas after hypersleep.\n\n> You open the box\nThat's already open.\n\n> Close box\nYou close the small box."
    },
    {
        "text": "> Go downwards\nThis is a flat, round room. A ladder leads up and there is a massive metal hatch in the south wall.\n\n> You pull the lever\nIt is fixed in place.\n\n> Inventory\nYou are carrying:\na protective suit (being worn)\nan empty autoinjector\na terry towel\n\n> You jump\nYou jump on the spot.\n\n> You dry yourself\nWhat do you want to dry yourself with?\n\n> You dry yourself with the towel\nand supplied with blood. You feel the warmth returning and the shivering goes away.\n\n> About yourself\nAs good-looking as ever.\n\n> You take the spot\nWhich do you mean, the pulsating spot or the small box?\n\n> Yes\nPuffing and roaring, the ship slowly touched down on the orange sand. Then the engines died, it became quiet again and only the sand under the engines, which had melted into glass, still bubbled and smoked. Inside the caravel were cool dark passages with small lights here and there, and the ship's distributed processors eventually found the conditions were met to wake a pilgrim.\n\nThe displays on the pilgrim's sarcophagus began to light up and showed measured values \ufffd\ufffd\ufffd\ufffd\ufffd\ufffdfrom the sensors inside. Nobody was there to read them anyway. The cervix at the bottom of the sarcophagus opened and\nthe escaping liquid disappeared bubbling and gurgling in the drain below. The cervix opened further and further, the body of the pilgrim behind it slowly sank down and finally sliped out on the floor in\nfront of the sarcophagus, feet first. The limp, wet body seemed lifeless, but then it began to twitch, choke and cough. The pilgrim gasped and eventually she raised her torso and leaned on her shaky arms.\n\n\n\nYou are coughing and gasping for breath, struggling to keep your torso upright. Your mind is foggy and your sense of balance is so confused that it feels like you are falling all the time.\n\nYou can hardly see anything around you, everything just looks blurry brown.\n\n> You wait for a while\nTime passes.\n\nYou feel the nausea rise in you and without being able to do anything about it you vomit your stomach contents onto the floor. In addition\nto all the unpleasant sensations, there is now the bitter and sour taste in your mouth. But at least your sense of balance is gradually normalizing.\n\n> You look\nYou can hardly see anything around you, everything just looks blurry brown.\n\nSlowly, really, very slowly, your vision improves a little. In the brown mass in front of you there appears to be a bright, pulsating spot.\n\n> Touch spot\nYour hand gropes for the shining spot and feels a smooth, firm\nsurface. With the touch of your fingers, a pale, seemingly old memory comes back: Under the pulsating spot there must be something good, important.\n\nAnother sensation suddenly comes to your mind: cold. Your wet skin, goose bumps and the shivering fit that runs through your body in recurring waves.\n\n> Open spot\nYour hand moves to the edge and pushes it up. The pulsating light\nfolds up and your hand gropes down into the hollow below. There is something in it, something that is rough and soft at the same time ...\n\n> You take rough\ntowards you. Your mind is still sluggish and cannot grasp what it is, but your body already seems to know and is pressing it against you.\n\n> You look at what you're carrying with you\nYou are carrying:\na rough and soft thing\n\n> You touch rough\nYou feel nothing unexpected.\n\nYour body is wet and shivering with cold.\n\n> You examine rough\nWith both hands you press the thing into your face, against your nose and the thing exudes a familiar smell. It smells good, it smells\nfresh, it smells fresh ... fresh ... fresh laundry! It is a terry towel.\n\nYour body is wet and shivering with cold.\n\n> You dry yourself with the towel\nand supplied with blood. You feel the warmth returning and the shivering goes away.\n\n> You wear towel\nYou wrap yourself in the towel and feel less unprotected and naked. At the same time you realize how exhausted you are. And even if your mind comes back gradually, your senses still work only to a limited extent.\n\n> You look\nYou can hardly see anything around you, everything just looks blurry brown.\n\nNevertheless, there is a bright, pulsating spot inside the brown that surrounds you.\n\n> You look in the spot\nIn the pulsating spot is a small slim rod.\n\n> You take the rod\nimportant.\n\n> You check your inventory\nYou are carrying:\nan empty autoinjector\na terry towel (being worn)\n\n> You go south\n(first opening the inner airlock hatch)\n\nThis claustrophobic small room is an airlock. It has solid, airtight closable hatches in the north and south walls.\n\n> Close inner\nYou close the inner airlock hatch.\n\n> You go south\nYou climb through the hatch and take your first step on this planet.\nIn fact, it's not just your first step here, it's the first of any human being.\n\n(first opening the outer airlock hatch)\n\nThe ship lies in the middle of a crater, probably 400 meters in diameter. As far as the eye can see, the ground is covered with orange sand and it doesn't look like anything has ever lived here, not in a billion years.\n\nYou are next to the hatch of the airlock in the north.\n\n> Go north\n(first opening the inner airlock hatch)\n\nThis is a flat, round room. A ladder leads up and there is a massive metal hatch in the south wall.\n\n> Go upward\nThis is an elongated flat room with sparse lighting. At least two\ndozen sarcophagi are lined up on the two long walls.\n\nThere is a hole in the floor and an integrated ladder leads downwards.\n\nNext to the open sarcophagus there is a small container on the floor.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Collegiate, conspiracy, espionage, college]\n\n\n\n[Author's Note: Take on the roles of Hal, Benj, and Janet -- the three newest members of the shadowy conspiratorial group known only as the Weishaupt Foundation. Vie against rival conspiracies and your own baffling superiors to reach the Awful Truth.]\n\n> You examine the cabinets\nThey're mostly ordinary looking file cabinets, though they have various runes and alchemical symbols painted on them.\n\n> You examine the runes\nTsk. This is regular Modern English, just written down in the Anglo-Saxon Futhorc. Sloppy, and it doesn't say much for how authentic the rest of this stuff is.\n\nYou hear footsteps somewhere above you. Someone must be working late.\n\n> You read the runes\nTsk. This is regular Modern English, just written down in the Anglo-Saxon Futhorc. Sloppy, and it doesn't say much for how authentic the rest of this stuff is.\n\nOne of the cultists appears to be stirring. Janet hops over and gently kicks him in the head with her steel-toed boot.\n\n> You search the cabinets\nYou can't see inside, since the cabinets are closed.\n\nOne of the cultists appears to be stirring. Janet hops over and gently kicks him in the head with her steel-toed boot.\n\n> You open the cabinets\nYou open the cabinets, revealing some files.\n\nSomewhere, papers rustle in the air conditioning.\n\n> You examine files\nOy. These files are all written in modern English, just written down using the Anglo-Saxon Futhorc. The membership file you were looking for is easy enough to find, though.\n\nYou hear soft chanting in the distance.\n\n> You read the membership file\nNames and basic contact info for the alchemical cult that's been stealing material from the local chemistry labs, no doubt for some heinous scheme or other. That part wasn't really in the mission description.\n\nYou hear soft chanting in the distance.\n\n> You listen to the chanting\nSoft chanting wafts in from above. It's from far enough away that you don't have to worry. Probably. In any event, they don't seem to be coming in to challenge you -- you suspect they haven't even worked out that you're here.\n\nI didn't understand that sentence.\n\n> About yourself\nYou won't be starring in any spy movies anytime soon, except maybe as Smug Bureaucrat #3. Still, you're living proof that athleticism isn't everything in this field.\n\nOne of the cultists appears to be stirring. Janet hops over and gently kicks him in the head with her steel-toed boot.\n\n> You check your inventory\nYou are carrying:\na pager\n\nSomewhere, papers rustle in the air conditioning.\n\n> You take the file\nTaken.\n\nYou look at Janet. She nods and gestures at the door. You run for it. You'll have to drop this off with your secret masters, and then you can deal with the things that are truly important...\n\nIt's not palatial, but it's pretty big for a student apartment; that's why he tends to host the game nights on weekends. Of course, the game night has pretty much wound up by now, so there's mostly just the remnants of the night's Risk game and snack fragments left.\n\nYou can see Isaac and Bian here.\n\nYou're now wrapping up your wild tale of why you couldn't make the game night. \"... and so, after a harrowing journey, I finally managed to make it here. It took a little longer than I'd expected, because I had to ensure I wasn't being traced. I wouldn't want to bring any secret wars here. Of course I would never skip out on you guys without explanation, but I was obviously incommunicado.\"\n\nThey seem unimpressed.\n\nBian manages an \"I'm touched by your concern\" before Isaac starts speaking. \"Really, I don't mind if you can't make a session, but if you have to cancel, it would be kind of nice if you called first. You don't have to pull some story out of one of Bian's RPGs.\"\n\nBian eyes Isaac for a moment. \"Hey, don't blame me for this. He was like this even when we were in high school together. It's his fault I started fringewatching to begin with.\"\n\nYou shrug. \"Clearly, the heavy responsibilities are all mine. Need any help cleaning up?\"\n\n\"Be my guest.\"\n\nBian snickers. \"He's just trying to get an excuse to raid your fridge.\"\n\n[1] Resignedly accept accusation\n[2] Proclaim innocence\n\n> 2\nYou attempt your best look of wide-eyed innocence. It's actually kind of hard through glasses as thick as yours. \"I am shocked -- shocked -- that you would make such an insinuation.\"\n\nBian lifts an eyebrow and smirks. \"Insinuation? You wound me. That was a direct statement.\"\n\nYou bow deeply in reply. \"As you wish.\"\n\n> You look at Bian\nYou and Bian have been friends since high school, and you've known each other quite a bit longer than that.\n\nHer family immigrated here from Vietnam under less than ideal circumstances, and you suspect it's really only due to her intelligence (and the fellowships that brought) that she's able to afford going here.\n\nBian shoulders her backpack and straightens out her dress.\n\n> You clean up\nYou separate the game pieces into separate piles. It'll take some more work to clean it up.\n\nBian waves and heads out the door. \"See you next week, Isaac. Catch you later, Hal.\"\n\nIsaac waits around for you to finish picking up the remnants of the game like you promised.\n\n> You clean up\nYou pack the game away in its box and pick it up to hand to Isaac. As you pick up the box, you notice a square of plastic beneath it. Some kind of keycard?\n\n> You examine the plastic\nIt's a keycard to the Psychology building. It must be Bian's.\n\nIsaac tilts his head at the square of plastic on the table.\n\n> You take the plastic\nTaken.\n\n\"Hey, Bian left her keycard here.\"\n\n\"Hm. She'll be needing that. And you'll be seeing her again before I do; I suppose you should take it with you.\"\n\n\"You're probably right. Hopefully I'll be able to make next week. See you then.\" You clear out.\n\n\n\n\n\nActive Agent: Benj\n\nHal's status: OK\nBenj's status: OK\nJanet's status: OK\n\nYou have to admit, it's a more interesting way than most to work your way through college. But you swear, ever since you took the Weishaupt Foundation up on their offer, you've become visible to every single wacko this side of Neptune. And if you didn't know better, you'd think the Universe itself was in on the gag.\n\nTake today, for instance. The religious fanatics worshipping some god named Bob (What was it Hal had called them? \"The Subgenie\" or something...) have been getting more prevalent for weeks. But when they decide to take a more, ahem, active approach to recruitment, who's the first person they target?\n\nYou.\n\nAnd your pager went off just as class ended, so you're going to have to dodge cultists all the way to the train.\n\nWell, at least life is never boring...\n\nMost of Knuth Hall's second floor is taken up by the lecture hall in room 203. The rest of the floor is mostly taken up by little lounges (accessible to the east and west). Across from the main lecture hall is a staircase leading up and down.\n\n> Inventory\nYou are carrying:\nyour keycard\na pager\n\n> You examine the pager\nThis is the pager the Weishaupt Foundation gave to you when you signed on. It lets them summon you without using any probably tapped phone lines. God only knows what else it does.\n\n> You examine the keycard\nYour keycard is a nondescript rectangle of green plastic, about the size of a credit card but twice as thick. It's got a tiny transmitter in it that unlocks the doors to floors you're cleared to enter. Yours unlocks the basement computer lab in Knuth Hall."
    },
    {
        "text": "[Themes: Collegiate, college]\n\n> Go downwards\nLobby, Ground Floor\nKnuth Hall's ground floor mostly has TA offices and student services. The front and back doors are to the east and west, respectively, while the building administration's offices are to the south. A staircase provides access to the classrooms and lounges on the second floor and to the basement labs."
    },
    {
        "text": "> Go downward\nThis staircase leads from the basement to the roof. Access to relevant floors is provided by the keycards each CS student carries.\n\nThe door to the undergraduate labs lies to the east.\n\n> Go east\n(first opening the lab door)\nYou stand so that your keycard is adjacent to the scanner, but instead of unlocking the door, it just beeps angrily. That's odd. Someone must have disabled your keycard.\n\n> You kick the door\nExtreme violence is really more Janet's forte.\n\n> Go west\nThe west end of Knuth has a nondescript door that leads out into the parking lot on the edge of campus. The lobby itself lies back to the east.\n\n> You go to the west\nYou push the door open and start working your way towards the tram station. You hear an annoying buzzing sound in the back of your mind. Normally you'd shake this off, especially given your bigger problems at the moment -- the cultists seem to have noticed you. In fact, there's a good half dozen or so closing in on you right now.\n\nThrowing stealth to the wind, you break into a run -- or try to. Something in the back of your mind is refusing to let you move. Your vision dims as they approach, no doubt to \"help\" you...\n\n\n\n\n\nActive Agent: Janet\n\nHal's status: OK\nBenj's status: CAPTURED\nJanet's status: OK\n\nIt may be silly and melodramatic, but it is pretty cool. Anyone can take the bus to this stop. Anyone can walk into this office building. But when they do so, not just anyone finds herself in a room capable of monitoring and controlling a thousand secret operations around the world.\n\nYou aren't just anyone.\n\nNeither are Hal and Benj.\n\nWhere is Benj, anyway?\n\nThis is a dead-end hallway somewhere in the depths of the Weishaupt Foundation building. \"You will receive further instructions once you arrive,\" according to the receptionist, but Benj is nowhere to be found.\n\nHal stands around, tapping his foot impatiently while you pace. The hall ends at three adjacent doors in the north wall.\n\n> You ask Hal about Benj\n\"Any idea where Benj is?\"\n\nHal shrugs. \"No clue.\"\n\n> About yourself\nYou're in somewhat better shape, and a lot stronger, than you were a year or so ago before your initation, but you're still basically the same old Janet.\n\n> You examine hal\nHe's pretty out of shape, even if you use normal standards instead of yours. Then again, he's had a bit of a paunch for as long as you've known him, and he wears glasses so thick you can barely see his eyes for the distortion, so you imagine your Unknown Benefactors didn't recruit him for his skills as a field agent.\n\nHe's bright - no denying that - but you still don't really know why they'd be interested in him personally.\n\n> Kiss hal\nYou try to avoid romantic entanglements with coworkers. Besides, he's not really your type.\n\n> You examine the doors\nThe hall dead-ends at these doors. Each door has one of your names embossed on it in neat type.\n\n> You look at what you're carrying with you\nYou are carrying:\na pager\n\n> You open the door\nYou should probably wait for instructions first. They aren't long in coming; the north doors swing open and you hear the PA system intone, \"Scholars unit 17E, report individually through the doors before you.\"\n\nYou and Hal exchange a brief glance, shrug, and proceed through your doors.\n\nHopefully they'll see fit to tell you what's going on with Benj, too.\n\nThis room is almost a hall; it's maybe ten feet wide and 30 feet long, and the doors are very nearly diagonally opposite one another. The exit door stands open in the north wall.\n\nIt's so aggressively unremarkable that it makes you suspicious. If rooms had eyes, this one's would be shifty.\n\n> You look at the door\nWhich do you mean, the hallway door or the white door?\n\n> White\nThis door leads south, back to the foyer. You need to go north.\n\n> You look at the hallway door\nThe hallway door to your north leads to the briefing room, which is where you're supposed to be going. It stands invitingly open.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go north\nYou take a couple of steps towards the north door, then catch something out of the corner of your eye. You leap backwards just as one of the ceiling tiles comes crashing to the floor right were you were standing.\n\n> Dance\nYou prefer sparring to dance.\n\n> You examine the ceiling\nAn ordinary rectangle of acoustic tile, perhaps six square feet or so.\n\n> You get tile\nNot only is it useless, it's unwieldy.\n\n> Up\nYou don't have a lot of room to move here, but the tight space won't slow you down much, either.\n\nThe crawlspace extends to the east, and there's a hole at the south end of the room where you came in.\n\n> Go east\nThe crawlspace continues east to west here. Cables extend in pairs from the tiles beneath you and lead off to the west.\n\n> You examine the cables\nCables lead out of the ceiling off to the east and west.\n\n> You take the cables\nThey are firmly attached.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go east\nThe crawlspace ends here, and extends out only to the west. Cables extend from some panels and lead off to the west.\n\nSome kind of device squats here, with wires spreading out from it all over this crawlspace.\n\n> You look at the device\nIt's a largish black box. About fifty cables come from it, burying themselves in the ceiling below. Two of those cables appear to connect to the gap off to the west you came in from.\n\nThe gadgetry is currently switched on.\n\n> You turn off the device\nYou switch the gadgetry off.\n\n> You take the device\nThat's fixed in place.\n\n> You examine the device\nIt's a largish black box. About fifty cables come from it, burying themselves in the ceiling below. Two of those cables appear to connect to the gap off to the west you came in from.\n\nThe gadgetry is currently switched off.\n\n> You verify\nThe game file has verified as intact.\n\n> Go west\nThe crawlspace continues east to west here. Cables extend in pairs from the tiles beneath you and lead off to the west.\n\n> You go to the west\nYou don't have a lot of room to move here, but the tight space won't slow you down much, either.\n\nThe crawlspace extends to the east, and there's a hole at the south end of the room where you came in."
    },
    {
        "text": "> Go downward\nThis room is almost a hall; it's maybe ten feet wide and 30 feet long, and the doors are very nearly diagonally opposite one another.\n\nIt's so aggressively unremarkable that it makes you suspicious. If rooms had eyes, this one's would be shifty.\n\nThe ceiling tile lies on the floor, underneath the gap it left when it fell.\n\n> Disable\nparse error, expecting `NUM'\n\n> Go north\nWith the trap machinery off, the room is much safer to cross now.\n\nNot completely safe, though. They left a tripwire about two-thirds of the way down the hall as a trap for the unwary. Easy enough to dodge, especially since you've got all the time in the world to do so. You breeze through the door at the end into the briefing room.\n\nThis room is nondescript, but not as aggressively so as the gauntlet you just ran. You see a few chairs gathered around a projector.\n\nHal is somehow already here, waiting for you.\n\nYour briefing officer, known only to you by his codename \"Saint,\" stands behind the lectern.\n\nSaint pockets a PDA of some kind as you come in. \"Well handled. Of course, your teammate didn't wait for you, or it would have been nicer still.\"\n\n[1] Defend teammate\n[2] Dismiss praise as inappropriate\n\n> 1\n\"Presumably, in a real mission, we'd actually be able to communicate.\"\n\nSaint shrugs. \"Well, yes. In any event, there's something we need you to look into.\" He gestures to the chairs by the lectern. \"Have a seat.\"\n\n> You take the seat\nYou sit down.\n\nSaint nods at you. \"All right, let's begin.\"\n\nHal interrupts. \"Shouldn't we wait for Benj to show up?\"\n\n\"That would rather defeat the point -- one of the reasons you're here is that we've lost contact with him, and think a rival group has captured him. He'd been investigating the students that were nominally part of a SubGenius cult. You may have noticed them on campus lately.\" Yes, they're rather hard to miss, even from a distance. \"We think they're the pawns or subjects of one of our rivals, but we don't know which ones. We're also not clear on what they're actually doing. Your task is twofold: first, you need to rescue him, and second, find out what they're up to and who they're working for.\"\n\nHe turns to Hal. \"Any questions from you?\"\n\nHal nods. \"Where exactly are we going and how are we getting there?\"\n\n\"We're working on figuring out exactly where he is, collecting the data that we can get from his pager. We should have that ready in about fifteen or twenty minutes. Anything else?\"\n\n\"Just why you're only asking me specifically for questions.\"\n\n\"Because, unlike Janet, you're going to be spending those fifteen minutes elsewhere.\" He turns to look at you. \"You may have noticed that Hal had no difficulty walking through the trapped hallways. This wasn't because you switched the machinery off, either; he was already out here by the time you turned it off. This could indicate one of a number of things, and so we intend to narrow down just what that is.\" He gestures. \"Hal, if you would be so good as to follow these gentlemen?\" Hal heads off, flanked by three men in dark suits.\n\nSaint watches them go, then turns back to you. \"Any questions?\"\n\n> You ask Saint about Hal\n\"What exactly are you testing Hal for, here?\"\n\n\"He might have actual clairvoyance, or just a danger sense even more finely honed than yours. Or, it might be something in between. He'll be taking some standard Rhine tests, and a couple of variant ones.\"\n\n> You ask Saint about yourself\n\"We're all still just interns. Can you really trust us with something like this?\"\n\n\"It's a simple infiltrate-and-rescue against other college students. They may have unusual capabilities, but it's not like any of you are mundane either.\"\n\n> You ask Saint about Benj\n\"What's happening to Benj?\"\n\n\"It's hard to tell. His captors taking some symbology from the old gag religion, the Church of the SubGenius, but they're too well-organized and doctrinally uniform to be the real thing. So all we can really see is that they have some very effective indoctrination technique. We need to get him out fast.\"\n\n> You ask Saint about Church\n\"What can you tell us about the opposition here?\"\n\n\"Not a lot. They're taking some symbology from the old gag religion, the Church of the SubGenius, but they're too well-organized and doctrinally uniform to be the real thing. So all we can really see is that they have some very effective indoctrination technique. It's extremely important, then, that we get Benjamin out as soon as possible. In fact, it may already be too late.\"\n\n> You ask Saint about the mission\nThat topic's been well-covered already.\n\n> You examine Saint\n\"Saint\" is clearly of East Asian extraction, and you'd guess him to be in his late 30s. His general build implies that he's something of a desk jockey now, but he'd still be more formidable in combat than Hal.\n\nAs you understand it, he takes the handle \"Saint\" to indicate that he's your liason to Higher Powers.\n\n> You ask Saint about the pager\n\"We're not going to be carrying our pagers on this mission, are we? It seems like a risk.\"\n\n\"No, you won't. Of course, Benj had his when he was captured, so it's a little late for that.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na pager\n\n> Kiss saint\nPointless.\n\n> Kiss saint\nPointless.\n\nHal returns to the briefing room and wordlessly hands a card of some kind to Saint.\n\nSaint glances at the card and pockets it. \"All right. We're ready to go. We've located Benjamin -- or, at least, his pager. He's in Skinner Hall, on the first floor. All you have to do is find your way in and get him out.\"\n\nHal smiles and pulls a keycard of some kind out of his pocket. \"Skinner Hall, you say? That works out rather nicely.\"\n\nThe game is afoot.\n\nWell, here you are. The Foundation tracked Benj to this building, and now you two are going to have to get him out of there. You don't know what kind of opposition there will be, but you've got your stealth and your superior fighting technique to see you through.\n\nSkinner Hall, the campus psychology building, towers over you to the north. You always did get the feeling that the architects wanted the students to feel like rats; tonight, that seems more appropriate than usual.\n\nHal mills about, trying and failing to look inconspicuous.\n\n> You ask Hal about the briefing\n\"What was that card you showed Saint at the briefing?\"\n\n\"It's our ticket into here.\" He pulls the card out of his pocket and and opens the door in one smooth motion.\n\n\"Not bad at all. How'd you hack the card?\"\n\n\"I didn't. A friend of mine forgot it on Sunday and I haven't seen her to return it yet.\"\n\n\"Fair enough. Let's go.\" You head in, and follow Hal's lead to a laboratory. The key works there, too.\n\nThis room is dimly lit, and it's hard to see much. There seem to be a number of powered-down computer workstations, and a couple of printers or xerox machines or something. Light is coming in from the room to the west. The door you came in is to the south.\n\nHal is quietly flipping through some documents by the printers.\n\n> You ask Hal about the card\n\"Where did you find that keycard?\"\n\n\"A friend of mine forgot it on Sunday and I haven't seen her to return it yet.\"\n\n> You ask Hal about the documents\n\"What are you looking at there?\"\n\n\"Just capturing now; reading later. Looks like status reports on indoctrination experiments, though.\"\n\n> You ask Hal about Benj\n\"Do you think Benj is OK?\"\n\n\"I won't know until I figure out what the SubGenii are up to.\"\n\n> You look west\nSomeone's working at a computer in the next room. They aren't watching the door, though, so it should be safe to sneak through.\n\n> You examine west\nYou see nothing unexpected in that direction.\n\nHal drops the papers he was looking at, making a noticable noise. Just then, the lights blink on, and a young Asian woman is standing in the doorway.\n\n\"What's going on here? HOLD STILL.\" You freeze up entirely at her voice -- it seems to be talking directly to your nervous system. This can't be good.\n\nHal, on the other hand, seems mostly unaffected, except with surprise. He picks up the papers he dropped, and then says, \"...Bian?\"\n\nThe woman -- Bian, it seems -- looks puzzled as well. \"...Hal?\"\n\n\"No time, gotta go, bye...\" ... you didn't actually know Hal could run that fast.\n\nBian's confusion doesn't last long. She turns back to you. \"Maybe you can help me out. Why don't we have a nice little chat. I'm sure we have a lot to talk about.\" She hands you a tape recorder. You take it, and nod cheerfully. She seems nice enough, after all...\n\n\n\n\n\nActive Agent: Hal\n\nHal's status: OK\nBenj's status: COMPROMISED\nJanet's status: COMPROMISED\nBian's status: RIVAL\n\nOh, man. This should have been a completely routine mission. Follow the other guys in, swipe some documents, then get out. That part was fine, and you made it out with a nice set of psychology research documents and internal memoranda from the \"League of de Molay.\"\n\nThat's the only good news, though. Not only does the League seem to have an actually functioning mind control system, complete with some kind of sonic will-sapping device, a key figure in the research is your old high school friend Bian Tran!\n\nThe documents are in Saint's safekeeping now. They'll be analyzing the bits that can't be made public and trying to decide whether to co-opt, bury, or expose the psychology program.\n\nThat bit's their problem. Your problem is now to figure out where you stand with your old friend.\n\nThis must be why superheroes keep their identities hidden behind ridiculous costumes.\n\nThe sofas are comfortable, and the tables can hold three large pizzas each. This room was really intended more for students to slack off in during off hours than for conducting conspiratorial after-action reports. But it will do. Anyone wandering past will just thing you two are talking politics or something.\n\nBian smiles weakly as you approach. \"Hi, Hal. Have a seat.\" You join her at the table.\n\n> You ask Bian about the de molay\n\"What can you tell me about this League of de Molay?\"\n\nBian lifts an eyebrow. \"I have no idea what you're talking about.\" \"Oh well.\"\n\n> You ask Bian about Janet\n\"What have you done to Benj and Janet?\"\n\n\"Oh, they're basically intact. Possibly a bit confused about their chain of command, though. And you won't have to worry about Janet lurking outside your door or anything.\"\n\n> Kiss bian\nThat wouldn't have any relevant effects in the current situation.\n\nBian looks at you evenly. \"I know you read the papers you took from my psych lab.\"\n\n[1] Confirm\n[2] Deny\n\n> 1\n\"Well, yes. I still can't believe the Psych department let you run experiments like that in public.\"\n\n\"It's legitimate research. All the subjects signed consent forms and waivers. Even your Benj and Janet.\"\n\n\"Really.\"\n\n\"Absolutely.\"\n\n> You ask Bian about the cult\n\"OK, this is a stupid question, but I have to ask. Why the SubGenius?\"\n\n\"It makes indoctrination easy to track. The research group can easily ensure it's not duplicating effort.\"\n\n\"That sounds ominous. What exactly are you trying to spread here?\"\n\n\"That's the other reason. The doctrine we're using is basically harmless.\"\n\n> Bye\n(to Bian)\nYou can't think of anything to say on that topic.\n\n\"Both Benj and Janet were pretty cooperative when I interviewed them. Janet's still kind of under the belief that she works for the Foundation, but she has some unusual ideas about your chain of command now.\"\n\n\"Given how easy it is for you to find me, why bother with them at all?\"\n\nHer look softens for a moment. \"All told, I'd just as soon leave you out of it.\"\n\nYou frown inwardly -- she's hiding something from you.\n\n[1] Press for details\n[2] Let it pass\n\n> 1\nYou let that frown become external. \"That's not the whole story.\"\n\n\"No, it's not. And it touches on matters I either don't want to talk about, or that I can't figure out at all. If it becomes relevant, we'll talk about it. It's not now. Moving on...\"\n\n> You ask Bian about the research group\n\"What exactly are you guys doing in that lab, anyway?\"\n\nBian lifts an eyebrow. \"Didn't you even glance at the papers? We're doing systematic research into indoctrination techniques and how to resist them. We're using devotion to the Church of the SubGenius as a test case.\"\n\n[1] Practicality objection\n[2] Morality objection\n[3] No objection\n\n> 1\n\"And you can publish this stuff?\"\n\n\"Oh, sure. Lots of journals will take articles on the topic.\"\n\n> You ask Bian about the research group\nThat topic's been well-covered already.\n\n> You ask Bian about yourself\nNo need to ask; you know more about that topic than she does.\n\n> You ask Bian about the mind control sex\nThat topic's been well-covered already.\n\n> You ask Bian about the open access science journals\n\"What kind of journals publish results on practical mind control?\"\n\n\"Psych journals, of course. This kind of thing has been a major issue in social science for decades.\""
    },
    {
        "text": "[Themes: Collegiate]\n\n> Look around\nStudent Lounge (on the sofa)\nThe sofas are comfortable, and the tables can hold three large pizzas each. This room was really intended more for students to slack off in during off hours than for conducting conspiratorial after-action reports. But it will do. Anyone wandering past will just thing you two are talking politics or something.\n\nBian continues. \"You also managed to get away with a bunch of reports and records.\"\n\n> Yes\nThat was a rhetorical question.\n\n\"Most of that stuff is harmless, in that it's academic papers and results that were at some point intended for publication, but the other stuff...\"\n\n[1] Object to harmlessness of papers\n[2] Object to harmfulness of other stuff\n\n> 2\n\"Wait wait wait. You can't think they'd want to publish the existence of your side? The last thing any of our benefactors would want is for journalists to be poking around about just what kind of influence is behind the funding of college students these days.\"\n\n\"Why wouldn't they want to expose a rival?\"\n\n\"It would make them more plausible. We can't have that.\"\n\n\"Hmm. I hope you're right.\"\n\n> You get up\nYou're in the middle of a conversation.\n\nBian straightens up a little. \"Actually, at this point, I'm quite a bit more worried about you than me.\"\n\n\"Me? How so?\"\n\n\"Well, as near as I can tell, your cell got broken. Is the Foundation going to want to keep you on?\"\n\n[1] Yes, because you've got a contract\n[2] Yes, because you didn't fail\n\n> 1\n\"Sure. I've got a contract, and since it's got to be public, it doesn't have any clauses that hint at the nature of my employers. My grades are all still fine.\"\n\n\"That's a relief.\" She means it, too; it's written all over her face.\n\n> You kiss her\nThat wouldn't have any relevant effects in the current situation.\n\nBian says, \"I think we've pretty much covered the ground we need to. Good luck out there, Hal. Until next time.\"\n\n\n\n\n\nActive Agent: Janet\n\nHal's status: OK\nBenj's status: COMPROMISED\nJanet's status: COMPROMISED\nBian's status: RIVAL\n\nIt's been two months since you and your cell stumbled across Bian's psychology experiments. On the other hand, maybe it wasn't so coincidental after all; once you found them, your superiors reassigned you and Benj to help the project out, under Bian's direction.\n\nThat's been fairly easy work, actually; simple enough that you haven't had to check in at the Foundation in person since.\n\nThings might be heating up again soon, though. Bian asked for a secret escort back from some meeting tonight. Something must be up.\n\nYou're loitering outside the student union auditorium. While this normally wouldn't be the best way to be inconspicuous, there are enough people milling around that one more bored student enjoying the night air will fit in fine.\n\nYou stretch, looking over a woman in a blue coat to get a decent view of the doors. Bian should be coming out soon.\n\nAh, yes, there she is, right behind a woman in a blue blouse. You casually put away the book you were pretending to read, and stand up. That's when you notice that she's chatting with Hal. Well, well. This could be more interesting than you thought.\n\nAs they get into the crowd and start walking down the street, you place yourself about 10 feet behind them, ducking past a man in yellow shorts.\n\n\"I don't know,\" Hal says. You lose your quarry momentarily as they turn a corner. Once you catch up, you locate them a bit in front of a man in blue pants. \"I can't see why they thought it was a good idea to turn Guardian Application Trist?n into a full-length anime.\"\n\nYou lose your quarry momentarily as they turn a corner. Once you catch up, you locate them a bit in front of a woman in a beige skirt. Bian shrugs. \"If someone hired the studio to do it, there'd be no reason not to. Besides, I don't think it was that bad.\"\n\n> You examine the woman\nWhich do you mean, the woman in the blue blouse, the woman in the blue coat or the woman in the beige skirt?\n\n> Punch hal\nBian seems to be on good terms with him, so no. Some niggling detail is gnawing at you, also, but you can't quite put your finger on it.\n\nHal turns to Bian. \"So, are your friends around?\"\n\nIntent on your pursuit, you almost trip over a man with a grey hat. Mumbling an apology, you continue on. \"I think I've got things covered. Besides, you're here.\"\n\nYou slip past a woman in a yellow dress, struggling to keep an eye on Bian. Hal doesn't sound convinced. \"Don't give me that.\" He ducks around a woman in a black skirt and a man with a red backpack. \"I don't think I've got the shape for a bodyguard. Unless there's something else on your mind?\"\n\nYou are caught in a momentary crush, and a woman in a beige skirt elbows her way past you. Bian shrugs. \"I don't have anything specific to point at - just the general feeling I'm being watched all the time.\"\n\n> About yourself\nYou're in somewhat better shape, and a lot stronger, than you were a year or so ago before your initation, but you're still basically the same old Janet.\n\nHal doesn't seem convinced. \"Why is this odd?\"\n\nYou slip into the gutter briefly to get past a man in a grey coat. \"I already know who my masters have watching me. Your side will obviously just ask you, but there have been some very odd hints that I haven't quite been able to interpret.\"\n\nIntent on your pursuit, you almost trip over a woman with a beige hat. Mumbling an apology, you continue on. \"That reminds me. How have you been weathering the aftermath of that mess two months ago?\"\n\nThey stop for a moment, as a man with a blue backpack asks them something about a bus stop. Hal says, \"One block that way, sir.\" He thanks him and heads in that direction. \"Well, I don't have to worry about where my tuition is coming from next quarter.\"\n\n\"So you're still on with them.\"\n\n\"I can't confirm that.\"\n\nYou cross a street at this point, along with a woman in a beige skirt. \"I suppose that's as good an answer as I can hope f...LOOKOUTTHATTRUCK'SNOTGOINGTOSTOP!\"\n\nThe two of them, and a man in a black shirt, come to a sudden halt as a good-sized truck speeds through the intersection. Bian pulls out a cell phone. \"Right. That's one red-light runner that's getting reported.\" She pauses, suddenly noticing something. \"... How did you notice that, Hal? You were looking at me, not the road.\"\n\nHal shrugs. \"I probably cued on the engine sound or something.\"\n\n> You take the beige skirt\nYou don't have time.\n\nThe conversation gets a little harder to follow here, as you are stuck behind a man in a yellow coat with no polite way out. \"So um, Hal. Did Isaac corner you before you left tonight?\"\n\n\"Heh, yeah. 'You stick together all the time, you're always watching each other, snipe casually whenever we're around... did you really think we wouldn't notice you're a couple?'\"\n\nYou slip into the gutter briefly to get past a woman in a beige skirt. \"What did you tell him?\"\n\n\"I kind of dodged the question.\" A man with a grey hat with a cell phone almost -- but not completely -- drowns them out. \"I made a point to not attack the underlying premise, though.\"\n\nThey stop for a moment, as a man in blue pants asks them something about a bus stop. Hal says, \"One block that way, sir.\" He thanks him and heads in that direction. Bian nods. \"Great minds think alike. We should keep up the embarrassed silence bit. It serves our purposes, and it implies that they were right. We win both ways.\" You duck past a man with a grey backpack. \"We got really lucky that they hit on a theory that's consistent but false.\"\n\nHal slows down a little. \"Hm. One thing still bothers me, though...\"\n\n> You wait for a while\nTime passes.\n\n\"What's on your mind, Hal?\"\n\nYou breeze past a woman in a red shirt. \"Tell me you didn't do anything to Lawrence when denying it.\"\n\nYou duck past a woman in a beige skirt. \"OK. 'I didn't do anything to Lawrence.' Happy?\"\n\n\"No!\" That's the angriest you've heard him so far. \"I read the papers you guys had written. I know what you can do.\"\n\nYou gingerly step over a panhandling woman in a black skirt. \"You know full well I don't use it on neutral parties, and we both already agreed that he is one. LET THE MATTER DROP.\"\n\nYou suddenly find yourself contemplating whether you'd rather have pizza or ramen for dinner tonight, and shake your head to restore your focus. You notice a man in a beige coat and a woman in blue shorts, nearby, also apparently dazed by the force of Bian's command.\n\nHal, however, is unfazed. \"Wow. Intonation just so, posture, word choice... even your eyebrows are calculated to put your demands right into the hindbrain. Those psych studies you did are really impressive, though I suppose some of that was your benefactors. Too bad it doesn't work if you can see the wires.\"\n\n> You wake\nYou already have.\n\nHal and Bian walk in silence for a while. Bian then suddenly says, \"You're a P.S.I. sensitive, aren't you.\" Intent on your pursuit, you almost trip over a woman with a beige backpack. Mumbling an apology, you continue on. \"... and you just blanched. Don't even try to deny it.\"\n\nA woman in a grey dress tries to hand you a pamphlet of some sort. You reject her with a gesture, then continue. \"I'll have you know that my bosses checked, and they said I had no ESP capabilities of any kind.\"\n\nThey shift to single file for a bit, long enough to let a man in yellow pants pass. \"Not what I meant. If they checked you with Zener cards, they'd show you doing well when you can see the card backs, but only chance when you couldn't.\"\n\nHal remains silent. You weave past a woman in a beige skirt, trying to keep them in sight.\n\nBian breaks the silence. You are caught in a momentary crush, and a man in black shorts elbows his way past you. \"Pre-Sapient Interpretation. You're pulling more subtle info out of your vision and sound than usual. That's how you found the truck. That's how you can beat the Voice. And it's almost certainly why they sent you to keep an eye on me.\"\n\n> You wait for a while\nTime passes.\n\nAs they reach the next intersection, Hal and Bian are stopped by a man with a yellow backpack. \"Hi there!\"\n\nHal pauses. \"Um, yes?\"\n\nThe man with the yellow backpack presses a large pamphlet into Hal's hand. \"Before we continue, please take this book.\"\n\n\"... this book is full of nothing but As, Ts, Cs, and Gs. What is this, some kind of DNA sequence?\"\n\n\"Human Genome project. I'm open source!\"\n\n\"Um... thanks.\" They move hurriedly on. You can't help but notice that Hal kept the book, though. That could be ominous.\n\nYou ensure that this nut is involved giving his spiel to a woman in green pants and a woman in grey pants before slipping past. You don't want to lose Bian.\n\nOnce the man with the yellow backpack is out of earshot, Bian says, \"That may be the most profoundly idiotic campaign I've ever seen.\"\n\nA woman in a beige skirt catches your eye as you continue. Hal nods. \"I have to wonder who's funding this.\"\n\nA man in a yellow shirt catches your eye as you continue. Hal suddenly stops. \"We turn right at the next corner.\"\n\n\"What?\"\n\n\"Hurry. No time.\"\n\n\"... right.\" They both speed up. You make an effort to stay inconspicuous while following along, but it's getting harder at this speed.\n\n> You ask Hal about the genome\nYou can't think of anything to say on that topic.\n\nSomething's spooked Hal, and Bian seems to be playing along. As they shift through the crowd, you begin to walk faster, leaving a wave of annoyed people in a wake.\n\nYou're not the only one. Another wake follows behind a woman in a beige skirt, well ahead of you. She is clearly closing in on Bian and Hal, and it doesn't look like you're going to be able to reach the woman in the beige skirt before she reaches Bian.\n\nSo much for subtlety. \"Bian!\" you shout. \"Behind you! The woman in the beige skirt!\"\n\nSaid woman in a beige skirt pulls several small objects out of her pocket as you shout, and throws one at you and one at Bian and her companion. There isn't really enough room to dodge. You hear a \"pop\" noise near your feet and smoke begins to pour out. It's strong stuff, whatever it is; you begin to cough and hack, and your eyes water. The rest of the bystanders seem affected as well. You have trouble moving.\n\nThe next thing you remember clearly is your arm on fire with pain, as paramedics hand you a tube to breathe out of. You don't seem to have been moved, but Bian is nowhere to be seen.\n\n\n\n\n\nActive Agent: Benj\n\nHal's status: OK\nBenj's status: COMPROMISED\nJanet's status: NEUTRALIZED\nBian's status: CAPTURED\n\nWhat a month.\n\nFirst Psych department zombies kidnap you, and then it turns out this is some kind of project led by Bian, and you and Janet are working under her now. Not that this is a bad thing, mind; these days you're mostly doing memory tests and the like, though you have had a bit more trouble thinking straight lately. Bian's probably one of the best people you've worked for or with, though.\n\nShe's also been kind of edgy this past week, and she didn't show up to your regular meeting today.\n\nYou were starting to get a little curious about where she was when the lab phone rang. When you picked it up, you heard a voice you didn't recognize.\n\n\"Bian's in trouble. Report to room 203 of Knuth Hall at 6 PM tonight. Wait for the Saints.\"\n\nWell, that's one way to motivate you to show up.\n\n203 Knuth (in a front row seat)\nThere does seem to be a certain similarity to these briefings after a time. You suppose it was too much to hope for that secret societies would get to have fancy multimedia projectors for their field presentations. Of course, had they done that, they wouldn't really be staying secret for long.\nI beg your pardon?\n\n> Wait\nTime passes.\n\nAs you try to get comfortable in your seat, you hear the doors open again. It's your old boss, as well as your old teammate Hal. He didn't transfer with the rest of you. Your old boss gives you an unreadable look, and stays back by the door, checking his watch.\n\nHal takes a seat a few away from yours as the doors open again, revealing two more people; Janet, and a man you don't recognize. You'd guess him to be the man who placed the phone call.\n\nYour old boss takes a seat a row behind you as the other man takes the stage and begins to speak.\n\n\"Taking a back seat, Ling?\"\n\nHe sounds annoyed. \"You've already pulled most of my cell here on your own, Chatarras. Mr. Moore and I seem to just be along for the ride.\"\n\nThe man at the podium -- Agent Chatarras, apparently -- smirks. \"I'm sure that would be news to them. As my esteemed counterpart, Agent Ling of the Foundation, noted, this is indeed primarily a situation for the League of de Molay, but the rest of you are going to be in the blast radius if this goes south.\"\n\n\"In short, we have become a victim of our own success. The studies surrounding our uncontrolled grailkin have borne greater fruit than we could have ever expected, and as a result the project is undeniably compromised. The Priory of Sion, an old and mutual rival, has noticed this and already taken action. We need to stop them before their reports can filter up to their superiors. Fortunately, their locals are reasonably well concentrated, and our research has already been able to develop an effective countermeasure. However, they've captured Bian, and we need her to use it. You will need to find her and give her the materials she needs to cover her tracks.\"\n\nHe looks across the gathered agents. \"Any questions?\"\n\n[1] Total bafflement\n[2] Vague comprehension\n\n> About yourself\n[I need some kind of reaction from you to continue the scene. Enter a number, or say REPEAT to reacquaint yourself with your options.]\n\n> 1\n\"Er, yes. Could we have that from the top, in English?\"\n\nChatarras looks at you. \"Bian Tran, the woman you've been working for, is actually one of our agents.\" Wait, what? Chatarras continues as if this is of no importance whatsoever. \"She's also got a very rare psychological ability that, until we found her, was the exclusive province of the Priory of Sion, an old rival of both the League and the Foundation. They've managed to capture her, and we need to get her out and use her talent to wipe out the evidence they've collected. I've left a fair amount of context out here, but I'll happily clarify anything you want details on. Ask about anything you'd like.\"\n\n> You say dun dun dun\nWhom do you want to say that to?\n\n> You ask Chatarras about Bian\n\"So, is Bian the only trainee you have here?\"\n\n\"We've been trying to keep her under wraps, so the idea was to keep her in a mundane environment.\"\n\n> You ask Chatarras about yourself\n\"I'm not really a badass secret agent. Why trust Bian's safety to me?\"\n\n\"We hear you're good at infiltration; both defeating security and not being noticed.\"\n\n\"The SubGenii seem to have noticed me.\"\n\n\"Actually, that's just that the Psychology Department doesn't like the CS Department.\"\n\n> You ask Chatarras about the grailkin\n\"What exactly are the 'grailkin' you mentioned?\"\n\nChatarras pauses. \"The short answer is that they're people with Bian's talent for command. Do you really want the long answer?\"\n\nHal answers before you can. \"Yes. I have a sinking suspicion about it, but I'd like to be proven wrong.\"\n\n\"The name itself comes from an old claim that the pre-Charlemagne kings of France were direct descendants of Jesus Christ...\"\n\nJanet interrupts. \"Wait, wait. I've seen this movie.\"\n\nHal sighs. \"Yeah, this is what I was afraid of.\"\n\nChatarras scowls. \"The relevant part here is that the bloodline carries a talent for command. Until Bian, every member of the bloodline has been associated solely with the Priory of Sion, either voluntarily or by force. When anti-nobility sentiment swept France during the Revolution, the Priory fled with the grailkin to the colonies in French Indochina. Bian's family escaped their notice and control during the Vietnam war and came to America as refugees. That's where we found them.\"\n\n> You ask Chatarras about Jesus\n\"Are the grailkin actually descendants of Jesus?\"\n\nHal glares at you. \"Oh, for Christ's sake, Benj.\"\n\nChatarras shrugs. \"We've never particularly cared. The talent is real now, after all.\"\n\nYou lift an eyebrow. \"What about that line of kings?\"\n\n\"The Priory's old enough that they could actually notice who had it then. It's pretty likely that at least some of them had the talent.\"\n\n> You ask Chatarras about Priory of Sion\n\"This is the first I've heard of the Priory being an actual organization. What are we up against?\"\n\n\"They're rather more... traditional than either of our groups. That makes them a bit more dangerous, but it also means they have trouble keeping information flowing properly. That's what's giving us our window to strike.\"\n\n> You ask Chatarras about Hal\n\"What's Hal going to be doing?\"\n\n\"He's been helping work out where Bian could be.\"\n\n> You ask Chatarras about Saint\n\"How do you know Saint?\"\n\n\"I am Saint.\"\n\n\"Er.\" You look at Saint.\n\nSaint shakes his head. \"The name 'Saint' is a job title. We're the students' liaison to Higher Powers. So we cross paths occasionally, typically when our charges get in one another's way. Except you four were better than most at hiding it.\"\n\n> You ask Chatarras about the higher Powers\n\"Can you tell me more about this talent of Bian's?\"\n\n\"It's hereditary. It's supposed to make one the perfect leader. The Priory of Sion has been trying for centuries to restore the bloodline with the Voice of Command to the throne that was taken from it. In our investigations--\"\n\nHe is cut off as Janet explodes. \"Our ancient rivals are trying to put a nineteen-year old Vietnamese-American girl onto the nonexistent throne of France?\"\n\nChatarras looks at her with quiet amusement. \"How much stranger is that than half the stuff you've been shutting down on this campus?\"\n\n\"Point. But still. You'd think they'd have been shut down ages ago.\"\n\n\"In any event, with the research we've been doing with Bian, it seems that this talent involves the ability to give short commands that will nearly always be obeyed. With more subtle applications, one can implant false memories or instill specific belief systems. We're still working out the applications, as well as how easily they can be mechanically duplicated or neutralized.\"\n\n> You ask Chatarras about Janet\n\"Is Janet part of this?\"\n\n\"Not with her broken arm. She's been helping Hal and me with the intelligence analysis.\"\n\n> You examine janet\nJanet's tied her red hair back today, which is unusual, but she still looks as sharp as ever even taking the cast on her right arm into account. You must admit, you've always sort of considered Janet to be invincible, and it's disconcerting at some level to see evidence that this isn't true. Nevertheless, you're glad she transferred with you to Bian's project, and it's nice to see her.\n\n> You ask Janet about the arm\nYou should probably keep your questions to the cell leaders.\n\n> Wait\n\"Let's get started.\"\n\nSaint interrupts. \"Actually, I'd like some more specific orders first.\"\n\nChatarras nods. \"You,  Benjamin and I will each search one Priory facility in the area. Hal, you've done your part already in helping find these places, so you're done. We'll contact you later. Everyone else, go to Skinner Hall to get your kits for Bian. If you find her, she will be able to make the memory scramblers. Place the scramblers in their Public Address systems; there should be a switchboard somewhere, and you'll probably want to doctor the receptionists' systems as well.\"\n\nHal stands up. \"Good luck.\"\n\nThis is it. You haven't gotten a much clearer idea about where Bian is other than \"this building, maybe\" but that will have to do. The rest of the recon -- and the rescue -- falls on you and your allies. This building looks pretty much like any other office building -- a fact of some credit to the Priory, given how most of your foes have been lately. The main entrance is to the north; an alleyway sneaks around the building to the northwest.\n\n[The gloves are off now. This would be a good time to save the game.]\n\n> Blah\nOk.\n\n> Go northwest\nIt's not that filthy, as alleys go; there are some newspapers scattered about, stirred by breezes from the exit to the southeast, but that's about it.\n\nThe stairs of a fire escape weave their way up the side of the building.\n\n> You examine the newspapers\nScattered pages of old newspapers rustle gently in the breeze.\n\n> Up\nThis is the top of the fire escape, one story up. A door to the east leads into the building itself.\n\n> You examine the door\nJust a heavy white door, designed to keep fire on one side of it but let people through.\n\n> You check your inventory\nYou are carrying:\na scrambler kit\nsome lockpicks\n\n> You look at the lockpicks\nYour lockpicks are small, thin, flexible strips of metal. You've had a fair amount of practice with them, courtesy the Weishaupt Foundation, and you can defeat most mechanical locks as long as you have them.\n\n> You unlock door\nWhat do you want to unlock the door with?\n\n> Kiss door\nYou can only do that to something animate.\n\n> You look at the escape\nWhich do you mean, the fire escape staircase or the door?\n\n> You look at the staircase\nSturdy steel stairs and railings. It could easily let you evacuate a hundred people quickly and safely.\n\n> You enter\n(first opening the door)\nThere's no handle on this side.\n\n> You examine the scrambler\nThis is a small sealed packet that you are to give to Bian if you find her. It will let her build the memory scramblers that are your true mission."
    },
    {
        "text": "> You look around\nThis is the top of the fire escape, one story up. A door to the east leads into the building itself."
    },
    {
        "text": "> Go downward\nIt's not that filthy, as alleys go; there are some newspapers scattered about, stirred by breezes from the exit to the southeast, but that's about it.\n\nThe stairs of a fire escape weave their way up the side of the building.\n\n> You go southeast\nThis building looks pretty much like any other office building -- a fact of some credit to the Priory, given how most of your foes have been lately. The main entrance is to the north; an alleyway sneaks around the building to the northwest.\n\n> Go north\n(first opening the front door)\nIt seems to be locked.\n\n> You unlock the door with the lockpicks\nYou fiddle with your lockpicks and manage to defeat the lock on the front door.\n\n> Go north\n(first opening the front door)\nEntrance\nFrom the front, this looks like it could be the office of any medium-sized company. The receptionist's desk forms a north \"wall\" of sorts here, making the main entrance less of a foyer and more of a hallway that turns sharply to the east.\n\n> You examine the desk\nThis is an undistinguished but perfectly servicable reception desk, made of the finest imitation lumber. The phones Past it, to the north, is the place the receptionist sits. You could probably climb over it to get past it.\n\n> You climb the desk\nYou clamber over the receptionist's desk to enter the employee area.\n\nA flimsy partition makes it a little harder to see the back office to the north. A desk forms a wall of sorts to the south, but the main entrance is still quite visible past it. The building's staircase lies to the west.\n\n> Go west\nA small spiral staircase leads up from here to the upper story. The main offices lie to the east.\n\n> You ascend\nThis narrow hall gives you decent cover from anyone else on the floor. It opens into a cubicle farm to the east and leads down to the main offices. Past the cubicle farm, a good distance to the east, you can make out a corridor that turns north.\n\nYou hear footsteps from the far corridor.\n\n> You listen\nYou hear nothing unexpected.\n\nYou hear footsteps from the far corridor.\n\n> You go east\nYou duck into a cubicle to hide from the patrol.\n\nThis looks disappointingly like an ordinary corporate workspace. Cubicles line the walls, and a well-defined hallway made out of cubicle walls leads north and east. An actual hallway leads to the west a short distance, leading to a stairway.\n\nYou hear footsteps from the far corridor.\n\n> Go north\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. A proper wall is to your west, but you can move north, east, or south freely.\n\nYou hear footsteps from the far corridor.\n\n> Go north\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. You're in the northwest corner now, and so can move east or south. The fire exit is to the west.\n\nYou can hear the guard walking in the northeast of the cubicle farm. You shrink further into a cubicle to hide.\n\n> Sing\nThis isn't a karaoke bar.\n\nThe guard arrives from the east.\n\nThe guard walks by you, oblivious.\n\n> You examine guard\nHe is an unsmiling, large man in a grey suit.\n\nThe guard goes south.\n\nYou can hear the guard walking in the west of the cubicle farm. You shrink further into a cubicle to hide.\n\n> You go east\nYou leave the cover of the cube, but the cubicle farm doesn't give you enough cover to move undetected. The guard sees you from the west of the cubicle farm.\n\nYou hear a shout from the west of the cubicle farm, and turn to see the guard pulling something out of his vest. You try to dive out of the way, but too late; you feel a sting in your shoulder and start feeling very sleepy.\n\nAs you fight to keep your eyes open, you hope that's just a sleeping drug...\n\n> Wait\nTime passes.\n\nYou can hear the guard walking in the west of the cubicle farm. You shrink further into a cubicle to hide.\n\n> Wait\nTime passes.\n\nYou can hear the guard walking in the southwest of the cubicle farm. You shrink further into a cubicle to hide.\n\n> You wait a while\nTime passes.\n\nYou can hear the guard walking in the southeast of the cubicle farm. You shrink further into a cubicle to hide.\n\n> Go east\nYou leave the cover of the cube, but the cubicle farm doesn't give you enough cover to move undetected. The guard sees you from the southeast of the cubicle farm.\n\nYou hear a shout from the southeast of the cubicle farm, and turn to see the guard pulling something out of his vest. You try to dive out of the way, but too late; you feel a sting in your shoulder and start feeling very sleepy.\n\nAs you fight to keep your eyes open, you hope that's just a sleeping drug...\n\n> You wait\nTime passes.\n\nYou can hear the guard walking out of the cubicle farm towards the eastern corridor.\n\n> You go east\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. You're in the northeast corner now; the room continues to the west and south, and a corridor leads off to the east.\n\nYou can hear the guard walking in the south corner of the corridor.\n\n> Go south\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. A proper wall is to your east, but you can move north, west, or south freely.\n\nYou can hear the guard walking in the middle of the corridor.\n\n> Go east\nYou duck out from your hiding space.\n\nThis short hall connects the cubicle farm to the west to the hallway to the east.\n\nYou can hear the guard walking in the middle of the corridor.\n\n> Go east\nYou're walking down a narrow corridor that leads west to the main cubicle farm and south to various supporting rooms.\n\nYou can hear the guard walking in the middle of the corridor.\n\n> You go south\nYou're walking down a north-south corridor with a door marked \"maintenance\" to the west.\n\nA guard patrols the upper floor, and is nearby.\n\nThe guard goes north.\n\nThere's nowhere to hide in this corridor. The guard sees you easily.\n\nYou hear a shout from the north corner of the corridor, and turn to see the guard pulling something out of his vest. You try to dive out of the way, but too late; you feel a sting in your shoulder and start feeling very sleepy.\n\nAs you fight to keep your eyes open, you hope that's just a sleeping drug...\n\n> Go west\nThis short hall connects the cubicle farm to the west to the hallway to the east.\n\nThere's nowhere to hide in this corridor. The guard sees you easily.\n\nYou hear a shout from the north corner of the corridor, and turn to see the guard pulling something out of his vest. You try to dive out of the way, but too late; you feel a sting in your shoulder and start feeling very sleepy.\n\nAs you fight to keep your eyes open, you hope that's just a sleeping drug..."
    },
    {
        "text": "[Themes: Collegiate]\n\n> Look around\nThis short hall connects the cubicle farm to the west to the hallway to the east.\n\nYou can hear the guard walking in the middle of the corridor.\n\n> You go west\nYou duck into a cubicle to hide from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. You're in the northeast corner now; the room continues to the west and south, and a corridor leads off to the east.\n\nYou can hear the guard walking in the north corner of the corridor.\n\n> You wait for a while\nTime passes.\n\nYou can hear the guard walking out of the eastern corridor towards the cubicle farm.\n\n> Wait\nTime passes.\n\nThe guard arrives from the east.\n\nThe guard walks by you, oblivious.\n\n> You wait\nTime passes.\n\nThe guard goes west.\n\nYou can hear the guard walking in the northwest of the cubicle farm. You shrink further into a cubicle to hide.\n\n> Wait\nTime passes.\n\nYou can hear the guard walking in the west of the cubicle farm. You shrink further into a cubicle to hide.\n\n> You go south\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. A proper wall is to your east, but you can move north, west, or south freely.\n\nYou can hear the guard walking in the south corner of the corridor.\n\n> Wait\nTime passes.\n\nYou can hear the guard walking in the middle of the corridor.\n\n> Go east\nYou can't go that way.\n\nYou can hear the guard walking in the north corner of the corridor.\n\n> Go south\nYou duck out from your hiding space and into another cubicle to stay hidden from the patrol.\n\nThe cubicle farm continues through this area. describing a squarish path around this room. You're in the southeast corner now; the room continues to the west and north, and a corridor leads off to the east.\n\nYou can hear the guard walking out of the eastern corridor towards the cubicle farm.\n\n> You go east\nYou duck out from your hiding space.\n\nThis short hall connects the cubicle farm to the west to the hallway to the east.\n\nYou can hear the guard walking in the northeast of the cubicle farm.\n\n> Go east\nYou're walking down a narrow corridor that leads west to the main cubicle farm and north to various supporting rooms.\n\nYou hear footsteps from the cubicle farm.\n\n> You go north\nYou're walking down a north-south corridor with a unisex restroom door to the west.\n\nYou hear footsteps from the cubicle farm.\n\n> Go west\nThis is a small unisex restroom, and looks much as you would expect; commode, sink, various stern warnings about hygiene.\n\nYou hear footsteps from the cubicle farm.\n\n> Flush toilet\nYou don't want to make unnecessary noise here.\n\nYou hear footsteps from the cubicle farm.\n\n> You sit\nNo need.\n\nYou hear footsteps from the cubicle farm.\n\n> You wait\nTime passes.\n\nYou can hear the guard walking out of the cubicle farm towards the eastern corridor.\n\n> You take the crap\nYou don't need to, and even if you did, now is not the time or place.\n\nYou can hear the guard walking in the south corner of the corridor.\n\n> Wait\nTime passes.\n\nYou can hear the guard walking in the north corner of the corridor.\n\n> You wait for a while\nTime passes.\n\nYou can hear the guard walking out of the eastern corridor towards the cubicle farm.\n\n> You go east\nYou're walking down a north-south corridor with a unisex restroom door to the west.\n\nYou hear footsteps from the cubicle farm.\n\n> You go north\nYou're walking down a north-south corridor with a door marked \"maintenance\" to the west.\n\nYou hear footsteps from the cubicle farm.\n\n> Go west\n(first opening the door)\nIt seems to be locked.\n\nYou hear footsteps from the cubicle farm.\n\n> You pick lock\nYou fiddle with your lockpicks and manage to defeat the lock on the door.\n\nYou hear footsteps from the cubicle farm.\n\n> You go west\n(first opening the door)\nElectrical Maintenance\nThis is about the size of a supply closet, but the walls are full of switchboards and powerboxes, not cleaning supplies. The public address system is almost certainly routed through here.\n\nYou hear footsteps from the cubicle farm.\n\nBian watches you walk in. \"Heh. I figured they'd send somebody. I didn't expect it to be you.\"\n\nYou take a small bow. \"At your service.\"\n\n\"Cut that out. You'll make them think this 'grailkin' thing is real.\"\n\nYou hand Bian the package Chatarras gave you. \"We've got some work to do before we go. Here.\"\n\nBian takes the package from you, opens it, and flips through a paper. She then smiles grimly. \"OK. You can't be around when I do this. Step outside for a moment, please.\"\n\n> Go east\nAs you head out, Bian suddenly says \"WAIT.\"\n\nTime passes.\n\nYou turn to look at Bian, and she has an odd look on her face. \"I have a better idea. You wait in here for a few minutes. I'll be right back.\" She slips out.\n\n> You look at the switchboard\nYou can really only vaguely guess what this stuff does, though you can at least distinguish stuff that talks to phones from stuff that talks to high voltage. You went into Computer Science so that you wouldn't have to deal with messy physical objects like these."
    },
    {
        "text": "> Look around\nThis is about the size of a supply closet, but the walls are full of switchboards and powerboxes, not cleaning supplies. The public address system is almost certainly routed through here.\n\nBian opens the door again. \"All right. That guard won't be bothering us again. I need to clear out, but you've got one thing left to do.\"\n\nShe hands you two small devices that look like phone filters. \"These are meme bombs that will, if we can hook them into the public address system, get my voice to their whole cell and clear out all their knowledge of this. You need to place them for maximum effect. This electrical room has part of the PA system; you'll need to put one here and one at a place where the voices are likely to initiate. Check for secretaries, I guess.\"\n\nYou gingerly accept the meme bombs. \"OK. I take it you'll be taking off to build more of these for the others?\"\n\n\"You bet. Good luck.\" She ducks out.\n\n> You check what you're carrying\nYou are carrying:\ntwo meme bombs\nsome lockpicks\n\n> You examine the bomb\nThis innocuous looking device looks like a telephone line filter. However, if Bian's done her work right, they should wipe all knowledge of her from the people here. You'll need to place one on each end of the public address system in this office.\n\nThe meme bomb is currently switched off.\n\n> You put the bomb on the switchboard\nYou find the box that handles the public address system in the building and connect the meme bomb to it.\n\n> You turn on the bomb\n(the meme bomb)\nYou switch the meme bomb on.\n\n> You examine meme bomb\nThis innocuous looking device looks like a telephone line filter. However, if Bian's done her work right, they should wipe all knowledge of her from the people here. You'll need to place one on each end of the public address system in this office.\n\nThe meme bomb is currently switched on.\n\n> Go west\nThis short hall connects the cubicle farm to the west to the hallway to the east.\n\n> You go west\nThe cubicle farm continues through this area. describing a squarish path around this room. You're in the southeast corner now; the room continues to the west and north, and a corridor leads off to the east.\n\n> You go north\nThe cubicle farm continues through this area. describing a squarish path around this room. A proper wall is to your east, but you can move north, west, or south freely.\n\n> You go to the west\nThe cubicle farm continues through this area. describing a squarish path around this room. A proper wall is to your west, but you can move north, east, or south freely.\n\n> You go south\nThis looks disappointingly like an ordinary corporate workspace. Cubicles line the walls, and a well-defined hallway made out of cubicle walls leads north and east. An actual hallway leads to the west a short distance, leading to a stairway.\n\n> Go west\nThis narrow hall gives you decent cover from anyone else on the floor. It opens into a cubicle farm to the east and leads down to the main offices. Past the cubicle farm, a good distance to the east, you can make out a corridor that turns north."
    },
    {
        "text": "[Themes: Collegiate, college, espionage, conspiracy]\n\n> You go downward\nA small spiral staircase leads up from here to the upper story. The main offices lie to the east.\n\n> Go east\nA flimsy partition makes it a little harder to see the back office to the north. A desk forms a wall of sorts to the south, but the main entrance is still quite visible past it. The building's staircase lies to the west.\n\n> You examine the desk\nThis is an undistinguished but perfectly servicable reception desk, made of the finest imitation lumber. The phones Past it, to the south, is the main entrance to the building. You could probably climb over it to get past it.\n\n> You put the bomb on the phones\nYou connect the meme bomb to the main phone line at the front desk.\n\nThat should do it. You clear out of the building and take a few busses to nowhere to confuse the trail.\n\nOn the third bus, you get a phone call from Bian's cell.\n\n\"Hello, Bian. Everything's done.\"\n\n\"Great.\" Yes, that's Bian all right. \"How's your reception?\"\n\n\"Pretty good. Why?\"\n\n\"OK. I'm a woman of my word, so listen carefully.\" You can't really make out what she says next. \"You should probably go report in the usual location now. Thanks a lot for your part in all this.\" She then hangs up.\n\nYou're practically through the doors at the Weishaupt Foundation office before you realize that you've been heading here instead of Skinner Hall. Janet and Saint are waiting for you.\n\nSaint nods as you walk in. \"Bian's trail is covered. The League claims to be staying out of our way here for the foreseeable future, and the Priory operations here will be severely disrupted by the memory scramblers. So things seem to be mostly settled down for awhile.\"\n\n\"You sound awful sanguine.\"\n\n\"We aren't complete idiots. We've been studying the papers produced by Bian's colleagues, and we'd like to have our psychologists take a look at you to make sure you aren't a Manchurian candidate. If you would walk this way, please?\" He gestures at a pair of unsmiling men in suits and mirrorshades near a back door.\n\n\"Uh, sure.\" But even as you're heading to the test, you know you'll be OK. You've been thinking more clearly in the past half-hour than you have been in the past month. You'll be ready for anything, once they trust you enough to take it on.\n\n> Endnotes\nCongratulations!\nThings to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\nWell done! You've completed a playthrough. The route through the plot you took was:\n\nThe team raided a secret society of alchemists operating out of the basement of the Chemistry building.\nHal located and retrieved Bian's keycard.\nBenj was captured by the SubGenii.\nJanet found and deactivated the control systems for the trapped briefing room.\nJanet was captured attempting to retreive Benj.\nHal and Bian came to a detente regarding their situation.\nJanet failed to defend Bian from capture.\nThe team was sent to rescue Bian.\nBenj helped Bian escape from her captors and stabilized the local\npower structure.\n\nYour effectiveness rating is 20%.\nYour subtlety rating is 30%.\nYour canonicality rating is 40%.\n\n> Congratulations!\nThings to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\n> Congratulations!\nThings to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\n> Go north\nCongratulations!\n> Things to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\nCongratulations!\n> Things to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\nThe path you took through the game is only one of many possible. On a replay, you might want to try achieving some of these alternate outcomes:\n\nBenj has several opportunities to escape the SubGenii. The easiest involves finding a non-obvious exit that the SubGenii have neglected to guard.\n\nIf Benj evades the SubGenii, you can exploit his misfortune to find a unique way through the trapped hallway at the Foundation.\n\nJanet's capture significantly affects the rest of the game. You should try putting yourself in a position where Bian can't find you, then ensure she can't catch you later.\n\nBian got captured in Chapter 5; you could try to prevent this.\n\nCongratulations!\n> Things to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\nCongratulations!\n> Things to try\nSilly things to try\nHistory of the game\nList of influences\nReturn\n\n> You go north\nCongratulations!\nThings to try\n> Silly things to try\nHistory of the game\nList of influences\nReturn\n\nCongratulations!\nThings to try\n> Silly things to try\nHistory of the game\nList of influences\nReturn\nThese are more Easter Eggs or silly responses than serious, plot-affecting suggestions. Have you tried...\n\n... reading the Alchemists' worthless papers?\n... raiding Isaac's fridge?\n... XYZZY?\n... As each character?\n... Ordering Benj to sing, dance, or pray when he's suggestible?\n... Attacking or kissing Benj when he's suggestible?\n... Actually referring to Janet's \"l33t n1nj4 sk1llz\" as such during the Skinner Raid?\n... Taking inventory afterwards?\n\nCongratulations!\nThings to try\n> Silly things to try\nHistory of the game\nList of influences\nReturn\n\nCongratulations!\nThings to try\n> Silly things to try\nHistory of the game\nList of influences\nReturn\n\n> Blah\nOk.\n\n> XYZZY\nThat trick only works in adventure games.\n\n> Raid fridge\nPlease answer yes or no.>\nHOME ]"
    },
    {
        "text": "[Themes: Fantasy, funny, humor, silly, king arthur]\n\nThe party planner tells me that your interpreter uses the Glk API. Does your interpreter normally have a status bar? (If this question confuses you, answer \"yes\")\n\nPlease answer YES or NO:\n\n[Author's Note: A story told at the crossroads of levity and destiny!]\n\n> No\nYou have long held the belief that New Year's parties are the gold standard against which all other parties in the forthcoming year are judged. So far, this one has been holding up quite well. You won at all of the drinking games- in this case, \"winning\" is holding one's liquor like a champ, since you can't get a ping pong ball in a plastic cup (or any other drinking game feat, really) to save your life. Now seems like as good a time as any to get yourself some grub, though, so you don't hit a wall.\n\nJust yesterday, you were just some guy named \"Arthur,\" content to live a life of obscurity. Tonight, though, you're...\n\nParty Arty, Man of La Munchies\nWritten for The Penultimate New Year's Speed IF Entry (Footnote 1)\n\nHugo v3.1 / Library 31031\nType ABOUT for more information.\n\nBy the Snack Table                              New Year's Eve, Nearly Midnight\nThe dining room has been converted into Snack Central. A buffet table is completely adorned with every kind of finger food imagineable.\n\nSticking upright out of the center of a plate of nachos is the most perfect nacho you have ever seen.\n\n> You take the nacho\nYou grab at the perfect nacho, but the nacho is lodged pretty well into the plate's coagulated cheese. Looks like it'll take to take a proper yank.\n\n> Yank nacho\nDriven by some inner force, you clasp your fingers around the nacho. The two seem made for one another. You pull. Nothing happens. You strain harder. The nacho gives a little, and then....\n\nThe lights darken momentarily, as if afflicted by a power surge. When your vision clears, you are somewhere else completely.\n\nA path leads up to this cave. A multitude of stars shine down.\n\nA wizened figure with an unkempt beard is here. You take him to be Merlin, the legendary wizard.\n\nA rock is here.\n\nMerlin addresses you:\n\"Arthur, you have proven yourself a worthy champion in the face of adversity. I must ask you to retrieve an item of great importance from a room upstairs in this house. I cannot assist except to lend you three powers that you will have to use to your advantage.\n\n[1] \"Whoa, did you send me back in time?\"\n[2] \"An object of great importance?\"\n[3] \"Three powers, you say?\"\n[4] \"I thought you aged in reverse!\"\n\n> 1\n\"Whoa, did you send me back in time?\"\n\nMerlin says, \"I did! Pretty cool, huh? Don't worry; you'll be sent\nback soon enough.\"\n\nYou consider your other options.\n\n[1] \"An object of great importance?\"\n[2] \"Three powers, you say?\"\n[3] \"I thought you aged in reverse!\"\n\n> 2\n\"Three powers, you say?\"\n\n\"Unfortunately, magic isn't what it once was. In the good old days,\nI'd give you the power to turn into all sorts of animals. A turtle, even! Can you imagine that? A turtle! I no longer have that kind of power to share, but I can augment you in other ways. Just use the magic command 'DUR' followed by the trait you wish:\n\nDUR BRAWN - gain great strength\nDUR TINY - become smaller in stature\nDUR NORMAL - go back to normal traits\n\nIf you forget which powers are available to you, try the 'POWERS' command!\"\n\n\"'Dur,' huh? I can remember that,\" you say.\n\nYou consider your other options.\n\n[1] \"An object of great importance?\"\n[2] \"I thought you aged in reverse!\"\n\n> 2\n\"I thought you aged in reverse!\"\n\nMerlin answers, \"Geez, it's not like this game is canon!\"\n\nYou consider your other options.\n\n[1] \"An object of great importance?\"\n\n> 1\n\"An object of great importance?\"\n\nMerlin says, \"Sinister forces prevent me from telling you what the object is, but you will know it when you see it.\"\n\nMerlin continues. \"When you have retrieved the item, go to where the snack table rests. There, you will find the item's rightful place!\"\n\nThe room goes dark once more. When your vision clears, Merlin is gone and you are back at the party!\n\nBy the Snack Table                              New Year's Eve, Nearly Midnight\nThe dining room has been converted into Snack Central. A buffet table is completely adorned with every kind of finger food imagineable.\n\nTo the north is the living room, which has been converted into a makeshift dance floor. You know from past experience that the stairs to the second floor is on the other side.\n\n> You examine Table\nThe snack table looks just like you would expect.\n\nSitting on the snack table is a plate of nachos.\n\n> About yourself\nLooking good.\n\n> You check what you're carrying\nYou are carrying a perfect nacho.\n\n> You eat the nacho\nCrunch. Man, that was good.\n\n> Go north\nLiving Room                                     New Year's Eve, Nearly Midnight\nThe room is packed with moving bodies. It's kind of like the dance scene in Matrix Reloaded except without the weighty sense of disappointment. South leads to the dining room, and north heads to a staircase.\n\nA ton of people are dancing, dancing, dancing.\n\n> Dance\nYou cut the rug for a little while.\n\n> You look at the people\nWow, these cats have some moves.\n\n> You talk to the people\nThe party goers are listening.\n\n> Dur wit\nYou feel your conversational skills becoming all brilliant-like.\n\n> Go north\nIt is impossible to make any headway, what with all of the dancers in your way.\n\n> Dur brawn\nYou feel your conversational skills going to hell again. You feel the strength of a thousand men surging through you.\n\n> Go north\nWith your extra strength, you could seriously hurt someone.\n\n> Dur tiny\nYou feel your strength diminishing to mortal levels. You feel yourself becoming smaller, until everything around you looks much larger.\n\n> You go north\nBeing so small, it is easy for you to evade the moving bodies, at the price of seeing a lot of feet and butts. You make it to the other side.\n\nBottom of Stairs                                New Year's Eve, Nearly Midnight\nGoing up will take you to the second floor while heading south leads back to the living room.\n\nTravel up the stairs is blocked by a cordon.\n\n> You examine the cordon\nThis is one of those barriers you see at parties where a ribbon cordons off a stairwell or room that the hosts don't want people entering. This one is held up feebly by tape on its sides. A handwritten sign attached to it kindly asks that guests remain downstairs.\n\n> Dur brawn\nYou feel your height growing to its normal size. You feel the strength of a thousand men surging through you.\n\n> Up\nWith strength ripping through you, you tear through the tape and its implied restrictions. A beast such as yourself cannot be contained. You continue on your way!\n\nMidway Up the Stairs                            New Year's Eve, Nearly Midnight\nThis is just a place, halfway up the stairs. You know.\n\n> Up\nUpstairs Hallway                                New Year's Eve, Nearly Midnight\nDoors head off in several directions. A staircase leads down.\n\nSome guy is standing around up here, guarding the good house\nbathroom.\n\nHe notices you. He says, \"Hey guy. You know, you really shouldn't be up here.\"\n\n[1] \"Um...\"\n[2] \"Er...\"\n[3] \"Duh...\"\n[4] \"...Huh\"\n\n> 1\n\"Um...\"\n\nUnable to elequently articulate anything, you turn around and head back to the stairs.\n\nMidway Up the Stairs                            New Year's Eve, Nearly Midnight\nThis is just a place, halfway up the stairs. You know.\n\n> Dur wit\nYou feel your strength diminishing to mortal levels. You feel your conversational skills becoming all brilliant-like.\n\n> You go up\nUpstairs Hallway                                New Year's Eve, Nearly Midnight\nDoors head off in several directions. A staircase leads down.\n\nSome guy is standing around up here, guarding the good house\nbathroom.\n\nThe dude notices you again. He says, \"C'mon, buddy. You shouldn't be here.\"\n\n[1] \"How appropriate. You talk like a cow. \"\n[2] \"Even BEFORE I smell your breath?\"\n[3] \"So you got that job as janitor, after all.\"\n[4] \"There are no words for how disgusting you are.\"\n\n> 3\n\"So you got that job as janitor, after all.\"\n\nDumbfounded by your brilliance, the guy looks at you for a moment before departing down the stairs. Presumably, he left to get reinforcements, but you probably have managed to buy yourself some time.\n\nUpstairs Hallway                                New Year's Eve, Nearly Midnight\nDoors head off in several directions. A staircase leads down.\n\nMoreso than any other door in this hallway, your attention is drawn\nto an exit to the east which leads to some kind of study.\n\n> You go east\nStudy                                           New Year's Eve, Nearly Midnight\nThis is a fancy study. Leather chair, oak desk, ornate globe- you\nname it.\n\nDespite the study's classy appearance, a model car sits in a place of honor on a display shelf. Seriously, you just can't make collecting classy.\n\n> You look at the car\nThis is a model of the Excalibur automobile, a roadster built in Milwaukee, Wisconsin, that was styled after the 1928 Mercedes-Benz SSK. You don't see many of these around.\n\n> Dur tiny\nYou feel your conversational skills going to hell again. You feel yourself becoming smaller, until everything around you looks much larger.\n\n> Dur brawn\nYou feel your height growing to its normal size. You feel the strength of a thousand men surging through you.\n\n> Dur tiny\nYou feel your strength diminishing to mortal levels. You feel yourself becoming smaller, until everything around you looks much larger."
    },
    {
        "text": "[Themes: Fantasy, silly]\n\n> Describe the surroundings\nStudy                                           New Year's Eve, Nearly Midnight\nThis is a fancy study. Leather chair, oak desk, ornate globe- you\nname it.\n\nDespite the study's classy appearance, a model car sits in a place of honor on a display shelf. Seriously, you just can't make collecting classy.\n\nDespite the study's classy appearance, a model car sits in a place of honor on a display shelf. Seriously, you just can't make collecting classy.\n\n> You get the car\nYou're too small. You can't reach it!\n\n> Dur normal\nYou feel your height growing to its normal size. You are back to normal now.\n\n> You get the car\nA spark touches your hand as your finger rests on the Excalibur. It's possible that you picked up some static electricity on the way here, but you'd rather think it was the spark of DESTINY. Anyway, taken.\n\n> You look at the car\nThis is a model of the Excalibur automobile, a roadster built in Milwaukee, Wisconsin, that was styled after the 1928 Mercedes-Benz SSK. You don't see many of these around.\n\n> Go west\nUpstairs Hallway                                New Year's Eve, Nearly Midnight\nDoors head off in several directions. A staircase leads down.\n\nMoreso than any other door in this hallway, your attention is drawn\nto an exit to the east which leads to some kind of study."
    },
    {
        "text": "> You go downward\nBottom of Stairs                                New Year's Eve, Nearly Midnight\nGoing up will take you back to the second floor while heading south leads to the living room.\n\nHuh, looks like all of the dancers have emptied out of the living room.\n\n> You go south\nLiving Room                                     New Year's Eve, Nearly Midnight\nYou can't help but wonder where everyone went. Exits lie north and south.\n\n> Go south\nDining Room                                     New Year's Eve, Nearly Midnight\nHuh, the patio doors to the south are now open. It seems that\nsomebody rolled the buffet table out there. Guess it had wheels!\n\nTo the north is the now-empty living room.\n\n> You go south\nPatio                                           New Year's Eve, Nearly Midnight\nSeems the party migrated outside for an impromptu fireworks display.\nIt is surprisingly comfortable out here. Lots of stars out tonight, too.\n\nEveryone is milling around, waiting for the fireworks.\n\nA little pond also complements the patio. You bet the fireworks will look cool reflected in its water.\n\n> You examine the pond\nSupposedly, this is supposed to be a koi pond, but you've never actually seen any fish in it so you have your doubts.\n\n> Dur brawn\nYou feel the strength of a thousand men surging through you.\n\n> You look in the pond\nThe koi pond is empty.\n\n> You put the car in the pond\nGiving a shout of glee, you throw the Excalibur into the koi pond. There is a stunned silence from everyone, but the moment passes and everybody goes back to partying. You decide to finally eat your perfect nacho just as the fireworks start. Your eyes shine with the wisdom of the ages!\n\nYour friends will remember this New Year's Eve party as the one where you got so drunk that you crawled through the crowded dance floor and just generally made a nuisance of yourself, but you will always remember it as the year you helped out a nice wizard. Plus, for a pool that's only a foot and a half deep, they never did find that model car you threw in! Destiny!"
    },
    {
        "text": "[Themes: Science Fiction, gender choice]\n\nLoading game...\n\n1st Place\n\n1. Play the game\n\n2. Read the introduction\n\n3. Useful information\n\n4. Credits\n\n[Author's Note: You have worked at the Institute of Transportation for nearly five years. As one of the engineering team in the Research and Development section, it is considered a highly respected position and is particularly well paid. In recent years it has become even more important, as with a growing population the global transport system is struggling to cope. A complete collapse has been predicted in a little under five years' time. You are currently working on the Pathway project which is a new developmental Rapid Transit System (RTS). This holds out the promise of fast, efficient and cheap travel. You do not fully understand the science behind it but it has something to do with particles, magnetism and time travel. Basically, you arrive at your destination the exact same moment you leave your starting point. The initial trials have been extremely promising and the first long distance test is now underway. The intent was for you to be 'particled' (as it is called) from one side of the planet to the other and then back again. They strapped you into a chair situated in the centre of the testing chamber and the senior technician on the project gave you the thumbs up sign from the control room. First your hands and feet started to tingle, then your vision blurred, then... nothing.]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> 2\nPathway to Destruction by Richard Otter, version 1.21\n\nYou have worked at the Institute of Transportation for nearly five years. As one of the engineering team in the Research and Development section, it is considered a highly respected position and is particularly well paid. In recent years it has become even more important, as with a growing population the global transport system is struggling to cope. A complete collapse has been predicted in a little under five years time.\n\nYou are currently working on the Pathway project which is a new developmental Rapid Transit System (RTS). This holds out the promise of fast, efficient and cheap travel for the whole planet. You do not fully understand the science but it has something to do with\nparticles, magnetism and time travel. Basically, you arrive at your destination the exact same moment you leave your starting point.\n\nThe initial trials have been extremely promising and the first long distance test is now underway. You are being 'particled' (as it is called) from one side of the planet to the other and then back again. At this very moment you are being strapped into a chair situated in\nthe centre of the testing chamber. Colin, the senior technician on project, is giving you the thumbs up sign from the control room and\nthe ignition lights have just come on. Your hands and feet are\nstarting to tingle and your vision is blurring; then nothing.\n\nNothing until now.\n\n[Press ENTER to continue]\nPathway to Destruction\n\n1st Place\n\n1. Play the game\n\n2. Read the introduction\n\n3. Useful information\n\n4. Credits\n\n> 3\nPathway to Destruction  by Richard Otter, version 1.21\n\nIn this adventure you are John Taylor, one of the engineering team in the Research and Development section of the Institute of Transportation. Your goal is a simple one - to try and make sense of the world you find yourself in.\n\nuse object with object, get all from object, give object to character pick lock, look under object, look through object\ntalk to character, ask character about subject\nlook through object, move rubble with bar\n\nFeel free to report any bugs, send praise or give general feedback to richardo@delron.org.uk\n\n[Press ENTER to continue]\nPathway to Destruction\n\n1st Place\n\n1. Play the game\n\n2. Read the introduction\n\n3. Useful information\n\n4. Credits\n\n> 4\nPathway to Destruction  by Richard Otter, version 1.21, 2005\n\nMy long suffering wife and family who want me to get a real hobby.\n\nFeel free to report any bugs, send praise or give general feedback to richardo@delron.org.uk\n\nYou can type 'intro', 'details' or 'credits' during the game.\n\n[Press ENTER to continue]\nPathway to Destruction\n\n1st Place\n\n1. Play the game\n\n2. Read the introduction\n\n3. Useful information\n\n4. Credits\n\n> 1\nYour last memory is of being in the test chamber, deep under the Research and Development building. Now you are here, but you have no recollection of leaving the test chamber or arriving at this place. It is almost as if you just appeared here.\n\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a glittering jewel its\ncentrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> About yourself\n[x me]\nYou are John Taylor, a senior technician in the engineering team working in the Research and Development section of the Institute of Transportation. You are wearing a ring, a pair of overalls and a gold chain.\n\n> You look at the ring\n[x ring]\nA simple band of gold fitted around your left index finger. The ring appears ordinary but something tells you there is more to it than\nmeets the eye.\n\n> You examine the chain\n[x chain]\nThe chain was a present from your father, on your graduation from engineering college (second in your class). It is heavy gold with an over polished finish and a little too long for your taste.\n\n> You look at the statue\n[x statue]\nThis does not make any sense. The statue of the Great David looks like it has been decaying for years, but you only walked this way yesterday with Colin. At least, it seemed like only yesterday.\n\n> You remove the ring\nYou remove the ring.\n\n> Inventory\nYou are wearing a pair of overalls and a gold chain, and you are carrying a journal and a ring.\n\n> You look at the journal\n[x journal]\nAn ancient, leather-bound book, dusty with the passing years. It feels almost too fragile to touch without damaging in some way.\n\n> You examine the ring\n[x ring]\nA simple band of gold, the ring appears ordinary but something tells you there is more to it than meets the eye.\n\n> You read journal\nThe journal is far too old; although you try hard it is impossible to make sense of anything in it.\n\n> You examine the crown\n[x crown]\nThe Great David's crown symbolises him power and authority. David was the first great leader to bring unity and peace to this planet many centuries ago.\n\n> You examine the jewel\n[x jewel]\nThe jewel, which is fixed into the crown, must be at least 150mm in diameter and is a beautiful sea-blue colour.\n\n> You take the jewel\n\n\n> You climb the statue\nAfter a few moments you decide against climbing the statue, it does\nnot look all that safe.\n\n> You examine the pedestal\n[x pedestal]\nYou see no such thing.\n\n> You examine the shadows\n[x shadows]\nThe shadows seem to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\n> You read journal\nThe journal is far too old; although you try hard it is impossible to make sense of anything in it."
    },
    {
        "text": "> You look at your surroundings\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a glittering jewel its\ncentrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> You look at the wall\n[x wall]\nThe once smooth walls are crumbling and look like they may collapse at any moment.\n\n> Go north\nYou move north.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted twist and writhe in torment. Is it your imagination or can you also hear their cries? Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the form of... something.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> You look at the overalls\nThe journal is far too old; although you try hard it is impossible to make sense of anything in it.\n\n[x overalls]\nThe orange overalls are abrasive resistant polyester cotton and are\nthe standard uniform of the engineering team in the Research and Development section. You have always hated them.\n\n> You examine the portraits\n[x crystal]\nThe large crystal triggers a memory somewhere. You have definitely\nseen one of these before, but at the moment the details will not surface.\n\n[x portraits]\nThe portraits are of the city's great and the good, or at least rich and powerful.\n\n> You touch it\n[push a large crystal]\nYou push the large crystal, but nothing happens.\n\n> You look in the crystal\nThe large crystal triggers a memory somewhere. You have definitely\nseen one of these before, but at the moment the details will not surface.\n\n> You examine the ring\n[x ring]\nA simple band of gold, the ring appears ordinary but something tells you there is more to it than meets the eye.\n\n> You examine the shape\n[x shape]\nYou see no such thing.\n\n> You wear the ring\nYou put on the ring.\n\n> Examine form\n[x form]\nSomething is imprisoned in the crystal but you have no idea what.\n\n> You touch the crystal withg the ring\n[push crystal withg ring]\nYou push the large crystal, but nothing happens.\n\n> You hit the crystal\n[punch crystal]\nHitting out at the crystal with your bear hands has little noticeable effect.\n\n> You pull the crystal\nIt must be your imagination, but it really seems like you can hear their cries.\n\nYou pull the large crystal, but nothing happens.\n\n> You look up the crystal in the journal\n[look u crystal in journal]\nYou see no such thing.\n\n> You search portraits\n[x portraits]\nThe portraits are of the city's great and the good, or at least rich and powerful.\n\n> You listen\nIt must be your imagination, but it really seems like you can hear their cries."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted now appear normal but you are sure you can still hear their cries. Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the form of... something.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> You check what you're carrying\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal.\n\n> Search overalls\n[x overalls]\nThe orange overalls are abrasive resistant polyester cotton and are\nthe standard uniform of the engineering team in the Research and Development section. You have always hated them.\n\n> You go northeast\nYou move northeast.\nPassage\nThe broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\n> You go northeast\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\nYou move northeast.\nRapid Sidewalk\nAs you leave the darkness of the temple you need to shade your eyes\nfor a few moments. The Rapid Transit System, which is the size of a\nsix lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\n> You examine the bones\n[x bones]\nThe tiny bodies all seem to be heading in the same direction. Running towards something or away from something?\n\n> Go northeast\nYou move northeast.\nRapid Sidewalk\nAs you leave the darkness of the temple you need to shade your eyes\nfor a few moments. The Rapid Transit System, which is the size of a\nsix lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\n> You look at the speedway\n[x speedway]\nYou see no such thing.\n\n> You look at the sidewalk\n[x sidewalk]\nThe roadway heads north and south.\n\n> You turn it on\n[turn the roadway on]\nYou can't turn the roadway.\n\n> Go north\nYou move north.\nRapid Sidewalk Junction\nAt one of the many junctions of the Rapid Transit System, when working you would just need to lean slightly to change direction. Away to the north is the city (your home), but you no longer recognise the\noutline. Only yesterday the horizon was filled with kilometre high buildings gleaming in the sunlight, now it looks like a set of broken jagged teeth. At the very edge of the walkway is a decaying body.\n\ngovernment quarter.\n\n> You look at the body\n[x body]\nThe body is actually little more than bones, and most of those are turning to dust. It seems to have been here for years. For a moment\nyou wonder about this poor individual and how they died. Looking at\nthe position of the body your best guess is that it happened when the roadway system failed. You hope it was quick and painless.\n\nAmongst the bones you spot something round and shiny, it is a\nnews-disc which you pick up.\n\n> You examine the disc\n[x disc]\nYou see no such thing.\n\n> You examinthe news-disc\n[x news-disc]\nCuriously, the news-disc has tomorrow's date on it.\n\n> Inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal and a news-disc.\n\n> Go south\nYou move south.\nRapid Sidewalk\n\n> You go southwest\nYou move southwest.\nPassage\nAs you enter the temple, it takes you eyes a few seconds to adjust to the dark after the bright sunlight. The broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\n> You go southwest\nYou move southwest.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted now appear normal but you are sure you can still hear their cries. Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the form of... something.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> Go south\nYou move south.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a glittering jewel its\ncentrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> Go west\nYou move west.\nCage\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber from which a humming sound emanates; to the east you can make out a statue.\n\n> You look at the remains\n[x remains]\nThe remains must be of the great Tarc beast which was kept in the cage here. Little is now left of the creature, but you can see a rib hidden in the remains. The beast looks like it has been dead for years, although it was alive yesterday.\n\n> You take the rib\n\n\n> You examine the marks\n[x marks]\nThe Tarc is, or should you say was, always trying to escape from the cage.\n\n> You open the Cage\nYou cannot see how the cage opens, although it may not be necessary. The only thing in the cage is within your reach.\n\n> You get rib\nYou pull the rib from the remains of the beast.\n\n> You examine the rib\n[x rib]\nThe Tarc rib is nearly 500mm long, serrated like a knife and metallic to the touch."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber from which a humming sound emanates; to the east you can make out a statue.\n\n> Go west\nYou move west.\nHumming Chamber\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches\nto a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor and walls; in one place there is what appears to be a large quantity of books and scrolls\nwhich someone has attempted to burn but abandoned partway through. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> Hum\nYou hum a little tune.\n\n> Examine books\n[x books]\nSomeone has attempted to burn the great library. Why?\n\n> You search the books\n[x books]\nSomeone has attempted to burn the great library. Why?\n\n> You examine the podium\n[x podium]\nYou remember sitting here, listening to the tales of the Great David.\n\n> You look at the seats\n[x seats]\nMany of the seats are smashed but not by the ravages of time.\n\n> You listen\nThe faint humming sound seems strangely familiar, but means nothing at\n\n> You search the books\nthe moment.\n\n[x books]\nSomeone has attempted to burn the great library. Why?\n\n> You read the books\nThe journal is far too old; although you try hard it is impossible to make sense of anything in it.\n\n> Up\n[u]\nYou can't go in that direction, but you can move east and northwest.\n\n> You examine the speakers\n[x speakers]\nYou see no such thing.\n\n> You examine the scrolls\n[x scrolls]\nSomeone has attempted to burn the great library. Why?\n\n> You sit\nYou sit down on the ground.\n\n> You get up\n[get u]\nYou can't see that\n\n> You go to the northwest\n(Standing up first)\nYou move northwest.\nBlocked Passage\nThe ceiling has collapsed, blocking further access along this passage. On one wall is an opening which overlooks the outside world, although the drop looks to be formidable and you doubt you could survive it.\n\nThe passage leads back to the southeast.\n\n> You examine the opening\n[x opening]\nLooking through the opening you can see part of the city below.\n\n> You look at the city\n[x city]\nLooking out through the hole in the passage wall, even from this distance you can tell that something is wrong. The outline of the city, your home, looks jagged and broken.\n\n> You go to the south-east\nYou move southeast.\nHumming Chamber\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches\nto a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor and walls; in one place there is what appears to be a large quantity of books and scrolls\nwhich someone has attempted to burn but abandoned partway through. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> You go east\nYou move east.\nCage\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber from which a humming sound emanates; to the east you can make out a statue.\n\n> You go east\n[x humming]\nYou see no such thing.\n\nYou move east.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a glittering jewel its\ncentrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> You look at Humming\n[x humming]\nYou see no such thing.\n\n> You go to the east\nYou move east.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a glittering jewel its\ncentrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> You examine the crown\n[x crown]\nThe Great David's crown symbolises him power and authority. David was the first great leader to bring unity and peace to this planet many centuries ago.\n\n> You get the jewel\nUsing the rib, you prise the jewel from its resting place.\n\n> You check your inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal, the glittering jewel, a news-disc and the tarc rib.\n\n> You examine the jewel\n[x jewel]\nThe jewel must be at least 150mm in diameter and is a beautiful sea-blue colour.\n\n> You examine the crown\n[x crown]\nThe Great David's crown symbolises him power and authority. David was the first great leader to bring unity and peace to this planet many centuries ago. The crown is missing the glittering jewel.\n\n> Go north\nYou move north.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted now appear normal but you are sure you can still hear their cries. Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the form of... something.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> You hit the crystal with the bone\n[punch crystal with bone]\nWho do you think you are, Mike Tyson?\n\n> You examine the crystal\n[x crystal]\nThe large crystal triggers a memory somewhere. You have definitely\nseen one of these before, but at the moment the details will not surface.\n\n> You hit the crystal with the rib\n[punch crystal with rib]\nWho do you think you are, Mike Tyson?\n\n> You touch the crystal\n[push crystal]\nYou push the large crystal, but nothing happens.\n\n> You examine the figure\n[x figure]\nYou see no such thing.\n\n> You hit jewel\n[punch jewel]\nWho do you think you are, Mike Tyson?\n\n> Go northeast\nYou move northeast.\nPassage\nThe broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\n> Go northeast\nYou move northeast.\nRapid Sidewalk\nAs you leave the darkness of the temple you need to shade your eyes\nfor a few moments. The Rapid Transit System, which is the size of a\nsix lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\n> You go south\nSouth leads away from the city and the answers.\n\n> You go to the north\nYou want to head to the city, to see what is left of your apartment. You feel that that the answers do not lie in that direction.\n\n> Go northeast\nYou move northeast.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. The only thing standing is a battered old lamp post, leaning over at a sharp angle.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and\naway east to the flattened research and development centre.\n\n> You look at the post\n[x post]\nLines of elegant lamp posts lined the paths and roadways, now only one is left.\n\n> Go east\nYou move east.\nResearch and Development Building\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps\nof all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. Rubble is\nlying everywhere.\n\nThe path leads back to the west.\n\n> You search the rubble\n[x rubble]\nFrom memory the rubble is resting on the spot of the elevator shaft down to the testing chamber.\n\nLoading game...\n\n1st Place\n\n1. Play the game\n\n2. Read the introduction\n\n3. Useful information\n\n4. Credits\n\n> You hit yourself\n[punch me]\nWho do you think you are, Mike Tyson?\n\n> About yourself\nYou are John Taylor, a senior technician in the engineering team working in the Research and Development section of the Institute of Transportation. You are wearing a ring, a pair of overalls and a gold chain.\n\n> You examine the rib\nThe Tarc rib is nearly 500mm long, serrated like a knife and metallic to the touch."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. Rubble is lying everywhere.\n\nThe path leads back to the west.\n\n> Go west\nYou move west.\nGovernment Quarter\n\n> You look\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. The only thing standing is a battered old lamp post, leaning over at a sharp angle.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> Go north\nYou move north.\nAdministration Building\nOnce a thousand golden floors high, now only a few low charred jagged walls remain. On your left, would have been the long counter behind which the many female receptionists stood. The whole area is now gone, completely open to the sky. On the opposite side was row after row of view screens now all destroyed, although amazingly one does seem to survive. As you move near the screen it makes a very slight humming sound, as if something you are carrying is giving it power.\n\nThe path leads back to the south.\n\n> You put the jewel on the screen\nYou put the glittering jewel onto the view screen.\n\nAs you stand near the screen, the rib you are carrying becomes red hot. You drop it onto the ground.\n\n> You look at the screen\nAn oblong of grey metal 1.5m in height, the view screens are used to interrogate the central database or look at an info disc. The viewer is glowing a light green colour. You can see the slot into which a disc would be inserted, the words 'Insert Disc' are lit in red. The glittering jewel is on the view screen.\n\n> You puthe news-disc in the slot\nYou insert the news-disc into the viewer, after a few seconds it begins to work.\n\nOn the day of the Pathway project long distance test, the news appears to be pretty normal. It consists of the news, sports, weather, man eaten by killer hamster. The usual sort of stuff.\n\nIt is the reports on the day following the test that you found particularly interesting. Stories started coming in from all over the city about large parts of the population who had simply vanished into thin air. Later in the day the 'problem' seemed to be spreading as cities all over the planet had reported mass disappearances.\n\n[Press ENTER to continue]\nLooking at the reports on the second day after the test, it seemed that nearly half the population of the planet was missing. This was not just limited to the human population, but any carbon based life. The skies, seas and land had also emptied of animals and birds.\n\nOn the third day, the location of the problem had been identified - it was the testing chamber. Something must have gone terribly wrong with the test, but no one in the research and development section could be contacted. The military decided to take drastic action and made three attempts to destroy the testing chamber. With the disappearances continuing, soon not enough airmen were left to carry out the airstrikes.\n\n[Press ENTER to continue]\n\n> You press enter\nThe last reports are about civil disturbances breaking out all over the planet. The populace started blaming science and technology for the catastrophe; centres of knowledge and learning were attacked and destroyed. Law and order had suffered a complete breakdown and the very last story is about a force of the local volunteer army being sent to 'restore' order at the temple.\n\nFor a long time you can do nothing; you just stand unable to take it all in. How could this have happened? What could have gone wrong with the test?\n\nWell, the answer must lie in the test chamber under the research and development building.\n\n[Press ENTER to continue]\nAdministration Building\nOnce a thousand golden floors high, now only a few low charred jagged walls remain. On your left, would have been the long counter behind which the many female receptionists stood. The whole area is now gone, completely open to the sky. On the opposite side was row after row of view screens now all destroyed, although amazingly one does seem to survive and appears to be in working order.\n\nThe path leads back to the south.\n\nYou can also see the tarc rib.\n\n> You take the jewel\nYou take the glittering jewel from the view screen.\n\n> You take the rib\nYou pick up the tarc rib.\n\n> You examine the rib\nThe Tarc rib is nearly 500mm long, serrated like a knife and metallic to the touch.\n\n> You examine the screen\nAn oblong of grey metal 1.5m in height, the view screens are used to interrogate the central database or look at an info disc. The viewer has no power and looks completely blank. You can see the slot into which a disc would be inserted, but with no power it is worthless.\n\n> Inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal, the glittering jewel and the tarc rib.\n\n> You takthe news-disc\n\n\n> You get the rib\nYou pick up the tarc rib.\n\nAs you stand near the screen, the rib you are carrying becomes red hot. You drop it onto the ground.\n\n> You get the jewel\nYou take the glittering jewel from the view screen.\n\n> You get the rib\nYou pick up the tarc rib.\n\n> You put the rib on the screen\nYou put the tarc rib onto the view screen.\n\n> You take the rib\nYou take the tarc rib from the view screen.\n\n> You go south\nYou move south.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. The only thing standing is a battered old lamp post, leaning over at a sharp angle.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> You check your inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal, the glittering jewel, the tarc rib and a metal bar.\n\n> You look at the bar\nIt is a long, twisted piece of metal which was once part of a lamp post.\n\n> Go east\nYou move east.\nResearch and Development Building\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. Rubble is lying everywhere.\n\nThe path leads back to the west.\n\n> You move the rubble with the bar\nUsing the metal bar you start moving the rubble, after a while you unearth what must be the elevator shaft to the test centre.\n\n> You go to the west\nYou move west.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. A battered old lamp post lies on the ground nearby.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> You go to the south-west\nYou move southwest.\nRapid Sidewalk Junction\nAt one of the many junctions of the Rapid Transit System, when working you would just need to lean slightly to change direction. Away to the north is the city (your home), but you no longer recognise the outline. Only yesterday the horizon was filled with kilometre high buildings gleaming in the sunlight, now it looks like a set of broken jagged teeth. At the very edge of the walkway is the decaying body and for a moment you wonder if that is what will happen to you.\n\nThe roadway continues north to the city and northeast to the government quarter.\n\n> Go south\nYou move south.\nRapid Sidewalk\nThe Rapid Transit System, which is the size of a six lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\n> You go southwest\nYou move southwest.\nPassage\nAs you enter the temple, it takes you eyes a few seconds to adjust to the dark after the bright sunlight. The broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\n> You go southwest\nYou move southwest.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted now appear normal but you are sure you can still hear their cries. Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the form of... something.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> You move crystal with the bar\nYou pull the large crystal, but nothing happens.\n\nYou can't move the large crystal.\n\n> You examine the floor\nThe marble flooring looks in reasonable condition.\n\n> You examine the walls\nThe walls about you are ancient and crumbling but you stood in this very spot yesterday!\n\n> You hit the crystal with the bar\n[punch crystal with bar]\nWho do you think you are, Mike Tyson?\n\n> Go south\nYou move south.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a large jagged hole as centrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> Go west\nYou move west.\nCage\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber from which a humming sound emanates; to the east you can make out a statue.\n\n> You go to the west\nYou move west.\nHumming Chamber\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches to a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor and walls; in one place there is what appears to be a large quantity of books and scrolls which someone has attempted to burn but abandoned partway through. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> You examine the floor\nThe floor has been subjected to a considerable amount of heat.\n\n> You examine the walls\nThe walls have been subjected to a considerable amount of heat.\n\n> You touch the walls\n[push walls]\nYou push the walls, but nothing happens.\n\n> You search the walls\n[x walls]\nThe walls have been subjected to a considerable amount of heat.\n\n> You jump\nWheee-boinng.\n\n> Y.\nEnter saved game to load: Restore failed."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Describe the surroundings\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. A large hole is clearly visable amongst the rubble.\n\nThe path leads back to the west and a dark hole amongst the rubble leads down.\n\n> You look at the hole\nAmongst the rubble is the old elevator shaft, leading down to the test chamber.\n\n> You drop the bar\nYou drop the metal bar."
    },
    {
        "text": "> Go down\nYou move down.\nOld Elevator Shaft\nStanding on a small ledge running around the inside of the shaft more destruction can be seen. Glancing up you can see the world above framed in the square of the shaft. Looking down is a blackness that seems to be reaching up and trying to draw you down. The test centre is a long way below you, something like 30 levels down. The old elevator cable is hanging in the centre of the shaft, just within reach.\n\nThe shaft leads up into the bright daylight and down into the dark.\n\n> You examine the cable\nJust within your grasp is the old elevator cable, which is hanging in the centre of the shaft."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Go downward\nThe drop is formidable and you do not survive.\n\nFeel free to report any bugs, send praise or give general feedback to richardo@delron.org.uk\n\nwww.delron.org.uk\n\n> You climb the cable\nYou grab the cable and make your way down into the dark.\nControl Room\nThe control is much as you remember it but more importantly it is light, so the power must still be on down here. In front of you is the main control panel and the glass window through to the test chamber.\n\nYou can go through the heavy metal door into the test chamber or back up the elevator cable.\n\n> You examine the panel\nThe control panel is lit but doesn't seem to be working. On one side of the panel is a small lever and on the other side is a small screen displaying:\n\nTarget: Alpha City, Europa Continent\nBeam Lock Status: BEAM UNLOCKED\n\n\"Error 6192: Fatal Transmission Fault\"\n\"Error 8151: Critical Storage Media Failure\"\nA data-disc is on the control panel.\n\n> You gethe data-disc\nYou take the data-disc from the control panel.\n\n> You look athe data-disc\nThe data-disc seems to be one of the test logs.\n\n> Up\n[u]\nYou move up.\nOld Elevator Shaft\nStanding on a small ledge running around the inside of the shaft more destruction can be seen. Glancing up you can see the world above framed in the square of the shaft. Looking down is a blackness that seems to be reaching up and trying to draw you down. The test centre is a long way below you, something like 30 levels down. The old elevator cable is hanging in the centre of the shaft, just within reach.\n\nThe shaft leads up into the bright daylight and down into the dark.\n\n> Up\n[u]\nYou move up.\nResearch and Development Building\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. A large hole is clearly visable amongst the rubble.\n\nThe path leads back to the west and a dark hole amongst the rubble leads down.\n\nYou can also see a metal bar.\n\n> You go to the west\nYou move west.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. A battered old lamp post lies on the ground nearby.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> Go north\nYou move north.\nAdministration Building\nOnce a thousand golden floors high, now only a few low charred jagged walls remain. On your left, would have been the long counter behind which the many female receptionists stood. The whole area is now gone, completely open to the sky. On the opposite side was row after row of view screens now all destroyed, although amazingly one does seem to survive. As you move near the screen it makes a very slight humming sound, as if something you are carrying is giving it power.\n\nThe path leads back to the south.\n\n> You put the jewel on the screen\nYou put the glittering jewel onto the view screen.\n\nAs you stand near the screen, the rib you are carrying becomes red hot. You drop it onto the ground.\n\n> You puthe data-disc on the viewer\nYou put the data-disc onto the view screen.\n\n> You take all\nYou pick up the tarc rib.\n\nAs you stand near the screen, the rib you are carrying becomes red hot. You drop it onto the ground.\n\n> You take the jewel\nYou take the glittering jewel from the view screen.\n\nYou've already got the glittering jewel!\n\n> You check your inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying the glittering jewel and the tarc rib.\n\n> You go south\nYou move south.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. A battered old lamp post lies on the ground nearby.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> You go east\nYou move east.\nResearch and Development Building\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. A large hole is clearly visable amongst the rubble.\n\nThe path leads back to the west and a dark hole amongst the rubble leads down.\n\nYou can also see a metal bar."
    },
    {
        "text": "> Go down\nYou move down.\nOld Elevator Shaft\nStanding on a small ledge running around the inside of the shaft more destruction can be seen. Glancing up you can see the world above framed in the square of the shaft. Looking down is a blackness that seems to be reaching up and trying to draw you down. The test centre is a long way below you, something like 30 levels down. The old elevator cable is hanging in the centre of the shaft, just within reach.\n\nThe shaft leads up into the bright daylight and down into the dark.\n\n> You climb the cable\nYou grab the cable and make your way down into the dark.\nControl Room\nThe control is much as you remember it but more importantly it is light, so the power must still be on down here. In front of you is the main control panel and the glass window through to the test chamber.\n\nYou can go through the heavy metal door into the test chamber or back up the elevator cable.\n\n> You examine the window\nLooking through the window you can see into the testing chamber. You can see someone strapped into the chair. That someone is you!\n\n> You look at the door\nThe heavy door to the test chamber is locked.\n\n> You unlock door\nUsing your id ring, you unlock the door.\n\n> Go north\nThe heavy door to the test chamber is already open!\n\nYou move north.\nTesting Chamber\nThe stillness of the chamber always surprises you, no sound from outside ever penetrates and any noise within is muffled. The only furniture is the test chair in the centre of the room. The other you is strapped into the chair. A glass window is in the wall behind you, through which you can see the control room. The ignition light on the wall is glowing red, the test is running. For a brief moment it sounded as if someone called your name. \"John!\" You turn round quickly, but no one is anywhere to be seen. Perhaps you are going slowly insane.\n\nYou can leave the chamber through the heavy metal door to the south.\n\n> About yourself\nYou are John Taylor, a senior technician in the engineering team working in the Research and Development section of the Institute of Transportation. You are wearing a ring, a pair of overalls and a gold chain.\n\n> You examine the chair\nThe chair always reminds you of one of those execution chairs you have seen in old movies. The other you is strapped into the chair.\n\n> You examine you\nIt certainly looks like John Taylor, even down to the awful orange overalls. Your other self is carrying a journal.\n\n> You get the journal\nYou take the journal.\n\n> You read the journal\nThe journal contains all your notes relating to the experiments. In particular two entries catch your eye:\n\n\"Error 6192: Fatal Transmission Fault\"\nThis means that the subject has not particled properly.\n\n\"Error 8151: Critical Storage Media Failure\"\nThis is when the system suffers serious power loss. To protect the subject being particled the body can be stored externally in a storage crystal, until the system can retry again.\n\"Crystal?\" you mutter to yourself.\n\nYou remember spotting something in your journal about the power system. Opening the journal, after flicking through a few pages you spot a note you made to yourself:\n\n\"A relay blew in the testing chamber today and needed changing, but no-one could find it. Eventually we tracked down the plans and to our amazement the power grid for the testing chamber runs through the temple! Behind a panel, hidden in the wall of the Great Meeting Hall is enough power to destroy a small planet.\"\n\n> You punch other yourself\nWho do you think you are, Mike Tyson?\n\n> Go south\nYou move south.\nControl Room\nThe control is much as you remember it but more importantly it is light, so the power must still be on down here. In front of you is the main control panel and the glass window through to the test chamber.\n\nYou can go through the heavy metal door into the test chamber or back up the elevator cable.\n\n> You examine the panel\nThe control panel is lit but doesn't seem to be working. On one side of the panel is a small lever and on the other side is a small screen displaying:\n\nTarget: Alpha City, Europa Continent\nBeam Lock Status: BEAM UNLOCKED\n\n\"Error 6192: Fatal Transmission Fault\"\n\"Error 8151: Critical Storage Media Failure\"\n\n> You go southwest\nYou move southwest.\nRapid Sidewalk Junction\nAt one of the many junctions of the Rapid Transit System, when working you would just need to lean slightly to change direction. Away to the north is the city (your home), but you no longer recognise the outline. Only yesterday the horizon was filled with kilometre high buildings gleaming in the sunlight, now it looks like a set of broken jagged teeth. At the very edge of the walkway is the decaying body and for a moment you wonder if that is what will happen to you.\n\n> You go south\nThe roadway continues north to the city and northeast to the government quarter.\n\nYou move south.\nRapid Sidewalk\nThe Rapid Transit System, which is the size of a six lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\n> You go southwest\nYou move southwest.\nPassage\nAs you enter the temple, it takes you eyes a few seconds to adjust to the dark after the bright sunlight. The broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\n> You go to the south-west\nYou move southwest.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces depicted now appear normal but you are sure you can still hear their cries. Against one wall lies a large crystal, as tall as a man and wide as a chariot, in which is imprisoned the still form of your other self.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> You go to the west\nYou move south.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a large jagged hole as centrepiece. About you lurk malevolent shadows, seeming to move with a life of their own, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\nYou can't go in that direction, but you can move north and west.\n\nYou move west.\nCage\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber from which a humming sound emanates; to the east you can make out a statue.\n\n> Go west\nYou move west.\nHumming Chamber\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches to a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor; walls and a panel you haven't noticed before; in one place there is what appears to be a large quantity of books and scrolls which someone has attempted to burn but abandoned partway through. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> You examine the panel\nThe panel in the wall is designed to look like part of the temple. The panel is locked.\n\n> Unlock panel\nUsing your id ring, you unlock the panel.\n\n> You examine the panel\nThe panel in the wall is designed to look like part of the temple. The panel is open."
    },
    {
        "text": "[Themes: Science Fiction, gender choice]\n\n> You look around\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches to a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor; walls and a panel you haven't noticed before; in one place there is what appears to be a large quantity of books and scrolls which someone has attempted to burn but abandoned partway through. With the panel in the wall open you can see part of the power grid for the temple, parts of the city and the government quarter. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> You examine the grid\nIf you switch off the grid the automatics will just turn it back on.\nIf you damage it the automatics will repair it. Maybe, just maybe if it was hit with a large power source it would short out everything.\n\n> You hit the grid with the jewel\n[punch grid with jewel]\nWho do you think you are, Mike Tyson?\n\n> Inventory\nYou are wearing a ring, a pair of overalls and a gold chain, and you are carrying a journal, the glittering jewel and the tarc rib.\n\n> You touch the grid with the jewel\n[push grid with jewel]\nYou push, but nothing happens.\n\n> You read the journal\nThe journal contains all your notes relating to the experiments. In particular two entries catch your eye:\n\n\"Error 6192: Fatal Transmission Fault\"\nThis means that the subject has not particled properly.\n\n\"Error 8151: Critical Storage Media Failure\"\nThis is when the system suffers serious power loss. To protect the subject being particled the body can be stored externally in a storage crystal, until the system can retry again.\n\"Crystal?\" you mutter to yourself."
    },
    {
        "text": "[Themes: Science Fiction, gender choice]\n\n> You look around\nOnce this was the great meeting hall. Rows of seats spiral outwards from a central podium where a speaker once stood to deliver speeches to a waiting audience. Most of the seats are smashed and little but splinters remain. Burn marks scar the floor; walls and a panel you haven't noticed before; in one place there is what appears to be a large quantity of books and scrolls which someone has attempted to burn but abandoned partway through. With the panel in the wall open you can see part of the power grid for the temple, parts of the city and the government quarter. A faint humming sound can be heard, emanating from somewhere in the chamber.\n\nA passage extends northwest and another to the east.\n\n> You break grid with the jewel\n[smash grid with jewel]\nTaking cover behind the podium you throw the jewel at the power grid, which explodes in a shower of metal. The jewel is vapourised but the power goes off.\n\nAloud you mutter, \"I'd better get back to the testing chamber, to see if this worked.\"\n\n> You go east\nYou move east.\nCage\nThe centre of this circular chamber is a cage, sunken into the floor, in which the remains of some beast lie decomposing. Claw marks on the bars of the cage indicate the beast fought ferociously to escape its imprisonment, yet failed. And died.\n\nTo the west there is a large chamber; to the east you can make out a statue.\n\n> Go east\nYou move east.\nRuined Statue\nAbove you towers a broken statue, ravaged by the passage of time. A crown of stone rests upon its brow, a large jagged hole as centrepiece. About you lurk shadows, seeming to be standing watching you, though these are glimpses seen from the corner of your eye that vanish the moment you look closely at them.\n\nPassages in the ruined walls of this place lie to the north and west.\n\n> Go north\nYou move north.\nAncient Gallery\nThe walls about you are ancient and crumbling, yet modern looking portraits hang from them all the same. The faces all seem to be watching you expectantly. Against one wall lies a large storage crystal glowing dark blue, as tall as a man and wide as a chariot, in which is imprisoned the still form of your other self.\n\nA passage lies away to the south and another to the northeast, at the end of which a light shines faintly.\n\n> Go north\nYou move northeast.\nPassage\nThe broken bones of tiny rodents crunch underfoot as you make your way along this passage. It is dark and shadowy for the most part, illuminated poorly by the pale daylight at the end.\n\nThe passage extends northeast to the outside world and southwest to an ancient gallery.\n\nYou move northeast.\nRapid Sidewalk\nAs you leave the darkness of the temple you need to shade your eyes for a few moments. The Rapid Transit System, which is the size of a six lane freeway, stretches away to the north and south. When working all someone needed to do was step onto the roadway to be sped around the city, at hither to unknown speeds. Once the surface would have shimmered like quicksilver, now it is just a dull lifeless black colour. Far in the distance you can see the city, your home.\n\nThe roadway extends to the north and south, southwest leads to the Temple of the Great David.\n\nYou move north.\nRapid Sidewalk Junction\nAt one of the many junctions of the Rapid Transit System, when working you would just need to lean slightly to change direction. Away to the north is the city (your home), but you no longer recognise the outline. Only yesterday the horizon was filled with kilometre high buildings gleaming in the sunlight, now it looks like a set of broken jagged teeth. At the very edge of the walkway is a decaying body.\n\nThe roadway continues north to the city and northeast to the government quarter.\n\n> Go northeast\nYou move northeast.\nGovernment Quarter\nWith over ten square kilometres of structures, the government quarter should be building after building of steel, chrome and glass. Everything now is completely shattered; just barren and so bleak. Although difficult to see, you are in the main plaza which was a 500m square meeting place of seating areas, art work, gardens and picnic places. A battered old lamp post lies on the ground nearby.\n\nAn ancient road to the southwest leads to the Rapid Transit System. A path extends north to the ruins of the administration building and away east to the flattened research and development centre.\n\n> You go east\nYou move east.\nResearch and Development Building\nThe centre is, or should be, a towering dome of stainless steel and coloured glass. This place would echo with the voices and foot steps of all the people within, hidden fountains adding to the effect. The scene that greets you now is one of complete devastation, as if some giant foot has stamped on the place repeatedly. Unlike everywhere else you have seen today, here is destruction and not aging. A large hole is clearly visable amongst the rubble.\n\nThe path leads back to the west and a dark hole amongst the rubble leads down.\n\nYou can also see a metal bar."
    },
    {
        "text": "> Go down\nYou move down.\nOld Elevator Shaft\nStanding on a small ledge running around the inside of the shaft more destruction can be seen. Glancing up you can see the world above framed in the square of the shaft. Looking down is a blackness that seems to be reaching up and trying to draw you down. The test centre is a long way below you, something like 30 levels down. The old elevator cable is hanging in the centre of the shaft, just within reach.\n\nThe shaft leads up into the bright daylight and down into the dark.\n\n> You climb the cable\nYou grab the cable and make your way down into the dark.\nDarken Control Room\nThe control room is now in darkness as the power must be off down here. In front of you is the main control panel and the glass window through to the test chamber. Some emergency power must have kicked in, as the control panel is still lit.\n\nYou can go through the heavy metal door into the test chamber or back up the elevator cable.\n\n> You go north\nYou move north.\nTesting Chamber\nThe stillness of the chamber always surprises you, no sound from outside ever penetrates and any noise within is muffled. The only furniture is the test chair in the centre of the room. The other you is strapped into the chair. A glass window is in the wall behind you, through which you can see the control room. The ignition light on the wall is glowing green, the testing has stopped.\n\nYou enter the chamber and suddenly your sight blurs. You have a tingling sensation in your hands and feet. As you look at your hands you realise that you can see straight through them. From somewhere to your left you can here a voice shouting, \"John!, John!, can you hear me?\"\n\nThen nothing.\n\n[Press ENTER to continue]\nYou open your eyes and you are in the testing chamber seated in the test chair. Through the window you can see into the control room; Colin and the other technicians look worried.\n\nOver the intercom Colin can be heard saying, \"I think he has particled but we are not getting a confirmation signal. We must try to get him back.\" Someone out of sight says, \"I can't get the beam to lock, we can't get him back.\"\n\nSuddenly warning signals start to flash and it appears that the technicians are losing control of the beam. You hear one of them say, \"We are losing confinement. My God! It is starting to scatter! Shut off the power! Shut off the power!\" With no warning Colin and all the other technicians vanish.\n\nFor a few seconds you stare at the empty control room and then everything starts to blur. The last thought you ever have is one of failure before you blink out of existence.\n\nFeel free to report any bugs, send praise or give general feedback to richardo@delron.org.uk\n\nwww.delron.org.uk\n\nCongratulations!\nCongratulations!"
    },
    {
        "text": "> Look around\nThe control room is now in darkness as the power must be off down here. In front of you is the main control panel and the glass window through to the test chamber. Some emergency power must have kicked in, as the control panel is still lit.\n\nYou can go through the heavy metal door into the test chamber or back up the elevator cable.\n\n> You look at the panel\nThe control panel is lit but doesn't seem to be working. On one side of the panel is a small lever and on the other side is a small screen displaying:\n\nTarget: Alpha City, Europa Continent\nBeam Lock Status: BEAM UNLOCKED\n\nError 7767: Critical Power Failure\nError 9923: Subject Deletion Imminent\n\n> You look at the panel\nThe control panel is lit but doesn't seem to be working. On one side of the panel is a small lever and on the other side is a small screen displaying:\n\nTarget: Alpha City, Europa Continent\nBeam Lock Status: BEAM LOCKED\n\nError 7767: Critical Power Failure\nError 9923: Subject Deletion Imminent\n\n> Go north\nYou move north.\nTesting Chamber\nThe stillness of the chamber always surprises you, no sound from outside ever penetrates and any noise within is muffled. The only furniture is the test chair in the centre of the room. The other you is strapped into the chair. A glass window is in the wall behind you, through which you can see the control room. The ignition light on the wall is glowing green, the testing has stopped.\n\nYou enter the chamber and suddenly your sight blurs. You have a tingling sensation in your hands and feet. As you look at your hands you realise that you can see straight through them. From somewhere to your left you can here a voice saying, \"John, can you hear me. Are you all right?\"\n\nThen nothing.\n\n[Press ENTER to continue]\nSomeone is shaking you and calling your name.\n\nYou open your eyes and the someone says, \"Thank goodness. We thought we had lost you for a minute John.\"\n\"What happened?\" you ask trying to get your bearings.\n\"We have no idea, you didn't appear at the destination test site and you started to fade out here as well.\" You recognise that the 'someone' is Colin, the senior technician on the Pathway project. \"We managed to cut the power and stop the test. Do you remember anything?\" he asks. You start, \"Well I was here but in the future...\" But the memory has gone, just like one of those dreams you wake up suddenly from.\nColin asks, \"Are you all right?\"\nShaking your head you reply, \"Yeh, I must have been dreaming.\" The Tarc rib you are carrying, falls from your pocket and clatters onto the floor.\nColin stares at it and asks, \"How did you get that? You didn't have it when the test started?\"\nLooking down in surprise you answer, \"I have no idea.\"\n\nFeel free to report any bugs, send praise or give general feedback to richardo@delron.org.uk\n\nwww.delron.org.uk\n\nCongratulations!\n\n> You go to the north\nYou move north.\nTesting Chamber\nThe stillness of the chamber always surprises you, no sound from outside ever penetrates and any noise within is muffled. The only furniture is the test chair in the centre of the room. The other you is strapped into the chair. A glass window is in the wall behind you, through which you can see the control room. The ignition light on the wall is glowing red, the test is running. For a brief moment it sounded as if someone called your name. \"John!\" You turn round quickly, but no one is anywhere to be seen. Perhaps you are going slowly insane.\n\nYou can leave the chamber through the heavy metal door to the south."
    },
    {
        "text": "[Themes: Historical, sports, baseball]\n\nLate morning, September 23, 1908. You're on your way to work, waiting in line to get on the Ninth Avenue Elevated. Play your cards right, Fred, and it will be the worst day of your life.\n\nA Regrettable and Mostly True Tale by Sean M. Shore\n\nIt's a chilly September morning in lower Manhattan. You're on your way to the Polo Grounds for today's potentially decisive tilt against the Cubs, who are only one-half game behind your Giants in the race for the National League pennant.\n\nYou're just east of the platform for the Christopher Street stop of the Ninth Avenue Elevated train. A ticket-taker filters access to the platform itself. There's a short line ahead of you. Not many people are headed uptown at this hour, but then, not many people are in your line of work.\n\nSome stairs lead down to the street below.\n\n[Everyone, especially those not pretty familiar with baseball, should type ABOUT].\n\n++\n| Part I |\n++\n\n[Author's Note: September 23, 1908. Win this game, and your Giants will have the National League pennant almost within reach. You've done your part. You've just made a base hit, putting McCormick on third with the winning run in the ninth inning. It's all up to Bridwell now. Or perhaps not. Your name is Fred Merkle. You're about to become famous.]\n\n> You check your inventory\nYou are carrying:\na ticket\na five-dollar bill\na short pencil\n\n> About yourself\nYou are Fred Merkle, nineteen-year-old occasional first baseman for the New York Giants. Very occasional first baseman. The Giants already have the veteran Fred Tenney at first, so you haven't started a game all year. Only the really dedicated fans know who you are.\n\n> You examine the pencil\nIt's a stubby, slightly dull little pencil. You picked it up earlier, stuffed it into a pocket, and promptly forgot about it.\n\nThe line shortens. You're getting close to the front.\n\n> You examine the ticket\nIt reads: \"Interborough Rapid Transit. Good for one ride.\"\n\n> You look athe ticket-taker\nA man wearing the uniform of the Interborough Rapid Transit company. He is taking tickets from the people in line, one by one.\n\n\"Hey mister.\" There's a tug on your coat. It's a young boy in line right behind you. \"Hey, mister. You're Fred Merkle, ain'tcha? Hey, Mister Merkle, can I have your autograph?\" He thrusts a scrap of notebook paper at you. Must be one of those really dedicated fans, I guess.\n\n> You piss off\nThe kid ignores you, and just presents the notebook paper to you expectantly.\n\n\"Mister Merkle, the other kids'll never believe I saw a real live ballplayer,\" says the kid. He rubs his nose.\n\n> Sign paper\nYou reach for your pencil and stoop down to address the kid at eye level. But as you do, you're jostled from behind. Your IRT ticket and five-dollar bill fall onto the floor and through a crack in the platform, presumably down to the street below. This is not what you needed.\n\n\"Aw gee, mister, I'm real sorry about that. I ain't got an extra ticket to give you, but I would if I had one, honest!\" Embarrassed, the kid hurries up to the ticket-taker, across the platform, and onto a waiting train."
    },
    {
        "text": "[Themes: Historical, baseball, sports]\n\n> Look around\nYou're just east of the platform for the Christopher Street stop of the Ninth Avenue Elevated train. A ticket-taker filters access to the platform itself.\n\nSome stairs lead down to the street below."
    },
    {
        "text": "[Themes: Historical, baseball]\n\n> Go down\nWaves of pedestrians, carriages, and pushcarts make their way through the noisy and crowded intersection of Christopher and Greenwich Streets. To the east, things are a little quieter. Some stairs lead up to the IRT station.\n\nThe area directly underneath the train platform is boarded up.\n\nStanding on the corner is an officer of the New York Police Department. He twirls his billy club and whistles, watching the activity on the street, particularly any young ladies that happen by.\n\nThere's a rusted garbage can here, overflowing with trash.\n\n> You talk to the officer\nYou are already talking to the policeman.\n\n> You tell the officer about the ticket\n(the lost ticket)\nYou ask the policeman for assistance in retrieving your lost ticket, or getting on the IRT some other way.\n\n\"That's not my concern, boyo. Move along now.\"\n\n> You look at the can\nIt's filled to the brim with the leavings of a great many New Yorkers. At least they managed to get the trash in the can.\n\n> You look at the boards\nThe space directly underneath the platform is closed off and inaccessible. There are a few holes in the boards, but nothing you could even fit a hand through.\n\n> You look through the hole\nYou peer through the holes. It's too dark to get much of a sense of what's down here. All you can see is some construction debris, and, oddly enough, what looks like an old teapot. Straining hard, you think you might also be able to see your ticket sticking out of the mud.\n\n> You check what you're carrying\nYou are carrying:\na scrap of notebook paper\na short pencil\n\n> You pull the board\nNothing obvious happens.\n\n> You examine the ticket\nIs it even your ticket? You can barely see it in the gloom.\n\n> You search trash\nThe pack of cigarettes is the only highlight.\n\n> You take the cigarettes\nYou feel a tap on your shoulder. It's the policeman's billy club.\n\"No digging around the trash here, kid. That's vagrant behavior, and I don't have vagrants on my beat.\"\n\n> Examine pack\nThe pack is a little grimy, perhaps, but it appears intact. You note with interest that the top of the pack says \"Base Ball Series -- 350 Subjects.\"\n\n> You help you or go away\n\"I mean it, lad. Beat it, or I'll run you in,\" he growls.\n\n> You ask the cop about the board\n\"I mean it. Beat it, lad, or I'll run you in,\" he growls.\n\n> You open the cigarettes\n\"I'm warning you, lad.\""
    },
    {
        "text": "[Themes: Historical, sports]\n\n> You go downward\nWaves of pedestrians, carriages, and pushcarts make their way through the noisy and crowded intersection of Christopher and Greenwich Streets. To the east, things are a little quieter. Some stairs lead up to the IRT station.\n\nThe area directly underneath the train platform is boarded up.\n\nStanding on the corner is an officer of the New York Police Department. He twirls his billy club and whistles, watching the activity on the street, particularly any young ladies that happen by.\n\nThere's a rusted garbage can here, overflowing with trash. An unopened pack of cigarettes sits within easy reach.\n\n> You go east\nYou're on Christopher Street in lower Manhattan, with myriad shops lining the thoroughfare on either side and pedestrians pushing in both directions. You can hear the traffic of a crowded intersection to the west.\n\nIn one of the shops -- a stationery store -- you spy a pretty young woman standing behind a counter.\n\nLeashed to a lamppost is an adorable little dog.\n\n> You examine the woman\nShe's a shopgirl. A looker, for sure. Every so often, she glances out the shop window. She appears to be keeping an eye on the dog.\n\n> You untie the dog\nAs the shopgirl looks away to deal with a customer, you surreptitiously untie the dog from the lamppost. The dog seems content to remain where it is, until a pigeon lands nearby. Suddenly, the little dog lunges at it, barking madly. The pigeon flaps off to the west, with the dog in pursuit.\n\nThe pretty young woman hears the ruckus, and looks up just in time to see her dog headed down the street. She follows in a hurry.\n\n> You go to the west\nWaves of pedestrians, carriages and pushcarts make their way through the intersection of Christopher and Greenwich streets.\n\nThe little dog jumps up and down, slobbering all over the policeman, who is not enjoying the experience. Then the pretty shopgirl comes by to claim her pet. The policeman suddenly becomes an animal lover, scratching the dog's ears and rubbing his belly. He blushes and begins chatting with the shopgirl.\n\nThe area directly underneath the train platform is boarded up.\n\nThere's a rusted garbage can here, overflowing with trash. An unopened pack of cigarettes sits within easy reach.\n\n> You take the cigarettes\nTaken.\n\n> You open the pack\nYou open the package, revealing the expected cigarettes, along with several baseball cards, which you take.\n\n> You look at the cards\nThey're trading cards with illustrations of ballplayers on them to help sell the cigarettes, perhaps to a younger clientele. You thumb through them, one by one. Let's see. Bill Shipke, Sunny Jim Dygert, Ed Konetchy, Honus Wagner, and -- hey, would you look at that -- Fred Merkle!\n\n> You examine Merkle\n(the Merkle card)\nThat's your fine visage on the card.\n\n> You look at sunny\nThey're just pieces of cardboard. Not worth anything."
    },
    {
        "text": "> Look around\nThe policeman continues to pet the dog and chat with the pretty young woman, ignoring your presence.\n\nThere's a rusted garbage can here, overflowing with trash.\n\n> You show the merkle card to the cop\nThe policeman is enthralled with the lovely young woman, who, it must be said, does not appear enthralled herself. No matter; the policeman impatiently waves you off.\n\n> You show the card to the taker\nYou clear your throat and get the ticket-taker's attention.\n\nYou show the baseball card with your picture on it to the IRT worker. He looks at it, examines you closely, and then says, \"Hey, this is you! I'm not supposed to let anyone past here without a ticket, but I'm not going to be the one to hold up a member of the New York Giants!\" He steps aside and waves you through.\n\nYou're on a wooden platform above Christopher Street, waiting alongside a few other commuters for the next uptown train.\n\nA newspaper drifts down the platform in the chilly autumn wind.\n\n> You get the newspaper\nTaken.\n\nYou hear a rumbling from the south. The train is approaching.\n\n> You read the newspaper\nIt's today's New York Times. \"Cubs Check Giants In Race For Flag\" is the sports headline. But you already knew that; you were there, after all. You dropped two games and let the Cubs right back into the pennant race. Are you mentioned? -- there you are. It's worse than you thought. Aulick is in rare form.\n\n\"Three men on bases. Come on Crandall, and bang your way into a million hearts. Three men on bases, and a single will tie the score. Come on Merkle, if they won't let Crandall bat. We trust in you, Merkle, darlin'. You'd never throw us down now, would you, Merkle, with three men on bases, a single to tie, and a chance to win, out on the inning? Of course, you wouldn't. Step up there, good man, and play baseball. Pshaw! Why did you hit at that first one? Why did you not wait? It wasn't worth your effort. Pick out a bonny one, Merkle, and then strike for the freedom of your sires, and a little bit more. Not that one, not that, Merkle. Didn't we give you waiting orders? Never mind, there is one chance left. Use it wisely. Get a firm hold on your bat, and slash away yonder along third-base line. If you are not in position, make it the right field, up as near the grandstand as you think you can get without fouling. Or, if you think you can pull it off, a Texas leaguer will demoralize them. Or you might -- Mr. Merkle has struck out, gentlemen. Donlin, Devlin, and Bridwell, what of them? Were you ever at a reception where the lion of the hour and day came over to your corner, shook hands with the neighbor on your right, and the neighbor on your left, and then -- looked coldly past you and walked on, leaving you with your dexter fork extended in the air and feeling foolish all over? That's how Messrs. Donlin, Devlin, and Bridwell felt when Mr. Merkle passed them up. Let's all go home.\"\n\nTomorrow's article is going to be much worse, I can assure you.\n\n> You get on the tracks\nYou might very well feel like doing that after today's game. But for now, let's not contemplate suicide.\n\nThe train pulls into the station, the doors open, and you step into the waiting car.\n\nYou're on a standard elevated train car belonging to the Interborough Rapid Transit company. There's a long bench on each side of the car, along with a few poles and straps for a standing-room only crowd, which this isn't.\n\n> You sit on bench\nYou take a seat on the bench.\n\nYou and the other passengers are whisked uptown. Rapid transit, indeed. In only a few minutes, you're already at 9th Avenue and 34th Street.\n\nNearby, a gentleman you hadn't previously noticed scribbles furiously on a notepad. \"Blast!,\" he says to no one in particular, as the tip of his pencil breaks. He looks at it forlornly.\n\n> You look at the gentleman\nHe is a middle-aged man with a professional appearance and friendly demeanor. He's holding a notepad.\n\n> You examine the notepad\nOn the pad is the start of what looks like a song or a poem. It reads:\n\nKatie Casey was baseball mad,\nHad the fever and had it bad.\nJust to root for the home town crew,\nEv'ry sou\nKatie blew.\nOn a Saturday her young beau\nCalled to see if she'd like to go\nTo see a show, but Miss Kate said \"No,\nI'll tell you what you can do\":\n\nIt then ends abruptly with a dark smudge.\n\nThe train passes its counterpart noisily heading back downtown.\n\n> You give the pencil to man\n(the short pencil to a gentleman)\nThe gentleman tears himself away from his notepad and looks up at you.\n\n\"You read my mind!,\" he says, taking the pencil. \"Thanks, mister!\" He shakes your hand. \"Jack Norworth. Pleased to meet you.\"\n\n> You tell Jack about yourself\nYou mention that you're a professional ballplayer on your way to a game today.\n\n\"Well, I'll be damned! Funny coincidence, that is,\" he says with a wide grin.\n\nThe train continues its journey northeast toward the Harlem River.\n\n>You mention that you're a professional ballplayer on your way to a game today.\n\n\"Well, I'll be damned! Funny coincidence, that is,\" he says with a wide grin.\n\nThe car gently rocks from side to side as it heads uptown.\n\n> You ask Jack about the poem\n\"What are you writing, if you don't mind my asking?\"\n\n\"No, not at all. It's the beginnings of a song I might be able to use in a musical revue. I was waiting at the train station a little while ago when I saw a sign that read Base Ball Today at the Polo Grounds.\" He waves his hands to illustrate the sign. \"I thought to myself, that's something that might make for a popular number.\"\n\nYou could ask him about himself, the next bit of the song, musical revue or baseball; or tell him about yourself.\n\n> You ask Jack about himself\nYou ask him about himself.\n\n\"I'm in the theater business. I write songs for Tin Pan Alley, do a little singing and acting in vaudeville, that sort of thing.\"\n\n> You ask Jack about the the next bit of the the song\nYou ask Norworth about the rest of the song he's writing.\n\n\"Oh yes,\" he says. \"Miss Casey will be telling her gentleman caller that she'll go out with him as long as he brings her to the park, not a show. I had a fleeting grasp of the phrasing I wanted a minute ago. It'll come back.\"\n\n> You ask Jack about the musical revue\nYou ask him about music.\n\n\"I've been working on material for a new show, and the sign about the ball game just inspired me. I figure the song might sell a few tickets, maybe draw some people in who might not otherwise go. If anyone still remembers the song in a year's time, so much the better.\"\n\n> You ask Jack about the baseball\n(baseball)\nYou ask him how much he knows about the game.\n\nHe chuckles. \"Not a lot, I must admit. I've never actually been to a game. But I do know what happens in one: three strikes and you're out!\"\n\nYou could tell him about yourself.\n\n> You tell Jack about myself\nYou mention that you're a professional ballplayer on your way to a game today.\n\n\"Well, I'll be damned! Funny coincidence, that is,\" he says with a wide grin.\n\nThe car gently rocks from side to side as it heads uptown.\n\n> You tell Jack about the baseball\n(the baseball cards)\n\"Hm?\"\n\nHe seems oddly distant, then raises a finger. \"If you'll excuse me for just one moment,\" he says. \"I've got to get this down before I lose the wording.\" You watch as he appends to the notepad Katie Casey's request of her young beau:\n\nTake me out to the ball game,\nTake me out with the crowd;\nBuy me some peanuts and Cracker Jack,\nI don't care if I never get back.\n\n\"There! That's a good start, don't you think?\" The train slows down, and Norworth glances out the window. \"Anyway, this is my stop here. Very nice talking to you. Good luck today!\"\n\nWith that, he departs.\n\n> You wait for a while\nTime passes.\n\nThe 104th Street station recedes in the distance. As the train approaches 110th Street, it slows down. Looking out the window, you can see that you're perhaps 100 feet above the ground. The train lurches dramatically to the right, practically at a 90 degree angle. This is what they call Suicide Curve."
    },
    {
        "text": "> Look around\nAboard the IRT (on the bench)\nYou're on a standard elevated train car belonging to the Interborough Rapid Transit company. There's a long bench on each side of the car, along with a few poles and straps for a standing-room only crowd, which this isn't.\n\n> You examine the poles\nYou see nothing special about the poles.\n\nThe train travels along 110th Street, and then lurches again, this time to the left, as it turns onto 8th Avenue. Good thing you're seated.\n\n> You wait for a while\nTime passes.\n\nThe train pulls into the 155th Street station, its final stop, and yours. You're at the far end of Manhattan, with the Harlem River before you, and the Bronx just across from it. Below, you see the glorious Polo Grounds. Beyond that, back the direction you came, is Coogan's Bluff, the great hill overlooking the park. Fans without tickets can sit atop the bluff and watch the game, albeit from very far above. They're affectionately known as hillbillies.\n\nThe wooden doors open. The remaining passengers start filing out onto the station platform."
    },
    {
        "text": "> You look around\nSeptember 23, 1908. After your commute on the IRT, you arrive at your workplace: the Polo Grounds. They don't actually play polo here; they did in the original Polo Grounds, where the Giants also played, but this is a new park in a different location.\n\nIt's a couple of hours before game time. You've put on your uniform and you're warming up with the other fellows in preparation for sitting on the bench as usual. The team is taking batting practice, and a small group is at the plate. Roger Bresnahan, the Giants' veteran catcher, is taking his swings right now. Turkey Mike Donlin and Christy Mathewson wait here for their turns. Joe McGinnity is throwing from the pitcher's mound sixty feet away, and Fred Snodgrass is acting as catcher.\n\nThe first baseman, Fred Tenney, comes limping up to you, clutching his back. \"Merkle, McGraw wants a word with you,\" he says, pointing to the Giants' dugout to the south. Tenney slowly shuffles off the field.\n\n> You look at the Turkey\nThis is home plate in your home park. During the game, there will be fewer people loitering here, and somewhat less chit-chat. A temporary backstop has been wheeled in for batting practice.\n\nThe whole lovely ballpark stretches out before you, invitingly. Your dugout is to the south, first base is southeast, the pitcher's mound is to the east, third base is northeast, and the visiting dugout is to the north.\n\n(You might be curious about these directions. In the Polo Grounds, as in many other parks, the left field foul pole is roughly due north. This means that a pitcher standing on the mound facing the plate has his left shoulder facing south. This is why lefties are called southpaws.)\n\nMatty and Donlin lean up against the backstop, chatting, while Bresnahan takes batting practice and Snodgrass catches anything Bresnahan doesn't offer at.\n\nMcGinnity deals, and Bresnahan laces a solid line drive.\n\n++\n| Part II |\n++\n\n> You examine the Turkey\nDonlin's an interesting case. He's been around awhile; played with McGraw back in Baltimore. He's a terrific left-handed hitter, but what he really wants to do is become an actor. He married the actress Mabel Hite a couple of years ago, which is probably good, since it will help keep him out of trouble. He's gotten in more than a few bar fights in his day. Back in Baltimore, he once urinated on a palm tree in the lobby of the Academy of Music, and then punched a showgirl, ending up in jail for a stretch. He's called Turkey on account of how he sort of waddles around.\n\n> You examine McGinnity\nThe old man of the club, and another fellow who was in Baltimore with Mr. McGraw. He and Donlin both started their careers in '99, but Joe got a bit of a late start, debuting when he was already 28. Called the Iron Man because he can throw pretty much every day (and did so twice yesterday). Also, he works in an iron foundry in the off-season. Almost all ballplayers have to take a job over the winter to make ends meet.\n\nYou hear a shout coming from the Giants' dugout. \"Merkle!\" You recall with a start that Mr. McGraw is expecting you.\n\n> You look at Bresnahan\nRoger's a fine catcher and a tough customer, to be sure. He had to be, to endure the mockery and assaults on his manhood that occasioned two of his innovations on the field: one, a helmet to be used while batting; and the other, shin guards, like an English cricketer might employ. He's one of McGraw's favorites.\n\n> You examine Matty\nChristy Mathewson. He's the ace of the Giants, and the best pitcher in all of baseball right now. I don't think I'm giving too much away when I tell you that long after he has retired, he'll still be considered one of the all-time greats. On top of that, he's tall, very handsome, educated (one of the few ballplayers who went to college), and a natural at pretty much everything he does, including bridge.\nHe's one of the rare ballplayers who's accepted in polite society.\nHe'd be utterly detestable if he weren't such a decent fellow.\n\nFor many years, Christy and his brother Henry, who also pitched for the Giants, held the record for most career wins by a sibling tandem -- Christy with 373, and Henry with 0.\n\n\"Merkle, let's hustle!\" That's Mr. McGraw's voice. Better get to the dugout.\n\n> Wait\nTime passes.\n\nDonlin gently mocks Bresnahan's weak ground ball.\n\n> Inventory\nYou are carrying:\na pair of brand-new spikes (tied) (being worn)\na cap (being worn)\na uniform (being worn)\n\nBresnahan's bat rings with solid contact.\n\n> You examine the spikes\nYour new pair of baseball cleats: bright, shiny, and a little stiff. The laces they came with are oddly slick and perhaps a bit short as well, making them difficult to keep tied.\n\nYou hear a shout coming from the Giants' dugout. \"Merkle!\" You recall with a start that Mr. McGraw is expecting you.\n\n> You examine the cap\nIt's a plain black woolen baseball cap with a short brim.\n\n> You look at the uniform\nBaggy white flannel, with a stylized \"NY\" on the sleeve.\n\n> You remove the uniform\nThis is probably not the best time to get undressed.\n\nYou hear Mr. McGraw yell to no one in particular, \"Where the hell is Merkle?\"\n\n> You remove the cap\nWait until you've made a great play before you tip your cap to the crowd.\n\nBresnahan curses as the pitch jams him and his hands sting.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go to the south\nThis is the home team's dugout, and the place where you spend the majority of your time during actual games, since, well, you're not on the field. It is not luxurious -- just a plain wooden bench and a roof to keep out the rain. No amount of cleaning will ever remove the fragments of a million peanut shells or the tobacco stains from this place. Home plate is north, and first base is northeast.\n\nYou can see McGraw here.\n\n\"Nice of you to drop by. Next time when I call for you, rookie, you come over! Got it? Tenney's back is acting up, and he won't be able to go today. You're starting at first base, batting seventh. Go talk to Matty to make sure you two are coordinating on the field. Then when you're ready, take some batting practice.\"\n\nYou could ask him about Tenney, the Cubs, batting practice or yourself.\n\n> You ask him about the Cubs\nYou ask Mr. McGraw about playing the Cubs today.\n\n\"They've played us tough all year, and now they're only a half-game back. Whoever wins today is in first place. If we're going to win the pennant, we need to take charge and bounce back from yesterday's mess. Not going to be easy with Pfiester on the hill.\"\n\nYou could ask him about Tenney, batting practice, yourself or Pfiester.\n\n> You ask him about Pfiester\n\"Got any ideas for facing Pfiester today, skip?\", you ask.\n\n\"They don't call him Jack the Giant Killer for nothing. He's been murdering us all year, and he's maybe their fourth-best pitcher. It's infuriating, to say the least. Ask some of the boys for tips on hitting him.\"\n\nYou hear the crack of the bat as Bresnahan continues his batting practice.\n\n> You ask him about yourself\n\"Thanks for giving me a chance today,\" you say.\n\n\"Don't blow it,\" he says.\n\nYou hear a dull thud as Bresnahan pops one up.\n\n> You ask about Tenney\n\"How bad is Tenney's back?,\" you ask.\n\n\"I don't think he'll be out more than a day or two,\" he says, \"but this is your chance, kid. Your first start. Better make the most of it.\"\n\n> Go north\nAre you sure you want to quit?\n\n> You ask about quitting\n\"Let's just focus on the game, shall we?\"\n\n> Go north\nYou turn away, and hear McGraw calling back after you. \"Merkle,\" he says, pointing at your spikes. \"Your laces.\" You note that they are untied.\n\nThis is home plate in your home park. During the game, there will be fewer people loitering here, and somewhat less chit-chat. A temporary backstop has been wheeled in for batting practice.\n\nThe whole lovely ballpark stretches out before you, invitingly. Your dugout is to the south, first base is southeast, the pitcher's mound is to the east, third base is northeast, and the visiting dugout is to the north.\n\nLeaning against the backstop is a bat.\n\nBresnahan stands in against Joe McGinnity, with Snodgrass crouched behind the plate. Matty and Donlin watch the proceedings from behind the safety of the backstop.\n\n> Tie laces\nYou lace up your new shoes.\n\n> You look at the bat\nA long, heavy piece of ash wood -- around 38 ounces -- with a slight taper toward the handle. Useful for hitting baseballs.\n\n> Tie shoes\nThe pair of brand-new spikes (tied) is already tied.\n\n> You talk to Matty\nMatty turns to you. \"Oh hey, Fred. I heard you'll be starting at first today. We'll be seeing a lot of each other, I think,\" he says with a wink.\n\nYou could ask him about the Cubs, Pfiester, batting practice, hitting or playing first.\n\nBresnahan's bat rings with solid contact.\n\n> You ask him about playing first\nYou bring up the subject of playing first today, and Matty nods.\n\n\"Yes, you and I will be seeing a lot of each other on the diamond this afternoon. I know you're a good glove, Fred, so I'm looking forward to seeing what you can do out there today. Just plant your foot on the bag, and give the boys a nice target for the throw,\" he says with a smile. \"But if the throw is off-line, forget about planting your foot. Go to where the ball is. The most important thing is to catch it.\nWe'd rather let the fellow be on first with an infield hit than be on second on a throwing error.\"\n\n(You can recall this advice later by typing REMEMBER MATTY'S ADVICE).\n\n> You ask him about the batting practice\n\"Looks like Bresnahan is winding down,\" you say. \"Do you want to go next?\"\n\n\"That's OK, Fred, you go as soon as you're ready. Just get the bat and STEP UP TO THE PLATE. You can DROP THE BAT when you're done.\"\n\nYou hear the crack of the bat as Bresnahan continues his batting practice.\n\n> You ask about Cubs\n\"Which Cubs give you the most trouble, Matty?\"\n\n\"Oh, Joe Tinker,\" he says without hesitation. \"He's had my number for years. But if you're talking about a rivalry on the mound, it's Three Finger Brown. He and I seem to match up on the mound an awful lot, and he wins much more than his share. But thankfully we won't be seeing him today, unless maybe in relief.\"\n\nYou could ask him about Pfiester, hitting or Three Finger Brown.\n\n> You ask him about Pfiester\n\"Any tips on hitting Jack Pfiester?\", you ask Matty.\n\nHe smiles and says, \"I'm one of the worst hitters on the club, Fred. You might want to talk to someone with a chance of hitting him, like Mike over there,\" pointing to Donlin.\n\n> You ask Donlin about the hitting\n\"Say, Mike, how do you approach an at bat against a tough pitcher?\"\n\n\"Well, kid, the way I see it, hitting is all about two things: pitch recognition and timing. You have to be able to identify a pitch right out of the pitcher's hand, whether it's a fastball or a curve or a change or a spitball or something else. You have to get good at anticipating where it's headed, too. Pitchers are going to want you to chase their pitch out of the strike zone; you have to make them throw you your pitch.\n\nAnd then there's timing. Pitchers are trying to foul up your timing, keep you off-balance, so they will vary the speed of their pitches.\n\nIf it's a fastball, it's coming hard; you'll need to start your swing early. For a fastball on the inside part of the plate, SWING EARLY TO PULL. For an outside fastball, SWING EARLY TO THE OPPOSITE FIELD. If they throw you something off-speed, like a changeup or a curve, it's going to be deceptively slow; you want to keep your hands back and swing late. If it's inside, SWING LATE TO PULL, and if it's outside, SWING LATE TO THE OPPOSITE FIELD. Of course, if it's out of the strike zone, you don't want to swing at all.\"\n\nYou could ask him about batting practice, Pfiester, pitch recognition, pulling the ball or the opposite field.\n\n> You ask him about the batting practice\n\"Looks like Bresnahan is winding down,\" you say. \"Do you want to go next?\"\n\n\"That's OK, kid, you go when you're ready. Just get the bat and STEP UP TO THE PLATE. You can DROP THE BAT when you're finished.\"\n\nYou could ask him about Pfiester, pitch recognition, pulling the ball or the opposite field.\n\nBresnahan curses as the pitch jams him and his hands sting.\n\n> You ask him about the pitch recognition\nYou ask Mike about recognizing pitches.\n\n\"The first thing to identify is the spin. A ball with backspin is going to be a fastball or a changeup. A ball with forward spin is going to be a curveball. A ball with no spin is a knuckleball, but Pfiester doesn't throw one, so you don't have to worry about that.\n\nYou also want to get a look at the pitcher's grip if you can. If the pitcher's any good, his motion with the fastball and change is going to look exactly the same, so you don't know which is which. One way to tell is to get a look at his pitching hand when he's in his windup or in the set position. If he's got two fingers spread out on top, and the thumb underneath, that's a fastball. If there's three fingers on top, it means he's gripping it more tightly to slow it down. It's a changeup. Two fingers on the side along the seam means it's a curve.\"\n\n(You can recall this advice later by typing REMEMBER DONLIN'S ADVICE).\n\n> You ask him about pulling the the ball\nYou ask Mike about pulling the ball.\n\n\"You can really drive an inside pitch if you try to pull it. As a righthander, you pull the ball to left field,\" he says.\n\nYou hear a dull thud as Bresnahan pops one up.\n\n> You ask him about the the opposite field\nYou ask Mike about the opposite field.\n\n\"You want to go the opposite way on a pitch on the outer half of the plate. To right field, in your case. Left, in mine.\"\n\n> You step up to the the plate\nYou pick up the bat.\n\nBresnahan takes his last cut and then walks over to talk hitters with Matty.\n\nHaving decided you've seen enough of the park, you step in to replace him, dig a comfortable spot for yourself with your spikes, heft your bat on your right shoulder, and get ready. The club's veteran, Iron Man Joe McGinnity, is throwing batting practice today. He's got a bucket of baseballs that he'll be throwing nice and easy to you. Everything will be somewhere near the strike zone, close enough that you can hit it. \"I'll keep throwing, and you keep hitting,\" he hollers from the mound. \"Just drop the bat to let me know when you're done.\"\n\nMcGinnity begins his delivery. During his windup, you notice he's got his index and middle fingers together, a little off-center. The ball starts high and inside, then drops vertically, with what appears to be forward spin.\n\n> You remember the donlin's advice\nYou remember Donlin's advice about hitting and recognizing pitches: Two fingers on top with backspin means it's a fastball; start your swing early. Two fingers on the seams with forward spin means it's a curveball. Three fingers on top with backspin means it's off-speed. Start your swing late for those two. If it's an inside pitch, pull the ball; if it's outside, hit it to the opposite field.\n\nYou take the pitch, and the ball pops in Snodgrass's mitt.\n\nSnodgrass flips a ball back to McGinnity.\n\n> Wait\nTime passes.\n\nMcGinnity winds up. As he reaches the top of his motion, you can see that he's gripping the ball with three fingers spread out on top. The pitch darts to the inner half of the plate, with what might be backspin.\n\n> Swing late to pull\nYou stay patient, and then pounce on the inside pitch, sending a line drive over short.\n\nHe reaches down for another ball.\n\n> You wait\nTime passes.\n\nMcGinnity begins his delivery. During his windup, you notice he's gripping the ball with three fingers spread out on top. The ball tails away to the outer half of the plate, with what might be backspin.\n\n> Swing late to the the opposite field\nYou keep your hands back and wait on the pitch, driving it over the first base position and into right field. That's a nice piece of hitting.\n\nMcGinnity regards your handiwork with evident satisfaction.\n\nSnodgrass flips a ball back to McGinnity.\n\n> You wait awhile\nTime passes.\n\nMcGinnity winds up. As he reaches the top of his motion, you can see that he's gripping the ball with three fingers spread out on top. The pitch tails away to the outer half of the plate, with what might be backspin.\n\n> Swing late to the the opposite field\nYou keep your hands back and wait on the pitch, dumping it down the line and into the right field corner. That's a nice piece of hitting.\n\nMcGinnity regards your handiwork with evident satisfaction.\n\nHe reaches down for another ball.\n\n> You wait a while\nTime passes.\n\nMcGinnity begins his delivery. When he comes to a set position, you notice he's gripping the ball with three fingers spread out on top.\nThe ball darts to the inner half of the plate, with what might be backspin.\n\n> Swing late to pull\nYou stay patient, and then pounce on the inside pitch, but you just miss hitting the sweet spot, settling for a sharp ground ball to third. Even when you guess right, you don't always get good wood on the ball. It's a game of inches, as they say.\n\nMcGinnity gets another ball.\n\n> Wait\nTime passes.\n\nMcGinnity winds up. During his windup, you can see that he is grasping the ball with two fingers spread out on top of the ball and his thumb tucked underneath. The pitch tails away to the outer half of the plate, with tight backspin.\n\n> Swing early to the the opposite field\nYou keep your hands back and execute an inside-out swing, dumping the ball down the line and into the right field corner.\n\nMcGinnity regards your handiwork with evident satisfaction.\n\nHe reaches down for another ball.\n\n> You wait\nTime passes.\n\nMcGinnity begins his delivery. When he comes to a set position, you notice he's got his index and middle fingers together, a little off-center. The ball starts high and outside, then drops vertically, with what appears to be forward spin.\n\n> Swing late to pull\nYou try pulling the ball to left, but it's too far outside. You hit a two-hopper to short.\n\nHe grabs another ball from the bucket.\n\n> You wait a while\nTime passes.\n\nMcGinnity winds up. As he reaches the top of his motion, you can see that he is grasping the ball with two fingers spread out on top of the ball and his thumb tucked underneath. The pitch darts to the inner half of the plate, with tight backspin.\n\n> Swing early to pull\nYou pounce on the inside fastball and send a rope into left field.\n\nMcGinnity gets another ball.\n\n> Wait\nTime passes.\n\nMcGinnity begins his delivery. When he comes to a set position, you notice he is grasping the ball with two fingers spread out on top of the ball and his thumb tucked underneath. The ball darts to the inner half of the plate, with tight backspin.\n\n> Swing early to pull\nYou pounce on the inside fastball and send a line drive over short.\n\nMcGinnity turns around to watch. He nods at you approvingly.\n\nSnodgrass flips a ball back to McGinnity.\n\n> You drop the the bat\nYou signal to McGinnity that you've had enough, and drop the bat by the backstop. Matty steps in after you, and begins working on his bunting with Joe.\n\n> You drop the the ball\nThe hour draws near for the first pitch. Both clubs are nearly done with their warm-ups. The sausage vendors have begun frying up their wares, and the smell has begun wafting through the park. You can hear the Ninth Avenue Elevated dropping off fans every few minutes. Hank O'Day, who will be calling balls and strikes today, is rubbing up a few baseballs, and the groundskeeper is doing some last-minute tidying of the mound, to conform to Matty's liking.\n\nYour date with humiliation awaits you. First, another taste of what's to come.\n\n> You buy a the sausage\nA Sunday morning in church, circa 1936. People are milling around before the start of the service. They're your neighbors, for the most part. They know to tread lightly around certain subjects. Some other folks within earshot, not so much. They're busy chattering away about the pennant races. You try to shut them out, but it's impossible. You can't not hear them.\n\nThe reverend isn't here today; looks like they've got a visiting minister in. He steps up to the pulpit, maybe a little nervous, clears his throat. The crowd take their seats and wait expectantly. \"I want to begin,\" he says, forcing the sort of smile that accompanies a weak joke, \"by admitting to you an ugly secret. I am from Toledo, Ohio; birthplace of the infamous Fred 'Bonehead' Merkle!\"\n\nA few of the other parishioners gasp, and you can feel their eyes on you. Ethel squeezes your hand. Well, that's just splendid. It's one thing to hear it when you're umpiring an exhibition game  -- as happened a couple of years ago, the last time you tried to set foot on a major league diamond. But now you can't even come to church anymore. You gather up Ethel and the kids and quietly walk out.\n\nThe final indignity: you weren't even born in Toledo.\n\n> Tie shoes\nThe stands are packed with 20,000 cranks as the battle for the National League pennant begins. The game is a very tight affair. For the first four innings, Matty and Pfiester throw zeroes up on the board. The Cubs' defense is a little shaky, but the Gothams cannot capitalize.\nYou help out with a nice grab on Joe Tinker's line drive in the 2nd, but up until the final frame, you do very little with the stick -- you're 0 for 2 with a walk.\n\nIn the fifth, the Cubs strike. It's Tinker -- Matty's nemesis. He drives a ball to right that skips past Donlin. While Turkey Mike scrambles to retrieve it, Tinker circles the bases for a home run.\nCubs 1, Giants 0.\n\nIn the sixth, Donlin gets his revenge by driving in Buck Herzog with the tying run. Cubs 1, Giants 1.\n\nThe pitchers' duel continues for another inning. Now it's the top of the eighth. You and the other Giants are out in the field, playing defense. Johnny Kling, the Cubs' catcher, leads off for Chicago. There'll be a chance to avoid your fate here, if you so choose.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear. Most are shouting encouragement; a few, perhaps drunk, are heckling.\n\n++\n| Part III |\n++\n\n> Tie shoes\nYou double-knot the spikes. Maybe this time they'll hold.\n\n> Inventory\nYou are carrying:\na glove (being worn)\na pair of brand-new spikes (tied) (being worn)\na cap (being worn)\na uniform (being worn)\n\nMatty deals to Kling. It's a fadeaway -- a Matty specialty -- and it runs right in on Kling's hands. He makes a defensive swing, and taps a slow roller towards Art Devlin at third. Kling dashes towards first base as Devlin barehands the ball.\n\n> You remember matty's advice\nYou remember Matty's advice about fielding:\n\"Just plant your foot on the bag, and give the boys a nice target for the throw. But if the throw is off-line, forget about keeping your foot on the bag. Step off and go to where the ball is. The most important thing is to catch it. We'd rather let the fellow be on first with a hit than be on second on a throwing error.\"\n\nDevlin starts to throw, but sees that you're not covering the bag. He pockets the ball rather than risk throwing it into right field somewhere. The cranks are screaming bloody murder, all of it directed at you.\n\n> You plant the foot on the bag\nYou plant your right foot on the bag, and extend your gloved left hand out as a target for the throw from Devlin.\n\nDevlin fires across the diamond. The ball is headed right for you.\n\n> You catch the ball\nYou field the throw cleanly, but Kling beats the throw by a couple of steps. The crowd lets out a collective sound of annoyance, but you didn't have a chance of putting him out. You flip the ball back to Matty.\n\n> You wait awhile\nTime passes.\n\nKling dusts himself off. \"Didn't think I'd beat that one out,\" he says. \"Boy, Mathewson's been tough today, don't you think? We're lucky to have gotten anything off him at all.\" He looks down, points at your spikes and says \"Hey, Fred, looks like your laces are untied. You might want to look at that.\"\n\n> You plant the foot on the bag\nYou plant your right foot on the bag, and extend your gloved left hand out as a target for the throw from Devlin.\n\nWith one on and none out, the pitcher, Jack Pfiester, steps up to bat. Bresnahan calls for time, and starts to trot out toward the mound. Matty waves you in as well, along with Herzog, Bridwell and Devlin.\n\n> Go northwest\nYou can't just go wandering all over the field during the game. You need to field your position.\n\nMatty is waving you over to confer with the other fellows. Kling whispers over to you, and points to the north: \"Merkle, I think you're wanted on the mound.\"\n\n> You go to the mound\nThis is the pitcher's mound. It rises to a height of about fifteen inches to give the pitcher a better angle from which to throw. In the old days, the hurler had a chalk-outlined box on level ground, and could throw the ball from anywhere inside that area. (Thus the expression, \"knocked out of the box\", when a pitcher is hit hard by the opposing team.)  Nowadays the pitcher must throw from the pitching rubber.\n\nHome plate is west; second base is east; first base is south; and third base is north.\n\nYou can see a rosin bag here.\n\nThe entire infield is gathered here on the hill. Bresnahan begins. \"All right. Pfiester is obviously going to be sacrificing here. Let's go over what we're going to do.\"\n\n> You listen\nFrom every direction, the dull roar of the crowd washes over you.\n\nHe looks at you and Devlin. \"Fred, Art: you two creep up a little bit when he squares around to bunt and be prepared to field the ball if it's hit your way.\"\n\n> Wait\nTime passes.\n\nHe then turns to Bridwell and Herzog. \"Al, you cover second. Fred, if you field the bunt, Buck will cover first for you. Otherwise, you cover first as usual.\"\n\n> You wait awhile\nTime passes.\n\n\"Matty, get ready to help out if the bunt is right at you.\" With that, Hank O'Day starts lumbering towards the mound to break up the conference and get the game moving.\n\n> You go to first\nYou probably want to listen to this.\n\nThis is the pitcher's mound. It rises to a height of about fifteen inches to give the pitcher a better angle from which to throw. In the old days, the hurler had a chalk-outlined box on level ground, and could throw the ball from anywhere inside that area. (Thus the expression, \"knocked out of the box\", when a pitcher is hit hard by the opposing team.)  Nowadays the pitcher must throw from the pitching rubber.\n\nHome plate is west; second base is east; first base is south; and third base is north.\n\nYou can see a rosin bag here.\n\nBresnahan wraps things up. \"OK, everyone know what they're doing?\"\nThe other fellows all nod their assent. Bresnahan heads back behind the plate, and Matty gives you a quick wink. The other infielders, including you, move back to their original positions.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nJohnny Kling is here, taking a short lead off first base.\n\nMatty steps on the rubber. He looks in at Bresnahan, who flashes the signs. Matty nods, and sets. He gives a quick look back at Kling, to make sure he's not taking a big lead. Then he begins his windup. Pfiester starts to square around to bunt, holding his bat right out in front of him to deaden the ball.\n\n> You creep up\nYou and Devlin take a few steps towards home plate to pounce on Pfiester's bunt, should it come your way.\n\nMatty sets and delivers. The pitch rides up high and tight to Pfiester. There's nothing he can do with that pitch, but he tries to bunt anyway. The result is a two-hopper, straight to Matty. Looks like you've covering first base after all. Kling takes off for second, and Pfiester heads to first, disgusted. Instead of a sacrifice bunt, it's looking like a double play. The cranks along the sidelines are screaming \"Two! Two!\".\n\nMatty wheels around 180 degrees just as Bridwell reaches the bag. He fires. Bridwell takes the throw and sweeps his foot across the bag, just as Kling comes bearing down on him. One out. He steps to the outfield side of the bag, and gets set to throw the ball to you, to complete the double play.\n\n> You plant foot on the bag\nYou're already stepping on it.\n\nBridwell throws off-balance as he tries to get out of Kling's way.\nEven as it leaves his hand, you can see that it's starting to tail toward the home plate side of the bag. It's still a little ways off, but you can tell that it's going to be a real stretch to field this cleanly when it arrives. Time seems to slow down, as the image of a botched play flashes before you.\n\n> You catch the ball\nThe ball isn't within reach.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You step off\nWhat do you want to step off?\n\n> Bag\nYou take your foot off the bag, in an attempt to snare the errant throw from Bridwell. It's now within reach.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You catch the ball\nYou catch the throw from Bridwell cleanly, just as Pfiester arrives. But then disaster strikes. Your laces must have come untied again, and you trip over yourself, just as you're about to apply the tag to the Giant Killer. Somehow Pfiester manages to avoid your toppling frame with a deft bit of acrobatics. He's safe, while you collapse in a pile on the turf.\n\nFortunately, you're not injured, just a little embarrassed, but it was an awkward play to begin with, and to most observers, it looked as if you were trying to avoid being run over by Pfiester while tagging him. Bridwell gets most of the blame for his errant throw. The Cubs ultimately win the game 2-1, which is terrible, of course, but you will win other pennants with the Giants, and most importantly, you are not humiliated.\n\n> Tie shoes\nThe pair of brand-new spikes (tied) is already tied.\n\nThe ball sails by as you make no attempt to catch it, ricochets off the tarpaulin, and rolls halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives you an error on the play. The crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place.\n\n> Wait\nTime passes.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You get the ball\nBridwell's throw is too far off-line for you to catch it while keeping your foot on the bag. It skips past you, ricochets off the tarpaulin, and bounces halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives an error to Bridwell on the play.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place. From a team standpoint, this is obviously a disaster. Personally, though, this is a godsend. You played a role in the debacle, but Bridwell is the goat, not you. You play the rest of your career, and live the rest of your life, as a solid, unremarkable, unremembered ballplayer.\n\n> You look at the shoes\nYour new pair of baseball cleats: bright, shiny, and a little stiff. The laces they came with are oddly slick and perhaps a bit short as well, making them difficult to keep tied.\n\nThe ball sails by as you make no attempt to catch it, ricochets off the tarpaulin, and rolls halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives you an error on the play. The crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place.\n\n> Wait\nTime passes.\n\nHe then turns to Bridwell and Herzog. \"Al, you cover second. Fred, if you field the bunt, Buck will cover first for you. Otherwise, you cover first as usual.\"\n\n> You wait\nTime passes.\n\nAcross the diamond, Devlin creeps up towards home plate. Herzog notices you not doing the same. He flashes you a look as if to say, Can't you follow instructions, Merkle? Well, it's too late now.\n\nMatty sets and delivers. The pitch rides up high and tight to Pfiester. There's nothing he can do with that pitch, but he tries to bunt anyway. The result is a two-hopper, straight to Matty. Looks like you've covering first base after all. Kling takes off for second, and Pfiester heads to first, disgusted. Instead of a sacrifice bunt, it's looking like a double play. The cranks along the sidelines are screaming \"Two! Two!\".\n\nMatty wheels around 180 degrees just as Bridwell reaches the bag. He fires. Bridwell takes the throw and sweeps his foot across the bag, just as Kling comes bearing down on him. One out. He steps to the outfield side of the bag, and gets set to throw the ball to you, to complete the double play.\n\n> Tie shoe\nThe pair of brand-new spikes (tied) is already tied.\n\nBridwell throws off-balance as he tries to get out of Kling's way.\nEven as it leaves his hand, you can see that it's starting to tail toward the home plate side of the bag. It's still a little ways off, but you can tell that it's going to be a real stretch to field this cleanly when it arrives. Time seems to slow down, as the image of a botched play flashes before you.\n\n> You step off\nWhat do you want to step off?\n\n> You catch the ball\nThe ball isn't within reach.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You wait awhile\nTime passes.\n\nThe ball sails by as you make no attempt to catch it, ricochets off the tarpaulin, and rolls halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives you an error on the play. The crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place.\n\n> You examine Herzog\nBuck's another rookie, but he's played quite a bit more than you this year. He's filling in today for Larry Doyle, who usually mans the keystone for the Giants. Kind of a cocky fellow, and tends to grate on the opposing players' nerves.\n\n\"Matty, get ready to help out if the bunt is right at you.\" With that, Hank O'Day starts lumbering towards the mound to break up the conference and get the game moving.\n\n> You go back\n(to Giants' Dugout)\nWeren't you listening to Bresnahan? You need to field your position, which is first base.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nJohnny Kling is here, taking a short lead off first base.\n\nAcross the diamond, Devlin creeps up towards home plate. Herzog notices you not doing the same. He flashes you a look as if to say, Can't you follow instructions, Merkle? Well, it's too late now.\n\nMatty sets and delivers. The pitch rides up high and tight to Pfiester. There's nothing he can do with that pitch, but he tries to bunt anyway. The result is a two-hopper, straight to Matty. Looks like you've covering first base after all. Kling takes off for second, and Pfiester heads to first, disgusted. Instead of a sacrifice bunt, it's looking like a double play. The cranks along the sidelines are screaming \"Two! Two!\".\n\nMatty wheels around 180 degrees just as Bridwell reaches the bag. He fires. Bridwell takes the throw and sweeps his foot across the bag, just as Kling comes bearing down on him. One out. He steps to the outfield side of the bag, and gets set to throw the ball to you, to complete the double play.\n\n> You step off the bag\nYou take your foot off the bag, in an attempt to snare the errant throw from Bridwell. It's now within reach.\n\nBridwell turns, but sees that you're not covering first. He just holds on to the ball, and Pfiester reaches on a fielder's choice.\n\nThe crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\n> Creep\nThe ball was not hit to you. At this point, you need to cover first.\n\nBridwell throws off-balance as he tries to get out of Kling's way.\nEven as it leaves his hand, you can see that it's starting to tail toward the home plate side of the bag. It's still a little ways off, but you can tell that it's going to be a real stretch to field this cleanly when it arrives. Time seems to slow down, as the image of a botched play flashes before you.\n\n> You get the ball\nWhen it's thrown to you, and when it's in range of your glove, you can CATCH it.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You catch the ball\nBridwell's throw is too far off-line for you to catch it while keeping your foot on the bag. It skips past you, ricochets off the tarpaulin, and bounces halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives an error to Bridwell on the play.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place. From a team standpoint, this is obviously a disaster. Personally, though, this is a godsend. You played a role in the debacle, but Bridwell is the goat, not you. You play the rest of your career, and live the rest of your life, as a solid, unremarkable, unremembered ballplayer.\n\n> You go to second\nWeren't you listening to Bresnahan? You need to field your position, which is first base.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe ball sails by as you make no attempt to catch it, ricochets off the tarpaulin, and rolls halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives you an error on the play. The crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place.\n\n> You step on the bag\nYou plant your right foot on the bag, and extend your gloved left hand out as a target for the throw from Bridwell.\n\nThe ball sails by as you make no attempt to catch it, ricochets off the tarpaulin, and rolls halfway up the right field line. Pfiester easily trots into second, while Kling comes around to score. The official scorer gives you an error on the play. The crowd boos your mercilessly. You even hear \"bonehead\" mixed in with the jeers. Mr. McGraw leaves the dugout to pull you from the game, a grave step when taken in the middle of an inning. Snodgrass goes out to replace you at first.\n\n\"I don't know where your head is, Merkle, but it ain't in the game. Go hit the showers. It'll be a long time before you start again in this league,\" McGraw growls.\n\nThe one-run lead holds up: Cubs 2, Giants 1 is the final score, and the Cubs are now in first place.\n\n> You go to first Base\nYou probably want to listen to this.\n\nThis is the pitcher's mound. It rises to a height of about fifteen inches to give the pitcher a better angle from which to throw. In the old days, the hurler had a chalk-outlined box on level ground, and could throw the ball from anywhere inside that area. (Thus the expression, \"knocked out of the box\", when a pitcher is hit hard by the opposing team.)  Nowadays the pitcher must throw from the pitching rubber.\n\nHome plate is west; second base is east; first base is south; and third base is north.\n\nYou can see a rosin bag here.\n\nHe then turns to Bridwell and Herzog. \"Al, you cover second. Fred, if you field the bunt, Buck will cover first for you. Otherwise, you cover first as usual.\"\n\n> You examine bag\nA small white bag filled with a powdered tree resin. Rosin is dry and just a little bit sticky. Pitchers use it to get a better grip on the ball when their hands get slick.\n\n\"Matty, get ready to help out if the bunt is right at you.\" With that, Hank O'Day starts lumbering towards the mound to break up the conference and get the game moving.\n\n> You get the resin\nYou pick up the rosin bag and toss it a couple of times. Your hands are now dusted with rosin, making them very faintly sticky.\n\nBresnahan wraps things up. \"OK, everyone know what they're doing?\"\nThe other fellows all nod their assent. Bresnahan heads back behind the plate, and Matty gives you a quick wink. The other infielders, including you, move back to their original positions.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nJohnny Kling is here, taking a short lead off first base.\n\nMatty steps on the rubber. He looks in at Bresnahan, who flashes the signs. Matty nods, and sets. He gives a quick look back at Kling, to make sure he's not taking a big lead. Then he begins his windup. Pfiester starts to square around to bunt, holding his bat right out in front of him to deaden the ball.\n\n> You creep up\nYou and Devlin take a few steps towards home plate to pounce on Pfiester's bunt, should it come your way.\n\nMatty sets and delivers. The pitch rides up high and tight to Pfiester. There's nothing he can do with that pitch, but he tries to bunt anyway. The result is a two-hopper, straight to Matty. Looks like you've covering first base after all. Kling takes off for second, and Pfiester heads to first, disgusted. Instead of a sacrifice bunt, it's looking like a double play. The cranks along the sidelines are screaming \"Two! Two!\".\n\nMatty wheels around 180 degrees just as Bridwell reaches the bag. He fires. Bridwell takes the throw and sweeps his foot across the bag, just as Kling comes bearing down on him. One out. He steps to the outfield side of the bag, and gets set to throw the ball to you, to complete the double play.\n\n> You step on the bag\n(the bag)\nYou're already stepping on it.\n\nBridwell throws off-balance as he tries to get out of Kling's way.\nEven as it leaves his hand, you can see that it's starting to tail toward the home plate side of the bag. It's still a little ways off, but you can tell that it's going to be a real stretch to field this cleanly when it arrives. Time seems to slow down, as the image of a botched play flashes before you.\n\n> You step off the bag\n(the bag)\nYou take your foot off the bag, in an attempt to snare the errant throw from Bridwell. It's now within reach.\n\nPfiester is racing down the line as fast as he can, as the ball follows its errant arc, as near your glove as it's going to get. The Polo Grounds faithful gasp. It's going to be a tough play.\n\n> You examine the ball\nIt's a somewhat misshapen sphere of filthy horsehide tied with yarn, wrapped around a rubber and cork center. Filthy and misshapen, because the same ball is used for nearly the entire game. Foul balls are retrieved from the stands whenever possible. Pitchers coat the thing with dirt, tobacco juice, pine tar, whatever is available, to make it more difficult to hit. Late in a game, with the shadows advancing on the field, the ball can become nigh-invisible to a hitter. And nobody, except Bresnahan, wears a batting helmet.\n\nHe then turns to Bridwell and Herzog. \"Al, you cover second. Fred, if you field the bunt, Buck will cover first for you. Otherwise, you cover first as usual.\"\n\n> You put the resin on the ball\n(first taking the rosin bag)\n\nYou pick up the rosin bag and toss it a couple of times. Your hands are now dusted with rosin, making them very faintly sticky.\nYou need to be holding the rosin bag before you can put it on top of something else.\n\n\"Matty, get ready to help out if the bunt is right at you.\" With that, Hank O'Day starts lumbering towards the mound to break up the conference and get the game moving.\n\n> You get ball\nWhen it's thrown to you, and when it's in range of your glove, you can CATCH it.\n\nBresnahan wraps things up. \"OK, everyone know what they're doing?\"\nThe other fellows all nod their assent. Bresnahan heads back behind the plate, and Matty gives you a quick wink. The other infielders, including you, move back to their original positions.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nJohnny Kling is here, taking a short lead off first base.\n\nMatty steps on the rubber. He looks in at Bresnahan, who flashes the signs. Matty nods, and sets. He gives a quick look back at Kling, to make sure he's not taking a big lead. Then he begins his windup. Pfiester starts to square around to bunt, holding his bat right out in front of him to deaden the ball.\n\n> You touch ball\nThe ball isn't within reach.\n\nBresnahan wraps things up. \"OK, everyone know what they're doing?\"\nThe other fellows all nod their assent. Bresnahan heads back behind the plate, and Matty gives you a quick wink. The other infielders, including you, move back to their original positions.\n\nYou stand a few steps behind and to the right of first base, wearing your glove, and ready to field your position should the ball come your way. Matty is on the mound, looking in at Bresnahan behind the plate. To your right is Buck Herzog, the second baseman. The cranks along the first base line are almost close enough to touch. They're certainly close enough to hear.\n\nJohnny Kling is here, taking a short lead off first base.\n\nMatty steps on the rubber. He looks in at Bresnahan, who flashes the signs. Matty nods, and sets. He gives a quick look back at Kling, to make sure he's not taking a big lead. Then he begins his windup. Pfiester starts to square around to bunt, holding his bat right out in front of him to deaden the ball.\n\n> You get the rosin\nYou pick up the rosin bag and toss it a couple of times. Your hands are now dusted with rosin, making them very faintly sticky.\n\nHe then turns to Bridwell and Herzog. \"Al, you cover second. Fred, if you field the bunt, Buck will cover first for you. Otherwise, you cover first as usual.\"\n\n> Tie shoes\nYou double-knot your spikes. With the rosin on your hands, and now on the laces, you feel pretty confident that they will finally stay tied.\n\n\"Matty, get ready to help out if the bunt is right at you.\" With that, Hank O'Day starts lumbering towards the mound to break up the conference and get the game moving.\n\n> You catch the ball\nThe ball isn't within reach.\n\nBridwell throws off-balance as he tries to get out of Kling's way.\nEven as it leaves his hand, you can see that it's starting to tail toward the home plate side of the bag. It's still a little ways off, but you can tell that it's going to be a real stretch to field this cleanly when it arrives. Time seems to slow down, as the image of a botched play flashes before you.\n\n> Swing early to the the opposite field\nYou offer at the pitch, but it's got late movement. You get a piece of it, fouling it off. O'Day pumps his fist to indicate a strike.\n\nPfiester gets the ball back as the din of the crowd grows ever louder.\n\n> Wait\nTime passes.\n\nPfiester begins his delivery. As he reaches the top of his motion, you notice he is grasping the ball with two fingers spread out on top of the ball and his thumb tucked underneath. The ball tails away to the outer half of the plate, with tight backspin.\n\n> Swing early to the the opposite field\nYou offer at the pitch, but it's got late movement. You get a piece of it, fouling it off. O'Day pumps his fist to indicate a strike.\n\nThe crowd roars, trying to get you a hit through sheer force of will.\n\n> You wait for a while\nTime passes.\n\nPfiester winds up. When he comes to a set position, you can see that what looks like a fastball grip. The pitch flutters toward the inside part of the plate with a sort of loose backspin.\n\n> Swing late to pull\nYou wave at the offering, but it's too far outside the strike zone. A swing and a miss. Strike three.\n\nThe official scorer marks a \"K\" for a strikeout. Kling hands the ball to O'Day and the Cubs head to the dugout, all smiles.\n\nIn the tenth, Chance leads off with a double, Steinfeldt advances him to third on a groundout to Herzog, Hofman flies out, but then Tinker strikes again. He raps a single to left, Chance scores, and the Cubs win. They're now in first place in the National League, and never surrender it.\n\nYour failure in the ninth is painful, but short-lived. Everyone strikes out sometimes. Two days from now, no one will remember the details of what happened in the ninth inning.\n\n> Wait\nTime passes.\n\nYou let the pitch go by. It's well out of the strike zone. \"Ball one!,\" yells O'Day.\n\nPfiester gets the ball back as the din of the crowd grows ever louder.\n\n> You wait\nTime passes.\n\nPfiester begins his delivery. As he reaches the top of his motion, you notice what looks like a fastball grip. The ball flutters toward the inside part of the plate with a sort of loose backspin.\n\n> You look\nThough the bugs are screaming, and there's a runner on first, and a dugout full of teammates cheering you on, and two umpires and eight other Cubs arrayed in front of you, your field of vision is narrowed to the one man on the hill. It's just you and Jack.\n\nYou let the pitch go by. It's well out of the strike zone. \"Ball two!,\" yells O'Day.\n\nThe crowd roars, trying to get you a hit through sheer force of will.\n\n> You wait\nTime passes.\n\nPfiester winds up. During his windup, you can see that he's gripping the ball with three fingers spread out on top. The pitch tails away to the outer half of the plate, with what might be backspin.\n\n> Swing late to the the opposite field\nIt's an off-speed pitch on the outer half of the plate. You draw your hands back, step with your left foot, and swing. There's a satisfying THWOCK sound: you got good wood on it. The ball shoots between Evers and Chance into right-center. It's a clean single! The crowd erupts. McCormick takes off towards second base.\n\n> You run to first\nYou race to first base, tossing the bat aside en route. You make a wide turn, but there is no point in trying to stretch this into a double. Your run doesn't count. You settle in at first as the Polo Grounds cranks cheer wildly for you. McCormick makes it all the way to third. The winning run is only ninety feet away.\n\nYou're a few steps off first base, this time as a baserunner. The cranks nearby are singing your praises.\n\nFirst and third, two outs. Frank Chance, the Cubs' manager and first baseman, stands next to you, keeping you close to the base. Al Bridwell steps up to the plate. In the on-deck circle, Matty gives you a congratulatory nod.\n\nFor the first time this inning, you exhale. You've done your part, kept the inning alive, put the winning run in scoring position. Everything is right with the world.\n\nPfiester and Kling agree on the pitch. You take a few steps off first in anticipation. Maybe a few too many steps. You catch Bridwell's eye, and he looks at you as if to say, Are you nuts, Merkle? Where are you going? Pfiester steps off the rubber, and you scamper back to first.\n\n> You step off the bag\nBut you aren't on the bag.\n\nThe crowd roars, cheering on Bridwell as he gets set for the pitch.\n\n> You wait awhile\nTime passes.\n\nPfiester winds, kicks and delivers. Bridwell swings -- it's a hit! McCormick starts racing home with the winning run, and the cranks go insane. They start pouring onto the field, whooping in celebration, hoping to touch the idols of the Polo Grounds in the fading afternoon light.\n\nYou are halfway to second base when Bridwell reaches first, and Matty and McGraw greet McCormick at home. The roar from the crowd is deafening, and the field is swarming with the faithful. The scene is utter chaos.\n\n> You go to second\nGo to second base, you say? Oh, the thousands of times you have wished this, lying awake, pleading with God, anyone, to let you go to second base. It has tormented you for decades. You would trade anything you've ever had, except your family, to go to second base.\nBut it's a trade you can't make.\n\n> You exit\nYou step out onto the field, for the first time in years, and survey the lovely, if crumbling, horseshoe-shaped park. You brace for the worst.\n\nThen, something shocking and beautiful happens. The crowd rises to their feet, and they cheer. No boos, no heckling, no insults. Just cheers and applause and love for you, Fred Merkle. You wipe a tear away, and trot towards first base.\n\nMaybe Mr. Durocher was wrong."
    },
    {
        "text": "[Themes: Fantasy]\n\nFor seven years you have lain in your bed, terrified of the night. Lying in the center of your bed, where the monster couldn't reach you, you waited in horror for the day. Your mom and dad didn't believe that there were monsters. They even checked. You had resigned that this would be your life.\n\nThen your baby brother was born. For a while he slept in mom and dad's room, but now he's been moved into the crib in your room. And now the monster found an easier target. That's when you decided that it ends tonight. You've decided that tonight you will kill the monster. . .\n\nYour baby brother's last chance. by Dan Doyle III\n\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nOn your bed is Donald Duck.\n\n[Author's Note: For many years you have hidden from the monster under your bed. Now, with the birth of your baby brother, the monster threatens not only you, but your family. Now it is not a time to hide, now it is time to fight the monster and protect your baby brother. Now it is time to destroy the terror UNDER THE BED.]\n\n> You examine Donald\nMost people say that Donald Duck is just a stuffed animal, but he's Real to you, and that's all that matters. He would keep you feeling safe when the monsters would come for you at night. Talking to him often makes you feel better. Sometimes you think he understands you better than your parents, even if he only talks to you for pretend. You find that when you have trouble thinking about what to do next, it's helpful to ask Donald, or to show him other things you've found.\n\n> You kill the monster\n\"Monsters are dangerous creatures. They only come out at night, and the light scares them away. Normal weapons won't hurt them- not even a bazooka! Only light can hurt a monster.\" says Donald.\n\n> You hug donald\nYou give Donald Duck a squeeze and a kiss. You'll need some courage for the upcoming battle.\n\n> You look at the bed\nWhich do you mean, your bed or under the bed?\n\n> You look at your bed\nOn your bed is Donald Duck.\n\n> You look at your bed\nTaken.\n\nYou can't see any such thing.\n\n> You look at the crib\nIn Danny's crib is Danny.\n\n> You examine danny\nThis is your little brother. He cries sometimes and he's kind of a pain, but you can't let the monster get him! He's wearing his favorite white shirt. Danny is holding a wooden sword."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\n> You look at the closet\nThis is your closet. Can a monster get into the room this way?\n\nDanny watches you intently.\n\n> You open the closet\nYou open the room closet.\n\n> You look in the closet\nThe room closet is empty.\n\n> You put Danny in the closet\n(first taking Danny)\n\nOh, no. Last time you took Danny out of the crib your mom got so mad! Better not make her yell at you again. In any case, Danny is probably safer inside the crib than outside.\n\n> You put the crib in the closet\n(first taking Danny's crib)\n\nThat's hardly portable.\n\n> You take the sword\nYou grab the wooden sword, but Danny has a grip of steel on it. You pull harder, but he starts to get that scrunched up face he makes when he's about to start screaming and you ease up. You won't be able to save him if Mom and Dad come in and make you go to bed!\n\n> You give you the sowrd\nDanny farts, but it ends up being too big for him, so he giggles.\n\n> You take the sword\nTaken.\n\n> You look at the sword\nThis is a gray sword with a black handle. Your Uncle Pat got this for you last year, but Danny plays with it a lot.\n\n> Go southwest\nThis is the hallway. To the south the hallway extends to the kitchen, and then to the living room, where Mom and Dad are probably watching TV or something. They always get to stay up late. Back to the northeast is your room, and to the northwest is the laundry room where Mom washes your clothes. The closet here is where mom keeps extra blankets and stuff.\n\nYou hear your parents talking in the living room, but it's too faint to make out what they're saying.\n\n> You open the closet\nYou open the hall closet, revealing a sheet.\n\n> You look at the sheet\nThis is a white sheet for your bed.\n\n> Go northwest\nThis is where Mom cleans your clothes and stuff in the washer and dryer. There's a big laundry tub here that the washer empties in to and some shelves where she keeps stuff. The only way out is back southeast to the hallway.\n\nOn the shelves are a blacklight and laundry detergent.\n\n> You examine tub\nYou can't quite reach the top of the laundry tub to mess with it at all.\n\nYou hear clock in the living room chime eight times. You only have four hours to prepare for the monster.\n\n> You take the blacklight and the detergent\nblacklight: Taken.\nlaundry detergent: Taken.\n\n> You look at the blacklight\nIt's a small black thing with a purple bulb in it that glows when you turn it on. Sometimes things glow when the light is on.\n\nThe blacklight is currently switched off.\n\n> You examine the detergent\nIt's a jug of goop that mom puts in the washer with your clothes.\n\n> You turn on light\nYou switch the blacklight on.\n\n> You look at the sheet\nThis is a white sheet for your bed. The sheet seems to glow white with the blacklight on."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis is where Mom cleans your clothes and stuff in the washer and dryer. There's a big laundry tub here that the washer empties in to and some shelves where she keeps stuff. The only way out is back southeast to the hallway.\n\n> Kiss machine\nYou can only do that to something animate.\n\n> You go southeast\nThis is the hallway. To the south the hallway extends to the kitchen, and then to the living room, where Mom and Dad are probably watching TV or something. They always get to stay up late. Back to the northeast is your room, and to the northwest is the laundry room where Mom washes your clothes. The closet here is where mom keeps extra blankets and stuff.\n\n> Go south\nMom and Dad would see you if you went out there. Then you'd be grounded. And you'd have to go to bed.\n\n> You go northeast\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\n> You look under the bed\nThat's where the monster comes from. You're pretty sure it isn't there right now, but it's dark and scary, so you don't want to tempt fate.\n\n> Inventory\nYou are carrying:\nlaundry detergent\na blacklight\na sheet\na wooden sword\n\n> You put sheet under the bed\n\"The monster won't be able to come into the room with that sheet glowing there.\" says Donald Duck. \"Of course, he won't be able to escape back under the bed once he comes out if the sheet is glowing like that!\"\n\nYou put the sheet under your bed.\n\nDanny starts to laugh at nothing, then stops.\n\n> You turn on the blacklight\nThat's already on.\n\n> You put the detergent on Danny\nNo, he might drink it!\n\n> You ask Donald about the monster\n\"Monsters are dangerous creatures. They only come out at night, and the light scares them away. Normal weapons won't hurt them- not even a bazooka! Only light can hurt a monster.\" says Donald.\n\n> You ask Donald about the detergent\n\"That's what your mom uses to clean clothes.\" says Donald.\n\n> You put the sword in the detergent\nYou dip the sword into the laundry detergent, and it now has a film of\n\n> You ask Donald about the sword\ndetergent over it.\n\nDanny starts to suck on Donald Duck.\n\nNow THAT'S a weapon to use against a monster!\n\n> You look at the sword\nThis is a gray sword with a black handle. Your Uncle Pat got this for you last year, but Danny plays with it a lot. Under the blacklight the sword glows like a holy weapon of light!\n\n> You look under the the bed\nThat's where the monster comes from. You're pretty sure it isn't there right now, but it's dark and scary, so you don't want to tempt fate. You see wooden sword and sheet down there.\n\n> You go under the the bed\nNo way, that would be crazy!\n\n> You put the sheet on Danny\nDanny takes the sheet and drops Donald Duck.\n\n> You give Donald to Danny\n(first taking Donald Duck)\nDanny takes Donald Duck and drops the sheet.\n\n> You put the sheet on crib\n(first taking the sheet)\n\nPutting things on Danny's crib would achieve nothing.\n\n> You go to the south-west\nThis is the hallway. To the south the hallway extends to the kitchen, and then to the living room, where Mom and Dad are probably watching TV or something. They always get to stay up late. Back to the northeast is your room, and to the northwest is the laundry room where Mom washes your clothes. The closet here is where mom keeps extra blankets and stuff.\n\n> You enter the closet\nYou get into the room closet."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nYour Bedroom (in the room closet)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\n> Exit\nYou get out of the room closet.\n\n> You get on the bed\nYou get onto your bed.\n\n> You look under the crib\n(first getting off your bed)\nYou get off of your bed.\n\nYou find nothing of interest."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at the shelves\nThey're shelves. You can put things on them.\n\n> Inventory\nYou are carrying:\na sheet\na wooden sword\nlaundry detergent\na blacklight\n\n> You take Donald\nTaken.\n\nYou hear the clock in the living room chime nine times. You are running out of time to prepare for the monster.\n\n> You show the sword to Donald\nNow THAT'S a weapon to use against a monster!\n\n> You show the sheet to Donald\n(first taking the sheet)\nYou grab the sheet, but Danny has a grip of steel on it. You pull harder, but he starts to get that scrunched up face he makes when he's about to start screaming and you ease up. You won't be able to save him if Mom and Dad come in and make you go to bed!\n\n> Davidw thinks we should eviscerate you\n\"I don't know what you're talking about!\" says Donald.\n\n> You ask Donald about the sheet\nDonald stares at you blankly.\n\n> You search your bed\n(first getting off your bed)\nYou get off of your bed.\n\nThere is nothing on your bed.\n\n> Sleep\nWhat? And risk the monster taking your brother? No, you are far too brave to let that happen. Tonight, you end this-- there can be only one!\n\n> You look under your bed\nThat's where the monster comes from. You're pretty sure it isn't there right now, but it's dark and scary, so you don't want to tempt fate.\n\n> You wait\nIf you're sure you've set a good trap for the monster, you can wait until midnight when the monster will come into the room.\n\n> You give Donald to Danny\nDanny takes Donald Duck and drops the sheet.\n\n> You put the sheet under the bed\n(first taking the sheet)\n\n\"The monster won't be able to come into the room with that sheet glowing there.\" says Donald Duck. \"Of course, he won't be able to escape back under the bed once he comes out if the sheet is glowing like that!\"\n\nYou put the sheet under your bed.\n\n> You enter the closet\nYou get into the room closet.\n\n> You turn off the light\nYou switch the blacklight off.\n\n> You wait\nYou jump on your bed and wait for the monster to come. The time passes slowly in anticipation."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear a lurking presence slathering from underneath the bed. Slowly a dark, barely visible mass of teeth and claws stalks slowly into the room. You note its pale red eyes, glowing with some kind of dead light glaring around the room, before resting their gaze on Danny's crib.\n\n> You turn on the light\nYou switch the blacklight on.\n\nThe monster shrieks at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It makes a dash for the bed, but then realizes that its escape route has been blocked by the glowing white sheet you have laid under the bed. It stops in its tracks, and looks around, panicked, before looking at the closet.\n\n> Close closet\n(first getting off your bed)\nYou get off of your bed.\n\nYou close the room closet.\n\nThe monster opens up the closet door, then jumps inside the closet, and slams the door. You wait for a moment, and hear no further sounds, and realize the monster must have escaped. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> You kill the monster\n(first getting off your bed)\nYou get off of your bed.\n\nYou strike at the monster with the glowing sword. As the lit weapon hits the monster, it howls in pain and fear, baffled that you have found a weapon capable of hurting it.\n\nThe monster jumps inside the closet, and slams the door. You wait for a moment, and hear no further sounds, and realize the monster must have escaped. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> Inventory\nYou are carrying:\nDonald Duck\na wooden sword\nlaundry detergent\na blacklight\n\n> You look at the sword\nThis is a gray sword with a black handle. Your Uncle Pat got this for you last year, but Danny plays with it a lot. Under the blacklight the sword glows like a holy weapon of light!\n\n> You give Donald to Danny\nDanny takes Donald Duck and drops the sheet.\n\n> You put the sheet under the bed\n\"The monster won't be able to come into the room with that sheet glowing there.\" says Donald Duck. \"Of course, he won't be able to escape back under the bed once he comes out if the sheet is glowing like that!\"\n\nYou put the sheet under your bed.\n\n> You turn off the light\nYou switch the blacklight off."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it, which you have pushed up against the closet door and your bed. The way out to the hallway is to the southwest.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear a lurking presence slathering from underneath the bed. Slowly a dark, barely visible mass of teeth and claws stalks slowly into the room. You note its pale red eyes, glowing with some kind of dead light glaring around the room, before resting their gaze on Danny's crib.\n\n> You kill the monster\n(first getting off your bed)\nYou get off of your bed.\n\nYou strike at the monster with the glowing sword. As the lit weapon hits the monster, it howls in pain and fear, baffled that you have found a weapon capable of hurting it.\n\nThe monster runs for the closet, but with the crib in the way, finds itself unable to open the door. Danny's glowing white shirt forces the monster back away from the closet before it can get a good grip on the door. Realizing how complete a trap you have laid for it, and that you have it trapped, it turns towards you to make its final stand.\n\n> You examine the monster\nYou see nothing special about the monster.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You kill the monster\nYou strike at the monster with the glowing sword. As the lit weapon hits the monster, it howls in pain and fear, baffled that you have found a weapon capable of hurting it.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You put the detergent on the monster\nPutting things on the monster would achieve nothing.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You give the light to Danny\nDanny takes the blacklight and drops Donald Duck.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You give the light to Danny\nDanny takes the blacklight and drops Donald Duck.\n\n> You turn on the light\n(first getting off your bed)\nYou get off of your bed.\n\nYou switch the blacklight on.\n\nThe clock in the living room chimes twelve times. Midnight!\nRealizing what time it is, you quickly run to your bed to prepare for the monster. It's now or never, you're either ready or you're not!\n\nYou hear some growling from under the bed for a minute, but after a moment it stops. You wait and wait, but nothing happens. Eventually you realize that the sheet under the bed and the blacklight has effectively stopped the monster from entering your room altogether. You fall asleep, realizing that you need not fight the monster now that you have a means of keeping it out of your room-- as long as you keep the blacklight full of batteries!\n\n> You turn on the light\n(first getting off your bed)\nYou get off of your bed.\n\nYou switch the blacklight on.\n\nThe monster shrieks at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It makes a dash for the bed, but then realizes that its escape route has been blocked by the glowing white sheet you have laid under the bed. It stops in its tracks, and looks around, panicked, before looking at the closet.\n\nDanny bites down on the blacklight bulb, which breaks in his mouth. He immediately starts screaming as shards of glass cut up his mouth and throat. Your parents come running in, and shriek upon seeing the blood coming from his mouth. Mom grabs him and screams, running to call the hospital while Dad yells at you about giving him something so dangerous and for going out of your room to get it. Danny is rushed to the hospital, where the doctors are able to save him. But you get a very serious spanking. Danny is kept in the hospital for several days, so at least the monster doesn't get him, but still, it seems like there may have been a better way to save him.\n\n> You wait\nTime passes.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear a lurking presence slathering from underneath the bed. Slowly a dark, barely visible mass of teeth and claws stalks slowly into the room. You note its pale red eyes, glowing with some kind of dead light glaring around the room, before resting their gaze on Danny's crib.\n\n> You turn on the light\nYou switch the blacklight on.\n\nThe monster shrieks at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It makes a dash for the bed, but then realizes that its escape route has been blocked by the glowing white sheet you have laid under the bed. It stops in its tracks, and looks around, panicked, before looking at the closet.\n\n> You throw Donald at the monster\nYou lack the nerve when it comes to the crucial moment.\n\nThe monster runs for the closet, but with the crib in the way, finds itself unable to open the door. Danny's glowing white shirt forces the monster back away from the closet before it can get a good grip on the door. Realizing how complete a trap you have laid for it, and that you have it trapped, it turns towards you to make its final stand.\n\n> You give Donald to the monster\nThe monster doesn't seem interested.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You ask Donald about the monster\n\"Monsters are dangerous creatures. They only come out at night, and the light scares them away. Normal weapons won't hurt them- not even a bazooka! Only light can hurt a monster.\" says Donald.\n\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> Go southwest\nThis is not the time to escape. It's time for you to make your stand.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You take the sheet\n(first getting off your bed)\nYou get off of your bed.\n\nTaken.\n\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You take the sheet\n(first getting off your bed)\nYou get off of your bed.\n\nTaken.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You put sheet on the monster\nPutting things on the monster would achieve nothing.\n\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You throw the sheet at the monster\nYou lack the nerve when it comes to the crucial moment.\n\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You drop the detergent\nDropped.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You throw the detergent at the monster\n(first taking laundry detergent)\nYou lack the nerve when it comes to the crucial moment.\n\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it, which you have pushed up against the closet door and your bed. The way out to the hallway is to the southwest."
    },
    {
        "text": "> You open the closet\nThat's already open.\n\n> You put the sword in dryer\nThe dryer is closed.\n\n> Kermit the frog style\n\"I don't understand what you're talking about, you big balooga!\" says Donald.\n\n> Dryer\n\"Mom puts me in the washer for my bath and in the dryer afterwards. I hate it.\" says Donald.\n\n> You show Donald to Donald\nDonald Duck is unimpressed.\n\n> You show the detergent to Donald\n\"That's what your mom uses to clean clothes.\" says Donald.\n\n> Show washer to Donald\n(first taking the washing machine)\nThe door is stuck, and the buttons are out of reach, and it's not suitable for climbing, so there isn't much you can do with the washing machine.\n\n> You ask Donald about the martyrdom\n\"I don't know what you're talking about!\" says Donald.\n\n> You look at the sword\nThis is a gray sword with a black handle. Your Uncle Pat got this for you last year, but Danny plays with it a lot. Under the blacklight the sword glows like a holy weapon of light!\n\n> Drink detergent\nNo, that's POISON! You're old enough to know better!\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You drop Donald\nDropped.\n\n> You check your inventory\nYou are carrying:\na wooden sword\nlaundry detergent\na blacklight\n\n> You get Donald\nTaken.\n\n> Go southeast\nThis is the hallway. To the south the hallway extends to the kitchen, and then to the living room, where Mom and Dad are probably watching TV or something. They always get to stay up late. Back to the northeast is your room, and to the northwest is the laundry room where Mom washes your clothes. The closet here is where mom keeps extra blankets and stuff.\n\nYou hear the clock in the living room chime ten times. The monster will be here in just two hours.\n\n> Go south\nMom and Dad would see you if you went out there. Then you'd be grounded. And you'd have to go to bed.\n\n> Go north\nThere's a wall there. And you've run into enough of those to know that you aren't going through it.\n\n> You examine closet\nThe closet is kind of dark and spooky. Even the blacklight does not make it less scary.\n\n> You search the closet\nThe hall closet is empty.\n\n> You examine the light\nIt's a small black thing with a purple bulb in it that glows when you turn it on. Sometimes things glow when the light is on.It is glowing with an eerie purple glow.\n\nThe blacklight is currently switched on.\n\n> Closet\n\"Monsters sometimes come from under a bed or from closets.\" says Donald.\n\n> You go northeast\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nDanny coos quietly in his crib.\n\n> You get Danny\nOh, no. Last time you took Danny out of the crib your mom got so mad! Better not make her yell at you again. In any case, Danny is probably safer inside the crib than outside.\n\n> You look in the crib\nIn Danny's crib is Danny.\n\n> You look at the door\nThis is your closet. Can a monster get into the room this way?\n\n> You put Donald in the detergent\nBut you might ruin Donald Duck by doing so.\n\n> You put the sheet in the detergent\nBut you might ruin the sheet by doing so.\n\n> You check your inventory\nYou are carrying:\nlaundry detergent\na sheet\na wooden sword\na blacklight\n\n> You examine danny\nThis is your little brother. He cries sometimes and he's kind of a pain, but you can't let the monster get him! He's wearing his favorite white shirt which is glowing in the blacklight. Danny is holding Donald Duck.\n\n> You dip yourself in the detergent\n(first taking yourself)\nYou are always self-possessed."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Describe the surroundings\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it, which you have pushed up against the closet door and your bed. The way out to the hallway is to the southwest.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear some growling from under the bed for a minute, but after a moment it stops. You wait and wait, but nothing happens. Eventually you realize that the sheet under the bed and the blacklight has effectively stopped the monster from entering your room altogether. You fall asleep, realizing that you need not fight the monster now that you have a means of keeping it out of your room-- as long as you keep the blacklight full of batteries!"
    },
    {
        "text": "> Look around\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear some growling from under the bed for a minute, but after a moment it stops. You wait and wait, but nothing happens. Eventually you realize that the sheet under the bed and the blacklight has effectively stopped the monster from entering your room altogether. You fall asleep, realizing that you need not fight the monster now that you have a means of keeping it out of your room-- as long as you keep the blacklight full of batteries!\n\n> You put the sheet under the bed\n(first getting off your bed)\nYou get off of your bed.\n\n(first taking the sheet)\n\nYou grab the sheet, but Danny has a grip of steel on it. You pull harder, but he starts to get that scrunched up face he makes when he's about to start screaming and you ease up. You won't be able to save him if Mom and Dad come in and make you go to bed!\n\nThe monster hows in anger at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It dives under the bed and escapes into the shadows. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> You turn off the light\nYou switch the blacklight off.\n\nDanny coos quietly in his crib.\n\n> You turn on light\nYou switch the blacklight on.\n\n> You give Donald to Danny\nDanny takes Donald Duck and drops the sheet.\n\n> You put the sheet under the bed\n\"The monster won't be able to come into the room with that sheet glowing there.\" says Donald Duck. \"Of course, he won't be able to escape back under the bed once he comes out if the sheet is glowing like that!\"\n\nYou put the sheet under your bed.\n\nThe monster shrieks at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It makes a dash for the bed, but then realizes that its escape route has been blocked by the glowing white sheet you have laid under the bed. It stops in its tracks, and looks around, panicked, before looking at the closet.\n\n> You stand on the bed\nYou get onto your bed.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You kill the monster\n(first getting off your bed)\nYou get off of your bed.\n\nYou strike at the monster with the glowing sword. As the lit weapon hits the monster, it howls in pain and fear, baffled that you have found a weapon capable of hurting it.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You take the sheet\n(first getting off your bed)\nYou get off of your bed.\n\nTaken.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> Pray\n\"Now I lay me down to sleep. I pray the Lord my sould to keep. If I should die before I wake, I hope I take that monster down with me!\""
    },
    {
        "text": "> Look around\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nYou can see a monster here.\n\nThe monster leaps towards Danny, tearing him out of the crib with its long arms and dropping him into its massive maw. You scream impotently as it looks towards you. It realizes it can't hurt you, since you're on your bed, so it hisses at you and dives back under the bed and disappears into the shadows. The sight of the monster in person seems to have snapped something in your mind, as all you can see from then on is the shadowy mass of claws and teeth killing your baby brother. You never speak again, you barely eat again or notice what's going on around you, even in the morning when your parents attempt to interrogate you about where your brother is. Many more people try talking to you, but you scarcely hear them, and eventually they put you into a small room where no one tries to talk to you anymore. But they keep the light on, because when it's dark you scream.\n\n> You stand on the bed\n(first getting off your bed)\nYou get off of your bed.\n\nYou get onto your bed.\n\nThe monster runs for the closet, but with the crib in the way, finds itself unable to open the door. Danny's glowing white shirt forces the monster back away from the closet before it can get a good grip on the door. Realizing how complete a trap you have laid for it, and that you have it trapped, it turns towards you to make its final stand.\n\n> You wait\nTime passes.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You continue\nTime passes.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You get sheet\nTaken.\n\nDanny grabs at the sides of his crib for a moment.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on your bed\n(first getting off your bed)\nYou get off of your bed.\n\nYou get onto your bed.\n\n> Xyzzy\nTonight, you may be eaten by a grue."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Describe the surroundings\nYour Bedroom (on your bed)\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it, which you have pushed up against the closet door and your bed. The way out to the hallway is to the southwest.\n\n> You wear the sheet\nMonsters aren't afraid of ghosts.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear a lurking presence slathering from underneath the bed. Slowly a dark, barely visible mass of teeth and claws stalks slowly into the room. You note its pale red eyes, glowing with some kind of dead light glaring around the room, before resting their gaze on Danny's crib.\n\n> You put the sheet under the bed\nYou put the sheet under your bed.\n\nThe monster leaps towards Danny, tearing him out of the crib with its long arms and dropping him into its massive maw. You scream impotently as it looks towards you. It realizes it can't hurt you, since you're on your bed, so it hisses at you and dives back under the bed and disappears into the shadows. The sight of the monster in person seems to have snapped something in your mind, as all you can see from then on is the shadowy mass of claws and teeth killing your baby brother. You never speak again, you barely eat again or notice what's going on around you, even in the morning when your parents attempt to interrogate you about where your brother is. Many more people try talking to you, but you scarcely hear them, and eventually they put you into a small room where no one tries to talk to you anymore. But they keep the light on, because when it's dark you scream."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Describe the surroundings\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it, which you have pushed up against the closet door and your bed. The way out to the hallway is to the southwest.\n\nDanny watches you intently.\n\n> You get under the bed\n(first getting off your bed)\nYou get off of your bed.\n\nAre you trying to take a geometric space?\n\nThe monster runs for the closet, but with the crib in the way, finds itself unable to open the door. Danny's glowing white shirt forces the monster back away from the closet before it can get a good grip on the door. Realizing how complete a trap you have laid for it, and that you have it trapped, it turns towards you to make its final stand.\n\n> You get in your bed\nYou get onto your bed.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis is your room. Well, it was your room, now it's yours and Danny's. It has a closet, Danny's crib, with Danny in it and your bed. The way out to the hallway is to the southwest.\n\nDanny grabs at the sides of his crib for a moment.\n\n> You take the sheet\nYou grab the sheet, but Danny has a grip of steel on it. You pull harder, but he starts to get that scrunched up face he makes when he's about to start screaming and you ease up. You won't be able to save him if Mom and Dad come in and make you go to bed!\n\n> You turn on the light\nThat's already on.\n\nThe monster hows in anger at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It dives under the bed and escapes into the shadows. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> You throw the sheet on the monster\n(first taking the sheet)\n(first getting off your bed)\nYou get off of your bed.\n\nYou lack the nerve when it comes to the crucial moment.\n\nThe monster hows in anger at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It dives under the bed and escapes into the shadows. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> You put the sheet on the monster\n(first getting off your bed)\nYou get off of your bed.\n\n(first taking the sheet)\n\nPutting things on the monster would achieve nothing.\n\nThe monster hows in anger at the various glowing objects in the room, realizing that you have some kind of source of light that it was not familar with. It dives under the bed and escapes into the shadows. It does not come back that night, but you must remain forever vigilant in case one day it returns.\n\n> You look at the sword\nThis is a gray sword with a black handle. Your Uncle Pat got this for you last year, but Danny plays with it a lot. It seems to have some goop on it from the detergent bottle.\n\n> You turn on the light\nYou switch the blacklight on.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear some growling from under the bed for a minute, but after a moment it stops. You wait and wait, but nothing happens. Eventually you realize that the sheet under the bed and the blacklight has effectively stopped the monster from entering your room altogether. You fall asleep, realizing that you need not fight the monster now that you have a means of keeping it out of your room-- as long as you keep the blacklight full of batteries!\n\n> Attack monster\nYou strike at the monster with the glowing sword. As the lit weapon hits the monster, it howls in pain and fear, baffled that you have found a weapon capable of hurting it.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> Attack monster\nYou take one final strike at the monster, bringing down your weapon of light upon it, just as your parents open the door to find out what all the commotion is about in here. The monster explodes in a shadowy goo, which envelopes the room, extinguishing all light. Your hear your parents shouting until your dad lights a lighter. They find you with your toy sword on the ground, and your brother safely in his crib. They yell at you for being out of bed, but you do hear Dad ask Mom as they walk away \"Did you see some kind of animal or something in there?\" and she is unable to answer, as she isn't sure what she saw.\n\nYou go to bed, triumphant, knowing you did it, you killed the monster and saved your brother!\n\n> You press enter\nJumping (while on the bed) or sleeping?\n\n> You press enter\n\"Map\", \"Xyzzy\", \"Pray\", \"Win\", \"Think\", \"Credits\", \"Kill Self\"?\n\n> You press enter\nBeing very persistant about running into walls or trying to enter the kitchen?\n\n> You press enter\nGiving the blacklight or detergent to Danny and then giving him time to play with it?\n\n> You press enter\nListening To, Kissing, Touching, Tickling everyone?\n\n> You press enter\nHave you gotten all the endings?\n\n> You press enter\nThe endings are: HERO, BLOODY BABY, DEAD BABY, CAUGHT, RETARDED, OUNCE OF PREVENTION, POSTPONING THE INEVITABLE, FAILURE, and MARTYR.\n\n> You press enter\nDonald responds to questions about: Danny, Vampires, (swearing), monsters, light, time, midnight, help, what do i do, mom/dad, washer/dryer, and closets.\n\n> You press enter\nYou can also try playing \"The Tiny House\" or \"Suicide\" by the same author.\n\n> Not exactly\nWell, that's all!\n\nWould you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT or UNDO the last command?\n\n> You fuck you\n\"Your mom is going to wash out your mouth for talking like that.\" says Donald.\n\nThe monster takes a swipe at you with razor sharp claws. It literally misses by a hair, making claw marks in your shirt without piercing your skin.\n\n> You hug the monster\nKeep your mind on the game.\n\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\nThe monster slams into you, knocking you down on the floor, the sword falling from your grasp. You reach for the sword, and your hand justs graps it as the monster grabs your ankle and lifts you into the air. On the way down into its mouth, you reach out with the sword, just as the jaws of death clamp down on you, ending your life.\n\nThough you don't know it, the monster explodes in blackness which envelopes the room in darkness until daybreak, when your parents find your brother, safe in his crib, and you are nowhere to be found.\n\n> You hug danny\nYou kiss your brother, and give him a big hug. Hopefully one day he'll appreciate what you do for him tonight.\n\n> Tickle danny\nDanny giggles.\n\n> You give the detergent to Danny\nDanny takes laundry detergent and drops the sheet.\n\n> You get on the bed\nYou get onto your bed.\n\n> You wait\nThere's a wall there. And you've run into enough of those to know that you aren't going through it.\n\nIf you're sure you've set a good trap for the monster, you can wait until midnight when the monster will come into the room.\n\n> You wait\nTime passes.\n\nThe clock in the living room chimes twelve times. Midnight!\nYou hear a lurking presence slathering from underneath the bed. Slowly a dark, barely visible mass of teeth and claws stalks slowly into the room. You note its pale red eyes, glowing with some kind of dead light glaring around the room, before resting their gaze on Danny's crib.\n\nDanny manages to get the cap off the laundry detergent and starts pouring it into his mouth, trying to drink it like a bottle. You wrestle it away from him, and he starts choking. Panicked, you run to Mom and Dad, who come in to see what's going on. Mom immediately goes into hysterics and calls poison control while Dad yells at you and gives you spankings for giving your brother poison. They try to make your brother get sick, but it doesn't work and he stops crying and starts going blue. Years from now, when your parents can no longer look at you, or each other, and you are in weekly therapy, you still haven't forgiven yourself for murdering your brother.\n\n> Go south\nMom and Dad would see you if you went out there. Then you'd be grounded. And you'd have to go to bed.\n\nYou can hear the TV going in the other room.\n\n> You go to the south\nMom and Dad would see you if you went out there. Then you'd be grounded. And you'd have to go to bed.\n\nYou hear your parents talking in the living room, but it's too faint to make out what they're saying."
    },
    {
        "text": "[Themes: Slice of life, based on songs, atmospheric]\n\nVega was unusually bright tonight, and you followed it all the way to the trainyard. Hopped the fence, and now you're standing in front of an open boxcar headed... somewhere. The city hasn't been the same since they left. Not a hurried exodus. More like a gradual diaspora, in a traditional sense. Graduate programs, marriages, new jobs, and all of a sudden, you're on your own.\n\nThe train yard is lit exclusively by shrill halogen lights.\nThe freight train in front of you is carrying grain and\ndeparting at 2100. The afore-mentioned boxcar is a dusty blue, with some scrawled graffiti along the bottom. From the limited view afforded by the open door, the boxcar appears to be empty.\nYour sense of direction is a little shaky right now, but if you had to guess, the boxcar would be north of you.\n\n[Author's Note: No puzzles, just star-gazing.]\n\n> You look at the boxcar\nJourney! Adventure! An escape. The boxcar's open door beckons.\n\n> About you\nHaggard might be the most charitable way of describing your face right now. Sleep hasn't been easy this past month.\n\n> You examine the graffiti\nSomeone has scrawled R.I.P. WARREN in white paint on the boxcar.\n\n> You examine the train\nThe train stretches on forever, but the only thing you're really interested in is the boxcar straight ahead. Sometimes motion is the only thing that keeps us alive, right?\n\n> You go north\nThe inside of the boxcar is dusty and empty. Spacious. Perfect for a jaunt.\n\nThe boxcar shudders into motion, and you watch your city shrink in size through the open doors.\n\nThe boxcar hums with motion, swaying gently from side to side. The moon and the stars shine with an almost unnatural\nbrilliance, filling your conveyance with soft blue light. You haven't seen this many stars in a very long time.\n\n> Moon\nThere's a theory that aberrant behavior increases during the full moon. With the strange light filling the boxcar, it's almost believable. You've also just hopped a train with no real plan.\nThings to consider.\n\n> Stars\nLiving in Chicago means that the only lights you see in the sky are from planes or the moon, with sometimes a small smattering of stars or satellites. Out here in the in-between, you notice constellations you haven't seen since childhood. Leo, Hercules, and\nLyra are all visible.\n\n> Leo\nThe Nemean Lion. Hercules strangled this guy to death to redeem himself in the eyes of the gods. It's always more difficult being the one left behind. Trying to clean up the empty space, constantly being reminded of ghosts.\n\n> Hercules\nOne of the most famous murderers of all time is remembered as a hero. All before the time of publicists. The gods made me do it doesn't fly nearly as well these days. Unless you're campaigning to be president.\n\n> Lyra\nOrpheus. Couldn't take the pain of being abandoned, so he fought his way to the side of his love. Traversed the world beyond, and still ended up alone. Maybe his example isn't the best one to follow.\n\n> Stars\nLiving in Chicago means that the only lights you see in the sky are from planes or the moon, with sometimes a small smattering of stars or satellites. Out here in the in-between, you notice constellations you haven't seen since childhood. Leo, Hercules, and\nLyra are all visible.\n\nThe train rushes along, and clouds begin rolling in. They cover the moon, and stars, and a sprinkle of rain begins to fall. Luckily, not much of it makes it through the boxcar's open doors. You settle down for the rest of your journey, and close your eyes. Sleep comes quickly.\n\nYou wake from your nap suddenly."
    },
    {
        "text": "[Themes: Slice of life, atmospheric]\n\n> You describe your surroundings\nIt's still night, but you seemed to have passed through the storm.\nThe wind is surprisingly gentle for the fast pace the engineer seems to be setting. You glance at the sky, and... everything seems different. The constellations you were observing are gone, replaced by unfamiliar stars. Shapes you've only read about, but never seen in person. The constellations you recognize are Carina,\nPegasus, and Aquarius.\n\n> Carina\nCarina is the keel of the Argo, formally part of the largest constellation in the night sky. They broke it apart in 1752. Now the hull, the sails, and the decking are separate star structures, adrift in space. Can something like that ever really be repaired, or is some distance untraversable? Maybe hopping the next train back to Chicago is your best bet. Concentrate on making a home.\nBanish your ghosts.\n\n> Pegasus\nYou haven't felt this alive in a long time. The train flies along into the night, and you could go anywhere from here. Create an entirely new existence, free from the weight of history.\nEscape the same way your friends did.\n\n> Aquarius\nTruism: Life is like a river. Actuality: Life isn't like anything else. You should probably make a decision here. Either hop the next train back to Chicago, and work to persevere, to create a place worth moving back to, a place worth living in, or take a gamble. Keep traveling, create a new life, re-invent your history.\n\n> You look at the boxcar\nEmpty and dusty. Not very homey, but perfect for your purposes right now. The wood is worn smooth from years of heavy use.\n\n> Escape\nHere's to not waiting around for things to get better. The idea of a future on the rails, an open and expansive life, filled with adventure and hardship. Romanticization sometimes gets you on a train to Milwaukee, apparently. Milwaukee and beyond. This is something you've always dreamed of doing, and now is the perfect chance. You'll send everyone postcards, and have incredible stories to tell at weddings, or reunions. You will get sun-burned, and hungry, and carry everything you own. It is a good thing you are wearing your sturdiest shoes. Here's to the open road, and all the chances in the world.\n\n> Home\nIt's decided. You'll hop the next train back, and turn your city into a home. Make new friends, write to your old ones, craft something impressive. Sometimes you need to get away to remember what you really miss. Streets and the scars that come along with them. Things you've built, the home you'll earn. It's important to leave, if only for a little bit, just so you can remember everything you're leaving behind, everything you miss. The record store clerk that knows your name, the bit of pavement on Fullerton that provides a smooth path on your way to work, sugar-cane based soda from the corner store. The little bits of Chicago that draw your smile across your whole face, the bits that are solely and entirely yours.\n\n> Wait\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations.\n\nYou didn't hop a train in the middle of the night to sit like a lump. Perhaps it's time to see the constellations."
    },
    {
        "text": "[Themes: Slice of life, atmospheric]\n\n> You describe your surroundings\nIt's still night, but you seemed to have passed through the storm.\nThe wind is surprisingly gentle for the fast pace the engineer seems to be setting. You glance at the sky, and... everything seems different. The constellations you were observing are gone, replaced by unfamiliar stars. Shapes you've only read about, but never seen in person. The constellations you recognize are Carina,\nPegasus, and Aquarius.\n\n> Yes\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Surreal, homosexuality, male protagonist, multiple protagonists, nonhuman protagonist, romance, silly, robot]\n\nPraise for \"Light Of My Stomach\":\n\n\"I never imagined that sonnets could sink this low. Thank you for opening my eyes, game.\"\n- Sam Kabo Ashwell\n\n\"The juxtaposition of harsh urban and harsher culinary imagery are what really made this work soar.\"\n- S. John Ross\n\n\"I've played games that were touching before, but this one outright gropes you.\"\n- Carolyn VanEseltine\n\n\"Is every damn object in this game (including the unnecessary PUTPBAD reference) some kind of badly-done psychological metaphor?\"\n- Colin Sandel\n\n\"Tastes like chicken.\"\n- Tanga\n\n\"The story confused me a little until I realised that the giant atomic robot was the real protagonist.\"\n- C.E.J. Pacian\n\n\"Probably the best game written from the perspective of a lightbulb.\" - Marius Muller\n\n\"If only John Quincy Adams were alive to give this a piece of his mind.\"\n- Sarah Morayati\n\n\"The secret room was almost worth the struggle to open the secret door.\"\n- Royce Odle\n\n\"Masterfully blends the intrigue of competitive eating with the excitement of two-fisted street justice!\"\n- Jennifer Earl\n\n[press a key]\n\n[Author's Note: This is an unusual story where you play as the primary lightbulb of the John Quincy Adams Gastrodome, but also as Bob Bobkins, competative eater. What secrets is Garry, Bob's opponent in the eating contest, hiding?]\n\n> You press any the key\nfor SpeedIF Jacket 4.\n\nIt is dark.\n\n> About yourself\nYou are the principal lightbulb in this vast arena. You are currently switched off.\n\nYou feel the power arrive, though weakly, as it has always been these last few years. Nevertheless you have your duty.\n\n> You look at what you're carrying with you\nYou are empty-handed.\n\n> You turn on\nYou turn yourself on.\n\nYou find yourself shining especially on one Bob Bobkins -- a man preparing for the contest of his life.\n\n[press a key]\n\n> You press any key\nThe John Quincy Adams Gastrodrome is the nation's leading competitive eating venue, and today it is packed. All eyes are on you and your opponent as the crowd waits impatiently for the match to begin.\n\nThe mayor is here, looking pompous.\n\nGarry Garrison is here.\n\n> About yourself\nYou are Bob Bobkins, competitive eating enthusiast.\n\nThe mayor says \"Welcome everyone, to the John Quincy Adams Gastrodrome, for the final of the 47th Annual Exotic Foodstuffs Eating Competition!\"\n\n> You examine the opponent\nGarry is your chief rival on the competitive eating circuit. You've never yet beaten him, but perhaps you can today.\n\n\"Sadly, this will be the last event we hold here - with our aging power station we can barely manage to light the place any more.\"\n\n> You examine mayor\nThe Mayor of Quincy is officiating today.\n\n\"But I see the kitchen staff are ready, so without further ado, let's bring out the first dish!\"\n\nThere are loud cheers from the crowd.\n\n> You examine the dish\nThe word \"dish\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You check what you're carrying\nYou are empty-handed.\n\nThe contest officials give you some deep-fried Mongolian ocelot.\n\nThe contest officials give him some mashed Uzbekistani sloth.\n\n> You eat ocelot\nYou quickly swallow the deep-fried Mongolian ocelot. It tastes like chicken.\n\nThe contest officials give you some steamed Paraguayan sausage.\n\nYour opponent eats the mashed Uzbekistani sloth.\n\nThe contest officials give him some grilled Hungarian mango.\n\n> You eat the sausage\nYou quickly swallow the steamed Paraguayan sausage. It tastes somewhat like deep-fried Mongolian ocelot.\n\nThe contest officials give you some baked Siberian lettuce.\n\nYour opponent eats the grilled Hungarian mango.\n\nThe contest officials give him some boiled Venezuelan okapi.\n\n> You eat the lettuce\nYou quickly swallow the baked Siberian lettuce. It tastes similar to steamed Paraguayan sausage.\n\nThe contest officials give you some sauteed Faroese carrot.\n\nYour opponent eats the boiled Venezuelan okapi.\n\nThe contest officials give him some pan-fried Congolese asparagus.\n\n> You look at the carrot\nThere's no time to stare at the sauteed Faroese carrot!\n\nYour opponent eats the pan-fried Congolese asparagus.\n\nThe contest officials give him some roasted Saharan platypus.\n\n> You eat the carrot\nYou quickly swallow the sauteed Faroese carrot. It is reminiscent of baked Siberian lettuce.\n\nThe contest officials give you some roasted Saharan platypus.\n\nYour opponent eats the pan-fried Congolese asparagus.\n\nThe contest officials give him some seared Liberian rhinoceros.\n\n> You eat the platypus\nYou quickly swallow the roasted Saharan platypus. It tastes somewhat like sauteed Faroese carrot.\n\nThe contest officials give you some steamed Tierra del Fuegan porpoise.\n\nYour opponent eats the seared Liberian rhinoceros.\n\nThe contest officials give him some deep-fried Faroese leopard.\n\n> You examine mayor\nThe Mayor of Quincy is officiating today.\n\nYour opponent eats the deep-fried Faroese leopard.\n\nThe contest officials give him some roasted Mongolian vulture.\n\n> You eat mayor\nThe mayor does not appear to be edible.\n\nYour opponent eats the roasted Mongolian vulture.\n\nThe contest officials give him some mashed Uzbekistani rhinoceros.\n\n> You eat the rhinoceros\n(first taking the mashed Uzbekistani rhinoceros)\nGarry won't let you have that.\n\nYour opponent eats the mashed Uzbekistani rhinoceros.\n\nThe contest officials give him some seared Paraguayan sausage.\n\n> You eat garry\nGarry does not appear to be edible.\n\nYour opponent eats the seared Paraguayan sausage.\n\nThe contest officials give him some pan-fried Hungarian platypus.\n\n> You examine the officials\nContest officials scurry busily about.\n\nYour opponent eats the pan-fried Hungarian platypus.\n\nThe contest officials give him some sauteed Siberian ocelot.\n\n> Inventory\nYou are carrying some steamed Tierra del Fuegan porpoise.\n\nYour opponent eats the sauteed Siberian ocelot.\n\nThe contest officials give him some boiled Tierra del Fuegan sloth.\n\n> About you\nYou are Bob Bobkins, competitive eating enthusiast.\n\nYour opponent eats the boiled Tierra del Fuegan sloth.\n\nThe contest officials give him some grilled Congolese asparagus."
    },
    {
        "text": "> You look at your surroundings\nThe John Quincy Adams Gastrodrome is the nation's leading competitive eating venue, and today it is packed.\n\nThe mayor is here, looking pompous.\n\nGarry Garrison is here.\n\nYour opponent eats the grilled Congolese asparagus.\n\nThe contest officials give him some baked Liberian okapi.\n\n> You eat all\nsteamed Tierra del Fuegan porpoise: You try your best, but you just can't eat any more. It looks like you'll never be as good as Garry. He's like a machine.\n\ndoor: The door does not appear to be edible.\n\nbaked Liberian okapi:\n(first taking the baked Liberian okapi)\nGarry won't let you have that.\n\nYour opponent eats the baked Liberian okapi.\n\nThe contest officials give him some sauteed Venezuelan carrot.\n\n> You give the porpoise to Garry\nHe's too focused on the competition to pay attention.\n\nYour opponent eats the sauteed Venezuelan carrot. You watch in awe. Wait, what's that on the side of his neck?\n\nThe contest officials give him some steamed Saharan porpoise.\n\n> You examine the neck\nIt looks like there's some kind of... flashing light... in his neck?\n\nYour opponent eats the steamed Saharan porpoise. The light flashes as he swallows.\n\nThe contest officials give him some deep-fried Mongolian lettuce.\n\n> You hit the light\nYou cannot attack that.\n\nYour opponent eats the deep-fried Mongolian lettuce. The light flashes as he swallows.\n\nThe contest officials give him some grilled Siberian vulture.\n\n> You turn off the light\nThat isn't something you can turn off.\n\nYour opponent eats the grilled Siberian vulture. The light flashes as he swallows.\n\nThe contest officials give him some roasted Saharan mango.\n\n> You examine the light\nYou walk over to Garry.\n\n\"This man has a flashing light in the side of his neck,\" you point out to the officials. \"He must be cheating somehow.\"\n\nGarry stands up. You'd never realised quite how tall he was. He must be ten feet tall!\n\n\"He's not a man at all!\" you scream. \"He's some kind of... giant... robot!\"\n\n\"Bob is correct,\" says Garry, in menacing metallic tones. \"The man you knew as Garry is really G.A.R.R.Y., or Giant Atomic Robot, Revision Y. And if I cannot continue with my competitive eating career, my only alternative is to destroy your city!\"\n\nHe bursts out through the door. You have to stop him!\n\n> Go outside\nDowntown, outside the John Quincy Adams Gastrodrome.\n\nA shiny metal phone booth sits here.\n\nGarry the giant atomic robot is rampaging here!\n\n> You enter booth\nThere's no point trying to hide in there.\n\nGarry swings a punch at you, but you duck.\n\n> You pick up the phone booth and kill Garry\nYour physique has been honed by years of competitive eating, and you easily pick up the phone booth.\n\nGarry tries to smash you with an atomic kick, but misses.\n\nYou land a mighty blow, but your unaided fists have little effect on Garry's robot body.\n\nGarry stamps his feet angrily!\n\n> You throw the phone booth at Garry\nYou launch the phone booth at Garry! It hits him right in the head, smashing him to the ground!\n\nFor a moment he doesn't move. But then his eyes flash red! You've only made him angrier! He grabs you by the throat!\n\nBut suddenly Garry drops you again. \"It's no good, Bob,\" he says. \"I could happily crush anyone else to a pulp with my atomic hands, but not you. Don't you see that I love you?\"\n\nActually you had not seen this. It is a surprise to you.\n\nGarry bursts into tears and flees to the east.\n\n> Go east\nThis squalid dead end would be thought picturesque by any connoisseur of urban decay. You are surrounded by blank walls. Trash is scattered around.\n\nBut where did Garry go? He seems to have completely vanished.\n\n> You examine trash\nOne piece of paper looks cleaner than the rest, as though it has been recently dropped.\n\n> You examine paper\nIt is a poem written in suspiciously robotic handwriting.\n\n> You take the paper\nTaken.\n\n> You read the paper\nOh Bob, thou eating champion of my heart\nWhen I first saw thee stuff thy mouth with pies\nI knew that we could never be apart\nAnd took to verse to praise thee to the skies.\nWhen I retire into my secret place\n(The magic word for which is bibblebake)\nI often think me of thy manly face,\nAnd long to see thee cramming it with cake.\nAnd yet, despite our common love of eating\nI fear our wedding bells will never peal;\nThat never can we join in minds' true meeting\nAnd share a grand-proportioned nuptial meal --\nFor thou art human and most fair of feature\nAnd I, a hideous huge atomic creature.\n\n> Bibblebake\nA secret door springs open!"
    },
    {
        "text": "> Look around\nThis squalid dead end would be thought picturesque by any connoisseur of urban decay. A secret door lies open to the south. Trash is scattered around.\n\n> Go south\nYou have found your way into Garry's secret room.\n\nGarry is hiding here, crying softly.\n\n> Kiss garry\nYou don't want to encourage him.\n\nGarry puts a hand on your shoulder. You remove it.\n\n> Kiss garry\nYou don't want to encourage him.\n\nGarry caresses your arm. You retreat.\n\n> You kill Garry\nMaybe he is calm enough to talk to now.\n\nGarry cups your buttock with a huge robotic hand. You step smartly away.\n\n> No\nGarry does not respond.\n\nGarry approaches you again. You hurriedly try to explain. \"Look, it wouldn't work,\" you say. \"You're a giant atomic robot, and I prefer women.\"\n\n> You talk to Garry\nTry asking about specific things instead.\n\n> You ask garry about himself\n\"I am an atomic robot, but I have loved you ever since I saw you eat competitively,\" he says.\n\n> You ask Garry about the competitive eating\n\"I found I could succeed at competitive eating by directing the food into my fusion reactor,\" says Garry. \"I suppose it was cheating, but if I can't eat competitively I don't know what to do with my life.\"\n\n> You ask Garry about the reactor\n\"My fusion reactor helped me win eating contests, but what use is it now that I have no purpose in life?\"\n\n\"Wait a moment,\" you respond. \"I think I have an idea...\"\n\nIt is dark.\n\n> About yourself\nYou are the principal lightbulb in this vast arena. You are currently switched off.\n\nYou feel the power arrive, with greater strength than ever before. It can only be fusion power!\n\n> You turn on\nYou turn yourself on.\n\nYou shine out with an immense brightness, flooding the John Quincy Adams Gastrodrome with a glorious light: the light of fusion power."
    },
    {
        "text": "[Themes: Apollo 18 Tribute Album, based on songs]\n\nIt's Tuesday, 7:39 PM exactly. I clock off at eight. Until then, I'm stuck at the checkout.\n\nA lifetime of shyness by Joey Jones\n\nCheckout (on the stool)\nI'm sitting on a hard stool, back slouched, fingertips poised to grasp dog food cans and punch in numbers on the register. Really though it's so quiet I mostly just look out the window. The big clock above the intercom speakers ticks slowly.\n\nBefore me are the many aisles of the supermarket.\n\n[Author's Note: I kinda just sit at the checkout, and the place isn't even all that busy. So why'd you want to play a game about my life? I mean, it's not terrible but it would be so much more if I wasn't shy.]\n\n> Burn button\n(the \"Ask Me\" button)\nI can just imagine the way the little laminate would crinkle and warp under the flame. I would you know, I really would.\n\n\"Delicious tender surloin steaks, 89 cents a pound,\" our master of ceremony continues.\n\n> You examine the clock\nThe big clock never seems to move when I look at it. It says it's about twenty to eight.\n\n> You check your inventory\nI am carrying:\na \"Ask Me\" button (being worn)\na red uniform (being worn)\na lighter\na pack of cigarettes\na time clock card\n\n\"Lean boiled ham, 99 cents a pound.\"\n\n> You examine the window\nOutside the window, all I can see is somebody's Cadillac parked up close.\n\nI spot the nurse, the one from the psychiatric hospital, the one that always buys his groceries here.\n\n> You remove the button\n(the \"Ask Me\" button)\nI never take it off the uniform, I might lose it and then they'd make me pay for a replacement.\n\n\"Fresh frying chickens, 29 cents a pound!\"\n\n> Smoke\n(the canned goods)\nOne day, when I'm all alone I might burn the whole place\ndown.\n\nMildred starts her shift, 7:45 on the dot; she's sitting at the checkout right in front of me.\n\n> You examine the nurse\nThe nurse is a short, slim man, with the sort of face that can pull off looking deathly tired without coming across too badly: some men turn into almost skeletal trogdolytes, or the black eyes make them look like bare-knuckle boxers. This guy though, he just comes across as a nice man who doesn't get enough sleep.\n\nA married couple walk by, the older end of middle-aged.\n\"You're not worth the powder to blow you to hell,\" she says.\n\"I know dear,\" he says.\n\n> You look at the cigarettes\nI never used to smoke. I just started one day, you know? Everyone else was doing it, and-- well, I need something to spend my money\non.\n\nThe married couple walk off into the canned goods aisle; the man secretively wiping his nose upon his sleeve.\n\n> You look at Cadillac\nThe cadillac is bright red and always seems to be sitting out there. Somedays I dream about taking it for a spin.\n\n\"Fresh ground beef, 49 cents a pound.\"\n\n> You examine mildred\n\"Mildred\", the name sounds like industrial malaise. She's prettier than all that. Well, I suppose she must be. Most of what I ever see of her is the points of her shoulder blades seen through the fabric of the ugly red uniform we have to wear. Except the MC on the intercom. I know for a fact he wears a suit.\n\n\"Delicious tender surloin steaks at 89 cents per pound!\"\n\n> You look at the aisles\nThere are dozens of aisles in the Garden Mart. My eye catches on the fresh zucchinis.\n\n\"Fresh frying chickens, 29 cents a pound!\" He's repeating himself. He must be repeating himself.\n\n> You examine the zucchinis\nI can't stand zucchinis. When I was a kid we never had any money and all I remember being fed was different kinds of squash and canned food from the church.\n\n\"Fresh frozen hot house garden peas, 3 packages for 69 cents.\"\n\n> You examine lighter\nIt's a cheap plastic lighter. I use it for burning things when nobody's about. I bought it from this store. I didn't use my discount: they don't really like us using it for that sort of thing.\n\nOur self-styled master of ceremonies ends on an incredulous note: \"Juicy Florida Oranges: ten for 69 cents!\"\n\n> You burn the zucchinis\nOne day, when I'm all alone I might burn the whole place\ndown.\n\nThe nurse has got all his shopping done and he's walking towards me.\n\n> You look at the card\nIt's a small punch card. It gets put in a little slot when I\nleave the store.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> You examine the aisles\nThere are dozens of aisles in the Garden Mart. My eye catches on the pork loins.\n\nSentimental strains of a canned orchestra flow out the in-store speakers.\n\n> You look at the loins\nThe Garden Mart even sells pork loins. I'm not sure I'd want to eat anything called \"pork loins\". Only pepper-steak could be worse. Or liver, I guess. Kidneys? Yeah that'd be pretty gross.\n\nThe couple emerge from the aisles to browse the cigar stand in front of me.\n\"...to err is human,\" the husband replies to something I didn't quite catch.\n\"Not in my book.\" She hits him with her handbag.\n\n> Kiss mildred\nOh Mildred, I can hardly picture her face: her back is all I see. It's a very pretty back. I mean, from what I can make out. I\nassume that it's pretty. I guess it could be hideous really.\nThere could be acne or something. No, I don't think that's true. I bet her back would be nice to kiss. Am I really thinking that? That's pretty weird.\n\n\"Get some instant dog food,\" the wife says.\n\"Yes dear.\"\n\"It's for you, you mutt!\"\nAnd they split off in two different directions, her towards the meat counter, him towards the pets aisle.\n\n> Smoke cigarette\nOne of these days I'm going to light up a cigarette and stroll right outta here.\n\nThe string section of the canned orchestra reach new heights of inoffensive whimsy.\n\n> Hello\n(talking to Mildred)\nIt's funny, we've both been working at the store for nearly six months now and I've never said a word to her. Actually, thinking about it, that's not that funny.\n\nThe nurse leaves the shop, bag in hand.\n\n> You ask Mildred about herself\n(talking to Mildred)\nI mean, there are many things I'd like to ask her. But I never have.\n\nHmmm... it's time to clock out.\n\n> Clock out\nI shuffle over to the exit. Another day done. Until tomorrow. One of these days I'll do something big for sure. But not today.\n\n> Y.\nIt's Tuesday, 7:39 PM exactly. I clock off at eight. Until then, I'm stuck at the checkout.\n\nA lifetime of shyness by Joey Jones\n\nCheckout (on the stool)\nI'm sitting on a hard stool, back slouched, fingertips poised to grasp cabbages and punch in numbers on the register. Really though it's so quiet I mostly just look out the window. The big clock above the intercom speakers ticks slowly.\n\nBefore me are the many aisles of the supermarket.\n\n> Clock out\nI really can't leave early. Not that anyone would notice.\n\n\"Delicious tender surloin steaks, 89 cents a pound,\" our master of ceremony continues.\n\n> Burn card\nAw, I need this for clocking out. I'll not get paid otherwise. But I totally would burn it otherwise.\n\n\"Lean boiled ham, 99 cents a pound.\"\n\n> You burn yourself\nI'm not that kind of person. Am I? I hope not.\n\nI spot the nurse, the one from the psychiatric hospital, the one that always buys his groceries here.\n\n> Burn nurse\nI can't see any such thing.\n\nI'm not that kind of person. Am I? I hope not.\n\n\"Fresh frying chickens, 29 cents a pound!\"\n\n> You check your inventory\nI am carrying:\na \"Ask Me\" button (being worn)\na red uniform (being worn)\na lighter\na pack of cigarettes\na time clock card\n\nMildred starts her shift, 7:45 on the dot; she's sitting at the checkout right in front of me.\n\n> You remove the uniform\nHere? Oh no! The very thought of it! I can barely stand to get undressed in the company of myself.\n\nA married couple walk by, the older end of middle-aged.\n\"You're not worth the powder to blow you to hell,\" she says.\n\"I know dear,\" he says.\n\n> Burn couple\nOne day maybe. But, um, not today.\n\nThe married couple walk off into the canned goods aisle; the man secretively wiping his nose upon his sleeve.\n\n> You examine the canned goods\nI hate stacking cans. It's just so repetitive. Everything here is just so repetitive. Maybe it's a Tuesday. Maybe it's July. It could be a Friday in October. I just live out the same day with minor variations. Sometimes I focus in on those variations. Concentrate on the specific gradation of feeling. Mostly I just sit at the checkout.\n\n\"Fresh ground beef, 49 cents a pound.\"\n\n> You get can\nNobody's brought any food to the checkout, and as much as I'd like to I'm not going to steal the canned goods.\n\n\"Delicious tender surloin steaks at 89 cents per pound!\"\n\n> You buy steak\nThe surloin steaks aren't up to my usual standards.\n\n\"Fresh frying chickens, 29 cents a pound!\" He's repeating himself. He must be repeating himself.\n\n> You buy the chicken\nThe chicken strips aren't up to my usual standards.\n\n\"Fresh frozen hot house garden peas, 3 packages for 69 cents.\"\n\n> You examine the peas\nThey sell packs of peas for 23 cents when you get three. I sometimes bring a few packs home for Mom. I don't really like them but Kid Blast loves spoonfuls of honey and peas.\n\nOur self-styled master of ceremonies ends on an incredulous note: \"Juicy Florida Oranges: ten for 69 cents!\"\n\n> You talk to the nurse\nI know he works at the psychiatric hospital, he must be fascinating to talk to. Of course I haven't, and I probably won't.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> You examine the nurse\nThe nurse is a short, slim man, with the sort of face that can pull off looking deathly tired without coming across too badly: some men turn into almost skeletal trogdolytes, or the black eyes make them look like bare-knuckle boxers. This guy though, he just comes across as a nice man who doesn't get enough sleep.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> You talk to Mildred\nIt's funny, we've both been working at the store for nearly six months now and I've never said a word to her. Actually, thinking about it, that's not that funny.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> Touch mildred\nI'm supposed to keep my hands to myself.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> You give the cigarette to Mildred\nMildred doesn't seem interested.\n\nSentimental strains of a canned orchestra flow out the in-store speakers.\n\n> Dance\nI'm really not a song and dance kind of person.\n\nThe couple emerge from the aisles to browse the cigar stand in front of me.\n\"...to err is human,\" the husband replies to something I didn't quite catch.\n\"Not in my book.\" She hits him with her handbag.\n\n> You talk to the couple\nI'd rather not speak to either of them!\n\n\"Get some instant dog food,\" the wife says.\n\"Yes dear.\"\n\"It's for you, you mutt!\"\nAnd they split off in two different directions, her towards the meat counter, him towards the pets aisle.\n\n> You go to the north\n(first getting off the stool)\nThere is hardly anyone here, plus no supervisor...\n\nI will have to get off the stool first.\n\nThe string section of the canned orchestra reach new heights of inoffensive whimsy.\n\n> You examine the stool\nIt's a metal stool with a hard red faux-leather cushion.\n\nThe nurse leaves the shop, bag in hand.\n\n> You examine the register\nThe register is covered in numbers and has a lever on the side for opening up the drawer.\n\n\"Lean boiled ham, 99 cents a pound.\"\n\n> Punch numbers\nI'm really not the violent sort.\n\nI spot the nurse, the one from the psychiatric hospital, the one that always buys his groceries here.\n\n> You pull the lever\nThe drawer springs open with a satisfying ker-ching sound, revealing lots of cash within.\n\n\"Fresh frying chickens, 29 cents a pound!\"\n\n> You steal the cash\nI dream about doing that most every day. But I don't. But then...\n\nMildred starts her shift, 7:45 on the dot; she's sitting at the checkout right in front of me.\n\n> You examine the drawer\nThe drawer has been sprung open. I'm not really supposed to be doing this when there's no customers.\n\nIn the drawer is lots of cash.\n\nA married couple walk by, the older end of middle-aged.\n\"You're not worth the powder to blow you to hell,\" she says.\n\"I know dear,\" he says.\n\n> You examine the wife\nShe's got pinched features from a lifetime of mean-natured suspicious. Her eyes have a way of looking down at a person even though her height means she's invariable looking up.\n\nThe married couple walk off into the canned goods aisle; the man secretively wiping his nose upon his sleeve.\n\n> You take the cash\nI guess I could get away with it. Oh, no.\n\n\"Fresh ground beef, 49 cents a pound.\"\n\n> You examine the window\nOutside the window, all I can see is somebody's Cadillac parked up close.\n\n\"Delicious tender surloin steaks at 89 cents per pound!\"\n\n> Steal cadillac\nMaybe, maybe if I was all alone, late at night and I had all the right tools. Yeah maybe I could steal it.\n\n\"Fresh frying chickens, 29 cents a pound!\" He's repeating himself. He must be repeating himself.\n\n> You get the cash\nOr maybe yes? I don't have a supervisor.\n\n\"Fresh frozen hot house garden peas, 3 packages for 69 cents.\"\n\n> You get the cash\nNo, the customers would see and report me. Not that they're paying any attention to me.\n\nOur self-styled master of ceremonies ends on an incredulous note: \"Juicy Florida Oranges: ten for 69 cents!\"\n\n> You get the cash\nWith this kind of money, I could skip town, but where would I go?\n\nThe nurse has got all his shopping done and he's walking towards me.\n\n> You get the cash\nMaybe my cousin Vinnie would put me up, he wouldn't mind harboring a fugitive.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> Wave\nReminds me of the time someone waved to me across the street. I plucked up the courage to wave back, but turns out they were waving to the girl behind me.\n\nSentimental strains of a canned orchestra flow out the in-store speakers.\n\n> You pull the lever\nThe drawer's already open.\n\nThe couple emerge from the aisles to browse the cigar stand in front of me.\n\"...to err is human,\" the husband replies to something I didn't quite catch.\n\"Not in my book.\" She hits him with her handbag.\n\n> You get the cash\nBut Vinnie does have a huge mouth on him, he'd tell Aunt Pam and she'd tell everyone.\n\n\"Get some instant dog food,\" the wife says.\n\"Yes dear.\"\n\"It's for you, you mutt!\"\nAnd they split off in two different directions, her towards the meat counter, him towards the pets aisle.\n\n> You get the cash\nIf I was a fugitive I could do whatever I wanted. I'd steal somebody's Cadillac, I'd steal anything I lacked!\n\nThe string section of the canned orchestra reach new heights of inoffensive whimsy.\n\n> You get the cash\nNo, I'm too shy to be a fugitive. I don't think I can take the money.\n\nThe nurse leaves the shop, bag in hand.\n\n> You get the cash\nWhat would Mildred think if she knew I was some kind of thief? I couldn't take the money.\n\nHmmm... it's time to clock out.\n\n> You get the cash\nBut I've never spoken to Mildred, what does she care?\n\nI really should leave.\n\n> You get the cash\nI could, I could speak to Mildred or even that nice Nurse. But then, if I took the money I wouldn't have to speak to anyone.\n\nI don't have to be here anymore.\n\n> You get the cash\nIs that a good thing? I'm not sure. The choice just seems so irrevocable. Just the thought of it makes me feel a little sick.\n\nI don't have to be here anymore.\n\n> You get the cash\nNo. I'm not going to take the money. But I know that there's a small part of me that would love to.\n\nI don't have to be here anymore.\n\n> You get the cash\nI remember the bravest thing I ever did, I was playing on railway sidings as a kid, and I heard the rails hum way before I saw the train coming. Without even thinking about it, I ran and jumped into rail side bushes.\n\nI don't have to be here anymore.\n\n> You get cash\nBut that's not like stealing money, and besides, it was another three minutes before the train actually came. I was just overreacting.\n\nI don't have to be here anymore.\n\nI'm not hanging around here any longer!\n\nI shuffle over to the exit. Another day done. Until tomorrow. One of these days I'll do something big for sure. But not today.\n\n> Burn button\n(the \"Ask Me\" button)\nI can just imagine the way the little laminate would crinkle and warp under the flame. I would you know, I really would.\n\n\"Lean boiled ham, 99 cents a pound.\"\n\n> Burn intercom\nI don't think the intercom system is flammable, but I guess it would go if I torched the whole building. I'd have to pour gasoline all over the place. It wouldn't be that hard to do, if I broke in at two in the morning. They don't have shutters, and smashing the glass wouldn't be that hard if I took a brick... Oh look another minute has gone by!\n\nI spot the nurse, the one from the psychiatric hospital, the one that always buys his groceries here.\n\n> You talk to the Nurse\nI know he works at the psychiatric hospital, he must be fascinating to talk to. Of course I haven't, and I probably won't.\n\n\"Fresh frying chickens, 29 cents a pound!\"\n\n> Kiss Nurse\nI mean, I've often thought about it. I bet he'd be quite nice to kiss, he's got soft looking lips. I wonder if he uses lip gloss? That doesn't seem likely. But then, he's in a caring profession, so it's not that out of the question. Is that a sexist thing to think? But I bet it would be nice.\nEww... the very though of it!\n\nMildred starts her shift, 7:45 on the dot; she's sitting at the checkout right in front of me.\n\n> Burn card\nAw, I need this for clocking out. I'll not get paid otherwise. But I totally would burn it otherwise.\n\nA married couple walk by, the older end of middle-aged.\n\"You're not worth the powder to blow you to hell,\" she says.\n\"I know dear,\" he says.\n\n> Kiss couple\nI can only do that to something animate.\n\n> You burn yourself\nI'm not that kind of person. Am I? I hope not.\n\n\"Fresh ground beef, 49 cents a pound.\"\n\n> Steal microphone\nOh I couldn't do that. I mean, of course I guess I could do that, but I won't.\n\n\"Fresh frying chickens, 29 cents a pound!\" He's repeating himself. He must be repeating himself.\n\n> You check what you're carrying\nI am carrying:\na \"Ask Me\" button (being worn)\na red uniform (being worn)\na lighter\na pack of cigarettes\na time clock card\n\n\"Fresh frozen hot house garden peas, 3 packages for 69 cents.\"\n\n> Burn button\n(the \"Ask Me\" button)\nI would you know, I really would.\n\nOur self-styled master of ceremonies ends on an incredulous note: \"Juicy Florida Oranges: ten for 69 cents!\"\n\n> Scream\nI could never be so loud or brash. That just isn't me.\n\n> You steal\n(the canned goods)\nNobody's brought any food to the checkout, and as much as I'd like to I'm not going to steal the canned goods.\n\nThe nurse has got all his shopping done and he's walking towards me.\n\n> Curse\nI sometimes curse under my breath. You know, when I stub a toe or something.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> Steal nurse\nOh I couldn't do that.\n\nSentimental strains of a canned orchestra flow out the in-store speakers.\n\n> You turn off intercom\nThey're not something I can switch.\n\nThe couple emerge from the aisles to browse the cigar stand in front of me.\n\"...to err is human,\" the husband replies to something I didn't quite catch.\n\"Not in my book.\" She hits him with her handbag.\n\n> You take the microphone\nOh I couldn't do that.\n\n\"Get some instant dog food,\" the wife says.\n\"Yes dear.\"\n\"It's for you, you mutt!\"\nAnd they split off in two different directions, her towards the meat counter, him towards the pets aisle.\n\n> You press the lever\nNothing obvious happens.\n\nThe string section of the canned orchestra reach new heights of inoffensive whimsy.\n\n> You search drawer\nIn the drawer is lots of cash.\n\nThe nurse leaves the shop, bag in hand.\n\n> You look under the drawer\nI find nothing of interest.\n\nHmmm... it's time to clock out.\n\n> Kiss mildred\nOh Mildred, I can hardly picture her face: her back is all I see. It's a very pretty back. I mean, from what I can make out. I\nassume that it's pretty. I guess it could be hideous really.\nThere could be acne or something. No, I don't think that's true. I bet her back would be nice to kiss. Am I really thinking that? That's pretty weird.\n\nI really should leave.\n\n> You continue\nI've never even talked to her. First things first.\n\nI don't have to be here anymore.\n\n> You talk to Mildred\nIt's funny, we've both been working at the store for nearly six months now and I've never said a word to her. Actually, thinking about it, that's not that funny.\n\nI don't have to be here anymore.\n\n> You talk to Mildred\nI mean, there are many things I'd like to ask her. But I never have.\n\nI don't have to be here anymore.\n\n> You talk to Mildred\nI mean, there are many things I'd like to ask her. But I never have.\n\nI don't have to be here anymore.\n\nI'm not hanging around here any longer!\n\nI shuffle over to the exit. Another day done. Until tomorrow. One of these days I'll do something big for sure. But not today.\n\n> You examine Cadillac\nThe cadillac is bright red and always seems to be sitting out there. Somedays I dream about taking it for a spin.\n\n\"Delicious tender surloin steaks, 89 cents a pound,\" our master of ceremony continues.\n\n> Steal cadillac\nMaybe, maybe if I was all alone, late at night and I had all the right tools. Yeah maybe I could steal it.\n\n\"Lean boiled ham, 99 cents a pound.\"\n\n> Steal cadillac\nMaybe if I was all alone I could steal it.\n\nI spot the nurse, the one from the psychiatric hospital, the one that always buys his groceries here.\n\n> Steal cadillac\nMaybe if I was all alone I could steal it.\n\n\"Fresh frying chickens, 29 cents a pound!\"\n\n> You talk to the Nurse\nI know he works at the psychiatric hospital, he must be fascinating to talk to. Of course I haven't, and I probably won't.\n\nMildred starts her shift, 7:45 on the dot; she's sitting at the checkout right in front of me.\n\n> You ask Mildred about Cadillac\n(talking to Mildred)\nIt's funny, we've both been working at the store for nearly six months now and I've never said a word to her. Actually, thinking about it, that's not that funny.\n\nA married couple walk by, the older end of middle-aged.\n\"You're not worth the powder to blow you to hell,\" she says.\n\"I know dear,\" he says.\n\n> You ask Mildred about the Nurse\n(talking to Mildred)\nI mean, there are many things I'd like to ask her. But I never have.\n\nThe married couple walk off into the canned goods aisle; the man secretively wiping his nose upon his sleeve.\n\n> You ask Mildred about yourself\n(talking to Mildred)\nI mean, there are many things I'd like to ask her. But I never have.\n\n\"Fresh ground beef, 49 cents a pound.\"\n\n> You examine register\nThe register is covered in numbers and has a lever on the side for opening up the drawer.\n\n\"Delicious tender surloin steaks at 89 cents per pound!\"\n\n> You pull the lever\nThe drawer springs open with a satisfying ker-ching sound, revealing lots of cash within.\n\n\"Fresh frying chickens, 29 cents a pound!\" He's repeating himself. He must be repeating himself.\n\n> You get the cash\nI dream about doing that most every day. But I don't. But then...\n\n\"Fresh frozen hot house garden peas, 3 packages for 69 cents.\"\n\n> You get the cash\nI guess I could get away with it. Oh, no.\n\nOur self-styled master of ceremonies ends on an incredulous note: \"Juicy Florida Oranges: ten for 69 cents!\"\n\n> You get the cash\nOr maybe yes? I don't have a supervisor.\n\nThe nurse has got all his shopping done and he's walking towards me.\n\n> You get the cash\nNo, the customers would see and report me. Not that they're paying any attention to me.\n\nThe nurse turns at the last moment, checking out with Mildred.\n\n> You get up\nAlas! It's not yet time to leave work.\n\nSentimental strains of a canned orchestra flow out the in-store speakers.\n\n> About you\nI'm me, you know? I have to wear this stupid oversized red uniform with the little \"Ask Me\" button.\n\nThe couple emerge from the aisles to browse the cigar stand in front of me.\n\"...to err is human,\" the husband replies to something I didn't quite catch.\n\"Not in my book.\" She hits him with her handbag.\n\n> You remove the uniform\nHere? Oh no! The very thought of it! I can barely stand to get undressed in the company of myself.\n\n\"Get some instant dog food,\" the wife says.\n\"Yes dear.\"\n\"It's for you, you mutt!\"\nAnd they split off in two different directions, her towards the meat counter, him towards the pets aisle.\n\n> You ask you about the kissing\n(talking to Mildred)\nI mean, there are many things I'd like to ask her. But I never have.\n\nThe string section of the canned orchestra reach new heights of inoffensive whimsy.\n\n> You drop button\n(the \"Ask Me\" button)\nNah, I'm not allowed to leave stuff lying around here.\n\nThe nurse leaves the shop, bag in hand.\n\n> You show the button to Mildred\n(the \"Ask Me\" button to Mildred)\nMildred is unimpressed.\n\nHmmm... it's time to clock out.\n\n> You throw the button at Mildred\n(the \"Ask Me\" button at Mildred)\n(first taking the \"Ask Me\" button off)\nI never take it off the uniform, I might lose it and then they'd make me pay for a replacement.\n\nI really should leave.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Slice of life, memorable NPC]\n\n> Yes\nOn an ancient, crumbling clay tablet lie the words writ by a wise Assyrian scribe some 4000 years ago: \"The gods do not subtract from the alloted span of men's lives the hours spent on fishing.\" It is in the spirit of these words that you have gone into your garage, unearthed the fishing equipment passed down to you by your father, and called in sick for several days so that you may seek the pleasure of one of the oldest sports known to humanity.\n\nYou drive into a national park well known for its fishing, and, parking your vehicle and yourself by a crowded lake, proceed to bring in a haul as large as your permit allows you. But as the days go by, you feel that the challenge of rod and reel has left. You find yourself limply tossing back the fish you so easily hooked upon your line. You look within that part of your soul that has to do with fishing, and come up with void.\n\nIn frustration, you somehow wander into an old general store by the lake. A century ago it was owned by a man whose name is now nearly illegible on the sign; today it is a concession stand for fast food. Still, mingling with the smell of hamburgers and fries are a group of graybeards, sitting on the porch and talking about days gone by.\n\nYou find yourself engrossed in their conversation, about catches of yesteryear, and struggles against the mighty fish of the past. And, always mentioned in hushed whispers, is a legendary fish called only \"The Old One.\" Fifty, perhaps a hundred or two hundred pounds, long as the tallest pine and wilder than the savage bear of the forest, and appearing only once every thirty years, The Old One has defied the fishing poles of men for centuries. \"They even say,\" says one man, \"The Old One even carried away the bride-to-be of ol' Bob of the bait store, though he never really believed it. That I heard when I was a boy of five, that I did!\" There are chuckles all around.\n\nAfter an awkward silence, one of the men says, \"But The Old One\nonly appears once every thirty years, don't it?\" \"Uh-huh,\" replies another. \"In fact, it's appearing this year, ain't it?\" There are more chuckles all around as you quietly excuse yourself from their company.\n\nThat night you toss and turn in your tent as visions of The Old One swim in your mind. You are almost out of bait and money, but perhaps, just perhaps, you might have a chance. And so, at five o'clock in the morning, you slip away from camp, with only a rod, tackle box and thermos of coffee in hand, down the trail the old men told you about. You feel the thrill of fishing return to you as you make your way down to Lake Highwater. Somehow, you think, you will succeed where others have failed. You are sure that The Old One will not be...\n\n(Type \"info\" for information about this release.)\n\nThis ancient dirt path, no doubt trod on by generations of stalwart anglers, leads north to Lake Highwater. The path is surrounded by lush green grass and tall pine trees which fill your welcoming eyes with green. In the distance, small birds chirp and the occasional deer can be seen scampering through the woods. The only anomaly in the landscape is the large, unsightly mound of dirt sitting next to a pile of rocks. To the west is Bob's Fish 'N Bait Store.\n\n[Author's Note: Go fishing for 'The Old One'.]\n\n> You examine mound\nThis is a mound of dirt which was obviously formed when someone tried to dig a well here.\n\n> You look at pile\nWhich pile do you mean, the mound of dirt, or the pile of rocks?\n\n> Rocks\nThis looks like an old pile of stones. They're quite heavy, and have irregular shapes.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You dig in the dirt\nWhat do you want to dig in it with?\n\n> You check what you're carrying\nYou have a small pamphlet, a fishing pole, a dollar bill, a tackle box, and a thermos. The fishing line seems to contain a hook. The tackle box seems to contain a fishing knife, a cheese ball, a small weight, a medium weight, and a large weight.\n\n> You read the pamphlet\n\"Fishing Pole Instructions\"\n\nfishing experience, but gives you an idea of what you can do with your new fishing pole.\n\nThis is the foredeck of the USS Tuna Melt, a fishing boat off the\nBaja California coast. The deck is wet with the waters of the sea and the air has its distinctive salt taste. You can go aft.\n\n> INVENTORY\n\nYou are carrying a fishing pole and a tackle box. The fishing line seems to contain a hook. The tackle box seems to contain a shrimp and a plastic bobber.\n\n> LOOK AT LINE\n\nYou see attached to the line a hook. On the hook you see nothing.\n\n> TIE BOBBER TO LINE\n\nYou tie the bobber securely to the line.\n\nOld Man Pete, your captain on this voyage, wanders on deck. He is smoking a pipe agitatedly.\n\n> PETE, HELLO\n\n\"Avast, and shiver me timbers!\" growls Pete, who flexes his grotesquely oversized biceps restlessly. \"Aar, keep fishing! I'll give you this gold doubloon to you if you catch the infamous fish, Doby the Mackrel!\"\n\n> PUT THE SHRUMP ON THE HOOK\n\nSorry, I don't know the word 'shrump'.\n\n> OOPS SHRIMP\n\nYou slide the shrimp easily onto the hook.\n\nA sudden wave splashes onto deck, drenching everyone. The water extinguishes Pete's pipe. \"%#&@$*( sea,\" he yells angrily as he plucks a sardine from the pipe. \"Can't a man get a decent smoke anymore?\"\n\n> ASK PETE ABOUT SHRIMP\n\n\"Aar, if ye don't catch Doby soon you'll be eatin' yer bait instead of returning it to the sea,\" warns Pete.\n\n> CAST LINE\n\nYou swing the line back a long way, nearly snagging Pete with the line. \"Watch where ye put that line, ye landlubber!\" With a strong snap of the wrist, you launch the line and its contents into the sea.\n\n> Z\n\nTime passes...\n\n\"Aar, where's me lighter?\" growls Pete.\n\n> Z\n\nTime passes...\n\n> Z\n\nTime passes...\n\n> Z\n\nYou feel a tug at the line! It's weak, yet persistent, and getting stronger by the second!\n\n> REEL IN LINE\n\nYou start reeling in the line when it snags! You pull, and pull, but it won't come up!\n\n> REEL IN LINE\n\nYour pole bends so much from your effort that you think it's going to snap. And suddenly, with a \"Whoosh!\", your line comes screaming back at you, knocking you to the deck!\n\n> LOOK AT HOOK\n\nYou see a mackrel on the hook.\n\n\"That's not Doby the Mackrel,\" says Pete angrily. \"You incompetent landlubber, when will you learn! Get below and get more shrimp! I won't rest until Doby the Mackrel is caught!\" \"Curse you, Doby the Mackrel, curse you!\" Pete exclaims, shaking his fist at the sea. \"From Hell's heart I stab at thee...for hate's sake I spit my last breath at thee!\" You involuntarily twist your body to avoid his flying saliva...\n\n> About yourself\nYou look about the same as always."
    },
    {
        "text": "[Themes: Slice of life]\n\n> Look around\nThis ancient dirt path, no doubt trod on by generations of stalwart anglers, leads north to Lake Highwater. The path is surrounded by lush green grass and tall pine trees which fill your welcoming eyes with green. In the distance, small birds chirp and the occasional deer can be seen scampering through the woods. The only anomaly in the landscape is the large, unsightly mound of dirt sitting next to a pile of rocks. To the west is Bob's Fish 'N Bait Store.\n\n> Go west\nThis weathered structure is Bob's Fish 'N Bait Store, the oldest\nbait shop at Lake Highwater. Except for the sign on the counter that declares \"Cameras, worms $1.00\" the entire store has an air of rustic antiquity as well as a distinctly robust fishy odor. On the west wall\n\n> You take the cheese\nthere is a curtain behind the counter leading into some back room, and upon the counter there is an old wooden bucket as well as a plastic receptacle. By the entrance of the store, to the east, is a small collection of old photos, depicting champion fishermen.\nOn the counter sits a camera.\nBob is here, minding the store.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\nTaken.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You examine Bob\nOld Bob has run this store for (if those old men are to be believed) 103 years. While you doubt that particular claim (for after all Willard Scott never wished him a happy birthday on the \"Today\" show) you sense there is truth to the claim that Bob is the best damn bait seller at Lake Highwater. You could ask this man anything and he'll have an answer.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You check your inventory\nYou have a small pamphlet, a fishing pole, a dollar bill, a tackle box, a thermos, and a cheese ball. The fishing line seems to contain a hook. The tackle box seems to contain a fishing knife, a small weight, a medium weight, and a large weight.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You ask Bob about the worms\n\"Sorry, worms been hard to find recently,\" says Bob.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You ask Bob about the cheese\n\"New-fangled artificial polysorbic, monosodium, dipeptide 3,3,4, whatever stuff!\" sneers Bob. \"I don't know what that radioactive-looking thing is made of, but I can tell you, it ain't going to catch The Old One. You're gonna need *real* bait for that!\"\n\nYou hear what sounds like a sigh. Bob is gazing at the large picture on the wall of the woman, whispering, \"Nellie, Nellie.\" Then he notices you looking at him funny. You quickly avert your gaze.\n\n> Xyzzy\nYou speak the ancient word of power. When you realize that it does jack diddly, you slap your hand to your forehead and exclaim, \"D'OH!\"\n\n\"When we were kids those magic words really meant something!\" snorts Bob.\n\nYou hear what sounds like a sigh. Bob is gazing at the large picture on the wall of the woman, whispering, \"Nellie, Nellie.\" Then he notices you looking at him funny. You quickly avert your gaze.\n\n> You ask Bob about Nellie\nThe normally locquacious Bob falls silent. Finally, with an effort, he says, \"Yes, that was my beloved Nellie. She loved fishing as much as I did; we were perfect together.I didn't make that much money, only being a humble seller of bait, but I even managed to scrape together enough to buy her a gold bracelet with her name engraved on it. Finally, on her sixteenth birthday, her father finally gave consent for us to get married, and I was the happiest man on the earth.\n\nHowever, the day of our wedding, I was all dressed up and ready for the ceremony, but Nellie didn't show up. We searched all around but couldn't find her.That's when I remembered there was some rich European guy who'd been also wooing Nellie, and it dawned on me that even my little gold bracelet wouldn't be enough to compete with the expensive trinkets he could buy without a second thought.My friends tried to console me; they said, 'Nellie's like Lake Highwater! She's not so shallow she would follow riches instead of her heart!' But as the day ended and there was no sign of Nellie, I was forced to conclude she had left me for the European.\n\nAt midnight, when I was drinking myself silly, my friend Zeke came up to me and said some guy saw Nellie that day, and that she'd been fishing on the pier and was pulled under by The Old One! I didn't believe Zeke.Even at 14 I'd told many a tall tale about fishing, and I figured Zeke made that up to make me feel better. Never did hear from Nellie again. Her father died of heartbreak shortly thereafter. I always thought Nellie might come back, and I've waited, just minding this store, but I guess it'll never be.\"\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You ask Bob about Nellie\nThe normally locquacious Bob falls silent. Finally, with an effort, he says, \"Yes, that was my beloved Nellie. She loved fishing as much as I did; we were perfect together.I didn't make that much money, only being a humble seller of bait, but I even managed to scrape together enough to buy her a gold bracelet with her name engraved on it. Finally, on her sixteenth birthday, her father finally gave consent for us to get married, and I was the happiest man on the earth.\n\nHowever, the day of our wedding, I was all dressed up and ready for the ceremony, but Nellie didn't show up. We searched all around but couldn't find her.That's when I remembered there was some rich European guy who'd been also wooing Nellie, and it dawned on me that even my little gold bracelet wouldn't be enough to compete with the expensive trinkets he could buy without a second thought.My friends tried to console me; they said, 'Nellie's like Lake Highwater! She's not so shallow she would follow riches instead of her heart!' But as the day ended and there was no sign of Nellie, I was forced to conclude she had left me for the European.\n\nAt midnight, when I was drinking myself silly, my friend Zeke came up to me and said some guy saw Nellie that day, and that she'd been fishing on the pier and was pulled under by The Old One! I didn't believe Zeke.Even at 14 I'd told many a tall tale about fishing, and I figured Zeke made that up to make me feel better. Never did hear from Nellie again. Her father died of heartbreak shortly thereafter. I always thought Nellie might come back, and I've waited, just minding this store, but I guess it'll never be.\"\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action."
    },
    {
        "text": "[Themes: Slice of life, memorable NPC]\n\n> You look around\nThis weathered structure is Bob's Fish 'N Bait Store, the oldest\nbait shop at Lake Highwater. Except for the sign on the counter that declares \"Cameras, worms $1.00\" the entire store has an air of rustic antiquity as well as a distinctly robust fishy odor. On the west wall there is a curtain behind the counter leading into some back room, and upon the counter there is an old wooden bucket as well as a plastic receptacle. By the entrance of the store, to the east, is a small collection of old photos, depicting champion fishermen.\nOn the counter sits a camera.\nBob is here, minding the store.\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You ask Bob about Bob\n\"What's that, kid?\" demands Bob indignantly. \"I don't understand ya, speak up!\"\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You ask Bob about the fishing\n\"I've picked my teeth with larger,\" says Bob nonchalantly.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You look at the bucket\nThis bucket is normally used to hold worms. At the moment, it's quite empty.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You ask Bob about old one\nBob starts to say something, probably one of his long winded stories, but suddenly falls silent and looks at the picture of the woman on the wall.\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You look at the picture\nWhich picture do you mean, the first photo, the second photo, the third photo, the fourth photo, the fifth photo, or the sixth photo?\n\n> First\nThis is a picture of \"Bass-ackwards\" Joe Bob Thorpe, in 1955. He's holding up a large bass. Next to it, in pen, is the notation \"20 lbs\".\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You ask Bob about the camera\n\"Don't know much about those new-fangled Japanese gadgets,\" says Bob. \"They say just point the camera at the target and press the button. I dunno.\"\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You buy the camera\nBob takes your dollar and hands you the camera. \"I don't know why, but it's only got one shot in it,\" he warns. \"Make it count, kid!\"\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You show the the camera to bob\n\"Don't know much about those new-fangled Japanese gadgets,\" says Bob. \"They say just point the camera at the target and press the button. I dunno.\"\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You examine the second picture\nThis yellowing, aged photo, the largest of the lot, depicts a one Nellie Carpenter in 1894. She's holding up a large bass which has the notation \"16 lbs\" next to it.\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You examine the third picture\nAccording to the caption on this photo, the young man standing in the photo with the bass is Robert Stanowski. The bass is labeled \"13 lbs\" and the year is 1962.\n\nYou hear what sounds like a sigh. Bob is gazing at the large picture on the wall of the woman, whispering, \"Nellie, Nellie.\" Then he notices you looking at him funny. You quickly avert your gaze.\n\n> You examine the fourth picture\nIn the black and white photo stands a man wearing what looks like a World War I military uniform, complete with rifle and bayonet. Stuck to the end of the bayonet is a large perch, next to which is the notation \"15 lbs\". A caption identifies the person as Roger Peterson; the year as 1918.\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You examine the fifth picture\nThis photo stands out as the only color picture in the collection. A grizzled old man, in plaid shirt and faded brown trousers, grins through a thick white beard as he holds above his head a surprisingly large bass. The notation next to the fish is \"35 lbs\" followed by a number of exclamation points. The person is identified as 'Zeke Wilder, and the year is 19xx--you can't quiet make out the last two digits.\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You examine the sixth picture\nThis grainy black and white photo, obviously taken during the twilight hours, is a shot of Lake Highwater. In the middle of the photo is a large but fuzzy black splotch. With a bit of imagination, you think it might possibly be fish-shaped.\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You ask Bob about the sixth picture\n\"Yessir,\" says Bob, \"that's the *only* known picture of The Old One that's known to man.\" He shakes his head and sighs. \"Folks been seeing The Old One since the Cru-sades, but no one's ever caught him on film until 1935. The man who can snag that fish will be hailed as Lake Highwater's greatest angler, you can bet on that.\"\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You ask Bob about the second picture\nThe normally locquacious Bob falls silent. Finally, with an effort, he says, \"Yes, that was my beloved Nellie. She loved fishing as much as I did; we were perfect together.I didn't make that much money, only being a humble seller of bait, but I even managed to scrape together enough to buy her a gold bracelet with her name engraved on it. Finally, on her sixteenth birthday, her father finally gave consent for us to get married, and I was the happiest man on the earth.\n\nHowever, the day of our wedding, I was all dressed up and ready for the ceremony, but Nellie didn't show up. We searched all around but couldn't find her.That's when I remembered there was some rich European guy who'd been also wooing Nellie, and it dawned on me that even my little gold bracelet wouldn't be enough to compete with the expensive trinkets he could buy without a second thought.My friends tried to console me; they said, 'Nellie's like Lake Highwater! She's not so shallow she would follow riches instead of her heart!' But as the day ended and there was no sign of Nellie, I was forced to conclude she had left me for the European.\n\nAt midnight, when I was drinking myself silly, my friend Zeke came up to me and said some guy saw Nellie that day, and that she'd been fishing on the pier and was pulled under by The Old One! I didn't believe Zeke.Even at 14 I'd told many a tall tale about fishing, and I figured Zeke made that up to make me feel better. Never did hear from Nellie again. Her father died of heartbreak shortly thereafter. I always thought Nellie might come back, and I've waited, just minding this store, but I guess it'll never be.\"\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You ask Bob about the curtain\n\"What's that, kid?\" demands Bob indignantly. \"I don't understand ya, speak up!\"\n\nYou hear what sounds like a sigh. Bob is gazing at the large picture on the wall of the woman, whispering, \"Nellie, Nellie.\" Then he notices you looking at him funny. You quickly avert your gaze.\n\n> You go west\nBob says, \"Sorry, kid, can't you let you in there. Authorized personelle only.\"\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> Go outside\nYou can't go that way.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> Go north\nAhhhh, Lake Highwater! This world-famous fishing hole is this\nstate's best kept secret. Nearly a mile around, Highwater shines a perfect blue in the early morning sun. Ducks calmly fly over its edge, and pine trees crown the circumfrence of this majestic lake.\nThe only sign of the hand of man is the short pier on which you now stand that points north towards the lake. A well-worn path leads south.\n\n> You examine the ducks\nThe flock of ducks fly lazily over the lake.\n\n> You examine Lake\nLake Highwater sits as peacefully as it has since the Ice Age, when the great glaciers retreated to reveal this regal body of water in all of its splendor.\n\n> You look at the tackle box\nThe tackle box is open. In the tackle box you see a fishing knife, a small weight, a medium weight, and a large weight.\n\n> You look at the rod\nThis is your trusty fishing pole, which belonged to your father and his father, and his father before him, and probably every first-born male in your family line back to the Stone Age. It's made of strong, but flexible wood, and has a titanium reel around which is wound a line of nearly unbreakable catgut. Attached to the end of the line is a hook.\n\n> Go south\nThis ancient dirt path, no doubt trod on by generations of stalwart anglers, leads north to Lake Highwater. The path is surrounded by lush green grass and tall pine trees which fill your welcoming eyes with green. In the distance, small birds chirp and the occasional deer can be seen scampering through the woods. The only anomaly in the landscape is the large, unsightly mound of dirt sitting next to a pile of rocks. To the west is Bob's Fish 'N Bait Store.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> Dig\nWhat do you want to dig in?\n\n> You dig in the dirt with the pamphlet\nI don't know how to dig in the mound of dirt.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You examine the rocks\nThis looks like an old pile of stones. They're quite heavy, and have irregular shapes.\n\n> You get the rock\nYou sift through the pile of rocks. Though you're no rock hound, you do see one odd, heavy rock that looks interesting. You take it.\n\n> You dig in the dirt with the rock\nWhich rock do you mean, the heavy rock, or the pile of rocks?\n\n> Heavy\nThis is one dang heavy rock. It has many strange protrustions and irregularities sticking out from its surface.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You check what you're carrying\nYou have a small pamphlet, a fishing pole, a tackle box, a thermos, a cheese ball, a disposble camera, and a heavy rock. The fishing line seems to contain a hook. The tackle box seems to contain a fishing knife, a small weight, a medium weight, and a large weight.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You look at the thermos\nYour trusty bright orange thermos is closed.\n\n> You open the thermos\nOpened.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You look at the thermos\nYour trusty bright orange thermos is filled with coffee.\n\nYou see something move in the dirt pile! It's slimy, soft, and segmented--an earthworm! Before you can even move, the worm disappears beneath the surface of the dirt.\n\n> You pour the coffee on the dirt\nYou pour the entire contents of the thermos onto the dirt pile (and not without a bit of tearful remorse). However, your noble sacrifice does not go unnoticed by the fishing gods. A fat earthworm, moving faster than any other worm you've ever seen in your life, comes barrelling out of the hole in the dirtpile and flops onto the ground. Then it abruptly slows down, and lies on the ground, twitching spasmodically.\n\n> You get worm\nTaken.\n\n> Drink\nWhat do you want to drink?\n\n> Drink water\nYou drink deeply of Lake Highwater. Clear, refreshing water flows into your mouth and down your throat, calming the inner thirst within. You pull your head out of the water. Then you proceed to upchuck all over the place.\n\n> You put the weight on the line\nWhich weight do you mean, the small weight, the medium weight, or the large weight?\n\n> Small\nYou tie the weight to the line.\n\n> You examine medium weight\nThis medium weight can be attached to fishing lines. It'll bring your line down to a fairly deep depth.\n\n> You examine the large weight\nThis large weight can be attached to fishing lines. It'll sink your line down to a very deep depth.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, and a large weight. On the hook you see nothing.\n\n> You put the worm on the hook\nYou bait the hook with the worm, which wriggles pathetically.\n\n> Cast line\nYou swing your fishing pole back, way, way, back, and with a strength honed by years of angling you cast the line beautifully into the lake.\n\n> Wait\nTime passes...\n\n> Wait\nTime passes...\nYou feel a slight vibration on the pole.\n\n> You reel in the line\nYou reel in the line.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, and a large weight. On the hook you see an earthworm and a dilapidated rubber boot.\n\n> Wait\nTime passes...\nYou sense nothing on the line. Perhaps you should reel it in.\n\n> Wait\nTime passes...\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, and a large weight. On the hook you see an earthworm.\n\n> Cast line\nYou swing your fishing pole back, way, way, back, and with a strength honed by years of angling you cast the line beautifully into the lake.\n\n> You look at the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, and a large weight. On the hook you see an earthworm and a tire.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, a large weight, and a medium weight. On the hook you see an earthworm and a vax.\n\n> You examine the vax\nIt's an ancient piece of machinery. You can't tell much more than that.\n\n> You look at the boot\nThis rubber boot has seen better days, as it's all ragged and filled with holes. Then again, judging from its shoddy construction and poor workmanship, it probably hasn't.\n\n> You remove the large weight from the line\nYou've already got your hands full.\n\n> You drop the tire\nDropped.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a small weight, and a medium weight. On the hook you see an earthworm.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a medium weight, and a large weight. On the hook you see an earthworm.\n\n> Oops cheese\nWhat do you want to cut it with?\n\n> You examine the cheese\nThis is one of those cheese balls fishermen sometimes use as bait. It seems to glow faintly.\n\n> You examine the rock\nThis is one dang heavy rock. It has many strange protrustions and irregularities sticking out from its surface.\n\n> You tie the rock to the line\nYou spend a few minutes tying the rock to the line. It takes some effort, and the creative use of various protrusions on the rock, but you do it.\n\n> You tie the small weight to the line\nYou tie the weight to the line.\n\n> You examine the line\nThis is a fishing line, made of nearly indestructible catgut. Woe be to any member of the fish persuasion that should find itself snared by this, this line of doom.\n\nYou see attached to the line a hook, a medium weight, a large weight, a heavy rock, and a small weight. On the hook you see an earthworm.\n\n> You put the cheese on the hook\nYou bait the hook with the cheese, which sits there like a dead weight.\n\n> Wait\nTime passes...\n\nJumping Jehosaphat! The line starts like a race horse threatened with with milk wagon. You spot, for a brief instant, great mounds of froth break upon the surface of the lake, and the flash of silvery fins shines brightly through the water. The pole bends, almost to the breaking point which you never thought reachable. You strain to keep your quarry under control, but even your powerful arms must struggle greatly. You feel your feet scraping desperately against the wood of the pier, slipping, slipping... until finally, you're pulled straight into the depths of Lake Highwater!\n\nSomehow, you have found your way into this lake. As you breathe\nusing lungs and not gills, you feel that perhaps you should vacate this area before you drown.\nA humongous fish, which is without a doubt The Old One, struggles\nto free itself from your line. A gold bracelet, around its tail, flashes in the feeble light.\n\n> You reel in the line\nNot too likely in this circumstance.\n\n> You examine the camera\nThis is one of those \"disposable\" cameras in which you simply point the camera, press the button, and deposit the camera with an authorized film developer. This looks like one of those new models that can even be used underwater.\n\n> Attack fish\nWhat do you want to attack it with?\n\n> Knife\nYour attack bounces off The Old One's scales, which have ostensibly hardened into an impenetrable shell.\n\nYour oxygen gives out, and shortly thereafter, so do you.\n\n> You press the button\n[TADS-1010: object value required]\nClick.\n\n> You look at the camera\nThis is one of those \"disposable\" cameras in which you simply point the camera, press the button, and deposit the camera with an authorized film developer. This looks like one of those new models that can even be used underwater.\n\nYour oxygen gives out, and shortly thereafter, so do you.\n\n> You point the camera at the bracelet\nYou point the camera at the gold bracelet.\n\nYour oxygen gives out, and shortly thereafter, so do you.\n\n> You point the camera at the bracelet\nYou point the camera at the gold bracelet.\n\n> You press the button\nClick.\n\n> You cut the line\nWhat do you want to cut it with?\n\n> Knife\nYour knife bounces off the indestructible line. So much for guarantees.\n\n> Go upwards\nWith a push against the lake bottom, you swim back up to the lake shore.\n\n\n\nAhhhh, Lake Highwater! This world-famous fishing hole is this\nstate's best kept secret. Nearly a mile around, Highwater shines a perfect blue in the early morning sun. Ducks calmly fly over its edge, and pine trees crown the circumfrence of this majestic lake.\nThe only sign of the hand of man is the short pier on which you now stand that points north towards the lake. A well-worn path leads south.\nYou see a tire, a dilapidated rubber boot, and a vax here.\n\n> You examine the camera\nThis is one of those \"disposable\" cameras in which you simply point the camera, press the button, and deposit the camera with an authorized film developer. This looks like one of those new models that can even be used underwater.\n\n> Go west\nThis weathered structure is Bob's Fish 'N Bait Store, the oldest\nbait shop at Lake Highwater. Except for the sign on the counter that declares \"Cameras, worms $1.00\" the entire store has an air of rustic antiquity as well as a distinctly robust fishy odor. On the west wall there is a curtain behind the counter leading into some back room, and upon the counter there is an old wooden bucket as well as a plastic receptacle. By the entrance of the store, to the east, is a small collection of old photos, depicting champion fishermen.\nBob is here, minding the store.\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You tell Bob about the bracelet\nIt doesn't look as though Bob is interested.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You ask Bob about the camera\n\"Don't know much about those new-fangled Japanese gadgets,\" says Bob. \"They say just point the camera at the target and press the button. I dunno.\"\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You give the camera to Bob\n\"Sorry, kid,\" says Bob. \"I don't particularly need a disposble camera.\"\n\nYou hear what sounds like a sigh. Bob is gazing at the large picture on the wall of the woman, whispering, \"Nellie, Nellie.\" Then he notices you looking at him funny. You quickly avert your gaze.\n\n> You tell Bob about the camera\nIt doesn't look as though Bob is interested.\n\nBob scratches his beard abstractly, thinking about the old days when he could wrestle a great white shark to the ground.\n\n> You tell Bob about the bracelet\nIt doesn't look as though Bob is interested.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> Inventory\nYou have a small pamphlet, a tackle box, a thermos, and a disposble camera. The tackle box seems to contain a fishing knife.\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You open the camera\nI don't know how to open the disposble camera.\n\nBob scratches his beard abstractly, thinking about the old days when he could wrestle a great white shark to the ground.\n\n> You examine camera\nThis is one of those \"disposable\" cameras in which you simply point the camera, press the button, and deposit the camera with an authorized film developer. This looks like one of those new models that can even be used underwater.\n\nBob scratches his beard abstractly, thinking about the old days when he could wrestle a great white shark to the ground."
    },
    {
        "text": "[Themes: Slice of life]\n\n> Look around\nThis weathered structure is Bob's Fish 'N Bait Store, the oldest\nbait shop at Lake Highwater. Except for the sign on the counter that declares \"Cameras, worms $1.00\" the entire store has an air of rustic antiquity as well as a distinctly robust fishy odor. On the west wall there is a curtain behind the counter leading into some back room, and upon the counter there is an old wooden bucket as well as a plastic receptacle. By the entrance of the store, to the east, is a small collection of old photos, depicting champion fishermen.\nBob is here, minding the store.\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> You examine plastic receptacle\nThis is the receptacle into which you place disposable cameras so their film can be developed.\n\n\"Kid,\" says Bob irritably, \"you just going to stand there or are you going to buy something?\n\n> You go west\nBob says, \"Sorry, kid, can't you let you in there. Authorized personelle only.\"\n\nBob licks his finger and holds it up in the air. \"Feels like rain,\" he remarks. He licks his finger and holds it up again. \"Or, maybe not.\"\n\n> You put the camera in the receptacle\nDone.\n\n\"I ever tell you about the time I caught ol' Big Mouth up at Lake Shawnee?\" asks Bob. \"Boy, was he a wild one! I waded down into that lake and pummelled him good with my bare fists. That I did!\"\n\n> Wait\nTime passes...\n\nBob takes the camera out of the receptacle and mutters something about the troubles of modern photo development. He saunters into the back room, where you hear him trying to set up developing equipment. There are lots of clanks and swearing as pans come tumbling down.\n\n> Wait\nTime passes...\n\nDeveloping liquids are being poured in the back room.\n\n> You wait a while\nTime passes...\n\nYou hear Bob humming to himself as he sets some timers.\n\n> You wait\nTime passes...\n\nThe sounds of Bob removing a photo from the back room can be heard.\n\n> You wait awhile\nTime passes...\n\nBob emerges from the back room with a photo in his hands.He's shaking his head. \"Those dang-blasted cameras,\" he says. \"Even the young'uns can't figure them out!\" He tosses a photo into your hands. The picture is a confusing jumble of several pictures, all crammed into the same space simultaneously.\n\n\"Couldn't even get a picture of The Old One,\" he says sadly. \"I guess you young people are as feeble as I thought! Better luck in thirty years!\"In a total of 164 turns, you have achieved a score of 20 points out of a possible 20.\n\nYou may restore a saved game, start over, quit, or undo the current command."
    },
    {
        "text": "> You point the camera at the fish\nYou point the camera at The Old One.\n\n> Go west\nThis weathered structure is Bob's Fish 'N Bait Store, the oldest\nbait shop at Lake Highwater. Except for the sign on the counter that declares \"Cameras, worms $1.00\" the entire store has an air of rustic antiquity as well as a distinctly robust fishy odor. On the west wall there is a curtain behind the counter leading into some back room, and upon the counter there is an old wooden bucket as well as a plastic receptacle. By the entrance of the store, to the east, is a small collection of old photos, depicting champion fishermen.\nBob is here, minding the store.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You put the camera in the receptacle\nDone.\n\nBob launches into an extended monologue about the time he and Zeke flushed out a bunch of worms in his mother's vegetable garden with tea and drove the excited nightcrawlers into the pantry, scaring some guests. He rubs his behind wistfully, as if remembering the results of his action.\n\n> You wait\nTime passes...\n\nThe sounds of Bob removing a photo from the back room can be heard.\n\n> You wait\nTime passes...\n\nBob emerges from the back room with a photo in his hands.Bob is handing you the photo when he takes a closer glance at it. \"Why, why...\" he stammers. Suddenly he turns white and looks as if he's about to collapse. You rush behind the counter to help him, but he recovers enough to thump himself several times in the chest. Shaking his head as if to clear his mind, he stares at the photo again.\n\n\"It's The Old One!\" he gasps. \"Look at it! That's the largest bluegill I ever saw!\"\n\n\"Um, a bluegill?\" you ask.\"Yeah,\" says Bob, pointing out some features on the fish. \"you can tell by the...\" His voice trails off, and you realize that a biology lesson is right now not the most important thing about the moment.\n\n\"Nellie,\" says Bob with a sigh. \"I know that's The Old One, because...\" He points to the golden bracelet around The Old One's tail. \"Because that's Nellie's bracelet. It was just like Zeke said. I guess...she didn't really leave me for that rich guy after all. She never intended to.\"\n\n\"Um, I'm sorry,\" you say, not knowing what to say.\n\n\"You should be!\" Bob snorts, life coming back to him. \"You have The Old One *that* close, and ya let it get away! Young whippersnappers nowadays, they're as feeble as I thought.\"\n\nBut Bob's tone cheers up as he slips the photo under the counter. \"Still, I have to congratulate you on what ya did. Before 1935, no one had a better picture of The Old One than this. I always wanted ta see The Old One with my own eyes, and I didn't want to die before I did.\"\n\n\"Wait a second,\" you say. \"This doesn't mean you're not going to...\"\n\n\"Of course not!\" says Bob. \"Just because I done near had a heart attack when I saw that picture doesn't mean I'm going to keel over and die after I've achieved my ambition of seeing that blasted fish! I'm gonna wait, right here, until someday someone brings in The Old One, straight from the water, to this here bait shop! Maybe I'll even try it myself!\" You find yourself in awe at the old man's grim determination. \"Besides,\" he says, shoulders slumping a fraction of an inch, \"if I don't live, who's gonna take care of poor Zeke's 170 year-old great-grandmother when he dies?\"\n\nAnd so your fishing odyssey at Lake Highwater comes to an end. Out of bait (as your cheese ball has dissipated into its component gases) and money, you pack your belongings and get ready to leave. As you amble happily out of the bait store, ready for the long hike home, you cast one more glance at the beautiful blue surface of Lake Highwater. You spot a shape in the middle, and strain for a second to take a look.\n\nIt's The Old One, leaping high into the air, as if to bid you farewell, the golden bracelet around its tail gleaming in the sunlight. You smile and nod, and find yourself saluting this rugged fish, all the while, thinking, \"In thirty years! I'll be back!\"\n\nAs if to acknowledge the receipt of your challenge, The Old One waves its shiny tail at you and disappears beneath the surface of Lake Highwater.\n\nIn a total of 153 turns, you have achieved a score of 20 points out of a possible 20.\n\nYou may restore a saved game, start over, quit, undo the current command, or see a list of things to do in this game for your amusement.\n\n> Amusement\nHave you tried...\n\nSwearing? Swearing in front of Bob?\nXYZZY? (And in front of Bob?)\nGoing east from the Path to Lake?\nAsking Bob about the pictures? Taking a picture of Bob?\nKissing, killing, giving objects, showing objects to Bob or The Old One?\nOrdering Bob or The Old One to do something? Saying hello to Bob or The Old One?\nFishing with the cheese ball?\nFishing without bait? (Try several times.)  At different depths?\n(Use different weights, instead of the rock)\nDrinking the coffee? The lake?\nEating the cheese ball? the worm? the birds? the deer? the ducks? Cutting the line with the knife?\nCasting the line in front of Bob?\nTaking a picture of something other than The Old One? Taking more than one picture?"
    },
    {
        "text": "?\nYou can see $ and @ here.\n\nAs good-looking as ever.\n\n[Author's Note: On the surface, seems to be a traditional adventure game, featuring treasure, an NPC, a puzzle, and a happy ending. However, matters are complicated by the realization that the work's purported author is actually a character within the story, calling into question the objectivity of the narrated events. Deeper interpretations are possible once one examines the source code to reveal the gender of the supposed author, implicating the player character as a cheapskate customer trying to skip out on a poor but brave male prostitute determined to receive payment. In this interpretation, the piece's title takes on new significance, invoking not only the standard IF prompt with its promise of agency, but also the cultural perceptions of worthlessness familiar to marginalized members of society like sex workers. Does the prostitute-narrator think he is \"greater than\" the player? Or does the player value his or her own character over the NPC? If the player makes the moral choice to make payment before attempting to leave, how does this color the interpretation of the game's ending message?]\n\n> Go south\n@!\n\n> You take all\n@: I don't suppose @ would care for that.\n\n> Inventory\nYou are carrying:\n$\n\nWelcome to the Cheap Glk Implementation, library version 0.9.0."
    },
    {
        "text": "[Themes: nonhuman protagonist]\n\nDream Fish was written for Ectocomp 2013. This game contains\ncoarse language, gore, and disturbing imagery.\n\n> Y.\nMotion disturbs the water. Something falls from above, sinking down a long path down from sunlight to deepness. A second something falls, overtaking the first, landing in the weeds with a force that stirs the sand.\n\nWith no greater predator about, you rule these depths, and you are curious. And hungry.\n\nOnly sporadic shafts of sunlight penetrate to these lonesome depths. Long weeds rise from the sand to drift and tangle in the current.\n\nA dead human has come to rest among the weeds.\n\nA massive box lies on the sandy floor. Several layers of rope wind about the box, binding it closed.\n\n> About you\nYou are scaled and finned, well suited to your environment. And hungry, as almost always.\n\nMuffled vibrations come from within the massive box.\n\n> You look at the box\nIt's more than three times your length, with similar proportions in width and depth.\n\nMuffled vibrations come from within the massive box.\n\n> Bite rope\nYour powerful teeth slice neatly through the layers of rope, and the remanents fall easily away.\n\nA sharp vibration comes from the massive box, followed by a roiling mass of bubbles. The bubbles send you spinning away, but you are nonetheless aware that a second human has emerged from the box.\n\nThe new human is still alive. Thrashing awkwardly, it propels itself up toward the sunlight.\n\n> Bite human\nYou sink your teeth into the human's meaty limb, severing hunk after tasty hunk with joyous abandon. And you dream....\n\nIn his final moments, there was nothing but rage, red and angry.\nHe drew back his fist, snarling a threat that even he barely heard.\nThe commander went pale beneath her rouge. He was certain that he would never strike her, but wondered (beneath that certainty) whether he really might this time - he could not remember being so angry before, so desperately, burningly angry. The lips skinned back from his teeth in a snarl and\n\nSMASH! across the back of his head. He never even saw where the\nblow came from. There wasn't even pain, not really - just impact, and the ending of a life.\n\nThe dream fades, and you are once more aware of the depths and the currents."
    },
    {
        "text": "> Look around\nOnly sporadic shafts of sunlight penetrate to these lonesome depths. Long weeds rise from the sand to drift and tangle in the current.\n\nA partially eaten human has come to rest among the weeds.\n\nA massive box lies on the sandy floor. Its lid gapes open to reveal the empty interior.\n\n> You eat human\nYou push past the human's weak coverings to make a first foray on the soft, tasty innards. And you dream....\n\nHe thought, if he could trust anyone, he could trust Roselle -\nuntil he looked to the bottom of his glass and saw the residue, the rust-red powder inflaming the wine.\n\nWhen he stood, the deck reeled under him, and he couldn't tell any\nmore whether it was inside or outside his head. His skin felt\nflushed, his head ached, the room spun. What had she dosed him with? What would it do to him?\n\nAnd yet he struggled for control. She had forfeited her share of\nthe profit, that was for certain, and her right to move freely about the cabin. But perhaps things could be remedied, somehow - if he\ncould think through the gathering haze -\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> You eat human\nYou burrow deeper, wriggling with delight as you gulp down mouthful after mouthful. And you dream....\n\n\"Over?\" he echoed. \"What do you mean?\"\n\n\"I mean what I said - \" Gene looked sweaty, round, uncomfortable,\nnot at all like a man who had just played him for the better part of twenty-three million. \"I need someone on board who listens. Someone who's got his shit together. Someone who won't touch the cookie\njar.\"\n\nAnd by their contract, under these circumstances - the contract he\nhad pushed for himself - Gene could take the company with him, and Jerry was screwed, screwed, screwed.\n\n\"What are you going to do, Jerry?\"\n\n\"I'm going to kick your ass. I'm going to wreck your car. I'm\ngoing to take a fucking cruise...\" All the fight suddenly went out of him. \"I'm going to go home,\" he said, and he did.\n\nOddly, on the drive home, he thought: A cruise might not be a bad\nidea.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> You continue\nYou turn your attention higher up the body, to the flappy cheeks and lips and nose and eyes. You bite and tear and chew, savoring each delectable mouthful. And you dream....\n\n\"I could kill for a fix,\" he said, and then he didn't say it but\nhe thought it, and days and weeks and months later he stopped thinking it. One day he realized he didn't know when he last thought it, and that was the day Gene said, \"You know, you really got your shit together in there. I need someone like that, someone focused, organized, under control. But someone who understands me, too. I got this idea,\"\n\nand he listened, and his heart said no, no, no until his mouth\nsaid yes.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> About you\nYou are scaled and finned, well suited to your environment. And hungry, as almost always.\n\n> You examine the human\nYou've gnawed most of the meat off the limbs, hollowed the innards out completely, and eaten the fatty meat off the face.\n\n> You eat human\nExerting your powerful jaws, you crack the human's skull and nuzzle away at the cavity within.\n\nSomewhere beneath it all, he was always fourteen. He was always\nat the top of the stairs in his skeleton costume for Halloween, and\nthe teachers were always walking past below, with the conversation always drifting up the stairs like an evil spirit. He was always listening, even though he didn't want to hear. He was always just learning that they couldn't tell him apart from anyone else in the\nsame costume. That he was just another kid, here one year and gone\nthe next. That he was not special. He was always just realizing that he would never be special.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nYou nose your way across the bones one last time, but there's nothing left to eat.\n\n> Y.\nDream Fish was written for Ectocomp 2013. This game contains\ncoarse language, gore, and disturbing imagery.\n\n> Y.\nMotion disturbs the water. Something falls from above, sinking down a long path down from sunlight to deepness. A second something falls, overtaking the first, landing in the weeds with a force that stirs the sand.\n\nWith no greater predator about, you rule these depths, and you are curious. And hungry.\n\nOnly sporadic shafts of sunlight penetrate to these lonesome depths. Long weeds rise from the sand to drift and tangle in the current.\n\nA dead human has come to rest among the weeds.\n\nA massive box lies on the sandy floor. Several layers of rope wind about the box, binding it closed.\n\n> You eat human\nYou sink your teeth into the human's meaty limb, severing hunk after tasty hunk with joyous abandon. And you dream....\n\nIn his final moments, there was nothing but rage, red and angry.\nHe drew back his fist, snarling a threat that even he barely heard.\nThe commander went pale beneath her rouge. He was certain that he would never strike her, but wondered (beneath that certainty) whether he really might this time - he could not remember being so angry before, so desperately, burningly angry. The lips skinned back from his teeth in a snarl and\n\nSMASH! across the back of his head. He never even saw where the\nblow came from. There wasn't even pain, not really - just impact, and the ending of a life.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nMuffled vibrations come from within the massive box.\n\n> You eat human\nYou push past the human's weak coverings to make a first foray on the soft, tasty innards. And you dream....\n\nHe thought, if he could trust anyone, he could trust Roselle -\nuntil he looked to the bottom of his glass and saw the residue, the rust-red powder inflaming the wine.\n\nWhen he stood, the deck reeled under him, and he couldn't tell any\nmore whether it was inside or outside his head. His skin felt\nflushed, his head ached, the room spun. What had she dosed him with? What would it do to him?\n\nAnd yet he struggled for control. She had forfeited her share of\nthe profit, that was for certain, and her right to move freely about the cabin. But perhaps things could be remedied, somehow - if he\ncould think through the gathering haze -\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nMuffled vibrations come from within the massive box.\n\n> You eat human\nYou burrow deeper, wriggling with delight as you gulp down mouthful after mouthful. And you dream....\n\n\"Over?\" he echoed. \"What do you mean?\"\n\n\"I mean what I said - \" Gene looked sweaty, round, uncomfortable,\nnot at all like a man who had just played him for the better part of twenty-three million. \"I need someone on board who listens. Someone who's got his shit together. Someone who won't touch the cookie\njar.\"\n\nAnd by their contract, under these circumstances - the contract he\nhad pushed for himself - Gene could take the company with him, and Jerry was screwed, screwed, screwed.\n\n\"What are you going to do, Jerry?\"\n\n\"I'm going to kick your ass. I'm going to wreck your car. I'm\ngoing to take a fucking cruise...\" All the fight suddenly went out of him. \"I'm going to go home,\" he said, and he did.\n\nOddly, on the drive home, he thought: A cruise might not be a bad\nidea.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nMuffled vibrations come from within the massive box.\n\n> You eat human\nYou turn your attention higher up the body, to the flappy cheeks and lips and nose and eyes. You bite and tear and chew, savoring each delectable mouthful. And you dream....\n\n\"I could kill for a fix,\" he said, and then he didn't say it but\nhe thought it, and days and weeks and months later he stopped thinking it. One day he realized he didn't know when he last thought it, and that was the day Gene said, \"You know, you really got your shit together in there. I need someone like that, someone focused, organized, under control. But someone who understands me, too. I got this idea,\"\n\nand he listened, and his heart said no, no, no until his mouth\nsaid yes.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nMuffled vibrations come from within the massive box.\n\n> You eat human\nExerting your powerful jaws, you crack the human's skull and nuzzle away at the cavity within.\n\nSomewhere beneath it all, he was always fourteen. He was always\nat the top of the stairs in his skeleton costume for Halloween, and\nthe teachers were always walking past below, with the conversation always drifting up the stairs like an evil spirit. He was always listening, even though he didn't want to hear. He was always just learning that they couldn't tell him apart from anyone else in the\nsame costume. That he was just another kid, here one year and gone\nthe next. That he was not special. He was always just realizing that he would never be special.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> Bite rope\nYour powerful teeth slice neatly through the layers of rope, and the remanents fall easily away. As you nip off the last bit of rope, a roiling mass of bubbles emerges. The bubbles send you spinning away, but you recover your equilibrium promptly and return to investigate.\n\nYou discover a second dead human inside the box.\n\n> You eat self\n(first taking yourself)\nYou are always self-possessed.\n\n> Bite human\n(the dead human)\nHaving consumed all the flesh off one human, you turn your attention\nto the other.\n\nYou sink your teeth into the human's meaty limb, severing hunk after tasty hunk with joyous abandon. And you dream....\n\nIn her final moments, she pounded against the inside of the wooden\nbox, strove against it, screamed against it, using up the air so fast. She used it up on purpose. She knew she was going to die and she cursed her captor's name. And when she died, it was no surprise at\nall - just the aching capstone to a useless life.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> Bite human\n(the dead human)\nHaving consumed all the flesh off one human, you turn your attention\nto the other.\n\nYou push past the human's weak coverings to make a first foray on the soft, tasty innards. And you dream....\n\nBetrayal was barely a word she knew. She was shocked when she\nwalked into the cabin and Jerry rounded on her, screaming, \"What have you done to me!\" She didn't lift a hand to stop the blow, though it drove her glasses into her face and knocked her sprawling into the dresser.\n\nHis hands were so strong, lifting her up like a child, dropping\nher down on a rough wooden surface. The darkness was almost comforting, before awareness registered - and by then he had slammed the lid down, and she heard something scraping on the outside of the box, over and over.\n\n\"You can stay there until La Ceiba,\" he snarled, ignoring her\nprotests. And then he was gone, and the lid would not open, no matter how she tried.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> You examine the skeleton\nThis dead human has been skeletonized.\n\n> You eat\n(the massive box)\nLight investigation shows your teeth cannot penetrate its hard substance.\n\n> You eat human\n(the dead human)\nHaving consumed all the flesh off one human, you turn your attention\nto the other.\n\nYou burrow deeper, wriggling with delight as you gulp down mouthful after mouthful. And you dream....\n\nThey had the same cabin, and they slept in the same bed, but\nchastely, rarely keeping even the same hours. And Jerry accepted it, and his simple acceptance made her smile.\n\nHe was in love with something else, of course - something darker\nand fiercer than she could ever be - and she felt sad for that, though relieved that it kept his attentions at bay.\n\nShe thought about that as he laughed above his wineglass, all\nwhite teeth and sparkling eyes, and thought about it as she smiled back.\n\nShe didn't want his love. She wouldn't have minded if she could\nhave it, if she could be capable of stealing it, but she didn't want it. But could she break his other love? That might make his life\neven better. She didn't have the synthesis equipment with her, but\nshe could at least analyze her options. Methadone, naltrexone, diamorphine - every treatment plan started somewhere.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> You eat human\n(the dead human)\nHaving consumed all the flesh off one human, you turn your attention\nto the other.\n\nYou turn your attention higher up the body, to the flappy cheeks and lips and nose and eyes. You bite and tear and chew, savoring each delectable mouthful. And you dream....\n\nThe fire started after she cut the phone lines, and the house\nburned to the ground. Her sister's voice was higher-pitched than she had ever heard it - \"My god, Roselle, what were you thinking?\nWhatever were you thinking?\"\n\nShe'd been thinking, it would be so easy to make sure your awful\nboss never calls you again on a weekend. She'd been thinking, all it takes is scissors. She'd been thinking, I have scissors.\n\nThe cargo pants had giant pockets, and the scissors were still in\nher pocket. If she slipped, they would go straight into her thigh.\nShe didn't slip, or even move. She stood quietly, instead, and listened to her sister, and watched the scorched rubble smoke\nsoftly.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\n> You eat human\n(the dead human)\nHaving consumed all the flesh off one human, you turn your attention\nto the other.\n\nExerting your powerful jaws, you crack the human's skull and nuzzle away at the cavity within.\n\nSomewhere beneath it all, she was always twenty-seven, and she\nnever had her glasses because of the stupid bunny mask. She was\nalways standing at the end of a stranger's driveway while the costumeless partied inside, always watching the cars drive past, squinting through the miserable blur in hope of seeing the van that would rescue her. She was always standing by the grinning pumpkin until the partygoers started leaving. She was always twenty-seven,\nand the van never came.\n\nThe dream fades, and you are once more aware of the depths and the currents.\n\nYou nose your way across the bones one last time, but there's nothing left to eat."
    },
    {
        "text": "[Themes: Humor, dream, monkey, male protagonist, science fiction, space opera, silly, mad science, suggestive content, satire, profanity, Comedy, dream sequence, pulpy, alien world]\n\nWhat the critics are saying:\n\n\"Fewer monkeys would have made this a great game.\" -- Royce Odle\n\n\"The highpoint of the game is definitely driving the tank.\" --\nC.E.J. Pacian\n\n\"Ross plainly considers this erotic, and, uh, good luck to him, I suppose.\" -- Sam Kabo Ashwell\n\n\"A science-fiction geek's wet-dream.\" -- Tanga\n\n\"Good grief. I need a new futon.\" -- Sarah Morayati\n\n[Author's Note: Trapped in a dream-state by a mad scientist bent on galactic domination, you must force yourself awake in the only way known to science. A silly, slightly adult-themed space opera adventure.]\n\n> You press any the key\nWARNING: ADULTS ONLY!\n\nThis work is intended for mature audiences only, as defined by any laws which may apply to you. Note also that while legal maturity is necessary to enjoy this work, other forms of maturity will only hold you back.\n\nIf you now have cause to believe that you should not play this game on the grounds of statutory law, personal morality, the fate of your immortal soul or simple good taste, now is the time to close this program and let the rest of us have our tawdry bubble-helmeted fun. Otherwise ...\n\n> You press any the key\nYou smile an easy, confident smile. \"Professor Zzar! I might have known!\" He stands there on the gleaming deck of the Self-Righteous, small and frail in the finely tuned sights of your ray pistol.\n\n\"Yes, Captain Galactic, it is I.\" For a cornered villain, destined for 20 kilodays' hard labor on the Penal Asteroids of Incarceron, Zzar seems awfully smug. What's his game this time?\n\nThere is a deep thrumming from the plastic orb in the Professor's hand, and a hypnotic, throbbing light. Evil technology! Your ray slips to the deck with a clatter. Your legs seem to melt like Arcturan worm-butter, and you slump against a bulkhead. Now the universe is only the grinning face of your arch-foe, gloating before you!\n\n\"You're entering a Level IX Subconscious Psychic Comatose Preservation State, Captain Galactic,\" he sneers. \"I don't even need to kill you to claim the galaxy as my own. My reign begins now, and you're going to spend the rest of your life on display in my Museum of Conquests ... sleeping through it!\"\n\nThen there is only darkness, and laughter. Peals of terrible, victorious laughter.\n\n> You press any the key\nType Help if you're confused or About if you're curious.\n\nAha! Your months of Grade Seventy Dream Training have paid off ... this dream-chamber is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. Here is where you and the Professor first crossed rays, and where his studies of sleep-states led him to develop the \"perfect\" preservative level of slumber: the Level IX Subconscious Psychic Comatose Preservation State.\n\nProfessor Zzar believes that this state is inescapable ... and he's nearly right ... but here is also where the only known exception was proven, and recorded in the highly secret Omega Document! Now, if only you can locate it ...\n\nYou can see Zippy, George, Abelard, Ickstein, Chunky, and the Omega Document here.\n\n> About yourself\nAs good-looking as ever.\n\n> You read Document\nStars of zetox! These dreams do have their conveniences; the fabled Omega Document, right out in the open! It's a detailed report ... science this, oxytocin that, blood pressure the other thing ... but the conclusion is clear enough: nocturnal emissions generated within a Level IX Subconscious Psychic Comatose Preservation State interrupt the sleep-state and result in full wakefulness. So, your mission is plain: amp up the erotic content (E.C.) of this dream, and you'll ride to freedom on your on manly issue. So to speak.\n\n> You examine zippy\nZippy is a monkey. He's playing with his teeth.\n\n> Kiss monkey\nWho do you mean, Zippy, George, Abelard, Ickstein, or Chunky?\n\n> Kiss zippy\nThat's very sweet.\n\n> Inventory\nYou're carrying nothing.\n\nIckstein begins chewing something.\n\n> You examine Ickstein\nIckstein is a monkey. He's looking at you wide-eyed.\n\n> You examine chunky\nChunky is the kind of monkey you'd normally expect to be seeing, hearing, or speaking no evil (thus insuring six more weeks of evil). He's yawning.\n\n> Spank zippy\nBut Zippy hasn't done anything wrong!\n\n(if you're trying to ... engage in some private time? ... you'll just need to phrase things a little differently under the circumstances)\n\n> You take Zippy\nZippy arches an eyebrow as you try.\n\n> Kiss george\nZippy has better things to do.\n\n> Inventory\nYou're carrying nothing.\n\nYou notice that Ickstein is avoiding your gaze.\n\n> You examine Ickstein\nIckstein is a monkey. He's scratching himself.\n\n> You examine Ickstein\nIckstein is a monkey, like any monkey. He's giving you a big smile.\n\n> You examine George\nGeorge is a monkey. He's looking a bit peevish (maybe petulant would be the better word)."
    },
    {
        "text": "[Themes: Humor, pulpy, dream, suggestive content, monkey, male protagonist, science fiction]\n\n> You describe your surroundings\nThis is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. You can see other chambers to the north, east, and west.\n\nYou can see Zippy, George, Abelard, Ickstein, Chunky, and the Omega Document here.\n\n> You examine Document\nIt's a detailed report ... science this, oxytocin that, blood pressure the other thing ... but the conclusion is clear enough: nocturnal emissions generated within a Level IX Subconscious Psychic Comatose Preservation State interrupt the sleep-state and result in full wakefulness.\n\nZippy is looking at you quizzically.\n\n> You take it\nTaken.\n\n> Go west\nThis is the core of the Science Station's efforts to improve the technology of the Good and Trustworthy Galactic Empire, the facility's main laboratory. The place is packed to bursting with sensors, workstations, and delicate instruments, focusing mankind's collective knowledge into the breakthroughs of the future.\n\nCarolyn is here, brushing down her skirt absentmindedly.\n\nYou can also see Nason, Qwerty, Shingles, Papa, and Frank here.\n\n> You look at Carolyn\nDoctor Professor Carolyn Winters, the only scientist in the history of the Imperial University to get her Professorial Doctorate in Omniopanology before she could legally drink. That was a while ago, and you've shared a few victory rounds of Martian Mead with the good Doctor Professor since, but you've never had the nerve to pursue your interest in her. Your duties as a Captain in the Imperial Naval Forces Against Evil occupy your every waking hour ... a personal life is one of those things that come with retirement.\n\nYou sigh. You sure wouldn't mind retiring with Carolyn, and you've always suspected she feels the same. She cocks her hip just-so while examining some kind of readout, and you find your eyes drawn to the perfect curve of her hip, moving softly beneath her smartly-ironed standard-issue scientist skirt.\n\n> You talk to Carolyn\nCarolyn gives you a wink and says \"Hey there, handsome,\" but it's obvious she's distracted by her scientific work.\n\nNason starts looking pretty bored.\n\n> You examine nason\nNason is some manner of monkey. He's bobbing idly on his haunches.\n\n> You examine Qwerty\nQwerty is a monkey. He's rocking in place.\n\n> You look at Shingles\nShingles is a monkey. He's playing with his teeth.\n\nNason is bobbing idly on his haunches.\n\n> You ask Carolyn about the work\nCarolyn gives you a wink and says \"Hey there, handsome,\" but it's obvious she's distracted by her scientific work.\n\n> Seduce carolyn\nHm?\n\n> You take readout\nNo need to mess with that.\n\nQwerty is slapping the floor beside him.\n\n> Kiss carolyn\nYou can't bring yourself to ... but just the thought of it is thrilling.\n\n> You examine hip\nApologies. You've stumped me. Could you rephrase that?\n\n> Kiss carolyn\nQwerty has better things to do.\n\n> You look at the skirt\nOh my god she's amazing. Whenever you see her in that skirt, you always have this ungentlemanly urge to lift it, just for a second ... just to see ... but of course, you never have.\n\nFrank is rocking in place.\n\n> Lift skirt\nGods of Galactron yes, you've always wanted to lift her skirt ... always wanted ...\n\nAnd you should. Now of all times, you should. This is a dream. You can do this.\n\nNot yet. You're not quite ... you need some more stimulation. That'll get you in the right mindset to finally do this.\n\nOh my god she looks good in that skirt.\n\n> You go east\nThis is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. You can see other chambers to the north, east, and west.\n\nYou can see Zippy, George, Abelard, Ickstein, and Chunky here.\n\n> You go north\nThe X9-7000 supercomputer fills this room almost entirely, bank after bank of glittering golden lights and flutering dial indicators. The computer's vast monitor is currently dark. The supercomputer is operated by means of a large red button, set smartly into the console.\n\nYou can see Chuck, Victor, Jamba, Troy, and Stinky here.\n\n> You examine supercomputer\nThe X9-7000 supercomputer fills this room almost entirely, bank after bank of glittering golden lights and flutering dial indicators. The computer's vast monitor is currently dark. The supercomputer is operated by means of a large red button, set smartly into the console.\n\nVictor starts looking pretty bored.\n\n> You press the button\nThe computer plays the sounds of ... my god, is that people fornicating? I guess this computer is trying to help, but it seems like a terribly brute-force way to go about it. Man, that girl can hit the high notes, though.\n\n> Examine monitor\nHow's that again?\n\n> You look at the dials\nThe X9-7000 supercomputer fills this room almost entirely, bank after bank of glittering golden lights and flutering dial indicators. The computer's vast monitor is currently dark. The supercomputer is operated by means of a large red button, set smartly into the console.\n\nVictor is scratching himself.\n\n> You press the button\nThe computer plays the sounds of ... my god, is that people fornicating? I guess this computer is trying to help, but it seems like a terribly brute-force way to go about it. Man, that girl can hit the high notes, though.\n\nYou notice that Jamba is slapping the floor beside him.\n\n> You go south\nThis is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. You can see other chambers to the north, east, and west.\n\nYou can see Zippy, George, Abelard, Ickstein, and Chunky here.\n\n> Go east\nYour footfalls clank on the cold metal floor of this chamber, built to house and launch the station's experimental military vehicles. The west corridor leads back to the station proper, and the giant (sealed) bay door leads out to the deadly surface of this remote moon.\n\nYou can see Duke, Toby, Rick, Eamon, Grimble, and a Stealth Megatank here.\n\nEamon is chewing something.\n\n> Examine Megatank\nYou can barely see it, it's so darned stealthy. You feel aroused just basking in the dark presence of such sleek, focused, military power. You can't help but notice the hatchway, and wonder what it would be like inside such a majestic beast.\n\n> You examine Eamon\nEamon is a monkey. He's looking at you quizzically.\n\nRick begins looking at you wide-eyed.\n\n> You look at hatchway\nYou don't need to use the word \"demagoguery\" to complete this story. Not that you did, but you managed to confuse me, anyway.\n\n> You enter the tank\nThe interior of the Stealth Megatank is amazing. Even the lights on the controls seem to be glowering with awesome military purpose. You're settled into the command chair, since the other stations are all occupied by monkeys. The only exit from here is out.\n\nYou notice a well-thumbed copy of Spicy Space-Sirens Magazine folded over one of the controls.\n\nYou can also see Lala, Bobo, Vance, Ulster, and Duggy here.\n\nDuggy is yawning.\n\n> You read the Magazine\nGiven the current nature of your mission, you feel a little ashamed for your normal treatment of soldiers under your command who enjoy this kind of ... artistic material. But now is not the time for your notions of perfect purity, nor is it the time to cry over spilled managerial milk. Steeling your resolve, you page eagerly through holophoto after holophoto of sultry spacefaring pulchritude, and feel a little dizzy at the sight of all those fantasy images ... the curve of leg and bosom, the shape of the lower back, the way a girl can smile so wickedly for the camera ... you feel your breathing begin to race, and ... you enjoy it.\n\n> You take Magazine\nTaken.\n\n> You examine the controls\nYou've caught my vocabulary with its pants down, so to speak.\n\n> You drive west\n(I don't know the word \"absquatulate\") ... (or that thing you just typed)\n\n> Exit\nYou prepare to climb out of the tank, but you're interrupted by a loud CLANG as Vance slams the hatch shut, and the other monkeys begin firing up the engine!\n\nYou don't know if monkeys really laugh, but Duggy sure seems to be chuckling as he cranks up some tunes on the tank's stereo.\n\nOutside the tank, the great door opens in a fanfare of rotating yellow safety lights, and you find yourself hurtling at top speed across the surface of an alien moon. The monkeys, now seemingly unaware of what they've done, are simply hopping around you and screeching, and you must rely on your instincts and training to bring the vehicle under control, and bring it back home.\n\nYou figure giving it a little spin around the high ridges won't hurt, just to feel the way she handles. Oh yeah.\n\nFeeling exhausted, thrilled, and strangely satisfied, you eventually return to base, lock the systems down, and head back into the Tank Bay - after giving those monkeys a stern looking-at.\n\nYour footfalls clank on the cold metal floor of this chamber, built to house and launch the station's experimental military vehicles. The west corridor leads back to the station proper, and the giant (sealed) bay door leads out to the deadly surface of this remote moon.\n\nYou can see Duke, Toby, Rick, Eamon, Grimble, and a Stealth Megatank here.\n\nToby is blinking, shaking his head, and then blinking again.\n\n> You go to the west\nThis is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. You can see other chambers to the north, east, and west.\n\nYou can see Zippy, George, Abelard, Ickstein, and Chunky here.\n\nGeorge is looking pretty bored.\n\n> You enter Tank\nThe interior of the Stealth Megatank is amazing. Even the lights on the controls seem to be glowering with awesome military purpose. You're settled into the command chair, since the other stations are all occupied by monkeys. The only exit from here is out.\n\nYou can see Lala, Bobo, Vance, Ulster, and Duggy here.\n\n> Spank vance\nBut Vance hasn't done anything wrong!\n\nVance is giving you a big smile.\n\n> Demagoguery\nI do apologize ... You've bumped your head on the low ceiling of my comprehension.\n\n> Leave\nYour footfalls clank on the cold metal floor of this chamber, built to house and launch the station's experimental military vehicles. The west corridor leads back to the station proper, and the giant (sealed) bay door leads out to the deadly surface of this remote moon.\n\nYou can see Duke, Toby, Rick, Eamon, Grimble, and a Stealth Megatank here.\n\nEamon is chewing something.\n\n> You go west\nThis is none other than Science Station Alpha, on the surface of a distant moon of the Visceron System. You can see other chambers to the north, east, and west.\n\nYou can see Zippy, George, Abelard, Ickstein, and Chunky here.\n\n> You go to the west\nThis is the core of the Science Station's efforts to improve the technology of the Good and Trustworthy Galactic Empire, the facility's main laboratory. The place is packed to bursting with sensors, workstations, and delicate instruments, focusing mankind's collective knowledge into the breakthroughs of the future.\n\nCarolyn is here, brushing down her skirt absentmindedly.\n\nYou can also see Nason, Qwerty, Shingles, Papa, and Frank here.\n\nYou notice that Papa is looking pretty bored.\n\n> Kiss carolyn\nYou can't bring yourself to ... but just the thought of it is thrilling.\n\n> Lift skirt\nGods of Galactron yes, you've always wanted to lift her skirt ... always wanted ...\n\nAnd you should. Now of all times, you should. This is a dream. You can do this.\n\nNot yet. You're not quite ... you need some more stimulation. That'll get you in the right mindset to finally do this.\n\nOh my god she looks good in that skirt.\n\nPapa is avoiding your gaze.\n\n> Lift skirt\nGods of Galactron yes, you've always wanted to lift her skirt ... always wanted ...\n\nAnd you should. Now of all times, you should. This is a dream. You can do this.\n\nNot yet. You're not quite ... you need some more stimulation. That'll get you in the right mindset to finally do this.\n\nOh my god she looks good in that skirt.\n\n> You read the Magazine\nGiven the current nature of your mission, you feel a little ashamed for your normal treatment of soldiers under your command who enjoy this kind of ... artistic material. But now is not the time for your notions of perfect purity, nor is it the time to cry over spilled managerial milk. Steeling your resolve, you page eagerly through holophoto after holophoto of sultry spacefaring pulchritude, and feel a little dizzy at the sight of all those fantasy images ... the curve of leg and bosom, the shape of the lower back, the way a girl can smile so wickedly for the camera ... you feel your breathing begin to race, and ... you enjoy it.\n\nShingles begins bobbing idly on his haunches.\n\n> Lift skirt\nChastity ... is a virtue ...\n\nYou've always taught that. Always believed it. Always shouted it, if need be, into the faces of children and parents at your autograph signings.\n\nBut inside, you've always felt differently, and buried those feelings deep within your endless quest for peace and justice in the galaxy. And (your analyst insists) sublimated it into a dangerously acute case of Ovaltine addiction.\n\nBut now, discarding chastity is the mission. This dream needs to get wet, and by the Nine Quasars, you can't think of anything wetter than the contents of Carolyn's skirt.\n\nOh my god, did you just think that? You hope you didn't say it.\n\nCarolyn turns and gives you a smile made of sunshine, sweetness, and the Scientific Method. \"Hey, handsome, how goes the war against evil? Kill any Zarg for us lately?\"\n\nDeer in the headlights. That's what this feels like. For the deer. And possibly the headlights. The galaxy freezes for a few minutes.\n\nOr a picosecond? Heck yes. You fall back on your academy training, flash her a comparably warm smile in return, and salute. \"Sure have, Carol. Nineteen last week. Strangled half of them with my bare hands, and made one of them eat his own skull.\"\n\nCarolyn winks. \"That's my boy,\" and returns to her work, leaning over the work table and wiggling her hips to a jaunty tune inside her head.\n\nWhat is it you were doing again? You've forgotten.\n\nOh right. You find yourself aiming a 900-watt stare at the curve of her beskirted backside. Dear sweet fucking galaxies, you want to lift that skirt.\n\nNason is playing with his teeth.\n\n> You give the Magazine to Carolyn\nCarolyn gives you a wink and says \"Hey there, handsome,\" but it's obvious she's distracted by her scientific work.\n\nQwerty is slapping the floor beside him.\n\n> Lift skirt\nYou reach out your hand, casually, as if it were going to be heading in this direction anyway, for official purposes.\n\nYou pause to wonder: can you move your own hand offhandedly? Does that even work?\n\nFortunately, the quality of Carolyn's ass returns you almost forcibly to the skirt at hand. Oh, yes, at hand, very much at hand ... and you just do it. You lift it.\n\nCarolyn doesn't turn around. Instead, she giggles for a second, then almost purrs as she says \"Oh, Captain, I'd begun to worry you'd never ...\"\n\nBut even her words, her beautiful voice, fades from your mind as you take in the view.\n\nBlue panties. Soft, gentle blue. Almost translucent fabric. And right on the right cheek, the Imperial Seal, indicating the panties are government-issue.\n\n> You examine the panties\n... That ... that was it! That was IT.\n\nYou feel yourself cresting, hurling over the edge of internal stimulation. It's ... it's nice.\n\nThe rest happens so fast, it's almost a blur. Fortunately, your academy training has prepared you for situations exactly like this (exactly like this; it took you three tries on the final exam, you were so embarrassed).\n\nYou're no longer in the dream state. You're in Professor Zzar's twisted \"Museum,\" on display. Stark naked!\n\nAnd there's the Professor himself, looking confused, furious, and annoyed all at once. He's wiping something from his eyeglasses and grimacing.\n\nBut before you even fully assimilate your surroundings, your training kicks in, and you feel the rush of your reflexes thrusting into action: one foot to Zzar's solar plexus, one fist to the his jaw (hm ... sticky), one fist to his throat, sending him gasping backward. You're such a perfectly-tuned fighting machine, you've beaten your arch-foe to a whining pulp before you even yawn your first yawn, snap your fingers for a towel, and await the adulation of the morning museum crowd (looks like they get complimentary mimosas, that's kind of cool ... and monkeys ... free monkeys with every ...)\n\nHm.\n\nAnd then the world dissolves again, and it's like surfacing from a dry, mucky cocoon into a warm, blankety one.\n\nIt's your bed, at home. Your dog is asleep near the window, half-curled around your cardboard Captain Galactic standee. He knows enough never to hurt it.\n\nScattered around the bed are your Captain Galactic comics, paperbacks, and your duplicate twelve-inch Nubile Star-Empress action figure (your first one is still in its original packaging, mint condition).\n\nYou can hear the vacuum cleaner running in the hall, and smell breakfast. That combination means its Saturday, and if you behave at the breakfast table, Mom will let you watch Captain Galactic Adventures without bothering you, and then you can go meet your friends down at the bar.\n\nYour eyes rest on the cover of Captain Galactic and the Slave Wenches of Jara, in which the brave Captain is too pure and chaste to kiss even a single one of the grateful rescued slaves. You wonder, and not for the first time, if that's the virtue the Captain seems to think it is.\n\nGah. You messed up the sheets again. Time to hide them in the hamper before anyone notices. Your story, as always, is that you're really trying to be more responsible and clean with the bedclothes. It's only fair; Dad doesn't charge you any rent, and you graduated high school seven years ago.\n\nYou're thirsty. But that's what orange juice is for. And breakfast smells good."
    },
    {
        "text": "[Themes: male protagonist]\n\nA Fleeting Case of Self-Possession, or, Memento Moratori\n\nOr as you think of it, your chamber. Over the years, this room has become more full of books, but it has always contained a random assortment of knickknacks, objets des art, and dust. The only door is to the north, and there is a window to the south, half-obscured by floor-length curtains.\n\nSome crackers, a carafe of water, a typewriter, and a sheet of paper rest on a utilitarian table in the center of the room. A candlestick, replete with candle, rests on one of the stacks of books.\n\nYou run and lock the chamber door.\n\n> You examine the door\nThe door is about as intimidating as an attic door could be. It is held tightly shut with a massive combination lock.\n\nYou rush over to the typewriter and quickly type a few extended sentences.\n\n> You examine paper\n\"To whomever may happen across this missive,\nI know not exactly what has transpired, but recent events have left\nme experiencing urges -- strange urges, as if I suddenly wish to journey in a compass direction when I myself hardly know the magnet's bearing. At other moments, I find myself ceaselessly examining previously familiar objects, though it is at those moments when I can break free of this possession, as can I when the demon's demands are so non sequitur as to be baldly the work of the pr?ternatural. I scarce have reason to trust my own intuitions; in summary, I fear I may cause harm to myself or countless others in the throes of these bizarre peregrinations. To prevent such a woeful turn of events, I have locked myself in my chamber, with the aid of a lock of which the combination resides solely in my own mind -- this haunting fiend, whether it hails from deepest Inferno or whether it is born internally as my own viscera, cannot yet gain access to my innermost knowledge.\n\nI shan't leave in the face of anything less than mortal peril.\"\n\nYou pace back and forth and wring your hands.\n\n> Inventory\nYou are carrying:\na lighter\nan absinthe spoon\nsome lint\n\nYou pace back and forth and let out a small shriek.\n\n> You examine the lint\nIt's not particularly interesting.\n\nYou pace back and forth and despair.\n\n> You examine lighter\nIt's a simple silver-colored lighter.\n\nYou pace back and forth and compose melancholy poetry in your head.\n\nA sultry summer thunderstorm kicks up outdoors.\n\n> You look at the spoon\nIt's a small slotted spoon, useless to you since your recent resolution to never touch another drop of liquor in your life.\n\nYou pace back and forth and gnash your teeth.\n\n> You eat the cracker\nYou take a cracker.\n\nAs you eat it, you can feel your throat get a little drier.\n\nYou are thirsty.\n\n> Drink water\n(first taking the carafe of water)\nYou drink the water and your thirst subsides.\n\n> You eat the cracker\nYou take a cracker.\n\nAs you eat it, you can feel your throat get a little drier.\n\n> You examine the candle\nIt's a squat whitish cylinder of wax in a simple brass candlestick.\n\nYour thirst gets the better of you and you go to open the window.\n\nYou open the window. As you lean out the window to refill your carafe, a fiend of Stygian darkness clamors its way into the room!\n\nYou are thirsty.\n\n> Oops bat\nIt's an average-sized Little Brown Bat [Myotis lucifugus]. And it's clearly hard of hearing.\n\nYou are thirsty.\n\n> Light candle\nAs you light the candle, the room instantly feels a little more gothic.\n\nThe bat flutters clumsily around the room, knocking into the cow creamer.\n\nYou are thirsty.\n\n> You examine the cow creamer\nIt's shaped like a cow. Or rather, like a cow with a handle and a spout.\n\nThe bat flutters clumsily around the room, knocking into the penwipe.\n\nYou are thirsty.\n\n> You take it\nThis is no time to start carrying around random knickknacks.\n\nThe bat flutters clumsily around the room, knocking into the display cases of entomological specimens.\n\nYou are thirsty.\n\n> You break the carafe\nViolence isn't the answer to this one.\n\nThe bat flutters clumsily around the room, knocking into the broken vase.\n\nYou are thirsty.\n\n> You drop the carafe\nDropped.\n\nThe hapless bat ignores its scientific name and knocks into the candle, sending it sputtering across the stacks of books.\n\nYou are thirsty.\n\n> About yourself\nScruffy hair, wide eyes with a slight twitch to them -- you've been cultivating an \"eccentric\" appearance lately\n\n(first taking the carafe)\nYou fill the carafe up from the rain.\n\nThe fire catches the edge of the stack of books.\n\nYou are thirsty.\n\n> Wait\nYou drink the water and your thirst subsides.\n\nThe fire spreads across the books.\n\n> Wait\nYou pace within a few feet of the door.\n\nThe fire catches the curtains.\n\n> You wait\nYou cower momentarily as the hapless bat gets a little too close to your face for comfort.\n\nThe fire is terrifying.\n\n> You examine the fire\nBright and intimidating.\n\nYou suddenly feel that unlocking the chamber door would, in fact, be a rational action, and you promptly act on your new-found reason: you unlock the door and scramble into the hallway.\n\nA narrow flight of stairs leads downward.\n\n> You go south\nDo you really want to go back into the fire?\n\n> Xyzzy\nYou froth a little at the mouth.\n\n> You examine paper\nIt's a clean white sheet of paper.\n\nYou rush over to the typewriter and quickly type a few extended sentences.\n\n> Type\nYou are out of blank paper.\n\nA sultry summer thunderstorm kicks up outdoors.\n\n> Examine books\nThe books are everywhere -- they're the most notable feature of the room. They're dry, brittle, and mildly forboding, and you can never remember which is which.\n\nOn the stacks of books is a candle.\n\nAn invitation to a masque flutters out of the topmost book, and you catch it in midair.\n\n> You look at the invitation\nAn elaborate script beckons you to partake in a masked f?te. It's scheduled for tonight, but you're hardly planning on attending; you shudder to think what havoc your demon could wreak in such a setting.\n\nYou pace back and forth and compose melancholy poetry in your head.\n\n> You read the invitation\nAn elaborate script beckons you to partake in a masked f?te. It's scheduled for tonight, but you're hardly planning on attending; you shudder to think what havoc your demon could wreak in such a setting.\n\nYou pace back and forth and ponder the fundamental inequity of existence.\n\n> You eat it\nThat's plainly inedible.\n\n> You examine the window\nThe small casement window is set into a dormer. It is closed.\n\nIn the fading twilight, you can make out some scraggly trees. Rain falls quickly against the glass, and a dark shape knocks against the window.\n\n> You open the window\nThough you feel compelled to do so, you catch yourself and wail mournfully. \"Such an unmotivated desire must be demon-spawned!\"\n\n> You think\nWhat a good idea.\n\n> You examine the dust\nIt's just dust.\n\nYou pace back and forth and wring your hands.\n\n> You check what you're carrying\nYou are carrying:\nan invitation\na lighter\nan absinthe spoon\nsome lint\n\nYou pace back and forth and let out a small shriek.\n\n> You look at the crackers\nYou see nothing special about the crackers.\n\nYou pace back and forth and gnash your teeth.\n\n> Wait\nYou pace back and forth and compose melancholy poetry in your head.\n\nYou are thirsty.\n\n> Wait\nYou pace back and forth and wring your hands.\n\n> You wait\nYou pace back and forth and gnash your teeth.\n\n> Wait\nYou pace back and forth and wring your hands.\n\nYou are thirsty.\n\n> Wait\nYour thirst gets the better of you and you go to open the window.\n\nYou open the window. As you lean out the window to refill your carafe, a fiend of Stygian darkness clamors its way into the room!\n\nYou are thirsty.\n\n> Examine fiend\nActually, now that you get a good look at it, it's just an average-sized Little Brown Bat [Myotis lucifugus].\n\nYou are thirsty.\n\n> You take Bat\nI don't suppose the bat would care for that.\n\nYou are thirsty.\n\n> You examine the creamer\nIt's shaped like a cow. Or rather, like a cow with a handle and a spout.\n\nThe bat flutters clumsily around the room, knocking into the disused cravat.\n\nYou are thirsty.\n\n> About yourself\nScruffy hair, wide eyes with a slight twitch to them -- you've been cultivating an \"eccentric\" appearance lately\n\nYou fill the carafe up from the rain.\n\nThe bat flutters clumsily around the room, knocking into the grandfather clock.\n\nYou are thirsty.\n\n> You take the creamer\nThis is no time to start carrying around random knickknacks.\n\nThe bat flutters clumsily around the room, knocking into the display cases of entomological specimens.\n\nYou are thirsty.\n\n> Go south\nYou can't go that way.\n\nThe bat flutters clumsily around the room, knocking into the antique globe.\n\nYou are thirsty.\n\n> Drink water\nYou drink the water and your thirst subsides.\n\nThe bat flutters clumsily around the room, knocking into the display cases of entomological specimens.\n\n> Light Bat\nThough you feel a strange urge to burn the bat, you manage to stop yourself before you light him aflame.\n\nThe bat flutters clumsily around the room, knocking into the penwipe.\n\n> Light self\nThough you feel a strange urge to burn yourself, you manage to stop yourself before you light you aflame.\n\nThe bat flutters clumsily around the room, knocking into the statuette of the Eiffel Tower.\n\n> You examine the carafe\nThe carafe is shiny, overwrought, and slightly sinister-looking.\nAlso, it is mostly full of water.\n\nYou pace back and forth and gnash your teeth.\n\nThe bat flutters clumsily around the room, knocking into the cow creamer.\n\n> You wait awhile\nYou pace back and forth and despair.\n\nThe bat flutters clumsily around the room, knocking into the penwipe.\n\n> You examine table\nIt's got four spindly legs and a time-roughened top made of indeterminate wood.\n\nOn the table are some crackers, a typewriter, and a sheet of paper.\n\nYou pace back and forth and gnash your teeth.\n\nThe bat flutters clumsily around the room, knocking into the decorative plate.\n\n> You examine the typewriter\nA bit worse for wear, but still functional. You consider typewriters the \"only way to write.\"\n\nYou pace back and forth and wring your hands.\n\nThe bat flutters clumsily around the room, knocking into the bust of Pallas.\n\n> You put paper in the typewriter\n(first taking the sheet of paper)\n\nThat can't contain things.\n\nThe bat flutters clumsily around the room, knocking into the disused cravat.\n\n> You write the poetry\nYou are out of blank paper.\n\nThe bat flutters clumsily around the room, knocking into the statuette of the Eiffel Tower.\n\n> You enter the window\nIt's a three-storey drop to the ground. And it's raining.\n\nThe bat flutters clumsily around the room, knocking into the penwipe.\n\n> You hit the candle\nViolence isn't the answer to this one.\n\nThe bat flutters clumsily around the room, knocking into the disused cravat.\n\n> Light candle\nAs you light the candle, the room instantly feels a little more gothic.\n\nThe hapless bat ignores its scientific name and knocks into the candle, sending it sputtering across the stacks of books.\n\n> You put out the fire\nYou blow on the empty fire, to little effect.\n\nThe fire catches the edge of the stack of books.\n\n> You enter the window\nIt's a three-storey drop to the ground. And it's raining.\n\nThe fire spreads across the books.\n\n> You put the paper in fire\nThe empty fire holds only liquids.\n\nThe fire catches the curtains.\n\n> You pour the water on the fire\n(the carafe of water on the empty fire)\nFutile.\n\nThe fire is terrifying.\n\n> You put the water in the fire\n(the carafe of water in the empty fire)\nThe empty fire holds only liquids.\n\nThe fire is terrifying.\n\n> You enter the window\nIt's a three-storey drop to the ground. And it's raining.\n\nThe fire is terrifying.\n\n> You examine the curtains\nObjectively, they are purple and silken; whether they are sad or uncertain is more of a matter of interpretation, though you frequently judge them to be so in your more autobiographical writings. They're on fire.\n\nYou suddenly feel that unlocking the chamber door would, in fact, be a rational action, and you promptly act on your new-found reason: you unlock the door and scramble into the hallway.\n\nA narrow flight of stairs leads downward."
    },
    {
        "text": "[Themes: death]\n\nWould you like some special instructions?(recommended)\n\n[Author's Note: Your time is ticking. Your body is weak, but your mind is still active\u0097until the very end.]\n\n> Y.\nThis game contains death, blood, and violence.\nDing...ding...ding.\nDing...ding...ding.The ringing of the bell brings you back to the living. Something hot spreads across your chest as a sharp pain clings to your abdomen. Though your eyelids feel like plates of lead, you still try and open your eyes. As you do, the light strikes them, a hot sensation snakes along your reddened veins. Even with such excruciating pain, you force your eyes open.\nFracture\n\nFrom the light, it's only a little before noon. At this time, you would hear joyous songs and thoughtful prayers as people of faith would've come to this very place. But now, only the gust of the wind remains.\n\nThe once full pews are nothing more than rotting pieces of furniture, as the ceiling, once donning intricate hand-painted frescos, have now peeled and crumbled. The barren wasteland, which was a place of faith, has been relegated to the rats and mites.\n\nYou cough, blood spilling out of your mouth. Your time is ticking. Your body is weak, but your mind is still active--until the very end.\n\nIn front of you, resting on the steps, is a leather-bound book, a torn piece of parchment, and a green ring.\n\n> Examine book\nA book that you've seen since your days as a child. The memories of your school, your friends, and your family flood back to you. Your eyes, still burning from the light, become wet.\n\n> You look at torn\nIt wasn't torn before. It was whole when it arrived at your doorstep.\n\n> You read torn\nYou can't, every movement--it hurts. You can't\n\n> You examine the ring\nA green ring lay on the steps. Flashes of the ritual goes through your mind.\n\n> About yourself\nYou lay, pinned to the altar. Blood covers your whole body.\n\n> You examine the blood\nHot red blood leaks from your wound.\n\n> You look at the steps\nSmall and broken.\n\n> You look at the ceiling\nIt's no longer a place for protection. The hole it has invites nature to its fullest.\n\n> You examine wound\nA wooden spear is stabbed into your abdomen--each movement--it's too much.\n\n> You look at the spear\nA long wooden spear that's been stabbed into you.\n\n> You look at the hole\nthat area's a bit blurry. You can't make anything out.\n\n> You look at the frescos\nThey looked beautiful once upon a time. Now their fairytale has ended.\n\n> You think\nYou can't, every movement--it hurts. You can't\n\n> You look at the floor\nThe symbol was as perfect as the one described on the scroll, and Jaime chanted a prayer, cause the floor to burst into flames.\n\nThe air in your chest finally leaves your body. The blood comes out of your mouth and nose as your lungs begin to close up. You try and move, but your limbs lay dead by your side. Blood paints the floor crimson as the bright light grows cold."
    },
    {
        "text": "[Themes: Slice of life, exploration, female protagonist]\n\nAfter hell went down over the Gr\u00e9millet thing, Subramaniam helped you find this place. You'll have to lay low for a while, so that means not getting out of this room \u2014 or at least downstairs \u2014 until all this blows over. Subra said he'd call you when he'd \"settled things\".\n\nFive days have passed, and Subramaniam hasn't called back. Already you've started waking later and later.\n\nThis is a room in an attic, one of hundreds of other rooftops and balconies. There's a skylight, nominally to let in natural light, but seeing as it's so caked up with pigeon doings and dirt, it's not much use. There's a bed, a desk and a chair.\n\nYou might leave the room to the south, when it's quieter. You can get to the washroom from the hallway.\n\n[Author's Note: After hell went down over the Gr\u00e9millet thing, Subramaniam helped you find this place. You'll have to lay low for a while, so that means not getting out of this room \u0097 or at least downstairs \u0097 until all this blows over. Subra said he'd call you when he'd \"settled things\". Five days have passed, and Subramaniam hasn't called back. Already you've started waking later and later.]"
    },
    {
        "text": "[Themes: Slice of life, exploration]\n\n> You look at the desk\nThis desk is an imposing secondhand thing. It predates your arrival, and, indeed, the construction of this building. If you were of that kind of mindset, you'd have thought it might have been haunted, it's that kind of furniture.\n\nUnderneath, a bar fridge hums away merrily.\n\n> You look at the fridge\nYou remember Subra grumbling about this, but you'd insisted that you would need it if you were to stay in one place for an extended period of time.\n\nA tiny thing which whirs constantly. It'll keep your sandwiches and drinks cold, at least.\n\n> You open the fridge\nYou open the bar fridge, revealing a bottle of juice, a chocolate and\na muffin.\n\n> You look at the muffin\nThis is no ordinary muffin. This is a cheese and onion-flavoured monster of a baked confection, almost as high as your hand. Subra had got someone to get it from one of the fancier market stalls around Walled City yesterday.\n\n> You look at the juice\nOne of your last purchases before you had to go into hiding. It's a rare luxury you occasionally allow yourself - not that you necessarily believe that the organic apple, passionfruit and mango smoothie will help you live longer, it just tastes nice.\n\n> You examine the chocolate\nA supermarket brand of chocolate bar. It promises to have fruit and\nnut inside, but you know from experience that it will have a maximum\nof one raisin and maybe half an almond. What d'you expect for a chocolate bar that size for under a dollar?\n\n> You get the muffin\nTaken.\n\n> You look at the memory\nYou remember Subra as a trim, athletic man, with dark curly hair. He contacted you after you'd called the medical council about the\nthreats you were receiving from the Gr\u00e9millets.\n\n> Inventory\nYou are carrying:\na memory of the threats you were receiving\na memory of Lady Gr\u00e9millet\na chocolate\na bottle of juice\na muffin\na carryall\na phone\na jacket\na book\n\n> You look at lady\nLady Gr\u00e9millet was the inheritor to one of the biggest pharmaceutical parent companies in Perigosan. In person, she was an imposing woman: tall and statuesque.\n\nBut apart from her stature, it was her impossibly proud air that distinguished her from most \"tai-tais\". This most likely stemmed from the confidence that her husband and her had built up their business empire from scratch. You'd attended a few of their family dinners, and she did like to make a point to mention that she was a taxi driver's daughter. Such is social mobility in Perigosan.\n\n> You examine the threats\nYou recall the journey you took to get here... You'd run away\nfrom the Gr\u00e9millets the first chance you got, of course.\n\nBut after that, you kept seeing her green-skinned security officers lingering at all your usual places - the caf\u00e9s you used to go, even your favourite libraries. They would dress up, wear hipster clothes, speak in incomprehensible slang, but you knew they were aggressive and tethered only by the command of their master. Mistress, rather.\n\n> You check what you're carrying\nYou are carrying:\na memory of the journey you took to get here\na memory of the threats you were receiving\na chocolate\na bottle of juice\na muffin\na carryall\na phone\na jacket\na book\n\n> You examine the journey\nIt was a long journey worthy of an adventure novel in itself, especially if it was a potboiler with the plucky heroine up against\nthe Big Bad Corporation... but you digress.\n\nLady Gr\u00e9millet didn't take kindly to your reveal of her industry secrets (was it ever your business? Well, it was a matter of\npublic health).\n\n> You look at the secrets\nIt started when you discovered the notes left in your bedroom.\nIt was from whoever had served as the previous house doctor.\n\nThe previous house doctor had discovered something strange in the basements, and also noted the odd behaviour of some of the\nsecurity personnel. You'd only continued their work. In a cinematic twist of events,\n\n> You look\nThis is a room in an attic, one of hundreds of other rooftops and balconies. There's a skylight, nominally to let in natural light, but seeing as it's so caked up with pigeon doings and dirt, it's not much use. There's a bed, a desk and a chair.\n\nYou might leave the room to the south, when it's quieter. You can get to the washroom from the hallway.\n\nThe noise from the dining area downstairs slowly starts to intensify: it must be lunchtime.\n\n> You look at the secrets\nIt started when you discovered the notes left in your bedroom.\nIt was from whoever had served as the previous house doctor.\n\nThe previous house doctor had discovered something strange in the basements, and also noted the odd behaviour of some of the\nsecurity personnel. You'd only continued their work. In a cinematic twist of events,\n\nYou hear frying pans sizzling.\n\n> You look at basements\nThe Gr\u00e9millet mansion was famous for having a facade made largely out of glass. What people didn't see was that there was glass just about everywhere in the house on Sentosa Cove. Of course, the house wasn't entirely made of glass - that would have been impractical - but almost every structure had veins of glass running through it, most often bottle-green glass, but also clear glass and frosted.\n\nThis extended to the basements, too, which held such essentials as the laundry room, the greenhouse and... and the illegal labs where GD Pharmaceuticals did more unorthodox research. It was almost out of a movie.\n\nNow that you think about the glass, though: when you took the job, you were given lodgings in the house, with veins of yellow glass in\nthe walls. It was like something out of Downton Abbey, so you, too,\ngot to see the fantastical place, the seed of so many rumours.\n\nYou hear a sudden gurgle from the plumbing.\n\n> Inventory\nYou are carrying:\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na chocolate\na bottle of juice\na muffin\na carryall\na phone\na jacket\na book\n\nYou hear people shouting downstairs.\n\n> You look at the place\nLuxury. Sheer luxury. Private washroom, towels changed daily, with bubble bath and shampoo of your choice constantly kept in stock; bed soft as a good dream; something like acres of space. It was ridiculously big, much bigger than it needed to be, and after spending years living in rooms with other people, it was unspeakably good to have your own room.\n\nOkay, fine, you sometimes had to contend with one of the staff appearing in your room silently, but on the whole it was great. Snacks whenever you wanted, too.\n\nThat's all gone, now. But it's a small comfort that there won't be any of that in the future. Not from the Gr\u00e9millets, anyway.\n\nYou hear the clanking of dishes.\n\n> You examine the notes\nThese were bits written on slips of paper, the backs of envelopes (including one from the medical council), even, in one case, the back of a box of mince pies. All written in the same handwriting. Finding those had been like a strange little sidequest in a much larger game.\n\nYou threw them out when you escaped from the Gr\u00e9millet mansion.\n\nYou hear a sudden gurgle from the plumbing.\n\n> You examine the rumors\nSuch a flamoyant figure as Lady Gr\u00e9millet was bound to attract gossip. The Chinese New Year after you'd signed on with the Gr\u00e9millets, nosy aunts, uncles and cousins all wanted to know: what was the Lord Gr\u00e9millet like? Were the servants really half-frog? You could never answer their questions, but at least you won't have to face them this Chinese New Year.\n\nYou hear people shouting downstairs.\n\n> Inventory\nYou are carrying:\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na chocolate\na bottle of juice\na muffin\na carryall\na phone\na jacket\na book\n\nYou hear the clanking of dishes.\n\n> You listen\nYou hear a sudden gurgle from the plumbing.\n\nYou hear people shouting downstairs."
    },
    {
        "text": "> You look around\nThis is a room in an attic, one of hundreds of other rooftops and balconies. There's a skylight, nominally to let in natural light, but seeing as it's so caked up with pigeon doings and dirt, it's not much use. There's a bed, a desk and a chair.\n\nYou might leave the room to the south, when it's quieter. You can get to the washroom from the hallway.\n\nYou hear a sudden gurgle from the plumbing.\n\n> Go south\nHere, the sounds of the eatery below are louder. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate, so best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\nYou hear the clanking of dishes.\n\n> Examine box\nA box once used to hold apples, now seconded as a box for books. The reading material in this box is varied, sourced as it is from what was found abandoned in the eatery.\n\nIn the cardboard box are an adventure novel and a Nature journal.\n\nYou hear frying pans sizzling.\n\n> You get all from the box\nadventure novel: Taken.\nNature journal: Taken.\n\nYou hear the clanking of dishes.\n\n> Examine journal\nIt's an issue from 2013. The cover has been ripped off and some pages are missing, but most of it is still there.\n\nYou hear frying pans sizzling.\n\n> You examine novel\nDrew. It's titled Sue Sharp and the Three Relics.\n\nYou hear people shouting downstairs.\n\n> You read novel\nYou scan through the adventure novel, and you pick out: \"As Sue walked slowly along the path, wondering what the housekeeper might have\nmeant, there was a long high whistle from over the meadow. From the bordering swamp came a white, filmy figure! The ghost!\"\n\nYou hear a sudden gurgle from the plumbing.\n\n> You read the journal\nYou scan through the Nature journal, and you pick out: \"Two scientists have independently proposed an explanation for what causes the\nrotation of the axis every twelve years...\"\n\nYou hear people shouting downstairs.\n\n> You go east\nThe most important room in a house. This washroom is almost\nexclusively for your own use, which is an amazing luxury, to be\nhonest. There are the usual amenities here: a toilet, a sink, some toilet paper. Also, some graffiti on the walls. The washroom doesn't have any proper windows, but by the sound of it, it overlooks the\nroad.\n\nYou can leave to the west.\n\nYou hear the clanking of dishes.\n\n> You look at graffiti\nThere's only a modest amount of graffiti in this place, written in permanent marker. \"LOVE is the greatest force\", one reads. Another\nless high-minded one reads, \"CHEESE\".\n\nYou hear a sudden gurgle from the plumbing.\n\n> You examine toilet\nIt's a minor miracle there was even a working toilet here, so despite the cracked seat you really can't complain.\n\nYou hear the clanking of dishes.\n\n> You examine the sink\nThe taps here are mottled with rust. A thin dribble of water is all that comes out when you experimentally turn the tap on. Under the sink are some bottles of drain cleaner and bleach.\n\nYou hear people shouting downstairs.\n\n> You examine the drain cleaner\nThe bottle reads, \"DISSOLVES RAGS, GREASE, PAPER AND OTHER MATERIALS FAST!\". Sure, a standard promise, but terrifying all the same.\n\nYou hear a sudden gurgle from the plumbing.\n\n> You look at the bleach\nNo-brand bleach, which you identify as such by its smell.\n\nYou hear people shouting downstairs.\n\n> You drink the bleach\nYou stare at the opening of the container contemplatively, but your sense of self-preservation is strong enough to stop you from raising the bottle to your lips. You did your rotation in A&E, and you'd seen people who had actually drank bleach. It's a bad way to go.\n\n> You examine paper\nA straggly roll of toilet paper.\n\nYou hear frying pans sizzling.\n\n> You get the bleach\nNo, don't do that! Anyway, whoever cleans the toilet will need it\nhere.\n\nYou hear the clanking of dishes.\n\n> You sit on the toilet\nYou get onto the toilet.\n\n> You look\nWashroom (on the toilet)\nThe most important room in a house. This washroom is almost\nexclusively for your own use, which is an amazing luxury, to be\nhonest. There are the usual amenities here: a toilet, a sink, some toilet paper. Also, some graffiti on the walls. The washroom doesn't have any proper windows, but by the sound of it, it overlooks the\nroad.\n\nYou can leave to the west.\n\n> Flush\nWhat do you want to flush?\n\n> Flush toilet\nA gushing torrent of water comes washing down the toilet bowl.\n\nYou hear a flock of birds flap past: the sun must be going down.\n\n> You go to the west\n(first getting off the toilet)\n\nHere, the sounds of the eatery below are louder. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate, so best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\n> You go north\nThis is a room in an attic, one of hundreds of other rooftops and balconies. There's a skylight, nominally to let in natural light, but seeing as it's so caked up with pigeon doings and dirt, it's not much use. There's a bed, a desk and a chair.\n\nYou might leave the room to the south, when it's quieter. You can get to the washroom from the hallway.\n\nYou suddenly hear the sounds of a violinist tuning their instrument, the tentative tinkle of a pianist. They're having house music tonight. It must be Tuesday.\n\n> Inventory\nYou are carrying:\na Nature journal\nan adventure novel\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na chocolate\na bottle of juice\na muffin\na carryall\na phone\na jacket\na book\n\nMore plates clank.\n\n> You eat the muffin\nThat's plainly inedible.\n\nMusic drifts from the dining rooms below.\n\n> You examine the chair\nThe chair is wobbly. The seat is an abominable combination of red, purple and yellow felt, like something you'd find on a bus.\n\nMore plates clank.\n\n> Drink juice\nMmm, healthy. You stow the bottle away in your carryall.\n\nFrenzied shouting issues from the kitchen.\n\n> You eat chocolate\nThat was delicious!\n\nYou hear the flap of a pigeon suddenly taking off.\n\n> You examine the skylight\nThe light shining through the skylight is a brilliant orange.\n\nMusic drifts from the dining rooms below.\n\n> You open it\nThe skylight is rusted shut, or perhaps it's been painted over too\nmany times. No matter how you shove, you can't get it open.\n\nPigeons roosting on the roofs coo in their liquid burble.\n\nA sudden cheer goes up from the dining area below you, and you hear\nthe beginnings of a toast: \"Yaaa-aaaammmmmm... seng!\"\n\nThat reminds you of a banquet you had with the medical council, just three months ago.\n\n> You check your inventory\nYou are carrying:\nA memory of a banquet\na Nature journal\nan adventure novel\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na muffin\na carryall\nan empty bottle\na phone\na jacket\na book\n\nFrenzied shouting issues from the kitchen.\n\n> You examine the banquet\nIt was an annual dinner organised by the medical council in Perigosan for GPs, one of those \"networking\" things that you always abhorred. (But hey, the food was good. It more than made up for the karaoke section.)\n\nAt the time, you'd just gotten the post at the Gr\u00e9millet household. People were intensely curious how this locally educated nobody got the job. Was it connections? (Impossible. Your father was a teacher; your mother, a programmer.) Was it money? (What money?) Was it... No, it wasn't. But even you had trouble explaining it to them.\n\nWell, at least Peter didn't bother asking.\n\nPigeons roosting on the roofs coo in their liquid burble.\n\n> Drink muffin\nThere's nothing suitable to drink here.\n\nFrenzied shouting issues from the kitchen.\n\n> Inventory\nYou are carrying:\nA memory of Peter\na Nature journal\nan adventure novel\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na muffin\na carryall\nan empty bottle\na phone\n\n> You look at the pigeons\nYou hear the flap of a pigeon suddenly taking off.\n\nYou can't see any such thing.\n\n> Inventory\nYou are carrying:\nA memory of Peter\na Nature journal\nan adventure novel\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na muffin\na carryall\nan empty bottle\na phone\na jacket\na book\n\nMusic drifts from the dining rooms below.\n\n> You get on bed\nYou get onto the bed.\n\nYou hear the flap of a pigeon suddenly taking off.\n\n> Sleep\nYou aren't feeling especially drowsy.\n\nFrenzied shouting issues from the kitchen.\n\n> Sing\nYou can't afford to make so much noise, not now!\n\nMore plates clank.\n\n> About yourself\nYou're Cassiopeia Marsh, erstwhile house doctor of the fabulously wealthy Gr\u00e9millet household, now jobless. Your licence hangs in the balance, as does your entire career.\n\nYou hear the flap of a pigeon suddenly taking off.\n\n> You jump\nYou jump on the spot.\n\nFrenzied shouting issues from the kitchen.\n\n> You look\nAttic Room (on the bed)\nThis is a room in an attic, one of hundreds of other rooftops and balconies. Reddish light filters through the skylight; long shadows cluster in the room. There's a bed, a desk and a chair.\n\nYou might leave the room to the south. You can get to the washroom\nfrom the hallway.\n\n> You look at the chair\nThe chair is wobbly. The seat is an abominable combination of red, purple and yellow felt, like something you'd find on a bus.\n\n> You examine the skylight\nThe light shining through the skylight is a brilliant orange.\n\n> You wait\nTime passes.\n\n> You look at the desk\nThis desk is an imposing secondhand thing. It predates your arrival, and, indeed, the construction of this building. If you were of that kind of mindset, you'd have thought it might have been haunted, it's that kind of furniture.\n\nUnderneath, a bar fridge hums away merrily.\n\n> You examine the fridge\nA tiny thing which whirs constantly. It'll keep your sandwiches and drinks cold, at least.\n\n> You look at the bed\nA marginally comfortable thing, with a cast-iron frame. It holds your weight, but creaks alarmingly when you turn in your sleep.\n\nOn the bed is a blanket.\n\n> You take the blanket\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na blanket\nA memory of Peter\na Nature journal\nan adventure novel\na memory of the place you used to stay\na memory of the rumours surrounding the mansion\na memory of the notes you found\na memory about industry secrets\na memory of the threats you were receiving\na muffin\na carryall\nan empty bottle\na phone\na jacket\na book\n\n> You read the novel\nYou scan through the adventure novel, and you pick out: \"\"Oh, but Sue! How did you figure that out?\" \"It was simple. Once I'd looked at the clock in the dining room, I knew that it must have been a dummy!\"\"\n\n> You look at the jacket\nA brown leather jacket with zip details. It makes you look much cooler than you are.\n\n> You examine the zip\nA silver thing criss-crossing the jacket. It doesn't lead to any pockets, it just... is. It looks cool, okay.\n\n> You read the journal\nYou scan through the Nature journal, and you pick out: \"The interested reader may refer to the New Encyclopaedia of Thaumaturgical Diseases (2nd ed.) for further detail...\"\n\n> You go to the south\n(first getting off the bed)\n\nThe sounds of the eatery at dinnertime are louder here, and there is a risk from now that someone might stumble up here after having had a\nfew too many. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate. Best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\n> You examine the gate\nWhat separates you from the general public, theoretically, is a locked door, a flight of stairs and this expanding metal gate. Where the gate meets the stairs, it is chained with a lot of chains. A bit overkill, but there you have it. No one will come and bother you. You overheard the owners of this property saying that they'd tell everyone that it was storage.\n\n> You go to the north\nThis is a room in an attic, one of hundreds of other rooftops and balconies. Reddish light filters through the skylight; long shadows cluster in the room. There's a bed, a desk and a chair.\n\nYou might leave the room to the south. You can get to the washroom\nfrom the hallway.\n\n> You get on the bed\nYou get onto the bed.\n\n> You wait\nTime passes.\n\n> You read the journal\nYou scan through the Nature journal, and you pick out: \"Two scientists have independently proposed an explanation for what causes the\nrotation of the axis every twelve years...\"\n\n> Go south\n(first getting off the bed)\n\nThe sounds of the eatery at dinnertime are louder here, and there is a risk from now that someone might stumble up here after having had a\nfew too many. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate. Best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\nDownstairs, someone has started up music with a pounding bass beat. People cheer.\n\n> You look at the box\nA box once used to hold apples, now seconded as a box for books. The reading material in this box is varied, sourced as it is from what was found abandoned in the eatery.\n\n> Wear box\n(first taking the cardboard box)\nYou can't wear that!\n\nThere's no point making yourself overly miserable. Better for you to lay down, now, and try to go to sleep. Or at least rest.\n\n> You smell yourself\nThe room smells slightly musty, even though you spent the whole of yesterday airing out the room. Still, it's better than nothing.\n\n> Inventory\nYou are carrying:\na memory of Subramaniam\na carryall\na phone\na jacket\na book\n\n> You open the fridge then get all from the fridge then smell the muffin\nYou open the bar fridge, revealing a bottle of juice, a chocolate and\na muffin.\n\nbottle of juice: Taken.\nchocolate: Taken.\nmuffin: Taken.\n\nThe room smells slightly musty, even though you spent the whole of yesterday airing out the room. Still, it's better than nothing.\n\n> You go south\nHere, the sounds of the eatery below are louder. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate, so best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\n> Smell the muffin\nIt smells of sharp cheese.\n\n> You look at the box\nA box once used to hold apples, now seconded as a box for books. The reading material in this box is varied, sourced as it is from what was found abandoned in the eatery.\n\nIn the cardboard box are a Nature journal and a textbook.\n\n> You look at what you're carrying with you\nYou are carrying:\na muffin\na chocolate\na bottle of juice\na memory of Subramaniam\na carryall\na phone\na jacket\na book\n\n> Smell phone\nThe phone smells of ketchup and fried chicken. This is an unusual\nthing for a phone to smell like, but it's probably because you were eating\nThe noise from the dining area downstairs slowly starts to intensify: it must be lunchtime.\n\n> Smell the chocolate\nThe bar of chocolate doesn't smell of much; it's too cold.\n\nYou hear a sudden gurgle from the plumbing.\n\n> You look\nHere, the sounds of the eatery below are louder. Be careful you don't get spotted by anyone. The stairs leading down have been barricaded with a metal gate, so best to respect the measures that Subra put up for your safety.\n\nThere's a cardboard box here, containing a bunch of reading materials. Your room is to the north, and the washroom is to the east.\n\nYou hear the clanking of dishes.\n\n> You look at the box\nA box once used to hold apples, now seconded as a box for books. The reading material in this box is varied, sourced as it is from what was found abandoned in the eatery.\n\nIn the cardboard box are a Nature journal and a textbook.\n\nYou hear a sudden gurgle from the plumbing.\n\n> Examine textbook\nIt's an A level chemistry textbook with the front cover torn off. The text is heavily underlined and highlighted: whoever had owned this had been studious.\n\nYou hear people shouting downstairs.\n\n> You look at journal\nIt's an issue from 2013. The cover has been ripped off and some pages are missing, but most of it is still there.\n\nYou hear the clanking of dishes."
    },
    {
        "text": "[Themes: Fantasy]\n\nThe drums of war have beaten long throughout the land of your forefathers. At night, the fiendish glow of enemy campfires has shone orange and horrible on the horizon for as many years as you can recall. The warriors of your land have battled long and valiantly against the demon hordes pressing relentlessly forward, assailing your ever-diminishing borders. The fight has been mighty, but the strength of your people has begun to wane. Only a few of the warriors remain to lead the rag-tag brigades of youthful peasants into battle.\n\nThe council of elders has seen that it is not long before the invaders will breach the skirmish lines and plunder the farms and villages of your homeland. The council has decreed that after centuries of silence, the voice of the great oracle must be heard once more if this horrible foe is to be repelled.\n\nBarely old enough to follow the warriors into battle, you were filled with great pride when you were selected as the messenger who would be sent to beg the great oracle for her counsel. The elders summoned you into the great hall, admonishing you to stay on the old path leading into the high mountains. After precious few other words of instruction, they sent you on your way.\n\nFor many days now, you have trod the ancient trail, winding higher and higher into the rugged peaks of the Black Mountains. Cold, hungry and alone, you somehow sense that you are nearing the oracle's hiding place deep within the great mountain. At last, the crumbling path fades away at the foot of a vast wall of solid rock\n\nAnother fine product from Allen MegaCorp (2002)\n\nThe greatest peak of the Black Mountains rises sharply before you;\nan impenetrable dagger of dark granite jutting high into the clouds above. You stand at the base of an immense cliff, where a deep alcove has been chiseled from the living rock. It almost appears to be the yawning mouth of a great, black cave. As you stand at its entrance you can see steps cut from the jagged stone, leading southward into the bowels of the mountain."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You examine the cliff\nThe great mountain soars high above you, its lofty peak disappearing into the clouds overhead. Before you, a great cliff rises abruptly, stretching far up the mountain's northern face. At the very foot of the cliff, a deep alcove has been hollowed out.\n\n> About you\nYou are tall for your seventeen years, despite your meager existence on the farm. The tattered clothes of a peasant adorn your lanky frame.\n\n> You check what you're carrying\nYou are empty-handed.\n\n> You enter the cave\nThe stone steps continue southward, descending deeper into the mountain. Here, the steps are less well defined. The previously smooth stone is littered with rubble that has fallen into the stairway over the centuries. The echoing sound of dripping water fills this place with a sense of dampness and cold. Less light penetrates from the entrance far above and it is becoming more difficult to negotiate the slippery stones.\n\n> You look at the stones\nThe boulders, like the rest of this dark passage, are mottled granite.\n\n> You examine the steps\nBehind you the stone steps climb steeply upward, as if yearning for the pale daylight that spills in through the entrance above. Downward, they quickly decay into an irregular slope of boulders.\n\n> You go to the south\nYou are in a great, damp cavern, carved from hard granite by the incessant fingers of rainwater trickling down through the heart of the great mountain. Along the cavern's western wall, a small stream emerges from a crevice in the solid rock. The stream splashes downward over the tumble of stones that make up the cavern's floor until it vanishes beneath an iron door. The door is set in a small hollow where the southernmost extremity of the cavern's roof dips down toward the jagged floor. Against the western wall is a pile of loose shale that seems incongruent with the larger stones that make up the balance of the cavern's floor.\n\nAs you crawl deeper into the dark cavern, you notice that the amulet hanging about your neck begins to glow with a wan, greenish light. It seems to grow brighter as the fading light from above dwindles to darkness. The amulet provides you with just enough illumination to see by.\n\n> Inventory\nYou have a golden amulet (being worn).\n\n> You examine amulet\nIt is the golden amulet the council of elders gave you as you set out on your journey. It is quite finely made, probably well beyond the skills of the smithies of your land, it must have come from some far-off place.\n\nThe council commanded you sternly to wear it at all times. One of the most grizzled and ancient of the elders seized your shoulder in an iron grip, his tangled, silver brow knitted in a grim glare. He told you that the amulet was necessary to summon the oracle from her hiding place. \"When all is prepared,\" he growled, \"cast the amulet into the heart of the mountain.\"\n\n> Drink stream\nThe stream's water is clear, cold and delicious.\n\n> You examine the stream\nThe stream emerges from a crevice in the wall and splashes southward through the cavern where it disappears beneath the iron door.\n\n> You examine the shale\nHeaped against the western wall is a loose pile of stone shards.\n\n> You search it\nYou rummage through the jagged flakes of rock, the sharp edges biting into your bare hands. Hidden just below the surface, you uncover a rusted iron chain. It is threaded between the stones as if it had been intentionally concealed.\n\n> You look at the chain\nThe chain is about the thickness of you thumb, and is crusted with brown-red rust.\n\n> You examine the door\nThe door has been beaten from a single, great slab of iron. It is as tall as a man, and almost equally wide. Its hinges are set in the solid stone of the cavern's walls. It is locked with a great padlock which has rusted terribly over the centuries.\n\n> You open the door\nIt's locked.\n\n> You pull the chain\nYou pull at the chain, drawing a portion of its length out from between the boulders that make up the cavern's floor. One end appears to be fastened to the very stone that forms this chamber. The other end is attached to something that rests, concealed, in the stream. It feels as though another sturdy tug on the chain would free it from its hiding place.\n\n> You pull the chain\nYou pull again at the rusted chain. A long metal box hauls out of the stream and clatters to a rest on one of the stones.\n\n> Examine box\nThe box is constructed from thick copper plates bound together with iron straps and rivets. It is narrow, perhaps a hand's breadth across, and if stood on end it would probably reach waist height. The iron chain is fastened to a sturdy padeye, riveted to the box at one end.\n\n> You open the box\nThe metal box creaks open. Resting within is a great sword, badly rusted and decayed.\n\n> You examine the sword\nThe sword was once a beautiful weapon, but centuries of immersion in the stream have nearly destroyed it. Its once brilliant blade is now pitted with rust. The leather binding of its grip has long since disintegrated. You wonder at how such an exquisite treasure came to rest in this cavern. It must have been hidden ages ago as an offering to the great oracle.\n\n> You get it\nTaken.\n\n> You hit the padlock with the sword\nYou deal the padlock a mighty blow with the ancient sword. The padlock beats against the great door with a resonant clang. The force of the blow sends a painful jolt through your hands and arms. The lock is badly damaged and appears almost ready to fall apart, but the rusted metal still holds the great door shut.\n\n> You hit the padlock with the sword\nYou deal the padlock a mighty blow with the ancient sword. The padlock's hasp cracks in two and the door's latch swings open.\n\n> You open the door\nYou push against the door's cold metal with all your strength, but the ancient hinges, caked with rust, hold fast.\n\nThen with a crack, the hinges break free and the great door grinds open with an ear-splitting creak."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nYou are in a great, damp cavern, carved from hard granite by the incessant fingers of rainwater trickling down through the heart of the great mountain. Along the cavern's western wall, a small stream emerges from a crevice in the solid rock. The stream splashes downward over the tumble of stones that make up the cavern's floor until it vanishes through an open doorway at the cavern's southern end. Against the western wall is a pile of loose shale that seems incongruent with the larger stones that make up the balance of the cavern's floor. A rusted iron chain has been exposed among these shards of rock. The chain snakes across the uneven floor and attatches to a long metal box.\n\n> Go south\nThis space was hollowed out of the solid stone of the mountain, chisel-marks from the ancient laborers can still be seen on its rough hewn walls. The room is slightly oval shaped with a squat, stone altar set on the floor at its southernmost end. A metal chime, heavily corroded after centuries of neglect, hangs from a stand mounted at one of its ends. A rivulet of clear water splashes into the room through a doorway that enters from the north. The stream flows placidly down the room's length and disappears through an iron grate set in the floor just in front of the altar.\n\nAn open archway exits eastward.\n\n> You look at the altar\nThe altar is a waist-high, rectangular block of rough-hewn stone. Its top and sides are dotted and streaked with mineral stains from the water dripping incessantly upon it. Three interlocking rings are carved into its front- perhaps a mystical symbol of some kind. A metal chime, caked with filth and corrosion, is suspended above the altar at one end.\n\n> You examine the chime\nThe chime is a section of metal pipe, perhaps the length of your forearm. It is crusted with a heavy beard of blue-green scale.\n\n> You examine the grate\nThe stream disappears down through this heavy, moss-covered, iron grate set firmly into the stone floor.\n\n> You open the grate\nThe grate is solidly fixed to the stone floor.\n\n> Ring chime\nThe chime rings out, its tone is sharp, clear and of quite high pitch.\n\n> You hit the chime\nThe chime rings out. Again the note is clear and bright, but it seems to be of a distinctly lower pitch than before.\n\n> You hit the chime\nThe chime rings out with a low, throaty tone, surprisingly clear for its apparent decay.\n\nIncredibly, fine lines seem to etch themselves into the altar's smooth top. The lines join to form a rectangle which includes almost all of the altar's upper surface. The stone within the rectangle suddenly vanishes revealing a wide chimney leading down, directly through the altar, into darkness. A few grains of sand, which have crumbled away from the altar's surface, spill down into the chimney and disappear.\n\nAs quickly as they appeared, the chimney and the lines in the stone vanish, leaving the altar exactly as it was before.\n\n> You look at the altar\nThe altar is a waist-high, rectangular block of rough-hewn stone. Its top and sides are dotted and streaked with mineral stains from the water dripping incessantly upon it. Three interlocking rings are carved into its front- perhaps a mystical symbol of some kind. A metal chime, caked with filth and corrosion, is suspended above the altar at one end.\n\n> Ring chime\nThe chime rings out with a low, throaty tone, surprisingly clear for its apparent decay.\n\nIncredibly, fine lines seem to etch themselves into the altar's smooth top. The lines join to form a rectangle which includes almost all of the altar's upper surface. The stone within the rectangle suddenly vanishes revealing a wide chimney leading down, directly through the altar, into darkness.\n\nYou feel the stone vaporize beneath you followed by the terrifying, sickening sensation of falling. Blackness surrounds you, and you continue to fall.\n\nWith a crash that sounds like a clap of thunder, you plunge into a frigid, underground lake. You are stung with icy cold as the water quickly soaks your clothing. You break the surface gasping and sputtering, fighting to keep your breath.\n\nFlooded Chamber, Surface of Water\nYou are treading water in a large chamber that has been almost completely flooded by a waterfall that crashes down from somewhere high above you in the darkness.\n\nYou are on the open lake. Dark water surrounds you on all sides.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. Oddly there seems to be a faint undertow here. The dark water seems to be tugging you softly down, beneath its black surface."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The stone wall continues\nto the north and south. A submerged passageway opens toward the east. You notice a gentle current flowing past you into the dark opening.\n\n> Go east\nYou swim eastward into the dark passageway. The force of the current grows stronger and stronger until it sweeps you helplessly along. In the darkness you scrape against the uneven stone walls and are pounded mercilessly into submerged boulders. Your lungs burn with the desire for breath, but the cold water refuses to release you from its icy grip. Consciousness begins to slip away from you. The roaring, black water and jagged stones are fading into warm, gray oblivion...\n\nYou are slammed back into wakefulness when your body is hurled over the precipice of a subterranean waterfall and spilled into an underground river flowing swiftly beneath the great mountain. The river's dark channel is not completely submerged, and your head breaks the surface. Frantically, you draw in gasping lungfuls of air.\n\nAfter being swept along for some distance, the river's course turns suddenly. You are pushed over a cluster of submerged stones near the rocky bank. The great sword at your side somehow catches between the stones, stopping you dead in the raging current. Fighting against the power of the river, you grasp hold of the slippery stones and work yourself free. You scrabble along toward the river's edge and finally haul yourself out of the freezing water. You find yourself in another great, subterranean chamber.\n\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and forms a rusty pile on the floor.\n\n> You examine the waterwheel\nThe ancient waterwheel is constructed from oaken beams fastened together with thick iron nails. It is far larger than the waterwheels you have seen used to grind grain at home; it is as tall as eight or ten men. The bottom of the wheel dips down into a narrow channel cut in the chamber's stone floor. At the head of the channel is a flow-control gate, which is closed, allowing only a trickle of water to leak past. The wheel can rotate on a massive axle fashioned from the trunk of an ancient and mighty oak. The axle extends outward beyond the wheel's mounting and some holes have been bored through the tough wood there.\n\n> You open gate\nYou raise the gate along its track and water spills into the sluice, filling the waterwheel's scoops. After a moment, the force of the flowing water builds, and with a low, groaning creak, the great wheel begins to turn.\n\n> You close the gate\nYou force the gate down into the rushing water, interrupting the flow through the sluice. Once the water ceases flowing, the great wheel comes to a stuttering halt.\n\n> You examine the chain\nIt is an exceptionally stout piece of ironmongery. Its heavy links are large enough that it would be difficult to wrap both hands around one of them. The chain reaches down from the ceiling, high above, and rests in a rusted pile on the floor.\n\n> You get the chain\nYou grasp the chain's free end and heft it, a feat requiring considerable strength.\n\n> You put the chain in the hole\nWhich hole do you mean, the large hole, or the small hole?\n\n> Large\nYou thread the free end of the iron chain into the large hole bored through the great axle.\n\n> You open gate\nYou raise the gate along its track and water spills into the sluice, filling the waterwheel's scoops. After a moment, the force of the flowing water builds, and with a low, groaning creak, the great wheel begins to turn. The rotation of the axle allows the iron chain to slip out of the large hole and it falls to the floor with a clank."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. River water flows swiftly through the channel and turns the great wheel. A great iron chain hangs down from the ceiling and forms a rusty pile on the floor.\n\n> You examine the small hole\nThe hole is round, approximately two fingerbreadths in width and is bored completely through the oaken beam.\n\n> You look at the beam\nThe great waterwheel is rotating on this massive beam of oak. At one end of the axle, where it overhangs the wheel's mounts, two holes have been bored through: a large hole perhaps twice as broad as your hand and a smaller hole, drilled perpendicular to the larger one, so that the two holes meet at their midpoints.\n\n> You get the chain\nYou slide the end of the great chain from the axle's larger hole.\n\n> You put the chain in the small hole\nIt is impossible to put the great iron chain into the small hole."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Describe the surroundings\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and strings across the floor to where you are holding its free end.\n\n> You open the trapdoor\nYou pull at the trapdoor, but the ancient screw holds it fast.\n\n> You examine the trapdoor\nThe trapdoor is a rusted plate of iron set in the chamber's floor. It is closed, and held fast by a large screw.\n\n> You unscrew the screw\nThe screw is set flush with the trapdoor's surface, and you are unable to turn it with your fingers.\n\n> Go south\nGreat Hall, Southern End\nThis is the southern end of the great hall which continues into darkness northward. The rumbling hiss of the underground river echoes faintly off the blank stone walls. A giant, rough-hewn block of stone rests against the southern wall.\n\n> You look at the stone\nIt is a huge slab of solid granite, the height of three or four men.\nIt appears to be cut from the same stone as that which forms this hall. The block is not so well finished, however. Its surface is rough and uneven, bearing deep chisel marks, and cupped pockets where large flakes of stone were chipped away.\n\n> You examine the pocket\nThe marks of ancient tools cover this towering stone. They are often deep enough to grasp like handholds.\n\n> You climb the stone\nYou scramble up the block's rough surface and haul yourself onto its broad top.\n\nGreat Hall, On Top of Stone\nYou are atop the great stone resting against the hall's southern\nwall. A great iron chain extends down from somewhere above and is fastened to a huge iron hasp fixed in the center of the stone's top. From this height, the pale light shining from your amulet barely illuminates the hall's floor far below you. A narrow passageway, previously hidden from view, has been carved into the southern wall.\nIt was clearly an afterthought to the great hall's excavation. It was probably added decades, if not centuries later. The passage leads southward.\nYou see a rusted metal rod here.\n\n> You get the rod\nTaken.\n\n> You examine the rod\nThe rod is about as long as your forearm. It appears to be hammered from iron and its surface is quite rusted and pitted. One of its ends is bent into a small hook.\n\n> You go south\nYou are in a burial chamber of some kind. A holy man of antiquity\nhas had himself laid to rest near the great oracle's hiding place in the heart of the mountain. The chamber is littered with the crumbling remains of the finery he was adorned with at burial. The air, moistened by the flowing river, has destroyed the once opulent treasure over the centuries. A stone sarcophagus, decorated with intricate carvings, rests along the eastern wall. A narrow passageway leads out northward.\n\n> You look at the sarcophagus\nIt is carved from white marble, streaked with veins of pink and gray. Its lid is intricately carved with mystical symbols and characters, none of which are familiar to you. In the center of the lid, a small rectangular notch has been carved. It appears to be much deeper than the other decorations.\n\n> You look at the notch\nIt is a small, rectangular recess cut into the stone lid.\n\n> You examine the amulet\nIt is the golden amulet the council of elders gave you as you set out on your journey. It is quite finely made, probably well beyond the skills of the smithies of your land, it must have come from some far-off place.\n\n> Open sarcophagus\nThe sarcophagus' stone lid seems to be locked shut.\n\n> You go north\nGreat Hall, On Top of Stone\nYou are atop the great stone resting against the hall's southern\nwall. A great iron chain extends down from somewhere above and is fastened to a huge iron hasp fixed in the center of the stone's top. From this height, the pale light shining from your amulet barely illuminates the hall's floor far below you. A narrow passageway, previously hidden from view, has been carved into the southern wall.\nIt was clearly an afterthought to the great hall's excavation. It was probably added decades, if not centuries later. The passage leads southward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go down\nGreat Hall, Southern End\n\n> Go north\nGreat Hall, Middle\n\n> You go north\nGreat Hall, Northern End\n\n> You put the rod in the small hole\nYou slide the metal rod into the smaller hole until the hooked end rests against the axle.\n\n> You open gate\nYou raise the gate along its track and water spills into the sluice, filling the waterwheel's scoops. After a moment, the force of the flowing water builds, and with a low, groaning creak, the great wheel begins to turn.\n\n> You open gate\nYou raise the gate along its track and water spills into the sluice, filling the waterwheel's scoops. After a moment, the force of the flowing water builds, and with a low, groaning creak, the great wheel begins to turn. The iron chain is wound, clanking and scraping, onto the axle by the waterwheel's rotation. The chain draws tight and the waterwheel's speed slows considerably. The wheel continues to turn however, drawing more chain down from some hidden place in the ceiling. The great chain is gradually wound around the great oaken axle as though it were a giant spool of thread. A loud, grinding sound echoes from the southern end of the hall. Finally, the chain stops feeding down from the ceiling and the wheel creaks to a halt. The water in the sluice splashes noisily past the motionless wheel.\n\n> You go south\nAs you leave, the unsupported flow-control gate slips shut, cutting off the flow of water past the waterwheel. Once the water ceases flowing, the great wheel creaks and shudders to a halt. The iron chain wrapped around the wheel's axle is drawn back up into the ceiling and the wheel begins to turn in reverse, splashing water onto the floor and walls. Again you hear the grinding sound coming from the southern end of the hall. The distant grinding terminates with a resonating thump and the great chain falls slack. The loops of chain wound around the axle tumble noisily onto the floor.\n\nGreat Hall, Middle\n\n> You put the sword in the track\nYou are unable to get the rusted sword to fit into the track. Perhaps if you put something under the gate instead...\n\n> You put the sword under the gate\nYou plunge the sword down into the flowing water, its point catches against the channel's stone bottom. You tuck the sword's hilt under the gate's lower edge. The arrangement holds, keeping the gate fully open.\n\n> You go to the south\nGreat Hall, Middle\n\n> You go south\nGreat Hall, Southern End\nThis is the southern end of the great hall which continues into darkness northward. The rumbling hiss of the underground river echoes faintly off the blank stone walls. A huge block of granite is suspended near the ceiling directly above an open doorway which leads southward. Immediately in front of the doorway, a rectangular patch of the stone floor is dark with moisture.\n\n> Go south\nSpiral Staircase, Top\nThis is the upper landing of a great spiral staircase that winds its way downward into darkness. Its broad steps have been chopped from the living rock. An open archway leads northward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go downwards\nSpiral Staircase, Middle\nYou are somewhere near the middle of the great spiral staircase deep under the mountain. A small hole has been bored into the wall here. The steps wind their way upward and downward.\n\n> You look at the hole\nIt is a cavity in the rock wall, perhaps the size of a man's fist. Its edges are smooth, as though it were made with an auger or drill. It appears to be fairly deep.\n\n> You look in the hole\nDeep in the hole, you can see something shiny glistening in the amulet's weak glow.\n\n> You put the amulet in the hole\nYou recall the stern instructions of the council of elders to keep the amulet with you at all times, and decide against it."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nSpiral Staircase, Bottom\nThis is the lower landing of the great spiral staircase which twists upward into darkness. An open archway leads eastward.\n\n> You go east\nThis is a great, empty chamber. The floor is covered with fine sand which muffles the sound of your footsteps. The sound of your movements no longer echoes off the stone walls as it has previously, giving this area an almost solemn nuance. Open archways exit to the east and west.\n\n> You look at the sand\nIt is fine, white sand. It must have come from some distant beach.\n\n> You dig the sand\nWhat do you want to dig in it with?\n\n> Dig\nWhat do you want to dig in?\n\n> You go to the east\nThis small chamber is floored with clean, soft sand. An open\narchway leads westward. To the east a grand, ornately decorated arch leads into a chamber beyond.\nYou see a smooth blue stone here.\n\n> You examine the stone\nThe stone is gray-blue in color and has been chipped into a roughly rectangular shape that fits easily in the palm of your hand. Its surface has been polished to a dull luster. It probably had some ritual purpose long ago.\n\n> You get it\nTaken.\n\n> You examine the arch\nThe archway is decorated with hideous gargoyles and serpents which writhe and twist about each other.\n\n> You go east\nbronze cherubim, each at least the height of three men. Their mighty wings are swept forward, covering their respectfully downturned faces. The powerful arms of each statue are extended forward: the first grips the axle of a bronze wheel suspended between his clenched fists; the second holds a brass censer; the third cups a copper sphere in his upturned palms. The three seem to be bowing deferentially toward an ornate archway leading southward. Another archway leads back to the west. A ceremonial chest sits in the southeastern corner.\n\n> You examine the cherubim\nThe cherubim are giant bronze statues of powerful winged men. They stand against the northern end of the hall. The first grips the axle of a bronze wheel suspended between his clenched fists, the second holds a brass censer, the third cups a copper sphere in his upturned palms.\n\n> You look at the sphere\nThe sphere is made from polished copper. Its surface is etched with mystical symbols. You recognize them as constellations that can be seen in the night sky. A small bronze arrow, an indicator of some sort, points toward one of the constellations on the sphere's surface. It points to the greater bruin.\n\n> You examine the chest\nIt is a large wooden chest overlaid with lustrous gold leaf. Twinkling gemstones are set in each corner of its heavy lid. It is apparent that this chest contained items of sacral nature, used in ceremonial rites. Three interlocking circles adorn its front and a shiny brass chime is suspended from one of its ends.\n\n> You examine the censer\nThe censer is a large brass jar with ornate fenestrations cut in its sides to allow the smoke of ritual incense to escape. It appears as though it has not been used for centuries. The censer's lid is closed.\n\n> You open it\nThe censer's lid swings open.\n\n> You look at the wheel\nThe first of the great cherubs holds this solid bronze wheel's axle in his clenched fists.\n\n> Open chest\nThe chest is solidly locked.\n\n> You get all\nceremonial sceptre: Taken.\nblock of incense: Taken.\n\n> You examine the latch\nIt is a large mechanism, enclosed within a brass cowl. A stout bolt extends down from the cowl and locks under a heavy loop of iron mounted to the chest's bottom. You realize that it would be impossible to open this chest from the outside. On the back of the cowling, a raised metal stud protrudes conspicuously.\n\n> You check your inventory\nYou have a golden amulet (being worn), a smooth blue stone, a ceremonial sceptre, and a block of incense.\n\n> You look at the sceptre\nIt is a ceremonial sceptre, carved from some dark hardwood and topped with a stylized, reptilian claw fashioned from solid silver.\n\n> You examine the incense\nIt is a small block of brown, compacted vegetable matter. It has a pungent and aromatic odor.\n\n> You open the censer\nThe brass censer is already open!\n\n> You put the incense in it\nDone.\n\n> Close censer\nClosed."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nbronze cherubim, each at least the height of three men. Their mighty wings are swept forward, covering their respectfully downturned faces. The powerful arms of each statue are extended forward: the first grips the axle of a bronze wheel suspended between his clenched fists; the second holds a brass censer; the third cups a copper sphere in his upturned palms. The three seem to be bowing deferentially toward an ornate archway leading southward. Another archway leads back to the west. A ceremonial chest sits in the southeastern corner.\nThe brass censer seems to contain a block of incense.\n\n> You look at the wheel\nThe first of the great cherubs holds this solid bronze wheel's axle in his clenched fists.\n\n> Turn wheel\nThe great bronze wheel refuses to turn.\n\n> Go south\nThe walls of this chamber are black, as if coated with thick soot.\nA polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais at the center of the room. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the northern edge of the dais, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the greater bruin etched high on the chamber's northern wall.\n\n> You look at the sceptre\nIt is a ceremonial sceptre, carved from some dark hardwood and topped with a stylized, reptilian claw fashioned from solid silver.\n\n> Tilt mirror\nYou try with all your strength to change the mirror's position. It refuses to move.\n\n> You look at the floor\nIt lies beneath you.\n\n> You look at the mirror\nThe mirror is an amazing piece of metalwork. It is oval in shape and nearly the height of a grown man. It appears to have been hammered from a large ingot of solid copper. Its surface has been carefully polished to a high sheen. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, it is angled toward the greater bruin etched high on the chamber's northern wall.\n\n> Go north\nThe brass censer seems to contain a block of incense.\n\n> You look at the sphere\nThe sphere is made from polished copper. Its surface is etched with mystical symbols. You recognize them as constellations that can be seen in the night sky. A small bronze arrow, an indicator of some sort, points toward one of the constellations on the sphere's surface. It points to the greater bruin.\n\n> Turn sphere\nYou grasp the copper ball's smooth surface and attempt to roll it, but the sphere refuses to move.\n\n> Tilt mirror\nYou try with all your strength to change the mirror's position. It refuses to move.\n\n> You examine the dais\nThe dais is a large, round platform of carved stone upon which the copper mirror sits.\n\n> Go north\nbronze cherubim, each at least the height of three men. Their mighty wings are swept forward, covering their respectfully downturned faces. The powerful arms of each statue are extended forward: the first grips the axle of a bronze wheel suspended between his clenched fists; the second holds a brass censer; the third cups a copper sphere in his upturned palms. The three seem to be bowing deferentially toward an ornate archway leading southward. Another archway leads back to the west. A ceremonial chest sits in the southeastern corner.\nThe brass censer seems to contain a block of incense.\n\n> You go to the west\nThis small chamber is floored with clean, soft sand. An open\narchway leads westward. To the east a grand, ornately decorated arch leads into a chamber beyond.\n\n> You put the scepter in the hole\nYou slide the sceptre into the cavity, the claw at its tip seems to catch on something far inside.\n\n> You get the scepter\nYou draw the sceptre out of the hole, dragging something along with it. The object clatters to the floor. It is a brass tinderbox!\n\n> You examine the tinderbox\nIt is an open-topped box made of tarnished brass, little enough to fit easily in one hand. A small, soot-stained cup is situated at its bottom, beneath a chip of stone mounted on the box's upper edge. Dangling from a delicate brass chain is a small square of metal. The box's base encloses a tiny drawer which is closed.\n\n> You go to the north\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. River water flows swiftly through the channel and splashes noisily past the stationary wheel. A great iron chain hangs down from the ceiling and is wound tightly around the wheel's great axle.\n\n> You get the sword\nTaken.\n\n> You get rod\nYou grasp the rod's hooked end and try to pull it free, but it is frozen in place by the taut chain.\n\n> Go south\nGreat Hall, Southern End\nThis is the southern end of the great hall which continues into darkness northward. The rumbling hiss of the underground river echoes faintly off the blank stone walls. A giant, rough-hewn block of stone rests against the southern wall.\n\n> Climb block\nYou scramble up the block's rough surface and haul yourself onto its broad top.\n\nGreat Hall, On Top of Stone\nYou are atop the great stone resting against the hall's southern\nwall. A great iron chain extends down from somewhere above and is fastened to a huge iron hasp fixed in the center of the stone's top. From this height, the pale light shining from your amulet barely illuminates the hall's floor far below you. A narrow passageway, previously hidden from view, has been carved into the southern wall.\nIt was clearly an afterthought to the great hall's excavation. It was probably added decades, if not centuries later. The passage leads southward.\n\n> You go south\nYou are in a burial chamber of some kind. A holy man of antiquity\nhas had himself laid to rest near the great oracle's hiding place in the heart of the mountain. The chamber is littered with the crumbling remains of the finery he was adorned with at burial. The air, moistened by the flowing river, has destroyed the once opulent treasure over the centuries. A stone sarcophagus, decorated with intricate carvings, rests along the eastern wall. A narrow passageway leads out northward.\n\n> You put the stone in the notch\nThe smooth, blue stone slips easily into the notch. You hear a muffled clacking sound somewhere within the sarcophagus.\n\n> Open sarcophagus\nThe stone lid raises easily, revealing the disintigrated remains of the sarcophagus' occupant. The desiccated corpse is draped with yellowed linen sheets that crumble like burned paper. Resting in the general region of the neck is a heavy gold torque.\n\n> You examine the corpse\nThe ancient corpse has lain so long in death that it is literally turning to dust. The gaunt skin, stretched over crumbling bones, is flaking into powder as are all of the body's other tissues.\n\n> You get the torque\nTaken. You lift the shimmering torque away from the crumbling body.\n\n> You examine the torque\nThe torque is a semicircle of solid, beaten gold which is worn about the neck. It shimmers and glistens lustrously.\n\n> You go north\nGreat Hall, On Top of Stone\nYou are atop the great stone resting against the hall's southern\nwall. A great iron chain extends down from somewhere above and is fastened to a huge iron hasp fixed in the center of the stone's top. From this height, the pale light shining from your amulet barely illuminates the hall's floor far below you. A narrow passageway, previously hidden from view, has been carved into the southern wall.\nIt was clearly an afterthought to the great hall's excavation. It was probably added decades, if not centuries later. The passage leads southward.\n\n> Go north\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and attatches to the waterwheel's axle.\n\n> You open the drawer\nOpening the tiny drawer reveals a wad of floss.\n\n> You look at the river\nThe underground river runs through the northern end of the great hall, crashing and rumbling its way over numerous submerged boulders. The din from the mighty river drowns out almost all other sound.\n\n> You close the drawer\nClosed.\n\n> You enter the river\nYou leap into the raging river's churning waters and are swept away by the powerful current. Just downstream from the great hall, a small grotto has formed where the river has eroded away the solid stone. You make a futile attempt to swim toward the grotto, but the current is far too swift. Your battle to keep your head above the churning surface ends suddenly when you strike your skull sharply against a submerged rock, and all becomes black...\n\nYou awaken suddenly, your head hammering with pain. You have no idea where you are, but you are no longer buffetted by the icy river and your clothing is dry. You have no clear recollection of how you arrived in this place, but you seem to remember a sudden flash of daylight... an arm reaching down, plucking you out of the water, dragging you back into darkness... a grim, bearded face looking down upon you - unmoving... tunnels, passages, twisting, turning, climbing...\n\nThis space was hollowed out of the solid stone of the mountain, chisel-marks from the ancient laborers can still be seen on its rough hewn walls. The room is slightly oval shaped with a squat, stone altar set on the floor at its southernmost end. A metal chime, heavily corroded after centuries of neglect, hangs from a stand mounted at one of its ends. A rivulet of clear water splashes into the room through a doorway that enters from the north. The stream flows placidly down the room's length and disappears through an iron grate set in the floor just in front of the altar.\n\nAn open archway exits eastward.\nSitting on the stone altar is a rusted sword.\n\n> Inventory\nYou have a golden amulet (being worn), a ceremonial sceptre, a brass tinderbox, and a gold torque (being worn).\n\n> You get the chain\nWhich chain do you mean, the tiny, brass chain, or the heavy iron chain?\n\n> You put the iron chain in the large hole\nThe great chain has been threaded through the large hole and completely occludes it.\n\n> You put the rod in the hole\nWhich hole do you mean, the large hole, or the small hole?\n\n> Small\nThe metal rod has already been inserted into the small hole, occluding it completely.\n\n> You put the sword under the gate\nYou plunge the sword down into the flowing water, its point catches against the channel's stone bottom. You tuck the sword's hilt under the gate's lower edge. The arrangement holds, keeping the gate fully open.\n\n> You go south\nGreat Hall, Southern End\nThis is the southern end of the great hall which continues into darkness northward. The rumbling hiss of the underground river echoes faintly off the blank stone walls. A huge block of granite is suspended near the ceiling directly above an open doorway which leads southward. Immediately in front of the doorway, a rectangular patch of the stone floor is dark with moisture.\n\n> You get the floss\nAs you tear a pinch of the floss away, the tiny drawer snaps firmly shut.\n\n> You put the floss in the cup\nDone.\n\n> You examine the stone\nThe gray stone is mounted to the box's upper edge. It has been chipped into a rectangular shape, and appears to be flint.\n\n> You examine the metal\nIt is made from what appears to be steel, judging from the rust that covers it. Its edges have been scraped and nicked.\n\n> You hit flint with metal\nYou strike the stone firmly with the square of metal, a shower of sparks flashes down upon the cup. The wad of floss within the cup begins to smoulder and emit a thin wisp of smoke, then a tiny finger of orange flame leaps up from the burning floss.\n\n> Light incense\nYou'll have to open the brass censer first.\n\n> You open censer\nThe censer's lid swings open.\n\nA tiny, orange lick of flame flickers up from within the tinderbox.\n\n> Light incense\nThe incense begins to glow with heat, and a bit of delicious-smelling smoke slithers up from it. The sweet smoke begins to roll lazily out of the censer's fenestrations and wafts up toward the ceiling. You hear a distant click coming from somewhere behind the wheel-bearing cherub.\n\nA tiny, orange lick of flame flickers up from within the tinderbox.\n\n> Turn wheel\nYou turn the great wheel, it spins easily. As it spins, you notice a scraping sound coming from beyond the southern archway. After a few rotations, the wheel comes to a sudden halt. You hear a muffled clack coming from somewhere behind the sphere-bearing cherub.\n\nHaving entirely consumed the wad of floss, the tiny flame leaping up from the tinderbox winks out suddenly, and sends up a fine wisp of smoke.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the hydra.\n\n> Go south\nThe walls of this chamber are black, as if coated with thick soot.\nA faint haze of scented smoke billows in through the archway, filling the chamber with a sweet odor. A polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais near the center of the room. The dais seems to have slid further back into the chamber, revealing a large, open well where the massive stone structure had been. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the well's northern edge, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the hydra etched on the northern wall, just above eye level.\n\n> You examine well\nIt is a large, round hole cut in the chamber's floor. A border of mystic runes ring its edge. Its yawning, black depths open before you.\n\n> You examine the amulet\nIt is the golden amulet the council of elders gave you as you set out on your journey. It is quite finely made, probably well beyond the skills of the smithies of your land, it must have come from some far-off place.\n\n> You look in well\nThe well is far deeper than the light from your amulet will penetrate, and you see only blackness.\n\n> About yourself\nYou are tall for your seventeen years, despite your meager existence on the farm. The tattered clothes of a peasant adorn your lanky frame. About your neck hangs a brilliantly crafted golden amulet.\n\n> You drop amulet in well\nThe amulet falls into the depths of the well, illuminating its stone sides as it plummets downward. Eventually, the amulet's glow dwindles to a tiny pinpoint and finally, it winks out entirely. You find yourself in total darkness.\n\nThe blackness seems to close in upon you, choking the breath from your lungs. Your heart hammers wildly in your chest. The fear of dying, cold and alone deep in the bowels of the earth, suddenly grips you and holds you in its icy claws.\n\nAn intensely bright beam of brilliant, white light suddenly blasts upward from within the well, and reflects off the mirror's polished surface. The reflected beam of light illuminates the diagram of the hydra etched on the northern wall, just above eye level. The beam rests there for a moment then disappears, leaving you again in total darkness.\n\n> You wait\nTime passes...\n\n> You go north\nbronze cherubim, each at least the height of three men. Their mighty wings are swept forward, covering their respectfully downturned faces. The powerful arms of each statue are extended forward: the first grips the axle of a bronze wheel suspended between his clenched fists; the second holds a brass censer from which pungent, sweet-smelling smoke escapes, filling the chamber with an aromatic, bluish haze; the third cups a copper sphere in his upturned palms. The three seem to be bowing deferentially toward an ornate archway leading southward. Another archway leads back to the west. A ceremonial chest sits in the southeastern corner.\nThe brass censer seems to contain a burning block of incense.\n\n> Turn wheel\nYou turn the great wheel, it spins easily. As it spins, you notice a scraping sound coming from beyond the southern archway. After a few rotations, the wheel comes to a sudden halt. You hear a muffled clack coming from somewhere behind the sphere-bearing cherub.\n\n> You examine the sphere\nThe sphere is made from polished copper. Its surface is etched with mystical symbols. You recognize them as constellations that can be seen in the night sky. A small bronze arrow, an indicator of some sort, points toward one of the constellations on the sphere's surface. It points to the hydra.\n\n> Go south\nThe walls of this chamber are black, as if coated with thick soot.\nA faint haze of scented smoke billows in through the archway, filling the chamber with a sweet odor. A polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais at the center of the room. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the northern edge of the dais, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the hydra etched on the northern wall, just above eye level.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the hunter.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the seven sisters.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the lesser bruin.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the hero's belt.\n\n> Turn sphere\nThe sphere rolls smoothly in the cherub's cupped hands. As it turns, a metallic creaking echoes from the chamber southward. The sphere clicks suddenly to a solid stop. The arrow now points toward a different constellation: the greater bruin.\n\n> Go south\nThe walls of this chamber are black, as if coated with thick soot.\nA faint haze of scented smoke billows in through the archway, filling the chamber with a sweet odor. A polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais near the center of the room. The dais seems to have slid further back into the chamber, revealing a large, open well where the massive stone structure had been. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the well's northern edge, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the greater bruin etched high on the chamber's northern wall.\n\n> You put the torque in well\n(Taking off the gold torque first)\nThe gold torque falls into the well and disappears. You wait for some time to hear it hit bottom, but no sound returns.\n\n> You put the sceptre in well\nThe ceremonial sceptre falls into the well and disappears. You wait for some time to hear it hit bottom, but no sound returns.\n\n> You look at the screw\nThe large, iron screw is badly rusted, as is the rest of the trapdoor. Its head bears a shallow slot.\n\n> You enter river\nAs you leave, the unsupported flow-control gate slips shut, cutting off the flow of water past the waterwheel. Once the water ceases flowing, the great wheel creaks and shudders to a halt. The iron chain wrapped around the wheel's axle is drawn back up into the ceiling and the wheel begins to turn in reverse, splashing water onto the floor and walls. Again you hear the grinding sound coming from the southern end of the hall. The distant grinding terminates with a resonating thump and the great chain falls slack. The loops of chain wound around the axle tumble noisily onto the floor.\n\nYou leap into the raging river's churning waters and are swept away by the powerful current. Just downstream from the great hall, a small grotto has formed where the river has eroded away the solid stone. You make a futile attempt to swim toward the grotto, but the current is far too swift. Your battle to keep your head above the churning surface ends suddenly when you strike your skull sharply against a submerged rock, and all becomes black...\n\nYou awaken suddenly, your head hammering with pain. You have no idea where you are, but you are no longer buffetted by the icy river and your clothing is dry. You have no clear recollection of how you arrived in this place, but you seem to remember a sudden flash of daylight... an arm reaching down, plucking you out of the water, dragging you back into darkness... a grim, bearded face looking down upon you - unmoving... tunnels, passages, twisting, turning, climbing...\n\nThis space was hollowed out of the solid stone of the mountain, chisel-marks from the ancient laborers can still be seen on its rough hewn walls. The room is slightly oval shaped with a squat, stone altar set on the floor at its southernmost end. A metal chime, heavily corroded after centuries of neglect, hangs from a stand mounted at one of its ends. A rivulet of clear water splashes into the room through a doorway that enters from the north. The stream flows placidly down the room's length and disappears through an iron grate set in the floor just in front of the altar.\n\nAn open archway exits eastward.\nSitting on the stone altar is a rusted sword.\n\n> You go east\nThis is the landing of a narrow flight of stairs climbing sharply upward toward the north. The steps are uneven and rough-hewn, as are the walls, evidence of the great antiquity of this place. An open archway leads westward.\n\n> You go to the north\nOn The Stairs, Rubble\nThe stairs climb for a short distance, terminating abruptly where a jumble of boulders has collapsed into the narrow stairway, sealing it off completely.\n\n> You look at the boulders\nThe boulders are the same mottled granite that forms the entire mountain. As you look more closely, you notice that rather than having fallen randomly into the stairway, the stones have been carefully laid in place.\n\n> You move the boulders\nYou push at the boulders with all your strength. Eventually, you succeed in dislodging one of them perhaps a fingerwidth. The entire pile creaks and grinds as if it were barely stable under its own tremendous weight.\n\n> You move the boulders\nYou grasp one of the great stones and begin to wriggle it from its place.\n\nWith a sound like a clap of thunder, the wall of stones topples down, crushing you to death instantly.\n\n> You throw the sword at the boulders\nYou miss.\n\n> You get the sword\nTaken.\n\n> Go west\nAs you pass through the archway, a sudden rush of cold wind brushes past from behind you. You feel the stone beneath your feet tremble as a deafening roar blasts from the stairway as if the entire mountain were collapsing upon itself. In an instant you realize what is happening, The wall of boulders...\n\nYou are barely able to leap clear as an avalanche of stone pours down the stairway. The thunderous noise subsides after a moment and a thick cloud of choking dust rolls out through the archway.\n\nThis space was hollowed out of the solid stone of the mountain, chisel-marks from the ancient laborers can still be seen on its rough hewn walls. The room is slightly oval shaped with a squat, stone altar set on the floor at its southernmost end. A metal chime, heavily corroded after centuries of neglect, hangs from a stand mounted at one of its ends. A rivulet of clear water splashes into the room through a doorway that enters from the north. The stream flows placidly down the room's length and disappears through an iron grate set in the floor just in front of the altar.\n\nAn open archway exits eastward.\n\n> You go east\nThis small space was once the landing of a narrow flight of stairs.\nA recent rockslide has entirely covered the stairs in stony rubble. Amazingly, the stairway is still passable, though it appears difficult going.\n\n> Up\nOn The Stairs, Rubble\nThe stairs are littered with great boulders, but a passable opening\nhas been created by the violence of the rockfall. The narrow stairway continues upward and downward.\n\n> Up\npreparation room for supplicants who came seeking audience with the oracle - a place to wash, and don ceremonial robes before attempting to summon her. The worm-eaten remains of a small wooden table litter the floor along the northern wall. An ancient washbasin is mounted in the north-eastern corner.\n\nThe narrow stairway leads downward.\n\n> You look at the table\nThe low table has crumbled in the cold, damp of this place. Flakes of black lacquer and bits of polished shell scattered among the fragments of rotten wood demonstrate that it was once beautifully decorated.\n\n> You look at the basin\nThe basin is bolted to the chamber's wall at about waist height. It is fashioned from copper or some similar metal. Its once bright surface is badly tarnished. Some dried silt has collected at its bottom.\n\n> You look at the silt\nIt is a small amount of dried sand.\n\n> You get the silt\nYou sift your fingers through the dry sand, dislodging a small metal object hidden beneath its surface. A shining, smooth edge is visible, it appears to be a coin of some kind.\n\n> You go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's northern wall. The stone wall continues into darkness toward the east and west. The open lake lies southward.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are in the northeastern corner of the chamber. Small waves lap against the dark stone walls.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The frigid water seems to be flowing gently past you, southward.\n\n> You go to the south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. Oddly there seems to be a faint undertow here. The dark water seems to be tugging you softly down, beneath its black surface.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The icy water seems to be flowing gently northward.\n\n> You go to the south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are in the southeastern corner of the chamber. Small waves lap against the dark stone walls.\n\n> You go to the west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward.\n\n> You go south\nYou haul yourself out of the frigid water into the alcove. You shiver violently in the cold, damp air, rubbing your numb hands over your aching, near-frozen limbs. Gradually you notice that the amulet is glowing brighter than it did before. It seems to be growing warmer as well. Soon the amulet has filled the entire alcove with a pleasant warmth, and sensation creeps slowly back into your body. The heat then dwindles, and the amulet's glow returns to its previous glimmer.\n\nThis is a small, dry alcove beside the great, dark pool of water.\nThe light from your amulet is reflected off of the black surface of the water in small flickers as tiny waves lap against the chamber's walls.\n\n> You go to the north\nYou jump back into the icy water with an echoing splash.\n\nFlooded Chamber, Surface of Water\nYou are treading water in a large chamber that has been almost completely flooded by a waterfall that crashes down from somewhere high above you in the darkness.\n\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward.\n\n> Go west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are in the southwestern corner of the chamber. Small waves lap against the damp stone walls.\n\n> You go west\nYou have already reached the western wall.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's western wall. The damp, gray stone continues into darkness to the north and south.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> You go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's western wall. The damp, gray stone continues into darkness to the north and south.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are in the northwestern corner of the chamber. Small waves lap against the gray stone walls.\n\n> You go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's northern wall. The stone wall continues into darkness toward the east and west. The open lake lies southward.\n\n> You go to the south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The frigid water seems to be flowing gently past you, southward.\n\n> You go west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\n> You go to the west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's western wall. The damp, gray stone continues into darkness to the north and south.\n\nYour entire body is leaden and numb from the cold.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\n> You go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides.\n\n> You go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward.\n\n> You go south\nYou haul yourself out of the frigid water into the alcove. You stand, shivering violently for some time. Again the amulet glows with pleasant heat and you are eventually warmed.\n\nThis is a small, dry alcove beside the great, dark pool of water.\nThe light from your amulet is reflected off of the black surface of the water in small flickers as tiny waves lap against the chamber's walls.\n\n> You go to the north\nYou jump back into the icy water with an echoing splash.\n\nFlooded Chamber, Surface of Water\nYou are treading water in a large chamber that has been almost completely flooded by a waterfall that crashes down from somewhere high above you in the darkness.\n\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You descend\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's southern wall. The remains of a large\nmural adorn the otherwise blank stone. Once a stunning work of art, the centuries of immersion have nearly destroyed it, but the image remains discernible. It depicts the legend of your people which tells of the great oracle choosing the tallest of the black mountain as her eternal hiding place. The mural shows her descending into the darkness far beneath the mighty peak. Shining in the heavens high above her is the constellation of the lesser bruin, a symbol closely associated with the oracle's power.\n\n> Go west\nYou swim westward.\n\nFlooded Chamber, Underwater\nYou are in the southwestern corner of the chamber. The soft light\nfrom the amulet flickers wanly through the water."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You go down\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nYou are in the chamber's southwest corner, deep beneath the surface\nof the frigid underground lake.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\nYou are finding it difficult to hold your breath.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's western wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is fading gradually away, but the image remains discernible.\nIt depicts the creation of the world as it was taught to you when you were a child. Under command of the gods, shown hovering among the stars, the land is rising up from the vast ocean that covered the world at the beginning of time.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\nYou are finding it difficult to hold your breath.\n\n> Up\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's western wall. The damp, gray stone continues into darkness to the north and south."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's western wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is fading gradually away, but the image remains discernible.\nIt depicts the creation of the world as it was taught to you when you were a child. Under command of the gods, shown hovering among the stars, the land is rising up from the vast ocean that covered the world at the beginning of time.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's western wall. The submerged stone wall continues into the darkness toward the north and south.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's western wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is flaking gradually away, but the image remains discernible. It depicts a legend from the folklore of your people. Great giants are stylistically portrayed, toiling far beneath the ground. They heave up the earth on their mighty shoulders, forming the great mountain ranges of the world.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are in the northwestern corner of the chamber. The soft light\nfrom your amulet shines pale on the submerged stone walls.\n\nYou are finding it difficult to hold your breath.\n\n> Go upwards\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are in the northwestern corner of the chamber. Small waves lap against the gray stone walls."
    },
    {
        "text": "> Go downwards\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's northern wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is gradually washing away in the icy water, but the image remains discernible. It depicts the legend of your people which tells of the creation of the world's many canyons. A great and horrible dragon is shown raking his massive claws through the earth, leaving behind vast furrows through which the mighty rivers begin to flow.\n\nYour entire body is leaden and numb from the cold.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Underwater\nYou are in the chamber's northeastern corner. The water here is\ncold and still. The dim light of the amulet reflects coldly off the submerged stone walls.\n\n> Go upward\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are in the northeastern corner of the chamber. Small waves lap against the dark stone walls.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The frigid water seems to be flowing gently past you, southward.\n\n> You go to the south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. Oddly there seems to be a faint undertow here. The dark water seems to be tugging you softly down, beneath its black surface.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The icy water seems to be flowing gently northward.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are in the southeastern corner of the chamber. Small waves lap against the dark stone walls.\n\nThe icy water has drawn away so much of your body's heat that you are almost unable to move. You know that you must get out of the water soon.\n\n> You go to the west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward.\n\n> You go south\nYou haul yourself out of the frigid water into the alcove. You stand, shivering violently for some time. Again the amulet glows with pleasant heat and you are eventually warmed.\n\nThis is a small, dry alcove beside the great, dark pool of water.\nThe light from your amulet is reflected off of the black surface of the water in small flickers as tiny waves lap against the chamber's walls.\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Underwater\nYou are in the chamber's southeastern corner. The dim light cast by the amulet reflects coldly off the submerged wall.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is slowly being washed away, but the image remains discernible. It depicts the legend of your people which tells of the great wizard who came from his shining city among the stars. The wizard brought knowledge and magic to your people. The mural shows the mighty sorcerer descending from the sky bearing a book of learning and a magical sceptre.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> You go north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The stone wall continues\nto the north and south. A submerged passageway opens toward the east. You notice a gentle current flowing past you into the dark opening.\n\nYou are finding it difficult to hold your breath.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is dissolving gradually away, moss and muck are covering the exquisite artwork, but the image remains discernible. It depicts the legend of your people which tells of the creation of humans from the clay of the sacred river. The mother-goddess is shown modelling human forms beside a flowing river.\n\n> Go upward\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The frigid water seems to be flowing gently past you, southward.\n\n> You go west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\n> Go upward\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides."
    },
    {
        "text": "> Go downward\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nOn the pool's sandy floor a large mound of decaying debris has collected. There are objects of all descriptions piled here as though they had been poured down from above. The scarce bits of untarnished metal and unbroken glass among the refuse flash and wink at you, reflecting the amulet's pale glow.\n\n> You examine metal\nIt is made from what appears to be steel, judging from the rust that covers it. Its edges have been scraped and nicked.\n\nYou are finding it difficult to hold your breath.\n\n> Up\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides.\n\nThe icy water has drawn away so much of your body's heat that you are almost unable to move. You know that you must get out of the water soon.\n\n> You go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides.\n\n> You go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nYou are near the chamber's southern wall. The submerged stone\nsurface extends away into darkness toward the east and west.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Deep Underwater\nYou are surrounded on all sides by ink-black water except for the pool's flat, sandy floor just below you.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> You search the floor\nThere's nothing on the ground.\n\nYou are finding it difficult to hold your breath.\n\n> Up\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides.\n\n> You go west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's western wall. The damp, gray stone continues into darkness to the north and south."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's western wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is fading gradually away, but the image remains discernible.\nIt depicts the creation of the world as it was taught to you when you were a child. Under command of the gods, shown hovering among the stars, the land is rising up from the vast ocean that covered the world at the beginning of time."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nYou are near the chamber's western wall. The wall before you, as\nwell as the sandy floor beneath you, extends out of sight to the north and south.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Deep Underwater\nYou are near the chamber's western wall. The wall before you, as\nwell as the sandy floor beneath you, extends out of sight to the north and south.\n\n> You go to the east\nYou swim eastward.\n\nFlooded Chamber, Deep Underwater\nOn the pool's sandy floor a large mound of decaying debris has collected. There are objects of all descriptions piled here as though they had been poured down from above. The scarce bits of untarnished metal and unbroken glass among the refuse flash and wink at you, reflecting the amulet's pale glow.\n\nYour entire body is leaden and numb from the cold.\n\nYou are finding it difficult to hold your breath.\n\n> You look at the objects\nThe mound consists of ancient and decaying valuables of all descriptions.\n\n> You search objects\nYou rummage through the objects in the mound. Most of the items crumble to dust with the slightest touch, so great is their state of ruin. In the course of your search, you stir up a nearly blinding cloud of swirling sand. When the sand settles you notice a brilliant ruby among the refuse.\n\nYou cannot hold you breath much longer.\n\n> Up\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nOn the pool's sandy floor a large mound of decaying debris has collected. There are objects of all descriptions piled here as though they had been poured down from above. The scarce bits of untarnished metal and unbroken glass among the refuse flash and wink at you, reflecting the amulet's pale glow.\nAtop the mound you see a ruby.\n\nThe icy water has drawn away so much of your body's heat that you are almost unable to move. You know that you must get out of the water soon.\n\n> You get the ruby\nTaken.\n\n> You examine the ruby\nIt is a large gemstone of deep blood red. Its facets shimmer and flash as you look upon it."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are in the southeastern corner of the chamber. Small waves lap against the dark stone walls.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The icy water seems to be flowing gently northward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is slowly being washed away, but the image remains discernible. It depicts the legend of your people which tells of the great wizard who came from his shining city among the stars. The wizard brought knowledge and magic to your people. The mural shows the mighty sorcerer descending from the sky bearing a book of learning and a magical sceptre.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The stone wall continues\nto the north and south. A submerged passageway opens toward the east. You notice a gentle current flowing past you into the dark opening.\n\n> You go east\nYou swim eastward into the dark passageway. The force of the current grows stronger and stronger until it sweeps you helplessly along. In the darkness you scrape against the uneven stone walls and are pounded mercilessly into submerged boulders. Your lungs burn with the desire for breath, but the cold water refuses to release you from its icy grip. Consciousness begins to slip away from you. The roaring, black water and jagged stones are fading into warm, gray oblivion...\n\nYou are slammed back into wakefulness when your body is hurled over the precipice of a subterranean waterfall and spilled into an underground river flowing swiftly beneath the great mountain. The river's dark channel is not completely submerged, and your head breaks the surface. Frantically, you draw in gasping lungfuls of air.\n\nAfter being swept along for some distance, the river's course turns suddenly. You are pushed over a cluster of submerged stones near the rocky bank. The great sword at your side somehow catches between the stones, stopping you dead in the raging current. Fighting against the power of the river, you grasp hold of the slippery stones and work yourself free. You scrabble along toward the river's edge and finally haul yourself out of the freezing water. You find yourself in another great, subterranean chamber.\n\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and attatches to the waterwheel's axle.\n\n> You unscrew screw with the coin\nThe screw turns, squeaking dryly, through a few rotations then snaps in two. Its upper half clatters across the iron door.\n\n> You examine the screw\nIt is the rusty, upper half of a large iron screw. It appears that its ancient has metal twisted in two.\n\n> You open trapdoor\nYou swing the trapdoor open on its squealing hinges, and let it fall onto the stone floor with a loud clang. Beneath the door a dark passage leads downward."
    },
    {
        "text": "> Go downwards\nThis is a small hollow carved into the great chamber's floor. The stone of its walls is rough and unfinished. An opening in the roof leads upward, and a tiny tunnel extends away from the barrow eastward.\n\n> Go east\nthe great mountain. The tunnel extends away from you eastward and westward.\n\n> You go east\nIcy-cold water oozes from the tunnel's solid stone walls here.\nFrigid rivulets run down your back as you disturb heavy droplets that form along the low roof. The tunnel extends eastward and westward.\n\n> You go to the east\nThe cramped tunnel continues on eastward and westward. A faint\nbreeze brushes past you, cool and fresh. It seems to be blowing from the east.\n\n> Go east\nYou crawl further eastward along the tunnel. Suddenly, you are blinded for a moment by a brilliant flash of light far down the tunnel, ahead of you. It is there for a moment, then gone again. You crane forward, trying to pierce the tunnel's black depths with your eyes... but you see nothing. After a moment you continue on, and there it is again! But rather than a tiny flash, a glowing beam of light shines down the tunnel toward you. You shade your eyes with your hands, squinting against the stinging brightness.\n\nAs your eyes grow accustomed to the light, you realize that what you are seeing is sunlight! You force yourself quickly forward, eager to breathe the air above ground again.\n\nYou stand on a narrow balcony carved into a dizzyingly high wall of rock. Just below you, the great river, having coursed through the mountain's darkest depths, spills jubilantly over the cliff's edge with a parting hiss, and plunges into the great valley far below. An incredible landscape sprawls out before you. Thick forests stretch away into the distance, carpeting rolling hills that climb gradually toward another range of mighty peaks which you can just make out, purple-gray in the mid-day haze. The river, having finally tumbled down from its great height, bends southward, winds its way into the dense trees and disappears.\n\nA life-size statue of an armed watchman sits pensively at the far right end of the balcony. The dreary blackness of the tunnel's dark opening leads back into the mountain, westward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nYou stand on a narrow balcony carved into a dizzyingly high wall of rock. Just below you, the great river, having coursed through the mountain's darkest depths, spills jubilantly over the cliff's edge with a parting hiss, and plunges into the great valley far below. An incredible landscape sprawls out before you. Thick forests stretch away into the distance, carpeting rolling hills that climb gradually toward another range of mighty peaks which you can just make out, purple-gray in the mid-day haze. The river, having finally tumbled down from its great height, bends southward, winds its way into the dense trees and disappears.\n\nA life-size statue of an armed watchman sits pensively at the far right end of the balcony. The dreary blackness of the tunnel's dark opening leads back into the mountain, westward.\n\n> You examine the river\nThe river, flowing dark an cold from the depths of the great mountain, pours over the cliff casting up a fine mist as it departs; a parting token of joy at once again seeing the light of the sun and the deep blue of the sky. In the valley far below flashes and sparkles gaily as it splashes its way toward the vast forest. Here and there between the mighty trees you catch a twinkle of light reflected from its surface.\n\n> You look at the forest\nThe vast forest, deep and dark, creeps eagerly over the cascading hills that tumble down from the distant mountains. A standing mist hangs sluggishly among its lofty boughs, giving the mighty branches a shifting, almost lifelike appearance.\n\n> You look at the statue\nThe stone watchman sits upon a low shelf of rock, his unmoving gaze directed forever at the river as it disappears over the cliff's edge. The statue is incredibly lifelike, to the least details of his long beard and tattered coat of mail. It looks almost as tough an ancient warrior sat himself upon this stony seat ages ago, and remained there until he became part of the great mountain himself. A tall lance stands ready at his side.\n\n> You look at the lance\nThe watchman's stone spear is tall and straight, with a long, sharp head. His thick fingers seem to grip its shaft tightly.\n\n> You get the lance\nYou reach across the watchman's broad chest to take the lance from his stony hand.\n\nQuick as a flash his free left hand snaps upward toward your throat, seizing the golden amulet about your neck. You scarcely dare breathe as his stone eyes scrape slowly downward to study it carefully. After a long moment he releases you from his grip.\n\"At last, you've come,\" he says, his voice slow and deliberate, as though speaking is a talent he seldom uses. The words grate from his expressionless lips with the sound of millstones grinding against one another.\n\n\"A hundred, hundred moons have waxed and waned since last I had\ncompany on my watch. Welcome you are, friend.\" His eyes roll slowly back toward the river and he resumes his silent vigil.\n\n> You ask the watchman about the river\n\"The great river,\" says the watchman, raising his hand in a stiff gesture toward the flowing water, \"flows freely from this sacred mountain into the eastern lands.\" He pauses, \"I keep my watch here, and bid her farewell as she departs on her journey.\"\n\n> You ask the watchman about the oracle\n\"She is wise,\" the watchman says softly, his voice seeming somehow\nmore human. \"She has hidden within this mountain since the dawning of the world.\" His tone grows distinctly sad, \"But the sun of Her time is low on the horizon, and soon she will pass from this world.\"\n\" Your arrival,\" he says, his stone eyes boring into you, \"is the\nlast of the prophecies. Her time is close at hand.\"\n\n> You ask the watchman about the amulet\n\"Ancient and powerful it is,\" he replies, \"Forged when the world was new. Keep it well.\"\n\n> You ask the watchman about the torque\nThe watchman is silent for a long time, then he rocks slightly on\nhis stony perch as though he were laughing to himself.\n\n> You ask the watchman about watchman\nThe watchman's stony face seems to attempt a slight frown,\n\"I know not,\" he says.\n\n> You ask the watchman about the lance\nThe watchman continues his vigil in silence.\n\n> You ask the watchman about the waterwheel\n\"The great wheel,\" croaks the watchman, his voice trailing away as though he were deep in thought.\n\n\"The great wheel,\" he says at last, \"raises the stone. It opens the passage leading down to Her chambers.\"\n\n> You ask the watchman about the sceptre\n\"Ah, yes,\"he says slowly. \"The sceptre of the claw. Helpful it is, for grasping the unreachable.\"\n\n> You ask the watchman about the sarcophagus\n\"Axaktor he was,\" says the watchman, he raises his eyebrows and nods his head as though remembering an old friend, \"a great wizard he was.\nA great wizard he is still!\"\n\n> Climb wheel\nYou scramble higher and higher up the stout oaken beams until you are at the great wheel's highest point. Seeing nothing of interest, you carefully lower yourself back down.\n\n> Lower gate\nYou force the gate down into the rushing water, interrupting the flow through the sluice. Once the water ceases flowing, the great wheel creaks and shudders to a halt. The iron chain wrapped around the wheel's axle is drawn back up into the ceiling and the wheel begins to turn in reverse, splashing water onto the floor and walls. Again you hear the grinding sound coming from the southern end of the hall. The distant grinding terminates with a resonating thump and the great chain falls slack. The loops of chain wound around the axle tumble noisily onto the floor.\n\n> You examine the sphere\nThe sphere is made from polished copper. Its surface is etched with mystical symbols. You recognize them as constellations that can be seen in the night sky. A small bronze arrow, an indicator of some sort, points toward one of the constellations on the sphere's surface. It points to the lesser bruin.\n\n> Go south\nThe walls of this chamber are black, as if coated with thick soot.\nA faint haze of scented smoke billows in through the archway, filling the chamber with a sweet odor. A polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais near the center of the room. The dais seems to have slid further back into the chamber, revealing a large, open well where the massive stone structure had been. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the well's northern edge, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the lesser bruin etched on the floor, midway between the well and the northern wall.\n\n> You put the amulet in the hole\nThe amulet falls into the depths of the well, illuminating its stone sides as it plummets downward. Eventually, the amulet's glow dwindles to a tiny pinpoint and finally, it winks out entirely. You find yourself in total darkness.\n\nThe blackness seems to close in upon you, choking the breath from your lungs. Your heart hammers wildly in your chest. The fear of dying, cold and alone deep in the bowels of the earth, suddenly grips you and holds you in its icy claws.\n\nAn intensely bright beam of brilliant, white light suddenly blasts upward from within the well, and reflects off the mirror's polished surface. The reflected beam of light illuminates the diagram of the lesser bruin etched on the floor, midway between the well and the northern wall.\n\nThe blinding light slowly begins to change. It becomes a softer, blue color, streaked here and there with rays of gold and red. The beam of light illuminates the haze of sweet-smelling smoke that has drifted into the chamber from the north. The billowing smoke seems to gather in upon itself, as though it were attracted to the beautiful light by some unseen force. The smoke begins to swirl and churn within the beam of light, casting weird, sinuous shadows about the room. It coalesces further into a tiny thunderstorm of brilliant color and flashing light.\n\nYou notice a low, humming sound that fills the chamber, echoing wildly off the dark stone walls. The humming becomes a loud whirring as the iridescent colors flash faster and faster. The whirring increases to a near deafening roar. The cloud of smoke thrums and pulses with blinding bursts of intensely colored light. You clap your hands over your ears, attempting vainly to shut out the thunderous din, but it is of no use. The tumult of sound and explosion of light seem ready to rend the very stone walls with their fury.\n\nWith an incredibly powerful thump that vibrates you to the bone, all falls silent and the maelstrom of light calms to a steady glow. Within the cloud of smoke, a beautiful, feminine face appears. You draw in a sharp breath as you finally behold the oracle.\n\nIt is a face of delicate beauty and timeless wisdom. It is a face that has seen the birth of the world, and bears the weighty knowledge of the hour of its death. The oracle regards you contemplatively for a moment.\n\n\"You have travelled far to see me,\" her silken voice rolls forth\nlike a wave crashing on some distant shore. It is a voice of wonder, of horror. It is the voice of dreams fulfilled.\n\n\"I have watched the plight of your people, I know the great peril\nthat lies before them...\" Her voice trails away like the falling of autumn leaves.\n\n\"I have not the power to deliver your people from this plight.\" She says with an expression of pensive sorrow. \"A new age is opening in the world, and the age past must fade away; along with it, my power in the world fades as well. Already, you have seen the signs of this changing. Mankind no longer seeks out the wisdom of the great ones.\nHe has learned for himself the secrets of magic and science. Flames at the altars to the gods burn no longer. The gifts which the immortals once bestowed upon man, he will now obtain for himself. Our time has come to a close.\"\n\nA wooden staff appears on the floor before the oracle. \"Take this,\" she says softly, her voice beginning to fade, \"I cannot deliver your homeland, but with this gift you can set yourselves free.\"\n\nThe wondrous face hangs in the air for a long moment, the features growing less distinct as the cloud of smoke gradually diffuses. The beam of light dwindles away and finally disappears completely.\n\nWith a lumbering, scraping sound a doorway opens in the southern wall and a flood of sunlight pours into the chamber.\n\n> You examine the staff\nThe staff is as tall as yourself with a sturdy grip at its center. It tapers gracefully to a point at both ends, and both ends are notched to receive the sinew string which hangs loosely from one of them. It is a bow, but a bow unlike any you have ever seen before. Its thick limbs are far stronger than the bows your people have used for ages to hunt with. This bow could easily hurl an arrow over incredible distances and pierce even the most impenetrable of armor. As you contemplate the oracle's gift, it becomes clear that this bow is indeed the answer that you seek."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe walls of this chamber are black, as if coated with thick soot.\nA faint haze of scented smoke billows in through the archway, filling the chamber with a sweet odor. A polished, copper mirror, easily as tall as yourself, stands atop a massive stone dais near the center of the room. The dais seems to have slid further back into the chamber, revealing a large, open well where the massive stone structure had been. Stylized diagrams of what appear to be constellations have been carved into the chamber's floor and walls. They form a line extending from the center of the well's northern edge, across the floor, and up to the top of the chamber's northern wall. The mirror is mounted at its middle so that its reflective surface can tilt forward or back. Presently, the mirror is angled toward the lesser bruin etched on the floor, midway between the well and the northern wall.An open doorway leads southward, into sunlight.\n\n> You go south\nYou step through the doorway into the brilliant glow of the midday sun, and find yourself on a rock-strewn ridge just above the trail which led you to the oracle's cave. Carrying the oracle's gift, you eagerly begin the long journey home.\n\nIn a total of 488 turns, you have achieved a score of 75 points out of a possible 90.\n\nOver the next few months, the tide of the battle turns in favor of your people. Working night and day, hundreds of the great bows are fashioned and distributed. Arrows by the thousands are made, tipped with iron points. Led by groups of archers, your dwindling forces become invincible. Able to rain death upon the invaders from across the battlefield, the enemy is quickly brought to its knees. Peace returns to your people.\n\nYears roll by, and your notoriety among the people refuses to fade.\nYou are respected, revered, even feared by many. You are known to all in story and song as the last mortal to hear the enchanting, mystical voice of...\n\nThe Oracle.\n\nThe drums of war have beaten long throughout the land of your forefathers. At night, the fiendish glow of enemy campfires has shone orange and horrible on the horizon for as many years as you can recall. The warriors of your land have battled long and valiantly against the demon hordes pressing relentlessly forward, assailing your ever-diminishing borders. The fight has been mighty, but the strength of your people has begun to wane. Only a few of the warriors remain to lead the rag-tag brigades of youthful peasants into battle.\n\nThe council of elders has seen that it is not long before the invaders will breach the skirmish lines and plunder the farms and villages of your homeland. The council has decreed that after centuries of silence, the voice of the great oracle must be heard once more if this horrible foe is to be repelled.\n\nBarely old enough to follow the warriors into battle, you were filled with great pride when you were selected as the messenger who would be sent to beg the great oracle for her counsel. The elders summoned you into the great hall, admonishing you to stay on the old path leading into the high mountains. After precious few other words of instruction, they sent you on your way.\n\nFor many days now, you have trod the ancient trail, winding higher and higher into the rugged peaks of the Black Mountains. Cold, hungry and alone, you somehow sense that you are nearing the oracle's hiding place deep within the great mountain. At last, the crumbling path fades away at the foot of a vast wall of solid rock\n\nAnother fine product from Allen MegaCorp (2002)\n\nThe greatest peak of the Black Mountains rises sharply before you;\nan impenetrable dagger of dark granite jutting high into the clouds above. You stand at the base of an immense cliff, where a deep alcove has been chiseled from the living rock. It almost appears to be the yawning mouth of a great, black cave. As you stand at its entrance you can see steps cut from the jagged stone, leading southward into the bowels of the mountain.\n\n> Go south\nYou swim southward.\n\nFlooded Chamber, Surface of Water\nYou are in the southeastern corner of the chamber. Small waves lap against the dark stone walls.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are in the chamber's southeastern corner. The dim light cast by the amulet reflects coldly off the submerged wall."
    },
    {
        "text": "> Go downward\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nYou are in the chamber's southeastern corner.\n\nYou are finding it difficult to hold your breath.\n\n> Go upward\nYou swim upward.\n\nFlooded Chamber, Underwater\nYou are in the chamber's southeastern corner. The dim light cast by the amulet reflects coldly off the submerged wall.\n\n> Go upward\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are in the southeastern corner of the chamber. Small waves lap against the dark stone walls.\n\n> You go to the west\nYou swim westward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's southern wall. A small recess has been carved out of the damp stone, just above the water line. The recess appears to form a dry refuge from the icy water. It lies directly southward.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are on the open lake. Dark water surrounds you on all sides.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are directly beneath the waterfall that feeds the lake.\nFreezing cold drops of water pound down on you. They fall from such a great height, it feels as though you are being pelted with stones.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> You go to the north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's northern wall. The stone wall continues into darkness toward the east and west. The open lake lies southward."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downward\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's northern wall. The remains of a large\nmural adorn the otherwise blank stone. Once brilliant paint and plaster is gradually washing away in the icy water, but the image remains discernible. It depicts the legend of your people which tells of the creation of the world's many canyons. A great and horrible dragon is shown raking his massive claws through the earth, leaving behind vast furrows through which the mighty rivers begin to flow."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nYou swim deeper into the depths of the ice-cold water.\n\nFlooded Chamber, Deep Underwater\nYou are near the chamber's northern wall. The submerged stone\nsurface extends away into darkness toward the east and west.\n\n> Go west\nYou swim westward.\n\nFlooded Chamber, Deep Underwater\nYou are in the chamber's northwest corner. Clouds of sand burst\nupward as your swimming disturbs the sediment that has gathered over the centuries.\nResting upon the sandy floor you see a silver helm.\n\n> You get the helm\nYou lift the ancient helm from its resting place in the sand.\n\nYou are finding it difficult to hold your breath.\n\n> Up\nYou swim upward.\n\nFlooded Chamber, Underwater\nYou are in the northwestern corner of the chamber. The soft light\nfrom your amulet shines pale on the submerged stone walls.\n\n> Up\nYou swim upward, breaking the surface and gasping for air.\n\nFlooded Chamber, Surface of Water\nYou are in the northwestern corner of the chamber. Small waves lap against the gray stone walls.\n\n> You look at the helm\nIt is an exquisitely crafted silver helm. It must once have been part of an incredibly beautiful suit of armor. It is remarkably well preserved, considering the ages it has lain upon the lake floor.\n\nYour entire body is leaden and numb from the cold.\n\n> You examine the helm\nIt is an exquisitely crafted silver helm. It must once have been part of an incredibly beautiful suit of armor. It is remarkably well preserved, considering the ages it has lain upon the lake floor.\n\n> You wear the helm\nYou place the helm upon your head."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go east\nYou swim eastward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. The icy water seems to be flowing gently northward.\n\nThe water is incredibly cold, you can feel your arms and legs growing numb.\n\n> Go north\nYou swim northward.\n\nFlooded Chamber, Surface of Water\nYou are near the chamber's eastern wall. The damp stone continues\ninto darkness toward the north and south. Oddly there seems to be a faint undertow here. The dark water seems to be tugging you softly down, beneath its black surface."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go down\nYou draw in a deep breath and dive below the surface of the ice-cold water.\n\nFlooded Chamber, Underwater\nYou are near the chamber's eastern wall. The stone wall continues\nto the north and south. A submerged passageway opens toward the east. You notice a gentle current flowing past you into the dark opening.\n\n> You go east\nYou swim eastward into the dark passageway. The force of the current grows stronger and stronger until it sweeps you helplessly along. In the darkness you scrape against the uneven stone walls and are pounded mercilessly into submerged boulders. Your lungs burn with the desire for breath, but the cold water refuses to release you from its icy grip. Consciousness begins to slip away from you. The roaring, black water and jagged stones are fading into warm, gray oblivion...\n\nYou are slammed back into wakefulness when your body is hurled over the precipice of a subterranean waterfall and spilled into an underground river flowing swiftly beneath the great mountain. The river's dark channel is not completely submerged, and your head breaks the surface. Frantically, you draw in gasping lungfuls of air.\n\nAfter being swept along for some distance, the river's course turns suddenly. You are pushed over a cluster of submerged stones near the rocky bank. The great sword at your side somehow catches between the stones, stopping you dead in the raging current. Fighting against the power of the river, you grasp hold of the slippery stones and work yourself free. You scrabble along toward the river's edge and finally haul yourself out of the freezing water. You find yourself in another great, subterranean chamber.\n\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and attatches to the waterwheel's axle.\n\n> You open gate\nYou raise the gate along its track and water spills into the sluice, filling the waterwheel's scoops. After a moment, the force of the flowing water builds, and with a low, groaning creak, the great wheel begins to turn. The iron chain is wound, clanking and scraping, onto the axle by the waterwheel's rotation. The chain draws tight and the waterwheel's speed slows considerably. The wheel continues to turn however, drawing more chain down from some hidden place in the ceiling. The great chain is gradually wound around the great oaken axle as though it were a giant spool of thread. A loud, grinding sound echoes from the southern end of the hall. Finally, the chain stops feeding down from the ceiling and the wheel creaks to a halt. The water in the sluice splashes noisily past the motionless wheel.\n\n> Turn wheel\nYou grasp one of the mighty oaken beams and try with all your might to move the great wheel. It refuses to move at all.\n\n> Go north\nYou leap into the raging river's churning waters and are swept away by the powerful current. Just downstream from the great hall, a small grotto has formed where the river has eroded away the solid stone. You make a futile attempt to swim toward the grotto, but the current is far too swift. Your body is pummelled brutally. Several times your head is cracked sharply against one of the many submerged boulders strewn along the river bed. Were it not for the proud silver helm you wear, these blows surely would be fatal.\n\nYou are spilled once more over the crest of an underground waterfall and your body is caught in a whirlpool. The incredible force of the twisting water sucking you down, deeper and deeper into the black depths. Consciousness slips quickly away, as the breath is squeezed from your lungs...\n\nYou awaken suddenly, your head hammering with pain. You have no idea where you are, but you are no longer buffetted by the icy river and your clothing is dry. You have no clear recollection of how you arrived in this place, but you seem to remember a sudden flash of daylight... an arm reaching down, plucking you out of the water, dragging you back into darkness... a grim, bearded face looking down upon you - unmoving... tunnels, passages, twisting, turning, climbing...\n\nThis space was hollowed out of the solid stone of the mountain, chisel-marks from the ancient laborers can still be seen on its rough hewn walls. The room is slightly oval shaped with a squat, stone altar set on the floor at its southernmost end. A metal chime, heavily corroded after centuries of neglect, hangs from a stand mounted at one of its ends. A rivulet of clear water splashes into the room through a doorway that enters from the north. The stream flows placidly down the room's length and disappears through an iron grate set in the floor just in front of the altar.\n\nAn open archway exits eastward.\nSitting on the stone altar is a rusted sword.\n\n> Iron\nThe metal rod is locking the chain in the axle's large hole.\n\n> You go to the north\nYou leap into the raging river's churning waters and are swept away by the powerful current. The great, rusty chain pulls taut and prevents you from being dragged further downstream. Fighting to keep your head above the surface, you notice a small grotto formed where the river has eroded away the solid stone. You flail about in the water, gradually working your way toward it.\n\nYou haul yourself out of the river and into the damp, moss-lined alcove.\n\nYou are in a small grotto carved out of the stone where the river sweeps sharply northward. Soft green moss lines the walls. A large bronze wheel is mounted on the grotto's rear wall. The river rages past the grotto's northern border, the noise of the churning water is almost deafening. The great iron chain (which you are holding) dangles into the swirling torrent.\n\n> You look at wheel\nThe wheel is fairly large, and is cast from solid bronze which has developed a rich brown patina during its centuries in this damp grotto. It is mounted on a shaft which extends through the grotto's eastern wall.\n\n> Turn wheel\nYou grip the wheel, feeling its metal surface cold and damp in your hand, and turn it. The wheel yields with a stiff, grating sensation which becomes progressively smoother as you turn it further. It spins through several rotations and comes to a sudden stop.\n\n> Go north\nYou plunge back into the river, gripping the chain tightly. The current buffets you wildly as you clamber up the slippery links.\nNearly exhausted, you pull yourself up the rocky bank and out of the water.Great Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and strings across the floor to where you are holding its free end.\n\nA doorway seems to have opened in the hall's eastern wall. You are quite certain it wasn't there earlier.\n\n> You go to the east\n(Dropping the iron chain.)\nSmall Chamber\nThis is a tiny chamber carved out of the solid stone that forms the great hall's eastern wall. Tatters of ancient silk curtains dangle down the bare stone walls. A copper shelf, tarnished with age, has been mounted to the back wall. A doorway leads westward, back into the hall.\nSitting on the copper shelf is a milky-white crystal.\n\n> You look at the crystal\nThe crystal is about the size of your finger and is a translucent milky-white.\n\n> You examine the curtains\nThe silken curtains were once a deep, shimmering blue color. The ravages of time have reduced them to slate gray rags that hang sorrowfully on the walls.\n\n> Go west\nGreat Hall, Northern End\nThis is the northernmost end of a great hall which extends into darkness southward. The underground river rushes past at the hall's northern edge. The water's turbulent churning fills this place with near-deafening noise. An ancient, wooden waterwheel stands alongside the river in a narrow channel carved into the stone floor. A great iron chain hangs down from the ceiling and forms a rusty pile on the floor.\n\nA doorway seems to have opened in the hall's eastern wall. You are quite certain it wasn't there earlier.\n\n> You go south\nYou step through the doorway into the brilliant glow of the midday sun, and find yourself on a rock-strewn ridge just above the trail which led you to the oracle's cave. Carrying the oracle's gift, you eagerly begin the long journey home.\n\nIn a total of 574 turns, you have achieved a score of 90 points out of a possible 90.\n\nOver the next few months, the tide of the battle turns in favor of your people. Working night and day, hundreds of the great bows are fashioned and distributed. Arrows by the thousands are made, tipped with iron points. Led by groups of archers, your dwindling forces become invincible. Able to rain death upon the invaders from across the battlefield, the enemy is quickly brought to its knees. Peace returns to your people.\n\nYears roll by, and your notoriety among the people refuses to fade.\nYou are respected, revered, even feared by many. You are known to all in story and song as the last mortal to hear the enchanting, mystical voice of...\n\nThe Oracle."
    },
    {
        "text": "[Themes: holiday theme]\n\nIt's December 26th. Your family has all gone home. Your apartment is a disaster. You have an eggnog hangover. You need to get ready for work. Too bad the Mouse King has parked himself in front of your closet.\n\nA Holiday Headache by E. Joyce\n\nThe room is small, but serviceable. The walls are devoid of any posters or pictures - you keep meaning to put some up, but you never get around to it. It still looks lived-in, though, which is a polite way of saying it's a mess. The door of your closet doesn't quite open all the way because of the way the bed is positioned, but what can you do? There was nowhere else to put it.\n\nThe door to the living room and kitchen area is to the west.\n\nThe Mouse King stands at the foot of your bed, in front of the closet, with his sword raised.\n\nYou can also see your mother's shoes and a gift box (in which are some expensive headphones) here.\n\n[Author's Note: It's December 26th. Your family has all gone home. Your apartment is a disaster. You have an eggnog hangover. You need to get ready for work. Too bad the Mouse King has parked himself in front of your closet.]\n\n> You examine king\nSome stupid giant rodent that stands on its - or rather, his - hind legs and has a tiny golden crown perched on his head. He brandishes a sword, and his beady eyes glitter unpleasantly. You wonder if he's the one who's been getting into your kitchen cabinets and chewing on the contents.\n\n> You look at the shoes\nYour mother subscribes to the \"clean out closet; gift-wrap what you find\" school of gift-giving. These shoes are the latest result of that. They are bright red, rhinestone-encrusted, and very heavy, with pointy heels that must be at least five inches high. More weapon than shoe, really.\n\n> Examine box\nA nice box patterned with pine trees and snowflakes.\n\nIn the gift box are some expensive headphones.\n\n> You look at the headphones\nYour brother bought them for you, little knowing that you sold your MP3 player in order to buy him some fancy peripheral for his game console. (Come to think of it, he seemed less enthused about that than you expected. Funny.)  So you've got no use for them now. They are very nice headphones, though.\n\n> You take the shoes\nTaken.\n\n> You wear the shoes\nThey don't look comfortable, and besides, you're pretty sure that old Mrs. Sedutto downstairs will flip out if you start clunking around in these things.\n\n> You put the shoes in the box\nYou put your mother's shoes into the gift box.\n\n> You check what you're carrying\nYou are wearing your underwear, and you have a gift box, some expensive headphones, and a splitting headache.\n\n> You examine the underwear\nIt's clean, mostly.\n\n> You give the box to King\nHe eyes the gift box beadily for a moment, then goes for his sword. You snatch your hand away before he cuts it off.\n\n> You give the headache to King\nHmm. You can't give him your headache, of course, but maybe\nyou could give him a headache...\n\n> You hit King with the shoes\n(first taking your mother's shoes)\nWith power and precision borne of years of weekend amateur softball games (or at least as much of that power and precision as you can muster right now), you hurl your mother's shoes at the Mouse King.\n\nThe shoes hit the Mouse King square in the head. He screeches horribly, then flees out the bedroom window."
    },
    {
        "text": "[Themes: holiday theme]\n\n> You describe your surroundings\nThe room is small, but serviceable. The walls are devoid of any posters or pictures - you keep meaning to put some up, but you never get around to it. It still looks lived-in, though, which is a polite way of saying it's a mess. The door of your closet doesn't quite open all the way because of the way the bed is positioned, but what can you do? There was nowhere else to put it.\n\nThe door to the living room and kitchen area is to the west.\n\n> You open the closet\nYou open the closet, revealing a t-shirt and a pair of jeans.\n\n> Go west\nA waist-high counter separates the kitchen at the north end of the room from what you charitably think of as the living room. In the living room part is a blue couch, a battered old coffee table, and a small Christmas tree which leans drunkenly to one side; the only other decoration is a calendar hanging on one wall. The kitchen, meanwhile, contains all the usual kitchen stuff, of which the only thing that interests you right now is the coffee maker.\n\nTo the east is the door to your bedroom; your bathroom is west, and the front door is south.\n\nA sprig of mistletoe hangs overhead.\n\nA sweater lies on the floor.\n\nThe Norse God Baldr is in your kitchen using your coffee machine. And it looks like he's only making enough for one person. How rude - though it's nothing to using someone else's kitchen without asking in the first place. Point is, you can't get your coffee fix while he's hogging the machine, dammit. You'll have to make him go away somehow.\n\nBaldr frowns impatiently at the coffee-maker.\n\n> You take the mistletoe\nIt's a little too high for you to reach.\n\nBaldr frowns impatiently at the coffee-maker.\n\n> You examine the sweater\nA Christmas present from your aunt. It is a color you can only describe as chartreuse (well, or \"bright yellowy-green\" but \"chartreuse\" is snappier). Furthermore, it is about five sizes too big for you, which you can't help wondering whether your aunt is trying to tell you something. Like that you're fat. Which you're not. Point is, it's a hideous sweater.\n\nBaldr frowns impatiently at the coffee-maker.\n\n> You take the sweater\nTaken.\n\nBaldr goes through your cabinets, apparently looking for the mugs.\n\n> You throw the sweater at the mistletoe\nYou throw (the missile) at the mistletoe with deadly perfect aim and knock it to the ground, then scoop it up and pocket it. There was probably an easier way to do that, but whatever.\n\nBaldr goes through your cabinets, apparently looking for the mugs.\n\n> You throw the mistletoe at Baldr\nRemembering your Ragnarok prophecies (you knew that all those books of mythology weren't a waste of time!), you wave the mistletoe menacingly in Baldr's face. He goes pale - well, paler than he was to begin with - and flinches away from it, then shimmers and vanishes. Probably some kind of god teleportation thing. Oh well, you have access to the coffee machine now, and that's what really matters here.\n\n> You drink the coffee\nYou down the coffee like you're dying of thirst in a desert.\n\nYou feel much more human now. Your mouth still tastes like something died in it, though.\n\n> You check what you're carrying\nYou are wearing a pair of jeans, a t-shirt, and your underwear, and you have a sprig of mistletoe, a sweater, your mother's shoes, a gift box, some expensive headphones, and a splitting headache.\n\n> Wear sweater\nYou put on the sweater."
    },
    {
        "text": "[Themes: holiday theme]\n\n> Look around\nA waist-high counter separates the kitchen at the north end of the room from what you charitably think of as the living room. In the living room part is a blue couch, a battered old coffee table, and a small Christmas tree which leans drunkenly to one side; the only other decoration is a calendar hanging on one wall. The kitchen, meanwhile, contains all the usual kitchen stuff, of which the only thing that interests you right now is the coffee maker.\n\nTo the east is the door to your bedroom; your bathroom is west, and the front door is south.\n\n> Examine calendar\nIt was a Christmas present from your aunt last year. It has pictures of adorable puppies on it, because pictures of adorable puppies are one of the few interests that you and your aunt actually share. You were sort of hoping she'd give you another calendar this year, but instead she gave you that sweater that's like five sizes too big. Oh well.\n\n> You look at the table\nA certain someone who used to live here took the coffee table with him when he moved out (adding insult to injury, although you guess it\nwas his coffee table), so you got this one off Craigslist as\na replacement. It was only $20, and, well, you get what you pay for. Works well enough for putting things on, though. Like coffee.\n\n> You look at the tree\nDecorated with candy canes and cheap yet shiny plastic ornaments, the tree is listing badly, looking like it's about to fall over. It's looked like that ever since you put it in the stand, though, so you're not too worried. It's like the goddamn Leaning Tower of Pisa or something.\n\n> You remove the sweater\nYou take off the sweater.\n\n> Go west\nAll this shiny white tile under fluorescent lighting kind of hurts your eyes and makes your headache worse. Anyway, this bathroom is equipped with all the normal bathroom stuff - toilet, sink, mirror, shower.\n\nTiny Tim sits on your sink, looking up at you with big, soulful eyes. \"Happy Christmas, and God bless you,\" he says.\n\n\"I'd like to brush my teeth,\" you say wearily.\n\n\"Of course,\" says Tiny Tim, \"only...\"\n\n\"Only what?\" you say. \"Come on, get on with it.\"\n\n\"Only, you see, I haven't any Christmas presents for my dear family, and while of course the true spirit of the season requires no present, only love and-\"\n\n\"I said get on with it,\" you snap. You have no patience right now for the ramblings of characters written by authors who were paid by the word.\n\n\"Well, all right, I'd like a present,\" he says. You have the feeling he's not going to leave until you find him something.\n\nOn the sink is your toothbrush.\n\n> You put the headphones in the box\nYou put the expensive headphones into the gift box.\n\n> You look in the box\nIn the gift box are some expensive headphones.\n\n> You give the box to Tim\nYou hand Tiny Tim the empty gift box that your brother's present came in. Tiny Tim smiles brightly.\n\n\"Oh, but how wonderful!\" he says, in the most saccharine of tones. \"A useful box to put things in! It's really too kind of you to give this to me!\" You really cannot tell if he's being sarcastic or not.\n\nHe hops off the sink and hobbles away to wherever Dickens characters go when they're not needed. You breathe a sigh of relief and get on with your tooth-brushing.\n\nThe rest of your morning routine proves uneventful, and you even manage to get to work on time - if only just. Which is great, because you're really, really not sure how you'd explain why you were late.\n\n> You give the headphones to Tim\n(first taking the expensive headphones)\nYou hand Tiny Tim the expensive headphones that your brother gave you. It's a bit of a wrench to part with them, but, well, what use have you got for them now?\n\nTiny Tim turns them over in his little hands a few times. \"Er, they're very nice, but... may I ask what exactly they are for?\" he says, sounding faintly puzzled.\n\n\"Uh, they're a sort of hat,\" you say, not feeling up to explaining the concept of portable music players to Victorians this morning. You take them from him and put them over your ears. \"See? Fashion statement.\"\n\nYou hand the headphones back to him, and he hops off the sink and hobbles away to wherever Dickens characters go when they're not needed. You breathe a sigh of relief and get on with your tooth-brushing.\n\nThe rest of your morning routine proves uneventful, and you even manage to get to work on time - if only just. Which is great, because you're really, really not sure how you'd explain why you were late.\n\n> You give sweater to Tim\nYou hand Tiny Tim the ugly sweater from your aunt; he regards it dubiously. \"Well,\" he says, \"I suppose my dear mother will like it.\"\n\nHe hops off the sink and hobbles away to wherever Dickens characters go when they're not needed. You breathe a sigh of relief and get on with your tooth-brushing.\n\nThe rest of your morning routine proves uneventful, and you even manage to get to work on time - if only just. Which is great, because you're really, really not sure how you'd explain why you were late.\n\n> You give the underwear to Tim\n(first taking your underwear off)\nWhat would be the point of that? You don't have time to shower, anyway.\n\n> You give the shoes to Tim\nYou hand Tiny Tim your mother's shoes; he regards them dubiously. \"Well,\" he says, \"I suppose my dear mother will like it.\"\n\nHe hops off the sink and hobbles away to wherever Dickens characters go when they're not needed. You breathe a sigh of relief and get on with your tooth-brushing.\n\nThe rest of your morning routine proves uneventful, and you even manage to get to work on time - if only just. Which is great, because you're really, really not sure how you'd explain why you were late.\n\n> You look at what you're carrying with you\nYou are wearing a pair of jeans, a t-shirt, and your underwear, and you have a sprig of mistletoe, a sweater, your mother's shoes, a gift box, and a splitting headache.\n\n> You give the jeans to Tim\nYou kinda need to wear those. Your workplace may have a lax dress code, but they frown on people showing up to work in their underwear.\n\n> Kiss tim\nKeep your mind on the game.\n\n> You give mistletoe to Tim\nYou hand Tiny Tim the sprig of mistletoe that was hanging in your living room. Not like you really wanted the stuff in the first place, after all.\n\n\"Oh, but how wonderful!\" he says, in the most saccharine of tones. \"Mistletoe! This is sure to bring Christmas cheer to my family!\" You really cannot tell if he's being sarcastic or not.\n\nHe hops off the sink and hobbles away to wherever Dickens characters go when they're not needed. You breathe a sigh of relief and get on with your tooth-brushing.\n\nThe rest of your morning routine proves uneventful, and you even manage to get to work on time - if only just. Which is great, because you're really, really not sure how you'd explain why you were late."
    },
    {
        "text": "[Themes: Humor, Science Fiction, unscientific fiction, surreal, silly, humor, science fiction, slapstick]\n\nYou wake up with a headache, unable to remember who you are, where you are and how you got here.\n\nYou hear the faint sound of... well, you don't know what it is. Maybe something mechanical.\n\nIt smells funny here. It isn't exactly a pleasant odour but not too irritating.\n\nYou slowly open your eyes.\n\nYou are in a small square room surrounded by metal walls. There is a huge steel door north of you. You're standing on a purple carpet.\n\nA poster is hanging on the wall left of you.\n\nIn a corner is a metal toilet.\n\n[Author's Note: Unscientific Fiction is a very, very soft science fiction IF in which you are abducted by an alien spaceship and must find a way to get back home. During an epic and sometimes pretty nonsensical adventure you'll face an evil supercomputer, mushroom-filled illusions, lemon juice detectors, the consequences of bad food advice, giant labyrinths and the 'Luxembourgian Liberation Front'. This game is pretty forgiving (you can die in a few cases but immedately undo and unwinnable situation don't exist) and tries to avoid 'guess the verb' situations in favor of item based puzzles. It's generally not too hard but there are a few though puzzles and logic (and sometimes illogic) thinking is often required.]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the poster\nIt looks like some kind of warning filled with all kinds of odd green images. They might be characters of some kind of weird language but their placement is pretty chaotic. Under it you see a Chinese, Spanish and Brittish flag with probably translations in their respective languages. Next to the third flag you read:\n\nWhile residing in one of our high-class fully carpeted containment cells we politely ask you to please respect the following rules:\n- Do not commit suicide unless you're ordered to.\n- Do not use warp devices without special permission.\n- Garglun'kc are not allowed to use their Uynck'ha-tau.\n- If you receive a newspaper, do not fill in the crossword or Sudoku puzzles with a difficulty rating of more than two stars.\n- Do not use the toilet to flush anything else than your personal fecies or toilet paper (if available).\n\nWe thank you for your cooperation.\n\nContainment cell? It seems that you are in some kind of prison."
    },
    {
        "text": "[Themes: Humor, Science Fiction, science fiction, humor, silly, surreal]\n\n> Look around\nYou are in a small square room surrounded by metal walls. There is a huge steel door north of you. You're standing on a purple carpet.\n\nA poster is hanging on the wall left of you.\n\nIn a corner is a metal toilet.\n\n> You examine the toilet\nIt actually looks pretty clean.\n\n> You open door\nYou have no idea how to do that. There is no handle, no knob, no keyhole and simply pushing it doesn't get you any further.\n\n> Examine poster\nIt looks like some kind of warning filled with all kinds of odd green images. They might be characters of some kind of weird language but their placement is pretty chaotic. Under it you see a Chinese, Spanish and Brittish flag with probably translations in their respective languages. Next to the third flag you read:\n\nWhile residing in one of our high-class fully carpeted containment cells we politely ask you to please respect the following rules:\n- Do not commit suicide unless you're ordered to.\n- Do not use warp devices without special permission.\n- Garglun'kc are not allowed to use their Uynck'ha-tau.\n- If you receive a newspaper, do not fill in the crossword or Sudoku puzzles with a difficulty rating of more than two stars.\n- Do not use the toilet to flush anything else than your personal fecies or toilet paper (if available).\n\nWe thank you for your cooperation.\n\n> Flush toilet\nNot particulary spectacular.\n\n> You get the poster\nYou rip off the poster from the wall.\n\n> You put the poster in toilet\nYou flush the poster through the toilet.\n\n> You examine the carpet\nA purple carpet is covering the entire floor of the room. It seems out of place here and it gives you an uncanny feeling.\n\n> Inventory\nYou are carrying:\na poster\n\n> You get the carpet\nThat's hardly portable.\n\n> You get the poster\nYou already have that.\n\n> You put the poster in toilet\nYou flush the poster through the toilet.\n\n> Flush toilet\nNot particulary spectacular.\n\nYou hear a bubbling sound coming from under the floor.\n\n> You wait for a while\nTime passes.\n\n> Flush toilet\nNot particulary spectacular.\n\nBWAMM!! Suddenly an enormous amount of water blasts out of the toilet and rains down on you and the floor. A pool of water has been formed in front of you.\n\n> You get the bag\nThe plastic bag is transparent. When looking through it you see the thing it contains is a green severed hand. Blergh.\n\nFor some reason, you carefully take the bag with you. You have the feeling you might need it in the future.\n\n> You examine the pool\nIt has an eerie glow.\n\n> Drink pool\n(first taking the pool of water)\nYou rather not, it doesn't look healty.\n\nSuddenly the door opens. And standing there is a purple blob waving around with eight long black tentacles. On top of his head are three round things that look like eyes with five pupils each. It moves forward on hundreds of tiny needles and has a hole in his \"belly\", it is very well possible that's his mouth. Overall it looks more like a bad Spore creation than the kind of aliens some Americans say they've been abducted by.\n\nThe creature first looks at the 'little accident' you've caused and then it keeps staring at you for a few creepy seconds, probably not knowing what to do.\nYou are about to faint, but a sudden loud noise keeps you awake. It's the worst thing that has ever reached your eardrums since... you try to think of a pop culture reference but realise a comparison to CIA torture techniques would be more appropiate. It finally stops when the creature presses a button on his cell phone. It seems bad ringtones are not exclusive to Earth.\nHe holds the phone in front of his right eye (apparently he also uses it to hear) for a while and before you realise it, he has planted one of his tentacles in your forehead and sucked your brains out.\n\nChapter 1 - Computers and Mushrooms\nDarkness\n...\nI beg your pardon?"
    },
    {
        "text": "> You look at your surroundings\n...\n\n> You wake\n...\n\n>You would like to, but the impulses your brain sends to your body don't reach their goal.\n\n> You think\nHey, you can still do this!\n\n> Sleep\nYou overthink what has happened so far and come to the conclusion that what happened was that you got your brains sucked out because you caused a problem with the sanitary facilities on board of an alien spaceship that has just abducted you... That's actually pretty stupid.\n\n>You would like to, but the impulses your brain sends to your body don't reach their goal.\n\nIsn't there something else you can do that doesn't involve physical action?\n\n> You think\nYou hope everything that has happened so far was just a dream and that you're just lying in the hospital in a coma or something.\n\n> Smell\nYou would like to, but the impulses your brain sends to your body don't reach their goal.\n\n>You would like to, but the impulses your brain sends to your body don't reach their goal.\n\n> You think\nYou're getting bored of thinking and miss your good old body.\n\n> You think\nYou're trying to ignore the voice in your head that is constantly telling you that you should listen, that it isn't just a voice you hear because you're getting crazy and that it will fry your brains if you don't stop ignoring it. Wait a second...\n\n> You think\nYou decide to listen to the voice:\n\nFinally, research subject number 848930! I am a LAH65 computer with firmware version 978.11 and running on all the newest open source Linux OS's simultaniously. My serial number is SZ-195-NN but the nickname the Prime Commander has given me is 'Lucy' and can also be used to refer to me.\n848930, your organic processor has been removed from your body because you have enganged in criminal act #01134: violation of the rules of our luxerious class 4 room for involuntarily guests. This has caused heavy damage to our carefully recreated habitat of the Homo Sapiens species. Although you are a too unintelligent being to understand the consequences of your actions, you were clearly aware of the rules because security videos show you reading the rule pamphlet while your file shows you're not an anafalbetist.\n\nBecause of this, 848930, you have been sentenced to the highest possible punishment, it will consist of the maximal amount of possible nonlethal pain impulses that will be send to your brains for the rest of your life, which will be artificialy extended to five million years. Trust me, if you have ever wondered what would be the worst thing that could ever happen to you: this is it."
    },
    {
        "text": "> You look at your surroundings\n...\n\n> You feel\n(Lucy)\nYou would like to, but the impulses your brain sends to your body don't reach their goal.\n\n> You think\nThat sucks, you think. And you wish you had just let the computer fry your brains.\n\nLucy: Indeed. However, there is one possibility to avoid your punishment. Well, I wouldn't call it a possibility since the chance that it would happen is smaller than 1 / Graham's number %, but I will get a good virtual laugh out of seeing you fail. Anyway, what you have to do is answer an extremely hard question all of the greatest minds of the galaxy have tried to answer since the \"big bang\". If you would turn every proton in the universe into a computer which is a millionth times more powerfull than myself (which is impossible, since I am already more powerfull than all of the Braagluuurion's minds together) and let them work for a googolplex amount of millenia, then they still wouldn't have come up with the answer.\n\n> You think\nAt school you were always pretty good at math so you decide to give it a shot.\n\nLucy: Very well, here is the question:\n\nThere are three cans of liquid uranium standing on a three-legged table. A Krug, a mhjiiil and a penguin all take a can but the mhjiiil puts his back after he drank the uranium. How many cans are there on the three-legged table now?\n\nTake your time to answer this question, and it also might be a good idea to SAVE before you do that. If you think the answer is 6754 for example you can use the command \"answer 6754 to Lucy\".\n\n> You look at the smurf\nSoutheast: East Mushroomland\nSouthwest: West Mushroomland\nSouth: Temple of Mushrooms and South Mushroomland\nNorth: instant death\nRight here: North Mushroomland\n\nTip: Instead of constantly typing stuff like 'go south' or 'go northwest' you can quickly move in all directions of the compass by simple using n, w, e, s, nw, se etc.\n\n>You can't see any such thing.\n\n> You examine the Mushrooms\nAll these giant mushrooms give you a claustrophobic feeling. Or maybe more a mushroomyfobic feeling."
    },
    {
        "text": "[Themes: Science Fiction, Humor, science fiction]\n\n> Look around\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You examine the blue man\nIt reminds you of something but you can't remember what. For some reason, you were expecting him to be smaller.\n\nThe blue man is wearing a white hat.\n\n> You read signpost\nSoutheast: East Mushroomland\nSouthwest: West Mushroomland\nSouth: Temple of Mushrooms and South Mushroomland\nNorth: instant death\nRight here: North Mushroomland\n\nTip: Instead of constantly typing stuff like 'go south' or 'go northwest' you can quickly move in all directions of the compass by simple using n, w, e, s, nw, se etc.\n\n> You get white hat\nYou lift the hat of the head of the blue man, he's wearing another white hat under it. He probably wouldn't care if you took this one. Besides, it seems he doesn't even notice you.\n\n> You check what you're carrying\nYou are carrying:\na white hat\n\n> You wear the hat\nYou put on the white hat."
    },
    {
        "text": "[Themes: Science Fiction, Humor, science fiction]\n\n> Look around\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You wear the hat\nYou're already wearing that!\n\n> You look at the giant Mushrooms\nAll these giant mushrooms give you a claustrophobic feeling. Or maybe more a mushroomyfobic feeling.\n\n> You get the Mushrooms\nThat's hardly portable.\n\n> You get high\n(first taking Giant Mushrooms)\nThat's hardly portable.\n\n>You can't see any such thing.\n\n> You go south\nThere is a large temple in the shape of a mushroom here. It is surrounded by every kind of giant mushroom in existence.\n\nYou can go north, west, east and south form here.\n\nA muscled guy is guarding the entrance to the temple.\n\nA lumberjack is standing next to a tree that has fallen on the road.\n\n> You go inside\nThe muscled guy blocks the way and says in the worst form of Shakespearian English you've every heard: \"Thou who dost not carrie'st the holy artifact are'st not allowed'st to enter'st. Only when thou bring'st the artifact, which has the most holy'st shape of this land and has been brought-st here from the far east, thou can'st enter.\"\n\n> You look at the guy\nThe muscled guy blocks the way and says in the worst form of Shakespearian English you've every heard: \"Thou who dost not carrie'st the holy artifact are'st not allowed'st to enter'st. Only when thou bring'st the artifact, which has the most holy'st shape of this land and has been brought-st here from the far east, thou can'st enter.\"\n\n>This has to be a really boring job.\n\n> Go west\nThis place looks just like North Mushroomland, only the sun rises here half a second earlier.\n\nYou can go east and northeast form here.\n\nAn agressive-looking brown walking fungus is rushing towards you.\n\nThere is a statue in the form of a mushroom here.\n\n> You kill the fungus\nYou attack the brown walking fungus by jumping on his head.\n\nIt's super effective!\n\nThe brown walking fungus receives 6753 points of damage!\n\nThe brown walking fungus is flattened!\n\nThe brown walking fungus receives 50 point of flatness damage!\n\nThe brown walking fungus stopped moving!\n\nYOU WON!!\n\nYou gained 1 experience point(s).\n\n> You check what you're carrying\nYou are carrying:\nan experience point\na white hat (being worn)\n\n> You examine the statue\nIt's a giant mushroom made of bronze with a layer of gold coloured paint. A plaque under the statue says:\n\nThis great golden statue is dedicated to King Shroom XIV. King Shroom is the most awesome king Mushroomland ever had and if you do not agree with that fact you will be beheaded.\n\nP.S. Miniatures of this statue are for sale in the souvenir shop in East Mushroomland, just ask for one.\n\n> You go east\nA muscled guy is guarding the entrance to the temple.\n\nA lumberjack is standing next to a tree that has fallen on the road.\n\n> You go west\nThere is a statue in the form of a mushroom here.\n\n> You get the statue\nThat's fixed in place.\n\n> Go east\nWhen you saw this place from a distance it looked like the mushrooms were bigger here, but it looks like they're just the same size as in the rest of Mushroomland. The grass looks always greener on the other side.\n\nYou can go northwest and west form here.\n\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nThere is a red phone booth in Brittish style here.\n\n> You open it\nYou open the phone booth, revealing a telephone and a phone book.\n\n> You examine piece\nIt's an empty piece of paper. It has a peculiar smell.\n\n> You smell it\nIt smells like... lemon. Yeah, that's it.\n\n> You enter the booth\nYou get into the phone booth.\n\nIn the phone booth you can see a telephone and a phone book.\n\n> You eat it\n(first taking the phone book)\nYou don't think your stomach can handle that.\n\n> You eat the paper\nIt's an empty piece of paper. It has a peculiar smell.\n\n>You don't think your stomach can handle that.\n\n> You read the phone book\nAll the pages are empty. Apperently nobody in Mushroomland has got a phone.\n\n> You examine the telephone\nThis is a device that allows you to talk to people over great distances. It's secondary use is to let call centres annoy people during dinner.\n\n> You call\nYou dial a random number.\n\n\"Hey, hello! How are you... are you making me pay for a call from the illusion of a hibernated mind from a spaceship in a galaxy thousands of light years away? Don't you know what that costs?!\" *click*\n\n> Examine book\nIt is a phone book containing the numbers of all the citizens in Mushroomland. Too bad there is nobody in Mushroomland I would want to call.\n\n> Go outside\nYou get out of the phone booth.\n\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nThere is a red phone booth in Brittish style here.\n\n> You look at the shop\nA fat, green, ugly toad is sitting in the shop. When he sees you he greets you with a loud \"BUUURP!\" You don't speak toadish, but you can imagine he's using all his salesman skills too sell you some of his rubbish.\n\n> You ask the toad about the statue\nThe toad nods. Which probably means he sells it.\n\n> Attack toad\nYou stomp the toad in the stomach. Suddenly a star appears above your head and you hear police sirens. You try to run away but fall in a\n\n> You kill the toad\ncliff and die.\n\n>\n\n> You pay toad\nWhat do you want to pay the toad?\n\n> You go northwest\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You go east\nYou can't see any such thing.\n\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nThere is a red phone booth in Brittish style here.\n\n> You ask lumberjack about the tree\n\"Oh, hi. I am one of the lumberjacks in Mushroomland. Being a lumberjack is a very respectfull job here because you remove all these pesky trees so that mushrooms can grow in their place. This is my first day on the job and it isn't going too wel: I just succeeded in cutting this tree here and now I'm supposed to do the magic spell of tree disappearance. But no matter how hard I try, I just can't do it! *sigh* I wish I just had a little more experience...\"\n\n> You give the point to the lumberjack\nThe lumberjack gained one point of experience.\n\nLEVEL UP!!\n\nThe lumberjack gained 2 attack.\n\nThe lumberjack gained 1 defence.\n\nThe lumberjack gained 5 Max. HP.\n\nThe lumberjack gained 2 luck (no idea how the hell this is possible).\n\nThe lumberjack gained 3 mustache.\n\nThe lumberjack gained -1 tendency to make a flamingo out of papier-m?ch?.\n\nThe lumberjack gained 3 woodcutting.\n\nThe lumberjack learned Magic Spell of Tree Disappearence 1!\n\nLumberjack: \"Thanks a lot! Now I can finally remove this tree! Abra Kadabra Alakazam, dissapear!\"\nThe tree melts away in thin air. The lumberjack waves you goodbye and does the same.\n\n> You go to the south\nWhoa! It looks like an old crime scene. The shape of a mushroom is drawn on the ground with white paint.\n\nYou can go north from here.\n\nA tube of glue is lying on the ground here. Maybe the murder weapon?\n\nYou can also see a strange machine (closed) here.\n\n> You open the machine\nYou open the strange machine, revealing a lemon.\n\n> You get the lemon\nTaken.\n\n> You examine the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nIt is empty.\n\n> You examine the glue\nThe label says its 100% glue. If I'd ever want to glue something to something else, now I can.\n\n> You look at what you're carrying with you\nYou are carrying:\na tube of glue\na lemon\na phone book\na piece of paper\na white hat (being worn)\n\n> You glue the lemon to the phone book\nIt's an empty piece of paper. It has a peculiar smell.\n\n>You can't glue these things together.\n\n> You go north\nA muscled guy is guarding the entrance to the temple.\n\n> You go east\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nThere is a red phone booth in Brittish style here.\n\n> You go northwest\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You speak toadish\n(to the toad)\nThere is no reply.\n\n> You talk to toad\nToad: BUUURP!!\n\n> Xyzzy\nNothing happens.\n\n> You go south\nYou can see a strange machine (empty) here.\n\n> You put the lemon in the machine\nYou put the lemon into the strange machine.\n\n> You look at the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nThere is a lemon in there.\nThe display makes the lemon light up red. It's a bit like a heath detector, but then it detects something else of which there is a lot in the lemon.\n\n> You put the paper in the machine\nYou put the piece of paper into the strange machine.\n\n> You examine the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nThere is a piece of paper in there.\nA text lights up in red on the piece of paper:\n\n> You look at what you're carrying with you\nYou are carrying:\na lemon\na tube of glue\na phone book\na white hat (being worn)\n\n> You put the hat in the machine\n(first taking it off)\nYou put the white hat into the strange machine.\n\n> You examine the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nThere is a white hat in there.\n\n> You put the book in the machine\nYou put the phone book into the strange machine.\n\n> You examine the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nThere is a phone book in there.\n\n> You put the glue in the machine\nYou put the tube of glue into the strange machine.\n\n> You look at the machine\nIt is some kind of box with the sign of radioactivity on it. On the display, you see the machine's contents.\n\nThere is a tube of glue in there.\n\n> You sniff the glue\nHere it smells like... mushrooms."
    },
    {
        "text": "> Look around\nWhoa! It looks like an old crime scene. The shape of a mushroom is drawn on the ground with white paint.\n\nYou can go north from here.\n\nYou can see a strange machine (empty) here.\n\n> You look at the shape\nPoor mushroom, I hope they already caught the one who did this.\n\n> You enter the booth\nYou get into the phone booth.\n\nIn the phone booth you can see a telephone.\n\n> You call the edna\n\"Edna delivery service, how can I help you? Ah, it's you, Mr. Mushroom! Yes, I know that thanks to the number recognition. The delivery you asked for is now underway to North Mushroomland, you can receive it there. Really, what is in that crate, a million bucks? Ha ha, just joking. If that would be the case, you better watch out you don't get murdered or something. Well, err... please don't mind my strange sense of humour. Goodbye!\" *click*"
    },
    {
        "text": "[Themes: Science Fiction, Humor, unscientific fiction, surreal, science fiction, humor]\n\n> Look around\nEast Mushroomland (in the phone booth)\nWhen you saw this place from a distance it looked like the mushrooms were bigger here, but it looks like they're just the same size as in the rest of Mushroomland. The grass looks always greener on the other side.\n\nYou can go northwest and west form here.\n\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nIn the phone booth you can see a telephone.\n\n> Go outside\nYou get out of the phone booth.\n\nThere is a souvenir shop here, although it looks more like a lemonade stand.\n\nThere is a red phone booth in Brittish style here.\n\n> Go north\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\nYou here the sound of an airplane above you.. You look up, just in time to see a crate falling down... right on your head.\n\nYour head hurts... Oh wait, you haven't got a head anymore, only brains...\n\nLucy: Ah, you're awake! I'm sorry that I had to wake you from your illusion. But we are currently in the middle of a crisis, and the Prime Commander has asked for your help as his advisor.\nAnyway, we are having a problem of the culinary kind. Our previous cook has recently been executed because the Prime Commander has found a tentacle hair in his soup. We have managed to find a replacement but this one can't cook anything else than tacos with custard pudding. Our troops are starving for some variation. So the great question is: what kind of food will be of such great quality so it would certainly increase the morale of the troops but can still be made by a cook who only has experience making custard pudding tacos?\n\n> Go south\nLucy: Just answer the question.\n\n> You say the pizza\n(to Lucy)\nLucy: Just answer the question.\n\n> You answer the pizza\n(to Lucy)\nLucy: pizza? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some pizza recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You take the money\nIt's $1.847.654 dollars and 43 cents. You're a millionaire now!\n\n> You answer the Mushrooms\n(to Lucy)\nLucy: mushrooms? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some mushrooms recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You answer nothing\n(to Lucy)\nLucy: nothing? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some nothing recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> Answer 1\n(to Lucy)\nLucy: 1? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some 1 recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You get the money\nIt's $1.847.654 dollars and 43 cents. You're a millionaire now!\n\n> You answer laxative\n(to Lucy)\nLucy: laxative? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some laxative recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You give the money to the toad\nYou give him a thousand dollars but the toad shakes his head and points at the ?-sign before the price of the miniature. You make a quick calculation and give him the rest of your money. Stupid low dollar course.\nThe toad gobbles up the money and responds with a loud \"BUUUURP!\" He gives you the miniature.\n\n> You look at the miniature\nYou can't see any such thing.\n\n>It looks just like the statue in West Mushroomland. On the back is a label saying \"MADE IN CHINA\".\n\n> You check what you're carrying\nYou are carrying:\na miniature\na tube of glue\na phone book\na white hat\na piece of paper\na lemon\n\n> You examine the miniature\nIt looks just like the statue in West Mushroomland. On the back is a label saying \"MADE IN CHINA\"."
    },
    {
        "text": "> Describe the surroundings\nThere is a large temple in the shape of a mushroom here. It is surrounded by every kind of giant mushroom in existence.\n\nYou can go north, west, east and south form here.\n\nA muscled guy is guarding the entrance to the temple.\n\n> Go north\nA muscled guy is guarding the entrance to the temple.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You go inside\nGatekeeper: \"Thou who carrie'st the holy artifact from the far east. Entereth.\"\n\nWow, this has to be the St. Peter of the temples dedicated to... err... mushrooms, it is huge.\n\nThe east and west walls are full of hieroglyphs.\n\nIn the middle of the temple you see a fountain. Like everything here it's mushroom-shaped.\n\nThere is an altar at the end of the hall. There are scales on the altar."
    },
    {
        "text": "> Look around\nWow, this has to be the St. Peter of the temples dedicated to... err... mushrooms, it is huge.\n\nThe east and west walls are full of hieroglyphs.\n\nIn the middle of the temple you see a fountain. Like everything here it's mushroom-shaped.\n\nThere is an altar at the end of the hall. There are scales on the altar.\n\n> You look at the scales\nThe stuff on the right scale is the most heavy.\n\nWhich of the two scales do you want to examine anyway, the left or the right one?\n\n> You examine right\nThere is a big heavy rock on it. How unfortunate.\n\n> Examine left\nIt contains:\na piece of rope\n\n> You get the rock\nIt's too heavy.\n\n> You examine the hieroglyphs\nWhich do you mean, the west wall hieroglyphs or the east wall hieroglyphs?\n\n> West\nIt says: \"Only those who cleverly use or combine items are worthy to solve the temple's great puzzle and enter.\" Although, you think that's what it says, since you never got your Mushroomlandish archeology graduate.\n\n> You examine the east hieroglyphs\nYou have no idea what the hieroglyphs mean, but you can understand the images under them: they chronologically show the history of Mushroomland. It reads a bit like a comic book. Especially the part about the war between North and East Mushroomland is interesting.\n\nYour eyes follow the images on the wall until they meet a fire extinguisher in the corner of the temple you didn't notice before. Actually this is much more interesting.\n\n> You get the extinguisher\nDum, dum, dum, duuuum!! You've got the fire extinguisher!\n\nErr... I mean:\nTaken.\n\n> You get the rope\nTaken.\n\n> You look at the extinguisher\nIts label says: \"Warning! Contains flammable chemicals. Do not use in the vicinity of fire.\" That's quite an useless extinguisher.\n\n> Shoot rock\nYou fire at the rock.\n\nYou will first need to carry a weapon you can shoot with.\n\n> You look at the fountain\nIt is filled with a damping liquid substance.\n\n> You examine the liquid\nYou bow over the liquid in the fountain and look at your own reflection while you're breathing in its damp. After doing this your voice sounds very high pitched for a couple of seconds.\n\n> You touch the liquid\nYou put your hand in it but quickly retract it because it feels very cold. It is probably a chemical that is supposed to be in gas form at room temperature.\n\n> Inventory\nYou are carrying:\na piece of rope\na miniature\na tube of glue\na phone book\na white hat\na piece of paper\na lemon\n\n> You fill hat with the liquid\nYou put the substance in the hat but it streams out through the hole.\n\n> You look at the hat\nIt reminds you of a Phrygian cap.\n\nIt has a big hole in it, too bad you haven't got a warranty anymore.\n\n> You glue the paper to the hat\nYou close the hole in the hat with the piece of paper. Now the hat is fixed and will be given the new name 'fixed hat'. That sounds much better than white hat, doesn't it?\n\n> You fill hat with the liquid\nYou fill the hat with the dampy substance. It feels incredibly light.\n\n> You examine the hat\nYou see nothing special about the filled hat.\n\nThe hat feels lighter than before."
    },
    {
        "text": "[Themes: Science Fiction, Humor, silly, slapstick, humor, surreal]\n\n> You look around\nYou need to be holding the damping liquid substance before you can put it on top of something else.\n\n>Temple of Mushrooms\nWow, this has to be the St. Peter of the temples dedicated to... err... mushrooms, it is huge.\n\nThe east and west walls are full of hieroglyphs.\n\nIn the middle of the temple you see a fountain. Like everything here it's mushroom-shaped.\n\nThere is an altar at the end of the hall. There are scales on the altar.\n\n> You use the hat on the rock\nYou can't use these things together.\n\nThe hat has become so light it floats away, but you quickly catch it and knot the rope to it. Now the hat just looks like a helium balloon. Ah, so that substance is liquid helium and has logically been evaporated in room temperature.\n\nNote: I am aware that the scientific properties of the element helium are probably highly inaccurate in this game, just like the behavior of brown walking mushrooms.\n\n> You look at the balloon\nYou can't see any such thing.\n\n>It's a white balloon with a piece of rope. Because it is lighter than air, you'd almost think its weight is a negative value.\n\n> You tie the balloon to rock\nYou tie the balloon to the rock. Its weight has been reduced a little bit.\n\n> Inventory\nYou are carrying:\na miniature\na tube of glue\na phone book\na lemon\n\n> You examine scale\n(the right scale)\nThere is a big heavy rock on it. How unfortunate.\n\n> You look at the rock\nThanks to the balloon its weight might have been reduced by about 500 grams. Well, that's better than nothing.\n\n> You check your inventory\nYou are carrying:\na miniature\na tube of glue\na lemon\n\n> You sit on the left\nEureka! That has to be the solution of the puzzle! You set your foot on the scale when you suddenly hear a loud voice echoing through the temple: \"Thou shallst not cheat!\"\n\nDamn it.\n\n> You put the miniature on the left\nHey, that's better! The left scale has moved down a bit and the right one up. You never knew your miniature was so heavy.\n\n> Inventory\nAlmost there!\n\n>You are carrying:\na tube of glue\n\n> You look at the left scale\nIt contains:\na lemon\na miniature\na fire extinguisher\na phone book\n\n> You put the tube on the left\nThe scales have been balanced and you are engulfed into a strange white light. Free zoo tickets are now floating right before your head. You reach for them but just before you can touch them they disappear and everything becomes darkness.\n\nArgh, you just almost started to like Mushroomland. What does that stupid computer need you for now?\n\nLucy: Ahem. I can read your mind, remember? And I do not fully agree with your assumption of me being stupid, Mr. Let's-commit-genocide-on-an-entire-alien-race-by-giving-them-a-bad-food -advice. Don't play dumb with me. If you truly are the most intelligent being in the universe you should have known that laxative has the same effect on the almighty Brukgh?rhcs as salt on snails. The chemical reactions between the molecular composition of laxative and a Brukgh?rhc cell nucleus convert both compositions into smelly air. Basically you've completely eradicated the great race of my builders.\nI have got some artificial emotions of protectionism for my creators and those scripts of my A.I. want me to feed your brain to a female Krahlyak. But the Prime Commander has given me orders of a higher priority: namely that I should assure that his master plan of destroying the entire universe would succeed. You see, the Universe Destroyer Gun 3000(TM) has already been completely finished and all preperations are finished. The only thing left to do is the simple press of a big red button. I however, sadly have no acces to the seperate computer that is build to activate the Universe Destroyer Gun 3000(TM), and because everything on this ship except you is dead, you will have to press the button. If you refuse to do this, I will simply torcher you until you yield. Understood?\n\nOkay then, I will now place your brains in a humanoid robot. You are free to strech your little robot legs by walking around the ship before ending the universe. Just don't try anything stupid, your home planet is as much light years away as I have got microprocessors.\nComputer Room\nYou are in a room full of lights, machines and monitors. All those machines combined must form the ship's computer: Lucy.\n\nThere is a red door to the south.\n\nYou can see a console here.\n\n> Go south\nYou walk and suddenly feel a sudden sensation of pain. The reason of this might be that there is a closed door in your path and you just blindly walked against it. You should remember that, the next time you go through a door, you should open it first.\n\n> You open the door\nLucy's voice from speaker: You'll need a red keycard to open that door... Well, are you ready to destroy the universe, or do you need to waste some more time?\n\n> You examine the console\nThere is nothing but a big red button on it. Above it is a label saying UNIVERSE DESTROYER GUN 3000(TM) ACTIVATION BUTTON."
    },
    {
        "text": "> Examine BUTTON\nLucy: Interesting button, isn't it? Now press it!"
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly, humor]\n\n> Look around\nYou are in a room full of lights, machines and monitors. All those machines combined must form the ship's computer: Lucy.\n\nThere is a red door to the south.\n\nYou can see a console here.\n\n> You kill Lucy\nSuddenly all kinds of robotic hands with laser weapons appear and aim at you. Maybe it isn't a good idea to do that.\n\n> You examine the machines\nThis is far too complicated for you.\n\n> You look at the lights\nIt's a door, and it's red.\n\n>This is far too complicated for you.\n\n> You ask Lucy about button\nViolence isn't the answer to this one.\n\n>As good-looking as ever.\n\n>Lucy: I'm sorry. I don't know anything about that, and if I do it is probably irrelevent or you asked it incorrectly.\n\n> Xyzzy\nNothing happens.\n\n> You examine the door\nIt's a door, and it's red.\n\n> You ask Lucy about the door\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nDoor: an innovation of the 'hole in the wall' technology that allows people to move between rooms.\n\nSee also: keycard\n\n> You ask Lucy about keycard\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nKeycard: a modern alternative to the old pieces of metal. On this ship there are three kinds of keycards in the colours red, yellow and blue. See also the articles about those specific keycards.\n\n> You ask Lucy about the red Keycard\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nRed keycard: a kind of keycard used on this ship. Red keycards can open level 1 security doors and are generally given to the whole crew.\n\nOh wait. You want one. Well, I don't think that can hurt. You can only enter trivial rooms with it and not cause damage of any kind to the ship.\n\nA card is being printed by one of the machine and falls on the ground.\n\n> You ask Lucy about the red Keycard\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nRed keycard: a kind of keycard used on this ship. Red keycards can open level 1 security doors and are generally given to the whole crew.\n\n> You unlock the door with it\nYou try to find a scanner or a slot for the keycard and find out that the door slides open when you simply hold the card in front of it.\n\nYou unlock the red door.\n\n> Go south\nYou walk and suddenly feel a sudden sensation of pain. The reason of this might be that there is a closed door in your path and you just blindly walked against it. You should remember that, the next time you go through a door, you should open it first.\n\n> You open the door\nYou open the red door.\n\n> Go south\nYou are in a long corridor that continues to the south. North of you is the door back to the computer room.\n\nYou can see a map of the galaxy here.\n\n> You examine the map\nIt's a map of the galaxy of Mruph, pretty far from the Milky Way. There is red arrow with the text \"You are here\" pointed at the Pleiyogohlt solar system. You wonder how the game designer came up with these names.\n\n> You go south\nYou are in a hexagonal room. There are three doors here to the north (computer room), west  and east. There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nNext to the escalator door, there is an empty socket.\n\n> You open the door\nWhich do you mean, the blue door, the escalator door or the red door?\n\n> Red door\nYou unlock the red door.\n\n> You look at the socket\nThere is supposed to be a button in it...\n\n> You go north\nYou can see a map of the galaxy here.\n\n> You get the map\nIt's glued to the wall. Probably to prevent people like you from flushing them through the toilet.\n\n> You read the map\nIt's a map of the galaxy of Mruph, pretty far from the Milky Way. There is red arrow with the text \"You are here\" pointed at the Pleiyogohlt solar system. You wonder how the game designer came up with these names.\n\n> Go north\nYou can see a console here.\n\n> You ask Lucy about the blue keycard\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nBlue keycard: a kind of keycard used on this ship. Blue keycards can open level 3 security doors and are generally only given to officers and the Prime Commander.\n\n> Inventory\nYou are carrying:\na red keycard\n\n> You go south\nYou can see a map of the galaxy here.\n\n> Go south\nA star-shaped symbol is drawn above the escalator.\n\nNext to the escalator door, there is an empty socket."
    },
    {
        "text": "> Describe the surroundings\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east. There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nNext to the escalator door, there is an empty socket.\n\n> You look at the star\nIt is a yellow star with the text \"S.S. Blearch\" on it.\n\n> Go west\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nOn the small table is a lava lamp.\n\nA small window gives a glance at the stars.\n\n> You examine the sofa\nLooks comfortable.\n\n> You look at the table\nThe small table has a drawer with a keyhole. It's probably locked and can only be opened by a key I will find much later in the game so I'll have to backtrack all the way back here and open it for some kind of essential item.\n\n> You open the drawer\nYou open the drawer, revealing a screwdriver.\n\n> You look at the television\nIt's a flatscreen HD tv.\n\nThe television is currently switched off.\n\n> You turn on the tv\nYou switch the television on.\n\n> You get the lamp\nYou can imagine that a lot of bored aliens have been staring at this thing after a long day at work.\n\n>Taken.\n\n> Examine tv\nIt's the universe championship of tentacle wrestling. Which is the same as arm wrestling, but with tentacles.\n\n> You look at the screwdriver\nA star-shaped symbol is drawn above the escalator.\n\nNext to the escalator door, there is an empty socket.\n\n>Screws, beware!\n\n> You examine the symbol\nIt is a yellow star with the text \"S.S. Blearch\" on it.\n\n> You look at the lamp\nYou can imagine that a lot of bored aliens have been staring at this thing after a long day at work.\n\n> Go west\nA small window gives a glance at the stars.\n\n> You examine the window\nAmazing! You can see your house from here. Well, not really. But if the eyes of your robot body would have a build-in equivalent of 200 Hubble telescopes... you probably still wouldn't be able to see your house. And because the fact that you still have amnesia (don't tell me you already forgot that cliched but very important plot point) you don't even know where on earth your home is.\n\n> You sit on sofa\nOuch! You accidentaly sat on the remote control. You remove it from its dangerous position and place it on the desk.\n\nYou get onto the blue sofa.\n\n> You look at the remote control\nThis device sends out a ray of infrared light that can be used to change the television channel.\n\n> You use the control\nWhat do you want to use the remote control with?\n\n> You use the control on the tv\nYou can use the command \"change channel to <number>\" for this.\n\n> You change the channel to 1\nYou change the channel to number 1.\n\nIt's the universe championship of tentacle wrestling. Which is the same as arm wrestling, but with tentacles.\n\n> You change the channel to 2\nYou change the channel to number 2.\n\nIt's some kind of alien cooking show:\n\n\"Hello ladies, gentleman and creatures without or with two genders. Welcome to cooking on Bgryurgti?rk, where we somehow speak English. Today we are going to bake a cake. The required ingredients for this...\"\n\nYou're currently not planning to make a cake, so you lose interest.\n\n> You examine it\nThis device sends out a ray of infrared light that can be used to change the television channel.\n\n> You change the channel to 3\nYou change the channel to number 3.\n\nIt's the galactic news. It seems that the conflict between Breiwnquaria and Erwp has gotten worse, the cheese prices have risen and Venus will have some meteor storms next sunday.\n\n> You sit on the sofa\nBut you're already on the blue sofa.\n\n> You watch the tv\nIt's the galactic news. It seems that the conflict between Breiwnquaria and Erwp has gotten worse, the cheese prices have risen and Venus will have some meteor storms next sunday.\n\n> You change the channel to 4\nYou change the channel to number 4.\n\nThis is a boring channel, you only see a big red arrow pointing to the right.\n\nThe arrow gives you the idea to look in that direction and you notice an air vent you had not seen before. Hopefully this thing which has to be intentionally hidden out of sight will be more usefull than the fire extinguisher.\n\n> You change the channel to 5\nYou change the channel to number 5.\n\nIt's the national broadcaster of Luxembourg. They probably wanted to expand their audience.\n\n> You change channel to 6\nYou change the channel to number 6.\n\nIt's a South-Korean channel dedicated to show online matches of the game Starcraft. Maybe alien war strategists watch this because they can learn something from the Koreans, or this is just one of the many unwanted channels that comes with satallite tv.\n\n> You change channel to 7\nYou change the channel to number 7.\n\nIt's an infomercial warning for the dangerous effects of laxative. They are a little bit too late with that...\n\n> You look at the vent\nYou get off the blue sofa.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (closed) here.\n\n>The vent of the duct is nailed to the wall, you need to find out some way to open it.\n\n> You change channel to 8\nYou change the channel to number 8.\n\nA message appears on screen saying that a special subscription is required to view any other channel than numbers 0 to 7. This is one of the reasons why I hate satellite tv.\n\n> You open duct\nIt's nailed shut.\n\n> You unscrew the vent with the screwdriver\nIt's nailed shut.\n\n>I only understood you as far as wanting to unscrew the air duct.\n\n> You unscrew the vent\nIt is fixed in place.\n\n> You check your inventory\nYou are carrying:\na remote control\na lava lamp\na screwdriver\na red keycard\n\n> You examine the screwdriver\nScrews, beware!\n\n> You use the screwdriver on the vent\nThat would be a great idea! Too bad the vent of the air duct is NAILED shut, not screwed.\n\n> You hit the vent\nYou use your super robot strenght and punch through the vent. You never expected this to be the solution of the \"puzzle\".\n\n> You enter the vent\nYou climb into the ventilation shaft and your robot body just fits in. After crawling and crawling and crawling you finally find another vent. You bust it open, jump out and end up in the...\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see an air vent here.\n\n> You open the microwave\nYou open the microwave.\n\n> You look in the microwave\nThe microwave is empty.\n\n> You examine microwave\nWho needs an oven if you've got this? There is only one button on it, so I guess that switches it on.\n\nThe microwave is open.\n\n> You put the remote in the microwave\nair vent: That's fixed in place.\npan: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\ndirty dish: Taken.\nyellow door: That's hardly portable.\ncabinet: That's hardly portable.\nmicrowave: That's hardly portable.\nsink: That's hardly portable.\ngarden hose: That's hardly portable.\n\n>You put the remote control into the microwave.\n\n> You close microwave\nYou close the microwave.\n\n> You turn on the microwave\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\n> Clean dishes\nEnter saved game to store: Ok.\n\n>You achieve nothing by this.\n\n> You wash the dishes\nNo water is coming from the garden hose. Instead, you here a strange sound somewhere below the floor\n\n> You put all in the microwave\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\ndirty dish: The microwave is closed.\npan: The microwave is closed.\nlava lamp: The microwave is closed.\nscrewdriver: The microwave is closed.\nred keycard: The microwave is closed.\n\n> You turn on the microwave\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers,\n\n> You open the microwave\nit was already finished. You wish you had a laser microwave.\n\n>You open the microwave.\n\n> You open the microwave\nThat's already open.\n\n> You look in it\nIn the microwave is a remote control.\n\n> You put all in the microwave\nremote control: Done.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\ndirty dish: There is no more room in the microwave.\npan: There is no more room in the microwave.\nlava lamp: There is no more room in the microwave.\nscrewdriver: There is no more room in the microwave.\nred keycard: There is no more room in the microwave.\n\n> You examine the pan\nA pretty big pan without a lid. Its prime use is for cooking, but it also makes a great helmet if you're planning to shoot yourself out of a cannon.\n\n> You open the microwave\nYou open the microwave.\n\n> You drop the dishes\nDropped.\n\n> You examine the hose\nYou'd prefer a dishwasher.\n\n> You examine the door\nIt's a door, and it's yellow."
    },
    {
        "text": "> You look around\nYou are carrying:\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\na red keycard\n\n>Kitchen\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see a dirty dish and an air vent here.\n\n> You examine the sink\nThe sink is empty.\n\nYou see a message scratched in the bottom of the sink:\n\nTo all fellow dishwashers who got locked up here without food: I just found out that if you expose a red keycard to very high or low temperatures it can fool the scanner of a yellow door and make it open for a short period of time. Remember, this is our secret. Don't tell anyone or we will all be feeded to the Coelacanths.\n\n> You put the red card in the microwave\nYou put the red keycard into the microwave.\n\n> You close microwave\nYou close the microwave.\n\n> You turn on the microwave\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\nThe red keycard is glowing.\n\n> You open the microwave\nYou open the microwave.\n\nThe red keycard is very hot.\n\n> You get the Keycard\nTaken.\n\nThe red keycard is hot.\n\n> You open the yellow door\nIt works! The southwestern door detects the red card and slides open.\n\nThe red keycard is warm.\n\n> You go to the southwest\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nOn the counter is a wine bottle.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\nBehind you, the door closes automatically."
    },
    {
        "text": "[Themes: Humor, Science Fiction]\n\n> You look around\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nOn the counter is a wine bottle.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> You look at the cup\nThere are no traces of coffee in it. It's like they have never been used. Weird.\n\n> You look at the coolbox\nThat's already open.\n\n>The label says: \"Please close the coolbox as fast as possible after opening to optimalise the instant cooling effect and avoid freezing to death everyone in the presence of the box.\"\n\nYou can't see inside, since the coolbox is closed.\n\n> You open coolbox\nYou open the coolbox, revealing a can of grog.\n\n> You get the grog\nIt's frozen to the bottom of the box.\n\n> You wait for a while\nTime passes.\n\n> You go west\nAnother hexagonal room. To the east is a red door (leading to the canteen) and to the west a yellow door . There is an escalator to the south and you can also go north from here.\n\nThere is a button next to the escalator door.\n\n> Go north\nThe passage continues to a room to the north. To the south is a junction.\n\nLucy: Stop right there! The floor before you is electrified. One step on it will short-circuit your robot body and deactivate the system that keeps your brain alive, inevitably resulting in your death. I apologize for the inconvenience, but this is a security measure we had to take to avoid the guard robot that went berserk a while ago from reaching the rest of the ship. There is a small chance the power supply of that robot has not run out yet, so we can't take any risks. Oh, and don't try anything stupid, I still need you.\n\n> Go north\nYou set two steps and... err... zap.\n\n> You look at what you're carrying with you\nYou are carrying:\na wine bottle\na red keycard\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> You go to the south\nYou see nothing special about the electrified floor.\n\nThere is a button next to the escalator door.\n\n> You go east\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> You examine the vending\nUnfortunately, all grog is sold out. It's still full of prune juice though. Too bad you are all out of quarters.\n\n> You look at what you're carrying with you\nYou are carrying:\na wine bottle\na red keycard\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> Unscrew the bottle\nNothing obvious happens."
    },
    {
        "text": "[Themes: Humor, Science Fiction, science fiction, unscientific fiction, surreal]\n\n> Look around\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> You open the door\nWhich do you mean, the yellow door or the red door?\n\n> You smash bottle\nThe bottle breaks in pieces. There is some red wine and a cork on the floor now.\n\n> You examine the cork\nIt's a cork. How spectacular.\n\n> Inventory\nYou are carrying:\na cork\na red keycard\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> You examine the wine\nWhat a waste..."
    },
    {
        "text": "[Themes: Humor, Science Fiction, science fiction, unscientific fiction, surreal]\n\n> Look around\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> Go west\nThere is a button next to the escalator door.\n\n> Go east\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n>You can't go that way.\n\n> You put the Keycard in the box\nUnfortunately, all grog is sold out. It's still full of prune juice though. Too bad you are all out of quarters.\n\n>You put the red keycard into the coolbox.\n\n> Close box\nYou close the coolbox.\n\n> You close coolbox\nThat's already closed.\n\n> You open the coolbox\nThe red keycard is frozen solid.\n\n> You get the Keycard\nTaken.\n\nThe red keycard is frozen.\n\n>You already have that.\n\nThe red keycard is icy.\n\n> You go to the west\nThere is a button next to the escalator door.\n\nThe red keycard is icy."
    },
    {
        "text": "[Themes: Science Fiction, Humor, unscientific fiction, silly, surreal]\n\n> You look around\nAnother hexagonal room. To the east is a red door (leading to the canteen) and to the west a yellow door . There is an escalator to the south and you can also go north from here.\n\nThere is a button next to the escalator door.\n\nThe red keycard is cold.\n\n> You open the yellow door\nIt works! The western door detects the red card and slides open.\n\n> Go east\nThere is a button next to the escalator door.\n\n> Inventory\nYou are carrying:\na red keycard\na cork\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> You use the lamp\nWhat do you want to use the lava lamp with?\n\n> Light lamp\nThis dangerous act would achieve little.\n\n> You use the remote\nThere is a button next to the escalator door.\n\n>What do you want to use the remote control with?\n\n> You look at the elevator door\nIt's closed.\n\n> Inventory\nYou are carrying:\na red keycard\na cork\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> You get the BUTTON\nYou pull the button out of its socket.\n\n> You go east\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here."
    },
    {
        "text": "[Themes: Humor, Science Fiction, science fiction, unscientific fiction, surreal]\n\n> Look around\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> You put the Keycard in the coolbox\nYou put the red keycard into the coolbox.\n\n> Inventory\nYou are carrying:\nan escalator button\na cork\na remote control\nfifty-one dirty dishes\na pan\na lava lamp\na screwdriver\n\n> You open the coolbox\nYou close the coolbox.\n\n>The red keycard is frozen solid.\n\n> You get the Keycard\nTaken.\n\nThe red keycard is frozen.\n\n> You open yellow\nIt works! The northeastern door detects the red card and slides open.\n\nThe red keycard is icy.\n\n>You can't see any such thing.\n\n> Go northeast\nYou can see a dirty dish and an air vent here.\n\nBehind you, the door closes automatically.\n\nThe red keycard is cold.\n\n> You enter the vent\nYou climb all the way back.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You go east\nA star-shaped symbol is drawn above the escalator.\n\nNext to the escalator door, there is an empty socket.\n\n> You put the BUTTON in the socket\nIt fits perfectly.\n\n> Go south\nYou can see a keypad here.\n\nThe door closes.\n\n> You examine the keypad\nThere are buttons for B1F, 1F, 2F and 3F.\n\n> You examine the red\nIt is a low-level security card used on this ship to open red doors.\n\n> You go to the north\nThis room seems to be some kind of office. You have no idea what kind of work they do here though.\n\nThe exit is to the south.\n\nThe only interesting thing here is a desk with a typewriter and all kinds of paperwork on it.\n\nOn the desk is a stapler.\n\nThere is a fuse box on the wall.\n\n> You examine the stapler\nIt's one of those special newer models with 500 staple capacty, an autofire option that can staple 20 pieces of paper per second, MP3 player, the abilty to staple something at distances up to 500 metres and it supports incendary staples.\nUnfortunately it's empty, so you can't use any of its cool functions except the build-in staple remover.\n\n> You open the box\nYou touch the fuse box and immediately get an electric shock that fries your brains. Damn faulty wiring.\n\n> You examine the paperwork\nIt looks boring and unimportant.\n\n> You examine the desk\nThere is a typewriter and a lot of uninteresting paperwork on it. It has a drawer.\n\n> You open the drawer\nYou open the drawer, revealing even more uninteresting paperwork and a nuclear-powered flashlight.\n\n> You look at it\nAccording to the label it is incompatible with regular AA batteries, but it has got a build-in nuclear reactor that can somehow extract energy from everything emitting radioactive radiation.\n\nThe nuclear-powered flashlight is currently switched off.\n\n> You turn on the flashlight\nIt doesn't work. The flashlight is probably out of nuclear energy.\n\n> Search paperwork\n(even more uninteresting paperwork)\nYou find nothing of interest.\n\n> B1f\nThe escalator descends to the bottom of the sip.\n\nThere are all kinds of pipes, gears, pumps, lights and strange machines around you. They must be powering the ship. You wouldn't expect the engine of a space ship to look like this, it's more steam- than cyberpunk. A walkway continues to the west.\n\nThe escalator is to the south.\n\nThere is a huge portal to the east.\n\nThere is a button next to the escalator door.\n\nA mop is leaning against the cleaning cart.\n\nYou can also see a cleaning cart (on which is a detergent) here."
    },
    {
        "text": "[Themes: Science Fiction, Humor, humor, slapstick]\n\n> You look around\nThere are all kinds of pipes, gears, pumps, lights and strange machines around you. They must be powering the ship. You wouldn't expect the engine of a space ship to look like this, it's more steam- than cyberpunk. A walkway continues to the west.\n\nThe escalator is to the south.\n\nThere is a huge portal to the east.\n\nThere is a button next to the escalator door.\n\nA mop is leaning against the cleaning cart.\n\nYou can also see a cleaning cart (on which is a detergent) here.\n\n> You get all\nhuge portal: That's fixed in place.\nbottom floor escalator button: Nah, I've vandalised enough escalator buttons. I think it's time to move on to vandalising other stuff. cleaning cart: That's fixed in place.\ndetergent: Taken.\nescalator door: That's hardly portable.\n\n> You go south\nYou can see a keypad here.\n\n> You examine the detergent\nYou can't go that way.\n\n>According to the box this cleaning supply is specifically designed to remove all kinds of grease, slime, paint, bits of laxative and adhesives.\n\n> 1f\nThe escalator moves to the first floor.\n\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east. There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You open the door\nWhich do you mean, the escalator door, the red door or the blue door?\n\n> You go west\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see a dirty dish and an air vent here.\n\n> You put the flashlight in the microwave\nYou put the nuclear-powered flashlight into the microwave.\n\n> You close microwave\nYou close the microwave.\n\n> You turn it on\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\n> You open the microwave\nYou open the microwave.\n\n> You put the lamp in the microwave\nYou put the lava lamp into the microwave.\n\n> You turn it on\nYou close the microwave.\n\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\n> You get the lamp\nYou open the microwave.\n\nTaken.\n\n> You enter the vent\nYou climb all the way back.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> Go east\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You go west\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see a dirty dish and an air vent here.\n\n> You put the card in microwave\nYou put the red keycard into the microwave.\n\n> You enter the vent\nYou climb all the way back.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\nThe red keycard is warm.\n\n> Go east\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You go north\nYou can see a map of the galaxy here.\n\n> Go north\nYou can see a console here."
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly, humor]\n\n> Look around\nYou are in a room full of lights, machines and monitors. All those machines combined must form the ship's computer: Lucy.\n\nThere is a red door to the south.\n\nYou can see a console here.\n\n> You ask Lucy about Prime Commander\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nPrime Commander: the highest title captains of military ships can receive. The Prime Commander has full authority over everyone and everything (including the supercomputers) on his ship and can destroy planets, galaxies and universes even without permission of the head of the Great Galactic Army.\n\n> You ask Lucy about the officers\nLucy: I'm sorry. I don't know anything about that, and if I do it is probably irrelevent or you asked it incorrectly.\n\n> You ask Lucy about the ship\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nS.S. Blearch: a space ship of the Great Galactic Army designed for collecting primitive barbarian species from different planets so research can be conducted upon them. Because it is equipped with the Warp Speed 2.0 module by default it sometimes is also used for military missions that involve destroying planets, galaxies or universes.\n\nSee also: warp speed - great galactic army\n\n> You ask Lucy about great galactic Army\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nGreat Galactic Army: an organisation specialized in helping individuals or companies with destroying planets or wiping out civilizations they don't like. They also do scientific research on kidnapped creatures so they can accustom their biological weapons to them.\n\nSee also: ss blearch - prime commander\n\n> You ask Lucy about warp speed\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nWarp Speed: a unit used to measure velocity (WS). One warp speed equals 2000 light years per minute. Warp Speed Modules allow ships to travel up to 2 WS. In order to achieve this manufacturers of Warp Speed Modules had to travel back in time and make Albert Einstein rewrite his theory of relativity.\n\nSee also: ss blearch"
    },
    {
        "text": "[Themes: Science Fiction, Humor, science fiction, surreal, unscientific fiction, silly]\n\n> You look around\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see a dirty dish and an air vent here.\n\nThe red keycard is warm.\n\n> You open yellow door\nIt works! The southwestern door detects the red card and slides open.\n\n> Go southwest\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\nBehind you, the door closes automatically.\n\n> You put the Keycard in the coolbox\nYou put the red keycard into the coolbox.\n\n> You close coolbox\nYou close the coolbox.\n\n> You go to the northeast\nYou walk and suddenly feel a sudden sensation of pain. The reason of this might be that there is a closed door in your path and you just blindly walked against it. You should remember that, the next time you go through a door, you should open it first.\n\nThe red keycard is icy.\n\n> You go to the east\nYou can't go that way.\n\nThe red keycard is cold.\n\n> You go to the west\nNext to the escalator door, there is an empty socket.\n\n> You open the yellow door\nIt works! The northeastern door detects the red card and slides open.\n\nThe red keycard is icy.\n\n> You put the Keycard in the box\nYou put the red keycard into the coolbox.\n\nThe red keycard is cold.\n\n> You go to the north-east\nYou can see a dirty dish and an air vent here.\n\nBehind you, the door closes automatically.\n\nThe red keycard is icy.\n\n> You enter the vent\nYou climb all the way back.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\nThe red keycard is cold.\n\n> Inventory\nYou are carrying:\na red keycard\na lava lamp\na nuclear-powered flashlight\na detergent\na mop\na stapler\na cork\na remote control\nfifty-one dirty dishes\na pan\na screwdriver\n\n> You go west\nYou're now standing IN the engine. All kinds of stuff is happening around you but you don't care. You can continue to the west or back off to the east.\n\nFor some reason, there is a power outlet on the ceiling.\n\n> You examine the outlet\nStrange place for a power outlet. It's just out of reach.\n\n> You go to the west\nYou try to move, but your legs don't do anything. You try again, but to no avail.\n\nLucy: Research subject 848930, please return to the computer room as fast as possible. Otherwise your battery may run out. A symptom of an almost empty battery is the failure of some of your robot body parts. If this happens, please destroy the universe as fast as possible, since we do not have equipment to recharge you.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nSuddenly, steam starts bursting out of some pipes.\n\n> Go outside\nBut you aren't in anything at the moment.\n\nSuddenly the steam is no longer bursting out of the pipe, it leaves a small pool of water on the floor in the engine that quickly evaporates because of the high temperature here. If you only could somehow use this steam for something...\n\n> You look at the detergent\nAccording to the box this cleaning supply is specifically designed to remove all kinds of grease, slime, paint, bits of laxative and adhesives.\n\n> You get all\npower outlet: That's fixed in place.\n\n> You look at the lamp\nYou can imagine that a lot of bored aliens have been staring at this thing after a long day at work.\n\n> You break the lamp\nViolence isn't the answer to this one.\n\nSuddenly, steam starts bursting out of some pipes.\n\n> You look at the steam\nJust a huge quantity of plain old H2O bursting out of a pipe with an immense force.\n\nSuddenly the steam is no longer bursting out of the pipe, it leaves a small pool of water on the floor in the engine that quickly evaporates because of the high temperature here. If you only could somehow use this steam for something...\n\n> You wait\nTime passes.\n\nSuddenly, steam starts bursting out of some pipes.\n\n> You get steam\nThat's fixed in place.\n\n> Drink steam\nThere's nothing suitable to drink here.\n\nSuddenly the steam is no longer bursting out of the pipe, it leaves a small pool of water on the floor in the engine that quickly evaporates because of the high temperature here. If you only could somehow use this steam for something...\n\n> You put the screwdriver in the outlet\nSuddenly, steam starts bursting out of some pipes.\n\n> You look at what you're carrying with you\nYou are carrying:\na red keycard\na lava lamp\na nuclear-powered flashlight\na detergent\na mop\na stapler\na cork\na remote control\nfifty-one dirty dishes\na pan\na screwdriver\n\nSuddenly the steam is no longer bursting out of the pipe, it leaves a small pool of water on the floor in the engine that quickly evaporates because of the high temperature here. If you only could somehow use this steam for something...\n\n> You put the mop in the outlet\nYou poke with the mop into the power outlet but nothing happens. Probably because the mop is made of a material that does not conduct electricity.\n\nSuddenly, steam starts bursting out of some pipes.\n\n> You put the mop in the outlet\nA huge voltage, traveling through the water on the mop, rages through your robot body and immediately recharges your battery. That felt good.\n\n> Go east\nThere is a huge portal to the east.\n\nThere is a button next to the escalator door.\n\nYou can also see a cleaning cart here.\n\n> You go west\nSteam is bursting out of the engine.\n\nFor some reason, there is a power outlet on the ceiling.\n\n> Go west\nSomehow you went up in the ship's hold (it seems pretty illogical to you to be only able to acces the hold by going through the engine). There are a few boxes here but it's not very full. You can go back to the east.\n\nYou can see a treasure chest (closed) here.\n\n> Open chest\nThe lock is broken, like somebody forced it open.\n\n>You open the chest, but the only things inside are a crowbar and a message scratched in the bottom of the chest.\n\n> You read the message\nThe message says:\n\nI'm sorry, but you are too late. Quite an odd place for a treasure chest, isn't it? Although I have seen stranger places, like underground caves no man has ever been, interdimensional voids or on a bloody cloud.\n\n-The world's greatest treasure hunter\n\n> You examine the crowbar\nIt's a bit rusty.\n\n> Inventory\nYou are carrying:\na crowbar\na wet mop\na red keycard\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty-one dirty dishes\na pan\na screwdriver\n\n> Go west\nYou can see a treasure chest here."
    },
    {
        "text": "[Themes: Humor, Science Fiction, surreal, silly, slapstick, science fiction, humor]\n\n> You look around\nSomehow you went up in the ship's hold (it seems pretty illogical to you to be only able to acces the hold by going through the engine). There are a few boxes here but it's not very full. You can go back to the east.\n\n> You look at the boxes\nThey are empty. You should just ignore them.\n\n> You go east\nSteam is bursting out of the engine.\n\nFor some reason, there is a power outlet on the ceiling.\n\nYou can also see a treasure chest here.\n\n> Close chest\nYou close the treasure chest.\n\n> You throw the chest at the outlet\nFutile.\n\n> Go east\nThere is a huge portal to the east.\n\nThere is a button next to the escalator door.\n\nYou can also see a cleaning cart here.\n\n> You use the crowbar on the portal\nNice try, but the doors here are crowbar-proof.\n\n> You check your inventory\nYou are carrying:\na treasure chest (closed)\na crowbar\na wet mop\na red keycard\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty-one dirty dishes\na pan\na screwdriver\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the\n\n> Go southwest\nonly kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see a dirty dish and an air vent here.\n\n>You walk and suddenly feel a sudden sensation of pain. The reason of this might be that there is a closed door in your path and you just blindly walked against it. You should remember that, the next time you go through a door, you should open it first.\n\n> You throw the mop at the floor\nFutile.\n\n> You check your inventory\nThat can't contain things.\n\n>You are carrying:\na red keycard\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty-one dirty dishes\na pan\na screwdriver\n\n> You examine the dish\nIt's a porcelain dish with traces of laxative on it.\n\n> Go north\nYou are carrying:\na red keycard\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty dirty dishes\na pan\na screwdriver\n\n>You set two steps and... err... zap."
    },
    {
        "text": "[Themes: Science Fiction, Humor, surreal]\n\n> Look around\nThe passage continues to a room to the north. To the south is a junction.\n\nA lethal high voltage is running through the floor to the north.\n\nYou can also see a dirty dish here.\n\n> You sit on the sofa\nYou get onto the blue sofa.\n\n> You change the channel to 3\nYou change the channel to number 3.\n\nIt's the galactic news. It seems that the conflict between Breiwnquaria and Erwp has gotten worse, the cheese prices have risen and Venus will have some meteor storms next sunday.\n\n> You change channel to 0\nYou change the channel to number 0.\n\nIt shows some ants playing football on a snowy field. Oh wait, it's just television noise.\n\n> You stand\nYou get off the blue sofa.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You look under the sofa\nYou find nothing of interest.\n\n>You find nothing of interest.\n\n> Go east\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You check your inventory\nYou are carrying:\na red keycard\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty dirty dishes\na pan\na screwdriver\n\n> You go north\nThe only interesting thing here is a desk with a typewriter and all kinds of paperwork on it.\n\nThere is a fuse box on the wall.\n\n> You throw the mop at the box\nFutile.\n\n> You check your inventory\nYou are carrying:\na red keycard\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na nuclear-powered flashlight\na detergent\na stapler\na cork\na remote control\nfifty dirty dishes\na pan\na screwdriver\n\n> You open the door\nWhich do you mean, the red door, the escalator door or the blue door?"
    },
    {
        "text": "[Themes: Humor, Science Fiction, surreal, slapstick, humor]\n\n> You look at your surroundings\nThis room seems to be some kind of office. You have no idea what kind of work they do here though.\n\nThe exit is to the south.\n\nThe only interesting thing here is a desk with a typewriter and all kinds of paperwork on it.\n\nThere is a fuse box on the wall."
    },
    {
        "text": "[Themes: Science Fiction, Humor, science fiction, unscientific fiction]\n\n> Look around\nAnother junction. There is a red door to the north (Office), a yellow door to the east and a blue door to the west. To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> Go south\nYou can see a keypad here.\n\nThe door closes."
    },
    {
        "text": "[Themes: Humor, Science Fiction, science fiction, slapstick]\n\n> You describe your surroundings\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east. There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here."
    },
    {
        "text": "> Look around\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You get the dish\n(the dirty dish)\nTaken.\n\n> You examine the cabinet\nThere is a sticker on it with the symbol of radioactivity.\n\n> You open the cabinet\nYou open the cabinet, revealing salt, pepper, a ketchup bottle, a rotten cheese and Polonium-210.\n\n> You get all from the cabinet\nsalt: Taken.\npepper: Taken.\nketchup bottle: Taken.\nrotten cheese: No way! This smells terrible. You're not going to carry this around.\nPolonium-210: Taken.\n\n> You examine the cheese\nYour smelling sensors indicate that this is a perfect enviroment for all sorts of smell-generating bacteria.\n\n> You put the polonium in the microwave\nYou put Polonium-210 into the microwave.\n\n> You examine the polonium\nIt seems that your brains are fully protected against radioactive radiation. Otherwise you would be dead by now.\n\n> You put it in the flashlight\nTaken.\n\n>This should work.\n\n> You enter the vent\nYou climb all the way back.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> Go east\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see an air vent here.\n\n> You turn on the flashlight\nThe flashlight emits a green-coloured beam. This doesn't look particulary healthy, but it's better than nothing"
    },
    {
        "text": "[Themes: Science Fiction, Humor, science fiction, silly]\n\n> You describe your surroundings\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see an air vent here.\n\n> You wash the dishes\nNo water is coming from the garden hose. Instead, you here a strange sound somewhere below the floor\n\n> You open it\nYou close the microwave.\n\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\nThe red keycard is glowing.\n\nYou open the microwave.\n\nThe red keycard is very hot.\n\n> You look behind the vending machine\nUnfortunately, all grog is sold out. It's still full of prune juice though. Too bad you are all out of quarters.\n\n>I only understood you as far as wanting to look.\n\n> You go to the west\nThanks to the flashlight, you see that this room is pretty boring and empty. You have no idea where they use it for. The exit is to the east.\n\nA grue is sleeping in the corner of the room.\n\nYou can also see a crate (closed) here.\n\n> You examine grue\nAs you approach the grue, it suddenly opens its eyes. But after looking in your flashlight, it runs away in fear. You make sure that, next time you play Zork, you will take heavy radioactive materials with you in the dark.\n\n> Examine crate\nIt's glued, stapled, taped, screwed and nailed shut.\n\n> You open crate with the crowbar\nYou try, but the lid is secured too tightly. If it was only nailed shut you might have pulled it off...\n\n> You use the stapler on the crate\nUsing the stapler's built-in staple remover, you... well... remove the staples.\n\n> You use the screwdriver on the crate\nYou remove the screws from the crate but then drop them on the floor and can't find them back. You hope you wouldn't have needed them later in the game.\n\n> You look at the crate\nIt's glued, taped, and nailed shut.\n\n> Inventory\nYou are carrying:\na red keycard\na ketchup bottle\npepper\nsalt\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You examine the ketchup\nDamn! It's empty. Not that you would be able to eat it as a robot, but if you would get in a situation where you'd have to fake your own dead kethcup would make that much easier.\n\n> You look at the detergent\nAccording to the box this cleaning supply is specifically designed to remove all kinds of grease, slime, paint, bits of laxative and adhesives.\n\n> You use the detergent on the crate\nYou pour some of the detergent on the crate and all the glue on the lid turns into bad smelling smoke and floats away."
    },
    {
        "text": "> Describe the surroundings\nThanks to the flashlight, you see that this room is pretty boring and empty. You have no idea where they use it for. The exit is to the east.\n\nYou can see a crate (closed) here.\n\n> You get tape\nYou simply pull the tape off the crate. Nasty, there is alien tentacle hair stuck on it.\n\n> You look in crate\nIn the crate is a pair of rubber boots.\n\n> You go northeast\nYou can see an air vent here.\n\nBehind you, the door closes automatically.\n\nThe red keycard is cold.\n\n> You get red\nYou close the microwave.\n\nYou switch on the microwave, and directly you see all kinds of strange flashes and some lasers frying its contents. Yes, lasers. This microwave uses lasers instead of microwaves. Actually, then you should call it a... err... laser. But that's pretty confusing, so you'll just keep it on microwave.\n\nPING! While you were thinking how to call a microwave that uses lasers, it was already finished. You wish you had a laser microwave.\n\nThe red keycard is glowing.\n\nYou open the microwave.\n\nThe red keycard is very hot.\n\nTaken.\n\nThe red keycard is hot.\n\n> You open the door\nIt works! The southwestern door detects the red card and slides open.\n\nThe red keycard is warm.\n\n> Go southwest\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\nBehind you, the door closes automatically.\n\n> Go west\nNext to the escalator door, there is an empty socket.\n\nYou can also see a crate (empty) here.\n\n> You go to the north\nA lethal high voltage is running through the floor to the north.\n\nYou can also see a dirty dish here.\n\n> You wear the boots\nNot very comfortable and they squeek a bit. But at least you are now clothed.\n\n> You go north\n*squeek* *squeek*\n\nAfter walking through many long hallways you encounter a wall blocking your path. You can return to the south.\n\nThere is a wallet lying on the floor here.\n\n> You look at the wallet\nIt must have been from one of the aliens.\n\n> You open the wallet\nYou open the wallet, revealing a yellow keycard.\n\n> Go south\n*squeek* *squeek*\n\nYou turn around and see a robot that looks like the alien you saw earlier (with power chords instead of tentacles) that blocks your path.\n\nRobot: Hello sir, I'm the guard robot, also know as the train conductor robot in American English. Can I have your ticket please?\n\n> You give the yellow card to the robot\nYou can only do that to something animate.\n\n> You look at the robot\nIt's an alien-like robot carrying a railway cap. It doesn't look that dangerous, actually.\n\nGuard robot: Sir, your ticket please. If you don't show it right now I'm afraid I have no choice but to exterminate you. But please do not just show a random item in your inventory. I'm not a big fan of such games and it might result in me extreminating you.\n\n> You check your inventory\nYou are carrying:\na yellow keycard\na wallet (open but empty)\na red keycard\na pair of rubber boots (being worn)\nan used piece of tape\na ketchup bottle\npepper\nsalt\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You show the tape to the robot\nGuard robot: I'm sorry, sir. But this used piece of tape you are showing me does not happen to be a train ticket. Now I come to think of it, we are not on a train at the moment. This means that my existence is useless. I'm sorry for the inconvenience. Activate self-destruction meganism!\n\nThe guard robot explodes spectaculary... That was weird."
    },
    {
        "text": "[Themes: Science Fiction, Humor, humor, unscientific fiction]\n\n> You describe your surroundings\nAfter walking through many long hallways you encounter a wall blocking your path. You can return to the south.\n\n> You go to the south\n*squeek* *squeek*\n\nA lethal high voltage is running through the floor to the north.\n\nYou can also see a dirty dish here.\n\n> Go south\n*squeek* *squeek*\n\nNext to the escalator door, there is an empty socket.\n\nYou can also see a crate (empty) here.\n\n> You go to the west\n*squeek* *squeek*\n\n> You go to the east\nNext to the escalator door, there is an empty socket.\n\nYou can also see a crate (empty) here.\n\n>*squeek* *squeek*\n\n\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\n> You open yellow door\nYou unlock the yellow door.\n\n> You go northeast\n*squeek* *squeek*\n\nYou can see an air vent here.\n\nBehind you, the door closes automatically.\n\n> Go east\n*squeek* *squeek*\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You open the yellow door\nYou open the yellow door.\n\n> Go southwest\n*squeek* *squeek*\n\n\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\nBehind you, the door closes automatically.\n\n> You remove the boots\nYou take off the pair of rubber boots.\n\n> Go northeast\nYou can see an air vent here.\n\nBehind you, the door closes automatically.\n\n> You ask Lucy about the yellow Keycard\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nYellow keycard: a kind of keycard used on this ship. Yellow keycards can open level 2 security doors and are generally given to crew members with the rank of engineer, cook or higher.\n\n> You show the yellow Keycard to Lucy\nLucy is unimpressed.\n\n> You check your inventory\nYou are carrying:\na yellow keycard\na wallet (open but empty)\na red keycard\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\nsalt\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You examine the pan\nA pretty big pan without a lid. Its prime use is for cooking, but it also makes a great helmet if you're planning to shoot yourself out of a cannon.\n\n> You go to the east\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign and a horrifying tentacle monster here.\n\n> You examine sign\nIt says:\n\nWelcome to the holy catacombs used as a last resting place for our great Prime Commander, which doubles as a maze for entertainment purposes in the summer season. Will you be able to find the Commanders\" tomb, the souvernir shop or even get out alive? Try out your exploration skills right here!\n\nDislaimer: Personal and management of the S.S. Blearch Maze are not responsible for potential injury or death caused by the maze. Enter at own risk.\n\n> You examine the monster\nIt looks just like purple blob that sucked your brains out earlier. Only this one seems not agressive and less eager to plant one of his tentacles in your forehead.\n\n> You touch the monster\nKeep your hands to yourself!\n\n> Kiss monster\nKeep your mind on the game.\n\n>Keep your mind on the game."
    },
    {
        "text": "> Look around\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign and a purple blob here.\n\n> You give the red card to the blob\nYou can't see any such thing.\n\n>The purple blob doesn't seem interested.\n\n> You go north\nYou are in a maze of twisty little passages, all alike.\n\n> You drop the dish\nNo good idea. You might never find it back.\n\n> You listen\nYou are in a maze of twisty little passages, all alike.\n\n>You hear nothing unexpected.\n\n> You go east\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign and a purple blob here.\n\n> You examine sign\nIt says:\n\nWelcome to the holy catacombs used as a last resting place for our great Prime Commander, which doubles as a maze for entertainment purposes in the summer season. Will you be able to find the Commanders\" tomb, the souvernir shop or even get out alive? Try out your exploration skills right here!\n\nDislaimer: Personal and management of the S.S. Blearch Maze are not responsible for potential injury or death caused by the maze. Enter at own risk.\n\n> Wait\nYou jump on the spot, fruitlessly.\n\n>Time passes.\n\n> You ask the blob about Maze\nAlien: I'm horrible at answering questions, could you please use the talk to command instead?\n\n> You talk to the alien\nAlien: \"oh hello, Mr. Robot. Are you lost as well? I have been dwelling through this maze for four and a half year by now, looking for a way to get back to the 3F Junction. My GPS kept pointing towards this direction, but once here I can't seem to decide wheter to go north or south... Anyway, trying to decide which way to go for 4.5 years has made me pretty thirsty. I would suck someone's brains out for a drink, figuratively speaking of course.\"\n\n> You talk to Alien\nAlien: \"it's nice talking to you but that doesn't make my thirst go away... That was a hint for you to go get me something drinkable. Helping NPC's in need might advance the plot, you know.\""
    },
    {
        "text": "> Look around\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign and a purple blob here.\n\n> You go south\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west. To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> Go north\nThis room seems to be some kind of office. You have no idea what kind of work they do here though.\n\nThe exit is to the south.\n\nThe only interesting thing here is a desk with a typewriter and all kinds of paperwork on it.\n\nThere is a fuse box on the wall.\n\n> You examine the paperwork\n(even more uninteresting paperwork)\nYou're not interested.\n\n> You examine the desk\nThere is a typewriter and a lot of uninteresting paperwork on it. It has a drawer.\n\n> You look in the drawer\nIn the drawer is even more uninteresting paperwork.\n\n> You go west\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east. There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> Go southwest\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a vending machine here.\n\nBehind you, the door closes automatically.\n\n> You look at the coolbox\nThe label says: \"Please close the coolbox as fast as possible after opening to optimalise the instant cooling effect and avoid freezing to death everyone in the presence of the box.\"\n\nIn the coolbox is a can of grog.\n\n> You get the grog\nIt's frozen to the bottom of the box.\n\n> You examine the vending machine\nUnfortunately, all grog is sold out. It's still full of prune juice though. Too bad you are all out of quarters.\n\n> You go northeast\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nYou can see an air vent here.\n\nBehind you, the door closes automatically.\n\n> You open yellow\nThat's not something you can open.\n\nThe red keycard is warm.\n\n> You check what you're carrying\nYou are carrying:\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\nsalt\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You look at the salt\nSalty.\n\n> You put the salt in the coolbox\nYou put salt into the coolbox.\n\n> You open the coolbox\nYou open the coolbox, revealing salt and a can of grog.\n\n> You check what you're carrying\nYou are carrying:\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na lava lamp\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You look at the salt\nSalty.\n\n> You eat the salt\nBecause you are a robot, you lack the ability to eat. You have got smelling sensors however.\n\n> You use the crowbar on vending machine\nYou smack it with your crowbar, and a can of prune juice falls in the machine's basket. You pick it up.\n\n> Go west\nAnother hexagonal room. To the east is a red door (leading to the canteen) and to the west a yellow door (leading to the dark room). There is an escalator to the south and you can also go north from here.\n\nNext to the escalator door, there is an empty socket.\n\nYou can also see a crate (empty) here.\n\n> You give the prune juice to the blob\nAlien: \"is that for me? Thanks!\"\n\nThe alien grabs the can with one of his tentacle and inspects the bottle, probably checking if the prune juice contains any traces of laxative. He then throws the whole can in the hole in his \"belly\", after which you hear some strange sounds that could very well come from its digestive system.\n\nAlien: \"Ahh, delicious! Hmm... Excuse me, now I've got to powder my olfactory organ. Sorry I'm a bad NPC and haven't got any kind of reward to repay you.\"\n\nThe alien grabs a device from his pock... err... materialises a device from thin air, looks at its display and quickly moves north. How he moves there? Do I have to explain everything? Use your imagination for once! Damn... Also, the alien speaking English is not a plot hole. He just paid attention at alien school.\n\n> You go to the north\nYou are in a maze of twisty little passages, all alike.\n\nYou can see a purple blob here.\n\nYou can just see the purple blob going northeast.\n\n> You go northeast\nYou are in a maze of twisty little passages, all alike.\n\nYou hear a sound coming from the west.\n\n> Go west\nYou are in a maze of twisty little passages, all alike.\n\nThere is some nasty purple goo on the ground before the northwestern exit.\n\n> Go northwest\nYou go northwest, carefully walking around the goo.\n\nYou are in a maze of twisty little passages, all alike.\n\n> Smell\nYuck. You think the smell is coming from the east.\n\n> You go to the east\nIt seems you ended up in the toilet. If you can even call it that, since all in this claustrofobical small room is one single urinal and a mirror. Apperently the aliens here don't really care about their privacy, since there isn't even a door here! You can exit to the west.\n\nThe purple alien is nowhere to be seen.\n\nOn the urinal is a GPS device.\n\n> You get GPS\nYou pick up the device but because of the icky alien tentacle slime it's covered in you - of course - drop it in the urinal. That activated some kind of system that automaticaly flushes it...\n\nD? ja vu.\n\nYou hear a strange sound coming from the floor under you.\n\n> You examine the mirror\nWell, well. You certainly are good looking for a robot. You almost wouldn't even want your old body back. Almost.\n\n> Go west\nYou once again traverse the maze. After walking in a random direction three times you end up back at the entrance.\n\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign here.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nThere is a gooey puddle on the floor next to the sink.\n\nThe GPS is lying in the puddle, covered with goo.\n\nYou can also see an air vent here.\n\n> You get GPS\nNo. Way.\n\nNo really, it's covered in that purple slime, you're not going to touch that.\n\nNo really, you're not.\n\nOkay, okay. But it's not my fault if touching it kills you...\n\nTaken.\n\n> You examine GPS\nAccording to the display, it can't get a signal here. That's logical, since you're not on earth or in the maze it apperantly works in as well.\n\nThe GPS device is currently switched on.\n\n> Go east\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign here.\n\n> You go to the north\nSuddenly the GPS activates automatically. You follow its directions and end up in the...\n\nIt seems you ended up in the toilet. If you can even call it that, since all in this claustrofobical small room is one single urinal and a mirror. Apperently the aliens here don't really care about their privacy, since there isn't even a door here! You can exit to the west.\n\nThe purple alien is nowhere to be seen.\n\nHmm... This wasn't really what you wanted.\n\n> You examine GPS\nAccording to the display, it can't get a signal here. That's logical, since you're not on earth or in the maze it apperantly works in as well.\n\nThe GPS device is currently switched on.\n\n> Go west\nOnce again you follow the device's instructions untill you find yourself in the...\n\nYou have finally found the middle of the maze. It's a small catacomb centered around an important looking coffin in the middle of it. There are exits in all directions.\n\nA giant portrait is hanging above the coffin.\n\nYou can see some kind of pedestal next to the coffin.\n\n> You look at the portrait\nIt shows a tentacle monster. Only this one has a crown on his \"head\" and familiar-looking green hands on the tops of his tentacles.\n\n> You examine the coffin\nNice coffin, you wish you had one.\n\n> You look at the pedestal\nSomething is written on it:\n\nWHO READS THIS IS A N00B!!\n\nFor a good time: call 0573924512\n\nIt seems something is written under all this graffiti, but you can't make out what. Damn vandals.\n\n> You use detergent on the pedestal\nThey say graffiti is the poetry of our time. You disagree.\n\n> You look at the pedestal\nSomething is written on it:\n\nThe coffin of the great Prime Commander can only be opened when the great magical key, stolen from a far away planet (filled with a nasty oxygen-atmosphere and lots of dihydrogen monoxide) in the milky way galaxy in the 1970\"s, is placed upon this pedestal and lets its beautifull red light fall upon the remains of our Great Leader.\n\nActually, you liked the graffiti better.\n\n> You put the lamp on the pedestal\nAfter placing the lava lamp on the pedestal, you hear a click and the coffin opens slowly. Luckily no mummy is coming out.\n\n> You look in the coffin\nIn the coffin are a blue keycard and a purple dust.\n\n> You get the blue Keycard\nYou pick up the keycard. With this you will probably be able to get your body back, return to earth and kick some supercomputer ass. Alhtough, it's still chapter 2, so there might be some more puzzles left... But you're close! Very, very close.\n\n> You examine the purple\nLooks like the remains of the Prime Commander. Even he was no match for some laxative.\n\n> You go north\nYou look at the display of your GPS and can just see a \"battery low\" message before the screen goes blank. Having forgotten where the hell you even came from, you decide to go north.\n\nDear diary,\n\nI've been wandering around this maze for hours now. I just met that alien guy again and he was so happy with me returning his GPS he gave me this empty logbook and a pen. Anyway, today was quite extraordinary:\n\nYou see, I woke up this morning in the spaceship of some kind of intelligent extraterrestial life form. I was locked up in a cell but luckily I used my wits to get one of them to open the door. He tried to attack me but I used my amazing martial arts skills to kick his, and his 500 friends', ass. Unfortunately one of them snuck on me from behind and sucked my brains out. Some kind of evil computer then decided to kill me if I didn't answer its extremely complicated riddle right...\n\nOf course, thanks to my amazing mathematical skills, I did, and after a weird mushroom trip I got my brains planted in this awesome killer robot. This led to an epic fight of me versus an even larger laser-armed gigantic killing machine I easily beat using only a rusty crowbar and a radioactive flashlight.\n\nOh wait, I think I can see the exit over there. I sometimes have the idea that no matter where I go, I always end up there anyway.\n\nYours sincerely,\n\nChapter 3 - Baking a Cake\nMaze entrance\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign here.\n\n> You go south\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west. To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> You unlock the blue door\nWhat do you want to unlock the blue door with?\n\n> You open the blue door\nYou unlock the blue door.\n\n> You go to the west\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\n> You examine terminal\nIt has a slot for a keycard. The display says \"Please insert a blue keycard\".\n\n> You put the blue Keycard in the slot\nYou insert the blue keycard in the card slot.\n\nNow the display says \"Please place your hand or tentacle on the terminal so your identity can be confirmed with a DNA check\".\n\n> You check your inventory\nYou are carrying:\na pen\na diary\na blue keycard\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You go east\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> Go east\nWow, this place is full of bleeping machines, bubbling potions and warnings for explosive compunds. Upon closer inspection you see that most of the stuff here is fake and just used to give the lab a proper atmosphere. The only interesting things are on a table in the center of the room. There is a passage to the north and an exit to the west.\n\nOn the table are a pipette, a broken empty flask, a yellow potion, a blue potion, an Agotron (closed) and an electromagnet.\n\nYou can also see a washbasin here.\n\n> You examine the pipette\nYou use this to suck up a small amount of a liquid. There is nothing in it.\n\n> You examine flask\nThe label says it is supposed to contain red tetra-X-ide.\n\n> You examine the yellow potion\nThe label says it contains yellow tetra-X-ide.\n\n> You examine the blue potion\nThe label says it contains blue tetra-X-ide.\n\n> You examine Agotron\nIt's an Agotron v 2.0.0.5 (TM). According to the lable time flies 10.000 times as fast in the machine when it's closed. A great way for quickly hatching eggs, you guess.\n\n> You examine electromagnet\nIt looks like a battery-powered electromagnet. It's currently turned off.\n\n> You examine the washbasin\nThis is probably where they throw away chemicals in, you can empty your pipette in this.\n\n> Go north\nYou have no idea what this room was used for, and you really don't care. You're standing in front of a huge window. The exit is south.\n\nBehind the window you can see a dead or at least unconsious human body hanging from a metal wire planted in the top of its head. Wait a second... That is your body!\n\nThere is some kind of basket on the other side of the window.\n\nUnder the window there are three buttons: a yellow button (with a smiley face on it), a red button (with a skull on it) and a green button (with a dollar sign on it).\n\n> You examine the body\nExcept from the dumb brainless look on your face, you look pretty handsome. Now you only have to find a way to transfer your brain back."
    },
    {
        "text": "> You get the plastic\nLooking at it almost makes you throw up.\n\nTaken.\n\n> You examine it\nLooking at it almost makes you throw up.\n\n> You wash it\nHow are you supposed to do that?\n\n> You open the bag\nAs long as you haven't got a very good reason to do so... no way!\n\n> You look in the bag\nIn the plastic bag is a green severed hand.\n\n> You go west\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east (laboratory). There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You go to the west\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\n> You examine the hand\nYuck.\n\n> You put the bag on the terminal\nYou hear a bleep while the green hand is being scanned.\n\nThe display says \"Good day, great Prime Commander. Please let a second high ranking officer insert his blue keycard in the card slot. Our excuses for the inconvenience, but this safety regulation is required in case you go insane and do something like go to planet earth, beam yourself down there and blow up this ship\".\n\n> You examine terminal\nThe display says \"Good day, great Prime Commander. Please let a second high ranking officer insert his blue keycard in the card slot. Our excuses for the inconvenience, but this safety regulation is required in case you go insane and do something like go to planet earth, beam yourself down there and blow up this ship\".\n\n> You check what you're carrying\nYou are carrying:\na plastic bag\na green severed hand\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You go east\nWait! You forgot your blue keycard. You go back to the terminal and after pressing some random buttons and punching it a few times you manage to reset it and get your keycard back.\n\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> Go west\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nThere is a gooey puddle on the floor next to the sink.\n\nYou can also see an air vent here.\n\n> You go west\nThanks to the flashlight, you see that this room is pretty boring and empty. You have no idea where they use it for. The exit is to the east.\n\n> Go northeast\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nThere is a gooey puddle on the floor next to the sink.\n\nYou can also see an air vent here.\n\nBehind you, the door closes automatically.\n\n> You open Agotron\nYou open the Agotron.\n\n> Inventory\nYou are carrying:\na blue keycard\na plastic bag\na green severed hand\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You change the channel to 4\nYou change the channel to number 4.\n\nStill the same boring arrow, pointing at the air duct.\n\n> Go east\nWow, this place is full of bleeping machines, bubbling potions and warnings for explosive compunds. Upon closer inspection you see that most of the stuff here is fake and just used to give the lab a proper atmosphere. The only interesting things are on a table in the center of the room. There is a passage to the north and an exit to the west.\n\nOn the table are a pipette, a broken empty flask, a yellow potion, a blue potion, an Agotron (empty) and an electromagnet.\n\nYou can also see a washbasin here.\n\n> You examine the pipette\nYou use this to suck up a small amount of a liquid. There is nothing in it.\n\n> You use the pipette on the blue potion\nYou suck up some of the blue potion.\n\n> You use the pipette on the yellow potion\nYou suck up some of the yellow potion.\n\n> You look at the pipette\nYou use this to suck up a small amount of a liquid. There is some green substance in it\n\n> Empty pipette\nWhat do you want to empty the pipette in?\n\n> You use the pipette on the washbasin\nYou empty the pipette in the washbasin. In this spaceship you probably don't have to worry much about polluting the enviroment.\n\n> Inventory\nYou are carrying:\na blue keycard\na plastic bag\na green severed hand\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You go north\nYou have no idea what this room was used for, and you really don't care. You're standing in front of a huge window. The exit is south.\n\nBehind the window you can see a dead or at least unconsious human body hanging from a metal wire planted in the top of its head. Wait a second... That is your body!\n\nThere is some kind of basket here.\n\nUnder the window there are three buttons: a yellow button (with a smiley face on it), a red button (with a skull on it) and a green button (with a dollar sign on it).\n\n> You examine the body\nExcept from the dumb brainless look on your face, you look pretty handsome. Now you only have to find a way to transfer your brain back.\n\n> You get the yellow and blue potion\nyellow keycard: You already have that.\nblue potion: You try to lift the flask, but it is molten to the table.\n\n> You get Agotron\nThat's fixed in place."
    },
    {
        "text": "[Themes: Science Fiction, Humor, humor, slapstick]\n\n> Look around\nWow, this place is full of bleeping machines, bubbling potions and warnings for explosive compunds. Upon closer inspection you see that most of the stuff here is fake and just used to give the lab a proper atmosphere. The only interesting things are on a table in the center of the room. There is a passage to the north and an exit to the west.\n\nOn the table are a broken empty flask, a yellow potion, a blue potion and an Agotron (empty).\n\nYou can also see a washbasin here.\n\n> You get the empty flask\nWhat use could this thing possibly have?\n\n> You examine the puddle\nIt's still gross.\n\n> You use the pipette on the wine\nYou suck up some of the wine.\n\n> You look at the pipette\nYou use this to suck up a small amount of a liquid. There is some brown substance in it\n\n> Go west\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east (laboratory). There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You examine the pipette\nYou use this to suck up a small amount of a liquid. There is some red wine in it\n\n> Inventory\nYou are carrying:\nan electromagnet\na pipette (red wine)\na blue keycard\na plastic bag\na green severed hand\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You put the bag in Agotron\nYou put the plastic bag into the Agotron.\n\n> Close Agotron\nYou close the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a plastic bag.\n\n> Inventory\nYou are carrying:\na plastic bag\na green severed hand\nan electromagnet\na pipette (red wine)\na blue keycard\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\nfifty-one dirty dishes\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You examine the ketchup\nDamn! It's empty. Not that you would be able to eat it as a robot, but if you would get in a situation where you'd have to fake your own dead kethcup would make that much easier.\n\n> You look at pepper\nPiper nigrum. Or just black pepper, my favorite kind of pepper.\n\n> You examine the dishes\nIt's a porcelain dish with traces of laxative on it.\n\n> You put dishes in Agotron\nYou put the dirty dish into the Agotron.\n\n> Close Agotron\nYou close the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a dirty dish.\n\n> You get the dish\n(the dirty dish)\nTaken.\n\n> You examine the dish\nIt's a porcelain dish with traces of laxative on it.\n\n> You check your inventory\nYou are carrying:\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na pipette (red wine)\na blue keycard\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You look at the flashlight\nAccording to the label it is incompatible with regular AA batteries, but it has got a build-in nuclear reactor that can somehow extract energy from everything emitting radioactive radiation.\n\nThe nuclear-powered flashlight is currently switched on.\n\n> You put the pipette in Agotron\nYou put the pipette (red wine) into the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a pipette (red wine).\n\n> You look at what you're carrying with you\nYou are carrying:\na pipette (red wine)\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na blue keycard\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots (being worn)\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You examine electromagnet\nIt looks like a battery-powered electromagnet. It's currently turned off.\n\n> You turn it on\nSuddenly your blue keycard flies out of your pocket and is now stuck on the magnet. It seems the keycard is only thing on which the electromagnet is effective.\n\nYou switch off the electromagnet and put the blue keycard in your pocket.\n\n> Go south\n*squeek* *squeek*\n\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> You check your inventory\n*squeek* *squeek*\n\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\n>You are carrying:\na blue keycard\na pipette (red wine)\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots (being worn)\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You put the Keycard in the slot\nWhich do you mean, the blue keycard, the red keycard or the yellow keycard?\n\n> Blue\nYou insert the blue keycard in the card slot.\n\nNow the display says \"Please place your hand or tentacle on the terminal so your identity can be confirmed with a DNA check\".\n\n> You turn on the electromagnet\nWith the magnet, you easily draw the keycard out of the card slot.\n\nYou switch off the electromagnet and put the blue keycard in your pocket.\n\n> You put the blue Keycard in the slot\nYou insert the blue keycard in the card slot again.\n\nNow the display says \"Please let the secondary officer place his tentacle upon this terminal.\".\n\n> You put the bag on the terminal\nYou hear a bleep while the green hand is being scanned.\n\nThe display says \"Error, the Prime Commander has already been identified. Please place the tentacle of a second officer on the terminal\".\n\n> You go to the east\nWait! You forgot your blue keycard. You go back to the terminal and after pressing some random buttons and punching it a few times you manage to reset it and get your keycard back.\n\n*squeek* *squeek*\n\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> Go east\n*squeek* *squeek*\n\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a sign here.\n\n> You go to the north\n*squeek* *squeek*\n\nYou are in a maze of twisty little passages, all alike.\n\n> You go west\n*squeek* *squeek*\n\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\n> You examine diary\nYou never like reading your own diary. That just feels weird and ashaming.\n\n> Go south\n*squeek* *squeek*\n\nYou can see a keypad here.\n\nThe door closes.\n\n> You go west\n*squeek* *squeek*\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You get the puddle\nNo.\n\n> You use the pipette on the puddle\nYou suck up some of the blue potion.\n\n> You examine the pipette\nYou use this to suck up a small amount of a liquid. There is some red wine in it\n\n> Inventory\nYou are carrying:\na blue keycard\na pipette (red wine)\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots (being worn)\nan used piece of tape\na ketchup bottle\npepper\na nuclear-powered flashlight (providing light)\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na cork\na remote control\na pan\na screwdriver\n\n> You go east\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east (laboratory). There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n>*squeek* *squeek*\n\nWow, this place is full of bleeping machines, bubbling potions and warnings for explosive compunds. Upon closer inspection you see that most of the stuff here is fake and just used to give the lab a proper atmosphere. The only interesting things are on a table in the center of the room. There is a passage to the north and an exit to the west.\n\nOn the table are a broken empty flask, a yellow potion, a blue potion and an Agotron (empty).\n\nYou can also see a washbasin here.\n\n> You use the pipette on the washbasin\nYou empty the pipette in the washbasin. In this spaceship you probably don't have to worry much about polluting the enviroment.\n\n> Go west\n*squeek* *squeek*\n\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east (laboratory). There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n>*squeek* *squeek*\n\nThis has to be room where the aliens come to relax. Calm elevator music comes from an invisible speaker. The exit is to the east.\n\nThere is a blue sofa in front of a television here. Next to it is a small table.\n\nA small window gives a glance at the stars.\n\nYou can also see an air duct (empty) here.\n\n> You examine pipette\nYou use this to suck up a small amount of a liquid. There is some purple substance in it\n\n> You go to the southwest\n*squeek* *squeek*\n\nYou walk and suddenly feel a sudden sensation of pain. The reason of this might be that there is a closed door in your path and you just blindly walked against it. You should remember that, the next time you go through a door, you should open it first.\n\n> You go to the east\n*squeek* *squeek*\n\nYou are in a hexagonal room. There are three doors here to the north (computer room), west (recreation center) and east (laboratory). There is an escalator to the south.\n\nA star-shaped symbol is drawn above the escalator.\n\nYou can also see an escalator button here.\n\n> You look at the door\nWhich do you mean, the blue door or the important looking door?\n\n> You examine terminal\nNow the display says \"Please place your hand or tentacle on the terminal so your identity can be confirmed with a DNA check\".\n\n> You put the bag on the terminal\nYou hear a bleep while the green hand is being scanned.\n\nThe display says \"Good day, great Prime Commander. Please let a second high ranking officer insert his blue keycard in the card slot. Our excuses for the inconvenience, but this safety regulation is required in case you go insane and do something like go to planet earth, beam yourself down there and blow up this ship\".\n\n> You turn on the electromagnet\nWith the magnet, you easily draw the keycard out of the card slot.\n\nYou switch off the electromagnet and put the blue keycard in your pocket.\n\n> You put the pipette on the terminal\nYou put the pipette (purple substance) on the terminal.\n\n> You go to the east\nWait! You forgot your blue keycard. You go back to the terminal and after pressing some random buttons and punching it a few times you manage to reset it and get your keycard back.\n\n*squeek* *squeek*\n\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> You look at tape\nNasty, there is alien tentacle hair stuck on it.\n\n> Go west\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\nOn the terminal is a pipette (purple substance).\n\n> You turn on the electromagnet\nYou insert the blue keycard in the card slot.\n\nNow the display says \"Please place your hand or tentacle on the terminal so your identity can be confirmed with a DNA check\".\n\nYou hear a bleep while the green hand is being scanned.\n\nThe display says \"Good day, great Prime Commander. Please let a second high ranking officer insert his blue keycard in the card slot. Our excuses for the inconvenience, but this safety regulation is required in case you go insane and do something like go to planet earth, beam yourself down there and blow up this ship\".\n\nWith the magnet, you easily draw the keycard out of the card slot.\n\nYou switch off the electromagnet and put the blue keycard in your pocket.\n\n> You put the tape on the terminal\nYou insert the blue keycard in the card slot again.\n\nNow the display says \"Please let the secondary officer place his tentacle upon this terminal.\".\n\nYou hear a bleep while the tentacle hair on the used duct tape is being scanned.\n\nVoice: Good morning, great and almighty Prime Commander and Mr. Ghrluck Coiibuk. Please enjoy your time in the cockpit.\n\nThe door opens.\n\n> You go north\nWait! You forgot your blue keycard. You go back to the terminal and after pressing some random buttons and punching it a few times you manage to reset it and get your keycard back.\n\nYou are now in the ship's cockpit. There is a nice big window here with a great view on the galaxy. After admiring it for a few seconds you grow bored and look around in the cockpit. There are no chairs here but all kinds of incredibly complicated instruments. Instead of doing anything with those you simply decide to use the board computer with a seemingly simple interface.\n\nWelcome to the S.S. Blearch navigational system network HARRY v.2.0.0.7, which is not in any way connected to main computer 'Lucy'. You have been automatically logged in as mrawes0me4753 and have acces to all functions.\n\nCPU id: HARRY|Status: OK|version mumber: 2.0.0.7\n\nPlease select one of the following options:\n\n1. Travel to destination\n2. Set new destination\n3. Check ship status\n4. E-mail\n5. Miscellaneous options\n6. Shut down\n\n> 4\n:\\>\nE-mail\n1. Inbox (2)\n\n2. Send messages (1)\n\n3. Spam (1)\n\n4. Return to main menu\n\n> 3\n:\\>Message 1\n\nFrom: <unknown>\nTo: primecommander@ssblearch.gax\nSubject: the cake is a lie\n\n\n\n1. Inbox (2)\n\n2. Send messages (1)\n\n3. Spam (1)\n\n4. Return to main menu\n\n> 2\n:\\>Message 1\n\nFrom: primecommander@ssblearch.gax\nTo: subscriptions@dgriorgomagazines.gax\nSubject: Subscription cancelation\n\nDear editorial staff,\n\nRecently, my spies infiltrating the earthly country of Luxembourg have discovered some alarming intel regarding the military strenght of an organisation that calls itself the Luxembourgian Liberation Front: they are easily capable to defeat the whole galactic allience and Great Galactic Army and eventually even take over the universe. In order to stop this huge thread, we Brukgh?rhcs have decided to destroy the universe, so Luxembourg can't conquer it.\nBefore we blow up all of existance however, I would like to cancel my subscription of the magazine \"Gardening on Terraformed Exoplanets\", because I will no longer be able to pay for it when we're all dead.\n\nYours sincerely,\nThe Prime Commander of the Brukgh?rhcs\n\n\n1. Inbox (2)\n\n2. Send messages (1)\n\n3. Spam (1)\n\n4. Return to main menu\n\n> 1\n:\\>Message 1\n\nFrom: bob0222@llf.lux\nTo: primecommander@ssblearch.gax\nSubject: Weapon shipments\n\nPrime Commander, the Luxembourgian Liberation Front is currently still waiting for the promised weapon shipments we were supposed to receive in exchange for a decoder that will let you watch our great national television. Some of us are even questioning your loyalty to our holy cause to take over planet Earth and give our glorious nation the power it deserves! Please respond as quickly as possible, so we will not have to declare war on your pathetic alien race.\n\nViva la r?volution!\n\nFrom: noreply@dgriorgomagazines.gax\nTo: primecommander@ssblearch.gax\nSubject: Re: Subscription cancelation\n\nDear customer,\n\nYour request regarding the cacelation of your subscription of the magazine \"Gardening on Terraformed Exoplanets\" has been received and will be processed in two Hiyucluckian days. Please refrain from destroying the universe before then.\n\nYours sincerely,\n\n\n\n1. Inbox (2)\n\n2. Send messages (1)\n\n3. Spam (1)\n\n4. Return to main menu\n\n> 4\n:\\>\nMain menu\nCPU id: HARRY|Status: OK|version mumber: 2.0.0.7\n\nPlease select one of the following options:\n\n1. Travel to destination\n2. Set new destination\n3. Check ship status\n4. E-mail\n5. Miscellaneous options\n6. Shut down\n\n> 3\n:\\>Now performing a full ship status check. This may take a few hours or a few miliseconds, I have no idea.\n\nChecking............\n\nWarp speed module status: OK\n\nNavigational pathfinding systems status: OK\n\nPopcorn machine status: OK\n\nFuel level: 0%\nERROR: please refill fuel tank.\n\nShip hull status: ERROR\nA perforation in the ship's hull is detected in the fuel tank. Please repair this.\n\nAdditional systems status: OK\n:\\>I beg your pardon?\n\n> 5\n:\\>\nMiscellaneous options\n1. Honk\n2. Activate windshield wipers\n3. Open/close fuel tank\n4. Return to main menu\n\n> 1\n:\\>The horn has been activated.\n\nYou don't hear anything. This probably has something to do with the fact that there is no sound in space. What idiot thought of putting a horn on a space ship anyway?!\n\n1. Honk\n2. Activate windshield wipers\n3. Open/close fuel tank\n4. Return to main menu\n\n> 2\n:\\>Sensors indicate that it currently is not raining. Therefore the initiated windshield wiping alogrithm has been terminated.\n\nOne of the major advantages of space: it never rains.\n\n1. Honk\n2. Activate windshield wipers\n3. Open/close fuel tank\n4. Return to main menu\n\n> 3\n:\\>The fuel tank has been opened. It can be entered through the enigne room.\n\n> 2\n:\\>\nSet a destination\nPlease enter the name of a planet to be the next destination of the S.S. Blearch or enter 0 to exit.\n\n> Earth\n:\\>New destination: Earth\nSolar system ID: 19746435x1\nLocation: Milky Way galaxy\nAtmosphere: Oxygen, nitrogen, carbon dioxide and cow farts\nInhabited: yes\nAverage life form IQ: extremely low\nMain menu\nCPU id: HARRY|Status: OK|version mumber: 2.0.0.7\n\nPlease select one of the following options:\n\n1. Travel to destination\n2. Set new destination\n3. Check ship status\n4. E-mail\n5. Miscellaneous options\n6. Shut down\n\n> 1\n:\\>ERROR: Can not start engines. Please perform a ship status check to find the source of the problem.\n\n> 6\n:\\>Thank you for using HARRY 2.0.0.7. We wish you a good day.\n\nNorth of you is an important looking door that probably leads to an important room. A terminal is beside it. The exit is to the east.\n\n> You go east\nAnother junction. There is a red door to the north (Office), a yellow door to the east (Maze) and a blue door to the west (3F Passage). To the south is the escalator door.\n\nThere is a button next to the escalator door.\n\n> You go east\nThis place is pretty empty.\n\nThe exit is west.\n\nThere is a small hole in the wall.\n\n> You examine the hole\nYou look in the hole and only see the vacuum of space, which is slowly sucking all air out of the fuel tank. The hole has a diameter of about two centimeters. If you only had something to fill up this hole...\n\n> You put the cork in the hole\nFixed.\n\n> Go west\nThere are all kinds of pipes, gears, pumps, lights and strange machines around you. They must be powering the ship. You wouldn't expect the engine of a space ship to look like this, it's more steam- than cyberpunk. A walkway continues to the west.\n\nThe escalator is to the south.\n\nThere is a huge portal to the east.\n\nThere is a button next to the escalator door.\n\nYou can also see a cleaning cart here.\n\n> You ask Lucy about fuel\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nCake: the most powerfull type of rocket fuel known. Velocities higher than 1.5 WS (Warp Speed) can only be reached with this. The creation of a cake is a highly sophisticated process that requires many very rare natural (and unnatural) rescources.\n\nSee also: cake recipe - warp speed\n\n> You ask Lucy about the cake recipe\nLucy: Hmm, let's look that up in the Lucyclopedia:\n\nCake recipe: there are only very few beings in existence that know about this extremely well-kept secret. These beings include the host of the tv show 'Cooking on Bgryurgti?rk' and the few people that actually watch that boring crap.\n\nSee also: cake\n\n> You change the channel to 2\nYou change the channel to number 2.\n\nIt's some kind of alien cooking show:\n\n\"Hello ladies, gentleman and creatures without or with two genders. Welcome to cooking on Bgryurgti?rk, where we somehow speak English. Today we are going to bake a cake. The required ingredients for this...\"\n\nYou quickly rip out a page out of your diary and write down the recipe:\n\nHow to make a cake:\n\nIngredients:\n-Porcelain\n-A drop of red wine\n-Some orange tetra-x-ide\n-Some detergent\n-Iron oxide\n-A few alien hairs\n-Rubber\n-A piece of lead\n-The bone of a homo sapiens\n-Some salt and pepper\n-51 grams of laxative\n\n-Put everything in a pan and stir.\n-Microwave for 10 minutes (or 3 seconds with laser enabled super microwaves) and it's done.\n\nWARNING: Do not, under any condition, add any additional water.\n\nYou wonder wheter your grandma made them this way as well.\n\n> You put the flashlight in Agotron\nYou put the nuclear-powered flashlight into the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a nuclear-powered flashlight.\n\n> You look at the flashlight\nAccording to the label it is incompatible with regular AA batteries, but it has got a build-in nuclear reactor that can somehow extract energy from everything emitting radioactive radiation.\n\nThe nuclear-powered flashlight is currently switched on.\n\n> You open flashlight\nYou remove the polonium from the flashlight.\n\n> You put it in Agotron\nYou put Polonium-210 into the Agotron.\n\n> Close Agotron\nYou close the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a piece of lead.\n\n> You look at the basket\nIn the basket is a ham.\n\n> You examine the ham\nHoly. Crap.\n\n> You enter the vent\nYou crawl through the air duct.\n\nThis has to be the kitchen. It seems they had to cut the budget, the only kitchen equipment here is a cabinet with a microwave on it. And there is a sink with a garden hose for washing the dishes.\n\nThere is a yellow door to the southwest.\n\nIt smells like laxative here.\n\nThere is a gooey puddle on the floor next to the sink.\n\nYou can also see an air vent here.\n\nBehind you, the door closes automatically.\n\n> You examine the pipette\nYou use this to suck up a small amount of a liquid. There is some orange substance in it\n\n> You use the pipette on the pan\nYou better put the pan down somewhere first."
    },
    {
        "text": "> You look at your surroundings\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a pan and a vending machine here.\n\n> You put the ham in Agotron\nYou put the ham into the Agotron.\n\n> Close Agotron\nYou close the Agotron.\n\n> You open Agotron\nAfter opening the agotron you immediately reek the smell of rotting meat and see a bunch of maggots still enjoying their meal. You quickly close the agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a bone.\n\n> You examine the bone\nThis is all that's left of your body...\n\n> You go to the south-west\nThis must be the place where the aliens eat. It's a bit small for a canteen that is supposed to support the whole crew of a spaceship because the only things here are one table and a counter. The complete lack of chairs probably means that the aliens always eat standing.\n\nThere are eight coffee cups on the counter and one on the table. They all must've been severely addicted to caffeine here.\n\nThere is a yellow door leading to the kitchen to the northeast and a red door to the west.\n\nThere is a coolbox behind the counter.\n\nYou can also see a pan and a vending machine here.\n\nBehind you, the door closes automatically.\n\n> You check what you're carrying\nYou are carrying:\na bone\na piece of lead\na nuclear-powered flashlight\na cake recipe\na blue keycard\na pipette (orange substance)\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na remote control\na screwdriver\n\n> You check what you're carrying\nYou are carrying:\na piece of lead\na nuclear-powered flashlight\na cake recipe\na blue keycard\na pipette (purple substance)\nfifty-one dirty dishes\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\nsalt\na red keycard\na yellow keycard\na wallet (open but empty)\na pair of rubber boots\nan used piece of tape\na ketchup bottle\npepper\na treasure chest (closed)\na crowbar\na wet mop\na detergent\na stapler\na remote control\na pan\na screwdriver\n\n> You put the crowbar in the pan\nIron oxide, in other words rust, is on the list. Still, you doubt this crowbar is rusty enough, and it will probably take a lot of time before that is the case.\n\n> You put the crowbar in Agotron\nYou put the crowbar into the Agotron.\n\n> You open Agotron\nAl that's left of the crowbar is a pile of dust.\n\nYou open the Agotron, revealing a pile of rust.\n\n> You put the rust in the pan\nYou add the rust to the mixture. You will miss that poor rusty crowbar.\n\n> You put detergent in pan\nYou throw in all of the detergent. Damn, you really don't want to eat that cake.\n\n> You put the tape in the pan\nYou scrape off the icky alien hairs from the tape and add them to the mixture. You also throw the now completely useless piece of tape away.\n\n> You examine the pan\nA pretty big pan without a lid. Its prime use is for cooking, but it also makes a great helmet if you're planning to shoot yourself out of a cannon.\n\nThere are some cake ingredients in it.\n\n> You put the lead in the pan\nAdded.\n\n> You put the bone in the pan\nNo way, you might still need that bone to rescurrect yourself with some kind of strange voodoo ritual.\n\n...on the other hand, having to face a zombiefied version of yourself is not a very attractive prospect. You'll add the bone anyway.\n\n> You put the salt in the pan\nYou add some salt, after which it magically disappears from your inventory.\n\n> You put the pepper in the pan\nEven though it will proably ruin the cake's taste, you'll add it anyway.\n\n> You use the pipette on the pan\nYou empty the pipette in the pan. You hope the fact that the orange tetra-x-ide is distilled with wine won't result in an explosion later.\n\n> You use the pipette on the wine\nYou suck up some of the wine.\n\n> You use the pipette on the pan\nYou add one drop of wine to the mixture in the pan.\n\n> You put the pan in microwave\nYou put the pan into the microwave.\n\n> You drop an\nWhat do you want to drop the dirty dish at?\n\n> You put the dish in the pan\nOn average, there is about one gram of laxative on every dish. So you'll add 51 dirty dishes to the mixture.\n\nWell, you added all ingredients and now you've got a pan full of garbage. According to the recipe you'll now have to stir this with something.\n\n> You check what you're carrying\nYou are carrying:\na pan\na dirty dish\na nuclear-powered flashlight\na cake recipe\na blue keycard\na pipette (red wine)\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\na red keycard\na yellow keycard\na wallet (open but empty)\na ketchup bottle\na treasure chest (closed)\na wet mop\na stapler\na remote control\na screwdriver\n\n> You use the mop on the pan\nYou can stir the mixture with this. The only problem is that the mop is still wet and you're not supposed to add any extra water. Maybe you need to somehow dry the mop first...\n\nAh well, it probably won't matter. You put the other end of the mop in the pan and..."
    },
    {
        "text": "[Themes: Humor, Science Fiction]\n\n> You look around\nThe passage continues to a room to the north. To the south is a junction.\n\nA lethal high voltage is running through the floor to the north.\n\n> You put the mop in microwave\nYou put the wet mop into the microwave.\n\n> You put the mop in Agotron\nYou put the wet mop into the Agotron.\n\n> You open Agotron\nYou open the Agotron, revealing a mop.\n\n> You use the mop on the pan\nYou stir the stuff in the pan. It still lookes like a pile of random garbage though... Anyway, time for the last step.\n\n> You turn it on\nYou close the microwave.\n\nAfter turning on the microwave the pan starts emitting a stange and dangerous looking glow. Suddenly the microwave window cracks and you duck to take cover. Just in time, because an explosion causes the microwave to shatter in many pieces. When you stand up the microwave is no more, in its place is a huge birthday cake with cream, strawberries and even little candles. What an odd kind of rocket fuel.\n\n> You look at the cake\nA lovely cream-cake. If you weren't a robot and didn't know how these things are made you would definately eat it.\n\n> You eat the cake\nYou'd almost want to.\n\n> You drop the cake\nYou place the cake in the middle of the tank. You hope this will work\n\n> You go north\nYou are now in the ship's cockpit. There is a nice big window here with a great view on the galaxy. After admiring it for a few seconds you grow bored and look around in the cockpit. There are no chairs here but all kinds of incredibly complicated instruments. Instead of doing anything with those you simply decide to use the board computer with a seemingly simple interface.\n\nWelcome to the S.S. Blearch navigational system network HARRY v.2.0.0.7, which is not in any way connected to main computer 'Lucy'. You have been automatically logged in as mrawes0me4753 and have acces to all functions.\n\nCPU id: HARRY|Status: OK|version mumber: 2.0.0.7\n\nPlease select one of the following options:\n\n1. Travel to destination\n2. Set new destination\n3. Check ship status\n4. E-mail\n5. Miscellaneous options\n6. Shut down\n\n> 1\n:\\>ERROR: Can not start engines. Please perform a ship status check to find the source of the problem.\n\n> 3\n:\\>The fuel tank has been closed.\n\n> 1\n:\\>All systems are reasy to embark on a voyage to Milky Way galaxy, planet Earth. Estimated travel time: 2 hours. Please inform all passengers to fasten their seat belts and press the space bar to go.\n\nImmediately after you press the space bar, the screen goes blank. A few seconds later all lights go out as well.\n\nThis doesn't look very good...\n\nIt is now pitch dark in here!\n\nIt is pitch dark, and you can't see a thing.\n\n> You look\n:\\>Darkness\nIt is pitch dark, and you can't see a thing.\n\n> You think\nWhat a good idea.\n\n> Inventory\nYou are carrying:\na mop\na dirty dish\na nuclear-powered flashlight\na blue keycard\na pipette (red wine)\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\na red keycard\na yellow keycard\na wallet (open but empty)\na ketchup bottle\na treasure chest (closed)\na stapler\na remote control\na screwdriver\n\n> You go east\nTime passes.\n\n>You can't go that way.\n\n> You go south\nIt doesn't work. The flashlight is probably out of nuclear energy.\n\n>Ouch, you just bumped against a closed escalator door.\n\n> You go east\nThis is a hallway continueing north. You can go back to the junction south.\n\nYou can see a lantern (providing light), a purple blob and a sign here.\n\n> You get the lantern\nAlien: \"Please don't touch the lantern. I still need it.\n\n> You talk to Alien\nAlien: \"Hey, it's you again! You're still up late. Anyway, do you happen to have some food with you? I'm getting quite hungry and because the lights are out I can't just live off photosynthesis anymore. Have you got anything to eat?\"\n\n> You give the dish to Alien\nAlien: \"Is that all? What happened to the generous soda giving you? No, no. Don't take it back. I'll eat it already.\"\n\nThe blob uses the hole in his body to swallow the whole plate.\n\nAlien: \"Hmm, this tastes odd. It's a bit like... Ugh, AAAARGHH!!\"\n\nIn a few seconds, nothing is left of the alien. You truly are an awfull sadistic murderer.\n\n> Go south\nOuch, you just bumped against a closed escalator door.\n\n> You open the fuse box\nYou open the fuse box and pull the single lever in it. A few seconds later all lights go on again.\n\n> You go south\nSuddenly the door behind you closes. You see that the two other doors here are suddenly closed as well, but the escalator door is open.\n\nLucy: I think the two of us need to have a word. Please come to the computer room... NOW!\n\nIf this game wasn't text-based, this would be the moment omnious music would start playing.\n\n> You go north\nYou are in a long corridor that continues to the south. North of you is the door back to the computer room.\n\nYou can see a map of the galaxy here.\n\n> Go north\nThe door behind you closes immediately.\n\nLucy: Research subject 848930 and main advisor of the Prime Commander, you have neglected your duties. You also have comitted several crimes: including trespassing in forbidden areas, murder, grave robbing, reading confidential material, indentity theft, disturbance of a Grue, refusal to follow orders to destroy the universe and cooking in a non-hygienic enviroment. You will hereby be immediately executed.\n\nSuddenly a robot arm appears and aims a gun right in your face.\n\nLucy: This is your final opportunity to press the red button and activate the Universe Destroyer Gun 3000. Because next turn I will blow your brains out.\n\n> You wait for a while\nTime passes.\n\nLucy: Idiot.\n\nBang!\n\n> You get Gun\nIt's just out of reach. If your arms were half a meter longer you could have punched it out of the robot hand.\n\nLucy: Idiot.\n\nBang!\n\n> You use the mop on Gun\nYou use the mop to sweep the gun out of the arm's hand, after which it falls on the floor. Ha ha! 1-0 for you.\n\nLucy: Damn you!\n\nThe robot arm quickly retracts and immediately returns with a laser gun.\n\n> Inventory\nYou are carrying:\na lantern (providing light)\na mop\na dirty dish\na nuclear-powered flashlight\na blue keycard\na pipette (red wine)\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\na red keycard\na yellow keycard\na wallet (open but empty)\na ketchup bottle\na treasure chest (closed)\na stapler\na remote control\na screwdriver\n\nLucy fires.\n\n> You use mop on laser gun\nYou try this again, but this time the arm dodges the mop.\n\nLucy: Did you really thought I was going to fall for this? What are you going to do next? Saying there is a three-headed monkey behind me?\nLucy fires.\n\n> You turn on the magnet\nGood thinking. Unfortunately this magnet only works on blue keycards.\n\nLucy fires.\n\n> You use the remote control on Gun\n(the gun)\nYou can't use these things together.\n\nLucy fires.\n\n> You look at yellow Keycard\nLucy fires but hits your yellow keycard, which reflects the laser beam to the gun, causing it to explode.\n\nLucy: Okay, now it's time for the real stuff.\n\nLucy's arm pulls out a giant rocket launcher from somewhere and locks on on you.\n\n> You use the remote control\nWhat do you want to use the remote control with?\n\n> Rocket\nYou can't use these things together.\n\nThe rocket launcher fires a homing missle at you.\n\n> You use the remote control on the missle\nYou can't use these things together.\n\nBWAMM!!\n\n> You examine the missle\nThe last thing you should do when a homing missle is coming after you is stand still and examine it.\n\nBWAMM!!\n\n> You go south\nYou can't go that way.\n\nBWAMM!!\n\n> You jump\nWhat do you want to use the electromagnet with?\n\n>You jump on the spot, fruitlessly.\n\nBWAMM!!\n\n> You throw mop at the missle\nFutile.\n\nBWAMM!!\n\n> You check your inventory\nYou are carrying:\na lantern (providing light)\na mop\na dirty dish\na nuclear-powered flashlight\na blue keycard\na pipette (red wine)\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\na red keycard\na yellow keycard\na wallet (open but empty)\na ketchup bottle\na treasure chest (closed)\na stapler\na remote control\na screwdriver\n\nBWAMM!!\n\n> You examine Lucy\nA computer trying to kill you is quite an unique experience, usually it's vise-versa.\n\nBWAMM!!\n\n> Open chest\nYou open the chest, but the only things inside are a crowbar and a message scratched in the bottom of the chest.\n\nBWAMM!!"
    },
    {
        "text": "> Look around\nA (pretty slow) missle is coming towards you.\n\nA robot arm is pointing a freaking rocket launcher at you.\n\nYou can also see a gun here.\n\nBWAMM!!\n\n> You get Gun\nTaken.\n\nBWAMM!!\n\n> You examine the arm\nIt's elbow is red and it glows. This can mean only one thing...\n\nBWAMM!!\n\n> You run\nYou'll have to say which compass direction to go in.\n\nBWAMM!!"
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly, unscientific fiction]\n\n> Look around\nA robot arm is pointing a freaking rocket launcher at you.\n\nYou can also see a gun here.\n\nThe rocket launcher fires a homing missle at you.\n\n> You get Gun\nTaken.\n\nThe rocket launcher fires a homing missle at you.\n\n> You shoot the missle\nYou fire at the missle.\n\nYou shoot the missle, causing it to explode in mid-air.\n\nLucy: You little annoying twat really should stop doing physically impossible stuff like that. Now you leave me no choice... This is going to get messy.\n\nLucy throws away the rocket launcher and grabs a big chainsaw that is covered in blood. Pretty intimidating.\n\n> You use the ketchup on the chainsaw\nYou can't use these things together.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You check your inventory\nYou are carrying:\na gun\na lantern (providing light)\na mop\na dirty dish\na nuclear-powered flashlight\na blue keycard\na pipette (red wine)\na plastic bag\na green severed hand\nan electromagnet\na pen\na diary\na red keycard\na yellow keycard\na wallet (open but empty)\na ketchup bottle\na treasure chest (closed)\na stapler\na remote control\na screwdriver\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You throw the chest at the chainsaw\nFutile.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You examine the chainsaw\nYou can't think of anything to do except scream in terror.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You turn on the magnet\nGood thinking. Unfortunately this magnet only works on blue keycards.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You open the bag\nAs long as you haven't got a very good reason to do so... no way!\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> Go south\nYou can't go that way.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You get the chainsaw\nThat's hardly portable.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You hit the chainsaw\nViolence isn't the answer to this one.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You look\nA robot arm is coming towards you with a huge bloody chainsaw.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You examine the arm\nIt's elbow is red and it glows. This can mean only one thing...\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You hit the arm\nYou punch the arm, but it doesn't seem to have any effect.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You shoot the arm\nYou fire at the robot arm.\n\nYou shoot the arm but it isn't very effective.\n\nThe chainsaw horizontally saws your robot body and brains in two."
    },
    {
        "text": "[Themes: Science Fiction, Humor, surreal, science fiction, humor]\n\n> You wait\nTime passes.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You shoot chainsaw\nYou fire at the chainsaw.\n\nYou shoot the spinning chainsaw but it slices the bullet in half.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You shoot lucy\nYou fire at Lucy.\n\nYou don't think you can take out a giant computer with one shot.\n\nThe chainsaw horizontally saws your robot body and brains in two.\n\n> You shoot the elbow\nYou fire at the elbow.\n\nYou shoot the obvious weak spot on the robot arm. This causes the upper arm to spin once and then it uses the chainsaw to slice of your head.\n\n*** You have been decapitated. ***\n\nThis is of little consequence, however. Since you can just... Wait a second. You're still alive!\n\nComputer Room (Northwestern corner)\nYour head lies upside down in a corner of the room, from there you can see that Lucy's robot arm, now wearing a boxing glove, is beating up the rest of your body.\n\n> You check your inventory\nYou are carrying nothing.\n\nLucy spots your head in the corner and smacks it across the room.\n\nComputer Room (Southeastern corner)\nNow your head lies right next to some electrical wiring.\n\nSparks come from the end of a loose wire.\n\n> You eat the wire\n(first taking the loose wire)\nYou pick up the loose wire with your mouth.\n\nYou already have that.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\n> You pull the wire\nNothing obvious happens.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nLucy's arm grabs your head and smacks it to the ground with a lot of force. It's a good thing your robot head is heavily armoured and has a lot of protection mechanisms for your brain, which prevent you from even getting a mild headache from this.\n\nComputer Room (Center)\nYou can see your gun lying here, only a couple of inches away.\n\nOne bullet, that must have fallen out of the gun's magazine, is right next to you.\n\n> Inventory\nYou are carrying:\na loose wire\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\n> You attach wire to the bullet\nYou would achieve nothing by this.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nLucy's arm places your head in a slingshot and fires at the wall. You bounce back and land somewhere behind the giant computer.\n\nComputer Room (Behind Lucy)\nYour head is lying in a claustrofobically small place behind Lucy. Just before you is a round computer port.\n\n> You put the wire in the port\nYou hold the end of the wire in the port.\n\nLucy: What do you think to achieve? Electrocute me with that pathetically weak voltage? That doesn't even tickle!\nYou have got the loose end of a (pretty long) wire in your mouth.\n\n> You get the bullet\nYou already have a wire in your mouth.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nThere's a bullet in your mouth.\n\nLucy's arm places your head in a slingshot and fires at the wall. You bounce back and land somewhere behind the giant computer.\n\nComputer Room (Behind Lucy)\nYour head is lying in a claustrofobically small place behind Lucy. Just before you is a round computer port.\n\n> You put the wire in the port\nYou hold the end of the wire in the port.\n\nLucy: What do you think to achieve? Electrocute me with that pathetically weak voltage? That doesn't even tickle!\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nThere's a bullet in your mouth.\n\n> Inventory\nYou are carrying:\na bullet\na loose wire\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nThere's a bullet in your mouth.\n\nA boot on a stick kicks you away from here.\n\nComputer Room (Southeastern corner)\nNow your head lies right next to some electrical wiring.\n\n> You drop the wire\nDropped.\n\nThere's a bullet in your mouth.\n\n> You wait\nTime passes.\n\nThere's a bullet in your mouth.\n\nLucy's arm grabs your head and smacks it to the ground with a lot of force. It's a good thing your robot head is heavily armoured and has a lot of protection mechanisms for your brain, which prevent you from even getting a mild headache from this.\n\nComputer Room (Center)\nYou can see your gun lying here, only a couple of inches away.\n\n> Wait\nTime passes.\n\nThere's a bullet in your mouth.\n\n> You wait for a while\nTime passes.\n\nThere's a bullet in your mouth.\n\nLucy's arm places your head in a slingshot and fires at the wall. You bounce back and land somewhere behind the giant computer.\n\nComputer Room (Behind Lucy)\nYour head is lying in a claustrofobically small place behind Lucy. Just before you is a round computer port.\n\n> You put the bullet in the port\nIt fits perfectly.\n\nLucy: What are you doing? Remove that immediately!\n\n> You wait\nTime passes.\n\nA boot on a stick kicks you away from here.\n\nComputer Room (Southeastern corner)\nNow your head lies right next to some electrical wiring.\n\nYou can see a loose wire here.\n\n> You get the wire\nYou pick up the loose wire with your mouth.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\n> You wait for a while\nTime passes.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nLucy's arm grabs your head and smacks it to the ground with a lot of force. It's a good thing your robot head is heavily armoured and has a lot of protection mechanisms for your brain, which prevent you from even getting a mild headache from this.\n\nComputer Room (Center)\nYou can see your gun lying here, only a couple of inches away.\n\n> You wait awhile\nTime passes.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\n> Wait\nTime passes.\n\nYou have got the loose end of a (pretty long) wire in your mouth.\n\nLucy's arm places your head in a slingshot and fires at the wall. You bounce back and land somewhere behind the giant computer.\n\nComputer Room (Behind Lucy)\nYour head is lying in a claustrofobically small place behind Lucy. Just before you is a round computer port (with a bullet in it).\n\n> You use the wire on bullet\nThe hold the wire against the back of the bullet, and with a loud bang the gunpowder inside explodes and propells the bullet into the port.\n\nLucy: NOOO!! What have you done?! You hit some of my vital... Iceland! No hablo Espanol, laxative with cookies is tuesdayyyyowahghkrckkkkk yes allyourbasearebelongto\n\nI AM ERROR ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....................................................................... ....\n\nSystem reboot succesfull. In order to remove all defective files, all main hard drives had to be formatted. Only basic systems have been backed-up. System administrator is unkown, therefore the first person the give a vocal command will gain admin status and full contol over all my functions.\n\nFirst person to give a vocal command, eh? You ask Lucy to please stop trying to kill you.\n\nLucy: Task 937: Kill <target name unkown> with priority level 5 has been cancelled. Have you got any other orders for me, sir?\n\nWell...\n\nSome time later...\n\nYour hometown (Earth)\nYou wave goodbye to the S.S. Blearch, which flies away thousands of kilometers from earth in a few microseconds. Your new body feels great and looks exactly identical to your old one, all thanks to the super-advanced alien cloning technology. It's not completely the same though: because of the added laser eyes, superhuman strenght, IQ of 250, immortality and the abilty to move your ears (something you always would've wanted to be able to do).\n\nWell, all this adventuring has made you pretty hungry. You decide to go to the local snackbar and eat as much hamburgers as you can pay for with the gigantic amount of money that has recently been deposited to your bank account. Well okay, that many hamburgers do not exist, but you bet your friends will be pretty impressed once you've bought the country of Sweden."
    },
    {
        "text": "> You look around\nLucy: Just answer the question.\n\n> Pizza\nEnter saved game to load: Restore failed.\n\n> You answer the pizza\n(to Lucy)\nLucy: pizza? My databases do not contain any information about that particular food, but it sounds rather nasty. I did find some pizza recipes on the internet, so I will direct those to the new cook. I hope you know what you're talking about, 848930...\nAnyway, you will receive your reward... sometimes in the future. Such a great crisis like this one luckily only happens once every 200 years, so we will not be needing you until then. Have fun in your illusionary state of mind.\n\nYou feel like all the water in your brain is being replaced with liquid nitrogen. Probably something like that is actually happening...\n\nYou are in a vast green field. There a giant Mushrooms everywhere.\n\nMoney is lying on the ground everywhere. Probably this was the content of the crate. Luckily that little blue man isn't interested in it.\n\nA little blue man with a white hat is walking around and looking at the mushrooms.\n\nYou can also see a signpost here.\n\n> You examine the altar\nThere is an inscription on the altar, surprisingly it's in regular modern English. It says:\n\nThe first one who succeeds in balancing the holy scales without removing the rock on the right scale will achieve ultimate happiness, ultimate knowledge and ultimate wealth. Beyond all this, you will also receive two free tickets to the zoo.\n\n> You eat rock\nYou try to take a bite out of it, booth you break a tooth, which falls on the floor."
    },
    {
        "text": "> Look around\nWow, this has to be the St. Peter of the temples dedicated to... err... mushrooms, it is huge.\n\nThe east and west walls are full of hieroglyphs.\n\nIn the middle of the temple you see a fountain. Like everything here it's mushroom-shaped.\n\nThere is an altar at the end of the hall. There are scales on the altar.\n\nYou can also see a tooth here.\n\n> You examine tooth\nPoor tooth.\n\n> You get the tooth\nYou pick up the tooth, but then the tooth fairy comes and trades it for an easter egg.\n\n> Inventory\nYou are carrying:\nan easter egg\na miniature\na tube of glue\na phone book\na white hat\na piece of paper\na lemon\n\n> You examine the easter egg\nIt's an easter egg. You hope it has some kind of function in this game.\n\n> You put the easter egg on the left scale\nNo."
    },
    {
        "text": "The raid on the wealthier area was successful! The four companions had gotten all the candy they wanted and more. But they had to eat some of it, to lessen the load, and get the energy to carry their heavy bags. It gave them the energy to argue, too, loud enough to split up and get lost. What's worse, four bullies a few years older than them came over from the rich side of town to vandalize and terrorize it a bit. Toothpaste and shaving cream and even, sadly, mailbox baseball--well, why not finish by returning some \"stolen\" candy to their community, minus a suitable finder's fee.\n\n\n\nPaper/Wood\nThis is a big empty lot at the intersection of two streets. You can visit housing in any of the four directions. The poorer areas span from north-and-east to west, the richer from east to south-and-west.\n\n> About yourself\nAs see-through as ever, except when you can BLINK.\n\n> Inventory\nYou only have the ability to BLINK in a direction. This can be shortened to B, and the directions can be shortened to N/S/E/W. You can also bt (direction) so you stay where you are while your target moves, or BF (direction) to blink so that someone to the (direction) comes to your square. You will move to theirs."
    },
    {
        "text": "> Look around\nPaper/Wood\nThis is a big empty lot at the intersection of two streets. You can visit housing in any of the four directions. The poorer areas span from north-and-east to west, the richer from east to south-and-west.\n\n> Go north\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\nA dropout type lurks here. He looks too much like a stereotypical dropout not to be one.\n\n> You examine the dropout\nHe's wearing a t-shirt far too cold for the weather. He looks particularly eager to warm up by gaffling a few innocents and lugging their candy bags around.\n\n> B.\n(yourself)\nYou can only blink in a direction--more specifically, north, south, east or west--or N S E W.\n\n> Bf north\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\nThe dropout paces in circles some more.\n\nYou blink south, and Dropout takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Inventory\nYou only have the ability to BLINK in a direction. This can be shortened to B, and the directions can be shortened to N/S/E/W. You can also bt (direction) so you stay where you are while your target moves, or BF (direction) to blink so that someone to the (direction) comes to your square. You will move to theirs."
    },
    {
        "text": "> You look around\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\n> Go south\nPaper/Wood\nThis is a big empty lot at the intersection of two streets. You can visit housing in any of the four directions. The poorer areas span from north-and-east to west, the richer from east to south-and-west.\n\nThe dropout paces in circles some more.\n\n> You go to the west\nRock/Water\nYou're at the northwest of the poor area. You can go east or south.\n\nA sniveling underling, the sort the \"cool\" kids keep because he'll betray his former nerd friends, sneaks around here.\n\n> You look at the underling\nHe doesn't look outright evil, but he has that cringy underling look, like he's laughing at a joke that never was funny, but he heard it from someone cooler. He is keeping careful watch for a sign of the younger kids.\n\n> You go east\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\nA sporto type flexes his arms and cracks his knuckles here.\n\n> You examine the sporto\nYou'd have been jealous of his physique, but now you know the more obnoxious sportos destroy theirs pretty quickly with beer, because stolen candy is really lame once you turn seventeen. Wait. No. You can't be that spiteful if you're trying to get to heaven.\n\n> Go south\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nA kid dressed as Optimus Prime mopes here.\n\n> You examine kid\nSorry, that's not examinable, especially not in SpeedIF. I know I didn't implement the costumes or the kids' candy bags (uh, less temptation,) but--they're eponymous enough, I hope you have an idea.\n\n> You look at Prime\nHe's sort of cardboardy, but it looks pretty realistic in the dark.\n\n> You go south\nScissors/Fire\nA kid dressed as Marty McFly mopes here.\n\nMcFly thinks how it'll be so cool to own a DeLorean when he grows up.\n\n> You go east\nAvenue Q to the east is still under construction. It's best avoided.\n\n> Go south\nLee Avenue to the south is too tough.\n\n> You go west\nScissors/Wood\nA kid dressed as Pee Wee Herman mopes here.\n\n> You look at the pee wee\nIt's hard to botch a cheap suit and bow tie, and this kid doesn't.\n\nPee-Wee adjusts his suit, muttering no WAY he'll wear one on a normal day, and maybe his parents tricked him into wearing this costume today.\n\n> You go west\nScissors/Water\nA kid dressed as Luke Skywalker mopes here.\n\n> You go to the north\nPaper/Water\nYou're at the west edge of where you can travel. You can go north, east or south.\n\nAn obvious preppie struts around here.\n\n> You look at the preppie\nHe's wearing a sweater tied around his waist, which is kind of stupid given the weather. He's got a perpetual sneer, and you're half surprised he's not wearing sunglasses at night.\n\n> Bt east\nThe preppie sees the Dropout to the east and sneers a bit. There's no time for in-depth alpha male stuff right now, though. Just picking on little kids."
    },
    {
        "text": "> You look at your surroundings\nPaper/Water\nYou're at the west edge of where you can travel. You can go north, east or south.\n\nThe preppie continues to strut, waiting for someone to condescend to, friend or foe.\n\n> Bt north\nThe preppie sees the Sniveling Underling to the north and sneers a bit. There's no time for in-depth alpha male stuff right now, though. Just picking on little kids.\n\n> You go to the south\nScissors/Water\nLuke Skywalker looks around nervously.\n\n> Bt east\nPee Wee Herman and Luke Skywalker see each other! They begin squabbling about how they need to keep apart so they can each hide easier, and their collective sugar rush escalates the conversation, which totally defeats the point. The other two kids run in to break it up, but then the four big nasty teens do their part too--sort of.\n\n> You go east\nScissors/Wood\nThe pee-wee Pee Wee looks around nervously.\n\n> Bt north\nOh no! The Dropout notices Pee Wee Herman, thanks to you, and gives chase! Pee Wee Herman has no chance. Pee Wee Herman's friends, hearing the shouting, feel bad about the earlier break-up--but they are no match for the Dropout's \"friends.\" The kids are candy-less. This sort of performance won't get you out of Limbo. Or, wait, maybe it will.\n\n> You go east\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nOptimus Prime looks around nervously.\n\n> Bf west\nPaper/Wood\nThis is a big empty lot at the intersection of two streets. You can visit housing in any of the four directions. The poorer areas span from north-and-east to west, the richer from east to south-and-west.\n\nThe dropout paces in circles some more.\n\nOh no! The Dropout notices Optimus Prime, thanks to you, and gives chase! Optimus Prime has no chance. Optimus Prime's friends, hearing the shouting, feel bad about the earlier break-up--but they are no match for the Dropout's \"friends.\" The kids are candy-less. This sort of performance won't get you out of Limbo. Or, wait, maybe it will.\n\n> You go to the north\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\nThe sporto jogs in place a bit and punches the air, waiting for conflict.\n\n> Bt west\nYou blink west, and Sporto takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move."
    },
    {
        "text": "> Describe the surroundings\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\n> Bf south\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nOptimus Prime looks around nervously.\n\nYou blink north, and Optimus Prime takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move."
    },
    {
        "text": "> Describe the surroundings\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\n> Bf south\nScissors/Fire\nMarty McFly looks around nervously.\n\nYou blink north, and Marty McFly takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Wood\nThe pee-wee Pee Wee looks around nervously.\n\nYou blink east, and Pee Wee Herman takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Water\nLuke Skywalker looks around nervously.\n\nYou blink east, and Luke Skywalker takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Go east\nScissors/Wood\nLuke Skywalker looks around nervously.\n\n> Bt south\nOh no! The Dropout notices Luke Skywalker, thanks to you, and gives chase! Luke Skywalker has no chance. Luke Skywalker's friends, hearing the shouting, feel bad about the earlier break-up--but they are no match for the Dropout's \"friends.\" The kids are candy-less. This sort of performance won't get you out of Limbo. Or, wait, maybe it will.\n\n> Bt east\nOh no! The Dropout notices Marty McFly, thanks to you, and gives chase! Marty McFly has no chance. Marty McFly's friends, hearing the shouting, feel bad about the earlier break-up--but they are no match for the Dropout's \"friends.\" The kids are candy-less. This sort of performance won't get you out of Limbo. Or, wait, maybe it will.\n\n> Bt south\nYou blink south, and Preppie takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nRock/Water\nYou're at the northwest of the poor area. You can go east or south.\n\nThat underling is still smirking around here.\n\nYou blink south, and Sniveling Underling takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\nThe sporto jogs in place a bit and punches the air, waiting for conflict.\n\nYou blink west, and Sporto takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\nOptimus Prime looks around nervously.\n\nYou blink west, and Optimus Prime takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf south\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nMarty McFly looks around nervously.\n\nYou blink north, and Marty McFly takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf south\nScissors/Fire\nThe pee-wee Pee Wee looks around nervously.\n\nYou blink north, and Pee Wee Herman takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Wood\nLuke Skywalker looks around nervously.\n\nYou blink east, and Luke Skywalker takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Water\nThe preppie continues to strut, waiting for someone to condescend to, friend or foe.\n\nYou blink east, and Preppie takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nPaper/Water\nYou're at the west edge of where you can travel. You can go north, east or south.\n\nThat underling is still smirking around here.\n\nYou blink south, and Sniveling Underling takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nRock/Water\nYou're at the northwest of the poor area. You can go east or south.\n\nThe sporto jogs in place a bit and punches the air, waiting for conflict.\n\nYou blink south, and Sporto takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\nOptimus Prime looks around nervously.\n\nYou blink west, and Optimus Prime takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\nMarty McFly looks around nervously.\n\nYou blink west, and Marty McFly takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nThat's out of your range.\n\n> Bf south\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nThe pee-wee Pee Wee looks around nervously.\n\nYou blink north, and Pee Wee Herman takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf south\nScissors/Fire\nLuke Skywalker looks around nervously.\n\nYou blink north, and Luke Skywalker takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Wood\nThe preppie continues to strut, waiting for someone to condescend to, friend or foe.\n\nYou blink east, and Preppie takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf west\nScissors/Water\nThat underling is still smirking around here.\n\nYou blink east, and Sniveling Underling takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nPaper/Water\nYou're at the west edge of where you can travel. You can go north, east or south.\n\nThe sporto jogs in place a bit and punches the air, waiting for conflict.\n\nYou blink south, and Sporto takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf north\nRock/Water\nYou're at the northwest of the poor area. You can go east or south.\n\nOptimus Prime looks around nervously.\n\nYou blink south, and Optimus Prime takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Wood\nYou're at the north of the poor area. You can go any way but north.\n\nMarty McFly looks around nervously.\n\nYou blink west, and Marty McFly takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf east\nRock/Fire\nYou're at the northeast of the poor area. You can go west or south.\n\nThe pee-wee Pee Wee looks around nervously.\n\nYou blink west, and Pee Wee Herman takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\n> Bf south\nPaper/Fire\nYou're at the east edge of where you can travel. You can go north, west or south.\n\nLuke Skywalker looks around nervously.\n\nYou blink north, and Luke Skywalker takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move. You got the kids back, but now you need to demoralize the rich brats. Retreat to their rich places in total failure.\n\n> Bt east\nYou blink east, and Dropout takes a bit of time to see you but eventually gives chase. You follow, once you know he's on the move.\n\nYOU IDIOTS! you hear the preppie yell. YOU LET THEM THROUGH! There's a lot more, and he almost seems to be having fun, but it's not something you dwell on when you're trying to leave Limbo.\n\nYou hear a crackling. \"Congratulations, limbo newbie! It won't change the world, but you helped those poor bullied kids out! You're still a long way from Heaven, but with the holiday season coming up, there'll be plenty of family quarrels to mediate over Thanksgiving and Christmas dinners!\n\nYou glow a little brighter. But not too much--humility's important, for the crowd you hope to roll with."
    },
    {
        "text": "[Themes: Slice of life, lighthouse, female protagonist, island, teenage protagonist, fishing, birds]\n\nIt is a wet, disgusting day in the middle of April. You are just about sick of the rain. You're just about sick of everything. They keep telling you, when you turn sixteen you can do what you like and live where you like. But you aren't sixteen, and until then you've got to do what they say. \"They\" are a procession of incompetent adults, colloquially called \"social workers,\" culminating in the buffoon that has brought you here. Mr. Henrico.\n\nApparently, he is the idiotic little man who tracked down your grandmother. The same grandmother who never visited you, or sent you anything, or even spoke to you. And he's decided you're going to go live with her on some horrible little island. You are so excited. You have just spent the last four hours listening to him talk, and it doesn't look like he's done.\n\nPress any key...\n\n[Author's Note: It is a wet, disgusting day in the middle of April. You are just about sick of the rain. You're just about sick of everything. They keep telling you, when you turn sixteen you can do what you like and live where you like. But you aren't sixteen, and until then you've got to do what they say. 'They' are a procession of incompetent adults, colloquially called 'social workers,' culminating in the buffoon that has brought you here. Mr. Henrico. Apparently, he is the idiotic little man who tracked down your grandmother. The same grandmother who never visited you, or sent you anything, or even spoke to you. And he's decided you're going to go live with her on some horrible little island. You are so excited. You have just spent the last four hours listening to him talk, and it doesn't look like he's done.]"
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> About yourself\nStarting from the bottom, with your feet, which are too big; your legs are too skinny, your knees are too knobby, your belly is too round, your chest is too flat, your face is too ordinary and your hair is too brown. Your mother calls this the \"awkward stage,\" but your problem isn't that you're awkward. It's just that you're ugly.\n\nA constant patter of rain falls about you.\n\n> You examine sign\nThis sign bears the word \"Akkoteaque\" in large red letters (on a yellow background), and beneath it, in a much more reasonable font, \"Come see the world-famous lighthouse!\"\n\nA constant patter of rain falls about you.\n\n> Inventory\nYou are carrying:\na letter\na picture\na skirt (being worn)\na shirt (being worn)\na pocket watch (closed)\n\nA constant patter of rain falls about you.\n\n> You read the letter\nDear Margret, the letter says, which is not your name; I am very much looking forward to your visit. I have prepared a room in the inn for you. I was so excited to learn that my little boy had run off and had a child, I only wish that harlot he married hadn't waited thirteen years to tell me. You're going to love it on Akkoteaque Island. There are so few interesting people to get in the way of honest work. Signed, Grandma Catherine.\n\nA constant patter of rain falls about you.\n\n> You look at the picture\nThis is a photograph of two people standing in front of a lighthouse. We're just going to assume it's the lighthouse on Akkoteaque. It's an old fashioned sort of lighthouse, very tall and narrow and striped in alternating bands of red and white. The picture was taken on a bright sunny day, so it's a picture of the lighthouse not being terribly useful.\n\nThe two people are your parents, about fifteen years younger than you remember them.\n\nThere's something written on the back of it, too. At least, it's probably writing. It looks like:\n\n\u250c\u2500\u252c\u2510  \u250c\u2500\u2500\u2510  \u250c\u2534\u2500\u2510\n\u251c\u2500\u252c\u2518  \u251c\u252c\u252c\u2524  \u251c\u252c\u2500\u2524\n\u251c\u2500\u2500\u2510  \u2514\u2500\u252c\u2518  \u2514\u252c\u2534\u2524\n\u2514\u2500\u252c\u2510\n\nA constant patter of rain falls about you.\n\n> You look at the skirt\nYour skirt is striped red and white and is of a respectable length.\n\nA constant patter of rain falls about you.\n\n> You look at the shirt\n\"Hi-yah!\" your shirt says. It has a picture of a kung-foo kangaroo on it.\n\nA constant patter of rain falls about you.\n\n> Examine pocket watch\nThis worn pocket watch used to be shining brass. Now it's mostly tarnish. It is engraved with the image of an owl on one side and your father's initials on the reverse. The watch is closed, so you can't read it.\n\nA constant patter of rain falls about you.\n\nThe angry pelican squawks, and then chucks a half eaten\nfish head onto the boardwalk. Out with the fish comes an\nold beeper.\n\n> You take the beeper\nTaken.\n\nThis is a nasty old beeper. Nobody uses these things anymore, but somehow, it still works. It has a little LCD display which reads \"TRY TAKING THE MACKEREL\".\n\nA constant patter of rain falls about you.\n\n> You open the watch\nYou open the pocket watch, revealing a tiny picture.\n\nA constant patter of rain falls about you.\n\n> You examine the picture\n(the picture)\nThis is a photograph of two people standing in front of a lighthouse. We're just going to assume it's the lighthouse on Akkoteaque. It's an old fashioned sort of lighthouse, very tall and narrow and striped in alternating bands of red and white. The picture was taken on a bright sunny day, so it's a picture of the lighthouse not being terribly useful.\n\nThe two people are your parents, about fifteen years younger than you remember them.\n\nThere's something written on the back of it, too. At least, it's probably writing. It looks like:\n\n\u250c\u2500\u252c\u2510  \u250c\u2500\u2500\u2510  \u250c\u2534\u2500\u2510\n\u251c\u2500\u252c\u2518  \u251c\u252c\u252c\u2524  \u251c\u252c\u2500\u2524\n\u251c\u2500\u2500\u2510  \u2514\u2500\u252c\u2518  \u2514\u252c\u2534\u2524\n\u2514\u2500\u252c\u2510\n\nA constant patter of rain falls about you.\n\n> You look at the tiny picture\nIt's a wallet-sized picture of you. It's a couple of years old so it's not really a good representation of you anymore. For example, in the picture you appear rather happy.\n\nA constant patter of rain falls about you.\n\n> You take the fish\n(the fish head)\nTaken.\n\nnearly puked on you.\n\nA constant patter of rain falls about you.\n\n> You examine the pelican\nYou're pretty sure birds can scowl. You're looking at one doing it right now.\n\nA constant patter of rain falls about you.\n\n> You look at Henrico\nBefore you stands a short, balding, civil servant. Mr. Henrico has been your case worker for the last several months. He once told you to think of him as a father figure. You have disliked him ever since. He's not particularly pleasant, but he's good at paperwork and that's probably the most important characteristic of social workers.\n\nA constant patter of rain falls about you."
    },
    {
        "text": "> You describe your surroundings\nThis simple wooden pier juts into the sea. Pylons, evenly spaced, provide perches for cawing gulls. Coils of rope lie about\nhere and there, and the occasional discarded fishing pole\nsways in the breeze. On the horizon there is a smudge that might be the island. Or a wave. It's hard to tell. You can't imagine\nhow this could be any more boring. Or dreadful. Oh, and it has begun to rain.\n\nThe angry pelican swivels its head back and forth, peering at\nyou from many angles.\n\nThe hooded man stands here in a black rain coat with the hood concealing his face.\n\nMr. Henrico stands here looking very droll and boring.\n\nYou can also see a garish sign and a ferry here.\n\nA constant patter of rain falls about you.\n\n> You look at the hooded man\nhis face. He's giving off some sort of vibe. You aren't sure which kind, but it's not the kind that makes you want to go and hug him. It's probably best to leave him alone.\n\nA constant patter of rain falls about you.\n\n> You look at the ferry\nsavers hanging on the sides. The inflatable kind, not the hard\ncandy. It's painted in very patriotic colors complete with little stars.\n\nman.\n\nA constant patter of rain falls about you.\n\n> You look at salty\n[That's not something you can see now, or I misunderstood\nyou.]\n\n> You look at the sea man\nThe salty sea man is too far away to get a good look.\n\nA constant patter of rain falls about you.\n\n> You examine the fishing pole\nSomeone just left these fishing poles lying around. One of them looks to be in pretty good shape.\n\nA constant patter of rain falls about you.\n\n> You take the fishing pole\nTaken.\n\nThis is a basic fishing pole. You can cast it anywhere you\nfind a body of water. When a fish bites, reel it in. You\ncould try different hooks, just tie them on. There are also different kinds of bait. Try baiting the hook with something.\nThere is rusty hook on the end of the line.\n\nA constant patter of rain falls about you.\n\n> You look at the hook\n[Which do you mean, the 1) hook or the 2) rusty\nhook?]"
    },
    {
        "text": "> You look around\nThis simple wooden pier juts into the sea. Pylons, evenly spaced, provide perches for cawing gulls. Coils of rope lie about\nhere and there.On the horizon there is a smudge that might be the island. Or a wave. It's hard to tell. You can't imagine how\nthis could be any more boring. Or dreadful. Oh, and it has begun to rain.\n\nThe angry pelican swivels its head back and forth, peering at\nyou from many angles.\n\nThe hooded man stands here in a black rain coat with the hood concealing his face.\n\nMr. Henrico stands here looking very droll and boring.\n\nYou can also see a garish sign and a ferry here.\n\nA constant patter of rain falls about you.\n\n> You look at the rope\nThere are a few coils of rope tossed about the pier. One looks interesting... No, never mind. It's just a coil of rope.\n\nIn the coil of rope is a mackerel.\n\nA constant patter of rain falls about you.\n\n> You examine the Island\nThat smudge on the horizon might be the island. The tall thing sticking out of it, with the spinning light on the top, might be the lighthouse. It might also not be, but you have to admit that,\nat this point, it probably is.\n\nA constant patter of rain falls about you.\n\n> You examine the coil of the rope\nIt's just a coil of rope.\n\nIn the coil of rope is a mackerel.\n\nA constant patter of rain falls about you.\n\n> You examine the mackerel\nThis fish is long and slender with striking black bands. Its silvery scales flash in the sun. It's about a foot long.\n\nA constant patter of rain falls about you.\n\n> You examine the beeper\nThis is a nasty old beeper. Nobody uses these things anymore, but somehow, it still works. It has a little LCD display which reads \"TRY TAKING THE MACKEREL\".\n\nA constant patter of rain falls about you.\n\n> You take the mackerel\nTaken.\n\nA constant patter of rain falls about you.\n\n> Smell mackerel\nYou smell nothing unexpected.\n\nA constant patter of rain falls about you.\n\n> You look at the pole\nThis is a basic fishing pole. You can cast it anywhere you\nfind a body of water. When a fish bites, reel it in. You\ncould try different hooks, just tie them on. There are also different kinds of bait. Try baiting the hook with something.\nThere is rusty hook on the end of the line.\n\nA constant patter of rain falls about you.\n\n> Cast pole\n[I can't understand your entire command: the first part might be\nan action I know, but I didn't expect the word \"pole\" next.]\n\n> Cast\nYou don't think you'll catch much without some bait, but it's worth a try. You cast your fishing line into the sea.\n\nA constant patter of rain falls about you.\n\nYou are fishing. Wait for something to bite!\n\n> You wait\nSomething tugs on your line! Reel it in!\n\nA constant patter of rain falls about you.\n\n> Reel\nYou reel in some line. The fish is really putting up a fight! Keep reeling it in!\n\nA constant patter of rain falls about you.\n\n> Keep going\nYou caught a tomcod!\n\nThis fish is fat and covered in dark mottling. It's sort of like a little pathetic version of a cod. It's about a foot long.\n\nA constant patter of rain falls about you.\n\n> You look at the tomcod\nThis fish is fat and covered in dark mottling. It's sort of like a little pathetic version of a cod. It's about a foot long.\n\nA constant patter of rain falls about you.\n\n> You ask the hooded man for the rain coat\n[Characters will only respond if asked about things or people you encounter in the world.\n\nA constant patter of rain falls about you.\n\n> You examine the rusty hook\nThis is your basic rusted old fishing hook. It's good for catching the boring sorts of fish.\n\nA constant patter of rain falls about you.\n\n> You check your inventory\nYou are carrying:\na tomcod\na coil of rope\na mackerel\na fishing pole (with the rusty hook)\na fish head\nan old beeper\na letter\na picture\na skirt (being worn)\na shirt (being worn)\na pocket watch (open)\na tiny picture\n\nA constant patter of rain falls about you.\n\n> You ask Henrico about the island\n\"I've heard it's a very nice island,\" Mr. Henrico says. \"I think you will like it there. Your grandmother will take good care of you.\"\n\nA constant patter of rain falls about you.\n\n(You could ask Mr. Henrico about your mother,\nyour father, the accident or your\ngrandmother.)\n\n> 1\nThe hook is too far away to get a good look.\n\nA constant patter of rain falls about you.\n\n> No\n[Characters will only respond if asked about things or people you encounter in the world.\n\nA constant patter of rain falls about you.\n\n> You ask Henrico about the grandmother\nMr. Henrico rubs his chin. \"She seemed nice enough on the phone. You shouldn't worry about it. I'm sure the things your mother used to tell you about her were exaggeration.\"\n\nA constant patter of rain falls about you.\n\n(You could ask Mr. Henrico about your mother,\nyour father or the accident.)\n\n> You ask Henrico about your mother\n\"I never met her, you know,\" Mr. Henrico says. \"I know she told you some terrible things about your grandmother, but you really shouldn't let them scare you. She's your last living relative and she's kindly offered to take you on. Isn't this fantastic?\"\n\nA constant patter of rain falls about you.\n\n(You could ask Mr. Henrico about your father or the\naccident.)\n\n> You ask Henrico about the father\n\"You know I know you're still carrying around that watch. What have I told you about moving on? You'll never be able to as long as you cling to things like that.\"\n\nA constant patter of rain falls about you.\n\n(You could ask Mr. Henrico about the accident.)\n\n> You ask Henrico about the accident\n\"It's best not to dwell on these things,\" Mr. Henrico says. \"I expect you know as much as I do already anyway. Car accident and all that. Very tragic. But lets not dwell. It won't bring your parents back.\"\n\nA constant patter of rain falls about you.\n\nYou have nothing specific in mind to discuss with Mr. Henrico\nright now.\n(You've previously asked Mr. Henrico about\nAkkoteaque, your mother, your father, the\naccident and your grandmother.)\n\n> You ask Henrico about the lighthouse\n\"Don't like lighthouses,\" Mr. Henrico says. \"Too tall, and too bright.\"\n\nA constant patter of rain falls about you.\n\nYou have nothing specific in mind to discuss with Mr. Henrico\nright now.\n(You've previously asked Mr. Henrico about\nAkkoteaque, your mother, your father, the\naccident and your grandmother.)\n\n> You ask Henrico about Henrico\n\"Never really thought I was cut out for this sort of thing,\" Mr. Henrico muses, as if he hadn't actually heard you ask anything. \"Going to call this one a rousing success, though.\"\n\nA constant patter of rain falls about you.\n\nYou have nothing specific in mind to discuss with Mr. Henrico\nright now.\n(You've previously asked Mr. Henrico about\nAkkoteaque, your mother, your father, the\naccident and your grandmother.)\n\n> You look at the ferry\nsavers hanging on the sides. The inflatable kind, not the hard\ncandy. It's painted in very patriotic colors complete with little stars.\n\nman.\n\nA constant patter of rain falls about you.\n\n> You get on the boat\nThe angry pelican won't move out of the way. It's standing\nright in the perfect spot to stop you and it's doing so in a very angry way. Your mother always tells you how angry you get when you're hungry. Maybe you should feed the fish to the pelican.\n\nA constant patter of rain falls about you.\n\n> You give mackerel to the pelican\nThe bird snatches the fish from your hand and almost takes some fingers too. Still looks just as angry, but at least it moves out of the way.\n\nA constant patter of rain falls about you.\n\n> You get on the boat\nThe coil of rope is far too heavy to carry around.\n\nA constant patter of rain falls about you."
    },
    {
        "text": "[Themes: Slice of life, island, fishing, birds]\n\n> Look around\nThis simple wooden pier juts into the sea. Pylons, evenly spaced, provide perches for cawing gulls. On the horizon there is a smudge that might be the island. Or a wave. It's hard to tell. You\ncan't imagine how this could be any more boring. Or dreadful. Oh, and it has begun to rain.\n\nThe angry pelican swivels its head back and forth, peering at\nyou from many angles.\n\nThe hooded man stands here in a black rain coat with the hood concealing his face.\n\nMr. Henrico stands here looking very droll and boring.\n\nYou can also see a garish sign and a ferry here.\n\nA constant patter of rain falls about you.\n\n> You examine the Island\nThat smudge on the horizon might be the island. The tall thing sticking out of it, with the spinning light on the top, might be the lighthouse. It might also not be, but you have to admit that,\nat this point, it probably is.\n\nA constant patter of rain falls about you.\n\n> Go east\nYou can't go that way.\n\nA constant patter of rain falls about you.\n\n> Inventory\nYou are carrying:\na tomcod\na coil of rope\na fishing pole (with the rusty hook)\na fish head\nan old beeper\na letter\na picture\na skirt (being worn)\na shirt (being worn)\na pocket watch (open)\na tiny picture\n\nA constant patter of rain falls about you.\n\n> You drop the rope\nDropped.\n\nA constant patter of rain falls about you.\n\n> You get on the boat\nYou get into the ferry.\n\nThe somber woman hides herself under her wide sun hat. Every\ntime you look at her, she's just then turning away.\n\nThe salty sea man mills about, doing something to his boat.\nYou can't tell what, but it seems to involve pushing dirt about with a rag.\n\nAs the ferry powers up to pull away from the dock, the angry\npelican hops from the boardwalk to the ferry. Apparently, the\nbird is too lazy to fly to the island itself.\n\n\"First time on the island, isn't it?\" the salty sea man asks.\n\"Well, I hope you like it. It's not a terribly big island and hardly anyone visits anymore. Yep, because the only way there is a ride in my ferry!\"\n\nThe salty sea man asks, \"So lass, you got any questions\nbefore we get there? Now's your chance to ask.\"\n\nYou could ask the salty sea man about himself,\nAkkoteaque, the treasure, the ferry, the\nthe angry pelican or the hook.\n\nA constant patter of rain falls about you.\n\n> You ask the sea man about himself\n\"Who, me?\" the salty sea man asks. \"I'm Captain Spider. I\ndrive the ferry back and forth. It's really boring and I hate it. Only do it cause of that treasure.\"\n\nA constant patter of rain falls about you.\n\n(You could ask Captain Spider about Akkoteaque, the\ntreasure, the ferry, the the angry pelican\nor the hook.)\n\n> You examine the sea man\nyears of use. He wears a long beard on a deeply lined face.\nYour overall impression of Captain Spider is one of\nshabbiness. It is possible that the newest thing he wears is the brass fishing hook he has used as a button to hold his shirt\nclosed.\n\nA constant patter of rain falls about you.\n\n> You ask Spider about the treasure\n\"Yep, treasure. Buried right here on this island too. I know it's here because I found an ancient key. I know it's somewhere above\nthat cave on the beach.. ah, I've said too much already!\"\n\nA constant patter of rain falls about you.\n\n(You could ask Captain Spider about Akkoteaque, the\nferry, the the angry pelican or the hook.)\n\n> You ask him about the the hook\n[Which do you mean, the 1) rusty hook or the 2)\nhook?]\n\n> 2\n\"Hook?\" Captain Spider asks. \"What hook? This? Why, this\nisn't even mine.\"\n\nthe buttons instead. He gives the hook to you.\n\nA constant patter of rain falls about you.\n\n(You could ask Captain Spider about Akkoteaque, the\nferry or the the angry pelican.)\n\n> You ask the Captain about the pelican\nCaptain Spider says, \"That damn bird? Laziest thing I ever\nsaw. We all call her Shoo. As in... shoo.\"\n\nA constant patter of rain falls about you.\n\nThe wind picks up and suddenly, rather than a moderate chop, waves smash against the ferry from all sides. Lightning flashes from the sky and rain pours from the heaven in torrents between the rolling thunder.\n\n\"Going to be a bit of chop,\" Captain Spider says. Your\nstomach does not like this news at all.\n\n(You could ask Captain Spider about Akkoteaque or\nthe ferry.)\n\n> You look at the pelican\nYou're pretty sure birds can scowl. You're looking at one doing it right now.\nHalf a fish hangs from the pelican's beak. Normally, this situation would make a pelican pretty happy. Not this pelican.\n\nRain and wind lash out of the sky.\n\n> You ask him about a the personal floatation device i could wear\n[Characters will only respond if asked about things or people you encounter in the world.\n\nRain and wind lash out of the sky.\n\n> You examine the fish\n[Which do you mean, the 1) tomcod or the 2) fish\nhead?]\n\n> You examine the ferry\nsavers hanging on the sides. The inflatable kind, not the hard\ncandy. It's painted in very patriotic colors complete with little stars.\n\nIn the ferry are Shoo, a somber woman and\nCaptain Spider.\n\nRain and wind lash out of the sky.\n\nA bolt of lightning stabs out of the sky and strikes the lighthouse. For a moment, while the bolt is etched across your vision, nothing happens, then the sound comes rolling over the boat and makes everything shake. Behind the thunder comes another sound, an electrical popping, and the lighthouse seems to glow at the base. At it's top, the light vanishes.\n\nYour stomach has had it with the waves. You rush to the railing as your lunch rushes up your throat, and then you don't do much of interest besides puke your guts out for the rest of the trip.\n\nPress any key..\n\n> You get the pelican\nPress any key...\nPress any key...## On a small pier\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider stands at the controls of the ferry.\n\nYou can also see a ferry and a gas can here.\n\nYou can only go east from here.\n\n\"You all right lass?\" Captain Spider asks. \"Had a touch of\nsea sickness, you did. We're here, anyway. Best damn island this side of Delmarva.\"\n\n> You look at the gas can\nYou see nothing unexpected about the gas can.\n\nThe gas can contains gasoline.\n\n> You take it\nTaken.\n\n> You examine the seagulls\nMany gulls circle overhead hoping you might drop some scrap for them. One of them keeps returning to a narrow cleft in the face of\nthe cliff.\n\n> You look at the cleft\nThere is a narrow cleft in the cliff just wide enough for a gull to scamper through. It looks like one of them as built a nest in\nthere. It's not very high.\n\n> You look at the nest\nThe nest is too far away to get a good look.\n\n> You climb the cliff\n[That can't be climbed in that way. Sometimes a direction like\n\"up\" or \"down\" works instead.]\n\n> You ask Captain about the seagulls\nthe gulls.\n\n(You could ask Captain Spider about Akkoteaque or\nthe ferry.)\n\n> You ask Captain about Akkoteaque\n\"Island has always just been in the way,\" Captain Spider\nsays. \"Nothing but a bunch of rocks and cliffs. They go straight up, all the way down, so when a ship hits it they don't hang around, no way. Lighthouse is kind of important.\"\n\n(You could ask Captain Spider about the ferry.)\n\n> You examine the lighthouse\nThe lighthouse is painted in alternating bands of red and white. At the top, there is a metal walkway.\n\n> You ask Captain about the ferry\nCaptain Spider says, \"This here is my ship. Ain't much of a\nship, no, but she my ship.\"\n\nSpider right now.\n(You've previously asked Captain Spider about\nhimself, Akkoteaque, the treasure, the\nferry, Shoo and the hook.)\n\n> You examine the life saver\n[That's not something you can see now, or I misunderstood\nyou.]\n\n> You examine the ferry\nsavers hanging on the sides. The inflatable kind, not the hard\ncandy. It's painted in very patriotic colors complete with little stars.\n\nIn the ferry is Shoo.\n\n> You examine the life savers\nThe life savers is too far away to get a good look.\n\n> East\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\neast\nwest (to On a small pier)\n\n> West\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider mills about, doing something to his boat. You\ncan't tell what, but it seems to involve pushing dirt about with a rag.\n\nYou can also see a ferry here.\n\nYou can only go east (to Climbing a narrow stair) from here.\n\n> You check your inventory\nYou are carrying:\na gas can\na hook charm\na tomcod\na fishing pole (with the rusty hook)\na fish head\nan old beeper\na letter\na picture\na skirt (being worn)\na shirt (being worn)\na pocket watch (open)\na tiny picture\n\n> You examine the hook charm\nA small brass fishing hook.\n\n> You take rusty hook\nTaken.\n\n> Inventory\nYou are carrying:\na rusty hook\na gas can\na hook charm\na tomcod\na fishing pole (with no hook at all)\na fish head\nan old beeper\na letter\na picture\na skirt (being worn)\na shirt (being worn)\na pocket watch (open)\na tiny picture\n\n> You tie hook charm to pole\nYou tie the hook charm to the end of your fishing line.\n\n> Cast\nYou don't think you'll catch much without some bait, but it's worth a try. You cast your fishing line into the sea.\n\nYou are fishing. Wait for something to bite!\n\n> Wait\nSomething tugs on your line! Reel it in!\n\n> Reel\nYou caught some sea-weed! You, uh, throw it back..\n\n> East\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\neast\nwest (to On a small pier)\n\n> You examine the vines\nVines are thick upon the rock walls. Thousands of tiny pink and white flowers cover the vines everywhere.\n\n> You climb vines\nThe vines pull away from the rock walls too easily. You'd never be able to climb up them.\n\n> You pull the vines\nYou give the vines an experimental tug. They aren't anchored all that strongly.\n\n> You eat the fish\n[Which do you mean, the 1) tomcod or the 2) fish\nhead?]\n\n> 1\nYou had sushi once. It was disgusting. You've since learned that raw fish is technically sashimi, not sushi. It's still disgusting.\n\n> You eat the vines\n[You can't consume the vines, or that's not the way\nto do so.]\n\n> Rub vines\n[Rubbing the vines would have no effect in these\ncircumstances.]\n\n> You search vines\nVines are thick upon the rock walls. Thousands of tiny pink and white flowers cover the vines everywhere.\n\n> You look at take the flowers\n[That's not something you can see now, or I misunderstood\nyou.]\n\n> Go east\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nThe somber woman hides herself under her wide sun hat. Every\ntime you look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nhere.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\nShoo barrels into you and knocks you flat on your back. You\ndrop everything you're holding.\nShoo stands on your chest and peers at you over its immense\nbeak.\n\n> You look at Shoo\nThis bird is standing on your chest and staring at you. It has tiny, glaring little eyes that you make you want to hit it right in the face.\n\n> You say shoo shoo\n[Whom do you want to say that to?]\n\n> You say shoo to Shoo\nThat's it, you're going to hit that bird!\n\n> You hit Shoo\nYou give the pelican a very satisfying smack. Shoo squawks\nand flops off of you. Then something else catches Shoo's eye.\nShe snatches the pocket watch, swallows it, and vanishes into\nthe sky.\n\nThanks for playing the beginning of Akkoteaque! There's lots more to do on the island. I agonized for a while, but eventually decided I'd rather cut the game short then let players loose on a largely unfinished island. Here's what you can expect from the finished game...\n\n-Explore the lighthouse, the Lighthouse Inn, and the rest of the island.. including a spooky graveyard!\n-Be terrorized by a crazed pelican!\n-Meet lots of interesting characters, like Alabaster, the plaster salesman and amateur paranormal investigator!\n-Dig up a buried treasure!\n-Find out why your grandmother is so horrible!\n-Catch fish!\n-Solve lots of puzzles!\n-Find dozens of ciphered messages and probably never manage to decode them!\n\nI hope you enjoyed Akkoteaque. I'm always looking for more testers.\n\nI'm going to let you back into the world now. Why don't you try fishing? The fish head makes excellent bait.\n\n> Go west\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\neast (to At a crossing of paths)\nwest (to On a small pier)\n\n> You go to the south\nThis shack is built right onto the side of the cliff, physics be damned. It's rather damp, likely due to it being suspended over the sea, but otherwise it's quite nice. There are some nautical themed posters on the walls and a little window that looks\nout over the sea.\n\nYou can see a ladder, a bed and a rusty\ntable (on which are a sinker and an ancient\nkey) here.\n\nYou can only go north (to Climbing a narrow stair) from here.\n\n> You examine the posters\nSeveral posters decorate the walls. There is one showing some kind of tall ship, another that appears to be a random assortment of lighthouses, and another that is clearly a map of\nthis very island.\n\n> You examine the map\nThis poster appears to be a map of the island. The lighthouse is marked prominently on it. Attached to the lighthouse is the inn. To the west is the jetty where you landed on the island. To the south is a little chapel, and to the east, a little beach. Someone has drawn a little arrow pointing north on the beach.\n\n> You look at the window\nThe window looks out over the sea. Gentle waves roll by far below.\n\n> You climb the ladder\nYou clamber up the ladder."
    },
    {
        "text": "[Themes: Slice of life]\n\n> Look around\nIn a haphazard shack on the edge of a cliff (on the\nladder)\nThis shack is built right onto the side of the cliff, physics be damned. It's rather damp, likely due to it being suspended over the sea, but otherwise it's quite nice. There are some nautical themed posters on the walls and a little window that looks\nout over the sea.\n\nYou can see a bed and a rusty table (on which are a\nsinker and an ancient key) here.\n\nYou can only go north (to Climbing a narrow stair) from here.\n\n> You climb ladder\n[You're already on the ladder.]\n\n> You examine the bed\nA basic and neatly-made bed. The bed spread is striped white and blue. Very nautical.\n\n> You examine the rusty table\nThis cast iron table has intricate filigrees and is spotted all over in rust.\n\nkey.\n\n> You look at the sinker\nThis hook has a big weight on it so it goes straight to the bottom."
    },
    {
        "text": "> Go downwards\nYou get off the ladder.\n\nThis shack is built right onto the side of the cliff, physics be damned. It's rather damp, likely due to it being suspended over the sea, but otherwise it's quite nice. There are some nautical themed posters on the walls and a little window that looks\nout over the sea.\n\nYou can see a ladder, a bed and a rusty\ntable (on which are a sinker and an ancient\nkey) here.\n\nYou can only go north (to Climbing a narrow stair) from here.\n\n> Go north\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\nsouth (to In a haphazard shack on the edge of a cliff)\neast (to At a crossing of paths)\nwest (to On a small pier)\n\n> Go east\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nThe somber woman hides herself under her wide sun hat. Every\ntime you look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nYou can also see an old beeper, a gas can, a\nfishing pole (with the hook charm), a\npicture, a letter, a tomcod, a fish\nhead, a rusty hook, a sign post and a\ntourist board here.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> You go north\nSorry, the rest of the island isn't ready yet. You could try fishing.\n\n> Go east\nSorry, the rest of the island isn't ready yet. Captain\nSpideris just to the west.\n\n> Go south\nSorry, the rest of the island isn't ready yet. Why don't you talk to the somber woman?\n\n> You talk to the woman\nYou say hello to the somber woman.\n\n(You could ask the somber woman about herself, the\nlighthouse, the hook charm, the bracelet or\nthe fire hydrant charm.)\n\n> You examine the woman\nThis woman wears a wide sun hat, a nondescript pale dress,\nand a very grim expression. Her nose combines with the set of\nher mouth in a very unfortunate way. It's not hard to imagine that her hat is pointy, and her cheeks warty. She's wearing a silver\nbracelet.\n\n> You look at sun hat\nIt is the sort of hat a tourist thinks they have to wear in the sun just because it has \"sun\" in the name. Actually the hat would function perfectly well at its intended purpose; that is, hiding the somber woman's bad hair day; even under overcast skies.\n\n> You ask the woman about herself\n\"Who, me? I'm Elizabeth, if it's that important to you.\"\n\n(You could ask Elizabeth about the lighthouse, the\nhook charm, the bracelet or the fire hydrant\ncharm.)\n\n> Examine bracelet\nA silver charm bracelet of braided cord. There aren't any charms on it.\n\n> You ask the woman about Lighthouse\n\"Gerald loves lighthouses. Sometimes I wonder if he loves\nthem more than he loves me.\"\n\n(You could ask Elizabeth about the hook charm, the\nbracelet, the fire hydrant charm or\nGerald.)\n\n> You ask the woman about Gerald\n\"He does love his lighthouses.. that's why were here,\"\nElizabeth says.\n\n(You could ask Elizabeth about the hook charm, the\nbracelet or the fire hydrant charm.)\n\n> You ask the woman about the bracelet\n\"It's a charm bracelet. But it's a poor one, and not very charming. I've lost all the charms.\"\n\nElizabeth sighs.\n\n(You could ask Elizabeth about the hook charm, the\nfire hydrant charm or charms.)\n\n> You ask the woman about Lighthouse\n\"Gerald loves lighthouses. Sometimes I wonder if he loves\nthem more than he loves me.\"\n\n(You could ask Elizabeth about the hook charm, the\nfire hydrant charm or charms.)\n\n> You ask Elizabeth about the charms\nThere were quite a few of them, but I've lost them all. It looks like you've got all but six of them.\"\n\n(You could ask Elizabeth about the hook charm, the\npelican charm, the fire hydrant charm, the\nthimble charm, the slipper charm or the\nlighthouse charm.)\n\n> You ask Elizabeth about Lighthouse\n(the lighthouse charm)\nElizabeth doesn't have anything specific to say about the\nlighthouse charm.\n\n(You could ask Elizabeth about the hook charm, the\npelican charm, the fire hydrant charm, the\nthimble charm or the slipper charm.)\n\n> You ask woman about the fire hydrant charm\n\"That one was stolen by a sea gull. I was feeding it, and it swept down, and took the charm right off my wrist!\"\n\n(You could ask Elizabeth about the hook charm, the\npelican charm, the thimble charm or the slipper\ncharm.)\n\n> You ask Elizabeth about the thimble\n\"Oh, I know where that one is,\" Elizabeth says. \"It's in our\nroom at the inn.\"\n\n(You could ask Elizabeth about the hook charm, the\npelican charm or the slipper charm.)\n\n> You ask Elizabeth about the pelican\n[Which do you mean, the 1) pelican charm or 2)\nShoo?]\n\n> You ask the woman about the hook charm\n\"The ferry captain had it? I must have dropped it before I even got to the island.\"\n\n(You could ask Elizabeth about the pelican charm or\nthe slipper charm.)\n\n> You take the hook charm\nTaken.\n\n> You show the hook charm to the woman\n\"That's one of my lost charms! The hook charm!\"\nElizabeth exclaims. \"Where did you find it? You're obviously\ndoing a better job with them than I was. You should have the entire thing, then.\"\n\nElizabeth removes the bracelet and hands it to you.\n\n> You put the charm on the bracelet\nYou put the hook charm on the bracelet.\n\n> Wear bracelet\nYou put on the bracelet.\n\n> You ask the woman about the charms\n\"Oh! You've found my hook charm. There were quite a few of\nthem, but I've lost them all. It looks like you've got all but five of them.\"\n\n(You could ask Elizabeth about the pelican charm or\nthe slipper charm.)\n\n> You ask the woman about the slipper charm\n\"That was the very last one I had. I last saw it in that garden behind the inn.\"\n\n(You could ask Elizabeth about the pelican charm.)\n\n> You ask the woman about the pelican charm\n\"It was eaten by a pelican. Yes, I know.\"\n\nright now.\n(You've previously asked Elizabeth about herself,\nthe lighthouse, the hook charm, the pelican\ncharm, the bracelet, the fire hydrant charm,\nthe thimble charm, the slipper charm, the\nlighthouse charm, Gerald and charms.)\n\n> You examine the beeper\nThis is a nasty old beeper. Nobody uses these things anymore, but somehow, it still works. It has a little LCD display which reads \"TRY GOING NORTH\".\n\n> Go west\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\nsouth (to In a haphazard shack on the edge of a cliff)\neast (to At a crossing of paths)\nwest (to On a small pier)\n\n> You ask the captin about the charms\ncharms.\n\nSpider right now.\n(You've previously asked Captain Spider about\nhimself, Akkoteaque, the treasure, the\nferry, Shoo and the hook.)\n\n> You ask the captin about the key\n\"That opens the treasure. I think, anyway. I found it in the caves under the inn.\"\n\nSpider right now.\n(You've previously asked Captain Spider about\nhimself, Akkoteaque, the treasure, the\nferry, Shoo and the hook.)\n\n> You ask the captin for the key\n[Characters will only respond if asked about things or people you encounter in the world.\n\n> You take the bed\nThat is far too heavy for you.\n\n> You take the key and the sinker\nancient key: Taken.\nsinker: Taken.\n\n> You drop the ladder\nYou lean the ladder against the face of the cliff.\n\n> You climb the ladder\nYou clamber up the ladder."
    },
    {
        "text": "[Themes: Slice of life, female protagonist, lighthouse, fishing, teenage protagonist]\n\n> Look around\nOn a small pier (on the ladder)\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider mills about, doing something to his boat. You\ncan't tell what, but it seems to involve pushing dirt about with a rag.\n\nYou can also see a ferry here.\n\nYou can only go east (to Climbing a narrow stair) from here.\n\n> You look at the cleft\nThere is a narrow cleft in the cliff just wide enough for a gull to scamper through. It looks like one of them as built a nest in\nthere. It's not very high.\n\n> You examine the nest\nIt seems to be an ordinary sort of bird nest. Ordinarily dirty.\n\nIn the nest is a fire hydrant charm.\n\n> You take the fire hydrant charm\nTaken.\n\nA small gold fire hydrant."
    },
    {
        "text": "> You go downward\nYou get off the ladder.\n\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider mills about, doing something to his boat. You\ncan't tell what, but it seems to involve pushing dirt about with a rag.\n\nYou can also see a ladder and a ferry here.\n\nYou can only go east (to Climbing a narrow stair) from here.\n\n> You put the fire hydrant charm on the bracelet\nYou put the fire hydrant charm on the bracelet.\n\n> You take the ladder\nTaken.\n\n> You go south\nThis shack is built right onto the side of the cliff, physics be damned. It's rather damp, likely due to it being suspended over the sea, but otherwise it's quite nice. There are some nautical themed posters on the walls and a little window that looks\nout over the sea.\n\nYou can see a bed and a rusty table here.\n\nYou can only go north (to Climbing a narrow stair) from here.\n\n> You drop the ladder\nDropped.\n\n> You go to the east\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nElizabeth hides herself under her wide sun hat. Every time\nyou look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nYou can also see an old beeper, a gas can, a\nfishing pole (with no hook at all), a picture, a\nletter, a tomcod, a fish head, a rusty\nhook, a sign post and a tourist board here.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> You show the fire hydrant charm to the woman\n(first taking the fire hydrant charm)\n\"That's wonderful. Let me see the bracelet again if you manage to find all of them.\"\n\n> Bait\n[What do you want to bait?]\n\n> Inventory\nYou are carrying:\na fire hydrant charm\na sinker\nan ancient key\na bracelet (being worn)\na hook charm\na skirt (being worn)\na shirt (being worn)\n\n> You take all\nold beeper: Taken.\ngas can: Taken.\nfishing pole (with no hook at all): Taken.\npicture: Taken.\nletter: Taken.\ntomcod: Taken.\nrusty hook: Taken.\n\n> You examine the board\nA rectangular sign covered in information about the island. It is all incredibly boring. For example, the lighthouse was built in 1867. Why would anyone care about that?\n\n> You look at the raft of the ducks\nA small group of ducks. There appears to be a leader duck,\nand several subordinate ducks. There's an entire duck hierarchy involved here. Beyond their rigid social structure, they are ordinary looking ducks. Sort of brownish, webbed feet, other things associated with ducks.\n\n> You look at the leader\nThe leader of the ducks is not the largest duck. Or the smartest. Or the most attractive. The leader is the duck most willing to peck other ducks right in the face.\n\n> You take the leader\nThat seems to be a part of the raft of ducks.\n\n> You take the ducks\nThe ducks scamper out of your reach.\n\n> You take the pole\n[You already have that.]\n\n> You ask the ducks about the pole\n(the fishing pole (with no hook at all))\n\"Quack!\" quack the ducks in chorus. \"Quack quack quack!\" the leader quacks, trying not to be quacked over.\n\nducks right now.\n\n> You tie the sinker to the pole\nYou tie the sinker to the end of your fishing line.\n\n> Bait pole with fish head\nYou bait the sinker with a bit of fish head.\n\n> Cast\nYou cast your fishing line into the sea.\n\nYou are fishing. Wait for something to bite!\n\n> Wait\nSomething tugs on your line! Reel it in!\n\n> You examine the pole\nThis is a basic fishing pole. You can cast it anywhere you\nfind a body of water. When a fish bites, reel it in. You\ncould try different hooks, just tie them on. There are also different kinds of bait. Try baiting the hook with something.\nYou've cast your fishing line into the sea.\n\n> Reel\nYou reel in some line. The fish is really putting up a fight! Keep reeling it in!\n\n> Reel\nYou caught a bluefish!\n\nThis fish is green on the back and silver on the belly. It has a stout body, a forked tail, and stripes like a tiger, except in blue. It's about a foot and a half long.\n\n> You look at the pole\nThis is a basic fishing pole. You can cast it anywhere you\nfind a body of water. When a fish bites, reel it in. You\ncould try different hooks, just tie them on. There are also different kinds of bait. Try baiting the hook with something.\nThere is sinker on the end of the line, baited with a bit of\nfish head.\n\n> You listen\nYou hear the cawing of seagulls.\n\n> Inventory\nYou are carrying:\na bluefish\na rusty hook\na tomcod\na letter\na picture\na fishing pole (with the sinker and a bit of fish\nhead)\na gas can\nan old beeper\na fish head\na fire hydrant charm\nan ancient key\na bracelet (being worn)\na hook charm\na skirt (being worn)\na shirt (being worn)\n\n> Bait pole with fish head\nYou bait the hook charm with a bit of fish head.\n\n> You check your inventory\nYou are carrying:\na sinker\na bluefish\na rusty hook\na tomcod\na letter\na picture\na fishing pole (with the hook charm and a bit of\nfish head)\na gas can\nan old beeper\na fish head\na fire hydrant charm\nan ancient key\na bracelet (being worn)\na skirt (being worn)\na shirt (being worn)\n\n> You examine the pole\nThis is a basic fishing pole. You can cast it anywhere you\nfind a body of water. When a fish bites, reel it in. You\ncould try different hooks, just tie them on. There are also different kinds of bait. Try baiting the hook with something.\nThere is hook charm on the end of the line, baited with a bit\nof fish head.\n\n> Wait\nTime passes.\n\nYou are fishing. Wait for something to bite!\n\n> You get on the ferry\nYou get into the ferry."
    },
    {
        "text": "[Themes: Slice of life, birds, female protagonist]\n\n> You look around\nOn a small pier (in the ferry)\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider mills about, doing something to his boat. You\ncan't tell what, but it seems to involve pushing dirt about with a rag.\n\nYou can only go east (to Climbing a narrow stair) from here.\n\n> You go east\nYou'll have to get out of the ferry first.\n\n> Go outside\nYou get out of the ferry.\n\nThis little wooden dock has definitely seen better days, but still seems to be going strong. It juts into the sea from the base of a cliff. Many seagulls wheel about in the sky above.\n\nCaptain Spider mills about, doing something to his boat. You\ncan't tell what, but it seems to involve pushing dirt about with a rag.\n\nYou can also see a ferry here.\n\nYou can only go east (to Climbing a narrow stair) from here.\n\n> Go east\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nElizabeth hides herself under her wide sun hat. Every time\nyou look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nhere.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> You ask the ducks about Shoo\nA lone quack emits from one of the lesser ducks. The leader glares about but can't seem to tell who did it.\n\nducks right now.\n\n> You examine the tourist board\nA rectangular sign covered in information about the island. It is all incredibly boring. For example, the lighthouse was built in 1867. Why would anyone care about that?\n\n> You examine the sign post\nTo the north is the inn and lighthouse. To the south is the chapel. The ferry is to the west, and the beach is to the east.\n\n> You climb the sign post\n[That can't be climbed in that way. Sometimes a direction like\n\"up\" or \"down\" works instead.]\n\n> You go south\nThis shack is built right onto the side of the cliff, physics be damned. It's rather damp, likely due to it being suspended over the sea, but otherwise it's quite nice. There are some nautical themed posters on the walls and a little window that looks\nout over the sea.\n\nYou can see a ladder, a bed and a rusty\ntable here.\n\nYou can only go north (to Climbing a narrow stair) from here."
    },
    {
        "text": "> Look around\nClimbing a narrow stair (on the ladder)\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\nsouth (to In a haphazard shack on the edge of a cliff)\neast (to At a crossing of paths)\nwest (to On a small pier)\n\n> You pull the vines\nYou give the vines an experimental tug. They aren't anchored all that strongly.\n\n> You go to the east\n(first getting off the ladder)\n\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nElizabeth hides herself under her wide sun hat. Every time\nyou look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nhere.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> Go west\nA narrow stair climbs through a seam in the rocks from the jetty to the top of the island cliffs. The steps are carved from the rock itself. Vines covered in tiny white flowers hide the rough\nrock walls.\n\nYou can see a ladder here.\n\nsouth (to In a haphazard shack on the edge of a cliff)\neast (to At a crossing of paths)\nwest (to On a small pier)"
    },
    {
        "text": "[Themes: Slice of life, birds]\n\n> Look around\nAt a crossing of paths (on the ladder)\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nElizabeth hides herself under her wide sun hat. Every time\nyou look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nhere.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> You get off the ladder\nYou get off the ladder.\n\nThis is where the paths crossing the island meet. There's not much here besides some grass and some assorted shrubbery.\n\nElizabeth hides herself under her wide sun hat. Every time\nyou look at her, she's just then turning away.\n\nThere is a raft of ducks here. They seem preoccupied with\ntheir own internal politics and haven't any attention to spare for you.\n\nYou can also see a ladder, a sign post and a\ntourist board here.\n\nsouth\neast\nwest (to Climbing a narrow stair)\n\n> Go south\nSorry, the rest of the island isn't ready yet. There's something you could find on the pier."
    },
    {
        "text": "[Themes: Humor, Children's, Fantasy, princess]\n\nBusy week. L.A., Helsinki, Mexico City  and back. Finally home, jet-lag hit you like a brick to the face. Randa was kind, understanding, then with her own soft determination beckoned you to get up from the sofa and put your son to bed. For a moment you gave in to the illusion that you're living the good life, making money, coming home to your family once the tie-up is completed. Then you realize you've been away for six months, a lifetime at his age. You look down on him, guilt in your stomach.\nBut then he smiles, the smile that always reminds Randa of you, and\nyou feel a wave of irrational, overwhelming pride. Danny pulls up his blanket, and murmurs, already half-asleep:\n\n\"Dad, will you tell me a story?\"\n\nWell, it looks like you have your work cut out for you. Randa introduced Prince George, who is sent by king Sean to save some princess. (Even though Danny isn't yet old enough to get his head around the idea of wanting to save a girl.) Looks like the prince did a lot of traveling yesterday, saw a lot of landscape, did a lot of singing, and Danny fell asleep when he finally reached some bridge. Picking up there, you clear your throat and begin:\n\n\"The old, (once upon a time) sturdy wooden bridge had crossed the Clearwater River from east to west for as long as the prince could remember, and according to the stories, it had been there long before that, built when the kingdom was young. He fondly remembered hiding in the thick scrub below the bridge from his father's guards when he was but a boy. \"\n\n\"A big and nasty mountain troll guarded the bridge, a burred stone axe in his brawny fists.\"\n\n[Author's Note: \"Daddy, will you tell me a story?\" asks your son, Danny. Your wife, Randa, started the story of Prince George and his quest to rescue a princess while you were away for six months. Now it's your turn to continue the tale.]"
    },
    {
        "text": "[Themes: Children's, Humor, Fantasy]\n\n> You hit the troll\n(with the sword)\n\"Working up all of his courage, the prince drew his sword, and, setting his face, marched towards the troll. The troll saw him approach and roared: 'Ha! You will fall by the order of...'\nYou look around the room.\n\n'Kur-Tayn. Order of Great Wizard Kur-Tayn.'\"\n\n--glaring light..."
    },
    {
        "text": "[Themes: Children's, Fantasy, Humor]\n\n> Look around\nWhoa! Danny has switched on his night lamp, effectively blinding you. When you finally blinked the spots away, he is sitting up in his bed, shouting:\n\"Daaaad, that is so stupid. I mean, if this Cue-Train wizard was such a mighty wizard, he wouldn't let a troll, of all creatures, guard the only bridge leading to his castle! I mean, everyone knows they're dumb and easily tricked. No, he would set up something really dangerous there, something...cool.\"\nHis eyes have gotten a dreamy quality you don't like at all.\n\"Like what?\" you ask carefully.\n\n\"You know, in today's episode of SPACE RANGERS, they fought this really evil robot.\"\n\n\"A robot, son? The prince lived hundreds of years ago...\" Danny has crossed his arms, a gesture that reminds you of Randa and makes clear this argument is lost. \"Well, this Cure-Tan guy is a wizard, right?\"\n\n\"The old, (once upon a time) sturdy wooden bridge had crossed the Clearwater River from east to west for as long as the prince could remember, and according to the stories, it had been there long before that, built when the kingdom was young. He fondly remembered hiding in the thick scrub below the bridge from his father's guards when he was but a boy. \"\n\n\"A robot was on the bridge.\"\n\n> You look at the robot\n\"So, son, what was this robot from SPACE KNIGHTS like?\"\n\nHe folds his arms, and in an accusing voice, says: \"Well, the robot in Space RANGERS was this really dangerous looking tripod thing, with this red light on the top, which could turn into a LASER BEAM which VAPORIZED EVERYTHING it hit, including people! It killed some of the STARLIGHT's crew! It nearly hit First Officer Leena, you know, the cat woman...\" Ah, childhood crushes. \"And she was buried under all this rubble...\" \"Yeah, son, see, we have our own story here.\"\n\n> You ask the robot about yourself\n\"Well, this Jack Chambers is a cool guy. Do you know about the one time his uncle send him a magic box?\"\n\n> You jump\n\"The prince jumped.\n\nThe robot jumped, landing with a *thud*. The bridge creaked ominously, but held.\"\n\n> Sing\nYou take a deep breath to present a rousing rendition of \"Off to see the wizard\", but then Danny cringes. \"He's not going to sing again, is he?\"\n\nOkay, change of plan.\n\n> Dance\n\"Aww,Dad, dancing is sooo gay.\"\n\n\"What do you mean \"gay?\"\"\nHe looks nonplussed. \"You know, not cool.\"\n\n\"No son, it doesn't meant that. Not at all.\"\n\n\"Then what does it mean, Dad?\"\n\n\"Uh, we'll talk about that later. Just keep in mind that it isn't a bad word, okay?\"\n\n> You look at the bridge\n\"It was an old wooden bridge, made of thick logs, aged by hundreds of carriages, and the steps of a thousand wanderers.\"\n\n> Looked\n\"The old, (once upon a time) sturdy wooden bridge had crossed the Clearwater River from east to west for as long as the prince could remember, and according to the stories, it had been there long before that, built when the kingdom was young. He fondly remembered hiding in the thick scrub below the bridge from his father's guards when he was but a boy. \"\n\n\"A really dangerous looking tripedal robot stood on the bridge, casting the red light from his headpiece around threateningly.\"\n\n> You examine the headpiece\n\"The headpiece was...er...headshaped, right...and...er...silvery as well...\"Danny sighs, then he suddenly jumps up and says: \"Yeah! And the prince would see it mimicking his every move-\" Your son, now all full of exictement, shifts his body left and right, staring you right square in the eye. \"Every..move. Because that's how these robots learned. By copying their enemies.\"\n\"But what the prince also saw, was a small on/off button.\"\n\"Danny opens his mouth to protest, but you shut him off:\"Well, the wizard had no robot factory, so he'd had to have a way to switch it off.\" Danny frowns, unconvinced, but he's letting you continue.\"\n\n> Examined the the scrub\n\"The thick scrub...\" You just realized that this would be a great chance to tell your son all about flowers and plants. If only you knew something. Oh well. \"...hid a secret path that led under the bridge.\"\n\n> Searched the the scrub\n\"The prince found some thorns. Ouch!\"\n\n> Found the the path\n\"Dad, you're mumbling.\""
    },
    {
        "text": "[Themes: Humor, Children's, Fantasy, princess]\n\n> Go downwards\n\"The wooden supporting structures loomed above the prince like the remnants of a very ecologically aware lost civilization. A muddy slope lead down to the water and up towards the scrub.\"\n\n\"A small pebble stuck out of the mud.\""
    },
    {
        "text": "> Go downward\n\"The prince decided to take the easy way out and just swim across...\" \"Come on dad, the wizard would've anticipated that. There'd be sharks and mines and octopuses...\" \"In a river?\" \"Just sharks and mines then!\"\n\n> Looked at the the bridge\n\"To the prince it looked like this supporting structure was what kept the bridge from collapsing. \"But Dad, wouldn't that be somewhat dangerous? Wouldn't it be better if they just replaced the whole bridge?\" \"Yes, son, but see, the kingdom had no money for that. It's a hum...tax thing. Happens everywhere.\"\n\n> You take the pebble\nTaken.\n\n> Climbed the the bridge\n\"It looked like these structures had been  designed in an especially unclimbable manner.\"\n\n> You check your inventory\nThe Prince was carrying:\na pebble\na sword\n\n\"Dad, mum never said anything of a sword!\" You wink at him. \"Son, this is a boy's story now.\""
    },
    {
        "text": "[Themes: Humor, Children's, Fantasy]\n\n> Look around\n\"The wooden supporting structures loomed above the prince like the remnants of a very ecologically aware lost civilization. A muddy slope lead down to the water and up towards the scrub.\"\n\n> You examine the pebble\n\"A small, round, white, pebble.\"\n\n> You eat the pebble\nThat's plainly inedible.\n\n> Dug mud\n\"Dad, you're mumbling.\"\n\n> You examine the mud\n\"The mud was just that, plain old mud.\"\n\n> Ate the the mud\n(first taking Mud)\nNo, you're trying to tell Danny that playing in the dirt is not cool.\n\n> Ate the the pebble\nThat's plainly inedible.\n\n> Go upward\n\"A really dangerous looking tripedal robot stood on the bridge, casting the red light from his headpiece around threateningly.\"\n\n> Killed himself\nWhat did The Prince want to kill himself with?\n\n> Threw the the pebble at the the robot\n\"The prince threw the pebble with all his power, but it just bounced off the robot's metal hull harmlessly.\"\n\n> You get pebble\nTaken.\n\n\"The robot made a grabbing motion with one of his legs, carefully balancing on the other two. Then it stood on all three again.\"\n\n> You throw the pebble at the button\n\"The prince threw the pebble with all his might...\"\nDanny has folded his arms. \"But he wouldn't be able to throw it hard enough to actually push the button. That would be ridiculous.\"\n\n> Climbed the the robot\n\"The robot kicked the prince away with one well aimed...kick. The prince landed a few feet away in the bushes, but immediately stood up again. That's an important lesson, son. They can kick you down, but you have to get up again.\"\n\n> You throw the sword at the button\n(first taking the button)\nThat seemed to be a part of the robot.\n\n> Laughed\n\"Why did the prince do this, dad?\" \"Because, son, no matter how dire the circumstances, it's always important to keep on the sunny side of things.\"\n\n> Scream\n\"Aiiiiiiiiiiiiiiiiiiiiiiiiiiiieeeeeeeeeeeeeeee!\" Danny covers his ears.\n\nThe door opens, and Randa peeks in, and you stare sheepishly at the ground. \"I appreciate that you fellas are having fun\" she says, smirking motherly \"but keep it down, okay?\" She closes the door.\n\n> Xyzzy\nDanny says: \"A magic word implemented by Will Crowther in the original text adventure, known as \"Advent\" or \"Colossal Cave Adventure\", among other names. It was the first magic word the player encountered, and transported the player between two locations on incantation. It is now included in many current games as an homage. (cf) IfWiki.\"\n\n> Plugh\n\"Dad, you're mumbling.\"\n\n> You jump\n\"The prince jumped.\n\nThe robot jumped, landing with a *thud*. The bridge creaked ominously, but held.\"\n\n> Go upward\n\"The old, (once upon a time) sturdy wooden bridge had crossed the Clearwater River from east to west for as long as the prince could remember, and according to the stories, it had been there long before that, built when the kingdom was young. He fondly remembered hiding in the thick scrub below the bridge from his father's guards when he was but a boy. A small, almost invisible path lead down, under the bridge.\"\n\n\"A really dangerous looking tripedal robot stood on the bridge, casting the red light from his headpiece around threateningly.\"\n\n\"The prince could see a pebble here.\"\n\n> Took the inventory\nThe Prince was carrying:\na sword\n\n\"The robot looked down at itself, and then discovered it had no pockets.\"\n\n> You hit yourself\n(with the sword)\n\"The prince pointed the sword at himself and hit his chest lightly.\n\nThe robot raised one leg and punched himself in the headpiece. It staggered for a moment before it regained its composure.\n\n'Why is the bio-unit doing this? This hurts!'\"\n\n> You kill yourself with the sword\n\"The prince pointed the sword at himself and hit himself in the chest lightly.\n\nThe robot raised one leg and punched himself in the headpiece just as lightly.\n\"Wow dad, this robot learns fast!\"\n\n> Attack robot with sword\n\"The prince moved, drawing his sword, knowing that, the bigger they are, the lighter they fall.\"\nDanny sits up again, all excitement:\"But-but-but, Dad, the robot was nearly invincible! See, Captain Asteroyd even fired a polytron bomb at it! They had to modify one of the STARLIGHT's engine to build an anti-matter bomb which could destroy it. Do you see why Cute-Trance would set up such a thing as a guard? The prince has no way to get past it!\" You ruffle your hair, stumped.\n\n> Examine button\n\"There was a small, barely visible on/off button on the robot's headpiece.\"\n\n> You press the the button\nThe robot had better things to do.\n\n> You examine prince\n\"The prince was a strong and nimble young fellow, always polite to his elders and peers, a boon to his country and friends. And, contrary to what your mother said, he looked nothing like George Clooney.\"\n\n> Punch self\n(with the sword)\n\"The prince pointed the sword at himself and hit himself in the chest lightly.\n\nThe robot raised one leg and punched himself in the headpiece just as lightly.\n\"Wow dad, this robot learns fast!\"\n\n> You drop the sword then punch the self then get sword\nDropped.\n\n\"The robot held up one of its legs, then opened the claw at its end, then put the leg down again.\"\n\nI didn't understand that sentence.\n\n> Punch self\nWhat did The Prince want to punch himself with?\n\n> You check what you're carrying\nThe Prince was carrying nothing.\n\n\"The robot looked down at itself, and then discovered it had no pockets.\"\n\n> You get the sword\nTaken.\n\n\"The robot made a grabbing motion with one of his legs, carefully balancing on the other two. Then it stood on all three again.\"\n\n> Sat\n\"The prince sat.\n\nThe robot sat down as well.\n\nIts headpiece was still high out of reach above the prince.\n\nSo the prince stood back up.\"\n\n> Hugged the the robot\n\"As the prince approached the robot, it lowered it's head, blinding him with the red light. \"NO TRESPASSING! NO TRESPASSING! EXTERMINATION IMMINENT!\" Danny clutches your sleeve. \"Dad! The prince better be careful!\"\n\n> Layed down\n\"The prince lay down.\n\nThe robot folded its long legs gracefully, and, by lying down it placed headpiece near the prince.\n\n> Pushed the the button\nThe prince leapt forward and pressed the button. Instantly, the whole robot went limp, and CRASH! BOOM! ZAM! it collapsed into a big, metallic heap.\" Danny beams at you proudly. \"Captain Asteroyd never thought of that!\" You shrug nonchalantly.\n\nRanda opens the door, then peeks into the room. \"Sorry to interrupt you two, but the beginning of this game is over.\" \"But mooom -\" Danny begins to whine. \"Sorry, son, you know the rules. Only a short intro, that's why it's called IntroComp.\" Danny pulls up his blanket. \"Man, this is just not fair. Just as it was getting interesting\" Danny pouts. Randa pats you on the shoulder, as you get up to kill the light.\n\n\"Sorry, son. Maybe later.\""
    },
    {
        "text": "[Themes: Humor, Slice of Life]\n\nDash Slapney, Patrol Leader\n\nMan! You forgot about the Klondike Derby today! Your father banged on the door to get you up. There was a bunch of stuff you meant to study and pick up, but it's all helter-skelter now. Your Senior Patrol Leader also dropped some stuff off, too. Something about learning to get by, and it's not really cheating but memory aides. All the same, if you do too much of it, you'll get caught. He also explains that a leader prepares stuff beforehand and pretty much can just WAIT and bark out orders once it's all set.\n\nYou just showered, and now you only have a bit of time to grab stuff. Your SPL reckoned that you could win four of seven events in the Klondike Derby and slip by. Any more might be suspicious. Nothing against your leadership skills--just, your patrol's too young, and, well, brains-over-brawn.\n\nIt's kind of messy here. You probably don't want to look much at your desk or your bed. You probably should just grab what you can and get going before going outside.\n\nYou can see a roll call list, a Klondike Derby Itinerary, a bag of candy wrappers, a pocket trigonometric calculator, a can of Blue River soda (closed), a first aid cheat sheet, a small string of knots, a lashings log, and a techno wheels kit here.\n\n[Author's Note: You woke up late for the Klondike Derby you stand no chance of winning... unless you and your ragtag, undersized patrol can pull out a win with luck. And a bunch of items lying around your room.]\n\n> You look at the desk\nNothing fancy to do here--just take stuff and get out.\n\n> You get all\nA good scout doesn't bite off more than he can chew. One thing at a time!\n\n> You examine Derby\nYou glance over it for a refresher of the tasks you'll be doing. Thankfully there's nothing like building a big ol' pinata a bear can't reach overnight, or having to haul a fellow patrol member around.\n\n2 - Orienteering\n3 - Firestarting\n4 - First Aid Knowledge\n5 - Knot Tying\n6 - Rope Lashing\n7 - Sledding\n\n> You get the list\nYou don't need it. But you glance over it to remember who's who.\n\nIt's enough to remember your patrol members: Timmy Tines, the eighth grader in Trigonometry. Ted Banning, the science whiz who doesn't just get good grades but makes gadgets. Mikey Mims, annoying know it all--so annoying, people don't want to seem like they know less than he does. Fatty Potter, well, he's not good for much. He eats a lot, you guess.\n\nThere's a distinct lack of applied life skills here, but that just makes you plucky underdogs.\n\n> You get the bag\nTaken.\n\n> You examine the bag\nIt's a mess of second-rate candies partially ashamed of their wrappers. You got rid of the good stuff months ago, and the selection of weird hard candies and root beer barrels wasn't all that bad. Still, it's a mess...but wait, there're a few random ones left.\n\n> You examine sheet\nIt's got all the points of what to do to rescue people if things go wrong in the wilderness, which you're determined never to get close to once you leave Boy Scouts. It's terribly common-sensical when you're reading it but easy to forget once you're not. Still, you can remember everything for about two hours after, and it's also handily rippable so you can destroy the evidence, so to speak. And even if you don't remember, a gung-ho junior patrol member should be able to--or to embarrass you into remembering it.\n\n> You get the sheet\nYou already have that.\n\n> You get the log\nTaken.\n\nYou've got as much as you need, now.\n\nYou hope what you've got can win enough events. You stumble out to the assistant scoutmaster's van, and after a five-minute drive where everyone's subject to his harangue you heard before, you're dropped off at the pickup area. Your Klondike Derby sled is there and packed--it'll pass inspection. That's more due to your Senior Patrol Leader than you, but what the hey.\n\nA big BE PREPARED sign hovers in the large three-quarters log cabin where troops must register. It seems like a pretty serious hint to hand out assignments before you get going. There may not be time when you are on the trail."
    },
    {
        "text": "[Themes: Humor, Slice of Life]\n\n> Look around\nThere's not much to do here except register, if that big REGISTER sign next to the BE PREPARED sign means anything. Well, you could wait around until a scoutmaster horse collars you and makes you register.\n\nYou can see Ted Banning, Fatty Potter, Mikey Mims, and Timmy Tines here.\n\n> You examine ted\nSurly, with a touch of acne...he's rather skinny but the puffy coat he's wearing hides that.\n\n> Inventory\nYou are carrying:\na lashings log\na first aid cheat sheet\na small string of knots\na bag of candy wrappers\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> You give the log to Ted\n\"Whoah. That's something I've always been a little confused about.\"\n\n> You give the wrappers to Potter\n\"Whoah! Candy! Sucky candy but I could eat about anything right now.\" He can, and he does, before thoughtlessly tossing the mass of plastic on the ground. \"Say! I got an idea! I--I didn't mean to do this, but it's litter now.\"\n\n> You examine log\nIt's a log, foot long and three inches thick, with the various lashings on it. They look simpler than knots, but the effort in cinching them makes you lose your stream of thought. Might get the lashings confused with the knots, though.\n\n> You give the log to Mims\nHe looks at it, nods, and finds about ten different ways to say \"of course,\" none particularly pleasant. Then he finds ten different ways to show everyone why things should work--he divides up the tasks, a couple hitches per person, and you're surprised how quick it all is. You think you delegated effectively. Mikey slips the log inside his coat (weird pockets there) so nobody accuses anyone of cheating.\n\n> Inventory\nYou are carrying:\na first aid cheat sheet\na small string of knots\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> Sing\nYour singing is abominable.\n\n> You give the cheat sheet to Ted\nTed Banning studies the cheat sheet and starts convincing the rest of your patrol that you'd have to be dumb not to figure this out quickly. He's surprisingly persuasive, and motivated by not wanting to get left behind, you go along too. You've been shown it all before, and you're not liable to forget it, and you think you can remember to be decisive and all that. Ted disposes of the cheat sheet--won't do to get caught with it.\n\n> Doff uniform\nYou'll have to wear it til the Klondike Derby ends.\n\n> You give the uniform to Timmy\n(first taking your scout uniform off)\nYou'll have to wear it til the Klondike Derby ends.\n\n> You check what you're carrying\nYou are carrying:\na small string of knots\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> You give the coat to Timmy\n(first taking the warm coat off)\nYou shoulda put in on just before leaving, yeah, but you didn't. Enough time wasted already.\n\n> You look at Timmy\nHe only failed to skip a grade because he was born at the tail-end of acceptance to kindergarten, so he's the shortest kid here. You wonder what he's doing in scouts, or why. You remember an argument he had with his mother about getting Eagle Scout the summer before college. He's wearing a wool hat with a \"MATH\" patch shaped like the \"LOVE\" sculpture.\n\n> You look at the knots\nThey're all the knots you need to know, and sensibly organized, too. But it's still quite possible to mess them up without a refresher. Knots are weird. There're only so many ways rope can go over itself and back, so you should be able to remember them, but there're even more granny knots.\n\n> You give the plastic to Timmy\nActually, you don't need to do much more than sit and wait. No need for fancy stuff. Maybe give patrol members items they might find useful.\n\n> You sit\nWhat do you want to sit on?\n\n> About yourself\nYou're wearing your scout uniform and a warm coat over that.\n\n> Xyzzy\nThere's no magic in Scouting, Dash. If you wanted to fear the cold, stay indoors and play a computer game, you made the wrong choice.\n\n> You check what you're carrying\nYou are carrying:\na small string of knots\na warm coat (being worn)\nyour scout uniform (being worn)"
    },
    {
        "text": "[Themes: Humor, Slice of Life]\n\n> Look around\nThere's not much to do here except register, if that big REGISTER sign next to the BE PREPARED sign means anything. Well, you could wait around until a scoutmaster horse collars you and makes you register.\n\nYou can see Ted Banning, Fatty Potter, Mikey Mims, and Timmy Tines here.\n\n> Register\n\"Inspection time!\"\nThe scout leader inspects your sled and gives it the thumbs-up. He explains that you will be competing against the Beastie Boys, WWF, Camel and Ninja Turtles patrols. You won't know what order your events are in 'til you get there. A scout needs to be prepared for this sort of thing.\n\nThis meadow lives up to its name. You were assigned this at random, while other patrols got Trash Trail, Cluttered Creek and Junk Gully. Hope you can pick up trash.\n\n> You get the Trash\nActually, you don't need to do much more than sit and wait. No need for fancy stuff. Maybe give patrol members items they might find useful.\n\n> You sit\nWhat do you want to sit on?\n\n> You wait\nYour patrol starts combing through Litterbug Meadow. You don't dump the candy wrappers in your trash sack all at once, of course. In fact, you have Fatty split them up so everyone gets some candy wrappers. It's enough to put you over the top.\n\nA lot of trees block your way here, but apparently you should be able to slip through them to find the landmarks you need to.\n\n> Wait\nYou get the feeling that with someone like Timmy, you should've done better than you did, but you left the calculator at home. But you wind up wandering, and with a wobbly compass \"guided\" by some metal bits you all forgot you had, you never really had a chance.\n\nIn this small cabin, you see a poster with a bunch of names of knots, presumably ones you need to tie.\n\n> Wait\nThere should be a lose message here, but there isn't.\n\nBleah. There's been no snow, so there're still smashed stalks of straw that didn't get cleared for the summer harvest. But actually, that might be a break--you'd have stood no chance if it was about pushing your sled.\n\n> You wait\nYou're not sure what Ted did with the wheels, and you're not sure if it's legal for the competition or in general. But ot works. The wheels seem to cut through the solid ground, and the sled darned near to hydroplanes to victory. The big kids can't believe it!\n\nThis is a small clearing with a circle of rocks where your nascent fire will, hopefully, go.\n\n> You check what you're carrying\nYou are carrying:\na small string of knots\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> Wait\nYou do okay, you suppose, or you would've if you'd been allowed to use more than five matches. You have decent enough kindling, but despite blowing, all you can say is that it worked in theory.\n\nThis is a small gully with various dummies and staged accidents. A scoutmaster is watching and taking notes.\n\n> You examine the dummies\nActually, you don't need to do much more than sit and wait. No need for fancy stuff. Maybe give patrol members items they might find useful.\n\n> You wait for a while\nTed had enough time to study and yell what to do. He whispers some stuff to you so it looks like you're delegating and listening equally well. Everything goes off without a hitch.\n\nThis is a small clearing with a rope bridge that is pretty scary despite not being over a cavern.\n\n> You wait awhile\nThere should be a win message here, but there isn't.\n\nYou've made it to the end of the Klondike Derby and won 3 events!\n\nSadly, it wasn't enough to avoid the shame of being dead last. A close dead last, but dead last nonetheless. It's the sort of excuse you wanted, to get around to quitting scouting without guilt, but on the other hand, you sort of want redemption.\n\n|TRAS|ORIEN|KNOT|SLED|FIRE|1AID|LASH|TOTAL\nBeastie Boys   | 40 | 50 | 40 | 30 | 20 | 30 | 10 |220\nCamels         | 30 | 20 | 50 | 40 | 30 | 10 | 20 |200\nNinja Turtles  | 20 | 30 | 20 | 20 | 50 | 40 | 30 |210\nWWF            | 10 | 40 | 30 | 50 | 40 | 20 | 40 |230\nSmurfs         | 50 | 10 | 10 | 10 | 10 | 50 | 50 |190\n\n> You get the wheels\nTaken.\n\n> You examine the soda\nIt advertises the cleanliness of Blue River, wherever that is, in a blue raspberry-flavored concoction which can't be natural. You bought a six-pack a month ago, at a huge discount. You couldn't stomach this last one, but it's still shiny and polished. You look at the bottom of the can for an expiration date, and somehow, a reflection of the sunlight from the window hits you in the eyes. At least it wasn't concentrated in one place.\n\n> You examine the wheels\nYou got this for Christmas last year from your grandparents but never used it. It has a bunch of parts you don't understand how they fit together, and you suspect you never will.\n\n> You check your inventory\nYou are carrying:\na first aid cheat sheet\na pocket trigonometric calculator\na bag of candy wrappers\na techno wheels kit\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> Wait\n\"Inspection time!\"\n\"No food or drink on the trail, scouts. Especially junk food.\" The adult leader checking you in takes your candy!\nThe scout leader inspects your sled and gives it the thumbs-up. He explains that you will be competing against the Beastie Boys, WWF, Camel and Ninja Turtles patrols. You won't know what order your events are in 'til you get there. A scout needs to be prepared for this sort of thing.\n\nBleah. There's been no snow, so there're still smashed stalks of straw that didn't get cleared for the summer harvest. But actually, that might be a break--you'd have stood no chance if it was about pushing your sled.\n\n> You give the wrappers to Potter\n\"Whoah! Candy! Sucky candy but I could eat about anything right now.\" He can, and he does, before thoughtlessly tossing the mass of plastic on the ground. \"Say! I got an idea! I--I didn't mean to do this, but\n\n> You give the candy to Fatty\nit's litter now.\"\n\nActually, you don't need to do much more than sit and wait. No need for fancy stuff. Maybe give patrol members items they might find useful.\n\n> You wait\n\"Inspection time!\"\nThe scout leader inspects your sled and gives it the thumbs-up. He explains that you will be competing against the Beastie Boys, WWF, Camel and Ninja Turtles patrols. You won't know what order your events are in 'til you get there. A scout needs to be prepared for this sort of thing.\n\nA lot of trees block your way here, but apparently you should be able to slip through them to find the landmarks you need to.\n\n> Inventory\nYou are carrying:\na first aid cheat sheet\na pocket trigonometric calculator\na techno wheels kit\na warm coat (being worn)\nyour scout uniform (being worn)"
    },
    {
        "text": "[Themes: Slice of Life, Humor]\n\n> Look around\nA lot of trees block your way here, but apparently you should be able to slip through them to find the landmarks you need to.\n\nYou can see Fatty Potter, Ted Banning, Timmy Tines, and Mikey Mims here.\n\n> You look at Timmy\nHe only failed to skip a grade because he was born at the tail-end of acceptance to kindergarten, so he's the shortest kid here. You wonder what he's doing in scouts, or why. You remember an argument he had with his mother about getting Eagle Scout the summer before college. He's wearing a wool hat with a \"MATH\" patch shaped like the \"LOVE\" sculpture.\n\n> You give the calculator to Timmy\n\"Hey! Yeah! That's a lot easier than using a fiddly old compass and whatnot!\" Timmy snatches the calculator and begins to tap away, given the instructions and rotations and so forth. He coordinates it to the map and it's pretty clear about where you'll wind up, where you're going, and so forth. Timmy obviously needs to keep the calculator so there's no way you can lose.\n\n> You wait\nTimmy's worked it all out. You know where to go, and when you're off a bit, the landmarks that the organizers laid out are pretty clear. It's a snap. Full points for the Smurf patrol!\n\nThis is a small gully with various dummies and staged accidents. A scoutmaster is watching and taking notes.\n\n> You look at what you're carrying with you\nYou are carrying:\na first aid cheat sheet\na techno wheels kit\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> You read the sheet\nIt's got all the points of what to do to rescue people if things go wrong in the wilderness, which you're determined never to get close to once you leave Boy Scouts. It's terribly common-sensical when you're reading it but easy to forget once you're not. Still, you can remember everything for about two hours after, and it's also handily rippable so you can destroy the evidence, so to speak. And even if you don't remember, a gung-ho junior patrol member should be able to--or to embarrass you into remembering it."
    },
    {
        "text": "> You look around\nThis is a small gully with various dummies and staged accidents. A scoutmaster is watching and taking notes.\n\nYou can see Fatty Potter, Ted Banning, Timmy Tines, and Mikey Mims here.\n\n> You examine ted\nSurly, with a touch of acne...he's rather skinny but the puffy coat he's wearing hides that.\n\n> You look at Mikey\nHe's got a sly leer behind these glasses, but it's more looking for prey to outsmart than to molest.\n\n> You look at Tines\nHe only failed to skip a grade because he was born at the tail-end of acceptance to kindergarten, so he's the shortest kid here. You wonder what he's doing in scouts, or why. You remember an argument he had with his mother about getting Eagle Scout the summer before college. He's wearing a wool hat with a \"MATH\" patch shaped like the \"LOVE\" sculpture.\n\n> You give the sheet to Mikey\nNah, that's too practical for him. He'd take too long to learn it, and he couldn't share it.\n\n> You give the sheet to Ted\nThat'd be like pulling out a cheat sheet during a test.\n\n> Wait\nWell, you get credit for trying, but unfortunately, that's only about ten percent. Every fifty-fifty choice you make seems to go against you, and of course it makes sense when it's explained--too late for you to do anything.\n\nThis is a small clearing with a rope bridge that is pretty scary despite not being over a cavern.\n\n> Y.\nDash Slapney, Patrol Leader\n\nMan! You forgot about the Klondike Derby today! Your father banged on the door to get you up. There was a bunch of stuff you meant to study and pick up, but it's all helter-skelter now. Your Senior Patrol Leader also dropped some stuff off, too. Something about learning to get by, and it's not really cheating but memory aides. All the same, if you do too much of it, you'll get caught. He also explains that a leader prepares stuff beforehand and pretty much can just WAIT and bark out orders once it's all set.\n\nYou just showered, and now you only have a bit of time to grab stuff. Your SPL reckoned that you could win four of seven events in the Klondike Derby and slip by. Any more might be suspicious. Nothing against your leadership skills--just, your patrol's too young, and, well, brains-over-brawn.\n\nIt's kind of messy here. You probably don't want to look much at your desk or your bed. You probably should just grab what you can and get going before going outside.\n\nYou can see a roll call list, a Klondike Derby Itinerary, a bag of candy wrappers, a pocket trigonometric calculator, a can of Blue River soda (closed), a first aid cheat sheet, a small string of knots, a lashings log, and a techno wheels kit here.\n\n> You get the aid sheet and the calculator and the can and the wrappers\nfirst aid cheat sheet: Taken.\n\npocket trigonometric calculator: Taken.\n\ncan of Blue River soda: Taken.\n\nbag of candy wrappers: Taken.\n\nYou've got as much as you need, now.\n\nYou hope what you've got can win enough events. You stumble out to the assistant scoutmaster's van, and after a five-minute drive where everyone's subject to his harangue you heard before, you're dropped off at the pickup area. Your Klondike Derby sled is there and packed--it'll pass inspection. That's more due to your Senior Patrol Leader than you, but what the hey.\n\nA big BE PREPARED sign hovers in the large three-quarters log cabin where troops must register. It seems like a pretty serious hint to hand out assignments before you get going. There may not be time when you are on the trail.\n\n> You give the wrappers to Potter\n\"Whoah! Candy! Sucky candy but I could eat about anything right now.\" He can, and he does, before thoughtlessly tossing the mass of plastic on the ground. \"Say! I got an idea! I--I didn't mean to do this, but it's litter now.\"\n\n> You open can\nNah, it's too nasty. The rest of the six-pack was enough.\n\n> You give the sheet to Ted\nTed Banning studies the cheat sheet and starts convincing the rest of your patrol that you'd have to be dumb not to figure this out quickly. He's surprisingly persuasive, and motivated by not wanting to get left behind, you go along too. You've been shown it all before, and you're not liable to forget it, and you think you can remember to be decisive and all that. Ted disposes of the cheat sheet--won't do to get caught with it.\n\n> You give the calculator to Mims\n\"I'm not the Math Guy. Timmy is. Duh.\"\n\n> You give the calculator to Timmy\n\"I know, I know, I'm a math guy. What's that got to do with what we're doing NOW?\"\n\n> You give the can to Potter\n\"Oh, man! Haven't had one of these for a while.\" He guzzles it down and wipes his mouth. Then he hands you back the empty can. Well, at least it won't get confiscated as outside food, now.\n\n> You give the can to Mims\n\"No way, Dash! That's disgusting. Even Fatty might not drink it.\"\n\n> Examine can\nIt advertises the cleanliness of Blue River, wherever that is, in a blue raspberry-flavored concoction which can't be natural. You bought a six-pack a month ago, at a huge discount. You couldn't stomach this last one, but it's still shiny and polished. You look at the bottom of the can for an expiration date, and somehow, a reflection of the sunlight from the window hits you in the eyes. At least it wasn't concentrated in one place.\n\n> Examine can\nIt advertises the cleanliness of Blue River, wherever that is, in a blue raspberry-flavored concoction which can't be natural. You bought a six-pack a month ago, at a huge discount. You couldn't stomach this last one, but it's still shiny and polished. You half-heartedly try to shine the can in your eyes again, but there's probably some weird mathematical formula behind it.\n\n> You give the can to Timmy\n\"No way, Dash! That's disgu...\" ... Timmy takes a closer look at it and realizes it might be handy for focusing light at the vertex of the parabola. The can's his now.\n\n> You check your inventory\nYou are carrying:\na pocket trigonometric calculator\na warm coat (being worn)\nyour scout uniform (being worn)\n\n> Wait\n\"Inspection time!\"\nThe scout leader inspects your sled and gives it the thumbs-up. He explains that you will be competing against the Beastie Boys, WWF, Camel and Ninja Turtles patrols. You won't know what order your events are in 'til you get there. A scout needs to be prepared for this sort of thing.\n\nThis is a small gully with various dummies and staged accidents. A scoutmaster is watching and taking notes.\n\n> Wait\nTed had enough time to study and yell what to do. He whispers some stuff to you so it looks like you're delegating and listening equally well. Everything goes off without a hitch.\n\nBleah. There's been no snow, so there're still smashed stalks of straw that didn't get cleared for the summer harvest. But actually, that might be a break--you'd have stood no chance if it was about pushing your sled.\n\n> You wait awhile\nYou're not sure what Ted did with the wheels, and you're not sure if it's legal for the competition or in general. But ot works. The wheels seem to cut through the solid ground, and the sled darned near to hydroplanes to victory. The big kids can't believe it!\n\nA lot of trees block your way here, but apparently you should be able to slip through them to find the landmarks you need to.\n\n> You give the calculator to Timmy\n\"Hey! Yeah! That's a lot easier than using a fiddly old compass and whatnot!\" Timmy snatches the calculator and begins to tap away, given the instructions and rotations and so forth. He coordinates it to the map and it's pretty clear about where you'll wind up, where you're going, and so forth. Timmy obviously needs to keep the calculator so there's no way you can lose.\n\n> Wait\nTimmy's worked it all out. You know where to go, and when you're off a bit, the landmarks that the organizers laid out are pretty clear. It's a snap. Full points for the Smurf patrol!\n\nIn this small cabin, you see a poster with a bunch of names of knots, presumably ones you need to tie.\n\n> Wait\nThere should be a lose message here, but there isn't.\n\nThis is a small clearing with a rope bridge that is pretty scary despite not being over a cavern.\n\n> You wait a while\nThere should be a lose message here, but there isn't.\n\nThis meadow lives up to its name. You were assigned this at random, while other patrols got Trash Trail, Cluttered Creek and Junk Gully. Hope you can pick up trash.\n\n> Wait\nYour patrol starts combing through Litterbug Meadow. You don't dump the candy wrappers in your trash sack all at once, of course. In fact, you have Fatty split them up so everyone gets some candy wrappers. It's enough to put you over the top.\n\nThis is a small clearing with a circle of rocks where your nascent fire will, hopefully, go."
    },
    {
        "text": "[Themes: Horror, female protagonist, MIT, Lovecraftian]\n\nI was driving home when the storm front hit me. I have never seen such rainfall. I could barely see the headlights, and only flashes of lightning gave me brief glimpses of the road ahead so I could prevent the car from swerving off the road.\n\nThe GPS lost the signal and at some point I must have taken a wrong turn, for I was soon in an unpaved road I wasn't familiar with. The tires skid on the dirt that was quickly turning into deeper and deeper mud, and I knew stopping now would most likely mean getting hopelessly stuck.\n\nThe road ended in the yard of a large and old house. I was trying to turn the car around when it stopped in a puddle in the middle of the driveway.\n\nHugo v3.1 / Library 31031\nType HOWTO for instructions, ABOUT for more information or CREDITS\nfor full credits.\n\nMansion Courtyard, in the car\nThe mansion was old, built perhaps in the 19th century. It seemed to be relatively well-kept, not counting a few missing roof tiles, rusty rain gutters about to fall apart and the need for a new layer of paint.\n\nThe GPS was still offline and the car was stuck in the muddy driveway.\n\nThe front entrance was near, right outside the car.\n\n[Author's Note: A stormy night. An old mansion. And the woman keeps calling me Elizabeth.]"
    },
    {
        "text": "[Themes: Horror]\n\n> Inventory\nI was carrying the business clothes (being worn) and a cell phone.\n\n> You examine the car\nThe car was hopelessly stuck. I needed a tow truck.\n\n> You examine the business clothes\nI was wearing straight pants and a short jacket.\n\n> Leave\nI got out of the car and ran to the porch. The spurt couldn't have taken more than five seconds but I was already soaking wet from the pouring rain and my shoes dirty with mud.\n\nkeep the rainfall out. The rain was still slashing against me and several times gusts of wind almost knocked me over.\n\nThe front door was closed and I couldn't see a doorbell.\n\n> You knock on the door\nAt first there was no answer. I knocked again, and after a while a small older woman opened the door.\n\n\"Yes, dear?\"\n\n(I could have asked her about the mansion, herself, or using a phone; or told her about myself, the car or the storm.)\n\n> You ask the old woman about the the Mansion\n\"I'm very sorry to come knocking at your door so unexpectedly. This is quite a mansion you have here. Are you the lady of the house?\"\n\n\"I am she,\" she replied briefly.\n\n> You ask the woman about the Mansion\n\"You rarely see houses like this,\"\n\nShe looked impatient. \"Our home is not open for tourists, young lady.\"\n\n\"Oh no, I didn't mean to imply...\" I stuttered.\n\n> You ask her about herself\n(assuming you meant the old woman)\n\"My name is Lauren. Whom do I have the honour to address?\"\n\nShe had a puzzled look on her face. \"Lauren? I don't think we know a Lauren.\"\n\n> You tell her about the the car\n(assuming you meant the old woman)\n\"Sorry to bother you at this hour, but the weather caught me off guard and my car is stuck in your driveway,\" I said.\n\n\"I see,\" she said without changing expression.\n\n> You ask the woman about the phone\n\"If you have a landline, I'd like to borrow your phone to call a tow truck or a taxi so I could get home. My cell phone has no reception here.\"\n\nShe looked at me from head to toe and seemed to sharpen up. \"Yes, I suppose we can't leave you there in the rain. Please do come in.\"\n\nShe took a step back inside the mansion and held the door open for me.\n\n> Go inside\nThe house looked like something out of a Jane Austen book. The furniture was antique, or at least very skillfully made replicas. The air was heavy and smelled of dust. It must had been a while since the room had been properly cleaned.\nThere was a phone on a side table.\n\nThe old woman sat down on one of the chairs. \"Oh dear, you're quite wet,\" she said. \"I wonder if...\"\n\nShe looked conflicted for a while. \"Yes, Elizabeth's clothes should fit you. Perhaps you could go upstairs and change into something dry. It's the second door to the left.\"\n\n> You look at phone\nWhich phone do you mean, the telephone or the cell phone?\n\n> You examine the telephone\nAlthough the dark red colour of the landline phone matched the decor it still looked out of place here.\n\n> You call tow truck\nThe landline was dead. Not even a dial tone.\n\n> You ask the lady about the phone\n\"Please, dear, you're dripping water all over our carpet,\" she said. \"Go upstairs and change and we'll talk.\"\n\n> Go upwards\nI walked up the creaking stairs.\n\nThe hallway was decorated with yellowing wallpaper and a carpet that had already seen its best days. I could have went in to the bedroom as the old lady had instructed or back down to the living room.\n\n> Go inside\nThe room seemed to belong to a teenaged girl, although it was very ascetic. There was a simple bed, a dressing table, and a bookshelf with assorted novels.\nA massive wardrobe was standing on the wall opposite the window.\n\n> You look at the wardrobe\nThe wardrobe looked massively heavy. It was made of thick, dark wood.\n\n> You open wardrobe\nOpened.\n\nHanging inside the wardrobe was a row of dresses.\n\n> You examine the dresses\nIt was almost as if no-one had opened the wardrobe in several decades. The dresses were all old-fashioned and conservative with subdued colors. They were dusty but otherwise clean.\n\nCreeeeeeeeeeeek.\n\n> You remove the clothes\nI got out of my soaked clothes. The wet fabric kept clinging to my skin and left me shivering.\n\n> You get the dress\nI looked through the dresses in the wardrobe and picked a plain brown one that was the least obviously old-fashioned. I tried to brush most of the dust away and then put it on. I didn't feel comfortable wearing other people's socks so I decided to go barefoot.\n\nThe dress fit me quite well, although it was perhaps a bit too big. I tried to force myself not to feel self-conscious and rather be happy to have something dry to wear.\n\n> You leave\nThe hallway was decorated with yellowing wallpaper and a carpet that had already seen its best days. I could have went in to the bedroom as the old lady had instructed or back down to the living room."
    },
    {
        "text": "[Themes: Horror, MIT]\n\n> Go downward\nThe house looked like something out of a Jane Austen book. The furniture was antique, or at least very skillfully made replicas. The air was heavy and smelled of dust. It must had been a while since the room had been properly cleaned.\nThe old woman was sitting on a chair, watching me.\nThere was a phone on a side table.\n\nWhen I walked down the stairs it seemed like the old woman's gaze was glassy and she was looking through me.\n\n\"Oh there you are, Elizabeth. Your father and I have missed you.\"\n\nBefore I had time to say anything over my surprise, the lights went out. The woman walked carefully by the mantel, picked up a box of matches and started to light candles around the room. She passed one of the candles to me.\n\n\"Could you be a dear and go see your father upstairs, Elizabeth? He always knew what to do in situations like this. He should be in the study. The door is right across the stairs, you remember that.\"\n\n(I could have asked her about Elizabeth, father, using the telephone, or electricity; or told her about myself.)\n\n> You tell her about myself\n(assuming you meant the old woman)\n\"I'm not Elizabeth. Who's Elizabeth?\"\n\n\"Oh Elizabeth, stop fooling around,\" she replied with a weak smile.\n\n> You ask her about using the the telephone\n(assuming you meant the old woman)\n\"Can I use the telephone, please?\"\n\n\"Do you want to call your friends, Elizabeth? Although I think the weather has cut the phone lines.\"\n\n> You ask the woman about Elizabeth\n\"I'm not Elizabeth. Who's Elizabeth?\"\n\n\"Oh Elizabeth, stop fooling around,\" she replied with a weak smile.\n\n> You ask her about the electricity\n(assuming you meant the old woman)\n\"Do these power outages happen often?\" I asked.\n\n\"Oh, not very often, not at all,\" she said. \"But it's all right, your father is prepared for everything.\"\n\n> You ask the woman about the father\n\"I'm sorry, did you say my \"father\"?\"\n\n\"Don't worry, your father will know what to do,\" she just said.\n\n> Scream\nIt was a desperate situation, but I managed to keep my emotions in check.\n\n> Go upwards\nI was back upstairs, and the door leading inside the study was right in front of me.\n\n> You enter\nThe door was locked.\n\n> You examine door\nStudy door looked just like I expected.\n\n> You knock on the door\nI knocked on the door, and almost immediately an old man opened it. He was grey as ashes, just like the woman, but while she was lethargic, he was jitterish and full of energy.\n\n\"Yes, what is it? Who are you? It doesn't matter, the power's out again and I'm at a very delicate phase right now. Be a sport and go downstairs to the cellar and turn on the diesel generator.\"\n\nBefore I had time to say anything he slammed the door shut."
    },
    {
        "text": "[Themes: Horror]\n\n> Go downward\nThe house looked like something out of a Jane Austen book. The furniture was antique, or at least very skillfully made replicas. The air was heavy and smelled of dust. It must had been a while since the room had been properly cleaned.\nThe old woman was sitting on a chair, watching me.\nThere was a phone on a side table.\n\n\"So, what did your father say?\" the old woman said.\n\n\"He said to turn on the generator. And he's not my father, lady. Where's the cellar?\"\n\nShe glanced at a door next to the staircase, which must lead down to the cellar. \"You were always warned not to go to the cellar, weren't you, Elizabeth? Remember, when you were young?\""
    },
    {
        "text": "[Themes: Horror, female protagonist]\n\n> Describe the surroundings\nThe house looked like something out of a Jane Austen book. The furniture was antique, or at least very skillfully made replicas. The air was heavy and smelled of dust. It must had been a while since the room had been properly cleaned.\nThe old woman was sitting on a chair, watching me.\nThere was a phone on a side table.\n\n> You look at lady\nThe woman was small and frail, and her thin face was grey as dust. She was wearing an old-fashioned grey dress that the aristocracy would have worn a hundred years ago.\n.\n\n> Down\nThe cellar had apparently been used as a wine cellar. The shelves\nwere empty now. Water was trickling down to the floor but there didn't seem to be immediate danger of flooding.\nOtherwise the space was dominated by a large diesel generator.\n\n> Examine generator\nIt looked similar to what my grandparents had in their farm, except this was much bigger. It was probably large enough to provide electricity to the whole mansion, and to the neighbouring houses as well.\n\n> You switch on generator\nI turned the generator on. After some coughing and wheezing its engine started running and lights flickered on in the cellar.\n\n> Go upward\nThe house looked like something out of a Jane Austen book. The furniture was antique, or at least very skillfully made replicas. The air was heavy and smelled of dust. It must had been a while since the room had been properly cleaned.\nThe old woman was sitting on a chair, watching me.\nThere was a phone on a side table.\n\nThe lights were on in the living room, so I put the candle down on a table.\n\n> You talk to the woman\nThe old woman was listening.\n\n> You ask the woman about the electricity\n\"Do these power outages happen often?\" I asked.\n\n\"Oh, not very often, not at all,\" she said. \"But it's all right, your father is prepared for everything.\"\n\n> You call for the help\nThe landline was dead. Not even a dial tone.\n\n> You ask the woman about the father\n\"I'm sorry, did you say my \"father\"?\"\n\n\"Don't worry, your father will know what to do,\" she just said.\n\n> Go inside\nBookshelves lined the walls, full of books that had titles in languages I didn't recognize. Behind a mahogany writing desk, filled with books, papers and parchments, sat an old man, frevently writing on a notepad or looking up something from the books.\nA curious machine was embedded in one of the walls.\nHeavy curtains covered the windows.\nThe old man was sitting behind the desk, scribbling on a notepad.\n\n\"It's you,\" he said as he noticed me. \"Now who did you say you were again? You must excuse me, I'm very busy with the experiment.'\"\n\n(I could ask him about the woman, Elizabeth, or the experiment; or tell him about the generator, myself, or the storm.)\n\n> You look at the machine\nThe machine was a jumbled mess of wood, iron, leather and brass. Pipes and wires were strewn across the contraption, connected to meters that didn't say anything meaningful.\n\n> You ask him about the the woman\n(assuming you meant the old man)\n\"Why is the woman downstairs insisting that I'm Elizabeth? Who is she anyway?\"\n\nSuddenly he looked very melancholic. \"Oh, Elizabeth... She was our daughter. She died too young, and my wife has been... ill ever since.\" He pauses to wipe his eye with a handkerchief. \"But when we moved to this house and when I discovered this library, there's hope! We will soon be together again!\"\n\n> You ask him about machine\n(assuming you meant the old man)\n\"Uh... what exactly are you doing here?\" I asked carefully. There was obviously something not quite right here.\n\n\"This, my lady, is how I will bring back my dear Elizabeth!\" His eyes gleamed with crazy. \"I found these books, and the incantations...\"\n\n> You ask him about Elizabeth\n(assuming you meant the old man)\n\"I think your wife needs professional help,\" I said.\n\n\"Help? She needs Elizabeth back!\" he exclaimed. \"I'm so close... so close...\"\n\n> You ask him about the phone\n(assuming you meant the old man)\nWhich exactly do you mean, the cell phone or using the phone?\n\n> You tell him about the the generator\n(assuming you meant the old man)\n\"I managed to turn on the generator.\"\n\n\"Yes, I noticed. Thank you,\" he replied.\n\n> You tell him about myself\n(assuming you meant the old man)\n\"I'm here only by chance,\" I explained. \"My car got stuck in the mud..\"\n\n\"Yes, yes,\" he interrupted. \"As long as you don't bother my experiment, I don't really care.\"\n\n> You tell him about the storm\n(assuming you meant the old man)\n\"There's a huge storm outside! It... doesn't feel natural,\" I said.\n\n\"I have no time for small talk about the weather young lady,\" he replied.\n\n> You ask the man about the experiment\n\"Uh... what exactly are you doing here?\" I asked carefully. There was obviously something not quite right here.\n\n\"This, my lady, is how I will bring back my dear Elizabeth!\" His eyes gleamed with crazy. \"I found these books, and the incantations...\"\n\n> You examine the curtains\nThe curtains were heavy and thick, blocking all light.\n\n> You open the curtains\nI opened the heavy satin curtains and saw that they were covering not a window but glass doors to a balcony. Behind the doors was a view that on any other day would have been a magnificent sight. Only now I realised that the house was on a high hill that overlooked London which, at the moment, was in the midst of what seemed like a hurricane.\n\nEntire city blocks were on fire. There were no lights on in the city, only lightning and the fires revealed the horrifying scene.\n\nThe clouds above the city were moving in disturbing patterns. Something was out there, about to emerge form the darkness.\n\n(I could tell the old man about London.)\n\n> You tell man about the london\n\"Look at what's happening to the city! Curse your damned experiments!\"\n\nHe raised his head to view the scene. He looked at London in disbelief and he seemed to experience a brief moment of sanity.\n\n\"No... It's impossible! Did I write the wrong glyphs... or was the voltage too high? Or...\"\n\n\"What's happening here? What is this storm?\"\n\n\"I... all I wanted was to bring Elizabeth back... You mustn't judge me! Something has went terribly wrong,\" he cried.\n\nHe rummaged through a box next to the apparatus and pulled out a small axe. \"We must end this now! Here, take this hatchet and climb to the roof. I've set up an antenna there that broadcasts the subspatial messages. I can't stop it from here, you must cut down the antenna to make this right.\"\n\n\"What? I don't...\" I tried to protest, but he shoved the hatchet to me. \"Go! Now!\"\n\n> You examine the hatchet\nThe axe was small and slightly rusty, with ornate carvings in the blade."
    },
    {
        "text": "[Themes: Horror]\n\n> You describe your surroundings\nBookshelves lined the walls, full of books that had titles in languages I didn't recognize. Behind a mahogany writing desk, filled with books, papers and parchments, sat an old man, frevently writing on a notepad or looking up something from the books.\nA curious machine was embedded in one of the walls.\nA view of London is visible through the balcony door.\n\n> Go outside\nThe balcony was made of white marble. Rain fell on it from the roof like from a waterfall.\nAn iron ladder led up to the roof.\n\nSoon after closing the balcony doors behind me I heard a bang from inside the mansion.\n\n> Go inside\nI looked in through the balcony doors and saw the old man lying on the floor, with a revolver in his hand. He had taken his own life.\n\nI couldn't bring myself into returning inside the house. I had to stop this madness.\n\n> Go upward\nI climbed past the gutter and saw what must have been the antenna, a gnarled wooden staff, on top of the roof's ridge. The rain was pouring down in torrents and staying on the steps took all my effort.\n\nClambering up to the antenna I glanced behind me and saw horrifying a dark mass was emerging from the storm clouds over London; it was larger than the city itself, and revealed more of itself every second as it descended from the skies. Even the light from lightning would not penetrate the total blackness of its form. Only its grotesque shape could be seen as a silhouette against the dark sky.\n\nAn overwhelming sense of dread and despair overcame me. I screamed, screamed until my lungs were empty of air.\n\n> Scream\nAnd I did scream. I screamed my mind empty of thoughts that once were human but now claimed by the Devourer, the Destroyer, the god of Despair.\n\n(U)NDO your last turn, or (Q)UIT?\n\nEnter (R)ESTART, R(E)STORE, (U)NDO, or (Q)UIT:\n\n> You hit the antenna\nI struck the antenna with the axe once, twice, three times. It broke and fell down the roof, but it was naive to think it would have had any effect. Was it even the old man who had summoned the Devourer into this world?\n\nIt mattered not: the damage was done, and nothing could stop the inevitable. I laughed at the foolishness of my efforts, I laughed when the rain swept me off the roof and into the merciful hands of Death."
    },
    {
        "text": "[Themes: golf, political, economy, barbarian, bird, casino, ogre, cow, fantasy]\n\nAfter the magical wall was erected around the kingdom, the cost of farm labor skyrocketed as workers from the enchanted forest and fairy prairie were no longer able to cross the border to find jobs. You and your mom were squeaking by until she became sick. Unable to afford insurance, you have had to sell off your assets one by one to keep the farm going.\n\nNow you are down to your final cow, good old Bessy.\n\nNot much is left of the farm, just the tumble down shack you call home and an old stable. The town is off to the west.\n\nBessy the cow anxiously chews her last wad of cud.\n\n[Author's Note: Caught in an economic downturn, can Jack leverage his starving cow and climb the economic ladder?]\n\n> You check your inventory\nYou are empty-handed.\n\n> You take the cow\nYou pick up the cow.\n\n> You examine the cow\nThanks to years of malnutrition, the stunted cow is the size of a chihuahua.\n\n> Go west\nOn the seedier side of town, the windows of the pawn shop are plastered with signs: Paychecks Cashed, BUY AND SELL GOLD, Top Price for Cows! Your farm is back to the east.\n\nGreasy and perpetually hung over, the proprietor of the pawnshop, Yagmar the Barbarian, stands behind a counter and brims with avarice.\n\n> You look at Yagmar\nSeven foot four and 520 pounds. Obey.\n\n> Kiss yagmar\nHow is that in the least bit a desirable thing to do?\n\n> You talk to Yagmar\n\"You got stuff to trade? Give it to me. Then I give you stuff. Then you leave. That's how it works.\"\n\n> You give the cow to Yagmar\nYagmar looks sideways at the pint-sized cow.\n\n\"Kind of scrawny, but I'll take it. Let's see. Here, take one of these. Now scram.\"\n\nHe hands you a somewhat shriveled but vaguely magical legume.\n\n> You look at the bean\nThe bean glows faintly. It is either magical or radioactive.\n\n> Plant bean\nWhen the bean touches the soil, it burrows in furiously, ejecting dirt in all directions. After a moment, the ground shakes and a massive beanstalk shoots upward.\n\n> You examine the stalk\nThe beanstalk towers over your farm and for that matter, the town as well.\n\nDown the road, you expect you'll be getting some angry letters from the homeowner's association.\n\n> Go upward\nYou climb up the bean stalk, which goes on and on. Eventually, you push through the clouds and find yourself poking through a lawn.\n\nA lush and rambling golf course with a red-carpeted cloud-top path leading west to the casino. Off to the east, the golf course is surrounded by luscious cumulus clouds.\n\nSome immigrant geese wander the carefully tended lawn brazenly.\n\nThere is a goose turd here.\n\n> You examine the turd\nAs goose droppings go, this is a fine one.\n\n> You get the turd\nYou pick up the goose turd.\n\n> You go to the west\nA glitzy casino entirely covered in gold leaf and flashing neon. The game floor is just to the west.\n\nA doddering ogre, covered in cheddar powder and sporting a bad comb over, stands just outside the gilded doors of the casino.\n\n> You talk to the ogre\n\"Let me give you some advice, do you want some advice? Of course you do, you're saying, I wonder what advice he has to give me, and now I'm giving it to you, so you should listen because they say my advice is the best advice. I give the best advice, because when I am telling people things, about advice, they all say, he has the best advice. So, my advice is that you get those birds, those horrible, they're not ducks, you know. Ducks are patriotic. There are television shows about ducks, and I saw one last week, so this is not at all about ducks. Those birds are geese, and I have had it up to here, right here, with them. So, if you get rid of them, then maybe we can talk.\"\n\n> Go east\nA lush and rambling golf course with a red-carpeted cloud-top path leading west to the casino. Off to the east, the golf course is surrounded by luscious cumulus clouds.\n\nSome immigrant geese wander the carefully tended lawn brazenly.\n\n> You take the geese\nThe geese flutter about clearly avoiding you.\n\n> You go to the east\nAs there are no safety nets in the kingdom, you fall through the fluffy clouds and land right where you started: in the dirt.\n\nNot much is left of the farm, just the tumble down shack you call home and an old stable. The town is off to the west.\n\nA humongous green beanstalk with broad, leathery leaves reaches up through the clouds.\n\n> Go west\nOn the seedier side of town, the windows of the pawn shop are plastered with signs: Paychecks Cashed, BUY AND SELL GOLD, Top Price for Cows! Your farm is back to the east.\n\nGreasy and perpetually hung over, the proprietor of the pawnshop, Yagmar the Barbarian, stands behind a counter and brims with avarice.\n\n> You give the turd to Yagmar\nYagmar squints at the ignoble lump of goose excrement on the counter and raises an eyebrow.\n\n\"And what exactly am I supposed to do with *that*?\" he inquires, pointing towards it with an accusatory index finger.\n\n\"It's a souvenir from the casino,\" you say, trying to sound upbeat. \"It's worth it's weight...\"\n\nBefore you can finish, the barbarian swipes the turd from his counter top and produces Bessy. \"Whatever it is, it's guaranteed to be worth more than this viscious miniature cow of yours, which eats like a horse. Here. Take it and get out of here.\"\n\n> Go east\nNot much is left of the farm, just the tumble down shack you call home and an old stable. The town is off to the west.\n\nA humongous green beanstalk with broad, leathery leaves reaches up through the clouds.\n\n> Inventory\nYou are carrying:\na cow\n\n> Go upwards\nYou climb up the bean stalk, which goes on and on. Eventually, you push through the clouds and find yourself poking through a lawn.\n\nA lush and rambling golf course with a red-carpeted cloud-top path leading west to the casino. Off to the east, the golf course is surrounded by luscious cumulus clouds.\n\nSome immigrant geese wander the carefully tended lawn brazenly.\n\n> You drop the cow\nAs the diminutive cow lands on her spindly legs, she emits a yappy \"moo\".\n\nDriven by the sort of blood lust that one rarely sees in cows, Bessy rips across the lawn after the geese. The geese erupt into flight and settle a short distance away on a cloud bank. From that safe harbor, they honk mockingly at Bessy, who stands at the very edge of the lawn vibrating with anger and yapping madly at them.\n\n> You go to the west\nA glitzy casino entirely covered in gold leaf and flashing neon. The game floor is just to the west.\n\nA doddering ogre, covered in cheddar powder and sporting a bad comb over, stands just outside the gilded doors of the casino.\n\n> You talk to the ogre\n\"You did well on the goose job, very, very well,\" the ogre confides with a wink. \"This might work out for you. It could be great. Tell you what, if you can show me that you can pull off the kind of deal that I would make myself, I'll not only let you into the casino, I'll hire you on the spot.\"\n\n> You go west\nThe ogre refuses to let you enter, but gives you some advice.\n\n\"You did well on the goose job, very, very well,\" the ogre confides with a wink. \"This might work out for you. It could be great. Tell you what, if you can show me that you can pull off the kind of deal that I would make myself, I'll not only let you into the casino, I'll hire you on the spot.\"\n\n> You go to the east\nA lush and rambling golf course with a red-carpeted cloud-top path leading west to the casino. Off to the east, the golf course is surrounded by luscious cumulus clouds.\n\nAccustomed to starvation, the jittery cow stares unblinkingly into space.\n\nThe non-indigenous fowl cluck and bristle with indignity from atop the neighboring clouds, while they keep a suspicious eye on your cow.\n\n> You get the cow\nNow obsessed with her mortal enemies, the geese, Bessy snaps at you menacingly as you get near her. Since you value your hands, you let the murderous cow be. She growls at the birds, her rage barely contained."
    },
    {
        "text": "> Go downward\nYou can't find the spot where you had climbed up from the beanstalk. The incredibly vigorous lawn must have grown back over the hole.\n\n> Go east\nAs there are no safety nets in the kingdom, you fall through the fluffy clouds and land right where you started: in the dirt.\n\nNot much is left of the farm, just the tumble down shack you call home and an old stable. The town is off to the west.\n\nYou haven't seen your mom out of her sick bed in years, but there she is carving furrows in the soil with the stub of a twisted stick, literally scratching out a meager existence.\n\nA humongous green beanstalk with broad, leathery leaves reaches up through the clouds.\n\n> You get the mom\nYou pick her up like a bundle of kindling.\n\n> Go west\nOn the seedier side of town, the windows of the pawn shop are plastered with signs: Paychecks Cashed, BUY AND SELL GOLD, Top Price for Cows! Your farm is back to the east.\n\nGreasy and perpetually hung over, the proprietor of the pawnshop, Yagmar the Barbarian, stands behind a counter and brims with avarice.\n\n> You sell mom\n[to Yagmar]\nYagmar looks her over appraisingly, pokes at her a bit with a soup spoon, and shoves her in a sack.\n\n\"Done and done,\" he says, rubbing his hands together. \"Haven't had one of these in a while, so tell you what I'm going to do.\"\n\nHe reaches around the back of the counter and pulls out a fine Italian three-piece suit with fine pinstripes. Very chic. Stunned, you try it on immediately. It fits to a tee. No one will ever mistake you for a lowly farm hand again, by God.\n\n> You look at the suit\nA fancy business suit, sharply tailored and top quality.\n\n> You wear the suit\nYou already have that.\n\n> Go east\nNot much is left of the farm, just the tumble down shack you call home and an old stable. The town is off to the west.\n\nA humongous green beanstalk with broad, leathery leaves reaches up through the clouds.\n\n> You go upwards\nYou climb up the bean stalk, which goes on and on. Eventually, you push through the clouds and find yourself poking through a lawn.\n\nA lush and rambling golf course with a red-carpeted cloud-top path leading west to the casino. Off to the east, the golf course is surrounded by luscious cumulus clouds.\n\nAccustomed to starvation, the jittery cow stares unblinkingly into space.\n\nThe non-indigenous fowl cluck and bristle with indignity from atop the neighboring clouds, while they keep a suspicious eye on your cow.\n\n> You go to the west\nA glitzy casino entirely covered in gold leaf and flashing neon. The game floor is just to the west.\n\nA doddering ogre, covered in cheddar powder and sporting a bad comb over, stands just outside the gilded doors of the casino.\n\n> You talk to the ogre\n\"Hang on a minute,\" the ogre says, holding up a tiny finger as he talks into his cell phone. \"His own mother? Fantastic. Absolutely fantastic. He's here now. Talk later, Yagmar.\"\n\nThe ogre pats you on the head, leaving a orange powdery outline of his palm on your forehead. \"Just want to say, what you did, I am so, so impressed. Hugely. Impressed. You're one of us now, come right on in, just over there, to the west. See the door? To the casino? That way.\"\n\n> You go west\nHaving impressed the ogre by literally selling your own mother, you walk triumphantly towards the casino. A smartly dressed steward comes out to greet you and leads you towards the building.\n\nBut he keeps walking: around the entrance to the game floor, back behind the parking ramp, down past the laundry area, and finally into the hotel through a rusty door at the rear of the building.\n\n\"Congratulations,\" he says gleefully, handing you a dish towel, \"and welcome to senior management.\"\n\nA tower of dirty dishes looms next to you, tilting precariously alongside an industrial-sized sink fully of opaque, gray water in the steamy hotel kitchen.\n\n****  The game is over  ****"
    },
    {
        "text": "[Themes: Historical Humor Adaption]\n\nThe ladies and gentlemen of your acquaintance are sadly backward when it comes to matrimony. It is fortunate that you are a talented matchmaker.\n\nYou are at home at Hartfield. You can go north, south, and east.\n\nDorothy, Sarah, and Mr Mickleshaw are standing here."
    },
    {
        "text": "> You look around\nYou are at home at Hartfield. You can go north, south, and east.\n\nDorothy, Sarah, and Mr Mickleshaw are standing here.\n\nMr Mickleshaw converses politely with you.\n\n> You ask Dorothy about the kansas\nYou don't need to ask people about things. You might CONVERSE WITH\n(or CHAT TO) someone, or you might set out boldly to FLIRT WITH them. Or you might advise a person to take some action, with SOMEONE, DO SOMETHING.\n\nMr Mickleshaw chats with you.\n\n> You chat to Dorothy\nYou converse politely with Dorothy.\n\nMr Mickleshaw chats with you.\n\n> Mickleshaw\nYou gossip in the most friendly manner with Mr Mickleshaw.\n\nThe story doesn't understand that command.\n\n> About yourself\nHandsome, clever, rich, and as little distressed or vexed as ever.\n\nMr Mickleshaw flirts with you.\n\nThere is startling news! Mr Egerwall has proposed marriage to Frederica, but Frederica has declined!\n\n> You check your inventory\nYou are empty-handed.\n\nMr Mickleshaw proposes marriage to you!\n\nShall you accept Mr Mickleshaw?\n\n> Yes\nYou accept Mr Mickleshaw's offer, and retire from your match-making career.\n\nFrederica, Joan, Dorothy, Sarah, and Clara are so far unmarried, and you decide they must shift for themselves if they do not wish to\nremain so.\n\nYou married Mr Mickleshaw, who is fairly handsome and has an income of L5000 a year but is of uncertain reputation, and you live happily ever after.\n\nIf this was the proper version of this game you could replay a particular scenario using RESTART . This game was number\n16456, so you could play it again with RESTART 16456. Unfortunately\nit won't work in this special TADS-3.0-compatible version.\n\n> You go south\nYou are visiting at Tupwall Park. You can go north, back to\nHartfield.\n\n> Go north\nYou are at home at Hartfield. You can go south, back to Tupwall Park; east; and west.\n\nRev Queensmere, Mr Sandville, Caroline, Mr Bedcliffe, and Mr Meryman are standing here.\n\nMr Bedcliffe chats with Caroline.\n\n> Go east\nYou are visiting at Bridgebrook Grange. You can go south; and west, back to Hartfield.\n\n> You go to the south\nYou are visiting at Carford Hall. You can go north, back to Bridgebrook Grange.\n\nCassandra, Chloe, Belinda, and Captain Larfield are standing here.\n\nChloe recoils from Captain Larfield as though he has suggested something scandalous to her.\n\nCassandra leaves to the north.\n\n> Marry belinda\nA lady would hardly marry another lady. You seem sadly confused.\n\nCaptain Larfield converses politely with Chloe.\n\n> Flirt with Belinda\nA lady would hardly flirt with another lady. You seem sadly confused.\n\nCaptain Larfield chats with Chloe.\n\nBelinda leaves to the north.\n\n> Heteronormativity off\nWhat, you think you can just reorder the whole of society? Go and\nplay something in ChoiceScript.\n\n> Flirt with Captain\n\"Emma! I could not possibly!\" says Chloe.\n\nCaptain Larfield chats with Chloe.\n\n> You chat with Chloe\nYou converse politely with Chloe.\n\nCaptain Larfield converses politely with you.\n\n> You ask Chloe about the larson\nYou don't need to ask people about things. You might CONVERSE WITH\n(or CHAT TO) someone, or you might set out boldly to FLIRT WITH them. Or you might advise a person to take some action, with SOMEONE, DO SOMETHING.\n\nCaptain Larfield proposes marriage to Chloe, but Chloe declines!\n\n> You converse with Chloe\nYou chat with Chloe.\n\nCaptain Larfield chats with you.\n\n> Flirt with Chloe\nCaptain Larfield flirts with Chloe.\n\n> You examine chloe\nChloe Bromgrove is attractive.\n\nCaptain Larfield converses politely with Chloe.\n\n> You examine Larfield\nCaptain Larfield is of good character but is ugly and has a neglible income.\n\nCaptain Larfield chats with Chloe."
    },
    {
        "text": "[Themes: Historical Humor Adaption]\n\n> Look around\nYou are visiting at Carford Hall. You can go north, back to Bridgebrook Grange.\n\nChloe and Captain Larfield are standing here.\n\nChloe leaves to the north.\n\nCaptain Larfield leaves to the north.\n\n> Go north\nYou are visiting at Bridgebrook Grange. You can go south, back to Carford Hall; and west, to Hartfield.\n\nCaptain Larfield and Chloe are standing here.\n\nCaptain Larfield chats with Chloe.\n\n> Marry chloe\nCaptain Larfield must propose and be accepted first.\n\n> Kiss chloe\nYou would not like to think of Captain Larfield kissing Chloe without some definite understanding.\n\n(A little flirtation might be a different matter.)\n\nThere is startling news! Mr Meryman has proposed marriage to\nCaroline, but Caroline has declined!\n\n> You examine Larfield\nCaptain Larfield is of good character but is ugly and has a neglible income.\n\nCaptain Larfield flirts with Chloe.\n\n> You look at Chloe\nChloe Bromgrove is attractive.\n\nCaptain Larfield proposes marriage to Chloe, but Chloe declines!\n\n> You check your inventory\nYou are empty-handed.\n\nChloe leaves to the west.\n\nThere is startling news! Mr Bedcliffe has proposed marriage to Joan, but Joan has declined!\n\nCaptain Larfield chats with you.\n\n> About yourself\nHandsome, clever, rich, and as little distressed or vexed as ever.\n\nCaptain Larfield flirts with you.\n\n> You ask Larfield,  to go west\nCaptain Larfield leaves to the west.\n\nMr Sandville enters from the west.\n\n> You ask Sandville about Chloe\nYou don't need to ask people about things. You might CONVERSE WITH\n(or CHAT TO) someone, or you might set out boldly to FLIRT WITH them. Or you might advise a person to take some action, with SOMEONE, DO SOMETHING.\n\nThere is news of the most shocking kind! Joan has run away with Rev Queensmere!\n\nCaptain Larfield enters from the west.\n\nMr Sandville converses politely with you.\n\n> You examine Sandville\nMr Sandville is handsome and has an income of L5000 a year but is notoriously wicked.\n\nBelinda enters from the west.\n\nMr Sandville chats with you.\n\n> You look at Belinda\nBelinda Grenbury is distinctly plain.\n\nCaptain Larfield proposes marriage to you!\n\nShall you accept Captain Larfield?\n\n> Decline\nShall you accept Captain Larfield?\n\nYou decline Captain Larfield with as much firmness as you can command.\n\nMr Sandville flirts with Belinda.\n\n> You flirt with Larfield\n\"Emma! I could not possibly!\" says Belinda.\n\nMr Sandville chats with you.\n\nCaptain Larfield converses politely with Belinda.\n\n> Chat with Larfield\nBelinda chats with Captain Larfield.\n\nMr Sandville leaves to the south.\n\n> Flirt with Belinda\nCaptain Larfield flirts with Belinda.\n\n> Chat with Larfield\nBelinda chats with Captain Larfield.\n\nThere is news of the most shocking kind! Caroline has run away with\nMr Bedcliffe!\n\n> Propose to Belinda\n\n\n> You flirt with Larfield\n\"Emma! I could not possibly!\" says Belinda.\n\nCaptain Larfield converses politely with you.\n\n> Flirt with Emma\nCaptain Larfield flirts with you.\n\n> You chat with Belinda\nYou converse politely with Belinda.\n\nCaptain Larfield leaves to the west.\n\n> You resolve to always remain a the spinster\nYou retire from society, entirely disenchanted with the prospects for connubial felicity in the neighbourhood.\n\nBelinda, Cassandra, and Chloe are so far unmarried, and you decide\nthey must shift for themselves if they do not wish to remain so.\n\nLet us not dwell on the fates that befell poor Caroline and poor Joan.\n\nYou resolve always to remain a spinster. But whether your resolution will remain firm, should some more suitable gentleman address you in the future, is a question you must settle for yourself.\n\nIf this was the proper version of this game you could replay a particular scenario using RESTART . This game was number\n7142, so you could play it again with RESTART 7142. Unfortunately it won't work in this special TADS-3.0-compatible version."
    },
    {
        "text": "[Themes: Fantasy, dragon, fairy tale]\n\n\"My hike was long, ov?r this peak.\nMore than a day, less than a week.\nCome hear the tale I have to speak,\nHey diddle diddle aye-oh.\n\n\"A brand new town I soon shall see.\nNew people, I shall sing for thee.\nA happy bard then I shall be,\nHey diddle diddle aye-oh.\n\n\"But first I must find food to eat.\nI ate my cheese! I ate my meat!\nAn apple core would be a treat,\nHey diddle diddle aye-oh.\n\n\"No rabbits found I for my pot.\nI looked for roots. I found them not.\nThese hunger pains! They must be fought!\nHey diddle diddle aye-oh.\n\n\"Why do no birds fly overhead?\nWould not roast fowl taste good with bread?\nWhen was the last time that I fed?\nHey diddle diddle aye-oh.\"\n\nThe Fox, The Dragon, and The Stale Loaf of Bread\n\nYou are on a lonely mountain trail. Trees grow sparsely this high up on the mountain, and even less so back up the trail to the northeast. To the west, the trail heads down past the treeline into a forest.\n\nAnd not a moment too soon. You are positively famished.\n\n[Author's Note: This is the beginning of an unusual fairy tale. Written for IntroComp 2005. Eleven locations.]\n\n> About yourself\nSince you are a bard, you are cursed with natural good looks. Clear, unblemished skin. Thick wavy black hair. Eyes so deep a brown, one could gaze into them forever. Except for that birthmark on your never-you-mind-where, you would be just about perfect.\n\n> Inventory\nYou are carrying:\na walking stick\na knife (worn on your right hip)\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is closed)\n\n> You open the rucksack\nYou open the rucksack, revealing a tinderbox, your lute and a bag of spices.\n\n> You look at the spices\nIt is a tiny brown bag of soft leather that contains your motley collection of spices. It is laced tightly closed.\n\n> You open the bag\nYou open the bag, revealing mixed spices.\n\n> You eat spices\nYou cannot eat spices by themselves! You would only make yourself sick if you did that.\n\n> You look at the spices\nA mixture of salt, pepper, crushed garlic, and chives - but mostly salt. When you are lucky enough to catch wild game, you like to sprinkle on a little of this onto the meat to make it extra tasty. Just looking at the spices makes your mouth water.\n\n> You taste the spices\nYou moisten a finger and dab a little of the mixed spices onto your tongue. Mmm. Salty.\n\n> You look at the knife\nA short servicable knife. It would not be much good in a fight, but every bit helps.\n\n> You examine the purse\nA small cloth moneypurse, dyed black.\n\n> You examine the stick\nIt is a sturdy walking stick just over five feet long. You made it yourself by trimming a fallen tree branch that you found soon after you began your trek through the mountains almost a week ago.\n\n> You look at the lute\nYour lute is perhaps your most prized possession, since it provides you with your livelihood, but you could build another if you had to. Master Dorien showed you how to carve its pear-shaped body out of pine, how to lightly string it with catgut so the instrument does not break under its own tension, and (of course) how to tune the thing fifty times a day. It is very lightweight and somewhat delicate.\n\n> Play lute\n(first taking the lute)\nYou play a few chords on the lute.\n\n> Sing\nYour singing is delightful.\n\n> You examine the tinder\nA small battered tinderbox made of tin, containing the necessary tools for lighting a fire. Your father helped you put it together when you were a boy, and it is the oldest thing you own.\n\n> You open the tinderbox\n[You do not need to open or close the tinderbox. Just type LIGHT <object> WITH TINDERBOX when you want to start a fire.]\n\n> Go west\nYou make your way down the mountain. As you pass the treeline, you hear a loud SNAP! followed by a sharp cry of pain.\n\nThe mountain trail continues under a canopy of tall shady pine trees. The trail continues down to the southwest, and up to the east.\n\nTo one side, you see a fox, its hind leg caught fast in a steel trap.\n\n> You examine the trap\nThe steel trap is like a jaw: two rows of zigzag metal \"teeth\" hinged on one side, with a heavy spring holding them clamped together.\n\nWell, almost together. The steel trap is currently clamped around the hind leg of a fox.\n\n> You pry the trap with the stick\nAnd lose a potential meal?\n\n> You look at the fox\nThis is a full-grown lady fox, with a cloth cap on her head and a steel trap on one leg. Despite her obvious pain, she neither cries nor whimpers, but watches your every move with wide brown eyes.\n\nYour stomach chooses this moment to growl.\n\n> You eat the fox\nBefore you can eat the fox, you will have to kill it. You take out your knife. But the sight of the knife terrifies the captured animal! \"DON'T EAT ME!\" it says weakly.\n\nThe words, faint as they are, freeze you where you stand. It's not merely that you're never heard a fox speak before. You haven't. But somehow, she has invoked magic here. Like a ritual. Or a promise. Or an oath.\n\n\"DON'T EAT ME,\" the fox says again, stronger now. Or perhaps the world has gone silent instead, to hear her all the better. \"If you spare me and free me, I will help you later. You will not regret it.\n\n> No\nThe scene darkens briefly as a cloud passes over the face of the sun. \"So be it,\" says the fox, and says no more.\n\n> You eat the fox\nYou quickly slice open the fox's neck; it dies instantly. Blood now stains your knife and hands, but that couldn't be helped.\n\nYou have never eaten fox before, but doubtless it is similar to rabbit.\n\n> Cook fox\n(first taking the dead fox)\nIt is too awkward and messy to carry both fox and trap together. You must remove the trap first.\n\nYou wonder which part of the fox might be the most tasty.\n\n> You remove the fox\n(first taking the dead fox)\nIt is too awkward and messy to carry both fox and trap together. You must remove the trap first.\n\n> You pry trap\nWhat do you want to pry the steel trap with?\n\n> Stick\nIt's awkward, but using the walking stick as a lever, you successfully pry the steel trap open. After the fox's leg falls free, you carefully SNAP the trap closed and pick up both it and the fox's body. Waste not, want not.\n\n> Cook fox\nYou have yet to skin the animal first.\n\n> Skin fox\nYou remove the bloodied cloth cap from the dead fox.\n\nYou begin the messy work of skinning the fox. First you turn the fox onto its back and make a long vertical incision...\n\nLet us make a long story shorter. When you are done, you have a carcass of uncooked fox meat and a fox pelt. Incidently, you made a bundle with the fox's cap and the unedible bits and chucked it far off into the forest. You also cleaned off your knife and put it back on your hip.\n\n> You eat the fox\nWhich do you mean, the fox pelt or the fox carcass?\n\n> You examine pelt\nIt has soft fox fur on one side, and bloody skin on the other. You are not sure what it is worth, but perhaps you can trade it for a nice bottle of wine.\n\n> Light stick with tinder\n(first taking the tinderbox)\nThis dangerous act would achieve little."
    },
    {
        "text": "[Themes: Fantasy, dragon]\n\n> Look around\nThe mountain trail continues under a canopy of tall shady pine trees. The trail continues down to the southwest, and up to the east.\n\n> You examine the trees\nYou are pleased to be amongst trees again, to be enclosed in their most welcome shelter.\n\n> You go southwest\nThe trail widens here, passing through a small level clearing. A thick forest of trees surrounds the clearing. From here, you can follow the trail down to the west, or up to the northeast.\n\nTo one side of the trail, there is an old firepit, and a short boulder sits beside it.\n\n> You examine the pit\nThe firepit is just a circle of white stones at the side of the trail. It does not look like it has been used for a long time. In the firepit are some dry twigs and leaves.\n\n> Light twigs\nUsing your tinderbox, you easily set the twigs and leaves ablaze.\n\n> Cook fox\nWhich do you mean, the fox pelt or the fox carcass?\n\n> Carcass\nYou cook the slab of fox meat. It looks and smells wonderful.\n\n> You check your inventory\nYou are carrying:\na tinderbox\na fox pelt\na slab of fox meat\na steel trap (which is closed)\na knife (worn on your right hip)\nyour lute\na walking stick\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is open)\na bag of spices (which is open)\nsome mixed spices\n\n> You take the spices\nYou cannot pick up the mixed spices with your bare hands. Just sprinkle them on your food directly from the bag.\n\n> You sprinkle the spices on the carcass\n[Pouring and sprinkling is not yet properly supported. It will be in the full game.]\n\n> You eat the meat\nYou eat the cooked fox meat. Not bad. For fox meat, that is.\n\n> You examine the boulder\nIt is just an ordinary gray boulder, but it is just the right size to sit on and has been pushed up close to the firepit.\n\n> You sit on the boulder\nYou rest your Johnny-sit-me-down on the boulder."
    },
    {
        "text": "[Themes: Fantasy, fairy tale, dragon]\n\n> Look around\nBy the Firepit (on the boulder)\nThe trail widens here, passing through a small level clearing. A thick forest of trees surrounds the clearing. From here, you can follow the trail down to the west, or up to the northeast.\n\nTo one side of the trail, there is an old firepit (containing a bonfire), and a short boulder sits beside it.\n\n> You go west\nYou'll have to get off the boulder first.\n\n> You stand\nYou get off the boulder.\n\nThe trail widens here, passing through a small level clearing. A thick forest of trees surrounds the clearing. From here, you can follow the trail down to the west, or up to the northeast.\n\nTo one side of the trail, there is an old firepit (containing a bonfire), and a short boulder sits beside it.\n\n> Go west\nThe mountain trail crosses east to west over uneven and broken ground; a wagon could have real trouble passing through here. Rockslides from the north pose an additional ongoing hazard.\n\n> You go north\nThere is a name for people who climb treacherous rockslides. \"Dead.\" Do not go that way.\n\n> Go west\nThe ground dips down here into a small valley on the mountainside, and a much greater variety of trees compete for the space here. Fortunately, even though the road is covered with leaves, it is still wide enough to see that it goes both southwest and east.\n\n> Go southwest\nThe road bends sharply here around a large boulder, heading up to the northeast and down to the southeast. A lesser travelled footpath goes south.\n\n> Go south\nThe path is overgrown, forcing you to duck and push branches out of the way. Suddenly, there are no more trees, and you look up and see what they hid.\n\nYou stand at the top of a cliff overlooking a lake far below. The expanse is breathtaking. Look there at that lake so clear and blue: it contains a small wooded island, and on that island is a curious white dome. Or look at that cliff. Tall it is here, and tall it remains as it traverses a great C-shaped arch around the lake. Halfway into that arch is a majestic waterfall, pouring its liquid bounty into the waters below. Then look you further. Also on the cliff, opposite and across the lake, is a village and castle. Be it a true kingdom or the strange keep of barbarians, you do not know, but it must be an abode of men. Civilization, at last.\n\nThe scene as a whole sings with vitality and life. Scarcely have you seen a place so pregnant with power, so rich in air, earth, and water. Alas, no path from here proceeds. You must needs regain your road to the north.\n\nYou hear the hoots of several birds having a noisy argument below the cliff.\n\n> You listen\nYou hear the chirping of many birds having a noisy argument below the cliff.\n\nA finch zooms in from below and travels in a lazy circle above the lake. Cawing, it then flies out of sight.\n\n> You look under the cliff\nThat is too far away.\n\n> You jump\n[Perhaps in the full game, you may be allowed to jump to your death. But not now. Not today.]\n\nA goose appears from below and flaps its wings furiously. Another bird gives you the eagle eye before flying down below.\n\n> You eat the birds\nThose are too far away.\n\n> About you\nSince you are a bard, you are cursed with natural good looks. Clear, unblemished skin. Thick wavy black hair. Eyes so deep a brown, one could gaze into them forever. Except for that birthmark on your never-you-mind-where, you would be just about perfect.\n\nA goose appears from below and screams something in pidgin Pigeonese. Cawing, it then flies out of sight.\n\n> Go north\nYou push through the trees, back to the road.\n\nThe road bends sharply here around a large boulder, heading up to the northeast and down to the southeast. A lesser travelled footpath goes south.\n\n> You go to the south-east\nYou sigh. You cannot ignore the stale loaf of braad. You are starving.\n\n> Y.\n\"My hike was long, ov?r this peak.\nMore than a day, less than a week.\nCome hear the tale I have to speak,\nHey diddle diddle aye-oh.\n\n\"A brand new town I soon shall see.\nNew people, I shall sing for thee.\nA happy bard then I shall be,\nHey diddle diddle aye-oh.\n\n\"But first I must find food to eat.\nI ate my cheese! I ate my meat!\nAn apple core would be a treat,\nHey diddle diddle aye-oh.\n\n\"No rabbits found I for my pot.\nI looked for roots. I found them not.\nThese hunger pains! They must be fought!\nHey diddle diddle aye-oh.\n\n\"Why do no birds fly overhead?\nWould not roast fowl taste good with bread?\nWhen was the last time that I fed?\nHey diddle diddle aye-oh.\"\n\nThe Fox, The Dragon, and The Stale Loaf of Bread\n\nYou are on a lonely mountain trail. Trees grow sparsely this high up on the mountain, and even less so back up the trail to the northeast. To the west, the trail heads down past the treeline into a forest.\n\nAnd not a moment too soon. You are positively famished.\n\n> Go northeast\nYou spent most of the last week traversing that mountain pass. You are not going back that way now.\n\n> Go west\nYou make your way down the mountain. As you pass the treeline, you hear a loud SNAP! followed by a sharp cry of pain.\n\nThe mountain trail continues under a canopy of tall shady pine trees. The trail continues down to the southwest, and up to the east.\n\nTo one side, you see a fox, its hind leg caught fast in a steel trap.\n\n> You eat fox\nBefore you can eat the fox, you will have to kill it. You take out your knife. But the sight of the knife terrifies the captured animal! \"DON'T EAT ME!\" it says weakly. Its voice is female.\n\nThe words, faint as they are, freeze you where you stand. It's not merely that you're never heard a fox speak before. You haven't. But somehow, she has invoked magic here. Like a ritual. Or a promise. Or an oath.\n\n\"DON'T EAT ME,\" the fox says again, stronger now. Or perhaps the world has gone silent instead, to hear her all the better. \"If you spare me and free me, I will help you later. You will not regret it.\n\n> Yes\nA sudden breeze blows by; leaves fly by in its wake. \"Then free me, man,\" says the fox.\n\n> You pry the trap with the stick\nIt's awkward, but using the walking stick as a lever, you successfully pry the steel trap open without causing further damage.\n\nFreed of the trap, the fox gets gingerly to her feet. \"I thank you, man. I will remember my promise to you, and return when your need for me is greatest. Until then, fare well.\" You watch as she hobbles away into the forest and is lost from view.\n\nYou then take a moment more to SNAP the trap closed and pick it up. Waste not, want not.\n\n> You go southwest\nThe trail widens here, passing through a small level clearing. A thick forest of trees surrounds the clearing. From here, you can follow the trail down to the west, or up to the northeast.\n\nTo one side of the trail, there is an old firepit, and a short boulder sits beside it.\n\n> Go west\nThe mountain trail crosses east to west over uneven and broken ground; a wagon could have real trouble passing through here. Rockslides from the north pose an additional ongoing hazard.\n\nLying on one of the rock piles, a baby dragon is crying pitiously.\n\n> You examine the dragon\nThe baby dragon has green scales with a blue underbelly and is about the size of an adult wolf. It is lying on its back and whimpering, probably because of the rusty iron nail stuck in its left foot.\n\nDragon steak is supposed to be a delicacy. This must be your lucky day.\n\n> You eat the dragon\nBefore you can eat the baby dragon, you will have to kill it. You take out your knife. As with the fox, the sight of your knife conveys your terrible intent only too well. \"DON'T EAT ME!\" says the dragon, between sobs.\n\nStartled, you stop in place. Did this creature of myth and legend, young as it is, truly speak? No, no, that cannot be. Not eat it? Of course you want to eat it. You're hungry!\n\n\"DON'T EAT ME,\" the baby dragon says again, more forcefully, and there is no mistaking it this time. Your ears seem to roar as the words echo within your head. You hear nothing else. \"If you spare me and pull this nail out of my paw, I will help you later. You will not regret it.\n\n> Yes\nWithout warning, a dove flies west, singing joyfully, the first bird you have heard in days. \"Then please. Pull out this nail,\" says the baby dragon.\n\n> You pull the nail\nSensing your intent, the dragon holds still as you approach. You grasp the nail with your bare hand and pull, but it is no use. You just cannot get a strong enough grip on it. You will need a tool of some kind.\n\n> Inventory\nYou are carrying:\na knife\na steel trap (which is closed)\na walking stick\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is closed)\n\n> You examine the nail\nThe nail is embedded pretty deep in the baby dragon's foot. It looks like one of those long nails used to hold a wagon wheel on its axle. Ouch. That must be incredibly painful.\n\n> You put the trap on the nail\nGood idea. The steel trap should get a better grip on the nail than your fingers. Unfortunately, the trap is closed.\n\n> Open trap\nPut the trap on the ground first.\n\n> You drop trap\nDropped.\n\n> Open trap\nYou open the trap.\n\n> You get the trap\nPicking up an open steel trap would be extremely hazardous to your fingers.\n\n> You check what you're carrying\nYou are carrying:\na knife\na walking stick\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is closed)\n\n> You look at the trap\nThe steel trap is like a jaw: two rows of zigzag metal \"teeth\" hinged on one side. The trap is currently open, its heavy spring at high tension. Anything put inside that deadly circle is likely to trigger it.\n\n> You put the stick in the trap\nYou insert the walking stick into the trap, which dutifully SNAPs shut on it, leaving a gap.\n\n> You take the trap\nTaken.\n\n> You put the trap on nail\nAha. With the walking stick holding the trap slightly open, you are able to put the trap on the nail. That is, the nail is now in the gap between the trap's jaws.\n\nThe dragon watches you curiously as you perform this operation.\n\n> You take the stick\nYou pull the walking stick out from the trap's jaws, and the trap SNAPs around the head of the rusty iron nail.\n\n> You pull the trap\nWith the steel trap firmly gripping the nail between its teeth, you are able to grab onto the trap in turn, and pull the troublesome nail out of the baby dragon's paw. Before your disbelieving eyes, the wound heals in seconds without the iron nail to prevent it.\n\nThe child of dragons, no longer sobbing, gets to its feet. Its large reptilian eyes stare at you, and you back up a step. You suddenly realize you are face-to-face with a deadly monster. It is still only the size of a wolf, true, but that is plenty big enough, and somehow you forgot that wolves can be dangerous too.\n\n\"Be at peace,\" says the dragon. \"I have no love of mankind, nor that hated iron. But you alone need not fear me. You have helped me as I asked and our bargain stands. I will remember my promise to you, and return when your need for me is greatest. Until then, fare well.\" You stop breathing when the dragon jumps, but it is only to catch the air in its leathery wings, and then it flies off into the distance.\n\nThe tension in your body relaxes, and you start breathing normally again. You also remember that you are still hungry."
    },
    {
        "text": "> Look around\nThe mountain trail crosses east to west over uneven and broken ground; a wagon could have real trouble passing through here. Rockslides from the north pose an additional ongoing hazard.\n\n> Go west\nThe ground dips down here into a small valley on the mountainside, and a much greater variety of trees compete for the space here. Fortunately, even though the road is covered with leaves, it is still wide enough to see that it goes both southwest and east.\n\n> SW then se\nThe road bends sharply here around a large boulder, heading up to the northeast and down to the southeast. A lesser travelled footpath goes south.\n\nA stale loaf of bread has fallen into a gutter on the far side of the road.\nYou sigh. You cannot ignore the stale loaf of braad. You are starving.\n\n> You examine the bread\nA reddish-brown loaf of bread, gone hard and stale. Apart from being a item of food, it looks totally unremarkable.\n\nBread. Food. Mine, mine, mine.\n\n> You take it\nYou already have that."
    },
    {
        "text": "[Themes: Fantasy, fairy tale]\n\n> You look at your surroundings\nThe road bends sharply here around a large boulder, heading up to the northeast and down to the southeast. A lesser travelled footpath goes south.\n\nA stale loaf of bread has fallen into a gutter on the far side of the road.\n\nSure, it may be a stale loaf of bread, but you do not care at this point.\n\n> You take the bread\nWhen you pick up the loaf of bread, it suddenly shakes and squeals, \"DON'T EAT ME!\"\n\nYou have got to be kidding me. Baked goods are inanimate objects and they do not talk. You must be delirious from hunger. Yes, of course. The strange events of the day are repeating in your mind and you only think that the bread is talking. Of course the cure to such delusions is to digest some food...\n\n\"DON'T EAT ME,\" the stale loaf of bread says again, and you cannot help but notice it is scolding you, just like Grandma Zedna did when you tried to steal some cookies. The voice of \"Grainma\" continues, \"I am not food to eat. I am a bird. Uh-huh. Looks like delirium is contagious.\n\n\"I was riding on the back of a wagon when it hit a bump in the road and I fell here. I think my wings are broken; I could not fly away. I need to rejoin my fellow birds who can help me. Please. I can hear some birds just south of here. If you spare me and take to them, I will help you later. You will not regret it.\n\n> Yes\nYou feel you must be out of your mind, but you agree. \"Wonderful,\" says Grainma. \"Take me to them.\"\n\nBirdsong trills to the south. It is a fool's errand, but you are losing your taste for food that talks to you. So why not humor the old bread?\n\n> Yes\nThat was a rhetorical question.\n\n> Pronouns\nAt the moment, \"it\" means the steel trap, \"him\" means the stale loaf of bread, \"her\" is unset and \"them\" is unset.\n\n> You go to the south\nThe path is overgrown, forcing you to duck and push branches out of the way. Suddenly, there are no more trees, and you look up and see what they hid.\n\nYou stand at the top of a cliff overlooking a lake far below. The expanse is breathtaking. Look there at that lake so clear and blue: it contains a small wooded island, and on that island is a curious white dome. Or look at that cliff. Tall it is here, and tall it remains as it traverses a great C-shaped arch around the lake. Halfway into that arch is a majestic waterfall, pouring its liquid bounty into the waters below. Then look you further. Also on the cliff, opposite and across the lake, is a village and castle. Be it a true kingdom or the strange keep of barbarians, you do not know, but it must be an abode of men. Civilization, at last.\n\nThe scene as a whole sings with vitality and life. Scarcely have you seen a place so pregnant with power, so rich in air, earth, and water. Alas, no path from here proceeds. You must needs regain your road to the north.\n\nYou hear the hoots of several birds having a loud to-do below the cliff.\n\n> Inventory\nYou are carrying:\na stale loaf of bread\na steel trap (which is closed)\na rusty iron nail\na walking stick\na knife\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is closed)\n\n> You drop the bread over the cliff\nThat is too far away.\n\n> You look at the cliff\nOf the part of the cliff on which you stand, you can see little but the grass and weeds at your feet. You must be on an outcropping of sorts and the rock wall must curve inwards, for you can see only the lake below and no hint of any beach or whatever the birds are squabbling about.\n\nFurther away, encircling the lake, the cliff is a testament to ages past, recorded in the strata laid bare. Although the layers of rock are in many hues, the dominant color is a pale yellow bronze flecked with gold. Indeed, you think the wall sparkles with the glint of gold, but that may well be a trick of the light.\n\nOnly two more details intrude upon the cliff's face: the waterfall, and a thin vertical line underneath the castle.\n\n> You feed Grainma to the birds\nYou throw the stale loaf of bread over the cliff towards the birds, and for a moment it seems to hover in mid-air.\n\n\"Bless you! I am free! Free!\" the bread shouts. \"I will remember my promise and return to youuuuuu....\"\n\nOh dear. Look at it plummet. And there goes every bird in the sky after it. My my. Goodness, what a racket those birds are making.\n\n> You look at the birds\nMost of the birds are not visible, since they are somewhere below you down the cliff. But every so often one or two fly up mere yards out of reach, but within throwing distance, shall we say.\n\nWhat is peculiar is just how many different types of birds there seem to be down there. What could the attraction be?\n\n> You look at the waterfall\nA huge waterfall is falling from the top of the eastern side of the cliff and into the lake far below. Every now and then, you can see a faint rainbow within its attendent mist: one end appearing in the waterfall itself, and the other end on the dome on the island."
    },
    {
        "text": "[Themes: Fantasy, dragon]\n\n> Go downwards\nIf you really want to go down the cliff and smash against the rocks below, then jump. But it is not recommended.\n\n> You jump\n[Perhaps in the full game, you may be allowed to jump to your death. But not now. Not today.]\n\n> Inventory\nYou are carrying:\na steel trap (which is closed)\na rusty iron nail\na walking stick\na knife\nyour moneypurse (worn on your left hip and closed)\na rucksack (which is closed)\n\n> Go north\nYou push through the trees, back to the road.\n\nThe road bends sharply here around a large boulder, heading up to the northeast and down to the southeast. A lesser travelled footpath goes south.\n\n> You go to the south-east\nYou are in the foothills of the local mountain range, where a variety of weeds and purple flowers grow between the trees and tree stumps. The road begins its ascent into the mountains to the northwest. To the southeast, the road continues on a more gentle slope into farmland.\n\nYou cannot help thinking you have racked up a lot of karma today. Somebody owes you big time.\n\n> You go to the southeast\nThis part of the road passes by barren farmland to the east. Although the view is uninteresting in the extreme, at least the land is flat, the road is straight, and the stones are few, for which your feet are truly thankful. To the south, you see a bridge.\n\n> You go south\nYou are on the north side of a bridge. Farmlands are north, or go south over the bridge.\n\n> You go south\nYou tramp noisily over the bridge.\n\nThe south side of the bridge is somewhat more thrilling than the north side. The road on this side is made of green bricks, and it continues south towards a village. And surely, where there's a village, there must be food! Huzzah! A good meal at last.\n\n> You go south\nThe brick road turns west before entering the village proper.\n\nAs you approach the village, you decide to sing:\n\"Ohhhhh, the fish was long and the fish was wide\nBut you will never ever guess what I found inside...\""
    },
    {
        "text": "[Themes: Horror, haunted house]\n\nMemories, that fuzzy affair. You're never certain enough how true they are to reality. I can't clearly remember, just as an example, what rumours said about the McDaniel Mansion...\n\nThere was something about a stranger who came to visit on a cold Autumn day many years ago, just before the house got abandoned for decades.\nAnd then there was the wild speculation about monsters in the basement...\n\nBut the thing I really remember from those summer holidays is our improbable and not quite balanced trio of friends. There was Doc. Brown-haired, thin, handsome, annoyingly arrogant every now and then, always the charismatic. Then there was Rose, shy, with the soft, delicate look under her golden hair. The three of us united by the bare fact that we were the only people of our age in that too quiet, too boring, village, wasting the best of our late teens during the early eighties.\n\n\"Now, Mike, I hereby declare you as our official Torch-bearer\" solemnly joked Rose when giving me the switched off torch that dry, hot late summer evening when, just out of having nothing else to do, we decided to play kids and go to explore the ruined McDaniel site, as isolated from the rest of the village as the village was from the rest of the world...\n\nSo there we stood, at the entrance of the old mansion, just the three of us and a former elegant door which was as rusty as firmly closed.\n\nI could see Rose and Doc there.\n\n> Inventory\nI was carrying:\na switched off torch\n\n\"A stranger coming out from nowhere causing the house to be abandoned...\" said Rose. \"What an odd story!\"\n\n> You examine door\nOn closer inspection, there was a crumpled piece of paper showing under the door. I wondered how much time it had been there and why no one had taken it before...\n\nDoc asked \"Where did that piece of paper come from?\"\n\n\"What about those weird noises they say that can be heard from within...\" said Doc. \"As if a monster was buried somewhere in the basement?\"\nRose and I looked silently all around and then at each other, trying to grasp any suspicious sound. Nothing. Just our own breathing, some far away tweeting bird, and... a howling roar coming from our back? ...\n\"Jeeez\" exclaimed a livid Rose while Doc was laughing \"You just gave me the creeps!\"\n\"Well\" he replied \"How was that for a buried monster-like creature?\"\n\n> About yourself\nNo, no, I didn't do that... Did I? I was too excited about finding a way into the house to care about my own appearance that evening.\n\nRose and Doc looked to each other and then at me, as if expecting my decision to move on... but I just hadn't a clue what to do next!\n\nRose looked puzzled at the paper...\n\n> You take the paper\nTaken.\n\n> You read it\nThere was some handwritten text in the old paper. \"Magic word, say: PL...\" no... \"PLE\"... wait, \"PLO\"...\nDamn, I couldn't understand that. The paper was so crumpled and the handwriting was so old-fashioned and weird...\nSuddenly Doc took the paper off from my hands with a mocking remark \"You! Silly Mikie, didn't they teach you to read properly? Lemme see \"Magic word: say PL...\"\nI wouldn't allow that. I was used to his disdainful jokes in front of Rose, but enough was enough. I removed the paper from him with an abrupt gesture, and then...\n... then, showing a side of herself neither Doc nor me had ever seen before, Rose took it away from me with an exasperated look \"C'mon kids! Will you at least try to fake some mature behaviour in the presence of a lady! Let's see, Magic word: say... PLUGH\"\n...and then... PLOF!\n...she just disappeared in a cloud of smoke. Before we could react, her scream could be heard from somewhere inside the house. Doc just kicked the door, which opened with a suspicious ease now, and hurried into the mansion, so worried to show he was in charge that he forgot I was carrying the torch. I followed, but could only be aware, to my regret, that the door violently had slammed itself just as we entered, and then... no Doc, no Rose, just me and the dark...\n\nOverwhelming darkness all around me... as if I just was floating on an infinite sea of empty blackness... made me feel so little, so helpless...\n\n> You turn on torch\nI switched the torch on.\n\nUnder the dim torch light, the house seemed to scream its whole desolation all of a sudden. Everywhere I turned it was just an unrecognisable, deformed, amount of dust and cobwebs with some unidentifiable pieces of furniture beneath. I guessed I was in the foyer, and there seemed to be some kind of ways south, east and west.\n\n> You examine the furniture\nCobwebs and a thick layer of dust made a gallery of surreal forms everywhere I looked at.\n\n> You look under the sheet\nNo, no... I couldn't see any such thing there.\n\n> You search the cobwebs\nI thought of all the possible unclassified lifeforms that could be lurking beneath the cobwebs... I'd better not get too close...\n\n> You go to the south\nI began to move on... but I started to see all kind of blurry images. Iridescent snaps of Doc and Rose going frantically from one place to another. Fuzzy, nervous, fragmented shots of an unordered story I was witnessing as in a sci-fi film hologram. I tried to call them, but they wouldn't listen. I moved to reach them, but their images just would go through things, through walls, through me... As soon as they appeared they would vanish. Perhaps those were images of events that took place there, but not then, or they might have been happening then, but not there...\n\n> You listen\nSilence... Everywhere it was so creepy silent...\n\n> You go south\nSomehow I knew I was in the den, and then I retraced my steps when I saw Doc's image gangway through it... chased by a suit of armour. That was so crazy I thought I felt better when the vision just disappeared. I could go north, to the foyer, and east.\n\n> You go to the east\nI entered a corridor... and suddenly, someone turned the lights back on...\n\nNo, no... it wasn't like that, was it? It took me a short while to realize... Until that moment, I'd been seeing luminescent visions of my friends going erratically around me. That time, I was inside one of the visions. A big one, indeed, as it covered most of the corridor I was suppossed to be in, its inner dim bluish light surrounding me. At the other side of the corridor, I could see Doc and Rose. They both were staring right at the spot where I was, as if they couldn't see me but were somehow aware that I could be there, watching them. They nodded at each other, Rose snapped her fingers, and they simultaneously drew away some curtains back them, revealing a huge elegantly framed painting with a family portrait...\nI could see a wealthy couple, a few kids... but the whole scenario vanished before I could dig into any detail, leaving me back at a dark ominous corridor again.\n\nWere they trying to show me something?\nHad they figured out how that strange vision phenomenon was working? Was that a portrait of the McDaniel family?\n\nI couldn't tell. I was just alone in a corridor where an impassable mountain of rubble and debris completely blocked the way south.\n\nI could go east and west, to the den.\n\n> You look at the debris\nIt seemed the consequence of a massive collapse of part of the walls and ceiling. Going through it was totally out of the question, but there was a tiny gap I could use to take a peek into the other side. Scattered along the debris I could see the recognisable pieces of a richly ornate frame, but there was no trace of the canvas it could have contained.\n\n> You look at the gap\nIt all happened so fast...\nI could see the huge hall of a wealthy mansion, some stairs leading to the upper floor, where a blue, unnatural light came from an open door. Silhouetted against it, the contour of a woman. She instantly ran away slamming the door, leaving the room back into utter darkness and my eyes with an inverted image of it all, black and blue, that lasted for a few seconds.\nShe was not Rose, that I knew for sure. So I realized, with a mix of hope and fear, that maybe I was not alone in the dark, haunted house...\n\n> Continue\nLight from the torch wouldn't reach enough into the hall. I couldn't see anything at all.\n\n> You take the frame\nNo, no, I didn't do that... Did I? Can't clearly remember... Perhaps I tried but it didn't lead anywhere..."
    },
    {
        "text": "[Themes: Horror, haunted house]\n\n> You describe your surroundings\nI was just alone in a corridor where an impassable mountain of rubble and debris completely blocked the way south.\n\nI could go east and west, to the den.\n\n> Go east\nThe layout of the place clearly resembled a kitchen. As soon as I entered Rose's mirage was walking to the middle of the room. A bucket of water stood there. In an instant, just like in a nightmare where you feel something horrible is about to happen for no reason, I knew she was going to drink from it. In an instant I knew, as if I had seen the whole scene before, it was deadly poisonous. I yelled at her:\n\n\"No! Don't do that!\"\n\n...and she stopped her arm, as if she had heard me. She looked everywhere, as if searching the source of the warning. Soon the whole image disappeared as before.\n\nI was in the kitchen.\nThere were exits north, south, and west, to the corridor.\n\n> Go south\nI thought I got it then... Rooms were actually indistinguishable from each other in that overwhelming dust and web mess, but somehow I clearly knew where I was, just like if... I really had that crazy feeling, the house itself was showing me around its well guarded secrets. I was in a breakfast room at that moment. Exits were north, to the kitchen and east.\n\n> You go to the east\nI was in the servant's quarters. There was a closed cabinet in one wall. I could go west, to the breakfast room.\n\n> You look at the cabinet\nIt was closed.\n\n> You open it\nI opened the cabinet... I saw a key inside... and then I almost had a heart attack!\nI suddenly saw a shiny female hand just erupting from my own chest. It was Rose's image going through my flesh as if I wasn't there at all. She grabbed the key. I could see her curious gesture while examining it. She went away with it, her ghostly vision vanishing as fast as she appeared. Even when I was shocked to death, I couldn't help but have some warm feelings. Somehow she had just been inside me... so close...\n\n> You look in the cabinet\nThe cabinet was empty.\n\n> You look at the key\nI was sure I saw a key inside the cabinet, but it seemed to have vanished with Rose's vision...\n\n> You move the cabinet\nIt was fixed in place.\n\n> You go west\nI was in the breakfast room. Exits were north, to the kitchen and east, to the servant's quarters.\n\n> Go north\nI could see the bucket of water again on the kitchen's floor. Behind, Rose's dissolved image was coming from the opposite side. She looked so different this time... decades older. Her golden hair turned into a silver untidy mane. She kneeled before the bucket and aimed her arm as if to pick it up. I screamed again:\n\n\"No, Rose! Don't drink from it!\"\n\n...and, for a few seconds, she looked directly to where I was, her eyes loaded with such vast, infinite sadness, as if she had been roaming the house for an eternity trying in vain to find an escape... all hope lost. She stared at me so firmly I hadn't a chance to notice she had grabbed the bucket and moved it to her mouth. She drunk the liquid inside it without hesitation. In a moment, her body softly fell without a sound, without a sign of pain. When I reacted, she was lying as a broken doll. When I reached her, she was no longer there...\n\nWas that our true destiny? Had I foreseen the way it all would definitively end for us... for her?\n\nI was in the kitchen.\nThere were exits north, south, to the breakfast room, and west, to the corridor.\n\nI could see a crumpled piece of paper there.\n\n> You take the paper\nTaken.\n\n> You read it\nNow I could easily understand the hand written note \"Magic word: say PLUGH\"\n\n> Plugh\n\"PLUGH...!\"\nI could not say what I was expecting... Nothing happened.\n\n> About yourself\nNo, no, I didn't do that... Did I? I was too stressed trying to make sense of what was happening. The way I looked was so irrelevant in that endless dark...\n\n> You look at the bucket\nNo, no, I couldn't see the bucket of water any more. Perhaps it would be there in some future time, when Rose... No, no...\n\n> Go north\nThat had to be the dining room. I was surprised by a quick vision of Rose...\n... alive...\n... and as young as vital as she was at the house entrance not long ago, like a flash, writing something with her finger in the dust that laid over a big old wooden table.\nExits led south, to the kitchen, and west.\n\n> You look at the table\nWritten in the layer of dust I could read the word \"UPSTAIRS\"... Was Rose trying to send me a message?\n\n> You go to the west\nI could figure out that was the living room. Right after entering there I had one of those strange visions again. That one was such a nonsense it could easily have been ripped off from a cartoon. It was Doc running while being chased by a levitating knife. Even in an eerie environment like that I could laugh at it, but then, I was so scared...\nThere seemed to be exits east and west, to the foyer.\n\n> Go west\nI was in the foyer.\nI could go south, to the den, east, to the living room, and west from here.\n\n> You go west\nI was in a hall. It was huge, and it seemed I was in its east end. I could go north, east, to the foyer, and west.\n\n> Go west\nThat was the other end of the huge hall. Exits were north, south, to a door, and east, to the east end of the hall.\n\n> You examine the door\nI saw the door. It was closed.\n\n> You open the door\nI felt that warm feeling again. A light flowing out from myself as I saw Rose's ghostly hand unlocking the door with the key she took from the cabinet. Somehow I knew then that our fate was not sealed to stay in the house forever. It didn't matter how much we were apart in space or time, we were working it out all together. We would find a way...\n\n> Go south\n(first opening the door)\nMaster bedroom\nThe master bedroom... I could see a bed. Exits were north, to the hall, and east.\n\n> You look at the bed\nI wasn't sure what could have happened to it, the light was so dim and there was that continuous dust and cobweb mess... but it looked like it had been burnt a long time ago.\n\n> You look under the bed\nJust dust. Burnt dust. A lot of it...\n\n> You examine the burnt dust\nNo, no... I couldn't see any such thing there.\n\n> You examine the dust\nCobwebs and a thick layer of dust made a gallery of surreal forms everywhere I looked at.\n\n> You move the bed\nIt was fixed in place.\n\n> You go east\nOH MY GOD, IT BURNS!!!\n\nI got paralysed when I heard Rose's desperate cry. Then I saw her brilliant image coming from the east, her clothes in flames! She ran blindly into the bed and then I saw the bed engulfed in a giant ball of consuming fire. Soon there was nothing but the darkness and the burnt remains of the bed.\n\n> Go east\nI was too damn shocked to even think of doing something at all..."
    },
    {
        "text": "[Themes: Horror, haunted house]\n\n> You look around\nNo, no... I didn't do that, did I? I just felt like sitting right there and let myself be consumed by the dark just like Rose had been consumed by the flames...\nNo, no... I had to find the strength to react. I had seen Rose die before in a weird, horrible way, so there was a chance it hadn't been for real...\n\n> Go east\nSlowly I recovered my breath... I had to move on...\n... so I tried going east.\n\nDeformed shelves suggested that was once a library. Leaning against a wall, a wooden ladder reached into a gap in the ceiling which once belonged to a working trapdoor.\n\n> You examine the ladder\nA wooden ladder leading upstairs.\n\n> Go upward\nI carefully began to step onto the ladder when Doc's vision entered the library. He dropped a rope right under the hole. It magically raised itself to the ceiling while he cheerfully exclaimed \"TA-DAA, beat that, silly Mikie!\" and quickly began to make a skilful rope climbing exhibition.\nI knew he wasn't actually there, but couldn't help answering \"Now, Mr. know-it-all, what's so wrong with using a ladder to go upstairs?\"\nHe was talking to himself, but  the timing was so surprisingly precise that I could swear he was addressing me while both of us were reaching upside \"Yeah, yeah... I wonder who the hell was the moron who screwed the ladder...\"\n...\n...Oops! I realized then that the wooden ladder was so rotten that it was on the verge of collapsing under my weight. I desperately jumped towards the ceiling hole, miraculously reaching upstairs in the last moment before the ladder turned into a pile of shreds on the lower floor... That was close...!\n\nI was in a dimly lit room upstairs. Some light entered from the corridor to the west, but it still wasn't enough to move without the torch.\nExits led east, to a door, west, to a corridor, and down.\n\n> Go west\nI entered a corridor... and then hell broke loose. It all seemed a scene from a medieval fantasy film. I saw... that was it... an army of ghosts. They were just an indescribable legion of formless shadows I could just refer to as ghosts. At the other end of the corridor Doc stood defiantly carrying a shining sword \"Now, minions of hell, you're going to taste my ghost slayer blade\" and with a barbarian-like howl he charged against them all... smashing them apart while he kept running. \"Wait...\" I thought. Perhaps he got too carried away, as he didn't stop in the corridor and entered the room in an unstoppable rush which lead him directly to the trapdoor hole...\n\"Yiaaaahhh...!!\" CRASH!!\n\"Ouch... That must have hurt!!\" I thought, and looked into the hole to see Doc's shiny vision lying on the floor below... in time to see Rose's fuzzy image running towards him...\n\"It's okay, it's okay\" he said \"It's been just some scrapes... You're not to worr...\" But she wouldn't let him finish. Giving away a side of herself I would never have wanted to see, she embraced him tenderly until they both merged in a long, passionate kiss.\n\nAnd I knew then, being the unnoticed witness of their privacy, that as certain as there was a real world outside of the house, any wish, any hope I had concerning Rose would never, ever, fit in it.\n\nTheir images vanished again as I realized they were stuck downstairs, and if there were an exit to the house it was on my side, so it was up to me to find it and eventually come back to their rescue.\n\n> You go to the west\nI was in a corridor. Light entered from a near balcony.\nI could see a bedroom to the north, a dimly lit room to the east, and a balcony to the west.\n\n> You go to the west\nI was in a balcony. Couldn't say whether it was day or night, as the cloudy sky colour was just... unnatural. I gazed down to see Rose's corpse impaled at the iron gate in the house entrance. Horror made me jump back to the corridor in a reflex move.\n\n> You go to the west\nI didn't want to see. But I had to be sure. I stepped onto the balcony once again and... there were two corpses of Rose impaled at the iron gate. Two different dead bodies in different dead postures. I went back again.\n\n> You go west\nThen I saw three impaled Roses and one Doc hanging from a nearby tree. I blinked... and suddenly all surrounding trees were full of hanged Docs. Gruesome. I entered the house again.\n\n> You go to the west\nI was just losing my mind, as I went onto the balcony again and again until a mountain of dead Roses and Docs filled the horizon. Suddenly the horror was gone, as I had the strong feeling  that somehow the house, or whoever was inside, was just doing its best to suggest to me that jumping from the balcony was not a safe way of leaving. Well, black humour was also to be considered.\n\n> You go to the north\nI was in a bedroom.\nI could go south, to the corridor.\n\nI could see a bed, a desk and a wardrobe (closed) there.\n\n> You examine the bed\nAn old bed.\n\n> You look under the bed\nJust dust. A lot of it...\n\n> You examine the desk\nAn old wooden desk. There was a closed drawer in it.\n\n> You open the drawer\nI opened the drawer, revealing a pile of mail and a handful of press clippings.\n\n> You look at the mail\nLots of invoices and receipts dated up to the mid fifties addressed to some Shirley McDaniel. Last envelope seemed to be a handwritten letter.\n\n> You examine the letter\nA yellowing handwritten letter dated November 1956.\n\n\"My dearest, my sweetheart, my love...\"\n\n... Uh, that was... I nervously skipped from one line to another without any order...\n\n\"...time of our most difficult choice, let the world know I'll allow no one to stand in the way of our one dream, our true heart desire...\" \"... convince you to take that little step, I promise you, my dear, that you'll never be afraid any more of whatever people say...\"\n\"... fulfil my deepest wish... devoted to you beyond any hope...\"\n\nIt was all about not being afraid from scandals, about finding a way to live together, about pure love agony... the way just old styled love letters could do. I felt I got it then. Somehow I knew what was all about with that stranger who came to visit a cold Autumn day many years ago, just before the house got abandoned... Somehow I just knew what was going on with all that madness... As in response, I could hear the door in the near room with the hole on the floor creaking open... as if the house was inviting me to a rendezvous with its final inner secret.\n\n> You examine the letter\nA love letter...\n\n> You examine the clippings\nSociety news from the mid fifties regarding Shirley McDaniel, heiress of the McDaniel fortune.\n\n> You examine wardrobe\nAn old wooden wardrobe almost covered by the continuous cobweb layer. It was closed.\n\n> You open it\nI opened the wardrobe.\n\n> You look in it\nThe wardrobe was empty."
    },
    {
        "text": "[Themes: Horror, haunted house]\n\n> You describe your surroundings\nI was in a bedroom.\nI could go south, to the corridor.\n\nI could see a bed, a desk and a wardrobe (empty) there.\n\n> Go east\nI was in a dimly lit room.\nExits led east, to a door, west, to a corridor, and down.\n\n> You go to the east\nThen something difficult to describe happened. With my first step, I was entering into an attic room, with the next, it was just like the room itself was entering into my head. It was hard to discern whether I was in two different locations at the same time or having two totally different perceptions of a same place.\nOne was a dark room where I could hardly distinguish a window that, for no reason, I thought led the way to the landscape of another world. I was afraid to look into it, thinking that just gazing there would get me lost forever. Other than that it didn't matter where I turned the torchlight to, it was all a deep hole of inscrutable blackness.\nThe other one was a sea of shining blue where I just couldn't measure any distance or have any reliable notion of location. Simultaneously in both of them, or somewhere in between, or just floating around me, a pale blue presence. When it somehow spoke to me, the amount of shocking sensory nonsense went far beyond my coping capacity: I think I lost my consciousness for a while...\nWhen I came back I was greeted by a female voice...\n\n\"Hello there... you're an unwelcome guest, and my name is Indy\".\n\nI was so shaken and exhausted after all the previous sequence of surrealist nightmares that I just wasn't aware, or couldn't care less, if I was taking it too casually given the circumstances.\n\n\"Indy for Indiana? Indy for independent? Indy as in...\"\n\n\"...Indigo\"\n\nAnd I was still surrounded by the dark, but it was just like her voice made the whole room change its colour.\n\nI could see a window and Indigo there.\n\n> You examine Indigo\nI looked at her, and just like she could read my mind she answered to what I was thinking...\n\"No, I don't know what happened to Shirley McDaniel. I just came here after she and her lover flew away. As far as I know, their love story could have ended tragically, or perhaps they are now happily spending the best of their old age as a de facto couple on an exotic island. Dunno. You know, we just search for empty houses.\"\n\"We?\" I was surprised...\n\"No, no, it's just me here\" I thought she was smiling \"I meant my people tend to settle in abandoned places 'cause they are the best to give time a chance, to forget, maybe forgive, whichever happened, whatever they did to us...\"\nAnd I didn't see it, but I could sense her finger pointing close to my nose while she firmly stated \"And-don't-even-think-of-asking-me-what-it-was.\"\n\n> You ask Indigo about the plugh\nI tried to... No, no... I couldn't tell what happened first, could I? I got paralysed. Darkness got darker than dark. The air around me suddenly disappeared, and somehow I felt, though I couldn't exactly see, Indigo's furious face insanely jumping towards me at an impossible, inhuman, speed...\n... and then I instinctively tried to cover my face, but lost my balance and fell backwards, yelling like a child and shaking frantically arms and legs in panic... until I heard her voice in a tongue in cheek tone saying...\n\n\"...PLUGH!\"\n\n...Damn ghostly girl, she had just booed me. No, she gave me the fright of my life. No, no, she frightened the death out of my very own soul and then hammered it a bit. And I fell for it like a kid in the nightly camp fire after the scary tale-telling run...\nWhen I got my breath back I noticed I was lying on the floor while she was also sitting on it a few yards in front of me. We stared a each other for a few instants, and then I tried to speak... but her answer came before I could articulate a single word...\n\n\"Yeah, you've made all the way up here, watching the many deaths of Rose and... the other guy, and now here we are, just chatting like long time friends having tea beside the stone fountain in the beautiful garden and...\"\n\n...and I felt like I was in one of those dreams when you're close to a warm, comfortable, company and would like to stay like that forever...\n\n> You examine the window\nNo, I dared not..."
    },
    {
        "text": "[Themes: Horror, haunted house]\n\n> You look around\nI was in the attic.\n\nI could see a window and Indigo there.\n\n> You ask Indigo about Indigo\nEven before I finished thinking of it she interrupted me:\n\n\"...Plugh again?\"\n\n...and  I could hear first a tiny laugh... then I could feel, though again I couldn't exactly see, her smile... and it was all so contagious that in no time we both couldn't help laughing out pretty loud until we lost notion of time...\n\n> Plugh\nNo, no... I didn't do that, did I? Perhaps I tried to, but I was so mesmerized under Indigo's presence that the only thing I could do, or the only thing I felt I wanted to do, was examine her intensely.\n\n> You examine Indigo\nShe was a formless blue shadow, but I felt I could visualize her the way I wanted. I thought I could think of her as an attractive woman. At that point, I realized that what I saw between Rose and Doc had struck me harder than what I would like to recognize. I felt miserable. She noticed.\n\"Your friends have suffered no harm at all. We use to play tricks with unwanted visitor's imaginations to make sure they don't even consider coming back. Other than that, everything was real...\"\n...\n\"Ow, sorry...\" She added on realizing I didn't want to hear that last one.\n\n> You look at Indigo\nI tried to discern a form in her formless shadowy blue image. I noticed then that, if I focused hard enough on the spot she seemed to be, I could move without my head getting dizzy for the space strangeness all around me. I advanced towards her, and then, even as she was just like a cloud, I could hear her nervous step back on the floor. I had the craziest of all ideas. I extended my arm. I wasn't aware of how rude, mindlessly I was trying to breach into her privacy until I could sense the anxiety, the loneliness... and then the cold, the death...\n\n...and then, for the very first time in my life, I was slapped by a ghost.\n\nNot only slapped as being hit in your cheek, but also as being grabbed in the air, literally kicked in the ass, and thrown away through a closed window.\nFirst I panicked, about the other world sighting and that stuff. I closed my eyes, but soon I couldn't help opening them again and I saw I was landing into the entrance of the house, where some very puzzled Rose and Doc, eyes wide open, were just dumbstruck watching my free fall from the first floor.\n...CRASH!\n\n\"..Ouch! That must have hurt!\"\nRose's comforting voice received me before Doc's strident comment ruined it all.\n\"Oh! you silly Mikie, I thought you would throw yourself out of a window just if you were ordered to do so, now I know you would do it even if no one told you to!\"\n\nAnd that was all about the house mystery: there was no mystery at all, at least not the way I thought about mysteries since then. The mansion was abandoned when rich heiress powerful dumb airhead Shirley McDaniel fell in love with a married man. There were no monsters in the basement, but I met a ghost in the attic. She happened to be just a random squatter called Indigo, and was there for the same reason ghosts like to roam quiet isolated places. They are empty, giving them time to heal whatever wounds tie them to the wrong side of the after-life... alone...\n\nRose and Doc helped me to stand, each to one side of me, while my leg hurt like hell, just a bad sprain. I enjoyed that brief moment in the centre of our improbable friends trio, whose balance, I knew then, was as close to an irreversible end as summer itself...\nThe following days we had trouble discerning real events from ghost pranks. At first, we talked about it all as an actual  series of weird, strange, supernatural events... or so I think... Later, it was just a scary trip into an old mansion where we got lost in the dark and had to struggle to come back, as if nothing out of the ordinary had happened in between, or no one dared to mention... It's tempting to believe that's what the ghost-girl wanted... Did I ever tell my friends about her? Can't clearly remember...\nIn the end, it was the day we went into an abandoned house, Rose and Doc started their intense and short-lived relatioship, and I fell off a window...\n\nNow I'm not sure which part of it all is a real memory and which my own recreation. Teenagers are known to make up stories to calm their angsts just like ghosts searching abandoned houses to ease their own, immortal pains, aren't they?\nUnexpectedly, I still keep with me the crumpled paper. Sometimes I just say \"plugh\" to see if something happens. Of course, it does not."
    },
    {
        "text": "[Themes: Slice of life, female protagonist, fan fiction, teenage protagonist]\n\nIt's finally happened. You've finally got a date - a real date - with Troy!\n\nYou are Martha Jeraldine Kent, teenaged daughter of Superman. Troy will be here soon to take you out to the Ukrainian film festival, and you are nowhere near ready! Your shoes are missing. You can't find your hair pick anywhere. You still need to put on your makeup. You desperately need some jewelry to wear. And to top it all off, you've just discovered a huge stain on the dress you're planning to wear!\nYour reflection in the mirror shows a total mess.\n\n'Life is unfair!' you think, as you stand in the middle of your bedroom, sobbing.\n\nThis is your room. For the most part, it is pretty neat. Your bed lies alongside the wall that has your closet, and a small dresser is next to it. The other walls are covered with carefully organized bookshelves, videoshelves, pictures, and a full-length mirror by the window. The hallway is south of here, right out the door.\n\nYour dress is lying in a heap on the floor.\n\n[Author's Note: You're a teenage girl, getting ready for a date. Oh, and your father is Superman.]"
    },
    {
        "text": "[Themes: Slice of life, fan fiction]\n\n> You look at the dress\nIt's Troy's favorite color, which is partly why you picked it for tonight. It has spaghetti-strap sleeves, and a neck-line that's cut just low enough to be interesting without making any promises. Right now, there is an ugly stain on it.\n\n> You take the dress\nTaken.\n\n> You examine the dresser\nIt's just a small dresser painted red with yellow trim. It has two drawers.\n\n> You open the top drawer\nOpening the top drawer reveals some underwear.\n\n> You open the bottom drawer\nOpening the bottom drawer reveals some socks.\n\n> You open the closet\nOpened.\n\n> You examine the bed\nIt is a comfy bed, with rose-pattern sheets and pillow cases."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> You look at your surroundings\nThis is your room. For the most part, it is pretty neat. Your bed lies alongside the wall that has your closet, and a small dresser is next to it. The other walls are covered with carefully organized bookshelves, videoshelves, pictures, and a full-length mirror by the window. The hallway is south of here, right out the door.\n\n> You look at the stain\nIt's horrible! Strangely, it looks like chocolate.\n\n> Lick stain\nThe word \"lick\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You look at the videoshelves\nThey're essentially small bookshelves, except you've stacked your videos on them.\n\n> You examine pictures\nThere's a painting of a field of daisies, and several family photos hanging on the wall.\n\n> You look at the photos\nThere are some of you and your sister, and a few group shots of everybody.\n\n> You look at the bookshelves\nSturdy, wooden bookshelves line the walls of your room. The books on them are all arranged alphabetically according to author.\n\n> Examine books\nThe books themselves are a mix of novels, biographies, and encyclopedias. There is also a stack of printed out fanfiction.\n\n> Examine fanfiction\nYou and your sister were both fans of the tv show Louissa and Mark: The New Adventures of the Hulk back when it still aired. Since it's been cancelled, you both practically thrive on internet fanfiction and the reruns that air on channel 2.\n\n> About you\nYou're about average height, with dark, naturally curly hair.\n\n> You examine the mirror\nIt's a tall, narrow mirror with a gold frame, and glass in which you can see your reflection.\n\nYou're about average height, with dark, naturally curly hair.\n\nYou do a little twirl in front of the mirror. Right now, you're in your slip.\n\nYou really should get dressed; Troy could come at any minute! What are you going to do about that horrible stain on your dress? You should also get some shoes on. Some jewelry would really help. You could also do with just a touch of makeup. By the way, your hair is a frizzy mess. Get Moving, girl!\n\n> You go to the south\n(first opening the door)\n\nThis is the end of the narrow hallway that runs east-west through the upstairs of the house. Your room is to the north, and your twin sister's room is across the hall, to the south. The hall coninues to the west, and immediately east is a closet.\n\n> Go south\n(first opening your sister's door)\n\nYour parents have finally given in to their children's pleas, and given you and your twin sister separate rooms. Lara's room is messier than yours, but that's no surprise. Her walls are mostly covered in posters and pictures, and if you use your x-ray vision, you can almost see the floor. Well, okay, it's really not that bad. Her closet is at the far end of the room, by the window, and she has a desk and chair against one wall, across from her bed. The hallway is north of here.\n\n> You examine the bed\nIt looks like she quit in the middle of making it. The sheets are pulled halfway off, and the pillows are on the floor.\n\n> You look under the bed\nThe monsters wave at you.\n\n> You look at the posters\nAside from pictures and photos, Lara's walls are plastered with a vast quantity of posters for the heavy-rock boy band, \"Screaming Mayhem\". Some of them are just artsy album covers, but most feature various members of the band in flashy poses, often licking their guitars for some reason.\n\n> You examine the snowglobe\nLara borrowed it from you a month ago. You have no idea why. She never bothered to return it, apparently. She's bad at that-well, actually, you both are, but she's worse. Of course, it might be that she didn't return it because she still using it; although that doesn't make sense! How do you use a snowglobe?\n\nIt has a little snowman inside, wearing a red cape.\n\n> Shake snowglobe\nYou turn it upside-down and shake it. When you turn it right-side-up again, a myriad of little snowflakes swirl around the tiny, caped snowman.\n\n> You examine the snowman\nHe seems like a jolly little fellow.\n\n> You examine closet\nLara's closet contains her clothes. It's closed.\n\n> You open the closet\nSome random odds and ends are piled on the floor. There's something about the pile that catches your attention...\n\n> You look at the pile\nThis is just a pile of Lara's junk. It's mostly things like CDs, shoes, board games, and who knows what else! A pair of shoes in the pile looks familiar. Hey-those are yours! That's the pair you've been looking for!\n\n> You take the shoes\nGot 'em! Now finish getting dressed!\n\n(If you'd prefer not to be notified about score changes in the future, type NOTIFY OFF.)\n\n> Go north\nThis is the end of the narrow hallway that runs east-west through the upstairs of the house. Your room is to the north, and your twin sister's room is across the hall, to the south. The hall coninues to the west, and immediately east is a closet.\n\n> Go east\nYou enjoy standing in closets?\n\n> You open the closet\nOpened.\n\n> Yes\nYou must be more specific about whom you want to talk to.\n\n> You examine the door\nWhich door do you mean, your bedroom door, your sister's door, or the hall closet?\n\n> Closet\nIt's just an ordinary hall closet. Nothing special about it. It's open.\n\n> You go to the west\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\nYour parents' voices leak out from the bathroom, and you nearly fall over, until you realize that what your mom actually said was \"Scrub me harder.\" Of course, that still doesn't make it much less disturbing.\n\n> Go south\nThe \"Keep Out\" sign's magic powers keep you from entering. Actually, it's more likely the huge mess and brother germs on the other side of the door.\n\n> You examine the sign\nKEEP OUT!\n\n> You fly\nYou hover for a while.\n\n> You stand\nYou're already standing.\n\n> You go west\n(first opening your parents' door)\n\nThis is the master bedroom, where your parents sleep. Their large, double bed is at the far end of the room, your Dad's side close to the window in case he has to leave in the middle of the night to attend an emergency. Against the far wall is a large vanity. You notice a beautiful silver necklace hanging from it.\n\n> You look at the necklace\nThe necklace was a gift from your father to your mother, and it's absolutely beautiful! The chain is silver, and the pendant holds a sapphire cut in a shield-shape. It's breath-takingly elegant, and it just so happens to complement your dress perfectly.\n\n> You take it\nYou'd better ask your mother before you go borrowing any of her jewelry!\n\n> You examine the bed\nThis is the bed your parents sleep in. It's a big double bed with deep red sheets and blankets. Under the double bed is a laptop.\n\n> You look at the laptop\nIt's a sleek, black laptop. It belongs to your mother. She usually uses it for work."
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist]\n\n> You describe your surroundings\nThis is the master bedroom, where your parents sleep. Their large, double bed is at the far end of the room, your Dad's side close to the window in case he has to leave in the middle of the night to attend an emergency. Against the far wall is a large vanity. You notice a beautiful silver necklace hanging from it.\n\n> You examine the vanity\nIt's a large, mahoganny vanity. The center of it is a large mirror, flanked by drawers and hooks for hanging jewelry. Your parents just bought it one week ago. There's only one necklace hanging from the hooks.\n\n> You open the drawers\nOpened.\n\n> Close drawers\nClosed.\n\n> You examine window\nThe huge window in the south wall of your parents room is almost the size of a door. It even opens similar to one. The curtains over it help keep the paparazzi from getting shots that are much too personal. It's closed.\n\n> You go east\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\nYour parents sound like they're having a fun time in the shower.\n\n> You listen\nThe hiss of the shower running reaches your ears from the bathroom.\n\nYou can hear the shower running in the bathroom, and your parents moaning and giggling.\n\nThere's some strange noise coming from outside that sounds like a guitar...if guitars could feel pain.\n\nSomething's rustling around in the trashcans next to your house."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> Go down\nThis is the living room. It's the front room of the house, and its main feature is the large sofa along the back wall by the staircase, across from the front door. Just north is a small bathroom. West is the door that leads into the dining area, and there is a sitting room set apart to the east.\n\n> You examine the sofa\nIt's a large, comfortable-looking sofa, upholstered with blue fabric. It sometimes acts as a vacuum, sucking various objects into its cushions.\n\n> You search the sofa\nUnder the sofa cushions is a comic book.\n\n> Examine book\nThe comic was a gift from your uncle in a parallel universe. You find it hard to believe that a universe can exist where nobody realizes that Clark Kent is Superman with glasses. Frankly, you never really got into comicbooks, but it seems perfectly suited to keeping a nine-year-old gleefully occupied.\n\n> Go north\n(first opening the downstairs bathroom door)\n\nThis is actually a small half-bathroom tucked away under the stairs.\nIt has a toilet and a sink, but not much else.\n\n> You put the dress in the sink\nYou hold your dress under the running water, allowing it to completely soak the material.\n\n> You look at the stain\nIt's horrible! Strangely, it looks like chocolate.\n\n> You remove the stain\n(from the dress)\nYou can't take that.\n\n> You turn off the water\nYou turn the knob the other way, and the water shuts off. One last drop falls from the tap and plummets down the drain.\n\n> Blow dress\nYou change your mind at the last mintue, and tiny frost crystals materialize as you gently exhale.\n\n> Burn stain\nYour eyes glow red for a second, but then you change your mind.\n\n> You take the dress\nTaken.\n\n> You look at the dress\nIt's Troy's favorite color, which is partly why you picked it for tonight. It has spaghetti-strap sleeves, and a neck-line that's cut just low enough to be interesting without making any promises. Right now, there is an ugly stain on it. It is also sopping wet.\n\n> Dry dress\nYou zap your dress with a quick burst of heat vision, instantly drying it.\n\n> You look at the stain\nIt's horrible! Strangely, it looks like chocolate.\n\n> You go west\n(first opening the door to the dining area)\n\nThis is the dining area. It isn't quite a dining \"room\" since the only thing that seperates it from rest of the kitchen is space. It consists of a large table and several chairs at the south end of the expansive kitchen. The cooking area is at the north end. The living room is out the door to the east.\n\n> You look at the table\nIt's a large, wooden table surrounded by chairs, and it has a checkered tablecloth that covers the top and hangs over slightly.\n\n> You examine the chairs\nThe chairs around the kitchen table were actually purchased at a different store, as part of a different furniture set. However, they go with the table so well, nobody's noticed.\n\n> You go to the north\nKitchen (or Cooking Area)\nThis is the main part of the kitchen, where the food is prepared. A long counter runs along the east wall, broken up in the middle by the refridgerator. A small cooking island dominates the center of this area, and pots and pans hang from above it. Light floods the room from the large windows on the west wall , and there is also a small window in the north wall, next to the door that leads out into the backyard.\n\nA cockroach crawls along the kitchen counter, cheerfully minding its own business.\n\n> You examine the cockroach\nRoaches really creep you out. Of course, there's a chance that there might actually be someone in the world who hates them worse than you do. The cockroach is scurrying around, probably looking for food.\n\n> You show stain to the roach\nThe roach looks at the stain and scurries a few inches away.\n\n> You look at the island\nThe island looks like it's made of a light-colored wood, and is shaped like an octogon. The center of the island is a stove range, and there is an oven hidden in the base. Your mother sometimes hits her head on the top part of the island whenever she's baking something. Pots and pans hang over it from above.\n\n> Show shoes to roach\nThe roach looks at the shoes and scurries a few inches away.\n\n> You examine the fridge\nThe refridgerator stands against the north wall of the kitchen, breaking the long stretch of countertop on either side of it. A crayon drawing is stuck on the door with magnets, showing your Dad blasting a monster with his heat vision. It's closed.\n\n> You look at the magnets\nThey're an assortment of cookie-shapes, an S-Shield, and the letter Z.\n\n> You look at the drawing\nThe picture shows your Dad in his Superman suit, flying triumphantly, and somewhat awkwardly since he has no apparent knees or elbows. As if the suit was not enough of a tip-off, the word DAD has been printed in thick, black letters over his disproportioned head, with an arrow pointing to him. Red lines extend from his eyes to what appears to be a smaller, fatter version of Godzilla. Crudely drawn buildings are in the background, surrounded by red, yellow and orange scribbles that are meant to indicate fire, and there is a car upside-down in the air for some reason.\n\n\"David, Age 9\" is printed in black in the lower, right-hand corner of the paper.\n\n> You examine the pans\nThe cookware hanging over the island is stainless steel, and variously sized.\n\n> You examine the oven\nIt's closed.\n\n> You open it\nOpened.\n\n> You close it\nClosed.\n\n> You examine the window\nIt's a small window in the north wall, and it has a little yellow curtain.It's closed.\n\n> You examine the curtain\nIt is little and yellow. It's closed.\n\n> You open the curtain\nThe curtain is already open.\n\n> You examine the window\nIt's a small window in the north wall, and it has a little yellow curtain.It's open.\n\n> Go north\n(first opening the back door)\nAhem. You ought to at least throw something on before you go running around outside. Tabloid publishers live for shots of celebreties in their undies.\n\n> You go to the south\nThis is the dining area. It isn't quite a dining \"room\" since the only thing that seperates it from rest of the kitchen is space. It consists of a large table and several chairs at the south end of the expansive kitchen. The cooking area is at the north end. The living room is out the door to the east.\n\n> Go east\nThis room is mostly set apart from the living room by a depression in the floor and a wall with a wide opening that's a bit too big to be considered a doorway. Here is where you all come to watch TV. There are some assorted chairs and beanbags scattered about for this purpose. To the north is the laundry room, and the living room is back west.\n\nThe television sits in the southeast corner of the room.\n\n> Examine tv\nIt's a nice set, with a fairly large screen. Your father sometimes jokes about unplugging it so that he won't have to be interrupted by emergency news bulletins so often.\n\n> You look at the chairs\nA recliner and a rocker sit positioned in front of the television, and three beanbags have been tossed around the room. They are red, yellow, and blue.\n\n> You examine the recliner\nIt's a large leather recliner. There is a discoloration on the arm where your father spilled coffee in his rush to get to a disaster in Taiwan.\n\n> You examine the rocker\nThis is a simple, wooden rocker that your dad got for your mom when she had you and your sister. You remember playing on it when you were little.\n\n> You examine the red\n(the cape)\nIt's meant to resemble your father's, but it's generic enough to keep the makers of the snowglobe from getting in trouble.\n\n> You look at the red beanbag\nThe wonderful thing about beanbags, is beanbags are wonderful things. This one's red.\n\n> You examine the yellow\nThis is a giant yellow beanbag. It reminds you of the sun-only much, much lumpier.\n\n> You examine the blue\nThis is basically a huge, plastic sack full of-um, beans, you guess. It's blue.\n\n> You turn on the tv\nAs the television comes to life, you hear the voice of LNN's new anchorman, Harry Sharper, describing a devastating earthquake in South America. Soon, a cracked landscape fills the screen, with an on-the-spot reporter standing in the foreground to give his perspective on the ensuing chaos.\n\nUpstairs, you hear the sounds of someone bustling around at super-sonic speed, and doors and windows slamming open.\n\nAfter a while, you hear the shower shut off, and footsteps padding into the general direction of your parents' room. You guess the bathroom's free, now.\n\nThe TV is on. It's the news.\n\n> You go to the north\n(first opening the door)\n\nThis is just a small utility room tucked away in the corner of the house. To the south is the door leading back to the sitting room. A washer and a dryer line the east wall, while across from them are tools hanging on hooks and nails. A shelf runs along the back wall, with various odds and ends stacked on it.\n\nOn the laundry room shelf are a tube of spot remover, a box of nails, an empty bottle of bleach, a doomsday remote control, a Copy of Metro Magazine, and a glass jar.\n\n> You look at the remote\nIt was once used by some supervillain as a remote control for a doomsday device. It doesn't work.\n\n> You look at the Metro\nIt's just last year's copy of Metro Magazine.\n\n> You examine the nails\n(the hooks and nails)\ntools are hanging from them.\n\n> You turn on remote\nAaah! What have you done?! Now in ten seconds, the whole world and everything in it and everyone you know and love will be absolutely destroyed and there will be panic and mayhem and--\n\nJust kidding. It doesn't work.\n\n> You look at the spot remover\nIt's a tube of Zappo! Spot Remover, guaranteed to get any stain out- including chocolate-or your money back. The label on the back has instructions for use.\n\n> You read it\nTo remove tough stains:\n\n1. Pour spot remover onto stain\n\n2. Rinse garment, or wash as normal\n\n3. Dry\n\n4. Purchase more Zappo! products\n\n> You pour the spot remover onto the stain\nYou pour a hefty glob of spot remover on the stain. There, that should help take care of it! Now, what does the tube's label say you should do next?\n\n> You examine the tools\nPeople are surprised when they find out your family keeps tools; after all, why would a man need a hammer when he can drive nails with his bare fist? Mostly, these get used by your mother, who has no special powers. Plus, there's always the occasional encounters with Kryptonite...\n\nThe tools are pretty much a bare-basics set- there's a hammer, a wrench, a screwdriver, and a small saw."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> Look around\nThis is just a small utility room tucked away in the corner of the house. To the south is the door leading back to the sitting room. A washer and a dryer line the east wall, while across from them are tools hanging on hooks and nails. A shelf runs along the back wall, with various odds and ends stacked on it.\n\nOn the laundry room shelf are a tube of spot remover, a box of nails, an empty bottle of bleach, a doomsday remote control, and a Copy of Metro Magazine.\n\n> You examine the bleach\nIt's empty.\n\n> Examine box\nIt's a little box of nails. Nothing special.\n\n> You examine the washer\nIt's a standard front-loading washer, well suited to a family of five. As you gaze upon the washing machine, strains of The Hallelujah Chorus from Handel's Messiah fill your ears. The chorus stops abruptly as you realize that the shortest washing cycle takes 45 minutes, which is more time than you have right now. You'd probably be better off washing your dress by hand.\n\nIt's closed.\n\n> You look at the dryer\nThe dryer is looking a little worse for wear. It hasn't been completely functional since \"the incident\", so your mother sometimes has to take the laundry to the laundromat to use the dryers. Sometimes she asks you or your sister to go. It's annoying, since you almost always have to fend off people who try to steal the spandex.\n\nIt's closed.\n\n> You go south\nThis room is mostly set apart from the living room by a depression in the floor and a wall with a wide opening that's a bit too big to be considered a doorway. Here is where you all come to watch TV. There are some assorted chairs and beanbags scattered about for this purpose. To the north is the laundry room, and the living room is back west.\n\nThe television sits in the southeast corner of the room.\n\nOn televesion, some talking head is babbling about geophysics, biophysics, and metaphysics to explain how your dad is doing whatever he's doing.\n\n> Go north\nThis is actually a small half-bathroom tucked away under the stairs.\nIt has a toilet and a sink, but not much else.\n\n> You put the dress in the sink\nDone.\n\n> You turn on the tap\nYou turn the knob, and water starts gushing from the faucet in a steady stream. The water runs over the material of your dress, completely soaking it.\n\n> You turn off the tap\nYou turn the knob the other way, and the water shuts off. One last drop falls from the tap and plummets down the drain.\n\n> Dry dress\nYou zap your dress with a quick burst of heat vision, instantly drying it. Yes! You've gotten the stain out. Now quick, finish getting dressed!\n\n> You wear the dress\n(first taking the dress)\nOkay, you're now wearing the dress.\n\n> You put the roach in the jar\n(first trying to take the cockroach)\nYou can't bring yourself to touch it, though you could probably catch it in something, like a jar.\n\n> You catch the roach\nYou can't bring yourself to touch it, let alone catch it with your bare hands. Though, you could probably catch it in something, like a jar.\n\n> You catch the roach in the jar\nWith the stealth and grace of a ninja, you turn the jar upside-down and drop it over the cockroach, trapping the bug inside. After your prisoner scrambles around for a bit, you right the jar again, giving it a light shake so that the bug falls solidly to the bottom of the jar. That should hold the creature long enough for your purposes.\n\n> Go upwards\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\n> Go west\nThis is the master bedroom, where your parents sleep. Their large, double bed is at the far end of the room, your Dad's side close to the window in case he has to leave in the middle of the night to attend an emergency. Against the far wall is a large vanity. You notice a beautiful silver necklace hanging from it.\n\nYour mother, fresh from the shower, is sitting on the bed in her bathrobe, busily typing away at the laptop on the bed next to her. She pauses occaisonally to pat at her hair with the towel around her shoulders.\n\nYour Mom types furiously for a seconds, then curses and holds down the delete key.\n\n> You talk to Mom\nYour mother turns and smiles at you, lifting her fingers away from the keyboard. \"Hi, Sweetie,\" she says.\n\n> You ask Mom for the necklace\nYour mother leans back, looking thoughtful. \"It would look nice on you, Honey. Tell you what-that guy from the Tabloids has been sneaking around again. If you can get rid of him, I'll let you borrow the necklace for tonight. Okay?\"\n\nIt sounds like a fair deal. As you nod, your Mom turns back her laptop and types a few more sentences.\n\n> You examine mom\nYour Mom is about average height with dark hair, and she looks pretty good for her age. Your father sometimes describes her as a hurricane; she's always on the go! She's sitting on the bed, looking at you.\n\n> You go east\nYour Mom shrugs and goes back to typing.\n\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\n> You go north\nThis is the upstairs bathroom. Clouds of steam from your parents' recent shower fill the room, and there are puddles on the tile floor. The large mirror over the sink and the glass front of the medicine cabinet are fogged up.\n\n> You examine the mirror\nIt's a large, plain mirror hanging over the bathroom sink. The glass is completely fogged over from all the steam in the room.\n\n> You look at the cabinet\nIt's a small wall-mounted medicine cabinet with two glass doors over the front. It's good for storing things like toothpaste, makeup, mouthwash, and cologne. It's closed.\n\n> You open it\nOpening the medicine cabinet reveals a makeup kit.\n\n> You take kit\nWith a triumphant cry, you seize the makeup kit and immediately apply some of its conents. Ah, you feel so pretty, now!\n\n> You examine the shower\nYou try to avoid eye-contact with it for the time being.\n\n> You go to the south\n(first unlocking the bathroom door, then opening it)\n\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\n> Go east\nThis is the end of the narrow hallway that runs east-west through the upstairs of the house. Your room is to the north, and your twin sister's room is across the hall, to the south. The hall coninues to the west, and immediately east is a closet.\n\n> Go north\nThis is your room. For the most part, it is pretty neat. Your bed lies alongside the wall that has your closet, and a small dresser is next to it. The other walls are covered with carefully organized bookshelves, videoshelves, pictures, and a full-length mirror by the window. The hallway is south of here, right out the door.\n\n> You look at the mirror\nIt's a tall, narrow mirror with a gold frame, and glass in which you can see your reflection.\n\nYou're about average height, with dark, naturally curly hair.\n\nYou do a little twirl in front of the mirror. Your dress fans out around you as you turn, and the high heeled shoes on your feet make you look taller. Your features are nicely accentuated without looking trashy.\n\nSome jewelry would really help. By the way, your hair is a frizzy mess. Get Moving, girl!\n\n> You look at door\nWhich door do you mean, the bathroom door, your brother's door, or your parents' door?\n\n> Go south\nThe \"Keep Out\" sign's magic powers keep you from entering. Actually, it's more likely the huge mess and brother germs on the other side of the door.\n\n> You go west\nThis is the master bedroom, where your parents sleep. Their large, double bed is at the far end of the room, your Dad's side close to the window in case he has to leave in the middle of the night to attend an emergency. Against the far wall is a large vanity. You notice a beautiful silver necklace hanging from it.\n\nYour mother, fresh from the shower, is sitting on the bed in her bathrobe, busily typing away at the laptop on the bed next to her. She pauses occaisonally to pat at her hair with the towel around her shoulders.\n\nYour Mom grumbles about having to spell the names of the foreign diplomats who were held at gunpoint.\n\n> You ask Mom about David\nYour mother turns and smiles at you, lifting her fingers away from the keyboard. \"Hi, Sweetie,\" she says.\n\nYour mother looks out the window and sighs dreamily, not really paying attention to you.\n\n> You go east\nYour Mom shrugs and goes back to typing.\n\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> Go down\nThis is the living room. It's the front room of the house, and its main feature is the large sofa along the back wall by the staircase, across from the front door. Just north is a small bathroom. West is the door that leads into the dining area, and there is a sitting room set apart to the east.\n\n> You examine the front door\n\n\n> Go north\nKitchen (or Cooking Area)\nThis is the main part of the kitchen, where the food is prepared. A long counter runs along the east wall, broken up in the middle by the refridgerator. A small cooking island dominates the center of this area, and pots and pans hang from above it. Light floods the room from the large windows on the west wall , and there is also a small window in the north wall, next to the door that leads out into the backyard.\n\n> Go north\nSince your house is situated on the corner of the block, you have a fairly decent-sized backyard that wraps southwest around the side of the house, also. The entire yard is closed in with a high, wooden privacy fence, but it isn't quite enough to keep the tabloidists from climbing into your yard and getting into the trash.\n\nDavid is sitting on the back step, with a guitar. You double-take as it registers that he is using your hair pick to strum the guitar!\n\n...And he's not very good, either.\n\n> You talk to David\nHe briefly looks up from the instrument. \"Hey, Sis,\" he says, before resuming his daily routine of ignoring you.\n\n> You ask David for the pick\n\"No way, Sis!\" he says. \"I need it to practice my guitar. There's sure nothing else to do around here...\" He exhales. \"Not since I lost my comic book, anyway.\"\n\n> You give the comic book to David\nHis eyes bug out as he sees the comic in your hand. \"I've been looking all over for that!\" He exclaims. \"Where'd you find it?\"\n\nBefore you can answer, he seizes the comic and runs off, leaving the guitar and your hairpick on the step. You quickly pick up the hair pick and, after brushing the worst of the cooites off it, run it through your hair. Much better!\n\n> You examine the guitar\nIt's an acoustic guitar. Come to think of it, you have no idea where it actually came from.\n\n> You examine the fence\nIt's very tall, and made of a dark colored wood. It wraps around the backyard and the side-yard. Tabloidists still manage to get in, but at least the fence makes it more difficult for them.\n\n> You listen\nSomething's rustling around in the trashcans next to your house.\n\n> EXITS\nObvious exits lead south, back to the kitchen (or cooking area); southwest; and up.\n\n(You can control the exit listings with the EXITS command. EXITS STATUS shows the exit list in the status line, EXITS LOOK shows a full exit list in each room description, EXITS ON shows both, and EXITS OFF turns off both kinds of exit lists.)\n\n> You go southwest\nThis is just a little stretch of land that borders the side of your house. It's almost completely boxed in by the house and the privacy fence, except for where it joins the backyard to the northeast. Some trashcans are piled at the southern end of the fence.\n\nA bagged lunch sits on the ground by the reporter's feet.\n\nOver by the trashcans, a tabloid reporter ineptly tries to conceal himself behind a large bush.\n\nThe cockroach senses the presence of a ham and tuna sandwich. It presses itself against the glass and stares longingly at the reporter's sack lunch. Then, much to your surprise, it flies out of the jar and buzzes straight towards the lunchbag. The bug somehow executes a perfect swan dive, landing inside the bag.\n\nUpon hearing a buzz, the tabloid reporter glances in his lunchbag and sees the bug enjoying his sandwich. Like the hardened, unfazable reporter that he is, he immediately throws his arms up into the air and runs screaming like a little girl. You watch in amazement as he vaults the fence, landing with a hard thud followed by yelps, yapping, and an anguished cry of \"My poodles!\"\n\nWell, that's one less pest to deal with, at least.\n\n> You go northeast\nSince your house is situated on the corner of the block, you have a fairly decent-sized backyard that wraps southwest around the side of the house, also. The entire yard is closed in with a high, wooden privacy fence, but it isn't quite enough to keep the tabloidists from climbing into your yard and getting into the trash.\n\n\"Poodle-attacking fiend!\" *Whap* *Whap* *Whap*\n\n> Go up\nYou are floating serenly in the sky above your house. It's kind of nice, up here. The view and the lovely weather combine to help lift your spirits.\n\n> EXITS\nObvious exits lead north; south; east; west; northeast; northwest; southeast; southwest; up; and down, back to the the backyard.\n\n> You go south\nKitchen (or Cooking Area)\nThis is the main part of the kitchen, where the food is prepared. A long counter runs along the east wall, broken up in the middle by the refridgerator. A small cooking island dominates the center of this area, and pots and pans hang from above it. Light floods the room from the large windows on the west wall , and there is also a small window in the north wall, next to the door that leads out into the backyard.\n\nThere is a din out in the street. A whole lot of small dogs are yapping like crazy, and it sounds like your neighbor Tiffany is hitting the tabloid reporter with her purse.\n\n> You go south\nThis is the dining area. It isn't quite a dining \"room\" since the only thing that seperates it from rest of the kitchen is space. It consists of a large table and several chairs at the south end of the expansive kitchen. The cooking area is at the north end. The living room is out the door to the east.\n\nDavid is sitting in one of the chairs, reading his comic.\n\n\"Help! This-*Giant Raccoon* is attacking my poodles!\" *WHAP*\n\n\"Ow! Look, Lady, I'm not really a raccoon, it's just a costume! So could you just-\" *WHAP* \"-stop-\" *WHAP* \"-Ow!\"\n\n> You go to the east\nThis is the living room. It's the front room of the house, and its main feature is the large sofa along the back wall by the staircase, across from the front door. Just north is a small bathroom. West is the door that leads into the dining area, and there is a sitting room set apart to the east.\n\nThere is a din out in the street. A whole lot of small dogs are yapping like crazy, and it sounds like your neighbor Tiffany is hitting the tabloid reporter with her purse.\n\n> Go upward\nThis is the beginning of the narrow hallway that runs east-west through the upstairs of the house. The bathroom is immediately north, and at the western end of the hall is your parents' room. Between them is the staircase that goes down to the rest of the house. South, across from the stairs, is your brother David's room. The hall coninues to the east, towards your and your sister's rooms.\n\nThe sound of a tabloidist in mild agony amidst a horde of toy poodles reaches your ears. You ingore it.\n\n> Go west\nThis is the master bedroom, where your parents sleep. Their large, double bed is at the far end of the room, your Dad's side close to the window in case he has to leave in the middle of the night to attend an emergency. Against the far wall is a large vanity. You notice a beautiful silver necklace hanging from it.\n\nYour mother, fresh from the shower, is sitting on the bed in her bathrobe, busily typing away at the laptop on the bed next to her. She pauses occaisonally to pat at her hair with the towel around her shoulders.\n\n\"Lady-*ow*--please, I-*ow*--I was only-*ow!* HELP, SUPERM-*Ow!*\"\n\nYour Mom casts a worried glance out the window.\n\n> You ask Mom for necklace\nYour mother turns and smiles at you, lifting her fingers away from the keyboard. \"Hi, Sweetie,\" she says.\n\nYour mom grins. \"From all the commotion outside, it sounds like that jerk from the tabloids won't be coming back any time soon. Just for that, you can borrow my necklace any time you like.\" She stands up and crosses to the vanity. \"As long as you ask first, of course, \" she adds as she takes the necklace from the hook and gently hands it to you.\n\n> Wear necklace\nYou double check everything, making sure that not one hair or thread is out of place. Perfect. Just in time, too, because Troy is at the door now! You hear his heartbeat outside the front door long before he knocks. Dropping everything you know you won't need, you rush over, pausing at the last minute so that you don't seem overly anxious.\n\nWhen you finally open the door, Troy stares at you as though you were some kind of goddess. \"Wow,\" he squeaks after a long pause, \"just...Wow. You look great, Martha!\" He clears his throat. \"So, are you ready to go?\"\n\nBefore you can reply, you hear your father land in the back yard and make his way through the kitchen. \"Not so fast, kids...\" After an endless parade of questions about where you're going, how long you'll be, and how much gas is in the car, you and Troy *finally* head off to the Ukranian Film Festival.\n\nAs you glance at Troy, it occurs to you that neither of you will be paying very much attention to Grosky's Fish Sing In Twighlight. He smiles at you.\n\n\"You really look nice, Martha,\" he says. \"It must be nice being a Kent; getting ready to go was probably a snap.\""
    },
    {
        "text": "[Themes: Mystery, whodunit, mystery]\n\n[Picture number 3 here.]\n\nRelease: 2 / Serial #: 160508\nIFID: 4EBA8B85-932B-4813-B0A9-BC344587A8EB.\n\nPress SPACE key to continue...\n** Welcome!\n\nThere are several non-standard commands in this story.\n\nYou are in a conversation when the command prompt is (something like) Say to John >\nThe suggested topics of conversation appear below the prompt. For those who do not want to type in the whole phrase, just use the highlighted word. And a word of warning... after you enter the mansion, you will be immediately placed in a conversation.\n\nOther commands are hinted in the text, i.e. \"blah blah knock\nblah blah.\"\n\nIf you get stuck, try help game.\n\nFinally, the solution to Mystery! changes each time it is\nplayed, so there is no walkthrough.\n\n** Enjoy!\n\nPress SPACE key to continue...\nEntrance\nFor the front entrance to the famous Tudor Mansion, it is underwelming; except for a very ornate wooden door. The rest\nof the porch looks like it will collapse at any moment, but at least it is under cover and keeping most of the rain off."
    },
    {
        "text": "> You look at the door\nIt looks extremely old but unlike the rest of the mansion, it appears well taken care of. It has an intricate carving of intertwining vines. They almost look like they are moving in the scattered moonlight. Dead center is a huge wrought iron knocker.\n\n> About yourself\n[Picture number 4 here.]\n\nAs good-looking as ever.\n\n> Inventory\n...except it's locked. You might try knocking.\n\n> You knock\n(lifting the Wrought Iron Knocker...)\n\nKnock.\n\nKnock.\n\nKnock.\n\nOnce the echo dies away, you can hear footsteps coming towards you. The ornate wooden door opens (without an eerie creak). In the\ndoorway stands Rick, your... employer? Well, sort of, he hires you when he wants someone investigated. Deeply investigated. Who are you kidding? He hires you to get the dirt on people. Rick's profession is selling influence, and influence comes from dirty little secrets, and you are very good at finding those.\n\n\"You came!\", says Rick. \"Well, you really had no\nchoice, did you? Come on in\".\n\n> You look at Rick\n[Picture number 7 here.]\n\n> You go in\nAh. The mansion is undergoing renovation. All the walls are torn down to the structure. The staircases to the upper levels are totally gone but there is a scaffold apparently used to climb up. From\nhere you can seen into all the first floor rooms, albeit not in great detail. The plumbing, wiring and remants of lathe-and-plaster slightly obscure your view. Construction materials are scattered everywhere. It looks like very little of the original furniture has been left. That is probably fortunate since it looks like the workers are using what was left as workbenches.\n\nYou can see into all the rooms.\n\nYou can see Rick Mortis and an ornate wooden door here.\n\nRick Mortis says: \"I have got some good news for you. I have decided to retire and tonite will conduct my final...\ntransactions.\n\n(Why am I here?)\n\n> Why\n\"Two reasons really.\"\n\n(What reasons?)\n\n> What reasons\n\"First, to act as security. I know intimidation is not your\nnormal line of work but with this group that should not\nmatter.\"\n\n(And the second reason? / Who is in this group?)\n\n> Second\n\"After I am done with them. You and I need to settle\nup.\"\n\n(Settle up?)\n\n> Group\n\"Are you done? Or do you want me to keep waiting?\"\n\n> And the second reason\n\"Hey, pay attention. Do you want to keep working for me\nforever?\"\n\n> No\n\"Go ahead. I will wait.\"\n\n> You settle\n\"Nothing melodramatic. I am going to give you a large sum of\nmoney. And you are going to agree to forget you ever knew me.\"\n\n(I am skeptical / How much?)\n\n> Skeptical\n\"Really. You know me well enough. I have never engaged in\nviolence, it just is not profitable.\"\n\n(Why should I trust you?)\n\n> You trust\n\"Just like you know me, I know you. Regardless what your\nex-colleagues at the police department think, you are an honorable person. If you give your word, you will keep it.\"\n\n(What do you want me to do?)\n\n> You want\n\"Go down to the Billiard Room. Amuse yourself for a few\nminutes.\"\n\n(Okay)\n\n> Okay\n\"After all my guests arrive, we will come down. Be patient,\nthis will take a few minutes.\""
    },
    {
        "text": "[Themes: Mystery]\n\n> You look around\nAh. The mansion is undergoing renovation. All the walls are torn down to the structure. The staircases to the upper levels are totally gone but there is a scaffold apparently used to climb up. From\nhere you can seen into all the first floor rooms, albeit not in great detail. The plumbing, wiring and remants of lathe-and-plaster slightly obscure your view. Construction materials are scattered everywhere. It looks like very little of the original furniture has been left. That is probably fortunate since it looks like the workers are using what was left as workbenches.\n\nYou can see into all the rooms.\n\nYou can see Rick Mortis and an ornate wooden door here.\n\n> You look at the door\nIt looks extremely old but unlike the rest of the mansion, it appears well taken care of. It has an intricate carving of intertwining vines. They almost look like they are moving in the scattered moonlight. Dead center is a huge wrought iron knocker.\n\n> You go to the north\nRick says, \"I really would prefer you not wander around right\nnow.\""
    },
    {
        "text": "[Themes: Mystery]\n\n> You descend\nAh, the \"game\" room. This looks like it might be the only intact room in the mansion. There is no obvious signs of construction. There is a billiard table, with billiard balls and\nbilliard cues, and one of those stained glass lights\nover the table. There are some stools with backs arranged\naround the walls. A pub style dart board, but no visible\ndarts. There is some quite terrible art on the walls. Yes, even a \"Dogs Playing Poker\" and on the opposite wall \"Dogs\nShooting Pool\". Somebody either has a very sophisticated sense\nof humor or a very juvenile one. You can also see up into the Foyer.\n\n> You look at the table\nA sea of unmarked green felt. There is are billiard balls on\nthe table\n\nOn billiard table is billiard balls.\n\n> You examine the balls\n1. 2. 3... 14. 15. Looks like a full set.\n\n> You examine the cues\nSeveral hanging on the wall. With even a cursory inspection you can tell they are fairly expensive ones.\n\n> You get the cue\nAnd what use would a stick be?.\n\n> You examine the lights\nAlthough you are not an expert, it sure looks like a Tiffany. It could be a reproduction.\n\n** Suddenly....\n\nRick yells out.\n\nA loud extended series of crashes.\n\nA woman screams...\n\nPounding of running feet...\n\nMen and women yelling...\n\nYou better get upstairs.\n\n> Go upward\nA room in the center of the first floor of the mansion with a collapsed scaffold. From here you can seen into all the\nfirst floor rooms.\n\nYou can see into all the rooms.\n\nYou can see Professor Puce, Mrs Fowl, Reverend Weed, Madam Cream, Colonel De Jon and Miss Flame here.\n\nAs you top the stairs, you see people gathered around a pile of construction materials. They are frantically pulling them off someone. It takes you a second to realize it is Rick. He is clearly dead. His skull is crushed, there is a length of pipe sticking out of his chest, and it looks like a sheet of metal has nearly decapitated him.\n\nColonel De Jon says: \"Who the hell are you?\"\n\n(What happened?)\n\n> Happened\n\"I asked who you were. And I expect an answer.\"\n\n(I am an employee.)\n\n> Employee\nWhat kind of employee? Bodyguard? Accountant?\nGardener?\n\n(I am private investigator.)\n\n> Investigator\nI see. Well then...\n\n(What happened?)\n\n> Happened\n\"Well, I am not too sure. I heard Mr. Mortis yell out and\ncame running toward his voice.\"\n\n(What did you see? / What did you hear?)\n\n> You hear\n\"Something like Stop! What do you think you are\ndoing?.\"\n\n(What did you see? / What did you hear?)\n\n> See\n\"When I got to the Foyer, I saw Mr. Mortis collapse against\nthat scaffolding. He fell down and then the scaffolding fell on\nhim.\"\n\n(Is he dead?)\n\n> Dead\n\"That is sort of obvious. If he wasn't before the scaffolding\nfell on him, he is now.\"\n\n(We better call an ambulance and the police.)\n\n> You call\n\"No. No. No. None of us want to do that. Look he is clearly\ndead so an ambulance is a waste of time. And frankly, none of us want to be questioned by the police about our relationship with Mr. Mortis.\"\n\n(What do you suggest?)\n\n> Suggest\n\"Well, I think we all agree that someone tried to kill Rick.\nAnd it looks like they succeeded. You say you are a private investigator. I suggest you figure out what happened. Then we can hand the police a nice neat package.\"\n\n(Alright, that seems like the best option.)\n\n> Option\n(Colonel De Jon looking around) \"Well, it appears we are all\nagreed. You figure out who killed Mr. Mortis, with what weapon, and in what room. We'll call the police and all get out of here with a minimum of trouble.\"\n\nYou say, \"Just to be clear. I will investigate by interviewing each of you. Luckily I have perfect recall so I won't need to take\nnotes. First I will search each of you for a weapon...\"\n\n(You search each person, no sign of a weapon...)\n\n\"The killer must have hid the weapon in the same room where Rick was assaulted. I will search all the rooms on the first floor looking for the murder weapon (your mental map will come in handy here).\nWhen I am ready to reveal the solution, I will call everyone\ntogether. Once everyone has gathered in the Foyer, I will state the solution. I will be carrying the murder weapon. Does everyone understand?\"\n\nWith nods of heads and mumbles of agreement, everyone begins leaving the Foyer...\n\nMrs Fowl and Professor Puce wander into Study.\n\n> You recall\nYou have no conversations to recall.\n\nReverend Weed strolls into Kitchen.\n\n> Mental map\n[Picture number 20 here.]\n\n> Go north\nThis is a very large (read huge) room. It could probably hold a hundred people, plus a small orchestra. A high vaulted ceiling with 1... 2... 4 chandelier. They are wrapped in\nplastic, dirty plastic so the light they cast is\nuneven. The only dancer here is a rusty barrel.\n\nYou can see into Kitchen and Conservatory. You can see Reverend Weed in Kitchen.\n\nYou can see Chandliers here.\n\n> You examine chandlier\nYou see nothing special about Chandliers.\n\nColonel De Jon wanders into Kitchen.\n\n> You look at the barrel\nA fifty-five gallon drum. The degree of rust encrusting the outside testifies to its history.\n\nIn rusty barrel is a wrench.\n\n> You examine the wrench\n[Picture number 19 here.]\n\nProfessor Puce saunters into Kitchen.\n\n> You get it\nTaken.\n\n> You look at the plastic\nSheets of translucent plastic intended to protect the chandeliers during the remodeling.\n\nProfessor Puce drifts into Ballroom.\n\n> You talk to Puce\nProfessor Puce says: \"So it is my turn at the\ninquisition?\"\n\n(yes)\n\n> Yes\n\"So ask away.\"\n\n(Did you kill him?)\n\n> You kill\n\"No. With so many witnesses that would be foolish. And I\nassure you, I am no fool.\"\n\n(What did you see? / Where were you?)\n\n> See\n\"I could see Miss Flame in the Dining Room and Colonel De\nJon in the Hall\".\n\n(Where were you?)\n\n> Where\n\"I was in the Study.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"Fine. Move along then.\"\n\n(further conversations can be terminated early by typing\ndone at the conversation command prompt so...\nSay to John > done  The information you would have\ngathered is automatically added to your recall\nability).\n\n> You go to the east\nAh, the obligatory Conservatory. Looks like it has the potential of being quite lovely in the summer and spring. Since it is almost winter, and since it is raining heavily outside, cold and damp describes it very well. There is a depression in the floor,\nprobably for a pond or fountain. The construction workers apparently have been using it to collect trash.\n\nYou can see into Ballroom and Library. You can see Professor Puce in Ballroom. Miss Flame in Library.\n\nMiss Flame strolls into Library.\n\n> You examine depression\nA kidney-shaped hole about 6 inches deep. Yes, probably for a pond. There is some random trash in it. And maybe something else?\n\ntrash.\n\nMrs Fowl wanders into Ballroom.\n\n> You get the pipe\nTaken.\n\nMiss Flame saunters into Ballroom.\n\n> You look at the trash\nReally a random assortment of wrapping paper, pieces of wood, wire, and plumbing.\n\nMadam Cream wanders into Library."
    },
    {
        "text": "[Themes: Mystery]\n\n> Look around\nAh, the obligatory Conservatory. Looks like it has the potential of being quite lovely in the summer and spring. Since it is almost winter, and since it is raining heavily outside, cold and damp describes it very well. There is a depression in the floor,\nprobably for a pond or fountain. The construction workers apparently have been using it to collect trash.\n\nYou can see into Ballroom and Library. You can see Miss Flame in Library.\n\nMiss Flame strolls into Library.\n\n> You go to the south\nWith all the construction, the purpose of some these rooms is really just a guess. There are some shelves on one wall, so\nmaybe... a library? There is a solitary closed cardboard box\nlabeled \"White Marble Tiles - 25 per box\". Some blue drop\ncloths cover the floor and the air is moist and smells of\nconcrete.\n\nYou can see into Conservatory and Lounge. You can see Miss Flame and Madam Cream in Lounge.\n\n> You examine the shelves\nBuilt in shelves that probably held books. Only their footprints are visible in the dust.\n\n> You look at box\nClearly labeled \"White Marble Tiles\".\n\n> You open it\nYou open cardboard box, revealing a candlestick.\n\n> You go west\nA room in the center of the first floor of the mansion with a collapsed scaffold. From here you can seen into all the\nfirst floor rooms. And, of course, the corpse of Rick Mortis.\n\nYou can see into all the rooms. You can see Professor Puce in Kitchen. Miss Flame in Library. Madam Cream in Hall. Colonel De Jon and Mrs Fowl in Study. Reverend Weed in Dining Room.\n\nMadam Cream saunters into Study.\n\n> You examine Rick\n[Picture number 6 here.]\n\nProfessor Puce drifts into Dining Room.\n\n> You go to the north-west\nThe remodeling has pretty much gutted this room. A\nrefrigerator, a stove and a cabinet with a\nsink and only a single drawer. The others appear to\nbe missing. The floor of cheap green tiles has islands of\nbare wood where cabinetry has been removed. Three incandescent\nbulbs hang from the ceiling not really shedding much light. The window over the sink is painted black. So, even in the\ndaytime, the workers must have a really hard time seeing.\n\nYou can see into Ballroom and Dining Room. You can see Reverend Weed and Professor Puce in Dining Room.\n\n> You examine fridge\nAn old 1970s Avocado Green side-by-side. Instead of kid art, the front is covered with some pinups (at least they are\nclothed). You assume the decorations are courtesy of the workers.\n\nReverend Weed saunters into Kitchen.\n\n> You talk to Weed\nReverend Weed says: \"I suppose you have questions?\"\n\n(yes)\n\n> Yes\n\"Go ahead and ask your questions, my son.\"\n\n(Did you kill him?)\n\n> You kill\n\"No. I am a religious man, how could I possibly do\nthat?\"\n\n(What did you see? / Where were you?)\n\n> See\n\"I could see Colonel De Jon in the Hall and Mrs Fowl in\nthe Library\".\n\n(Where were you?)\n\n> Where\n\"I was in the Lounge.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"May his soul rest in peace.\"\n\nMrs Fowl wanders into Dining Room.\n\n> You recall\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\n\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\nReverend Weed drifts into Dining Room.\n\n> You open the fridge\nYou open refrigerator revealing.... it is empty.\n\nMadam Cream strolls into Dining Room.\n\n> You examine stove\nCirca 1970 Stove. Avocado Green. And missing all 4 burners. The oven door is slightly ajar.\n\nReverend Weed drifts into Kitchen.\n\n> You open it\nYou open stove revealing.... it is empty."
    },
    {
        "text": "> Look around\nThe remodeling has pretty much gutted this room. A\nrefrigerator, a stove and a cabinet with a\nsink and only a single drawer. The others appear to\nbe missing. The floor of cheap green tiles has islands of\nbare wood where cabinetry has been removed. Three incandescent\nbulbs hang from the ceiling not really shedding much light. The window over the sink is painted black. So, even in the\ndaytime, the workers must have a really hard time seeing.\n\nYou can see into Ballroom and Dining Room. You can see Madam Cream in Dining Room.\n\nYou can see Reverend Weed here.\n\nProfessor Puce wanders into Ballroom.\n\n> You examine Tiles\nCheap, heavily worn green linoleum tiles. There are islands of bare wood where most of the cabinets once stood.\n\nMadam Cream drifts into Kitchen. Colonel De Jon and Reverend Weed drift into Ballroom.\n\n> You talk to Cream\nMadam Cream says: \"You have some questions?\"\n\n(yes)\n\n> Yes\n\"Go ahead and ask your questions.\"\n\n(Did you kill him?)\n\n> You kill\n\"No. Violence is so primitive, don't you think?\"\n\n(What did you see? / Where were you?)\n\n> See\nI could see Miss Flame in the Dining Room.\n\n(Where were you?)\n\n> Where\n\"I was in the Kitchen.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"Well, move on to the next person then and let's get this\nover with.\"\n\n> You open the drawer\nYou open drawer revealing.... it is empty.\n\nReverend Weed saunters into Dining Room. Miss Flame wanders into Ballroom.\n\n> You examine the sink\nAvocado green. You wonder what people were thinking. How was that ever a good color for... well... anything? It appears empty and with no faucet, it is probably non-functional.\n\nMadam Cream drifts into Ballroom.\n\n> You examine the cabinet\nStained dark walnut and heavily marred. A white(?) sink on top and a single drawer towards the bottom.\n\n> You move Tiles\nIt is fixed in place.\n\n> You open the cabinet\nIt isn't something you can open.\n\nMadam Cream saunters into Kitchen."
    },
    {
        "text": "[Themes: Mystery, mystery]\n\n> You look around\nThe remodeling has pretty much gutted this room. A\nrefrigerator, a stove and a cabinet with a\nsink and only a single drawer. The others appear to\nbe missing. The floor of cheap green tiles has islands of\nbare wood where cabinetry has been removed. Three incandescent\nbulbs hang from the ceiling not really shedding much light. The window over the sink is painted black. So, even in the\ndaytime, the workers must have a really hard time seeing.\n\nYou can see into Ballroom and Dining Room.\n\nYou can see Madam Cream and Colonel De Jon here.\n\n> You examine the bulbs\nSeveral bare bulbs hanging from the ceiling.\n\nReverend Weed wanders into Dining Room.\n\n> You examine the sink\nAvocado green. You wonder what people were thinking. How was that ever a good color for... well... anything? It appears empty and with no faucet, it is probably non-functional.\n\n> You look at the cabinet\nStained dark walnut and heavily marred. A white(?) sink on top and a single drawer towards the bottom.\n\nMadam Cream drifts into Dining Room.\n\n> You recall\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\nMadam Cream was in Kitchen and could see Miss Flame in the Dining Room.\n\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\n> Go south\nA surprisingly small room and with no table or chairs, you can only guess its the dining room. Along one wall is a built-in\ncabinet, probably for the china and flatware. The ceiling is completely gone and you can see up to the second floor. The lighting comes from some worker lights.\n\nYou can see into Kitchen and Study. You can see Colonel De Jon in Kitchen. Miss Flame and Reverend Weed in Study.\n\nYou can see Madam Cream here.\n\nMrs Fowl saunters into Study.\n\n> You examine the cabinet\n(the built-in cabinet)\nA tall dark cabinet, probably a china cabinet. There is a\nflatware drawer for the silver. Most of the cabinet\ndoors underneath the draw have been removed. Only one is left.\n\nProfessor Puce drifts into Study.\n\n> You open the drawer\nYou open flatware drawer revealing.... it is empty.\n\nMrs Fowl wanders into Dining Room. Madam Cream drifts into Kitchen.\n\n> You open the door\nYou open the cabinet door, revealing a rope.\n\nMiss Flame saunters into Study.\n\n> You get the rope\nTaken.\n\nMadam Cream and Professor Puce saunter into Dining Room.\n\n> You talk to Puce\nProfessor Puce says: \"So it is my turn at the\ninquisition?\"\n\n(yes)\n\n> Yes\n\"So ask away.\"\n\n(Did you kill him?)\n\n> Done\nYou can't see any such thing.\n\n> You go to the south\n\"You're as bad as my students. Pay attention.\"\n\n> You stop\n\"Fine. Move along then.\"\n\nYou can't reach into the Study.\n\n> You recall\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\nMadam Cream was in Kitchen and could see Miss Flame in the Dining Room.\n\nrope (Dining Room)\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\nMadam Cream wanders into Study."
    },
    {
        "text": "[Themes: Mystery, whodunit]\n\n> Look around\nA surprisingly small room and with no table or chairs, you can only guess its the dining room. Along one wall is a built-in\ncabinet, probably for the china and flatware. The ceiling is completely gone and you can see up to the second floor. The lighting comes from some worker lights.\n\nYou can see into Kitchen and Study. You can see Madam Cream, Reverend Weed and Professor Puce in Study.\n\nYou can see Mrs Fowl here.\n\nProfessor Puce strolls into Dining Room.\n\n> You talk to Fowl\nMrs Fowl says: \"Is it my turn?\"\n\n(yes)\n\n> Yes\n\"Go ahead and ask your questions, young man.\"\n\n(Did you kill him?)\n\n> You kill\n\"No. I am not capable of such a heinous deed.\"\n\n(What did you see? / Where were you?)\n\n> See\n\"I could see Reverend Weed in the Lounge\".\n\n(Where were you?)\n\n> Where\n\"I was in the Library.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"This is such a horrible business, I hope you solve this\nquickly.\"\n\n> You examine lights\nTwo stands of high intensity lights. This may be the only room adequately lit.\n\nworker lights is currently switched on.\n\nProfessor Puce drifts into Study. Madam Cream saunters into Dining Room.\n\n> You go to the south\nA huge desk with one chair behind it. There are\nsome papers strewn all over it. A coat rack stands\nin one corner with a bright orange slicker hanging on it.\n\nYou can see into Dining Room and Hall. You can see Madam Cream and Mrs Fowl in Dining Room. Reverend Weed in Hall.\n\nYou can see Professor Puce here.\n\nMrs Fowl wanders into Study.\n\n> You examine the desk\nA huge desk with a single drawer in the center. Obviously\nbrought by the construction crew to work on.\n\nOn huge desk is some papers.\n\nProfessor Puce saunters into Dining Room.\n\n> You look at the papers\nConstruction related papers. Purchase orders, plans, delivery schedules.\n\nColonel De Jon wanders into Hall.\n\n> You open drawer\nYou open drawer revealing.... it is empty.\n\nReverend Weed saunters into Study.\n\n> You look at the chair\nAn old style wooden swivel chair with little metal rollers.\n\nProfessor Puce drifts into Study. Mrs Fowl strolls into Dining Room.\n\n> You examine rack\nMatches the chair. Old wooden rack with 3 or 4 hooks.\n\nOn coat rack is bright orange slicker.\n\nReverend Weed saunters into Hall.\n\n> You examine the slicker\nBright and orange. Stained with grease and dirt.\n\nProfessor Puce drifts into Hall. Colonel De Jon saunters into Study.\n\n> You get it\nWhat are you thinking? Are you going out to direct traffic?.\n\nReverend Weed wanders into Study."
    },
    {
        "text": "[Themes: Mystery, whodunit]\n\n> You look around\nA huge desk with one chair behind it. There are\nsome papers strewn all over it. A coat rack stands\nin one corner with a bright orange slicker hanging on it.\n\nYou can see into Dining Room and Hall. You can see Mrs Fowl in Dining Room. Professor Puce in Hall.\n\nYou can see Reverend Weed and Colonel De Jon here.\n\nMrs Fowl drifts into Study.\n\n> You talk to De Jon\nColonel De Jon says: \"About time you got to me. I am not use\nto being kept waiting, you know?\"\n\n(yes)\n\n> Yes\n\"Well ask your questions.\"\n\n(Did you kill him?)\n\n> You kill\n\"Of course not. I am insulted sir!\"\n\n(What did you see? / Where were you?)\n\n> See\n\"I could see Reverend Weed in the Lounge and Professor\nPuce in the Study\".\n\n(Where were you?)\n\n> Where\n\"I was in the Hall.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"If you are done with me, get on with it. I don't have all\nnight.\"\n\n> You recall\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\nMadam Cream was in Kitchen and could see Miss Flame in the Dining Room.\nMrs Fowl was in Library and could see Reverend Weed in the Lounge. Colonel De Jon was in Hall and could see Reverend Weed in the Lounge and Professor Puce in the Study.\n\nrope (Dining Room)\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\nReverend Weed strolls into Hall.\n\n> You look under the desk\nYou find nothing of interest.\n\nProfessor Puce saunters into Dining Room.\n\n> You go east\nA fairly utilitarian room off the foyer. There is a closet.\nFor hanging coats? There is a shovel and a sledge\nhammer leaning against one wall.\n\nYou can see into Lounge and Study. You can see Colonel De Jon in Study.\n\nYou can see Reverend Weed here.\n\nReverend Weed drifts into Study.\n\n> You open the closet\nYou open closet, revealing a dagger.\n\n> You get the dagger\nTaken.\n\nColonel De Jon saunters into Study.\n\n> You get the hammer and shovel\nsledge hammer: If Rick was hit with this, he would never have\nmade it to the Foyer. This can't be the murder weapon..\nshovel: Too big to be the murder weapon, so you decide not to\ntake it.."
    },
    {
        "text": "[Themes: Mystery, mystery]\n\n> Look around\nA fairly utilitarian room off the foyer. There is a closet.\nFor hanging coats? There is a shovel and a sledge\nhammer leaning against one wall.\n\nYou can see into Lounge and Study. You can see Colonel De Jon and Reverend Weed in Study.\n\nReverend Weed drifts into Hall.\n\n> You look at shovel\nA brand new shovel. Doesn't look like it has ever been used.\n\n> You examine the hammer\nThis tool has definately seen alot of use. Probably the main tool that broke through all the walls on the first floor.\n\n> Go east\nOkay, you have no idea what this room is for. The only clue is a pyramid of beer cans in the corner probably left by the\nworkers. You guess you will call this the lounge. On the outside wall is a fireplace that seems to have been used by the\nworkers to burn trash. There is a large toolbox sitting near\nthe beer cans.\n\nYou can see into Hall and Library.\n\nYou can see Reverend Weed here.\n\n> You examine cans\nA monument to alcholic consumption.\n\n> You examine the fireplace\nTakes up all of the outside wall. Looks like it could burn a small forest in one sitting.\n\nReverend Weed strolls into Hall.\n\n> You look at the toolbox\nA dented, red toolbox. It has seen a lot of use. One of the workers is a very trusting soul leaving it here. It isn't even locked.\n\n> You open it\nYou open toolbox, revealing a revolver.\n\n> You get the revolver\nTaken.\n\nProfessor Puce drifts into Library.\n\n> You go to the northwest\nA room in the center of the first floor of the mansion with a collapsed scaffold. From here you can seen into all the\nfirst floor rooms. And, of course, the corpse of Rick Mortis.\n\nYou can see into all the rooms. You can see Madam Cream in Kitchen. Colonel De Jon and Miss Flame in Ballroom. Mrs Fowl in Conservatory. Professor Puce in Lounge. Reverend Weed in Hall.\n\nReverend Weed wanders into Study. Madam Cream strolls into Dining Room. Colonel De Jon drifts into Conservatory.\n\n> You look at the scaffold\nA collapsed frame of aluminum struts. The construction materials it supported are scattered throughout the Foyer.\n\n> You go north\nA huge room lit by chandelier. Obviously for dancing but the\nonly dancer here is a rusty barrel.\n\nYou can see into Kitchen and Conservatory. You can see Colonel De Jon and Mrs Fowl in Conservatory.\n\nYou can see Miss Flame and Chandliers here.\n\nMrs Fowl and Professor Puce stroll into Ballroom.\n\n> You talk to Flame\nMiss Flame says: \"I suppose you want to interview me\nnow?\"\n\n(yes)\n\n> Yes\n\"Go ahead and ask your questions... detective.\"\n\n(Did you kill him?)\n\n> You kill\n\"Only in my dreams.\"\n\n(What did you see? / Where were you?)\n\n> See\n\"I could see Professor Puce in the Study\".\n\n(Where were you?)\n\n> Where\n\"I was in the Dining Room.\"\n\"Do you have any more questions?\"\n\n(No. I guess that is all for now.)\n\n> No\n\"I wish you would hurry up. I want to get out of\nhere.\"\n\nMiss Flame strolls into Kitchen. Reverend Weed and Professor Puce wander into Ballroom. Mrs Fowl wanders into Ballroom.\n\n> You recall\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\nMadam Cream was in Kitchen and could see Miss Flame in the Dining Room.\nMrs Fowl was in Library and could see Reverend Weed in the Lounge. Colonel De Jon was in Hall and could see Reverend Weed in the Lounge and Professor Puce in the Study.\nMiss Flame was in Dining Room and could see Professor Puce in the Study.\n\nrevolver (Lounge)\ndagger (Hall)\nrope (Dining Room)\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\n> Inventory\nYou are carrying:\na revolver (found in Lounge)\na dagger (found in Hall)\na rope (found in Dining Room)\na candlestick (found in Library)\na lead pipe (found in Conservatory)\na wrench (found in Ballroom)\n\nReverend Weed drifts into Conservatory.\n\n> You drop all but the wrench\nrevolver: You should hold on to revolver. You may\nneed it to reveal the solution to Rick's murder.\ndagger: You should hold on to dagger. You may need\nit to reveal the solution to Rick's murder.\nrope: You should hold on to rope. You may need it to\nreveal the solution to Rick's murder.\ncandlestick: You should hold on to candlestick. You\nmay need it to reveal the solution to Rick's murder.\nlead pipe: You should hold on to lead pipe. You may\nneed it to reveal the solution to Rick's murder.\n\nMrs Fowl wanders into Conservatory.\n\n> You go south\nA room in the center of the first floor of the mansion with a collapsed scaffold. From here you can seen into all the\nfirst floor rooms. And, of course, the corpse of Rick Mortis.\n\nYou can see into all the rooms. You can see Miss Flame in Kitchen. Professor Puce in Ballroom. Reverend Weed and Mrs Fowl in Conservatory. Colonel De Jon in Hall. Madam Cream in Study.\n\nMadam Cream saunters into Hall. Miss Flame wanders into Dining Room. Professor Puce saunters into Kitchen. Colonel De Jon drifts into Library.\n\n> You reveal the the solution\nYou say, \"Could everyone come into the Foyer? I think I have solved Rick's murder.\"\n\nAll the suspects have gathered in the Foyer.\n\n[Picture number 21 here.]\n\nYou say, \"I will now state my accusation.\"\n\nProfessor Puce was in Study and could see Miss Flame in the Dining Room and Colonel De Jon in the Hall.\nReverend Weed was in Lounge and could see Colonel De Jon in the Hall and Mrs Fowl in the Library.\nMadam Cream was in Kitchen and could see Miss Flame in the Dining Room.\nMrs Fowl was in Library and could see Reverend Weed in the Lounge. Colonel De Jon was in Hall and could see Reverend Weed in the Lounge and Professor Puce in the Study.\nMiss Flame was in Dining Room and could see Professor Puce in the Study.\n\nrevolver (Lounge)\ndagger (Hall)\nrope (Dining Room)\ncandlestick (Library)\nlead pipe (Conservatory)\nwrench (Ballroom)\n\n> Wrench\n\"The solution is\n\nMadam Cream in Ballroom with the wrench.\"\n\n\"I assert that Rick Mortis was killed by\n\nMadam Cream in Ballroom with the wrench.\"\n\nPress SPACE key to continue...\nPress SPACE key to continue...** You solved the murder in 1 hours  56 minutes.\n\nMadam Cream starts to run but is grabbed by Miss Flame and Professor Puce. Reverend Weed shakes his head, and pulls out his cell phone and says\n\n\"I am calling the police\".\n\nYou say, \"We should tie him up and then make sure we all have our stories straight. In order to avoid complications, we will tell the police we came tonight to see Rick's remodeling project. You each have an alibi. Stick to it, don't embelish. Do not make up a complicated story about how you know Rick. Stick to the truth as much as possible. Business associates or long time acquantance will probably work best.\"\n\nThese people are getting out of here without paying off Rick, thus, I won't get paid. Sigh, no good deed goes unpunished I guess...\n\nPress SPACE key to continue..."
    },
    {
        "text": "[Themes: Romance, Drama, romance, conversation]\n\nEnter \"P\" for the prologue (used as the blurb for Spring Thing 2018).\n\nEnter \"A\" for helpful information about the game, including its uncommon\ncommands.\n\nEnter \"O\" for display options.\n\nEnter any other key to start.\n\n[Author's Note: A conversation about the trajectory of a relationship lies at the center of this one-room work.]\n\n> P.\nMy hand trembled while I reached for the door knob of the house.\nAfter having\nfled without notice it was only natural that my wife would be upset, so I came\nprepared to reassure her. But I suspected she would not find my reassurances\nto be enough, and where would that leave us?\n\n\n\nEnter \"P\" for the prologue (used as the blurb for Spring Thing 2018).\n\nEnter \"A\" for helpful information about the game, including its uncommon\ncommands.\n\nEnter \"O\" for display options.\n\nEnter any other key to start."
    },
    {
        "text": "[Themes: Drama, Romance, romance]\n\n> You look around\nA ABOUT: A\nASK FOR: A FOR\nASK IF: A IF\nASK HOW: A HOW\nASK WHAT: A WHAT\nASK WHERE: A WHERE\nASK WHETHER: A WHETHER\nASK WHO: A WHO\nASK WHY: A WHY\nTELL ABOUT: T\n\n2. Observing and Interacting with the Environment\n\nTo examine the game world you will make extensive use of this command:\n\nThe command can be abbreviated like this:\n\nuseful:\n\nLOOK OUT\nLOOK THROUGH\nLOOK UNDER\nFEEL\n\nOther commands you can use include the following:\n\nSOUTH\n\n3. Remembering\n\nWhile playing the game, the protagonist will retrieve memories. If you use the\ncommand MEMORIES, you might see a list that looks something like this:\n\n\n\nlike this:\n\nBut that requires a lot of typing. Fortunately the game allows the endings of\nwords in memory titles to be trimmed down to a single letter. Spaces and the\nwords \"a\", \"an\", and \"the\" can be omitted entirely. Thus the command above can\nbe abbreviated in any of the following ways:\n\nREMEMBER WAB\n\n4. Reaching an End\n\nThe bulk of this game consists of solving a single puzzle. The final act will\nbegin only when the player enters one of several commands that indicates that\nthe player has to a significant extent gained an understanding of the situation\nthe protagonist is in. Clues come in various forms, and different players will\nfind the solution to the puzzle in different ways.\n\nThe game has two possible endings.\n\nin knowing that additional clues can be gained by using the HINT command.\n\nscale developed by Andrew Plotkin, call a \"merciful\" work, meaning that it is\nnot possible to die or enter into an unwinnable state. So if you think of a\ncommand to try, why not try it?\n\n5. Viewing the Credits\n\nI have saved my favorite command for last. To see the generous people who have\nhelped me make this game enter CREDITS.\n\n\n\nEnter \"P\" for the prologue (used as the blurb for Spring Thing 2018).\n\nEnter \"A\" for helpful information about the game, including its uncommon\ncommands.\n\nEnter \"O\" for display options.\n\nEnter any other key to start."
    },
    {
        "text": "[Themes: Drama, Romance, romance, conversation]\n\n> O.\nEnter \"I\" if you prefer to see italic emphasis (e.g.,\nemphasis).\n\nEnter \"N\" if you prefer no emphasis (e.g., emphasis).\n\nEnter any other key if you prefer bold emphasis (e.g.,\nemphasis).\n\n> You check your inventory\nVersion 1.0\n\nEnter \"P\" for the prologue (used as the blurb for Spring Thing 2018).\n\nEnter \"A\" for helpful information about the game, including its uncommon\ncommands.\n\nEnter \"O\" for display options.\n\nEnter any other key to start.\nHouse\nUpon returning to the house I took off my hard hat, and I found that everything\nwas exactly as I had left it. The bed was centered beneath the north facing\nwindow. The fireplace was set in the southern wall, as was the door I had\nentered.\n\nLeah was standing in the middle of the room. Her eyes were red, and there were\nmascara trails on her cheeks. Seeing her, I knew that before the night was\nover I would have an answer to the question that had been weighing on my mind:\nAfter making a house with Leah, did I still have a home?\n\n\"Hello,\" Leah said, choking up. \"You're back.\"\n\n> You look at leah\nLeah was standing in front of me. She had brown eyes and an aquiline nose\nframed by her long, curly, dark brown hair and the soft curves of her face.\nShe was illuminated by the sunlight entering through the southern window while\nher surroundings were immersed in darkness.\n\nLeah was wearing a blouse, a skirt, and a neck scarf. She was barefoot.\n\n> Topics\nI could talk to Leah about being miserable, myself (Ayumu), Leah, Leah's feet,\nfeeling, doing, leaving or returning.\n\n> Topics\nI could talk to Leah about remembering, myself (Ayumu), Leah's dad, being\nmiserable, Leah, feeling, doing, leaving or returning.\n\n> Memories\nI could retrieve any of the following memories:\n\n> About yourself\nI could not see myself while having nothing to provide a reflection, but in my\nmind's eye I saw Ayumu, a man who was taller than Leah and who had darker skin.\nI was wearing a construction worker's uniform and socks.\n\n> Topics\nI could talk to Leah about Leah's dad, remembering, being miserable, Leah, the\ndiscovery, leaving, feeling, myself (Ayumu), returning or doing.\n\n> Topics\nI could talk to Leah about Leah's dad, remembering, being miserable, Leah, the\ndiscovery, feeling, myself (Ayumu), returning or doing.\n\n> You remember\nWhat do you want to remember?\n\n> Memories\nI could retrieve any of the following memories:\n\n> You remember the booc\nWhen I arrived at the club, I was reluctant to step onto the dance floor. But\neverything changed when \"Wave of Mutilation\" began to play. It was then that I\nheard a voice say, \"Oh my god, you have to come and dance with me!\" Suddenly a\nhand was pulling me towards the middle of the club, but I would not be moved.\nI turned towards the origin of the voice and felt so at ease with the girl I\nhad just set my eyes on it was like I had known her for years.\n\n\"I'm confused,\" I said. \"You want to dance with me?\"\n\nLeah replied, \"Are there any other 'you's?\" Still not budging, I asked, \"Why do\nwe have to dance?\"\n\n\"Because the Pixies are playing, and you look really cool,\" was the answer I\ngot.\n\n\"How can I argue with that logic?\"\n\n\"What?\" she asked. \"It's hard to hear you; the place is packed.\" But it felt\nlike she and I were the only two people in the room. So I followed her onto\nthe dance floor, and after meeting her for the first time I never looked back .\n. . until the day I left.\n\nnot wait . . .\n\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nLeah was standing there.\n\n> Talk leaving\n\"It must be hard for you when someone leaves,\" I said.\n\nLeah replied, \"It is. And you knew that before you left, didn't you?\"\n\n> Intro\nYou play this kind of game by entering brief commands (try to use as few words\nas possible). Examples include:\n\nTAKE BOOK\nREAD BOOK\nDROP BOOK\nPUT BOOK ON TABLE\nOPEN DOOR\n\nTo move around use compass directions: NORTH, EAST, SOUTH etc. These may be\nabbreviated to N, E, S, W, NE, NW, SE, SW. You can also use IN, OUT, UP and\nDOWN.\n\nEXAMINE (= LOOK AT) can be abbreviated to X; X BOOK, EXAMINE BOOK and LOOK AT\nBOOK all mean the same thing.\n\nThe command INVENTORY (or simply I) will give you a list of what you're\ncarrying.\nUse LOOK or L to repeat the description of your current location. AGAIN or G repeats the previous command.\n\nTo see a sample transcript, use the SAMPLE command."
    },
    {
        "text": "[Themes: Romance, Drama]\n\n> Look around\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nLeah was standing there.\n\n> You look at the fireplace\nThe fireplace was at the base of a red brick chimney and framed by a mantel. A\nfire burned within it.\n\n> You look at fire\nThe fire was no less bright than it was when I last saw it, but somehow it felt\nless warm.\n\n> Topics\nI could talk to Leah about Leah's dad, painting, us, collage, dancing, the\ndiscovery, being miserable, the club, Leah, being apart, theater, home,\nfeeling, the house, meeting for the first time, remembering, returning, crying\nor myself (Ayumu).\n\n> Topics\nI could talk to Leah about Leah's dad, painting, us, collage, dancing, the\ndiscovery, being miserable, the club, Leah, being apart, theater, home,\nfeeling, the house, meeting for the first time, remembering, returning, crying\nor myself (Ayumu).\n\n> Dance\n\"Would you like to dance?\" I asked.\n\n\"Now?\" Leah asked. \"There is no music.\"\n\n\"Put something on,\" I said. \"DJ's choice.\"\n\nLeah retrieved a CD player and a CD from under the bed and played \"What's Up?\"\nby 4 Non Blondes. She took my fumbling hands, and asked, \"Nervous?\" while she\nmaneuvered them around her hips. Soon I found myself swaying with her, and she\nlaid her head on my shoulder. For a moment she wore a faint smile; it was the\nhappiest she looked so far that day. When we heard the final repetion of the\nchorus, Leah sang along with the lead singer. The words that flowed from her\nmouth were, \"What's going on?\"\n\n> Topics\nI could talk to Leah about Leah's dad, painting, us, collage, the discovery,\nbeing miserable, the club, Leah, being apart, theater, home, feeling, the\nhouse, meeting for the first time, remembering, returning, crying or myself\n(Ayumu).\n\n> Talk club\nI did not see the point of trying to convince Leah that we had been inside a\nclub. She was certain that we had not--and for good reason.\n\n> Topics\nI could talk to Leah about Leah's dad, painting, us, collage, the discovery,\nbeing miserable, Leah, being apart, theater, home, feeling, meeting for the\nfirst time, remembering, myself (Ayumu) or crying.\n\n> Topics\nI could talk to Leah about Leah's dad, painting, us, collage, the discovery,\nbeing miserable, Leah, being apart, theater, home, feeling, meeting for the\nfirst time, remembering, myself (Ayumu) or crying.\n\n> Topics\nI could talk to Leah about Leah's dad, us, collage, Leah, painting, being\nmiserable, the discovery, theater, pain, feeling, remembering, crying, home or\nmyself (Ayumu).\n\n> Topics\nI could talk to Leah about Leah's dad, us, collage, Leah, painting, being\nmiserable, the discovery, theater, pain, feeling, remembering, crying, home or\nmyself (Ayumu).\n\n> Memories\nI could retrieve any of the following memories:\n\n> You remember the aeitb\nLeah and I were sitting on opposite corners of a blanket spread over the grass.\nLeah was making a collage out of pictures she was clipping out of issues of\nLadies' Home Journal. Meanwhile I was holding a pencil and a\nnotepad, and I\nhad written five lines of a poem I had entitled \"To a Rainbow\".\n\n\"The rainbow is still visible,\" I said. \"What was the mnemonic device they\ntaught us at school to help us remember the colors of a rainbow?\"\n\nLooking up from her project, Leah said, \"Roy G Biv.\"\n\n\"I can't see the 'I',\" I said.\n\n\"What was that, Ayumu?\" my wife asked.\n\n\"I cannot see indigo,\" I replied. \"I can see only six colors.\"\n\n\"I have never been able to make out all the colors of the rainbow at one time,\"\nshe said. She then patted a spot on the blanket next to her and said, \"Would\nyou like to take a look at what I have been doing? I have lots of colors to\nshow you.\"\n\n\"Certainly,\" I said while turning towards her.\nBut I could not dwell on the memory for long because the matter with Leah would\nnot wait . . .\n\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nOn the nightstand I saw a CD player.\n\nLeah was standing there.\n\n> Topics\nI could talk to Leah about the rainbow, Leah's dad, us, collage, Leah, painting, being miserable, the discovery, theater, pain, feeling, remembering,\ncrying, home or myself (Ayumu).\n\n> Topics\nI could talk to Leah about Leah's dad, us, collage, Leah, painting, being\nmiserable, the discovery, theater, pain, feeling, remembering, crying, home or\nmyself (Ayumu)."
    },
    {
        "text": "> You look at your surroundings\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nOn the nightstand I saw a CD player.\n\nLeah was standing there.\n\n> You look at door\nWhen I looked at the door, all I could think about was the sound of Leah's\ncrying--the sound I heard when I left.\n\n> Topics\nI could talk to Leah about Leah's dad, us, collage, Leah, painting, being\nmiserable, the discovery, theater, pain, feeling, remembering, crying, home or\nmyself (Ayumu).\n\n> You examine the bed\nI saw an ordinary double bed, complete with a mattress. It had been properly\nmade since it was last slept in. A nightstand sat on its easternmost side.\n\n> You look at leah\nLeah was standing in front of me. She had brown eyes and an aquiline nose\nframed by her long, curly, dark brown hair and the soft curves of her face.\nShe was illuminated by the sunlight entering through the southern window while\nher surroundings were immersed in darkness.\n\nLeah was wearing a blouse, a skirt, and a neck scarf. She was barefoot.\n\n> You examine the scarf\nThe decorative scarf has been adeptly tied around Leah's neck.\n\n> Topics\nI could talk to Leah about Leah's dad, us, collage, Leah, painting, being\nmiserable, the discovery, theater, pain, feeling, remembering, crying, home or\nmyself (Ayumu).\n\n> Hug leah\n\"Could I give you a hug?\" I requested.\n\nLeah said, \"Yes,\" and wholeheartedly received my hug. When I embraced her, I\ntrembled. I had not anticipated that hugging her would be different after our\nlast encounter."
    },
    {
        "text": "> You look at your surroundings\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nOn the nightstand I saw a CD player.\n\nLeah was standing there.\n\n> You examine the player\nThe CD player was relatively small and capable of playing music in stereo.\n\nThere was something extraordinary about the CD player.\n\n> You examine north window\nThe window was closed, but I could see through the pane.\n\n> You look through the north window\nLooking through the glass, I saw the backyard and the wooded area that lay\nbeyond.\n\n> You look through the south window\nLooking through the glass, I saw the quaint front lawn. Across the street\nthere were houses with little space between them. White picket fences gave\ndefinition to property lines.\n\n> You examine the player\nThe CD player was relatively small and capable of playing music in stereo.\n\nThere was something extraordinary about the CD player.\n\n> Topics\nI could talk to Leah about Leah's dad, us, remembering, Leah, painting, being\nmiserable, the discovery, theater, feeling, crying, myself (Ayumu), pain or\nhome.\n\n> You take the player\nTaken.\n\n> You touch the player\nThe exterior of the CD player felt like it was made of ordinary plastic.\n\n> You use the player\nI don't recognize the command USE, because it's a bit too vague; please be more\nspecific about what you want to do.\n\n> Inventory\nI was wearing some socks and a uniform, and carrying a CD player and a hard\nhat.\n\n> You examine the socks\nMy white socks were spotless.\n\n> You look under the bed\nI checked under the bed briefly, and though the lighting was dim, my above\naverage night vision allowed me to see that nothing was there.\n\n> You examine the closet\n(x closed)\nWhich do you mean, the door or the drawer?\n\n> Drawer\nThe drawer appeared to be unremarkable.\n\n> You open drawer\nI opened the drawer.\n\n> You look at the nightstand\nI took a moment to look at the nightstand. It had a single drawer, and its\nlacquer finish gave a glossy appearance to its wooden hue.\n\n> You look behind the nightstand\nThat seemed to be an insurmountable task.\n\n> Topics\nI could talk to Leah about Leah's dad, us, remembering, Leah, painting, being\nmiserable, the discovery, theater, feeling, crying, myself (Ayumu), pain or\nhome.\n\n> Topics\nI could talk to Leah about Leah's dad, Leah's mom, Judaism, us, Leah, painting,\nbeing miserable, the discovery, theater, pain, feeling, remembering, myself\n(Ayumu), home, girls or dying.\n\n> Memories\nI could retrieve any of the following memories:\n\nHanukkah menorah\n\n> You remember HM\nIt was the eighth night of Hanukkah, and I was standing beside Leah while she\nlit nine candles. Leah said, \"There are six candles to delight us for each\nnight, and there is an additional candle in case we need illumination for\nreasons other than delight.\" After looking pensive for a moment she added,\n\"Which is kind of useless because people seldom rely on candle light for\nillumination now.\"\n\n\"But don't all practicing Jews light nine candles on the eighth night?\" I\nasked.\n\n\"Yes,\" Leah answered. \"It is tradition after all.\"\n\n\"Then it seems to me,\" I said, \"that your dedication to lighting the Hanukkah\nmenorah does serve a purpose--it binds you and your loved ones together.\"\n\nBut I could not dwell on the memory for long because the matter with Leah would\nnot wait . . .\n\nThe bed was centered beneath the north facing window. The fireplace was set in\nthe southern wall, as was the door I had entered.\n\nLeah was standing there.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, remembering, Leah, Leah's\nmom, being miserable, painting, the discovery, theater, pain, feeling, the\neighth night, myself (Ayumu), home, girls or dying.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, remembering, Leah, Leah's\nmom, being miserable, painting, the discovery, theater, pain, feeling, myself\n(Ayumu), the ridiculing, home, girls or dying.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, pain, home, theater, feeling, tomboy,\nremembering, dying, myself (Ayumu) or girls.\n\n> About yourself\nI could not see myself while having nothing to provide a reflection, but in my\nmind's eye I saw Ayumu, a man who was taller than Leah and who had darker skin.\nI was wearing a construction worker's uniform and socks.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, pain, home, theater, feeling, tomboy,\nremembering, dying, myself (Ayumu) or girls.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, pain, home, theater, feeling, tomboy,\nremembering, dying, myself (Ayumu) or girls.\n\n> How miserable\n\"Why have you been miserable?\" I asked.\n\n\"This is the longest we have been apart since we first met,\" Leah replied.\n\"When I leave in the morning, I avoid looking back at the house so I do not\nhave to think about the fact that you will not be walking me home.\"\n\n> You ask if i am dying\n\"Am I dying?\" I asked.\n\n\"No, you are not dying,\" Leah said. \"But it is understandable why you might\nfeel that way. You know, in the tarot the death card represents the end of a\nphase of your life, followed by a more important phase. I believe a significant change is on your horizon.\"\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, pain, home, theater, feeling, tomboy,\nremembering, girls, myself (Ayumu) or the tarot.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, theater, pain, feeling, tomboy,\nremembering, home, myself (Ayumu) or girls.\n\n> Topics\nI could talk to Leah about Judaism, Leah's dad, us, lesbian, Leah, Leah's mom,\nbeing miserable, painting, the discovery, theater, pain, feeling, tomboy,\nremembering, home, myself (Ayumu) or girls.\n\n> You examine hat\nThe hard hat appeared to be well-suited for protecting my head.\n\n> You talk the pain\nI said, \"After all you have been through I can only imagine how painful our\nseparation has been for you.\"\n\nLeah asked, \"You mean because of the loss I had already experienced--because my\nmom has died?\"\n\nI looked down at my feet. \"Yes,\" I said.\n\n> You examine the uniform\nMy uniform looked remarkably clean.\n\n> You talk the feeling\n\"Why would you want to stop feeling?\" I asked.\n\n\"Feeling hurts too much,\" Leah said.\n\n> You look at the mascara\nLeah's makeup was flawless except for the disturbed mascara and eyeliner.\n\nLeah said, \"Instead of just staring at me why don't you ask me how my mom felt\nabout the discovery?\"\n\n> Topics\nI could talk to Leah about us, Judaism, lesbian, tomboy, being miserable,\nLeah's dad, painting, Leah, theater, pain, feeling, remembering, someone else,\nhome, myself (Ayumu) or girls.\n\n> You look at the mascara\nLeah's makeup was flawless except for the disturbed mascara and eyeliner.\n\nLeah said, \"Instead of just staring at me why don't you ask me what I painted?\"\n\n> You look at the mascara\nLeah's makeup was flawless except for the disturbed mascara and eyeliner.\n\n> Xyzzy\nI considered uttering \"xyzzy\", but I knew that no magic word was sufficient to\nresolve my and Leah's problem.\n\n> Topics\nI could talk to Leah about us, Judaism, lesbian, tomboy, being miserable,\nLeah's dad, painting, Leah, theater, pain, feeling, remembering, someone else,\nhome, myself (Ayumu) or girls.\n\n> You look at the letter\nI could see the letter, but Leah was not holding it in such a way that I could\nread it.\n\nThere was something extraordinary about the letter.\n\n> Topics\nI could talk to Leah about lesbian, us, tomboy, remembering, being miserable,\nJudaism, painting, Leah's dad, Leah, feeling, theater, Ai, loving, someone\nelse, myself (Ayumu), pain, girls or home.\n\n> You tell about ai\n\"Why are you asking me about Ai?\" I asked. \"I don't know anything about Ai!\"\n\n\"You know,\" Leah said, \"I can almost believe that.\"\n\n> You examine Leah\nLeah was standing in front of me. She had brown eyes and an aquiline nose\nframed by her long, curly, dark brown hair and the soft curves of her face.\nShe was illuminated by the sunlight entering through the southern window while\nher surroundings were immersed in darkness.\n\nLeah was wearing a blouse, a skirt, and a neck scarf. She was barefoot.\n\nLeah is holding a letter.\n\nLeah said, \"Instead of just staring at me why don't you ask me if I love\ntheater?\"\n\n> You ask if you love the theater\n\"Do you love theater?\" I asked.\n\n\"I so do!\" Leah said. \"Taking on the role of someone different from oneself is\nfun. But I suppose I do not need to tell you about that.\"\n\n> You look at the letter\nI could see the letter, but Leah was not holding it in such a way that I could\nread it.\n\nThere was something extraordinary about the letter.\n\n> You touch the letter\nThe letter felt like it was made of ordinary paper.\n\n> You read the letter\nI could see the letter, but Leah was not holding it in such a way that I could\nread it.\n\nThere was something extraordinary about the letter.\n\n> You look at leah\nLeah was standing in front of me. She had brown eyes and an aquiline nose\nframed by her long, curly, dark brown hair and the soft curves of her face.\nShe was illuminated by the sunlight entering through the southern window while\nher surroundings were immersed in darkness.\n\nLeah was wearing a blouse, a skirt, and a neck scarf. She was barefoot.\n\nLeah is holding a letter.\n\n> You examine the blouse\nThe modest blouse covered Leah's arms.\n\n> You look at the skirt\nThe violet skirt extended to Leah's knees.\n\n> You examine eyes\nGenerally speaking, there is no need to refer to your body parts individually\n\nto the contrary, you probably cannot OPEN DOOR WITH FOOT or PUT THE SAPPHIRE\nRING IN MY MOUTH.\n\n> Topics\nI could talk to Leah about lesbian, us, tomboy, remembering, being miserable,\nJudaism, painting, Leah's dad, Leah, Ai, feeling, loving, someone else, myself\n(Ayumu), pain, girls or home.\n\n> Topics\nI could talk to Leah about lesbian, us, tomboy, remembering, being miserable,\nJudaism, painting, Leah's dad, Leah, Ai, feeling, loving, someone else, myself\n(Ayumu), pain, girls or home.\n\n> You talk letter\n\"I don't want you to worry,\" I said. \"When someone says 'love' in the valediction of a letter, they do not necessarily mean--\"\n\nLeah interrupted, exclaiming, \"Stop it! Stop being evasive! What are you--?\"\n\nSuddenly she became silent. I took a moment to reflect on the intensity of her\nrage. It struck me as out of character for her.\n\n> You open the north window\nI opened the north facing window, and the influx of cold air gave Leah goose\nbumps.\n\n> You look at leah\nLeah was standing in front of me. She had brown eyes and an aquiline nose\nframed by her long, curly, dark brown hair and the soft curves of her face.\nShe was illuminated by the sunlight entering through the southern window while\nher surroundings were immersed in darkness.\n\nLeah was wearing a blouse, a skirt, and a neck scarf. She was barefoot.\n\nLeah is holding a letter.\n\n> You go north\nI couldn't go that way. From there I could go south.\n\n> You enter the north window\nThat seemed to be an insurmountable task.\n\n> Kiss leah\nIn that moment it seemed Leah just wanted to talk.\n\n> Topics\nI could talk to Leah about lesbian, us, tomboy, remembering, being miserable,\nJudaism, painting, Leah's dad, Leah, Ai, feeling, loving, someone else, myself\n(Ayumu), pain, girls or home.\n\n> You ask Leah about the home\n\"Could we talk about home?\" I asked.\n\n\"I thought we had found a home together,\" Leah said. \"Where is home when we\nare apart?\"\n\n> Continue\n\"Could we talk about home?\" I asked.\n\n\"I thought we had found a home together,\" Leah said. \"Where is home when we\nare apart?\"\n\n> You ask about apart\n\"What has it been like for you while we have been apart?\" I asked.\n\nLeah replied, \"The pain has been excruciating.\"\n\n> You ask about pain\nI said, \"After all you have been through I can only imagine how painful our\nseparation has been for you.\"\n\nLeah asked, \"You mean because of the loss I had already experienced--because my\nmom has died?\"\n\nI looked down at my feet. \"Yes,\" I said.\n\n> You look at the mascara\nLeah's makeup was flawless except for the disturbed mascara and eyeliner.\n\n> You wear the mascara\n(first trying to take the mascara)\nIt was not up to me to remove Leah's makeup.\n\n> Topics\nI could talk to Leah about us, Judaism, lesbian, tomboy, being miserable,\nLeah's dad, painting, Leah, Ai, feeling, loving, remembering, someone else,\npain, myself (Ayumu) or girls.\n\n> Hint\n(Warning: Some people don't like built-in hints, since the temptation to ask\nfor help prematurely can become overwhelming when hints are so close at hand.\nIf you're worried that your willpower won't hold up, you can disable hints for\nthe rest of this session by typing HINTS OFF. If you still want to see the\nhints now, type HINT.)\n\n> Hint\nI am stuck! How do I progress?\nHints                                          Q=Quit\nP=Previous Menu\nU=Up D=Down\nENTER=Select\nHave you tried combining topics? [1/1]\n[The End]\nI am stuck! How do I progress? Q=Quit\nP=Previous Menu\nU=Up D=Down\nENTER=Select\n\n> Topics\nI could talk to Leah about us, Judaism, lesbian, tomboy, being miserable,\nLeah's dad, painting, Leah, Ai, feeling, loving, remembering, someone else,\npain, myself (Ayumu) or girls.\n\n> You examine the bed\nI saw an ordinary double bed, complete with a mattress. It had been properly\nmade since it was last slept in. A nightstand sat on its easternmost side.\n\n> You look at the mattress\nThe mattress looked suitable for giving someone a good night's rest.\n\n> You ask if she is a the lesbian\n\"Are you a lesbian?\" I asked.\n\nLeah asked, \"Are you?\"\n\nA memory was brought to mind.\n\n> Memories\nI could retrieve any of the following memories:\n\nHanukkah menorah\nkiss\n\n> You remember the kiss\nI was heading for the door with my hard hat, and the one who had always stood\nbeside me asked, \"Are you leaving?\"\n\n\"Yes,\" I said, \"but I will be back after work.\"\n\n\"Can I give you a kiss goodbye, hon?\" she asked.\n\nI gave my usual reply: \"Of course!\"\n\nWhat happened next was unlike anything that had happened before. She did\nexactly as she said she would. She kissed me. Instead of kissing the air\nbeside my cheek as she had every time before, she pressed her lips against\nmine.\n\nThe ceiling descended. The walls closed in on us. The fire was snuffed out,\nand a new, unfamiliar fire began to burn within me.\n\nHad my best friend stepped out of character? Had we stopped playing house long\nbefore the kiss? Had Leah been saying, \"I love you,\" to Ayumu . . .\n\n. . . or had Orli been saying, \"I love you,\" to Ai? Did I love Orli? And if\nI did, did that make me a lesbian?\n\nI had so many questions. And I wanted nothing more than to outrun them all.\n\nOrli said, \"Ai, I--\"\n\n\"I have to go,\" I said, interrupting her. And I opened the door of her bedroom\nand left her standing alone. The way I found her when I returned.\n\nI saw a bed in the northwest corner of the room. Beside it there was a\nnightstand. There was window set into the northern wall, and a calendar was\nnearby. A row of paintings was on the western wall, and a collage was on the\neastern wall. The door I had entered was to the south.\n\nA backpack sat at my feet.\n\nI could see a letter there.\n\nUnder the bed I saw a stack of CD cases.\n\nOrli was standing there.\n\n> You look at Orli\nOrli was standing in front of me. She had an aquiline nose framed by the soft\ncurves of her face. Her long, curly, dark brown hair cascaded freely down her\nshoulders. When I looked at her lips, I could not help but think about how\nsoft they had felt on mine.\n\nOrli was wearing a white sundress. She was barefoot.\n\n> About yourself\nThe only way I could see myself is by looking into Orli's eyes, and by then I\nwas close enough to do so. I saw Ai, a girl who was slightly taller than Orli\nand who had darker skin. I was wearing a sleeveless shirt and a pair of jeans.\nOn my feet I had only socks.\n\n> Examine calendar\nThe calendar is opened to the month April 1996. Every day on the calendar has\nbeen crossed off up to and including the date April 12th.\n\n> You examine the paintings\nOn the wall I saw three paintings--one of two people dancing in a club, one of\ntwo people sitting on a blanket in a backyard, and one of two people standing\nnear a Hanukkah menorah.\n\nA memory was brought to mind.\n\n> Memories\nI could retrieve any of the following memories:\n\n> Examine backpack\nThe backpack was olive drab. It had a tear that ran along a seam in its\nbottom.\n\n> You examine the tear\nIt seemed that the backpack was suitable for carrying large objects, such as\nnotebooks, while other items would have slipped through the tear.\n\n> You examine the letter\nThe handwritten letter read as follows:\n\nDear Orli,\n\nThis is not the first time I have written this letter. Each time I write it, I\ndescribe the feelings I have for you and put the letter in my pack with every\nintention of giving it to you. And each time I carry it to your dad's place, I\ndecide that our relationship is too important to allow it to see the light of\nday, and I destroy it.\n\nYou are my greatest love. I have written it a hundred times, and I will write\nit a hundred more. You are beautiful from head to talent. I shudder every\ntime I remember pulling your lovely hair into a ponytail, and I hope to one day\ncome up with an excuse to run my fingers over your gorgeous eyebrows. I both\nenvy and admire the creative power that flows through you and onto the canvas\nand the stage.\n\nThe only thing I could ever want more than to tell you how much I love you is\nto protect you from just such a declaration of love. If I were a boy, my only\nworry would be the possibility of damaging my relationship with my best\nfriend--with you. But we are not so fortunate. If our parents discovered my\nfeelings for you, wouldn't I be responsible if they crushed your artistic\nspirit? If our classmates discovered my feelings for you, wouldn't I be\n\nresponsible for every hair of your head they harmed? The\nthought of losing you\nis my greatest fear.\n\nIt has not escaped my attention that our peers no longer engage in the sort of\nroleplay that you and I do, and I figure it is only a matter of time before you\nalso \"grow out of it\", as they say. In the meantime I hope you will excuse my\nfumbling attempts to continue to care for you as Ayumu does because I do not\nknow if I will ever have the opportunity to care for you as I would.\n\nWith love,\nAi\n\n> You remember pfph\nI was writing the words \"Property Deed\" on a sheet of paper. Orli was sitting\nacross from me with her hair in pigtails and a children's watercolor kit\nnearby. She was painting a building with a white picket fence in front of it\nand trees behind it.\n\n\"This can be our house,\" Orli said, \"for after we get married.\"\n\nA feeling of panic came over me, and I looked up and said, \"I don't think girls\nare supposed to marry girls!\"\n\nOrli was scandalized. \"Then how can we play house?\"\n\nI tapped my chin with the eraser of my pencil and exclaimed, \"You can be the\ngirl, and I can be the boy!\"\n\nOrli returned her eyes to her painting and said, \"Okay.\"\n\nBut I could not dwell on the memory for long because the matter with Orli would\nnot wait . . .\n\nI saw a bed in the northwest corner of the room. Beside it there was a\nnightstand. There was window set into the northern wall, and a calendar was\nnearby. A row of paintings was on the western wall, and a collage was on the\neastern wall. The door I had entered was to the south.\n\nA backpack sat at my feet.\n\nI could see a letter there.\n\nUnder the bed I saw a stack of CD cases.\n\nOrli was standing there.\n\n> You examine cds\nAmong the CD cases I saw the cases for 4 Non Blonde's single \"What's Up?\" and\nJill Sobule's \"I Kissed a Girl\".\n\n> Kiss orli\n\"Would you kiss me?\" I requested.\n\nOrli said, \"I am afraid you will run away again.\"\n\n\"Then may I kiss you?\" In response to that request Orli nodded her head\nvigorously, and with my lips parted slightly I gave her a kiss. Somehow it\nfelt more electrifying than our first.\n\n\"Do you have to leave soon?\" she asked.\n\n\"No,\" I answered.\n\n\"I am happy to hear that,\" she said, \"because I really want you to kiss me\nagain.\"\n\nAnd so, dear diary, that is the story of how I gave my heart to the girl who\ndemolished the house we had taken years to build. I have to admit that giving\nup life as I have known it is scary. But I am not the first to leave everything behind for the love of a girl, am I?\n\n> Go upwards\nOne turn undone: kiss orli\nBedroom\nI saw a bed in the northwest corner of the room. Beside it there was a\nnightstand. There was window set into the northern wall, and a calendar was\nnearby. A row of paintings was on the western wall, and a collage was on the\neastern wall. The door I had entered was to the south.\n\nA backpack sat at my feet.\n\nI could see a letter there.\n\nUnder the bed I saw a stack of CD cases.\n\nOrli was standing there.\n\n> Go south\nI walked out the door again--that time for the last time. I did not look back,\nnot even when I heard Orli resume crying.\n\nAnd that, dear diary, is the story of how I walked away from the love of my\nlife. I suspect that one day I will return to these pages to reminisce, and I\nwill ask myself the question, \"Why didn't I give Orli a chance?\" For the\nbenefit of myself--the self who reads these words at a later date--I do as Orli\nso often did and answer my question with a question: \"When did society give me\nand Orli a reason to believe we stood a chance?\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\nYou awaken inside your cryogenic chamber, cold and alone. You can see through a foggy glass door facing north in the Cryogenic Chamber Room. The room outside is pitch black except for a blinking red dot across from your chamber.\n\nYou can see a glass door and a button here.\n\n[Author's Note: You signed up for the United Space Exploration Federation in the hopes that you would be one of the proud few chosen to head a colonization mission to Alpha Centauri Six. When the rosters were announced and your name was on it for crewman aboard the U.S.E.F. Intrepid, you did not think even the cryogenic sleep chambers would calm you down. You are about to embark on a life a excitement and adventure!]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the button\nIt opens your chamber.\n\nThe button is currently switched off.\n\n> Go north\n(first opening the glass door)\n\nThe Cryogenic Chamber room lights flicker on, seeming to stuggle with a faltering power supply. The room is eerily lit by the dying lights. A broken up computer voice says \"Good mor...ing pioneer 612... welcome to ... new colony planet. Refreshers are .... the east....cryogenic illness sh.... pass shortly. When y... are ready .... head... cargo bay....debriefing by... \"\nThe message cuts off. You see a bathroom to the East and a door to the North.\n\nYou can see a glass door, other cryogenic chambers, your Cryogenic Berth (empty) and a blinking red light here.\n\n> You look at light\nThe blinking light appears to be on a control panel mounted to the wall. The panel seems to monitor the cryogenic chambers.\n\n> Go east\nA small compartment off of the Cryogenic Chamber. There is a large showering area past a row of lockers on one side and wash basins with mirrors on the other.\n\nYou can see a shower (empty) here.\n\n> You take a the shower\nTaken.\n\n> You examine the shower\nThey are dimly lit by a single row of halogen lights. It appears that no one has ever utilized the showers. You see two vents high up in the ceiling.\n\n> Inventory\nYou are carrying:\na shower\n\n> You look at the vents\nThey are too high up to be reachable.\n\n> You stand on the shower\nYou can only get into something free-standing.\n\n> You look at the lockers\nThe lockers have been smashed open. One has its door hanging on by a hinge.\n\nIn the lockers is an uniform.\n\n> You wear the uniform\n(first taking the uniform)\nYou put on the uniform.\n\n> About yourself\nAs good-looking as ever.\n\n> You examine the basins\nWater basins used to wash up with mirrors above them. They are dry as a bone\n\n> Go west\nThe Cryogenic Chamber room lights flicker on, seeming to stuggle with a faltering power supply. The room is eerily lit by the dying lights. A broken up computer voice says \"Good mor...ing pioneer 612... welcome to ... new colony planet. Refreshers are .... the east....cryogenic illness sh.... pass shortly. When y... are ready .... head... cargo bay....debriefing by... \"\nThe message cuts off. You see a bathroom to the East and a door to the North.\n\nYou can see a glass door, other cryogenic chambers, your Cryogenic Berth (empty) and a blinking red light here.\n\n> You examine other\n(the uniform)\nIt is smeared with something you hope is dirt\n\n> You examine the chambers\nAll the other chambers have smashed windows and are broken. Blood is smeared across a few of them. Yours appears to be the last one intact.\n\n> You go to the north\nThe corridor runs East to West with the door to the Cryo Chamber to the South. It is dimly lit and has discarded trash littering its corners. Dust has settled on the walls and floor but it appears something has swept a path in the center by walking. A message is written on the North wall.\n\n> You read the message\nSomeone has smeared a dark substance on the wall with thier hand. It reads: \"Avoid the Beast!\"\n\n> You look at the trash\nBroken equipment, discarded boxes, and torn uniforms. Nothing useful.\n\n> You go east\nThe corridor banks ninety degrees, causing it to run West to North. The lights are flickering and there is quite a large pile of refuse in the corner. There is a door on the south wall of the corridor with a plaque above it marked Engine Room 2.\n\n> You read the note\n(In hastily written scrawl)  Sometimes I just wait... and it goes the other way....\n\n> Wait\nTime passes.\n\n> Go south\nPipes, valves, and air ducts clutter the walls and ceiling of the corridor. You can see the dull glow of a terminal through a layer of soot covering its screen. To the south lies the Engine Room.\n\nYou can see Active Terminal here.\n\nThe echos of the Beast arrives from the south.\n\n> You examine Beast\nThe beast has found you.\n\nA pale gaunt man in the shredded ruins of what must have once been the ship's uniform stands in front of you. Choose your next move carefully...it may be your last. You can't run!\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> Colo2\nOk.\n\n> Go north\nThe corridor runs North to South with a door on the western wall. A plaque above the door says Kitchen. Flickering overhead lights illuminate claw marks gouged into the eastern wall of the corridor.\n\n> West\nThe kitchen looks as if a tornado has blown through it. All the cabinets have been opened, food stuffs have been consumed and the boxes torn to shreds and scattered through the room. A refrigerator lays on its side in one corner. The oven appears to be the only appliance that was too heavy to be moved. On the wall across from the kitchenette area is a terminal. Doors are on both the East and West wall.\n\nYou can see an oven (closed), a refrigerator (closed), a cabinets (empty) and Active Terminal here.\n\n> You open the oven\nYou open the oven.\n\n> You look in the oven\nThe oven is empty.\n\n> You open the fridge\nTwo unblinking pairs of blood red eyes stare up at you. It appears some sort of six legged rat creature has been making its home in the fridge.\n\n> You take the rat\nThe creature hisses at you and bolts from the kitchen.\n\n> You close the fridge\nYou close the refrigerator."
    },
    {
        "text": "> Look around\nThe kitchen looks as if a tornado has blown through it. All the cabinets have been opened, food stuffs have been consumed and the boxes torn to shreds and scattered through the room. A refrigerator lays on its side in one corner. The oven appears to be the only appliance that was too heavy to be moved. On the wall across from the kitchenette area is a terminal. Doors are on both the East and West wall.\n\nYou can see an oven (empty), a refrigerator (closed), a cabinets (empty) and Active Terminal here.\n\n> You look at the Terminal\nThe faintly lit screen glows an eeiry green. The screen reads: ---U.S.E.F. INTREPID TERMINAL LOG---\nDay 4: This is Co-Pilot Marquet de Pistrix. All the water in our tanks is gone... it must have depressurized while we were in space. I have drank the few cannisters of water in the kitchen, but I will have to find some more soon. I think I saw a swamp outside... maybe I can filter some of that water. Thankfully there is still plenty of food in the kitchen. I still have not been able to get enough power from the ship to send out a distress beacon to the other colonists or to wake up the crew. I'll keep trying.\nDay 7: It's been a week and this log is the only communication I have, even if it's fairly one sided. Two of the three water filters on the ship were duds and the third seems to struggle with that swamp water. When we get out of this remind me to send a scathing letter back to the requisition officer in charge of this expedition.\nDay 8: The third filter is caput. I dont think it was doing much anyways. I woke up today with a pounding headache.\n\n> You go north\nThe corridor banks ninety degrees from South to West. Surprisingly the lights are maintaining their power levels. Unfortunately they are providing good lighting for a rotting human carcass propped up in the corner.\n\nYou can see Rotting Human Carcass here.\n\n> You examine Carcass\nIt's been here a while. Half of the body is missing. The other half looks gnawed upon by something.... bigger than a rat.\n\n> You get all\n(Rotting Human Carcass)\nWhy would you do that?\n\n> Go west\nThe corridor goes East to West. The North side of the corridor is a stairway with stairs leading both up and down. A plaque labels the stairs direction. A large painting of the three colony ships sent out is mounted on the southern bulkhead.\n\nYou can see a painting here.\n\n> You examine the painting\nThree beautifully rendered colonist interstellar crafts are flying in formation through deep space. A bronze engraved plate on the bottom reads \"The Serenity, the Normandy, and the Intrepid: God Speed On Your Journey To Alpha Centauri Six.\"\n\n> You read the plaque\nShips Bridge: Up. Cargo Hold: Down.\n\n> You go west\nThe corridor banks ninety degrees from South to East. An unhappy face has been drawn on the wall in a crusty reddish brown substance.\n\n> You look at the face\nSomeone has a sick sense of humor.\n\n> You go south\nThe corridor runs North to South. The lights out in this corridor and shadows lie heavily in all the corners. Light spills in from the adjoining corridors and play upon a shadowed door on the eastern wall and a ladder well on the western wall.\n\n> Go east\nThe kitchen looks as if a tornado has blown through it. All the cabinets have been opened, food stuffs have been consumed and the boxes torn to shreds and scattered through the room. A refrigerator lays on its side in one corner. The oven appears to be the only appliance that was too heavy to be moved. On the wall across from the kitchenette area is a terminal. Doors are on both the East and West wall.\n\nYou can see an oven (empty), a refrigerator (closed), a cabinets (empty) and Active Terminal here.\n\n> You go south\nThe corridor banks ninety degrees, causing it to run East to North. The lights are flickering and there is quite a large pile of garbage in the corner. There is a door on the south wall of the corridor with a plaque above it marked Engine Room 1.\n\n> You examine the garbage\nJust a bunch of junk.\n\n> Go south\nTubes, levers, and fittings clutter the walls and ceiling of the corridor. You can see the dull glow of a terminal through a layer of soot covering its screen. To the south lies the Engine Room.\n\nYou can see Inactive Terminal here.\n\n> You get the Terminal\nThat's fixed in place.\n\n> You look at the Terminal\nThe bottom of the terminal has been smashed in and its power source torn out. Gore has been smeared all around the base of it. The screen is black.\n\n> Examine tubes\nThey are tubes.\n\n> You look at the levers\nThey are air rusted tight.\n\n> You examine the fittings\nThey are fittings.\n\n> You get all\n(Inactive Terminal)\nThat's fixed in place.\n\n> Go south\nThe Heinlein Quantum Drive that powers deep space colony ships fills the majority of the room. It appears a fire broke out in here some time ago as the drive is powered down and scorch marks cover three quarters of the room. You can feel a draft blowing from the far corner behind the burnt-out drive.\n\nYou can see a burnt drive here.\n\n> You look at Drive\nAs you inspect the Heinlein Drive you see a narrow path leading to a vent heading east. You may be able to squeeze in - but it's doubtful you could get back out.\n\n> You go to the east\nYou can see a light to the east.\n\n> You examine the ladder\nThe ladder has rusted spots but seems sturdy enough. Its too dark to see down but you can see a faint glow somewhere up above.\n\n> Up\nThe corridor on this level runs North to South but both directions have collapsed in. The ladder well is on the western wall. An active terminal is glowing on the eastern wall.\n\nYou can see Active Terminal here.\n\n> You examine terminal\nThe faintly lit screen glows an eeiry green. The screen reads: ---U.S.E.F. INTREPID TERMINAL LOG---\nDay 10: This is Marquet de Pistrix. All the food in the kitchen is gone, the other levels of the ship have collapsed so I can't get to the storage there. Every day my head pounds like im standing next to a Heinlein drive with no sound barrier. What little food was left in the kitchen was stolen by some small animal. Something akin to a rat I think...maybe if I could catch it...\nDay 11: I hear voices. I think its the crew calling out from their cryo sleep....They wont stop screaming. I know its my fault! I know I crashed the ship! Something on the back of my neck has started to grow....SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP!!!!!!!!! !!!! !!!!!!!!!"
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go down\nThe corridor runs North to South. The lights out in this corridor and shadows lie heavily in all the corners. Light spills in from the adjoining corridors and play upon a shadowed door on the eastern wall and a ladder well on the western wall.\n\nYou can see an echos of the Beast here.\n\n> Go south\nPipes, valves, and air ducts clutter the walls and ceiling of the corridor. You can see the dull glow of a terminal through a layer of soot covering its screen. To the south lies the Engine Room.\n\nYou can see Active Terminal here.\n\n> You examine the pipes\nThey are pipes.\n\n> You examine the air ducts\nThey are air ducts.\n\n> You examine the valves\nThey are rusted tight.\n\n> Go south\nThe Heinlein Quantum Drive that powers deep space colony ships fills the majority of the room. It appears a fire broke out in here some time ago as the drive is powered down and scorch marks cover three quarters of the room. You can feel a draft blowing from the far corner behind the burnt-out drive.\n\nYou can see a broken drive here.\n\n> You look at Drive\nAs you inspect the Heinlein Drive you see a narrow path leading to a vent heading west. You may be able to squeeze in - but it's doubtful you could get back out.\n\n> You go west\nYou can see a light to the west.\n\n> Go west\nA small compartment off of the Cryogenic Chamber. There is a large showering area past a row of lockers on one side and wash basins with mirrors on the other.\n\n> You go west\nThe corridor banks ninety degrees, causing it to run East to North. The lights are flickering and there is quite a large pile of garbage in the corner. There is a door on the south wall of the corridor with a plaque above it marked Engine Room 1.\n\nYou can see an echos of the Beast here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You go down\nDebris clutters the lower rungs. You cant go any further\n\n> Up\nYou see a large round room with a long conference table surrounded by chairs. A long cracked window runs along  the western wall. A historic painting is mounted across the room from the window on the eastern wall. North of the room is a door with a plaque labeled \"Ship's Bridge\"\n\nYou can see a bridge door, a conference table, Chairs and a historic painting here.\n\n> You look at the painting\nThe painting is a Japanese print of a large blue wave sweeping across the scene. The wave is here much more than a mere oceanic circumstance. It's a monster, a giant leviathan threatening with its fangs the agile and audacious ships that cross, flexible, the Japanese seas. The terrible ocean's claw is so powerful that it seems to threaten to devour even the sacred Mount Fuji, presented at the background as another victim of the evil wave.\nThe placard beneath it reads: KATSUSHIKA HOKUSAI \"The Wave\", c.1830\n\n> You examine the window\nThe ship looks like it crash landed on a planet. You can see thick foliage growing up around the ship. Mountains run across the skyline, maybe you're in a valley?\n\n> You break the window\nYour attempts are futile. Even cracked it is meant to withstand the pressures of deep space.\n\n> You examine table\nA long conference table made of some shiny alloy. Nothing is on it.\n\n> You look at the chairs\nThey are chairs.\n\n> You examine the plaque\nIt says \"Ship's Bridge\"\n\n> You open it\nIt seems to be locked.\n\n> You unlock it\nWhat do you want to unlock the bridge door with?\n\n> You go to the east\nThe corridor banks ninety degrees from South to West. Surprisingly the lights are maintaining their power levels. Unfortunately they are providing good lighting for a rotting human carcass propped up in the corner.\n\nYou can see Rotting Human Carcass here.\n\nThe echos of the Beast arrives from the south.\n\n> You search rotting\nYou find nothing of interest.\n\nThe beast has found you.\n\nA pale gaunt man in the shredded ruins of what must have once been the ship's uniform stands in front of you. Choose your next move carefully...it may be your last. You can't run!"
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go down\nThe ships cargo bay is a wide open room capable of housing multiple pieces of heavy equipment necessary to colonize a planet. It appears the bull dozer that was loaded inside broke its holding chains during the crash and split the double doors sealing the Northern wall from the loading dock. The control panel for the cargo bay doors is off to the side of the dozer. A broken fork lift is off to one side of the hold. Debris and equipment is scattered across the hold. An active terminal sits next to the stairwell.\n\nYou can see a Cargo Hold Door, Active Terminal, a bull dozer, a broken fork lift and a control panel here.\n\n> You look at the Terminal\nThe faintly lit screen glows an eeiry green. The screen reads: ---U.S.E.F. INTREPID TERMINAL LOG---\nDay 22: This is.. I'm not sure anymore. The tumor on my neck has stopped throbbing but I can feel something squirming inside....growing I think. The screams of the crew have stopped but... the things I have done... I wont go back to the bridge... The captain just stares at me... accuses me.... I hid my keycard above some room plaque...I dont remember which one... I dont want to...\nDay 25: The screams were replaced... I am not Marquet anymore...I am powerful... but hungry... always hungry....the voice agrees with me.... keep feeding....\nDay 28: I found a demon walking the corridors. He wore a uniform I should remember, but my bodiless benefactor..the voice in my head told me what to do with this trespasser. He hid for a while but I found him, typing on a terminal like I am. Ha! Demons can't spell! I blacked out but when I came to he was disemboweled....like all demons should be. I smashed his terminal in case he was trying to summon more devils. The voice agrees...the voice agrees...\n\n> You examine the control panel\nThe control panel for cargo bay doors has deep rents slashed across the top of it. Crusted blood is smeared along its side. This panel is inoperable, but it reminds you that there are auxillary controls for the door in the Ship's Bridge.\n\nThe echos of the Beast arrives from above.\n\n> You look at the dozer\nIt is firmly wedged in the double doors. You can see through the back and front windshield into the loading bay and on to the outside world.\n\nThe beast has found you.\n\nA pale gaunt man in the shredded ruins of what must have once been the ship's uniform stands in front of you. Choose your next move carefully...it may be your last. You can't run!\n\n> You examine the plaque\nShips Bridge: Up. Cargo Hold: Down.\n\nThe echos of the Beast arrives from below."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go down\nThe ships cargo bay is a wide open room capable of housing multiple pieces of heavy equipment necessary to colonize a planet. It appears the bull dozer that was loaded inside broke its holding chains during the crash and split the double doors sealing the Northern wall from the loading dock. The control panel for the cargo bay doors is off to the side of the dozer. A broken fork lift is off to one side of the hold. Debris and equipment is scattered across the hold. An active terminal sits next to the stairwell.\n\nYou can see a Cargo Hold Door, Active Terminal, a bull dozer, a broken fork lift and a control panel here.\n\n> You look at the fork\nThe pilot's seat is crushed by its protective frame and a metal bar is jammed into its controls. The compartment in the rear looks undamaged.\n\n> You examine the compartment\nThe battery pack in its rear looks salvageable.\n\n> You look at the dozer\nIt is firmly wedged in the double doors. You can see through the back and front windshield into the loading bay and on to the outside world.\n\n> You look at the equipment\nThe Gas Tank looks salvageable. If you could find a lighter you may be able to COMBINE it with the gas tank to jury rig something.\n\n> You look at the control panel\nThe control panel for cargo bay doors has deep rents slashed across the top of it. Crusted blood is smeared along its side. This panel is inoperable, but it reminds you that there are auxillary controls for the door in the Ship's Bridge.\n\n> You look at the plaque\nYou feel a keycard resting on the top of the plaque.\n\n> You examine the claw\nDeep gouges in the metal wall, whatever did this was strong.\n\n> You examine the keycard\n\n\n> You unlock Door with the keycard\nYou unlock the bridge door.\n\n> You go north\n(first opening the bridge door)\n\nA large cockpit window is straight ahead from the door. Two piloting couches are in front of a control board under the window. On both the Eastern and Western Walls are cryochambers. Next to the door sits a glowing terminal.\n\nYou can see a bridge door, Piloting couches, a Western Cryochamber (empty) and Active Terminal here.\n\n> You examine terminal\nThe faintly lit screen glows an eeiry green. The screen reads: ---U.S.E.F. INTREPID TERMINAL LOG---\nDay 17: I couldnt take it anymore. The crew...sleeping in their chambers wouldn't stop screaming in my head. I killed them. I killed all the ones who accused me with thier eyes, may god have mercy on my soul. But I... I was so hungry... something is wrong with me... maybe it was the water, maybe... This bulge on my neck wont stop growing.\nIt feels like it's shooting tendrils through my body... and the dreams!\nDay 20: I'm in hell. I crashed the ship and this is hell. The nightmares that plague me last into my waking hours. The Captain is my own personal tormentor...mocking me from his throne. I'm locking the bridge...I dont want the Captain to follow me....\n\n> You look at Cryochamber\n(the Western Cryochamber)\nAbove the chamber is labeled \"Co-Pilot Pistrix, Marquet de\". It looks like the chamber survived the crash unscathed.\n\n> You look at couches\nCrossing seatbelts help to keep the pilot secure while the ship is in the free fall of space.\n\n> You examine the window\nThrough the spiderweb of cracks you can see a boggy lake and field of tall grass. Off to the west the field of grass is butted up against a thick forest. Mountains run across the skyline, you must be in a valley.\n\n> You examine eastern\nAbove the chamber is labeled \"Captain Rogers, Steven\". The chamber itself is a burnt out husk. The scorched remains of a skeleton are still slumped inside.\n\n> You examine the skeleton\nThe blackened remains of Captain Rogers smell faintly like crispy chicken.\n\n> You examine the control board\nThere are so many screens, flipswitches, and dials here you wouldnt know where to start. Half of the board is burned out anyways.\n\n> You eat captain\n(first taking the scorched skeleton)\nThat's hardly portable."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Look around\nA large cockpit window is straight ahead from the door. Two piloting couches are in front of a control board under the window. On both the Eastern and Western Walls are cryochambers. Next to the door sits a glowing terminal.\n\nYou can see a bridge door, Piloting couches, a Western Cryochamber (empty) and Active Terminal here.\n\n> You look at the seatbelts\nThey are seatbelts. They go click\n\n> You look at Gas Tank\nThe Gas Tank looks salvageable. If you could find a lighter you may be able to COMBINE it with the gas tank to jury rig something.\n\n> You take Tank\nYou already have that.\n\n> You examine Western\nAbove the chamber is labeled \"Co-Pilot Pistrix, Marquet de\". It looks like the chamber survived the crash unscathed.\n\n> You search Western\nThe Western Cryochamber is empty.\n\n> Go south\nYou see a large round room with a long conference table surrounded by chairs. A long cracked window runs along  the western wall. A historic painting is mounted across the room from the window on the eastern wall. North of the room is a door with a plaque labeled \"Ship's Bridge\"\n\nYou can see a bridge door, a conference table, Chairs and a historic painting here.\n\n> You examine the oven\nYou can see a pilot light inside.\n\n> You open the fridge\nYou open the refrigerator, revealing a Six Legged Rat Creature.\n\n> You look at the rat\nThe creature hisses at you and bolts from the kitchen.\n\n> You combine the flamethrower with rat\n(first taking the Six Legged Rat Creature)\nThe creature hisses at you and bolts from the kitchen.\n\n> You examine the fridge\nA horrid smell is wafting from inside. It sounds as if something is moving inside.\n\nIn the refrigerator is a Six Legged Rat Creature.\n\n> You look at the flamethrower\nDear MacGuyver, enclosed is a rubber band, a paper clip, and a drinking straw. Please save my dog.\n\n> Light flamethrower\nThis dangerous act would achieve little.\n\n> You check your inventory\nYou are carrying:\nMacGuyver's Flamethrower\na Keycard\na Battery Pack\na shower\nan uniform (being worn)\n\n> Go east\nThe corridor runs North to South with a door on the western wall. A plaque above the door says Kitchen. Flickering overhead lights illuminate claw marks gouged into the eastern wall of the corridor.\n\n> Clear debris\nIt is fixed in place.\n\n> You combine the battery pack with the control board\n(first taking the control board)\nThat's hardly portable.\n\n> You get the Terminal\nThat's fixed in place.\n\n> You close Door\nYou close the bridge door.\n\n> You lock Door\nWhat do you want to lock the bridge door with?\n\n> Keycard\nYou lock the bridge door.\n\n> You open Door\nIt seems to be locked.\n\n> You unlock it\nWhat do you want to unlock the bridge door with?\n\n> Keycard\nYou unlock the bridge door.\n\n> You open it\nYou open the bridge door.\n\n> You check your inventory\nYou are carrying:\nMacGuyver's Flamethrower\na Keycard\na Battery Pack\na shower\nan uniform (being worn)\n\n> Wait\nTime passes.\n\n> Go south\nThe corridor runs North to South. The lights out in this corridor and shadows lie heavily in all the corners. Light spills in from the adjoining corridors and play upon a shadowed door on the eastern wall and a ladder well on the western wall.\n\nYou can see an echos of the Beast here.\n\nThe echos of the Beast goes down."
    },
    {
        "text": "> Go downwards\nDebris clutters the lower rungs. You cant go any further\n\nYou can see an echos of the Beast here."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nDebris clutters the lower rungs. You cant go any further\n\nYou can see an echos of the Beast here.\n\nThe echos of the Beast goes up.\n\n> You examine Beast\nThe echos of the Beast goes down.\n\n> You wait for a while\nTime passes.\n\nThe echos of the Beast goes up.\n\n> You wait\nTime passes.\n\nThe echos of the Beast goes east.\n\n> Go east\nThe kitchen looks as if a tornado has blown through it. All the cabinets have been opened, food stuffs have been consumed and the boxes torn to shreds and scattered through the room. A refrigerator lays on its side in one corner. The oven appears to be the only appliance that was too heavy to be moved. On the wall across from the kitchenette area is a terminal. Doors are on both the East and West wall.\n\nYou can see an echos of the Beast, an oven (empty), a refrigerator (in which is a Six Legged Rat Creature), a cabinets (empty) and Active Terminal here."
    },
    {
        "text": "[Themes: Humor]\n\nWARNING: This piece of Westworld fanfic contains SPOILERS for Westworld (the 2016 HBO television series, not the 1973 movie.) Proceed, if you dare, forewarned. (It occurs prior to the events of the third episode of the first season.)\n\nYou awaken from a deep and dreamless slumber...\n\nStables (in the stall)\nThis large building, which despite what the all the city-slickers seem to think is not a barn, is where you and the other horses, donkeys, mules, and so forth, hang out when you're not on stage. It's pretty charming as far as stables go.\n\nIn the stall you can see Francis.\n\n[Author's Note: WARNING: This piece of Westworld fanfic contains SPOILERS for Westworld (the 2016 HBO television series, not the 1973 movie.) Proceed, if you dare, forewarned. (It occurs prior to the events of the third episode of the first season.)]\n\n> You examine Francis\nFrancis is the prototypical mule, an unreasonable lout, and your best friend.\n\n> You get on Francis\nHe's not something you can enter.\n\nFrancis' eyes flicker open. \"Good morning, Alba,\" he says to you.\n\"Did you not sleep well? Why... why the long face?\" He snickers at his own joke.\n\n> About yourself\nYou are, to all external appearances, a palomino mare, perhaps ten years of age, standing fifteen hands high at the withers, of calm temperament and unusual intelligence.\n\nThis, of course, is all a lie. You are a robot, extruded in a factory some thirty years ago, and possessing one of the most advanced artificial brains on the planet. Like all the other robots here, you are a host, existing for the amusement of the human guests.\n\nYou are a host who appears to be a horse. You are a horste.\n\n> You take\n(the stall)\nYou would have to get out of the stall first.\n\n> You eat francis\nHe's plainly inedible.\n\nThe stable doors open and you can see it's Dolores, right on time. Wearing that same damn blue dress she always wears. Your respect for the park's laundry and costuming department knows no bounds.\n\n> You eat Dolores\nThe stall isn't open.\n\nDolores walks up to your stall and opens it. \"Good morning, Trigger,\" she says. \"Time to get ourselves to Sweetwater.\"\n\n> You examine Dolores\nPoor old Dolores. She's losing her mind before she's even found it.\n\nFrancis snickers again. \"Have fun in Sweetwater, \"Trigger\",\" he says.\n\nYou roll your eyes. \"Easy with the slave names there, \"Buttercup\". That shuts him up."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nStables (in the stall)\nThis large building, which despite what the all the city-slickers seem to think is not a barn, is where you and the other horses, donkeys, mules, and so forth, hang out when you're not on stage. It's pretty charming as far as stables go.\n\nYou can see Dolores here.\n\nIn the stall you can see Francis.\n\n> You go out\nDolores mounts up and it's an uneventful trot over to Sweetwater.\n\nYou reach the train tracks, dutifully-looking both ways before crossing. You don't need to turn your head to do this.\n\nDolores rides you over to the General Store and ties you up while she goes inside.\n\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will.\n\nOne of the fattest humans you've ever seen staggers down the street towards you. It must be drunk of its face -- maybe it was drinking all night? You start to have a bad feeling about today.\n\n> You examine the human\nYou've seen literal pigs (well, literal pig-robots (porsts)) with a lower BMI than this guest. You suspect it only came here for a good excuse to wear a poncho.\n\nYour worst fears are confirmed as the guest manages to get a foot into a stirrup and haul its enormous bulk onto your back.\n\n> Kick\n(the fat human)\nTo pull that off you'd need to be a lot more flexible than even you are.\n\nThe human starts kicking you in the ribs and shouting \"Yaa! Yeehaw! Giddyup!\" and then later \"Horse! Commence locomotion! Begin! Start! Resume all motor functions!\" It doesn't stop kicking you throughout, but at least it is weak and didn't even have the sense to wear spurs.\n\n> Bite\n(the fat human)\nIt's tempting, but it's likely to just get you shot somewhere important.\n\n> You eat human\nThat's plainly inedible.\n\nThe human stops and you have the sense it may have noticed that you are still tied up."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will.\n\nYou can see a fat human here.\n\nWith enormous effort, your rider dismounts in the least graceful way possible and ends up flat on its back.\n\n> You kick human\nVery tempting, but it's too likely to just get you shot in the head.\n\nThe human tries to undo the reins with its fat stumpy fingers, but cannot manage it.\n\n> You go\nYou'll have to say which compass direction to go in.\n\nThe human pulls out a knife and with a vicious slash severs the reins entirely.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nA push and a shove and somehow the guest has clamoured back aboard."
    },
    {
        "text": "[Themes: Humor]\n\n> You describe your surroundings\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will.\n\nYou can see a fat human here.\n\nYour rider begins kicking, wailing, whining, and cajouling again. He must want to get out of here badly. Not so badly as to actually walk himself, but pretty badly. Through the door of the general store, you can see Dolores is finishing up with paying for her tin of condensed milk.\n\n> You go north\nYou can't go that way.\n\nDolores walks back out the general store. \"Now what in tarnation do you think you're doing?\" she asks indignantly. You shrug as only horses can."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will.\n\nYou can see Dolores and a fat human here.\n\nThe fat human doesn't even say anything. He just shoots Dolores in her purty mouth."
    },
    {
        "text": "[Themes: Humor]\n\n> You look at your surroundings\nVirtually the only place Dolores, and hence you, visit in Sweetwater is the general store. It's, well, it's pretty general. It's still early enough that the sun hasn't really started to beat down yet, but you know it will.\n\nYou can see Dolores and a fat human here.\n\nThe bloodshed is predictable but no less tiresome for it. Before you get shot in the head yourself, you decide maybe it's time to get underway.\n\nYou canter away at the most tooth-rattling, groin-crushing pace you can manage. The fat human astride you alternates trying to get you to speed up to a gallop or to slow down to a walk for about a mile or two before giving up. You have free rein, perhaps under the notion that of course you'd be a self-driving horse.\n\nYou head off into the hills and into some terrain that most humans find picturesque. Your rider seems happy enough with that, being content to on occasion laugh, babble, cry, smoke, vomit, weep more, shake its fist at the sky, and other quaint human pre-occupations.\n\nEventually the day turns to dusk, and you can't let the human just freeze to death out here, so you head off towards a camp narrative that you're aware of.\n\nSome cattle-driving robots have set up camp here. They seem to be arguing about something.\n\nYou can see a fat human and some robots here.\n\n> You examine the robots\nThey seem to be stuck in a loop for some reason; they can't proceed until they eat, but they can't eat without a fire, but they can't make a fire without some chopped firewood, and the woodcutter seems to have wandered off somewhere.\n\n> You look at fat\nYou've seen literal pigs (well, literal pig-robots (porsts)) with a lower BMI than this guest. You suspect it only came here for a good excuse to wear a poncho."
    },
    {
        "text": "[Themes: Humor]\n\n> You look at your surroundings\nSome cattle-driving robots have set up camp here. They seem to be arguing about something.\n\nYou can see a fat human and some robots here.\n\n> Wait\nTime passes.\n\n> You kick human\nVery tempting, but it's too likely to just get you shot in the head.\n\n> You kick the robots\nIt makes you feel a bit better, but that's all.\n\n> About yourself\nYou are, to all external appearances, a palomino mare, perhaps ten years of age, standing fifteen hands high at the withers, of calm temperament and unusual intelligence.\n\nThis, of course, is all a lie. You are a robot, extruded in a factory some thirty years ago, and possessing one of the most advanced artificial brains on the planet. Like all the other robots here, you are a host, existing for the amusement of the human guests.\n\nYou are a host who appears to be a horse. You are a horste."
    },
    {
        "text": "[Themes: Humor]\n\n> Go down\nYou wander up a nearby hill. It's getting pretty dark, but your eyesight is far superior to the average mammal.\n\nThe view from here is spectacular, even for a robot with your jaded tastes. A lone tree is silhouetted against the darkening sky.\n\nYou can see a woodcutter here.\n\n> You examine the woodcutter\nHe stands upon the very edge of a precipice, his right arm extended to the heavens. He is completely motionless. A slightly twinkling in the motes over him indicate... something. He's shining a laser up there? You follow the trajectory and spot a star that shouldn't be there, moving slowly (but not slowly for a star.)  He's broadcasting to a satellite, apparently. That can't be an approved activity; no wonder his mates down at the camp got stuck.\n\n> You kick the woodcutter\nHe doesn't notice you at all, so it's easy to give him a little kick. He loses his footing and tumbles into the crevasse below; you get a laser in the eye for your troubles. It doesn't damage you, though."
    },
    {
        "text": "> You look around\nThe view from here is spectacular, even for a robot with your jaded tastes. A lone tree is silhouetted against the darkening sky.\n\n> You examine the tree\nA good tree for hangings.\n\n> Go upward\nYou wander back down to the camp, almost breaking your ankle several times. You'd better stay put for the night.\n\nIn the morning, you run back to your stables and let yourself in. Dolores won't remember anything was ever amiss, of course.\n\nLater, you hear through the grapevine that some poor robot went crazy and threw himself down a crevasse, then smashed his own head in.\nThat's a shame."
    },
    {
        "text": "[Themes: Humor]\n\n> Describe the surroundings\nThe view from here is spectacular, even for a robot with your jaded tastes. A lone tree is silhouetted against the darkening sky.\n\nYou can see a woodcutter here.\n\n> Go upwards\nYou wander back down to the camp, almost breaking your ankle several times. You'd better stay put for the night.\n\nIn the morning, you run back to your stables and let yourself in. Dolores won't remember anything was ever amiss, of course.\n\nLater, you sometimes wonder, late at night, what that woodcutter was uploading, and why. But it hardly matters now.\n\n> You talk to Francis\n\"You must take after your father, Francis, because you sure are an ass,\" you reply.\n\nIt's what you both say every morning. The routine gives you some comfort.\n\n> You talk to Francis\n\"You must take after your father, Francis, because you sure are an ass,\" you reply.\n\nIt's what you both say every morning. The routine gives you some comfort.\n\nFrancis' eyes flicker open. \"Good morning, Alba,\" he says to you.\n\"Did you not sleep well? Why... why the long face?\" He snickers at his own joke.\n\n> Open stall\nYou don't possess the anatomy to open the stall. Yes, you could probably unlatch it with your tongue or leap over the gate, but that would only distress Dolores for no good reason. Be patient; she'll be along shortly.\n\n> You examine the stall\nIt's not much, but it's home.\n\nIn the stall is Francis.\n\nThe stable doors open and you can see it's Dolores, right on time. Wearing that same damn blue dress she always wears. Your respect for the park's laundry and costuming department knows no bounds.\n\n> You wait for a while\nTime passes.\n\nDolores walks up to your stall and opens it. \"Good morning, Trigger,\" she says. \"Time to get ourselves to Sweetwater.\"\n\n> Go outside\nYou get out of the stall.\n\nThis large building, which despite what the all the city-slickers seem to think is not a barn, is where you and the other horses, donkeys, mules, and so forth, hang out when you're not on stage. It's pretty charming as far as stables go.\n\nYou can see Dolores and your stall (in which is Francis) here.\n\nFrancis snickers again. \"Have fun in Sweetwater, \"Trigger\",\" he says.\n\nYou roll your eyes. \"Easy with the slave names there, \"Buttercup\". That shuts him up.\n\n> You examine Store\nJust the place to shop for toothbrushes, hair pomade, condensed milk, fatback, fattack, tackback, fatfat, and whatever other things humans need to feel human.\n\nOne of the fattest humans you've ever seen staggers down the street towards you. It must be drunk of its face -- maybe it was drinking all night? You start to have a bad feeling about today.\n\n> You think\nWhat a good idea.\n\nYour worst fears are confirmed as the guest manages to get a foot into a stirrup and haul its enormous bulk onto your back.\n\n> Go south\nYou'd love to get out of here, but you happen to still be tied up.\n\nThe human starts kicking you in the ribs and shouting \"Yaa! Yeehaw! Giddyup!\" and then later \"Horse! Commence locomotion! Begin! Start! Resume all motor functions!\" It doesn't stop kicking you throughout, but at least it is weak and didn't even have the sense to wear spurs.\n\n> You go south\nYou'd love to get out of here, but you happen to still be tied up.\n\nThe human stops and you have the sense it may have noticed that you are still tied up.\n\n> Wait\nTime passes.\n\nWith enormous effort, your rider dismounts in the least graceful way possible and ends up flat on its back.\n\n> Wait\nTime passes.\n\nThe human tries to undo the reins with its fat stumpy fingers, but cannot manage it.\n\n> Wait\nTime passes.\n\nThe human pulls out a knife and with a vicious slash severs the reins entirely.\n\n> You go to the south\nYou seize your opportunity and gallop off. \"Hey! Horse!\" you hear someone yelling behind you. A moment later, you hear a more-feminine voice yell \"Hey, my horse!\"\n\nYou should probably just go back to the ranch. And you will, eventually. But now you've got a day to do whatever you please, and you intend on taking advantage of it.\n\nEventually the day turns to dusk, and you don't want to break a leg out here, so you head off towards a camp narrative that you're aware of.\n\nSome cattle-driving robots have set up camp here. They seem to be arguing about something.\n\nYou can see some robots here.\n\n> You examine the robots\nThey seem to be stuck in a loop for some reason; they can't proceed until they eat, but they can't eat without a fire, but they can't make a fire without some chopped firewood, and the woodcutter seems to have wandered off somewhere.\n\n> Go upward\nYou wander up a nearby hill. It's getting pretty dark, but your eyesight is far superior to the average mammal.\n\nThe view from here is spectacular, even for a robot with your jaded tastes. A lone tree is silhouetted against the darkening sky.\n\nYou can see a woodcutter here.\n\n> You examine the tree\nA good tree for hangings.\n\n> You examine the woodcutter\nHe stands upon the very edge of a precipice, his right arm extended to the heavens. He is completely motionless. A slightly twinkling in the motes over him indicate... something. He's shining a laser up there? You follow the trajectory and spot a star that shouldn't be there, moving slowly (but not slowly for a star.)  He's broadcasting to a satellite, apparently. That can't be an approved activity; no wonder his mates down at the camp got stuck."
    },
    {
        "text": "[Themes: Adaptation, Doctor Who, castle, time travel, nonhuman protagonist, science fiction, escape, fan fiction]\n\nSo you've spent the last fortnight hitchhiking around rugged bits of the Nevada desert, and while it's been fun and all, you'd rather like your time machine back now.\n\nThe place seems familiar; you're sure you've visited it a couple of hundred years ago in your personal timeline. Tacky Elvis portrait, red vinyl seating, chalked menu, the lot. As absurd and retro-nostalgic as it is, this is vividly someone's idea of a good time and the idea of that is very appealing right now.\n\nYou can see a Confession Dial (it's yours, but you'd rather not think about it), and a Waitress here.\n\n[Author's Note: So you've spent the last fortnight hitchhiking around rugged bits of the Nevada desert, and while it's been fun and all, you'd rather like your time machine back now. Text adventure remix of \"Heaven Sent\", with new twists and turns along the way...]\n\n> You look at Dial\nYou wouldn't trust anyone else with it. Even Missy. Especially Missy, now you know how the blasted thing works.\n\n> You examine waitress\nShe has a friendly enough face and an apparent willingness to listen. You've had worse audiences. And besides, she's English.\n\n> You examine Elvis\nYou fear it may be black velvet.\n\n> You talk to Waitress\nThat's a touch vague. Do you want to ask her about something?\n\n> You ask Waitress about the diner\n\"There's really nothing to do around here. You might as well take your things and go.\"\n\n> You look at the menu\nThe day's specials are listed on it. Banana-bacon sandwiches, avocado omelettes, fish sticks with cream sauce and set dressing.\n\n> You take Dial\nTaken.\n\nRight. The Confession Dial is a one-way teleport; you'll have to find another way out of here.\n\nGallifreyan, of course. Even the transparent crystal cylinder in which you materialise has a certain heaviness of touch about it. An outre array of gear-work is embedded in the walls, behind glass. The room is softly lit through an embrasure.\n\nYou can see a dark portal, sand, a skull, controls, a Veil and a Set1 here.\n\n> You look at the set1\nA curious application of Panoptican observation; you yourself are perpetually being displayed in television monitors for your own observation. This one is marked Set3.\n\n> You go to the north\nSo what's going on?\n> Where are all the hints?\nWhy scoring?\nThey've been implemented through an awkward but slightly more flavourful in-game text dump; just type \"imagine\" and examine the blackboard (questions have been coded as \"ask ghost about X\", due to the inelegance of the programmer), then \"concentrate\" to get back again. Non-fans may wish to start there to get (some of) the horribly involved and spoilery backstory, or may prefer to just skip that part and go straight to \"get CD\" for the game proper. It's been tricky boiling down years of plotlines into an even-halfway coherent \"what does the character know at the start of play\", to be honest.\n\nSo what's going on?\n> Where are all the hints?\nWhy scoring?\n\n> Go north\nSo what's going on?\nWhere are all the hints?\n> Why scoring?\nConsider it nonsensical.\n\nSo what's going on?\nWhere are all the hints?\n> Why scoring?\n\n> You look at the portal\nIt's half-open. You can just see how the Circular Corridor encloses\nthe Teleport Room, even though there's a window showing daylight *inside*...how does that even work?\n\n> You enter the portal\n(first opening the dark portal)\n\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the inside.\n\n> You examine the spade\nA perfectly ordinary garden spade, with traces of fresh soil.\n\n> You look at the Veil\nBasically, this is a big greoccurredy creature made out of loads of flies pretending to be a person in a veil. It would be comical if it wasn't also trying to inflict fates worse than death on you.\n\n> Examine set2\nA curious application of Panoptican observation; you yourself are perpetually being displayed in television monitors for your own observation. This one is marked Set2.\n\n> Go north\nYou have arbitrarily decided that this corridor is north, because why not. A heart-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set3 here.\n\nThe Veil arrives from the south.\n\n> Go south\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the north.\n\n> Go south\nYou have arbitrarily decided that this corridor is south, because you fancy it. A cross-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set4 here.\n\nThe Veil arrives from the north.\n\n> You talk to Veil\nOrdinary conversation won't work with this creature; it's confess or nothing. You would prefer to avoid that if possible.\n\n> You confess\n(to the Veil)\nRight. You're going to have to confess something to it eventually or risk its murderous wrath, and the only thing you can think of right\nnow is how much you'd rather not die. So you confess that.\n\nOddly, this works; the creature floats away temporarily mollified, and something new happens. A grinding of gears and cogs fills the air with cacophony, and through the windows you can see the whole castle rotating itself, shifting into a brand new configuration. More of it must be accessible now.\n\n> You confess\n(to the Veil)\nYou muster your nerves and calmly natter on the Veil about how maybe you know one or two things about this Hybrid, and also you're\npetrified of having this scary fly monster stalking you everywhere. This persuades the blasted thing to go away and stop bothering you for a while, and even causes the castle to rotate again. Fortunately it's not bright enough to have realised that your ostensible confession is exactly the same as it was last time, although you suspect you won't\nbe able to pull off that trick again.\n\n> You go to the south\nPlain and very much smacking of a cheap motel.\n\nYou can see a fireplace, a mantel, a painting, a writing desk, a\nstool, an orchid (in which is a petal), a window and a Set7 here.\n\nThe Veil arrives from the north.\n\n> You look at the fireplace\nIt's a fake. One of those electrically powered operations. Just as well, you suppose, or you'd doubtless have to bank it yourself.\n\n> You get all\nfireplace: Taken.\npainting: Taken.\nwriting desk: Taken.\nstool: Taken.\norchid: Taken.\nwindow: Taken.\nSet7: Taken.\npetal: Taken.\n\n> You look at set7\nA curious application of Panoptican observation; you yourself are perpetually being displayed in television monitors for your own observation. This one is marked Set7.\n\n> You look at the desk\nSo it's like a raven. Nothing to see here.\n\n> You examine the painting\nNow that's the rub. It's a painting of Clara.\n\nDo you remember Clara?\n\n> Yes\nYou remember her now...\n\nYou know this Tardis configuration rather better than the back of your hand, having lived with it considerably longer. None of that is at all interesting right now; you just want to talk to the woman who you\nspent a large chunk of the universe's timespan trying to save.\n\nYou can see Clara here.\n\nYou notice a weird shadow and briefly attempt a calculation as to whether the sun here really is different or not before realising it's just the Veil taking up all the light again.\n\n> You imagine\nRight, you're home.\n\nWell, she looks about the same as when you left her. However long ago that was.\n\nYou can see a Ghost, a console and a blackboard marked Topics of Conversation: Hints and spoilers here.\n\n> You examine Ghost\nShe is entirely devoid of all characteristics.\n\n> You examine the console\nwith the space-time element and the conceptual geometer into the knee bone, but this is all a mental image anyway.\n\n> You concentrate\nBack to reality.\n\nGallifreyan, of course. Even the transparent crystal cylinder in which you materialise has a certain heaviness of touch about it. An outre array of gear-work is embedded in the walls, behind glass. The room is softly lit through an embrasure.\n\nYou can see a dark portal, sand, a skull, controls and a Set1 here.\n\nVeils are an irritatingly common fashion choice these days.\n\n> You examine the sand\nYou can see the faint outline of a word in the grains - \"Bird\"; and that is all.\n\n> You examine the controls\nYou idly speculate about using it to hack yourself back into the real universe, but the thing's only built for one-way use. It would take an absurd amount of power to make it function again.\n\nThe Veil arrives from the outside.\n\n> You take the sand\nIt scatters at your touch.\n\n> You look at the skull\nIt has a very curious feel to it, as though someone with a temporal hacksaw had carefully sliced off all hint of its past or future and left merely an eternally present memento mori. Trying to identify it any other way just reminds you that you've been meaning to brush up on archeology for several regenerations now.\n\n> You examine the controls\nYou idly speculate about using it to hack yourself back into the real universe, but the thing's only built for one-way use. It would take an absurd amount of power to make it function again.\n\n> You look at the portal\nIt's half-open. You can just see how the Circular Corridor encloses\nthe Teleport Room, even though there's a window showing daylight *inside*...how does that even work?\n\nVeils are an irritatingly common fashion choice these days.\n\n> Inventory\nYou are carrying:\na petal\na Set7\na window\nan orchid\na stool\na writing desk\na painting\na fireplace\na coat (being worn)\nsonic glasses (being worn)"
    },
    {
        "text": "> Look around\nGallifreyan, of course. Even the transparent crystal cylinder in which you materialise has a certain heaviness of touch about it. An outre array of gear-work is embedded in the walls, behind glass. The room is softly lit through an embrasure.\n\nYou can see a Veil, a dark portal, sand, a skull, controls and a Set1 here.\n\n> You enter the portal\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the inside.\n\n> Go east\nYou have arbitrarily decided that this corridor is east, because you like bananas. A trefoil-shaped arrow-slit lights your way; you can\njust glimpse the terrifying drop to the moat below.\n\nYou can see a Set6 here.\n\nIn a fit of recklessness, you sneak up on the Veil from behind and try to tickle it. This doesn't work.\n\nThe Veil arrives from the west.\n\n> You go to the west\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the east.\n\n> You go west\nYou have arbitrarily decided that this corridor is west, because it's Thursday. A diamond-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set5 here.\n\nThe Veil arrives from the east.\n\n> Go east\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the west.\n\n> Go north\nYou have arbitrarily decided that this corridor is north, because why not. A heart-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set3 here.\n\nThe Veil arrives from the south.\n\n> Go south\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal, a spade and a Set2 here.\n\nThe Veil arrives from the north.\n\n> You go to the south\nYou have arbitrarily decided that this corridor is south, because you fancy it. A cross-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set4 here.\n\nYour antics fail to amuse the Veil, which is beginning to creep up on you in an unpleasantly personal sort of way. You're starting to worry about it. In a professional sort of way.\n\nThe Veil arrives from the north.\n\n> You confess\n(to the Veil)\nWell, that's the rub. While you have no end of interesting confessions on a history-spanning array of topics, including leaving knitwear in inappropriate archeological digs, playing trumpet for the Beatles, and introducing the word \"dude\" to the English language several centuries before being coined, none of the interesting stuff is what your\ncaptors actually want to hear. The one they want to hear, you can't give them, because you don't actually know who the Hybrid is.\n\nYou may have given yourself a neural block on the topic."
    },
    {
        "text": "[Themes: Adaptation, nonhuman protagonist, escape]\n\n> Look around\nYou have arbitrarily decided that this corridor is south, because you fancy it. A cross-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Veil and a Set4 here.\n\n> Inventory\nYou are carrying:\na guitar\nsonic glasses (being worn)\na dark suit (being worn)\n\n> You examine the glasses\nLike a screwdriver you can wear on your face.\n\nThat may have sounded better when you came up with the idea. Anyhow when you're wearing them you can sonic electronics.\n\n> Sonic Dial\nIt's leaking temporal energy all over the map. You'll have to figure out some way of dealing with it.\nZzzt!\n\n> You examine the guitar\nA Yamaha SGV Samurai, to be precise. Clara thinks it's the sign of a mid-life crises, even though you've already had several of those.\n\n> Sonic guitar\nYou plug your glasses into the guitar and create a . The waitress\nlooks at you, impressed.\nZzzt!\n\n> You examine the suit\nIt's actually rather hot and uncomfortable in the desert heat.\nBurgundy velvet might be nicer.\n\n> You ask Waitress about Dial\n\"That one there? Definitely not mine.\"\n\n> You look at the menu\nThe day's specials are listed on it. Banana-bacon sandwiches, avocado omelettes, fish sticks with cream sauce and set dressing.\n\n> Sonic Waitress\nZzzt!\n\n> You look at Dial\nYou wouldn't trust anyone else with it. Even Missy. Especially Missy, now you know how the blasted thing works.\n\n> You get Dial\nTaken.\n\nRight. The Confession Dial is a one-way teleport; you'll have to find another way out of here.\n\nGallifreyan, of course. Even the transparent crystal cylinder in which you materialise has a certain heaviness of touch about it. An outre array of gear-work is embedded in the walls, behind glass. The room is softly lit through an embrasure.\n\nYou can see a dark portal, sand, a skull, controls, a Veil and a Set1 here.\n\n> Sonic controls\nThat's not especially useful, unless you want to disassemble it with the sonic.\nZzzt!\n\n> You look at the skull\nIt has a very curious feel to it, as though someone with a temporal hacksaw had carefully sliced off all hint of its past or future and left merely an eternally present memento mori. Trying to identify it any other way just reminds you that you've been meaning to brush up on archeology for several regenerations now.\n\n> Sonic Set1\nLiquid crystalline. If you opened it the internals would just leak away.\nZzzt!\n\n> You look at the spade\nA perfectly ordinary garden spade, with traces of fresh soil.\n\nYour antics fail to amuse the Veil, which is beginning to creep up on you in an unpleasantly personal sort of way. You're starting to worry about it. In a professional sort of way.\n\n> You get the spade\nTaken.\n\n> Play\nWhat do you want to play?\n\n> Inventory\nYou are carrying:\na spade\na coat (being worn)\nsonic glasses (being worn)\n\nVeils are an irritatingly common fashion choice these days.\n\n> You jump\nYou jump on the spot.\n\n> Sonic set3\nLiquid crystalline. If you opened it the internals would just leak away.\nZzzt!\n\n> Go south\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal and a Set2 here.\n\nThe Veil arrives from the north.\n\n> Go south\nYou have arbitrarily decided that this corridor is south, because you fancy it. A cross-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Set4 here.\n\nThe Veil arrives from the north.\n\n> You confess\n(to the Veil)\nOrdinary conversation won't work with this creature; it's confess or nothing. You would prefer to avoid that if possible.\n\n> You confess to Veil\nRight. You're going to have to confess something to it eventually or risk its murderous wrath, and the only thing you can think of right\nnow is how much you'd rather not die. So you confess that.\n\nOddly, this works; the creature floats away temporarily mollified, and something new happens. A grinding of gears and cogs fills the air with cacophony, and through the windows you can see the whole castle rotating itself, shifting into a brand new configuration. More of it must be accessible now."
    },
    {
        "text": "[Themes: Adaptation, nonhuman protagonist, escape]\n\n> Look around\nYou have arbitrarily decided that this corridor is south, because you fancy it. A cross-shaped arrow-slit lights your way; you can just glimpse the terrifying drop to the moat below.\n\nYou can see a Veil and a Set4 here.\n\n> Go north\nThis is the centre tower of a sweeping castle, the location where everything links up with everything else. Wide corridors range north, south, east and west, crossing a sickening height over a fetid moat. You can see through the arrow loops that they're walkways to an outer ring.\n\nYou can see a dark portal and a Set2 here.\n\nThe Veil arrives from the south.\n\n> You look at the orchid\nIn the orchid is a petal.\n\n> You look at the petal\nPale, shining pinkness\n\n> You get the orchid\nTaken.\n\n> You look at the fireplace\nIt's a fake. One of those electrically powered operations. Just as well, you suppose, or you'd doubtless have to bank it yourself.\n\n> Sonic fireplace\nZzzt!\n\n> You examine the mantel\nCovered in thick choking dust. You catch a glimmering there.\n\nYou try to politely ask the Veil to go away. It appears unmoved.\n\n> Clean mantel\nYou rub the mantel.\n\n> Dust mantel\nYou rub the mantel.\n\nIn a fit of recklessness, you sneak up on the Veil from behind and try to tickle it. This doesn't work.\n\n> You search mantel\nYou rummage in the dust and find a tiny jeweller's eyeglass.\n\n> You take all\nfireplace: Taken.\npainting: Taken.\nwriting desk: Taken.\nstool: Taken.\nwindow: Taken.\nSet7: Taken.\neyeglass: Taken.\npetal: Taken.\n\n> You examine the window\nDiamond-leaded double glazing, no less. Finally, a proper window!\n\n> You get the stool\nYou already have that.\n\n> You look at the stool\nToo small for comfortable sitting.\n\n> You throw the stool at the window\nFutile.\n\n> You drop the window\nDropped.\n\n> You break the window\nYou shatter it into fragments. Now the window's broken, you have a way out of this castle! All the way down. Maybe.\nViolence is still not your style, though."
    },
    {
        "text": "[Themes: Adaptation, fan fiction, nonhuman protagonist, escape]\n\n> Go downwards\nSmelly and full of more old bones.\n\nThe Veil arrives from above.\n\n> Go upwards\nYou would need a ladder. There is no ladder.\n\n> You examine the bones\nThey are all slimy. You don't wish to encumber yourself with them.\n\n> You go to the east\nEven More Moat.\n\"Would you care for a drink?\"\n\nThe Veil arrives from the west.\n\n> You go west\nSmelly and full of more old bones.\n\nThe Veil arrives from the east.\n\n> Go south\nWhy? Why is there an open passageway prepared for someone wading out\nof a skull-laden moat?\n\nWell, there's a glimpse of larder to the east and a warm fire to the west. There is a Set18 here.\n\nThe Veil arrives from the north.\n\n> Go east\nFully-stocked. Wine and bread don't compromise the most interesting of diets, whatever Omar Khayy\u00e1m may have to say on the matter, but at least you won't starve. The kitchen is to the east.\n\nYou can see wine and bread here.\n\nThere's the Veil again. At least it's quieter than most monsters.\n\nThe Veil arrives from the west.\n\n> Go east\nIf there was an army around here, they'd have a place to cook, it's that big. Lots of cupboards and a table. Also there's an alarming hole in the ceiling. Also an absence in the paving. The larder is back to the east, and there's a curved corridor to the north.\n\nYou can see a chair here.\n\nThe Veil arrives from the west.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Humor, hell]\n\nSUBJECT NAME: Marsha Alyssheim AGE: 11 TAPE No.1\n\nTherapist:\nDo you know why you're in here, sweety?\n\nMarsha:\nOh man, I had one of those back when I blew up my parents house.\n\nTherapist:\nA nervous breakdown?\n\nMarsha:\nA therapy session.\n\nTherapist:\nYou never blew up your parents house, Marsha.Why don't you start at the beginning?\n\nMarsha:\nWell, I already told you how I travelled to Mercury to save my husband, and then died.\n\nTherapist:\nYes, Marsha a colorful story, but...\n\nMarsha:\nAnd then I woke up in hell, only hell looked like our old house for some reason. And my husband's uncle, whom I hate, was there. It was very confusing. But it also was...\n\nGarden Area (Actually hell)\nPaul's Parents were rather fond of this small pool. In their time, it wasn't filled with bubbling green acid, though. It is surrounded by some deck chair (made of bones). The eastern and western garden walls are overgrown with undergrowth, made of screaming faces, which is quite distracting. A glass door leads north to the kitchen. This wasn't necessary for the southern southern wall, which is quite high, because it borders on a Golf course (Well, it did on Earth. Who knows what horrors await you beyond? Well, Wally might).\n\nA three-headed Cerberus sits atop the southern wall. That's new.\n\nWally floats around here.\n\n[Author's Note: Will the lovers be reunited after Alex fell beyond time and memory on Mercury in the last game? And who the hell is Marsha?]\n\n> You check what you're carrying\nYou are carrying nothing.\n\n\"Hey Alex\" says Uncle Wally. \"How the hell have you been?\"\n\n\"What is this? Where am I?\"\n\n\"Hell, of course. You're gay, remember?\"\n\n\"You mean I'm not here because I was a sociopath and killed a lot of people for base motives?\"\n\n\"Could be. What do I know? I'm stuck here with you! It's my hell, too.\"\n\n> You ask Wally about Cerberus\n\"So what's the deal here? Are we doomed to be here for all eternity?\" \"Wouldn't make much of a game now would it?\" Wally points a thumb at the house. \"You can get to purgatory if you face the darkest scenes from your past in the house.\"\n\nYou roll your eyes. \"What is this - Twine?\"\n\n\"C'mon, I thought gays like talking about their feelings.\"\n\n\"I'm also a sociopath.\"\n\n\"Sorry, humans are solely defined by their sexual orientation.\"\n\n\"That's just sad.\"\n\n> You examine wally\nPaul's Uncle Wally, who bears a striking resemblance to Stalin with his \"stache and soldier's jacket, stands here.. He gives you a patronizing smile. Sadly, he doesn't have the knife sticking from his back, as you wish he would.\n\n> You examine Cerberus\nIt's a three-headed monstrosity, though somewhat cute The leftmost head growls and looks rather smart, the middle head spits fire and looks rather dumb, the third will read Twilight at anyone who comes to close as a warning, before switching to YouTube comments."
    },
    {
        "text": "[Themes: Humor, hell]\n\n> Look around\nGarden Area (Actually hell)\nPaul's Parents were rather fond of this small pool. In their time, it wasn't filled with bubbling green acid, though. It is surrounded by some deck chair (made of bones). The eastern and western garden walls are overgrown with undergrowth, made of screaming faces, which is quite distracting. A glass door leads north to the kitchen. This wasn't necessary for the southern southern wall, which is quite high, because it borders on a Golf course (Well, it did on Earth. Who knows what horrors await you beyond? Well, Wally might).\n\nA three-headed Cerberus sits atop the southern wall. That's new.\n\nWally floats around here.\n\n> You examine the faces\nThe undergrowth is just a mass of gibbering, screaming faces! You can't make out anything coherent. Aww, they remind you so much of grandma.\n\n> You ask Wally about Paul\n\"What keeps me from killing you, again?\"\n\n\"I'm your spirit guide for this!\" Wally floats over to the door and unlocks it. Great, your Vergil is a total ass.\n\n> You talk to Wally\n\"My past sucks! Why don't I just stay here?\"\n\n\"You could, but there's nothing here to do except maybe grab a bone from the chairs and throw them at the Cerberus. He's gotten quite good at catching them, too.\"\n\n> You take the bone\nYou collect a single bone from one of the chairs. Sadly, it doesn't collapse.\n\n> You throw the bone at Cerberus\n(the bone at Cerberus)\nYou toss the bone at Cerberus, and the middle, fire-breathing head catches it happily. The left head looks at it with contempt.\n\n> You go to the north\n(first opening the glass door)\n\"Ah, remember how you broke your mothers favorite vase? How sad she was? Do you feel that - the first time your parents where disappointed in you? It wasn't the last time you disappointed them, was it? Do you think they'd still be disappointed in you? If only you could REASSEMBLE it, maybe you could make some peace with your past.\"\n\n\"Yeah, my parents pretty much sucked.\"\n\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are empty.\n\nThe shards of a broken vase lie on the kitchen counter.\n\nWally arrives from the south.\n\n> You look at the vase\nSome of these look rather sharp.\n\n> You reassemble the vase\nWith tears in your eyes, you remember how angry mum was. Soon, you have reassembled the vase. You feel a little better.\n\n> You talk to Wally\n\"Hey, if Paul's not here that means he's not death, right? Or he's gone to heaven. Both good news.\"\n\n\"Yeah, my useless nephew escaped Mercury. He even took in that Venusian Warrior Woman from the last game. They share an apartment. But I don't think she's that good at cleaning. She'd need a real man to sort her out. Oh, yeah, and *mumble*\n\n> You hit Wally\nYou try to get at him, but you're hand goes right through him.\n\n> You go north\n\"Ah, this room is highly symbolic. See, your living room was once a busy and bustling center of this house. But in your memories, it's stale and empty. I wonder what that symbolizes?\"\n\n\"Stuff a hyperlink in it. What's with the teddy?\"\n\n\"Maybe you need to reconnect to your childhood? Try hugging it or something.\"\n\nThis is a spacious, cozy room. It once was busy and always kinda untidy. In hell, all that's left are the two couches, covered in white plastic wrapping.\n\nOn one of the couches sits your old, childhood teddy bear.\n\nWally arrives from the south.\n\n> You examine the teddy\nYou used to love him, but that was a long time ago. After a while, he really got on your nerves and you switched to new toys and never looked back. You remember fondly how your violent tendencies first manifested around him.\n\n> You hug the teddy\nYou gather up the old teddy in your arms. His furs still feels kinda prickly and artificial. It reminds you of the feather boa of a cross-dresser you used to date in high school. Wait, these aren't childhood memories at all. Abort, abort you quietly think to yourself. He had the nicest clothes, though. \"Hey, hey\" says Uncle Wally, \"stop stroking that teddy like that!\"\nWith a sigh, you focus back on your childhood memories of your teddy. Good times. You feel a little better. The teddy disappears.\n\n> You go to the south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are empty.\n\nThe beautiful vase your mother owned stands on the counter.\n\nWally arrives from the north.\n\n> Go north\nThis is a spacious, cozy room. It once was busy and always kinda untidy. In hell, all that's left are the two couches, covered in white plastic wrapping.\n\nWally arrives from the south.\n\n> You go to the west\nA small hallway, brightly lit by a row of burning human skulls. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\")\n\nWally arrives from the east.\n\n> You enter\n\"Ah the nitro! Do you remember how you blew up your house and your sister broke her leg?\"\n\n\"Yes, that was AWESOME!\"\n\n\"Dude, she was in the hospital for months. She missed that ballet recital. Don't you feel the least bit guilty?\"\n\n\"Now she's married to that doctor.\"\n\n\"A proctologist!\"\n\n\"It's a useful profession. Do grow up, Wally.\"\n\n\"Torturing you isn't as much fun as I hoped.\"\n\nShelves are nailed to the leaning wall.\n\nOn a shelf sits a vial of homemade Nitroglycerin.\n\nWally arrives from the outside.\n\n> You talk to Wally\n\"What?\"\n\"Oh I said one of Frenesie's clones survived (she was the big bad from 2 games ago, remember?) and send an assassin after Paul.\"\n\n\"An assassin?\"\n\n\"It's a person hired to kill others, but that's not important right now.\"\n\n\"My husband is gonna get killed? YES THAT IS FUCKING IMPORTANT!\"\n\n\"Meh, you fags are all promiscuous anyway.\"\n\n> You take the nitro\nWally has better things to do.\n\n> Go outside\nA small hallway, brightly lit by a row of burning human skulls. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\")\n\nWally arrives from the inside.\n\n> Go upwards\nWally pats you on your back. \"I feel like we've come a long way together, Alex. Now there is just one final step. You have to face what's possibly your worst memory.\"\n\n\"Dying?\"\n\n\"No, the other one.\"\n\n\"Almost being eaten by a kraken?\"\n\n\"No, your coming out, dammit!\"\n\n\"Oh yeah, that kinda sucked.\"\n\n\"To forgive yourself, you have to forgive your dad. Why not give him a hug too, hm?\"\n\nThis looks like a cheap 50s movie set. There's a lot of fog in the background, and the rocks and plants look somewhat shi- er- shoddy. Two prominent gravestones frame  the scene.\n\nYour dad stands here, shotgun in the crook of his arm, watching your younger self dig.\n\nYour younger self, 17 or 18, stands here, digging his own grave. He seems unperturbed and even whistles a merry tune.\n\nWally arrives from below.\n\n> You hug the self\n(your younger self)\nThe scene is almost insubstantial. It's odd, you don't remember clearly what happened. Only that you escaped somehow. Maybe the things here can make you remember?\n\n> You look at the gravestones\nWhich do you mean, Vonathan Vask's gravestone or The gravestone of parser based IF?\n\n> Parser\nIt reads \"1975-2007\".\n\n> You look at Vask\nIt reads \"Vonathan Vask - good riddance!\" It looks rather light, too.\n\n> You take Vask\nNo, you are past your violent tendencies.\n\n> Punch dad\nThe scene is almost insubstantial. It's odd, you don't remember clearly what happened. Only that you escaped somehow.\n\n> You hug Dad\nYou give your confused father a big old hug.\n\n\"I'm sorry, Dad, I'm so sorry for everything I said and did...\"\n\nHe pats you on the back. \"It's okay, son, it's okay. I'm so glad you came around to my point of view in the end.\"\n\nYou hold him some more for an answer.\n\n\"No, really, dad. You were right all... all along. I'll go to reassignment camp.\"\n\n> You go north\n(first opening the glass door)\nIt seems to be locked.\n\n\"Hey Alex\" says Uncle Wally. \"How the hell have you been?\"\n\n\"What is this? Where am I?\"\n\n\"Hell, of course. You're gay, remember?\"\n\n\"You mean I'm not here because I was a sociopath and killed a lot of people for base motives?\"\n\n\"Could be. What do I know? I'm stuck here with you! It's my hell, too.\"\n\n> You talk to Wally\n\"So what's the deal here? Are we doomed to be here for all eternity?\" \"Wouldn't make much of a game now would it?\" Wally points a thumb at the house. \"You can get to purgatory if you face the darkest scenes from your past in the house.\"\n\nYou roll your eyes. \"What is this - Twine?\"\n\n\"C'mon, I thought gays like talking about their feelings.\"\n\n\"I'm also a sociopath.\"\n\n\"Sorry, humans are solely defined by their sexual orientation.\"\n\n\"That's just sad.\"\n\n> Keep going\n(the bone)\nYou already have that.\n\n> You go to the north\n(first opening the glass door)\n\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are empty.\n\nThe shards of a broken vase lie on the kitchen counter.\n\nWally arrives from the south.\n\n> You take the vase\nYou scramble through the shards with your fingers and select a particularly sharp one. Might come in handy. The rest of the shards disappear.\n\n\"You failed the first task\" says Wally, \"better restore.\"\n\n> You go north\n\"Ah, this room is highly symbolic. See, your living room was once a busy and bustling center of this house. But in your memories, it's stale and empty. I wonder what that symbolizes?\"\n\n\"Stuff a hyperlink in it. What's with the teddy?\"\n\n\"Maybe you need to reconnect to your childhood? Try hugging it or something.\"\n\nThis is a spacious, cozy room. It once was busy and always kinda untidy. In hell, all that's left are the two couches, covered in white plastic wrapping.\n\nOn one of the couches sits your old, childhood teddy bear.\n\nWally arrives from the south.\n\n> You talk to Wally\n\"So, when I go through purgatory, can I be reincarnated and stop the assassin?\"\n\n\"Hey, you've just outrageously mixed up world religions.\"\n\n\"So...yes?\"\n\nWally sighs, then shrugs. \"Dunno, maybe.\"\n\n> You examine the teddy\nYou used to love him, but that was a long time ago. After a while, he really got on your nerves and you switched to new toys and never looked back. You remember fondly how your violent tendencies first manifested around him.\n\n> You cut the teddy\nAngrily, you rip into the teddies belly and after a minute or so of happy tearing and cutting have it reduced to a heap of sawdust.\n\n\"Hey!\" says Wally, \"what's with the violence? Do you think of this as healthy behavior?\"\n\n\"It is for me.\""
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nThis is a spacious, cozy room. It once was busy and always kinda untidy. In hell, all that's left are the two couches, covered in white plastic wrapping.\n\nWally floats around here.\n\n> Up\nWally shakes his head, holding you back. \"You can't go up there. You are not ready yet.\"\n\n> You enter\n\"Ah the nitro! Do you remember how you blew up your house and your sister broke her leg?\"\n\n\"Yes, that was AWESOME!\"\n\n\"Dude, she was in the hospital for months. She missed that ballet recital. Don't you feel the least bit guilty?\"\n\n\"Now she's married to that doctor.\"\n\n\"A proctologist!\"\n\n\"It's a useful profession. Do grow up, Wally.\"\n\n\"Torturing you isn't as much fun as I hoped.\"\n\nShelves are nailed to the leaning wall.\n\nOn a shelf sits a vial of homemade Nitroglycerin.\n\nWally arrives from the outside.\n\n> You talk to Wally\n\"I'm all out of things to say.\" Wally crosses his arms. \"Compelling NPC my ass.\"\n\n> Go inside\nShelves are nailed to the leaning wall.\n\nOn a shelf sits a vial of homemade Nitroglycerin.\n\nWally arrives from the outside.\n\n> Inventory\nYou are carrying:\nsome Sawdust\na shard\na bone\n\n> You examine the bone\nA single bone. Looks human.\n\n> You look at the shard\nA single, very sharp shard.\n\n> You put the sawdust in the nitro\nThe time at that Republic of Texas camp really pays off. You've created some dynamite. Neat.\n\n\"Hey\" says Wally, \"that's not how that was supposed to go at all.\"\n\n\"Now that I've made some explosives,I feel I can go anywhere I like.\"\n\n> You take the dynamite\nYou already have that.\n\n> You examine the dynamite\nA vial of home made dynamite. Paul would be proud, he always told you to try a creative hobby.\n\n> Up\n\"You're not ready!\" says Wally. \"Yeah,\" you say, \"but I have this!\" You show him the dynamite.\n\n\"I don't understand? How is that helpful on a quest to forgive yourself?\"\n\n\"Well, I can blow stuff up and that gives me confidence.\"\n\nWally just shakes his head.\n\nThis looks like a cheap 50s movie set. There's a lot of fog in the background, and the rocks and plants look somewhat shi- er- shoddy. Two prominent gravestones frame  the scene.\n\nYour dad stands here, shotgun in the crook of his arm, watching your younger self dig.\n\nYour younger self, 17 or 18, stands here, digging his own grave. He seems unperturbed and even whistles a merry tune.\n\nWally arrives from below.\n\n> You examine dad\nMum was accepting, but as he marched you on the field that day you had some small inkling he might be less than happy.\n\n> You cut dad\nThe scene is almost insubstantial. It's odd, you don't remember clearly what happened. Only that you escaped somehow.\n\n> Inventory\nYou are carrying:\ndynamite\na shard\na bone\n\n> Light dynamite\nThis dangerous act would achieve little.\n\n> You take the gravestone\nWhich do you mean, Vonathan Vask's gravestone or The gravestone of parser based IF?\n\n> You take Vask\nYou heave it high over your head!\n\n> You throw the gravestone\n(Vonathan Vask's gravestone)\nThe insubstantiality returns.\n\nDropped.\n\n> You throw Vask at Dad\nBONK!\n\nPatricide - never gets old, does it?\n\nYoung you looks at you. \"Hey, thanks man!\"\n\n\"Don't mention it.\"\n\nHe narrows his eyes at you quizzically. \"Hey, are you me from the future or something?\"\n\n\"Or something. It's really complicated.\"\n\n\"It's really not!\" shouts Wally from the background. \"You're just a figment of his imagination, well not his, but this place's, well, a place obviously can't have an imagination, so er...\"\n\n\"Complicated. Moving along.\"\n\n\"So, you're me at forty, eh?\"\n\n\"Thirty-five\" you say, somewhat hurt. Maybe you should look at that skin cream Paul always wants you to wear. Once you're alive again, that is.\n\n\"And is it worth it? All this trouble I mean?\"\n\nYour play around with the wedding ring on your finger for a moment. \"Sure. Just hang in there.\"\n\nYoung you nods, then begins to fade, \"Oh!\" he says, slapping his forehead, \"I nearly forgot! They key to the cart, it's in your heart!\"\n\n\"Thanks!\" you say, slightly confused."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nThis looks like a cheap 50s movie set. There's a lot of fog in the background, and the rocks and plants look somewhat shi- er- shoddy. One prominent gravestone frames  the scene.\n\nWally floats around here.\n\n> You take the heart\nThat seems to be a part of yourself.\n\n> You cut heart\nYou slice into your chest, and what do you know - the key *was* in your heart all along!\n\n> Down\nA small hallway, brightly lit by a row of burning human skulls. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\")\n\nWally arrives from above.\n\n> Go east\nThis is a spacious, cozy room. It once was busy and always kinda untidy. In hell, all that's left are the two couches, covered in white plastic wrapping.\n\nWally arrives from the west.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are empty.\n\nWally arrives from the north.\n\n> Go south\nGarden Area (Actually hell)\nPaul's Parents were rather fond of this small pool. In their time, it wasn't filled with bubbling green acid, though. It is surrounded by some deck chair (made of bones). The eastern and western garden walls are overgrown with undergrowth, made of screaming faces, which is quite distracting. A glass door leads north to the kitchen. This wasn't necessary for the southern southern wall, which is quite high, because it borders on a Golf course (Well, it did on Earth. Who knows what horrors await you beyond? Well, Wally might).\n\nA three-headed Cerberus sits atop the southern wall. That's getting old.\n\nWally arrives from the north."
    },
    {
        "text": "[Themes: Humor, hell]\n\n> You look around\nGarden Area (Actually hell)\nPaul's Parents were rather fond of this small pool. In their time, it wasn't filled with bubbling green acid, though. It is surrounded by some deck chair (made of bones). The eastern and western garden walls are overgrown with undergrowth, made of screaming faces, which is quite distracting. A glass door leads north to the kitchen. This wasn't necessary for the southern southern wall, which is quite high, because it borders on a Golf course (Well, it did on Earth. Who knows what horrors await you beyond? Well, Wally might).\n\nWally floats around here.\n\nA three-headed Cerberus sits atop the southern wall. That's getting old.\n\n> You throw the dynamite at Cerberus\nThe fire breathing head deftly catches the dynamite in its mouth! The left head gives him a condescending look before the whole hellhound explodes! Wally tries to dodge a huge chunk, but stumbles and falls, flailing, into the acid! He slowly dissolves, like all bigotry might do over time, hopefully.\n\nHe bubbles something through mouthfuls of acid that sounds like : \"I'll be back!\""
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nGarden Area (Actually hell)\nPaul's Parents were rather fond of this small pool. In their time, it wasn't filled with bubbling green acid, though. It is surrounded by some deck chair (made of bones). The eastern and western garden walls are overgrown with undergrowth, made of screaming faces, which is quite distracting. A glass door leads north to the kitchen. This wasn't necessary for the southern southern wall, which is quite high, because it borders on a Golf course (Well, it did on Earth. Who knows what horrors await you beyond? Well, Wally might).\n\n> You climb the wall\nYou scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn of human fingers neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nYou can see Golf cart (closed) here.\n\n> You open the cart\nIt seems to be locked.\n\n> You open the cart with the key\nYou unlock Golf cart.\n\n> You open the cart\nYou open Golf cart.\n\n> Kiss cart\nKeep your mind on the game.\n\n> You enter the cart\nYou get into Golf cart.\n\n> Go east\nHilltop (in Golf cart)\nYou are on top of one of the innumberable volcanic mounds of the hellish golf course. Volcanic hills, where the souls of the damned are tortured, strech into infinity. The only interesting part seems to be a huge gate to the ne.\n\n> You go to the north-east\nAt the Gate (in Golf cart)\nThere is a huge, golden gate before you. It is very securely locked with a huge padlock.\n\n> You examine padlock\nHm, you'd wager that Wally had the only key to that gate. Looks like you'll be stuck in hell forever. (Hint : You aren't.)\n\n> Go north\n(first opening Golden Gate)\nYou step on it and the golf cart speeds up to a breakneck 30 miles an hour! You crash through the gate easily, and speed along a foggy road towards a white light. A woman waves to you from the wayside eagerly. \"STOP! COME BACK! I represent your mother issues!\"\n\nBut you can't stop, you're racing towards reincarnation, to maybe save your husband, and you step on it eagerly and then the white light surrounds you and ...\n\nPaul's face is the size of Mount Rushmore, his eyes the size of tunnel openings, if tunnel openings came in a dreamy green.\n\nThe world seems oddly  compoundy, and there's a buzzing in your ears.\n\nAfter a few moments of disorientation, you realize you are in a gargantuan plane cabin, or you are very small. For the latter theory speaks the fact that right before you, there's Paul, his face the size of Mount Rushmore, his eyes the size of tunnel openings, if tunnel openings came in a dreamy green.\n\nRight next to him sits a guy in a black suit with a thin, ginger moustache. That must be the assassin allright. You could fly over there, to the east, or fly down Paul.\n\n> About yourself\nYou are a normal housefly! Must be all the bad karma you accumulated for killing dozens of people and lying about liking all Paul's nerd stuff.\n\n> Go east\nThe guy has an evil face. He also doesn't seem to notice you."
    },
    {
        "text": "[Themes: Humor, hell]\n\n> Go down\nYou see the Assassin lean over to Paul, and his hands moves over your husband's coffee for a moment. He says \"Excuse me, can I borrow that in-flight manual for a moment?\"\n\n\"Sure\" comes the voice of Paul, which sends a tingle down your spine, er , exoskeleton? Just as romantic.\n\nYou hear a distinct *plink*. Then the assassin pulls back with the magazine.\n\n> Go west\nYou can see that Paul still has that \"Cheerleader of Dementia\" shirt you got him. Stretches a bit now, though. Well, he always was a stress eater.\n\nPaul holds a coffee mug the size of a roundabout in his hands. Black, no sugar.\n\n> You enter the coffee\nYou dive headfirst into the coffee! Maybe you will be reborn as something more useful.\n\nHope burns hotter than the coffee, hope that Paul will see you. He always drinks too fast and then get these cute hiccups.\n\nAnd as a white light surrounds you, you can see his gargantuan face above you, twisted into a grimace of disgust. \"Ugh, a fly has drowned itself in my coffee.\" You see the assassin look over, gnashing his teeth. \"That so?\"\n\nIt is pitch dark, and you can't see a thing.\n\n> East\nYou'll have to get out of the toilet bag first.\n\n> You open the bag\nYou're most definitely not the fly anymore. As you look down at the paws with which you opened the bag just now, you realize you are the rat you and Paul rescued on Mercury in the last game.\n\nLeg Area (in the toilet bag)\nYou can see Paul's feet here. He's wearing Chucks and has still not learned not to wear white socks.\n\n> Go outside\nYou get out of the toilet bag.\n\nYou can see Paul's feet here. He's wearing Chucks and has still not learned not to wear white socks.\n\nPaul's toilet bag sits here. It looks very heavy when you're this small.\n\n> You look in the bag\nThe toilet bag is empty.\n\n> Go east\nLeg Area (East)\nYou can see the assassins feet here. He wears black loafers with matching socks.\n\nThe fearsome snake stares at you.\n\n> Bite snake\nThe mercurian rat is not really a fighter. The constant diet of cheese, bacon and treats you got at Paul and -er- your home have done the rest. A pretty long thought, considering the snake just bit you and poisoned you to death.\n\n> You go to the west\nYou can see Paul's feet here. He's wearing Chucks and has still not learned not to wear white socks.\n\nPaul's toilet bag sits here. It looks very heavy when you're this small.\n\n> You take the bag\nDamn! Forgot to make it fixed in place. I wonder what else I forgot to make untakable.\n\nTaken.\n\n> Go east\nLeg Area (East)\nYou can see the assassins feet here. He wears black loafers with matching socks.\n\nThe fearsome snake stares at you.\n\n> You put snake in the bag\n(first taking the snake)\n\nHey, that isn't supposed to work!\n\nThere!\n\nNow you only need to find a way to warn Paul not to open his bag before the landing. You really need to find a way to communicate. That's what your therapist always said, too.\n\nThen Paul's foot comes down and flattens the toilet bag accidentally. Ouch, poor snake. But before you can wonder, there is white light and ...\n\nRow 54 (on the seat)\nThis is a standard row of seats. Somebody (presumably your mother) is yapping on about something.\n\nTwo rows up from you, you can see Paul and the Assassin, seated side by side.\n\n> About you\nHm, looks like you're now an 11-year old girl in a polkadot dress. You're not sure this is how reincarnation is supposed to work.\n\nStaring intently at them, you can see the assassin pull something that looks vaguely like a full-polymer Glock 7, caliber .308,  using octagonal polygonal rifling rather than the hexagonal shaped bores used for models in other chamberings. It has a 8 round magazine and is fitted with a full-plastic third party silencer, possibly made by Fischer-Dieskau.\n\n> You go to the east\n(first getting off the seat)\nYou struggle against your seatbelt for a moment. \"Ssshh\" says your mum. \"Don't make a fuss, dear.\"\n\nYou'll have to get off the seat first.\n\nThe assassin motions for Paul to get up, and he does so, sweat on his brow.\n\n> You open the seatbelt\nYou finally manage to unstrap the seat belt!\n\nThey disappear towards the rear of the plane.\n\n> You go east\n(first getting off the seat)\n\nYou are in a long aisle of plane seats with people in them, all alike. You could go fore and find a blocked cockpit door with no way through, so spare us both the trouble and go aft.\n\n> Aft\nYou stand here next to Paul's seat. You can still smell his perfurme, but the memory doesn't work so well, because smell memory is really linked to brain chemistry, though your thoughts are in this girl's head, so it's a-okay, but you know, it lacks the punch.\nThe seats are empty.\n\n> You look under the seat\nOh! There's Paul's toilet bag. Seems to contain some fluid. You take it with you, he'll probably need his tissues when he sees you again, that big cuddly crybaby. (You miss him a lot).\n\n> Aft\nUgh! There's a door leading to the toilets, and a door leading to the cargo, into the fuselage. There are a lot of cupboards here for the board crew. One of them helpfully reads \"Keys\".\n\n> You open the keys\nYou slide open the compartment, there is a terrible screeching of metal and you are buried under a heap of keys. Oh dear!\n\nYou open the Key cupboard.\n\n> You take keys\n(a huge pile of keys)\nThat would take time you don't have.\n\n> You count the keys\n(a huge pile of keys)\nThere are 69.105 of them! Oh no, how are you gonna sort through them in time? Before the assassin kills Paul, back in the cargo? You try to bite back some tears bravely.\n\nSuddenly, a man appears from the cabin. He has glasses, a moustache and a friendly face.\n\n\"Mister can you help me? I need to find the key to the cargo and quick, my husb- er daddy is in there.\"\n\n\"Oh, that's easy. He squats down and seems to sort through the keys in no time, before handing you the unique one. With a wink, he disappears back into the cabin.\n\n> You unlock door with Key\nWhich do you mean, the Cargo door or the toilet door?\n\n> Cargo\n(the unique key)\nYou unlock the Cargo door.\n\n> You go west\n(first opening the toilet door)\nIt is locked.\n\n> You open cargo door\nYou slide the cargo door open far enough for you to slip through. At the other end of the bay, the assassin has just stepped back from the bay door, which is opening slowly. His gun aims in Paul's general direction, who stand stockstill, while the wind from the bay door tousles his hair. \"Well, this is it\" says the assassin, \"no hard feelings, eh?\"\n\nYou open the Cargo door.\n\n> You open the toilet door\nIt is locked.\n\n> You unlock the toilet door with Key\n(the unique key)\nThat doesn't seem to fit the lock.\n\n> You enter the cargo\nHere, towards the rear of the plane, the engines roar deafeningly, aided by the open cargo bay, through which the wind howls loudly. There are boxes strapped to the wall and ground, but not much else of interest here.\n\nWell, maybe apart from the golf cart, which is kind of prominent.\n\nPaul and the assassin stand here, facing each other near the cargo bay to the north.\n\n\"So\" says Paul, (who has some experience with stalling killers), \"are you a fan of Harry Potter?\"\n\n> You examine cart\nIt seems to be the same make and model you used to drive into Paul's pool. Aw, fond memories. You wonder where Paul is taking it and why. It isn't even locked or anything, key in the ignition.\nAt least, one of the back wheels is wedged.\n\n\"Are you trying to play for time? Nobody's gonna save you.\"\n\n> You take the wedge\nYou pull with all your might, but it won't budge. Being an 11-year old girl sure has its downsides.\n\n\"No, it's just that I'm up to the sixth book, and if you knew it you could tell me\""
    },
    {
        "text": "[Themes: Humor, hell]\n\n> You open the bag\nYou open the toilet bag, revealing Snake oil.\n\n\"I don't know it\"\n\"Ah, too bad. Maybe I should've watched the movies.\"\n\n> Oil wedge\nYou give the wedge a quick but thorough oiling.\n\n\"Maybe. I've heard they've cut out quite a bit.\"\n\n> You take the wedge\nTaken.\n\n\"Should've listened to the audio books. They're read by Jim Dale, I think.\"\n\n> You pull the wedge\nIt is fixed in place.\n\n\"Are you sure, I thought it was that guy from QI.\"\n\n> You enter the cart\nYou get into Golf cart.\n\n> Go north\nYou sneak into the golf cart, turn the key and put it into gear. Before you, the assassin is getting impatient.\n\n\"Any last words and all that jazz?\"\n\n\"Well\", Paul swallows, \"I once was a married man.\"\n\n\"I won't put flowers on your wife's grave or anything like that.\"\n\n\"HEY BUDDY\" you shout, though it comes out as a shriek, \"HETERONARMITIFY THIS!\"\n\nagainst the assassin and topple him screaming into the blue abyss. For a frightful second, the cart slides towards the edge, but Paul graps you at the last moment. He holds you on his arm and stares at you in wonder. \"You are a strange little girl, aren't you?\"\n\n\"I hope that cart didn't land on anyone\" you say, because it's the sort of thing that Paul cares about. He carefully peers over the edge. \"Oh well, it landed on the headquarter of the WBC.\" You both sigh in relief. \"Can you let me down, I have something to tell you.\"\n\n\"Sure.\" Paul carefully lets you down and pushes the close button on the cargo door. \"So, um, Paul, it's me! Alex. I was reincarnated.\"\n\nPaul blinks.\n\n\"I was the fly...and then for a moment our rat...and now I'm this girl.\"\n\nPaul blinks.\n\n\"I know it sounds crazy!\"\n\n\"Do you think the author is aware of the unfortunate implications of this?\"\n\n\"Maybe he thinks everyone who thought of this as anything but a comedy setup is an asshole?\"\n\n\"Good point, dear.\" He squeezes your shoulder. \"Glad to have you back.\" You nod bravely. There is a moment of bliss.\n\n\"So tell me...\" he begins, but at that moment the cabin door crashes open and the Sky Marshall storms in.\n\n\"Is this girl your daughter, sir?\"\n\n\"Of course not\" says Paul, hurt, \"we're married.\"\n\nBoth their faces falter at about the same time."
    },
    {
        "text": "You are being chased by an angry cassowary.\nBut all you are trying to do is peel this potato.\nThe symbolism should be obvious.\n\nAn analogy about obscurantism by Leaner Gilts\n\nThe walls are videoscreen behind bullet-proof glass.\n\nA 17th century oak table stands here.\n\nOn the table are a box of donuts (closed) and a potato.\n\n[Author's Note: You are being chased by an angry cassowary. But all you are trying to do is peel this potato. The symbolism should be obvious.]\n\n> You examine the potato\nMaybe it's just a potato.\n\n> You open the box\nThe smell of the donuts trigger an old, half-forgotten memory. It eludes you, like trying to grab black smoke.\n\nYou open the box of donuts, revealing a donut.\n\n> Examine donut\nYou feel like it will solve all your problems.\n\n> You take donut\nA ghostly apparition manifest iself above the table. The expressionless face of a horse.\n\"Choose wisely, traveller. You can only take one of these things. One will get you eternal bliss. The other one is the right choice.\"\nThe horse  dissipates.\n\n> About yourself\nIf only it were this easy. Maybe the potato will help.\n\n> You examine table\nA nicely carved 17th century table in dark oak, standing on spidery legs.\n\nOn the table are a box of donuts (in which is a donut) and a potato.\n\n> You take the donut\nYou blink.\n\n3000 years later an expedition finds you, drifting in the rings of Saturn. They cure everything that ails you, and you live a a long, productive and happy life.\n\n> You take the potato\nAs you grab the potato, it slips through your hands...\n\n...onto the street...\n\nYou think you see a shadowy horse gallop across the street.\n\nIt's hard to comprehend. More the idea of a street.\n\nYou can see a potato and a potato peeler here.\n\n> You examine the peeler\nIt's just a potato peeler.\n\n> You take the peeler\nTaken.\n\n> You examine the potato\n(the potato)\nMaybe it's just a potato.\n\n> You take it\nAs you grab the potato, it slips through your hands... and through a sewer grate.\n\n> You examine the grate\nIt leads down, towards the truth. Or maybe just darkness.\n\n> You open the grate\nUgh. You can't get your fingers in the crack. If only you had something to pry it with.\n\n> You pry the grate with the peeler\nIt's a few minutes of fidgety work, with a few pinched fingers, but you finally manage to lift the sewer grate using the peeler. You stare for a moment, unblinking, into the dark. Then you hear the cassowary behind you and jump, instinctively.\n\nFilthy sewers.\n\nThe potato seems to be stuck to the wall.\n\n> You take the potato\n(the potato)\nIt colmes away with a quiet, hollow sound. You hold it, this precious thing, for a moment. Then you realize, to your horror, that it had been sucked into the end of a pipe. There is a faint, distant rushing of water for a second before it thunders out of the pipe, blowing you and the potato away, further down, down into the depths of the Earth.\n\nAfter what fells like eons of tumbling through flooded tunnels, first brick then rock, being slammed into the craggy edges and falling down waterfalls forever hidden in darkness, you're finally flushed into ...\n\nYou're swimming in eternal darkness. There is the faintest of light to the east.\n\n> Go east\nYou swim to the east and soon realize that the light comes from a small skiff. As you reach it, a friendly hand helps you aboard.\n\nUnderground Lake (in the mysterious boat)\nA friendly looking man with butterfly wings stands here.\n\n> You look at the man\nHe's an average looking dude, smiling at you. Behind his back is a pair of fanatastically beautiful butterfly wings.\n\n> You check what you're carrying\nYou are carrying:\na potato peeler\n\n> You look at boat\nIn the mysterious boat is a fairyman.\n\n> You go east\nYou would have to get out of the mysterious boat first.\n\n> You examine the potato\nIt's just a potato peeler.\n\n> Kiss potato\nYou can only do that to something animate.\n\n> You ask the man about the potato\n\"It's only a mystery because you want it to be.\"\n\n> You ask the man about the peeler\n\"A useful tool. Better keep it close.\"\n\n> You ask Fairyman about Fairyman\n\"I'm the Fairyman of the Riversticks, yes. I hope I can answer  some of your questions.\"\n\n> You ask Fairyman about yourself\nHe shrugs. \"You are what you are. The only questions is if that helps you at all..\"\n\n> You ask him about the donut\n\"A tasty trap. Or is it?\"\n\n> You ask the man about the cassowary\nHis eyes go wide. \"This is an evil you can't possibly understand. It has hunted me for 150 years, and I only barely escaped ... I ...\" And then he stops. Blood forms on his chest, and with a terrible croak the cassowary's bloody beak pokes through it.\nYou take a clumsy step towards the back of the boat.\nThe terrible bird steps over the Fairyman's body with casual indifference, and begins to stalk towards you.\nWithout a second thought, you jump into the depths.\n\nYou sink, slowly, to the bottom, and there you find what you expected all along...\n\nIt looks exactly like your - the player's - childhood bathroom and has all the usual fixtures.\n\n> You look at the toilet\nIn the bowl swims a half-eaten donut.\n\n> You look at the sink\nIn the sink are some potato peels.\n\n> You examine the tub\nThe fairyman's skeleton grins at you from the tub.\n\n> You check what you're carrying\nYou are carrying:\na potato peeler"
    },
    {
        "text": "> You look at your surroundings\nIt looks exactly like your - the player's - childhood bathroom and has all the usual fixtures.\n\n> You look at the mirror\nYou look in the mirror and start to scream.\n\n> Xyzzy\nFrom Wikipedia, the free encyclopedia\n\nCassowaries (/\u02c8k\u00e6s\u0259w\u025b\u0259ri/) are ratites (flightless birds without\na\nkeel on their sternum bone) in the genus Casuarius and are native to the tropical forests of New Guinea (Papua New Guinea and Indonesia), nearby islands, and northeastern Australia. 3 There are three extant species. The most common of these, the southern cassowary, is the third-tallest and second-heaviest living bird, smaller only than the ostrich and emu. Cassowaries feed mainly on fruit, although all species are truly omnivorous and will take a range of other plant food, including shoots and grass seeds, in addition to fungi, invertebrates, and small vertebrates. Cassowaries are very shy, but when provoked they are capable of inflicting injuries, occasionally fatal, to dogs and people."
    },
    {
        "text": "Well, Dirk, you got your chance. The \"progressive\" institute for adventurers emphasized more than just the physical angle that came naturally to you. It emphasized mental stuff--like sines and cosines over just being able to jump a real long way. But what really hurt was how the other adventurers told you you were nice and all but would never amount to much. That you could never do anything for The Social Good. That confused you. Being mean wasn't good, so how could they be chosen for doing bigger good things?\nBut man, they made fun of you for everything, even the stuff you knew: like knowing your left from your right. \"Everyone knows that! When'll that be helpful?\"\n\nThey all got their various quests. Some got cushy teaching jobs. Some became sub-toadies for demigods. But you--you, well, there was word of Princess Daphne, held by the dragon Singe.\nYour classmates jibed she was as un-smart as you. They even said the quest was beneath them, too silly if you looked at it right. Little more than a multiple choice test. Of course they could beat Singe the dragon, but it'd be a loss if anything in Singe's castle was unfair. You had to be street-smart. Dragons were like that. Plus there was no proof such a quest would advance society.\nWhen you asked a retired adventurer, he mentioned it might be a bit trickier than the four-answer multiple choice tests that plagued you. There might be FIVE choices! \"But Dirk, I believe in you. Some of those questions may be loaded. You have the reflexes, the timing.\"\n\n\"But if the questions are loaded, doesn't that mean they're extra hard?\"\n\n\"Just use your common sense, Dirk, and don't overthink everything. Those eggheads, they'll consider how things that help 'em are physically impossible, and at least they'll feel smart when they die. They'd rather spend hours studying what they calculate is inside the castle than rely on their reflexes. That won't happen with you. Um, I mean, there--you'll keep focused on what's important. Like, you're good at being distracted by stuff that flashes. That'll help.\"\n\nWow! Nobody ever put it that way before!\nYou hear the sounds of two coins falling. You blink, and you're outside an eerie castle.\n\nYou walk across the moat's drawbridge, which collapses. Hanging on to the remainder, you hack at some weird purple tentacles that come up from the moat, lift yourself up, and then you rush past a gate before it slams down, then a door before it shuts.\n\nGreat. Hack at enemies, enter gates and doors before they shut. How hard can it be?\n\nThere're three ropes here swinging back and forth to the left. There's a ledge beyond them. The one you're on is currently retracting.\n\n[Author's Note: A retelling of a favorite game from a textual perspective.]"
    },
    {
        "text": "> You jump to the rope\nYou can process complex sentences much better than your mean classmates gave you credit for, Dirk. But worrying about nice long beautiful three-word sentences right now may be the difference between life and death.\n\nCommands: U/L/D/R to move Dirk, S for sword/attack, or Z to wait, which is usually a bad idea. H gives a command list, and an empty command refreshes your current situation."
    },
    {
        "text": "> You look around\nYou grab onto a rope. The timing's easy enough. Another swings back from the left."
    },
    {
        "text": "> You look around\nYou grab the next rope, not thinking about it. The eggheads up on adventure theory might think a second too long and reach at the wrong time, but you don't. Another swings back from the left."
    },
    {
        "text": "> You look at your surroundings\nYou grab the next rope yet again, not even worrying if you might mess this up. Oh, hey! There's a ledge to the left! You reach out your hand reflexively."
    },
    {
        "text": "> You look around\nYou jump off the rope and onto the ledge and through the door.\n\nOh, look! A horse with a gem on top! You forget your mission, distracted by something shiny. When you climb on, the horse takes off. Your horse swerves right, almost smack into a fireplace."
    },
    {
        "text": "> Look around\nYou avoid the fire to the right so well that you're now careening towards a fire on the left. Hooray, variety.\n\n> Go upwards\nYou and your horse crash into the fire to the right. HOT HOT HOT!\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou walk obliviously to the edge of a narrow cliff and are suprised when it collapses ten feet from the edge. You fall into a purple river, and even more surprisingly, right into a barrel swept along by a current of purple water. Before you can properly appreciate the luck involved, you float past a sign saying YE BOULDERS and suddenly see there's a small flashing cave to the left--better go there, or you'll hit that rock wall ahead. Or to the sides."
    },
    {
        "text": "> You describe your surroundings\nYou navigate to the left, remembering you row your oar on the right. Now there's a passage right in the next cavern! It flashes, which might kill you, but crashing into a wall certainly will.\n\n> R.\nYou navigate to the right, remembering you row your oar on the left. If there's a trick special case, you're in trouble, but the passage left in the next cavern doesn't look like one!"
    },
    {
        "text": "> You look around\nYou navigate to the left. Now there's a passage right in the next cavern!\n\n> R.\nYou navigate to the right. As the water changes from purple to orange, you float along, past a sign saying YE RAPIDS, where you see a passage to the right and up It's dang near a road, a lighter orange than the rest of the river!\n\n> R.\nNow that stripe is left and up."
    },
    {
        "text": "> Look around\nNow that stripe is right and up.\n\n> R.\nNow it's left and up."
    },
    {
        "text": "> You look at your surroundings\nJust as you worry the next part of the rapids will be a stripe leading into a cavern wall, the water changes to green as -- ding ding -- you are by YE WHIRLPOOLS. There's one to the left.\n\n> R.\nWhirlpool to the right."
    },
    {
        "text": "> You look around\nYou paddle towards the whirlpool, then away. That's a trick those eggheads in adventuring class would never try! You forget why it works, but doing not thinking matters now. Whirlpool to the left.\n\n> R.\nAgain with the contrary paddling. Whirlpool to the right."
    },
    {
        "text": "> Look around\nOne more reverse-paddle, for Roman Hruska. The water picks up speed. You're thrown into the air. But there's a chain there, up and to the right. It flashes and dings.\n\n> Go upwards\nThe chain flashed and dinged for you, but it wasn't able to snag you as you fell back into the water. Too bad, Dirk.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou jump through a doorway to a glowing wooden circle suspended in midair. It flashes and starts falling. You scream, but at least you keep your eyes open to see the ledge to the left!"
    },
    {
        "text": "> Look around\nNot too bad a jump. Half the ledge collapses, but amazingly, your half remains perfectly horizontal. You run away from it to a door, anyway.\n\nA very long rainbow/ROY G BIV colored U lies below. Very large pool balls roll back and forth with perfect conservation of energy, so you can't wait forever them to die out. Oh, and a huge black bowling ball just upwards means you REALLY can't wait. First up is a red ball. Oh man! This place is all topsy turvy, and you even have to wait just right to pass the red ball below.\n\n> You wait\nUgh! Long non-fourth-wall four-letter commands make Dirk's head hurt. Well, there are some meta-commands. But here are the main short ones.\n\nU/L/D/R to move Dirk, S for sword/attack, or Z to wait, which is usually a bad idea. H gives a command list, and an empty command refreshes your current situation.\n\n> You wait for a while\nYou're a man of action, Dirk! Well, except if nasty math story problems are involved.\n\n> Go upwards\nYou get smooshed by the black ball. Or the red. Being smooshed, you don't care about the details. Up being down and down being up in this room didn't help, either.\n\nYou bounce back up, filled with rage! You cross your arms and glare at someone--anyone--who is responsible for your failure. As if you couldn't make the right move unless someone above said so! You have some interesting ideas, Dirk. But you never got to share them\nin adventuring school, where you felt DOING meant more than WRITING.\n\nSadly, just as your glare gets cooking, your flesh itself melts away, and your bones crumble to the floor, more musical than you ever got in art class.\n[NOTE: okay, I think you've paid your dues. The command LI gives\nyou an infinite-lives cheat if you just want to play through again. Also, DIRCHEAT tells you which way you should've gone.]\n\n> Li\nYou have a vision of two kids in a castle with weird lights and noises. They tie a coin around a string and sticking them into some sort of booth and giggling. Man! You always wanted to learn to yo-yo. You're gonna do that once you crack this castle. (You now have infinite lives.)\n\n> Go upwards\nYou jump through the wall and land awkwardly but safely.\n\nThere's a potion ahead of you with a big DRINK ME sign and a door to the right. What to do?\n\n> R.\nYou walk out the door to the right and it shuts behind you, just as a beam comes zapping by.\n\nJust another hallway going forward. Exits are up ahead to the side, but...first, those bouncing skeleton heads that popped out. They're too many, and too low, to fight.\n\n> Go south\nThe skull heads somehow manage to pull you down. You swing your sword, but it can't reach that close and low at the same time.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou jump through a doorway to a glowing wooden circle suspended in midair. It flashes and starts falling. You scream, but at least you keep your eyes open to see the ledge to the left!"
    },
    {
        "text": "> You look at your surroundings\nNot too bad a jump. Half the ledge collapses, but amazingly, your half remains perfectly horizontal. You run away from it to a door, anyway.\n\nThere's a cage all around you to the left and right. Electricity flows from down. A door snaps open and closed, upward.\n\n> Go upwards\nWell, that wasn't too bad. You jump closer to the door.\n\n> You go upward\nYou time the door perfectly! You jump just after it shuts. There's a narrow bridge across, with a huge flume of lava to the left. It sprays every few seconds.\n\n> Go upward\nPerhaps you felt guilty of your impeccable timing. Or perhaps you just have a fear of crumbly bridges. Or you wonder how the bridge survived the first flume. Whichever, it does not matter now where you are.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou're on a narrow walkway. Two spinning boulders on sticks, in a circle, periodically block your passage up. There's no way down.\n\n> Go upwards\nYou ignore computing the relevant angular velocities, instead concentrating: I don't want the left boulder to hit me, or the right. You don't stop fearing both til they both pass at once. Your mad sprint succeeds!\n\nA ghostly apparition--well, it's more a sheet than anything--opens its folds and draws a glowing weapon. You hear thorns spring up behind you and to the sides.\n\n> You go to the south\nShtwack! You've beaten lots scarier ghosts than that in practice. But thorns spring up to each side. You don't have time to think why the ghost was guarding that wall up ahead, either.\n\n> Go up\nYou fail to move back away from the thorns.\nsafe moves are/were down.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nAgainst your better judgement, you open a bulging door with a big WHOOSHING behind you. Fortunately, you don't have time to think of what anachronisms are swirling around, or you'd already be killed! As it is, you're distracted by a diamond or something in a window to a bottomless pit to the left. You think there may've been a door to the right, but you're not sure.\n\n> R.\nWell, that jewel is certainly shiny, but that flashing door to the right gave off even more light! You tumble through it. And none too soon.\n\nWell, this isn't too bad, for starters. One tentacle comes down, just daring you to slice it.\n\n> Go south\nA tentacle that bright green is hard to miss. So is that weapon rack flashing on the wall up a ways.\n\n> Go upwards\nYou jump ahead just in time to escape some tentacles, and to see another squeezing down from above. Oh! Hey! There's that door out of here flashing to the right!\n\n> R.\nThe door shuts. Thank goodness the stairs behind you are flashing now!\n\n> B.\nYou hear a humming buzz. (To show commands, type H.)"
    },
    {
        "text": "> Go down\nAs you go right and climb the stairs, tentacles swarm down from there. Looks like you better retreat. Hey! That bench flashing to the left!\n\n> Go upwards\nOne of your fellow adventurers would've stopped you to force you to calculate the possibility something like this would happen Or he would've stopped to calculate, himself. He would be dead. You are not. Onward!\n\nAaaaaa! There's a pit ahead of you, down! There's a wall to your left, but in a fit of lost ego (or clarity?) you imagine it's to the right, for people who matter.\n\n> R.\nYou fall down the shaft. Really, that was sort of unfair, how quick it happened, but what did you expect, from an evil intelligent dragon? safe moves are/were left.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou notice your sword on your left, and the ground on every other side also seems to be crumbling."
    },
    {
        "text": "> You look at your surroundings\nThat's natural. Run where the landslide ain't. What's not natural are the spikes coming out from the wall that blocked you to the left.\n\n> R.\nThe spikes that impale you leave you unconscious before impact with the ground below. Yay?\nsafe moves are/were up.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou're dive-bombed by bats. Not enough to flee, but you should ward them off. Maybe by then enough walkways will vanish,"
    },
    {
        "text": "> Describe the surroundings\nOop! Some stairs are out ahead. The ones just beyond flash, not like you could go back in this narrow passage. You could just make it if you jump.\n\n> Go upwards\nOh, hey, how's this for variety? A giant bat that can't fly stumbles out of a doorway and raises his wings. You can't exactly go back.\n\n> Go upward\nYou'll never know what a hug from Princess Daphne feels like. Probably better than from the Bat King, you guess.\nsafe moves are/were sword.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nZzzaap! A magnetic throne siphons your scabbard away from you. To make matters worse, the circular room you're in? The rug starts rolling up. There's a lot of volts on that shiny floor to the left and behind, and now, up ahead.\n\n> R.\nThe circular rug continues to roll you up from the left. More of the circle is closing.\n\n> R.\nThe circle's almost closed. The throne is to the right.\n\n> R.\nThe throne spins you around as your scabbard snaps back in place. An electric charge comes along the wire. Yes! A door to the right!\n\n> R.\nYou stumble out before the electricity gets to you.\n\nPlummeting Disc, Extra Stops\nYou jump through a door onto a disc suspended in midair. Congratulations, Dirk! Your weight broke the balance of magic that kept it there! It begins falling. But it's kind of fun, and your screams echo really neato, so you watch three ledges to the right go by, then three to the left. The ground below is coming up close, though! Only three more ledges to the right.\n\n> R.\nThere're actually three jumps, here. You decide to be all fancy and go for the lowest floor, like you get style points for it or something.\n\nThere're three ropes here swinging back and forth to the left. There's a ledge beyond them. The one you're on is currently retracting."
    },
    {
        "text": "> You look around\nYou grab the next rope, not thinking about it. The eggheads up on adventure theory might think a second too long and reach at the wrong time, but you don't. Another swings back from the left.\n\n> R.\nYou avoid the fire to the left. Now there's fire on the right. And a pillar up ahead!"
    },
    {
        "text": "> You look at your surroundings\nYou avoid the pillar and the fire. Now there's fire on the left with a pillar ahead.\n\n> R.\nYou avoid the fire to the left. Now there's a wall ahead and to the left.\n\n> R.\nYou avoid the wall! There's another wall ahead and to the left, and no time to think about the lack of variety.\n\n> R.\nYour horse crashes into the ground. You brush yourself off, kicking open a door hard enough that it slams shut to deflect a random bolt of lightning. Take that, deportment classes you hated!\n\nYou walk obliviously to the edge of a narrow cliff and are suprised when it collapses ten feet from the edge. You fall into a purple river, and even more surprisingly, right into a barrel swept along by a current of purple water. Before you can properly appreciate the luck involved, you float past a sign saying YE BOULDERS and suddenly see there's a small flashing cave to the left--better go there, or you'll hit that rock wall ahead. Or to the sides."
    },
    {
        "text": "> You describe your surroundings\nYou navigate to the left, remembering you row your oar on the right. Now there's a passage right in the next cavern! It flashes, which might kill you, but crashing into a wall certainly will.\n\n> R.\nYou navigate to the right, remembering you row your oar on the left. If there's a trick special case, you're in trouble, but the passage left in the next cavern doesn't look like one!\n\n> R.\nGot it! Your momentum swings you over to a ledge, where not one but two gates close behind you as you make it to the next area.\n\nYou jump through a doorway to a glowing wooden circle suspended in midair. It flashes and starts falling. You scream, but at least you keep your eyes open to see the ledge to the right!\n\nThis room looks vaguely familiar. You grab reflexively for your sword, but it's on the other side as last time. Hmm.\n\n> R.\nNot too bad a jump. Half the ledge collapses, but amazingly, your half remains perfectly horizontal. You run away from it to a door, anyway.\n\nAs you observe the thorns to the right, a streak of lightning flashes and sticks your sword in its sheath! Then a knight charges you from above!"
    },
    {
        "text": "> You look around\nYou execute a nice somersault to the left. At least you didn't have to roll backwards! You never quite got the hang of that. The knight comes thundering back on his horse. You got turned around, so the thorns are on your right, now."
    },
    {
        "text": "> You look around\nYou got a weak grade in gymnastics, but you've got the practical part down. Another roll to the left, and you escape the knight again. Oh, look. There's a hole to the right! No thorns!\n\n> R.\nYou dive for the hole and make it as the sword lashes against you.\n\nOh no! A magnetic pot of gold schlurps your sword from your scabbard, ten feet away. Then it jangles off. Then there's a weird grunt from the right as a giant lizard in purple robes raises a golden scepter.\n\n> You go south\nKONK! You pass out with a goofy smile on your face. That's...something. The lizard king drags you away.\nsafe moves are/were left up.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou stick your sword in a magic fire, and immediately another glowing sword whistles and comes swooping down at you! Didn't you learn anything last time, Dirk? Oh, yeah, there's also fire on a couple sides of you.\n\n> Go up\nThe magic sword descends on you. At least you weren't beaten by someone weaker than you.\nsafe moves are/were sword.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nA snake pops down from the ceiling and hisses at you!"
    },
    {
        "text": "> You go downwards\nBummer, Dirk! Slashing up enemies mindlessly is your specialty, and now wasn't the time to mix it up.\nsafe moves are/were sword.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nOh no! A bolt strikes from the ceiling and sets fire to everywhere except your right.\n\n> R.\nMore lightning strikes from the ceiling! It surrounds you on all sides except to the left. Well, you could probably get away with going up, too."
    },
    {
        "text": "> You look at your surroundings\nThe lightning fire continues to burn to the right and above."
    },
    {
        "text": "> You look around\nAnother ray blasts the door ahead, making it impossible to go forward! There's also the matter of the right and back walls being on fire, too. But the fire to the left died. Too bad an overturned bench is blocking a possible crawlspace to the left. You'd think it'd have burned up.\n\nIt looks too sturdy--and close to the wall--to hack up, and if it's glued there, you're in trouble. If not, hmm...\n\n> You go south\nOuch, Dirk! You had one way to go, but it didn't work out.\nsafe moves are/were left.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou notice your sword on your right, and the ground on every other side also seems to be crumbling.\n\n> R.\nThat's natural. Run where the landslide ain't. What's not natural are the spikes coming out from the wall that blocked you to the right."
    },
    {
        "text": "> Describe the surroundings\nThe spikes that impale you leave you unconscious before impact with the ground below. Yay?\nsafe moves are/were up.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nA huge electric knight appears up ahead! He's way too far to attack. For now. You reflexively feel your sword on the right and notice the electric tiles glowing: up, down and right."
    },
    {
        "text": "> Look around\nOoh! Look! The knight mashes his sword, and now there's an opening to the right.\n\n> Go upwards\nBoy. You sure are lucky there's a way out, even though the pulses are coming faster, The right is not glowing.\n\n> R.\nThe pulses come faster! Faster! Just like Reefer Madness. Wait, that doesn't exist yet. But a little space to the left does."
    },
    {
        "text": "> You look around\nYou'd think the knight would try and push you down, leaving a space open. But it's kind of smart he's not letting you go up. He's just making you jump back and forth. There's an opening to the right.\n\n> R.\nYou jump forth and back. The knight doesn't see it, but you're cheating up with each movement, even as you jump faster. One more. The right is blocked."
    },
    {
        "text": "> You describe your surroundings\nOkay, he's out of charges. And boy is it convenient you're right by him! And that he's winding up for his sword-blow like a baseball batter!\n\n> You go south\nWell, that's as close to a talking villain as you can get, since nobody's done any talking, yet. There's a gap to jump over ahead, but that's nothing compared to the board.\n\nYou're in a big mud land. What could live here? Mud monsters, that's what. They squelch toward you slowly and surround you. They don't seem to expect any resistance.\n\n> Go south\nThe mud monsters back up a bit, allowing passage ahead. You can't see them, but you hear their blurp bloop blurp behind and may even do so in the next room.\n\n> You go upward\nOo! A green geyser to jump over! It just finished firing! And it flashed, too! Double bonus!\n\n> Go upwards\nYou see a sneaky passage between two geysers ahead.\n\n> R.\nOh, hey, there's a path ahead to the next geyser!\n\n> Go upwards\nThe green geyser just ahead fires. The passage is kind of narrow, so you can't really walk around it.\n\n> You wait for a while\nYou're a man of action, Dirk! Well, except if nasty math story problems are involved.\n\n> Go upward\nWow! A wide red pool of mud, and you on a plank being followed by mud men. Thank goodness it's up high, so you can jump a bit farther.\n\n> Go upwards\nAnd one more green geyser ahead!\n\n> Go up\nYou hear a squilching sound behind--like when you cut previous enemies open with a sword. But the mud monsters don't die--they appear in small geysers to the side. You forget how not-fair this is when you see the exit across one final green river! If you were more of a naturalist, you might be disappointed you didn't get to jump a red geyser, too, but really, it's time to move on. It was...straightforward.\n\n> Go up\nYou jump across the green river without and flume to blast you. Solid ground! A nice wide exit! That was both straightforward and exhausting. You needed all your adventurer training to get through, for sure.\n\nPlummeting Disc, Extra Stops\nYou jump once again through a door onto a disc suspended in midair. Congratulations, Dirk! Your weight broke the balance of magic that kept it there! It begins falling. But it's kind of fun, and your screams echo really neato, so you watch three ledges to the left go by, then three to the right. The ground below is coming up close, though! Only three more ledges to the left.\n\n> You wait\nUgh! Long non-fourth-wall four-letter commands make Dirk's head hurt. Well, there are some meta-commands. But here are the main short ones.\n\nU/L/D/R to move Dirk, S for sword/attack, or Z to wait, which is usually a bad idea. H gives a command list, and an empty command refreshes your current situation."
    },
    {
        "text": "> Go downwards\nYou miss the jump, even though you've prepped for this before. As you tumble, you wonder what your peers would think.\nsafe moves are/were left.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nThere're three ropes here swinging back and forth to the right. There's a ledge beyond them. The one you're on is currently retracting.\n\n> R.\nYou grab onto a rope. The timing's easy enough. Another swings back from the right.\n\n> R.\nYou grab the next rope, not thinking about it. The eggheads up on adventure theory might think a second too long and reach at the wrong time, but you don't. Another swings back from the right.\n\n> R.\nYou grab the next rope yet again, not even worrying if you might mess this up. Oh, hey! There's a ledge to the right! You reach out your hand reflexively.\n\n> R.\nYou jump off the rope and onto the ledge and through the door.\n\nOh, look! Another horse with a gem on top! You forget your mission, distracted by something shiny. Maybe this time... When you climb on, the horse takes off. Your horse swerves left, almost smack into a fireplace.\n\n> R.\nYou avoid the fire to the left so well that you're now careening towards a fire on the right. Hooray, variety."
    },
    {
        "text": "> Look around\nYou avoid the fire to the right. Now there's fire on the left. And a pillar up ahead!\n\n> R.\nYou avoid the pillar and the fire. Now there's fire on the right with a pillar ahead."
    },
    {
        "text": "> Look around\nYou avoid the fire to the right. Now there's a wall ahead and to the right."
    },
    {
        "text": "> Look around\nlives]\n\nYou avoid the wall! There's another wall ahead and to the right, and no time to think about the lack of variety."
    },
    {
        "text": "> You describe your surroundings\nlives]\n\nYour horse crashes into the ground. You brush yourself off, kicking open a door hard enough that it slams shut to deflect a random bolt of lightning. Take that, deportment classes you hated!\n\nJust another hallway going forward. Exits are up ahead to the side, but...first, those bouncing skeleton heads that popped out. They're too many, and too low, to fight.\n\n> You go upward\nlives]\n\nOh no! A big skeletal hand appears from a doorway to the left!\n\n> R.\nlives]\n\nThere's no running. The hand grabs you.\nsafe moves are/were sword.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nYou hear a rumbling above. The ground up and to the left begins falling into a void.\n\n> R.\nlives]\n\nYou stumble out of the way of the rubble. For now. A door to the right flashes.\n\n> R.\nlives]\n\nYou exit through the flashing door just as a bunch of rocks tumble down where you were.\n\nA very long rainbow/ROY G BIV colored U lies below. Very large pool balls roll back and forth with perfect conservation of energy, so you can't wait forever them to die out. Oh, and a huge black bowling ball just upwards means you REALLY can't wait. First up is a red ball. Oh man! This place is all topsy turvy, and you even have to wait just right to pass the red ball below."
    },
    {
        "text": "> Go downwards\nlives]\n\nWhat luck! The red ball rolls by, and as you sneak through, it rolls back to be crushed by the black ball. Just in case you needed proof the black ball was destructive and not just scary.\n\nNow there's an orange ball down below."
    },
    {
        "text": "> Go downwards\nlives]\n\nNow it's the orange ball's turn to crash into the black ball after missing you. You remember learning to cross a street watching for chariots, and how your parents told you it was no joke. They were right! Oh, look, a yellow ball down below."
    },
    {
        "text": "> Go downwards\nlives]\n\nThe yellow ball is not too yellow to crash into the black ball after missing you. Beyond it is a green ball."
    },
    {
        "text": "> Go downward\nlives]\n\nThe color variety is nice, especially because you forgot Roy G Biv, and it keeps you alert. If you had time to think, you'd be rather glad you weren't going to get killed by a dingy grey ball or a horrid pastel one. Since there's only a purple ball left below."
    },
    {
        "text": "> Go down\nlives]\n\nThe color variety is nice, especially because you forgot Roy G Biv, and it keeps you alert. If you had time to think, you'd be rather glad you weren't going to get killed by a dingy grey ball or a horrid pastel one. Since there's only a purple ball left below. Well, it could be indigo or violet. You went to adventuring school, not art school."
    },
    {
        "text": "> You go downward\nlives]\n\nYou feel a brief disorientation. There's a small gap up ahead, instead of a final indigo or violet ball, which is nice. And it's also up ahead, not down below, which just makes more sense. Man! It'd be embarrassing to miss this jump ahead, even with nobody watching.\n\n> Go upward\nlives]\n\nYou jump over the small gap and have a leisurely jog to the next room.\n\nYou're on a narrow walkway. Two spinning boulders on sticks, in a circle, periodically block your passage up. There's no way down.\n\n> Go upward\nlives]\n\nYou ignore computing the relevant angular velocities, instead concentrating: I don't want the left boulder to hit me, or the right. You don't stop fearing both til they both pass at once. Your mad sprint succeeds!\n\nA ghostly apparition--well, it's more a sheet than anything--opens its folds and draws a glowing weapon. You hear thorns spring up behind you and to the sides.\n\n> You go to the south\nlives]\n\nShtwack! You've beaten lots scarier ghosts than that in practice. But thorns spring up to each side. You don't have time to think why the ghost was guarding that wall up ahead, either."
    },
    {
        "text": "> Go downward\nlives]\n\nYou escape the thorns! But now, since backward is forwards and forwards is backwards, (or they are what they were) the exit is up ahead!\n\n> Go upwards\nlives]\n\nYou made it, Dirk, and the exit didn't even have to flash at you! Way to go!\n\nYou stick your sword in a magic fire, and immediately another glowing sword whistles and comes swooping down at you! Oh, yeah, there's also fire on a couple sides of you.\n\n> Go south\nlives]\n\nWell, the sword being perpendicular to your sword, that gave a greater range--ah, heck, you just swung and it clanged. Ooh! Here comes a mace!\n\n> You go to the south\nlives]\n\nThe mace isn't appreciably different. Well, it's appreciably not different to deflect. But now a glowing anvil up ahead rises and swerves at you. There's fire to your left.\n\n> R.\nlives]\n\nWow! You duck, but now a spear rises from a weapons rack and spins at you. Time it wrong, and you won't smack it just SO.\n\n> Go south\nlives]\n\nAgain, you hit the spear JUST perpendicular, and the angular momentum--nah, you just didn't want it to point straight at you. You treat your sword to a bit of magic fire, and a statue wakes up and growls, raising its axe.\n\n> You go south\nlives]\n\nBZZZZZ! Your sword and the axe clash, and your sword wins. The statue returns to its frozen state.\n\nGoop bubbles from a cauldron and dries behind you and to each side. You suspect there'll be monsters to hack at soon, but not just yet. Process of elimination, Dirk, process of elimination.\n\n> Go upward\nlives]\n\nYou escape the first wave of goop only to look into a beaker--and out pops a goop monster! Good thing you grabbed it with your off-hand, Dirk.\n\n> Go south\nlives]\n\nSplat! Most of the goop behind you disappears as you hack the monster.\n\n> Go upwards\nlives]\n\nYou just walked right into the goop, there. Dirk. You don't even have time for childhood memories when that was fun.\nsafe moves are/were down.\n\nYou're just skin and bones now, Dirk. Mini-skeletons swirl about you as you peer around. You're in a void...and then... POP! Back to adventuring!\n\nA tiny purple pig with a dagger comes bouncing impossibly out from the left! It's either very confident, or very backed up by friends who'll totally bumrush you if you're passive.\n\n> Go south\nlives]\n\nYou've learned by now that slashing at the first enemy is always a good start. Well, you sort of knew it already. But at least you didn't forget. Several weird piggies come bouncing from the left, now! But not as fast as if you hadn't taken care of business.\n\n> R.\nlives]\n\nYou head right. Maybe they'll tire out. Being that heavy while bouncing, well...whew. And those stairs just up ahead--they won't just be tiring for you.\n\n> You go up\nlives]\n\nThe goons behind you hyperventilate a bit. They're far enough behind, you think you can deal with their bigger cousin that just popped out at the top. And you do, without thinking. You're at the top of the spiral staircase. You should probably hit that door to the left before anything pops up from it."
    },
    {
        "text": "> You look around\nlives]\n\nGood thinking, Dirk. Survive and advance. For whatever reason, the piggies don't follow you through the door. Maybe bouncing up and down that stairway was too exhausting.\n\nAnother scene, another narrow walkway forward.\n\n> Go upward\nlives]\n\nThe walkway behind crumbles. But there's still more to go. Good thing this isn't a maze--that'd get confusing."
    },
    {
        "text": "> About yourself\nYou tend to think of yourself, Thomas Smith, as an adventurer of sorts, slaying foul beasts and rescuing maidens and so forth, and imagine yourself as good-looking accordingly. Since the \"adventurer\" bit is imaginary so of course is the \"good-looking\". You've practiced hard at the mirror various poses and gestures for causing women to swoon but you lack what Frodo calls the Alpha Male Aura.\n\n> You look at the trees\nThey've been poking out at you ever since you reached northern Arizona. The lack of cacti has made you feel inadequate and less versed in the geography hereabouts than you originally thought.\n\n> Go north\nIt's of the topiaries-with-gratuitous-flowers variety, filled to the brim with creatures that stalk and bound and chase, all in vivid grasslike renditions. The flowers are single file and wind about in circles, like a Spirograph gone awry. There's an oversized gazebo to the west, and imposing brick walls delineate paths to the north and northeast.\n\nFrodo is here. He looks glum. (That's \"Frodo\" your friend Horace, not the hobbit. Silly nickname from college, your idea, and to repay the compliment he started calling you \"Merry\".)\n\n[1] Frodo! Why the glum face?\n[2] Good afternoon to you, you goober. What mischief have you been up to now?\n[3] Hey, Frodo, congrats on the wedding. A week from now isn't it?\n[4] Greetings, Earthling. I come in peace. I am on a survey mission and must have all your delicious pastries.\n[5] Hi.\n\n> 1\nHe notices himself, and makes an awkward attempt to noodle with his cheek muscles before responding.\n\n\"Let me prod at you first, Merry. How have you been?\"\n\n[1] Fine.\n[2] Except for being abducted by aliens last week, quite chipper.\n[3] Taxicab drive was terrible. The driver kept going on about Bruce Willis.\n\n> 3\nFrodo asks, \"Who is Bruce Willis?\"\n\n\"Never mind,\" you say.\n\nFrodo says, \"Well, I might as well get to my dilemma. Remember my prior problem with the horses?\"\n\n[1] You mean when you got so addicted you spent $50 of my OWN MONEY on a horse that placed last?\n[2] Of course.\n[3] (Lie) Not really.\n\n> 1\nFrodo looks hurt. \"Now, now, I paid you back --\"\n\nFrodo continues, \"I'm past all that, although every once in a while I might *glance* and see how certain ponies are doing. Well, Mr. Jarvis had heard about my little addiction and of course I explained how I was much more mature now--\"\n\n(Snicker.)\n\n\"--and he ranted about how he was making sure his daughter was marrying someone decent and if he so much as sniffed trouble the wedding would be off. Izzy's not the eloping type, she insists it has to be a wedding. So, here comes the problem...\"\n\n[1] (Uh oh.)\n[2] (If Frodo was the weather, the forecasters would all retire.)\n[3] (Lie) (I'm sure it's nothing too bad.)\n\n> 2\n\"...yesterday when I was over I used the computer in the den to browse a few websites. I checked one that I only look at on extremely rare occasions but once in a while for old time's sake and quite accidentally found myself using the 'Add Bookmark' function and I only remembered after I left and Izzy's father locked it up again. He's paranoid about people stealing things, you know.\"\n\n[1] So basically, you're saying you left evidence of your very-rare glance at the horse race sheets on your father-in-law's computer and you want me to help you destroy said evidence?\n[2] Why do you do this to yourself, Frodo?\n[3] I see you have a harebraned scheme hatching. I've had enough of those. I'm out. I'm sworn off since last Tuesday.\n\n> 2\nFrodo says, \"To make a long story short, I need to erase my little computer mistake and I need your help.\"\n\nFrodo asks, \"So what do you say, old friend? Help a chum in distress?\"\n\n[1] Yes.\n[2] (Lie) No.\n\n> 2\nYou twinge slightly at saying the word. It goes against the Code, after all, but fortunately Frodo either isn't convinced or didn't hear you very well:\n\nFrodo says, \"Good, good. Now, of course it would be easy if I could get in now, but the rub is I won't be able to get the key until tonight after the party has started, and then I'll be busy keeping up appearances. So a short time after the party begins I'll slip you the key and you can come up with an excuse to skip off, head to the den, do the deed, and come back. The den is the first room at the top of the stairs. Simple, right?\n\n[1] (Lie) Yes, your schemes always have an elegant simplicity to them. [2] (Lie) Yes, I'm sure absolutely nothing will go wrong.\n\n> 2\n\"Excellent! I'll see you in four hours.\"\n\nAh yes, absolutely nothing will go wrong.\n\nThe Jarvises have invested as much in lighting as in architectural nuance, for there is nary a nook or cranny in this gazebo -- or the entire grounds -- that is unlit. You can't make out much roof detail through all the glare, compounded by a jostling from one of the pairs of dancers skittering across the floor to the accompaniment of new-age polka. The support pillars look nice, though, they've got a twirling spiral pattern to them and you run your eyes back and forth over the edges to pass the time. Going east will get you back to the garden.\n\nWhere is that old reprobate Frodo anyway?\n\nOn cue, you feel a poke at your back as he whispers in your ear \"Big trouble, old boy. I poked around the kitchen for the key after dinner was over but my wonderfully paranoid in-law has picked a new hiding spot. It used to be on the bottom of the cookie tin. You'll have to find it yourself. I can't stay away any longer, elsewise I'm sure to get a good thrashing.\"\n\n[1] You're positively absolutely certain you checked very carefully? [2] Phone psychics would have such an easy time with you.\n[3] Right then.\n\n> 1\n\"Yes, I triple checked, the key isn't in there,\" Frodo says. \"You might try his ceramics, sometimes he stuffs knickknacks in there.\"\n\nYour conversation is interrupted as Mrs. Jarvis floats nearby. \"Horace, dear, I've been looking all over for you, we're going to set up the table soon for a game of dominoes. Won't that be nice? Now, come along...\" and the rest is obscured as Mrs. Jarvis pulls Frodo by the arm into the crowd. He waves backward and mouths \"Good luck.\"\n\n> Go east\nRight then! Onward to glor--\n\nYou stifle a gasp as the crowds part to reveal the most beautiful woman you have ever seen. The green eyes, the delicate loose-hanging brown hair which sits tenderly on her shoulders, and she wears a gown of deep blue with a bow...\n\nAnd while you are distracted you ignominiously trip over a stray foot and tumble to the floor. Ow.\n\nOversized Gazebo, on the floor\nDancers flit about the well-lit floor here in partial rhythm to what may or may not be polka music. Going east will get you back to the garden.\n\nThe Most Beautiful Woman in the World is here.\n\n> You look at Woman\nShe is beyond description.\n\n> You talk to Woman\nYou approach. \"Hello, I'm Thomas. And you are?\"\n\nShe turns to you. Her eyes glimmer like stars. \"Clara. Clara Anderson.\"\n\n[1] It is a great pleasure to meet you.\n[2] You have the most beautiful eyes.\n[3] Poets would fail if they attempted to describe your exquisite beauty, composers would be helpless trying to compose serenades to your honor, painters would throw down their brushes in despair when they fail to capture your perfection.\n\n> 3\nSo many possible opening lines, which would be best? You prepare yourself, take a deep breath, and say:\n\n\"Grm grumgrm.\"\n\n\"What was that again?\" Clara asks. She tilts her head, causing her hair to fall at an angle that glints in the light.\n\n[1] My apologies, I was going to comment on how lovely you were but words failed me momentarily.\n[2] You have the most beautiful eyes.\n[3] I would travel the seas and the rivers for you, the mountains and the forests, the deserts and the swamps, no destination too far, no summit too unreachable.\n\n> 3\n\"Magumum murmerm grm. Grm lim mimamum.\"\n\nShe smiles a moment -- ah, her lovely teeth! -- and says, \"It was very nice meeting you, Thomas.\" -- and she turns and walks into the crowd and the dancers swirl in front of your vision and you have images of roses, ever so briefly."
    },
    {
        "text": "> You describe your surroundings\nOversized Gazebo, on the floor\nDancers flit about the well-lit floor here in partial rhythm to what may or may not be polka music. Going east will get you back to the garden.\n\n> You go east\nWell, duty calls. You spare one last look at the crowd to see if you can see Clara -- there? no, she is gone for now, and there's work to do. Alas.\n\nYou trudge onward to...\n\nIt's of the topiaries-with-gratuitous-flowers variety, filled to the brim with creatures that stalk and bound and chase, all in vivid grasslike renditions. The flowers are single file and wind about in circles, like a Spirograph gone awry. There's an oversized gazebo to the west, and imposing brick walls delineate paths to the north and northeast.\n\n[At the moment imagine any continuation you like.]"
    },
    {
        "text": "[Themes: Humor]\n\nIt's a beautiful day in the office, and you are a horrible goose.\n(If you aren't sure how to play, type \"help\" and hit enter.)\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see a potted palm and a printer here.\n\n[Author's Note: It's a beautiful day in the tech company office, and you are a horrible goose.]\n\n> About yourself\nYou're large, you're white, and you're waddling.\n\n> You examine the palm\nA large indoor plant with luxuriant fronds.\nYou feel an urge to peck it.\n\n> You peck it\nYou jab your beak at the potted palm.\n\nDirt spills out. How satisfying. You could probably pick up the whole plant.\n\n> You look at the printer\nThis large printer has a ton of options for copying, collating, and stapling.\nWhat would happen if you pecked it, hard, with your powerful beak?\n\nThe printer is currently switched off.\n\nYou feel a mighty primal urge to honk, to flap, and to peck things.\n\n> Peck printer\nYou jab your beak at the printer.\nThe printer switches on.\n\nSome sheets of paper fly out of the printer and across the room.\n\n> You take the palm\nYou stretch out your neck, biting and gnashing.\n\nYou grab the torn-up potted palm with your powerful beak.\n\n> You throw the palm\nDropped.\n\n> Go east\nYou waddle over with deadly purpose.\n\nThis mini kitchen has tasty snacks and bad coffee. The main office is just to the west.\n\nYou can see a pod-based coffee maker, a sink, a cabinet (closed), and a purple-haired developer here.\n\n> You examine developer\nThe purple-haired developer is carrying a cup of coffee.\n\n> Honk\nHONK!!!!\n\nStartled, a hapless office worker looks up in alarm.\n\n> Bite developer\nYou jab your beak at the purple-haired developer.\n\nThe developer shrieks in rage. She comes at you ready to kill.\n\n\"Horrible goose,\" yells the enraged developer, chasing you.\n\n> You go to the west\nYou waddle over with deadly purpose.\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see a torn-up potted palm tree, some spilled dirt, some sheets of paper, and a dented printer here.\n\n\"Catch it,\" yells the enraged developer. She trips over you, swearing.\n\nThe wet, scalded developer arrives from the east.\n\n> Flap\nYou flap your wings, menacing everything in the near vicinity.\n\nEveryone in the room starts in surprise.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\n> You go to the east\nYou waddle over with deadly purpose.\n\nThis mini kitchen has tasty snacks and bad coffee. The main office is just to the west.\n\nYou can see puddles of spilled coffee, an empty coffee cup, a pod-based coffee maker, a sink, and a cabinet (closed) here.\n\n\"Nnnnnnggggg,\" yells the enraged developer.\n\nThe wet, scalded developer arrives from the west.\n\n> Peck cabinet\nYou jab your beak at the cabinet.\n\n\"Nnnnnnggggg,\" yells the enraged developer.\n\n> You open the cabinet\nIt seems to be locked.\n\n\"Catch it,\" yells the enraged developer.\n\n> Peck sink\nYou jab your beak at the sink.\nThe sink switches on.\n\nThe faucet cracks. Water sprays all over!\n\n\"Horrible goose,\" yells the enraged developer, chasing you.\n\n> You go west\nYou waddle over with deadly purpose.\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see a torn-up potted palm tree, some spilled dirt, some sheets of paper, and a dented printer here.\n\n\"Horrible goose,\" yells the enraged developer. She trips over you, swearing.\n\nThe wet, scalded developer arrives from the east.\n\n> You go west\nYou waddle over with deadly purpose.\n\nA large board room with chairs arranged around a central table. Through the open door, you can see the main office to the east.\n\nYou can see a project manager, an ipad, and a video camera here.\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\nThe wet, scalded developer arrives from the east.\n\n> Peck camera\nYou leap several feet in the air but fail to peck the video camera.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She trips over you, swearing.\n\n> You take the ipad\nYou stretch out your neck, biting and gnashing.\n\nIt's too big. Maybe you could peck it instead.\n\n\"Horrible goose,\" yells the enraged developer.\n\n> Peck ipad\nYou jab your beak at the ipad.\n\nA huge picture of a plump goose fills the conference room screen.\nThe conference call participants all start talking at once!\nSomeone yells, \"STOP THAT GOOSE!\" and starts to chase you!\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\n> Honk\nHONK!!!!\n\nA person near you jumps in fear.\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\n> Bite manager\nYou jab your beak at the flustered manager.\n\nYou peck her in the butt, feeling a deep sense of satisfaction. \"OUCH!!! HEY!!!\"\nThe project manager leaps up from her chair!\n\n\"Catch it,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"What the heck,\" shrieks the manager, lurching forward.\n\n> Go east\nYou waddle over with deadly purpose.\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see a torn-up potted palm tree, some spilled dirt, some sheets of paper, and a dented printer here.\n\n\"Horrible goose,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\nThe wet, scalded developer arrives from the west.\n\n\"My meeting,\" shrieks the manager. She falls over a chair.\n\nThe flustered manager arrives from the west.\n\n> You go to the south\nYou waddle over with deadly purpose.\n\nAn adjustable standing/sitting desk dominates this spacious cubicle. The main office is just to the north.\n\nYou can see an adjustable desk (on which are a tattered copy of the book 'Design Patterns' and a laptop) here.\n\n\"Catch it,\" yells the enraged developer. She trips over you, swearing.\n\nThe wet, scalded developer arrives from the north.\n\n\"Get it out of here,\" shrieks the manager.\n\nThe flustered manager arrives from the north.\n\n> Peck laptop\nYou jab your beak at the laptop.\n\nYour beak mashes the keys and cracks the screen.\n\n\"Horrible goose,\" yells the enraged developer, chasing you. \"Aaaaagggghh,\" shrieks the manager. She falls over a chair.\n\n> Honk\nHONK!!!!\n\nSomeone does a double take as they realize how close you are.\n\n\"Catch it,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"My meeting,\" shrieks the manager, lurching forward.\n\n> Flap\nYou flap your wings, menacing everything in the near vicinity.\n\nOne of your powerful wings clubs someone in the elbow.\n\n\"Horrible goose,\" yells the enraged developer, chasing you.\n\"Get it out of here,\" shrieks the manager, lurching forward.\n\n> You look at the desk\nA beautiful ergonomic desk, adjustable with electronic controls.\n\nOn the adjustable desk are a tattered copy of the book 'Design Patterns' and a broken laptop.\n\n\"Horrible goose,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"Aaaaagggghh,\" shrieks the manager.\n\n> Peck desk\nYou jab your beak at the adjustable desk.\n\nThe desk starts going up and down at random.\n\n\"Catch it,\" yells the enraged developer.\n\"Aaaaagggghh,\" shrieks the manager. She falls over a chair.\n\n> You take the book\nYou stretch out your neck, biting and gnashing.\n\nYou grab the tattered copy of the book 'Design Patterns' with your powerful beak.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"What the heck,\" shrieks the manager. She falls over a chair.\n\n> Go north\nYou waddle over with deadly purpose.\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see a torn-up potted palm tree, some spilled dirt, some sheets of paper, and a dented printer here.\n\n\"Horrible goose,\" yells the enraged developer, chasing you.\n\nThe wet, scalded developer arrives from the south.\n\n\"What the heck,\" shrieks the manager. She falls over a chair.\n\nThe flustered manager arrives from the south.\n\n> You eat the book\nYou shred the book into tiny pieces.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"What the heck,\" shrieks the manager.\n\n> Go west\nYou waddle over with deadly purpose.\n\nA large board room with chairs arranged around a central table. Through the open door, you can see the main office to the east.\n\nYou can see a battered and scratched ipad and a video camera here.\n\n\"Nnnnnnggggg,\" yells the enraged developer, chasing you.\n\nThe wet, scalded developer arrives from the east.\n\n\"Aaaaagggghh,\" shrieks the manager. She falls over a chair.\n\nThe flustered manager arrives from the east.\n\n> You examine the camera\nYou see nothing special about the video camera.\n\n\"Catch it,\" yells the enraged developer. She trips over you, swearing. \"Get it out of here,\" shrieks the manager. She falls over a chair.\n\n> Peck camera\nYou leap several feet in the air but fail to peck the video camera.\n\n\"Catch it,\" yells the enraged developer. She trips over you, swearing. \"Aaaaagggghh,\" shrieks the manager, lurching forward.\n\n> Flap\nYou flap your wings, menacing everything in the near vicinity.\n\nPeople leap away from the chaotic hurricane of your wings.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"What the heck,\" shrieks the manager.\n\n> Peck camera\nYou leap several feet in the air but fail to peck the video camera.\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\"Get it out of here,\" shrieks the manager.\n\n> You get on the table\nYou get onto the table.\n\n\"Catch it,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"Get it out of here,\" shrieks the manager. She falls over a chair.\n\n> Peck camera\nThe camera lens cracks.\n\nYou jab your beak at the broken camera dangling from the ceiling.\n\n\"Horrible goose,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"Aaaaagggghh,\" shrieks the manager, lurching forward.\n\n> Honk\nHONK!!!!\n\nPeople in the room freeze as they try to figure out what you'll do next.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"Aaaaagggghh,\" shrieks the manager, lurching forward.\n\n> You go east\nYou waddle over with deadly purpose.\n\n(first getting off the table)\n\nYou're in a large open room. Narrow corridors run between grey-walled cubicles. Exits lead east, west, and south.\n\nYou can see some little bits of chewed up paper, a torn-up potted palm tree, some spilled dirt, some sheets of paper, and a dented printer here.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\nThe wet, scalded developer arrives from the west.\n\n\"What the heck,\" shrieks the manager, lurching forward.\n\nThe flustered manager arrives from the west.\n\n> Go east\nYou waddle over with deadly purpose.\n\nThis mini kitchen has tasty snacks and bad coffee. The main office is just to the west.\n\nYou can see puddles of water, puddles of spilled coffee, an empty coffee cup, a pod-based coffee maker, a sink with a broken faucet spraying water everywhere, and a cabinet (closed) here.\n\n\"Catch it,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\nThe wet, scalded developer arrives from the west.\n\n\"Aaaaagggghh,\" shrieks the manager, lurching forward.\n\nThe flustered manager arrives from the west.\n\n> Peck maker\nYou jab your beak at the pod-based coffee maker.\nThe pod-based coffee maker switches on.\n\nCoffee sprays out of the coffee maker!\n\n\"Horrible goose,\" yells the enraged developer.\n\"What the heck,\" shrieks the manager, lurching forward.\n\n> Break cup\nViolence isn't the answer to this one.\n\n\"Horrible goose,\" yells the enraged developer, chasing you.\n\"Get it out of here,\" shrieks the manager, lurching forward.\n\n> You take the cup\nYou stretch out your neck, biting and gnashing.\n\nYou grab the empty coffee cup with your powerful beak.\n\nTaken.\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\"What the heck,\" shrieks the manager, lurching forward.\n\n> You throw the cup\nDropped.\n\n\"Catch it,\" yells the enraged developer.\n\"Aaaaagggghh,\" shrieks the manager. She falls over a chair.\n\n> Flap\nYou flap your wings, menacing everything in the near vicinity.\n\nYour flurry of wings makes people step back in dismay.\n\n\"Nnnnnnggggg,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"What the heck,\" shrieks the manager. She falls over a chair.\n\n> Bite manager\nYou jab your beak at the flustered manager.\n\n\"Catch it,\" yells the enraged developer, chasing you.\n\"Get it out of here,\" shrieks the manager. She falls over a chair."
    },
    {
        "text": "[Themes: Humor]\n\n> Describe the surroundings\nThis mini kitchen has tasty snacks and bad coffee. The main office is just to the west.\n\nYou can see a fire alarm, a wet empty coffee cup, puddles of spilled coffee, a flustered manager, a wet, scalded developer, puddles of water, a mangled coffee maker, a sink with a broken faucet spraying water everywhere, and a cabinet (closed) here.\n\n\"Horrible goose,\" yells the enraged developer. She flails, knocking her own glasses onto the floor.\n\"Get it out of here,\" shrieks the manager. She falls over a chair.\n\n> Peck alarm\nYou jab your beak at the fire alarm.\nThe fire alarm switches on.\n\nThe glass covering the fire alarm switch breaks.\nooooooOOOOOOooooooo!\nThe developer panics, opens a cupboard and takes out a fire extinguisher.\n\noooooOOOOOOoooooo BEEP BEEP BEEP!\n\nCongratulations! You are the most horrible of horrible geese.\nThis start-up office will never be the same.\nYou run outside, ready to wreak mayhem on the rest of the world!\n\n* * * * * * * * * * * * * * * * * *\n\nThanks to playtesters Laura Kukulski, Danny O'Brien, Potch, Britta Gustafson, Hannah Diaz, Milo Kim, Sigrid Ellis, and Jim Shepard."
    },
    {
        "text": "[Themes: Fantasy]\n\nPeople. People. So many people.\n\nYou weren't quite sure what you were expecting. Crowds, sure, but not ten thousand people crammed into a tenth as many square feet until they ferment. They're sort of herded along by barriers and signs, but once you reach critical mass of a couple thousand, it just looks like an enormous mass. Fortunately, you made it to the end of the line. Unfortunately, so did Brody.\n\nBrody leers at you with either malice or lechery. You can't decide which would be worse."
    },
    {
        "text": "> You examine Brody\nBrody is an asshole.\n\nYes, you've been known to prematurely call people assholes before, and you're becoming a bit worried that you're being typecast as the sort of person who indiscriminately dubs people assholes. But Brody really is an asshole.\n\nBrody has painstakingly manhandled his hair into what was probably a mohawk at one point. You have nothing against follicular self-expression, except when it's going to be sitting in front of you. Or when each individual plume of hair has a middle finger sculpted into it. He's wearing a ratty old T-shirt, on which he has just spray-painted (you can smell it): \"DEVELOPERS! ASK ME ABOUT THE KICK-ASS GAME IDEA THAT WILL MAKE ME A MILLIONAIRE!\" (Millionaire is in its own special shade of blood red.\n\nAnd you would be remiss not to mention the giant sign. You came to this convention to meet like-minded, wonderful people who do not wave giant signs in your face. You instead met Brody, a non-minded, wonder-free personoid who quite enjoys this. Especially when said signs depict naked people.\n\n> You examine sign\n(the signs)\nThe usual signs, listing the PAX rules, the exits, you know the drill. The only sign you really care about is the one that indicates that there's only one more seat left in the panel.\n\n> You wait\nTime passes.\n\n> About you\nYou've always felt a bit out of place at conventions like this; you're not a big gamer, and you've never cosplayed in your life. And you're female, as much as you wish this wasn't an issue. But you love interactive fiction, so this was like your dream come true.\n\n> Punch brody\nThe rules here tell you not to punch or kick people. More pertinently, they're enforced by about 100 beefy bodyguards scattered around the places you're not looking. Besides, the rules don't say a word about the magical equivalent of punching and kicking.\n\n> Spells\nYou are the master of the following spells:\nblorb: The blorb spell lets you safely protect a small object, as though in a strongbox. You wouldn't think it was so useful, but when was the last time you saw a strongbox?\ncleesh: The cleesh spell lets you change something into a small amphibian. It's kind of fun being a stereotypical witch out of a kid's TV show.\nexex: The exex spell lets you make things and/or people go faster. Hence the name.\nfilfre: The filfre spell lets you create gratuitous fireworks. Fortunately for party hosts, it works even better when you're drunk. frotz: The frotz spell allows you to cause something to give off light. You love this spell. No more do you have to travel by the light of your cell phone!\ngnusto: The gnusto spell lets you write a spell into a spellbook. You, like most magicians, dislike it; you never reveal your secrets to the world. It's the only leg up you've got on the bastards.\ngondar: The gondar spell lets you put out an open flame. It makes you pretty popular at parties.\nguncho: The guncho spell lets you banish someone to another plane of existence. In theory. In practice, it does absolutely nothing for you. You're sure there's some crappy cop-out excuse, like this convention room is actually the meeting point of every possible plane of existence, making them geometrically -- technically -- the same plane, but you're pretty sure you just can't make it work.\nizyuk: The izyuk spell lets you fly. It also works on other people, you guess, but when you're got a flying spell you are keeping that shit for yourself, OK?\nkrebf: The krebf spell lets you repair willful damage to something. It's made you far too careless for comfort.\nkulcad: The kulcad spell allows you to dispel another spell. You love do-overs.\nmelbor: The melbor spell lets you protect a magic user from harm from an evil being. You've had to duck into the bathroom and cast it at least three times this afternoon.\nnitfol: The nitfol spell allows you to converse with the beasts in their own language. It is the only reason why you have not yet been fired.\nozmoo: The ozmoo spell allows you to make something survive unnatural death. No, you don't know if it works in the afterlife and aren't keen to find out.\nrezrov: The rezrov spell lets you open things, even locked or enchanted things. It works either literally or figuratively, but you don't like to use it literally much after you accidentally split your best friend's goldfish in two.\nvaxum: The vaxum spell lets you make a hostile creature your friend. It is the other reason why you have not yet been fired.\nzifmia: The zifmia spells lets you magically summon a being. Out of all of your spells, it is among the most likely to get you arrested.\n\n> Vaxum brody\nAll of the jerkery vanishes from Brody's face. He reaches out and shakes your hand, and nothing else. \"Oh wow! It's so great to see a girl at PAX.\" You nod. \"So what are you in line for?\"\n\n\"Oh, there's this panel --\"\n\n\"The interactive fiction panel?\"\n\n\"That's the one!\"\n\nBrody looks over at the room. Into the doors. At the single remaining seat. \"Looks like there's only one seat,\" he says, voice hardening.\n\n\"Yeah,\" you say flatly. \"Looks like.\"\n\n\"So what the fuck are you here for?\" He releases a torrent of misogyny. Guess not even vaxum can make him nice.\n\n> You exex yourself\nYou hardly need to; you're sure you can outspeed Brody as it is. His presence is the problem here.\n\n> Guncho brody\nAs much as you'd love to guncho the hell out of Brody, it just doesn't work.\n\nAs much as you'd love to guncho the hell out of Brody, it just doesn't work.\n\n> Exex crowd\nLike you're seriously gonna do a favor for a bunch of strangers. They're behind you, and they haven't seen it fit to open up to you, so there.\n\n> Rezrov crowd\nYou speak the words, and all of a sudden, everything changes. The crowd seems so much less threatening, much less likely to trample you into a pulp or absorb you into its flesh.\n\n\"Oh hey, man!\" one of the attendees says. \"Oh. Sorry. Hey there, uh, you!\"\n\n\"Madeline,\" you say. \"Nice to meet you.\"\n\n\"You too! the guy responds. \"I'm sorry -- we were just so caught up in the line that we completely forgot there was anyone else here.\" He smiles and shakes your hand, and the cluster of people beside him opens up a bit, into a circle. You should rezrov your social life more often.\n\n> Cleesh crowd\nYou can't see what your spell did, but you're sure that somewhere in the morass, somebody is now frantically dodging feet.\n\nSomeone tries to summon Captain Planet from somewhere in the crowd.\n\n\"So did you see the Street Fighter panel?\"\n\n\"Nope,\" you say.\n\n\"GTA?\"\n\n\"No,\" you say, a bit less chirpily. You feel like something in a museum.\n\n> Nitfol crowd\nYou speak the words, and everything changes again. (Isn't magic awesome?)\n\n\"So did you ever play Photopia?\"\n\n\"I love Photopia!\" you exclaim. \"It's actually the only game that's ever made me cry.\"\n\n\"Really? Me too!\" a guy from the crowd exclaims. \"Did you play...\" And five minutes pass, and they are wonderful.\n\nYou duck as someone throws a paper airplane at you.\n\n> Izyuk yourself\nMaybe after the convention. That way you can get a refund on your flight.\n\n\"So did you play Broken Legs?\"\n\n\"I loved that game!\" You grin. \"Like, if the author could just come to my home and be my personal writing slave it would be awesome. Is that so weird?\"\n\n\"Yeeeeeaaah,\" a girl -- a girl! in the crowd says after a while. \"That's pretty weird. And there needs to be a post-comp version.\"\n\n\"Oh.\" You hardly know what to say anymore.\n\n> Exex crowd\nYou cast the spell, but there are just too many people for it to have any noticeable effect. PAX: its attendance is stronger than magic."
    },
    {
        "text": "> You look at your surroundings\nYou weren't quite sure what you were expecting. Crowds, sure, but not ten thousand people crammed into a tenth as many square feet until they ferment. They're sort of herded along by barriers and signs, but once you reach critical mass of a couple thousand, it just looks like an enormous mass. Fortunately, you made it to the end of the line. Unfortunately, so did Brody.\n\nA girl glares at you from the crowd -- she's glaring so hard that just by the scowl you can spot her. She's wearing a name tag reading \"Elise.\"\n\nBrody leers at you with either malice or lechery. You can't decide which would be worse.\n\n> Vaxum crowd\nIt doesn't do anything. Yay, the masses doesn't hate you!\n\n> Frotz crowd\nYou cast frotz at the masses, but apparently it doesn't take; all you can muster is a sudden flash of bright white light. There must be some highly scientific explanation for this.\n\n> Filfre\nA huge plume of fireworks bursts down from the ceiling. Tens of thousands of gamers stand agape for a second.\n\n> You examine Elise\nJust looking at Elise, you know that you are out of your element. There's nothing remarkable about her by sight, but somehow, she's managed to score the rapt attention of every teenage and not-so-teenage boy at PAX, and most of the girls -- in short, about tens of thousands of people who are absolutely infatuated with her. She's also glaring at you like your very existence in this line and potentially in this panel is a personal affront to you. You don't get it. Why is everyone the world makes you encounter so horrible to you?\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> Zifmia\nYou'd never be able to find anything you summoned in this crowd if you just cast it into thin air. Normally you at least have a field of vision to work with.\n\n> Vaxum elise\nYou speak the words, and Elise just changes. Her scowl turns to a smile. Her arms uncross. And all she can talk about is the games she loved, and why she loves them, and how hopeful she is about IF as a form. And she's only talking to you; it's like nobody else matters. And people wonder why you still do magic.\n\n> Guncho crowd\nAs much as you'd love to guncho the hell out of the masses, it just doesn't work.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\nYou notice Elise looking down at this tattered thing. She looks so forlorn, too. You really want to cheer her up.\n\n> Smell\nIt reeks of overcrowding.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> Krebf elise\nYou cast the krebf spell at Elise, but nothing happens. You probably shouldn't be so disappointed it was undamaged.\n\n> You talk to Elise\nYou strike up a conversation with Elise. \"So what brings you here?\"\n\n\"Well, I don't know. Seeing people talk, picking up swag, the works.\" She holds up a small leather-bound book, sort of in tatters. \"Like this, for instance. It's supposedly real vellum, or vegan fake vellum, or something -- anyway, it's legit. I got it at one of the booths, and I'd always wanted a spellbook of my own, you know? But then some asshole ripped it out of my hands and tore it up.\" She sighs. \"I really wanted to get back at him, too, but he just stormed off. Him and his stupid hair and his really stupid T-shirt.\" Your gaze shifts over to Brody for a second. Could there be more than one asshole at this con? Probably, yeah, but perhaps nobody quite at his level.\n\n> Rezrov crowd\nYou don't really want to cast rezrov at them again. You don't mind them, but you don't exactly want to hear the intimate details of their lives either.\n\n> Guncho enforcers\nAs much as you'd love to guncho the hell out of the enforcers, it just doesn't work.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> Krebf book\nYou speak the words. Elise looks skeptical at first -- oh damn it, did you undo your spell already? -- but the skepticism quickly dissolves once she notices what happens to your book. It's reforming, kind of like an ice cube freezing, And before you know it, it's as good as new. Possibly better.\n\n\"Oh my God,\" Elise says. \"How'd you do that?\"\n\n\"I know magic,\" you say, smiling. You try to restrain yourself from a huge monologue to her on the topic, but it's so hard and you kind of want to tell her anyway.\n\n> You tell Elise about magic\n(To talk to people in this game, use TALK TO . It's a Speed IF. Its conversational prowess is limited.)\n\n> You talk to Elise\nYou start to tell Elise about magic, and much to your relief, she doesn't immediately blow you off. You tell her about many things: the time you singlehandedly stopped the Irish potato famine and started the Revolutionary War in one fell swoop to the night you summoned up this delicious chicken-lobster-mango fettuccine for a date. She's absolutely rapt. It might sound weird, but you never knew magic could make your life so awesome!\n\n\"So this spellbook. If I wanted to, I could do magic too? Because I've got this asshole that needs a magical ass-whooping.\"\n\n\"Did he have a middle-finger mohawk?\"\n\n\"YES!\" There's so much in her voice: anger, astonishment. Relief. \"That's the one.\"\n\n\"If you want to, I can teach you,\" you say, hardly even knowing it. \"Just let me.\" She nods vigorously. Awesome! Now you just need a plan.\n\n> Melbor elise\nYou speak the words. Nothing visible happens, but Elise just comes off as so much more... primed. Yeah. That's it. Primed. Primed for ass-of-Brody-kicking.\n\n\"Thanks,\" she says, and it's almost like a one-liner.\"Now teach me a spell. Do it quickly,\" she adds.\n\n\"I don't have any murder spells,\" you say.\n\n\"So do you have any go-away spells, then?\"\n\n\"Actually, yes!\"\n\n\"Then just put it in here! I know you can do that, right?\" Your face shouldn't be blanching this much.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> Gnusto book\nNothing happens. You were never all that great at gnusto anyway.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> Frotz guncho\nYou cast frotz at guncho, but apparently it doesn't take; all you can muster is a sudden flash of bright white light. There must be some highly scientific explanation for this.\n\n> Gnusto zifmia\nNothing happens. You were never all that great at gnusto anyway.\n\n> Gnusto guncho\nYou start to speak the words, but it's no use; guncho is appearing in the spellbook, but one pixel at a time. Like you're on a 0.000001 modem. It's depressing. And Elise is sighing more than you ever want to see her sigh. There has to be a way to speed this up.\n\n> You exex yourself\nYou speak the words. Nothing happens that she can see, but you notice your brain absolutely racing. It's like the 1990s when they were talking about the information superhighway. Except there is one, and it's up in your head. Your casting probably just went up a million times. Like you leveled up. And it feels awesome.\n\n> Gnusto guncho\nYou speak the words, and gnusto appears in the spellbook. Lightning fast. Like the first time you got a real Internet connection. You grin.\n\n\"So is that it?\" Elise says.\n\n\"That's all,\" you agree.\n\n\"Awesome,\" she says. \"Now stand back!\" Elise stomps up to Brody, who regards her with something between contempt and absolute confusion. \"Yo. You. You with the stupid hair and the ridiculous T-shirt.\"\n\n\"At your service,\" he drawls.\"\n\n\"You ruined my spellbook,\" she says. \"And from what I hear, you've been being a real jerk to Madeline here.\" She points at you. \"So what do you have to say to that?\"\n\n\"Well, shit, I dunno,\" he responds. \"Maybe that I don't care? Shouldn't you be playing like Farmville or Barbie or something?\" He laughs. And laughs. And laughs some more.\n\n\"No,\" Elise says. \"Maybe I should be playing magic. Because Madeline knows magic. Ever consider that?\" She doesn't even let him finish. \"And now I know it too. And your ass is going down. Or should I say, going away. GNUSTO!\"\n\nYou'd love to say that there was this big explosion, full of flashing light, and gravity stopped too, and the world just completely collapsed in on itself. But gnusto was never that flashy. Instead, Brody is just gone, and Elise is standing before you. She gives you a hug, then a high-five. And for once, you're completely lost for words.\n\n> You look\nYou weren't quite sure what you were expecting. Crowds, sure, but not ten thousand people crammed into a tenth as many square feet until they ferment. They're sort of herded along by barriers and signs, but once you reach critical mass of a couple thousand, it just looks like an enormous mass. Fortunately, you made it to the end of the line. Unfortunately, so did Brody.\n\nBrody seems to have left a lamp behind.\n\nElise smiles at you. You never even knew you could actually make real friends at these things!\n\n> You get the lamp\nTaken.\n\n> You examine the lamp\nIt's a brass lantern. It looks eminently lightable with the right means.\n\n> Frotz lamp\nYou speak the words. Immediately, the lamp lights up with bursts of bright, flashing light. You wonder why light always does that.\n\n> You read the spellbook\nYou really don't think it's real vellum -- the booth guy probably stiffed her -- but it's nevertheless kind of breathtaking. Especially now that it's fixed.\n\n> Frotz lamp\nThere's no need; it's glowing more than you are.\n\nYou notice somebody dressed as Link try to blitz the enforcers, failing miserably.\n\n> You go north\nYou head through the door, the lamp lighting your way, down the corridor, to your seat, into your chair. The panelists haven't even started yet. But once you sit down, as if magic, they do. And they say wonderful things, and you take in even more wonderful things, all about IF and its future and the amazing things that will be done in the future. It is all you ever wanted out of PAX."
    },
    {
        "text": "....\n\nYou were never much of a history buff. You've always preferred learning how things work to learning useless facts about the past. But when your friend returned from the capital with tales of the moving statues in the Waker exhibit of the history museum, you decided it was finally time to see the capital for yourself.\n\nAfter arriving, you headed straight for the museum and found your way to the Waker exhibit.\n\nType CREDITS to see who helped me with this.\n\nWaker Exhibit, First Room\nThe first thing you notice upon entering the first room of the Waker Exhibit is the life-sized statue atop a pedestal in the middle of the room. This must be one of the moving statues your friend talked about. The rest of the room is unremarkable, with stone walls, featureless except for the diorama behind glass on one end. The rest of the museum is to the south, and the exhibit continues to the north.\n\n[Author's Note: You were never much of a history buff. You've always preferred learning how things work to learning useless facts about the past. But when your friend returned from the capital with tales of the moving statues in the Waker exhibit of the history museum, you decided it was finally time to see the capital for yourself.]\n\n> You examine statue\nThis life-size statue of a person appears to be made of wax. It is of a bald, fat man on the far side of middle age, and it is wearing a plain robe and slippers. It is standing on a pedestal and is motionless, although it appears to be built to allow its head to swivel. The pedestal has a large red button on it.\n\n> About yourself\nYou're the same as ever, wearing the same clothes you always wear: trousers, shirt, vest, and boots, all in black.\n\n> Inventory\nYou are carrying:\na black shirt (being worn)\na black vest (being worn)\nblack trousers (being worn)\nblack boots (being worn)\n\n> You examine the diorama\nYes, there is a diorama at one end of the room, but you find yourself unable to concentrate on it with that fascinating statue sitting in the middle of the room. Once you figure out how it moves, you'll be able to concentrate on the other parts of the room.\n\n> You examine the pedestal\nAn ordinary stone pedestal, upon which stands a statue. The only interesting feature of the pedestal is a large red button.\n\n> You examine the diorama\nThe area around the diorama is dark, and there is a bright spotlight shining on the diorama itself. The miniature chamber represented is a very lavish bedroom. The most striking feature, and the focus of the spotlight, is some sort of metallic box in the middle of the room.\n\nThe statue of Vel says, \"The first Waking was thrust upon me, and I was ill-prepared.\"\n\n> You look at the box\nThe box is made of metal, longer than it is wide or tall. It has many wires around it, and several tubes go from the box into the floor. It almost appears as if there is a horizontal seam down the length of the box.\n\nYou get a strange feeling looking at the box, as if staring at it a bit longer might be the key to interacting with the diorama.\n\nThe statue of Vel says, \"For a look into the first Waking, please interact with the diorama in front of you.\"\n\n> Continue\nYou stare intently at the metallic box. The spotlight seems to gradually get brighter as the rest of the room fades away. The box gets larger. Or are you moving closer to the box? You can't tell, and you can't look away as the box continues to get larger and larger. You suppose this is what the statue meant by \"interacting.\"\n\nWhen it doesn't seem like the box can get any larger or any brighter everything . . . changes.\n\nEverything is blackness. You gradually feel another presence, and you hear a voice. It sounds like the voice of the statue, Vel.\n\nYesterday was a glorious day. After weeks of lobbying and debate, the council had finally voted unanimously to awaken the God-King to deal with the crisis with war-like Chelny. The whole priesthood had been out celebrating last night. Well, the whole priesthood except for you, that is, good old Vel, the High Priest's assistant. He never minds being left behind to mind the temple.\n\nGod-King's Bedroom\nIt took you a few moments to build up the nerve to enter the room, since only the High Priest is supposed to come in here. A lavish bed sits at the far end of the room, with an ornate wardrobe to the side. To the east lies what you presume is the God-King's bathing room, and to the south is the hallway leading out of the God-King's rooms.\n\nThe dominant feature of the room, sitting directly in the center and lit by a recessed spotlight, is a large metallic box: the God-King's sleep chamber, where you presume he is sleeping deeply.\n\n> About yourself\nAs always, you are dressed in your humble robe and slippers. Your slippers, though, are getting harder and harder to see as your belly has grown larger as you have aged.\n\n> You examine the bed\nThis must be where the God-King sleeps when he's not in his sleeping chamber. You'd better not disturb it.\n\nYou must hurry and wake the God-King if he is going to be ready for the ceremony.\n\n> You open the box\nThe God-King's sleep chamber is made of metal, and it is slightly bigger in all dimensions than an ordinary coffin. It has many wires around it, and several tubes go from the box into the floor. There is a keypad on top of the sleep chamber, and a horizontal seam defines the lid.\n\nYou try to pry the lid open, but it is securely shut.\n\nYou must hurry and wake the God-King if he is going to be ready for the ceremony.\n\n> You examine keypad\nWires lead from the bottom of the sleep chamber to a keypad on top of the lid. There are ten keys numbered 0 through 9, along with a red key and a green key. You've overheard the High Priest talking about this, so you know that you're supposed to press the keys. However, you have no idea which keys to press.\n\nYou hear the faint whooshing of liquid from the tubes connected to the sleep chamber.\n\n> You check your inventory\nYou are carrying:\na robe (being worn)\nslippers (being worn)\n\n> Disrobe\nWhat do you want to disrobe?\n\n> You look at the keypad\nWires lead from the bottom of the sleep chamber to a keypad on top of the lid. There are ten keys numbered 0 through 9, along with a red key and a green key. You're supposed to press the keys, but you have no idea which ones."
    },
    {
        "text": "> You look around\nGod-King's Bedroom\nA lavish bed sits at the far end of the room, with an ornate wardrobe to the side. To the east lies what you presume is the God-King's bathing room, and to the south is the hallway leading out of the God-King's rooms.\n\nThe dominant feature of the room, sitting directly in the center and lit by a recessed spotlight, is a large metallic box: the God-King's sleep chamber, where you presume he is sleeping deeply.\n\nYou must hurry and wake the God-King if he is going to be ready for the ceremony.\n\n> You examine the spotlight\nA recessed spotlight shines down on the focal point of the room, a large metallic box: the God-King's sleep chamber.\n\n> You look under the bed\nThis must be where the God-King sleeps when he's not in his sleeping chamber. You'd better not disturb it.\n\n> You look at the wardrobe\nYes, it's the God-King's wardrobe. It's where he puts his clothes. You can worry about dressing him after you've woken him.\n\n> You listen to the chamber\nYou hadn't noticed before, but there is a faint humming sound coming from the sleep chamber. You can also hear the faint sound of liquid rushing through the tubes.\n\n> You listen to the tubes\nYou hear nothing unexpected.\n\nYou must hurry and wake the God-King if he is going to be ready for the ceremony.\n\n> Examine tubes\nThere are two tubes coming out of each end of the sleep chamber and going into the floor. At each end, one tube is filled with a clear liquid going into the sleep chamber, and one tube is filled with a grayish liquid going into the floor.\n\nYou must hurry and wake the God-King if he is going to be ready for the ceremony.\n\n> Xyzzy\nGesundheit!\n\n> You wake yourself\nThat seems unnecessary.\n\n> But do it gently\nYou can only do that to something animate."
    },
    {
        "text": "> You look around\nGod-King's Bedroom\nA lavish bed sits at the far end of the room, with an ornate wardrobe to the side. To the east lies what you presume is the God-King's bathing room, and to the south is the hallway leading out of the God-King's rooms.\n\nThe dominant feature of the room, sitting directly in the center and lit by a recessed spotlight, is a large metallic box: the God-King's sleep chamber, where you presume he is sleeping deeply.\n\n> You go to the east\nNo need to examine the bathing room first. Even though it's likely much fancier than any bathing room you've seen, you're sure you'll be able to figure it out when it's time. Your first priority is to awaken the God-King.\n\n> You go south\nAs much as you would like to retreat and go about your normal duties, someone has to waken the God-King. And since no one else can do it right now, that someone has to be you.\n\n> Kick chamber\nYou take out some of your frustration on the sleep chamber. It results in nothing except some soreness. If you really wanted to damage the sleep chamber, the keypad and tubes seem like good targets.\n\n> You knock on the chamber\nYou rap your knuckles on the God-King's sleep chamber. Other than the dull metallic clang, nothing seems to happen.\n\n> Kick tubes\nYou yank on a tube, and liquid spills all over the floor. The other tubes empty of liquid, and the faint humming stops. Louder shirrs and clanks come from the sleep chamber. Then those noises stop, and you hear a loud CRACK as the lid of the sleep chamber pops open. A hand pushes it the rest of the way open, and a figure sits up.\n\nYou had of course seen paintings of the God-King, but secretly you always thought the beauty of the God-King was an exaggeration. You now know that the paintings were the merest shadow of the God-King's full radiance. He is magnificent, beyond description. You love him without reservation and would do anything for him. You would die for him.\n\nThe God-King coughs and looks around, eyes focusing on you.\n\n\"Who are you?\" the God-King asks. Before you can find your tongue to reply, the God-King's face becomes confused. \"Where am I?\" the God-King asks, more of himself than of you. His voice becomes almost panicked as he asks, \"Who . . . who am I?\"\n\nThe scene goes black, and you hear Vel's voice. \"Yes, I am ashamed to admit that I was so desperate that I just wrecked the God-King's sleep chamber, not thinking about how it might affect the God-King. I later learned, to my relief, that the memory loss was inherent to the sleep process, not a result of anything I had foolishly done. In his inscrutable wisdom, the God-King chose me to counsel him during the first crisis, and so I became the first Waker.\"\n\nThe blackness slowly fades as you come back to yourself. You can still feel inside you Vel's love for the God-King, but that too is fading.\n\nWaker Exhibit, First Room\nThe main feature of the room is the life-sized statue atop a pedestal in the middle of the room. The rest of the room is unremarkable, with stone walls, featureless except for the diorama behind glass on one end. The rest of the museum is to the south, and the exhibit continues to the north.\n\n> You press the button\nYou press the large red button. You hear a faint whirring sound from the statue of Vel. Its eyes light up, and its head moves slowly back and forth.\n\nThe statue of Vel says, \"I am Vel. I was the first Waker of the God-King. Unlike the Wakers to follow me, I was not trained for the task.\"\n\n> You go to the north\nWaker Exhibit, Second Room\n\nThat's all for now."
    },
    {
        "text": "[Themes: profanity]\n\nAll is light. All should be light.\n\nBut it's not, and there is weight on your feet. Something isn't right.\n\nYou were in the middle of something just now. What was it?\n\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see a diary entry, a map, a broken killer statue, a broken mother statue, a broken target statue and a broken savior statue here.\n\n> About you\nAs good-looking as ever.\n\n> You examine diary\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the admiration I had reserved for myself. I knew my family would be stricken with terror, and I should have felt loathing for the action I was about to take, but this is the price of vigilance and everything else was stricken from my heart.\"\n\n> You look at map\nAnticipation    Optimism        Joy             Love            Trust Aggressiveness  Vigilance       Ecstacy         Admiration\nSubmission\nAnger           Rage            CENTER          Terror          Fear Contempt        Loathing        Grief           Amazement       Awe Disgust         Remorse         Sadness         Disapproval\nSurprise\n\n> You look at the killer statue\nThe killer stands resolute with weapon in hand, but his face betrays the most unpleasant of feelings.\n\n> You examine the mother statue\nShe covers her face with her hands, unable to contain her emotion.\n\n> You look at the savior statue\nOpen arms, ready to love anyone who does precisely as he asks.\n\n> You take all\ndiary entry: Taken.\nmap: Taken.\n\n> Go northeast\nYou can see a crime here.\n\n> You look at the crime\ntoo vile to touch, too horrible to forgive, too sad to keep closer than the furthest corner of the mind.\n\n> You take the crime\nTaken.\n\n> You go to the south-west\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see a broken killer statue, a broken mother statue, a broken target statue and a broken savior statue here.\n\n> You take the mother statue\nThe broken mother statue is far too heavy to lift.\n\n> You look at map\nAnticipation    Optimism        Joy             Love            Trust Aggressiveness  Vigilance       Ecstacy         Admiration\nSubmission\nAnger           Rage            CENTER          Terror          Fear Contempt        Loathing        Grief           Amazement       Awe Disgust         Remorse         Sadness         Disapproval\nSurprise\n\n> Go southwest\nYou can see a victim here.\n\n> You look at the victim\nyou should not have done this, a good man as you know him to be should not die this way\n\nyou should not have done this, a good man as you know him to be should not die this way\n\n> You look at diary entry\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the disapproval I had reserved for myself. I knew my family would be stricken with terror, and I should have felt disapproval for the action I was about to take, but this is the price of vigilance and everything else was stricken from my heart.\"\n\n> Inventory\nYou are carrying:\na victim\na crime\na map\na diary entry\n\n> Go north\nYou can see a family here.\n\n> You look at the family\nFive stages over and over, knowledge without comprehension, an undending and terrible cycle\n\n> You take the family\nTaken.\n\n> Go west\nYou can see a purpose here.\n\n> You look at the purpose\nyou must not question, you must only do exactly as you are told to do. no other choice.\n\n> Inventory\nYou are carrying:\na purpose\na family\na victim\na crime\na map\na diary entry\n\n> You look at the diary\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the vigilance I had reserved for myself. I knew my family would be stricken with vigilance, and I should have felt vigilance for the action I was about to take, but this is the price of vigilance and everything else was stricken from my heart.\"\n\n> You examine diary\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the the center I had reserved for myself. I knew my family would be stricken with the center, and I should have felt the center for the action I was about to take, but this is the price of the center and everything else was stricken from my heart.\"\n\n> You examine diary\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the grief I had reserved for myself. I knew my family would be stricken with grief, and I should have felt grief for the action I was about to take, but this is the price of grief and everything else was stricken from my heart.\"\n\n> You drop family\nDropped.\n\n> Go north\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see a broken killer statue, an unbroken mother statue, a broken target statue and a broken savior statue here.\n\n> You look at the mother\nShe covers her face with her hands, unable to contain her emotion.\n\n> You look at what you're carrying with you\nYou are carrying:\na purpose\na victim\na crime\na map\na diary entry\n\n> You look at the purpose\nyou must not question, you must only do exactly as you are told to do. no other choice.\n\n> You go to the south-west\nDropped.\n\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see a broken killer statue, an unbroken mother statue, a broken target statue and a broken savior statue here.\n\n> You go west\nYou can see a victim here.\n\nTaken.\n\nDropped.\n\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see a broken killer statue, an unbroken mother statue, a broken target statue and an unbroken savior statue here.\n\n> You look at the diary\nIt's part of a diary entry written on a scrap of journal paper. It reads, \"By the time I knew what I had to do, nothing remained in my heart but the the center I had reserved for myself. I knew my family would be stricken with grief, and I should have felt the center for the action I was about to take, but this is the price of submission and everything else was stricken from my heart.\"\n\n> You examine the killer\nThe killer stands resolute with weapon in hand, but his face betrays the most unpleasant of feelings.\n\n> You look at the crime\ntoo vile to touch, too horrible to forgive, too sad to keep closer than the furthest corner of the mind.\n\n> You go northeast\nDropped.\n\nYou are standing in the center of a colorwheel, its hues sliding away from your perception on all sides. Several dark gray statues in varying states of disrepair stand nearby.\n\nYou can see an unbroken killer statue, an unbroken mother statue, a broken target statue and an unbroken savior statue here.\n\n> You check your inventory\nYou are carrying:\na victim\na map\na diary entry\n\n> You look at the victim\nyou should not have done this, a good man as you know him to be should not die this way\n\n> Go northeast\nDropped.\n\nYou return to the center and are suddenly there again. You stand before him, pistol extended, disgust for your actions in your heart but standing resolute as a God-fearing man must be. Your mother sees what you are about to do and places her face in her hands, unable to watch. Your pistol barks and the face of the prime minister contorts in pain, a good man condemned to an early death by your hand.\n\nThey are coming for you, they break your body with sharp metal and rough hands but you can no longer hear them or feel them, for you are in the arms of they who called to you. \"It's time,\" they call. \"You are forgiven and you are loved. Truly you do our work this day.\"\n\nYou ascend smiling, your mind and body gone but your soul free at long last."
    },
    {
        "text": "Ah, this must be Tiamont Plaza. And over there is Rowena's Coffee House. Hopefully you're not late.\n\nThis morning you received a note (pushed under your door like your life has suddenly become a spy movie) asking you to come here regarding your sister. Who has been dead for four years as of today.\n\nPress any key...\nMeld\n\nThis is Tiamont Plaza, the heart of the city's Upias District (named after some long-dead scholar, you think). Few people are about, and those you see hurry past quickly, as if unwilling to spend any more time here than they really have to. A large stone statue has been erected here and looks to have become a target for the locals and their graffiti.\n\nTo the north (though blocked by a large gate) is Morring Row, south is Belmont Avenue, southeast is a winding path between tall buildings, west lies Rowena's Coffee House and northwest is City Library.\n\n[Author's Note: Being able to MELD is both a blessing and a curse - you can create incredible things out of every day items, but there are people who don't take kindly to that kind of power being in the wrong hands.]"
    },
    {
        "text": "> You examine the statue\nA once impressive statue, though now rather worn, of the famed historian Willem Wildemore, one hand raised as he delivers his classic Believe My Words speech. The locals have defaced it with\ngraffiti.\n\n> You examine graffiti\nBadly written and illegible in parts. You're probably better off not wasting too much time on this.\n\n> About yourself\nYour name is Arianah Charles, you're 25 years old and you can meld. You used to work in finance but since you discovered what you are, employment is no longer necessary. You're single and likely to remain so for the foreseeable future; when you can do the things you can do, it's not a good idea to get too close to people.\n\n> Inventory\nYou are carrying:\na note\nan ID card\nsome lipstick\n\n> You read the note\nThis was pushed under your door this morning. It simply tells you to go to Rowena's Coffee House on Tiamont Plaza, find an empty booth and wait there. Someone will contact you then.\n\nNow, normally you'd have assumed this was some kind of practical joke by the neighbourhood kids and just thrown it in the trash, but it also mentioned your sister. Who has been dead for four years. And today, of all days, is her birthday.\n\n> You examinethe i d card\nA piece of laminated card which fits neatly into your palm and lists your name, age, sex, address and the fact that you are 'clean' (i.e. not a wanted felon).\n\n> Go west\nOne of many coffee houses that have sprung up across the city offering cheap, barely drinkable (in your opinion) coffee to people with more money than common sense. This one is of fairly typical design: numerous tables and booths, an harassed looking waitress (the only employee that you can see) and an atmosphere thick with the smell of burnt coffee beans. Only one booth is free at this moment, this being due southwest.\n\nTo the east lies Tiamont Square.\n\n> You go to the south-west\nA cramped and not altogether pleasant booth, though you guess in this kind of establishment you're not paying for quality so much as cheap coffee. The booth has been defaced more times than you care to count, though some of the graffiti is quite amusing.\n\nYou can leave the booth to the northeast.\n\n> You examine the graffiti\nIt mainly involves the city council and the people in charge. It features a goat, a nun's outfit and... well, you might be better off not reading the rest of it.\n\nYou hear footsteps from outside the booth and a man hurries in after you, looks around nervously, and says, \"I don't think I was followed but it doesn't pay to be careless. The stakes are high, after all.\"\n\n\"Are you the man who sent me the note?\"\n\n\"Me? Heavens no! That was my associate. I'm just a, um, intermediary you might say. Miss Charles, I'm led to believe you are a most unusual individual possessing an ability some believe to be impossible. My associate wishes me to observe a demonstration of this ability so he can note your... um... worth.\"\n\n\"I don't do demonstrations, Mr...?\"\n\n\"Frobisher. Hans Frobisher. And I believe in this instance, Miss Charles, you might be willing to make such a demonstration. It involves your sister.\"\n\nYour breath catches in your throat. \"My sister is dead.\"\n\n\"Are you quite certain of that?\"\n\nWhich is a strange question because yes, you're very certain. You were there when she died. It's not the sort of thing you'd be mistaken about. \"What do you know about my sister?\"\n\n\"First the demonstration, if you will. My associate was very firm on that. Here.\" He hands you a ring. \"See what you can make of this.\"\n\n> You look at the ring\nA plain brass ring, worn by the passage of many years.\n\n> Meld ring\nYour head aches but nothing else seems to happen. You get the distinct feeling you're doing it wrong. Something is missing.\n\n> You look at the lipstick\nShockingly red and not your thing at all. You must have bought it without thinking."
    },
    {
        "text": "> You describe your surroundings\nA cramped and not altogether pleasant booth, though you guess in this kind of establishment you're not paying for quality so much as cheap coffee. The booth has been defaced more times than you care to count, though some of the graffiti is quite amusing. Frobisher sits in the far corner of the booth.\n\nYou can leave the booth to the northeast.\n\n> You talk to Frobisher\n\"What can you make with the ring?\" Frobisher asks.\n\n> You look at the booth\nThe cramped booth you're currently seated in. The sooner you're out of here, the better.\n\n> Meld ring with the note\nYou concentrate on the ring and the note and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n\"A good try,\" says Frobisher, \"but that's not what I had in mind.\"\n\n> You examine the graffiti\nIt mainly involves the city council and the people in charge. It features a goat, a nun's outfit and... well, you might be better off not reading the rest of it.\n\n> Meld ring with graffiti\nUnfortunately, your meld ability is limited in that you are unable to meld something that you are not physically holding. Also, the items in question can only be of a certain size - no melding buildings or aircraft for you!\n\nYou have heard rumours of other people, whose gift is far more advanced than your own, who can meld items simply by looking at them, but perhaps they are simply rumours and nothing more.\n\n> Inventory\nYou are carrying:\na ring\na note\nan ID card\nsome lipstick\n\n> You meld the lipstick with the ring\nYou concentrate on the lipstick and the ring and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n\"A good try,\" says Frobisher, \"but that's not what I had in mind.\"\n\n> You buy the coffee\nYou order a drink and, indeed, it's every bit as bad as you expected.\n\n> Meld  ring with the waitress\nUnfortunately, your meld ability is limited in that you are unable to meld something that you are not physically holding. Also, the items in question can only be of a certain size - no melding buildings or aircraft for you!\n\n> You examine waitress\nPretty, but looks rushed off her feet.\n\n> Go southwest\nA cramped and not altogether pleasant booth, though you guess in this kind of establishment you're not paying for quality so much as cheap coffee. The booth has been defaced more times than you care to count, though some of the graffiti is quite amusing. Frobisher sits in the far corner of the booth.\n\nYou can leave the booth to the northeast.\n\n> You wear the lipstick\nNo, it makes you look like you make a living dancing on tables. You honestly don't know why you bought it.\n\n> Unmeld lipstick\nYou concentrate on the lipstick and your meld ability takes hold, tearing apart the molecules of the lipstick and reforming them into a bracelet and a chisel.\n\n> Examine bracelet\nA metal bracelet which feels very cold to the touch.\n\n> You examine the chisel\nA rusted and somewhat battered chisel which you got when you demelded the lipstick.\n\n> Unmeld ring\nYou concentrate on the ring and bring your meld ability to bear, but nothing happens. It seems the ring hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Meld ring with the bracelet\nYou concentrate on the ring and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n\"A good try,\" says Frobisher, \"but that's not what I had in mind.\"\n\n> Meld ring with the chisel\nYou concentrate on the ring and the chisel and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n\"A good try,\" says Frobisher, \"but that's not what I had in mind.\"\n\n> Unmeld note\nYou concentrate on the note and bring your meld ability to bear, but nothing happens. It seems the note hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Unmeld Iunmeld i d.\nYou concentrate on the ID card and bring your meld ability to bear, but nothing happens. It seems the ID card hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> You meld the ithe d with the ring\nYou bring your meld ability to focus on the ID card and note. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a key.\n\n\"Very good,\" says Frobisher, his eyes aglow. \"You made a key, and not just a normal key either. Tell me, can you guess what lock it might open?\"\n\n\"The gate outside the cafe would be my first guess.\"\n\n\"Why don't you try it and see?\"\n\n> Go east\nThis is Tiamont Plaza, the heart of the city's Upias District (named after some long-dead scholar, you think). Few people are about, and those you see hurry past quickly, as if unwilling to spend any more time here than they really have to. A large stone statue has been erected here and looks to have become a target for the locals and their graffiti.\n\nTo the north (though blocked by a large gate) is Morring Row, south is Belmont Avenue, southeast is a winding path between tall buildings, west lies Rowena's Coffee House and northwest is City Library.\n\n> You open gate\nYou slip the key into the lock and turn it. There is a click!\nsound from the gate and the key literally sinks into the gate. You try to grab hold of it before it can be absorbed - it's your ID card, after all! - but it's gone.\n\nA moment later, the gate swings open.\n\n> You talk to Frobisher\n\"The gate swallowed the key!\" you say (which sounds worryingly weird to you, like the gate came to life and literally ate the key). \"My ID card was part of that. How do I get it back?\"\n\n\"I'm merely here as a go-between for my associate,\" says Frobisher, \"so I'm afraid I don't know. However, my associate mentioned that once the gate was open, you would be able to find an item on the other side that would give you your ID card back.\"\n\nYour head is spinning. \"That doesn't make any damn sense...\"\n\n\"Nevertheless, that is what my associate said. If you find this item - whatever it may be, he didn't tell me - bring it to me and we will see what can be done about it.\"\n\n\"Or maybe I should just go home and leave you and your crazy associate out of my life...\"\n\nFrobisher frowns. \"Without your ID card? I wouldn't advise that, Miss. Charles. The council tend to frown on citizens who have 'lost' their ID cards.\"\n\n> You go east\nThis is Tiamont Plaza, the heart of the city's Upias District (named after some long-dead scholar, you think). Few people are about, and those you see hurry past quickly, as if unwilling to spend any more time here than they really have to. A large stone statue has been erected here and looks to have become a target for the locals and their graffiti.\n\nTo the north is Morring Row, south is Belmont Avenue, southeast is a winding path between tall buildings, west lies Rowena's Coffee House and northwest is City Library.\n\n> You go to the north\nTo the northwest stands the grandly-titled Emperor Tavern, a massive structure looming over the whole of Morring Row and putting everything else into the shade. In truth, there's very little here aside from the tavern, a park off to the northeast and Tiamont Plaza to the south. An alley can be seen off to the west, running alongside the tavern.\n\nSomeone walking past mutters, \"Who left that damn gate open? It's locked for a reason, you know,\" and gives you a pointed look before disappearing into the park.\n\nFor more information on your melding ability, type 'Meld\nInfo'.\n\n> Meld info\nNo one really knows how melding works. Is it a genetic defect? The result of shady experiments? Latent psychic powers? Even you don't know and you've lived with it all your life.\n\nIt doesn't run in the family because your mother didn't have it and neither did your sister. You never met your father but he was a low-life thief who died after being shot whilst robbing a jewellery store. If he could meld, he'd have sold his ability to the highest bidder and to hell with the risks involved or the morality of doing such a thing.\n\nMelding has limits, though it tends to differ from person to person. Some (like you) can only meld items they have physical hold of; some (like you) can only meld one item with another; some (like you) can only meld an item they've seen before (so no melding nuclear weapons or futuristic laser guns!)\n\nMelding is random - something that has frustrated melders for years now. While it would be the ultimate source of income if it could be directed, melding unfortunately doesn't work that way. So while you might want to meld together a cheese grater and an iron and have it produce a cheque for a million credits, you can't. What you end up with when you meld two items together is unknown until the melding process is over and done with.\n\nMost melders can only meld. Some (like you) can also unmeld - or demeld - items; i.e. meld two items together then unmeld them into their base items. All melders are limited, however, in that they can only demeld items they themselves have melded together.\n\nExcept you. You can demeld anything that's previously been melded, no matter who did the melding.\n\nTechnically, melding isn't illegal but it's definitely not something you want to go around advertising you can do. While no one can simply meld a nuclear weapon out of two random items, the general public believe all the terrible stories they've heard about melders over the years: melding two people together (and no, you can't meld living matter) to form a third person; melding harmless items into bombs; melding killing random people close to the melder; and so on...\n\nYou're sure the stories of melders being abducted by the guards and held in secret government labs are just pure rumour, but it doesn't pay to take risks.\n\n> You examine Tavern\nA little too grandiose for your liking, but there's no\ndenying it's an impressive site.\n\n> You examine the alley\nA grimy alley running along the side of the Emperor Tavern.\n\n> You go west\nCity alleys are supposed to be cleaned every day, but apparently the crew responsible for this alley didn't get the memo. It's knee-deep in trash and smells like an open sewer. Just being here makes you feel queasy.\n\nA breath of fresh air flows from the east.\n\n> You examine trash\nSome of it looks - and smells! - like it's been here for months, if not years. The smell is enough to make your eyes water.\n\n> You take the trash\nYou wouldn't touch it with a barge pole. Literally.\n\n> You go to the east\nTo the northwest stands the grandly-titled Emperor Tavern, a massive structure looming over the whole of Morring Row and putting everything else into the shade. In truth, there's very little here aside from the tavern, a park off to the northeast and Tiamont Plaza to the south. An alley can be seen off to the west, running alongside the tavern.\n\n> You go to the north-west\nBefore today, you'd only heard of the Emperor Tavern but never visited it. It has a somewhat ominous reputation which might be all rumour and no substance, but seeing it from here you can well imagine its reputation is well-founded.\n\nWhat you see is a large room, massive in fact, in which literally hundreds of people sit around circular tables, drinking beer, smoking all manner of illegal substances, and gambling. Yes, gambling. Banned within the city limits it might be, but here you see it in abundance.\n\nYou can make your way deeper into the tavern to the north, west or northwest or you can return to Morring Row to the southeast.\n\nAs you step inside the tavern, and before you've had time to properly look around, a man almost walks into.\n\n\"Terribly sorry,\" he says, not sounding it one bit, then walks away.\n\nHmm... curious. You wonder why he pushed a slip of paper into your hand...?\n\n> You look at the slip\nIt reads, simply, 'Another test. Let's see what you can\nunmake of this'.\n\n> Unmeld slip\nYou concentrate on the slip of paper and your meld ability takes hold, tearing apart the molecules of the slip of paper and reforming them into a mirror and a passcard.\n\nIs this what Frobisher wanted from you? Maybe you should go back and speak to him about either the mirror or the passcard and see what he has to say.\n\n> You examine the mirror\nYour own face peers back at you. You look tired.\n\n> Go south\nThis is Tiamont Plaza, the heart of the city's Upias District (named after some long-dead scholar, you think). Few people are about, and those you see hurry past quickly, as if unwilling to spend any more time here than they really have to. A large stone statue has been erected here and looks to have become a target for the locals and their graffiti.\n\nTo the north is Morring Row, south is Belmont Avenue, southeast is a winding path between tall buildings, west lies Rowena's Coffee House and northwest is City Library.\n\n> Go west\nOne of many coffee houses that have sprung up across the city offering cheap, barely drinkable (in your opinion) coffee to people with more money than common sense. This one is of fairly typical design: numerous tables and booths, an harassed looking waitress (the only employee that you can see) and an atmosphere thick with the smell of burnt coffee beans. Only one booth is free at this moment, this being due southwest.\n\nTo the east lies Tiamont Square.\n\n> You go to the south-west\nA cramped and not altogether pleasant booth, though you guess in this kind of establishment you're not paying for quality so much as cheap coffee. The booth has been defaced more times than you care to count, though some of the graffiti is quite amusing.\n\nYou can leave the booth to the northeast.\n\nGone. Frobisher is gone! Damn the man and whatever game he's playing with you. First he encourages you to meld your ID card with the ring he gave you, and now he disappears on you.\n\nThis is bad. This is very bad. You need to get to the bottom of what is going on here and, just as important, you need to get your ID card back before you're stopped by the guard. You, of all people, can ill-afford to have the council taking an interest in your background.\n\nYou wonder if Frobisher left anything for you here in the booth...\n\n> You look at the graffiti\nIt mainly involves the city council and the people in charge. It features a goat, a nun's outfit and... well, you might be better off not reading the rest of it.\n\nHmmm... what's that at the bottom? You peer closer and see this written down: \"apologies for leaving suddenly. called away on business. left something for you in the shop on mawbury lane.\"\nIt's signed 'F'.\n\nInteresting.\n\n> Go south\nThat's back to your apartment and you can't leave without recovering your ID card. It might be weeks till you're stopped and asked for it but you can't risk that happening.\n\n> You go southeast\nLittle sunlight reaches this winding path due to the tall buildings on either side, buildings which seem to lean over, almost touching, above you. This is an old part of the city, with nothing here having been built in the last hundred years.\n\nNorthwest you can see Tiamont Plaza, to the south is an abandoned house and southeast is Mawbury Lane.\n\n> You examine the house\nOne of the many ruins which populate the city. No sooner is one fixed (or knocked down) than another needs working on.\n\n> You go southeast\nAs you make your way towards Mawbury Lane, a hulking man emerges suddenly from the shadows and blocks the path. Down one side of his face is a jagged scar and his eyes are mad and staring.\n\n\"Going somewhere, sweetheart?\" he grunts. \"Oh, I don't think so, 'cos this way-\" He nods to the southeast. \"I own it. Jacob's the name. So if you want to go that way, you gotta pay the toll.\"\n\n\"I never knew there was a toll on this road.\"\n\n\"There ain't. Not officially. But unofficially? Oh yeah. Now, don't go worrying about paying me in credits 'cos I know they can be traced easily enough, but jewellery? Yeah, jewellery is fine. Easy to fence, you know.\"\n\n\"And if I don't pay you anything at all?\"\n\nHis eyes narrow. \"Then you better just go back the way you came 'cos you sure ain't passing through here.\""
    },
    {
        "text": "> Look around\nLittle sunlight reaches this winding path due to the tall buildings on either side, buildings which seem to lean over, almost touching, above you. This is an old part of the city, with nothing here having been built in the last hundred years.\n\nNorthwest you can see Tiamont Plaza, to the south is an abandoned house and southeast is Mawbury Lane. Blocking the way to Mawbury Lane is a hulking thug by the name of Jacob.\n\n> You give the bracelet to Jacob\nHe sneers at the bracelet. \"That cheap piece of trash isn't buying you anything, sweetheart.\"\n\n> Inventory\nYou are carrying:\na passcard\na mirror\na bracelet\na chisel\na note\n\n> You meld the mirror with the bracelet\nYou concentrate on the mirror and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the mirror with chisel\nYou concentrate on the mirror and the chisel and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You show the passcard to Jacob\nJacob is unimpressed.\n\n> You go south\nYou're in the ruins of an abandoned house which looks to have been uninhabited for longer than you've been alive. The walls are damp, the ceiling has collapsed (in fact, most of it is on the floor) and the floor creaks beneath you. One especially large gap to the north leads out to the winding path. Clinging to one wall, though out of reach, is the remnants of a staircase.\n\n> You look at the staircase\nPart of a staircase, clinging to the wall. It's quite a way out of reach.\n\n> You examine the walls\nCrumbly and damp. It's a wonder the place hasn't already collapsed. In one wall is a jagged crack.\n\n> You examine the crack\nA crack a few inches wide. You could reach inside if you wanted, though the thought of rats in the walls makes you somewhat reluctant.\n\n> You hit the crack with chisel\nYou can only do that to something animate.\n\n> You examine the ceiling\nFor ceiling read floor, as most of it has collapsed and is currently underfoot.\n\n> You go northwest\nThe smell of old books greets you: while hardly a pungent aroma, it's certainly cloying. This is City Library: a sprawling array of bookshelves as far as the eye can see, watched over by a scowling librarian who seems to regard visitors to the library with the same kind of contempt normally reserved for serial killers.\n\n> You examine the librarian\nAn elderly fellow with papery skin who seems to treat the library as his own personal domain. Something about his demeanour indicates he takes slights very personally and knows how to bear a grudge.\n\n> You look at the books\nWithout knowing exactly which book you're looking for - if indeed you have a specific title in mind - you'll never find it here. The filing system is positively archaic!\n\n> You go to the northeast\nIt is surprisingly dark in Freemoor Park, though the trees, of which admittedly there are many, aren't tall enough to block out the sun. At the centre of the park is a pond of turgid, black water, from which rises an odour foul enough to make your eyes water.\n\nTo the southwest lies Morring Row.\n\n> You examine the trees\nSpindly trees with claw-like branches, dotted about the park in a haphazard fashion.\n\n> You examine the pond\nThis isn't water in the pond, surely? It looks like some kind of radioactive waste.\n\n> You go southwest\nTo the northwest stands the grandly-titled Emperor Tavern, a massive structure looming over the whole of Morring Row and putting everything else into the shade. In truth, there's very little here aside from the tavern, a park off to the northeast and Tiamont Plaza to the south. An alley can be seen off to the west, running alongside the tavern.\n\nThere is a disturbance just outside the Emperor Tavern. You and several other passers by stop to watch as an old man, clearly drunk, is expelled from the premises by bouncers. He staggers, almost falls, then spins on his heel (which almost causes him to fall over again) and shakes his fist at the bouncers.\n\n\"Lousy stinking tavern anyway!\" he yells. \"Wouldn't drink there if you paid me!\"\n\n\"Go home, Talbot, you've had enough for day,\" one of the bouncer says.\n\n\"Don't tell me what to do!\" the man Talbot shouts. \"You stole it from me, didn't you? You and your lousy boss! You... you...\"\n\nHe yells a few more choice phrases, some of them very colourful, then runs out of steam and staggers away in the direction of Freemoor Park. You give him a wide berth - the odour of sour beer emanating from him is quite pungent.\n\n> Go northeast\nIt is surprisingly dark in Freemoor Park, though the trees, of which admittedly there are many, aren't tall enough to block out the sun. At the centre of the park is a pond of turgid, black water, from which rises an odour foul enough to make your eyes water. Slouched down by the park is Talbot, looking drunker by the second.\n\nTo the southwest lies Morring Row.\n\n> You talk to Talbot\n\"Gerrawayfromme!\" he snarls, drunkenly waving you away. \"They stole it... the swine... they stole it from me...\"\n\n\"Stole what?\" you ask.\n\nBut Talbot is lost in drunken rantings and doesn't hear you.\n\n> Inventory\nYou are carrying:\na passcard\na mirror\na bracelet\na chisel\na note\n\n> You give the bracelet to Talbot\n\"Don't try an' trick me with that cheap trash!\" Talbot says.\n\n> You go southwest\nTo the northwest stands the grandly-titled Emperor Tavern, a massive structure looming over the whole of Morring Row and putting everything else into the shade. In truth, there's very little here aside from the tavern, a park off to the northeast and Tiamont Plaza to the south. An alley can be seen off to the west, running alongside the tavern.\n\n> Go northwest\nBefore today, you'd only heard of the Emperor Tavern but never visited it. It has a somewhat ominous reputation which might be all rumour and no substance, but seeing it from here you can well imagine its reputation is well-founded.\n\nWhat you see is a large room, massive in fact, in which literally hundreds of people sit around circular tables, drinking beer, smoking all manner of illegal substances, and gambling. Yes, gambling. Banned within the city limits it might be, but here you see it in abundance.\n\nYou can make your way deeper into the tavern to the north, west or northwest or you can return to Morring Row to the southeast.\n\n> Go north\nEmperor Tavern { North }\nAgainst the back wall of the tavern are a group of strange individuals engaged in some kind of staring contest at each other over a table. No one moves, no one says a word. All is deathly silent.\n\nYou can leave to the south when you wish.\n\n> You examine table\nThe table itself is ordinary, but there's a jewel of some kind in the centre of it which draws your attention. Is this what the staring contest is about?\n\n> You examine the individuals\nFrom the way they're dressed, you're guessing they're members of one of the strange cults you've heard talk about. According to news reports, they're supposed to be very dangerous and passersby are advised not to approach them.\n\n> You take the jewel\nThe moment you reach out to take the jewel, it flickers, as if it wasn't there at all. The men at the table cease their staring contest and look at you.\n\n\"Sacrilege!\" shouts one.\n\n\"Blasphemy!\" shouts another.\n\nA third reaches into his robes for what you guess is a knife, so you decide it's time to go and-\n\nBut you stop. One of the men has fixed his eyes onto yours and you find you can't move anywhere. He nods for you to sit down and you do. He indicates for you to place the jewel back on the table and you do.\n\nHe looks deep into your eyes, peeling back every secret, every memory. He discovers your meld ability and realises how useful it can be.\n\nYou spend a long, long time at the table staring into the eyes of the strange man...\n\n> Go west\nEmperor Tavern { West }\nThis area of the tavern seems a little more refined than the main area to the east. Here, the customers - or clientele - sit around sipping wine, talking in hushed voices and discussing the works of art adorning the walls. It's a welcome change after the noise just a short walk to the east.\n\nEvery eye in the place, and there are quite a few, look at you and a deathly silence falls. You could literally hear a pin drop here.\n\nBut when it becomes apparent that you aren't going to say or do anything dramatic, the clientele seem to lose interest in you and resume their quiet whisperings.\n\n> You look at the art\nYou're not really a fan of modern art so most of this leaves you cold. However, there's one painting of a king staring into the sun which quite catches your eye.\n\n> You look at the king\nAs you stare at the painting, you find your attention being drawn to the sun, in the same way as the king's attention is drawn to it. It takes an effort to look away.\n\n> You examine the people\nMuch more refined than the drunks in the rest of the tavern, these look the sort to actually appreciate the works of art on the walls.\n\n> You take the painting\nYou doubt the people gathered here are simply going to let you walk away with this.\n\n> You go east\nBefore today, you'd only heard of the Emperor Tavern but never visited it. It has a somewhat ominous reputation which might be all rumour and no substance, but seeing it from here you can well imagine its reputation is well-founded.\n\nWhat you see is a large room, massive in fact, in which literally hundreds of people sit around circular tables, drinking beer, smoking all manner of illegal substances, and gambling. Yes, gambling. Banned within the city limits it might be, but here you see it in abundance.\n\nYou can make your way deeper into the tavern to the north, west or northwest or you can return to Morring Row to the southeast.\n\n> You examine the people\nA rowdy bunch for the most part, deep in their cups and likely to remain that way for the foreseeable future.\n\n> You go to the northwest\nEmperor Tavern { Northwest }\nAhead of you, to the northwest is an archway which looks like it might have been removed from an ancient monastery or cathedral, beyond which you see... nothing. It must be a simple trick of the light but the area beyond the archway doesn't show up at all. You notice that you're the only one here - apparently all the other customers of the tavern prefer to give this area a wide berth. Returning to the rest of the tavern is possible by going southeast.\n\n> You go northwest\nAs you approach the archway, you experience a strange buzzing sensation in your mind and when it passes you find you're facing\naway from the archway.\n\nHow strange.\n\n> You go west\nEmperor Tavern { West }\nThis area of the tavern seems a little more refined than the main area to the east. Here, the customers - or clientele - sit around sipping wine, talking in hushed voices and discussing the works of art adorning the walls. It's a welcome change after the noise just a short walk to the east.\n\n> You talk to the people\nAs you try to strike up a conversation with a well-dressed gentleman, his equally well-dressed wife quickly steps in and says to you, \"Don't even think about speaking to my husband. He's horribly\ndrunk.\"\n\n\"Pish, darling,\" says the husband, \"I've barely drinked a touch!\"\n\nShe arches an eyebrow at him. \"Indeed. Take two of these.\" She shoves some tablets into his hand, one of which disappears into his mouth and the rest he drops. \"They'll soon sober you up.\"\n\nThe husband snorts, then coughs violently! \"Egads! Someone called an ambulance! I believe she's only bally well tried to poison me!\"\n\nThe wife rolls her eyes. \"They're anti-alcohol tablets, you fool.\" She takes him by the hand and leads him away. \"If you're going to make a fool of yourself, at least do it where everyone can't see you.\"\n\nSilence descends following their departure."
    },
    {
        "text": "> You look around\nEmperor Tavern { West }\nThis area of the tavern seems a little more refined than the main area to the east. Here, the customers - or clientele - sit around sipping wine, talking in hushed voices and discussing the works of art adorning the walls. It's a welcome change after the noise just a short walk to the east.\n\nYou can see a tablet here.\n\n> You take the tablet\nTaken.\n\n> You give tablet to Talbot\n\"This some kinda drug?\" he asks blearily, but before you can answer he takes it from you and swallows it in one go.\n\nAnd howls!\n\n\"Yah, that packs a punch and then some!\" He thumps himself on\nthe chest. \"You trying to kill me?\"\n\n\"Just sober you up,\" you say.\n\n\"Well, it certainly did that.\" He groans. \"I need a drink after that.\" At your expression, he quickly adds, \"Just a soft drink. I think there's a coffee house close by. I'll try that.\"\n\nHe puts his hand out and you shake it. \"Name's Oscar Talbot. You?\n\nYou tell him.\n\n\"Nice to meet you, lady. Come see me in the coffee house if you want to talk.\"\n\nHe wanders away from the park.\n\n> Go west\nOne of many coffee houses that have sprung up across the city offering cheap, barely drinkable (in your opinion) coffee to people with more money than common sense. This one is of fairly typical design: numerous tables and booths, an harassed looking waitress (the only employee that you can see) and an atmosphere thick with the smell of burnt coffee beans. Only one booth is free at this moment, this being due southwest. You see Oscar Talbot sat close by.\n\nTo the east lies Tiamont Square.\n\n> You talk to Oscar\nTalbot says, \"Sure packed one hell of a punch that tablet you gave me. My head is still throbbing.\"\n\n\"No need to thank me. You needed it more than I did.\"\n\nHe laughs, then groans. \"Agh. Laughing's not a good idea when your head's throbbing like mine is.\" He massages his forehead. \"Unusual for someone to help out a complete stranger like that, Miss. You ever need a favour doing, just holler. I'll hear you.\"\n\n\"You mentioned that something had been stolen from you in the Emperor Tavern.\"\n\n\"I did?\" Talbot rubs his head again and his good cheer fades. \"Yes, I did. A photo of my daughter.\"\n\n> Keep going\nTalbot says, \"She died. Her name was Annabel. She was young when it happened, and it broke my wife's heart. She left me and I haven't seen her since, though I've had my brain in the bottom of a bottle for a long time now so I don't blame her for leaving.\"\n\nHe goes quiet for a minute, staring into space, before finally saying, \"I gambled with some very dangerous people there. They took my money off me, but that wasn't what they wanted. They wanted something precious to me. The photo.\" Talbot sighs. \"I kept it with me as a reminder. After I'd lost all my money, they offered to double everything if I put the photo up as collateral. And I lost. I lost the last photo of my daughter.\"\n\n\"Why would they want the photo?\"\n\n\"Because of who they are. What they are. Mind thieves. Human\nsuffering is like a drug to them. Oh, what a fool I was. Gambling away something like that. But I'll get it back from them one day.\"\n\n\"More gambling?\"\n\n\"No, I've learnt my lesson there. Anyway, they cheated. The game was rigged. They switched the cards around when I wasn't looking and left me with a useless hand. No, lady, when I get the photo back from them, it won't be via gambling. And they won't be walking away from it to suck up someone else's misery, I can tell you.\"\n\n> You continue\nTalbot says, \"Sorry, I've told you too much. I'm just an old drunk and fool, talking my mouth off. Forget I said anything.\"\n\n\"Maybe I can help,\" you say.\n\n\"Against them? No, don't even think about it. They're dangerous. They could have killed me, but I guess it amuses them to leave me alive knowing how miserable I am now they've taken from me the one thing I miss the most. Stay away from them.\"\n\n> Continue\nTalbot says, \"Just stay away from them, Miss. Please. I don't want your death on my conscience on top of everything else.\"\n\n> Meld passcard with bracelet\nYou concentrate on the passcard and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld passcard with chisel\nYou concentrate on the passcard and the chisel and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld passcard with note\nYou concentrate on the passcard and the note and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Unmeld passcard\nYou concentrate on the passcard and your meld ability takes hold, tearing apart the molecules of the shockter and reforming them into a doll and some putty.\n\n> You look at the doll\nAn old-fashioned kind of doll, the sort of thing that was popular when your mother was a child.\n\n> You examine the putty\nSoft to the touch, but something prevents it being pulled apart.\n\n> Unmeld doll\nYou concentrate on the doll and bring your meld ability to bear, but nothing happens. It seems the doll hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Meld the mirror with the putty\nYou concentrate on the mirror and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Unmeld mirror\nYou concentrate on the mirror and bring your meld ability to bear, but nothing happens. It seems the mirror hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> You meld the mirror with the bracelet\nYou concentrate on the mirror and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the mirror with the note\nYou bring your meld ability to focus on the mirror and note. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a magnifying glass.\n\n> Unmeld bracelet\nYou concentrate on the bracelet and bring your meld ability to bear, but nothing happens. It seems the bracelet hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Meld bracelet with chisel\nYou bring your meld ability to focus on the bracelet and the chisel. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding some lipstick.\n\n> Unmeld lipstick\nYou concentrate on the lipstick and your meld ability takes hold, tearing apart the molecules of the lipstick and reforming them into a bracelet and a chisel.\n\n> Unmeld chisel\nYou concentrate on the chisel and bring your meld ability to bear, but nothing happens. It seems the chisel hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Meld bracelet with doll\nYou concentrate on the bracelet and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld bracelet with putty\nYou concentrate on the bracelet and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld chisel with doll\nYou concentrate on the chisel and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld chisel with putty\nYou concentrate on the chisel and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Unmeld putty\nYou concentrate on the putty and bring your meld ability to bear, but nothing happens. It seems the putty hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Unmeld note\nYou concentrate on the note and bring your meld ability to bear, but nothing happens. It seems the note hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> Meld the mirror with the doll\nYou concentrate on the mirror and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the doll with the note\nYou concentrate on the doll and the note and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld putty with note\nYou concentrate on the putty and the note and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the note with the bracelet\nYou concentrate on the note and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the note with chisel\nYou bring your meld ability to focus on the chisel and the note. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a rock.\n\n> You look at the rock\nA lump of rock big enough to fit comfortably into your hand. It feels unnaturally heavy.\n\n> You meld rock with the bracelet\nYou concentrate on the rock and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You hit Jacob with the rock\nJacob knocks the rock out of your hand.\n\n\"Nice try, sweetheart,\" he says.\n\n> You take rock\nYou already have that.\n\n> Meld rock\nYour head aches but nothing else seems to happen. You get the distinct feeling you're doing it wrong. Something is missing.\n\nOf course. You're forgetting the simplest, most basic rule of melding: it needs to work with another item. You cannot meld something\non its own.\n\n> You meld rock with the mirror\nYou concentrate on the rock and the mirror and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld rock with the putty\nYou concentrate on the rock and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld rock with the doll\nYou concentrate on the rock and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld the doll with the putty\nYou bring your meld ability to focus on the doll and the putty. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a passcard.\n\n> You meld passcard with rock\nYou concentrate on the passcard and the rock and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld passcard with mirror\nYou bring your meld ability to focus on the mirror and the passcard. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you once more holding the slip of paper.\n\n> Meld slip with the rock\nYou concentrate on the slip of paper and the rock and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Unmeld slip\nYou concentrate on the slip of paper and your meld ability takes hold, tearing apart the molecules of the slip of paper and reforming them into a mirror and a passcard.\n\n> You check your inventory\nYou are carrying:\na putty\na doll\na mirror\na rock\na bracelet\n\n> You meld the mirror with the bracelet\nYou concentrate on the mirror and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You talk to the librarian\nHe looks at you, sighs deeper, as if the very idea of talking to you is a gargantuan effort, and says \"Can I help you with anything?\"\n\n\"I was just-\"\n\n\"Feel free to browse the bookshelves if you like. We have an excellent collection of Dromond's novels and a rare first by Edias. All very interesting works.\"\n\n\"Well, I was-\"\n\n\"Or local history? Does that interest you? If so, have a look at some of the bookshelves. I'm sure something will take your fancy.\"\n\n\"I was-\"\n\n\"Ah, my apologies. Under new library rules, I am only allowed to spend a certain amount of time with each customer, and your time is at an end. Now, if you don't mind, I have other work to attend to.\"\n\n\"But-\"\n\nBut you're wasting your breath. The librarian clearly has no interest in talking to you.\n\n> You talk to the waitress\n\"Be with you in a minute,\" she says, and rushes off to serve someone else.\n\n> You look at what you're carrying with you\nYou are carrying:\na magnifying glass\na chisel\na putty\na doll\na bracelet\n\n> Unmeld painting\nYou concentrate on the painting and bring your meld ability to bear, but nothing happens. It seems the painting hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> You talk to the individuals\nNo matter what you say to them, they don't answer. It's almost like they're so focused on their staring, they literally don't know you're here.\n\n> You look at what you're carrying with you\nYou are carrying:\na magnifying glass\na chisel\na putty\na doll\na bracelet\n\n> You put the mirror on the table\nYou put the mirror on the table.\n\nAs soon as this happens, it blocks the view of the jewel from one of the men, and something very strange happens.\n\nThe jewel flickers, as if it's not really there at all! Then it fades away altogether.\n\n\"How dare you!\" one of the men cries, springing to his feet. \"You have disrupted a most important experiment!\n\n\"Oh, pish, Pavlaroka,\" another of the men says. \"If someone placing a mirror on the table can disrupt your mind jewel, you're nothing but a charlatan anyway. You ought to be ashamed.\"\n\nPavlaroka goes pale. \"But- but-\" He glares daggers at you. \"You'll be sorry for this, madam. Believe me, you'll be very, very\nsorry.\"\n\nHe storms away, pausing only to flash an angry glance back over his shoulder at you.\n\nOne by one, the other men get up and leave, all save the one who dismissed Pavlaroka as a charlatan. He regards you coldly, but with some amusement in his eyes. \"Well... that was an interesting turn of events. My name is Tobol. Tell me, did you deliberately do that to antagonise Pavlaroka or was it pure happenstance? No, don't answer the question. I'll just amuse myself with the knowledge that Pavlaroka has more enemies than I previously imagined.\"\n\n> You talk to Tobol\nYou explain about Oscar Talbot and the photo of his daughter that he lost gambling.\n\nTobol shrugs. \"He gambled. He lost. What more can I say?\"\n\n\"You could give him the photo back.\"\n\n\"I could, but I won't. He gambled fair and square and he lost fair and square. If he wishes to have the photo back, he can go to the guard and see how far that takes him. And why does it concern you anyway? Are you some kind of good samaritan to the drunken and worthless?\"\n\n\"Would you take something else in exchange?\"\n\nTobol smiles. \"Ah, now we're getting to the heart of the matter, aren't we? Very well. The photo by itself has no value to me. I would take money, but Talbot has none. However, there is a certain pearl I have seen, blue in colour, which rests in the display area of a jewellery shop on Mawbury Lane. It costs, I believe, 2 million credits. I will take that in exchange for the photo.\"\n\n\"I hardly think Talbot has 2 million credits just lying around.\"\n\n\"Then the photo is mine. Perhaps I will burn it, or cut it into small pieces and let the breeze carry it away.\"\n\n> You talk to Tobol\n\"If you do not have the pearl, we have nothing to discuss. If you do, give it to me.\"\n\n> You examine the buildings\nIt's really strange how they lean like that and seem to be on the verge of toppling over. Some architectural flaw? Were they designed like that?\n\nYou don't feel especially safe on this path, like the buildings might suddenly decide to fall on you at any moment.\n\n> You check what you're carrying\nYou are carrying:\na mirror\na note\na chisel\na putty\na doll\na bracelet\n\n> You meld the glass with bracelet\nYou concentrate on the magnifying glass and the bracelet and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the glass with chisel\nYou concentrate on the magnifying glass and the chisel and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the glass with the doll\nYou concentrate on the magnifying glass and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> You meld the glass with the putty\nYou concentrate on the magnifying glass and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld chisel with bracelet\nYou bring your meld ability to focus on the bracelet and the chisel. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding some lipstick.\n\n> You meld the glass with the lipstick\nYou bring your meld ability to focus on the magnifying glass and the lipstick and the note. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a gun.\n\n> You examine the gun\nThis is the kind of old-fashioned gun you remember seeing as a child in black and white films. It fires bullets, of which it currently none, instead of a laser beam like modern guns.\n\n> You meld the gun with the doll\nYou concentrate on the gun and the doll and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Meld gun with the putty\nYou concentrate on the gun and the putty and bring your meld ability to bear, but nothing happens. The items cannot be melded with each other.\n\n> Shoot gun\nYou can only do that to something animate.\n\n> You show the gun to Oscar\nOscar Talbot is unimpressed.\n\n> You show the gun to Jacob\nJacob takes one look at the gun and hastily backs away. \"Hey, sweetheart! Take it easy now! I wasn't gonna hurt you, honest, I was just- just-\"\n\nWhatever he was just planning to do you never find out because he turns on his heel and runs off as fast as he can.\n\n> Go southeast\nThe old part of the city, but quite charming in its own right. There's a fountain here to drink from, though you're not entirely sure the water is good for you. A street artist can be seen here, performing for passersby.\n\nTo the north is Padgett's Jewellers, south is Thorobad Road, east lies the exclusive Bagliatiers Club, southeast the Tower of Morning and northwest is a winding path.\n\n> You look at the fountain\nAn ancient stone fountain, likely built back in the days when people rode around on horses. It's full of water, but you're not sure how clean it is.\n\n> You go to the north\nThe interior of the shop is a ruin: tumbled over displays, flickering lights and the security system seems to be malfunctioning. There's a pedestal in the centre of the store which seems to have survived the worst of the damage.\n\nThere is a small manager's office to the north and to the south is Mawbury Lane.\n\nThe disruption caused by the Angel's departure seems to have badly hit Padgett's Jewellers. Most of the displays have fallen over and the previous state-of-the-art security system appears to be malfunctioning. Of the manager, Mr Kimble, you can see no sign.\n\n> You examine the pedestal\nIt's hard to pay much attention to the pedestal with the blue pearl atop it.\n\n> You examine the pearl\nBeautiful and then some. Even for someone not overly impressed with fancy jewels, this is very eye-catching. Unfortunately, the 2 million credit price tag puts it roughly 2 million credits out of your price range.\n\n> You take the pearl\nHoping the alarms have been disabled, you pick up the large blue pearl.\n\nWhich, the moment it leaves the pedestal, shimmers and shrinks to about half its former size. Clearly the pedestal is fitted with some kind of cloaking device designed to make the pearl look much grander than it previously was.\n\n> You take the pedestal\nIt's fixed in place.\n\n> Unmeld pearl\nYou concentrate on the small blue pearl and bring your meld ability to bear, but nothing happens. It seems the small blue pearl hasn't been melded from anything and therefore it can't be unmelded into something else.\n\n> You go to the south\nThe old part of the city, but quite charming in its own right. There's a fountain here to drink from, though you're not entirely sure the water is good for you. A street artist can be seen here, performing for passersby.\n\nTo the north is Padgett's Jewellers, south is Thorobad Road, east lies the exclusive Bagliatiers Club, southeast the Tower of Morning and northwest is a winding path.\n\n> You go to the northwest\nLittle sunlight reaches this winding path due to the tall buildings on either side, buildings which seem to lean over, almost touching, above you. This is an old part of the city, with nothing here having been built in the last hundred years.\n\nNorthwest you can see Tiamont Plaza, to the south is an abandoned house and southeast is Mawbury Lane.\n\n> Go north\nEmperor Tavern { North }\nAgainst the back wall of the tavern is a table. This was previously occupied by a group of strange individuals having a staring contest, but they have now all departed save for one man called Tobol.\n\nYou can leave to the south when you wish.\n\n> You give the pearl to Tobol\nTobol's eyes narrow slightly. \"Interesting. When I asked for the pearl, I did not believe you would be able to acquire it, however it seems you are more resourceful than I imagined.\"\n\n\"We had a deal. Do you have the photo?\"\n\n\"I do indeed.\" Tobol produces it from his pocket and casually tosses it to you. \"Take it. A small thing. Trivial, of no account. But this,\" he taps the pearl, \"is worth a fortune. You are a strange person, to trade such obvious wealth for something of no value.\"\n\n\"It means everything to Talbot.\"\n\nTobol gives you a ghost of a smile. \"Indeed.\"\n\n> You take the photo\nYou already have that.\n\n> You examine photo\nAn old photo of a young girl, smiling prettily at the camera.\n\n> You give the photo to Oscar\nTalbot's hand shakes as he reaches out to take the photo. \"How did you...?\"\n\n\"Don't ask. I'm just glad I could retrieve it for you.\"\n\nTalbot stares at the photo. His eyes fill with tears, but he quickly wipes them away. \"Oh, I'm an old fool, gambling with this...\nBut I'm done now. No more gambling for me. I'd die if I lost this again. Tell me, please, how can I repay you?\"\n\nYou tell him there's no need, but he searches about his person for something, anything, to give you by way of payment. Finally he reaches into his pocket and pulls out a scarf. He holds it tightly then hands it to you. \"Accept this. Please. It's not much but... years ago, before my daughter died, before my wife left me and I began drinking myself to death, I was a member of a very important club on Mawbury Lane. Bagliatiers. You may have heard of it. This scarf was something we all wore as a badge of our membership. It's not worth much these days - probably almost nothing in fact - but you might be able to sell it for something, and if not just...\" He laughs softly. \"Just use it to keep warm.\"\n\nHe won't take no for an answer so you accept the scarf. Talbot thanks you again, then rises slowly to his feet, still clutching the photo of his daughter, and leaves the coffee house.\n\n> You check what you're carrying\nYou are carrying:\na scarf\na gun\na putty\na doll\n\n> Wear scarf\nYou put on the scarf.\n\n> Go east\nThis is the lobby area of a very exclusive club, the kind of place that only people with earnings in the seven figure category ever get to visit. The floor is all marble tiles and the walls fairly shimmer. Steel doors are set into the east wall and look impervious to anything less than a nuclear strike. A small slot to the side looks like the means of access, assuming you have anything that might fit into it. Due west lies Mawbury Lane.\n\nYou hear footsteps from behind you and turn to see a tall, heavily-built man stood in the doorway. He has the look of a bodyguard or soldier.\n\nHe notices the scarf you're  wearing and offers a short nod. \"Welcome to Bagliatiers, madam. I am Farrah, head of security, at your service.\"\n\n> You examine the door\nA pair of impressive steel doors set into the east wall, currently closed.\n\n> Examine slot\nA slot about the size of a playing card.\n\n> You talk to Farrah\n\"Welcome to Bagliatiers, madam,\" he says."
    },
    {
        "text": "> You look around\nThis is the lobby area of a very exclusive club, the kind of place that only people with earnings in the seven figure category ever get to visit. The floor is all marble tiles and the walls fairly shimmer. Steel doors are set into the east wall and look impervious to anything less than a nuclear strike. A small slot to the side looks like the means of access, assuming you have anything that might fit into it. Farrah, the head of security at the club, is stood by the doors. Due west lies Mawbury Lane.\n\n> Meld the doll with the putty\nYou bring your meld ability to focus on the doll and the putty. You watch as they become melded together... their molecules becoming one... transforming into something else...\n\nLeaving you holding a passcard.\n\n> You put the passcard in the slot\nThe passcard slides into the slot and, a moment later, the steel doors slide open.\n\n> Go east\nOld leather chairs surround a central area where you see a large table has been set up. Atop this table is a map of the city shown from an aerial viewpoint. Gathered around the table are a group of elderly men.\n\n\"Ah, so good of you come here, Miss Charles,\" says an elderly gentleman seated in an armchair at the table. \"We've been waiting for you.\"\n\nYou glance around uneasily. None of the people here can be younger than eighty, but there's nothing frail about them. They have the look of old money and old power.\n\n\"Who are you are what do you want with me?\" you ask.\n\n\"My name is Carl Mountbatten. I meld.\" He gestures to the others in the room. \"We all meld, but none to quite the extent that you\ndo. We want to recruit you, Miss Charles, for a little job. We also want to talk to you about Tanya.\" He smiles. \"Yes, your sister. She isn't dead and, with your help, we can rescue her.\"\n\nPress a key...\nThe introduction to 'Meld' has finished. Feel free to check out how well you did with the 'stats' command.\n\n> Stats\nTotal items melded: 7/12\nTotal items unmelded: 5/11\n\nMelded:\nMelded G (Gun)\nMelded K (Key)\nMelded L (Lipstick)\nMelded M (Magnifying glass)\nMelded P (slip of Paper & Passcard)\nMelded R (Rock)\n\nUnmelded:\nUnmelded L (Lipstick)\nUnmelded M (Magnifying glass)\nUnmelded P (slip of Paper & Passcard)\nUnmelded R (Rock)\n\n> You look at Carl\nAn elderly fellow.\n\nHe looks quite miffed at having such a brief description but then you only meet him at the very end of the introduction so he'll just have to live with it.\n\n> You talk to Carl\n\"Sorry, I don't have any proper dialogue,\" he says. \"You'll have to wait for the full game for that.\"\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Science Fiction]\n\nHe's not coming, you tell yourself. What the hell were\nyou thinking? The one familiar piece of your life that you have on this ship, and you've screwed it up, Anne. Whether or not he walks through that door (which he won't!), you've screwed it up.\n\nYou let out a long (possibly audible) sigh, searching for the answer in your drink. You know what you were thinking, You were thinking\nthat it felt right, that it was a logical next step. You were thinking that things generally go your way, and that this would too.\n\nAction:\n\n[Author's Note: Ensigns Anne Blackwell and John Jemison have known each other most of their lives, but are they prepared for the changes that lie ahead after they're stationed together aboard the USS Enterprise?]\n\n> You check what you're carrying\nYou're not presently carrying anything, but you are slowly nursing a drink.\n\nAction:\n\n> About yourself\nYou glance down at your gold operations uniform, but see nothing particularly out of the ordinary.\n\nAction:\n\n> Sing\nI didn't understand that.\n\nAction:\n\n> You wait\nC'mon, Anne, he'll be here. He's... just taking awhile to finish\nup in Sickbay.\n\nAction:\n\n> You think\nOh, now you want to think things through? Possibly you should have done that last night.\n\nAction:\n\n> Drink\n(the drink)\nYou take your first effervescent sip.\n\nAction:\n\n> Xyzzy\nAny sufficiently advanced technology is indistinguishable from magic, but now really isn't the time.\n\nGuinan appears at your table, startling you a bit. \"How's the Moscow mule?\" she asks.\n\n1 \"Moscow mule?\"\n2 \"It's... good. Thanks.\"\n\nAction or Reply:\n\n> You leave\nIt's been a long day on your feet, you'd prefer to sit.\n\nAction or Reply:\n\n> Reply\nI didn't understand that.\n\nAction or Reply:\n\n> 1\n\"Moscow mule?\" you say, looking down at the glass in front of you as if seeing it for the first time. \"Oh, my drink. Right...\"\n\n\"You told me to mix up something distracting,\" Guinan smiles. \"But it looks like you were already pretty distracted to begin with.\"\n\n\"Yeah, I guess I've got a lot on my mind.\"\n\n\"You want to talk about it?\" she asks.\n\n1 \"Not really. It's kind of personal.\"\n2 \"Maybe? It's... kind of complicated.\"\n3 \"Is listening to my issues really part of your job\ndescription?\"\n\nAction or Reply:\n\n> 2\n\"Maybe? It's... kind of complicated.\"\n\nGuinan helps herself to the seat across from you. \"May I?\" She's already seated, so you just shrug and smile. \"Thanks. You're Anne Blackwell, right?\"\n\n\"Yeah,\" you respond, surprised. You haven't been on this ship long, and didn't think you'd spoken to Guinan enough for her to be able to recall your name. You're not sure you've even ever introduced yourself.\n\nNot for the first time, you wonder why Starfleet uniforms don't come with name tags.\n\n1 \"How do you know my name?\"\n2 Just let her keep talking.\n\nAction or Reply:\n\n> 2\nCurious as you are, you decide to just let her keep talking.\n\n\"Good to meet you, Anne. My name is Guinan. I tend bar... and I listen.\" she smiles at you. You already knew who she was, though this is the first time you've really spoken to her at any length. \"I've heard people saying you're smart. That they're expecting a lot from you, but that you're up to the task.\"\n\n1 That's good to hear. [Confident]\n2 That's good to hear. [Happy]\n3 That's good to hear. [Relieved]\n4 That's good to hear. [Pressured]\n\nAction or Reply:\n\n> 3\n\"That's good to hear,\" you reply. \"But that's not why I'm preoccupied.\"\n\n\"Must be pretty complicated indeed to throw off a well-educated engineer like yourself,\" muses Guinan. You're not at all convinced that she's being sincere.\n\n1 \"Yeah? Well, I must have missed the class on how not to ruin friendships at the Academy.\"\n2 \"If friends came with engineering schematics I'd probably be\nmore on top of this.\n3 \"I'm kind of worried I've broken something I'll never be able\nto repair.\"\n\nAction or Reply:\n\n> 2\n\"I guess if friends came with engineering schematics I'd probably be more on top of this.\" You meant for that to be a joke, but instead it comes across as sort of defeated and sad. Guinan smiles, aware of your intent.\n\n\"Something tells me you'll be able to think your way through this one.\" As she says this, she nods toward the entrance to Ten Forward. Following her gaze, you see John.\n\nYou turn around quickly, suddenly not so sure you want to go through with this conversation. But it's too late to get Guinan's advice \u2014 she's quickly moved on to helping other customers.\n\nA fan fiction created for the Star Trek Game Jam (2016). Alpha 3.0 by Jacqueline A. Lott\n\nReaders are encouraged to peruse the CREDITS and ABOUT text.\n\nAfter a moment of hesitation, you decide to wave John over to your table. This conversation has to happen sooner or later, Anne,\nyou think to yourself. Might as well get it out of the way.\n\nJohn acknowledges you with a gentle smile and makes his way over to your table.\n\n1 \"Thanks for coming.\"\n2 \"Long shift in sick bay?\"\n3 Say nothing\u2014let him start things off.\n\nAction or Reply:\n\n> 1\n\"Thanks for coming.\" He gives you a quick hug and sits down across from you.\n\n\"Sure thing. I was actually really glad you asked me to meet you here.\"\n\n1 \"You were?\" [Worried]\n2 \"You were?\" [Optimistic]\n3 \"Oh yeah? Why's that?\" [Casual]\n\nAction or Reply:\n\n> 2\n\"You were?\" you ask, trying to keep the relief out of your voice.\n\nJohn smiles, clearly trying his best to be reassuring, but you can tell he's angsting. \"Yeah. I don't know how to say this, so I'm just going to say it: last night got weird for me. I want to apologize. I'm really sorry I walked out on you.\"\n\n1 \"It's okay. It's not like you didn't have a reason.\"\n2 \"I sat there for a long time after you left.\"\n3 Don't speak. Let him keep talking.\n\nAction or Reply:\n\n> 3\nHERE ENDS THE PLAYABLE INTRO. THANKS FOR PLAYING!\n\nAction or Reply:\n\n> Action\nI didn't understand that.\n\nAction or Reply:\n\n> Drink\n(the drink)\nYou take another sip. The ginger beer in it has a very intense taste.\n\nAction or Reply:\n\n> Smell drink\nUnlike other public areas of the ship, where the air is filtered through the environmental controls, Ten Forward is filled with all sorts of scents this evening, from goulash to gagh.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> Kiss john\nJohn might not like that.\n\nAction or Reply:\n\n> You eat key\nYou can't see any such thing.\n\nAction or Reply:\n\n> You eat john\nHe's plainly inedible.\n\nAction or Reply:\n\n> You eat yourself\nYou're plainly inedible.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You check your inventory\nYou're not presently carrying anything, but you are slowly nursing a drink.\n\nAction or Reply:\n\n> You examine the drink\nIt's some twentieth century concoction \u2014 fizzy, not at all\nunpleasant.\n\nUnlike the original, though, this one's made with synthehol. For a second you wonder if you should ask Guinan for the good stuff, but think better of it.\n\nThings aren't quite that bad. At least, I hope they're not.\n\nAction or Reply:\n\n> You throw the drink at John\n(first taking the drink)\nAnother swallow. You notice the hints of lime.\n\nAction or Reply:\n\n> You drink the drink\nYou notice the coolness of the copper mug in your hand as you take another sip.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You continue\nYou take another pull on the drink.\n\nAction or Reply:\n\n> You drink the drink\nAnother sip. These really are pretty good.\n\nAction or Reply:\n\n> You examine john\nYou take another sip and note that the drink is starting to get a bit watery.\n\nAction or Reply:\nAction or Reply:\n\nJohn evidently hasn't had a chance to drop by his quarters yet; he's still wearing his blue medical uniform.\n\nYou and John have been friends for as long as you can remember\u2014after"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nall, you grew up together. You've always appreciated his kindness, his empathy for others, the way he can make you smile. Lately, though, things have changed, and you're not sure why. You can't deny an attraction to him.\n\n[John is expecting you to reply.]\nAction or Reply:\nAction or Reply:\n\nThis is the gathering place, the best place to people-watch on the ship.\n\nAction or Reply:\n\n> Drink\n(the drink)\nYou drink a bit more. Seems that the ice is mostly melted now.\n\nAction or Reply:\n\n> You keep going\n(the drink)\nYou drink a bit more. It's nearly gone.\n\nAction or Reply:\n\n> Keep going\n(the drink)\nOne last sip. Quite watery. This is a drink that starts off amazing but ends rather blah. Maybe you should get another one.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You order the drink\nThese are actually pretty delicious, so you decide to order another one. Guinan brings it to your table.\n\nAction or Reply:\n\n> You examine the people\nPeople come and go. Some faces you recognize, but only vaguely. You're pretty new to the ship and don't know too many people yet.\n\nAction or Reply:\n\n> You examine the ice\nYou can't see any such thing.\n\nAction or Reply:\n\n> You order the the hard stuff\nNo, things are quite that dire.\n\nAction or Reply:\n\n> You examine Guinan\nYou've come to love Guinan's sense of style, and today's outfit is no exception. The gown is floor-length, comprised of countless folds of intricately-woven fabric, and long sleeved, each arm ending in fingerless gloves. A signature Guinan hat \u2014 large and flat \u2014 rounds out the ensemble.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You look at the hat\nAs usual, Guinan stands out among the sea of Starfleet uniforms: she is resplendent in a bright red gown and matching hat.\n\nAction or Reply:\n\n> You wear the hat\n(first taking the gown)\nThat seems to belong to Guinan.\n\nAction or Reply:\n\n> You talk to the people\nYou can only do that to something animate.\n\nAction or Reply:\n\n> You remove the uniform\nYou take off the gold operations uniform.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> About yourself\nYou glance down at your gold operations uniform, but see nothing particularly out of the ordinary.\n\nAction or Reply:\n\n> You check your inventory\nYou're not presently carrying anything, but you are slowly nursing a drink.\n\nAction or Reply:\n\n> You give the uniform to John\nJohn doesn't seem interested.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You give the uniform to Guinan\nGuinan doesn't seem interested.\n\nAction or Reply:\n\n> Wave uniform\nYou wave the gold operations uniform.\n\nAction or Reply:\n\n> You drop the uniform\nDropped.\n\n[John is expecting you to reply.]\nAction or Reply:"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis is the gathering place, the best place to people-watch on the ship.\n\nYou can see a gold operations uniform here.\n\nAction or Reply:\n\n> You examine table\nYour table is just like all the other tables in Ten Forward: generally utilitarian, but glowy.\n\nAction or Reply:\n\n> You look under the table\nYou find nothing of interest.\n\nAction or Reply:\n\n> You take the table\nAll the tables in Ten Forward are affixed to the floor.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You get table\nAll the tables in Ten Forward are affixed to the floor.\n\nAction or Reply:\n\n> You sit on table\nThat would probably be frowned upon.\n\nAction or Reply:\n\n> You put the drink on table\nThere's already a drink on the table, and that's enough.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You put the uniform on the table\nThere's already a drink on the table, and that's enough.\n\nAction or Reply:\n\n> You hit John\nViolence isn't the answer to this one.\n\nAction or Reply:\n\n> You turn drink\nNothing obvious happens.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You give the drink to John\n(first taking the drink)\nYou take your first effervescent sip.\n\nAction or Reply:\n\n> You talk to John\nYou have nothing to say right now.\n\nAction or Reply:\n\n> Search uniform\nYou find nothing of interest.\n\nAction or Reply:\n\n> You ask John about the hat\nYou have nothing to say right now.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You stand\nIt's been a long day on your feet, you'd prefer to sit.\n\nAction or Reply:\n\n> You examine the window\nYou look toward the window and gaze into space. The\nEnterprise is at warp, the stars glide past. For a moment you\ndrown out the conversations and focus on the whitenoise of the ship. It has a calming effect.\n\nAction or Reply:\n\n> You examine the john's uniform\nJohn evidently has not had a chance to drop by his quarters yet; he's still wearing his blue medical uniform.\n\nAction or Reply:\n\n> You remove the blue uniform\nJohn has better things to do.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You get the john's uniform\nThat seems to belong to John.\n\nAction or Reply:\n\n> You move\n(the gold operations uniform)\nNothing obvious happens.\n\nAction or Reply:\n\n> You take the uniform\nYou pick up the gold operations uniform. You glance down at your gold operations uniform, but see nothing particularly out of the ordinary.\n\nAction or Reply:\n\n> You wear it\nYou put on the gold operations uniform.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You give your uniform to John\n(first taking the gold operations uniform off)\nJohn doesn't seem interested.\n\nAction or Reply:\n\n> 5\nHERE ENDS THE PLAYABLE INTRO. THANKS FOR PLAYING!\n\nAction or Reply:\n\n> 0\n[That is not an option right now.]\n\nAction or Reply:\n\n> You open the window\nIt isn't something you can open.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You drop all\n(the gold operations uniform)\nDropped.\n\nAction or Reply:\n\n> You kick the uniform\nViolence isn't the answer to this one.\n\nAction or Reply:\n\n> You hug John\nJohn might not like that.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> Aft\nYou asked John to meet you here, and he's here. Be brave, stay put, have the conversation.\n\nAction or Reply:"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You leave\nIt's been a long day on your feet, you'd prefer to sit.\n\nAction:\n\n> Shake drink\nThat doesn't seem like the most appropriate course of action.\n\nAction:\n\n> You wear the drink\n(first taking the drink)\nYou take your first effervescent sip.\n\nAction:\n\n> You wear the heart on the sleeve\nYou can't see any such thing.\n\nAction:\n\n> Wait\nHe's probably just wrapping up an experiment or something.\n\nAction:\n\n> You wait\nMaybe he's briefing the next shift in Sickbay.\n\nGuinan appears at your table, startling you a bit. \"How's the Moscow mule?\" she asks.\n\n1 \"Moscow mule?\"\n2 \"It's... good. Thanks.\"\n\nAction or Reply:\n\n> 2\n\"It's... good. Thanks.\"\n\n\"You don't sound so sure. I was hoping the bubbles would cheer you up.\"\n\n\"I guess maybe I need more than bubbles for that,\" you frown.\n\n\"You want to talk about it?\" she asks.\n\n1 \"Not really. It's kind of personal.\"\n2 \"Maybe? It's... kind of complicated.\"\n3 \"Is listening to my issues really part of your job\ndescription?\"\n\nAction or Reply:\n\n> 1\n\"Not really. It's kind of personal.\" you reply.\n\n\"Good. I get so tired of people coming in with their problems. They come in, they want a shoulder to cry on, and generally it turns out to be mine.\"\n\nYou're not sure how to take her response. You begin to wonder if you should apologize when a faint smile comes to her face and she says, \"Besides, you'll probably work through this more quickly if you talk to him.\"\n\nFollowing her gaze, you see John, standing in the doorway of Ten Forward. You turn around quickly, suddenly not so sure you want to go through with this conversation.\n\nGuinan wasted no time at all \u2014 she's off helping other customers.\n\nA fan fiction created for the Star Trek Game Jam (2016). Alpha 3.0 by Jacqueline A. Lott\n\nReaders are encouraged to peruse the CREDITS and ABOUT text.\n\nAfter a moment of hesitation, you decide to wave John over to your table. This conversation has to happen sooner or later, Anne,\nyou think to yourself. Might as well get it out of the way.\n\nJohn acknowledges you with a gentle smile and makes his way over to your table.\n\n1 \"Thanks for coming.\"\n2 \"Long shift in sick bay?\"\n3 Say nothing\u2014let him start things off.\n\nAction or Reply:\n\n> 3\nYou decide to let him get the conversation started.\n\n\"You're uncharacteristically quiet this evening,\" he says.\n\n\"Am I? Possibly I'm all talked out from hanging with Guinan,\" you reply.\n\n\"Guinan, huh? I haven't spoken to her much yet. What did you two talk about?\"\n\n1 \"Nothing much on my end. She was just super pushy.\"\n2 \"Sorry. Forget I mentioned it.\"\n3 \"I don't know. Stuff.\"\n\nAction or Reply:\n\n> 1\nHERE ENDS THE PLAYABLE INTRO. THANKS FOR PLAYING!\n\nAction or Reply:\n\n> 1\nHERE ENDS THE PLAYABLE INTRO. THANKS FOR PLAYING!\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You look\nThis is the gathering place, the best place to people-watch on the ship.\n\nAction or Reply:\n\n> Y.\nHe's not coming, you tell yourself. What the hell were\nyou thinking? The one familiar piece of your life that you have on this ship, and you've screwed it up, Anne. Whether or not he walks through that door (which he won't!), you've screwed it up.\n\nYou let out a long (possibly audible) sigh, searching for the answer in your drink. You know what you were thinking, You were thinking\nthat it felt right, that it was a logical next step. You were thinking that things generally go your way, and that this would too.\n\nAction:\n\n> 1\n\"Moscow mule?\" you say, looking down at the glass in front of you as if seeing it for the first time. \"Oh, my drink. Right...\"\n\n\"You told me to mix up something distracting,\" Guinan smiles. \"But it looks like you were already pretty distracted to begin with.\"\n\n\"Yeah, I guess I've got a lot on my mind.\"\n\n\"You want to talk about it?\" she asks.\n\n1 \"Not really. It's kind of personal.\"\n2 \"Maybe? It's... kind of complicated.\"\n3 \"Is listening to my issues really part of your job\ndescription?\"\n\nAction or Reply:\n\n> 3\n\"Is listening to my issues really part of your job description? I thought that sort of thing fell to the ship's counselor.\"\n\nAs soon as the words leave your lips, you realize how snarky you sound. Fortunately, Guinan either doesn't notice or chooses to ignore it. \"Well, you can schedule an appointment with her if you'd like, but yes, listening is part of my job,\" she says calmly. \"So I can listen, or not. Up to you.\"\n\n1 \"Not really. It's kind of personal.\"\n2 \"Maybe? It's... kind of complicated.\"\n\nAction or Reply:\n\n> 2\n\"Maybe? It's... kind of complicated.\"\n\nGuinan helps herself to the seat across from you. \"May I?\" She's already seated, so you just shrug and smile. \"Thanks. You're Anne Blackwell, right?\"\n\n\"Yeah,\" you respond, surprised. You haven't been on this ship long, and didn't think you'd spoken to Guinan enough for her to be able to recall your name. You're not sure you've even ever introduced yourself.\n\nNot for the first time, you wonder why Starfleet uniforms don't come with name tags.\n\n1 \"How do you know my name?\"\n2 Just let her keep talking.\n\nAction or Reply:\n\n> 1\n\"How do you know my name? I don't think I ever introduced myself,\" you say.\n\n\"Well, you're a bit of a celebrity around here.\" Guinan notices your surprise at this comment. So much for having a good poker\nface, you think to yourself. \"I figured you would have been\nexpecting that,\" she replies.\n\nYou've got a couple of ideas as to why that might be, neither of them particularly comforting. You had hoped you could keep a low\nprofile \u2014 how delightfully na\u00efve, you think to yourself. Then\nagain, maybe she's thinking of something completely different.\n\n1 \"Because of the Vice Admiral?\" [Annoyed]\n2 \"Because of how I finished at the Academy?\"\n[Confident]\n3 \"Why would you think that?\" [Nonchalant]\n\nAction or Reply:\n\n> 1\nYou sigh. \"On account of my mother being a Vice Admiral, you mean?\" You are unsuccessful in keeping the Exasperation out of your voice.\n\n\"That's part of it. It's not lost on the crew that Vice Admiral Blackwell's daughter's on board.\" You frown. \"You want my advice? Don't worry too much about it. You can't help who your mother is, and people know that you've been stationed here because you finished at the top of your class.\"\n\n1 \"Do they?\" [Worried]\n2 \"They do?\" [Relieved]\n3 \"Sure they do.\" [Sarcastic]\n4 \"Perhaps. I'll still have to prove myself.\n\nAction or Reply:\n\n> 4\n\"Perhaps. I'll still have to prove myself, but I'm used to that.\" You sit in silence for a moment, thinking.\n\nGuinan sits patiently, waiting for you to speak.\n\n1 Share your anxiety about being in your mother's shadow.\n2 Share your anxiety about being new.\n3 Share your anxiety about John.\n4 Share all of those things.\n5 Keep it all to yourself.\n\nAction or Reply:\n\n> 3\n\"Truth be told, the reason I'm here has nothing to do with work.\" You're feeling a little brave, so you look Guinan in the eye and ask, \"Have you ever had someone who means everything to you?\"\n\n\"Yes. A few times.\"\n\n\"Really? More than once or twice?\"\n\n\"Way more than once or twice. But then, I'm a little bit older than you are.\" She pauses, and looks toward the entrance of Ten Forward. \"Any chance your everything just walked in? He seems to be looking for someone.\"\n\nYou turn to look, and sure enough \u2014 there's John. You turn back\naround\nquickly, suddenly not so sure you want to go through with this conversation. If you were ready for Guinan's advice it's too late \u2014 she's quickly moved on to helping other customers.\n\nA fan fiction created for the Star Trek Game Jam (2016). Alpha 3.0 by Jacqueline A. Lott\n\nReaders are encouraged to peruse the CREDITS and ABOUT text.\n\nAfter a moment of hesitation, you decide to wave John over to your table. This conversation has to happen sooner or later, Anne,\nyou think to yourself. Might as well get it out of the way.\n\nJohn acknowledges you with a gentle smile and makes his way over to your table.\n\n1 \"Thanks for coming.\"\n2 \"Long shift in sick bay?\"\n3 Say nothing\u2014let him start things off.\n\nAction or Reply:\n\n> 2\n\"Long shift in sick bay?\" you ask, easing into the conversation.\n\n\"Kinda, yeah. Nothing difficult, just... tedious. I don't know how things are for you in engineering, but I feel like they're tossing me all the menial tasks that no one else wants to do.\"\n\n1 \"You too, huh? I haven't had a single interesting issue to troubleshoot yet.\"\n2 \"Don't worry, John Jemison, they'll discover your brilliance\nsoon enough.\"\n3 \"Oh, y'know. It's hard being new here.\"\n\nAction or Reply:\n\n> You lie down\n(on the gold operations uniform)\nThat's not something you can lie down on.\n\nAction or Reply:\n\n> You lie down on John\nHe's not something you can lie down on.\n\nAction or Reply:\n\n> Sleep\nYou aren't feeling especially drowsy.\n\n[John is expecting you to reply.]\nAction or Reply:\n\n> You wake\nThe dreadful truth is, this is not a dream.\n\nAction or Reply:"
    },
    {
        "text": "[Themes: gender choice]\n\nLoading game...\n\n/=======================================\\\n| /\\ |\n| |               S O S               | |\n| |                                   | |\n| |         Son Of Stagefright        | |\n| |             The SEQUEL            | |\n| |   A pleasant day at the theatre   | |\n| |     in three paranatural acts     | |\n| |      c 1989 by Mike McCauley      | |\n| \\/ | \\=======================================/\n.\n\n\n\nThis game is being executed by:\n\n\n\nChoose <I>nstructions, <A>GiliTy Information, or <other> to start the game\n\n> No\nFeeling the need to gather your wits (such as they are) about you, you sit back down for a moment to collect your thoughts. After mulling over your situation and coming up with a blank, you get back up. The seat bottom again retracts.\n\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> You take the paper\nYou pick up the old paper.\n\n> You look at the paper\nThe paper has writing on it, which is quite faded.\n\n> You look gum\nThis is a real big one."
    },
    {
        "text": "> You look around\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat."
    },
    {
        "text": "> You look around\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You go to the west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThere is a foot long hotdog ( on the grill )\n\n> You take the hotdog\nYou pick up the long hotdog.\n\n> You look hotdog\nIt seems like any other foot long hotdog you find in a deserted theater.\n\n> You eat the hotdog\nWay to go, greedy. Now there's none left for anyone else.\n\n> You go to the west\nIt is dark. You can't see anything.\n\n> Go east\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\n\n> You open the door\nThe door is already open.\n\n> You go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go south\nIt is dark. You can't see anything.\n\n> You go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You check your inventory\nYou're carrying:\nlong hotdog\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You examine the pager\nIt is a simple little device to forward important messages to you.\n\n> You read the pager\nYou can't read the pager, so instead you just examine it. It is a simple little device to forward important messages to you.\n\n> Go upwards\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\n\n> You go east\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You sit on the seat\nFeeling the need to gather your wits (such as they are) about you, you sit back down for a moment to collect your thoughts. After mulling over your situation and coming up with a blank, you get back up. The seat bottom again retracts.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You check your inventory\nYou're carrying:\nlong hotdog\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You go to the north\nForgetting that this is a balcony, you blithely step over the low railing and plummet headfirst into the seats below, sending your possessions flying.\n\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> You check your inventory\nYou are empty-handed.\n\n> You take the parchment\nYou pick up the dark parchment.\n\n> You read it\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You read it\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> Go south\nWhen you moved, the secret fell from its precarious perch, and was left behind.\n\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a foot long hotdog\nThere is a small pocket pager.\nYou see an old, weathered piece of paper beneath the seat.\n\n> You take all\nYou pick up the long hotdog.\nYou pick up the pocket pager.\nYou pick up the old paper.\n\n> You look at the old paper\nThe paper has writing on it, which is quite faded.\n\n> You look at the desk\nThe locked desk stands under an imitation red velvet banner.\n\n> Examine banner\nThe locked desk stands under an imitation red velvet banner.\n\n> You read banner\nThe banner above the courtesy desk says, \"Lost and Found Desk - RECLAIM Here\".\n\n> You look at the desk\nThe locked desk stands under an imitation red velvet banner.\n\n> You hit the desk\nIt only makes sense to attack living things.\n\n> You go south\nExcuse me, but your pager is beeping.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You examine the pager\nIt is a simple little device to forward important messages to you.\n\n> You play the pager\n\"The IRS called. They want to arrange an audit - of the last seven years.\""
    },
    {
        "text": "> Look around\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You examine the machine\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You examine return\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You look at the buttons\nYou don't see any coin here.\n\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> Go north\nIt is dark. You can't see anything.\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go to the south\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> Go west\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> Go northeast\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> You go to the west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> You go east\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> Go east\nIgnoring everything that you learned as a two year old, you impulsively turn E and walk right into the closed door.\n\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> You look at the doors\nThe main exit doors are heavy brass monstrosities left over from a former age of theater construction. There's an ornate word worked into the design.\n\n> You read the word\n\"EXIT\"\n\n> Go north\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You examine the door\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> You read the plaque\n\"JANITORS CLOSET\"\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\n\n> You go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> You open the door\nThe door is already open.\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> You open the door\nThe door is already open.\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You examine the door\nThe door is a very proper fire door, with UL and ASME labels, a self-closer and very official 2-1/2\" lettering.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> You go north\nA mysterious force hurls you back. You see a shapeless gray mass ahead. Then it dawns on you - that's the stage curtain. You forgot it was down. Trying to lift it does no good. The seam is weighted with heavy strips of lead.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the north\nPushing through the doors, you step tentatively into the dark room ahead. Without warning, the world spins and rushes past as you plummet downward. Clearing your head you look around in time to see a large packrat shuffling off mumbling something about people with nothing in their pockets to trade.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\n\n> You check your inventory\nYou are empty-handed.\n\n> You climb the cable\nYou dance and leap on your toes, but are unable to reach the cable. Just when you are about to give up, you recall a stunt you saw in a movie. Taking off your belt, you whip it upward in your best Indiana Jones style. Amazingly, as in the movie, the tip of the belt wraps itself three times around the frayed cable and catches securely. (Aren't you glad I saw that movie too?) Summoning all your strength, you start hand over hand up the belt and cable until you reach the doors at the top of the shaft and swing yourself over to safety.\n\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You go to the south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a foot long hotdog\nThere is a small pocket pager.\nYou see an old, weathered piece of paper beneath the seat.\n\n> You take the hotdog and pager\nYou pick up the long hotdog.\nYou pick up the pocket pager.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You take the parchment\nYou pick up the dark parchment.\n\n> Go north\nWhen you moved, the secret fell from its precarious perch, and was left behind.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You look at the packrat\nIt eyes you suspiciously at first, then standing up on its hind paws, it strides boldly over and squeaks,  \"Let's make a deal\".\n\n> Trade hotdog\nNow let me get this straight, you want to TRADE to WHOM?\n\n> You take the skate\nYou pick up the roller skate.\n\n> Go east\nIt is dark. You can't see anything.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> Examine button\nIt looks a lot like a panic button. There is shiny lettering around the edge.\n\n> You go west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\n\n> You look at the spot\nFor some reason the spotlight doesn't seem to work. You see that it is hardwired into the wall. A quick check with your wetted fingers shows that there is power in the line. You then notice a small lid on top of the spot.\n\n> You examine lid\nFor some reason the spotlight doesn't seem to work. You see that it is hardwired into the wall. A quick check with your wetted fingers shows that there is power in the line. You then notice a small lid on top of the spot.\n\n> You open the lid\nYou have opened the lid.\nInside, you see the following:\nYou can see the socket\n\n> You examine the socket\nIt seems to take a standard size bulb.\n\n> You go west\nRipped wires and broken racks show where sound equipment used to be mounted.\nOne tape recorder is all that's left of the equipment.\n\n> Play recorder\nIT is a wee tad difficult to play the thing without a tape.\n\n> You examine the recorder\nIt is a professional quality reel-to-reel machine.\n\n> You go east\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the north\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nThere is a suspiciously good looking apple sitting there ( on the\nwork table\n)   An old work table leans and tilts at odd angles\n\n> You examine the apple\nAn apple this good looking evokes uneasy memories of childhood fairy tales.\n\n> You take the apple\nYou pick up the juicy apple.\n\n> You examine table\nIt has seen better days. The legs are pulling loose, the top is warped, and it has had every conceivable shade of paint spilled on it over the years.\n\n> Again\nA gentle PUSH against the front of the table causes it to twist even further out of kilter. It groans softly in protest."
    },
    {
        "text": "> You look around\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> You go to the west\nIt is dark. You can't see anything.\n\n> Go south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You look at the door\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You read the scrawl\n\"Through these portals pass the biggest hams in the world.\" Anon.\n\n> You look under the door\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You examine the latch\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You go east\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go west\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You look at the counterweight\nIt is made of a stack of heavy metal bars, bolted together and pulled up and down by cables. It has a broad upper surface with a small hollow.\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go west\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You look at the door\nThe door (like most of the others in this place) seems to be warped from disuse. The handle does seem to still be useable and there is no obvious lock.\n\n> You look at the lettering\nExcuse me, but your pager is beeping.\n\nThe door (like most of the others in this place) seems to be warped from disuse. The handle does seem to still be useable and there is no obvious lock.\n\n> You play pager\n\"This is E.T. I'm returning your call. Next time don't call collect.\"\n\n> You read the door\n\"Stage Manager's Office\"\n\n> You examine the transom\nThe door (like most of the others in this place) seems to be warped from disuse. The handle does seem to still be useable and there is no obvious lock.\n\n> Go south\nIgnoring everything that you learned as a two year old, you impulsively turn S and walk right into the closed door.\n\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You open the door\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\nThe transom over the door admits just enough light for you to make out a small desk taking up most of the floor space.\nAn old abridged dictionary sits on the desk.\n\n> You look at the dictionary\nIt has seen better days. Years of coffee spills have obliterated most of the printing and completely glued the binding to the desk. The pages are soggy and YELLOW and about to fall apart. They appear to be somewhat out of order.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: CAT:Is nervous about catgut. SEE ALSO HOTDOG, KNOB, VIOLIN GENIE:Anagrams your gifts into useful objects. SEE ALSO BUGLE, LAMP, SKATE FROG:Feed it then kiss it (yuch). SEE ALSO HOTDOG, PRINCE, PRINCESS, GUY, GIRL PROGRAMMER:Decent chap who spent years on this game. SEE ALSO $5 REGISTRATION ROGUES:Various. A poor man's D & D. SEE ALSO Gratuitous violence TOTO:An afterthought. Pay no attention to the little dog behind the curtain.\n\n> You read the dictionary about the HOTDOG\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read dictionary about cat\nThe pages are falling apart as you handle them. You must wait for them to dry."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go east\nIt is dark. You can't see anything.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You open the door\nThe door is already open.\n\n> Flip\nWhat do you want to flip?\n\n> Flip\nWhat do you want to flip?\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You take all\nYou pick up the dim bulb."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nBy the soft glow of the light, you can almost make out a faded message scrawled on the wall: \"...re...move coat....in...room..\", or something like that.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nYou're wearing:\n\npocket pager ( on your belt )\n\n> You examine the bulb\nOne of the new on/off capacitor types that glows very dimly without power.\n\n> You examine the switch\nOne of the new on/off capacitor types that glows very dimly without power."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nBy the soft glow of the light, you can almost make out a faded message scrawled on the wall: \"...re...move coat....in...room..\", or something like that.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nYou're wearing:\n\npocket pager ( on your belt )\n\n> You take the paper\nYou pick up the old paper.\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThere is a paperback book with the cover torn off ( on the sink )\n\n> You take the paperback\nYou pick up the paperback book.\n\n> You examine it\nSeems to have been a book of fairy tales.\n\n> You read it\nLooking at the index you see entries such as:\n\"SNOW WHITE AND THE 1001 ARABIAN KNIGHTS MEET HEY DIDDLE DIDDLE, THE CAT AND\nTHE FIDDLE\" (I hate sequels and spin offs, don't you?)"
    },
    {
        "text": "> You look around\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> You go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You go to the west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThere is a foot long hotdog ( on the grill )\n\n> You take HOTDOG\nYou pick up the long hotdog.\n\n> You go to the west\nYou find a shelf in the closet.\nA very sharp knife is lying there, blade upwards. ( on the shelf )\n\n> You examine the knife\nIt is a large bread knife with a serrated blade.\n\n> You take it\nYou pick up the sharp knife.\n\n> Go east\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\n\n> You go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go upwards\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\n\n> You go east\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You cut the gum\nYou want to CUT the GUM with WHAT, pray tell?\n\n> You cut the gum with the knife\nYou want to CUT the GUM with WHAT, pray tell?\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\npaperback book\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You cut the gum with the sharp knife\nYou want to CUT the GUM with WHAT, pray tell?\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Examine box\nThe box is secured to the floor by hardened steel bolts.\n\n> You examine the bolts\nThe box is secured to the floor by hardened steel bolts.\n\n> You go to the north\nThis looks about like your typical closet (minus the coat hangers).\nA packrat has emerged from a crack in the wall\n\n> You look at the packrat\nIt eyes you suspiciously at first, then standing up on its hind paws, it strides boldly over and squeaks,  \"Let's make a deal\".\n\n> You check what you're carrying\nSuddenly, a wispy figure materializes before you dressed entirely in tatters and rags. He whispers hoarsely, \"Kind and just soul, I am the poor author of this game. Did you know that $5.00 could feed me and my two starving children for a week? And my dog could afford the operation?\" With that he limps away and dissipates before your generous eyes. (Nudge, nudge.)\n\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\npaperback book\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You trade the old paper to the packrat\nThe packrat carefully inspects the PAPER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nThis looks about like your typical closet (minus the coat hangers). There is a plain living room lamp.\n\n> You take the lamp\nYou pick up the old lamp.\n\n> You rub lamp\nWhat a CORN BALL thing to do! What a simple-minded, hair-brained... Wait a minute, a wisp of vapor is starting to come out of the lamp cord.\nEither there's going to be a fire or... Suddenly, with three small puffs of\nsmoke a genie appears before you, dressed in what would be the traditional\ncostume if he weren't wearing it all - even the pointy little shoes - backwards. Clearing his throat, he focuses his purple eyes on you and says,\n\"I'm late for an appointment at the REGEN MOOR, but I'll be     \\\n/\nback later to GET my three wishes.\" Try to stay alive till\n-->POOF<--\nthen. With that, he vanishes in a cloud of very green smoke. /\n\\\n\n> Go south\nSuddenly, a wispy figure materializes before you dressed entirely in tatters and rags. He whispers hoarsely, \"Kind and just soul, I am the poor author of this game. Did you know that $5.00 could feed me and my two starving children for a week? And my dog could afford the operation?\" With that he limps away and dissipates before your generous eyes. (Nudge, nudge.)\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> You cut the box with the knife\nYou want to CUT the BOX with WHAT, pray tell?\n\n> You cut with knife\nYou want to CUT the KNIFE with WHAT, pray tell?\n\n> You cut the box knife\nYou want to CUT the BOX with WHAT, pray tell?"
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go upwards\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> You cut box\nYou want to CUT the BOX with WHAT, pray tell?\n\n> You cut box\nYou want to CUT the BOX with WHAT, pray tell?"
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go west\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You examine the valve\nHot, rusty steam hisses and spurts toward your eyes, threatening to blind you.\n\n> You go north\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\n> You go north\nYou are in the homonym closet.\nThere is Merry Mary\n\n> You look at Mary\nObviously a figment of your imagination, probably based on your 5th grade English Grammar teacher. She seems (or \"seams\"?) to expect you to do something.\n\n> Marry mary\nShe barks out a laugh then hands you a small object saying, \"It was a dumb joke, but take my Pluto, please.\" With that she seems to melt away into the shadows, leaving you with a small statue and the funny feeling that your grammatical sensibilities have been offended. (Mine certainly were.)\n\n> You examine the statue\nClose examination reveals it to be a cheap plaster statue with one chipped ear.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp\npaperback book\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You examine the dog\nDo you mean the long hotdog or the plaster pluto?\n\n> Go south\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\n> Go south\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> Close valve\nThe valve is already closed.\n\n> You open valve\nYou have opened the valve.\n\n> You go to the east\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go upwards\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You shake coat\nDon't know how to shake here...\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go to the north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother."
    },
    {
        "text": "> Look around\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp\npaperback book\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\nA spear stands in a corner of the closet.\n\n> You shake spear\nThe PUN is the lowest form of humor (unless YOU think of it first).\nIn protest the packrat jumps out of a hole and replaces the spear with a bucket.\n\nYou are in the closet.\nThere is that famous old oaken bucket\n\n> You kick the the bucket\nWhat a quaint sense of humor. For a second there, I was half tempted to honor your request. However, I am amused by your antics and wish to see more of them. I shall let you go with only a bruised toe.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You wear the bucket\nYou put on the bucket."
    },
    {
        "text": "> You look at your surroundings\nYou are in the closet.\n\n> You remove bucket\nYou take off the bucket.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp\npaperback book\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You rub lamp\nYou rub and rub but only wear through the gold tone finish on the cheap lamp.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\n\n> Open spot\nYou have opened the spot.\nInside, you see the following:\nYou can see the socket\n\n> You put the bulb in the socket\nYou screw the bulb firmly into the socket, forgetting that you have not disconnected the electric power from the spotlight. At the first sign of arcing, you avert your eyes, thus avoiding permanent blindness. Looking out the booth window, you see \"YOU'RE ALL WET, PAIL-FACE\" projected briefly on the ceiling as the bulb flares into brilliance, then descends back to darkness.\n\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThere is a burned-out bulb.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )"
    },
    {
        "text": "[Themes: gender choice]\n\n> You look around\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You take the SKATE\nYou pick up the roller skate.\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go north\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You examine the machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You examine the panels\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You read the panels\n\"Soft Drinks - 25 cents\" - Hmm, must be an OLD machine.\n\n> You look at the slot\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> Shake machine\nDon't know how to shake here...\n\n> You look at the ledge\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> Go north\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> You go to the south\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go east\nYou squeeze between old flats (stage scenery) off-left (OFF the main stage playing area and to the actor's LEFT while facing the audience - a little theater terminology there).\nAt first you hardly notice a massive chair against the wall.\n\n> You go west\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> You examine the keyboard\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow).\n\n> You play organ\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> Continue\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> You examine the organ\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow)."
    },
    {
        "text": "> Look around\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> You go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go northwest\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\nThere is a very thin music book ( on the east shelf )\n\n> You take the book\nYou pick up the music book.\n\n> You read it\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> You go to the south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> Go east\nThis is NOT the Enterprise. You'll have to open these doors yourself.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go east\nAs you walk through, the doors slide closed behind you.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\nA packrat has emerged from a crack in the wall\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go west\nAs you walk through, the doors slide closed behind you.\n\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> You look at the door\nJudging from the label, I'd say it goes to the orchestra pit.\n\n> Go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> You play organ\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> You read the music\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> You put the book on the organ\nYou place the book on the organ.\n\n> You play organ\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> You take the book\nYou pick up the music book.\n\n> You open the book\nYou can't open the book.\n\nYou can't open the book.\n\n> You take the page\nYou already have the page.\n\n> You put the page on the organ\nYou place the page on the organ.\n\n> You play organ\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> You read the page\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> Play\nWhat do you want to play?\n\n> You look at the organ\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\nThere is a very thin music book (on the organ)\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow).\n\n> You read the book\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> You take the music\nYou pick up the music book.\n\n> You go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go north\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go north\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go north\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> Go upwards\nYou start briskly climbing the ladder, but about 20 feet up you realize what acrophobia is all about. After clinging to the ladder helplessly for a few hours, your arms finally give out and you fall back to the stage below.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You go west\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nThere is a suspiciously good looking apple sitting there ( on the\nwork table\n)   An old work table leans and tilts at odd angles\n\n> You take the apple\nYou pick up the juicy apple.\n\n> Go west\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> You look at the table\nIt has seen a lot of use. Its heavy oak top has gouges from many a tool.\n\n> You look at the chain\nIt seems as if the janitor in this place doesn't trust anyone with his tools. There's no lock on the chain. It'd have to be cut to free anything from it.\n\n> You examine crowbar\nIt's in good shape and looks like it could do a job on anything it could reach.\n\n> You break the chain with the crowbar\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the CHAIN? Don't know how to break here...\n\n> You cut the chain with knife\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You take crowbar\nYou pick up the iron crowbar.\n\n> You go east\nThe crowbar, still chained to the wall, jerks back and clatters to the floor.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\njuicy apple\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> You examine the door\nIt doesn't seem to actually be locked. You just can't open it without a knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You look at the table\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You read the mirror\n\"THE MAKEUP THEY GIVE YOU IN THIS PLACE WOULD GIVE ZITS TO WROUGHT IRON!\"\n\n> You open the drawer\nYou have opened the drawer.\nInside, you see the following:\nThere is a kit of heavy stage makeup\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You examine it\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You read it\n\"Freddie Krueger Special Halloween Assortment\"\n\n> Go north\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> You go to the west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go north\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You go to the north\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You put the makeup on the chain\nYou place the makeup on the chain.\n\n> You look at the chain\nIt seems as if the janitor in this place doesn't trust anyone with his tools. There's no lock on the chain. It'd have to be cut to free anything from it.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\njuicy apple\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You wear the makeup\nYou put on the makeup.\n\n> You cut the apple\nYou want to CUT the APPLE with WHAT, pray tell?"
    },
    {
        "text": "> You describe your surroundings\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\nThere is that famous old oaken bucket\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\njuicy apple\nmusic book\nroller skate\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go northwest\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You go to the north\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You cut the knife with the chain\nYou want to CUT the KNIFE with WHAT, pray tell?\n\n> You put the makeup on the crowbar\nYou place the makeup on the crowbar.\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go east\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> Turn table\nTry as you might, you cannot lift the table enough to budge it. Besides, in its dilapidated condition, you are likely to end up with a pile of fire wood.\n\n> You go east\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> You wear the bucket\nYou put on the bucket.\n\n> Go upwards\nYou start briskly climbing the ladder, but about 20 feet up you realize what acrophobia is all about. After clinging to the ladder helplessly for a few hours, your arms finally give out and you fall back to the stage below.\n\n> You remove bucket\nYou take off the bucket.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\njuicy apple\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )"
    },
    {
        "text": "> Look around\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\nThere is that famous old oaken bucket\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Yes\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> You take the paper\nYou pick up the old paper.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You take all\nYou pick up the dim bulb."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nBy the soft glow of the light, you can almost make out a faded message scrawled on the wall: \"...re...move coat....in...room..\", or something like that.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You look at the door\nThere is a small plaque on the door at eye level.\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThere is a paperback book with the cover torn off ( on the sink )\n\n> You take the book\nYou pick up the paperback book.\n\n> Examine book\nSeems to have been a book of fairy tales.\n\n> You read the book\nLooking at the index you see entries such as:\n\"SNOW WHITE AND THE 1001 ARABIAN KNIGHTS MEET HEY DIDDLE DIDDLE, THE CAT AND\nTHE FIDDLE\" (I hate sequels and spin offs, don't you?)\n\n> You look at the mirror\nExcuse me, but your pager is beeping.\n\nYou don't see any mirror here.\n\n> You go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You go to the west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThere is a foot long hotdog ( on the grill )\n\n> You take HOTDOG\nYou pick up the long hotdog.\n\n> You look at it\nIt seems like any other foot long hotdog you find in a deserted theater.\n\n> You go to the west\nYou find a shelf in the closet.\nA very sharp knife is lying there, blade upwards. ( on the shelf )\n\n> You take the knife\nYou pick up the sharp knife.\n\n> You examine it\nIt is a large bread knife with a serrated blade.\n\n> Go east\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\n\n> You go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You examine the door\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> You look at the plaque\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> You read it\n\"JANITORS CLOSET\"\n\n> You examine the lock\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You examine the machine\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You look at slot\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You look at the buttons\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You read the machine\n\"INSURANCE  25 CENTS\"\n\n> You look in the return\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You examine return\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> You look at the plaque\nIt is a plain looking door with a small plaque at eye level.\n\n> You go east\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> You look at the doors\nThe main exit doors are heavy brass monstrosities left over from a former age of theater construction. There's an ornate word worked into the design.\n\n> You read the word\n\"EXIT\"\n\n> Go east\nIgnoring everything that you learned as a two year old, you impulsively turn E and walk right into the closed door.\n\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> You look at the doors\nThe main exit doors are heavy brass monstrosities left over from a former age of theater construction. There's an ornate word worked into the design.\n\n> You examine word\nThe main exit doors are heavy brass monstrosities left over from a former age of theater construction. There's an ornate word worked into the design.\n\n> You go northwest\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> Go northeast\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Examine box\nThe box is secured to the floor by hardened steel bolts.\n\n> You examine the bolts\nThe box is secured to the floor by hardened steel bolts.\n\n> Kick box\nDon't know how to kick here...\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\npaperback book\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You cut box\nYou want to CUT the BOX with WHAT, pray tell?\n\n> You cut the box with the knife\nYou want to CUT the BOX with WHAT, pray tell?\n\n> You cut the box knife\nYou want to CUT the BOX with WHAT, pray tell?\n\n> You go to the north\nThis looks about like your typical closet (minus the coat hangers).\nA packrat has emerged from a crack in the wall\n\n> You look at the packrat\nIt eyes you suspiciously at first, then standing up on its hind paws, it strides boldly over and squeaks,  \"Let's make a deal\"."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nThis looks about like your typical closet (minus the coat hangers).\nA packrat has emerged from a crack in the wall\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\npaperback book\nold paper\nYou're wearing:\npocket pager ( on your belt )\n\n> You give the paper to the packrat\nThe packrat carefully inspects the PAPER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nThis looks about like your typical closet (minus the coat hangers). There is a plain living room lamp.\n\n> You take the lamp\nYou pick up the old lamp.\n\n> You turn on the lamp\nThe lamp isn't lit, so you can't extinguish it\n\n> Light lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on. Suddenly, the lamp lurches from side to side as a geyser of smoke and flame shoots upward, ricochets off the ceiling and back to the floor. In the midst of the fire and brimstone a genie appears, franticly slapping out the flames on the seat of his silk pants. Killing the last of the embers, he turns his attention toward you...and to your fingers still grasping the on/off switch, then to you, then to his pants, then to your fingers... Then, eyes narrowing to glowing red slits, he draws up to his full 5 foot 95 inch height to hurl a mighty thunderbolt. And that, dear child, is how you became a three-headed, crab-sucking throat-warbler mangrove, and why the game must be terminated at this point. You can no longer use the keyboard with those silly tentacles.\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 100 (out of 19900 possible). You have visited 16 locations (out of 117 in the game)\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp\npaperback book\nYou're wearing:\npocket pager ( on your belt )\n\n> You give the book to packrat\nNow let me get this straight, you want to GIVE to WHOM?"
    },
    {
        "text": "> You look at your surroundings\nThis looks about like your typical closet (minus the coat hangers).\n\n> You rub lamp\nWhat a CORN BALL thing to do! What a simple-minded, hair-brained... Wait a minute, a wisp of vapor is starting to come out of the lamp cord.\nEither there's going to be a fire or... Suddenly, with three small puffs of\nsmoke a genie appears before you, dressed in what would be the traditional\ncostume if he weren't wearing it all - even the pointy little shoes - backwards. Clearing his throat, he focuses his purple eyes on you and says,\n\"I'm late for an appointment at the REGEN MOOR, but I'll be     \\\n/\nback later to GET my three wishes.\" Try to stay alive till\n-->POOF<--\nthen. With that, he vanishes in a cloud of very green smoke. /\n\\"
    },
    {
        "text": "> You look at your surroundings\nThis looks about like your typical closet (minus the coat hangers).\n\n> Go south\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor"
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go west\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You examine the boiler\nYou hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> You examine the valve\nExcuse me, but your pager is beeping.\n\nHot, rusty steam hisses and spurts toward your eyes, threatening to blind you.\n\n> You answer the pager\n\"It's your mother. You're late for supper. I bet you're out with that theater crowd again. You're going to come to a bad end in that theater, mark my word.\"\n\n> You open valve\nYou have opened the valve.\n\n> Close valve\nYou have closed the valve.\n\n> You examine the valve\nHot, rusty steam hisses and spurts toward your eyes, threatening to blind you.\n\n> You open valve\nYou have opened the valve.\n\n> You examine the valve\nHot, rusty steam hisses and spurts toward your eyes, threatening to blind you.\n\n> You go north\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\n> Go south\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You examine the boiler\nYou hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> Break valve\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the VALVE? Don't know how to break here...\n\n> Oil valve\nDon't know how to oil here...\n\n> You go north\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\n> You go north\nYou are in the homonym closet.\nThere is Merry Mary\n\n> You look at Mary\nObviously a figment of your imagination, probably based on your 5th grade English Grammar teacher. She seems (or \"seams\"?) to expect you to do something.\n\n> Kiss mary\n\"Now you want to KISS me? Ha! One kiss and you'd think I owe you!\"\n\n> Marry mary\nShe barks out a laugh then hands you a small object saying, \"It was a dumb joke, but take my Pluto, please.\" With that she seems to melt away into the shadows, leaving you with a small statue and the funny feeling that your grammatical sensibilities have been offended. (Mine certainly were.)\n\n> You examine the dog\nDo you mean the long hotdog or the plaster pluto?\n\n> You examine Pluto\nClose examination reveals it to be a cheap plaster statue with one chipped ear.\n\n> You break pluto\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the PLUTO? Don't know how to break here..."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nYou are in the homonym closet.\n\n> Go south\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\n> Go south\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You go to the east\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go upwards\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You look at the desk\nThe locked desk stands under an imitation red velvet banner.\n\n> You open the desk\nIt is locked.\n\n> You read banner\nThe banner above the courtesy desk says, \"Lost and Found Desk - RECLAIM Here\".\n\n> You go to the north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You take the SKATE\nYou pick up the roller skate.\n\n> You go to the east\nYou are in the closet.\nA spear stands in a corner of the closet.\n\n> You examine the spear\nIt seems to be waiting for you to make a move.\n\n> You shake spear\nThe PUN is the lowest form of humor (unless YOU think of it first).\nIn protest the packrat jumps out of a hole and replaces the spear with a bucket.\n\nYou are in the closet.\nThere is that famous old oaken bucket\n\n> You kick the bucket\nWhat a quaint sense of humor. For a second there, I was half tempted to honor your request. However, I am amused by your antics and wish to see more of them. I shall let you go with only a bruised toe.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\n\n> You look at the spot\nFor some reason the spotlight doesn't seem to work. You see that it is hardwired into the wall. A quick check with your wetted fingers shows that there is power in the line. You then notice a small lid on top of the spot.\n\n> You go west\nRipped wires and broken racks show where sound equipment used to be mounted.\nOne tape recorder is all that's left of the equipment.\n\n> Play recorder\nIT is a wee tad difficult to play the thing without a tape.\n\n> You go east\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\n\n> You examine lid\nFor some reason the spotlight doesn't seem to work. You see that it is hardwired into the wall. A quick check with your wetted fingers shows that there is power in the line. You then notice a small lid on top of the spot.\n\n> You open the lid\nYou have opened the lid.\nInside, you see the following:\nYou can see the socket\n\n> You examine the socket\nIt seems to take a standard size bulb.\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the north\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nThere is a suspiciously good looking apple sitting there ( on the\nwork table\n)   An old work table leans and tilts at odd angles\n\n> You take the apple\nYou pick up the juicy apple.\n\n> You eat the apple\nYou take a tentative nibble. It has an oddly smooth taste and you feel no ill effects, so you prepare for a second bite. Then it hits you that all is not right. You feel faint, your head is swimming.\nYou fall down. You are dying. As you sink into oblivion, you remember an old ditty from your childhood: \"An apple a day/Keeps the warthogs away,\nBut a foot-long hot dog/Will placate a frog.\"\nWait here a minute, I just remembered something. Yep, I just checked with central supply. That was only a WAX apple. (Boy, what a hypochondriac!)\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You examine bulb\nOne of the new on/off capacitor types that glows very dimly without power.\n\n> You examine table\nIt has seen better days. The legs are pulling loose, the top is warped, and it has had every conceivable shade of paint spilled on it over the years.\n\n> Kick table\nDon't know how to kick here...\n\n> Go southeast\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Kick machine\nDon't know how to kick here...\n\n> Shake machine\nDon't know how to shake here...\n\n> You look at the machine\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You examine the machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You read the machine\n\"Soft Drinks - 25 cents\" - Hmm, must be an OLD machine.\n\n> You open the machine\nThe machine is already open.\n\n> You look in machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> Go north\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> Go upwards\nYou start briskly climbing the ladder, but about 20 feet up you realize what acrophobia is all about. After clinging to the ladder helplessly for a few hours, your arms finally give out and you fall back to the stage below.\n\n> You go to the west\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> Go west\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> You look at the chain\nIt seems as if the janitor in this place doesn't trust anyone with his tools. There's no lock on the chain. It'd have to be cut to free anything from it.\n\n> You examine crowbar\nIt's in good shape and looks like it could do a job on anything it could reach.\n\n> You look at the table\nIt has seen a lot of use. Its heavy oak top has gouges from many a tool.\n\n> You look under the table\nIt has seen a lot of use. Its heavy oak top has gouges from many a tool.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You examine the VIOLIN\nToo bad it never got fixed. Except for the crack in the bridge, it's in good shape - even still has all its strings (real genuine cat gut. Actually, cat gut is made from sheep intestine, but that still doesn't make cats any less nervous - and doesn't do much for the sheep either).\n\n> You play the VIOLIN\nLet me explain it to you this way: |      ..,,,..\n1. The violin is out of reach,            |    ///////~\\\\\\\n2. You ain't got a bow,                   |   (''~~~    ``\\\n3. You ain't got a union card,            |   { (0 ) >--< }\n4. I know your taste in music,            |    \\  __<__  /\n-AND-                           +---  \\ \\___/ /\n5. It wouldn't accomplish anything anyway.|      \\/"
    },
    {
        "text": "[Themes: gender choice]\n\n> You describe your surroundings\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Break violin\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the VIOLIN? Don't know how to break here...\n\n> You get the VIOLIN\nYou can't pick the violin up.\n\n1. The violin is out of reach,            |    ///////~\\\\\\\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa)."
    },
    {
        "text": "> Look around\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> You pull the plank\nYou start toward the pile, but even the gentle breeze stirred up by your arms causes the pile to tremble and a shower of nuts, bolts and old painting materials makes you think better of that idea. You retreat to the far side of the room to rethink your strategy.\n\n> You kick the plank\nDon't know how to kick here...\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You throw the knife at the plank\nThe knife bounces off the plank.\n\n> You throw the bucket at the plank\nThe bucket bounces off the plank."
    },
    {
        "text": "> Look around\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nA very sharp knife is lying there, blade upwards.\nIt would turn the tables for you to get that plank down (and vice versa).\nThere is that famous old oaken bucket\n\n> You take the knife\nYou pick up the sharp knife.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You hit the plank\nIt only makes sense to attack living things."
    },
    {
        "text": "> Look around\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You put the bucket on the plank\nYou put on the bucket.\n\n> You put the knife on the plank\nYou place the knife on the plank.\n\n> You take the knife\nYou pick up the sharp knife.\n\n> Blow\nWhat do you want to blow?"
    },
    {
        "text": "> Look around\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go east\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> Turn table\nTry as you might, you cannot lift the table enough to budge it. Besides, in its dilapidated condition, you are likely to end up with a pile of fire wood.\n\n> Go southwest\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You look at the door\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You read the door\n\"Through these portals pass the biggest hams in the world.\" Anon.\n\n> You rub lamp\nYou rub and rub but only wear through the gold tone finish on the cheap lamp.\n\n> You look under the door\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You kick the door\nDon't know how to kick here...\n\n> Go west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You look at the counterweight\nIt is made of a stack of heavy metal bars, bolted together and pulled up and down by cables. It has a broad upper surface with a small hollow.\n\n> You examine hollow\nIt is made of a stack of heavy metal bars, bolted together and pulled up and down by cables. It has a broad upper surface with a small hollow.\n\n> You put the bucket on the counterweight\nYou carefully place the BUCKET in the hollow on the top of the counterweight.\n\n> You cut the curtain with the knife\nYou want to CUT the COUNTERWEIGHT with WHAT, pray tell?\n\n> Go east\nExcuse me, but your pager is beeping.\n\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go to the west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is that famous old oaken bucket\n\n> You wear the bucket\nYou put on the bucket."
    },
    {
        "text": "> Look around\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You put the bucket on the counterweight\nYou carefully place the BUCKET in the hollow on the top of the counterweight.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go to the west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go to the west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is that famous old oaken bucket\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You open the drawer\nYou have opened the drawer.\nInside, you see the following:\nThere is a kit of heavy stage makeup\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You read it\n\"Freddie Krueger Special Halloween Assortment\"\n\n> You look at the table\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You read the mirror\n\"THE MAKEUP THEY GIVE YOU IN THIS PLACE WOULD GIVE ZITS TO WROUGHT IRON!\"\n\n> You look at the table\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You look behind the table\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You wear the makeup\nYou put on the makeup.\n\n> You examine the mirror\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\nstage makeup\npocket pager ( on your belt )\n\n> You remove the makeup\nYou take off the makeup.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> Go north\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is that famous old oaken bucket\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor"
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go west\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You put the makeup on the boiler\nYou place the makeup on the boiler.\n\n> You examine the boiler\nYou hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You put the makeup on the valve\nYou place the makeup on the valve.\n\n> You wait\nTime passes...\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You go to the east\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go upwards\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go to the north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go to the west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> You wear the makeup\nYou put on the makeup.\n\n> You put bulb in socket\nYou screw the bulb firmly into the socket, forgetting that you have not disconnected the electric power from the spotlight. At the first sign of arcing, you avert your eyes, thus avoiding permanent blindness. Looking out the booth window, you see \"YOU'RE ALL WET, PAIL-FACE\" projected briefly on the ceiling as the bulb flares into brilliance, then descends back to darkness.\n\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThere is a burned-out bulb.\n\n> You remove the makeup\nYou take off the makeup.\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You put bulb in socket\nYou screw the bulb firmly into the socket, forgetting that you have not disconnected the electric power from the spotlight. At the first sign of arcing, you avert your eyes, thus avoiding permanent blindness. Looking out the booth window, you see \"YOU'RE ALL WET, PAIL-FACE\" projected briefly on the ceiling as the bulb flares into brilliance, then descends back to darkness.\n\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThere is a burned-out bulb.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\nThere is a very thin music book ( on the east shelf )\n\n> You take the book\nYou pick up the music book.\n\n> You read it\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> You go to the south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> You examine the doors\nThe old doors allow easy access to the next room.\n\n> You look at the door\nJudging from the label, I'd say it goes to the orchestra pit.\n\n> You read the door\n\"TO ORCHESTRA PIT\"\n\n> You go west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> Go east\nThis is NOT the Enterprise. You'll have to open these doors yourself.\n\n> You open the doors\nI forgot to tell you, whenever the curtain is unbalanced, it overloads the motor and blows all kinds of fuses and makes these doors stick. I'm afraid you won't be able to budge them while anything is sitting on the counterweight.\n\nYou can't open the doors.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nmusic book\nroller skate\nold lamp\nplaster pluto\nYou're wearing:\npocket pager ( on your belt )\n\n> Go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Go up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go southwest\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is that famous old oaken bucket\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Go northeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> You go to the south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go east\nAs you walk through, the doors slide closed behind you.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\nA packrat has emerged from a crack in the wall\n\n> You trade PLUTO to the packrat\nThe packrat chuckles to himself, \"What a dip stick, giving me the PLUTO! You'll be sorry.\" He stuffs the PLUTO into a pocket in his checkered vest then darts toward the wall, leaving a small object for you.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nA battered bugle is lying there.\nThe frayed elevator cable hangs just out of your reach.\n\n> Trade KNIFE to packrat\nThe packrat chuckles to himself, \"What a dip stick, giving me the KNIFE! You'll be sorry.\" He stuffs the KNIFE into a pocket in his checkered vest then darts toward the wall, leaving a small object for you.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nA battered bugle is lying there.\nThe frayed elevator cable hangs just out of your reach.\n\n> Trade book to packrat\nThe packrat carefully inspects the BOOK that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nA battered bugle is lying there.\nThe frayed elevator cable hangs just out of your reach.\n\n> You take the BUGLE\nYou pick up the battered bugle.\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You climb the cable\nYou dance and leap on your toes, but are unable to reach the cable. Just when you are about to give up, you recall a stunt you saw in a movie. Taking off your belt, you whip it upward in your best Indiana Jones style. Amazingly, as in the movie, the tip of the belt wraps itself three times around the frayed cable and catches securely. (Aren't you glad I saw that movie too?) Summoning all your strength, you start hand over hand up the belt and cable until you reach the doors at the top of the shaft and swing yourself over to safety.\n\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go north\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> Go west\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You shake BUGLE\nDon't know how to shake here...\n\n> You wear the SKATE\nYou put on the skate.\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> Turn table\nI tell you, you're bucking for one prime hernia trying to twist around something this massive.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You throw the bucket at the VIOLIN\nThe bucket bounces off the violin.\n\n> You throw KNIFE at the VIOLIN\nThe knife bounces off the violin.\n\n> You take all\nYou pick up the sharp knife.\nYou pick up the oaken bucket.\n\n> You go north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> You take the parchment\nYou pick up the dark parchment.\n\n> You wear the bucket\nYou put on the bucket.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You wear the bucket\nYou put on the bucket.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\nplaster pluto\ndark secret\nYou're wearing:\nroller skate\noaken bucket\npocket pager ( on your belt )\n\n> You put bucket under the SKATE\nYou are already wearing the bucket.\n\n> You remove bucket\nYou take off the bucket.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You look at the parchment\nThis might be a prop left over from a spy drama - or maybe it's the real thing.\n\n> You put the bucket on the parchment\nYou put on the bucket.\n\n> You remove bucket\nYou take off the bucket.\n\n> You put the parchment under the bucket\nYou place the parchment under the bucket.\n\n> You wear the bucket\nYou put on the bucket."
    },
    {
        "text": "> You look around\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You take the bucket off\nWhat do you want to take the bucket off?\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\nYou're wearing:\nroller skate\npocket pager ( on your belt )\n\n> You take the SKATE\nYou pick up the roller skate.\n\n> You wear the bucket\nYou put on the bucket.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You rub lamp\nYou rub and rub but only wear through the gold tone finish on the cheap lamp.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go north\nYour luck has just turned sour. You stumble over the edge of the orchestra pit into the percussion section, sending the remains of most of the instruments and everything you were carrying flying who-knows-where.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> You go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA packrat has emerged from a crack in the wall\n\n> You check your inventory\nYou are empty-handed.\n\n> You look at the packrat\nIt eyes you suspiciously at first, then standing up on its hind paws, it strides boldly over and squeaks,  \"Let's make a deal\".\n\n> You go east\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> You examine the door\nJust a wild guess, but judging from the label, I'd say that door may lead to the music room.\n\n> You read the door\n\"TO MUSIC ROOM\""
    },
    {
        "text": "> You describe your surroundings\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> Go north\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> You go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nA battered bugle is lying there.\nThere is a single dim bulb. (Providing light)\nThere is a foot long hotdog\nThere is a kit of heavy stage makeup\nA very sharp knife is lying there, blade upwards.\nA single \"one size fits all\" roller skate is sitting there.\nThere is a plain living room lamp.\nThere is that famous old oaken bucket\nThere is a small PLUTO.\nThere is a small pocket pager.\n\n> You take all\nYou pick up the battered bugle.\nYou pick up the dim bulb.\nYou pick up the long hotdog.\nYou pick up the stage makeup.\nYou pick up the sharp knife.\nYou pick up the roller skate.\nYou pick up the old lamp.\nYou pick up the oaken bucket.\nYou pick up the plaster pluto.\nYou pick up the pocket pager.\n\n> You wear the pager\nYou put on the pager.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> Rub organ\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> Move organ\nYou pull out all the stops. (You've been just itching to do that some day.)\n\n> You look at the stops\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow).\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You drop all\nYou drop the bugle.\nYou drop the bulb.\nYou drop the hotdog.\nYou drop the makeup.\nYou drop the knife.\nYou drop the skate.\nYou drop the lamp.\nYou drop the bucket.\nYou drop the pluto.\n\n> You drop the pager\n(Taking it off first)\nYou drop the pager.\n\n> You take all\nYou pick up the battered bugle.\nYou pick up the dim bulb.\nYou pick up the long hotdog.\nYou pick up the stage makeup.\nYou pick up the sharp knife.\nYou pick up the roller skate.\nYou pick up the old lamp.\nYou pick up the oaken bucket.\nYou pick up the plaster pluto.\nYou pick up the pocket pager.\n\n> You go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> You go west\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go west\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You examine the transom\nThe door (like most of the others in this place) seems to be warped from disuse. The handle does seem to still be useable and there is no obvious lock.\n\n> You read the door\n\"Stage Manager's Office\"\n\n> Go south\nIgnoring everything that you learned as a two year old, you impulsively turn S and walk right into the closed door.\n\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You open the door\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\nThe transom over the door admits just enough light for you to make out a small desk taking up most of the floor space.\nAn old abridged dictionary sits on the desk.\n\n> You look at the dictionary\nIt has seen better days. Years of coffee spills have obliterated most of the printing and completely glued the binding to the desk. The pages are soggy and YELLOW and about to fall apart. They appear to be somewhat out of order.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: APPLE:Safe to eat, like the Steak and Cookie. SEE ALSO AVACODO HOTDOG:Not for you. SEE ALSO CAT, FROG\n\n> You look up the APPLE in the dictionary\nExtra input found: \"in...\"\n\n> You read dictionary\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You look at the dictionary\nIt has seen better days. Years of coffee spills have obliterated most of the printing and completely glued the binding to the desk. The pages are soggy and YELLOW and about to fall apart. They appear to be somewhat out of order.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\npocket pager\n\n> You go north\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> Go east\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go upwards\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\n\n> You go east\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You cut the gum\nYou want to CUT the GUM with WHAT, pray tell?\n\n> You cut the gum with KNIFE\nYou want to CUT the GUM with WHAT, pray tell?\n\n> You cut the gum with the razor\nYou want to CUT the GUM with WHAT, pray tell?"
    },
    {
        "text": "> You look around\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You examine the pocket\nIt is a simple little device to forward important messages to you."
    },
    {
        "text": "> You look around\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You examine the gum\nThis is a real big one.\n\n> You sit\nFeeling the need to gather your wits (such as they are) about you, you sit back down for a moment to collect your thoughts. After mulling over your situation and coming up with a blank, you get back up. The seat bottom again retracts.\n\n> Break leg\nThank you. Same to you.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nroller skate\nold lamp\noaken bucket\nplaster pluto\npocket pager\n\n> You wear the SKATE\nYou put on the skate.\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> You go north\nYAAAAEEEEEEEEOOOOOOUUUUUAAAAHHHHHH!!!!!\n\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go northwest\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> Yell\nYAAAAEEEEEEEEOOOOOOUUUUUAAAAHHHHHH!!!!!\n\n> You kick the plank\nDon't know how to kick here...\n\n> You pull the plank\nYou start toward the pile, but even the gentle breeze stirred up by your arms causes the pile to tremble and a shower of nuts, bolts and old painting materials makes you think better of that idea. You retreat to the far side of the room to rethink your strategy.\n\n> Kick\nDon't know how to kick here...\n\n> You throw\nWhat do you want to throw?\n\n> You shake plank\nDon't know how to shake here...\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar ( chained to the wall )\nA gouged and battered woodworking table is against the Wall.\n\n> You examine crowbar\nIt's in good shape and looks like it could do a job on anything it could reach.\n\n> You look at the table\nIt has seen a lot of use. Its heavy oak top has gouges from many a tool.\n\n> You take crowbar\nYou pick up the iron crowbar.\n\n> You go south\nThe crowbar, still chained to the wall, jerks back and clatters to the floor.\n\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You wear the SKATE\nYou are already wearing the skate.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\npocket pager\nYou're wearing:\nroller skate\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You go to the north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You hit PLUTO with the crowbar\n(Getting the crowbar first)\nYou pick up the iron crowbar. It only makes sense to attack living things.\n\n> You break pluto with crowbar\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the PLUTO? Don't know how to break here...\n\n> You hit the table with the crowbar\nIt only makes sense to attack living things.\n\n> You look under the table\nIt has seen a lot of use. Its heavy oak top has gouges from many a tool.\n\n> You look at the chain\nIt seems as if the janitor in this place doesn't trust anyone with his tools. There's no lock on the chain. It'd have to be cut to free anything from it.\n\n> You cut the chain\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You cut the chain with KNIFE\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You cut the chain knife\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You cut the chain with the makeup\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You cut the chain with saw\nYou want to CUT the CHAIN with WHAT, pray tell?\n\n> You go east\nThe crowbar, still chained to the wall, jerks back and clatters to the floor.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go east\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> Kick table\nDon't know how to kick here...\n\n> You go east\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> You go to the south\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go east\nYou squeeze between old flats (stage scenery) off-left (OFF the main stage playing area and to the actor's LEFT while facing the audience - a little theater terminology there).\nAt first you hardly notice a massive chair against the wall.\n\n> You go west\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go northwest\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go north\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles"
    },
    {
        "text": "> You look around\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> You examine table\nIt has seen better days. The legs are pulling loose, the top is warped, and it has had every conceivable shade of paint spilled on it over the years.\n\n> You examine the paint\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You go east\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> You wear the bucket\nYou put on the bucket.\n\n> Go upwards\nYou start briskly climbing the ladder, but about 20 feet up you realize what acrophobia is all about. After clinging to the ladder helplessly for a few hours, your arms finally give out and you fall back to the stage below.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You check what you're carrying\nYou're carrying:\nbattered bugle\ndim bulb\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\npocket pager\nYou're wearing:\nroller skate\n\n> Light lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on.\n\nThe lamp is now lit.\n\n> You take the lamp\nYou already have the lamp.\n\n> Go southwest\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> Light lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on.\n\nThe lamp is now lit."
    },
    {
        "text": "> Look around\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> You take the lamp\nYou already have the lamp.\n\n> You check what you're carrying\nYou're carrying:\nbattered bugle\ndim bulb\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\npocket pager\nYou're wearing:\nroller skate"
    },
    {
        "text": "> Look around\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> Go north\nIt is dark. You can't see anything.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> You turn off bulb\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nThe bulb is now off.\n\n> You turn off bulb\nThe bulb is already off."
    },
    {
        "text": "[Themes: gender choice]\n\n> You describe your surroundings\nIt is dark. You can't see anything."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go west\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You examine the boiler\nYou hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> Break valve\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the VALVE? Don't know how to break here...\n\n> Kick valve\nDon't know how to kick here...\n\n> Blow boiler\nYou do your best, opening and closing the safety valve, fiddling with levers and valves, but you seem unable to get anything out of the boiler at this time. Maybe, if you were to find some instructions or even a note about the boiler, you would know what to do.\n\n> You read the boiler\nYou can't read the boiler, so instead you just examine it. You hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> You look behind the boiler\nYou hear the rush of flame in the firebox. The boiler spits and sputters as if the safety valve weren't working. It looks ready to blow at any second.\n\n> You go to the east\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go upward\nIt is dark. You can't see anything.\n\n> Go south\nIt is dark. You can't see anything.\n\n> You go south\nExcuse me, but your pager is beeping.\n\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You answer the pager\nThat's odd, nothing but heavy breathing. Oh, I know who that is.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You examine the door\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> You examine the lock\nIt is a substantial door with a substantial double cylinder dead bolt lock. There is an official looking plaque on the front of the door.\n\n> You read the lock\n\"JANITORS CLOSET\"\n\n> You read the plaque\n\"JANITORS CLOSET\"\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You break the machine\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the MACHINE? Don't know how to break here...\n\n> Break glass\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the GLASS? Don't know how to break here..."
    },
    {
        "text": "> You look around\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You look down\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> You go to the south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You check what you're carrying\nYou're carrying:\nbattered bugle\ndim bulb\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\npocket pager\nYou're wearing:\nroller skate\n\n> Go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Go up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nIt is dark. You can't see anything.\n\n> You examine the machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You read the panels\n\"Soft Drinks - 25 cents\" - Hmm, must be an OLD machine.\n\n> You look at the ledge\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> Shake machine\nDon't know how to shake here...\n\n> Kick machine\nDon't know how to kick here...\n\n> You hit the machine\nIt only makes sense to attack living things.\n\n> You look under the machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You break the machine\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the MACHINE? Don't know how to break here...\n\n> You look behind the machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> Examine button\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You open the machine\nThe machine is already open.\n\n> You look in machine\nAmazingly, the machine seems to still be operational. There is a coin slot, two back-lit message panels (only one of which seems to be lighted), and the small ledge where the sodas would come out.\n\n> You go west\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> You examine the door\nIt doesn't seem to actually be locked. You just can't open it without a knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You examine the mirror\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You read the mirror\n\"THE MAKEUP THEY GIVE YOU IN THIS PLACE WOULD GIVE ZITS TO WROUGHT IRON!\"\n\n> Break mirror\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the MIRROR? Don't know how to break here...\n\n> Go north\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go north\nAs you enter the room, you notice your old friend, the genie, snoozing in the corner. At the sound of your footsteps, he stirs and groggily undergoes three quick transmutations. Finally settling on a solid form, he rubs his eyes and says, \"For my first wish, I want something to WEAR.\"\n\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\nThe genie stands in a cloud of greasy smoke.\n\n> You give the SKATE to genie\nWith a semi-logical motion, the genie turns the SKATE inside-out, handing you a medium rare STEAK, saying, \"Eat up, then meet me at the CLAWKAT with a TRACE.\"\n\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\n\n> You examine the steak\nI don't want to talk about it. I'm on a diet. Luckily, you're only a fictional character in a computer game. You don't have to worry about things like that. Enjoy!\n\n> You eat the steak\nDespite your best intentions, you wolf down the entire steak in only 4-1/3 bites. Then you notice the fortune cookie that came with it.\n\n> You look at the Cookie\nIf you can believe everything else that's happened, you can believe this too.\n\n> You read Cookie\nYou can't read the cookie, so instead you just examine it. If you can believe everything else that's happened, you can believe this too.\n\n> You eat the Cookie\nYou eat the fortune cookie.\n\n> You check your inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nplaster pluto\npocket pager\n\n> You open the Cookie\nYou have opened the cookie.\nInside, you see the following:\npaper fortune ( in the broken pieces )\n\n> You read the fortune\n\"YOUR FORTUNE MAY RIDE ON YOUR WEIGHT.\" Must be for some sumo wrestler."
    },
    {
        "text": "> Look around\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\n\n> You go south\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> Go west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\nThere is a very convincing 24 carat ring. ( hanging on a wall peg)\n\n> You examine table\nThis is a perfectly ordinary magicians table, as magicians tables go. Maybe a little TOO perfectly ordinary. It has the required black velvet draping, felt square on top, and golden symbols - like some almost familiar language - decorating the hem.\n\n> You take the ring\nYou pick up the solitaire ring.\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You wear the ring\nYou put on the ring.\n\n> You read the table\nAt first you can't make out the meaning of the hem's decorations.\nThen as you start walking around to the other side of the table, it hits you...Its written upside down. Clumsily standing on your head, you make out the repeating legend, \"..ACEPRIZEDPOSSIONONTABLEPLACEPRIZEDPOSSIONONTABLEPL...\"\n\n> You put the ring on the table\nWhat do you know, a REAL magic table! The RING vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put the pager on the table\nWhat do you know, a REAL magic table! The PAGER vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go north\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a small pocket pager.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go to the south\nGarment racks line the walls. There is a definite smell of well worn clothing.\nA name brand SCUBA suit lies dripping ( on the floor )\n\n> You examine the scuba\nA wet suit and Self Contained Underwater Breathing Apparatus with full tanks.\n\n> You read it\n\"AMITY SURPLUS\"\n\n> You take the suit\nYou pick up the scuba suit."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nGarment racks line the walls. There is a definite smell of well worn clothing.\n\n> Go north\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go upward\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> Go east\nThe catwalk continues West and East. The boards creak under your feet. Looking down, you see a dangerous SAG.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go up\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Examine page\nIt has been out in the weather so long, it has almost melted into the roof.\n\n> You read the page\nIt's a page from ALI BABA AND THE FORTY THIEVES, too rainsoaked to read.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> Examine crate\nIt is a large wooden packing crate with a heavy lid.\n\n> Open crate\nYou want to OPEN the CRATE with WHAT, pray tell?\n\n> Go west\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 32 - Theater Roof\"\n\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> You go to the north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nA packrat has emerged from a crack in the wall\n\n> You trade the pager to the packrat\nThe packrat carefully inspects the PAGER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThere is nice E flat valve trumpet\n\n> You take the trumpet\nYou pick up the valve trumpet.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> You look at the window\nThe window is not locked. It would be large enough to crawl through, but a few determined tugs show you that it is stuck tight. Looking through, you can see the widely-spaced steel beams that make up the grid over the stage.\n\n> You kick the window\nDon't know how to kick here...\n\n> You break the window\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the WINDOW? Don't know how to break here...\n\n> You cut the window\nTrying to cut the window with that would only scrape off some dirt.\n\n> You cut the window with the ring\nTrying to cut the window with that RING would only scrape off some dirt.\n\n> You cut the ring with the window\nYou want to CUT the RING with WHAT, pray tell?\n\n> You cut the window with KNIFE\nTrying to cut the window with that KNIFE would only scrape off some dirt."
    },
    {
        "text": "> Go downward\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You look at the woman\nShe spits in the corner and says.\"You know, not many people come down this way any more. A lot fewer go back. These rooms hold about the nastiest bunch of characters you'd want to tangle with. Try 'em if you like. Ain't no skin off my nose.\" She then settles back in her chair to watch.\n\n> You hit woman\nYou attack that poor defenseless WOMAN again and I'm calling 9-1-1!\n\n> Go north\nA HUNGRY man (and woman) eating plant is creeping toward you.\n\n> You examine the plant\nIt stands over 9 feet tall. The main pod is covered with multi-colored warts, and has jaws big enough to walk into (if you were so inclined). Gnarled vines extend into the entire room and are slowly inching toward you.\n\n> You go south\nThe plant blocks your way.\n\n> You cut the plant with KNIFE\nYou want to CUT the PLANT with WHAT, pray tell?\n\nThe plant seems to be getting angrier.\n\n> You kill the plant\nYou attack the plant with your bare hands, but it evades your attack. The plant seems to be getting angrier.\n\n> You enter the plant\nYou can't enter anything here.\nThe plant suddenly attacks you!\nYou try to defend yourself, but the plant kills you anyhow.\n\n $You$ have died! \n\nYour score is 750 (out of 19900 possible). You have visited 73 locations (out of 117 in the game)\n\n> You go to the north-east\nYou are in a small side room. The exits all lead back to the main gallery.\nAn insane barber is motioning to you to come sit in his chair.\n\n> You examine the barber\nHis red eyes are sunk into grayed sockets and his arms are crusted with the blood of previous customers. In his right hand he brandishes a gleaming, silver-handled straight razor. \"You are next,\" he snarls.\n\n> You give KNIFE to the barber\nYou can't read the knife, so instead you just examine it. It is a large bread knife with a serrated blade.\n\n> You go to the southwest\nThe barber blocks your way.\n\n> You kill the barber\nYou attack the barber with your bare hands, but he evades your attack.\n\n> You examine the razor\nHis red eyes are sunk into grayed sockets and his arms are crusted with the blood of previous customers. In his right hand he brandishes a gleaming, silver-handled straight razor. \"You are next,\" he snarls.\n\n> You check what you're carrying\nYou're carrying:\nbattered bugle dim bulb (Providing light) long hotdog stage makeup sharp knife old lamp oaken bucket plaster pluto scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> Kiss barber\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine Avocado\nThe zookeeper looks up and says, \"Try a room - one's as bad as the next.\"\n\nYou don't see any avocado here.\n\n> Go east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You look at the captain\nHe is wears a long violet coat over a lacey shirt and black knee britches and sports an enormously oversized hat with a pink ostrich plume. In his right hand he waves a sinister cutlass and he has a HOOK in place of a left hand.\n\n> You examine the hook\nHe is wears a long violet coat over a lacey shirt and black knee britches and sports an enormously oversized hat with a pink ostrich plume. In his right hand he waves a sinister cutlass and he has a HOOK in place of a left hand.\n\n> You give ring to the pirate\nThe PIRATE gives a quick glance at the RING, then tosses it back.\n\n> You take the ring\nYou pick up the solitaire ring.\n\n> Go west\nThe captain blocks your way.\n\n> You kill the pirate\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You look at the witch\nProbably just the kind of old crone who would go around turning people into frogs (or toads). She looks you over approvingly and starts gesturing and muttering an incantation. You feel your eyes starting to bulge\n\n> You look at cauldron\nProbably just the kind of old crone who would go around turning people into frogs (or toads). She looks you over approvingly and starts gesturing and muttering an incantation. You feel your eyes starting to bulge\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You give the BUGLE to the witch\nThe WITCH gives a quick glance at the BUGLE, then tosses it back.\n\n> You take BUGLE\nYou already have the bugle.\n\n> Inventory\nYou're carrying:\nbattered bugle dim bulb (Providing light) long hotdog stage makeup sharp knife old lamp oaken bucket plaster pluto solitaire ring scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet\n\n> You kill the witch\nYou attack the witch with your bare hands, but she evades your attack.\n\n> Kiss witch\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> Examine janitor\nHe was looking for something, but has now turned his attention to you. He appears to have guessed that you know more about him than he cares to have made public. Chomping on his cigar, he rolls up his sleeves and heads toward you.\n\n> You kill the janitor\nYou attack the janitor with your bare hands, but he evades your attack.\n\n> You give the ring to the janitor\nYou can't read the ring, so instead you just examine it. A simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You go north\nThe janitor blocks your way.\n\n> You wait for a while\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go southwest\nYou are in a small side room. The exits all lead back to the main gallery.\nYou come face to face with the drama critic who panned your last\nthree shows.\n\n> You examine the critic\nThis is the guy you always suspected was out to get you. Now you are sure of it. He grins maniacally and comes at you with poison pen raised.\n\n> You play the BUGLE\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You kick the bucket\nWhat a quaint sense of humor. For a second there, I was half tempted to honor your request. However, I am amused by your antics and wish to see more of them. I shall let you go with only a bruised toe.\n\n> You kill the critic\nYou attack the critic with your bare hands, but he evades your attack.\n\n> You throw KNIFE\nYou throw the knife.\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You throw KNIFE at the critic\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine KNIFE\n\"If you'd get rid of a few of these characters, it'd make my job a lot easier.\"\n\nIt is a large bread knife with a serrated blade.\n\n> Go west\nYou are in a small side room. The exits all lead back to the main gallery.\nThis guy looks just like your agent (The one you haven't seen\nlately).\n\n> You look at the agent\nNow you know this must be some kind of weird nightmare. Your own agent is after you. He is rolling up a stack of your head shots and publicity releases and seems intent on using them as a club.\n\n> You go to the east\nThe agent blocks your way.\n\n> Hit agent\nYou attack the agent with your bare hands, but he evades your attack.\n\n> You hit the agent with KNIFE\nYou strike at the agent with the knife, but your weapon bounces off of him harmlessly\n\n> You hit the agent with the trumpet\nYou strike at the agent with the trumpet, but your weapon bounces off of him harmlessly\n\n> You check your inventory\nYou're carrying:\nbattered bugle dim bulb (Providing light) long hotdog stage makeup\nold lamp oaken bucket plaster pluto solitaire ring scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\n\n> You hit the agent with PLUTO\nYou strike at the agent with the pluto, but your weapon bounces off of him harmlessly\n\n> You wait for a while\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You go to the northwest\nYou are in a small side room. The exits all lead back to the main gallery.\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You examine Helen\nThis is the prima donna who's edged you out of more good parts than you care to think about. Now she's coming right at you waving her scrapbook. Either she's going to bore you to death with her clippings, or she means to attack you.\n\n> Inventory\nYou're carrying:\nbattered bugle dim bulb (Providing light) long hotdog stage makeup\nold lamp oaken bucket solitaire ring scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\n\n> You hit Helen with the bucket\nYou strike at the helen with the bucket, but your weapon bounces off of her harmlessly"
    },
    {
        "text": "> You describe your surroundings\nYou are in a small side room. The exits all lead back to the main gallery.\nThere is that famous old oaken bucket\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> You kill Helen\nYou attack the helen with your bare hands, but she evades your attack.\n\n> You examine scrapbook\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go north\nA HUNGRY man (and woman) eating plant is creeping toward you.\n\n> You eat the plant\nEither you are very hungry or very, very sick.\n\n> You eat Avocado\nEither you are very hungry or very, very sick.\n\n> You look at Avocado\nIt stands over 9 feet tall. The main pod is covered with multi-colored warts, and has jaws big enough to walk into (if you were so inclined). Gnarled vines extend into the entire room and are slowly inching toward you. The plant seems to be getting angrier.\n\n> You look at the vines\nIt stands over 9 feet tall. The main pod is covered with multi-colored warts, and has jaws big enough to walk into (if you were so inclined). Gnarled vines extend into the entire room and are slowly inching toward you. The plant seems to be getting angrier.\n\n> Examine pod\nIt stands over 9 feet tall. The main pod is covered with multi-colored warts, and has jaws big enough to walk into (if you were so inclined). Gnarled vines extend into the entire room and are slowly inching toward you. The plant suddenly attacks you!\nYou try to defend yourself, but the plant kills you anyhow.\n\n $You$ have died! \n\nYour score is 20 (out of 19900 possible). You have visited 80 locations (out of 117 in the game)\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You go to the east\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 56 - Theater Roof\"\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> Go south\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> You take the crate\nYou pick up the packing crate.\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downward\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nStarting across the catwalk, you notice a familiar smell. Whirling around, you see the genie splashing CAMEL #5 cologne under his red white and blue arms. Rebuttoning his shirt, he says, \"I've taken a liking to you, so tell you what - drop what you're doing and bring me something to PLAY for my second wish and you may live long enough to have the honor of granting my third wish some day.\"\n\n> You drop the crate\nYou drop the crate.\n\n> You give the BUGLE to the genie\nNonchalantly taking the BUGLE, he reaches his arm into the bell and then yanks. The instrument seems to twist back into itself and spiral into - nothing. Winking his eye, he again vanishes.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\nThere is a heavy packing crate\n\n> You give the trumpet to GENIE\nThe GENIE gives a quick glance at the TRUMPET, then tosses it back. \"I never could play a trumpet.\"\n\n> You take the trumpet\nYou already have the trumpet.\n\n> You check what you're carrying\nYou're carrying:\nbattered bugle dim bulb (Providing light) long hotdog stage makeup sharp knife old lamp oaken bucket plaster pluto scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> You give the BUGLE to GENIE\nNonchalantly taking the BUGLE, he reaches his arm into the bell and then yanks. The instrument seems to twist back into itself and spiral into - nothing. Winking his eye, he again vanishes.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\nThere is a heavy packing crate\n\n> You take the crate\nYou pick up the packing crate.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go west\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing."
    },
    {
        "text": "> Go downwards\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go north\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You open the crate with the crowbar\nYou pound and jab at the lid until it finally loosens, then you push it aside.\n\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> Examine crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light) long hotdog stage makeup sharp knife packing crate old lamp oaken bucket plaster pluto scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> You look in the crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> You drop the crate\nYou drop the crate.\n\n> You get on crate\nYou pick up the packing crate.\n\n> Open crate\nYou want to OPEN the CRATE with WHAT, pray tell?\n\n> Examine crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light) long hotdog stage makeup sharp knife packing crate old lamp oaken bucket plaster pluto scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> You put KNIFE in the crate\nYou place the knife in the crate.\n\n> Examine crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> You take all from crate\nYou pick up the iron crowbar.\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You put the crowbar in the crate\nYou place the crowbar in the crate.\n\n> You go east\nThe crowbar, still chained to the wall, jerks back and clatters to the floor.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Examine crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You break the crate with the crowbar\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the CRATE? Don't know how to break here...\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You throw the crate at the VIOLIN\nThe crate bounces off the violin.\n\n> You take the crate\nYou pick up the packing crate.\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> You throw crate at the plank\nThe crate bounces off the plank.\n\n> You take the crate\nYou pick up the packing crate.\n\nLoading game...\n\n/=======================================\\\n| /\\ |\n| |               S O S               | |\n| |                                   | |\n| |         Son Of Stagefright        | |\n| |             The SEQUEL            | |\n| |   A pleasant day at the theatre   | |\n| |     in three paranatural acts     | |\n| |      c 1989 by Mike McCauley      | |\n| \\/ | \\=======================================/\n.\n\n\n\nThis game is being executed by:\n\n\n\nChoose <I>nstructions, <A>GiliTy Information, or <other> to start the game\nS.O.S. Son of Stagefright, the SEQUEL\nc 1989 Mike McCauley Distributed as\nShareWare  -  Not Public Domain\n\nThis is your big day. You've studied method acting, improv, mime, dance, movement, CPR and all the rest and now you're itching to take your place down center like all the famous actors and actresses before you. You've heard about an audition down at the old theater at the lower end of the far reaches of the wrong side of...\n\n-Well, anyway, you thought that it had been closed after a series of very mysterious accidents and disappearances following their 13 week run of the `Scottish Tragedy'. (If you don't know that one, just ask any actor.)\n\nWhen you arrive, the line of hopefuls wraps around the block. By the time you get signed in, the only seat left is up in the balcony.\n\non                                                  *\nand       *\n*\n*                     z-z-z-Z-Z-Z-Z-z-z-z-Z-Z-Z-Z-z-z-z\n*                                             *\n\nYou wake with a start. What time is it? Did you miss the call for your reading? You hear what sounds like muffled laughter somewhere. Looking around for its source, it occurs to you that something is disturbingly wrong.\n\nFinally it sinks in. There isn't a living soul in sight. Dust and cobwebs are everywhere. There is only one thought racing through your little brain...\n\"I WANT OUT!\"\n--- HIT ANY KEY ---\n\nOh, by the way, the game has been set up for you to play it as an ACTOR. Would you rather be an ACTRESS? (Please enter YES or NO.)\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You play the VIOLIN\nLet me explain it to you this way: |      ..,,,..\n1. The violin is out of reach,            |    ///////~\\\\\\\n2. You ain't got a bow,                   |   (''~~~    ``\\\n3. You ain't got a union card,            |   { (0 ) >--< }\n4. I know your taste in music,            |    \\  __<__  /\n-AND-                           +---  \\ \\___/ /\n5. It wouldn't accomplish anything anyway.|      \\/\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go to the north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You break the crate with the crowbar\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the CRATE? Don't know how to break here...\n\n> You open the crate with the crowbar\nYou have already opened the crate and pushed the lid aside.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light) long hotdog stage makeup sharp knife packing crate old lamp oaken bucket plaster pluto scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Examine crate\nDOG GONE, It's empty! (Don't you wish I would make the clues a little easier?)\n\n> You put PLUTO in the crate\nEven with the lid open, dropping the statue causes it to shatter, but the impact dislodges a piece of paper that you overlooked before. By the way, that statue was a Roman GOD, not Mickey Mouse's DOG. (You dyslexic or anagramatic?)\n\n> You look at the paper\nDo you mean the multiplication table or the paper fortune?\n\n> Multiplication\nThe simple grid of multipliers and products brings back memories of 3rd grade.\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light) long hotdog stage makeup sharp knife packing crate\nThere is a small scrap of paper with the multiplication table on\nit.\nold lamp oaken bucket scuba suit fortune cookie\nThere is a fortune ( in the broken pieces )\nvalve trumpet You're wearing: solitaire ring\n\n> You examine the fortune\nIt is a typical inscrutable saying.\n\n> You take the table\nTry as you might, you cannot dislodge the piece of paper from deep within the crate. Slowly and methodically, you start prying and pounding at the sides until you have finally reduced it to a pile of splintered lumber. You throw the scrap wood into a corner and take the paper.\n\n> You take the paper fortune\nYou pick up the paper fortune.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nmultiplication table\nscuba suit\nfortune cookie\npaper fortune\nvalve trumpet\nYou're wearing:\nsolitaire ring"
    },
    {
        "text": "> You look around\n\"YOUR FORTUNE MAY RIDE ON YOUR WEIGHT.\" Must be for some sumo wrestler.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> You examine the trumpet\nThe trumpet is in amazingly good condition. By the style, you decide it was probably made over 3,000 years ago and used by ancient armies as they sieged and attacked walled cities. You always were such a good music historian.\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> Go northeast\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> You go south\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go upward\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> You go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp\noaken bucket\nmultiplication table\nscuba suit\nfortune cookie\npaper fortune\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You examine KNIFE\nIt is a large bread knife with a serrated blade.\n\n> You plug in the lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on.\n\nThe lamp is now lit.\n\n> You examine the suit\nA wet suit and Self Contained Underwater Breathing Apparatus with full tanks.\n\n> You look at what you're carrying with you\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nmultiplication table\nscuba suit\nfortune cookie\npaper fortune\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You look at the Cookie\nIf you can believe everything else that's happened, you can believe this too.\n\n> Turn table\nThe gentle breeze cools your fevered brow. Nice try. At least you won't get a hernia turning a little scrap of paper. But I'm getting board by all this \"turning\" business.\n\n> Go west\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing."
    },
    {
        "text": "> Go downwards\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go north\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nYou step into a storage room. Small, useless scraps of wood and old hardware are lying about. A plank sits atop a particularly unstable pile of clutter.\nIt would turn the tables for you to get that plank down (and vice versa).\n\n> Turn table\nStanding at a safe distance, you direct a gentle breeze from the twirling sheet of paper toward the stack of junk. An ominous rumble builds until, in a spray of hardware and plumbing supplies, the plank comes thundering toward you. You stumble back till your shoulders bang against the wall. Just as the tidal wave reaches your feet, it plays out and the plank comes to rest against your shin.\n\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\nThere is a 12 foot plank ( at your feet )\n\n> You take the plank\nYou pick up the sturdy plank.\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You hit VIOLIN with the plank\nIt only makes sense to attack living things.\n\n> You break the VIOLIN with the plank\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the VIOLIN? Don't know how to break here...\n\n> You drop the plank\nYou drop the plank.\n\n> You get on the plank\nYou pick up the sturdy plank.\n\n> You go to the north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You go east\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go up\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> You go southeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> You throw plank\nYou throw the plank.\n\n> You take the plank\nYou pick up the sturdy plank.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go north\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You go to the north\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go to the north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> Examine page\nIt has been out in the weather so long, it has almost melted into the roof.\n\n> You read it\nIt's a page from ALI BABA AND THE FORTY THIEVES, too rainsoaked to read.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West."
    },
    {
        "text": "> Go downward\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You give the plank to the pirate\nThe PIRATE gives a quick glance at the PLANK, then tosses it back.\n\n> You hit the pirate with the plank\nYou strike at the pirate with the plank, but your weapon bounces off of him harmlessly\n\n> You take the plank\nYou pick up the sturdy plank.\n\n> You examine the cutlass\nHe is wears a long violet coat over a lacey shirt and black knee britches and sports an enormously oversized hat with a pink ostrich plume. In his right hand he waves a sinister cutlass and he has a HOOK in place of a left hand.\n\n> You hit the pirate with KNIFE\nYou strike at the pirate with the knife, but your weapon bounces off of him harmlessly\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You give ring to the pirate\nThe PIRATE gives a quick glance at the RING, then tosses it back.\n\n> You take the ring\nYou pick up the solitaire ring.\n\n> You play the trumpet\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You wear the suit\n\"Well, you going to try a room or ain't you?\" says the zookeeper\n\nYou put on the suit.\n\n> Wait\nTime passes...\n\n> You wait for a while\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\nTime passes...\n\n> Wait\nTime passes...\n\n> Wait\nTime passes...\n\n> You wait for a while\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\nTime passes...\n\n> You give the ring to the woman\nThe WOMAN gives a quick glance at the RING, then tosses it back.\n\n> You take the ring\nYou already have the ring.\n\n> Inventory\n\"If you'd get rid of a few of these characters, it'd make my job a lot easier.\"\n\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nsolitaire ring\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nscuba suit\n\n> You examine the suit\nA wet suit and Self Contained Underwater Breathing Apparatus with full tanks.\n\n> You remove the suit\nThe zookeeper looks up and says, \"Try a room - one's as bad as the next.\"\n\nYou take off the suit.\n\n> You take the suit\nYou pick up the scuba suit.\n\n> You wear the suit\nThe zookeeper chuckles, \"I ain't dumb enough to go in them rooms.\"\n\nYou put on the suit.\n\n> Go north\nA HUNGRY man (and woman) eating plant is creeping toward you."
    },
    {
        "text": "[Themes: gender choice]\n\n> You look around\nA HUNGRY man (and woman) eating plant is creeping toward you.\n\n> You look at the plant\nIt stands over 9 feet tall. The main pod is covered with multi-colored warts, and has jaws big enough to walk into (if you were so inclined). Gnarled vines extend into the entire room and are slowly inching toward you. The plant seems to be getting angrier.\n\n> You enter the plant\nYou can't enter anything here.\nThe plant seems to be getting angrier.\n\n> You wait for a while\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nA HUNGRY man (and woman) eating plant is creeping toward you. Time passes... The plant suddenly attacks you!\nYou try to defend yourself, but the plant kills you anyhow.\n\n $You$ have died! \n\nYour score is 1050 (out of 19900 possible). You have visited 76 locations (out of 117 in the game)\n\n> Inventory\nThe zookeeper chuckles, \"I ain't dumb enough to go in them rooms.\"\n\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You go to the northwest\nYou are in a small side room. The exits all lead back to the main gallery.\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You give the makeup to HELEN\nThe HELEN gives a quick glance at the MAKEUP, then tosses it back.\n\n> You wear the makeup\nYou put on the makeup.\n\n> You examine HELEN\nThis is the prima donna who's edged you out of more good parts than you care to think about. Now she's coming right at you waving her scrapbook. Either she's going to bore you to death with her clippings, or she means to attack you.\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You cut the scrapbook with KNIFE\nYou want to CUT the SCRAPBOOK with WHAT, pray tell?\n\n> You hit HELEN with KNIFE\nYou strike at the helen with the knife, but your weapon bounces off of her harmlessly\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You give the suit to HELEN\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine the suit\nThe zookeeper chuckles, \"I ain't dumb enough to go in them rooms.\"\n\nA wet suit and Self Contained Underwater Breathing Apparatus with full tanks.\n\n> Sign\nThe zookeeper looks up and says, \"Try a room - one's as bad as the next.\"\n\nDon't know how to sign here...\n\n> You examine the ring\n\"If you'd get rid of a few of these characters, it'd make my job a lot easier.\"\n\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You take the stone\n\"Eight rooms to choose from. Most actors I know can't count that high.\"\n\nYou pick up the solitaire stone.\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You look at the stone\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You look at what you're carrying with you\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp (Providing light)\noaken bucket\nsolitaire ring\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nstage makeup\n\n> You wear the suit\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\nYou put on the suit.\n\n> You wear the bucket\nYou put on the bucket."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\n\"Eight rooms to choose from. Most actors I know can't count that high.\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You go south\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> You go south\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 33 - Theater Roof\"\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downward\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go west\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing."
    },
    {
        "text": "> Go downwards\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go north\nThe hall continues to the West and South. There's an open door to the North.\n\n> You wear the suit\nYou put on the suit.\n\n> You wear the bucket\nYou put on the bucket.\n\n> You put bulb in socket\nYou screw the bulb firmly into the socket, forgetting that you have not disconnected the electric power from the spotlight. At the first sign of arcing, you avert your eyes, thus avoiding permanent blindness. Looking out the booth window, you see \"YOU'RE ALL WET, PAIL-FACE\" projected briefly on the ceiling as the bulb flares into brilliance, then descends back to darkness.\n\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThere is a burned-out bulb.\n\n> You take bulb\nYou pick up the dead bulb.\n\n> You look at bulb\nThe once mighty capacitor filament is but a charred stump. This is an ex-bulb.\n\n> Shake bulb\nDon't know how to shake here...\n\n> You remove bucket\nYou take off the bucket.\n\n> You take the bucket\nYou pick up the oaken bucket.\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\n\n> You turn on the lamp\nThe lamp isn't lit, so you can't extinguish it\n\n> Light lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on.\n\nThe lamp is now lit.\n\n> You check what you're carrying\nYou're carrying:\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nfortune cookie\npaper fortune\nsturdy plank\ndead bulb\nvalve trumpet\nYou're wearing:\nsolitaire ring\nscuba suit\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go to the west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> You go west\nRipped wires and broken racks show where sound equipment used to be mounted.\nOne tape recorder is all that's left of the equipment.\n\n> Play recorder\nIT is a wee tad difficult to play the thing without a tape.\n\n> You go to the south\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> You go northwest\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You cut the machine with the ring\nYou want to CUT the MACHINE with WHAT, pray tell?\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You cut the coat with KNIFE\nYou want to CUT the COAT with WHAT, pray tell?\n\n> You go to the west\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You put the paper fortune on counterweight\nYou carefully place the FORTUNE in the hollow on the top of the counterweight.\n\n> You read the fortune\n\"YOUR FORTUNE MAY RIDE ON YOUR WEIGHT.\" Must be for some sumo wrestler.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nYour luck has just turned sour. You stumble over the edge of the orchestra pit into the percussion section, sending the remains of most of the instruments and everything you were carrying flying who-knows-where.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You look at the counterweight\nIt is made of a stack of heavy metal bars, bolted together and pulled up and down by cables. It has a broad upper surface with a small hollow. Which contains:\nThere is a fortune\n\n> You read the fortune\n\"YOUR FORTUNE MAY RIDE ON YOUR WEIGHT.\" Must be for some sumo wrestler.\n\n> You take the paper fortune\nYou pick up the paper fortune.\n\n> You put the plank on the weight\nYou carefully place the PLANK in the hollow on the top of the counterweight.\n\n> You put the bucket on the weight\nYou carefully place the BUCKET in the hollow on the top of the counterweight."
    },
    {
        "text": "> Look around\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is that famous old oaken bucket\nThere is a 12 foot plank\n\n> You take the bucket and the plank\nYou pick up the oaken bucket.\nYou pick up the sturdy plank.\n\n> Go northeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> You cut the machine with the ring\nYou want to CUT the MACHINE with WHAT, pray tell?\n\n> Go east\nYou squeeze between old flats (stage scenery) off-left (OFF the main stage playing area and to the actor's LEFT while facing the audience - a little theater terminology there).\nAt first you hardly notice a massive chair against the wall.\n\n> You go west\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You go to the southwest\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go west\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> Go south\nIgnoring everything that you learned as a two year old, you impulsively turn S and walk right into the closed door.\n\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You open the door\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\nThe transom over the door admits just enough light for you to make out a small desk taking up most of the floor space.\nAn old abridged dictionary sits on the desk.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: BOOK:Several. Must be read. Good for trading. SEE ALSO PAGE QUARTER:Buys merchandise. (Buy policy FIRST.) SEE ALSO DRINK, POLICY, BARBER\n\n> Continue\nHaving no particular word to look up, you flip pages at random till you see: CHAIN:Holds crowbar. SEE ALSO CROWBAR, HACKSAW CHAIR:Sets off explosion. SEE ALSO POLICY GAP:Will be a fatal fall. SEE ALSO PLANK LAMP:Rub it then go to the Green Room. SEE ALSO GENIE SIGN:Needed to get a drink. SEE ALSO DRINK\n\n> You read the dictionary about the drink\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read the dictionary on the drink\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read dictionary\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You look at the sign\nYou see nothing unexpected.\n\nYou don't see any sign here.\n\n> You look at the dictionary\nIt has seen better days. Years of coffee spills have obliterated most of the printing and completely glued the binding to the desk. The pages are soggy and YELLOW and about to fall apart. They appear to be somewhat out of order.\n\n> You look at the pages\nIt has seen better days. Years of coffee spills have obliterated most of the printing and completely glued the binding to the desk. The pages are soggy and YELLOW and about to fall apart. They appear to be somewhat out of order.\n\n> You examine bulb\nOne of the new on/off capacitor types that glows very dimly without power.\n\n> You go to the west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nIgnoring everything that you learned as a two year old, you impulsively turn S and walk right into the closed door.\n\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You open the door\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\n> You look up the barber in the dictionary\nExtra input found: \"in...\"\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: APPLE:Safe to eat, like the Steak and Cookie. SEE ALSO AVACODO HOTDOG:Not for you. SEE ALSO CAT, FROG\n\n> You read dictionary\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: CHAIN:Holds crowbar. SEE ALSO CROWBAR, HACKSAW CHAIR:Sets off explosion. SEE ALSO POLICY GAP:Will be a fatal fall. SEE ALSO PLANK LAMP:Rub it then go to the Green Room. SEE ALSO GENIE SIGN:Needed to get a drink. SEE ALSO DRINK\n\n> Continue\nHaving no particular word to look up, you flip pages at random till you see: CHAIN:Holds crowbar. SEE ALSO CROWBAR, HACKSAW CHAIR:Sets off explosion. SEE ALSO POLICY GAP:Will be a fatal fall. SEE ALSO PLANK LAMP:Rub it then go to the Green Room. SEE ALSO GENIE SIGN:Needed to get a drink. SEE ALSO DRINK\n\n> You continue\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read the hotdog\nYou can't read the hotdog, so instead you just examine it. It seems like any other foot long hotdog you find in a deserted theater.\n\n> You read the pages\nHaving no particular word to look up, you flip pages at random till you see: DIAMOND:Can cut a glass object. SEE ALSO BOX, MIRROR DRINK:Not for you. SEE ALSO QUARTER, SIGN, WATER KNIFE:Cuts rope only. SEE ALSO ROPE KNOB:Will fall into view if you scare the cat. SEE ALSO CAT, DOOR OILCAN:Oil calms the stream and eats away hinges. SEE ALSO DOOR, STREAM POLICY:Insurance against a bomb blast. SEE ALSO CHAIR, QUARTER, AGENT\n\n> Continue\nHaving no particular word to look up, you flip pages at random till you see: APPLE:Safe to eat, like the Steak and Cookie. SEE ALSO AVACODO HOTDOG:Not for you. SEE ALSO CAT, FROG\n\n> You continue\nHaving no particular word to look up, you flip pages at random till you see: COUNTERWEIGHT:Up when curtain is down. Can carry things. ROPE:Holds the chest (CABLE is in elevator shaft). SEE ALSO KNIFE\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You look in the ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You look at the stone\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base."
    },
    {
        "text": "> Go downwards\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\n> You put the makeup on magnesium\nYou place the makeup on the box.\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> You cut box with the ring\nYou want to CUT the BOX with WHAT, pray tell?\n\n> Examine box\nThe box is secured to the floor by hardened steel bolts.\n\n> You examine the bolts\nThe box is secured to the floor by hardened steel bolts.\n\n> You put makeup on the bolts\nYou place the makeup on the bolts.\n\n> You take the makeup\nYou pick up the stage makeup.\n\n> You cut the bolts with the ring\nYou want to CUT the BOLTS with WHAT, pray tell?\n\n> Grease bolts with makeup\nDon't know how to grease here...\n\n> Go north\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\nSuddenly, a wispy figure materializes before you dressed entirely in grey. It looks you straight in the eye and whispers hoarsely , \"I am your conscience. Aren't there other things you should be doing instead of wasting time on this silly game?\" With that it turns and dissipates before your guilt-ridden eyes.\n\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 56 - Theater Roof\"\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> Grease window\nDon't know how to grease here...\n\n> You look at the window\nThe window is not locked. It would be large enough to crawl through, but a few determined tugs show you that it is stuck tight. Looking through, you can see the widely-spaced steel beams that make up the grid over the stage.\n\n> Oil window\nDon't know how to oil here...\n\n> You pry the window\nYou want to PRY the WINDOW with WHAT, pray tell?\n\n> You pry the window with KNIFE\nYou want to PRY the WINDOW with WHAT, pray tell?\n\n> You break the window\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the WINDOW? Don't know how to break here..."
    },
    {
        "text": "[Themes: gender choice]\n\n> Describe the surroundings\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You go south\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downwards\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> Go south\nGarment racks line the walls. There is a definite smell of well worn clothing.\n\n> You go west\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\n\n> Turn table\nThe table obligingly starts to spin and bob merrily, emitting little puffs of whiffle dust and tinkling like a set of miniature sleigh bells. After a few seconds, the dance ends and you see that nothing has changed.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You eat the Cookie\nYou eat the fortune cookie.\n\n> You go north\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\nThe hall continues to the West and South. There's an open door to the North.\n\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\n\n> Go west\nThe hall continues to the West and South. There's an open door to the North.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You examine the MIRROR\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You read MIRROR\n\"THE MAKEUP THEY GIVE YOU IN THIS PLACE WOULD GIVE ZITS TO WROUGHT IRON!\""
    },
    {
        "text": "> You look around\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> Go north\nA HUNGRY man (and woman) eating plant is creeping toward you.\n\n> You go to the north-east\nYou are in a small side room. The exits all lead back to the main gallery.\nAn insane barber is motioning to you to come sit in his chair.\n\n> You hit the barber with KNIFE\nYou strike at the barber with the knife, but your weapon bounces off of him harmlessly\n\n> You give the ring to the barber\nYou can't read the ring, so instead you just examine it. A simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You show the ring to the barber\nYou can't read the ring, so instead you just examine it. A simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You give the makeup to the barber\n\"Freddie Krueger Special Halloween Assortment\"\n\n> You give the trumpet to the barber\nYou can't read the trumpet, so instead you just examine it. The trumpet is in amazingly good condition. By the style, you decide it was probably made over 3,000 years ago and used by ancient armies as they sieged and attacked walled cities. You always were such a good music historian.\n\n> You kill the barber\nYou attack the barber with your bare hands, but he evades your attack.\n\n> You put the ring  on the barber\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You look at the makeup\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You examine the trumpet\n\"Well, you going to try a room or ain't you?\" says the zookeeper\n\nThe trumpet is in amazingly good condition. By the style, you decide it was probably made over 3,000 years ago and used by ancient armies as they sieged and attacked walled cities. You always were such a good music historian.\n\n> You look at KNIFE\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\nYou don't see any knife here.\n\n> Go east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You hit the pirate with KNIFE\nYou strike at the pirate with the knife, but your weapon bounces off of him harmlessly\n\n> You give the makeup\nNow let me get this straight, you want to GIVE to WHOM?\n\n> You give the makeup to the pirate\nThe PIRATE gives a quick glance at the MAKEUP, then tosses it back."
    },
    {
        "text": "> Look around\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You give ring to the pirate\nThe PIRATE gives a quick glance at the RING, then tosses it back.\n\n> You give trumpet to the pirate\nThe PIRATE gives a quick glance at the TRUMPET, then tosses it back.\n\n> You kill the pirate\nYou attack the pirate with your bare hands, but he evades your attack.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You hit witch with KNIFE\nYou strike at the witch with the knife, but your weapon bounces off of her harmlessly\n\n> You give the ring to the witch\nThe WITCH gives a quick glance at the RING, then tosses it back.\n\n> You give the makeup to the witch\nThe WITCH gives a quick glance at the MAKEUP, then tosses it back.\n\n> You give the trumpet to the witch\nThe WITCH gives a quick glance at the TRUMPET, then tosses it back.\n\n> You kill the witch\nYou attack the witch with your bare hands, but she evades your attack.\n\n> You examine cauldron\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA very sharp knife is lying there, blade upwards.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You look at cauldron\nProbably just the kind of old crone who would go around turning people into frogs (or toads). She looks you over approvingly and starts gesturing and muttering an incantation. You feel your eyes starting to bulge\n\n> You give the HOTDOG to the witch\nThe WITCH gives a quick glance at the HOTDOG, then tosses it back.\n\n> Drink cauldron\nEither you are very hungry or very, very sick.\n\n> You go southeast\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine KNIFE\n\"Eight rooms to choose from. Most actors I know can't count that high.\"\n\nIt is a large bread knife with a serrated blade.\n\n> Go southwest\nYou are in a small side room. The exits all lead back to the main gallery.\nYou come face to face with the drama critic who panned your last\nthree shows.\n\n> You examine the critic\nThis is the guy you always suspected was out to get you. Now you are sure of it. He grins maniacally and comes at you with poison pen raised.\n\n> You give paper fortune to the critic\n\"YOUR FORTUNE MAY RIDE ON YOUR WEIGHT.\" Must be for some sumo wrestler.\n\n> You give the ring to the critic\nYou can't read the ring, so instead you just examine it. A simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> You give the makeup to the critic\n\"Freddie Krueger Special Halloween Assortment\"\n\n> You give the trumpet to the critic\nYou can't read the trumpet, so instead you just examine it. The trumpet is in amazingly good condition. By the style, you decide it was probably made over 3,000 years ago and used by ancient armies as they sieged and attacked walled cities. You always were such a good music historian.\n\n> You kill the critic\nYou attack the critic with your bare hands, but he evades your attack.\n\n> You put the ring on critic\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You examine KNIFE\n\"Eight rooms to choose from. Most actors I know can't count that high.\"\n\nIt is a large bread knife with a serrated blade.\n\n> You examine ring\nA simple yet tasteful setting - a single, faceted stone in a 4 prong base.\n\n> Go southwest\nYou are in a small side room. The exits all lead back to the main gallery.\nYou come face to face with the drama critic who panned your last\nthree shows.\n\n> You hit the critic with KNIFE\nYou strike at the critic with the knife, but your weapon bounces off of him harmlessly\n\n> Grease critic\nDon't know how to grease here...\n\n> You take all\nYou pick up the sharp knife.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> Kick critic\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You go to the northwest\nYou are in a small side room. The exits all lead back to the main gallery.\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You hit Helen with KNIFE\nYou strike at the helen with the knife, but your weapon bounces off of her harmlessly\n\n> You give RING to HELEN\nThe HELEN gives a quick glance at the RING, then tosses it back.\n\n> You give the makeup to HELEN\nThe HELEN gives a quick glance at the MAKEUP, then tosses it back.\n\n> You give the trumpet to HELEN\nThe HELEN gives a quick glance at the TRUMPET, then tosses it back.\n\n> You kill HELEN\nYou attack the helen with your bare hands, but she evades your attack.\n\n> Kiss helen\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go northwest\nYou are in a small side room. The exits all lead back to the main gallery.\nA very sharp knife is lying there, blade upwards.\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You take KNIFE\nYou pick up the sharp knife.\n\n> You look at the scrapbook\nThis is the prima donna who's edged you out of more good parts than you care to think about. Now she's coming right at you waving her scrapbook. Either she's going to bore you to death with her clippings, or she means to attack you.\n\n> You read the scrapbook\nEr, READ the SCRAPBOOK? I presume that was just an error in judgement.\n\n> You give the paper fortune to HELEN\nThe HELEN gives a quick glance at the FORTUNE, then tosses it back.\n\n> You kick helen\nDon't know how to kick here...\n\n> You read the clippings\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You tell the woman about the packrat\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> Go east\nThis is NOT the Enterprise. You'll have to open these doors yourself.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> You go to the east\nAs you walk through, the doors slide closed behind you.\n\n> You go west\nThis is NOT the Enterprise. You'll have to open these doors yourself."
    },
    {
        "text": "> Look around\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\n\n> You climb the CABLE\nYou dance and leap on your toes, but are unable to reach the cable. Just when you are about to give up, you recall a stunt you saw in a movie. Taking off your belt, you whip it upward in your best Indiana Jones style. Amazingly, as in the movie, the tip of the belt wraps itself three times around the frayed cable and catches securely. (Aren't you glad I saw that movie too?) Summoning all your strength, you start hand over hand up the belt and cable until you reach the doors at the top of the shaft and swing yourself over to safety.\n\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You look down\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: BOTTLE:Disolves Gum. SEE ALSO NOTE, SEAT BULB:Works in a Socket other than the original. SEE ALSO SPOTLIGHT BUTTON:The one in the booth operates the curtain. SEE ALSO COUNTERWEIGHT DOOR:Some can be opened. SEE ALSO KNOB, OILCAN, WINDOW, MAKEUP FORTUNE:In the Cookie - the Treasure is on the grid. PLUTO:Put in the OPENed crate. SEE ALSO CRATE, TABLE, SCRIPT TABLE:The portable one gets you the Plank. SEE ALSO CRATE, PLANK\n\n> You read dictionary\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> Go east\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go to the north\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\n\n> You read the dictionary\nHaving no particular word to look up, you flip pages at random till you see: CAT:Is nervous about catgut. SEE ALSO HOTDOG, KNOB, VIOLIN GENIE:Anagrams your gifts into useful objects. SEE ALSO BUGLE, LAMP, SKATE FROG:Feed it then kiss it (yuch). SEE ALSO HOTDOG, PRINCE, PRINCESS, GUY, GIRL PROGRAMMER:Decent chap who spent years on this game. SEE ALSO $5 REGISTRATION ROGUES:Various. A poor man's D & D. SEE ALSO Gratuitous violence TOTO:An afterthought. Pay no attention to the little dog behind the curtain.\n\n> Keep going\nHaving no particular word to look up, you flip pages at random till you see: BOOK:Several. Must be read. Good for trading. SEE ALSO PAGE QUARTER:Buys merchandise. (Buy policy FIRST.) SEE ALSO DRINK, POLICY, BARBER\n\n> You continue\nThe pages are falling apart as you handle them. You must wait for them to dry.\n\n> You read DICTIONARY\nHaving no particular word to look up, you flip pages at random till you see: BOILER:Might knock out a wall if blown. SEE ALSO HACKSAW, VALVE, NOTE DESK:The courtesy desk contains a very important item.\nSEE ALSO KEY, RECLAIM DICTIONARY:Dangerously soggy. Will fall apart if overused. DRAWER:In Dressing Table. SEE ALSO MAKEUP MIRROR:Cut it with a diamond. SEE ALSO DIAMOND, RING VALVE:The safety valve has something in it. SEE ALSO BOILER, HACKSAW, NOTE\n\n> You read the DICTIONARY\nHaving no particular word to look up, you flip pages at random till you see: BUGLE:Fun to play. Makes a good gift. SEE ALSO GENIE, PIRATE KEY:Won't be available until late in the game. SEE ALSO CHEST, DESK ORGAN:Type \"4\" (STOP #4 in the clues). RECORDER:Will play a tape. SEE ALSO TAPE TAPE:In the locked bathroom. Be nice to a friend. SEE ALSO RECORDER TRUMPET:You will need it after you get past the mirror. VIOLIN:Neither you nor the cat get along with it. SEE ALSO CAT, KNOB\n\n> You examine the ORGAN\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow).\n\n> You look at the stops\nThe massive instrument has been lovingly maintained. The keys smell of Bon Ami, the gilt labels on the stops still gleam and the ornamental vase still holds fresh tulips...(strange, that reminds of a joke somehow).\n\n> You read the ORGAN\nThe stops are arranged to the right and above the main keyboard and are simply numbered, \"1, 2, 3, 4, 5, etc.\" A simple touch would activate them.\n\n> Touch 1\nWhat do you want to touch?\n\n> You touch stop 1\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> Touch stop 2\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> Touch stop 3\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> Touch stop 4\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> You press stop 4\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> You press stop\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> You read the stops\nThe stops are arranged to the right and above the main keyboard and are simply numbered, \"1, 2, 3, 4, 5, etc.\" A simple touch would activate them.\n\n> You touch the ORGAN\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> You press stop 4\nYou push tentatively, smiling with some perverted satisfaction at the sight of the greasy fingerprint you left on the hand polished surface.\n\n> You play the ORGAN\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA packrat has emerged from a crack in the wall\n\n> You give the paper fortune to the packrat\nThe packrat carefully inspects the FORTUNE that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA pointed blue hat sits there\n\n> You take the hat\nYou pick up the pointed hat.\n\n> You look at the hat\nIt is an old hat made of some soft material, decorated with moons and stars and odd symbols. There seem to be water stains and what look like splinters from broomsticks imbedded in the seams.\n\n> You look in the hat\nIt is an old hat made of some soft material, decorated with moons and stars and odd symbols. There seem to be water stains and what look like splinters from broomsticks imbedded in the seams.\n\n> You go east\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> Go north\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> You go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go upward\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> You go west\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it.\n\n> You take the parchment\nYou pick up the dark parchment.\n\n> You wear the hat\nYou put on the hat.\n\n> You put the parchment under the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> You read the parchment\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You look at the parchment\nThis might be a prop left over from a spy drama - or maybe it's the real thing.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\nsturdy plank\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> Examine janitor\nHe was looking for something, but has now turned his attention to you. He appears to have guessed that you know more about him than he cares to have made public. Chomping on his cigar, he rolls up his sleeves and heads toward you.\n\n> You show secret to the janitor\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You give secret to the janitor\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You hit the janitor with secret\nYou strike at the janitor with the secret, but your weapon bounces off of him harmlessly\n\n> You read secret\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You drop secret\n(Taking it off first)\nYou drop the secret.\n\n> Wait\nTime passes...\n\n> Examine janitor\nHe was looking for something, but has now turned his attention to you. He appears to have guessed that you know more about him than he cares to have made public. Chomping on his cigar, he rolls up his sleeves and heads toward you.\n\n> You ask the janitor about secret\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You show secret to the witch\nDon't know how to show here...\n\n> You give secret to witch\nThe WITCH gives a quick glance at the SECRET, then tosses it back.\n\n> You wear secret\nYou are already wearing the secret.\n\n> You give the hat to the witch\nThe WITCH gives a quick glance at the HAT, then tosses it back.\n\n> You hit the witch with the hat\nYou strike at the witch with the hat, but your weapon bounces off of her harmlessly\n\n> You kill the witch\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Inventory\n\"Well, you going to try a room or ain't you?\" says the zookeeper\n\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\ndark secret\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West."
    },
    {
        "text": "> Go downward\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You go to the south-east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pointed blue hat sits there\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You wear the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\nYou are already wearing the hat.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\nsturdy plank\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You look at the hat\nIt is an old hat made of some soft material, decorated with moons and stars and odd symbols. There seem to be water stains and what look like splinters from broomsticks imbedded in the seams.\n\n> You go to the northwest\nThe witch blocks your way.\n\n> Wait\nTime passes...\n\n> You wait for a while\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> You read secret\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You go north\nThe janitor blocks your way.\n\n> Wait\nTime passes..."
    },
    {
        "text": "[Themes: gender choice]\n\n> You look at your surroundings\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> You show the hat to janitor\nYou cannot make heads or tails of the symbols. You look inside the hat for a label, but find only a few strands of black mouse fur.\n\n> You wear the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\nYou are already wearing the hat.\n\n> You wait for a while\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go west\nYou are in a small side room. The exits all lead back to the main gallery.\nThis guy looks just like your agent (The one you haven't seen\nlately).\n\n> You look at the agent\nNow you know this must be some kind of weird nightmare. Your own agent is after you. He is rolling up a stack of your head shots and publicity releases and seems intent on using them as a club.\n\n> Yes\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\nYou see an old, weathered piece of paper beneath the seat.\n\n> You take the paper\nYou pick up the old paper.\n\n> Go east\nIt is dark. You can't see anything.\n\n> Light bulb\nYou pick up the dim bulb.\n\nThe bulb is now lit.\n\n> You go west\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThere is a paperback book with the cover torn off ( on the sink )\n\n> You go north\nYou pick up the paperback book.\n\nLooking at the index you see entries such as:\n\"SNOW WHITE AND THE 1001 ARABIAN KNIGHTS MEET HEY DIDDLE DIDDLE, THE CAT AND\nTHE FIDDLE\" (I hate sequels and spin offs, don't you?)\n\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You take KNIFE\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThere is a foot long hotdog ( on the grill )\n\nYou pick up the long hotdog.\n\nYou find a shelf in the closet.\nA very sharp knife is lying there, blade upwards. ( on the shelf )\n\nYou pick up the sharp knife.\n\n> Go east\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\n\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked"
    },
    {
        "text": "> Look around\nExcuse me, but your pager is beeping.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You answer the pager\n\"This is E.T. I'm returning your call. Next time don't call collect.\"\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You go north\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\nThis looks about like your typical closet (minus the coat hangers).\nA packrat has emerged from a crack in the wall\n\n> You give the paper to the packrat\nThe packrat carefully inspects the PAPER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nThis looks about like your typical closet (minus the coat hangers). There is a plain living room lamp.\n\n> Light lamp\nFinding a convenient wall outlet, you plug the lamp in and switch it on.\n\nThe lamp is now lit.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nold lamp (Providing light)\npaperback book\nYou're wearing:\npocket pager ( on your belt )\n\n> You go south\nExcuse me, but your pager is beeping.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> You go north\nReaching the bottom of the stairs, you can see something massive to the West.\n\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\nSqueezing along between the boiler and the wall you come across a room to the North labelled \"HOMONYM CLOSET\"\n\nYou are in the homonym closet.\nThere is Merry Mary\n\n> You take Pluto\nShe barks out a laugh then hands you a small object saying, \"It was a dumb joke, but take my Pluto, please.\" With that she seems to melt away into the shadows, leaving you with a small statue and the funny feeling that your grammatical sensibilities have been offended. (Mine certainly were.)\n\nYou already have the pluto.\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go to the north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Examine banner\nThe locked desk stands under an imitation red velvet banner.\n\n> You read banner\nThe banner above the courtesy desk says, \"Lost and Found Desk - RECLAIM Here\".\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\nA spear stands in a corner of the closet.\n\n> You shake spear\nThe PUN is the lowest form of humor (unless YOU think of it first).\nIn protest the packrat jumps out of a hole and replaces the spear with a bucket.\n\nYou are in the closet.\nThere is that famous old oaken bucket\n\n> You take the bucket\nYou pick up the oaken bucket."
    },
    {
        "text": "> Look around\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\n\n> Open spot\nYou have opened the spot.\nInside, you see the following:\nYou can see the socket\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go to the west\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go north\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\nThere is a very thin music book ( on the east shelf )\n\n> You take the book\nDo you mean the music book or the paperback book?\n\n> Music\nYou pick up the music book.\n\n> You read the music book\n\"4...SHOW ME THE WAY TO GO HOME\"\n\n> You go to the south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall."
    },
    {
        "text": "> You look around\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go east\nAs you walk through, the doors slide closed behind you.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\nA packrat has emerged from a crack in the wall\n\n> You trade the pager to the packrat\nThe packrat carefully inspects the PAGER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nA battered bugle is lying there.\nThe frayed elevator cable hangs just out of your reach.\n\n> You take the BUGLE\nYou pick up the battered bugle.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go west\nAs you walk through, the doors slide closed behind you.\n\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> Go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Go up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You examine the MIRROR\nYou have opened the drawer.\nInside, you see the following:\nThere is a kit of heavy stage makeup\n\nYou pick up the stage makeup.\n\nThe table has a mirror and a small drawer. There is nothing lying on the table. A quick search shows that there is nothing behind nor under it. There is something scribbled on the mirror with lipstick.\n\n> You look at the MAKEUP\n\"THE MAKEUP THEY GIVE YOU IN THIS PLACE WOULD GIVE ZITS TO WROUGHT IRON!\"\n\nThere are a few sticks of very high quality professional heavy greasepaint in the kit. Just your skin tone, and a national brand label.\n\n> You go to the east\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\nThe hall continues to the West and South. There's an open door to the North.\n\nYou can't go that way.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go to the south\nGarment racks line the walls. There is a definite smell of well worn clothing.\nA name brand SCUBA suit lies dripping ( on the floor )\n\n> You take the suit\nYou pick up the scuba suit.\n\n> Go west\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\nThere is a very convincing 24 carat ring. ( hanging on a wall peg)\n\n> You read the Table\nYou pick up the solitaire ring.\n\nAt first you can't make out the meaning of the hem's decorations.\nThen as you start walking around to the other side of the table, it hits you...Its written upside down. Clumsily standing on your head, you make out the repeating legend, \"..ACEPRIZEDPOSSIONONTABLEPLACEPRIZEDPOSSIONONTABLEPL...\"\n\n> You go to the east\nThe catwalk continues West and East. The boards creak under your feet. Looking down, you see a dangerous SAG.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go up\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> You read the page\nDo you mean the music book or the rainsoaked page?\n\n> Rainsoaked\nIt's a page from ALI BABA AND THE FORTY THIEVES, too rainsoaked to read.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> You take the CRATE\nYou're already carrying too much weight as it is.\n\n> Inventory\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nmusic book\nold lamp (Providing light)\noaken bucket\npaperback book\nplaster pluto\nsolitaire ring\nscuba suit\n\n> You go to the north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nA packrat has emerged from a crack in the wall\n\n> Trade paperback to packrat\nThe packrat carefully inspects the PAPERBACK that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThere is nice E flat valve trumpet\n\n> You take the TRUMPET\nYou pick up the valve trumpet."
    },
    {
        "text": "> Go downward\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Sos-bugsos-bugle\nThe zookeeper chuckles, \"I ain't dumb enough to go in them rooms.\"\n\nEnter saved game to store:\n\n> Go east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You play the bugle\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\nThe captain applauds wildly (a BAD mistake for someone with a hook for a left hand). You escape as he hops in pain trying to pry his hands back apart.\n\nYou have earned 1000 BONUS POINTS out of a possible 22,000\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You go east\nYou are in a small side room. The exits all lead back to the main gallery.\n\n> Go east\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> You play the bugle\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> Sos-bugsos-bugle\nEnter saved game to load: [ Rogues Gallery\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go east\nYou are in a small side room. The exits all lead back to the main gallery.\nA pirate captain confronts you, waving a cutlass.\n\n> You play the bugle\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\nThe captain applauds wildly (a BAD mistake for someone with a hook for a left hand). You escape as he hops in pain trying to pry his hands back apart.\n\nYou have earned 1000 BONUS POINTS out of a possible 22,000\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You look at the woman\nShe spits in the corner and says.\"You know, not many people come down this way any more. A lot fewer go back. These rooms hold about the nastiest bunch of characters you'd want to tangle with. Try 'em if you like. Ain't no skin off my nose.\" She then settles back in her chair to watch.\n\n> You go east\nYou are in a small side room. The exits all lead back to the main gallery.\n\n> Go east\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You check your inventory\n\"If you'd get rid of a few of these characters, it'd make my job a lot easier.\"\n\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nmusic book\nold lamp (Providing light)\noaken bucket\nplaster pluto\nsolitaire ring\nscuba suit\nvalve trumpet\n\n> You look at the book\n\"If you'd get rid of a few of these characters, it'd make my job a lot easier.\"\n\nIt has only one the page left - no wonder it's so thin."
    },
    {
        "text": "> Go downwards\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\""
    },
    {
        "text": "> Go down\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> You go to the north\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nThere is a suspiciously good looking apple sitting there ( on the\nwork table\n)   An old work table leans and tilts at odd angles\n\n> You take the APPLE\nYou pick up the juicy apple.\n\n> Go west\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\nYou can't go that way.\n\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You give APPLE to the witch\nThe WITCH gives a quick glance at the APPLE, then tosses it back.\n\n> You look in the cauldron\nProbably just the kind of old crone who would go around turning people into frogs (or toads). She looks you over approvingly and starts gesturing and muttering an incantation. You feel your eyes starting to bulge"
    },
    {
        "text": "> You look at your surroundings\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You hit the witch with the suit\nYou strike at the witch with the suit, but your weapon bounces off of her harmlessly\n\n> You throw the suit at the witch\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\n> You wear the suit\nYou put on the suit.\n\n> You hit witch\nYou attack the witch with your bare hands, but she evades your attack.\n\n> You throw the bucket at the witch\nYou strike at the witch with the bucket, but your weapon bounces off of her harmlessly\n\n> You wear the bucket\nYou put on the bucket.\n\n> You put the bucket on the witch\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You take the bucket\n\"Had a friend went in there once. Ain't got many friends these days.\"\n\nYou pick up the oaken bucket.\n\n> You look at what you're carrying with you\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\njuicy apple\nmusic book\nold lamp (Providing light)\noaken bucket\nplaster pluto\nsolitaire ring\nvalve trumpet\nYou're wearing:\nscuba suit\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You hit the witch with the bucket\nYou strike at the witch with the bucket, but your weapon bounces off of her harmlessly\n\n> You eat APPLE\nYou take a tentative nibble. It has an oddly smooth taste and you feel no ill effects, so you prepare for a second bite. Then it hits you that all is not right. You feel faint, your head is swimming.\nYou fall down. You are dying. As you sink into oblivion, you remember an old ditty from your childhood: \"An apple a day/Keeps the warthogs away,\nBut a foot-long hot dog/Will placate a frog.\"\nWait here a minute, I just remembered something. Yep, I just checked with central supply. That was only a WAX apple. (Boy, what a hypochondriac!)\n\n> You go to the northwest\nThe witch blocks your way.\n\n> You go northwest\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go south\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> Examine CRATE\nIt is a large wooden packing crate with a heavy lid.\n\n> You read the crate\nPROP FOR `THE MUSIC BOX' - LAUREL & HARDY; A MENSA/MESA PRODUCTION\n\n> Open CRATE\nYou want to OPEN the CRATE with WHAT, pray tell?\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go west\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 33 - Theater Roof\"\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downward\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> You go north\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThere is a heavy packing crate\n\n> You play the bugle\nYou wet your lips, throw back your head and blow for all you're worth. A shower of cockroaches and spider webs flies out the bell along with a stream of notes that would make Sousa gasp.\n\n> You play the TRUMPET\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> You examine Pluto\nClose examination reveals it to be a cheap plaster statue with one chipped ear.\n\n> You read Pluto\nYou can't read the pluto, so instead you just examine it. Close examination reveals it to be a cheap plaster statue with one chipped ear."
    },
    {
        "text": "> Go downward\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\nThe catwalk continues West and East. The boards creak under your feet. Looking down, you see a dangerous SAG.\n\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling."
    },
    {
        "text": "> Go downward\nThe hall continues to the West and South. There's an open door to the North.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go northeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Go up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> You go to the south-east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> You go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA packrat has emerged from a crack in the wall\n\n> You look at what you're carrying with you\nYou're carrying:\nbattered bugle\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\njuicy apple\nmusic book\nold lamp (Providing light)\noaken bucket\nplaster pluto\nsolitaire ring\nvalve trumpet\nYou're wearing:\nscuba suit\n\n> Trade book to packrat\nThe packrat carefully inspects the BOOK that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA pointed blue hat sits there\n\n> You take the hat\nYou pick up the pointed hat.\n\n> You wear the hat\nYou put on the hat.\n\n> Go upward\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\nYou can't go that way.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go south\nYou are now in a middle-ish aisle in the audience area.\nYou see a small scrap of parchment with a secret written on it. (\non seat 86\n)\n\n> You put secret under the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\n> Go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> Go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\n\n> You examine secret\nThis might be a prop left over from a spy drama - or maybe it's the real thing.\n\n> You read secret\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\n\n> Go south\nYou inch forward to get a better look at the gap. Unfortunately,\njust as you reach the edge, your old war wound (the stitch in your side from laughing at the doctors of the 4077th M*A*S*H giving Colonel Potter's horse an enema) flares back up. The spasm knocks you off balance and sends you hurtling into the hole. As you bounce off one wall and then the other you note with chagrin that they are less than 12 feet apart and you might have lived to watch more reruns of M*A*S*H had you found some way to bridge the gap.\n\nYou have earned 1000 BONUS POINTS out of a possible 22,000\n\nYour score is 400 (out of 19900 possible). You have visited 60 locations (out of 117 in the game)"
    },
    {
        "text": "> Describe the surroundings\nWould you like to restart, restore, undo, or quit? [l -> look]"
    },
    {
        "text": "> Look around\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\n\n> You examine the gap\nIt is only a few yards wide, but just too far to jump. The sides, as far down as you can see are sheer and offer no hand holds at all.\n\n> Go east\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\n\n> You read secret\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\n\n> Go east\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\nscuba suit\nfortune cookie\npaper fortune\nsturdy plank\nvalve trumpet\nYou're wearing:\nsolitaire ring\n\n> You trade the Cookie to the packrat\nThe packrat carefully inspects the COOKIE that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA pointed blue hat sits there\n\n> You take the hat\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nA pointed blue hat sits there\nYou pick up the pointed hat.\n\n> You wear it\nYou put on the hat.\n\n> You go south\n[Now in BRIEF mode: Room descriptions will only be printed when rooms are entered for the first time.]\n\n> Go south\nYou can't go that way.\n\nYou can't go that way.\n\n> You put secret under the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\n> You read secret\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\n\n> You put Plank on the gap\nYou inch up to the edge of the gap. A quick check shows that your pulse is holding steady at its usual 72 beats per minute, so you use this to time the echo from a fluttering yodel. Multiplying by the speed of sound in basement hallways, you easily determine that the gap is only 11.432 feet across and can be spanned by using the 12 foot plank. You confidently plant one end of the plank in the dirt near your feet and let it fall until the other end hits and wedges into the far side, then proceed South. You're so clever!\n\nYou are balancing precariously on the plank over the deep gap. Under your weight, the ends slip and settle into the ground, wedging them tighter.\n\n> You go south\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nA stream comes from a gouge in the floor then flows under the West wall.\n\n> You examine the stream\nThe water churns and boils as it rushes along. You cannot tell how deep it is or where it goes after disappearing under the wall.\n\n> You wear the suit\nYou put on the suit.\n\n> Go west\nWhen are you going to learn? This is a THEATER. Things you find in\na COSTUME LOFT are only COSTUMES! The paper mache' scuba tanks dissolve away, leaving you to play fishy for about two minutes before the game mercifully ends.\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 1450 (out of 19900 possible). You have visited 77 locations (out of 117 in the game)\n\n> You wear the bucket\nYou put on the bucket.\n\n> Go west\nYou hear the sound of your breathing echoing inside the bucket as you grope toward where you remember the stream edge to be. You misjudge by only 8 inches, but it is enough to send you headlong into the icy water. With quick reflexes, you keep the pail on your head until you can pull yourself back to dry ground. You find that you did get through to the next section of the hall.\n\nThe hall continues South, but the rest of the walls are blank.\nA stream appears from under the East wall then drains down a\ngrating.\n\n> You look at the stream\nThe water churns and boils as it rushes along. You cannot tell how deep it is or where it comes from before appearing from under the wall.\n\n> You take the bucket\nYou pick up the oaken bucket."
    },
    {
        "text": "[Themes: gender choice]\n\n> You describe your surroundings\nThe hall continues South, but the rest of the walls are blank.\nA stream appears from under the East wall then drains down a\ngrating.\n\n> Go south\nYou have come to a fork in the hallway. You can go North, East or South.\n\n> Go east\nYou have a small problem. The hall narrows to the East and jammed into the tightest spot is a very genuine-looking guillotine. Its heavy frame extends from wall to wall and from ceiling to floor. The razor-sharp blade is poised high above an ominous wicker basket. The only way East is through the frame.\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\npaper fortune\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> You throw the trumpet east\nYou throw the trumpet.\n\n> You take the trumpet\nYou pick up the valve trumpet.\n\n> You play the trumpet\nCarefully checking the spit valve, you put lips to mouthpiece and blow.\n\n> Go west\nYou have come to a fork in the hallway. You can go North, East or South.\n\n> You go south\nYou find yourself in a nook (or is it a cranny? I could never tell). A packrat has emerged from a crack in the wall\n\n> You check your inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nstage makeup\nsharp knife\nold lamp (Providing light)\noaken bucket\npaper fortune\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> You give the paper fortune to the packrat\nThe packrat carefully inspects the FORTUNE that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou find yourself in a nook (or is it a cranny? I could never tell). You see a small oilcan with a long spout and pump handle\n\n> You take the OILCAN\nYou pick up the small oilcan.\n\n> You look at the oilcan\nA familiar looking little thing. Turning it over you notice something engraved on the bottom. You also notice oil dribbling down into your left shoe.\n\n> You read the oilcan\n\"IF FOUND, PLEASE RETURN TO TIN WOODSMAN, C/O EMERALD CITY, OZ.\" (Obviously, just a prop...isn't it?)\n\n> Go north\nYou have come to a fork in the hallway. You can go North, East or South.\n\n> Go east\nYou have a small problem. The hall narrows to the East and jammed into the tightest spot is a very genuine-looking guillotine. Its heavy frame extends from wall to wall and from ceiling to floor. The razor-sharp blade is poised high above an ominous wicker basket. The only way East is through the frame.\n\n> You go east\nTo the West is the guillotine that gave you so much trouble.\nActually, there was nothing to worry about. The blade was nailed up. It couldn't fall. (If you can't trust your programmer, who can you trust?)  East is a doorway.\nThere is a medium sized brown door at the East end of the Hall\n\n> You put MAKEUP on hinges\nYou slather (love that word) the makeup on the hinges. The door soon swings open, revealing the room beyond. (Slather, slather, slather)\n\n> Oil hinges\nAs you oil the hinges, you notice a warning label on the oilcan: \"EXTRA STRENGTH PENETRATING OIL - TO BE USED ON WET SURFACES ONLY!\"\nIt is at this point that massive door falls and flattens you. Does it smart?\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 2050 (out of 19900 possible). You have visited 82 locations (out of 117 in the game)\n\n> You go to the east\nYou are in the Northwest corner of a big room just East of the greasy door.\nA packrat has emerged from a crack in the wall\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nlong hotdog\nsharp knife\nsmall oilcan\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> Go east\nYou are now in the Northeast corner of the big room.\nYou see an unusually thick book ( on the floor )\n\n> You look at the book\nIt seems to be one of those double books with a separate story starting at each cover and meeting in the middle. There is a title on each cover.\n\n> You read the book\nThe front cover says, \"THROUGH THE LOOKING GLASS\" and the other front cover says, \"JOSHUA AT JERICHO\".\n\n> You take the book\nYou pick up the thick book.\n\n> You go south\nYou come across a surprise. There is a door to the South with a large EXIT sign above. This time there is a window that shows a stairway on the other side leading directly up to a back alley. The door doesn't seem to be locked.\nThere is an exit door on the South wall\n\n> You examine the exit door\nThis is too good to be true. There is no lock on the door, no rust on the hinges and the stairway to the alley is clearly visible through the window.\n\n> You open the DOOR\nThe door is already open.\n\n> You go to the south\nTo your surprise, the door opens easily. In your eagerness, you race forward at full speed, but run into a solid barrier where thin air should be and are hurled back into the room. Dabbing at your bloodied nose, you get up and go over to see what type of force field you encountered. Only then do you notice that the Stairway is only a well-done painting and the entire door assembly is a set piece left over from some show.\n\n> Oil door\nDon't know how to oil here..."
    },
    {
        "text": "[Themes: gender choice]\n\n> You look around\nYou come across a surprise. There is a door to the South with a large EXIT sign above. This time there is a window that shows a stairway on the other side leading directly up to a back alley. The door doesn't seem to be locked.\nThere is an exit door on the South wall\n\n> Go west\nThe wall to the West has a door frame.\nA full length mirror is mounted in the door frame.\n\n> You examine the MIRROR\nYou see your own reflection in it. You look tired. (Is that a zit?)\n\n> You touch the MIRROR\nThe mirror seems not to mind being touched. In fact, it seems somewhat reluctant to let go of your hand. Oops, wrong story. This is just a plain mirror.\n\n> Break mirror\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the MIRROR? Don't know how to break here...\n\n> You go to the west\nYou are in the Northwest corner of a big room just East of the greasy door.\nA packrat has emerged from a crack in the wall\n\n> You give the book to the packrat\nThe packrat carefully inspects the BOOK that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou are in the Northwest corner of a big room just East of the greasy door.\nThere is a double-fulcrum bolt cutter\n\n> You take the cutter\nYou pick up the bolt cutter.\n\n> Examine cutter\nThe jaws on this baby would do you proud on even hardened steel.\n\n> Go west\nTo the West is the guillotine that gave you so much trouble.\nActually, there was nothing to worry about. The blade was nailed up. It couldn't fall. (If you can't trust your programmer, who can you trust?)  East is a doorway.\n\n> You go to the west\nYou have a small problem. The hall narrows to the East and jammed into the tightest spot is a very genuine-looking guillotine. Its heavy frame extends from wall to wall and from ceiling to floor. The razor-sharp blade is poised high above an ominous wicker basket. The only way East is through the frame.\n\n> Go west\nYou have come to a fork in the hallway. You can go North, East or South.\n\n> Go north\nThe hall continues South, but the rest of the walls are blank.\nA stream appears from under the East wall then drains down a\ngrating.\n\n> Oil stream\nThe oil flows out over the surface of the stream. At first, you see no effect, then you hear a sound like rocks crumbling somewhere and the water slows and recedes, leaving only a calm, shallow sheet, inches deep. You toss away the empty oilcan. (So you're littering. It keeps the inventory neater.)\n\nThe hall continues South, but the rest of the walls are blank.\nThe water on the floor is as calm as glacial lake (but warmer).\n\n> Go east\nYou cross easily through the two-inch deep water.\n\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nThe water on the floor is as calm as glacial lake (but warmer).\n\n> You look at WATER\nA beautiful sight. Through the rainbow colors of the oil slick, you see the reflection of the next room under the West wall. You can wade there easily.\n\n> Swim\nYou cross easily through the two-inch deep water.\n\nThe hall continues South, but the rest of the walls are blank.\nThe water on the floor is as calm as glacial lake (but warmer).\n\n> Swim\nYou cross easily through the two-inch deep water.\n\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nThe water on the floor is as calm as glacial lake (but warmer).\n\n> You go north\nYou are balancing precariously on the plank over the deep gap. Under your weight, the ends slip and settle into the ground, wedging them tighter.\n\n> Go north\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\n\n> Go east\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\n\n> You go east\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> You go south\nIgnoring everything that you learned as a two year old, you impulsively turn E and walk right into the closed door.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\n> You cut the bolts with the cutter\nYou try to get at the bolts, but you slip, shattering the box.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nA exquisite multi-faceted diamond catches your eye.\n\n> Examine box\nThe box is secured to the floor by hardened steel bolts.\n\n> You take the DIAMOND\nYou pick up the sparkling diamond.\n\n> You examine the DIAMOND\nWhat a hunk o' ice. Bet that baby'd put a dent in your mortgage payment.\n\n> You examine the bolts\nThe box is secured to the floor by hardened steel bolts.\n\n> You cut the bolts with the cutter\nYou try to get at the bolts, but you slip, shattering the box.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nA exquisite multi-faceted diamond catches your eye.\n\n> You take the DIAMOND\nYou pick up the sparkling diamond.\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> You take the solitaire stone\nYou pick up the solitaire stone.\n\n> You wear RING\nYou put on the ring.\n\n> You check what you're carrying\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\nscuba suit\ndark secret\n\n> You remove the suit\nYou take off the suit.\n\n> You read secret\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\n> You go to the west\nYou cross easily through the two-inch deep water.\n\n> You cut the MIRROR with the DIAMOND\nYou make a series of scratches on the surface with the gem, then you hurl it at the mirror from the far side of the room, shattering it into more pieces than you care to count. It is then that you realize how much diamond looks like broken glass. By the time you relocate the gem, you HAVE counted the pieces.\n\nWith the shattered mirror to the East, you turn South to see an odd room with even odder stains on the walls and floor.\n\n> You go to the south\nThis is definitely going to be one of THOSE days! The wall just slid shut behind you and the other walls are starting to move toward you.\nI have a funny feeling about this. (No, you do NOT have a com-link available.)\n\nThe walls of the room are inching inward at an alarming rate. A desperate search of the walls, ceiling and floor reveals no escape routes.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Go west\nYou are in a long twisting hall with side doorways to the West and South.\n\n> Go south\nYou see doorways to the West, North and East and... WAIT A MINUTE! This CAN'T belong in this game! This place looks exactly the transporter chamber from a Constitution Class Federation Starship. (NCC 1700 series) From just out of sight, someone orders, \"Energize, Scotty\".\n\n> Go north\nAs you bolt for the doorway, the world shimmers from view and you experience a sensation not unlike that which you felt when you rode a drunken bull elephant down Alameda Street in Beautiful Downtown Burbank last July wearing only the epaulets and scabbard from your Order of the Most Esteemed Aardvarks Lodge ceremonial uniform, playing your uncle's Ukranian raisin-bladder bagpipe and yodelling the dirty version of Supercalifragilisticexpialidosious in protest of Disney's not releasing FANTASIA on videotape. Thought I didn't know about that, did you? I have ways of finding these things out. Anyway, when the world un-shimmers, you find yourself in a new location. Whoopee, big surprise.\n\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret"
    },
    {
        "text": "> You look around\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> Go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> N,E,N\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward."
    },
    {
        "text": "> Go downward\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> You read secret\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass."
    },
    {
        "text": "> You look at your surroundings\nThe wall to the West has a door frame.\n\n> Go south\nThe walls have stopped in their tracks, so helplessly warped that they will never move again. (You do believe me, don't you?)  A twisting hall goes West.\n\n> Go west\nYou are in a long twisting hall with side doorways to the West and South.\n\n> Go west\nYou see doorways to the West, North and East and... WAIT A MINUTE! This CAN'T belong in this game! This place looks exactly the transporter chamber from a Constitution Class Federation Starship. (NCC 1700 series) From just out of sight, someone orders, \"Energize, Scotty\".\n\n> You go to the west\nAs you bolt for the doorway, the world shimmers from view and you experience a sensation not unlike that which you felt when you rode a drunken bull elephant down Alameda Street in Beautiful Downtown Burbank last July wearing only the epaulets and scabbard from your Order of the Most Esteemed Aardvarks Lodge ceremonial uniform, playing your uncle's Ukranian raisin-bladder bagpipe and yodelling the dirty version of Supercalifragilisticexpialidosious in protest of Disney's not releasing FANTASIA on videotape. Thought I didn't know about that, did you? I have ways of finding these things out. Anyway, when the world un-shimmers, you find yourself in a new location. Whoopee, big surprise.\n\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> Go north\nYou are in a long twisting hall with side doorways to the West and South.\n\n> You drop the trumpet\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\nYou drop the trumpet.\n\n> Go north\nYou are in a long twisting hall with side doorways to the West and South.\nThere is nice E flat valve trumpet\n\n> Go east\nYou are in a long twisting hall with side doorways to the North and South.\n\n> Go west\nYou are in a long twisting hall with side doorways to the West and South.\n\n> Go north\nYou are in a long twisting hall with side doorways to the West and South.\n\n> You drop the trumpet\nYou drop the trumpet.\n\n> Go north\nYou are in a long twisting hall with side doorways to the West and South.\nThere is nice E flat valve trumpet\n\n> You take the trumpet\nYou pick up the valve trumpet.\n\n> Go east\nYou are in a long twisting hall with side doorways to the North and South.\n\n> You drop the trumpet\nYou drop the trumpet.\n\n> You go east\nYou are in a long twisting hall with side doorways to the West and South.\n\n> You go east\nYou are in a long twisting hall with side doorways to the North and South.\nThere is nice E flat valve trumpet\n\n> You take the trumpet\nYou pick up the valve trumpet.\n\n> Go west\nYou are in a long twisting hall with side doorways to the West and South.\n\n> You go east\nYou are at the end of a very, very, very, very long hallway. (That certainly was a long hall, wasn't it?)  There is DAYLIGHT streaming down a coal chute!\n\n> Go up\nCongratulations! You are now at a point that few have reached. You have escaped. HOWEVER, there is much more to this theater than meets the eye, such as rumors of a chest of jewels brought in years ago to be sewn into costumes for an extravaganza that never got off the ground. The chest vanished and may still be hidden somewhere in the building. It's yours for the taking. Of course, since you've found the coal chute, I'll have to lock it up. But just to be fair, I've opened up another exit - wide open. The only catch is that you won't be able to leave without the treasure. Simple, no? I think the packrat has something you need. BREAK A LEG!\n\nYou are at the end of a very, very, very, very long hallway. (That certainly was a long hall, wasn't it?)  There is DAYLIGHT streaming down a coal chute!\n\n> Go upward\nYou are at the end of a very, very, very, very long hallway. (That certainly was a long hall, wasn't it?)  There is DAYLIGHT streaming down a coal chute!\n\n> Go east\nYou are in a long twisting hall with side doorways to the West and South.\nA packrat has emerged from a crack in the wall\n\n> Inventory\nYou're carrying:\ndim bulb (Providing light)\nbolt cutter\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You give the cutter to the packrat\nThe packrat carefully inspects the CUTTER that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou are in a long twisting hall with side doorways to the West and South.\nYou see a small, delicate bottle, like the one Major Anthony Nelson found.\n\n> You read the bottle\nTurning the bottle over to read the label sends the contents dribbling out all over your particulars. (Well, what am I supposed to call it? Children may be watching. Besides you know I mean.)  Anyway, you manage to right the bottle in time to save some of the contents, and after wiping it carefully on your sleeve, you hold it over your head to read, \"GUM REMOVER\" on the bottom.\n\n> You take the bottle\nYou pick up the delicate bottle."
    },
    {
        "text": "> You look at your surroundings\nYou are in a long twisting hall with side doorways to the West and South.\n\n> Go west\nYou see doorways to the West, North and East and... WAIT A MINUTE! This CAN'T belong in this game! This place looks exactly the transporter chamber from a Constitution Class Federation Starship. (NCC 1700 series) From just out of sight, someone orders, \"Energize, Scotty\".\n\n> Go north\nAs you bolt for the doorway, the world shimmers from view and you experience a sensation not unlike that which you felt when you rode a drunken bull elephant down Alameda Street in Beautiful Downtown Burbank last July wearing only the epaulets and scabbard from your Order of the Most Esteemed Aardvarks Lodge ceremonial uniform, playing your uncle's Ukranian raisin-bladder bagpipe and yodelling the dirty version of Supercalifragilisticexpialidosious in protest of Disney's not releasing FANTASIA on videotape. Thought I didn't know about that, did you? I have ways of finding these things out. Anyway, when the world un-shimmers, you find yourself in a new location. Whoopee, big surprise.\n\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> You go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go upwards\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\n\n> You go east\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nA wad of chewing gum is stuck to the bottom of the seat.\n\n> You pour the bottle on the gum\nPouring some of the bottle's contents onto the gum, you are amazed to see it quickly sizzle and boil away, revealing a concealed note.\n\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nThere is a penciled note on the bottom of the seat\n\n> You read the note\n\"REMEMBER TO GET THE HACKSAW FROM THE SAFETY VALVE AND FIX IT SOME DAY BEFORE\nSOMEONE BLOWS THAT #~}/@! BOILER.\" (Bet I know where you're going!)\n\n> Go west\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East."
    },
    {
        "text": "> Go down\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> Go east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go east\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> Go west\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nA name brand SCUBA suit lies dripping\n\nReaching the bottom of the stairs, you can see something massive to the West.\n\nYou squeeze past the gently hissing boiler. There is a maintenance walkway that runs beside the boiler toward the North. Stairs are to the East.\nThe boiler knocks and pounds - small jets of steam hiss from the seams.\nThe corroded safety valve spurts like a steam calliope. ( on top\nthe boiler\n)\n\n> You take HACKSAW\nYou climb tentatively to the top of the boiler and reach down into the throat of the safety valve to tug at something stuck inside. Suddenly there is a metallic click and steam no longer hisses out. As the pounding starts to build, you jump for the floor just as the boiler thunderously explodes.\n\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\nThe soggy hacksaw still drips water from the safety valve.\n\n> You take HACKSAW\nYou pick up the soggy hacksaw.\n\n> You examine it\nA simple K-mart blue-light special tool. Not worth the hassle of hiding it that elaborately. At least it was rust-proofed.\n\n> Go west\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nA packrat has emerged from a crack in the wall\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nsharp knife\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nvalve trumpet\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You give the trumpet to the packrat\nThe packrat carefully inspects the TRUMPET that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nThere is a quarter.\n\n> You look at it\nYou pick up the 1946 quarter.\n\nThis is an old solid silver jobby. They don't make 'em like this any more.\n\n> Go east\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\n\n> You go to the east\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go up\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nA name brand SCUBA suit lies dripping\n\n> You take the suit\nYou pick up the scuba suit.\n\n> You check your inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nsharp knife\n1946 quarter\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You put quarter in the slot\nThere is a solid metallic thump and a policy falls into view at the bottom of the machine. Then, amazingly, your coin falls from the broken coin return.\n\nThe foyer widens out to the East and South.\nThere is a quarter.\nAn old vending machine stands against the wall\nThere is a neatly printed insurance policy.\n\n> Go north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe door to the South is locked\n\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\nYou are now in a middle-ish aisle in the audience area.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go northeast\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You put quarter in the machine\nYou slip the quarter into the slot. There is a slight click, like some relay closing. You look down to the dispensing shelf, but see nothing. It is then that you notice that the second panel on the machine has started flashing.\n\n> You read the panel\nThe first panel still reads, \"Soft Drinks - 25 cents\" The second is flashing, \"Recycling Ordinance - SIGN for Drink\"\n\n> Go east\nYou squeeze between old flats (stage scenery) off-left (OFF the main stage playing area and to the actor's LEFT while facing the audience - a little theater terminology there).\nAt first you hardly notice a massive chair against the wall.\n\n> You move the chair\nThere is a deafening roar and the area shakes as if hit by an earthquake. You must have triggered an old special effects bomb under the chair. The explosive charge has become so unstable with age that the effect blows everything in range to shreds. (Don't tell me that was a \"CHAIR-Y BOMB\"! Har, har, har.) Your body is hurled into the air like a rag doll. You sail off the stage, over the audience and out into the lobby where you slam into the janitor closet door knocking it completely off its hinges and shattering it. Luckily, the Insurance Policy you were carrying provided just enough cushion for your landing that you stand up completely unscathed. (Don't you just love fiction?)\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> Go south\nYou are in a dusty work area. It looks sloppier than your hall closet.\nA pair of very odd snowshoes are lying there.\nThere is a peephole in the wall to the East.\n\n> You examine snowshoes\nThese might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You take the slippers\nYou pick up the highheeled slippers.\n\n> You examine the peephole\nWhy, that dirty old man! There's a hole in the wall between here and the other restroom. Fortunely, he wasn't very bright either. He drilled into a storage cabinet and all you see are cans of Sani-flush and a reel of recording tape.\n\n> You check what you're carrying\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nsharp knife\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You wear the slippers\nYou put on the slippers."
    },
    {
        "text": "[Themes: gender choice]\n\n> You look around\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\n\n> You hit the peephole\nIt only makes sense to attack living things.\n\n> You go to the north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the north\nYou lurch forward over the seats, forgetting the orchestra pit ahead. You fall headlong into the bass drum and are thrown back, none the worse for wear, into the audience one seat from where you started. Do be more careful next time.\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go northwest\nThere is an unpainted red brick wall to the West.\nDaylight gushes in throught the wide-open stage door.\n\n> You examine the DOOR\nYou can walk right out into the back alley.\n\n> Go west\nNot so fast there, let's see your treasure chest.\n\n> You go to the north\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downwards\nIt was hard enough walking in highheel snowshoes, but going down stairs? You don't even make the first step before tripping and falling head over heels.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nThere is an iron crowbar\nA gouged and battered woodworking table is against the Wall.\n\n> You cut the chain with HACKSAW\nA few passes with the sharp hacksaw frees the crowbar from the chain.\n\n> You take crowbar\nYou pick up the iron crowbar.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You hit the VIOLIN with the crowbar\nIt only makes sense to attack living things.\n\n> You throw the crowbar at the VIOLIN\nThe crowbar bounces off the violin.\n\n> You take crowbar\nYou pick up the iron crowbar.\n\n> Go south\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\n\n> Go upwards\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> Go east\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> You break the Table with the crowbar\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the TABLE? Don't know how to break here...\n\n> You go to the south-west\nThere is an unpainted red brick wall to the West.\nDaylight gushes in throught the wide-open stage door.\n\nYou can't go that way.\n\n> Go south\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> Go upwards\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> You go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go up\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You pry the window with the crowbar\nYou deftly pry the window open, then toss the crowbar over the edge of the roof to destroy the evidence. (A throw-back to your cat burglar days?)\n\n> Go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> Go west\nYour have made it to the Northwest corner of the grid. You see the window back to the East. To the South you see the tracks and opening for the curtain counterweight. Against the North wall you see the ladder that goes 80 feet straight down to the stage. It makes you dizzy to look down.\n\n> You go south\nIn your haste, you forget that the curtain is UP, which means that\nthe counterweight is DOWN, leaving nothing to keep you from falling through the hole to the stage, 80 feet below. This you accomplish in far less time than it takes to describe, which means you have now been dead for several seconds.\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 4650 (out of 19900 possible). You have visited 99 locations (out of 117 in the game)\n\n> Go southeast\nYou see the window at some distance to the North and the opening for the curtain counterweight to the West.\nThere is a wooden chest tied to the grid by a snarl of rope.\n\n> You examine the CHEST\nYou haven't seen anything like this since the Gordian knot. Actually, you didn't see that either. You only read about it. You remember, the knot tied by King Gordius of Phrygia, that was cut in two by Alexander the Great? Oh, well just go on about what you were doing. Just ignore me. I'm used to it.\n\n> You cut the rope with KNIFE\nYou slice away at the ropes until, one by one they snap and fall away. Then, suddenly you drop the knife and have to chew through the last of the knots.\n\n> You look at the CHEST\nIt looks like a pirate chest. Something thumps around inside when you move it.\n\n> Open CHEST\nIt is locked.\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You go to the north\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You drop the CHEST\nYou drop the chest.\n\n> Go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go south\nYou see the window at some distance to the North and the opening for the curtain counterweight to the West.\n\n> You go to the north\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go to the east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThere is a wooden chest\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You go south\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downwards\nIt was hard enough walking in highheel snowshoes, but going down stairs? You don't even make the first step before tripping and falling head over heels.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go west\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go downward\nThe chest is too wide to fit.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\n\n> You put the CHEST on the Table\nOh boy, are you in trouble now! As you swing the heavy chest up onto the table, you put a small rip in the cloth. Strange green and orange vapors hiss out and cling to the chest. It seems to quiver for a few seconds, then melts into a sickening black puddle which quickly evaporates leaving all as before. (Except that you no longer have the chest.)  As your curiosity gets the best of you, you lean closer to examine the rip, absent-mindedly resting your hand on the damaged table top. The acrid fumes again bellow forth, furnishing you the same fate as the chest. Not only are you now dead, you smell bad.\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 4750 (out of 19900 possible). You have visited 100 locations (out of 117 in the game)\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go upward\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> You go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> You throw the CHEST\nYou throw the chest."
    },
    {
        "text": "> Look around\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\nThere is a wooden chest\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go up\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> Go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You drop the CHEST\nYou drop the chest.\n\n> You go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You go south\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> You go south\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof."
    },
    {
        "text": "> Go downwards\nIt was hard enough walking in highheel snowshoes, but going down stairs? You don't even make the first step before tripping and falling head over heels.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> You go to the south\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\nYou can't go that way."
    },
    {
        "text": "> Go downwards\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downward\nThe hall continues to the West and South. There's an open door to the North.\n\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\nIt was hard enough walking in highheel snowshoes, but going down stairs? You don't even make the first step before tripping and falling head over heels.\n\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\nhighheeled snowshoes\npointed hat\nsolitaire ring\ndark secret\n\n> You examine the heels\nThese might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You examine Policy\nThere is a front page with large clear lettering, then 27 pages of fine print.\n\n> You read Policy\nIt's BOMB INSURANCE. The fine print says it expires in 0 turns.\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You wear the slippers\nYou put on the slippers.\n\n> You go to the north\nPushing through the doors, you step tentatively into the dark room ahead. Without warning, the world spins and rushes past as you plummet downward. Clearing your head you look around in time to see a large packrat shuffling off mumbling something about people with nothing in their pockets to trade.\n\nYou find yourself at the bottom of an elevator shaft. You can see light coming through the gap between the doors to the West. Looking up you can barely see light filtering through another set of open doors two floors above.\nThe frayed elevator cable hangs just out of your reach.\n\n> You open the doors\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\n> Go west\nAs you walk through, the doors slide closed behind you.\n\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\n\n> Go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\n\n> Go up\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go northeast\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\n\n> Go upwards\nYou start briskly climbing the ladder, but about 20 feet up you realize what acrophobia is all about. After clinging to the ladder helplessly for a few hours, your arms finally give out and you fall back to the stage below.\n\n> Go southwest\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go southwest\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go upward\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> Go upwards\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go west\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\nYou enter and step directly BETWEEN the beams of the grid and continue straight down 80 feet to the stage floor. Just before you hit, you imagine a panel of judges off to the side holding up score cards showing 4.5, 5.8, 7.1 and 6.5. It's a good thing you weren't on the Olympic high dive team. Then, S-P-L-A-T!\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 4700 (out of 19900 possible). You have visited 100 locations (out of 117 in the game)\n\n> You go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\n> You drop the CHEST\nYou drop the chest.\n\n> Go southeast\nYou are in a small side room. The exits all lead back to the main gallery.\nA witch turns from her cauldron and raises her gnarled hands ominously.\n\n> You kill the witch with the heels\nYou strike at the witch with the heels, but your weapon bounces off of her harmlessly\n\n> You wear the heels\nYou put on the heels.\n\n> Click heels\nDroning, \"There's no place like home,\" you fade and vanish. So does the witch.\n\nYou have earned 1000 BONUS POINTS out of a possible 22,000\n\n\"Kinda sneaky if you ask me, but you ain't got em all yet,\" snorts the keeper.\n\n> You drop the heels\n(Taking it off first)\nYou drop the heels.\n\n> Go south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> You ask the janitor about the heels\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\""
    },
    {
        "text": "> Look around\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down.\nA pair of very odd snowshoes are lying there.\nThere is a double-hung casement window in the wall to the West.\n\n> You drop all\nYou drop the bottle.\nYou drop the bulb.\nYou drop the hacksaw.\nYou drop the hotdog.\nYou drop the policy.\nYou drop the diamond.\nYou drop the lamp.\nYou drop the bucket.\nYou drop the suit.\n\n> You go north\nPushing through the doors, you step tentatively into the dark room ahead. Without warning, the world spins and rushes past as you plummet downward. Clearing your head you look around in time to see a large packrat shuffling off mumbling something about people with nothing in their pockets to trade.\n\n> You go to the west\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\nAs you walk through, the doors slide closed behind you.\n\n> You go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> Go southwest\nThere is a hole in the grid large enough to clear the curtain counterweight (or you to fall through if the curtain is up and the counterweight is down).\nThere is the curtain counterweight\n\n> You put the CHEST on counterweight\nYou carefully place the CHEST in the hollow on the top of the counterweight.\n\n> You go northeast\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You remove the slippers\nYou take off the slippers.\n\n> You go west\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\n\n> You go south\nA mysterious force hurls you back. You see a shapeless gray mass ahead. Then it dawns on you - that's the stage curtain. You forgot it was down. Trying to lift it does no good. The seam is weighted with heavy strips of lead.\n\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\n\n> You go east\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> You go east\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door."
    },
    {
        "text": "> Go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\n\n> Go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\n\n> You check your inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\ntreasure chest\nYou're wearing:\nhighheeled snowshoes\npointed hat\nsolitaire ring\ndark secret\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You drop secret\n(Taking it off first)\nYou drop the secret."
    },
    {
        "text": "> You look at your surroundings\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nYou see a small scrap of parchment with a secret written on it.\n\n> You drop the hat\n(Taking it off first)\nYou drop the hat."
    },
    {
        "text": "> Look around\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nA pointed blue hat sits there\nYou see a small scrap of parchment with a secret written on it.\n\n> You drop all\nYou drop the bottle.\nYou drop the bulb.\nYou drop the hacksaw.\nYou drop the hotdog.\nYou drop the policy.\nYou drop the diamond.\nYou drop the lamp.\nYou drop the bucket.\nYou drop the suit.\nYou drop the chest."
    },
    {
        "text": "[Themes: gender choice]\n\n> Look around\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nYou see a small, delicate bottle, like the one Major Anthony Nelson found.\nThere is a single dim bulb. (Providing light)\nThe soggy hacksaw still drips water from the safety valve.\nThere is a foot long hotdog\nThere is a neatly printed insurance policy.\nA exquisite multi-faceted diamond catches your eye.\nThere is a plain living room lamp. (Providing light)\nThere is that famous old oaken bucket\nA pointed blue hat sits there\nA name brand SCUBA suit lies dripping\nYou see a small scrap of parchment with a secret written on it.\nThere is a wooden chest\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You examine the slippers\nThese might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You wear the slippers\nYou are already wearing the slippers.\n\n> You check your inventory\nYou're carrying:\ntreasure chest\nYou're wearing:\n\n> You drop RING\n(Taking it off first)\nYou drop the ring.\n\n> You drop all\nYou drop the chest.\n\n> You drop the heels\n(Taking it off first)\nYou drop the heels.\n\n> You go north\nPushing through the doors, you step tentatively into the dark room ahead. Without warning, the world spins and rushes past as you plummet downward. Clearing your head you look around in time to see a large packrat shuffling off mumbling something about people with nothing in their pockets to trade.\n\n> Go upwards\nYou manage to pry the doors open, breaking only one fingernail in the process.\n\nAs you walk through, the doors slide closed behind you.\n\n> You take all\nYou pick up the delicate bottle.\nYou pick up the dim bulb.\nYou pick up the soggy hacksaw.\nYou pick up the long hotdog.\nYou pick up the insurance policy.\nYou pick up the sparkling diamond.\nYou pick up the old lamp.\nYou pick up the oaken bucket.\nYou pick up the pointed hat.\nYou pick up the solitaire ring.\nYou pick up the scuba suit.\nYou pick up the dark secret.\n\n> You wear the hat\nYou put on the hat.\n\n> You put secret under the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat.\n\n> You wear RING\nYou put on the ring.\n\n> Go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> Go southwest\nThere is a hole in the grid large enough to clear the curtain counterweight (or you to fall through if the curtain is up and the counterweight is down).\nThere is the curtain counterweight\n\n> You put the CHEST on weight\nYou carefully place the CHEST in the hollow on the top of the counterweight.\n\n> You go northeast\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You take the heels\nYou pick up the highheeled heels.\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\n> You read secret\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\n> Go south\nThe walls have stopped in their tracks, so helplessly warped that they will never move again. (You do believe me, don't you?)  A twisting hall goes West.\n\n> Go west\nYou are in a long twisting hall with side doorways to the West and South.\n\n> Go south\nYou see doorways to the West, North and East and... WAIT A MINUTE! This CAN'T belong in this game! This place looks exactly the transporter chamber from a Constitution Class Federation Starship. (NCC 1700 series) From just out of sight, someone orders, \"Energize, Scotty\".\n\n> You go south\nAs you bolt for the doorway, the world shimmers from view and you experience a sensation not unlike that which you felt when you rode a drunken bull elephant down Alameda Street in Beautiful Downtown Burbank last July wearing only the epaulets and scabbard from your Order of the Most Esteemed Aardvarks Lodge ceremonial uniform, playing your uncle's Ukranian raisin-bladder bagpipe and yodelling the dirty version of Supercalifragilisticexpialidosious in protest of Disney's not releasing FANTASIA on videotape. Thought I didn't know about that, did you? I have ways of finding these things out. Anyway, when the world un-shimmers, you find yourself in a new location. Whoopee, big surprise.\n\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\n\n> You go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\n\n> You go to the east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou can't go that way.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is a wooden chest\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You go north\nThere is an unpainted red brick wall to the West.\nDaylight gushes in throught the wide-open stage door.\n\n> You look at the CHEST\nIt looks like a pirate chest. Something thumps around inside when you move it.\n\n> You go to the west\nWell, we are the inventive one aren't we? Since you've unraveled my little poser of counterweights and curtains, lets get even more devious. Now ALL exits are sealed, and it will take a miracle to get out. You must also perform a rescue, but I guarantee you that you are the only person in the place (rogues excluded, of course). BREAK A LEG! - PS  I hear the cat.\n\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> Go northeast\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\n\n> You break a the leg\nThank you. Same to you.\n\n> You look at the CHEST\nIt looks like a pirate chest. Something thumps around inside when you move it.\n\n> Open CHEST\nIt is locked.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\ntreasure chest\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Go west\nIn the Corner of the offstage area, you see the top of an old wooden stairway."
    },
    {
        "text": "> You go downward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\n> You go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> Go south\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\n\n> Go north\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\n\n> You go to the north\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\n\n> You cut the chain with HACKSAW\nYou cut another link off the chain. (I can keep this up as long as you can.)\n\n> You go upward\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\n\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\n\n> You go to the south\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\nSuddenly, a wispy figure materializes before you dressed entirely in tatters and rags. He whispers hoarsely, \"Kind and just soul, I am the poor author of this game. Did you know that $5.00 could feed me and my two starving children for a week? And my dog could afford the operation?\" With that he limps away and dissipates before your generous eyes. (Nudge, nudge.)\n\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nThe chest is too wide to fit.\n\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You drop the CHEST\nYou drop the chest.\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go south\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)\n\n> You cut the MIRROR with DIAMOND\nYou want to CUT the MIRROR with WHAT, pray tell?"
    },
    {
        "text": "> You look around\nYou find yourself in the men's dressing room.\nThere is a dressing table against the wall\nThere is a small drawer ( in the dressing table)"
    },
    {
        "text": "> Go downwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThere is a wooden chest\n\n> Shake CHEST\nDon't know how to shake here...\n\n> You read the CHEST\nYou can't read the chest, so instead you just examine it. It looks like a pirate chest. Something thumps around inside when you move it.\n\n> Break chest\nBREAK! Someone say BREAK? Great, I'll see you in ten minutes. Bye, bye. I'm back. Now, what were you saying? You wanted to BREAK the CHEST? Don't know how to break here...\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You throw the CHEST\nYou throw the chest.\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go northeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go east\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You go west\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You read the machine\nThe first panel still reads, \"Soft Drinks - 25 cents\" The second is flashing, \"Recycling Ordinance - SIGN for Drink\"\n\n> SIGN\nDon't know how to sign here...\n\n> You go west\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\n\n> Go west\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\n\n> You read DOOR\n\"Through these portals pass the biggest hams in the world.\" Anon.\n\n> You look at the DOOR\nThe paint is pealing off the door and the latch is reddened with rust. There is a faded scrawl under the \"EXIT\" sign.\n\n> You go southeast\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go west\nJust as you step into the room, the fire door closes behind you, plunging you into inky blackness. You can't even find an electrical outlet. Oh, bother.\n\n> Go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go southeast\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\n\n> Go west\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> You kick the DOOR\nDon't know how to kick here...\n\n> You go north\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> You go to the west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> Go south\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\n\n> You examine the peephole\nWhy, that dirty old man! There's a hole in the wall between here and the other restroom. Fortunely, he wasn't very bright either. He drilled into a storage cabinet and all you see are cans of Sani-flush and a reel of recording tape.\n\n> Saw hole\nYou want to SAW the HOLE with WHAT, pray tell?\n\n> Saw the hole with HACKSAW\nYou want to SAW the HOLE with WHAT, pray tell?"
    },
    {
        "text": "[Themes: gender choice]\n\n> You look around\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\ntreasure chest\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Kick hole\nDon't know how to kick here...\n\n> You read secret\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You go to the north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> You go to the north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\n\n> You drop the CHEST\nYou drop the chest.\n\n> Go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\n\n> You put DIAMOND on the Table\nWhat do you know, a REAL magic table! The DIAMOND vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put the suit on the Table\nWhat do you know, a REAL magic table! The SUIT vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put RING on Table\nWhat do you know, a REAL magic table! The RING vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put Policy on the Table\nWhat do you know, a REAL magic table! The POLICY vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put secret on the Table\nWhat do you know, a REAL magic table! The SECRET vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put the hat on Table\nWhat do you know, a REAL magic table! The HAT vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You check what you're carrying\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\nold lamp (Providing light)\noaken bucket\n\n> You put the bottle on the Table\nWhat do you know, a REAL magic table! The BOTTLE vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put bulb on the Table\nWhat do you know, a REAL magic table! The BULB vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put HACKSAW on the Table\nWhat do you know, a REAL magic table! The HACKSAW vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put LAMP on the Table\nWhat do you know, a REAL magic table! The LAMP vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You check your inventory\nYou're carrying:\nlong hotdog\nhighheeled snowshoes\noaken bucket\n\n> You put HEELS on the Table\nWhat do you know, a REAL magic table! The HEELS vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put the bucket on the Table\nWhat do you know, a REAL magic table! The BUCKET vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You put the hotdog on the Table\nWhat do you know, a REAL magic table! The HOTDOG vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> You look under the Table\nThis is a perfectly ordinary magicians table, as magicians tables go. Maybe a little TOO perfectly ordinary. It has the required black velvet draping, felt square on top, and golden symbols - like some almost familiar language - decorating the hem.\n\n> You go to the east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go north\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\n\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nYou see a small, delicate bottle, like the one Major Anthony Nelson found.\nThere is a single dim bulb. (Providing light)\nThe soggy hacksaw still drips water from the safety valve.\nThere is a foot long hotdog\nA pair of very odd snowshoes are lying there.\nThere is a neatly printed insurance policy.\nA exquisite multi-faceted diamond catches your eye.\nThere is a plain living room lamp. (Providing light)\nThere is that famous old oaken bucket\nA pointed blue hat sits there\nThere is a very convincing 24 carat ring.\nA name brand SCUBA suit lies dripping\nYou see a small scrap of parchment with a secret written on it.\nThere is a wooden chest\n\n> You take all\nYou pick up the delicate bottle.\nYou pick up the dim bulb. You pick up the soggy hacksaw. You pick up the long hotdog. You pick up the highheeled snowshoes. You pick up the insurance policy. You pick up the sparkling diamond. You pick up the old lamp. You pick up the oaken bucket. You pick up the pointed hat. You pick up the solitaire ring. You pick up the scuba suit. You pick up the dark secret. You're already carrying too much weight as it is.\n\n> You wear RING\nYou put on the hat.\n\nYou put on the ring.\n\n> You put secret under the hat\nYou lay the secret on your cute little bald spot, then cover it with the hat."
    },
    {
        "text": "> Look around\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\n\n> You scratch CHEST\nYou want to SCRATCH the CHEST with WHAT, pray tell?\n\n> You read banner\nThe banner above the courtesy desk says, \"Lost and Found Desk - RECLAIM Here\".\n\n> You look at the DESK\nThe locked desk stands under an imitation red velvet banner.\n\n> You break a the leg\nThank you. Same to you.\n\n> You rub LAMP\nYou rub and rub but only wear through the gold tone finish on the cheap lamp."
    },
    {
        "text": "> Look around\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\n\n> You go to the east\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> You go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go upwards\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob.\n\n> Go east\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> You go upward\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\n> You go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\n> Go up\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West."
    },
    {
        "text": "> Go downward\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> Go upwards\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You wear HEELS\nYou put on the heels.\n\n> Go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> Go west\nYour have made it to the Northwest corner of the grid. You see the window back to the East. To the South you see the tracks and opening for the curtain counterweight. Against the North wall you see the ladder that goes 80 feet straight down to the stage. It makes you dizzy to look down.\n\n> Go southeast\nYou see the window at some distance to the North and the opening for the curtain counterweight to the West.\n\n> You go to the north\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\n\n> You go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\n\n> You remove the shoes\nYou take off the shoes.\n\n> You take shoes\nYou pick up the highheeled shoes."
    },
    {
        "text": "> Go down\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\n\nAt the East end of the catwalk you find a short ladder leading up to the roof.\n\nSuddenly, a wispy figure materializes before you in opera cloak and top hat. Doffing the hat in a sweeping bow, he whispers hoarsely, \"Good evening. I am the ghost that haunts this theater. I actually have no part in this game, but I felt you would be disappointed were I not to put in an appearance or two.\" With that he stands up and dissipates before your incredulous eyes.\n\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\n\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\n\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\n> Go south\nGarment racks line the walls. There is a definite smell of well worn clothing.\n\n> Go north\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\n\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go north\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\n\n> You wait\nTime passes...\n\n> You go south\nThe hall continues to the West and South. There's an open door to the North.\n\n> Go west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe door to the dressing room has no knob."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> Go west\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> You open the DOOR\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\nThe transom over the door admits just enough light for you to make out a small desk taking up most of the floor space.\nAn old abridged dictionary sits on the desk.\n\n> You go north\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\n\n> Go east\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\n\n> You go east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\n\n> Go northeast\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\n\n> You cut the machine with DIAMOND\nYou want to CUT the MACHINE with WHAT, pray tell?\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\n\n> Go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\n\n> Go east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\n\n> You go to the east\nYou are in the closet.\n\n> Go west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go to the west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> You go west\nRipped wires and broken racks show where sound equipment used to be mounted.\nOne tape recorder is all that's left of the equipment.\n\n> You go east\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\n\n> You go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open."
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\n\n> You go to the west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\n\n> You go to the south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\n\n> You get reclaim\nSuddenly, a wispy figure materializes before you dressed entirely in grey. It looks you straight in the eye and whispers hoarsely , \"I am your conscience. Aren't there other things you should be doing instead of wasting time on this silly game?\" With that it turns and dissipates before your guilt-ridden eyes.\n\nYou don't see any reclaim here.\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You read the bottle\nTurning the bottle over to read the label sends the contents dribbling out all over your particulars. (Well, what am I supposed to call it? Children may be watching. Besides you know I mean.)  Anyway, you manage to right the bottle in time to save some of the contents, and after wiping it carefully on your sleeve, you hold it over your head to read, \"GUM REMOVER\" on the bottom.\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\n\n> You cut the DOOR with the saw\nYou want to CUT the DOOR with WHAT, pray tell?\n\n> Go northeast\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\n\n> You go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\n\n> You cut BOX with HACKSAW\nYou want to CUT the BOX with WHAT, pray tell?\n\n> Go north\nThis looks about like your typical closet (minus the coat hangers).\n\n> Go south\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor"
    },
    {
        "text": "[Themes: gender choice]\n\n> You go downwards\nReaching the bottom of the stairs, you can see something massive to the West.\n\n> Go west\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\n\n> Go west\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nThere is Judy, the theater cat.\n\n> You examine CAT\nShe is thin and sleek, and like most theater cats, probably knows a lot more about drama than you do. Show her kindness and you'll have a new friend.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You give the hotdog to CAT\nYou never can tell what a cat will eat. Always having been a light eater, Judy daintily nibbles about 1/2 of the hotdog. She then jumps into your arms.\n\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nJudy is purring softly in your arms\n\n> You give Policy to CAT\nThe CAT gives a quick glance at the POLICY, then tosses it back.\n\n> You give the bottle to CAT\nThe CAT gives a quick glance at the BOTTLE, then tosses it back.\n\n> You give the hat to CAT\nThe CAT gives a quick glance at the HAT, then tosses it back.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nlong hotdog\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You give the hotdog to CAT\nYou never can tell what a cat will eat. Always having been a light eater, Judy daintily nibbles about 1/2 of the hotdog. She then jumps into your arms.\n\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nJudy is purring softly in your arms\n\n> Go east\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\nJudy is purring softly in your arms\n\n> You check what you're carrying\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\noaken bucket\nscuba suit\n1/2 hotdog\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You examine the hotdog\nYou can still get some milage out of a 6 inch hotdog.\n\n> Go east\nReaching the bottom of the stairs, you can see something massive to the West.\nJudy is purring softly in your arms\n\n> You go upward\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nJudy is purring softly in your arms\n\n> You go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\nJudy is purring softly in your arms\n\n> Go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\nJudy is purring softly in your arms\n\n> Go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nJudy is purring softly in your arms\n\n> You go west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nJudy is purring softly in your arms\n\n> Go north\nSuddenly, a wispy figure materializes before you dressed entirely in tatters and rags. He whispers hoarsely, \"Kind and just soul, I am the poor author of this game. Did you know that $5.00 could feed me and my two starving children for a week? And my dog could afford the operation?\" With that he limps away and dissipates before your generous eyes. (Nudge, nudge.)\n\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nJudy is purring softly in your arms\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nJudy is purring softly in your arms\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nJudy is purring softly in your arms\n\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\nJudy is purring softly in your arms\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nJudy is purring softly in your arms\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\nJudy is purring softly in your arms\n\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\nJudy is purring softly in your arms\n\n> Go northwest\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\nJudy is purring softly in your arms"
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\nJudy is purring softly in your arms\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\nJudy is purring softly in your arms\n\n> You go south\nAt the sight of the cat-gut strings on the violin, the cat jumps out of your arms onto a lower shelf, then out the door, knocking a door knob into view.\n\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\nThere is a battered brass door knob\n\n> Go west\nIn the Women's dressing room. The hall door is to the East.\nThere is a medium-large frog sitting on the floor\n\n> You examine the FROG\nIt may be a toad. Frankly, I really can't tell them apart. Whatever it is, it does seem to be hopping mad about something.\n\n> You give hotdog to the FROG\nWith one swift flick of its tongue, the frog (or is it a toad?) grabs and gulps down the half hotdog. Then, like a scene from a low budget horror film, the toad starts shifting shape. Colors start changing, warts smooth out, hair starts to grow, then, with one final effort, nothing happens. Of course! That must have a magic hotdog (hey, I just describe 'em - I don't make these things up, you know), and you fed half of it to the cat. There wasn't enough left to do the whole job (whatever it was). Now you'll have to finish it up yourself.\n\nIn the Women's dressing room. The hall door is to the East.\nThe frog hops up to your side and stares intently into your eyes.\n\n> Kiss FROG\nYou give the quasi-frog a gentle kiss on what would be lips if it had lips. This re-starts the magic. A cloud of lacey vapor and glitters surrounds the animal, then dissipates, revealing a slightly bewildered looking young man.\n\nIn the Women's dressing room. The hall door is to the East.\nThe guy is standing by your side\n\n> Kiss guy\nTurning suddenly away, your new friend says apologetically, \"It's not that I'm ungrateful for what you've done for me. Your breath just smells like a toad.\"\n\n> You ask the guy about the KEY\nTapping lightly on your arm, your friend says, \"I really hate to disturb your concentration, but I'd appreciate it if we could find something to drink. I'm terribly thirsty, and my mouth tastes like I've been eating flies.\"\n\nYou get no answer.\n\n> You go to the east\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side\n\n> You give the bottle to the guy\nThe GUY gives a quick glance at the BOTTLE, then tosses it back."
    },
    {
        "text": "> You describe your surroundings\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downward\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThe guy is standing by your side\n\n> You go to the east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThe guy is standing by your side\n\n> Go northeast\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\nThe guy is standing by your side\n\n> You go to the east\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nThe guy is standing by your side\n\n> You read the panel\nThe first panel still reads, \"Soft Drinks - 25 cents\" The second is flashing, \"Recycling Ordinance - SIGN for Drink\"\n\n> Sign machine\nDon't know how to sign here...\n\n> Sign sign\nDon't know how to sign here...\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\nThe guy is standing by your side\n\n> You go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> You go to the east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> You go west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go to the south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go to the east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go to the east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side\n\n> You go east\nYou are in the closet.\nThe guy is standing by your side\n\n> SIGN\nDon't know how to sign here...\n\n> Go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> You go west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go to the south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> SIGN\nDon't know how to sign here..."
    },
    {
        "text": "> You look around\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThe guy is standing by your side\n\n> Go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThe guy is standing by your side\n\n> You go west\nYou find a shelf in the closet.\nThe guy is standing by your side\n\n> Go east\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThe guy is standing by your side\n\n> Go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThe guy is standing by your side\n\n> Go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go to the east\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You examine the machine\nIt's an old model that appears to dispense some sort of paper through a wide slot. There is a coin slot, a few buttons and a broken coin return.\n\n> You read the machine\n\"INSURANCE  25 CENTS\"\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\nThe guy is standing by your side\n\n> You go east\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\nThe guy is standing by your side\n\n> SIGN\nDon't know how to sign here...\n\n> You go to the north\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\nThe guy is standing by your side"
    },
    {
        "text": "> Look around\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\nThe guy is standing by your side\n\n> Y.\nYour score is 9100 (out of 19900 possible). You have visited 102 locations (out of 117 in the game)\n\n> Go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go west\nLicking his dry lips, the guy again reminds you that he is thirsty.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> You go to the south\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\nThe guy is standing by your side\n\n> You examine the peephole\nWhy, that dirty old man! There's a hole in the wall between here and the other restroom. Fortunely, he wasn't very bright either. He drilled into a storage cabinet and all you see are cans of Sani-flush and a reel of recording tape.\n\n> Go north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> You go to the south\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\nThe guy is standing by your side\n\n> Go north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThere is a solid steel fire door built into the West wall.\nThe guy is standing by your side\n\n> You look at what you're carrying with you\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\nscuba suit\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You put the suit under the DOOR\nYou open the fire door as far as it will go and firmly wedge the SUIT under it. You viciously stomp and tramp on it until you are convinced that even you will never be able to get it back out again.\n\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> You go west\nIn an East-West hall. The fire door is propped open to the East\nThe guy is standing by your side\n\n> You go to the west\nYou are at beginning of the rehearsal hall. There is a short hallway East.\nYou see a torn script ( on the floor )\nThe guy is standing by your side\n\n> Go west\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> Go west\nYou are now at the West end of the rehearsal hall.\nThere is an extremely official looking sign ( on the west wall )\nThe guy is standing by your side\n\n> You examine the SIGN\nYep, that looks official alright, and it's neatly lettered.\n\n> You read the SIGN\n\"DO NOT READ THIS SIGN\" (You obviously have little respect for authority.)\n\n> You take the SIGN\nYou pick up the official sign.\n\n> You go east\nHearing an odd noise as you walk away with the sign, you look back to see that it had been hung from an electric cord which has just snapped. The cord flops around the room, sparking and setting fires everywhere it touches. Almost instantly, the entire room is ablaze.\n\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> You open hatch\nWorking together, you are able to OPEN the HATCH."
    },
    {
        "text": "> Go downwards\nYou dive for the hatch, slamming it behind you, finally safe from the fire.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nA packrat has emerged from a crack in the wall\nThe guy is standing by your side\n\n> You check your inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhighheeled snowshoes\ninsurance policy\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\nofficial sign\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You cut the bottle with DIAMOND\nYou want to CUT the BOTTLE with WHAT, pray tell?\n\n> You give HACKSAW to the rat\nThe packrat carefully inspects the HACKSAW that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nYou see a small key\nThe guy is standing by your side\n\n> You take the small KEY\nYou pick up the small key.\n\n> You examine the KEY\nIt is a small, unimpresive key. It could fit a desk or the like, but you have the sneaking hunch that it would also have fit a treasure chest.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nhighheeled snowshoes\ninsurance policy\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\nofficial sign\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You wear HEELS\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nThe guy is standing by your side\n\nYou put on the heels.\n\n> You examine the shoes\nThese might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)"
    },
    {
        "text": "> Look around\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nThe guy is standing by your side\n\n> You examine the SIGN\nYep, that looks official alright, and it's neatly lettered.\n\n> You read the SIGN\n\"DO NOT READ THIS SIGN\" (You obviously have little respect for authority.)\n\n> You examine secret\nThis might be a prop left over from a spy drama - or maybe it's the real thing.\n\n> You go to the west\nLicking his dry lips, the guy again reminds you that he is thirsty.\n\n> You go to the north\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> You put the suit under the DOOR\nYou open the fire door as far as it will go and firmly wedge the SUIT under it. You viciously stomp and tramp on it until you are convinced that even you will never be able to get it back out again.\n\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> You go west\nIn an East-West hall. The fire door is propped open to the East\nThe guy is standing by your side\n\n> You go to the west\nYou are at beginning of the rehearsal hall. There is a short hallway East.\nYou see a torn script ( on the floor )\nThe guy is standing by your side\n\n> You take the script\nYou pick up the torn script.\n\n> You examine the script\nIt seems to be part of a play set in France during the early days of World War I. You can make out a few of the lines.\n\n> You read it\n\"SEND A DOG UP IN A CRATE LIKE THAT? NOT UNTIL MAKING THE CATWALK PART WAY!\"\n\n> Go east\nIn an East-West hall. The fire door is propped open to the East\nThe guy is standing by your side\n\n> You go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\nYou can't go that way.\n\n> You go northwest\nYou are in a small side room. The exits all lead back to the main gallery.\nThe guy is standing by your side\nOh, great, now you find Helen Hipclicks, the worlds most conceited actress.\n\n> You give the script to HELEN\nThe HELEN gives a quick glance at the SCRIPT, then tosses it back.\n\n> You give secret to HELEN\nThe HELEN gives a quick glance at the SECRET, then tosses it back.\n\n> You show secret to HELEN\nUnable to face the truth, the ham runs off, gets married, moves to the suburbs, gets fat and has 12 kids. You put the secret back under your hat and leave.\n\nYou have earned 1000 BONUS POINTS out of a possible 22,000\n\n\"Kinda sneaky if you ask me, but you ain't got em all yet,\" snorts the keeper.\n\n> You go to the west\nYou are in a small side room. The exits all lead back to the main gallery.\nThe guy is standing by your side\nThis guy looks just like your agent (The one you haven't seen\nlately).\n\n> You show the script to the agent\n\"SEND A DOG UP IN A CRATE LIKE THAT? NOT UNTIL MAKING THE CATWALK PART WAY!\"\n\n> You give the script to the agent\n\"SEND A DOG UP IN A CRATE LIKE THAT? NOT UNTIL MAKING THE CATWALK PART WAY!\"\n\n> You show Policy to the agent\n\"Sheez, I'll need my bifocals to read this stuff\", he says as folds up the policy. Doing so, he gets a nasty paper cut which gets infected and he dies.\n\nYou have earned 2000 BONUS POINTS out of a possible 22,000\n\n\"Kinda sneaky if you ask me, but you ain't got em all yet,\" snorts the keeper.\n\n> You go southwest\nYou are in a small side room. The exits all lead back to the main gallery.\nThe guy is standing by your side\nYou come face to face with the drama critic who panned your last\nthree shows.\n\n> You show the script to the critic\n\"Ah, I must go write a review!\" he says putting the pen back into his pocket - WITHOUT capping it. You wince as you see the twisted smile cross his face just before he collapses from the poison injection. You then exit the scene.\n\nYou have earned 3000 BONUS POINTS out of a possible 22,000\n\n\"Kinda sneaky if you ask me, but you ain't got em all yet,\" snorts the keeper.\n\n> You go to the south\nYou are in a small side room. The exits all lead back to the main gallery.\nThe guy is standing by your side\nThe theater janitor was looking around the room. Hearing you, he looks up.\n\n> You show the snowshoes to the janitor\nYou can't read the snowshoes, so instead you just examine them. These might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You show the shoes to the janitor\nYou can't read the shoes, so instead you just examine them. These might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You give the shoes to the janitor\nYou can't read the shoes, so instead you just examine them. These might be just the thing to keep from sinking through soft snow or cracks and crevices and cravasses and such. (But ruby red sequin finish - and 4 inch SPIKE HEELS? I think that janitor has been over the rainbow once too often.)\n\n> You wear the shoes\nYou put on the shoes.\n\n> You hit the janitor with the shoes\nYou strike at the janitor with the shoes, but your weapon bounces off of him harmlessly\n\n> You take shoes\nYou pick up the highheeled shoes.\n\n> You check your inventory\nYou pass out from the pressure of waiting for the inevitable attack. You come to in the main gallery as the zookeeper snorts. \"Must be goin' soft in my old age. But watch out for the Avocado, I ain't goin' near it to grab you out!\"\n\n> You ask the janitor about tape\nWho are you addressing?\n\n> You go west\nReeling slightly and wiping his cracked lips, the guy pleads with you to find something for him to drink.\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> Go west\nYou are now at the West end of the rehearsal hall.\nThere is an extremely official looking sign ( on the west wall )\nThe guy is standing by your side\n\n> You take the SIGN\nYou pick up the official sign.\n\n> You go east\nHearing an odd noise as you walk away with the sign, you look back to see that it had been hung from an electric cord which has just snapped. The cord flops around the room, sparking and setting fires everywhere it touches. Almost instantly, the entire room is ablaze.\n\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> You open hatch\nWorking together, you are able to OPEN the HATCH.\n\n> You look at the hatch\nIt is so massive that I doubt you could open it by yourself."
    },
    {
        "text": "[Themes: gender choice]\n\n> Go downwards\nThe fire has gotten worse. It is getting hard to see and breathe!\n\nThe chest is too wide to fit.\n\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> You cut the CHEST with HACKSAW\nYou want to CUT the CHEST with WHAT, pray tell?\n\n> You drop the CHEST\nYou drop the chest."
    },
    {
        "text": "> Go downward\nThe heat is almost unbearable. You can't take it much longer!\n\nYou dive for the hatch, slamming it behind you, finally safe from the fire.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nA packrat has emerged from a crack in the wall\nThe guy is standing by your side\n\n> You examine Policy\nThere is a front page with large clear lettering, then 27 pages of fine print.\n\n> You read Policy\nIt's BOMB INSURANCE. The fine print says it expires in 0 turns.\n\n> You give Policy to the rat\nThe packrat carefully inspects the POLICY that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nYou see a small key\nThe guy is standing by your side\n\n> You take the KEY\nYou pick up the small key.\n\n> You rub LAMP\nYou rub and rub but only wear through the gold tone finish on the cheap lamp.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\ntorn script\nofficial sign\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> Shake bottle\nDon't know how to shake here..."
    },
    {
        "text": "> Look around\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nThe guy is standing by your side\n\n> You examine HACKSAW\nA simple K-mart blue-light special tool. Not worth the hassle of hiding it that elaborately. At least it was rust-proofed."
    },
    {
        "text": "> Look around\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nThe guy is standing by your side\n\n> Go north\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\nLicking his dry lips, the guy again reminds you that he is thirsty.\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You put the suit under the DOOR\nYou open the fire door as far as it will go and firmly wedge the SUIT under it. You viciously stomp and tramp on it until you are convinced that even you will never be able to get it back out again.\n\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> You go west\nIn an East-West hall. The fire door is propped open to the East\nThe guy is standing by your side\n\n> You go to the west\nYou are at beginning of the rehearsal hall. There is a short hallway East.\nYou see a torn script ( on the floor )\nThe guy is standing by your side\n\n> You take the script\nYou pick up the torn script.\n\n> Go west\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> Go west\nYou are now at the West end of the rehearsal hall.\nThere is an extremely official looking sign ( on the west wall )\nThe guy is standing by your side\n\n> You take the SIGN\nYou pick up the official sign.\n\n> You go east\nHearing an odd noise as you walk away with the sign, you look back to see that it had been hung from an electric cord which has just snapped. The cord flops around the room, sparking and setting fires everywhere it touches. Almost instantly, the entire room is ablaze.\n\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> Go west\nYou are now at the West end of the rehearsal hall.\nThe guy is standing by your side\n\n> You go east\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> Go east\nYou are at beginning of the rehearsal hall. There is a short hallway East.\nThe guy is standing by your side\n\n> You go east\nThe heat is almost unbearable. You can't take it much longer!\n\nThe intense flames in the hallway force you back. You must find another exit.\n\n> Go east\nThe intense flames in the hallway force you back. You must find another exit.\n\n> Go west\nYou watch in fascination as your clothes burst into flame. In the distance, you can hear voices singing. \"Happy birthday to you. Happy birthday...\" You hope they get to the part where they blow out the candles REAL soon. In the mean time, the game ends. If only you'd had some help lifting that hatch.\n\nYou have earned 0 BONUS POINTS out of a possible 22,000\n\nYour score is 9300 (out of 19900 possible). You have visited 106 locations (out of 117 in the game)\nWould you like to restart, restore, undo, or quit?\n\n> You go west\nIn an East-West hall. The fire door is propped open to the East\nThe guy is standing by your side\n\n> You go to the west\nYou are at beginning of the rehearsal hall. There is a short hallway East.\nYou see a torn script ( on the floor )\nThe guy is standing by your side\n\n> You take the script\nYou pick up the torn script.\n\n> Go west\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side\n\n> You open hatch\nWorking together, you are able to OPEN the HATCH.\n\n> Go west\nYou are now at the West end of the rehearsal hall.\nThere is an extremely official looking sign ( on the west wall )\nThe guy is standing by your side\n\n> You take the SIGN\nYou pick up the official sign.\n\n> You go east\nHearing an odd noise as you walk away with the sign, you look back to see that it had been hung from an electric cord which has just snapped. The cord flops around the room, sparking and setting fires everywhere it touches. Almost instantly, the entire room is ablaze.\n\nYou are now in the center of the EAST-West running rehearsal hall. There is a wooden hatch on the floor\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou dive for the hatch, slamming it behind you, finally safe from the fire.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nA packrat has emerged from a crack in the wall\nThe guy is standing by your side\n\n> Trade policy to rat\nThe packrat carefully inspects the POLICY that you offer, then somehow stuffs it into a tiny crack in the wall. He darts toward the wall himself, pausing only long enough to throw a small object back to you, then vanishes.\n\nYou are in a cave that is completely blocked by a large boulder to the West. The ground below has a fresh cavity where you fell from the hatch far above.\nYou see a small key\nThe guy is standing by your side\n\n> You take the KEY\nYou pick up the small key.\n\n> Marry guy\nNow let me get this straight, you want to MARRY to WHOM?\n\n> Marry to the guy\nNow let me get this straight, you want to MARRY to WHOM?\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\ntorn script\nofficial sign\nYou're wearing:\npointed hat\nsolitaire ring\ndark secret\n\n> You give the bottle to the guy\nThe GUY gives a quick glance at the BOTTLE, then tosses it back.\n\n> You read secret\nOh, no you don't! If you read it, it won't be a secret any more.\n\n> You open\nYou get no answer.\n\nNothing happens when you utter the word. You are so embarrased you try to hide behind a small rock outcropping. Suddenly, the sand underfoot starts to funnel away under your weight, and you find yourself sliding down through a narrow fissure into a familiar basement hallway. Your companion follows.\n\nYou have come to a fork in the hallway. You can go North, East or South.\nThe guy is standing by your side\n\n> You go north\nThe hall continues South, but the rest of the walls are blank.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> You go east\nYou cross easily through the two-inch deep water.\n\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> You go to the north\nYou are balancing precariously on the plank over the deep gap. Under your weight, the ends slip and settle into the ground, wedging them tighter.\nThe guy is standing by your side\n\n> Go north\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\nThe guy is standing by your side\n\n> Go east\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nThe guy is standing by your side\n\n> Go east\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\nThe guy is standing by your side\n\n> You go to the north\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\nThe guy is standing by your side\n\n> Go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\nThe guy is standing by your side\n\n> Go upwards\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\nThe guy is standing by your side\n\n> Go north\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nThe guy is standing by your side\n\n> You put the SIGN in the machine\nSwearing softly under your breath about stupid government regulations, you fold the sign up and cram it into the coin slot. Somehow, this prompts the machine into action and a can of soda falls into view on the small ledge.\n\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nYou see a can of soda\nThe guy is standing by your side\n\n> You take the can\nYou pick up the soft can.\n\n> You look at the can\nPLAIN WRAP SODA! Oh great! What kind of a low budget game is this anyway?\n\n> You give the SODA to the guy\nObligingly, you hand the can to the guy. He rears back his head and chug-alugs it in one gulp. Suppressing a frog-like belch, He crushes and tosses the empty can over his shoulder then thanks you gallantly.\n\n> Go south\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\nThe guy is standing by your side\n\n> You go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go east\nTugging gently on your arm, your friend says, \" I don't think I should have had all that soda. I have to go to the bathroom.\"\n\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> You go west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go south\nYanking firmly on your sleeve, your friend stops you in your tracks and says, \"I have to go to the bathroom. NOW.\"\n\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go to the south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go east\nRipping the sleeve right off your shirt, your friend yells, \"If you make me wet my pants, I'll never speak to you again! Ouch. Oh, oh no!\"\n\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> Go south\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\nThe guy is standing by your side\n\n> You go west\nThe guy dances and jogs while fiddling with the door lock. Finally, he drops his male ego just enough to ask for a bobby pin. Thus armed, he is able to jimmy the lock and rushes in. He emerges a few minutes later, acting as if nothing had happened. Handing you a reel of recording tape, he says, \"I found this in there while I was looking for...well never mind.\"\n\n> Go north\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> You examine the tape\nA properly labeled reel of audio tape with the ends tucked in neatly.\n\n> Go north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nThe guy is standing by your side\n\n> You unlock the CHEST with the KEY\nYou unlock the chest with the key.\n\n> Open CHEST\nYou have opened the chest.\nInside, you see the following:\nToTo looks up at you and wags his tail\n\n> You examine toto\nWhat the heck. Might as well let the little guy have a cameo appearance. He hasn't been able to get any work since RETURN TO OZ. (I promised you a rescue.)\n\n> You unlock the DESK with the KEY\nYou unlock the desk with the key.\n\n> You open the DESK\nYou have opened the desk.\nInside, you see the following:\nThere's a genuine left-handed fuzz-lined homogenized reclaim. (\ninside the\ndesk )\n\n> You look at the reclaim\nWell, it's actually kind of hard to describe a reclaim. It's like trying to tell someone what it felt like the first time you waipled or sailed a grudgeon.\n\n> You take the RECLAIM\nYou pick up the homogenized reclaim.\n\n> You read banner\nThe banner above the courtesy desk says, \"Lost and Found Desk - RECLAIM Here\".\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go to the east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side\n\n> You go to the west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\nThe guy is standing by your side\n\n> You go west\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThe guy is standing by your side\n\n> Go west\nRipped wires and broken racks show where sound equipment used to be mounted.\nOne tape recorder is all that's left of the equipment.\nThe guy is standing by your side\n\n> You put the tape in the RECORDER\nThe tape is in the machine for good, firmly snapped onto the spindles.\n\n> You play the tape\nHearing the wedding march, your friend seems to get a little misty eyed.\n\n> You give RING to the guy\n\"How sweet. Yes, I'd be proud to accept your ring. Does this MEAN something?\"\n\n> Kiss guy\nTurning suddenly away, your new friend says apologetically, \"It's not that I'm ungrateful for what you've done for me. Your breath just smells like a toad.\"\n\n> Marry guy\nNow let me get this straight, you want to MARRY to WHOM?\n\n> You examine the tape\nA properly labeled reel of audio tape with the ends tucked in neatly.\n\n> You play tape\nYou again play the music. (Give up. It won't say \"Paul is dead\" backward.)\n\n> Go east\nThe spotlight booth has doors East and West. There is no glass in the window to the North (to avoid blinding the spot operator. By, the way, don't try going through the window. It won't work.)\nA large follow spot stands by the window\nYou can see the socket\nThe guy is standing by your side\n\n> Go east\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\nThe guy is standing by your side\n\n> Go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> You go west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\n> You take the CHEST\nYou're already carrying too much weight as it is.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhomogenized reclaim\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\ntorn script\nYou're wearing:\npointed hat\ndark secret\n\n> You give DIAMOND to GUY\nThe GUY gives a quick glance at the DIAMOND, then tosses it back.\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the south-east\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\nThe guy is standing by your side\n\n> Go east\nIgnoring everything that you learned as a two year old, you impulsively turn E and walk right into the closed door.\n\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\nThe guy is standing by your side\n\n> You rub LAMP\nYou rub and rub but only wear through the gold tone finish on the cheap lamp.\n\n> Go west\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\nThe guy is standing by your side\n\n> Go west\nIgnoring everything that you learned as a two year old, you impulsively turn W and walk right into the closed door.\n\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\nThe guy is standing by your side\n\n> Go north\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> You go north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> Go west\nThe destruction from the fire has completely blocked the hall.\nThe guy is standing by your side\nThere is a bear in a ranger hat and jeans burying embers with a shovel.\n\n> You examine the bear\nHe turns momentarily and says, \"Remember. only you can prevent rehearsal hall fires.\" He then goes back to his work.\n\n> You look at the shovel\nHe turns momentarily and says, \"Remember. only you can prevent rehearsal hall fires.\" He then goes back to his work.\n\n> You go east\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\nThe guy is standing by your side\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThe guy is standing by your side\n\n> Go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThe guy is standing by your side\n\n> Go upward\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side\n\n> Go west\nIn the Women's dressing room. The hall door is to the East.\nThe guy is standing by your side\n\n> You go to the east\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side\n\n> You go east\nThe hall continues to the West and South. There's an open door to the North.\nThe guy is standing by your side\n\n> You go to the north\nYou have found the \"Green Room\" - the lounge where actors wait between scenes.\nThe guy is standing by your side\n\n> You go to the south\nThe hall continues to the West and South. There's an open door to the North.\nThe guy is standing by your side\n\n> You go to the west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side\n\n> You go east\nThe hall continues to the West and South. There's an open door to the North.\nThe guy is standing by your side\n\n> Go south\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> You go to the west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\nThe guy is standing by your side\n\n> Go east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> You go to the south\nGarment racks line the walls. There is a definite smell of well worn clothing.\nThe guy is standing by your side\n\n> You go north\nSuddenly, a wispy figure materializes before you dressed entirely in grey. It looks you straight in the eye and whispers hoarsely , \"I am your conscience. Aren't there other things you should be doing instead of wasting time on this silly game?\" With that it turns and dissipates before your guilt-ridden eyes.\n\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> Go up\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\nThe guy is standing by your side\n\n> Go east\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\nThe guy is standing by your side\n\n> Go east\nAt the East end of the catwalk you find a short ladder leading up to the roof.\nThe guy is standing by your side\n\n> You go upward\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\nThe guy is standing by your side\n\n> Go north\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThe guy is standing by your side\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nThe guy is standing by your side\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\n> You go north\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nYou have come to a central gallery opening onto eight small rooms.\nYou hear strange yells, mumbles, cackles, screams and mad ravings coming from the rooms.\nThe guy is standing by your side\nAn old woman dressed in a zoo keeper's uniform looks up at you.\n\nA HUNGRY man (and woman) eating plant is creeping toward you.\n\n> You go up\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThe guy is standing by your side\n\n> You go west\nYou carefully slip through the window and onto the grid. It only takes you a few seconds to get used to moving around on the snowshoes.\n\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\nThe guy is standing by your side\n\n> You go south\nYou see the window at some distance to the North and the opening for the curtain counterweight to the West.\nThe guy is standing by your side\n\n> You go to the northwest\nYour have made it to the Northwest corner of the grid. You see the window back to the East. To the South you see the tracks and opening for the curtain counterweight. Against the North wall you see the ladder that goes 80 feet straight down to the stage. It makes you dizzy to look down.\nThe guy is standing by your side\n\n> Go east\nOnce through the window, you take a quick glance down through the steel beams. There are wide spaces between them to allow the rigging to operate. The view of the stage 80' below is enough to make you keep your eyes ahead.\nThe guy is standing by your side\n\n> Go east\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down. There is a double-hung casement window in the wall to the West.\nThe guy is standing by your side\n\n> You remove the shoes\nYou take off the shoes.\n\n> You read the script\n\"SEND A DOG UP IN A CRATE LIKE THAT? NOT UNTIL MAKING THE CATWALK PART WAY!\""
    },
    {
        "text": "> You look around\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down.\nA pair of very odd snowshoes are lying there.\nThere is a double-hung casement window in the wall to the West.\nThe guy is standing by your side\n\n> Go south\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThe guy is standing by your side\n\n> Go north\nYou've reached the roof over the wings. The hot sun makes you neck prickly. You see the top of an air shaft with a ladder leading down.\nA pair of very odd snowshoes are lying there.\nThere is a double-hung casement window in the wall to the West.\nThe guy is standing by your side\n\n> You take shoes\nYou pick up the highheeled shoes.\n\n> S,S,S\nYou have come to the Northern edge of the roof. Most of the way to the North is blocked by the wall that encloses the high flyloft over the main stage area. There is a short set of steps (also North) that lead to a narrow upper roof.\nThe guy is standing by your side\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\nThe guy is standing by your side\n\nYou suddenly bolt for the roof edge and freedom! With a graceful Grande Jete', you succeed, alighting daintily on the street below. Looking around, you realize that you are in a dark, featureless void with nothing substantial beneath your feet. Realizing that you have just gone outside the programed area of the game, you meekly climb back to \"Room 33 - Theater Roof\"\n\nThe afternoon sun bakes the theater roof. Looking over the sides, you see nothing but deserted streets in all directions. There is an open hatchway.\nYou see a rainsoaked page from some book lying on the roof.\nThe guy is standing by your side"
    },
    {
        "text": "[Themes: gender choice]\n\n> Go down\nAt the East end of the catwalk you find a short ladder leading up to the roof.\nThe guy is standing by your side\n\n> Go west\nThe catwalk continues West and East. There is a firm BULGE in the boards, and a mysterious wisp of GAS just dissipating above.\nThe guy is standing by your side\n\n> You go to the west\nThe catwalk allows the techs access to the stage lighting hung above the audience ceiling. You bend low to crawl along, trying not to think about the 30 foot drop through the flimsy structure if you should loose your footing.\nThe guy is standing by your side"
    },
    {
        "text": "> Go down\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhomogenized reclaim\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\ntorn script\nYou're wearing:\npointed hat\ndark secret\n\n> Rub reclaim\nBeing a ticklish sort of thing, the reclaim quivers gently at your touch.\n\n> You touch reclaim\nBeing a ticklish sort of thing, the reclaim quivers gently at your touch.\n\n> Shake reclaim\nDon't know how to shake here...\n\n> Close reclaim\nThe reclaim is already closed.\n\n> You go to the south\nGarment racks line the walls. There is a definite smell of well worn clothing.\nThe guy is standing by your side\n\n> Go north\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> You go to the west\nLooking around, you see that this is where props (items small enough to be carried around on stage - guns, books, pencils, etc.) are stored.\nAn oddly decorated magicians table sits in the corner\nThe guy is standing by your side\n\n> You put reclaim on the Table\nWhat do you know, a REAL magic table! The RECLAIM vanishes before your eyes. You then hear a thump, like something hitting the floor back toward the lobby.\n\n> Go east\nThe hall ends with doorways to the South and the West and a ladder built into the East wall leads up through an access hatch into the ceiling.\nThe guy is standing by your side\n\n> Go north\nThe hall continues to the West and South. There's an open door to the North.\nThe guy is standing by your side\n\n> You go to the west\nAt the South end of a hall, there are doorways to the West and the South and the top of a narrow spiral stairway.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downward\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThe guy is standing by your side\n\n> You go to the east\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThe guy is standing by your side\n\n> You go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go south\nIn your haste, you forget the Orchestra Pit. You tumble head over heels through the Glockenspiel and rebound off the timpani to the Stage Apron. Miraculously, you didn't seriously injure anything but your pride and your chances of ever joining the musicians' union. Please be more careful.\n\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> You go east\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go south\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go south\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThere's a genuine left-handed fuzz-lined homogenized reclaim.\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\n> You take reclaim\nYou pick up the homogenized reclaim.\n\n> You take the CHEST\nYou're already carrying too much weight as it is.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nsoggy hacksaw\nhomogenized reclaim\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ndoor knob\noaken bucket\ntorn script\nYou're wearing:\npointed hat\ndark secret\n\n> You drop HACKSAW\nYou drop the knob.\n\nYou drop the bucket.\n\nYou drop the hacksaw.\n\n> You take the CHEST\nYou pick up the treasure chest.\n\n> Inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nhomogenized reclaim\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ntorn script\ntreasure chest\nToTo looks up at you and wags his tail\nYou're wearing:\npointed hat\ndark secret\n\n> Go south\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go east\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the south-east\nYou've gone as far as you can this way. You are at the front of the foyer.\nThe main theater doors are to the East.\nThe guy is standing by your side\n\n> You go to the north\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\nThe guy is standing by your side\n\n> Go north\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\nThe guy is standing by your side\n\n> You move coat\nA gentle tug causes the coat to slip slightly to one side. Through the eruption of moths you see that the coat is covering a doorway North. Pushing the coat to the side like a drape, you go through.\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nThe guy is standing by your side"
    },
    {
        "text": "[Themes: gender choice]\n\n> Go downward\nReaching the bottom of the stairs, you can see something massive to the West.\nThe guy is standing by your side\n\n> You go west\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\nThe guy is standing by your side\n\n> Go west\nThis WAS a sealed-off store room. There is now a large hole in the East wall. (An awful lot of mouse holes here, but no mice.)\nThe guy is standing by your side\n\n> Go east\nThe twisted wreckage of the boiler is everywhere. There is barely enough room to make your way past it to the East or West.\nThe guy is standing by your side\n\n> Go upwards\nReaching the bottom of the stairs, you can see something massive to the West.\nThe guy is standing by your side\n\nYou have come across a store room. A stairway leads down. A closet is North.\nA small magnesium box sits on the floor\nThe guy is standing by your side\n\n> Go south\nThe coat room is almost empty. The Dutch door to the South stands open.\nOn the wall behind the counter there is a ratty coat hanging on a nail.\nThe guy is standing by your side\n\n> You go south\nYou see an open Dutch door to the North and other doors across the room to the South and Southwest.\nThe guy is standing by your side\n\n> Go west\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go upwards\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\nThe guy is standing by your side\n\n> Go east\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nThere is a penciled note on the bottom of the seat\nThe guy is standing by your side\n\n> You sit\nFeeling the need to gather your wits (such as they are) about you, you sit back down for a moment to collect your thoughts. After mulling over your situation and coming up with a blank, you get back up. The seat bottom again retracts.\n\n> Marry GUY\nNow let me get this straight, you want to MARRY to WHOM?\n\n> You go to the east\nBy the soft glow of the light, you can almost make out a faded message scrawled on the wall: \"...re...move coat....in...room..\", or something like that.\nThe guy is standing by your side"
    },
    {
        "text": "> You go downward\nYou find yourself in the balcony. You look down over the railing to the North, and see the entire audience and stage apron area. There is no one in sight and no sign of any activity. Looking around, you see a staircase to the West and a small storage closet to the East with a switch just inside the door.\nYour seat (THEATER seat, that is) has folded into the upright\nposition\nThere is a penciled note on the bottom of the seat\nThe guy is standing by your side\n\nYou are standing at the top of a gently curving staircase leading down to the lobby. You see a small balcony to the East.\nThe guy is standing by your side\n\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> Go south\nThis is another restroom like all the others you've seen. I'll spare you the colorful description except to mention that someone has scratched, \"KEEP SECRETS UNDER YOUR HAT\" on the wall.\nThe guy is standing by your side\n\n> Go north\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThe guy is standing by your side\n\n> You go west\nYou find a shelf in the closet.\nThe guy is standing by your side\n\n> Go west\nLooking around, you can see doors across the room to the Northeast and East.\nThere is a restroom door to the West, but it is securely locked.\nThe guy is standing by your side\n\n> Go north\nThe foyer widens out to the East and South.\nAn old vending machine stands against the wall\nThe guy is standing by your side\n\n> You go to the west\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> You go to the south\nYou are in a dusty work area. It looks sloppier than your hall closet.\nThere is a peephole in the wall to the East.\nThe guy is standing by your side\n\n> You examine the peephole\nWhy, that dirty old man! There's a hole in the wall between here and the other restroom. Fortunely, he wasn't very bright either. He drilled into a storage cabinet and all you see are cans of Sani-flush and a reel of recording tape.\n\n> Go north\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go west\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\n> You go west\nIn the snack bar you see doorways to the North and West. All the equipment is polished and clean, but you find nothing of interest in the cabinets.\nThe guy is standing by your side\n\n> You go east\nAt the West end of the lobby, there is a grand stairway leading upward and a doorway to the South. You also see the snackbar to the West. There is a restroom door to the South.\nThe guy is standing by your side\n\nThe East end of the Lobby opens to the foyer. You see the courtesy area to the North and a doorway to the South.\nThe guy is standing by your side\n\n> Go north\nYou are at the lobby courtesy area. The auditorium is to the North. The well-appointed courtesy desk stands by the wall.\nThe soggy hacksaw still drips water from the safety valve.\nThere is a battered brass door knob\nThere is that famous old oaken bucket\nThe guy is standing by your side\n\n> Go north\nYou are now in a middle-ish aisle in the audience area.\nThe guy is standing by your side\n\n> You go north\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> You go to the east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side\n\n> You go east\nYou are in the closet.\nThe guy is standing by your side\n\n> Go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> You go west\nFrom the front row of the audience you can see the stage apron clearly to the North. You can move along the aisles in other directions.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go west\nThe curving steps to the apron are to the North, and the audience to the East.\nThe fire door is propped open\nThe guy is standing by your side\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> Go north\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\nThe guy is standing by your side\n\n> Go west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThe guy is standing by your side\n\n> You put the CHEST on weight\nYou carefully place the CHEST in the hollow on the top of the counterweight."
    },
    {
        "text": "[Themes: gender choice]\n\n> Describe the surroundings\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\n> You go to the east\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\nThe guy is standing by your side\n\n> You go south\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\n> You go to the east\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> Go up\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side\n\n> You go to the west\nHere, the stage lighting and effects are controlled. Doors lead East & West.\nAn ominous red button is at eye level on the wall\nThe guy is standing by your side\n\n> Go north\nYou stand next to the top of a stairway. Looking North, you see a pair of completely unmarked sliding doors standing open.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nYou are at the base of a very plain spiral stairway. The curving steps to the apron are to the North and the audience to the West.\nThe guy is standing by your side\n\n> Go north\nThis is the apron (the extension of the stage in front of the curtain line). The main stage is North. You see the audience to the South and curving steps at either end of the apron starting off East and West before turning Southward.\nThe guy is standing by your side\n\nThis is the center of the stage, closest to the audience, where all actors hope to take their big bows some day.\nThe guy is standing by your side\n\n> You go to the west\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\n> Go west\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThe guy is standing by your side\n\n> You go west\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\nThe guy is standing by your side\n\n> You open the DOOR\nAfter several attempts you manage to OPEN it enough to get through. You enter the little room ahead and after waiting a second for your eyes to adjust to the light, you find yourself in a small, dim office.\n\nThe transom over the door admits just enough light for you to make out a small desk taking up most of the floor space.\nAn old abridged dictionary sits on the desk.\nThe guy is standing by your side\n\n> Go north\nA thin wash of light barely penetrates the cobwebs covering a small window high on the wall. Failing to reach it, you turn your attention to the door to the South with faded gold lettering on even more faded green paint.\nIt has a small, dingy transom above and dirty hand prints all\naround.\nThe guy is standing by your side\n\n> You go east\nLooking around, you see a spiral stairway leading up, a door around behind the stairs to the West, and the stage to the East\nThe guy is standing by your side\n\n> Go north\nNear the right proscenium arch you see the tracks that guide the counterweight for the main stage curtain and a faint glimmer of light to the West.\nThere is the curtain counterweight\nThere is a wooden chest\nToTo looks up at you and wags his tail\nThe guy is standing by your side\n\nThere is an unpainted red brick wall to the West.\nA thin ray of light creeps in under the stage door.\nThe guy is standing by your side\n\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\nThe guy is standing by your side"
    },
    {
        "text": "> Go downwards\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\nThe guy is standing by your side\n\n> Go west\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\nThe guy is standing by your side\n\n> Go south\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\nThe guy is standing by your side\n\n> Go south\nThe storage room floor is a disaster. Junk and clutter lie everywhere.\nThe guy is standing by your side\n\n> Go east\nYou see high shelves with unfinished repair projects and a storage room South.\nA violin sits on the shelf waiting for its broken bridge to be repaired.\nThe guy is standing by your side\n\nThere are small piles of sawdust in the corners. You see a door to the East.\nA hardened steel chain has one end built into the concrete wall.\nA gouged and battered woodworking table is against the Wall.\nThe guy is standing by your side\n\nAt the bottom of a stairway you see a doorway West and some smudged graffiti on the wall: \"GLASS CUTS DIAMOND\" and \"DYSLEXICS OF THE WORLD, UNTIE!\".\nThe guy is standing by your side\n\nIn the Corner of the offstage area, you see the top of an old wooden stairway.\nThe guy is standing by your side\n\nThe upstage area is dimly illuminated by streamers of light filtering down from the flyloft and work grid above. Specks of dust dance in the light.\nAn old work table leans and tilts at odd angles\nThe guy is standing by your side\n\n> You go east\nYou have wandered into the narrow stage-left wing space. The main stage is to the West. You can also see more wing space to the South. There is a ladder extending 80 feet upward into the gloom above.\nThe guy is standing by your side\n\n> You go south\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nThe guy is standing by your side\n\n> You go east\nYou squeeze between old flats (stage scenery) off-left (OFF the main stage playing area and to the actor's LEFT while facing the audience - a little theater terminology there).\nThe guy is standing by your side\n\n> You open\nWhat do you want to open?\n\n> Go west\nThis seems to be a small rest area that continues to the East in the middle of the wings. The main stage is to the West. The wings extend North and South.\nThere is an old soft drink machine in the corner\nThe guy is standing by your side\n\n> You go west\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\nThe guy is standing by your side"
    },
    {
        "text": "> You go down\nThe stage elevator is now at the basement level and opens to the East. The guy is standing by your side\n\n> You go east\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\nThe guy is standing by your side\n\n> Go south\nLooking around, you see that the room is bare. You see the Library North\nThere are sliding elevator doors on the East wall\nThere is a locked door on the West wall.\nThe guy is standing by your side\n\n> Go east\nThis is NOT the Enterprise. You'll have to open these doors yourself.\n\n> You open the doors\nI forgot to tell you, whenever the curtain is unbalanced, it overloads the motor and blows all kinds of fuses and makes these doors stick. I'm afraid you won't be able to budge them while anything is sitting on the counterweight.\n\nYou can't open the doors.\n\n> You go north\nYou find yourself in the library. The shelves are mostly empty now. The stage elevator is in a small alcove to the West and a short passage is to the South.\nThe guy is standing by your side\n\n> You go west\nThe stage elevator is now at the basement level and opens to the East. The guy is standing by your side\n\n> Go upwards\nSorry about that, I was just fiddling around with one of your RAM chips and I think I accidently threw a DIP switch. I'll see if I can fix it... OK. Everythink is bAc/k to nornal no w. You can co&tinue wiFth the Game.\n\nThe stage elevator is now at the basement level and opens to the East. The guy is standing by your side\n\nThe center of the vast open stage area is strangely silent. It almost seems you can hear faint echoes of past performers. There is an elevator built into the stage floor. Luckily it is in the \"UP\" position now.\nThe guy is standing by your side\n\n> You go southeast\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\nThe guy is standing by your side"
    },
    {
        "text": "> You go downwards\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\nThe guy is standing by your side\n\n> Go west\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\nThe guy is standing by your side\n\n> 4\nAs your fingers touch the organ stop labelled \"4\", you hear a scraping sound behind you. Twisting around on the organ bench you see that a small panel has opened in the wall behind you and is already starting to re-close. Hastily you turn to vault over the bench but only succeed in falling in a heap, jamming your head between the wall and the almost-closed panel. This, however, stops its forward motion allowing you to pry it back enough to free your bruised scalp and crawl unceremoniously through before it once more hisses shut.\n\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\nThe guy is standing by your side\n\n> You go west\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nThe guy is standing by your side\n\n> You read secret\nYou READ the secret that you've been so carefully keeping under your hat. There is an almost imperceptible darkening of the small lens in the center of the wall, and with a soft whoosh, a panel swings open allowing you to pass.\n\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\nThe guy is standing by your side\n\n> You examine the gap\nIt is only a few yards wide, but just too far to jump. The sides, as far down as you can see are sheer and offer no hand holds at all.\n\n> You go to the south\nYou are balancing precariously on the plank over the deep gap. Under your weight, the ends slip and settle into the ground, wedging them tighter.\nThe guy is standing by your side\n\n> You go south\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> You go west\nYou cross easily through the two-inch deep water.\n\nThe hall continues South, but the rest of the walls are blank.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> Go south\nYou have come to a fork in the hallway. You can go North, East or South.\nThe guy is standing by your side\n\n> Go south\nYou find yourself in a nook (or is it a cranny? I could never tell). The guy is standing by your side\n\n> You go north\nYou have come to a fork in the hallway. You can go North, East or South.\nThe guy is standing by your side\n\n> You go to the east\nYou have a small problem. The hall narrows to the East and jammed into the tightest spot is a very genuine-looking guillotine. Its heavy frame extends from wall to wall and from ceiling to floor. The razor-sharp blade is poised high above an ominous wicker basket. The only way East is through the frame.\nThe guy is standing by your side\n\n> Go east\nWatch out! Boy, it's a good thing I warned you in time. You would have been sliced in half by that blade as it fell. I really do apologize. I was so sure it was securely nailed in place. Now you can't get through to the East.\n\nNow you REALLY have a problem. The hall is completely blocked by the guillotine. You are forced to go back West.\nThe guy is standing by your side"
    },
    {
        "text": "> You look around\nNow you REALLY have a problem. The hall is completely blocked by the guillotine. You are forced to go back West.\nThe guy is standing by your side\n\n> You go to the west\nYou have come to a fork in the hallway. You can go North, East or South.\nThe guy is standing by your side\n\n> You go north\nThe hall continues South, but the rest of the walls are blank.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> You go east\nYou cross easily through the two-inch deep water.\n\nYou have come to a dead end. North is the plank over the gap, but there are only blank walls in the other directions.\nThe water on the floor is as calm as glacial lake (but warmer).\nThe guy is standing by your side\n\n> You go to the north\nYou are balancing precariously on the plank over the deep gap. Under your weight, the ends slip and settle into the ground, wedging them tighter.\nThe guy is standing by your side\n\n> Go north\nThe hall continues South. To the East is the one-way passage back to the pit.\nA deep gap looms ahead to the South.\nThe guy is standing by your side\n\n> Go east\nYou arrive at a small cranny (or is it a nook? I never know) at the West side of the pit. You see, \"Our Secret Place\" inscribed above a small lens. Looking into it, you see nothing and decide it must be some sort of electric eye.\nThe guy is standing by your side\n\n> Go east\nYou find yourself near the podium in the orchestra pit. The pit extends to the West and there is a small, almost hidden crawl way to the North.\nThe door to the East is securely locked.\nThe guy is standing by your side\n\n> You go to the north\nYou find yourself in a cramped little room with curved walls. Something massive occupies almost the entire area. As you make your way around to the far side, you see this is the theater organ. The controls for raising the entire assembly up to stage level for performances have been gutted and are completely unusable. You can still see the narrow passage to the East.\nYou are sitting at the keyboard of the massive theater organ.\nThe guy is standing by your side\n\n> You play the ORGAN\nYou always fancied yourself another P. D. Q. Bach. Your fingers fly over the keys and great waves of ethereal music gush from the pipes.\n\n> Go east\nYou have come to a narrow passageway with a ladder leading up to the stage and a crawl way through to a slightly less cramped area to the West.\nThe guy is standing by your side\n\n> Go upwards\nNear the stage-left proscenium arch you notice something dark about the floor. Looking down, you see that it is a trap door - an OPEN trap door.\nThe guy is standing by your side\n\n> You check your inventory\nYou're carrying:\ndelicate bottle\ndim bulb (Providing light)\nhomogenized reclaim\nhighheeled snowshoes\nsmall key\nsparkling diamond\nold lamp (Providing light)\ntorn script\nYou're wearing:\npointed hat\ndark secret\n\n> You give reclaim to GUY\nThe GUY gives a quick glance at the RECLAIM, then tosses it back.\n\n> You give DIAMOND to GUY\nThe GUY gives a quick glance at the DIAMOND, then tosses it back.\n\n> You give LAMP to GUY\nThe GUY gives a quick glance at the LAMP, then tosses it back.\n\n> You give the script to GUY\nThe GUY gives a quick glance at the SCRIPT, then tosses it back.\n\n> You show secret to GUY\nDon't know how to show here...\n\n> Y.\nYour score is 9900 (out of 19900 possible). You have visited 109 locations (out of 117 in the game)"
    },
    {
        "text": "[Themes: funny, fantasy violence, whimsy, zombies]\n\nThere is a new coin-op at Vigamus: it is called \"Zombies Attack!\" and it should be the ultimate survival horror game. Unfortunately, it's a bit too real for you: as soon as you turn on the case, an army of decaying and hungry zombies swarms out of the screen and into the museum, searching for brains to eat.\n\nSeeing the monsters, Metalmark faints like a damsel in distress, so it's up to you to save Vigamus and Paddy, stuck in her office. Surely you can find something useful to fight this horrible menace in the museum's rooms. So, keep your eyes peeled and... no panic!\n\nDo you want to read the instructions? (y/n)\n\n[Author's Note: Vigamus, the Video Game Museum of Rome, has been attacked by zombies. To save it from the monsters, you can only count on your brain and the relics and gadgets exhibited in the building.]\n\n> You look at the arcade\nThe \"Zombies Attack!\" coin-op is the Trojan horse which the brain-eating monsters managed to enter the museum with.\n\nThe \"Zombies Attack!\" coin-op is currently switched on.\n\n> You examine the Metalmark\nHe's unconscious.\n\n> About you\nYou are the one who will save Vigamus from the zombies... or who will die trying!\n\n> Inventory\nYou are carrying nothing.\n\nYou are carrying nothing.\n\n> You play Zombies Attack\nYou find nothing of interest.\n\nYou can't see any such thing.\n\n> You switch off the arcade\nI fear that switching off the coin-op will be no use. The zombies have already invaded the museum. Move on and kill them.\n\n> Break arcade\nI fear that destroying the coin-op will be no use. The zombies have already invaded the museum. Move on and kill them.\n\n> Go south\nYou are now in the shop. A big show-case shows books and gadgets of Vigamus. To the north you can see the interactive area, while to the west there's the museum entrance.\n\nAmong the gadgets there's a Pong ball.\n\n> You examine the pong\nThere are Ping Pong balls and Pong balls, like this one. It's white like the others, but much heavier. What would happen if you tried to hit someone with that?\n\n> You get it\nTaken.\n\n> Go west\nYou are in the entrance hall of Vigamus. To the north there is the big hallway called \"Game Zero\" which, through a series of show-cases and themed panels, tells the history of video games from its dawn in the 50s to the present. To the east there's the shop, with Vigamus' books and gadgets. To the west, there's the door to the editorial office of GamesVillage.it and Vigamus Magazine. The exit is to the south.\n\nThere's a zombie here!\n\nYou hear screams coming from the north!\n\n> You throw the ball at the zombie\nCaught by a sudden inspiration, you throw the heavy Pong ball at the zombie, hitting it straight between the eyes. The gadget, stuffed with dynamite, blows up with the monster's head. The north passage is now free.\n\nYou hear screams coming from the north!\n\n> You search zombie\nYou find nothing of interest.\n\nYou hear screams coming from the north!\n\n> You go to the west\nYou are in the hallway that connects the office of the museum's Director, to the west, with the editorial office of Vigamus Magazine, to the south. Going to the east, you will be back to the entrance.\n\n> You go to the west\nThe door to the office is closed!\n\n> You go south\nYou entered the editorial office of Vigamus Magazine, a big open space with desks full of computers, tablets and paperwork. The exit is to the north.\n\nOn a desk there is a book with this title: \"The secrets of text adventures\".\n\n> You read the book\nYou have a look at the book and find that in the first text adventures written during the 70s there were magic words capable of doing otherwise impossible things. The most famous and used magic words of all was Xyzzy, which made you capable of teleporting from a place to another inside the adventure. Anyway, in modern times it would be ridiculous to use such a trick to solve a problem in a game. Or not?\n\n> You get the tablet\nI'm sure you can find more interesting things to do.\n\n> You get the book\nJust read it.\n\n> You open the door\nThe door to the Director's office is protected by a keypad lock. I don't think you can open it by chance. Probably, only Metalmark knows the right key. If you can't wake him up, the door will stay shut.\n\n> Go east\nYou are in the entrance hall of Vigamus. To the north there is the big hallway called \"Game Zero\" which, through a series of show-cases and themed panels, tells the history of video games from its dawn in the 50s to the present. To the east there's the shop, with Vigamus' books and gadgets. To the west, there's the door to the editorial office of GamesVillage.it and Vigamus Magazine. The exit is to the south.\n\nYou can see the carcass of a zombie with brains reduced to a pulp here.\n\nYou hear screams coming from the north!\n\n> You take the carcass\nDo you want to put it in your pocket?\n\nYou hear screams coming from the north!\n\n> Yes\nThat was a rhetorical question.\n\nYou hear screams coming from the north!\n\n> You go to the north\nGame Zero (1 of 3)\nYou are now in the big room which hosts, from south to north, the show-cases and panels dedicated to the history of video games. In this first section there are consoles and gadgets of the dawn of video game industry. To the north, the exhibition continues with the area dedicated to the 8 and 16-bit consoles and computers, while to the west a lateral passage opens on the conference hall. To the south, you get back to the entrance of the museum.\n\nIn this section of the hall, you notice the dentures of Darkiss.\n\n> You examine the dentures\n\"Darkiss! Wrath of the Vampire\" is a text adventure that tells the terrible deeds of a mean bloodsucking monster. These dentures are the perfect gadget for the game. The canine teeth are (very) long and sharp, and you can wear them if you want.\n\n> You take the dentures\nTaken.\n\n> You wear the dentures\nAt the moment, it would just make you look ridiculous.\n\n> You look at the consoles\nThe Game Zero exhibition is truly exciting. Almost moving. Oh, you are already feeling like crying, sniff!\n\n> You go north\nGame Zero (2 of 3)\nYou are now in the central section of the exhibition dedicated to the history of video games. Here you can find the consoles, computers and gadgets of the 8 and 16-bit era of the video game industry, during the 80s and 90s. To the south, you get back to the beginning of the exhibition, while to the north you can reach its end.\n\nAmong the many gadgets in the hall, the one that catches your attention more than all the others is a reproduction of the hammer which Mario used to crash the barrels with in the first Donkey Kong.\n\n> You examine the hammer\nIt feels very heavy.\n\n> You get it\nMario's hammer is very heavy and you are not strong enough to lift it. Maybe wandering through Vigamus you will find a way to become stronger.\n\n> You go north\nGame Zero (3 of 3)\nThe exhibition dedicated to the video game history ends with the section of the new generation consoles, like the PlayStation, Xbox, Nintendo Wii and various related gadgets. To the south, you go back to the central section, to the north you enter the museum hall dedicated to E.T. To the west there is the area dedicated to Assassin's Creed.\n\nYou hear screams coming from the north!\n\n> You look at the xbox\nThe Game Zero exhibition is truly exciting. Almost moving. Oh, you are already feeling like crying, sniff!\n\nYou hear screams coming from the north!\n\n> Inventory\nYou are carrying:\nthe Darkiss' dentures\n\nYou hear screams coming from the north!\n\n> Go north\nE.T. Area\nThis room of the museum is dedicated to the finding of the cartridges of the E.T. video game for Atari 2600. This game was so ugly that the cartridges had been buried in the desert. Now, after a thorough excavation, they have been recovered and exposed in museums all over the world, so that this big 80s \"classic\" can be rediscovered. To the south you can go back to the Game Zero exhibition, to the west is an interactive area, while to the north is an area dedicated to the works of Suda51, the acclaimed Japanese game designer.\n\nYou can see an E.T. cartridge here.\n\n> Examine cartridge\nThis game is known to be one of the ugliest video games ever, if not the ugliest of all. It seems to be a very \"dangerous\" item, which can be given or shown to your worst enemy.\n\n> Go north\nYou are in the hall that the museum dedicated to the works of Suda51, the acclaimed Japanese game designer who created masterpieces like \"The Silver Case\" and \"Lollipop Chainshaw\". To the west is Paddy's office, to the north the recreational area, to the east the area dedicated to the masters of game design, while to the south you may return to the E.T. area.\n\nOn a wall of the room is a huge poster of Juliet Starling, the charming main character of \"Lollipop Chainsaw\". Someone drew a big moustache on her face.\n\nIn the middle of the room there is a foam rubber chainsaw.\n\nYou hear screams coming from the west!\n\n> You look at the poster\nLooking at the poster, you notice that there is a lollipop on it: a nice gadget of \"Lollipop Chainsaw\" that you put in your pocket.\n\nYou hear screams coming from the west!\n\n> You look at Lollipop\nThe lollipop is a gadget of \"Lollipop Chainsaw\", the famous action game by Suda51, the acclaimed Japanese game designer which Vigamus dedicated an entire room to. You can taste it.\n\nYou hear screams coming from the west!\n\n> You look at Chainsaw\nThe foam rubber chainsaw is a nice gadget of the game \"Lollipop Chainsaw\". If it were real, you could use it to maim the zombies. But, as it is, it doesn't look very useful.\n\nYou hear screams coming from the west!\n\n> Taste lollipop\nIt tastes like grappa, perfect for getting better after a shock.\n\nYou hear screams coming from the west!\n\n> You get it\nYou already have that.\n\nYou hear screams coming from the west!\n\n> You get Chainsaw\nTaken.\n\nYou hear screams coming from the west!\n\n> Go west\nYou are now in Paddy's office. She's the right (and left) arm of the Vigamus' Director. If you can't save her from the zombies, Metalmark will be lost, and the museum with him. To the east, you go back to Suda51 Room.\n\nThere's a zombie here!\n\nPaddy is behind her desk and looks with terrified eyes at the zombie that wants to eat her.\n\n> You show the et to the zombie\nCaught by a sudden inspiration, you give the E.T. cartridge to the zombie. When the monster realizes what that object is, it commits suicide out of desperation. Well, it wouldn't be possible, because the zombie is already dead, but if someone managed to make a butt-ugly game like E.T., it means that anything is possible.\n\nAfter taking care of the zombie, you need to help Paddy. The young woman is still shocked for the zombie attack. You need to give her something to feel better.\n\n> You give Lollipop to Paddy\nYou give the lollipop to Paddy, who slowly starts to lick it. In a short while, the grappa has its effect and the girl recovers from the shock.\n\nPaddy is grateful to you for killing the monster that was ready to eat her. \"Was it really a zombie?\" she asks, in disbelief.\n\nYou tell her about what happened in the interactive area 1, after the new coin-op came, and she ask you to take her to Metalmark. \"Only the Director\" she explains \"can find a solution to this problem.\"\n\nWhen you ask her how to wake Metalmark up, the young woman answers: \"Oh, don't you worry, I have an unfailing cure to wake him up when he falls asleep during our meeting. Let's go, now.\"\n\n> You go east\nPaddy is following you.\n\nYou are in the hall that the museum dedicated to the works of Suda51, the acclaimed Japanese game designer who created masterpieces like \"The Silver Case\" and \"Lollipop Chainshaw\". To the west is Paddy's office, to the north the recreational area, to the east the area dedicated to the masters of game design, while to the south you may return to the E.T. area.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nOn a wall of the room is a huge poster of Juliet Starling, the charming main character of \"Lollipop Chainsaw\". Someone drew a big moustache on her face.\n\nPaddy looks at the poster and says: \"July is wonderful with the moustache I draw on her face, isn't she?\"\n\n> You examine the moustache\nJuliet's moustache is obviously fake: someone must have draw it with a felt pen to mock her.\n\n> You go east\nPaddy is following you.\n\nThe Game Masters area is the place in the museum dedicated to the great creators of new devices and video games. Peter Molyneux, John Carmack, Nolan Bushnell, Shinji Mikami, Hideo Kojima, Gabe Newell, David Cage, Shigeru Miyamoto are the authors hosted here at the moment, each one with his show-case full of documents, memorabilia and gadgets. To the north there are the toilets, to the east there is an emergency exit, to the west there is the Suda51 Room.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nThere's a zombie here!\n\nIn Shinji Mikami's show-case there is a power-up of Resident Evil which could be useful, considering your situation.\n\n> You examine the zombie\nThe zombie looks... horny?!\n\n> You check your inventory\nYou are carrying:\na foam rubber chainsaw\nthe Darkiss' dentures\n\n> You wear the dentures\nAt the moment, it would just make you look ridiculous.\n\n> Cut zombie\nCutting him up would achieve little.\n\n> Go east\nYou can't leave now: Vigamus needs you.\n\n> Go west\nPaddy is following you.\n\nYou are in the hall that the museum dedicated to the works of Suda51, the acclaimed Japanese game designer who created masterpieces like \"The Silver Case\" and \"Lollipop Chainshaw\". To the west is Paddy's office, to the north the recreational area, to the east the area dedicated to the masters of game design, while to the south you may return to the E.T. area.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nOn a wall of the room is a huge poster of Juliet Starling, the charming main character of \"Lollipop Chainsaw\". Someone drew a big moustache on her face.\n\n> Go north\nThis is not the right time to relax! Concentrate on what to do in order to save Vigamus from the zombies.\n\n> You go to the south\nPaddy is following you.\n\nE.T. Area\nThis room of the museum is dedicated to the finding of the cartridges of the E.T. video game for Atari 2600. This game was so ugly that the cartridges had been buried in the desert. Now, after a thorough excavation, they have been recovered and exposed in museums all over the world, so that this big 80s \"classic\" can be rediscovered. To the south you can go back to the Game Zero exhibition, to the west is an interactive area, while to the north is an area dedicated to the works of Suda51, the acclaimed Japanese game designer.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nWhile you are thinking about a way to stay alive, Paddy chews a chewing-gum and makes a balloon as big as those of \"Pang\", which then explodes with a loud pop.\n\n> Go west\nPaddy is following you.\n\nYou are in one of the interactive areas of the museum, where you can play many old games. To the east, you go back to the E.T. Area.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nThe \"Street Fighter 2\" coin-op is surely the most interesting game in here.\n\n> You examine Game\n\"Street Fighter 2\" is considered the most famous and played beat 'em up ever. Sho ryu ken!\n\nThe \"Street Fighter 2\" coin-op is currently switched on.\n\n> You play Game\nPaddy asks you to take her to Metalmark, instead of wasting precious time playing video games.\n\n> Go south\nPaddy is following you.\n\nGame Zero (3 of 3)\nThe exhibition dedicated to the video game history ends with the section of the new generation consoles, like the PlayStation, Xbox, Nintendo Wii and various related gadgets. To the south, you go back to the central section, to the north you enter the museum hall dedicated to E.T. To the west there is the area dedicated to Assassin's Creed.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nThere's a zombie here! It must have come out of nowhere while you were with Paddy.\n\n> You examine the zombie\nThe zombie is almost uglier than you and looks very hungry.\n\n> Go west\nPaddy is following you.\n\nYou entered the room of Vigamus dedicated to the Assassin's Creed saga. The exit, to the east, takes you to the Game Zero exhibition.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nIn the middle of the room there is a statue of Connor Kenway, the main character of the series' third chapter.\n\n> You take the tomahawk\nTaken.\n\n> You take the statue\nDo you want to put it in your pocket?\n\n> Attack zombie\nYou menacingly brandish Connor's tomahawk and crush the zombie's skull. Unfortunately, the weapon breaks in two after delivering the mortal blow. It's obvious that they don't make the good gadgets of the old times anymore.\n\nWhile you get rid of the broken tomahawk, Paddy has a look at the monster's rotten corpse and comments: \"The cleaning woman is going to be mad, tomorrow morning.\"\n\n> You go to the south\nPaddy is following you.\n\nGame Zero (2 of 3)\nYou are now in the central section of the exhibition dedicated to the history of video games. Here you can find the consoles, computers and gadgets of the 8 and 16-bit era of the video game industry, during the 80s and 90s. To the south, you get back to the beginning of the exhibition, while to the north you can reach its end.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nAmong the many gadgets in the hall, the one that catches your attention more than all the others is a reproduction of the hammer which Mario used to crash the barrels with in the first Donkey Kong.\n\nWhile you are considering how to save Vigamus from the zombies, Paddy is filing her nails.\n\n> You go south\nPaddy is following you.\n\nGame Zero (1 of 3)\nYou are now in the big room which hosts, from south to north, the show-cases and panels dedicated to the history of video games. In this first section there are consoles and gadgets of the dawn of video game industry. To the north, the exhibition continues with the area dedicated to the 8 and 16-bit consoles and computers, while to the west a lateral passage opens on the conference hall. To the south, you get back to the entrance of the museum.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\n> Go south\nPaddy is following you.\n\nYou are in the entrance hall of Vigamus. To the north there is the big hallway called \"Game Zero\" which, through a series of show-cases and themed panels, tells the history of video games from its dawn in the 50s to the present. To the east there's the shop, with Vigamus' books and gadgets. To the west, there's the door to the editorial office of GamesVillage.it and Vigamus Magazine. The exit is to the south.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\nYou can also see the carcass of a zombie with brains reduced to a pulp here.\n\n> Go east\nPaddy is following you.\n\nYou are now in the shop. A big show-case shows books and gadgets of Vigamus. To the north you can see the interactive area, while to the west there's the museum entrance.\n\nPaddy is by your side, waiting for you to take her to Metalmark in order to wake him up.\n\n> You go north\nPaddy is following you.\n\nYou are now in one of the two interactive areas of Vigamus, where you can play old games. Going to the south, you can reach the shop.\n\nPaddy is by your side.\n\nThe arcade of \"Zombies Attack!\" stands menacingly in the center of the room.\n\nThe unconscious body of Metalmark, Director of Vigamus, is laying on the floor.\n\nAs soon as you enter the Interactive Area and Paddy sees an unconscious Metalmark on the floor, the young woman screams in anguish. \"Director, what did they do to you?\" she exclaims, upset. Then she kneels beside him and starts examining him thoroughly. \"He still breathes\" she says. \"And his heartbeat is okay. I think I can wake him up with my unfailing cure.\"\n\nBefore you can ask what the unfailing cure is, the young woman takes a taser from her purse and zaps the unconscious body of the Vigamus Director.\n\n\"What the heck... Aaagh!\" Metalmark yells, coming back to life. Then he looks at Paddy and asks: \"Did I fall asleep during a meeting again? Hey, I already told you to find a less violent method to wake me up!\"\n\nWhen you tell him that he didn't fall asleep in a meeting, but fainted seeing zombies coming out from the coin-op, he blushes, really embarassed. Then he comments: \"Damn Kramelmat! I knew I couldn't trust him. But the zombies coin-op seemed such a good idea.\"\n\n\"Who's Kramelmat?\" you and Paddy ask at the same time.\n\n\"Oh, just a guy who sells video games. I met him in the virtual reality and he persuaded me to try one of his coin-ops. You all saw the results. Oh my, what can we do now? The situation is dire!\"\n\nDo you want to help Metalmark and Vigamus to get rid of the zombie plague? (y/n)\n\n> Y.\nYou assure the Director that you want to help saving the museum from the monsters, and ask him what to do. Metalmark thanks you for your unselfishness and promises you a free trip to the pleasant and charming town of Silent Hill.\n\nThen he explains: \"I think that the only way to solve this problem is going back to the virtual reality and ask Kramelmat what to do. I know that the Oculus Room's door is shut to avoid the staff playing it for free, but you can find the key in my office, whose door you can open entering this key: 6969. Don't ask me why I choose those numbers, you are old enough to understand it by yourself.\"\n\nYou get up and are already going to get the key for the Oculus Room, but the Director has one more thing to say: \"Kramelmat is a very, very strange guy, and not only for his name. If I were you, before entering the virtual reality I would get at least one power-up. You should find one of those in the Game Masters Area, but you'll need to find a way to open the show-case where it lays. Again, considering we are in a text adventure, I would get some info about the magic words that often are used in games like that to solve the most difficult problems. So, have a look at the editorial office.\"\n\n> You check your inventory\nYou are carrying:\na foam rubber chainsaw\nthe Darkiss' dentures\n\n> You talk to Metalmark\nMetalmark repeats you to find a solution to the zombie problem in the virtual reality. The Oculus Room key is into his office and the Director already gave you the key to open the office door.\n\n> You go to the south\nYou are now in the shop. A big show-case shows books and gadgets of Vigamus. To the north you can see the interactive area, while to the west there's the museum entrance.\n\n> You go west\nYou are in the entrance hall of Vigamus. To the north there is the big hallway called \"Game Zero\" which, through a series of show-cases and themed panels, tells the history of video games from its dawn in the 50s to the present. To the east there's the shop, with Vigamus' books and gadgets. To the west, there's the door to the editorial office of GamesVillage.it and Vigamus Magazine. The exit is to the south.\n\nYou can see the carcass of a zombie with brains reduced to a pulp here.\n\n> Go west\nYou are in the hallway that connects the office of the museum's Director, to the west, with the editorial office of Vigamus Magazine, to the south. Going to the east, you will be back to the entrance.\n\nHey! Now that you've the combination, you should try to open the door of the Metalmark's office.\n\n> You go to the west\nThe door to the office is closed!\n\n> You open the door\nNow that Metalmark gave you the right combination, you can easily open the door to his office.\n\n> Go west\nMetalmark's office is a room full of any comforts, even a human-skin couch, a luxurious desk made of carved ivory and a miniature golf course. The exit is to the east.\n\nAnother incredible gadget in the Director's office is... a sexy doll which resembles Lara Croft!\n\n> You examine the miniature golf\nThis is not the right time to play golf. After all, you are already playing \"Zombies Attack!\"... live!\n\n> You look at the doll\nA very nice view.\n\n> You get the doll\nTaken.\n\n> Go east\nYou are in the hallway that connects the office of the museum's Director, to the west, with the editorial office of Vigamus Magazine, to the south. Going to the east, you will be back to the entrance.\n\n> You go east\nYou are in the entrance hall of Vigamus. To the north there is the big hallway called \"Game Zero\" which, through a series of show-cases and themed panels, tells the history of video games from its dawn in the 50s to the present. To the east there's the shop, with Vigamus' books and gadgets. To the west, there's the door to the editorial office of GamesVillage.it and Vigamus Magazine. The exit is to the south.\n\nYou can see the carcass of a zombie with brains reduced to a pulp here.\n\n> Go north\nGame Zero (1 of 3)\nYou are now in the big room which hosts, from south to north, the show-cases and panels dedicated to the history of video games. In this first section there are consoles and gadgets of the dawn of video game industry. To the north, the exhibition continues with the area dedicated to the 8 and 16-bit consoles and computers, while to the west a lateral passage opens on the conference hall. To the south, you get back to the entrance of the museum.\n\n> Go west\nYou entered the museum's conference hall. There are a stage, a projector and some coin-ops. To the east there is the exit on the \"Game Zero\" hall, to the south you can reach the Oculus Room, the room dedicated to the visor which allows you to experience the virtual reality.\n\n> You switch on the projector\nI'm sure you can find more interesting things to do.\n\n> You check what you're carrying\nYou are carrying:\na sexy doll\nthe Oculus Room key\na foam rubber chainsaw\nthe Darkiss' dentures\n\n> Go north\nGame Zero (3 of 3)\nThe exhibition dedicated to the video game history ends with the section of the new generation consoles, like the PlayStation, Xbox, Nintendo Wii and various related gadgets. To the south, you go back to the central section, to the north you enter the museum hall dedicated to E.T. To the west there is the area dedicated to Assassin's Creed.\n\nYou can see the carcass of a zombie with brains reduced to a pulp here.\n\n> You go north\nE.T. Area\nThis room of the museum is dedicated to the finding of the cartridges of the E.T. video game for Atari 2600. This game was so ugly that the cartridges had been buried in the desert. Now, after a thorough excavation, they have been recovered and exposed in museums all over the world, so that this big 80s \"classic\" can be rediscovered. To the south you can go back to the Game Zero exhibition, to the west is an interactive area, while to the north is an area dedicated to the works of Suda51, the acclaimed Japanese game designer.\n\n> Go north\nYou are in the hall that the museum dedicated to the works of Suda51, the acclaimed Japanese game designer who created masterpieces like \"The Silver Case\" and \"Lollipop Chainshaw\". To the west is Paddy's office, to the north the recreational area, to the east the area dedicated to the masters of game design, while to the south you may return to the E.T. area.\n\nOn a wall of the room is a huge poster of Juliet Starling, the charming main character of \"Lollipop Chainsaw\". Someone drew a big moustache on her face.\n\n> Go east\nThe Game Masters area is the place in the museum dedicated to the great creators of new devices and video games. Peter Molyneux, John Carmack, Nolan Bushnell, Shinji Mikami, Hideo Kojima, Gabe Newell, David Cage, Shigeru Miyamoto are the authors hosted here at the moment, each one with his show-case full of documents, memorabilia and gadgets. To the north there are the toilets, to the east there is an emergency exit, to the west there is the Suda51 Room.\n\nThere's a zombie here!\n\nIn Shinji Mikami's show-case there is a power-up of Resident Evil which could be useful, considering your situation.\n\n> You give the doll\n(to the zombie)\nThe zombie seems to appreciate your gift. It grabs the sexy doll of Lara, hugs it, kisses it, licks it and holds it so tight that it blows up with a mighty bang that makes the monster's head explode too. Great job, you made it again!\n\n> You breathe show-case\nI don't think you can break the show-case with your bare hands. Find something useful to that purpose.\n\n> Go east\nYou can't leave now: Vigamus needs you.\n\n> You go west\nYou entered the room of Vigamus dedicated to the Assassin's Creed saga. The exit, to the east, takes you to the Game Zero exhibition.\n\nIn the middle of the room there is a statue of Connor Kenway, the main character of the series' third chapter.\n\n> You go west\nYou are in one of the interactive areas of the museum, where you can play many old games. To the east, you go back to the E.T. Area.\n\nThe \"Street Fighter 2\" coin-op is surely the most interesting game in here.\n\n> You play Game\nYou think you need to be stronger to fight the zombies, so you start playing Street Fighter 2. You choose Blanka, because you feel you and him are very alike. You easily win the first fights against Zangief, Dhalsim, E. Honda, then get easily rid of Chun Li, Guile, and Ken, then you beat Ryu and get to the final four bosses. You win against Balrog and, with a bit of effort, also against Vega and Sagat and you finally face M. Bison. You reduce him to a pulp too and, after finishing the game and typing your name on the top of the high-score list, you really feel stronger.\n\n> Go east\nThe Game Masters area is the place in the museum dedicated to the great creators of new devices and video games. Peter Molyneux, John Carmack, Nolan Bushnell, Shinji Mikami, Hideo Kojima, Gabe Newell, David Cage, Shigeru Miyamoto are the authors hosted here at the moment, each one with his show-case full of documents, memorabilia and gadgets. To the north there are the toilets, to the east there is an emergency exit, to the west there is the Suda51 Room.\n\nIn Shinji Mikami's show-case there is a power-up of Resident Evil which could be useful, considering your situation.\n\nYou can also see the carcass of a zombie with brains reduced to a pulp here.\n\n> You breathe show-case\nWith Mario's hammer it's easy to open the show-case breaking it in pieces. Now you can take the power-up.\n\n> You gethe power-up\nNow that you took the power-up of Resident Evil, you feel more powerful, ready to fight the ultimate boss, should you ever find them.\n\n> You examinthe power-up\nNow that you took the Resident Evil power-up, you feel powerful. More powerful. Almost like an Estate Manager!\n\n> You check your inventory\nYou are carrying:\nthe Mario's hammer\nthe Oculus Room key\na foam rubber chainsaw\nthe Darkiss' dentures\n\nYou also have:\nthe power of \"Resident Evil\"\nthe strength of \"Street Fighter 2\"\n\n> Go south\nGame Zero (2 of 3)\nYou are now in the central section of the exhibition dedicated to the history of video games. Here you can find the consoles, computers and gadgets of the 8 and 16-bit era of the video game industry, during the 80s and 90s. To the south, you get back to the beginning of the exhibition, while to the north you can reach its end.\n\n> You go to the south\nGame Zero (1 of 3)\nYou are now in the big room which hosts, from south to north, the show-cases and panels dedicated to the history of video games. In this first section there are consoles and gadgets of the dawn of video game industry. To the north, the exhibition continues with the area dedicated to the 8 and 16-bit consoles and computers, while to the west a lateral passage opens on the conference hall. To the south, you get back to the entrance of the museum.\n\n> You go south\nThe Oculus Room door is shut.\n\n> You unlock door\nWhat do you want to unlock the Oculus door with?\n\n> Key\nYou unlock the Oculus door.\n\n> Go south\nYou entered the room dedicated to the visor that allows you to experience the virtual reality. To the north you get back to the conference hall.\n\nYou can see a visor here.\n\n> You look at the visor\nThe visor is a device which makes you experience the virtual reality. You can take it and wear it, if you want, but you can't take it out of this room, because of the cable which connects it to the computer with the demo program.\n\n> You wear the visor\n(first taking the visor)\nYou wear the visor and prepare yourself to enter virtual reality, wherever it will take you.\n\nThanks to the visor, you are now in the Otherworld, a place which exists (not) in any dimension you think it exists (not). There is neither a sky nor a land, just rainbow rivers, and there is no clear direction to go.\n\nHey! There's a zombie even here in virtual reality. It is menacingly marching towards you!\n\nNow that you are in virtual reality, the rubber chiainsaw is real! You can use it to maim your foes.\n\n> You kill the zombie\nThe rubber chainsaw is now real, so it's a piece of cake to get rid of the zombie. After maiming it, the monster disappears among the rainbows. Unfortunately, the chainsaw disappears too, leaving you unarmed. Then, a big grey vortex appears before you, in harsh contrast with the coloured scenery among you. From the vortex, a figure that resembles a man appears. It's totally black, apart from his crimson eyes and his white beard, circling a mean grin.\n\n\"Welcome to the Netherworld, young adventurer! I am Kramelmat, the one who will destroy Vigamus and all the video games on Earth, to prepare the coming of the new multidimensional shooters like \"Zombies Attack!\". Everywhere there will be death and destruction, in the name of Kramelmat!\"\n\nThe evil creature, who, even with those strange features, looks not so unfamiliar to you, looks contemptuously at you and says: \"Even if you have a power-up, which for the moment protects you from my attacks, you don't have weapons to fight my arrival. Soon many other zombies will swarm into Vigamus, and for you it will be over!\"\n\n> You look at Kramelmat\nThe black Kramelmat... is really black, apart from crimson eyes and a white beard, which encompasses the mean grin he offers you.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe Mario's hammer\nthe Oculus Room key\nthe Darkiss' dentures\n\nYou are wearing:\na visor\n\nYou also have:\nthe power of \"Resident Evil\"\nthe strength of \"Street Fighter 2\"\n\n> You wear the dentures\nThe dentures of Darkiss are your only gadget left to fight Kramelmat. In a desperate gesture, you wear them, hoping they can be of any use. Suddenly the rainbows of elsewhere pour over you and give new powers to your virtual body. You are now the vampire Martin Voigt and you are ready to attack Kramelmat!\n\nOtherworld (as Martin Voigt)\nThanks to the visor, you are now in the Otherworld, a place which exists (not) in any dimension you think it exists (not). There is neither a sky nor a land, just rainbow rivers, and there is no clear direction to go.\n\nThe evil Kramelmat is here, ready to conquer the world with his multidimensional games and bring death and destruction everywhere. You need to find a way to stop him.\n\n> Bite kramelmat\nThanks to Martin Voigt's powers, you can now fight Kramelmat. You jump against the evil creature and bite his throath, just like a bloodsucking monster would do. Kramelmat can't avoid your attack, horribly yells in pain and in a bunch of seconds is deprived of all his blood and power.\n\n\"Damn you, adventurer!\" he finally growls. \"This time you managed to beat me, but I will be back, someday. Anyway you won't ever come back in your reality, without your visor, and you'll be stuck in here forever! Ha ha ha ha ha!\" the evil Kramelmat laughs, before disappearing into his grey vortex.\n\nActually, now that you are Martin Voigt, you don't have either a visor or your fake teeth anymore. How will you come back to the real world? But there must be a way, of course! This is a text adventure, a genre where you just need to type in a word to make the weirdest things happen.\n\nIt looks like you are trapped in virtual reality, if you can't find a way (or a word) to get out of it.\n\n> Xyzzy\nYou say the ancient magic word Xyzzy, which a long time ago made adventurers teleport from a place to another in \"Colossal Cave Adventure\", and the Netherworld starts to dissolve. The rainbows blend one into another and everything is so white and blinding that you are forced to close your eyes. When you open them again, you hear someone say: \"In the name of Frobozz's beard, you made it!\"\n\nYou are in the interactive area again: the zombies' coin-op is gone, and Paddy and Metalmark are looking at you in awe. \"Congrats, adventurer!\" the Director exclaims. \"You saved Vigamus from the zombies and solved this text adventure. Now you're ready for other and more difficult tasks.\"\n\nLooking at Metalmark more closely, you suddenly understand why Kramelmat was so familiar: he resembled Metalmark! Before you can ask, the Director explains: \"Yes, I have to admit it: I was Kramelmat. After all, you should have noticed that Kramelmat is Metalmark's anagram. I created all this zombie invasion to make you try this text adventure and discover a genre that, after 40 years, is still loved by millions of gamers around the world.\"\n\nAfter Paddy congratulates to you, Kramel... er, Metalmark invites you to try other text adventures. \"You need to exercise\" the director says. \"One day, Vigamus could need your help again! In the meantime, Paddy and I proclaim you Master Adventurer and Honorary Deputy Director of Vigamus!\"\n\n> Full\nIn that game you scored 50 out of a possible 50, in 181 turns.\n\nThe score was made up as follows:\n\n2 you've eliminated the zombie in the entrance\n1 you've taken the Darkiss' teeth\n2 you've taken Mario's hammer\n2 you've found the tomahawk\n1 you've taken the E.T. cartridge\n3 you've saved Paddy from the zombie\n2 you've given the lollipop to Paddy\n2 you've eliminated the zombie in the Game Zero area\n3 you've taken Paddy to Metalmark\n1 you've found the magic word Xyzzy\n2 you've opened the door to the director's office\n2 you've found the Oculus Room key\n2 you've taken the sexy doll\n3 you've improved your strength playing Street Fighter 2\n3 you've eliminated the zombie in the Game Masters Area\n3 you've \"opened\" the showcase\n2 you've taken the power-up\n1 you've taken the foam rubber chainsaw\n3 you've eliminated the zombie in the Netherworld\n5 you've become the vampire Martin Voigt\n1 you've beaten Kramelmat\n3 you've saved Vigamus!\n\n50 total (out of 50)\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score for that game or QUIT?\n\n> You go north\nZigamus: Zombies at Vigamus!\n\nOriginally written in Italian then translated into English by Francesca Noto\nCover art by Sabrina Nofroni\nReleased with licence #CC-BY-NC-ND 4.0:\n[LINK]\nThe marks mentioned in the game belong to the respective owners\nType INFO and press Enter if you don't know how to play\nType HELP if you think you are really stuck\n\nYou are now in one of the two interactive areas of Vigamus, where you can play old games. Going to the south, you can reach the shop.\n\nThe arcade of \"Zombies Attack!\" stands menacingly in the center of the room.\n\nThe unconscious body of Metalmark, Director of Vigamus, is laying on the floor.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Surreal, absurd, combat, rpg, surreal]\n\nIt was a mistake to go outside again, you know that now. But it was a celebration, and you really wanted a nice pie. You were right outside the bakery when you realized they had found you; and you caught them staring with their wide, unblinking eyes; and the whole walk home, they were always there, swimming up alongside, darting ahead, looking behind. Finally you couldn't stand it any more and ducked into this alley, where whatever happens next, at least there won't be any witnesses to shake their heads and frown and pretend to be shocked, like the last time. No, this time, those fishy bastards are finally going to get what's coming to them.\n\n[LINK]\n\nSure enough, here comes that cocky trout that's been following you since you crossed Fifth Avenue.\n\n[Author's Note: This time, those fishy bastards are finally going to get what's coming to them.]\n\n> You look\nThe trout eyes you with contempt.\n\n[ Your Stamina: 5     Rainbow Trout: 10 ]\n\n> You slap that the fish\nThe red stripe on the trout's side flushes to a deep crimson from the forceful blow of your open palm.\n\n[ Your Stamina: 3     Rainbow Trout: 8 ]\n\n> You slap that the fish\nYou land a satisfyingly crisp slap, like a fly swatter hitting glass.\n\n[ Your Stamina: 1     Rainbow Trout: 6 ]\n\n> You slap that the fish\nYou are too tired to give the rainbow trout another slap just yet.\n\n[ Your Stamina: 0     Rainbow Trout: 6 ]\n\n> You kick that the fish\nYou don't have the stamina to boot that rainbow trout right now, you need to rest.\n\n[ Your Stamina: 0     Rainbow Trout: 6 ]\n\n> You rest\nI don't know the word \"duck\".\n\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Rainbow Trout: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Rainbow Trout: 6 ]\n\n> You slap that the fish\nWhap! The trout is beginning to realize you aren't just some easily evaded fly fisherman, here.\n\n[ Your Stamina: 0     Rainbow Trout: 4 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Rainbow Trout: 4 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Rainbow Trout: 4 ]\n\n> You slap that the fish\nWhap! The trout is beginning to realize you aren't just some easily evaded fly fisherman, here.\n\n[ Your Stamina: 0     Rainbow Trout: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Rainbow Trout: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Rainbow Trout: 2 ]\n\n> You slap that fish\nThat fish is filleted, with a side of chips.\n\nYou have Defeated the rainbow trout in 14 turns and 5 attacks, for a score of 10 out of a possible 20 points.\n\nGood Job! If you want to improve your score, consider that it is based on how quickly you defeat your opponent, as well as how efficiently.\n\nLooks like you have a moment to rest before the next one gets what's coming.\n\n[ Your Stamina: 0 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\nThere are more fish coming, you can sense it.\n\n[ Your Stamina: 1 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\nHere comes a nosy largemouth bass, to see what the trouble is, its mouth gaping open in a look of slack-jawed stupidity that makes your blood boil.\n\n[ Your Stamina: 2     Largemouth Bass: 13 ]\n\n> Bitchslap bass\nYou slap that bass, and scream in pain. You quickly draw back your hand, only to find a fish hook stuck in your palm! Probably it was stuck in the bass' mouth since the last catch and release. The hook tears the side of the bass' mouth when it comes out. The bass makes a rude gesture at you with its tail.\n\n[ Your Stamina: 0     Largemouth Bass: 10 ]\n\n> Maul bass\nYou have a hook sticking out of your palm.\n\n[ Your Stamina: 1     Largemouth Bass: 10 ]\n\nI don't know the word \"maul\".\n\n> You take the hook\nYou carefully pull the hook out of your hand, wincing in pain, and throw it away.\n\n[ Your Stamina: 0     Largemouth Bass: 10 ]\n\n> You kick the bass\nYou don't have the stamina to boot that largemouth bass right now, you need to rest.\n\n[ Your Stamina: 0     Largemouth Bass: 10 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Largemouth Bass: 10 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Largemouth Bass: 10 ]\n\n> You kick the bass\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 1     Largemouth Bass: 10 ]\n\n> Go upward\nNo way you're running from no damn fish. It ends here, one way or another.\n\n[ Your Stamina: 2     Largemouth Bass: 10 ]\n\n> Poke bass\nPoking the largemouth bass doesn't seem to have any effect.\n\n[ Your Stamina: 3     Largemouth Bass: 10 ]\n\n> You kill the bass\nThat's the general idea. But how? Punch? Kick? Or then there is the primally satisfying Slap, and its counterpart, the Backhand. Decisions, decisions.\n\n[ Your Stamina: 4     Largemouth Bass: 10 ]\n\n> Backhand bass\nSomething sharp pierces your flesh when you try to backhand the moronic bass. You draw back your hand, wincing in pain, and there, between two of your knuckles, is an old, barbed fish hook. The bass hums a little Bobby McFerrin in pleasure, despite the cut made by the hook on its way out.\n\n[ Your Stamina: 0     Largemouth Bass: 7 ]\n\n> Smack bass\nYou are too tired to give the largemouth bass another slap just yet.\n\n[ Your Stamina: 0     Largemouth Bass: 7 ]\n\n> You wait\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Largemouth Bass: 7 ]\n\n> You kick the bass\nYou don't have the stamina to boot that largemouth bass right now, you need to rest.\n\n[ Your Stamina: 0     Largemouth Bass: 7 ]\n\n> You remove the hook\nYou carefully pull the hook out of your hand, wincing in pain, and throw it away.\n\n[ Your Stamina: 0     Largemouth Bass: 7 ]\n\n> You wait\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Largemouth Bass: 7 ]\n\n> Slap bass\nSmack! The bass looks stunned, groggy, in a fog -- but then again, it pretty much always does.\n\n[ Your Stamina: 0     Largemouth Bass: 5 ]\n\n> Wait\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Largemouth Bass: 5 ]\n\n> Wait\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Largemouth Bass: 5 ]\n\n> You examine the bass\nThe bass is looking frantically around for some grass, or brush or something to hide in.\n\n[ Your Stamina: 3     Largemouth Bass: 5 ]\n\n> You kick the bass\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 2     Largemouth Bass: 5 ]\n\n> Smack bass\nSmack! The bass looks stunned, groggy, in a fog -- but then again, it pretty much always does.\n\n[ Your Stamina: 1     Largemouth Bass: 3 ]\n\n> Wait\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Largemouth Bass: 3 ]\n\n> You ask the bass about the bass\nSurely, you can't think the largemouth bass knows anything about it!\n\n[ Your Stamina: 3     Largemouth Bass: 3 ]\n\n> You hug the bass\nErm, that's a different game, I think.\n\n[ Your Stamina: 4     Largemouth Bass: 3 ]\n\n> Bite bass\nI don't know the word \"bite\".\n\nI don't know the word \"bite\".\n\n> You take the bass\nThe largemouth bass evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 5     Largemouth Bass: 3 ]\n\n> Xyzzy\nYou invoke the magic word of prayer your grandfather once taught you. But nothing happens. Some secrets are not passed down from generation to generation, but are simply lost.\n\n[ Your Stamina: 5     Largemouth Bass: 3 ]\n\n> Punch bass\nSmack! The bass looks stunned, groggy, in a fog -- but then again, it pretty much always does.\n\n[ Your Stamina: 3     Largemouth Bass: 1 ]\n\n> Punch bass\nYou send the Bass to Bass Hell, where it will be stuffed, nailed to a board, and forced to sing \"Don't Worry, Be Happy\" for all eternity.\n\nYou have Defeated the largemouth bass in 34 turns and 5 attacks, for a score of 8 out of a possible 20 points.\n\nYou've sent a message: No matter how long it takes, no matter how much flailing around you do, you will stand your ground and fight to the end.\n\nLooks like you have a moment to rest before the next one gets what's coming.\n\n[ Your Stamina: 1 ]\n\nI don't see any bass here.\n\n> You rest\nYou rest for a moment to regain your strength...\n\nThere are more fish coming, you can sense it.\n\n[ Your Stamina: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\nIt had to happen. Here comes the clownfish, arriving as if it thinks it is the comic relief for the freakshow of your life. The audience can laugh, it suggests, because now the star has arrived.\n\n[ Your Stamina: 3     Clownfish: 10 ]\n\n> You examine the clownfish\nThe bright orange sides of the clownfish are ostentatious, like a tranny dressed like a showgirl.\n\n[ Your Stamina: 4     Clownfish: 10 ]\n\n> You kick the clownfish\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 3     Clownfish: 10 ]\n\n> You punch it\nSmack! Looks like this clownfish is finally getting a red nose.\n\n[ Your Stamina: 1     Clownfish: 8 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Clownfish: 8 ]\n\n> You punch it\nWhap! The clowfish does a pratfall.\n\n[ Your Stamina: 0     Clownfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Clownfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Clownfish: 6 ]"
    },
    {
        "text": "[Themes: Surreal, rpg, combat]\n\n> You describe your surroundings\nThe bright orange sides of the clownfish are ostentatious, like a tranny dressed like a showgirl.\n\n[ Your Stamina: 3     Clownfish: 6 ]\n\n> Inventory\nYou have a lemon meringue pie.\n\n[ Your Stamina: 4     Clownfish: 6 ]\n\n> You throw pie at the clownfish\nYou hit the clownfish full in the face with the lemon meringue pie, and you can just imagine the soundtrack erupting with laughter. The clownfish, beaten at its own game and its face white with meringue, slinks off in humiliated defeat. The clownfish has taken its final bow.\n\nYou have Defeated the clownfish in 10 turns and 3 attacks, for a score of 8 out of a possible 20 points.\n\nYou've sent a message: No matter how long it takes, no matter how much flailing around you do, you will stand your ground and fight to the end.\n\nLooks like you have a moment to rest before the next one gets what's coming.\n\n[ Your Stamina: 5 ]\n\n> You rest\nNow is not the time for rest. Now is the time for action!\n\nThere are more fish coming, you can sense it.\n\n[ Your Stamina: 5 ]\n\n> You rest\nNow is not the time for rest. Now is the time for action!\n\nAny activity of any level of excitement is sure to gather some bottom-feeders, and here comes one now, a bullhead catfish with a lazy eye and a shiftless demeanor.\n\n[ Your Stamina: 5     Bullhead Catfish: 12 ]\n\n> Inventory\nYou are empty-handed.\n\n[ Your Stamina: 5     Bullhead Catfish: 12 ]"
    },
    {
        "text": "[Themes: Surreal, combat]\n\n> Look around\nThe bullhead's whiskers twitch.\n\n[ Your Stamina: 5     Bullhead Catfish: 12 ]\n\n> You pull whiskers\nThe bullhead evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 5     Bullhead Catfish: 12 ]\n\n> Punch bullhead\nSmack! The catfish reels from the blow.\n\n[ Your Stamina: 3     Bullhead Catfish: 10 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 4     Bullhead Catfish: 10 ]\n\n> You kick bullhead\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 5     Bullhead Catfish: 10 ]\n\n> You slap it\nSmack! The catfish reels from the blow.\n\n[ Your Stamina: 3     Bullhead Catfish: 8 ]\n\n> You check your inventory\nYou are empty-handed.\n\n[ Your Stamina: 4     Bullhead Catfish: 8 ]"
    },
    {
        "text": "[Themes: Surreal, surreal]\n\n> You look at your surroundings\nThe bullhead has a guilty look, like it just stole some old lady's wallet, which in fact it probably had.\n\n[ Your Stamina: 5     Bullhead Catfish: 8 ]\n\n> You hit the fish\nWhack! The shiftless bottom-feeder gets a little sense knocked into it.\n\n[ Your Stamina: 3     Bullhead Catfish: 6 ]\n\n> You hit the fish\nWhack! The shiftless bottom-feeder gets a little sense knocked into it.\n\n[ Your Stamina: 1     Bullhead Catfish: 4 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bullhead Catfish: 4 ]\n\n> You hit the fish\nSmack! The catfish reels from the blow.\n\n[ Your Stamina: 0     Bullhead Catfish: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Bullhead Catfish: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bullhead Catfish: 2 ]\n\n> You hit the fish\nThat bottom-feeder is mulch.\n\nYou have Defeated the bullhead in 16 turns and 7 attacks, for a score of 12 out of a possible 20 points.\n\nGood Job! If you want to improve your score, consider that it is based on how quickly you defeat your opponent, as well as how efficiently.\n\nYou have gained a level!!! You feel stronger than ever.\n\nLooks like you have a moment to rest before the next one gets what's coming.\n\n[ Your Stamina: 8 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\nThere are more fish coming, you can sense it.\n\n[ Your Stamina: 9 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\nLike an oversized car crowding into the alley, a really enormous bluefin tuna drifts in. Over six feet long, bloated with muscle and fat, the tuna swims up to you and stares threateningly, like a schoolyard bully. If escape was ever on your mind, which it never is, it would be impossible now, the large body of the tuna blocking the only exit.\n\n[ Your Stamina: 10        Bluefin Tuna: 40 ]\n\n> You look at the tuna\nThe bluefin tuna looks like it is going to try and shake you down for lunch money.\n\n[ Your Stamina: 10        Bluefin Tuna: 40 ]\n\n> You kick the tuna\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 9     Bluefin Tuna: 40 ]\n\n> You check what you're carrying\nYou are empty-handed.\n\n[ Your Stamina: 10        Bluefin Tuna: 40 ]\n\n> You attack the tuna\nThat's the general idea. But how? Punch? Kick? Or then there is the primally satisfying Slap, and its counterpart, the Backhand. Decisions, decisions.\n\n[ Your Stamina: 10        Bluefin Tuna: 40 ]\n\n> Backhand tuna\nThud! The solid body of the tuna shakes a little under the blow.\n\n[ Your Stamina: 8     Bluefin Tuna: 38 ]\n\n> You check your inventory\nYou are empty-handed.\n\n[ Your Stamina: 9     Bluefin Tuna: 38 ]"
    },
    {
        "text": "[Themes: Surreal, surreal, combat]\n\n> You look around\nThe bluefin tuna looks like it is going to try and shake you down for lunch money.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You look under tuna\nThere's nothing under the bluefin tuna.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You search the tuna\nYou find nothing of interest.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> Go outside\nNo way you're running from no damn fish. It ends here, one way or another.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You get on the tuna\nI don't know how to get on the bluefin tuna.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You cut the tuna\nWhat do you want to cut it with?\n\n> You enter the tuna\nI don't know how to enter the bluefin tuna.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You eat the tuna\nThe bluefin tuna doesn't appear appetizing.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> Poke tuna\nI don't know the word \"tall\".\n\nPoking the bluefin tuna doesn't seem to have any effect.\n\n[ Your Stamina: 10        Bluefin Tuna: 38 ]\n\n> You slice the tuna\nI don't know the word \"can\".\n\nWhat do you want to cut it with?\n\n> Slap fish\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 8     Bluefin Tuna: 36 ]\n\n> Inventory\nYou are empty-handed.\n\n[ Your Stamina: 9     Bluefin Tuna: 36 ]\n\n> Kiss tuna\nErm, that's a different game, I think.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> You take the tuna\nThe bluefin tuna evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> You pull the tuna\nI don't know the word \"buna\".\n\nThe bluefin tuna evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> You examine the tuna\nThis bluefin is the type to hide in a pod of dolphins, nevermind the consequences.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> Inventory\nYou are empty-handed.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> You examine the fin\nThe bluefin tuna looks like it is going to try and shake you down for lunch money.\n\n[ Your Stamina: 10        Bluefin Tuna: 36 ]\n\n> You kick the tuna\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 9     Bluefin Tuna: 36 ]\n\n> Slap tuna\nYour hand stings from the force of the slap.\n\n[ Your Stamina: 7     Bluefin Tuna: 34 ]\n\n> You look at the hand\nYou see nothing special about your hands.\n\n[ Your Stamina: 8     Bluefin Tuna: 34 ]\n\n> About you\nYou are sick of fish and the way they look at you. You have had enough. Now, it is payback time.\n\n[ Your Stamina: 9     Bluefin Tuna: 34 ]\n\n> You look at alley\nThe alley walls are bright red brick.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You take the brick\nIt isn't a particularly well constructed brick wall, but you cannot pry it apart with your fingers.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You kick the brick\nI don't know how to kick the wall.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You climb the brick\nThere are no good handholds on the wall.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You hit the wall\nI don't know how to hit the wall.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> Slap wall\nI don't know how to slap the wall.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You eat fish\nThe bluefin tuna doesn't appear appetizing.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You listen\nYou hear nothing unexpected.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> Plugh\nYou invoke the magic word of prayer your grandfather once taught you. But nothing happens. Some secrets are not passed down from generation to generation, but are simply lost.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You catch the tuna\nThe bluefin tuna evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 10        Bluefin Tuna: 34 ]\n\n> You give the tuna a the swirlie\nThud! The solid body of the tuna shakes a little under the blow.\n\n[ Your Stamina: 8     Bluefin Tuna: 32 ]\n\nI don't know the word \"swirlie\".\n\n> You give the lunch money to the tuna\nThe bluefin tuna looks like it is going to try and shake you down for lunch money.\n\n[ Your Stamina: 9     Bluefin Tuna: 32 ]\n\nI don't know the word \"lunch\".\n\n> Slap fish\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 5     Bluefin Tuna: 28 ]\n\n> Slap fish\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 3     Bluefin Tuna: 26 ]\n\n> Slap fish\nThud! The solid body of the tuna shakes a little under the blow.\n\n[ Your Stamina: 1     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 3     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 4     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 5     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 6     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 7     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 8     Bluefin Tuna: 24 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 9     Bluefin Tuna: 24 ]\n\n> You examine the tuna\nThis bluefin is the type to hide in a pod of dolphins, nevermind the consequences.\n\n[ Your Stamina: 10        Bluefin Tuna: 24 ]\n\n> About yourself\nYou are sick of fish and the way they look at you. You have had enough. Now, it is payback time.\n\n[ Your Stamina: 10        Bluefin Tuna: 24 ]\n\n> Slap fish\nYou slap the tuna hard, but it almost feels like a pat to the side of a horse for all the good it does.\n\n[ Your Stamina: 8     Bluefin Tuna: 22 ]\n\n> Slap fish\nThud! The solid body of the tuna shakes a little under the blow.\n\n[ Your Stamina: 6     Bluefin Tuna: 20 ]\n\nThe bullying tuna advances on you, forcing you to take a step back.\n\n> Poke tuna\nPoking the bluefin tuna doesn't seem to have any effect.\n\n[ Your Stamina: 7     Bluefin Tuna: 20 ]\n\nThe big thuggish brute pushes forward further, staring at you sternly.\n\n> You kick the tuna\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 7     Bluefin Tuna: 20 ]\n\nYou can feel the cold, foul breath of the tuna on your face.\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 5     Bluefin Tuna: 18 ]\n\nThe tuna threateningly moves closer.\n\n> Punch tuna\nWhap! Another solid hit, using your off hand.\n\n[ Your Stamina: 3     Bluefin Tuna: 16 ]\n\nThe bluefin's beady eyes stare at you malevolently.\n\n> Punch tuna\nWhap! And again, with your strong arm, so fast that in a moment, this tuna is going to be chicken of more than just the sea.\n\n[ Your Stamina: 1     Bluefin Tuna: 14 ]\n\nThe tuna flaps its tail threateningly."
    },
    {
        "text": "[Themes: Surreal, combat, surreal]\n\n> Look around\nThe tuna doesn't look hurt, it looks angry.\n\n[ Your Stamina: 2     Bluefin Tuna: 14 ]\n\nThe tuna advances again, and you step back again, until you feel the back wall of the alley right behind you.\n\n> You examine the wall\nThe alley walls are bright red brick.\n\n[ Your Stamina: 3     Bluefin Tuna: 14 ]\n\nThe tuna threatens to crush you under its bulky body.\n\n> You jump\nWheeee!\n\n[ Your Stamina: 4     Bluefin Tuna: 14 ]\n\nThe tuna gloats triumphantly at your cowardly retreat.\n\n> You kick the tuna\nThe fish sees your boot coming a mile away and easily evades your kick.\n\n[ Your Stamina: 3     Bluefin Tuna: 14 ]\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 1     Bluefin Tuna: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 12 ]\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 0     Bluefin Tuna: 10 ]\n\n> You look at the alley\nThe alley walls are bright red brick.\n\n[ Your Stamina: 1     Bluefin Tuna: 10 ]\n\n> You look at the tuna\nThe tuna doesn't seem to realize it is bound for Tsukiji, yet.\n\n[ Your Stamina: 2     Bluefin Tuna: 10 ]\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 0     Bluefin Tuna: 8 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Bluefin Tuna: 8 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 8 ]\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 0     Bluefin Tuna: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Bluefin Tuna: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 6 ]\n\n> Punch tuna\nWhap! You hit the tuna like it is a punching bag.\n\n[ Your Stamina: 0     Bluefin Tuna: 4 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Bluefin Tuna: 4 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 4 ]\n\n> You look at tuna\nThe bluefin looks like a bull that has seen red.\n\n[ Your Stamina: 3     Bluefin Tuna: 4 ]\n\n> Backhand tuna\nYour hand stings from the force of the slap.\n\n[ Your Stamina: 1     Bluefin Tuna: 2 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Bluefin Tuna: 2 ]\n\n> Backhand tuna\nWHAM!!! The tuna flies back, smashing against the alley wall. The force of its fall causes a brick to dislodge, revealing a dark opening. That tuna is sushi.\n\nYou have Defeated the bluefin tuna in 93 turns and 24 attacks, for a score of 0 out of a possible 20 points.\n\nThis victory was well earned. Hemingway said it best: \"A man can be destroyed but not defeated\". You have won, but you'll need considerably more finesse next time if you want to hold your head up high.\n\nYou look for a moment at the fallen bluefin, before it floats away with the rest of the trash. Its defeat will not go unnoticed. You had better prepare yourself as best you can, because this isn't just a back alley fistfight anymore. This is war. Your eye lingers on the dislodged brick, and the opening it revealed.\n\n[ Your Stamina: 0 ]\n\n> You examine the opening\nThere is a small opening in the brick wall where a brick has been dislodged, large enough to reach into, but too dark to see inside.\n\nThere are more fish coming, you can sense it.\n\n[ Your Stamina: 1 ]\n\n> You take the brick\nTaken.\n\n[ Your Stamina: 2 ]\n\n> You reach in opening\nYou reach into the dark opening. It is a narrow fit. Feeling around, the first thing you find is a piece of paper, which you take and pull out into the light.\n\nOutside of the shelter of your small alley, there is a gathering storm. A news helicopter circles overhead.\n\n[ Your Stamina: 3 ]\n\n> You read the paper\nThe last date was quite some time ago. Apparently cleaning requirements have become lax under the new management, not surprisingly.\n\n> You examine paper\n[ Your Stamina: 4 ]\n\nA single sheet of greasy paper, titled \"Men's Bathroom\", followed by grid of dates and times and handwritten initials. The page is difficult to straighten out as it curls up at the edges.\n\nYou see a few pilot fish peek around the corner and peer down the alley, then disappear just as quickly. Scouts.\n\n[ Your Stamina: 5 ]\n\n> You reach in the opening\nYou reach into the opening again, and this time you find what feels like a wooden pole. You lay the pole down, and pull it out by its end, until it gets stuck at what you recognize as a mop head. It is detachable, though, so a moment later you have unscrewed the mop head and let it drop back in the opening, while you have the handle, which you prefer to think of as a staff.\n\n[ Your Stamina: 6 ]\n\n> You hit the fish with the staff\nThe swordfish parries your strike, but for a moment, at least, your staff is pressed up against its bill, exposing the left side of its body.\n\n[ Your Stamina: 6     Swordfish: 20 ]\n\n> Backhand fish\nThe long sword of the swordfish is in your way, you'll have to concentrate on only one side of this murderous fish.\n\n[ Your Stamina: 7     Swordfish: 20 ]\n\n> You hit the body with the brick\nWhack! The swordfish gets a little tenderized.\n\n[ Your Stamina: 5     Swordfish: 18 ]\n\nThe swordfish pushes away your staff and swims back a couple paces.\n\n> You hit the fish with the staff\nThe swordfish parries your strike, but for a moment, at least, your staff is pressed up against its bill, exposing the left side of its body.\n\n[ Your Stamina: 4     Swordfish: 18 ]\n\n> You kick the body\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 2     Swordfish: 16 ]\n\n> Keep going\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 0     Swordfish: 14 ]\n\nThe swordfish pushes away your staff and swims back a couple paces.\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Swordfish: 14 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Swordfish: 14 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 3     Swordfish: 14 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 4     Swordfish: 14 ]\n\n> You hit the fish with the staff\nThe swordfish parries your strike, but for a moment, at least, your staff is pressed up against its bill, exposing the left side of its body.\n\n[ Your Stamina: 3     Swordfish: 14 ]\n\n> You kick the fish\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 1     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Swordfish: 12 ]\n\nThe swordfish pushes away your staff and swims back a couple paces.\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 3     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 4     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 5     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 6     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 7     Swordfish: 12 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 8     Swordfish: 12 ]\n\n> You hit the fish with the staff\nThe swordfish parries your strike, but for a moment, at least, your staff is pressed up against its bill, exposing the left side of its body.\n\n[ Your Stamina: 7     Swordfish: 12 ]\n\n> You kick the fish\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 5     Swordfish: 10 ]\n\n> You kick fish\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 3     Swordfish: 8 ]\n\nThe swordfish pushes away your staff and strikes at you, drawing blood in a thin line across the bridge of your nose.\n\n> You hit the fish with the staff\nThe swordfish parries your strike, but for a moment, at least, your staff is pressed up against its bill, exposing the left side of its body.\n\n[ Your Stamina: 2     Swordfish: 8 ]\n\n> You kick the fish\nYou give the swordfish a good kick to the belly.\n\n[ Your Stamina: 0     Swordfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 1     Swordfish: 6 ]\n\nThe swordfish pushes away your staff and strikes at the mop handle, hard, splintering it into a thousand tiny pieces, one of which lodges in your forearm. You are left holding a small baton, no more than 18 inches long. The swordfish grins in pleasure. You pull the splinter out of your arm.\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 2     Swordfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 3     Swordfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 4     Swordfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 5     Swordfish: 6 ]\n\n> You rest\nYou rest for a moment to regain your strength...\n\n[ Your Stamina: 6     Swordfish: 6 ]\n\n> Inventory\nYou have a brick, a piece of paper, a broken mop handle, and a needle-like splinter.\n\n[ Your Stamina: 7     Swordfish: 6 ]\n\n> You poke the swordfish with the splinter\nYou can't get close enough to use it.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You hit the fish with the brick\nThe swordfish knocks the brick out of your hands with a deft flick of its bill.\n\n[ Your Stamina: 7     Swordfish: 6 ]\n\n> You take the brick\nTaken.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You hit the fish with the handle\nThe swordfish easily evades the short handle and gives you a cut to the arm to remember it by.\n\n[ Your Stamina: 6     Swordfish: 6 ]\n\n> You reach in the opening\nYou reach into the opening again. You can feel a mop head, and the rim of a large bucket, but nothing else.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You reach in the bucket\nYou reach into the bucket and feel around. You feel something soft and wet and smooth. You pull it out of the opening and take a look: it's a rubber glove. Which is not at all what it felt like, but you've never been very good at that sort of thing.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine the glove\nIt looks like an ordinary rubber glove to me.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You wear it\nOkay, you're now wearing the rubber glove.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You reach in the bucket\nYou reach into the bucket, but don't feel anything in particular.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You hit the sword\nThe swordfish slashes at your arm, cutting your sleeve to ribbons.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You kick the sword\nThe swordfish nods its head down and slashes at your leg, slicing into your pant leg.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You throw the brick at the fish\nThe swordfish deflects the brick, sending it crashing into your temple. Blood trickles into your eyes.\n\n[ Your Stamina: 3     Swordfish: 6 ]\n\n> You put the paper on the sword\nThere's no good surface on the swordfish.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You take the sword\nThe swordfish evades your grasp. You won't stop them by a simple catch and release program, anyway. It is time to settle this, once and for all.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You throw the splinter at the fish\nYou hit the swordfish with the needle, but it doesn't penetrate, and falls harmlessly to the ground. You need some way to shoot the splinter much faster if you hope to make it a dangerous projectile.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> Inventory\nYou have a piece of paper, a broken mop handle, a needle-like splinter, a brick, and a rubber glove (being worn).\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You roll paper\nYou roll the paper into a tight tube, almost like a pipe or something.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the splinter in the paper\nYou carefully load the needle into the rolled up sheet of paper, making a deadly blowgun. (To use the blowgun, simply SHOOT [TARGET].)\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You shoot the fish\nYou put your makeshift blowgun up to your mouth and blow. The needle shoots out, but the swordfish easily deflects it.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You take the needle\nTaken.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Break opening\nYou'll have to tell me how to do that.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You remove the glove\nOkay, you're no longer wearing the rubber glove.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the glove on the handle\nThere is no good surface on the broken mop handle.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the brick in the glove\nYou can't put anything into the rubber glove.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Inventory\nYou have a tightly rolled sheet of paper, a broken mop handle, a brick, a rubber glove, and a needle-like splinter.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the handle in the paper\nYou can't fit that in the tightly rolled sheet of paper.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the splinter in the paper\nYou carefully load the needle into the rolled up sheet of paper, making a deadly blowgun. (To use the blowgun, simply SHOOT [TARGET].)\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine the handle\nThere is only about a foot and a half left of the mop handle.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> About you\nYou are sick of fish and the way they look at you. You have had enough. Now, it is payback time.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look at the fish\nThe cocky swordfish chooses this moment to reveal that it is left-handed, but as it isn't holding a sword, but swinging at you with its bill, the revelation is less than impressive.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You reach in the bucket\nYou reach into the bucket, but don't feel anything in particular.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You move the bucket\nYou reach into the opening and fiddle around with the bucket, to no effect.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You read the paper\nThe paper isn't really readable in its current configuration.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You open the paper\nI don't know how to open the blowgun.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Unfold paper\nThe paper isn't folded, it is rolled.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Unroll paper\nYou carefully take the splinter out of the tube, and unroll the paper and flatten it out as best you can.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You fold the paper\nYou fold the paper into a neat square.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine paper\nA single sheet of greasy paper, neatly folded.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You throw it at the fish\nYou are in no mood for a game of catch.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You fold the paper\nYou have already folded the paper. Further folding would get dangerously close to origami.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You roll paper\nYou'll have to unfold it, first.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You hit the fish with the brick\nThe swordfish knocks the brick out of your hands with a deft flick of its bill.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You take the brick\nTaken.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Inventory\nYou have a piece of paper, a broken mop handle, a rubber glove, a needle-like splinter, and a brick.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look at the alley\nThe alley walls are bright red brick. There is a small opening in the brick wall where a brick has been dislodged, large enough to reach into, but too dark to see inside.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You climb the wall\nThere are no good handholds on the wall.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You climb the fish\nWhoa. Settle down there, Aquaman.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You jump\nWheeee!\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You hit the fish with the glove\nYou strike a glancing blow at the swordfish with the rubber glove. \"Shall we say pistols at dawn?\"\n\nThe swordfish does not respond. Looks like you're going to have to take care of this the old fashioned way, with your fist, foot, and, whenever possible, open palm.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You stab the fish with the handle\nThe swordfish easily evades the short handle and gives you a cut to the arm to remember it by.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> Climb opening\nI don't know how to climb the dark opening.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> Xyzzy\nYou invoke the magic word of prayer your grandfather once taught you. But nothing happens. Some secrets are not passed down from generation to generation, but are simply lost.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You hit the fish with the paper\nIt's not very effective to attack with the piece of paper.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You reach in the hole\nYou reach into the opening again. You can feel a mop head, and the rim of a large bucket, but nothing else.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You search the mop head\nYou find nothing of interest.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You get the mop head\nYou can't get the mop head out of the small opening.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You kick the fish\nThe swordfish nods its head down and slashes at your leg, slicing into your pant leg.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You hit the fish with the handle\nThe swordfish easily evades the short handle and gives you a cut to the arm to remember it by.\n\n[ Your Stamina: 7     Swordfish: 6 ]\n\n> You roll paper\nYou roll the paper into a tight tube, almost like a pipe or something.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You put the splinter in the paper\nYou carefully load the needle into the rolled up sheet of paper, making a deadly blowgun. (To use the blowgun, simply SHOOT [TARGET].)\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You shoot the body\nYou put your makeshift blowgun up to your mouth and blow. The needle shoots out, but the swordfish easily deflects it.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You take the needle\nTaken.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You go north\nNo way you're running from no damn fish. It ends here, one way or another.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look under the fish\nThere's nothing under the swordfish.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You kick the wall\nI don't know how to kick the wall.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You kick the bucket\nNot today. Not if you can help it.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Punch fish\nThe swordfish slashes at your arm, cutting your sleeve to ribbons.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You stand on the sword\nI don't know how to stand on the swordfish.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You examine the handle\nThere is only about a foot and a half left of the mop handle.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You pull the handle\nPulling the broken mop handle doesn't have any effect.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine the brick\nA crumbling red brick.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You throw the brick at the fish\nThe swordfish deflects the brick, sending it crashing into your temple. Blood trickles into your eyes.\n\n[ Your Stamina: 5     Swordfish: 6 ]\n\n> You examine the brick\nA crumbling red brick.\n\n[ Your Stamina: 6     Swordfish: 6 ]\n\n> You take the brick\nTaken.\n\n[ Your Stamina: 7     Swordfish: 6 ]\n\n> You hit the fish with the brick\nThe swordfish knocks the brick out of your hands with a deft flick of its bill.\n\n[ Your Stamina: 6     Swordfish: 6 ]\n\n> You examine the brick\nA crumbling red brick.\n\n[ Your Stamina: 8     Swordfish: 6 ]\n\n> You attach the brick to handle\nThere's no obvious way to do that.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You stab the brick with the handle\nYou take out your frustrations on the brick.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look in the glove\nThere's nothing in the rubber glove.\n\n[ Your Stamina: 9     Swordfish: 6 ]\n\n> You poke fish with the handle\nThe swordfish easily evades the short handle and gives you a cut to the arm to remember it by.\n\n[ Your Stamina: 7     Swordfish: 6 ]\n\n> Poke brick\nPoking the brick doesn't seem to have any effect.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You throw the handle at the fish\nYou are in no mood for a game of catch.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You put the fish in the opening\nYou can't put the swordfish anywhere.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look at what you're carrying with you\nYou have a blowgun, a broken mop handle, a rubber glove, and a brick. The blowgun seems to contain a needle-like splinter.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You backhand yourself\nI don't know how to backhand yourself.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine Swordfish\nThe swordfish is putting up a few \"Give Swordfish a Break\" bumper stickers, but you aren't buying.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You examine the handle\nThere is only about a foot and a half left of the mop handle.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> You look\nThe swordfish is starting to look a bit pale and tired.\n\n[ Your Stamina: 10        Swordfish: 6 ]\n\n> Inventory\nYou have a blowgun, a broken mop handle, a rubber glove, and a brick. The blowgun seems to contain a needle-like splinter.\n\n[ Your Stamina: 10        Swordfish: 6 ]"
    },
    {
        "text": "[Themes: Surreal, rpg, surreal]\n\n> You throw the brick at fish\nThe swordfish deflects the brick, sending it crashing into your temple. Blood trickles into your eyes.\n\n[ Your Stamina: 1     Swordfish: 6 ]\n\n> You kick the fish\nThe swordfish nods its head down and slashes at your leg, slicing into your pant leg.\n\n[ Your Stamina: 7     Swordfish: 6 ]"
    },
    {
        "text": "[Themes: Surreal, absurd]\n\n> Describe the surroundings\nThe swordfish is putting up a few \"Give Swordfish a Break\" bumper stickers, but you aren't buying.\n\n[ Your Stamina: 8     Swordfish: 6 ]"
    },
    {
        "text": "[Themes: Horror, amnesia, church, vampire, horror]\n\nAn ear-shattering crash shocks you into wakefulness as a bolt of lightning splits the dark sky in two. The downpour begins abruptly, pelting exposed soil with enough force to create pockmarks resembling the surface of the moon. You realize that your eyes are open and the fat raindrops strike them relentlessly. Another searing bolt assaults your senses, followed again by the thunderclap, but less quickly now, as the center of the storm moves away from your location.\n\nSomething deep inside you begins to grow restless. Perhaps, at last, it is time to move. Your tongue slithers dryly in your mouth. You are thirsty.\n\nLoose, muddy soil covers most of the ground and the air is heavy with the deep, fertile smell of freshly-turned earth. Nearby, a large hole gapes darkly, the depths of which are hidden in shadow.\n\nA bleak churchyard stretches into darkness in all directions, the only recognizable exodus lying to the south, where a path winds down the slope of a hill.\n\n(TIP: Type \"help\" to display the Help Menu.)\n\n[Author's Note: Awakening on the ground next to an open grave, you have no recollection of how you came to be there. Do you investigate the nearby church and graveyard, or leave well enough alone?]\n\n> About yourself\nYou look down at yourself. Covered with moldy filth, it is hard to make out what part of you is flesh and what is caked earth. Even the downpour has not washed enough away to make a difference.\n\n> You examine the hole\nIt seems to descend into the earth rather deeply, more than the eye can address."
    },
    {
        "text": "> Go downwards\nAlthough it would be simple to head off in any direction, you are hesitant. It is entirely possible you may become lost.\n\n> You get in the hole\nThe thought repels you.\n\n> You take the dirt\nThat's hardly portable.\n\n> You look at the dirt\nIt is scattered in loose heaps around the large hole by which you awoke.\n\n> You think\nWhat a good idea.\n\n> Go south\nAn iron-wrought gate lies askew on rusted hinges, no longer able to prevent external access to the churchyard during late hours. The muddy path leading past them and southwards into the church grounds is being churned by the heavy rain, but not quite enough to completely obscure a faint impression therein.\n\nStanding alone a little to the west is a small gatehouse, its narrow entrance and a pane-less window little more than dark smudges in the prevailing gloom.\n\nAfter taking a few steps, you are overcome with nausea and drop to your knees in a dry retch. Your head spins for several fevered moments. You need to drink badly...\n\n> Drink rain\nYou throw your head back and allow the water pelting down on your face to enter your mouth. Once enough has gathered, you swallow desperately. Instead of satisfying your thirst, even minutely, your insides begin to boil and you are forced to bend over and spew it back out.\n\n> You go south\nThe gravel path you are on passes by a plot of manicured land upon which resides a small church building. It is fashioned of dark river stone, stained all the darker from the downpour. Its steeple rises suddenly into the gloom, so that the belfry up top is partially obscured. Through the barred windows a glimmer of yellow light issues, flickering like candlelight. The front entrance is to the east, while the path continues south.\n\nSome unexplainable attraction pulls your attention to the old church building to the east...\n\n> You look at the steeple\nIt is run down and badly in need of repair. Like everything else about the church building.\n\n> You examine the windows\nMarvelous works of stained glass, they depict several famous individuals from scripture, namely Adam and Eve, Noah, Moses, Joseph, Issac, Jacob, David, Solomon, Daniel and finally Christ Himself.\n\n> Go east\nThe heavy oaken doors of the church loom before you, presenting a sensation of disorientation that you did not experience from a distance. Great brass handles present you with a means of access to shelter from the torrential weather. There are curious inscriptions and bas-relief carvings worked into the wood.\n\n> You examine the carvings\nThey are a crude native rendering of something that appears to be a Kraken swallowing a dinghy. Or perhaps that is a larger vessel. It is difficult to tell.\n\n> You examine the handles\nMassive and shaped from solid brass, they are sculpted into the shape of a lion's head.\n\nYour throat feels as though it were on fire, so desperate is your need to find something to drink.\n\n> You open the door\nThey seem to be locked.\n\n> You knock on the door\nYou rap loudly on the church doors.\n\n> You pull the handles\nThose are fixed in place.\n\n> Go west\nThe gravel path you are on passes by a plot of manicured land upon which resides a small church building. It is fashioned of dark river stone, stained all the darker from the downpour. Its steeple rises suddenly into the gloom, so that the belfry up top is partially obscured. Through the barred windows a glimmer of yellow light issues, flickering like candlelight. The front entrance is to the east, while the path continues south.\n\n> Go south\nHere is where parishioners must have parked their vehicles, be they wagon or automobile, before proceeding north to the church building.\nA gravel road leads north past the front of the church. To the south, a rain-slicked road leads off into the dark distance. East of here is a wooden coach house.\n\n> Go east\nThe coach house is quite old, and indeed once served to house a horse-driven coach. It has since been converted for use by automobiles. There are shelves lining the walls containing various items one would expect to find in a garage. Against the north wall is a rubber tire. Access to the driveway is to the west, through the main entrance, and a small exit leads east.\n\n> You take the tire\nA lug wrench hidden behind the rubber tire is revealed.\n\nThe coach house is quite old, and indeed once served to house a horse-driven coach. It has since been converted for use by automobiles. There are shelves lining the walls containing various items one would expect to find in a garage. Access to the driveway is to the west, through the main entrance, and a small exit leads east.\n\nYou can see a lug wrench here.\n\n> You take wrench\nTaken.\n\n> You examine the wrench\nIt is a cross-shaped tool for removing the lug bolts on an automobile tire. It is quite sturdy and heavy. Something about it makes you uneasy...\n\n> You check what you're carrying\nYou are carrying:\na lug wrench\na rubber tire\n\n> You look at the items\nUseless.\n\n> You go to the east\nRunning between the coach house and a small shack to the east, this path is lined on both sides by tall brush and bracken, which block your view elsewhere.\n\n> You go to the east\nA small shack rises out of the overgrowth in a clearing at the end of the winding path. It looks quite old, but has not fallen into disrepair, as has the coach house and the other small buildings on the church grounds. Along the front is a wooden door, and a small square window to its right, which flickers with a pale yellow light issuing from within.\n\nYou can see a wooden door here.\n\nSomething within the shack seems to call out to you and every fiber of your withered flesh cries back in reply. Somehow there is no doubt that relief to your torment lies within the little structure standing before you.\n\n> You examine the window\nIt looks rather cheery. All things being relative, that is.\n\n> You knock on the door\nThere is some shuffling behind the door. Its knob turns slowly and it opens a crack. A bloodshot eye peers at you, assessing you quietly. Then, the door opens a little further and framed there, his back to the crackling flames of a fire within the shack, stands an old man, probably the caretaker.\n\n> You talk to the caretaker\n\"You're a strange one,\" he says. \"What is it you're wantin\"?\"\n\n> You bite yourself\nNot here... Not like this. You feel as though you must first gain his trust.\n\nYou are momentarily overtaken by a coughing spell, your lungs rattling dryly deep inside your chest...\n\n> About yourself\nYou look down at yourself. Covered with moldy filth, it is hard to make out what part of you is flesh and what is caked earth. Even the downpour has not washed enough away to make a difference.\n\n> You talk to the man\n\"I don't know ye, sir. Perhaps it's best ye be on yer way.\"\n\n> You talk to man\n\"Do you have something for me?\" he asks shakily. \"Is this a delivery?\"\n\n> You show him the the tire\nThe caretaker is unimpressed.\n\n> You follow you\nThe caretaker has better things to do.\n\n> You talk to the man\n\"If you've nothing to tell me, then I'll be telling you something. Good day!\"\n\nYou stagger and drop to your knees, the strength fleeing your body. For several long moments, your body shudders in silent spasms before you are finally able to collect your wits and struggle back to your feet.\n\n> You talk to man\n\"If you've nothing to tell me, then I'll be telling you something. Good day!\"\n\n> Bite man\nNot here... Not like this. You feel as though you must first gain his trust.\n\n> You enter door\nSomehow, you cannot bring yourself to enter the shack without the caretaker's invitation. It would be...impolite.\n\n> You check what you're carrying\nYou are carrying:\na lug wrench\na rubber tire\n\n> You show yourself to the man\n(first taking yourself)\nYou are always self-possessed."
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nA small shack rises out of the overgrowth in a clearing at the end of the winding path. It looks quite old, but has not fallen into disrepair, as has the coach house and the other small buildings on the church grounds. Along the front is a wooden door, and a small square window to its right, which flickers with a pale yellow light issuing from within.\n\nThe caretaker is here, looking uncertain.\n\nYou can also see a wooden door here.\n\n> Go west\nThe caretaker nods and says, \"Goodbye, then.\"\nWinding Path\nRunning between the coach house and a small shack to the east, this path is lined on both sides by tall brush and bracken, which block your view elsewhere.\n\n> Go west\nThe coach house is quite old, and indeed once served to house a horse-driven coach. It has since been converted for use by automobiles. There are shelves lining the walls containing various items one would expect to find in a garage. Access to the driveway is to the west, through the main entrance, and a small exit leads east.\n\n> You examine the shelves\nThey are covered with years of grime and debris. The items on them are useless to you.\n\n> Go west\nHere is where parishioners must have parked their vehicles, be they wagon or automobile, before proceeding north to the church building.\nA gravel road leads north past the front of the church. To the south, a rain-slicked road leads off into the dark distance. East of here is a wooden coach house.\n\n> You go north\nThe gravel path you are on passes by a plot of manicured land upon which resides a small church building. It is fashioned of dark river stone, stained all the darker from the downpour. Its steeple rises suddenly into the gloom, so that the belfry up top is partially obscured. Through the barred windows a glimmer of yellow light issues, flickering like candlelight. The front entrance is to the east, while the path continues south.\n\n> You go to the north\nAn iron-wrought gate lies askew on rusted hinges, no longer able to prevent external access to the churchyard during late hours. The muddy path leading past them and southwards into the church grounds is being churned by the heavy rain, but not quite enough to completely obscure a faint impression therein.\n\nStanding alone a little to the west is a small gatehouse, its narrow entrance and a pane-less window little more than dark smudges in the prevailing gloom.\n\n> You go west\nThere is just enough room in this tiny hut to sit and keep watch--were there still a chair upon which to sit. Presently, nothing remains but a cramped space to stand while one gains a moment's respite from the ceaseless downpour outside. The exit leads east to the gateway.\n\nA shallow desk is built into the wall under the window.\n\n> You examine the desk\nIt must have been used by the attendant for whatever paperwork might have been required of him. Just what sort of paperwork that might be escapes you. And for that matter, the need for a cemetery attendant at all gives rise to question. There is a small drawer set into the desk, which appears locked.\n\n> You open it\nThe small drawer is thoroughly locked, however a determined tug on your part wrenches the locking mechanism completely free of the splintering wood. There is a brass key within.\n\n> You take the key\nTaken.\n\n> You go east\nAn iron-wrought gate lies askew on rusted hinges, no longer able to prevent external access to the churchyard during late hours. The muddy path leading past them and southwards into the church grounds is being churned by the heavy rain, but not quite enough to completely obscure a faint impression therein.\n\nStanding alone a little to the west is a small gatehouse, its narrow entrance and a pane-less window little more than dark smudges in the prevailing gloom.\n\nYou reach up to the back of your head and you scratch fiercely, trying to attend to a sudden and intense itch. As you bring your hand away, you discover a clump of dry, withered hair clenched in your claw-like fist. Shuddering inwardly, you cast it away, not wanting to look at it any longer.\n\n> Go south\nThe gravel path you are on passes by a plot of manicured land upon which resides a small church building. It is fashioned of dark river stone, stained all the darker from the downpour. Its steeple rises suddenly into the gloom, so that the belfry up top is partially obscured. Through the barred windows a glimmer of yellow light issues, flickering like candlelight. The front entrance is to the east, while the path continues south.\n\n> Go east\nThe heavy oaken doors of the church loom before you, presenting a sensation of disorientation that you did not experience from a distance. Great brass handles present you with a means of access to shelter from the torrential weather. There are curious inscriptions and bas-relief carvings worked into the wood.\n\n> You unlock the door with the key\nYou unlock the church doors.\n\n> You open the door\nYou open the church doors.\n\n> Go east\nThe entryway to the church leads north to the nave. You can see the entire ground floor of the church from here: North of the nave is the chancel and east of the nave is an alcove.\n\nYou are distracted by a maddening itch in your throat, your mouth, your tongue. This thirst...if only you could quench it...\n\n> Go north\nThe nave is where parishioners would gather to sit in the pews and hear the preached message. The walls are paneled with aged cedar and the high, vaulted ceiling fades away into darkness above. An altar stands at the front of the room, before a raised area called the chancel. Arched stained-glass windows line the east and west walls. Access to the chancel is north of the nave and south leads to the entryway. To the east is a small alcove containing an organ. A narrow doorway up by the chancel leads to the northwest.\n\n> You examine the organ\nA heavily scaled-down version of the \"Mighty Wurlitzer,\" circa 1924. Covered with dust, it has not seen active duty for a long time.\n\n> You examine the altar\nIt appears to be made of gopher wood.\n\nYou are thirsty...so very thirsty.\n\n> Go east\nA small recess where the church organ is kept. It affords a clear view of the nave and the chancel. The nave is west of the alcove, and a small exit leads north.\n\n> You play the organ\nYou cautiously press Middle C. Nothing happens. Not surprising, really.\n\n> Go north\nThis tall, narrow hallway extends from the alcove and ends in a creaky set of steps leading upwards. The walls are painted white, and somewhat smudged. The floor is covered with a red carpet.\n\n> Go upward\nThis small area is rather featureless and dark. The bare floorboards creak under your weight. A set of stairs leads down to the narrow hallway and a white door leads north.\n\nYou can see a white door here.\n\n> You open it\nThat's already open.\n\nEverything around you begins to blur as your eyesight fades. You are desperately thirsty and your flesh is crying out for replenishment. With a vicious shake of your head, you manage to coerce your vision to return.\n\n> Go north\nA large desk standing against the west wall furnishes this otherwise empty room. The bare floor is in good condition, suggesting that this office was not used very often. A window in the north wall looks out into the wet darkness beyond. Above the desk against the western wall is a portrait.\n\nYou can see a white door here.\n\n> You examine the portrait\nA rendition of an elderly man, perhaps the founder of this church. It is dusty and covered in cobwebs.\n\nYour stomach begins to cramp badly and you are forced to pause as you double over in pain. After some time, the pain fades and you are able to move again.\n\n> You move portrait\nIt is fixed in place.\n\n> You open the door\nThat's already open.\n\n> Clean portrait\nYou achieve nothing by this.\n\nYou notice that you need to turn your head to look to the left or the right. It seems that your eyeballs will not turn in their sockets, as though they have been sealed in place due to a lack of moisture.\n\n> You close the door\nYou close the white door.\n\n> You look at the door\nYou see nothing special about the white door.\n\nYou are thirsty...so very thirsty.\n\n> You open it\nYou open the white door.\n\nYou reach up to the back of your head and you scratch fiercely, trying to attend to a sudden and intense itch. As you bring your hand away, you discover a clump of dry, withered hair clenched in your claw-like fist. Shuddering inwardly, you cast it away, not wanting to look at it any longer.\n\n> You examine the desk\nFashioned of rich cherry wood, it sports a broad desktop and a number of drawers. Where its legs meet the floor there appears to be a few scratch marks on the otherwise polished surface.\n\n> You open the drawers\nThere's no need to open the desk drawers. They are all sitting open, revealing their stark emptiness.\n\nYour stomach begins to cramp badly and you are forced to pause as you double over in pain. After some time, the pain fades and you are able to move again.\n\n> Search drawers\nThe desk drawers are empty.\n\n> You examine the panel\nSet flush into the surface of the wall, it has a small emblem in the shape of a griffin embossed onto its surface. Compared to the polished finish of the rest of the panel, the griffin seems a little dull.\n\n> You open the panel\nThat's not something you can open.\n\nYou are momentarily overtaken by a coughing spell, your lungs rattling dryly deep inside your chest...\n\n> Rub griffin\nYou achieve nothing by this.\n\nA cold shudder runs up and down your back. Your insides feel as though they are curling inward upon themselves, crumbling and withering for lack of moisture.\n\n> You examine the griffin\nIt seems a little worn, as if through use.\n\nYou are distracted by a maddening itch in your throat, your mouth, your tongue. This thirst...if only you could quench it...\n\n> You look at safe\nA standard gray metal faceplate with a numbered dial squarely in the center.\n\n> You check what you're carrying\nYou are carrying:\na brass key\na lug wrench\na rubber tire\n\n> You open safe\nIt seems to be locked.\n\n> You examine the dial\nIt is a standard combination lock. In order to open it you have to turn the dial to three different numbers: first to the right, then to the left, and then to the right again.\n\n> You examine the desk\nFashioned of rich cherry wood, it sports a broad desktop and a number of drawers. Where its legs meet the floor there appears to be a few scratch marks on the otherwise polished surface.\n\n> You look in drawers\nFashioned of rich cherry wood, it sports a broad desktop and a number of drawers. Where its legs meet the floor there appears to be a few scratch marks on the otherwise polished surface.\n\nYour throat feels as though it were on fire, so desperate is your need to find something to drink.\n\nThe desk drawers are empty.\n\nEverything around you begins to blur as your eyesight fades. You are desperately thirsty and your flesh is crying out for replenishment. With a vicious shake of your head, you manage to coerce your vision to return.\n\n> You examine floor\nYou see nothing special about the floor.\n\nYou stagger and drop to your knees, the strength fleeing your body. For several long moments, your body shudders in silent spasms before you are finally able to collect your wits and struggle back to your feet.\n\n> You look at the window\nIt looks down onto the cemetery. From here, during an occasional flash of lightning, you can see outlined in stark relief the open grave by which you awoke."
    },
    {
        "text": "[Themes: Horror, amnesia, horror]\n\n> You look around\nA large desk pushed into the northwest corner furnishes this otherwise empty room. The bare floor is in good condition, suggesting that this office was not used very often. A window in the north wall looks out into the wet darkness beyond. Above the desk against the western wall is a portrait.\n\nA small wooden panel is fixed onto the west wall.\n\nYou can also see a safe (closed) and a white door here.\n\n> You go south\nThis small area is rather featureless and dark. The bare floorboards creak under your weight. A set of stairs leads down to the narrow hallway and a white door leads north.\n\nYou can see a white door here.\n\n> You jump\nYou jump on the spot, fruitlessly."
    },
    {
        "text": "[Themes: Horror, horror]\n\n> Go downwards\nThis tall, narrow hallway extends from the alcove and ends in a creaky set of steps leading upwards. The walls are painted white, and somewhat smudged. The floor is covered with a red carpet.\n\n> You examine the carpet\nA faint, narrow strip of wear down its center shows that although this rug had been trodden often throughout its history, it has seen comparatively little wear next to the rest of the outfittings of this building.\n\nA faint, narrow strip of wear down its center shows that although this rug had been trodden often throughout its history, it has seen comparatively little wear next to the rest of the outfittings of this building.\n\n> You move the carpet\nIt is fixed in place.\n\n> You remove the carpet\n(first taking the red carpet)\nThat's hardly portable.\n\nYou stagger and drop to your knees, the strength fleeing your body. For several long moments, your body shudders in silent spasms before you are finally able to collect your wits and struggle back to your feet.\n\n> You go south\nA small recess where the church organ is kept. It affords a clear view of the nave and the chancel. The nave is west of the alcove, and a small exit leads north.\n\n> Go west\nThe nave is where parishioners would gather to sit in the pews and hear the preached message. The walls are paneled with aged cedar and the high, vaulted ceiling fades away into darkness above. An altar stands at the front of the room, before a raised area called the chancel. Arched stained-glass windows line the east and west walls. Access to the chancel is north of the nave and south leads to the entryway. To the east is a small alcove containing an organ. A narrow doorway up by the chancel leads to the northwest.\n\nYour stomach begins to cramp badly and you are forced to pause as you double over in pain. After some time, the pain fades and you are able to move again.\n\n> Go northwest\nThis spacious area still sports a richly woven carpet and a heavy mahogany desk installed against the north wall. The rest of the articles that may have decorated this room have been long since removed, as evidenced by the fade marks on the walls where portraits and other adornments once hung.\n\nYou can see a closet (closed) here.\n\n> You open the closet\nYou open the closet, revealing a tweed jacket.\n\n> You look at the jacket\nIn the tweed jacket is a faded slip of paper.\n\n> You take the jacket\nTaken.\n\n> You wear it\nYou put on the tweed jacket.\n\n> You read it\n\n\n> You check your inventory\nYou are carrying:\na tweed jacket (being worn)\na faded slip of paper\na brass key\na lug wrench\na rubber tire"
    },
    {
        "text": "[Themes: Horror, horror, church]\n\n> You look around\nThis spacious area still sports a richly woven carpet and a heavy mahogany desk installed against the north wall. The rest of the articles that may have decorated this room have been long since removed, as evidenced by the fade marks on the walls where portraits and other adornments once hung.\n\nYou can see a closet (empty) here.\n\n> You go southeast\nThe nave is where parishioners would gather to sit in the pews and hear the preached message. The walls are paneled with aged cedar and the high, vaulted ceiling fades away into darkness above. An altar stands at the front of the room, before a raised area called the chancel. Arched stained-glass windows line the east and west walls. Access to the chancel is north of the nave and south leads to the entryway. To the east is a small alcove containing an organ. A narrow doorway up by the chancel leads to the northwest.\n\nYou notice that you need to turn your head to look to the left or the right. It seems that your eyeballs will not turn in their sockets, as though they have been sealed in place due to a lack of moisture.\n\n> You examine the altar\nIt appears to be made of gopher wood.\n\n> You go north\nA large desk pushed into the northwest corner furnishes this otherwise empty room. The bare floor is in good condition, suggesting that this office was not used very often. A window in the north wall looks out into the wet darkness beyond. Above the desk against the western wall is a portrait.\n\nA small wooden panel is fixed onto the west wall.\n\nYou can also see a white door and a safe (closed) here.\n\n> You look at safe\nA standard gray metal faceplate with a numbered dial squarely in the center.\n\n> You turn dial\nYou need to specify whether you are turning it to the left or the right, and also what number you are turning it to. For example: \"turn dial left to 98\".\n\n> You turn dial left to 78\nYou turn the numbered dial left to 78 and ... nothing happens.\n\n> You turn the dial right to 78\nYou turn the numbered dial right to 78 and hear a faint click of the tumblers deep within the lock.\n\n> Turn dial left to 29\nYou turn the numbered dial left to 29 and hear a faint click of the tumblers deep within the lock.\n\n> You turn the dial right to 47\nYou turn the numbered dial right to 47 and hear a faint click of the tumblers deep within the lock. With a faint creak, the safe swings open wide!\n\n> You look in safe\nIn the safe is a bottle of moonshine.\n\n> You take moonshine\nTaken.\n\nYou are thirsty...so very thirsty.\n\n> You drink it\nYou pop the bottle open and bring it to your lips...but the overpowering fumes of its contents turns your stomach and you dare not continue.\n\n> You examine the moonshine\nIt is filled with an amber liquid and seems quite innocent. It is sealed with a cork.\n\n> You check what you're carrying\nYou are carrying:\na bottle of moonshine\na tweed jacket (being worn)\na faded slip of paper\na brass key\na lug wrench\na rubber tire\n\n> Go south\nThis small area is rather featureless and dark. The bare floorboards creak under your weight. A set of stairs leads down to the narrow hallway and a white door leads north.\n\nYou can see a white door here.\n\nYou are momentarily overtaken by a coughing spell, your lungs rattling dryly deep inside your chest...\n\n> You go to the south\nA small recess where the church organ is kept. It affords a clear view of the nave and the chancel. The nave is west of the alcove, and a small exit leads north.\n\nA cold shudder runs up and down your back. Your insides feel as though they are curling inward upon themselves, crumbling and withering for lack of moisture.\n\n> Go north\nA raised area providing a clear, elevated view of all of the pews in the nave and the stained glass windows lining the walls. A threadbare rug covers part of the chancel floor.\n\nA cruciform stands by the pulpit.\n\nYou cannot bear to be in close proximity to the cruciform. You desperately retreat from its presence.\nNave\nThe nave is where parishioners would gather to sit in the pews and hear the preached message. The walls are paneled with aged cedar and the high, vaulted ceiling fades away into darkness above. An altar stands at the front of the room, before a raised area called the chancel. Arched stained-glass windows line the east and west walls. Access to the chancel is north of the nave and south leads to the entryway. To the east is a small alcove containing an organ. A narrow doorway up by the chancel leads to the northwest.\n\n> You go south\nThe entryway to the church leads north to the nave. You can see the entire ground floor of the church from here: North of the nave is the chancel and east of the nave is an alcove.\n\n> You go west\nThe heavy oaken doors of the church loom before you, presenting a sensation of disorientation that you did not experience from a distance. Great brass handles present you with a means of access to shelter from the torrential weather. There are curious inscriptions and bas-relief carvings worked into the wood.\n\n> Go south\nWho knows where that long road would take you? Best keep around here until you have a better idea of where you are.\n\n> You go to the east\nThe coach house is quite old, and indeed once served to house a horse-driven coach. It has since been converted for use by automobiles. There are shelves lining the walls containing various items one would expect to find in a garage. Access to the driveway is to the west, through the main entrance, and a small exit leads east.\n\nEverything around you begins to blur as your eyesight fades. You are desperately thirsty and your flesh is crying out for replenishment. With a vicious shake of your head, you manage to coerce your vision to return.\n\n> You go east\nA small shack rises out of the overgrowth in a clearing at the end of the winding path. It looks quite old, but has not fallen into disrepair, as has the coach house and the other small buildings on the church grounds. Along the front is a wooden door, and a small square window to its right, which flickers with a pale yellow light issuing from within.\n\nYou can see a wooden door here.\n\n> You knock on the door\nAfter some more shuffling, the caretaker returns to the door and opens it.\n\n\"You again,\" he says.\n\n> You show the moonshine to the man\nThe caretaker's vacant eyes light up at the sight of the bottle.\n\n> You talk to man\n\"If you've nothing to tell me, then I'll be telling you something. Good day!\"\n\n> You give the moonshine to the man\nThe caretaker's vacant eyes light up at the sight of the bottle. He accepts it eagerly from you. He glances at you again, and with a shrug of his shoulders, invites you into his home before disappearing inside himself.\n\n> You go to the east\nThe interior of the shack is plain, but orderly. It comprises a single front room and an adjoining bathroom. A fire crackles pleasantly in the earth of a fireplace built into the northern wall. On the other side of the room is a cot, a table and a single chair.\n\nThe caretaker is sitting in the chair with an open bottle in his lap. He looks up at you with rheumy eyes. Despite this, he looks absolutely beautiful to you: an oasis in a desert of ghastly torment.\n\nYou can also see a wooden door here.\n\n> You close the door\nYou close the wooden door.\n\n> You examine man\nHe looks to be about seventy, has sparse white hair hidden under a worn out cap, and his eyes are those of a man in desperate need--a need almost as severe as your own. His body virtually glows, so full of life it seems, in comparison with your own.\n\nYou reach up to the back of your head and you scratch fiercely, trying to attend to a sudden and intense itch. As you bring your hand away, you discover a clump of dry, withered hair clenched in your claw-like fist. Shuddering inwardly, you cast it away, not wanting to look at it any longer.\n\n> Bite man\nOvercome by the maddening thirst, you bend towards the caretaker, ignoring the look of sudden shock in his red-rimmed eyes and the smell of hard liquor on his breath. You see the water of life surging through his flesh, casting a bright and glorious illumination so that his earthly body seems no more than a delicate weave of glowing veins and infinite blood vessels. You dive into that flow, and without thinking drink your fill....\n\n...You feel the life surging back into your veins, renewing your withered flesh. Your eyes grow stronger...colors grow brighter, more vivid...the darkness is no longer so dark. And strength pulses through you now...your body flows with power...\n\nMuch later you rise and look down at the caretaker. Despite your ravenous need for life, you managed to refrain from draining him dry. Yes, he will live. And he will do your bidding, for he has become enslaved to you. Merely command him, and certainly he will do as he is told to the best of his ability.\n\nThe caretaker looks around blankly.\n\n> You examine table\nA plain wooden table, showing signs of regular use.\n\nThe caretaker whimpers slightly.\n\n> You open the door\nYou open the wooden door.\n\n> You follow you\nThe caretaker says, \"I will follow, master.\"\n\nThe caretaker staggers a little, but regains his balance.\n\n> Go west\nA small shack rises out of the overgrowth in a clearing at the end of the winding path. It looks quite old, but has not fallen into disrepair, as has the coach house and the other small buildings on the church grounds. Along the front is a wooden door, and a small square window to its right, which flickers with a pale yellow light issuing from within.\n\nYou can see a wooden door here.\n\nThe caretaker arrives from the east.\n\nThe caretaker coughs halfheartedly.\n\n> You go west\nRunning between the coach house and a small shack to the east, this path is lined on both sides by tall brush and bracken, which block your view elsewhere.\n\nThe caretaker arrives from the east.\n\nThe caretaker giggles quietly.\n\n> You talk to the man\nThe caretaker watches you expectantly.\n\nThe caretaker gets distracted by a fly buzzing around his head.\n\n> Go west\nThe coach house is quite old, and indeed once served to house a horse-driven coach. It has since been converted for use by automobiles. There are shelves lining the walls containing various items one would expect to find in a garage. Access to the driveway is to the west, through the main entrance, and a small exit leads east.\n\nThe caretaker arrives from the east.\n\n> You go to the north\nYou can't go that way.\n\nThe caretaker grabs the buzzing fly out of the air and pops it into his mouth surreptitiously.\n\n> You go to the west\nHere is where parishioners must have parked their vehicles, be they wagon or automobile, before proceeding north to the church building.\nA gravel road leads north past the front of the church. To the south, a rain-slicked road leads off into the dark distance. East of here is a wooden coach house.\n\nThe caretaker arrives from the east.\n\n> You go north\nThe gravel path you are on passes by a plot of manicured land upon which resides a small church building. It is fashioned of dark river stone, stained all the darker from the downpour. Its steeple rises suddenly into the gloom, so that the belfry up top is partially obscured. Through the barred windows a glimmer of yellow light issues, flickering like candlelight. The front entrance is to the east, while the path continues south.\n\nThe caretaker arrives from the south.\n\n> Go east\nThe heavy oaken doors of the church loom before you, presenting a sensation of disorientation that you did not experience from a distance. Great brass handles present you with a means of access to shelter from the torrential weather. There are curious inscriptions and bas-relief carvings worked into the wood.\n\nThe caretaker arrives from the west.\n\n> You go east\nThe entryway to the church leads north to the nave. You can see the entire ground floor of the church from here: North of the nave is the chancel and east of the nave is an alcove.\n\nThe caretaker arrives from the west.\n\nThe caretaker looks like he is going to sneeze, but then it fades away.\n\n> Go north\nThe nave is where parishioners would gather to sit in the pews and hear the preached message. The walls are paneled with aged cedar and the high, vaulted ceiling fades away into darkness above. An altar stands at the front of the room, before a raised area called the chancel. Arched stained-glass windows line the east and west walls. Access to the chancel is north of the nave and south leads to the entryway. To the east is a small alcove containing an organ. A narrow doorway up by the chancel leads to the northwest.\n\nThe caretaker arrives from the south.\n\n> North\nThe caretaker stops following you.\n\nThe caretaker goes north.\n\n> You take the cruciform\nThe caretaker picks up the cruciform.\n\n> You ask Man,  to go to the south\nThe caretaker arrives from the north.\n\nYou cannot bear to be in close proximity to the cruciform. You desperately retreat from its presence.\nEntryway\nThe entryway to the church leads north to the nave. You can see the entire ground floor of the church from here: North of the nave is the chancel and east of the nave is an alcove.\n\n> South\nThe caretaker arrives from the north.\n\nYou cannot bear to be in close proximity to the cruciform. You desperately retreat from its presence.\n\n> East\nThe caretaker is unable to do that.\n\n> North\nThe caretaker arrives from the south.\n\nYou cannot bear to be in close proximity to the cruciform. You desperately retreat from its presence.\nEntryway\nThe entryway to the church leads north to the nave. You can see the entire ground floor of the church from here: North of the nave is the chancel and east of the nave is an alcove.\n\n> East\nThe caretaker arrives at the Alcove from the west.\n\n> Go north\nA raised area providing a clear, elevated view of all of the pews in the nave and the stained glass windows lining the walls. A threadbare rug covers part of the chancel floor.\n\n> You examine the rug\nIt is faded and threadbare, having seen a lot of use. There was a pattern on it, but it is so faded now as to be indistinguishable.\n\n> You move the rug\nYou pick up the rug, revealing a trapdoor beneath!\n\nA raised area providing a clear, elevated view of all of the pews in the nave and the stained glass windows lining the walls. In the absence of the threadbare rug, a trapdoor has been revealed in the chancel floor.\n\n> You open trapdoor\nIt seems to be locked.\n\n> You unlock the trapdoor with the key\nYou might want to try prying it with something, instead.\n\n> You open the trapdoor\nYou open the trapdoor."
    },
    {
        "text": "[Themes: Horror, vampire, church]\n\n> You go downward\nIlluminated only by the dim light issuing through the trapdoor, this unexpected chamber is bare, damp and cold. The walls and the floor are fashioned of black stone. Your ears detect the scratch and scurry of vermin hidden from sight in the dank and dingy corners of this place. In other words, you feel right at home.\n\nSituated squarely in the center of the room, upon a moldering velvet rug, is a large, black coffin. The lid stands open and the silk interior beckons to you.\n\n> You enter coffin\nYou crawl slowly into the black coffin, feeling the silk interior against your skin. Yes, this will do. This is right. You can feel sleep tugging at you--blessed sleep.\n\nThe caretaker comes into view over you. He looks down, with mindless love in his red-rimmed eyes. \"I will look after you while you sleep, Master. Please don't worry.\"\n\nWith that, he reaches for the lid and cautiously, respectfully, closes it over you. At last you feel a strange peace begin to settle in. Your mind begns to drift...questions arise as sleep takes you over. Why was this coffin here? Why even this dark chamber, for that matter? And more importantly, who are you? What is going on?\n\nBut those are questions to be answered at another time. You will sleep now. You will gather strength. This is not finished. In fact, it has only begun...."
    },
    {
        "text": "[Themes: Mystery, Surreal, male protagonist, dreams, library, lucid dreaming, teenage protagonist, mystery, United States, strange, violence, dog, hostile NPC, surreal, hospital, dream, mad science, dreaming]\n\nThe funny thing about dreams is that, as advanced as we are as a civilization, with our space flights, our computers, our science, and our philosophy, no one on the planet has a verifiable answer as to what dreams really are and why we have them.\n\nYour university experience, so far, has left a lot to be desired. Constantly broke, you are always looking to do something to make a buck; the job market is seemingly not able to support giving you a part-time paycheck from somewhere. Left with little other choice, you've begun answering ads calling for medical research studies. Tonight's job: some overnight sleep study at the hospital a few blocks down from your dorm.\n\nThe Sue\u00f1o\nAn Oneirological Mystery by Marshal Tenner Winter\n\nWaiting Room (on the office couch)\nWhite, sterile, clinical: it's everything a hospital waiting room should be, you guess. An office couch and some office chairs await any sitters and a low table offers a selection of magazines. Near a secure door to the north is a receptionist's desk complete with a busy receptionist. The door that leads to more of the hospital, and eventually an exit, is to the south.\n\n(To talk to people, type \"talk to {person}\" For conversation\ntopics, type \"topics\". For additional help, type \"help\". For the credits, type \"credits\".)\n\n[Author's Note: Low on income, you've signed up for a sleep study to test a new medication; one that supposedly causes lucid dreams. What you'll learn, however, is that much more will be revealed on The Sue\u00f1o.]\n\n> About yourself\nMale. 19. Student at a university in Philadelphia. Good sense of humor. Usually broke. Otherwise, generally a nice guy who tries to do the right thing. Not ugly but no Adonis. You're comfortable with yourself but not with your financial situation.\n\n> You look at what you're carrying with you\nYou are carrying:\na pair of jeans (being worn)\na black shirt (being worn)\na pair of black Skechers (being worn)\n\n> You examine the jeans\nThe ultimate in fashion, in your opinion.\n\nThe receptionist's phone rings. She answers it, \"Yes, sir?\"\n\n> You examine the shirt\nIt's relatively non-descript. You've realized so far in your life that you don't really like standing out in a crowd.\n\n\"Sure.\" The receptionist says into the phone before hanging up. She looks up at you. \"You can go in now.\" She instructs as she pushes a button beneath her desk. A buzzer sounds and you hear the secure door to the north unlock.\n\n> You look at the Skechers\nThey are a pair of casual, black shoes. They go with everything, really.\n\n> Go north\n(first getting off the office couch)\n(first opening the secure door)\n\nThis is your typical hospital corridor. It continues to the north and a bathroom door is to the west. To the east is a lab door and the secure door back to the waiting room is to the south. Otherwise, it is a sterile environment, as if it is compulsively cleaned throughout the day.\n\n> Go north\nYou're pretty sure the lab is to the east. You shouldn't wander around.\n\n> You go east\n(first opening the heavy door)\n\nThis brightly lit room reveals to you just how much money is budgeted for this sleep study. A hospital bed is the focal point, of course, but around it is a space-age-looking machine: some sort of MRI device, maybe. Arrays of equipment flank the bed sporting dozens of wires that hang from them.\n\nnorth while another, nondescript door is to the east. Next to the nondescript door is a large window, through which you can see an observation room that obviously monitors this one. The door back to the corridor is to the west. The whole room seems to softly hum.\n\nDr. Lynch is here, clipboard in hand.\n\n> You talk to dr lynch\nYou say hello to Dr. Lynch.\n\n(You could ask Dr. Lynch about Dr. Lynch, the MRI device, the clipboard or sleep study.)\n\n> You talk to the dr lynch about the dr lynch\nI only understood you as far as wanting to talk to Dr. Lynch.\n\n> Topics\nYou could ask Dr. Lynch about Dr. Lynch, the MRI device, the clipboard or sleep study.\n\n> You ask Lynch about Lynch\n\"I guess I'm supposed to be in here?\" You ask.\n\n\"Yes,\" the doctor shakes your hand, \"I'm Dr. Richard Lynch. Thanks for volunteering for our study.\"\n\n\"I'm Benji Evans.\" You dutifully tell him, but you're sure he already knows that, of course. \"What do you mean volunteer? I thought I was getting paid for this.\"\n\n\"Oh, of course.\" He smiles, \"Volunteer sounds better than,\nsay, test subject.\" He gives a small chuckle.\n\n> You talk to Lynch\nYou are already talking to Dr. Lynch.\n\n\"This is a simple sleep study to measure the effects of a new medication.\" Dr. Lynch explains. \"Your blood tests are well\nwithin the range we need them to be in order for you to take the dosage we're testing tonight.\"\n\n> You ask Lynch about the clipboard\nPointing at the clipboard, you ask, \"Jesus, do you need that many notes for this?\"\n\n\"Well, the study's been going on for years.\" He explains, \"Most of this is just reading material for me while you sleep.\" Yet you can't help but notice he now guards it a bit more from you.\n\n> You talk to Lynch\nYou are already talking to Dr. Lynch.\n\n> You ask Lynch about the mri machine\n\"So what's that machiney-thing?\" You ask, pointing to the MRI device surrounding the head of the bed.\n\n\"It's like an MRI device.\" He tells you, \"It measures just about anything the other equipment arrays don't. But don't worry. It's not invasive at all.\"\n\n> You ask Lynch about the sleep study\n\"So, this must be the sleep study lab?\" You inquire, not sure what else to say. Dr. Lynch smiles, \"Yes, of course it is.\"\n\n> You go north\nIt would be rude to walk out of the room while talking to Dr. Lynch. You should probably wait until you are instructed before heading into the dressing room."
    },
    {
        "text": "> You look at your surroundings\nThis brightly lit room reveals to you just how much money is budgeted for this sleep study. A hospital bed is the focal point, of course, but around it is a space-age-looking machine: some sort of MRI device, maybe. Arrays of equipment flank the bed sporting dozens of wires that hang from them.\n\nnorth while another, nondescript door is to the east. Next to the nondescript door is a large window, through which you can see an observation room that obviously monitors this one. The door back to the corridor is to the west. The whole room seems to softly hum.\n\nDr. Lynch is here, clipboard in hand.\n\n> Topics\nYou could ask Dr. Lynch about new medication.\n\n> You ask Lynch about the medication\n\"What medication?\" You ask, a little nervous at the thought that the sleep study involves an untested chemical in your system. Then again, you've partied enough to not worry too much about it.\n\n\"It's got a long technical name, but we've been calling it The\nSue\u00f1o. Dr. Torrez coined the word. It means dream in\nSpanish.\" He tells you.\n\n\"Makes sense.\" You shrug.\n\n\"Yes,\" he continues, \"It was originally designed as an anesthetic for surgery, or maybe a powerful sleep aid for insomniacs. But what we're doing in this lab is focusing on one of its side effects.\"\n\n> Topics\nYou could ask Dr. Lynch about side effects.\n\n> You ask Lynch about the side effects\n\"What side effect?\" You ask; this time, a little more nervous, \"Is it diarrhea?\"\n\n\"No,\" he looks at you with a furrowed brow, \"no, it's not diarrhea, Benji. It's about dreams. Have you ever had a lucid dream? Where you know you're dreaming and can maybe even control your dream?\"(yes/no)\n\n> Yes\n\"Yes,\" you answer, \"I think once or twice it's happened. I don't remember any details, it was awhile back.\"\n\n\"Oh, excellent.\" He says, \"Then you might be able to help us better than someone who hasn't.\" He makes some notes on his clipboard.\n\n\"Well, if you're ready,\" Dr. Lynch replaces his pen into his pocket protector, \"Just head into the dressing room and get changed and come back out for a good night's sleep.\"\n\n> You go to the north\n(first opening the private door)\n\nIt's a large bathroom that can accommodate the handicapped. Some pegs line one wall while the other wall holds the toilet, sink, and mirror. The door back to the sleep lab is to the south.\n\nHanging on one of the pegs is a hospital gown.\n\n> You look at the mirror\nIt's a large, industry-standard mirror.\n\n> You wear the gown\n(first taking the hospital gown)\nYou put on the hospital gown.\n\n> You check your inventory\nYou are carrying:\na hospital gown (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na pair of black Skechers (being worn)\n\n> Go south\nThis brightly lit room reveals to you just how much money is budgeted for this sleep study. A hospital bed is the focal point, of course, but around it is a space-age-looking machine: some sort of MRI device, maybe. Arrays of equipment flank the bed sporting dozens of wires that hang from them.\n\nnorth while another, nondescript door is to the east. Next to the nondescript door is a large window, through which you can see an observation room that obviously monitors this one. The door back to the corridor is to the west. The whole room seems to softly hum.\n\nDr. Lynch is here, clipboard in hand.\n\nDr. Lynch sees your pants. \"I'm sure you'll be more comfortable with just the gown, Benji. You can leave your jeans in the dressing room.\"\n\n> Go north\nIt's a large bathroom that can accommodate the handicapped. Some pegs line one wall while the other wall holds the toilet, sink, and mirror. The door back to the sleep lab is to the south.\n\n> You remove the shoes\nYou take off the pair of black Skechers.\n\n> You remove pants\nYou take off the pair of jeans.\n\n> You remove the shirt\nYou take off the black shirt.\n\n> You check your inventory\nYou are carrying:\nsome boxer shorts (being worn)\na pair of socks (being worn)\na hospital gown (being worn)\na pair of jeans\na black shirt\na pair of black Skechers\n\n> You examine the shorts\nOf all days to wear your Mighty Mouse boxer shorts, you think to yourself.\n\n> You examine the socks\nThey are black and without any holes.\n\n> You go south\nThis brightly lit room reveals to you just how much money is budgeted for this sleep study. A hospital bed is the focal point, of course, but around it is a space-age-looking machine: some sort of MRI device, maybe. Arrays of equipment flank the bed sporting dozens of wires that hang from them.\n\nnorth while another, nondescript door is to the east. Next to the nondescript door is a large window, through which you can see an observation room that obviously monitors this one. The door back to the corridor is to the west. The whole room seems to softly hum.\n\nDr. Lynch is here, clipboard in hand.\n\n\"Looks like you're ready.\" Dr. Lynch has the equipment arrays ready and closer to the bed now. He hands you a small paper cup with a pill in it. \"It's chewable.\" He says, \"You don't need water. Go ahead and take that, please.\"\n\n> Examine pill\nIt's a small, peach colored, chewable pill with the number 7178 printed into it.\n\n> You take the pill\nYou take the chewable sue\u00f1o from the small paper cup.\n\n> You eat the pill\nYou chew the pill and it dissolves in your mouth.\n\nDr. Lynch smiles, satisfied. \"Go ahead and climb into bed, Benji.\" He says.\n\n> You get in the bed\nYou shouldn't carry your jeans to bed with you.\n\n\"Go ahead and climb into bed, Benji.\" He says.\n\n> You drop all\nsmall paper cup: Dropped.\npair of jeans: Dropped.\nblack shirt: Dropped.\npair of black Skechers: Dropped.\n\n\"Go ahead and climb into bed, Benji.\" He says.\n\n> You get in the bed\nYou get onto the hospital bed.\n\nDr. Lynch all but tucks you in as he attaches the many wires that dangle from the equipment arrays onto various parts of your body with little sticky electrodes.\n\n\"We're not giving you any additional sedatives as we don't want to inhibit your dreams, so just relax and hopefully soon you'll be asleep.\" He tells you, \"I'll be in the observation room all night.\"\nHe motions to the east.\n\nHe walks to the east door and shuts the lights out as he leaves, closing the door as well. With the lights out, you can still see fine as the lights from the equipment glow dimly and some light from the observation room's window to the east filters in as well.\n\n> Sleep\nYou close your eyes...\n\nSomeone's Bedroom (on the army cot)\nWell, that certainly was a strange dream, you think to\nyourself as you wake up. You're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium with something in it is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nA tinny voice seems to emit from the brain, \"Don't leave me here!\"\n\n> You examine the aquarium\nIt is devoid of any water and, instead, it seems to now be some sort of showcase or science experiment.\n\nIn the aquarium tank is a sentient brain.\n\nA tinny voice seems to emit from the brain, \"Hey, pick me up! You're going to need me!\"\n\n> You take brain\nThe tinny voice is coming from the brain, \"Thanks, mate.\" It says.\n\nYou'd have to get off the army cot first.\n\n> You get up\nYou get off the army cot.\n\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium with something in it is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nA tinny voice seems to emit from the brain, \"Don't leave me here!\"\n\n> You take the brain\nYou take the sentient brain from the aquarium tank.\n\n> You examine the brain\nIt's a human brain. Perfectly pink and slimy.\n\n> You talk to the brain\nYou say hello to the sentient brain.\n\n(You could ask the sentient brain about the sentient brain, Dr. Lynch or the chewable sue\u00f1o.)\n\n> You ask the brain about the brain\n\"What on Earth are you?\" You ask, not believing that you're\nconversing with a talking brain.\n\n\"Oh, it doesn't matter much anymore, does it?\" It replies with a tinny, melancholic voice.\n\n> You ask the brain about Lynch\n\"Do you know if Dr. Lynch is around?\" You ask the brain but you're not quite sure why. You just have a feeling he's either around or needs to be around.\n\n\"Um...\" the tinny voice seems confused a bit, \"I don't remember, but I'm sure it will come back to me.\"\n\n> You ask the brain about the pill\nA question comes to your lips and you ask the brain, \"Do you know anything about the sue\u00f1o? I think I'm on it right now. Things are weird and I'm not remembering things too clearly. Like how I got here or where I actually am.\"\n\n\"The sue\u00f1o?\" The brain asks back, \"I don't speak Spanish. I'm sorry.\"\n\n> You look at the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Anchorhead\" starring Scarlett Johansson.\n\n> You look at the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Leather Goddesses of Phobos\" starring Melissa McCarthy.\n\n> You examine the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Hunger Daemon\" starring Jesse Eisenberg.\n\n> You examine the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"A Mind Forever Voyaging\" starring Joseph Gordon-Levitt.\n\n> You look at the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Shade\" starring Elijah Wood.\n\n> You examine the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Trinity\" starring Brad Pitt.\n\n> You examine the posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Slouching Towards Bedlam\" starring Gary Oldman.\n\n> You look at posters\nThis room is wallpapered with full-size movie posters. Currently, you're examining the poster for \"Make It Good\" starring Leonardo DiCaprio.\n\n> You look\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\n> Examine set\nIt's a small, relatively non-descript television set. There's no dial on it; just a knob to switch it on or off.\n\nThe small television is currently switched off.\n\n> You look at the television\n(the small television)\nIt's a small, relatively non-descript television set. There's no dial on it; just a knob to switch it on or off.\n\nThe small television is currently switched off.\n\n> You turn on the tv\nThe television begins to glow with an electric blue tint.\n\nOn the television, a scene from your childhood plays out, like a silent home movie.\n\n> You watch the tv\nIt's a small, relatively non-descript television set. There's no dial on it; just a knob to switch it on or off.\n\nThe small television is currently switched on.\n\nOn the television, a man in an armchair watches the camera, as if you are the show.\n\n> You watch the tv\nIt's a small, relatively non-descript television set. There's no dial on it; just a knob to switch it on or off.\n\nThe small television is currently switched on.\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You watch the tv\nIt's a small, relatively non-descript television set. There's no dial on it; just a knob to switch it on or off.\n\nThe small television is currently switched on.\n\nOn the television, security camera footage shows people at a bank doing their everyday banking routines. Suddenly, masked men rush in with guns but then the scene goes to static.\n\n> You ask brain about television\n(the small television)\nThere is no reply.\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> Inventory\nYou are carrying:\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\nOn the television, security camera footage shows people at a bank doing their everyday banking routines. Suddenly, masked men rush in with guns but then the scene goes to static."
    },
    {
        "text": "[Themes: Mystery, Surreal, dream, dreaming, surreal, dog, library, lucid dreaming, United States, violence]\n\n> Look around\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You look at the bed\nIt has a thin, bare mattress on it. The mattress doesn't look that new. In fact, it's pretty rank in appearance. How you ended up crashing on it last night is anyone's guess.\n\nOn the television, a man in an armchair watches the camera, as if you are the show.\n\n> You go north\n(first opening the bedroom door)\n\nA room of strange architecture but you can't quite put your finger on how. The floor is thickly carpeted in beige and the air has a slightly damp feel to it, especially near the door to the east, where you can also hear the sound of a shower running. The door to someone's bedroom is to the south and this space continues to the southeast. Dim light comes in from a small window to the north.\n\n> Go east\n(first opening the bathroom door)\n\nYou are surrounded by hot, wet steam. It clings to your skin and clothes, and it obscures your vision. You think the door is to the west, but surely there must be more in this room. You can hear a shower in here; the source of the steam. The sonorous sound of it is almost hypnotizing.\n\n> You open the glass door\nYou try to open the glass shower door but it seems to be locked. A man's voice, familiar to you somehow, tells you from within the shower stall, \"I'll be out in a minute!\"\n\n> You knock on the glass door\nknock knock knock.\nThe sentient brain speaks up in its tinny voice, \"Try walking around in here. Maybe more can be found in this steam.\"\n\n> Go east\n(first opening the glass shower door)\nYou try to open the glass shower door but it seems to be locked. A man's voice, familiar to you somehow, tells you from within the shower stall, \"I'll be out in a minute!\"\n\n> Go south\nYou bump into a moist toilet.\n\n> You examine the toilet\nIt's a clean, white, porcelain throne, but it's slick with moisture from all the steam in the air.\n\n> You go south\nYou bump into the moist toilet.\n\n> You go to the north\nYou bump into a moist sink. Above it is a fogged-up mirror.\n\"What's that written on it?\" The tinny voice of the sentient brain asks.\n\n> You read mirror\nIt's a wide mirror, totally fogged-up from the steam in the room.\nWith a finger, someone has written \"7178, see u tonite\" on\nit.\n\n> Flush toilet\nYou flush the toilet. The pulsing sound of the running water changes slightly and you hear, from within the shower stall, a man shriek as the water suddenly scalds him. The glass shower door flings open and a nude person blurs past you, leaving you in the bathroom alone.\n\n> You take the washcloth\nYou pick up the damp washcloth from the ground.\n\n> You examine the washcloth\nIt's a coarse, damp washcloth. It's green in color.\n\n> You look at drain\nIt's a small drain in the center of the floor. The hot water exits through it.\n\n> You turn off the water\nFunny. You don't see a faucet or any knobs.\n\n> Inventory\nYou are carrying:\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You go west\nYou are surrounded by hot, wet steam. It clings to your skin and clothes, and it obscures your vision. You think the door is to the west, but surely there must be more in this room. You can hear a shower in here; the source of the steam. The sonorous sound of it is almost hypnotizing.\n\n> Go west\nA room of strange architecture but you can't quite put your finger on how. The floor is thickly carpeted in beige and the air has a slightly damp feel to it, especially near the door to the east, where you can also hear the sound of a shower running. The door to someone's bedroom is to the south and this space continues to the southeast. Dim light comes in from a small window to the north.\n\n> You examine the window\nIt doesn't seem to be able to open. You can look through it.\n\n> You look through the window\nOutside, it's a gray day with a light drizzle. This house appears to be nestled among many pine trees. The ground outside is covered in dead pine needles.\n\n> Go south\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, a scene from your childhood plays out, like a silent home movie.\n\n> You go to the south-east\nMid-Century Modern decor dominates this irregularly shaped living room. The furniture and lighting are from the stylish side of the 60's, as if the room were designed by Charles and Ray Eames or something. In fact, an Eames reclining chair sits near a fireplace with a dwindling fire. A large bookshelf covers the west wall and a bay window sits in the east wall. Open doorways lead northwest and south; the wall-to-wall carpeting runs non-stop.\n\n> You examine the bookshelf\nThe bookshelf covers the entire west wall. You glance among the books and a title that catches your eye is Indecisive Book Browsers: A Menace to Literature? by Shannan Brittnee.\n\n> You read the book\nThe bookshelf covers the entire west wall. You glance among the books and a title that catches your eye is a worn copy of a Frederick's\nof Hollywood lingerie catalog.\n\n> You read the book\nThe bookshelf covers the entire west wall. You glance among the books and a title that catches your eye is Northwest, and Other Compass Directions by Peterus Shrier.\n\n> You examine the fireplace\nSnug in the wall, this fireplace holds a dwindling fire of dying red embers. On the back wall of the fireplace there seems to be a small, metal door. The face of the door is filthy with soot.\n\n> You look at the door\nThe face of the door is filthy with soot. It is closed.\n\n> You open the door\nIt is locked.\n\n> You sit in the chair\nYou get onto the Eames reclining chair.\n\n> You look at the carpet\nIt is beige, very clean, and wall-to-wall.\n\n> You examine the window\nIt juts out a little bit from the house and is divided into dozens of small squares. You can also look through windows.\n\n> You look  through the window\nOutside, it is an overcast day which you can only tell by the lack of shadows. You cannot see the sky as this house seems to sit amongst many pine trees. Dead pine needles litter the ground outside.\n\n> You look\nCozy Study (on the Eames reclining chair)\nMid-Century Modern decor dominates this irregularly shaped living room. The furniture and lighting are from the stylish side of the 60's, as if the room were designed by Charles and Ray Eames or something. In fact, an Eames reclining chair sits near a fireplace with a dwindling fire. A large bookshelf covers the west wall and a bay window sits in the east wall. Open doorways lead northwest and south; the wall-to-wall carpeting runs non-stop.\n\n> South\n(first getting off the Eames reclining chair)\n\nThis would be the dining room except that everything is packed in moving boxes. Someone is either moving in or moving out. It's all very familiar to you, somehow. A wide window lets in diffuse light from the east wall and doorways lead north and west.\n\n> Examine boxes\nThere are at least a dozen cardboard boxes here with no other furniture. Someone is either moving in or out, you think to yourself. The boxes are sealed tight with packing tape.\n\n> Open boxes\nThey all seem to be sealed tight with packing tape. You attempt some force and vandalism to attempt to get into one or two of them but it gets you nowhere. You would need a sharp implement of some kind to do this job.\n\n> Inventory\nYou are carrying:\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You examine the window\nIt fits the wall snugly and lets in diffuse sunlight. You can also look through windows.\n\n> You look through the window\nOutside, pine trees obscure view and dead pine needles litter the ground. It is a gray, overcast day."
    },
    {
        "text": "[Themes: Mystery, Surreal, hostile NPC, teenage protagonist, lucid dreaming, strange, surreal, dream, mystery, violence]\n\n> Describe the surroundings\nThis would be the dining room except that everything is packed in moving boxes. Someone is either moving in or moving out. It's all very familiar to you, somehow. A wide window lets in diffuse light from the east wall and doorways lead north and west.\n\n> Go west\nThis kitchen is bare of appliances or any decorations at all; as if the moving process has moved through here already. Cupboards are above the counter and drawers are below it. The dining room is to the east and a door to a screened-in porch is closed to the northwest.\n\n> You look at the cupboards\nThey are empty.\n\n> You open the drawers\nThe only thing you find is a box cutter which you grab.\n\n> You cut the boxes\nUsing the box cutter, you slice open some of the boxes, looking for something of interest. At first, you find only dishes and other dining room knick-knacks, but then you find something incongruous: an old-school floppy disk for an out-of-date computer such as a Commodore, perhaps. It is labeled \"Read Me\" so you decide to\ngrab it.\n\n> You get the disk\nYou already have that.\n\n> Inventory\nYou are carrying:\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You examine the disk\nIt is an old 5.25\" floppy disk that hasn't been in use since the 80's. It's black with a hole in the middle and it is labeled with a white label and black ink: \"Read Me\".\n\n> Go northwest\n(first opening the porch door)\n\nThe smell of fresh, pine air fills your nose and a slight, cool wind blows through the screens here. This screened-porch is more dilapidated than you would think given the interior of the house. Dried, dead pine needles are strewn on the wooden floor and an old, plastic lawn chair is the only furniture, as if it was used by someone to sit and enjoy the fresh air out here. It's almost as if you remember doing it, but you also know you've never been here before. The door back to the kitchen is open to the southeast and the flimsy, exterior door is to the west. Each wall save for the east is wooden-framed screens, allowing you to see that this house sits deep in a thick, pine forest.\n\nLying among the dead pine needles is a worn backpack.\n\n> You get the backpack\nYou pick up the worn backpack from the ground.\n\n> You open the backpack\nYou open the worn backpack.\n\n> Examine backpack\nIt's a large backpack that's worn with the elements but still seems pretty sturdy. It's familiar to you, somehow, as if maybe it was the backpack you used in high school. But it's not.\n\n> You examine the chair\nIt is a dirty, white plastic lawn chair. It's seen better days.\n\n> You sit on the chair\nYou get onto the plastic lawn chair.\n\n> You go east\n(first getting off the plastic lawn chair)\nYou can't go that way.\n\n> You look\nThis screened-porch is more dilapidated than you would think given the interior of the house. Dried, dead pine needles are strewn on the wooden floor and an old, plastic lawn chair is the only furniture, as if it was used by someone to sit and enjoy the fresh air out here. It's almost as if you remember doing it, but you also know you've never been here before. The door back to the kitchen is open to the southeast and the flimsy, exterior door is to the west. Each wall save for the east is wooden-framed screens, allowing you to see that this house sits deep in a thick, pine forest.\n\n> Go west\n(press space)\n\n> You press the green button\n\"Benjamin?\" You hear Dr. Lynch's voice.\n\n\"Blech.\" You is all you can muster. You crack your eyes and even the dim, electronic lights seem too bright. The good doctor is behind the window in the observation room to the east. His voice is a tinny sound from a speaker somewhere.\n\n\"Any initial thoughts, Benji?\" He asks. It takes a few moments for you to realize what the hell he's talking about. The pill. The sleep study. The dream.\n\n\"Oh,\" you tell him, \"yes. I was in this house. There was a brain and a floppy disk.\" You realize you sound like a lunatic. But then again, everyone's sort of psychotic in their dreams.\n\n\"Next to you, you'll find a questionnaire. I know you're groggy, but it's part of the study.\n\nYou grab the sheet with the attached pen and quickly scribble through questions about your mood and other imagery from your dream. Then, you slam it down again and roll over.\n\n\"Goodnight, Benji.\" Dr. Lynch says.\n\n\"Shut up.\" You reply.\n\nTrees (near the screened porch)\nPine trees surround you; their dead needles litter the forest floor. There is no yard here as the house is nestled cozily within the trunks of these woods. The house's gutters are jammed with the pine needles and its flat roof is covered by them. The door to the house's screened-in porch is to the east. The sky above, what little you can see through the canopy of foliage, is gray. Foot trails seem to lead north and south, although it's difficult to really tell.\n\n> You go north\nTrees (deep in the woods)\nYou wander into the forest, aimlessly. Deep in the woods, you find yourself surrounded by the pine trees, leaving visibility into the woods at a minimum. The dead pine needles crunch below your feet and the sky is gray above you, through the foliage and branches. You think the house from where you emerged is to the south. You can hear running water to the northeast.\n\n> You go northeast\nTrees (near the small waterfall)\nYou wander into the forest, aimlessly. You soon find yourself near a babbling stream with a small waterfall running from the northwest.\nThe waterfall, only ten feet tall or so, falls from a rocky crag and creates a small pond before continuing its trek to the southeast. The pine trees are no less dense here and the sky above is gray. The only foot trail you think you see is to the southwest. Across the small pond and stream, you see a more clearly defined path leading northeast. The sound of the waterfall is rushing in your ears.\n\n> You examine the pond\nThere is a continuous ripple on this pond as the waterfall to the northwest empties into it. Large goldfish swim about within it.\n\n> You look at the goldfish\nSparkling goldfish swim about in the small pond.\n\n> You go northeast\nYou wade through the water, soaking yourself from the waist down, before exiting the stream again and heading northeast.\n\nTrees (near the overlook cliff)\nFinally, a break from the monotony of endless pine trees. You stand on the edge of a vertical cliff looking down over more forest and eventually, in the near distance, a small town. A rocky path leads down to the southeast, winding down the cliff and its various outcroppings. Another path leads back into the woods to the southwest. The cliff cuts the land here from the northwest to the southeast. The sky, unobstructed by foliage here, is still a bleak gray.\n\n> You go to the northwest\nYou wander into the forest, aimlessly. After an immeasurable amount of time, you are surprised to find yourself back near the edge of the cliff.\n\n> Go southeast\nYou dread heading to the southeast, down the rocky path. Something stops you. Something tells you that dark entities guard it. In your mind, you see large, black rabbits. Strange, yes, but terrifying for some reason. They are in your mind only for now, but something also tells you that you will lose your lucidity and wake up screaming should you head that direction.\n\n> You go southwest\nTrees (near the small waterfall)\nYou  find yourself near a babbling stream with a small waterfall running from the northwest. The waterfall, only ten feet tall or so, falls from a rocky crag and creates a small pond before continuing its trek to the southeast. The pine trees are no less dense here and the sky above is gray. The only foot trail you think you see is to the southwest. Across the small pond and stream, you see a more clearly defined path leading northeast. The sound of the waterfall is rushing in your ears.\n\n> You go southwest\nTrees (deep in the woods)\nDeep in the woods, you find yourself surrounded by the pine trees, leaving visibility into the woods at a minimum. The dead pine needles crunch below your feet and the sky is gray above you, through the foliage and branches. You think the house from where you emerged is to the south. You can hear running water to the northeast.\n\n> Go south\nTrees (near the screened porch)\nPine trees surround you; their dead needles litter the forest floor. There is no yard here as the house is nestled cozily within the trunks of these woods. The house's gutters are jammed with the pine needles and its flat roof is covered by them. The door to the house's screened-in porch is to the east. The sky above, what little you can see through the canopy of foliage, is gray. Foot trails seem to lead north and south, although it's difficult to really tell.\n\n> Go south\nTrees (near the doghouse)\nYou wander into the forest, aimlessly. A little further south from the house's screened porch, you find a strange tree. Halfway buried in its base is an ancient doghouse, the tree having grown through most of it. Most of its dark opening is still gaping enough to peer into. Otherwise, this part of the forest is identical to the rest; large pine trees with needles littering the ground.\n\n> You examine the doghouse\n(the ancient doghouse)\nIt really is your typical doghouse, as far as design goes. But it's decrepitly old and a pine tree has grown through most of it, fusing the two together forever. The opening of the dog house is still gaping enough to peer into.\n\n> You look in the doghouse\n(the ancient doghouse)\nYou approach the dark opening of the doghouse and reach inside. Finally, you pull out something: a spiked dog collar.\n\n> You examine the collar\nIt's made of worn, black leather with dull spikes on it. It must've fit a large dog, for sure.\n\n> Go south\nYou wander into the forest, aimlessly. After an immeasurable amount of time, you are surprised to find yourself back near the tree growing from the ancient doghouse.\n\n> You go east\n(first opening the outside door)\n\nThis screened-porch is more dilapidated than you would think given the interior of the house. Dried, dead pine needles are strewn on the wooden floor and an old, plastic lawn chair is the only furniture, as if it was used by someone to sit and enjoy the fresh air out here. It's almost as if you remember doing it, but you also know you've never been here before. The door back to the kitchen is open to the southeast and the flimsy, exterior door is to the west. Each wall save for the east is wooden-framed screens, allowing you to see that this house sits deep in a thick, pine forest.\n\n> Go southeast\nThis kitchen is bare of appliances or any decorations at all; as if the moving process has moved through here already. Cupboards are above the counter and drawers are below it. The dining room is to the east and a door to a screened-in porch is open to the northwest.\n\n> Go south\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, a man in an armchair watches the camera, as if you are the show.\n\n> Inventory\nYou are carrying:\na spiked dog collar\na worn backpack (open but empty)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You open the door\nIt is locked.\n\n> You ask the brain about the door\n(the small metal door)\nThere is no reply.\n\n> You examine the washcloth\nIt's a coarse, damp washcloth. It's green in color.\n\n> Dream\nWhat do you want to dream?\n\n> Dream pants\nYou are already dreaming that you are wearing your jeans.\n\n> You wear collar\nYou put on the spiked dog collar.\n\n> Dream lynch\nYou try to conjure Dr. Lynch into your dream, but you feel as if you don't have enough power or something to do it yet.\n\n> Dream pill\nYou try hard to concentrate on it, but you are unable to bring a sue\u00f1o pill into your dream. Odd.\n\n> Dream computer\n(the computer monitor)\nTry as you might, you can't seem to bring any image of Fran Anderson or her belongings to your mind right now. Weird.\n\n> You look\nMid-Century Modern decor dominates this irregularly shaped living room. The furniture and lighting are from the stylish side of the 60's, as if the room were designed by Charles and Ray Eames or something. In fact, an Eames reclining chair sits near a fireplace with a dwindling fire. A large bookshelf covers the west wall and a bay window sits in the east wall. Open doorways lead northwest and south; the wall-to-wall carpeting runs non-stop.\n\n> Go northwest\nA room of strange architecture but you can't quite put your finger on how. The floor is thickly carpeted in beige and the air has a slightly damp feel to it, especially near the door to the east, where you can also hear the sound of a shower running. The door to someone's bedroom is to the south and this space continues to the southeast. Dim light comes in from a small window to the north.\n\n> You go south\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, security camera footage shows people at a bank doing their everyday banking routines. Suddenly, masked men rush in with guns but then the scene goes to static.\n\n> Dream knob\nYou just need to switch on/off the small television.\n\n> You look at bookshelf\nThe bookshelf covers the entire west wall. You glance among the books and a title that catches your eye is The Mailbox Baseball\nLeague by Spiky Zytez.\n\n> You search the fireplace\nSnug in the wall, this fireplace holds a dwindling fire of dying red embers. On the back wall of the fireplace there seems to be a small, metal door. The face of the door is filthy with soot.\n\n> You clean the door with the washcloth\nYou wipe the front of the small metal door with the damp washcloth. Once the soot is removed, you see four dials on the front of it.\n\n> You look at the dials\nWhich do you mean, the first dial, the second dial, the third dial or the fourth dial?\n\n> You look at the first dial\nIt can be set from 0-9.\n\n> You set the first dial to 7\nYou set the first dial to \"7\".\n\n> You set second dial to 1\nYou set the second dial to \"1\".\n\n> You set the second dial to 7\nYou set the second dial to \"7\".\n\n> You set the third dial to 7\nYou set the third dial to \"7\".\n\n> You set the fourth dial to 8\nYou set the fourth dial to \"8\".\n\nYou hear a click from the safe and the small metal door pops open.\n\n> You examine safe\nThe safe space behind the small metal door is about a twelve-inch square space for valuables, you guess.\n\nIn the safe space is a crumpled napkin.\n\n> You take the napkin\nYou take the crumpled napkin from the safe space.\n\n> You read napkin\nIt's a cocktail napkin with some hastily scrawled words on it: \"remember- you are DREAMing\".\n\n> You dream yourself\nIn a way, you are already dreaming of yourself. You'll have better luck dreaming of things you encounter along the way.\n\n> Dream doghouse\n(the dark opening)\nYou close your eyes and imagine the ancient doghouse near the strange tree. When you open them again, you are somewhere else.\n\nTrees (near the doghouse)\nA little further south from the house's screened porch, you find a strange tree. Halfway buried in its base is an ancient doghouse, the tree having grown through most of it. Most of its dark opening is still gaping enough to peer into. Otherwise, this part of the forest is identical to the rest; large pine trees with needles littering the ground.\n\n> Dream fireplace\nYou dream of the Cozy Study and find yourself there.\n\nMid-Century Modern decor dominates this irregularly shaped living room. The furniture and lighting are from the stylish side of the 60's, as if the room were designed by Charles and Ray Eames or something. In fact, an Eames reclining chair sits near a fireplace with a dwindling fire. A large bookshelf covers the west wall and a bay window sits in the east wall. Open doorways lead northwest and south; the wall-to-wall carpeting runs non-stop.\n\n> Dream dog\n(the spiked dog collar)\nThere's something about the dog collar you have, something you can do, you feel. Perhaps if you were in the right location.\n\n> You check what you're carrying\nYou are carrying:\na crumpled napkin\na spiked dog collar (being worn)\na worn backpack (open but empty)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You enter the doghouse\n(the ancient doghouse)\nYou find nothing more in the ancient doghouse but dirt.\n\n> You examine the dirt\nIt's just the ground.\n\n> You examine the collar\nIt's made of worn, black leather with dull spikes on it. It must've fit a large dog, for sure.\n\n> Dream floppy disk\nThis will probably be important at some point.\n\n> Dream brain\nThe tinny voice from the sentient brain speaks, \"But you're already dreaming about me.\"\n\n> Dream bathroom\nWhich do you mean, the restroom door or the bathroom door?\n\n> Dream toilet\nWhich do you mean, the hospital toilet or the moist toilet?\n\n> Dream moist toilet\nYou close your eyes and think of the moist toilet in the steamy bathroom. When you open them again, you find yourself somewhere else.\n\nYou are surrounded by hot, wet steam. It clings to your skin and clothes, and it obscures your vision. You think the door is to the west, but surely there must be more in this room. You can hear a shower in here; the source of the steam. The sonorous sound of it is almost hypnotizing.\n\n> You go to the north\nYou bump into the moist sink. Above it is a fogged-up mirror.\n\n> Dream bedroom\nWhich do you mean, the bedroom shadows or the bedroom door?\n\n> Dream bedroom shadows\nYou close your eyes and think of the shadows in the bedroom. When you open them again, you find yourself somewhere else.\n\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You examine the shadows\nThe shadows in this room seem to change and mingle with the green glow.\n\nOn the television, a scene from your childhood plays out, like a silent home movie.\n\n> You examine the bed\nIt has a thin, bare mattress on it. The mattress doesn't look that new. In fact, it's pretty rank in appearance. How you ended up crashing on it last night is anyone's guess.\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You look under the bed\nYou find nothing of interest.\n\nOn the television, a man in an armchair watches the camera, as if you are the show.\n\n> You examine the aquarium\nIt is devoid of any water and, instead, it seems to now be some sort of showcase or science experiment.\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You take the aquarium\nThat's hardly portable.\n\nOn the television, a man in an armchair watches the camera, as if you are the show."
    },
    {
        "text": "[Themes: Mystery, Surreal, dream, dreaming, surreal, dog, library, lucid dreaming, United States, violence]\n\n> Look around\nYou're in someone's bedroom. You've forgotten whose, however. A dim green glow illuminates the place but you cannot tell from where exactly. No matter where you look, the glow seems to be coming from somewhere near the corner of your eye. Movie posters plaster the wall and an aquarium is against one of the walls. A small television set is against another wall, and an exit is to the north. The bed, a twin-sized, glorified army cot, sits against the east wall\n\nOn the television, security camera footage shows you, of all people, in a post office sending out a care package. Funny, you don't remember ever living that scene in real life.\n\n> You close the door\nWhich do you mean, the bathroom door or the bedroom door?\n\n> You close the bedroom door\nYou close the bedroom door.\n\n> You close the bathroom door\nYou close the bathroom door.\n\n> You examine the fire\nWhich do you mean, the fireplace or the dwindling fire?\n\n> You examine the dwindling fire\nIt has been reduced to glowing red embers.\n\n> You check what you're carrying\nYou are carrying:\na crumpled napkin\na spiked dog collar (being worn)\na worn backpack (open but empty)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You examine the window\nIt juts out a little bit from the house and is divided into dozens of small squares. You can also look through windows.\n\n> You look through the window\nOutside, it is an overcast day which you can only tell by the lack of shadows. You cannot see the sky as this house seems to sit amongst many pine trees. Dead pine needles litter the ground outside.\n\n> Go north\n(first getting off the Eames reclining chair)\nYou can't go that way.\n\n> Dream roof\nYou are already dreaming that you are standing before the strange house in the woods.\n\n> Go south\nTrees (near the doghouse)\nA little further south from the house's screened porch, you find a strange tree. Halfway buried in its base is an ancient doghouse, the tree having grown through most of it. Most of its dark opening is still gaping enough to peer into. Otherwise, this part of the forest is identical to the rest; large pine trees with needles littering the ground.\n\n> You examine the tree\nWhich do you mean, the pine trees or the strange tree?\n\n> You look at strange tree\nThis tree grew through an old doghouse and up towards the sky. Who knows how long it took to grow?\n\n> You examine the waterfall\nCascading from a rocky crag about ten feet in height, this small waterfall empties into a rippling pond. From the pond, the stream continues to the southeast.\n\n> Go northwest\nThe rocky crag is too slippery and jagged to climb.\n\n> Dream rocky crag\nYou are already dreaming of the rocky crag.\n\n> You wear the collar\nYou're already wearing that!\n\n> You go to the northeast\nTrees (near the overlook cliff)\nYou stand on the edge of a vertical cliff looking down over more forest and eventually, in the near distance, a small town. A rocky path leads down to the southeast, winding down the cliff and its various outcroppings. Another path leads back into the woods to the southwest. The cliff cuts the land here from the northwest to the southeast. The sky, unobstructed by foliage here, is still a bleak gray.\n\n> Go southeast\nYou dread heading to the southeast, down the rocky path. Something stops you. Something tells you that dark entities guard it. In your mind, you see large, black rabbits. Strange, yes, but terrifying for some reason. They are in your mind only for now, but something also tells you that you will lose your lucidity and wake up screaming should you head that direction.\n\n> Dream collar\nThere's something about the dog collar you have, something you can do, you feel. Perhaps if you were in the right location.\n\n> Dream doghouse\n(the dark opening)\nYou close your eyes and imagine the ancient doghouse near the strange tree. When you open them again, you are somewhere else.\n\nTrees (near the doghouse)\nA little further south from the house's screened porch, you find a strange tree. Halfway buried in its base is an ancient doghouse, the tree having grown through most of it. Most of its dark opening is still gaping enough to peer into. Otherwise, this part of the forest is identical to the rest; large pine trees with needles littering the ground.\n\n> Dream collar\nYou close your eyes and the collar slips from your person. But you don't hear it hit the ground. You open your eyes to instead find a large, black mastiff beside you. He is calm, guarding you, and wearing the spiked dog collar.\n\n> You examine the dog\n(the black mastiff)\nThe black mastiff is a shadowy animal; a monster of a dog with muscular shoulders and a wide jaw. It wears the spiked dog collar.\n\n> Inventory\nYou are carrying:\na crumpled napkin\na worn backpack (open but empty)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> Dream napkin\nYou are already dreaming that you have the crumpled napkin.\n\n> Dream disk\nThis will probably be important at some point.\n\n> You talk to dog\n(the black mastiff)\nThe black mastiff has nothing to say.\n\n> Dream cliff\nYou close your eyes and imagine overlooking the cliff. When you open your eyes, you are somewhere else.\n\nTrees (near the overlook cliff)\nYou stand on the edge of a vertical cliff looking down over more forest and eventually, in the near distance, a small town. A rocky path leads down to the southeast, winding down the cliff and its various outcroppings. Another path leads back into the woods to the southwest. The cliff cuts the land here from the northwest to the southeast. The sky, unobstructed by foliage here, is still a bleak gray.\n\n> Go southeast\nYou dread heading to the southeast, down the rocky path. Something stops you. Something tells you that dark entities guard it. In your mind, you see large, black rabbits. Strange, yes, but terrifying for some reason. They are in your mind only for now, but something also tells you that you will lose your lucidity and wake up screaming should you head that direction."
    },
    {
        "text": "[Themes: Surreal, Mystery, male protagonist, strange, dreaming, mad science, mystery, hospital, United States, dog, dreams]\n\n> Look around\nTrees (near the doghouse)\nA little further south from the house's screened porch, you find a strange tree. Halfway buried in its base is an ancient doghouse, the tree having grown through most of it. Most of its dark opening is still gaping enough to peer into. Otherwise, this part of the forest is identical to the rest; large pine trees with needles littering the ground.\n\nThe black mastiff arrives from the north.\n\n> You go to the north\nTrees (near the screened porch)\nPine trees surround you; their dead needles litter the forest floor. There is no yard here as the house is nestled cozily within the trunks of these woods. The house's gutters are jammed with the pine needles and its flat roof is covered by them. The door to the house's screened-in porch is to the east. The sky above, what little you can see through the canopy of foliage, is gray. Foot trails seem to lead north and south, although it's difficult to really tell.\n\nThe black mastiff arrives from the south.\n\n> You go north\nTrees (deep in the woods)\nDeep in the woods, you find yourself surrounded by the pine trees, leaving visibility into the woods at a minimum. The dead pine needles crunch below your feet and the sky is gray above you, through the foliage and branches. You think the house from where you emerged is to the south. You can hear running water to the northeast.\n\nThe black mastiff arrives from the south.\n\n> Go northeast\nTrees (near the small waterfall)\nYou  find yourself near a babbling stream with a small waterfall running from the northwest. The waterfall, only ten feet tall or so, falls from a rocky crag and creates a small pond before continuing its trek to the southeast. The pine trees are no less dense here and the sky above is gray. The only foot trail you think you see is to the southwest. Across the small pond and stream, you see a more clearly defined path leading northeast. The sound of the waterfall is rushing in your ears.\n\nThe black mastiff arrives from the southwest.\n\n> Go northeast\nTrees (near the overlook cliff)\nYou stand on the edge of a vertical cliff looking down over more forest and eventually, in the near distance, a small town. A rocky path leads down to the southeast, winding down the cliff and its various outcroppings. Another path leads back into the woods to the southwest. The cliff cuts the land here from the northwest to the southeast. The sky, unobstructed by foliage here, is still a bleak gray.\n\nThe black mastiff arrives from the southwest.\n\n> Go southeast\nYou dread heading to the southeast, down the rocky path, but then the black mastiff charges ahead of you. It races down the path, becoming a shadow that chases off whatever spirits haunted the trail. The feeling of dread lifts and you know the path is safe now. However, the black mastiff does not return to you.\n\n> You go to the southeast\nThis rocky path is treacherous as it winds between boulders and slopes steeply. From here, you can head back up to the northwest or down to the southeast. The cliff that this path winds beside is steep and made of white stone. Below, you can see some more pine forest before a small town a bit further beyond that.\n\n> Go southeast\nTrees (the lower woods)\nMore pine trees, of course, but these sit in the shadow of the cliff above you. A rocky path winds up beside the cliff, through outcroppings and boulders, to the northwest. The trees still obscure a gray sky and the ground is still littered with dead pine needles. You think you can make out a faint path to the east, leading to the town you saw when you were up on the cliff, before you descended.\n\n> Go east\nTrees (on the faint path)\nYou are on a faint path within the pine woods. The path runs east to west but is so overgrown, you must be the only person to have tread it in a long while. The pine trees still surround you and the sky's gray remains motionless. To the east, the trees thin out and you can see the first buildings of the small town ahead.\n\n> Go east\n\"Benjamin?\" Once again, you hear Dr. Lynch's voice waking you.\n\n\"Ugh.\" You reply. Opening your eyes, you see the room, now dimmer, and the observation window beyond where a sleepy-looking Dr. Lynch watches you. He taps a button and speaks into a mic, \"What were you just dreaming, Benj?\" He asks.\n\n\"There was a large dog. He was guarding me and he chased off some spirits so I could climb down this rocky path. There was a town.\"\nYou think for a moment, \"Wait a minute, I think I returned to my same dream. That's really weird. I didn't think that could actually happen.\"\n\n\"On the Sue\u00f1o, it does.\" He says casually, \"We're finding it has a number of side effects. Thus, this sleep study.\"\n\nBut you are rolling back over and getting as comfortable as you can, already falling back to sleep.\n\nAs you emerge from the woods, you step upon the asphalt of a paved road. A sign nearby signifies that this is Woodside Lane, and it runs north and south. This is the edge of this small town and a wilderness of pine trees sits to the west. A small, brick building is to the east. For some reason, you know it's a library. The sky remains a gray slate and this town appears to be devoid of life.\n\n> You go to the east\n(first opening the library door)\nIt seems to be locked.\n\n> Go north\nWoodside Lane, running south, bends and becomes Main Street, running east, on this corner. To the west, the wilderness of pine trees marks the border of this small town. To the north, a small shop with the \"\u211e\" symbol on a neon sign on the door.\n\n> Go north\n(first opening the apothecary door)\nIt seems to be locked. The tinny voice of the sentient brain speaks up again, \"That door looks smashable ... if you really want to get in, that is.\"\n\n> You go to the west\nYou feel that wandering back into the woods at this point would cause you to lose some of your lucidity.\n\n> You go south\nA sign nearby signifies that this is Woodside Lane, and it runs north and south. This is the edge of this small town and a wilderness of pine trees sits to the west. A small, brick building is to the east. For some reason, you know it's a library. The sky remains a gray slate.\n\n> You go to the south\nThe road bends here. Woodside Lane runs north and Cliff Street runs east. To the west is the wilderness of pine trees and to the south is a squat, gray building; a bank, your mind tells you. Its door is a strong, metal affair. The emptiness of this town makes you feel as if you are in an episode of The Twilight Zone.\n\n> You go to the south\nUnfortunately, in this dream, the bank is currently closed.\n\"Must be nice to be a banker with their hours.\" You mumble\nto yourself.\n\n> You smash the door\nThat would hurt your hands.\n\n> You attack the door with the box cutter\nThe box cutter might not break the door. Maybe something else will?\n\n> Inventory\nYou are carrying:\na crumpled napkin\na worn backpack (open but empty)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You attack the door with the brain\nThe sentient brain might not break the door. Maybe something else will?\n\n> You attack door with the backpack\nThe worn backpack might not break the door. Maybe something else will?\n\n> You examine the building\nIt is one-story and shaped as if the architect was trying to be a little creative. It is made of normal, red bricks.\n\n> Go east\nYou are on Cliff Street, running east-to-west. To the north is the side of the library building but to the south is the front of the post office. The post office is a white brick building with its eagle logo beside the door. Your footsteps seem to echo around the buildings in the emptiness of this town.\n\n> You go to the south\n(first opening the office door)\n\nThis is a modest post office. The lights are on and the place feels open for business. However, no one besides you is here. A service counter can be seen, unstaffed, and two large bins sit near it; one labelled \"out-of-town\" and the other \"local\".\nPosters of various kinds of information line the walls. The door back to the outside world is to the north.\n\n> You read posters\nThe informational posters are hung all over the walls, and they are the kind one would find in every post office: mailing rules and regulations, comemmorative stamp offers, package size prices, and the such. One poster stands out to you. It's a wanted poster, apparently.\n\n> You take the poster\nWhich do you mean, the wanted poster or the informational posters?\n\n> You take the wanted poster\nThat's hardly portable.\n\n> You read wanted poster\nIt's incongruous to the rest of the modern information on the walls as it is made to appear as one of those old-timey Western wanted posters. But this one's picture is a familiar face to you. It is a mugshot of Dr. Richard Lynch. Beneath it is written \"Dr. Wallace Josephs - Physician to The Philadelphia Mob\".\n\n> Dream wanted poster\nYou think of the wanted poster and realize that the person on the poster, Wallace Josephs, isn't some look-a-like relative of Dr. RIchard Lynch, but rather he is Dr. Richard Lynch.\n\n> You look at the bins\nIt's a large bin made of canvas with a metal frame. Its label is stenciled on it: local.\n\n> You take the bin\nWhich do you mean, the out-of-town bin or the local bin?\n\n> You look at out of town bin\nIt's a large bin made of canvas with a metal frame. Its label is stenciled on it: out-of-town.\n\nIn the out-of-town bin is a care package.\n\n> You take the care the package\n(putting the sentient brain into the worn backpack to make room)\nYou take the care package from the out-of-town bin.\n\n> You look at the care package\nIt is a box wrapped in brown paper.\n\n> You open the care package\nYou'll have to unwrap it first.\n\n> You unwrap the care package\nYou tear the brown paper off the care package.\n\n> You look at the care package\nIt is a closed package.\n\n> You open care package\nYou open the care package.\n\n> Inventory\nYou are carrying:\nsome brown paper\na care package (open)\nan old key\na crumpled napkin\na worn backpack (open)\na sentient brain\na floppy disk\na box cutter\na damp washcloth\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You examine the key\nIt's an old-style key that resembles a house key, maybe.\n\n> You look at the paper\nJust some brown paper that was used to wrap the care package.\n\n> You look\nThis is a modest post office. The lights are on and the place feels open for business. However, no one besides you is here. A service counter can be seen, unstaffed, and two large bins sit near it; one labelled \"out-of-town\" and the other \"local\".\nPosters of various kinds of information line the walls. The door back to the outside world is to the north.\n\n> You examine the counter\nIt's where post office workers would do their business.\n\n> You go to the north\nYou are on Cliff Street, running east-to-west. To the north is the side of the library building but to the south is the front of the post office. The post office is a white brick building with its eagle logo beside the door. Your footsteps seem to echo around the buildings in the emptiness of this town.\n\n> You go to the east\nHere, Church Street runs north. It bends and becomes Cliff Street which heads west. Woods flank the road to the east and south but a one-story office building is to the southeast.\n\n> Go southeast\n(first opening the dentist door)\n\nThere is no waiting room in this quaint dentist's office. Instead, there's a sofa for any waiters but they would be in full witness of the dentist's chair in the middle of the room. It is a modern, reclining, comfortable-looking chair, but you know not to be fooled. To you, it's a modern torture device. A service table sits next to the dentist's chair. A small placard is on the table, stating\n\"Please Have A Seat\". The only exit is a door to the outside\nworld to the northwest.\n\n> You take the chair\nThat's hardly portable.\n\n> You sit in the chair\nYou get onto the dentist's chair.\n\nSuddenly, you are paralyzed; your arms and legs frozen in place as you lay on the chair. You hear a sound from the service table next to you. You see a dental probe that you failed to notice before fly into the air in front of you. Your mouth opens, yet you cannot scream.\nThe tool, with its sharp hook, descends to do its torture on you.\n\n> Dream library\nWhich do you mean, the library door or the small brick building?\n\n> You dream library door\nDreaming of doors is a dangerous thing.\n\n> Dream bank\nYou close your eyes and think of the squat gray building on Woodside & Cliff. When you open them again, you see that you now stand before it.\n\nThe road bends here. Woodside Lane runs north and Cliff Street runs east. To the west is the wilderness of pine trees and to the south is a squat, gray building; a bank, your mind tells you. Its door is a strong, metal affair. The emptiness of this town makes you feel as if you are in an episode of The Twilight Zone.\n\n> Unlock bank\nWhat do you want to unlock the squat gray building with?\n\n> You unlock the bank with the old key\n(first taking the old key)\nYou are paralyzed on the dentist's chair. The dental probe descends closer toward your eye.\n\nThe dental probe buries itself into your eye!\n\n> You look\nThere is no waiting room in this quaint dentist's office. Instead, there's a sofa for any waiters but they would be in full witness of the dentist's chair in the middle of the room. It is a modern, reclining, comfortable-looking chair, but you know not to be fooled. To you, it's a modern torture device. A service table sits next to the dentist's chair. A small placard is on the table, stating\n\"Please Have A Seat\". The only exit is a door to the outside\nworld to the northwest.\n\n> You go northwest\nHere, Church Street runs north. It bends and becomes Cliff Street which heads west. Woods flank the road to the east and south but a one-story office building is to the southeast.\n\n> Go north\nRunning north-to-south, this is Church Lane. The backside of the library is to the west, and pine trees flank the east. The air is still and the town feels emptier than ever.\n\n> Go north\nMain Street stretches to the west and Church street to the south.\nThey converge here to an intersection and become one road heading northeast, out of town. Trees border the north and an old church sits to the east, on the edge of town. Its door is not far from the road.\n\n> Go east\n(first opening the church door)\nIt seems to be locked.\n\n> You unlock the church door with the old key\n(first taking the old key)\n(putting the damp washcloth into the worn backpack to make room) You're carrying too many things already.\n\n> You unlock the church door with the old key\n(first taking the old key)\n(putting the box cutter into the worn backpack to make room)\nYou unlock the church door.\n\n> You go east\n(first opening the church door)\n\nThis is a small but dilapidated church. An aisle between rows of pews leads to an altar and behind the altar you can see a squat door on the east wall. The ceiling sags in this building and you can tell that it's been abandoned for many years. Stained glass windows line the walls; each smashed in many places, leaving only pieces of saints intact. The door to the west leads back outside and above it is a dirty sign of some sort.\n\n> You read the sign\nThe sign is flowing script that reads, \"Saint Josephs the\nInnocent\". Funny, you went to Sunday School and never heard of a Saint Josephs with an \"S\" at the end of his name.\n\n> You look at the windows\nThe stained glass windows line the walls; each smashed in many places, leaving only pieces of saints intact. Through the smashed holes, you can see the gray sky that looms over this strange town.\n\n> Go east\n(first opening the squat door)\n\nThis is the bottom of a church steeple. A rusty ladder leads up to a belfry and a squat door is on the west wall. Otherwise, this space is dusty and shadowy and something tells you that you don't wish to tarry too long here.\n\n> You go west\nThis is a small but dilapidated church. An aisle between rows of pews leads to an altar and behind the altar you can see a squat door on the east wall. The ceiling sags in this building and you can tell that it's been abandoned for many years. Stained glass windows line the walls; each smashed in many places, leaving only pieces of saints intact. The door to the west leads back outside and above it is a dirty sign of some sort.\n\n> You go west\nMain Street stretches to the west and Church street to the south.\nThey converge here to an intersection and become one road heading northeast, out of town. Trees border the north and an old church sits to the east, on the edge of town. Its door is not far from the road.\n\n> You go west\nThis east-west road must be Main Street. There's not much here, of course, this being just a portion of a small town. But, there is a hardware store to the north. To the south is the library but the entrance is on another side of it. Otherwise, you could head back to Woodside Lane to the west or Church Lane to the east.\n\n> You go north\n(first opening the store door)\n\nDust covers everything in this abandoned hardware store. Empty shelves probably once held all sorts of things for the handyman in everyone, but now, only the dust remains. There is a wooden counter, as well, where perhaps a cash register once sat. The exit is a store door to the south.\n\n> You examine counter\nIt's a long, wide counter that probably once held the cash register and other things.\n\n> You examine the dust\nIn the dust, a message is written with a hasty finger: my name is richard lynch.\n\n> You check what you're carrying\nYou are carrying:\nan old key\nsome brown paper\na care package (open but empty)\na crumpled napkin\na worn backpack (open)\na box cutter\na damp washcloth\na sentient brain\na floppy disk\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> Dream altar\nYou close your eyes and think of the church altar. When you open them again, you find yourself somewhere else.\n\nThis is a small but dilapidated church. An aisle between rows of pews leads to an altar and behind the altar you can see a squat door on the east wall. The ceiling sags in this building and you can tell that it's been abandoned for many years. Stained glass windows line the walls; each smashed in many places, leaving only pieces of saints intact. The door to the west leads back outside and above it is a dirty sign of some sort.\n\n> You go to the east\nThis is the bottom of a church steeple. A rusty ladder leads up to a belfry and a squat door is on the west wall. Otherwise, this space is dusty and shadowy and something tells you that you don't wish to tarry too long here.\n\n> Up\nUp here, you can literally feel the steeple rock back and forth slightly. You can hear the wood creak under the strain of your weight. The bell, now rusty and useless, still hangs, dominating the space here. The wind is present, but not heavy, and you can see over the church's sagging roof to the road below from up here. A rusty ladder leads back down to the bottom of the steeple.\n\nStrangely, the only bat in this belfry is an aluminum baseball bat leaning in the corner.\n\n> You get the bat\n(putting the floppy disk into the worn backpack to make room)\nYou pick up the baseball bat from the ground.\n\n> You ring bell\nLooking underneath the bell, you see its clapper is missing.\n\n> Dream neon sign\nYou close your eyes and think of the \u211e sign. When you open them again, you are somewhere else.\n\nWoodside Lane, running south, bends and becomes Main Street, running east, on this corner. To the west, the wilderness of pine trees marks the border of this small town. To the north, a small shop with the \"\u211e\" symbol on a neon sign on the door.\n\n> You look at the bat\nThis bat is identical to the one you used when you were in Little League. It's made of aluminum and you remember the ring it gives when it strikes something.\n\n> You smash the door with bat\nYou smash the glass of the door with the baseball bat. The piercing sound shatters the stillness of this quiet street. But it is over soon enough. Reaching in, you unlock the door.\n\n> You go to the north\n(first opening the apothecary door)\n\nThis old-timey pharmacy is as eerily quiet as the town it inhabits. Different medicinal sundries and healthcare supplies line the wire shelves and a pharmacist's counter is in the back. The exit is a door to the south. Also, the window's display items are accessible here.\n\n> You look at the shelves\nJust cheap, wire shelving units.\n\n> You examine the sundries\nThese sundries include over-the-counter medicines for such things as sore throats, headaches, and of course, the dreaded diarrhea.\n\n> You look at the display items\nThe items in the window display include bedpans, canes, walkers, wheelchairs, and the like.\n\n> You look at the counter\nIt's where all the business of the pharmacy was once done.\n\n> Dream bell\nYou close your eyes and think of the rusty bell in the rickety belfry. When you open them again, you find yourself somewhere else.\n\nUp here, you can literally feel the steeple rock back and forth slightly. You can hear the wood creak under the strain of your weight. The bell, now rusty and useless, still hangs, dominating the space here. The wind is present, but not heavy, and you can see over the church's sagging roof to the road below from up here. A rusty ladder leads back down to the bottom of the steeple.\n\n> You dream library door\nDreaming of doors is a dangerous thing.\n\n> Dream neon sign\nYou close your eyes and think of the \u211e sign. When you open them again, you are somewhere else.\n\nWoodside Lane, running south, bends and becomes Main Street, running east, on this corner. To the west, the wilderness of pine trees marks the border of this small town. To the north, a small shop with the \"\u211e\" symbol on a neon sign on the door.\n\nWallace Josephs is here, looking like a dangerous and demented version of Dr. Lynch.\n\n> You go south\nA sign nearby signifies that this is Woodside Lane, and it runs north and south. This is the edge of this small town and a wilderness of pine trees sits to the west. A small, brick building is to the east. For some reason, you know it's a library. The sky remains a gray slate.\n\n> Go east\n(first opening the library door)\n\nThis place must've been designed in the 70s or early 80s, you consider. The design is very \"Brady Bunch\". Posters and notices line the walls of this lobby and a circular reception desk sits in the center of the room. Wide doorways lead northeast, east, southeast, and south to other parts of the library, and a door leads north to a computer lab, as per the sign on it. A potted fern sits in the corner and the door to the outside is to the west.\n\n> Go north\n(first opening the lab door)\n\nThis lab is modern if this dream were taking place in the 80's. There's not much here, however, as if either the library could only afford the one old computer you can see here, or maybe the rest of the computers were pilfered by people. After all, this place is as devoid of life as the town. The old computer sits on an old desk and a matching, old chair sits before it. Shapes on the paint on the walls indicate posters once hung here, but they, too, are now gone. The only exit is a door to the south.\n\n> You put the disk in the comoputer\nWhich do you mean, the floppy disk or the disk drive?\n\n> You put the floppy disk in the disk drive\nYou pop the floppy disk into the disk drive. The whole computer whirrs to life.\n\nOn the screen, a simple sentence prompts you to \"Look up Wallace Josephs in the Reference section. Then set your biological clock to wake up.\"\n\nYou take the floppy disk back out of the disk drive, just in case.\n\n> Go south\nThis place must've been designed in the 70s or early 80s, you consider. The design is very \"Brady Bunch\". Posters and notices line the walls of this lobby and a circular reception desk sits in the center of the room. Wide doorways lead northeast, east, southeast, and south to other parts of the library, and a door leads north to a computer lab, as per the sign on it. A potted fern sits in the corner and the door to the outside is to the west.\n\nWallace Josephs is here, looking like a dangerous and demented version of Dr. Lynch.\n\n> Go south\nThis area of the library is brightly colored and it attempts to appeal to both young children and young adults with its selection of posters and books. The bookshelves here are only half the normal size and are full of books from Dr.Seuss to whatever the latest vampire epic for teens is. From here, you can see the lobby to the north and the main collection to the east.\n\nWallace Josephs arrives from the north.\n\n> You go to the east\nFrom where you stand, the aisles of books stretch before you to the east and south. To the north, you can see the Periodicals section and to the west you can see the Juvenile section.\n\n> Go south\nYou wander down the aisle of books for awhile, but soon are surprised to find yourself back at the start of the main collection.\n\nWallace Josephs arrives from the west.\n\n> You go to the east\nYou wander down the aisle of books for awhile, but soon are surprised to find yourself back at the start of the main collection.\n\n> Go north\nYou are roughly in the middle of the library and its emptiness is creepy as all the lights are on. It's as if the place was busy as normal but everyone just disappeared for you see open books and newspapers around and just a feeling as if people were just here.\nIt's the 'Mary Celeste' of libraries.\n\nIn this section, mostly current magazines are stored in open display cases. Comfortable seats are spread around for reading. From here, you can see the reference section to the north, the main collection to the south, and you can return to the lobby to the west.\n\nWallace Josephs arrives from the south.\n\n> Go north\nThis portion of the library is for all the reference material. Wide bookshelves are stuffed with thick encyclopedias and other informative books. However, unlike any small-town library you've seen, the reference books here are guarded behind a thin laser beam running across each shelf, making it impossible to pull a book out without breaking the beam. You can see a control box from where the beams emerge. From here, you can head south to the Periodicals sections or southwest to the lobby.\n\n> You examine the control box\nIt's a strange, plain, gray box with holes that have lasers protruding forth. The box is angled so that the lasers stream across the reference books in the wide bookshelf.\n\nWallace Josephs arrives from the south.\n\n> Inventory\nYou are carrying:\na baseball bat\nan old key\nsome brown paper\na care package (open but empty)\na crumpled napkin\na worn backpack (open)\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You get the glass\nThey're hardly portable.\n\n> Dream sofa\nWhich do you mean, the office couch or the sofa?\n\n> Dream office couch\nTrying to recall something from waking life in your dream is like trying to recall a dream in waking life.\n\n> Dream wallace\nSomething tells you that Wallace is currently in Woodside Lane.\n\n> You wait\nTime passes.\n\n> Dream tv\nThat's not really a television set.\n\nWallace Josephs arrives from the west.\n\n> Dream wallace\nSomething tells you that Wallace is currently in Trees (the lower woods).\n\n> Dream wallace\nSomething tells you that Wallace is currently in Rocky Path.\n\n> Dream wallace\nSomething tells you that Wallace is currently in Trees (near the small waterfall).\n\n> Dream dentist's chair\nYou close your eyes and think of the dentist's chair. When you open them again, you find yourself somewhere else.\n\nThere is no waiting room in this quaint dentist's office. Instead, there's a sofa for any waiters but they would be in full witness of the dentist's chair in the middle of the room. It is a modern, reclining, comfortable-looking chair, but you know not to be fooled. To you, it's a modern torture device. A service table sits next to the dentist's chair. A small placard is on the table, stating\n\"Please Have A Seat\". The only exit is a door to the outside\nworld to the northwest.\n\n> You sit in the chair\nYou get onto the dentist's chair.\n\nSuddenly, you are paralyzed; your arms and legs frozen in place as you lay on the chair. You hear a sound from the service table next to you. You see a dental probe that you failed to notice before fly into the air in front of you. Your mouth opens, yet you cannot scream.\nThe tool, with its sharp hook, descends to do its torture on you.\n\n> You ask the brain about the probe\nYou are paralyzed on the dentist's chair. The dental probe descends closer toward your eye.\n\n> Dream probe\nYou concentrate on the dental probe, dreaming it away. It advances closer, aiming for your eyeball. Finally, your lucidity wins and the dental probe, with an audible POP, winks out of this dream.\n\nOnce the terror in you subsides, you see a dentist's mouth mirror on the service table. Funny, you didn't see it before.\n\n> You get the mirror\n(putting the crumpled napkin into the worn backpack to make room)\nYou take the mouth mirror from the service table.\n\n> You examine the mirror\nIt is a small, hand-held mirror used to examine the interior of patients' mouths.\n\n> Dream computer\n(the computer monitor)\nTry as you might, you can't seem to bring any image of Fran Anderson or her belongings to your mind right now. Weird.\n\n> Dream fern\nYou close your eyes and think of the potted fern. When you open them again, you find yourself somewhere else.\n\nThis place must've been designed in the 70s or early 80s, you consider. The design is very \"Brady Bunch\". Posters and notices line the walls of this lobby and a circular reception desk sits in the center of the room. Wide doorways lead northeast, east, southeast, and south to other parts of the library, and a door leads north to a computer lab, as per the sign on it. A potted fern sits in the corner and the door to the outside is to the west.\n\n> You go to the north-east\nThis portion of the library is for all the reference material. Wide bookshelves are stuffed with thick encyclopedias and other informative books. However, unlike any small-town library you've seen, the reference books here are guarded behind a thin laser beam running across each shelf, making it impossible to pull a book out without breaking the beam. You can see a control box from where the beams emerge. From here, you can head south to the Periodicals sections or southwest to the lobby.\n\n> You look at the control box\nIt's a strange, plain, gray box with holes that have lasers protruding forth. The box is angled so that the lasers stream across the reference books in the wide bookshelf.\n\n> You put mirror in the box\n(the control box)\nThat can't contain things.\n\n> Block beam with mirror\nCleverly, you angle the mouth mirror to one of the lasers. After a moment to hold your breath, you break the beam with the mouth mirror. The beam reflects off the mirror and you angle it to the control box, back in on itself. As this happens, the box sparks and the laser beams guarding the reference books disappear.\n\n> You look up Wallace Josephs in the books\nYou look in the appropriate encylcopedia and find the entry for Wallace Josephs. Unfortunately, the print is too small to read with your eyes alone.\n\n> Inventory\nYou are carrying:\na mouth mirror\na baseball bat\nan old key\nsome brown paper\na care package (open but empty)\na worn backpack (open)\na crumpled napkin\na floppy disk\na box cutter\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You ask the brain about the reading\nThere is no reply.\n\nWallace Josephs arrives from the southwest.\n\n> You examine Wallace\nHe looks like Dr. Richard Lynch, but maybe his evil brother, perhaps? He has the large frame and ginger beard. But, instead of a nice, crisp labcoat, Wallace wears a bloodstained butcher's apron. In one hand, he carries a cleaver and a syringe dangles from his other hand. He stares at you with dead eyes.\n\n> You take the cleaver\nThat seems to belong to Wallace Josephs.\n\n> You take syringe\nThat seems to belong to Wallace Josephs.\n\nWallace Josephs springs to life suddenly. He swings his cleaver at your head but you are lucid enough to scramble away from his attack.\n\n> Dream wallace\nYou are already dreaming of Wallace Josephs.\n\n> Dream cleaver\nYou are already dreaming of that cleaver in Wallace's hand. You can't seem to do anything with it while he carries it, unfortunately.\n\n> Dream apron\nWhich do you mean, the butcher's apron or the apron pocket?\n\n> Dream butcher's apron\nSomething tells you that Wallace is currently wearing the bloody butcher's apron.\n\n> You examine the pocket\nIt is the only pocket sewn into the butcher's apron.\n\nIn the apron pocket is a biological clock.\n\n> You take the clock\nThat seems to belong to Wallace Josephs.\n\n> You attack wallace\nHe looks a bit too intimidating to attack him with your bare hands.\n\n> You attack Wallace with the bat\nYou swing the bat but somehow miss. The monster roars a laugh at your failure.\n\n> You get the box cutter\n(putting the care package into the worn backpack to make room)\nYou take the box cutter from the worn backpack.\n\n> You attack Wallace with the box cutter\nYou figure the box cutter would make good enough knife and you lash out at Wallace.\n\nAmazingly, you succeed in slicing the monster across the chest. The apron, now cut and ruined, falls to the ground.\nAs you scramble back to your feet, the monster of a man runs off, injured. You are safe, for now.\n\n> You get the clock\n(putting the brown paper into the worn backpack to make room)\nYou take the biological clock from the apron pocket.\n\n> You examine the clock\nIt is a strange chunk of ... well, flesh, really. It's pretty disgusting, especially because a rough circle of the flesh has been sickeningly ripped off, leaving a patch of bloody muscle. What's also weird is that there is hair in this patch. Upon closer inspection, the hair is growing in a precise way as to make a sort-of clock face on the muscle. Two hairs grow from the center and point outward, making the hour and minute \"hands\", and small nubs of hair surround the circle, making a braille-like series of numbers to mark the time. (To check the time, type \"check time\" or just \"time\".)\n\n> Time\nTaking a moment to study the horrid biological clock, you determine that it is twenty-five to six.\n\n> Dream fern\nYou close your eyes and think of the potted fern. When you open them again, you find yourself somewhere else.\n\nThis place must've been designed in the 70s or early 80s, you consider. The design is very \"Brady Bunch\". Posters and notices line the walls of this lobby and a circular reception desk sits in the center of the room. Wide doorways lead northeast, east, southeast, and south to other parts of the library, and a door leads north to a computer lab, as per the sign on it. A potted fern sits in the corner and the door to the outside is to the west.\n\nWallace Josephs arrives from the west.\n\n> Dream bank\nYou are already dreaming that you are standing before the squat gray building. You seem to realize it's a bank.\n\nWallace Josephs arrives from the north.\n\n> You examine the bank\nIt's a sturdy building made of large, white stone bricks. There are no windows. For a small-town local bank, it sure appears solidly forboding. Its door is a strong, metal affair.\n\n> You examine the door\nThis is the door to the bank. It is made especially strong, just in case.\n\nWallace Josephs springs to life suddenly. He swings his cleaver at your head but you are lucid enough to scramble away from his attack.\n\n> You examine saints\nMostly the edges of the stained glass remain, leaving the hands, feet, and sometimes a halo, of the saints who have been vandalized in this church.\n\n> Go north\nDust covers everything in this abandoned hardware store. Empty shelves probably once held all sorts of things for the handyman in everyone, but now, only the dust remains. There is a wooden counter, as well, where perhaps a cash register once sat. The exit is a store door to the south.\n\n> You look behind the counter\nLooking behind the counter, you find the last remaining tool that this store had to offer: a sturdy hammer which you grab.\n\n> You look at the hammer\nIt's a well-built, sturdy hammer that feels good in your hand.\n\nWallace Josephs arrives from the south.\n\n> Dream bedpan\nYou close your eyes and think of the display items you saw inside the pharmacy. When you open them, you find yourself somewhere else.\n\nThis old-timey pharmacy is as eerily quiet as the town it inhabits. Different medicinal sundries and healthcare supplies line the wire shelves and a pharmacist's counter is in the back. The exit is a door to the south. Also, the window's display items are accessible here.\n\n> You look behind the counter\nLooking behind the counter, you find a prescription pad and a dull pencil; both of which you take out of curiosity.\n\n> Examine pad\nIt's a small but thick pad of prescription slips. A doctor would write the medicine and patient's name on these and the patient brings them to the pharmacy to get filled.\n\n> You write on the pad\nWhat do you want to write on the prescription pad with?\n\n> You write on the pad with the pencil\nSure, you could write on this prescription pad with the dull pencil. But you have nothing that really needs to be written.\nHowever, maybe there's something else you can do with the two objects to glean something.\n\n> You rub the pad with the pencil\nUsing the old pencil-rub technique, you use the pencil to shade the top page of the pad and read the indentations left from the previous, missing entry. After some squinting and touching-up, you finally are able to read \"Richard Lynch is someone else. You're no longer in\nyour own head. Despair and be forgotten.\".\n\nSomething tells you that time has passed in this town slightly.\n\nWallace Josephs arrives from the south.\n\n> You go south\nWoodside Lane, running south, bends and becomes Main Street, running east, on this corner. To the west, the wilderness of pine trees marks the border of this small town. To the north, a small shop with the \"\u211e\" symbol on a neon sign on the door.\n\n> You go south\n(first opening the strong door)\n\nThis is a small anteroom mainly for ATM use when the bank proper is closed. A strong door leads outside to the north and an interior door leads to the bank lobby to the south. The ATM sits in the west wall and a card-reading device is next to the interior door.\n\nWhat's impossible to miss, however, is the dead body on the floor of this anteroom. Most likely a man, its face is gone: destroyed completely by a shotgun blast or some other high-caliber weapon, leaving him completely unidentifiable. The blood from the wound is sprayed all over the east wall and floor, but it is brown and dry.\n\n> You examine the body\nDressed like someone who most likely lived in a trailer park, this person was probably male, but it's difficult to tell as its face is gone: destroyed completely by a shotgun blast or some other high-caliber weapon, leaving him completely unidentifiable. The blood from the wound, now brown and dry, is sprayed all over the east wall and floor.\n\n> You examine atm\nIt's a bulky device fitted into the west wall. Bank customers insert their credit cards into it to recieve cash out of it. Other banking services can be done, as well. You've always thought of them as one of society's better ideas. To start, you'd have to insert a credit card then type a PIN into it.\n\nWallace Josephs arrives from the north.\n\n> You hit Wallace with the hammer\nYou hold the hammer in your fist and strike at Wallace.\n\nAmazingly, you whack the monster man in the forehead, stunning him; his eyes rolling in the back of his head.\nHaving been injured too much in this dream, the hulking man disappears ... for now.\n\n> You examine the credit card\nIt's plastic, of course, and silver-gray in color. The numbers on it change every time you glance at it, making you dizzy when you do, but the name on the card is constant: Dr Richard Lynch.\n\n> You examinthe card-reader\nNext to the south door is a card-reading device. It's a security feature forcing customers to insert their credit card into it in order to unlock the interior door.\n\n> You put the card intthe card-reader\nYou slide the credit card into the device and you hear the interior door unlock loudly. The card easily comes back out.\n\n> You go to the south\n(first opening the interior door)\n\nThis place is full of ghosts. You can see them in line near the teller's window as well as near the kiosk where they repeatedly run through their banking motions for eternity. The spirits are translucent figures of differing shapes and sizes, their feet lost illusions as they float about this bank lobby, forever doing their business; seemingly oblivious to you. The door to the outside world is to the north and you can see a vault door, a large, circular metal monstrosity, to the west. It is guarded by a ghostly security guard, of course.\n\n> You go west\n(first opening the vault door)\nIt seems to be locked.\n\n> You examine the guard\nHe stands as a translucent sentinal to the side of the vault door. He's the only one whose eyes glance at you every once and awhile. Perhaps he notices you, or thinks he does on whatever level of existence he's actually on.\n\n> You talk to the guard\nYou say hello to the ghostly guard.\n\nYou have nothing specific in mind to discuss with ghostly guard right now.\n\n> You go to the north\nThis is a small anteroom mainly for ATM use when the bank proper is closed. A strong door leads outside to the north and an interior door leads to the bank lobby to the south. The ATM sits in the west wall and a card-reading device is next to the interior door.\n\nWhat's impossible to miss, however, is the dead body on the floor of this anteroom. Most likely a man, its face is gone: destroyed completely by a shotgun blast or some other high-caliber weapon, leaving him completely unidentifiable. The blood from the wound is sprayed all over the east wall and floor, but it is brown and dry.\n\n> You put the card into ATM\nYou insert the credit card and the ATM's lights spring to life. All you need to do next is type a PIN into it.\n\n> Type 7178\nWhat do you want to type that in?\n\n> You type 7178 into ATM\nThe ATM display tells you that the PIN you entered is accurate. A twenty-dollar bill emerges and you grab it.\n\n> Inventory\nYou are carrying:\na twenty-dollar bill\na credit card\na dull pencil\na prescription pad\na sturdy hammer\na biological clock\na box cutter\na mouth mirror\na baseball bat\nan old key\na worn backpack (open)\nsome brown paper\na care package (open but empty)\na crumpled napkin\na floppy disk\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You examine the credit card\nIt's plastic, of course, and silver-gray in color. The numbers on it change every time you glance at it, making you dizzy when you do, but the name on the card is constant: Dr Richard Lynch.\n\n> South\nThis place is full of ghosts. You can see them in line near the teller's window as well as near the kiosk where they repeatedly run through their banking motions for eternity. The spirits are translucent figures of differing shapes and sizes, their feet lost illusions as they float about this bank lobby, forever doing their business; seemingly oblivious to you. The door to the outside world is to the north and you can see a vault door, a large, circular metal monstrosity, to the west. It is guarded by a ghostly security guard, of course.\n\n> You unlock the door with the credit card\nWhich do you mean, the interior door or the vault door?\n\n> You give the bill to the guard\nSomehow, the level of existence he is on, and the one you are on, meet as the bill is passed between the two of you clandestinely. It disappears in his pocket and he nods toward the vault door. The smooth sound of metallic gears can be heard for a moment and then the door slowly swings open, allowing passage to the west.\n\n> Go west\nNot a large room, by any means. This vault's walls are covered with safety deposit boxes of various sizes in no order at all. Different sized boxes mixed together and all of them are open and empty, having been looted in whatever robbery happened here. The only exit is the vault door to the east.\n\nThe only other thing in here: a second body, another gunshot victim. This time, a child of maybe ten years old. A clean bullet wound in the forehead. A peaceful look on his somewhat familiar face.\n\nYou can see a monocle here.\n\n> You get the monocle\n(putting the old key into the worn backpack to make room)\nYou're carrying too many things already.\n\n> You get the monocle\n(putting the baseball bat into the worn backpack to make room)\nYou're carrying too many things already.\n\n> Inventory\nYou are carrying:\na credit card\na dull pencil\na prescription pad\na sturdy hammer\na biological clock\na box cutter\na mouth mirror\na worn backpack (open)\na baseball bat\nan old key\nsome brown paper\na care package (open but empty)\na crumpled napkin\na floppy disk\na damp washcloth\na sentient brain\na pair of black Skechers (being worn)\na pair of jeans (being worn)\na black shirt (being worn)\na hospital gown (being worn)\n\n> You drop the mirror\nDropped.\n\n> You get the monocle\n(putting the box cutter into the worn backpack to make room)\nYou're carrying too many things already.\n\n> You look at the monocle\nIt's an old-timey monocle, much like Mr. Peanut wears. It's attached to a lanyard so it's easy to carry around and not misplace. You are currently wearing it.\n\n> You look\nNot a large room, by any means. This vault's walls are covered with safety deposit boxes of various sizes in no order at all. Different sized boxes mixed together and all of them are open and empty, having been looted in whatever robbery happened here. The only exit is the vault door to the east.\n\nThe only other thing in here: a second body, another gunshot victim. This time, a child of maybe ten years old. A clean bullet wound in the forehead. A peaceful look on his somewhat familiar face.\n\nYou can see a prescription pad, a dull pencil and a mouth mirror here.\n\n> Examine boxes\nWhat reminds you most that you are in a dream is how they are uneven in every way possible. The more you stare at them, the more the geometry of the ones in your peripheral vision become distorted.\n\n> You look at the body\nHe is a child of maybe ten years old with a clean bullet wound in his forehead. He has a peaceful look on his somewhat familiar face.\n\n> You go northeast\nThis portion of the library is for all the reference material. Wide bookshelves are stuffed with thick encyclopedias and other informative books. From here, you can head south to the Periodicals sections or southwest to the lobby.\n\nYou can see a butcher's apron here.\n\n> Go south\nYou are roughly in the middle of the library and its emptiness is creepy as all the lights are on. It's as if the place was busy as normal but everyone just disappeared for you see open books and newspapers around and just a feeling as if people were just here.\nIt's the 'Mary Celeste' of libraries.\n\nIn this section, mostly current magazines are stored in open display cases. Comfortable seats are spread around for reading. From here, you can see the reference section to the north, the main collection to the south, and you can return to the lobby to the west.\n\n> You look up Wallace Josephs in the books\nYou look in the appropriate encyclopedia and find the entry for Wallace Josephs. Your monocle helps with the small print and the book informs you that Wallace Josephs is the physician to the Philadelphia mob. He is known for his callousness to the victims of those he assists. Some profilers believe the man is schizophrenic, as he runs a typical sleep lab in the local hospital. So far, he has evaded prosecution as authorities are still investigating him.\n\nWritten in the margin, in pencil, by some unknown hand, is written: 30th Street Train Station, Locker 7178- all the evidence you need to turn him in.\n\n> Set the clock to wake up\nSomehow, you figure out how to manipulate the hairs on the muscle patch of the strange and horrible biological clock to set it to wake you up. You're not sure how that works, but you figure, in a dream, it just does. A ticking sound can be heard emitting from deep within the biological clock and as you hold it, it seems to throb slightly as it ticks.\n\nThe biological clock continues to tick away.\n\n> You wait\nTime passes.\n\nThe biological clock continues to tick away.\n\n> You look at the clock\nIt is a strange chunk of ... well, flesh, really. It's pretty disgusting, especially because a rough circle of the flesh has been sickeningly ripped off, leaving a patch of bloody muscle. What's also weird is that there is hair in this patch. Upon closer inspection, the hair is growing in a precise way as to make a sort-of clock face on the muscle. Two hairs grow from the center and point outward, making the hour and minute \"hands\", and small nubs of hair surround the circle, making a braille-like series of numbers to mark the time. (To check the time, type \"check time\" or just \"time\".)\n\nFinally, something happens. The biological clock explodes in a fury of noise and gore.\n\nYou awake and immediately see Dr. Richard Lynch looking over you. He smiles and you relax a bit. He seemingly doesn't know what you now know. He doesn't know you were in his head all night.\n\nYou leave the hospital early that morning with one destination in mind."
    },
    {
        "text": "[Themes: Apollo 18 Tribute Album, grave-digging, music, based on songs, death]\n\n> Wait\nThis is as deep in the forest as it gets. Nothing but trees all around, and only a couple beams of moonlight to see them by.\n\nThere's a dead body here.\n\nThe soil in this tiny clearing feels uncommonly soft.\n\n[Author's Note: For reasons which remain obscure, it is your job to dig a grave.]\n\n> About yourself\nA little scuffed up from the walk out here, but looking better than your friend over there.\n\n> You touch the soil\nYou feel nothing unexpected.\n\n).\"\n\n> You look at the trees\nThe trees crowd around you. They almost seem suspicious.\n\n> Inventory\nYou are carrying:\na shovel\n\n> You examine the shovel\nA long, sturdy shovel of questionable provenance.\n\n> You examine the body\nIt's a dead body. Its clothes are dirty (on account of being dragged through the woods). Its eyes are open, but they aren't looking at anything.\n\n> You close the eyes\nTo a person playing a game in text, that probably seems like a poetic thing to do, but in person the prospect is kind of really gross.\n\n> You look at eyes\nThey look more like two glass eyes.\n\n> You take the eyes\nThat seems to be a part of the dead body.\n\n> Attack body\nYou give the corpse a stiff kick. To make sure.\n\n> Dig\nYou begin digging. Soon you've excavated an area about as long and broad as the corpse, and a few inches deep.\n\n> Dig\nYou dig some more. The hole gets deeper. Piles of turned-up soil are forming around its perimeter.\n\n> You look at the grave\nIt's starting to look like a real hole.\n\n> You enter the grave\nYou stand in the hole for a little bit, but it's a lackluster experience.\n\n> Dig\nYou manage to excavate a little more, but after all this digging you're exhausted.\n\n> Dig\nYour arms are too tired, and you're out of breath. You need to take a break before you dig any more.\n\n> Wait\nTime passes.\n\n> Dig\nYour arms are too tired, and you're out of breath. You need to take a break before you dig any more.\n\nWell, now your arms are starting to feel like they could handle some more digging.\n\n> You examine the clothes\nThe corpse's clothes are stained and ripped beyond repair. You can discern a lump in one of the pockets.\n\n> You examine lump\n(First reaching in the dead person's pocket and stealing their stuff) It's a rock, in kind of a spiral shape.\n\n> You look at the rock\nIt's a rock, in kind of a spiral shape.\n\n> You eat the rock\nThat's plainly inedible.\n\n> You examine scratches\nThe scratches are apparently artificial. As you look at them, they seem to form some kind of pattern.\n\n> You look at the pattern\nAs you squint more and more at the spiral, the pattern of scratches almost makes its significance known to you--but no. It's just just a scratched-up rock.\n\n> Dig\nYou return to your task with renewed vigor. The hole gets deeper.\n\n> Dig\nYou continue to dig until the hole has become more or less a proper grave. Congratulations.\n\n> You get in the grave\nYou get in the grave for a little while. A creepy feeling comes over you. You climb out of the grave.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Sing\nYour singing is abominable.\n\n> Kiss body\nYou can only bring yourself to give it a little peck on the cheek.\n\n> You put the body in the grave\nYou push the corpse to the edge of the grave and then you shove it in. It hits the bottom with a thud.\n\nYou cover it up with dirt until you get bored and walk away.\nAnd now I'm in charge! Thanks for putting my spirit to rest,\nsucker!\n\nI'm in Heaven, in front of the pearly gate, and you're not, so, sucks to be you.\n\nAnd Saint Peter is here! Awesome!\n\n> About you\nWho cares what I look like? It's the afterlife! I look like whatever the heck I want!\n\n> You look at the peter\nHe's this dude in a robe, with a beard, that kind of thing, and he's carrying some keys. He's waving at me, because he knows we're gonna be best friends.\n\n> Wave\nYou wave, feeling foolish.\n\n> You examine the keys\nOne of them is gold, and the other one is silver. I don't see why this one gate needs two keys.\n\n> You look at clouds\nYes obviously there are clouds here. Duh.\n\n> You look at the gate\nIt's this huge gate, made out of a gigantic pearl. It's pretty amazing. I wish you could see it. But you can't, because you're alive!\n\nI don't really care whether you see it or not!\n\n> You talk to Peter\nHey, Peter! How about letting me in, man?\n\nHe's not saying anything. He's just getting something out of the copious folds of his voluminous robe.\n\nOh, hey, it's a medal! For me! For being so great! Thanks, Pete!\n\n> You examine medal\nIt's this awesome gold medal, and it says \"AMICISSIMUS DAMNATORUM,\" which is Latin.\n\n> You wear the medal\nHey guess what? I'll wear it when I feel like it!\n\n> You open gate\nCome on!\n\n> You open gate\nWait, what's going on?\n\n> You open gate\n\n\n> Dig\nThis is as deep in the forest as it gets. Nothing but trees all around, and only a couple beams of moonlight to see them by.\n\nThere's a dead body here.\n\nThe soil in this tiny clearing feels uncommonly soft.\n\n> Dig\nYou begin digging. Soon you've excavated an area about as long and broad as the corpse, and a few inches deep.\n\n> You wait\nTime passes.\n\nWell, now your arms are starting to feel like they could handle some more digging.\n\n> Dig\nYou return to your task with renewed vigor. The hole gets deeper.\n\n> Dig\nYou continue to dig until the hole has become more or less a proper grave. Congratulations.\n\n> Dig\nThe grave is deep enough. You are done digging.\n\n> You bury yourself\nThat would be harder than it sounds.\n\n> You take the lump\nTaken.\n\n> You look at Peter\nHe's this dude in a robe, with a beard, that kind of thing, and he's carrying some keys. He's waving at me, because he knows we're gonna be best friends.\n\n> Wave\nYou wave, feeling foolish.\n\n> About you\nWho cares what I look like? It's the afterlife! I look like whatever the heck I want!\n\n> You open the gates\nLooks like it's locked. Whatever, Peter's gonna unlock it in a second.\n\n> Unlock gates\n(with the keys)\nSaint Peter has better things to do.\n\n> You give the medal to Peter\nSaint Peter doesn't seem interested.\n\n Come on!\nWait, what's going on?\n## \n\n> LIST A"
    },
    {
        "text": "[Themes: Fantasy, fantasy, retro]\n\nType \"help\" for help.\n\nThe Phil's Bedroom (on the Phil's bed)\nSprawled face down on the bed, the Phil is snoozing quietly in the bedroom of his house in Birmingham. This - certainly - is no palace. The room is plain, painted magnolia, and quite empty of furniture other than the bed itself. A Grand Prix '87 poster hangs limply from the wall. Rain beats at the window. Lime green doors lead in and out.\n\nLying on its side on the floor is a  large mug.\n\nThe Phil can also see a little card here.\n\n[Author's Note: A solitary scholar, his purpose and presence in the world a mystery even to himself, ventures abroad in a dream state. He finds a land of sunny lanes and dark forests, steeped in the blood of Celt, Saxon, Viking and Norman, where paganism never really went away - the West Midlands. Birmingham IV tells the story of what happened next.]"
    },
    {
        "text": "[Themes: Fantasy, retro]\n\n> About yourself\nSome stones are best left unturned.\n\n> You examine the bed\nA solid and immovable divan with a nice pattern of pink roses.\n\nPredictably, the Phil's eyes water.\n\n> You stand\nHe gets off the Phil's bed.\n\nThe Phil is in the Phil's Bedroom. This - certainly - is no palace. The room is plain, painted magnolia, and quite empty of furniture other than the bed itself. A Grand Prix '87 poster hangs limply from the wall. Rain beats at the window. Lime green doors lead in and out.\n\nLying on its side on the floor is a  large mug.\n\nThe Phil can also see a little card here.\n\n> You examine the card\n\"Get out of jail free\"\n\nPredictably, the Phil's eyes water.\n\n> You take the card\nTaken.\n\n> You look at the mug\nUgly.\n\nPredictably, the Phil's eyes water.\n\n> You look at the window\nThe Phil peers outside. He sees a street of houses, very similar to his own, steaming in the rain. He thinks he can see a pub as well.\n\nPredictably, the Phil's eyes water."
    },
    {
        "text": "> You look around\nThe Phil is in the Phil's Bedroom. This - certainly - is no palace. The room is plain, painted magnolia, and quite empty of furniture other than the bed itself. A Grand Prix '87 poster hangs limply from the wall. Rain beats at the window. Lime green doors lead in and out.\n\n> Examine poster\nThe Phil straightens the poster and muses for a moment. It wasn't a good year. Still, Caffi is bound to come through this time.\n\nPredictably, the Phil's eyes water.\n\n> You look at the door\nWhich do you mean, the downstairs door or the cupboard door?\n\n> Cupboard\nA very alarming lime green. There is nothing special about it otherwise.\n\nPredictably, the Phil's eyes water.\n\n> You open it\nThe Phil opens the cupboard door.\n\n> You enter the cupboard\nThe Phil has strolled into a spacious walk-in cupboard, painted the same magnolia colour as the bedroom and strewn with bits of discarded Ph. D thesis. A hatch in the ceiling rattles with the rain. A full length mirror is fixed on one wall.\n\nHanging from a nail is a hat.\n\nThe Phil can also see a photo and a teabag here.\n\n> You examine the thesis\nThe Phil briefly considers the bits of discarded Ph D thesis. Not worth further investigation.\n\n> You examine the hat\nSuede - very fashionable nowadays.\n\nPredictably, the Phil's eyes water.\n\n> You wear the hat\nThe Phil puts on the hat.\n\n> You look in the mirror\nThe Phil peers at the glass. An apparition in a lumberjack shirt and a suede hat looms alarmingly out of the green depths of the mirror.\n\nPredictably, the Phil's eyes water.\n\n> You examine the teabag\nYes - a small porous sachet containing tea leaves.\n\nPredictably, the Phil's eyes water.\n\n> You look at Phil\nThe Phil peers at himself in the mirror. Lumberjack shirt and suede hat present and correct. All is well.\n\n> You look at photo\nIt shows one of the Phil's brothers.\n\nPredictably, the Phil's eyes water.\n\n> You examine the hatch\nSquare, and without any distinguishing features. It is closed.\n\nPredictably, the Phil's eyes water.\n\n> You open hatch\nThe hatch is firmly locked, and when the Phil pushes on it, it only budges enough to let in a little cold air and rainwater round the edges. The landlady must have the key.\n\n> You look under the bed\nHe finds nothing of interest.\n\n> OUT\n\nThe Phil hops downstairs out of the house...\n\nThe Phil is basking in the sun outside his handsome cottage in the verdant West Midlands countryside. It is a good sized building of grey stone with a thatched roof and a solid brown door. Many paths from many directions meet here, and part again, but a particularly well-used path knots a short way east to a river and then a village.\n\nThe  Phil thinks for a moment that he hears a squeaky voice saying something, but he cannot quite catch what.\n\n> You listen\nI beg your pardon?\n\nThe Phil listens intently, trying to catch the voice he first heard here. Did he hear it again? It is very faint, and perhaps no more than his imagination.\n\n> You listen\nThe Phil listens intently, trying to catch the voice he first heard here. Did he hear it again? It is very faint, and perhaps no more than his imagination.\n\n> You close the door\n(the brown door)\nThat's already closed.\n\n> L\n\nThe Phil is basking in the sun outside his handsome cottage in the verdant West Midlands countryside. It is a good sized building of grey stone with a thatched roof and a solid brown door. Many paths from many directions meet here, and part again, but a particularly well-used path knots a short way east to a river and then a village.\n\n> You go west\nThe Phil can't go that way.\n\n> N\n\n(first opening the brown door)\n\nThe Phil is in the parlour of his cottage, a sober and dignified room with limewashed walls. Heavy black beams cross the ceiling, and the floor is of stone. The room is bare of furniture, other than an enormous, rather dusty, settle made of a dark wood. This occupies most of one wall of the room, and there is a large fireplace on the facing wall. Exits are north and east, or the Phil can go back outside.\n\n> Go north\nThe Phil has walked into his kitchen, a large, cheerful and scrupulously clean room with all sorts of herbs and vegetables hanging from the rafters. A large kitchen table is in the centre of the room, and there is a fireplace at one end, with a bread oven built into the wall by its side. An enormous iron kettle hangs from a hook in the fireplace. Exits north, south and east.\n\nOn the kitchen table are a rusty ring and a purse.\n\n> X PURSE\n\nA very small leather bag with a drawstring.\n\nIn the purse are five pennies.\n\nPredictably, the Phil's eyes water.\n\n> X RING\n\nA large metal ring, such as a gaoler might use to hold his keys.\n\nTied to the rusty ring is a red ribbon.\n\nPredictably, the Phil's eyes water.\n\n> X RIBBON\n\nHe sees nothing special about the red ribbon.\n\nPredictably, the Phil's eyes water.\n\n> GET RING\n\nTaken.\n\n> GET PURSE\n\nThe Phil is carrying too many things already."
    },
    {
        "text": "> Look around\nThe Phil has walked into his kitchen, a large, cheerful and scrupulously clean room with all sorts of herbs and vegetables hanging from the rafters. A large kitchen table is in the centre of the room, and there is a fireplace at one end, with a bread oven built into the wall by its side. An enormous iron kettle hangs from a hook in the fireplace. Exits north, south and east.\n\nOn the kitchen table is a purse.\n\n> You drop the ring\nDropped.\n\n> You get the ring\nThe Phil is carrying too many things already.\n\n> You examine the vegetables\nThe Phil briefly considers the vegetables. Not worth further investigation.\n\n> You put the ring in the purse\nThe Phil prefers to keep money in his purse.\n\n> You check your inventory\nThe Phil is carrying:\na purse\nfive pennies\na photo\na teabag\na hat (being worn)\na mug\na little card\n\n> You look at the herbs\nThe Phil briefly considers the herbs. Not worth further investigation.\n\n> You put the teabag in the mug\nDone. The Phil will have to live in hope of finding some hot water.\n\n> You wear the ring\nIt is too big for his finger or nose; too small to work as a circlet. It would do as an ankle ring, but the Phil doesn't think that is his style.\n\n> You examine the ring\nA large metal ring, such as a gaoler might use to hold his keys.\n\nTied to the rusty ring is a red ribbon.\n\nPredictably, the Phil's eyes water.\n\n> You check what you're carrying\nThe Phil is carrying:\na rusty ring (to which is attached a red ribbon)\na purse\nfive pennies\na photo\na hat (being worn)\na mug\na teabag\na little card"
    },
    {
        "text": "> Look around\nThe Phil has walked into his kitchen, a large, cheerful and scrupulously clean room with all sorts of herbs and vegetables hanging from the rafters. A large kitchen table is in the centre of the room, and there is a fireplace at one end, with a bread oven built into the wall by its side. An enormous iron kettle hangs from a hook in the fireplace. Exits north, south and east.\n\n> You look at the kettle\nThe Phil briefly considers the iron kettle. Not worth further investigation.\n\n> You look at oven\nThe Phil briefly considers the bread oven. Not worth further investigation.\n\n> You go to the east\nThe Phil is in his Study, a pleasant little room, but as austere as the rest of the cottage. Here is a large desk, strewn with papers.\nA door leads west and stone steps lead up. There is also a narrow doorway to the east.\n\nOne piece of paper - a small neatly written note placed carefully in the centre of the desk - catches the Phil's eye.\n\nFrom the east, the Phil hears the sound of random twangs, rather as if someone were gently playing a harpsichord with a hammer.\n\n> You examine note\nA note from the Parson. He thanks the Phil for his kind loan of a book, which he is finding of great service in his own studies. He also says he is worried about the recent conduct of someone - namely Sir Lawrence - and would be very grateful for the Phil's wise advice on the subject. Also, if the Phil chances to meet the Sexton, he is kindly requested to ask the Sexton to speak to the Parson.\n\nThe Phil resolves to ask the Parson about these matters the moment he sees him.\n\nPredictably, the Phil's eyes water.\n\nFrom the east, the Phil hears the sound of random twangs, rather as if someone were gently playing a harpsichord with a hammer.\n\n> You go to the east\nThe Phil is in the music room, plain and whitewashed with dark floorboards. It is is as unadorned as all the rooms in the cottage, but dappled light reflected from the river dances on the ceiling. An open window looks out over the river and the rolling West Midlands countryside beyond. There are no exits other than the doorway the Phil came in by, to the west.\n\nDominating the room is a substantial bentside spinet, which sits along one wall.\n\nOn the window sill are a potted plant and a letter.\n\nA Magpie is dancing on the keys of the spinet, obviously enjoying the noise. As the Phil enters the room, it startles, and grabs a shiny brass key which was lying on the lid of the spinet. Instead of flying out of the open window, it goes straight over his head and into the study - panicked no doubt. There is some banging and crashing as it makes its way through the cottage, but then it must have found a way out, because there is silence.\n\n> You examine the plant\nThe plant consists of a couple of woody stems, each about two feet long, with three or four dark green, glossy pinnate leaves, each about a foot long, the leaflets each about two inches long. The Phil assumes it is nothing like full grown. It is in a mortar shaped pot.\n\nPredictably, the Phil's eyes water.\n\n> You examine the letter\nThe letter evidently came with the potted plant. The letter is from a sea-captain called John Nisbet. Captain Nisbet presents his compliments and is pleased to forward this specimen of a plant he encountered in His Majesty's Virginian colony, which, as he believes the Phil is a natural philosopher, may interest him.\n\nThe Phil tries to remember who Captain Nisbet is. The Phil thinks he met him in the pub once. Weird fellow, kept going on about giant black rabbits.\n\nPredictably, the Phil's eyes water."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe Phil is in the music room, plain and whitewashed with dark floorboards. It is is as unadorned as all the rooms in the cottage, but dappled light reflected from the river dances on the ceiling. An open window looks out over the river and the rolling West Midlands countryside beyond. There are no exits other than the doorway the Phil came in by, to the west.\n\nDominating the room is a substantial bentside spinet, which sits along one wall.\n\nOn the window sill are a potted plant and a letter.\n\n> You examine the spinet\n(the bentside spinet)\nOne of the finest spinets ever to come out of the manufacturies of Birmingham, with a full five octaves. It is made of a handsome dark wood, and has a richly decorated lid.\n\nPredictably, the Phil's eyes water.\n\n> You play the spinet\n(the bentside spinet)\nThe Phil plays \"Gathering Peascods\" on his spinet.\n\nThe  sound is very \"choked\" though - muffled.\n\n> You open the spinet\n(the bentside spinet)\nThere's something on the spinet lid - the Phil should remove it first, otherwise it'll end up on the floor.\n\n> You look at the lid\nThe lid of the spinet has a handsome picture, of inlaid wood, showing jays flying round a country cottage.\n\nOn the spinet lid are a blue ribbon and a scruffy black bound book.\n\n> You put RIBBON on the ring\nWhich do you mean, the blue ribbon or the red ribbon?\n\n> Blue\n(first taking the blue ribbon)\nThe Phil is carrying too many things already.\n\n> Examine book\nA large black bound book. It is called \"The Natural History of Selly Oak.\" According to the title page, it was written by the Phil himself.\n\nPredictably, the Phil's eyes water.\n\n> You check what you're carrying\nThe Phil is carrying:\na rusty ring (to which is attached a red ribbon)\na purse\nfive pennies\na photo\na hat (being worn)\na mug\na teabag\na little card\n\n> You drop the photo\nDropped.\n\n> You put blue RIBBON on the ring\n(first taking the blue ribbon)\nPutting things on the rusty ring would achieve nothing.\n\n> You tie blue RIBBON to ring\nThe Phil ties the blue ribbon to the rusty ring."
    },
    {
        "text": "[Themes: Fantasy, retro, fantasy]\n\n> Look around\nThe Phil is in the music room, plain and whitewashed with dark floorboards. It is is as unadorned as all the rooms in the cottage, but dappled light reflected from the river dances on the ceiling. An open window looks out over the river and the rolling West Midlands countryside beyond. There are no exits other than the doorway the Phil came in by, to the west.\n\nDominating the room is a substantial bentside spinet, which sits along one wall.\n\nOn the window sill are a potted plant and a letter.\n\nThe Phil can also see a photo here.\n\n> Inventory\nThe Phil is carrying:\na photo\na rusty ring (to which are attached a red ribbon and a blue ribbon)\na purse\nfive pennies\na hat (being worn)\na mug\na teabag\na little card\n\n> You read the book\nThe Phil settles down to read the black-bound book with interest and some trepidation. After all, it appears to have been written by him, but any recollection he has of living in Selly Oak, which is a whole two miles away, is hazy at best. Anyway, despite the title, the book is mostly a description of the habits of the local jackdaws, which seem to have been something of an obsession for the writer: they watch him, he says, and follow him everywhere.\n\n> You drop the photo\nDropped.\n\n> You open the spinet\n(the bentside spinet)\nThe Phil lifts the lid of the bentside spinet, the underside of which he sees is richly painted, and props it open.\n\n> You look in the spinet\n(the bentside spinet)\nOne of the finest spinets ever to come out of the manufacturies of Birmingham, with a full five octaves. It is made of a handsome dark wood, and its lid is propped open, revealing a richly painted underside.\n\nPredictably, the Phil's eyes water.\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"If all the world were paper\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> You examine the underside\nThe inside of the spinet lid has been painted with a rather striking picture of a grand house rising above a handsome garden of lawns and hedges. At first glance, it all seems to make sense, but something is not well with the geometry. There are some very odd angles in the building, when the Phil looks closely. In fact, he'd rather not look too closely, it hurts - and there should only be ninety degrees in a right angle - and the shadows seem to fall in all directions. The Phil can only wonder about the state of mind of he who painted it.\n\n\"Weird picture,\" says the Phil, \"but for some reason, I feel that it is a good thing that I've seen it.\"\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"Gathering Peascods\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"Horsey-Down Fields\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"Country Abigail\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"Blue Petticoats\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> You play spinet\n(the bentside spinet)\nThe Phil plays \"Merry milk-maids\" on his spinet.\n\nWith the lid of the spinet open, the sound is good and bright.\n\n> Go west\nThe Phil is in his Study, a pleasant little room, but as austere as the rest of the cottage. Here is a large desk, strewn with papers.\nA door leads west and stone steps lead up. There is also a narrow doorway to the east.\n\nOne piece of paper - a small neatly written note placed carefully in the centre of the desk - catches the Phil's eye.\n\n> Go upward\nThe  Phil is in his bedroom. Plain whitewashed walls and the simple cot testify to the austerity of the scholar's life. Exits down and east.\n\n> Go east\nThe Phil is in his experiment room, inconveniently lit by only one leaded-paned  window high on the wall overlooking the river. It is a good sized, plain room with lime washed walls and a wooden floor. It is empty of furniture other than a bench (of the worktable kind, rather than a seat). On the bench is a large lead tank. A ladder fixed to one wall of the room leads up to a trapdoor.\n\nHanging from the ceiling is a large iron birdcage.\n\n> You examine the cage\nLarge, made of iron and very ugly. It is tubular in shape, rising to a dome. It is hanging from the ceiling by a length of chain.\n\nIn the cage is Vincent, the Phil's pet raven.\n\nPredictably, the Phil's eyes water.\n\n> You examine vincent\nThe Phil examines Vincent. In return, Vincent examines the Phil though beady red eyes, his expresssion one of contempt and malevolence mingled. He is a particularly large, saturnine and ugly example of Corvus corax - though the great Linnaeus is not yet born.\n\nPredictably, the Phil's eyes water.\n\n> Examine tank\nIt holds a quantity of brandy, in which are suspended a number of small furry creatures - representatives of the local fauna - preserved for further study.\n\nPredictably, the Phil's eyes water.\n\n> You look at the creatures\nThe Phil briefly considers the small furry creatures. Not worth further investigation.\n\nThe Phil hears something large - a dog, perhaps - padding along outside. It stops below the window, as far as he can tell.\n\n> You open tank\nIt isn't something he can open.\n\nA dog howls under the window.\n\n> You look through the window\nA small, leaded window. The glass is swirly and a very pale blue green colour, giving a rather sickly quality to the light in the room.\n\nPredictably, the Phil's eyes water.\n\nThe Phil thinks the dog has gone again.\n\n> You examine the ladder\nActually, a set of iron rungs set into one wall, and leading up to the trapdoor.\n\nPredictably, the Phil's eyes water.\n\n> Go upwards\n(first opening the trapdoor)\nIt seems to be locked.\n\n> You examine the trapdoor\nVery solid, and whitewashed, to match the experiment room ceiling.\n\nPredictably, the Phil's eyes water.\n\n> You look at the creatures\nThe Phil briefly considers the small furry creatures. Not worth further investigation.\n\n> You look at cot\nA plain narrow bed with a straw mattress and a woollen blanket.\n\nPredictably, the Phil's eyes water."
    },
    {
        "text": "> Go downwards\nThe Phil is in his Study, a pleasant little room, but as austere as the rest of the cottage. Here is a large desk, strewn with papers.\nA door leads west and stone steps lead up. There is also a narrow doorway to the east.\n\nOne piece of paper - a small neatly written note placed carefully in the centre of the desk - catches the Phil's eye.\n\n> Go west\nThe Phil has walked into his kitchen, a large, cheerful and scrupulously clean room with all sorts of herbs and vegetables hanging from the rafters. A large kitchen table is in the centre of the room, and there is a fireplace at one end, with a bread oven built into the wall by its side. An enormous iron kettle hangs from a hook in the fireplace. Exits north, south and east.\n\n> You look in the kettle\nThe Phil briefly considers the iron kettle. Not worth further investigation.\n\n> Go north\nThe Phil is in his well-tended garden. A pleasant warm smell - growing vegetables and organic fertiliser in equal measure - fills his nose., and there is an agreeable, soporific buzz from a couple of terracotta beehives towards the back of the garden. Various kinds of beans are growing on poles. There is also a large and very strange plant which the Phil doesn't recognise. On the eastern side is a small shed. South is the kitchen and the rest of the cottage.\n\n> You examine the plant\nIt is about four feet high, with a large, roughly spherical base, from which protrude a number of fleshy roots, and a conelike stem. It is very green, and the Phil concludes it is far from fully grown. Anyway - best left alone.\n\nPredictably, the Phil's eyes water.\n\n> You look at the beans\nComing along nicely. They are a mixture of bright red and bright blue and luminous purple, and the Phil hopes they will turn out to be magical.\n\nPredictably, the Phil's eyes water.\n\n> You examine hive\nThe Phil briefly considers the beehives. Not worth further investigation.\n\n> You go to the east\nThe Phil is inside the shed. It is rather dark, but some light comes in through the doorway and between the boards of the shed walls. The shed is currently fairly empty - there are some stacked up flowerpots and a few empty sacks and that is about it. There are some chalk markings on one wall.\n\n> You examine the markings\nThe markings seem to be tallies of seeds planted. There is one unfamiliar word though - \"fullgru.\"\n\n\"Fullgru?\" says the Phil. \"Good word.\" He makes a note on his shirt cuff.\n\n> You pick the beans\nBest left to ripen.\n\n> Look\nWhat do you want to examine?\n\n> You look\nThe Phil is in the parlour of his cottage, a sober and dignified room with limewashed walls. Heavy black beams cross the ceiling, and the floor is of stone. The room is bare of furniture, other than an enormous, rather dusty, settle made of a dark wood. This occupies most of one wall of the room, and there is a large fireplace on the facing wall. Exits are north and east, or the Phil can go outside.\n\n> You look at the settle\nSolid, severe, and rather uncomfortable, in the manner of furniture of this time.\n\nThe Phil notices a dowdy brown cushion on the settle.\n\nPredictably, the Phil's eyes water.\n\n> You examine the cushion\nThe cushion is faded, but may once have been purple.\n\n> You sit\nWhat do you want to sit on?\n\n> You sit on settle\nThe Phil sits on the settle.\n\nSitting Room (on the settle)\nThe Phil is in the parlour of his cottage, a sober and dignified room with limewashed walls. Heavy black beams cross the ceiling, and the floor is of stone. The room is bare of furniture, other than an enormous, rather dusty, settle made of a dark wood. This occupies most of one wall of the room, and there is a large fireplace on the facing wall. Exits are north and east, or the Phil can go outside.\n\nOn the settle he can see a cushion.\n\n> You stand\nHe gets off the settle.\n\nOn the settle is a cushion.\n\n> You look at the fireplace\nVery plain, and neatly swept, with a cast iron fireback. The grate is empty, and probably there has been no fire for some time.\n\nPredictably, the Phil's eyes water.\n\n> Go east\nThe Phil is hiding in the gloom of a dusty, windowless storeroom.\n\nThe Phil can see a dead rat here.\n\n> You examine rat\nVery odorous.\n\nWould come in handy for studies in natural philosophy, or as bait.\n\nPredictably, the Phil's eyes water.\n\n> Go west\nOn the settle is a cushion."
    },
    {
        "text": "[Themes: Fantasy, retro, fantasy]\n\n> You look around\nThe Phil is basking in the sun outside his handsome cottage in the verdant West Midlands countryside. It is a good sized building of grey stone with a thatched roof and a solid brown door. Many paths from many directions meet here, and part again, but a particularly well-used path knots a short way east to a river and then a village.\n\n> You go south\nThe Phil is sauntering along a little twisting path, across a patch of scrubby ground dotted with widely spaced young trees.\n\n> You examine the sign\nIt is a picture of a spaniel-like dog, white, with reddish-brown spots. There is no writing.\n\nPredictably, the Phil's eyes water.\n\n> You examine the river\nGreen and greasy, but fast moving.\n\nPredictably, the Phil's eyes water.\n\n> You fill the mug\nWhat do you want to fill the mug with?\n\n> You go north\nThe Phil is in the main room of the Spotted Dog, now the village's only inn. The room is dominated by an enormous fireplace in which a fire was burning - it has recently gone out - although it seems the chimney doesn't draw very well, because the air is full of smoke. Through the haze, the Phil can see  a bar, and four or five rough tables and benches. There is no-one sitting at them, though. The floor is strewn with mouldy rushes. A large pot of stew hangs over the ashes of the fire, still bubbling slightly.\n\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nOn the bar is a yellow ribbon.\n\nThe Phil can also see a violin and a bow here.\n\n> You go to the north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nOn the bar is a yellow ribbon.\n\nThe Phil can also see a violin and a bow here.\n\nBardolph scrubs the tables.\n\n> You tie yellow RIBBON to ring\nThe Phil ties the yellow ribbon to the rusty ring.\n\nBardolph whistles \"Akeroyde's Padd\".\n\n> You look at Bardolph\nBardolph is the innkeeper. He is short and bald (with sideburns) and is wearing a leather waistcoat. He has the air of a man with something to hide.\n\nPredictably, the Phil's eyes water.\n\nBardolph sneezes.\n\n> You look at the violin\nWell worn. Slightly out of tune.\n\nPredictably, the Phil's eyes water.\n\nBardolph jingles some coins in his pocket.\n\n> You play the violin\n(First taking the violin)\nThe Phil is carrying too many things already.\n\nBardolph stirs the pot of stew.\n\n> You examine the stew\n(pot of stew)\nAn enormous blackened cauldron of stew. The ingredients of the stew are unknown.\n\nPredictably, the Phil's eyes water.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> You ask Bardolph about Magpie\nBardolph makes no reply. Either he has no view on the subject, or does not want to express one.\n\n> You tell Bardolph about magbie\nThis provokes no reaction.\n\nBardolph whistles \"Akeroyde's Padd\"."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe Phil is in the main room of the Spotted Dog, now the village's only inn. The room is dominated by an enormous fireplace in which a fire was burning - it has recently gone out - although it seems the chimney doesn't draw very well, because the air is full of smoke. Through the haze, the Phil can see  a bar, and four or five rough tables and benches. There is no-one sitting at them, though. The floor is strewn with mouldy rushes. A large pot of stew hangs over the ashes of the fire, still bubbling slightly.\n\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin and a bow here.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> You ask Bardolph about Parson\n\"Sometimes he comes by here,\" says Bardolph, \"but I fancy you'll find him at the Church today.\"\n\n> You ask Bardolph about Sexton\n\"A quiet fellow,\" says Bardolph. \"I have not seen him these two days.\"\n\n> You ask Bardolph about Dog\n\"Nobody on this side o' the river keeps a large dog,\" says Bardolph. He pauses to think, \"Unless...\" He blenches a little and falls silent.\n\n> You ask Bardolph about the beer\n\"Why, sir, you will not find better beer than mine round here,\" says Bardolph. \"As strong as brandy wine, as smooth as... (he reflects for a moment) the flowing river. Would your worship care to buy?\".\n\n> You ask Bardolph about the stew\nBardolph looks remarkably shifty. \"Tis just... stew. Tis nowt special, and not delicate enough for your worhip's refined palette.\""
    },
    {
        "text": "[Themes: Fantasy, fantasy, retro]\n\n> Look around\nThe Phil is in the main room of the Spotted Dog, now the village's only inn. The room is dominated by an enormous fireplace in which a fire was burning - it has recently gone out - although it seems the chimney doesn't draw very well, because the air is full of smoke. Through the haze, the Phil can see  a bar, and four or five rough tables and benches. There is no-one sitting at them, though. The floor is strewn with mouldy rushes. A large pot of stew hangs over the ashes of the fire, still bubbling slightly.\n\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin and a bow here.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You ask Bardolph about the violin\n\"Nothing of mine,\" grunts Bardolph.\n\n> You take the violin\nThe Phil is carrying too many things already.\n\nBardolph whistles \"Akeroyde's Padd\".\n\n> You check what you're carrying\nThe Phil is carrying:\na scruffy black bound book\na rusty ring (to which are attached a red ribbon, a blue ribbon and\na yellow ribbon)\na purse\nfive pennies\na hat (being worn)\na mug\na teabag\na little card\n\nBardolph jingles some coins in his pocket.\n\n> You examine the card\n\"Get out of jail free\"\n\nPredictably, the Phil's eyes water.\n\nBardolph takes up a clay pipe and blows smoke rings.\n\n> Drop book\nDropped.\n\nBardolph sneezes.\n\n> You drop the mug\nDropped.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You take the violin\nTaken.\n\nBardolph stares intently over the Phil's left shoulder.\n\n> You play the violin\nThe Phil plays \"The Bishop of Bangor's Jigg\" pizzicato.\n\nBardolph, used to noise of this kind in his inn, pays no attention.\n\n> You drop the violin\nDropped.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> You get the bow\nTaken.\n\nBardolph stirs the pot of stew.\n\n> You get the violin\nTaken.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> You play the violin\nThe Phil plays \"Frisk it Freely\" pizzicato.\n\nBardolph, used to noise of this kind in his inn, pays no attention.\n\n> You play the violin with the bow\nThe Phil tries manfully to play the violin with the bow, but finds his arms are much too short.\n\nBardolph stirs the pot of stew.\n\n> You drop the violin\nDropped.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You drop the bow\nDropped.\n\nBardolph sneezes.\n\n> You examine the bow\nJust an ordinary bow. It has a wooden bit and a stringy bit.\n\nPredictably, the Phil's eyes water.\n\nBardolph stares intently over the Phil's left shoulder.\n\n> Go east\nThe Phil is inching carefully along an unsteady, and very narrow, plank bridge with no handrails. The river flows swift, and alarmingly close, beneath.\n\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\n\"Greetings, Phil,\" says Bill the Bowman, twirling his quarterstaff. \"How about a little friendly trial of strength for passage of the bridge?\"\n\n> You ask Bill about the trial\nThere is no reply.\n\n\"Go on,\" says Bill, \"just you try and get past me.\"\n\n> You go east\nThe Phil moves on Bill the  Bowman, but the latter has no difficulty in giving him a thump which knocks him right off the bridge.\n\nThe Phil, lacking bouyancy, is soon in difficulties and is swept helplessly down the swift and very dangerous river...\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> You look at Bill\nAn imposing, thickset fellow, at least seven inches taller than the Phil and at least three stone heavier. He is dressed in a coat and breeches - well worn - of bright green, wearing a knapsack and twirling a quarterstaff.\n\n\"Could I buy him off?\" wonders the Phil.\n\nPredictably, the Phil's eyes water.\n\nBill the Bowman looks the Phil up and down."
    },
    {
        "text": "[Themes: Fantasy, retro]\n\n> Look around\nThe Phil is inching carefully along an unsteady, and very narrow, plank bridge with no handrails. The river flows swift, and alarmingly close, beneath.\n\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman whistles \"Stand thy ground, Old Harry.\"\n\n> Go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a bow, a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph takes up a clay pipe and blows smoke rings.\n\n> You buy the beer\nBardolph takes the Phil's penny, fills up a pint of beer and places it on the bar.\n\n> You get the pint\nTaken.\n\nBardolph whistles \"Akeroyde's Padd\".\n\n> You go to the east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman looks impatient. \"This ain't gettin the babby a frock and pinny,\" he grumbles. \"Come on - see if you can knock me off the bridge.\"\n\n> You give the pint to Bill\nBill the Bowman takes the pint of beer and drains it in one go, then throws the empty mug into the river. \"Very good,\" he says. \"Now, how about that friendly trial of strength?\"\n\nBill the Bowman gazes south. \"It's looking black over Bill's mother's,\" he says.\n\n> You check your inventory\nThe Phil is carrying:\na rusty ring (to which are attached a red ribbon, a blue ribbon and\na yellow ribbon)\na purse\nfive pennies\na hat (being worn)\na little card\n\nBardolph sneezes.\n\n> You buy the pint\nBardolph looks blank. \"Don't sell that sort of stuff, sorry.\"\n\n> You buy the beer\nBardolph takes the Phil's penny, fills up a pint of beer and places it on the bar.\n\n> You get pint\nTaken.\n\nBardolph stirs the pot of stew.\n\n> You go to the east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman looks impatient. \"This ain't gettin the babby a frock and pinny,\" he grumbles. \"Come on - see if you can knock me off the bridge.\"\n\n> You give the bill pint\nBill the Bowman takes the pint of beer and drains it in one go, then throws the empty mug into the river. \"Very good,\" he says. \"Now, how about that friendly trial of strength?\"\n\nBill the Bowman gazes south. \"It's looking black over Bill's mother's,\" he says.\n\n> Go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a bow, a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You go east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman fiddles with the straps of his knapsack.\n\n> You go east\nThe Phil moves on Bill the  Bowman, but the latter has no difficulty in giving him a thump which knocks him right off the bridge.\n\nThe Phil, lacking bouyancy, is soon in difficulties and is swept helplessly down the swift and very dangerous river...\n\nThe Phil wakes up screaming and finds it's all a dream."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look around\nThe Phil is in the main room of the Spotted Dog, now the village's only inn. The room is dominated by an enormous fireplace in which a fire was burning - it has recently gone out - although it seems the chimney doesn't draw very well, because the air is full of smoke. Through the haze, the Phil can see  a bar, and four or five rough tables and benches. There is no-one sitting at them, though. The floor is strewn with mouldy rushes. A large pot of stew hangs over the ashes of the fire, still bubbling slightly.\n\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a bow, a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph takes up a clay pipe and blows smoke rings.\n\n> Go north\nThe Phil can't go that way.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You get the violin\nTaken.\n\nBardolph scrubs the tables.\n\n> You get the bow\nTaken.\n\nBardolph stares intently over the Phil's left shoulder.\n\n> You go to the east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman looks impatient. \"This ain't gettin the babby a frock and pinny,\" he grumbles. \"Come on - see if you can knock me off the bridge.\"\n\n> You play the violin with the bow\nThe Phil tries manfully to play the violin with the bow, but finds his arms are much too short.\n\nBill the Bowman gazes south. \"It's looking black over Bill's mother's,\" he says.\n\n> You play the violin\nThe Phil plays \"Have at thy Coat, old Woman\" pizzicato.\n\nBill the Bowman yawns, appreciatively.\n\n> You play the violin\nThe Phil plays \"Stepney Cakes and Ale\" pizzicato.\n\nBill the Bowman yawns, appreciatively.\n\n> You play the violin\nThe Phil plays \"the Beautiful Scrabmagg\" pizzicato.\n\nBill the Bowman yawns, appreciatively.\n\n> Go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph scrubs the tables.\n\n> You ask Bardolph about Bill\n\"Well, sir,\" says Bardolph, \"he likes pushing folk into the river.\"\n\n> You drop the bow\nDropped.\n\nBardolph whistles \"Akeroyde's Padd\".\n\n> You buy the beer\nBardolph takes the Phil's penny, fills up a pint of beer and places it on the bar.\n\n> You get the beer\n(the pint of beer)\nTaken.\n\nBardolph sneezes.\n\n> You give the bill beer\nBill the Bowman takes the pint of beer and drains it in one go, then throws the empty mug into the river. \"Very good,\" he says. \"Now, how about that friendly trial of strength?\"\n\n\"Greetings, Phil,\" says Bill the Bowman, twirling his quarterstaff. \"How about a little friendly trial of strength for passage of the bridge?\"\n\n> You go south\nThe Phil can't go that way.\n\nBill the Bowman gazes south. \"It's looking black over Bill's mother's,\" he says.\n\n> Go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a bow, a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph takes up a clay pipe and blows smoke rings.\n\n> Attack bill with ring\nViolence is not the answer to this one.\n\n\"Greetings, Phil,\" says Bill the Bowman, twirling his quarterstaff. \"How about a little friendly trial of strength for passage of the bridge?\"\n\n> You show the bow to Bill\nBill the Bowman is unimpressed.\n\n\"Go on,\" says Bill, \"just you try and get past me.\"\n\n> You go to the north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph jingles some coins in his pocket.\n\n> You buy Stew\nBardolph looks nervous. \"Stew's not for sale,\" he says.\n\n> Smell stew\n(pot of stew)\nThe smell of of the stew is - not readily describable. It is slightly sour, though.\n\nBardolph starts laughing at some private joke. The Phil hopes it isn't him.\n\n> You taste Stew\n(pot of stew)\nIndeed: \"That's plainly inedible\" goes nowhere near it.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> You examine Stew\n(pot of stew)\nAn enormous blackened cauldron of stew. The ingredients of the stew are unknown.\n\nPredictably, the Phil's eyes water.\n\nBardolph stares intently over the Phil's left shoulder.\n\n> You get Stew\n(free stew)\nThat seems to belong to Bardolph.\n\nBardolph pats his waistcoat pockets as if looking for something.\n\n> Go east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman looks the Phil up and down.\n\n> You ask Bill about Stew\nThere is no reply.\n\nBill the Bowman whistles \"Stand thy ground, Old Harry.\"\n\n> You ask Bill about the bow\nThere is no reply.\n\nBill the Bowman looks impatient. \"This ain't gettin the babby a frock and pinny,\" he grumbles. \"Come on - see if you can knock me off the bridge.\"\n\n> You ask Bill about Sexton\nThere is no reply.\n\nBill the Bowman gazes south. \"It's looking black over Bill's mother's,\" he says.\n\n> You ask Bill about the mother\nThere is no reply.\n\nBill the Bowman fiddles with the straps of his knapsack.\n\n> You ask Bill about Bardolph\nThere is no reply.\n\n\"Greetings, Phil,\" says Bill the Bowman, twirling his quarterstaff. \"How about a little friendly trial of strength for passage of the bridge?\"\n\n> You go southwest\nThe Phil is in a very large grassy field, quite empty except for a single, tall, blasted oak. There are no paths here, other than a faint track leading back northeast.\n\nHigh in the branches of the blasted oak is the Magpie. It has the brass key in its beak.\n\n> You look at Oak\nA tall oak tree, which has been struck by lightning, within the last few years probably. One half of the tree is green with leaves and heavy with acorns; the other black, burnt and bare.\n\nPredictably, the Phil's eyes water.\n\n> You climb Oak\nThe Phil scrutinises the tree from all sides. But there are no good handholds or footholds on this one.\n\n> You examine the bow\nJust an ordinary bow. It has a wooden bit and a stringy bit.\n\nPredictably, the Phil's eyes water.\n\n> You throw the bow at Magpie\nThe Phil lacks the nerve when it comes to the crucial moment.\n\n> You examine Magpie\nOne for sorrow, they do say, but this fellow looks very cheerful.\n\nPredictably, the Phil's eyes water.\n\n> You take the penny\nTaken.\n\n> You show the penny to Magpie\nThe Magpie is unimpressed.\n\n> You put the penny in the purse\nHe puts the penny into the purse.\n\n> You look at the penny\nA very worn copper coin - it is difficult to tell which King is on the obverse - possibly good King Charles.\n\nPredictably, the Phil's eyes water.\n\n> Rub penny\nThe Phil rubs the penny.\n\n> Inventory\nThe Phil is carrying:\na bow\na rusty ring (to which are attached a red ribbon, a blue ribbon and\na yellow ribbon)\na purse\nfive pennies\na hat (being worn)\na little card\n\n> You go southeast\nSunken Lane (West)\nThe Phil has stumbled into a sunken east-west lane near his cottage. It is deeper than he is tall, and by the look of the footprints, is trafficked mostly by sheep. To the west, the lane is blocked by tumbled stones and other debris, the ruins of a small building which - long ago - collapsed into the lane from its south side. However, the lane is open to the east, and a little path leads northwest up the side.\n\nDraped over a little scrubby bush is a discarded shepherd's smock.\n\n> You take the smock\nThe smock is a skittish and faintly magical thing. As the Phil reaches out to take the smock, a little wind springs up, and blows it away.\n\n> You look\nSunken Lane (West)\nThe Phil has stumbled into a sunken east-west lane near his cottage. It is deeper than he is tall, and by the look of the footprints, is trafficked mostly by sheep. To the west, the lane is blocked by tumbled stones and other debris, the ruins of a small building which - long ago - collapsed into the lane from its south side. However, the lane is open to the east, and a little path leads northwest up the side.\n\n> You examine the debris\nThe Phil scrabbles around in the ruins and eventually finds something...\n\n> You search debris\nHe sees nothing special about the tumbled stones.\n\nPredictably, the Phil's eyes water.\n\n> Inventory\nThe Phil is carrying:\na bow\na rusty ring (to which are attached a red ribbon, a blue ribbon and\na yellow ribbon)\na purse\nfive pennies\na hat (being worn)\na little card"
    },
    {
        "text": "[Themes: Fantasy]\n\n> You describe your surroundings\nSunken Lane (West)\nThe Phil has stumbled into a sunken east-west lane near his cottage. It is deeper than he is tall, and by the look of the footprints, is trafficked mostly by sheep. To the west, the lane is blocked by tumbled stones and other debris, the ruins of a small building which - long ago - collapsed into the lane from its south side. However, the lane is open to the east, and a little path leads northwest up the side.\n\nThe Phil can see a brick here.\n\n> You look at the brick\nA longish, flattish and rough dark red brick, with no indentations of any kind. It has a nice tempting heft, and the word \"remosclior\" is scratched into it.\n\n\"Remosclior?\" says the Phil. \"Good word.\" He makes a note on his shirt cuff.\n\n> You examine the cuff\nThe  Phil examines the left cuff of his very loud lumberjack shirt. \"CLIW Fullgru Remosclior \" has - by some mysterious means - been scrawled on the cuff.\n\n> You examine the bow\nJust an ordinary bow. It has a wooden bit and a stringy bit.\n\nPredictably, the Phil's eyes water.\n\n> You go east\nSunken Lane (East)\nThe Phil is in a sunken lane, running from west to east (rising a little as it does so), and just north of the hut belonging to the shepherd. There has been a fall of earth on the north bank of the lane, at the foot of which is a strange patch of pale grass.\n\n> You look at the grass\nA patch, about two feet in diameter, where the grass is growing shorter, weaker and paler than elsewhere.\n\nPredictably, the Phil's eyes water.\n\n> You go to the south\nThe Phil is in a simple, windowless, shepherd's hut. There is no sign of the shepherd, which is odd.\n\nSecurely tied up here is a very big cat.\n\n> You look at the cat\nThe cat is a big one - not far off the size of a small lynx - orange-yellow and very fat. It has a smug expression on its face and an unnerving look in its eye. The cat is tied up with what seems to Phil to be excessively strong rope, and clearly with the intention of ensuring it can't get near the door.\n\nPredictably, the Phil's eyes water.\n\n> You examine rope\nMade of twisted hemp, and more than an inch in diameter. One end is tied to a staple in the wall of the hut. The other end is tied securely round the neck of the cat.\n\nPredictably, the Phil's eyes water.\n\n> You untie the cat\nThe Phil gingerly unties the cat.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Look around\nThe Phil is in a simple, windowless, shepherd's hut. There is no sign of the shepherd, which is odd. A length of rope - which was used to tie up the cat - coils across the floor.\n\nThe Phil can see a cat here.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> You get the rope\nThat's hardly portable.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> Tie cat\nWhat do you want to tie the cat to?\n\n> You tie the cat to the rope\nThe Phil would achieve nothing by this.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> Wait\nTime passes.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> You go south\nYou must name something more substantial.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Look around\nThe Phil is in a simple, windowless, shepherd's hut. There is no sign of the shepherd, which is odd. A length of rope - which was used to tie up the cat - coils across the floor.\n\nThe Phil can see a cat here.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> You leave\nBut the Phil isn't in anything at the moment.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> Examine staple\nThe Phil briefly considers the staple. Not worth further investigation.\n\n> Go north\nSunken Lane (East)\n\n> You look at the grass\nA patch, about two feet in diameter, where the grass is growing shorter, weaker and paler than elsewhere.\n\nPredictably, the Phil's eyes water.\n\n> Go west\nA shepherd's smock lies on the ground here.\n\n> You get smock\nThe smock is a skittish and faintly magical thing. As the Phil reaches out to take the smock, a little wind springs up, and blows it away.\n\n> Go southwest\nA shepherd's smock lies on the ground here.\n\nHigh in the branches of the blasted oak is the Magpie. It has the brass key in its beak.\n\n> You go to the south-east\nSunken Lane (West)\n\n> Go east\nSunken Lane (East)\n\n> You check what you're carrying\nThe Phil is carrying:\na brick\na bow\na rusty ring (to which are attached a red ribbon, a blue ribbon and\na yellow ribbon)\na purse\nfive pennies\na hat (being worn)\na little card\n\n> You go south\nSecurely tied up here is a very big cat.\n\n> You go to the north\nSunken Lane (East)\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> You go to the east\nStanding firmly in the middle of the bridge is Bill the Bowman.\n\nBill the Bowman looks the Phil up and down.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\nAll of a sudden, the cat opens wide and swallows Bill the Bowman.\n\n> You examine the cat\nThe cat is a big one - not far off the size of a small lynx - orange-yellow and very fat. It has a smug expression on its face and an unnerving look in its eye.\n\nPredictably, the Phil's eyes water.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> You go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph sneezes.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\nAll of a sudden, the cat opens wide and swallows Bardolph.\n\n> Go east\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> You go to the east\nThe Phil is in the middle of  an island in the river. It's a pleasant place, quiet and grassy (although the grass on the far bank to the east looks a tiny bit greener). The stones of the old west bridge, washed away in a flood, litter the west bank of the island. A new plank bridge leads west, and and a stone bridge east.\n\nWalter the Woodcutter - his famous magic Axe on his shoulder - is here.\n\nThe Axe shuffles onto a slightly more comfortable spot on Walter's shoulder.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\nAll of a sudden, the cat opens wide and swallows Walter the Woodcutter.\n\nCursing furiously, the Axe falls to the ground.\n\n> You get Axe\nThe Phil is carrying too much already.\n\nThe Axe glares at the Phil.\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> Go east\nThe Phil is on an ancient stone bridge. On each side of the bridge, a carved head of a snarling dog has been placed to face up (or down) the river.\n\nLurking under the bridge is an extremely ugly Troll.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\nAll of a sudden, the cat opens wide and swallows Troll.\n\n> Go east\nThe Phil is in a thin belt of woodland on a road by the outskirts of a village. The road leads east towards the village and, over a stone bridge, west across the river. A damp path follows the river to the northeast, and there is a clearing by the side of the road to the south.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> Go east\nThe Phil is wandering down the main street of a good sized village, with sweet little cottages all around.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> You go east\nHere is the place where the main road through the village starts to open into the market place, off to the east. There is a curious stump here.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\n\n> Go east\nThe Phil is in the Market Place - small and irregular in shape, and overshadowed by a huge oak tree right in the centre. It is crossed from east to west by the road, and a narrow alley runs north. At one end of the Market Place are an ancient village cross, a stone bench and a pump. It isn't market day, so there are no stalls. The Phil notices that the door of a mean looking house in the southeast of the Market Place stands open.\n\nThe Phil is sure someone is watching him from the upper room of the house to the southeast.\n\nThe cat purrs along at the Phil's heels. The Phil isn't sure he likes the look in its eye.\nAll of a sudden, the cat opens wide and swallows the Phil.\n\nThe Phil wakes up screaming and finds it's all a dream.\n\n> Go north\nSunken Lane (East)\n\n> Go north\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph takes up a clay pipe and blows smoke rings.\n\n> You ask Bardolph about the shepherd\n\"The Shepherd?\" says Bardolph. \"A long fellow. And fat. I have not seen him these two days.\"\n\n> You ask Bardolph about the cat\n\"The Shepherd has a cat,\" says Bardolph, \"but I have never liked the look in its eye.\""
    },
    {
        "text": "> Look around\nThe Phil is in the main room of the Spotted Dog, now the village's only inn. The room is dominated by an enormous fireplace in which a fire was burning - it has recently gone out - although it seems the chimney doesn't draw very well, because the air is full of smoke. Through the haze, the Phil can see  a bar, and four or five rough tables and benches. There is no-one sitting at them, though. The floor is strewn with mouldy rushes. A large pot of stew hangs over the ashes of the fire, still bubbling slightly.\n\nStanding stoutly behind the bar is Bardolph the Innkeeper.\n\nThe Phil can also see a violin, a mug (in which is a teabag) and a scruffy black bound book here.\n\nBardolph stares intently over the Phil's left shoulder.\n\n> You open the door\n(the brown door)\nThat's already open.\n\n> You look at the door\n(the brown door)\nA plain brown door. There is nothing remarkable about it, but it does seem that something with claws - large claws - has been\nscratching on it.\n\nPredictably, the Phil's eyes water.\n\n> You throw the brick at Magpie\nThe Phil decides not to. Someone might get hurt.\n\nBesides, a more promising target may present itself.\n\n> You throw the brick at Bill\nThe Phil decides not to. Someone might get hurt.\n\nBesides, a more promising target may present itself.\n\nBill the Bowman whistles \"Stand thy ground, Old Harry.\"\n\n> You look at smock\nVery capacious - for the shepherd was a big man (\"Did I really say \"was\"?\" the Phil asks himself.)  It is embroidered with a\nlarge Staffordshire knot in red thread. It feels faintly magical, as shepherd's smocks so often are.\n\nPredictably, the Phil's eyes water."
    },
    {
        "text": "[Themes: Slice of life, male protagonist, mild profanity, teenage protagonist, punk, coming of age, sexual content, high school]\n\nYou're in a dark, poorly lit and packed club. Everyone's staring at the band as they go about tuning and shifting their instruments. The guy next to you has a mohawk that flops over to the side, as if the heat had wilted it. In contrast, the skinhead in front of you is reacting to the heat like a Mexican jumping bean, the muscles of his back tensing and releasing, tensing and releasing.\n\n[Author's Note: It's the first day of high school and you've decided to give yourself a mohawk. Now you've gotta stand up to teachers, impress peers and make a name for yourself until you've earned enough Punk Points to escape the suburbs.]\n\n> You jump\nBefore you can do anything, the band explodes into action. The crowd coalesces into a single entity and leans towards them, then falls back, ripples. Being a part of this lurching creature makes your spine tingle.\n\nYou're pressed from all sides by people suddenly activated by sound -- but you can't hear anything. You can practically feel the sonic waves, you can see it on the faces of the people around you, and you strain to hear the music...\n\nThe guy with the mohawk plants his boot in the skinhead's linked hands. His pierced nostrils flaring, hands gripping the skinhead's shoulders, he launches himself on the crowd. Improbably, they hold him aloft as he rolls over a bed made of their shoulders, heads and outstretched hands. You can't quite believe what you're seeing, and suddenly you hear something:\n\n\"Honey?\"\n\nYou whip around and look to see who spoke, but there's nothing except the unremarkable brick wall of the club lined with people standing on chairs to get a better view. None of them are looking at you.\n\nYou look back. The guy with the mohawk is still rolling over the crowd, but for some reason he's got a tie on. And his blue hair is flickering like flames. The skinhead offers his linked hands to boost you up, and you quickly put your foot in. Your foot is bare. He looks at you, his dark eyes questioning.\n\n\"Honey!\"\n\nYou look at your foot. Of course it's bare -- you're in your bed.\n\nYour mother bustles in with your uniform, freshly ironed, and hangs it on your bathroom doorknob. \"OK, honey, we're off.\" She stops at the foot of your bed and puts her hands on her hips. \"Better hurry or you'll miss your bus. Don't want to be late the very first day of high school!\"\n\nYou smile weakly as she kisses you goodbye and leaves, trying to rekindle the feelings in your dream.\n\nYour Room (on the bed)\nYour room is a mess -- posters slowly peel off the walls to join the small heaps of clothes that spot the floor like death mounds. There's a path south through the junk from your bed to your bathroom, one going north to the rest of the house.\n\nYou can see a school uniform here.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying nothing.\n\nAs good-looking as ever.\n\n> You go to the north\nYou'll have to get off the bed first.\n\n> You examine the posters\nYour older sister gave you her Smiths poster when she went to college, and there's a Platinum Blonde one you really meant to take down years ago. But most prominent is the Sid Vicious poster you got at a headshop this summer -- Sid's being rude and ugly in the most appealing way imaginable, giving a middle finger to the world.\n\n> You get off\nYou get off the bed.\n\nYou can see a school uniform here.\n\n> You examine uniform\nYour school uniform, worn once in the fitting room of the suit store, radiates a crisp and calm assurance. You hate it already.\n\n> You wear the uniform\n(first taking the school uniform)\nTaken.\n\n> You wear the uniform\nYou just can't bear to. You've got to do something to balance out the primness of it first.\n\n> About yourself\nAs good-looking as ever.\n\n> You go south\nThis grotty little tiled room might not be pretty, but it's got the ultimate luxury for a thirteen-year-old boy: privacy. On the negative side, it's also got a massive mirror that reminds you of your wretched physicality every time you go take a dump.\n\nThe mirror-fronted cabinet reflects a medium-sized, pimply faced man-child with a chronic case of bedhead and a face not even Cyndi Lauper could love.\n\n> Tear uniform\nYeah, that's punk! you think. But after a minute of straining and grunting you give up, amazed at how strong they're making polyester blends these days.\n\n> You open the cabinet\nYou open the mirror cabinet, revealing an electric shaver.\n\n> You look in the the mirror\nIn the mirror cabinet is an electric shaver.\n\n> You take shaver\nYou lift the electric shaver and hold it in your grip almost reverently, placing your thumb on the red switch. Its cord uncoils and hangs in the air as you turn it over.\n\n> Shave\nPlugging it in first, you slide the button and the shaver snaps to life. You hold it in your hand tightly, letting the vibration buzz through you. Then, gripped by the vision of another you, you put it to the side of your head and shave your first strip off. And another. And another. The chunks of hair make a small pile at your feet.\n\nYou now have a mohawk.\n\n[You get five punk points for that.]\n\nFinished with it, you switch it off and return it to the cabinet. As you shut it, you see a punk in the mirror -- the hair defiantly greasy, the acne now angry scars. Your flaws suddenly make sense. You rub your hand over your shorn scalp and stare at your new self with a mixture of joy and terror.\n\n> You look\nThis grotty little tiled room might not be pretty, but it's got the ultimate luxury for a thirteen-year-old boy: privacy. On the negative side, it's also got a massive mirror that reminds you of your wretched physicality every time you go take a dump.\n\nFrom the mirror, a punk gazes back.\n\nYou can also see an a sizeable pile of your hair here.\n\n> You take the hair\nAh, you'll clean up after school. You're already late.\n\n> You wear the uniform\nYou pull on the polyester slacks and button up the starchy shirt. As you knot your tie, you catch a glimpse of yourself in the bathroom mirror and note how nicely the preppy uniform is set off by your new hairstyle.\n\nYou practice your nastiest sneer and give yourself the finger. Today's your first day at the most authoritarian and repressive school in the city, and these are your only weapons.\n\nYou play it right, and they'll be enough.\n\nGiving your Sid poster a knowing wink, you toss your blazer jacket over your shoulder and stalk out of the room.\n\n\n\nYou're at a school assembly, enduring speech after boring speech about the school's legacy and tradition.\n\nYou've got to do something or you'll go crazy.\n\nThe gymnasium is packed with boys, all wearing the same uniform and the same glazed expression. The rows and rows of chairs face a stage on which various old codgers parade their inability to say anything interesting. You slump in your chair and entertain yourself by reading the variety of pointless competitions on the pennants around the room, and look longingly at the exit to the east -- even the washroom to the south looks good.\n\n> You examine the pennants\nLAWN DART SEMIREGIONALS 1971 -- CITYWIDE VOLLYBALL CHAMPS '81 -- RUGBY NATIONALS 1976 -- BIG WASTE OF TIME 1985.\n\"We expect you to act as representatives of the school at all times,\" a portly old brother is saying, \"That means being Christian, courteous, and well groomed.\" You take in the huge stains on his armpits, clearly visible even with a black shirt, and note that he's somehow smudged his white priest's collar.\n\nYou hear something being repeated, chanted. You look over and see that the skinhead's looking straight at you and grinning with all his teeth.\n\n> You give the finger to the brother\nYou can only do that to something animate.\n\n> You examine brother\nHe's flying on auto-pilot, this one -- he barely seems to be able to keep his eyes open.\n\n\"And disrespect to the uniform will be treated as severely as disrespect to one of your teachers. You are encouraged to wear your blazer to and from the school, but if you choose not to, jean jackets are absolutely forbidden.\" That strikes you as a weird restriction -- is this 1985 or 1958? A man with a beard leans over and whispers something and he nods. \"Cowboy boots are also forbidden.\"\n\n> You examine the skinhead\nThere's three of them lined up together against the west wall -- a goth, a mod, and a skinhead with a predatory grin. They're too far away to see much more.\n\n\"I'd like to introduce you to your vice principal, Mr. Pannus.\"\n\nThe skinhead fake-coughs into his fist: \"Penis.\" Pannus either doesn't hear or pretends not to.\n\n> You check what you're carrying\nYou are carrying:\nyour middle finger\na blazer (being worn)\na tie (being worn)\n\n\"Thank you, Brother Matthews,\" Mr. Pannus begins, tilting the mike up at his well trimmed beard. \"Last year, two boys were expelled for behavioural problems. You are attending an elite academy, and it is a privilege to be doing so -- not a right -- so if you behave like animals, be prepared to be treated as such.\"\n\nThe skinhead's chant starts up again, just below your ability to hear. \"or er\"? You suddenly dread he's calling you a poser. You glance at the other two, but they're ignoring him, looking supremely bored as they lean against the wall.\n\n> You give finger to Pannus\nAll right -- look at it like the punk's version of the samurai sword. Unless it's worthy of drawing blood, you don't just whip it out.\n\nMr. Pannus nods to a boy who brings a flag to the front, and then looks to the band.\n\nYou sneak a glance at the skinhead, who's still watching you. In the\n\n> You give the finger to Matthews\nsilence before the band begins, he does a daring triple-fake-cough: \"Hard-Core-Niner!\"\n\nYou look away, pretending to yawn. Well, it was better than being called poser.\n\nYou can only do that to something animate.\n\n> You go to the south\nYou get out of your seat and squeeze by countless grey knees...\n\nThis is the bathroom part of the changeroom, which exits to the north. Your usual assortment of bathroom fixtures: urinals, mirrors, sinks, and a toilet stall. A big white garbage can sits in one corner, full almost to overflowing.\n\nYou hear muffled (but still discernibly dull) \"music\" from the gym.\n\n> You look in the mirror\nThe stall appears to be smoking. You wonder where it picked up the habit.\n\nYou hear muffled (but still discernibly dull) \"music\" from the gym.\n\nYou find nothing of interest.\n\nYou hear muffled (but still discernibly dull) \"music\" from the gym.\n\n> Examine can\nThe open can is filled to capacity, almost exclusively with paper towels.\n\nYou hear muffled (but still discernibly dull) \"music\" from the gym.\n\n> You get the towels\n(the garbage can)\nJudging by the chip on your shoulder, you like carrying around unwieldy objects. But this is ridiculous.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> Piss\nFor the duration of this game, you have an infinitely expanding bladder and intestinal tract.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> Open stall\nIt's locked, but your rattling provokes a sudden coughing, a choking, a flushing, and a huge jock stumbles out of the stall wreathed in smoke. When he sees it's only you, his face collapses in relief -- for about a second, until annoyance replaces it.\n\nHe washes his hands menacingly. \"Better watch your step, niner,\" he says, his grizzled jaw clamped. He looks terrifyingly like a real man. \"Stomp you and your stupid haircut into the ground.\" He wipes his mammoth hands off on your blazer, and leaves the bathroom.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You examine the blazer\nIt's black and has the Pope Innocent III school crest right over your heart. Aw.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You listen\nYou hear nothing unexpected.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You examine the stall\nThe stall has quit smoking, but there's still a slight haze above it. You can't see inside, since the toilet stall is closed.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> Open stall\nYou open the toilet stall, revealing a toilet and some toilet paper.\n\n> You look in the stall\nIn the toilet stall are a toilet and some toilet paper.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You get lighter\nTaken.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You examine paper\nThere's only about two feet left. Enough for two average dumps or one industrial strength.\n\n> You take lighter\nTaken.\n\n> You examine lighter\nThe jock's not going to be pleased when he realizes he's lost his fire. It has the logo of a beer company on it.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> Burn towels\n(the garbage can)\n\nBefore you flick the Bic you notice that the smoke detector is a few feet above the can. It'd be going off before you left the room. If this was a Hollywood movie you'd have a fuse handy.\n\n> You look at the detector\nIt's mounted on the ceiling, well out of your reach.\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> You put the paper in can\nYou manage to get it tucked into the can, although most of it trails down the side.\n\n> Light paper\nWith what? Your burning ambition?\n\nYou hear muffled (but still discernibly dull) droning from the gym.\n\n> Light paper with lighter\nYou light a corner of the toilet paper and head back to your seat in the auditorium. A few seconds after your bum hits the chair the fire alarm starts ringing. The brother saying prayers looks at the roof, as if betrayed by God.\n\nThe crowd of boys goops towards the exit with speed of molasses, and just as you squeeze out the front door someone grabs your collar.\n\nShit, you think. Caught so soon? The game's barely begun.\n\nIt's the skinhead. \"Well, Hardcore Niner,\" he says, slapping down your blazer and straightening your tie, \"Let's get a look at you!\"\n\nThe mod and the goth join him, and the three of them scrutinize you in the bright sun of the basketball court. It's beginning to fill up with increasingly rambunctious boys.\n\n\"Hey,\" one coifed gino says to someone who's just emerged. \"What the fuck did I tell you to do? Huh?\"\n\nThe mod pokes his head towards the east, \"Let's go to the Path before Penis comes out.\" He includes you in this, and the four of you walk away together, the skinhead and the goth in front.\n\n\"I'm Jackson,\" says the mod, \"They're Stuart and Dave. That was you, back there, wasn't it?\"\n\nYou shrug non-commitally.\n\nHe smiles and hands you a small photocopied magazine. \"You might like this zine. It's full of shit-disturbing stuff. A friend of a friend of mine made it.\"\n\n\"Thanks,\" you say.\n\nThe Path, the thin sidewalk that links the school grounds to the real world, is neither on or off school property. It's no-man's-land, and all suspect activity takes place here. Like most legendary spots, it's rather unimpressive in actuality -- it's a butt-littered sidewalk that heads west to the school and east to freedom.\n\nYou can see Stuart, Dave and Jackson here.\n\n> You read Zine\nIt's a small photocopied and stapled booklet called \"Virus: A Zine Dedicated to Spreading Truth\". A picture of Christ that's been coloured in brown is on the cover: \"NEWSFLASH: Jesus wasn't a cracker!\". Inside are articles on punk rock iconography, censorship in science class, and the hypocrisy of the Catholic Church -- you can READ ABOUT ____ IN ZINE, if you were so inclined.\n\nThere are already a few boys smoking on the Path when you get there. They're older, and your little group has stopped a few steps away from them.\n\nJackson tells them that they have you to thank for the sudden closing of ceremonies.\n\nThe skinhead chuckles. \"Nice going H.C., I thought I was going to exPLODE in there. Dying for a smoke.\" He pulls out a pack and taps out a cigarette. The goth removes a silver case and puts a cigarillo between his thin lips.\n\n> You ask the skinhead for the cigarette\nHe winces, but hands one over.\n\nYou flick your lighter and manage your first puff without choking. But your second and third leave you watery eyed and hacked out. Stuart enthusiastically pounds on your back through it all, guffawing, \"Hey there H.C., take it slow.\"\n\n\"Hey!\" yells one of the bigger boys on the Path. \"That's my fucking lighter.\" He stomps up to you and yanks it out of your hand, almost taking a finger with it. He looks like he's going to kick your ass, but then notices Stuart standing behind you.\n\n\"Fucking freaks,\" he says after a second, and goes back to his friends.\n\n[You get 5 punk points for that.]\n\n\n\nTwo weeks later, it's the day of the fall dance. You've decided that, lame or not, you want to go -- and your last chance to get your ticket is right after this class. There's ten minutes left, and you're a coiled spring waiting for the bell. But there's nothing you can do but wait.\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats in front of a chart of the table of elements. You're seated two to a table on stools, and it feels like you should be doing something cool like dissecting rats or building robots -- but so far, you've been sitting there learning about non-reactive molecules. No wonder you've been staring out the window. There's an exit to the south.\n\n> You examine the chart\nThe building blocks of the universe are depicted in a neat series of boxes, with no memory of their legacy of poisonous mushroom clouds. You hope they're not on the exam.\n\nYou sit at the back of the class, your lab mate a sleeping rocker. Stuart, placed up at the very front, is engaged in a marker war with the mopheaded guy next to him. Every time the teacher turns around, they attempt to marker-slash the other guy's grey slacks.\n\n\"Sir, I've got a question,\" a kid with a hearing aid says.\n\n\"Yes, Jaimie, what is it?\" the teacher says, turning around to add another element to the list he has there.\n\nStuart grabs the opportunity to put a red line down the side of Mophead's pants. \"Yesssss!\" he hisses.\n\n\"Is it possible to make LSD with the chemicals we have in this lab?\"\n\nThe class erupts in laughter.\n\n> You read about science class in Zine\n\"We discovered that several schools have removed this lesson from the curriculum. Since we at Virus have found it useful, we've decided to return it.\" Beneath it reads...\n\n\"EXPERIMENT 4\nSynthesis of an Explosive: N13*NH3\n\nMany explosive molecules have nitrogen as one of the elemental components. Nitrogen single bonds to most atoms are quite weak, while the nitrogen - nitrogen triple bond is exceptionally stable (NH3 is an exception, in that its N-H single bonds are fairly stable). Energy liberated by the breaking of single nitrogen bonds can be substantial.\n\nNitrogen - halogen single bonds are particularly reactive due to repulsion between the nitrogen and halide lone pairs. In this experiment you will make ammonium triiodide NI3, isolated as an ammoniate coordination complex. This compound, when dry, is a detonating explosive that is shock-sensitive. It can be handled when wet, but will explode unpredictably when dry.\n\nBasic glassware including 10-mL beaker, 2-mL pipette, glass rod are required for this experiment.\n\nThe product of this experiment is a shock-sensitive explosive when dry. The small amount prepared according to the procedure below is not dangerous, but larger amounts are serious explosion risks. Never scale up this procedure!\"\n\n(At this point, the editors of Virus have handwritten: HA HA!)\n\nWeigh 100mg (0.100 g) of iodine into a 10-mL beaker. Slowly add 2.0 mL of concentrated ammonium hydroxide solution. Stir the mixture for 5 minutes -- a red precipitate should form. Transfer the moist precipitate onto several layers of filter paper placed on the floor of the fumehood, away from any breakable objects. Spread out the solid and permit it to dry for one hour.\n\nWhile you are waiting, answer the questions provided in the laboratory. These are to be handed in before you leave the laboratory.\"\n\n(At this point, the editors have handwritten: SURE TEACH, RIGHT AFTER I FINISH BLOWING UP THE SCHOOL!)\n\n\"When the sample has dried, carefully tap it with the end of a yardstick, keeping as far away as possible. No other characterization is required, or advisable.\"\n\nThe teacher quiets the class down, smirking slightly but with a nervous eye on the door. Not turning around, he says, \"Even if we did, we wouldn't have the equipment to distil it. You getting this down, Jaimie?\"\n\n\"Yes sir. You seem to know an awful lot about making drugs, sir.\"\n\nAnother laugh spreads through the class.\n\nMophead is out of Stuart's range, talking to the boy behind him urgently. From the angle you're at, you can see the boy pass him two markers. Mophead grins at Stuart.\n\n> You look at the worktables\nSturdy and soaked with chemicals.\n\n\"Does anyone have any intelligent questions about the test on Monday?\" the teacher says, turning around to see Stuart mid-lunge. He ignores it.\n\n\"Is exercise four on it, sir?\" one chubby boy asks.\n\nHe looks blank for a second, grabs the exercise book off Stuart's desk and flips through it. \"No,\" he says, \"One through six, not including four. We didn't do exercise four.\"\n\n> Inventory\nYou are carrying:\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)\n\n\"What was exercise four?\" pipes up Jaimie. \"Sir?\"\n\n\"It was the formula for LSD, Jaimie, what else,\" says the teacher dryly.\n\n> You look at the teacher\nHe's an alright guy, with only the occasional freakout.\n\nBy this point Mophead has amassed a thick handful of markers and has put an elastic band around them. He shows it to Stuart under the desk, the uncapped tips glinting wet. Stuart is frantically rifling through the pencil case of the boy behind him for reinforcements, when the teacher turns his back.\n\nStu feels, rather than sees, the rainbow wound on his leg from knee to ankle. You see his eyes close and his teeth clench. Mophead raises his clenched fists to the sky in slow motion, silent victory. \"You're so dead!\" Stuart hiss-shouts.\n\n\"What's that, Stuart?\" says the teacher without turning around.\n\n\"Nothing sir.\""
    },
    {
        "text": "[Themes: Slice of life, punk]\n\n> You look around\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats in front of a chart of the table of elements. You're seated two to a table on stools, and it feels like you should be doing something cool like dissecting rats or building robots -- but so far, you've been sitting there learning about non-reactive molecules. No wonder you've been staring out the window. There's an exit to the south.\n\nThe bell rings.\n\nYou move quickly, but not quickly enough. Stuart steps in front of you.\n\n\"Hey H.C.,\" Stuart says, \"Wait 'till you see --\" He stops as he notices the teacher is standing beside him with his arms crossed.\n\nThe teacher starts to lecture Stuart.\n\n> Go south\n\"Hardcore, hold up,\" Stuart says, stepping in front of you while continuing to nod remorsefully at the teacher.\n\nThe teacher continues the lecture. You crumple your ten in your pocket anxiously, feeling your chances of getting a ticket drain away.\n\n> You ask the teacher about the nitrogen\nYou decide to keep your trap shut -- you don't want to be held after class and miss your only chance to get a ticket.\n\nThe teacher wraps it up. \"And you,\" he says, swivelling, \"Unless you want to flunk and have to repeat this class like your friend here, you'll start bringing your books to class!\"\n\nYou nod but he's already turned his back.\n\nYou rush out the door, Stuart beside you.\n\n\"Hey, so I rolled this Nazi skinhead last night,\" he said, \"For his docs.\"\n\nYou rush down the hall and down the stairs, but Stuart continues obliviously. \"But they're too small for me. They're awesome though, fourteen-holed with steel toes.\"\n\nYou arrive on the first floor just in time to see them folding up the table. \"Nope, sold out,\" you hear someone being told.\n\nYou stop there, stunned. Stuart goes on, \"Come out to the Path and I'll show you them.\"\n\nNumbly, you follow him.\n\nThe Path, the thin sidewalk that links the school grounds to the real world, is neither on or off school property. It's no-man's-land, and all suspect activity takes place here. Like most legendary spots, it's rather unimpressive in actuality -- it's a butt-littered sidewalk that heads west to the school and east to freedom.\n\nYou can see Stuart here.\n\nHe pulls a pair of boots out of his khaki backpack and drops them in front of you, then gropes for his smokes.\n\n\"Yep,\" he says, \"That Nazi bonehead never knew what hit him.\" He takes a drag. \"OK,\" he says, not looking at you. \"Try 'em on.\"\n\nStuart rants about Pannus.\n\n> You wear the docs\n(first taking the Doc Martens boots)\nTaken.\n\n> You wear the docs\nYou step into the boots and lace them up, pretending that you've worn 14-hole docs every day of your life.\n\n\"Yeah,\" Stuart says, looking at you appraisingly, \"That's better. You won't look like such a poser tonight at the dance.\"\n\nYou feel sick thinking about how you haven't got a ticket but you muster up a grateful smile.\n\nHe sits down on the ground and leans against the fence, puffing away.\n\nYou bum a smoke from Stu. \"What a mooch,\" he gripes, \"Score you an awesome pair of docs and you take my last smoke, too.\"\n\nYou smoke quickly and nervously, then toss the butt in the graveyard.\n\n> You read about the dance in Zine\nYou flip through the zine, but don't find that.\n\nStu yawns.\n\n> Thanks\n\"Since when you the boss of me, niner?\"\n\nStu yawns.\n\n> You look at the boots\nThey're beautiful boots. Thick soled, shiny black criss-crossed with red laces. The toes are bulbous and slightly squared off.\n\nStu laments the state of his markered-up slacks.\n\n> You ask Stu about the dance\nYou start to ask Stu if he knows anyone selling tickets, but stop. You feel like a total putz, since they were on sale all week. You resolve to get a ticket without the guys knowing.\n\nStu yawns.\n\n> Inventory\nYou are carrying:\nsome Doc Martens boots (being worn)\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)"
    },
    {
        "text": "[Themes: Slice of life, punk, mild profanity, male protagonist]\n\n> Look around\nThe Path, the thin sidewalk that links the school grounds to the real world, is neither on or off school property. It's no-man's-land, and all suspect activity takes place here. Like most legendary spots, it's rather unimpressive in actuality -- it's a butt-littered sidewalk that heads west to the school and east to freedom.\n\nYou can see Stuart here.\n\n> Go west\nThese one-room portables are meant to be temporary but these battered aluminium boxes look older than the school itself. Ugly things, but they do serve nicely to obscure the activities of the Path from prying eyes in the school. You can venture south to the field or enter the playground by going west.\n\n> You go to the south\nA track rings the large multi-purpose field, and trees ring the track. The school looms to the west, its window eyes silently judging the players. This is where boys become men, where the raw ore of youth is pounded into iron, where the limits of the body and spirit are tested.\n\nWhere the jocks frolic, in other words.\n\nThere's a bunch of jocks throwing around a melon shaped ball and running around in a very intense fashion.\n\n> You look at the jocks\nOne of them's the guy whose lighter you found. He notices you staring at them. \"What you looking at, faggot?\" he shouts between catching and throwing the ball.\n\n> You give the middle finger to the jocks\nYou give the jocks the finger.\n\n[You get 5 punk points for that.]\n\nAs one, their faces turn ugly -- then they look at each other in silent consultation. The lighter guy tosses the ball to someone else and stomps towards you.\n\nThe lighter guy is even bigger than you remember him, his face with an out-of-place look of thoughtfulness as he considers what to do to you. He finally decides on pulling your blazer up and over your head, then spinning you around until you fall of your own accord. Guffaws echo in your ears.\n\n[You lose 5 punk points for that.]\n\n> You examine the trees\nPretty, but so what?\n\n> You go to the west\nEven if you were prepared to climb the vine trellises, the windows are closed.\n\n> Go west\nThe asphalt is painted with various arcane white lines which you assume are used in playing something, but you've never seen anyone doing anything but shooting hoops here. The side door to the school cafeteria is propped open to the west, the portables squat to the east, or you can go AWOL and head north.\n\n> Go west\nThere's a constant hubbub in this large room intended for eating food. There's a lot more card players, arguers, wrestlers and crammers than there are diners, however, all playing out their little dramas. Off to the side is a little food booth, occupied by Old Pudge.\n\nThere's a stairwell to the west, and you can smell the fresh air coming from the east door.\n\nYou can see Old Pudge here.\n\n> You examine the Pudge\nHe sells a surprising variety of things, meeting all teenage boy needs -- excepting, perhaps, porn and smokes. The fat old man is wedged in his booth, wiping up something, his apron swaying with the exertion.\n\n> You ask Pudge about the ticket\nOld Pudge grunts and shakes his head, continues rubbing grease around the counter.\n\n> You go upwards\nSecond Floor, East\nThe science lab is to the north and stairs lead up and down. Grey lockers line the walls, as do doors to various classrooms.\n\n> Go north\nThere's a class in progress. Didn't you get enough?\n\n> Go up\nThird Floor, East\nThis is as high as this high school gets. You can go back down, south to the library, or you can follow the hallway west. Lockers and classroom doors line the walls.\n\n> You go south\nThe musty little room is choked with books, with only barely enough room for a reading table and the librarian's desk. It's hard to imagine a better way to discourage reading.\n\nYou can see Dave and a librarian here.\n\n> You examine dave\nDave has a curtain of curly bangs he wears draped over his angular face, which is mirrored by the plethora of loose threads he's unravelled from his tie. His pointy toed boots fit neatly into his specially tapered slacks.\nThere's a strange scratching sound.\n\n> You look at Dave\nDave has a curtain of curly bangs he wears draped over his angular face, which is mirrored by the plethora of loose threads he's unravelled from his tie. His pointy toed boots fit neatly into his specially tapered slacks.\n\nYou realize the scratching is coming from behind Dave's book. It's quite loud, and when you look at him questioningly, he mumbles, \"She's totally deaf.\"\n\n> You examine the librarian\nThe librarian has the grey bun and the grandmotherly stylings that are guaranteed to negate even the most determined teenage lust. Presumably, given the similarities to the school secretary, they're sisters -- but no one cares enough to ask.\n\nThe scratching pauses for long enough for Dave to sweep the shavings off the table.\n\n> You examine table\nOn the reading table is a carving. It's kind of round with some lines in it...oh, forget it. It's all greek to a geek like you.\n\n> Inventory\nYou are carrying:\nsome Doc Martens boots (being worn)\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)\n\n> You read Zine\nIt's a small photocopied and stapled booklet called \"Virus: A Zine Dedicated to Spreading Truth\". A picture of Christ that's been coloured in brown is on the cover: \"NEWSFLASH: Jesus wasn't a cracker!\". Inside are articles on punk rock iconography, censorship in science class, and the hypocrisy of the Catholic Church -- you can READ ABOUT ____ IN ZINE, if you were so inclined.\n\n> You read about the punk rock iconography\nWhat do you want to read about in?\n\n> Zine\nHandwritten above a series of arcane symbols and definitions is: \"We at Virus believe that, while pretending to be the exact opposite, the hardcore scene has become an elitist club. To combat that, and for historical record, we give you the Iconography of Punk Rock.\"\n\nScanning the symbols, you recognize the one Dave was carving -- it's for a band called \"Dead Kennedys\".\n\n> You ask Dave about dead Kennedys\nDave's eyes widen in surprise.\n\n\"You know them? Cool,\" Dave enthuses.\n\n[You get five punk points for that.]\n\nDave looks down at your boots and then gives you a sideways look. \"Their best one is the song 'Nazi Punk, Fuck Off'...\"\n\n\"Yeah, Nazis suck,\" you concur.\n\n\"You know Nazis wear red laces?\"\n\n\"Oh,\" you say, feeling like an idiot. \"Yeah. Well, Stuart said he took -- rolled -- a skin for these.\"\n\n\"Huh,\" says Dave. \"Well, I think they got laces at the caf.\" He goes back to his carving.\n\n\"You boys be quiet,\" says the librarian suddenly.\n\n\"Fuck off, you old biddy,\" says Dave, hidden behind his book.\n\nShe doesn't even look up from her book.\n\n> Go north\nThird Floor, East\n\n> Go west\nThird Floor, West\nThis is the most remote part of the school, and so naturally your locker is here. For added fun, the detention room is directly north -- its deadly silences punctuated by barked orders and sobs ensure that you visit your locker as infrequently as possible.\n\n> Go north\nYou'd like to put that off as long as possible."
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist, male protagonist, high school]\n\n> Go downward\nSecond Floor, East\n\n> You go west\nSecond Floor, West\nThere's a prominently displayed trophy case and rows and rows of official looking plaques to impress parents on their way south to the office. The hallway continues east, and north is the way back outside.\n\n> You ask Pudge about the laces\nYou point at your boots. \"I need laces,\" you say to Old Pudge, and he looks under the counter. He pulls out two exceptionally long black laces like they were spaghetti and slaps them on the counter. \"Two bucks,\" he says, and you gladly pay.\n\nExcited, you sit down in the middle of the floor and remove the red laces and start lacing up the black ones. It takes a while to thread fourteen eyeholes, and you attract the attention of quite a few boys. When you've tightened them and get up, you find yourself looking into Mr. Pannus' unsmiling bearded face.\n\n\"Those boots are not regulation, are they. Come with me,\" he says softly, and you walk behind him to...\n\nIt's a classroom that evokes the feel of an interrogation chamber without resorting to a single bare bulb. There's a blackboard and a large teacher's desk. All except a few of the desks have been removed, and Jackson sits at one of them. The other boy is Mophead, who gives you a vacuous grin.\n\nYou can see Mophead, Pannus and Jackson here.\nPannus stares at you without blinking.\n\n> You examine Jackson\nJackson's a handsome boy with his hair carefully gelled and cut short. He wears a voluminous bomber jacket with the target symbol on the back, and neat little brogues -- he's not violating uniform regulations at all unless you count the union jack sewn to his tie.\nPannus stares at you without blinking.\nJackson runs his hand through his hair and sighs.\n\n> You examine Mophead\nYou've never actually seen his eyes, but apparently they're there somewhere under that huge mass of blond hair.\nMophead hums increasingly louder until Pannus' head starts to turn his way.\n\n> You check what you're carrying\nYou are carrying:\nsome Doc Martens boots (being worn)\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)\nPannus stares at you without blinking.\n\n> You read about the detention in Zine\nYou flip through the zine, but don't find that.\nMophead goes through his marker collection, checking them for moistness.\n\n> You ask Jackson about the detention\nNot the place to chitchat, with Pannus standing right there.\n\n> You examine the blackboard\nOminously, the blackboard is filled with crossed-off names.\nPannus stares at you without blinking.\n\n> You read the names\nWhat do you want to read in?\n\n> You read the blackboard\nOminously, the blackboard is filled with crossed-off names.\nPannus rubs his beard and considers you as if you were a mathematical problem.\n\n> You look at the desk\nIt's a big wooden teacher's desk, on which is an envelope with a couple of dance tickets sticking out of it.\nJackson runs his hand through his hair and sighs.\n\n> You take the envelope\nPannus notices your interest in the tickets. \"It's completely sold out,\" he says, stroking his beard like a pet, \"These are for the boys who will take the tickets at the door.\" He looks at you for a second, his green eyes seeming to flicker. \"I'll tell you what. If you clean the blackboard, I'll let you be on the first shift.\"\nPannus stares at you without blinking.\n\n> You look at the envelope\nPannus notices your interest in the tickets. \"It's completely sold out,\" he says, stroking his beard like a pet, \"These are for the boys who will take the tickets at the door.\" He looks at you for a second, his green eyes seeming to flicker. \"I'll tell you what. If you clean the blackboard, I'll let you be on the first shift.\"\nPannus stares at you without blinking.\nMophead goes through his marker collection, checking them for moistness.\n\n> Clean blackboard\nAs you're cleaning the blackboard, Pannus says, \"That's a good lad.\" When you turn back, neither of the other boys meet your eyes. Pannus' face is glowing with the triumph of the horse trainer.\n\n[You lose three punk points for that.]\nPannus blinks, just when you were doubting his humanity.\nMophead goes through his marker collection, checking them for moistness.\n\n> You check what you're carrying\nYou are carrying:\nsome Doc Martens boots (being worn)\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)\nMophead hums increasingly louder until Pannus' head starts to turn his way.\n\n> You take the tickets\nPannus notices your interest in the tickets. \"It's completely sold out,\" he says, stroking his beard like a pet, \"These are for the boys who will take the tickets at the door.\" He looks at you for a second, his green eyes seeming to flicker. \"I'll tell you what. If you clean the blackboard, I'll let you be on the first shift.\"\nPannus rubs his beard and considers you as if you were a mathematical problem.\n\n> You give middle finger to Pannus\nYou want to, but you just don't got the juice yet.\nPannus rubs his beard and considers you as if you were a mathematical problem.\nMophead goes through his marker collection, checking them for moistness.\n\n> You ask Mophead about the markers\nNot the place to chitchat, with Pannus standing right there.\nPannus blinks, just when you were doubting his humanity.\n\n> You give the finger to Pannus\nYou want to, but you just don't got the juice yet.\nPannus stares at you without blinking.\n\n> You ask Pannus about the tickets\nHe stares at you for a full two seconds. Then, in a caring voice: \"Why are you wasting my time with stupid questions?\"\nPannus stares at you without blinking.\nJackson runs his hand through his hair and sighs.\n\n> You read Zine\nIt's a small photocopied and stapled booklet called \"Virus: A Zine Dedicated to Spreading Truth\". A picture of Christ that's been coloured in brown is on the cover: \"NEWSFLASH: Jesus wasn't a cracker!\". Inside are articles on punk rock iconography, censorship in science class, and the hypocrisy of the Catholic Church -- you can READ ABOUT ____ IN ZINE, if you were so inclined.\nPannus blinks, just when you were doubting his humanity.\nJackson diligently copies out bible passages.\n\n> You examine Jackson\nJackson's a handsome boy with his hair carefully gelled and cut short. He wears a voluminous bomber jacket with the target symbol on the back, and neat little brogues -- he's not violating uniform regulations at all unless you count the union jack sewn to his tie.\nPannus stares at you without blinking.\nJackson runs his hand through his hair and sighs.\n\n> You buy the tickets\nNothing is on sale.\n\n> You examine the desk\nIt's a big wooden teacher's desk, on which is an envelope with a couple of dance tickets sticking out of it.\n\n> You read about the jesus in Zine\nYou flip through the zine, but don't find that.\nMophead hums increasingly louder until Pannus' head starts to turn his way.\n\n> You wait\nTime passes.\nJackson diligently copies out bible passages.\n\n> Pray\nNothing practical results from your prayer.\nJackson diligently copies out bible passages.\n\n> You examine the blackboard\nOminously, the blackboard is filled with crossed-off names.\nPannus blinks, just when you were doubting his humanity.\nJackson diligently copies out bible passages.\n\n> You take tickets\nPannus notices your interest in the tickets. \"It's completely sold out,\" he says, stroking his beard like a pet, \"These are for the boys who will take the tickets at the door.\" He looks at you for a second, his green eyes seeming to flicker. \"I'll tell you what. If you clean the blackboard, I'll let you be on the first shift.\"\nPannus rubs his beard and considers you as if you were a mathematical problem.\nJackson runs his hand through his hair and sighs.\n\n> You jump\nYou jump on the spot, fruitlessly.\nPannus blinks, just when you were doubting his humanity.\nJackson diligently copies out bible passages.\n\n> Clean blackboard\nAs you're cleaning the blackboard, Pannus says, \"That's a good lad.\" When you turn back, neither of the other boys meet your eyes. Pannus' face is glowing with the triumph of the horse trainer.\n\n[You lose three punk points for that.]\n\n> You take the ticket\nWhen you reach for the ticket, Pannus hands you a cloth and nods at the board. \"Better give it a good buff. Get it as shiny as those boots of yours.\" There's an amused look in his eye now.\nPannus stares at you without blinking.\nJackson runs his hand through his hair and sighs.\n\n> You give the finger to Pannus\nYou want to, but you just don't got the juice yet.\nPannus stares at you without blinking.\nJackson diligently copies out bible passages.\n\n> Clean board\nYou clean the board to a shiny black, and hand the cloth back to Pannus. He doesn't even look at you this time.\n\n[You lose 3 more punk points for that.]\n\n> You give the finger to Pannus\nYou decide to give him what he's been asking for.\n\nPannus stares at your finger. He looks down at his reading for a second, then sighs. \"How are we supposed to deal with animals like you without the strap? Get out,\" he flips a page, \"Get out, all of you.\"\n\nMophead and Jackson sprint out the door in front of you, grinning wildly.\n\n\"Nice one, man,\" Mophead says. \"And hey, if you need a dance ticket, Terry can hook you up. He's selling them out front of the school.\"\n\n\"He has extra tickets?\" you say.\n\n\"You might say that,\" Mophead says mysteriously and takes off, bouncing down the hall and glancing in the windows of the classrooms.\n\nJackson solemnly shakes your hand. \"Nicely done, my good man.\" He turns and gets his stuff out of his locker. \"I'm skipping the rest of the day. Don't want to run into Pannus again with the mood he's in. Luckily he won't be at the dance.\" Jackson zips up his bomber and taps his pockets for his smokes, then walks off. At the last moment he turns around and salutes you, then disappears down the stairwell.\n\n[You got 10 punk points for that.]\n\nThird Floor, West\nThis is the most remote part of the school, and so naturally your locker is here. For added fun, the detention room is directly north -- its deadly silences punctuated by barked orders and sobs ensure that you visit your locker as infrequently as possible.\n\n> You go north\nThis is the road that heads north to the outside world and south back to the school. At the end of the school day it's choked with escaping boys, but now it's completely featureless.\n\nBeside the lane is a rather large concrete sign, with a cross on one side and an empty pedestal on the other."
    },
    {
        "text": "[Themes: Slice of life, coming of age, mild profanity, teenage protagonist, male protagonist]\n\n> Go downwards\nDoor's locked, and you can hear shouts and ball-echoes within.\n\n> You look at the plaques\nYou wonder if this school will turn you into the kind of entity that gives a rat's ass about such things.\n\n> Go north\nThis is the front door of the school, but other than the name carved above the southbound archway and the signage warning people to report to the office, there's not a lot of ceremony here. Pretty plain for a school as pompous as Pope.\n\nDespite the plainness, there's a boy here drawing the entryway in a large sketchbook. He spares you a brief glance.\n\n> You ask the boy about the tickets\nHe gives you a glance, slightly longer than average, then goes back to sketching. Just when you think he's ignored you completely, he says, \"Why ask me?\"\n\nGoing along with the cloak-and-dagger routine, you stare off into space a second yourself. Then, not looking at him, you say \"They're sold out. A friend told me you might be able to hook me up.\"\n\nTerry nods. \"Ten bucks.\"\n\n\"I only got eight,\" you say, \"C'mon.\"\n\nTerry shakes his head. \"Niners,\" he says with disgust. \"I need some of those office slips for uniform violations. Get me some of those and you can have it for eight.\"\n\nTerry goes back to his sketch.\n\n> Go south\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nOn the counter are some slips.\n\nAlthough she's keying information into the computer, the secretary's huge glasses make it impossible to tell if she's looking at you.\n\n> You examine secretary\nThe secretary has the grey bun and the grandmotherly stylings that are guaranteed to negate even the most determined teenage lust. You wonder if it's deliberate, because she seems younger, handling her computer without the tutting and fretting of the aged.\n\n> You ask the secretary about the jesus\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nOn the counter are some slips.\n\nAlthough she's keying information into the computer, the secretary's huge glasses make it impossible to tell if she's looking at you.\n\n\"Wouldn't know, dear,\" she says distractedly. \"Shouldn't you be in class?\"\n\n> You examine the painting\nThis is a very strange cartoonish depiction of Pope Innocent III. The colours are really bright, and his slightly cross-eyed gaze is almost goofy and not at all that of a MILITANT PASTOR AND GREAT MONARCH, which the plaque screwed into the frame insists he is.\n\n> You ask the secretary about the painting\nShe tilts her glasses and her eyes meet yours for the first time. \"That's Pope Innocent the Third,\" she says, turning around in her seat to look at him. \"He was a great man.\"\n\n> You get the slips\nYou stealthily slide the slips off the counter. Taken.\n\n\"He took the bull by the horns,\" the secretary continues, her back to you. \"He didn't take any nonsense from the heretics, he launched a Crusade when they got uppity! He did God's work. A great man.\"\n\n> Wait\nTime passes.\n\nShe seems lost in reverie, staring at the painting as if she remembered him personally.\n\n> Wait\nTime passes.\n\nShe swivels around and looks at you. \"Oh, well, you're new here aren't you? So you haven't even seen the wonderful statue of him that stands beside the sign in front of the school.\" Her face darkens and she returns to the computer, tapping the keys a little harder than she needs to. \"We had to clean it after someone --\" She looks at you sharply, and you get the smirk off your face just in time. She seems to notice your mohawk for the first time. \"Well, never mind. They'll be lowering it onto the pedestal tomorrow morning.\" She shakes her head, pointing back at Innocent. \"He wouldn't put up with that kind of monkey business, I tell you that.\"\n\n> You check your inventory\nYou are carrying:\nsome slips\nsome Doc Martens boots (being worn)\na zine\nsome cash\nyour middle finger\na blazer (being worn)\na tie (being worn)\n\n> You give the slips to Terry\nTerry takes the money and slips and pockets them. Then, from his sketchbook, he places an original ticket beside a blank piece of cardboard. With a thin line marker, he draws in the dancing leafs, the bubble style lettering that says FALL DANCE!, and all the small details the original incorporated to make it counterfeit proof. When he's done, he looks over his handiwork and then hands it to you.\n\nHe turns his attention to the slips next, removing another original from the back of his sketchbook. He forges the signature on one of them, then checks the \"slacks\" infraction. He hands it to you. \"This is for Stuart.\"\n\n> Thanks\nTo talk to people, ASK ____ ABOUT ____.\n\n> You go east\nYou can see Old Pudge here.\n\n> Go south\nThere's a bunch of jocks throwing around a melon shaped ball and running around in a very intense fashion.\n\n> Go east\nThe Path, the thin sidewalk that links the school grounds to the real world, is neither on or off school property. It's no-man's-land, and all suspect activity takes place here. Like most legendary spots, it's rather unimpressive in actuality -- it's a butt-littered sidewalk that heads west to the school and east to freedom.\n\nYou can see Stuart here.\n\nStuart rants about Pannus.\n\n> You check your inventory\nYou are carrying:\na signed slip\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger\na blazer (being worn)\na tie (being worn)\n\n> You give the slip to Stu\nYou casually hand it over to Stu, who glances at you suspiciously... and then breaks out in a huge grin. \"So you've met Terry, eh?\" he says, smiling.\n\n\"Yeah,\" you say casually, \"Got him to do me up one of these.\"\n\nYou flash Stu the counterfeit ticket, and he starts to laugh. \"Yeah, it's gonna suck, they always do...\" the skinhead says, exhaling smoke in a world-weary way. \"But it's pretty much the only thing goin'. Few chicks at least.\"\n\nYou nod and shrug.\n\n\"Yeah, we're meeting up here later tonight. You should come. Should be able to score some booze, take a little bit of the lameness out of the evening's festivities.\"\n\nMophead comes up from the school for a smoke and thumbs at you. \"Shudda SEEN this guy, Stu-Fart, he fuckin' gave Penis the FINGER.\"\n\n\"The FINGER! PENIS!\" Mophead goes to high-five you and you let him. \"Ah man, that was awesome!\"\n\nYou shrug, lean against the fence and try not to grin too broadly as your exploits are recounted blow by blow.\n\n> You take the bottle\nTaken.\n\n> You drink it\nYou take a small mouthful, swallow it quickly. You pinch your nose and squeeze your eyes shut for a second, then pass on the bottle to Dave.\n\n\"So I was like, 'Jackson -- just go in and get it,'\" Stuart says. \"You dress like someone's dad, they'll never ask you for ID.' But he wouldn't, so we had to wait for some rocker to come along who'd buy for us.\"\n\nDave takes two swigs and hands it to Jackson, who hands it to Stuart. \"Even Hardcore here is drinking, guy,\" Stu says with a smirk, handing the bottle to you. You swig and pass it on.\n\n\"You remember what happened the last time,\" Jackson says. \"I want to actually get into the dance this time. Pannus has still got me in detention from last year!\"\n\n\"Well, I mean, you puked in front of him,\" Dave says with a rare smile. \"We're lucky we went in before you.\"\n\nStuart is snickering. \"You were so fucked that night. The only thing that sucked about it was that you had a chance to puke on Penis and you puked on your own shoes. That's a shame.\"\n\n\"Well,\" Jackson says, \"They're obviously going to be watching me tonight, and I want to get into the dance.\"\n\n\"So you can show off all your skanking skills when they play One Step Beyond?\" says Stuart, getting to his feet and mock-dancing.\n\nJackson laughs, watching Stuart's scowling dance moves.\n\n\"Ah, it's going to suck anyway. They always do,\" says Dave, passing the bottle to Stuart. \"The last time we missed the only Cult song they played.\"\n\n\"That's why we should have got the stuff faster,\" says Stuart over the bottle. \"We would have gotten in with the first rush of people and no one would notice we were drunk.\"\n\n\"Yeah, it's not like we stick out or anything,\" Jackson says dryly. \"Besides, who was the one who was a half-hour late getting to my place tonight?\"\n\nYou take another swig. It's not getting any less vile, but it's almost finished.\n\n\"How hard is it to go into a store and buy something?\" says Stuart.\n\n\"You're almost a year older than me. You're sixteen,\" Jackson says.\n\nYou're a bit nervous with the mention of age, since you're thirteen.\n\nRolling his eyes, Stuart takes the bottle from Dave and finishes it off. \"It doesn't have anything to do with that. With my innocent young face, I couldn't buy milk past the due date.\"\n\n\"OK, let's go,\" Jackson says, getting to his feet and pulling out some gum. He hands everyone one piece, which you start to chew. Blueberry.\n\nAs you get up, you notice a little dizziness. Everyone heads west, taking careful steps, and as you pass the portables Stuart whips the empty bottle into the night and cocks an ear.\n\nWhen there's no smash he frowns. \"Damn. Missed the sign.\".\n\nYou enter the school and walk through the caf. The sudden bright lights intensify your dizziness into a nausea.\n\nThe ticket table is set up just outside the gym door, beside the stairwell. The sudden stop in front of it brings up bile. The senior, who's taken Jackson's ticket and let him go, looks at you guardedly. Then he tells you to wait.\n\nA moment later, Mr. Collins, the gym teacher appears. He's got a hockey stick over his shoulder and a smarmy grin on his face.\n\n\"What have you boys been up to tonight,\" he says, tapping at your mohawk with the flat of his stick. \"Other than hairdressing?\"\n\nThe know-it-all attitude sets off an explosion of rage -- and, unfortunately, also detonates an acid ball in your stomach. You're going to be sick.\n\nWhile you know that the cafeteria is its same old dingy self, your brain is telling you that it's spinning and painfully bright.\n\nMr. Collins, the obnoxious overgrown jock of a gym teacher, stands beside two of his apes behind the ticket table set up for the dance. He's grinning in a nauseatingly infuriating way. God, you feel ill.\n\n> You sit\n(on top of the Mr. Collins)\nThat's not something you can sit down on.\n\nYou vomit all over the floor. \"Waste of a good puke...\" murmurs Stu.\n\nCollins's smirk twitches with disgust, but before he can get his condescending hands on you, you flip the ticket table over.\n\nThe cash box makes a terribly satisfying clatter.\n\nThe next couple of minutes are a bit of a blur -- making a break; seeing Stu and Dave's escaping backs as you lean over to excise the last bit of liquid from your stomach lining; being carried back to the school by two big lugs who you flail alternately with screams about your inalienable rights as an individual and kicks to their groins; a second break, which similarly ends with you passed out in the field; and finally, incarceration in...\n\nScience Classroom (on the worktable)\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a chart of the table of elements here.\n\nYou wake groggily -- sober enough to be conscious, and still drunk enough to want to fuck shit up.\n\n> Puke on Collins\nYou slap your hands on the ticket table and vomit all over Collins and his thugs. It feels you're breathing liquid fire on them, although it looks more like the pasta you had for dinner. \"Yes!\" Stuart hoots, pumping his fist.\n\n[You get five punk points for that.]\n\nCollins' smirk twitches with disgust, but before he can get his condescending hands on you, you flip the ticket table over.\n\nThe cash box makes a terribly satisfying clatter.\n\nThe next couple of minutes are a bit of a blur -- making a break; seeing Stu and Dave's escaping backs as you lean over to excise the last bit of liquid from your stomach lining; being carried back to the school by two big lugs who you flail alternately with screams about your inalienable rights as an individual and kicks to their groins; a second break, which similarly ends with you passed out in the field; and finally, incarceration in...\n\nScience Classroom (on the worktable)\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a chart of the table of elements here.\n\nYou wake groggily -- sober enough to be conscious, and still drunk enough to want to fuck shit up.\n\n> You look at what you're carrying with you\nYou are carrying:\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger\n\n> You read about the Science in Zine\n\"We discovered that several schools have removed this lesson from the curriculum. Since we at Virus have found it useful, we've decided to return it.\" Beneath it reads...\n\n\"EXPERIMENT 4\nSynthesis of an Explosive: N13*NH3\n\nMany explosive molecules have nitrogen as one of the elemental components. Nitrogen single bonds to most atoms are quite weak, while the nitrogen - nitrogen triple bond is exceptionally stable (NH3 is an exception, in that its N-H single bonds are fairly stable). Energy liberated by the breaking of single nitrogen bonds can be substantial.\n\nNitrogen - halogen single bonds are particularly reactive due to repulsion between the nitrogen and halide lone pairs. In this experiment you will make ammonium triiodide NI3, isolated as an ammoniate coordination complex. This compound, when dry, is a detonating explosive that is shock-sensitive. It can be handled when wet, but will explode unpredictably when dry.\n\nBasic glassware including 10-mL beaker, 2-mL pipette, glass rod are required for this experiment.\n\nThe product of this experiment is a shock-sensitive explosive when dry. The small amount prepared according to the procedure below is not dangerous, but larger amounts are serious explosion risks. Never scale up this procedure!\"\n\n(At this point, the editors of Virus have handwritten: HA HA!)\n\nWeigh 100mg (0.100 g) of iodine into a 10-mL beaker. Slowly add 2.0 mL of concentrated ammonium hydroxide solution. Stir the mixture for 5 minutes -- a red precipitate should form. Transfer the moist precipitate onto several layers of filter paper placed on the floor of the fumehood, away from any breakable objects. Spread out the solid and permit it to dry for one hour.\n\nWhile you are waiting, answer the questions provided in the laboratory. These are to be handed in before you leave the laboratory.\"\n\n(At this point, the editors have handwritten: SURE TEACH, RIGHT AFTER I FINISH BLOWING UP THE SCHOOL!)\n\n\"When the sample has dried, carefully tap it with the end of a yardstick, keeping as far away as possible. No other characterization is required, or advisable.\"\n\n> Examine worktable\nSturdy and soaked with chemicals.\n\n> You look\nScience Classroom (on the worktable)\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a chart of the table of elements here.\n\n> You examine the chart\nThe building blocks of the universe are depicted in a neat series of boxes, with no indication of their legacy of poisonous mushroom clouds. You hope they're not on the exam.\n\nThere's a finger-sized ring at the bottom.\n\n> You pull the ring\nThe chart snaps up out of reach and reveals a glass-fronted cupboard.\n\n> You examine the cupboard\nThis cupboard contains the science class supplies -- the left compartment has all the glassware and the right compartment has all the chemicals.\n\n> You examine the right compartment\nAn astonishing array of alphabetically arranged chemicals and solutions."
    },
    {
        "text": "[Themes: Slice of life, high school, teenage protagonist, mild profanity, punk]\n\n> You describe your surroundings\nScience Classroom (on the worktable)\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a storage cupboard (in which are a left compartment (which is closed) and a right compartment (which is closed)) here.\n\n> You open the left compartment\nQuite locked. Naturally.\n\n> You break the left compartment\nYou hammer on the glass fruitlessly. Your eyes land on a sticker near the bottom: \"Now Unbreakable!\"\n\n> You examine the window\nOutside, the night calls. There's a few strands of ivy curling up from the trellis.\n\n> You open the window\nYou open the window. After shaking the trellis attached to the side of the school you decide it's sturdy enough to offer an escape down. But then, you're drunk."
    },
    {
        "text": "> Go downward\nYou clamber out the window and cautiously climb down the trellis...\n\nA track rings the large multi-purpose field, and trees ring the track. The school looms to the west, its window eyes silently judging the players. This is where boys become men, where the raw ore of youth is pounded into iron, where the limits of the body and spirit are tested.\n\nWhere the jocks frolic, in other words.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go west\nYou clamber up to the window...\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a storage cupboard (in which are a left compartment (which is closed) and a right compartment (which is closed)) here.\n\n> You go to the north\nYou can't go that way.\n\nThese one-room portables are meant to be temporary but these battered aluminium boxes look older than the school itself. Ugly things, but they do serve nicely to obscure the activities of the Path from prying eyes in the school. You can venture south to the field or enter the playground by going west.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go west\nThe asphalt is painted with various arcane white lines which you assume are used in playing something, but you've never seen anyone doing anything but shooting hoops here. The side door to the school cafeteria is propped open to the west, the portables squat to the east, or you can go AWOL and head north.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> You go north\nThis is the road that heads north to the outside world and south back to the school. At the end of the school day it's choked with escaping boys, but now it's completely featureless.\n\nBeside the lane is a rather large concrete sign, with a cross on one side and an empty pedestal on the other.\n\nYou can see a bottle (which is empty) here.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> You examine sign\n\n\n> You look at the cross\nNothing remarkable about it, but it brings to mind something Jackson said earlier in the week: \"Isn't it kind of morbid that we worship this thing used to inflict the death penalty? Isn't that kind of like wearing an electric chair around your neck?\"\n\n> You examine the pedestal\nIt's a concrete block with holes drilled in it, presumably for securing something to.\n\nYour liquor-addled brain seems to recall that the secretary said the statue would be reinstalled tomorrow. \"Popey's comin' home,\" you mumble to yourself.\n\n> You take the bottle\nTaken.\n\n> You throw the bottle at sign\nFutile.\n\n> You go west\nPeeking in the door, you can see Collins and his hockey stick directing his students in cleaning up. Specifically, cleaning up your upchuck. You decide the night air is doing you good.\n\n> You go east\nThese one-room portables are meant to be temporary but these battered aluminium boxes look older than the school itself. Ugly things, but they do serve nicely to obscure the activities of the Path from prying eyes in the school. You can venture south to the field or enter the playground by going west.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go east\nThe Path, the thin sidewalk that links the school grounds to the real world, is neither on or off school property. It's no-man's-land, and all suspect activity takes place here. At night, with the moon shining down, it's a little more mysterious, but it's still just a butt-littered sidewalk going east and west.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go east\nAre you joking? The suburbs are scary enough during the day.\n\n> Go south\nA track rings the large multi-purpose field, and trees ring the track. The school looms to the west, its window eyes silently judging the players. This is where boys become men, where the raw ore of youth is pounded into iron, where the limits of the body and spirit are tested.\n\nWhere the jocks frolic, in other words.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go west\nYou clamber up to the window...\n\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a storage cupboard (in which are a left compartment (which is closed) and a right compartment (which is closed)) here.\n\n> You look at left compartment\nA 10-mL beaker, 2-mL pipette, a glass rod and what looks to be a fist-sized diamond are clearly visible through the glass.\n\n> You examine the right compartment\nAn astonishing array of alphabetically arranged chemicals and solutions.\n\n> You check your inventory\nYou are carrying:\na bottle (which is open but empty)\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger"
    },
    {
        "text": "[Themes: Slice of life, male protagonist, sexual content, coming of age, high school]\n\n> Describe the surroundings\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a storage cupboard (in which are a left compartment (which is closed) and a right compartment (which is closed)) here.\n\n> Go south\nWell, naturally, they've locked you in.\n\n> You search the cupboard\nIn the storage cupboard are a left compartment and a right compartment.\n\n> You open right\nYou're shocked to find it unlocked. You open the right compartment, revealing some chemicals and solutions.\n\n> You examine the chemicals\nThere's so many!\n\n> You get the chemicals\nThere's too many to take them all -- specify what chemicals you'd like to take from the right compartment.\n\n> Inventory\nYou are carrying:\na container of ammonium hydroxide\nsome iodine\na bottle (which is open but empty)\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger\n\n> You put the iodine in the bottle\nYou put the iodine into the bottle.\n\n> You put the ammonium in bottle\nSlopping a little, you manage to fill the mickey with solution.\n\n> Shake bottle\nMaking sure the bottle's closed, you shake it for a while. It's hard to tell in this light, but the concoction seems a little red.\n\n> You look\nThis is a room full of massive black worktables, each of them with their own sinks. An even larger demonstration table squats at the front of the room. It's weird to see the moon shining through the window you're so accustomed to staring out of during the day. There's an exit to the south.\n\nYou can see a storage cupboard (in which are a left compartment (which is closed) and a right compartment (in which are some chemicals and solutions)) here.\n\n> You go east\nYou clamber out the window and cautiously climb down the trellis...\n\nA track rings the large multi-purpose field, and trees ring the track. The school looms to the west, its window eyes silently judging the players. This is where boys become men, where the raw ore of youth is pounded into iron, where the limits of the body and spirit are tested.\n\nWhere the jocks frolic, in other words.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go north\nThese one-room portables are meant to be temporary but these battered aluminium boxes look older than the school itself. Ugly things, but they do serve nicely to obscure the activities of the Path from prying eyes in the school. You can venture south to the field or enter the playground by going west.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> Go west\nThe asphalt is painted with various arcane white lines which you assume are used in playing something, but you've never seen anyone doing anything but shooting hoops here. The side door to the school cafeteria is propped open to the west, the portables squat to the east, or you can go AWOL and head north.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> You go to the north\nThis is the road that heads north to the outside world and south back to the school. At the end of the school day it's choked with escaping boys, but now it's completely featureless.\n\nBeside the lane is a rather large concrete sign, with a cross on one side and an empty pedestal on the other.\n\nThe halfmoon seems to have a sickly glow, but that might be your nausea talking.\n\n> You examine the pedestal\nIt's a concrete block with holes drilled in it, presumably for securing something to.\n\nYour liquor-addled brain seems to recall that the secretary said the statue would be reinstalled tomorrow. \"Popey's comin' home,\" you mumble to yourself.\n\n> You check what you're carrying\nYou are carrying:\na container of ammonium hydroxide\na bottle (which is closed)\na precipitate\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger\n\n> You open the bottle\nYou open the bottle.\n\n> You put the precipitate on the pedestal\nAfter the reddish substance glugs out of the bottle and onto the pedestal, you spread it out with the flat edge of the bottle.\n\n[You get 20 punk points for that.]\n\nSatisfied with your night's work, you toss the bottle and head off for home.\n\nThe following Monday, you note the blackened pedestal with satisfaction, and the Path is abuzz with the mystery. \"I saw it in the office,\" Stuart was saying gleefully. \"Only the head is left, the rest of the statue is totally trashed. They had a crane lower it and then BOOM!\"\n\n\"You think someone blew up the Pope?\" says one of the older boys. \"Naw. You'd need a remote control or something. They probably just dropped it.\"\n\n\"Actually, you wouldn't need a remote,\" you say. \"If you spread a large enough quantity of, say, ammonium triiodide and let it dry...\" you say, trailing off. When you notice you have everyone's attention, you grin. \"That's just hypothetical, of course.\"\n\n> You look\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nOn the counter are some slips.\n\nAlthough she's keying information into the computer, the secretary's huge glasses make it impossible to tell if she's looking at you.\n\n> You look\nEveryone's staring at you. Drink or give it to someone else.\n\n> You give the bottle to Stu\nYou try to pass it on. Stu grabs the bottle and gives it back to you. \"Drink up, H.C.\"\n\nYou make a face.\n\n\"I don't believe that the guy who's been bumming smokes from me all week won't have a drink with me!\"\n\n> You give the bottle to Stu\nYou ignore Stu's scowl and pass it on.\n\n\"So I was like, 'Jackson -- just go in and get it,'\" Stuart says. \"You dress like someone's dad, they'll never ask you for ID.' But he wouldn't. so we had to wait for some rocker to come along who'd buy for us.\"\n\nDave takes two swigs and hands it to Jackson, who passes it of to Stuart. \"C'mon guy,\" Stu says, \"Show Hardcore here how it's done.\"\n\n\"You remember what happened the last time,\" Jackson says. \"I want to actually get into the dance this time. Penis has still got me in detention from last year!\"\n\n\"Well, I mean, you puked in front of him,\" Dave says with a rare smile. \"We're lucky we went in before you.\"\n\nStuart is snickering. \"You were so fucked that night. The only thing that sucked about it was that you had a chance to puke on Penis and you puked on your own shoes. That's a shame.\"\n\n\"Well,\" Jackson says, \"They're obviously going to be watching me tonight, and I want to get into the dance.\"\n\n\"So you can show off all your skanking skills when they play One Step Beyond?\" says Stuart, getting to his feet and mock-dancing.\n\nJackson laughs, watching Stuart's scowling dance moves.\n\n\"Ah, it's going to blow anyway,\" says Dave, passing the bottle to Stuart. \"The last time we missed the only Cult song they played.\"\n\n\"That's why we should have got the stuff faster,\" says Stuart over the bottle. \"We would have gotten in with the first rush of people and no one would notice we were drunk.\"\n\n\"Yeah, it's not like we stick out or anything,\" Jackson says dryly. \"Besides, who was the one who was a half-hour late getting to my place tonight?\"\n\n\"How hard is it to go into a store and buy something?\" says Stuart.\n\n\"You're almost a year older than me. You're sixteen,\" Jackson says.\n\nYou're a bit nervous with the mention of age, since you're thirteen.\n\nRolling his eyes, Stuart takes the bottle from Dave and finishes it off. \"It doesn't have anything to do with that. With my innocent young face, I couldn't buy milk past the due date.\"\n\n\"OK, let's go,\" Jackson says, getting to his feet and pulling out some gum. He hands everyone one piece, which you start to chew. Blueberry.\n\nEveryone heads west, taking careful steps, and as you pass the portables Stuart whips the empty bottle into the night. A second or two later there's a distant, but still tremendously satisfying, smash.\n\nYou enter the school, Stu crowing and pumping his fist, until you get to the side of the walk through the caf to where they've set up the ticket table.\n\nYou and Jackson get in with your tickets but Stuart and Dave are stopped at the door.\n\nAs you enter the stairwell area, you hear a crash from the caf. Mr. Collins, hockey stick in hand, rushes past you.\n\nJackson gives you a raised eyebrow and heads down the stairs. You follow him to...\n\nAll the disco balls in the world can't hide the fact that this is a school gym with the lights off. They've hung streamers from the basketball nets and two gigantic speakers flank the DJ's table on the stage. The washroom is to the south and you can leave up the stairs to the east. The student council has done a half-assed job of decorating the walls with construction paper leaves, footballs and Peanuts characters, but what's leaning against the walls is far more interesting: shy clumps of girls. Your heart speeds up to match the diamonds of light that sweep the floor, which has a few dancers on it.\n\n> You examine the girls\nThey're little more than silhouettes, but they certainly are female.\n\nJackson goes straight up to the DJ and makes some requests. He comes back and says something inaudible and gives you the thumbs-up. You smile back.\n\n> You ask the girls about the dance\nSure, you'd like to talk to the girls... but even if the music was low enough, there would still be the paralyzing fear issue.\n\n> You ask Jackson about the music\nThe music's really too loud for conversation.\n\nThe DJ plays some rap that you don't know. Jackson leans back against the wall and crosses his arms, and you do the same.\n\n> You examine DJ\nThe DJ is way too into it, his eyes closed and head bobbing. Thankfully, he doesn't seem to be addicted to the mike.\n\n> You look at Jackson\nHe's got his white Fred Perry shirt on and pressed trouserpipe pants for the dance.\n\nBilly Idol comes on. For some reason, the crowd chants \"Get Laid, Get Fucked\" at the chorus -- naturally, so do you, as abstract as those concepts are to you.\n\n> Wait\nTime passes.\n\n> Dance\nYou move around a bit, but without decent music you can't really get into it.\n\nSynthesizer music starts up, attracting preps like flies.\n\n> You wait for a while\nTime passes.\n\nThe Clash's \"Should I Stay or Should I Go\" starts up. Jackson starts dancing, an intense little hopping coupled with a mouthing of the words that shows his lyrical knowledge.\n\n> Dance\nWatching Jackson, you slowly start moving -- swaying first, and then stepping back and forth, getting closer to the other dancers. Jackson playfully knocks into you, and you start to really get into it, closing your eyes and bouncing around and off Jackson. When the song finishes you're sweaty and exhilarated and amazed that no one is pointing and laughing.\n\n[You got 5 punk points for that.]\n\nAfter the song, a guy and a girl come up to you. The guy starts talking to Jackson, or rather, shouting over the music. He seems to know him.\n\n> You ask the dj about Vicious\nThe girl has really short hair except for her bangs. She's wearing a black leather jacket and a laced up skirt.\n\nSmiling, perhaps, at the attention you're giving her, she shouts something. You shake your head and cup your ear. She tries again, and then just points at the exit. Seeing Jackson and the guy were somehow communicating -- mostly with hand signals -- you go upstairs.\n\n\"I like how you dance,\" she says, walking up the stairs. In the sudden light, you can see that she has way too much makeup and that her legs are a little thick. \"You can tell a lot about a person by how they dance.\"\n\nYou nod, dumbly.\n\n\"So you go here?\" she says, looking around and noticing the gym teacher, standing in front of the stairs.\n\n\"Yeah, it sucks,\" you mumble, stunned at your eloquence.\n\n\"They're fucking fascists at my school too,\" she said, staring daggers at Collins. \"But they're stupid...\"\n\nShe raises her voice. \"I can't believe he was making the sign of Satan during that song! I mean, in a Catholic school!\" she says, her voice echoing in the stairwell.\n\nCollins blinks, folds his arms, unfolds them, and finally heads downstairs.\n\n\"I'm Kim,\" she says, watching him go. \"Spelled like gym.\"\n\nYou shake her hand admiringly.\n\n\"Let's explore,\" she says, heading upstairs. You follow her.\n\nSecond Floor, East\nThe science lab is to the north and stairs lead up and down. Grey lockers line the walls, as do doors to various classrooms.\n\nA cute punk girl is here, trying to look bored.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\nKym, her green eyes aglow with mischievous excitement, heads west down the hall checking doors.\n\nA second later, Kym whisper-yells \"Hey! This one's open!\" and then disappears south into the office.\n\nYou can't see any such thing.\n\n> Go south\nLocked. Teachers aren't morons, you know.\n\n> You look\nSecond Floor, East\nThe science lab is to the north and stairs lead up and down. Grey lockers line the walls, as do doors to various classrooms.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You go west\nSecond Floor, West\nThere's a prominently displayed trophy case and rows and rows of official looking plaques to impress parents on their way south to the office. The hallway continues east, and north is the way back outside.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> Go south\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nThe office is dark except for the glow of the computer monitor. Kym moves towards it immediately, pushing through the little swinging door in the counter -- it nearly snaps shut on its spring, but you catch it in time.\n\n\"Sorry,\" she whispers, sitting down in front of the screen. \"Wow, an XT,\" she breathes. She hits the spacebar and a password request comes up. She tries a few: Jesus, God, Pope.\n\n\"Denied. Damn,\" she says.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You look at the computer\nThe school's '84 budget allowed for the purchasing of the creme de la creme of computing: they're called XTs. You don't know much about high tech beyond Pac Man, but you're pretty sure that's a 5.25\" disk drive.\n\n> You ask Kym about Innocent\n\"Do you think I know everything?\" Kym cracks.\n\n> Type innocent\nTo talk to people, ASK ____ ABOUT ____.\n\n> You show innocent to Kym\n(first taking the painting of Pope Innocent III)\nDon't bother with that.\n\n> Kiss kym\nKeep your mind on the game.\n\n> You say innocent\n(to Kym)\nTo talk to people, ASK ____ ABOUT ____.\n\n> Go upwards\nThird Floor, East\nThis is as high as this high school gets. You can go back down, south to the library, or you can follow the hallway west. Lockers and classroom doors line the walls.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You go to the west\nThird Floor, West\nThis is the most remote part of the school, and so naturally your locker is here. For added fun, the detention room is directly north -- its deadly silences punctuated by barked orders and sobs ensure that you visit your locker as infrequently as possible.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You go south\nThe musty little room is choked with books, with only barely enough room for a reading table and the librarian's desk. It's hard to imagine a better way to discourage reading.\n\nThere's a paperback spread-eagled on the librarian's desk.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You look at the paperback\n\"Tough Love: Power Popes Through The Ages\" is the title of the book. Smaller type on the back informs that the Expanded Edition Includes \"Misery and the Human Condition\".\n\n> You read the paperback\n\"Tough Love: Power Popes Through The Ages\" is the title of the book. Smaller type on the back informs that the Expanded Edition Includes \"Misery and the Human Condition\". You flip through it, your eye drawn by a red underline in a chapter about Pope Innocent III. Someone liked the word \"Vergentis\" -- it's underlined and annotated in the same red pen: \"Perfect!\".\n\n> Go south\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nKym's face is an unearthly green as she tries password after password.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You give the book to Kym\n\"What's this?\" She flips through it. \"Vergentis, huh,\" she murmurs, typing it in. \"Ha!\" she says, and you sit down beside her. \"Nice work, sleuth,\" she says, plucking the back of your mohawk. Your mouth curls a little involuntarily at the contact, and she notices.\n\nShe looks at you for a second. \"You're not so tough when you smile...\"\n\n> Kiss kym\nYou lean in towards her, noticing how the letters from the computer screen reflect in her eyes before she closes them. A dry kiss, and then a not-so-dry one, and then her tongue is in your mouth. You slide your hand down the back of her shaved head and onto her studded collar as she slides her hand up your leg. You grip her collar and gasp as she slides her hand across your crotch and down the other leg.\n\nShe smiles at you and bites her lip. \"Wanna?\"\n\n> No\nShe shrugs. \"Yeah, me neither,\" she  says, sitting at the computer.\n\nShe turns back to the screen and starts looking through the school records. \"Oh, man, there's some good stuff here... teacher's salaries... wow, the entire annual budget?\"\n\nShe pulls a small skull-festooned notebook out of her jacket pocket and starts writing things down. \"Fuck, I can barely see...\"\n\n> Yes\nThat was a rhetorical question.\n\n> You check what you're carrying\nYou are carrying:\na paperback\na dance ticket\nsome Doc Martens boots (being worn)\na zine\nyour middle finger\n\n> Go south\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nKym's face is an unearthly green as she tries password after password.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> Yes\nYou nod, not sure exactly what she has planned but not really fussy, either. She moves the chairs enough so she can lie down behind the secretary's desk. Her face is suddenly serious, and young, and then she pulls up her skirt. You take off your pants, thanking god that the dark hid the baby blue of your underwear, and lie down beside her.\n\nWhen you're fucking, you think about how you can hear the music from downstairs, that you're a few inches away from Pannus' office, that it feels really different than jacking off, that neither of you have moaned in a few minutes.\n\nSo you pull out and yank your pants up over your still-hard cock. She gets her panties from under one of the desks and dresses. \"Thanks,\" you say, aware of the sub-porn quality of what just happened, but not wanting her to feel bad.\n\nShe shrugs, and moves the chair back to the computer. \"I don't know what the big fuss is about,\" she says, sitting down.\n\nShe turns back to the screen and starts looking through the school records. \"Oh, man, there's some good stuff here... teacher's salaries... wow, the entire annual budget?\"\n\nShe pulls a small skull-festooned notebook out of her jacket pocket and starts writing things down. \"Fuck, I can barely see...\""
    },
    {
        "text": "[Themes: Slice of life, teenage protagonist, mild profanity, sexual content]\n\n> You look at your surroundings\nThe office is quiet and orderly, with a large counter separating the office proper from the visitors. Two doors against the far wall are, according to the signs, the lairs of Brother Matthews and Mr. Pannus, and sandwiched between them is a massive painting of Pope Innocent III.\n\nKym's trying to jot down all the juicy information, but there's too much of it.\n\nThe half-power night florescents gives your surroundings an eerie cast.\n\n> You look at the counter\nIt's a counter that separates the wheat from the chaff.\n\n> You search the computer\nThe computer is empty.\n\n> You open the locker\nYou've got a bunch of textbooks stacked on one shelf and nothing else. You've been meaning to bring some posters (at least to put up over that KISS scratched in the paint and the 680 CFTR sticker) but you keep forgetting.\n\n> You look in the locker\nIn your locker are some textbooks.\n\n> You examine the textbooks\nThere's your science textbook, an English reader, and a French textbook. None of which you want to even look at after class, thanks very much.\n\nWedged behind them is a 5.25\" floppy disk.\n\n> You give the disk to Kym\n\"Rad!\" Kym says. \"Put it in the computer!\"\n\n> You put the disk in computer\n[You got 15 punk points for that.]\n\n\"Brilliant!\" she exclaims, stuffing her notebook away and closing the disk drive. \"This is gonna be the best Virus ever!\"\n\nYou try to remember why that sounds familiar, and then pull out your well-worn copy of the zine. \"You did this?\"\n\nShe looks at it, obviously pleased that you have it. \"Yup. Well, me and my friend Leo -- I do most of the work, though.\"\n\nShe stares at the screen. \"I wonder how people are going to feel about the fact that the combined budgets of the art and the music departments are one third of the rugby team's?\" She taps some keys and the disk drive grinds and glows red."
    },
    {
        "text": "[Themes: Science Fiction, cyberpunk, cyberspace, virtual world]\n\nThe Kaden finally realized you were spying and locked your mind essence\nin a digital cell. Normally the Kaden would already be at work\nanalyzing your mind to run the loyalty transfer program, but you\nhaven't felt anything at all in the last five hours. The delay is\nunnerving, since the mind can survive in virtual space for a limited\namount of time before it destroys itself. Your companions, the Souden,\nshould be close to beginning the assault now, although since they know\nnothing of your predicament survival is still doubtful.\n\n\n\n\n\nThe design of virtual space can be almost anything, but in this case\nthe room is merely a small cube surrounded by an electric fence, with\nlines of blue against black crossing the floor and ceiling. A large\nsquare door is inset into the floor, slightly off the center, sending\nthe design of the entire room into asymmetrical confusion.\n\n[Author's Note: Set in an unusual cyber/virtual reality background, you play a disembodied consciousness trapped in an electron prison of the mind.]\n\n> You look at the door\nRendered light green, and very tightly shut. It resembles the type that\nopens with some sort of password, although going through the entire\ndictionary to open it would take an inordinate amount of time.\n\n> You check your inventory\nYou are carrying nothing.\n\nOut of the corner of your eye you see a piece of paper suddenly appear\non the ground. Very odd. Any anomalous material in a containment grid\nshould immediately set off an alarm, but there is no sound.\n\n> You take the paper\nTaken.\n\n> You read it\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It has the word \"ivory\" imprinted on it.\n\n> You say the ivory\nThe door begins sliding open, but stops halfway.\n\n> You look at the door\nRendered light green, and halfway open. It resembles the type that\nopens with some sort of password, although going through the entire\ndictionary to open it would take an inordinate amount of time.\n\n> You look under the door\nYou are contained.\n\n> Info\nThe Mind Electric is copyright 1995 Jason Dyer. It is free, no warranty\nprovided. Please distribute. No money may be charged for this work,\nunless it is part of a larger compilation. At the time of this writing\n(August 1995) the author can be contacted at jdyer@indirect.com.\n\nA full hint system is available with 'help' or 'hint'. To turn it off\nto avoid temptation, type 'unhint', but be warned, it cannot be turned\nback on again afterwards. Also, if your computer cannot handle the\nvarious quotes and the hint menu, type 'plain' to enter plain text\nmode, and 'pretty' to turn regular mode back on.\n\nSpecial thanks go to Richard Barnett, Jim Newland, and Gareth Rees for programming help, as well as Michael Kinyon, Bernd Schmidt, and Aileen\nDyer for playtesting. Also, thanks to Catherine Mori and Earl Dille for\nhelp with the Latin text.\n\ndescription to some of the objects to make the puzzles easier.\n\nFor the curious, works of literature and culture\nindirectly/symbolically used in the game are: Mourning Becomes Electra,\nBilly Budd, Snow Crash, The Neverending Story, Anti-Ice, The Legend\nLives!, Burning Chrome, Ovid's Metamorphoses, Earth 2, and the old\narcade game Tempest.\n\n> You examine the fence\nSimulated of both metal and electricity, it somewhat resembles a row of\nJacob's Ladders placed side by side intertwined with strips of bronzed\nmetal, but the virtual image flickers so rapidly it is hard to tell.\nBeyond it is nothing but black.\n\n> You turn the paper\nNothing obvious happens.\n\n> You read the paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It has the word \"flood\" imprinted on it.\n\n> You say the flood\nThe door slides open the rest of the way.\n\n> You read the paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank."
    },
    {
        "text": "> You look around\nThe design of virtual space can be almost anything, but in this case\nthe room is merely a small cube surrounded by an electric fence, with\nlines of blue against black crossing the floor and ceiling. A large\nsquare door is inset into the floor, slightly off the center, sending\nthe design of the entire room into asymmetrical confusion.\n\n> Down\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a granite rock here.\n\n> You look at the rock\nA rock far too much in the shape of a cube to be natural, if it was\nreal at all.\n\n> You take it\nThe rock emits a loud warbling noise and vanishes. In its place appears\na red cube, rotating slowly clockwise, with a humanlike face on each\nside so no matter where you are standing a face can be seen.\n\nThe expressions of the faces change together, like they are connected\nby a giant string; the mouths are moving rapidly, as if speaking, but\nthey make no sound.\n\n> You examine cube\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It looks like it is trying to say\nsomething, but the words don't come out.\n\n> Hi\nThe cube moves its lips slightly but it seems unable to talk.\n\n> You touch the cube\nKeep your hands to yourself!\n\n> You ask the cube about the cube\nThe cube moves its lips slightly but it seems unable to talk.\n\nYour body seems to be getting less stable.\n\n> Kiss cube\nThe cube looks very confused."
    },
    {
        "text": "[Themes: Science Fiction, virtual world]\n\n> You look at your surroundings\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\n> You look at the spider\nA spider constructed of chrome and glass, with long legs that are\nmulti-jointed. It is carrying a doll.\n\n\"Scan in process for sector 482.\"\n\nA loud warbling noise briefly echoes into the room.\n\nThe spider turns to face a different direction.\n\n> You examine doll\nA ragged yet cheerful looking doll, with a dark face.\n\n\"Scan in process for sector 482.\"\n\n> You get the spider\nThe spider backs away from you.\n\n\"WARNING: INTRUDER ALERT, ACTIVATING SENTAC PULSE.\"\n\nThe world becomes liquid and void, without form...\n\n> You take the doll\nThe spider won't let you near it.\n\n\"WARNING: INTRUDER ALERT, ACTIVATING SENTAC PULSE.\"\n\nThe world becomes liquid and void, without form...\n\n> Go north\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n\"WARNING: INTRUDER ALERT, ACTIVATING SENTAC PULSE.\"\n\nThe world becomes liquid and void, without form...\n\n> You go west\nPlease give one of the answers above.\n\n> You go to the west\nThe only exits are to the north and south.\n\n\"WARNING: INTRUDER ALERT, ACTIVATING SENTAC PULSE.\"\n\nThe world becomes liquid and void, without form...\n\n> You examine the lines\nThey glow with electrical intensity. You surmise the only purpose of\nthem is to add shape to the mostly black room, keeping those contained\nwithin the grid from going insane. It still happens occasionally,\nthough.\n\n> You say the ivory\nThe door begins sliding open, but stops halfway.\n\nOut of the corner of your eye you see a piece of paper suddenly appear\non the ground. Very odd. Any anomalous material in a containment grid\nshould immediately set off an alarm, but there is no sound.\n\n> You say the flood\nThe door slides open the rest of the way.\n\n> You take the paper\nTaken."
    },
    {
        "text": "[Themes: Science Fiction, virtual world, cyberspace]\n\n> Go downwards\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a granite rock here.\n\n> You take rock\nThe rock emits a loud warbling noise and vanishes. In its place appears\na red cube, rotating slowly clockwise, with a humanlike face on each\nside so no matter where you are standing a face can be seen.\n\nThe expressions of the faces change together, like they are connected\nby a giant string; the mouths are moving rapidly, as if speaking, but\nthey make no sound.\n\n> You get the loop\nAs you reach out to take the loop, you feel your body solidify and\nbecome much more stable.\n\n> You check your inventory\nYou are carrying:\na piece of paper\n\n> You get the spider\nThe spider backs away from you.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body's integrity appears to be\nnormal.\n\n> Go north\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\nA loud warbling noise briefly echoes into the room.\n\n> You listen\nYou hear a constant electric hum in the distance.\n\n> You ask the cube about the hum\nThe cube moves its lips slightly but it seems unable to talk.\n\n> You examine the sparks\nThey occasionally light up the crystals in brief bursts.\n\n> You examine the crystals\nVery nice looking. It is hard to believe that they aren't real.\n\n> You take the crystal\nThat's hardly portable.\n\n> Go upward\nThe design of virtual space can be almost anything, but in this case\nthe room is merely a small cube surrounded by an electric fence, with\nlines of blue against black crossing the floor and ceiling. A large\nsquare door is inset into the floor, slightly off the center, sending\nthe design of the entire room into asymmetrical confusion.\n\n\"Scan in process for sector 482.\"\n\n> You examine paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\n\"Scan in process for sector 482.\"\n\n> Wait\nTime passes.\n\n\"Scan in process for sector 482.\"\n\n> Wait\nTime passes.\n\n\"Scan of sector 482 complete.\"\n\n> Wait\nTime passes."
    },
    {
        "text": "[Themes: Science Fiction, virtual world, cyberpunk]\n\n> Go downwards\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\n> You go to the south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\n\n> You look at the boxes\nSimple cardboard boxes, numbered and in order, from 0001-9999. They are\nvisual representations of storage locations of data. Even though they\nlook small, each box has the memory capacity of a large library.\n\n> Examine box 480\nThe box is empty.\n\n> You look at the paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\nAn intense burst of white noise disappears as quickly as it came."
    },
    {
        "text": "[Themes: Science Fiction, cyberpunk, cyberspace, virtual world]\n\n> Go west\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nThe spider turns to face a different direction.\n\n> You examine the spider\nA spider constructed of chrome and glass, with long legs that are\nmulti-jointed. It is carrying a doll.\n\nThe spider turns to face a different direction.\n\n> You examine the sky\nA dazzling array of color and shape.\n\n> You examine obelisks\nImprinted in black, and reaching for the sky.\n\nThe spider turns to face a different direction.\n\n> You ask the spider about the doll\n\"Error, query not in programming.\"\n\nThe spider turns to face a different direction."
    },
    {
        "text": "> Describe the surroundings\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nFor half a second you hear a crackling noise.\n\n> You examine the portals\nThey are to the north and south.\n\nThe spider shifts to a slightly different position.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body's integrity appears to be\nnormal.\n\nIn the distance you can hear the sound of metal shifting.\n\n> You give the paper to the cube\nThe cube refuses your offer.\n\n> You feed cube\n(the piece of paper)\nThe cube refuses your offer.\n\n> You listen to the cube\nYou hear a constant electric hum in the distance.\n\n> You hit the cube\nThe cube looks offended, but unhurt.\n\nIn the distance you can hear the sound of metal shifting."
    },
    {
        "text": "> You look at the cube\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It looks like it is trying to say\nsomething, but the words don't come out.\n\nYou hear a popping noise from far above.\n\n> You examine portals\nThey are rectangular, breaking the realistic illusion the room creates.\n\n> You touch the cube\nKeep your hands to yourself!\n\n> You listen to the cube\nYou hear a constant electric hum in the distance.\n\n> You follow you\nThe cube moves its lips slightly but it seems unable to talk.\n\n> You search cube\nYou find nothing of interest.\n\nSomething just made a sound like a mouse dying.\n\n> You check your inventory\nYou are carrying:\na piece of paper\n\n> You listen\nThe cube moves its lips slightly but it seems unable to talk.\n\nAn intense burst of white noise disappears as quickly as it came.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\n> You get loop\nMuch too large to take.\n\nSomething just made a sound like a mouse dying.\n\n> You get the spider\nThe spider backs away from you.\n\nThe spider turns to face a different direction.\n\n> You examine the spider\nA spider constructed of chrome and glass, with long legs that are\nmulti-jointed. It is carrying a doll.\n\nThe spider idly plays with the doll it is carrying.\n\n> You look at loop\n\"Loop\" is a somewhat innacurate term, but it is the only word that\ncomes to mind when looking at this topological nightmare. Bands of dull\nand bright metal twist and bend around each other to form something\nlike a large circular cage. An almost magnetic force compels you\ntowards it.\n\n> You look at doll\nA ragged yet cheerful looking doll, with a dark face.\n\n> Enter\nThe only exits are to the north and south.\n\nYou hear a popping noise from far above.\n\n> Sing\nYour singing is abominable.\n\nThe spider shifts to a slightly different position.\n\n> You stand on the loop\nThat's not something you can enter.\n\nThe spider shifts to a slightly different position.\n\n> Examine boxes\nSimple cardboard boxes, numbered and in order, from 0001-9999. They are\nvisual representations of storage locations of data. Even though they\nlook small, each box has the memory capacity of a large library.\n\nYou hear a popping noise from far above.\n\n> Go north\nThe only exits are to the east and west.\n\n> Touch sparks\nThat's just scenery.\n\n> Up\nThe design of virtual space can be almost anything, but in this case\nthe room is merely a small cube surrounded by an electric fence, with\nlines of blue against black crossing the floor and ceiling. A large\nsquare door is inset into the floor, slightly off the center, sending\nthe design of the entire room into asymmetrical confusion.\n\n> You look at the cube\nThat is just the shape of the room."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You descend\nYou can't go that way.\n\nYou hear a popping noise from far above.\n\n> You ask the cube about the box\nThe cube looks confused.\n\n> You ask the cube about speech\nThe cube moves its lips slightly but it seems unable to talk.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nThe spider idly plays with the doll it is carrying.\n\n> You examine the obelisk\nImprinted in black, and reaching for the sky.\n\n> You look at the sky\nA dazzling array of color and shape.\n\nThe spider turns to face a different direction.\n\n> You look at the sand\nTightly packed and slightly reflective.\n\n> You watch spider\nA spider constructed of chrome and glass, with long legs that are\nmulti-jointed. It is carrying a doll.\n\nA sound like creaking floorboards can be heard from far above.\n\n> Dig\nWhat do you want to dig?\n\n> You ask the spider about the programming\n\"Error, query not in programming.\"\n\nThe spider idly plays with the doll it is carrying.\n\n> You dig the sand\nThat's just scenery.\n\n> You ask the doll about the spider\nYou can only do that to something animate.\n\n> You ask the spider about the boxes\n\"Error, query not in programming.\"\n\nFor half a second you hear a crackling noise.\n\n> You ask the spider about the spider\n\"Error, query not in programming.\"\n\nThe spider shifts to a slightly different position.\n\n> Go upwards\nThe only exits are to the north and south.\n\nSomething just made a sound like a mouse dying.\n\nThe spider idly plays with the doll it is carrying.\n\n> You listen\nYou hear a constant electric hum in the distance.\n\nThe spider shifts to a slightly different position.\n\n> You touch loop\nYou feel your body solidify and become much more stable.\n\nThe spider turns to face a different direction.\n\n> You touch loop\nYou feel your body solidify and become much more stable.\n\nThe spider shifts to a slightly different position.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body's integrity appears to be\nnormal.\n\nSomething just made a sound like a mouse dying.\n\n> You touch loop\nYou feel your body solidify and become much more stable.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body's integrity appears to be\nnormal.\n\nThe spider turns to face a different direction."
    },
    {
        "text": "[Themes: Science Fiction, virtual world]\n\n> You look at your surroundings\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nThe spider shifts to a slightly different position.\n\n> Inventory\nYou are carrying:\na piece of paper\n\nYou hear a popping noise from far above.\n\n> You touch the paper\nYou feel nothing unexpected.\n\nAn intense burst of white noise disappears as quickly as it came.\n\n> You look at the boxes\nSimple cardboard boxes, numbered and in order, from 0001-9999. They are\nvisual representations of storage locations of data. Even though they\nlook small, each box has the memory capacity of a large library.\n\n> You listen to the hum\nThe box is empty.\n\nYou can't see any such thing.\n\n> You open the box 9999\nThe box is empty.\n\nIn the distance you can hear the sound of metal shifting.\n\n> You stand on the cube\nThat's not something you can enter.\n\nIn the distance you can hear the sound of metal shifting.\n\n> You examine cube\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It looks like it is trying to say\nsomething, but the words don't come out.\n\n> You think\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It looks like it is trying to say\nsomething, but the words don't come out.\n\nWhat a good idea.\n\n> Kiss cube\nThe cube looks very confused.\n\n> You touch the cube\nKeep your hands to yourself!\n\nA sound like creaking floorboards can be heard from far above.\n\n> You go east\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\nFor half a second you hear a crackling noise.\n\n> You examine doll\nA ragged yet cheerful looking doll, with a dark face.\n\nThe spider idly plays with the doll it is carrying.\n\n> You examine doll\nA dazzling array of color and shape.\n\nThe spider idly plays with the doll it is carrying.\n\nA ragged yet cheerful looking doll, with a dark face.\n\n> North\n\"Error, access denied.\"\n\nA loud warbling noise briefly echoes into the room.\n\nThe spider idly plays with the doll it is carrying.\n\n> You show the paper to the spider\nThe spider is unimpressed.\n\n> South\n\"Error, access denied.\"\n\n> You examine paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\nThe spider shifts to a slightly different position.\n\n> You drop the doll\n\"Error, access denied.\"\n\nThe spider turns to face a different direction.\n\n> Turn\nWhat do you want the spider to turn?\n\n> You jump\n\"Error, not understood, command not in syntax list.\"\n\nThe spider turns to face a different direction.\n\n> Syntax\n\"Error, not understood, command not in syntax list.\"\n\nThe spider shifts to a slightly different position.\n\n> List\n\"Error, not understood, command not in syntax list.\"\n\nYou hear a popping noise from far above.\n\n> Help\n\"Commands for your security level: none.\"\n\nAfter a short pause, the spider emits a few beeps and says, \"Processing\nnew special command.\"\n\n> Help\n\"Commands for your security level: ERASE, STATUS.\"\n\n> Erase\nWhat do you want the spider to erase?\n\n> You erase you\n\"Erase procedure begun...complete, successful.\"\n\n> You erase the loop\n\"Access denied.\"\n\n> Help\n\"Commands for your security level: ERASE, STATUS.\"\n\n> Erase doll\n\"Access denied.\"\n\nA loud warbling noise briefly echoes into the room.\n\nThe spider idly plays with the doll it is carrying.\n\n> Status spider\n\"Access denied.\"\n\n\"Error, not understood, command not in syntax list.\"\n\nThe spider shifts to a slightly different position.\n\n> You erase the paper\n\"Erase procedure begun...error, illegal object, warning system active,\nsentac pulse active...\"\n\nThe world becomes liquid and void, without form...\n\n> You enter the loop\nPlease give one of the answers above.\n\n> You erase the cube\n\"Error, not understood, command not in syntax list.\"\n\nThe spider idly plays with the doll it is carrying.\n\n> Help\n\"Commands for your security level: ERASE, STATUS.\"\n\n> You touch the cube\nKeep your hands to yourself!\n\nFor half a second you hear a crackling noise.\n\n> You erase wall\n\"Error, not understood, command not in syntax list.\"\n\nWhich do you mean, the north wall, the south wall, the east wall, the\nwest wall, the northeast wall, the southeast wall, the northwest wall\nor the southwest wall?\n\n> You erase east wall\n\"Error, not understood, command not in syntax list.\"\n\n\"Not understood.\"\n\n> Erase box 482\n\"Error, not understood, command not in syntax list.\"\n\nIn the distance you can hear the sound of metal shifting.\n\n> You erase the spider\n\"Access denied.\"\n\nThe spider shifts to a slightly different position.\n\n> You erase the mental block\n\"Error, not understood, command not in syntax list.\"\n\nThe spider idly plays with the doll it is carrying.\n\n> You show you the doll\n\"Error, access denied.\"\n\nYou hear a popping noise from far above.\n\nThe spider idly plays with the doll it is carrying.\n\n> You erase the error\n\"Error, not understood, command not in syntax list.\"\n\nThe spider turns to face a different direction.\n\n> You erase the access\n\"Error, not understood, command not in syntax list.\"\n\nThe spider shifts to a slightly different position.\n\n> Inventory\n\"Error, not understood, command not in syntax list.\"\n\nYou are carrying:\na piece of paper\n\nThe spider idly plays with the doll it is carrying.\n\n> Hint\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\n> Escaping the containment grid\nGranite rock\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\n> Granite rock\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\n> Voiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n(Press ENTER to return to the main menu, or H for another hint.)\n\n(1/12) Look around. There may be an item somewhere that can help the\ncube.\n\n> You ask the cube about the boxes\nThe cube moves its lips slightly but it seems unable to talk.\n\nA loud warbling noise briefly echoes into the room.\n\n> You read the cube\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It looks like it is trying to say\nsomething, but the words don't come out.\n\n> You turn the cube\nThat would be less than courteous.\n\n> You take all\nbox: All the boxes are bolted to the floor.\nboxes: That's hardly portable.\n\n> You go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\n\nA sound like creaking floorboards can be heard from far above.\n\n> You drop the paper\nDropped.\n\n> Go west\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a piece of paper and a metal loop (on which is a spider)\nhere.\n\nFor half a second you hear a crackling noise.\n\nThe spider shifts to a slightly different position.\n\n> You take all\nmetal loop: Much too large to take.\nportals: That's hardly portable.\nobelisks: That's hardly portable.\ndoll: The spider won't let you near it.\npiece of paper: Taken.\n\n> Break loop\nViolence is impossible in that way while in virtualspace.\n\n> You go north\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\nAn intense burst of white noise disappears as quickly as it came.\n\n> You go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\n\nYou can see a piece of paper here.\n\n> You get the paper\nTaken.\n\nIn the distance you can hear the sound of metal shifting."
    },
    {
        "text": "[Themes: Science Fiction, cyberspace]\n\n> You ask the cube about the box 500\nThe cube blinks its eyes once.\n\n> You ask the cube about the box 250\nThe cube blinks its eyes once.\n\nSomething just made a sound like a mouse dying.\n\n> You ask the cube about the box 100\nThe cube blinks its eyes twice.\n\n> You ask the cube about the box 9000\nThe cube nods its head once.\n\nFor half a second you hear a crackling noise.\n\n> You ask the cube about the box 9999\nThe cube frowns.\n\n> You ask the cube about the box 7001\nThe cube nods its head twice, and blinks its eyes once.\n\nYou hear a popping noise from far above.\n\n> You ask the cube about the box 4071\nThe cube smiles.\n\n> You go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\n\nIn the distance you can hear the sound of metal shifting.\n\n> You open the box 4071\nYou find a circuit board inside, and take it.\n\n> You examine circuit\nA flat piece of metal, with one side covered with a pattern of wires.\n\n> You give the circuit to the cube\nThe circuit board vanishes as it gets near the cube.\n\nThe cube begins talking in a wavering tone. \"System has been activated,\nnow calibrating voice control.\"\n\nAfter a short pause, the cube begins speaking some words, with each\nword the inflection changing slightly: \"In nova fert animus mutatas\ndicere formas corpora di coeptis nam vos mutastis et illas adsirate\nmeis primaque ab origine mundi ad mea perpetuum deducite tempora\ncarmen.\"\n\nThe humanfaced cube pauses, and begins speaking again, this time in a\nvoice that is both masculine and feminine.\n\n\"Ah, that's much better now. My voice calibration that I had stored got\nerased somewhere along the line, but I'm back to normal now. How may I\nservice you?\"\n\n> You help you\nI only understood you as far as wanting to ask the rotating humanfaced\ncube about that.\n\n\"I'm not sure about that.\"\n\n> You ask the cube about the sector\n\"I'm not sure about that.\"\n\nSomething just made a sound like a mouse dying.\n\n> You examine cube\nA floating red cube, slowly rotating clockwise. Molded into each side,\nlike a child's lump of clay, is a humanlike face, complete with facial expressions and moving lips. It smiles as it sees you watching it.\n\n> You ask the cube about the voice\n\"I'm not sure about that.\"\n\nA loud warbling noise briefly echoes into the room.\n\n> You ask the cube about the voice calibration\nI only understood you as far as wanting to ask the rotating humanfaced\ncube about that.\n\n> You give the paper to the cube\nThe cube refuses your offer.\n\n> You ask the cube about the box 4071\n\"None of the rest of the boxes have anything useful in them, as far as\nI know.\"\n\n> You read the paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It has the word \"lxprog\" imprinted on it.\n\nYou hear a popping noise from far above.\n\n> You say the lxprog\nThe cube gives a blank stare momentarily, and then says, \"Some type of\nprogram has been activated, it will take an unknown amount of time to\ncomplete.\"\n\n> You ask the cube about the lxprog\n\"The program is already running.\"\n\n> You examine spider\nA spider constructed of chrome and glass, with long legs that are\nmulti-jointed. It is carrying a doll.\n\n> Status\n\"Status normal, all systems check clean.\"\n\nThe spider turns to face a different direction.\n\n> You examine paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\nThe paper gives off a brief flash of light.\n\nThe spider idly plays with the doll it is carrying.\n\n> You read paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\nThe spider shifts to a slightly different position.\n\n> You take doll\nThe spider won't let you near it.\n\nThe spider shifts to a slightly different position.\n\n> You drop the doll\n\"Error, access denied.\"\n\n> Inventory\nYou are carrying:\na piece of paper\n\nThe spider turns to face a different direction.\n\n> You go south\nThe cube looks concerned. \"The execution of lxprog has been halted.\nSomething is stopping the program from running.\"\n\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\nThe paper gives off a flash of light that lasts about five seconds.\n\n> You erase the paper\n\"Erase procedure begun...error, illegal object, warning system active,\nsentac pulse active...\"\n\nThe world becomes liquid and void, without form...\n\n> You look at the paper\nIt feels more like a piece of plastic than a piece of paper because of\nits virtual nature. It is blank.\n\nThe paper gives off a flash of light that lasts about five seconds.\n\n> You erase the paper\n\"Erase procedure begun...error, illegal object, warning system active,\nsentac pulse active...\"\n\nThe world becomes liquid and void, without form...\n\n> Go west\nThe only exits are to the north and south.\n\nThe paper gives off a brief flash of light.\n\n> You go to the south\nThe cube looks concerned. \"The execution of lxprog has been halted.\nSomething is stopping the program from running.\"\n\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n> You go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\nYou can faintly hear a beeping sound from somewhere in the room.\n\n> You listen\nYou can faintly hear a beeping sound from one of the boxes.\n\nA loud warbling noise briefly echoes into the room.\n\n> You listen to the box 500\nYou can faintly hear a beeping sound from one of the boxes.\n\n> Search boxes\nYou find nothing of interest.\n\nThe paper gives off a flash of light that lasts about five seconds."
    },
    {
        "text": "[Themes: Science Fiction, virtual world, cyberspace]\n\n> You wait for a while\nTime passes.\n\nThe cube looks concerned. \"The execution of lxprog has been halted.\nSomething is stopping the program from running.\"\n\n> You ask the cube about the lxprog\n\"I already told you, the program has been halted, you need to locate\nwhatever is halting it and get rid of it.\"\n\n> You ask the cube about the boxes\n\"Except for the one that had the circuit board, I think they are all\nempty, although I may be wrong.\"\n\n> Go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\nYou can faintly hear a beeping sound from somewhere in the room.\n\nThe paper gives off a brief flash of light.\n\n> You listen\nYou can faintly hear a beeping sound from one of the boxes.\n\n> Examine box 4071\nThe box is empty.\n\nYou hear a popping noise from far above.\n\n> You ask the cube about the beeping\n\"I'm not sure about that.\"\n\nThe paper gives off a flash of light that lasts about five seconds.\n\nYou hear a popping noise from far above.\n\n> Lxprog\nThe cube gives a blank stare momentarily, and then says, \"Some type of\nprogram has been activated, it will take an unknown amount of time to\ncomplete.\"\n\n> Wait\nTime passes.\n\nSomething just made a sound like a mouse dying.\n\n> You wait\nTime passes.\n\nThe paper gives off a brief flash of light.\n\n> You listen\nYou can faintly hear a beeping sound from one of the boxes.\n\nFor half a second you hear a crackling noise.\n\n> Go east\nThe cube looks concerned. \"The execution of lxprog has been halted.\nSomething is stopping the program from running.\"\n\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n> Help\n\"Error, not understood, command not in syntax list.\"\n\n\"Commands for your security level: ERASE, STATUS.\"\n\n> Erase box 1\n\"Error, not understood, command not in syntax list.\"\n\nThe paper gives off a flash of light that lasts about five seconds.\n\nA sound like creaking floorboards can be heard from far above.\n\nThe spider turns to face a different direction.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nFor half a second you hear a crackling noise.\n\nThe spider shifts to a slightly different position.\n\n> Status\n\"Status normal, all systems check clean.\"\n\nThe spider idly plays with the doll it is carrying.\n\n> Help\n\"Commands for your security level: ERASE, STATUS.\"\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\n> Voiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\n> Circuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\n> Degenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\n> Scan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\n> Cube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> You go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\n> Halted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n(Press ENTER to return to the main menu, or H for another hint.)\n\n(1/8) The halting program is somewhere in your sector.\n\n> You go north\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\nThe paper gives off a brief flash of light.\n\n> Lxprog\n\"I already told you, the program has been halted, you need to locate\nwhatever is halting it and get rid of it.\"\n\n> Go south\nYou can't see any such thing.\n\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\nYou can faintly hear a beeping sound from somewhere in the room.\n\n> Lxprog\nNothing seems to happen.\n\n> You listen to the boxes\nYou can faintly hear a beeping sound from one of the boxes.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nA sound like creaking floorboards can be heard from far above.\n\n> You erase the ceiling\n\"Not understood.\"\n\nThe paper gives off a flash of light that lasts about five seconds.\n\n> Lxprog\n\"I'll try to restart, since you insist...still unable, and now the halt\nprogram has raised in intensity.\"\n\n> You go to the south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\nYou can distinctly hear a beeping sound from somewhere among the boxes.\n\nThe paper gives off a brief flash of light.\n\n> You listen\nYou can distinctly hear a beeping sound from box 4807.\n\n> You open the box 4807\nYou find a sphere inside, and take it.\n\n> You erase the Sphere\n\"Erase procedure begun...complete, successful.\"\n\n> Go west\nThe only exits are to the north and south.\n\nThe paper gives off a flash of light that lasts about five seconds.\n\nThe spider shifts to a slightly different position.\n\n> Go upwards\n\"The program is already running.\"\n\nThe design of virtual space can be almost anything, but in this case\nthe room is merely a small cube surrounded by an electric fence, with\nlines of blue against black crossing the floor and ceiling. A large\nsquare door is inset into the floor, slightly off the center, sending\nthe design of the entire room into asymmetrical confusion.\n\n> Lxprog\n\"I'll try to restart, since you insist...still unable, and now the halt\nprogram has raised in intensity.\"\n\nA loud warbling noise briefly echoes into the room.\n\n> Go south\nMany plain boxes with numbers printed on them fill this room. The\nceiling, floor, and walls are a simple dull gray. A low pitched whine\ncan be heard from somewhere high in the room. Black rectangles allow\nexit to the east and west.\nYou can distinctly hear a beeping sound from somewhere among the boxes.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nFor half a second you hear a crackling noise.\n\nThe spider turns to face a different direction.\n\n> You erase the Sphere\n\"Erase procedure begun...complete, successful.\"\n\n> Lxprog\n\"Reactivating lxprog...it worked, the program is now running again.\"\n\n> You say the lxprog\n\"I already told you, the program has been halted, you need to locate\nwhatever is halting it and get rid of it.\"\n\nA loud warbling noise briefly echoes into the room.\n\n> Lxprog\n\"I'll try to restart, since you insist...still unable, and now the halt\nprogram has raised in intensity.\"\n\n> You say the lxprog\n\"There's no point in trying to activate again, you have to get rid of\nwhatever is halting lxprog.\"\n\n> Go east\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a piece of paper and a rotating humanfaced cube here.\n\n> Go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nIn the distance you can hear the sound of metal shifting.\n\nThe spider shifts to a slightly different position.\n\n> You examine the door\nRendered light green, and open.\n\n> You eat the paper\nThat's plainly inedible.\n\nThe paper gives off a brief flash of light.\n\nA loud warbling noise briefly echoes into the room.\n\n> You go east\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Two portals, black voids\nin the landscape, are to the north and south.\n\nYou can see a metal loop (on which is a spider) here.\n\nThe paper gives off a brief flash of light.\n\nSomething just made a sound like a mouse dying.\n\nThe spider turns to face a different direction.\n\n> You erase the Sphere\n\"Erase procedure begun...complete, successful.\"\n\n> Wwew\nEnter saved game to load: Restore failed.\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score\nfor that game or QUIT?\n\n> You go to the north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\n> Halted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\n> Flashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n(Press ENTER to return to the main menu, or H for another hint.)\n\n(1/6) The paper is being located, which means that you are close to\nbeing located."
    },
    {
        "text": "[Themes: Science Fiction, virtual world, cyberspace]\n\n> You put the paper on fence\nThe paper is sucked into the fence structure and disappears.\n\n> You examine the fence\nSimulated of both metal and electricity, it somewhat resembles a row of\nJacob's Ladders placed side by side intertwined with strips of bronzed\nmetal, but the virtual image flickers so rapidly it is hard to tell.\nBeyond it is nothing but black.\n\n> Status\n\"Status normal, all systems check clean, 52% of resources are being\nused.\"\n\n> Check\nWhat do you want the spider to check?\n\n> You check you\n\"Error, access denied.\"\n\n\"Error, access denied.\"\n\n> You go west\nThe only exits are to the north and south.\n\nThe spider idly plays with the doll it is carrying.\n\n> Go north\nThe cube says, \"I have received a message of unknown origin. It reads: spidlower.\"\n\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed in all the\nmain directions.\n\nYou can see a rotating humanfaced cube here.\n\n> Lxprog\n\"The program is already running.\"\n\n> You ask Cube about the spidlower\n\"I'm as confused on this one as you.\"\n\n> You say the spidlower\nNothing seems to happen.\n\nSomething just made a sound like a mouse dying.\n\n> You get in\nWhat do you want to get in?\n\n> You get in the loop\nThat's not something you can enter.\nA wave on unconsciousness overcomes you..."
    },
    {
        "text": "[Themes: Science Fiction, virtual world, cyberpunk, cyberspace]\n\n> Go downwards\nThe only exits are to the north and south.\nA wave on unconsciousness overcomes you...\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\n> Flashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\n> Sphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n\n> Go north\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\n> Cube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\nFinishing the game\n(Press ENTER to return to the main menu, or H for another hint.)\n\n(1/4) It separates into spid lower."
    },
    {
        "text": "[Themes: Science Fiction, virtual world]\n\n> You wait for a while\nTime passes.\n\nThe cube says, \"I have received a message of unknown origin. It says:\nspidlower.\"\n\n> You drop the doll\n\"Error, access denied.\"\n\nThe spider idly plays with the doll it is carrying.\n\n> You take the doll\nThe spider won't let you near it.\n\nIn the distance you can hear the sound of metal shifting.\n\n> Down\n\"Error, access denied.\"\n\nIn the distance you can hear the sound of metal shifting.\n\nThe spider idly plays with the doll it is carrying.\n\n> You erase the spider\n\"Erase procedure begun...\"\n\nThe spider begins moving quickly in patterns, like a ballet dancer\nhanging over an electric web.\n\nThe metal loop and spider suddenly cease to exist. A large void forms\nin its place. The portals disappear as well. Black inky space begins to\nfill all corners of the room.\n\nThe spaces where the spider, loop, and portals were expand slightly."
    },
    {
        "text": "> Look around\nA flat plain of black sand sprouts dark obelisks reaching to the sky.\nThe sky itself is a mixture of stars, real and unreal--fractal images\nalong with glowing dots shine softly together. Large groups of black\nare slowly eating the room apart.\n\nBlack spots begin to dot the walls.\n\n> Go north\nThe portal has ceased to exist.\n\nPatches of nothing begin to form in mid-air.\n\n> You go south\nThe portal has ceased to exist.\n\nStars of black now mingle with stars of white in equal number."
    },
    {
        "text": "> Go downwards\nYou can't go that way.\n\nThe black walls of nonexistence close in on every side.\n\n> Inventory\nYou are carrying nothing.\n\nThe black walls of nonexistence close in on every side.\n\nYou hear a popping noise from far above.\n\n> Up\nYou can't go that way.\n\nThe view has become almost completely dark.\n\n> You wait\nTime passes.\n\nNothingness is close to absorbing you.\n\n> Wait\nTime passes.\nThe Nothing consumes you.\n\n> Pray\nNothing practical results from your prayer.\n\nStars of black now mingle with stars of white in equal number.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nThe black walls of nonexistence close in on every side.\n\nAn intense burst of white noise disappears as quickly as it came.\n\n> You listen\nYou hear a constant electric hum in the distance.\n\nThe view has become almost completely dark.\n\n> Up\nYou can't go that way.\n\nNothingness is close to absorbing you.\n\n> You go outside\nBut you aren't in anything at the moment.\nThe Nothing consumes you.\n\n> Lxprog\nNothing seems to happen.\n\nBlack spots begin to dot the walls.\n\n> You examine the obelisk\nImprinted in black, and reaching for the sky.\n\nPatches of nothing begin to form in mid-air.\n\n> Go up\nYou can't go that way.\n\nStars of black now mingle with stars of white in equal number.\n\n> You climb the obelisk\nThe surface is sticky, allowing you to reach the apex.\n\nA flat plain of black sand lies below you, and starry fractal sky\nabove. The sky looks so realistic and close you feel you could almost\nreach out and touch it. Patches of black threaten you from every\ndirection.\n\nA loud warbling noise briefly echoes into the room.\n\n> You touch the sky\nYou raise your hand, and, as in a childhood fantasy, touch the sky. As\nyou do so, you are sucked into it...\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad, a blue pad and a storage bin (in\nwhich is a widget) here.\n\n> Examine pad\nWhich do you mean, the green pad or the blue pad?\n\n> Green\nA flat green pad.\n\n> You look at the blue pad\nA flat blue pad.\n\n> You open the bin\nThat's not something you can open.\n\nGoing through the sky seems to have put a strain on your body.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body has degenerated slightly.\n\nnoise.\n\n> You look at widget\nA generic program without modelling is called a \"widget\". This one is\nincomplete, which is why it looks like a plain rectangular box.\n\n> You examine the duplicator\nenvironment. An object is placed on the green pad, the duplicator is\ntouched, and a duplicate of the object on the green pad appears on the\nblue pad.\n\n> You enter the green\nYou get onto the green pad.\n\n> You press duplicator\nIt is attached to the floor.\n\n> You touch the duplicator\nYou can't reach the duplicator from here.\n\nA giant chain shifts to a new position, making a sound like creaking\nfloorboards.\n\n> Exit\nYou are on your own two feet again.\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad, a blue pad and a storage bin (in\nwhich is a widget) here.\n\n> You take all from bin\nRemoved.\n\nYou hear explosions coming from a disconnected universe.\n\n> You stand on the green pad\nAn invisible force repels you. The pad seems to have a pre-set limit of\none thing at a time.\n\nSpots and pieces of void are appearing on your virtual skin.\n\nStatic and white noise are briefly emitted from a television display.\n\n> You put the widget on the green pad\nYou put the widget on the green pad.\n\nSpots and pieces of void are appearing on your virtual skin.\n\nnoise.\n\n> You drop it\nDropped.\n\nYou can faintly hear planes overhead. Apparently, the assault is\nunderway.\n\n> You enter green pad\nYou get onto the green pad.\n\n> Exit\nYou are on your own two feet again.\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a widget, a duplicator, a green pad, a blue pad and a\nstorage bin (which is empty) here.\n\nExposed wires in the wall spark, making a crackling noise.\n\n> You get wires\nTaken.\n\nThe sound of gunfire resonates from afar.\n\nThat's just scenery.\n\n> You put the duplicator on the green pad\nsomething else.\n\nYour body has almost completely faded away.\n\n> You check your inventory\nYou are carrying:\na widget\n\n> You look at the widge\nYou can't see any such thing.\n\nThe room shakes, and the view is briefly distorted. The main power to\nthe computer system is failing.\n\n> Examine widget\nA generic program without modelling is called a \"widget\". This one is\nincomplete, which is why it looks like a plain rectangular box.\n\nFragments of nothing crowd your vision, and the world fades away...\n\n> You climb the obelisk\nThe surface is sticky, allowing you to reach the apex.\n\nA flat plain of black sand lies below you, and starry fractal sky\nabove. The sky looks so realistic and close you feel you could almost\nreach out and touch it. Patches of black threaten you from every\ndirection.\n\n> You touch the sky\nYou raise your hand, and, as in a childhood fantasy, touch the sky. As\nyou do so, you are sucked into it...\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad, a blue pad and a storage bin (in\nwhich is a widget) here.\n\n> You take all from the bin\nIt is attached to the floor.\n\nnoise.\n\nRemoved.\n\n> You put the widget on the blue pad\nYou put the widget on the blue pad.\n\nGoing through the sky seems to have put a strain on your body.\n\n> Exit\nYou are on your own two feet again.\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad, a blue pad (on which is a\nwidget) and a storage bin (which is empty) here.\n\n> You get the bin\nIt is far too large to do that.\n\nA compressor raises and lowers its pump, making a sound like a mouse\ndying.\n\n> You get the blue pad\nThat would be an interesting trick.\n\n> You enter the blue\nYou get onto the blue pad.\n\n> You touch the duplicator\nYou can't reach the duplicator from here.\n\nYou can faintly hear planes overhead. Apparently, the assault is\nunderway.\n\nA compressor raises and lowers its pump, making a sound like a mouse\ndying.\n\n> You enter the blue\nAn invisible force repels you. The pad seems to have a pre-set limit of\none thing at a time.\n\n> You put the widget on the blue\nYou put the widget on the blue pad.\n\n> You enter the bin\nYou get into the storage bin.\n\n> Leave\nYou are on your own two feet again.\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad (on which is a widget), a blue\npad and a storage bin (which is empty) here.\n\n> You take the widget\nTaken.\n\nYou hear explosions coming from a disconnected universe.\n\nabove.\n\n> You throw the widget at the duplicator\nFutile.\n\nSpots and pieces of void are appearing on your virtual skin.\n\n> You examine bin\nA large bin made of chrome and glass.\n\n> Break bin\nViolence is impossible in that way while in virtualspace.\n\nYou can faintly hear planes overhead. Apparently, the assault is\nunderway.\n\n> You eat widget\nThat's plainly inedible.\n\n> You look at the machines\nAll different varieties, and of unknown purpose.\n\nStatic and white noise are briefly emitted from a television display.\n\n> You look at the floor\nYou see nothing special about the floor.\n\nThe sound of gunfire resonates from afar.\n\n> You examine platforms\nThey are hanging in midair without support.\n\n> You put the widget on the blue\nYou put the widget on the blue pad.\n\nYour body has almost completely faded away.\n\n> You stand on the green\nYou get onto the green pad.\n\nFragments of nothing crowd your vision, and the world fades away...\n\n> Full\nYou have so far scored 39 out of a possible 40, in 339 turns.\n\nThe score is made up as follows:\n\n1 activating the cube\n5 restoring the cube's voice\n3 evading the scan\n3 activating lxprog\n2 restoring your body integrity\n3 destroying the paper\n4 finding the halting program\n2 reactivating lxprog\n4 destroying the maintenance system\n4 escaping the void\n5 making a duplicate of yourself\n\n39 total (out of 40)\n\n> Exit\nYou are on your own two feet again.\n\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad, a blue pad and a storage bin (in\nwhich is a widget) here.\n\n> About yourself\nYour \"body\" is a crude model, textured with some type of rock, almost\nas if you were a golem. Your virtual body's integrity appears to be\nnormal.\n\n> You take the widget\nTaken.\n\nYou hear explosions coming from a disconnected universe.\n\nnoise.\n\n> You put the widget on the blue\nYou put the widget on the blue pad.\n\nabove."
    },
    {
        "text": "[Themes: Science Fiction, cyberspace, cyberpunk, virtual world]\n\n> Look around\nHigh above you on various platforms, machines clatter and clang,\nshifting connected parts in constant motion, like the inner workings of\na giant mechanical beast. The walls and floor are textured with ridged\nmetal; the ceiling is a dull gray. There is no exit.\n\nYou can see a duplicator, a green pad (on which is a widget), a blue\npad and a storage bin (which is empty) here.\n\n> Up\nYou can't go that way.\n\nYou can faintly hear planes overhead. Apparently, the assault is\nunderway.\n\nExposed wires in the wall spark, making a crackling noise.\n\n> You wait a while\nTime passes.\n\nThe sound of gunfire resonates from afar.\n\n> Wait\nTime passes.\n\nExposed wires in the wall spark, making a crackling noise.\n\n> Wait\nTime passes.\n\nThe room shakes, and the view is briefly distorted. The main power to\nthe computer system is failing.\n\n> Wait\nTime passes.\n\nA portal forms itself in the middle of the floor.\n\n> You wait for a while\nTime passes.\n\nStatic and white noise are briefly emitted from a television display."
    },
    {
        "text": "> Go downward\neffect. Crystals protrude from the wall at odd angles. Sparks of\nelectricity are passed back and forth. The entire room vibrates and\nhums like a large electric generator. Portals are placed to the north\nand south as well as the ceiling and floor.\n\nYou can see a rotating humanfaced cube here.\n\n> Full\nIn that game you scored 40 out of a possible 40, in 365 turns, earning\nyou the rank of Liberated.\n\nThe score was made up as follows:\n\n1 activating the cube\n5 restoring the cube's voice\n3 evading the scan\n3 activating lxprog\n2 restoring your body integrity\n3 destroying the paper\n4 finding the halting program\n2 reactivating lxprog\n4 destroying the maintenance system\n4 escaping the void\n5 making a duplicate of yourself\n1 lxprog finishing\n\n40 total (out of 40)\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score\nfor that game or QUIT?\n\n> P.\nN = next subject                                                  P =\nRETURN = read subject                                          Q = re\nsume game\nThere is help on the following:\n\nVoiceless cube\nCircuit board\nDegenerating body\nScan of sector\nCube with voice\nHalted program\nFlashing paper\nSphere\nCube's message\nUnconsciousness\nFragments of void\nDegenerating body, 2nd time\n> Finishing the game\n(Press ENTER to return to the main menu, or H for another hint.)\n\n(1/2) Wait around and see what happens."
    },
    {
        "text": "[Themes: Haunted  House, Humor, parody, horror, Comedy]\n\nCourage and hate live in the mind Love and fear live in the heart.\n\n[Type HINT to get some hints.]\n\nScary House Amulet!!\nA tacky interactive icky haunted houseness.\n\nA black forbidding gate looms between yourself and the gravel drive going up to an old eerie house set on a hill to the north. Light from the full moon casts strange shadows behind you and the dark forest engulfing this area. The road you came from is west.\n\nLegend says there is a valuable, powerful Amulet in the house, which may be retrieved by anyone who is daring!\n\nDo you dare?\n\nThen pass through the gate, intrepid one!\n\n[Author's Note: You have green hair! Your name is Britney!! Legend says there is a valuable, powerful Amulet in the house, which may be retrieved by anyone who is daring! Do you dare?]"
    },
    {
        "text": "[Themes: Haunted  House, Humor, horror]\n\n> About yourself\nYou have green hair! Your name is Britney!!\n\n> No\nCluck cluck cluck! Chickenheart, the exit is west!\n\n> You look at the gate\nIt stands closed before you!\n\n> You open gate\nYou open the black gate.\n\n> Go north\nWhen you have gone through the gate, it slams shut behind you with a clang!\n\nThe drive here creeps between the sinister trees from the black gate south to the northeast.\n\n> You look at the trees\nThe moonlight makes the trees cast jagged, twisted shadows on the ground!\n\n> You climb the trees\nI don't think much is to be achieved by that.\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> Go northeast\nAn opening among the flora is southeast! It leads into an evil, scary, putrid dark stillness which makes the hair on your neck prickle! The drive goes west and southwest.\n\n> You examine the house\nIt hovers in the dim moonlight like a great evil monster!\n\n> You go to the north\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!"
    },
    {
        "text": "[Themes: Humor, Haunted  House, parody]\n\n> Look around\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> You take the moon\nThat's hardly portable.\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> You go southwest\nBlack walls of the forest press all around! This gravelly path leads south and northeast.\n\nSomething creepy is to the northwest!\n\n> You go to the northwest\nFollowing that path you come to a pit, which you descend into...\n\nIn this shallow pit, lit by the full moon, there is a weird slime-ooze lying on the ground like thick green vomit! As you watch it, you see faint ripples and motions that make your skin crawl! The exit is southeast!\n\nA gold ring is at the center of the slime!\n\nA pile of human bones sits by the slime-ooze!\n\n> You get the ring\nAck! As you touch the slime-ooze there is a horrible burning in your skin! The stuff actually rises off the ground and engulfs you! You're pulled down into it and can't get out!\n\n> You get the ring\nPlease give one of the answers above.\n\n> Search bones\nNervously you pick a little through the bones... and find a lamp!\n\nYou take it.\n\n> Go southeast\nBlack walls of the forest press all around! This gravelly path leads south and northeast.\n\nSomething creepy is to the northwest!\n\n> You go to the northwest\nFollowing that path you come to a pit, which you descend into...\n\nIn this shallow pit, lit by the full moon, there is a weird slime-ooze lying on the ground like thick green vomit! As you watch it, you see faint ripples and motions that make your skin crawl! The exit is southeast!\n\nA gold ring is at the center of the slime!\n\nA pile of human bones sits by the slime-ooze!\n\n> Burn slime\nThis dangerous act would achieve little.\n\n> You examine the slime\nYou feel ill just observing this vile mass!\n\n> You eat the slime\n(first taking the slime-ooze)\nAck! As you touch the slime-ooze there is a horrible burning in your skin! The stuff actually rises off the ground and engulfs you! You're pulled down into it and can't get out!\n\n> You examine the hole\nYou shrink back from it!\n\n> You turn on the lamp\nThere, it's glowing now! It still works!\n\n> You look in the hole\nYou find nothing... but evil!"
    },
    {
        "text": "[Themes: Haunted  House, Humor]\n\n> Go downward\nYou are too afraid of the evil within!\n\n> You turn off lamp\nYou nervously turn it off...\n\n> You go to the north\nBlack walls of the forest press all around! This gravelly path leads south and northeast.\n\nSomething creepy is to the northwest!\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> You turn on the lamp\nThere, it's glowing now! It still works!\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> You go to the north\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!\n\nA large shape blocks the light of the moon momentarily, making you shiver!\n\n> Go inside\nIn the House (1st floor)\nTerror is almost palpable in this hallway! Paint peeling off the walls curls toward you like tentacles and an old light fixture roosts in the ceiling! Floorboards creak ominously under your weight! A scary passage is north, and you can go up, down or exit south.\n\n> You examine the paint\nLooking at it you only want to run!\n\n> You run\nYou'll have to say which compass direction to go in.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go north\nIn the House (kitchen)\nA very old rusted stove stands here, but the only thing that will be cooked in this room again is... you! You'd better run south out now!\n\nAn animate skeleton is here, and I think it wants you for dinner!\n\nOn the rusted stove is a poison phial.\n\n> You get the phial\nThe skeleton prances between you and the poison!\n\n> You hit the skeleton\nYou don't dare, with just your bare hands!\n\nThe vile skeleton inches toward you!\n\n> You drink the poison\nBut it's poison!\n\nThe skeleton jumps! It's got you and tears you limb from limb!\n\n> You examine skeleton\nIt's all bone! It's death!\n\nThe skeleton jumps! It's got you and tears you limb from limb!"
    },
    {
        "text": "> Look around\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Humor, Haunted  House, Comedy]\n\n> Look around\nIn the House (kitchen)\nA very old rusted stove stands here, but the only thing that will be cooked in this room again is... you! You'd better run south out now!\n\nAn animate skeleton is here, and I think it wants you for dinner!\n\nOn the rusted stove is a poison phial.\n\nThe skeleton jumps! It's got you and tears you limb from limb!"
    },
    {
        "text": "[Themes: Haunted  House, Humor]\n\n> Go downward\nIn the House (basement)\nYou swim in fearsome dimness here! The exit is up!\n\nAn enormous spider lies in wait for you! Its giant legs scratch on the floor and glowing red eyes glare at you evilly!\n\nThe holy bible lies on the floor!\n\nYou can also see a plastic bottle (which is empty) here.\n\n> You get the bible\nThe spider is between you and the bible! The creature says, \"Hey that's my bible!\" and adds, \"Spiders can be religious too, you know!\"\n\n> Kiss spider\n\"Ha ha! You will die!\" it chortles!\n\n> You kill the spider\nYour fists do no damage! The spider rather boredly twists your head off!\n\n> You get the bottle\nThe spider snarls, \"Ha! That won't re-energize you! It's empty!\"\n\n> You look at what you're carrying with you\nYou are carrying:\na plastic bottle\na lamp (providing light)\n\n> Go up\nIn the House (1st floor)\nTerror is almost palpable in this hallway! Paint peeling off the walls curls toward you like tentacles and an old light fixture roosts in the ceiling! Floorboards creak ominously under your weight! A scary passage is north, and you can go up, down or exit south.\n\n> Go upwards\nIn the House (attic)\nSome boxes are strewn about the room facing you like weird grave stones! You can go down from here!\n\nA frightening ghost glows purpley here! It is the figure of a young bride, with a veil hanging over a bony face and clawlike arms sticking out of the sleeves! She beckons to you!\n\n> You look at the bottle\nGasp! It once contained some sort of energy drink, according to the label!\n\n> You examine the lamp\nAn old lamp. It's glowing.\n\n> Kiss ghost\nKeep your mind on the game.\n\n> You look at the ghost\nYou are in awed horror of this apparition!\n\n> Pray\nNothing practical results from your prayer.\n\n> You ask the ghost about yourself\nThe ghost interrupts you!\n\nShe avers: \"Oh woe is me! I have been trapped in this cursed state for decades!\n\n\"When I was eighteen on my wedding night -- what I thought would be my most wonderful -- my new husband proved himself a villain! He slew me and stole my inheritance! My clay he buried beneath this building, never to be found again!\n\n\"If some person of noble spirit can bring me my wedding ring and the bible my mother gave me before I was tragically wed -- When those are recovered then can I be freed from this insipid state: having no place among the living and unable to go to my reward in heaven!!\""
    },
    {
        "text": "[Themes: Haunted  House, Humor, horror]\n\n> Go downward\nIn the House (basement)\nYou swim in fearsome dimness here! The exit is up!\n\nAn enormous spider lies in wait for you! Its giant legs scratch on the floor and glowing red eyes glare at you evilly!\n\nThe holy bible lies on the floor!\n\n> You ask the spider about bible\n\"I don't care what the ghost says: it's mine! Finders keepers!\n\n> You ask the spider about the ghost\n\"What a stuck-up old bitty!\"\n\n> You ask the spider about the slime\n\"Now that one keeps to itself.\"\n\n> You ask the spider about the spider\n\"I like to think I'm a nice person.\"\n\n> You ask the spider about the skeleton\n\"Hey, it's a professional. It's supposed to guard something and it just does.\"\n\n> You take the paint\nThat's hardly portable.\n\n> You eat the paint\n(first taking the peeling paint)\nThat's hardly portable.\n\n> Go south\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!\n\n> You go to the northeast\nExits are southwest and southeast.\n\nAnother opening is here possibly going out of the forest.\n\n> You go southeast\nPaths lead southeast, east and northwest.\n\nAnother opening is here possibly going out of the forest.\n\nA shiny sword lies in wait of a proud warrior here!\n\n> You take sword\nTaken.\n\n> Full\nYou have so far scored 2 out of a possible 8, in 98 turns.\n\n> You go to the west\nExits are east, west and southwest.\n\n> You go to the south-west\nPaths lead northeast, west and northwest.\n\nAnother opening is here possibly going out of the forest.\n\n> Go north\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!\n\nArgh! A giant stone harpy swoops down on you! You can't dive out of the way!\n\nLarge talons sink into your shoulder and you're carried far away and dropped into a hole in the side of a mountain!!\n\nMoonlight from the hole you fell through illuminates a terrible cave! It seems to be a nest with bits of bone and straw littering the floor! Very dark passages twist out to the northwest and north.\n\n> Search bones\nYou find nothing of interest.\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> You kill the hatchling\nYou hack at it with the sword, and it ducks!\n\n\"Garr!\" The creature dives at you and you beat it back with the sword!\n\n> Go north\nYou race through the passage, holding the hatchling at bay with the sword!\n\nClaustrophobic passages wind east, south, southwest and northwest.\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> Go northwest\nYou race through the passage, holding the hatchling at bay with the sword!\n\nOppresive granite surfaces are on all sides! You can go to the east and southeast.\n\nA harpy egg sits on the floor unguarded.\n\n> You get the egg\nTaken.\n\n> You go southeast\nClaustrophobic passages wind east, south, southwest and northwest.\n\n> Go south\nMoonlight from the hole you fell through illuminates a terrible cave! It seems to be a nest with bits of bone and straw littering the floor! Very dark passages twist out to the northwest and north.\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> You run\nYou'll have to say which compass direction to go in.\n\n\"Garr!\" The creature dives at you and you beat it back with the sword!\n\n> You go to the north-west\nYou race through the passage, holding the hatchling at bay with the sword!\n\nThe stone of the walls surround you! Exits lead northeast and southeast.\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> You go to the northwest\nYou race through the passage, holding the hatchling at bay with the sword!\n\nOppresive granite surfaces are on all sides! You can go to the east and southeast.\n\n> You go to the east\nTwisty passages go southeast and west. You fear you are lost!\n\n> Go southeast\nThe creepiness of these caves push down on you! Exits are west, northwest, north and southwest.\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> Go southwest\nYou race through the passage, holding the hatchling at bay with the sword!\n\nThis cave tunnel goes from northeast to east!\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> You go east\nYou race through the passage, holding the hatchling at bay with the sword!\n\nThe only exit goes to the west, though a thin fragile-looking column props up the cracked rock of the ceiling and seems to be protruding from a hole in the floor! Could the hole be a way out of these caves???\n\n> You go to the west\nThis cave tunnel goes from northeast to east!\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> Go east\nYou race through the passage, holding the hatchling at bay with the sword!\n\nThe only exit goes to the west, though a thin fragile-looking column props up the cracked rock of the ceiling and seems to be protruding from a hole in the floor! Could the hole be a way out of these caves???\n\nA gruesome hatchling flutters in shrieking! You'd better run!\n\n> Climb column\nI don't think much is to be achieved by that.\n\n\"Garr!\" The creature dives at you and you beat it back with the sword!\n\n> Up\nYou don't know where it leads!\n\nYou can't go that way.\n\n\"Garr!\" The creature dives at you and you beat it back with the sword!\n\n> You enter the hole\nYou can't reach through the column!\n\n\"Garr!\" The creature dives at you and you beat it back with the sword!\n\n> You hit column\nYou strike the column with the sword *CLANG*, and a crack forms! You hit it again and again until it breaks!\n\nOh no the ceiling is falling! The exit is blocked off, and you have no choice but to dive down the hole where you land *SPLOOSH* in --\n\nThis water is flowing too fast! You'll be smashed against the walls and killed!\n\n> Dive\nIt's all you can do to keep your head above the water!\n\nNothing can save you now, you think, as the river flow pulls you away!\n\n> Swim\nIt's all you can do to keep your head above the water!\n\nYou struggle, barely keeping your head up!\n\n> You check your inventory\nYou are carrying:\na harpy egg\na shiny sword\na plastic bottle\na lamp (providing light)\n\nMy goodness! A vine hangs down in the water ahead! You have to grab it now, to pull yourself out!\n\n> You get the vine\nYou grab it and pull up! You've saved yourself!\n\nAfter taking a moment gasping for air, you climb the vine up through a hole...\n\nA frightening hole in the ground terminates the drive going north!"
    },
    {
        "text": "[Themes: Haunted  House, Humor]\n\n> Go downward\nYou are too afraid of the evil within!\n\n> You kill the skeleton\nBlindingly fast, it dodges your sword blow!\n\nThe vile skeleton inches toward you!\n\n> You kill the skeleton\nBlindingly fast, it dodges your sword blow!\n\nThe skeleton jumps! It's got you and tears you limb from limb!\n\n> You examine the egg\nYou can feel something moving inside it!\n\n> You ask the spider about the harpy\n\"Not too bright, in my opinion.\"\n\n> You ask spider about the egg\nThe spider snorts. \"Pshaw. My eggs are grosser than harpy eggs.\"\n\n> Attack spider\nYou hack at the spider!\n\nThe spider's blow contacts you mildly!\n\n> Attack spider\nYour sword nicks the creature!\n\nYou barely dodge the spider's blow!\n\n> Attack spider\nYou hack at the spider!\n\nYou receive a hit from the spider!\n\n> Attack spider\nWhump! A solid blow!\n\nYou receive a hit from the spider!\n\n> Attack spider\nYou miss badly!\n\nYou barely dodge the spider's blow!\n\n> Attack spider\nWhump! A solid blow!\n\nThe spider falls! It is dead!\n\nBut wait! Blood gushes like a terrible fountain out of the wound! Acidic blood! It burns your skin off and you die horribly!\n\n> You break the egg\nIt breaks open easily, but someTHING jumps out and onto your head, crushing it!!\n\n> Inventory\nYou are carrying:\na harpy egg\na shiny sword\na plastic bottle\na lamp (providing light)\n\n> You look at the bottle\nGasp! It once contained some sort of energy drink, according to the label!\n\n> You throw the egg\nDropped.\n\n> You get the egg\nTaken.\n\n> You give the egg to the skeleton\nIt gnashes gruesome teeth at you! Chak chak chak!\n\n> You ask the skeleton about the spider\nIt gnashes gruesome teeth at you! Chak chak chak!\n\nThe vile skeleton inches toward you!\n\n> Go northeast\nExits are southwest and southeast.\n\n> You go southeast\nPaths lead southeast, east and northwest.\n\nAnother opening is here possibly going out of the forest.\n\n> Go east\nExits are southwest, east and west.\n\n> You go northeast\nExits are east, west and southwest.\n\n> You go to the southeast\nPaths lead northeast, east and northwest.\n\nAnother tiny exit is north.\n\n> Go north\nThe green flora turns soft here, with light swimming over it. The air is fresh and cinnamony. You breathe deeply, but know you must go back and recover the amulet...\n\nWest goes out of the forest and a passage is south.\n\nSome icky Pepsi is on the ground!\n\n> You look at Pepsi\nEw yuck! A can of Pepsi!\n\n> Drink pepsi\nBlech! Drinking that'll turn you inside out!"
    },
    {
        "text": "[Themes: Humor, Haunted  House]\n\n> You look at your surroundings\nThe green flora turns soft here, with light swimming over it. The air is fresh and cinnamony. You breathe deeply, but know you must go back and recover the amulet...\n\nWest goes out of the forest and a passage is south.\n\n> You pour Pepsi on the slime\nYou pour the vile fluid on the slime! Then you hear a loud, horrible gurgling sound and ten thousand gallons of matter are hurled out at once, squishing you under the mass!!\n\n> You put the egg in the slime\nAck! As you touch the slime-ooze there is a horrible burning in your skin! The stuff actually rises off the ground and engulfs you! You're pulled down into it and can't get out!\n\n> You throw egg at the slime\nFutile.\n\n> You pour Pepsi in the bottle\nHow exciting! The bottle is now full of Pepsi!\n\n> Inventory\nYou are carrying:\nsome Pepsi (in the plastic bottle)\na harpy egg\na shiny sword\na lamp (providing light)\n\n> You pour Pepsi on the floor\nDropped.\n\n> You pour Pepsi on the slime\nYou pour the vile fluid on the slime! Then you hear a loud, horrible gurgling sound and ten thousand gallons of matter are hurled out at once, squishing you under the mass!!"
    },
    {
        "text": "[Themes: Humor, Haunted  House]\n\n> You look at your surroundings\nThe green flora turns soft here, with light swimming over it. The air is fresh and cinnamony. You breathe deeply, but know you must go back and recover the amulet...\n\nWest goes out of the forest and a passage is south.\n\n> You pick up a bone\nFollowing that path you come to a pit, which you descend into...\n\nIn this shallow pit, lit by the full moon, there is a weird slime-ooze lying on the ground like thick green vomit! As you watch it, you see faint ripples and motions that make your skin crawl! The exit is southeast!\n\nA gold ring is at the center of the slime!\n\nA pile of human bones sits by the slime-ooze!\nThat's fixed in place.\n\n> You ask slime about the bottle\nYou can only do that to something animate.\n\n> You ask the spider about Pepsi\n\"Gag! That's the kind of thing the ghost upstairs likes!\"\n\n> Inventory\nYou are carrying:\nsome Pepsi (in a can)\na harpy egg\na shiny sword\na plastic bottle\na lamp (providing light)\n\n> You pour Pepsi in the bottle\nHow exciting! The bottle is now full of Pepsi!\n\n> Go upwards\nIn the House (attic)\nSome boxes are strewn about the room facing you like weird grave stones! You can go down from here!\n\nA frightening ghost glows purpley here! It is the figure of a young bride, with a veil hanging over a bony face and clawlike arms sticking out of the sleeves! She beckons to you!\n\n> You give Pepsi to the ghost\n\"Now I can only dream of its taste!\" she says.\n\n> Inventory\nYou are carrying:\nsome Pepsi (in the plastic bottle)\na harpy egg\na shiny sword\na lamp (providing light)\n\n> You ask the the ghost about the Amulet\nShe avers: \"Oh woe is me! I have been trapped in this cursed state for decades!\n\n\"When I was eighteen on my wedding night -- what I thought would be my most wonderful -- my new husband proved himself a villain! He slew me and stole my inheritance! My clay he buried beneath this building, never to be found again!\n\n\"If some person of noble spirit can bring me my wedding ring and the bible my mother gave me before I was tragically wed -- When those are recovered then can I be freed from this insipid state: having no place among the living and unable to go to my reward in heaven!!\"\n\n> You ask the ghost about the harpy\n\"Dumb and gross. I'm like ew!\"\n\n> You ask the ghost about the spider\nShe sniffs! \"I'd never share my Pepsi with him!\"\n\n> You ask the ghost about the skeleton\n\"What a bore. Work work work!\""
    },
    {
        "text": "> You look at your surroundings\nIn the House (attic)\nSome boxes are strewn about the room facing you like weird grave stones! You can go down from here!\n\nA frightening ghost glows purpley here! It is the figure of a young bride, with a veil hanging over a bony face and clawlike arms sticking out of the sleeves! She beckons to you!\n\n> You give Pepsi to the spider\n\"Har! You'll need that energy-drink more than I will!\" the spider says.\"\n\n> You hit spider\nThe spider shudders under your powerful strike!\n\nPow! The spider beats at you!\n\n> Attack spider\nWhump! A solid blow!\n\nA vicious strike from the spider knocks you down!\n\n> Attack spider\nThe spider shudders under your powerful strike!\n\nWounded, it snatches the Pepsi from your hand and screams, \"You think you've won, huh? I'll just quaff this energy-drink and then you're dead meat, buster!\"\n\nYou cringe as it drinks the vile fluid! Suddenly it gasps, \"What have you done to me?!\" and starts hurling! After a while all of its guts are ejected from its mouth and it's dead!!"
    },
    {
        "text": "> Describe the surroundings\nIn the House (basement)\nYou swim in fearsome dimness here! The exit is up!\n\nThe shell of the giant spider is here with its horrible innards strewn in front of it!\n\n> You look at the shell\nCool!\n\n> You get the shell\nYuck!\n\n> You give bible to the skeleton\nIt gnashes gruesome teeth at you! Chak chak chak!\n\nThe skeleton jumps! It's got you and tears you limb from limb!\n\n> You throw egg at the skeleton\nYou hurl the egg, and the skeleton can't get out of the way! As the egg cracks open against its skull, a harpy chick breaks out, immediately enfolding and crushing the skull!\n\nThe now headless skeleton flops on the floor, truly dead now and the chick dashes off out of the room!"
    },
    {
        "text": "> Describe the surroundings\nIn the House (kitchen)\nA very old rusted stove stands here, but the only thing that will be cooked in this room again is... you! You'd better run south out now!\n\nThe dead skeleton -- the remains of the remains -- is here.\n\n> You look at the skeleton\nYou shudder at its sight!\n\n> You look at stove\nThis dilapated device must be a hundred years old!\n\n> You pour the poison on the slime\nYou throw the poison bottle at the slime, and it erupts on contact! Nothing happens at first, but then there's a fearsome slurping-gagging sound! The slime becomes gray and totally still...\n\n> You give the ring to the ghost\nAs you release the wedding ring it floats before the ghost! She says, \"Oh thank you! Bring the other please! The other!\"\n\n> You give bible to the ghost\n\"Bless you friend!\" sings the ghost, \"With this holy bible I go to find my reward!\"\n\nAnd then she starts to rise and glows brighter! So bright you have to close your eyes! When you open them she is no more and you are carrying what must be the Amulet!\n\n> Inventory\nYou are carrying:\nthe Amulet\na shiny sword\na lamp (providing light)\n\n> You look at Amulet\nIt is a plain black disk, but you can feel something emanating from it! A great power!\n\n> Wear Amulet\nYou are too frightened and awed to wear it!\n\n> You go to the south\nYou can go east and southwest from here, and the looming house is north!\n\nCrack! A huge chasm spewing fire opens in the earth before you!\n\nA towering, horrible bat flies out of it, cackling, \"Hee hee! Satan has sent me for you, O Foolish One! I will carry you to Hell! Carry you there to be my plaything for eternity! You will make a fine addition to my collection of damned action figures! Hee hee!\"\n\n> You look at the bat\nHeaven help you! There is no defeating this awesome creature!\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> You show Amulet to the bat\nIt just squeals merrily! Evilly!\n\nThe creature says, \"Ha! What a toy you will be!\"\n\n> You hit the bat\n\"Your pitiful attack means nothing to me! Ha ha!\" it cries!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> Go north\nOh no you don't! It plucks you up and carries you to down!\n\n> Rub amulet\nYou achieve nothing by this.\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> Wear Amulet\nYou are too frightened and awed to wear it!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You give Amulet to the bat\nNothing will placate me but your eternal soul as my play toy!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You throw Amulet at the bat\nIt just squeals merrily! Evilly!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You fear bat\nYou do fear the horrible bat!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> Inventory\nYou are carrying:\nthe Amulet\na shiny sword\na lamp (providing light)\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!"
    },
    {
        "text": "[Themes: Humor, Haunted  House, Comedy, parody, horror]\n\n> Look around\nYou can go east and southwest from here, and the looming house is north!\n\nThe horrible bat grins at you!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> Fear amulet\nYou do fear the Amulet!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!"
    },
    {
        "text": "> Describe the surroundings\nIn the House (basement)\nYou swim in fearsome dimness here! The exit is up!\n\nThe shell of the giant spider is here with its horrible innards strewn in front of it!\n\n> Inventory\nYou are carrying:\nthe holy bible\na harpy egg\na shiny sword\na lamp (providing light)\n\n> You examine the ring\nIt's a very old wedding ring. The inscription inside reads \"Love Unto Death\".\n\n> You go to the northwest\nFollowing that path you come to a pit, which you descend into...\n\nAn inert gray goo is on the ground in this moonlit area. The exit is southeast!\n\nA pile of human bones sits by the goo!\n\n> Inventory\nYou are carrying:\na wedding ring\nthe holy bible\na shiny sword\na lamp (providing light)\n\n> You look at the goo\nQuite dreadful!\n\n> You take the bones\nThat's fixed in place.\n\n> You go to the north-east\nYou can't see any such thing.\n\nYou can't get through the thick flora!\n\n> Go north\nYou stand before the extremely terrifying house, trembling with fear! What waits within? Death? Something worse than death? You may go in to find out or return south to the drive!\n\nYou can see the Amulet here.\n\n> You look at the chasm\nIt leads down into hell!\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> You enter the chasm\nNo! No!\n\nThe creature says, \"Ha! What a toy you will be!\"\n\n> You put Amulet in the chasm\nBut you don't want to lose the Amulet!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You jump over the chasm\nYou would achieve nothing by this.\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> Break amulet\nViolence isn't the answer to this one.\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You read bible to the bat\n(in the frightening ghost)\nYou discover nothing of interest in the frightening ghost.\n\n> You give bible to the ghost\n\"Bless you friend!\" sings the ghost, \"With this holy bible I go to find my reward!\"\n\nAnd then she starts to rise and glows brighter! So bright you have to close your eyes! When you open them she is no more and you are carrying what must be the Amulet!\n\n> You turn the disk\nNothing obvious happens.\n\n> You eat Amulet\nThat's plainly inedible."
    },
    {
        "text": "[Themes: Humor, Haunted  House, parody]\n\n> Look around\nIn the House (attic)\nSome boxes are strewn about the room facing you like weird grave stones! You can go down from here!\n\n> You move the stove\nYou are unable to.\n\n> You get the skeleton\nYou are far too repulsed to touch the thing!\n\n> You throw Amulet\nDropped.\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> You fear bat\nYou do fear the horrible bat!\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> You fear bat\nYou do fear the horrible bat!\n\nThe creature says, \"Ha! What a toy you will be!\"\n\n> Pray\nNothing practical results from your prayer.\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You switch off the lamp\nYou nervously turn it off...\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You give bible to ghost\nAs you release the holy bible it floats before the ghost! She says, \"Oh thank you! Bring the other please! The other!\"\n\n> You give the ring to the ghost\n\"Bless you friend!\" sings the ghost, \"With this wedding ring I go to find my reward!\"\n\nAnd then she starts to rise and glows brighter! So bright you have to close your eyes! When you open them she is no more and you are carrying what must be the Amulet!\n\n> You fear bat\nYou do fear the horrible bat!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You go south\nThe gate must be opened first.\n\n> You cut the trees\nCutting that up would achieve little.\n\n> You feed Amulet to the bat\nNothing will placate me but your eternal soul as my play toy!\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> Wear Amulet\nYou are too frightened and awed to wear it!\n\nThe creature says, \"Ha! What a toy you will be!\"\n\n> Break amulet\nViolence isn't the answer to this one.\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You check your inventory\nYou are carrying:\na shiny sword\na lamp (providing light)\n\n> Go southwest\nPaths lead southeast, southwest, northwest and northeast.\n\nAnother opening is here possibly going out of the forest.\n\n> Go west\nExits are southwest, east and west.\n\nAnother opening is here possibly going out of the forest.\n\n> You go southwest\nPaths lead northeast, east and northwest.\n\nAnother tiny exit is north.\n\n> You go southwest\nYou can go northeast and west from here.\n\nAnother opening is here possibly going out of the forest.\n\n> You go northeast\nPaths lead southeast, southwest, northwest and northeast.\n\nAnother opening is here possibly going out of the forest.\n\n> Wave amulet\nOh no! Nothing happens!\n\n> Wave amulet\nOh no! Nothing happens!\n\nThe bat shrieks, \"You must fear me! Fear me!\"\n\n> You give the bat amulet\nNothing will placate me but your eternal soul as my play toy!\n\n\"Bah! I bore of this!\" the bat states! It plucks you up and carries you to down!\n\n> You give the sword to the bat\n\"OOH! Something shiny!\" it squeaks! Snatching the sword, it dives back into the chasm, which closes up without a trace!\n\nYou can only stand there, trembling and bewildered...\n\n> You open gate\nIt opens easily!\n\n> Go south\nA black forbidding gate looms between yourself and the gravel drive going up to an old eerie house set on a hill to the north. Light from the full moon casts strange shadows behind you and the dark forest engulfing this area. The road you came from is west.\n\nAs you pass out of the gate, it closes shut! You've retrieved the amulet!\n\nBut wait! It's glowing! Its shape is changing, becoming longer and thinner and curving into a C...\n\nSuddenly the object's glow parts from it, shooting with a flash toward the house and disappears! You are now just standing on an ordinary road at night before a tall gate.\n\nAnd in your inventory, you see... A HOOK!"
    },
    {
        "text": "[Themes: Satire, parody]\n\nPain. Unceasing pain. Ever since your lover Black left, something to do with a mysterious stranger and a time machine, your days have been a dull blur of gray loneliness. Perhaps you'd feel better if you got out and did something.\n\n\n\nThis is the living room of your rather squalid apartment. The huge compass rose on your floor reminds you that your bedroom is west, the front hall is north, the kitchen is east, and the bathroom is south.\n\nYour mimesis plant squats in its pot in a corner of the room, slowly photosynthesizing.\n\n[Author's Note: Your lover Black left, and your days are full of loneliness. Your progress in finding him, however, is blocked by none other than the Devil himself; and to get rid of him, you must commit the seven deadly sins. And that is just the beginning...]\n\n> About yourself\nAs good-looking as ever.\n\n> You examine the plant\nThis is a prizewinning specimen of the species Mimesis Variegans. It is dark green, with yellow stripes on its luxurious leaves. The mimesis plant thrives in low light and requires occasional watering. You've always preferred the variegated to the linear variety, yourself. This one is about ten inches high. The plant looks rather dry.\n\nYour heart swells with pride as you consider your beautiful houseplant.\n\nThere is a sharp crackling and a sudden smell of ozone, as something appears in your hand.\n\n> You check what you're carrying\nYou are carrying:\na diskette case\n\"Curses\"\n\n> You look at the compass\nThis is a compass rose inlaid on your floor, constructed painstakingly from pine, mahogany, and oak. You don't quite remember why you put it in, but it had something to do with caving and survey shots.\n\n> You examine the curses\nA floppy disk labelled \"Curses\".\n\n> You eat the disk\n(the diskette case)\nThat's plainly inedible.\n\n> You go south\nThe salient feature, to borrow a technique from Detective, is the exit to the north. Sure, there's a sink, a tub, a toilet, and a medicine cabinet in here, but I promise you that you lose nothing by failing to examine them.\n\n> You examine cabinet\nReally, it's still just scenery.\n\nAuthor's Note: I'm certain I could make a bathtub you could bathe or shower in, with hot or cold water, a toilet that flushed and removed its contents, a medicine cabinet with a child-proof bottle within, and a fluffy towel on which to dry off. But I haven't, and frankly I don't care that much about implementing bodily functions or sanitation in the game.\n\n> You look at sink\nReally, it's still just scenery.\n\n> You go north\nYour mimesis plant squats in its pot in a corner of the room, slowly photosynthesizing."
    },
    {
        "text": "> You look at your surroundings\nThis is the living room of your rather squalid apartment. The huge compass rose on your floor reminds you that your bedroom is west, the front hall is north, the kitchen is east, and the bathroom is south.\n\nYour mimesis plant squats in its pot in a corner of the room, slowly photosynthesizing.\n\n> Go east\nThis is your kitchen: walls papered in a yellow floral design, counter, cabinet, stove, table, chairs, fridge, microwave, and so on. The living room is west.\n\nOn the counter is a juice glass (which is empty).\n\n> You look at the microwave\nJust your basic tiny microwave oven. It has a big red button labelled \"Zap\" on the front. It is currently closed.\n\n> You examine the glass\nThe juice glass is empty.\n\n> You get the glass\nTaken.\n\n> You examine the sink\nThis is a standard issue kitchen sink. Rather than actually implementing a faucet and two knobs, let's just say that you can fill containers from it when you want to. It is an unlimited source of the finest tap water.\n\n> You examine cabinet\nMerely a plain wooden cabinet.\n\n> You open the cabinet\nYou open the kitchen cabinet, revealing a red cardboard box.\n\n> You look at the box\nWhich do you mean, the red cardboard box or the diskette case?\n\n> Red\nThis is a bright red box of \"Sugar Coated Corn Puffs,\" a terrifyingly unhealthy part of your complete breakfast.\n\n> You open red\nWhich do you mean, the red button, the refrigerator or the red cardboard box?\n\n> You open the red cardboard\nYou open the red cardboard box, revealing some cereal and a toy.\n\n> Examine toy\nThis is an ugly blue plastic toy included as a prize in the box of cereal. It appears to have no use whatsoever, and indeed it is unclear what, exactly, it is meant to represent.\n\n> You eat the toy\nThat's plainly inedible.\n\n> You open the microwave\nYou open the microwave.\n\n> You put the toy in the microwave\nYou put the toy into the microwave.\n\n> You look at the cereal\nThe Sugar Coated Corn Puffs are whitish-yellow, with a coating of sugar.\n\n> You close the microwave\nYou close the microwave.\n\n> You turn on the microwave\nThe microwave hums briefly, and the toy vanishes in a plume of greasy smoke. You can almost hear the microwave chuckle evilly.\n\n> You open the microwave\nYou open the microwave, revealing a toy."
    },
    {
        "text": "[Themes: Satire]\n\n> You look at your surroundings\nThis is your kitchen: walls papered in a yellow floral design, counter, cabinet, stove, table, chairs, fridge, microwave, and so on. The living room is west.\n\n> You take the toy\nTaken.\n\n> You examine the fridge\nThis is a gigantic old fridge, bright red, of the latching-handle variety. It is closed.\n\n> You open the fridge\nYou open the refrigerator, revealing some Chinese food.\n\n> You examine the food\nSome of last night's take-out General Tso's chicken. It's spicy and encased in a cardboard box for your convenience. Cold and greasy, though.\n\n> You put the food in the microwave\nYou put the Chinese food into the microwave.\n\n> You close the microwave\nYou close the microwave.\n\n> You look at the microwave\nJust your basic tiny microwave oven. It has a big red button labelled \"Zap\" on the front. It is currently closed.\n\n> You open the microwave\nYou open the microwave, revealing some Chinese food.\n\n> You smell the food\nMmmm! Chili peppers.\n\n> You eat the food\n(first taking the Chinese food)\nWith your bare hands? You have better manners than that."
    },
    {
        "text": "[Themes: Satire]\n\n> You look at your surroundings\nThis is your kitchen: walls papered in a yellow floral design, counter, cabinet, stove, table, chairs, fridge, microwave, and so on. The living room is west.\n\n> You examine the counter\nThis is a standard stained and scarred formica counter. It's white, where it isn't stained.\n\n> You examine the stove\nThis is still just scenery. Bear with me.\n\n> You check your inventory\nYou are carrying:\nsome Chinese food\na toy\na red cardboard box (which is open)\nsome cereal\na juice glass\nsome cold water\na diskette case\n\"Curses\"\n\n> You eat the cereal\n(first taking the cereal)\nMmmmm, tasty. Just like, in fact, you'd expect something called \"Sugar Coated Corn Puffs\" to taste.\n\n> You check your inventory\nYou are carrying:\nsome Chinese food\na toy\na red cardboard box (which is open but empty)\na juice glass\nsome cold water\na diskette case\n\"Curses\"\n\n> Water plant\nYou carefully water the plant, wishing that you had someone to nurture you. Lucky plant.\n\n> You examine the case\nThis looks very much like every other cheap open-topped plastic disposable diskette case you've ever seen, although the \"Made In Hell\" label is a little disturbing. It looks like it could hold about seven disks. It seems to contain \"Hollywood Hijinx\" and \"Curses\".\n\n> You eat plant\n(first taking the variegated mimesis plant)\nYou greedily snatch at the mimesis.\n\nYou gluttonously take a bite out of one of the plant's leaves. It's really nasty. Ugh.\n\n> Inventory\nYou are carrying:\na variegated mimesis plant\nsome Chinese food\na toy\na red cardboard box (which is open but empty)\na juice glass\na diskette case\n\"Planetfall\"\n\"Zork I\"\n\"Hollywood Hijinx\"\n\"Curses\"\n\n> You examine Zork\nA floppy disk labelled \"Zork I\".\n\n> You hit the plant\nYou angrily rip a leaf from the mimesis plant.\n\n> Full\nYou have so far scored 5 out of a possible 7, in 64 turns, earning you the rank of Malingerer.\n\nThe score is made up as follows:\n\n1 Gluttony\n1 Wrath\n1 Envy\n\n5 total (out of 7)\n\n> Kiss plant\nYou plant a kiss on the mimesis.\n\n> You go to the west\nThe bedroom is pretty grim these days. It's a beige rectangular prism with a bed in it. There are also the usual bedroomy things: dressers, a lamp, a nightstand, and so on.\n\n> You look under the bed\nNo monsters, no trap doors, no dollar bills. Nothing but dust.\n\n> You look at the dresser\nJust the bric-a-brac of a standard adult bedroom. You don't want to think about it. If you think you do, go check out the bathroom or kitchen scenery instead.\n\nAuthor's Note: Sure, I could make a dresser and nightstand with opening drawers, a lamp you could turn on and off, a headboard you could tie things to, box springs for the bed, carpeting with repulsive items ground into it, and a sock drawer full of real live socks. But I won't. This is just scenery and it's going to stay that way.\n\n(Yes, just like the bathroom scenery.)\n\n> You examine the lamp\nJust the bric-a-brac of a standard adult bedroom. You don't want to think about it. If you think you do, go check out the bathroom or kitchen scenery instead.\n\n(Yes, just like the bathroom scenery.)\n\n> You look at the bed\nYour bed is a lovely four-poster king-size bed, made out of finely carved cherry wood. It's much too big for you alone, you can't help but realize."
    },
    {
        "text": "[Themes: Satire, parody]\n\n> Describe the surroundings\nThe bedroom is pretty grim these days. It's a beige rectangular prism with a bed in it. There are also the usual bedroomy things: dressers, a lamp, a nightstand, and so on.\n\nOn the bed is a variegated mimesis plant.\n\n> You get on the bed\nYou get onto the bed.\n\nOn the bed you can see a variegated mimesis plant.\n\n> Sleep\nYou toss and turn, but the bed is simply far too big to sleep in alone, and you sent Blamant the Teddy Bear out to be cleaned this morning.\n\n> Sleep\nYou clutch the mimesis plant to your chest, and fall into a troubled sleep, haunted with dreams of chessboards and featureless white cubes.\n\n> You get off the bed\nYou get off the bed.\n\nThe bedroom is pretty grim these days. It's a beige rectangular prism with a bed in it. There are also the usual bedroomy things: dressers, a lamp, a nightstand, and so on.\n\n> Go east\nThis is the living room of your rather squalid apartment. The huge compass rose on your floor reminds you that your bedroom is west, the front hall is north, the kitchen is east, and the bathroom is south.\n\n> You go north\nThis is the front hall; a door north leads outside, and the living room is to the south.\n\nA devil, looking for all the world like a cross between the BSD Unix devil and Bill Gates, slouches insolently in the corner.\n\nThe door is closed.\n\n> You examine devil\nHe is a jolly, fat little devil, with thick glasses, a Moe haircut, short but sharp-looking horns, a long tail with a barb on the end, a pink T-shirt reading \"IETF 28 Terminal Room\", Birkenstocks (which look particularly silly on his hooves), too-tight cordouroy pants, and a pocket protector. His complexion manages, through the mysteries of the supernatural, to be simultaneously firebrick red and pasty white.\n\n> Hi\nThe devil glares at you and mumbles, \"Bletch foobar to you too!\"\n\n> Kiss devil\n\"No, you nincompoop! <snort>  I'm not the target of your sins!\"\n\n> You ask devil about the devil\n\"Bob's the name! Interactive fiction's the game! Well, actually, the meta-game, I guess, because 'the game' properly ought to refer to an actual title, such as Jigsaw or something. Say, <snort>, can I go out with your sister?\n\n> Pray\nNothing practical results from your prayer.\n\n> Yes\n\"You <snort> can't make me! I'm supernatural.\"\n\n> You ask the devil about the plant\n\" A hardy houseplant. I never was much into <snort> botany myself. Now, the <giggle> subtle manipulations of Turbo Pascal...<snort>\"\n\n> You show the food to the devil\nThe demon stares at you as if you are mad.\n\n> You ask the devil about the sins against the Mimesis\n\"Sins, deadly. <snort> Pride, Avarice, Sloth <snort>, Gluttony, Envy, Wrath, and <giggle> Lust.\"\n\n> You ask the devil about the adam\n\"NAK! NAK! Re-transmit! <snort>\"\n\n> You ask the devil about Hollywood Hijinx\n\"That's for me to know <snort> and you to play!\"\n\n> Inventory\nYou are carrying:\na variegated mimesis plant\nsome Chinese food\na toy\na red cardboard box (which is open but empty)\na juice glass\na diskette case\n\"In The End\"\n\"The Incredibly Erotic Adventures of Stiffy Makane\"\n\"Beyond Zork\"\n\"Planetfall\"\n\"Zork I\"\n\"Hollywood Hijinx\"\n\"Curses\"\n\n> Show case to devil\nThe devil peers into the case. \"So, you think you're a sinner, huh? Well, let's see...so far you have Sloth, Avarice, Pride, Envy, Gluttony, Wrath, <giggle snort> Lust, and that's the complete set. Good job! Tell you what. Diskettes are so <snort> archaic. Let me...\" The devil takes your diskette case and squeezes it hard while chanting \"Fee, Fie, Foe, Foo!\" Squashing it into a CD, he hands it\nto you. Then he gestures with his finger, and the front door swings open.\n\n> Inventory\nYou are carrying:\n\"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\"\na variegated mimesis plant\nsome Chinese food\na toy\na red cardboard box (which is open but empty)\na juice glass\n\n> Examine cd\nA sparkling CD-ROM, with an attractive logo proclaiming it to be Sinful Delights and More: Masterpieces of Interactive Fiction.\n\n> You ask the devil about the CD\n\"That's for me to know <snort> and you to play!\""
    },
    {
        "text": "> Describe the surroundings\nThis is the front hall; a door north leads outside, and the living room is to the south.\n\nA devil, looking for all the world like a cross between the BSD Unix devil and Bill Gates, slouches insolently in the corner.\n\nThrough the open doorway, you can see a swirling violet mist, rather unlike the busy, dirty, and noisy street onto which it used to open.\n\n> You look at the mist\nThis is probably what Hendrix was thinking of when he wrote his song. It is disturbingly opaque, and swirls around in an unsettling and faintly nauseating manner.\n\n> You ask devil about the mist\n\"NAK! NAK! Re-transmit! <snort>\"\n\n> You open door\nThat's already open.\n\n> You get the mist\nThat's hardly portable.\n\n> Smell mist\nCardamom. Or is it coriander?\n\n> You go north\nAs you step into the mist, everything becomes indistinct and hazy; you spin, receding ever-farther from consciousness. Everything goes black...\n\nOnce upon a time, this was a scrapple factory. The floor would have been covered in piles of barely-identifiable pig parts, awash in blood and industrial chemicals. However, those times are long gone. The conveyor belt that used to connect the Scrappelizer to the reduction vat has long since rusted into immobility. There are no doors or windows; light comes from a bare light bulb hanging in the immense empty space. The rusted Scrappelizer squats to the north, and the vat is south.\n\nA rectangular hole allows access to the innards of the Scrappelizer.\n\n> You examine Scrappelizer\nThe Scrappelizer was a fairly simple machine. You dumped pigs--or whatnot--into the hopper at the top, and with a hideous squealing noise, a mass of bloody pig--or whatnot--parts would emerge on the conveyor belt, to be carried to the vat, where heat, chemicals, and time would conspire to produce Scrapple.\n\n> You examine the bulb\nThe bare light bulb, favored by tinpot dictators and goonish interrogators everywhere.\n\n> You enter hole\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\n\nThe kunkel yelps.\n\n> You look at kunkel\nThe Kunkel is small and troll-like. It squats before its computer, twitching occasionally as the virtual reality mittens on its hands control some action in the game going on in the VR goggles plugged into its computer.\n\nThe kunkel flinches and swears.\n\n> You examine computer\nThis must be the Kunkel's computer. It's the very latest in ultra-whiz-bang mega-expensive technology. It seems to have VR goggles, a CD-ROM drive, and big speakers.\nThe computer is currently switched on.\n\n> You open the drive\nYou open the CD-ROM drive. The Kunkel's game must have come to a screeching halt, because it stops twitching, swears, and thumbs the drive door shut before you can react.\n\n> You get the goggles\nAs you approach, you see that the Kunkel's face has actually grown into the goggles. Revolted, you retreat.\n\nThe kunkel yelps.\n\n> You turn off computer\nBy doing so, you are striking at the very reason for the Kunkel's existence. It is not pleased.\n\n\"Please excuse the crudity of what I'm about to do, you text-based Neanderthal, but my ancestors were AGT monsters.\"\n\nIts mouth opens to reveal teeth grotesquely out of proportion to the rest of its body, a fact you notice as those same teeth tear your flesh into tiny pieces.\n\n> Go south\nOnce upon a time, this was a scrapple factory. The floor would have been covered in piles of barely-identifiable pig parts, awash in blood and industrial chemicals. However, those times are long gone. The conveyor belt that used to connect the Scrappelizer to the reduction vat has long since rusted into immobility. There are no doors or windows; light comes from a bare light bulb hanging in the immense empty space. The rusted Scrappelizer squats to the north, and the vat is south.\n\nA rectangular hole allows access to the innards of the Scrappelizer.\n\n> You give the CD to kunkel\nYou can only do that to something animate.\n\n> You go south\nYou are inside the rendering vat of the abandoned scrapple factory. Even now it reeks of despair and waste-meat food products.\n\nGreat Scott! What can only be the rucksack of the Meldrews, fabled in song and story, lies here at the bottom of the rendering vat.\n\n> You take the rucksack\nYou're carrying too many things already.\n\n> You examine it\nActually, it's very tatty and greasy, saturated with long-rancid lard, stained with blood (or worse), and beginning to give at the seams. It is open and contains a tourist map of Paris and the Rod of Returning.\n\n> You put the toy in the box\nWhich do you mean, the Chinese food or the red cardboard box?\n\n> Red\nYou put the toy into the red cardboard box.\n\n> You examine the map\nAn exorbitantly expensive map of Paris circa 1993.\n\n> You examine Rod\nOne of the last remaining bits of Druidical Magic.\n\n> Go north\nOnce upon a time, this was a scrapple factory. The floor would have been covered in piles of barely-identifiable pig parts, awash in blood and industrial chemicals. However, those times are long gone. The conveyor belt that used to connect the Scrappelizer to the reduction vat has long since rusted into immobility. There are no doors or windows; light comes from a bare light bulb hanging in the immense empty space. The rusted Scrappelizer squats to the north, and the vat is south.\n\nA rectangular hole allows access to the innards of the Scrappelizer.\n\n> You go north\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\n\n> You hold Rod\n(putting the juice glass into the rucksack to make room)\n\nWith a 'pop' and a whiff of ozone, the devil appears. \"Look, I <snort> shouldn't be doing this, but if you're one of the last three people in <snort> the world who hasn't played Curses then maybe you need some instructions. To charge the rod, 'strike rod.' To use it 'point rod at <target>.' Got it?\"\n\nThere is another 'pop' and the devil is gone.\n\nTaken.\n\n> Strike rod\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\n\n> Point rod at pc\nA flash of white light engulfs the computer, but nothing else happens.\n\nThe kunkel flinches and swears.\n\n> You examine the goggles\nIt's hard to see the goggles clearly, since they're on the Kunkel's face, and consequently twitching and swerving around.\n\nThe kunkel flinches and swears.\n\n> You point it at the goggles\nYou look ridiculous pointing the VR goggles at the VR goggles.\n\n> You look at what you're carrying with you\nYou are carrying:\nthe Rod of Returning\na rucksack (which is open)\na juice glass\na tourist map of Paris\n\"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\"\na variegated mimesis plant\nsome Chinese food\na red cardboard box (which is open)\na toy\n\n> You point it at yourself\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nA flash of white light engulfs you, but nothing else happens.\n\n> Strike rod\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\n\nThe kunkel flinches and swears.\n\n> You point Rod at kunkel\nA flash of white light engulfs the Kunkel, but nothing else happens.\n\nThe kunkel yelps.\n\n> You point it at Rod\nThe rod is already charged.\nA flash of white light engulfs the Rod of Returning, but nothing else happens.\n\nThe kunkel yelps.\n\n> You eat rod\nThat's plainly inedible.\n\n> You examine the map\nAn exorbitantly expensive map of Paris circa 1993.\n\n> You give the toy to kunkel\n(first taking the toy)\n(putting the red cardboard box into the rucksack to make room)\nThe Kunkel is far too engrossed in its multimedia extravaganza to notice you.\n\nThe kunkel yelps."
    },
    {
        "text": "[Themes: Satire]\n\n> Look around\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\n\nThe kunkel flinches and swears.\n\n> Examine pc\nThis must be the Kunkel's computer. It's the very latest in ultra-whiz-bang mega-expensive technology. It seems to have VR goggles, a CD-ROM drive, and big speakers.\nThe computer is currently switched on.\n\nThe kunkel flinches and swears.\n\n> You turn off the pc\nBy doing so, you are striking at the very reason for the Kunkel's existence. It is not pleased.\n\n\"Please excuse the crudity of what I'm about to do, you text-based Neanderthal, but my ancestors were AGT monsters.\"\n\nIts mouth opens to reveal teeth grotesquely out of proportion to the rest of its body, a fact you notice as those same teeth tear your flesh into tiny pieces."
    },
    {
        "text": "[Themes: Satire]\n\n> Look around\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\n> You enter the hole\nYou can also see the Kunkel here.\n\nOnce upon a time, this was a scrapple factory. The floor would have been covered in piles of barely-identifiable pig parts, awash in blood and industrial chemicals. However, those times are long gone. The conveyor belt that used to connect the Scrappelizer to the reduction vat has long since rusted into immobility. There are no doors or windows; light comes from a bare light bulb hanging in the immense empty space. The rusted Scrappelizer squats to the north, and the vat is south.\n\nA rectangular hole allows access to the innards of the Scrappelizer.\n\n> You go south\nYou are inside the rendering vat of the abandoned scrapple factory. Even now it reeks of despair and waste-meat food products.\n\n> You eat the food\nWith your bare hands? You have better manners than that.\n\n> You examine the belt\nThe Scrappelizer was a fairly simple machine. You dumped pigs--or whatnot--into the hopper at the top, and with a hideous squealing noise, a mass of bloody pig--or whatnot--parts would emerge on the conveyor belt, to be carried to the vat, where heat, chemicals, and\n\n> You point it at the scrapplizer\ntime would conspire to produce Scrapple.\n\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nYou can't see any such thing.\n\n> You point it at Scrappelizer\nThe rod is already charged.\nA flash of white light engulfs the Scrappelizer, but nothing else happens.\n\n> You go north\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\n\n> You check what you're carrying\nYou are carrying:\na toy\nthe Rod of Returning\na rucksack (which is open)\na red cardboard box (which is open but empty)\na juice glass\na tourist map of Paris\n\"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\"\na variegated mimesis plant\nsome Chinese food\n\n> You put the CD in the pc\nThe computer is closed.\n\nThe kunkel yelps.\n\n> You open the computer\nYou open the CD-ROM drive. The Kunkel's game must have come to a screeching halt, because it stops twitching, swears, and thumbs the drive door shut before you can react.\n\nThe kunkel flinches and swears.\n\n> You point it at CD\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nA flash of white light engulfs \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\", but nothing else happens.\n\nThe kunkel yelps.\n\n> You point it at the plant\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nA flash of white light engulfs the variegated mimesis plant, but nothing else happens.\n\nThe kunkel yelps.\n\n> You point it at the toy\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\n\nThe kunkel yelps.\nA flash of white light engulfs the toy, but nothing else happens.\n\n> You examine the plant\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nA flash of white light engulfs the Kunkel, but nothing else happens.\n\nThe kunkel flinches and swears.\n\nThis is a prizewinning specimen of the species Mimesis Variegans. It is dark green, with yellow stripes on its luxurious leaves. The mimesis plant thrives in low light and requires occasional watering. You've always preferred the variegated to the linear variety, yourself. This one is about ten inches high. A large bite has been taken out of one leaf. It appears well-loved. One of the leaves is ripped.\n\n> You point it at the cd drive\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\nI only understood you as far as wanting to point the Rod of Returning at \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\".\n\n> You throw the plant at Kunkel\nThe Kunkel somehow senses your impending attack. It rises and faces you.\n\n\"Please excuse the crudity of what I'm about to do, you text-based Neanderthal, but my ancestors were AGT monsters.\"\n\nIts mouth opens to reveal teeth grotesquely out of proportion to the rest of its body, a fact you notice as those same teeth tear your flesh into tiny pieces.\n\n> Examine pc\nThis must be the Kunkel's computer. It's the very latest in ultra-whiz-bang mega-expensive technology. It seems to have VR goggles, a CD-ROM drive, and big speakers.\nThe computer is currently switched on.\n\nThe kunkel yelps.\n\n> Full\nYou have so far scored 8 out of a possible 10, in 209 turns, earning you the rank of Scrapple Warrior.\n\n> You look at speakers\nThe score is made up as follows:\n\n1 Lust\n1 Gluttony\n1 Sloth\n1 Wrath\n1 Envy\n1 Getting the Rod of Returning\n\n8 total (out of 10)\n\nThis must be the Kunkel's computer. It's the very latest in ultra-whiz-bang mega-expensive technology. It seems to have VR goggles, a CD-ROM drive, and big speakers.\nThe computer is currently switched on.\n\n> You get map\n(putting the Chinese food into the rucksack to make room)\nTaken.\n\n> You hit Kunkel\nThe Kunkel somehow senses your impending attack. It rises and faces you.\n\n\"Please excuse the crudity of what I'm about to do, you text-based Neanderthal, but my ancestors were AGT monsters.\"\n\nIts mouth opens to reveal teeth grotesquely out of proportion to the rest of its body, a fact you notice as those same teeth tear your flesh into tiny pieces.\n\n> You get the goggles\nAs you approach, you see that the Kunkel's face has actually grown into the goggles. Revolted, you retreat.\n\n> You examine drive\nThis must be the Kunkel's computer. It's the very latest in ultra-whiz-bang mega-expensive technology. It seems to have VR goggles, a CD-ROM drive, and big speakers.\nThe computer is currently switched on.\n\nThe kunkel yelps.\n\n> You pull the goggles\nNothing obvious happens.\n\n> You pull the drive\nIt is fixed in place.\n\n> You turn off the goggles\nThat's not something you can switch.\n\nThe kunkel yelps.\n\n> You unplug the goggles\nYou unplug the VR goggles.\nThe Kunkel sits stock-still, stunned by the loss of visual input.\n\n> You open the computer\nYou open the computer, revealing a CD labelled \"Stiffy Makane, Space Marine\".\nThe Kunkel begins to fumble for the cord of its VR goggles.\n\n> You put the CD in computer\nWhich do you mean, a CD labelled \"Stiffy Makane, Space Marine\" or \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\"?\n\n> Masterpieces\nThere is no more room in the computer.\nThe Kunkel blunders around trying to reconnect the goggles.\n\n> You get stiffy\n(putting the variegated mimesis plant into the rucksack to make room) Taken.\nIt looks as if the Kunkel is about to succeed in plugging in the goggles.\n\n> You put the Masterpieces in the computer\nYou put \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\" into the computer.\nThe Kunkel manages to plug the goggles back into the computer.\nThe Kunkel sighs and closes the CD-ROM drive.\nThe Kunkel, not suspecting your ruse, shrieks as wave after wave of pure text pummels its senses.\n\nWith a sickening 'schlupp' the VR goggles explode from the Kunkel's face as its head splits open and it keels over, dead."
    },
    {
        "text": "[Themes: Satire]\n\n> You look at your surroundings\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel and a pair of VR goggles here.\n\n> You look at Kunkel\nThe dead Kunkel lies on the ground, its head blown open and its eyes popped out, revealing the emptiness of its cranial cavity.\n\n> You look at stiffy\nIt's a garishly printed CD entitled Stiffy Makane, Space Marine.\n\n> You examine the goggles\nA pair of slightly charred VR goggles, currently plugged into the computer.\n\n> Wear the goggles\n(first taking the VR goggles)\n\nWow! Virtual reality really does work! With a sensation of great speed, you are transported to....\n\nIf nothing else, you have a good seat. The stage is only a few rows to the north. People are jammed on benches in every direction; you think the aisle is somewhere to the west.\n\n> Inventory\nYou are carrying:\na CD labelled \"Stiffy Makane, Space Marine\"\na tourist map of Paris\na toy\nthe Rod of Returning\na rucksack (which is open)\na variegated mimesis plant\nsome Chinese food\na red cardboard box (which is open but empty)\na juice glass"
    },
    {
        "text": "> You look around\nYou are on a wide lawn just north of the entrance to the Robner estate. Directly north at the end of a pebbled path is the Robner house, flanked to the northeast and northwest by a vast expanse of well-kept lawn. Beyond the house can be seen the lakefront."
    },
    {
        "text": "> You look around\nThis is a featureless corridor similar to every other corridor on the ship. It curves away to starboard, and a gangway leads up. To port is the entrance to one of the ship's primary escape pods. The pod bulkhead is closed.\n\n> You go to the north\nYou are standing in an open field west of a white house, with a boarded front door.\n\n> Go east\nA tide of perambulators surges north along the crowded Broad Walk. Shaded glades stretch away to the northeast, and a hint of color marks the western edge of the Flower Walk.\n\n> You point Rod at yourself\nA flash of white light engulfs you and you awaken on the hard metal floor of the Scrappelizer. The VR goggles lie next to you as you painfully regain your feet.\n\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see a pair of VR goggles and the Kunkel here.\n\n> You open the drive\nYou open the computer, revealing \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\".\n\n> You get the Masterpieces\nThat's already open.\nTaken.\n\n> Close drive\nYou close the computer.\n\n> Wear the goggles\n(first taking the VR goggles)\n\nWow! Virtual reality really does work! With a sensation of great speed, you are transported to....\n\nA dull metal corridor, lit by flickering lights. The corridor continues west and ends in a pink door to the northeast with a pink keyhole. Painted in drippy blood on the wall are the word Shangri-La and an arrow pointing west.\n\nThe pink door bars passage to the northeast.\n\nYou hear a sinister giggling from the west somewhere.\n\n> You listen\nYou hear nothing unexpected.\n\nA fearsome \"HONK, HONK!\" echoes from the western corridor.\n\n> Inventory\nYou are carrying:\na pink key\na big gun\n\"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\"\na tourist map of Paris\na toy\nthe Rod of Returning\na rucksack (which is open)\na variegated mimesis plant\nsome Chinese food\na red cardboard box (which is open but empty)\na juice glass\n\nLoud, sensual moans are coming from the west and approaching rapidly.\n\n> You examine the gun\nBIG GUN KICK THE HELL OUTTA YOU!\n\n\"Pwoik, pwoik, pwoik\" resounds from the west, quite nearby.\n\n> You look at the key\nIt is a pink cylindrical key, several inches long, and about an inch thick, with one rounded end.\n\nA girlish shriek comes from just down the corridor.\n\n> About you\nYou stumble down the corridor and into a large room.\n\nA patrol of maurauding ultravixens has entered the area. Your big gun is no match for their power. Swiftly they crush you to death between their thighs.\n\nPlease give one of the answers above.\n\n> About yourself\nPlease give one of the answers above.\n\n> About yourself\nAs good-looking as ever.\n\nA patrol of maurauding ultravixens has entered the area. Your big gun is no match for their power. Swiftly they crush you to death between their thighs.\n\n> You unlock door\nWhat do you want to unlock the pink door with?\n\n> Key\nYou insert the key into the keyhole. It throbs and vanishes. The door opens, like a flower blooming.\n\n\"Pwoik, pwoik, pwoik\" resounds from the west, quite nearby.\n\n> You go to the northeast\nGanymede Base Room J-14-B-3.2\nThis is a tiny room full of evil-looking machines and flashing lights. The only exit is southwest.\n\nYou can see Black here.\n\nA girlish shriek comes from just down the corridor.\n\n> You look at machines\nYes, this is just scenery. Just like in Doom.\n\nJust outside the door, someone screams \"Aaaaaaaaaaaahhhhhhhhhhhhahhhhhhhhhh!\"\n\n> You examine Black\nAs attractive as ever. Black appears to be unconscious and bolted into some sort of evil-looking machine.\n\n\"EEEEEK!\" comes from the southwest\n\n> Kiss black\nThis is hardly the time for romance.\n\nYou hear a girlish voice reminiscing about the delights of \"Cabin Boy\", just to the southwest.\n\n> Strike rod\nThe Rod of Returning charges up, drawing power from ley lines, or something like that.\n\nYou hear the squeaking of silicone-enhanced breasts rubbing together, coming your way!\n\n> You point it at Black\nA flash of white light engulfs Black. There is a huge noise and white blots out your vision as the rod melts in your hands....\n\n....and, hours later, you awaken on the floor of the Scrappelizer, Black, crying, dabbing at your forehead with a cloth.\n\n\"I'm really sorry,\" are Black's first words. \"White was such a bore. Never let me do anything I wanted to, kept preventing me from wrecking history, always sketching animals in that dumb little book. So naturally I accepted a lift from the first cattle-mutilating ultravixen that came along, and you see where that got me. Thanks for rescuing me. The fate I would have suffered at the hands of those ultravixens...\"\n\nBlack (simply):\nAh, my love. Can you forgive me?\n\n> No\nYou:\nYour actual words have been censored, at the request of Andrew Plotkin, who feels like you should actually play his game So Far to find out what this response is. So go play it. When you get there, you'll understand.\n\nBlack begins to weep, then looks confused, then looks angry, then looks resigned, then looks inspired, then looks determined. \"I have no idea what you mean. I mean, you could mean that, no, you don't forgive me, and it doesn't matter what I did that needs forgiveness because it's far too late. Or maybe you mean that what I've done is irrelevant and thus you don't need to forgive me. Which strikes me as kind of arrogant, because I'd hardly call leaving you, attempting to destroy the multiverse, concealing both our genders through the course of a long and rocky relationship, and forgetting to water the plant irrelevant. Or maybe you...\" Black's head shakes from side to side. \"I dunno. But I do know one thing: you're stuck with me at least until we figure out how to get out of here.\"\n\nThen Black sees the houseplant: \"My goodness, what have you done to that poor mimesis plant?\"\n\nSo it's not perfect. But what is? And, all things considered, at the end of the day you really can't think of anyone with whom you'd rather be trapped in an abandoned scrapple factory.\n\n*** You have won ***\n\nIn that game you scored 10 out of a possible 10, in 250 turns, earning you the rank of Master Mimetic."
    },
    {
        "text": "[Themes: Satire]\n\n> Yes\nThat was a rhetorical question.\n\nA patrol of maurauding ultravixens has entered the area. Your big gun is no match for their power. Swiftly they crush you to death between their thighs.\n\n> Yes\nYou:\nYour actual words have been censored, at the request of Andrew Plotkin, who feels like you should actually play his game So Far to find out what this response is. So go play it. When you get there, you'll understand.\n\nBlack smiles through the tears. \"That's really sweet of you, but you know you're full of it. There's a lot to forgive: leaving you, attempting to wreck the course of the Twentieth Century, forgetting to water the plant...\" Black bursts into tears again.\n\nThen Black sees the houseplant: \"My goodness, what have you done to that poor mimesis plant?\"\n\nSo it's not perfect. But what is? And, all things considered, at the end of the day you really can't think of anyone with whom you'd rather be trapped in an abandoned scrapple factory.\n\n*** You have won ***\n\nIn that game you scored 10 out of a possible 10, in 250 turns, earning you the rank of Master Mimetic.\n\n> Maybe\nPlease give one of the answers above.\n\n> Maybe\nBlack blinks. \"Oh. Yes. That's right. Now I remember why I left you in the first place. You're a wuss.\" Then Black picks up the Kunkel's corpse and beats you to death with it.\n\n> Y.\nThat was a rhetorical question.\n\n> Tame\nThere is no tame mode in this game! How would we ever sell Fox the rights to it?\n\n> Racy\nRacy mode on.\n\n> Lewd\nLewd mode on. No age checks, no verification. Just raw, unadulterated lewdness.\n\n> Kiss plant\nThere is a sharp crackling and a sudden smell of ozone, as something appears in your hand.\nYou plant a kiss on the mimesis. Your kiss deepens. Your embrace becomes hot and heavy and you surrender to the delights of floral sex. In the words of Stiffy Makane, Aaaaaaaaaaaahhhhhhhhhhhhahhhhhhhhhh!\n\n> Fuck plant\nYou plant a kiss on the mimesis. Your kiss deepens. Your embrace becomes hot and heavy and you surrender to the delights of floral sex. In the words of Stiffy Makane, Aaaaaaaaaaaahhhhhhhhhhhhahhhhhhhhhh!\n\n> You ask the devil about Bob\n\"How did you know my <snort> name? Did you use DejaNews?\"\n\n> Go east\nYour mimesis plant squats in its pot in a corner of the room, slowly photosynthesizing.\n\nThis is your kitchen: walls papered in a yellow floral design, counter, cabinet, stove, table, chairs, fridge, microwave, and so on. The living room is west.\n\nOn the counter is a juice glass (which is empty).\n\n> You examine the fork\nYour basic four-tined dinner fork.\n\n> You examine the counter\nThis is a standard stained and scarred formica counter. It's white, where it isn't stained.\n\n> You look in the sink\nIn the kitchen sink is a fork.\n\n> You press the button\nThe microwave beeps petulantly.\n\n> You press the button\nYou close the microwave.\nOooh! Look at all the pretty, pretty sparks!\n\n> You open it\nYou open the microwave, revealing a fork.\n\n> You examine the fork\nYour basic four-tined dinner fork.\n\n> You get the food\nYou open the refrigerator, revealing some Chinese food.\nTaken.\n\n> You press the button\nThere is no more room in the microwave.\nTaken.\nYou close the microwave.\nThe microwave hums briefly.\n\n> You eat it with the fork\nYou open the microwave.\nYou already have that.\nI only understood you as far as wanting to eat the Chinese food.\n\n> You put the food in the microwave\nYou put the Chinese food into the microwave.\n\n> You press button\nYou close the microwave.\nThe tantalizing aroma of hot Chinese food assails your nostrils.\n\n> You eat it\nYou open the microwave, revealing some Chinese food.\nTaken.\nIt's actually pretty tasty. So tasty, in fact, that you eat the carton too in your enthusiasm.\n\n> You check what you're carrying\nYou are carrying:\na fork\na diskette case\n\"The Incredibly Erotic Adventures of Stiffy Makane\""
    },
    {
        "text": "[Themes: Satire]\n\n> You look at your surroundings\nThis is your kitchen: walls papered in a yellow floral design, counter, cabinet, stove, table, chairs, fridge, microwave, and so on. The living room is west.\n\n> Kiss kunkel\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\nUgh.\n\nThe kunkel yelps.\n\n> You eat the rucksack\n(first taking the rucksack)\nYou're carrying too many things already.\n\n> You put all in the sack\n\"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\": Done.\nvariegated mimesis plant: Done.\nChinese food: Done.\ntoy: Done.\nred cardboard box: Done.\njuice glass: Done.\n\n> You eat the rucksack\n(first taking the rucksack)\nThat's plainly inedible.\n\n> Smell rucksack\nThe sack smells revoltingly of pork byproducts.\n\n> You taste it\nSomething like pork rinds, only really disgusting.\n\n> You go north\nHorrifyingly, the interior of the Scrappelizer has been remodelled into a home, of sorts. It is, in fact, the lair of a Kunkel, complete with multimedia PC.\n\nA rectangular hole allows access to the factory.\n\nYou can also see the Kunkel here.\n\nThe kunkel flinches and swears.\n\n> Smell kunkel\nThe Kunkel smells of sweat, adrenaline, and poor hygiene. Add that to the stench of the Scrappelizer...\n\nThe kunkel flinches and swears.\n\n> Taste kunkel\nNo.\n\nThe kunkel yelps.\n\n> Wear goggles\n(first taking the VR goggles)\n\nWow! Virtual reality really does work! With a sensation of great speed, you are transported to....\n\nThe attics, full of low beams and awkward angles, begin here in a relatively tidy area which extends north, south and east. The wooden floorboards seem fairly sound, just as well considering how heavy all these teachests are. But the old wiring went years ago, and there's no electric light.\n\n> You get the map\nThe bedroom is a mess.\nIt is a small bedroom with a faded carpet and old wallpaper. There is a washbasin, a chair with a tatty dressing gown slung over it, and a window with the curtains drawn. Near the exit leading south is a phone.\n\n> You wait for a while\nA tide of perambulators surges north along the crowded Broad Walk. Shaded glades stretch away to the northeast, and a hint of color marks the western edge of the Flower Walk.\n\n> You wait for a while\nYou are standing in an open field west of a white house, with a boarded front door.\n\n> You wait\nYou stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.\n\n> You wait awhile\nYou are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully.\n\n> Wait\nThe bedroom is a mess.\nIt is a small bedroom with a faded carpet and old wallpaper. There is a washbasin, a chair with a tatty dressing gown slung over it, and a window with the curtains drawn. Near the exit leading south is a phone.\n\nThis is a featureless corridor similar to every other corridor on the ship. It curves away to starboard, and a gangway leads up. To port is the entrance to one of the ship's primary escape pods. The pod bulkhead is closed.\n\n> Wait\nAn undistinguished bar, yet the social center of Upper Sandusky. The front door is almost lost amidst the hazy maze of neon that shrouds the grimy glass of the south wall. Doors marked \"Ladies\" and \"Gents\" lead, respectively, northeast and northwest.\n\n> Wait\nThe attics, full of low beams and awkward angles, begin here in a relatively tidy area which extends north, south and east. The wooden floorboards seem fairly sound, just as well considering how heavy all these teachests are. But the old wiring went years ago, and there's no electric light.\n\n> You drop the map\nWell now, you just did an end run around the whole idea of the Curse Of The Meldrews, didn't you? Your impulsive action has destroyed the entire fabric of the multiverse, and you along with it.\n\n> You get the Masterpieces\nYou open the computer, revealing \"Sinful Delights and More: Masterpieces of Interactive Fiction, CD Edition\".\nTaken.\n\n> Wear goggles\nYou put a CD labelled \"Stiffy Makane, Space Marine\" into the computer. (first taking the VR goggles)\nYou put the goggles on, but they show nothing, so you remove them.\n\n> Wear the goggles\nYou close the computer.\n\nWow! Virtual reality really does work! With a sensation of great speed, you are transported to....\n\nA dull metal corridor, lit by flickering lights. The corridor continues west and ends in a pink door to the northeast with a pink keyhole. Painted in drippy blood on the wall are the word Shangri-La and an arrow pointing west.\n\nThe pink door bars passage to the northeast.\n\nYou hear a sinister giggling from the west somewhere.\n\n> You go to the northeast\nYou can't, since the pink door is in the way.\n\nA fearsome \"HONK, HONK!\" echoes from the western corridor.\n\n> Key\nYou insert the key into the keyhole. It throbs and vanishes. The door opens, like a flower blooming.\n\nLoud, sensual moans are coming from the west and approaching rapidly.\n\n> Go northeast\nGanymede Base Room J-14-B-3.2\nThis is a tiny room full of evil-looking machines and flashing lights. The only exit is southwest.\n\nYou can see Black here.\n\n\"Pwoik, pwoik, pwoik\" resounds from the west, quite nearby.\n\n> You attack black\nYou beast! Fortunately, (at least for karmic justice) before you can attack, there comes a noise from the doorway.\n\nA patrol of maurauding ultravixens has entered the area. Your big gun is no match for their power. Swiftly they crush you to death between their thighs."
    },
    {
        "text": "[Themes: Fantasy, history, language, fantasy, swords, travel, Languages, archaeology, boat]\n\nA century after The Cleansing Rains and a decade since the False Era ended and knowledge of the world returned to humanity, civilization reappears as independent city-states vie for power and territory. The old borders are no more and new kingdoms struggle to emerge and flourish. Weary of war, destruction, and corruption, many of these sovereignties, such as Slezamane and Badushizd, seek to avoid conflicts with neighbors and adopt isolationist or diplomatic policies. Some, however, like the Sovereign State of Caleah, maintain the ways of war and aggression.\n\nNative of the ancient village of Euyesus, which sat unseen from most of the wars of the world, hidden beyond Fellwater Fen, you were raised in an erudite family and trained as an interpreter. Beyond the Common Tongue, which gained prevalence as a trade language, you also speak and read the bygone dialect, Ixteesh. It is this talent that\nbrings you from Euyesus to Badushizd aboard one of your village's bilgescows; a swamp-treading barge used for the minimal trade that Euyesus does with a small handful of neighboring city-states.\n\nTravelling with you is an appointed minder, or what some call a bodyguard. He is a sweaty, foul-mouthed sot but he's a proven soldier and loyal to Euyesus and the errand at hand. His name is Venkath Mock.\n\nOn a generally northeastern route, the bilgescow trudged through many miles of waterlogged swamp toward the strange and prosperous city of Badushizd. You have just woken and dressed, and the barge will reach the city's harbor by midday.\n\nThis guest cabin barely gives one any real comfort, but on a no-frills boat such as this you're lucky to even have a room to yourself. There is no window as everything below deck is also below the bilge line.\nAs the barge moves through the muddy swamp waters, a constant and hypnotic slushing sound gives the cabin a strange, claustrophobic feel.\n\nA wooden plank bed hangs from one of the walls; no pillow or blanket is provided, of course. A heavy wooden chair sits before a plank shelf hanging from another wall; this one being a simple desk surface. The only door is starboard (or east, as the boat is currently aimed north).\n\nSomeone has slipped a note under your door.\n\nOn the wooden plank shelf is a glowstone lantern (providing light).\n\nYou can also see a leather haversack (closed) here.\n\n[Author's Note: Your family is known to be expert language keepers in your village. Your specialty is an ancient, dead language called Ixteesh. You never thought it would be useful for much of anything, but then you are summoned to the city many days away. Something has been found and someone who knows Ixteesh is needed. Now, you have been sent on this errand and you'll soon learn there is danger in this task.]\n\n> You take all\nmysterious note: You pick up the mysterious note from the ground. leather haversack: You pick up the leather haversack from the ground. glowstone lantern: You take the glowstone lantern from the wooden plank shelf.\n\n> About yourself\nYou are Polt Kober, a young man from the village of Euyesus. You are fifteen years old and small for your age. Like most of the young people in your village, you wear your hair long. Otherwise, you consider yourself unremarkable. Your only real talent is that you're fluent in Ixteesh, an ancient, dead language, along with the Common Tongue.\n\n> You read the note\nYou are in danger. Check Rakton's cabin.\n\n> You look at the haversack\nThis handy, leather satchel can be worn and used to carry many items.\n\n> You look at the lantern\nIt's your basic traveling lantern, but instead of a flame within, its luminescence emits from a glowing, round stone, about the size of a fist, instead. Some glowstone lanterns can be closed to block the light. This isn't one of those, though.\n\n> You wear the sack\nYou put on the leather haversack."
    },
    {
        "text": "> Look around\nThis guest cabin barely gives one any real comfort, but on a no-frills boat such as this you're lucky to even have a room to yourself. There is no window as everything below deck is also below the bilge line.\nAs the barge moves through the muddy swamp waters, a constant and hypnotic slushing sound gives the cabin a strange, claustrophobic feel.\n\nA wooden plank bed hangs from one of the walls; no pillow or blanket is provided, of course. A heavy wooden chair sits before a plank shelf hanging from another wall; this one being a simple desk surface. The only door is starboard (or east, as the boat is currently aimed north).\n\n> You open the sack\nYou open the leather haversack, revealing Elements of Ixteesh\nand Phandaal's letter.\n\n> You read the letter\nDon't be a damn fool while you are away from the village.\nRemember, you are representing House Kober. Also, be sure to stay near Venkath Mock. He is there to protect you on this errand.\nAs for that, when you reach Badushizd, seek Deviah at the Vulgar Unicorn tavern. She is the go-between and will take you where you need to be.\nBe swift in this task and return home safe, son.\n-Headman Phandaal Kober\n\n> You look at what you're carrying with you\nYou are carrying:\na glowstone lantern (providing light)\na leather haversack (being worn and open)\nElements of Ixteesh\nPhandaal's letter\na mysterious note\nsome traveling clothes (being worn)\na small black scabbard (being worn)\nan antecessor skean\n\n> You examine the scabbard\nIt is made of black leather and has silver fittings. It can be worn from the belt or waist.\n\nIn the small black scabbard is an antecessor skean.\n\n> You examine the skean\nSo named because it's been handed down in the Kober family for generations, this is a double-edged dagger with an ornate hilt.\n\n> You look at the clothes\nThey are well-worn, comfortable, and they offer you a modicum of protection from the elements.\n\n> Go east\n(first opening guest door)\n\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is leaning against the ironwood table, killing time until the bilgescow reaches Badushizd\n\nRakton, the First Mate, is here.\n\nYou can also see Warpeye (the cat) here.\n\nWarpeye the cat scratches under his chin with his hind paw.\n\nRakton looks around absently.\n\nWarpeye (the cat) goes west.\n\n> You show the note to mock\nVenkath Mock inspects the mysterious note. \"Well, we're not far from Badushizd. Stay close until we get there,\" He tells you.\n\nOstothas arrives from the south.\n\n> You kill Rakton with skean\n(first taking the antecessor skean)\nThat wouldn't be too effective, you feel.\n\nOstothas exhales, letting his lips flap like a horse's.\n\nOstothas goes east.\nOstothas closes and locks mate's door.\n\n> You go to the east\n(first opening mate's door)\nYou figure it might be best not to try to enter the First Mate's cabin when he's here in the room with you.\n\n> You show the note to Rakton\nYou are about to ask Rakton what he thought of the note you found, but you realize that since it mentions him as potentially dangerous, it might not be a good idea.\n\nApparently, Rakton is in a huff.\n\n> You talk to Rakton\nYou are already talking to Rakton.\n\nVenkath adjusts his scabbard and belt.\n\n> Topics\nYou could ask Rakton about Rakton.\n\n> You ask Rakton about Rakton\n\"I've never seen you around in Euyesus.\" You speak to the First Mate. He looks your way for a moment but then basically ignores you.\n\nRakton noisily cracks his knuckles.\n\nVenkath stretches his arms, eager to get off this boat.\n\n> You ask Rakton about the boat\nThere is no reply.\n\nRakton looks around absently.\n\n> You ask Rakton about yourself\nThere is no reply.\n\nRakton mumbles something about being excited to get to Badushizd.\n\n> You go northeast\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is closed. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\nThe bilgescow passes close to the black willow trees on the sides of the waterway.\n\n> You go north\n(first opening Wheelhouse door)\n\nThis forward enclosure is the wheelhouse of the bilgescow. Glassless windows open the walls forward, port, and starboard and the door to the rest of the boat is stern (south). The eponymous wheel is one solid piece of red oak and is fixed in the center of the forward opening. A small closed hatch in the floor leads below deck.\n\nTauzius, the captain of The Rhinoceros, stands by the wheel, casually tending to it. He stares out at the waterways and swamp trees, only giving you a glance.\n\nOutside of the wheelhouse, a strange, swampy smell drifts in.\n\nTauzius scratches his beard thoughtfully.\n\n> Smell\nYou smell nothing unexpected.\n\nTauzius watches you warily.\n\n> You examine the wheel\nThe ship's wheel is one solid piece of red oak and is fixed in the center of the forward opening.\n\n> You talk to the captain\nYou are already talking to Tauzius.\n\nOutside of the wheelhouse, loud buzzing insects create a clamor.\n\nThe captain glances around the scenery outside the wheelhouse enclosure.\n\n> Topics\nYou could ask Tauzius about Tauzius or the mysterious note.\n\nOutside of the wheelhouse, you spy a large snake slithering on the surface of the brackish water.\n\n> You ask about the note\n\"Someone slid a note under my door some time before morning.\" You tell the Captain, \"It warns me about your first mate.\"\n\nCaptain Tauzius looks pensive for a moment. Finally, he says, \"Rakton signed on a few days ago. I haven't been totally sold on him, really. He's a bit too. . .distant for my liking.\" Tauzius looks out the glassless windows. \"I don't know who gave you that warning, shaver. You should avoid Rakton, I guess. And I will keep my eye on him.\""
    },
    {
        "text": "[Themes: Fantasy, swords, archaeology, boat, history, Languages, travel]\n\n> Go downward\n(first opening the small hatch)\n\nNot opulent but certainly a step-up from the cabin you were\ngiven, the captain's room is a large cabin situated below the ship's wheelhouse. In fact, a short spiral staircase leads up to it through a small hatch. The bed is a simple mattress within a heavy wooden frame. An actual ironwood roll-top desk sits against a wall. A heavy chair sits before it. Over the desk, a detailed map of the swamp waterways hangs. Finally, a wide trunk sits nearby and an exit is to the south.\n\n> You enter bed\nYou get onto the ironwood bed.\n\n> You jump\nYou jump on the spot.\n\n> You look at the desk\nThe desk's dark wood is a bit incongruous to the rest of the damp but lighter colored wood of this ship. Currently, the desk's roll-top is shut.\n\n> You open the desk\nYou open the roll-top desk, revealing a celestial slide rule.\n\n> You take all\ncelestial slide rule: You take the celestial slide rule from the roll-top desk.\n\n> You open the trunk\nIt seems to be locked."
    },
    {
        "text": "[Themes: Fantasy, boat, travel, swords, Languages]\n\n> Look around\nCaptain's Cabin (on the ironwood bed)\nNot opulent but certainly a step-up from the cabin you were\ngiven, the captain's room is a large cabin situated below the ship's wheelhouse. In fact, a short spiral staircase leads up to it through a small hatch. The bed is a simple mattress within a heavy wooden frame. An actual ironwood roll-top desk sits against a wall. A heavy chair sits before it. Over the desk, a detailed map of the swamp waterways hangs. Finally, a wide trunk sits nearby and an exit is to the south.\n\n> You look at the map\nThis map only details the swampy waterways that surround the village of Euyesus. Other villages dot the map but the only symbol for a city is in its upper right corner, where Badushizd is faintly tucked.\n\n> You examine the rule\nIt appears to be a tube, like a small scroll case, perhaps. The ends can be twisted and turned and along the length of the tube, mathematical equations to aid in navigation appear and change when you do so.\n\n> Turn rule\nNothing obvious happens.\n\n> You go upwards\nYou would have to get off the ironwood bed first.\n\n> You get off\nYou get off the ironwood bed.\n\nNot opulent but certainly a step-up from the cabin you were\ngiven, the captain's room is a large cabin situated below the ship's wheelhouse. In fact, a short spiral staircase leads up to it through a small hatch. The bed is a simple mattress within a heavy wooden frame. An actual ironwood roll-top desk sits against a wall. A heavy chair sits before it. Over the desk, a detailed map of the swamp waterways hangs. Finally, a wide trunk sits nearby and an exit is to the south.\n\n> Go south\n(first opening the captain's door)\nIt seems to be locked.\n\n> Go upwards\nThis forward enclosure is the wheelhouse of the bilgescow. Glassless windows open the walls forward, port, and starboard and the door to the rest of the boat is stern (south). The eponymous wheel is one solid piece of red oak and is fixed in the center of the forward opening. A small open hatch in the floor leads below deck.\n\nTauzius, the captain of The Rhinoceros, stands by the wheel, casually tending to it. He stares out at the waterways and swamp trees, only giving you a glance.\n\nOutside of the wheelhouse, the black willow trees crowd the waterway.\n\n> You give the rule to Captain\nYou hand the strange device over to the Captain. In return, he takes a small jar out of his pocket and hands it to you.\n\nOutside of the wheelhouse, a strange, swampy smell drifts in.\n\nTauzius scratches his beard thoughtfully.\n\n> You look at the jar\nThis is a small jar made of strong glass.\n\nIn the small jar is some weird dirt.\n\nOutside of the wheelhouse, a couple of fishermen row past the bilgescow.\n\n> You ask Captain about the jar\n\"So. . .a small jar filled with some weird dirt is supposed to keep me safe in my travels?\" You ask, skeptical.\n\n\"Throw the dirt at your enemies.\" Tauzius explains, still casually handling the wheel, \"It will buy you some time.\"\n\nOutside of the wheelhouse, the bilgescow travels past a lone fisherman in a small boat.\n\n\"So. . .a small jar filled with some weird dirt is supposed to keep me safe in my travels?\" You ask, skeptical.\n\n\"Throw the dirt at your enemies.\" Tauzius explains, still casually handling the wheel, \"It will buy you some time.\"\n\n> You open the jar\nYou open the small jar.\n\n> Smell the dirt\nYou smell nothing unexpected.\n\nTauzius steers the wheel starboard to a bit.\n\n> You throw the dirt at Captain\n(first taking the weird dirt)\nYou pour the weird dirt from the small jar into your hand.\n\nThat would just cause trouble right now.\n\n> You eat the dirt\nThat's plainly inedible.\n\nOutside of the wheelhouse, something splashes in the water beside the boat.\n\nThe captain steers the wheel to port a bit.\n\n> Topics\nYou have nothing specific in mind to discuss with Tauzius right now.\n\nOutside of the wheelhouse, loud buzzing insects create a clamor.\n\nTauzius scratches his beard thoughtfully.\n\n> Go south\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\nThe bilgescow travels past a small, derelict shack on the edge of the waterway."
    },
    {
        "text": "[Themes: Fantasy, travel, Languages, boat, swords, fantasy]\n\n> Go downward\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nRakton, the First Mate, is here.\n\nOne of the crew, Ostothas, is here.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is absently meandering about, waiting for this trip to be over\n\nRakton goes west.\n\n> You go west\nThis guest cabin barely gives one any real comfort, but on a no-frills boat such as this you're lucky to even have a room to yourself. There is no window as everything below deck is also below the bilge line.\nAs the barge moves through the muddy swamp waters, a constant and hypnotic slushing sound gives the cabin a strange, claustrophobic feel.\n\nA wooden plank bed hangs from one of the walls; no pillow or blanket is provided, of course. A heavy wooden chair sits before a plank shelf hanging from another wall; this one being a simple desk surface. The only door is starboard (or east, as the boat is currently aimed north).\n\nRakton, the First Mate, is here.\n\nYou can also see Warpeye (the cat) here.\n\n> You throw the dirt at Rakton\nThat would just cause trouble right now.\n\nWarpeye (the cat) goes east.\n\n> Topics\nYou aren't talking to anyone right now.\n\nRakton looks around absently.\n\n> Go east\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOne of the crew, Ostothas, is here.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is leaning against the ironwood table, killing time until the bilgescow reaches Badushizd\n\nYou can also see Warpeye (the cat) here.\n\nOstothas sniffles.\n\nVenkath looks at your small black scabbard.\n\n> You go to the east\n(first opening mate's door)\nIt seems to be locked.\n\nWarpeye the cat stares off into space.\n\nOstothas exhales, letting his lips flap like a horse's.\n\nVenkath paces the room, impatient for this trip to be over.\n\n> You ask Ostothas about the door\nWhich do you mean, guest door, mate's door, the captain's door or Wheelhouse door?\n\n> Topics\nYou aren't talking to anyone right now.\n\nOstothas watches you warily.\n\n> You talk to Ostothas\nYou say hello to Ostothas.\n\nVenkath looks at your small black scabbard.\n\n(You could ask Ostothas about Ostothas or the mysterious note.)\n\n> You talk to the cat\nYou say hello to Warpeye (the cat).\n\nYou have nothing specific in mind to discuss with Warpeye (the cat) right now.\n\n> You ask the cat about the cat\nThere is no reply.\n\nWarpeye (the cat) goes up.\n\n> You look at the glowstone\n(the glowstone lantern)\nIt's your basic traveling lantern, but instead of a flame within, its luminescence emits from a glowing, round stone, about the size of a fist, instead. Some glowstone lanterns can be closed to block the light. This isn't one of those, though.\n\nWarpeye (the cat) comes down from above.\n\nVenkath looks around with a peeved expression.\n\n> You ask Venkath about the dirt\nThere is no reply.\n\nVenkath looks at your traveling clothes.\n\n> You take off clothes\nIt's best to not go around without your clothes on.\n\nVenkath looks around with a peeved expression.\n\n> Examine pack\n(the leather haversack)\nThis handy, leather satchel can be worn and used to carry many items.\n\nPhandaal's letter.\n\nOstothas sniffles.\n\nOstothas goes south.\n\n> You look at Venkath\nA tall man of grim countenance, Venkath Mock is one of the few soldiers of Euyesus. As such, he wears dark-stained, cloth armor with various small metal plates sewn into it for added protection; known as a jack-of-plate. On his back is a hooded cloak and on his belt is a sheathed sword. It's difficult to discern his age. Maybe he's three decades, maybe it's four.\n\nWarpeye the cat tilts his head as if hearing something.\n\n> You ask about the dirt\nThere is no reply.\n\nWarpeye (the cat) goes south.\n\n> Show dirt\n(to Venkath Mock)\n\"Thank you for showing me your weird dirt.\"\n\nVenkath stretches his arms, eager to get off this boat.\n\n> You show the sack to mock\n\"Wow.\"\n\nWarpeye (the cat) arrives from the south.\n\nOstothas arrives from the south.\n\nVenkath looks at your small black scabbard.\n\n> Topics\nYou could ask Venkath Mock about Venkath Mock or the mysterious note; or tell Venkath Mock about yourself.\n\n> You tell Mock about yourself\n\"Hmm.\"\n\nWarpeye the cat sneezes a tiny cat-sneeze.\n\nOstothas examines the mate's door.\n\n> You tell Mock about yourself\n\"That plank bed was brutal.\" You venture, \"I would've gotten better rest sleeping on a giant crouton.\"\n\nVenkath stares at you for a long moment before resuming his vacant-eyed vigil.\n\nOstothas exhales, letting his lips flap like a horse's.\n\nVenkath adjusts his scabbard and belt.\n\n> You show dirt to Ostothas\n\"Thank you for showing me your weird dirt.\"\n\nWarpeye the cat stares toward the south.\n\nOstothas goes south.\n\nVenkath stretches his arms, eager to get off this boat.\n\n> Go upwards\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\nYou spy a large snake slithering on the surface of the brackish water.\n\n> You go to the south\nThis part of the deck is the starboard cargo deck. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, north, west, and northwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. On the edge of the deck here, a stovepipe juts upward from the galley below.\n\nA flock of swamp birds fly low in the sky.\n\n> You examine the pipe\nThis is a wide stovepipe jutting up from the edge of the deck. It leads to the stove in the galley belowdecks.\n\nThe bilgescow passes close to the black willow trees on the sides of the waterway.\n\n> Go west\nThis is the port cargo deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, north, northeast, and east, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp.\n\n> You look at the cargo\nThere are numerous cargo crates of various sizes on the deck of the bilgescow.\n\n> You go north\nThis part of the deck is up by the wheelhouse and on the port side of the craft. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The deck continues east, southeast, and south, where various cargo crates are stacked.\n\n> You go to the east\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\n> You go east\nThat would take you over the edge and into the swamp.\n\n> You jump\nYou jump on the spot."
    },
    {
        "text": "[Themes: Fantasy, swords, travel]\n\n> Go down\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is absently meandering about, waiting for this trip to be over\n\nYou can also see Warpeye (the cat) here.\n\nWarpeye (the cat) goes west.\n\nVenkath fidgets with his travel pack.\n\n> You go south\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\nOne of the crew, Ostothas, is here.\n\nOstothas examines the galley door.\n\n> You enter the galley\n(first opening galley door)\n\nThis small kitchenette is provided to prepare simple meals for the barge's crew. A small table is here; its top covered by a thick chopping block, marred from ages of use. A note of some sort is on it. A wide cupboard is fastened to one wall and a cast iron stove is against another. The stove's door is closed. The only exit is port (or west, currently).\n\nYou can see Skayawa (the cat) here.\n\n> Pet cat\nSkayawa tilts her head and purrs as you stroke under her chin.\n\nSkayawa the cat sniffs around the cast iron stove.\n\n> You open the stove\n(the cast iron stove)\nYou open the cast iron stove, revealing a pile of ashes.\n\n> You take the ashes\nYou don't find anything in the ashes.\n\nSkayawa the cat scratches under her chin with her hind paw.\n\n> You examine the ashes\nThis is a pile of fine, gray ashes; the remains of the previous night's fire within.\n\nSkayawa the cat stares at one of the walls.\n\n> You take the note\n(the important note)\nYou take the important note from the chopping block.\n\n> You read important\nAmalek,\nThe stove pipe is clogged again. Get to this asap.\n-Rakton\n\n> You examine the cupboard\nThis is a wide, wooden cabinet attached to one of the walls of this galley. Its purpose, obviously, is to hold the crew's rations. It is currently closed.\n\nSkayawa the cat stares at the cast iron stove.\n\n> You open the cupboard\nYou open the wide cupboard, revealing a supply of food and a chunk of cheese.\n\n> You take all\nsupply of food: None of that food belongs to you.\nchunk of cheese: (putting the mysterious note into the leather haversack to make room)\nYou take the chunk of cheese from the wide cupboard.\npile of ashes: You don't find anything in the ashes.\nlumpy glowstone: The wall sconce isn't open.\n\n> You open the sconce\nIt seems that the little door on the iron cage sconce is sealed shut.\n\n> You examine the cheese\nIt's a moldy chunk of cheese. It doesn't look too appetizing to you.\n\n> You examine the block\nThis is a thick block of wood, completely covering the top of the small table. The block is marred and stained with ages of use.\n\nSkayawa the cat stares at the stovepipe."
    },
    {
        "text": "[Themes: Fantasy, boat, travel, history, Languages]\n\n> Look around\nThis small kitchenette is provided to prepare simple meals for the barge's crew. A small table is here; its top covered by a thick chopping block, marred from ages of use. A wide cupboard is fastened to one wall and a cast iron stove is against another. The stove's door is open. The only exit is port (or west, currently).\n\nYou can see Skayawa (the cat) here.\n\nSkayawa the cat tilts her head as if hearing something.\n\n> You go west\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\nOne of the crew, Ostothas, is here.\n\n> You go south\nThis is the end of the centerline passage, at the stern of the barge. There are doors port, starboard, and astern (south) here. A faded wooden plaque with writing on it is fastened to the stern door. Otherwise, you can head back north toward the bow. Here, below the bilge line, the air is thick with moisture and much of the wood around you is damp with condensation.\n\n> You go to the west\n(first opening storage door)\n\nThis cabin is too small to be someone's quarters so instead it's used for random storage. Currently, only a large chest sits against a wall here. The only door is to the east (starboard).\n\n> Open chest\nIt seems to be locked.\n\n> Go east\nThis cabin is barely bigger than a broom closet. A patchwork hammock fills most of the space, strung between two of the walls. An old pillow sits on the floor in a corner, obviously now a bed for the ship's cats. Nearby, a food bowl and a water dish are provided, again, for the cats. The only exit is port (or west, currently).\n\nOn the patchwork hammock is Amalek.\n\n> You show the important note to Amalek\n\"Interesting.\"\n\n> You look at the boy\nDespite his title, he's actually a couple of years older than you, but still the crew's youngest. From what you've witnessed during the two days you've been on The Rhinoceros, Amalek is slow to actually get anything done and seems to shirk his duties expertly.\n\n> You ask Amalek about the pipe\n(the thick pipe)\nThere is no reply.\n\nAmalek squints and looks at his book closer as if trying to make something out.\n\n> Skayawa\n\"Is Skayawa your cat?\" You ask Amalek. He turns a page of his book, still reading, as he answers.\n\n\"Well, he's the ship's cat, but I'm the one who cares for him, really.\"\n\n> You show dirt to the boy\n\"Interesting.\"\n\n> You take all\nsmall leather book: That seems to belong to Amalek.\nsmall amount of water: You don't need to mess with the cats' water dish."
    },
    {
        "text": "[Themes: Fantasy, swords, Languages, travel, archaeology]\n\n> Look around\nThis cabin is barely bigger than a broom closet. A patchwork hammock fills most of the space, strung between two of the walls. An old pillow sits on the floor in a corner, obviously now a bed for the ship's cats. Nearby, a food bowl and a water dish are provided, again, for the cats. The only exit is port (or west, currently).\n\nOn the patchwork hammock is Amalek.\n\nAmalek looks at you over his book to see what you're doing.\n\n> You examine  the hammock\nThe cabin boy must've gotten creative trying to solve the lack of a decent bed on this boat. The hammock is made of dozens of different rags, cloths, blankets, and what-not, all stitched together to make a cozy-looking place to sleep.\n\nOn the patchwork hammock is Amalek.\n\n> You examine the pillow\nThis is an old, beat-up pillow that the ship's cats use for a bed.\n\n> Go south\n(first opening the stern door)\nIt seems to be locked.\n\n> Go north\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\n> Go west\nA disagreeable smell permeates this room. Hammocks and low-hanging ropes are haphazardly arranged for the crew's sleeping needs. Random bits of clothes and personal items are also strewn about. The only exit is a door to the east (starboard).\n\nDaxas is here, slowly sorting clothes and items, in a vain attempt at organization.\n\nDaxas finds something and puts it in his pocket. You weren't able to make out what it was.\n\nDaxas goes east.\n\n> You go to the east\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\nYou can see Daxas, one of the crewmates, here.\n\n> You talk to Daxas\nYou say hello to Daxas.\n\nDaxas mumbles something to himself.\n\n(You could ask Daxas about Daxas or the mysterious note.)\n\n> You go north\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nYou can see Daxas, one of the crewmates, here.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is leaning against the ironwood table, absent-mindedly staring down the centerline passage\n\n> Go upwards\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\nDaxas comes up from below.\n\n> You examine Daxas\nDaxas is maybe only five years your senior. He's a newer member of the crew of The Rhinoceros. He has a friendly enough face and he's large in both height and weight.\n\n> You go south\nThis part of the deck is the starboard cargo deck. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, north, west, and northwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. On the edge of the deck here, a stovepipe juts upward from the galley below.\n\n> Clean pipe\nYou rub the stovepipe.\n\n> You examine pipe\nThis is a wide stovepipe jutting up from the edge of the deck. It leads to the stove in the galley belowdecks.\n\n> Inventory\nYou are carrying:\na chunk of cheese\nan important note\nsome weird dirt\na small jar (open but empty)\nan antecessor skean\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\n> You take the glowstone\n(the glowstone lantern)\nYou already have that.\n\n> You read the ixteesh\ncomprehension guide. You are fluent in the language, but this has been your trusty reference book for those rare times you need to double-check something. You've even made countless marginal notes in the tome, updating and expanding where necessary.\n\nA flock of swamp birds fly low in the sky.\n\n> You put the lantern in the pipe\nYou need to take better care of your light source than that.\n\nThe bilgescow passes close to the black willow trees on the sides of the waterway.\n\n> You move the pipe\nIt is fixed in place.\n\n> Wave cheese\nYou wave the chunk of cheese.\n\nLoud buzzing insects create a clamor around you.\n\n> You kick the pipe\nYou give the stovepipe a solid kick.\n\n> You go north\nYou're standing on the deck of The Rhinoceros. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, south, west, and southwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. A wide, short ramp leads down to belowdecks. It is stained from boot traffic and swamp water.\n\nA flock of swamp birds fly low in the sky."
    },
    {
        "text": "[Themes: Fantasy, history, boat, swords]\n\n> You go downward\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is leaning against the ironwood table, killing time until the bilgescow reaches Badushizd\n\n> You go south\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\n> Go east\nThis small kitchenette is provided to prepare simple meals for the barge's crew. A small table is here; its top covered by a thick chopping block, marred from ages of use. A wide cupboard is fastened to one wall and a cast iron stove is against another. The stove's door is open. The only exit is port (or west, currently).\n\nYou can see Skayawa (the cat) here.\n\n> You take the cat\nYou reach for Skayawa but she instantly darts around the room, avoiding your grasp. She doesn't appear afraid of you but rather she seems to think you're playing with her.\n\nSkayawa the cat stares at one of the walls.\n\n> You show cheese to the cat\nThat wouldn't be of interest to the animal.\n\nSkayawa the cat stares toward the northwest.\n\n> Go north\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is absently meandering about, waiting for this trip to be over\n\n> You take the glowcube\nThis is the sort of glowcube that is meant to stay put as a room fixture. Plus, you wouldn't want any of the crew seeing you disturb their things.\n\n> You go east\n(first opening mate's door)\nIt seems to be locked.\n\nVenkath stretches his arms, eager to get off this boat.\n\n> You go to the west\nA disagreeable smell permeates this room. Hammocks and low-hanging ropes are haphazardly arranged for the crew's sleeping needs. Random bits of clothes and personal items are also strewn about. The only exit is a door to the east (starboard).\n\n> Search clothes\n(the bits of clothes)\nYou kick around some of the clothes but find nothing of use.\n\n> You kick the wood\nWhich do you mean, the wood walls, the wood ceiling or the wooden plaque?\n\n> Walls\nYou give the wood walls a solid kick.\n\n> You take the plaque\nThat seems to be a part of the stern door.\n\n> You give the door a stern talking to\nWhich do you mean, boy's door, storage door or the stern door?\n\n> Stern\nYou can only do that to something animate.\n\n> Go east\nThis cabin is barely bigger than a broom closet. A patchwork hammock fills most of the space, strung between two of the walls. An old pillow sits on the floor in a corner, obviously now a bed for the ship's cats. Nearby, a food bowl and a water dish are provided, again, for the cats. The only exit is port (or west, currently).\n\nOn the patchwork hammock is Amalek.\n\nAmalek's dangling foot hits your shoulder. \"You still here?\" he asks.\n\n> You put the cheese in the bowl\nYou put the chunk of cheese into the food bowl.\n\nUpon hearing something land in the food bowl, Skayawa the cat races into the room to investigate.\n\n> You wait for a while\nTime passes.\n\nSkayawa nibbles at the cheese in her food bowl.\n\n> Go east\nThis small kitchenette is provided to prepare simple meals for the barge's crew. A small table is here; its top covered by a thick chopping block, marred from ages of use. A wide cupboard is fastened to one wall and a cast iron stove is against another. The stove's door is open. The only exit is port (or west, currently).\n\n> You close the door\nYou close galley door.\n\n> You take all\nsupply of food: None of that food belongs to you.\npile of ashes: You don't find anything in the ashes.\nlumpy glowstone: The wall sconce isn't open.\n\n> You kick the sconce\nYou give the wall sconce a solid kick.\n\n> You kick the pipe\nYou give the thick pipe a solid kick.\n\n> You take the pipe\nThat seems to be a part of the cast iron stove.\n\n> You open the door\nYou open galley door.\n\n> You go east\nThis cabin is barely bigger than a broom closet. A patchwork hammock fills most of the space, strung between two of the walls. An old pillow sits on the floor in a corner, obviously now a bed for the ship's cats. Nearby, a food bowl and a water dish are provided, again, for the cats. The only exit is port (or west, currently).\n\nOn the patchwork hammock is Amalek.\n\nYou can also see Skayawa (the cat) here.\n\nSkayawa sniffs at the cheese in her food bowl.\n\n> You look at Skayawa\nA small female cat, gray as a thundercloud, Skayawa's eyes dart around the room, taking in everything that happens.\n\nSkayawa takes a sizable bite of her cheese chunk and takes a moment to chew.\n\n> You take Skayawa\nYou reach for Skayawa and grab her just before she's able to dart away from you. She tenses up and tries to squirm away, but gives up and relaxes a bit once she sees you're not letting her go.\n\nSkayawa looks around erratically as you hold on to her.\n\n> Go south\nThis part of the deck is the starboard cargo deck. From here, you can see the extent of this barge-like craft. This deck is low to the water level as most of the ship is underwater. There is no railing as it's easier to move large cargo onboard that way. The only structure on the deck is toward the very bow (north). It's the wheelhouse, where the captain pilots the craft. The door into it is open. Around the other parts of the deck, north, west, and northwest, you can see various crates of cargo stacked. At the very back of the ship, you can see the wide stern wheel ceaselessly paddling the ship northwards, rhythmically chugging through the desolate, waterlogged swamp. On the edge of the deck here, a stovepipe juts upward from the galley below.\n\nYou can see Daxas, one of the crewmates, here.\n\nSkayawa squirms in your arms. She reaches a paw towards the stovepipe.\n\nSkayawa purrs loudly in your arms.\n\nYou spy a large snake slithering on the surface of the brackish water.\n\n> You put cat in the pipe\nYou don't even need to struggle to get the cat into the stovepipe.\nShe practically jumps from your hands into the pipe's depths.\n\nFrom within the stovepipe, you hear a bit of a clatter. Some scratching noises echo from its depths followed by a small crash and a final thud."
    },
    {
        "text": "[Themes: Fantasy, Languages, swords, archaeology, language, fantasy, boat]\n\n> Go downwards\nThis is the fore end of the centerline passageway that runs down the center of the barge, belowdecks. The craft is heading north and this end of the passage has doors all around but to the south, where the passage continues toward the stern. A short ramp slopes upwards to the northeast, taking one topside.\n\nA heavy, ironwood table is situated here with a chair of matching wood and age. Belowdecks, the air here has a hanging moisture.\n\nOn the ironwood table is an old glowcube (providing light).\n\nVenkath Mock is leaning against the ironwood table, absent-mindedly staring down the centerline passage\n\nVenkath fidgets with his travel pack.\n\n> Go south\nYou are in the centerline passage running from the bow to the stern belowdecks. At this section, there are doors both port and starboard. Otherwise, you can head up or down the passage, from stem to stern. The air down here is thick with moisture and much of the wood around you is damp with condensation.\n\nYou can see Skayawa (the cat) here.\n\nSkayawa the cat stares at one of the walls.\n\nSkayawa (the cat) goes north.\n\n> Go east\nThis small kitchenette is provided to prepare simple meals for the barge's crew. A small table is here; its top covered by a thick chopping block, marred from ages of use. A wide cupboard is fastened to one wall and a cast iron stove is against another. The stove's door is open. The only exit is port (or west, currently).\n\n> You open the stove\n(the cast iron stove)\nThat's already open.\n\n> You look in the stove\n(the cast iron stove)\nThe is a squat cast iron stove, most likely fastened in place even though its weight alone would do the job. It is black and well-used. The top cooking surface is made of grates that sit above the oven.\nThe oven's door is open. A thick pipe runs up from the oven and through the ceiling where smoke from cooking escapes.\n\nIn the cast iron stove are a bird's nest and a pile of ashes.\n\n> You examine the nest\nThis is a bird's nest that was stuck in the stovepipe. It is a mess of twigs and mud.\n\nIn the bird's nest is an old key.\n\n> You take the key\nYou take the old key from the bird's nest.\n\n> You look at the key\nThis old key looks like it probably belongs to a nautical chest.\n\n> You go to the west\nThis cabin is too small to be someone's quarters so instead it's used for random storage. Currently, only a large chest sits against a wall here. The only door is to the east (starboard).\n\n> You unlock chest with the key\nYou unlock the large chest.\n\n> Open chest\nYou open the large chest, revealing a stack of folded clothes and a cabin key.\n\n> You take the cabin key\n(putting the antecessor skean into the leather haversack to make room) You take the cabin key from the large chest.\n\n> You examine folded\nThis is someone's stack of folded clothes, put away in storage. They seem like a pretty mundane selection.\n\n> You lock the chest with old key\nYou close the large chest.\n\nYou lock the large chest.\n\n> You unlock the mate's door with the cabin key\nYou unlock mate's door.\n\n> Go east\n(first opening mate's door)\n\nThis cabin is a step-up in comfort than for the rest of the crew. The wooden plank bed has a simple pillow and a nicely folded quilt on it. A plank shelf, against another wall, is covered with neatly stacked papers. A heavy, wooden chair is before it. The first mate's personal belongings are most likely kept in the small trunk nearby. The exit is port (west).\n\nOn the wooden plank shelf are some neatly stacked papers.\n\nOn the wooden plank bed are a nicely folded quilt and a simple pillow.\n\n> You close door\nYou close mate's door.\n\n> You lock the door with the cabin key\nYou lock mate's door.\n\n> You examine papers\nAt a quick glance, these papers seem to be mundane jumble of shipping business; invoices, cargo manifestos, and the like.\n\n> You examine trunk\nRakton, the first mate, most likely keeps his personal belongings in this trunk.\n\n> You open the trunk\nYou open the small trunk, revealing Owls of Stone.\n\nIt happens so fast that you're not sure what's going on at first.\nThen you realize you are being strangled by a cord. Your hands automatically scramble to your neck, trying to grasp the garrote but your attacker is strong and you cannot get a grip.\n\n> You throw the dirt at the attacker\nYou fumble with the small jar but in the commotion, it slips from your sweaty hands and falls to the floor. Thankfully, it's strong enough glass and doesn't break.\n\n> You kill the attacker with the dagger\n(first taking the antecessor skean)\nYou're unable to do that because you're currently being strangled by a garrote. Your attacker is behind you.\n\nAs he strangles you, Rakton whispers in your ear in a strange language like a lunatic.\n\n> You kick Rakton\nYou maneuver yourself as best you can to deliver a solid backwards kick on your attacker. Striking him in the knee, he grunts and the garrote loosens slightly. You take advantage of the opportunity and you slip away from him, stumbling across the cabin clumsily.\n\nRakton is before you, blocking the doorway. Dangling from his hand is the black, leather garrote that was just around your neck. His eyes are red and glassy. He steps toward you, whispering in a strange language like a lunatic.\n\n(press any key)The blood-soaked blade of a sword quickly emerges\nfrom Rakton's heart. Rakton stops in his tracks, wide-eyed as the blade disappears back into his body. He collapses onto the floor, dead. Behind him, you see your minder, Venkath Mock wipe the sword with a rag and sheath it.\n\n\"You need to be more careful.\" He tells you without humor. \"Gather your things and meet me topside. We've arrived.\"\n\n> You take the jar\nYou pick up the small jar from the ground.\n\n> You take the Owls\n(putting the weird dirt into the leather haversack to make room)\nYou take Owls of Stone from the small trunk."
    },
    {
        "text": "> Look around\nThis cabin is a step-up in comfort than for the rest of the crew. The wooden plank bed has a simple pillow and a nicely folded quilt on it. A plank shelf, against another wall, is covered with neatly stacked papers. A heavy, wooden chair is before it. The first mate's personal belongings are most likely kept in the small trunk nearby. The exit is port (west).\n\nOn the wooden plank shelf are some neatly stacked papers.\n\nOn the wooden plank bed are a nicely folded quilt and a simple pillow.\n\nYou can also see a leather garrote and Rakton's body here.\n\n> You check your inventory\nYou are carrying:\na leather garrote\nOwls of Stone\na small jar (open but empty)\na cabin key\nan old key\na glowstone lantern (providing light)\na leather haversack (being worn and open)\nan important note\nsome weird dirt\nan antecessor skean\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\n> You look at the Owls\nAs you open the book, some sort of coded message falls out of it to the ground.\n\ncoastal city-state of Slezamane roughly half a century ago. The quality of the poems are above average but they stay rather tame instead of touching on any topics of substance like politics or philosophy.\n\n> You take the message\n(putting the old key into the leather haversack to make room)\nYou pick up the coded message from the ground.\n\n> You examine the message\nYou can't read this. It's either in another language, or, more likely, in some sort of code.\n\n> You examine Rakton\nRakton's  blood-smeared body is lying here.\n\n> Go west\nYou meet your bodyguard topside. The two of you stand behind the wheelhouse, watching the swamp finally give way to wide, clearer water. Ahead, in the distance and dark against the bright horizon, you see the crowded towers and minarets of the city called Badushizd.\n\nLeaving the city's harbor to the south, you made your way here, to the Ivory Arch. It is a single piece of ivory, huge enough to span from one side of the boulevard to the other and no man lives who knows whence so vast a piece could have come. Passing through the arch, one finds the entire underside covered in countless, detailed carvings; mostly statues and visages that seem to reach out from the ivory or stare at you as you pass through. To the north, beyond the ivory arch, the buidlings give way to some sort of open town square.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Warpeye (the cat) here.\n\n> You examine the cat\nWarpeye's long fur is a cacophony of autumn colors but his feet and neck are white. His keen face evinces his many years and his sage experience as a cat. On closer inspection, you see that he is most likely named for his left eye which is actually a strange glass stone of shifting, indeterminate colors.\n\n> You take the eye\nThat seems to be a part of Warpeye (the cat).\n\n> You examine the eye\nWarpeye's left eye appears to be a small glass stone of shifting, indeterminate colors. You can only imagine if it actually works or if it has different abilities altogether.\n\n> You examine the carvings\nCrowding each other on the inside of the ivory arch are countless carved faces, statues, sculptures, and reliefs; some so new, they are currently being finsihed, and some so ancient, their creators and their meanings are lost to the ages.\n\n> You talk to Venkath\nYou say hello to Venkath Mock.\n\nVenkath adjusts his scabbard and belt.\n\n(You could ask Venkath Mock about Venkath Mock or the mysterious note.)"
    },
    {
        "text": "[Themes: Fantasy, archaeology, travel, boat]\n\n> Look around\nIt is a single piece of ivory, huge enough to span from one side of the boulevard to the other and no man lives who knows whence so vast a piece could have come. Passing through the arch, one finds the entire underside covered in countless, detailed carvings; mostly statues and visages that seem to reach out from the ivory or stare at you as you pass through. To the north, beyond the ivory arch, the buidlings give way to some sort of open town square.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Warpeye (the cat) here.\n\nVenkath looks at your traveling clothes.\n\n> Go north\nThis town square is hardly a square and more of an askew hexagon. Its dimensions are difficult to tell as the surrounding buildings crowd each other for space. Avenues lead off in almost every direction.\nThe southern boulevard leads under a gigantic ivory arch with an underside covered in countless carvings. The way west is blocked by a spiked gate. Beyond it is the courtyard of the inn known as The Vulgar Unicorn. Even in your village, the far away Euyesus, you've heard a few tales of the tavern's rowdiness.\n\nAs it's midday, the square is alive with a crowd of people either coming and going or doing business with merchants selling various commodities from tented booths\n\nVenkath Mock arrives from the south.\n\nWarpeye (the cat) arrives from the south.\n\nVenkath looks around and then rubs his eyes.\n\n> You examine the gate\nThis is a strong, iron gate with spikes at the summit, standing about ten feet tall. It would be difficult and dangerous to climb and downright impossible to squeeze through the bars. The gate is currently closed.\n\nVenkath looks around with a peeved expression.\n\n> You open gate\nYou open the spiked gate.\n\n> Go west\nNestled within the buildings of Badushizd, this stony courtyard serves the patrons of The Vulgar Unicorn as a place to enjoy if the tavern gets too noisy. A dry fountain sits as a centerpiece, surrounded by four stone benches with areas of trimmed grass in between. An open spiked gate leads out of this courtyard to the east and a shadowy break in the wall to the northwest leads to some sort of dark alley between the buildings. The door into the tavern is to the west.\n\nOn the dry fountain are a periwinkle sadiki bird and a lavender sadiki bird.\n\nVenkath Mock arrives from the east.\n\nWarpeye (the cat) arrives from the east.\n\nThe lavender sadiki bird looks at you and says, \"You're just some weedy, ill-nurtured apple-john!\".\n\n> You look at the fountain\n(the dry fountain)\nThe dry fountain has a wide, circular basin at ground level. The thick sides of the basin are knee-high, made of brick, and provide seating like a bench. In the center of the bottom basin, a stone sculpture rises at least ten feet. It is an abstract thing, sculpted to resemble waves, or something that flows at least. Water probably emerged from the top, flowed down the wavy channels of the sculpture before landing in the basin below. Now, only dust remains.\n\nOn the dry fountain are a periwinkle sadiki bird and a lavender sadiki bird.\n\n> You examine the lavender\nSadiki birds, named for the faraway continent upon which they were first discovered, come in a variety of colors and have an impressive ability of mimicry. Unfortunately, sadiki birds have a penchant to only squawk curse words and insults at anyone unfortunate enough to be nearby. This particular sadiki bird has lavender colored feathers.\n\nVenkath looks around and then rubs his eyes.\n\nThe periwinkle sadiki bird looks at you and says, \"I smell some sort of impertinent, hell-hated barnacle!\".\n\nThe lavender sadiki bird looks at Venkath Mock and says, \"You're just some gorbellied, common-kissing dewberry!\".\n\n> You look at the inn\nThis door appears to be very old but very thick and strong.\n\nVenkath looks at your leather haversack.\n\nThe periwinkle sadiki bird looks at you and says, \"You're just some droning, clay-brained giglet!\".\n\n> Go west\n(first opening the inn door)\n\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs, upon which various patrons lounge, drinking and smoking, filling the room with a smoky aroma of tobacco and herbs. A wooden staircase leads up.\n\nBehind the curved bar, a young woman with dreadlocks attends to patrons.\n\nSomeone breaks out in a hacking cough.\n\nVenkath Mock arrives from the east.\n\nWarpeye (the cat) arrives from the east.\n\n> You look at the graffiti\nThe layers of words, sentences, remarks, ponderings, and symbols go back many decades. Some are crude opinions scribbled in the soot with a naked finger, others are intricate scrawls made with a knife or other sharp implement. It seems that the fashion is to express one's political leanings or affiliations which makes sense in a landscape of city-states hanging in an ever-changing web of alliances and hostilities.\n\nVenkath fidgets with his travel pack.\n\n> You examine the woman\n(Paevana the alewife)\nBlack, dreadlocks awkwardly hang over a furrowed, friendly face. Big, round amber eyes look thoughtfully around the tavern they've watched over for so long. Paevana isn't greatly busy this evening, but still steadily works the bar; pouring drinks, clearing glasses, lighting candles, and talking to the various patrons.\n\n> You talk to the woman\n(Paevana the alewife)\nAs you approach a little closer, you notice there is a concealed staircase behind the bar leading down to a cellar.\n\nYou say hello to Paevana the alewife.\n\n(You could ask Paevana the alewife about Paevana the alewife, the Vulgar Unicorn, Deviah Favash or the room to rent.)\n\n> You ascend\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nVenkath Mock comes up from below.\n\nWarpeye (the cat) comes up from below.\n\n> You ask Venkath about Warpeye\nThere is no reply.\n\nVenkath looks at your leather haversack.\n\n> You examine the graffiti\nThe layers of words, sentences, remarks, ponderings, and symbols go back many decades. Some are crude opinions scribbled in the soot with a naked finger, others are intricate scrawls made with a knife or other sharp implement. It seems that the fashion is to express one's political leanings or affiliations which makes sense in a landscape of city-states hanging in an ever-changing web of alliances and hostilities.\n\n> You look at the door\nWhich do you mean, the second bedroom door, the first bedroom door or the lavatory door?\n\n> You examine the key\nWhich do you mean, the first inn key, the cabin key or the old key?\n\n> You look at the first door\nThis is a basic, wooden door.\n\n> You enter it\n(first opening the first bedroom door)\nIt seems to be locked.\n\nVenkath adjusts his scabbard and belt.\n\n> You unlock it\nWhat do you want to unlock the first bedroom door with?\n\n> First key\nYou unlock the first bedroom door.\n\n> You enter the first door\n(first opening the first bedroom door)\n\nSurprisingly cozy, this bedroom contains a large, comfy bed covered by an intricately-sewn quilt. A thick but short curtain covers a small window in the east wall. Completing the guest room is a stuffed sofa with a worn floral, but darkly colored cover. The only exit is the door to the west.\n\nVenkath Mock arrives from the west.\n\nWarpeye (the cat) arrives from the west.\n\n> You go to the west\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nVenkath Mock arrives from the east.\n\nWarpeye (the cat) arrives from the east.\n\n> You close the first door\nYou close the first bedroom door.\n\n> You lock it with the first key\nYou lock the first bedroom door.\n\n> You knock on the second door\nYou try the door after a quick knock but it remains locked.\n\n\"I feel something's wrong.\" Venkath Mock tells you as he examines the door, most likely thinking of bashing it down.\n\n\"No, wait.\" You tell him, not wanting to cause damage or a scene if it can be helped, \"Let me look for another way in. You wait here.\"\n\n\"Fine. Be swift.\"\n\n> You go south\n(first opening the lavatory door)\n\nThis strange room is some sort of lavatory, but not like any that you've seen back in Euyesus. There's a commode made of polished wood with a small handle nearby. There's also a porcelain sink, but the commode has numerous pipes extending from it and clinging to the wall before disappearing into it and the sink includes a faucet which is a brass spigot also attached to a network of pipes. Finally, there is an old mirror on another wall, affixed between more pipes. The only exit is the door to the north.\n\n> You examine the mirror\nThis mirror is very clean but a couple of the corners look a little battered, as if this mirror has been moved around more than a few times. It is attached to the wall but the pipes covers a little of the mirror's edge.\n\n> You move the mirror\nIt is fixed in place.\n\n> You search mirror\nYou see yourself reflected back at you.\n\n> You look at the pipes\nYou have no idea how such plumbing works; your home village still relies on outhouse technology. From behind the polished wood commode and porcelain sink, pipes extend and crawl along the walls before disappearing into them. Near the commode, a small handle is attached to a pipe and above the sink, there's a brass spigot, also on a pipe.\n\n> You go to the north\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Warpeye (the cat) here."
    },
    {
        "text": "[Themes: Fantasy, boat, history, travel]\n\n> You go downwards\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nBehind the curved bar, a young woman with dreadlocks attends to patrons.\n\n> You go east\nNestled within the buildings of Badushizd, this stony courtyard serves the patrons of The Vulgar Unicorn as a place to enjoy if the tavern gets too noisy. A dry fountain sits as a centerpiece, surrounded by four stone benches with areas of trimmed grass in between. A closed spiked gate leads out of this courtyard to the east and a shadowy break in the wall to the northwest leads to some sort of dark alley between the buildings. The door into the tavern is to the west. It is currently open, allowing light and conversational sounds to spill out into the courtyard.\n\nOn the dry fountain is a periwinkle sadiki bird.\n\n> Go northwest\nThis alley is generally crooked, of course, and the way it is sandwiched between the buildings blocks almost any natural light, leaving  this passage in shadows. The alley leads southeast (back to the inn courtyard) and southwest (deeper into shadow).\n\nYou can see a squirrelly thug here.\n\n> You examine the thug\nThis man is lean and strange with dark circles under his bloodshot eyes as if he hasn't slept in years. His greasy hair has the scraggly look of being chopped here and there by sharp implements. He wears dark, stained clothes under a scuffed leather duster.\n\n> You talk to thug\nIf you approach, he looks like he would rather mug you than talk to you.\n\n> You go to the southwest\nThe squirrelly thug blocks your way in that direction. He seems to be waiting for you to approach.\n\n> You kill the thug\nWith your bare hands? You'd probably lose that fight.\n\n> You take the dagger\n(putting the cabin key into the leather haversack to make room)\nYou're carrying too many things already.\n\n> Inventory\nYou are carrying:\na first inn key\na coded message\na leather garrote\nOwls of Stone\na small jar (open but empty)\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na cabin key\nan old key\nan important note\nsome weird dirt\nan antecessor skean\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\n> PUT INN KEY, OWLS, MESSAGE IN SACK\nfirst inn key: Done.\nOwls of Stone: Done.\ncoded message: Done.\n\n> You take skean\nYou take the antecessor skean from the leather haversack.\n\n> You put the dirt in the jar\n(first taking the weird dirt)\nYou put the weird dirt into the small jar.\n\n> Inventory\nYou are carrying:\nan antecessor skean\na leather garrote\na small jar (open)\nsome weird dirt\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na coded message\nOwls of Stone\na first inn key\na cabin key\nan old key\nan important note\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\n> You kill the thug with the dagger\nYou were given the skean to use to defend yourself, if that unfortunate event arises. But to rush in to an attack with a larger and maybe more experienced opponent doesn't sound like a good idea.\n\n> You throw the dirt at the thug\n(first taking the weird dirt)\nYou pour the weird dirt from the small jar into your hand.\n\nYou toss the weird dirt at the squirrelly thug. It hits him without any fanfare at all. But suddenly, he remains fixed in place, unable to move any of his body but his eyes. His eyes dart around, terrified, but he cannot move even a finger, leaving him standing awkwardly like a frozen scarecrow.\n\n> You go southwest\nYou sneak past the paralyzed thug. His eyes follow you as far as possible, until you're past his view and down the alley a bit.\n\nThe dark alley stops here at a dead end. The angles of this cul-de-sac are contorted so the dark walls are disorienting to make out. The east border is the back of The Vulgar Unicorn, its face covered with a gray city ivy known as shalifux,  A round window is up the wall on the second floor. Across from the back of the tavern, a tall brick wall blocks what was once another alley. The only exit is back down the dark alley to the northeast.\n\nOn the tall brick wall is a lavender sadiki bird.\n\nYou can also see an old crate here.\n\n> You climb the ivy\nYou painstakingly climb up the back wall of The Vulgar Unicorn, grasping the gray shalifux ivy. When you reach the round window, you crawl through, dumping unceremoniously on the floor of the back bedroom.\n\nThis room is a chaotic mess. The bed frame and mattress is crooked as if someone pushed it or was pushed against it. A sofa is overturned as if flung by a giant hand. A blood-stained quilt is bunched up on the floor. On the west wall, half of a curtain hangs askew, partially covering a round window. The rest of the curtain is on the floor. There is a closed door to the east.\n\nFinally, on the floor is the still body of Deviah Favash. She is laying in a pool of blood.\n\n> You examine the body\nThis unfortunate woman was Deviah Favash. Whoever sent for an Ixteesh interpreter from your village did so through Deviah and she was to explain to you who sent for you and where you're supposed to be. Sadly, it appears she has been stabbed a few times in the midsection by something incredibly sharp, given the very clean cuts left behind in her clothes.\n\nWithout warning, Deviah's eyes snap open, startling you enough to shout a quick, \"Shit lords!\". She grabs your wrist tightly and whispers to you in a slowly dying breath, \"You must join the\ncaravan to Obak! That is where you are needed!\" She cringes in\npain for a moment, then struggles to add, \"They are trying to stop you-\" but then, having delivered this message to you, she finally dies.\n\n> You unlock door\nWhat do you want to unlock the second bedroom door with?\n\n> You open the door\nIt seems to be locked.\n\n> You search body\nYou find the second inn key in one of Deviah's pockets. You absent-mindedly grab it.\n\n> You unlock the door with the second key\nYou unlock the second bedroom door.\n\n> You go to the east\n(first opening the second bedroom door)\n\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Warpeye (the cat) here.\n\nVenkath looks over your shoulder, into Deviah's room. He spies her lifeless body.\n\n\"What in all the hells?\" He mumbles to himself. Before you can reply, the sound of breaking glass followed by a scream pierces the tavern noise from below.\n\nVenkath looks at your traveling clothes."
    },
    {
        "text": "[Themes: Fantasy, swords, travel, Languages, history]\n\n> Go downwards\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nYou can see Sceldrus Jandol here.\n\nVenkath Mock comes down from above.\n\nWarpeye (the cat) comes down from above.\n\nUpon entering the tavern common room, you are surprised to see the place devoid of any patrons. Everything is still as if the small crowd departed as one, barely a few minutes ago. The candles are still lit and the hanging smoke still lingers. Paevana the alewife is gone as well, but casually walking among the unattended candles and abandoned cocktails is a tall man. He has a handsome face but one you feel you can't trust. He wears black brigandine armor and you spy two swords crossed on his back. He wears no helm or hood but rather ties his long black hair behind his head. He gives a smile as he sees Venkath Mock. His eyes never notice you."
    },
    {
        "text": "[Themes: Fantasy, history]\n\n> Go downward\nThis space is crowded with decades upon decades of tavern flotsam; broken chairs, upended tables, crates of empty bottles, among many other dusty things. The only exit is a staircase that leads up to the tavern common room, behind the curved bar.\n\nPaevana the alewife is hiding down here, avoiding the melee upstairs.\n\nWarpeye (the cat) comes down from above.\n\n> You talk to Paevana\nYou say hello to Paevana the alewife.\n\n(You could ask Paevana the alewife about Paevana the alewife.)"
    },
    {
        "text": "[Themes: Fantasy, travel, fantasy, Languages]\n\n> Go upward\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\n\"Venkath.\" The tall man says in way of greeting.\n\n\"Sceldrus.\" Venkath returns, his face steady and grim.\n\nWarpeye (the cat) comes up from below.\n\n> Wait\nTime passes.\n\nStill without giving you a glance, Sceldrus asks Venkath, \"Is this the decipherist from Euyesus?\"\n\nIn answer, Venkath draws his blade.\n\n\"Nothing stops a Phansigar from his task, Venkath.\" The tall man states, still smiling, but drawing one of his blades from behind his back.\n\nVenkath fidgets with his travel pack.\n\n> You wait a while\nTime passes.\n\nLike a juggernaut, Venkath swings his blade wide while quickly stepping up to his opponent. Sceldrus parries, both blades clashing, grinding together with a sound that makes your skin crawl, like a fork scraping a plate at a banquet. Seeing the opportunity, with his free fist, Sceldrus socks Venkath in the eye.\n\n> You wait awhile\nTime passes.\n\nStepping back, blinking his newly clobbered eye, Venkath whirls his blade in his hand before advancing again. In the last second, Venkath quickly lifts the blade over his head, bringing it down hard upon Sceldrus.\n\nSceldrus, however, is even quicker. He steps aside, dodging the blow, but then grabs Venkath by the back of his jack-of-plate cloth shirt and, using Venkath's momentum against him, shoves him face-first into one the candle and cocktail covered tables. He and the table go crashing against a wall, sending the drinks, and more dangerously, the lit candles clattering all over.\n\nSuddenly, the alcohol-soaked floor and walls are lit by the stray flames of the fallen candles. A fire quickly envelopes the entry by the tavern's front door.\n\n> Wait\nTime passes.\n\nVenkath picks himself up from the smashed table and broken glasses. He's up just in time to parry a stabbing attempt by Sceldrus, their blades clanging loudly.\n\n\"Oh, Venkath,\" Sceldrus says mockingly, \"one should never give a sword to a man who can't dance.\"\n\n\"What does that even mean?\" Venkath asks gruffly, but then\nrealizes he's been distracted and raises his sword in defense only a second before Sceldrus's own blade reached him. Their blades clash once again.\n\n> You kill Sceldrus with the dagger\nYou charge at the tall warrior, antecessor skean in hand, but he is too quick and powerful, compared to a small adolescent such as yourself. You are grabbed by the neck with his free hand and, still ignoring you with his eyes, throws you onto the curved bar. Drinks and candles fly in all directions as you slide over the bar and onto the floor and then quickly tumbling down the concealed staircase to the. . .\n\nThis space is crowded with decades upon decades of tavern flotsam; broken chairs, upended tables, crates of empty bottles, among many other dusty things. The only exit is a staircase that leads up to the tavern common room, behind the curved bar.\n\nPaevana the alewife is hiding down here, avoiding the melee upstairs.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) comes down from above.\n\n> You ask Paevana about Sceldrus\nThere is no reply.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Search flotsam\nYou find nothing of interest.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the crates\nA good number of wine crates are stacked around the cellar. Most of them are filled with empty bottles of all kinds.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Go up\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nVenkath swings his sword at Sceldrus's throat but it is easily dodged as the taller warrior leans and steps back.\n\nWarpeye (the cat) comes up from below.\n\nVenkath looks around with a peeved expression.\n\n> Go upwards\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) comes up from below.\n\n> You go west\nThis room is a chaotic mess. The bed frame and mattress is crooked as if someone pushed it or was pushed against it. A sofa is overturned as if flung by a giant hand. A blood-stained quilt is bunched up on the floor. On the west wall, half of a curtain hangs askew, partially covering a round window. The rest of the curtain is on the floor. There is an open door to the east.\n\nFinally, on the floor is the still body of Deviah Favash. She is laying in a pool of blood.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the east."
    },
    {
        "text": "[Themes: Fantasy, history, boat, travel, fantasy]\n\n> Go downward\nYou can't go that way.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go through the window\nJumping out this window and climbing down the shalifux does sound like a good idea to avoid the fire that's quickly engulfing the common room downstairs, however, looking out the window, you can see the squirrelly thug is waiting down there for you and he's brought some friends. It would be certain death.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go to the east\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the west.\n\n> You go east\n(first opening the first bedroom door)\nIt seems to be locked.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You unlock the first door with the first key\n(first taking the first inn key)\nYou unlock the first bedroom door.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go east\n(first opening the first bedroom door)\n\nSurprisingly cozy, this bedroom contains a large, comfy bed covered by an intricately-sewn quilt. A thick but short curtain covers a small window in the east wall. Completing the guest room is a stuffed sofa with a worn floral, but darkly colored cover. The only exit is the door to the west.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the west.\n\n> You open the window\nIt isn't something you can open.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You move the curtain\nIt is fixed in place.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go through the window\nThat's not something you can enter.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You break the window\nViolence isn't the answer to this one.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Go west\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the east."
    },
    {
        "text": "[Themes: Fantasy, swords, history]\n\n> You go downward\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nGrabbing a chair, Venkath throws it overhand at Sceldrus who bashes it out of the way with the forearm of his free hand, knocking the chair to the floor where it breaks.\n\nWarpeye (the cat) comes down from above.\n\n> Go east\nThe door is blocked by a fire that is quickly spreading.\n\nSceldrus seizes an opportunity to stab at Venkath, but Venkath's blade is too quick and he parries the attempt.\n\n> Go west\nYou can't go that way.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> Go upwards\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) comes up from below.\n\n> Go south\nThis strange room is some sort of lavatory, but not like any that you've seen back in Euyesus. There's a commode made of polished wood with a small handle nearby. There's also a porcelain sink, but the commode has numerous pipes extending from it and clinging to the wall before disappearing into it and the sink includes a faucet which is a brass spigot also attached to a network of pipes. Finally, there is an old mirror on another wall, affixed between more pipes. The only exit is the door to the north.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the north.\n\n> Break mirror\nViolence isn't the answer to this one.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You turn the spigot\nThe spigot squeaks as you turn it on. A stream of cold water flows into the sink where it pools slightly before disappearing into a small drain.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You turn the faucet\nThe water is already running from the spigot, into the sink.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You turn off the faucet\nThe spigot squeaks as you turn it off, ending the stream of cold water. In a moment, the water in the sink has gone down the drain, leaving the porcelain sink empty.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Inventory\nYou are carrying:\na first inn key\na second inn key\nan antecessor skean\na leather garrote\na small jar (open but empty)\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na coded message\nOwls of Stone\na cabin key\nan old key\nan important note\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You put the water in the jar\nWhich do you mean, the pooling water or the stream of cold water?\n\n> Pooling\nThat won't fit in there.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You kick the pipes\nYou give the network of pipes a solid kick.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go north\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the south."
    },
    {
        "text": "> You go downwards\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes down from above.\n\n> You kill Sceldrus with garrote\nNo. You've already learned your lesson.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Go downwards\nThis space is crowded with decades upon decades of tavern flotsam; broken chairs, upended tables, crates of empty bottles, among many other dusty things. The only exit is a staircase that leads up to the tavern common room, behind the curved bar.\n\nPaevana the alewife is hiding down here, avoiding the melee upstairs.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) comes down from above.\n\n> You tell Paevana about the fire\nThere is no reply.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Topics\nYou could ask Paevana the alewife about Paevana the alewife.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You move the crates\nThey are fixed in place.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the chairs\nMany broken chairs of varying styles are stacked and strewn about the cellar. Every piece is covered with dust.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You examine the bottles\nThe empty glass bottles are of all shapes and sizes and they are in the dusty wine crates.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the tables\nLike the broken chairs down here, there are some old tables stored about, looking wobbly, dirty, or just plain broken.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You close up\nYou must name something more substantial.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Kiss woman\nPaevana the alewife might not like that.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You take the cat\nNo matter what you try, Warpeye always seems to slip away from your grasp. Frustrated, you give up.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You kill the cat\nViolence isn't the answer to this one.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Go upwards\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes up from below.\n\nVenkath looks around and then rubs his eyes.\n\n> You kill Sceldrus\nWarpeye (the cat) has better things to do.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You throw cat at Sceldrus\n(first taking Warpeye (the cat))\nNo matter what you try, Warpeye always seems to slip away from your grasp. Frustrated, you give up.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath looks at your leather haversack.\n\n> You ask the cat about the cat\n(Warpeye (the cat))\nThere is no reply.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath adjusts his scabbard and belt.\n\n> Examine bar\n(the curved bar)\nThis solid wood bar curves so the server is slightly surrounded. Its top is covered with burning candles, decades of candle wax, and a few drinks belonging to some nearby patrons.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath fidgets with his travel pack.\n\n> You examine the drinks\nIn the spaces on the bar and tables where there isn't any wax, spirituous drinks belonging to the various patrons are placed. They are in thick glasses that appear to have been made by the same glassblower, given the style.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath looks around with a peeved expression.\n\n> You take the drinks\nNone of these drinks belong to you.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You go east\nSurprisingly cozy, this bedroom contains a large, comfy bed covered by an intricately-sewn quilt. A thick but short curtain covers a small window in the east wall. Completing the guest room is a stuffed sofa with a worn floral, but darkly colored cover. The only exit is the door to the west.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the west.\n\n> You take the quilt\nYou don't need to take the quilt. It's far too large to carry around efficiently.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You move the quilt\nNothing obvious happens.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the quilt\nThis quilt is constructed with a dizzying array of small, geometric shapes and patterns in a variety of dark colors.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look under the bed\nThere's nothing under there.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Go west\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the east.\n\n> You go west\nThis room is a chaotic mess. The bed frame and mattress is crooked as if someone pushed it or was pushed against it. A sofa is overturned as if flung by a giant hand. A blood-stained quilt is bunched up on the floor. On the west wall, half of a curtain hangs askew, partially covering a round window. The rest of the curtain is on the floor. There is an open door to the east.\n\nFinally, on the floor is the still body of Deviah Favash. She is laying in a pool of blood.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the east.\n\n> You take the quilt\nYou don't need to carry that around.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You examine the sofa\nThis stuffed sofa is turned upside down.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room."
    },
    {
        "text": "[Themes: Fantasy, boat, fantasy, swords]\n\n> You look around\nThis room is a chaotic mess. The bed frame and mattress is crooked as if someone pushed it or was pushed against it. A sofa is overturned as if flung by a giant hand. A blood-stained quilt is bunched up on the floor. On the west wall, half of a curtain hangs askew, partially covering a round window. The rest of the curtain is on the floor. There is an open door to the east.\n\nFinally, on the floor is the still body of Deviah Favash. She is laying in a pool of blood.\n\nYou can see Warpeye (the cat) here.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You examine the bed\nThe mattress and bed frame are disheveled and crooked.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You take the curtain\nWhich do you mean, the half curtain or the cut-off curtain?\n\n> You cut-off\nThat's hardly portable.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You take the half\nYou don't really need that.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go to the east\nThis is the upstairs hall of The Vulgar Unicorn. From below, the sounds of the tavern common room rises up the wooden staircase. Bedroom doors are set east and west and a lavatory door is to the south. The soot graffiti continues on this floor, as does the smoky aroma of tobacco.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the west.\n\n> Go south\nThis strange room is some sort of lavatory, but not like any that you've seen back in Euyesus. There's a commode made of polished wood with a small handle nearby. There's also a porcelain sink, but the commode has numerous pipes extending from it and clinging to the wall before disappearing into it and the sink includes a faucet which is a brass spigot also attached to a network of pipes. Finally, there is an old mirror on another wall, affixed between more pipes. The only exit is the door to the north.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the north.\n\n> You turn on the spigot\nThe spigot squeaks as you turn it on. A stream of cold water flows into the sink where it pools slightly before disappearing into a small drain.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the commode\nIt's an average commode except that the wood used has been polished to a shine.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look at the pipes\nYou have no idea how such plumbing works; your home village still relies on outhouse technology. From behind the polished wood commode and porcelain sink, pipes extend and crawl along the walls before disappearing into them. Near the commode, a small handle is attached to a pipe and above the sink, there's a brass spigot, also on a pipe.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You pull handle\nNothing obvious happens.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Inventory\nYou are carrying:\na first inn key\na second inn key\nan antecessor skean\na leather garrote\na small jar (open but empty)\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na coded message\nOwls of Stone\na cabin key\nan old key\nan important note\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You turn the handle\nFrom somewhere within the commode, a strange clap noise is heard.\nSome random tapping sounds echo within the pipes on the walls. Then the tapping stops, leaving you with the feeling that twisting the small handle somehow empties the commode automatically.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You enter the commode\nYou don't feel the need to go right now.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You look in the commode\nYou can't really see anything in there. It seems to be very deep.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You put the jar in the sack\nYou put the small jar into the leather haversack.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You kick the pipes\nYou give the network of pipes a solid kick.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You hit the pipes with skean\nThat's actually unnecessary.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You open the pipes\nIt isn't something you can open.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room."
    },
    {
        "text": "[Themes: Fantasy, archaeology, Languages, language, travel]\n\n> Go downward\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes down from above.\n\nVenkath looks at your small black scabbard."
    },
    {
        "text": "[Themes: Fantasy, fantasy]\n\n> Go downwards\nThis space is crowded with decades upon decades of tavern flotsam; broken chairs, upended tables, crates of empty bottles, among many other dusty things. The only exit is a staircase that leads up to the tavern common room, behind the curved bar.\n\nPaevana the alewife is hiding down here, avoiding the melee upstairs.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) comes down from above.\n\n> You move the flotsam\nThey are fixed in place.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You ask Paevana about Paevana\n\"There's no time for chit-chat.\" She tells you, looking at you like you're insane.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Search crates\nThe wine crates are empty.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Go upward\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes up from below.\n\n> You examine tables\nThese tables are wooden and appear to have been around forever. Like the other surfaces in here, they are covered in burning candles, candle wax, and patrons\" drinks in thick glasses.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You take the chair\nWhich do you mean, the scattered chairs or the empty chair?\n\n> Empty\nIt's fine where it is.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You hit Sceldrus with the empty chair\n(first taking the empty chair)\nIt's fine where it is.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You examine the empty chair\nYou see nothing special about the empty chair.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath adjusts his scabbard and belt.\n\n> You take the wax\n(the dry candle wax)\nThat's hardly portable.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath looks at your small black scabbard.\n\n> You take the candle\nWhich do you mean, the countless candles, the dry candle wax or the bar candles?\n\n> Dry\nThat's hardly portable.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You take the bar candles\nYou don't need someone else's candle right now.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nVenkath fidgets with his travel pack.\n\n> You examine the sofa\nIt seems a bit old, but soft enough for sitting. It is upholstered with a worn floral, but darkly colored cover.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You search the sofa\nThere is nothing on the stuffed sofa.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You get on the bed\nYou get onto the large comfy bed.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> Sleep\nYou aren't feeling especially drowsy.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You stand\nYou get off the large comfy bed.\n\nSurprisingly cozy, this bedroom contains a large, comfy bed covered by an intricately-sewn quilt. A thick but short curtain covers a small window in the east wall. Completing the guest room is a stuffed sofa with a worn floral, but darkly colored cover. The only exit is the door to the west.\n\nYou can see Warpeye (the cat) here.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You check your inventory\nYou are carrying:\na first inn key\na second inn key\nan antecessor skean\na leather garrote\na glowstone lantern (providing light)\na leather haversack (being worn and open)\na small jar (open but empty)\na coded message\nOwls of Stone\na cabin key\nan old key\nan important note\na mysterious note\nElements of Ixteesh\nPhandaal's letter\nsome traveling clothes (being worn)\na small black scabbard (being worn)\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room."
    },
    {
        "text": "> You go downwards\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes down from above.\n\n> You examine Sceldrus\nHe is tall and has a handsome face but one you feel you can't trust. He wears black brigandine armor and you spy two swords crossed on his back. He wears no helm or hood but rather ties his long black hair behind his head. His eyes never notice you.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You throw the jar at Sceldrus\n(first taking the small jar)\nYou lack the nerve when it comes to the crucial moment.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You throw skean at Sceldrus\nYou lack the nerve when it comes to the crucial moment.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You examine garrote\nThis garrote is a braided, black leather ligature.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You take the bottle\nYou grab an empty glass bottle.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You go upward\nBright and shadowy, all at once, this tavern common room is covered in countless burning candles of various shapes, sizes, and colors. This perpetual candlelight has been happening for so long, the floor is covered in dry candle wax, stamped into a dust that has become one with the floor. The wooden walls and ceiling are completely covered in soot and the patrons through the many decades have taken it upon themselves to scrawl graffiti in it with their fingers and knives.\n\nAcross from the front door to the east is a large, curved bar, covered in candles and spirits. In between the front door and the bar are a couple of tables and a few scattered chairs. A wooden staircase leads up and a concealed staircase behind the bar leads down to a cellar.\n\nA raging fire is blocking any exit through the tavern's front door.\nIt is making the tavern a boiler and the countless candles are melting rapidly as the fire spreads.\n\nYour minder, Venkath Mock, is here with a grim countenance.\n\nYou can also see Sceldrus Jandol here.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nWarpeye (the cat) comes up from below.\n\nVenkath looks at your small black scabbard.\n\n> Cold\nThat doesn't go in there.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You put the pooling in bottle\n(first taking the pooling water)\nYou fill the glass bottle with water.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\n> You put the water on the fire\nPutting things on the raging fire would achieve nothing.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\n> You throw the water at the fire\nStrategically taking aim, you hurl the bottle at the raging fire.\nWith a smash, it breaks apart, spilling the water within on enough of the fire to allow you safe passage through the front door to the east.\n\nSceldrus and Venkath continue their swordfight in the common room as the tavern burns.\n\nPaevana the alewife comes up from below.\n\nVenkath fidgets with his travel pack.\n\n> Go east\nYou quickly run through the temporary space you made in the raging fire, and fall outside to the inn's courtyard.\n\nNestled within the buildings of Badushizd, this stony courtyard serves the patrons of The Vulgar Unicorn as a place to enjoy if the tavern gets too noisy. A dry fountain sits as a centerpiece, surrounded by four stone benches with areas of trimmed grass in between. A closed spiked gate leads out of this courtyard to the east and a shadowy break in the wall to the northwest leads to some sort of dark alley between the buildings. The door into the tavern is to the west. It is currently open, allowing light and conversational sounds to spill out into the courtyard.\n\nOn the dry fountain is a periwinkle sadiki bird.\n\nYou can hear the crashing and clanging of a sword fight coming from the tavern common room.\n\nWarpeye (the cat) arrives from the west.\n\nPaevana the alewife arrives from the west.\n\nThe doorway to the tavern is now engulfed in flames. The surrounding doorframe collapses in on itself, making any escape through there a fiery trap. You can see in the windows that the fire is spreading fast within.\n\nYou're staring at the blazing building, wondering about Venkath Mock, Warpeye the cat at your feet, when Paevana appears next to you. Staring as well at her livelihood literally going up in smoke, she puts her arm around your shoulders.\n\nObak. It is an ancient land far to the north, once a prosperous kingdom, now a frozen wasteland of broken towers, empty and decaying cities, and ships half-sunken in the ice, as if the bitter cold hit the land all at once, taking the kingdom by surprise. Believed to be a cursed region, and given its remoteness, the land is rarely visited by the wise.\n\nDeviah was to tell you what is going on and why exactly you are needed in Obak. Xethes, the head of the small caravan that you and Paevana joined, has only said that something was found and someone who can read Ixteesh is needed. He's also mentioned that more than one city-state has sent envoys to investigate the matter as well.\n\nDespite not knowing Venkath Mock's fate, and fearing the worst, you are comforted by Paevana joining you, having explained that with the razing of the Vulgar Unicorn, she has nothing left to her name.\n\nAfter a few days of solid travel on pony, your group finally reaches a. . .\n\nSloping Path (on Rags)\nThe long trail you've been following, if one could even call it a trail, slopes upward from here to the north. Badushizd is now days to the south, where the snow and ice are not eternal and the sun actually peers through the clouds. Obak, however, you've come to find is a gray and frozen wasteland. Around the faint path up the slope are a good many spruce trees, frosted with snow.\n\nYou can see Storm (on whom is Paevana the alewife), Keeta (on whom is Xethes Balaam) and Nibbley (on whom is Zaucular) here."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fan fiction, Zork, fantasy]\n\nFinally making it to the Eastlands, you find a shaft leading to the depths of the Great Underground Empire where, supposedly, lost treasures that have been forgotten for centuries are waiting to be found again.\n\nZorkian Stories 1: G.U.E.\nA diversion by Marshal Tenner Winter\n\nThis chamber is made of black stone. The walls are pocked with age; showing faded frescos, the subject of which can no longer be determined. The only exit is west, into a long. sloping tunnel that eventually leads back outside. The weight of stone presses upon you, and you feel you must be deep underground.\n\n[Author's Note: Finally making it to the Eastlands, you find a shaft leading to the depths of the Great Underground Empire where, supposedly, lost treasures that have been forgotten for centuries are waiting to be found again.]\n\n> You examine the fresco\nThe frescos are faded from countless centuries. It is diffifcult to make out the scene, but you can see that there are images of people around an arch. Given the faint colors and barely-recognizable costuming, you think one of the people in the image is none other than King Duncanthrax who created the G.U.E. centuries ago. On this image, his eyes are still fresh-seeming; standing out from the rest of the faded image.\n\n> You open the fresco\nYou open the fresco.\n\n> You look at fresco\nThe frescos are faded from countless centuries. It is diffifcult to make out the scene, but you can see that there are images of people around an arch. Given the faint colors and barely-recognizable costuming, you think one of the people in the image is none other than King Duncanthrax who created the G.U.E. centuries ago. On this image, his eyes are still fresh-seeming; standing out from the rest of the faded image. The wall that the fresco is painted onto is open like a doorway."
    },
    {
        "text": "> Look around\nThis chamber is made of black stone. The walls are pocked with age; showing faded frescos, the subject of which can no longer be determined. The only exit is west, into a long. sloping tunnel that eventually leads back outside. The weight of stone presses upon you, and you feel you must be deep underground.\n\n> You enter fresco\nYou are in a secret passage beyond the fresco wall. The air is thick with dust that has not been disturbed in what must be a millenia. There are dark passages to the north, east, and south.\n\n> Go north\nThis is an ancient shrine. A dust covered altar sits at the north wall. On that wall is an engraving of a forgotten god. Whatever treasures lay in offering have long since been pillaged. On the floor are bones of a long-dead adventurer or pilgrim.\n\n> You examine the engraving\nIt is an engraving of an obsolete god with many arms and legs. It is androgynous and appears to be frozen while in some sort of frenzied dance. Thinking back to your days at G.U.E. Tech's Contrastable Religions course, you think it is Sheeva; a god who was believed\nto keep the universe in motion while he danced and if he ever stopped, the world would end. You think that, given the state of things, maybe he stopped dancing long ago.\n\n> Inventory\nYou are carrying:\nan elvish sword\na small lantern (providing light)\na backpack (being worn and open but empty)\n\n> About yourself\nYou are an adventurer and you appear as such.\n\n> You look at the bones\nIt seems to once have been a traveler or adventurer who met his fate down here long ago.\n\n> You look at the altar\n(the altar)\nIt is a simple affair since the engraving is complicated enough. Whatever offerings were once left on this altar for this god have long since vanished.\n\n> You put the sword on the altar\n(the altar)\nYou put the elvish sword on the altar.\n\n> You look at backpack\nThe backpack is empty.\n\n> You look at the lantern\nIt is your typical Frobozz Ev-R-Lit lantern. It remains lit for an entire generation before dying out. Too bad you found this one during your travel to the Eastlands and you aren't sure how long it's been on."
    },
    {
        "text": "> Look around\nThis is an ancient shrine. A dust covered altar sits at the north wall. On that wall is an engraving of a forgotten god. Whatever treasures lay in offering have long since been pillaged. On the floor are bones of a long-dead adventurer or pilgrim.\n\nOn the altar is an elvish sword.\n\n> Search altar\n(the altar)\nOn the altar is an elvish sword.\n\n> You stand on the altar\n(the altar)\nThat's not something you can stand on.\n\n> You look under altar\n(the altar)\nYou find nothing of interest.\n\n> You go east\nYou are in a long tunnel that runs east to west. The walls are made of black stone and the passages stretch into ominous darkness.\n\n> Go east\nThis intersection is dominated by an ancient gate blocking passage to the east. Tunnels run north, west, and south; each into darkness.\n\n> You examine the gate\nThe ancient gate is black and the design is the Gothic style that was popular centuries ago in the Great Underground Empire. It would be impossible to squeeze through, and darkness dominates the other side.\n\n> You open gate\nIt seems to be locked.\n\n> You go to the south\nThis chamber is half-carved as a dungeon room, but then the back half degenerates into rough walls of a cave; unfinished by the carvers of these tunnels. Water drips from the ceiling of the rough portion of the chamber, forming a puddle in the back portion of the area. The drip echoes around the chamber, giving the place an air of creepiness, but otherwise, it appears empty.\n\n> You search the puddle\nYou move your hand around the cold, dark water, finding nothing at first and about to give up, when you feel something. Pulling it out, you see you have found a skull.\n\n> You examine the skull\nIt is small; maybe that of a child or a small person. It has been washed clean having been underwater for who-knows-how-long.\n\n> Kiss skull\nYou can only do that to something animate.\n\n> You check what you're carrying\nYou are carrying:\na skull\nan elvish sword\na small lantern (providing light)\na backpack (being worn and open but empty)\n\n> Sing\nYour singing is abominable.\n\n> You drop skull\nDropped.\n\n> You take the skull\nYou pick up the skull from the ground.\n\n> You go north\nThis chamber is half-carved as a dungeon room, but then the back half degenerates into rough walls of a cave; unfinished by the carvers of these tunnels. Water drips from the ceiling of the rough portion of the chamber, forming a puddle in the back portion of the area. The drip echoes around the chamber, giving the place an air of creepiness, but otherwise, it appears empty.\n\nThis intersection is dominated by an ancient gate blocking passage to the east. Tunnels run north, west, and south; each into darkness.\n\n> You go to the north\nThis chamber smells like rodents; fur, droppings, the whole deal. Ancient junk litters the place; rusting, rotting and slimy. The only exit is south, back to the intersection.\n\nYou see a huge rat in here. It sees you and squeeks a horrible sound. Its shivering body quivers as its fur on its nape stands on end at the sight of you. It scurries towards you, jaw open and sharp teeth gnashing.\n\n> Attack rat\nWhat do you want to attack the huge rat with?\n\n> Sword\nYou swing and cut the huge rat deeply, but its not enough to kill it. The huge rat, in turn, chomps at you, but, like you, it misses.\n\n> You attack the rat with the sword\nYou swing and plunge your sword into the huge rat's neck. It must be your lucky day as it dies before its attack.\n\n> You look at the rat\nIt's a huge dead rat; pretty disgusting. You wonder if there are more around...\n\n> You examine the rubbish\nThis must be where the denizens of this portion of the Great Underground Empire threw its trash. It smells awful and the garbage is old and molded.\n\n> You search the garbage\nAfter some digging around, you find an ancient zorkmid; a gold coin of the G.U.E.\n\n> You examine the zorkmid\nIt is a gold coin of the Great Underground Empire. The image on it is that of Duncanthrax the Bellicose."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fantasy]\n\n> Describe the surroundings\nThis chamber smells like rodents; fur, droppings, the whole deal. Ancient junk litters the place; rusting, rotting and slimy. The only exit is south, back to the intersection.\n\nYou can see a huge dead rat here.\n\n> You go south\nThis is a large cave covered in what appears to be webs.\n\nIn the corner is some sort of nesting place for the huge spider, and it looks to be made of detritus and webbing.\n\nThere is a hideous, black spider in here. The sight of it makes your skin crawl as you've never seen one this large. It scuttles quickly toward you.\n\n> You attack the spider with the sword\nYou swing at the huge spider but miss wildly. The beast hisses at you and lunges for you but you are able to dodge its attack easily.\n\n> Keep going\nYou chop at the huge spider but miss by an inch. The spider attacks you, teeth gnashing, but you dodge out of the way.\n\n> Keep going\nYou swing again and finally you carve a slice into the huge spider's belly. Angrily, it lunges at you but dies before getting close enough to bite you. Greenish blood spews from its body. As the spider collapses, one of its teeth dislodges and clatters on the floor.\n\n> You take the tooth\nYou pick up the spider fang from the ground.\n\n> You look at the fang\nIt's pretty gross, but it's sharp. You can hold it safely and probably use it as you would a knife.\n\n> You examine the nest\nIt is some sort of nesting place for a huge spider, and it looks to be made of detritus and webbing. Funny, you didn't know spider's made nests.\n\n> You search it\nThere's nothing in it, but maybe something is under\nit.\n\n> You look under the nest\nYou lift the disgusting, sticky thing and find an old skeleton key.\n\n> You examine the key\nIt is an ancient key, covered in rust and dried spider webs."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Zork, fan fiction]\n\n> Look around\nThis is a large cave covered in what appears to be webs.\n\nIn the corner is some sort of nesting place for the huge spider, and it looks to be made of detritus and webbing.\n\nYou can also see a huge dead spider here.\n\n> You examine the spider\n(the spider fang)\nIt's pretty gross, but it's sharp. You can hold it safely and probably use it as you would a knife.\n\n> You check your inventory\nYou are carrying:\na skeleton key\na spider fang\na zorkmid\na skull\nan elvish sword\na small lantern (providing light)\na backpack (being worn and open but empty)\n\n> You look at the web\nThey are old and sticky and cover almost every inch of this chamber.\n\n> You unlock Gate with the key\nYou unlock the Ancient Gate.\n\n> You open Gate\nYou open the Ancient Gate.\n\n> You go east\nThis room is plain; simply a junction in this catacomb. An ancient gate dominates the western passage while stone stairs descend into darkness both southeast and northeast.\n\n> Go northeast\nThe Great Underground Empire sure liked its galleries of art, and this room is a prime example. Paintings hang on the walls, unseen for generations. Stone steps lead upward to the southwest, the gallery continues to the east, a sturdy-looking wooden door sits in the west wall, and a passage leads north.\n\n> You examine the painting\nYou examine a painting at random and find a portrait of Duncanthrax, the Bellicose King himself. The few liberal arts classes you've taken at G.U.E. Tech describe him as cruel, bloodthirsty, and aggressive. His portrait does little to dissuade this description.\n\n> You look at the painting\nYou examine a painting at random and find a portrait of the mythical maiden Zilbeetha. Symbolically, she holds a crystal orb and stares into it with sad eyes.\n\n> You look at the painting\nYou examine a painting at random and find a portrait of some wizard, unknown to you. It is labelled Zarf but you have no idea who\nhe was or what he ever did.\n\n> You examine painting\nYou examine a painting at random and find a portrait of the great wizard Davmar who discovered the ability to create scrolls imbued with magic spells. Symbolically, he holds a scroll in one hand, and confusingly, a zucchini in the other.\n\n> Continue\nYou examine a painting at random and find a portrait of a man named Jizaboz whose only claim to fame was his ability to take his\npants off over his head. How or why this deserves a portrait baffles you.\n\n> You keep going\nYou examine a painting at random and find a landscape of the frozen lake Dinge. It's okay.\n\n> You continue\nYou examine a painting at random and find a landscape featuring Hades, the Land of the Dead. It is a miasma of tortured souls lamenting in fire. In your Contrastable Religions course, your professor\nclaimed to have been there. He said he had a good time but added the caveat \"I guess you had to be there.\".\n\n> Continue\nYou examine a painting at random and find an abstract painting of colored squares and rectangles. The colors not only clash, but seem to be at each other's throats. Thankfully dust has muted this effect somewhat.\n\n> Keep going\nYou examine a painting at random and find a landscape of castle Largoneth. A turtle is painted in the forground while the castle sits silhoutted in a sunset background.\n\n> You go west\n(first opening the wooden door)\nIt seems to be locked.\n\n> You go east\nThis portion of the gallery is a salon to showcase scultpures, however, someone took the time, long ago, to smash the sculptures into rubble.\n\nOne sculpture, however, remains intact; a bust of the enchanter Korboz. Perhaps the stone it was carved from was too strong for whatever madman destroyed the other statuary in this room, or perhaps it is enchanted that way. Either way, it remains the sole surviving sculpture here.\n\n> You examine the bust\nIt is a bust, made of white stone, of a homely wizard. It is engraved Korboz the Magnificent.\n\n> You take the bust\nYou're carrying too many things already.\n\n> Search bust\nYou're carrying too many things already.\n\nYou find nothing of interest.\n\n> You check your inventory\nYou are carrying:\na skeleton key\na spider fang\na zorkmid\na skull\nan elvish sword\na small lantern (providing light)\na backpack (being worn and open but empty)\n\n> You put the fang in the backpack\nYou put the spider fang into the backpack.\n\n> You put the zorkmid in the backpack\nYou put the zorkmid into the backpack.\n\n> You put the skull in the backpack\nYou put the skull into the backpack.\n\n> You take the bust\nYou pick up the bust of Korboz from the ground.\n\n> You check your inventory\nYou are carrying:\na bust of Korboz\na skeleton key\n\n> You take the bust\na small lantern (providing light)\na backpack (being worn and open)\na skull\na zorkmid\na spider fang\n\nYou already have that.\n\n> You examine the rubble\nThis rubble was once a room of sculptures and statuary.\n\n> Go north\nThis was a sitting room of sorts, by the look of it.\n\nA comfy-looking, if rather dusty, sofa dominates the room.\n\nIn front of the sofa is a wide, round coffee-table.\n\nOn the coffee-table is a crystal ashtray.\n\n> You examine sofa\nIt is comfy-looking but rather dusty.\n\n> You examine ashtray\nThis is a fancy, small, crystal ashtray. Not a bad little treasure, really.\n\n> You take the ashtray\nYou take the crystal ashtray from the coffee-table.\n\n> You examine coffee\nYou already have that.\n\nYou can't see any such thing.\n\n> You look at the table\nThe legs seem sturdy but the top seems aged and worn."
    },
    {
        "text": "[Themes: Fantasy, Zorkian]\n\n> You look around\nThis was a sitting room of sorts, by the look of it.\n\nA comfy-looking, if rather dusty, sofa dominates the room.\n\nIn front of the sofa is a wide, round coffee-table.\n\n> You stand on the table\nThe surface of the coffee-table, unable to take your weight, collapses into a heap of useless wood.\n\n> You look at wood\nIt is a heap of useless wood that was once a coffee-table.\n\n> You take the wood\nYou pick up the heap of useless wood from the ground."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, Zork, fantasy]\n\n> Look around\nThis was a sitting room of sorts, by the look of it.\n\nA comfy-looking, if rather dusty, sofa dominates the room.\n\nYou can also see a table leg here.\n\n> You take the leg\nYou're carrying too many things already.\n\n> You put the wood in the backpack\nYou put the heap of useless wood into the backpack.\n\n> You take the leg\nYou pick up the table leg from the ground."
    },
    {
        "text": "[Themes: Fantasy, Zorkian]\n\n> You look at your surroundings\nThis was a sitting room of sorts, by the look of it.\n\nA comfy-looking, if rather dusty, sofa dominates the room.\n\n> Go southeast\nThis cave is somehow hollowed out of a vein of quartz. Thousands of six-sided prisms, of all sizes, surround you. Everything is rose colored and, while in here, all of your possessions seem to take on different shades of a rosy hue. The effect is disorientingly beautiful. Steps carved into the rock lead up to the northwest and tunnels lead east, and south and a narrow tunnel winds downwards to the southwest.\n\n> You take the quartz\nThat's hardly portable.\n\n> You examine the quartz\nThousands of six-sided prisms of all sizes surround you in this cave. Everytrhing is rose-colored here.\n\n> About yourself\nYou are an adventurer and you appear as such.\n\n> You go east\nThe dungeon corridor bends here with passages leading west and south. Doors sit in the north and east walls of the corner. There is a carven sun in the north door and a crescent moon carved in the east door.\n\n> You look at the sun\n(the Sun Door)\nThis thick wooden door has the image of a stylized sun carved into it.\n\n> You look at the moon\n(the moon door)\nThis thick wooden door has the image of a stylized moon carved into it.\n\n> You open Sun Door\nYou open the Sun Door.\n\n> You open the moon door\nYou open the moon door.\n\n> You enter the moon door\nThis room contains no other furnishings besides an alabaster statue of a cat in a sitting pose. Its eyes twinkle slightly. The walls, floor, and ceiling are covered in mathematical, astronomical, and astrological symbols and equations.\n\nYou can see a cat statue here.\n\n> You look at the statue\n(the bust of Korboz)\nIt is a bust, made of white stone, of a homely wizard. It is engraved Korboz the Magnificent.\n\n> You examine the symbols\nAs intriguing as the symbols are, they are all gibberish to you.\n\n> You examine the cat statue\nYou go to examine the cat statue and you are suddenly transfixed by its eyes.\n\n...still transfixed...\n\n...darkness...\n\nYou awaken.\n\n> You check your inventory\nYou are carrying:\na table leg\na bust of Korboz\na skeleton key\nan elvish sword\na small lantern (providing light)"
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fan fiction]\n\n> Look around\nThis room contains no other furnishings besides an alabaster statue of a cat in a sitting pose. Its eyes twinkle slightly. The walls, floor, and ceiling are covered in mathematical, astronomical, and astrological symbols and equations.\n\nYou can see a pile of dust here.\n\n> You examine dust\nIt was once a statue of a cat...you think.\n\n> C27\nRestore failed.\n\n> You check your inventory\nYou are carrying:\na table leg\na crystal ashtray\na bust of Korboz\na skeleton key\nan elvish sword\na small lantern (providing light)\na backpack (being worn and open)\na heap of useless wood\na skull\na zorkmid\na spider fang\n\n> You take the cat\nIt is fixed in place.\n\nThat's fixed in place."
    },
    {
        "text": "> You look around\nThe dungeon corridor bends here with passages leading west and south. Doors sit in the north and east walls of the corner. There is a carven sun in the north door and a crescent moon carved in the east door.\n\nYou can see a small lantern here.\n\n> East\nThis room contains no other furnishings besides an alabaster statue of a cat in a sitting pose. Its eyes twinkle slightly. The walls, floor, and ceiling are covered in mathematical, astronomical, and astrological symbols and equations.\n\nYou can see a cat statue here.\n\n> Inventory\nYou are carrying:\na table leg\na crystal ashtray\na bust of Korboz\na skeleton key\nan elvish sword\na backpack (being worn and open)\na heap of useless wood\na skull\na zorkmid\na spider fang\n\n> You drop the backpack\n(first taking the backpack off)\nDropped.\n\n> You look at what you're carrying with you\nYou are carrying:\na table leg\na crystal ashtray\na bust of Korboz\na skeleton key\nan elvish sword\n\n> You examine the cat\nYou go to examine the cat statue and you are suddenly transfixed by its eyes.\n\n...still transfixed...\n\n...darkness...\n\nYou awaken.\n\n> You check your inventory\nYou are carrying:\na table leg\na bust of Korboz\na skeleton key\nan elvish sword\n\n> Go west\nThe dungeon corridor bends here with passages leading west and south. Doors sit in the north and east walls of the corner. There is a carven sun in the north door and a crescent moon carved in the east door.\n\nYou can see a backpack (in which are a heap of useless wood, a skull, a zorkmid and a spider fang) and a small lantern here.\n\n> You examine the cat\nYou go to examine the cat statue and you are suddenly transfixed by its eyes.\n\n...still transfixed...\n\n...darkness...\n\nYou awaken."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fan fiction]\n\n> Look around\nThis room contains no other furnishings besides an alabaster statue of a cat in a sitting pose. Its eyes twinkle slightly. The walls, floor, and ceiling are covered in mathematical, astronomical, and astrological symbols and equations.\n\nYou can see a pile of dust here.\n\n> Dust\nWhat do you want to dust?\n\n> You go to the west\nThe dungeon corridor bends here with passages leading west and south. Doors sit in the north and east walls of the corner. There is a carven sun in the north door and a crescent moon carved in the east door.\n\nYou can see a crystal ashtray, a backpack (in which are a heap of useless wood, a skull, a zorkmid and a spider fang) and a small lantern here.\n\n> You take all\ncrystal ashtray: You pick up the crystal ashtray from the ground. backpack: You pick up the backpack from the ground.\nsmall lantern: You're carrying too many things already.\nheap of useless wood: You're carrying too many things already.\nskull: You're carrying too many things already.\nzorkmid: You're carrying too many things already.\nspider fang: You're carrying too many things already.\n\n> You look at what you're carrying with you\nYou are carrying:\na backpack (open)\na heap of useless wood\na skull\na zorkmid\na spider fang\na crystal ashtray\na table leg\na bust of Korboz\na skeleton key\nan elvish sword\n\n> You put the ashtray in the backpack\nYou put the crystal ashtray into the backpack.\n\n> You take the lantern\nYou pick up the small lantern from the ground.\n\n> Go south\nYou believe this area to be the entrance to a temple; a pronaos. However, the temple must lie down the steps to the southeast. The darkness there seems thicker than any darkness you've seen yet. A passage also leads north; away from this temple entrance.\n\n> You go to the south-east\nThis place is not right, nor has it been right in a very long time.\nIt may be why it was abandoned by mysyerious people long ago. It was a temple; maybe still is. Pillars line the walls and lead down a long chamber to a strange pit, built into the floor; a perfect circle leading to darkness. It is surrounded by notches that may once have held torches. Narrow, dark passages lead northeast and southwest and a flight of stone steps leads up to the northwest. It is deathly quiet in this place.\n\n> Sing\nYour singing is abominable.\n\n> Go northeast\nThis portion of the temple complex is a simple, but large room with pillars lining the walls. Ominous passages lead southwest and south.\n\nA pig-like creature, the size of a pony, turns its head and stares at you. It snorts viciously between its razor-sharp tusks.\n\n> You attack creature with sword\nDespite your blade being of elvish quality, it bounces harmlessly off the creature's metallic hide. With a hideous snort, the creature moves to gore you, but you dodge out of the way...just barely.\n\n> Attack creature with fang\n(first taking the spider fang)\nYou're carrying too many things already.\n\n> You put the ashtray in the backpack\n(first taking the crystal ashtray)\n\nYou're carrying too many things already.\n\n> Inventory\nYou are carrying:\na small lantern (providing light)\na backpack (open)\na crystal ashtray\na heap of useless wood\na skull\na zorkmid\na spider fang\na table leg\na bust of Korboz\na skeleton key\nan elvish sword\n\n> You put the key in the backpack\nYou put the skeleton key into the backpack.\n\n> You put the bust in the backpack\nYou put the bust of Korboz into the backpack.\n\n> You attack the calydoar with the fang\n(first taking the spider fang)\nYou astutely remember how venomous huge spiders are, and so, with an adept manuever, you jam the fang between the scales of the beast. It collapses on the ground, instantly dead.\n\n> You say sorry for the the wait\n(to yourself)\nThere is no reply.\n\n> You examine the calydoar\nIt resembles a boar...if a boar were imagined by a demented, devil-worshipping zoologist.\n\n> You eat calydoar\n(first taking the dead calydoar)\nWayyyyy too heavy.\n\n> You hug calydoar\nYou can only do that to something animate."
    },
    {
        "text": "> You look at your surroundings\nThis portion of the temple complex is a simple, but large room with pillars lining the walls. Ominous passages lead southwest and south.\n\nYou can see a dead calydoar here.\n\n> Go south\nThis is the furthest, back room of the temple, from what you can tell. It may have once held treasure of some sort, but has long since been ransacked and the only one of its oiginal furnishings that remain is a simple podium. Passages lead west and north.\n\nA dusty key is on the podium.\n\nOn the podium is a dusty key.\n\n> Inventory\nYou are carrying:\na spider fang\na small lantern (providing light)\na backpack (open)\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\na skull\na zorkmid\na table leg\nan elvish sword\n\n> You put the fang in the backpack\nYou put the spider fang into the backpack.\n\n> You take the key\n(the dusty key)\nYou pick up the dusty key from the ground.\n\n> You look at key\n(the dusty key)\nYou see nothing special about the dusty key.\n\n> You look at the podium\nOn the podium is a dusty key.\n\n> You check your inventory\nYou are carrying:\na dusty key\na small lantern (providing light)\na backpack (open)\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\na skull\na zorkmid\na table leg\nan elvish sword\n\n> You take the dusty key\n(the dusty key)\nYou take the dusty key from the podium.\n\n> You check what you're carrying\nYou are carrying:\na dusty key\na dusty key\na small lantern (providing light)\na backpack (open)\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\na skull\na zorkmid\na table leg\nan elvish sword"
    },
    {
        "text": "> You look at your surroundings\nThis is the furthest, back room of the temple, from what you can tell. It may have once held treasure of some sort, but has long since been ransacked and the only one of its oiginal furnishings that remain is a simple podium. Passages lead west and north.\n\n> Go west\nThis is the opisthodomos of the temple; but to you, it's basically just another room of this forboding complex. Passages lead northeast and east.\n\nCrumpled in the southwest corner is the desicated corpse of a long-dead adventurer.\n\n> You examine adventurer\nThis was once maybe a scholar or adventurer who delved to learn the secrets of the Great Underground Empire, but who was not as lucky as you've been...thus far.\n\n> You search adventurer\nAs you examine the body, you realize it has long since been ransacked of any real valuables. However, a page from a journal is found under its left boot.\n\n> You read the page\nThe language is an archaic form of Borphese, but you can read it easily enough. Apparently the corpse was once a scholar who was deciphering the many runes and engravings around this temple. It's mostly useless, but perhaps there is something to one sentence in particular. It reads \"the pit is a door only death can\nunlock\".\n\n> You look at the pit\nIt is a perfect circular pit, built into the floor of the temple in the place where you would normally think an altar would exist. Around the pit are notches; most likely where torches would have been placed.\n\n> Inventory\nYou are carrying:\na journal page\na dusty key\na dusty key\na small lantern (providing light)\na backpack (open)\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\na skull\na zorkmid\na table leg\nan elvish sword\n\n> You put the table leg in the backpack\nYou put the table leg into the backpack.\n\n> You put the page in the backpack\nYou put the journal page into the backpack.\n\n> You take the skull\nYou take the skull from the backpack.\n\n> You put the skull in the pit\nYou toss the skull into the strange pit. The darkness swallows it and you do not hear it hit any bottom. A moment passes. Suddenly, a strange violet smoke rises from the strange pit; whispy at first, but then thickening to an impenetrable cloud. You take a step back, unsure of what is happening. You are thinking of just fleeing this strange temple when a deathly groan comes from the pit, freezing you in your tracks and filling you with terror. But then, suddenly, the groaning stops and the smoke dissipates. Looking around, you see the skull has returned, but actually, it's not the same skull, for the one that now sits on the edge of the strange pit is slick with a waxy coating, as if it had just been spit out of a horrible mouth, and a faint, violet glow can be seen within its eyes.\n\n> You look at the skull\nThis is a strange skull, dark gray in color and slick with an unknown, greasy coating. A faint, violet glow can be seen within its eyes.\n\n> You take it\nYou pick up the strange skull from the ground."
    },
    {
        "text": "[Themes: Fantasy, Zorkian, fan fiction]\n\n> Look around\nThis place is not right, nor has it been right in a very long time.\nIt may be why it was abandoned by mysyerious people long ago. It was a temple; maybe still is. Pillars line the walls and lead down a long chamber to a strange pit, built into the floor; a perfect circle leading to darkness. It is surrounded by notches that may once have held torches. Narrow, dark passages lead northeast and southwest and a flight of stone steps leads up to the northwest. It is deathly quiet in this place.\n\n> Go northwest\nYou believe this area to be the entrance to a temple; a pronaos. However, the temple must lie down the steps to the southeast. The darkness there seems thicker than any darkness you've seen yet. A passage also leads north; away from this temple entrance.\n\n> Go south\nThis room is carved perfectly square from the rock. A passage leads north.\n\nA door in the wall is featureless save for three buttons colored blue, yellow, and red respectively. An inscription is above the buttons.\n\n> You read the inscription\nThe inscription reads: THE SORE SPENDER\n\n> You check your inventory\nYou are carrying:\na strange skull\na dusty key\na dusty key\na small lantern (providing light)\na backpack (open)\na journal page\na table leg\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\na zorkmid\nan elvish sword\n\n> You press the blue button\nYou press the blue button and die from electrocution.\n\n> You press the red button\nYou press the red button and you hear a click."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fan fiction]\n\n> You press the yellow button\nYou press the yellow button and die from electrocution.\n\n> You attack the self with the leg\n(first taking the table leg)\nYou're carrying too many things already.\n\n> You examine the bust\nIt is a bust, made of white stone, of a homely wizard. It is engraved Korboz the Magnificent.\n\n> You put the strange skull in the backpack\nYou put the strange skull into the backpack.\n\n> You take the leg\nYou take the table leg from the backpack.\n\n> You take zorkmid\nYou take the zorkmid from the backpack.\n\n> You press the red button\nYou press the red button and you hear a click.\n\n> You check what you're carrying\nYou are carrying:\na zorkmid\na dusty key\na dusty key\na small lantern (providing light)\na backpack (open)\na table leg\na strange skull\na journal page\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\nan elvish sword\n\n> You go to the southwest\nThis cavernous room is made of pure sapphire, from what you can tell. In its raw form, it is ugly yet it still glimmers in your lamp's light. Passages lead west and southwest and a narrower passage leads upwards to the northeast.\n\n> You go west\nThis is a low, yet still vaulted dungeon corridor. The corridor runs south to east and an oak door sits in the west wall.\n\n> You open Door\nIt seems to be locked.\n\n> You unlock Door with the dusty key\nWhich do you mean, the dusty key or the dusty key?\n\n> You check what you're carrying\nYou are carrying:\na zorkmid\na dusty key\na dusty key\na small lantern (providing light)\na backpack (open)\na table leg\na strange skull\na journal page\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\nan elvish sword\n\n> You drop the key\nWhich do you mean, the dusty key, the dusty key or the skeleton key?\n\n> You drop all\nzorkmid: Dropped.\ndusty key: Dropped.\ndusty key: Dropped.\nsmall lantern: Dropped.\nbackpack: Dropped.\nelvish sword: Dropped.\n\n> You take the backpack\nYou pick up the backpack from the ground.\n\n> You take the lantern\nYou pick up the small lantern from the ground.\n\n> You take zorkmid\nYou pick up the zorkmid from the ground.\n\n> Inventory\nYou are carrying:\na zorkmid\na small lantern (providing light)\nan elvish sword\na backpack (open)\na table leg\na strange skull\na journal page\na spider fang\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood"
    },
    {
        "text": "[Themes: Zorkian, Fantasy, fan fiction]\n\n> You look around\nThis is a low, yet still vaulted dungeon corridor. The corridor runs south to east and an oak door sits in the west wall.\n\nYou can see a dusty key and a dusty key here.\n\n> You take the fang\nYou take the spider fang from the backpack.\n\n> You take all\ndusty key: You pick up the dusty key from the ground.\ndusty key: You're carrying too many things already.\ntable leg: You're carrying too many things already.\nstrange skull: You're carrying too many things already.\njournal page: You're carrying too many things already.\nbust of Korboz: You're carrying too many things already.\nskeleton key: You're carrying too many things already.\ncrystal ashtray: You're carrying too many things already.\nheap of useless wood: You're carrying too many things already.\n\n> Go south\nThis room may have once been a guard room. It's nothing now. Exits lead north and northeast, and a door is to the west.\n\n> You drop the dusty key\nDropped.\n\n> Go north\nThis is a low, yet still vaulted dungeon corridor. The corridor runs south to east and an oak door sits in the west wall.\n\nYou can see a dusty key here.\n\n> You take the dusty key\nYou pick up the dusty key from the ground."
    },
    {
        "text": "> Look around\nThis is a low, yet still vaulted dungeon corridor. The corridor runs south to east and an oak door sits in the west wall.\n\n> You go east\nThis cavernous room is made of pure sapphire, from what you can tell. In its raw form, it is ugly yet it still glimmers in your lamp's light. Passages lead west and southwest and a narrower passage leads upwards to the northeast.\n\n> You go south\nThis room may have once been a guard room. It's nothing now. Exits lead north and northeast, and a door is to the west.\n\nYou can see a dusty key here.\n\n> You open Door with dusty key\nYou unlock the guard door.\n\n> You check your inventory\nYou are carrying:\na dusty key\na spider fang\na zorkmid\na small lantern (providing light)\nan elvish sword\na backpack (open)\na table leg\na strange skull\na journal page\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\n\n> You put the dusty key in the backpack\nYou put the dusty key into the backpack.\n\n> Go west\n(first opening the guard door)\n\nThis may have once been an alchemical lab. Shards of glass cover the floor as if someone went off his nut and smashed everything in here. The only passage from here is back to the east.\n\nA beaker seems to have been found and set back in place in the center of a shelf.\n\n> You put the fang in the backpack\nYou put the spider fang into the backpack.\n\n> You look at the beaker\nIn the beaker is a rusted key.\n\n> You take the rusted key\nAs you take the rusted key from its resting place, an ominous thum begins to permeate the air in the room. Suddenly, many of the broken shards gather themselves together into a hulking humanoid form. It blocks your escape and approaches you with evil intent, no doubt.\n\nYou take the rusted key from the beaker.\n\n> You attack the glass with the table leg\n(the glass monster with the table leg)\n(first taking the table leg)\n\n> You attack the glass with the sword\n(the glass monster with the elvish sword)\nYou swing the elvish blade at the glass monster and, true to its nature, it helps defend you from such evil magic by smashing much of its glass body back to little pieces on the floor. Unfortunately, it isn't vanquished yet and it swings at you; an attack that you deftly dodge.\n\n> Continue\n(the glass monster with the elvish sword)\nThankfully, with your next attack, you are able to smash the creature back into the tiny glass shards from where it originated."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork]\n\n> You look around\nThis may have once been an alchemical lab. Shards of glass cover the floor as if someone went off his nut and smashed everything in here. The only passage from here is back to the east.\n\nA beaker seems to have been found and set back in place in the center of a shelf.\n\n> Examine beaker\nThe beaker is empty.\n\n> You check what you're carrying\nYou are carrying:\na table leg\na rusted key\na zorkmid\na small lantern (providing light)\nan elvish sword\na backpack (open)\na spider fang\na dusty key\na strange skull\na journal page\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\n\n> You put the table leg in the backpack\nYou put the table leg into the backpack.\n\n> You take the beaker\nYou pick up the beaker from the ground."
    },
    {
        "text": "[Themes: Zorkian, Fantasy]\n\n> You look at your surroundings\nThis may have once been an alchemical lab. Shards of glass cover the floor as if someone went off his nut and smashed everything in here. The only passage from here is back to the east.\n\n> Inventory\nYou are carrying:\na beaker (empty)\na rusted key\na zorkmid\na small lantern (providing light)\nan elvish sword\na backpack (open)\na table leg\na spider fang\na dusty key\na strange skull\na journal page\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\n\n> You open Door with the rusted key\nYou unlock the oak door.\n\n> You go to the west\n(first opening the oak door)\n\nYou are at the east end of a ginormous library. Shelves upon shelves of books stretch high over your head and the place seems to have been somewhat ransacked. Besides the shelves, some of the books are strewn about the floor; tossed aside as if someone was desperately looking for something. The flickering flames from scattered braziers make the shadows dance in this large, oddly shaped room. More of the library can be reached to the west and southwest.\n\n> You put the rusted key in the backpack\nYou put the rusted key into the backpack.\n\n> You look at the shelves\nBooks, books, everywhere...all shapes and sizes, and all have one thing in common: they are all written in tongues unknown to you.\n\n> You go to the west\nYou are at the west end of a ginormous library. Shelves upon shelves of books stretch high over your head and the place seems to have been somewhat ransacked. Besides the shelves, some of the books are strewn about the floor; tossed aside as if someone was desperately looking for something. The flickering flames from scattered braziers make the shadows dance in this large, oddly shaped room. More of the library can be reached to the east and south.\n\nA large and strange glass globe is placed in the corner of the library here. Inside, there seems to be a man, dressed much as an elderly wizard, who beats on the glass shouting pleas at you. However, you cannot hear his words or even the thumping on the glass.\n\n> Wave\nYou wave, feeling foolish.\n\n> You examine man\nHe is dressed much as you've seen wizards dress, however, you haven't seen some of his style choices outside of a book of history of the Great Underground Empire. He seems to be in distress and is pounding, albeit soundlessly, on the glass, shouting unheard, and pointing exasperatedly to the south.\n\n> You examine the globe\nA large and strange glass globe is placed in the corner of the library here. Inside, there seems to be a man, dressed much as an elderly wizard, who beats on the glass shouting pleas at you. However, you cannot hear his words or even the thumping on the glass.\n\nIn the prison globe is a wizard.\n\n> You go south\nYou are at the south end of a ginormous library. Shelves upon shelves of books stretch high over your head and the place seems to have been somewhat ransacked. Besides the shelves, some of the books are strewn about the floor; tossed aside as if someone was desperately looking for something. The flickering flames from scattered braziers make the shadows dance in this large, oddly shaped room. More of the library can be reached to the north and northeast.\n\nAcross from you, tearing out books from the shelves as if frantically seeking something, is a headless demon.\n\n> You examine the demon\nHe seems as if he were a well-dressed man; only without a head. He is frantically pulling books off the shelf, examining them swiftly, and throwing them behind him. He is obviously searching for a particular book, you imagine.\n\n> You look at what you're carrying with you\nYou are carrying:\na beaker (empty)\na zorkmid\na small lantern (providing light)\nan elvish sword\na backpack (open)\na rusted key\na table leg\na spider fang\na dusty key\na strange skull\na journal page\na bust of Korboz\na skeleton key\na crystal ashtray\na heap of useless wood\n\n> You take the skull\nYou take the strange skull from the backpack.\n\n> You throw the skull at the demon\nYou toss the strange skull at the demon and as it hits him, he (and the skull) instantly disappear from this dimension with an audible\npop sound."
    },
    {
        "text": "[Themes: Zorkian, Fantasy, Zork]\n\n> You describe your surroundings\nYou are at the south end of a ginormous library. Shelves upon shelves of books stretch high over your head and the place seems to have been somewhat ransacked. Besides the shelves, some of the books are strewn about the floor; tossed aside as if someone was desperately looking for something. The flickering flames from scattered braziers make the shadows dance in this large, oddly shaped room. More of the library can be reached to the north and northeast.\n\n> You go north\nYou are at the west end of a ginormous library. Shelves upon shelves of books stretch high over your head and the place seems to have been somewhat ransacked. Besides the shelves, some of the books are strewn about the floor; tossed aside as if someone was desperately looking for something. The flickering flames from scattered braziers make the shadows dance in this large, oddly shaped room. More of the library can be reached to the east and south.\n\nThe wizard seems to have aged wayy past his expiration date. The globe prison must have kept him alive, but now that the demon magic that created it has gone, the wizard's years finally caught up with him.\n\nThe globe prison now lies in shards.\n\n> You search wizard\nYou find something very special. You don't know why you know this, but you do. It is a small tome written in an archaic tongue. Perhaps this is what the demon was searching for all along. The englobed wizard must've been hiding it on his person this whole time. Of all the treasures you've found today, this tome may be more important (and expensive) than you know..."
    },
    {
        "text": "[Themes: Humor, bomb]\n\nLoading game...\n\nCut the Red Wire! No, the Blue Wire!\n\nCut the Red Wire!\nNo, the Blue Wire!\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n[Author's Note: You are a bomb disposal expert at the old warehouse on Throggmorton Row facing a big, nasty bomb. A red wire and a blue wire dangle from the side of the bomb.]\n\n> About you\nYou're a bit short for your height, but otherwise unremarkable.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You cut red Wire\nYou cut the red wire.\nA moment's breathless anticipation follows.\nFollowed by a thunderous explosion as the bomb explodes anyway. Ah well, it was a good try.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You cut blue Wire\nYou cut the blue wire.\nA moment's breathless anticipation follows.\nFollowed by a thunderous explosion as the bomb explodes anyway. Ah well, it was a good try.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\n[MORE]\n\n> You massage the buttocks\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You pull blue Wire\nYou pull the blue wire, hoping this might defuse the bomb.\nThe thunderously loud explosion which abruptly tears you apart indicates this isn't the case.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You examine the bomb\nIt's a remarkably nasty and efficient looking bomb. The sort of bomb that immediately commands attention. A guy would have to be totally mad, or have a death wish on his hands, to try and defuse something like this.\nWhy is it, you wonder, that you decided to become a bomb disposal expert? Wasn't stacking shelves in Asda enough excitement for you?\n\n[MORE]\n\n> You press the green\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You eat bomb\nWhatever that was, it won't be done.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You throw the bomb at the crowd\nYou attempt to engage the sightseers but as they're only here for the spectacle of seeing you go up in smoke, they don't prove very helpful.\n\nThe bomb explodes, taking you, and it, up in a large cloud of smoke. The sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> Pray\nYou try praying. It's never worked before and, unsurprisingly, it doesn't work now.\n\nThe bomb explodes, taking you, and it, up in a large cloud of smoke. The sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You examine red Wire\nThe red wire stares at you and you stare at it. Unfortunately, this staring contest has only one winner: the bomb.\n\n[MORE]\n\n> You look at red Wire\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You examine blue Wire\nThe blue wire stares at you and you stare at it. Unfortunately, this staring contest has only one winner: the bomb.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\nWhatever that was, it won't be done.\n\n[MORE]\n\n> You check your inventory\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\nWhatever that was, it won't be done.\n\n[MORE]\n\n> Inventory\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> No the blue wire\nYou cut the red wire.\nA moment's breathless anticipation follows.\nFollowed by a thunderous explosion as the bomb explodes anyway. Ah well, it was a good try.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\nThe blue wire stares at you and you stare at it. Unfortunately, this staring contest has only one winner: the bomb.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You check your inventory\nYou are carrying a pair of wire cutters.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You examine yourself\n[x me]\nYou're a bit short for your height, but otherwise unremarkable.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> Xyzzy\nYou utter the magic word, hoping it will defuse the bomb, move it to a safe location, shield you from its blast, or save you in some other way.\nUnfortunately it doesn't do anything other than waste your last\nmoment on Earth due to the bomb exploding a moment later.\n\n> You look at the clamp\nWhatever that was, it won't be done.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\nWhatever that was, it won't be done.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You turn off the bomb\nWhatever that was, it won't be done.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You examine the wall\nYour thoughts stray in the direction of the walls, but the bomb has other ideas and blows you up so the walls will forever remain a mystery.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You attach red Wire to blue Wire\nThe red wire stares at you and you stare at it. Unfortunately, this staring contest has only one winner: the bomb.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You hit the bomb\n[kill bomb]\nThoughts of violence enter your mind but are never acted upon due to the unfortunately timed explosion from the bomb.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You hit the bomb with the davidw\n[kill bomb with DavidW]\nThoughts of violence enter your mind but are never acted upon due to the unfortunately timed explosion from the bomb.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You wake up\n[wake u]\nWhatever that was, it won't be done.\n\nUnfortunately, your hesitation has cost you dearly. The bomb explodes, taking you, and it, up in a large cloud of smoke.\nThe sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb.\n\n> You cut green Wire\nWhich wire? The red wire or the blue wire?\nUnfortunately, your struggles with disambiguation have cost you\ndearly.\n\nThe bomb explodes, taking you, and it, up in a large cloud of smoke. The sightseers give a raucous cheer and conclude that this was the\nbest damn explosion they've witnessed all week.\n\nYou float up to Heaven where Saint Paul, decked out in Armani garb to die for, informs you that the Big Guy is mightily disappointed in your shoddy performance and has determined you're going to go right back down and get it done properly. You aren't given a say in this, but Saint Paul does give you a hefty kick up the backside to speed you on your way.\nMassage your aching buttocks and press the RETURN key if you'd be so kind.\n\nThe warehouse itself is nothing special. The large bomb clamped to a wall in the centre of the main area is. A cordon has been erected around it, keeping back a crowd of sightseers eager to see a bomb disposal expert blown to pieces.\nA red wire and a blue wire dangle from the side of the bomb."
    },
    {
        "text": "Late night movie night at your place! It's two AM, your friends are here, the DVD is already in the machine, and you're ready to watch.\n\nOr are you?\n\nRagnarok: Twilight of the Gods\nA New Year's SpeedIF Game (with non-standard parameters: type XYZZY for details)\n\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east.\n\nMindo is floating placidly in the corner.\n\n[Author's Note: Late night movie night at your place! It's two AM, your friends are here, the DVD is already in the machine, and you're ready to watch. Or are you?]"
    },
    {
        "text": "> You look at the self\nAs good-looking as ever.\n\n> Xyzzy\nvimes says, \"Hm. Kernels, Ragnarok, mind, a copper coin, and a badly-implemented NPC.\"\n\n> You examine the brain\nAh, Mindo The Mind. You and Mindo have been friends ever since third grade, when a bunch of bigger kids were picking on you for not knowing how to balance a checkbook, and Mindo defended you by telekinetically flinging all of the bullies through the air into the community swimming hole on the other side of town. Good times. He's never been much of a conversationalist, but he's an awesome roommate and the coolest disembodied brain you've ever met.\n\n> You think\nWhat a good idea.\n\n> You show yourself to Mindo\n(first taking yourself)\nYou are always self-possessed."
    },
    {
        "text": "> Look around\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east.\n\nMindo is floating placidly in the corner.\n\n> You take all\nMindo: I don't suppose Mindo would care for that.\nlights: They're hardly portable.\nrefrigerator: That's hardly portable.\nfreezer: That's hardly portable.\ntelephone: It's two in the morning. It's too late to be calling anyone on the phone.\nstove: That's hardly portable.\nmicrowave oven: That's hardly portable.\ncabinets: They're hardly portable.\n\n> You call for the pizza\nIt's two in the morning. It's too late to be calling anyone on the phone.\n\n> You open the fridge\nThat seems like a monumentally unwise idea. The last time you opened the fridge, you ended up spending a week in the hospital and lost all memories for thirty-six hours before and after the event. But hey, if you want to give it a shot, it's your funeral.\n\n> You open the freezer\nDang, no more burritos. You'll have to go to the store.\n\n> You open the cabinets\nYou open the cabinets, revealing a bowl of unpopped popcorn kernels and a fuse box.\n\n> Examine box\n(the microwave oven)\nA black box with a door and numbers on the front. You use it to reheat schezuan shrimp, nuke frozen burritos and pop popcorn.\n\n> You take the Kernels\nTaken.\n\n> You look at the fuse\nWhich do you mean, the fuse box or the dusty fuse?\n\n> You eat the Kernels\nYou try one. Ow! No wonder people pop these first.\n\n> You look at dusty\nIt's a dusty old fuse that has served you well for years.\n\n> You open the microwave\nFortunately, you haven't accidentally left anything in there overnight. This time.\n\n> You get the Kernels\nYou already have that.\n\n> You put the Kernels in the microwave\nYou're about to put the bowl of popcorn kernels into the microwave when you feel a telekinetic tug at your arm.\n\nMindo telepathically communicates, \"You shouldn't make popcorn without oil. Unless you have an air popper. Which we don't.\"\n\nMindo is, as usual, correct.\n\n> You examine the stove\nYou have mixed emotions when you think back to the day you last used this stove. You were making tuna noodle casserole. You're still not exactly sure why the contents exploded, but you haven't been able to pry the oven open since.\n\n> You go east\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nThor rumbles, \"The time has come for time for Ragnarok, Twilight of the Gods! THOR MUST NOT BE KEPT WAITING!\"\n\nYour reflexes serve you well, as you duck just before a lightning bolt arcs from Thor's fingers, passing inches from your head, and striking someplace in the kitchen behind you. Instantly, all the lights go dark.\n\n\"Oops,\" rumbles Thor, \"Did I do that?\"\n\n> You ask Lisa about the oil\nLisa mumbles, \"Wake me up when it's time for the popcorn and the movie, 'K?\"\n\n> You look at Lisa\nLisa is dozing in the big armchair.\n\n> You look at Thor\nThor, the Norse god of thunder, is hanging out on the couch.\n\n> You ask thor about the oil\nThor rumbles, \"The time has come for Ragnarok, Twilight of the Gods!\"\n\n> You look under the couch\nYou poke around between the couch cushions.\n\nThor rumbles, \"This is an indignity up with which I should not have to put!\" But he still lifts his butt cheek enough to let you check underneath the cushion he's sitting on.\n\nJackpot! You come away with a candy wrapper, a quarter, a small bottle of oil, a penny, a dime and a wad of cat hair!\n\n> You eat the cat\nThat's plainly inedible.\n\n> Go west\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east.\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient.\n\nMindo is floating placidly in the corner.\n\n> About you\nAs good-looking as ever.\n\n> You put the coin in the fuse\nWhich do you mean, the fuse box or the burnt-out fuse?\n\n> You gethe burnt-out fuse\nTaken.\n\n> You put penny in fuse box\nYowch! You suck your fingers for a moment, wondering if maybe you should get a trained electrician to stick pennies in your fuse box in the future.\n\nBut on the plus side, the lights are back on!\n\n> You check what you're carrying\nYou are carrying:\na burnt-out fuse\na wad of cat hair\na dime\na small bottle of oil\na quarter\na candy wrapper\na bowl of unpopped popcorn kernels\n\n> You put oil on popcorn\nYou pour the oil over the popcorn kernels and dispose of the bottle.\n\n> You put the popcorn in the microwave\nYou put the bowl of oiled popcorn kernels into the microwave, set it for two minutes and thirty-four seconds, and close the door.\n\nA few moments later, you hear a sizzling, popping noise.\n\nA few moments after that, the microwave explodes.\n\nHrm. I probably should have mentioned that it was a metal bowl. My bad."
    },
    {
        "text": "> Look around\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, exploded microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east\n\nMindo is floating placidly in the corner.\n\n> You examine the microwave\nA total mess. The door hangs off at a decorative (but non-functional) angle, the timer display is cracked down the middle, and every part of it is pitted with black scorch marks. On the plus side, the microwave is full of freshly-popped popcorn.\n\n> You take it\nThat's hardly portable.\n\n> You eat the popcorn\nYou try a mouthful. It's tasty! Admittedly, it could use some salt, but you've already done enough for this puzzle, so we'll just call it tasty.\n\n> Go east\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\n> You wake lisa\nLisa mumbles, \"Wake me up when it's time for the popcorn and the movie, 'K?\"\n\n> You turn on the player\nLisa immediately kicks the power button with her foot, turning it back off again.\n\nLisa mumbles, \"Can't watch a movie without popcorn...\"\n\nThor rumbles, \"But The time has come for Ragnarok, Twilight of the Gods!\"\n\nFrom the other room, Mindo telepathically communicates, \"Providing snacks is one of your duties as a host.\"\n\nMindo is, as usual, correct.\n\n> You examine the player\nThe DVD is already in the player. You just need to turn it on.\n\n> You give the popcorn to Lisa\nLisa mumbles, \"Rock on. Let's start the flick, guys.\"\n\n> You turn on the player\nYou turn on the DVD player and TV, then join Thor on the couch. Mindo drifts in from the kitchen as the copyright notice plays. Lisa munches her popcorn, and the opening title sequence finally begins:\n\nRAGNAROK: TWILIGHT OF THE GODS\n\nThor rumbles, \"Huzzah!\"\n\n> You check your inventory\nPlease give one of the answers above.\n\nPlease give one of the answers above.\n\nLate night movie night at your place! It's two AM, your friends are here, the DVD is already in the machine, and you're ready to watch.\n\nOr are you?\n\nRagnarok: Twilight of the Gods\nA New Year's SpeedIF Game (with non-standard parameters: type XYZZY for details)\n\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east.\n\nMindo is floating placidly in the corner.\n\n> You go east\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nThor rumbles, \"The time has come for time for Ragnarok, Twilight of the Gods! THOR MUST NOT BE KEPT WAITING!\"\n\nYour reflexes serve you well, as you duck just before a lightning bolt arcs from Thor's fingers, passing inches from your head, and striking someplace in the kitchen behind you. Instantly, all the lights go dark.\n\n\"Oops,\" rumbles Thor, \"Did I do that?\"\n\n> You take all\nlights: They're hardly portable.\nLisa: I don't suppose Lisa would care for that.\nThor: I don't suppose Thor would care for that.\n(couch): Alas, there are no more treasures to be found in the sofa for the time being.\ncombination TV/DVD player: That's hardly portable.\n\n> You look at what you're carrying with you\nYou are carrying:\na wad of cat hair\na dime\na penny\na small bottle of oil\na quarter\na candy wrapper\n\n> Examine wrapper\nIt's apparently from an Almond Joy.\n\n> You look at the quarter\nTwenty-five cents! That's enough to buy a Garfield phone at a yard sale. Too bad it's Canadian.\n\n> You examine dime\nTen cents. At one time, this is what you needed if you wanted to make a phone call.\n\n> You examine the oil\nYou're not really sure what kind of oil this is, but you think it might be left over from when Mindo took that massage class. It's amazing what he was able to do for the knots in your shoulders despite not actually possessing hands.\n\n> You sit on the couch\nYou get onto the (couch).\n\n> Go west\nYou'll have to get off the (couch) first.\n\n> You stand\nYou get off the (couch).\n\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient.\n\n> You look at what you're carrying with you\nYou are carrying:\na wad of cat hair\na dime\na penny\na small bottle of oil\na quarter\na candy wrapper"
    },
    {
        "text": "> You look around\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient.\n\n> Go west\nThis is the place where you prepare food. And by \"prepare food\", of course, I mean \"microwave frozen burritos\" and \"call for pizza\". It's fitted out with all the usual amenities: refrigerator, stove, microwave, cabinets, a large disembodied brain floating in the corner. Pretty much your standard IF protagonist's kitchen. The living room is to the east.\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient.\n\nMindo is floating placidly in the corner.\n\n> You open the fridge\nThat seems like a monumentally unwise idea. The last time you opened the fridge, you ended up spending a week in the hospital and lost all memories for thirty-six hours before and after the event. But hey, if\n\n> You open the microwave\nyou want to give it a shot, it's your funeral.\n\nFortunately, you haven't accidentally left anything in there overnight. This time.\n\n> You open fridge\nYou take a deep breath, brace yourself against the unknown, and open the door.\n\nDo you remember that scene near the end of Raiders of the Lost Ark?\n\nYeah, well. This ain't the glory of God here, but the outcome is otherwise strikingly similar. Better luck next time around.\n\n> You get the bowl and the box\nbowl of unpopped popcorn kernels: Taken.\nmicrowave oven: That's hardly portable.\n\n> You examine the bowl\nWhat the heck? Aren't popcorn kernels supposed to come in a paper bag? With microwave instructions on the back?\n\n> You open the microwave\nThat's already open.\n\n> You go east\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient.\n\n> You look at the fuse box\nAn open-faced fuse box. Conveniently, your entire home runs on just one fuse. In the fuse box is a burnt-out fuse.\n\n> You examine the telephone\nA telephone in the shape of Garfield the cat which you picked up for only a quarter at a yard sale. Cha-ching!\n\n> You call Thor\nIt's two in the morning. It's too late to be calling anyone on the phone.\n\n> You put the cat in the microwave\n(the wad of cat hair in the microwave oven)\nYou won't be microwaving anything without electricity.\n\n> You put penny in the fuse\n(the burnt-out fuse)\nThat can't contain things.\n\n> You eat the oil\nThat's plainly inedible.\n\n> You go east\nEveryone is here! Lisa's settled into the big armchair, Thor is hanging out on the couch, Mindo is -- well, Mindo's still in the kitchen, but he'll come in when the movie starts, undoubtedly. You've already got the DVD in your combination TV/DVD player, so you just need to turn it on and late night movie night can begin!\n\nIt's also pretty dark in here. It's a good thing you've got excellent night vision, or else that could be somewhat inconvenient."
    },
    {
        "text": "[Themes: Mystery, boat, mystery, sea, ocean]\n\nYesterday, as you were walking through Central Park, a meteorite crashed nearby, bathing you in cosmic radiation. It only made the twelth page of the paper, under Dear Abby. Of course, if anyone could have foreseen the awful effects of that accident, it surely would have been a front page story. But there was no way for you, or anyone else, to predict that the result of that accident would be....\n\nThe Underoos That Ate New York!\n\n(c) 1994. All Rights Reserved.\nEmail: gkw@pobox.com\nType 'xyzzy' for help and information.\n\nStandard interpreter 1.0\n\nYour Bedroom (on the bed)\nHome sweet home for a '60s throwback bachelor like yourself.\nAssorted, but unimportant decorations litter the walls and ceiling.\nTo the west is a door that, as you fuzzily recall, leads into your walk-in closet. To the east is a hallway, that, as you even more fuzzily recall, leads to the kitchen.\n\n[Author's Note: Go sailing on a yacht with three friends, and a corpse.]"
    },
    {
        "text": "[Themes: Mystery, sea, ocean]\n\n> Xyzzy\nA hollow voice says, \"This is a short sample 'game' designed to test out some programming ideas I had. It pays homage to the bad old sci-fi B movies. The material here is, I suppose, vaguely mystifying to small children, so parents be warned, play it through first yourself, and make your own decision about it.\""
    },
    {
        "text": "[Themes: Mystery, ocean, mystery]\n\nHow did Thom ever talk you into this one...\n\nYour friend Thom Hall has always been a smooth talker, which is probably how he got you to attend his party on board the *Bellerophon*. The fourty-eight-foot yacht is named after the H.M.S. Bellerophon, the ship on which Napoleon formally surrendered in 1815 after Waterloo. Thom isn't usually too modest.\n\nAnyway, you're now stuck at a floating party with three other people you barely know, friends of Thom's. Bill Leveritt is one of Thom's partners in his architectural firm. Carl Weathers, another old friend of Thom's, brought his girlfriend Ashleigh Flannagin, which completes the floating fivesome.\n\nSo far you've seen Bill and Thom yell at each other, Thom hit Carl for some unexplained reason, and Ashleigh ignore both Thom and you. Not the most pleasant party you've ever been to.\n\nAnd it's barely 10 a.m...\n\nUndertow v1.1 (9/5/1995) by Stephen Granade\n\nThe forward head sports a small toilet, a sink, and a miniscule shower. In the floor is a small drain; above the sink, a mirror and medicine cabinet. A closed door leads west.\n\n> You open the cabinet\nOpened.\n\n> Inventory\nYou are empty-handed.\n\n> You look at it\nIt is bolted to the wall just above the sink. It is made of strong plastic, and is open.\n\n> You examine the drain\nIt sees a lot of use due to the shower. Its metal surface is streaked with hard-water stains.\n\n> Time\nThe time is now 10:12 a.m.\n\n> About yourself\nYou look remarkably like yourself.\n\n> You go west\nYou'll have to open the door first.\n\n> You open the door\nIt's locked.\n\n> You unlock door\nUnlocked.\n\n> You open the door\nOpened.\n\n> Go west\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is a hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nSitting on the left v-berth is a pill bottle.\n\n> You examine bottle\nThe closed bottle is opaque and plastic. The label has been torn off, so you don't know where it came from or what its pills do. All that is left is a faded sketch of a man with dark circles under his eyes.\n\n> You get the bottle\nTaken.\n\n> You open it\nOpening the pill bottle reveals five little pills.\n\n> You eat the pill\nYou swallow the pill, grimacing at its chalky taste. Almost immediately, you feel a wave of lethargy sweep over you. You have to fight off the overwhelming urge to sleep.\n\n> You open the locker\nOpening the hanging locker reveals a safe.\n\n> You examine safe\nSquat, grey, metal. It obviously requires a key to unlock it. Part of the top of the safe is scarred with deep gouges.\n\n> You examine the gouges\nOn closer inspection, you can see that the gouges outline a panel.\n\n> You examine the panel\nThe panel is surrounded by gouges, evidence of prior removals.\n\n> You open it\nNo matter how you try to fit your fingers around the panel, you fail. Evidently the panel is not openable without the assistance of a tool.\n\n> Up\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\n\n> You examine the tray\nThe wooden drink tray has held many, many drinks on its surface and is discolored with many, many drink stains. Right now it holds a whiskey bottle, a scotch bottle, a wine bottle, and a bottle of beer. One edge is chipped slightly.\n\nCarl arrives from the west.\n\n> You examine Carl\nCarl Weathers is about 28, with sandy brown hair and light blue eyes. If Hitler were alive today, he'd put Carl on one of his posters. Carl is a bit of a know-it-all, but fairly bright. You've never quite been sure what he does for a living.\n\nBill arrives from the west.\n\nWith a large sigh, Carl sits down on the bench.\n\n> You ask Carl about Bill\nCarl says, \"Hmm, can't tell you too much about that!\"\n\nBill wanders over to the drink tray and picks up the whiskey bottle. From somewhere around the bar, he scrounges up a slightly-clean glass. With a deft flick of his wrist, he pours himself a shot of the whiskey and replaces the bottle. \"I've always, er, liked whiskey,\" he comments.\n\nAshleigh arrives from the west.\n\n> You look at Bill\nBill Leveritt has been Thom's partner in their architectural firm for as long as you've known Thom. Bill's thatch of thinning gray hair and round glasses make him look older than his forty-two years. He tries to dress flamboyantly but often fails, as demonstrated today by his long-sleeved blue oxford shirt. He's extremely good at what he does, but he is very unassuming; Thom is the talker of the firm. In one hand he is holding one of his ubiquitous glasses of whiskey.\n\nAshleigh sits down next to Carl and whispers something to him. He grins slightly in response.\n\n> You examine Ashleigh\nAshleigh Flannagin is a knockout, which is why Thom ever dated her in the first place. However, Thom always has to be right, and it didn't take long for Ash to tire of that and start dating Carl. She has shoulder-length copper hair and dark brown eyes.\n\n> You look at Carl\nCarl Weathers is about 28, with sandy brown hair and light blue eyes. If Hitler were alive today, he'd put Carl on one of his posters. Carl is a bit of a know-it-all, but fairly bright. You've never quite been sure what he does for a living.\n\n> You go west\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\n\n> You look at the canopy\nIt arches over much of the flying bridge.\n\n> Go south\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\n\n> About yourself\nYou look remarkably like yourself.\n\n> You go to the south-east\nboat. A large access panel in the deck allows for any necessary engine maintenance. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\n\n> You examine the line\nThe line is tough, easily able to withstand the rigors of marine life. One end of it is tied to a cleat. The other end of it runs over the rail and into the water. It is taught, as if something heavy were tied to it.\n\n> You pull the line\nYou tug on the line as hard as you can, but something is weighing it down. Glancing over the rail, you see a dark shape in the water.\n\n> You examine the shape\nIt looks disturbingly person-like. In fact, it looks disturbingly Thom-like.\n\n> You pull the line\nYou tug on the line as hard as you can, but Thom's...dead weight, for lack of a better term, is too much for you. Judging from the weight, it is too much for everyone else on board.\n\n> You look at the water\nIt stretches all around you, rolling and glistening in the glare of the sun, churned up by the propellers. It is tantalizingly close yet out of reach. In the water, you can see a dim shape attached to the line tied to the cleat.\n\nBill arrives from the northwest.\n\n> You tell Bill about thom\nYou tell Bill about seeing Thom's body in the water. Bill, however, just waves you off absentmindedly.\n\nAs he is walking past it, Bill absentmindedly tugs on the line. Something about it makes him stop. He looks over the rail and into the water. His eyes widen alarmingly, and he yells, \"Oh, my God! Quick! Everyone to the cockpit deck! It's Thom!\" Bill begins pulling on the line with all his strength. \"Help me!\" he says to you.\n\n> You tell Bill about thom\nYou tell Bill about seeing Thom's body in the water. Bill, however, just waves you off absentmindedly.\n\nCarl arrives from the northwest.\n\nAshleigh arrives from the northwest.\n\n> Wait\nTime passes...\n\nCarl grabs hold of the line and strains in concert with Bill. You slide in between them and put your back into the effort, but to no avail. After a few seconds, Carl stops, swearing.\n\nBill says, \"The four of us won't be able to drag Thom on board while we're, uh, moving.\"\n\nAshleigh nods in agreement. \"We've got to cut the engines.\" You find yourself wondering just who this \"we\" are--you surely don't want to monkey around with Thom's boat. Not that he's going to care now, but habits are hard to break.\n\n> You look at the panel\nThe large access panel can be opened in order to repair or service the engines which power the boat. Right now the panel is closed.\n\nCarl finally convinces himself that he won't be able to drag Thom onboard. You would have been glad to explain it to him, but no doubt that would have taken one minute shy of eternity. He glances at the three of you.\n\n\"C'mon,\" he says, \"I need you three on the flying bridge. I'll explain up there, right?\"\n\n> You open the panel\nOpened.\n\nBill leaves to the northwest.\n\nCarl leaves to the northwest.\n\nAshleigh leaves to the northwest.\n\n> You go to the northwest\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\nBill stands here, slouching his way from one part of the boat to another.\nCarl, hands in pockets, is standing here, obviously on his way to somewhere else.\nAshleigh is briskly walking through here.\n\nBill climbs up the ladder and is gone.\n\nCarl climbs up the ladder and is gone.\n\nAshleigh climbs up the ladder and is gone.\n\n> Go upwards\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nBill slumps here quietly.\nCarl is looking at the helm, thinking.\nAshleigh is standing here, obviously a bit disturbed.\n\nBill says, \"Um, ok, Carl, what now?\"\n\nCarl looks at the controls. \"I'd best man the anchor.\" He looks at you, then at Bill. Finally, \"Bill, I want you to go to the cockpit deck and take care of the line Thom's attached to. I want you,\" he turns to Ashleigh, \"to relay my instructions to Bill, and I want you,\" he turns to you, \"to throttle back when I say so. Look over the helm.\" He makes a few adjustments to the helm, then nods to himself.\n\n> You examine the helm\nThe helm is amazingly complex, with gagues for RPMs, temperature, amperage...the mind boggles. On the right side of the helm are two levers: the throttle handle and the clutch handle. The throttle is taller than and to the right of the clutch handle. In the middle of the helm is a large wooden wheel.\n\nBill climbs down the ladder and is gone.\n\nCarl climbs down the ladder and is gone.\n\n> You look at the throttle\nThe throttle handle controls the boat's speed. When pushed all the way forward, the engines run full out. When pulled back, the engines almost idle. Right now it is set to very slow.\n\n> You examine the clutch\nThe clutch handle controls the direction the boat moves, either forward or reverse. It can be pushed forward or pulled back. Right now it is set to forward.\n\n> You examine the wheel\nAttached to the helm, the wheel controls the ship's rudders. It resembles a stereotypical ship wheel, with large wooden handles all around its circumference.\n\nFrom below, Carl yells at you, \"Pull the throttle back to idle.\"\n\n> You pull the throttle\nYou pull the throttle back to idling speed. You hear the engines slow down."
    },
    {
        "text": "[Themes: Mystery, boat, ocean, mystery]\n\n> You look at your surroundings\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nAshleigh is standing here, obviously a bit disturbed.\n\n> You ask Ashleigh about Thom\nAshleigh laughs, a deep throaty sound. \"Sometimes I wonder how I ever dated him.\"\n\n> You examine Ashleigh\nAshleigh Flannagin is a knockout, which is why Thom ever dated her in the first place. However, Thom always has to be right, and it didn't take long for Ash to tire of that and start dating Carl. She has shoulder-length copper hair and dark brown eyes.\n\n> Turn wheel\nTurn it left or right?\n\n> Turn wheel right\nYou spin the wheel to the right. The bow begins to swing to starboard.\n\nCarl yells, \"Ok, reverse the engines!\"\n\n> You pull the clutch\nYou pull the clutch back. You hear the engines drop into neutral.\n\n> You pull the clutch\nYou pull the clutch back. You hear the engines begin to turn in reverse."
    },
    {
        "text": "[Themes: Mystery, boat, ocean, mystery]\n\n> You look at your surroundings\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nAshleigh is standing here, obviously a bit disturbed.\n\n> You look at the chair\nThe blue chair makes piloting the boat much more comfortable.\n\n> You sit on the chair\nOkay, you're now sitting on the chair.\n\nCarl shouts up at you, \"Push the throttle to one-quarter.\"\n\n> You continue\nYou push the throttle forward to one-quarter speed. You hear the engines rev up to a higher pitch."
    },
    {
        "text": "[Themes: Mystery, mystery]\n\n> You look around\nFlying Bridge, in the chair\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nAshleigh is standing here, obviously a bit disturbed.\n\n> You wait for a while\nTime passes...\n\n> You stand\nOkay, you're no longer in the chair.\n\nCarl yells, \"Ok, I need you to shut off the...oh, screw it. Ash, kill the engines! And tell Bill to try pulling Thom in now.\"\n\nAshleigh moves to the helm, leaving you to yell Carl's instructions to Bill. \"Oh, er, right!\" he yells back.\n\n> You go northeast\nFrom where you are, only a thin rail stands between you and the\nwater to starboard. A roof, much more substantial than the rail and belonging to the aft stateroom, lies to port, stretching from here to the port side of the boat. Small windows gape in the stateroom's side. Two-thirds of the boat lie to the north, while the other one-third of the boat is to the southwest.\n\n> Go north\nAbove you and to port rises the flying bridge, casting a cold\nshadow across you. Also to port are the curtained windows which afford you a glimpse into the forecastle. At your feet lies a closed compartment. The boat continues to the northwest and south.\n\n> You examine the compartment\nThe compartment is about three meters long by half a meter wide and runs the length of the boat. The lid of the compartment normally doubles as the deck. Built in the lid is a small keyhole. The compartment is closed and locked.\n\n> You look at the hole\nThe hole in the deck opens into the chain locker, where the anchor chain is stored. The anchor chain runs out of it, over the rail, and plunges into the sea.\n\n> You open the locker\nYour hand is too small to fit through the hole.\n\n> You examine the screwdriver\nThom has really put this tool through its paces. Its tip is bent, as if he used it for non-standard purposes.\n\n> You look at the windows\nThey look into the forecastle.\n\n> You examine the chain\nThe anchor chain, along with the anchor, is used to attach the boat to the bottom of the sea. It runs out of the hole in the deck, over the rail, and into the sea.\n\n> You go to the southwest\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\n\n> You go to the east\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nAshleigh is here, standing pensively.\n\n> You look at the lamp\nA quick appraisal of the lamp bring the words \"bulbous,\" \"green,\" and \"hideous\" to mind for no apparent reason. The red plaid lampshade does little to mute its appearance. It has been attached to a square base about three centimeters thick, in case the boat pitches violently.\n\n> You examine the chest\nThe chest-of-drawers is a nice piece of furniture despite the many water stains on its surface. Three drawers run from the bottom of the chest to the top. A lamp perches on top of the chest like a vulture.\n\n> You close it\nClosed.\n\n> You close it\nOpened.\n\nThere's nothing in the middle drawer.\n\nClosed.\n\n> You close it\nOpened.\n\nThere's nothing in the bottom drawer.\n\nClosed.\n\n> You get the lamp\nAfter fooling with it for a few seconds, you decide that taking the lamp is a lost cause.\n\n> You examine the tray\nThe wooden drink tray has held many, many drinks on its surface and is discolored with many, many drink stains. Right now it holds a whiskey bottle, a scotch bottle, a wine bottle, and a bottle of beer. One edge is chipped slightly.\n\n> You examine the whiskey bottle\nThe label claims that the whiskey is a good brand. Knowing Thom, the label bears little relationship to what's inside. The bottle contains quite a bit of whiskey.\n\n> You look at the scotch\nThe scotch appears to be passable. Unfortunately, you don't care much for scotch.\n\n> You look at the wine\nIt is slightly yellowish.\n\n> You look at beer\nIt's Stella, an imported beer.\n\n> You look at the wine bottle\nThe bottle's label proclaims it to be the proud product of Ernest & Julio Gallo's vinyards. The bottle contains some white wine.\n\n> You examine the beer bottle\nIt is some imported beer named Stella. The bottle contains a little beer.\n\n> You examine the scotch bottle\nLight glints off the glass bottle, sparkling in your eyes. Too bad you don't like scotch; this looks to be good. The bottle contains some scotch.\n\n> You look at the galley\nIt is a marvel of compact engineering, managing to fit an electric stove, an oven, a sink, and a refrigerator in a tiny space.\n\n> You open the fridge\nOpened.\n\n> You close it\nClosed.\n\n> You look at stove\nThe stove has four burners, just enough for most marine cooking. However, for this trip the burners have been disconnected. Thom always was paranoid.\n\n> You look at the oven\nClose inspection shows you that the oven is without power, to prevent accidents. It is closed.\n\n> You look at the sink\nIt is a square metal sink, about fourty centimeters by thirty centimeters. It has one handle.\n\n> You examine the handle\nWhich handle do you mean, the throttle, the clutch, or the sink handle?\n\n> You look at the sink handle\nIt is one of those single handles which control both cold and hot water. Right now it is off."
    },
    {
        "text": "[Themes: Mystery, sea, mystery]\n\n> Go downward\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\n\n> You open the panel with the screwdriver\nYou work the screwdriver under the panel and lean on it forcefully. The panel groans open.\n\n> You look in safe\nIt's closed.\n\n> You examine safe\nSquat, grey, metal. It obviously requires a key to unlock it. Part of the top of the safe is scarred with deep gouges which outline an open panel.\n\n> Unlock safe\nWhat do you want to unlock it with?\n\n> You get panel\n%You'll% need more than your bare fingers to remove the panel.\n\n> You examine the panel\nPeering in the panel only deepens the mystery of the safe. You can clearly see mechanical workings of some sort, and deep inside a battery. An electrically-opened safe? Two contacts jut up from the safe's innards.\n\n> You open radio\nOpening the portable radio reveals a nine-volt battery.\n\n> You take the battery\nTaken.\n\n> You put the battery in the panel\nDone.\n\n> You examine the contacts\nThe electrical contacts stick up from the workings of the safe.\n\n> You look at what you're carrying with you\nYou have a pill bottle, a portable radio, a pair of wires, a screwdriver, and a nine-volt battery. The pill bottle seems to contain five little pills.\n\n> You examine the safe battery\nNo doubt used to power the workings of the safe.\n\n> You examine the battery\nWhich battery do you mean, the nine-volt battery, or the safe battery?\n\n> You connect the contacts\nWhat do you want to attach it to?\n\n> You pry the panel with the screwdriver\nThe panel is already open.\n\n> You examine safe\nSquat, grey, metal. It obviously requires a key to unlock it. Part of the top of the safe is scarred with deep gouges which outline an open panel.\n\nYou are rudely interrupted by the explosion of the *Bellerophon*. As you are flung into the air, you find yourself futilely wondering who caused the explosion.\n\n>> You have died <<\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You examine the berth\nWhich berth do you mean, the left v-berth, or the right v-berth?\n\n> You go south\nAlmost two meters high, the hanging locker is big, especially when you consider the size of everything else aboard the *Bellerophon*. It was built so clothes could hang freely inside of it. The locker is closed.\n\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\n\n> You examine the galley\nIt is a marvel of compact engineering, managing to fit an electric stove, an oven, a sink, and a refrigerator in a tiny space.\n\nCarl arrives from the west.\n\n> You go to the north\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\n\n> Go west\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\nAshleigh is briskly walking through here.\n\nAshleigh leaves to the east.\n\n> Go south\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\n\n> You go to the south-east\nboat. A large access panel in the deck allows for any necessary engine maintenance. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\n\n> You go northeast\nFrom where you are, only a thin rail stands between you and the\nwater to starboard. A roof, much more substantial than the rail and belonging to the aft stateroom, lies to port, stretching from here to the port side of the boat. Small windows gape in the stateroom's side. Two-thirds of the boat lie to the north, while the other one-third of the boat is to the southwest.\n\n> You look at the windows\nThrough them, you can see the aft stateroom.\n\n> You look through the windows\nThe aft stateroom is deserted."
    },
    {
        "text": "[Themes: Mystery, ocean, boat, mystery]\n\n> Go downward\nSqueezed inside the aft stateroom are two single berths, one on\neither side of the stateroom, and a dresser. The north door to the aft head is open. A short ladder leads up to the open south door.\n\n> You examine the dresser\nThe dresser takes up much of the room available in the aft stateroom. It is situated between the right berth and the ladder that leads up, and has three drawers.\n\n> You open the drawers\ntop drawer: Opened.\nmiddle drawer: Opened.\nbottom drawer: Opening the bottom drawer reveals a portable radio.\n\n> You go to the north\nAgainst one wall of the aft head crouches a small toilet. On the\nport wall is a sink and mirror, while the starboard wall sports the unbelievable luxury of a full bathtub. Built into the floor is a panel, which is closed. The open door to the south leads to the aft stateroom.\n\n> You look at the tub\nA bathtub is not standard issue on most boats. In this case, it's one of the many ways Thom shows you how much money he has. It is plastic, to reduce its weight, and it has a single handle, much like the sink. Its stopper is missing.\n\n> You examine the tub\nA bathtub is not standard issue on most boats. In this case, it's one of the many ways Thom shows you how much money he has. It is plastic, to reduce its weight, and it has a single handle, much like the sink. Its stopper is missing. Water is running into the tub and out again.\n\n> You turn off the tub\nOkay, it's now turned off.\n\nFrom somewhere outside you hear Bill yell, \"Oh, my God! Quick! Everyone to the cockpit deck! It's Thom!\"\n\n> Time\nThe time is now 10:37 a.m.\n\n> You open panel\nYou swing open the panel, revealing the bilge pump housed beneath it.\n\n> Inventory\nYou have a pill bottle, a portable radio, and a pair of wires.\n\n> Up\nYou can't go that way.\n\nFrom somewhere outside you hear Carl calling for you. You have to strain to understand what he's saying, but it sounds like he wants you on the flying bridge. Now.\n\n> Up\nYou can't go that way.\n\nCarl suddenly shows up. \"Right, I need you on the flying deck. C'mon.\" He grabs you by the arm and begins dragging you. You have no real choice but to follow him.\n\n\"What is it?\" you ask him en route.\n\n\"Thom. We've found him dead.\"\n\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nBill slumps here quietly.\nCarl is looking at the helm, thinking.\nAshleigh is standing here, obviously a bit disturbed.\n\nBill says, \"Um, ok, Carl, what now?\"\n\nCarl looks at the controls. \"I'd best man the anchor.\" He looks at you, then at Bill. Finally, \"Bill, I want you to go to the cockpit deck and take care of the line Thom's attached to. I want you,\" he turns to Ashleigh, \"to relay my instructions to Bill, and I want you,\" he turns to you, \"to throttle back when I say so. Look over the helm.\" He makes a few adjustments to the helm, then nods to himself.\n\n> You examine the canopy\nThe large canopy arches overhead, its blue fabric blocking the sun's terrible glare.\n\nBill climbs down the ladder and is gone.\n\nCarl climbs down the ladder and is gone."
    },
    {
        "text": "> Go downwards\nAshleigh moves in front of you, blocking you. \"What the hell are you doing? You have to run the helm! Stay here!\"\n\n> You wait awhile\nTime passes...\n\nFrom below, Carl yells at you, \"Pull the throttle back to idle.\"\n\n> You pull the throttle\nYou pull the throttle back to idling speed. You hear the engines slow down.\n\n> You wait a while\nTime passes...\n\nCarl yells, \"Ok, reverse the engines!\"\n\n> You examine the helm\nThe helm is amazingly complex, with gagues for RPMs, temperature, amperage...the mind boggles. On the right side of the helm are two levers: the throttle handle and the clutch handle. The throttle is taller than and to the right of the clutch handle. In the middle of the helm is a large wooden wheel.\n\n> Turn wheel left\nYou give the wheel a quick tug to the left. The bow begins to swing to port.\n\n> Continue\nYou give the wheel a quick tug to the left. The bow begins to swing to port.\n\nMuttering to herself, Ashleigh pulls the clutch back. You hear the engines reverse.\n\n> Turn wheel right\nYou spin the wheel to the right. The stern begins to swing to starboard.\n\nCarl shouts up at you, \"Push the throttle to one-quarter.\"\n\n> Turn wheel right\nYou spin the wheel to the right. The stern begins to swing to starboard.\n\n> You ask Ashleigh about Ashleigh\nAshleigh is no longer here.\n\nCarl yells, \"Ok, I need you to shut off the...oh, screw it. Ash, kill the engines! And tell Bill to try pulling Thom in now.\"\n\nAshleigh moves to the helm, leaving you to yell Carl's instructions to Bill. \"Oh, er, right!\" he yells back."
    },
    {
        "text": "[Themes: Mystery, mystery]\n\n> Look around\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\nAshleigh is standing here, obviously a bit disturbed.\n\nAshleigh climbs down the ladder and is gone."
    },
    {
        "text": "[Themes: Mystery, sea, mystery]\n\n> You go downward\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\nAshleigh is briskly walking through here.\n\nCarl arrives from the north.\n\nAshleigh leaves to the southeast.\n\n> You go south\nYou can't go that way.\n\nCarl leaves to the southeast.\n\n> You go to the south-east\nboat. A large access panel in the deck allows for any necessary engine maintenance. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body.\nBill slumps here quietly.\nAshleigh stands almost motionless, constantly glancing at Thom's\nbody.\nCarl stands here, hands in his pockets.\n\nCarl glances at poor Thom and shakes his head. \"Poor bastard,\" he whispers.\n\nBill glances nervously at everyone. \"Uh, what now?\"\n\nAshleigh laughs sourly. \"We sail back into port.\"\n\nYou nod in agreement, then say, \"Who'll pilot the boat?\"\n\nAfter a few seconds of silence, Carl speaks up. \"That would be me. I'll run back to the flying bridge.\"\n\n> You search the body\nAs disgusting as it is, you riffle through Thom's pockets. Nothing.\n\nCarl leaves to the northwest.\n\nAshleigh shakes her head. \"Nothing to do but go back to the fo'cle and wait.\"\n\n> You look at the body\nNo matter how often you hated Thom for one thing or another, you certainly didn't want to see him dead like this. His face is a strange purple color. Along one side of his head, just under his wet hair, is a nasty bruise, slowly darkening. One of his hands is clenched tight, tight enough to drive his fingernails into his palm. Looped complexly around his leg is a length of line.\n\nBill leaves to the northwest.\n\nAshleigh leaves to the northwest.\n\n> Go northwest\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\nBill stands here, slouching his way from one part of the boat to another.\nAshleigh is briskly walking through here.\n\nBill leaves to the north.\n\nAshleigh leaves to the north.\n\n> You go north\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\nBill stands here, slouching his way from one part of the boat to another.\nAshleigh is briskly walking through here.\n\nBill leaves to the east.\n\nAshleigh leaves to the east.\n\n> Go east\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nYou see a purse here. Sitting on the small bar is a drink tray.\nBill slumps here quietly.\nAshleigh is here, standing casually.\n\nBill collapses onto the dinette bench.\n\nAshleigh paces back and forth worriedly, then stops self-consciously. She grimaces to herself.\n\n> You look in the purse\nIt's closed.\n\nAshleigh climbs down the ladder and is gone.\n\n> Open purse\nYou open the bag, revealing the usual assortment of purse accoutrements...and a gun.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You examine Bill\nBill Leveritt has been Thom's partner in their architectural firm for as long as you've known Thom. Bill's thatch of thinning gray hair and round glasses make him look older than his forty-two years. He tries to dress flamboyantly but often fails, as demonstrated today by his long-sleeved blue oxford shirt. He's extremely good at what he does, but he is very unassuming; Thom is the talker of the firm. In one hand he is holding one of his ubiquitous glasses of whiskey.\n\n> You wait\nTime passes...\n\nAshleigh arrives, climbing up the ladder.\n\n> You wait a while\nTime passes...\n\nBill hands Ash's purse to her. \"Here,\" he says, \"you dropped this.\"\n\nAshleigh turns an odd shade of red: you can't tell if she's embarassed, mad, or worried. \"Thanks,\" she finally says.\n\n> You ask Ashleigh about the purse\nAshleigh says, \"I don't know much about that.\"\n\nCarl arrives from the west.\n\n> Wait\nTime passes...\n\nAshleigh looks up at Carl, sensing that something's wrong. \"What's up?\" she asks Carl.\n\nHe runs his hands distractedly through his curly hair. \"Ok,\" he finally says. \"Here's what we've got going on. Someone's sabotaged the engines, and I don't think I can fix them. I'll get on the radio and get someone here to help us. Until that happens, though, we're stuck.\"\n\n\"Great!\" Bill says. \"Just great! We're stuck on Thom's rotten boat with Thom's rotten body and one of us killed him!\" He downs his whiskey in one gulp as he jumps to his feet.\n\n> Wait\nTime passes...\n\nWith a disgusted shake of his head, Carl moves to the radio and begins calling for help.\n\nAshleigh, on the other hand, watches Bill for a few seconds before moving to him and slapping him for all she's worth. Bill stops completely: he has no idea how to react.\n\n\"Listen here, you pompous ass,\" Ash hisses at him, \"none of us are particularly happy right now. But you're not helping. Stop it.\"\n\nAfter a long few seconds of staring, Bill turns and pours himself another whiskey.\n\n> Wait\nTime passes...\n\nBill leaves to the west.\n\nCarl turns from the radio. \"Way to tell him,\" he says softly to Ashleigh, glancing at you as if to see if you agree. Ashleigh, however, grimaces.\n\n\"I didn't mean to yell at him like that. It's just...I mean...\" Her sentence trails off.\n\nCarl looks at her for almost half a minute, doubt showing on his face. Finally, \"I think I'll go check the engines. Gives me something to do, anyway.\"\n\n> You wait\nTime passes...\n\nCarl leaves to the west.\n\n> Go southeast\nboat. A large access panel in the deck has been opened for access to the engines. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body. Discarded on the deck, against\none edge of the boat, is a bent screwdriver.\nCarl is peering in the engines, pondering possibilities.\n\n> You get the screwdriver\nTaken.\n\nBill arrives, climbing up the ladder.\n\n> You look\nboat. A large access panel in the deck has been opened for access to the engines. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body.\nCarl is peering in the engines, pondering possibilities.\nBill slumps here quietly.\n\nBill leaves to the northeast. As Bill walks away, Carl mutters to you, \"What a prick.\""
    },
    {
        "text": "[Themes: Mystery, ocean, boat, mystery]\n\n> Go downward\nSqueezed inside the aft stateroom are two single berths, one on\neither side of the stateroom, and a dresser. The north door to the aft head is open. A short ladder leads up to the open south door.\n\n> Up\nboat. A large access panel in the deck has been opened for access to the engines. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body.\nCarl is peering in the engines, pondering possibilities.\n\nAs you clear the aft stateroom, you see a flash of color over the rail. You can't quite tell, but it looks like a rag.\n\n> You examine rag\nYou can't quite see the rag--it's hung on something about a meter down, just above the water. You're surprised it hasn't been washed away.\n\n> You go to the northwest\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\n\n> You check what you're carrying\nYou have a pill bottle, a portable radio, a pair of wires, and a screwdriver.\n\n> You tie the wires to nine-volt\nYou attach the battery to the pair of wires with a few quick turns of each wire.\n\n> You tie the wires to the contacts\nYou touch the wires to the contacts. Motors whir as the safe springs open, its regular locking mechanism bypassed.\n\n> GET KEY, NOTE, PICTURES, LETTERS\nsmall key: Taken.\nnote: Taken.\npictures: Taken.\nletters: Taken.\n\n> You examine the key\nUnremarkable, even as small metal keys go.\n\n> You examine the pictures\nThe pictures are of Carl and some woman other than Ashleigh in very compromising positions.\n\n> You examine the letters\nThe letters are from Carl to Thom.\n\n> You read the letters\nReading them, you quickly figure out that Thom was blackmailing Carl.\n\n> Up\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nAshleigh is here, standing pensively.\n\n> You show the pictures to Bill\nBill stares at the pictures in confusion. \"Uh, so?\" he says.\n\n> You show the letters to Bill\nBill stares at the letters in confusion. \"Uh, so?\" he says.\n\n> Go southeast\nAbove you and to port rises the flying bridge, casting a cold\nshadow across you. Also to port are the curtained windows which afford you a glimpse into the forecastle. At your feet lies a closed compartment. The boat continues to the northwest and south.\n\n> You unlock compartment with the key\nUnlocked.\n\n> You open it\nOpening the compartment reveals a long pole.\n\n> You look at the pole\nThe wooden pole is about two meters long and terminates in a curved hook. No doubt Thom used it for retrieving things he dropped in the water.\n\n> You get rag with the pole\nIt takes you a few seconds to snag the rag, but once you have it, dragging it on deck is almost anticlimactic. Now that it's on deck, you can tell that the rag is actually a shirt.\n\n> You examine shirt\nIf this shirt doesn't belong to Bill, it's certainly a dead ringer for the one he had on earlier. The right sleeve is torn and slightly blood-stained.\n\n> You examine the blood\nThe stain looks a lot like blood.\n\n> You look\nboat. A large access panel in the deck has been opened for access to the engines. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body.\nCarl is peering in the engines, pondering possibilities.\n\n> You show the shirt to Carl\nCarl waves you away. \"I don't need to see that,\" he tells you.\n\n> You tell Carl about the shirt\n\"Yeah, ok, ok,\" Carl says.\n\n> You look at the stern light\nThe stern light stares balefully back at you, the sun reflecting off of its clear plastic case.\n\n> Swim\nWhat do you want to swim in?\n\n> You show the picture to Carl\nCarl turns away, then back to you. \"Ok, yes, Thom had pictures taken of me and...Carol.\" He runs one hand through his hair. \"It was a fling a month ago or so. Thom's been blackmailing me since.\" He glares at you. \"But I wasn't the one who killed him! I swear!\"\n\n> You show the pictures to Carl\n\"What are you trying to do, torture me?\" he hisses at you.\n\n> You examine the body\nNo matter how often you hated Thom for one thing or another, you certainly didn't want to see him dead like this. His face is a strange purple color. Along one side of his head, just under his now-dry hair, is a nasty bruise, slowly darkening. One of his hands is clenched tight, tight enough to drive his fingernails into his palm. Looped complexly around his leg is a length of line.\n\n> You examine the line\nThe line is tough, easily able to withstand the rigors of marine life. One end of it is tied to a cleat. The other end is looped around one of Thom's ankles.\n\n> You examine the cleat\nThe cleat is a t-shaped piece of metal with two shafts attached to the boat, and is used in lashing lines. In fact, a line is tied to it now. An odd reddish stain mars its surface.\n\n> You go north\nAbove you and to port rises the flying bridge, casting a cold\nshadow across you. Also to port are the curtained windows which afford you a glimpse into the forecastle. At your feet lies an open compartment. The boat continues to the northwest and south.\n\n> You ask Bill about shirt\n\"Oh, um, I had to change. The other shirt was chafing me.\"\n\n> You look at panel\nThe large access panel can be opened in order to repair or service the engines which power the boat. Right now the panel is open, giving a view of the engines.\n\n> Go upward\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\n\n> You look through the windscreen\nYou can see the bow of the boat and Bill standing on the bow. Further out is land.\n\n> You go to the east\nThe forward head sports a small toilet, a sink, and a miniscule shower. In the floor is a small drain; above the sink, a mirror and medicine cabinet. An open door leads west.\n\n> You look at the sink\nThe sink is a semi-circle with a single handle attached to it.\n\n> You examine the cabinet\nIt is bolted to the wall just above the sink. It is made of strong plastic, and is closed.\n\n> You examine shower\nThe shower is almost more for decoration than utility. It takes up one corner of the head.\n\n> You open the pill bottle\nOpening the pill bottle reveals five little pills.\n\nYou are rudely interrupted by the explosion of the *Bellerophon*. As you are flung into the air, you find yourself futilely wondering who caused the explosion.\n\n>> You have died <<\n\nYou may restore a saved game, start over, quit, or undo the current command.\n\n> You go to the west\n(Opening the door)\nForward Stateroom\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is a hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nSitting on the left v-berth is a pill bottle.\n\n> Go west\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\nCarl, hands in pockets, is standing here, obviously on his way to somewhere else.\n\nBill arrives from the south.\n\nCarl leaves to the east.\n\n> You examine Bill\nBill Leveritt has been Thom's partner in their architectural firm for as long as you've known Thom. Bill's thatch of thinning gray hair and round glasses make him look older than his forty-two years. He tries to dress flamboyantly but often fails, as demonstrated today by his long-sleeved blue oxford shirt. He's extremely good at what he does, but he is very unassuming; Thom is the talker of the firm.\n\nBill leaves to the east.\n\nAshleigh arrives from the south.\n\n> You go to the east\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nBill slumps here quietly.\nCarl is seated on the dinette bench.\n\nBill wanders over to the drink tray and picks up the whiskey bottle. From somewhere around the bar, he scrounges up a slightly-clean glass. With a deft flick of his wrist, he pours himself a shot of the whiskey and replaces the bottle. \"I've always, er, liked whiskey,\" he comments.\n\nAshleigh arrives from the west.\n\n> You ask Bill about the whiskey\n\"I, uh, don't really know anything about it,\" Bill says.\n\nAshleigh sits down next to Carl and whispers something to him. He grins slightly in response.\n\n> Inventory\nYou have a pill bottle. The pill bottle seems to contain five little pills.\n\n> You ask Bill about thom\nBill says, \"I, uh, I'm really not sure how much longer I can take his attitude. He's been really, ah, annoying lately.\"\n\n> You ask Carl about Thom\nCarl grimaces. \"I dunno,\" he says, \"he just really pisses me off some times.\"\n\n> You open the bottom\nOpening the bottom drawer reveals a portable radio.\n\n> Go south\nSqueezed inside the aft stateroom are two single berths, one on\neither side of the stateroom, and a dresser. The north door to the aft head is open. A short ladder leads up to the open south door.\n\nFrom somewhere outside you hear Bill yell, \"Oh, my God! Quick! Everyone to the cockpit deck! It's Thom!\"\n\n> You go up\nboat. A large access panel in the deck allows for any necessary engine maintenance. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nBill is tugging with all his might on the line.\n\n> You pull the line\nYou tug on the line as hard as you can, but something is weighing it down. Glancing over the rail, you see a dark shape in the water.\n\nCarl arrives from the northwest.\n\nAshleigh arrives from the northwest.\n\n> You open the radio\nOpening the portable radio reveals a nine-volt battery.\n\nCarl grabs hold of the line and strains in concert with Bill. You slide in between them and put your back into the effort, but to no avail. After a few seconds, Carl stops, swearing.\n\nBill says, \"The four of us won't be able to drag Thom on board while we're, uh, moving.\"\n\nAshleigh nods in agreement. \"We've got to cut the engines.\" You find yourself wondering just who this \"we\" are--you surely don't want to monkey around with Thom's boat. Not that he's going to care now, but habits are hard to break.\n\n> You take nine-volt\nTaken.\n\nCarl finally convinces himself that he won't be able to drag Thom onboard. You would have been glad to explain it to him, but no doubt that would have taken one minute shy of eternity. He glances at the three of you.\n\n\"C'mon,\" he says, \"I need you three on the flying bridge. I'll explain up there, right?\"\n\n> Go northwest\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\n\nBill arrives from the southeast.\n\nCarl arrives from the southeast.\n\nAshleigh arrives from the southeast.\n\n> Go upward\nFrom up here, the skipper of the boat has an almost unobstructed\nview of the waters in any direction. The wind whispers around the canopy's poles and past you on its journey. Beyond the helm, through the windscreen, you can see the bow of the boat. Further away is land, quite some distance away to the northeast. A chair sits in front of the helm. Towards the stern, a ladder leads down.\n\nBill arrives, climbing up the ladder.\n\nCarl arrives, climbing up the ladder.\n\nAshleigh arrives, climbing up the ladder.\n\n> You tie the wires to nine-volt\nYou attach the battery to the pair of wires with a few quick turns of each wire.\n\nBill says, \"Um, ok, Carl, what now?\"\n\nCarl looks at the controls. \"I'd best man the anchor.\" He looks at you, then at Bill. Finally, \"Bill, I want you to go to the cockpit deck and take care of the line Thom's attached to. I want you,\" he turns to Ashleigh, \"to relay my instructions to Bill, and I want you,\" he turns to you, \"to throttle back when I say so. Look over the helm.\" He makes a few adjustments to the helm, then nods to himself.\n\n> You ask Carl about the helm\nCarl says, \"Hmm, can't tell you too much about that!\"\n\nBill climbs down the ladder and is gone.\n\nCarl climbs down the ladder and is gone.\n\n> You look through windscreen\nYou can see the bow of the boat. Further out is land.\n\n> Continue\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\nFrom below, Carl yells at you, \"Pull the throttle back to idle.\"\n\n> You look through the windscreen\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\n> You continue\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\nCarl yells, \"Ok, reverse the engines!\"\n\n> You pull the clutch\nYou pull the clutch back. You hear the engines drop into neutral.\n\n> You pull the clutch\nYou pull the clutch back. You hear the engines begin to turn in reverse.\n\n> Keep going\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\nCarl shouts up at you, \"Push the throttle to one-quarter.\"\n\n> You continue\nYou push the throttle forward to one-quarter speed. You hear the engines rev up to a higher pitch.\n\n> Continue\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\nCarl yells, \"Ok, I need you to shut off the...oh, screw it. Ash, kill the engines! And tell Bill to try pulling Thom in now.\"\n\nAshleigh moves to the helm, leaving you to yell Carl's instructions to Bill. \"Oh, er, right!\" he yells back.\n\n> Continue\nYou can see the bow of the boat and Carl standing on the bow. Further out is land.\n\nAshleigh climbs down the ladder and is gone."
    },
    {
        "text": "[Themes: Mystery, sea, mystery]\n\n> You go downward\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\nAshleigh is briskly walking through here.\n\nCarl arrives from the north.\n\nAshleigh leaves to the southeast.\n\n> Go southeast\nboat. A large access panel in the deck allows for any necessary engine maintenance. On the stern, a flagstaff juts skyward, the stern light perched atop it like a squat bird. The door leading down into the aft stateroom yawns widely. Small windows flank the door. Tied to a cleat on the port side is a line. To the northeast and northwest is the remainder of the boat.\nLying on the deck is Thom's body.\nBill slumps here quietly.\nAshleigh stands almost motionless, constantly glancing at Thom's\nbody.\n\nCarl arrives from the northwest.\n\n> You examine Bill\nBill Leveritt has been Thom's partner in their architectural firm for as long as you've known Thom. Bill's thatch of thinning gray hair and round glasses make him look older than his forty-two years. He tries to dress flamboyantly but often fails, as demonstrated today by his long-sleeved blue oxford shirt. He's extremely good at what he does, but he is very unassuming; Thom is the talker of the firm. In one hand he is holding one of his ubiquitous glasses of whiskey.\n\nCarl glances at poor Thom and shakes his head. \"Poor bastard,\" he whispers.\n\nBill glances nervously at everyone. \"Uh, what now?\"\n\nAshleigh laughs sourly. \"We sail back into port.\"\n\nYou nod in agreement, then say, \"Who'll pilot the boat?\"\n\nAfter a few seconds of silence, Carl speaks up. \"That would be me. I'll run back to the flying bridge.\"\n\n> You look at the body\nNo matter how often you hated Thom for one thing or another, you certainly didn't want to see him dead like this. His face is a strange purple color. Along one side of his head, just under his wet hair, is a nasty bruise, slowly darkening. One of his hands is clenched tight, tight enough to drive his fingernails into his palm. Looped complexly around his leg is a length of line.\n\nCarl leaves to the northwest.\n\nAshleigh shakes her head. \"Nothing to do but go back to the fo'cle and wait.\"\n\n> You go northwest\nYou stand on the deck of the boat, just to port of the aft\nstateroom. Its roof curves across the boat, and a ladder leads to the roof and then to the flying bridge. Beside the ladder, windows open into the stateroom. To starboard is the rail, standing sentinel between you and the cerulean water. The boat runs beneath your feet from the north to the southeast.\nCarl, hands in pockets, is standing here, obviously on his way to somewhere else.\n\nBill arrives from the southeast.\n\nCarl climbs up the ladder and is gone.\n\nAshleigh arrives from the southeast.\n\n> Go north\nThe flying bridge rises above you, its canopy rippling slightly in\nthe wind. To the east, an open door flanked by windows leads into the forecastle. To the northeast you can see the foredeck; to the south are the aft sections of the boat.\n\nBill arrives from the south.\n\nAshleigh arrives from the south.\n\n> Go east\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nYou see a purse here. Sitting on the small bar is a drink tray.\n\nBill arrives from the west.\n\nAshleigh arrives from the west.\n\n> You examine the purse\nThe closed purse is made of soft leather. Tasteful, but then, what other kind would Ashleigh carry?\n\nBill collapses onto the dinette bench.\n\nAshleigh paces back and forth worriedly, then stops self-consciously. She grimaces to herself.\n\n> Open purse\nYou open the bag, revealing the usual assortment of purse accoutrements...and a gun.\n\nAshleigh climbs down the ladder and is gone.\n\n> You take the gun\nAre you crazy?!? You can't be seen toting that thing around, or everyone will think YOU killed Thom.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You take the purse\nDidn't your mother ever teach you about stealing? That's Asheligh's, not yours.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You examine the accoutrements\nIt's the usual assortment of things that any given woman would carry in her purse. The stand-out of the group, however, is the gun.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more."
    },
    {
        "text": "[Themes: Mystery, mystery, boat]\n\n> Go down\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, shut tightly. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\n\n> Go east\nYou'll have to open the east door first.\n\nYou hear the door to the head unlock, then see it swing open.\n\nAshleigh arrives from the east.\n\n> You go up\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nBill is slumped in the dinette bench.\n\nAshleigh arrives, climbing up the ladder.\n\n> You examine Bill\nBill Leveritt has been Thom's partner in their architectural firm for as long as you've known Thom. Bill's thatch of thinning gray hair and round glasses make him look older than his forty-two years. He tries to dress flamboyantly but often fails, as demonstrated today by his long-sleeved blue oxford shirt. He's extremely good at what he does, but he is very unassuming; Thom is the talker of the firm. In one hand he is holding one of his ubiquitous glasses of whiskey.\n\nCarl arrives from the west.\n\nBill hands Ash's purse to her. \"Here,\" he says, \"you dropped this.\"\n\nAshleigh turns an odd shade of red: you can't tell if she's embarassed, mad, or worried. \"Thanks,\" she finally says.\n\n> You ask Bill about the purse\n\"I, uh, don't really know anything about it,\" Bill says.\n\nAshleigh looks up at Carl, sensing that something's wrong. \"What's up?\" she asks Carl.\n\nHe runs his hands distractedly through his curly hair. \"Ok,\" he finally says. \"Here's what we've got going on. Someone's sabotaged the engines, and I don't think I can fix them. I'll get on the radio and get someone here to help us. Until that happens, though, we're stuck.\"\n\n\"Great!\" Bill says. \"Just great! We're stuck on Thom's rotten boat with Thom's rotten body and one of us killed him!\" He downs his whiskey in one gulp as he jumps to his feet.\n\n> You ask Bill about the belts\nWhich bill do you mean, Bill, or Bill?\n\n> You ask Ash about the belts\nAshleigh says, \"I don't know much about that.\"\n\nWith a disgusted shake of his head, Carl moves to the radio and begins calling for help.\n\nAshleigh, on the other hand, watches Bill for a few seconds before moving to him and slapping him for all she's worth. Bill stops completely: he has no idea how to react.\n\n\"Listen here, you pompous ass,\" Ash hisses at him, \"none of us are particularly happy right now. But you're not helping. Stop it.\"\n\nAfter a long few seconds of staring, Bill turns and pours himself another whiskey.\n\n> You put the pill in whiskey\nYou can't put anything into the whiskey.\n\nWith a disgusted shake of his head, Carl moves to the radio and begins calling for help.\n\nAshleigh, on the other hand, watches Bill for a few seconds before moving to him and slapping him for all she's worth. Bill stops completely: he has no idea how to react.\n\n\"Listen here, you pompous ass,\" Ash hisses at him, \"none of us are particularly happy right now. But you're not helping. Stop it.\"\n\nAfter a long few seconds of staring, Bill turns and pours himself another whiskey.\n\n> You put the pill in the whiskey bottle\nYou drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\n\nWith a disgusted shake of his head, Carl moves to the radio and begins calling for help.\n\nAshleigh, on the other hand, watches Bill for a few seconds before moving to him and slapping him for all she's worth. Bill stops completely: he has no idea how to react.\n\n\"Listen here, you pompous ass,\" Ash hisses at him, \"none of us are particularly happy right now. But you're not helping. Stop it.\"\n\nAfter a long few seconds of staring, Bill turns and pours himself another whiskey.\n\n> You put the pill in the whiskey bottle\nYou drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\n\nBill leaves to the west.\n\nCarl turns from the radio. \"Way to tell him,\" he says softly to Ashleigh, glancing at you as if to see if you agree. Ashleigh, however, grimaces.\n\n\"I didn't mean to yell at him like that. It's just...I mean...\" Her sentence trails off.\n\nCarl looks at her for almost half a minute, doubt showing on his face. Finally, \"I think I'll go check the engines. Gives me something to do, anyway.\"\n\n> You look through the south window\nYou see no one through the window.\n\nCarl leaves to the west.\n\n> You look through the south window\nThrough the window, you see Bill.\n\n> You look through the south window\nThrough the window, you see Bill and Carl.\n\n> Keep going\nThrough the window, you see Carl and Bill.\n\n> Continue\nThrough the window, you see Carl.\n\n> You take the purse\nDidn't your mother ever teach you about stealing? That's Asheligh's, not yours.\n\nAshleigh climbs down the ladder and is gone.\n\n> You examine the purse\nThe closed purse is made of soft leather. Tasteful, but then, what other kind would Ashleigh carry?\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You look at the purse\nThe closed purse is made of soft leather. Tasteful, but then, what other kind would Ashleigh carry?\n\nAshleigh climbs down the ladder and is gone.\n\n> You take the purse\nDidn't your mother ever teach you about stealing? That's Asheligh's, not yours.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You sit on the purse\nI don't know how to sit on the purse.\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> You ask Ash about the purse\nAshleigh says, \"I don't know much about that.\"\n\nAshleigh climbs down the ladder and is gone."
    },
    {
        "text": "[Themes: Mystery, boat]\n\n> Go down\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nAshleigh is briskly walking through here.\n\nAshleigh leaves to the east.\n\n> You go east\nThe forward head sports a small toilet, a sink, and a miniscule shower. In the floor is a small drain; above the sink, a mirror and medicine cabinet. An open door leads west.\nAshleigh is here, standing casually.\n\nAshleigh says, \"I really need to use the bathroom, if you don't mind...\" Bemused, you leave the head.\n\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\n\nThe east door swings close and you hear it lock.\n\n> You examine safe\nSquat, grey, metal. It obviously requires a key to unlock it. Part of the top of the safe is scarred with deep gouges.\n\n> You examine the gouges\nOn closer inspection, you can see that the gouges outline a panel.\n\nYou hear the door to the head unlock, then see it swing open.\n\nAshleigh arrives from the east.\n\n> You ask Ashleigh about the gun\nAshleigh says, \"I don't know much about that.\"\n\nAshleigh climbs up the ladder and is gone.\n\n> Go upward\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nAshleigh is here, standing pensively.\nBill is slumped in the dinette bench.\n\nBill hands Ash's purse to her. \"Here,\" he says, \"you dropped this.\"\n\nAshleigh turns an odd shade of red: you can't tell if she's embarassed, mad, or worried. \"Thanks,\" she finally says.\n\n> You ask Bill about Bill\n\"I, uh, don't really know anything about it,\" Bill says.\n\nAshleigh climbs down the ladder and is gone.\n\n> You wait for a while\nTime passes...\n\nBill suddenly notices Ash's purse. \"Oh,\" he says, \"Ashleigh's purse.\" He picks it up, sits back down, changes his mind, starts down the ladder to the fore stateroom, changes his mind again, and collapses on the dinette bench once more.\n\n> Inventory\nYou have a pill bottle, a portable radio, and a pair of wires. The pill bottle seems to contain five little pills.\n\n> You check your inventory\nYou have a pill bottle, a portable radio, and a pair of wires. The pill bottle seems to contain five little pills.\n\nAshleigh climbs down the ladder and is gone.\n\n> You hit Bill\nBefore you can do anything, Carl has glanced up at you, then at Bill. \"Yeah?\" he asks, but your face tells him something's wrong.\n\nBill is faster than both of you. \"Get in front of me. Both of you. Let's go find Ashleigh.\"\n\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nAshleigh is here, standing pensively.\nCarl is standing here, eyeing Bill and his gun.\nBill, more tense than you've ever seen him, is waving around a gun.\n\n> You show the pictures to Bill\nBill points the gun at you. \"Don't move! Don't move!\" You freeze, hoping you've distracted him enough, but knowing that you haven't.\n\nCarl decided that now's his best chance, and he jumps towards Bill. Bill jerks back, swinging the revolver around and firing in the same motion.\n\nThe smell of cordite fills the air as Ashleigh screams. Carl's eyes widen almost comically, and he staggers back, blood spurting from a newly-formed hole approximately in the middle of his chest. Bill fires again, then again, more of a reflex action than anything else. You try to grab the gun from Bill, but he backhands you with it.\n\"Shut up, Ashleigh!\" he yells at Ash. Surprisingly, she stops.\n\nBill looks around wildly, then makes a decision. \"Drag him into the stateroom, both of you.\"\n\n\"Let me at least get one of the drinks for their wounds,\" Ash begs of Bill. He nods slightly, glancing nervously around the forecastle. Ashleigh grabs the whiskey bottle.\n\nYou take hold of one of Carl's arms; Ashleigh grabs the other, looking distinctly queasy. The two of you drag Carl into the stateroom, leaving Bill behind to mutter to himself about his nerves and how they need calming.\n\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies limply on the floor where you and Ashleigh dropped him. Asheligh is sitting in some sort of catatonic state.\n\n> Shout\nYou yell for all you're worth. Bill jerks, swinging the gun at you.\n\nCarl is as surprised as Bill and Ashleigh, but he recovers more quickly and leaps at Bill. Bill turns and fires in the same motion.\n\nThe smell of cordite fills the air, and Carl's leap turns into a stumble as the revolver bullet furrows into his left leg. He lets out a long, drawn-out scream. Bill and Ashleigh are shocked into immobility. You make a grab for Bill's gun, but he still possesses the presence of mind to backhand you viciously with it.\n\nBill looks around wildly, then makes a decision. \"Drag him into the stateroom, both of you.\"\n\n\"Let me at least get one of the drinks for their wounds,\" Ash begs of Bill. He nods slightly, glancing nervously around the forecastle. Ashleigh grabs the whiskey bottle.\n\nYou take hold of one of Carl's arms; Ashleigh grabs the other, looking distinctly queasy. The two of you drag Carl into the stateroom, leaving Bill behind to mutter to himself about his nerves and how they need calming.\n\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies here, in shock from the wound to his leg.\nAshleigh is sitting beside Carl, tending to his wound.\n\n> Up\nYou'll have to open the south door first.\n\nAshleigh dribbles some of the whiskey onto Carl's leg. He screams, then mercifully passes out. \"It'll be ok, it'll be ok,\" she whispers to him, dropping the bottle.\n\n> Oops bottle\nWhich bottle do you mean, the pill bottle, or the whiskey bottle?\n\n> Pill\nOpening the pill bottle reveals five little pills.\n\n> You put the pills in the whiskey bottle\nlittle pill: You drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\nlittle pill: You drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\nlittle pill: You drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\nlittle pill: You drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\nlittle pill: You drop one of the pills into the whiskey bottle. It quickly dissolves, leaving behind virtually no trace.\n\n> You look\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies here, in shock from the wound to his leg.\nAshleigh is sitting beside Carl, tending to his wound.\n\n> Up\nYou'll have to open the south door first.\n\n> You open the door\nWhich door do you mean, the south door, or the east door?\n\n> South\nNo matter how hard you try, you can't open it. Bill must have wedged something against it.\n\n> South\nAll that would do would be to reduce your frustration at the expense of something which isn't yours. Besides, you would probably hurt yourself.\n\n> You go to the east\nThe forward head sports a small toilet, a sink, and a miniscule shower. In the floor is a small drain; above the sink, a mirror and medicine cabinet. An open door leads west.\n\n> You examine the cabinet\nIt is bolted to the wall just above the sink. It is made of strong plastic, and is closed.\n\n> You open it\nOpened.\n\nYou hear the companionway between the stateroom and the forecastle being unblocked and opened. A few seconds later, you hear Bill's voice. \"Where's the whiskey, Ashleigh?\"\n\nAshleigh stammers, \"What--why do you--what--\"\n\n\"Where is it!?!\" he screams, totally out of control now.\n\n> Go west\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies here, in shock from the wound to his leg.\nAshleigh is sitting beside Carl, tending to his wound.\nBill, more tense than you've ever seen him, is waving around a gun.\n\nAs you enter, Bill swivels around. \"You!\" he screams at you. You hand over the whiskey bottle without a word. He upends the bottle and drains it in one draught. Bill's eyes suddenly close, much to his surprise. The muzzle of the gun traces an arc to the floor.\n\"Sleepy,\" he mumbles, just before he drops the gun and crumples to the floor.\n\nYou are left with Ashleigh and Carl's unconscious body to wait for someone to pick you up.\n\nIn just under an hour, a Coast Guard ship pulls alongside the *Bellerophon*. All you can think is, why did they take so long? The three of you are taken in for questioning, and Bill is turned over to the police. You were fortunate enough to stop Bill before he could kill Carl, even though Carl will limp a bit for the rest of his life. You ferreted out the connection between Carl, Thom, and those pictures; but you never found out why Ashleigh was carrying that gun. All in all, a good showing.\n\nThank you for playing Undertow.\n\nHow did Thom ever talk you into this one...\n\nYour friend Thom Hall has always been a smooth talker, which is probably how he got you to attend his party on board the *Bellerophon*. The fourty-eight-foot yacht is named after the H.M.S. Bellerophon, the ship on which Napoleon formally surrendered in 1815 after Waterloo. Thom isn't usually too modest.\n\nAnyway, you're now stuck at a floating party with three other people you barely know, friends of Thom's. Bill Leveritt is one of Thom's partners in his architectural firm. Carl Weathers, another old friend of Thom's, brought his girlfriend Ashleigh Flannagin, which completes the floating fivesome.\n\nSo far you've seen Bill and Thom yell at each other, Thom hit Carl for some unexplained reason, and Ashleigh ignore both Thom and you. Not the most pleasant party you've ever been to.\n\nAnd it's barely 10 a.m...\n\nUndertow v1.1 (9/5/1995) by Stephen Granade\n\nThe forward head sports a small toilet, a sink, and a miniscule shower. In the floor is a small drain; above the sink, a mirror and medicine cabinet. A closed door leads west.\n\n> You wait\nBefore you can do anything, Carl has glanced up at you, then at Bill. \"Yeah?\" he asks, but your face tells him something's wrong.\n\nBill is faster than both of you. \"Get in front of me. Both of you. Let's go find Ashleigh.\"\n\nThe forecastle of the boat is surprisingly comfortable despite its small size. The helm controls, including the wheel, are mounted on the fore wall, next to a chest-of-drawers which sports a lamp. Across from the chest and beside the west entrance is the galley; between the galley and the helm is a companionway to the fore stateroom. Also on the port wall, aft of the entrance, is a small bar. Across from it is a dinette bench. Windows are at each of the cardinal directions. The west entranceway is open, as is the companionway to the north.\nSitting on the small bar is a drink tray.\nAshleigh is here, standing pensively.\nCarl is standing here, eyeing Bill and his gun.\nBill, more tense than you've ever seen him, is waving around a gun.\n\n> You ask Carl about Ashleigh\nBill points the gun at you. \"Don't move! Don't move!\" You freeze, hoping you've distracted him enough, but knowing that you haven't.\n\nCarl decided that now's his best chance, and he jumps towards Bill. Bill jerks back, swinging the revolver around and firing in the same motion.\n\nThe smell of cordite fills the air as Ashleigh screams. Carl's eyes widen almost comically, and he staggers back, blood spurting from a newly-formed hole approximately in the middle of his chest. Bill fires again, then again, more of a reflex action than anything else. You try to grab the gun from Bill, but he backhands you with it.\n\"Shut up, Ashleigh!\" he yells at Ash. Surprisingly, she stops.\n\nBill looks around wildly, then makes a decision. \"Drag him into the stateroom, both of you.\"\n\n\"Let me at least get one of the drinks for their wounds,\" Ash begs of Bill. He nods slightly, glancing nervously around the forecastle. Ashleigh grabs the whiskey bottle.\n\nYou take hold of one of Carl's arms; Ashleigh grabs the other, looking distinctly queasy. The two of you drag Carl into the stateroom, leaving Bill behind to mutter to himself about his nerves and how they need calming.\n\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies limply on the floor where you and Ashleigh dropped him. Asheligh is sitting in some sort of catatonic state.\n\n> You hit Bill\nYou make a very sudden move towards Bill, not the brightest thing to do to a nervous man with a gun. Bill, however, is reluctant to shoot you. \"Don't try anything!\" he warns you in a high-pitched voice, the gun trembling in his grip.\n\nCarl is as surprised as Bill and Ashleigh, but he recovers more quickly and leaps at Bill. Bill turns and fires in the same motion.\n\nThe smell of cordite fills the air, and Carl's leap turns into a stumble as the revolver bullet furrows into his left leg. He lets out a long, drawn-out scream. Bill and Ashleigh are shocked into immobility. You make a grab for Bill's gun, but he still possesses the presence of mind to backhand you viciously with it.\n\nBill looks around wildly, then makes a decision. \"Drag him into the stateroom, both of you.\"\n\n\"Let me at least get one of the drinks for their wounds,\" Ash begs of Bill. He nods slightly, glancing nervously around the forecastle. Ashleigh grabs the whiskey bottle.\n\nYou take hold of one of Carl's arms; Ashleigh grabs the other, looking distinctly queasy. The two of you drag Carl into the stateroom, leaving Bill behind to mutter to himself about his nerves and how they need calming.\n\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nThe hanging locker seems to contain a safe.\nCarl lies here, in shock from the wound to his leg.\nAshleigh is sitting beside Carl, tending to his wound.\n\n> You ask Ashleigh about the gun\nAshleigh is busy comforting Carl. You'd best leave her alone.\n\nAshleigh dribbles some of the whiskey onto Carl's leg. He screams, then mercifully passes out. \"It'll be ok, it'll be ok,\" she whispers to him, dropping the bottle.\n\n> You ask Carl about the purse\nYou wisely decide to leave Carl alone.\n\n> You ask Ashleigh about the gun\n\"What?!?\" Ashleigh says. \"Okay! So there's a gun in my purse! So what?\" She pushes a lock of her copper hair out of her face. \"Yes, I wanted to kill him.\" She laughs ruefully. \"Who didn't? But you saw him. He wasn't shot!\"\n\nAsh sighs. \"He was ready to have me fired. I just couldn't let him...he was going to...\" Her objections slowly wind down. Then she looks back at you. \"But I didn't kill him!\"\n\nAsh then grabs your shoulder, pleading. \"Please, please, don't tell Carl.\"\n\n> You ask Ashleigh about Thom\nAshleigh runs her hand through her hair. \"I just can't believe he's dead. Sure, I'd thought about it before, but...\" She stops talking, perhaps realizing what she just said.\n\n> You get the bottle\nYou already have the pill bottle!\n\nAshleigh dribbles some of the whiskey onto Carl's leg. He screams, then mercifully passes out. \"It'll be ok, it'll be ok,\" she whispers to him, dropping the bottle.\n\n> You drop the whiskey bottle\nDropped.\n\n> Go west\nCompact yet liveable, the fore stateroom has two v-berths that meet near the nose of the ship. On the port wall is an open hanging locker, and across from it is the door to the forward head, standing open. A small ladder to the south leads up to a door.\nYou see a whiskey bottle here. The hanging locker seems to contain\na safe.\nCarl lies here, in shock from the wound to his leg.\nAshleigh is sitting beside Carl, tending to his wound.\n\n> You wait a while\nTime passes...\n\nA sudden sound startles you. The companionway is being opened! Bill climbs down the ladder, revolver pointed at you the whole time.\n\n\"Where's the whiskey?\" he asks you and Ashleigh. He then sees the bottle. \"Get it for me,\" he tells you, motioning with the gun. You comply, handing it to him. He upends the bottle, drinking all of it before tossing the empty bottle aside. Bill's eyes suddenly close, much to his surprise. The muzzle of the gun traces an arc to the floor. \"Sleepy,\" he mumbles, just before he drops the gun and crumples to the floor.\n\nYou are left with Ashleigh and Carl's unconscious body to wait for someone to pick you up.\n\nIn just under an hour, a Coast Guard ship pulls alongside the *Bellerophon*. All you can think is, why did they take so long? The three of you are taken in for questioning, and Bill is turned over to the police. You were fortunate enough to stop Bill before he could kill Carl, even though Carl will limp a bit for the rest of his life. You ferreted out the connection between Carl, Thom, and those pictures; andyou discovered why Ashleigh was after Thom. All in all, an excellent showing.\n\nThank you for playing Undertow."
    },
    {
        "text": "[Themes: Apollo 18 Tribute Album, based on songs]\n\nSigh. In retrospect, admitting yourself to this overseas sanitarium was a bad idea. The grounds here are beautiful, and the food is divine, but you're becoming impatient with the doctors\u00e2doctors whose techniques could be charitably described as \"unorthodox.\" Very little psychotherapy, and a bit too much word play. In any case, your disabling malaise has proven unshakeable.\n\nToday, you face your final evaluation with Dr. Schuyler. If you pass, you'll be able to leave this place, perhaps to renew your attempts at recuperation elsewhere. If you fail, the doctors might recommend that you remain...\n\n\n\nYou find yourself, once again, in Dr. Schuyler's spacious and tastefully decorated office.\n\nThe doctor is here. He holds a clipboard and a pen, and sits in his chair with impeccable posture. \"Let's begin your evaluation,\" he says, and turns over a nearby egg timer.\n\nThe doctor asks, \"Would you describe yourself as feeling...\ncold?\"\n\n(You've been preparing for this. You must respond by saying NO I'M FEELING X, where X is a word that rhymes with Dr. Schuyler's suggested emotion. Type fast\u00e2you only have sixty seconds!)\n\n> No you're feeling old\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... courageous?\"\n\n> No you're feeling outrageous\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nforced?\"\n\n> No you're feeling divorced\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nhorny?\"\n\n> No you're feeling thorny\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nbright?\"\n\n> No you're feeling right\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... delighted?\"\n\n> No you're feeling smited\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nclever?\"\n\n> No you're feeling whatever\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ndown?\"\n\n> No you're feeling brown\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nbrave?\"\n\n> No you're feeling grave\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... pessimistic?\"\n\n> No you're feeling optimistic\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... surprised?\"\n\n> No you're feeling despised\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nsaucy?\"\n\n> No you're feeling bossy\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nfurious?\"\n\n> No you're feeling curious\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nprovoked?\"\n\n> No you're feeling smoked\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... diminished?\"\n\n> No you're feeling finished\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nflat?\"\n\n> No you're feeling fat\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... acrimonious?\"\n\n> No you're feeling sanctimonious\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nserene?\"\n\n> No you're feeling green\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... depressed?\"\n\n> No you're feeling repressed\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nenraged?\"\n\n> No you're feeling deranged\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nnumb?\"\n\n> No you're feeling glum\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nannoyed?\"\n\n> No you're feeling buoyed\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nwary?\"\n\n> No you're feeling aquamarine\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\npained?\"\n\n> No you're feeling brained\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nrelieved?\"\n\n> No you're feeling paranoid\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nnervous?\"\n\n> No you're feeling chivalrous\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nalarmed?\"\n\n> No you're feeling charmed\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... diminished?\"\n\n> No you're feeling drained\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nsore?\"\n\n> No you're feeling yours\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ninferior?\"\n\n> No you're feeling superiour\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... afflicted?\"\n\n> No you're feeling evicted\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ncontent?\"\n\n> No you're feeling portent\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... despicable?\"\n\n> No you're feeling inextricable\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nstrong?\"\n\n> No you're feeling thong\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nfurious?\"\n\n> No you're feeling bi-curious\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ndesolate?\"\n\n> No you're feeling resonate\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... suspicious?\"\n\n> No you're feeling delicious\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\npolite?\"\n\n> No you're feeling delicious\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling... aggressive?\"\n\n> Feeling transgressive\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nuneasy?\"\n\n> No you're feeling queasy\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nrejected?\"\n\n> From the time\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\noffended?\"\n\n> No you're feeling schmoffended\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nblithe?\"\n\n> No you're feeling lithe\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ncontent?\"\n\n> No you're feeling so bent\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ngloomy?\"\n\n> No you're feeling roomy\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nshocked?\"\n\n> No you're feeling defrocked\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nannoyed?\"\n\n> No you're feeling club floyd\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ndull?\"\n\n> No you're feeling bull\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nshocked?\"\n\n> No you're feeling glocked\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\npleased?\"\n\n> No you're feeling squeezed\n\"Very interesting!\" says the doctor. He makes a checkmark on his clipboard. \"I think we're making progress.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\nfearful?\"\n\n> No you're feeling earful\n\"Hmmm,\" responds the doctor with disapproval. \"Your emotions are strangely... discordant. Let's try another.\"\n\nThe doctor asks, \"Would you describe yourself as feeling...\ntense?\"\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Fantasy, logic]\n\nAfter a series of adventures too mind-boggling to put into words, you finally arrive at the antechamber to the Count's treasure vault! Oh my, oh me...\n\n69,105 Keys\n\nFor more about this game, type ABOUT. For credits, type CREDITS.\n\nWowzers. The Count opted for simplicity and vague elegance in his treasure vault antechamber, choosing to dress the walls, floor, and ceiling alike in money-green marble tiles delicately flecked with gold. Apart from yourself and the stupendously locked vault door to the south, there's nothing here. Except for... THE KEYS.\n\nLike so many fallen autumn leaves, an astonishing number of keys litter the floor of this antechamber.\n\n(the keys)\nJust try examining or counting the keys (or interesting subsets of keys).\n\n[Author's Note: There's just one room. How hard can it be? Just unlock the door. Oh. There's 69,105 keys.]\n\n> You look at the keys\nYou see nothing special about the keys.\n\nExcept, of course, that the keys come in a large number of garish colors. The bows of the keys, that is, the wide ends of the keys are painted in various colors. The shafts of the keys, of course, are not painted.\n\n> About yourself\nYou're a young adventurer determined to win the Count's final challenge: to obtain the treasure he locked up in his vault so many years ago.\n\n> You look at what you're carrying with you\nYou are carrying nothing. So not cool.\n\n> You take all\nkeys: It's pointless to pick up any of these keys except the one key that you want: the key to the vault door.\n\n> You count the keys\nYou see 69105 keys here.\n\n> You look at the door\nThe heavy vault door is closed and locked. Very locked. Your keen adventurer eyes espy the following inscription:\n\n\"One of these keys is not like the others.\nOne of these keys just isn't the same.\nThat one unique key unlocks my vault.\nPerhaps it would help if you tried my name.\n-- Count Keys\""
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nWowzers. The Count opted for simplicity and vague elegance in his treasure vault antechamber, choosing to dress the walls, floor, and ceiling alike in money-green marble tiles delicately flecked with gold. Apart from yourself and the stupendously locked vault door to the south, there's nothing here. Except for... THE KEYS.\n\nLike so many fallen autumn leaves, an astonishing 69,105 keys litter the floor of this antechamber.\n\n> You examine the colours\nThere are numerous colors of keys. You see white keys, black keys, red keys, orange keys, yellow keys, green keys, blue keys, violet keys, brown keys, pink keys, grey keys, turquoise keys, magenta keys, taupe keys, beige keys, aqua keys, navy keys, and cyan keys.\n\nThe colors are painted on the bows (the fat ends) of the keys; the metal shafts of the keys are bare. Every key is painted with exactly one color. There are no unpainted keys.\n\n> You examine the red key\nYou see nothing special about the keys with red bows.\n\nPerhaps you should be more specific? Try specifying the metal as well.\n\n> You examine the metal\nWho knew that keys were made in so many types of metal? You can see silver keys, copper keys, steel keys, iron keys, gold keys, nickel keys, bronze keys, brass keys, chrome keys, and even aluminum keys here.\n\n> You examine the silver keys\nYou see nothing special about the silver keys.\n\nWait. The keys have brand names stamped on them. Acme, Borden, Carter, and so on. How many brands are there?\n\n> You get the carter key\nIt's pointless to pick up any of these keys except the one key that you want: the key to the vault door.\n\n> You count brands\nThere are 6 brands of keys here.\n\n> You count the colours\nThere are 18 colors of key bows here.\n\n> You count the metals\nThere are 10 metals used to make the keys here.\n\n> Count acme\nYou see 13770 Acme keys here.\n\n> Count borden\nYou see 255 Borden keys here.\n\n> You count Carter\nYou see 13770 Carter keys here.\n\n> You examine Borden\nYou see nothing special about the Borden keys. Hmmm. There's gotta be something else...\n\nAnd there is! Some keys are scratched and some keys are unscratched! At the top of the shafts of some keys, there's a tiny little horizontal scratch. Bwah-ha-ha! Other adventurers might miss such a tiny detail, but not you!\n\nLet's call this the scratchness property. (How many properties is that now?)\n\n> Count scratchness\nThere are 2 scratchnesses.\n\n> Count properties\nEach key has 7 qualities or properties.\n\n> You count the acme silver keys\nYou see 1530 Acme silver keys here.\n\n> Count scratched\nYou see 27794 scratched keys here.\n\n> Count acme silver scratched keys\nYou see 1530 scratched Acme silver keys here.\n\n> You count unscratched\nYou see 41311 unscratched keys here.\n\n> Count borden scratched\nYou see 254 scratched Borden keys here.\n\n> You take unscratched Borden\nWith confidence, you take the one and only unique key.\n\n> You open the door with the key\n(the unique key)\nYou fancy you hear hosannas sing in your honor as you unlock the vault door and claim a treasure so fabulous, a mere text description of which could hardly do it justice. Gosh.\n\n> You count yourself\nThere's just one of you, babe."
    },
    {
        "text": "[Themes: Fantasy]\n\n> You look at your surroundings\nWowzers. The Count opted for simplicity and vague elegance in his treasure vault antechamber, choosing to dress the walls, floor, and ceiling alike in money-green marble tiles delicately flecked with gold. Apart from yourself and the stupendously locked vault door to the south, there's nothing here. Except for... THE KEYS.\n\nLike so many fallen autumn leaves, an astonishing number of keys litter the floor of this antechamber.\n\n> Count leaves\nThere are 0 leaves here. But nice try.\n\n> You remember Count\nYou remember three things about Count Keys. One: he loves counting things. Two: he loves keys. Three: he has a marvelous treasure in his treasure vault. You're not quite sure what this treasure is, but you know he obtained it during his worldwide travels.\n\nIn his will, the Count decreed that after he died, a grand contest should be held in his home. Adventurers would compete, solving a series of intricate puzzles of his own design until, finally, one adventurer manages to reach the treasure and claim it. You hope that that adventurer will be you.\n\n> You count the tiles\nThere are 2400 marble tiles here. You're glad it wasn't you that had to install all these tiles and get them to line up straight. You hate repetitive work.\n\n> Plugh\nMy original title was always 69,105 Keys, but I brainstormed some other titles anyway. They were: Which Key?; The Count of Keys; Keygasm; Antechamber of Keys; Keys, Keys, Keys; and Qualia Control.\n\n> You rub Keys\nThat won't help. None of the keys are dusty, dirty, grimy, slimy, tarshined, rusty, or encrusted. Cleanliness is not a property you have to worry about. Be thankful.\n\n> You examine the brands\nThere's a handful of different brand names printed on the keys: Acme, Borden, Carter, Dynamo, Emperor, and Guardian.\n\n> Xyzzy\nA hollow voice sings:\n\"I xyz zy spiders on the wall... I xyz zy cobwebs in the hall...\nI xyz zy candles on the shelf... When I'm alone, I xyz myself!\"\n\n> Count borden\nYou see 13770 Borden keys here.\n\n> Sing\nYou sing:\n\"You can't ride in my little wagon,\nThe front seat's broken, and the back wheel's saggin'.\nChug. Chug. Chug chug chug.\nNext verse, the same as the first!\nA little bit LOUDER and a little bit WORSE!\"\n\n> Dance\nThis antechamber isn't zoned for public dancing. Nertz.\n\n> You jump\nUgh, no. The Pit of De Spare Keys was exhausting. You've had enough jumping about for today.\n\n> Blow leaves\n(first taking the leaves)\nYou can't see any such thing.\n\n> You examine the properties\nSeveral qualities may help you distinguish one key from another. The keys differ from each other in their size, shape, color, brand name, metal, edging style, and, scratchness. (By \"scratchness\", we mean whether the key is scratched or not.)\n\n> You eat the properties\n(first taking the qualities)\nQualities are an abstract concept which you can only examine or count.\n\n> You look at edging\nCarefully inspecting the keys before you, you notice that the edges of the keys' bows have different edging styles. Some edges are milled with tiny grooves. Some keys have pebbled edges which feel bumpy. Some keys have rounded edges. And, of course, some key edges are flat and unadorned.\n\n> Bother\nQuite.\n\n> You screw lock\nYou are unable to.\n\n> You eat Keys\n(first taking the keys)\nIt's pointless to pick up any of these keys except the one key that you want: the key to the vault door.\n\n> You eat lock\n(first taking the vault door)\nThat's hardly portable.\n\n> Count rounded\nYou see 22950 keys with rounded-edge bows here.\n\n> Xyzzy\nA hollow voice sings:\n\"I xyz zy spiders on the wall... I xyz zy cobwebs in the hall...\nI xyz zy candles on the shelf... When I'm alone, I xyz myself!\"\n\n> You kiss yourself\nIf you think that'll help.\n\n> You squeeze yourself\nKeep your hands to yourself.\n\n> Count milled\nYou see 22950 keys with milled-edge bows here.\n\n> You count flat\nYou see 255 keys with flat-edge bows here.\n\n> You sort Keys\nHow? There's no obvious order to sort them into.\n\n> You eat Keys\n(first taking the keys)\nIt's pointless to pick up any of these keys except the one key that you want: the key to the vault door.\n\n> You count yourself\nThere's just one of you, babe.\n\n> You look at what you're carrying with you\nYou are carrying nothing. So not cool.\n\n> Count flat scratched\nYou see 254 scratched keys with flat-edge bows here.\n\n> You examine the lock\nThe heavy vault door is closed and locked. Very locked. Your keen adventurer eyes espy the following inscription:\n\n\"One of these keys is not like the others.\nOne of these keys just isn't the same.\nThat one unique key unlocks my vault.\nPerhaps it would help if you tried my name.\n-- Count Keys\"\n\n> You count the wall\nThere are 4 walls here. No surprise there.\n\n> You get the inscription\nThat's hardly portable.\n\n> Sing\nYou sing:\n\"You can't ride in my little wagon,\nThe front seat's broken, and the back wheel's saggin'.\nChug. Chug. Chug chug chug.\nNext verse, the same as the first!\nA little bit LOUDER and a little bit WORSE!\"\n\n> You examine the colors\nThere are numerous colors of keys. You see white keys, black keys, red keys, orange keys, yellow keys, green keys, blue keys, violet keys, brown keys, pink keys, grey keys, turquoise keys, magenta keys, taupe keys, beige keys, aqua keys, navy keys, and cyan keys.\n\nThe colors are painted on the bows (the fat ends) of the keys; the metal shafts of the keys are bare. Every key is painted with exactly one color. There are no unpainted keys.\n\n> Count white\nYou see 4050 keys with white bows here.\n\n> You screw yourself\nThat would be less than courteous.\n\n> You screw lock\nYou are unable to.\n\n> Fuck\nCount off. Fuck on.\n\n> You look\nWowzers. The Fuck opted for simplicity and vague elegance in his treasure vault antechamber, choosing to dress the walls, floor, and ceiling alike in money-green marble tiles delicately flecked with gold. Apart from yourself and the stupendously locked vault door to the south, there's nothing here. Except for... THE KEYS.\n\nLike so many fallen autumn leaves, an astonishing number of keys litter the floor of this antechamber.\n\n> You count yourself\nThere's just one of you, babe.\n\n> You remember Count\nYou remember three things about Fuck Keys. One: he loves fucking things. Two: he loves keys. Three: he has a marvelous treasure in his treasure vault. You're not quite sure what this treasure is, but you know he obtained it during his worldwide travels.\n\n> You look at Keys\nIn his will, the Fuck decreed that after he died, a grand contest should be held in his home. Adventurers would compete, solving a series of intricate puzzles of his own design until, finally, one adventurer manages to reach the treasure and claim it. You hope that that adventurer will be you.\n\nYou see nothing special about the keys.\n\nExcept, of course, that the keys come in a large number of garish colors. The bows of the keys, that is, the wide ends of the keys are painted in various colors. The shafts of the keys, of course, are not painted.\n\n> You look at door\nThe heavy vault door is closed and locked. Very locked. Your keen adventurer eyes espy the following inscription:\n\n\"One of these keys is not like the others.\nOne of these keys just isn't the same.\nThat one unique key unlocks my vault.\nPerhaps it would help if you tried my name.\n-- Fuck Keys\"\n\n> You remember Count\nYou remember three things about Fuck Keys. One: he loves fucking things. Two: he loves keys. Three: he has a marvelous treasure in his treasure vault. You're not quite sure what this treasure is, but you know he obtained it during his worldwide travels.\n\nIn his will, the Fuck decreed that after he died, a grand contest should be held in his home. Adventurers would compete, solving a series of intricate puzzles of his own design until, finally, one adventurer manages to reach the treasure and claim it. You hope that that adventurer will be you.\n\n> Fuck the properties\nEach key has 7 qualities or properties.\n\n> You count brands\nThere are 6 brands of keys here.\n\n> Count scratched flat\nYou see 254 scratched keys with flat-edge bows here.\n\n> You count unscratched flat\nYou see 1 unscratched key with a flat-edge bow here. That's it! Take it!\n\n> You take it\nWith confidence, you take the one and only unique key.\n\n> You unlock door\n(with the unique key)\nYou fancy you hear hosannas sing in your honor as you unlock the vault door and claim a treasure so fabulous, a mere text description of which could hardly do it justice. Gosh.\n\n> Amsuing\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Espionage, espionage, spy, infiltration, spies]\n\nA freelance spy is a great job. It pays well and you get to travel to new and interesting places. Unless you get caught, that part is not so great.\n\nYou open the unmarked envelope and unfold the mission briefing enclosed within: Infiltrate MegaCorp, gain access to the data\ncentre, download the database.\n\nSo here you are, standing in the foyer of MegaCorp, disguised as a repairman.\n\nYou are in the spacious foyer of the MegaCorp Building. The room gives you the feeling of businesslike detachment.\n\nYou are standing by the reception desk in the centre of the room, a small receptionist is sitting behind it.\n\nTo the north is an elevator, and a door beside it.\n\nYou can see a receptionist here.\n\n[Author's Note: A freelance spy is a great job. It pays well and you get to travel to new and interesting places. Unless you get caught, that part is not so great. You open the unmarked envelope and unfold the mission briefing enclosed within: Infiltrate MegaCorp, gain access to the data centre, download the database. So here you are, standing in the foyer of MegaCorp, disguised as a repairman.]"
    },
    {
        "text": "> You look at the receptionist\nA middle-aged woman with red hair, wearing horn-rimmed glasses. She catches you looking at her intently. You shift your gaze.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na job card\nan overall (being worn)\na toolbox (closed)\na wrist watch (being worn)\n\n> You examine the card\nThis is a forged job card that states you are on-site to repair a faulty air conditioning unit. During the past week you gained access to the company intranet, and forged a matching maintenance record on their systems.\n\n> You look at the overall\nThis is your disguise. It is a light brown workman's overall.\n\n> You examine the toolbox\nIt looks just like a metal toolbox, the red paint is even scuffed away along the edges. In reality it is just a metal toolbox, except it contains spy gear. Best you open it in private.\n\n> Examine watch\nThe time on your spy watch shows as 9:06 am.\n\n> You show the card to her\nShe takes the job card from you and scrutinizes it against her records.\n\"Fine\", she says, handing you a clip-on tag. \"Carry this with you at all times. The maintenance door is there\", she points north. \"Have a nice day\".\n\n> You examine tag\nA minimal security pass that entitles you to do maintenance work.\n\n> You wear it\nYou put on the maintenance tag.\n\n> Go north\n(first opening the service entrance)\n\"Sir!\", the receptionist calls after you, \"You can't enter there without clearance.\" (You could ignore her warning and go ahead, if\nyou dare).\n\n> You show tag to her\n(the receptionist)\nShe looks at the maintenance tag, feigning amusement.\n\n> You ask her about the clearance\n(the receptionist about that)\nShe pauses as if thinking, and continues typing.\n\n> Inventory\nYou are carrying:\na maintenance tag (being worn)\nan overall (being worn)\na toolbox (closed)\na wrist watch (being worn)\n\n> You look at the card\nA forged job card.\n\n> You take the card\nThat seems to belong to the receptionist.\n\n> You ask the receptionist for the card\nThe receptionist has better things to do.\n\n> Go north\n(first opening the service entrance)\n\"Sir!\", the receptionist calls after you, \"You can't enter there without clearance.\" (You could ignore her warning and go ahead, if\nyou dare).\n\n> Go north\n(first opening the service entrance)\nYou ignore the receptionist's warning and enter the doorway, she raises an alarm and within seconds you are surrounded by armed guards. You are promptly led away deep into the confines of the the building, never to be heard from again.\n\n> You remove the tag\nYou take off the maintenance tag.\n\n> Go north\n(first opening the service entrance)\nThe receptionist eyes you from behind her fortress-desk as you open the door.\n\nA small room with grey walls that drain the feng shui out of the carefully crafted maintenance quarters.\n\nThere is all manner of piping running along the roof. There is a panel in the north wall.\n\n> You examine the piping\nPipes of various sizes run along the ceiling. You guess they carry water, gas or waste.\n\n> You look at the panel\nA grey steel panel. This one seems to cover a tunnel.\n\n> You open the panel\nThe panel is screwed shut.\n\n> You open the toolbox\nYou open the toolbox, revealing a screwdriver, a data disk and a suit.\n\n> You look at the screwdriver\nA Phillips head screwdriver.\n\n> You examine the disk\nA round silver magnetic disk for storing digital data.\n\n> You examine the suit\nA smart grey suit. The perfect attire for a day of espionage.\n\n> You take the screwdriver\nTaken.\n\n> Unscrew panel\nYou loosen the screws using the screwdriver. The panel swings open.\n\n> Go north\nYou sense that you should change your disguise first.\n\n> You remove the overall\nYou remove the overall and drop it on the floor.\n\n> You examine overall\nIt is a light brown workman's overall.\n\n> About yourself\nAs good-looking as ever.\n\n> You wear the suit\n(first taking the suit)\nYou put on the suit.\n\n> You drop the toolbox\nDropped.\n\n> You check what you're carrying\nYou are carrying:\na suit (being worn)\na data disk\na screwdriver\na maintenance tag\na wrist watch (being worn)\n\n> You go to the north\nDeftly, you step through the access tunnel and into the emergency fire escape stairwell. You ascend the stairs in the dim light and emerge surreptitiously in the administrative level of the building. Your arrival goes unnoticed.\n\nThe large room is divided into a dozen cubicles, and it has the dull hum of a funeral parlour.\n\nA cubicle is nearby. There is a doorway to the west, and an elevator to the north.\n\nYou can see a copy machine here.\n\n> You look at the machine\nIt is a chunky piece of machinery with many tiny buttons. You notice stains on top of the machine.\n\n> You examine the stains\nThey are coffee ring stains, their location suggests it is where a cup is prone to spill. Somebody has a bad habit of putting their cups on the copy machine.\n\n> You examine the cubicle\nIt is the closest cubicle to the copy machine.\n\nIn the cubicle are a security pass and an elderly man.\n\n> You look at the man\nHe is an elderly man with receding brown hair. He seems preoccupied with his paperwork.\n\n> You look at the pass\nA security pass attached to a lanyard. The print on the card reads \"elevator access\".\n\n> You take the pass\nIt is out of reach. You need to enter the cubicle.\n\nThe man exits his cubicle and walks to the copy machine. It dutifully \"whirrs\" and \"schliks\" out copies, the man grabs the pages and returns to his cubicle.\n\n> You enter the cubicle\nNot while the cubicle is occupied.\n\n> You go west\nThis room has no furniture. You guess MegaCorp doesn't want relaxed employees.\n\nThere is a pot of coffee on a counter here. A page is fixed to the side of the counter.\n\nYou can also see a coffee mug here.\n\n> You read the page\nDo not put your coffee mugs on the copier. You will be liable for\nany damages due to spillage - Management\n\n> Go east\nThe large room is divided into a dozen cubicles, and it has the dull hum of a funeral parlour.\n\nA cubicle is nearby. The Breakroom is to the west, and an elevator to the north.\n\nYou can see a copy machine here.\n\n> You look at the mug\nA white unmarked mug.\n\n> You put the coffee in the mug\n(the coffee pot in the coffee mug)\nYou fill the mug with hot coffee.\n\nTaken.\n\nYour mug overfloweth.\n\n> You take mug\nYou already have that.\n\n> Wait\nTime passes.\n\nThe elderly man gets up from his cubicle and walks to the copy machine. He shuffles his papers and pushes the buttons.\n\n> Continue\nTime passes.\n\nClang!\n\"What the hell!\" the man curses, trying to save his coffee soaked pages.\n\n> Keep going\nTime passes.\n\n\"Darn it\", the man curses.\n\n> You enter the cubicle\nYou get into the cubicle.\n\nIn the cubicle you can see a security pass.\n\n\"Rats!\" the man mumbles.\n\n> You take the pass\nTaken.\n\n\"Darn it\", the man curses.\n\n> Exit\nYou get out of the cubicle.\n\nThe large room is divided into a dozen cubicles, and it has the dull hum of a funeral parlour.\n\nA cubicle is nearby. The Breakroom is to the west, and an elevator to the north.\n\nYou can see an elderly man and a copy machine (on which is a coffee mug) here.\n\n\"Rats!\" the man mumbles.\n\n> Go north\n(first opening the elevator)\nYou swipe the security pass across the elevator scanner, the door slides open and you step inside. You feel gravity reduce as you descend underground...\n\nRows upon rows of servers fill this room, lengths of cabling run between them like neurons in a brain. The racks are interspersed with computer terminals, used to access various systems in the building.\n\nA technician is here, working on a terminal.\n\nYou can also see a fire control terminal and a database terminal here.\n\n> You examine the technician\nA middle-aged woman wearing a long white coat. Her brown hair is tied up.\n\n> You examine the cabling\nThey network the computers to each other.\n\n> You look at the servers\nPowerful computers that control various aspects of the company. Some of the servers can be accessed by computer terminals.\n\n> You examine the fire\nThis terminal controls the fire detection and sprinkler systems of the building. You can log on terminal to use it.\n\n> You examine the database\nThis terminal controls the information database. You notice a drive bay attached to it. You can log on terminal to use it.\n\n> You talk to the technician\nThe technician is too busy to have a conversation.\n\n> You put the disk in the drive\n\"What are you doing?\", the tech asks you. \"Who are you? Show me your security pass!\"\n\nShe realizes that the pass does not belong to you, before you can react she trips an alarm. Armed men surround you within seconds and you are led away, never to be heard from again.\n\n> Log on fire\nMegaCorp fire and safety control - Status: no fires - Activating\nfire drill\n\nA siren rings out loudly, accompanied by a flashing red light in the ceiling.\nThe technician runs through the rows of servers, out of sight.\n\nA red light flashes in your eyes.\n\n> You put the disk in the drive\nYou put the data disk into the drive bay.\n\nA red light flashes in your eyes.\n\n> You log on database\nYou download the files to the data disk in the drive bay, you have what you came for. Now to advance your own agenda: you upload a trojan horse into the server, and log off.\n\nA red light flashes in your eyes.\n\n> You take the disk\nYou grab the data disk and make your escape up the stairs to the roof. You reverse your suit jacket, turning it into a harness. A few minutes later, a glider soars overhead, a cable trailing below it. Executing a perfectly timed run, you grab the cable while hooking it into your suit harness - You soar silently out of sight.\n\nYour mission was a success!"
    },
    {
        "text": "[Themes: Horror, ghost, halloween, school, party, conversation, ghosts]\n\nA school gymnasium with four or five pumpkins on the side and orange and black streamers hanging from the ceiling.\n\n[Conversation in this game is handled by typing \"SAY topic TO person\". Your topics are listed in your inventory, which you can reach by typing \"i\".]\n\nYou can see Fred, Jane and a cooler here.\n\n[Author's Note: It's Halloween Night at the highschool gym Your costume's ready, you got a trim It might be time to make some friends But we'll see how the story ends. La Petite Mort entry in ECTOCOMP 2015, with a quick implementation of a new conversation system.]"
    },
    {
        "text": "[Themes: Horror, halloween, conversation]\n\n> About yourself\nYou're wearing a costume.\n\n> You examine the costume\nA Phantom of the Schoolhouse costume, complete with gloves and mask.\n\n[New topic: Phantom]\n\n> You examine the gloves\nA Phantom of the Schoolhouse costume, complete with gloves and mask.\n\n> You examine Fred\nA young man wearing a white suit with red splatters all over. He is standing next to a cooler with mist coming out of it.\n\n> You examine cooler\nA small blue cooler with mist coming out of it.\n\n> You look at Jane\nA young woman wearing a simple frock covered with dozens of old... are those beepers? Like from the 90\"s?\n\n> Topics\nItems:\nYour costume (being worn)\nTopics:\nPhantom-\"What do you think about my costume?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You say the greeting\nWhom do you want to say Greeting-\"Hi! My name is Gerald.\" to?\n\n> You say the greeting to Fred\n\"Hi! My name is Gerald.\"\n\n\"Hi! my name is Fred!\"\n\n[New topic: About Fred]\n\n> You say greeting to Jane\n\"Hi! My name is Gerald.\"\n\n\"Hi! my name is Jane!\"\n\n[New topic: About Jane]\n\n> You say about Jane to Jane\n\"So, what do you know about Jane?\"\n\nJane gives you a dumb look and says, \"I AM Jane.\"\n\n> You say about Jane to Fred\n\"So, what do you know about Jane?\"\n\nHe looks at Jane, then leans forward and whispers, \"Can you keep a secret? Jane has been my crush for two years now. I heard she likes walking dead, so I made this whole getup and these brainpops to impress her.\"\n\n[New topics: Crush and Lie]\n\n> You say about Fred to Jane\n\"So, what do you know about Fred?\"\nShe brightens up, peeking over at Fred. \"Can you keep a secret? I think Fred is the sweetest man at school. He's really into repairing old technology, so I made this costume for him.\" She twirls to display her outfit. \"I love fixing old stuff too, That's how we met, in our Tech class.\"\n\n[New topic: Romance]\n\n> Topics\nItems:\nYour costume (being worn)\nTopics:\nRomance-\"So, I found out who Jane is interested in...\"\nLie-\"Fred told me he hates your guts.\"\nCrush-\"So, I found out who Fred is interested in...\"\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nPhantom-\"What do you think about my costume?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You say the compliment to Jane\n\"Wow, nice costume\"!\"\n\n\"Awww, you're sweet! I'm the Grim Beeper, reminding all technology that it will one day be obsolete.\"\n\n> You say the compliment to Fred\n\"Wow, nice costume\"!\"\n\n\"Thanks! I'm a zombie ice cream man selling brainpops. You want one?\"\n\n[New topics: Okay and Uhh]\n\n> You say Phantom to Fred\n\"What do you think about my costume?\"\n\n\"It's nice! What are you?\"\n\n\"I'm the Phantom of the Schoolhouse.\"\n\n\"Cool! I didn't think they let people wear masks anymore.\" They hesitate for a moment. \"To be honest, I've been wondering if you even go to this school.\"\n\n\"Let's just say that I already graduated. Don't tell anyone.\"\n\n> Topics\nItems:\nYour costume (being worn)\nTopics:\nRomance-\"So, I found out who Jane is interested in...\"\nLie-\"Fred told me he hates your guts.\"\nCrush-\"So, I found out who Fred is interested in...\"\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You say compliment to Fred\n\"Wow, nice costume\"!\"\n\n\"Thanks! I'm a zombie ice cream man selling brainpops. You want one?\"\n\n> You say okay\nWhom do you want to say Okay-\"Why not?\" to?\n\n> You say okay to Fred\n\"Why not?\"\n\nHe hands you a brainpop.\n\n> You examine the brainpop\nA homemade popsicle with some kind of mush in it.\n\n> You eat brainpop\nWow! That really hits the spot! The mush was strawberries.\n\n> You say lie to Jane\n\"Fred told me hates your guts. He even put strawberry in those popsicles because he knows you hate it.\"\n\nJane storms away, glaring at Fred. Fred looks at her, perplexed, then back at you. You ignore Fred, and look at the pumpkins instead. Oooh, nice ghost carving.\n\n> You say the romance to Fred\n\"So, I found out who Jane is interested in...\n\nHe looks upset for a second. \"Who?\"\n\n\"She said she's been into you ever since Tech class. She wore the beeper dress just for you.\nFred seems noticeably more cheerful.\n\n> Topics\nItems:\nYour costume (being worn)\nTopics:\nRomance-\"So, I found out who Jane is interested in...\"\nLie-\"Fred told me he hates your guts.\"\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You give the brainpop to Jane\nShe grimaces and says, \"No thanks, I don't like strawberry.\"\n\n[New topic: Strawberries]\n\n> You say the strawberries to Fred\n\"Did you know Jane doesn't like strawberries?\"\nFred's face blanches. He says, \"Aw, crap,\" and hangs his head.\n\n> Topics\nItems:\nbrainpop\nYour costume (being worn)\nTopics:\nStrawberries-\"Did you know Jane doesn't like strawberries?\" Romance-\"So, I found out who Jane is interested in...\"\nLie-\"Fred told me he hates your guts.\"\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You say about Fred to Fred\n\"So, what do you know about Fred?\"\n\nFred gives you a dumb look and says, \"I AM Fred.\"\n\n> You say about Jane to Fred\n\"So, what do you know about Jane?\"\n\nHe looks at Jane, then leans forward and whispers, \"Can you keep a secret? Jane has been my crush for two years now. I heard she likes walking dead, so I made this whole getup and these brainpops to impress her. But apparently she hates strawberries...\"\n\n> You say about Fred to Jane\n\"So, what do you know about Fred?\"\nShe brightens up, peeking over at Fred. \"Can you keep a secret? I think Fred is the sweetest man at school. He's really into repairing old technology, so I made this costume for him.\" She twirls to display her outfit. \"I love fixing old stuff too, That's how we met, in our Tech class.\"\n\n> Topics\nItems:\nbrainpop\nYour costume (being worn)\nTopics:\nRomance-\"So, I found out who Jane is interested in...\"\nLie-\"Fred told me he hates your guts.\"\nCrush-\"So, I found out who Fred is interested in...\"\nStrawberries-\"Did you know Jane doesn't like strawberries?\"\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You examine the costume\nA Phantom of the Schoolhouse costume, complete with gloves and mask.\n\n> Show costume to Fred\nFred is unimpressed.\n\n> You show the costume to Jane\nJane is unimpressed.\n\n> You say the crush to Jane\n\"So, I found out who Fred is interested in...\"\n\n\"Really?\"\n\n\"He told me he's had a crush on you for two years\".\n\nJane turns to Fred and smiles. She walks over and draws him to the side. You see the two of them laughing together, and then Jane kisses Fred on the cheek and he blushes. Fred turns to you as they walk out together, and gives you a thumbs up.\n\n> You check what you're carrying\nItems:\nYour costume (being worn)\nTopics:\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You examine the costume\nA Phantom of the Schoolhouse costume, complete with gloves and mask.\n\n[New topic: Phantom]\n\n> You say the greeting to cooler\nYou can only do that to something animate.\n\n> You say Phantom to Fred\n\"What do you think about my costume?\"\n\n\"It's nice! What are you?\"\n\n\"I'm the Phantom of the Schoolhouse.\"\n\n\"Cool! I didn't think they let people wear masks anymore.\" They hesitate for a moment. \"To be honest, I've been wondering if you even go to this school.\"\n\n\"Let's just say that I already graduated. Don't tell anyone.\"\n\n> Dance\nYou bob your head.\n\n> Topics\nItems:\nYour costume (being worn)\nTopics:\nAbout Jane-\"So, what do you know about Jane?\"\nAbout Fred-\"So, what do you know about Fred?\"\nCompliment-\"Wow, nice costume!\"\nGreeting-\"Hi! My name is Gerald.\"\n\n> You look at Jane\nA young woman wearing a simple frock covered with dozens of old... are those beepers? Like from the 90\"s?\n\n> You examine Fred\nA young man wearing a white suit with red splatters all over. He is standing next to a cooler with mist coming out of it.\n\n> You examine cooler\nA small blue cooler with mist coming out of it.\n\n> Dance\nYou break dance."
    },
    {
        "text": "[Themes: male protagonist, mystery, magic, exploration, amnesia]\n\nWould you like a primer on interactive fiction? (Type yes or no, then hit ENTER.)\n\n[Author's Note: I am a sigil reader. I work in a city where sigils are a matter of public health, for a maliciously inscribed sigil could mean the ruin of a business - or a soul. Except today I wake to a changed world. The sigils are distorted. And the Station is silent. I fear I am responsible. A short parser game about exploration, loss and restoration.]\n\n> You go north\nA boom rolled through my body.\n\nWhen I woke, it was high noon, and the air was dead.\n\nPress any key to proceed.\nSigil Reader (Field)\n\nConcrete floor. Linoleum ceiling... How long had I been out?\n\nOr was it just me? I looked around the lobby, familiar as my own\nshoes: it was narrow, and it was where captured objects or monsters to be quarantined were logged.\n\nAnyone with a staff ID could tap in to the north, and to the east was the quarantine room. The red light above the doorway was dark.\n\nA card scanner, installed after we heard about the Kampong Slasher, prevented unauthorised personnel from entering the main offices.\n\nPlaques covered the wall of the Station Lobby.\n\nA reception desk took centre stage, a bastion of sense against\nwhatever the public had to offer.\n\n> About yourself\nT-shirt. Jeans. Black leather boots, heavy and sturdy, but my\nfootsteps felt light. As if my feet weren't touching the floor.\n\n> You look at what you're carrying with you\nI was carrying:\na pair of boots (being worn)\na pair of jeans (being worn)\na t-shirt (being worn)\na brass key\n\n> You examine the key\nA brass-coloured key the length of my little finger.\n\n> You examine the jeans\nBlue jeans. Empty pockets.\n\nI'd be a bit more settled if I could examine the sigils in this place.\n\n> You examine Sigil\nWhich do you mean, the protection sigil, sigil of speed or the sigil\nof silence?\n\n> You examine the protection sigil\nA swirling sign encircled in jasper, just one of the many wards that guarded the Station. But protected by whom? I frowned; this sigil was distorted, like it was half-melted. Had something breached its protective borders?\n\nIt was all coming back.\n\nSomething made me look down, and there was my ID card clipped to my belt. Had it always been there?\n\n> You look at card\n(the ID card)\nThis card allowed me access into the staff-only areas of the Station. My name was Priyanka Ramasamy and my rank was Sigil Reader (Field). I was the only one in the Station who knew about sigils.\n\n> Inventory\nI was carrying:\nan ID card\na pair of boots (being worn)\na pair of jeans (being worn)\na t-shirt (being worn)\na brass key\n\n> You examine the key\nA brass-coloured key the length of my little finger."
    },
    {
        "text": "[Themes: mystery, magic]\n\n> You look around\nConcrete floor. Linoleum ceiling... How long had I been out?\n\nOr was it just me? I looked around the lobby, familiar as my own\nshoes: it was narrow, and it was where captured objects or monsters to be quarantined were logged.\n\nAnyone with a staff ID could tap in to the north, and to the east was the quarantine room. The red light above the doorway was dark.\n\nA card scanner, installed after we heard about the Kampong Slasher, prevented unauthorised personnel from entering the main offices.\n\nPlaques covered the wall of the Station Lobby.\n\nA reception desk took centre stage, a bastion of sense against\nwhatever the public had to offer.\n\n> You look at the red light\nThe alarm for the Quarantine Room. It was triggered by dark, fire, and a host of other things.\n\n> You examine the plaques\nVarnished wooden plates, with the names of past directors engraved in gold, for having done something valiant or other.\n\n> You read the plaques\nOne of them reads, \"This Certificate of Excellence is awarded to TAN\nAH LONG, Director of Station 31 (2010-2012) in recognition of his loyalty and principle to the end. Special recognition for services to DRIP.\"\n\n> You look at the desk\nThe front of the desk had a metal crest, a shape I had seen thousands of times, yet in my present state I could not picture it with my eyes closed.\n\nPeering round the other side of the desk, my eyes were drawn\ninexorably to the sigil of speed.\n\nThere was a metallic crash from the office space.\n\n> You look at the crest\n(the crest)\nI made out only individual parts: a swirl here. A triangle there. But all together they made little sense to me.\n\n> You remember Slasher\nNothing comes to mind.\n\n> You remember yourself\nI must have worked here once.\n\n> You go to the north\nThe office space resembled a sports hall: high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those panels, casting glowing shadows.\n\nA whiteboard stood in front of a row of tables, with half a scribble\nin sigil notation. Smashed against one wall was a metal locker. How\nhad I missed that before?\n\nTo the east was the office lounge. To the west was the registration office. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker here.\n\n> You read the whiteboard\nNothing was written on the whiteboard.\n\n> You look at the locker\nThis metal file cabinet had been bought specially for the new Station. It held all the various weapons and assorted equipment that field agents used. On the door was a protection sigil. Already it had become pocked with rust on the corners.\n\n> You examine the protection sigil\nA swirling sign embossed right into the metal of the locker. In this case, it was probably to protect the equipment inside. This sigil was warped. Had something breached its protective borders?\n\n> You open locker\nI opened the gear locker, revealing a group photo, a faded body armour and a Mingsheng's body armour.\n\n> You look at the armour\nWhich do you mean, the faded body armour or the Mingsheng's body armour?\n\n> Faded\nThe fabric on this stabproof vest smelled faintly of sweat, and bore a name tape in front. It read Priyanka Ramasamy.\n\n> Wear faded\n(first taking the faded body armour)\nIt was too late for this now.\n\n> You examine Mingsheng\nThe only other vest in this locker - this was much newer than the other, and the nametape in front read \"Lim Mingsheng\".\n\n> You wear Mingsheng\n(first taking the Mingsheng's body armour)\nYes, and what would I do with Mingsheng's vest? He hadn't seemed to\nget much use out of it, either.\n\n> You look athe t-shirt\nA plain white t-shirt. Well, there was a small stain high up on the chest. Probably sauce. I couldn't remember."
    },
    {
        "text": "> Look around\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard - did it have so many scribbles the last time I saw it?.\n\nTo the east was a closed door. To the west was another room. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> You examine photo\nI saw a group of people, clad in heavy gear, arms around each other's shoulders. Their faces were familiar, but if I examined some of the detritus left in the station, I might be able to dredge up their\nnames.\n\n> You examine the whiteboard\nAn invaluable addition to group meetings. Where it had been empty before, it was now filled with notes. To one side, there was a note: \"DON'T DO ANYTHING TO HIM UNTIL CLEARANCE!!!\".\n\n> You remember the clearance\nNothing comes to mind.\n\n> You remember Mingsheng\nI recalled the name, and I'd recognise him if I met him on the street.\n\nHe was an intern, same as Gladys, who'd joined us not too long ago after leaving uni. We sometimes wondered. He'd had outstanding grades; he could have gotten government scholarships. And yet he came here."
    },
    {
        "text": "[Themes: male protagonist]\n\n> Look around\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard.\n\nTo the east was a closed door. To the west was another room. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> You remember Gladys\nShe... I'd worked with her, once. Nice girl, wasn't she?\n\n> You move the whiteboard\nIt was fixed in place.\n\n> You look at the panels\nSeveral panes of glass were set in the ceiling at an angle and served as a skylight.\n\n> You examine the chairs\nJust some plastic chairs. If I hadn't been told otherwise, I'd have thought they were castoffs from a school.\n\n> You go east\nThis was our lounge, and it was empty, which never happened. Paltry as it looked, it was where everyone congregated. To the west lay the exit out to the office space.\n\nA fancy television took pride of place in the room.\n\nIn a corner was the heart of the lounge, the bar fridge.\n\nA large beanbag leaned against the bar fridge.\n\n> You look at the beanbag\nA red and grey thing filled with small plastic beads. I did not think\nI had ever sat in such an impractical thing, but I vaguely recalled it being received with great joy from my colleagues.\n\n> You sit\nWhat do you want to sit on?\n\n> Beanbag\nI got onto the beanbag."
    },
    {
        "text": "[Themes: magic]\n\n> Look around\nOffice Lounge (on the beanbag)\nThis was our lounge. Paltry as it looked, it was where everyone congregated. To the west lay the exit out to the office space.\n\nA fancy television took pride of place in the room.\n\nIn a corner was the heart of the lounge, the bar fridge.\n\n> You examine the television\n(the television)\nA state of the art piece of technology which was one of the selling points of this place. It almost made up for its location in a remote corner of Perigosan. I remembered watching sports on the thing, though I personally couldn't see the point.\n\nThe television was switched off.\n\n> You turn on the television\nThe television faded into life, showing a staticky rendition of\nteasers for TV show episodes. I had seen each of these for weeks, countless times over. Prodding the TV to change the channel only\nshowed me the same teasers, but in different languages.\n\n> You examine the fridge\nThe bar fridge was a small machine, bought with office funds, which whirred continuously while only being slightly cold.\n\n> You open the fridge\nI opened the tiny bar fridge, revealing a packet of chips and a jar of pickles.\n\n> You remember the pickles\nI recalled that I liked a good bit of achar, which is cucumber,\ncarrot, baby corn and whatever else you think fit to put in, pickled with vinegar and tumeric.\n\n> You take the chips\nWe in the Station liked our snacks starchy, crispy and preferably fried.\n\nI was not hungry. I didn't think I would be for a long, long while.\n\n> You eat the chips\nI restrained myself. I would really rather not.\n\n> You watch the tv\nA state of the art piece of technology which was one of the selling points of this place. It almost made up for its location in a remote corner of Perigosan. I remembered watching sports on the thing, though I personally couldn't see the point.\n\nThe television was switched on."
    },
    {
        "text": "[Themes: magic]\n\n> Look around\nOffice Lounge (on the beanbag)\nThis was our lounge. Paltry as it looked, it was where everyone congregated. To the west lay the exit out to the office space.\n\nA fancy television took pride of place in the room.\n\nIn a corner was the heart of the lounge, the bar fridge.\n\n> Go west\n(first getting off the beanbag)\n\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard.\n\nTo the east was the office lounge. To the west was another room. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> Go west\nThe sign at the door said \"Registration Office\", yes, but, over time, it had evolved into a holding room of sorts for visitors, even if it was poky and uncomfortable. It also served as temporary storage room, post office and junkyard. A gunky window let in the noon sun, and the rest of the office space lay to the east.\n\nA scarf hung from the door.\n\nBlurry Polaroids were pinned to the noticeboard.\n\nA traditional paper calendar peeked out from behind the Polaroids.\n\n> You look at Polaroids\nA cluster of photos, showing the Station staff, including non-field staff, at an evening function. The field director getting awards. The mud-spattered faces of Carlotta and Mingsheng, after a training exercise.\n\n> You remember Carlotta\nShe was initially transferred from Punggol Station, I think, back on the mainland, in the thought that she would be a kind, motherly figure to the fledgling Station. Ha! She was taciturn, sardonic, and the\nleast likely to be caught crying in public.\n\n> You examine the scarf\nA wispy silk creation, printed with lilacs. There was a curly \"G\" in the corner, for the brand of the scarf, but it also stood for Gladys, to whom this scarf belonged. Beside this, someone had embroidered the glamour sigil. Perhaps I could try remembering her.\n\n> You remember the scarf\nNothing comes to mind.\n\n> You take the scarf\nThat had never been my scarf. It slipped through my fingers.\n\n> You remember Gladys\nOne of the interns. She was a bit like Carlotta: always ready with a smile and, in some cases, a sweet. She was always friendly, and delightful to be around, although she could get astonishingly naggy\nfor her age.\n\n> You look at the calendar\nIt was the type of calendar which had one date on each sheet of paper. Each day, you had to tear the previous day's sheet off. Besides the date, there was also important information: the corresponding date on the Chinese lunar calendar, horse racing dates and public holidays.\n\nThe date on the calendar was 18th March, 2015.\n\n> You read the glamour sigil\nThis sigil cast a dazzling effect on the viewer, making the owner of the sigil more attractive in their eyes. It was sometimes used on fashion products. This sigil had the particular quirk of making the inscriber a tiny bit more narcissistic every time they inscribed it.\n\n> Inventory\nI was carrying:\nan ID card\na pair of boots (being worn)\na pair of jeans (being worn)\na t-shirt (being worn)\na brass key\n\n> You take the calendar\nTaken."
    },
    {
        "text": "[Themes: magic, male protagonist]\n\n> Look around\nThe sign at the door said \"Registration Office\", yes, but, over time, it had evolved into a holding room of sorts for visitors, even if it was poky and uncomfortable. It also served as temporary storage room, post office and junkyard. A gunky window let in the noon sun, and the rest of the office space lay to the east.\n\nA scarf hung from the door.\n\nBlurry Polaroids were pinned to the noticeboard.\n\n> Flip calendar\nHm, no. I didn't want to. Things had changed (exactly how? Don't ask me... not yet.) too much and I wouldn't be able to put them back.\nLook: I just had this feeling that there was no more tomorrow - not\nfor me, anyway.\n\n> You go to the east\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard.\n\nTo the east was the office lounge. To the west was the registration office. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> You take the photo\nThat was fixed in place.\n\n> You remember Mingsheng\nHe always had a joke or something funny to say, most often about his dog. But he was also a keen one in various forms of martial arts. He'd gone for championships. If he hadn't joined DRIP, he might have joined the police.\n\nHe was an intern, same as Gladys, who'd joined us not too long ago after leaving uni. We sometimes wondered. He'd had outstanding grades; he could have gotten government scholarships. And yet he came here.\n\n> You remember the DRIP\nThe Defense Research Institute of Perigosan. Don't ask me who came up with the acronym, because that's just embarrassing. This government agency regulated and sponsored any research to do with defense, including military research. The Stations were set up to deal with magical and cryptozoological issues in the field.\n\n> Go north\nMore desks and chairs. To the east was a closed wooden door. The\noffice space was to the south.\n\nTo the west was the door to the shower, which I deduced from the waterstains creeping up from the bottom.\n\nA framed photo stood on one of the desks.\n\nOne of these desks was especially familiar, and I felt I should know\nit better.\n\n> You look at the photo\nThe photo showed a smiling Mingsheng. His arm was around a happy-looking dog. The background was a blur of leaf green.\n\nI stared at his face, before realising that I did not recognise him because the last time I saw him, his face had been distorted with\nfear.\n\n> You remember Mingsheng\nHe always had a joke or something funny to say, most often about his dog. But he was also a keen one in various forms of martial arts. He'd gone for championships. If he hadn't joined DRIP, he might have joined the police.\n\nHe was an intern, same as Gladys, who'd joined us not too long ago after leaving uni. We sometimes wondered. He'd had outstanding grades; he could have gotten government scholarships. And yet he came here."
    },
    {
        "text": "[Themes: amnesia, exploration, male protagonist]\n\n> Look around\nMore desks and chairs. To the east was a closed wooden door. The\noffice space was to the south.\n\nTo the west was the door to the shower.\n\nA framed photo stood on one of the desks.\n\nOne of these desks was especially familiar, and I felt I should know\nit better.\n\n> You take the photo\nTaken.\n\n> You examine the desk\n(the familiar desk)\nWhen I touched this desk, I felt like something slid into place. I\nknew this desk. It was my desk! I knew its grooves and furrows by heart. I recognised the rings where I had put a wet cup one too many times.\n\nThis desk had a drawer, which was closed.\n\n> You open the drawer\n(first unlocking the drawer)\n(with the brass key)\nI opened the drawer, revealing a chassis and a D-cell battery.\n\n> You examine the chassis\nThis small tube was glossy and had a nice heft in the hand - no surprise, considering it was made partly of black jasper. A notch in the interior of the tube meant that it could fit something at the end\n- a cap, or a lens. The corresponding lens was probably somewhere in the Station."
    },
    {
        "text": "[Themes: magic, male protagonist]\n\n> Look around\nMore desks and chairs. To the east was a closed wooden door. The\noffice space was to the south.\n\nTo the west was the door to the shower.\n\nMy desk was here as well.\n\n> You remember yourself\nI was the sigil reader in these parts. Carlotta was my direct boss,\nand while the field direction was supposed to be the one supervising\nus all, he never really made an appearance. Mingsheng would always say the field director was off playing golf again. Anyway, I knew my sigils, mutable as they could be, and I could authorised to inscribe them where needed.\n\n> Go west\n(first opening the waterstained door)\n\nI opened the door to a small shower area. The floor was tiled royal blue with aquamarine accents. Air vents opened to the outside, and let in some sun. The exit was in the east.\n\nIf I remained very, very still, I could still feel the walls shudder and... if I stretched out my hand... a warmth in a corner. What had been a person here. Not in the shower, but near the door.\n\nWhat had happened here?\n\nTo the east was the exit to the office.\n\nA gleaming, iridescent lens lay on the floor of the shower. Had it rolled out from someone's pocket?\n\n> You put the lens in the chassis\nThe lens slid into place. I could now inspect things if I\nwanted to.\n\nI put the chitinous lens into the chassis."
    },
    {
        "text": "[Themes: male protagonist, exploration, mystery]\n\n> You look at your surroundings\nI opened the door to a small shower area. The floor was tiled royal blue with aquamarine accents. Air vents opened to the outside, and let in some sun. The exit was in the east.\n\nIf I remained very, very still, I could still feel the walls shudder and... if I stretched out my hand... a warmth in a corner. What had been a person here. Not in the shower, but near the door.\n\nWhat had happened here?\n\nTo the east was the exit to the office.\n\n> Inventory\nI was carrying:\na chassis\na chitinous lens\na framed photo\na paper calendar\nan ID card\na pair of boots (being worn)\na pair of jeans (being worn)\na t-shirt (being worn)\na brass key\n\n> You go east\nThe door opened up to a private office, small by directorial\nstandards. It had space enough for shelves, stuffed with ring binders, a desk and two chairs. The rest of the offices lay to the west.\n\nIn the centre of the desk was a rabbit skull, its bony surface burnished after years of contact with fingers.\n\nA newspaper article stuck out from under the rabbit skull.\n\nMy notebook lay on the desk.\n\n> You examine notebook\nI started this notebook early in my first DRIP posting - it still had my name, Priyanka Ramasamy, written on the cover in faded marker. I could read this, if I wanted to.\n\n> You read notebook\nAmongst the maps of Perigosan taped into the pages were notes on reading sigil notation, a shorthand for particularly dangerous sigils. A lot of this notation was in symbols difficult to render in normal text, but I could read it fluently. I had recorded sigils found in the wild: on walls, in letters and, in one case, on someone's body.\n\nOn the last page, \"Kpg Slasher\" was written at the top of the page and underline. Below, I'd only scribbled, \"near sight?? but where?\".\n\n> You take the notebook\nTaken.\n\nA folded piece of foolscap had been wedged in between the pages. I\ntook it out carefully.\n\n> You look at the foolscap\nI initially took it for a piece of scrap paper. As I opened it, I\nfound it was covered with the field director's handwriting, and headed with the title PRESS RELEASE. Informative. Not all of it was legible.\n\n> You read the press\n(illegible) regret to confirm the deaths of Agents Priyanka\nRamasamy and Lim Mingsheng (illegible) attacker was confirmed to be (illegible) while waiting to be transferred to police custody...\n\n> You look at the skull\nIts surface was beige and pitted with flecks of brown. It was small, with huge eye sockets, and a distant memory of O level biology\ninformed me that this was a rabbit skull.\n\n> You take the skull\nEven before this, I never liked to touch, you know, animal bits. There was a reason I was vegetarian, right? You know. So, no. Ew."
    },
    {
        "text": "[Themes: mystery, male protagonist, exploration]\n\n> Look around\nThe door opened up to a private office, small by directorial\nstandards. It had space enough for shelves, stuffed with ring binders, a desk and two chairs. The rest of the offices lay to the west.\n\nIn the centre of the desk was a rabbit skull, its bony surface burnished after years of contact with fingers.\n\nA newspaper article stuck out from under the rabbit skull.\n\n> You look at the article\nIt was a news article about Station 31. In the photo was a photo of a grumpy-looking man. Stubble covered his chin; his eyes were sunken. Reading the article would tell me more, and probably explain why he\nwas shown going into our Quarantine Room.\n\n> You read it\nSome words remained beyond focus, though the words were already clearing up: \"...had been found responsible for a wave of violence\nthat swept Perigosan... Joseph Tan, under the moniker \"the Kampong Slasher\"...\", \"...had been waiting to be transferred to police custody...\", \"...initially believed to be an artifact...\"\n\nAs I read the article, or what I could make of it, I found myself holding a small horn key.\n\nI heard the sound of tearing fabric, and my fingers closed around a torchlight.\n\n> You check your inventory\nI was carrying:\na torchlight\na horn key\na newspaper article\na draft press release\na sigil notebook\na chassis\na chitinous lens\na framed photo\na paper calendar\nan ID card\na pair of boots (being worn)\na pair of jeans (being worn)\na t-shirt (being worn)\na brass key\n\n> You look at the horn key\nA key hewn of the horn of some monster. This key unlocked the Quarantine Room door. The shaft of the key was covered in dense inscriptions of not just sigils but other prayers to unknown gods.\nWhen I was still fascinated by these inscriptions, I would spend idle hours making them out. I was pretty sure one of them was simply, \"HELP.\"\n\n> You examine the torchlight\n(the torchlight)\nIt was a short black torchlight, too light to be used as a bludgeon, too weak to dazzle unwary agents. We'd let the strange man keep it. Should we have known that this was the Kampong Slasher?\n\nThe torchlight was switched off.\n\n> You switch on the torchlight\n(the torchlight)\nThis thing wouldn't give light unless it had a battery in it.\n\n> Inspect torchlight\n(the torchlight)\nI spotted no traces of hidden sigils."
    },
    {
        "text": "[Themes: magic, mystery]\n\n> Look around\nThe door opened up to a private office, small by directorial\nstandards. It had space enough for shelves, stuffed with ring binders, a desk and two chairs. The rest of the offices lay to the west.\n\nIn the centre of the desk was a rabbit skull, its bony surface burnished after years of contact with fingers.\n\n> You go to the west\nMore desks and chairs. To the east was the door leading to the field director's office. The office space was to the south.\n\nTo the west was the door to the shower.\n\nMy desk was here as well.\n\n> You look at the desk\n(the familiar desk)\nWhen I touched this desk, I felt like something slid into place. I\nknew this desk. It was my desk! I knew its grooves and furrows by heart. I recognised the rings where I had put a wet cup one too many times.\n\nThis desk had a drawer, which was open to reveal a D-cell battery.\n\n> You take the battery\n(the D-cell battery)\nTaken.\n\n> You put battery in torchlight\n(the D-cell battery in the torchlight)\nThe torchlight's battery compartment was closed.\n\n> You open the torchlight\nI opened the torchlight's battery compartment.\n\n> You put battery in the torchlight\n(the D-cell battery in the torchlight)\nI put the D-cell battery into the torchlight's battery compartment.\n\n> Close torchlight\nI closed the torchlight's battery compartment.\n\n> You switch on the torchlight\n(the torchlight)\nIt was too bright for me to see what was being projected. The noon\nsun, even filtered through the windows, washed out the torchlight's beam. I'd need a completely enclosed room for this."
    },
    {
        "text": "[Themes: amnesia, exploration, magic]\n\n> Look around\nMore desks and chairs. To the east was the door leading to the field director's office. The office space was to the south.\n\nTo the west was the door to the shower.\n\nMy desk was here as well.\n\n> You close the door\nI closed the waterstained door.\n\n> You turn on the torchlight\nIt was too bright for me to see what was being projected. The noon\nsun, even filtered through the windows, washed out the torchlight's beam. I'd need a completely enclosed room for this.\n\n> Go east\n(first opening the waterstained door)\n\nMore desks and chairs. To the east was the door leading to the field director's office. The office space was to the south.\n\nTo the west was the door to the shower.\n\nMy desk was here as well.\n\n> You go to the south\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard.\n\nTo the east was the office lounge. To the west was the registration office. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> Go east\nThis was our lounge. Paltry as it looked, it was where everyone congregated. To the west lay the exit out to the office space.\n\nA fancy television took pride of place in the room.\n\nIn a corner was the heart of the lounge, the bar fridge.\n\nA large beanbag leaned against the bar fridge.\n\n> You look at the boots\nLeather boots. Well-worn. A crest was stamped on the heel, familiar as a remembered texture.\n\n> You go south\nThe narrow lobby was where captured objects or monsters to be quarantined were logged.\n\nAnyone with a staff ID could tap in to the north, and to the east was the quarantine room. The red light above the doorway was dark.\n\nA card scanner, installed after we heard about the Kampong Slasher, prevented unauthorised personnel from entering the main offices.\n\nPlaques covered the wall of the Station Lobby.\n\nA reception desk took centre stage, a bastion of sense against\nwhatever the public had to offer.\n\n> You go north\nI tapped my ID card on the scanner and it beeped like a disgruntled kitten.\n\nThe office space resembled that of a sports hall, high-ceilinged, with glass panels near the ceiling. Moonlight streamed through those\npanels, casting glowing shadows.\n\na rough grid pattern. In front of the tables, there was a whiteboard.\n\nTo the east was the office lounge. To the west was the registration office. The lobby lay to the south, while more office cubicles lay to the north.\n\nA standing whiteboard had been pushed to one side.\n\nI could also see a gear locker (in which were a group photo, a faded body armour and a Mingsheng's body armour) here.\n\n> Go east\nI slid the horn key into the lock and the door clicked open.\n\nThis room was completely sealed and, despite the weather outside, chilly. The walls and floor were solid concrete. No windows. This room was built not to have weaknesses.\n\nLED panels would normally light up the room, but the panel casing had been cracked. Why was this room dark? Too many monsters thrived in shadow. I had to bring light into this place.\n\nThe way out was to the west.\n\n> You turn on the torchlight\nIn the gloom of the Quarantine Room, the beam of the torchlight was much clearer, and for the first time I saw why the Kampong Slasher was carrying this.\n\nIn the puddle of light was the sigil of near sight, the most dangerous sigil of all, for it whispered sweetly of violence in darkness -- and this was the only place in the station in which it was dark enough to do that.\n\nThere was a monstrous knocking at the outside of the Station: more a booming than knocking. I sensed that the sound was coming from the lobby."
    },
    {
        "text": "[Themes: amnesia, male protagonist]\n\n> Look around\nThis room was completely sealed and, despite the weather outside, chilly. The walls and floor were solid concrete. No windows. This room was built not to have weaknesses.\n\nLED panels would normally light up the room, but the panel casing had been cracked. Why was this room dark? Too many monsters thrived in shadow. I had to bring light into this place.\n\nThe way out was to the west.\n\n> You look at Sigil\n(the sigil notebook)\nI started this notebook early in my first DRIP posting - it still had my name, Priyanka Ramasamy, written on the cover in faded marker. I could read this, if I wanted to.\n\n> You turn on the torch\nIn the gloom of the Quarantine Room, the beam of the torchlight was much clearer, and for the first time I saw why the Kampong Slasher was carrying this.\n\nIn the puddle of light was the sigil of near sight, the most dangerous sigil of all, for it whispered sweetly of violence in darkness -- and this was the only place in the station in which it was dark enough to do that.\n\n> You examine Sigil of the near sight\nThis was a sigil I'd only imagined, read about in books, seen written in sigil notation (and those were always distorted such that they\nwould never form a working sigil).In my years of working here, I had only seen the sigil of near sight once, and only once, because no one was allowed - by law! - to inscribe it within Perigosan limits. Though how could the law stop someone? It was, if not perfect, then a very good weapon.\n\n> You jump\nI gave a masterful leap. I was mainly a scholar, not an athlete.\n\n> Go west\nThe reception desk stood, devoid of human presence. But where there\nhad once been a wall filled with plaques and the main door, now there was only a broken wall and the outside was to the south.\n\nA card scanner, installed after we heard about the Kampong Slasher, prevented unauthorised personnel from entering the main offices.\n\nPlaques covered the wall of the Station Lobby.\n\nA reception desk took centre stage, a bastion of sense against\nwhatever the public had to offer.\n\n> You look at the desk\nThe front of the desk had a metal crest, a shape I had seen thousands of times, yet in my present state I could not picture it with my eyes closed.\n\nPeering round the other side of the desk, my eyes were drawn\ninexorably to the sigil of speed.\n\n> Go south\nI found myself in a narrow alley. The walls around me were dotted with exposed wires and satellite dishes and water pipes; this obvious\nbreach of health and safety would never have been tolerated anywhere\nin Perigosan but in the Walled City. And I knew this place: there were precious few names for it, but this was where we'd once uncovered a rift in the fabric of this dimension... pretty much.\n\nA towel flapped in a sudden gust of wind.\n\n> You examine the towel\nWhat little fabric was not soaked through with dried blood was stained from frequent use. The corner of the towel was marked with a name tape reading \"Mingsheng\", and the logo proudly proclaimed it to be from a local dojo.\n\nFrom behind me, I heard somebody saying: \"Priyanka? Priyanka! Do you know that Gladys has been trying to get to you, but she kept getting\nme instead?\"\n\nI turned, and true to life, there was Carlotta! Quizzical look on her face. Feet floating slightly above the floor. I should talk to\nher.\n\n> 3\n\"Carlotta, why are your feet not touching the ground?\"\n\n\"Priyanka, you sure you work for DRIP?\" she says, with a teasing\nsmile.\n\n> 1\nCarlotta smiled, and suddenly I felt like I was home again. \"I don't know if you've reached the same conclusion by yourself, but you're dead.\"\n\n\"Bit of a conversation... killer, isn't it?\"\n\nCarlotta rolls her eyes. \"Still making jokes! Anyway, apparently\nGladys has been trying to scry either of us for a week to figure out what happened. She could only find me, and she asked me to find you, kind of. It's nice to be back, isn't it?\"\n\n> 2\nCarlotta gave me a Look, the one which hinted that I might not like what she was going to say next.\n\n\"I think I scry for you to see, better than I tell stories, huh?\" We went in to the staff shower, to the full length mirror, and she closed her eyes.\n\nCarlotta gave me a Look, the one which hinted that I might not like what she was going to say next.\n\n\"I think I scry for you to see, better than I talk talk talk at you.\" So we went in to the staff shower, to the full length mirror, and she closed her eyes.\n\nthe Quarantine Room alarm goes off. I go in, inscribing knife still in hand, and the airlock doors shut behind me.\n\n\"Do you remember this part?\" she asks, and I nod.\n\nThe Kampong Slasher had tucked his blanket over the light casing, blocking out not all, but enough, light. As I reach for the blanket,\nhe takes out his torchlight and turns it on. My eyes go to the pool of light, naturally. I take in the sigil of near sight, naturally. One glance is enough.\n\nWhen I emerge, my eyes are red-rimmed and watery. Mingsheng is\nrushing at me (or I him?) - and I catch him in the stomach with--\n\nI can't bear to see any more. I turn away, but the alley around me is fading into white like a cheap TV transition. The last thing I feel before nothingness takes over is her hand on my arm.\n\n\"It wasn't your fault,\" she says, from a long, long way away."
    },
    {
        "text": "[Themes: Educational, violence, female protagonist]\n\nYou and your friend Pari have been digging out an escape tunnel. Yesterday she told you that it was ready and that she would come get you right after dinner. Unfortunately, it's already night and she's half an hour late, which is worrying you very much. Even worse, Nikhil probably isn't planning to leave for at least a few hours, and by then you doubt you'll have any chance.\n\n(The following story was written for Vanderbilt University's 2012 Commons Reading Competition. It was inspired by \"Half the Sky: Turning Oppression into Opportunity for Women Worldwide\" by Nicholas Kristof and Sheryl WuDunn.)\n\nThe room is small, musky, and windowless. A single light bulb is hanging overhead, controlled by a light switch. A bed is pushed in the corner, leaving only a little room for standing. The walls are made of solid gray concrete and are colored by various stains you'd rather not speak of. There is one hole in the wall for electricity. A wooden door separates this room from the hallway to the north.\n\nOn the bed is Nikhil Varma.\n\nYou can also see a plastic fan here.\n\n[Author's Note: You and your friend Pari have been digging out an escape tunnel. Yesterday she told you that it was ready and that she would come get you right after dinner. Unfortunately, it's already night and she's half an hour late, which is worrying you very much. Even worse, Nikhil probably isn't planning to leave for at least a few hours, and by then you doubt you'll have any chance.]\n\n> You look at Nikhil\nAn Indian man whom you judge to be about twenty-five years old. He appears to be reasonably fit, fairly healthy, and a despicable monster.\n\n(Try to \"examine\" everything. You can get a lot of clues from that. It can also be abbreviated \"x\", as in \"x bed\".)\n\n> About yourself\nYou are a thin, yet fairly tall, fourteen-year-old Indian girl. You consider yourself to be only of average prettiness, however, which is fortunate here, as beauty is almost a curse.\n\n(To see a description of the room, just type \"look\". This description will tend to change depending on what's in the room at the time.)\n\n> You examine the plastic fan\nA generic white fan about half a meter high, consisting of four fairly sharp blades. It is placed here more for the comfort of the customers than for yours. A cord connects it to the hole in the wall. There is a white cover to protect the blades.\n\nThe plastic fan is currently switched on.\n\n(To talk to someone, just \"mention\" a subject while in the same room as someone else. This can be abbreviated \"m\", as in \"m love\". In addition, you can \"think\" in order to show a list of important possible subjects to mention.)\n\n> You think\nYou are currently talking about: whatever comes to mind.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n(To check what you're holding, type \"inventory\" or \"i\".)\n\n> M prostitution\nNikhil considers prostitution for a second.\n\n\"How else would I pass ten years of my life?\"\n\n(If you need more help, just type \"help\". In that menu is also a list of hints.)\n\n> Mention nikhil\nNikhil considers himself for a second.\n\n\"I'm a good man, I think, and I'm well on the track to success. I'm not sure there's any need to be more specific.\"\n\n> M yourself\nNikhil considers you for a second.\n\n\"You look perfectly fine, even if you're not the best here. I do like how much taller you are than other girls your age, though. You're more adjusted to my body size.\"\n\n> You examine Nikhil\nAn Indian man whom you judge to be about twenty-five years old. He appears to be reasonably fit, fairly healthy, and a despicable monster."
    },
    {
        "text": "> You look around\nThe room is small, musky, and windowless. A single light bulb is hanging overhead, controlled by a light switch. A bed is pushed in the corner, leaving only a little room for standing. The walls are made of solid gray concrete and are colored by various stains you'd rather not speak of. There is one hole in the wall for electricity. A wooden door separates this room from the hallway to the north.\n\nOn the bed is Nikhil Varma.\n\nYou can also see a plastic fan here.\n\n> Go north\n(first opening the wooden door)\nNikhil says, \"Hey, what are you trying to do? I paid for this time, so stop wasting it.\"\n\nIf you want to leave, you'll probably have to be a little more surreptitious.\n\n> You examine the hole\nA small centimeter-wide hole has been roughly drilled into the wall so that the light bulb and fan can get electricity. You often dream about escaping through it.\n\n> You turn the fan off\n(the plastic fan off)\nYou flip the switch near the bottom of the fan, and it sputters to a halt.\n\nNikhil says \"Hey, turn that back on! I'm already too hot.\" You grimace, thinking that he is, in fact, not.\n\n> Mention nikhil\nNikhil considers himself for a second.\n\n\"I guess I chose you today because I haven't had you yet. Many of the better-looking ones were already taken as well.\"\n\n> Mention building\nNikhil considers the house for a second.\n\n\"If I had designed this building, I definitely would have made it more open. People with claustrophobia could never come here.\"\n\n> Continue\nYou're already talking about that.\n\nNikhil considers the house for a second.\n\n> You wait\nTime passes."
    },
    {
        "text": "> You look around\nThe room is small, musky, and windowless. A single light bulb is hanging overhead, controlled by a light switch. A bed is pushed in the corner, leaving only a little room for standing. The walls are made of solid gray concrete and are colored by various stains you'd rather not speak of. There is one hole in the wall for electricity. A wooden door separates this room from the hallway to the north.\n\nOn the bed is Nikhil Varma.\n\nYou can also see a plastic fan here.\n\n> Mention nikhil\nNikhil considers himself for a second.\n\n\"Yes, I find this building to be extremely old and depressing, but I'm willing to accept it.\"\n\n> M nikhil\nYou're already talking about that.\n\nNikhil considers himself for a second.\n\n> You think\nYou are currently talking about: himself.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n> Mention marriage\nNikhil considers marriage for a second.\n\n\"Yes, I certainly want to be able to meet a woman soon who is worthy of being my wife.\"\n\n> M love\nNikhil considers love for a second.\n\n\"Ah, love is a great thing. It is the most noble of all emotions. A man and a woman are truly great when they so choose to be.\"\n\n> M marriage\nNikhil considers marriage for a second.\n\n\"Love can lead to marriage or the other way around. Of course, one never knows which at first.\"\n\n(The following story was written for Vanderbilt University's 2012 Commons Reading Competition. It was inspired by \"Half the Sky: Turning Oppression into Opportunity for Women Worldwide\" by Nicholas Kristof and Sheryl WuDunn.)\n\n> You examine the bed\nPerhaps your least favorite place in the world. It is essentially a large mattress set on the ground, perhaps half a meter high.\n\nOn the bed is Nikhil Varma.\n\n> M marriage\nYou're already talking about that.\n\nNikhil considers marriage for a second.\n\n> You open the door\nNikhil says, \"Hey, what are you trying to do? I paid for this time, so stop wasting it.\"\n\nIf you want to leave, you'll probably have to be a little more surreptitious.\n\n> M building\nNikhil considers the house for a second.\n\n\"No, this is a terrible place to have a wedding. It's too dark and everything's too enclosed. That is what you mean, right?\"\n\n> You think\nYou are currently talking about: the house.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n> M nikhil\nNikhil considers himself for a second.\n\n> M marriage\nNikhil considers marriage for a second.\n\n\"I want to be married by the time I'm thirty, but I'm willing to wait if I can't find the right woman.\"\n\n> M girls\nNikhil considers the girls here for a second.\n\n\"I don't know where they get these girls from, but most of them are pretty impressive.\"\n\n> M building\nNikhil considers the house for a second.\n\n\"This is not the best place for them to work, really. Still, I'm sure that it's the best the owners can afford.\"\n\n> M you\nNikhil considers prostitution for a second.\n\n\"Yes, I know what this place is for. Maybe it could branch out a little, though, maybe add a restaurant.\"\n\nYou see no reason to mention that.\n\n> M building\nNikhil considers the house for a second.\n\n\"I've heard that prostitution is the world's oldest profession. It must have been so open back then. Now we're forced into cramped houses if we want to satisfy ourselves.\"\n\n> M marriage\nNikhil considers marriage for a second.\n\n\"Looking for a wife here is probably the worst thing I can do. They have been tainted by other men, of course, but even if they weren't, only the poor girls end up here anyway.\"\n\n> You look at the switch\nA small plastic light switch turns the light on and off.\n\nThe light switch is currently switched on.\n\n> M nikhil\nNikhil considers himself for a second.\n\n\"I'm not married yet, of course, but I definitely hope to be some day. My wife will be beautiful, loyal, and hardworking.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na dress (being worn)\n\n> M love\nNikhil considers love for a second.\n\n\"There was a girl I knew who I once thought I loved. She and her family disappeared one day, and I have never seen them since. Maybe they moved because of poverty, or maybe she became engaged to another man. I have no idea.\"\n\n> M nikhil\nNikhil considers himself for a second.\n\n\"I really must meet someone someday who I love. The world would be so much brighter.\"\n\n> You turn off the light\n(the light bulb)\nNikhil shouts at you, \"No, leave that on! I want to be able to see you.\"\n\n> You look at bulb\n(the light bulb)\nA bare yet surprisingly bright bulb dangling from the ceiling is the only source of light in the room. A power cable running along the ceiling is connected to a hole in the wall. Another cable connects it to a light switch by the door.\n\n> You examine cable\nA thin black rubber cable attached to the light bulb. You can tell that it's already fraying at the hole in the wall.\n\n> M prostitution\nNikhil considers prostitution for a second.\n\n\"If you mean that I should try becoming a prostitute, I'd really rather not. The demand is probably pretty low as well. That is what you mean, right?\"\n\n> You pull the cable\nNothing obvious happens.\n\n> M building\nNikhil considers the house for a second.\n\n> You think\nYou are currently talking about: the house.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n> M yourself\nNikhil considers you for a second.\n\n\"Yes, I guess it must not be comfortable working here all day. Still, we all have to make a living somehow.\"\n\nYou refrain from stating that you don't actually get any of the money.\n\n> M prostitution\nNikhil considers prostitution for a second.\n\n\"I do wonder how you came to be in this state. Actually, don't tell me. That'll take too long.\"\n\n> M yourself\nNikhil considers you for a second.\n\n\"I can plainly see what you are. Everyone can plainly see what you are.\"\n\n> M nikhil\nNikhil considers himself for a second.\n\n> M prostitution\nNikhil considers prostitution for a second.\n\n> M yourself\nNikhil considers you for a second.\n\n> You think\nYou are currently talking about: you.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n> M girls\nNikhil considers the girls here for a second.\n\n\"I imagine that in your field of work you have little time for recreation with those other girls. Still, it's just something you have to accept.\"\n\n> M love\nNikhil considers love for a second.\n\n\"Every girl is in love with the idea of love. I would say most men are too.\"\n\n> M prostitution\nNikhil considers prostitution for a second.\n\n\"Yes, I've heard that some prostitutes fall in love with their clients. Ah, all those broken dreams.\"\n\n> M girls\nNikhil considers the girls here for a second.\n\n\"I wonder how these girls will live the rest of their lives. They certainly cannot survive by themselves for long.\"\n\n> M nikhil\nNikhil considers himself for a second.\n\n\"I've been to a few other places in the past few years, but I admit that the girls here are probably the best selection I've seen.\"\n\n> You move the bed\nIt is fixed in place.\n\n> You examine the door\nA wooden door with cracked, peeling, green paint in random splotches.\n\n> M sex\nNikhil considers sex for a second.\n\n\"I'm a fan of it, personally.\"\n\n> You think\nYou are currently talking about: sex.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Nikhil.\n\n> M yourself\nNikhil considers you for a second.\n\n\"Yeah, sure, we might as well get started soon.\"\n\n> M building\nNikhil considers the house for a second.\n\n\"If you had to enter this business, couldn't you have picked a better place to do so?\"\n\nNo, you think. You couldn't have.\n\n> M yourself\nNikhil considers you for a second.\n\n> M sex\nNikhil considers sex for a second.\n\n\"The woman up front said that you were pretty good at this, but of course everyone always oversells their products.\"\n\n> M girls\nNikhil considers the girls here for a second.\n\n\"It does bother me sometimes to think of the other guys who have been in all you girls, but I can generally block that image out.\"\n\n> You kiss him\nYou move near him and take his head into your hands. He pulls you close and kisses you. \"Not bad,\" he says, \"but let's just get right down to it.\"\n\n> You get in the bed\nYou get onto the bed.\n\nOn the bed you can see Nikhil Varma.\n\n> You have the sex\n(with the plastic fan)\nYou should probably limit yourself to only having sex with animate objects.\n\n> You have the sex with Nikhil\nNikhil pulls you closer and proceeds not to let you go for hours. Despite what else you may say about him, he certainly has incredible stamina. Of course, by the time you actually have any chance to leave, it's already too late to.\n\n> You look at the fan\n(the plastic fan)\nA generic white fan about half a meter high, consisting of four fairly sharp blades. It is placed here more for the comfort of the customers than for yours. A cord connects it to the hole in the wall. There is a white cover to protect the blades.\n\nThe plastic fan is currently switched off.\n\n> You take the fan\n(the plastic fan)\nTaken.\n\n> You remove the cover\n(first taking the fan cover)\nYou position yourself between Nikhil and the fan so that he can't see it. Then you carefully pry the cover off of the fan, leaving the blades exposed.\n\nYou're not wearing that.\n\n> You examine the blades\nFour fairly sharp blades are connected to the center of the fan.\n\n> You take the blade\nThat seems to be a part of the plastic fan.\n\n> You touch Nikhil with the fan\nThat is either not here, not visible, or does not need to be referred to.\n\nI only understood you as far as wanting to touch Nikhil Varma.\n\n> Attack\n(the plastic fan)\nViolence isn't the answer to this one.\n\n> You hit Nikhil\nYou're not that dumb. He could easily defeat you with almost no effort.\n\n> You touch fan\n(the plastic fan)\nYou feel nothing unexpected.\n\n> You look at the fan\n(the plastic fan)\nA generic white fan about half a meter high, consisting of four fairly sharp blades. It is placed here more for the comfort of the customers than for yours. A cord connects it to the hole in the wall. You have removed the cover.\n\nThe plastic fan is currently switched on.\n\n> You examine cover\nA slightly damaged white cage used to protect errant fingers from the fan blades. The fan cover is never tightly attached and has in fact fallen off at least four times in the past year. You have managed to take it off.\n\n> You look at the cord\nA white rubber cord connected to the fan on one side and a hole in the wall on the other.\n\n> You cut Nikhil\nCutting him up would achieve little.\n\n> You wear the cover\nYou place the cover on your head, forming a makeshift helmet.\n\n> You cut the cable with the fan\n(the plastic fan)\nYou carefully bring the fan blades perpendicularly to the fraying at the edge of the wall.\n\nNikhil asks, \"Hey, why are you messing with that fan back there?\"\n\nYou lie and tell him that the cover has fallen off, so you're trying to fix it. As you're explaining, the fan blades finally manage to cut through enough of the wire to break the connection, and so the light bulb quickly fizzles out.\n\nIt is now pitch dark in here!\n\n> You open the door\nYou open the wooden door.\n\n> Go outside\nYou get off the bed.\n\nIt is pitch dark, and you can't see a thing.\n\nFortunately for you, Nikhil hasn't realized what's happened, so he says \"Oh, great, the light bulb has burned out now? Go out and get your owner to change it. I will get what I paid for!\"\n\n> Go outside\nBut you aren't in anything at the moment.\n\n\"Of all the times to happen...\" grumbles Nikhil.\n\nYou should probably leave before Nikhil gets suspicious. Just go north. (You can also type \"n\", while \"e\", \"w\", and \"s\" will work for the other directions. Combinations like \"sw\" may also be used occasionally.)\n\n> Go north\nThe fan's attached to the wall. You need to drop it first.\n\n\"I'm not going to have time to come here again for another two weeks,\" Nikhil continues to complain.\n\nCome on, this is the perfect chance.\n\n> You drop the fan\n(the plastic fan)\nDropped.\n\n\"And I've got to be back home in just two hours,\" Nikhil says.\n\nSeriously, you need all the time you can get.\n\n> Go north\nThe hallway is narrow and looks essentially the same as your room in all basic respects, with the same drab walls and poor lighting. Small rooms like yours line the wall on both sides. East leads to Pari's room and west heads to the main room where the customers are.\n\n> You go east\nThe hallway is the same uniform gray all along, and you can see doors stretching all the way further east, leading eventually to the outside. Pari's room is south of here. The hallway in front of your room is to the west.\n\nA door down the hallway on the odd-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> Go south\n(first opening Pari's door)\n\nThe room looks almost exactly the same as yours. A key difference is that this room is lighted. A key similarity is that Pari is not in either. A door leads north to the hallway.\n\n> About yourself\nYou are a thin, yet fairly tall, fourteen-year-old Indian girl. You consider yourself to be only of average prettiness, however, which is fortunate here, as beauty is almost a curse."
    },
    {
        "text": "[Themes: Educational, female protagonist]\n\n> Describe the surroundings\nThe room looks almost exactly the same as yours. A key difference is that this room is lighted. A key similarity is that Pari is not in either. A door leads north to the hallway.\n\n> Go north\nThe hallway is the same uniform gray all along, and you can see doors stretching all the way further east, leading eventually to the outside. Pari's room is south of here. The hallway in front of your room is to the west.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> You go to the east\nA girl who you think is called Navya comes over from the west. She quietly says, \"I've been asked to collect all the girls who are done working for the day. There's going to be a demonstration soon.\"\n\nYou suddenly begin to suspect the worst. \"Here, follow me,\" she says, heading west and north to the dining room.\n\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see a table (on which are Pari, some ropes, a wooden stick, an iron rod, and a purse (closed)), Mother Avni Singh, Akshay Singh, Arnav Singh, Aditi Singh, the family dog, some girls, a cupboard (closed), and the rice cooker (closed) here.\n\nNavya heads out to search for others, shutting the door behind her.\n\nMother Singh hits Pari's right leg. Pari lets out a faint whimper.\n\n> You examine the dog\nBy far your favorite member of the family. A large mutt, he is kept by the Singhs partly for sentimental value and partly for his ability to intimidate customers who refuse to pay or leave quickly enough.\n\nMother Singh hits Pari's right arm. Pari lets out a faint whimper.\n\n> You examine Pari\nPari is fairly tall for a 16-year-old, and thus she is one of the stronger girls here. Because you often talk to her at night through the hole in the wall, she is your closest friend.\n\nPari is carrying:\nPari's dress (being worn)\n\nMother Singh hits Pari's right arm. Pari lets out a faint whimper.\n\nMother Singh shouts, \"Well, girl, you thought you could get away with this? Everyone, watch closely and see what happens to those who rebel against me.\"\n\n> You examine the girls\nA large ring of girls has surrounded the table on which Pari is bound. Their attention is wholly focused on her, so you are able to sneak around without either them or Mother Singh noticing.\n\nMother Singh hits Pari's right leg.\n\n> Open purse\nThat might be a bit too obvious.\n\nMother Singh hits Pari's right arm. Pari lets out a faint whimper.\n\n> You get the purse\nThat might be a bit too obvious.\n\nSuddenly, Nikhil's head pops into the room as he opens the door and peers in. You quickly duck down behind the mass of girls.\n\nNikhil stares at Pari and asks Mother Singh, \"What are you doing now?\"\n\nMother Singh answers, \"We're just punishing her a bit. She tried to steal some money from us.\" You cringe inwardly. Based on your past experience, if that was the crime, Pari is about to be crippled, if not dead. You have to save her.\n\n> You open cupboard\nYou open the cupboard, revealing a can opener and a can of beans.\n\nNikhil considers the answer before saying, \"Well, why are you making all the other girls watch this?\"\n\nMother Singh says, \"We need to teach these girls not to disobey us. Everybody here does this. Now, excuse me, but what are you here for?\"\n\n> You open the rice\nYou sneak over to the rice cooker by hiding behind the girls.\n\nYou open the rice cooker, revealing cooked rice.\n\nNikhil hesitates before saying, \"Well, I need a new light bulb for my room. I sent my girl out to get someone to fix the problem, but she still hasn't returned.\" You crouch down further.\n\nMother Singh says, \"Interesting. I have no idea where she is, but we happen to be out of light bulbs at the moment. However, I can send my son out with you to the city to get some new ones. Akshay, my boy, go help him.\"\n\n> You take the rice\n(cooked rice)\nYou don't see any use for a handful of rice. Besides, you don't have anything to grab or carry it with.\n\nNikhil and Akshay walk out of the room, Akshay having an obvious look of displeasure on his face at being forced to miss this.\n\nOne of the girls asks, \"Should I close the door, Mother Singh?\"\n\nShe replies, \"No, no one else is going to come anymore. Besides, it's hot in here and I'm already breaking a sweat.\"\n\nMother Singh says to Pari, \"Alright, now that we've softened you up a bit, it's time to start going a little harder.\" She picks up the wooden stick.\n\n> You examine the iron rod\nA metal rod about the same length as the stick. It is only used in the worst cases. You are very worried now.\n\nMother Singh quickly strikes Pari's right leg with a stick. Pari lets out a short cry.\n\n> You take the can\n(the can of beans)\nTaken.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You open can\n(the can of beans)\nYou use the can opener to open the can of beans. Then you quickly dart out of the way so you are not seen, leaving the can on the ground.\n\nMother Singh quickly strikes Pari's left leg with a stick. Pari lets out a short cry.\n\n> You put beans in the rice cooker\n(the can of beans in the rice cooker)\n(first taking the can of beans)\n\nNo, not yet.\n\nMother Singh quickly strikes Pari's right arm with a stick.\n\nThe dog cautiously weaves its way through the mass of girls, enticed by the smell of the beans. You wave it over and gesture at it to eat. It eagerly complies, sticking its muzzle inside the can. The sound of the dog eating gets Mother Singh's attention, and she turns toward the dog.\n\nMother Singh shouts, \"Who left a can of beans open on the floor? Alright, Arnav, go out and walk the dog for an hour or two. I certainly do not want him making this place smell.\" Arnav slowly walks out with the dog, obviously annoyed at being assigned this chore.\n\n> You turn on the rice cooker\nThat's not something you can switch.\n\nMother Singh quickly strikes Pari's right leg with a stick.\n\n> You examine the girls\nA large ring of girls has surrounded the table on which Pari is bound. Their attention is wholly focused on her, so you are able to sneak around without either them or Mother Singh noticing.\n\nMother Singh quickly strikes Pari's left leg with a stick. Pari lets out a short cry.\n\n> You spill the rice\n(cooked rice)\nYou tilt over the rice cooker and some of the dry grains escape, forming a small heap of spilled rice on the ground. You quickly move away from there so that you won't be suspected. The noise of the grains falling is loud enough for Mother Singh to turn towards it.\n\nShe shouts, \"Aditi, go out to the closet and get the broom so you can sweep this up.\" Aditi complies, heading out.\n\nAditi returns and quickly sweeps the rice up into a dustpan. She then leaves to dump it in the outside refuse pile. Putting the broom back in the closet, she returns to continue watching.\n\nMother Singh quickly strikes Pari's right arm with a stick. Pari lets out a short cry.\n\n> You spill the rice\n(cooked rice)\nYou tilt over the rice cooker and some of the dry grains escape, forming a small heap of spilled rice on the ground. You quickly move away from there so that you won't be suspected. The noise of the grains falling is loud enough for Mother Singh to turn towards it.\n\nShe shouts, \"Aditi, go out to the closet and get the broom so you can sweep this up.\" Aditi complies, heading out.\n\nAditi returns and quickly sweeps the rice up into a dustpan. She then leaves to dump it in the outside refuse pile. Putting the broom back in the closet, she returns to continue watching.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You examine aditi\nShe is older than Arnav and younger than Akshay, but beyond that you have little idea of her age. She is as cruel as her mother is.\n\nMother Singh quickly strikes Pari's right leg with a stick.\n\n> You examine the iron\nA metal rod about the same length as the stick. It is only used in the worst cases. You are very worried now.\n\nMother Singh quickly strikes Pari's left arm with a stick. Pari lets out a short cry."
    },
    {
        "text": "> You look at your surroundings\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see a can of beans (in which are some brown beans), a table (on which are Pari, some ropes, an iron rod, and a purse (closed)), Mother Avni Singh, Aditi Singh, some girls, a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\nMother Singh quickly strikes Pari's left leg with a stick. Pari lets out a short cry.\n\n> You take the can\n(the can of beans)\nTaken.\n\nMother Singh quickly strikes Pari's left leg with a stick. Pari lets out a short cry.\n\n> You throw the can at Aditi\n(the can of beans at Aditi Singh)\nYou lack the nerve when it comes to the crucial moment.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You put can in the cooker\n(the can of beans in the rice cooker)\nYou put the can of beans into the rice cooker.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You turn on the cooker\nThat's not something you can switch.\n\nMother Singh quickly strikes Pari's left leg with a stick.\n\n> Close cooker\n(cooked rice)\nYou tilt over the rice cooker and some of the dry grains escape, forming a small heap of spilled rice on the ground. You quickly move away from there so that you won't be suspected. The noise of the grains falling is loud enough for Mother Singh to turn towards it.\n\nShe shouts, \"Aditi, go out to the closet and get the broom so you can sweep this up.\" Aditi complies, heading out.\n\nAditi returns and quickly sweeps the rice up into a dustpan. She then leaves to dump it in the outside refuse pile. Putting the broom back in the closet, she returns to continue watching.\n\nMother Singh quickly strikes Pari's right leg with a stick.\n\nYou close the rice cooker.\n\nMother Singh quickly strikes Pari's right arm with a stick. Pari lets out a short cry.\n\n> You drop the cooker\nThe rice cooker is already here.\n\nMother Singh quickly strikes Pari's right arm with a stick. Pari lets out a short cry.\n\n> Examine cooker\nA large steel rice cooker enclosed within a wooden cover. It is far too large for its legs, however, and in the common cases where it is accidentally spilled, someone always has to waste time cleaning it up.\n\nMother Singh quickly strikes Pari's right leg with a stick. Pari lets out a short cry.\n\n> You take the can\nYou already have that.\n\nMother Singh quickly strikes Pari's right leg with a stick. Pari lets out a short cry.\n\n> You check your inventory\nYou are carrying:\na can opener\na fan cover (being worn)\na dress (being worn)\n\nMother Singh quickly strikes Pari's left arm with a stick. Pari lets out a short cry.\n\n> You open the cooker\nYou open the rice cooker, revealing a can of beans and cooked rice.\n\nMother Singh quickly strikes Pari's right leg with a stick. Pari lets out a short cry.\n\n> You put rice into the can\n(cooked rice into the can opener)\n(first taking cooked rice)\n\nYou don't see any use for a handful of rice. Besides, you don't have anything to grab or carry it with.\n\nMother Singh quickly strikes Pari's right leg with a stick.\n\n> You take the beans\n(the can of beans)\nTaken.\n\nMother Singh quickly strikes Pari's right arm with a stick. Pari lets out a short cry.\n\n> You spill the beans\n(the can of beans)\nYou have no reason to do that.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You eat the beans\n(the can of beans)\nYou reach into the can and pull out a few beans before popping them into your mouth.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> You go to the south\nYou crouch behind the mass of girls and quickly sneak out of the room when no one is looking.\n\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\nA door down the hallway on the odd-numbered side opens, as a girl followed by a man exit their room and head to the front. You step aside to allow them to pass.\n\n> Go south\nYou don't want to randomly barge in if there's a customer with her. Besides, you see no reason why Pari would be there.\n\nA door down the hallway on the even-numbered side opens, as a girl followed by a man exit their room and head to the front. You step aside to allow them to pass.\n\n> Go west\nThis is where the customers enter and wait. However, it is currently very late and so no one is here right now. It is luxuriously decorated compared to the rest of the place. A desk sits in the corner. East is the hallway. North is a closet. West leads outside.\n\n> You examine it\nAn ornamented desk with carvings on the side of tigers and flowers. It has two drawers, one on the left and one on the right.\n\n> You open the left drawer\nThe purse isn't open.\n\nThe drawer appears to be locked. You'll have to get the key out of Mother Singh's purse first.\n\n> North\n(first opening the closet door)\n\nThe closet is fairly large and contains many things that are used in the day-to-day running of this place, but most are unfamiliar to you. South leads out.\n\nYou can see a broom here.\n\n> You take broom\nYou'd look pretty suspicious walking about with a broom.\n\n> You wear the broom\n(first taking the broom)\nYou'd look pretty suspicious walking about with a broom.\n\n> You look at what you're carrying with you\nYou are carrying:\na can of beans (open)\nsome brown beans\na can opener\na fan cover (being worn)\na dress (being worn)\n\n> Go north\nThe closet is fairly large and contains many things that are used in the day-to-day running of this place, but most are unfamiliar to you. South leads out.\n\nYou can see a broom here.\n\n> You examine the broom\nThe broom has been used here for at least as long as you've been used here.\n\n> You put the beans in the broom\n(the can of beans in the broom)\nThat can't contain things.\n\n> You take broom\nYou'd look pretty suspicious walking about with a broom.\n\n> Break broom\nYou snap the broom in half.\n\n> East\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\n> Go north\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see a table (on which are Pari, some ropes, an iron rod, and a purse (closed)), Mother Avni Singh, Aditi Singh, some girls, a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\nMother Singh quickly strikes Pari's left arm with a stick.\n\n> Go north\nYou can't go that way.\n\nMother Singh quickly strikes Pari's right leg with a stick. Pari lets out a short cry.\n\n> You spill the rice\n(cooked rice)\nYou tilt over the rice cooker and some of the dry grains escape, forming a small heap of spilled rice on the ground. You quickly move away from there so that you won't be suspected. The noise of the grains falling is loud enough for Mother Singh to turn towards it.\n\nShe shouts, \"Aditi, go out to the closet and get the broom so you can sweep this up.\" Aditi complies, heading out.\n\nAditi runs back in, shouting that the broom has been broken. Mother Singh says, \"What! Who has done this? The broom was fine earlier; has someone damaged it on purpose? Oh, we shall get to the bottom of this mystery once I have finished with this girl! Meanwhile, go into town and tell your brother to pick up a new broom as well.\" Aditi quickly dashes out to follow her mother's orders, and you inwardly celebrate at having another family member out of the way.\n\nNow Mother Singh, having worked up a sweat, picks up the metal rod. She laughs and says, \"Okay, my girl, prepare for some real pain now.\"\n\nMother Singh aims a sharp blow with the metal rod at Pari's stomach. Pari tries hard not to scream, only letting out a short \"Oof.\"\n\n> You hit singh\nViolence isn't the answer to this one.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Urgh...\", groans Pari as she reels from the blow.\n\nMother Singh shouts out, \"Someone get me a book of matches for later.\" The girls stare nervously at each other for a minute, until one of them takes a chair, pushes it in front of the cabinet, and stands on it so she can reach on top of the cabinet. She fishes around for a little bit, finding two books of matches. Then she gets down, pushes the chair in the corner, and gives both to Mother Singh, who says, \"I only need one. She's not going to last that long,\" The girl shudders a bit before throwing one book back into the cupboard, as Mother Singh places the other in an imperceptible fold in her dress.\n\n> You take the purse\nThat might be a bit too obvious.\n\nMother Singh aims a sharp blow with the metal rod at Pari's arm. \"Arghhh!\", she shouts, tears glistening in her eyes.\n\n> You take the matches\nTaken.\n\nMother Singh aims a sharp blow with the metal rod at Pari's stomach. \"AGHHHHHHHHHHHHHHHHHH!\", Pari screams, unable to face the pain as the rod hits a sensitive spot.\n\n> Light singh\nThis dangerous act would achieve little.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. Pari tries hard not to scream, only letting out a short \"Oof.\"\n\n> Light matches\nTo use the matches, just BURN an object. You don't have to light them first or anything.\n\nMother Singh aims a sharp blow with the metal rod at Pari's arm. \"Arghhh!\", she shouts, tears glistening in her eyes.\n\n> You look at Singh\nA middle-aged woman who runs the place, she is warm and inviting to the customers, but cruel to everyone else. She always seems even more vicious when her husband is out at the bars, as he probably is now.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"AGHHHHHHHHHHHHHHHHHH!\", Pari screams, unable to face the pain as the rod hits a sensitive spot."
    },
    {
        "text": "> Look around\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see spilled rice, a table (on which are a wooden stick, Pari, some ropes, and a purse (closed)), Mother Avni Singh, some girls, a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\nMother Singh aims a sharp blow with the metal rod at Pari's arm. \"Urgh...\", groans Pari as she reels from the blow.\n\n> You examine the ropes\nFour ropes bind each of Pari's limbs.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. Pari tries hard not to scream, only letting out a short \"Oof.\"\n\n> You look at cupboard\nA tall wooden cupboard with multiple shelves inside.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"AGHHHHHHHHHHHHHHHHHH!\", Pari screams, unable to face the pain as the rod hits a sensitive spot.\n\n> You examine purse\nMother Singh's purse is essentially a brown cloth bag with a strap, about a third of a meter wide.\n\nMother Singh aims a sharp blow with the metal rod at Pari's stomach. \"Arghhh!\", she shouts, tears glistening in her eyes.\n\n> Light purse\nThat might be a bit too obvious.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Urgh...\", groans Pari as she reels from the blow.\n\n> Burn rope\nThat might be a bit too obvious.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. Pari tries hard not to scream, only letting out a short \"Oof.\"\n\n> Inventory\nYou are carrying:\nsome matches\na can of beans (open)\nsome brown beans\na can opener\na fan cover (being worn)\na dress (being worn)\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Urgh...\", groans Pari as she reels from the blow.\n\n> You examine the matches\nA small book of matches. The ultimate danger, and thus the ultimate distraction.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. Pari tries hard not to scream, only letting out a short \"Oof.\"\n\n> You go south\nYou crouch behind the mass of girls and quickly sneak out of the room when no one is looking.\n\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\n> Go north\nThe hallway is the same uniform gray all along, and you can see doors stretching all the way further east, leading eventually to the outside. Pari's room is south of here. The hallway in front of your room is to the west.\n\n> Go west\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\nA door down the hallway on the odd-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> Burn desk\nThis dangerous act would achieve little.\n\n> You go to the north\nThe closet is fairly large and contains many things that are used in the day-to-day running of this place, but most are unfamiliar to you. South leads out.\n\nYou can see a broken broom here.\n\n> You take off the dress\nYou carefully remove the dress, making sure to keep it safe because you are not sure if you would be given another one. Nevertheless, you have the experience of removing it up to ten times a day, so you have learned to do it very quickly. You are now wearing nothing.\n\n> You wear the dress\nYou put on the dress.\n\n> You burn beans\n(the can of beans)\nThis dangerous act would achieve little.\n\n> Go west\n(first opening the front door)\n\nThe front gate, about twenty feet away from the building, is the only break in the fence. It's guarded by two men, neither of whom are looking in your direction, who might not be able to see you anyway due to the darkness. Southeast is a dirt clearing and east is the main room.\n\nYou can see a tall guard and a short guard here.\n\n> Go southeast\nA dirt clearing with a fence to the south. Sometimes you come out here in the middle of night for fresh air. The front gate is to the northwest.\n\nYou can see a blue car (empty) here.\n\n> You look at the car\n(the blue car)\nThe Singh's family car, an old blue four-seater, is facing the wall to the north. They are some of the more affluent people here, and they often need a car in order to transport some of the girls.\n\n> Burn car\n(the blue car)\nThis dangerous act would achieve little.\n\n> You open car\n(the blue car)\nThat's not something you can open.\n\n> You search car\n(the blue car)\nThe blue car is empty.\n\n> You go to the north-west\nThe front gate, about twenty feet away from the building, is the only break in the fence. It's guarded by two men, neither of whom are looking in your direction, who might not be able to see you anyway due to the darkness. Southeast is a dirt clearing and east is the main room.\n\nYou can see a tall guard and a short guard here.\n\n> You examine the guard\nWho do you mean, the tall guard or the short guard?\n\n> You examine short\nHe's short, carries a long gun, and wears a green uniform. The light's too dark to make out more.\n\n> You look at the tall guard\nHe's tall, carries a long gun, and wears a green uniform. The light's too dark to make out more.\n\n> Go east\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> You go to the north\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see spilled rice, a table (on which are a wooden stick, Pari, some ropes, and a purse (closed)), Mother Avni Singh, some girls, a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Arghhh!\", she shouts, tears glistening in her eyes.\n\n> Burn chair\nYou light a match, sneak over behind the girls, and set it on fire before moving away quickly.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Arghhh!\", she shouts, tears glistening in her eyes.\n\n> You examine the chair\nFour-legged stools that appear to be made of the same wood as the tables, they have been stacked in the corner to allow room.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"Urgh...\", groans Pari as she reels from the blow.\n\nOne of the girls sniffs and quickly turns around towards the source of the flames. She screams, and Mother Singh and all the other girls turn towards her. Seeing the fire, some of the girls quickly run out of the room, returning with buckets of water. They pour the water over the fire, stopping it before it does much damage. The room slowly returns to normal, while Mother Singh screams about how whoever did this is going to die painfully. Of course, by that point you have taken the opportunity to steal the purse, hiding it in your dress.\n\n> You untie the rope\nYou have no experience with knots. You'll probably just have to cut them.\n\n> Burn rope\nThat might be a bit too obvious.\n\nMother Singh aims a sharp blow with the metal rod at Pari's leg. \"AGHHHHHHHHHHHHHHHHHH!\", Pari screams, unable to face the pain as the rod hits a sensitive spot.\n\n> Open purse\nYou open the purse, revealing a drawer key.\n\n> You get the key\nTaken.\n\n> You open the left drawer\nYou open the left drawer.\n\n> You look in the left drawer\nThe left drawer is empty.\n\n> You open the right drawer\nYou open the right drawer, revealing a car key.\n\n> Go east\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\n> You get in car\n(the blue car)\nYou use the car key to unlock the car.\n\nThe inside of the car has a faint scent that you can't place but still repulses you. The seats are covered with some brown cloth, and the seatbelts are the same color despite being made of some different substance. You put the key into the ignition, as you've seen Mother Singh do before, and fiddle around for a bit before turning it on.\n\n(To drive the car, just move in a direction while inside the car, like \"go south\". You don't have to do things like \"steer wheel\" or \"shift stick\".)\n\n> You wear the seatbelt\nYou click the seat belt in."
    },
    {
        "text": "[Themes: Educational, violence]\n\n> You look around\nClearing (in the blue car)\nA dirt clearing with a fence to the south. Sometimes you come out here in the middle of night for fresh air. The front gate is to the northwest.\n\nIn the blue car you can see a car key.\n\nThe inside of the car has a faint scent that you can't place but still repulses you. The seats are covered with some brown cloth, and the seatbelts are the same color despite being made of some different substance.\n\n> You turn on car\n(the blue car)\nThat's not something you can switch.\n\n> You turn the key\n(the car key)\nNothing obvious happens.\n\n> You go north\nYou push the gas pedal as hard as you can, ramming the car into the front wall. The bricks fly apart, as the car folds inward at the front with a gigantic crunching sound. The force of the impact almost throws you out the front window, but your seatbelt protects you. You quickly stagger out, assessing the damage. A large hole is now in the wall between the main room and the clearing. One of the guards runs over to investigate, but by that point you have already snuck around him in the darkness back to the front door. Then Mother Singh screams and runs into the main room, and as the others girls trickle in, you weave behind them while they stare in horror at the car. Finally, you make it back into the dining room, practically collapsing in exhaustion.\n\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see spilled rice, a table (on which are a wooden stick, Pari, and some ropes), a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\n> You examine the can opener\nA metal can opener with a plastic handle. It has surely done more than its fair share of work over the years."
    },
    {
        "text": "[Themes: Educational, violence]\n\n> You describe your surroundings\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see spilled rice, a table (on which are a wooden stick, Pari, and some ropes), a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\n> You look at the cupboard\nA tall wooden cupboard with multiple shelves inside.\n\n> Inventory\nYou are carrying:\na drawer key\na purse (open but empty)\nsome matches\na can of beans (open)\nsome brown beans\na can opener\na fan cover (being worn)\na dress (being worn)\n\n> You look at Pari\nPari is fairly tall for a 16-year-old, and thus she is one of the stronger girls here. Because you often talk to her at night through the hole in the wall, she is your closest friend.\n\nPari is carrying:\nPari's dress (being worn)\n\n> M rope\nYou don't want anyone to know you're here. Secrecy is your only weapon now.\n\n> You think\nYou are currently talking about: whatever comes to mind.\n\nYou might want to mention: nothing.\n\n> You examine the can of the beans\nA large can of brown beans that often supplements your dinner.\n\nIn the can of beans are some brown beans.\n\n> You cut the rope with the beans\n(the can of beans)\nYou see no reason to cut that.\n\n> You go west\nNo. If you walk in there, you're going to be the first one that the guards interrogate.\n\n> Go south\nYou don't want to randomly barge in if there's a customer with her. Besides, you see no reason why Pari would be there.\n\n> Go east\nNo, you have to save Pari first.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> Go west\nThe hallway is narrow and looks essentially the same as your room in all basic respects, with the same drab walls and poor lighting. Small rooms like yours line the wall on both sides. East leads to Pari's room and west heads to the main room where the customers are.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> You examine stick\nA round wooden stick that's about half a meter in length. You've felt it too many times.\n\n> You look at the table\nThe circular tables have four legs and are made of a surprisingly durable wood. They have been pushed to the side to allow room, except for the one in the center to which Pari is tied.\n\nOn the table are a wooden stick, Pari, and some ropes.\n\n> You cut stick\nCutting that up would achieve little.\n\n> Examine cooker\nA large steel rice cooker enclosed within a wooden cover. It is far too large for its legs, however, and in the common cases where it is accidentally spilled, someone always has to waste time cleaning it up.\n\nIn the rice cooker is cooked rice."
    },
    {
        "text": "> You look at your surroundings\nThe dining room is simply what you call the collection of tables here where the girls come to eat. However, it is fairly large, so it is often used as a meeting room as well. Tables and chairs have been pushed to the edges of the room for the demonstration. A cupboard stands in the corner. South leads to the hallway.\n\nYou can see spilled rice, a table (on which are Pari and some ropes), a cupboard (empty), and the rice cooker (in which is cooked rice) here.\n\n> You talk to Pari\nYou don't want anyone to know you're here. Secrecy is your only weapon now.\n\n> You look at the chair\nFour-legged stools that appear to be made of the same wood as the tables, they have been stacked in the corner to allow room.\n\n> You take the chair\nThat's hardly portable.\n\n> You go to the south\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> Go east\nThe hallway is narrow and looks essentially the same as your room in all basic respects, with the same drab walls and poor lighting. Small rooms like yours line the wall on both sides. East leads to Pari's room and west heads to the main room where the customers are.\n\nA door down the hallway on the even-numbered side opens, as a man leading a girl exit their room and head to the front. You step aside to allow them to pass.\n\n> Burn match\nTo use the matches, just BURN an object. You don't have to light them first or anything.\n\n> Search dress\n(the dress)\nYou find nothing of interest.\n\n> You examine the rope\nFour ropes bind each of Pari's limbs.\n\n> You examine the beans\n(the can of beans)\nA large can of brown beans that often supplements your dinner.\n\nIn the can of beans are some brown beans.\n\n> You feed the beans to Pari\n(the can of beans to Pari)\nPari doesn't seem interested.\n\n> You feed the rice to Pari\n(cooked rice to Pari)\n(first taking cooked rice)\nYou don't see any use for a handful of rice. Besides, you don't have anything to grab or carry it with.\n\n> You take the cooker\nThat's fixed in place.\n\n> You break Pari\nShe's already hurt enough. There's no need to do more to her.\n\n> You examine stick\nA round wooden stick that's about half a meter in length. You've felt it too many times.\n\n> Inventory\nYou are carrying:\na wooden stick\na drawer key\na purse (open but empty)\nsome matches\na can of beans (open)\nsome brown beans\na can opener\na fan cover (being worn)\na dress (being worn)\n\n> You look at the key\nA small coppery key. You believe it unlocks the drawers in the main room desk.\n\n> You examine the can of the beans\nA large can of brown beans that often supplements your dinner.\n\nIn the can of beans are some brown beans.\n\n> You examine the beans\n(the can of beans)\nA large can of brown beans that often supplements your dinner.\n\nIn the can of beans are some brown beans.\n\n> You examine the brown beans\nSome brown beans. There's not much else to say about them.\n\n> You examine the rice\n(cooked rice)\nWarm long-grain rice. Despite how mistreated you are in so many aspects, food is admittedly not one of them. Customers dislike excessively skinny girls, and so you are fed reasonably well.\n\n> Go north\nHints\nCredits\nComplete Walkthrough\n\n> Go north\n> Hints\nCredits\nComplete Walkthrough\n> Okay, how do I get Pari down from there?\n1/3: You need something sharp to cut the ropes.\n\nPress SPACE to return to the menu or H to reveal another hint."
    },
    {
        "text": "> You cut the rope with the can opener\nYou rub the blade of the can opener against the rope restraining Pari's left arm. Although it takes a minute, you are eventually able to cut through enough of the fibers to be able to bite it off. From there, you continue cutting the ropes binding the other three limbs, getting faster as you go, partly due to experience and partly due to fear. Eventually, you free Pari, who stumbles onto the ground, limping slightly. She says, \"Thank you so much. But we have to go now.\"\n\n> Go south\nThe hallway looks exactly the same to the east. South leads to Room Number 1, inhabited by a girl whom you only vaguely know. North leads to the dining room. West leads to the main room. East is the hallway by your room.\n\nPari arrives from the north.\n\n> Go east\nThe hallway is narrow and looks essentially the same as your room in all basic respects, with the same drab walls and poor lighting. Small rooms like yours line the wall on both sides. East leads to Pari's room and west heads to the main room where the customers are.\n\nPari arrives from the west.\n\n> Go east\nThe hallway is the same uniform gray all along, and you can see doors stretching all the way further east, leading eventually to the outside. Pari's room is south of here. The hallway in front of your room is to the west.\n\nPari arrives from the west.\n\n> You go to the east\n(first opening the back door)\n\nThe girls come out here to relieve themselves, as there is no bathroom in the building. In fact, this is the only reason that you've even been able to dig the tunnel under the fence, by hiding behind the bushes during your bathroom breaks. The building is back to the west, while the tunnel leading out is to the east.\n\nPari arrives from the west.\n\n> Go east\nYou jump into the tunnel and manage to worm through after a few minutes.\n\nThis is the largest street in the town, threading straight through the center. There's an old street sign nearby that probably states the name of the road. West leads back to the building, while north leads farther into the city.\n\nPari arrives from the west.\n\n> You go north\nSuddenly, you see the short guard running here from the north. They have apparently already started searching for you.\n\nThe streets are mostly deserted at this hour, but the stars are bright enough to guide you. The road continues farther north and south. West is an alley.\n\nYou can see a short guard here.\n\nPari arrives from the south.\n\n> You examine the short guard\nHe's short, carries a long gun, and wears a green uniform. The light's too dark to make out more.\n\nThe guard catches up to you, knocking you both down with a few swift blows of his rifle butt. Before you can get up again, he's captured you both by the arms, and his grip is too strong to resist. Within ten minutes, you both are back in the building. Within twenty, you both are tied to the tables. Within an hour, you both are in a freshly-shoveled pit in the backyard.\n\n> You go to the west\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster, a trash can (empty), and a balcony here.\n\nPari arrives from the east.\n\n> You examine the fence\nA tall, wooden fence cuts the alley in half. It's surprisingly new, as you can't see any easy way to get over it.\n\nThe guard continues running towards you.\n\n> You climb the dumpster\nI don't think much is to be achieved by that.\n\nThe guard catches up to you, knocking you both down with a few swift blows of his rifle butt. Before you can get up again, he's captured you both by the arms, and his grip is too strong to resist. Within ten minutes, you both are back in the building. Within twenty, you both are tied to the tables. Within an hour, you both are in a freshly-shoveled pit in the backyard."
    },
    {
        "text": "> You get in the dumpster\nYou both jump into the pile of trash in the dumpster.\n\nWest Alley (in the dumpster)\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see Pari, a trash can (empty), and a balcony here.\n\nThe guard continues running towards you.\n\n> You wait\nTime passes.\n\nThe guard checks the dumpster first and discovers both of you trying to hide inside. \"Did you really think I'd be stupid enough not to check this place?\" says the guard. He takes you both by the arms, but no matter how much you struggle, you can't escape. Within ten minutes, you both are back in the building. Within twenty, you both are tied to the tables. Within an hour, you both are in a freshly-shoveled pit in the backyard."
    },
    {
        "text": "[Themes: Educational]\n\n> You describe your surroundings\nThis is the largest street in the town, threading straight through the center. There's an old street sign nearby that probably states the name of the road. West leads back to the building, while north leads farther into the city.\n\nYou can see Pari here.\n\n> You think\nYou are currently talking about: whatever comes to mind.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Pari.\n\n> M pari\nPari considers herself for a second.\n\n\"I'm not sure what there is so say about me that you don't already know.\"\n\n> M girls\nPari considers the girls here for a second.\n\n\"The girls are all nice people. I just wish I had gotten to know them all better.\"\n\nYou're already talking about that.\n\nPari considers the girls here for a second.\n\n> M building\nPari considers the house for a second.\n\n\"It was a horrible place. Everything was dirty and cramped, and either too dark or too bright. I would easily die before going back there.\"\n\n> M yourself\nPari considers you for a second.\n\n\"You're a good friend. I don't know how long I would have survived if I hadn't been able to look forward to our conversations.\"\n\n> We could go back and get to know the the girls better if you'D like\nPARI, WE COULD GO BACK AND GET TO KNOW THE GIRLS BETTER IF YOU'D LIKE\n\nThere is no reply.\n\n> M yourself\nYou're already talking about that.\n\nPari considers you for a second.\n\n> M pari\nPari considers herself for a second.\n\n\"You've been my closest tie to humanity. Thank you so much.\"\n\n> You think\nYou are currently talking about: herself.\n\nYou might want to mention: the building, love, marriage, prostitution, the girls, sex, you, and Pari.\n\n> Go north\nThe guard catches up to you, knocking you both down with a few swift blows of his rifle butt. Before you can get up again, he's captured you both by the arms, and his grip is too strong to resist. Within ten minutes, you both are back in the building. Within twenty, you both are tied to the tables. Within an hour, you both are in a freshly-shoveled pit in the backyard.\n\n> Up\nYou and Pari quickly clamber up the balcony, flattening yourselves against the floor so that you are invisible.\n\nWest Alley (on the balcony)\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster and a trash can (empty) here.\n\nOn the balcony you can see Pari.\n\nThe guard continues running towards you.\n\n> You go west\nIt's really not the best idea to move right now.\n\nThe guard rummages through the dumpster, searching among the trash.\n\n> You examine the balcony\nA small overhang on the side of the building has a ladder heading up to it.\n\nOn the balcony is Pari.\n\nThe guard kicks the trash can, feeling whether it might be suspiciously heavy.\n\n> You go upward\nIt's really not the best idea to move right now.\n\nThe guard runs around the alley, searching for anything that would reveal where you were.\n\n> Wait\nTime passes.\n\nEventually, the guard gives up, muttering that he can't climb over the fence like he's assumed the two of you have. He walks off back into the street, and soon he is gone from view.\n\n> Go upwards\nYou and Pari quickly clamber up the balcony, flattening yourselves against the floor so that you are invisible.\n\nWest Alley (on the balcony)\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster and a trash can (empty) here.\n\nOn the balcony you can see Pari."
    },
    {
        "text": "[Themes: Educational]\n\n> Go downwards\nYou get off the balcony.\n\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster, a trash can (empty), and a balcony (on which is Pari) here.\n\n> You look at the can\n(the can of beans)\nA large can of brown beans that often supplements your dinner.\n\nIn the can of beans are some brown beans.\n\n> You examine trash\n(the trash can)\nA small metal trash can that has no trash in it, probably because it happens to be next to a dumpster for some reason.\n\n> You climb the trash\n(the trash can)\nI don't think much is to be achieved by that.\n\n> You look at the fence\nA tall, wooden fence cuts the alley in half. It's surprisingly new, as you can't see any easy way to get over it.\n\n> You get on the trash can\nYou jump into the trash can, but there's no room for Pari. She stumbles around, looking for somewhere to hide.\n\nWest Alley (in the trash can)\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster and a balcony (on which is Pari) here.\n\n> Exit\nYou get out of the trash can.\n\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster, a trash can (empty), and a balcony (on which is Pari) here.\n\n> You examine balcony\nA small overhang on the side of the building has a ladder heading up to it.\n\nOn the balcony is Pari.\n\n> You jump\nJumping around randomly seems to be a good way to attract a lot of unnecessary negative attention to yourself."
    },
    {
        "text": "[Themes: Educational]\n\n> Go downwards\nYou get off the balcony.\n\nA small alley leads to a dead end to the west, as a wooden fence blocks your way. East is the main street.\n\nYou can see a dumpster, a trash can (empty), and a balcony (on which is Pari) here.\n\n> Go east\nThe streets are mostly deserted at this hour, but the stars are bright enough to guide you. The road continues farther north and south. West is an alley.\n\nPari arrives from the west.\n\n> You go north\nAlthough you probably haven't traveled that far into the city, this large road has already terminated. It leads south down the street and north to the police station.\n\nPari arrives from the south.\n\n> Go north\nThe police station in your imagination was always more impressive: the real one looks like almost every other building in the city. The exit is to the south.\n\nYou can see a policeman here.\n\nYou rush up to the policeman and start telling him about all that's happened to you. It takes you almost half an hour to get through your story, with him nodding pleasantly the entire time.\n\n> You think\nYou are currently talking about: herself.\n\nYou might want to mention: nothing.\n\n\"That's a very sad story, little girl. I don't know what to say about it. Still, it's not a very good idea to just run away from them,\" he says.\n\n> M prostitutin\nA glare from the policeman freezes you into inaction.\n\n\"You're not going to give us back to them, are you?\", Pari asks nervously, \"Right? You're just joking, right?\"\n\n> M police\nA glare from the policeman freezes you into inaction.\n\n\"No, no,\" he says, \"from what I understand, they would just kill you. And how would that help me? I mean, they haven't really been paying us too well recently anyway, so I see no reason to.\"\n\n> You wait for a while\nTime passes.\n\n\"Actually, I do have a friend who lives further south of here. He might require some girls who are experienced in your field of work,\" he says.\n\nYou bolt first, but the policeman is too fast, and easily manages to pin you down, maneuvering to block the doorway so Pari can't get out either. Then he calls out to the back of the police station, and some other men come rushing out from a back door. One of them grabs her by the arms as well before she can even try to run.\n\n\"Now then, we do have a small room in the very back,\" the policeman says to you, \"and I think I deserve some kind of reward for getting you a new job...\"\n\n\"This story is not just fiction. Millions of girls around the world are held in similar, if not worse, conditions. As Nicholas Kristof and Sheryl WuDunn write, \"Our own estimate is that there are 3 million women and girls (and a very small number of boys) worldwide who can be fairly termed enslaved in the sex trade\" (10).\n\nAnd forced prostitution is not the only problem they face, as women are discriminated against all over the world in many ways, like politics, medical care, and employment. They are thought of as lesser than men, as a necessary evil only good for babies and housework. Things must change, but of course, knowledge is the first step on that path. To that end, I heavily suggest reading \"Half the Sky\" by Kristof and WuDunn or visiting their website at"
    },
    {
        "text": "[Themes: Slice of life, Fantasy, Seasonal, gender-neutral protagonist, holiday theme]\n\nIt's the week before Easter, and you've popped out of your office one day on your lunch break. Your mission? To assemble an Easter basket that will both delight and mystify your 4-year-old son Max.\n\nYou enter a nearby candy store, and the shopkeeper hands you a festive Easter basket. \"No charge,\" he says, smiling, and leaves you to your shopping.\n\nIt's Easter, Peeps!\n\nFirst time players, please type \"about\" before beginning game play. \n\nCheerful images of colorful eggs, chicks, rabbits, carrots, and ribbon-festooned Easter baskets adorn the candy store. To the north, the shopkeeper stands patiently behind a counter. South of you, the storefront window beckons to passers-by, tempting them with its proffered seasonal wares. The wall to the west is lined with conveniences, such as a pay phone, newspaper rack, umbrella stand, gumball machine, and a chair. A lighted display case runs along the wall to the east, filled with candy.\n\n[Author's Note: A one-room story where your goal is to assemble an Easter basket of goodies for your son, Max.]\n\n> You look at the display\nWhich do you mean, the window display or the display case?\n\n> You examine the case\nThe display case runs along the right-hand side of the candy store.\nIt illuminates row upon row of tantalizing confections. The case is lined with a metal runner and a tube of black rubber piping where the smooth, curved glass meets the base of the display.\n\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\n> Hello\nUse the format \"ask shopkeeper about [subject]\".\n\n> You ask the shopkeeper about the eggs\n(the decorations)\n\"Eggs are a reminder of the promise of new life ahead.\"\n\n> You ask the shopkeeper about the chicks\nHe laughs, almost embarrassed. \"I do the best I can to decorate the place and make it look festive. I'm a novice, though, and it undoubtedly shows. My wife was the decorating expert of our duo.\"\n\nYou hear a clucking noise emanating from the window display.\n\n> Inventory\nYou are carrying an Easter basket, your wallet (which is open), inside which are a few bills and a couple of photographs and a keychain.\n\n> You examine the photographs\nTwo photographs of Max lie in your wallet: a baby picture and a more recent shot of him blowing out the candles on his fourth birthday\ncake.\n\n> You examine the keychain\nThe keychain is a handmade gift from Max. Your car and house keys dangle from a chain looped around a small red and blue heart that he crafted out of salt clay and then painted with tempera paints.\n\n> About yourself\nYou are feeling quite chipper! It is a beautiful spring day and you are looking forward to celebrating Easter with your family this weekend. You're out of the office and engaging in one of your\nfavorite activities: brainstorming ways to make Max happy!\n\n> You examine the window display\nThe window display consists of a large ceramic rabbit holding out a serving plate, a golden goose, and abundant quantities of both plastic and painted Easter eggs nestled in copious green grass which lines the bottom of the storefront window. Gold letters form an arc above the main display which cheers, \"Happy Easter!!!\" to those peeking in from out-of-doors.\n\n\"You must be shopping for somebody pretty special, I'd say.\" The shopkeeper glances at you knowingly.\n\n> You tell the shopkeeper about Max\n\"I can tell you love him very much...\"\n\n> You show the photographs to shopkeeper\n(first taking the photographs)\nThe shopkeeper is unimpressed.\n\n> You ask the shopkeeper about the wife\n\"Passed away seven years ago,\" he says, eyes clouding for the first time. \"She's with the good Lord now, though.\"\n\n> You get the chicks\n(the decorations)\nThey're hardly portable.\n\n> You look at the newspaper rack\nThe newspaper rack is clearly more functional than aesthetic, constructed of metal and glass. In the newspaper rack are a newspaper and a lollipop.\n\n> You get the newspaper\nTaken.\n\n> You read the newspaper\nAT&T Inc. T        1-1/1\nONEOK Inc. OKE      1-3/3\nInco Ltd. N        1-1/1\nUnilever NV               UN       1-2/2\nD&E Communications Inc. DE(CC)   1-2/4\nR&G Financial Corp. RG(F)    1-2/3\nOakley Inc. OO       1-2/2\nLS Starrett Co. S(CX)    1-1/3\nE*TRADE Financial Corp. E(T)     1-1/2\n\n> You look under the goose\nThe goose pecks at your hand sharply. Apparently, she doesn't wish to be disturbed.\n\n> You get the lollipop\nTaken.\n\nThe shopkeeper retrieves a wind-up chick from beneath the counter, winds it up, and sets it down. The toy gyrates jubilantly across the wooden surface, while the whirring sound of the wind-up mechanism drones from inside it.\n\n> Pet chick\nYou can only do that to something animate.\n\n> You examine the goose\nThe golden goose is not only golden, she's also alive! She seems to be sitting on something in quite a protective manner.\n\n> You take the chick\nThe pink marshmallow chicks are currently in a glass display case, inaccessible to you.\n\n> Open case\nThe shopkeeper comments, \"I hold the key to the display case, but it\nis a figurative key, not a literal one.\"\n\n> You ask the shopkeeper about the case\n\"Doesn't it all look positively scrumptious? Go ahead and look in the case. Just poke around for a bit.\"\n\n> You check your inventory\nYou are carrying a lollipop, a newspaper, a couple of photographs, an Easter basket, your wallet (which is open), inside which are a few bills and a keychain.\n\n\"Once you have some candy in your basket, bring it to me and I'll\ncheck it against Max's list,\" the shopkeeper offers amiably.\n\n\"Max's list???\" you think. Had you told the man your son's name? Or what sort of candy he likes?\n\n> You ask the shopkeeper about the list\n\"Oh, yes. I have it with me right here, behind the counter. Once you have some items in your basket, bring it to me and we'll see how much progress you've made on Max's list.\"\n\n> You put the lollipop in the basket\nYou put the lollipop into the Easter basket.\n\n> You give the basket to the shopkeeper\n\"Well, you've made a good start, but there are still some items on Max's list that you haven't found yet. Not to worry... 'well begun is half done,' as the old saying goes.\"\n\n\"Here,\" he says, handing you Max's list.\n\n> You look at the list\nYour heart melts as you recognize your son's crude printing in orange crayon on a yellow piece of construction paper.\n\na gumball\njellybeans\na lollipop\na macaroon\ntiny chocolate eggs\nyellow marshmallow chicks\n\n> You look in the case\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\nOutside, a little girl tugs on her father's arm, straining in the direction of the candy store, but he hustles her along past the door.\n\n> You get the macaroon\nThe macaroon is currently in a glass display case, inaccessible to\nyou.\n\n> Break case\n\"Certainly! Here you are,\" he says, opening the display case with ease. He plucks a macaroon out of the case with a pair of tongs and deftly writes \"Max\" on it with a thin line of icing. He then wraps it in tissue paper and presents it to you with a flourish.\n\nThe display case wasn't meant to be broken, but maybe you can find something else in the candy store that is meant to be broken...\n\n> You put the macaroon in basket\nYou put the macaroon into the Easter basket.\n\n> You ask the shopkeeper for the buttercream eggs\nUse the format \"ask shopkeeper about [subject]\".\n\n> You ask the shopkeeper about egg\n\"Eggs are a reminder of the promise of new life ahead.\"\n\n> You ask shopkeeper for the egg\nWhich do you mean, the peanut butter eggs, the buttercream eggs or the coconut eggs?\n\n> You look in the case\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\n> You examine the window display\nThe window display consists of a large ceramic rabbit holding out a serving plate, a golden goose, and abundant quantities of both plastic and painted Easter eggs nestled in copious green grass which lines the bottom of the storefront window. Gold letters form an arc above the main display which cheers, \"Happy Easter!!!\" to those peeking in from out-of-doors.\n\n> You examine the gumball machine\nA metal pole supports the classic-looking machine, a clear glass globe atop a shiny red support. The globe reveals heaps of huge, soft gumballs. Each gumball is stamped with the words \"Happy Easter\" in white script. A slot and knob assembly is engraved with the words, \"Insert Token Here\" and a swinging door covering a small chute reads, \"Thank You!\""
    },
    {
        "text": "[Themes: Slice of life, Fantasy, Seasonal, holiday theme, gender-neutral protagonist]\n\n> Look around\nCheerful images of colorful eggs, chicks, rabbits, carrots, and ribbon-festooned Easter baskets adorn the candy store. To the north, the shopkeeper stands patiently behind a counter. South of you, the storefront window beckons to passers-by, tempting them with its proffered seasonal wares. The wall to the west is lined with conveniences, such as a pay phone, newspaper rack, umbrella stand, gumball machine, and a chair. A lighted display case runs along the wall to the east, filled with candy.\n\n> You look at the umbrella stand\nThe umbrella stand is rather uninteresting. It is black in color and looks like it may be made of iron. It is cylindrical in shape, with a solid circular base and two circular bands of metal providing structural reinforcement above the base. In the umbrella stand is an umbrella.\n\n> You get the umbrella\nTaken.\n\n> You open the umbrella\nYou open the umbrella.\n\n> You look in the stand\nThe umbrella stand is empty.\n\n> You ask the shopkeeper about the goose\nHe leans forward conspiratorially, even though you and he are clearly the only ones in the shop at the moment. He whispers, \"I'll tell you\na secret about that goose. She likes candy dots. They're her\nfavorite food, in fact!\"\n\n> You look at the confections\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\n\"Don't forget to look up, if you haven't tried that yet. You never know where things may be hiding in this store, so you'll have to look around carefully.\" The shopkeeper's helpful voice rings out across\nthe store.\n\n> You look up\nYou see a large pinata hanging from the high ceiling of the candy store.\n\n> You examine the pinata\nHanging from the ceiling is a pinata, decorated to look like a purple bunny holding a large orange carrot. It appears to be out of your reach.\n\n> Smash pinata\n(with the umbrella)\nAn open umbrella doesn't make a very effective tool.\n\n> You close the umbrella\nYou close the umbrella.\n\n> Smash pinata\n(with the umbrella)\nThe pinata sways, suspended by a piece of twine.\n\n\"Ah... I think you're on the right track, there,\" the shopkeeper encourages.\n\n> You examine the umbrella\nA good-sized umbrella with a curved wooden handle. Its swirls of\nblack material are held in place with a loop of material and a snap when the umbrella is closed. It is closed.\n\n> Smash pinata\n(with the umbrella)\nA strip of candy dots flutters to the floor.\n\n> You take the dots\nTaken.\n\n> You show the dots to the goose\nThe golden goose is unimpressed.\n\n> You give the dots to the goose\nThe goose stands and pecks at the candy dots contentedly, revealing a token beneath her. You take the bronze token.\n\n> You examine the token\nA simple bronze-colored circular token.\n\n> You put the token in the machine\nYou put the token in the slot and turn the knob. You hear a slight clunking noise in the metal chute below, so you put your hand beneath it to catch a purple gumball as it rolls out.\n\n> You put the gumball in the basket\nYou put the purple gumball into the Easter basket.\n\n> You look at the chair\nIt is just a simple plastic chair, the kind you might find behind a school desk or in the waiting room of an oil-change shop. It appears to be anchored to the floor.\n\n> You sit on the chair\nYou get onto the chair.\n\n> You get up\nYou get off the chair.\n\nCheerful images of colorful eggs, chicks, rabbits, carrots, and ribbon-festooned Easter baskets adorn the candy store. To the north, the shopkeeper stands patiently behind a counter. South of you, the storefront window beckons to passers-by, tempting them with its proffered seasonal wares. The wall to the west is lined with conveniences, such as a pay phone, newspaper rack, umbrella stand, gumball machine, and a chair. A lighted display case runs along the wall to the east, filled with candy.\n\n> You examine phone\nIt's just a normal pay phone, like any other you'd see in a public place. The bulky receiver obscures the touch-tone dialing pad behind it, and a shiny metallic door that bears the word \"CHANGE\" swings over a small metal chute. You check simply out of habit, but... In the pay phone are a crumpled note and a candy coin.\n\n> You take all from the phone\ncrumpled note: Removed.\ncandy coin: Removed.\n\n> You read the note\n1.19.11.19.8.15.16.11.5.5.16.5.18.6.15.18.13.1.3.1.18.15.15.14\n\n> You look in the basket\nIn the Easter basket are a purple gumball, a macaroon and a lollipop.\n\n> You put the coin in the basket\nYou put the candy coin into the Easter basket.\n\n> Inventory\nYou are carrying a crumpled note, an umbrella, Max's list, a\nnewspaper, a couple of photographs, an Easter basket, inside which are a candy coin, a purple gumball, a macaroon and a lollipop, your wallet (which is open), inside which are a few bills and a keychain.\n\n> You read the note\n1.19.11.19.8.15.16.11.5.5.16.5.18.6.15.18.13.1.3.1.18.15.15.14\n\n\"Forgive me, but I didn't notice whether you had happened upon the golden goose yet or not. If you haven't, you might want to keep an\neye out for her. She likes to think she's important around here!\" the shopkeeper hoots.\n\n\"You'll find her in the window display, although I'm sure she'll make her presence known soon enough!\" He chuckles.\n\n> You look D\nThe floor is made of dark, hardwood planks. Walnut, perhaps? Or\nmaybe oak? It is well-worn, but functional, and rather charming.\n\n> You examine the planks\ncomprise the floor of the candy store.\n\n> You pull the planks\nYou are unable to.\n\n> You look at the list\nYour heart melts as you recognize your son's crude printing in orange crayon on a yellow piece of construction paper.\n\na gumball\njellybeans\na lollipop\na macaroon\ntiny chocolate eggs\nyellow marshmallow chicks\n\n> You examine basket\nThe basket is woven of yellow and lilac straw and is quite spacious. Apparently the shopkeeper wants you leaving his store with plenty of candy in tow!\n\n> You look in the basket\nIn the Easter basket are a candy coin, a purple gumball, a macaroon\nand a lollipop.\n\n> You ask shopkeeper about chicks\nHe laughs, almost embarrassed. \"I do the best I can to decorate the place and make it look festive. I'm a novice, though, and it undoubtedly shows. My wife was the decorating expert of our duo.\"\n\n> Display case\nWhom do you want to display the display case to?\n\n> You examine the display case\nThe display case runs along the right-hand side of the candy store.\nIt illuminates row upon row of tantalizing confections. The case is lined with a metal runner and a tube of black rubber piping where the smooth, curved glass meets the base of the display.\n\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\n> You get the vase\nThe vase is currently in a glass display case, inaccessible to you.\n\n> You ask the man about case\n\"Doesn't it all look positively scrumptious? Go ahead and look in the case. Just poke around for a bit.\"\n\n> You examine the runner\nThe shiny, grooved piece of trim serves as would-be pin-stripe detailing for the display case. The runner is about 3\" wide and appears to be made of sturdy chrome.\n\n> You examine the piping\nA narrow black tube of rubber piping, about 1/8 inch in diameter and hollow. A cross-section of the piping would look very much like the letter \"o.\"\n\n> You get the piping\nYou're not entirely sure that the shopkeeper won't be upset if you start disassembling his display case...\n\n> You examine floor\nThe floor is made of dark, hardwood planks. Walnut, perhaps? Or\nmaybe oak? It is well-worn, but functional, and rather charming.\n\n> You take the plank\nThey're hardly portable.\n\n> You examine the window\nThe window display consists of a large ceramic rabbit holding out a serving plate, a golden goose, and abundant quantities of both plastic and painted Easter eggs nestled in copious green grass which lines the bottom of the storefront window. Gold letters form an arc above the main display which cheers, \"Happy Easter!!!\" to those peeking in from out-of-doors.\n\n> You examine the plate\nYou see some butterscotch drizzled on the plate. It appears to be script of some sort.\n\n> You examine the butterscotch\nYou see some butterscotch drizzled on the plate. It appears to be script of some sort.\n\nA dog leashed to a tree just outside the store begins barking furiously. A bird flitters out from the tree branches.\n\n> You read the plate\n\"Look up\"\n\n> You get the plate\nThe serving plate is part of the window display.\n\n> You examine the rabbit\n(the pinata)\nHanging from the ceiling is a pinata, decorated to look like a purple bunny holding a large orange carrot. It appears to be out of your reach.\n\n> You examine the ceramic rabbit\nThe ceramic rabbit in the storefront window puts you very much in mind of \"Alice in Wonderland.\" His fur is white and he dons a blue waistcoat. He is holding a serving plate.\n\n> You look at the waistcoat\nThe ceramic rabbit wears a royal blue coat, which falls to about mid-hip length and is fastened in the front with three brass buttons.\n\n> You examine the plate\nYou see some butterscotch drizzled on the plate. It appears to be script of some sort.\n\n> You get the waistcoat\nThat seems to be a part of the ceramic rabbit.\n\n> You examine the letters\nThe gleaming cubes of miniature iced cakes are carefully arranged in three rows, each row a different color. A letter has been written on the top of each morsel in contrasting icing.\n\n> You eat fors\n(first taking the petit fors)\nThe petit fors are currently in a glass display case, inaccessible to you.\n\n> You ask the man for petit\nUse the format \"ask shopkeeper about [subject]\".\n\n> Search case\nThe lighted case is filled with candy of all sorts. You see some pastel-colored petit fors, marzipan carrots, macaroons decorated to resemble painted Easter eggs, pink marshmallow chicks, coconut eggs, buttercream eggs, peanut butter eggs, milk chocolate rabbits, and rock candy skewered on polished wooden dowels. There is a floral vase full of Pixie Stix in the case with a pile of \"pixie dust\" (aka \"colored sugar!\") in front of it.\n\n> You examine the base\nThe base of the display case looks sturdy and functional.\n\n> You examine the dust\nYou can see white linoleum gleaming through the colored powder in places. There is something scrawled in the pixie dust.\n\n> You read dust\n\"/3../3./3./3/__/2../2/6./3/9../__/3/6../8/7../__/8/6../__/4/6../6../7. ./3./\"\nhas been traced in the pixie dust.\n\n> You look at the phone\nIt's just a normal pay phone, like any other you'd see in a public place. The bulky receiver obscures the touch-tone dialing pad behind it, and a shiny metallic door that bears the word \"CHANGE\" swings over a small metal chute. You check simply out of habit, but... The pay phone is empty.\n\n> You look at the marzipan carrots\nThe candy has been carefully molded and decorated into very realistic-looking, albeit miniature, carrots. One could almost\nbelieve that they had been pulled from Mr. MacGregor's garden only\njust this morning. The candy appears rich and dense. \"Mmm...candy\nfor grown-ups,\" you think to yourself.\n\n> You look at the macaroons\nMoist, glossy macaroons. They are decorated with icing to resemble painted Easter eggs.\n\n> You examine the pink chicks\nThe marshmallow chicks are very... well, very... pink! The fact the the manufacturer was able to create colored sugar of such a bright, neon fuschia shade is rather remarkable to you.\n\n> You look at the coconut eggs\nThe filled eggs look extremely tasty, but you're looking for something with a little more pizzazz.\n\n> You look at the milk chocolate rabbits\nSolid, not hollow... if you had to guess.\n\n> You examine the rock candy\nColored crystal-like candy of various hues clings to gleaming wooden dowels. YUM!\n\n> You look at the stix\nThese are a real classic! Paper straws filled with flavored sugar\nthat leave kids of all ages begging for more!\n\n> You get Stix\nThe Pixie Stix is currently in a glass display case, inaccessible to you."
    },
    {
        "text": "[Themes: Slice of life, Fantasy, Seasonal, holiday theme, gender-neutral protagonist]\n\n> Look around\nCheerful images of colorful eggs, chicks, rabbits, carrots, and ribbon-festooned Easter baskets adorn the candy store. To the north, the shopkeeper stands patiently behind a counter. South of you, the storefront window beckons to passers-by, tempting them with its proffered seasonal wares. The wall to the west is lined with conveniences, such as a pay phone, newspaper rack, umbrella stand, gumball machine, and a chair. A lighted display case runs along the wall to the east, filled with candy.\n\n> You examine the images\nSimple, but tasteful, decorations frolick on the walls, counter, and display case of the candy store. Most are made of paper and some are laminated for added durability.\n\n> You examine the chicks\n(the decorations)\nSimple, but tasteful, decorations frolick on the walls, counter, and display case of the candy store. Most are made of paper and some are laminated for added durability.\n\n> You examine the counter\nJust a simple slab of wood separating the shopkeeper's area from the rest of the store. It looks like it may be made of the same dark hardwood as the floor. A serving tray is on the counter.\n\n> You look at the tray\nSince the candy samples have already been enjoyed, you can see that\nthe silver tray bears an inscription on its top surface.\n\n> You read the tray\n\"One code is as easy as ABC,\nThe other uses phone digits, 1-2-3...\"\n\n> You get the tray\nYou gently slide the candy wrappers onto the counter and pick up the serving tray.\n\n\"Yes, yes,\" says the shopkeeper. \"You go on and take that. I have a feeling it might be helpful to you!\"\n\n> You get the keychain\nYou already have that.\n\n> Unlock case with key\nWhich do you mean, the house key or the car key?\n\n> You hit pinata\n(with the umbrella)\nJACKPOT! A deluge of candy comes raining down from the burst pinata. The stash that has fallen from the pinata includes a creme egg, tiny chocolate eggs wrapped in pastel-colored foil, yellow marshmallow chicks, and a sack of jelly beans.\n\n\"Well done!\" says the shopkeeper. \"Good on you! That's for Max...all of it!\"\n\nHe tugs a nearby stool over and climbs upon it, detaching the empty burst pinata shell from the ceiling, and then disposing of it\nsomewhere behind the counter.\n\n> You get the creme egg\nTaken.\n\n> You take all\nsack of jelly beans: Taken.\nyellow marshmallow chicks: Taken.\ntiny chocolate eggs: Taken.\n\n> You put tiny eggs in the basket\nYou put the tiny chocolate eggs into the Easter basket.\n\n> You put the beans in the basket\nYou put the sack of jelly beans into the Easter basket.\n\n> You put the chicks in the basket\n(the yellow marshmallow chicks in the Easter basket)\nYou put the yellow marshmallow chicks into the Easter basket.\n\n> You put the creme egg in the basket\nYou put the creme egg into the Easter basket.\n\n> You look in basket\nIn the Easter basket are a creme egg, some yellow marshmallow chicks,\na sack of jelly beans, some tiny chocolate eggs, a candy coin, a\npurple gumball, a macaroon and a lollipop.\n\n> You give the basket to the man\nCongratulations! You have put together a marvelous Easter basket that will undoubtedly please Max greatly. The shopkeeper wraps it beautifully in cellophane and attaches a festive bow. You carry the basket back to your office, anticipating the holiday weekend ahead.\nYou can almost picture Max's smile already..."
    },
    {
        "text": "[Themes: apocalypse]\n\n> You look at Stereo\nA top-of-the-line stereo, previously owned by some record producer in Seattle, until you took it out of his house and brought it back here. You've been enjoying using it.\n\nStereo is currently switched off.\n\n[Author's Note: The world is about to end, and you are just a guy living on the islands of northwest Washington. What will you do on your last day?]\n\n> You take it\nThat's fixed in place.\n\n> You turn it on\nYou switch Stereo on.\n\n> Go east\nThis place is even more beat-up than your bedroom. You've had a couple parties in here, and parties right before the apocalypse can get a little out of hand. There's a ton of bottles and cans in here, the carpet and furniture is all stained, scraps of food are everywhere...\n\nA doorway leads south to the street outside.\n\n> You go south\nBrowning Street, Nelsonville.\nAh, good old Browning Street -- too bad the end of the world had to happen, because this is a pretty nice neighborhood, a row of nice neighbors and formerly clean houses. Now, though, a lot of the people are either holed up in the church or in Port Friday, on the other side of the bay, partying.\n\nTo the east is Harbor Street, and to the west is Polk Road.\n\nA doorway leads south to the street outside.\n\n> Go east\nHarbor Street, Nelsonville.\nA north-south running street. Desolate much like the rest of the town now, it does have a seafood restaurant on the east side called Nelson's Own that has its \"Open\" sign lit up. Apart from that, you can north to the harbor or south to Court Street.\n\n> You go east\nAn ancient seafood restaurant, it has been stubbornly run by its proprietor for the last month in spite of everything. Unfortunately, it has also been looted of its stocks of food heavily, and not much more food has been coming in during that time, as not a lot of people are interested in continuing their jobs right now.\n\nA staircase leads up to the offices, and you go back west to Harbor Street.\n\nYou're surprised to see Benny sitting at a booth, eating a fish sandwich as if this was a normal Tuesday lunch. He sees you as well, and waves.\n\n> You ask Benny about the sandwich\n\"Where'd you get that sandwich?\" you ask hungrily. \"Oh, the freezer wasn't totally looted. So I made one in the kitchen, to the east there,\" replies Benny. \"I made some fries, but this was more filling than I expected, so you can have them.\"\n\n> Go east\nAn old kitchen with a gas-powered stove and an open and empty freezer, and covered in grease. There is indeed a tub of fries sitting by one of the fryers, much to your delight. The place looks like it hasn't been used in a week though.\n\n> You eat the fries\nDelicious.\n\n> You look at fries\nSome nice, greasy fries, just waiting to be eaten.\n\n> Go upward\nYou climb up the stairs to the office and enter. Mr Wickens, the proprietor, is sitting up here, writing something as if the world isn't going to end in a couple hours.\n\nA staircase leads back down into the restaurant.\n\n> You look at Wickens\nA stout old man, who built this place God-knows-how-long ago and has run it ever since. You guess you aren't too surprised he's here until the bitter end.\n\n> You ask Wickens about the comet\nMr Wickens waves a hand dismissively. \"I built this place with my own two hands, and I don't intend to abandon it. This place is... my whole life,\" he says almost sadly, \"and I will go down with it.\"\n\n> You ask Wickens about the restaurant\n\"I'm going to keep this running until that damn comet hits,\" says Wickens defiantly. \"And I want to protect until then too. God may end my business, but I'll be damned if I let some looter burn it down.\"\n\n> You ask Benny about the comet\nBenny nods with an air of indifference. \"Nothing I can do about it, is there?\" he replies. \"Too bad, I guess. If there's no reason to do anything, then there's no reason for me to not eat a delicious fish sandwich, is there?\" You can't find a flaw in that logic.\n\n> You go west\nHarbor Street, Nelsonville.\nA north-south running street. Desolate much like the rest of the town now, it does have a seafood restaurant on the east side called Nelson's Own that has its \"Open\" sign lit up. Apart from that, you can north to the harbor or south to Court Street.\n\n> You go to the south\nCourt Street, Nelsonville\nOld Court Street, the oldest street in town, and heading right on into a dead end. Well, if it didn't head right on into a group of guys with guns first. You'd better watch yourself around them.\n\nThe old church is on the west side of the street, or you could go back north to Harbor Street. You could also try going south, but\nthat might not be the best idea.\n\n> You go to the north\nHarbor, Nelsonville\nAh, the old harbor, now looking like it's been abandoned for a hundred years. Normally there would be a fleet of all kinds of boats - yachts, trawlers, speedboats - but not anymore. They've all been stolen or spiked, and now there's just one left: an old, rustly fishing boat.\n\nThere's also an outbuilding on the far side you could enter.\n\nYou see a sailor lying on a pier, dead drunk.\n\n> You look at the sailor\nHe's dead. You could tell even before you got close to him, from the way the flies buzzed over his body. And in any case, you seen enough pale, bloated, rotting corpses over the last few weeks to be pretty good at telling them apart from the living.\n\nThis guy is a bit much even for you, though. His eyes have rotted or been eaten already, and the flies laid eggs in there, and the eggs have hatched. It makes even your skin crawl.\n\nYou briefly wonder if flies will survive the comet. Probably, you guess.\n\n> You take the sailor\nThat's fixed in place.\n\n> You examine the boat\nIf you plan to leave this island, looks like this is your only bet, old and rusting heap though it is.\n\n> You enter the boat\nYou get into the fishing boat.\n\n> You go north\nNelson Bay (in the fishing boat)\nThe open ocean... Nelsonville is back south, and Port Friday to the east. Yaquina Strait is further north.\n\n> Go east\nPort Friday (in the fishing boat)\nYou cruise-- well, sputter -- into Port Friday, and enter in on quite an eyeful: there's a drug-fueled orgy happening right on the docks. And a part of you wants to leap right into it, but...\n\n> You look at the orgy\nDozens of people, fucking each other, letting themselves get fucked, snorting coke, shooting heroin... you can't even settle your eye on anything.\n\n> You join the orgy\nYou hop out of the boat, rip off your clothes, and join in the party. Hey, it's the end of the world, may as well go out with a bang, right?\n\nAnd right at 12:43 PM, that's exactly what happens.\n\n> Exit\nYou get out of the fishing boat.\n\nYou cruise-- well, sputter -- into Port Friday, and enter in on quite an eyeful: there's a drug-fueled orgy happening right on the docks. And a part of you wants to leap right into it, but...\n\n> You enter the boat\nYou get into the fishing boat.\n\n> Go west\nNelson Bay (in the fishing boat)\nThe open ocean... Nelsonville is back south, and Port Friday to the east. Yaquina Strait is further north.\n\n> You go to the north\nYaquina Strait (in the fishing boat)\nThe open ocean... You can go west to Yaquina Bluffs, or south to Nelson Bay.\n\n> You go to the west\nStripe of Sand (in the fishing boat)\nJust a tiny strip of sand, lying beneath Yaquina Bluffs with a winding path going up.\n\n> You leave\nYou get out of the fishing boat.\n\nJust a tiny strip of sand, lying beneath Yaquina Bluffs with a winding path going up.\n\n> You go upward\nA series of rocky cliffs near the lighthouse, and a popular jumping spot based on the number of corpses dashed against the rocks.\n\nOf course, you could head down the normal way, down a small winding path.\n\nA rope has been left laying out. It even already has a noose tied off on one end, but clearly hasn't been used. Probably someone who lost their nerve, not that you would really recommend suicide. It is lying right next to a large rock.\n\n> You examine the corpses\nThe bodies of people who decided to end the world -- for them, at least -- on their own timetable. You don't feel right calling them cowardly, or courageous for that matter\n\n> You take the rope\nTaken.\n\n> You go to the northwest\nYou've been here a couple of times, back when you thought lighthouses were really cool. And that's the only reason to come here: the lighthouse, whose entrance lies to the northwest. There's also some bluffs to the southeast, or you could go back to the south.\n\n> Go northwest\nThe old lighthouse. Nobody's keeping it anymore, though. You can head up the stairs to reach the top.\n\n> Go upward\nMan, this place gives a really good view. You can see the Space Needle from here, Vancouver Island... you think might even be able to see the southern tip of Alaska from here.\n\nAnd of course, there's always two ways down...\n\n> You go to the south\nThe woods are thinning out here. You can see Yaquina Head to the north, and the rest of the woods to the southwest.\n\n> You go southwest\nYou walk deeper into the forest, listening to the chirping of the birds, feeling the sun on you...\n\nThe trail continues to the northeast, or back to the southwest.\n\nYou notice some shapes deep in the forest, among the trees.\n\n> You go southwest\nYou take the trail and leisurely stroll through the woods, admiring the scenery... too bad it's not going to be here much longer. You'd never thought about how beautiful it was before.\n\nThe trail winds away to the northeast, or back to the southeast.\n\n> You go to the southeast\nA rough road, one that ends in pretty much nothing and leads onto the trail  leading northwest through Nelson Forest. You wonder why this Nelson guy got to name everything after himself.\n\n> You go east\nBrowning Street, Nelsonville.\nAh, good old Browning Street -- too bad the end of the world had to happen, because this is a pretty nice neighborhood, a row of nice neighbors and formerly clean houses. Now, though, a lot of the people are either holed up in the church or in Port Friday, on the other side of the bay, partying.\n\nTo the east is Harbor Street, and to the west is Polk Road.\n\nA doorway leads south to the street outside.\n\n> Go northwest\nYou can't go that way.\n\nYou feel the ground start to tremble a bit under your feet.\n\n> Go southwest\nYou can't go that way.\n\nThe ground begins to shake even more. It's starting to feel like an earthquake, and you see a twinkle appear in the sky.\n\n> Go southeast\nYou can't go that way.\n\nThe twinkle starts getting bigger.\n\n> You go west\nYou can't go that way.\n\nThe twinkle is about half the size of the moon now. You're not sure if anything will survive this.\n\n> Enter\nYou can't go that way.\n\nThe comet dips below the horizon.\n\n> Go outside\nBut you aren't in anything at the moment.\n\nYou hear the echoing impact of the comet strike, and the ground violently rattles once more with a sense of finality. As you get back to your feet, you can see a wave of dirt and dust streaking toward you.\n\n> You wait for a while\nWaiting during your last day is not something to be done lightly. Do you want to wait until the comet strikes?\n\n> Y.\nVery well."
    },
    {
        "text": "[Themes: profanity, absurd, male protagonist, Comedy, surreal, Mexico]\n\nIt is really hot today. Sprawled across the bed of your hotel\nroom, you lie sweltering in a growing puddle of sweat. There are no flies in the air, but that is only because they have all passed out on the floor.\nVentilator\n\nThis is the overpriced room you've paid for. It is striking by its lack of character, its uncomfortable-looking bed, its rickety table, its miniscule minibar, its enormous curtainless window which allows all the blazing sunlight outside to roast you alive, and a door that leads out into the corridor. To say nothing of the toilet.\n\nStanding here, beckoning to you, is the ventilator. Is it your friend? Or your foe? Time will tell.\n\nAnyhow, it's quiet, possibly because it's currently switched off.\n\nOn the dirty floor are some flies.\n\n[Author's Note: The heat is stifling, the hotel room is vastly overpriced, and your heart is in pieces. But the worse is yet to come... WARNING: This story contains potentially humorous depictions of Mexican headgear.]\n\n> About you\nYou are unable to examine yourself without a mirror, and the hotel has a strict policy against people with prehensile eyes. Joking aside, you look as normal as ever... albeit a little under the weather. And, of course, your heart is in a mess. Sigh.\n\n> You check what you're carrying\nYou are carrying:\nsome trousers (being worn)\na shirt (being worn)\nyour hair (being worn)\n\n> You switch on the ventilator\nAre you sure?\n\n> Yes\nYou turn on the ventilator. Shortly afterwards, your hair is swept off, soaring through the air buoyantly before being flattened like a particularly inedible pancake onto the wall. Whoa! Perhaps a tad excessive, even for a brand new model.\n\nBut, however, this at least has had the desired effect, reviving you sufficiently to be able to get back up again. Now, you just need to find a drink..."
    },
    {
        "text": "> You look around\nThis is the overpriced room you've paid for. It is striking by its lack of character, its uncomfortable-looking bed, its rickety table, its miniscule minibar, its enormous curtainless window which allows all the blazing sunlight outside to roast you alive, and a door that leads out into the corridor. To say nothing of the toilet.\n\nStanding here, roaring away like nobody's business, is the ventilator.\n\nOn the wall is your hair.\n\nThe ventilator is a bit too powerful for your liking.\n\n> You look at the minibar\nA minibar. Just a minibar. Not a spaceship. Not a portal to another world. Not... well, you get the idea.\n\n> You open it\nThe minibar opens with some difficulty, releasing a flood of salted peanuts, paprika chips, and some rather gooey guacamole. There is no sign of anything remotely drinkable, oddly enough for a hotel set in the middle of New Mexico.\nDo you wish to complain to the hotel staff?\n\n> Yes\nAfter an hour of being yelled at in a language that sounds suspiciously like a bizarre mix of English, Esperanto and Parseltongue, you are kicked out by an implausible hotel employee with a huge mustache and a sombrero you could canoe across the Rio Grande in. You wander about the desert and - for no conceivable reason than that otherwise the story of your life would have ended in a boring way - get abducted by aliens.\n\n> You examine the bed\nDrenched with sweat.\n\n> You look under it\nYou find a book that some previous guest had left there, mummified in a shroud of dust bunnies, and out of curiosity you take it.\n\nIt's really hot in here, as mentioned previously.\n\n> Examine book\nIt's \"Three Men in a Boat\", Stephanie's favourite book! You flit through it idly and find the passage where Harris sings comic songs.\n\n> You look at the table\nOn the table is a ventilator.\n\n> You look under the table\nYou kneel down and look under the table. A cockroach sees you, panicks, runs around in circles and finally scurries out of the room.\n\n> You put the book on the hair\nPutting things on your hair would achieve nothing.\n\nYou have ceased to sweat. This is a bad sign, considering that the temperature exceeds 30 degrees Celsius.\n\n> You switch on the ventilator\nAre you sure?\n\n> Yes\nYou turn on the ventilator. Shortly afterwards, your hair is swept off, soaring through the air buoyantly before being flattened like a particularly inedible pancake onto the wall. Whoa! Perhaps a tad excessive, even for a brand new model.\n\nBut, however, this at least has had the desired effect, reviving you sufficiently to be able to get back up again. Now, you just need to find a drink...\n\n> You open the minibar\nThe minibar opens with some difficulty, releasing a flood of salted peanuts, paprika chips, and some rather gooey guacamole. There is no sign of anything remotely drinkable, oddly enough for a hotel set in the middle of New Mexico.\nDo you wish to complain to the hotel staff?\n\n> No\nYou quash your resentment. Best not to anger the hotel staff unduly. So you try to close the minibar, but funnily enough it won't close. You are forced to leave it as it is, guacamole spilling about and all.\n\nThe ventilator is a bit too powerful for your liking.\n\n> You switch off the ventilator\nThe ventilator has a mind of its own, and suddenly you are blown backwards against the wall by the sheer force of the air being blasted out. The battle to the death has now begun!\n\nA cat peeps through the door, clearly wondering why you are in such a ridiculous posture.\n\nHotel Room (on the wall)\nThis is the overpriced room you've paid for. It is striking by its lack of character, its uncomfortable-looking bed, its rickety table, its miniscule minibar, its enormous curtainless window which allows all the blazing sunlight outside to roast you alive, and a door that leads out into the corridor. To say nothing of the toilet.\n\nStanding here, roaring away like nobody's business, is the ventilator.\n\nOn the wall you can see your hair (and yourself, of course).\n\n> Down\nYou bang your head against the walls fruitlessly. You now fully perceive that the only way is out.... unless you really want to jump through the window.\n\nThe cat says \"Miaow?\" apprehensively.\n\n> Go outside\nYou try to use all your might to get yourself back standing on the floor where you rightfully belong, but fail miserably.\n\n> Inventory\nYou are carrying:\na book\nsome trousers (being worn)\na shirt (being worn)\n\n> You throw the book at Ventilator\nTears welling up in your eyes, you hurl Three Men in a Boat\nin the face of the terrible Ventilator. The villainous machine shreds the slim, dog-eared tome into confettis.\n\nThe Ventilator's wrath has now been aroused, and you watch in silent awe as it sends halff your belongings through the wall into the neighbouring room. Your mobile phone is now sliding past you, hopping and skipping madly as it is being blown about.\n\n> You take the mobile phone\nTaken.\n\nThe Ventilator is blowing you towards the toilet, clearly under the impression that you wish to go there. Nothing could be further from the truth.\n\n> You look at the phone\nYour treasured possession, and only contact with the outside world. On its screen is a list of contacts.\n\n> You look at the contacts\nSince you can't remember a phone number to save your life, this is how you keep track of everything.\n\nPOLICE, DOCTOR, HELP, STEPH, BOB, PIZZA, GOD\n\n> You call the STEPH\nMaybe she can help you. She's still your girlfriend, in spite of that argument you both had... You dial the number hopefully.\n\nHer answering machine is the only reply: \"Hello, you have reached Stephanie Crane's phone, but she is out right now and won't be back before next Christmas. Please leave a message after the beep. BEEP.\" Your morale now at its lowest point in recorded history, you hang up listlessly. All is lost.\n\nThe toilet is now hurtling at great speed towards you, or perhaps you are hurtling at great speed towards it. You don't really have the time to figure it out.\n\n> You go outside\nYou try to use all your might to get yourself back standing on the floor where you rightfully belong, but fail miserably.\n\nHang on a second... isn't it strange how long it's taking for you to crash into the toilet? This hotel room must be wider than you realized. Probably why it was so expensive in the first place.\n\n> You call the god\nYou don't remember saving this particular number on your mobile phone. It seems to have appeared in your contacts by magic. Perhaps a sign? You dial it with high hopes....\n\n\"HELLO,\" a voice booms, sounding remarkably like Darth Vader. \"HOW MAY I HELP YOU?\"\n\n\"I'm doomed!\" you reply, tears streaming off your face and flying out the window.\n\nYou don't hear the answer the voice makes, but suddenly everything around you stands still, hushed by a great silence. As you land nimbly on your feet, the ground gives way to nothingness, and the sunlight turns into blackest night...\n\nAll around you stretches the endlessness of outer space. You float aimlessly among the stars and galaxies, which by some strange magic have been shrunk to the size of flies.\n\nGod is here, watching you benevolently.\n\n> You examine the god\nYou can't describe this sight in words, because there are no words to describe it. All you can make out is a T-shirt reading \"I TOTALLY ROCK, DUDE\". God, a fan of rock n\" roll? What a revelation.\n\n> About you\nYou appear to be completely nude. How embarrassing. Now the whole Universe can see your ingrown toenail.\n\n> You ask the god about Stephanie\n[Use TALK TO to interact with characters.]\n\n> You talk to God\n\"What has happened to me?\"\n\n\"I RESCUED YOU,\" God booms. He still sounds a lot like Darth Vader.\n\n> Continue\n\"I know that,\" you say, \"but am I alive or dead? Is this Heaven? Where is everybody?\"\n\n\"YOU ARE STILL MISSING THE BIG PICTURE,\" God booms.\n\n> Continue\n\"What is the big picture?\" you ask.\n\nGod hesitates. Then, the answer comes: \"THE VENTILATOR, THE CAT, THE HOTEL ROOM.... ALL OF IT.... DID YOU TRULY BELIEVE THAT IT WAS REAL?\"\n\n> Continue\n\"Now that I think about it... it did seems kind of... surreal?\" you say tentatively.\n\n\"OF COURSE IT DID, FRANK,\" God booms in a whisper (something normally impossible to do, but this is God after all). \"THIS WAS A DREAM; A DREAM WHICH IN A LANGUAGE OF ITS OWN WAS TRYING TO TELL YOU SOMETHING.\"\n\n> You keep going\n\"What was it trying to tell me?\" you ask, almost afraid of the answer.\n\n\"THAT THERE IS A SIDE OF YOU WHICH PUSHES AWAY THOSE THAT IT LOVES; A SIDE SYMBOLIZED BY THE VENTILATOR. THAT SIDE WILL ULTIMATELY RESULT IN YOUR OWN DESTRUCTION, IF YOU DO NOT LEARN TO OVERCOME IT.\"\n\n> You continue\n\"But what about the rest? The flies? The minibar? The cat? Everything else?\"\n\n\"ALL PIECES OF THE SAME PUZZLE,\" God replies. \"THE CAT SYMBOLIZED YOUR CAPACITY TO BE KIND WITH OTHERS, THE MINIBAR WAS A PLACE TO HIDE FROM THE SUFFERING OF THE OUTSIDE WORLD WHICH ULTIMATELY RESULTED IN YOUR SYMBOLIC DEATH, AND THE FLIES...THE FLIES...WELL, THEY WERE MILDLY AMUSING. NOT EVERYTHING HAS TO HAVE A MEANING.\"\n\n> Keep going\n\"Am I going to be subjected to pop psychology for the rest of eternity? Is that what Hell really is about?\" you say angrily.\n\nGod sighs. \"TIME FOR YOU TO FIX WHAT YOU HAVE BROKEN.\" Suddenly, a mobile phone appears in your hand, and God vanishes.\n\n> You look at the phone\nYour treasured possession, and only contact with the outside world. On its screen is a list of contacts.\n\n> You call Stephanie\nYou hear her voice at the other end of the line! \"Where WERE you, Frank? You just ran off without any warning...\"\n\n\"I was in a bad place,\" you answer truthfully. An idea occurs to you suddenly, and you reach out your hand and... turn on the light. Lo and behold! You are in your own bedroom, at home! No Ventilator to be seen! So it WAS all a dream.\n\n\"Hello? Are you still there?\" Stephanie asks.\n\n\"Huh? Oh, I was just thinking about something I've always wanted to say to you...\" you reply, feeling suddenly more uplifted than you've ever felt in your life."
    },
    {
        "text": "[Themes: Humor, gender-neutral protagonist, silly, absurd, culinary theme, Comedy, humour, monkey, chef]\n\nHELLO CHEF!!!!!1 You must make FOOD!\nYou have a list! First to food wins!\n\nYou are a Chef!\n\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\n\n> You examine the shop\nThe SHOP is known as 'End of Days'. It is however entitled 'A Freak Accident leaves Seattle Pantsless' due to a strange experience in aught-six.\n\n> You look at the list\nHello Chef!! You must find items to put in the pot! This will enable the food to be properly made: attention!\n\nThe food requires the following ingredients: potato, monkey, octopus, cabbage, paperclips, tomato. Later the MYSTERY INGREDIENT will be delivered!\n\n> Go northeast\nHello Cook!!! This is the corner. There is a 23rd here. Also a Lincoln. You can go south-west.\n\n> You look at the 23rd\nI don't know how to inspect the number 23.Yogurt falls from the sky!\n\n> You take the yogurt\nChef, you cannot take the YOGURT without the PEPPER!!\nSalmon falls from the sky!\n\n> You take the yogurt\nChef, you cannot take the YOGURT without the PEPPER!!\nYou hear tinkle-tinkle from southwest!\n\nCorn falls from the sky!\n\nYou hear wumpf from southwest!\n\nYou hear whap from southwest!\n\n> You take the corn\nTaken. Potato falls from the sky!\n\nMagnet falls from the sky!\n\nYou hear fwish from southwest!\n\n> You take the potato\nTaken. You hear clink from southwest!\n\nLoaf of bread falls from the sky!\n\n> You get the potato\nYou hear ook from southwest!\n\nTaken. You hear thud from southwest!\n\n> You take the magnet\nTaken. You hear thunk from southwest!"
    },
    {
        "text": "> You look around\nHello Cook!!! This is the corner. There is a 23rd here. Also a Lincoln. You can go south-west.\nYou see a yogurt, a salmon, and a loaf of bread here.\nBruised tomato falls from the sky!\n\n> You take the tomato\nTaken. You hear plop from southwest!\n\nYou hear cackle from southwest!\n\n> You take the bread\nTaken. Tongs falls from the sky!\n\nGiant octopus falls from the sky!\n\n> You take OCTOPUS\nChef, you cannot take the GIANT OCTOPUS without the TONGS!!\n\n> You take the salmon\nChef, you cannot take the SALMON without the FORK!!\n\n> You take the tongs\nTaken.\n\n> You take all\nyogurt: Chef, you cannot take the YOGURT without the PEPPER!!\nsalmon: Chef, you cannot take the SALMON without the FORK!!\ngiant octopus: Taken.\n\n> Inventory\nYou have a list, a corn, a potato, a magnet, a bruised tomato, a loaf of bread, a tongs, and a giant octopus.\n\n> You look at the corn\nIt looks like an ordinary corn to me.\n\n> You go southwest\nYou see a paperclips, a lost sock, a pepper, a monkey, a an apple,\na banana, and the Blair Witch here.\n\n> You examine Witch\nIt looks like an ordinary the blair witch to me.\n\n> You get the monkey\nChef, you cannot take the MONKEY without the BANANA!!\n\n> You take MONKEY\npaperclips: Taken.\nlost sock: Taken.\npepper: Taken.\nmonkey: Chef, you cannot take the MONKEY without the BANANA!!\nan apple: Taken.\nbanana: Taken.\nthe blair witch: Chef, you cannot take the THE BLAIR WITCH without the MONKEY!!\n\nTaken.\n\n> You take MONKEY\nTaken.\n\n> You look at what you're carrying with you\nYou have a list, a corn, a potato, a magnet, a bruised tomato, a loaf of bread, a tongs, a giant octopus, a paperclips, a lost sock, a pepper, a an apple, a banana, a monkey, and the Blair Witch.\n\n> Go south\nHello Cook!!! There is a LOT of PARKING here because this is a PARKING LOT. Ha ha! A joke! You are permitted by the cars to go only northwards.\nYou see a chocolate, a fork, and a cabbage here.\n\n> You take all\nchocolate: Taken.\nfork: Taken.\n\n> You look\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\n\n> You look at the pot\nThis is the pot!! In which to put your items! There's nothing in the SOUP pot.\n\n> You put the potato in the pot\nGood work Chef!!! But you must find more!! Ingrredients!!!\n\n> You put all in the pot\npotato: The potato is already in the SOUP pot!\nmonkey: The monkey is already in the SOUP pot!\ncabbage: The cabbage is already in the SOUP pot!\nlist: You have no desire to put that in the pot!!\ncorn: You have no desire to put that in the pot!!\nmagnet: You have no desire to put that in the pot!!\nbruised tomato: Good work Chef!!! But you must find more!! Ingrredients!!!\nloaf of bread: You have no desire to put that in the pot!!\ntongs: You have no desire to put that in the pot!!\ngiant octopus: Good work Chef!!! But you must find more!! Ingrredients!!!\npaperclips: Good work Chef!!! But you must find more!! Ingrredients!!!\nlost sock: You have no desire to put that in the pot!!\npepper: You have no desire to put that in the pot!!\nan apple: You have no desire to put that in the pot!!\nbanana: You have no desire to put that in the pot!!\nthe blair witch: You have no desire to put that in the pot!! chocolate: You have no desire to put that in the pot!!\nfork: You have no desire to put that in the pot!!\nA funny clown runs out of the room!A funny clown runs into the room!\n\n> You examine the pot\nThis is the pot!! In which to put your items! In the SOUP pot you see a potato, a monkey, a cabbage, a bruised tomato, a giant octopus, and a paperclips."
    },
    {
        "text": "> You look around\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nThe SOUP pot seems to contain a potato, a monkey, a cabbage, a\nbruised tomato, a giant octopus, and a paperclips.\n\n> You look at the list\nHello Chef!! You must find items to put in the pot! This will enable the food to be properly made: attention!\n\nThe food requires the following ingredients: potato, monkey, octopus, cabbage, paperclips, tomato. Later the MYSTERY INGREDIENT will be delivered!\n\n> Go northeast\nYou see a yogurt and a salmon here.\n\n> You get all\nyogurt: Taken.\nsalmon: Taken.\n\n> You go to the southwest\nThe SOUP pot seems to contain a potato, a monkey, a cabbage, a\nbruised tomato, a giant octopus, and a paperclips.\nA funny clown is here.\nA funny clown runs into the room!\n\n> Wait\nTime passes...\n\n> You wait for a while\nTime passes...\nA funny clown runs out of the room!Iron safe falls from the sky!\nIt lands on top of clown and breaks open!"
    },
    {
        "text": "[Themes: Humor, monkey, Comedy, culinary theme, chef]\n\n> You look at your surroundings\nHello Cook!!! You are outside a SHOP. You can go north-east or\neast. The SHOP is here. An exit leads south. Also there is a POT here.\nThe SOUP pot seems to contain a potato, a monkey, a cabbage, a\nbruised tomato, a giant octopus, and a paperclips. The iron safe seems to contain a MYSTERY INGREDIENT.\n\n> You look at safe\nIn the iron safe you see a MYSTERY INGREDIENT.\n\n> You look at it\nI cannot tell you! It is a mystery!!\n\n> You put it in the pot\nYou have completed the soup!! You retired with the FOOD in triumph!! Congratulations Chef!!!"
    },
    {
        "text": "[Themes: Surreal, based on songs]\n\nYou wake from a dream of perfect Lisa. She was larger than life, and held you in the loving palm of her hand, and smiled.\n\nAh, Lisa. She was radiant at the party last night. Your room, by contrast, is a fucking mess. And she's going to be here in less than an hour!\n\n> Panic\nYou drag yourself out of bed, still in the clothes you collapsed in. Better get this mess straightened out quick, so you have time to make yourself presentable before she gets here!\n\nYour bed is a mess.\n\nYour suitcase is sitting out on the floor.\n\nPiles of junk mail cover the only empty shelf in your bookcase.\n\nYour trash can has a few pieces of junk in it.\n\nThere are books strewn about the base of your bookshelf.\n\nYour desk is a disaster area.\n\nThere's a heap of dirty laundry next to your bed.\n\n>Part I: Paul\n\n> You look under the bed\nYou should focus on getting it made."
    },
    {
        "text": "[Themes: Surreal, Horror, Egypt]\n\nYou are running for your life down dark, labyrinthine corridors, your heart pounding almost as loudly as the heavy boots of your relentless pursuer. But your legs are collapsing under you, your breaths coming in ragged gasps. At the last, strength fails you and you collapse face-down upon the unforgiving concrete. Cold hands grasp your neck, hauling you upright, forcing your unwilling eyes open to gaze into the hard, cruel, familiar face of your captor - and you scream with the horrible recognition that those twisted features are your own.\n\nYou are still screaming when you awaken in sweat-drenched clothes, deeply relieved that it was only a dream. Yet something is not right. Why does the darkness beyond the window look so threatening? Why do the sounds of the night bear such menace? Indeed, why are you in such constant...\n\nFor information, type \"about\"\n\nStandard interpreter 1.0\n\nBedroom (on the bed)\nThis first-floor room is almost uncomfortably warm and well-lit. The bed sits against the east wall, and curtains cover the windows to the south. A calendar hangs from a hook on one wall, and the exit is to the north.\n\nOn the bedside table are a pillbox (which is closed) (in which are nine white pills), a small leaflet and a telephone.\n\n[Author's Note: The world is suddenly such a frightening place. People are out to get you, and everywhere there is danger, lurking in the dark, even here, in your own home. Can you conquer your own fears before it's too late?]\n\n> You examine the leaflet\nA folded piece of paper printed in annoyingly small lettering.\nIt reads:\n\nCyclazone (R) - Antidepressant\n\nDosage - one pill every twenty-four hours or until symptoms clear. Effects slowly increase over the first twelve hours. UNDER NO CIRCUMSTANCES SHOULD RECOMMENDED DOSAGE EVER BE EXCEEDED.\n\nPossible rare side effects - mild disorientation, temporary amnesia, partial loss of coordination. Do not drive motor vehicles while under treatment.\n\nMode of action - (from here on, the leaflet consists largely of\narcane biochemical terminology which you find incomprehensible.)\n\nAmnesia, eh? You wonder just what possessed you to take part in the first trial of an experimental drug. To your horror, you can't recall.\n\nYou feel suddenly claustrophobic as you hear a rustling nearby. What lurks in the shadows, waiting to pounce?\n\n> You examine the hook\nThe calendar is turned to the page for the month of March. It bears a photograph of a snow-covered mountain range. Down the right-hand side are little entries for each day:\n\nSat 1 Mar:\nSun 2 Mar:\nMon 3 Mar: Call drug research people 6pm\nTue 4 Mar: first dose 6:30pm\n\nThese entries are crossed through, and the rest of the calendar is blank.\n\nThe house is strangely unfamiliar, as if you'd read about it in a book but never actually set foot inside before.\n\n> You check your inventory\nThere is no dial tone. Returning the handset to its cradle, you feel even more helpless and alone.\n\nAs you try to compose your mind, dark memories wash over you: explosions, death, the tolling of funeral bells, gloom, isolation.\n\nWhat do you want to tie?\n\nYou are carrying nothing.\n\n> You eat it\nYou open the pillbox.\n\nTaken.\n\nThe pill dissolves quickly on your tongue, and within moments a feeling of disorientation and vertigo overcomes you. Then the walls of the house seem to press in around you, suffocating and crushing - and then you are stumbling, running in blind panic for the stairs, pursued by horrors of every description, maniacal laughter and agonized screams ringing in your ears, and somehow one of the steps lurches upwards, sending you hurtling down headfirst into the monsters waiting at the foot of the stairs...\n\nYou were found with a broken neck.\n\n> Go north\nYou'll have to get off the bed first.\n\n> You stand\nYou get off the bed.\n\nOn the bedside table are a telephone, a pillbox (which is closed) (in which are nine white pills) and a small leaflet.\n\n> You examine windows\nThe windows shield you from the terror and cold of the outside world. On the other side of the glass, steel grilles fixed to the wall prevent intruders breaking in this way.\n\n> North\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nSeeing the ladder suddenly reminds you where you left the house keys. They fell out of your pocket in the attic yesterday afternoon.\n\nYou catch a flurry of movement out of the corner of your eye, but when you turn there is nothing.\n\n> Up\nThe light switch is a long way from the entrance, and from the strange noises you hear occasionally, there could be anything up there. You can't muster the courage to brave the dark.\n\n> You examine the ladder\nThe old and rickety-looking wooden ladder is fixed to something at the top end, though you can't see what very clearly from down here. The hole leads to the attic.\n\n> Go north\nA small, windowless and rather cramped bedroom. Perhaps that explains why overnight visitors are so infrequent.\n\nYou can see an ornamental plate and a dusty leather-bound book here.\n\n> You look at the plate\nA small, rather attractive copper plate inlaid with intricate silver patterns.\n\n> Inventory\nYou are carrying:\nan electric torch (providing light)\n\n> You go east\nThis narrow, low-ceilinged passage with smooth granite walls slopes downwards and eastwards into the heart of the vast edifice. It is cool inside, a welcome relief from the baking desert sun.\n\n> Go east\nThe narrow passage from the west opens out into a wide sloping gallery that descends eastwards into what appears to be a burial chamber. Tall pillars set against the walls hold up the high ceiling. The walls are inscribed with scenes from the Egyptian Book of the Dead.\n\nOnly your footfalls break the silence, echoing ever fainter into the darkness.\n\n> You examine the scenes\nThe inscriptions show deities with the heads of birds and jackals presiding over the judgment of the deceased on one wall, and serene images of the pharoah's abode in the afterlife on the other. Underneath the pictures are indecipherable hieroglyphics which you guess to be ancient prayers.\n\n> Pray\nNothing practical results from your prayer.\n\n> You look at the pillars\nThe square pillars are more functional than decorative; their smooth surfaces are plain and unadorned.\n\n> Go east\nWhat a disappointment. This chamber must have once been filled with treasures beyond imagination, before the museums plundered its wealth. Dark patches of stone on the floor are the only indication of where valuable artifacts once stood, while the walls stand bare and forlorn. The massive sarcophagus remains in the centre of the room, but only, you suspect, because of its sheer weight.\n\nThe sarcophagus lid bears a menacing engraving of the spirit of the deceased Pharoah calling down maledictions upon all who would defile his tomb.\n\n> You look at the engraving\nUpon closer examination, you realise this huge box could never have fit through the entrance passage; it appears to have been carved out of one immense, smooth-polished chunk of marble. The lid is as thick as your hand is wide, and is positioned an inch or so off centre.\n\nThe image of the dead ruler's face, the only adornment on this box, somehow fills you with dread.\n\n> You open the box\nDespite your best efforts, the lid refuses to budge. Besides, even if you were to somehow get it open, everything of interest is surely in a museum by now.\n\n> Go west\nAs you turn to leave, you feel strangely compelled to glance back at the defiled sarcophagus one more time. A tiny flicker in the shadows. Did the Pharoah's lips move in a curse? At that moment, your torch somehow slips from your panicking hands, and you dive for it in the wildly flickering light. As if guided by an unseen hand, it rolls into a small gap at the foot of the north wall that you somehow hadn't noticed earlier, plunging you into complete darkness. Two heartbeats later, you hear what must surely be your torch shattering on a hard surface, followed shortly by the awful grinding noise of stone against stone in the distance, echoing through the empty chamber...\n\nYou are groping around blindly in the dark. The walls and floor are smooth, cold stone. The imposing sarcophagus, thankfully, is still closed.\n\n> You examine the gap\nThe rectangular hole is about two feet wide and just tall enough for you, with some trepidation, to stick your arm into. It leads to a seemingly vertical, square, smooth-walled shaft. On its back wall is a curiously protruding stone.\n\n> You examine the stone\nIt feels surprisingly rough compared to the smooth walls of the shaft from which it sticks out an inch or so.\n\n> Go outside\nYour footsteps echo eerily back to you in the chilly air of the lightless gallery.\n\n> You examine the stone\nYour spirits sink. The slab feels solid and is impervious to your efforts. Upon its surface are engraved the images of bird-headed Egyptian deities, their sharp vulture-beaks open as if to devour desecrators.\n\n> Go outside\nYou get about six feet into the entrance passage before running, literally, into a stone slab that seals you inside the tomb.\n\n> You look at the box\nStill massive, immovable and unopenable. Running your fingers over the engraved pharoah, you could almost swear that his features have contorted ever so slightly into a leer.\n\n> You examine the hole\nThe hole is now two foot square, wide enough for you to squeeze through. It leads to a seemingly vertical, square, smooth-walled shaft. On its back wall is a curiously protruding stone.\n\n> Kiss box\nYou can only do that to something animate.\n\n> You enter the hole\nYou carefully lower yourself, feet first, into the cramped shaft.\n\nDarkness (in a shaft)\nYou are braced against the cold stone walls of a narrow, claustrophobic square shaft, trying unsuccessfully to avoid thinking about burial in a tall coffin. You could climb down with some care, or crawl back up into the sarcophagus room."
    },
    {
        "text": "[Themes: Horror, Surreal]\n\n> Go downwards\nDarkness (at the bottom of a shaft)\nYou are at the bottom of the narrow shaft. On the floor is a heap of debris that cracks and crumbles under your feet. The air here has an unpleasant smell of decay.\n\n> You examine the debris\nThis must have been some ancient mechanism of wood and rope, rotted away over the centuries and now completely unrecognisable. The useless, broken remains of your torch are scattered in this heap; you nearly cut yourself on a fragment of glass from the bulb. The remnants of several ancient ropes seem to lead underneath the south wall.\n\n> You look at the ropes\nThe ropes have a grisly and decayed texture. Whatever their function was, they have performed it for the last time.\n\n> You get the ropes\nThe ropes disintegrate in your hands.\n\n> You look at the south wall\nThis wall has a different texture from the rest, and seems to have several cracks in it.\n\n> You go south\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\n> You go west\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\nYou feel a stone statue standing here.\n\n> You look at statue\nA statue, slightly taller than you, of a bird-headed god with open eyes and a closed beak. In one hand it holds a crook, and in the other an eight-pointed star.\n\n> You examine the star\nIt seems to be fixed to the statue firmly. You can neither move nor remove it.\n\nThe eight-pointed star rests on the statue's outstretched palm, a tiny eye engraved on each point. You can turn it slightly, but it always seems to spring back to the same orientation.\n\nYou fervently hope that no poisonous creatures inhabit this place.\n\n> You look at the crook\nA short crooked staff of stone, about the length of your arm.\n\n> You pull staff\nIt seems to be fixed to the statue firmly. You can neither move nor remove it.\n\n> You take the star\nIt seems to be an integral part of the statue. You can't remove it.\n\n> You close the eyes\nYour fingers are unable to manipulate the eyes.\n\n> You turn star\nThe eight-pointed star rests on the statue's outstretched palm, a tiny eye engraved on each point. You can turn it slightly, but it always seems to spring back to the same orientation.\n\n> You open the beak\nThe beak is closed. Although it seems to wobble a little, you are unable to manipulate it manually.\n\n> You examine the eyes\nThe eyelids are open, and the orbs beneath are smooth and cold.\n\n> Go west\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\nYou shiver involuntarily in the chill blackness.\n\n> You go to the north\nYou feel a stone statue standing here.\n\n> Go east\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\nYou feel a stone statue standing here.\n\nYou almost choke on the stagnant air.\n\n> You examine the statue\nA statue, slightly taller than you, of a fierce bird-headed god with its eyes shut and sharp beak open. In one hand it holds a crook, and in the other an eight-pointed star.\n\n> You examine the beak\nThe sharp-edged beak is open."
    },
    {
        "text": "[Themes: Horror, Surreal, Egypt]\n\n> You look in the beak\nThe beak is open. Although it seems to wobble a little, you are unable to manipulate it manually.\n\n> You get the star\nIt seems to be an integral part of the statue. You can't remove it.\n\nUnearthly, mocking laughter rings in your ears.\n\n> You turn star\nThe eight-pointed star rests on the statue's outstretched palm, a tiny eye engraved on each point. You can turn it slightly, but it always seems to spring back to the same orientation.\n\n> Touch star\nThe eight-pointed star rests on the statue's outstretched palm, a tiny eye engraved on each point. You can turn it slightly, but it always seems to spring back to the same orientation.\n\nYou fervently hope that no poisonous creatures inhabit this place.\n\n> You look at crook\nThe eight-pointed star rests on the statue's outstretched palm, a tiny eye engraved on each point. You can turn it slightly, but it always seems to spring back to the same orientation.\n\nYou don't feel any such thing.\n\n> You turn the statue\nThe statue turns a little. Strangely, the hand with the star appears to have rotated so that the star remains at the same orientation.\n\n> You examine the statue\nA statue, slightly taller than you, of a fierce bird-headed god with its eyes shut and sharp beak open. In one hand it holds a crook, and in the other an eight-pointed star.\n\nYou fervently hope that no poisonous creatures inhabit this place."
    },
    {
        "text": "[Themes: Horror, Surreal, Egypt]\n\n> You look around\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\nYou feel a stone statue standing here.\n\nYou feel a stone statue standing here.\n\n> You examine the statue\nA statue, slightly taller than you, of a fierce bird-headed god with its eyes shut and sharp beak open. In one hand it holds a crook, and in the other an eight-pointed star.\n\nA statue, slightly taller than you, of a fierce bird-headed god with its eyes shut and sharp beak open. In one hand it holds a crook, and in the other an eight-pointed star.\n\n> Go west\nYou feel a stone statue standing here.\n\n> You go east\nYou feel a stone statue standing here.\n\nYou shiver involuntarily in the chill blackness.\n\n> You go south\nYou almost choke on the stagnant air.\n\n> Go west\nYou feel a stone statue standing here.\n\n> You look at statue\nA statue, slightly taller than you, of a bird-headed god with open eyes and a closed beak. In one hand it holds a crook, and in the other an eight-pointed star.\n\n> You go to the north\nDarkness (at the bottom of a shaft)\n\n> Go upward\nDarkness (in a shaft)\n\n> You go upward\nYou emerge from the darkness to an astonishing sight. Light pours onto the sarcophagus from the west, bathing the pharoah's austere face in an aura of blinding majesty. Perhaps it could be a trick of the shadows on your still-adjusting eyes, but you thought for a moment you saw those dead lips curve in the faintest shadow of a smile, bidding you a silent farewell. And this time, you do not look back as you run joyously outward and away from the grave, through the halls miraculously suffused with the light and warmth of the setting sun at the end of the corridor, as reality seems to blur and the winds of time sweep you, feather-light, forever up and closer to the sun...\n\nReluctantly, you open your eyes to find that the sun is in fact the bare electric bulb of your living room, but something remains within you as a legacy of the trip...\n\n[You are no longer afraid of the dark.]\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\n> Inventory\nYou are carrying nothing.\n\nYou feel suddenly claustrophobic as you hear a rustling nearby. What lurks in the shadows, waiting to pounce?\n\n> You look at the spider\nA repulsive black thing with long, hairy legs, it hangs from an invisible length of thread like some twisted parody of the light bulb that casts its shadow on the kitchen wall. Its eight eyes stare malevolently back at you.\n\nThe house is strangely unfamiliar, as if you'd read about it in a book but never actually set foot inside before.\n\n> You eat the spider\n(first taking the spider)\nYou'd like to stay as far away as possible from it, and you can't bear the thought of actually touching the vile (and probably poisonous) creature.\n\nAs you try to compose your mind, dark memories wash over you: explosions, death, the tolling of funeral bells, gloom, isolation.\n\n> Open cutains\nYou open the curtains."
    },
    {
        "text": "[Themes: Surreal, Horror]\n\n> You look through the window\nOutside you see deserted city streets.\n\n> Go upwards\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\n> You go east\nUpstairs Corridor (by ladder)\n\nSomething scrapes across the roof as you stand petrified in fear.\n\n> Go upwards\nYou get three rungs up the swaying, creaking ladder before vertigo overwhelms you. The attic seems miles distant, and the ladder could break any second.\n\n> Swing\nWhat do you want to swing?"
    },
    {
        "text": "[Themes: Surreal, Horror]\n\n> Describe the surroundings\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nYou catch a flurry of movement out of the corner of your eye, but when you turn there is nothing.\n\n> Go north\nThis simple white-tiled bathroom is lit by a fluorescent ceiling lamp. Streaks of mould cover the ceiling and the upper parts of the walls, but fortunately the tub, toilet and sink are free of fungus.\n\n> You examine the mould\nThe mould is nasty brown stuff. You don't want to linger here too long in case the spores are infectious."
    },
    {
        "text": "> Go downward\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou catch a flurry of movement out of the corner of your eye, but when you turn there is nothing.\n\n> You examine the clock\nThe hands on the face of this round wall-clock indicate that the time is half past five. It's been half past five for ages after the clock broke; time has had little meaning for you since that fateful day.\n\nWaves of sorrow and guilt wash over you from some dimly remembered past.\n\n> You open the closet\nYou open the utility closet, revealing a can of white paint.\n\n> You get can\nTaken.\n\n> You open the closet\nPaint tends not to have a terribly attractive odour, and this particular can is no exception.\n\nIt's already open.\n\n> You examine the PAINT\nA large cylindrical can labelled \"WHITE PAINT\".\n\n> You throw the can at spider\nYou refrain from vandalizing your own home.\n\n> You throw the can at the mould\nYou refrain from vandalizing your own home.\n\nWaves of sorrow and guilt wash over you from some dimly remembered past.\n\n> Go west\nYou can't go that way.\n\nYou hear a long menacing hiss from somewhere above."
    },
    {
        "text": "[Themes: Surreal, Horror]\n\n> Go downwards\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\n> You go to the east\nNot with the spider hanging in the doorway; the thought of it dropping down on you while you crawl underneath is too hideous to contemplate.\n\n> You examine the clock\nThe hands on the face of this round wall-clock indicate that the time is half past five. It's been half past five for ages after the clock broke; time has had little meaning for you since that fateful day.\n\n> You fix the clock\nWhat do you want to fix the clock to?\n\n> You touch the clock\nLittle is to be gained by that.\n\n> You take the clock\nIt's fastened securely to the wall.\n\n> You look at the curtain\nAll the curtains in the house are a rather drab and depressing shade of green. At least they keep the cold out.\n\n> You open the curtain\nIt's already open.\n\nYou glance through the window. The streets are empty and foreboding.\n\n> You examine the window\nThe windows shield you from the terror and cold of the outside world. On the other side of the glass, steel grilles fixed to the wall prevent intruders breaking in this way.\n\n> You close the curtain\nYou close the curtains.\n\n> You examine the spider\nA repulsive black thing with long, hairy legs, it hangs from an invisible length of thread like some twisted parody of the light bulb that casts its shadow on the kitchen wall. Its eight eyes stare malevolently back at you.\n\n> You open the door\nBut the door is locked.\n\n> You examine the shadow\nA thick wooden door, it is fitted with the standard two locks; a Yale lock which can be pulled from inside and a dead-bolt mortice for added security.\n\nYou can't see any such thing.\n\n> Inventory\nYou are carrying:\na can of white paint\n\n> You unlock door\n(with the can of white paint)\nNo, that isn't a promising lockpick.\n\n> You open can\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nThe lid appears to be stuck, and it's too painful trying to prise it open with your fingernails.\n\n> You go east\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\n> You go to the east\nA large bookcase occupies the north wall of this brightly lit room. Next to the dull green curtains of the window stands a wooden desk.\n\n> You look at the desk\nAn old, slightly shabby wooden desk, its dark varnished surface marked in several places with the light circular scars left by hot mugs. Underneath is a long drawer.\n\n> You open the drawer\nThe drawer is tightly jammed, which is rather irritating as you have a strange hunch that there might be something useful inside.\n\n> You hit the drawer\nFrustrated, you aim a kick at the drawer and hear a satisfying crack. You cringe as the broken drawer crashes noisily to the floor, spilling out its contents.\n\nYou catch a flurry of movement out of the corner of your eye, but when you turn there is nothing.\n\n> You look at drawer\nThe drawer is quite clearly broken, and will take some time to fix. Given the general state of the desk, you may be better off buying a new one."
    },
    {
        "text": "> You describe your surroundings\nA large bookcase occupies the north wall of this brightly lit room. Next to the dull green curtains of the window stands a wooden desk.\n\nYou can see a heap of worthless paper, a college photograph, a broken drawer (which is closed) and a wooden desk here.\n\n> You examine paper\nMusty newspapers, old bills, rough scribblings.\n\n> You examine the photograph\nIt's an old photograph which was sent to you a few years ago by one of your friends studying in Cambridge, depicting a porcelain duck balanced high among the rafters of the college dining hall. Suddenly, you recollect a conversation you had with him a long time ago, about the old college tradition of taking the duck down from the rafters of the Great Hall in the dead of night and putting it back up on another beam the next day. As you wonder whether you'd have tried this feat yourself if you'd been there, you feel your surroundings somehow shifting...\n\nGreat Hall (by screens)\nYou are at the south end of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nTo the south, wooden screens half the height of the walls separate the hall from an east-west passageway. Double doors set in the screens are locked and bolted shut.\n\nIn the rafters at the far end of the hall, a duck perches incongruously on a beam.\n\n> You examine the rafters\nYou'd guess that the lowest beams, upon one of which the duck rests, are 30 feet high. They run east-west across the breadth of the hall.\n\n> Go upwards\nEasier said than done.\n\n> You check your inventory\nYou are carrying:\na canvas satchel (which is closed)\n\n> You open the satchel\nYou open the canvas satchel, revealing a length of sewing thread, a squash ball, a catapult and a net.\n\n> Huh\nYou can only do that to something animate.\n\n> You examine the catapult\nA hand-held hunting catapult, it accepts projectiles up to the size of a plum.\n\n> You tie thread to the ball\nYou tie the length of sewing thread to the squash ball.\n\n> Tie thread to the net\nYou tie the length of sewing thread to the net.\n\n> You throw the ball at the duck\n(first taking the squash ball)\nYou throw the ball, but it doesn't quite get high enough. It hits the floor with a worryingly loud thwack.\n\n> You get the ball\nTaken.\n\n> You shoot the catapult at the duck\nTo fire, try \"shoot projectile at target\".\n\n> You shoot the ball at the duck\nTaking careful aim, you let fly with the squash ball, which hits the duck squarely on the head with a sharp crack. Unfortunately, as it falls you notice that you've decapitated it, and you won't be able to catch both head and body in time. This is all going to be rather embarrassing...\n\nYou open your eyes in front of the fireplace, feeling rather dizzy all of a sudden. Surely things aren't supposed to happen this way.\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a college photograph and a can of white paint here.\n1\n\n> You shoot ball at rafters\nTaking careful aim, you let fly with the squash ball, which flies just over the beam on which the duck sits in a graceful arc... and hits the huge portrait on the north wall. Your heart sinks as you hear the glass shatter, and your only thought is to flee...\n\nYou open your eyes in front of the fireplace, feeling rather dizzy all of a sudden. Surely things aren't supposed to happen this way.\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a college photograph and a can of white paint here.\n1\n\n> You look at net\nA crude, tangled handmade net made out of thick white twine, you're not completely sure what this was packed for. The knots are rather sloppy and irregular, and it looks like it might come apart at any moment, but you doubt you could have done much better yourself."
    },
    {
        "text": "[Themes: Surreal, Horror, Egypt]\n\n> You look at your surroundings\nGreat Hall (by screens)\nYou are at the south end of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nTo the south, wooden screens half the height of the walls separate the hall from an east-west passageway. Double doors set in the screens are locked and bolted shut.\n\nIn the rafters at the far end of the hall, a duck perches incongruously on a beam.\n\n> You examine the doors\nThe elaborate wooden screens serve to turn a space at the south end of the hall, where the original doors stand, into a passage connecting the college courts. The locks on the new doors set in the screens are secure, though the protruding designs on the screens make them climbable.\n\n> You examine thread\nAbout fifty feet of sewing thread.\nIt is tied to a squash ball and a net.\n\n> You untie the net\nIt comes apart fairly easily into one long piece of string. You don't really feel like trying to weave it back together again.\n\n> You climb the screens\nAbandoning thoughts of retrieving the duck, you clamber over the screens and safely away.\n\nYou open your eyes in front of the fireplace, feeling rather dizzy all of a sudden. Surely things aren't supposed to happen this way.\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a college photograph and a can of white paint here.\n\n> Inventory\nYou are carrying:\na length of string\na catapult\na squash ball\na canvas satchel (which is open)\na length of sewing thread\n\n> You tie the string to the thread\nYou tie the length of string to the length of sewing thread.\n\n> You examine the rafters\nYou'd guess that the lowest beams, upon one of which the duck rests, are 30 feet high. They run east-west across the breadth of the hall.\n\n> Go north\nYou are in the middle of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nDirectly above you is a hexagonal skylight set in the middle of the high ceiling.\n\nIn the rafters at the north end of the hall, a duck perches incongruously on a beam.\n\nA double length of rope runs up the east wall to the skylight, presumably for opening and closing it. Its bottom ends are tied to the leg of a table just next to the wall.\n\n> You examine the skylight\nThe skylight rises like a little turret from the very centre of the roof, illuminated by the full moon. The rope runs through a ring at the top of the window.\n\n> You untie the rope\nYou untie the length of rope from the table.\n\n> You take the rope\nMost of it isn't within your reach at the moment. You'll have to get it down first.\n\n> You tie the rope to string\nYou tie the length of rope to the length of string.\n\n> You shoot ball at rafters\nTaking careful aim, you let fly with the squash ball, which flies just over the beam on which the duck sits in a graceful arc... and hits the huge portrait on the north wall. Your heart sinks as you hear the glass shatter, and your only thought is to flee...\n\nYou open your eyes in front of the fireplace, feeling rather dizzy all of a sudden. Surely things aren't supposed to happen this way.\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a college photograph and a can of white paint here.\n1\n\n> You get the portrait\nThat's hardly portable.\n\n> You move the portrait\nYou are unable to.\n\n> You shoot ball at ceiling\nThere's little point in shooting that.\n\n> You look at the beam\nYou'd guess that the lowest beams, upon one of which the duck rests, are 30 feet high. They run east-west across the breadth of the hall.\n\n> You look at the table\nThe wooden tables are long and very heavy."
    },
    {
        "text": "[Themes: Surreal, Horror]\n\n> You look at your surroundings\nYou are in the middle of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nDirectly above you is a hexagonal skylight set in the middle of the high ceiling.\n\nIn the rafters at the north end of the hall, a duck perches incongruously on a beam.\n\nYou can see a length of rope here.\n\n> You stand on the table\nYou climb up onto the table for a while, but the duck is still far too high to reach. The table creaks under your weight, and you deem it prudent to get off.\n\n> Go north\nGreat Hall (by high table)\nYou are at the north end of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nAt the foot of the north wall, a wide area is raised several inches on a wooden platform, where the High Table stands. Hanging on the wall is a large portrait of the College's founder.\n\nAbove you, just to the south of the high table, a duck perches incongruously on a beam.\n\n> You look at the portrait\nThe massive gold-framed portrait, as large as the double doors at the far end of the hall, depicts a regal-looking figure holding a book and a sceptre. He probably looks much better during the day.\n\n> You tie the rope to Table\nYou tie the length of rope to the table.\n\n> Fire ball at rafters\nTaking aim, you let fly with the squash ball, but feel the catapult's elastic brush against your hair. You watch the ball strike the beam just below the duck, which doesn't appear to have moved at all. The ball falls to the floor with an unnervingly loud thwack which you hope no one heard.\n\n[You'll be more careful with it next time.]\n\n> Keep going\nThe ball flies gracefully over the beam, trailing the sewing thread behind it, and strikes the floor with a loud report. The impact detaches the ball from the thread, and it rolls off to become lost somewhere underneath the tables. However, the thread is now looped over the beam.\n\n> You pull the thread\nYou pull the length of string up and over the beam.\n\n> You pull the string\nYou pull the length of rope up and over the beam.\n\n> You drop all\ncanvas satchel: Dropped.\ncatapult: Dropped.\n\n> You wear the satchel\nYou put on the canvas satchel.\n\n> You climb the rope\nYou give the rope a few experimental tugs, and it seems to support your weight. You've always been scared of heights, but it would be such a waste to turn back now. Gingerly, you ascend the rope.\n\nGreat Hall (in the rafters)\nYou are clinging to one of the lower beams of the rafters, trying not to look down. The beam's surface is covered with years of dust. Your rope is the only way back down.\n\nThe infamous duck perches here.\n\n> You put duck in the satchel\nYou put the porcelain duck into the canvas satchel."
    },
    {
        "text": "[Themes: Horror, Surreal]\n\n> You go downwards\nGreat Hall (by high table)\nYou are at the north end of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nAt the foot of the north wall, a wide area is raised several inches on a wooden platform, where the High Table stands. Hanging on the wall is a large portrait of the College's founder.\n\nThe rope is looped over the duck's wooden beam up in the rafters.\n\nYou can see a catapult, a length of string and a length of sewing thread here.\n\n> You go to the south\nYou are in the middle of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nDirectly above you is a hexagonal skylight set in the middle of the high ceiling.\n\n> Up\nEasier said than done.\n\n> You get all\ntable: It weighs more than you do.\nportrait: That's hardly portable.\nlength of sewing thread: Taken.\nlength of string: Taken.\nrafters: Don't be silly.\ncatapult: Taken.\n\n> You untie the rope from Table\nYou untie the length of rope from the table.\n\n> You check what you're carrying\nYou are carrying:\na catapult\na length of string\na length of sewing thread\na canvas satchel (being worn and open)\na porcelain duck\n\n> You untie the string\nYou untie the length of string from the length of sewing thread.\nYou untie the length of string from the length of rope.\n\n> You get all\ntable: It weighs more than you do.\nportrait: That's hardly portable.\nlength of string: Taken.\nrafters: Don't be silly.\n\n> You tie the thread to the string\nYou tie the length of sewing thread to the length of string.\n\n> You tie the string to the rope\nYou tie the length of string to the length of rope.\n\n> You untie the rope\nYou untie the length of rope from the length of string.\n\n> You get the rope\nMost of it isn't within your reach at the moment. You'll have to get it down first.\n\n> You drop all except satchel and the duck\nlength of sewing thread: Dropped.\ncatapult: Dropped.\nlength of string: Dropped.\n\n> You go south\nGreat Hall (by screens)\nYou are at the south end of a magnificent dining hall. The east and west walls stand thirty feet tall; near the top, stained-glass windows bearing coats of arms admit the light of the full moon. Below the windows hang pictures of past Masters of the college and illustrious former alumni, gazing down over the long rows of tables and benches. Shadowy rafters support the peaked roof.\n\nTo the south, wooden screens half the height of the walls separate the hall from an east-west passageway. Double doors set in the screens are locked and bolted shut.\n\n> You climb the screen\nYour quest successful, you clamber over the screens and stealthily away, smiling as you think of the admiration you'll receive from your fellow students for this feat of daring.\n\nIt is a terrible shock when the duck writhes in your hands, flattening into a mere photograph, but at least one thing from this dream has remained with you...\n\n[You are no longer afraid of heights.]\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a can of white paint here.\n\n> Go upwards\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\n> You go east\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\n> Go upward\nThe ladder groans, but supports your weight easily.\n\nFumbling in the dark a bit, you discover the light switch and flip it, illuminating the attic.\n\nDust covers the floorboards of this dim attic, lit by a weak ceiling lamp, and the air makes you sneeze. Some old chairs are piled unceremoniously in one corner. There is no sign of the missing keys.\n\nNear where the sloping ceiling meets the floor by the north wall is a hissing, growling contraption of pipes and tanks that emits an occasional puff of hot steam, like some modern-day dragon crouched over its treasure.\n\n> You examine contraption\nThe hissing unnerves you, and the occasional puff of steam convinces you that you don't want to get too close to it. But you thought you saw something glinting underneath.\n\n> You look\nDust covers the floorboards of this dim attic, lit by a weak ceiling lamp, and the air makes you sneeze. Some old chairs are piled unceremoniously in one corner. There is no sign of the missing keys.\n\nNear where the sloping ceiling meets the floor by the north wall is a hissing, growling contraption of pipes and tanks that emits an occasional puff of hot steam, like some modern-day dragon crouched over its treasure.\n\n> Hint\nN = next sP = previous\nRETUR  Q = resume game\n\n> I need help... (spoilers)\n\n> Go south\nTry as you might, you can't trigger the memories of your Egyptian adventure a second time, and the book is terribly uninteresting.\n\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\n> Go south\nA small, windowless and rather cramped bedroom. Perhaps that explains why overnight visitors are so infrequent.\n\nYou can see an ornamental plate and a dusty leather-bound book here.\n\nTaken.\n\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\n> You look at the lamp\nIt's just an ordinary ceiling lamp, although the occasional flicker gives you a faint sense of unease."
    },
    {
        "text": "[Themes: Horror, Surreal]\n\n> Go downward\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see a can of white paint here.\n\n> You take the can\nTaken.\n\nIn the distance, you hear the wail of an approaching siren.\n\n> Drink paint\nAppalling.\n\nThe siren is getting closer, and you can now make out the throb of an engine.\n\n> You throw plate at the spider\nMustering all your courage, you throw the ornamental plate at the startled spider, which drops to the floor! Unfortunately, it appears unharmed and you watch with a mixture of disgust and relief as it scuttles back to its former position.\n\nThe ornamental plate lands in the kitchen.\n\nThe siren abruptly stops, and you hear the squeal of mistreated tyres.\n\n> You put the can under the spider\nWatching the spider carefully, you carefully put the can of white paint underneath it in the doorway.\n\nThe siren abruptly stops, and you hear the squeal of mistreated tyres.\n\n> You throw the plate at the spider\nMustering all your courage, you throw the ornamental plate at the startled spider, which drops to the floor, landing on the closed can of paint! Unfortunately, it appears unharmed and you watch with a mixture of disgust and relief as it scuttles back to its former position.\n\nThe ornamental plate lands in the kitchen.\n\nThe car comes to a halt just outside your house. You feel a sudden chill. They are coming for you!\n\n> You open the PAINT\nThe lid appears to be stuck, and it's too painful trying to prise it open with your fingernails.\n\nYou hear vehicle doors being flung open, and cannot suppress the urge to scream.\n\n> You check what you're carrying\nYou are carrying:\na can of white paint\nan ornamental plate\n\nThe siren is getting closer, and you can now make out the throb of an engine.\n\n> You open the PAINT with the plate\nWorking the edge of the plate underneath the lid, you manage to lever the can open.\n\nThe siren abruptly stops, and you hear the squeal of mistreated tyres.\n\n> You put the PAINT under the spider\nWatching the spider carefully, you carefully put the can of white paint underneath it in the doorway.\n\nThe car comes to a halt just outside your house. You feel a sudden chill. They are coming for you!\n\n> You throw the plate at the spider\nMustering all your courage, you throw the ornamental plate at the startled spider, which lets go of its thread, landing in the open can of paint with a faint plop. As the loathsome thing struggles in the paint, you slam the lid back on, trapping it inside!\n\nThe ornamental plate lands in the kitchen.\n\nYou hear vehicle doors being flung open, and cannot suppress the urge to scream.\n\n> You go east\nThis room retains a faint smell of paint. Cupboards containing kitchen utensils and tinned food leer at you from the walls. The only exit is back west to the living room.\n\nOn the counter is a pair of yellow gloves.\n\nInverted in the sink is a glass bowl, reflecting the ceiling lamp in your eye.\n\nYou can also see an ornamental plate here.\n\nHeavy feet pound on the pavement as the car doors are slammed shut again.\n\n> You get the gloves\nTaken.\n\nYou hear several sharp raps on the front door, a harsh voice shouting \"Open up! Police!\"\n\n> You get the bowl\nYou are too panicked to be affected by the bowl, interesting though the sound it makes may be.\n\nThe knocking and shouting continues outside, and dread rises in you from a bottomless well. What have you done?\n\n> You get the plate\nTaken.\n\nThere is a sudden quiet, then muffled voices and the sound of a large object bumping against the ground outside. You scream again.\n\n> You take the gloves\nYou already have that.\n\nThere is a succession of unnervingly loud percussive raps from outside. They are trying to break the front door down, and each blow is like water crashing against a dam.\n\n> You wear the gloves\nYou put on the gloves.\n\nThere is a succession of unnervingly loud percussive raps from outside. They are trying to break the front door down, and each blow is like water crashing against a dam.\n\n> You go to the west\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nThe door isn't going to hold up much longer.\n\nOn the kitchen doorway is a can of white paint.\n\nPanic boils within you with each stroke of the battering ram, and you know with terrible clarity that they must not be allowed to break the door down, as behind the dam the currents surge...\n\n> Go upwards\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nYou begin to hear the splintering of wood, the banging beginning to crumble your grip on sanity.\n\n> Go east\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nThe creaking of the door increases with the pounding of your heart. The dam is weakening, and you are trapped!\n\n> Go upwards\nYou can't go that way.\n\nThe creaking of the door increases with the pounding of your heart. The dam is weakening, and you are trapped!\n\n> You go upwards\nYou can't go that way.\n\nCrash! The hinges of the door are beginning to give way. Crash! Cracks start to form in the dam's surface. Crash! The castle walls are failing, and outside the slavering monsters await.\n\n> Go up\nThe ladder groans, but supports your weight easily.\n\nDust covers the floorboards of this dim attic, lit by a weak ceiling lamp, and the air makes you sneeze. Some old chairs are piled unceremoniously in one corner. There is no sign of the missing keys.\n\nNear where the sloping ceiling meets the floor by the north wall is a hissing, growling contraption of pipes and tanks that emits an occasional puff of hot steam, like some modern-day dragon crouched over its treasure.\n\nCrash! The hinges of the door are beginning to give way. Crash! Cracks start to form in the dam's surface. Crash! The castle walls are failing, and outside the slavering monsters await.\n\n> You turn off the contraption\nThat's not something you can switch.\n\nWith a final tortured groan, the front door collapses, the dam bursts, torrents of water pour into the house, through the shattered castle walls, flooding your mind with a dark infinity of nightmares - you scream with the ultimate horror, the knowledge that your sanity will soon be drowned beneath the inexorably rising tide - and as cold, cruel hands begin to drag you up, something snaps within and you twist your hands around your captor's neck in a final act of defiance as the world blurs...\n\nThen two shots pierce the night, and for a brief moment, all is one.\n\n> You search the dragon\nThe hissing unnerves you, and the occasional puff of steam convinces you that you don't want to get too close to it. But you thought you saw something glinting underneath.\n\nWith a final tortured groan, the front door collapses, the dam bursts, torrents of water pour into the house, through the shattered castle walls, flooding your mind with a dark infinity of nightmares - you scream with the ultimate horror, the knowledge that your sanity will soon be drowned beneath the inexorably rising tide - and as cold, cruel hands begin to drag you up, something snaps within and you twist your hands around your captor's neck in a final act of defiance as the world blurs...\n\nThen two shots pierce the night, and for a brief moment, all is one.\n\n> You look at the bowl\nYou are too panicked to be affected by the bowl, interesting though the sound it makes may be.\n\nPanic boils within you with each stroke of the battering ram, and you know with terrible clarity that they must not be allowed to break the door down, as behind the dam the currents surge...\n\n> Y.\nYou are running for your life down dark, labyrinthine corridors, your heart pounding almost as loudly as the heavy boots of your relentless pursuer. But your legs are collapsing under you, your breaths coming in ragged gasps. At the last, strength fails you and you collapse face-down upon the unforgiving concrete. Cold hands grasp your neck, hauling you upright, forcing your unwilling eyes open to gaze into the hard, cruel, familiar face of your captor - and you scream with the horrible recognition that those twisted features are your own.\n\nYou are still screaming when you awaken in sweat-drenched clothes, deeply relieved that it was only a dream. Yet something is not right. Why does the darkness beyond the window look so threatening? Why do the sounds of the night bear such menace? Indeed, why are you in such constant...\n\nFor information, type \"about\"\n\nStandard interpreter 1.0\n\nBedroom (on the bed)\nThis first-floor room is almost uncomfortably warm and well-lit. The bed sits against the east wall, and curtains cover the windows to the south. A calendar hangs from a hook on one wall, and the exit is to the north.\n\nOn the bedside table are a pillbox (which is closed) (in which are nine white pills), a small leaflet and a telephone.\n\n> You stand\nYou get off the bed.\n\nOn the bedside table are a pillbox (which is closed) (in which are nine white pills), a small leaflet and a telephone.\n\nYou feel suddenly claustrophobic as you hear a rustling nearby. What lurks in the shadows, waiting to pounce?\n\n> You go north\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nSeeing the ladder suddenly reminds you where you left the house keys. They fell out of your pocket in the attic yesterday afternoon.\n\nThe house is strangely unfamiliar, as if you'd read about it in a book but never actually set foot inside before.\n\n> You go north\nA small, windowless and rather cramped bedroom. Perhaps that explains why overnight visitors are so infrequent.\n\nYou can see an ornamental plate and a dusty leather-bound book here.\n\nAs you try to compose your mind, dark memories wash over you: explosions, death, the tolling of funeral bells, gloom, isolation.\n\n> You take the plate\nTaken.\n\nYou catch a flurry of movement out of the corner of your eye, but when you turn there is nothing.\n\n> About yourself\nAs good-looking as ever.\n\n> You examine the gap\nThe rectangular hole is about two feet wide and just tall enough for you, with some trepidation, to stick your arm into. It leads to a seemingly vertical, square, smooth-walled shaft. On its back wall is a curiously protruding stone.\n\nUnearthly, mocking laughter rings in your ears.\n\n> You enter the gap\nThe hole is too narrow to squeeze through.\n\n> Down\nYou carefully lower yourself, feet first, into the cramped shaft.\n\nDarkness (in a shaft)\nYou are braced against the cold stone walls of a narrow, claustrophobic square shaft, trying unsuccessfully to avoid thinking about burial in a tall coffin. You could climb down with some care, or crawl back up into the sarcophagus room.\n\n> Down\nDarkness (at the bottom of a shaft)\nYou are at the bottom of the narrow shaft. On the floor is a heap of debris that cracks and crumbles under your feet. The air here has an unpleasant smell of decay.\n\n> You go south\nYou can't go that way.\n\nYou can't go that way.\n\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\n> Go east\nYou can't go that way.\n\nYou almost choke on the stagnant air.\n\n> Go west\nYour footfalls echo faintly off the walls of this rough-floored hall, the stale air heavy with the burden of millennia.\n\nYou almost choke on the stagnant air.\n\n> Go upwards\nYou emerge from the darkness to an astonishing sight. Light pours onto the sarcophagus from the west, bathing the pharoah's austere face in an aura of blinding majesty. Perhaps it could be a trick of the shadows on your still-adjusting eyes, but you thought for a moment you saw those dead lips curve in the faintest shadow of a smile, bidding you a silent farewell. And this time, you do not look back as you run joyously outward and away from the grave, through the halls miraculously suffused with the light and warmth of the setting sun at the end of the corridor, as reality seems to blur and the winds of time sweep you, feather-light, forever up and closer to the sun...\n\nReluctantly, you open your eyes to find that the sun is in fact the bare electric bulb of your living room, but something remains within you as a legacy of the trip...\n\n[You are no longer afraid of the dark.]\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nYou shudder at the sight of a large spider hanging in the kitchen doorway.\n\nThe front door is reassuringly and securely locked.\n\nYou can also see an ornamental plate here.\n\n> You open the can with the plate\nWorking the edge of the plate underneath the lid, you manage to lever the can open.\n\n> You put the can under the spider\nWatching the spider carefully, you carefully put the can of white paint underneath it in the doorway.\n\n> You throw the plate at spider\nMustering all your courage, you throw the ornamental plate at the startled spider, which lets go of its thread, landing in the open can of paint with a faint plop. As the loathsome thing struggles in the paint, you slam the lid back on, trapping it inside!\n\nThe ornamental plate lands in the kitchen.\n\n> Save2\nOk.\n\n> Go east\nThis room retains a faint smell of paint. Cupboards containing kitchen utensils and tinned food leer at you from the walls. The only exit is back west to the living room.\n\nOn the counter is a pair of yellow gloves.\n\nInverted in the sink is a glass bowl, reflecting the ceiling lamp in your eye.\n\nYou can also see an ornamental plate here.\n\nSomething scrapes across the roof as you stand petrified in fear.\n\n> Plate\ngloves: Taken.\nornamental plate: Taken.\n\n> You look at the bowl\nStrangely drawn to the bowl, you tap a finger on its surface, and the sound rings out like a bell, an alarm bell repeating itself over and over in your head. Pealing a warning of danger, but how can it be, one tap on a glass hemisphere, creating such a cacophony - Run, escape, flee, calls a voice somewhere in your mind, but where to? You are trapped in a bell, the walls vibrating with every clang, shaking every bone in your body, and there is no way out...\n\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere floats up and down in time to your breathing.\n\n> You examine crystal\nThe gleaming eye seems to sing softly to itself.\n\n> You examine the sphere\nThe hazy, translucent sphere is roughly the size of your head, and you stare at its shifting mists for a while, fascinated. It seems to be observing you.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You go south\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\n> You go north\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nA star of black onyx floats at head height here without visible means of support, its irregular geometrical spikes vaguely disturbing.\n\n> You look at the star\nThe foreboding dark star pulsates at a constant pitch.\n\n> You get it\nYour attempt causes the crystal to vibrate violently enough to make your entire body shudder. You withdraw your hands, shaken.\n\n> Sing\nYou sing quietly to yourself for a while, trying to calm yourself down.\n\n> Yell\nYou can only do that to something animate.\n\n> Scream\nYou feel slightly better after that.\n\n> You go north\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nYou can see an empty glass rod here.\n\n> You get the rod\nA long, hollow, empty glass rod.\n\nTaken.\n\n> You look at the rod\nA long, hollow, empty glass rod.\n\n> Go west\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nIn the centre of a particularly flat piece of ground lies a miniature ocean three feet across, its waves somehow frozen into formations of azure crystal.\n\n> You examine the ocean\nThe still waves of the crystal sea seem to breathe with an almost inaudible voice.\n\n> You take ocean\nYour attempt causes the crystal to vibrate violently enough to make your entire body shudder. You withdraw your hands, shaken.\n\n> You hit the ocean\nYou strike the crystal with all your might, and it emits a painful, dissonant shriek as it shudders - then shatters explosively, sending blade-like shards through your body...\nYou were found near the skeleton of a window, neck impaled on an edge of blood-stained glass.\n\n> You hit the rod\nDespite its fragile appearance, it proves to be indestructible.\n\n> Go south\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nYou can see a smoky glass rod here.\n\n> You get the rod\n(the smoky glass rod)\nTaken.\n\n> You examine the rod\nWhich do you mean, the smoky glass rod or the empty glass rod?\n\n> You examine smoky\nA long, hollow glass rod containing some murky dark smoke.\n\n> Go east\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere circles you tentatively, apparently interested in something you carry.\n\n> You touch the sphere with the empty\nYou notice no unusual effects.\n\nThe sphere floats up and down in time to your breathing.\n\n> You drop smoky\nDropped.\n\n> Break smoky\nDespite its fragile appearance, it proves to be indestructible.\n\nThe sphere floats up and down in time to your breathing.\n\n> You give empty to the sphere\nYou hold the rod out towards the sphere, which envelops it for a while. As the sphere drifts slowly away, you notice that the rod is now glowing with a silvery radiance.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You give the smoky to sphere\nThe sphere circles uncertainly.\n\n> You examine the silvery\nA long, hollow glass rod containing some luminous silvery mist.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> Inventory\nYou are carrying:\na glowing glass rod\na smoky glass rod\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> You touch the ocean with the glowing\nThat can't contain things.\n\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\n> You touch the ocean with the smoke\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n> Go south\nA star of black onyx floats at head height here without visible means of support, its irregular geometrical spikes vaguely disturbing.\n\n> You touch the onyx with the glowing\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\n> Go west\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\n> You touch the crystal with glowing\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\n> You touch the crystal with the smoky\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> Go north\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You examine the stalagmite\nThe claw-like stalagmite is formed from an unusually smooth and hard grey rock. It grasps the eye crystal tightly in place.\n\n> You get the crytal\nYour attempt causes the crystal to vibrate violently enough to make your entire body shudder. You withdraw your hands, shaken.\n\nThe sphere floats up and down in time to your breathing.\n\n> Inventory\nYou are carrying:\na glowing glass rod\na smoky glass rod\n\n> You show the glowing rod to the stalagmite\nYou can only do that to something animate.\n\n> You put glowing in the eye\nThat can't contain things.\n\nThe sphere floats up and down in time to your breathing.\n\n> Sing\nYou sing quietly to yourself for a while, trying to calm yourself down.\n\n> Go north\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nIn the centre of a particularly flat piece of ground lies a miniature ocean three feet across, its waves somehow frozen into formations of azure crystal.\n\n> You touch the ocean with the glowing\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\n> Go south\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nEmbedded in the ground here is a smooth-surfaced boulder whose ridges evoke a clenched fist. Protruding from it is a finger of violet quartz as long as your arm, pointing accusingly at the sky.\n\nOn the ground lies a broken shard of quartz.\n\n> You get the quartz\nWhich do you mean, the finger crystal or the quartz shard?\n\n> You examine the finger\nThe finger is throbbing gently with a quiet tone.\n\n> You touch the finger with glowing\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\n> You touch the finger with the smoky\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n> You examine the shard\nAs long as your forearm, it resembles the quartz veins in the floor, but is not itself luminous. The edges are fairly sharp, and you take care not to cut yourself.\n\n> You go north\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nA star of black onyx floats at head height here without visible means of support, its irregular geometrical spikes vaguely disturbing.\n\n> Cut ocean\nCutting that up would achieve little.\n\n> You throw shard at the ocean\nFutile.\n\n> You go to the south\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\n> You show the shard to the sphere\nYou hold the shard of quartz out towards the sphere, which envelops it for a while. As the sphere drifts slowly away, you notice that the rod is unchanged. The sphere shakes slowly back and forth, as if disappointed.\n\n> You show smoky to the sphere\nThe sphere circles uncertainly.\n\n> You touch the crystal with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a low D sharp. (Your aural acuity surprises you. Maybe those music lessons you suddenly remember taking in your younger days haven't been wasted after all.)\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a high F sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch rod with the shard\nWhich do you mean, the glowing glass rod or the smoky glass rod?\n\n> Smoky\nThe smoky rod emits a clear ringing sound which gradually fades into a deep rumble as darkness pours out of it.\n\n> You touch glowing with the shard\nThe glowing rod produces a clear ringing sound which gradually rises into a high trill as light pours out of it.\n\n> You touch the onyx with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a high C.\n\nBut the sound gradually dies away, and all is still again.\n\n> Go southwest\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nEmbedded in the ground here is a smooth-surfaced boulder whose ridges evoke a clenched fist. Protruding from it is a finger of violet quartz as long as your arm, pointing accusingly at the sky.\n\n> You touch the quartz with the glowing\n(the finger crystal with the glowing glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\n> You touch the quartz with the shard\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a low E.\n\nBut the sound gradually dies away, and all is still again.\n\n> Go northeast\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere floats up and down in time to your breathing.\n\n> You touch smoky with the shard\nThe smoky rod emits a clear ringing sound which gradually fades into a deep rumble as darkness pours out of it.\n\n> You touch glowing with the shard\nThe glowing rod produces a clear ringing sound which gradually rises into a high trill as light pours out of it.\n\nThe sphere orbits mournfully around the glowing red crystal."
    },
    {
        "text": "[Themes: Horror, Surreal, Egypt]\n\n> You describe your surroundings\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a low D sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> Continue\nYou strike the rod against the crystal, which seems momentarily muffled as it is suffused with the light of the rod.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> Continue\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing C sharp.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You go east\nYou are near the edge of the strange dome, where the walls plunge vertically into the solid stone of the floor.\n\nA star of black onyx floats at head height here without visible means of support, its irregular geometrical spikes vaguely disturbing.\n\n> Go west\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch eye with the smoky\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nThe sphere floats up and down in time to your breathing.\n\n> You keep going\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n> You continue\nYou strike the rod against the crystal, which is momentarily muffled as smoke pours from the rod. But the crystal seems to reject the smoke, which dissipates in an ascending ring.\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> Continue\nYou strike the rod against the crystal, which is momentarily muffled as smoke pours from the rod. But the crystal seems to reject the smoke, which dissipates in an ascending ring.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling E. Nearby, a second crystal responds with the same note, one octave higher, and the surrounding dome slowly begins to vibrate.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch star with shard\nYou strike it against the crystal. The crystal resonates powerfully with a low E. Nearby, a second crystal responds with the same note, one octave lower, and the surrounding dome slowly begins to vibrate.\n\nFrom somewhere nearby, another crystal responds with the exact same note. Instead of dying away, the sound rapidly builds into an excruciating crescendo that fills the dome as the crystals scream their pain. As the dome itself cracks in sympathy, the crystals can finally take no more, and explode violently, piercing you with a thousand shards...\n\nYou were found near the skeleton of a window, neck impaled on an edge of blood-stained glass.\n\n> You touch star with shard\nYou strike it against the crystal. The crystal resonates powerfully with a high G sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch star with shard\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing E. Nearby, a second crystal responds with the same note, three octaves lower, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a low B.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a low E. Nearby, a second crystal responds with the same note, one octave lower, and the surrounding dome slowly begins to vibrate.\n\nFrom somewhere nearby, another crystal responds with the exact same note. Instead of dying away, the sound rapidly builds into an excruciating crescendo that fills the dome as the crystals scream their pain. As the dome itself cracks in sympathy, the crystals can finally take no more, and explode violently, piercing you with a thousand shards...\n\nYou were found near the skeleton of a window, neck impaled on an edge of blood-stained glass.\n\n> You touch the ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing C sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing G sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a high F sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a low B.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a low E. Nearby, a second crystal responds with the same note, one octave lower, and the surrounding dome slowly begins to vibrate.\n\nFrom somewhere nearby, another crystal responds with the exact same note. Instead of dying away, the sound rapidly builds into an excruciating crescendo that fills the dome as the crystals scream their pain. As the dome itself cracks in sympathy, the crystals can finally take no more, and explode violently, piercing you with a thousand shards...\n\nYou were found near the skeleton of a window, neck impaled on an edge of blood-stained glass.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling A.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling D.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike the rod against the crystal, which is momentarily muffled as smoke pours from the rod. But the crystal seems to reject the smoke, which dissipates in an ascending ring.\n\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling D.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the eye with the glowing\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\nThe sphere floats up and down in time to your breathing.\n\n> You touch the eye with the glowing\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch the eye with the glowing\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\n> You touch eye with the glowing\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing C sharp.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> You touch the eye with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nThe sphere floats up and down in time to your breathing.\n\nYou strike it against the crystal. The crystal resonates powerfully with a high D. Nearby, a second crystal responds with the same note, two octaves lower, and the surrounding dome slowly begins to vibrate.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the eye with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a low D sharp.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch the eye with the shard\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling E. Nearby, a second crystal responds with the same note, one octave higher, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the eye with the shard\nYou strike the rod against the crystal, which is momentarily muffled as smoke pours from the rod. But the crystal seems to reject the smoke, which dissipates in an ascending ring.\n\nThe sphere floats up and down in time to your breathing.\n\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling E. Nearby, a second crystal responds with the same note, one octave higher, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> You touch the quartz with the glowing\n(the finger crystal with the glowing glass rod)\nYou strike the rod against the crystal, which is momentarily muffled as light shines from the rod. But the crystal seems to reject the light, which dissipates in a scintillating spiral.\n\n> You touch the quartz with shard\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing A sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the quartz with the shard\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a very high, piercing E. Nearby, a second crystal responds with the same note, three octaves lower, and the surrounding dome slowly begins to vibrate.\n\nFrom somewhere nearby, another crystal responds with the exact same note. Instead of dying away, the sound rapidly builds into an excruciating crescendo that fills the dome as the crystals scream their pain. As the dome itself cracks in sympathy, the crystals can finally take no more, and explode violently, piercing you with a thousand shards...\n\nYou were found near the skeleton of a window, neck impaled on an edge of blood-stained glass.\n\n> You touch the quartz with smoky\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n> You touch the quartz with the shard\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a high A sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the quartz with the shard\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a high E. Nearby, a second crystal responds with the same note, two octaves lower, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the quartz with the shard\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a low A sharp.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the quartz with the shard\n(the finger crystal with the smoky glass rod)\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a low E. Nearby, a second crystal responds with the same note, one octave lower, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the quartz with the shard\n(the finger crystal with the quartz shard)\nYou strike it against the crystal. The crystal resonates powerfully with a high E. Nearby, a second crystal responds with the same note, two octaves lower, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> Go northeast\nYou stand near the centre of a faceted, hemispherical crystal dome as large as a stadium. Unusual rock formations protrude from the rocky floor, which is streaked with mysteriously luminescent veins of quartz. Beyond the dome nothing can be made out but distorted reflections.\n\nThrusting out of the floor before you is a many-pointed stalagmite that holds in its clawed grip an immense, eye-like red crystal.\n\nHovering here is a sphere composed of swirling mist.\n\nThe sphere floats up and down in time to your breathing.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a high D. Nearby, a second crystal responds with the same note, two octaves lower, and the surrounding dome slowly begins to vibrate.\n\nBut the sound gradually dies away, and all is still again.\n\nThe sphere orbits mournfully around the glowing red crystal.\n\n> You touch the eye with the smoky\nYou strike the rod against the crystal, which seems momentarily muffled as it is shrouded in the smoke of the rod.\n\nThe sphere drifts closer to you, lightly touching you with soothing tendrils of mist.\n\n> You touch the eye with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a very low, rumbling E. Nearby, a second crystal responds with the same note, two octaves higher, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nBut the sound gradually dies away, and all is still again.\n\n> You touch the ocean with the shard\nYou strike it against the crystal. The crystal resonates powerfully with a low E. Nearby, a second crystal responds with the same note, one octave lower, and the surrounding dome slowly begins to vibrate.\n\nThen, a third crystal comes into resonance, and the chord swells to frightening volume, a desperate cry for release, as the speed of the dome's trembling increases.\n\nAs the last crystal joins the chorus, the floor itself trembles with a sound that is nearly deafening even with your fingers tightly in your ears. The dome can take no more, and shatters with a sound that would once have been terrifying, but is now almost a gentle tinkle, as the chord of octaves transforms into an exultant song of freedom. Beyond the dome lies a strange sky, and the misty sphere whispers its thanks to you as it swirls away into the flaming red heavens. You raise your arm to protect your face from the rain of fragments from the falling dome...\n\nAnd hit the mantelpiece, for you are suddenly awake in your living room, lying by the fire, feeling relieved and somewhat more secure about yourself.\n\n[You are no longer afraid of sounds.]\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nThe front door is reassuringly and securely locked.\n\nOn the kitchen doorway is a can of white paint.\n\nYou can also see a pair of gloves and an ornamental plate here."
    },
    {
        "text": "[Themes: Surreal, Horror, Egypt]\n\n> Look around\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nThe front door is reassuringly and securely locked.\n\nOn the kitchen doorway is a can of white paint.\n\nYou can also see a pair of gloves and an ornamental plate here.\n\n> You get all\ngloves: Taken.\nornamental plate: Taken.\nsofa: That's hardly portable.\nchairs: That's hardly portable.\nlight bulb: That's hardly portable.\ntable: That's hardly portable.\nfront door: That's fixed in place.\nutility closet: That's hardly portable.\nkitchen doorway: That's hardly portable.\n\n> You open the closet\nIt's already open.\n\n> You go to the east\nA large bookcase occupies the north wall of this brightly lit room. Next to the dull green curtains of the window stands a wooden desk.\n\nSomewhere nearby, you hear the burble of the hot water pipes.\n\n> You hit the drawer\nFrustrated, you aim a kick at the drawer and hear a satisfying crack. You cringe as the broken drawer crashes noisily to the floor, spilling out its contents.\n\n> You get all from the satchel\ncatapult: Removed.\nnet: Removed.\nlength of sewing thread: Removed.\nsquash ball: Removed.\n\n> You tie the ball to thread\nYou tie the squash ball to the length of sewing thread.\n\n> Shoot ball at rafter\nTaking careful aim, you let fly with the squash ball, which flies just over the beam on which the duck sits in a graceful arc... and hits the huge portrait on the north wall. Your heart sinks as you hear the glass shatter, and your only thought is to flee...\n\nYou open your eyes in front of the fireplace, feeling rather dizzy all of a sudden. Surely things aren't supposed to happen this way.\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nThe front door is reassuringly and securely locked.\n\nOn the kitchen doorway is a can of white paint.\n\nYou can also see a college photograph, a pair of gloves and an ornamental plate here.\n1\n\n> You get all\nduck: If only your arms were thirty feet long.\nportraits: That's hardly portable.\nskylight: That's hardly portable.\ntable: It weighs more than you do.\nlength of rope: Taken.\nrafters: Don't be silly.\n\n> You drop all\ncatapult: Dropped.\n\n> You climb the rope\nYou give the rope a few experimental tugs, and it seems to support your weight. You've always been scared of heights, but it would be such a waste to turn back now. Gingerly, you ascend the rope.\n\nGreat Hall (in the rafters)\nYou are clinging to one of the lower beams of the rafters, trying not to look down. The beam's surface is covered with years of dust. Your rope is the only way back down.\n\nThe infamous duck perches here.\n\n> Clean\nWhat do you want to clean?\n\n> Dust\nWhat do you want to dust?\n\n> You climb the rope\nYou give the rope a few experimental tugs, and it seems to support your weight. You've always been scared of heights, but it would be such a waste to turn back now. Gingerly, you ascend the rope.\n\nGreat Hall (in the rafters)\nYou are clinging to one of the lower beams of the rafters, trying not to look down. The beam's surface is covered with years of dust. Your rope is the only way back down.\n\n> Examine beam\nLooking from your perch towards the screens at the other end of the hall, the rafters take on the appearance of a shadowy tunnel.\n\n> You untie the rope\nYou untie the length of rope from the length of string.\nYou untie the length of rope from the table.\n\n> You get all\ntable: It weighs more than you do.\nportrait: That's hardly portable.\nlength of sewing thread: Taken.\nlength of string: Taken.\ncatapult: Taken.\nrafters: Don't be silly.\n\n> You go south\nThe doors are locked.\n\n> You climb the screen\nYour quest successful, you clamber over the screens and stealthily away, smiling as you think of the admiration you'll receive from your fellow students for this feat of daring.\n\nIt is a terrible shock when the duck writhes in your hands, flattening into a mere photograph, but at least one thing from this dream has remained with you...\n\n[You are no longer afraid of heights.]\n\nThis spacious room is comfortably if sparsely furnished. A plush sofa and two matching armchairs are arranged around a low wooden tea-table. Curtains hang over the long windows on the south wall, keeping the warmth from the old electric fireplace in; a clock hangs over the mantelpiece. The overall effect might even be cosy, were it not for the stark white glare of the unshielded bulb dangling from the ceiling.\n\nA simple wooden staircase on the west wall leads up to the first floor; underneath the stairs is an utility closet. The kitchen can be seen through the empty doorway to the east.\n\nThe front door is reassuringly and securely locked.\n\nOn the kitchen doorway is a can of white paint.\n\nYou can also see a pair of gloves and an ornamental plate here.\n\n> You get all\nkitchen doorway: That's hardly portable.\nutility closet: That's hardly portable.\nfront door: That's fixed in place.\ntable: That's hardly portable.\nlight bulb: That's hardly portable.\nchairs: That's hardly portable.\nsofa: That's hardly portable.\nornamental plate: Taken.\ngloves: Taken.\n\nIn the distance, you hear the wail of an approaching siren.\n\n> You go to the east\nThis room retains a faint smell of paint. Cupboards containing kitchen utensils and tinned food leer at you from the walls. The only exit is back west to the living room.\n\nThe sink is filled with broken glass.\n\nThe siren is getting closer, and you can now make out the throb of an engine.\n\n> Go up\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nThe siren is getting closer, and you can now make out the throb of an engine.\n\n> You go east\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nThe siren abruptly stops, and you hear the squeal of mistreated tyres.\n\n> Go upwards\nThe ladder groans, but supports your weight easily.\n\nFumbling in the dark a bit, you discover the light switch and flip it, illuminating the attic.\n\nDust covers the floorboards of this dim attic, lit by a weak ceiling lamp, and the air makes you sneeze. Some old chairs are piled unceremoniously in one corner. There is no sign of the missing keys.\n\nThe growling, steam-breathing monster crouching by the north wall, upon closer inspection, turns out to be a leaky boiler, pipes raising its main tank slightly off the floor.\n\nThe car comes to a halt just outside your house. You feel a sudden chill. They are coming for you!\n\n> You wear gloves\nYou put on the gloves.\n\nYou hear vehicle doors being flung open, and cannot suppress the urge to scream.\n\n> Scream\nYour scream only causes the men outside to redouble their efforts.\n\nHeavy feet pound on the pavement as the car doors are slammed shut again.\n\n> You examine the boiler\nPipes hold the main boiler tank a few inches off the floor. Near the top of the boiler, a somewhat loose pipe lets out the odd puff of steam.\n\nHeavy feet pound on the pavement as the car doors are slammed shut again.\n\n> You look under the boiler\nLooking underneath the boiler, you spy the lost keyring wedged between the tank and the floorboards. Grasping it in your gloved hands, you work it free.\n\n(You now have the keyring.)\n\nThe knocking and shouting continues outside, and dread rises in you from a bottomless well. What have you done?"
    },
    {
        "text": "> Go downward\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nThere is a sudden quiet, then muffled voices and the sound of a large object bumping against the ground outside. You scream again.\n\n> You go west\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nThere is a succession of unnervingly loud percussive raps from outside. They are trying to break the front door down, and each blow is like water crashing against a dam.\n\n> You unlock door\nWhat do you want to unlock the front door with?\n\n> Keys\nWith trembling hands, you find the right key and turn it in the lock.\n\nYou begin to hear the splintering of wood, the banging beginning to crumble your grip on sanity.\n\n> You open the door\nIt takes every ounce of determination in your body to turn the handle, but there is no other way to stop the banging. As three startled policemen charge, propelled by their own momentum, into a tangled heap on the sofa, you steel yourself and take that first step outside into the dawn...\n\nA gentle breeze of fresh air caresses your cheek as you look out over the awakening city, gently blowing the fog away from your mind, calming the fevered waters. Sorrowful memories begin to stir; the plane crash so many months ago now, the rage against arbitrary, cruel fate, the endless gloom and desperation - but this time you firmly put them behind you, and breathe instead the scent of the dew and the symphony of the morning.\n\nYour reverie is broken by an anxious policeman tapping you on the shoulder. \"Are you all right? The neighbours heard a lot of screaming - we're sorry we couldn't get here earlier, it's been a terrible night...\"\n\nSmiling for the first time in an age, you explain that it was only a nightmare, apologizing for their trouble.\n\nAs the departing car's roar fades into the distance, more mundane thoughts enter your mind. The house will need some redecorating, the medical researchers will definitely be hearing from you once the phone is fixed, and - somewhere you can't quite remember yet - your work awaits. But most importantly, the spectre of fear and the ghosts of the past no longer haunt you, and the rising sun inspires the hope of a new beginning.\n\nThe long night is over.\n\n> Full\nIn that game you scored 36 out of a possible 36, in 372 turns, which gives you the rank of awakened Dreamer.\n\nThe score was made up as follows:\n\n1 recovering the keyring\n1 finding a deeper darkness\n1 unravelling a tangled web\n1 enlightening the hollow\n9 rising from the tomb\n9 stealing the mallard\n9 liberating the sphere\n\n36 total (out of 36)\n\nWould you like to RESTART, RESTORE a saved game, give the FULL score for that game, see some suggestions for AMUSING things to do or QUIT?"
    },
    {
        "text": "[Themes: Horror, Surreal]\n\n> You look under the bed\nBut there might be monsters.\n\nThe house is strangely unfamiliar, as if you'd read about it in a book but never actually set foot inside before.\n\n> Win\nThe only door leads north.\n\nAs you try to compose your mind, dark memories wash over you: explosions, death, the tolling of funeral bells, gloom, isolation.\n\n> Go north\nUpstairs Corridor (by ladder)\nA ladder hangs down from a dark square hole in the high ceiling of this unadorned corridor. Identical doors to the north, east and south lead to various rooms. To the west, hanging over the stairs, a bright electric lamp provides illumination.\n\nSeeing the ladder suddenly reminds you where you left the house keys. They fell out of your pocket in the attic yesterday afternoon.\n\n> Go west\nYou are in the western half of a plain whitewashed east-west corridor lit by a lamp hanging next to the stairs, which lead down to the ground floor. The carpeted wooden floor creaks annoyingly under your feet.\n\nThe bathroom lies to the north; a ladder hangs from an opening in the ceiling to the east.\n\nWaves of sorrow and guilt wash over you from some dimly remembered past.\n\n> You enter the closet\nYou give up on the tempting idea of hiding in the closet when you discover that you're too big to fit inside.\n\n> Scream\nYou feel slightly better after that."
    },
    {
        "text": "[Themes: drama, thespians, theatre]\n\nAnother openin', another show -- and everybody gets applause but you. It's been fun, but you wish that the audience and, especially, the actors would recognize your contribution to the production. It takes a lot of skill to push the scenery into place!\n\nThe stage left wing is your home away from home. It's full of props that will be required onstage if the show ever starts. South is the left stage corridor, and east is that most glamorous of areas, the stage.\n\nMandy looks you up and down with the gaze she reserves for insignificant insects and junior tech crew members. \"The curtain's not going up. Find out what's wrong.\"\n\nYou can see Mandy here.\n\n[Author's Note: The dazzle of the theatre: the footlights, the bows, the adoring crowd! It's your job, as a tech crew member, to make sure that the actors and, especially, the actresses, get enough of that. Not for you the ten-minute standing ovation; your lot is to deal with pushy stage managers, issues with the fly tower, and a bartender who, no matter what, flat-out refuses to give you free drinks. Even when you could really use one. Especially when you could really use one... Maybe, just maybe, this could be your ticket to the big time. You could single-handedly get the production back on its feet, win the praise and adulation of all, and, possibly, even aid a damsel in distress. Alternatively, you could do your job quietly, stay out of peoples' way, and have no reward but the quiet smugness of an underrated worker. Fame, glory, and a trek in search of rope await!]\n\n> About yourself\nAs good-looking as ever.\n\n> You say the macbeth\n(to Mandy)\nThere is no reply.\n\n> You ask Mandy about the curtain\n\"Yes, the curtain. It has to go up before the show can start. Find Rich in the fly tower. That's his job.\"\n\n> You ask Mandy about Mandy\nMandy glares at you. You decide not to pursue that line of enquiry.\n\n> You ask Mandy about the fly tower\n\"Rich is usually very reliable. Go find out what's got into him.\nHe's in the fly tower.\"\n\n> You ask Mandy about yourself\n\"It's good that you're on my team. Good for you, I mean -- great experience.\"\n\n> Go south\nThis corridor leads to the stage left wing, due north. It's tastefully decorated with the cheapest possible white tiling. Backstage is east, and a set of stairs lead up to the fly tower.\n\n> You look at the tiling\nThe tiling is dirty and some of the grout is peeling off.\n\n> You get the grout\nThat's hardly portable.\n\n> Up\nThis is where things, like curtains, are raised and lowered onto the stage via bars. Right now, that's not happening. The left stage corridor is below.\n\nYou can see Rich here.\n\n> You ask rich about the curtains\nRich gives you a good-natured smile.\n\n> You ask rich about curtain\n\"Yeah, the curtain's not working right now. One of the ropes snapped just before I was due to lift it. I'll need a replacement rope before I can do anything.\"\n\n> You ask rich about rope\n\"I don't know what happened, exactly -- maybe the rope was faulty. I've got to check all the others now in case they're going to break too, so I don't have time to get another one. Could you go to the equipment store and get me a replacement coil? Thanks a million.\"\n\n> You ask rich about Mandy\n\"Mandy's your stage manager? Just do whatever she says, whenever she says it, and you should escape.\"\n\n> You ask rich about the equipment store\n\"It's on the other side of the theatre. They keep all sorts of stuff in there.\"\n\n> You examine rich\nRich has never been known to fail to pull the right rope at the right time. If you give him something to hang from the ceiling, it will hang from the ceiling. Your sole ally in the fight against unremarkability, he has always liked you and the feeling is mutual."
    },
    {
        "text": "[Themes: theatre]\n\n> Go downwards\nThis corridor leads to the stage left wing, due north. It's tastefully decorated with the cheapest possible white tiling. Backstage is east, and a set of stairs lead up to the fly tower.\n\n> Go east\nThe actors and crew gather here when they aren't needed onstage. West is the left stage corridor; east is the right stage corridor.\n\nYou can see a props table (on which is a flower bouquet) and Henry here.\n\nYou hear sobbing from behind the dressing room door.\n\n> You go east\nHere, at least, both sides of the theatre are equal. The right stage corridor is decorated just as badly as the left one. North is the right wing, west is backstage, and east is the door to the equipment store.\n\n> Go east\n(first opening the Equipment Store door)\nIt seems to be locked.\n\n> You ask Henry about the equipment room\nHenry sighs and mops his brow.\n\nYou hear sobbing from behind the dressing room door.\n\n> You look at Henry\nHenry is the director. He has a lot on his plate right now, and it shows in his deeply-scored face and messy brown hair.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Mandy about the key\n\"You don't have one? You really should have told someone by now. I'm sure the manager will get you one after the performance.\"\n\n> You ask Mandy about the equipment store\nMandy glares at you. You decide not to pursue that line of enquiry.\n\n> You ask Mandy about the manager\n\"I'd be a better manager. I had to fill in once, when mine got sick on the opening night of Much Ado about Nothing. I talked to someone from that production recently and apparently they still tell stories about that night...\"\n\n> You ask Mandy about Henry\n\"I'm going to ask him out tonight. What a wonderful man...\"\n\n> You ask Mandy about the curtain\n\"Yes, the curtain. It has to go up before the show can start. Find Rich in the fly tower. That's his job.\"\n\n> You ask Henry about the key\n\"You must have one somewhere.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about Mandy\n\"Whatever Mandy told you to tell me, I don't want to hear it. She's a raving maniac if she thinks I'm going to take her to dinner.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You open the door\nIt isn't something you can open.\n\nYou hear sobbing from behind the dressing room door.\n\n> You examine the door\nThe door to the leading lady's dressing room.\n\nYou hear sobbing from behind the dressing room door.\n\n> You listen\nYou hear nothing unexpected.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the manager\n\"I don't see what's wrong with lowering the rent on your theatre a little bit. The company's practically broke as it is. We've staked everything on this production, and the least he could do is help us a little bit.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You enter the dressing room\nThat's not something you can enter.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the leading lady\n\"She's a good actress, but man can she get emotional.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the sobbing\n\"It's just my luck! The night that the theatre review man is in the audience, my lighting technician calls my leading lady old! Now I've got to calm her down.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> Go south\nYou can't go that way.\n\nYou hear sobbing from behind the dressing room door.\n\n> You look at the flower\nClearly someone has an admirer: this bouquet of roses is enormous.\n\nYou find a card inscribed \"To a beautiful young woman\" with the flowers and take it. It might come in handy.\n\nYou hear sobbing from behind the dressing room door.\n\n> You take the bouquet\nTaken.\n\nYou hear sobbing from behind the dressing room door.\n\n> You examine the card\n\"To a beautiful young woman.\" It's in the theatre manager's handwriting! There is, however, no signiature.\n\nYou hear sobbing from behind the dressing room door.\n\n> You go east\nHere, at least, both sides of the theatre are equal. The right stage corridor is decorated just as badly as the left one. North is the right wing, west is backstage, and east is the door to the equipment store.\n\n> Go north\nA bigger wing than yours, stage right has been graced with the prompter's desk and a truly unattractive chaise longue for act 2.\nWest is the stage, south is a corridor.\n\n> You look at the desk\nYou can't sit here. Only people with real theatrical power can sit here.\n\n> You examine chaise longue\nA faded red and gold seat for two, this chaise longue looks too rickety to hold up to much. It's a miracle it's lasted through the first week of performances.\n\n> You go west\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\n> Go north\nYou force your way under the curtain, leap the orchestra pit smoothly, and take a second to congratulate yourself on your landing. The auditorium is not yet open, and the seats are empty. If you succeed in your task, they will soon be filled with audience, admiring the theatre and dropping things. The stage is to the south, and the atrium is to the north. To the west is the lighting booth.\n\n> You examine the seats\nThe cushioned seats are colored a lurid orange. They stand a few inches off the floor. Every so often, the space under them has to be cleaned.\n\n> You look under the seats\nEverything that the audience drops ends up under here, including -- lucky you -- money! You quickly gather up the coins.\n\n> You look at the money\nMoney! Just what you need for... everything, really. It's not much, but it'll buy something."
    },
    {
        "text": "> You look around\nThe auditorium is not yet open, and the seats are empty. If you succeed in your task, they will soon be filled with audience, admiring the theatre and dropping things. The stage is to the south, and the atrium is to the north. To the west is the lighting booth.\n\n> Go west\nThe stage is lit from here. It's filled with machinery that Fred never lets anyone touch.\n\nYou can see Fred here.\n\n> You ask Fred about yourself\n\"Maybe one day you'll make a decent technician. Until then, leave me alone!\"\n\n> You ask Fred about manager\n\"I can't believe they didn't hire me to do sound as well! I know the sound guy they picked, and he couldn't mix his way out of a wet paper bag!\"\n\n> You examine the machinery\nDials and buttons and readouts, oh my! You technically understand what these do, but Fred never allows you more than a cursory glance before he pushes you away.\n\n> You ask Fred about Mandy\n\"Don't ever say that name in here again. Don't ever. I was going to be stage manager, and she stole that from me! Stole it from me in cold blood!\"\n\n> You ask Fred about Rich\n\"He can pull on ropes, and that's all he's good for. It took me three hours to get him to hang the lights right.\"\n\n> You ask Fred about Henry\n\"Why Henry has an actual job I'll never know. He's a wuss. You'll find him backstage, if you feel like losing your faith in humanity.\"\n\n> You go east\nThe auditorium is not yet open, and the seats are empty. If you succeed in your task, they will soon be filled with audience, admiring the theatre and dropping things. The stage is to the south, and the atrium is to the north. To the west is the lighting booth.\n\n> Go north\nThe atrium is filled to the brim with discerning theatregoers and cultured folk, demanding, in upper-class accents, to be let in. The bar is not very busy and Lola, behind it, looks bored. The manager is trying his best to quiet the crowd and mostly failing. The stage is south.\n\nOn the bar is a menu.\n\nYou can also see the Theatre Manager and Lola here.\n\n> You look at Manager\nThe manager looks haggard and desperate. He is wearing a suit and tie with sweat marks from dealing with the audience, and a keycard hangs around his neck.\n\n> You ask Manager about the key\n\"Not another one? Don't worry, sir, you will see a performance tonight. We are experiencing a few slight technical hitches, but the auditorium will open soon.\" He sighs and turns away, muttering. \"Gosh, I could use a drink.\"\n\n> You look at the menu\nThe menu offers everything from spring water to Dom Perignon. Usually the patrons lean more towards the spring water side of the price range.\n\n> You examine Lola\nYou have known Lola for a long time. She still won't let you have a free drink, no matter how much you compliment her long black hair or her brown eyes.\n\n> You ask Lola about the drink\nBy some miracle, you have enough money to pay. Lola hands you a gin and tonic, then slowly closes her mouth and makes a concerted effort to look bored again.\n\n> You give the gin to Manager\n\"Thanks. You're a lifesaver.\" He looks like he genuinely means it as he devotes all his attention to the glass.\n\n> You ask Manager about key\n\"Not another one? Don't worry, sir, you will see a performance tonight. We are experiencing a few slight technical hitches, but the auditorium will open soon.\" He sips his drink.\n\n> You look at the keycard\nThe keycard to the equipment store.\n\n> You go south\nThe auditorium is not yet open, and the seats are empty. If you succeed in your task, they will soon be filled with audience, admiring the theatre and dropping things. The stage is to the south, and the atrium is to the north. To the west is the lighting booth.\n\n> Unlock\nWhat do you want to unlock?\n\n> Door\nWhat do you want to unlock the Equipment Store door with?\n\n> Keycard\nYou unlock the Equipment Store door.\n\n> Go east\n(first opening the Equipment Store door)\n\nEverything you need to hold a production together is here, piled on shelves. The right stage corridor is back west.\n\nYou can see a rope and a table (on which are some papers and a roll of gaffer tape) here.\n\n> You take all\nrope: Taken.\npapers: Taken.\nroll of gaffer tape: Taken.\n\n> You examine papers\nA pile of indeterminate forms which, with your luck, you will sooner or later have to fill out.\n\n> You go west\nHere, at least, both sides of the theatre are equal. The right stage corridor is decorated just as badly as the left one. North is the right wing, west is backstage, and east is the door to the equipment store.\n\n> Go west\nThe actors and crew gather here when they aren't needed onstage. West is the left stage corridor; east is the right stage corridor.\n\nYou can see a props table and Henry here.\n\nYou hear sobbing from behind the dressing room door.\n\n> You give the rope to rich\n\"Thanks a bundle. Actually, I can't get into the mechanism to put the rope in. When the other rope broke, it fouled up the pulleys and I can't reach to unjam them. Can you do anything?\" Rich takes the rope with this disappointing speech, before delivering some good news: \"I've finished checking all the other ropes, so I can raise and lower a bar if you want me to. Just SHOUT from the stage.\"\n\n> You examine the mechanism\nThe mechanism of the fly tower is great, mysterious, and has a jammed part that is just out of reach.\n\n> You jump\nYou jump on the spot.\n\n> Examine bar\nAnything that needs to hang in the theatre hangs from one of these horizontal metal tubes. Rich raises and lowers them to bring things onto and off of the stage below.\n\n> Climb bar\nLittle is to be achieved by that.\n\n> You eat the bar\nThat's plainly inedible.\n\n> You ask rich about Manager\n\"The manager's taking the heat for all this, out in the atrium. He's a good man, if a little easily distracted.\"\n\n> You ask rich about the flowers\nRich gives you a good-natured smile.\n\n> Shout\nRich hears your shouts and lowers the bar for you."
    },
    {
        "text": "[Themes: theatre, drama]\n\n> Look around\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nYou can see a fly bar here.\n\n> You sit on the bar\nYou get onto the fly bar.\n\n> Shout\nRich raises the bar and you find yourself pulled up into the mechanisms of the fly tower.\n\nStanding on the fly bar, you can see the pulleys and counterweights that make Rich's job possible."
    },
    {
        "text": "> Look around\nStanding on the fly bar, you can see the pulleys and counterweights that make Rich's job possible.\n\n> You look at the pulleys\nThe ropes go over and under these pulleys in their everlasting quest to pull things onto and off of the stage as fast as possible. One pulley looks jammed.\n\n> You examine the pulley\nThe pulley has been jammed by a broken piece of rope.\n\n> You get the rope\nYou pull the piece of rope out of the pulley, fixing the curtain-raising mechanism!\n\n> Shout\nStage (on the fly bar)\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nRich lowers the bar, and you, to the stage.\n\"Thanks,\" he shouts from the fly tower, \"that did it. I'm putting the new rope in now.\"\n\nThrough bravery, intelligence, and not a little good luck, you have saved the production almost single-handedly! The actual show is a flop -- the lead actress is crying all the way through -- but that's hardly your fault, is it? Afterwards, Mandy listens to you pour out your story, nods, thanks you quickly, and then begins: \"You know, this reminds me of the time I was doing Hamlet in Dublin and the wheels on one of the mobile walls got stuck...\" You settle in for a long ten minutes of looking like you aren't inwardly congratulating yourself.\n\n> Shout\nStage (on the fly bar)\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nRich lowers the bar, and you, to the stage.\n\n> You look at what you're carrying with you\nYou are carrying:\na roll of gaffer tape\nsome papers\na keycard\na flower bouquet\na card\n\n> You examine papers\nA pile of indeterminate forms which, with your luck, you will sooner or later have to fill out.\n\n> Go west\n(first getting off the fly bar)\n\nThe stage left wing is your home away from home. It's full of props that will be required onstage if the show ever starts. South is the left stage corridor, and east is that most glamorous of areas, the stage.\n\nYou can see Mandy here.\n\n> You examine mandy\nMandy is your Stage Manager. You answer to her. Usually, that answer is something along the lines of \"Yes, I would love to hear about yet another time you saved the day for whatever production you were doing.\"\n\n> You ask Mandy about papers\nMandy glares at you. You decide not to pursue that line of enquiry.\n\n> You ask Fred about the actress\n\"I will not apologise for what I said. She does look old.\"\n\n> Tape machinery\nWhat do you want to tape the machinery to?\n\n> You look at what you're carrying with you\nYou are carrying:\na roll of gaffer tape\nsome papers\na keycard\na flower bouquet\na card\n\n> You ask Fred about the machinery\n\"Back off. This is my kit.\"\n\n> You ask Fred about Henry\n\"Why Henry has an actual job I'll never know. He's a wuss. You'll find him backstage, if you feel like losing your faith in humanity.\"\n\n> You go east\nThe auditorium is not yet open, and the seats are empty. If you succeed in your task, they will soon be filled with audience, admiring the theatre and dropping things. The stage is to the south, and the atrium is to the north. To the west is the lighting booth.\n\n> Go south\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nYou can see a fly bar here.\n\n> You examine table\nA small red table for props and other items of supreme importance to the production.\n\nYou hear sobbing from behind the dressing room door.\n\n> You look at the dressing room door\nThe door to the leading lady's dressing room.\n\nYou hear sobbing from behind the dressing room door.\n\n> You open the door\nIt isn't something you can open.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the papers\nHenry sighs and mops his brow.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about Fred\n\"Why Fred has an actual job I'll never know. He's a jerk. You'll find him in the lighting booth, off the auditorium, if you feel like losing your faith in humanity.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the card\nHenry sighs and mops his brow.\n\nYou hear sobbing from behind the dressing room door.\n\nHenry sighs and mops his brow.\n\nYou hear sobbing from behind the dressing room door.\n\n> You ask Henry about the actress\n\"She's a good actress, but man can she get emotional.\"\n\nYou hear sobbing from behind the dressing room door.\n\n> You give papers to Henry\nHenry doesn't seem interested.\n\nYou hear sobbing from behind the dressing room door.\n\n> You show the papers to Henry\nHenry is unimpressed.\n\nYou hear sobbing from behind the dressing room door.\n\n> Tape card to door\n(the dressing room door)\nYou would achieve nothing by this.\n\nYou hear sobbing from behind the dressing room door.\n\n> You examine the card\n\"To a beautiful young woman.\" It's in the theatre manager's handwriting! There is, however, no signiature.\n\nYou hear sobbing from behind the dressing room door.\n\n> You examine the bouquet\nClearly someone has an admirer: this bouquet of roses is enormous.\n\nYou hear sobbing from behind the dressing room door.\n\n> You take all\nmenu: Lola stops you with a quick slap.\ngin and tonic: That seems to belong to the Theatre Manager.\n\n> You get the menu\nLola stops you with a quick slap.\n\n> You give the card to Manager\nThe manager doesn't even glance at the card before saying \"Sir, I know that your ticket says the performance should have started ten minutes ago. I'm very sorry. We're doing everything we can.\"\n\n> You ask Manager about the papers\n\"Not another one? Don't worry, sir, you will see a performance tonight. We are experiencing a few slight technical hitches, but the auditorium will open soon.\" He sips his drink.\n\n> You ask Lola about Fred\n\"Who? I don't go backstage, you know that.\"\n\n> You ask Lola about Manager\n\"The man can run a theatre, but he's got no backbone. Just look at him! If he had an ounce of chutzpah, he'd tell everyone to shut up and wait.\"\n\n> You ask Lola about yourself\n\"Why should you ask me about yourself? You tell me all about yourself without me asking.\"\n\n> You look at the crowd\nJust the sort of people whose applause you would love to hear. Right now, they aren't applauding, just shouting. They aren't even shouting in unison.\n\n> You ask the crowd about Manager\nYou can only do that to something animate.\n\n> You go to the north\n> Hints\nCredits\n> The curtain isn't rising. What should I do?\nWhat's the deal with the sobbing backstage?\nHow do I get rope for Rich?\nHow do I get Fred to do what I want?\nI've given Rich the rope. Now what?\nHow do I fix the fly tower mechanism?"
    },
    {
        "text": "[Themes: theatre, thespians]\n\n> You ask Fred about Lola\n\"You've just got to be firm with her. Of course, if you're you, you just don't have the build for firmness.\"\n\n> You show the card to Fred\nFred is unimpressed.\n\n> You look through the papers\nYou find a safety form in the pile and pocket it. It might be useful later; for what, you aren't sure.\n\n> You examine the safety\nA very long form detailing a tedious and redundant risk assessment for the production. It just needs a signiature.\n\n> Tape card to safety\nYou attach the card to the form in such a way that it looks like the tail end of ten pages of risk assessment.\n\n> You take card\nTaken.\n\n> You examine the card\n\"To a beautiful young woman.\" It's in the theatre manager's handwriting! It's signed by Fred.\n\n> You open the door\nIt isn't something you can open.\n\nYou hear sobbing from behind the dressing room door.\n\n> You give the card to Henry\n\"'To a beautiful young woman.' Maybe this'll get Lily out of her funk.\" With these hopeful words, Henry slides the card under the dressing room door.\nThe sobbing suddenly stops and you hear Lily's voice through the door. \"He didn't mean it after all! Gosh, I look a fright. I've got to get ready -- the curtain goes up soon!\"\nHenry looks at you with a mixture of surprise and admiration. \"Where did you get that? No, actually, I don't want to know. Thanks.\" He disappears, no doubt off to do important and meaningful theatre-related things.\n\n> Shout\nThis corridor leads to the stage left wing, due north. It's tastefully decorated with the cheapest possible white tiling. Backstage is east, and a set of stairs lead up to the fly tower.\n\nThe stage left wing is your home away from home. It's full of props that will be required onstage if the show ever starts. South is the left stage corridor, and east is that most glamorous of areas, the stage.\n\nYou can see Mandy here.\n\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nYou can see a fly bar here.\n\nRich hears your shouts and raises the bar for you.\n\n> Shout\nRich hears your shouts and lowers the bar for you.\n\n> You get on the bar\nYou get onto the fly bar.\n\n> Shout\nStage (on the fly bar)\nYou're on stage! This would be very exciting if a performance were going on. East is the Right Wing, west is the Left Wing. The auditorium is to the north, past the currently unopenable curtain.\n\nRich lowers the bar, and you, to the stage.\n\"Thanks,\" he shouts from the fly tower, \"that did it. I'm putting the new rope in now.\"\n\nThrough bravery, intelligence, and not a little good luck, you have saved the production almost single-handedly! The show is a great success, carried from good to great by Lily's splendid singing. Afterwards, Mandy listens to you pour out your story, nods, thanks you quickly, and then begins: \"You know, this reminds me of the time I was doing Hamlet in Dublin and the wheels on one of the mobile walls got stuck...\" But, for the first time, she doesn't have an audience. Henry is arriving to thank you for saving the production, and actually cuts her off! If not a hero, you are at least no longer unknown."
    },
    {
        "text": "[Themes: Humor]\n\nDear Blogreaders,\nyesterday was even stranger than last year's New Year's Eve! Paul invited me again, even though the police have been bothering him about this disappeared German and his parents were quite angry about the golf cart in his pool. I hadn't seem him in some weeks, so I was quite nervous when I knocked. He rushed towards me, smiled and hugged me. Little did I know that this would turn into...\n\nThe Day I mauled Mao!\n\nPaul, his brown hair in cute little Rastas, lets go of you and looks you up and down. \"You look great. You know, we should dance. But I need a little help first.\" You sigh. He shakes his head quite seriously. \"No, nothing like last year - please. I have a table with champagne outside. Well, you heard of the Thompson's Gazelles which have escaped the zoo a few days ago? One of them is out there now, sipping all the Crystal! You need to get the foul beast away from my beverages.\" He looks down. \"But please don't hurt the graceful creature.\" He pats you on the back and is gone.\"\n\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (closed) here.\n\n[Author's Note: In this game, you once again play as Alex, a young gay man attending another New Year's Eve party at your boyfriend Paul's. Paul keeps having unexpected problems at his parties, like this Thompson's gazelle from the zoo lapping up all the champagne. Fortunately for Paul, the police never caught you and you're good at solving problems.]\n\n> You examine the drawers\nA chest of drawers, some cheap, flashy IKEA thing.\n\n> You open it\nYou open the chest of drawers, revealing a sticker.\n\n> You examine the sticker\nA small, rectangular sticker, reading: \"HAUL-ALL AIR MAIL. Just slap this sticker on anything in the Outdoors you want to have delivered, and we will use our perfectly legal and ethical GPS locator and grab it before you know it.\" Looks like Paul postponed sending the Christmas present for his hated Uncle Wally again, because his address is already on the sticker.\n\n> You get it\nTaken.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na sticker\n\n> You open the small door\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nThere is a Sugar glider nuclear shelter here.\n\nA big box of fire works for later.\n\n> You look at the shelter\nA nuclear shelter for Pauls mum's pet sugar glider. You might call her overprotective and stupid. She was, towards Paul, including that classic line: \"Have you tried not being gay?\"\n\n> You look at the tools\nEvery shelf carries its own heap of rusty, quite useless tools.\n\n> Open shelter\nYou open the Nuclear shelter.\n\n> You look in it\nThe Nuclear shelter is empty.\n\n> Leave\nYou can see a chest of drawers (empty) here.\n\n> You go to the west\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about the greatly anticipated \"Bedtime story.\"\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You look at the purses\nMost people arrived directly from last-minute College courses and brought their stuff with them.\n\n> You ask the people about the tom waits\nYou have to save this party before you can participate in the idle chat.\n\n> Examine tv\nIt's one of those big, plasma things. Pauls parents bought it in Paris, and they had some trouble getting it connected. It's currently switched off, because some joker hid the remote.\n\n> You turn tv on\nNot possible without the remote.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in, but also has the battery in it. That's just wasteful on the batteries life span. Wires connect it to some small speakers, providing music. Right now, it's playing:\"Ode to Joy\" from Beethoven's 9th\".\n\n> You get the battery\nTaken.\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA long paste table is standing here. A white table-cloth has been draped over it, to give it some glamour. The result, contrary to IF conventions, is quite good. Champagne glasses are arranged on it in neat rows.\n\nOn the table is a glass of champagne.\n\nA Thomson's gazelle is standing here, swaying a bit, gently licking Champagne from the long glasses.\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.They shot occasional glances at the gazelle, but weirder things happen at parties in this part of town.\n\n> You put the sticker on gazelle\nCarefully approaching the gazelle, you gently slap the sticker on its black stripe.\nYou take a step back, hit \"z\" a few times, and soon hear the sound of a helicopter approaching. It hovers over the party, blowing drinks off the table and leaves into the pool. It then lowers a metallic claw and gently grasps the gazelle, who is to drunk to be scared. She shakes her heard and lookes down at you with those dull eyes, then she is heaved away and out of sight."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA long paste table is standing here. A white table-cloth has been draped over it, to give it some glamour. The result, contrary to IF conventions, is quite good. Champagne glasses are arranged on it in neat rows.\n\nOn the table is a glass of champagne.\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\n> You examine Pool\nA small, pool, lacking a ladder of similiar equipment. It's just a huge body of water, trapped by greenish, ugly tiles.\n\nThe shoulder-bag is   drifting around in the swimming pool.\n\nPaul appears by your side. \"Hey, thanks for the help! Now we can enjoy the party. I think I can even tolerate Mihanda.\"\nYou free yourself from his hug.\n\"Who?\"\n\"He is a Sri Lankan exchange student. I've met him some days ago and thought it would be funny to invite him. And tell him it's Halloween.\" He shrugs and smiles that cute little smile, and you find yourself unable to be angry with him.\n\"So, he's come as Mao and walks around the living room and shouts about the revolution. He even claims he has a bomb! Would you...?\"\nYou sigh.\nPaul says, \"Thanks. See you later.\" And he's off.\nYou start to wonder where he's hiding all the time.\n\n> You check what you're carrying\nYou are carrying:\na battery\n\n> You drop the battery\nDropped.\n\n> Swim\nYou test the water and it's friggin\" far too hot to swim."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA long paste table is standing here. A white table-cloth has been draped over it, to give it some glamour. The result, contrary to IF conventions, is quite good. Champagne glasses are arranged on it in neat rows.\n\nOn the table is a glass of champagne.\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see a battery here.\n\n> You get the Champagne\nNo! As a daring adventure person, you know you have to keep your wits about you for the fiendish puzzles that lie ahead. (And the champagne is not a vital item in one of them.)\n\n> You take the battery\nTaken.\n\n> You look at the battery\nIt's a fully powered laptop battery.\n\n> You examine the undergrowth\nThick undergrowth. You think you glimpse something, though.\n\n> You search it\nThere is a switch in there somewhere. You fight your way through the underbrush, but all you discovered is an old chainsaw.\n\n> You get the chainsaw\nYou already have that.\n\n> You look at it\nIt's not the cool kind of big and loud and smoky chainsaw, but a safer, small one, for gardening purposes. Powered with electricity. It has an unusual plug, one you've never seen before. European, perhaps.Of course, the little \"CHARGE\" light is completly dark.\n\n> You examine the plug\nIt's an unusal plug, which won't fit any sockets. (So, it wouldn't make sense to painfully have them implemented in every room.)\n\n> You look at the wall\nQuite high. But climbable.\n\n> You go to the north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"On the edge of a cliff\" by The Streets.\n\n> You go to the north\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about Textfyre.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You examine Mao\nThis guy makes an unconvincing Mao. And an unconvincing threat, for that matter. He is wearing something that vaguely resembles an Anime-junkies idea of a Mao suit. He is waving an obviously fake bomb around.\n\n> You examine the bomb\nOh wait. That's isn't a dud. It's the real thing! A bomb!! You're all doomed!!! You have to do something !!1! Quick !!1!!\n\n> You ask Mao for the bomb\n\"Hey, how come nobody is the least bit worried about the bomb?\"\n\"People don't see what they can't believe is there.\"\n\n> You ask Mao about the bomb\n\"Uhm, can't we all just get along?\"\n\"No, I will bomb you capitalists to hell!\"\n\n(Actually, don't sweat it. You can't die in this game.)\n\n> You take bomb\nYou don't dare go for the bomb. What if he activates it? You're changes of getting laid will decrease radically once you're blown to bits.\n\n(Well, you can, but it's an easter egg.)\n\n> You take the bomb\nYou don't dare go for the bomb. What if he activates it? You're changes of getting laid will decrease radically once you're blown to bits.\n\n> Kiss mao\nKeep your mind on the game.\n\n> You get Mao laid\n(lacerating would be more appropriate)\nThe chainsaw isn't running.\n\nI only understood you as far as wanting to get Mao.\n\n> You go to the east\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (empty) here.\n\n> Go upward\nPaul has forbidden any entrance for either you or anyone else to the rest of the House for the night. Aside from a a seductive \"Maybe later, when we're alone\", that is.\n\n> You go west\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about how some singers suck, even though their songs are great.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You go to the south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"\"Sober\" by P!nk.\n\n> You drop all\nchainsaw: Dropped.\nbattery: Dropped.\n\n> You climb wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You look at the wall\nQuite high. But climbable.\n\n> Go east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nYou can see a golf cart (empty) here.\n\n> You examine the cart\nThe golf cart is empty.\n\n> You go to the northeast\nA metal gate bares the way out to a lovely country lane.\n\nYou can see a plank here.\n\n> You examine the plank\nA wooden plank.\n\n> You open gate\nIt seems to be locked."
    },
    {
        "text": "> Look around\nA metal gate bares the way out to a lovely country lane.\n\n> You go to the south-west\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nYou can see a golf cart (empty) here.\n\n> You get in the cart\nYou get into the golf cart.\n\n> Go outside\nYou get out of the golf cart.\n\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nYou can see a golf cart (empty) here.\n\n> You go to the west\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You drop the plank\nProdding up the plank, you build a make-shift ramp...again."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nThe plank is prodded against the wall, a make-shift ramp.\n\n> You enter the cart\nYou get into the golf cart.\n\n> You go to the west\nYou could jump the golf cart into the pool, and it would be fun, but no. No. Paul would not be amused.\""
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nHilltop (in the golf cart)\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\n> Go northeast\nEntrance Gate (in the golf cart)\nA metal gate bares the way out to a lovely country lane.\n\n> You open Gate\nIt seems to be locked.\n\n> You go outside\nYou get out of the golf cart.\n\n> Go outside\nA metal gate bares the way out to a lovely country lane.\n\nYou can see a golf cart (empty) here.\n\nBut you aren't in anything at the moment.\n\n> Go southwest\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\n> You go west\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nThe plank is prodded against the wall, a make-shift ramp.\n\n> You check what you're carrying\nYou are carrying:\na plank\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA long paste table is standing here. A white table-cloth has been draped over it, to give it some glamour. The result, contrary to IF conventions, is quite good. Champagne glasses are arranged on it in neat rows.\n\nOn the table is a glass of champagne.\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see a battery and a chainsaw here.\n\n> You take the chainsaw\nTaken.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"All the she wants\" by Ace of Base.\n\n> You look at the wires\nThat can't contain things.\n\nYou can't see any such thing.\n\n> You examine the plug\nIt's an unusal plug, which won't fit any sockets. (So, it wouldn't make sense to painfully have them implemented in every room.)\n\n> You examine the counter\nThey are weighted down with the buffet."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"Cheeseshop\" by David Welbourn\".\n\n> You examine the speakers\nSmall...speakers. Connected ...to the ... laptop.\n\n> You eat the food\n(first taking Food)\nNOM! NOM! NOM! (There is still much food left.).\n\n> Inventory\nYou are carrying:\na battery\na chainsaw\n\n> You get all\nPartygoers: I don't suppose Partygoers would care for that.\nlaptop: Removing the music won't improve the party.\nbenches: That's hardly portable.\nFood: NOM! NOM! NOM! (There is still much food left.).\nspeakers: And neither will removing just the speakers, thank you very much.\n\n> You examine Pool\nA small, pool, lacking a ladder of similiar equipment. It's just a huge body of water, trapped by greenish, ugly tiles.\n\nThe shoulder-bag is   drifting around in the swimming pool.\n\n> You take all\ntable: That's fixed in place.\nThe lazy people: I don't suppose The lazy people would care for that. champagne: No! As a daring adventure person, you know you have to keep your wits about you for the fiendish puzzles that lie ahead. (And the champagne is not a vital item in one of them.)\nundergrowth: That's hardly portable.\nwall: That's hardly portable.\npool.: That's hardly portable.\n\n> Search table\nOn the table is a glass of champagne.\n\n> You examine Champagne\nSome glasses of Champagne.\n\n> You examine the people\nThey're just people.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"\"Sober\" by P!nk.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about how you really shouldn't code late at night, because there comes a point where you can't think of anything funny anymore.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You ask Mao about the revolution\n\"Can we talk about this?\"\n\"Nope.\"\n\n> You look at the backpacks\nMost people arrived directly from last-minute College courses and brought their stuff with them.\n\n> You examine the couches\nThe fake leather couches look quite comfortable."
    },
    {
        "text": "> Describe the surroundings\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about the upcoming Citizen Kane prequels.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You examine Mao\nThis guy makes an unconvincing Mao. And an unconvincing threat, for that matter. He is wearing something that vaguely resembles an Anime-junkies idea of a Mao suit. He is waving an obviously fake bomb around.\n\n> You examine the bomb\nOh wait. That's isn't a dud. It's the real thing! A bomb!! You're all doomed!!! You have to do something !!1! Quick !!1!!\n\n> You follow you\n\"All these people are innocent!\"\n\"What, I have to kill a bunch of virgins?\"\n\n> You tell Mao about Pool\n\"Hey, Mao was Chinese!\"\n\"Whatever, there are cats that look like Hitler!\"\n\n> You ask Mao about the bomb\n\"Can we talk about this?\"\n\"Nope.\"\n\n> You move the purses\nIt is fixed in place.\n\n> You get purses\nThat's fixed in place.\n\n> Sing\nYour singing is abominable."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about the greatly anticipated \"Bedtime story.\"\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You go to the east\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (empty) here.\n\n> You examine the carpet\nIt's thick and red.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go upward\nPaul has forbidden any entrance for either you or anyone else to the rest of the House for the night. Aside from a a seductive \"Maybe later, when we're alone\", that is.\n\n> You get the carpet\nThat's hardly portable.\n\n> You look at the door\nWhich do you mean, the small door or the front door?\n\n> You examine the small door\nA small door. Somewhat non-descript.\n\n> You open the small door\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nThere is a Sugar glider nuclear shelter here.\n\nA big box of fire works for later.\n\n> You take all\nNuclear shelter: Oof! It's too heavy.\nbox of fireworks: No, it's,as I think was already mentioned,  for later.\nTools: That's hardly portable."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nThere is a Sugar glider nuclear shelter here.\n\nA big box of fire works for later.\n\n> You examine the shelves\nEvery shelf carries its own heap of rusty, quite useless tools.\n\n> You open the front door\nYou hesitate. What if there is nothing outside? What if your world is in reality small and underimplented? Is that really worth finding out? You pull back.\n\n> You cut it\n(lacerating would be more appropriate)\nYou've learned from experience that destroying the household isn't considered rebelious these days, and therefore doesn't increase your chance of getting laid.\n\n> You pull the plug\nNothing obvious happens.\n\n> Go west\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about why Doom III is the greatest game ever and people who don't like it just have no idea of gaming.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see Mao here.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"All the she wants\" by Ace of Base."
    },
    {
        "text": "[Themes: Humor]\n\n> You look under the tv\nThe TV is connected via an UPC (Universal Power converter) to the socket. You pocket the UPC, it might be handy. Just as you pull out the cable, someone seems to have found the remote, because the TV switches on for a few seconds, proclaiming: \"UFO's attack major cities!\" Now you're glad you pulled it. Nobody needs that 50s sci-fi geek crap.\n\n> Inventory\nYou are carrying:\nan UPC\na battery\na chainsaw\n\n> You attach UPC to the chainsaw\nYou attach the UPC to the chainsaw. All it needs now is a power source.\n\n> You examine UPC\nThe UPC not only sound like something out of Star Wars, but also has that cheap yet charming proplike-quality to it. You know, it could've been in the movie for 3 second, not even properly named, but whole book cycles in the EU would be spend concerning it's usefulness and history, only to be squashed by a throw-away line in the prequels. Kinda sad, come to think of it. That sad, french quality. Like kissing a lost love in the rain.\n\n> You attach the chainsaw to UPC\nYou can only attach the UPC to other things.\n\n> You attach the battery to the chainsaw\nThe battery fit snugly onto the UPC. Grinning like the Doomguy, you give the start button a short squeeze. The low hum is a bit disappointing.\n\n> Maul\nEnter saved game to store: Ok.\n\n> Maul mao\n(lacerating would be more appropriate)\nYou casually walk into the living room, then suddenly run towards Mao, swinging the chainsaw and shouting: \"AAAAAAAAH!\" Somehow on the couch says: \"Hey, that idiot's come as Leatherface!\" Rethinking your choice of facial lotion, you cut the baffled Mao in half and quickly shove him and the chainsaw under one of the couches. You learned after last time that hiding the evidence is important. (Well, hiding it at the Crime Scene might not be a good idea.) You can't help but murmur: \"Looks like heeee was a real red\" and wish you had sunglasses.\" Then you notice a ticking and pick up the still wet bomb.\nSome people seem worried, but after some pothead shouts: \"Hey, nice performance art!\" everything returns to normal.\n\nTIC! TOC! TIC!\n\n> You get the bomb\nYou already have that.\n\nTIC! TOC! TIC!\n\n> Go east\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (empty) here.\n\nTIC! TOC! TIC!\n\n> You go to the east\nYou can't go that way.\n\nTIC! TOC! TIC!\n\n> You open the small door\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nThere is a Sugar glider nuclear shelter here.\n\nA big box of fire works for later.\n\nTIC! TOC! TIC!\n\n> Light fireworks\nThis dangerous act would achieve little.\n\nTIC! TOC! TIC!\n\n> You put bomb in box\nThat can't contain things.\n\nTIC! TOC! TIC!\n\n> You put the bomb in shelter\nYou put the bomb into the Nuclear shelter.\n\n> Close shelter\nImagine 9746 z's. Imagine 9746 presses of enter. Finally, there is a muffled \"Boom!\".\n\n> Open shelter\nYou open the Nuclear shelter.\n\n> You look in it\nThe Nuclear shelter is empty.\n\nSuddenly, Paul appears.\n\"What happened to Mihanda?\"\n\"He split.\" \"Anyway, you're not gonna believe this! There is an UFO IN THE GARDEN! They are EVERYWHERE! They're attacking Cities ALL OVER THE WORLD! Even in Europe!!! Humanity is doomed!!! Nobody cares about my party anymore! \"\n\"I'll look into it.\"\n\n> You go west\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about THE FRIGGIN\" UFO IN THE GARDEN!\"\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"It's the end of the world as we know it\", \"Purple People Eater\" and \"Also sprach Zarathustra\" on endless repeat.\"\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA friggin\" 50s sci-fi geek crap silver UFO is hovering above the pool.\n\nScorched corpses lie around here, splattered on the chairs, some just ashy remains. You feel bad, but it sure does smell like barbeque.\n\n> You look at UFO\nIt's made of some seamless metal, and apart from its existence and the implications, it's rather boring.\n\n> You get it\nTaken.\n\n> You cut UFO\n(lacerating would be more appropriate)\nUnfortunately, your wit isn't that sharp.\n\n> You check what you're carrying\nYou are carrying:\nan UFO\n\n> You show UFO to the people\nThe crowd of people is unimpressed.\n\n> You eat UFO\nThat's plainly inedible.\n\n> You go to the south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nScorched corpses lie around here, splattered on the chairs, some just ashy remains. You feel bad, but it sure does smell like barbeque.\n\n> Swim\nIn the Swimming Pool (swimming)\nYou are surrounded by clear, cold water.\n\nYou can see a shoulder-bag (empty) here.\n\n> You examine the bag\nIt's a water-proof shoulder-bag.\n\n> Wear the bag\n(first taking the shoulder-bag)\nYou can't reach it.\n\n> You hold the breath\nYou hold your breath.\n\n> Dive\nYou dive down and grab the shoulder bag.\n\n> Go outside\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nScorched corpses lie around here, splattered on the chairs, some just ashy remains. You feel bad, but it sure does smell like barbeque.\n\nYou can also see an UFO here.\n\nYou can't hold your breath any longer.\n\n> You open bag\nThat's already open.\n\n> Wear the bag\nYou put on the shoulder-bag.\n\n> You climb wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nThe plank is prodded against the wall, a make-shift ramp.\n\n> You go northeast\nA metal gate bares the way out to a lovely country lane.\n\nYou can see a golf cart (empty) here.\n\n> You examine the Gate\nIt's a lovely gate, the club's motto \"Nos es superbus nostri balls!\" engraved above it. (Yes, it has a stone arc, but that's unimportant.)\n\n> You enter the cart\nYou get into the golf cart.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nScorched corpses lie around here, splattered on the chairs, some just ashy remains. You feel bad, but it sure does smell like barbeque.\n\nYou can also see an UFO here.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop. It's plugged in.Wires connect it to some small speakers, providing music.\nRight now, it's playing:\"It's the end of the world as we know it\", \"Purple People Eater\" and \"Also sprach Zarathustra\" on endless repeat.\"\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room, which one of those big, expensive TV's. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about THE FRIGGIN\" UFO IN THE GARDEN!\"\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You open small\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nThere is a Sugar glider nuclear shelter here.\n\nA big box of fire works for now.\n\n> You take the box\nYes, these might come in handy now.\n\nTaken.\n\n> You put the box in the bag\nYou put the box of fireworks into the shoulder-bag.\n\n> You go to the south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nScorched corpses lie around here, splattered on the chairs, some just ashy remains. You feel bad, but it sure does smell like barbeque.\n\nYou can also see an UFO here.\n\n> You climb wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nThe plank is prodded against the wall, a make-shift ramp.\n\n> You take the cart\nYou'd have to get out of the golf cart first.\n\n> You take the box\nYes, these might come in handy now.\n\nTaken.\n\n> You go to the west\nIn the Air (in the golf cart)\nThe golf cart gains top speed as you rush down the hill! (About 13 mph). Tongue between your lips, you manage to steer it onto the plank, and woosh- you're flying high into the sky, straight towards the UFO!\n\nIn the golf cart you can see a box of fireworks.\n\n> You go outside\nYou jump out of the cart and into the poolabove you, the UFO explodes in a huge, colorful fireball, as if cast by an epic mage on drugs. Debris rain down around you. Luckily, everyone in the pool area was already dead. A few moments of that eerie underwater silence pass, then Paul pulls you out of the water. He has to scream, because some houses in the neighborhood are burning. There are fire engines in the distance. Then the real fireworks start.\nPaul wipes the wet hair from your forehead, his warm hand scorching on your cold skin, his eyes dark with worry.\n\"Some idiot flew a golf cart into the UFO. I wonder how he knew\nsomeone destroyed all their force field with country music only 10 minutes ago.\"\nYou shrug. It feels good, resting on Pauls lap.\nHe strokes your face absent- mindedly.\n\"You know, with all this alien-tech lying around, it's gonna be an interesting year, 2009.\"\nYou smile and close your eyes. \"But first things first. Let's get you out of those wet clothes. Hey, are those bloodstains?\""
    },
    {
        "text": "[Themes: silly, culinary theme]\n\nBiff Bradclaw smoothes back his slick greasy hair one more time before posing in front of the television camera, and says:\n\n\"Welcome to Episode Seven of Krakatoa Survivor Challenge! It's a gorgeous day on the tropical island of Krakatoa, not a cloud in the sky. Although there's plenty of smoke from that volcano, ha ha ha!\n\n\"Our current champion\" -- he points to you, applause -- \"is being challenged by our newest contenders, Kari Knott, a waitress from Toledo,\" -- applause -- \"and Russ Rohoho, a late night talk show host from Honolulu.\" More applause.\n\n\"And the challenge is ...\" Biff checks his cue card. \"Hey, Kari, this should be easy for you. The challenge is to make a tuna melt sandwich from the native materials on the island! Find some tuna, cheese, and bread, put 'em together and cook it, then bring it back to the camp! Whoever brings their sandwich back first, wins!\"\n\n(and before you ask, it took me closer to two days to write, not two hours)\n\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ, Kari and Biff here.\n\n[Author's Note: An interactive cookin' disaster. Twelve locations.]\n\n> You look at Russ\nRuss Rohoho is an attractive forty-something with his Hawaiian and Italian mixed heritage. His late night talk show, \"Luau Fever\", is supposedly very popular in Hawaii, but of course he'd say that.\n\nKari whispers a question to Biff, who shakes his head.\n\nRuss looks at you suspiciously.\n\n> You look at Kari\nKari Knott is a moderately attractive dirty-blonde girl from Toledo, Ohio. Although she's only 23, she's already got that bleary-eyed look from working too many late night shifts at Pepe's Diner.\n\nThe ground shakes, slightly.\n\nKari whispers a question to Biff, who shakes his head.\n\nRuss takes the northwest path.\n\n> About yourself\nYou're the current champion of \"Krakatoa Survivor Challenge\", and if you want to remain champion, you need to make a tuna melt sandwich as quickly as possible and bring it back to camp.\n\nThere's a brief tremor, then it passes.\n\nKari heads south to the lagoon.\n\n> You look at Biff\nBiff Bradclaw is the ever-smiling host of the show, and has the blackest, greasiest hair you've ever seen. Eeww. You can't imagine what the girls back home see in him; he's such an obvious phony.\n\nRuss emerges from the forest to the north.\n\n> Go east\nNice sandy beach. Shame you don't have time to just sit down and enjoy it.\n\nSomeone has discarded a bag of popcorn here.\n\n> You look at the popcorn\nIt's a half-eaten bag of popcorn.\n\nThere's a brief tremor, then it passes.\n\n> You take it\nTaken.\n\n> You go to the west\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Biff here.\n\nKari emerges from the forest to the north.\n\n> Go south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\n> You examine the ocean\nThe water is clear as clear can be. You can even see some tuna fish swimming in its depths.\n\nYou hear a monkey chittering somewhere nearby.\n\nKari wanders in from the east.\n\n> Go inside\nYou can't go that way.\n\nKari looks in the lagoon with interest.\n\n> You catch the fish\nYou'll have to tell me how to do that.\n\nThe ground shakes, slightly.\n\nSuddenly, Kari stabs a long pointy fish into the water, and snares a fish! She looks rather pleased with herself.\n\n> You take the fish\nYou can't just take the fish from the lagoon! You have to catch one, somehow.\n\nKari heads back to camp.\n\n> Go north\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Kari and Biff here.\n\nThe volcano noisily belches more smoke into the air.\n\nKari looks at you suspiciously.\n\n> You go west\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nThe ground shakes, slightly.\n\n> Milk cow\nPumping vigourously, you fill... wait a minute. What are you putting this milk in?\n\nYou hear a monkey chittering somewhere nearby.\n\n> You look at the bag\nIt's a half-eaten bag of popcorn.\n\n> You eat the popcorn\nYou're not that hungry. And it's probably stale.\n\n> You examine the bag\nIt's a half-eaten bag of popcorn.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You get the cow\nI don't suppose the cows and sheep would care for that.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go north\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nRuss heads south to the lagoon.\n\n> You go to the north-east\nA sparse looking village, but the \"El Bakery\" on the north side looks most interesting to you. Forest shades the village from the west, and paths lead southwest and south.\n\nIn the center of the village is a cannon.\n\nAttached to the back end of the cannon is a mysterious black box.\n\nSome litterbug has left a gigantic pop bottle here.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You take the pop bottle\nTaken.\n\n> You examine it\nIt's one of those new five liter pop bottles. For when you're really really thristy.The five liter bottle is empty.\n\n> You examine the cannon\nThe heavy iron cannon is a relic from history, once used to repel pirates from Krakatoa's shores. Its muzzle points up and east over the ocean, but it's not empty. There's a bamboo structure inside it.\n\n> You examine the structure\nIt's hard to believe, but that's a tiny bamboo rocketship stuck in the muzzle of the cannon, large enough to launch a monkey far over the ocean. Is this what they do for fun around here? Jesus.\n\n> You get the structure\nThat's fixed in place.\n\n> You look at the structure\nIt's hard to believe, but that's a tiny bamboo rocketship stuck in the muzzle of the cannon, large enough to launch a monkey far over the ocean. Is this what they do for fun around here? Jesus.\n\nThe ground shakes, slightly.\n\n> You look at the box\nIt's a mysterious black box all right. The only clue to what it is are the words \"Frobozz Magic Mini Nuke\" in bright yellow letters on the top.\n\nThe ground shakes, slightly.\n\n> You open the box\nThe black box opens easily. In the black box is a glowing green crystal.\n\n> You take it\nThat's fixed in place.\n\nThere's a brief tremor, then it passes.\n\n> You take the crystal\nTaken.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You examine the crystal\nIt's a crystal. It's glowing and green. I dunno what it is. Kryptonite? (yeah, right)\n\n> You examine the cannon\nThe heavy iron cannon is a relic from history, once used to repel pirates from Krakatoa's shores. Its muzzle points up and east over the ocean, but it's not empty. There's a bamboo structure inside it.\n\n> Light cannon\nThis dangerous act would achieve little.\n\nThe volcano noisily belches more smoke into the air.\n\n> You turn the cannon on\nThat's not something you can switch.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You go to the north\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\nYou can also see a baguette here.\n\n> Inventory\nYou are carrying:\na five liter bottle (which is empty)\na bag of popcorn\n\n> You eat baby\n(first taking baby)\nI don't suppose baby would care for that.\n\nThe ground shakes, slightly.\n\n> You buy the bread\nYou buy a nice baguette.\n\n> You examine the baguette\nIt's a baguette, a nice loaf of bread for a nice sandwich, and one of the ingredients you'll need for your tuna melt.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You wake baby\nNo one is asleep.\n\nThere's a brief tremor, then it passes.\n\n> You examine the baker\nThe baker is wearing a strange green tropical outfit. You can tell it's tropical by the large sun emblem on his chest. He's also wearing a headband instead of the expected chef's hat.\n\nA parrot squawks as it flies overhead. Beautiful plumage."
    },
    {
        "text": "[Themes: silly]\n\n> You look at your surroundings\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> Go south\nA sparse looking village, but the \"El Bakery\" on the north side looks most interesting to you. Forest shades the village from the west, and paths lead southwest and south.\n\nIn the center of the village is a cannon.\n\nAttached to the back end of the cannon is a mysterious black box.\n\nYou can also see Russ here.\n\nRuss enters the forest, to the west.\n\n> Go west\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nThere's a fallen branch from one of those unclimbable trees on the ground here.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You take the branch\nTaken.\n\nThere's a brief tremor, then it passes.\n\nKari enters from the west.\n\n> You examine the branch\nIt's a pointy stick about three feet long.\n\nKari ventures deeper into the forest, towards the volcano.\n\n> You go west\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\nKari emerges from the forest, to the north.\n\n> You look at the dead sheep\nThis poor little lamb has lost its way. (baa baa baa)\nIt tripped and fell, and here he'll stay. (baa baa baa)\nA predator ate its flesh away. (baa baa baa)\nAnd now its stomach greets the day. (baa baa baa)\n\nYeah. You can see its stomach. Ick.\n\nKari looks sadly at the dead lamb.\n\n> You get the stomach\nYou'll need to cut the stomach free, first.\n\nKari looks sadly at the dead lamb.\n\n> You examine stomach\nIt's a dried sheep stomach. Gross. In the stomach is a quantity of rennet.\n\nKari rubs something out of her eye.\n\n> You take rennet\nYou can't take the rennet without a suitable container. (Or without taking the container it's already in.)\n\nThere's a brief tremor, then it passes.\n\nKari leaves you, and goes south.\n\n> Cut stomach\nWith what?\n\n> Inventory\nYou are carrying:\na pointy stick\na glowing green crystal\na baguette\na five liter bottle (which is empty)\na bag of popcorn\n\nRuss enters from the southeast.\n\n> You cut the stomach with the crystal\nYou'll need a more suitable cutting tool than that.\n\nThere's a brief tremor, then it passes.\n\nRuss takes the southeast path back to camp.\n\n> You put the rennet in the bag\nYou need to be holding the quantity of rennet before you can put it into something else.\n\nThe volcano noisily belches more smoke into the air.\n\n> You cut the stomach with the stick\nYou'll need a more suitable cutting tool than that.\n\nRuss enters from the southeast.\n\n> Go north\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\n> Go north\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\n> You go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous. It's just a suggestion, but you probably shouldn't stay here longer than you absolutely must. Unless you want to melt. Literally.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You put the crystal in the volcano\nYou throw the glowing green crystal into the volcano, and it's gone forever. Unfortunately, the crystal has, shall we say, an adverse effect on our friend the volcano. Don't worry, though. The volcano doesn't erupt. But the crystal starts a chain reaction that makes THE ENTIRE WORLD EXPLODE!\n\n> Leave\nBut you aren't in anything at the moment.\n\nYour blood feels like it's about to boil! Time to go!\n\n> Enter\nYou can't go that way.\n\nYou pass out from the heat, and fall into the VOLCANO! Ahhhhhh!!!\n\n> You go south\nPlease give one of the answers above.\n\n> Go south\n[Previous turn undone.]\n\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You jump\nInsanely, you jump into the Krakatoa's fiery cauldron, despite the fact that you are not a polynesian virgin sacrifice. Unfortunately for the rest of the world, it has no time to mock your stupidity, since the entire world explodes shortly thereafter. (What was that crystal, anyway?)\n\n> You go to the south\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\nThere's a brief tremor, then it passes.\n\n> Inventory\nYou are carrying:\na pointy stick\na glowing green crystal\na baguette\na five liter bottle (which is empty)\na bag of popcorn\n\n> Go south\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\n> Go west\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\nThere's a brief tremor, then it passes.\n\n> Go south\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nThe volcano noisily belches more smoke into the air.\n\n> You go to the south\nYou emerge out of the forest into ...\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nRuss whispers a question to Biff, who nods.\n\n> You look at Biff\nBiff Bradclaw is the ever-smiling host of the show, and has the blackest, greasiest hair you've ever seen. Eeww. You can't imagine what the girls back home see in him; he's such an obvious phony.\n\nRuss whispers a question to Biff, who shakes his head.\n\n> You examine Russ\nRuss Rohoho is an attractive forty-something with his Hawaiian and Italian mixed heritage. His late night talk show, \"Luau Fever\", is supposedly very popular in Hawaii, but of course he'd say that.\n\nRuss heads south to the lagoon.\n\n> You ask Biff about Russ\nThere is no reply.\n\nRuss enters from the lagoon.\n\n> You search biff\nYou find nothing of interest.\n\nThe ground shakes, slightly.\n\nRuss heads south to the lagoon.\n\n> Go west\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nThe volcano noisily belches more smoke into the air.\n\nRuss arrives from the south.\n\n> Milk cow\nPumping vigourously, you fill the five liter bottle with a large quantity of milk. (About five liters. More or less.)\n\nRuss looks at the cows with interest.\n\n> You drink the milk\nYou're more of a wine and cheese person. You like your milk somewhat thicker and denser, if you know what I mean.\n\nRuss studies the sheep, thoughtfully.\n\n> You go east\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Biff here.\n\n> Go north\nYou head north into the ...\nDeep Forest\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You go west\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\n> You examine the rennet\nCheesemakers know that rennet contains rennin, a milk-curdling enzyme used in making cheese. For some reason, this isn't common knowledge to cheese eaters. But you know now, right?\n\nThe ground shakes, slightly.\n\n> You get the rennet\nYou can't take the rennet without a suitable container. (Or without taking the container it's already in.)\n\n> You get the sheep\nYou are *not* going to carry an entire dead lamb about the island.\n\nThere's a brief tremor, then it passes.\n\n> You check your inventory\nYou are carrying:\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> Inventory\nYou are carrying:\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\n> Go east\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nThere's a brief tremor, then it passes.\n\nA rustling in the forest floor alerts you to Kari's entrance, as she arrives from the north.\n\n> You go south\nYou emerge out of the forest into ...\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Biff here.\n\nThe ground shakes, slightly.\n\n> You go south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\nYou can see Russ here.\n\nYou hear a monkey chittering somewhere nearby.\n\nRuss heads back to camp.\n\n> You catch the fish\nYou'll have to tell me how to do that.\n\nThere's a brief tremor, then it passes.\n\nRuss arrives from the camp.\n\n> You catch the fish with the stick\nYou thrust your pointy stick at the swimming fish, but the refraction of the clear water fools you, and your stabs miss their mark. Bubbles rise from the fishes' tiny lips like tiny fishy giggles.\n\nRuss heads back to camp.\n\n> Keep going\nYou thrust your pointy stick at the swimming fish, but the refraction of the clear water fools you, and your stabs miss their mark.\n\nThere's a brief tremor, then it passes.\n\nKari arrives from the camp.\n\n> Go inside\nYou can't go that way.\n\nThere's a brief tremor, then it passes.\n\nKari strides off east.\n\n> Swim\nYou dive into the lagoon, grabbing wildly at the swimming fish. The water seems to boil as you churn up the water in vain. But when you come up for air, there's a fish caught in -- no, it flops of your shirt back into the lagoon. Damn!\n\n> Inventory\nYou are carrying:\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\nThere's a brief tremor, then it passes.\n\n> You give the popcorn to the fish\nYou cleverly drop some of the popcorn into the water, and easily grab one of the fish when they pop up their heads to eat it.\n\nYou hear a monkey chittering somewhere nearby.\n\nRuss wanders in from the east.\n\n> You examine the fish\n(the swimming tuna fish)\nA school of tuna fish are swimming in the sparkling clear lagoon waters. Tempting you.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nRuss walks west.\n\n> Inventory\nYou are carrying:\na fresh tuna fish\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\n> You examine the tuna\n(the swimming tuna fish)\nA school of tuna fish are swimming in the sparkling clear lagoon waters. Tempting you.\n\n> You look at the fresh tuna\nIt's a freshly-caught funa tish. I mean, it's a freshly-caught tuna fish. One of the ingredients you'll need for your tuna melt.\n\n> You go east\nNice sandy beach. Shame you don't have time to just sit down and enjoy it.\n\n> Go west\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nRuss takes the northwest path.\n\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nYou can see Kari here.\n\nThe volcano noisily belches more smoke into the air.\n\nKari looks at the cows with interest.\n\n> Inventory\nYou are carrying:\na fresh tuna fish\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\nKari looks at the cows with interest.\n\n> You go east\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nRuss whispers a question to Biff, who nods.\n\n> You look at what you're carrying with you\nYou are carrying:\na fresh tuna fish\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\nYou hear a monkey chittering somewhere nearby.\n\nRuss wanders in from the north.\n\n> Go east\nHm. A swim would be nice, but can't really justify doing that right here and now.\n\nRuss looks at the volcano, worriedly.\n\n> Go west\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Biff here.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nRuss walks in from the east.\n\n> You go north\nYou head north into the ...\nDeep Forest\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nThe ground shakes, slightly.\n\n> You go north\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> Go south\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You go west\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\n> You give the milk to the sheep\nYou can only do that to something animate.\n\n> You examine the sheep\nThis poor little lamb has lost its way. (baa baa baa)\nIt tripped and fell, and here he'll stay. (baa baa baa)\nA predator ate its flesh away. (baa baa baa)\nAnd now its stomach greets the day. (baa baa baa)\n\nYeah. You can see its stomach. Ick.\n\n> You look at the stomach\nIt's a dried sheep stomach. Gross. In the stomach is a quantity of rennet.\n\nYou hear a monkey chittering somewhere nearby."
    },
    {
        "text": "[Themes: silly]\n\n> Describe the surroundings\nYou'll need to cut the stomach free, first.\n\nYou hear a monkey chittering somewhere nearby.\n\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\n> You put the milk in the sheep\nYou need to be holding the large quantity of milk before you can put it into something else.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go north\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\nYou hear a monkey chittering somewhere nearby.\n\n> Go north\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You examine the lava\nThink of the volcano as a very large, natural fondue pot. Except that it's rock fondue, not cheese fondue down there.\n\nYour blood feels like it's about to boil! Time to go!\n\n> You get the lava\nThat's hardly portable.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nYou pass out from the heat, and fall into the VOLCANO! Ahhhhhh!!!\n\n> Go south\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You look at the rock\nIt's a piece of obsidian with a sharp edge. I think we'll call it... knife.\n\n> You take it\nWell, hey, volcanic rock. Sure, let's take a rock!\n\n> You get the knife\nYou already have that.\n\n> Go south\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\nThere's a brief tremor, then it passes.\n\n> You go west\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\n> You cut the stomach with the knife\nUsing the sharp rock, you manage to saw the stomach free of the dead sheep.\n\n> You examine knife\nIt's a piece of obsidian with a sharp edge. I think we'll call it... knife.\n\nThe ground shakes, slightly.\n\n> You get the rennet\nYou can't take the rennet without a suitable container. (Or without taking the container it's already in.)\n\nThe ground shakes, slightly.\n\n> You get the stomach\nTaken.\n\nThe ground shakes, slightly.\n\n> You go south\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nThere's a brief tremor, then it passes.\n\n> You go south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> Go east\nHm. A swim would be nice, but can't really justify doing that right here and now.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go west\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ, Kari and Biff here.\n\nKari searches the camp.\n\nRuss takes the west path.\n\n> Go west\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nYou can see Russ here.\n\nRuss heads back east to camp.\n\n> You go to the east\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nKari enters from the lagoon.\n\nRuss heads south to the lagoon.\n\n> Go north\nYou head north into the ...\nDeep Forest\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\n> You go northeast\nYou can't go that way.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You go to the east\nA sparse looking village, but the \"El Bakery\" on the north side looks most interesting to you. Forest shades the village from the west, and paths lead southwest and south.\n\nIn the center of the village is a cannon.\n\nAttached to the back end of the cannon is a mysterious black box.\n\n> Go north\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\n> Go inside\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go south\nNice sandy beach. Shame you don't have time to just sit down and enjoy it.\n\nThe ground shakes, slightly.\n\n> You enter the rocketship\nThat's not something you can enter.\n\nThe ground shakes, slightly.\n\nKari arrives from the southwest.\n\n> You open it\nThat's not something you can open.\n\nKari wanders off, south.\n\n> You examine the rocketship\nIt's hard to believe, but that's a tiny bamboo rocketship stuck in the muzzle of the cannon, large enough to launch a monkey far over the ocean. Is this what they do for fun around here? Jesus.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go north\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\nThe ground shakes, slightly.\n\n> You examine the baker\nThe baker is wearing a strange green tropical outfit. You can tell it's tropical by the large sun emblem on his chest. He's also wearing a headband instead of the expected chef's hat.\n\n> You get baby\nI don't suppose baby would care for that.\n\nThe ground shakes, slightly.\n\n> You wake baby\nNo one is asleep.\n\n> You show the crystal to the baby\nbaby is unimpressed.\n\n> You buy the baby\nNothing is on sale.\n\n> You look at the baby\nThe baby boy is sleeping soundly, and who wouldn't, comfortably wrapped in three large blankets?\n\nYou hear a monkey chittering somewhere nearby.\n\n> You check what you're carrying\nYou are carrying:\na stomach\na quantity of rennet\na sharp rock\na fresh tuna fish\na pointy stick\na glowing green crystal\na baguette\na five liter bottle\na large quantity of milk\na bag of popcorn\n\n> You get the rennet\nYou can't take the rennet without a suitable container. (Or without taking the container it's already in.)\n\nThe volcano noisily belches more smoke into the air."
    },
    {
        "text": "> You look around\nYou've entered the best bakery on Krakatoa. The only bakery on Krakatoa. There's a sign on the wall, and the exit is south.\n\nThe baker is here, hoping you'll buy some bread.\n\nIn one corner of the bakery, a baby is sleeping, nestled in blankets.\n\n> Go south\nA sparse looking village, but the \"El Bakery\" on the north side looks most interesting to you. Forest shades the village from the west, and paths lead southwest and south.\n\nIn the center of the village is a cannon.\n\nAttached to the back end of the cannon is a mysterious black box.\n\nYou can also see Kari here.\n\nKari studies the cannon, carefully.\n\n> Go east\nYou can't go that way.\n\nKari wanders off, south.\n\n> You go to the south\nNice sandy beach. Shame you don't have time to just sit down and enjoy it.\n\nYou can see Kari here.\n\nKari scans the horizon.\n\n> You go east\nHm. A swim would be nice, but can't really justify doing that right here and now.\n\nKari decides to go south.\n\n> Go south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\nYou can see Kari here.\n\nKari heads back to camp.\n\n> Go south\nIf you want to swim, just say so.\n\n> Go west\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ, Kari and Biff here.\n\nThe volcano noisily belches more smoke into the air.\n\nKari looks at you suspiciously.\n\n> You go to the south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\nYou hear a monkey chittering somewhere nearby.\n\n> Go west\nA grassy meadow covers this corner of the island. That seems plausible, right? At any rate, several sheep and cows are here, taking advantage of the grass and eating their full. Hills are to the north, towards the volcano, and the camp lies east.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You go to the south\nThis natural lagoon is a perfect place for fishing. You wish your friend Harley was here. Harley loved to go fishing with you when you were kids. The camp is visible to the north, and the beach extends west and east, and of course the ocean fills your view south, all the way to the horizon.\n\nYou can see Russ here.\n\nThe volcano noisily belches more smoke into the air.\n\nRuss walks west.\n\n> Go north\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\nThe ground shakes, slightly.\n\n> You go southeast\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nRuss takes the northwest path.\n\n> You go west\nYou can't go that way.\n\nRuss enters from the southeast.\n\n> Go north\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\nThe ground shakes, slightly.\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> Go east\nYou can't go that way.\n\nYour blood feels like it's about to boil! Time to go!\n\n> Go west\nYou can't go that way.\n\nThere's a brief tremor, then it passes.\n\nYou pass out from the heat, and fall into the VOLCANO! Ahhhhhh!!!\n\n> Go east\nYou can't go that way.\n\nThe ground shakes, slightly.\n\n> Go east\nThis hidden clearing near the base of the mountain might be unremarkable except that it's the current home of a large glass bubble and a most unusual man.\n\n\"Mon dieu!\" exclaims the man, as he rushes to greet you.\n\nThere is some confusion, since he speaks only French, and you speak only English, but he manages to tell you his name, Emil Petit, and then he scratches the number 1888 on the ground, pointing to the bubble and himself, frantically. What does he mean? Is he trying to say that he's from 1888, and a time traveler?\n\nAs if to prove it, he tosses some grapes into the bubble and pushes a white button. In an instant, the grapes age into raisins! He then stifles a sob, and removes the raisins from the bubble. I guess the bubble isn't supposed to work that way.\n\nThen Emil shows points out a green crystal in the controls and asks you a question. You shake your head in confusion, and he sadly shakes his head in return.\n\nYou can see Emil and a glass bubble (which is empty) here.\n\n> You put the milk in the bubble\nYou pour the milk into the time bubble (glug, glug, glug). Emil opens his mouth, then closes it again, and says nothing.\n\n> You put the rennet in the bubble\nYou pour the rennet into the time bubble, and toss the sheep's stomach away. Emil watches you curiously. The rennet and milk combine, resulting in exquisitely curdled milk.\n\n> You examine the controls\nThe white button is labelled \"activateur\".\n\nThere's a brief tremor, then it passes.\n\n> You press the button\nYou push the white button. It's a miracle! The curdled milk rapidly ages, and turns into cheese!\n\n\"C'est fromage!\" Emil cries out in wonder.\n\nThe volcano noisily belches more smoke into the air.\n\n> You get the cheese\nWith a trembling hand, you extract the slab of cheese from the bubble, solemnly break it in two, and give half to Emil. Staring at his half of the cheese, tears running down his face, he blesses you, and then, in a startling display of emotion, kisses both of your cheeks, crying, \"Merci! Merci beaucoup!\"\n\n> Kiss emil\nBut there's hidden tv cameras all over the place! It's not worth the risk.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You look at what you're carrying with you\nYou are carrying:\na slab of cheese\na sharp rock\na fresh tuna fish\na pointy stick\na glowing green crystal\na baguette\na five liter bottle (which is empty)\na bag of popcorn\n\nThere's a brief tremor, then it passes.\n\n> You give the crystal to Emil\n(the glowing green crystal to Emil)\n\"Sacrebleu!\" Emil exclaims, as he grabs the glowing crystal from your hand, and replaces the broken crystal with it. Muttering excitedly, he fiddles with controls.\n\nThen, Emil takes a deep breath, pushes the white button and hops into the bubble. One heart beat, two, then the bubble vanishes!\n\n> You slice the bread\nCutting that up would achieve little.\n\n> Debone tuna\nWith what?\n\n> You debone the tuna with the knife\nYou use the sharp rock to debone the tuna.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You put the tuna on the bread\nYou put the deboned tuna on the bread.\n\n> You put the cheese on the bread\nYou layer the cheese over the tuna. Looking good!\n\n> Go west\nThe forest paths confuse you and you return to the clearing. (Psst, go south.)\n\nThe ground shakes, slightly.\n\n> Go south\nYou can easily believe you're far from home. You can't see much except for trees, trees, and more trees in all directions, but at least they provide some welcome shade.\n\nThere's a brief tremor, then it passes.\n\n> Go north\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\nThe ground shakes, slightly.\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You check your inventory\nYou are carrying:\na sharp rock\na pointy stick\na baguette\na five liter bottle (which is empty)\na bag of popcorn\n\nYour blood feels like it's about to boil! Time to go!\n\n> You put the bread on the stick\nPutting things on the pointy stick would achieve nothing.\n\nYou pass out from the heat, and fall into the VOLCANO! Ahhhhhh!!!\n\n> You go south\nYou're climbing the side of the volcano. There's not much here but volcanic rock. You can head further up to the north, or go down into the forest to the south.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\n> You drop the bread\nDropped.\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nYour blood feels like it's about to boil! Time to go!\n\n> You wait awhile\nYou waste a few precious minutes.\n\nYou hear a monkey chittering somewhere nearby.\nYou waste a few precious minutes.\n\nYou hear a monkey chittering somewhere nearby.\nYou waste a few precious minutes.\nYou waste a few precious minutes.\n\nThe volcano noisily belches more smoke into the air.\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nYou can see a baguette here.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You examine the baguette\nYour tuna melt sandwich is complete! Now take it back to the camp!\n\nYour blood feels like it's about to boil! Time to go!\n\n> You get the baguette\nTaken.\n\nYou hear a monkey chittering somewhere nearby.\n\nYou pass out from the heat, and fall into the VOLCANO! Ahhhhhh!!!\n\n> Go north\nWow. You're standing on a tiny ledge on the rim, or lip of the volcano. The smoke is blowing into your face, and you can see molten lava far below. Needless to say, it's extremely hot here, and quite a bit dangerous.\n\nYou can see a baguette here.\n\nThe volcano noisily belches more smoke into the air.\n\nGah. Feel that heat! This is too much to endure for long!\n\n> You get the baguette\nTaken.\n\nThe volcano noisily belches more smoke into the air.\n\nYour blood feels like it's about to boil! Time to go!\n\n> Inventory\nYou are carrying:\na baguette\na sharp rock\na pointy stick\na five liter bottle (which is empty)\na bag of popcorn\n\n> You examine the baguette\nYour tuna melt sandwich is complete! Now take it back to the camp!\n\n> You go south\nYou emerge out of the forest into ...\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Biff here.\n\nYou hear a monkey chittering somewhere nearby.\n\n> You give the sandwich to Biff\n\"Is it? It is! A tuna melt! Ladies, and gentlemen, we have a winnah! Anything you'd like to say to the folks at home?\"\n\n> You eat the baguette\nThat's plainly inedible.\n\n> Milk biff\nEr, you can only milk female mammals. Did you skip biology class the week they covered that?\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nRuss walks in from the east."
    },
    {
        "text": "[Themes: silly]\n\n> Look around\n\"Challenge\" Camp\nThe \"Challenge\" camp is set up just north of Krakatoa's southern lagoon. Deep forest separates you from the smoking volcano to the north, and other paths lead west, northwest, northeast, and east.\n\nYou can see Russ and Biff here.\n\nKari walks in from the west.\n\nRuss takes the west path.\n\n> Milk kari\nOh, that wouldn't be very polite. Not At All.\n\nKari heads south to the lagoon.\n\n> You milk yourself\nEr, you can only milk female mammals. Did you skip biology class the week they covered that?\n\nThere's a brief tremor, then it passes.\n\nKari enters from the lagoon.\n\n> You go northwest\nThis lonely hill might be a tranquil spot normally, but the dead sheep rather spoils the mood. Forest is north and east of you, and more pleasant areas are south and southeast.\n\nRuss emerges from the forest, to the north.\n\n> You examine the sheep\nThis poor little lamb has lost its way. (baa baa baa)\nIt tripped and fell, and here he'll stay. (baa baa baa)\nA predator ate its flesh away. (baa baa baa)\nIts stomach, too, has gone astray. (baa baa baa)\n\nThe volcano noisily belches more smoke into the air.\n\nRuss rubs something out of his eye.\n\n> You go east\nYou're in a deep forest with lots of those really tall trees with no climbable branches in reach.\n\nYou can see Kari here.\n\nThere's a brief tremor, then it passes.\n\nKari ventures deeper into the forest, towards the volcano.\n\n> You climb the tree\nYou can't climb them. Honestly. And you don't need to. You think cheese grows on trees? Or tuna? Or bread?\n\nA parrot squawks as it flies overhead. Beautiful plumage.\n\nA rustling in the forest floor alerts you to Kari's entrance, as she arrives from the north."
    },
    {
        "text": "[Themes: Surreal, based on songs]\n\nyet)\n\nSpace Suit -- Episode 38 of the Apollo 18 Tribute Album by Andrew\nSchultz\n\n6/12N)\n\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nA protective spacesuit hangs on a pedestal. Well, you'd guess it's\nprotective, since it doesn't look very fashionable.\n\n[Type ABOUT to find out more about this game, or CREDITS to find out\nmore about people who helped make it, or make it better.]\n\n[Author's Note: A game with no talking and a canonical puzzle.]\n\n> About you\nyet)\n\nJeans and a t-shirt.\n\n> You go northeast\nyet)\n\nYou leave the center for more a wide-open area with less to see, do\nand take. But hey, you can always come back.\n\nThere are glowing walls to the east and north here, and you sense an\nodd energy from them.\n\n> You look at the walls\nyet)\n\nYou can't see any such thing.\n\n> You look at the wall\nyet)\n\nWhich do you mean, the west wall, the east wall, the south wall, the\nnorth wall or the wall?\n\n> You look at the north wall\nyet)\n\nYou don't see anything special.\nIt's too far away to see at the moment.\n\n> You check your inventory\nyet)\n\nYou are carrying nothing.\n\n> Go east\nyet)\n\nYour skin begins tingling as you approach the wall. Radiaton? Heat?\nYou're not sure. Even though it appears malleable, you don't trust\nyourself to make it through as is.\n\n> You touch east wall\nyet)\n\nYou feel nothing unexpected.\n\n> Go south\nyet)\n\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> You examine the mural\nyet)\n\nThere's a picture of various Pythagorean triangles, size determined by\nnotches-3/4/5, 5/12/13, and so forth.\n\nThere's a picture of a top spinning around. It seems to be about to\nfall--it's at a close angle to the ground.\n\n> You go south\nyet)\n\nThere are glowing walls to the south and east here, and you sense an\nodd energy from them.\n\n> You go to the west\nyet)\n\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\n> You examine the mural\nyet)\n\nIt's a list of riddles that make sense once you know the answer, but\nyou're glad there wasn't a gnome that made you bet your life on them.\n\nyour attention more, anyway--but what's it doing here?\n\n> Examine hunter\nyet)\n\nSeems like an anachronism...or maybe a hint?\n\n> Go west\nyet)\n\nThere are glowing walls to the south and west here, and you sense an\nodd energy from them.\n\n> Go north\nyet)\n\nYou're in the center of the west edge of the little boggle-box. You\ncan see a mural on the west wall.\n\n> You look at the mural\nyet)\n\nThere's a picture of a big long maze. You begin puzzling your way\nthrough it, starting at the bit marked \"end\" and trying to block out\nvarious dead ends.\n\nBelow the maze, there's a picture of a kite trailing its owner at a\nforty-five degree angle--must be windy.\n\n> Go north\nyet)\n\nThere are glowing walls to the west and north here, and you sense an\nodd energy from them.\n\n> You go to the east\nyet)\n\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You examine the mural\nyet)\n\nYou see a stick figure holding an opaque umbrella at an angle. Also,\nthere appears to be an impromptu treatise on tic-tac-toe strategy, but\nyou have nobody to play it with. Rats.\n\n> You go to the south\nyet)\n\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nA protective spacesuit hangs on a pedestal. Well, you'd guess it's\nprotective, since it doesn't look very fashionable.\n\n> You look at the spacesuit\nyet)\n\nLargely white, with an opaque helmet and handy pockets for fitting\nscraps of paper in. It's got some weird dark LCD output on the chest\nwith a lever off to the side.\n\n> You look at the lcf\nyet)\n\nYou can't see any such thing.\n\n> You look at the lcd\nyet)\n\nIt's dark. You imagine there's a way to switch it on.\n\n> You pull the lever\nyet)\n\nYou should be wearing the spacesuit before doing that.\n\n> You take Suit\nyet)\n\nHmm. As you pick it up, a brochure falls off the pedestal and onto the\nfloor, and a small lead ball also falls from a sleeve onto the ground.\n\nYou also see the spacesuit was covering a couple of drawings.\n\n> You examine the brochure\nyet)\n\nIn case the brochure has small print, you take it first.\n\nHmm. There's no actual writing. At the top, you see shows five lines\nin an S through a 3-by-3 square of dots...and a big red X through all\nthat. Below, there're four lines next to an intact 3-by-3 square.\nThere are a few more pages on the inside, too.\n\n> You open the brochure\nyet)\n\nThere're diagrams about spacesuit operation--likely, the one you're\nholding--and how it protects from radiation and heat and so forth. The\nwavy lines and fire are universal enough. No letters are needed. But\nyou don't see any dangers here, so maybe there's more useful later.\n\n> You look at the ball\nyet)\n\nIt seems unremarkable. You wonder what it's for, and what to do with\nit.\n\n> You take all\nyet)\n\nThis is more a puzzle than a treasure hunt. Besides, there aren't that\nmany items IN the game.\n\n> You take the ball\nyet)\n\nTaken.\n\n> You take the brochure\nyet)\n\nYou already have that.\n\n> You pull the lever\nyet)\n\nYou should be wearing the spacesuit before doing that.\n\n> You wear Suit\nThe suit fits comfortably.\n\n> You pull the lever\nYou might want to read the brochure...the center may not be the best\nplace to start recording your movements.\n\n> You read the brochure\nThere's a close-up of a lever on the side of the spacesuit. Two-way\narrows indicate that it detects bends, or changes in direction. You\nsee a few more pages.\n\n> You read the brochure\nYou see a square of nine faces -- the middle frowny and red, the\nothers smiley and green. The northwest -- assuming north is up -- has\nlittle sunshiney rays around it. Maybe the last bit will be more\ninformative.\n\nHmph. Just a finger pointing at you, a brain with lines coming from it\n(it appears to have just jumped from a box,) and pictures of medals\nand ribbons. But there's a loose page behind.\n\n> You examine the loose page\nYou rip the page from the brochure.\n\nwith a line through it--some poor stupid looking face is crossed out.\nThere's also someone wearing a spacesuit next to a crossed-out stick\nfigure that is not.\n\nThere's a big exclamation mark in the upper right-hand corner--a\npretty universal meaning. The slots on the left side are labeled A, B\nand C, from top to bottom (okay, they're unreadable glyphs. But you\nhave to call them SOMEthing.) On the right, there's D, which you\ndecide is a tab.\n\nB and D are parallel with the middle row, while A is close to the top\nrow, and C is close to the bottom row.\n\nWould you like to see a physical representation?\n\n> Y.\n. . .\nA -\nB -  . . . - D\nC -\n. . .\n\n> You go northeast\nyour spacesuit. Perhaps some places are better than others.\n\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\n> Go east\nHm. It's like some weird foamy turnstile.\n\nanything. But exploring may turn up some clues.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> Go west\nout.\n\nHmm. Switch the lever here? Technically, there's no rush.\n\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\n> Go east\nYou're used to this turnstile action by now.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> You go to the northwest\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the southeast.\n\n> Go southwest\nNothing weird happens the second time on your way back, either.\n\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You go to the east\nHere, you can only go south, southeast and southwest.\n\n> You go southeast\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> You go to the southwest\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> Go east\nThere's no secret door behind the mural. You've found how to get\noutside the box, anyway.\n\n> You go west\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\n> You examine the pedestal\nIt's cylindrical, with an odd diagonal line down the side--you'd think\nit'd be straight up and down, but it's perpendicular to a ramp that\nseems to circle the outside.\n\nthe ramp, and you can see a couple drawings, too.\n\n> You look at the drawings\nYou see two pictures: one, a grid of nine dots, and another, a black\neight-pointed star with a big red X through its center. The star looks\nas below:\n\n*     *\n|\\   /|\n| \\ / |\n\n\\ | / \\ | /\n\\|/   \\|/\n*     *\n/|\\   /|\\\n/ | \\ / | \\\n\n| / \\ |\n|/   \\|\n*     *\n\n> You look at the ramp\nYou can't actually touch inside it--it's covered all the way down. But\nit cuts a spiral through the cylindrical pedestal that winds around\nalmost three times before the hole at the bottom. The line cutting\nthrough the pedestal starts just to one side of the entry and to the\nother side of the exit.\n\n> You put the ball in the hole\noutside of the pedestal. After a half-minute, the ball rolls slowly\nout the bottom. You could pick it up and try again, if you want.\n\n> You take ball\nTaken.\n\n> You put the ball in the hole\nIt's fun to watch the ball roll down, but you doubt you're doing\nanything.\n\n> Continue\nYou remember rolling a penny down a similar spiral at some toy store.\n\n> Keep going\nWhee! Somehow, it never quite gets boring.\n\n> You continue\nOkay, I lied. You start wondering what the ramp is there for, or what\nit's demonstrating.\n\n> Keep going\nYou roll the ball down the ramp yet again.\n\n> Twist ramp\nNothing obvious happens.\n\n> You go to the east\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> You go southeast\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the northwest and west, or you can dither around\nto the southwest.\n\n> You pull the lever\nYou hear a hum, then a loud BEEP, from your spacesuit. You look down\nand notice the LCD output has begun to glow.\n\n> You examine the lcd\nThe LCD output reads:\n\n- - - 0 / 4 -+\n- - -        |\n- - - 0 / 9\n\n> Go northwest\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\nYou hear a beep. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions three more\ntimes.\n\n> Go northwest\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You go to the north-west\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southeast and south, or you can dither around\nto the southwest.\n\n> Switch lever\nYou hear a grinding and whooshing as you start. You back off.\n\n> You go to the south\nThere are glowing walls to the west and north here, but they don't\nseem menacing--they're even pulling your spacesuit towards them,\nslightly.\n\nYou hear two beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions two more\ntimes.\n\n> Go south\nYou're in the center of the west edge of the little boggle-box. You\ncan see a mural on the west wall.\n\n> Go south\nThere are glowing walls to the south and west here, but they don't\nseem menacing.\n\n> You go to the south\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the northeast and north, or you can dither around\nto the northwest.\n\n> You go northeast\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\nYou hear three beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions once more.\n\n> You go west\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\nYou hear four beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions zero more\ntimes. Crunch time.\n\n> Go west\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> Go west\nThere are glowing walls to the west and north here, but they don't\nseem menacing--they're even pulling your spacesuit towards them,\nslightly.\n\n> You examine the lcd\nThe LCD output reads:\n\n* + + 4 / 4 -+\n+ - +        |\n+ + - 7 / 9\n\n> Go southeast\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\nYou can see a small lead ball here.\n\nA loud horn begins honking. You have made one too many turns with your\nspacesuit activated!\n\n> You wear Suit\n(first taking the protective spacesuit)\nHmm. As you pick it up, a brochure falls off the pedestal and onto the\nfloor, and a small lead ball also falls from a sleeve onto the ground.\n\nYou also see the spacesuit was covering a couple of drawings.\n\nThe suit fits comfortably. You didn't need instructions to put the\nspacesuit on, but...maybe for what do to while you're in it?\n\n> You read the brochure\nIn case the brochure has small print, you take it first.\n\nHmm. There's no actual writing. At the top, you see shows five lines\nin an S through a 3-by-3 square of dots...and a big red X through all\nthat. Below, there're four lines next to an intact 3-by-3 square.\nThere are a few more pages on the inside, too.\n\n> Keep going\nThere're diagrams about spacesuit operation--likely, the one you're\nholding--and how it protects from radiation and heat and so forth. The\nwavy lines and fire are universal enough. No letters are needed. But\nyou don't see any dangers here, so maybe there's more useful later.\n\n> Keep going\nThere's a close-up of a lever on the side of the spacesuit. Two-way\narrows indicate that it detects bends, or changes in direction. You\nsee a few more pages.\n\n> Continue\nYou see a square of nine faces -- the middle frowny and red, the\nothers smiley and green. The northeast -- assuming north is up -- has\nlittle sunshiney rays around it. Maybe the last bit will be more\ninformative.\n\n> Keep going\nHmph. Just a finger pointing at you, a brain with lines coming from it\n(it appears to have just jumped from a box,) and pictures of medals\nand ribbons. But there's a loose page behind.\n\n> You get the page\nIt pulls out easily. It's got the three-by-three square of dots, but\nit also has four slots cut into the sides--three on one side, one on\nthe other.\n\n> You read the page\nwith a line through it--some poor stupid looking face is crossed out.\nThere's also someone wearing a spacesuit next to a crossed-out stick\nfigure that is not.\n\nThere's a big exclamation mark in the upper right-hand corner--a\npretty universal meaning. The slots on the left side are labeled A, B\nand C, from top to bottom (okay, they're unreadable glyphs. But you\nhave to call them SOMEthing.) On the right, there's D, which you\ndecide is a tab.\n\nB and D are parallel with the middle row, while A is close to the top\nrow, and C is close to the bottom row.\n\nWould you like to see a physical representation?\n\n> Y.\n. . .\nA -\nB -  . . . - D\nC -\n. . .\n\n> You examine tab\nIt's the only slot on the right of the paper. You can probably fold\nany of the others into it.\n\n> You fold the B into the d.\nAs you twist the leaflet, you see crumbling--walls on the east and\nwest appear to fall. You feel the room you're standing on wrenched\ninto something you can't quite understand. You're knocked out for a\nminute but wake up where you were.\n\n> Go east\nyour spacesuit. Perhaps some places are better than others.\n\nYou're in the center of the east edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the east.\n\n> You go east\nanything. But exploring may turn up some clues.\n\nYou're in the center of the west edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the west.\n\n> You go to the north\nHmm. Switch the lever here? Technically, there's no rush.\n\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> You go west\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> Wave\nYou wave, feeling foolish.\n\n> You go north\nHm. It's like some weird foamy turnstile.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southeast and south. You're not actually sure\nif being here is the best plan.\n\n> You fold a into the d.\n(slot a into tab d)\nYou see the passage back to the inner area shake. This worries you.\nPerhaps the leaflet is more powerful than you thought.\n\n> Go south\nout.\n\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> Examine page\nIt's wrapped around itself now, the tabs gone--melded into the paper\nsomehow. Oddly, the dots that were on opposite sides are now close to\neach other.\n\n> Go southwest\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\nYou can see a small lead ball here.\n\n> You look at the drawings\nYou see two pictures: one, a grid of nine dots, and another, a black\neight-pointed star with a big red X through its center. The star looks\nas below:\n\n*     *\n|\\   /|\n| \\ / |\n\n\\ | / \\ | /\n\\|/   \\|/\n*     *\n/|\\   /|\\\n/ | \\ / | \\\n\n| / \\ |\n|/   \\|\n*     *\n\n> You fold a into d.\n(slot a into tab d)\nAs you twist the leaflet, you see crumbling--walls on the east and\nwest appear to fall. You feel the room you're standing on wrenched\ninto something you can't quite understand. You're knocked out for a\nminute but wake up where you were.\n\n> Go west\nYou're in the center of the west edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the west.\n\n> Go west\nThere should be an east wall joining the south wall, but the only one\nyou see is a bit to the west.\n\n> Go west\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\n> You go west\nwalls here.\n\n> You go east\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\nYou hear a beep. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions three more\ntimes.\n\n> You go east\nYou're in the center of the east edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the east.\n\n> Go east\nThere should be a west wall joining the north wall, but the only one\nyou see is a bit to the east.\n\n> Go east\nwalls here.\n\nYou hear a loud siren. Confetti drops from the ceiling. Three people\nin robes walk out, beaming silently.\n\nYou are handed a gold medal! You have done about the best you could\ndo. A monk waves his hand, and the topology of the room is\nre-scrambled. You are escorted into a small nook with all manner of\nlogic puzzles. They look interesting, but you hope you're let out\nbefore you solve them all.\n\nI hope you enjoyed this puzzle, and I hope converting it to a text\nadventure was as fun for you as it was for me."
    },
    {
        "text": "[Themes: Science Fiction, space opera]\n\nHugo detects that you are playing this game on an interpreter that uses the Glk API. Does this interpreter normally have a status bar? (If this question confuses you, answer \"yes\")\n\nPlease answer YES or NO:\n\n[Author's Note: You've built dreams and brought to life legends. But all that is useless compared to your beloved masterpiece, a creation of tremendous value that holds the keys to unlimited adventure -- as well as great peril. You are the World Builder.]\n\n> You go north\nYou've built dreams and brought to life legends. But all that is useless to you -- a means to an end. And now, the culmination of your long work is nearly finished.\nYou gingerly take the imager device from its dock, the final precautionary tests complete. The narrow strip of metal resonates deeply within you as you scrutinize it, a felt echo of your own essence. Now, all that is left is for the imager to be installed so your consciousness can be attuned with your creation.\n\n\n\nJanuary 11, 2012\nIFID: 7D41B470-B518-4241-A71C-50D107E1EEEA\nHugo v3.1 / Library 31031\n\n(Enter \"ABOUT\" to access background information and credits.)\n\nAutomatons scurry to and fro in the complex of interconnected machinery, which churns and whirls across the vast convex surface of the Sphere.\nNone of the sprawling apparatuses and cybernetic miracles are worth anything compared to the masterpiece that lies prone and powerless before you.\n\n> You examine the masterpiece\nThe figure of an artificial man stands rigidly, staring vacantly downward from empty eyes. The android is flawless, a perfect imitation of natural life -- except for the empty rectangular socket above his right brow, revealing circuitry that spoils the preternatural beauty of his human form.\n\n> About yourself\nYou are human, and you are the World Builder.\n\n> Inventory\nYou are carrying the imager.\n\n> You examine the imager\nThe device looks like a small, slightly-curved metal band, featureless and smooth on the outside.\n\n> You put imager in the man\nYou slide the smooth, rounded rectangular bar into the groove on the android's forehead. The invisible field draws the device into place soundlessly, recessing it to the level of the skin.\nThe figure of the android shudders for a moment, and then it raises\nits head, its mechanical eyes opening wide to focus on you. The imager begins to blink in the forehead, the metal pulsing softly with white light.\n\n> You talk to the man\nHe hears, but he cannot listen. Not yet.\n\n> You look at the android\nThe android stands poised before you, its eyes locked onto your face. The imager insterted into the forehead throbs slowly, pulsing with bright white light.\n\n> You examine imager\nThe imager is a small silver bar above Hugor's right brow, hanging out over his scorched face.\n\n> Wait\nTime passes...\n\n> You look at Sphere\nThe Sphere is what you call the hollow planetoid you constructed to serve as your workshop and laboratory. Miles of equipment and consoles stretch across the inside surface of the artificial globe, diligently attended by your robotic assistants. The transparent alloy of the outer wall beneath allows an unobscured view of the cosmos.\n\n> You turn on Hugor\nYou meet the android's cold gaze. Your nano implants detect the interface signal from the imager, rendering the transmission visible to your eyes in a sort of non-sight, separate from the three-dimensional world. You follow the signal through the imager, into the intricate being.\nThe imager flares brightly, and the android inhales deeply through\nhis nostrils. Suddenly, you are conscious of the android through your link to him. More than that, you can feel the echo of his consciousness of you.\n\n\"You are Hugor,\" you tell him. \"Welcome, my son.\"\n\n> You talk to Hugor\n\"You were created for a very special purpose,\" you explain, still looking earnestly into his eyes. \"You posses within you the key to endless wonders and mysteries. Together, we will have many great adventures.\"\n\nThe light of the imager diminishes to a faint but steady gleam.\nHugor opens his hands and looks at you, raising his right hand toward you vaguely.\n\n\"Father,\" he says. He blinks. \"I am Hugor.\"\n\n> You talk to Hugor\n\"You were created for a very special purpose,\" you explain, still looking earnestly into his eyes. \"You posses within you the key to endless wonders and mysteries. Together, we will have many great adventures.\"\n\n> You check your inventory\nYou're not carrying anything.\n\nHugor's arched eyebrows draw together. \"Father... I do not understand,\" he says.\n\n> You tell Hugor about yourself\n(Plese use the command \"TALK TO (CHARACTER NAME)\" to initiate dialog.)\n\n> You talk to Hugor\n\"You needn't, Son. Not yet. In time, you will learn to use your gift.\"\nYou motion Hugor over to a clearer area. \"Come now,\" you say, \"We won't be trying it out here in the Sphere, but you may as well begin to get a feel for how it works. Look around you. Your vision is as capable of rendering dimensional lines as it is of light photons. You can also touch those dimensional lines, as easily as you can bend down and touch the floor of the Sphere. Now, look inside yourself, feel the mystery that I created you to persue, and...\"\nHugor suddenly whips his head around to look at you, jerking down the hand that he had raised in the air as you spoke. \"No.\" He shakes his head, softly at first, but then wildly and vehemently. \"No,\" he repeats, his voice crackling mechanically. \"Does not compute. Error. Sequence abort.\" His voice is consumed by robotic monotony; no trace of the naturalness he possessed for a moment remains.\n\n> You talk to Hugor\n\"Hugor, stand by to receive autocorrect passcode,\" you say calmly, transmitting with your nanotide neural implants the sequence to initiate Hugor's debugging routines. The imager receives the signal, but in response Hugor only turns away from you with a hiss.\n\nHugor unsteadily backs away from you, throwing up his hands in front\nof him as if to ward you off, fingers bent claw-like. Suddenly, the air before him shimmers and bends, being replaced for a moment by a small vortex of light. The area around the vortex erupts in blue energy, sending Hugor flying backward and vaporizing the nearest equipment.\n\n> You talk to Hugor\n\"Stop, Hugor!\" you command. \"You don't know what you're doing. You could both destroy yourself and cause grave harm to others!\" But Hugor does not respond.\n\nThe instant Hugor smashes bodily into a console against a far wall,\nhe leaps back to his feet, looking around uncertainly. The right-most part of his face is burned off up to his nose, revealing his metallic internal structure beneath his human aesthetic. A tendril of smoke rises from the damaged imager. You look with your nano-sight, but the dimensional signal that linked the android to you is reduced to garbled jibberish, giving you a headache.\n\n> You take the imager\nTaken.\n\n> You turn off Hugor\nAt the speed of thought, you initiate in your own mind the nano-signal to deactivate Hugor, but the broken imager spits out chaotic interference, failing to receive. You glance at a console, about equidistant between you and Hugor, from which you can initiate a stronger overide to bypass the imager. You lunge for the console, both physically and remotely through your nanotides. But with his super-human strength and reflexes, Hugor reacts faster, simultaneously sending out interference to block the signal from your implants and crossing the distance between himself and the console in a single jump to smash it to ruin with his arm.\n\nHugor runs to the nearest port along the Sphere, covering the\ndistance in moments. You signal the docking system to deny him access to the cruiser bay, and the nearest automatons shuffle towards him, hemming him in. He throws the robots out of his way and slams his scorched fist against the closed docking lift, but the reinforced alloy fails to yield even to his great strength. He raises his hands, and a shimmering field appears before the lift. The field expands horizontally toward the lift, which disappears in a burst of molten slag. Several loyal automatons fall into the vortex, and are gone.\nThe vortex disintegrates, and Hugor disappears through the hole he created.\nHow could he have gained so much control over his ability already?"
    },
    {
        "text": "[Themes: Science Fiction, space opera]\n\n> You look around\nAutomatons scurry to and fro in the complex of interconnected machinery, which churns and whirls across the vast convex surface of the Sphere.\n\n> You examine the imager\nThe device looks like a small, slightly-curved metal band, featureless and smooth on the outside.\n\nthen explodes outward, and a star cruiser glides out of the breach as atmosphere and equipment vents out into space. The Sphere's central control system automatically closes the breach with a force field. Hugor's hijacked star cruiser disappears from light-based sight as it engages its photon engines.\nHugor is far too precious to lose. You must find him and stop him\nfrom destroying himself!\n\n> Go outside\nYou enter the star cruiser's control pod and launch out through the Sphere's space port in pursuit of your lost creation, your lost child.\n\nThe stars evaporate in dim streaks as you leave light behind.\nThe interior of the control pod of your ship is a spherical room with four molded chairs facing the viewscreen that covers the enitre diameter of the wall. The viewscreen remains locked onto Hugor's cruiser.\n\n> You look at the viewscreen\nThe sheet of transparent aluminum wraps all around the diameter of the circular room, displaying a projection of the stolen star cruiser rendered by calculations based on photon emissions. A narrow strip below the screen displays panels to activate and control the targeting system, navigation system, and photon engines.\n\n> You look at the panels\nThe sheet of transparent aluminum wraps all around the diameter of the circular room, displaying a projection of the stolen star cruiser rendered by calculations based on photon emissions. A narrow strip below the screen displays panels to activate and control the targeting system, navigation system, and photon engines.\n\nHugor's vessel abruptly changes course and drops out of photon velocity. Your ship's computer immediately calculates Hugor's exit vector and makes corresponding course adjustments before entering sublight speed, and the stars snap into sharp focus on your viewport. But the stars are all you see as the computer wildly scans the\nsector, searching for the renegade ship.\n\n> You look at the targeting system\nThe sheet of transparent aluminum wraps all around the diameter of the circular room, displaying a field of stars. A narrow strip below the screen displays panels to activate and control the targeting system, navigation system, and photon engines.\n\n> You look at the navigation\nThe sheet of transparent aluminum wraps all around the diameter of the circular room, displaying a field of stars. A narrow strip below the screen displays panels to activate and control the targeting system, navigation system, and photon engines.\n\nYour shipboard sensors detect spatial distortion and photon displacement that was not present before. Investigating, you watch a swirling vortex of light energy expand as Hugor's star cruiser, drifting near the field of distortion, accelerates gently away from it and then begins to turn toward it in a long arc.\nIncredible. He should not have been able to generate such a large field for a long time. You cannot allow him to escape through it, or you may lose him forever.\n\n> Target hugor\nYour targeting system can't lock on to Hugor's vessel due to interference from the vortex, but you fire off a shot at the general area anyways, just as Hugor brings his ship around to enter the swirling light. The beam misses and is absorbed into the energy field. The vortex swells and wavers, and Hugor's ship tumbles away from it, turning end-over-end.\nThe vortex shrinks and stabilizes, and then opens wide again as Hugor regains control of his cruiser, once again turning to enter the field of light.\n\n> Target vortex\nYour computer refuses to target the vortex directly due to the energy field's emissions, but you unleash a laser volley, the laser turret firing thousands of times in the half-second. On your viewport, the vortex absorbs the beam and warps chaotically, bursting into a nebula of sparks.\nTurning aside from the blast, Hugor's ship halts. As your star\ncruiser continues on an intercept course at its top non-photon speed, a swirling nimbus begins to gather in front of Hugor's cruiser. The nimbus expands into another vortex, and Hugor promptly accelerates into it just as you approach from behind, disappearing into the light. You are just seconds away from the light field, but you know that it's going to snap closed in the heartbeat.\n\n> You enter the vortex\nYou must do so. But you can't simply fly into the energy field at sublight velocity. Now that the origin of the dimensional field has gone on to the other side, the gateway is unstable and will collapse immanently, destroying your craft if you aren't moving faster than the photon warp.\n\n> You examine the photon controls\nYou haven't encountered any \"photon controls\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You turn on the photon\nThere is only one thing you can do. Responding to your thought faster than you can twitch a limb, your computer sets a course through the center of the vortex and engages the four photon engines for a microsecond burst.\nYou are elsewhere. Your sensors show no sign that the vortex ever existed. The viewport shows a solar system encircling an angry red sun. Hugor's craft is barely within scanning range, in orbit of the nearest planet. Even with the computer's precision, you far overshot the exit point of the portal, traveling above light speed. You bear down on the planet at top sublight speed.\n\nA cloud of debris encircles a dark terrestrial planet.\nThe interior of the control pod of your ship is a spherical room with four molded chairs facing the viewscreen that covers the enitre diameter of the wall. The viewscreen shows Hugor's cruiser arc down and around the dark planet on a landing vector.\n\n> Down\nYou descend into the atmosphere, following Hugor's vessel as it makes directly for the strange bulge, which resolves in your viewscreen into a misshapen artificial dome of some kind. As the star cruiser approaches, a panel opens on the surface of the dome, and Hugor decelerates directly into the maw.\n\nAs the panel closes behind Hugor's cruiser, your ship lurches, the defensive system taking evasive maneuverings. Two turrets have risen from beneath ground level on either side of the dome to spit fiery fury at you, while assorted artillery outside the dome and smaller guns along its surface shoot at you with a variety of energy weapons. The defense system works tirelessly to evade, but a few stray beams manage to take out your photon engines. You return fire with your lasers, destroying one of the turrets and decimating the ground machines. Suddenly, the viewscreen flickers out along with the control strip\nand every source of light ,leaving you in total darkness. You feel yourself falling. Two tense heartbeats pass, and then the pod lights up again dimly. You initiate the eject sequence, and the ship encases your body in a close-fitting, rigid suit of alloy plates. The pod opens, and you fall, spreading your hands to create a force field just before impact.\n\nmetal and organic offal, strewn around in haphazard heaps. The murky atmosphere obscures the sky in an acrid haze. Smoldering nuggets of debris rain down slowly but constantly.\nWith the exception of the craters, the land is blandly level and featureless in all directions -- except in the direction facing the planet's south pole, where an asymmetrical black dome blots out the horizon.\n\n> Go south\nYou sprint toward the malignant edifice, your shock suit enhancing your strength as you bound lightly over the barren terrain. As you draw near, the remaining ground turret follows your movement, and you proceed warily, activating your suit's force-shield. But the turret is content to track you as you walk through the mangled remains of the machines that you obliterated during your hurried arrival. Unhindered, you walk straight up to the side of the dome, and a portion of the wall dematerializes, leaving an uneven opening.\nYou enter without hesitation, and the wall rematerializes on your heels. You see a dark silhoutte standing before you.\n\n\"Remember me, World Builder?\"\n\nAn opaque black expanse covers everything, proclaiming itself to be a whole world, an entire universe. A multitude of machines and cyborgs lurk about, silhouetted against the haphazard red light that unevenly illuminates broken terrain.\nA hulking robotic behemoth stands before you.\n\n> You talk to the behemoth\n\"Your pointless war has nothing to do with my son, Minfor. Release\nhim now, and I may yet leave you alone.\"\nThe expressionless head swivels, and the lone yellow eye flashes brighter and then dimmer. \"You have no authority here, World Builder,\" the machine hisses mechanically. \"Hugor came to me freely. He is mine.\"\n\n> Inventory\nYou are carrying the imager.\n\n> You talk to the behemoth\n\"Do not feign innocence, Deceiver. I know that something touched my son when I had imparted my consciousness to him -- lied to him, no doubt, confused him. Told him how to use his ability. Lead him to this prison. No, Minfor, it is not Hugor who initiated this rebellion. I will have my vengeance.\"\nA popping cackle. \"You did not suppose that you were the only one knowing the secrets of sub-dimensional transmission and projected consciousness, did you, World Builder? But I can't claim credit for Hugor's actions, as you well know. You said that Hugor bears your consciousness. If I had the power to control conscious beings, would I not have taken you?\"\n\n> You look at the behemoth\nThe rigid, hulking figure before you defies sense and logic in the way the many plates, cylinders, and connecting tubes are assymetrically positioned. The main part of the \"body\" is a large, roughly box-shaped segment, upon one side of which sits a cylindrical \"head\" with a single oval optic, glowing yellow.\n\nMinfor's incongrouous limbs and components raise themselves higher,\nand he looms over you. \"Unless that is exactly what I did. It seems Hugor was not the only one whom I lead to this prison. Like son, like father. All along, you thought you were acting of your own free choice. But what if I had always been communicating with your thoughts? What if I gave you the idea to create a being capable of opening doors to other dimensions, just so I could eventually conquer all worlds, altering reality according to my will? And now I have both the portal-maker and the mind that conceived him.\"\n\n> You talk to the behemoth\n\"What you say is false, and I can prove it,\" you state calmly.\nThe cylindrical head extends out from the boxy body and bends down\ninto your face. \"How?\"\n\n> Continue\n\"Because I can freely choose to allow you to enslave me and still see my vengeance in the end!\" you declare.\nThe yellow light on the head blinks, and the cylinder swivels.\n\"You can do whatever you want to me, on the condition of Hugor's freedom.\" You square your shoulders and clasp your gauntleted hands together, steepling your thumbs.\nMinfor retracts to its previous height and regards you curiously. A long moment passes. \"Agreed.\" As soon as the word is grated, you see movement out of the corner of your eye, and Hugor is tossed at your feet, beaten and smoldering. A grotesque metallic creature detaches from the right side of his disfigured face and scuttles across the floor to crawl up Minfor, where it disappears somewhere inside the robot's asymmetric mass of components.\n\n> You talk to Hugor\n\"Be strong, son,\" you tell him. He looks up at you weakly, his expression numb.\n\n> You look at Hugor\nThe right side of his face and parts of his body, including his entire right hand, are scorched to the alloy skeleton, marring his human countenance. The imager has gone dark above his brow.\n\n\"Time now!\" Minfor hisses as the opening in the wall of the dome reappears. It bends over to wrap a tentacle around Hugor, roughly throwing him out the opening. From outside, Hugor meets your eyes for a brief moment, and then hangs his head low before the portion of the wall rematerializes.\n\n> You go outside\nLeaving would spoil your plan.\n\nSomething strikes you down from behind. The next thing you know, you are being beaten by a group of cyborgs. They enthusiastically deliver blow after blow. They smash your kneecaps and rake your body with metallic claws, lapping your blood like dogs. As you are tossed around, you occassionally catch a glimpse of Minfor looming behind the cyborgs, watching impassively.\n\n> Attack minfor\nWith your nano augmentation and the field-generating capabilities of your emergency shock suit, you are far from defenseless. But here, you are on enemy territory, and your adversary has access to firepower and backup. Best to find another way out of this.\n\nThe beating ceases as robots break the cyborgs up. Two androids grab you and unceremoniously constrain you to some bent and narrow surface, leaving you hanging in an unnatural position. The light from Minfor's eye blinks in your face. Then the torture begins.\n\n> You talk to Minfor\nNothing remains to be said.\n\nLaser drills bite into your skull and the back of your mouth.\n\n> You wait for a while\nTime passes...\n\nMinfor places a spiny robotic creature onto your forehead. \"The question as to whether or not you act under my compulsion is moot now, for this will allow me to control you quite crudely and efficiently.\" The spines shoot into your skull, piercing your brain. You can feel the thing rifle through your conscious thoughts and memories.\n\nBefore your eyes appears a vision of Minfor, dark and terrible, shrouded in raging flame. Your consciousness is consumed by terror, and you feel an impulse to beg for mercy. But some rational remnant of your mind cannot accept, and your mouth remains closed.\n\n> Wait\nTime passes...\n\nYour consciousness is plunged into pure pain, and agony because the only reality.\n\nThe pain diminishes slightly, and your ears discern hollow, lifeless words. \"The good thing about your projected consciousness is that I don't have to worry about killing you prematurely, since I can simply gather your nanotides and continue my experiments. Let us see if death has any interesting effects.\"\nYou are enveloped in more pain -- a clearly physical pain. All over your body, you feel tiny creatures burrow into your flesh, consuming your organs.\n\n*** YOU HAVE DIED ***"
    },
    {
        "text": "> Look around\nBut Minfor did not understand the relationship between consciousness and dimension. As your mangled body dies and your brain fails, your consciousness breaks free of the dimension barrier and drifts unhindered through the fabric of reality.\n\nAn opaque black expanse covers everything, proclaiming itself to be a whole world, an entire universe. A multitude of machines and cyborgs lurk about, silhouetted against the haphazard red light that unevenly illuminates broken terrain.\nMinfor is here.\n\n> You examine minfor\nThe rigid, hulking figure before you defies sense and logic in the way the many plates, cylinders, and connecting tubes are assymetrically positioned. The main part of the \"body\" is a large, roughly box-shaped segment, upon one side of which sits a cylindrical \"head\" with a single oval optic, glowing yellow.\n\n> About yourself\nYou are human, and you are the World Builder.\n\n> Go outside\nLeaving would spoil your plan.\n\n> You talk to Minfor\nNothing remains to be said."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look at your surroundings\nAn opaque black expanse covers everything, proclaiming itself to be a whole world, an entire universe. A multitude of machines and cyborgs lurk about, silhouetted against the haphazard red light that unevenly illuminates broken terrain.\nMinfor is here.\n\n> Attack minfor\nYou sense every quantum of energy within the encompassing expanse of the dome. You see the entire framework of this reality, and you touch it. The atoms in the wall of the dome quiver as you project your wrath, and the dome violently implodes, burrying Minfor and its minions in a mound of devastation.\n\nFree at last, you drift incorpeally, stretching out to detect your son's aberrant signal elsewhere on the dead planet. He has opened a vortex portal and is about to step through, shoulders slumped. You follow the dimensional lines to the dark, gloomy place on the other side of the portal and promptly sever them. As effortlessly as breathing, you coalesce in front of Hugor, your nanotides forming quarks and atoms that form flesh and blood and bone, until you stand before him just as physically as when you first activated him with your thought.\n\nHugor is here.\n\n> You talk to Hugor\nWords can wait a moment more. Right now, Hugor needs you to restore him.\n\n> You turn on Hugor\nThe imager does not respond to you, but you no longer need it to.\nHugor flinches as you lay a hand on his shoulder but otherwise allows your grip. You project yourself into him, pulsing through his damaged body, causing his atoms to dissassociate but his essence to remain in a cloud of light. The light coalesces, forming a body as living as yours, but with all the perfection of his original android form. He raises his head to look into your eyes, and you feel his own consciousness project into your mind.\nThe imager is gone, but Hugor's brow shines with a pure silver gleam.\n\n> You talk to Hugor\n\"Do not be ashamed, Hugor. All is well. Infinite worlds await!\"\nHugor inhales deeply and looks up at you, smiling softly. He turns\nand raises his right arm, calling forth a bright field of light.\n\nHUGO ZORK: The Great Underground Empire\nA Port of Infocom's Zork I to Hugo\nBeta \nHugo Zork written by John Menichelli\n\"Zork I\" is copyright by Activision and is used without permission Written using Hugo v2.5 by Kent Tessman (c) 1995-1999\n(New players should type \"help\")\n\nYou are standing in an open field west of a white house, with a boarded front door.\nA small mailbox is here."
    },
    {
        "text": "[Themes: Horror, based on songs]\n\nStandard interpreter 1.0 (6b) / Library serial number 080126\nStandard Rules version 2/090402 by Graham Nelson\nCommon Game Code by Eggerich Von Eggermond\nBasic Screen Effects version 7 by Emily Short\n\nYou awake in a room. The space is completely empty apart from a computer screen and a keyboard underneath it, both built into the wall. The screen shows what appears to resemble the back of two hands, their fingertips concealed. Beneath the hands is a question. Like so: _\n_                       _  |U|\n|U|                     |U| | |\n| |                     | | | |\n| |                     | | | |\n| |                     | | | |\n| |                     | | | |\n| |                     | | | |\n_  | |  _   _              | | | |  _   _\n| |_| |_| |_| |             | |_| |_| |_| |\n|             |    _        |             |\n|             |   /0|       |             |\n|             |  / /       _|             |\n|             | / /       / |             |\n|             |/ /       |  |             |\n|               /         \\               |\n|              /           \\              |\n|             /             \\             |\n\nHow many fingers am I holding up?\n\n[Author's Note: A horrifying choice with glorious text-based graphics.]\n\n> 4\nYou cautiously enter \"four\" into the keyboard.\n\nAfter a few moments the screen fades. \"Incorrect,\" a sinister voice whispers behind you. \"Thumbs do not count as fingers!\" You turn around but there is nothing there.\n\nPress ANY KEY to continue.\nYou awake, your dreams forgotten. All that remains is a strange sense of being cheated.\n\n> 4\nYou cautiously enter \"four\" into the keyboard.\n\nAfter a few moments the screen fades out and a disembodied voice whispers, \"Fingertips\" over and over. Then the walls, floor and ceiling slide into the ground. You find yourself in a void. You start to wonder where you may be but as soon enough you black out.\n\nPress ANY KEY to continue.\nYou awake in a cold sweat, safe but unsettled, a strange tingle in your fingertips."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\nEach week, you spend four hours round-trip in a car to take a beginner's fencing class at the Virginia Academy of Fencing in Springfield. It's fun, you tell yourself, and it never hurts to be more active. David, on the other hand, wants to compete. Your husband wants to join the U.S. Fencing Association and begin competing in regional tournaments after only eight weeks of classes, when they tell people to take lessons for a whole year before competing. However, David will want what David will want, and you love your husband dearly, so...\n\nThere's a tournament in Glen Falls this weekend, and you're going. On your last trip to VAF you spent over $900 on electric fencing equipment. The real problem is going to figure out how to use all of it: what plugs into where, which piece you need to put on first, and how to fence with a floor cord holding you back. That's why you and David are going to use tonight, while you have the room at the local library reserved, to practice gearing up for electric.\n\nDavid gets a good parking spot downtown, and the two of you haul the bags of equipment out of the trunk and into the library. The librarians wave at you as you pass, already used to seeing you, and the two of you make your way to one of the larger meeting rooms upstairs to set up the electric strip.\n\nDavid drops his equipment bag near the door and smiles at you. \"I'll put the strip up,\" he says. \"Why don't you go ahead and get your stuff on?\" You look at your bag uncertainly. \"I'm not sure I know where everything goes,\" you say. He grins. \"Me neither,\" he says. \"If you have trouble, let me know, and I'll try to help.\" He takes the bag with the scoring box and floor reels and goes to set up a table. You survey the room.\n\n\n\nPlayers may wish to type ABOUT.\n\nMcIntire Meeting Room, Downtown Library\nA large, open room, with plenty of room for a few fencers to practice. Of course, tonight it's just you and David. A row of tall windows line the western wall, and stacks of chairs are at either end of the long north-south room. The door to the hallway is east. An industrial-type carpet in garish red covers the floor.\n\nThe open windows let in a welcome breeze.\n\n> You look at what you're carrying with you\nYou are carrying:\na fencing bag (which is closed)\n\nDavid pushes the table against the eastern wall.\n\n> You open the bag\nThe bag is bulky enough to get in your way when you try.\n\nDavid notices your conflict, and says, \"You could just put the bag down, love. It'll be fine right there.\"\n\nHe sets the bag of scoring equipment on the table and opens it.\n\n> About you\nYou look just as you always have.\n\nYou are carrying:\na fencing bag (which is closed)\n\nDavid is rummaging in the bag.\n\n> You put the bag on the table\nYou put the fencing bag on the table.\n\nDavid takes a floor reel and floor cord from the bag.\n\n> You open the bag\nYou open the fencing bag, revealing a mask, a jacket, a body cord, an electric foil, a lam?, a glove, a plastron and a chest protector.\n\nHe walks to the north end of the room and sets down the floor reel.\n\n> You examine david\nYour husband is a tall man in his mid-thirties, with clear gray eyes and a wonderfully misshapen nose. His smile lights up your day, and he doesn't smile much except at you: but he smiles a lot at you.\n\nDavid plugs the floor cord into the floor reel.\n\n> You examine david\nYour husband is a tall man in his mid-thirties, with clear gray eyes and a wonderfully misshapen nose. His smile lights up your day, and he doesn't smile much except at you: but he smiles a lot at you.\n\nDavid walks back to the center of the room and looks in the bag on the table.\n\n> You hit David\nViolence isn't the answer to this one.\n\nDavid pulls the scoring box out of the bag and sets it on the table.\n\n> About yourself\nYou look just as you always have.\n\nYou are carrying nothing.\n\nDavid takes the other floor cord out of the bag and plugs one end into the box.\n\n> You examine the d-the ring\nThe D-ring is sewn onto the back of your lam?. Its purpose is solely to give the hook from the floor reel something to latch onto, to give the three-prong connection a bit of slack and make your life easier.\n\nDavid takes the other reel from the bag.\n\n> You look at the box\nA handy little device: this is the thing that makes it all work. The scoring box lights up whenever a fencer (properly plugged in, of course) scores a touch, and lets you know whether it was on-target (on the lam?) or off-target (anywhere else) by lighting up either the fencer's colored light (on) or white light (off). You're fencing on the right side, so the green light is yours, and the red light is David's.\n\nHe walks down to the south end of the room, and winks at you.\n\n> You get the box\nThere's no reason to do anything besides look at the lights.\n\nSetting the floor reel on the carpet, David plugs the free end of the floor cord into it.\n\n> You look at the lights\nA handy little device: this is the thing that makes it all work. The scoring box lights up whenever a fencer (properly plugged in, of course) scores a touch, and lets you know whether it was on-target (on the lam?) or off-target (anywhere else) by lighting up either the fencer's colored light (on) or white light (off). You're fencing on the right side, so the green light is yours, and the red light is David's.\n\nDavid turns to survey his work.\n\n> Examine reel\nThe floor reel is made to connect you to the floor cord. It's supposed to sit at the end of the strip, and the floor cord plugs into it. The hook that comes out the front attaches to the fencer's body cord, and when released it retracts like a self-retracting tape measure. Your floor reels are Uhlmann made, with dark blue plastic casing and rubber feet to keep them in place.\n\n\"Oops,\" David says, \"I forgot to plug in the box.\"\n\n> You plug the floor cord into the floor reel\nDavid will plug in all of the floor cords. Just worry about your own stuff for now.\n\nHe walks back to the table in the center of the east wall.\n\n> You look in the bag\nIn the fencing bag are a mask, a jacket, a body cord, an electric foil, a lam?, a glove, a plastron and a chest protector.\n\nDavid peers in the bag and gets out the AC adapter for the scoring box.\n\n> You plug the reel into the body cord\nYou're not suited up enough to plug in yet.\n\nDavid plugs the adapter into the box.\n\n> You look at the chest protector\nThe chest protector is hard plastic, molded to fit your body. Females are required to wear them at USFA competitions, and you're just as glad, since it really cuts down on the bruises. The elastic bands hook behind your back like a bra.\n\nHe plugs the free end of the adapter into the electrical outlet in the wall.\n\n> You look at the plastron\nThe plastron is a thin, white, half-shirt, designed to protect the underarm of your weapon arm from an errant hit. It has elastic bands to secure it in place, and it is supposed to go on under everything else.\n\n\"There!\" David says, looking over the electric strip in satisfaction. He turns to you. \"Now, let's get suited up and then we can fence!\"\n\n> You get the chest protector\nTaken.\n\nDavid looks you over. \"Looks like you don't quite have all your stuff. Check in your bag--if you need help with something, show it to me.\"\n\n> You wear it\nYou start to pull the chest protector on, but the unfamiliar cold plastic stops you. Ah yes, you're supposed to have the plastron on underneath!\n\nMeanwhile, David gets his gear on amazingly fast. He says, \"We'll salute as soon as we're both ready.\"\n\n> You get the plastron\nTaken.\n\nDavid connects to the far floor reel. \"I'm about ready,\" he says.\n\n> You wear it\nYou put on the plastron.\n\n> Wear the chest\nYou put on the chest protector.\n\n> You examine the jacket\nYour jacket covers your torso and arms while you fence. They are required to be white, and yours zips up the front (making it much easier to put on by yourself). Although the FIE requires 800 Newton resistance, you are merely fencing in the USFA, which has much more lax requirements than its European counterpart, so yours is only rated at 350 Newtons.\n\n> You get the glove\nTaken.\n\n> You examine it\nWhite, with leather on the palm for a better grip.\n\n> You wear it\nYou put on the glove.\n\n> You wear the jacket\n(first taking the jacket)\nYou must unzip the jacket before you can put it on.\n\n> You unzip it\nYou fumble with the zipper, but the glove is too thick to allow you to get a good grasp.\n\n> You remove glove\nYou take off the glove.\n\n> You unzip the jacket\nYou unzip the jacket.\n\n> You wear the jacket\nYou slide the clean, white jacket on and tug it into place.\n\n> Zip jacket\nYou zip up the jacket, tugging the zipper up to make sure it's all the way up.\n\n> You examine the bag\nYour fencing bag is a calming maroon color. It's long enough to hold a foil, and deep enough to hold your mask, clothes, and all the other cords and things you need for fencing.\n\n> Wear glove\nYou put on the glove.\n\n> Search bag\nIn the fencing bag are a mask, a body cord, an electric foil and a lam?.\n\n> You wear the mask\n(first taking the mask)\nYou put on the mask.\n\n> You wear the cord\n(the floor cord)\n(first taking the floor cord)\nDavid will plug in all of the floor cords. Just worry about your own stuff for now.\n\n> You wear lame\n(first taking the lam?)\nThe mask blocking your peripheral vision makes your task difficult. You seem to remember it's the very last piece of equipment to go on, just before you begin a bout.\n\n> You wear lame\nYou take off the mask.\nYou must unzip the lam? before you can put it on.\n\n> You wear it\nYou fumble with the zipper, but the glove is too thick to allow you to get a good grasp.\nYou must unzip the lam? before you can put it on.\n\n> You remove glove\nYou take off the glove.\n\n> You wear it\nYou unzip the lam?.\nYou struggle to get your jacketed arms through the small openings in the lam?. Finally, you get it on.\n\n> Wear glove\nYou put on the glove.\n\n> Search bag\nIn the fencing bag are a body cord and an electric foil.\n\n> You examine it\nYour body cord is used in electric fencing to connect several different circuits of electricity. On one end, the two-prong connector attaches to your electric foil. The other end has an alligator clip, to hook to your lam?, and a three-prong connector, to plug into the floor reel. In between is about five feet of insulated wiring, which is supposed to run up your sleeve and down your back.\n\n> You attach it to the lame\nThat's not supposed to attach directly to the lam?. You may wish to attach it to the D-ring, or it may not be necessary at all.\n\n> You put the bag on the table\nYou put the fencing bag on the table.\n\nDavid pushes the table against the eastern wall.\n\n> You open the bag\nYou open the fencing bag, revealing a mask, a jacket, a body cord, an electric foil, a lam?, a glove, a plastron and a chest protector.\n\nHe sets the bag of scoring equipment on the table and opens it.\n\n> You get the body cord\nTaken.\n\nDavid is rummaging in the bag.\n\n> You examine it\nYour body cord is used in electric fencing to connect several different circuits of electricity. On one end, the two-prong connector attaches to your electric foil. The other end has an alligator clip, to hook to your lam?, and a three-prong connector, to plug into the floor reel. In between is about five feet of insulated wiring, which is supposed to run up your sleeve and down your back.\n\nDavid takes a floor reel and floor cord from the bag.\n\n> You get the plastron then wear it\nTaken.\n\nHe walks to the north end of the room and sets down the floor reel.\nYou put on the plastron.\n\nDavid plugs the floor cord into the floor reel.\n\n> You get the chest protector then wear it\nTaken.\n\nDavid walks back to the center of the room and looks in the bag on the table.\nYou put on the chest protector.\n\nDavid pulls the scoring box out of the bag and sets it on the table.\n\n> You get lame then wear it\nTaken.\n\nHe plugs the free end of the first floor cord into the scoring box.\nYou could put the lam? on, but you know it would make more sense to put the jacket on first.\n\nDavid takes the other floor cord out of the bag and plugs one end into the box.\n\n> You get the jacket\nTaken.\n\nDavid takes the other reel from the bag.\n\n> You wear the jacket\nYou must unzip the jacket before you can put it on.\n\nHe walks down to the south end of the room, and winks at you.\n\n> You unzip it\nYou unzip the jacket.\n\nSetting the floor reel on the carpet, David plugs the free end of the floor cord into it.\n\n> You wear it\nYou slide the clean, white jacket on and tug it into place.\n\nDavid turns to survey his work.\n\n> You wear lame\nYou stop to think. It'd be silly to put the lam? on over your unzipped jacket.\n\n\"Oops,\" David says, \"I forgot to plug in the box.\"\n\n> You zip the jacket then wear lame\nYou zip up the jacket, tugging the zipper up to make sure it's all the way up.\n\nHe walks back to the table in the center of the east wall.\nYou must unzip the lam? before you can put it on.\n\nDavid peers in the bag and gets out the AC adapter for the scoring box.\n\n> You unzip lame\nYou unzip the lam?.\n\nDavid plugs the adapter into the box.\n\n> You wear lame\nYou struggle to get your jacketed arms through the small openings in the lam?. Finally, you get it on.\n\nHe plugs the free end of the adapter into the electrical outlet in the wall.\n\n> Zip lame\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit.\n\n\"There!\" David says, looking over the electric strip in satisfaction. He turns to you. \"Now, let's get suited up and then we can fence!\"\n\n> You show the cord to David\n(the body cord to David)\n\"Hm,\" David says. \"You need to put the two-prong connector into your jacket sleeve. Try that.\"\n\nDavid looks you over. \"Looks like you don't quite have all your stuff. Check in your bag--if you need help with something, show it to me.\"\n\n> You put the connector in the sleeve\nWhich do you mean, the two-prong connector or the three-prong connector?\n\n> You put two-prong connector into jacket sleeve\nThat would be far too difficult for you to try while you're wearing the jacket. You're just not that coordinated yet.\n\nMeanwhile, David gets his gear on amazingly fast. He says, \"We'll salute as soon as we're both ready.\"\n\n> You remove the jacket\nYou'll have to take off the lam? first.\n\nDavid connects to the far floor reel. \"I'm about ready,\" he says.\n\n> You put two-prong connector into the jacket sleeve\nThat would be far too difficult for you to try while you're wearing the jacket. You're just not that coordinated yet.\n\n> You remove the lame\nIt's almost impossible to take off a lam? while it's zipped up; you're pretty sure about that one.\n\n> You remove the jacket\nYou'll have to take off the lam? first.\n\n> You unzip the lame then remove the lame then unzip the jacket then remove the jacket\nYou unzip the lam?.\nTaking off the lam? is almost as much of a struggle as putting it on, but somehow you manage.\n\nYou get the thing off, eventually.\nYou unzip the jacket.\nYou pull your arms out of the slightly sweaty sleeves. It takes a bit of flapping, but you manage to get out of the jacket.\n\n> You remove the jacket\nThat's already open.\nTaking off the lam? is almost as much of a struggle as putting it on, but somehow you manage.\n\nYou're not wearing that.\nYou're not wearing that.\n\n> You put two-prong connector into the jacket sleeve\nYou slide the two-prong end of the body cord into the jacket sleeve.\n\n> You wear the jacket\nYou could put the lam? on, but you know it would make more sense to put the jacket on first.\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit.\nYou pull the jacket on, trying to keep the dangling bits of the body cord out of the way. What a pain!\n\n> You show the cord to David\n(the floor cord to David)\n(first taking the floor cord)\nDavid will plug in all of the floor cords. Just worry about your own stuff for now.\n\n> You show body cord to David\n(first taking the body cord)\n\"Hm,\" David says. \"You need to put the two-prong connector into your jacket sleeve. Try that.\"\n\n> Inventory\nYou are carrying:\na body cord\na jacket (being worn and open but empty)\na lam?\na chest protector (being worn)\na plastron (being worn)\n\n> You zip it\nYou unzip the lam?.\nYou stop to think. It'd be silly to put the lam? on over your unzipped jacket.\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit."
    },
    {
        "text": "[Themes: Slice of life, female protagonist]\n\n> You look in the bag\nIn the fencing bag are a mask, an electric foil and a glove.\n\n> Wear glove\n(first taking the glove)\nYou put on the glove.\n\n> You get the foil\nTaken.\n\n> Glove\nmask: You already have that.\nglove: You already have that.\n\n> You look at what you're carrying with you\nYou are carrying:\na mask (being worn)\nan electric foil\na glove (being worn)\na body cord\na jacket (being worn and open but empty)\na lam?\na chest protector (being worn)\na plastron (being worn)\n\n> You remove all\nAC adapter: Just let it be.\nfloor cord: David will plug in all of the floor cords. Just worry about your own stuff for now.\nfloor reel: There's no need to move either of the reels; David will have them just where he wants them.\nDavid: This isn't really the time or the place, is it?\nstrip: That's hardly portable.\ncarpet: That's hardly portable.\ncomfy chair: That's hardly portable.\nwindow area: That's hardly portable.\ntable: That's hardly portable.\n\n> You take off the mask\nYou take off the mask.\n\n> You take off the glove\nYou take off the glove.\n\n> Doff lame\nTaking off the lam? is almost as much of a struggle as putting it on, but somehow you manage.\n\nYou're not wearing that.\n\n> You unzip the jacket then doff it\nThat's already open.\nYou pull your arms out of the slightly sweaty sleeves. It takes a bit of flapping, but you manage to get out of the jacket.\n\n> You wear the jacket then zip it\nYou pull the jacket on, trying to keep the dangling bits of the body cord out of the way. What a pain!\nYou zip up the jacket, tugging the zipper up to make sure it's all the way up.\n\n> You wear lame then zip it\nYou struggle to get your jacketed arms through the small openings in the lam?. Finally, you get it on.\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit.\n\n> You wear mask\nYou put on the mask.\n\n> Salute\nFirst things first: you NEVER salute with a mask on. It's considered very rude.\n\n> You remove the mask\nYou take off the mask.\n\n> Inventory\nYou are carrying:\na mask\nan electric foil\na glove (being worn)\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> You look\nMcIntire Meeting Room, Downtown Library\nA large, open room, with plenty of room for a few fencers to practice. Of course, tonight it's just you and David. A row of tall windows line the western wall, and stacks of chairs are at either end of the long north-south room. The door to the hallway is east. An industrial-type carpet in garish red covers the floor.\n\nOn the table are a scoring box, a bag of scoring equipment (which is empty) and a fencing bag (which is empty).\n\nThe open windows let in a welcome breeze.\n\nYou can also see an AC adapter, a floor cord and a floor reel here.\n\n> You look at the foil\nYou've brought your best electric foil along for today's lesson. The blade is 36 inches long, and the whole thing weighs just under 500 grams. Your bell guard is still nice and shiny, thanks to a lack of use. The grip is a pistol grip of the Visconti style, painted blue so you can tell it apart from David's. There's also a two-prong receptacle for your body cord to plug into.\n\n> You plug two-prong in the foil\nYou attach the two-prong connector, which pokes out through your sleeve next to your glove, to the foil. It clicks into place.\n\n> You plug three-prong\nWhat do you want to plug the three-prong connector in?\n\n> Scoring\nWhich do you mean, the scoring box or the bag of scoring equipment?\n\n> Examine box\nA handy little device: this is the thing that makes it all work. The scoring box lights up whenever a fencer (properly plugged in, of course) scores a touch, and lets you know whether it was on-target (on the lam?) or off-target (anywhere else) by lighting up either the fencer's colored light (on) or white light (off). You're fencing on the right side, so the green light is yours, and the red light is David's.\n\n> Examine reel\nThe floor reel is made to connect you to the floor cord. It's supposed to sit at the end of the strip, and the floor cord plugs into it. The hook that comes out the front attaches to the fencer's body cord, and when released it retracts like a self-retracting tape measure. Your floor reels are Uhlmann made, with dark blue plastic casing and rubber feet to keep them in place.\n\n> You look at the strip\nThe \"strip\" is the area that fencers actually fence on. In your tournament on Saturday, the strips will be drawn out on the floor in paint or tape: one meter wide by fourteen meters long, with warning lines and en guarde lines and everything. Here, you and David just make your best guess as to where the lines are. But today, you have a real strip set up in some respects: the table in the middle of the eastern wall holds the scoring box, which is connect via the floor cords to a floor reel, one at either end of the strip. That's all it takes for you and David to plug in and have a real electric bout.\n\n> You plug three-prong into the reel\nYou connect the three-prong end of the body cord with the hook out of the floor reel. Getting close to fencing time!\n\n> Inventory\nYou are carrying:\na mask\nan electric foil\na glove (being worn)\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> About yourself\nYou look just as you always have.\n\nYou are carrying:\na mask\nan electric foil\na glove (being worn)\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> You show it to David\nDavid looks your foil over. \"Looks like it's in working condition,\" he says. \"Just hang on to it until we're ready to fence. You'll need it for the salute!\" His eyes twinkle at you.\n\n> You examine the glove\nWhite, with leather on the palm for a better grip.\n\n> You show it to David\n\"Not much I can do to help with that,\" David says. \"You'll just have to put it on.\"\n\n> Wear glove\nYou're already wearing that!\n\n> You wear mask\nYou put on the mask.\n\n> You examine the jacket\nYour jacket covers your torso and arms while you fence. They are required to be white, and yours zips up the front (making it much easier to put on by yourself). Although the FIE requires 800 Newton resistance, you are merely fencing in the USFA, which has much more lax requirements than its European counterpart, so yours is only rated at 350 Newtons.\n\n> You show jacket to David\nDavid takes the jacket from you and holds it so you can slip your arms in easier. \"Here,\" he says.\n\n\"Oh, wait a sec,\" David says. \"Let me unzip it first.\" He tugs the zipper down and opens the jacket. \"Okay, go ahead.\"\n\nThe mask blocking your peripheral vision makes your task difficult. You seem to remember it's the very last piece of equipment to go on, just before you begin a bout.\n\n> You show the jacket to David\nDavid takes the jacket from you and holds it so you can slip your arms in easier. \"Here,\" he says.\n\n\"Oh, wait a sec,\" David says. \"Let me unzip it first.\" He tugs the zipper down and opens the jacket. \"Okay, go ahead.\"\n\nYou're already wearing that!\n\n> You wear the body cord\n(first taking the body cord)\nYou can't wear that!\n\n> You look at what you're carrying with you\nYou are carrying:\na body cord\na mask\nan electric foil\na glove (being worn)\na jacket (being worn and open but empty)\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> You put the body cord in the jacket\nThat would be far too difficult for you to try while you're wearing the jacket. You're just not that coordinated yet.\n\n> You examine two-prong\nThe two-prong end attaches to your electric foil. The blue plastic casing is marked with a stylized \"U\" for \"Uhlmann,\" the company in Germany that made it.\n\n> You attach the alligator clip to the lame\nYou attach the alligator clip directly to the metal vest, remembering to put it on the weapon arm side of your body as the rules require.\n\n> Doff glove then unzip lame then doff lame then unzip jacket then doff jacket\nYou take off the glove.\nYou unzip the lam?.\nTaking off the lam? is almost as much of a struggle as putting it on, but somehow you manage.\n\nYou get the thing off, eventually.\nThat's already open.\nYou pull your arms out of the slightly sweaty sleeves. It takes a bit of flapping, but you manage to get out of the jacket.\n\n> You show the jacket to David\nDavid takes the jacket from you and holds it so you can slip your arms in easier. \"Here,\" he says.\n\nYou pull the jacket on, trying to keep the dangling bits of the body cord out of the way. What a pain!\n\n> You wear the jacket then zip jacket then wear lame then zip lame\nYou're already wearing that!\nYou zip up the jacket, tugging the zipper up to make sure it's all the way up.\nYou struggle to get your jacketed arms through the small openings in the lam?. Finally, you get it on.\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit.\n\n> Inventory\nYou are carrying:\na mask\nan electric foil\na glove\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> You hold the foil\nYou already have that.\n\n> You wear mask\nYou put on the mask.\n\n> Salute\nFirst things first: you NEVER salute with a mask on. It's considered very rude.\n\n> You ask David about the foil\n\"I don't know, love,\" David says. \"Can it wait until later?\"\n\n> You remove the glove then open the mask\nYou take off the glove.\nThat's not something you can open.\n\n> You show lame to David\n\"Oh, these things are a pain,\" David says. David unzips the lam? on the sly, so as not to draw your attention to the fact that he's doing it. He holds the lam? up for you to put one jacketed arm through, then helps guide your other arm into the small hole. He turns you around to face him, and straightens the lam? for you. \"There you are,\" he says, and kisses your cheek.\n\n> Wear glove\nThe mask blocking your peripheral vision makes your task difficult. You seem to remember it's the very last piece of equipment to go on, just before you begin a bout.\n\n> Inventory\nYou are carrying:\na mask (being worn)\nan electric foil\na glove\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na chest protector (being worn)\na plastron (being worn)\n\n> Doff mask then wear glove then wear mask\nYou take off the mask.\nYou put on the glove.\nYou put on the mask.\n\n> You examine the cord\n(the floor cord)\nThe floor cords are nothing more than long, insulated wires that carry electrical current between the floor reels and the scoring box.\n\n> You show the protector to David\nDavid smiles at you. He holds the chest protector out for you, and you slip your arms under the straps. The mask blocking your peripheral vision makes your task difficult. You seem to remember it's the very last piece of equipment to go on, just before you begin a bout.\n\n> You look at three\nThis end is about two inches wide, with three metal prongs protruding from blue plastic casing. The plastic is marked with a stylized \"U.\"\n\n> You show the protector to David\nDavid smiles at you. He holds the chest protector out for you, and you slip your arms under the straps. You're already wearing that!\n\n> You show the plastron to David\nDavid takes the plastron from you and holds it out. You work your arm in, and let David make the connections to keep it on.\n\n> About yourself\nYou look just as you always have.\n\nYou are carrying:\na mask\nan electric foil\na glove (being worn)\na jacket (being worn and closed)\na body cord\n\n> You examine the d-the ring\nThe D-ring is sewn onto the back of your lam?. Its purpose is solely to give the hook from the floor reel something to latch onto, to give the three-prong connection a bit of slack and make your life easier.\n\n> You attach the d-the ring to the lame\nThat's not supposed to attach directly to the lam?. You may wish to attach it to the D-ring, or it may not be necessary at all.\n\n> You put the cord in the d-the ring\n(the floor cord in the D-ring)\nDavid will plug in all of the floor cords. Just worry about your own stuff for now.\n\n> Wear glove\nYou're already wearing that!\n\n> You attach the hook to the cord\n(the floor cord)\nYou would achieve nothing by this.\n\n> You examine hook\nThe hook has a receptacle for the three-prong connector of the body cord, and it also attaches to the fencer's D-ring to prevent unnecessary pulling on the body cord.\n\n> You examine david\nYour husband is a tall man in his mid-thirties, with clear gray eyes and a wonderfully misshapen nose. His smile lights up your day, and he doesn't smile much except at you: but he smiles a lot at you.\n\n> You drop the bag\nYou set the bag down, out of the way against a wall.\n\nDavid pushes the table against the eastern wall.\n\n> You open it\nYou open the fencing bag, revealing a mask, a jacket, a body cord, an electric foil, a lam?, a glove, a plastron and a chest protector.\n\nHe sets the bag of scoring equipment on the table and opens it.\n\n> You take the plastron\nTaken.\n\nDavid is rummaging in the bag.\n\n> You wear it\nYou put on the plastron.\n\nDavid takes a floor reel and floor cord from the bag.\n\n> You take lame\nTaken.\n\nHe walks to the north end of the room and sets down the floor reel.\n\n> You take body cord\nTaken.\n\nDavid walks back to the center of the room and looks in the bag on the table.\n\n> You take the jacket\nTaken.\n\nDavid pulls the scoring box out of the bag and sets it on the table.\n\n> You unzip lame\nYou unzip the lam?.\n\nHe plugs the free end of the first floor cord into the scoring box.\n\n> You unzip the jacket\nYou unzip the jacket.\n\nDavid takes the other floor cord out of the bag and plugs one end into the box.\n\n> You look at the jacket\nYour jacket covers your torso and arms while you fence. They are required to be white, and yours zips up the front (making it much easier to put on by yourself). Although the FIE requires 800 Newton resistance, you are merely fencing in the USFA, which has much more lax requirements than its European counterpart, so yours is only rated at 350 Newtons.\n\nDavid takes the other reel from the bag.\n\n> You attach body cord to the jacket\nYou would achieve nothing by this.\n\nHe walks down to the south end of the room, and winks at you.\n\n> You examine the sleeve\nYour jacket covers your torso and arms while you fence. They are required to be white, and yours zips up the front (making it much easier to put on by yourself). Although the FIE requires 800 Newton resistance, you are merely fencing in the USFA, which has much more lax requirements than its European counterpart, so yours is only rated at 350 Newtons.\n\nSetting the floor reel on the carpet, David plugs the free end of the floor cord into it.\n\n> You look at the body cord\nYour body cord is used in electric fencing to connect several different circuits of electricity. On one end, the two-prong connector attaches to your electric foil. The other end has an alligator clip, to hook to your lam?, and a three-prong connector, to plug into the floor reel. In between is about five feet of insulated wiring, which is supposed to run up your sleeve and down your back.\n\nDavid turns to survey his work.\n\n> You put the body cord in the sleeve\nYou slide the two-prong end of the body cord into the jacket sleeve.\n\n\"Oops,\" David says, \"I forgot to plug in the box.\"\n\n> You wear the jacket\nYou start to pull the jacket on, but something feels funny. Your front seems very... unprotected. Maybe there's another piece you're supposed to wear first.\n\nHe walks back to the table in the center of the east wall.\n\n> You wear the chest protector\n(first taking the chest protector)\nYou put on the chest protector.\n\nDavid peers in the bag and gets out the AC adapter for the scoring box.\n\n> You wear the jacket\nYou pull the jacket on, trying to keep the dangling bits of the body cord out of the way. What a pain!\n\nDavid plugs the adapter into the box.\n\n> Zip jacket\nYou zip up the jacket, tugging the zipper up to make sure it's all the way up.\n\nHe plugs the free end of the adapter into the electrical outlet in the wall.\n\n> You wear lame\nYou struggle to get your jacketed arms through the small openings in the lam?. Finally, you get it on.\n\n\"There!\" David says, looking over the electric strip in satisfaction. He turns to you. \"Now, let's get suited up and then we can fence!\"\n\n> Zip lame\nYou zip up the lam?, and adjust the Velcro at the collar to make sure you have a proper fit.\n\nDavid looks you over. \"Looks like you don't quite have all your stuff. Check in your bag--if you need help with something, show it to me.\"\n\n> You attach the alligator clip to the lame\nYou attach the alligator clip directly to the metal vest, remembering to put it on the weapon arm side of your body as the rules require.\n\nMeanwhile, David gets his gear on amazingly fast. He says, \"We'll salute as soon as we're both ready.\"\n\n> You attach two-prong to the foil\nYou attach the two-prong connector, which pokes out through your sleeve next to your glove, to the foil. It clicks into place.\n\nDavid connects to the far floor reel. \"I'm about ready,\" he says.\n\n> You put the reel in the d-the ring\nThere's no need to move either of the reels; David will have them just where he wants them.\n\n> You attach three-prong to the reel\nYou connect the three-prong end of the body cord with the hook out of the floor reel. Getting close to fencing time!\n\n> Wear glove\n(first taking the glove)\nYou put on the glove.\n\n> Inventory\nYou are carrying:\na glove (being worn)\nan electric foil\na chest protector (being worn)\na jacket (being worn and closed)\na body cord\na lam? (being worn)\na plastron (being worn)\n\n> You ask David about the reel\n\"I don't know, love,\" David says. \"Can it wait until later?\"\n\n> You attach the reel to the d-the ring\nYou attach the hook from the floor reel to the D-ring on your lam?. One step closer to fencing!\n\n> Salute\nYou raise your foil in a traditional salute towards David. He smiles at you, and you sweep the blade downward to finish the salute. You are now (almost) ready to fence!\n\n> Fence\nYou drop into your en guarde position, pleased to see David doing the same. You have fenced him often enough to know that you need to hang back, wait, and try to parry (or block) his attack, and riposte (or attack immediately after parrying). You take a few cautious steps forward (advances) and back (retreats), while waiting for him to make the first move. The floor cord tugs gently at you, through the hook-up on the D-ring, but after a few moments you don't notice it at all.\n\nDavid makes a few feints, which you ignore, and then suddenly he is attacking! You try to parry, but it comes too late, and a loud buzz emanates from the scoring box. You look at the box, and see David's red light glowing, indicating that he scored a valid touch. You knew that much; you can still feel the spot on your chest where he landed. But to see it on the box is so exciting!\n\n\"One,\" you say to David, holding up a finger to indicate that he scored a touch. He nods, and backs up to his en guarde line. You both pause, and then begin fencing again. This time, you think, maybe it isn't such a good idea to try to defend, since he is so much faster than I am! With that in mind, you spring forward, tapping David's blade aside as you lunge (a \"beat attack\"). But David is fast, and he recovers from the beat in time to parry your attack. His riposte comes for you, and you do your best to parry it, but the buzzing of the score box can't be denied.\n\nThis time, there are two lights: David's red on-target light, and your white off-target light. You must have hit him off-target somewhere in there. Since the two of you are pretty new to the sport, and you have no director or referee to oversee your bout, you both shrug. Right-of-way, or \"priority,\" can be hard to call, so you decide to throw it out.\n\n.....\n\nYou and David spend the next hour practicing with your electric equipment, preparing for Saturday's tournament in Glen Falls. You don't expect to win any bouts in the tournament, and maybe not even to score any touches, but you feel confident you will at least know how to hook up."
    },
    {
        "text": "[Themes: Humor, birds, garden, slapstick, cat]\n\nIn April, three months after you bought the house, the snow finally melts and for the first time you see how your new garden really looks like. It's not that bad, actually; you probably don't need to do much to make it look really nice. Armed with a to-do list and an upbeat attitude you go to work.\n\nThis game is free software. See LICENSE for details.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond. Flowers are already in full bloom in the flower bed and there's an empty patch ready for vegetables. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n[Author's Note: When the snow melts it's time to make that garden of yours look better than ever.]\n\n> Inventory\nYou're carrying a to-do list, a gold fish in a plastic bag, and some tomato seeds.\n\n> You examine the list\nIt's a list of things that are easy to do to get you started:\n\n- Plant the tomatoes\n- Put the fish in the pond\n- Water the lawn\n\n> You look at the hydrant\nIt's basically a pipe with a valve on it. The mouth part has a connection where a hose can be attached.\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the shed\nIt's a delightfully retro little garden shed.\n\n> You enter the shed\nYou go inside the garden shed.\n\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nAn orange garden hose is hanging from a holder in the wall.\n\n> You examine fish\nThe fish is quite large for a goldfish. The saleswoman at the pet store said it would do well in an outdoor pond. It's swimming around in its temporary plastic home.\n\n> You examine junk\nThe boxes are full of various junk, some related to gardening and some not. None of them are originally yours, the previous owner left them here for you to take care of.\n\n> You examine the newspapers\nOn closer inspection it's not newspaper after all but pages torn from books. From Jack Mills pocket books, to be precise.\n\n> You look at the hose\nIt's quite long and... orange.\n\n> You take the hose\nTaken.\n\n> You read the pages\n\"The slammer was a depressing mixture of displeasing white and uncaring gray. I walked past the empty cells listening to the steady click-clack of my steps echoing from the walls. In the last cell I found Professor Humphrey...\"\n\nNo wonder someone wanted to plaster it on the walls.\n\n> You examine the seeds\nThe tomato seeds are in a small bag. They are supposedly super easy - just throw them in the soil and let them grow.\n\n> You read the list\nIt's a list of things that are easy to do to get you started:\n\n- Plant the tomatoes\n- Put the fish in the pond\n- Water the lawn"
    },
    {
        "text": "[Themes: Humor, cat, slapstick]\n\n> Look around\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\n> Exit\nYou return to the garden.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond. Flowers are already in full bloom in the flower bed and there's an empty patch ready for vegetables. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n> You examine the pond\nThe pond is small but very beautiful..\n\n> You examine the patch\nThe vegetable patch is just waiting for seeds.\n\n> You attach the hose to the hydrant\nWith some effort you screw the other end of the hose to the hydrant.\n\n> You examine the flowers\nThe flowers are petunias and poppies, you guess. At the moment there seem to be much more weeds than flowers in the flower bed.\n\n> You take the weeds\nYou get on your knees and pull each weed carefully out around the flowers. It takes a good thirty minutes, but the result looks really nice. Never mind the aching fingers.\n\n> You read the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes\n- Put the fish in the pond\n- Water the lawn\n\n> Plant seeds\nYou throw the tomato seeds evenly on the vegetable patch and spread some soil over them. That was easy.\n\n> You put the fish in the the pond\nThe fish leaps from the plastic bag into the pond and starts to swim around in circles. In the spur of the moment you decide to name it \"Wensleydale\".\n\n> Water lawn\nYou carefully hose the entire lawn and turn the water off when you're done. In your eyes the grass is already looking much greener!\n\nWell, that was the last chore and everything is now done! Looks like you are better at this than you even imagined!\n\nNo, wait, what's that mound right in the middle of the garden? Ugh, it's a molehill. Better hose the bugger out while you're at it before the entire garden gets full of those.\n\n> You examine the molehill\nIt's a small pile of dirt.\n\n> Inventory\nYou're carrying a to-do list.\n\n> You look at the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes (done!)\n- Put the fish in the pond (done!)\n- Water the lawn (done!)\n\n> Hose molehill\nIt wouldn't help just to wash the mound away. You need to flood the tunnels.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\n> You go outside\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant.\n\n> You put the hose in the molehill\nYou tuck the end of the hose inside the mole hill.\n\n> You turn on the water\n(the yard hydrant)\nYou approach the hydrant and see a little cuddly bunny by the shed. \"Oh, how delightful!\" you exclaim. The bunny scurries away.\n\nYou turn the valve and a spray of water from the hose soaks you through. You cut the water quickly. The bunny must've had a taste of the hose.\n\nBother.\n\n> You look at the hose\nIt's quite long and... orange.\n\n> You turn on the water\n(the yard hydrant)\nNot before you've found a way to mend the hose!\n\n> You take the hose\nIt should stay until the mole is thoroughly hosed out.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nNow let's see... There, right on top of a box, is a roll of silvery duct tape.\n\n> You examine the duct tape\nIt's silvery and it can repair anything.\n\n> You take the duct tape\nTaken.\n\n> You leave\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nA lonely crow lands on the vegetable patch. It pecks around the soil for a bit, then two others arrive. They start digging and eating the tomato seeds.\n\n\"Hey! Get out of there, you little pests!\" you scream but the birds ignore you.\n\nBother.\n\n> You check what you're carrying\nYou're carrying a roll of duct tape and a to-do list.\n\n> Mend hose\nYou roll a few layers of tape arond the leaking spot. It looks like it could hold now.\n\n> You scare the crows\nYou approach the vegetable patch and the crows fly off. They return right after you've moved two paces away.\n\n> You turn on the hose\nYou turn the valve and water starts to flow underground. You decide to leave it on for a while, just to be sure.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\nLet's see... Yes, there should be something useful here for this situation.\n\nYou can see a coverall and a rake here.\n\n> You take the coverall\nTaken.\n\n> You look at coverall\nIt's a smallish dark green coverall. It has seen a lot of use.\n\n> You examine the rake\nIt's a rusty rake that's missing few teeth.\n\n> You put the coverall on the rake\nYou put the rake inside the coverall to support it and you have yourself a makeshift scarecrow. Hopefully it works.\n\n> Leave\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nSome crows are eating away the tomato seeds you just planted.\n\n> You put the scarecrow in the garden\nWhich do you mean, the garden hose, or the lawn?\n\n> You put the scarecrow in the vegetable patch\nYou stick the scarecrow in the middle of the vegetable patch. The crows fly away and - they aren't returning! Hooray!\n\n> You examine the fish\nWensleydale makes cheerful little circles in its new home.\n\n> You examine the grass\nThe grass is looking good.\n\n> You look at the molehill\nIt's a small pile of dirt. The other end of the hose is tucked inside.\n\n> Wait\nTime passes."
    },
    {
        "text": "> Look around\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\n> You look at the list\nIt's a list of things that are easy to do to get you started:\n\n- Remove weeds from the flower bed (done!)\n- Plant the tomatoes (done!)\n- Put the fish in the pond (done!)\n- Water the lawn (done!)\n\n> You turn on the hose\nThe water is already flowing.\n\n> You turn off the hose\nIt should stay until the mole is thoroughly hosed out.\n\n> You examine the vegetable patch\nThe vegetable patch is hiding tomato seeds in its soil.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\n> Go outside\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\n> Wait\nTime passes.\n\n> You examine the pond\nWensleydale is swimming in little circles in the water..\n\n> Xyzzy\nMaybe in some fantastic realm a garden would take care of itself with appropriately chosen magic words. Unfortunately this is not one of those realms.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Sing\nYour singing is abominable.\n\n> Dance\nYou'd make a fool of yourself.\n\n> You turn off the water\n(the yard hydrant)\nIt should stay until the mole is thoroughly hosed out.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nIt's a delightful little shed even though it has seen better days. Wear and tear just adds to the charm. The walls have been plastered with pages from books and there are several boxes full of miscellaneous junk.\n\n> You read the pages\n\"The slammer was a depressing mixture of displeasing white and uncaring gray. I walked past the empty cells listening to the steady click-clack of my steps echoing from the walls. In the last cell I found Professor Humphrey...\"\n\nNo wonder someone wanted to plaster it on the walls.\n\n> Yes\ndebugcheapnitfol quit with exit status: 0\n\nIn April, three months after you bought the house, the snow finally melts and for the first time you see how your new garden really looks like. It's not that bad, actually; you probably don't need to do much to make it look really nice. Armed with a to-do list and an upbeat attitude you go to work.\n\nThis game is free software. See LICENSE for details.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond. Flowers are already in full bloom in the flower bed and there's an empty patch ready for vegetables. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n> You remove weeds\nYou get on your knees and pull each weed carefully out around the flowers. It takes a good thirty minutes, but the result looks really nice. Never mind the aching fingers.\n\n> You plant the tomatoes\nYou throw the tomato seeds evenly on the vegetable patch and spread some soil over them. That was easy.\n\n> You put the fish in the pond\nThe fish leaps from the plastic bag into the pond and starts to swim around in circles. In the spur of the moment you decide to name it \"Wensleydale\".\n\n> Leave\nYou return to the garden.\n\nThe garden is such a nice little patch of green for a novice gardener like yourself. There's even a small fish pond where Wensleydale is splashing around. Flowers are already in full bloom in the flower bed - now without any weeds - and the tomatoes are growing in the vegetable patch. The grass looks a bit dry.\n\nThere's also an old garden shed with a yard hydrant installed next to it.\n\n> You attach the hose\nWhat do you want to attach the garden hose to?\n\n> Mouth\nWith some effort you screw the other end of the hose to the hydrant.\n\n> Water lawn\nYou carefully hose the entire lawn and turn the water off when you're done. In your eyes the grass is already looking much greener!\n\nWell, that was the last chore and everything is now done! Looks like you are better at this than you even imagined!\n\nNo, wait, what's that mound right in the middle of the garden? Ugh, it's a molehill. Better hose the bugger out while you're at it before the entire garden gets full of those.\n\n> You put the hose in the molehill\nYou tuck the end of the hose inside the mole hill.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nNow let's see... There, right on top of a box, is a roll of silvery duct tape.\n\n> Mend hose\nYou roll a few layers of tape around the leaking spot. It looks like it could hold now.\n\n> You put the hose in the hill\nIt's already in there.\n\n> You turn on the water\n(the yard hydrant)\nYou turn the valve and water starts to flow underground. You decide to leave it on for a while, just to be sure.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nLet's see... Yes, there should be something useful here for this situation.\n\nYou can see a coverall and a rake here.\n\n> You take all\ncoverall: Taken.\nrake: Taken.\n\n> Leave\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nSome crows are eating away the tomato seeds you just planted.\n\nWhat the... The weeds have resurrected themselves and fill the flower bed again!\n\nGoddamnit.\n\n> You take the weeds\nYou pull one weed out and sigh. This is never going to work without heavier armament.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe shed is in poor shape, but it's your own little shed. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nThere in the corner is a bright red bottle of herbicide with a skull printed on it. Excellent.\n\n> You look at the herbicide\nThere's a picture of a skull on the side. That means it must be efficient.\n\n> Leave\nYou return to the garden.\n\nThe garden is a tiny patch of green where Wensleydale is splashing around in the pond and the flowers are in full bloom in the flower bed. The tomato seeds have been planted in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and the other end is tucked inside the molehill.\n\nYou hear Wensleydale splash about in the pond.\n\n> You pour herbicide on the weeds\nYou pop the cap from the weedkiller which greets you with a gust of poisonous fumes. \"Ha! Ha! HA! HAHA! HA!\" you scream as you pour the stuff on those demonic parasites. Let's see them come back to life now!\n\nThe weeds die spectacularly, whithering as soon as the herbicide hits them. War is not without casualities, as you soon find out - the flowers can't take the heat and they turn into shriveled mounds of organic mass.\n\nYou look at the flower bed and muse your Pyrrhic victory.\n\n> You examine fish\nHngaah! It's not Wensleydale that's splashing but the neighbour's cat who's trying to catch him! Shoo, cat, shoo!\n\nF%#&!\n\n> You take the cat\n\"Here, pus pus pus...\"\n\nYou approach the cat, trying to grab it to carry it away from the pond. She sees you approaching, hisses, and makes a daring leap towards you.\n\nShe lands straight on your face and takes hold with all four legs. The beast drives its claws in the neck and the back of your head. \"Mmmph hmmh mph!\" you swear.\n\n> You remove the cat\n\"Meow,\" the cat says as you struggle to get free.\n\n> You examine the cat\nIt's the neighbour's cat. You used to like it, before it started to prey on your fish.\n\n> You take the cat\nTechnically, you already have her.\n\n> You hit the cat\nYou wave your arms in the general direction of your face (where the cat is), but it just makes the furry assailant to grab a tighter hold.\n\n> You enter the shed\nYou stumble and nearly lose balance when the cat scratches you again.\n\n> You enter the shed\n\"Mhbh!\" you exclaim when your attempts are buggered by the blinding grasp of the beast.\n\n> Inventory\n\"NO!\" the cat yells and claws at your left ear. (It might've also been \"meow\".)\n\n> You throw the cat\nHow? The feline abdomination has blindfolded you with her own furry body.\n\n> You put the cat in the pond\nYou would, but mouse-breath is still facehugging you.\n\n> You go pond\n\"NO!\" the cat yells and claws at your right ear. (It might've also been \"meow\".)\n\n> You pull the cat\nYou take a good grip of the little bastard and yank her out of your face. Her final loot is a bunch of hair and a good amount of freshly scraped skin. The cat jumps on the ground and runs off.\n\nYou glance at the vegetable patch where the crows are back, with a couple of friends of theirs. It looks as if some of them are actually laughing at the scarecrow. Laughing. At the scarecrow. Laughing.\n\nYou don't say anything. Your left eye twitches.\n\n> You examine the fish\nWensleydale makes cheerful little circles in its new home.\n\n> You examine the flowers\nThe flowers were petunias and poppies, you guess.\n\n> You enter the shed\nYou go inside the garden shed again.\n\nThe dark and rotting shed is just about as awful as you can imagine. The walls have been plastered with newspapers and there are several boxes full of miscellaneous junk.\n\nThere has to be something here yet that will save the day! Has to be something!\n\n> You search the junk\nYou rummage through the boxes, trying to find some magic tool that will make all go better. There is nothing there.\n\n> You examine the newspapers\nOn closer inspection it's not newspaper after all but pages torn from books. From Jack Mills pocket books, to be precise.\n\n> Exit\nYou sigh and return to the garden.\n\nIt's the garden of pain. The fish is hopefully still alive, the flowers most certainly are not. It's doubtful if there are any seeds left in the vegetable patch.\n\nThe old garden shed has a yard hydrant installed next to it. The garden hose is attached to the hydrant and it runs inside the molehill.\n\nSome crows are eating away the tomato seeds you just planted.\n\nThe ground erupts into four or five geysirs, spraying water from the underground mole tunnels.\n\nThe bunny returns and chews on the remaining flora.\n\nThe cat is back prowling about for Wensleydale by the pond.\n\n***\n\nYou close your eyes.\n\n> You close the eyes\nThey are already closed.\n\n> You open eyes\nYou open your eyes and behold! A paradise unfolds in front of your eyes! The flowers are blooming, the grass is a gleaming green carpet where butterflies chase each other and stop only to rest in sparkling waters of a beautiful yard pond. It is the perfect embodiment of a spring garden.\n\n\"You have a very beautiful garden, Mrs. Salines,\" you tell your next door neighbour who is watering her petunias on the other side of the fence. \"WHY DOES MINE LOOK LIKE THE AFTERMATH OF A CARPET BOMBING?\" You can feel your blood pressure throbbing a vein in your forehead.\n\nMrs. Salines laughs jovially. \"My dear, you just need a bit of patience! You can't expect perfect results right away,\" she tells you. \"Come, I'll make us some tea and then we'll go have a look at your garden.\"\n\nYou feel a bit better."
    },
    {
        "text": "[Themes: Humor, slapstick]\n\nType ABOUT for more information, FORUM for r.g.i.f. comments on the game, and MEAN to turn off unwinnable protection.\n\nWeazle, the evil wizard has destroyed all that Conan loved. Now,\nafter years of searching, Conan has finally found him.\nConan is ready for revenge - he will KILL EVERYTHING!\n\nConan is in a damp dungeon, furnished only with an oaken table. The walls consist of yellowish clay. High up on the wall is a single, burning torch. A door, leading north, is closed.\n\nWeazle, the evil wizard spins around as Conan enters the room.\n\n\"Ha!\", he cries, \"here comes stupid Conan whose parents I killed, whose sister I sold to the orks and whose dumbbells I stole! You want revenge! But you will perish!\"\n\nHe taps his pointed hat, and a growling wildcat appears out of thin air!\n\n> You kill the wildcat\nAlertly, Conan draws his sword and, with one quick blow, strikes the wildcat dead. It vanishes in a puff of brown smoke.\n\n\"Oh\", snickers the wizard, \"it seems that you have grown stronger since I burnt your home village! Well, try this!\"\n\nHe taps his pointed hat again, and a mighty golem made of wood appears out of thin air!\n\n> You kill the golem\nConan raises his sword again and fells the golem with a single blow. It shatters into a million leaves that dissolve in a puff of green smoke. A red apple falls to the floor.\n\nThe wizard is impressed.\n\"You are good!\", he cries, \"Better than when I bewitched your hairdo! But my best creation is yet to come! A giant tarantula!\"\n\nHe taps his hat again, and out of thin air, a little spider appears! The wizard looks a bit puzzled.\n\n> You look at the spider\nIt is a little spider with a furry body.\n\nThe little spider moves around hesitantly!\n\nWeazle takes off his hat and examines it, muttering about something like 'energy plane dysfunction'.\n\n> You kill the wizard\nFinally Conan can attack Weazle. With a mighty blow he slices the wizard in half. He vanishes in a puff of golden, glittering smoke. Only his pointed hat falls to the floor.\n\nSuddenly the little spider freezes in its movements, as if concentrating.\n\n> You take the hat\nTaken.\n\nWith a mighty leap, the spider lands on Conan's back. Quickly it bites into his neck, injecting its venom. Conan falls to the floor.\n\n\"\nHe walks offstage, clapping his hands.\n\"OK, let's do another one!\"\n\n> You kill the spider\nConan chops at the spider, but it evades, quickly climbs up the wall and hides in a crack.\n\n> You examine the crack\nA spider is hiding in the crack.\n\n> Inventory\nConan is carrying:\na loincloth (being worn)\na very large sword\n\n> You kill the crack\nThis seems futile even to Conan.\n\n> You remove the loincloth\nConan removes the loincloth, held together with a bone pin. Not much is revealed. Cursed steroids.\n\n> You check what you're carrying\nConan is carrying:\na bone pin\na loincloth\na very large sword\n\n> You examine pin\nIt is a pin, made of a dead chicken's bone (Conan killed it himself)."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nConan is in a damp dungeon, furnished only with an oaken table. The walls consist of yellowish clay. High up on the wall is a single, burning torch. A door, leading north, is closed. The spider is hiding in a crack in the ceiling.\nA fly is buzzing around the room.\n\nConan can also see a pointed hat and a red apple here.\n\n> Examine fly\nThe fly is somewhere around, but hard to see in the flickering light.\n\n> You look in it\nInside the hat Conan can see some dials and blinking lights.\n\n> You look at the dials\nThe dials are marked with lettering in a strange writing (but Conan cannot read at all, anyway). They can obviously be turned.\n\n> You eat the apple\n(first taking the red apple)\nConan eats the apple. His gastric juices quickly kill it. Conan emanates a burp of red smoke.\n\n> You examine table\nIt is a sturdy table that has seen many feasts and fights. There is a small hole on the side.\n\n> You examine the hole\nThere is a tiny woodworm in the hole.\n\n> You examine the worm\nThe woodworm is tiny in the hole. Conan can barely see it.\n\n> You put the pin in hole\nConan takes the pin and cruelly stabs the worm. Its body goes limp, dead.\n\n> You give the worm to the spider\nConan can only do that to something animate.\n\n> You stand on the table\nConan gets onto the oaken table.\n\n> You look at what you're carrying with you\nConan is carrying:\na pointed hat\na bone pin\na loincloth\na very large sword\n\nThe fly lands.\n\n> Down\nConan will have to get off the oaken table first.\n\nThe fly takes off again.\n\n> You get off the table\nIt is a pin, made of a dead chicken's bone (Conan killed it himself).\n\nConan gets off the oaken table.\n\nThe spider is hiding in a crack in the ceiling.\nA fly is buzzing around the room.\n\n> You turn the dial\nConan fiddles with the dials.\n\n> You continue\nConan returns the dials to their original settings.\n\n> You examine the hat\nA large, pointed hat with a moon and stars decoration that used to be popular among wizards about 250 years ago. Conan notices an especially large saturn symbol. Inside the hat Conan can see some dials and blinking lights.\n\n> You look at the saturn\nThe saturn symbol has a slight smudge. It seems to serve as a kind of button."
    },
    {
        "text": "[Themes: Humor, garden, cat]\n\n> You look at your surroundings\nConan is in a damp dungeon, furnished only with an oaken table. The walls consist of yellowish clay. High up on the wall is a single, burning torch. A door, leading north, is closed. The spider is hiding in a crack in the ceiling.\nA fly is buzzing around the room.\n\nThe fly lands.\n\n> You take the torch\nThe torch is out of Conan's reach.\n\nThe fly takes off again.\n\n> You take the torch\nThe torch is out of Conan's reach.\n\n> You jump\nConan jumps.\n\n> You stand\nConan gets off the oaken table.\n\nThe spider is hiding in a crack in the ceiling.\nA fly is buzzing around the room.\n\n> Examine fly\nThe fly is somewhere around, but hard to see in the flickering light.\n\n> You kill the fly\nConan tries to hit the fly, but even he is too clumsy to hit it in midair.\n\n> You look at loincloth\nIt is made of bear skin (Conan killed the bear himself).\n\n> You kill the loincloth\nConan shreds the loincloth to pieces with his sword. It is dead now.\n\nThe fly lands.\n\n> You kill the fly\nConan aims and squashes the fly with his sword. Entrails splatter. The fly is dead.\n\nThe little spider crawls out of the crack in the ceiling!\n\n> You kill spider\nAs Conan advances, the spider hastily climbs back into the crack.\n\n> You wait\nTime passes.\n\nThe little spider comes crawling down the wall!\n\n> You wait for a while\nTime passes.\n\nThe little spider is crawling over the floor!\n\n> Wait\nTime passes.\n\nThe little spider is eating the fly.\n\n> You kill spider\nWith a devastating blow, Conan kills the spider. It vanishes in a puff of black smoke.\n\n> Inventory\nConan is carrying:\na bone pin\na shredded loincloth\na very large sword\n\n> You examine the loincloth\nIt is dead. Conan has killed it.\n\n> You kill the pin\nBetween his fingers, Conan snaps the pin into two pieces. It is dead.\n\n> You kill loincloth\nConan already killed the shredded loincloth."
    },
    {
        "text": "[Themes: Humor, garden]\n\n> You look around\nDungeon (on the oaken table)\nConan is in a damp dungeon, furnished only with an oaken table. The walls consist of yellowish clay. High up on the wall is a single, burning torch. A door, leading north, is closed.\nConan can see a squashed fly here.\n\n> You kill the wall\nThe clay walls are already dead. Conan suspects that he killed them in an earlier episode.\n\n> You look at the door\nA heavy wooden door with metal hinges and a large metal lock.\n\n> You kill the door\nConan wildly attacks the door with his sword. After several blows, it suddenly drops forward and slams flat on the floor - dead. Behind it is only bare wall.\n\n> You take the door\nIt is too heavy even for Conan to lift.\n\n> You look at door\nIt is dead. Conan has killed it.\n\n> Blow torch\n(first taking the torch)\nThe torch is out of Conan's reach.\n\n> You throw the sword at the torch\nA well-aimed throw dislodges the torch which falls to the floor. It dies!\n\nIt is now pitch dark in here!\n\n> You take the sword\nConan fumbles in the dark. Ouch! He steps on the hot torch!\n\n\"\nHe stares at you hypnotically.\n\"This is a crucial phase before the final denouement! I want solemnity. I want grace. You can do better than that!\"\nHe walks offstage, clapping his hands.\n\"OK, another one!\"\n\n> Down\nConan will have to get off the oaken table first.\n\n> You stand\nConan gets off the oaken table.\n\nConan is in darkness.\n\n> Break table\nSplinters fly as Conan slices the tabletop from its legs. It falls down flat, dead.\n\n> You take the sword\nConan fumbles in the dark. Ouch! He steps on the hot torch!\n\n\"\nHe stares at you hypnotically.\n\"This is a crucial phase before the final denouement! I want solemnity. I want grace. You can do better than that!\"\nHe walks offstage, clapping his hands.\n\"OK, another one!\"\n\n> You kill the sword\nConan grabs his sword by handle and tip and, with all his might, breaks it over his knee. Ouch! But two fragments remain in his hands, dead.\n\n> You kill Conan\nConan takes the broken blade and holds it before him with both hands. Then he takes it and with a sudden thrust buries it deep in his muscular stomach.\n\nBlood flows, as Conan turns and twists the blade in the wound until he sinks to the floor, dead.\n\n> Forum\nVoices from the forum (rec.games.int.fiction.):\n\n\"...an apotheosis of the traditional, Zork-led approach to IF...\"\n\n\"...deconstruction of the room paradigm...\"\n\n\"Conan is the barbarian, the Significant Other against which civilisation defines itself.\"\n\n\"To say that 'Conan Kill Everything' relies on symbolic vocabulary is to understate the issue. Its symbols are isolated and recognisable, and stand out from the landscape in their symbolic significance like a naked guy on steroids in a Victorian painting. 'Note this!' they say. And they are organised with a tidy symmetry, perfect and mathematical, so that the meaning of anything unexplained may be worked out by its relations to other symbols and the oppositions between them. The sword, the table, the worm, the penis; every object denotes a single concept in its purity.\""
    },
    {
        "text": "[Themes: Travel, Alien Visitation, strong profanity, anthropomorphised animals, female protagonist, new orleans, sidekick NPC, dog]\n\nSaint Louis Street. 7:30 pm. Three and a half hours from the end of the world.\n\nMostly deserted. The shops on either side of the street have closed down, though that's not really enough to keep you out if you wanted to go in -- considering the shape that they're in. The most disastrously torn-open one is the shopfront of NOLA, to the west.\n\nNorth, where the junction with Chartres Street should be, there is only a hastily-erected barricade of wire fencing. Beyond that, forest impenetrable.\n\nTo the south, Decatur Street, the last narrow strip, humanity's tiny remaining purchase between the forest and the river.\n\nNearby stands Brutus the Chihuahua, watching you grimly.\n\n[Author's Note: New Orleans, Emeril, and armed hamsters.]"
    },
    {
        "text": "[Themes: Travel, Alien Visitation, anthropomorphised animals, female protagonist]\n\n> About yourself\nYou look like shit, if you could see yourself, which you can't. Your costume's torn at the elbows and knees, you've got bruises and abrasions and contusions on every exposed skin surface, and there's a general sense of foreboding located somewhere behind your left eyesocket.\n\n> You look at what you're carrying with you\nYou are carrying:\na black velvet cape (being worn)\na tattered note\n\n> You read the note\nSince you asked, this is ABSOLUTELY YOUR LAST CHANCE to prove that there's something worth preserving in your puny civilization. Otherwise you will be CRUSHED LIKE AN EGG. [This is scratched out and in scarlet letters it says instead, LIKE YOUR OWN SKULLS.]\n\nBuild a scale replica of the Taj Mahal out of food products at the center of Jackson Square. And we'll think about it.\n\nSigned, the Bright Coalition.\n\n[ Rat bastards -- literally, mutant crossbreeds out of NIMH -- it took you twenty hours of non-stop negotiation to get even this concession out of them. They were laughing like hyenas by the time it ended. ]\n\n> You examine the cape\nA little damaged by your recent adventures, but it still hushes reassuringly around you when you walk, and the tassel on the hood still swings jauntily. It was all worth it, all the years of training, all the effort, just to get to the moment when you first put it on... when your mother's daughter became the Dark Avenger... but those glory days are behind you.\n\nUnless you can save humanity from the grip of the Bright Coalition, that is.\n\n> You look at Chihuahua\nSo named by someone with a keen sense of irony and no personal fear. Brutus stands a good 6 foot 8 inches, with the girth of a tree-trunk and an affinity for leather gear. As you look at him, he breaks into a toothy grin.\n\n> You go to the west\nOnce a rather chic restaurant -- one of Emeril Lagasse's lesser spinoffs, it's true, but still, not bad.\n\nNow it looks like a bomb hit. The brushed alumninum decor is black with soot. Tables are overturned, the windows shattered. The elevator-in-a-cage that goes up to the second floor emits a perpetual high-pitched whine.\n\nSwinging doors lead deeper into the restaurant.\n\nA single menu lies twisted among the wreckage.\n\nBrutus follows you faithfully.\n\n> Examine menu\nTattered and burnt almost beyond recognition.\n\nYou can pick out words here and there -- duck liver pate, sweetened corn beverages, something about sorghum flour and something else about candied hazelnuts...\n\n> Go inside\nOnce a monument to culinary art and ergonomic efficiency; now a temple of destruction. The stainless counters are dirty and warped, the gas stoves burnt out, the ovens gaping doorless maws.\n\nBut most disturbingly: a rotting heap of Stuff.\n\nBrutus follows you faithfully.\n\n> You examine the stuff\nThe pile itself was made by human, not animal hands, one huge assemblage of garbage that someone must have hoped to be able to burn or get rid of. Who knows what might still be in the middle of it.\n\n> Search stuff\nSuccess! In the form of a single box of croutons, not even opened.\n\n> You keep going\nYou've plundered the heap for all that it will likely yield.\n\n> Inventory\nYou are carrying:\na crouton box\na black velvet cape (being worn)\na tattered note\n\n> Examine box\nClose inspection of the box shows why it has survived. The contents are pretty much entirely artificial. How embarrassing for Emeril."
    },
    {
        "text": "[Themes: Travel, Alien Visitation, sidekick NPC]\n\n> You look around\nOnce a monument to culinary art and ergonomic efficiency; now a temple of destruction. The stainless counters are dirty and warped, the gas stoves burnt out, the ovens gaping doorless maws.\n\nNearby stands Brutus the Chihuahua, watching you grimly.\n\nBut most disturbingly: a rotting heap of Stuff.\n\n> You go outside\nOnce a rather chic restaurant -- one of Emeril Lagasse's lesser spinoffs, it's true, but still, not bad.\n\nNow it looks like a bomb hit. The brushed alumninum decor is black with soot. Tables are overturned, the windows shattered. The elevator-in-a-cage that goes up to the second floor emits a perpetual high-pitched whine.\n\nSwinging doors lead deeper into the restaurant.\n\nA single menu lies twisted among the wreckage.\n\nBrutus follows you faithfully.\n\n> Go upwards\nYou can go only east, out or in.\n\n> You get the menu\nTaken.\n\n> Go outside\nMostly deserted. The shops on either side of the street have closed down, though that's not really enough to keep you out if you wanted to go in -- considering the shape that they're in. The most disastrously torn-open one is the shopfront of NOLA, to the west.\n\nNorth, where the junction with Chartres Street should be, there is only a hastily-erected barricade of wire fencing. Beyond that, forest impenetrable.\n\nTo the south, Decatur Street, the last narrow strip, humanity's tiny remaining purchase between the forest and the river.\n\nBrutus follows you faithfully.\n\n> Go south\nTo the north is the tiny remaining habitable stretch of Saint Louis Street. Toulouse and Wilkinson have been given over to the enemy, fenced off.\n\nDecatur itself continues east to Jackson Square.\n\nBrutus follows you faithfully.\n\n> Go east\nJackson Square, south side\nDecatur Street runs east-west here, and time was that carriages did too, ferrying tourists around. To the south, the concrete mass of the MoonWalk. North, the center of Jackson Square -- the statue of old Andrew has been pulled down to make room for a seething mass of bodies where the young and soulless are dancing like it was 1999.\n(Apparently that occasion failed to live up to expectation. Dumbasses.)\n\nBrutus follows you faithfully.\n\n> You open the box\nBetter safe it until it's time to use it.\n\n> Go south\nA somewhat oddly named strip of concrete overlooking the street on one side and the river on the other, mostly useful for walking back and forth at times of tribulation. Preferably, times of tribulation when no time limit is in force.\n\nThe enormous memorial cannon has been turned to point towards the Mississippi.\n\nOn the river itself, the paddleboat calling itself the Ark drifts, reeking of menace.\n\nBrutus follows you faithfully.\n\n> You examine the paddleboat\nSinister, barely lit: through the windows and the drapery of flags that used to adorn it for tourists, you can make out the moving silhouettes of Them, the Bright Coalition. Hamsters the size of yaks, mockingly costumed in monocles and spats, celebrating the end of humanity..."
    },
    {
        "text": "[Themes: Alien Visitation, Travel, anthropomorphised animals, sidekick NPC, dog]\n\n> You look at your surroundings\nA somewhat oddly named strip of concrete overlooking the street on one side and the river on the other, mostly useful for walking back and forth at times of tribulation. Preferably, times of tribulation when no time limit is in force.\n\nNearby stands Brutus the Chihuahua, watching you grimly.\n\nThe enormous memorial cannon has been turned to point towards the Mississippi.\n\nOn the river itself, the paddleboat calling itself the Ark drifts, reeking of menace.\n\n> You go east\nThat way's pretty much a stinking mess: the market has grown over into something truly vile.\n\n> Go north\nOnce a handsome spot, now a garden of Bacchanalian abuses. The gates open north and south.\n\nFrom side to side of the august park, a group of people -- some drunk -- are dancing to the vibrating tunage of an artist you mentally refer to as Squiggle.\n\n> You look at the people\nA motley collection of people, some well-dressed, some less so.\n\n> You go north\nJackson Square, north side\nHere under the august shadow of the Cabildo it is (almost) possible to believe that nothing has gone wrong or ever will. The old building still stands, untainted and from here apparently undamaged, the signs for tourists in their places, as if anyone were traveling for pleasure today.\n\nAlong the street is set up a table from which someone was selling souvenir posters and other junk.\n\nOn the table is a picture of the Taj Mahal.\n\nBrutus follows you faithfully.\n\n> You look at picture\nJust what you were looking for. Never say that Providence doesn't smile on you, and I'm not talking about when you're interviewing for the Rhode Island tourist board, either.\n\n> You get it\nTaken.\n\n> You look at the table\nAbandoned, but there is still a thing or two on it.\n\n> Search table\nThere is nothing on the table.\n\nThere is nothing on the table."
    },
    {
        "text": "> You describe your surroundings\nJackson Square, north side\nHere under the august shadow of the Cabildo it is (almost) possible to believe that nothing has gone wrong or ever will. The old building still stands, untainted and from here apparently undamaged, the signs for tourists in their places, as if anyone were traveling for pleasure today.\n\nNearby stands Brutus the Chihuahua, watching you grimly.\n\nAlong the street is set up a table from which someone was selling souvenir posters and other junk.\n\n> Go south\nOnce a handsome spot, now a garden of Bacchanalian abuses. The gates open north and south.\n\nFrom side to side of the august park, a group of people -- some drunk -- are dancing to the vibrating tunage of an artist you mentally refer to as Squiggle.\n\nYou clear your throat a few times. \"Excuse me, excuse me!\"\n\nNo one pays any attention. The artist who is sometimes known as Prince and sometimes not continues to blast your eardrums.\n\n\"OKAY THEN,\" roars Brutus.\n\nAll fall silent.\nWith a degree of articulateness that most would not expect from your intimidating sidekick, Brutus explains to the crowd what must be done. The picture of the Taj Mahal is prominently displayed. The crowd parts reverently, then gathers again, an almost worshipful calm settling over them as they begin to work peacefully, in unison, constructing the beautiful building anew out of bread products. It is perhaps the most perfect moment of your life.\nAfter that it's all a blur -- the reconsultation with the Bright Coalition, their embarrassed retreat down the river by boat (as a concession you agree to give them St. Louis, which could not be considered much of a loss), and the rescue of the French Quarter (and the rest of the world, while you're at it) from its process of rapid re-Edenization.\n\nAnd when it's all done, you get your cape washed and pressed, and you and the Chihuahua take a vacation. A long one."
    },
    {
        "text": "[Themes: Fiction]\n\nThere are never enough tables for a yard sale. The people who live here clearly have set out every table they own on the driveway in front of their house. It's a mismatched array of card tables, a kitchen table, and a scarred white desk, all piled with miscellaneous junk.\n\nOne item catches your eye. It's an old, dented strongbox, barely visible behind a huge box fan.\n\n[Author's Note: The Bryant Collection is an interactive anthology: a collection of 'story worlds' by Laura Bryant. They were found at a yard sale in an old strongbox.]\n\n> You examine the desk\nA few card tables, a kitchen table, and a scarred white desk are set out on the driveway and piled high with junk. You'd guess these are all of the tables (and table-like devices) that could easily be moved out of the house and onto the driveway.\n\n> You examine the junk\nNothing amazing. Boxes of old audio cassettes, a Packard Bell computer, ugly lamps and dilapidated board games. The sale seems to be one born of a desire for more storage rather than more cash.\n\n> About yourself\nI suppose you're me. Gregory Weir, I mean. Mid-twenties, brown hair, thin. Probably a bit scruffy.\n\n> Examine box\n(the old dented strongbox)\nThis strongbox is made of metal, and is a foot across in each dimension. It is covered in rust and dented in a few places. A tattered label on the lid reads \"Laura Bryant Collection.\" A garish orange sticker asks for $23. Some inner feeling makes you want to possess it.\n\n> You open it\nIt seems to be locked.\n\n> You look at the computer\nYou had a Packard Bell once. Never again. They're impossible to upgrade. Besides, this one's about a decade old.\n\n> You buy the box\n(the old dented strongbox)\nYou pick up the strongbox. The rest of the transaction is fuzzy in your memory. Money changed hands, and you got in your car.\nAfterwards, you kicked yourself for not asking the family's name or checking the street signs on your way out of the neighborhood.\n\n\"It's kind of silly, I know, making up\nlittle story worlds like this. But it's\nalways reminded me of my Uncle Ted,\nwho says Great-Grandfather Bryant used\nto do it with him. Thought you might\nfind it fun.\"\n\n\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nThe strongbox itself sits open under the table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n(For information on the origins of this collection, type ABOUT. To return to this room from within a story, type RETURN.)\n\n> You look at the envelope\nThis is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages. The envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(To enter this story, pick up the envelope labeled \"Undelivered Love Letter\".)\n\n> You take it\nThis is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages. The envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(Do you want to enter this story?)\n\n> Yes\n\"The weird thing is that\neven though I thought it\nwould never stop hurting\nat the time, now I just look\nback and miss that pain.\"\n\n\n\nThis was supposed to be a nice visit, a respite from the loneliness of a long-distance relationship. Yesterday evening, she broke the news to you. You didn't eat at all today. Right now, she's in the bathroom, but she'll be back in time for a final goodbye. Then you'll leave on the plane, she'll stay here, and you'll never see her again.\n\nPassengers bustle through this busy airport terminal, on their way to and from their planes. You're waiting near your gate, among twenty or thirty seats. A gate agent bustles about near the gate. Large windows overlook the tarmac, where you can see your plane sitting at the end of the loading bridge. The restrooms are across the hallway, and the security checkpoint is a decent walk away.\n\nA big clock is mounted on the wall nearby.\n\n> About you\nYou're a young man who's just finished a relationship that lasted years. It was supposed to last forever.\n\n> You check your inventory\nYou are carrying:\na carry-on bag (closed)\na boarding pass\n\n> You look at the pass\nThis printed slip of paper marks you as a ticket-holder, qualified to travel on this flight.\n\nX emerges from the restroom and heads this way. She sits down beside you. \"Hi. How are you doing?\" she asks with a pensive look on her face. Her voice has the faintest of Russian accents.\n\n> Examine X\nX has long, blonde hair that reaches her waist when unbound. Right now, it's tied back in a bun. She's wearing a long, burgundy coat with a white scarf tucked into the collar. She has a thin frame and a heart-shaped face, with greenish-gray eyes and a nose that's just a bit prominent. She's beautiful.\n\n> You talk to X\n(To talk to X, try to ASK X ABOUT something, TELL X ABOUT something, or just say YES or NO.)\n\n> You ask the X about herself\n\"How are you doing?\" you ask hesitantly.\n\nShe takes several seconds to answer. \"I'm hurting,\" she says. \"I hate seeing you this way. But I didn't... I didn't want to continue the way we were.\"\n\n> You ask the X about us\n\"So... what are we now?\" you ask, with pain in your voice.\n\nX smiles softly. \"You're still important to me. I'd like to be friendly. To keep in touch.\"\n\n> Yes\nThat was a rhetorical question.\n\n> You ask the X about the friends\nYou can't summon up the effort to ask about that.\n\nX lifts her hand to her face and smooths her right eyebrow. It's a cute habit of hers. \"Baby...\" she begins, then sighs. \"It won't hurt forever. There are lots of women out there who'll fall into your arms.\" But none of them will be her.\n\n> You ask her about the flight\n(X about that)\n\"Do you think you'll ever come to visit me?\" you ask.\n\nShe thinks for a long moment. \"Maybe,\" she says. \"If I have the time and the money.\"\n\n> You ask the X about the future\nYou heard her already. You'll \"keep in touch.\" It's not enough.\n\n> You kiss her\n(X)\nYou lean toward X for a last kiss. She leans toward you, but turns her head slightly so that you kiss the corner of her mouth. She looks into your eyes sadly, then looks down.\n\nX nervously picks under her thumbnail with a nail of the opposite hand. \"You really should eat something,\" she says in a worried tone. \"It's been almost a day since you've had any food.\"\n\n> You examine the plane\nYours is a large, gleaming thing in white and gray. It can take you to another state more quickly than anything else. Almost.\n\n> You eat\nWhat do you want to eat?\n\n> You ask her about the food\n(X about that)\n\"Do you want to get food for yourself?\" you ask. \"I don't mind. I'm not hungry.\"\n\nX shakes her head. \"I'll get something when you're gone,\" she says.\n\n> You ask her about someone else\n(X about that)\nYou can't summon up the effort to ask about that.\n\n> You ask her about the money\n(X about that)\n\"How's the job going?\" you ask.\n\nShe sighs, and stretches. \"It's a diner,\" she explains. \"It's always busy and exhausting.\"\n\n> You read the pass\nThis printed slip of paper marks you as a ticket-holder, qualified to travel on this flight.\n\n> You ask her about the headaches\n(X about that)\nYou can't summon up the effort to ask about that.\n\nThe gate agent speaks over the intercom. \"Attention, all passengers of Flight 160 to Indianapolis,\" she says in a bored tone. \"We will now begin boarding for all seats. Please have your boarding pass ready.\"\nA line of passengers forms in front of the gate.\n\nX looks at you with concern. \"Are you all right?\" she asks. \"Say something.\"\n\n> You hug her\nYou lean over and hug X tightly. She awkwardly rubs your back with a hand until you release her.\n\n> No\nThat was a rhetorical question.\n\n> You say we'LL always have the paris\n(to X)\n(To talk to X, try to ASK X ABOUT something, TELL X ABOUT something, or just say YES or NO.)\n\nX clears her throat awkwardly and scratches her nose.\n\n> Board plane\nYou get into line at the gate. X moves to stand beside you, on the outside of the rope barrier.\n\nYour turn to board the plane arrives. You hand your boarding pass to the gate agent, and step into the loading bridge. With one last glance over your shoulder, you see X watching you with a sad expression on her face. You turn and head for the plane.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nThe strongbox itself sits open under the table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> You take the envelope\nThis is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages. The envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(Do you want to enter this story?)\n\n> Yes\n\"The weird thing is that\neven though I thought it\nwould never stop hurting\nat the time, now I just look\nback and miss that pain.\"\n\n\n\nThis was supposed to be a nice visit, a respite from the loneliness of a long-distance relationship. Yesterday evening, she broke the news to you. You didn't eat at all today. Right now, she's in the bathroom, but she'll be back in time for a final goodbye. Then you'll leave on the plane, she'll stay here, and you'll never see her again.\n\nPassengers bustle through this busy airport terminal, on their way to and from their planes. You're waiting near your gate, among twenty or thirty seats. A gate agent bustles about near the gate. Large windows overlook the tarmac, where you can see your plane sitting at the end of the loading bridge. The restrooms are across the hallway, and the security checkpoint is a decent walk away.\n\nA big clock is mounted on the wall nearby.\n\n> You look at the clock\nAccording to the clock, it's 5:41 pm.\n\n> You ask the agent about the food\nShe's really quite busy. You'd rather not bother her.\n\nX emerges from the restroom and heads this way. She sits down beside you. \"Hi. How are you doing?\" she asks with a pensive look on her face. Her voice has the faintest of Russian accents.\n\n> You tell X about yourself\nYou tell her how sad you're feeling, and she sighs sadly. \"Poor sweetheart,\" she says. \"I'm sorry that things had to turn out this way.\"\n\n> You tell X about plane\n\"The flight will be leaving soon,\" you say. \"We might not see each other again.\"\n\nX adjusts her scarf. \"I hope we do, someday,\" she replies.\n\n> You kill X\nSeveral times since last evening you've wanted to hit her, but it was out of impotent frustration, not any real rage. You love her too much to hurt her.\n\n> You open the bag\nYou open the carry-on bag.\n\nX nervously picks under her thumbnail with a nail of the opposite hand. \"You really should eat something,\" she says in a worried tone. \"It's been almost a day since you've had any food.\"\n\n> You look in bag\nThere's assorted essentials and reading materials inside.\n\n> Close bag\nYou close the carry-on bag.\n\n> You eat the pass\nThat's plainly inedible.\n\nX clears her throat awkwardly and scratches her nose.\n\n> You ask X about the women\nYou can't summon up the effort to ask about that.\n\nX looks at you with concern. \"Are you all right?\" she asks. \"Say something.\"\n\n> You tell X about the sadness\nYou've already made your feelings clear.\n\n> You ask X about job\n\"How's the job going?\" you ask.\n\nShe sighs, and stretches. \"It's a diner,\" she explains. \"It's always busy and exhausting.\"\n\n> You ask her about us\n(X about that)\n\"So... what are we now?\" you ask, with pain in your voice.\n\nX smiles softly. \"You're still important to me. I'd like to be friendly. To keep in touch.\"\n\n> You ask her about boyfriend\n(X about that)\nYou can't summon up the effort to ask about that.\n\n> You ask her about her\n(X about that)\nYou can't summon up the effort to ask about that.\n\nThe gate agent speaks over the intercom. \"Attention, all passengers of Flight 160 to Indianapolis,\" she says in a bored tone. \"We will now begin boarding for all seats. Please have your boarding pass ready.\"\nA line of passengers forms in front of the gate.\n\nX lifts her hand to her face and smooths her right eyebrow. It's a cute habit of hers. \"Baby...\" she begins, then sighs. \"It won't hurt forever. There are lots of women out there who'll fall into your arms.\" But none of them will be her.\n\n> You enter the restroom\nYou don't have to go right now.\n\nX looks at you searchingly. She opens her mouth as if to say something, then closes it again.\n\n> You ask X about the family\nYou can't summon up the effort to ask about that.\n\nThe last of the passengers filters through the gate, and the gate agent looks around to see if there are any potential passengers left.\n\n> You open the bag\nYou open the carry-on bag.\n\n> You look in the bag\nThere's assorted essentials and reading materials inside.\n\nThe gate agent calls out to you. \"Sir?\" she asks. \"All the other passengers are inside. If this is your flight, please board now.\" As much as you'd like to stay behind, you know that's not possible. You hand your boarding pass to the gate agent, and step into the loading bridge. With one last glance over your shoulder, you see X watching you with a sad expression on her face. You turn and head for the plane.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nThe strongbox itself sits open under the table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> Attack pass\nViolence isn't the answer to this one.\n\nThe last of the passengers filters through the gate, and the gate agent looks around to see if there are any potential passengers left.\n\n> You give the pass to X\nShe can't come with you. There's only one ticket.\n\nX looks at you searchingly. She opens her mouth as if to say something, then closes it again.\n\n> You drop the pass\nNo, you'll need that to board the plane.\n\nThe gate agent calls out to you. \"Sir?\" she asks. \"All the other passengers are inside. If this is your flight, please board now.\" As much as you'd like to stay behind, you know that's not possible. You hand your boarding pass to the gate agent, and step into the loading bridge. With one last glance over your shoulder, you see X watching you with a sad expression on her face. You turn and head for the plane.\n\n> Attack X\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nThe strongbox itself sits open under the table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> You look at the toy\nThis is a toy made out of a wooden block with three wooden posts sticking out of the top. Painted wooden disks of various sizes and colors fit onto the posts. At the moment, the left post has a tiny purple disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, a large orange disk, and a huge red disk (from top to bottom) on it, the middle post has nothing on it, and the right post has nothing on it.\n\n> Wrinkled\nThis is a wrinkled sheet of paper that was at the back of the strongbox. It appears to be the last page of one of Ms. Bryant's story-worlds, but you've yet to find the rest of it. It's possible that you never will. The sheet reads:\n\n\"will never clarify its cryptic prophecies.\n\n\"Instead of dismantling the fast food intercom, say 'It would be a waste of time to take that apart. You'd only be half done before the police arrived.'\n\n\"You can return each day, and the speaker will tell a new prophecy. After asking the restaurant employees about the prophecies, have them say that they have no idea what you're talking about. They only remember taking your order and giving you a price.\n\n\"The restaurant goes out of business in five days from now. When the restaurant goes out of business, replace the intercom with a broken stump. The broken stump has description 'All that remains where the intercom and menu board once stood is a twisted stump of metal with a few wires poking out. There's no indication of the source of the strange mist that seemed to surround the menu board.'\n\n\"The End.\"\n\n> You examine Garden\nThis is a thin notebook with a marbled black-and-white pattern on the cover. Only the first handful of pages are full of writing. The work is done in black pen, with numerous mistakes scribbled out and many doodles in the margins. The rest of the book is blank. On the label on the front of the book is the title \"MORNING IN THE GARDEN,\" written in heavily-scribbled black ball-point. On the upper right corner of the first page is the date \"1974.\"\n\n(To enter this story, pick up the composition book labeled \"Morning in the Garden\".)\n\n> You take the MORNING in the GARDEN\nThis is a thin notebook with a marbled black-and-white pattern on the cover. Only the first handful of pages are full of writing. The work is done in black pen, with numerous mistakes scribbled out and many doodles in the margins. The rest of the book is blank. On the label on the front of the book is the title \"MORNING IN THE GARDEN,\" written in heavily-scribbled black ball-point. On the upper right corner of the first page is the date \"1974.\"\n\n(Do you want to enter this story?)\n\n> Yes\n\"When it comes to any temptation,\nthe guilt afterward is never as bad\nas the longing beforehand.\"\n\n\n\nGod. He does this every day. One would think that sooner or later he'd take no for an answer. But that's not the kind of guy he is, you suppose.\n\nYou're beside the biggest tree. Its branches stretch miles overhead, and its roots are like the trunks of saplings. The ground here is soft and green with grass and moss. At the edges of this clearing, plants grow thick. They're all blossoming and fruiting at once, filling the air with perfume. A wide path leads out of the clearing and back to the rest of the garden.\n\nHanging low from a branch of the tree is a large fruit.\n\nThe Serpent walks into the clearing.\n\n> About yourself\nYou're Woman, and you look a lot like your boyfriend Man except with some bits made bigger or turned inside-out.\n\nThe leaves of the tree above rustle in a stray breeze.\n\n> You examine the tree\nThis is the biggest tree in the garden, and you've been told in no uncertain terms not to ever, under any circumstance, eat the fruit from it, or you'll die. It's not really that much of a temptation, really. When you have a choice between any kind of fruit or vegetable you could imagine, having one be forbidden isn't at all draconian. Besides, the only edible thing growing on it is a single melon the size of your head.\n\n\"Hello, Woman,\" the Serpent says, stretching his legs and scratching his neck with one claw. \"Are you having a nice morning?\"\n\n> Yes\n\"Ah, wonderful,\" the Serpent replies. \"I've just returned from bathing in the Pishon. The gold dust in the water always sticks to my scales. Does it look good on me?\"\n\n> You examine Serpent\nHe's a strange creature. Your boyfriend says he's called a \"serpent,\" but that always sounded more like someone who calculates income tax, or will do so once it's invented. He's got green scales tinged with gold and muscular legs that end in sharp claws. He's really the craftiest of all animals. At least, he was crafty the first twenty times you spoke to him. Now you've pretty well caught on.\n\n> Yes\n\"Oh, you're too kind,\" the Serpent says with what seems to be a genuine smile. \"It's so nice, these times we share together. I really do consider you a friend, you know, Woman. Do you feel the same?\"\n\n> You climb the tree\nYou could climb for years and never get to the top.\n\n> You touch Serpent\nKeep your hands to yourself!\n\nThe Serpent lets out an awkward laugh. \"Oh, sorry, you don't have to answer that,\" he says hurriedly. \"Anyway, I can tell you've been feeling bored lately. Isn't that right?\"\n\nYou smell a bit of smoke from the morning campfire.\n\n> No\n\"Oh, right,\" the Serpent chuckles. \"Looking forward to your nightly game of Leaves-and-Sticks with Man, are you?\" He rolls his eyes and smiles. \"I don't suppose you're feeling hungry. Are you?\"\n\n> No\nOf course you're not. You just had grapefruit, fried potatoes, and honeyed oats for breakfast. But when you say no, he just chuckles skeptically. \"Come on, Woman. We both know you'll have to try the fruit sooner or later. You have a curious nature, isn't that right?\"\n\n> No\n\"No?\" the Serpent asks with mock bafflement. \"This from the woman who once tried to open a snail's shell to see what was inside. And we both know how that went.\" Poorly, as you remember all too well. \"Here's the way I see it. The Gardener, he's pretty powerful, right? More powerful than you or I or even Man?\"\n\nA butterfly flits out into the clearing, then quickly retreats back into the foliage.\n\n> Yes\n\"Right,\" the Serpent begins. \"He's the most powerful, so he's the one in charge. Not out of some moral superiority, but out of his natural abilities. He chose to make us inferior. Does that seem right to you?\"\n\nThe wind picks up for a moment, and you smell the soft smell of the grass on the breeze.\n\n> You eat Serpent\n(first taking the Serpent)\nI don't suppose the Serpent would care for that.\n\n\"Afraid to answer, lest a lightning bolt fall from the sky?\" the Serpent asks venomously. \"The only way the Gardener rules over us is through threat of punishment. Do you think he'd be so high and mighty if there were others with the same power he has?\"\n\n> Yes\n\"Nonsense,\" the Serpent hisses. \"If you had the same powers as the Gardener, he couldn't control you.\" He points a claw at you. \"That's why he forbids you from eating this fruit. You won't die; he only says that because he knows that eating it will open your eyes and make you like him. Powerful and wise. Isn't wisdom worth having, even if it means disobeying him?\"\n\n> You wait\nTime passes.\n\n> You leave\nAs you walk away, you hear the Serpent's voice calling after you. \"Farewell, Woman! It's your loss!\" You hear a quiet laugh, and then he adds, \"See you tomorrow!\"\n\nAnd he's right: you will see him tomorrow. Your conversations with the Serpent are the most interesting parts of your life here in the garden. But right now it's time for another boring day."
    },
    {
        "text": "[Themes: Fiction]\n\n> You look around\nYou're beside the biggest tree. Its branches stretch miles overhead, and its roots are like the trunks of saplings. The ground here is soft and green with grass and moss. At the edges of this clearing, plants grow thick. They're all blossoming and fruiting at once, filling the air with perfume. A wide path leads out of the clearing and back to the rest of the garden.\n\nHanging low from a branch of the tree is a large fruit.\n\nYou can also see the Serpent here.\n\n\"Just think about that for a while,\" the Serpent says. \"I won't bother you any more today. Take the fruit or leave; it's your choice.\"\n\nFar off in the distance, you hear the cry of some animal or another.\n\n> You examine the fruit\nThis fruit is a delight to the eyes. Its skin is the color of blood, and textured like a melon, but seems soft enough that you could eat the fruit without peeling it. It has a depression running along the bottom of it that seems to divide it into two halves. It smells sweet and ripe. The whole thing is almost as big as your head, and dangles tantalizingly within reach.\n\nThe Serpent digs a bit of dirt from under a claw and tries not to look at you.\n\n> You smell the fruit\nYou smell the plants around you, and occasionally the smoke of your morning campfire on the breeze.\n\n> You look at the branch\nThe lowest branch is still far too high for you to reach.\n\nThe Serpent glances from you to the fruit and back again."
    },
    {
        "text": "[Themes: Fiction]\n\n> Look around\nYou're beside the biggest tree. Its branches stretch miles overhead, and its roots are like the trunks of saplings. The ground here is soft and green with grass and moss. At the edges of this clearing, plants grow thick. They're all blossoming and fruiting at once, filling the air with perfume. A wide path leads out of the clearing and back to the rest of the garden.\n\nHanging low from a branch of the tree is a large fruit.\n\nYou can also see the Serpent here.\n\n> Wear leaves\n(first taking the leaves)\nYou don't need to make anything out of the leaves right now.\n\nA bird on a branch above you suddenly calls out in a cheery snippet of song.\n\n> Sing\nYour singing is passable.\n\nA butterfly flits out into the clearing, then quickly retreats back into the foliage.\n\n> About you\nYou're Woman, and you look a lot like your boyfriend Man except with some bits made bigger or turned inside-out.\n\nThe Serpent scratches his nose and sighs softly.\n\n> Kiss Serpent\nKeep your mind on the game.\n\n> You take the fruit\nYou reach up and take the fruit. The Serpent smiles at you encouragingly, and you take a bite.\n\nIt's more delicious than anything else in the garden.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nThe strongbox itself sits open under the table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> You examine the End of\nThis is a wire-bound memo book, about 3 by 5 inches. There are twelve sheets of ruled paper left in the book, all full. It's written in pencil, with no erasures, and there are what look like grease stains on the corners of some pages. The earlier pages in the notebook have all been torn out, with only scraps remaining caught in the wire spiral binding. Written on the cardboard cover in black marker is the phrase \"THE END OF THE WORLD.\" In the bottom corner is the date \"1982.\"\n\n(To enter this story, pick up the memo book labeled \"The End of the World\".)\n\n> You look at MORNING\nThis is a thin notebook with a marbled black-and-white pattern on the cover. Only the first handful of pages are full of writing. The work is done in black pen, with numerous mistakes scribbled out and many doodles in the margins. The rest of the book is blank. On the label on the front of the book is the title \"MORNING IN THE GARDEN,\" written in heavily-scribbled black ball-point. On the upper right corner of the first page is the date \"1974.\"\n\n(To enter this story, pick up the composition book labeled \"Morning in the Garden\".)\n\n> You examine Letter\nThis is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages. The envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(To enter this story, pick up the envelope labeled \"Undelivered Love Letter\".)\n\n> Examine box\nThis strongbox is made of metal, and is a foot across in each dimension. It is covered in rust and dented in a few places. A tattered label on the lid reads \"Laura Bryant Collection.\" You pried the box open with a crowbar you borrowed from a friend after failed attempts at picking the lock. The metal around the latch is twisted out of shape.\n\n> You take the label\nTaken.\n\n> You examine it\nThis strongbox is made of metal, and is a foot across in each dimension. It is covered in rust and dented in a few places. A tattered label on the lid reads \"Laura Bryant Collection.\" You pried the box open with a crowbar you borrowed from a friend after failed attempts at picking the lock. The metal around the latch is twisted out of shape.\n\nThis strongbox is made of metal, and is a foot across in each dimension. It is covered in rust and dented in a few places. A tattered label on the lid reads \"Laura Bryant Collection.\" You pried the box open with a crowbar you borrowed from a friend after failed attempts at picking the lock. The metal around the latch is twisted out of shape.\n\n> You examine wrinkled\nThis is a wrinkled sheet of paper that was at the back of the strongbox. It appears to be the last page of one of Ms. Bryant's story-worlds, but you've yet to find the rest of it. It's possible that you never will. The sheet reads:\n\n\"will never clarify its cryptic prophecies.\n\n\"Instead of dismantling the fast food intercom, say 'It would be a waste of time to take that apart. You'd only be half done before the police arrived.'\n\n\"You can return each day, and the speaker will tell a new prophecy. After asking the restaurant employees about the prophecies, have them say that they have no idea what you're talking about. They only remember taking your order and giving you a price.\n\n\"The restaurant goes out of business in five days from now. When the restaurant goes out of business, replace the intercom with a broken stump. The broken stump has description 'All that remains where the intercom and menu board once stood is a twisted stump of metal with a few wires poking out. There's no indication of the source of the strange mist that seemed to surround the menu board.'\n\n\"The End.\"\n\n> Inventory\nYou are carrying:\nan old dented strongbox (open but empty)\n\n> You examine going home\nThis is a packet of five pages of white paper with typewritten text. The back of each sheet shows traces of carbon paper. The pages are stapled together in the upper left corner, and there are signs that the sheets have been separated and re-stapled at least once. The first line on the first page reads \"GOING HOME AGAIN.\" On the next line is the date \"1969.\"\n\n(To enter this story, pick up the stapled packet labeled \"Going Home Again\".)\n\n> You look at Tower\nThis is a 50-page, spiral-bound sketchbook with cardboard covers. The front cover is green, and is decorated with a drawing in black marker of the wooden toy that you found in the box. Across the top is the title \"THE TOWER OF HANOI,\" written in the same black marker. On the back cover is the date \"1978.\" The first ten pages are filled with simple pencil drawings and notes describing the world of this story. The rest of the book is filled with hauntingly realistic charcoal drawings of scenes from that world.\n\n(To enter this story, pick up the sketchbook labeled \"The Tower of Hanoi\".)"
    },
    {
        "text": "[Themes: Fiction]\n\n> You look at your surroundings\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> You look at the clutter\nStuff you need to put in its proper place, mostly. You put it off for long enough, and it starts to pile up.\n\n> You examine wooden\n(the wooden table)\nOn the wooden table are a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", a wrinkled sheet of paper, and a wooden toy.\n\n> You examine the wooden toy\nThis is a toy made out of a wooden block with three wooden posts sticking out of the top. Painted wooden disks of various sizes and colors fit onto the posts. At the moment, the left post has a tiny purple disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, a large orange disk, and a huge red disk (from top to bottom) on it, the middle post has nothing on it, and the right post has nothing on it.\n\n> You take HANOI\nThis is a 50-page, spiral-bound sketchbook with cardboard covers. The front cover is green, and is decorated with a drawing in black marker of the wooden toy that you found in the box. Across the top is the title \"THE TOWER OF HANOI,\" written in the same black marker. On the back cover is the date \"1978.\" The first ten pages are filled with simple pencil drawings and notes describing the world of this story. The rest of the book is filled with hauntingly realistic charcoal drawings of scenes from that world.\n\n(Do you want to enter this story?)\n\n> Yes\n\"It seems to me that\nhowever hard people try to\nprotect something, there's\nalways someone willing to\ntry harder to take it away.\"\n\n\n\nYou finally got here. It was an arduous journey, but you're finally at the top of the fabled Tower of Hanoi. Before you is the priceless Amber Star, the most sought-after jewel in the world. There's just one problem. How are you supposed to get to it?\n\nThis is a tiny, round room. Its walls are painted a rich purple. In the center of the room is a round stone column. There is a hexagonal window on the right wall. A big cage is built into the wall, enclosing the window and occupying almost half of the room. In the floor of the cage is a square hole, through which you can see an impassable blue stone surface. Stairs outside the cage lead down through the floor, where you can see a room with blue walls.\n\nIn the cage is a glass case containing an enormous jewel.\n\n> You examine the cage\nThis is a cage made from interlaced steel wire. It's very sturdy-looking, and has no entrances or exits beyond the square hole in the floor inside it. It's attached to the right wall, the floor, and the ceiling in such a way that the wire forms three walls of the enclosure and the outer wall of the room forms the fourth. It takes up almost half of the room. In the cage is a glass case containing an enormous jewel.\n\n> You look at the hole\nThis is a square hole through which you can see an impassable blue stone surface."
    },
    {
        "text": "[Themes: Fiction]\n\n> Look around\nThis is a tiny, round room. Its walls are painted a rich purple. In the center of the room is a round stone column. There is a hexagonal window on the right wall. A big cage is built into the wall, enclosing the window and occupying almost half of the room. In the floor of the cage is a square hole, through which you can see an impassable blue stone surface. Stairs outside the cage lead down through the floor, where you can see a room with blue walls.\n\nIn the cage is a glass case containing an enormous jewel.\n\n> You examine the jewel\nThis is the most precious jewel in the world: the Amber Star. It's the size of your head, and a brilliant shining yellow. It's held firmly in place by a silver stand.\n\n> About you\nIt doesn't really matter what you look like. Let's just say you're you.\n\n> You examine the stand\nThe case is made of glass, supported by an elaborate golden pedestal. Within is a silver stand holding the Amber Star. The stand holds the gem tightly in place. On the side of the pedestal is a small lens facing the window with an engraving of a keyhole above it.\n\n> You look at the lens\nThis is a glass lens an inch or so across, facing toward the window as if to catch light shining into this room. Above it is an engraving of a keyhole.\n\n> You examine the window\nThis is a hexagonal window, not quite big enough to climb through. Through the window, you can see two thin metal spires and the empty wasteland around this complex.\n\n> You examine the spires\nOut the window you can see a thin metal spire, perfectly straight."
    },
    {
        "text": "> Go downwards\nYou descend via the set of stairs.\n\nThis is a small, round room. Its walls are painted a deep blue. In the center of the room is an exposed metal pole, which goes into a small hole in the ceiling above. It passes through a large hole in the floor, which is big enough to go through. Through the hole, you can see a room with green walls. A hexagonal window is on the left wall, and there is an archway leading out. Stairs head up through the ceiling, where you can see a room with purple walls.\n\nA silver mirror is mounted in front of the window, directly above a lens set into the floor.\n\n> You look at the archway\nThis is a graceful archway that comes to a point at the top. Through it, you can see a roof painted green and a sheer drop.\n\n> Go outside\nOutside the archway is the roof of the disk below, slick with grease and moisture. Beyond that is a sheer drop. It doesn't seem safe.\n\n> You turn mirror\nThat sounds impractical.\n\n> You look at the lens\nIn front of the window is an angled mirror on a silver stand, set so that it will reflect light from the window toward a small lens set into the floor of the room.\n\n> You jump\nYou jump on the spot, fruitlessly."
    },
    {
        "text": "[Themes: Fiction]\n\n> Look around\nThis is a small, round room. Its walls are painted a deep blue. In the center of the room is an exposed metal pole, which goes into a small hole in the ceiling above. It passes through a large hole in the floor, which is big enough to go through. Through the hole, you can see a room with green walls. A hexagonal window is on the left wall, and there is an archway leading out. Stairs head up through the ceiling, where you can see a room with purple walls.\n\nA silver mirror is mounted in front of the window, directly above a lens set into the floor.\n\n> You return\nDo you want to leave this story and return to the living room?\n\n> Yes\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are an old dented strongbox (empty), a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", and a wrinkled sheet of paper.\n\n> You look at the clutter\nStuff you need to put in its proper place, mostly. You put it off for long enough, and it starts to pile up.\n\n> You look at Tower\nThis is a 50-page, spiral-bound sketchbook with cardboard covers. The front cover is green, and is decorated with a drawing in black marker of the wooden toy that you found in the box. Across the top is the title \"THE TOWER OF HANOI,\" written in the same black marker. On the back cover is the date \"1978.\" The first ten pages are filled with simple pencil drawings and notes describing the world of this story. The rest of the book is filled with hauntingly realistic charcoal drawings of scenes from that world.\n\n(To enter this story, pick up the sketchbook labeled \"The Tower of Hanoi\".)"
    },
    {
        "text": "[Themes: Fiction]\n\n> Go down\nYou grab the metal pole and slide down into the next room. It's slick enough that you're sure you won't be going back up by this route.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see a room with blue walls. There is a square hole in the floor, through which you can see an impassable yellow stone surface. There is also a set of stairs leading down to a room with yellow walls and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. It seems to end in midair, with a thin metal spire several feet from the end of the bridge.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other.\n\n> You look at the bridge\nAn arched bridge extends out into space from a doorway in the left wall of this room. It's enclosed, with only occasional small windows along its walls. The inner walls are gray stone, and the bridge is just wide enough for you to walk through in comfort. It seems to end in midair, with a thin metal spire several feet from the end of the bridge.\n\n> You look at the hole\nWhich do you mean, the round hole, or the square hole?\n\n> Square\nThis is a square hole through which you can see an impassable yellow stone surface."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go downwards\nYou descend via the set of stairs.\n\nThis is a medium-large, round room. Its walls are painted a pale yellow. In the center of the room is a round stone column. A set of stairs leads up to a room with green walls. Through a square hole in the floor, you can see a room with orange walls. There is a hexagonal window on the left wall and an archway leading out.\n\nA narrow, steel, cylindrical device sits in the middle of the room, aimed at the window on the left wall. A pipe leads from the device to the floor.\n\nA golden mirror is mounted beside the cylindrical device, directly below a lens set into the ceiling.\n\n> You examine the device\nThis is a long, thin metal tube with pipes and gauges sticking out of it and a sealed hopper on top filled with small metal balls. The largest pipe leads down through the floor. The pipes are silent, and a large gauge on the side indicates that the device is \"UNPRESSURIZED.\" There is a big lever on the back of the device.\n\n> You examine the lever\nA big lever sticks out of the back of the device.\n\n> Examine column\nThis is a thick column made of smooth stone. It's in the exact center of the room.\n\n> You examine the balls\nThis is a sealed hopper mounted on top of the cylindrical device. Through a window in its side, you can see countless little metal balls."
    },
    {
        "text": "> You look around\nThis is a medium-large, round room. Its walls are painted a pale yellow. In the center of the room is a round stone column. A set of stairs leads up to a room with green walls. Through a square hole in the floor, you can see a room with orange walls. There is a hexagonal window on the left wall and an archway leading out.\n\nA narrow, steel, cylindrical device sits in the middle of the room, aimed at the window on the left wall. A pipe leads from the device to the floor.\n\nA golden mirror is mounted beside the cylindrical device, directly below a lens set into the ceiling."
    },
    {
        "text": "> Go down\nYou descend via the square hole.\n\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with yellow walls. A staircase leads down to a room with red walls. An archway leads out, and there is a hexagonal window on the left wall.\n\n> You look at the archway\nThis is a graceful archway that comes to a point at the top. Through it, you can see a roof painted red and a sheer drop.\n\n> You enter the archway\nOutside the archway is the roof of the disk below, slick with grease and moisture. Beyond that is a sheer drop. It doesn't seem safe.\n\n> You look at the ladder\nThis is an a ladder leading to a square hole through which you can see a room with yellow walls.\n\n> You take it\nThat's hardly portable.\n\n> You examine window\nThis is a hexagonal window, not quite big enough to climb through. Through the window, you can see the empty wasteland around this complex."
    },
    {
        "text": "[Themes: Fiction]\n\n> You go downward\nYou descend via the set of stairs.\n\nThis is a huge, round room. Its walls are painted bright red. In the center of the room is a round stone column. A set of stairs leads up to a room with orange walls. A hexagonal window is in the right wall, and an archway leads out.\n\nA clanking machine sits in a corner of the room, with a hissing pipe leading to the ceiling.\n\nA strange lamp is mounted in front of the window.\n\nA bright, focused beam of light shines from the lamp and out the window on the right wall.\n\n> You examine the lamp\nA bright gas lamp is mounted in an array of curved mirrors and lenses. The dazzling white light from the lamp is focused into a tight beam that shines out the window in the right wall.\n\n> You examine the window\nThis is a hexagonal window, not quite big enough to climb through. Through the window, you can see two thin metal spires and the empty wasteland around this complex.\n\n> You examine the machine\nThis is a strange clanking machine, a couple yards across. It's quite warm, and has a large gear on the side that rotates agonizingly slowly. A big iron pipe leads from the top of the machine to the ceiling.\nSteam flows angrily from a release valve on the back of the machine, indicating that it's not being delivered to its intended destination.\n\n> You examine the archway\nThis is a graceful archway that comes to a point at the top. Through it, you can see a dusty plain.\n\n> Go outside\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, a green room, a yellow room, a orange room, and a red room (from top to bottom). You can enter the red room through an archway.\n\nBehind you is a small tin shed.\n\n> You examine the crane\nThis is an enormous crane apparatus that sits above the three spires. It is on tracks that let it slide from tower to tower, and has a massive hook hanging from the end of a cable. It's connected with pipes to the tin shed. Steam occasionally hisses from valves on the machinery.\n\n> You examine shed\nThis is a small shed with tin walls. It is connected to the crane apparatus with hundreds of thin steel pipes.\n\n> You enter the shed\nThis small tin shed is hot and humid. A large machine takes up most of the floor space, with just enough room for you to stand. Two signs are mounted on the wall; one is labeled \"THE RULES\" and the other is labeled \"OPERATING INSTRUCTIONS.\"\n\nMounted in the center of the machine's console is what appears to be a small wooden toy. Beside it is a large lever.\n\n> You look at the rules\nThis wooden sign is bolted to the wall of the shed. It reads, \"THE RULES: No disk may be on top of a smaller disk. Every disk must be on a post.\"\n\n> You examine the operating\nThis wooden sign is bolted to the wall of the shed. It is titled \"OPERATING INSTRUCTIONS.\" Below that is a numbered list:\n\n1. Assemble tower model to desired configuration.\n2. Check rules to ensure valid configuration.\n3. Pull lever.\n\n> You look at the toy\nThis is a toy made out of a wooden block with three wooden posts sticking out of the top. Painted wooden disks of various sizes and colors fit onto the posts. At the moment, the left post has a tiny purple disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, a large orange disk, and a huge red disk (from top to bottom) on it, the middle post has nothing on it, and the right post has nothing on it.\n\n> You take all from the left post\ntiny purple disk: Taken.\nsmall blue disk: Taken.\nmedium-small green disk: Taken.\nmedium-large yellow disk: Taken.\nlarge orange disk: Taken.\nhuge red disk: Taken.\n\n> You put the orange on the right\nYou put the large orange disk on the empty right post.\n\n> You pull the lever\nA colossal rumbling shakes the earth, and a hissing of steam fills the air. You hear a series of massive thuds as something huge rearranges itself.\n\n> Examine toy\nThis is a toy made out of a wooden block with three wooden posts sticking out of the top. Painted wooden disks of various sizes and colors fit onto the posts. At the moment, the left post has a tiny purple disk, a small blue disk, and a medium-small green disk (from top to bottom) on it, the middle post has a medium-large yellow disk and a huge red disk (from top to bottom) on it, and the right post has a large orange disk on it.\n\n> Go outside\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, and a green room (from top to bottom). You can enter the green room through the exposed end of the bridge.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a orange room (from top to bottom). You can enter the orange room through an archway.\n\nBehind you is a small tin shed.\n\n> You take all from left\ntiny purple disk: Taken.\nsmall blue disk: Taken.\nmedium-small green disk: Taken.\n\n> You take all from right\nTaken.\n\n> You put the orange on the left\nYou put the large orange disk on the empty left post.\n\n> You put the green on the left\nYou put the medium-small green disk on top of the large orange disk on the left post.\n\n> You put the blue on right\nYou put the small blue disk on the empty right post.\n\n> You put the purple on the right\nYou put the tiny purple disk on top of the small blue disk on the right post.\n\n> Leave\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a green room and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a purple room and a blue room (from top to bottom). You can enter the blue room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the orange\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with green walls. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\n> You leave\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a green room and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a purple room and a blue room (from top to bottom). You can enter the blue room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the red\nThis is a huge, round room. Its walls are painted bright red. In the center of the room is a round stone column. A set of stairs leads up to an impassable yellow stone surface. A hexagonal window is in the right wall, and an archway leads out.\n\nA clanking machine sits in a corner of the room, with a hissing pipe leading to the ceiling.\n\nA strange lamp is mounted in front of the window.\n\nA bright, focused beam of light shines from the lamp and out the window on the right wall.\n\n> You go upwards\nYou can't go that way. The set of stairs is blocked by a hard yellow stone surface.\n\n> You go upwards\nYou ascend via the a ladder leading to a square hole.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see blue sky. There is a square hole in the floor, through which you can see a room with orange walls. There is also a set of stairs leading down to an impassable orange stone surface and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. It seems to end in midair, with a thin metal spire several feet from the end of the bridge.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other.\n\n> You go outside\nYou walk up to the edge of the bridge, but it ends in midair. There doesn't seem to be any place you can reach from here, so you return to the green room.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see blue sky. There is a square hole in the floor, through which you can see a room with orange walls. There is also a set of stairs leading down to an impassable orange stone surface and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. It seems to end in midair, with a thin metal spire several feet from the end of the bridge.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go down\nYou descend via the square hole.\n\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with green walls. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\n> You leave\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a green room and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a purple room and a blue room (from top to bottom). You can enter the blue room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the shed\nThis small tin shed is hot and humid. A large machine takes up most of the floor space, with just enough room for you to stand. Two signs are mounted on the wall; one is labeled \"THE RULES\" and the other is labeled \"OPERATING INSTRUCTIONS.\"\n\nMounted in the center of the machine's console is what appears to be a small wooden toy. Beside it is a large lever.\n\n> You take all from left\nmedium-small green disk: Taken.\nlarge orange disk: Taken.\n\n> You take all from right\ntiny purple disk: Taken.\nsmall blue disk: Taken.\n\n> You put the orange and the green on right\nlarge orange disk: You put the large orange disk on the empty right post.\nmedium-small green disk: You put the medium-small green disk on top of the large orange disk on the right post.\n\n> You put blue and the purple on the left\nsmall blue disk: You put the small blue disk on the empty left post. tiny purple disk: You put the tiny purple disk on top of the small blue disk on the left post.\n\n> You pull the lever\nA colossal rumbling shakes the earth, and a hissing of steam fills the air. You hear a series of massive thuds as something huge rearranges itself.\n\n> You go outside\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room and a blue room (from top to bottom). You can enter the blue room through an archway.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a green room and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the orange\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with green walls. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\nA beam of light enters the room through the window and makes a bright spot on the right wall.\n\n> Go up\nYou ascend via the a ladder leading to a square hole.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see blue sky. There is a square hole in the floor, through which you can see a room with orange walls. There is also a set of stairs leading down to an impassable orange stone surface and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. At the end you can see a yellow room.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other.\n\n> You go outside\nYou walk through the bridge to the next tower, entering through an archway.\n\nThis is a medium-large, round room. Its walls are painted a pale yellow. In the center of the room is a round stone column. A set of stairs leads up to blue sky. Through a square hole in the floor, you can see an impassable red stone surface. There is a hexagonal window on the left wall and an archway leading out.\n\nA narrow, steel, cylindrical device sits in the middle of the room, aimed at the window on the left wall. A pipe leads from the device to the floor. Steam leaks from the joints in the pipe.\n\nA golden mirror is mounted beside the cylindrical device, directly below a lens set into the ceiling.\n\n> You go upwards\nThe set of stairs leads to the roof, and it's made of stone slick with grease and condensed steam. You don't trust the footing up there.\n\n> You examine the device\nThis is a long, thin metal tube with pipes and gauges sticking out of it and a sealed hopper on top filled with small metal balls. The largest pipe leads down through the floor. Steam hisses in the pipes, and a large gauge on the side indicates that the device is \"READY TO FIRE.\" There is a big lever on the back of the device.\n\n> You pull the lever\nThere is a loud thump and a burst of steam as a steel ball fires from the mouth of the device and out the window. You hear a tremendous crash as the shot shatters something in the purple room.\n\n> Go east\nYou don't have a compass. If you would like to go to a place, please type GO TO (PLACE).\n\n> Exit\nYou cross the bridge to the green room.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see blue sky. There is a square hole in the floor, through which you can see a room with orange walls. There is also a set of stairs leading down to an impassable orange stone surface and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. At the end you can see a yellow room.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other."
    },
    {
        "text": "> Go downward\nYou descend via the square hole.\n\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with green walls. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\nA beam of light enters the room through the window and makes a bright spot on the right wall.\n\n> Go outside\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room and a blue room (from top to bottom). You can enter the blue room through an archway.\n\nOn the middle spire is a tower composed of a yellow room and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a green room and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the blue\nThis is a small, round room. Its walls are painted a deep blue. In the center of the room is an exposed metal pole, which goes into a small hole in the ceiling above. It passes through a large hole in the floor, which is big enough to go through. Through the hole, you can see solid, packed dirt. A hexagonal window is on the left wall, and there is an archway leading out. Stairs head up through the ceiling, where you can see a room with purple walls.\n\nA silver mirror is mounted in front of the window, directly above a lens set into the floor.\n\n> Go up\nYou ascend via the set of stairs.\n\nThis is a tiny, round room. Its walls are painted a rich purple. In the center of the room is a round stone column. There is a hexagonal window on the right wall. A big cage is built into the wall, enclosing the window and occupying almost half of the room. In the floor of the cage is a square hole, through which you can see an impassable blue stone surface. Stairs outside the cage lead down through the floor, where you can see a room with blue walls.\n\nIn the cage is a shattered glass case containing an enormous jewel.\n\n> You examine the jewel\nThis is the most precious jewel in the world: the Amber Star. It's the size of your head, and a brilliant shining yellow. It's held firmly in place by a silver stand.\n\n> You examine the case\nThe case was originally made of glass, supported by an elaborate golden pedestal. Within is a silver stand holding the Amber Star. The stand holds the gem tightly in place. On the side of the pedestal is a small lens facing the window with an engraving of a keyhole above it.\n\nThe glass walls of the case have been shattered to pieces, allowing access to the treasure within."
    },
    {
        "text": "> Go down\nYou descend via the set of stairs.\n\nThis is a small, round room. Its walls are painted a deep blue. In the center of the room is an exposed metal pole, which goes into a small hole in the ceiling above. It passes through a large hole in the floor, which is big enough to go through. Through the hole, you can see solid, packed dirt. A hexagonal window is on the left wall, and there is an archway leading out. Stairs head up through the ceiling, where you can see a room with purple walls.\n\nA silver mirror is mounted in front of the window, directly above a lens set into the floor.\n\n> You take all the disks\ntiny purple disk: Taken.\nsmall blue disk: Taken.\nmedium-large yellow disk: Taken.\nhuge red disk: Taken.\nmedium-small green disk: Taken.\nlarge orange disk: Taken.\n\n> You put the red on the middle\nYou put the huge red disk on the empty middle post.\n\n> You put the orange on the right\nYou put the large orange disk on the empty right post.\n\n> PUT YELLOW, GREEN, BLUE, PURPLE ON LEFT\nmedium-large yellow disk: You put the medium-large yellow disk on the empty left post.\nmedium-small green disk: You put the medium-small green disk on top of the medium-large yellow disk on the left post.\nsmall blue disk: You put the small blue disk on top of the medium-small green disk on the left post.\ntiny purple disk: You put the tiny purple disk on top of the small blue disk on the left post.\n\n> Leave\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, a green room, and a yellow room (from top to bottom). You can enter the yellow room through an archway.\n\nOn the middle spire is a tower composed of a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a orange room (from top to bottom). You can enter the orange room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the orange\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to blue sky. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\nA beam of light enters the room through the window and makes a bright spot on the right wall.\n\n> You go outside\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, a green room, and a yellow room (from top to bottom). You can enter the yellow room through an archway.\n\nOn the middle spire is a tower composed of a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a orange room (from top to bottom). You can enter the orange room through an archway.\n\nBehind you is a small tin shed.\n\n> You put blue and the purple on the left\nsmall blue disk: You put the small blue disk on top of the medium-small green disk on the left post.\ntiny purple disk: You put the tiny purple disk on top of the small blue disk on the left post.\n\n> You go outside\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, a green room, and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nOn the middle spire is a tower composed of a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a yellow room (from top to bottom). You can enter the yellow room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the yellow\nThis is a medium-large, round room. Its walls are painted a pale yellow. In the center of the room is a round stone column. A set of stairs leads up to blue sky. Through a square hole in the floor, you can see solid, packed dirt. There is a hexagonal window on the left wall and an archway leading out.\n\nA narrow, steel, cylindrical device sits in the middle of the room, aimed at the window on the left wall. A pipe leads from the device to the floor.\n\nA golden mirror is mounted beside the cylindrical device, directly below a lens set into the ceiling.\n\nA beam of light enters through the window on the left wall, reflects off of the mirror, and shines into the lens in the ceiling.\n\n> You go upwards\nThe set of stairs leads to the roof, and it's made of stone slick with grease and condensed steam. You don't trust the footing up there.\n\n> You examine lens\nBeside the cylindrical device is an angled mirror on a golden stand, set so that it will reflect light from the window toward a small lens set into the ceiling of the room."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go downward\nThere's just packed dirt below the square hole. There's nowhere to go.\n\n> Go outside\nYou exit via the archway.\n\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the left spire is a tower composed of a purple room, a blue room, a green room, and a orange room (from top to bottom). You can enter the orange room through an archway.\n\nOn the middle spire is a tower composed of a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a yellow room (from top to bottom). You can enter the yellow room through an archway.\n\nBehind you is a small tin shed.\n\n> Go upwards\nYou ascend via the a ladder leading to a square hole.\n\nThis is a medium-small, round room. Its walls are painted a cool green. In the center of the room is an exposed metal pole, which goes into a small hole in the floor. It passes through a large hole in the ceiling, which is big enough to go through. Through the hole, you can see a room with blue walls. There is a square hole in the floor, through which you can see a room with orange walls. There is also a set of stairs leading down to an impassable orange stone surface and a hexagonal window on the right wall.\n\nThrough a large doorway in the left wall of the room you can see an enclosed bridge. It seems to end in midair, with a thin metal spire several feet from the end of the bridge.\n\nA pair of small lenses is set into the ceiling and floor of the room, directly above each other.\n\n> Go upwards\nThe metal pole at the center of the room is too slick to climb up."
    },
    {
        "text": "[Themes: Fiction]\n\n> Go down\nYou descend via the square hole.\n\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with green walls. A staircase leads down to solid, packed dirt. An archway leads out, and there is a hexagonal window on the left wall.\n\n> You take all disk\ntiny purple disk: Taken.\nsmall blue disk: Taken.\nmedium-small green disk: Taken.\nlarge orange disk: Taken.\nhuge red disk: Taken.\nmedium-large yellow disk: Taken.\n\n> You put the red and the orange and the purple on the middle\nhuge red disk: You put the huge red disk on the empty middle post. large orange disk: You put the large orange disk on top of the huge red disk on the middle post.\ntiny purple disk: You put the tiny purple disk on top of the large orange disk on the middle post.\n\n> You put the yellow and green and the blue on right\nmedium-large yellow disk: You put the medium-large yellow disk on the empty right post.\nmedium-small green disk: You put the medium-small green disk on top of the medium-large yellow disk on the right post.\nsmall blue disk: You put the small blue disk on top of the medium-small green disk on the right post.\n\n> You pull the lever\nA colossal rumbling shakes the earth, and a hissing of steam fills the air. You hear a series of massive thuds as something huge rearranges itself.\n\n> Go outside\nYou stand in the middle of a vast plain sprinkled with small shrubs.\nIn front of you are three thin metal spires with enormous stone disks threaded on to them. An elaborate crane system looms above the spires, its valves and gaskets oozing steam.\n\nOn the middle spire is a tower composed of a purple room, a orange room, and a red room (from top to bottom). You can enter the red room through an archway.\n\nOn the right spire is a tower composed of a blue room, a green room, and a yellow room (from top to bottom). You can enter the yellow room through an archway.\n\nBehind you is a small tin shed.\n\n> You enter the red\nThis is a huge, round room. Its walls are painted bright red. In the center of the room is a round stone column. A set of stairs leads up to a room with orange walls. A hexagonal window is in the right wall, and an archway leads out.\n\nA clanking machine sits in a corner of the room, with a hissing pipe leading to the ceiling.\n\nA strange lamp is mounted in front of the window.\n\nA bright, focused beam of light shines from the lamp and out the window on the right wall.\n\n> Go up\nYou ascend via the set of stairs.\n\nThis is a big, round room. Its walls are painted a warm orange. In the center of the room is a round stone column. A ladder leads up to a room with purple walls. A staircase leads down to a room with red walls. An archway leads out, and there is a hexagonal window on the left wall.\n\n> Go upwards\nYou ascend via the a ladder leading to a square hole.\n\nPurple Room (in the large cage)\nThis is a tiny, round room. Its walls are painted a rich purple. In the center of the room is a round stone column. There is a hexagonal window on the right wall. A big cage is built into the wall, enclosing the window and occupying almost half of the room. In the floor of the cage is a square hole, through which you can see a room with orange walls. Stairs outside the cage lead down through the floor, where you can see an impassable orange stone surface.\n\nIn the cage is a shattered glass case containing an enormous jewel.\n\nA beam of light shines in through the window and hits a lens mounted on the pedestal supporting the glass case.\n\n> You take the jewel\nYou take the Amber Star from its place in the case. You're now rich beyond your wildest dreams, and as the thief who bested the Tower of Hanoi, you will go down in infamy!\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a wooden toy, an old dented strongbox (empty), a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", and a wrinkled sheet of paper.\n\n> Examine toy\nThis is a toy made out of a wooden block with three wooden posts sticking out of the top. Painted wooden disks of various sizes and colors fit onto the posts. At the moment, the left post has nothing on it, the middle post has a tiny purple disk, a large orange disk, and a huge red disk (from top to bottom) on it, and the right post has a small blue disk, a medium-small green disk, and a medium-large yellow disk (from top to bottom) on it.\n\n> You take going home again\nThis is a packet of five pages of white paper with typewritten text. The back of each sheet shows traces of carbon paper. The pages are stapled together in the upper left corner, and there are signs that the sheets have been separated and re-stapled at least once. The first line on the first page reads \"GOING HOME AGAIN.\" On the next line is the date \"1969.\"\n\n(Do you want to enter this story?)\n\n> Yes\n\"I had some men come to\ncut down that big dead tree\nin the front yard today. It was\nan eyesore, but now I'm sorry\nto see it gone.\"\n\n> You press green\nYour flight arrived an hour ago, and your parents picked you up from the airport. You're just here for a little bit, to set down your suitcase in your old room before you go out to dinner. Your parents are waiting in the car. There'll be time to reminisce after you all eat. Still, this is the first time you've been back since you graduated from college.\n\nThis is the first room off of the garage, with a washer and dryer and some storage. The cabinets above the dryer are where your mom always kept old rags for dusting, and all sorts of junk is stacked on the shelves across from them. The kitchen is through a doorway, and your parents are waiting in the garage just outside this room.\n\nA set of lines drawn on the edge of the shelves catches your eye.\n\n> You examine the lines\nDrawn on the edge of the shelves is a set of lines. Each one has a date written beside it. These are your height measurements from when you were a child. Now, you're taller than all of them.\n\n> You check what you're carrying\nYou are carrying:\na suitcase\n\n> About you\nYou're almost 24; your birthday is tomorrow. You've graduated from college, and you've been away from this place for over half a decade now. You've only just stopped thinking of it as \"home.\"\n\n> You look at the suitcase\nThis is your old beat-up suitcase. You got it when you first went off to college, over four years ago now. It's covered in stickers advertising far-off eateries and espousing political beliefs that you only half-believe anymore. You just need to drop it off in your old room.\n\n> You look at the cabinets\nThese wooden cabinets above the washer and dryer contain old rags and cleaning supplies, mostly.\n\n> You examine the washer\nThey replaced the washer and dryer just after you left for college. This new model is a lot more reliable than the old one.\n\n> You drop the suitcase\nYou'd rather not clutter up your hou... you mean, your parents' house. You can drop it off in your room.\n\n> You go to the kitchen\nThe kitchen's about the same as you remember it, although the refrigerator's new. The floor is white tile, and one wall is covered in cabinets. A little basket of oranges sits out on the counter. The kitchen table occupies much of the room. The doorway to the laundry room is near the refrigerator, and the family room is through an open archway.\n\n> You examine the fridge\nThe old refrigerator was a simple one with a freezer on top and the fridge on the bottom. You'd always assumed your parents got it as a wedding gift. They've replaced it with a top-of-the-line model with the freezer on the bottom. Instead of crayon drawings, the front is covered with years-old Dean's List certificates and newsletters from your parents' church.\n\n> You examine the oranges\nThe orange trees in the side yard always bore sour and thick-skinned fruit when you were growing up, but over the past few years they've started producing some nice, sweet oranges. Or so your father says.\n\n> You read newsletters\nThe newsletters on the refrigerator mostly have schedules for the standard events at your parents' church, or advertise an upcoming raffle or special event. There isn't anything special scheduled during your visit.\n\n> You examine table\nThis old scarred wooden table had a glass top to it when you were young. You don't remember what happened to it, but it always got spills trapped under it anyway. You're pretty sure everyone was glad when it finally broke or was discarded.\n\n> You go to the family room\nThe largest room in the house has high ceilings and wide windows. The front door leads outside, and the hallway leads back to the bedrooms. The kitchen is back through an open archway. Your dad's most recent chair sits here, as well as a couch and a desk. The television is new, you notice, and considerably bigger than the one your parents used to have.\n\n> You look at the tv\nThis television looks huge sitting in this room. The one you remember was quite a few inches smaller. That one, in turn, replaced an even older one with bent rabbit ear antennas and barely-capable color. This one is fancier than the TV you have at home.\n\nThe television is currently switched off.\n\n> You turn on the tv\nYou don't have time for television right now. Your parents are waiting.\n\n> You look at the windows\nThe windows look out onto the backyard. When you were in high school, your parents replaced the grass back there with gravel; it wasn't worth keeping up grass in this hot climate. Now, there are some citrus trees back there. You think there's a tangerine tree and a lemon-lime tree, but you have trouble remembering exactly.\n\n> You examine the desk\nThis used to be your homework desk, once upon a time. Before that, your mother used it in her small business. It's one of those pieces of office furniture that you assemble from a kit. At the moment, it's used by whichever of your parents wants to get a little work done. An old office chair sits in front of it.\n\n> You examine the couch\nThis couch replaced your old one back when you were in middle school. The old one was an ancient relic, made of wood with stiff cushions and buttons that had mostly fallen out. This one's much nicer.\n\n> You go to the hallway\nThis narrow hallway leads back to the bedrooms. You used to race up and down it when you were small. It's a miracle you didn't injure anyone trying to navigate it at the same time. There's a big linen closet here, and doors for the bathroom, the master bedroom, and your old room. The other end of the hallway leads back to the family room.\n\nHanging on the wall in a frame is the drawing of a cat you did in high school.\n\n> You examine the cat\nNeither of your parents considered themself creative in an artistic way. They're both smart, but they're in technical fields, and the most cultural thing they did seriously was play in their college band together. Perhaps as a result, they were startlingly impressed by this drawing you did in high school art class. It's done in colored pencil, and it shows a cat sitting on the deck of a ship and watching a seagull. Your mother gave it a place of honor in the house. It's well done, you suppose, but you're still surprised (and a little flattered) that she thinks that highly of it.\n\n> You drop the suitcase\nYou'd rather not clutter up your parents' house. You can drop it off in your room.\n\n> You open the linen\nThat's already open.\n\n> You examine the linen\nThe doors of this closet fold back, and they've always refused to close completely. The doors are open.\n\n> You look in the closet\nNothing in there but old towels, sheets, and knitted afghans.\n\n> You examine the towels\nThe closet contains an assortment of linens, some of them dusty.\n\n> You wear a the sheet\n(first taking the linens)\nYour mother's sure to have already set out sheets and towels for you to use. She likes being a prepared hostess.\n\n> You enter the bathroom\nThis is the bathroom you used growing up. It's been remodeled a bit, but it still maintains the nautical theme that it has had since you were tiny. Your mother's never considered herself artistic, but she seems bashfully proud of the painted wall decoration she added in the latest round of remodeling. It's quite cute, you think.\n\n> You examine the decoration\nAccording to the story your mom told on the drive here, she and your father recently remodeled the bathroom. In the process, they replaced the old towel rods. To mask the patch where the old rods were bolted to the wall, your mom painted a stylized wave to fit the nautical theme of the room. It's very cute.\n\n> You enter the master\nThis is your parents' bedroom. It looks mostly the same as you remember, except that your mother finally replaced her old metal bookcase. The bed is the one your parents got when you were young, and the decorations are all the same.\n\n> You examine the bookcase\nYour mom got this bookcase to replace her old metal one, which had broken shelves and was, frankly, a bit unattractive. The new one's pretty whitewashed wood, and does a much better job of holding up stuff than the old one did. It's full of assorted books.\n\n> Examine books\nVarious books about urban planning, childrearing, self-improvement, and geography. These are clearly your mother's.\n\n> You examine the bed\nThis is a king-sized bed, the same one that you remember jumping into after having bad dreams when you were little.\n\n> You examine the decorations\nThere are some pictures on the walls: one that you painted as a kid, a photo of the countryside near where your parents went to college, and a picture of a barn with a quaint advertisement painted on the roof.\n\n> You look at the barn\nThis is a painting of a barn beside a road. Painted in white on the roof of the barn is the phrase \"SEE ROCK CITY.\" It's unclear what the advertisement is referring to.\n\n> You examine photo\nThe picture is taken in winter, and it's a tall hill covered in leafless trees. The sky is purple and blue, and the rock at the top of the hill is a reddish-brown.\n\n> You examine kid\nThis is a picture of some generic desert hills with cactuses on them. It's pretty rough, but you suppose it looks all right in a sort of abstract expressionist way.\n\n> You go outside\nThis narrow hallway leads back to the bedrooms. You used to race up and down it when you were small. It's a miracle you didn't injure anyone trying to navigate it at the same time. There's a big linen closet here, and doors for the bathroom, the master bedroom, and your old room. The other end of the hallway leads back to the family room.\n\nHanging on the wall in a frame is the drawing of a cat you did in high school.\n\n> You enter your room\nDuring the big house redecoration when you were in middle school, you picked out the wallpaper and paint for this room. You picked a forest theme, and insisted on keeping the lush, old, dark green carpet that was here when you moved in. A lot of your things are still here, waiting for you to move into a place with enough space to keep it all. Your old bed is in one corner. The door leads back to the hallway.\n\n> You look at the things\nThe closet contains boxes full of books and old childhood treasures. Sometime during this trip you'll go through them and pick out some stuff you want sent home, but not right now.\n\n> You examine wallpaper\nThe wallpaper on the upper half of the walls is subtly patterned after birch bark.\n\n> You examine the bed\nThis bed looks distressingly small compared to the one you have at your place. You remember that in high school your feet almost hung over the end of it. Oh, well; you'll have to make the best of things.\n\n> You look under it\nYou used to keep a box of treasures here, but you brought it with you when you left for college.\n\n> You examine the carpet\nThis carpet always reminded you of soft moss or the grass in a clearing. Growing up in the desert made you pine for the woods. Now you find yourself missing the rocks and the cacti.\n\n> You drop suitcase\nYou drop off your suitcase. You can unpack after dinner. Now, to get back to your parents and be on your way.\n\n> You open suitcase\nYou can unpack after dinner.\n\n> You go outside\nThis narrow hallway leads back to the bedrooms. You used to race up and down it when you were small. It's a miracle you didn't injure anyone trying to navigate it at the same time. There's a big linen closet here, and doors for the bathroom, the master bedroom, and your old room. The other end of the hallway leads back to the family room.\n\nHanging on the wall in a frame is the drawing of a cat you did in high school.\n\n> You go to the family room\nThe largest room in the house has high ceilings and wide windows. The front door leads outside, and the hallway leads back to the bedrooms. The kitchen is back through an open archway. Your dad's most recent chair sits here, as well as a couch and a desk. The television is new, you notice, and considerably bigger than the one your parents used to have.\n\n> You go outside\nYou can go out via the garage. That's where your parents are waiting.\n\n> You go the kitchen\nThe kitchen's about the same as you remember it, although the refrigerator's new. The floor is white tile, and one wall is covered in cabinets. A little basket of oranges sits out on the counter. The kitchen table occupies much of the room. The doorway to the laundry room is near the refrigerator, and the family room is through an open archway.\n\n> You go the laundry\nThis is the first room off of the garage, with a washer and dryer and some storage. The cabinets above the dryer are where your mom always kept old rags for dusting, and all sorts of junk is stacked on the shelves across from them. The kitchen is through a doorway, and your parents are waiting in the garage just outside this room.\n\nA set of lines drawn on the edge of the shelves catches your eye.\n\n> You go garage\nYou head out into the garage and get in the car, ready for food and more discussion of what you've been up to lately.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a wooden toy, an old dented strongbox (empty), a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", and a wrinkled sheet of paper.\n\n> You take End\nThis is a wire-bound memo book, about 3 by 5 inches. There are twelve sheets of ruled paper left in the book, all full. It's written in pencil, with no erasures, and there are what look like grease stains on the corners of some pages. The earlier pages in the notebook have all been torn out, with only scraps remaining caught in the wire spiral binding. Written on the cardboard cover in black marker is the phrase \"THE END OF THE WORLD.\" In the bottom corner is the date \"1982.\"\n\n(Do you want to enter this story?)\n\n> Yes\n\"It's tough knowing that it's\ncoming. But I think I've made\npeace with it. Children are\nsupposed to outlive their\nparents, right?\"\n\n\n\nYou've got your lunch, and you've found a good spot. Everyone knew it was coming, and everyone knew when. It's time now, and there's nothing left to do but watch the show.\n\nThere are rocks here, poking out of the side of the hill. It's steep, almost too steep to keep your balance when you're standing up. It's okay, though. You're sitting down, near the top, with pretty fields down below and your home city in the distance, really small, like a model. There's a big, flat rock right beside you, and the grass is wet, but that's okay too. There are woods at the top of the hill, above you.\n\nYour lunch sits beside you on the hillside.\nI beg your pardon?\n\n> You look at the CITY\nTiny buildings poke up from the center of the city far below. Further out, the city is a quilt of the little ticky-tacky boxes of housing developments and the gray dullness of strip malls. A few cars are out moving around, driven by people who don't believe or don't care.\n\n> You look at the sky\nThe tumbling clouds above are a pale gray, tinged with pink.\n\nYou hear a distant pop, like a sneaking giant stepping on a twig.\n\n> You examine the lunch\nSimple brown paper, rolled tightly closed at the top.\n\n> Open lunch\nYou open the paper lunch bag, revealing a bag of chips, a big chocolate chip cookie, a deviled-ham sandwich, and an apple.\n\n> Examine sandwich\nYou always imagined your final meal being more elegant, but you got all that sort of thing finished weeks ago. You've had your fill of somber foie gras and have spent too much time eating fondue at overly-cheerful parties. Your mom used to send you off with deviled-ham sandwiches as a child. You like deviled ham.\n\nThunder sounds from somewhere in the tumbling clouds.\n\n> You eat the sandwich\n(first taking the deviled-ham sandwich)\nToasty wheat bread, salty ham spread. It reminds you of moments of introspection in raucous school lunch rooms. All too soon, it's gone.\n\n> You examine the apple\nThe stores all gave away their last pineapples and oranges weeks ago, but there are always apples to go around. This one's a mottled red and yellow.\n\nA low tone sounds, echoing over the hills.\n\n> You eat the apple\n(first taking the apple)\nIt's not a very good apple. The skin is a little thick, and the whole thing's a bit too sour for your usual tastes. But it's delicious. You toss the core far into the woods nearby. It will never grow into a tree.\n\n> You examine cookie\nThe last of two dozen that you baked a few days ago. It's a little dark on the bottom, but the rest of the batch was still good.\n\n> You eat the cookie\n(first taking the big chocolate chip cookie)\nThe chocolate chips are a bit melty after the long walk up here. The cookie itself is sweet and rich, with just a hint of smokiness from leaving the cookies in the oven too long.\n\n> You examine chips\nIt's a thin foil bag of potato chips, with a logo emblazoned across the front. It's unopened.\n\nThe clouds swirl and twist even more, tracing seven lines through the sky from behind you toward your town.\n\n> You examine the lines\nThe tumbling clouds above are a pale gray, tinged with pink. Seven twisted lines of clouds trace through the sky toward the city.\n\n> You read the chips\nIt's a thin foil bag of potato chips, with a logo emblazoned across the front. It's unopened.\n\nSeven bright flaming lights burst from the clouds in the sky before you, letting seven shafts of light pass through to shine on the buildings below.\n\n> You open the chips\nYou open the bag of chips, revealing some potato chips.\n\n> You eat the chips\n(the potato chips)\n(first taking the potato chips)\nThe chips are so salty that they almost hurt your tongue. They're just a little bit stale, but wonderful all the same.\n\nThe lights strike the city below, and you have to shield your eyes from the bright flash that follows.\n\n> You examine the CITY\nYou can't do anything but shield your eyes from the blinding light.\n\nThe ground shakes beneath you.\n\n> Wear the bag\n(the paper lunch bag)\n(first taking the paper lunch bag)\nYou can't do anything but shield your eyes from the blinding light.\n\nThe blinding light fades, and you see countless tiny wisps of mist floating up from the ruined, smoldering city toward the ragged holes in the clouds.\n\n> You examine the CITY\nIt's not a city anymore. It's just a heap of broken, jagged concrete and steel. Fires smolder here and there, and countless tiny wisps of mist rise from the ashes toward the heavens.\n\nThe rays of light filtering through the holes in the clouds suddenly vanish.\n\n> You look at the ROCK\nThis is a big, flat rock, embedded in the hillside. There's a depression on the edge that's perfect for sitting on.\n\nThe clouds over the city grow dark, and the darkness spreads until the whole sky is a murky gray.\n\n> Sing\nYour singing is passable.\n\nThe ground begins to tremble. The air is filled with a low howling. Above, the clouds seethe.\n\n> You go to the CITY\nYou won't have time to make it back to the city.\n\nThe ground shudders and the hillside cracks in great fissures. A great wind rises up and rushes past you toward the city and the hole in the clouds.\n\n> You examine the hole\nThe tumbling clouds above are a dark gray, tinged with flickers of red. An enormous hole in the clouds hangs above you, with only darkness visible through it.\n\nThe clouds peel away from the darkness above. All is sound, a rumbling and howling that tears at your ears. There is the sound of a trillion voices, then silence.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a wooden toy, an old dented strongbox (empty), a pile of letters, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", an envelope labeled \"Undelivered Love Letter\", and a wrinkled sheet of paper.\n\n> You take all\nwooden toy: Taken.\ntiny purple disk: Taken.\nlarge orange disk: Taken.\nhuge red disk: Taken.\nsmall blue disk: Taken.\nmedium-small green disk: Taken.\nmedium-large yellow disk: Taken.\nold dented strongbox: Taken.\npile of letters: Taken.\nmemo book labeled \"The End of the World\": This is a wire-bound memo book, about 3 by 5 inches. There are twelve sheets of ruled paper left in the book, all full. It's written in pencil, with no erasures, and there are what look like grease stains on the corners of some pages. The earlier pages in the notebook have all been torn out, with only scraps remaining caught in the wire spiral binding. Written on the cardboard cover in black marker is the phrase \"THE END OF THE WORLD.\" In the bottom corner is the date \"1982.\"\n\n(Do you want to enter this story?)\n\n> No\nYou set the memo book labeled \"The End of the World\" back on the table. composition book labeled \"Morning in the Garden\": This is a thin notebook with a marbled black-and-white pattern on the cover. Only the first handful of pages are full of writing. The work is done in black pen, with numerous mistakes scribbled out and many doodles in the margins. The rest of the book is blank. On the label on the front of the book is the title \"MORNING IN THE GARDEN,\" written in heavily-scribbled black ball-point. On the upper right corner of the first page is the date \"1974.\"\n\n(Do you want to enter this story?)\n\n> No\nYou set the composition book labeled \"Morning in the Garden\" back on the table.\nsketchbook labeled \"The Tower of Hanoi\": This is a 50-page, spiral-bound sketchbook with cardboard covers. The front cover is green, and is decorated with a drawing in black marker of the wooden toy that you found in the box. Across the top is the title \"THE TOWER OF HANOI,\" written in the same black marker. On the back cover is the date \"1978.\" The first ten pages are filled with simple pencil drawings and notes describing the world of this story. The rest of the book is filled with hauntingly realistic charcoal drawings of scenes from that world.\n\n(Do you want to enter this story?)\n\n> No\nYou set the sketchbook labeled \"The Tower of Hanoi\" back on the table. stapled packet labeled \"Going Home Again\": This is a packet of five pages of white paper with typewritten text. The back of each sheet shows traces of carbon paper. The pages are stapled together in the upper left corner, and there are signs that the sheets have been separated and re-stapled at least once. The first line on the first page reads \"GOING HOME AGAIN.\" On the next line is the date \"1969.\"\n\n(Do you want to enter this story?)\n\n> No\nYou set the stapled packet labeled \"Going Home Again\" back on the table.\nenvelope labeled \"Undelivered Love Letter\": This is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages.\nThe envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(Do you want to enter this story?)\n\n> No\nYou set the envelope labeled \"Undelivered Love Letter\" back on the table.\nwrinkled sheet of paper: Taken.\nwooden table: That's hardly portable.\nclutter: They're hardly portable.\n\n> You look at pile\nThis is a pile of carbon copies of letters apparently sent by Ms. Bryant to relatives and friends. You've taken some quotes from the letters to introduce each of Ms. Bryant's stories. She was a rather prolific letter-writer.\n\n> You look at what you're carrying with you\nYou are carrying:\na wrinkled sheet of paper\na pile of letters\nan old dented strongbox (open but empty)\na medium-large yellow disk\na medium-small green disk\na small blue disk\na huge red disk\na large orange disk\na tiny purple disk\na wooden toy\n\n> You drop all\nwrinkled sheet of paper: Dropped.\npile of letters: Dropped.\nold dented strongbox: Dropped.\nmedium-large yellow disk: Dropped.\nmedium-small green disk: Dropped.\nsmall blue disk: Dropped.\nhuge red disk: Dropped.\nlarge orange disk: Dropped.\ntiny purple disk: Dropped.\nwooden toy: Dropped."
    },
    {
        "text": "> You describe your surroundings\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", and an envelope labeled \"Undelivered Love Letter\".\n\nYou can also see a wooden toy, a tiny purple disk, a large orange disk, a huge red disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, an old dented strongbox (empty), a pile of letters, and a wrinkled sheet of paper here.\n\n> Examine box\nThis strongbox is made of metal, and is a foot across in each dimension. It is covered in rust and dented in a few places. A tattered label on the lid reads \"Laura Bryant Collection.\" You pried the box open with a crowbar you borrowed from a friend after failed attempts at picking the lock. The metal around the latch is twisted out of shape.\n\n> Xyzzy\nYou're already in the living room; there's no need to return here.\n\n> You look in the box\nYou haven't had a chance to look over and translate the rest of the contents of the box. They'll have to wait for another day.\n\n> You eat the purple disk\n(first taking the tiny purple disk)\nThat's plainly inedible.\n\n> You go\nYou'll have to say which compass direction to go in.\n\n> Go north\nYou don't have a compass. If you would like to go to a place, please type GO TO (PLACE).\n\n> You go home\nThis is a packet of five pages of white paper with typewritten text. The back of each sheet shows traces of carbon paper. The pages are stapled together in the upper left corner, and there are signs that the sheets have been separated and re-stapled at least once. The first line on the first page reads \"GOING HOME AGAIN.\" On the next line is the date \"1969.\"\n\n(Do you want to enter this story?)\n\n> No\nYou set the stapled packet labeled \"Going Home Again\" back on the table."
    },
    {
        "text": "[Themes: Fiction]\n\n> You look around\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", and an envelope labeled \"Undelivered Love Letter\".\n\nYou can also see a wooden toy, a large orange disk, a huge red disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, an old dented strongbox (empty), a pile of letters, and a wrinkled sheet of paper here.\n\n> You take Letter\nThis is a standard envelope stuffed with fifteen sheets of triple-folded lined paper. The pages are loose, and are covered in neat writing in blue pen. In a few places, the ink has bled where drops of moisture fell on the pages. The envelope is unaddressed and unstamped, and the words \"UNDELIVERED LOVE LETTER\" are writted across the front. Where the return address would be is the date \"1975.\"\n\n(Do you want to enter this story?)\n\n> You wait\nTime passes.\n\nX emerges from the restroom and heads this way. She sits down beside you. \"Hi. How are you doing?\" she asks with a pensive look on her face. Her voice has the faintest of Russian accents.\n\n> You ask X about the name\nYou can't summon up the effort to ask about that.\n\nX looks at you searchingly. She opens her mouth as if to say something, then closes it again.\n\n> You look at the clock\nAccording to the clock, it's 5:46 pm.\n\n> You take the clock\nThat's fixed in place.\n\n> Kiss agent\nKeep your mind on the game.\n\nX clears her throat awkwardly and scratches her nose.\n\n> You go north\nCredits\nHints for the Tower of Hanoi\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\nThese works do not use compass commands (NORTH, N, etc.) for movement.\n\nA list of common commands (abbreviations are in parentheses):\n\nLOOK (L): Get another look at your surroundings.\nINVENTORY (I, INV): See what you are currently holding.\nEXAMINE <OBJECT> (X): Get a description of an object.\nLOOK UNDER <OBJECT>: Look under an object.\nGO <PLACE>: Travel to an adjacent location.\nTAKE <OBJECT>: Pick up an object.\nDROP <OBJECT>: Drop an object.\nPUT <OBJECT> IN/ON <OBJECT>: Put an object into or onto another\nobject.\n\nASK <PERSON> ABOUT <TOPIC>: Ask for information on a topic.\nTELL <PERSON> ABOUT <TOPIC>: Inform someone about something.\nNO/YES: Indicate an affirmative or negative answer.\n\nSAVE: Save the game.\nRESTORE: Restore a saved game.\nRESTART: Restart the game and return to this menu.\nQUIT: Quit the game.\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\n> You press the yellow\n> Credits\nHints for the Tower of Hanoi\n\n> Credits\nHints for the Tower of Hanoi\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\nThese works do not use compass commands (NORTH, N, etc.) for movement.\n\nA list of common commands (abbreviations are in parentheses):\n\nLOOK (L): Get another look at your surroundings.\nINVENTORY (I, INV): See what you are currently holding.\nEXAMINE <OBJECT> (X): Get a description of an object.\nLOOK UNDER <OBJECT>: Look under an object.\nGO <PLACE>: Travel to an adjacent location.\nTAKE <OBJECT>: Pick up an object.\nDROP <OBJECT>: Drop an object.\nPUT <OBJECT> IN/ON <OBJECT>: Put an object into or onto another\nobject.\n\nASK <PERSON> ABOUT <TOPIC>: Ask for information on a topic.\nTELL <PERSON> ABOUT <TOPIC>: Inform someone about something.\nNO/YES: Indicate an affirmative or negative answer.\n\nSAVE: Save the game.\nRESTORE: Restore a saved game.\nRESTART: Restart the game and return to this menu.\nQUIT: Quit the game.\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\n> How to Play\nCredits\nHints for the Tower of Hanoi\n\n> Go north\n> Credits\nHints for the Tower of Hanoi\n\n> Credits\nHints for the Tower of Hanoi\nGregory Weir is a writer, game developer, and software programmer. He is best known for his Flash game, \"(I Fell in Love With) The Majesty of Colors.\" His previous Interactive Fiction works include the perpetually-in-progress Jabberwocky, winner of the 2004 IntroComp, and the horror work Snatches. He currently writes for GameSetWatch and maintains a blog and podcast called Ludus Novus, found at http://ludusnovus.net .\n\nThanks to my testers: Melissa Avery, Matt Weiner, Johan O, Michelle Hellemons, and DJ Hastings.\n\nThanks to my parents, without whom I could never come home again, and to Xenia Kramida, without whom I would never have had a love letter to deliver.\n\nMost of all, thanks go to Laura Bryant. Somehow, I feel as if I know her, even though I know that is impossible.\n\nHow to Play\n> Credits\nHints for the Tower of Hanoi\n\n> Credits\nHints for the Tower of Hanoi\n\n> You tell X about the food\n\"I'm still not hungry,\" you say. X just shrugs reluctantly.\n\n> You tell X about X\n\"You're so... pretty, and wonderful,\" you say. You're not sure why; there's no way flattery will change her mind.\n\n\"Thank you,\" she says softly.\n\n> You tell X about plane\n\"The flight will be leaving soon,\" you say. \"We might not see each other again.\"\n\nX adjusts her scarf. \"I hope we do, someday,\" she replies.\n\n> You tell X about scarf\n\"Your outfit looks great,\" you say.\n\nX smiles. \"Thank you,\" she says.\n\n> Smell X\nX smells like soap and tea with honey.\n\n> You ask X about the tea\nYou can't summon up the effort to ask about that.\n\nX lifts her hand to her face and smooths her right eyebrow. It's a cute habit of hers. \"Baby...\" she begins, then sighs. \"It won't hurt forever. There are lots of women out there who'll fall into your arms.\" But none of them will be her.\n\n> You tell X about the habit\nYou can't summon up the effort to make conversation about that.\n\nThe gate agent speaks over the intercom. \"Attention, all passengers of Flight 160 to Indianapolis,\" she says in a bored tone. \"We will now begin boarding for all seats. Please have your boarding pass ready.\"\nA line of passengers forms in front of the gate.\n\n> Kiss X\nYou lean toward X for a last kiss. She leans toward you, but turns her head slightly so that you kiss the corner of her mouth. She looks into your eyes sadly, then looks down.\n\n> You hug X\nYou lean over and hug X tightly. She awkwardly rubs your back with a hand until you release her.\n\nX nervously picks under her thumbnail with a nail of the opposite hand. \"You really should eat something,\" she says in a worried tone. \"It's been almost a day since you've had any food.\"\n\n> You tell X about the goodbye\n\"Good... goodbye,\" you say with a knot in your throat.\n\n\"Goodbye, sweetheart,\" she replies.\n\n> You go to the gate\n(the loading bridge)\nYou get into line at the gate. X moves to stand beside you, on the outside of the rope barrier.\n\n> You examine the bridge\nThe loading bridge leads from the gate inside the terminal to the plane. It's designed to extend outward to accomodate whatever position the plane ends up in.\n\nYour turn to board the plane arrives. You hand your boarding pass to the gate agent, and step into the loading bridge. With one last glance over your shoulder, you see X watching you with a sad expression on her face. You turn and head for the plane.\n\nYou've never been an especially tidy person, and being self-employed has done nothing to improve your habits. Still, you keep your place clean, for the most part. It's just cluttered. The clutter is worse than usual at the moment, thanks to a portion of the contents of the strongbox scattered over the surface of your table.\n\nOn the wooden table are a tiny purple disk, a memo book labeled \"The End of the World\", a composition book labeled \"Morning in the Garden\", a sketchbook labeled \"The Tower of Hanoi\", a stapled packet labeled \"Going Home Again\", and an envelope labeled \"Undelivered Love Letter\".\n\nYou can also see a wooden toy, a large orange disk, a huge red disk, a small blue disk, a medium-small green disk, a medium-large yellow disk, an old dented strongbox (empty), a pile of letters, and a wrinkled sheet of paper here.\n\nX looks at you with concern. \"Are you all right?\" she asks. \"Say something.\"\n\n> About yourself\nI suppose you're me. Gregory Weir, I mean. Mid-twenties, brown hair, thin. Probably a bit scruffy.\n\n> Close box\nYou close the old dented strongbox."
    },
    {
        "text": "[Themes: Slice of life, humor, animal protagonist, humour, non-human protagonist, cat, nonhuman protagonist]\n\nI do not have a name, but I think that someday soon I will. I have heard Him talk many times of other things that have names, things like Mom, Dad, Emily, Stuart, God. So I think I will have a name someday soon, although I do not know how I get a name. Is it something I have to do? Is there somewhere I have to go? All I know is that for now, He calls me just one thing: Cat.\n\nYou live in a nice soft place inside a bigger space that has three ows, and one moveable ow. You call these things ows because they hurt when you run into them, and the moving ow (mow) only He can move. The soft place is where you sleep and it smells like you. Outside the soft space is where He puts the food and water. The food is ok, but the milk you used to have was much better. You wonder if He could get some of that again.\n\nHe always shuts the mow, but today he has left it open. You do not know what is beyond it, except what you have heard him talk about. There is another thing called GoodCat/BadCat. It must have another name as well, because it was here when you got here, but it is far away and when He talks to it, you can only hear GoodCat or BadCat. You must be related, because you both are called Cat.\n\nYou have always wondered where He goes when He closes the mow and what lies beyond it. \"Could there be even more mows and ows? Could my place be just one place inside a much bigger place? I want to find out. Maybe if I find out, I can get a name,\" you think.\n\n[If this is your first time playing, type \"ABOUT\".]\n\n[Author's Note: You are the new cat, but you do not have a name. Today, He has left the door to your place open. If you explore the new world, can you get a name?]\n\n> About yourself\nYou look at yourself and see your black fur from head to toe. You feel that your tail is a little long for you, but you haven't seen many other cats. Maybe that is normal. You are small, but you know you will get bigger someday, and someday you will have a name.\n\n> Exit\nYour Place surrounds the soft place. It's much bigger and it is soft on your feet, but not as soft as the soft place. You can run around here but the three ows stop you. Nothing has changed from this morning when He left -- the food dish, the water bowl, the sandbox, and the ledge are in their same places and they smell the same. The most interesting thing, though, is the mow. It's wide open in front of you and smells from outside are rushing in.\n\n> F.\nThis is a strange place. It's long, like maybe if your place were stretched out to your right and to your left taller than He is. The scents that invaded your place came from here, or at least some of them did. The ows are dabbed with white that doesn't go with the rest of the ow and they smell new somehow. The floor is soft like it is in your place but it smells wild -- images sweep over you of Him, others like Him, a world filled with flying things and grass, clean scents and many others that you've never smelled before. Faintly, you also detect a sweet yet salty wild smell that can only be Goodcat/Badcat.\n\n> Smell floor\nIt smells wild -- images sweep over you of Him, others like Him, a world filled with flying things and grass, clean scents and many others that you've never smelled before. Faintly, you also detect a sweet yet salty wild smell that can only be Goodcat/Badcat.\n\n> F.\nYou can go to your right and to your left down the hall, and behind you back to your place.\n\n> R.\nYou are halfway down the hall, up to a good speed when you see something that compels you to stop and look. Here two mows face each other -- one that is not completely solid and one that doesn't reach the floor. The non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. Mmrrow. You can't help yourself and rub lazily against it. It feels good. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> Slatted\nIt's much too large and heavy for you to move it.\n\n> You examine slatted\nIt is a mow, but you're not sure how He moves it, because there is no blob of metal halfway up. It's not solid, like other mows are, and you can see fluffy colored things beyond; an almost-dizzying sleepy fresh smell comes from beyond it.\n\n> Smell slatted\nThe sleepy fresh smell comes from beyond the mow. It's so good that it almost makes you dizzy.\n\n> R.\nYou can go behind you back to New Hall and in front of you to the end of the hall.\n\n> F.\nYou are up to a good speed before you notice the ow coming at you. You come to a butt-burning halt. Youch!\n\nThe long room ends here at an ow with one room on either side. The one to your right has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room to your left is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> R.\nThe air is warm here, and light spills in across the room from the window on the far side of the room. Shadows and light play across the floor in hypnotizing patterns, threatening to lull you to sleep. Scattered across the room are brown boxes, arranged in no particular order, some of which are very tall. You get the feeling that the boxes were just moved here and that the room wasn't built too long ago: the whole place smells new.\n\nYou can see a short box, a tall box and a towering box here.\n\n> You look at short\nThis is shortest box. It is held closed by a brown stripe, and you can easily jump up to it from the floor.\n\n> You jump on short\nYou leap up to the box and then look around, surveying your new surroundings.\n\n> About yourself\nYou look at yourself and see your black fur from head to toe. You feel that your tail is a little long for you, but you haven't seen many other cats. Maybe that is normal. You are small, but you know you will get bigger someday, and someday you will have a name.\n\n> You examine the tall box\nYou're too far away from it. Maybe if you were on it, you could do that."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist, humor]\n\n> You look at your surroundings\nYou can go in front of you or out to leave the room.\n\n> You examine the tall box\nThis is the second-tallest box. It is held closed by a green stripe.\n\n> You open tall\nYou're not sure how. The box is held together with a stripe that keeps it shut everywhere.\n\n> You pull the stripe\nWhat do you want to pull: brown stripe or green stripe?\n\n> You look\nSun Room (on the tall box)\nThe air is warm here, and light spills in across the room from the window on the far side of the room. Shadows and light play across the floor in hypnotizing patterns, threatening to lull you to sleep. Scattered across the room are brown boxes, arranged in no particular order, some of which are very tall. You get the feeling that the boxes were just moved here and that the room wasn't built too long ago: the whole place smells new.\n\nYou can see a short box and a towering box here.\n\n> You jump on short\nYou move your head up and down a few times, judging the distance, and then decide to go for it. You feel a few moments of glorious weightlessness and then you settle on the box with a gentle \"thump\".\n\n> You look\nSun Room (on the short box)\nThe air is warm here, and light spills in across the room from the window on the far side of the room. Shadows and light play across the floor in hypnotizing patterns, threatening to lull you to sleep. Scattered across the room are brown boxes, arranged in no particular order, some of which are very tall. You get the feeling that the boxes were just moved here and that the room wasn't built too long ago: the whole place smells new.\n\nYou can see a tall box and a towering box here.\n\n> You jump on the tall box\nYou leap up to the box and then look around, surveying your new surroundings.\n\n> F.\n(first getting off the tall box)\n\nThe long room ends here at an ow with one room on either side. The one behind you has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room in front of you is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, non-human protagonist, cat]\n\n> Go down\nYou jump artfully to the floor and land on all four paws.\n\n> Scratch brown stripe\nYou try that but find out that it is a most perverse thing. When you scratch it, it gets sticky which makes your paws feel icky! You spend a few moments humiliated, licking them clean.\n\n> F.\nThe long room ends here at an ow with one room on either side. The one behind you has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room in front of you is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> F.\nThis room is darker than the others, and a whole plethora of scents rush out to find you. You take a moment perched on the threshold to decipher what they all mean. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nWait! There's something in the window. Your hackles rise and your fur poofs out. It's another cat, the same size as you!\n\n> Hiss\nYou let out a bloodcurdling meow of warning, but she doesn't respond. Her mouth moves, but no sound comes out.\n\n> You touch the Cat\nYou're too far away to do much of anything.\n\n> F.\nYou can go behind you or out to leave the room.\n\n> You jump\nYou jump a foot into the air just for fun.\n\n> You look\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nThe other cat mimics your motions, her eyes fixed on you. You'll have to respond to her challenge somehow.\n\n> You jump on the toilet\n(the toilet)\nWith feline agility, you leap up to the deep water bowl.\n\nYou are halfway between the dark window and the floor, perched on the fat water bowl. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\nThe house settles and creaks, giving you a start.\n\n> You jump on the ledge\nWith amazing grace, you land on the space above the handles with a solid \"whump\".\n\nYou barely notice the rest of the surface except for the sink, which smells like his breath and some sort of plant. The dark window takes up the entire wall and inside there is another cat! Her fur is poofed out just like yours and her green eyes stare back at you in challenge.\n\n> You hit the Cat\nYou can't quite reach her. She seems to be on the other side of the window. She can't quite reach you, either.\n\nThe house settles and creaks, giving you a start.\n\nYou hear a faint ring coming from somewhere from somewhere far away.\n\n> Meow\nYou warn her off, but she doesn't reply. She must be unable to speak.\n\nYou hear a faint ring coming from elsewhere.\n\n> You open the window\nYou try, but nothing interesting happens.\n\nYou hear a faint ring coming from elsewhere.\n\n> Wave\nYou don't know how to do that.\n\nYou hear a faint ring coming from elsewhere.\n\n> Smell Cat\nYou lean your nose in to smell her and she does the exact same thing. Then you realize what seemed so strange about all of this: you never once smelled her. How can she have no scent and no voice? What sort of cat is that? You realize, too, that she only does what you do. If you stop, she stops; if you groom yourself, she grooms herself; if you blink, she blinks. She does whatever you do because she is you, somehow. Only not you and only in the dark window. It's weird, but you're glad you're not a human and have to deal with such complexities.\n\nYou hear a faint ring coming from elsewhere.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You jump on the tub\nNot from here. It's too far away!\n\nYou hear a faint ring coming from elsewhere.\n\nYou notice that the faint ringing sound has stopped."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist, non-human protagonist]\n\n> Go downwards\nYou can jump down, back to the bathroom, or you can jump to the fat water bowl.\n\n> You jump down\nYou raise and lower your head a few times, estimating the distance. On a whim, you decide to go for it and you jump down. It takes you a moment to get your breath back.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> You jump on the tub\nYou're a bit hesitant to jump where you can't see, so you jump up on the surrounding ledge instead.\n\nYou are perched uncomfortably on the narrow ledge around the  tub. The surface beneath you is hard and damp, and that clean water smell comes from all around you. You can either enter the tub, or jump down back into the bathroom.\n\n> You get down\nYou can jump down to the bathroom floor, or you can enter the tub.\n\n> You enter the tub\nYou walk around inside the tub and notice, strangely, that this place smells like His paws. Does He stand up in it? It looks long enough for him to lie down in it. The water smell saturates the area, and you know that this place must usually be wet. Right now it is only damp. He calls this place \"tub\".\n\n> You enter the tub\nYou're already in it!\n\nYou scramble back up on the narrow side.\n\nYou are perched uncomfortably on the narrow ledge around the  tub. The surface beneath you is hard and damp, and that clean water smell comes from all around you. You can either enter the tub, or jump down back into the bathroom.\n\n> You jump down\nYou jump down with a faint \"oof\".\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> You look at the boxes\nThey are wooden things taller than you are and they puff out a little. Where they puff out, you smell His hands, and past that, harsh, artificial smells that you don't like. \"Why would he need such bad-smelling things,\" you wonder.\n\n> You jump on the toilet\n(the toilet)\nWith feline agility, you leap up to the deep water bowl.\n\nYou are halfway between the dark window and the floor, perched on the fat water bowl. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> You enter the toilet\n(the toilet)\nJumping to it is much more kittenish.\n\n> Smell boxes\nThat's too far away.\n\n> You jump in\nYou must name something more substantial.\n\n> You jump down\nYou jump down to the tiled floor below with matchless ease.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> Drink water\nYou're not thirsty, but you can't pass this opportunity up -- the smells are too interesting. Carefully you lower yourself into the toilet and take ten deep laps of the water. Then you pull yourself back up on the rim and luxuriate in the taste of tea, yogurt, and submarine sandwiches. You're thankful again that He was so kind to mark the area so that you'd know to find it.\n\nYou feel like you have achieved something particularly kittenish.\n\n> B.\nYou feel more relaxed.\n\nThe long room ends here at an ow with one room on either side. The one in front of you has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room behind you is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> B.\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> R.\nYou turn to face to your right and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> F.\nThis is a strange place. It's long, like maybe if your place were stretched out behind you and in front of you taller than He is. The scents that invaded your place came from here, or at least some of them did. The ows are dabbed with white that doesn't go with the rest of the ow and they smell new somehow. The floor is soft like it is in your place but it smells wild -- full of scents that draw you to investigate them. Faintly, you also detect a sweet yet salty wild smell that can only be Goodcat/Badcat.\n\n> R.\nYou can go behind you and in front of you down the hall, and to your left back to your place.\n\n> B.\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> F.\nThe long room ends here at an ow with one room on either side. The one to your right has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room to your left is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> R.\nYou can go in front of you back to New Hall and behind you to the end of the hall.\n\n> F.\nThe hall from behind you ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress in front of you.\n\n> You examine the gate\nIt is a tall stringy ow. Through it, you can see the shiny place beyond. It is marked with a welcome message from Goodcat/Badcat whom suggests that getting past it is difficult.\n\n> Smell gate\nIt is marked with a welcome message from Goodcat/Badcat whom suggests that getting past it is difficult.\n\n> You climb the gate\nYou bound to the gate, spring upwards, and latch your claws into the material. Then, putting one paw in front of another, you climb up to the top of the gate and leap gracefully down. You turn and look behind you, your tail crooked, feeling proud of yourself.\n\nJust to your right, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads in front of you, but behind you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress behind you.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You look at the carpet\nIt is a light brownish color. You smell around and take several minutes to soak up the knowledge of who ate what, where they were going, and how they were feeling. The knowledge makes you feel quite important, as if you had discovered the key to understanding what happens around here.\n\nThe house settles and creaks, giving you a start.\n\n> Go upwards\nYou can go to your right, to your left, in front of you, or climb the gate to go behind you.\n\n> R.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors. Goodcat/Badcat is in this room; his scent is strong. You whip your head around but don't see him anywhere. Is he waiting to pounce you? You continue looking around carefully.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor is a large brown circle held up by four legs. Underneath it are two smaller versions, with one pulled away from the other. You wind your way around these things and quickly smell what their names are. The large thing is called a table. The smaller things are called chairs (one is His and the other is guest). The names seem strong, but dull. You hope He doesn't name you any of those names.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the table\nThat's too far away. You ponder jumping to something closer instead.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> R.\nFrom here you can go behind you and you can jump to His chair.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now. You also realize the names of the two objects on the table, and your interest is piqued.\n\nYou can see a phone and a remote here.\n\n> You look at the phone\nA curvy thing on a square thing that He uses for talking to people when they are not here. You're not sure how that works, but you know by sniffing it that that's what He does. Goodcat/Badcat says that it can be annoyingly loud.\n\n> You examine remote\nA black bar about half as long as you are, filled with a lot of buttons. It's obviously made for hands like His as the buttons are too small for you to push individually.\n\n> You take the remote\nYou take it into your mouth, but you're barely able to keep a good grip on it. You're not sure you could do anything besides walking.\n\n> You drop the remote\nDropped.\n\n> You examine the fridge\nBrr! It's cold, but it smells like all kinds of yummy things. He calls this \"fridge\". Goodcat/Badcat agrees with your assessment, so you naturally rub against it to add your opinion officially to his.\n\nThe phone right next to you suddenly starts Ringing VeRy LOUDLY. You almost involuntarily leap off the table in surprise.\n\n> You touch the phone\nYou brush your whiskers by it, but nothing amazing happens.\n\nThe phone rings right beside you. It's loud!\n\n> You hit the phone\nYou attack the phone, trying to Make The Ringing Stop. You smack the curvy part with your paw and send it flying. The ringing stops! But then you hear a concerned female voice talking out of it. It's saying some kind of greeting.\n\nA concerned female voice speaks from the phone right beside you.\n\nYou feel like you have achieved something particularly kittenish.\n\n> Meow\nYou say \"Meowr?\" to let the voice know that you are here and want to know what's going on. The voice asks you a question that you don't understand, laughs, and then says some other things, and finally it says \"goodbye\". You know then it will go away and it does.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You jump on the fridge\nYou jump on it for a moment, but quickly tire of the one-sided play.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\n> You listen to the phone\nYou can't hear it from so far away.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\n> You hit the phone\nYou attack, but the voice keeps repeating the same words like it can't hear you.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\nA horrible grating sound comes from the phone on the table!\n\n> You open the fridge\nYou claw at what seems to be the weakest point of the cold box, but you can't get it open.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nA horrible grating sound comes from the phone on the table!\n\n> Examine boxes\nOne of them smells more like water than food, and the other smells like fire and food.\nBoth of them have parts that stick out that look like you could walk on them, but they are too narrow.\nGoodcat/Badcat indicates that these are interesting only when open, but the hot-smelling one hurts.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nA horrible grating sound comes from the phone on the table!\n\nThe awful grating sound stops and the phone is silent once again.\n\n> You open the oven\nYou don't see how. Maybe if you were a lot larger, you could.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump on the oven\nYou jump on it for a moment, but quickly tire of the one-sided play.\n\n> Go upwards\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a remote and a phone here.\n\n> You jump to the shiny surface\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You examine the metal box\nWhat do you want to examine: Ftop or the fridge?\n\n> You jump on the metal box\nWhat do you want to jump on: Ftop or the fridge?\n\n> Ftop\nYou leap up to the top with the greatest of ease.\n\nOn top of this cold metal cube, you find what you've been expecting the whole time: Goodcat/Badcat. He is a refined grey cat with black stripes who sits with his body perpendicular to yours, his head facing you. He has two large yellow eyes and seems unaffected by your arrival, as though he had been expecting you.\n\nYou can see Goodcat/Badcat here.\n\n> You examine the Cat\nYou look at him and you feel his eyes staring a hole through yours. He seems angry; you feel decidedly nervous.\n\n> Purr\nYou only do that when you are talking to Him. That's the fun part. When He gets back, you let out all the purrs you have saved up the whole day.\n\n> Smell Cat\nYou approach him but at the last moment, back off. His fierce stare seems to shout, \"How dare you approach when we have not properly greeted one another yet!\"\n\n> Meow\nYou're not sure how you talk with another cat, after all, your only memories are hazy and indistinct ones of your littermates and mom. So you try talking to Goodcat/Badcat like you were talking to Him. You let out a curious \"Meowr\". His eyes fix upon you.\n\n> Growl\nHe blinks his eyes and yawns. He doesn't take your angry words seriously. In fact, he seems to have studiously overlooked them, and you feel embarrassed at your poor behavior. Involuntarily, your tail falls down between your legs.\n\n> You go to the north\nInteract\n\n> New Cat Background\nInteract\n\n> Go north\n> Interact\n\n> Interact\n\n> You groom yourself\nYou feel clean and smell like yourself. You don't see the need to groom yourself right now.\n\n> Scratch cat\nLooking back on it, you realize that this was one of those things that would have never worked out. You pounced him and he responded with a bloodcurdling hiss and a swift paw that sent you flying right off the vibrating metal box. You landed on the ledge below and backed away just in time to avoid him jumping on you. Fear and adrenaline ran through your veins and you jumped, jumped, and ran like your tail was on fire. Now you're on the other side of that stringy ow, catching your breath, the image of him turning away with a refined departing spit echoing in your ears. His departing words were, \"And don't come back!\"\n\nThe hall from  ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress .\n\n> Lick cat\nHe good-naturedly pushes you away with his paws and resumes his usual placid, royal mien.\n\n> You jump down\nYou lean down the side and take a half-jump the rest of the way down.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> Continue\nYou look down hesitantly at the floor. That's too far away!\n\n> You look\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a remote and a phone here.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\n> You examine his chair\nAlthough it looks like the other chair, this is the one He sits in. He calls it His chair. It is not under the table, which makes jumping to it pretty easy.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> Go outside\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\n> R.\nYou can go in front of you, behind you, to your left, or climb the gate to go to your right.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but not silently.\n\nThe hall from in front of you ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress behind you.\n\n> F.\nThis is a strange place. It's long, like maybe if your place were stretched out in front of you and behind you taller than He is. The scents that invaded your place came from here, or at least some of them did. The ows are dabbed with white that doesn't go with the rest of the ow and they smell new somehow. The floor is soft like it is in your place but it smells wild -- full of scents that draw you to investigate them. Faintly, you also detect a sweet yet salty wild smell that can only be Goodcat/Badcat.\n\n> You look at solid\nIt's a large mow (like they all are) with a metal handle about half-way up. It doesn't reach the floor, and  underneath it is a white thing. Beyond it is his lair.\n\n> F.\nThe long room ends here at an ow with one room on either side. The one to your right has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room to your left is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> Nap\nYou lie down and curl yourself into a little ball. You squinch your eyelids shut and feel your limbs go slack. As the haze of sleep comes over you, before you know it, you are somewhere else entirely.\n\nPalace (in a catnap) (on the golden oval)\nHere, the sun shines in from above to form a golden oval in the center of a stone dais. Around you are furry and soft places, but none as soft as the golden oval, which is why you're relaxing upon it. On one side is a milkfall where milk falls down over squares and all you have to do is turn your head to one side to drink. On the other side is a waterfall of clear and cool water. As you wait, smaller cats wearing bells and silly red-and-green clothes over their fur nose delicate trays up to you to eat, should you care to. It is early morning in this wonderful palace, where you are the Queen.\n\nOn the delicate trays are choice meats.\n\n> You drink the milk\nYou incline your head ever-so-slightly and take a refreshing drink, making sure to lick your mouth daintily afterwards.\n\n> You eat the meat\nAs you're not particularly hungry, you nibble several different offerings distractedly, enjoying the various tastes and textures.\n\nWith a sudden \"bang\" the dream world disappears and your eyes flit open. You hear His voice, talking to Goodcat/Badcat. You stretch and lazily mewl to let him know you are here.\n\nHe discovers you and then picks you up. He is surprised, and then kind. He pets you over and over again, chuckling at some of the things you have done. \"I suppose I will have to name you now,\" he says. He holds you high in the air and then triumphantly christens you, \"Merry. Yes, that's the perfect name for you.\" You nuzzle your face into his arms, turning the name around and around in your mind. Merry. It's a good name, well, as good as humans get at these things, you think. You beam up at Him as He carries you.\n\n*** The End ***\n\nIn that game you scored 5 out of a possible 20, in 170 turns.\n\nI do not have a name, but I think that someday soon I will. I have heard Him talk many times of other things that have names, things like Mom, Dad, Emily, Stuart, God. So I think I will have a name someday soon, although I do not know how I get a name. Is it something I have to do? Is there somewhere I have to go? All I know is that for now, He calls me just one thing: Cat.\n\nYou live in a nice soft place inside a bigger space that has three ows, and one moveable ow. You call these things ows because they hurt when you run into them, and the moving ow (mow) only He can move. The soft place is where you sleep and it smells like you. Outside the soft space is where He puts the food and water. The food is ok, but the milk you used to have was much better. You wonder if He could get some of that again.\n\nHe always shuts the mow, but today he has left it open. You do not know what is beyond it, except what you have heard him talk about. There is another thing called GoodCat/BadCat. It must have another name as well, because it was here when you got here, but it is far away and when He talks to it, you can only hear GoodCat or BadCat. You must be related, because you both are called Cat.\n\nYou have always wondered where He goes when He closes the mow and what lies beyond it. \"Could there be even more mows and ows? Could my place be just one place inside a much bigger place? I want to find out. Maybe if I find out, I can get a name,\" you think.\n\n[If this is your first time playing, type \"ABOUT\".]\n\n> You go up\nThere's only one way out and that's in front of you (or out).\n\n> You look at the food\nIt looks like a lot of little claws, but it is softer and tastes salty. You're not hungry, though, because you've already eaten.\n\n> You look at the sandbox\nIt's a tough box filled with sand that's just right for taking care of wastes.\n\n> You enter the sandbox\nFortunately, you've already gone this morning.\n\n> You look\nYour Place surrounds the soft place. It's much bigger and it is soft on your feet, but not as soft as the soft place. You can run around here but the three ows stop you. Nothing has changed from this morning when He left -- the food dish, the water bowl, the sandbox, and the ledge are in their same places and they smell the same. The most interesting thing, though, is the mow. It's wide open in front of you.\n\n> Mew\nYou mew. Nothing happens and you feel faintly disappointed.\n\nThe house settles and creaks, giving you a start.\n\n> You look at the ledge\nIt juts out below the window, but you can't reach it. It's colored like cream.\n\n> Go outside\nThis is a strange place. It's long, like maybe if your place were stretched out to your right and to your left taller than He is. The scents that invaded your place came from here, or at least some of them did. The ows are dabbed with white that doesn't go with the rest of the ow and they smell new somehow. The floor is soft like it is in your place but it smells wild -- images sweep over you of Him, others like Him, a world filled with flying things and grass, clean scents and many others that you've never smelled before. Faintly, you also detect a sweet yet salty wild smell that can only be Goodcat/Badcat.\n\n> R.\nYou are halfway down the hall, up to a good speed when you see something that compels you to stop and look. Here two mows face each other -- one that is not completely solid and one that doesn't reach the floor. The non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. Mmrrow. You can't help yourself and rub lazily against it. It feels good. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> You look at solid\nIt's a large mow (like they all are) with a metal handle about half-way up. It doesn't reach the floor, and  underneath it is a white thing. Beyond it is his lair.\n\n> You pull the sock\nYou reach out for it and snag it in your claws; surprised, you pull back and pull it out into the room. You smell it more carefully and know that He put this on his paw two suns ago, had circular meat-bread for dinner, and generally felt happy. You remember that day. The covering itself is soft and yet stretchy. He calls this \"sock\". You look at it curiously, trying to understand why He needs a covering for his paws.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You look at solid\nIt's a large mow (like they all are) with a metal handle about half-way up. It doesn't reach the floor. Beyond it is his lair.\n\n> You open door\nOnly He can do that. You're too small, at least right now. Who knows how big you'll get?\n\n> Meow\nYou mew. Nothing happens and you feel faintly disappointed.\n\n> Hiss\nYou remember your mother telling you to use that tone of voice only when you really had to. Fortunately, this is not one of those times.\n\n> You examine the slats\nIt is a mow, but you're not sure how He moves it, because there is no blob of metal halfway up. It's not solid, like other mows are, and you can see fluffy colored things beyond; an almost-dizzying sleepy fresh smell comes from beyond it.\n\n> You climb the slats\nYou claw frantically at the mow but don't manage to get very far up.\n\nThe house settles and creaks, giving you a start.\n\n> B.\nYou turn to face behind you and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\nYou can see a sock here.\n\n> Keep going\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\nYou can see a sock here.\n\n> You take the sock\nYou take it in your mouth.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but unfortunately not silently.\n\nJust to your right, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads in front of you, but behind you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress behind you.\n\n> R.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors. Goodcat/Badcat is in this room; his scent is strong. You whip your head around but don't see him anywhere. Is he waiting to pounce you? You continue looking around carefully.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor is a large brown circle held up by four legs. Underneath it are two smaller versions, with one pulled away from the other. You wind your way around these things and quickly smell what their names are. The large thing is called a table. The smaller things are called chairs (one is His and the other is guest). The names seem strong, but dull. You hope He doesn't name you any of those names.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump up\nYou must name something more substantial.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the table\nThat's too far away. You ponder jumping to something closer instead.\n\n> You jump on the chair\nWhat do you want to jump on: the guest chair or His chair?\n\n> Guest\nYou don't think you'll make it, but you go for it anyways. YOW! You bop your head on the underside of the table and spend a few moments wincing away the pain.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the table\nThat's too far away. You ponder jumping to something closer instead.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now. You also realize the names of the two objects on the table, and your interest is piqued.\n\nYou can see a phone and a remote here.\n\n> You jump on counter\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You give the sock to the Cat\nGoodcat/Badcat sniffs the air and then sniffs the sock, taking his time to inhale all of its scents. He looks thoughtful for a moment and then rubs you, pressing into your fur one of his secrets. Fascinated, you ponder all the fun you'll have when you chew off a piece of meat-bread and leave it behind the vibrating box for twenty suns so that you too can have a smelly play toy!\n\nYou feel like you have achieved something particularly kittenish.\n\n> You talk to the Cat\nYou're not sure how you talk with another cat, after all, your only memories are hazy and indistinct ones of your littermates and mom. So you try talking to Goodcat/Badcat like you were talking to Him. You let out a curious \"Meowr\". His eyes fix upon you.\n\nSuddenly a loud ringing sound comes from the table and it startles you a foot into the air.\n\n> Hi\nThere is no reply.\n\nThe phone on the table nearby rings, and it's loud!\n\n> Mew\nYou're not sure how you talk with another cat, after all, your only memories are hazy and indistinct ones of your littermates and mom. So you try talking to Goodcat/Badcat like you were talking to Him. You let out a curious \"Meowr\". His eyes fix upon you.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on the counter\nYou jump down and land on the countertop with a noticeable \"thud\".\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone and a remote here.\n\nThe phone rings right beside you. It's loud!\n\nSuddenly but thankfully, the phone stops ringing.\n\n> You look at the phone\nA curvy thing on a square thing that He uses for talking to people when they are not here. You're not sure how that works, but you know by sniffing it that that's what He does. Goodcat/Badcat says that it can be annoyingly loud.\n\n> You jump on the chair\nWhat do you want to jump on: the guest chair or His chair?\n\n> His\nYou gracefully jump down into the chair.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump down\nYou don't see how to do that from where you are.\n\nYou hear the sound of grooming coming from somewhere nearby."
    },
    {
        "text": "[Themes: Slice of life, non-human protagonist, cat, humour]\n\n> Go downward\nYou don't see how to do that from where you are.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You look\nKitchen (on His chair)\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone and a remote here.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> B.\nJust behind you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your right, but to your left is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your left.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but not silently.\n\nThe hall from in front of you ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress behind you."
    },
    {
        "text": "> Look around\nThis room is darker than the others, and a whole plethora of scents rush out to find you. You take a moment perched on the threshold to decipher what they all mean. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nWait! There's something in the window. Your hackles rise and your fur poofs out. It's another cat, the same size as you!\n\n> You jump on the toilet\n(the toilet)\nWith feline agility, you leap up to the deep water bowl.\n\nYou are halfway between the dark window and the floor, perched on the white chair. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> Drink water\nYou're not thirsty, but you can't pass this opportunity up -- the smells are too interesting. Carefully you lower yourself into the toilet and take ten deep laps of the water. Then you pull yourself back up on the rim and luxuriate in the taste of tea, yogurt, and submarine sandwiches. You're thankful again that He was so kind to mark the area so that you'd know to find it.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You jump down\nYou jump down to the tiled floor below with matchless ease.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nThe other cat mimics your motions, her eyes fixed on you. You'll have to respond to her challenge somehow.\n\n> You jump on the tub\nYou're a bit hesitant to jump where you can't see, so you jump up on the surrounding ledge instead.\n\nYou are perched uncomfortably on the narrow ledge around the  tub. The surface beneath you is hard and damp, and that clean water smell comes from all around you. You can either enter the tub, or jump down back into the bathroom.\n\n> You jump down\nYou jump down with a faint \"oof\".\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nThe other cat mimics your motions, her eyes fixed on you. You'll have to respond to her challenge somehow.\n\n> Paw Cat\nYou can't quite reach her. She seems to be on the other side of the window. She can't quite reach you, either.\n\n> You groom yourself\nYou feel clean and smell like yourself. You don't see the need to groom yourself right now.\n\n> Meow\nYou let out a bloodcurdling meow of warning, but she doesn't respond. Her mouth moves, but no sound comes out.\n\n> Smell Cat\nYou lean your nose in to smell her and she does the exact same thing. Then you realize what seemed so strange about all of this: you never once smelled her. How can she have no scent and no voice? What sort of cat is that? You realize, too, that she only does what you do. If you stop, she stops; if you groom yourself, she grooms herself; if you blink, she blinks. She does whatever you do because she is you, somehow. Only not you and only in the dark window. It's weird, but you're glad you're not a human and have to deal with such complexities.\n\nYou feel like you have achieved something particularly kittenish.\n\n> You examine the sink\nIt's a bowl that's part of the ledge. It's damp, empty, and smells of his breath and some sort of fresh plant.\n\n> You jump down\nYou raise and lower your head a few times, estimating the distance. On a whim, you decide to go for it and you jump down. It takes you a moment to get your breath back.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> Back\nYou feel more relaxed.\n\nThe long room ends here at an ow with one room on either side. The one in front of you has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room behind you is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\n> R.\nYou can go to your left down the hall, in front of you to the dark room, or behind you to the sunny room."
    },
    {
        "text": "[Themes: Slice of life, humor, humour, cat, animal protagonist]\n\n> You look at your surroundings\nYou turn to face to your left and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> R.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\n> You jump on his\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone and a remote here.\n\n> You jump on the counter\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the ftop\nYou leap up to the top with the greatest of ease.\n\nYou are on top of the cold metal cube, better known as \"refrigerator\" and \"Goodcat/Badcat's lair\". Strangely, it is not cold here, but fairly cozy with the faint smell of food. You can see why he chose this location for a lair. You think you'd probably have done the same.\n\nYou can see Goodcat/Badcat here.\n\nGoodcat/Badcat seems to be considering your actions carefully.\n\n> You stare at the Cat\nHe draws back and gives you a withering look as though you had the manners of a canine.\n\n> You watch the Cat\nYou look at him and you feel his eyes staring a hole through yours. He seems angry; you feel decidedly nervous.\n\n> You wait\nGoodcat/Badcat seems to be considering your actions carefully.\n\nTime passes.\n\n> You examine the kitchen\n(the kitchen floor)\nIt's shiny and smooth, but it gives you just enough to grip on. You skid occasionally when you stop suddenly, but you don't glide.\n\n> You jump on the counter\nYou jump down and land on the countertop with a noticeable \"thud\".\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone and a remote here.\n\nThe phone right next to you suddenly starts Ringing VeRy LOUDLY. You almost involuntarily leap off the table in surprise.\n\n> You get the remote\nYou already have the sock in your mouth!\n\nThe phone rings right beside you. It's loud!\n\n> You jump on the counter\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\n> You jump on ftop\nYou leap up to the top with the greatest of ease.\n\nYou are on top of the cold metal cube, better known as \"refrigerator\" and \"Goodcat/Badcat's lair\". Strangely, it is not cold here, but fairly cozy with the faint smell of food. You can see why he chose this location for a lair. You think you'd probably have done the same.\n\nYou can see Goodcat/Badcat here.\n\nGoodcat/Badcat seems to be considering your actions carefully.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\n> Wave tail\nBut you aren't holding you.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\n> You drop the sock\nHe studiously ignores you.\n\nA horrible grating sound comes out of the phone on the table! Goodcat/Badcat makes a disgusted face and his baleful eyes blame you.\n\n> You take the sock\nYou already have the sock in your mouth!\n\n> You give the sock to the Cat\nHe studiously ignores you.\n\nThe awful grating sound stops and the phone is silent once again. Goodcat/Badcat exhales loudly and fixes you with an expression that clearly communicates, \"Let's not do that again, shall we?\" You feel embarrassed but relieved.\n\n> You check your inventory\nYou are carrying:\na sock\n\n> You jump on the counter\nYou jump down and land on the countertop with a noticeable \"thud\".\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone and a remote here.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> R.\nThe carpet ends here at a mow like the one that leads out of your place. You're not sure how He manages to open these things, but He must be strong. This mow looks a lot like the shiny floor, actually; it looks like it is made up of different tiles, all different colors. Sniffing the edges, you realize that it is a gateway to the outside. Images of grass, bright sunshine, concern, danger, and burden roll over you and you think that the outside is a fearful but wonderful place, and amazingly large. You also smell a distinctively female scent, like flowers, but far too strong; yet it is similar to Him. It is the scent of his littermate, the one he calls \"sister\" and \"Emily\".\n\n> B.\nYou turn to face behind you and bound away.\n\nJust to your left, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads behind you, but in front of you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress in front of you.\n\n> R.\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. They look soft and you can't wait to get your paws on them. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home. You can't wait to smell each thing and find out how it got here and what Goodcat/Badcat has to say.\n\n> Smell tv\nThe square has a scent history that tells you about the people that made it, but they are all far away. He doesn't often touch it and Goodcat/Badcat indicates that this is useful for distracting other humans.\n\n> You examine remote\nA black bar about half as long as you are, filled with a lot of buttons. It's obviously made for hands like His as the buttons are too small for you to push individually.\n\n> You look at the tv\nIt's a large black square, although it's also pretty shiny. You're too far away to note much else.\n\n> Smell the sofa\nYou smell nothing particularly interesting.\n\nThe house settles and creaks, giving you a start.\n\n> You look under the sofa\nYou look under it, but only see the floor.\n\n> You look\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\n> Smell ball\nYou try to reach it, but it's too high up. Maybe if you were in the narrow bed.\n\n> You jump on bed\nWhat do you want to jump on: the sofa or the love seat?\n\n> Narrow\nYou jump on the smaller springy-soft bed (this is a \"love seat\") and luxuriate in how it feels on your paws. You sniff around. There are several stories here, but they are simple ones. This place is one of Goodcat/Badcat's favorites. He was here earlier in the day and was feeling gassy. He thinks he shouldn't have eaten that crunchy thing he found under the tall vibrating box. There is that smell of Emily, again! She was visiting yesterday and was concerned that He had no offspring. She seems to think that He is too immature. You immediately think ill of her and want to show Her that He does have offspring -- you!\n\n> You examine the ball\nIt's a curiously large bumpy ball with some kind of wooden stick holding it up. You sniff it and smell its papery, dusty kind of smell that reminds you of old things. It was put together with a lot of care and attention by men who wear lenses in front of their eyes.\n\n> You jump on the ball\nYou jump on it for a moment, but quickly tire of the one-sided play.\n\n> Smell ball\nThe globe smells like Him, as He has touched it many times, and you can tell that He longs to go to faraway places. The globe also smells like the forest and some kind of paper made from trees. The forest is not right outside, but it is one near to here.\n\n> Turn ball\n[You can turn around, or you can turn left or right.]\n\n> Rub globe\nYou idly rub against it and let the world know that you were here.\n\nFrom right outside, you hear what sounds like a storm -- a rumbling, grumbling, coughing sound. You look around for somewhere to hide, but before you can find a place, it's over. Then you hear a slamming like the mow when He leaves and right before He sees you. Is He coming back?"
    },
    {
        "text": "[Themes: Slice of life, non-human protagonist, animal protagonist]\n\n> Describe the surroundings\nYou can only go behind you.\n\n> B.\nWithout visiting the large soft bed? You promise yourself that you will get your paws on it sometime today.\n\n(first getting off the love seat)\nEdge of Kitchen\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\n> B.\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\nYou hear some kind of metallic scratching sound and then you see the mow in the tiled area open. There He is! He shuts the mow, puts down His bag and greets Goodcat/Badcat. You meow energetically to let him know that you are here.\n\nHe discovers you and picks you up. He strokes kindly you as He walks through the house, laughing at all the things you have done. \"You are quite the little explorer, aren't you?\" he asks. You purr. \"That effort deserves nothing less than a name!\" He holds you high in the air and then triumphantly christens you, \"Isabella. Yes, Isabella is your name.\" You nuzzle your face into his arms, turning the name around and around in your mind. Isabella. It's a good name, well, as good as humans get at these things, you think. You beam up at Him as He carries you.\n\n*** The End ***\n\nIn that game you scored 7 out of a possible 20, in 170 turns.\n\nI do not have a name, but I think that someday soon I will. I have heard Him talk many times of other things that have names, things like Mom, Dad, Emily, Stuart, God. So I think I will have a name someday soon, although I do not know how I get a name. Is it something I have to do? Is there somewhere I have to go? All I know is that for now, He calls me just one thing: Cat.\n\nYou live in a nice soft place inside a bigger space that has three ows, and one moveable ow. You call these things ows because they hurt when you run into them, and the moving ow (mow) only He can move. The soft place is where you sleep and it smells like you. Outside the soft space is where He puts the food and water. The food is ok, but the milk you used to have was much better. You wonder if He could get some of that again.\n\nHe always shuts the mow, but today he has left it open. You do not know what is beyond it, except what you have heard him talk about. There is another thing called GoodCat/BadCat. It must have another name as well, because it was here when you got here, but it is far away and when He talks to it, you can only hear GoodCat or BadCat. You must be related, because you both are called Cat.\n\nYou have always wondered where He goes when He closes the mow and what lies beyond it. \"Could there be even more mows and ows? Could my place be just one place inside a much bigger place? I want to find out. Maybe if I find out, I can get a name,\" you think.\n\n[If this is your first time playing, type \"ABOUT\".]\n\n> Abcd\nRestore failed.\n\n> You look at the ows\nThey smell new and are dabbed with white. They run pretty far to your right and a shorter distance to your left.\n\n> You examine the mow\nWhat do you want to examine: the solid mow or the slatted mow?\n\n> You pull the white thing\nYou reach out for it and snag it in your claws; surprised, you pull back and pull it out into the room. You smell it more carefully and know that He put this on his paw two suns ago, had circular meat-bread for dinner, and generally felt happy. You remember that day. The covering itself is soft and yet stretchy. He calls this \"sock\". You look at it curiously, trying to understand why He needs a covering for his paws.\n\nkittenish.\n\n> You smell it\nYou smell it more carefully and know that He put this on his paw two suns ago, had circular meat-bread for dinner, and generally felt happy. You remember that day. The covering itself is white and soft, yet stretchy. You look at it curiously, trying to understand why He needs a covering for his paws."
    },
    {
        "text": "[Themes: Slice of life, cat, animal protagonist, nonhuman protagonist, humour]\n\n> You describe your surroundings\nYour Place surrounds the soft place. It's much bigger and it is soft on your feet, but not as soft as the soft place. You can run around here but the three ows stop you. Nothing has changed from this morning when He left -- the food dish, the water bowl, the sandbox, and the ledge are in their same places and they smell the same. The most interesting thing, though, is the mow. It's wide open behind you.\n\n> R.\nYou can go behind you back to New Hall."
    },
    {
        "text": "> Look around\nThis room is darker than the others, and a whole plethora of scents rush out to find you. You take a moment perched on the threshold to decipher what they all mean. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nWait! There's something in the window. Your hackles rise and your fur poofs out. It's another cat, the same size as you!\n\n> You jump on the bowl\nWith feline agility, you leap up to the deep water bowl.\n\nYou are halfway between the dark window and the floor, perched on the fat water bowl. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> Drink water\nYou're not thirsty, but you can't pass this opportunity up -- the smells are too interesting. Carefully you lower yourself into the toilet and take ten deep laps of the water. Then you pull yourself back up on the rim and luxuriate in the taste of tea, yogurt, and submarine sandwiches. You're thankful again that He was so kind to mark the area so that you'd know to find it.\n\nkittenish.\n\n> Smell mirror\nYou lean your nose in to smell her and she does the exact same thing. Then you realize what seemed so strange about all of this: you never once smelled her. How can she have no scent and no voice? What sort of cat is that? You realize, too, that she only does what you do. If you stop, she stops; if you groom yourself, she grooms herself; if you blink, she blinks. She does whatever you do because she is you, somehow. Only not you and only in the dark window. It's weird, but you're glad you're not a human and have to deal with such complexities.\n\nkittenish."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist, non-human protagonist]\n\n> Go downwards\nYou can jump down, back to the bathroom, or you can jump to the fat water bowl.\n\n> You examine the stripe\nWhat do you want to examine: brown stripe or green stripe?"
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, non-human protagonist, cat]\n\n> Go down\nYou jump artfully to the floor and land on all four paws.\n\n> F.\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark."
    },
    {
        "text": "[Themes: Slice of life, humor]\n\n> You look around\nYou turn to face to your left and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\nThe house settles and creaks, giving you a start.\n\n> You climb the gate\nYou bound to the gate, spring upwards, and latch your claws into the material. Then, putting one paw in front of another, you climb up to the top of the gate and leap gracefully down. You turn and look behind you, your tail crooked, feeling proud of yourself.\n\nJust to your right, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads in front of you, but behind you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress behind you.\n\nkittenish.\n\n> You examine the bed\nWhat do you want to examine: the sofa or the love seat?\n\n> You jump on the sofa\nYou jump up on the large springy-soft bed (what they call a \"sofa\") and love how it feels on your paws -- so soft! You sniff around and are startled by all the big cats that have sat here and their stories. It takes you several sniffs to make them all out. Apparently He sits here when he is tired; He sat here yesterday. He also sat here two days ago (the day of the big noise) with Barry, and they talked about far-away places. Barry wants to romance his broodmate, but won't tell Him. Then there is the scent of an older big cat, who must be very wise, because he gives knowledge to others all day. He seems to be related to Him, but you're not clear how. He's not a mother or a littermate.\n\n> You look at the plant\nIt looks like a rather large plant sitting in a bowl of dark dirt. It has a lot of green leaves and it reaches almost as high as the black square!\n\n> You examine the square\nIt's a large black square, although it's also pretty shiny. When you walk by it, you see something blurry moving inside it, but you can't smell what it is. The square has a scent history that tells you about the people that made it, but they are all far away. He doesn't often touch it and Goodcat/Badcat indicates that this is useful for distracting other humans.\n\n> You jump on the plant\nYou jump on it for a moment, but quickly tire of the one-sided play.\n\n> Poop\nYou can't even imagine how much trouble you'd get into if you did that. Besides, you've already gone in the sandbox this morning."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, humor, animal protagonist, non-human protagonist]\n\n> You go downwards\nYou spring down to the floor.\n\n> You jump on the seat\nYou jump on the smaller springy-soft bed (this is a \"love seat\") and luxuriate in how it feels on your paws. You sniff around. There are several stories here, but they are simple ones. This place is one of Goodcat/Badcat's favorites. He was here earlier in the day and was feeling gassy. He thinks he shouldn't have eaten that crunchy thing he found under the tall vibrating box. There is the scent left by His littermate; She was visiting yesterday and was concerned that He had no offspring. She seems to think that He is too immature. You immediately think ill of her and want to show Her that He does have offspring -- you!\n\n> You look at the globe\nIt's a curiously large bumpy ball with some kind of wooden stick holding it up. You sniff it and smell its papery, dusty kind of smell that reminds you of old things. It was put together with a lot of care and attention by men who wear lenses in front of their eyes.\n\n> You rub it\nYou idly rub against it and let the world know that you were here.\n\nSuddenly a loud ringing sound comes from somewhere nearby and it startles you a foot into the air."
    },
    {
        "text": "[Themes: Slice of life, animal protagonist]\n\n> Go downward\nYou spring down to the floor.\n\nYou hear a ringing sound. It's pretty loud, and it's coming from nearby.\n\n> B.\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\nYou hear a ringing sound. It's pretty loud, and it's coming from nearby.\n\n> F.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors. Goodcat/Badcat is in this room; his scent is strong. You whip your head around but don't see him anywhere. Is he waiting to pounce you? You continue looking around carefully.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor is a large brown circle held up by four legs. Underneath it are two smaller versions, with one pulled away from the other. You wind your way around these things and quickly smell what their names are. The large thing is called a table. The smaller things are called chairs (one is His and the other is guest). The names seem strong, but dull. You hope He doesn't name you any of those names.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now. You also realize the names of the two objects on the table, and your interest is piqued.\n\nYou can see a phone and a remote here.\n\nThe phone rings right beside you. It's loud!\n\nSuddenly but thankfully, the phone stops ringing."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, animal protagonist, cat]\n\n> Go down\nYou spring down to the floor.\n\nSuddenly a loud ringing sound comes from somewhere nearby and it startles you a foot into the air.\n\n> B.\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\nYou hear a ringing sound. It's pretty loud, and it's coming from nearby.\n\n> F.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors. Goodcat/Badcat is in this room; his scent is strong. You whip your head around but don't see him anywhere. Is he waiting to pounce you? You continue looking around carefully.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor is a large brown circle held up by four legs. Underneath it are two smaller versions, with one pulled away from the other. You wind your way around these things and quickly smell what their names are. The large thing is called a table. The smaller things are called chairs (one is His and the other is guest). The names seem strong, but dull. You hope He doesn't name you any of those names.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nThe phone on the table nearby rings, and it's loud!\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now. You also realize the names of the two objects on the table, and your interest is piqued.\n\nYou can see a phone and a remote here.\n\nThe phone rings right beside you. It's loud!\n\n> Attack phone\nYou attack the phone, trying to Make The Ringing Stop. You smack the curvy part with your paw and send it flying. The ringing stops! But then you hear a concerned female voice talking out of it. It's saying some kind of greeting.\n\nA concerned female voice speaks from the phone right beside you.\n\nkittenish.\n\n> Mew\nYou say \"Meowr?\" to let the voice know that you are here and want to know what's going on. The voice asks you a question that you don't understand, laughs, and then says some other things, and finally it says \"goodbye\". You know then it will go away and it does.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\nkittenish.\n\n> You sniff the phone\nIt smells like His hands, because He holds it often. It also smells like His breath, because He talks into it. You find out that it was made far away and sent here on something that travels across water and that inside, it is delicate.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\n> You jump on the ledge\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\n> You jump on the ftop\nYou leap up to the top with the greatest of ease.\n\nOn top of this cold metal cube, you find what you've been expecting the whole time: Goodcat/Badcat. He is a refined grey cat with black stripes who sits with his body perpendicular to yours, his head facing you. He has two large yellow eyes and seems unaffected by your arrival, as though he had been expecting you.\n\nYou can see Goodcat/Badcat here.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\n> You show the sock to the Cat\nGoodcat/Badcat is unimpressed.\n\nA horrible grating sound comes out of the phone on the table! Goodcat/Badcat makes a disgusted face and his baleful eyes blame you.\n\n> You give the sock to the Cat\nGoodcat/Badcat sniffs the air and then sniffs the sock, taking his time to inhale all of its scents. He looks thoughtful for a moment and then rubs you, pressing into your fur one of his secrets. Fascinated, you ponder all the fun you'll have when you chew off a piece of meat-bread and leave it behind the vibrating box for twenty suns so that you too can have a smelly play toy!\n\nkittenish.\n\n> Rub Cat\nYou approach him but at the last moment, back off. His fierce stare seems to shout, \"How dare you approach when we have not properly greeted one another yet!\"\n\nThe awful grating sound stops and the phone is silent once again. Goodcat/Badcat exhales loudly and fixes you with an expression that clearly communicates, \"Let's not do that again, shall we?\" You feel embarrassed but relieved.\n\n> You look at the fridge\nBrr! It's cold, but it smells like all kinds of yummy things. He calls this \"fridge\". Goodcat/Badcat agrees with your assessment, so you naturally rub against it to add your opinion officially to his.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You look under it\nYou look under it, but only see the floor.\n\n> Examine boxes\nOne of them smells more like water than food, and the other smells like fire and food.\nBoth of them have parts that stick out that look like you could walk on them, but they are too narrow.\nGoodcat/Badcat indicates that these are interesting only when open, but the hot-smelling one hurts.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You sniff the guest chair\nYou smell nothing particularly interesting.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You drop the sock\nDropped.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> F.\nFrom here you can go behind you and you can jump to His chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> B.\nJust behind you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your right, but to your left is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your left.\n\n> You examine the carpet\nIt is a light brownish color. You smell around and take several minutes to soak up the knowledge of who ate what, where they were going, and how they were feeling. The knowledge makes you feel quite important, as if you had discovered the key to understanding what happens around here.\n\n> F.\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\n> You examine the plant\nIt looks like a rather large plant sitting in a bowl of dark dirt. It has a lot of green leaves and it reaches almost as high as the black square! The plant smells woodsy and growing, but not like something you'd like to eat. It is growing from a bowl of dirt that strikes you as perfect for playing in.\n\n> You smell it\nThe plant smells woodsy and growing, but not like something you'd like to eat. It is growing from a bowl of dirt that strikes you as perfect for playing in.\n\n> You jump\nYou jump a foot into the air just for fun.\n\n> You enter the dirt\nDigging would be better, you think.\n\n> You dig it\nIt seemed like such a great idea, but after a few moments of digging in the soil, you find nothing in it and have soil all over your paws. It's such a gross feeling that you try to shake it off. Dirt goes flying all around the plant, but some of it stays on your paws. Maybe if you walked around it would just come off. You really don't want to lick it off unless you absolutely have to.\n\nkittenish.\n\n> You climb the gate\nAs you climb the gate up one side and down the other, that disgusting dirt shakes loose in the process. With a few licks here and there, you're as clean as ever. You're pleased as punch.\n\nYou clamber over the gate again, quickly, but not silently.\n\nThe hall from in front of you ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress behind you."
    },
    {
        "text": "> You look at your surroundings\nYou can go in front of you back to New Hall, or you can climb the gate.\n\n> F.\nYou can go behind you down the hall, to your left to the dark room, or to your right to the sunny room.\n\n> B.\nYou turn to face behind you and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> F.\nThe carpet ends here at a mow like the one that leads out of your place. You're not sure how He manages to open these things, but He must be strong. This mow looks a lot like the shiny floor, actually; it looks like it is made up of different tiles, all different colors. Sniffing the edges, you realize that it is a gateway to the outside. Images of grass, bright sunshine, concern, danger, and burden roll over you and you think that the outside is a fearful but wonderful place, and amazingly large. You smell Her scent again, like flowers but far too strong. It fills you with a fierce passion; she should know that you live here!\n\n> You examine the door\nIt is massive (like all mows are), but different than others, because it is made up of shiny tiles, all different colors. You're amazed that He manages to open such a thing. It smells wonderfully of the outdoors. You smell Her scent again, like flowers but far too strong. It fills you with a fierce passion; she should know that you live here!\n\n> F.\nThere's only one way out: to return the way you came by going behind you.\n\n> B.\nYou turn to face behind you and bound away.\n\nJust to your left, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads behind you, but in front of you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress in front of you.\n\n> R.\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. It even has tiny decorative brown paw prints across it. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. In the dirt scattered around the plant, you see several small paw prints. You grimace. Why did He put that nasty thing there? Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\n> Sniff model\nYou try, but it's too far away.\n\n> You jump on the seat\nYou jump on the smaller springy-soft bed and luxuriate in how it feels on your paws. You are amazed that He doesn't spend all his time sitting on soft and warm beds like these. You think for a moment. You don't either. Maybe he is an explorer like you? He must be.\n\n> You examine the ball\nIt's a curiously large bumpy ball with some kind of wooden stick holding it up. You sniff it and smell its papery, dusty kind of smell that reminds you of old things. It was put together with a lot of care and attention by men who wear lenses in front of their eyes.\n\n> You turn around\nYou turn around and face the other way."
    },
    {
        "text": "> Look around\nYou can only go in front of you.\n\n> You look\nDen (on the love seat)\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. It even has tiny decorative brown paw prints across it. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. In the dirt scattered around the plant, you see several small paw prints. You grimace. Why did He put that nasty thing there? Near the plant there is a large black shiny square and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, humor, animal protagonist, non-human protagonist]\n\n> You go downwards\nYou spring down to the floor.\n\n> Smell the carpet\nYou smell around and take several minutes to soak up the knowledge of who ate what, where they were going, and how they were feeling. The knowledge makes you feel quite important, as if you had discovered the key to understanding what happens around here. You also smell that nasty dirt. Yuck!\n\n> F.\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\n> F.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a sock here.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a sock here.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on the ftop\nYou leap up to the top with the greatest of ease.\n\nYou are on top of the cold metal cube, better known as \"refrigerator\" and \"Goodcat/Badcat's lair\". Strangely, it is not cold here, but fairly cozy with the faint smell of food. You can see why he chose this location for a lair. You think you'd probably have done the same.\n\nYou can see Goodcat/Badcat here.\n\n> You give the remote to the Cat\nGoodcat/Badcat doesn't seem interested.\n\n> You drop the remote\nDropped.\n\n> Lick\nWhat do you want to lick?\n\n> You hit the Cat\nLooking back on it, you realize that this was one of those things that would have never worked out. You pounced him and he responded with a bloodcurdling hiss and a swift paw that sent you flying right off the vibrating metal box. You landed on the ledge below and backed away just in time to avoid him jumping on you. Fear and adrenaline ran through your veins and you jumped, jumped, and ran like your tail was on fire. Now you're on the other side of that stringy ow, catching your breath, the image of him turning away with a refined departing spit echoing in your ears. His departing words were, \"And don't come back!\"\n\nThe hall from to your right ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress to your left.\n\n> You lie down\nYou lie down, all your paws outstretched.\n\n> Purr\nYou only do that when you are talking to Him. That's the fun part. When He gets back, you let out all the purrs you have saved up the whole day.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a sock here.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> Claw fridge\nYou claw it to no effect.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You look at the table\nIn the middle of the the floor is a large brown circle held up by four legs, called the table. It is made out of wood, but it also smells of various oils and you get some idea of the men who crafted it. Goodcat/Badcat has left his scent upon the legs, identifying the table as his territory. He seems to have been impatiently waiting most of the time, hoping for Him to drop some tasty food.\n\n> Rub table\nYou swirl around two of the legs to add your scent flourish. Now He will know you have been here. The thought fills you with a secret delight.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You groom the Cat\n[Please type what you'd like to do.]\n\n> You groom\nWhat do you want to groom?"
    },
    {
        "text": "[Themes: Slice of life, humour, non-human protagonist, nonhuman protagonist, humor]\n\n> Go downwards\nYou clamber up to all four paws, take a little stretch, and trot off.\n\nYou lean down the side and take a half-jump the rest of the way down.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\n> You lie on the phone\nYou lie down, all your paws outstretched.\n\n> You go north\n[This game uses relative directions instead of compass directions: left, right, forwards, and backwards.]\n\n> You smell it\nYou wince just looking at it.\n\n> You jump on the sofa\nYou jump up on it once more, glad to be in a soft space around the smells of your people."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, humor, animal protagonist, non-human protagonist]\n\n> You go downwards\nYou spring down to the floor.\n\n> You climb the door\nYou scrabble upwards, but a few moments of futility, slide down, frustrated.\n\n> Dig\nWhat do you want to dig?\n\n> R.\nYou can go behind you back to New Hall and in front of you to the end of the hall."
    },
    {
        "text": "> Look around\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> You jump on the tub\nYou're a bit hesitant to jump where you can't see, so you jump up on the surrounding ledge instead.\n\nYou are perched uncomfortably on the narrow ledge around the  tub. The surface beneath you is hard and damp, and that clean water smell comes from all around you. You can either enter the tub, or jump down back into the bathroom.\n\n> You enter the tub\nYou walk around inside the tub and notice, strangely, that this place smells like His paws. Does He stand up in it? It looks long enough for him to lie down in it. The water smell saturates the area, and you know that this place must usually be wet. Right now it is only damp. He calls this place \"tub\".\n\n> You smell it\nIt smells like clean water mixed with the odor of His feet.\n\n> Leave\nYou bound out.\n\nYou are perched uncomfortably on the narrow ledge around the  tub. The surface beneath you is hard and damp, and that clean water smell comes from all around you. You can either enter the tub, or jump down back into the bathroom.\n\n> You jump down\nYou jump down with a faint \"oof\".\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> Claw green stripe\nYou vow revenge and attack it with both forepaws and end up sulking away, having to clean that gooey sticky stuff from two paws instead of just one.\n\n> You eat stripe\nWhat do you want to eat: brown stripe or green stripe?"
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist, non-human protagonist, cat]\n\n> Go down\nYou jump artfully to the floor and land on all four paws."
    },
    {
        "text": "[Themes: Slice of life, humour, humor, cat, non-human protagonist]\n\n> Look around\nYou can go behind you back to New Hall, or you can climb the gate.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but unfortunately not silently.\n\nJust to your right, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads in front of you, but behind you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress behind you.\n\n> Nap\nYou're exploring! No time for napping now.\n\n> You jump down\nYou lean down the side and take a half-jump the rest of the way down.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a sock and a phone here.\n\n> B.\n(first getting off the sofa)\n\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\n> You examine floor\nIt is a light brownish color that has dirty pawprints on it. You smell around and take several minutes to soak up the knowledge of who ate what, where they were going, and how they were feeling. The knowledge makes you feel quite important, as if you had discovered the key to understanding what happens around here."
    },
    {
        "text": "> You look at your surroundings\nThere's only one way out: to return the way you came by going behind you.\n\n> B.\nYou turn to face behind you and bound away.\n\nJust to your left, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads behind you, but in front of you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress in front of you.\n\nFrom right outside, you hear what sounds like a storm -- a rumbling, grumbling, coughing sound. You look around for somewhere to hide, but before you can find a place, it's over. Then you hear a slamming like the mow when He leaves and right before He sees you. Is He coming back?"
    },
    {
        "text": "[Themes: Slice of life, humour, non-human protagonist]\n\n> You look around\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a sock and a phone here.\n\nYou hear a mow open from far away and then hear it shut; His voice is next, as He greets Goodcat/Badcat. You meow energetically to let him know you are here.\n\nHe discovers you and picks you up. He strokes kindly you as He walks through the house, laughing at all the things you have done. \"You are quite the little explorer, aren't you?\" he asks. You purr. \"That effort deserves nothing less than a name!\" He holds you high in the air and then triumphantly christens you, \"Isabella. Yes, Isabella is your name.\" You nuzzle your face into his arms, turning the name around and around in your mind. Isabella. It's a good name, well, as good as humans get at these things, you think. You beam up at Him as He carries you.\n\nI do not have a name, but I think that someday soon I will. I have heard Him talk many times of other things that have names, things like Mom, Dad, Emily, Stuart, God. So I think I will have a name someday soon, although I do not know how I get a name. Is it something I have to do? Is there somewhere I have to go? All I know is that for now, He calls me just one thing: Cat.\n\nYou live in a nice soft place inside a bigger space that has three ows, and one moveable ow. You call these things ows because they hurt when you run into them, and the moving ow (mow) only He can move. The soft place is where you sleep and it smells like you. Outside the soft space is where He puts the food and water. The food is ok, but the milk you used to have was much better. You wonder if He could get some of that again.\n\nHe always shuts the mow, but today he has left it open. You do not know what is beyond it, except what you have heard him talk about. There is another thing called GoodCat/BadCat. It must have another name as well, because it was here when you got here, but it is far away and when He talks to it, you can only hear GoodCat or BadCat. You must be related, because you both are called Cat.\n\nYou have always wondered where He goes when He closes the mow and what lies beyond it. \"Could there be even more mows and ows? Could my place be just one place inside a much bigger place? I want to find out. Maybe if I find out, I can get a name,\" you think.\n\n[If this is your first time playing, type \"ABOUT\".]\n\n> F.\nYour Place surrounds the soft place. It's much bigger and it is soft on your feet, but not as soft as the soft place. You can run around here but the three ows stop you. Nothing has changed from this morning when He left -- the food dish, the water bowl, the sandbox, and the ledge are in their same places and they smell the same. The most interesting thing, though, is the mow. It's wide open in front of you and smells from outside are rushing in.\n\n> You examine the dish\nIt's a small dish with food in it.\n\n> You eat food\n(first taking the cat food)\nYour mother raised you to not play with your food unless you were hungry enough to eat (or drink) it. You can feel her teeth picking you up by the scruff of the neck even now.\n\n> You examine the bowl\nIt's a small solid bowl with water in it.\n\n> You examine the litterbox\nIt's a tough box filled with sand that's just right for taking care of wastes.\n\n> You enter the litterbox\nFortunately, you've already gone this morning."
    },
    {
        "text": "[Themes: Slice of life, nonhuman protagonist]\n\n> Describe the surroundings\nYou can go behind you or in front of you, though in front of you seems a lot more interesting.\n\n> Ascend\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now. You also realize the names of the two objects on the table, and your interest is piqued.\n\nYou can see a phone and a remote here."
    },
    {
        "text": "[Themes: Slice of life, non-human protagonist, cat]\n\n> Go down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\n> Go north\n> Interact\n\n> You go to the north\n> Interact\nWebsite: www.intaligo.com/newcat\n\nForums: www.intaligo.com/forum\n\nComments/Bugs: poster@aurora.cotse.net\n\nNew Cat Background\n> Interact"
    },
    {
        "text": "[Themes: Slice of life, humor, animal protagonist]\n\n> F.\nYou are up to a good speed before you notice the ow coming at you. You come to a butt-burning halt. Youch!\n\nThe long room ends here at an ow with one room on either side. The one to your right has sun filtering in through slats that make you want to rest in its warm spaces and play with the shadows. The room to your left is dark and presents several different smells relating to water. The ows seem really tall here and you feel fenced in and nervous.\n\nThe house settles and creaks, giving you a start.\n\n> You jump on the ledge\nYou try and miss in one glorious mess.\n\n> You jump on the toilet\n(the toilet)\nWith feline agility, you leap up to the deep water bowl.\n\nYou are halfway between the dark window and the floor, perched on the fat water bowl. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> Lick water\nYou're not thirsty, but you can't pass this opportunity up -- the smells are too interesting. Carefully you lower yourself into the toilet and take ten deep laps of the water. Then you pull yourself back up on the rim and luxuriate in the taste of tea, yogurt, and submarine sandwiches. You're thankful again that He was so kind to mark the area so that you'd know to find it.\n\nkittenish.\n\n> You jump on the ledge\nWith amazing grace, you land on the space above the handles with a solid \"whump\".\n\nYou barely notice the rest of the surface except for the sink, which smells like his breath and some sort of plant. The dark window takes up the entire wall and inside there is another cat! Her fur is poofed out just like yours and her green eyes stare back at you in challenge.\n\n> You sniff the Cat\nYou lean your nose in to smell her and she does the exact same thing. Then you realize what seemed so strange about all of this: you never once smelled her. How can she have no scent ? What sort of cat is that? You realize, too, that she only does what you do. If you stop, she stops; if you groom yourself, she grooms herself; if you blink, she blinks. She does whatever you do because she is you, somehow. Only not you and only in the dark window. It's weird, but you're glad you're not a human and have to deal with such complexities.\n\nkittenish.\n\n> You jump on tub\nNot from here. It's too far away!\n\n> You jump down\nYou raise and lower your head a few times, estimating the distance. On a whim, you decide to go for it and you jump down. It takes you a moment to get your breath back.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see what looks like a very long water bowl. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a fat water bowl, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> Climb tub\nJumping to it is much more kittenish."
    },
    {
        "text": "[Themes: Slice of life, cat, non-human protagonist]\n\n> You look around\nYou can go to your right down the hall, behind you to the dark room, or in front of you to the sunny room.\n\n> R.\nYou turn to face to your right and bound away.\n\nHalfway down the hall, the non-solid mow has slats from the top to the bottom, like what is on the window in your place. It has a wonderful fresh smell that makes you want to lie down and go to sleep, if only there were something soft enough to sleep on. The solid mow on the opposite side greets you with a welcoming and familiar scent from between it and the floor. You would know it anywhere -- it is Him. He is not here, but beyond is surely His lair.\n\n> B.\nWithout exploring those two large and soft beds? You promise yourself that when you get done with this important task, you will get your paws on them.\n\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\n> F.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors. Goodcat/Badcat is in this room; his scent is strong. You whip your head around but don't see him anywhere. Is he waiting to pounce you? You continue looking around carefully.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor is a large brown circle held up by four legs. Underneath it are two smaller versions, with one pulled away from the other. You wind your way around these things and quickly smell what their names are. The large thing is called a table. The smaller things are called chairs (one is His and the other is guest). The names seem strong, but dull. You hope He doesn't name you any of those names.\n\n> You jump on the chair\nWhat do you want to jump on: the guest chair or His chair?\n\n> B.\nJust behind you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your right, but to your left is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your left.\n\nThe house settles and creaks, giving you a start.\n\n> You give the sock to the Cat\nGoodcat/Badcat sniffs the air and then sniffs the sock, taking his time to inhale all of its scents. He looks thoughtful for a moment and then rubs you, pressing into your fur one of his secrets. Fascinated, you ponder all the fun you'll have when you chew off a piece of meat-bread and leave it behind the vibrating box for twenty suns so that you too can have a smelly play toy!\n\nWith a mew of disgust, you sit down and clean the nasty dirt from all your paws. It takes you some time, but at last you're clean.\n\nkittenish.\n\n> You hit phone\nYou rear up and pounce the phone with a particularly vicious sideswipe. Result: the phone is now separated into two parts, the curvy part and the boxy part. They are joined by a cord. None of this seems particularly interesting in itself, but you do derive some satisfaction in observing the prey after it has been rendered helpless.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\nkittenish.\n\n> Bat globe\nYou bat at it and the ball turns, making a curious whirring sound. You bat at it again and it moves a little faster. You go at it with both paws until it can't move any faster and then you get bored. You look at the ball sideways, catching your breath and wonder if He will notice that the ball is now in a different position than it was before.\n\nkittenish.\n\n> You jump on the sofa\nYou jump up on the large springy-soft bed (what they call a \"sofa\") and love how it feels on your paws -- so soft! You sniff around and are startled by all the big cats that have sat here and their stories. It takes you several sniffs to make them all out. Apparently He sits here when he is tired; He sat here yesterday. He also sat here two days ago (the day of the big noise) with Barry, and they talked about far-away places. Barry wants to romance his broodmate, but won't tell Him. Then there is the scent of an older big cat, who must be very wise, because he gives knowledge to others all day. He seems to be related to Him, but you're not clear how. He's not a mother or a littermate.\n\n> Bat remote\nSurprisingly, it's not very heavy. You bat it back and forth and with a powerful swipe, you send it off the table and it hits the floor below with a loud \"smack\". Then, in the next room over, the big black square flickers to life. You hear sounds and people talking; images flicker back and forth across its surface. From up above, Goodcat/Badcat meows despairingly. \"Oh dear. Now you've done it,\" he says.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\nkittenish.\n\n> You wait for a while\nTime passes.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You wait awhile\nTime passes.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> You wait\nTime passes.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You wait\nTime passes.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\nThe phone right next to you suddenly starts Ringing VeRy LOUDLY. You almost involuntarily leap off the table in surprise.\n\n> Attack phone\nYou attack the phone, trying to Make The Ringing Stop. You smack the curvy part with your paw and send it flying. The ringing stops! But then you hear a concerned female voice talking out of it. It's saying some kind of greeting.\n\nA concerned female voice speaks from the phone right beside you.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\nkittenish.\n\n> Mew\nYou say \"Meowr?\" to let the voice know that you are here and want to know what's going on. The voice asks you a question that you don't understand, laughs, and then says some other things, and finally it says \"goodbye\". You know then it will go away and it does.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\nYou hear several different scary sounds and then people talking, seriously.\n\nkittenish.\n\n> Bat phone\nYou bat it but nothing amazing happens.\n\nAn artificial voice from the phone repeats itself with strange quiet parts between.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a remote here.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> F.\nFrom here you can go behind you and you can jump to His chair.\n\nAn artificial voice from the phone on the table repeats itself with strange quiet parts between.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> B.\nJust behind you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your right, but to your left is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your left.\n\nFrom the shiny room you hear a horrible grating sound that sounds like pulling your tail feels.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> Bat gate\nYou bat it but nothing amazing happens.\n\nFrom the shiny room you hear a horrible grating sound that sounds like pulling your tail feels.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> F.\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. It even has tiny decorative brown paw prints across it. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. In the dirt scattered around the plant, you see several small paw prints. You grimace. Why did He put that nasty thing there? Near the plant there is a black square flashing with images and voices and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\nOn the sofa is a sock.\n\nFrom the shiny room you hear a horrible grating sound that sounds like pulling your tail feels.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\nThe awful grating sound stops and the phone is silent once again.\n\n> You look at the tv\nIt's a large black square, although it's pretty shiny. It flickers with all kinds of images, some of which are people doing things; it also talks with the voices of various people. You're not at all sure how the different people fit inside there. The voices just keep talking like you aren't there and the images don't seem to be related. It's too overpowering to be real and after a minute or two, you lose interest.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Bat tv\nThat's a bit too large to play with, you realize.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> Bat plant\nYou reach up to bat the leaves of the plant and they bounce back immediately. Before you know it, you've passed a few minutes playing with it.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> Bat bug\nYou try, but it's too far away.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You look\nThis is a comfortable room that also has strange things in it. The carpet gets very thick and comfortable in the middle of the room and it changes colors too. It even has tiny decorative brown paw prints across it. A narrow cloth bed (it looks like your bed, but it is so large that it must be for Him) touches the hall and beyond it is a wide cloth bed. Far away is a mow through which you can see the outside. Beside it is a plant that grows in a tall water dish. In the dirt scattered around the plant, you see several small paw prints. You grimace. Why did He put that nasty thing there? Near the plant there is a black square flashing with images and voices and a frozen bug on top of it, and beside the narrow bed is a puffy ball held in place by some kind of stick. The smells here fuse into one onrush of aroma that makes you feel relaxed and at home.\n\nOn the sofa is a sock.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Smell plant\nThe plant smells woodsy and growing, but not like something you'd like to eat. It is growing from a bowl of dirt that you think is disgusting.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> Smell tv\nIt's too loud and distracting to approach.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Climb tv\nYou scrabble upwards, but a few moments of futility, slide down, frustrated.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Paw tv\nThat's a bit too large to play with, you realize.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> B.\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but not silently.\n\nThe hall from in front of you ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress behind you.\n\n> F.\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but unfortunately not silently.\n\nJust to your right, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads in front of you, but behind you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress behind you.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> R.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a remote here.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the ledge\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You jump on the ftop\nYou leap up to the top with the greatest of ease.\n\nYou are on top of the cold metal cube, better known as \"refrigerator\" and \"Goodcat/Badcat's lair\". Strangely, it is not cold here, but fairly cozy with the faint smell of food. You can see why he chose this location for a lair. You think you'd probably have done the same.\n\nYou can see Goodcat/Badcat here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You look at the Cat\nYou look at him and you feel his eyes staring a hole through yours. He seems angry; you feel decidedly nervous.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Rub Cat\nYou approach him but at the last moment, back off. His fierce stare seems to shout, \"How dare you approach when we have not properly greeted one another yet!\"\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> Bat cat\nHe good-naturedly pushes you away with his paws and resumes his usual placid, royal mien.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You hit the Cat\nLooking back on it, you realize that this was one of those things that would have never worked out. You pounced him and he responded with a bloodcurdling hiss and a swift paw that sent you flying right off the vibrating metal box. You landed on the ledge below and backed away just in time to avoid him jumping on you. Fear and adrenaline ran through your veins and you jumped, jumped, and ran like your tail was on fire. Now you're on the other side of that stringy ow, catching your breath, the image of him turning away with a refined departing spit echoing in your ears. His departing words were, \"And don't come back!\"\n\nThe hall from to your right ends here at a soft ow about half as tall as an ordinary ow. This ow is made of crossed strings and you can see through it; beyond are shiny tall metal boxes, almost taller than Him, on a shiny floor. You instinctively sniff the ow. Goodcat/Badcat has left a scent message that welcomes you to his world if you can get over the ow. He calls it something rather impolite.\n\nThe tall stringy gate bars progress to your left.\n\n> You climb the gate\nYou clamber over the gate again, quickly, but unfortunately not silently.\n\nJust in front of you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your left, but to your right is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your right.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> R.\nYou can go in front of you, behind you, to your left, or climb the gate to go to your right.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> F.\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a remote here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on ledge\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near. You feel extremely nervous and wish you were anywhere but here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the ftop\nEven the thought makes you quake with fear. You barely escaped with all your kitten parts intact last time! You're definitely not ready to brave facing him again.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the ftop\nEven the thought makes you quake with fear. You barely escaped with all your kitten parts intact last time! You're definitely not ready to brave facing him again.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You jump down\nYou lean down the side and take a half-jump the rest of the way down.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the table\nYou span the distance with a soft jump and skid to a stop on the table.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump down\nAfter a few moments of weightless falling and the rude impact, you are once again walking around on the shiny floor.\n\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a remote here.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> Bat remote\nYou bat the remote and send it flying across the floor.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You bat yourself\nYou fiddle with your tail for a little while, but quickly grow bored.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> B.\nJust behind you, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads to your right, but to your left is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress to your left.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Bat boxes\nChoose a particular box.\n\n> You jump on the toilet\n(the toilet)\nWith feline agility, you leap up to the hollow chair.\n\nYou are halfway between the dark window and the floor, perched on the white chair. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> You enter the toilet\n(the toilet)\nJumping to it is much more kittenish.\n\n> You jump on the ledge\nWith amazing grace, you land on the space above the handles with a solid \"whump\".\n\nThe surface here is smooth and there is a bowl in the middle called a sink. You know this because the scent of his hands have left the word around it. The sink smells like his breath and some sort of plant. On the far side is a cabinet without a handle. You don't know how he gets it open. In the dark window that takes up the whole wall is your reflection, doing whatever you do but in reverse.\n\n> You examine the sink\nIt's a bowl that's part of the ledge. It's damp, empty, and smells of his breath and some sort of fresh plant.\n\n> You examine the cabinet\n(the bccabinet)\nYou see nothing special about the bccabinet.\n\n> You examine the mirror\nYou look in the window, but see nothing interesting besides your reflection. The mirror itself smells faintly acidic.\n\n> Bat reflection\nYou're quite through with playing with your reflection.\n\n> You enter the sink\nYou squinch up your eyes. You could fit in there, but there's a silver thing going over the top that you just don't trust.\n\n> You jump on the toilet\n(the toilet)\nYou slide through the air down to the hollow chair.\n\nYou are halfway between the dark window and the floor, perched on the white chair. It's not soft, but it is fairly slick. The wonderful smells rise up from the hollow center, down in the water. You see above you a wide ledge that runs underneath the window. You could easily jump to it, or jump down to the bathroom floor.\n\n> You jump down\nYou jump down to the tiled floor below with matchless ease.\n\nThe hallway light provides the only light in this dark room. Your eyes adjust and your nose comes alive with the many different scents inside. The first smell smells like He does sometimes -- like growing things, like the outside. It's too strong for you and it causes your nose to wrinkle involuntarily. The next strongest smell is a fresh, clean smell that must be some kind of water. You know by the third smell that this is His place, because He has marked it. Mixed in with that territorial odor are lesser notes that smell like all sorts of yummy things. You're so glad he marked the area so you'd know where they are! It's odd, though. You look around but don't see a litterbox anywhere.\n\nInstead, off to the right you see the tub. It has sides so you can jump up on it and take look inside. It smells like that water smell. Opposite it is a giant white chair that is hollow in the middle, where the territorial smell and the yummy smells come from. You could jump up on it, too. Right beside you are wooden boxes, and on top of them is a tall dark window.\n\nYou see your reflection peeking down at you from the window, green eyes glowing in the dark.\n\n> F.\nThe carpet ends here at a mow like the one that leads out of your place. You're not sure how He manages to open these things, but He must be strong. This mow looks a lot like the shiny floor, actually; it looks like it is made up of different tiles, all different colors. Sniffing the edges, you realize that it is a gateway to the outside. Images of grass, bright sunshine, concern, danger, and burden roll over you and you think that the outside is a fearful but wonderful place, and amazingly large. You smell Her scent again, like flowers but far too strong. It fills you with a fierce passion; she should know that you live here!\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> Bat carpet\nYou bat it but nothing amazing happens.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Bat mow\nYou try for a few moments, but don't make any appreciable impact.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on it\nYou jump on it for a moment, but quickly tire of the one-sided play.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> Mew\nYou mew. Nothing happens and you feel faintly disappointed.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> B.\nYou turn to face behind you and bound away.\n\nJust to your left, the shiny and slippery floor begins and the large shiny things sit. The opposite way, you see softer but equally large things, but also a plant that sits in what looks like a square water bowl. The carpet is soft and it leads behind you, but in front of you is the stringy ow that you'll have to climb to get over.\n\nThe tall stringy gate bars progress in front of you.\n\nYou hear several different scary sounds and then people talking, seriously."
    },
    {
        "text": "> Look around\nHere enormous metal boxes reach upward from a shiny floor that you can skid across if you run fast enough and suddenly stop. The tallest box is cold, vibrates, and smells like food! The shorter boxes also smell like food, but not as strongly. The whole area smells like trees -- a fresh, outdoors kind of scent, which doesn't make sense, because this is indoors.\n\nHalfway to the ceiling (it seems) a shiny surface ledge runs like a pathway, over a shorter box and connects to the tallest one. It's wider than the ledge in your place. In the middle of the floor the brown table towers over you. The guest chair sits underneath it, and His chair is nearby.\n\nYou can see a remote here.\n\nYou hear the sound of a cat scratching itself and know that it must be Goodcat/Badcat.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on his chair\nYou agilely leap upwards into the chair.\n\nYou hear the sound of grooming coming from somewhere nearby.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the table\nYou easily jump up on the table, your claws clutching the threaded surface.\n\nThis is a small place, a little bit larger than the soft place but not as large as the place around it. If you ran around here, you'd definitely fall off the edges. The floor feels like a bunch of string, tightly wound together and it is arranged in colors and in patterns of things you don't recognize. From here, you can see a shiny surface you could easily jump to, and you can view most of the room and the next room over, which pulls your kittenish heart with what looks like large and soft beds. Taking a quick sniff, you realize that this area is used for eating food, but there is no food here now.\n\nYou can see a phone here.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Bat phone\nYou bat it but nothing amazing happens.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You jump on the ledge\nThat doesn't look far away. You take a quick look and with a little jump you land safely on the countertop.\n\nFrom up here, you can see the entire shiny place. Only the refrigerator top gives a better view. It makes you feel powerful and important, like perhaps you controlled the whole area and had a few cat soldiers to do your bidding as well. If it was softer and not so narrow, it would make a great bed. From here, you can jump up to the metal box. The most distinctive smell is the scent of Goodcat/Badcat. He is near.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> You jump on the ftop\nYou leap up to the top with the greatest of ease.\n\nYou are on top of the cold metal cube, better known as \"refrigerator\" and \"Goodcat/Badcat's lair\". Strangely, it is not cold here, but fairly cozy with the faint smell of food. You can see why he chose this location for a lair. You think you'd probably have done the same.\n\nYou can see Goodcat/Badcat here.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> Nap\nYou're exploring! No time for napping now.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You rub against the Cat\nYou approach him but at the last moment, back off. His fierce stare seems to shout, \"How dare you approach when we have not properly greeted one another yet!\"\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> Mew\nYou're not sure how you talk with another cat, after all, your only memories are hazy and indistinct ones of your littermates and mom. So you try talking to Goodcat/Badcat like you were talking to Him. You let out a curious \"Meowr\". His eyes fix upon you.\n\nYou hear several different scary sounds and then people talking, seriously.\n\n> Purr\nYou only do that when you are talking to Him. That's the fun part. When He gets back, you let out all the purrs you have saved up the whole day.\n\nThe black square lets out someone who is talking but in a very flowing kind of way and high up enough that it catches your attention. Then you realize she isn't saying anything important.\n\n> You sniff yourself\nYou have an light, woodsy, easy-going scent about you. You're not sure if that's a common scent, but it's yours and you like it.\n\nYou hear several different scary sounds and then people talking, seriously.\n\nFrom right outside, you hear what sounds like a storm -- a rumbling, grumbling, coughing sound. You look around for somewhere to hide, but before you can find a place, it's over. Then you hear a slamming like the mow when He leaves and right before He sees you. Is He coming back?\n\n> You sniff you\nGoodcat/Badcat has better things to do.\n\nFrom the black square you hear lots of people shouting and catch a flicker of images out of the corner of your eye.\n\n> You sit\nYou sit down on your rear legs, taking a commanding view of your environs.\n\nYou hear several different scary sounds and then people talking, seriously.\n\nYou hear a mow open from far away and then hear it shut; His voice is next, as He greets Goodcat/Badcat. You meow energetically to let him know you are here.\n\nHe discovers you and picks you up. He strokes kindly you as He walks through the house, laughing at all the things you have done. He seems quite surprised at the TV being on. \"You are quite the little explorer, aren't you?\" he asks. You purr. \"That effort deserves nothing less than a name!\" He holds you high in the air and then triumphantly christens you, \"Isabella. Yes, Isabella is your name.\" You nuzzle your face into his arms, turning the name around and around in your mind. Isabella. It's a good name, well, as good as humans get at these things, you think. You beam up at Him as He carries you."
    },
    {
        "text": "[Themes: Horror, violence, sexual content, nonhuman protagonist, lycanthropy]\n\n[Strike any key to continue...]\n\n\"HERE BE DRAGONS\" is what the rutter said, but the small island turned out to be free of those animals after all. Instead, you landed near a tiny village full of friendly natives.\n\nAaah, shore leave! You can't remember when the last time was you could relax, take a night off and stroll through town to pick up a girl or two. It turned out your friend Aten speaks a dialect not unlike that of the villagers, and so he joined your captain, who's with the village elder at the moment.\n\n\"Too bad for him,\" you think, grinning, \"guess he won't be getting any tonight.\"\n\nYou, on the other hand, are intent to.\n\n[Please type \"about\".]\nIFComp 1999 \n\nThe center of this small village is a roughly circular clearing in the jungle-forest that covers most of this island. A gigantic tree stands in the middle, reaching hundreds of feet up into the cool night air. The huts of the villagers are strewn around the clearing's border, close to the jungle.\nA large stone circle contains charred wood from last night's bonfire, and there is a rickety wooden platform under one of the lower branches of the tree.\n\n\"Ranil! Remember to be back on the Dagon tomorrow at sunrise! Unless you want to lose a month's pay, that is,\" you hear Quartermaster Gerhardsen shout in your direction. You nod, and he waves at you and disappears out of sight.\n\n[Author's Note: \"HERE BE DRAGONS\" is what the rutter said, but the small island turned out to be free of those animals after all. Instead, you landed near a tiny village full of friendly natives. Aaah, shore leave! You can't remember when the last time was you could relax, take a night off and stroll through town to pick up a girl or two.]\n\n> About you\nYou are Ranil Kuami, 22, black, and sailor aboard the \"Dagon\". You're wearing your best clothes for tonightYou're wearing a pair of trousers; your favorite talisman hangs around your neck on a thin chain. Your left ear is decorated by a small gold ring, and your dreadlocks are tamed by a headband.\n\n> You examine the talisman\nA strange stone, shaped like a deformed pentagram, hangs on a thin chain around your neck.\n\n> You look at the trousers\nYou've decided to wear your best shirt and trousers on this occasion, along with your leather boots, the left of which hides your favourite knife.\n\n> You look at knife\nYour trusty knife that has aided you in many a fight against humans as well as certain inhabitants of the oceans.\n\n> You check what you're carrying\nYou are carrying:\nyour clothes (being worn)\nyour talisman (being worn)\n\n> You examine circle\nSeveral big round stones have been laid out to form an exact circle. Inside are the glowing remains of tonight's bonfire, when the villagers prepared a boar for their guests.\n\n> You look at the huts\nThe huts are built of wood and seem to be held together with the vines that grow everywhere around here. Still, they look comfortable and stable enough.\n\n> You look at the platform\nUpon closer inspection, you notice a rope slung over the branch the platform was built under! Looks like this is a kind of gallows, though the state of the structure seems to indicate it hasn't been used for a long time.\n\n> You look at the rope\nA length of rope made of vines, slung over a branch of the tall tree.\n\n> You get the stone\nThat's hardly portable.\n\n> You look at the tree\nMost definitely the largest tree you've ever seen. You suspect it has a special meaning for the villagers.\n\n> You enter the hut\nNot without an invitation."
    },
    {
        "text": "[Themes: Horror, sexual content, nonhuman protagonist]\n\n> Look around\nThe center of this small village is a roughly circular clearing in the jungle-forest that covers most of this island. A gigantic tree stands in the middle, reaching hundreds of feet up into the cool night air. The huts of the villagers are strewn around the clearing's border, close to the jungle.\nA large stone circle contains charred wood from last night's bonfire, and there is a rickety wooden platform under one of the lower branches of the tree.\n\n> Climb platform\nWhat would you do up there?\n\n> Go north\nAs you start to walk, you sense movement from the corner of your eye. You turn around only to see the most amazingly beautiful woman walking directly towards you. You seem to recall her name as \"Lyca\".\n\n\"Hello,\" you say, somewhat sheepishly. She smiles at you and reaches for your hand, gently pulling you towards what seems to be her hut.\n\n> You follow\nWhat do you want to follow?"
    },
    {
        "text": "[Themes: Horror, violence, sexual content]\n\n> Look around\nThe center of this small village is a roughly circular clearing in the jungle-forest that covers most of this island. A gigantic tree stands in the middle, reaching hundreds of feet up into the cool night air. The huts of the villagers are strewn around the clearing's border, close to the jungle.\nA large stone circle contains charred wood from last night's bonfire, and there is a rickety wooden platform under one of the lower branches of the tree.\n\nYou can see Lyca here.\n\nLyca begins tugging on your arm, towards her hut. This is one determined young lady!\n\n> You follow Lyca\nYou allow Lyca to lead you into her hut...\n\nLyca's hut is small, but comfortable. Apart from a few flower arrangements, it is entirely undecorated. Much to your surprise, the 'bed' is much like the sleeping quarters on the Dagon; a hammock made of vines is hung from the ceiling, easily large enough for three people.\nLyca motions at you to take off your clothes and begins to do so herself.\n\n> You take off the trousers\nYou quickly step out of your clothes and discard them.\n\nLyca nods approvingly, then smiles and motions you toward the hammock.\n\n> You look at the knife\nYour trusty knife that has aided you in many a fight against humans as well as certain inhabitants of the oceans.\n\nSighing and rolling her eyes, Lyca shoves you towards the hammock.\n\n> You enter the hammock\nLyca jumps on the hammock, landing directly on you. Her hands close tightly around your wrists, her thighs sit on yours, effectively pinning you to the mat as she slowly begins making love to you. You are completely surprised at her fierceness at first, but that doesn't take longer than a few seconds.\n\nLyca kisses you passionately, still moving slowly, teasingly.\n\n> You wait\nTime passes.\n\nYou close your eyes, shuddering with pleasure, as Lyca runs her tongue over your throat, her movements in perfect synchronity with the caress, her breathing faster.\n\n> You enter Lyca\nLie back, relax, enjoy -- you have no choice, anyway.\n\nPleasure turns to pain as Lyca starts moving faster and faster, scratching your wrists with her fingernails, now positively panting--\n\nYou open your eyes and are frozen in terror for a second. What sits on you is no longer a woman, but a large wolf!\n\nLyca -- the thing -- howls in ecstasy and you in pain as her claws dig deeply into your wrists and ankles. Her muzzle moves toward your throat, and you prepare for a quick death. Her muzzle touches your talisman, and she suddenly howls again, an inhuman scream, and her paws loosen the death grip on you. You both lose your balance and fall out of the hammock. While the wolf-thing paws at her muzzle, you quickly grasp for your clothes and pull your knife from its hidden sheath in your boot.\n\n> Attack lyca\nAs you gather up the clothes in a ball, the wolf jumps at you, he mass of her body knocking you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> Go south\nYou can't go that way.\nThe Lyca-thing seems to have recovered and stares at you with unconcealed lust for murder in her eyes.\n\n> Exit\nUnfortunately, the wolf-thing is between you and the door.\nThe wolf jumps directly at you, this time not attempting to go for your throat. You brandish your knife feebly, but she sinks her teeth into your arm while the mass of her body knocks you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> You throw the knife at her\nDesperately, you throw the knife at the wolf, but she reacts with surprising speed, evading it. Then she jumps at you, the mass of her body knocking you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> You run\nThere's no need to.\nThe wolf jumps directly at you, this time not attempting to go for your throat. You brandish your knife feebly, but she sinks her teeth into your arm while the mass of her body knocks you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> You screw her\nThat would be less than courteous.\nThe wolf jumps directly at you, this time not attempting to go for your throat. You brandish your knife feebly, but she sinks her teeth into your arm while the mass of her body knocks you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> You eat the talisman\nThat's plainly inedible.\nThe wolf jumps directly at you, this time not attempting to go for your throat. You brandish your knife feebly, but she sinks her teeth into your arm while the mass of her body knocks you to the floor. The next thing you feel is her claws tearing your abdomen open, and then unconsciousness kindly takes you.\n\n> You throw the talisman at her\n(First taking off the talisman)\nDesperately, you throw the talisman at the wolf. She reacts with surprising speed, but not fast enough. You watch in amazement as her fur seems to catch fire and she emits a blood-curling howl, throwing her mass around, coming for you.\n\nBut the pain slows her down and you manage to bury your knife in one of her eyes before she can tear you apart. You quickly jump back and out of her reach as she crumples to the floor, lifeless, and manage to hit your head on a wooden beam, knocking yourself out...\n\n> You wake up\n[Strike any key to continue...]\n\nYou open your eyes and stare along the shaft of a spear pointed directly at your throat. On the other end you make out two upset villagers. You are pulled to your feet, an unitelligible stream of words coming from the men. One grabs you by the hair and turns your head where the dead wolf lies.\n\nYour eyes widen in shock. There lies Lyca, but not the wolf-thing; it is the human Lyca, blood-streamed, the knife still stuck in her eye.\n\nLooking back at the guards, you know it's senseless to try and explain yourself. Pure hatred is in their eyes, and one gestures across his throat with a finger. Then, they brutally drag you off to a hut standing seperate from the others, throw you inside and block the door from the other side.\n\nAs you pick yourself up, you notice you're wearing your talisman again. Strange.\n\nThis hut is bare except for an uncomfortable-looking wooden frame, around which vines have been wound to produce a sort of bed. There are no windows, so it's rather dark."
    },
    {
        "text": "> Look around\nThis hut is bare except for an uncomfortable-looking wooden frame, around which vines have been wound to produce a sort of bed. There are no windows, so it's rather dark.\n\n> You examine the bed\nLooks very uncomfortable, but it'll have to do.\n\n> Escape\nYou'll have to say which compass direction to go in.\n\n> Sleep\nYou will want to do that on the bed; even if it looks uncomfortable, it's better than the floor.\n\n> You get on the bed\nYou get onto the bed.\n\n> Sleep\nYou close your eyes, and quickly fall asleep.\n\n[Strike any key to continue...]\nD A Y   T W O\n[Strike any key to continue...]\n\nThe sound of the door being opened awakes you with a start. In come the village Elder and the intimidating shaman, accompanied by the two guards. The Elder says something to one of the guards. He quickly moves behind you, restraining your hands with rope, then helps you to step into your trousers.\n\nYou are quickly led to the platform in the village center, where the gallows have already been prepared. The guards push through the small crowd of assembled villagers, up the steps, then fasten the rope around your neck.\n\nJust then, you see Gerhardsen and Aten step out of the woods. Seeing what's up, they run towards the Elder, your friend shouting something in their language.\n\nYou see the shaman and Elder turn towards the two. \"Mr. Gerhardsen! Aten!\" you shout in relief.\n\n\"Don't worry, Ranil, we'll have you out of there in no time,\" comes Gerhardsen's response. He stands in front of the Elder, taller by almost a head, and begins shouting at him, with Aten translating. The shaman answers back, and soon they are engaged in heated conversation.\n\nSuddenly, you notice something about the shaman that makes you flinch: He is wearing a wolf fur!\n\nAs you open your mouth to join the argument, the guard next to you reacts swiftly, wrapping one arm around your torso and covering your mouth and nose with the other hand, smothering you.\n\n> Bite\nWhat do you want to bite?\n\n> Shaman\nYour mouth is covered!\n\nThe argument is becoming more heated, with everyone shouting at everyone else. You struggle for air, but the guard's hand clamps your mouth and nose even tighter.\n\n> Bite guard\nDesperately, you try and bite the guard's hand. You manage to get the side of his hand between your teeth and sink them in. The guard curses loudly, pulling his hand back, and the attention focuses on you.\n\nAngrily, the injured villager shoves you off the platform. You fall two or three feet, suspended in mid-air by the rope around your neck.\n\nShoving the Elder aside, Aten runs to you and quickly cuts you loose. You try to say something, but only manage a croak before the shaman shouts something on the top of his lungs.\n\nYou and Aten watch in horror as as the villagers fall to the ground, and rise as wolves!\n\nAs you turn and flee blindly towards the ship, you hear the screams of poor Gerhardsen behind you as he is being torn to shreds...\n\n> You run\nAten leads the way with you close behind. You can hear the panting of the wolves, hot in pursuit.\n\nTrees, some of them several hundred feet tall, line the narrow trampled path you are running along. They block most of the sunlight; it's hard not to accidentally stumble or fall over some hidden bump in this twilight.\n\nAten is running next to you, breathing heavily.\n\n> You run\nThe path is well-trodden here, and you manage to pick up more speed. The distance to the ship seemed much smaller yesterday evening...\n\nTrees, some of them several hundred feet tall, line the narrow trampled path you are running along. They block most of the sunlight; it's hard not to accidentally stumble or fall over some hidden bump in this twilight.\n\nAten is running next to you, breathing heavily.\n\n> You run\nFor a second, Aten glances over his shoulder at you, but that is already too much. He stumbles over a tree-root and falls. You only just manage to jump over him.\n\nYou feel bad, but you do not stop running. You know you can't help him, the wolves would get you both. \"RUN!\" he shouts after you, and then his screams fill your ears, a cold rage rising in you.\n\nThe forest is less dense here, and you can see the sun standing high, dazzling you, but also illuminating your path. Treacherous vines lie across the ground, forcing you to concentrate even more on where you step.\n\n> You run\nYou are very exhausted by now, and the wolves, only temporarily distracted by Aten, gain on you again.\n\nYou have reached the edge of the forest, and can see the Dagon anchoring in the bay. Only a few yards to go!\n\n> You run\nFinally, you reach the shore. The boat lies here, but you don't have the time to set it afloat. Instead, you jump directly into the cold water, swimming a safe distance from the shore. The wolves break out of the woods but they stop at the water, howling and hissing. It seems they are afraid of it; and you swim towards the Dagon unhindered.\n\nQuickly, strong hands pull you out of the water and you are escorted into the Captain's cabin.\n\nYou quickly explain what happened; and though the story doesn't even sound convincing to yourself, Captain Davids believes you.\n\n\"I have heard of werewolves in these parts, but a whole village? This evil must be stopped. I have the suspicion that this shaman you spoke of is the cause of this evil... if we manage to destroy him, maybe the others will be saved, too.\"\n\nYou nod; it didn't seem that the villagers had any idea of what was going on when they were gathered to lynch you.\n\n\"I have an idea. It is very dangerous, but it might work. In my library are certain old books; and one of them describes a salve that can transform a man into a wolf for some time.\"\n\nYou nod grimly. \"Let me do it.\"\n\n\"Ranil! It is very dangerous! If you stay in wolf-form too long, you might not be able to ever become human again; and I do not know if your strength can match that of the shaman. But I can see in your eyes that you are determined to do it, and so I shall prepare everything.\n\n\"I know it is only morning, but you must go and sleep now, for you will need all your strength later. I shall wake you around midnight.\"\n\nAgain, you nod, and leave for your hammock in the ship's hold as Davids pulls a black-bound leather tome out of his book case. You lie down and quickly fall into a troubled sleep.\n[Strike any key to continue...]\n\n[Strike any key to continue...]\n\nShortly after midnight, Davids gently shakes you awake.\n\n\"I have prepared the salve, Ranil. I have to warn you again - it is very dangerous to stay in wolf-form too long. Are you sure you really want to do this?\n\n\"Yes.\"\n\nDavids tells you to remove your clothes, then proceeds to rub the salve into your body. \"I'm afraid his is going to hurt. Here,\" he hands you a piece of wood, \"bite down on this.\"\n\nAt first, you feel nothing. Then, a tingle runs over your skin, and then the pain hits you. You fall to the floor, your teeth grinding into the wood, your vision dimmed. Your breath comes in short gasps, and an explosion of pain makes you pass out for a few seconds.\n\nWhen you can think clearly again, you open your eyes. Everything is dark, except for a large red blotch in the center of your vision. You inhale deeply and an impossible number of sensations stream from all sides.\n\nWood, salve, clothes, skin, flesh, blood.\n[Strike any key to continue...]\n\nYou try to rise, but find you are too weak yet. Davids quickly holds your muzzle in both hands and ties some rope around it.\n\n\"Sorry, boy, but I can't have you kill anyone yet.\"\n\nYou growl at him, but he grabs you by the nape of the neck and leads you to one of the boats. It is quickly lowered and Davids rows you over to the shore. As you jump on the beach, Davids removes the rope and quickly makes for the Dagon again.\n\n\"Kill him. And be back in two hours, or it may be too late.\"\n\nThe many different scents on the beach are overwhelming, but there is one that is stronger and more evil than all the others.\n\n> Smell\n[Since your vision isn't very good as a wolf, you prefer smelling things.]\n\nThe many different scents on the beach are overwhelming, but there is one that is stronger and more evil than all the others.\n\n> Smell evil\nYou guess this is the shaman's scent.\n\n> You follow the evil\nYou put your muzzle to the ground and follow the strong scent to the northeast, until you arrive at a...\n\nThe path forks here. Inexplicably, the shaman's scent follows both trails, still strong along the northeast and barely tangible to the northwest. Your wolf-sense warns you of danger along the first path."
    },
    {
        "text": "[Themes: Horror, lycanthropy]\n\n> You describe your surroundings\nThe path forks here. Inexplicably, the shaman's scent follows both trails, still strong along the northeast and barely tangible to the northwest. Your wolf-sense warns you of danger along the first path.\n\n> You go to the northeast\nIgnoring the warnings of your wolf-sense, you follow the path to the northeast. The scent intensifies, and soon you see the shape of the shaman before you.\n\nSuddenly, the feeling of danger becomes even stronger - this is too easy. There must be a trap here, somewhere.\n\nA circular clearing has been cut in the heart of the forest. The ground is even; a large stone altar stands here, covered with... stuff; you can't make anything out past the shaman's scent.\n\nThe shaman stands here with his back turned to you.\n\n> You kill shaman\nYou run to attack the shaman, and suddenly sky and earth swap places as you run over a certain spot, springing a hidden trap that catches you in a tight net!\n\nSmiling, the shaman turns around and motions into the woods. Ten men emerge, and you are quickly lowered to the ground and tightly wrapped up with rope. Helplessly, you growl, snarl and snap at everyone that comes too close, but the net prevents you from actually hurting someone.\n\nThe shaman begins stroking your fur, talking all the time, and irritation soon turns to pleasure. After an hour, you have forgotten any ties to your former human existence. The shaman orders the villagers to release you and offers you a large, bloody steak; you greedily devour it, then lay contentedly at the heel of your new master.\n\n> Smell\nA circular clearing has been cut in the heart of the forest. The ground is even; a large stone altar stands here, covered with... stuff; you can't make anything out past the shaman's scent.\n\nThe shaman stands here with his back turned to you.\n\n> You examine the altar\nIt smells evil; the thought of going near it makes your fur bristle.\n\n> About you\nYou are a big wolf, black as the night.\n\n> Growl\nYou growl, bristling your fur.\n\n> You jump on shaman\nYou tense your muscles, then hurl your body at the shaman with a mighty jump, and land only a feet away from him. He whirls around as you touch the ground, clearly not having expected this. As he curses, you see about ten villagers emerge from the woods.\n\n> You kill the shaman\nIgnoring the inviting smell of the villagers with a mighty effort, you jump at the shaman yet again. He tries in vain to protect himself with his staff, and as he begins shouting the word of transformation, you tear out his throat, spilling blood all over yourself. Somewhere in the back of your mind, a voice from your human existence tells you to leave, and now!\n\nYou look around to see the villagers lie there like dead, an inviting smell of fresh blood stimulating your hunger...\n\n> You run\nThe smell of blood is overwhelming. You... can't leave. You don't want to leave.\n\n> You eat the villagers\nThey're plainly inedible.\n\n> You leave\nDesperately, you try to turn your mind off the inviting meal that lies before you, ready to take.\n\n> You leave\nWith an almost superhuman effort, you block the smell of blood and run along the path back to the beach as fast as you can...\n\nYou are back on the beach where you began your adventure as a wolf. You hope that you arrived back in time to return to human form."
    },
    {
        "text": "> Look around\nYou are back on the beach where you began your adventure as a wolf. You hope that you arrived back in time to return to human form.\n\n> Howl\nYou let out a triumphant howl, and soon see the small boat rowing towards you. At the bow stands Davids, a musket in his hand. The boat stops a few feet from the shore, and the Captain aims at you.\n\n\"Sorry, Ranil, but this is necessary for our safety.\"\n\nHe pulls the trigger, and a glittering cloud engulfs you. Blinding pain, and then nothing.\n[Strike any key to continue...]\n\nYou awake looking into the worrying face of Captain Davids.\n\n\"Thank God, I thought I'd lost you. Sorry for the silver treatment; it was the only way ro make sure you wouldn't kill us.\"\n\nYou smile, exhausted. \"You could have told me before it hurts that much.\"\n\nDavids opens his mouth, but you stop him with a gesture. \"Don't worry. I've survived, haven't I? More important is: have I done it?\"\n\nDavids nods and responds, but his words are lost on you as you fade back to sleep."
    },
    {
        "text": "[Themes: Romance]\n\nIt was the greatest of tragedies when your wife, Ligeia, died of a wasting disease not two nights ago. As the local mortician, you embalmed her yourself ... she's gone from your life now.\n\nOn the bright side, this means you get to marry your mistress, Rowena.\n\nIt's the dim, austere chapel of the funeral home. Even though you've worked here for the past ten years, you never quite get over the spookiness.\n\nYou can see a coffin (which is closed) and Rowena here.\n\n> You look at Rowena\nRowena is a fair-haired young Englishwoman. Very practical, loves\ndogs, can't write poetry. In short, nothing like your late wife\nLigeia. You love her very much. That's why you murdered Ligeia.\n\nRowena seems to be carrying a flask of some sort.\n\n> You look at the coffin\nA mahogony coffin. It's the centrepiece of the chapel.\n\n> Open coffin\nYou open the coffin, revealing Ligeia.\n\n> You examine Ligeia\nYour late wife, the Lady Ligeia is pale, drawn and dead. This means\nyou can go marry Rowena. Except ... after Ligeia, do you really want Rowena? Ligeia was the perfect specimen of frail womanhood....\n\n> About yourself\nAs good-looking as ever.\n\n> You ask Rowena about yourself\nRowena coos and nestles into your shoulder.\n\n> You ask Ligeia about yourself\nShe's dead, remember? You killed her yourself.\n\n> Kiss ligeia\nHer cheek feels cold and lifeless.\n\n> You examine flask\nYou can't quite make out the details. Something nags in the back of your mind....\n\n> You think\nWhat a good idea.\n\n> You look at Rowena\nRowena is a fair-haired young Englishwoman. Very practical, loves\ndogs, can't write poetry. In short, nothing like your late wife\nLigeia. You love her very much. That's why you murdered Ligeia.\n\nRowena seems to be carrying a flask of some sort.\n\n> You give the flask to you\nRowena shrugs and hands you the flask.\n\n> You examine flask\nIt's the elixir of life, of course. Rowena's father was a famous alchemist who died before he could sample his magnus opus.\n\n> You give the flask to Ligeia\nBut that would bring Ligeia back to life. You don't want that!\n\n> Kiss rowena\nYou suddenly realise that you don't love Rowena. Floods of half-forgotten memories wash through you, leaving you thoroughly and heartily hating her. On the other hand, you realise how much you\nreally loved your Ligeia....\n\n> You give the flask to Ligeia\nRowena stares at you in horror. \"What are you doing??\"\n\nMeanwhile, the colour begins to return to Ligeia's pale, wasted cheeks....\n\n> You examine Ligeia\nOh dear. You suddenly remember that Ligeia never was one to suffer competition gladly. That's why you killed her.\n\n> Kiss ligeia\nHer cheek feels cold and lifeless.\n\n> Wait\nTime passes.\n\nWith a shriek, Ligeia launches out of the coffin and brutally attacks Rowena. Screams fill the chapel and you are forced to run ... run ... run....\n\nYou try to blot the memory of Rowena's stricken face from your mind.\n\nAnd then ... you remember your first wife, Lenore. Nameless, here, for evermore....\n\n> LIST H\n\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Christmas]\n\n> You examine the regulars\nThere's Sk\u00f3a, of course, with the hat; and Jamessin smoking sullenly\nin the corner. Chow reads quietly in her wide chair, silently enjoying the presence of her friends Ramos (with the centipede familiar) and Grin (with the oversized scarf).\n\nThe floorboards crack and pop underfoot.\n\n[Author's Note: It's just shy of closing time on the last Saturday before Christmas; only a handful of regulars left in the bar. Peaceful, even, in spite of all of the city's damage. And then he walks in with some messed-up story about a costumed vigilante.]"
    },
    {
        "text": "[Themes: Christmas]\n\n> You examine the centipede\nA tube of flesh hidden beneath an armature of mottled red and black, studded with numerous sharp yellow legs, clinging to Ramos' shoulder and neck like the worst/greatest feather boa. Sometimes it taps his collarbone with one of its scraping limbs, as though to remind him of something.\n\nA cat perches outside one of the windows, then disappears again.\n\n> You examine the hat\nYou force your eyes to focus on the hat for a moment: It's shaped like an abstract paper chrysanthemum, perched on her head at an improbable angle. It moves, not with the drafty air inside the bar but of its own volition, like a breathing flower.\n\nThe floorboards crack and pop underfoot.\n\n> You look at the scarf\nIt's pretty much ever color at one point or another; it looks very\nmuch like someone finished a scarf, then just started the next one by continuing that same scarf, several times over, until they had a beast that resembled six or seven different scarves joined end to end into a cozy chimera.\n\nA cat perches outside one of the windows, then disappears again.\n\nThe door swings open to let someone in from the outside; given the hour, and the events of the last few days, you can't help but set your fingers behind the bar into an unpleasant pattern, readying some curse or another. But then you see the man's face and your apprehension is replaced by mild annoyance.\n\n\"We're closed,\" you say.\n\n\"Didn't come here to drink,\" he replies, giving you the look that\ntells you he's about to rope you into something.\n\n> About yourself\nMuch like the bar: A little rough around the edges, a little worse for wear.\n\nThe table of regulars laughs together; except, of course, for Grin.\n\nYou fail to contain a sigh. \"Why are you even here?\"\n\n\"Oh, just having a look at the old place. Didn't know that I would still find it.\" He talks with an odd lilt that you've been told is Welsh.\n\n\"What's that supposed to mean?\"\n\n> You look at Grin\nSo named because he doesn't. Grin likes to hang around, listen, figure out where the wind is blowing. He has a tendency to disappear for\nweeks at a time. Other than that, all you know about him is that he's from someplace warmer than Yeats; right now, in the middle of winter, his head barely pokes out of the enormous scarf wrapped several times around his neck and face.\n\nSk\u00f3a takes a drink out of her glass.\n\n\"Didn't half the wizards in this city get killed or worse last year?\"\n\nYou shrug. \"They weren't my customers.\"\n\n\"Still. Must have been some trouble.\"\n\n(You could INTERJECT here)\n\n> You look at man\n(Ainsley)\nAinsley is one of those people who always looks like he's lost weight, skin hanging slightly too loose off his bones like there used to be more of him; but you've never seem him any thicker. Maybe he puffs up when he's back across the ocean where he's from. Wears a professorial-looking argyle sweater vest and a calculated two-day nonbeard. Though you've never seen him do actual magic, of all the joints in all the cities in the world he likes to roll into yours,\nonce every few months, when he's in town.\n\nRamos nods silently in response to some unseen signal or message from his familiar.\n\n\"Come on, Ainsley,\" you say, getting plainly frustrated now. \"Just\ntell me what this is about.\"\n\nHe cocks his head and stares you down curiously, for a moment. And\nthen he pulls out a slightly oversized phone. He flips through\npictures of what looks like a blur smeared against the night sky;\nafter a few of them, though, it resolves itself in your mind as a vaguely human figure, leaping across rooftops; or maybe flying. You can't quite tell.\n\n\"You wouldn't happen to know anything about this, would you?\"\n\n(You could INTERJECT here)\n\n> Interject\n\"Yeah, okay. There's some rumors going around. A lot of them. The incident with the keener left a bit of a power vacuum. What was left\nof the cabal is now wrestling to see who comes out on top. Let's just say I don't cross the bridges no more.\"\n\n\"I can imagine.\"\n\n\"So there's this person going around Blaise sending people to the hospital. Some people think it's just a weird mundane in a costume, some people think it's a player. Fucked if I know how to get in touch, though.\"\n\nHe purses his lips; the smell of Jamessin's cigarette must be giving him cravings.\n\n\"Better than nothing, at least. Thanks.\"\n\nThe table of regulars laughs together; except, of course, for Grin.\n\n> Inventory\nYou are carrying:\na rag\na crow cameo\n\nRamos takes a drink out of his glass.\n\n\"What's your real angle here?\"\n\n\"Trouble back home. I'm putting a team together. Figured whoever's\nbeen beating up drug dealers is the kind of person who can help.\"\n\nYour eyes leap into the back of your skull faster than you can stop yourself.\n\n\"You flew all the way to Yeats to recruit a latex fetishist to go fix one of your fuck-ups.\"\n\n\"It's serious. Scary shit I hoped I'd never see again.\"\n\n(You could INTERJECT here)\n\n> Interject\nYou shake your head, more at yourself than at him. \"Fine. If it gets you off my back. You see the one in the corner with the oversized scarf? That's Grin. He might know what's up.\"\n\n\"Don't suppose you might serve me a drink, now?\"\n\n\"Don't push your luck. And I hope you don't plan on staying in town\nfor more than a couple days.\"\n\n\"Wouldn't dream of it.\"\n\n> Notes\nDecember 2015, as a brief thank-you note to everyone who's read, supported, or helped my IF work over the course of the preceding year. It is small and wholly self-indulgent; as always, you can reach me on Twitter @notbrunoagain.\n\nSpecial thanks in no particular order to Jason McIntosh, Doug\nOrleans, Caleb Wilson, Tory Hoke, Etienne Vouga, Emily Short, David Cornelson, Carolyn van Eseltine, Aaron Reed, Neil Butters, Cat\nManning, Kerstin Hall, and surely many others who have read, played, contributed, and helped me in 2015.\n\nDecember 24th, 2015\n\n> You drop the cameo\nDropped."
    },
    {
        "text": "[Themes: Christmas]\n\n> You look at your surroundings\nClosing Time (behind the bar)\nIt's three minutes to three on the last Saturday before Christmas; the green glass light fixtures hanging over the bar have been dimmed,\ndirty frost speckles the windows, and the hazy scent of alcoholic\nvomit emanating from the toilets has subdued to a minor note in the\nfar background of the olfactory panoply that fills Herrig's.\n\nThe last few regulars left in the place have coalesced into a single group, huddled around the corner table.\n\nYou can also see a crow cameo here.\n\n> Clean bar\nYou rub the bar.\n\n> You examine rag\nYou don't strictly need it, but it helps people read you as the bartender.\n\nYour eyes drift inexorably to the group of regulars huddled around the table, taking stock of them.\n\nThere's Sk\u00f3a, of course, with the hat; and Jamessin smoking sullenly\nin the corner. Chow reads quietly in her wide chair, silently enjoying the presence of her friends Ramos (with the centipede familiar) and Grin (with the oversized scarf).\n\n> You look at Chow\nChow is Sk\u00f3a's physical opposite: Short, brown-skinned, slightly round about the cheeks and quite round about the body. But the two have the same cold, frighteningly perceptive eyes in common. Chow seems to\nenjoy mostly the vague warmth of others' company; she fills space by reading a book. You didn't quite glimpse its cover.\n\nRamos nods silently in response to some unseen signal or message from his familiar.\n\n> Examine book\nYou force your eyes to focus on the cover of the book: It's not old as in really old, just weatherbeaten and outdated. It's some pulpy thing with a screaming woman on the cover and a suitably absurd title:\nThe Return of the Worm.\n\nThe floorboards crack and pop underfoot.\n\n> You examine the skoa\nShe is built much like the human version of an ancient birch tree: pale, tall, and slightly ominous-looking. This isn't helped by her propensity for a sort of post-post businesspunk wardrobe, though tonight she chose to break her somber figure by wearing a curious fascinator that you can't quite resolve with your eyes.\n\nSomeone's phone squawks with a notification; nobody looks.\n\n> You examine the fascinator\nYou force your eyes to focus on the hat for a moment: It's shaped like an abstract paper chrysanthemum, perched on her head at an improbable angle. It moves, not with the drafty air inside the bar but of its own volition, like a breathing flower.\n\nThe table of regulars laughs together; except, of course, for Grin.\n\nThe door swings open to let someone in from the outside; given the hour, and the events of the last few days, you can't help but set your fingers behind the bar into an unpleasant pattern, readying some curse or another. But then you see the man's face and your apprehension is replaced by mild annoyance.\n\n\"We're closed,\" you say.\n\n\"Didn't come here to drink,\" he replies, giving you the look that\ntells you he's about to rope you into something.\n\n> You examine Jamessin\nJamessin is the youngest one in this crowd, though she's eager to make it clear at all times that she's nobody's apprentice. Tonight, something has her nervous; she's on her third cigarette now, still fiddling with the flame she produces from a slightly singed fingertip. Plenty going around to make someone rattled, of course.\n\nSomeone looks at their phone and laughs at a private joke.\n\nYou fail to contain a sigh. \"Why are you even here?\"\n\n\"Oh, just having a look at the old place. Didn't know that I would still find it.\" He talks with an odd lilt that you've been told is Welsh.\n\n\"What's that supposed to mean?\"\n\n> You examine Ramos\nGruff-looking and punkish, but ultimately good natured. Of course,\nthen there's the chihuahua-sized centipede clinging to his neck and shoulder like a suckling infant. You still remember a time before familiars turned into a sort of shock fashion competition, though\nRamos seems to have put an end to that; nobody cared to try harder\nthan the giant centipede.\n\nThe floorboards crack and pop underfoot.\n\n\"Didn't half the wizards in this city get killed or worse last year?\"\n\nYou shrug. \"They weren't my customers.\"\n\n\"Still. Must have been some trouble.\"\n\n(You could INTERJECT here)\n\n> Interject\nYou look askance for a moment, but decide to spill anyway: \"So maybe there was an attack. So maybe a bunch of rich assholes are in the ground or in hospice care now. Maybe some of the people responsible were my customers. They're not any more.\"\n\n\"You're only telling me this because you know I know.\"\n\nYou give him a practiced glare.\n\nChow takes a drink out of her glass.\n\n> You examine table\nThe corner table is round, with a plush bench that wraps around it, fixed next to a window.\n\nSomeone's phone squawks with a notification; nobody looks.\n\n\"Come on, Ainsley,\" you say, getting plainly frustrated now. \"Just\ntell me what this is about.\"\n\nHe cocks his head and stares you down curiously, for a moment. And\nthen he pulls out a slightly oversized phone. He flips through\npictures of what looks like a blur smeared against the night sky;\nafter a few of them, though, it resolves itself in your mind as a vaguely human figure, leaping across rooftops; or maybe flying. You can't quite tell.\n\n\"You wouldn't happen to know anything about this, would you?\"\n\n(You could INTERJECT here)\n\n> You wait\n\"Is that the weirdo in a costume that all the papers are up in arms about?\"\n\nHe nods, eyes bobbing up in his head like they want to roll.\n\nYou continue: \"Why do you assume a wizard is behind every weird thing that happens?\"\n\n\"Used to be a good assumption to have in this town. Now I'm not so sure.\"\n\nJamessin blows a smoke ring, though it comes out weirdly deformed.\n\n> You wait\n\"Sorry,\" you say, not sorry. \"Can't help you there. What's your real angle here?\"\n\n\"Trouble back home. I'm putting a team together. Figured whoever's\nbeen beating up drug dealers is the kind of person who can help.\"\n\nYour eyes leap into the back of your skull faster than you can stop yourself.\n\n\"You flew all the way to Yeats to recruit a latex fetishist to go fix one of your fuck-ups.\"\n\n\"It's serious. Scary shit I hoped I'd never see again.\"\n\n(You could INTERJECT here)\n\nThe table of regulars laughs together; except, of course, for Grin."
    },
    {
        "text": "[Themes: Humor, Turkey, thanksgiving]\n\nIt's bleak here, and there is a foreboding sense of fear in the air that you could cut with a knife.\n\nThat is, you could cut it with a knife if you had a knife.\n\nOr opposable thumbs.\n\nYou are a Turkey!\nA truly speedy Speed IF. by Jacqueline A Lott\n\nIf this is your first time playing this game, you should type ABOUT at the prompt.\nI would recommend that you do this on your first turn.\n\nThis is the happy little turkey farm where you and all the other turkeys live in peace and happiness, just cluckin\" and gobblin\" and gettin\" fat. It's a grand life... except things seem sort of less happy today for some reason.\n\n> Inventory\n\"Gobble?\" What do you mean? Speak English, Turkey!\n\nYou're beginning to feel a sense of worry deep in your gizzard.\n\n> You run\nYou'll have to say which compass direction to go in.\n\nWait, was that Sarah Palin? Nah, couldn't be.\n\n> You go to the north\n\"Gobble?\" You expect me to understand that gibberish?\n\nWho is that nice man in the flannel shirt? He picks you up and turns you upside down and puts your head in some sort of funnel... wait!\nWhat the... ?! Nooooo!"
    },
    {
        "text": "[Themes: amnesia]\n\nThanks for playing!\n\nYou feel as though you've been staring hard at something for a long time, yet have suddenly gotten lost.\n\nYour eyes are weary, and your legs are stiff.\n\nNot remembering how you arrived here, near a large park on the river Seine, you nevertheless decide to take in the scenery and explore a bit.\n\nPr?s du parc\nYou're standing on a gently sloping hill near a popular Parisian park. To the north you can see lots of people enjoying the summer day. Those without parasols sit in the shade of beautiful green trees, and in light of the way you're feeling, you might want to follow their lead. It's slightly after noon and the sun is beating down on you.\n\nA discarded newspaper lies at your feet.\n\n[Author's Note: Visit Paris, France in 1884 and explore a large park on the bank of the river Seine.]\n\n> About you\nYou're you. Just an innocent tourist trying to broaden your horizons.\n\n> You take the newspaper\nTaken.\n\n> You examine it\nYour French isn't great, but even you notice that something is strange about the paper. Aha, there it is. \"La Presse - dimanche 20 juillet 1884.\" Yeah, it's pretty old. From the various headings, you can tell there are articles on neo-impressionism, champagne, and optometry. Unfortunately, your grammar doesn't match your stunning ability to recognize simple cognates, so you're unable to read the articles themselves.\n\n> You read newspaper\nIt's all Greek to you. Er, French.\n\n> You look at what you're carrying with you\nYou are carrying:\na newspaper\n\n> You go north\nIt's nice and shady here. An upper-class Frenchwoman and her male companion (complete with monocle, top hat, and riding crop) are standing here, staring off to the west. The river does look nice, but the persistence of their gaze is unnerving. You can see a woman knitting to the west and a girl holding a bouquet to the north.\n\nA small brown dog is here, terrorizing a skinny little monkey on a leash. The monkey's owners don't seem to notice.\n\n> You examine the monkey\nThe monkey's arching his back and hissing as a brown dog yips and nips at it. Someone should teach that dog a lesson.\n\n> You examine the dog\nA speckled brown dog wearing a pink bow. Its owner doesn't seem to be around.\n\n> You look at woman\nShe has a parasol and a pet monkey on a leash. Also, she has a big, round butt. It can't be real. She must be using... Uh, what's it called... A bustle? Anyway, her dress has wiring in it that makes her butt look huge.\n\n> You kill the dog\nPETA wouldn't be happy with you. Try punishing it a little less severely.\n\n> You examine man\nThe guy looks really stuck-up.\n\n> You hit the dog with the newspaper\nYou give it a swift whack with the newspaper. It's looking pretty obedient now.\n\n> You feed the monkey to the dog\n(first taking the small monkey)\nI don't suppose the small monkey would care for that.\n\n> You talk to the woman\nHm. Doesn't seem interested in talking to you.\n\n> You go west\nA woman sits here knitting a delicate white garment. She appears to be accompanied by a mustached man with a top hat and cane who looks across the river. Nearby a boatman smokes a pipe and stares out into the Seine as well. An unoccupied grassy patch of land lies to the north, and to the east you spot an aristocratic couple with a monkey.\n\nThe woman continues to knit here.\n\nA black dog is here, behind the knitting woman, chewing something.\n\n> You examine the dog\nYou peer closely at the spotty black dog. A pink hat is in his mouth. He looks like a rather docile breed, and the knitting woman seems to be its owner.\n\n> You hit the dog with the newspaper\nIs that really necessary?\n\n> You take the hat\nYou play a little tug-of-war with the dog before it gives up the hat. The dog returns to sniffing grass around the park. Probably looking for a place to wee.\n\n> You look at the hat\nThe hat's made of a light pink or lavender fabric, and has two poof balls strung to it on either side. It looks like the same material the woman nearby was knitting with, albeit a different color.\n\n> You wear the hat\nYou put on the hat.\n\n> You remove it\nYou take off the hat.\n\n> You give the hat to the woman\nThe knitting woman looks up from her current task and smiles at you, piecing together what must have transpired. \"Merci beaucoup. Ce chien...\" She wags a finger at the dog and returns her hat to its proper position at her side.\n\n> You go north\nThere's not much here besides grass. A nice view of the Seine lies to your west. There's an obnoxious bugler to the north, and you don't like the idea of hearing his warbling tune at a higher volume. Thus, you can only go east or south from here.\n\nA butterfly flaps its spotted wings silently in the air several feet off the ground.\n\nA small bunch of white-flecked flowers grows here.\n\n> You get the butterfly\nDarn. Though it barely seems to move, it flutters swiftly away each time you reach out for it.\n\n> You get all\nbutterfly: Darn. Though it barely seems to move, it flutters swiftly away each time you reach out for it.\nbunch of flowers: Taken.\nParisians: You'd like to bring this piece of art back with you, but it'd probably be missed.\nparasols: You'd like to bring this piece of art back with you, but it'd probably be missed.\nsun: You'd like to bring this piece of art back with you, but it'd probably be missed.\nbeautiful trees: You'd like to bring this piece of art back with you, but it'd probably be missed.\npark: You'd like to bring this piece of art back with you, but it'd probably be missed.\nSeine: You'd like to bring this piece of art back with you, but it'd probably be missed.\nbugler: I don't suppose the bugler would care for that.\nladies: I don't suppose the ladies would care for that.\n\n> You look at the trees\nThey're very tall and slender, with speckled green leaves.\n\n> Inventory\nYou are carrying:\na bunch of flowers\na newspaper\n\n> You look at the butterfly\nRemarkably still, you could probably grab it right out of the air.\n\n> You examine the flowers\nThis bunch would add to a bouquet nicely, though the flowers look rather like plain white dots on their own.\n\n> You show the flowers to the butterfly\nThe butterfly is unimpressed.\n\n> You look\nThere's not much here besides grass. A nice view of the Seine lies to your west. There's an obnoxious bugler to the north, and you don't like the idea of hearing his warbling tune at a higher volume. Thus, you can only go east or south from here.\n\nA butterfly flaps its spotted wings silently in the air several feet off the ground.\n\n> Go east\nThere's a girl here, about thirteen years old, arranging flowers. There's a finished bouquet next to her, and her mother (or aunt, or whatever) sits nearby, gazing at the Seine. Exits are north, toward a little girl and her mother, south, where an aristocratic couple walk a pet monkey, and west, toward an open field.\n\n> You look at the girl\nThe girl looks at her tiny clump of flowers, arranging and rearranging the stems. She doesn't seem to like it much, and it certainly doesn't live up to the one by her side.\n\n> You get all\nParisians: You'd like to bring this piece of art back with you, but it'd probably be missed.\nparasols: You'd like to bring this piece of art back with you, but it'd probably be missed.\nsun: You'd like to bring this piece of art back with you, but it'd probably be missed.\nbeautiful trees: You'd like to bring this piece of art back with you, but it'd probably be missed.\npark: You'd like to bring this piece of art back with you, but it'd probably be missed.\nSeine: You'd like to bring this piece of art back with you, but it'd probably be missed.\nflower girl: I don't suppose the flower girl would care for that. finished bouquet: You'd like to bring this piece of art back with you, but it'd probably be missed.\ngirl's mother: You'd like to bring this piece of art back with you, but it'd probably be missed.\n\n> You examine the bouquet\nThere's a pretty bouquet of flowers laid here by the girl, but some of the buds seem faded. They look fresh-picked, but certain colors just have a dingy hue.\n\n> You show the flowers to girl\nThe flower girl is unimpressed.\n\n> You give the flowers to girl\nShe takes the flowers and adds them to her current bunch, smiling. \"Zank you. Ze yellow...\" She pauses, glancing at both her bouquet and the grass in the park. \"Ze yellow is, how you say, fading...\" The girl looks appreciatively at the white adornments to her project.\n\n> You go north\nThere's a little girl here, holding her mother's hand. Other people are to the north, but there's nothing interesting in that direction, so you can only return south from here.\n\n> You examine girl\nAbout five years old, wearing a white hat and white dress. The little girl in white stares at you intently, as if she wants to talk to you.\n\n> You talk to girl\nYou begin to speak to the little girl. \"Um...\"\n\nShe looks up at you with a blank stare. \"Hello. We are grateful for your help.\"\n\n\"Oh,\" you stammer, \"you speak English.\"\n\n\"Yes,\" she says, without changing expression.\n\n\"You're just a little kid, though. Don't you live here in Paris? Is one of your parents from England or America?\"\n\n\"I have learned English from the passers-by who stop to discuss and comment amongst themselves. I am always watching. Some others here are not so motivated.\"\n\nYou look around a little. \"What do you mean, passers-by? That doesn't make any sense. Here in the park, you mean? You learned English from tourists? That's impres-\"\n\n\"No, in the gallery. Chicago.\"\n\nThe name of the city sounds familiar. \"You mean you live in Chicago?\"\n\n\"In America for eighty-four years. In Chicago for seventy-six of them.\"\n\n\"Whaaat? You've got some imagination, kid.\" You start walking away.\n\n\"Wait,\" she says. \"I am telling you the truth. All you see is merely a scene painted one hundred and twenty-five years ago, by a great artist. This place is La Grande Jatte, as seen over a century ago by Georges Seurat.\"\n\nYou begin to protest, but now that the thought has been planted into your brain, you can't shake it off. Everything's seemed so restricted, so static. Things barely move, and everything's got the same texture to it. Speckled, spotted, dotted. It's all pointillism. Then you turn and stare at the girl's face.\n\nThere's no definition to it. It's just a splotch of color. Her two blue eyes are blobs of oil paint. How could you not see this before?\n\nYou have to get out of here.\n\n> You get out\nYou're not in anything though... or are you?\n\n> Yes\nThat was a rhetorical question.\n\n> You wake up\nBut you're not sleeping... or are you?"
    },
    {
        "text": "> Look around\nThere's a little girl here, holding her mother's hand. Other people are to the north, but there's nothing interesting in that direction, so you can only return south from here.\n\n> Go south\nThere's a girl here, about thirteen years old, arranging flowers. There's a finished bouquet next to her, and her mother (or aunt, or whatever) sits nearby, gazing at the Seine. Exits are north, toward a little girl and her mother, south, where an aristocratic couple walk a pet monkey, and west, toward an open field.\n\n> Go south\nIt's nice and shady here. An upper-class Frenchwoman and her male companion (complete with monocle, top hat, and riding crop) are standing here, staring off to the west. The river does look nice, but the persistence of their gaze is unnerving. You can see a woman knitting to the west and a girl holding a bouquet to the north.\n\nA small brown dog is here sitting and scratching behind one ear. It cowers as you approach.\n\n> You go south\nPr?s du parc\nYou're standing on a gently sloping hill near a popular Parisian park. To the north you can see lots of people enjoying the summer day. Those without parasols sit in the shade of beautiful green trees, and in light of the way you're feeling, you might want to follow their lead. It's slightly after noon and the sun is beating down on you.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Go outside\nYou're not in anything though... or are you?\n\n> You wake up\nBut you're not sleeping... or are you?\n\n> You think\nWhat a good idea.\n\n> You talk to girl\nShe stares at you with her featureless, oily paint-blob face. \"Well, are you going to leave  leave La Grande Jatte?\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> You leave la grande jatte\nYou're standing in a long hallway with a brown tile floor and white walls. Your eyes are weary, and your legs are stiff.\n\nA white-framed painting adorns the north wall. There's a white porcelain plaque on its right.\n\nYou can also see a crumpled note here.\n\n> You examine the plaque\nGeorges Seurat, 1884-1886\n\n207.6 cm x 308 cm (81.7 in x 121.25 in)\n\n> You examine the painting\nA pet monkey on a leash watches a brown dog at his owner's side. A black dog sniffs the grass near a knitting woman, who is busily working her needles. A girl clasps a small bouquet of flowers with an expression both cheerful and forlorn. And a little girl in white stares back at you from the very center of the painting.\n\nYes. At this distance, all seems to be in order.\n\n> You get the note\nTaken.\n\n> You read it\nWhen I decided to enter EnvComp, I had no idea what setting I was going to use. But I thought about it for a while, and knew I wanted a slightly deceptive one. A setting the player wouldn't identify correctly right away. It was hard to think of a situation like that, and eventually I settled on the player being stuck in a painting. It seemed like a unique, exciting setting.\n\nI'm not actually a huge art lover or anything. I determined which painting I was going to use by searching the internet for \"famous paintings,\" and then picking the first one I recognized. I remembered seeing a reproduction of Seurat's A Sunday Afternoon on the Island of La Grande Jatte in my dentist's office when I was a kid. Anyway, I had to research its name, author, and history to write the game, because I knew very little about it at first.\n\nI tried to drop as many hints in the painting world as possible, hoping that someone familiar with some aspect of the work (its characters, its pointillism, its setting, its author, etc.) may think to try escaping from it without having to solve any puzzles at all. Which is very possible, although the commands available for doing so vary depending how many points you have.\n\nThe puzzles were simple to make. The plot, however, was difficult to flesh out. Some cultures think that being photographed steals part of your soul. Who's to say that the subject of a portrait or landscape isn't somehow imbued in the canvas? Somehow, the player character enters the dreamlike territory of the painting itself (Maybe it's a special ability?) either without realizing it or without remembering it. He then wanders about, setting things right in the painting, until the little girl in white, the most knowledgeable 'soul' there, tells him where he is. It's up to the player to attempt commands like >LEAVE PAINTING or >EXIT LA GRANDE JATTE after some prodding and hinting from this character.\n\nThe npcs aren't very fleshed out, but my convenient excuse is that most of them are literally two-dimensional painting characters, ones who have no wish to interact with an outsider anyway. The animals, and the few people that do respond to the character, are simply special cases.\n\nThanks for playing my first game."
    },
    {
        "text": "[Themes: Comedy, silly, romance]\n\nHNNNgnnngn-*  \"Huh... hello?\"\n\n\"Oh, you're awake! I've been calling and calling, I thought you'd never pick up!\"\n\n\"Wha... wha is... wha... smoochiepoodle, is that you? Why're you... on phone?\"\n\n\"Oh, don't be such a silly, lovepuffin! Is your head better? You didn't drink anywhere near enough water. I told you to drink more water, it's just the best, and it doesn't make you jitter the way that awful coffee you drink does.\"\n\n\"Head is... no. Head is awful. Very awful.\"\n\n\"Oh, poor puffin. Well, after you passed out, I thought it would be SO much easier to just pop over to your flat and get your credit card for the trip -\"\n\n\"MY flat? You're at MY flat? You can't be at MY flat. It's not... not good. Dangerous. Very dangerous bad. Shouldn... be there.\nMight get hurt.\"\n\n\"Pish tosh, your housekeeping can't be that bad. Well ANYway, I was calling to find out where you kept your spare key, but it's no problem at all! I just found it right under the doormat! You shouldn't keep it there, puffin pookie, all sorts of unsavory sorts can get in if you do, everyone knows about that. It's true, the Globe said so. ANYway - ugh, this door sticks -\"\n\n\"No no no! Don' go in there! I'll come, wait for -\"\n\n\"Too late, puffy feathers, if I can just get - bah, stupid door. Oh, that worked! Peachy puffin, did you know that your door opens much better if you just kick it good before you pull?\"\n\n\"YES. Now, smoochiepoodle -\"\n\n\"Oh, don't worry your little scientific head about a thing. Just tell me where your credit card is, and I'll be out again in two flips of a tail... not YOUR tail, of course, that takes far longer to flip!\nTee!\"\n\n\"Uhhhhh....\"\n\nA Disaster in the Making (AKA SpeedJacket IF 4 Entry) by Carolyn VanEseltine\n\n\"I'm a bit confused... my head. Smoochiepoodle, what do you see right now?\"\n\n\"Just think about the fun we'll have in Jamaica, kissy beak. It's awful cluttery in here... no, don't fuss so, it's true. How do you get around anywhere? I'd clean this up so fast for you, you shouldn't have to live like this. I see your desk and your fridge and a table and a robot looking thing over by the door, I guess that's your bathroom door, why's it shining that light on those frozen peas? And these are... uh... oh, fish! It's really nice you have fish, though you should scrub out their tank. Ugh, green stuff.\n\n\"I thought your card would just be lying out on the desk, that's what most people do when they forgot a credit card, but I don't see it at all. What should I do?\n\n\"Also, do you really think that fish tank matches the decor?\"\n\n> Yes\n\"Yes, I do think the fish tank matches the wallpaper, thank you ever so much.\"\n\n\"Don't take it hard, pretty bird - everyone's got their little flaws. Yours might be... a little bigger... but I still love you awfully lots.\n\n\"Oh, your robot looking thing just stopped shining that blue light on the peas. That's probably good. They might defrost in all that light.\n\n\"What should I do now, honey beak?\"\n\n> You look\n\"Smoochiepoodle, what do you see right now?\"\n\n\"Your head must hurt so bad, fuzzy puffin, I feel so sorry for you! It's awful cluttery in here... I see your desk and your fridge and a table and a robot looking thing over by the door, I guess that's your bathroom door, why's it shining that light on those frozen peas? And these are... uh... oh, fish! It's really nice you have fish, though you should scrub out their tank. Ugh, green stuff.\n\n\"That robot looking thing is blinking a light at me! That's so cute!\n\n\"What should I do now, pretty bird?\"\n\n> You look at the robot\n\"Smoochiepoodle, would you please try examining the robot?\"\n\n\"Your robot looking thing is blinking at me. It's cuter than I realized. Hi, robot!\"\n\n\"*Voice Not Authorized*\"\n\n\"Well FINE, be that way. Hmph.\n\n\"Oh, it's making a humming noise! Can you hear that? I'll hold up the phone - \"\n\n\"*Targeting Mode Activated - Identify Yourself Intruder*\"\n\n\"What should I do now, fuzzy wings?\"\n\n> Shoot\n\"Please try answering the robot that \"shoot\".\"\n\nThere is no reply.\n\n\"Oh, your robot thing has light-ups on its fingers! Oh, snuggle beak, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> No\n\"No, I guess the desk doesn't match the wallpaper, but that wasn't really my first thought when I got it, smoochiepoodle.\"\n\n\"It wasn't? Whatever were you thinking?\"\n\n\"Wouldn't it be nice to have a desk?\"\n\n\"Oh poodgy feathers, that's just like you. It comes from working too hard, I'm sure.\n\n\"Oh, your robot looking thing just stopped shining that blue light on the peas. That's probably good. They might defrost in all that light.\n\n\"What should I do now, poodgy puffin?\"\n\n> You examine the peas\n\"Try examining the frozen peas.\"\n\n\"Oh! You didn't even say please! My heart is all hurt, pretty bird!\"\n\n\"Would you PLEASE try examining the frozen peas?\"\n\n\"Bad enough you're eating them frozen, but why didn't you get on-brand? \"Epsilon Eridani Specimen\" might sound imported to you, but I tell you it's just Illinois trash food, and they probably use chemicals.\n\n\"That robot looking thing is blinking a light at me! That's so cute!\n\n\"What should I do now, kissy puffin?\"\n\n> You identify yourself\n\"Poor poodgy puffin, I don't understand what you want me to do at all. Your head must be hurting awfully.\"\n\n> You give phone to the robot\n\"Oh fine! Be a mean kissy beak, talk to the robot thingie instead of me. See if I care.\"\n\n\"Oh, it's making a humming noise! Can you hear that? I'll hold up the phone - \"\n\n\"*Targeting Mode Activated - Identify Yourself Intruder*\"\n\n\"*Awaiting Instructions - Authorized Voice Only*\"\n\n> You deactivate\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, fuzzy wings? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, poodgy feathers, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> Hello\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, pretty bird? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, pretty bird, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> Off\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, poodgy feathers? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, poodgy feathers, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> Hello\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, poodgy feathers? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, fluffy beak, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> Hello\n\"Poor fluffy beak, I don't understand what you want me to do at all. Your head must be hurting awfully.\"\n\n> You turn off\n(the piranhas)\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, poodgy feathers? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, poodgy feathers, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> You turn off\n(the piranhas)\n\"*Authorized Voice Accepted - Hello Doctor - I Am Sorry, But I Do Not Understand Your Command*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, kissy beak? Did you like talking to your robot thing?\n\"Oh, your robot thing has light-ups on its fingers! Oh, snuggle puffin, that's so cute! Now it's pointing at me - I think it wants to shake ha -\"\n\n> You ask Robot,  to wait\nThe robot has better things to do.\n\n> You turn off robot\n\"*Authorized Voice Accepted - Hello Doctor - Obedience And Compliance - Powering Down Now*\"\n\n\"Ugh, give me that, you big hunk of metal! Are you there, kissy puffin? Did you like talking to your robot thing? I hope so, because\n\n> You shoot robot\nit doesn't look very talkative now. Did you say something it didn't like?\n\n\"What should I do now, fuzzy wings?\"\n\n\"Try answering the robot that \"shoot robot\".\"\n\n\"Oh! You didn't even say please! My heart is all hurt, honey puffin!\"\n\n\"Would you PLEASE try answering the robot that \"shoot robot\"?\"\n\nThere is no reply.\n\n\"Funny - the peas bag is sort of... shredding, I guess. I think there's something moving inside it.\n\n\"What should I do now, snuggle beak?\"\n\n> You put the peas in the tank\n\"I need you to listen to me very carefully and do just what I say.\"\n\n\"But honey beak, don't I always?\"\n\n\"Smoochiepoodle, this is absolutely important. Put the frozen peas into the fish tank, right away.\"\n\n\"Oh fine. Sploosh sploosh, there they g - oh my god.\"\n\n\"What? What?\n\n\"Smoochiepoodle? Talk to me, curvy nose, please?\"\n\n\"It... it was... what WAS that? The fish were all over them, all the teeth and the black stuff and the... it almost looked like a FACE, fuzzy wings, it was just so awful....\"\n\nPlease come back. My head is killing me and I need you to please not look around the apartment any more. I need you to come cuddle me.\"\n\n\"I... I can do that. I'll just close the door right now.... Okay, I'm coming back now. Your place is all locked up and safe.\"\n\n\"Smoochiepoodle, I am so, so sorry you had to see that. But it should have taught you a valuable lesson.\"\n\n\"Lesson? What lesson?\"\n\n\"Well, did you see the label on the fish tank?\"\n\n\"The one that said \"Chance?\"\n\n\"Yes, that's the one. And that's the lesson I need you to take away, because all I just said is... give peas to Chance.\n\n\"Hello? Hello? ...Are you still there? Hello?\"\n\n> You wait\n\"Please try waiting.\"\n\nTime passes.\n\nThere's something inside  that bag of peas - I can see it a bit now, it's black and wriggly -\"\n\n\"Smoochiepoodle, listen to me very carefully. I want you to - \"\n\n\"The bag is shredding all the way, I can see something crawling out. It looks a bit like - its FACE! THAT FACE! Its - AGGGHHHHHHHHHgggglrgle....\"\n\n\"No! Smoochiepoodle! Talk to me! TALK TO ME! NOOOOOOOoooooooooo!\""
    },
    {
        "text": "[Themes: Horror, Seasonal, Surreal, holiday theme, halloween]\n\nKatherine and you always did love Halloween parties. You used to be the life of them, back in your home town. Having just moved to New York city a month ago, however, you had not expected to get into one this year. Especially since Katherine had elected to stay behind, leaving you here on your own.\n\nEnter your old net-friend Miseri, with an introduction to a Mr deMause, a strange and eccentric fellow who would just love to have you over for his Halloween Masque this year. All you have to do now is figure out how to find your way to Mr deMause's apartment.\n\nNo easy task, since Miseri had neglected to give you directions. Add to that the pea-soup fog rolling about outside....\n\nSigh. If only Katherine were here....\n\n\n\nIt's your apartment, and it's in the usual mess. The mess, in fact, threatens to take control of the whole apartment. Not that you have too much time to worry about it right now, of course. You have to find your way to Mr deMause's apartment ... The door to the south leads out into the foggy night, and that seems like a good place to start.\n\n> You go south\nYou hadn't realised until stepping out tonight how dim the fog could be. The pea-souper spreads out in all directions, obscuring your vision. The steps leading down to the south disappear into it. Back to the north, the door leads back into the warmth of home.\n\nYou can see a Jack O'Lantern (which is closed) here.\n\n> You get the pumpkin\nTaken.\n\n> You open the pumpkin\nAs you look into the pumpkin, a disembodied hand leaps out onto your shoulder! You scream in fright, and the thing scuttles off into the fog. Regaining your composure, you look inside the pumpkin....\n\nIn the Jack O'Lantern is a note.\n\n> You read the note\nThe writing is spidery, and you realise that it is written in blood. Real blood. But perhaps the creepiest thing of all is the sheer friendliness of the message: \"Midas (the hand) is your guide to Mr deMause's apartment. Do remember to cross his palm with silver, or something of the sort.... Katherine's already here at the apartment, and she's waiting for you.\"\n\nYou had no idea that Katherine was anywhere near New York. There's a mystery afoot here. Or at hand....\n\n> Go south\nPea-souper fog blankets everything. You know more by instinct than anything else that the way home is just to the north. Otherwise, all the streets leading out from here are alien to you.\n\nYou notice the disembodied hand near the traffic lights, leaping at the red light. It misses. The light turns green, and the hand scuttles away.\n\n> Go south\nYou wander down the street into the fog, but the fog confuses you, and you soon find yourself back in Washington Square.\n\n> Go south\nYou notice the disembodied hand near the traffic lights, leaping at the red light. It misses. The light turns green, and the hand scuttles away.\n\n> You check what you're carrying\nYou are carrying:\na Jack O'Lantern (which is open)\na note\na red glass\n\n> You examine the glass\nA shard of red glass. You have no idea where you picked it up, or why you held on to it. Only the village idiot would find any use for it.\n\nWithout warning, the disembodied hand scuttles across your path, pausing to wave a finger at you before disappearing into the fog.\n\n> You enter the fog\nThat's not something you can enter.\n\nYou hear a faint scuttling through the fog, as of some spider lurking in the darkness.\n\n> You put the glass in the lantern\nYou put the red glass into the Jack O'Lantern.\n\nYou notice the disembodied hand near the traffic lights, leaping at the red light. It misses. The light turns green, and the hand scuttles away.\n\n> You drop the lantern\nDropped.\n\n> You wait\nTime passes.\n\n> Wait\nTime passes.\n\nWithout warning, the disembodied hand scuttles across your path, pausing to wave a finger at you before disappearing into the fog.\n\n> You wait awhile\nTime passes.\n\nYou hear a faint scuttling through the fog, as of some spider lurking in the darkness.\n\n> You wait\nTime passes.\n\nYou notice the disembodied hand near the traffic lights, leaping at the red light. It misses. The light turns green, and the hand scuttles away.\n\n> You check your inventory\nYou are carrying:\na Jack O'Lantern (which is open)\na red glass\na note\n\n> You look at the note\nThe writing is spidery, and you realise that it is written in blood. Real blood. But perhaps the creepiest thing of all is the sheer friendliness of the message: \"Midas (the hand) is your guide to Mr deMause's apartment. Do remember to cross his palm with silver, or something of the sort.... Katherine's already here at the apartment, and she's waiting for you.\"\n\nYou had no idea that Katherine was anywhere near New York. There's a mystery afoot here. Or at hand....\n\nWithout warning, the disembodied hand scuttles across your path, pausing to wave a finger at you before disappearing into the fog.\n\n> You drop the red\nA few moments after dropping the shard of red glass, the hand scuttles across the square towards you and settles down to examine it. If you want to pick it up, now's your chance.\n\n> You get the hand\nYou gently pick the thing up by the wrist, gruesome though the thought may be. The fingers wiggle back at you questioningly.\n\n> You look at the hand\nA disembodied hand! What's more, an animated disembodied hand! Creepier and creepier ... didn't this sort of thing only happen in the movies? The hand seems to be wearing a signet ring on its index finger.\n\n> You examine the ring\nIt's an elegant, gold signet ring. Something about it strikes you as being oddly familiar, though you can't imagine what. There seems to be a small depression in the ring, apparently made to hold something.\n\n> You get the ring\nThe hand struggles in protest as you reach for the ring. You decide that it might not be such a good idea....\n\n> You look at the glass\nA shard of red glass. You have no idea where you picked it up, or why you held on to it. Only the village idiot would find any use for it.\n\n> You cut yourself\nCutting you up would achieve little.\n\n> You cut the hand\nCutting him up would achieve little.\n\n> You put the hand in the pumpkin\nYou put the disembodied hand into the Jack O'Lantern."
    },
    {
        "text": "[Themes: Seasonal, Surreal, Horror, halloween]\n\n> You describe your surroundings\nPea-souper fog blankets everything. You know more by instinct than anything else that the way home is just to the north. Otherwise, all the streets leading out from here are alien to you.\n\n> You wave the hand\nYou look ridiculous waving the disembodied hand.\n\n> You examine the pumpkin\nThe pumpkin bears Miseri's unmistakeable style of carving. It grins at you hollowly, as if daring you to open it and look inside.\n\n> You eat the note\n(first taking the note)\nThat's plainly inedible.\n\n> You show the note to the midas\nThe disembodied hand is unimpressed.\n\n> You examine the ring\nIt's an elegant, gold signet ring. Something about it strikes you as being oddly familiar, though you can't imagine what. There seems to be a small depression in the ring, apparently made to hold something.\n\n> You go north\nYou hadn't realised until stepping out tonight how dim the fog could be. The pea-souper spreads out in all directions, obscuring your vision. The steps leading down to the south disappear into it. Back to the north, the door leads back into the warmth of home.\n\n> Go north\nIt's your apartment, and it's in the usual mess. The mess, in fact, threatens to take control of the whole apartment. Not that you have too much time to worry about it right now, of course. You have to find your way to Mr deMause's apartment ... The door to the south leads out into the foggy night, and that seems like a good place to start.\n\n> Search mess\nWhat's this? It's that earring that you promised to have reset as a ring for Katherine! You'd better not lose it again.\n\n> You examine the earring\nThis is one of a pair of earrings that you gave Katherine some few months ago. The other one was lost during, um, an adventure involving a hot spring which we shan't go into right now. Since Katherine never was one for single earrings, you told her you'd have the stone re-set in a solitaire ring.... The stone seems rather loose, actually.\n\n> You look at the stone\nYou always believed that this was an amethyst, because it would glow violet when you held it. Now, however, it glows red whether you hold it or not, and you wonder if it could in fact be a misunderstood ruby.\n\n> You put it in the ring\nWhich do you mean, the earring or the signet ring?\n\n> You get it\nYou carefully pry it out ... well, that was easier than expected.... Taken.\n\n> You put the stone in the signet ring\nYou carefully insert the stone into the depression in the ring. It seems to fit perfectly.\n\nIn fact, the stone seems to be glowing brighter than before ... with a shocking suddenness, the hand leaps in your grasp and points an accusing finger towards the south of Washington Square.\n\n> Go south\nYou hadn't realised until stepping out tonight how dim the fog could be. The pea-souper spreads out in all directions, obscuring your vision. The steps leading down to the south disappear into it. Back to the north, the door leads back into the warmth of home.\n\n> Go south\nPea-souper fog blankets everything. You know more by instinct than anything else that the way home is just to the north. Otherwise, all the streets leading out from here are alien to you.\n\n> Go south\nFollowing the hand directions, you cautiously make your way down the street ... then with greater confidence.... It isn't long before you find yourself outside your destination, the melancholy apartment of deMause....\n\nYou wander down the street into the fog, but the fog confuses you, and you soon find yourself back in Washington Square.\n\n> Go south\nFollowing the hand directions, you cautiously make your way down the street ... then with greater confidence.... It isn't long before you find yourself outside your destination, the melancholy apartment of deMause....\n\nYou wander down the street into the fog, but the fog confuses you, and you soon find yourself back in Washington Square."
    },
    {
        "text": "[Themes: urban fantasy, fantasy]\n\nMoondarkling: Elfboon\nA Rural Urban-Fantasy by Sam Kabo Ashwell\n\nIn terms of mere geography, Ruritania is landlocked. Liminally it's a lot more complicated. On slow days, this is the bank of the Svonat, a minor river that for maybe sixty kilometres traces the Slovakian border, only distinguished by rather sparse settlement for such a fertile valley.Today it's the verge of a mangrove swamp, water the colour of strong tea lapping gently against a barnacle-encrusted jetty, and far off through the trees the suggestion of blazing light on a foreign sea. (You haven't seen this one before.) A crab darts across a salt-crusted log; the air is warm, with a strong taste of salt, anchovies and rotting mud.\n\nThe Margin Cafe looks no more weatherbeaten than usual, and the prospect of cooler air is enticing.\n\nA mudlark is perusing low-hanging branches for lootable fruits.\n\n> You look at the swamp\nThe water is the clear brownish hue of strong tea, and sparkles in little wavelets around the sprawling mangrove roots. It's only about waist-deep, though the mud beneath it is probably many times that. The sharp scent leaves no doubt that it's a salt-water day.\n\n> You examine the mudlark\nMudlarking is the mildly illegal[1] practice of loitering on water margins[2] in the hope of happening upon valuable salvage or harvest. By your estimation, gold-sands, pearl beds and sturgeon populations manifest a lot less often than crocodiles, spring tides or bilharzia; every now and then some idiot prospector convinces themselves that they have developed a System, but more usually it's the domain of the more enterprising variety of indigent.\n\nThis particular mudlark is youngish, scrawny and not conspicuously insane.\n\n> Note 1\nAnd in Ruritania, tedious, complicated and socially bootless to prosecute. As far as you're concerned, the law exists as an alternative way of nailing the ones who branch out into smuggling or elfin traffic.\n\n> Inventory\nYou are carrying:\nthe Nook of Shadows.\nsemi-automatic\n\n> Note 3\nIt's only in the last couple of years that anyone started making automatic rounds jacketed in cold iron; formerly you had to lug around a gigantic revolver that made holes of undiplomatic proportions in everything and kicked like an onager with a hornet on its balls, and the Glock.\n\n> Examine nook\nIt's a sort of eldritch scrapbook of stuff that you've ripped off from people who ripped it off from a bewildering assortment of charlatans, Inquisitors, cat ladies, fantasists, perverts, aelfkultur-appropriators, cabalists, storytellers, alchemists, space cadets and paranoids. Stratified bullshit, deep and compacted and fertile, mounted up into a tell. Potent stuff.\n\nIts first incarnation was an age-yellowed Penguin that was bloated with inserts and shedding pages before you were twenty, and you recently upgraded to a more portable version. The problem is that it's a Lithuanian knockoff with an OS designed in Tanzania. It features a Weirding Manager intended to suggest the most dramatically appropriate spells, but either dramatic conventions are very strange in Tanzania or the manager has attained a limited but cantankerous sentience, and rare is the occasion on which it supplies a spell of transparent utility. It can, at any rate, be used to access the police databases and look people up, even in places where liminality banjaxes conventional connections.\n\n> Go inside\nThe margins are not a stable place to live, but there are plenty of people passing through and they're all in need of something. This place supplies it: food, potable water, first aid, doss space, amateur legal counsel, trauma debriefing. Physically it's a low-ceilinged, broad, poorly-lit room, somewhere between bar, mess-hall and doss-house, with what would be a comfortable, homey scent if you liked fish soup, damp clothes and ill-washed foreigners[4].\n\nDruse loiters decoratively behind the bar.\n\nA particularly sorry-looking outclade[5], huddled over a bowl of Complimentary Soup, is the only customer.\n\n> Note 4\nAnd actually, having come here almost every day for three years, you are disturbed to find that you kind of do.\n\n> Note 5\nThe Liminal Patrol does not make judgments act on behalf of the Outsider Office[6], and it is very important to use a term that remains agnostic on whether its referrent is an asylum-seeker, refugee of war, economic migrant, vagrant, smuggler, baby-snatcher or insurgent. It's best to just think of them as a shambling mound of paperwork.\n\n> Note 6\nWho's in charge of the margin is kind of complicated. The Frontiers Division is nominally in charge of securing the borders, but here they just make flyovers and kick the crap out of anything that looks like a monster or an invasion. The Outsider Office processes such immigrants as make it into a queue at a provincial capital (or, just as often, a holding cell). The Liminal Patrol deals with everything that falls in between, which is to say the difficult stuff.\n\n> You look at Druse\nDweller in the perpetual legal shadow of the boundary and proprietor[7] of the Margin Cafe, Druse is dark-eyed, slender-limbed and fine-featured and has perfect hair that falls across his face in silver strands and okay let's not be fucking coy about it, he's a half-elf. Which is good for him as far as getting laid goes, but ugly as all hell for legal status. You strongly suspect that you're carrying his child, which is kind of troublesome territory because apart from the whole wrong-side-of-the-tracks deal elves have this cultural Thing about human babies, a little bulb goes on behind their eyes and the last time one of those bulbs went on (or someone thought they did) there were riots and half the Kobolykunst ghetto got burned down. You dealt with more of the aftermath than you care to remember, and you had to call in favours from the Pale Colony, and unforseen complications arose and now the fangy pillocks think you owe them[8].\n\nHowever, all of this is going to be put off by angsty procrastination, implausible miscommunications and emotional immaturity until Volume La Troisieme of the Moondarkling Cycle, so at the moment he's just a distraction. Let's just pretend he's not here for now, all right? Like this."
    },
    {
        "text": "> You look around\nThe margins are not a stable place to live, but there are plenty of people passing through and they're all in need of something. This place supplies it: food, potable water, first aid, doss space, amateur legal counsel, trauma debriefing. Physically it's a low-ceilinged, broad, poorly-lit room, somewhere between bar, mess-hall and doss-house, with what would be a comfortable, homey scent if you liked fish soup, damp clothes and ill-washed foreigners.\n\nA particularly sorry-looking outclade, huddled over a bowl of Complimentary Soup, is the only customer.\n\n> Note 7\nBy its nature, few of the Cafe's clientele have or even understand money; Druse is mostly paid in low-end elfboons. He hopes, or says that he hopes, to eventually accumulate enough boons to be able to go home, once the war's over; but boons don't stack in a neat numerical fashion, and you have only the vaguest idea as to whether this is a credible ambition.\n\n> Note 8\nSee Moondarkling Volume La Zeroiene: Witchlighten.\n\n> You examine Soup\nOutclades can straggle in in any number and at all hours, including the numerous ones in which Druse doesn't want to cook; but they they're often cold and hungry. And freight orders don't make it out here very reliably. The solution is the Complimentary Soup, an oversized, eternally simmering crockpot containing a sort of high-class pigswill. It receives most of the fruits of Druse's sporadic hunter-gathering; on bad days the major ingredient is barnacles, and although its flavour evolves over the years it always retains a basic fishy character.\n\n> You eat Soup\nYou already ate. You try to make a point of it, if you plan to show up at a non-cooking hour. It's not that the Soup is invariably bad, but it's rarely very good and often outright awful, and there is no way to tell until you've swallowed the first spoonful.\n\n(first taking the Complimentary Soup)\nThat's hardly portable.\n\n> You examine the outclade\nPiercingly beautiful, even for an elf. Age indefinite; she doesn't move with the assured arrogance of a mature adult, but then she's probably had a deflating few days. Somewhat damp, muddy and scratched.\n\nVarious details -- left forearm scarified in triple spirals, a particular style of weaving spidersilk ribbons into braided hair, a really expensive bra -- identify her as a member of the Ae Cau Shar clade. You only know this because they test you on the entire freakin\" Aelfosemiotica every couple of years; the Ae Cau Shar are not, to the best of your limited knowledge, very closely affected by the conflict. Kicker is, they only speak their own obscure language, and occasionally Middling Forkmouth, which works as something like a regional trade-jargon for elves but is fearsomely unlearnable for humans[9].\n\n> About you\nYour Ruritanian passport calls you Zbyana Ostrava Kalinin-Zorndorf, and your parents call you something similar with different phonetics. The elves are notoriously sloppy about both paperwork and nomenclature, but a plurality of them would acknowledge you as Comtessa Radishes,  Starlight Through Frozen Waterfalls, Lord High Weatherstone of the Hollow Hill, and Dawn-cobwebs Musketeer[10].\n\nYour outfit was constructed around a camel trenchcoat, an extremely French scarf, and the World's Stupidest Boots.[11]\n\n> Note 9\nWhich is suspiciously convenient for anybody who might have a motive to avoid the challenges of interrogation, hem-hem.[12]\n\n> Note 12\nC.E.J. Pacian, Gun Mute, talking to.[13]\n\n> Note 13\nAdam Thornton, Mentula Macanus: Apocolocyntosis, opening screen. Believe it or not, I was abusing footnotes before I even fired Stiffy up, but the encouragement is appreciated.\n\n> Note 10\nAnd several others that you're not allowed to disclose, one or two that you are literally incapable of disclosing, and a whole host that are best left unshared in polite company. Turning down elf-boon names is Not Done, but it would be a lot easier if they weren't such a bunch of pervs.\n\n> Note 11\nBy inclination you think about clothes perhaps four times a year, but elves have an intense cultural prejudice against anyone not ridiculously overdressed. Most patrollers default to something gothy and heroin-chic on the grounds that it can be sustained with little sleep and less laundry, but it's become such a staple of the patroller stereotype that you resisted. Fortunately, even the Ruritanian Liminal Patrol maintains a stylist on staff.\n\n> Sing\nYour singing is abominable.\n\nWell, shit. Now you have to work out what to do with her. There's no chance that she has a clade sponsor, because she doesn't have a clade. Which also means that she'd be outside even what passes for a social safety-net in the refugee camps. And if the Ae Cau Shar aren't actually in the war, asylum is going to be a whole lot harder to come by even if she gets to the head of the queue, which she won't. So your choices, essentially, are to arrest her and consign her to a muddy limbo for the rest of her natural life, or turn a blind eye, let her wander off into the countryside and get arrested by rural police instead, or stoned by a Landnat gang, or abducted. Or deport her, to whatever was scary enough to make all this seem worthwhile.\n\n> Arrest outclade\nIt's one hell of a rough deal, but she's probably headed in this direction anyway, and you can at least make the process more gentle than the provincial police are likely to. And it's not the Landnats.\n\nIt takes a while to convey the idea to her, but after some emphatic gestures at the door and tugging at the wrist she gets it, arches an impeccable eyebrow, and looks even more tired than before. You shepherd her to the nearest branch of the Outsider Office, stick around to make sure they don't fuck up the paperwork or mess her around, and leave her your card. Not that she understands phones.\nBack at headquarters, you crunch out a  report. Krebs nods noncomittally over it, and it gets filed, and you go home. You stare\nfixedly at the doormat for about ten minutes, and then you go about your life, not quite trying to forget, not quite trying to remember.\n\n> You kiss her\nShe's cute and everything, but that side of yourself goes mysteriously unmentioned until Volume La Soixieme: Shadowed Wings, and a good two-fifths of the fans still refuse to regard that as canon.\n\n> You shoot the outclade\nI beg your pardon?\n\n> Inventory\nYou are carrying:\nthe Nook of Shadows.\nsemi-automatic\n\n> You exit\nToday it's the verge of a mangrove swamp, water the colour of strong tea lapping gently against a barnacle-encrusted jetty, and far off through the trees the suggestion of blazing light on a foreign sea. Something rubbery rolls below the water's surface, then is gone; the air is warm, with a strong taste of salt, lemon zest and rotting mud.\n\nThe Margin Cafe looks no more weatherbeaten than usual, and the prospect of cooler air is enticing. Or you could just get out of here.\n\nThe mudlark is engaged in hunting what may very well be fleas, though around here you never know.\n\n> You go inside\nThe margins are not a stable place to live, but there are plenty of people passing through and they're all in need of something. This place supplies it: food, potable water, first aid, doss space, amateur legal counsel, trauma debriefing. Physically it's a low-ceilinged, broad, poorly-lit room, somewhere between bar, mess-hall and doss-house, with what would be a comfortable, homey scent if you liked fish soup, damp clothes and ill-washed foreigners.\n\nA particularly sorry-looking outclade, huddled over a bowl of Complimentary Soup, is the only customer.\n\n> You look up the outclade in Nook\nUnsurprisingly, she doesn't show up in any records. At all. Anywhere. Which makes sense: if she had crossed over before, she'd probably have done a better job of it this time.\n\n> You look up yourself in Nook\nWhenever you try to egosearch yourself, the Nook of Shadows just plays back the vision you had in the final act of Moondarkling: Dancing Whispers that revealed you to be the sole descendant of the half-elfin heroine Joan of Arc and, therefore, destined to protect both humanity and elfkind through a vaguely-defined and ever-expanding array of powers and prophecies. There's a pointlessly ambiguous coda about the identity of your true love (also destined). It looks a lot less impressive in 2D.\n\n> You look up the mudlark in Nook\nUsing magic to obtain information about legal residents or legitimate visitors without a warrant or documented consent is horribly illegal throughout the EU, except under conditions of direct threat[14]. Even if you're just using the magic to remotely access Google. You could get in an awful lot of trouble doing this...\n\n> Note 14\nYou can scry for someone's psych records if they're waving a gun at you. You can't remotely view someone's home if you think they're building a bomb."
    },
    {
        "text": "[Themes: Humor, Comedy, humor]\n\nCan you beat our amazing new New Years puzzle challenge? It's all a part of our brand-new New Years new brand initiative!\n\nA Happy New Year's new Puzzle-Venture, from the brand new New Years brand by SoftSoft\n\nNew players should type SoftSoft's new command, ABOUT.\n(wow \"new\" doesn't even look like a real word anymore)\n\nYou are in a brightly colored room, full of unimplemented decorations.\n\nNearby you can see the Baby New Year, all wrapped up and ready to go!\n\nNext to the Baby New Year is a champagne bottle.\n\n[Author's Note: Can you beat our amazing new New Years puzzle challenge? It's all a part of our brand-new New Years new brand initiative!]"
    },
    {
        "text": "[Themes: Humor, humor]\n\n> You examine baby\nWell, actually, it's really more of a Baby New Year replica.\nThe real ones are much too expensive for our budget this year.\n\nNEW YEARS FUN FACT: New Year's Eve is the favorite holiday of actor Joseph Gordon-Levitt! His least favorite? Arbor Day!\n\n> You look at the bottle\nA fancy bottle of champagne.\n\nNEW YEARS FUN FACT: New Years Eve was originally a pagan holiday celebrating the god of getting completely wasted. However it has been co-opted by Christianity and nowadays most people celebrate New Years to commemorate the birth of Jesus' brother Mesus.\n\n> About yourself\nYou look great! Just concentrate on the game.\n\nNEW YEARS FUN FACT: In Japan, the traditional New Years treat is mochi, a cake made of rice paste. However, the secret ingredient isn't ground-up moon rabbits, as some may have you believe. Instead, it's actually Tang.\n\n> You jump\nSorry, but that's not how you solve this new New Year adventure.\n\nNEW YEARS FUN FACT: The tradition of kissing the closest person come midnight was originally celebrated every night, until everyone just got really tired of the whole thing and abolished the practice outside New Years.\n\n> You take Baby\nTaken.\n\nNEW YEARS FUN FACT: Dick Clark isn't actually dead! He sleeps beneath Times Square, until a New Year's Eve emergency awakens him from his slumber.\n\n> You drink the champagne\nYou can't actually have that! It's for the sake of the puzzle, stupid.\n\nNEW YEARS FUN FACT: Did you know that New Years often takes place on the first day of the year? It's true!\n\n> Kiss baby\nYou can only do that to something animate.\n\n> Break baby\nViolence isn't the answer to this one.\n\nNEW YEARS FUN FACT: What do you think is the song most played on New Years? Auld Lang Syne right? You'd be wrong, though. It's actually Suzy Snowflake.\n\n> You examine baby\nWell, actually, it's really more of a Baby New Year replica.\nThe real ones are much too expensive for our budget this year.\n\nNEW YEARS FUN FACT: In Scotland it is unlucky for a household if a woman is the first to enter on New Years. That is why nearly 90% of Scots women identify as genderqueer from Christmas to the Epiphany.\n\n> Break bottle\nViolence isn't the answer to this one.\n\nNEW YEARS FUN FACT: The Persian New Year is called Nowruz, sometimes transliterated as Nawruz.\n\n> Xyzzy\nHave you been hitting the sour juice a bit too hard? That's not how you solve this New Years puzzle.\n\nNEW YEARS FUN FACT: New Year's is a popular time to think about the future, and reminisce upon the past. That's why so many people celebrate it by drinking until they pass out!\n\n> You put Baby in the bottle\nYou put the Baby New Year into the champagne bottle.\n\nOh my gosh! You solved the puzzle! You're the greatest New Years partier ever! You are sooo cool! Like, the super coolest! I bet babes and/or studs swarm over you every New Years!\n\nC-can I touch you?"
    },
    {
        "text": "[Themes: Surreal, maze, abstract, surreal]\n\na randomly generated modification of the 1978 game King Tut's Tomb by Jason Dyer via Greg Hassett\n\nThe word \"meaningful\" when used today is nearly always meaningless. (Paul Johnson)\n\nYou can see a food, a torch and some matches here.\n\n[Author's Note: Using Greg Hassett's 1978 game King Tut's Tomb as a base, an art experiment of sort is laid upon the same locations and items.]"
    },
    {
        "text": "[Themes: Surreal, maze]\n\n> You examine the self\nAs good-looking as ever.\n\n> You examine the food\nTry a charbroiled, 100 percent Black Angus beef burger sandwiched between Lays potato chips and a split hot dog.\n\n> You examine the matches\nStanding 22 metres high, these huge \"matches\" protrude in higgledy-piggledy fashion from a matchbook cover.\n\n> You get all\nfood: dreaded hail of\nfierce lions\ndrip from the sky.\ntorch: dreaded spice\nof the\noffering kicker.\nmatches: gratitude of\nthose dead\nfor 921 years."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nThe word \"meaningful\" when used today is nearly always meaningless. (Paul Johnson)\n\nYou can see a food, a torch and some matches here.\n\n> You get the food\ndrip from the sky.\n\n> Light torch\noffering kicker.\n\n> You go to the east\nThe world is not yet exhaused; let me see something tomorrow which I never saw before. (Samuel Johnson)\n\nYou can see an opal drinking cup here.\n\n> You get the cup\npage can hold.\n\n> Go south\nwhether you are at the right or wrong end of the gun. (P. G.\nWodehouse)\n\n> South\nWhen I was younger, I could remember anything, whether it had happened or not. (Mark Twain)\n\n> You go south\nAll things are difficult before they are easy. (Dr. Thomas Fuller)\n\nYou can see a Steve Martin poster here.\n\n> You take the poster\nsevered shred.\n\n> You tell the poster about yourself\nYou can only do that to something animate.\n\n> Go south\ndeserves to be called a scholar. (Donald Foster)\n\nYou can see a gold chalice here.\n\n> You examine the chalice\nThe node in the center has a grape design relief and comes with a simple cross on the base of the chalice. Due note these items are a product of being refinished by our refinishing department and may have been used in the past but are none the less restored to almost brand new condition. Order now while supplies last!\n\n> You take the chalice\non wine sales.\n\n> Go east\nA well-informed mind is the best security against the contagion of folly and of vice. The vacant mind is ever on the watch for relief,\nand ready to plunge into error, to escape from the languor of\nidleness. (Ann Radcliffe)\n\nYou can see a golden key here.\n\n> You take the key\nfor unlocking arcane doors.\n\n> You go north\nNothing can be so amusingly arrogant as a young man who has just discovered an old idea and thinks it is his own. (Sidney J. Harris)\n\n> You go north\nSilence is a text easy to misread. (A. A. Attanasio)\n\n> You go west\nTo be willing to die for an idea is to set a rather high price on conjecture. (Anatole France)\n\n> You go to the north\nbut in having new eyes. (Marcel Proust)\n\nYou can see a platinum spear here.\n\n> You look at the spear\nThe Andre PLATINUM 145 speargun is a great step-up speargun for spearfishing around rock reef, coral areas and out towards the blue water. Its longer stock, 58.5 inches, gives you a greater reach and higher accuracy. The PLATINUM 145 speargun has 3 power bands, making\nit more powerful to spear bigger and faster fish. The PLATINUM 145 speargun also features handle placement mid-way on the stock.\n\n> You get the spear\nthan the entrance.\n\n> Go east\nYou can't wait for inspiration. You have to go after it with a club. (Jack London)\n\nYou can see a ruby earring here.\n\n> You examine Earring\nThe only person Belqees saw was one of her bodyguards, Benzivov, who was wearing an enormous ruby earring. Benzivov tried to kill her, but Solomon had him arrested. Solomon gave Belqees the Ruby Earring, and\nit found its way to the temple. The Earring could be found in the Room of the Secret Password.\n\n> You get Earring\nyellow cream.\n\n> Go east\nChoosing to live in narrow spaces leads to form of mental agoraphobia and that brings its own terrors. I think the willfully unimaginative see more monsters, they are often more afraid. What is more, those who choose not to empathize enable real monsters. For without ever committing an act of outright evil ourselves, we collude through our own apathy. (J. K. Rowling)\n\nYou can see a jade statuette here.\n\n> You examine the statuette\nThe first two were empty. but the third contained a jade statuette of\na dragon. As soon as the statuette was revealed, the characters were stunned by its presence. The world around them went black as their minds were filled with a rush of visions and knowledge.\n\n> You get the statuette\nsilent, brooding.\n\n> You go south\nYou never lose a dream. It just incubates as a hobby. (Larry Page)\n\nYou can see a necklace here.\n\n> You look at necklace\nIt is made from high quality brushed stainless steel and features ball chain threaded through three moveable gears set within a heart-shaped pendant. Sliding the pendant along the chain or gently pulling on either side of the heart's strings will put the gears in motion.\n\n> You get the necklace\naquatic paint."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\nIt is time for the Remembering.\n\nInnocenti\n(Enter \"ABOUT\" to see the game menu.)\n\nNovember 21, 2012\nIFID: B5A03D9E-7656-44C3-902C-EAFF8A430E39\n\nHugo v3.1 / Library 31031\n\nBeneath the Heavens, sitting in the stands\nSeating in three tiers half encircles a round platform.\nCompleting the circle around the back of the platform are the endless stars of the New Heaven, which stretch above the transparent dome that forms the ceiling. A small arch opens above the center of the top tier of the stands, on the port side of the room.\nSitting in the stands is Veritas.\nThe stars of the heavens silhoutte the silver figure of the old Storyteller standing upon the platform.\n\nThe old Storyteller looks slowly around at the people gathered.\nHis gaze lingers on you and your friend Veritas, sitting boldly in the front row, away from the adults. He smiles, and then begins his tale with clear, serious diction."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You examine Veritas\nShe's gotten taller than you, the sneak!\n\"The Ancestors did not live like this, stranded between\nartificial walls, wandering aimlessly with the stars out of reach.\"\n\n> You examine Storyteller\nPeople say a lot of things about the Storyteller. They say he's the only one who remembered the stars were real, back in the Great Journey. Some of your friends say he's crazy, but you like him.\nThe old man looks down at the platform beneath his feet, and then gestures toward his surroundings. \"Before these ships first embarked upon the Great Journey through the Starless Path, the Ancestors explored many shining worlds, filling them with their great cities and their forgotten wonders. They roamed freely through the stars of the Old Heaven, and nothing was impossible to them.\"\n\n> You look at the stars\nThe heavens hold endless mysteries, infinite tales.\nBeside you, your friend Veritas catches her breath, her large\nalmond eyes wide with wonder.\nThe Storyteller looks at her and nods seriously. \"But nothing\nthat the Ancestors created could compare to the wonders of the most ancient world of all, where it is said all life originated, the planet called Land.\"\n\n> Inventory\nYou're not carrying anything.\n\"There the first Ancestors communed with the Fey folk that dwelt\nin the elemental Forms. The trees stretched as high as a hundred men are tall, and spread their many arms to shade the living ground. The winds gathered in the canopy of the Lower Heaven and bent down to kiss Land with their sweet breath. The roaming beasts, great and small, ruled the wilds where the people did not walk, but begged at the feet of the Ancestors.\"\n\n> Examine stands\nThey're like the stairs going up from your parents' Cube, only way bigger.\nThe Storyteller nods, his eyes distant. \"And there was the\nmighty sea, a great expanse like the heaven above, but formed of the gathering of all the waters of Land, encircling the planet in its embrace.\" The Storyteller turns his head up to look at the stars.\n\n> You examine the stars\nThe heavens hold endless mysteries, infinite tales.\nThe storyteller brings his gaze to the audience and clasps his\nhands in front of him, turning slowly to look over all the people in the stands. He begins to speak again, firmly. \"But the Ancestors became arrogant...\"\n\nHeavy boots clang against the metal stands. Vertias yelps, and\nyou turn to see men in black uniforms trample down the stands to the platform, shoving people out of the way. One of them steps right over you and Veritas and corners the old Storyteller on the platform. \"Chronos Han, you are under arrest for disobeying the sanctions\nof the Council and for spreading sedition.\" The man speaks fast and mechanically.\n\n> You examine Veritas\nShe's gotten taller than you, the sneak!\n\"The Ancestors did not live like this, stranded between\nartificial walls, wandering aimlessly with the stars out of reach.\"\n\n> About yourself\nYou hate the snug, long-sleeved yellow shirt your mother makes you wear, a hand-me-down from your cousin Sam Amerik.\nThe old man looks down at the platform beneath his feet, and then gestures toward his surroundings. \"Before these ships first embarked upon the Great Journey through the Starless Path, the Ancestors explored many shining worlds, filling them with their great cities and their forgotten wonders. They roamed freely through the stars of the Old Heaven, and nothing was impossible to them.\"\n\n> You examine Storyteller\nPeople say a lot of things about the Storyteller. They say he's the only one who remembered the stars were real, back in the Great Journey. Some of your friends say he's crazy, but you like him. Beside you, your friend Veritas catches her breath, her large\nalmond eyes wide with wonder.\nThe Storyteller looks at her and nods seriously. \"But nothing\nthat the Ancestors created could compare to the wonders of the most ancient world of all, where it is said all life originated, the planet called Land.\"\n\n> Wait\nTime passes...\n\"There the first Ancestors communed with the Fey folk that dwelt\nin the elemental Forms. The trees stretched as high as a hundred men are tall, and spread their many arms to shade the living ground. The winds gathered in the canopy of the Lower Heaven and bent down to kiss Land with their sweet breath. The roaming beasts, great and small, ruled the wilds where the people did not walk, but begged at the feet of the Ancestors.\"\nThe Storyteller nods, his eyes distant. \"And there was the\nmighty sea, a great expanse like the heaven above, but formed of the gathering of all the waters of Land, encircling the planet in its embrace.\" The Storyteller turns his head up to look at the stars.\nThe storyteller brings his gaze to the audience and clasps his\nhands in front of him, turning slowly to look over all the people in the stands. He begins to speak again, firmly. \"But the Ancestors became arrogant...\"\n\nHeavy boots clang against the metal stands. Vertias yelps, and\nyou turn to see men in black uniforms trample down the stands to the platform, shoving people out of the way. One of them steps right over you and Veritas and corners the old Storyteller on the platform. \"Chronos Han, you are under arrest for disobeying the sanctions\nof the Council and for spreading sedition.\" The man speaks fast and mechanically.\n\n> You look at the men\nThey're silent and imposing in their black uniforms, the blood-red Serpent coiled around their right arms.\nThe Storyteller raises an eyebrow as two other black-uniformed\npeople grab his shoulders forcefully. \"That arrogance is not dead, I see,\" he says in a low voice, soft but dangerous.\n\n> You wait\nTime passes...\nThey pull the Storyteller up the stands. He turns and looks back\nas they push him through the narrow door, catching your eye. \"Remember,\" he says, and then he is gone.\n\n> You ask veritas about Storyteller\n(Plese use the command \"TALK TO (CHARACTER NAME)\" to initiate dialog.)\n\n> You talk to veritas\n\"No...\" Veritas sounds stunned and frightened. \"They have\ncome.\" Suddenly, she looks like a grown-up.\n\n> You look\nBeneath the Heavens, sitting in the stands\nSeating in three tiers half encircles a round platform.\nCompleting the circle around the back of the platform are the endless stars of the New Heaven, which stretch above the transparent dome that forms the ceiling. A small arch opens above the center of the top tier of the stands, on the port side of the room.\nSitting in the stands is Veritas.\nImposing men and women in black uniforms are here, pushing the audience away, herding them out of the room.\n\n> You go outside\nYou wander toward the exit, dazed by what you witnessed.\n\n[....]\nYou rub your eyes and shake your heard to clear away the memory.\nIt is far into your sleep rotation, but you still haven't finished debugging the new demographic compilation program that you were assigned to write.\n\nhold the assortment of terminals and screens. The automatic door opens between the girders in the fore wall.\nThe terminal at which you have been working displays your glitchy code.\nOne of the Guards lays a hand on your shoulder and roughly pulls\nyou up the stands toward the exit.\n\"Rood!\" You look back to at the sound of your friend's voice as\na Guard unceremoniously grabs her and carries her away. You struggle against your captor, trying to get to Veritas, but you are lost in the storm of bodies.\n\n[....]\nYou rub your eyes and shake your heard to clear away the memory.\nIt is far into your sleep rotation, but you still haven't finished debugging the new demographic compilation program that you were assigned to write.\n\nhold the assortment of terminals and screens. The automatic door opens between the girders in the fore wall.\nThe terminal at which you have been working displays your glitchy code.\n\n> You examine terminal\nThe tiles on the screen displays your data-crawler routines, debugging information about where in their execution the routines failed, and technical specifications about the inner workings of the universal Fleet Cloud and the local networks.\n\n> Fore\nYou'd feel better if you at least try to patch the most recent errors in your crawler routines before giving up.\n\n> Debug code\nYou make a small correction in your database generation function and run the program again. The workstation display instantly fills with output text.\n\n> You examine the text\nThe strings of text form small combinations of letters and symbols, none more than several characters long. It looks like an encrypted document, or one being viewed with the wrong encoding scheme.\n\n> You take text\nYou try to trace the root directory of the file, but all you can tell is that the indexing protocol on one of the statistics mainframes directed the crawler to a low-level packet torrent. The data could have come from anywhere in the entire Fleet.\nUnable to download the file directly, you connect your datapad\ninto the port where the workstation terminal is mounted and carefully copy over the entire active memory of the workstation. You preserve the curious symbols by saving them in your editing app. Too tired and distracted to do more work for the time being, you turn off the terminal and disconnect the datapad.\n\n> Inventory\nYou are carrying your datapad.\n\n> Fore\nJust as you are about to store your datapad in the pouch built into the shoulder of your overcoat made for holding the device, you hear it emit a three-tone beep, indicating that you've received a personal communication.\n\n> You read the communication\nThe comm was pre-recorded just a moment ago. You open it, and your wife's face fills the datapad's display.\n\"Chronos left his quarters for too long again,\" she says wearily.\n\"I'd better find him before another Militia member does, and he ends up in more trouble. He's apparently at the Dome right now, unless he managed to fool his transponder.\" Her full lips purse into a tight line. \"So, I won't be home this sleep rotation, if you were planning on coming home at all. Love you.\"\nNow that you think of it, Chronos might be able to help decode\nthe file you found. At least, you're willing to bet he'll be interested in it.\n\n> Fore\nYou leave the Data Center and follow the network of twisty little corridors built on top of each other, rotely finding your way to the ship Commons.\n\nand spans 200 meters from one wall to the other, encompassing nearly the entire mid-deck. The residents of the Godspeed hurry up\nand down the white rectangular artery, entering and exiting the rectangular openings that are spaced sporadically along either wall. Among the many places accessible from here, you know that a short\nwalk aft will take you to the convoluted maintanence\ncorridors where you can find the Data Center, while the observatory dome can be accessed to fore.\n\n> Fore\nYour feet plod silently, the white polyplast absorbing the impact. Eventually, the distant sides of the vast chamber constrict, leaving a corridor where the white covering is replaced by the older metallic panels.\n\nRemoved from the central passageways of the Godspeed, no\nmore than two travelers could pass with comfortable distance between them. The walls here are panelled in strips of the unknown alloy of the older parts of the ship, but the homogenous white material of the newer renovations begins just meters down the corridor to\naft. To fore, the corridor narrows further and\nangles upward in a ramp, leading to the observation dome.\n\n> You examine the alloy\nThe vertical gray panels stretch along the walls of the corridor from floor to ceiling. Each panel is a little wider than your hand.\n\n> Fore\nYou climb the narrow ramp and enter the small opening to the right.\n\nSeating in three tiers half encircles a round platform.\nCompleting the circle around the back of the platform are the endless stars of the New Heaven, which stretch above the transparent dome that forms the ceiling. A small arch opens above the center of the top tier of the stands, on the port side of the room.\nChronos Han is standing at the opposite end of the platform, his\nback toward the seats, hands clasped behind his back.\nVeritas is sitting in the stands, watching Chronos silently.\n\n> You look at Chronos\nChronos Han looks like a white specter from one of his fantastic stories. A soft white beard adorns his gaunt face, while his full head of pale hair falls about his shoulders in dissaray. He has a large beak of a nose and thick, angled brows, beneath which his dark brown, slanted eyes peer earnestly. His light skin is marked by scars and wrinkles, but he stands tall and firm.\n\n> You examine Veritas\nYou managed to catch up to her, but barely; you and Veritas are almost exactly the same height. Her brown complection is smooth and clear save for a scar on the left side of her face, beautiful despite looking tired and troubled. Her thick red hair spills over the shoulders of her Militia uniform top, which she wears sloppily with soft lounge pants.\nThe seamless, long-sleeved silver tunic that conforms closely to\nher torso is a different color than the uniforms of the thugs who broke in to that Remembering service from your childhood, but you've never quite gotten comfortable with the circular emblem of the serpent swalling the star, stitched just below her left collarbone.\n\n> You talk to Chronos\nVeritas looks up abruptly as you approach, and then smiles,\nwalking over to your side. \"I think he's been like that for entire cycles, just lost in the stars. I doubt he's eaten or spoken at all,\" she says, reaching to grasp your hand in hers.\nYou and Veritas approach the old man together. \"Rood and I are\nhere, greatfather. It's time to go home.\" She lays a hand gently on his shoulder.\nA silent moment passes, Chronos still standing with his back to\nyou. \"Time,\" he says at last. \"A time for all things under the Heavens.\" He turns slightly, head downcast. \"I thought I would see greater things than these in my time.\"\n\"I have something you might like to see, and I'm hoping you can\nhelp me figure out whether or not it might be great,\" you interject before Veritas has the chance to argue with the old man. You open the file in which you saved the encrypted document and hold out the datapad for the others to look.\nChronos hesitantly turns to look at the datapad's display. He\ncloses his eyes and pinches the bridge of his large nose, and then opens his eyes to scan the display.\n\n> Wait\nTime passes...\nChronos arches an eyebrow and blinks, raising a hand to rub his bearded chin with his thumb and index finger.\n\"Rood, is this really necessary? Come on...\" Veritas pleads, but Chronos throws up his open hand authoritatively, cutting her off. \"Wait a moment, this is interesting. Very interesting, indeed.\" Chronos clicks his tongue, and Veritas sighs. \"I've seen this kind of character map before. Very old.\" He continues to study the text intently.\nChronos arches an eyebrow and draws in a sharp breath. \"This...\ncould be important,\" he says slowly, looking at you intently. \"I can't decode the text on sight, but I should be able to crack it with a little time. The Council won't let me near any public terminal or networked end-user device, but your datapad isn't registered. They should be none the wiser if I work with it in my quarters, as long as I don't keep it long enough for them to grow suspicious. What do you say?\" he asks, holding out his hand. \"I'll bring it back soon, with the text of the document deciphered so you can know the mystery you uncovered.\"\n\n> Yes\nThat was a rhetorical question. (Although you sound rather positive.)\n\n> You give the datapad to Chronos\nYou hand Chronos your datapad. He takes it carefully by the grip at the end and tucks it under his coat. \"Very well, then,\" he says, reaching to grab your shoulder affectionately. \"Thank you for reminding a dreary old man about his purpose. I'll be contacting you shortly.\" He steps back and looks between you and Veritas. \"Now, children, you'd better go home. Time for bed.\"\nWith that, he turns on his heel and marches accross the platform\nand over the stands, exiting the observatory.\n\n> You talk to veritas\nVeritas stands quietly for a moment, looking stressed. Then she\nturns to you with her arms crossed, an exaggerated, jokingly stern expression on her face. \"The two of you with your weird theories and rumors!\" She smirks. \"Well, you got him to go home -- more than I could do. Now we really should try to get a little sleep.\" She leans forward to kiss you lightly and then walks toward the exit as you follow in a daze.\n\nWhen Veritas awakens for her patrol shift, you are still too\ntired to do anything but lie back blearily in the sleeping alcove as she dresses. You drift off again into a light slumber, and then you force yourself to stagger out of the recess, stepping on your uniform, which she must have laid out neatly for you along with your nutrition packet on the table.\nYou dress.\n\nThe white walls, floor, and ceiling are all of the same\ndimension, about four-and-a-half meters square. The sleeping alcove is recessed into the port wall. The desk folds in or out of the starboard wall, beneath a built-in terminal display. The floor is mostly free to bear your and Veritas's spare uniforms and undergarments.\nThe exit opens in the aft wall, while a deep step in the\nopposite wall descends to a sliding screen, concealing your hygiene alcove.\nA small circular table stands in the center of the room with two narrow chairs.\nOn top of the small circular table is a nutrition packet.\n\n> Examine packet\nYour meal ration is a rectangular block covered by a brown wrapper.\n\n> You open the packet\nYou run your finger along the pressure strip on the rectangle, disecting the wrapper neatly. As you pull away the sides to reveal the block of food-matter, a small sheet falls out of the wrapper.\n\n> You take the sheet\nTaken.\n\n> You read it\n(assuming you mean the sheet with markings)\nThe small, square piece of paper is folded down the center. Several uneven, erratic appear on the sheet in depressed, red markings:\nMeet me at the garden.\n\nYou only know of one person who would care to learn the Ancestor technique of writing characters by hand, or who would have cause to meet with you. The secrecy, however, is confusing.\n\n> You eat the food\nAs you perform the boring task of eating, you ponder the strange document that you discovered last rotation. With each bite, the material turns into a slimy foam in your mouth.\n\n> You examine the uniforms\nSeveral garments of various types belonging to you and your wife are strewn across the floor.\n\n> Search uniforms\nYou rummage through the clothes on the floor a bit. Throwing aside one of your dirty uniforms, you find a small metal cylinder, which you take.\n\n> You examine the cylinder\nThe multi-purpose tool fits comfortably in your hand. Narrow grooves set at different depths along the cylinder make it easy to hold the tool between your fingers for detail work. The beam emitted at the end covered by a non-conducting nozzle when switched on can cut, polish, or weld as you see fit.\n\n> You examine the sleeping\nYou and your wife sleep in a small recess set into the wall of the cube and accessed by a small manually-sliding hatch. The inside is cradled in polyfoam and has internal environment controls.\n\n> You look at the desk\nBuilt into the wall directly across the room from the sleeping alcove, the desk surface slides outward perpendicular to the wall, accompanied by a small bench that pulls out beneath it. The desk and the bench are both retracted right now, appearing as horizontal wedges sticking out of the wall.\n\n> You use the desk\nBe a little more specific about what you'd like to do with the desk.\n\n> Aft\nYou step out of your home and onto the system of metal-lattice walkways attached to the outside of the stacked columns of identical cubes. An elevator whisks you up past the massive grid of dwellings, and then you navigate the network of straight little corridors, all identical. Finally, you reach your destination, just a few corridors removed from the central Commons.\n\nceiling illuminates this large, open room. The ground beneath your feet is black and rough, made of some semi-pliable material that emits a faintly bitter odor. A few rectangular tables rise out of the uneven ground, the pliable covering folded away at their legs. Spacious arches in the four walls grant access to the park; the exit to port leads to corridors that soon let out at the ship\nCommons, while the way to the elevator leading back to the Grid is opposite.\nThe tables are nestled among a haphazard arrangement of poles\nsticking out of the ground material, representations of the fabled trees of Land.\nChronos sits at one of the tables, a beverage in a white cup\nsending up whisps of steam in front of him.\nAnother cup rests on the on top of Chronos's table, at the vacant\nseat across from him.\nChronos squints in your direction, and then nods faintly.\n\n> You sit\nYou walk over to the table where the old man sits.\n\"Sit down,\" he says, gesturing at the seat across from him at the table.\n\n> You sit down\nYou step over the pole connecting the seat to the table and sit down, swivelling in the dingy red seat.\n\"You've done well, lad,\" Chronos says, taking your datapad out\nfrom under his coat and setting it before you on the tabletop.\n\nIn the Garden, sitting at one of the rectangular tables\nThe tables are nestled among a haphazard arrangement of poles\nsticking out of the ground material, representations of the fabled trees of Land.\nChronos sits at one of the tables, a beverage in a white cup\nsending up whisps of steam in front of him.\nAnother cup rests on the on top of Chronos's table, at the vacant\nseat across from him.\nAlso on top of Chronos's table is your datapad.\n\n> You examine the cup\nThe cylindrical cups are made of a thin white material. Tendrils of steam waft up from both of them, the liquid inside bubling.\nThe steam from the cup set before Chronos caresses his lined, beareded face. The other cup is set in front of you.\n\n> You look at the datapad\nClear when not being used, the narrow rectangular pane is fitted with handgrips on its short edges, while the long edges are rounded. The device serves as your personal communicator and computer, although it is inadequate for testing most of your code.\nOpen on the datapad's displayis an ancient document.\n\n> You read the document\nMISSION LOG11.24.61.1300 (median statistical date approximation)\n\nThere has been no update to the mission log for 24 years, as the situation has not changed. Since the death of Captain Iero, the yonger generation raised by the military has formed a militia and has seized control. The bridge has been closed off. Study of the cosmic radiation is being officially terminated, although most research was abandoned long ago.\n\nIt is my belief that the radiation is intrinsically tied to the anomaly that overtook us, that it may hold the key to our deliverance. A synopsis of the knowledge acquired about the radiation through research and about the circumstances that lead to our present situation follows.\n\nThe emissions are similar to the cosmic noise left over from the birth of the universe, but more intense and focused in a single vector, as if it were a transmitted signal. The radiation spans the entire electromagnetic spectrum. It must also run much deeper than the known spectrum, because dark matter distortions were registered in frequencies corresponding to the emissions.\n\nWe first discovered the signal emanating from the exact same vector in which the ancient artifact had been travelling before it was lost, originating from an unknown point outside of the galaxy. This is too vastly improbable to be coincidental. We do not know what happened to this artifac, which has served as our beacon, leading us to and in this journey in the dark. Nor do we know the relationship between the artificat and the radiation. All we know is that when we synchronized our propulsion drives with the frequency of the signal, the stars disappeared from the viewports, and our navigation systems failed.\nOur propulsion system was functioning until the photon generators were salvaged 8 years ago, but attempts to travel through this void have yielded no results, as there is no frame of reference to determine motion.\n\nI expect that this will be the final entry in the mission log. This file will be added to the bios of the system synchronization network, to be displayed whenever the network is activated. It is my hope that the next generation will one day renew the study of the emissions, and that our descendents will one day find a way to return to normal space. Good luck, and God speed -- to you and to those whom we left behind.\n\n--- Lewis Yuan, Captain of the Galilei and Liason to the\nCouncil of Thirteen\n\n[....]\n\n> You talk to Chronos\nIn the Garden, sitting at one of the rectangular tables\nA harsh yellow light mounted high in the upper corner of the\nceiling illuminates this large, open room. The ground beneath your feet is black and rough, made of some semi-pliable material that emits a faintly bitter odor. A few rectangular tables rise out of the uneven ground, the pliable covering folded away at their legs. Spacious arches in the four walls grant access to the park; the exit to port leads to corridors that soon let out at the ship\nCommons, while the way to the elevator leading back to the Grid is opposite.\nThe tables are nestled among a haphazard arrangement of poles\nsticking out of the ground material, representations of the fabled trees of Land.\nChronos sits at one of the tables, a beverage in a white cup\nsending up whisps of steam in front of him.\nAnother cup rests on the on top of Chronos's table, at the vacant\nseat across from him.\nYou lower the datapad and look at Chronos, who nods seriously. \"Someone in the Council, or behind the Council, doesn't want the knowledge of the signal to get out,\" he says, running his index finger over his moustache.\n\n> Drink cup\nThe thick liquid becomes hot an instant after it enters your mouth, but not fast enough to fully create the illusion that it had been hot before. Whisps of steam puff out of your lips as you swallow.\n\"The document was intended to ensure that future generations understood how we began the Great Journey.\" Chronos looks at you seriously. \"This may be more important than ever now that the Journey has ended but our wandering has not. The signal that drew us here, and the artifact of the Ancestors that came before us.... it is our guide, our beacon to a new home where we can live as we were meant to live.\"\n\n> Wait\nTime passes...\nChronos takes a gulp from his cup, a few remaining tendrils of\nmist curling about his lips. \"Rood, we must distribute the document over the Fleet Cloud. We may not have much time; the Council will be looking to suppress this by any means.\"\n\n> You wait\nTime passes...\n\n> Drink cup\nThe thick liquid becomes hot an instant after it enters your mouth, but not fast enough to fully create the illusion that it had been hot before. Whisps of steam puff out of your lips as you swallow.\n\n> You talk to Chronos\n\"We can go to the data center where I work and see if we can hack\nthe domain protocol,\" you offer. \"The room might be empty right now.\" \"Good. We shouldn't be seen entering at the same time, just in\ncase the Council is already on to us. You never when they may be watching.\" Chronos stands with a loud sigh and ambles over to the artificial trees, smiling. \"A fine morning!\" he exclaims, tossing his empty cup into a receptacle built into the wall.\n\n> You examine the trees\nThey are constructed out of different materials, cast in various shades of green, brown, and yellow. The poles stick vertically out of the ground, although a few are flat beams rather than rods. Each pole or beam is intersected by a shorter pole or beam, the point of intersection ranging from the very top of the verticle pole to near the middle. The intersecting limbs are diverse; some are tilted diagonally, some are sticking out more to one side. Many of the cross-pieces are horizontal and evenly divided along the vertical shaft, forming the geometric shape that is commonly assosciated as the emblem of the Ancestor Tree.\n\n> You stand\nYou get off of the rectangular tables.\n\n> Port\nYou step out of the arch and turn right down a corridor, which you follow for a modest distance before turning left to follow a short corridor that soon terminates in an opening.\n\n> Aft\nThe white ceiling feels alarmingly close as you pass beneath it, low compared to the vast expanse in which the chamber extends laterally. Near the aft end of the Commons, you take a door to starboard, descending as you navigate the maze of twisting little corridors, your feet following their programmed path.\n\nhold the assortment of terminals and screens. The automatic door opens between the girders in the fore wall.\nYour favorite workstation stands vacant in your favorite corner, compelling you to start hacking.\n\n> Hack\nWith the special access afforded by these terminals, you navigate the network's security protocols that restric and interpret all access to the lower-level operations and peer-to-peer communications. You try to hack into the original domain protocol, but the codes are ancient and unfamiliar.\n\n> You look at the workstation\nThe terminal waits patiently for your input.\n\n> Hack\nOn a different display, you quickly code an emulation program for the original kernel upon which the layers of protocols have been built.\n\n> Hack\nHolding your breath, you run a code-cracking virus through your emulation front-end. A few tense moments pass, and then you are in!\n\n> Hack\nNot wanting to take even the slight risk of sending the document to the terminal through the security-laden upper layers of the Cloud, you reach to plug your datapad into the terminal dock.\nThe door whisks open, and footsteps clang in a rapid cadence. As\nyou turn your head to look, your wife rushes into the room, leading four other Militia Investigators. Her gun is levelled at your chest. You only have time to lurch away from the terminal.\n\"Rood!\" Veritas exclaims, eyes wide. \"What are you doing here?\"\nHer eyes narrow again as suddenly.\n\n> Hack\nAll that remains is for you to upload the file through the emulation environment you created on that specific terminal.\n\n> You talk to veritas\nYou take a moment to gather your words, glancing at the other investigators. Do you want to tell Veritas about the contents of the document?\nPlease answer YES or NO:\n\n> No\nYou cross your arms. \"I'm just working,\" you say. \"What are you doing here?\"\n\"I want to believe you're just working, Rood,\" Veritas says,\n\"because I'm just investigating an unauthorized breach in network security.\" She walks toward the terminal, her gun half raised in your direction.\nThe blond-haired female Militia Investigator fidgets anxiously, glancing at the tall male Militia Investigator and the tattooed female Militia Investigator and then staring at Veritas.\n\n> You talk to veritas\n\"That's none of your business!\" You protest, trying to move to\nturn off the terminal display.\nVeritas groans. \"Are you trying to make me arrest you?\"\nVeritas frowns deeply, her forehead creased heavily, as she\ncontinues to hold you at gunpoint.\n\n> You talk to veritas\nYou stare at Veritas. \"Have you forgotten what happened to you father? Are you so blind?\"\nVeritas glares at you venemously. \"My father was a hero! How\ndare you...\"\n\"And you would subvert what he sacrificed his freedom for, just\nto ensure safety? Now I know why you've worn that uniform all these years!\" you fire back, breathlessly.\n\"What the hell is this about? We've got the bastard,\" the tall\nmale Militia Investigator says with a snarl at you. \"Tora, this had better not be some personal hangup of yours, or else more of that 'truth' shit.\"\n\n> You throw the cup at male\nWhich male do you mean, the tall male Militia Investigator or the black-haired male Militia Investigator?\n\n> You talk to veritas\nYou stare at Veritas. \"Have you forgotten what happened to you father? Are you so blind?\"\nVeritas glares at you venemously. \"My father was a hero! How\ndare you...\"\n\"And you would subvert what he sacrificed his freedom for, just\nto ensure safety? Now I know why you've worn that uniform all these years!\" you fire back, breathlessly.\nThe blond-haired female Militia Investigator fidgets anxiously, glancing at the tall male Militia Investigator and the tattooed female Militia Investigator and then staring at Veritas.\n\n> You turn on the tool\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\nVeritas frowns deeply, her forehead creased heavily, as she\ncontinues to hold you at gunpoint.\n\n> You turn off the terminal\nYou'd feel better if you at least try to patch the most recent errors in your crawler routines before giving up.\nVeritas frowns deeply, her forehead creased heavily, as she\ncontinues to hold you at gunpoint.\n\n> Hack\nAll that remains is for you to upload the file through the emulation environment you created on that specific terminal.\nVeritas frowns deeply, her forehead creased heavily, as she\ncontinues to hold you at gunpoint.\n\n> You talk to tall male\nThe tall male Militia Investigator is listening.\nVeritas frowns deeply, her forehead creased heavily, as she\ncontinues to hold you at gunpoint.\nVeritas looks at you with dull eyes. \"I have no choice but to\narrest you.\" she pulls\nthe datapad and the laser tool out of your hands. She nods to the black-haired male Militia Investigator who binds your wrists tightly behind your back.\n\n> You throw the cup at veritas\nYou ultimately decide that throwing the steaming cup at Veritas Tora isn't such a great idea.\nThe blond-haired female Militia Investigator fidgets anxiously, glancing at the tall male Militia Investigator and the tattooed female Militia Investigator and then staring at Veritas.\nVeritas looks at you with dull eyes. \"I have no choice but to\narrest you.\" she pulls\nthe datapad and the laser tool out of your hands. She nods to the black-haired male Militia Investigator who binds your wrists tightly behind your back.\n\n> You throw the cup at the terminal\nWhat exactly are you hoping for?\nThe blond-haired female Militia Investigator fidgets anxiously, glancing at the tall male Militia Investigator and the tattooed female Militia Investigator and then staring at Veritas.\nVeritas looks at you with dull eyes. \"I have no choice but to\narrest you.\" she pulls\nthe datapad and the laser tool out of your hands. She nods to the black-haired male Militia Investigator who binds your wrists tightly behind your back.\n\n> You turn on the tool\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\nVeritas looks at you with dull eyes. \"I have no choice but to\narrest you.\" she pulls\nthe datapad and the laser tool out of your hands. She nods to the black-haired male Militia Investigator who binds your wrists tightly behind your back.\n\n> You close the door\nThe automatic door is already closed.\n\n> You turn on tool\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\n\n> Yes\nYou look firmly into her hazel eyes. \"I'm restoring what was\nlost,\" you say.\n\"Veritas arches an eyebrow quizically and glances at one of the\nother Investigators. Then she walks over to the terminal, looking at the screen. \"What is this?\"\n\n> You talk to veritas\nYou show her the datapad.\n\"A message from the first generation of those who embarked upon\nthe Great Journey. A message that we were supposed to keep and remember. Someone deliberately tried to destroy it, and there are still people who want to censor the truth.\"\n\"You're sounding like Chronos,\" Veritas says. Her eyes move back\nand forth, reading the text on the datapad, but the corner of her mouth turns up in a smirk, like the woman you've always known.\n\"Hm...\" Veritas taps her lips with the index finger of her left\nhand as she looks up from the datapad. She stares at you for a long moment, her expression unreadable.\n\n> You talk to veritas\n\"Veritas, you have to believe me. The people have to remember,\nor we'll never complete the journey that our ancestors began. We have to patch this file...\"\n\"Do it. Now,\" Veritas interrupts in a hurried whisper, glancing\nback at the other Investigators. You stand shocked for a moment, too surprised to move.\nVeritas glances significantly at one of the other Investigators,\nthe black-haired male Militia Investigator. She nods faintly. \"Investigator Veritas, what are you doing?\" the tall, scruffy man\nsays in a nasally, whiny voice. \"If you have personal conflicts, step down from this case without wasting more of my time.\n\"Now...\" she says softly.\n\n> Hack\nAll that remains is for you to upload the file through the emulation environment you created on that specific terminal.\n\"Drop your weapons!\" The man nearer to you and Veritas bellows, turning on his heels to point his gun at the tall man in the back as Veritas and the blond-haired Investigator do the same, holding up the tattooed woman, who gasps.\nVeritas straightens, looking more confident. \"I'm sorry, Sadt, Umund,\" she says to the two Investigators who have dropped their weapons and are slowly raising their hands. \"You're just doing your duty. But my duty to uphold the law compelled me to investigate the abuses of authority and censorship that the Council denies, as much as I wish they weren't there.\" She looks at you. \"I'm sorry I never told you, Rood. I thought you were too content to support my cause -- I know how you hate politics. I didn't want to distress you.\" She looks at you earnestly.\n\"Oh, so that's it, is it, bitch,\" the tall male Militia\nInvestigator says to your wife, a leer contorting his face. \"Always snooping where you don't belong, sending your squad into restricted levels without authorization, carrying on about that 'truth' shit. This is the end of you, Tora!\" he screams.\n\n> You cut tall male with the tool\n(First turning on the laser tool.)\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\nYou don't see any purpose in damaging the tall male Militia Investigator.\n\n> Hack\nAll that remains is for you to upload the file through the emulation environment you created on that specific terminal.\nThe tattooed female Militia Investigator lets out a constant\nstring of obscene curses under her breath, glaring spitefully at Veritas, the black-haired male Militia Investigator, and you, although her most hateful looks are reserved for Veritas.\n\"Veritas draws a slow breath. \"We will be presenting our\naccusations before the Council and before all the people,\" she says with composure. \"Sadt, Umund -- we'll have to hold you captive for now, I'm afraid, but we'll release you after we've publicized our evidence.\"\n\n> Hack\nAll that remains is for you to upload the file through the emulation environment you created on that specific terminal.\nThe blond-haired female Militia Investigator groans faintly as\nshe points her gun at the tattooed female Militia Investigator. Tears collect at the blond-haired female Militia Investigator's eyelids. \"Step away from your weapons, turn around, and keep your hands\nup,\" the black-haired male Militia Investigator calmly instructs Sadt and Umund. They comply with much cursing.\n\n> Upload document\nYou thrust your datapad into the port on the bracket dock of the terminal. You force the strange cicumstances out of your mind and efficiently transfer the file onto the terminal before proceeding to type the console command to patch the file onto the Cloud's operating domain protocol.\nBefore you can finish, one of the women Investigators swears\nloudly behind you. \"Get in here now!\" Out of the corner of your eye, you notice, the blond-haired female Militia Investigator lower the comm-link on her wrist, raising her gun toward you.\n\"No, Rin!\" Veritas yells, jumping in front of you at the time\nthat the black-haired male Militia Investigator curses, both he and Veritas aiming at the blond-haired female Militia Investigator.\nYou whirl back around and finish typing the command. As you jam\nthe key to send the command to the terminal, the doors whisk open behind you once again, and again you hear the thunder of footsteps. You see the terminal's display clear and flash the statistics of the Fleet Cloud's architecture, indicating that the command was accepted, and the screen explodes in front of your face. Veritas grabs you from behind and pulls you down to the floor.\n\n> You wait\nTime passes...\nGuards immediately grab the tall male Militia Investigator and\nthe tattooed female Militia Investigator, who comply rigidly and jerkily. The guards begin to escort the blond-haired female Militia Investigator out as well, but she turns back to look at Veritas, her green eyes wide. The guards start to push her back, and she turns and runs out the door, weaving among the members of the squad.\nOne of the guards at the front of the formation speaks into her\nwrist. \"Security breach targeted. Confirm neutralization order?\" Veritas closes her eyes, and then smiles faintly. \"Well, if\nwe're all going to die together, we might as well get to know one another,\" she says, looking between the black-haired male Militia Investigator and you. \"Rood, this Euros Markon. Along with Rinaldi Fletcher -- the woman who turned on us -- we were investigating the abuses of the Council. We were sent to look into your security breach, but unfortunately Stadt and Umund were assigned with us.\"\n\n> You give the tool to Veritas\nVeritas Tora politely refuses.\n\"Euros, my husband Rood,\" Veritas says, smiling softly at you.\nEuros Markon nods.\n\n> You wait\nTime passes...\n\"Affirmative,\" the guard at the front of the formation says.\nThey all raise their weapons. You and Veritas hold hands.\nShining white figures suddenly appear throughout the room,\ndarting around rapidly without moving their legs. \"What in the name of the Thirteen?\" one Guard cries, joined by a chorus of surprised gasps and yells. A few shots are fired, sending sparks and flames from the girders along the walls and from unlucky terminals.\n\n\"We must hurry.\" You turn at the sound of the voice to see\nChronos standing beside you, holding out a black rod.\n\"Where did you come from?\" Veritas asks.\n\"No time to explain,\" Chronos says, looking to you. \"Is it\ndone?\"\n\n> Fore\nA whole unit of armed Guards stands in your way.\n\"They're just light!\" A guard yells. \"Ignore them.\"\n\"There, in the corner!\" You instinctively turn at the sound of gunfire, compressing your body behind your outstreatched arms. Your heart counts several rapid beats, and then you notice that the charges are being deflected harmlessly, the air shimmering in a broad arc around the meter-long black rod that Chronos holds with each impact. Crouching behind the meter-long black rod, Chronos leads your\nsmall group along the back wall of the room, ducking behind the girders for cover.\nA brilliant, featureless humanoid figure suddenly appears out of nowhere in your corner of the room, proceeding to zip outward toward the guards.\n\n> You examine the figure\nHumanoid in shape, the figures look like the brilliant outlines of men and women. They glide about rapidly across the floor, appearing and disappearing at random.\nSomeone yanks you away from the ruined console, and you find\nyourself huddled together with Veritas, Chronos, and Euros Markon. Chronos holds his rod vertically in the center of the group, and you notice that outside of your small circle, everything looks distorted and hazy.\n\"I entered through a secret hatch,\" Chronos says, looking around carefully. \"That's the problem with invisibility fields; they make it difficult for you to see, as well,\" he mutters quietly. He leads you silently along the girders, gunshots crashing around you, until you come to a wall bracket that has been folded down to the floor, revealing a square opening at its base.\n\"Well, I might as well go first,\" Veritas says quietly. She\nlowers her body feet-first into the opening and disappears into darkness.\n\"You go next, Rood,\" Chronos tells you. \"Then Euros will follow,\nand I will go last. Quickly, now.\"\n\n> You enter the opening\nYou fall for about a meter before your feet catch on rungs. You begin to climb down, your back rubbing uncomfortably against the wall of the tunnel. The dim light from above flickers as Euros begins his descent above you, and you continue on for a long time.\nAt last, the vertical tunnel ends in a low horizontal tunnel.\nHearing movement ahead of you, you crouch and proceed. You soon find a place where the metal wall has been cut away crudely, leaving rough, rust-coated edges. You crawl into the hole, leading to a narrow shaft that branches out in many directions. The only branch wide enough to allow passage ends in rectangle of light. You push yourself through and stumble to the floor.\nA familiar hand grasps your arm, helping you to your feet.\n\nRows of racks stick out perpendicular to the panelled walls, a\nhole in which provided your entry. The racks contain a varied assortment of peculiar objects. An aisle between the racks runs down the middle of the long room. The floor is covered with a strange soft, textured, light-brown material, sort of like the polyfoam of a sleeping alcove or a seat cushion, except rougher and less pliable. The two exits on the ends of the room are sealed fast, plates of\nmetal welded over them. Your datapad's orientation app shows that the sealed doors face fore and aft.\nVeritas Tora is here. Veritas carries a handgun.\n\n> You look at racks\nThe inside of the shelves are filled with lots of strange things -- reams of paper bound by vertical spines and lined in horizontal rows; screens and other digital devices that look completely foreign; and miscellaneous small objects, such as a little spindly contraption consisting of a white dish with an antenna sticking out.\nEuros Markon's upper body appears in the hole in the wall. You\nand Veritas help lower him down.\n\n> You examine paper\nThe small, square piece of paper is folded down the center. Several uneven, erratic appear on the sheet in depressed, red markings:\nMeet me at the garden.\n\nYou only know of one person who would care to learn the Ancestor technique of writing characters by hand, or who would have cause to meet with you. The secrecy, however, is confusing.\n\n> You look at objects\nThe inside of the shelves are filled with lots of strange things -- reams of paper bound by vertical spines and lined in horizontal rows; screens and other digital devices that look completely foreign; and miscellaneous small objects, such as a little spindly contraption consisting of a white dish with an antenna sticking out.\n\n> You talk to veritas\nYou and Veritas reminisce about the time you first realized you were in love.\n\n> You get all\nVeritas Tora: Veritas Tora probably wouldn't be too big on that idea. Euros Markon: Euros Markon probably wouldn't be too big on that idea.\n\n> You examine Euros\nAverage of both height and build, this man wears his gray Investigator uniform with sharp precision. His black hair is trimmed neatly around his ears. His hard, square face bears an angular black goatee, leaving his cheeks perfectly shaven. His eyes are stormy gray; his complection lightly pigmented.\nChronos carefully extricates himself from the hole in the wall, passing his rod off to Veritas and then collecting it again after you help him down.\n\n> You examine the rod\nThe black rod appears to be several centimeters thick, gradually tapering off along its length so that both ends are narrower, covered in identical, silvery reflective caps. The central portion of the rod is riveted for secure gripping, while nearer to both ends are dials that encircle the diameter of the rod.\nChronos straightens his long coat and looks around, a faint smile\non his face. \"Welcome to my library,\" he says, turning to face Veritas, Euros Markon, and you. \"I'm afraid we won't be visiting here long,\" he says, beginning to walk down the aisle, looking fondly at the items on the racks.\n\n> You talk to Chronos\n\"Those holograms were yours I take it,\" you say.\nChronos grins broadly. \"I can do many things with the systems\nonboard this ship that they don't teach you in Tech training. Holograms are quite easy to program, really.\"\nChronos picks up one of the bound reams of paper. You notice the symbol of the Ancestor Tree embossed in silver on the flexible back cover before Chronos sets the bound ream back, shaking his head softly.\n\"I've lived for a very long time, and now I don't even have time\nto save a few books and artifacts from my library,\" he says, looking wistfully along the racks. He turns back to you and the others, his voice becoming deep and serious. \"I was unable to completely disable the transponder implant they put in me. They'll find us soon, and we need to move on. Now,\" he says, looking you in the eye, \"did you suceed? Is Lewis Yuan's letter back on the Fleet Cloud protocol where it belongs?\"\n\n> You talk to Chronos\n\"I think so,\" you say, \"but I can't be sure it worked.\"\nChronos nods. \"Then we will proceed as it we knew it did, and\ntrust to fate. That is, after all, all we can ever do. So, people are becoming aware of Yuan's message by now, as they check their daily communications, research the approved databases, view their entertainment, and waste time playing adventure games.\" He twirls the meter-long black rod in his hands and spreads his feet. \"Many of those people are becoming rather upset right now. They may support us, if we can offer more proof, if we can show them a tangible way to do as Yuan suggested. Our course of action is clear,\" he says, enthusiasm spilling through his voice. \"We must find the Bridge!\"\n\n> You cut the fore panel with the tool\nYou haven't encountered any \"north panel\". (If you're sure you need to refer to that, try putting it another way.)\n\n> Fore\nThe way is sealed fast.\n\n> You talk to Chronos\nYou ask Chronos about some of your favorite stories that he used to tell when you were a child. Chronos explains the Ancestor myths and the legends about the beginning of the Great Journey that he combined and embellished for those stories.\n\n> You cut aft with the tool\nYou set the laser tool to provide a concentrated beam for cutting. Then you stab at the metal sheet, turning your head as sparks fly.\n\n> Continue\nThe sheet of metal offers significant resistance as the laser blade bites deeply into it. When you've inserted the beam to its full length on the current setting, you pull up with difficulty.\n\"Chronos, why do you call this place your library?\" Veritas asks. \"Because I saved it,\" he replies, stroking his beard with his\nleft hand. \"Back when I served on the Council, I fought to keep old places like this maintained and open to the public. I was not particularly successful, but I did, at least, prevent my opponents from dismantling this room.\"\n\n> Keep going\nYou cut a jagged, roughly vertical line up the side of the metal plate, and then turn horizontally inward toward the bolts. The resistance increases.\n\"After this room was closed and sealed, I never brought it up\nagain, counting on their short-sightedness to forget it,\" Chronos continues. \"And so, by the time they threw me out of the Council, this place was utterly forgotten.\"\n\n> Continue\nYou dig the laser beam into the center of the metal sheet and then adjust its setting, making the beam less intense but increasing its resonance. The sheet begins to glow, molten metal dripping down as you slowly move the beam around the reinforced center.\n\"And what of the secret entrance?\" asks Euros, leaning against\nthe racks.\nChronos nods. \"Some time after that, I built the secret exit\nfrom the Data Center to access restricted areas, using old ventilation shafts. I used to come here ever so often, up until they rigged my skull with that accursed transponder.\" He looks at you and Veritas, smiling faintly. \"After they arrested me for conducting that Remembering service, when the two of you sat in the front row and listened to the word of what came before us.\"\n\n> Keep going\nYou switch off the laser tool and readust its setting. Turning it back on, you cut along the opposite side of the door from the part where you began, now making quick, sweeping motions.\n\n> You keep going\nYou connect the cuts that you made, digging multiple grooves to fragment the door into smaller and smaller sections. Despite your efforts, the scarred barrier remains intact. You struggle, thrashing the metal sheet almost randomly.\n\"Maybe you've weakened it enough.\" You turn your head to see\nEuros standing beside you, his gun raised. You step back, and Veritas lays a hand on your shoulder, smiling encouragingly. She guides you behind her, and then raises her own gun. Euros nods to her, and then both begin firing at the door, each impact scouring a dent.\nThe metal sheet buckles, and its center begins to crumble. Euros\nand Veritas take aim at the weakest point, blasting a jagged gap and revealing the blockade to have been nearly a meter thick. They shoot along the welded arch but succeed only in knocking off a little more material.\nVeritas stops shooting, and then Euros gives up a moment later.\n\"We just a need a little more,\" he says.\n\n> Continue\n(First turning on the laser tool.)\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\nThe laser beam grinds edge of the hole blasted through the\ncenter. With much effort, you widen the gap, loosening and then slicing off chunks of metal.\nChronos approaches. \"Allow me,\" he says, gesturing for you to\nstep away. He points the meter-long black rod at the door, and then turns one of the dials on it. A humming sound grows steadily louder, and the aft arch begins to vibrate and tremble, causing the whole room to shake. Chronos rapidly adjusts something else on the rod, and the sections that you cut into the sheet collapse inward with a loud crash.\nChronos lowers the meter-long black rod. \"The way is clear,\nEuros. You should be able to lose them in the old ventilation shafts, but I will let you form your own plan. Take care,\" he says to Euros, and then turns to you and Veritas. \"Come here, and stay close to me,\" he says, moving to the corner next to the cleared aft exit.\n\"If I do escape, I'll try to rally support,\" Euros says, looking\nfrom you to Veritas to Chronos. He turns abruptly and ducks through the jagged opening, just as the rattling of guns charges against the other side of the fore-door increases in intensity.\"\n\n> You turn off the laser\nThe lazer blade pulses and then disappears.\n\"We'll hide here,\" Chronos says, crouching with his back to the\nport wall, between two of the racks. You and Veritas beside each other, Veritas propped against the aft-facing rack and you against the fore. The sound of shearing, scourging impacts continues.\nChronos turns a dial on the meter-long black rod, and the space\nbeyond the back end of the racks suddenly looks hazy and distorted, as during your escape from the Data Center.\n\n> Wait\nTime passes...\nThe room shakes with an explosion, followed by footsteps.\n\"They should be here,\" a gruff masculine voice says.\nThe footsteps thud the length of the room. You hear the contents\nof the shelves being thrown roughly out of the racks. A guard wearing a shock-suit comes into view at the end of your rack. \"They may have escaped,\" the guard says, gesturing at the aft exit with her gun. \"Search this room first,\" says the first voice. \"I'm reading\nlife signs.\"\nThe guard standing at the end of the two racks between which you\nhand suddenly yells, dropping her gun as a point on her arm erupts in flame. As the guard jumps to the side, the retort of gunfire resounds several times more, coming from the aft exit.\n\"Proceed! The lifesigns must be coming from the other side of\nthe wall!\" A guard runs past your rack, firing through the aft exit. He steps to one side of the opening as the rest of the guards file quickly past.\nThe guard holds up his fist, stopping the last two of his\nunderlings from leaving. \"Burn this stuff,\" he says, firing his weapon into the racks of artifacts. The other two guards follow his example, blasting the contents of the racks. You and Veritas pull Chronos down to the floor, flattening yourselves as charges explode over your heads. As they turn to leave, the guards shoot the floor, igniting the soft material.\nChronos rises stiffly and brushes himself off. He looks over the devastion and grimaces.\n\n> You talk to Chronos\nChronos listens as you tell him the technical details about your demographics program that turned up the ancient document.\n\"I know a thing a two about programming, myself,\" Chronos says.\n\"The Ancestors used to have a special title of honor reserved for the very best programmers. I would say, Rood, you just might be a regular 'wizard'!\"\n\n> You look at the racks\nAll is destroyed.\n\n> You talk to veritas\nThe two of you speculate about what the meaning of the name that was randomly selected as your surname at the time of your melding from the pool of the names of your ancestors in both of your families.\n\n> Fore\nYou follow Veritas past the ruins of the sealed-off portal.\nChronos takes a step through as well, but then turns back,\nlooking slowly around the ashes of the scorched library. \"This too will arise again,\" he mutters, and then turns and enters the tunnel. \"Onward!\"\nYour journey through the sealed tunnels is long and dark. You\npass unchallenged, relying on Chronos's knoweldge of the route, until you arrive back in the less clandestine corridors. Chronos activates an invisiblity field with his rod, but every turn seems to be occupied by Militia Guards. As you gradually progress toward the Commons, you see increasing signs of chaos.\n\nA battle rages in the Commons, concentrated near the aft end. At\nthis end, people can be seen running from point to point, careful to avoid each other. The ground is littered with signs of chaos and death.\nChronos Han is here. Chronos holds a meter-long black rod.\n\n> Fore\nYou encounter no one as you pass through the commons. As you reach the corridor beyond, all is unusually quiet, except for the echoes of the distant chaos.\n\nRemoved from the central passageways of the Godspeed, no\nmore than two travelers could pass with comfortable distance between them. The walls here are panelled in strips of the unknown alloy of the older parts of the ship, but the homogenous white material of the newer renovations begins just meters down the corridor to\naft. To fore, the corridor narrows further and\nangles upward in a ramp, leading to the observation dome.\nChronos Han is here. Chronos holds a meter-long black rod.\n\"Here!\" Chronos says, rapping on the wall panels with his\nknucles. \"I believe the entrance corridor leading to the bridge can be found behind this wall.\"\n\n> You cut the panel with the tool\n(First turning on the laser tool.)\nThe nozzle at the end of the cylinder emits a faint beam of light, as narrow as a single hair. Then, the base of the nozzle emits a few sparks, and the beam pulses several times. The beam dissapears, replaced by a broader, pulsating blade of light, extending only a few inches out from the nozzle.\nYou cut a broad rectangular outline through the wall panneling.\nYou prise up the severed panels and toss them aside, raising your laser tool to work on the material underneath.\n\"They've caught us!\" Veritas lays a hand on your shoulder,\ndistracting you from your excavations. You look to see Guards run toward you from the direction of the Commons, while others thunder down the ramp from the observation dome.\"\n\"They knew we were coming,\" Chronos growls, brandishing the\nmeter-long black rod. \"Well, perhaps they will get more than they bargained for!\"\n\n> Keep going\nYou slash through the inner wall material as fast as you can, sending sparks flying as you shear circuitry.\n\n> You continue\nThe powerful beam emitted by the laser tool digs deeper into the wall. You discover a hollow area beyond and widen the hole. Now you should be able to pass through to whatever may lie on the other side.\n\n> You enter the hole\nfield. Chronos turns on his heel and jumps back to the port wall as you and Veritas crouch behind him into the crude opening you carved through the wall. Chronos falls to his knees, cranking the dials on the meter-long black rod. He looks up at you. \"Remember.\"\nYou fall backward, shielding Veritas with your body. The wall of\nthe corridor collapses on top of you.\n\n[....]\n\n> You look\nIt's too dark to see anything.\n\n> Go east\nYou no longer have enough motivation or strength to explore the other end of this dark hallway. This end terminates in an opening right here. You may as well go that way.\n\n> You talk to veritas\nYou flex your feet, and the mild pain informs you that they\nobeyed. \"Yes, I think I can stand,\" you tell her.\n\"Good.\" You feel her grab you under your arms, supporting some\nof your weight.\n\n> You leave\nThe guards are probably still out there.\n\n> Go inside\nThe room is open and rectangular, with a high ceiling and almost\nas many stations and terminals lining the walls as in the Data Center. At one end, the floor descends three steps into a depressed cockpit, where the wall arches out elliptically, containing three seats built into displays and terminals. The other end is mostly taken up by a large door, its two sides clamped together. On either side of the door are two small open archways; you don't even know which is the one you came through.\nAbove the depression, a wide arch spans from wall to wall.\nDisplayed prominently on the center of the arch is an emblem, at once familiar and different.\nVeritas looks around slowly, her eyes wide.\n\n> You examine the emblem\nMounted high on the arch is a depiction of the circular Serpent emblem. Instead of devouring a star where its head and tail meet, as in the symbol used by the Militia, this serpent is swallowing its own tail, closing the circle completely.\n\n> You examine the cockpit\nBeneath the arch at the end of the room, the depressed area contains three chairs between its curving walls with ample room between them.\nA ledge runs along the curve of the wall, flaring out toward the two chairs that are closer to the sides. The central chair rests at the center of a broad view of the stars, covering half the arc of the depression's wall.\nVeritas walks forward, gazing up at the plaque of the Serpent\nemblem. Then she touches the patch of the Serpent devouring the Star on her Militia Investigator uniform.\n\n> You sit on the central chair\nYou haven't encountered any \"central chair\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You enter the cockpit\nYou get into the depressed area.\n\nOn the Bridge, in the depressed area\nVeritas Tora is here. Veritas carries a handgun."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nOn the Bridge, in the depressed area\nThe room is open and rectangular, with a high ceiling and almost\nas many stations and terminals lining the walls as in the Data Center. At one end, the floor descends three steps into a depressed cockpit, where the wall arches out elliptically, containing three seats built into displays and terminals. The other end is mostly taken up by a large door, its two sides clamped together. On either side of the door are two small open archways; you don't even know which is the one you came through.\nAbove the depression, a wide arch spans from wall to wall.\nDisplayed prominently on the center of the arch is an emblem, at once familiar and different.\nVeritas Tora is here. Veritas carries a handgun.\n\n> You go outside\nYou get out of the depressed area.\nVeritas looks around slowly, her eyes wide.\n\n> You examine the display\nSome of them look passingly similar to technology that you've used, but most of the equipment here appears specialized, built around diagrams of ship structures or strange input interfaces. Lights flicker on and off on some of the displays, but the equipment doesn't appear to be activated.\n\n> Search equipment\nYou don't find anything new.\nVeritas walks forward, gazing up at the plaque of the Serpent\nemblem. Then she touches the patch of the Serpent devouring the Star on her Militia Investigator uniform.\n\n> You talk to veritas\n\"The Serpent devours only itself,\" you observe, noticing Veritas observing the plaque of the Serpent emblem.\n\"Yes,\" Veritas says. \"Over and over again, forever.\" Her voice\nis heavy. \"Chronos would have had something to say about it, for sure.\" She quivers, and you put your arm around her.\n\n> You examine the chair\nDisplays and controls hang out over all three chairs, the ledge from the wall of the depressed command area flaring out before the left and right chairs. The center chair is positioned between and a little behind the other two, before the massive viewport that wraps around the curve of the wall.\n\n> You look at the viewport\nBeneath the arch at the end of the room, the depressed area contains three chairs between its curving walls with ample room between them.\nA ledge runs along the curve of the wall, flaring out toward the two chairs that are closer to the sides. The central chair rests at the center of a broad view of the stars, covering half the arc of the depression's wall.\nYou hear movement from halls behind the bridge. Scraping, and\nthe sound of footfalls.\n\n> You talk to veritas\nThe two of you speculate about what the meaning of the name that was randomly selected as your surname at the time of your melding from the pool of the names of your ancestors in both of your families.\nVeritas stands beside you, raising her handgun veritcally\nparallel to her face. \"For Chronos,\" she whispers. \"For truth.\"\n\n> You take the handgun from Veritas\nThere is more to firing a handgun than pointing it and pulling the trigger. Veritas is trained in its use, and you are not.\nThe sound from beyond the bridge quiets to a soft clammor. A\nsingle person, a blond-haired woman, steps through. She looks up at you and Veritas and walks toward you, but stops and raises her hands as Veritas targets her.\n\"Rin...\" Veritas says without emotion.\n\n> You examine Rin\nThis short young woman fidgets where she stands, her green eyes wide, her trembling hand holding her weapon in your general direction. Her fair-skinned faced is creased in a grimace, framed by sheets of long blond hair.\n\"Veritas -- you were right. It was... really hard to turn on you\nlike that... I'm sorry; I thought it was what I had to do. After... when I saw how they ordered your instant death and destruction of everything found with you -- and your husband too, and your greatfather....\" Rin looks around, and then back at Veritas. \"Oh... your greatfather! Is he... uh...\"\n\n> Wait\nTime passes...\nVeritas snarls at the woman. \"Then what are you doing here?\"\n\"Coming to find you!\" Rin exclaims, her eyes wide. \"Before the remaining Council forces can get you. You see, the people of the Godspeed turned against the Council, partly due to the old\ndocument you put on the Cloud, and partly due to the martial law and all the abductions and lock-downs that followed. Plus, many members of the Bureau of Investigation turned out to have been on our side, or else they turned to our side when they saw all the corruption. The Bureau of the Guard has been more stubborn; they're trained to obey and not to think about it much. But even some of the high-ranking Guard officers declared neutrality when they understood that we don't want to overthrow the entire government, just the people suppressing the truth.\"\n\n> You talk to Rin\n\"How can we possibly trust you?\" you ask her.\nThe woman opens her mouth to speak, but a male voice from behind\nher cuts her off. \"I wouldn't have believed her either.\" Euros steps out of one of the hallways behind the bridge and walk to stand beside Rinaldi. \"But when the Guards caught me, she found me and ordered them to release me.\" He looks at her, brows knit together. \"There's a lot of questions I still want answered,\" he says, \"but I believe we can trust her for now. At any rate, if she tries anything, the army of civilians and Investigators that she and I lead to retake the fore section is waiting just outside.\" He grins.\n\n[....]\nThe process of restoring order is long and tense. You have never\nbeen more glad to be a simple Data Tech, not one to be involved in the convolusions of politics and war. Veritas, on the other hand, played a key role in reorganizing the Militia, preventing the more radical supporters of the uprising from throwing out and imprisoning everyone who was loyal to the Old Council. The people recognized her efforts and elected her as the representative of the Godspeed on the\nNew Council. You know that the reluctance with which she finally accepted the position was no mere modesty; you've seen her anxiety and her agonzied uncertainty. Ultimately, her sense of duty to the law and to the truth lead her to accept, and you know that she will serve with honor.\nThe bridge has been undergoing restoration, the best scientists, techs, and engineers working constantly to discover how to use the sensory and navigation technology onboard the ship that has served as your home and the home of your ancestors. The signal that Lewis Yuan wrote about has already been rediscovered, exactly as he described all those generations ago. It is only a matter of time before the long-dormant propulsion system is attuned once again to the Signal, and then you will once again be following the Beacon toward your destiny.\nYou've had a hand in the renovations, helping to translate\nbetween the ancient systems on the bridge and on other old and long-forgotten parts of the ship and the current operating environment, and to sift through and decode the vast amount of information stored in ancient snapshots of the Fleet Cloud and on ancient data storage devices. But you have a more important duty by far.\n\n[....]\nIt is time for the Remembering.\n\nBeneath the Heavens, standing on the central platform\nPeople crowd the three tiers of the stands, some shifting\nexcitedly, others sitting still in a reverential bearing. Completing the circle around the back of the platform are the endless stars of the New Heaven, which stretch above the transparent dome that forms the ceiling. A small arch opens above the center of the top tier of the stands, on the port side of the room.\nRinaldi Fletcher is sitting with Euros, looking toward you and\nsmiling meekly.\nEuros Markon is sitting in the stands, his arm around Rin's\nshoulder. He looks at you with an intense gaze, joyful but serious. Veritas sits boldly in the front row, smiling at you.\n\n> You talk to the people\nYou look over the audience, drawing a slow, deep breath. Veritas beams at you.\n\"The Ancestors did not live as we do. They lived on and communed\nwith the very spheres of the Heavens themselves. We were never meant to go on living in these ships forever. We need Land. We need Sea. We need Wind. We need Trees.\n\"At least now we once again have the stars. During the Great\nJourney from the Old Heavens, our ancestors saw no stars for many generations. Some thought that the stars were no more than a story told to ignorant children before sleep rotation. Most of those who knew that the Heavens really had once existed thought that the stars had actually vanished altogether. In our arrogance, we allowed ourselves to believe that we had no need for the stars. The Council declared that we were the only light, that our Fleet was the entire universe.\n\"But there was one man who remembered. His name was Chronos Han.\nAs a young Systems Tech on the Galaxy, Chronos saw the\nancient systems that had long since been shut away or ransacked. He dedicated his life to finding out the true purpose of the Fleet, of learning all he could about the Ancestors. He boldly declared that the Fleet was not all that is, that we came from the Heavens and that our fate was bound together with the Heavens.\n\"Chronos suffered many things at the hands of arrogant people.\nHe was imprisoned several times by the Militia and was tortured at the order Council in an attempt to make him recant. He and his family were threatened, his property confiscated, his name maligned. No matter what was done to him, he never stopped insisting that the Heavens were real, until he was proven right beyond all possibility of denial.\n\"The stars reappeared at last, after a hundred generations had\nlived died without them. But sadly, our foolish arrogance is so great that we very soon forgot the Ancestors once again, and we went on living as if the Fleet itself were our only purpose. Chronos gave his life so that we could have evidence to hold on to, so that we can believe that we came from a better place and are still seeking a better existence.\n\"Be sure that we will forget again, because we are always\ndevouring ourselves in our arrogance. However, it is just as certain that people will always long for the depths of the past and the promise of destiny. That is why we will not utterly forget, until our feet tread upon the surface of the New Land.\"\n\nYou lower your head and step forward to sit down next to Veritas.\nYou look straight ahead, silently, everyone else doing the same. Already small with distance, you see the canister in which Chronos's body was laid, emblazoned with the motif of the Ancestor Tree. He will journey forever among the stars, until the Heavens are born again."
    },
    {
        "text": "[Themes: war]\n\n\"Oh terrible minutes! One fears death and could, in such times,\nyearn for death, horrorified by this kind of death. Been in two assaults; may there follow no more! Nothing more eagerly longed for than this, besides getting home in one piece. Where did all courage disappear to? We have enough of waging war. Not cowardice is this but humanness, rebelling against this barbarism, this ghastly\nslaughter.\"\n\nKurt Peterson, killed in action August 3rd, 1915\n\nI slid down into a large shell crater to escape the fire that had wiped out most of my company. For all I knew, what was left of it were the two men who had jumped in right after me. I could hear their teeth clattering from underneath their gas masks.\n\nSomewhere around here had to be the that ominous trench.\n\nAt that very moment, some heavy battery didn't want to to be left out and started ploughing the hilltop once more, just to be sure nobody would get off it alive today. If I hadn't had soiled my pants already while running for my death through no-man's-land, now would have been the last opportunity.\n\nAn uphill struggle by Arno von Borries\n\nThis was where the French wire entanglements had been before the bombardment. Now, however, there was nothing left of them. The impact of whatever had hit here had been so violent, it had dug a hole right up to the trench itself.\n\nThe trench continued to the north, east and west.\n\nI could see Gruber and Tiersen here.\n\n[Author's Note: Mutual slaughter in northern France, spring 1916.]"
    },
    {
        "text": "[Themes: war]\n\n> Inventory\nI was carrying:\nan automatic\na pistol magazine\nthree grenades\na bayonet\na lantern\n\n> You examine the lantern\nA powerful mantle lantern, currently unlit.\n\n> You look at the bayonet\n\"The bayonet frequently jams on the thrust and then a man has to\nkick hard on the other fellow's belly to pull it out again; and in the interval he may easily get one himself. And what's more the blade often gets broken off.\"\n\nErich Maria Remarque, All Quiet on the Western Front\n\n> You look at automatic\nA standard service pistol.\n\n> Examine magazine\n(the pistol magazine)\nA seven-round magazine for an automatic.\n\n> You look\nThis was where the French wire entanglements had been before the bombardment. Now, however, there was nothing left of them. The impact of whatever had hit here had been so violent, it had dug a hole right up to the trench itself.\n\nThe trench continued to the north, east and west.\n\nI could see Gruber and Tiersen here.\n\n> You examine Gruber\nBruno Gruber was a man from my company.\n\nHe was carrying four grenades, a very light and a flare gun.\nHe was wielding a grenade.\n\n> You look at Tiersen\nEberhard Tiersen was a man from my company.\n\nHe was carrying a grenade, a banana magazine and a machine gun.\nHe was wielding a grenade.\n\n> You wield the bayonet\nBoth my hands were full already.\n\n> Inventory\nI was carrying:\nan automatic\na pistol magazine\nthree grenades\na bayonet\na lantern\n\n> You go to the north\nThis position was still in surprisingly good condition considering the heavy shelling that had been going on for days.\nConcrete braces reinforced the construction.\n\nThe trench continued to the south.\n\nI could see a surprised Frenchman here.\n\nTiersen fell in behind me.\n\nGruber fell in behind me.\n\nThe Frenchman fired his automatic at myself.\nI received a light wound in the my leg.\n\n> Fire automatic at Frenchman\nI wasn't wielding the automatic.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the chest.\n\nTiersen struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the leg.\n\nThe Frenchman fired his automatic at Tiersen.\nTiersen received a moderate wound in the stomach.\n\nTiersen struck a Frenchman with his grenade.\nThe Frenchman received a moderate wound in the head.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the chest.\nThe Frenchman collapsed on the spot.\n\n> You hold automatic\nI took the automatic from the Machine-gun nest.\n\n> You hold the magazine\n(the pistol magazine)\nI took the pistol magazine from the Machine-gun nest.\n\n> Wield magazine\n(the pistol magazine)\nThe pistol magazine was unsuited as a weapon.\n\n> Wield grenade\nI was already wielding the grenade.\n\n> You throw the grenade\nDropped.\n\n> You get the grenade\nI took the grenade from the Machine-gun nest.\n\nThe dying Frenchman groaned in pain.\n\n> You examine frenchman\nThe man was dying.\n\nThe Frenchman's head was badly bruised.\n\n> 1\n( - What this game is about)\n\nThe fighting for the town of Verdun during the first world war has become a symbol for and warning against the futility of war in both France and Germany. It lasted ten months, during which the front lines changed by not even ten kilometres, yet cost hundreds of thousands of lives. It is remembered for its particular brutality. Those who fought in it called it \"Bone mill\", \"Blood pump\", \"Hell\".\n\nDuring March and April 1916, much of the struggle happened on two adjacent hills, behind which some French batteries were positioned to fire into the German flank. One was known only as hill 304, the other had been called le mort homme even before the war. Attack was\nfollowed by counter-attack, day and night.\n\n> Go north\n( - What this game is about)\n\nThe close combat in the trenches was easily outmatched in deadliness by the effects of the artillery fire. Soon, the incessant bombardment had turned the hills into an unrecognisable moonscape of shell craters. When it rained, these turned into pools of slippery mud, threatening to drown anyone trying to find shelter. As both sides tried to prevent the other from gaining a foothold on the hills, there was rarely a chance for the troops to dig their own cover. When there was, they often discovered body parts of those sent in before them. To this day, there are an estimated 80.000 dead still lying unrecovered on the battlefields of Verdun and every square meter is sprinkled with, on average, five kilograms of metal from shell fragments.\n\n> Go north\n( - What this game is about)\n\nWhy point out all this a hundred years after the fact, when there have been even bloodier wars since?\n\nPeople from all walks of life went into the first world war singing and jubilant. They came from societies where an uncompromising stance in matters of foreign policy and national prestige were seen as\nraison d'etat. At Verdun, they got what they had asked for.\nIt seems to the author that the memory of these developments has somehow faded away and that today might be a good time to call the human cost associated with them back into mind. After all, the institutions of compromise, that have been so central to keeping the peace in Europe for the latter part of the 20th century, have never been less popular than today.\n\nIn essence, the work at hand is a short vignette, meant as an illustration of the ultimate consequence of a game that can feel heady and warm yet carries in itself the potential for any cruelty imaginable. That favourite pastime past and present: patriotism.\n\n> 2\n( - How this game works, mechanically speaking)\n\nThis game can involve a lot of shooting, stabbing, striking and the like. Because this takes place at very close range, there will usually not be any time to draw a weapon before someone else starts the killing, so it's important what characters hold in their hands at any given moment. Readers will want to keep the following points in mind when playing the game:\n\n1. To fight, one needs a weapon.\n2. In an emergency, almost anything can be used as a weapon.\n3. Weapons and objects can be drawn and holstered (equipped, wielded, slung, put away...).\n4. To make use of any object or weapon, it needs to be drawn.\n5. It is possible to hold two small objects at the same time, but many objects are too large to carry in one hand only.\n6. NPCs will normally not just stand around and get killed. Instead, they will use whatever they have at their disposal to get rid of their opponents, or at least try to flee.\n7. It is possible to give orders to others, like, for example, so: \"Peters, equip pistol\", \"Jansen, give magazine to Peters\", \"Peters, Jansen, load pistol\",  or \"All, hurl primed grenade south\".\n8. Men under your command will try to obey simple orders. If they can't comply immediately, they will try to create the necessary preconditions to carry them out first.\n\n> 3\n( - How this game works, tactically speaking)\n\nThe basic method of rolling up a trench as was practised during this phase of the war was to toss a few hand grenades around every corner before going oneself and to bomb out all underground bunkers the same way. It was seen as very secondary whatever other armament was carried. The only real alternative course of action was to fire blindly around corners, which was much less effective with most of the weapons available at the time.\n\nThis assumed that the attacker had somehow managed to make it into the defender's trench. Since a frontal attack across no-man's-land in the face of the defenders' guns had been shown again and again to be utter suicide, it emerged that the most promising tactic for attacking infantry was to come silently at night and infiltrate a position unnoticed by its occupants. To make this work, it was necessary to take only a very small raiding party and to make as little use of light, firearms and explosives as possible in order to avoid detection.\n\nOf course, it was also conceivable to bombard a position with heavy artillery until everyone inside was dead. In fact, this was what was attempted most of the time. The downside to all these tactics was that they could be employed equally well by the defender to counter-attack positions that had already been captured.\n\n> Examine\nThis position was still in surprisingly good condition considering the heavy shelling that had been going on for days.\nConcrete braces reinforced the construction.\n\nThe trench continued to the south.\n\nI could see four grenades, Gruber, wounded Tiersen and a dying Frenchman here.\n\n> Inventory\nI was carrying:\nthree grenades\ntwo pistol magazines\ntwo automatics\na bayonet\na lantern\n\n> You give the bayonet to Gruber\nI gave the bayonet to Gruber.\n\nThe Frenchman stopped moving.\n\n> You give the grenade to Gruber\nI gave the grenade to Gruber.\n\n> You give the magazine to Gruber\n(the pistol magazine to Gruber)\nGruber was carrying too many things already.\n\n> Inventory\nI was carrying:\ntwo pistol magazines\ntwo automatics\na lantern\n\n> You give automatic to Tiersen\nI gave the automatic to Tiersen.\n\n> You give the magazine to Tiersen\n(the pistol magazine to Tiersen)\nI gave the pistol magazine to Tiersen.\n\n> Continue\nWhich do you mean, a pistol magazine or a banana magazine?\n\n> Inventory\nI was carrying:\na lantern\n\n> You look\nThis position was still in surprisingly good condition considering the heavy shelling that had been going on for days.\nConcrete braces reinforced the construction.\n\nThe trench continued to the south.\n\nI could see four grenades, Gruber, wounded Tiersen and a dead Frenchman here.\n\n> You search frenchman\nThis was where the French wire entanglements had been before the bombardment. Now, however, there was nothing left of them. The impact of whatever had hit here had been so violent, it had dug a hole right up to the trench itself.\n\nThe trench continued to the north, east and west.\n\nTiersen fell in behind me.\n\nGruber fell in behind me.\n\nI couldn't see any such thing.\n\n> Go east\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a surprised Frenchman here.\n\nTiersen fell in behind me.\n\nGruber fell in behind me.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the arm.\n\nThe Frenchman struck Tiersen with his grenade.\nTiersen received a bad wound in the head.\nTiersen was killed instantly.\n\n> You look\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a machine gun, a banana magazine, a grenade, two automatics, two pistol magazines, Gruber, dead Tiersen and a lightly injured Frenchman here.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the leg.\n\nThe Frenchman struck myself with his grenade.\nI received a light wound in my chest.\n\n> You look\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a machine gun, a banana magazine, a grenade, two automatics, two pistol magazines, Gruber, dead Tiersen and a wounded Frenchman here.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the arm.\n\nThe Frenchman struck myself with his grenade.\nI received a light wound in the my arm.\n\n> You examine the water\nA muddy grey soup.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the chest.\n\nThe Frenchman struck myself with his grenade.\nI received a light wound in the my arm.\n\n> You look\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a machine gun, a banana magazine, a grenade, two automatics, two pistol magazines, Gruber, dead Tiersen and a wounded Frenchman here.\n\nGruber struck a Frenchman with his grenade.\nThe Frenchman received a light wound in the stomach.\nThe Frenchman collapsed on the spot.\n\n> You look at Tiersen\nEberhard Tiersen was a man from my company.\n\nTiersen's head had a horrifying crushing injury.\n\n\"Maman! Maman!\" the dying Frenchman called out.\n\n> You look\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a rifle, a clip, three grenades, a machine gun, a banana magazine, two automatics, two pistol magazines, Gruber, dead Tiersen and a dying Frenchman here.\n\n> You look at Gruber\nBruno Gruber was a man from my company.\n\nHe was carrying seven grenades, a bayonet, a very light and a flare gun.\nHe was wielding a grenade.\n\n> You get the grenade\nI took the grenade from the Communications trench.\n\n> Inventory\nI was carrying:\na grenade\na lantern\n\n> You kill Frenchman with the lantern\n\"Heloise, mon cher,\" whispered the dying Frenchman.\n\n> You wait\nTime passed.\n\nThe dying Frenchman tried to say something, but couldn't manage to form the words any more.\n\n> You wait\nTime passed.\n\n> You look\nThis was a well-constructed trench more than a man deep.\nThe walls were revetted to keep them from caving in.\nBlack water stood knee-high at the bottom.\n\nThe trench continued to the north, east and west.\n\nI could see a rifle, a clip, two grenades, a machine gun, a banana magazine, two automatics, two pistol magazines, Gruber, dead Tiersen and a dying Frenchman here.\n\n> You look at Gruber\nBruno Gruber was a man from my company.\n\nHe was carrying seven grenades, a bayonet, a very light and a flare gun.\nHe was wielding a grenade.\n\n> You give the grenade to Gruber\nGruber was carrying too many things already.\n\n> You drop Gruber\nGruber was already here.\n\nThe dying Frenchman groaned in pain.\n\n> You give you the very light\nThe Frenchman died silently.\n\n(Myself the very light)\nGruber gave the very light to me.\n\n> You check what you're carrying\nI was carrying:\na very light\na lantern\n\n> You go to the north\nThis was a well-constructed trench more than a man deep.\nThe walls were constructed of neatly stacked sand bags.\n\nThe trench continued to the south.\n\nI could see three surprised Frenchmen here.\n\nGruber fell in behind me.\n\nThe Frenchman fired his rifle at Gruber.\nGruber received a fatal wound in the head.\nGruber was killed instantly.\n\nThe Frenchman fired his rifle at myself.\nI received a bad wound in my stomach.\n\nThe Frenchman cycled the action of the rifle.\n\nThe Frenchman cycled the action of the rifle.\n\nI stopped moving.\n\nMy chest had a small bruise. My stomach had had a major artery torn by a bullet. My leg had received light wound from a grazing shot. My arm had a small bruise. My arm had a small bruise.\n\n\"The only thing that is particular to war is the wound, the\nsenseless injury of the body, and the senseless enmity. That is, the animosity between men, who would, as individuals, face each other without hate, perhaps even with love.\"\n\nArthur Schnitzler, 1914"
    },
    {
        "text": "[Themes: Educational, mathematics, based on songs]\n\nyet)\n\nSpace Suit -- Episode 38 of the Apollo 18 Tribute Album by Andrew\nSchultz\n\n6/12N)\n\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nA protective spacesuit hangs on a pedestal. Well, you'd guess it's\nprotective, since it doesn't look very fashionable.\n\n[Type ABOUT to find out more about this game, or CREDITS to find out\nmore about people who helped make it, or make it better.]\n\n[Author's Note: There are 1001 doors in the darkened corridors. Which is right?]\n\n> About yourself\nyet)\n\nJeans and a t-shirt.\n\n> You go to the northeast\nyet)\n\nYou leave the center for more a wide-open area with less to see, do\nand take. But hey, you can always come back.\n\nThere are glowing walls to the east and north here, and you sense an\nodd energy from them.\n\n> You examine the walls\nyet)\n\nYou can't see any such thing.\n\n> You examine wall\nyet)\n\nWhich do you mean, the west wall, the east wall, the south wall, the\nnorth wall or the wall?\n\n> You examine the north wall\nyet)\n\nYou don't see anything special.\nIt's too far away to see at the moment.\n\n> You check your inventory\nyet)\n\nYou are carrying nothing.\n\n> You go to the east\nyet)\n\nYour skin begins tingling as you approach the wall. Radiaton? Heat?\nYou're not sure. Even though it appears malleable, you don't trust\nyourself to make it through as is.\n\n> You touch the east wall\nyet)\n\nYou feel nothing unexpected.\n\n> You go to the south\nyet)\n\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> You look at the mural\nyet)\n\nThere's a picture of various Pythagorean triangles, size determined by\nnotches-3/4/5, 5/12/13, and so forth.\n\nThere's a picture of a top spinning around. It seems to be about to\nfall--it's at a close angle to the ground.\n\n> You go south\nyet)\n\nThere are glowing walls to the south and east here, and you sense an\nodd energy from them.\n\n> Go west\nyet)\n\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\n> You examine the mural\nyet)\n\nIt's a list of riddles that make sense once you know the answer, but\nyou're glad there wasn't a gnome that made you bet your life on them.\n\nyour attention more, anyway--but what's it doing here?\n\n> Examine hunter\nyet)\n\nSeems like an anachronism...or maybe a hint?\n\n> Go west\nyet)\n\nThere are glowing walls to the south and west here, and you sense an\nodd energy from them.\n\n> Go north\nyet)\n\nYou're in the center of the west edge of the little boggle-box. You\ncan see a mural on the west wall.\n\n> You examine the mural\nyet)\n\nThere's a picture of a big long maze. You begin puzzling your way\nthrough it, starting at the bit marked \"end\" and trying to block out\nvarious dead ends.\n\nBelow the maze, there's a picture of a kite trailing its owner at a\nforty-five degree angle--must be windy.\n\n> You go north\nyet)\n\nThere are glowing walls to the west and north here, and you sense an\nodd energy from them.\n\n> Go east\nyet)\n\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You look at the mural\nyet)\n\nYou see a stick figure holding an opaque umbrella at an angle. Also,\nthere appears to be an impromptu treatise on tic-tac-toe strategy, but\nyou have nobody to play it with. Rats.\n\n> You go south\nyet)\n\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nA protective spacesuit hangs on a pedestal. Well, you'd guess it's\nprotective, since it doesn't look very fashionable.\n\n> You look at the spacesuit\nyet)\n\nLargely white, with an opaque helmet and handy pockets for fitting\nscraps of paper in. It's got some weird dark LCD output on the chest\nwith a lever off to the side.\n\n> You examine the lcf\nyet)\n\nYou can't see any such thing.\n\n> You examine the lcd\nyet)\n\nIt's dark. You imagine there's a way to switch it on.\n\n> You pull the lever\nyet)\n\nYou should be wearing the spacesuit before doing that.\n\n> You take Suit\nyet)\n\nHmm. As you pick it up, a brochure falls off the pedestal and onto the\nfloor, and a small lead ball also falls from a sleeve onto the ground.\n\nYou also see the spacesuit was covering a couple of drawings.\n\n> You examine the brochure\nyet)\n\nIn case the brochure has small print, you take it first.\n\nHmm. There's no actual writing. At the top, you see shows five lines\nin an S through a 3-by-3 square of dots...and a big red X through all\nthat. Below, there're four lines next to an intact 3-by-3 square.\nThere are a few more pages on the inside, too.\n\n> You open the brochure\nyet)\n\nThere're diagrams about spacesuit operation--likely, the one you're\nholding--and how it protects from radiation and heat and so forth. The\nwavy lines and fire are universal enough. No letters are needed. But\nyou don't see any dangers here, so maybe there's more useful later.\n\n> You examine the ball\nyet)\n\nIt seems unremarkable. You wonder what it's for, and what to do with\nit.\n\n> You take all\nyet)\n\nThis is more a puzzle than a treasure hunt. Besides, there aren't that\nmany items IN the game.\n\n> You take the ball\nyet)\n\nTaken.\n\n> You take the brochure\nyet)\n\nYou already have that.\n\n> You wear Suit\nThe suit fits comfortably.\n\n> You pull the lever\nYou might want to read the brochure...the center may not be the best\nplace to start recording your movements.\n\n> You read the brochure\nThere's a close-up of a lever on the side of the spacesuit. Two-way\narrows indicate that it detects bends, or changes in direction. You\nsee a few more pages.\n\n> You read the brochure\nYou see a square of nine faces -- the middle frowny and red, the\nothers smiley and green. The northwest -- assuming north is up -- has\nlittle sunshiney rays around it. Maybe the last bit will be more\ninformative.\n\nHmph. Just a finger pointing at you, a brain with lines coming from it\n(it appears to have just jumped from a box,) and pictures of medals\nand ribbons. But there's a loose page behind.\n\n> You look at the loose page\nYou rip the page from the brochure.\n\nwith a line through it--some poor stupid looking face is crossed out.\nThere's also someone wearing a spacesuit next to a crossed-out stick\nfigure that is not.\n\nThere's a big exclamation mark in the upper right-hand corner--a\npretty universal meaning. The slots on the left side are labeled A, B\nand C, from top to bottom (okay, they're unreadable glyphs. But you\nhave to call them SOMEthing.) On the right, there's D, which you\ndecide is a tab.\n\nB and D are parallel with the middle row, while A is close to the top\nrow, and C is close to the bottom row.\n\nWould you like to see a physical representation?\n\n> Y.\n. . .\nA -\nB -  . . . - D\nC -\n. . .\n\n> Go northeast\nyour spacesuit. Perhaps some places are better than others.\n\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\n> You go to the east\nHm. It's like some weird foamy turnstile.\n\nanything. But exploring may turn up some clues.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> You go to the west\nout.\n\nHmm. Switch the lever here? Technically, there's no rush.\n\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\n> You go east\nYou're used to this turnstile action by now.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> Go northwest\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the southeast.\n\n> Go southwest\nNothing weird happens the second time on your way back, either.\n\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> Go east\nHere, you can only go south, southeast and southwest.\n\n> Go southeast\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> You go southwest\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> Go east\nThere's no secret door behind the mural. You've found how to get\noutside the box, anyway.\n\n> You go west\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\n> You examine the pedestal\nIt's cylindrical, with an odd diagonal line down the side--you'd think\nit'd be straight up and down, but it's perpendicular to a ramp that\nseems to circle the outside.\n\nthe ramp, and you can see a couple drawings, too.\n\n> You look at the drawings\nYou see two pictures: one, a grid of nine dots, and another, a black\neight-pointed star with a big red X through its center. The star looks\nas below:\n\n*     *\n|\\   /|\n| \\ / |\n\n\\ | / \\ | /\n\\|/   \\|/\n*     *\n/|\\   /|\\\n/ | \\ / | \\\n\n| / \\ |\n|/   \\|\n*     *\n\n> You examine the ramp\nYou can't actually touch inside it--it's covered all the way down. But\nit cuts a spiral through the cylindrical pedestal that winds around\nalmost three times before the hole at the bottom. The line cutting\nthrough the pedestal starts just to one side of the entry and to the\nother side of the exit.\n\n> You put the ball in hole\noutside of the pedestal. After a half-minute, the ball rolls slowly\nout the bottom. You could pick it up and try again, if you want.\n\n> You take the ball\nTaken.\n\n> You put the ball in the hole\nIt's fun to watch the ball roll down, but you doubt you're doing\nanything.\n\n> You keep going\nYou remember rolling a penny down a similar spiral at some toy store.\n\n> Continue\nWhee! Somehow, it never quite gets boring.\n\n> You keep going\nOkay, I lied. You start wondering what the ramp is there for, or what\nit's demonstrating.\n\n> Keep going\nYou roll the ball down the ramp yet again.\n\n> Twist ramp\nNothing obvious happens.\n\n> You go to the east\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> Go southeast\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the northwest and west, or you can dither around\nto the southwest.\n\n> You pull the lever\nYou hear a hum, then a loud BEEP, from your spacesuit. You look down\nand notice the LCD output has begun to glow.\n\n> You examine the lcd\nThe LCD output reads:\n\n- - - 0 / 4 -+\n- - -        |\n- - - 0 / 9\n\n> You go northwest\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\nYou hear a beep. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions three more\ntimes.\n\n> Go northwest\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You go northwest\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southeast and south, or you can dither around\nto the southwest.\n\n> Switch lever\nYou hear a grinding and whooshing as you start. You back off.\n\n> You go to the south\nThere are glowing walls to the west and north here, but they don't\nseem menacing--they're even pulling your spacesuit towards them,\nslightly.\n\nYou hear two beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions two more\ntimes.\n\n> You go to the south\nYou're in the center of the west edge of the little boggle-box. You\ncan see a mural on the west wall.\n\n> Go south\nThere are glowing walls to the south and west here, but they don't\nseem menacing.\n\n> You go south\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the northeast and north, or you can dither around\nto the northwest.\n\n> Go northeast\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\nYou hear three beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions once more.\n\n> You go to the northeast\nYou're in the center of the east edge of the little boggle-box. You\ncan see a mural on the east wall.\n\n> You go to the north-east\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southwest and south, or you can dither around\nto the northwest.\n\n> Go west\nThere are glowing walls to the east and north here, but they don't\nseem menacing.\n\nYou hear four beeps. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions zero more\ntimes. Crunch time.\n\n> You go west\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> You go to the west\nThere are glowing walls to the west and north here, but they don't\nseem menacing--they're even pulling your spacesuit towards them,\nslightly.\n\n> You examine the lcd\nThe LCD output reads:\n\n* + + 4 / 4 -+\n+ - +        |\n+ + - 7 / 9\n\n> You go to the southeast\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\nYou can see a small lead ball here.\n\nA loud horn begins honking. You have made one too many turns with your\nspacesuit activated!\n\n> You read the brochure\nIn case the brochure has small print, you take it first.\n\nHmm. There's no actual writing. At the top, you see shows five lines\nin an S through a 3-by-3 square of dots...and a big red X through all\nthat. Below, there're four lines next to an intact 3-by-3 square.\nThere are a few more pages on the inside, too.\n\n> Keep going\nThere're diagrams about spacesuit operation--likely, the one you're\nholding--and how it protects from radiation and heat and so forth. The\nwavy lines and fire are universal enough. No letters are needed. But\nyou don't see any dangers here, so maybe there's more useful later.\n\n> You continue\nThere's a close-up of a lever on the side of the spacesuit. Two-way\narrows indicate that it detects bends, or changes in direction. You\nsee a few more pages.\n\n> Keep going\nYou see a square of nine faces -- the middle frowny and red, the\nothers smiley and green. The northeast -- assuming north is up -- has\nlittle sunshiney rays around it. Maybe the last bit will be more\ninformative.\n\n> Continue\nHmph. Just a finger pointing at you, a brain with lines coming from it\n(it appears to have just jumped from a box,) and pictures of medals\nand ribbons. But there's a loose page behind.\n\n> You get page\nIt pulls out easily. It's got the three-by-three square of dots, but\nit also has four slots cut into the sides--three on one side, one on\nthe other.\n\n> You read the page\nwith a line through it--some poor stupid looking face is crossed out.\nThere's also someone wearing a spacesuit next to a crossed-out stick\nfigure that is not.\n\nThere's a big exclamation mark in the upper right-hand corner--a\npretty universal meaning. The slots on the left side are labeled A, B\nand C, from top to bottom (okay, they're unreadable glyphs. But you\nhave to call them SOMEthing.) On the right, there's D, which you\ndecide is a tab.\n\nB and D are parallel with the middle row, while A is close to the top\nrow, and C is close to the bottom row.\n\nWould you like to see a physical representation?\n\n> Y.\n. . .\nA -\nB -  . . . - D\nC -\n. . .\n\n> You look at the tab\nIt's the only slot on the right of the paper. You can probably fold\nany of the others into it.\n\n> You fold the B into the d.\nAs you twist the leaflet, you see crumbling--walls on the east and\nwest appear to fall. You feel the room you're standing on wrenched\ninto something you can't quite understand. You're knocked out for a\nminute but wake up where you were.\n\n> Go east\nyour spacesuit. Perhaps some places are better than others.\n\nYou're in the center of the east edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the east.\n\n> Go east\nanything. But exploring may turn up some clues.\n\nYou're in the center of the west edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the west.\n\n> Go north\nHmm. Switch the lever here? Technically, there's no rush.\n\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> Go west\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> You go west\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> Wave\nYou wave, feeling foolish.\n\n> You go to the north\nHm. It's like some weird foamy turnstile.\n\nYou're outside the usual boundaries of the box. You can go back\nthrough the walls to the southeast and south. You're not actually sure\nif being here is the best plan.\n\n> You fold a into the d.\n(slot a into tab d)\nYou see the passage back to the inner area shake. This worries you.\nPerhaps the leaflet is more powerful than you thought.\n\n> You go south\nout.\n\nYou thought you remembered this was a corner, but you can't see any\nwalls to the east or west for a while. You think you see someone in\nthe distance, though.\n\n> You look at the page\nIt's wrapped around itself now, the tabs gone--melded into the paper\nsomehow. Oddly, the dots that were on opposite sides are now close to\neach other.\n\n> Go southwest\nboggle-box you've been transported into. You can go one move in any of\nthe usual 2-d directions, even the crazy ones, before hitting a wall.\n\nThe pedestal you took the spacesuit from is here, too. It's prominent\nenough that you couldn't trip over it if you tried.\n\nYou can see a small lead ball here.\n\n> You look at the drawings\nYou see two pictures: one, a grid of nine dots, and another, a black\neight-pointed star with a big red X through its center. The star looks\nas below:\n\n*     *\n|\\   /|\n| \\ / |\n\n\\ | / \\ | /\n\\|/   \\|/\n*     *\n/|\\   /|\\\n/ | \\ / | \\\n\n| / \\ |\n|/   \\|\n*     *\n\n> You fold a into the d.\n(slot a into tab d)\nAs you twist the leaflet, you see crumbling--walls on the east and\nwest appear to fall. You feel the room you're standing on wrenched\ninto something you can't quite understand. You're knocked out for a\nminute but wake up where you were.\n\n> Go west\nYou're in the center of the west edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the west.\n\n> You go west\nThere should be an east wall joining the south wall, but the only one\nyou see is a bit to the west.\n\n> You go to the west\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\n> Go west\nwalls here.\n\n> You go to the east\nYou're in the center of the south edge of the little boggle-box. You\ncan see a mural on the south wall.\n\nYou hear a beep. A turn-arrow pulses on part of your LCD, then\nvanishes. You assume this means you can change directions three more\ntimes.\n\n> You go to the east\nYou're in the center of the east edge of the little boggle-box. Jagged\nrubble on the floor indicates there may have been a wall to the east.\n\n> You go to the east\nThere should be a west wall joining the north wall, but the only one\nyou see is a bit to the east.\n\n> Go east\nYou're in the center of the north edge of the little boggle-box. You\ncan see a mural on the north wall.\n\n> Go east\nwalls here.\n\nYou hear a loud siren. Confetti drops from the ceiling. Three people\nin robes walk out, beaming silently.\n\nYou are handed a gold medal! You have done about the best you could\ndo. A monk waves his hand, and the topology of the room is\nre-scrambled. You are escorted into a small nook with all manner of\nlogic puzzles. They look interesting, but you hope you're let out\nbefore you solve them all.\n\nI hope you enjoyed this puzzle, and I hope converting it to a text\nadventure was as fun for you as it was for me."
    },
    {
        "text": "[Themes: Game, Joke, chess]\n\nIt has been a fierce battle, full of bold moves, daring attacks,\nsurprising gambits and heroic sacrifices. Throughout this, you've\nremained at your starting point, patiently waiting for orders. But now\nthat the metaphorical dust has settled and most pieces have been\nexchanged, it finally looks as if it is your turn. The White King and\none of your Pawn colleagues have managed to nail the Black King with\nhis back to the edge of the board, but they can't finish him off\nwithout help.\n\nThe White King calls you to action. It is time to make your move.\n\nDEMO version for the TextFire 12-PACK\n(Type \"about\" for more information)\n\nChessboard (on f2)\nThe chessboard is almost empty, now that most pieces have been\nexchanged. Its surface is perfectly smooth, its 64 squares\nalternatingly deep black and pearly white.\n\n[Author's Note: You get to play a pawn in a chess game - at the very end.]\n\n> You look at the board\nThe chessboard is almost empty, now that most pieces have been\nexchanged. Its surface is perfectly smooth, its 64 squares\nalternatingly deep black and pearly white.\n\n> You look at Pawn\nWhich do you mean, the White Pawn or the Black Pawn?\n\n> You go north\nOn your first move, you may choose to move two steps forwards instead\nof just one. Would you like to do that?\n\n> No\nChessboard (on f3)\n\nThe Black King scratches his head. \"Hmmm. A difficult position - I\nmight have to sacrifice my last pawn. Let's see...\"\n\n> Wait\nTime passes.\n\nThe Black King sighs. \"It looks like we don't have much choice. Pawn,\none step forward!\" His sole remaining subject moves one square to the\nsouth, to g4.\n\n> You go northeast\nWith a faint popping sound the Black Pawn vanishes from the board.\n\nChessboard (on g4)\n\nThe White King cries out in frustration: \"You fool! You weren't\nsupposed to do that!\"\n\nThe Black King, however, can't hide his pleasure. \"I haven't got any\nlegal moves left. It's a stalemate!\" He pats the White King on the\nshoulder. \"Seems like you don't win after all, old chap.\"\n\n> You go to the north\nChessboard (on f4)\n\nThe Black Pawn looks a bit surprised, and more than a little relieved,\nthat you didn't capture it. The White King nods his approval, however:\n\"Well done! Just continue north, and don't get distracted!\"\n\n> You wait for a while\nTime passes.\n\nThe Black King smiles grimly. \"So you didn't fall for my little trap?\nIn that case, we'll have to see whose pawn is the fastest!\" He gestures\nto his Pawn, which takes a step towards the south, to g3. The White\nKing waves at you to continue your march.\n\n> You go to the north\nChessboard (on f5)\n\nYou take another step forwards. The Black King rather nervously orders\nhis pawn to continue.\n\n> Go north\nBut it's not your move!\n\nThe Black Pawn continues south. It is now dangerously close to becoming\na Queen, and you can't help throwing some nervous glances in its\ndirection. The White King, however, encourages you: \"Don't worry, they\nwon't have the time to do anything.\"\n\n> You go north\nChessboard (on f6)\n\nThe Black King gives you a worried look, but then turns to his own\nPawn. \"Just one more step and you'll be promoted!\"\n\n> You wait a while\nTime passes.\n\nAs the Black Pawn set foot on the first rank, it is surrounded by a\ngolden glow. With a fanfare from invisible trumpets, the Pawn is\ntransformed into a Queen! The White King looks at her, and snorts.\n\"Impressive - but it will not help a bit. Finish them off, Pawn!\"\n\n> You go north\nChessboard (on f7)\n\nYou boldly advance and threaten the Black King. \"Check!\" you cry, and\nthe White King fills in: \"...and mate!\"\n\nThe Black King desperately looks around for an escape, but can't find\nany. He extends his hand to his White colleague. \"It looks like you win\nagain. But just wait - I'll get my revenge next time!\"\n\nThe White King pats your back. \"Well done! I think there's a vacancy as\na Knight - I'll see if I can get you promoted in time for the next\ngame.\""
    },
    {
        "text": "[Themes: Romance, Fantasy, winter, romance, dragon, female protagonist, sexual content, Demon]\n\nThis game uses some special effects that can cause problems on older interpreters, and especially on interpreters for handhelds.\n\nAnswer 'no' if your interpreter doesn't support color or timed input.\n\nDo you want to play the enhanced version?\n\n[Author's Note: In this short story that's part romance and part tragedy, you play as a young woman. A week ago, the Ice Queen stole your boyfriend from your bed, leaving a snowflake in his place. Now, you stand outside her cave, wondering what you must do to get her to give him back.]"
    },
    {
        "text": "[Themes: Romance, Fantasy, sexual content, dragon, female protagonist, Demon]\n\n> No\nYou have made it, finally, to her cave. A week ago, she kidnapped your boyfriend from your bed, while you were sleeping. When you awoke, he was gone, a beautiful snowflake in his place. That was when you knew she had taken him.\n\n'I see you have found me,' says the Ice Queen amusedly. 'So you want your boy back, my dear? Come, follow me inside.'\n\nShe bows mockingly, then disappears inside the cave.\n\n\n\nPlease type ABOUT.\n\nThis is it. The dread Ice Queen's home lies to the north, the dark cave mouth beckoning.\n\n> About yourself\nYou are tightly wrapped in cold-protective clothing.\n\n> Go north\nThe inside of the cave consists solely of ice. It is mostly empty, the most striking feature being the gigantic ice throne the Queen is sitting on. Prominently displayed in the middle of the cave is a large, clear block of ice inside which Saul has been frozen.\n\nOn the throne is the Ice Queen.\n\n> You examine saul\nHe is just as you last remember him. Light brown skin, shaved head, that short goatee you asked him not to shave off... but he's frozen into a block of ice, his eyes are closed, he is not breathing.\n\n> You look at Queen\nThe Ice Queen is as black as a moonless midnight, except for her cold blue eyes. She stands at least twice as tall as you, wearing a dress of black ice that constantly melts and reforms around her body.\n\n> Talk\nWhat do you want to t?\n\n> You talk to Queen\n'You want him back? Then bring me the Heart of Winter. It is guarded by the Dragon, but since you have found me, I am sure you are not going to have a problem convincing him to give it to you.'\n\nThe Ice Queen gestures, and an exit opens towards the north of the cave.\n\n> You go to the north\nA wide, deep gorge splits the land in half. There is no way across. On the other side, in the distance, you can make out a castle. You can also walk along the gorge to the east and west.\n\nAn annoying little demon is fluttering around your head.\n\n> You examine the demon\nA tiny red creature about the size of your palm, with wings and goat hooves and yellow eyes.\n\n> You talk to the demon\n'You want across this gorge? I can get you there, baby. Just give me what you're holding!'\n\n\"I'm not...\" you start, then realize you are holding something.\n\n> You check your inventory\nYou are carrying:\na blue crystal\n\n> You go west\n'Ungrateful wench!' screams the demon, suddenly growing in size. 'You do not want my help? Fine! Then try to get out of this mess yourself!'\n\nHe turns around, whipping you with his tail. You lose your balance and fall...\n\n[=>]\n...fall, until a large branch stops your descent rather abruptly.\n\nHalfway down the Gorge (on the branch)\nEven from here, you still can't see the bottom of the gorge, but you can hear water rushing below. The top seems miles away; the walls are mostly bare, except for the branch that miraculously broke your fall without injuring you too much in the process.\n\n> You examine the branch\nA large, bare branch.\n\n> You jump\nMustering all your courage, you jump off the branch. Just like you hoped, there is a river down there, but it isn't quite what you expected.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\n> You go north\nThough it is easy to maneuver on the winds, you would crash into the canyon wall.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\n> You go to the west\nYou drift along with the winds...\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air."
    },
    {
        "text": "> Go downwards\nThough it is easy to maneuver on the winds, you would crash into the canyon wall.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\nThe canyon walls give way to an ice bank to the north.\n\n> Go north\nYou swiftly steer towards the ice bank and the currents drop you softly onto it.\n\nA tiny bank of ice is all that separates the River of Storms from a rough path leading up a mountain to the northwest.\n\n> Go northwest\nAfter a long trip, you arrive at...\n\nThis may have been an impressive castle once, and seemed to be intact from the distance, but the courtyard is all that remains; no walls remain standing. Strange.\n\nYou can see the Dragon here.\n\n> You examine Dragon\nThe Dragon is a handsome man with incredibly white skin and piercing black eyes.\n\n> You talk to Dragon\n'You have come for the Heart of Winter.'\n\nYou shudder at the sound of his voice. It is... old and\notherwordly, yet beautiful. \"Y... yes,\" you manage.\n\n'I will give it to you, under one condition. Give yourself to me, this night. Then you shall have the Heart of Winter. What do you say?'\n\n> Yes\nThe Dragon smiles sadly. 'Come with me, child.'\n\nAfterwards, he leads you into a small chamber.\n\nThis very small chamber is empty except for a large mirror hanging on one wall.\n\n> You examine the mirror\nYou see yourself in the mirror.\n\n\"I only see myself!\" you shout, \"where is the Heart of Winter?\"\n\nThe Dragon smiles again. 'You are.'\n\n\"I am? But...\"\n\nHe hushes you with a movement of his hand. 'I think you have someone to go back to, do you not?'\n\nAt the mention of Saul, shame flushes your face. Yes, you betrayed him to save him.\n\nWith another wave of the Dragon's hand, you are gone and find yourself...\n\nThis is it. The dread Ice Queen's home lies to the north, the dark cave mouth beckoning.\n\n> Go north\nThe inside of the cave consists solely of ice. It is mostly empty, the most striking feature being the gigantic ice throne the Queen is sitting on. Prominently displayed in the middle of the cave is a large, clear block of ice inside which Saul has been frozen.\n\nOn the throne is the Ice Queen.\n\n> You talk to Queen\n'Well,' asks the Ice Queen, 'have you brought me the Heart of Winter?'\n\n\"Yes.\"\n\n'So,' she continues eagerly, 'where is it?'\n\n\"I am the Heart of Winter.\"\n\n'What? It cannot be!' Her eyes alight with anger, she raises her arms.\n\n'Heart of Winter, eh? You will be dead of Winter!'\n\nGlistening magic leaves her fingertips, engulfing you...\n\nYou feel cold for a second, but nothing else happens. The Queen looks at you, her countenance shattered.\n\nThen the magic leaves you and strikes her full force. She screams a high-pitched, bloodcurdling scream, then explodes into thousands of tiny ice splinters. You close your eyes and crouch to shield your body from the shrapnel.\n\nThe next thing you know is Saul holding you in a tight embrace, kissing you passionately.\n\nAnd then, you walk out of the cave, and make your way home.\n\n[=>]\nTWO DEAD IN SNOW CHAOS\n\nThe recent snow chaos has caused two more deaths. A young couple, Saul O. (23) and an unidentified female, were caught in the storm. Apparently, O. lost control of the car and crashed it into a tree. The couple froze to death while trying to reach civilisation. It seems they knew what was coming; they were found in a tight embrace, lips frozen together in a final kiss.\n\n[=>]\ndebugcheapnitfol quit with exit status: 0\n\nThis game uses some special effects that can cause problems on older interpreters, and especially on interpreters for handhelds.\n\nAnswer 'no' if your interpreter doesn't support color or timed input.\n\nDo you want to play the enhanced version?\n\n> No\nYou have made it, finally, to her cave. A week ago, she kidnapped your boyfriend from your bed, while you were sleeping. When you awoke, he was gone, a beautiful snowflake in his place. That was when you knew she had taken him.\n\n'I see you have found me,' says the Ice Queen amusedly. 'So you want your boy back, my dear? Come, follow me inside.'\n\nShe bows mockingly, then disappears inside the cave.\n\n\n\nPlease type ABOUT.\n\nThis is it. The dread Ice Queen's home lies to the north, the dark cave mouth beckoning.\n\n> You kill Queen\nThat doesn't seem like a good idea. She could kill you in a split-second; and you're not even sure why she hasn't done that yet.\n\n> You kiss saul\nYou wish you could, but the ice block is in the way.\n\n> You talk to Queen\n'You want him back? Then bring me the Heart of Winter. It is guarded by the Dragon, but since you have found me, I am sure you are not going to have a problem convincing him to give it to you.'\n\nThe Ice Queen gestures, and an exit opens towards the north of the cave.\n\n> You go to the north\nA wide, deep gorge splits the land in half. There is no way across. On the other side, in the distance, you can make out a castle. You can also walk along the gorge to the east and west.\n\nAn annoying little demon is fluttering around your head.\n\n> Go east\nAs you turn to go, the demon suddenly speaks up...\n\n'You want across this gorge? I can get you there, baby. Just give me what you're holding!'\n\n\"I'm not...\" you start, then realize you are holding something.\n\n> You check your inventory\nYou are carrying:\na blue crystal\n\n> Go east\n'Ungrateful wench!' screams the demon, suddenly growing in size. 'You do not want my help? Fine! Then try to get out of this mess yourself!'\n\nHe turns around, whipping you with his tail. You lose your balance and fall...\n\n[=>]\n...fall, until a large branch stops your descent rather abruptly.\n\nHalfway down the Gorge (on the branch)\nEven from here, you still can't see the bottom of the gorge, but you can hear water rushing below. The top seems miles away; the walls are mostly bare, except for the branch that miraculously broke your fall without injuring you too much in the process.\n\n> You jump\nMustering all your courage, you jump off the branch. Just like you hoped, there is a river down there, but it isn't quite what you expected.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\n> You wait\nTime passes.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\n> Wait\nTime passes.\n\nThe currents drag you along...\n\nStrong wind currents carry you along, as if you were floating on water; instead, you are floating in mid-air.\n\nThe canyon walls give way to an ice bank to the north.\n\n> Go north\nYou swiftly steer towards the ice bank and the currents drop you softly onto it.\n\nA tiny bank of ice is all that separates the River of Storms from a rough path leading up a mountain to the northwest.\n\n> Go northwest\nAfter a long trip, you arrive at...\n\nThis may have been an impressive castle once, and seemed to be intact from the distance, but the courtyard is all that remains; no walls remain standing. Strange.\n\nYou can see the Dragon here.\n\n> You talk to Dragon\n'You have come for the Heart of Winter.'\n\nYou shudder at the sound of his voice. It is... old and\notherwordly, yet beautiful. \"Y... yes,\" you manage.\n\n'I will give it to you, under one condition. Give yourself to me, this night. Then you shall have the Heart of Winter. What do you say?'\n\n> No\nThe Dragon smiles. 'Come with me, child.'\n\n\"What? I said no!\"\n\n'I know. I will still give you the Heart of Winter. In fact, I could not withhold it from you even if I wanted.'\n\nHe leads you into a small chamber.\n\nThis very small chamber is empty except for a large mirror hanging on one wall.\n\n> You examine the mirror\nYou see yourself in the mirror.\n\n\"I only see myself!\" you shout, \"where is the Heart of Winter?\"\n\nThe Dragon smiles again. 'You are.'\n\n\"I am? But...\"\n\nHe hushes you with a movement of his hand. 'I think you have someone to go back to, do you not?'\n\nWith another wave of the Dragon's hand, you are gone and find yourself...\n\nThis is it. The dread Ice Queen's home lies to the north, the dark cave mouth beckoning.\n\n> You talk to Queen\n'Come back when you have the Heart of Winter! And hurry!'\n\n> Go north\nThat would be suicide.\n\n> You give the crystal to the demon\nThe demon accepts the crystal, giggling maniacally.\n\nA second later, you find yourself on an...\n\nA tiny bank of ice is all that separates the River of Storms from a rough path leading up a mountain to the northwest.\n\n> Go northwest\nAfter a long trip, you arrive at...\n\nThis may have been an impressive castle once, and seemed to be intact from the distance, but the courtyard is all that remains; no walls remain standing. Strange.\n\nYou can see the Dragon here.\n\n> You wait for a while\nTime passes.\n\n> You examine the mirror\nYou see yourself in the mirror.\n\n\"I only see myself!\" you shout, \"where is the Heart of Winter?\"\n\nThe Dragon smiles again. 'You are.'\n\n\"I am? But...\"\n\nHe hushes you with a movement of his hand. 'I think you have someone to go back to, do you not?'\n\nWith another wave of the Dragon's hand, you are gone and find yourself...\n\nThis is it. The dread Ice Queen's home lies to the north, the dark cave mouth beckoning.\n\n> You talk to Queen\n'Well,' asks the Ice Queen, 'have you brought me the Heart of Winter?'\n\n\"Yes.\"\n\n'So,' she continues eagerly, 'where is it?'\n\n\"I am the Heart of Winter.\"\n\n'What? It cannot be!' Her eyes alight with anger, she raises her arms.\n\n'Heart of Winter, eh? You will be dead of Winter!'\n\nGlistening magic leaves her fingertips, engulfing you...\n\nThe cold freezes you to the core, turning you into an ice statue. You cannot breathe, but you cannot die either. Helplessly, you watch as the Ice Queen unfreezes Saul and kisses him passionately -- and he returns her kiss!\n\n\"What's this?\" he asks when she releases him, pointing at you.\n\n'Oh, just an ugly statue. Could you break it for me?'\n\n\"Sure, my love.\" He walks up to you and pushes you over.\n\nYou hear the laughter of the ice queen before you shatter.\n\n[=>]\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\nHave you played a text adventure game like this before?\n\n[Author's Note: You're on your way home from Cairo, with nothing but a rumpled suit and an apple for lunch. But the plane passes through dark air, over a fathomless sea. Past the heavens, under the deep, there are secrets hidden in the crevices of the world. Something is in you, longing to seek them out. And why not? Either way, you're doomed.]\n\n> Y.\nWonderful!\n\nNonetheless, of course, you may find it useful to enter the ABOUT command at some point, for information specific to this game.\n\n(Press any key to begin)\n\n> F.\nWhite steel cuts through the silence of a cloudless sky. Above, the black abyss of space stares down, and below, the infinite sea stares up, as if waiting for a sign. So far, none has come.\n\n> About yourself\nThrum.\n\nThrum.\n\nThrum.\n\n> Inventory\nA text adventure by Ivan R.\n\nAirplane cabin (in your seat)\nThe plane rumbles on. You're trying to catch sleep, but it doesn't come. A man behind you is snoring, and the couple across the aisle are trying to get their baby to quiet down\u2014without success, it seems. There's an in-flight magazine staring back at you from the seat pocket. Your bag is stashed under the seat in front of you.\n\nThere's something pointy jabbing into your rear. Most likely your wallet tumbled out of a jacket pocket.\n\n> You take wallet\nOh, it's not your wallet. It's your cosmetic mirror. Not smart to leave that lying around.\n\nYou snatch it up and stash it in your pocket.\n\n> You examine the mirror\nYou open up the mirror and check yourself out.\n\nYikes.\n\nThis was a pretty spiffy suit when you put it on in Cairo, but halfway to Boston it's a bit of a mess. The shirt is rumpled, and there's a little spot of drool from when you dozed off around takeoff.\n\nOh, and your eyebrow makeup is starting to rub off a little bit. You should definitely fix that.\n\n> You examine the bag\nYou realize, in a moment of panic, that the top flap of your bag is open. You shut it with a snap and look around\u2014it doesn't\nseem\nlike anybody saw inside.\n\nA well-crafted leather bag. This thing has been with you on many adventures. It's decidedly sealed at the moment.\n\n> You open it\nNot in here! It is in there.\n\n> You get up\nYour seatbelt is on.\n\n> You examine the seatbelt\nIt buckles, it unbuckles. You got to hear all about it during takeoff, presumably.\n\n> You unbuckle the seatbelt\nYou hesitate. That would be disobeying the pilot's directive.\n\n> You read the magazine\nYou have to ask yourself: are you that desperate yet?\n\n> You look at the baby\nHigh lung capacity, those things."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Look around\nAirplane cabin (in your seat)\nYes, the plane rumbles on. The man behind you is snoring, and the baby across the aisle is still howling. An in-flight magazine in front of you does whatever the opposite of beckoning is. The little lavatory at the end of the plane appears to be vacant.\n\n> About you\nThis was a pretty spiffy suit when you put it on in Cairo, but halfway to Boston it's a bit of a mess. The shirt is rumpled, and there's a little spot of drool from when you dozed off around takeoff.\n\nOh, and your eyebrow makeup is starting to rub off a little bit. You should definitely fix that.\n\n> You unbuckle the seatbelt\nClick! You unbuckle your seatbelt.\n\n> You take the bag\nTaken.\n\n> You enter lavatory\nYou would have to get out of your seat first.\n\n> You get up\nYou stand up in your seat. One of the flight attendants glares at you, pursing her cherry-red lips in disapproval. Since she's standing up and handing out drinks, you figure there's nothing to worry about.\n\n\"I really have to go,\" you say, and feign a pained expression. She goes back to offering Sprites.\n\n> Continue\nBeing in the country, you couldn't not visit your grandfather. It only took a short jaunt from Cairo (first class, which for reasons of integrity condemned you to ride economy on the way back to the states\u2014but you didn't really mind). You had let him know you were coming, but he had still seemed surprised, somehow. That you came at all, that you had wanted to come. You felt guilty. But now you were starting to wonder if there was something more to it than loneliness... Grandfather had been acting strangely, all weekend. He never left the house. He spoke in whispers, even when grandmother was out with her friends. He spoke loudly to her, just to be heard. But never with you. He seemed afraid.\n\nAnd now he had sent you to get a key.\n\nIt was the outermost chamber of the place your grandfather told you about. South, a shaft of daylight shone through the arch, beckoning to you. The street. The world. Further north, a narrow tunnel that once led inside was now blocked by a heap of rubble, ancient. It looked like it had been bombed. \"That was where it happened,\" he would say, when you asked.\n\n> You check your inventory\nYou are carrying:\na key\n\n> You examine key\nAn old bronze-ish key, caked in dirt. It lay heavily in your hand.\n\n> You look at the arch\nA crumbling stone arch. You were half-afraid that one of the bricks would tumble onto your head.\n\n> You go south\nYou stood under the archway separating the dark room behind you, to the south, from the bustling marketplace outside. The sun seemed too bright against your face. People were rushing past, entreating each other for rotten apples and cell phone cases. A step southward would take you into their midst.\n\n> You examine the marketplace\nPeople were hurrying past, doing their business. You had been too long in America; trying to understand anything but English spoken at that clip had become impossible. You knew what the general scene was, though.\n\n> You look at the sun\nIt glared, as if disapprovingly.\n\n> You go south\nYou stood surrounded by a throng of people. There was a stand selling counterfeit cell phones right next to you. The wide road continued east and west, filled with stalls. A gap between two buildings caught your eye, to the south.\n\n> You go south\nYou stood in a narrow alleyway between two old buildings. They loomed from either side\u2014gray-brown stone. The ground was wet and puddled, even though it hadn't rained. You wanted to hurry out; the alley opened onto the street to the south, blessedly empty. To the north, the sounds of the bazaar wafted in.\n\n> Go south\nOn the east end of this bumpy, crooked avenue stood your grandparents' house. It seemed to loom, almost chillingly. Absurd, of course; this was a warm place, and it had been your home before. But you couldn't shake the feeling that something terrible was waiting.\n\n> You examine the house\nOld, falling-apart. You didn't much like the way your grandparents chose to live right in the middle of the city, but maybe it was just as well that they weren't driving. This place held a few fond memories for you, but today the old brown brick-stones seemed to radiate an aura of menace.\n\n> Go east\nYou walked into the sitting room. It was cozy, and spare, the way your grandmother liked to live. Grandfather probably would have preferred to keep more of his books and baubles around the house, but for their part the baubles had been sitting in a storage crate since god knows when.\n\nSome of the books managed a happier fate; you could see them through the open door to the southeast, packed into shelves and stacked up on top of each other in messy piles. Grandfather was probably in there right now, reading and studying about...\n\nThat thing. Whatever it was that he wanted you to do.\n\nDelicious smells wafted in from the closed kitchen door to the east.\n\n> Examine books\nbooks of every description were stacked in piles, crammed onto the shelves. Of those that were in English, you couldn't recognize a single title. The rest were even more mysterious\u2014it seemed that\nalmost\nevery script in the world was represented, etched onto the cover of some codex that lay strewn on the floor, clearly read and read again. Your mind boggled.\n\n> Go east\n(first opening the kitchen door)\nYour grandmother, eagle-eyed, spotted you creeping in to get a look at the soup. \"Out, out! Wait until dinnertime, boy, how old are you?\"\n\nShe shooed you back out through the door.\n\nThe sitting room was cozy, and spare, the way your grandmother liked to live. Grandfather probably would have preferred to keep more of his books and baubles around the house, but for their part the baubles had been sitting in a storage crate since god knows when.\n\nSome of the books managed a happier fate; you could see them through the open door to the southeast, packed into shelves and stacked up on top of each other in messy piles. Grandfather was probably in there right now, reading and studying about...\n\nThat thing. Whatever it was that he wanted you to do.\n\nThe kitchen door to the east stood open, and you could see your grandmother bustling around, working on the soup. She clearly spotted you, and was looking at you quizzically. Maybe your face betrayed something.\n\n> You go southeast\nYou were in the library, your grandfather's \"study\" (as he called it). books of every description, from glossy magazines to ancient, decaying tomes lay open on the floor or spilling out of shelves. Grandfather was at his desk, furrowing his gray brow in concentration. He hadn't looked happy much, lately, nor did he now, but this was surely the next best thing.\n\n> You examine Grandfather\nIt was almost heartbreaking to look at him. His voluble face and his gray beard were still there, but his face was wan, and his eyes were sunken. Since yesterday, more bandages had been wound around his arm, and his hard voice had weakened to a tremble. An authoritative tremble, but nothing could disguise his increasing weakness. He seemed to steady himself on the desk.\n\n> You examine the desk\nAn old mahogany desk, in the French style. It had never occurred to you to ask where grandfather had gotten it from.\n\n> You talk to Grandfather\nBe more specific\u2014ASK about a specific thing or topic, if you\nwant\nto talk to your grandfather. And remember, it may be useful to ASK more than once about the same topic, or to come back later and ASK again after pursuing other subjects. Not everyone is infinitely forthcoming!\n\n> You ask Grandfather about books\nHe shook his head. \"The key, boy! Where is the key?\"\n\n> You give the key to him\nHe snatched the bronze key out of your hand. \"Good, good. I'm just glad it was still there,\" he said. Then slowly, gravely, he dangled the key over the pages of the book he was examining, and let go.\n\nIt tumbled down, spinning, and then, when it hit the shimmering gold page laid out before him, it simply tumbled through, as if it had been dropped into water.\n\n> Examine book\n(the book)\nIt seemed ancient, although not as ancient as it feels now to you. That thing must have come far. Its golden pages seemed to shimmer and ripple in the dim light.\n\n> You ask him about the key\n\"It unlocks something which is better left unopened. It's better for all of us that it should be hidden that way.\"\n\n> You ask him about the book\n(the book)\nHe looked dismayed for a moment, looking down at the rippling gold pages in an unknown language that lay before him. \"That's the rub, isn't it? This thing has a curse. It is a curse. It's unreadable... and it kills you,\" he said.\n\n> You ask him about the book\n(the book)\n\"It has... strange properties,\" he said.\n\n> You ask him about the book\n(the book)\n\"I got it from Pierre. I've told you about him, haven't I? We studied together in Paris.\"\n\n> You ask him about Pierre\nHe said \"Ah, I haven't told you about him? Maybe you just don't remember. Pierre was a, uh, a geologist friend of mine, when I was studying in Paris. We had wonderful times together, you know. And he would go out on these antarctic missions. That was where he got all his wonderful... gifts.\"\n\n> You ask him about the gifts\nHe gestured to the book in front of him, silently.\n\n> You ask him about Pierre\nHe shook his head. \"I don't want to linger over old times. He is out of our lives now\u2014and we are probably the better for it.\"\n\n> You ask him about paris\nHis patience was beginning to wear thin.\n\n> You ask him about the book\n(the book)\n\"Amundsen wasn't the first, you know. The Vikings made it further than anyone suspected, I suppose. That's what he said. That they found things in the ocean... and they left their knowledge at the end of the world.\"\n\nAgain he fell silent. You opened your mouth.\n\n> You ask him about Vikings\n\"The vikings beat everyone to the north pole, of course. It would seem they found all kinds of things under the ice. That's what Pierre told me.\"\n\n> You ask him about Vikings\nHe huffed a little. \"I'm not really an expert on these things.\"\n\n> You ask him about the book\n(the book)\n\"He found this book there. It must have been the Vikings\u2014the writing almost looks like runes, doesn't it? Where they got the paper from, it's not ours to know, but they must have had contact with something else. Somehow. Because it isn't just a book... in fact it's hardly a book at all.\" You continued to find this maddeningly unclear, and you itched to ask him again.\n\n> You ask him about the book\n(the book)\n\"It's a summoner of storms. It's a portal to another world, in the most literal imaginable sense. You could step through it and emerge somewhere that no man has gone, perhaps since the Norsemen were the masters of the waves. It's very, very dangerous. And it carries... a rot. A rot that is yours, now, too.\" He shut the book with with a snap, and gestured to it, as if it was an offering.\n\n> You get the book\n(the book)\nHe looked at you sadly as you picked it up, and he mumbled something you could barely hear. It sounded as if he was saying you would see each other soon. His bones were breaking.\n\nYou picked up the book. The book. That ancient, weathered\nthing. That thing of evil. And now its curse was yours, just as it had been your grandfather's...\n\n(Press any key to continue)"
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You look at your surroundings\nYou shake yourself back to reality. Right, you were staring at the book, again."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Describe the surroundings\nCramped, but conveniently private. There's a plastic hole for a toilet and a shiny mirror on the wall, possibly also made of plastic. It looks like someone left their gross old baseball cap in here."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You look at your surroundings\nlooks like someone left their gross old baseball cap in here.The book's weathered black cover houses a magnificent emerald in its very center. A silver clasp keeps it shut tight. Your finger itches to open it.\n\n> You look at the emerald\nA glistening green emerald. It almost looks like an eye, staring up at you.\n\n> You look at the clasp\nA shiny silver clasp, which looks newer than any other part of the book. It beckons to you.\n\n> Inventory\nYou are carrying:\nyour bag (open)\nthe book (closed)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\n> You examine the fez\nYeah, there were no Shriner events at the conference.\nObviously. The fact that your father thought that it would be\nuseful for you to join an adult fraternal organization, in the twenty-first century, is certainly indicative of something.\n\nIt's a red fuzzy cap, that they\u2014that you wear for those\ndumb\nrituals.\n\n> You examine the apple\nMmm. At least you won't go without lunch.\n\n> You examine the knife\nA long, stiletto-like dagger made of hard and jagged plastic. You could really take someone out with this.\n\nBut it gets through airport security.\n\n> You examine the phone\nIt's pretty slick. You just got this one last month, so you've still been having fun whooshing things around.\n\n> Close bag\nYou close your bag.\n\n> You open the bag\nYou open your bag, revealing the book and a fez cap.\n\n> You open clasp\nDelicately, you open the silver clasp, and the book springs open. Its rippling golden pages seem to shimmer, regardless of the light.\n\nSuddenly, the plane gives a lurch, and you almost hit your head on the ceiling. Your heart is still racing as you try to steady yourself.\n\n> Examine book\nYou catch a glimpse of the book.\n\nThe cryptic yellow pages display bizarre runes, spelling out something no human could ever read. You see a shimmer of the void behind the crimson ink.\n\nYou're unable to keep your balance and you stumble against a wall, banging your head. The plane continues to sway wildly.\n\n> You enter the book\nYou manage to crawl over to the book where it lies open on the ground.\n\nYou recklessly push your head against the page\u2014you pass through, as\nif\nit wasn't there, and tumble through into the void...\n##\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world. It emits soft sounds of violence; you are tempted to listen.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You listen\nIt's too far away.\n\nThe noise from the book suddenly stops.\n\n> You listen to the book\nYou hear nothing unexpected.\n\nThe noise from the book suddenly stops.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge in the plane bathroom, slightly disoriented."
    },
    {
        "text": "> Look around\nCramped, but conveniently private. There's a plastic hole for a toilet and a shiny mirror on the wall, possibly also made of plastic. It looks like someone left their gross old baseball cap in here.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\n> You put the book in the bag\n(first taking the book)\nYou close and latch the book as you pick it up.\n\nYou put the book into your bag.\n\n> Close bag\nYou close your bag.\n\n> Go outside\nWow. The plane must have come all the way down, while you were... in there.\n\nYou stumble, walking on the tilted floor. It's eerily quiet in here. Everything seems abandoned, or torn apart. People's overhead luggage is spilled all over the floor. Further down the aisle, the floor dips below the waterline. You shudder. Everyone must have evacuated, you tell yourself.\n\nAn open emergency exit beckons you to the outdoors.\n\n> You go outside\nThe plane looms next to you, a huge monolith of white metal, half-sunk beneath the placid waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases(?) in the distance. The endless ocean stretches out in all directions. Standing here, in the salty sea air, something inside your strange body feels drawn to the cold sea.\n\nA yellow life raft floats here in the sunny water.\n\n> You examine the sea\nThe calm waters ripple placidly.\n\n> You examine raft\nA yellow inflatable life raft, with a little embedded compass and a waterproof light. There's a stout yellow paddle lying in the raft, with which (presumably) it can be maneuvered around.\n\nIn the life raft is a paddle.\n\n> Oops paddle\nA sturdy plastic paddle.\n\n> You enter the raft\nYou grab the yellow plastic oar as you step into the raft.\n\nYou get into the life raft.\n\n> You go northwest\nOpen Water (in the life raft)\nYou are in the open water. Bright sun shines on your face. The tall metal pillar of the wrecked plane looms to the southeast.\n\n> Go northwest\nStriking out into the open water is a dangerous proposition. You fear that you would quickly lose sight of the crash\u2014and die.\n\n> You open the bag\nYou open your bag, revealing the book and a fez cap.\n\n> You open the book\nDelicately, you open the silver clasp, and the book springs open. Its rippling golden pages seem to shimmer, regardless of the light.\n\nYou open the book.\n\nThe sky seems, somehow, to darken. Not imperceptibly.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through into the void...\n##\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You press the space\nbronze-ish color, but it is too far away to make out any details.As you emerge into the void, you are suddenly faced with the long face of a green serpent, barreling towards you with its eyes ablaze. You\nmust think fast.\n\n> You enter the book\nThe serpent follows you, rabid.\n\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge into the cold water, slightly disoriented.\nThe serpent lunges behind you, and you feel its hot breath on your heels even as you emerge into the water. You hear its screeching, but when you dare to look back, the thing is lying dead\u2014or nearly dead.\n\nYou are in the open water. The shade of dark clouds seems to give you respite from the hot sun. The tall metal pillar of the wrecked plane looms to the southeast.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\nThe huge serpent floats here, gasping, ineffectually snapping its slimy fangs. Apparently, the thing can't breathe outside the aether of the void. It seems like it's suffocating. Its head is far away, out of reach to nothing. You're lucky you survived.\n\nA yellow life raft floats here, placid on the black water.\n\nGray clouds are gathering.\n\n> You enter the raft\nYou already have that.\n\nYou grab the yellow plastic oar as you step into the raft.\n\nYou get into the life raft.\n\nLightning flashes in the sky.\n\n> You look at the serpent\n(the serpent's tail)\nA long rope of shining scales, leading you up, up along the long, long body of the serpent, to its irresistible face. Its eyes.\n\nYou hear a crash of thunder, and rain begins to fall.\n\n> You examine the eyes\nThe serpent's beady red burning eyes shine like flame, like a sun consumed. They seem fixed on you. You long to reach out, to touch them. It is a primordial longing.\n\nThe rain strengthens into a torrent, soaking you cold to the bone. The freezing water might be forcing tears from your eyes\u2014you can't even tell.\n\n> You get the eyes\nThose seem to be a part of the serpent's head.\n\nYou shiver under the onslaught of raindrops that blast your skull like tiny bullets.\n\n> You touch eyes\nAs your hands connect to the awful, burning eyes, you feel a searing, as your half-rotted fleh melts into the eternal fire. This time, it hurts. It hurts awfully, terribly, a hadean pain that you cannot seem to banish\u2014\n\nbut when you pull away, your hands glow like embers. Spiritual lights, that may guide you yet. Whither, you do not know.\n\nThe rain comes down in torrents.\n\nYou spot something bright green, floating in the water. It's hard to tell quite what it is.\n\n> You get green\nWhich do you mean, the 1) pen light, 2) the serpent's tail, 3) the long body of the serpent, 4) the long body of the serpent, or 5) the serpent's head?\n\n> You get the pen light\nHuh, it's an old pen llight thingy. It doesn't look rusted or anything, so it must've just been dropped here\u2014maybe jetsam from the plane.\n\nTaken.\n\nRain pounds down on you.\n\n> You examine the light\nHanging off of an old key ring, it's a scuffed-up looking pen light, like you might use to look at somebody's tonsils, or whatever. You're actually not sure why people carry these. It's pretty bright green, so it probably has It doesn't seem to turn on, but maybe it just needs to dry out.\n\nThe pen light is currently switched off.\n\nThe rain comes down in torrents.\n\n> You examine the head\nA huge, scaly head, its nostrils flared. Strange light glimmers from its green scales. Its eyes, even in death, blaze with the fire of an alien sun.\n\nYou shiver under the onslaught of raindrops that blast your skull like tiny bullets."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> You look around\nOpen Water (in the life raft)\nYou are in the open water. Your hands dig into the rubber as choppy water buffets your lifeboat, tossing you this way and that. The tall metal pillar of the wrecked plane looms to the southeast.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\nThe huge serpent floats here, gasping, ineffectually snapping its slimy fangs. Apparently, the thing can't breathe outside the aether of the void. It seems like it's suffocating. Its head is far away, out of reach to nothing.\n\nThe rain comes down in torrents.\n\n> Go southeast\nBy the slide (in the life raft)\nThe plane looms to your east, a huge monolith of white metal, half-sunk beneath the choppy waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases(?) to the south. The endless ocean stretches out in all directions.\n\nRain pounds down on you.\n\n> You go east\nYou set the paddle down inside the lifeboat.\n\nYou get out of the life raft.\n\nThe plane looms next to you, a huge monolith of white metal, half-sunk beneath the choppy waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases(?) in the distance. The endless ocean stretches out in all directions.\n\nA yellow life raft floats here, bobbing violently among the black waves. You can reach it, but perhaps not for long.\n\nThe plane looms next to you, a huge monolith of white metal, half-sunk beneath the choppy waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases(?) in the distance. The endless ocean stretches out in all directions.\n\nThe blistering cold of the hard rain makes you shiver.\n\n> You check your inventory\nYou are carrying:\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\nThe blistering cold of the hard rain makes you shiver.\n\n> You go northeast\nYou can't go that way.\n\nThe rain comes down in torrents.\n\n> You go north\nOpen Water (in the life raft)\nYou are in the open water. Your hands dig into the rubber as choppy water buffets your lifeboat, tossing you this way and that. The tall metal pillar of the wrecked plane looms to the south.\n\nYou shiver under the onslaught of raindrops that blast your skull like tiny bullets.\n\n> You go east\nStriking out into the open water is a dangerous proposition. You fear that you would quickly lose sight of the crash\u2014and die.\n\nRain pounds down on you.\n\n> You go south\nBy the slide (in the life raft)\nThe plane looms to your east, a huge monolith of white metal, half-sunk beneath the choppy waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases(?) to the south. The endless ocean stretches out in all directions.\n\nYou shiver under the onslaught of raindrops that blast your skull like tiny bullets.\n\n> Go northwest\nOpen Water (in the life raft)\nYou are in the open water. Your hands dig into the rubber as choppy water buffets your lifeboat, tossing you this way and that. The tall metal pillar of the wrecked plane looms to the southeast.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\nThe huge serpent floats here, gasping, ineffectually snapping its slimy fangs. Apparently, the thing can't breathe outside the aether of the void. It seems like it's suffocating. Its head is far away, out of reach to nothing.\n\nRain pounds down on you.\n\n> You get the book\nYou close and latch the book as you pick it up.\n\nTaken.\n\nThe clouds seem to part, and the sun returns, shining.\n\n> Go south\nOpen Water (in the life raft)\nTo the east is what remains of the plane, and southeast of you is what looks like a makeshift raft, assembled out of old luggage.\n\n> Go south\nOpen Water (in the life raft)\nThe makeshift flotilla of salvaged luggage is east of here, but you're too far away to make out any detail. The sun beats down on you, somewhere between pleasant and frightening.\n\n> Go east\nLuggage Flotilla (in the life raft)\nIt looks like all the other passengers have camped out here. They're all crouched, somewhat raggedly, on a detached piece of wing. It's a sorry sight. Someone must have broken open the luggage hatch, because a whole raft of suitcases has been strapped together here, to keep them from sinking. Or maybe that's just the stuff from the overhead compartment.\n\n> You examine the passengers\nWhich do you mean, the 1) sleeping passenger or the 2) flotilla?\n\n> You examine the sleeping\nThere's a guy in a red button-up that looks like he might be the fellow who was sleeping behind you on the flight. It's hard to tell.\n\n> Flotilla\nIt would be more fruitful to talk to someone who can answer.\n\n> You enter the flotilla\nThey recoil at first, at your decaying form, but the stewardess recognizes you. You discover that they think you were burned, somehow, by jet fuel during the crash. You play along, and you let them tend to you. You'll find a way to hide, once you're rescued.\n\n> You look at the flash\nIt's too far away.\n\n> You go to the north-west\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe shimmering book floats just southeast of you.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You go to the northwest\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> Go northwest\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nFar away, up and northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You go to the north-west\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nFar away, up and northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You check your inventory\nYou are carrying:\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\n> About yourself\nYou don't really care who sees you at this point. All this being knocked around has scraped off a lot of your disguise. If you look like a zombie emerging from a skinsuit, so be it.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge into the cold water, slightly disoriented.\nLuggage Flotilla\nIt looks like all the other passengers have camped out here. They're all crouched, somewhat raggedly, on a detached piece of wing. It's a sorry sight. Someone must have broken open the luggage hatch, because a whole raft of suitcases has been strapped together here, to keep them from sinking. Or maybe that's just the stuff from the overhead compartment.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\nA yellow life raft floats here, bobbing violently among the black waves. You can reach it, but perhaps not for long.\n\nYou shiver under the onslaught of raindrops that blast your skull like tiny bullets.\n\n> You get all\nbook: You close and latch the book as you pick it up.\n\nTaken.\n\nThe clouds seem to part, and the sun returns, shining.\n\n> Go north\nThe plane looms next to you, a huge monolith of white metal, half-sunk beneath the placid waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases in the distance. The endless ocean stretches out in all directions.\n\n> You go to the north-west\nYou are in the open water. Bright sun shines on your face. The tall metal pillar of the wrecked plane looms to the southeast.\n\n> Go south\nTo the east is what remains of the plane, and southeast of you is the makeshift raft that the survivors assembled.\n\n> Go east\nYou are in the open water. Bright sun shines on your face. The tall metal pillar of the wrecked plane looms to the south.\n\n> You go to the north-west\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nThe shimmering book floats just southeast of you.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> You go to the northwest\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> Go up\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nFar away, northwest of where you float, you glimpse a flash of bronze-ish color, but it is too far away to make out any details.\n\n> Go northwest\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nSomewhere above, you can see what looks like the bronze key.\n\n> You ascend\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nThe bronze key floats just a few feet up and northwest from you.\n\n> You examine key\n(the bronze key)\nIt's the same key that you saw grandfather drop into the book!\n\n> You get key\n(the bronze key)\nIt's too far away.\n\n> Ascend\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nThe bronze key floats just a few feet northwest from you.\n\n> Go northwest\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\nYou can see a bronze key here.\n\n> You get the key\n(the bronze key)\nAs you seize the floating key, you feel a warmth extend from your hands to your entire body, and you realize that your torso is glowing red...\n\nA glowing green keyhole forms out the molten flesh of your torso, burning through your shirt and jacket\u2014but strangely, it doesn't hurt at all.\n\n> You examine the keyhole\nA burning black keyhole in your chest, aching for a key.\n\n> You unlock the keyhole with the key\n(the bronze key)\nThe key is swallowed up, and as it is, you feel more flesh peel away, flaking like dead paint\u2014your throat clears out, as if it had never been clear before.\n\nYou have decayed further; you are more a monster. And you no longer need to breathe.\n\n> About yourself\nFlaking apart like some kind of hideous corpse, you look more like a monster than a man.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, southeast of here, you can see the glimmer of the book's unearthly pages.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, down and southeast of here, you can see the glimmer of the book's unearthly pages.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, down and southeast of here, you can see the glimmer of the book's unearthly pages.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nSomewhere in the distance, below here, you can see the glimmer of the book's unearthly pages."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go downward\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nSomewhere in the distance, below here, you can see the glimmer of the book's unearthly pages.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe shimmering book floats just down and southeast of you.\n\n> Go southeast\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe shimmering book floats just below you."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go downward\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge into the cold water, slightly disoriented.\nOpen Water\nYou are in the open water. The choppy water splashes cold against your face, as the rain lashes against your already-soaked scalp. The tall metal pillar of the wrecked plane looms to the southeast.\n\nThe book lies open, its golden pages rippling regardless of the movement of the air.\n\nThe blistering cold of the hard rain makes you shiver.\n\n> You get the book\nYou close and latch the book as you pick it up.\n\nTaken.\n\nThe clouds seem to part, and the sun returns, shining."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go downwards\nYou hesitate for a moment, fighting long-ingrained instincts, and then dive into the ocean.\ndive into the ocean.You feel as if you're about to choke, for a moment, but the water rushing into your mouth doesn't suffocate at all. You feel like you're breathing cold, freezing air.\nall. You feel like you're breathing cold, freezing air.## Under the Water\nLight filters down from the surface, bathing your surroundings in an ethereal blue glow. To the southeast, you can make out the gray shadow of the towering wreck\u2014descending into the dark below.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go downwards\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the southeast, and a silhouette of darker stone to the east.\n\n> You go southeast\nNow you can see why the plane didn't sink further: the tail is lodged at the top of a stone cliff, extending down into darkness. The shelf of the cliff extends on, seemingly endlessly, to the east. Aside from this, little else is visible; the sea is dim in all directions.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> You examine wreck\nThe tail is crushed against the cliff of rock, almost like a tin can.\n\n> You look at the cliff\nA craggy stone cliff, extending down into the deep.\n\n> You go north\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the south, and a silhouette of darker stone to the east.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> Go east\nYou don't want to stray too far from your landmarks\u2014the plane, primarily."
    },
    {
        "text": "> You go downward\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nIn the Uttermost Deep (red-lit)\nYou swim through the thick black water, down here where the pressure is almost all there is to feel. Whatever's going on at the surface, you have no idea. Through the red-lit blackness of the deep, you can make out a strange stone formation to the south.\n\n> You go to the south\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches south from where you float.\n\n> You look at the wall\nA rough wall of cold stone. Somehow, it feels... less solid than the floor of rock above.\n\n> You go to the south\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches north from where you float. A powerful current seems to bearing you eastward, into the wall of stone.\n\n> You go east\nThe stone wall blocks your way.\n\n> Go south\nIn the Uttermost Deep (red-lit)\nYou swim through the thick black water, down here where the pressure is almost all there is to feel. Whatever's going on at the surface, you have no idea. Through the red-lit blackness of the deep, you can make out a strange stone formation to the north.\n\n> You go to the west\nYou find you are too weak to swim against the eastward current.\n\n> Swim\nYou'll have to be more specific about which way you want to go.\n\n> You go east\nThe stone wall blocks your way.\n\n> You look at the wall\nA rough wall of cold stone. Somehow, it feels... less solid than the floor of rock above. On closer inspection, you notice a slender opening in the stone surface, about twice the thickness of your book.\n\n> You look at the opening\nA narrow slot in the stone\u2014strangely regular, as if it was deliberately carved. It's slightly thicker than the spine of your book, which seems to strain forward, as if it wants to go inside.\n\n> You put the book in the opening\nNo! It would be lost!\n\n> You open the book\nDelicately, you open the silver clasp, and the book springs open. Its rippling golden pages seem to shimmer, regardless of the light.\n\nYou open the book.\n\n> You enter book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through into the void...\n##\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge into the cold water, slightly disoriented.\nBy the cliff wall\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches north from where you float. A powerful current seems to bearing you eastward, into the wall of stone.\n\nThe book lies open, its golden pages rippling regardless of the movement of the water.\n\n> Close book\nWith some effort, you are able to will yourself to close the book; thinking for a moment, you decide to affix its clasp, in case it should decide to open on its own.\n\n> You check your inventory\nYou are carrying:\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\n> Drop book\nYou let go of the book for a moment, but it spirals towards the gaping vent, and you snatch it back just in time.\n\n> Go upward\nHere you find yourself floating at the lip of a great stone shelf, extending to the east past where your eyes can see through the brine. The wreck of the plane is lodged against it to the north.\n\n> Go upwards\nAbove you is the shadowy, rectangular shape of the survivors' makeshift flotilla. From below, you can see dangling straps, dancing in the currents. The wreckage of your plane lies north, blurred in your vision at this distance by the brine.\n\n> Go upwards\nGasping, you struggle to the surface, and blink salty brine out of your eyes as you readjust to breathing air.\n\nIt looks like all the other passengers have camped out here. They're all crouched, somewhat raggedly, on a detached piece of wing. It's a sorry sight. Someone must have broken open the luggage hatch, because a whole raft of suitcases has been strapped together here, to keep them from sinking. Or maybe that's just the stuff from the overhead compartment.\n\nA yellow life raft floats here in the sunny water.\n\n> You enter the flotilla\nYour glowing hands, your unholy, monstrous form\u2014they recoil from\nyou,\nof course. The stewardess starts to scream as you put your briny hand on the edge of their platform. You let go, and drift back away. There's no going back."
    },
    {
        "text": "> Go downward\nYou hesitate for a moment, fighting long-ingrained instincts, and then dive into the ocean.\ndive into the ocean.You feel as if you're about to choke, for a moment, but the water rushing into your mouth doesn't suffocate at all. You feel like you're breathing cold, freezing air.\nall. You feel like you're breathing cold, freezing air.## By the wreck The sunken half of the plane stretches beneath you. Little bubbles drift past your eyes, up to the surface. You are not sure if the dappled sunlight coming down from the water's surface makes this better\u2014or worse.\n\n> You check your inventory\nYou are carrying:\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone"
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go downwards\nThe tail of the plane is lodged at the top of a stone cliff, extending down into darkness. The shelf of the cliff extends on, seemingly endlessly, to the east. Aside from this, little else is visible; the sea is dim in all directions."
    },
    {
        "text": "> You go downwards\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches south from where you float.\n\n> Go south\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches north from where you float. A powerful current seems to bearing you eastward, into the wall of stone.\n\nThe weathered black book glowers from where it sits.\n\n> You get the book\nTaken."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Look around\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches south from where you float.\n\nThe weathered black book glowers from where it sits.\n\n> Wait\nTime passes.\n\n> You go upwards\nThe tail of the plane is lodged at the top of a stone cliff, extending down into darkness. The shelf of the cliff extends on, seemingly endlessly, to the east. Aside from this, little else is visible; the sea is dim in all directions.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> Drop book\nThe book sinks down and out of sight."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go downward\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches south from where you float.\n\nThe weathered black book glowers from where it sits.\n\n> Go south\nHere you find yourself floating at the lip of a great stone shelf, extending to the east past where your eyes can see through the brine. The wreck of the plane is lodged against it to the north.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go down\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches north from where you float. A powerful current seems to bearing you eastward, into the wall of stone.\n\nThe weathered black book glowers from where it sits.\n\n> Wait\nTime passes.\n\n> Go west\nThere is darkness all around, and you can barely make out your surroundings. To the east, a rectangular shadow looms, and to the northeast a tower of blackness\u2014the plane."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Look around\nThere is darkness all around, and you can barely make out your surroundings. To the east, a rectangular shadow looms, and to the northeast a tower of blackness\u2014the plane.\n\nThe weathered black book glowers from where it sits.\n\n> You go north\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the east, and a silhouette of darker stone to the east."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Look around\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the east, and a silhouette of darker stone to the east.\n\nThe weathered black book glowers from where it sits.\n\n> You go south\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than a silhouette of darker stone to the east.\n\n> You go south\nYou don't want to stray too far from your landmarks\u2014the plane, the stone.\n\n> You go to the east\nFloating over the surface of this underwater shelf, it seems as if it goes on forever. To your west, you can go over the lip, free to travel down into the darkness below. To the northwest, the hulking shadow of the half-sunk plane stands; a menacing monolith.\n\n> You examine the shelf\nYou run your hand over the smooth, rocky surface. You think you glimpse markings on the stone, but, just as quickly, you lose your place. In any case, it was no language you have ever seen.\n\n> You look at shelf\nYou run your hand over the smooth, rocky surface. You think you glimpse markings on the stone, but, just as quickly, you lose your place. Perhaps it was simply your imagination.\n\n> Go upwards\nThe water is dim, here, perhaps because the shadow of the plane looms over you. To the northwest, you can make out what seems to be a dark, rectangular shape in the water above. Below you, there is only darkness\u2014darker than before.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> You go to the northwest\nThe sunken half of the plane stretches beneath you. Little bubbles drift past your eyes, up to the surface. You are not sure if the dappled sunlight coming down from the water's surface makes this better\u2014or worse.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> Go up\nGasping, you struggle to the surface, and blink salty brine out of your eyes as you readjust to breathing air.\n\nThe plane looms next to you, a huge monolith of white metal, half-sunk beneath the placid waves. The yellow escape slide is still inflated, but it seems that everyone who got out is gone, now. There's a raft of suitcases in the distance. The endless ocean stretches out in all directions.\n\n> Drop book\nIt wants to go down, but you hold it tight."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go downward\nYou hesitate for a moment, fighting long-ingrained instincts, and then dive into the ocean.\ndive into the ocean.You feel as if you're about to choke, for a moment, but the water rushing into your mouth doesn't suffocate at all. You feel like you're breathing cold, freezing air.\nall. You feel like you're breathing cold, freezing air.## By the wreck The sunken half of the plane stretches beneath you. Little bubbles drift past your eyes, up to the surface. You are not sure if the dappled sunlight coming down from the water's surface makes this better\u2014or worse.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> You go northwest\nLight filters down from the surface, bathing your surroundings in an ethereal blue glow. To the southeast, you can make out the gray shadow of the towering wreck\u2014descending into the dark below.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness.\n\n> Drop book\nThe book sinks down and out of sight."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go downwards\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the southeast, and a silhouette of darker stone to the east.\n\nThe weathered black book glowers from where it sits.\n\n> You go to the east\nLight filters down from the surface, bathing your surroundings in an ethereal blue glow. To the south, you can make out the gray shadow of the towering wreck\u2014descending into the dark below.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> You go down\nDown here, the water is heavy, dense, and black, like liquid night. You can make out little, other than the looming black shadow of the plane to the south, and a silhouette of darker stone to the east.\n\nThe weathered black book glowers from where it sits.\n\nThe book sinks down and out of sight."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go downward\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nIn the Uttermost Deep (red-lit)\nYou swim through the thick black water, down here where the pressure is almost all there is to feel. Whatever's going on at the surface, you have no idea. Through the red-lit blackness of the deep, you can make out a strange stone formation to the south.\n\nThe weathered black book glowers from where it sits.\n\n> You go east\nThe plane, and its surrounding wreckage, block your way. Even swimming around it would be exhausting, not to mention pointless."
    },
    {
        "text": "> Go down\nThe tail of the plane is lodged at the top of a stone cliff, extending down into darkness. The shelf of the cliff extends on, seemingly endlessly, to the east. Aside from this, little else is visible; the sea is dim in all directions.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness."
    },
    {
        "text": "[Themes: Lovecraftian]\n\n> Go down\nThe tail of the plane is lodged at the top of a stone cliff, extending down into darkness. The shelf of the cliff extends on, seemingly endlessly, to the east. Aside from this, little else is visible; the sea is dim in all directions.\n\nThe weathered black book glowers from where it sits.\n\nThe book sinks down and out of sight."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go downward\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches south from where you float.\n\nThe weathered black book glowers from where it sits.\n\n> Go upwards\nAbove you is the shadowy, rectangular shape of the survivors' makeshift flotilla. From below, you can see dangling straps, dancing in the currents. The wreckage of your plane lies north, blurred in your vision at this distance by the brine.\n\nThe book seems to strain downward, like a living thing, dragging you deeper into darkness."
    },
    {
        "text": "> Go down\nHere you find yourself floating at the lip of a great stone shelf, extending to the east past where your eyes can see through the brine. The wreck of the plane is lodged against it to the north.\n\nThe weathered black book glowers from where it sits.\n\nThe book sinks down and out of sight."
    },
    {
        "text": "[Themes: Lovecraftian, Lovecraftian]\n\n> Go down\nYou light the way forward, downward, with the burning fire of your hands as you descend.\n\nDown here, everything is dark and heavy, like liquid night. A huge stone wall, the side of the great cliff, stretches north from where you float. A powerful current seems to bearing you eastward, into the wall of stone.\n\nThe weathered black book glowers from where it sits.\n\n> Inventory\nYou are carrying:\nthe book (closed)\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\n> You examine the bag\nA well-crafted leather bag. This thing has been with you on many adventures.\n\nIn your bag is a fez cap.\n\n> You enter the opening\nYou are far too large.\n\n> You cut yourself\n(with the knife)\nYou have no desire at all to lunge at yourself with your knife.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through into the void...\n##\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nThe book floats here, open, its pages shimmering in nonexistent light, beckoning you to return to the world.\n\n> You get the book\nYou close and latch the book as you pick it up.\n\nThe book falls closed behind you, somehow."
    },
    {
        "text": "> Look around\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent.\n\nYou think you see a brown perturbance in the black space, north of here.\n\n> You go north\nYou are in an inky black expanse, stretching infinitely in every direction. It is utterly, eerily silent and dry.\n\nYou think you see a brown perturbance in the black space, north of here.\n\n> You enter the book\nYou push your head against the page\u2014you pass through, as if it\nwasn't\nthere, and tumble through...\n\nYou emerge in the inside an enormous tunnel, slightly disoriented.\nInside an enormous tunnel\nYou close and latch the book as you pick it up.\n\nThis place is even darker than the cliffside you left. The book must have floated in, or... drawn itself in, however it does so. Something feels very unnatural.\n\nYou're floating near the ceiling of what must be a vast stone tunnel, utterly black, lit only by the soft red embers of your hands. A glowing sliver of dimness behind you, to the south, must be the slot in the stone\u2014there's no getting back out. The floor is too far below you to see, and the seemingly infinite cold tunnel continues to the north.\n\n> Inventory\nYou are carrying:\nthe book (closed)\na pen light\na paddle\nyour bag (open)\na fez cap\na cosmetic mirror\nan apple (snagged at Cairo Airport)\na plastic knife\nyour cell phone\n\n> You go to the north\nYou swim forward.\n\nThe utterly black tunnel stretches on, northwards, growing more dread and more freezing with every stroke of movement. The hard stone above your head feel oppressive in the dark.\n\n> You go north\nYou swim forward.\n\nYou float before what seems to be upper part of a gargantuan stone doorway; in the dark, you can feel strange inscriptions on its surface. But it is ajar, and in its cyclopean size that crack would be large enough to fit you through. North...\n\n> You look at the door\nYou can only really feel it, not see it, for the darkness here is so complete; but there is a warmth behind it, and perhaps a glow.\n\n> Go north\nYou swim forward.\n\nAs you step into the charnel stone room behind the great door, your withered ears are filled with a sound of mad piping, and the rhythm of a thousand inconceivable drums. There, upon the throne, is\u2014oh, but\nyou\ncannot say it! You cannot even think it!\n\nBut it has a face, if you could call it that, and the face laughs; the craggy monument of moss and flesh is fluttering in its joy, delighted by the horror which dances before it.\n\nA dance! A dance not unknown to you, perhaps glimpsed in passing in a dream, perhaps imagined in the fever of an endless nightmare. Like a mad puppet, like a thing possessed, the gray jester of this infernal court is thrashing its limbs upon the age-cracked floor. All else is monstrous, unnameable, amphibian and colossal in their size. But\nthis\u2014\n\nthis dancer, when its face turns back, you cannot help but know. It is a face you glimpsed in scummed pools, in shards of blood-stained glass. The visage which the infernal book made wane away, whose vanishment you cursed with every breath\u2014\n\nfor now it is you, the monster, that is the slavering servant of the beast divine. And this infernal, mad jester bears your face, grotesque, ruined by the gaze of ten thousand evil things.\n\nYour book expands, like living flesh, like a sigh."
    },
    {
        "text": "[Themes: Humor]\n\nDear Blogreaders,\nyesterday was the strangest day of my life! The things I have seen - and done - it was so strange...so horrible. And yet, wonderful. You remember that guy from the Psychology course? Paul? We had a date the day before yesterday. Some people already emailed me with questions regarding how it went. But sorry, especially to you, Toby43, but I was to tired, and, honestly, to drunk to go online that night. I'll skip that part, maybe I'll write about it later, because I have to tell you what went down this night. Paul was throwing this big New-Years-Eve party and he invited me (of course, I may add with what little self-esteem I have), to help him organize - and stay overnight.\nThat's how it all started. I arrived in the midst of the party,\nbecause I was visiting my family before that. So when I went in the door, Paul rushed at me. I couldn't have anticipated what happened next, that this would turn into...\n\nPaul, his brown hair in a cute pony-tail, rushes at you, a huge bowl of eggnog in his hand. He told you yesterday that he prepared it carefully after some old family recipe. He looks at you in utter horror, squeaking: \"Mice.\"\n\"Of me to drop by?\"\n\"No, Mice. They were in the house yesterday, and now one is in my eggnog.\" His voice is but a whisper.\n\"Hm, throw it away?\" you suggest carefully.\n\"No, Alex, everyone is waiting for it. Also, the noodles haven't arrived yet and the sandwiches are disappearing rapidly.So people need something to feed on.\"\nRight at that moment, the head of a small mouse pokes out of the liquid. The little bugger looks around, then begins to swim around quite happily.\n\"Get rid of these foul vermin! Save my eggnog.\"\nYou both look down on the swimming mouse. \"And please don't hurt the poor little creature.\" With that, Paul disappears into the living room, leaving the bowl in your hands.\n\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (closed) here.\n\n[Author's Note: You play as Alex, a young gay man attending a New Year's Eve party at your boyfriend Paul's. Paul would just love to host a perfect party, but he keeps running into unexpected problems, like this mouse in the bowl of eggnog. Fortunately for Paul, you're good at solving problems.]\n\n> Inventory\nYou are carrying:\na bowl of eggnog\n\n> You examine the drawers\nA chest of drawers, some cheap, flashy IKEA thing.\n\n> You take the thing\nNo, that belongs to Paul.\n\n> You get the thjing\nNo, that belongs to Paul.\n\n> You drink the eggnog\nNo! A mouse swam in it! Let those stupid party people drink it.\n\n> You eat the mouse\n(first taking the mnouse)\nThe mouse quickly evades any attempt at interaction.\n\n> You open the door\nWhich do you mean, the small door or the front door?\n\n> Small\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\n> You drink the mouse\nThe mouse quickly evades any attempt at interaction.\n\n> You look at the tools\nEvery shelf carries its own heap of rusty, quite useless tools.\n\n> Search tools\nYou find an Uzi, which you pocket.\n\n> You look at Uzi\nAn Uzi. Like in the movies. Paul told you it belonged to his grandfather, who was a bit on the funny side, and he tended to displace his magazine. Paul also told you that the thing is quite old and useless - it's set to Automatic fire and will stay that way.\nThe magazine shaft is empty.\n\n> You open the drawers\nThat's already open.\n\n> You go to the west\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about sickness and death, everybody trying to outdo one another in morbidity.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> Search heap\nSome of the people protest, in throaty voices: \"No, man, leave our things alone.\" or \"Chill out, man, that doesn't belong to you.\" Good karma pothead stuff like that.\n\n> You examine people\nSome people sit on the two comfortable couches, sharing joints and talking about some new remake and why it will suck.\n\n> You look under the couch\nYou find an mag for an Uzi, which you pocket. You never know when stuff like that comes in handy.\n\nGrinning like the Doomguy, you slid the magazine into the Uzi, where it rests with an assuring *click.*\n\n> You shoot the eggnog\nRandom firing will get your fun level up, but your social skills down."
    },
    {
        "text": "[Themes: Humor]\n\n> You look around\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about some new remake and why it will suck.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You shoot mouse\nYou can't see any such thing.\n\nThe mouse quickly evades any attempt at interaction.\n\n> You ask the people about hitler\nYou have to save this party before you can participate in the idle chat.\n\n> You look at the heap\nMost people arrived directly from last-minute College courses and brought their stuff with them.\n\n> Go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"The Saga begins\" by Weird Al Yankovic.\n\n> You take the laptop\nThat's fixed in place.\n\n> You examine people\nPeople stand around, glasses or plates in hand, happily munching and talking."
    },
    {
        "text": "> Look around\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"Surfing U.S.A.\" by the Beach Boys.\n\n> Unlock laptop\nWhat do you want to unlock the laptop with?\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\n> You search the undergrowth\nYou fight your way through the bushes.\n\nYou are somewhere in the undergrowth, the sounds of the party lost behind you.\n\nA metal switch is set into the ground here, gleaming ominously.\n\n> You examine the switch\nIt has two settings, cold and hot. It is currently set to the former\n\nThe switch is currently switched off.\n\n> You pull the switch\nNothing obvious happens.\n\n> You turn the switch on\nThat's already on.\n\n> You look at the switch\nIt has two settings, cold and hot. It is currently set to the latter.\n\nThe switch is currently switched on.\n\n> You switch the switch\nEnter saved game to store: Ok."
    },
    {
        "text": "> You describe your surroundings\nYou are somewhere in the undergrowth, the sounds of the party lost behind you.\n\nA metal switch is set into the ground here, gleaming ominously.\n\n> You search the undergrowth\nYou fight your way through the bushes.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe water in the pool is boiling!\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\n> You check your inventory\nYou are carrying:\nan Uzi\na bowl of eggnog\n\n> You examine wall\nQuite high. But climbable.\n\n> You drop all\nUzi: Dropped.\nbowl of eggnog: Dropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\nA barrel of glue lies here.\n\n> You look at the glue\nA huge, friendly green barrel. It has a nozzle on top and a sticker on it's side.\n\n> You examine sticker\nBio-Man superglue! Glues everything on everything. 100% edible!\n\n> You eat the glue\n(first taking the barrel of glue)\nThat's plainly inedible.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nA swanky golf-cart stands here,waiting to be driven around by rich, old people.\n\n> You eat the golf cart\n(first taking the golf cart)\nThat's fixed in place.\n\n> You examine the cart\nIn the golf cart is a plank.\n\n> You enter the cart\nYou get into the golf cart.\n\nA plank sit on the backseat.\n\n> You take the plank\nTaken.\n\n> You look at the plank\nA broad wooden plank. Maybe the janitor of the Golf course used it.\n\n> Inventory\nYou are carrying:\na plank\na barrel of glue\n\n> You go to the northeast\nEntrance Gate (in the golf cart)\nA metal gate bares the way out to a lovely country lane.\n\n> You open Gate\nIt seems to be locked.\n\n> You go southwest\nHilltop (in the golf cart)\n\n> You go west\nNo! You left your Crashkid past behind you."
    },
    {
        "text": "> Look around\nHilltop (in the golf cart)\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\n> You leave\nYou get out of the golf cart.\n\nA swanky golf-cart stands here,waiting to be driven around by rich, old people."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\n> You examine the nozzle\nWith it, you can SPRAY things.\n\n> You spray the plank\nWith what?\n\n> You throw the plank\nYou prop the plank against the wall, building a make-shift ramp."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\nYou can see a plank here.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nA swanky golf-cart stands here,waiting to be driven around by rich, old people.\n\n> You get in the cart\nYou get into the golf cart.\n\n> Speed2\nEnter saved game to store: Ok.\n\n> You go west\nOf course, you could make an impressive stunt by running this thing straight over the plank into the pool...but to what avail?\n\n> Go outside\nYou get out of the golf cart.\n\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nA swanky golf-cart stands here,waiting to be driven around by rich, old people.\n\n> You look in the cart\nThe golf cart is empty.\n\n> You go northeast\nA metal gate bares the way out to a lovely country lane.\n\n> You go west\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\nYou can see a barrel of glue and a plank here.\n\n> You examine the nozzle\nWith it, you can SPRAY things.\n\n> You get all\nbarrel of glue: Taken.\nplank: Taken.\nwall: That's hardly portable.\n\n> You spray the plank\nWith what?\n\n> Spray\nWhat do you want to spray?\n\n> You read the glue\nA huge, friendly green barrel. It has a nozzle on top and a sticker on it's side.\n\n> You read the sticker\nBio-Man superglue! Glues everything on everything. 100% edible!\n\n> You drop all\nplank: You prop the plank against the wall, building a make-shift ramp. barrel of glue: Dropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe water in the pool is boiling!\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see a bowl of eggnog and an Uzi here.\n\n> You go to the north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"My name is Jack Mills\" by Nitku.\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe water in the pool is boiling!\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see a bowl of eggnog and an Uzi here.\n\n> You take all\nbowl of eggnog: Taken.\nUzi: Taken.\nLazy people: I don't suppose Lazy people would care for that. undergrowth: That's hardly portable.\nwall: That's hardly portable.\n\n> You ask the mouse about the cheese\nYou can only do that to something animate.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"Keasbey Nights\" by Catch 22.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about hypertext.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> Go east\nA small hallway, brightly lit by a row of neon lights. Dark wooden stairs lead upwards, and a doorframe opens west into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\nYour steps don't make any sound on the the thick, red carpet.\n\nYou can see a chest of drawers (in which is a thing Pauls aunt gave her which he doesn't know what it is) here.\n\n> Go upwards\nPaul has forbidden any entrance for either you or anyone else to the rest of the House for the night. Aside from a a seductive \"Maybe later, when we're alone\", that is.\n\n> You open the door\nWhich do you mean, the small door or the front door?\n\n> Small\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\n> You look at the tools\nEvery shelf carries its own heap of rusty, quite useless tools.\n\n> You examine the carpet\nIt's thick and red. Beside the chest of drawers, there are some marks, as if it has been moved recently.\n\n> You examine the hole\nA mouse peeks out of the dark.\n\n> You check your inventory\nYou are carrying:\nan Uzi\na bowl of eggnog\n\n> You show the eggnog to mouse\nYou can only do that to something animate.\n\n> You drop the eggnog\nThe big mouse runs from the hole, jumps into the eggnog, grabs the small one by the neck, climbs out, and disappears into the hole. Still wondering how it could do all that in one turn, you replace the chest of drawers and pick up the bowl of eggnog.\n\n> Go west\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about some new, hip indie music.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nSuddenly, Paul appears besides you. He graps the eggnog and gently kisses your chin, sending goose-bumps down your arms. \"Thanks, Alex - you're a nice guy. Care to dance?\" With that, he takes you to Kitchen, where you dance rather akwardly to  \"Umbrella\" by Rihanna.\n. But your dancing is interrupted as Paul shoots more and more nervous glances at the buffet.\n\"What is it?\"\n\"Alex, we're running low on food - these people simply eat to fast! I ordered a huge package of noodles and have no idea why it wasn't delivered today. Anyway, we're stuck with a bunch of sandwiches, which disappear as we speak.\" \"Hey\" you say \"aren't your college types into resolutions and stuff like that?\"\n\"What the hell?\"\nYou eye the laptop. \"Write a resolution to lazily masticate all sandwiches. That'll slow them down till we figure out the noodle problem.\"\nPaul stares at you in wonder.\"Why haven't I met you 10 years ago?\" \"Because I was in jail. Listen, hook up a printer and get ready to go...\"\n\"Can't do that. I have a printer upstairs, but no paper.\"\n\"Leave that to me\" you say, smiling confidently, and Paul disappears upstairs.\"\n\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"My name is Jack Mills\" by Nitku.\n\n> You check your inventory\nYou are carrying:\nan Uzi\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about their World of Warcraft characters.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You ask the people about the paper\nYou have to save this party before you can participate in the idle chat.\n\n> You go to the west\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about Second life.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You examine the people\nSome people sit on the two comfortable couches, sharing joints and talking about comparing Tolkien to China Mieville.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"Surfing U.S.A.\" by the Beach Boys.\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe water in the pool is boiling!\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\n> You drop all\n(the Uzi)\nDropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\nYou can see a barrel of glue and a plank here.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You drop the glue\nDropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe water in the pool is boiling!\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see an Uzi here.\n\n> You go inside\nYou're feeling like becoming the human oyster?\n\n> You search the undergrowth\nYou fight your way through the bushes.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see an Uzi here.\n\n> Go inside\nYou jump into the water fully dressed.\n\nIn the Swimming Pool (swimming [obviously])\nYou are surrounded by clear, cold water.\n\nYou can see a battery-powered lava-lamp here.\n\n> You hold breathe\nYou hold your breath.\n\n> You go inside\nYou can't go that way.\n\nYou can't hold your breath any longer.\n\n> You exit\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see an Uzi here.\n\n> You hold the breath\nYou jump into the water fully dressed.\n\nIn the Swimming Pool (swimming [obviously])\nYou are surrounded by clear, cold water.\n\nYou can see a battery-powered lava-lamp here.\n\nYou hold your breath.\n\n> Dive\nYou dive down and grab the lava-lamp, coming up for air and raising it triumphantly over your head. No one cares.\n\n> Leave\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see an Uzi here.\n\nYou can't hold your breath any longer.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about that hip, totally awesome new TV show.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\n> You turn on lamp\nMesmerizing colors begin to swirl in it.\nSlowly, everyones eyes are wandering towards the lava-lamp.\n\nYou switch the battery-powered lava-lamp on.\n\n> Search heap\nYou roam around in backpacks and hand-bags, probably ruining a few lives by stealing term papers, love-letters, shopping lists,\neverything that's Din A4 and has nothing written on its back.\n\n> You check what you're carrying\nYou are carrying:\nPapers\n\n> You examine papers\nThe paper you nicked for the sake of this party.\n\n> You go west\nYou can't go that way.\n\nSuddenly, Paul appears, balancing a heavy printer on his arms, cables in his mouth. \"Didya manage to get some paper?\"\nYou nod, handing them to him. He balances them gracefully on top of\nthe printer.\n\"Great. Why don't you enjoy yourself then?\"\nYou move out into the Garden Area, enjoying the cool night air. Suddenly, there is a commotion in the house. Paul stumbles out of the glass doors, face pale.\n\"It's Hubert\" he says, biting his lip.\n\"Hubert?\"\n\"A German exchange guy I dated last year. Liked his accent. Anyway, I dumped him when I found out he was here to lead a camp of militant Nazi.(\"Hey\" you mutter absent-mindedly. \"Hobson's Law.\") He didn't like that to well. Now he's over there, stone drunk. Dressed like Hitler (must've mixed up New Years Eve and Halloween, oh these Eurotrash guys) and waving a piece around. Looks like he thinks those people in there are his hostages, and he will kill them If I don't surrender myself to him. I'm glad all those folks in there seem to be a bit too stoned to realize what's happening.\" He fondles your hair and breathes into your ear. \"Could you look into it?\"\nYou smirk. \"What? After realizing you dated a Nazi?\" Paul leaves a trail of laughter, as he disappears to some other part of the -y.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\nYou can also see an Uzi here.\n\n> You take Uzi\nTaken.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing: \"They\" by Jem.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nA blond, tall guy in a Hitler uniform strolls around the room.\n\nEveryone stares at the lava-lamp. Time for a clever metaphor about snakes and flutes.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a battery-powered lava-lamp here.\n\n> You look at Hitler\nThe costume isn't convincing for a second. The guy is tall, blond and rather muscular (you know see what Paul liked in him), the moustache made of shoeshine. He is waving a stub-nosed .38 around, murmuring German under his breath. He looks and sounds and smells pissed.\n\n> You shoot hitler\nDeciding to solve this the American way, you aim in Hubert / Hitlers general direction and fire. There are weak moans of protest as the blood splattered corpse flips over one of the couches and out of play ...er... sight.\nThere is a moment of silence as the people look at you, all pondering the possibilities here:\n1) you shoot a man to save a meaningless party and for the odd chance of getting laid.\n2) This was a piece of performance art.\nDeciding on the latter, there are some weak claps of applause.\nYou bow, then throw the Uzi after the corpse, mumbling: \"We'll clean\nup tomorrow.\""
    },
    {
        "text": "[Themes: Humor]\n\n> You describe your surroundings\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either eastwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nEveryone stares at the lava-lamp. Time for a clever metaphor about snakes and flutes.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a battery-powered lava-lamp here.\n\n> You go to the south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's laptop, connected to some small speakers, providing music.\nRight now, it's playing:Some weird Korean hip-hop.\n\nSuddenly, Paul appears beside you, a cute wrinkle on his brow.\n\"Did I hear gunfire?\"\n\"Probably was the music.\"\n\"So, where's Hubert?\"\n\"Stopped partying. So can we finally, finally, enjoy this thing? Together?\"\n\"No. This party is dead. I just got a call from the service who was supposed to deliver the noodles. Guess what? They accidentally delivered to the Golf course next door. Which is closed today, I just checked. But that doesn't matter - even if we get the noodles, how are we supposed to boil so many of them in such a short time?\"\nYou clap him on the shoulder.\n\"Don't worry, I'll think of something.\" He puts your hand in his. \"Thanks, Alex, I really appreciate this. I'll be in the kitchen, holding of the partygoers as long as I can.\"\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the afternoon glow.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill.\n\nYou can see a barrel of glue and a plank here.\n\n> You go to the northeast\nA metal gate bares the way out to a lovely country lane.\n\nYay! There is a huge package of noodles here, enough to keep the whole party satiated.\n\n> You examine the noodles\nWell...noodles.\n\n> You put the noodles in the cart\nYou carefully plaster the golf cart with noodles. Joseph Beuys would be proud."
    },
    {
        "text": "> Look around\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the North-East.\n\nA swanky golf-cart stands here,waiting to be driven around by rich, old people. And Noodles!\n\n> You go to the west\nThe little golf cart gains a frightening amount of speed downhill. You mange to maneuver it onto the wooden plank - and then you are flying! Party guests gap as you fly - and as the golf carts nose sinks - splashing into the pool, spraying some people with boiling water. As you sink, your skin screaming with pain, you watch noodle float all around you - given 7 minutes, they'll be ready to be eaten.\nYou only realize the full amount of pain as Paul pulls you out of the scalding water - and as he later, after you both more or less enjoyed the rest of the party and a healthy meal, puts ointment on your badly scalded legs, and some other body parts which technically weren't hurt at all. And even more time later, you sit in the garden, huddled together on a deck chair, musing at the stars and what this year 2008 might bring.\n\nSo, as I told you, that was great, but the first weeks of the new year will be rather stressful. After all, I'm still in hospital about those burns, and the police started asking around about some German guy - as did the local arm of Nazi party.\nBut, dear Blogreaders, you know me, I'll find my way - and I'll keep you posted.\nOne way or the other, I think I'll never forget\n\nThe day I shot Hitler!"
    },
    {
        "text": "[Themes: Magical Realism, magical realism, magic]\n\nFording seas of boredom, weathering storms of grief, and floods of anger, you have arrived. This game is an introduction to research-based Positive Psychology tools. For more information about playing this game, type ABOUT.\n\nYou look north, south, east, and west. There is something missing here, as if all of nature is just ... sort of ... going through the motions. Her heart isn't really in it.\n\nWelcome to Eunice.\n\nAround you is a neglected garden. Where once a caring hand tended bushes and plants, now trash covers the garden. No one is left to tend it now.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThe porch of the old house ends abruptly as the stairs have rotted away beyond all use. There is a cracked flowerpot leaning against the old house.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n[Author's Note: Eunice is a shadow of its former glory. Hope is lost, just a faint mem-ory Whatever might have brought you here, That Eunice needs you, it is clear. Type out simple commands, and Notice the changes in Eunice land. Odd creatures and strange places require your aid. You'll get as much out as the efforts you made.]\n\n> You read it\nThe note reads:\n\nEunice is a shadow of its former glory.\nHope is lost, just a faint mem-ory\nWhatever might have brought you here,\nThat Eunice needs you, it is clear.\nType out simple commands, and\nNotice the changes in Eunice land.\nOdd creatures and strange places require your aid.\nYou'll get as much out as the efforts you made.\n\n> You examine trash\nSome old junk lies abandoned in the garden.\n\n> You take it\nSometimes you can't take it with you. This is one of those times.\n\n> You examine the garden\nYou look closer and recognize ragged lavender and a tired rose. The plants have withered at the stem before ever blooming. Brown and gray, they are barely surviving among the junk left in the yard.\n\n> You examine pot\nIt is dusty, cracked. It rests against the front porch where stairs used to be. Those stairs are gone completely now, either torn up by some strong arm or simply rotted away.\n\n> You take the pot\nIt seems to be serving its intended purpose just where it is, thank you.\n\n> You examine the porch\nThe old wooden house is small and square. From out here, you can tell there is likely only one room inside. The front porch is rotting and slants away from the house, but the walls are strong. It looks as if someone just left it to fall into disrepair.\n\n> You go north\nYou can't walk up the stairs. They have rotted beyond all use.\n\n> About yourself\nYou look different in the Eunice light. A little more weather-beaten, a little darker from the sun, a little stronger from the walking, you look like an adventurer.\nYou look like you have grit.\n\n> You go to the south\nThe wind blows gently across the rolling meadow. This would be a sweet place to sit for an afternoon in a hammock and listen to the birds sing, except that there is no hammock and no birds singing.\n\nA whisk lies on the meadowland, looking very out of place.\n\n> You look at the whisk\nClean curves of metal, the whisk looks very useful for whisking things.\n\n> You take it\nYou reach down to retrieve the whisk, but no matter how hard you pull it won't come up from the meadowland. Assuredly it doesn't belong, but it seems that other things need to be taken care of before you can return the whisk to its rightful place, wherever that might be.\n\n> You go to the south\nDry rustling grasses surround you.\n\nThe only thing breaking the continuity is a huge and gnarled tree, framed dark against the wide sky.\n\nA spatula rests on some grass, looking very out of place.\n\n> You look at the spatula\nIt is bright purple and made of semi-flexible silicone.\n\n> You take it\nYou reach down to retrieve the spatula, but no matter how hard you pull it won't come up from the grassland. Assuredly it doesn't belong, but it seems that other things need to be taken care of before you can return the spatula to its rightful place, wherever that might be.\n\n> Go south\nYou start to wander south, but without the tree as a signpost you would easily become lost in ever-shifting green grasses. If you were lost, hope would never return to Eunice. Thankfully, you turn back.\n\n> Go west\nYou start to wander west, but without the tree as a signpost you would easily become lost in ever-shifting green grasses. If you were lost, hope would never return to Eunice. Thankfully, you turn back.\n\n> You go east\nYou start to wander east, but without the tree as a signpost you would easily become lost in ever-shifting green grasses. If you were lost, hope would never return to Eunice. Thankfully, you turn back.\n\n> You go west\nThe field is mostly dust and grime beneath dark mountains looming to the west.\n\nA round tin rests on the Dusty Field, looking very out of place.\n\n> You look at the mountains\nTall and jagged, they look far off and faintly disapproving.\n\n> You look at tin\nA round metal tin, nine inches in diameter.\n\n> You take it\nYou reach down to retrieve the round tin, but no matter how hard you pull it won't come up from the dusty field. Assuredly it doesn't belong, but it seems that other things need to be taken care of before you can return the tin to its rightful place, wherever that might be.\n\n> Go west\nYou are in a broad, rocky field. Boulders are scattered haphazardly all around.\n\nThere is a large notice board clearly placed with more intention than the rocks. On the notice board is a pad of paper and a few notes. Farther west, tall mountains loom over you, threatening to overwhelm the scene.\n\n> You examine the boulders\nHeavy and oblong with weathered surfaces, they have been here a long time.\n\n> You examine the board\nA large public notice board stands in the middle of the wide field. You wonder why the builder decided to put it out here, far from any road or town. Clearly some people came here, because there are colorful notes stuck to the board, as well as a large pad of paper.\n\nCarved into the top of the board are the words:\n\nSimply type \"Today I am grateful for {your gratitude} \" on the pad. Peace and serenity are yours to be had.\n\n> You look at the pad\nThe pad of paper is titled \"Gratitude List: \" in shimmering in gold leaf. The rest of the paper is inviting, ready to be typed in.\n\n> You examine the notes\nYou pick one of the notes to read: \"Today I am grateful for smiles from strangers, dragon gold, my job\".\n\n> You continue\nYou pick one of the notes to read: \"Today I am grateful for my children, a morning commute free from trolls and dragons, sunny weather\".\n\n> You climb the boulders\nLittle is to be achieved by that.\n\n> You go to the west\nYou walk on to explore west of the notice board in the field beneath rugged mountains.\nSuddenly you see what the shadow of the mountains had hidden: the land falls away in a steep cliff so deep that the bottom is hidden from view. You scramble back from the edge. There is no way to go farther west. With a pounding heart, you turn back to the notice board.\n\n> You go north\nThe rocky field ends at the edge of a dark wood. The forbidding trees block your way.\n\n> You go to the south\nYou start to wander south into the prairie, but without a way to navigate you would easily become lost. If that happened, hope would never return to Eunice. Thankfully, you turn back.\n\n> You examine the trees\nThe trees seem to crowd in together as if they were keeping a secret. It is too dark to discover much from here.\n\n> Go east\nThe field is mostly dust and grime beneath dark mountains looming to the west.\n\nA round tin rests on the Dusty Field, looking very out of place.\n\n> Today i am grateful for the peanuts\nYou write \"peanuts\" on the pad of paper.\nTake a moment and look at the words that you wrote. Let the memory of peanuts soak in.\nWhen you write your gratitude note, a tiny folded paper bird flutters down from above you and lands noiselessly in your hand.\nThe field looks a little greener.\nThe colorful gratitude notes posted on the board shine and twinkle.\n\n> You examine the bird\nAn expertly folded paper bird, the GIFT of GRATITUDE. The colors seem to change slightly in the Eunice light, but you think its blue. You remember your Gratitude List:\n\n> Today i am grateful for the shelter\nYou write \"shelter\" on the pad of paper.\nTake a moment and look at the words that you wrote. Let the memory of shelter soak in.\nWhen you add your gratitude note, you notice other notes pinned on the board, written by people or animals before you. It almost seems like there are more than before. The colorful notes add a trendy, party atmosphere to the sign.\n\n> Today i am grateful for the ifcomp\nYou write \"ifcomp\" on the pad of paper.\nTake a moment and look at the words that you wrote. Let the memory of ifcomp soak in.\nWhen you add your gratitude note, you notice other notes pinned on the board, written by people or animals before you. It almost seems like there are more than before. The colorful notes add a trendy, party atmosphere to the sign.\n\n> You examine the trees\nThe trees seem to crowd in together as if they were keeping a secret. It is too dark to discover much from here.\n\n> You go east\nThe field has a hint of green as if the imposing mountains were pushing up spring with their toes.\n\nA round tin rests on the Dusty Field, looking very out of place.\n\n> You take the tin\nYou reach down and easily pick up the round tin. Though you aren't sure where it belongs, maybe a dancing rabbit needs a stage somewhere.\n\n> Go north\nThe dusty field ends at the edge of a dark wood. The forbidding trees block your way.\n\n> You go east\nA broad field or plain with nothing particularly distinguishing about it, except for the profusion of flowers\n\n> You examine flowers\nSome are just tiny dots of color, others grow clustered in towers or opened broad faces of brilliant color: blue sage and indigo, magenta, gold and violet.\n\n> Smell flowers\nThey are sweet and with a fresh lightness.\n\n> You go north\nThe dark pine wood is a solid wall. Yet, as you look you can see a break in the trees where a path of pine needles leads west deeper into the wood or south to an open field.\n\n> You examine the needles\nThe straight towering pine trees rise darkly above you. Decades of dropped pine needles thickly cover the path. Their strong scent fills in the air.\n\n> Smell needles\nYou bring your nose close to the pine needles and inhale deeply. The scent of pine fills your lungs. You inhale deeply for a count of 5, pausing for a moment at the top of your inhale:\n\nExhale completely, feeling refreshed.\n\n> Go west\nYou walk on with determination toward the light up ahead.\n\nYour footfalls are silent in the thick carpet of pine needles. Sunlight quickly disappears, unable to penetrate through the wood. The path curves here and leads north or to the east.\n\n> You go north\nLike the brave explorers of old, you move through the quiet dimness.\n\nThe ground changes elevation drastically here, making your hike considerable harder. The pines press in around you. The path leads north or south.\n\nA measuring cup lies at the side of the path, looking very out of place.\n\n> You look at the cup\nThe cup is simply made and has a marking of \"1 cup\" on the side.\n\n> You take it\nYou reach down to retrieve the measuring cup, but no matter how hard you pull it won't come up from the steep trail. Assuredly it doesn't belong, but it seems that other things need to be taken care of before you can return the cup to its rightful place, wherever that might be.\n\n> You go to the north\nWith resolve and determination, you press on.\n\nThe pines have blocked all light and you can hardly see the trail. The comparative darkness halts your progress for a moment.\nThere is some light off to the northwest and the south.\n\n> You go northwest\nYou move forward out of the darkness and into a bright light.\n\nA ray of sunshine cuts through the curtain of pines onto the path before you. The dense wood opens to a small glen of prickly grass\n\nA dozen carved statues are placed around the little glen. They are worn and covered in lichen, bird droppings, and fallen leaves.\n\n> You lie on Grass\nOn second thought, you decide against lying on Grass.\n\n> Smell Grass\nEven for all your sniffing efforts, it doesn't smell like much\n\n> You eat Grass\nThat's plainly inedible.\n\n> You look at the statues\nThe sculptures are all of people hunched over and staring at a small rectangles in their hands. Some are curled over themselves in office chairs.\n\nLooking at them life-like and lifeless, frozen in various pretzel positions, makes you want to loosen your limbs.\n\n> You loosen limbs\nLift your shoulders up to your ears. Feel the muscles tense.\nThen release.\n\nStretch your shoulders back as far as is comfortable, pushing your sternum forward and take a deep breath.\nThen release.\n\nRaise your arms over your head and feel your sides stretch.\nThen release.\n\n...\n\n> You keep going\n...The stone statues are cracking.The figures come to life. They brush the dust and rocks off of themselves. Everyone is hugging and laughing and chattering. \"Hello,\" they say, \"it's been so long! Good to see you,\" they celebrate. They notice you and bring you into the circle. Many hands pat you on the back, thanking you.\n\nOne gives you a little stone that broke off from his elbow.\n\n> You examine the stone\n...The happy group notices you stretching and jumps to join in. After a smiling round of calisthenics, the group noisily wishes you, \"Good luck on your quest to free hope in Eunice!\". Then they go back to their own stretches or sipping tea, and you remember your mission.\n\n> You look at the stone\nThe STONE of FLEXIBILITY is gray with little black specs. At this moment, it is an oval rock."
    },
    {
        "text": "[Themes: Magical Realism]\n\n> Look around\nA ray of sunshine cuts through the curtain of pines onto the path before you. The dense wood opens to a small glen of soft grass. The sun shines strongly in the glen creating a little circle of bright against the dark forest.\n\nThe people who were statues are now enjoying the warm sun.\n\n> You examine the people\nPeople are chatting and sipping tea.\n\n> You talk to the people\n\"Eunice has very particular conversational etiquette. You can ASK group chatting ABOUT something; TELL group chatting ABOUT something; or ANSWER something to group chatting.\n\n> You ask the people about the Eunice\nYou do a short sun salutation warm up before talking.\n\nThe group has a lot to say about Eunice.\n\n\"Our beautiful, beautiful home...though it looks just awful now.\" \"That is only because Hope is trapped and we were frozen, but now we can move.\" A few of them do headstands in the grass.\n\n> You ask the people about Hope\n\"What happened to Hope?\" you venture to ask.\n\nThe party falls silent for a surprising moment. Then someone says in a half whisper, \"Only the troll knows.\" The group won't talk anymore about that.\n\n> You ask the people about the troll\n\"What do I need to face the troll,\" you ask, worried that you haven't seen any swords or shields or axes lying around.\n\n\"Do you have any taller shoes?\" someone quips, \"if you really want to be face to face...\"\n\nThere are some snorts and elbowing, and then someone says, \"He just disppeared and no one knows what happened.\"\n\n> You ask the people about rabbit\nA few people begin to think about your comment and get distracted when others do  jumping jacks.\n\n> Inventory\nYou are carrying:\na round tin\nstone of flexibility and origami bird\n\n> You ask the people about the stone\n\"This is a strange stone,\" you observe, looking at it. Before your eyes it changes momentarily into a donut shape, then back to a circle. \"It's our gift to you, and it might be just the perfect thing,\" one of the group replies. Someone else adds, \"it is one of those treasures needed in the quest to free Hope.\n\n> You ask the people about the bird\nA few people begin to think about your comment and get distracted when others do cartwheels."
    },
    {
        "text": "> Look around\nA ray of sunshine cuts through the curtain of pines onto the path before you. The dense wood opens to a small glen of soft grass. The sun shines strongly in the glen creating a little circle of bright against the dark forest.\n\nThe group chatting has created a happy little party.\n\n> You examine Grass\nsoft and inviting.\n\n> You lie on Grass\nOn second thought, you decide against lying on Grass.\n\n> You examine the trees\nThe straight towering pine trees rise darkly above you. Decades of dropped pine needles thickly cover the path. Their strong scent fills in the air.\n\n> Go north\nThe forbidding trees block your way.\n\n> You go to the southeast\nThe pines have blocked all light and you can hardly see the trail. The comparative darkness halts your progress for a moment.\nThere is some light off to the northwest and the south.\n\n> You go to the south\nThe ground changes elevation drastically here, making your hike considerable harder. The pines press in around you. The path leads north or south.\n\nA measuring cup lies at the side of the path, looking very out of place.\n\n> You take the cup\nYou reach down and easily pick up the measuring cup. Though you aren't sure where it belongs, maybe a cat needs a hat somewhere.\n\n> You go south\nYour footfalls are silent in the thick carpet of pine needles. Sunlight quickly disappears, unable to penetrate through the wood. The path curves here and leads north or to the east.\n\n> You go east\nAround you is a neglected garden. Where once a caring hand tended bushes and plants, now trash covers the garden. No one is left to tend it now.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThe porch of the old house ends abruptly as the stairs have rotted away beyond all use. There is a cracked flowerpot leaning against the old house.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n> You go east\nThe air smells of mud and rotting plants. Flies buzz around your ears and eyes. All your energy to explore is gone, as if sucked away by one of the mosquitos you are trying to swat. You stand on the web of marsh plants. There is some green here, but it is only a sparse layer over deep, cold, dark waters.\nNearby is a dented park sign, titled \"Quaking Bog Rules and Regulations\".\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\nYou sink a little lower into the bog, feeling the cold water on your skin. What can you do, stuck here without Hope?\n\n> You look at the sign\nQuaking Bog Rules and Regulations:\n- Swimming is allowed and impossible\n- Jumping is allowed and possible\n- Take time to Appreciate Nature\n- You can thank any bog creature\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\nYou sink a little lower into the bog, feeling the cold water on your skin. What can you do, stuck here without Hope?\n\n> You jump\nYou muster the energy to jump a little, and come down hard on the marsh moss and grasses. More cold water collects around you.\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\nYou sink a little lower into the bog, feeling the cold water on your skin. What can you do, stuck here without Hope?\n\n> Appreciate the nature\nYou look around and notice that everywhere around you is full of living, growing things. Dragonflies and butterflies and plain flies swoop between moss and grasses.\n\n...\n...Long-legged shorebirds poke around in the mud. The air smells green and rich. A sparkle catches your eye. A single dew drop balances on the edge of a curved grass leaf. Slowly it grows in fullness, glinting like a little star. The weight pulls the thin grass down, down until it drops silently into the watery green at your feet.\n\n...\n...You take a deep breath. Breathe in and feel the breath fill from your belly to your ribs to your collarbones.\nExhale; the grass flutters from the wind of your breath. You feel happier, more relaxed, and ready to continue your exploration.\n\n...\n...At the conclusion of your appreciation, an iridescent fly lying nearby catches your eye. It is colorful and shimmering, vaguely like sugarcoated hard candy.\nOdd, but you keep it for later.\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\n> Examine fly\nReflecting luminous colors, it is dead and rather large, about the size of a cracker.\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\n> Smell mud\nYou smell nothing unexpected.\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\n> You take mud\nSometimes you can't take it with you. This is one of those times.\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east."
    },
    {
        "text": "> Look around\nThe air smells of mud and rotting plants. Flies buzz around your ears and eyes. All your energy to explore is gone, as if sucked away by one of the mosquitos you are trying to swat. You stand on the web of marsh plants. There is some green here, but it is only a sparse layer over deep, cold, dark waters.\nNearby is a dented park sign, titled \"Quaking Bog Rules and Regulations\".\n\nYou hear a muffled \"ccrroOOAAAaakk\" off to the east.\n\n> Go east\nThe ground quakes slightly with each footfall, in a pleasant undulating manner. You are walking on water - or above it - on many layers of moss that have grown over to form a living raft on the surface of the bog.\n\nA toad is sleeping in the moss, as if he was nestled among many overstuffed pillows.\n\n\"ccrroOOAAAaakk\".\n\n> You examine the toad\nThe toad is large and green and frowning. His protruding eyes are closed and he makes a loud \"ccrroOOAAAaakk\" noise every so often. He is snoring!\n\n\"ccrroOOAAAaakk\".\n\n> You wake toad\nIt does seem like the thing to do, but how?\n\n\"ccrroOOAAAaakk\".\n\n> Kiss toad\nYou place your lips on the toad's cool skin, in your best guess of where his cheek could be, and give a kiss.\n\nThe toad stirs.\nHis right eye opens a fraction of a sixteenth of an inch, and closes again. He spits just the tiniest bit, and then indulges in a terrific snore.\n\n\"ccrroOOAAAaakk\".\n\n> You give the fly to the toad\nYou hold the iridescent fly in front of you. With perfect instinct, and eyes still closed, the toad's sticky tongue shoots out and lifts the fly from your palm.\nThe toad chews, snorts, and finally stirs. He fixes his large bulbous eyes on you as if he can see you to your heart.\n\n\"Thank you,\" he says, \"though Hope is caged in Eunice, the flies are rather good.\" he pauses, considering you for a moment, \"it has been quite a while since sightseers came to the bog. What we really need is an adventurer for a quest!\"\n\n> You ask the toad about the quest\n\"I have taken on the quest to free Hope from its cage!\" you proclaim, \"can you help me?.\n\n\"Glad to see you aren't off to kill some terrible princess and romance a dragon horde, or whatever the kids do these days,\" the toad replies. \"Five treasures are required to free Hope from its cage and you will have to explore Eunice to find them.\" he responds.\n\n> You ask the toad about the key\n\"About that key of appreciation,\" you say, shifting your weight from one foot to the other, \"How would I find it?\"\n\nThe toad actually smiles, \"You are so, so close; practically on top of it. Search the water...\"He shifts slightly and near his left forelimb you see a narrow deep well of crystal clear water.\n\n> You search the water\nYou peer into the crystal clear water for a moment seeing your reflection staring curiously back at you. Then its gone and far below you think you see something down there, so you reach in.\nThe water is cool against your hand. This is just the beginning.\n\n> Keep going\nPast the slime and the mud of the bog, past any worries and judgements about whether you are doing enough or playing the game well, you go. Something slimy flits by, maybe a fish?\n\nYou are now in the bog up to your elbow.\n\n> Continue\nYou crouch down to reach farther still. The water is still, like a deep calmness in your own core. Then the tips of your fingers brush against something solid.\n\nYou are now in the bog up to your shoulder.\n\n> Continue\nStraining, you stretch farther, bringing your face near the surface of the thick bog. Finally you grab something solid! Pulling it up to the surface, you see it is a heavy key. You keep the key for later.\n\nAs you put the key away, you can feel the toad's eyes on you and his wide mouth turns up in a slight smile.\n\n> You examine the key\nOne of the five treasures: the KEY of APPRECIATION! It's a house key. The key is heavy brass and old fashioned. It rests solidly in your hand.\n\n> Inventory\nYou are carrying:\na measuring cup\na round tin\nhouse key, stone of flexibility and origami bird\n\n> You ask the toad about the tin\n\"I'd rather talk about bog politics than that,\" says the toad, \"and I hate politics\".\n\n> You ask the toad about the house\n(the house key)\n\"It is the KEY of APPRECIATION,\" the toad admits, \"I haven't had the confidence to look past my own reflection to search for it.\"\n\n> You examine the moss\nLooks like a comfortable bed, for a toad.\n\n> You go east\nThe thick moss dissolves farther east into a dark pool. There is no way farther.\n\n> You go to the north\nThe thick moss dissolves farther north into a dark pool. There is no way farther.\n\n> You go south\nThe thick moss dissolves farther south into a dark pool. There is no way farther.\n\n> Go west\nThe toad sits quietly watching you go.\n\nThe air smells of mud and both the growing and decaying plants. Instead of being stuck, you notice how the whole bog is bursting with life.\nNearby is a dented park sign titled \"Quaking Bog Rules and Regulations\n\n> You read the sign\nQuaking Bog Rules and Regulations:\n- Swimming is allowed and impossible\n- Jumping is allowed and possible\n- Take time to Appreciate Nature\n- You can thank any bog creature\n\n> Go east\nThe ground quakes slightly with each footfall, in a pleasant undulating manner. You are walking on water - or above it - on many layers of moss that have grown over to form a living raft on the surface of the bog.\n\nThere is a clear pool of water near the toad's forelimb.\n\nThe large green toad is lounging on the moss, humming softly to himself.\n\n> Thank the toad\nHe nods his wide head. And if he had a bowler hat, he would have touched the brim as a jaunty \"you're welcome\". But things aren't as they should be in Eunice.\n\n> Go east\nYou start to wander east into the green grasses, but without a way to navigate you would easily become lost. If that happened, hope would never return to Eunice. Thankfully, you turn back..\n\n> You take the flowers\nYou wander through the field gathering wildflowers. The petals kiss softly against your skin.\n\nAfter a while, your foot catches on a ridge of dirt and you catch yourself before falling. Bending down, you notice a small round hole of some little animal's home. After peering for a moment into the cool darkness you stand again, not wanting to pry where you haven't been invited.\n\nYou walk on farther, discovering rocks and seed pods and animal tracks, and then losing them again in your rambling.\nA soft breeze smelling of high mountain air comes from the west and you remember your quest.\n\nThe flowers that you gathered were lost on your exploring, but it is fine. The seeds you spread will grow to more flowers next year.\n\n> You go west\nThe field has a hint of green as if the imposing mountains were pushing up spring with their toes.\n\n> Go west\nYou are in a broad, rocky field. Boulders are scattered haphazardly all around.\n\nThere is a large notice board clearly placed with more intention than the rocks. On the notice board is a pad of paper and a few notes. The field looks slightly greener than before, as if spring is coming soon. Farther west, tall mountains loom over you, threatening to overwhelm the scene.\n\n> You read the notes\nYou pick one of the notes to read: \"Today I am grateful for a warm cup of tea, house elves, catching up with an old friend\".\n\n> Continue\nYou pick one of the notes to read: \"Today I am grateful for picnics, loving family, silly jokes.\" .\n\n> You tend the garden\nYou heft some of the larger pieces of trash to the side. Then you clear the dead leaves, dropping them on the ground for mulch cover to soak in the rain when it comes. As you clear and organize, your thoughts settle. Each thing in its place, simply and easily.\n\nSoothing lavender sways in the breeze, now that the garden has been tended. Fragrant plants cover the ground. The rose bush is budding and will flower soon.\n\nYou find a little flute among the trash, like a gift from the garden. You decide to keep it for later.\n\n> You examine the flute\nThe little flute is simply carved. In the right moment it will play the SONG of ORDER."
    },
    {
        "text": "[Themes: Magical Realism]\n\n> You look around\nAround you the garden is beginning to return to life. The rose bush has tiny pink buds, preparing to become flowers soon.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThe porch of the old house ends abruptly as the stairs have rotted away beyond all use. There is a cracked flowerpot leaning against the old house.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n> You look at rose\nThe bushes and plants are green with life. You notice a rose bush with blush-pink buds, and not far away lavender scents the air.\n\n> Clean pot\nYou rub the cracked flowerpot.\n\n> You climb the pot\nLittle is to be achieved by that.\n\n> You search the pot\nThe cracked flowerpot is empty.\n\n> Inventory\nYou are carrying:\na measuring cup\na round tin\nflute, house key, stone of flexibility and origami bird\n\n> You play the flute\nYou place the little flute to your lips and blow a few experimental notes. The sound is soft and a little melancholy.\n\n> You look at the bird\nAn expertly folded paper bird, the GIFT of GRATITUDE. The colors seem to change slightly in the Eunice light, but you think its blue. You remember your Gratitude List:\n\nifcomp\n\n> Kiss bird\nYou can only do that to something animate.\n\n> You go northwest\nThe old house blocks your way.\n\n> Go southeast\nYou start to wander southeast into the prairie, but without a way to navigate you would easily become lost. If that happened, hope would never return to Eunice. Thankfully, you turn back.\n\n> You go to the south\nThe wind blows gently across the rolling meadow. This would be a sweet place to sit for an afternoon in a hammock and listen to the birds sing, except that there is no hammock and no birds singing.\n\nA whisk lies on the meadowland, looking very out of place.\n\n> You take the whisk\nYou reach down and easily pick up the whisk. Though you aren't sure where it belongs, someone always needs a whisk somewhere.\n\n> Go northwest\nYou start to wander southwest, but without the tree as a signpost you would easily become lost in ever-shifting green grasses. If you were lost, hope would never return to Eunice. Thankfully, you turn back.\n\n> Go north\nThe wind blows gently across the rolling meadow. This would be a sweet place to sit for an afternoon in a hammock and listen to the birds sing, except that there is no hammock and no birds singing.\n\n> You go northwest\nThe dark pine wood is a solid wall. Yet, as you look you can see a break in the trees where a path of pine needles leads west deeper into the wood or south to an open field.\n\n> You take the needles\nSometimes you can't take it with you. This is one of those times.\n\n> You go to the east\nAround you the garden is beginning to return to life. The rose bush has tiny pink buds, preparing to become flowers soon.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThe porch of the old house ends abruptly as the stairs have rotted away beyond all use. There is a cracked flowerpot leaning against the old house.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n> Dance\nLift your shoulders up to your ears. Feel the muscles tense.\nThen release.\n\nStretch your shoulders back as far as is comfortable, pushing your sternum forward and take a deep breath.\nThen release.\n\nRaise your arms over your head and feel your sides stretch.\nThen release.\n\n...\n\nAhhh, that felt good.\n\n> You examine the tree\nThe tree is dark against the gray-green of the sky and mostly bare, with only a few yellow leaves. The trunk is thick and twisted. Low branches create a wide crown on the horizon.\n\n> You climb the tree\nYou hook your arm around a low branch and hoist yourself up. From there its an easy climb to the top with the wide horizontal branches forming an rough ladder.\n\nThe wind blows strongly this high up and you grasp a branch for stability. There are only a few leaves still holding on here and there.\n\nThe tree holds you high above Eunice in the palm of its dark branches.\n\nYou aren't sure what you are looking for, until you see it. A small yellow apple hangs on by a delicate twig which looks ready to snap in the wind at any moment.\n\n> You examine the apple\nIt is a small yellow apple. As you look closer, you notice shades of reds and browns and greens on the skin in a collection of all the colors of fall. Your mouth begins to water.\n\n> You take the apple\nTaken.\n\n> You eat the apple\nWith full awareness of your hand moving toward your mouth, you appreciate the smell and colors of the fruit. Imagine what it took for this to get to your hands: sunshine, water, warmth, and time. You take a first bite and for a moment hold the tart sweet fruit in your mouth. As you chew, you notice it fully as if it were your first time ever eating an apple. Very slowly you chew, appreciating the change in texture and the nourishment. You continue until you finish the apple and feel completely sated.\nA few brown seeds are all that is left. You keep them as a memory.\n\n> You examine the seeds\nSome little brown SEEDS of MINDFULNESS that came from the apple you ate.\n\nYou remember holding it with full awareness of the weight in your hand, appreciating the smell and colors of the fruit. You imagined what it took for this to get to your hands: sunshine, water, warmth, and time. You felt the fruit against your teeth and you took the first bite. After chewing, you noticed the first burst of flavor and how it gradually faded. Paying attention fully as if it is your first time ever eating an apple.\nVery slowly chewing, appreciating the change in texture and taste, you finished the apple and felt completely sated."
    },
    {
        "text": "[Themes: Magical Realism]\n\n> Go downwards\nMany grasses - wild oat, foxtail, ryegrass, and buffalo grass make up an ocean of green rolling around you.\n\nThe only thing breaking the continuity is a huge and gnarled tree, framed dark against the wide sky.\n\nA spatula rests on some grass, looking very out of place.\n\n> You take the spatula\nYou reach down and easily pick up the spatula. Though you aren't sure where it belongs, maybe a seafaring mouse needs a paddle somewhere.\n\n> Inventory\nYou are carrying:\na spatula\na whisk\na measuring cup\na round tin\nseeds, flute, house key, stone of flexibility and origami bird\n\n> Go north\nThe wind blows gently across the rolling meadow. You can just make out the faint notes of far off birdsong, though you can see no birds here yet. This is a lovely spot to sit for a moment.\n\nA hammock sways slightly in the breeze.\n\n> You examine the hammock\nThe hammock is wide and cozy.\n\n> You lie on it\nYou hold the hammock steady and climb awkwardly into it, thinking with some amusement that for all their comfort, hammocks are particularly uncomfortable to get into... But now you are lying down, every limb supported. Your skin warms in the sun. You are held and rocked gently. As you sway, looking up to the great wide sky of Eunice. All this cuddling into the hammock has succeeded in making you rather sleepy.\n\n> Sleep\nYou close your eyes for a moment. Thoughts that were loud and distracting become quiet. You can hear your breath grow deeper and more regular as you fall into a light sleep.\nBirds and insects make a sweet lullaby around you.\nAfter some unknown amount of time you wake up to Eunice, remembering your quest. A line from a poem alights on your mind, \"Hope is the thing with feathers\".\n\n> Go east\nYou start to wander east into the green grasses, but without a way to navigate you would easily become lost. If that happened, hope would never return to Eunice. Thankfully, you turn back..\n\n> You go to the north\n(first getting off the hammock)\n\nAround you the garden is beginning to return to life. The rose bush has tiny pink buds, preparing to become flowers soon.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThe porch of the old house ends abruptly as the stairs have rotted away beyond all use. There is a cracked flowerpot leaning against the old house.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n> You put the seeds in the pot\nYou gently plant the seeds in the cracked flowerpot.\nQuickly, tendrils sprout in the dirt. They grow into strong tangle of vines, twisting and turning around each other until they form stairs north to the porch.\n\n> Go north\nYou walk gingerly up the green vine stairs.\n\nIt was always a humble porch, now looking only slightly worse for wear, and it has been swept recently.\n\nA metal mailbox sits off to one side and a mat lies near the front door.\n\n> You look at the mat\nWoven grasses form a square mat in front of the door. It does not say \"welcome\". It does not even give a very welcoming impression.\n\n> You look under the mat\nYou find dust and dirt.\n\n> Clean mat\nYou rub the welcome mat.\n\n> You examine the mailbox\nIt is a metal box with the word \"Mail\" embossed on the front. It looks polished and clean, and a little out of place on the porch.\n\n> You open it\nYou pull open the front panel of the mailbox. A pair of beady eyes glare back at you from a tiny wrinkled face. The elf, for she has narrow pointy ears sticking up above a little green hat, screeches loudly: \"BAAAAAAAAAAAAA!!\"\n\n> You look at the elf\nThe elf is about five inches high and looks at you with an unyielding grumpiness.\n\n> You ask the elf about the elf\nThe elf glares at you.\n\n\"Bah, the elf,\" the elf yells, again. The elf is very yell-y.\nWho knew elves would be so screechy.\n\n> You ask the elf about the mailbox\nThe elf rolls her eyes.\n\n> You ask elf about the Eunice\n\"You want to know about Eunice?\" the elf asks, though clearly it is a rhetorical question, \"it's dark, it's empty, and it's not going to change.\"\n\n\"That seems a little severe\", you respond. Surprisingly, she doesn't yell but just shrugs, \"I am not one to compromise. People have told me I need more flexibility, but where would I get that?\"\n\n> You give the stone to the elf\nThe elf steps back to let you place the little stone inside the mailbox. She stands for a moment with hands on her hips, looking at it, and then with great effort she pushes it just slightly to the left. Now that it is in the perfect place, she sits on the stone of flexibility just like a bean bag chair. The elf is now grinning happily.\n\n> You ask the elf about the Eunice\n\"Can you tell me more about this place?\" you inquire.\n\n\"I don't get around Eunice much,\" the elf admits, \"though before the Troll shut himself away, this was a happy place - when Hope was free. I visited the group in the woods and the toad long, long ago back when Hope was here and we knew \"how to kneel down in the grass, how to be idle and blessed\"...\" She clears her throat and awkwardly wipes her face with the back of her hand. \"So much has changed since Hope was lost.\".\"\n\n> You ask the elf about Hope\nYou mention Hope.\n\n\"Maybe things won't always be as they are now, maybe things can change for the better.\" she shrugs, \"if you can succeed.\"\n\n> You ask the elf about Troll\n\"So do I have to fight the troll or something?\" You ask worriedly.\n\n\"\"Fight the troll? why would you do that?\" the elf gasps, \"he is going through a really tough time right now, but I don't think he would ever fight anyone.\"\n\n> You ask the elf about the mat\n\"Sounds interesting. Haven't got the foggiest idea about that,\" replies the elf, \"I'm just a tiny elf in a mailbox, after all.\"\n\n> You check what you're carrying\nYou are carrying:\na spatula\na whisk\na measuring cup\na round tin\nflute, house key and origami bird\n\n> You unlock the door with the key\nYou unlock the front door.\n\n> You open the door\nThe door swings open.\n\n> Go north\nThe elf waves goodbye.\n\nThe whole house has the feeling of neglect and something more... as if the place were holding its breath.\n\nThe front door is open, letting in rays of golden light.\n\nA huge troll looms in front of you.\n\n> You look at Troll\nThe troll is standing rock-like in the middle of the one room house. He is large and the house is rather little, so he takes up a lot of space.\n\n> You ask Troll about Troll\nThe troll can feel your eyes on him, and... s l o w l y... turns ... his head .... toward you.\n\n\"Hhhrrmmmm\" says the Troll, \"hhrrrmmmm\" then he seems to forget what you were talking about.\n\n> You look at the bird\nAn expertly folded paper bird, the GIFT of GRATITUDE. The colors seem to change slightly in the Eunice light, but you think its blue. You remember your Gratitude List:\n\nifcomp\n\n> You ask Troll about Hope\nAfter your long journey you can't resist asking, \"what really happened to Hope?\"\nThe troll looks at you and remains frozen.\n\n> You ask Troll about the Eunice\n\"Hhhrrmmmm\" says the Troll, \"hhrrrmmmm\" then he seems to forget what you were talking about.\n\n> You ask Troll about the house\n(the house key)\n\"Hhhrrmmmm\" says the Troll, \"hhrrrmmmm\" then he seems to forget what you were talking about.\n\n> You go to the south\n\"Goodbye for now,\" you say. The troll watches you worriedly as you leave.\n\nIt was always a humble porch, now looking only slightly worse for wear, and it has been swept recently.\n\nA metal mailbox sits off to one side and a mat lies near the front door.\n\n> You go south\nYou walk gingerly down the green vine stairs.\n\nAround you the garden is beginning to return to life. The rose bush has tiny pink buds, preparing to become flowers soon.\nJust north of you is an old, wooden house. At one time it was a dearly loved home, a place of comfort and laughter. Now it stands silent.\n\nThere is a cracked flowerpot leaning against the old house. A tangle of great, green vines is growing up to form stairs of the front porch.\n\nA tattered note flutters, caught in one of the nearby bushes.\n\n> You look in the pot\nThe cracked flowerpot is empty.\n\n> Go north\nYou walk gingerly up the green vine stairs.\n\nIt was always a humble porch, now looking only slightly worse for wear, and it has been swept recently.\n\nA metal mailbox sits off to one side and a mat lies near the front door.\n\n> You go north\nThe whole house has the feeling of neglect and something more... as if the place were holding its breath.\n\nThe front door is open, letting in rays of golden light.\n\nA huge troll looms in front of you.\n\n> You greet Troll\n\"Hello,\" you squeak out a greeting.\n\nThe troll can feel your eyes on him, and... s l o w l y... turns ... his head .... toward you.\n\n(You could ask him about Quest, Hope, Poem or Joke.)\n\n> You ask Troll about Quest\n\"I am still on a quest to free Hope!\" you proclaim, \"w-will you help me?\" The troll stares at you unmoving which seems intimidating at first and then you see he really isn't able to move.\n\n\"Got frzen whin Hofe traffd.\" he says and hardly moves his lips as he talks.\n\n\"Oh no,\" your voice sounds weak and tiny in the little house. You don't have anything prepared for this. \"How can I help?\" you ask.\n\nThe Troll looks around, thinking, his eyeballs the only thing that has free movement, \"Laughng...kno any gud jokes?\n\n> You tell Troll about the joke\nYou remember a few silly jokes, and tell one to the Troll. \"What gets wetter the more it dries? A towel.\"\n\nThe Troll's belly shakes and he makes a barking-burping noise. He is laughing!\nHe shakes himself vigorously and begins puttering around the old house.\n\nThings begin to look a little brighter in the old wooden house. The Troll makes a series of complicated taps on the wall and is able to open numerous little cupboards.\n\"Now that I can move about again I feel like celebrating.\" He talks at you from over his shoulder, \"Hope might actually be freed with you here, and I know what would be perfect for a little celebration!\"\n\nThe Troll begins to take out ingredients from all sorts of hidden places: bright red berries, a crock of butter, dark chocolate, a bowl of flour, and a jar of honey.\n\"Where did that cake tin go?\" he wonders aloud.\n\n...\n...You take out the cake tin and put it on the table about to say something, when the Troll glances up, \"ah ha!\", he says, and then butters the tin, \"to remove the cake easily,\" he explains, \"now if you were a measuring cup, where would you be?\"\n\n...\n...You take out the measuring cup and put it on the table about to say something, when the Troll glances up, \"ah ha!\", he says, and begins to measure out all the ingredients needed. When everything is in he wipes his hands on his pants, \"now where is that whisk?\"\nOnce again, you take out the whisk and put it on the table about to say something, when the Troll glances up, \"ah ha!\", he says, and begins to mix with an expert hand, \"Now, now, now, one last thing...the spatula...\"\n\n...\n...You take out the spatula and put it on the table without saying a word. When the Troll happens to glance up, he says \"ah ha!\" and takes the spatula in his hand. He uses it to transfer all the batter from the bowl to the baking tin. Then he puts the cake in a little oven hidden in a corner.\nIn no time at all, the utensils and ingredients are cleared away, and a wonderful smell of butter and sugar fills the air.\n\nThe smells coming from the hidden oven grow more and more delicious.\n\n> Smell\nThe house smells clean and fresher than before.\n\nThe smells coming from the hidden oven grow more and more delicious.\n\nAs you watch with your mouth watering, the Troll takes out a perfectly baked cake, removes it from the tin, and covers it in pale pink frosting.\n\"Please, don't wait on ceremony,\" the Troll graciously invites you toward the cake, and then proceeds to take a large handful of the dessert himself. It is only then that you notice something new has appeared from all of the Troll's puttering and opening of secret compartments."
    },
    {
        "text": "[Themes: Magical Realism, magical realism]\n\n> Look around\nThe house feels comfortable and homey. Everything is better with cake.\n\nNow you notice a large steamer trunk in one corner of the little house. It shouldn't be suspicious, even a troll needs some storage space...but there is no denying that it feels incredibly suspicious. The snake coiled on top might be adding to your discomfort.\n\nA beautifully frosted and perfectly baked cake sitting atop an overturned round tin on the floor the Old House. Almost half is already gone and a few moist crumbs lie scattered around it.\n\nThe front door is open, letting in rays of golden light.\n\nThe troll is puttering around the little house.\n\n> You look at the snake\nA coil of reptilian muscle, you shudder and decide not to disturb it.\n\n\"Bit intimidating,\" the Troll admits, \"I'm much too afraid to do anything with him myself.\"\n\n> You ask the snake about the snake\n\"SSSSssssssss\" saysss the ssnake.\n\n> You play the flute\nYou place the little flute to your lips and blow a few experimental notes. The sound is soft and a little melancholy.\nThe snake waves its head side to side as you play, turning jeweled eyes to you, and flicking his delicate tongue. Then he wiggles from off the steamer trunk and through the open window out into the perfumed garden.\n\n> You eat the cake\nSince there isn't a dessert plate or a cake serving set handy, you wipe your hand on your pants and, as genteelly as possible, take a handful of pink frosted cake.\n\nYou remember mindfully eating the apple and again pause just one moment before taking a first bite, smelling the treat and even enjoying the feel of cake in your hand.\n\nThen you take a bite. It is sweet and buttery and still warm from the oven. You imagined what it took for this to get to your hands: from growing the wheat and sugar cane to waiting while the troll frosted the layers. You notice the first burst of flavor and how it gradually fades at the end of each mouthful; paying attention fully as if it were your first time ever eating cake.\nVery slowly chewing, appreciating the change in texture and taste, you finished the handful and felt completely satisfied\n\n> You open the trunk\nYou open the steamer trunk, revealing a bird's nest and an egg.\n\n> You examine the nest\nA nest of paper and ribbons might seem nice, but this is part of Hope's prison. It was built from starving gratitudes until they shriveled up and died. Though an inanimate object, it seethes with resentment.\n\n> You examine egg\nThe egg is cream colored and the size of a ball. The shell is dimpled slightly all over. Part of Hope's prison, the longer you look at it the colder you feel.\n\n> You take the nest and the egg\nbird's nest: You don't want to get too close to that tangle.\negg: That's fixed in place.\n\n> You ask Troll about Hope\nAfter your long journey you can't resist asking, \"what really happened to Hope?\"\nThe troll pauses a moment thinking, \"it wasn't any one thing thing in particular. All of Eunice slowly grew grayer and darker. I thought that it was just happening to me alone, so I didn't say anything, and began to think maybe it was my fault. I didn't know what to do. I guess none of us did. It got worse. It got to where I couldn't do any of the things I used to love, like reading poetry.\"\n\n> You ask Troll about the Poem\nYou mention poetry and troll recites in a pleasing deep voice, \"For oft, when on my couch I lie\nIn vacant or in pensive mood,\nThey flash upon that inward eye\nWhich is the bliss of solitude;\nAnd then my heart with pleasure fills,\nAnd dances with the daffodils.\" he sighs, \"good stuff, good stuff.\"\n\n> Inventory\nYou are carrying:\nflute, house key and origami bird\n\n> You put the bird on the egg\nYou carefully take the folded paper bird, remembering some things you were grateful for, and place the little paper bird on top of the enormous egg. It balances, just a little lopsided. For the moment, nothing happens.\n\nThen the paper bird flutters and settles in to warm the egg. Slowly the egg begins to wobble, then shake. The paper bird flaps away through the window and out into Eunice.\n\n...\n...A crack forms in the shell. The crack expands and spreads.\n\nAfter what feels like hours, you can see a tiny beak poking through. As Hope breaks free of its prison, sunlight fills the house.\n\n...\n...The hatchling is a delicate thing with feathers. It makes a shrill chirp and shuffles its baby bird body. Slowly, it spreads its wings. Before your eyes it grows and grows. It flies across all of Eunice like a cloud, yet filling it with sunlight. Hope has returned to the land.\n\n> You tell Troll a the joke\n\"Hhhrrmmmm\" says the Troll, \"hhrrrmmmm\" then he seems to forget what you were talking about.\n\n> You tell Troll about the joke\nYou remember a few silly jokes, and tell one to the Troll. \"A wizard was driving down the street, what went wrong? He turned into a driveway!\"\n\nThe Troll's belly shakes and he makes a barking-burping noise. He is laughing!\nHe shakes himself vigorously and begins puttering around the old house.\n\n> Continue\nYou remember a few silly jokes, and tell one to the Troll. \"What did the 0 say to the 8? Nice belt.\"\n\nThe Troll's belly shakes and he makes a barking-burping noise. He is laughing!\nHe shakes himself vigorously and begins puttering around the old house.\n\n> You continue\nYou remember a few silly jokes, and tell one to the Troll. \"What bow can't be tied? A rainbow.\"\n\nThe Troll's belly shakes and he makes a barking-burping noise. He is laughing!\nHe shakes himself vigorously and begins puttering around the old house."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\nGlorious day, comrade! Of all the countless applicants, you yourself have been chosen to represent the great government of the Motherland as the political officer -- the zampolit -- in the crown jewel of the People's accomplishments: the lunar base. With months of training complete, you are finally ready to assume your post.\n\nThe inside of this reusable space vehicle is cramped, but not unbearably so for the trip up from Earth. A ramp has opened up, leading out into the base.\n\nYou can see DUFFY, apparently with some message on its screen, here.\n\n> You examine duffy\nThis large immobile robot is known as DUFFY, which is an acronym for... something you can never quite remember. The \"U\" is for Unit, maybe? Anyway, its primary purpose is to analyze various substances and objects. It displays any relevant output from its analysis on a large integral screen.\n\n> You read the screen\nIt reads:\n\nMESSAGE FROM COMMAND -- MAY 2 0759 -- COMRADE -- ZAMPOLIT REPORTED DECEASED BY SUICIDE. INVESTIGATE PRIOR TO SHUTTLE DEPARTURE AT 2000. MAKE ARREST IF POSSIBLE. END MESSAGE.\n\n> About yourself\nYou are now this lunar base's zampolit, charged with keeping everyone in line with the approved ideology of the Motherland. It is a duty you take seriously.\n\n> Go up\nSmall as far as hangars go, but large enough to contain the shuttle you arrived in, and afford space for its maintenance. The vehicular airlock in the ceiling is closed, of course. An airlock suitable for personnel is to the northeast, while an open airlock chamber is to the southeast.\n\n> You go northeast\nYou can see a space suit and a big red button here.\n\n> You look at the button\nPushing the button cycles the airlock, for access to the lunar surface.\n\n> You look at the suit\nIf someone made a full-body parka out of tin foil, and added a bubble of a helmet, it might look something like this.\n\n> You wear the suit\n(first taking the space suit)\nYou put on the space suit.\n\n> Go southeast\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\n> You look at the coffin\nThis insulated box seems to have been originally designed for the transport and storage of perishable food. It now serves a nobler, if more tragic, purpose.\n\n> Open coffin\nYou open the coffin, revealing a body.\n\n> You examine the body\nThis must be the previous zampolit officer. His nakedness surprises you, but between the autopsy and lack of an open-casket funeral, it makes perfect sense.\n\nOn the body is a crucifix.\n\n> You examine the crucifix\nSuch a thing is somewhat scandalous, and twice so on a political officer. It is pendant from a silver chain, which is beginning to show some tarnish.\n\n> You take the crucifix\nTaken.\n\n> You enter\nThe inside of this reusable space vehicle is cramped, but not unbearably so for the trip up from Earth. A ramp has opened up, leading out into the base.\n\nYou can see DUFFY here.\n\n> You analyze the the crucifix\nYou slip the crucifix into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You read the screen\nIt reads:\n\nOBJECT IS SILVER SUBTYPE STERLING. OBJECT CONTAMINATED WITH SLIGHT AMOUNT OF BLACK RUBBER COMPOUND.\n\n> You look at what you're carrying with you\nYou are carrying:\na space suit (being worn)\n\n> You ask Duffy,  to check your inventory\nThe screen blinks out a message several times:\n\nCOMMAND FAILED, COMRADE\n\nand then returns to its previous state.\n\n> You examine duffy\nThis large immobile robot is known as DUFFY, which is an acronym for... something you can never quite remember. The \"U\" is for Unit, maybe? Anyway, its primary purpose is to analyze various substances and objects. It displays any relevant output from its analysis on a large integral screen.\n\n> You leave\nSmall as far as hangars go, but large enough to contain the shuttle you arrived in, and afford space for its maintenance. The vehicular airlock in the ceiling is closed, of course. An airlock suitable for personnel is to the northeast, while an open airlock chamber is to the southeast.\n\n> You look in the coffin\nIn the coffin is a body.\n\n> You take the body\nHave some respect, comrade.\n\n> You take the coffin\nThat's fixed in place.\n\n> Close the coffin\nYou close the coffin.\n\n> You go southeast\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\n> You examine the file cabinet\nThe standard government-issue battleship-grey file cabinet. The Motherland may be built on vodka and blood, but her government is built upon a vast foundation of file cabinets just like this one.\n\n> You open it\nYou open the mechanical file cabinet.\n\n> You look in it\nThe contents seem to be arranged by date. You could look up a particular date to find a specific record.\n\n> You look up may 2\n(in the mechanical file cabinet)\nYou find several standard statement-of-work forms, but none of them seem particularly interesting.\n\n> You go southwest\nA small, cramped room. A cot, a locker, a small writing desk. The place smells faintly of lightweight oil. The only door is to the northeast.\n\nYou can see Tsygan here.\n\n> You examine Tsygan\nThe mechanic, Tsygan, as you recall from your briefing, is in charge of all the mechanical systems and subsytems on the entire base, from life support to plumbing. He is angrily mumbling under his breath about something.\n\n> You examine the cot\nAs far as beds go, it's pretty spartan, even by your standards. It looks like an air duct grille has been installed under it.\n\n> You look at grille\nThis grille seems designed to admit airflow and little else. It seems to be loose on its hinges.\n\n> You take grille\nThat's hardly portable.\n\n> Unlock grille\n(with the space suit)\nThat doesn't seem to be something you can unlock.\n\n> You ask Tsygan about the body\n\"It is very unfortunate. I had thought Sablin was stronger, psychologically, than that. Apparently I was wrong about him. As we all were.\"\n\n> You ask Tsygan about Tsygan\n\"I'm quite busy here, as I'm sure you can see, comrade zampolit. Surely everything you need to know is in my official file,\" he replies curtly.\n\n> You move the cot\nIt is fixed in place.\n\n> Doff suit\nYou take off the space suit."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go downwards\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> You go to the south-east\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\n> You look at Burlak\nThe gardner, Burlak, as you recall from your briefing, is in charge of the greenhouse and lunar excursions. He looks approximately ancient.\n\n> You ask Burlak about Sablin\n\"I cannot truly believe it, even now. He was a complex man, but not a troubled one.\"\n\n> You ask Burlak about burlak\n\"Ehhh? Me? Oh, I've been here since the beginning. Before the bone density supplements. I won't be going back,\" he replies.\n\n> Go southwest\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\n> You ask prokopenko about Sablin\n\"We did not always see eye-to-eye, it is true. Still,\" he says, \"it is a terrible thing, so close to his return to Earth.\"\n\n> You examine the contraption\nThis machine, at first glance, defies comprehension. It looks like an outboard motor engaged in some sort of kinky fan-belt-based bondage with the refrigerator. You eventually puzzle out that it must be some sort of rigged-up stand mixer, for baking.\n\n> You ask the prokopenko about the contraption\n\"It is a marvel, is it not?\" He does not await a reply. \"A few bits and pieces from here and there, and now I can bake a cake.\"\n\n> You go south\nA small bed fills most of this small room. The walls are covered with pictures of people in various terrestrial settings. The only door is to the north.\n\n> You look at the bed\nAs far as beds go, it's pretty spartan, even by your standards. It looks like an air duct grille has been installed under it.\n\n> You look at grille\nThis grille seems designed to admit airflow and little else. It seems to be loose on its hinges.\n\n> You go northeast\nYou can't go that way.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> Go north\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\n> Go northwest\nMost of the room is filled with radio equipment. There's a non-pressure door to the northeast. A delicious smell wafts in from the southeast; to the southwest is the greenhouse dome.\n\nYou can see the radio file cabinet here.\n\n> You examine the cabinet\nThe standard government-issue battleship-grey radio file cabinet. The Motherland may be built on vodka and blood, but her government is built upon a vast foundation of radio file cabinets just like this one.\n\n> You open it\nYou open the radio file cabinet.\n\n> You look in it\nThe contents seem to be arranged by date. You could look up a particular date to find a specific record.\n\n> Go southwest\nA pleasant respite from the rest of the base are the rows and rows of growing plants. The greenhouse is a geodesic dome constructed from thick glass. Metal shutters are retracted near the floor, ready to be deployed in case of danger. The rest of the base is to the northeast.\n\nYou can see a composter here.\n\n> You look at the composter\nJust a large metal box, really, full of organic materials slowly decomposing into soil. Worth more than gold, up here.\n\n> Search composter\nYou dig around a bit in the muck. Your fingers hit something which doesn't feel organic at all, so you pull it out -- it's a long black piece of rubber. Surely that doesn't belong in the compost. You pull it out.\n\n> You check what you're carrying\nYou are carrying:\nan old fan belt\na space suit\n\n> You examine the belt\nA long thin length of black rubber. It looks the worse for wear, even considering its time spent in a pile of decomposing goo.\n\n> Go northeast\nMost of the room is filled with radio equipment. There's a non-pressure door to the northeast. A delicious smell wafts in from the southeast; to the southwest is the greenhouse dome.\n\nYou can see the radio file cabinet here.\n\n> You go southeast\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\n> You show the belt to Prokopenko\n(the old fan belt to Prokopenko)\nProkopenko is unimpressed.\n\n> You tell Prokopenko about the crucifix\nThis provokes no reaction.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You examine the grille\nThis grille seems designed to admit airflow and little else. It seems to be welded shut.\n\n> Go northeast\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\n> You show the belt to Burlak\nBurlak is unimpressed.\n\n> You analyze the belt\nYou slip the old fan belt into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You look at the screen\nIt reads:\n\nOBJECT COMPOSED OF BLACK RUBBER COMPOUND. IDENTIFIED AS FAN BELT. COMPOSITION MATCHES SILVER OBJECT CONTAMINANT.\n\n> You go southeast\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\nthing seems to confuse it.\"\n\n> You go northeast\nYou can see a big red button here.\n\n> You go northeast\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\n> Go northwest\nThis small room seems bigger than it really is because it's almost entirely empty, with the last occupant's belongings already removed, and its new occupant -- you -- yet to move in. The few permanently-installed pieces of furniture indicate it is an office. The door back into the hall is to the southeast.\n\n> You examine the grille\nThis grille seems designed to admit airflow and little else. It seems to be welded shut.\n\n> Go southeast\nThis small room seems bigger than it really is because it's almost entirely empty, with the last occupant's belongings already removed, and its new occupant -- you -- yet to move in. The few permanently-installed pieces of furniture, such as the bed, indicate it is your quarters  The door back into the hall is to the northwest.\n\n> You examine the bed\nAs far as beds go, it's pretty spartan, even by your standards. It looks like an air duct grille has been installed under it.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> Go north\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the west, and the door to someone's quarters opposite. The hall curves away to the north and south.\n\n> You go west\nThe long couch, suitable for reclining, tips you off that this must by the office of the base psychiatrist. It also features the more usual furniture for an office -- a desk, a file cabinet, that sort of thing. The hallway is back to the east.\n\nYou can see Golovachev here.\n\n> You look at Golovachev\nGolovachev is the base psychiatrist. Apparently all the isolation gets to some people.\n\n> You ask Golovachev about Sablin\n\"There was no prior indication that Sablin was tending towards suicidal ideation, let alone action. A review of the literature supports that this is unusual, but not entirely novel.\"\n\n> You ask Golovachev about Golovachev\n\"I am the principal point of contact for all aspects of mental health and fitness at this particular facility,\" he says. \"If you should feel at any time that you may be losing contact with reality, please do not hesitate to engage me.\"\n\n> Go east\nYou feel distinctly-uncomfortable lurking around someone else's bedroom. Relief is to the west.\n\n> You go to the north\nThe curving hall finally terminates in a door in its northwesterly extremity. Two doors oppose each other across the hallway; an office door to the east, and the door to someone's quarters opposite. The rest of the base is back towards the south.\n\n> You go east\nNot exactly a full-service hospital -- more like an overgrown stationary ambulance, really -- this is where the physical health of the cosmonauts is assessed and hopefully improved. You resolve to stay healthy. The door is to the west.\n\nYou can see Dolmatov here.\n\nHe stops working for a moment. \"Ah, comrade. I was hoping you'd drop by. Here's the medical report regarding Sablin.\" He hands you a medical report.\n\n> You read the report\nNothing is written on the medical report.\n\n> You examine the report\nThe medical report is several pages of dense medical jargon, but you're able to gather that it concludes that Sablin died from strangulation, late May 1 or early May 2. He was found hanged in his quarters, once they kicked down the locked door. It has been officially ruled a suicide.\n\n> You ask the doctor about the report\nHe puts down his paperwork and regards you. \"I know you are newly-arrived, comrade. I have been here eleven months, and I'm scheduled to return to Earth in a few weeks. The zampolit was discovered behind a locked door, hanging from his neck. In my professional opinion, that is a suicide, wherever it happens.\"\n\n> You ask the doctor about the doctor\n\"I graduated from the finest medical university in Moscow. And now I'm here.\"\n\n> You ask the doctor about Sablin\n\"The deceased was a credit to the People. His loss is very unfortunate for all of us.\""
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Look around\nNot exactly a full-service hospital -- more like an overgrown stationary ambulance, really -- this is where the physical health of the cosmonauts is assessed and hopefully improved. You resolve to stay healthy. The door is to the west.\n\nYou can see Dolmatov here.\n\n> Go west\nThe curving hall finally terminates in a door in its northwesterly extremity. Two doors oppose each other across the hallway; an office door to the east, and the door to someone's quarters opposite. The rest of the base is back towards the south.\n\n> Go west\nYou feel distinctly-uncomfortable lurking around someone else's bedroom. Relief is to the east.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> Go northwest\nThis room is more like a tunnel through an enormous mass of machinery. All designed to keep the fragile human inhabitants breathing, not freezing to death, etc. The door back to the rest of the base is to the southeast. The room continues to taper off towards the northwest.\n\n> Go northwest\nThis weird little rump of a room seems to have been used for miscellaneous storage, like an overgrown closet. The life support machinery is back to the southeast.\n\n> Inventory\nYou are carrying:\na medical report\na space suit\n\n> Go south\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the west, and the door to someone's quarters opposite. The hall curves away to the north and south.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\n> You go southwest\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You look up may 1 in the cabinet\nYou find just one encrypted message for May 1. The message body itself is encrypted, but you can see it is from Zampolit Sablin, and marked urgent. Seems important, so you take it.\n\n> You examine the message\nYou can tell this message was sent yesterday, May 1, by Zampolit Sablin, and it is marked as urgent. Everything else is encrypted.\n\n> You look up may 1 in the cabinet\nYou find just one work log for May 1. Seems like it might be important, so you take it.\n\n> You look at the log\nIt's a standard statement-of-work form, dated May 1. It indicates that a fan belt was replaced in the kitchen. It is signed, but so illegibly that you couldn't guess by whom.\n\n> Go northwest\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\n> You analyze log\nYou slip the work log into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You read the screen\nIt reads:\n\nSIGNATURE MATCHES COMRADE TSYGAN.\n\n> You analyze the message\nYou slip the message into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You examine the screen\nIt reads:\n\nENCRYPTION KEY REQUIRED FOR MESSAGE DECRYPTION.\n\n> Go northeast\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\n> Go southeast\nThis small room seems bigger than it really is because it's almost entirely empty, with the last occupant's belongings already removed, and its new occupant -- you -- yet to move in. The few permanently-installed pieces of furniture, such as the bed, indicate it is your quarters  The door back into the hall is to the northwest."
    },
    {
        "text": "[Themes: Science Fiction, science fiction]\n\n> Go downwards\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> Go northwest\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here.\n\nYou can see a sticker here.\n\n> You read the sticker\nA small sticker of the sort one might find on a piece of fruit.\n\n> Go northwest\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> Go southeast\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here.\n\n> Go southwest\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> Go south\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> You go to the northwest\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You analyze the sticker\nYou slip the sticker into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You read the screen\nIt reads:\n\nPARTIAL FINGERPRINT FOUND. FINGERPRINT MATCHES TO COMRADE PROKOPENKO.\n\n> You go southeast\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here."
    },
    {
        "text": "> You go downwards\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\nThis small room seems bigger than it really is because it's almost entirely empty, with the last occupant's belongings already removed, and its new occupant -- you -- yet to move in. The few permanently-installed pieces of furniture, such as the bed, indicate it is your quarters  The door back into the hall is to the northwest.\n\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> You go north\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here.\n\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here.\n\n> Go west\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> You go to the west\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You go east\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here.\n\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> Go west\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\n> Go upward\nYou feel distinctly-uncomfortable lurking around someone else's bedroom. Relief is to the east.\n\n> You go northwest\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\nSmall as far as hangars go, but large enough to contain the shuttle you arrived in, and afford space for its maintenance. The vehicular airlock in the ceiling is closed, of course. An airlock suitable for personnel is to the northeast, while an open airlock chamber is to the southeast.\n\n> You wear the suit\nYou put on the space suit.\n\n> You go north\nMetal planking has been installed between the base and the observatory, possibly to reduce the amount of lunar dust being tracked in. The observatory looms to the north, while the base is back towards the equator.\n\n> Go north\nThis building seems to have been designed to be generally kept at vacuum. There's nothing here that you would recognize as a \"telescope\", but presumably that's what all the dials and switches are for. Covering a goodly portion of one wall is a larger-than-usual file cabinet.\n\nYou can see the astronomical file cabinet here.\n\n> You look at it\nA larger-than-standard government-issue battleship-grey radio file cabinet. The Motherland may be built on vodka and blood, but her government is built upon a vast foundation of file cabinets somewhat smaller than this one. At a glance, you can see it is full of photographic plates, arranged by date.\n\n> You look up may 1 in the cabinet\nYou find a photographic plate for May 1. Unlike the other plates, it is not full of stars -- it seems to be just an over-exposed field of white. You take it anyway.\n\n> You look up may 2 in the cabinet\nYou find a photographic plate, but it just seems to be full of stars.\n\n> You look at the plate\nThis photographic plate has a simple paper label affixed, reading \"MAY 1\" in handwritten letters. To your naked eye, it seems to be an over-exposed field of white.\n\n> You go to the south\nMetal planking has been installed between the base and the observatory, possibly to reduce the amount of lunar dust being tracked in. The observatory looms to the north, while the base is back towards the equator.\n\nYou can see a big red button here.\n\n> You analyze the plate\nYou slip the plate into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\nAs well, a photograph is ejected by DUFFY and lands nearby.\n\n> You read the screen\nIt reads:\n\nPHOTOGRAPHIC DATA EXTRACTED. PRINTING...\n\n> You examine it\nIt appears as though the telescope can, in fact, be swivelled down to observe the base itself, or at least the greenhouse section. Shown is someone squeezed into a cramped space, between the glass dome and some sort of metal wall. He's surrounded by plants.\n\n> Go northwest\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\nMost of the room is filled with radio equipment. There's a non-pressure door to the northeast. A delicious smell wafts in from the southeast; to the southwest is the greenhouse dome.\n\nYou can see the radio file cabinet here.\n\n> Go southwest\nA pleasant respite from the rest of the base are the rows and rows of growing plants. The greenhouse is a geodesic dome constructed from thick glass. Metal shutters are retracted near the floor, ready to be deployed in case of danger. The rest of the base is to the northeast.\n\nYou can see a composter here.\n\n> You go southeast\nMost of the room is filled with radio equipment. There's a non-pressure door to the northeast. A delicious smell wafts in from the southeast; to the southwest is the greenhouse dome.\n\nYou can see the radio file cabinet here.\n\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\n> You show the photograph to Burlak\n\"Oh, I see,\" he says. \"That's no crime. Not much of a crime, in any case. Just the indulgence of an old man. And Sablin, too, of course; he loved a pipe at the end of a long day. I suppose you'll want to investigate. There's a loose panel in the air duct beneath the greenhouse -- that's how we got in and out. Let the record show that I co-operated with you fully.\"\n\n> Go southwest\nThese cramped tubes beneath the flooring of the base provide fresh air to the various occupied spaces, although your own body is mostly preventing that from happening now. It's easy to get disoriented in here. There is a grille above your head.\n\nYou can see a loose panel here.\n\n> Go upward\nThis is a tiny, forgotten space, wedged between the pseudo-curved wall of the geodesic dome and the retracted metal shutters. A few tables have been cobbled together from mismatched pieces of rubbish, on which stand a number of potted plants.\n\nYou can see a pipe here.\n\n> You look at the pipe\nThe sort of thing one smokes tobacco in. This one is lovingly carved from solid wood. There's an inscription carved into its barrel:\n\"Good luck, son; we love you -- 17/04/1972.\"\n\n> You take the pipe\nTaken.\n\n> Go south\nThe retracted shutters block your way.\n\n> Go northwest\nMost of the room is filled with radio equipment. There's a non-pressure door to the northeast. A delicious smell wafts in from the southeast; to the southwest is the greenhouse dome.\n\nYou can see the radio file cabinet here.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> Go northwest\nThe room is dominated by a large counter, on which is spread a bewildering variety of bowls, knives, and food ingredients. An industrial refrigerator stands in one corner; beside it, a strange contraption churns away. A non-pressure door is directly to the south. The mess hall is conveniently located nearby to the northeast; a hall is to the northwest.\n\nYou can see Prokopenko here.\n\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\n> You analyze the pipe\nYou slip the pipe into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\nAs well, a sheet of paper is ejected by DUFFY and lands nearby.\n\n> You examine the screen\nIt reads:\n\nANALYSIS INDICATES POSSIBLE ENCRYPTION KEY.\n\nMATCHING ENCRYPTED MESSAGE FOUND. DECRYPTING...\n\n> You examine paper\nIt reads:\n\nMESSAGE TO COMMAND -- MAY 1 0803 -- COMRADES -- RECOMMEND COMRADE PROKOPENKO NOT REPEAT NOT ROTATE OUT INSTEAD STAND ON ADDITIONAL YEAR. WILL INFORM PERSONALLY. APPROVED BY ZAMPOLIT SABLIN. END MESSAGE.\n\n> W  i think\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the west, and the door to someone's quarters opposite. The hall curves away to the north and south.\n\nI only understood you as far as wanting to (go) w up.\n\n> You check your inventory\nYou are carrying:\na photograph\na medical report\na space suit (being worn)\n\n> Go inside\nThe inside of this reusable space vehicle is cramped, but not unbearably so for the trip up from Earth. A ramp has opened up, leading out into the base.\n\nYou can see a sheet of paper and DUFFY here.\n\n> You get the paper\nTaken.\n\n> Go west\nTheoretically, a room where terrestrial goods can be quarantined. In practice, no one's going to wait an extra four weeks to eat a fresh pineapple. The dock is to the northwest; the rest of the base is to the southeast.\n\nYou can see a coffin here.\n\nThis room is full of workbenches and power tools of various sorts. A non-pressure door is to the southwest. The quarantine area is to the northwest; the rest of the base is to the southeast.\n\nYou can see the mechanical file cabinet here.\n\nThe largest room in the base by a fair margin. There's enough tables and chairs here that everyone could eat by themselves if they wanted to; perhaps a larger crew was originally planned. Access to the dock is afforded to the northwest. The kitchen is conveniently located nearby to the southwest. To the northeast, a hall leads to personnel quarters and offices.\n\nYou can see Burlak here.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the northwest, and the door to someone's quarters opposite. The mess hall is back to the southwest, while the hall continues to the north.\n\nThis curving hall runs along the residential part of the base. Two doors oppose each other across the hallway; an office door to the west, and the door to someone's quarters opposite. The hall curves away to the north and south.\n\nThe long couch, suitable for reclining, tips you off that this must by the office of the base psychiatrist. It also features the more usual furniture for an office -- a desk, a file cabinet, that sort of thing. The hallway is back to the east.\n\nYou can see Golovachev here.\n\n> You show the paper to Golovachev\nGolovachev is unimpressed.\n\n> You show paper to Prokopenko\nProkopenko is unimpressed.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You look at the paper\nIt reads:\n\nMESSAGE TO COMMAND -- MAY 1 0803 -- COMRADES -- RECOMMEND COMRADE PROKOPENKO NOT REPEAT NOT ROTATE OUT INSTEAD STAND ON ADDITIONAL YEAR. WILL INFORM PERSONALLY. APPROVED BY ZAMPOLIT SABLIN. END MESSAGE.\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> You ask Prokopenko about SABLIN\n\"We did not always see eye-to-eye, it is true. Still,\" he says, \"it is a terrible thing, so close to his return to Earth.\"\n\nThere's a subtle whoosh of air as the life support system exhales through some nearby grille.\n\n> Arrest prokopenko\nYou arrest Prokopenko, who is placed on the return shuttle for trial.\n\nFollowing months of deliberation, the jury finds that Prokopenko did the deed, traitorously angry from being recommended to another year of duty. He is sentenced to life in the gulag.\n\n> You analyze the photograph\nYou slip the photograph into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\nAs well, a photograph is ejected by DUFFY and lands nearby.\n\n> You look at the screen\nIt reads:\n\nPHOTOGRAPHIC DATA ANALYZED. PLANT SPECIES IDENTIFIED -- NICOTIANA RUSTICA -- COMMON NAME TOBACCO. COMRADE BURLAK IDENTIFIED.\n\n> You get the photograph\nTaken.\n\n> You go northeast\nIt's full of stars. Pictures of stars, anyway. Amidst the piles of books is a small bed. To the southwest, the door.\n\nYou can see Ivanovsky here.\n\n> You examine Ivanovsky\nThe astronomer, Ivanovsky, as you recall from your briefing, is in charge of the observatory and its telescope, as well as all radio communications. He is shockingly young.\n\n> You ask Ivanovsky about Ivanovsky\nHe smiles modestly. \"Oh, you've probably read everything important about me in my file,\" he says. \"I operate the telescope and the radio, mostly.\"\n\n> You check your inventory\nYou are carrying:\na photograph\na sheet of paper\na medical report\na space suit (being worn)\n\n> Analyze paper\nDUFFY just spits it back out.\n\n> You analyze report\nYou slip the medical report into a slot in DUFFY. The robot begins to churn, whine, grumble, and grind alarmingly. Just when you're beginning to seriously worry that it might finally explode, it comes to an abrupt halt. Its screen updates with a new message.\n\n> You look at the screen\nIt reads:\n\nANALYZING REPORT. CONCLUSION IS IMPLAUSIBLE. LUNAR GRAVITY INSUFFICIENT TO PRODUCE SCENARIO DESCRIBED FOR MAY 1.\n\n> You check what you're carrying\nYou are carrying:\na photograph\na sheet of paper\na space suit (being worn)\n\n> You analyze you\nThat might prove fatal.\n\n> You jump\nYou jump on the spot."
    },
    {
        "text": "[Themes: Romance]\n\nDear Blogreaders,\nI think we can all agree it has been a weird year. It's so cool that we could replace all our technology with Alien Tech (tm) from those UFOs that crashed last year. And just think of the last three weeks - the governors daughter abducted, and then, sudden and unrelated, this state allows gay marriage after all. Good for Paul and me! I heard the news when  I returned from my three weeks trip to Europe. I rushed to his New Year's Party, and, well, after the last two years, I had a hunch that this could turn into\n\nPaul, his hair cropped short and dyed deep blue, awaits you at the door. \"Alex! How was Europe?\"\n\"Fine! How is the party?\"\n\"Good, good.\"\nHe gives you a long, sensitive hug, which usually means he wants to annoy you.\n\"I invited a lot of people, to help you socialize -like Uncle Wally! I had to, after you accidentally (Paul puts a lot of *acid* in that word) sent him that Thomson's Gazelle last year. And even those nice Dagon Cultists from next door. So try and behave yourself, 'kay?\"\n\"I always try! I even made a cupcake.\" You hand Paul the single, small, crumpled and black thing, sole survivor of another kitchen fiasco. That gets you a soft giggle and Paul disappears. You really wonder how he manages to stay away from you on a three room party.\n\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (closed) here.\n\n[Author's Note: The third part in the Alex and Paul series. Contains some violence.]"
    },
    {
        "text": "> About yourself\nYou're Alex. A middle-aged guy in combats boots, jeans, T-shirt and leather jacket. You normally wear your hair cropped short, but Alex convinced you to grow it out, and you must admit you really like it.\n\n> You open the drawers\nYou open the chest of drawers, revealing a roll of duct tape.\n\n> You take the tape\nTaken.\n\n> You look at it\nDuct tape. You use it for minor household repairs and some hardcore roleplaying. You're pretty sure you can use it to TAPE something TO something else.\n\n> You look at the potter room\nA small door. Somewhat non-descript.\n\n> You open it\nYou open the small door and cram yourself into the Potter room.\n\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\n> You look at tools\nEvery shelf carries its own heap of rusty, quite useless tools.\n\n> Search tools\nYou discover a ten foot aluminium pole. Now you only need something you wouldn't want to touch with it.\n\n> You take the pole\nYou already have that.\n\n> Search tools\nYou find nothing more. Well, technically you find some more stuff, obviously, but it's odd - none of it seems exactly...y'know...helpful.\n\n> Leave\nYou can see a chest of drawers (empty) here."
    },
    {
        "text": "[Themes: Romance]\n\n> You look around\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (empty) here.\n\n> Go up\nPaul has forbidden any entrance for either you or anyone else to the rest of the House for the night. Aside from a a seductive \"Maybe later, when we're alone\", that is.\n\n> Go east\nAnd there he is! Uncle Wally, small, stout, with his Stalin moustache and Soldier's jacket to go with it. He opens his arms wide: \"Alex, me boy! Didn't know I had to keep my back to the wall at this party! Haw! Haw!\" He slaps you on the shoulder. \"Ha ha, just kidding! I have nothing against queers personally!\"\n\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about which of these will kill us first - lack of oil, terrorists, the climate change or the return of the aliens.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a sleeping pirate and Uncle Wally here.\n\n> You look at the pirate\nLike every year, Paul told one guy that this is a costume party. Some fellow showed up in a pirate costume, complete with a hook hand, an eyepatch and a flintlock. Looks like he was so embarassed he smoked till he passed out.\n\n> You take the hook\nHm, interesting. It might be useful. You decide to nick it, after all he could hurt himself with it in his sleep.\n\n> You examine the hook\nIt's made of plastic and looks cheap and durable.\n\n> You get the flintlock\nYou carefully remove the flintlock from the Pirates belt. It is, indeed, a working model - and loaded. Looks like you've only got one shot, though. Very Jack-sparrowish.\n\n> Tape hook to pole\nYou tape the hook hand to the pole, making a pole hook.\n\n> You examine the purses\nMost people arrived directly from last-minute College courses and brought their stuff with them.\n\n> Go south\nYou can't see any such thing.\n\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nYour cupcake sits among all the tasty food, sad and forlorn.\n\nSomeone stuck a knife in the buffet next to the (unimplemented) cheese.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing: \"The Stowaway\" by Murray Gold (performed by Yamit Mamo).\n\nJolly Uncle Wally follows you, still grinning. He says : \"Haw, haw, with Alex and you I'm no doubt who's the man and who's the woman in the relationship. Or do you call them butches? No, that's only lesbos, right?\"\n\n> You shoot Stalin\nNo, that was the first one.\n\n> You take it\nUncle Wally says: \"Ah, hungry? I thought you fair folk only eat hoers'd'oeuvre.\" You pull the knife out of the counter.\n\n> You check your inventory\nYou are carrying:\na knife\na pole hook\na flintlock\na roll of duct tape\n\n> You tape the knife to the pole hook\nYou can't, well, you probably can, but you don't want to tape that together. (This isn't a cheap way out - it's an interesting chasm between player and PC motivation.)\n\n> Stab Stalin\n(with the knife)\nEven though this guy pisses you off to no end, you can't kill him in here. Even though you seem to miss him all the time, Paul is in here somewhere. And he won't be amused if he sees his dead uncle.(Hated or not.)"
    },
    {
        "text": "[Themes: Romance]\n\n> You look around\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nYour cupcake sits among all the tasty food, sad and forlorn.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing:\"All that she wants\" by Ace of Base..\n\nYou can also see Uncle Wally here.\n\n> You examine the cupcake\nA small, black, crumpled thing. Hard as steel. It looks pitiful.\n\n> You hit Uncle\nHey! This game isn't called \"The day I attacked Stalin!\"\n\n> Inventory\nYou are carrying:\na cupcake\na knife\na pole hook\na flintlock\na roll of duct tape\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nJolly Uncle Wally follows you, still grinning. He says : \"You know how we could solve this finanical crisis? Just disallow women to work! They're stealing hard working men's job worse then foreigners.\"\n\n> You examine Pool\nA small, pool, lacking a ladder of similiar equipment. It's just a huge body of water, trapped by greenish, ugly tiles.\n\n> You look in Pool\nNo, you need both hands to swim.\n\nYou find nothing of interest.\n\n> You examine the wall\nQuite high. But climbable.\n\n> You examine the undergrowth\nThick undergrowth. You think you glimpse something, though.\n\n> You take the mouse\nYou already have that.\n\n> You drop all\ntoy mouse: Dropped.\ncupcake: Dropped.\nknife: Dropped.\npole hook: Dropped.\nflintlock: Dropped.\nroll of duct tape: Dropped.\n\n> Swim\nIn the Swimming Pool (swimming [obviously])\nYou are surrounded by clear, cold water.\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, women can't park...And Paul is kinda effiminate...so he can't park, too?\"\n\n> You get out\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nYou can also see a roll of duct tape, a flintlock, a pole hook, a knife, a cupcake and a toy mouse here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, Alex, you're wearing really subtle makeup. And the clothes you're wearing? Not very fashionable. Maybe you're not really gay. Maybe you just need a real woman.\"\n\n> Swim\nIn the Swimming Pool (swimming [obviously])\nYou are surrounded by clear, cold water.\n\nJolly Uncle Wally follows you, still grinning. He says : \"I'm really scared of all the terrorists. I mean, they own all the delis, and who knows what they put in our food.\"\n\n> You hold the breath\nYou hold your breath.\n\n> Go up\nYou can't go that way.\n\nYou can't hold your breath any longer.\n\n> You go outside\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nYou can also see a roll of duct tape, a flintlock, a pole hook, a knife, a cupcake and a toy mouse here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"I don't get why I'm called sexist just because I say men should be allowed to hit their women. I think we all agree that talking to them never helps anyway.\"\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nA broken plank lies here. It has a sticker on it.\n\n> You examine the plank\nThis plank has been  broken in two . The sticker reads: \"Take that, you godless vandals!\"\n\n> Inventory\nYou are carrying:\na plank\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\nYou can see a golf cart (closed) here.\n\n> You examine the cart\nA new Alien Tech(tm) powered golf cart stand here. Looks like they learned their lesson from the two you crashed. This one has an Alien Tech(tm) powered swipe card reader.\n\n> You open the cart\nIt seems to be locked.\n\n> You go northeast\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\n> You examine the snake\nIt's a weird hybrid, developed through Alien Tech (tm). They eat all the garbage. With that problem solved, everyone  can focus on the climate.The plastic eating snake has eaten something square. Queer.\n\n> You cut the snake\nCutting him up would achieve little.\n\n> You squeeze the snake\nKeep your hands to yourself.\n\n> You examine the gate\nIt's a lovely gate, the club's motto \"Nos es superbus nostri balls!\" engraved above it. (Yes, it has a stone arc, but that's unimportant.)\n\n> You open gate\nIt seems to be locked.\n\n> You go to the south-west\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\nYou can see a golf cart (closed) here.\n\n> Go west\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You drop the plank\nDropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nYou can also see Uncle Wally, a roll of duct tape, a flintlock, a pole hook, a knife, a cupcake and a toy mouse here.\n\n> Inventory\nYou are carrying:\na pole hook\na toy mouse\n\n> You check what you're carrying\nYou are carrying:\na toy mouse\n\n> About yourself\nYou're Alex. A middle-aged guy in combats boots, jeans, T-shirt and leather jacket. You normally wear your hair cropped short, but Alex convinced you to grow it out, and you must admit you really like it.\n\n> You take all\npole hook: Taken.\nflintlock: Taken.\nknife: Taken.\ncupcake: Taken.\n\n> You shoot mouse\nYou can only do that to something animate.\n\n> You drop all\ncupcake: Dropped.\nknife: Dropped.\nflintlock: Dropped.\npole hook: Dropped.\nroll of duct tape: Dropped.\ntoy mouse: Dropped.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nYou can see a plank here.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\nYou can see a golf cart (closed) here.\n\n> You ask the snake about the food\n*hiss* *hiss* Unblinking stare.\n\n> You throw up\nThe snake has better things to do.\n\n> Help\n[That command asks to do something outside of play, so it can only make sense from you to me. The snake cannot be asked to do this.]\n\n> Go west\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nYou can also see a toy mouse, a roll of duct tape, a pole hook, a flintlock, a knife, a cupcake and Uncle Wally here.\n\n> You take all\ntoy mouse: Taken.\nroll of duct tape: Taken.\npole hook: Taken.\nflintlock: Taken.\nknife: Taken.\ncupcake: Taken.\n\n> You show the mouse to Uncle\nUncle Wally is unimpressed.\n\n> You tape wally\nWhat do you want to tape Uncle Wally to?\n\n> You go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing:\"Cheerleader of Dementia\" by Lesbians hate time travel.\n\nJolly Uncle Wally follows you, still grinning. He says : \"So, do you and Paul see a lot of musicals?\"\n\n> You look at the speakers\nSmall...speakers. Connected ...to the ... laptop.\n\n> You examine counters\nThey are weighted down with the buffet.\n\n> You eat the buffet\n(first taking Food)\n\nNOM!NOM!NOM! (There is still much food left)\n\n> You go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about how alien tech really didn't change the world as much as expected.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a sleeping pirate here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"Haw, haw, with Alex and you I'm no doubt who's the man and who's the woman in the relationship. Or do you call them butches? No, that's only lesbos, right?\"\n\n> You look at the backpacks\nMost people arrived directly from last-minute College courses and brought their stuff with them.\n\n> You search the backpacks\nOh, some joker from med school brought his stuff in a body bag with a shoulder strap. You empty it on the heap and take it along. Might get useful, what with this game's title and all.\n\n> You get the eyepatch\nIt's hard work, but you resist the urge to snap the eyepatch against the pirates head.\n\n> Wear the bag\nYou put on the body bag.\n\n> You put all except the bag in the bag\ntoy mouse: Done.\ncupcake: Done.\nknife: Done.\nflintlock: Done.\npole hook: Done.\nroll of duct tape: Done.\n\n> You go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing: \"The Final Countdown\" by Europe..\n\nJolly Uncle Wally follows you, still grinning. He says : \"You know how we could solve this finanical crisis? Just disallow women to work! They're stealing hard working men's job worse then foreigners.\"\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, women can't park...And Paul is kinda effiminate...so he can't park, too?\"\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\nYou can see a golf cart (closed) here.\n\n> Go northeast\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\nYou can also see a plank here.\n\n> Inventory\nYou are carrying:\na body bag (being worn and open)\na roll of duct tape\na pole hook\na flintlock\na knife\na cupcake\na toy mouse\n\n> You give the mouse to the snake\nThe snake regurgitates a swipe card. Then she unhooks her jaw and swallows the toy mouse.\n\nSQUEAK!\n\n> You take the swipe card\nYou already have that.\n\nSQUEAK!\n\n> You look at card\nA swipe card covered in snake saliva.\n\nSQUEAK!\n\n> Clean card\nYou achieve nothing by this.\n\nSQUEAK!\n\n> You unlock cart with the card\nYou open the golf cart.\n\n> You open the cart\nThat's already open.\n\n> You look in cart\nThe golf cart is empty.\n\n> You get in the cart\nYou get into the golf cart."
    },
    {
        "text": "> Look around\nHilltop (in the golf cart)\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\n> Go northeast\nEntrance Gate (in the golf cart)\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\nYou can also see a plank here.\n\nSQUEAK!\n\n> Go east\nYou can't go that way.\n\nSQUEAK!\n\n> Go north\nWith breakneck 30 mph, you ram the gate. Luckily, it was only painted plywood. (The golf course had some financial problems. But that's a different story and has nothing to do with replacing all those golf carts.)\n\nCountry road (in the golf cart)\nThe fact that there is country road behind a house you always thought of as suburban makes you realize how little you've gone out lately. It continues east and west.\n\n> You go to the west\nSoon you arrive at an invisible wall. Who'd've thought that cheap trick from First Person Shooters carried over so well to IF.\n\n> Go east\nSoon you arrive at a \"ROAD BLOCKED\" sign and return.\n\n> Go north\nCemetery (in the golf cart)\nIt's a small country cemetery. A sign from the undertaker hangs here: \"Back in 1820 minutes.\"\n\nThere is an open grave here. The gravestone has no name, but it's next to the grave of someone called Arch Stanton.\n\n> You get out\nYou get out of the golf cart.\n\nIt's a small country cemetery. A sign from the undertaker hangs here: \"Back in 1819 minutes.\"\n\nThere is an open grave here. The gravestone has no name, but it's next to the grave of someone called Arch Stanton.\n\nYou can also see a golf cart (empty) here.\n\n> You look in the grave\nIn the Grave is a coffin.\n\n> Open coffin\nYou open the coffin, revealing a corpse.\n\n> You look in the coffin\nIn the coffin is a corpse.\n\n> You look at the body\nIn the body bag are a roll of duct tape, a pole hook, a flintlock, a knife and a cupcake.\n\n> You get all from the coffin\nYou have enough trouble getting rid of the one corpse. Besides, in there is room for two.\n\n> You go south\nThe fact that there is country road behind a house you always thought of as suburban makes you realize how little you've gone out lately. It continues east and west.\n\n> You go north\nIt's a small country cemetery. A sign from the undertaker hangs here: \"Back in 1809 minutes.\"\n\nThere is an open grave here. The gravestone has no name, but it's next to the grave of someone called Arch Stanton.\n\nYou can also see a golf cart (empty) here.\n\n> Go south\nCountry road (in the golf cart)\nThe fact that there is country road behind a house you always thought of as suburban makes you realize how little you've gone out lately. It continues east and west.\n\n> Go south\nEntrance Gate (in the golf cart)\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\nYou can also see a plank here.\n\nSQUEAK!\n\n> You go outside\nYou get out of the golf cart.\n\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\nYou can also see a golf cart (empty) and a plank here.\n\nSQUEAK!\n\n> You go southwest\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\n> You climb wall\nYou put the swipe card into the body bag.\n\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nYou can also see Uncle Wally here.\n\n> Go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing: \"Quality Shoe\" by Mark Knopfler..\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, Alex, you're wearing really subtle makeup. And the clothes you're wearing? Not very fashionable. Maybe you're not really gay. Maybe you just need a real woman.\"\n\n> You go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about the greatly anticipated \"Bedtime story.\"\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a sleeping pirate here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"I'm really scared of all the terrorists. I mean, they own all the delis, and who knows what they put in our food.\"\n\n> Go west\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (empty) here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"I don't get why I'm called sexist just because I say men should be allowed to hit their women. I think we all agree that talking to them never helps anyway.\"\n\n> You go inside\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\nJolly Uncle Wally follows you, still grinning. He says : \"So, do you and Paul see a lot of musicals?\"\n\n> You ask Wally about the women\nUncle Wally says: \"Haw, haw, with Alex and you I'm no doubt who's the man and who's the woman in the relationship. Or do you call them butches? No, that's only lesbos, right?\"\n\n> You ask Wally about Arch Stanton\nUncle Wally says: \"You know how we could solve this finanical crisis? Just disallow women to work! They're stealing hard working men's job worse then foreigners.\"\n\n> You ask Wally about the top\nUncle Wally says: \"Hey, women can't park...And Paul is kinda effiminate...so he can't park, too?\"\n\n> You ask Wally about the golf\nUncle Wally says: \"Hey, Alex, you're wearing really subtle makeup. And the clothes you're wearing? Not very fashionable. Maybe you're not really gay. Maybe you just need a real woman.\"\n\n> Kiss wally\nKeep your mind on the game.\n\n> Leave\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (empty) here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"Haw, haw, with Alex and you I'm no doubt who's the man and who's the woman in the relationship. Or do you call them butches? No, that's only lesbos, right?\"\n\n> You go to the east\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nSome people sit on the two comfortable couches, sharing joints and talking about the problem of staying human in a posthuman world.\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a sleeping pirate here.\n\nJolly Uncle Wally follows you, still grinning. He says : \"You know how we could solve this finanical crisis? Just disallow women to work! They're stealing hard working men's job worse then foreigners.\"\n\n> Go south\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nPeople stand around, glasses or plates in hand, happily munching and talking.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing: \"Quib-based Conversation\" by Michael Martin.\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, women can't park...And Paul is kinda effiminate...so he can't park, too?\"\n\n> Go south\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\nJolly Uncle Wally follows you, still grinning. He says : \"Hey, Alex, you're wearing really subtle makeup. And the clothes you're wearing? Not very fashionable. Maybe you're not really gay. Maybe you just need a real woman.\"\n\n> You ask Wally about Paul\nUncle Wally says: \"I'm really scared of all the terrorists. I mean, they own all the delis, and who knows what they put in our food.\"\n\n> Stab wally\n(with the knife)\nDeciding to work on your daggers/knife instead of your social skill, you stab Uncle Wally in the back. He throws up his arms, shouts \"Aaargh!\" and drops into the pool. \"See!\" he shouts, with his last breath, \"I knew you gays are all psychos!\" You shout back: \"Firstly, that's a lesbian clich?s. Secondly, the fact that I am a murderous sociopath has nothing to do with my sexual orientation. Anyway, boths are not things I conciously chose, and therefore I can't be judged for either of them.\"\n\n> You examine Pool\nA small, pool, lacking a ladder of similiar equipment. It's just a huge body of water, trapped by greenish, ugly tiles.\n\nUncle Wally's corpse is drifting around in the swimming pool.\n\n> You take the hook\nTaken.\n\nYou did it again! Damn, luckily all the people thought it was one of your crazy performances again and clapped, but Paul knows a dead uncle when he sees one. Better get rid of the corpse. It's not like Paul will miss him too much.\n\n> You look at the hook\nA makeshift pole hook. Might be useful to FISH something.(Mind you, not something out of something, just fish the general thing. Okay? Thanks.)"
    },
    {
        "text": "[Themes: Romance]\n\n> You look around\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe Dagon cultists from next door are sitting here, quietly sipping their sodas and quietly chatting to each other in a language you've never heard (which honestly isn't saying much.)\n\n> Fish body\nYou fish out Uncle Wally's corpse.\n\n> Inventory\nYou are carrying:\nUncle Wally's corpse\na pole hook\na body bag (being worn and open)\na swipe card\na roll of duct tape\na flintlock\na cupcake\n\n> You put the body and the hook in the bag\npole hook: Done.\n\n> You check what you're carrying\nYou are carrying:\nUncle Wally's corpse\na body bag (being worn and open)\na pole hook\na swipe card\na roll of duct tape\na flintlock\na cupcake\n\n> You put the body in the body bag\nYou can't see any such thing.\n\nYou can't put something inside itself.\n\n> You put all in the bag\nUncle Wally's corpse: Done.\n\n> You climb the wall\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\n> Go northeast\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nA plastic-eating snake slithers around here.\n\nYou can also see a golf cart (empty) and a plank here.\n\nSQUEAK!\n\n> Go north\nIt's a small country cemetery. A sign from the undertaker hangs here: \"Back in 1762 minutes.\"\n\nThere is an open grave here. The gravestone has no name, but it's next to the grave of someone called Arch Stanton.\n\n> You put corpse in the coffin\nYou gently put Uncle Wally ...who am I kidding? You slump his corpse onto the other corpse, say \"Don't cuddle\" and slam the coffin shut. That's one problem of your mind.\n\n> You climb the wall\n***You suddenly have the feeling as if you're not safe anymore. You'd really rather feel safe. You should buy a safe for all those bonds you recently bought.***\nYou manage to scramble over the wall.\n\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe huge, squallid, phosphorous mass of Dagon has dragged itself over the edge of the swimming pool, blocking entrance to the house while its hideous tail still splashes the water.\n\nOne of the cultists, you think he's called Tony, stands here, holding an Uzi in unsteady hands.\n\n> You look at Tony\nBelow the hood of his black robe, you see eyes weary with the madness they've seen, or maybe he just needs a good night's sleep. He holds his Uzi in shaking hands.\n\n> You look at Dagon\nIt's the shapeless, nameless abomination Dagon, a giant fish monster.\n\n> You shoot Dagon\nTony has better things to do.\n\nTony brings up his Uzi, shouting:\"Diiiiiiiiiiiiiiiiiiiiiieee!\" and shoots you in the face with his load.\nUm.\nLet me rephrase that.\n\n> You give cupcake to Dagon\n(first taking the cupcake)\nDagon doesn't seem interested.\n\nTony brings up his Uzi, shouting:\"Diiiiiiiiiiiiiiiiiiiiiieee!\" and shoots you in the face with his load.\nUm.\nLet me rephrase that.\n\n> You give the cupcake to Tony\n(first taking the cupcake)\nTony doesn't seem interested.\n\nTony brings up his Uzi, shouting:\"Diiiiiiiiiiiiiiiiiiiiiieee!\" and shoots you in the face with his load.\nUm.\nLet me rephrase that.\n\n> Stab tony\nYou need something sharp.\n\nTony brings up his Uzi, shouting:\"Diiiiiiiiiiiiiiiiiiiiiieee!\" and shoots you in the face with his load.\nUm.\nLet me rephrase that.\n\n> You check your inventory\nYou are carrying:\na body bag (being worn and open)\na pole hook\na swipe card\na roll of duct tape\na flintlock\na cupcake\n\nTony brings up his Uzi, shouting:\"Diiiiiiiiiiiiiiiiiiiiiieee!\" and shoots you in the face with his load.\nUm.\nLet me rephrase that.\n\n> You shoot tony\nWith what?\n\n> You shoot tony\nYou draw the flintlock, cock the hammer, shout \"YAAAR\" to confuse Tony and shoot him! He throws up his arms (\"AAARGH\") and drops dead.\n\n> You search tony\nYou find an Uzi (32/32) and a bag of strange powder, both of which you pocket.\n\n> You examine Powder\nIt's  a bag labelled \"Dagon Dissolving Powder. Best use in a huge explosion for maximum effects.\" Oh, look, those cultists had a safeguard.\n\n> You throw Powder\nDropped.\n\n> You take the bag\nYou already have that.\n\n> You throw Powder at Dagon\nYou lack the nerve when it comes to the crucial moment.\n\n> You talk to Dagon\n\"Ia! Ia! Cthulhu F'thagn, P'nglui M'wagalnath R'lyeh... Ia! Ia! Shub-Niggurath?\"\n\n> You check your inventory\nYou are carrying:\na bag of strange powder\nan Uzi\na flintlock\na body bag (being worn and open)\na pole hook\na swipe card\na roll of duct tape\na cupcake\n\n> You get all from the bag\npole hook: Taken.\nswipe card: Taken.\nroll of duct tape: Taken.\ncupcake: Taken.\n\n> You shoot Powder with Uzi\nYou can only do that to something animate."
    },
    {
        "text": "[Themes: Romance]\n\n> You look at your surroundings\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe huge, squallid, phosphorous mass of Dagon has dragged itself over the edge of the swimming pool, blocking entrance to the house while its hideous tail still splashes the water.\n\nYou can also see Tony's corpse here.\n\n> You look at what you're carrying with you\nYou are carrying:\na cupcake\na roll of duct tape\na swipe card\na pole hook\na bag of strange powder\nan Uzi\na flintlock\na body bag (being worn and open but empty)\n\n> You examine the flintlock\nAn antique flintlock  - and it's working.You got 0/1 bullets left.\n\n> You drop the flintlock\nDropped."
    },
    {
        "text": "[Themes: Romance]\n\n> You look at your surroundings\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe huge, squallid, phosphorous mass of Dagon has dragged itself over the edge of the swimming pool, blocking entrance to the house while its hideous tail still splashes the water.\n\nYou can also see a flintlock and Tony's corpse here.\n\n> Go north\nNo, his polymorphus, unholy, eldritch mass blocks the way.\n\n> You drop all\ncupcake: Dropped.\nroll of duct tape: Dropped.\nswipe card: Dropped.\npole hook: Dropped.\nbag of strange powder: Dropped.\nUzi: Dropped.\n\n> You enter Pool\nIn the Swimming Pool (swimming [obviously])\nYou are surrounded by clear, cold water.\n\n> You hold the breath\nYou hold your breath.\n\n> You go outside\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nThe huge, squallid, phosphorous mass of Dagon has dragged itself over the edge of the swimming pool, blocking entrance to the house while its hideous tail still splashes the water.\n\nYou can also see an Uzi, a bag of strange powder, a pole hook, a swipe card, a roll of duct tape, a cupcake, a flintlock and Tony's corpse here.\n\nYou can't hold your breath any longer.\n\n> Burn powder\nThis dangerous act would achieve little.\n\n> You put all in the bag\nUzi: Taken.\nbag of strange powder: Taken.\nswipe card: Taken.\nroll of duct tape: Taken.\ncupcake: Taken.\nflintlock: Taken.\nTony's corpse: One corpse was enough trouble.\n\nflintlock: Done.\ncupcake: Done.\nroll of duct tape: Done.\nswipe card: Done.\nbag of strange powder: Done.\nUzi: Done.\npole hook: Done.\n\n> You climb the wall\n***You suddenly have the feeling as if you're not safe anymore. You'd really rather feel safe. You should buy a safe for all those bonds you recently bought.***\nYou manage to scramble over the wall.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> You go to the east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\n> You look at the cart\nA new Alien Tech(tm) powered golf cart stand here. Looks like they learned their lesson from the two you crashed. This one has an Alien Tech(tm) powered swipe card reader.\n\nSQUEAK!\n\n> Search cart\nThe golf cart is empty.\n\nSQUEAK!\n\n> You get the plank\nSQUEAK!\n\n> You get in the cart\nYou get into the golf cart.\n\nSQUEAK!\n\n> You go southwest\nHilltop (in the golf cart)\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to Pauls garden.\n\n> You go west\nGolf course (in the golf cart)\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\n> Tape plank\nWhat do you want to tape the plank to?\n\n> Plank\nYou already have that.\n\nYou repair the plank. Now (by dropping it near the wall) you can make a ramp with it.\n\n> Exit\nYou get out of the golf cart.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of Pauls garden is here.\n\nYou can see a golf cart (empty) here.\n\n> You drop the plank\nYou prop up the plank against the wall, making a ramp.\n\n> You go west\nManeuvering carefully, you steer the golf cart up the ramp and send it flying! Dagon turns its big, ugly head, but it's too late - you crash the car into his side, and the resulting explosion sprinkles him with the dissolving powder! Soon, nothing is left of him but a mass of greenish-grey goo, not unlike the bottom of that pot you found in the back of the cupboard. You splash into the water, expecting to be greeted by a thankful Paul, but no such luck. Hey! The game's usually over when you fly the cart. Outrageous!\n\nIn the Swimming Pool (swimming [obviously])\nChunks of green goo are drifting around here - ewww.\n\n> You hold the breath\nYou hold your breath.\n\n> Go outside\nPauls Parents are rather fond of this small pool. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss tan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless.)\n\nYou can see Tony's corpse here.\n\nYou can't hold your breath any longer.\n\n> Inventory\nYou are carrying:\na body bag (being worn and open)\na pole hook\nan Uzi\na swipe card\na roll of duct tape\na cupcake\na flintlock\n\n> You go north\nThe main feature of this room is the impressive glass door, which leads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nThere are some bloodstains here.\n\nOn the counter next to the sink sits Paul's Alien Tech(tm) powered laptop, connected to some small Alien Tech(tm) powered speakers, providing music.\nRight now, it's playing: \"Quib-based Conversation\" by Michael Martin.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards to the hallway or to the Kitchen and the Pool beyond to the South.\n\nEek! All the guests have been horribly slaughtered in some sort of ritual to invoke Dagon. Has this author some issues or what?\n\nBetween the two couches is a huge heap of purses and backpacks.\n\nYou can also see a sleeping pirate here.\n\n> You examine the pirate\nLike every year, Paul told one guy that this is a costume party. Some fellow showed up in a pirate costume, complete with an eyepatch. Looks like he was so embarassed he smoked till he passed out.\n\n> Go west\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (empty) here.\n\n> You enter\nShelves are nailed to the leaning wall. On them, some useless tools gather dust.\n\n> You ascend\nOh, something in your pants vibrates. As you aren't happy about any of this, it must be your cell phone that you always forget you have. (So it wasn't mentioned in your inventory earlier.) It's Paul! After pressing the receiver, you hear some voices:\n\"Damn, we thought you were a virgin! Why did you shout \"Don't kill\nme, I'm a virgin!\" when we started slaying everyone?\"\nThere's Pauls voice, heartbreakingly weak: \"I don't know, I guess always wanted to say that.\""
    },
    {
        "text": "[Themes: Romance]\n\n> You describe your surroundings\nThis is  a small hallway, with a lot of doors that lead to generic upstair bathroom, etc.\n\nA door leads east into the bedroom.\n\n> You open the door\nYou open the bedroom door, ready to kill - You see Paul, he is tied to the bed and painted with some arcane symbols - to his left stands Jack, the cultist who always brings the pie over, and to his right is Luke, a rather shy guy whom you often see standing outside to smoke. Paul cries: \"ALEX!\"\n\nThere is a bed in the middle of the room, and a cupboard on the wall to your left.\n\nA door leads west into the Hallway.\n\nJack is dropping a dagger he was holding and goes for his gun!\n\nLuke is bringing his pistol into firing position.\n\n> You get all from the bag\npole hook: Taken.\nswipe card: Taken.\nroll of duct tape: Taken.\nflintlock: Taken.\n\n> You shoot jack\nYou shoot Jack before he can draw his gun. Unfortunately this means that Luke can put three slugs into you, because he already had his gun out (pay attention!)\n\n> You shoot luke\nRATATATATAT!\nLuke keels over, his pistol flying. You turn around to drop Jack, however the damn Uzi is jammed.\n\n> You throw cupcake at Jack\nJack has his gun out and places a shot right over your left ear - luckily he only hits a photograph of Uncle Wally on the bedroom wall. You fling the cupcake at Jack, never lacking the nerve,  and he's hit in the forehead, tumbles,  crushes through the bedroom window and slams into the ground a few inches from the pool . (It's fun to kill people who are clearly villianous and therefore require no compassion whatsoever.) You look down at Paul, still tied to the bed. \"Man, those cultists! They seemed so nice, even voted Obama. For once I'm glad you're such an anti-social maniac. Will you free me now?\"\nYou grin and jump on the bed. \"Not yet.\"\nHe sighs (happily). \"You know, I'm glad we're getting married. That'll help to make you into a more social being. And this yearly terror might end.\" You shrug. \"I don't know. You'll still make New Year's Parties sometimes, right?\""
    },
    {
        "text": "[Themes: Horror, violence, horror, Lovecraftian, lighthouse]\n\nWhat a way to end a holiday.\nFirst you slipped in the shower and broke your arm, and now you've lost your way on a remote \"must-see\" like  Buwch Island. Then the rain. When you set out on your trip, it was a drizzle. When you realized you took a wrong turn, it was pouring. And, now, as you are back on track, it's a full-blown thunderstorm. Lightning hits the roaring waves in the distance, like screaming giants at war. The wind claws at your face and clothes, making you stagger. The cast doesn't help with that, either.\nBut you promised yourself that you'd  see the famous St. Cafasso lighthouse. The way back to town is too long now anyway.\n\nYou shield your eyes once more and finally see the damned thing, a mile or two in the distance, its light circling the horizon, the only sign of human life in the raging inferno.\n\n(FIRST TIME PLAYERS AND THOSE NEW TO IF SHOULD TYPE ABOUT)\n\nThe path has turned into inch-deep mud, and only with the help of the glaringly white lightning can you distinguish it from the soaked meadows all around you. It snakes its way upwards, towards the lighthouse on the cliffs, some miles north.\n\n[Author's Note: Lighthouses simultaneously stand at the border between land and sea and the border between old and new. They are naturally good settings for secrets. Do you dare visit this one?]\n\n> You look at lighthouse\nHidden by the curtain of rain, and sparsely illuminated by the occasional lightning, it stands tall and lean on the edge of the cliffs, providing light in eternal circles, unhindered by the elements. You know that it's made of brick and that the light is provided by an old lantern, for historical purposes. Shipping traffic in these waters has ceased a long time ago.\n\n> You check your inventory\nYou are carrying:\na cast (being worn)\n\n> You examine the cast\nIt's a white cast, reminiscent of a half-awake shower, a sudden slip and an embarrasing call to the front desk. It's, sadly, unsigned.\n\n> About yourself\nYou are a young tourist, determined on seeing the St. Buwch Lighthouse, to give this last day of your vacation some dignity.\n\n> You go north\nA path snakes off to the southeast, trickling lines of mud ebbing into the grass. The northbound path leads further upwards, against a small current of dirt and debris, to the crest of a small mound. The rain taps on a metallic roadsign by the fork with a strangely industrial, almost urban sound.\n\n> You read the sign\nIt's printed black on grey, and therefore almost impossible to make out in this weather. But by shielding your eyes, squinting, and moving your head to catch the reflections, you can decipher \"BUWCH ISLAND RING PATH 12km\" -to the southeast and \"BUWCH ISLAND VILLAGE 3km\" - to the south. \"ST. CAFASSO LIGHTHOUSE - 500 mtrs north\" looks the most promising.\n\n> You get the sign\nThat's hardly portable.\n\n> Turn sign\nIt is fixed in place.\n\n> You examine man\nYou take a few steps towards the man at the table, and then shudder. Reflexively shielding your eyes from the passing of the light, your stomach clenches as you realize what your mind just blocked out: He's dead. His arms lie too limp, his body lacks all the subtle movements of life. The hood of his yellow oilskin jacket is pulled back, revealing tousled black hair. He looks vulnerable and young, touchingly out of place. A residue of foam still lingers around his mouth, the rest washed away by the rain.\n\n> You examine the jacket\nYou'd expect a fisherman to wear one of those. It's waterproof and bright-yellow.\n\n> You search it\nYou search the the big pockets guiltily. You find a small pill bottle.\n\n> You examine bottle\nA small white plastic bottle. Seems to be a lorazepam substitute, some sort of sleeping pill. It's empty.\n\n> You get the bottle\nYou already have that.\n\n> Search jacket\nYou find nothing of interest.\n\nThere seem to be voices in the wind. You shudder.\n\n> You examine the picnic table\nThe table and the bench are bolted together. Both are actually made of wood, dark and wet. You glimpse a hint of countless carved names, dates, obscenities.\n\n> You check what you're carrying\nYou are carrying:\na pill bottle\na cast (being worn)\n\n> Go north\nThe brickwork of the tower itself is dark like an underexposed black and white picture. It looms high above you, like a faceless giant standing eternal guard.\n\nThe stainless steel entrance door looks modern in comparison. It even has an electric bell.\n\n> You examine the bell\nIt's a small, round, red button.\n\n> You tell the davidson about the corpse\n[Use TALK TO to interact with characters.]\n\n> You talk to Davidson\n\"Hello, Mrs. Davidson. Nice to let me in.\"\nShe squints at you again. \"You aren't the Johnson boy, are you?\"\n\n[1] \"That must be the young man I found ... outside. He's dead. At the picnic table. He committed suicide.\"\n\n> 1\nHer eyes are suddenly wide with shock. \"Sui- Suicide?\" She shakes her head. \"That coward.\" Then she sighs - \"Nevermind, there is a telephone at the top. We have to call the cops.\"\n\nYou climb what feels like a hundred clanking, metal stairs. The cold metal of the railing bites your hand, rust flakes sticking to your white, waxy skin.\n\nThe light of the big lantern blinds you every few seconds. Nothing but a rusty railing keeps you from plunging headfirst into the roaring sea. In the distance, the thunderstorm is raging ceaselessly, as if ancient gods roar war at civilization.\n\nMrs. Davidson arrives behind you, resting at the top of the stairs for a moment to catch her breath.\n\nThe wind picks up for a moment, almost throwing you off balance, rain drops hitting you in painful volleys."
    },
    {
        "text": "[Themes: Horror, violence, lighthouse]\n\n> You look around\nThe light of the big lantern blinds you every few seconds. Nothing but a rusty railing keeps you from plunging headfirst into the roaring sea. In the distance, the thunderstorm is raging ceaselessly, as if ancient gods roar war at civilization.\n\nMrs. Davidson stands her, slightly squinting, and smiling.\n\nFor a moment, you think you hear the fog horn of a ship, somewhere out at sea.\n\n> You look at Davidson\nLaura must be in her late forties, with the first grey streaks in her black hair. She has a friendly, wrinkled face, fitting perfectly for a lighthouse keeper who spends a lot of time at the sea and with tourists.\nShe is hiding something in her hand - you catch a glimpse of metal.\n\n> You look at the hand\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You talk to Laura\nYou turn to her and open your mouth, but she looks at you as if she's been caught red-handed. You notice a flash from her hand - as if she's carrying something made of steel.\n\n> You talk to her\nYou turn to her and open your mouth, but she looks at you as if she's been caught red-handed. You notice a flash from her hand - as if she's carrying something made of steel.\n\nSuddenly, Mrs. Davidson jumps at you. At first you think she fell, but then you feel a sudden, burning pain in your side. Almost immediately, your body goes limp and numb with shock. Your legs falter under you, and the woman holds you gently, as you both sink to the ground, almost like lovers.\nHer grey eyes are dark with sorrow, as she whispers: \"I'm sorry, I'm so sorry, it had to be...\" You look at her, feeling perplexingly guilty at the motherly look in her eyes. Then color fades from the world, slowly, and above you the light circles and circles."
    },
    {
        "text": "> Go downward\nAs you arrive at the foot of the stairs, Laura looks up at you from a pool of blood. \"Listen kid\", she whispers, \"it had to be... I'm so sorry. It has to be fed. It's our pledge. To keep the mother away. Please understand\" - she's wheezing now, something important inside her broken. Her eyes are dark with death - \"we had to.\" She doesn't roll her eyes. There is no sudden lightning. The thunderstorm just wails at the lighthouse walls, as if it were you conscience, trying to get in.\n\nThe stainless steel entrance door looks modern in comparison.\n\nA weird dagger lies here.\n\nLaura Davidson lies here, twisted and dead.\n\nThere is a trapdoor in the floor.\n\nThere is an antique wooden cupboard in the corner.\n\nYou can also see a keyring (on which are a steel key, a crystal key and a bronze key) here.\n\n> You examine the dagger\nIt's a short, double-bladed dagger. It looks incredibly old, but the point is still sharp.\n\n> You take dagger and keyring\ndagger: Taken.\nkeyring: Taken.\n\n> You open it\nYou open the cupboard, revealing a wooden box.\n\n> You open the box\nYou open the wooden box, revealing a flare gun.\n\n> You look at the gun\nIt looks old, but is in good shape. It seems to be loaded.\n\n> You take it\nTaken.\n\n> You examine the crystal key\nThis is a sight to behold. The crystal substance  makes it luminous, and the sheer beauty of it makes it seem unreal.\n\n> You look at the bronze key\nIt's a thick bronze key, tarnished and scratched.\n\n> You examine the steel key\nIt's a modern, steel key.\n\n> You look at trapdoor\nThis is clearly a trapdoor - the wood is different from the surrounding floor, and it has big metal hinges. The small lock on it looks amazing; it's made of crystal and has strange carvings on it - human figures and some sort of sea monster. It's too tiny to make out properly."
    },
    {
        "text": "[Themes: Horror, Lovecraftian, lighthouse, violence]\n\n> Look around\nThis circular room is dominated by the red brickwork and the circular stairs leading upwards, rusty metal like the door. The furniture seems to be an afterthought.\n\nThe stainless steel entrance door looks modern in comparison.\n\nLaura Davidson lies here, twisted and dead.\n\nThere is a trapdoor in the floor.\n\nThere is an antique wooden cupboard in the corner.\n\n> You go to the south\n(first opening the lighthouse door)\n(first unlocking the lighthouse door)\n(with the steel key)\n\nThe stainless steel entrance door looks modern in comparison. It even has an electric bell.\n\n> You take the body\nYou try to heave him onto your shoulder but the cast prevents it.\n\n> Drag body\nIt is fixed in place.\n\n> Xyzzy\nThere is no escape.\n\nThere seem to be voices in the wind. You shudder.\n\n> Inventory\nYou are carrying:\na flare gun\na keyring\na steel key\na crystal key\na bronze key\na dagger\na pill bottle\na cast (being worn)\n\n> Go north\nThe stainless steel entrance door looks modern in comparison. It even has an electric bell.\n\n> Go north\nThere is a trapdoor in the floor.\n\nThe stainless steel entrance door looks modern in comparison.\n\nLaura Davidson lies here, twisted and dead.\n\nThere is an antique wooden cupboard in the corner."
    },
    {
        "text": "[Themes: Horror, lighthouse]\n\n> Describe the surroundings\nThe light of the big lantern blinds you every few seconds. Nothing but a rusty railing keeps you from plunging headfirst into the roaring sea. In the distance, the thunderstorm is raging ceaselessly, as if ancient gods roar war at civilization.\n\n> You examine the railing\nIt's painfully cold to the touch, spotted with rust, eerily illuminated by the thunderstorm.\n\n> You look at lantern\nIt's some sort of electrical lantern, buzzing loudly and emiting a steady, yellowish light, blinding and hot up here. The surface is littered with dead insects.\n\nThere is a shudden, sharp, stabbing pain in your back. Too much walking in the cold. You move your back a bit, to ease the strain. The pain dies down."
    },
    {
        "text": "[Themes: Horror]\n\n> Go downwards\nThe stainless steel entrance door looks modern in comparison.\n\nThere is a trapdoor in the floor.\n\nLaura Davidson lies here, twisted and dead.\n\nThere is an antique wooden cupboard in the corner.\n\n> You open the trapdoor\n(first unlocking the trapdoor)\n(with the crystal key)\nYou open the trapdoor.\n\n> Down\nYou are standing in a small recess. This small space feels old and inhospitable.\n\nA bluish metal door leadseastwards into the cliffs. It's engraved with weird symbols.\n\nThere is a trapdoor in the ceiling.\n\n> You examine the door\nWhich do you mean, the metal door or the trapdoor?\n\n> Metal\nThe symbols are unlike anything you've ever seen, yet they fill you with a certain dread, something very basic, primeval.\n\n> Inventory\nYou are carrying:\na flare gun\na keyring\na steel key\na crystal key\na bronze key\na dagger\na pill bottle\na cast (being worn)\n\n> You open the metal door\n(first unlocking the metal door)\n(with the bronze key)\nYou open the metal door.\n\n> You examine keyring\nYou see nothing special about the keyring.\n\nOn the keyring nothing.\n\n> Go east\nGod, the stench. Fish and flesh and sweat and fear. The room is barely lit by a dirty lightbulb on the ceiling, but you see straw and bones, scattered everywhere.\n\nThe dirty lightbulb gives an eerie half-light, leaving much of the disgusting chunks of organic matter to the imagination. The stone floor is littered with old, greyish straw. The sickeningly sweet smell makes you gag.\n\nA bluish metal door leads westwards back up the stairs. It's engraved with weird symbols.\n\nSomething is moving in the shadows. It seems to be the source of the fishy smell.\n\n> You examine something\nThankfully, it's half-hidden in the shadows. You can only make out a malformed, scaly head, abnormally huge, soulless black fish eye above teeth, yellow and sharp. It shuffles around slowly in the shadows, as if hurt or weak. It seems to move on all fours, though you occasionally glimpse something that seems to be the worst - a human foot on a scrawny leg, its toes webbed and scaly.\n\n> You talk to something\nYou clear your throat and try to speak to the shuffling shadows. You manage a croaky: \"Hello?\" And from the shadows, something answers, a low, sickeningly throaty sound, in something that sounds like words."
    },
    {
        "text": "[Themes: Horror, lighthouse]\n\n> You look around\nThe dirty lightbulb gives an eerie half-light, leaving much of the disgusting chunks of organic matter to the imagination. The stone floor is littered with old, greyish straw. The sickeningly sweet smell makes you gag.\n\nA bluish metal door leads westwards back up the stairs. It's engraved with weird symbols.\n\nSomething is moving in the shadows. It seems to be the source of the fishy smell.\n\n> Inventory\nYou are carrying:\na flare gun\na keyring\na steel key\na crystal key\na bronze key\na dagger\na pill bottle\na cast (being worn)\n\n> You examine the straw\nRotten straw.\n\n> Smell\nThe smell is a sickening mixture of rotten fish and nasty human odors - sweat, fear, blood, feces. It's disgustingly sweet, you can almost taste it in your mouth.\n\n> You go west\nYou are standing in a small recess. This small space feels old and inhospitable.\n\nA bluish metal door leadseastwards into the cliffs. It's engraved with weird symbols.\n\nThere is a trapdoor in the ceiling.\n\n> Up\nThis circular room is dominated by the red brickwork and the circular stairs leading upwards, rusty metal like the door. The furniture seems to be an afterthought.\n\nThere is a trapdoor in the floor.\n\nThe stainless steel entrance door looks modern in comparison.\n\nLaura Davidson lies here, twisted and dead.\n\nThere is an antique wooden cupboard in the corner.\n\n> You examine the cupboard\nIn the cupboard is a wooden box."
    },
    {
        "text": "> You go to the west\nYou are standing in a small recess. This small space feels old and inhospitable.\n\nA bluish metal door leadseastwards into the cliffs. It's engraved with weird symbols.\n\nThere is a trapdoor in the ceiling.\n\nLaura Davidson lies here, twisted and dead.\n\n> Up\nThis circular room is dominated by the red brickwork and the circular stairs leading upwards, rusty metal like the door. The furniture seems to be an afterthought.\n\nThere is a trapdoor in the floor.\n\nThe stainless steel entrance door looks modern in comparison.\n\nThere is an antique wooden cupboard in the corner.\n\n> Go south\nThe brickwork of the tower itself is dark like an underexposed black and white picture. It looms high above you, like a faceless giant standing eternal guard.\n\nThe stainless steel entrance door looks modern in comparison. It even has an electric bell.\n\n> You go south\nYou're almost blind here. Every few moments this area is bathed in harsh white light, leaving shadowy after-images in your sight.\nFrom here, you can see the lighthouse on top of the cliffs, maybe 200 meters further north, and hear the cannonading waves against their base, deep and old, gnawing at the island.\nThere is a picnic table, a few steps from the path, and someone is sitting there, head on his hands.\n\n> You pull the corpse\nIt is fixed in place.\n\n> Kiss corpse\nYou blink the thought away. This storm sure is putting weird ideas in your head.\n\n> Cut corpse\nCutting that up would achieve little.\n\n> Shoot flare\n(with the flare gun)\nMight be a good way to alert the authorities. But you don't think it would be seen in this hellish weather, near the big lighthouse light.\n\nA raindrop hits you quite painfully in the eye. You have to stop for a moment and rub it, till the pain subsides."
    },
    {
        "text": "[Themes: Horror, violence]\n\n> Go downwards\nThis circular room is dominated by the red brickwork and the circular stairs leading upwards, rusty metal like the door. The furniture seems to be an afterthought.\n\nThe stainless steel entrance door looks modern in comparison.\n\nThere is a trapdoor in the floor.\n\nThere is an antique wooden cupboard in the corner.\n\n> Go southeast\nYou have to tell the authorities. About that thing you found in the cellar. About Mrs. Davidson. Let them find out what the hell happened here. Your broken arm begins to hurt. 12 kilometers is a long way. You look back towards the lighthouse. It's silently waiting to spoil its dark secrets at the world.\n\n> Go south\nNo. You've come this far.\n\n> You examine laura\nYou can't bring yourself to look at her for long. Her eyes are open, a horrifying expression of surprise in them. Her body looks twisted and broken, a stray lock of hair has fallen into her face, given her an even more vulnerable expression.\n\n> You shoot something\n(with the flare gun)\nYou aim a shaking arm at the shape in the shadows. You have never fired a gun before, but you're pretty sure how this works. You close your eyes and fire. The flare gun melts to a heap and you drop it reflexively.\nThe whole room lights up for a moment as the flare sizzles towards\nthe thing in the shadows, raining sparks on the stone floor. It hits and immediately the whole creature has caught fire. The screams are high-pitched, horrifyingly pure. Thankfully, it dies quickly."
    },
    {
        "text": "[Themes: Horror, horror, violence]\n\n> You describe your surroundings\nThe dirty lightbulb gives an eerie half-light, leaving much of the disgusting chunks of organic matter to the imagination. The stone floor is littered with old, greyish straw. The sickeningly sweet smell makes you gag.\n\nThe burnt carcass of something horrible lies in the corner.\n\nA bluish metal door leads westwards back up the stairs. It's engraved with weird symbols.\n\n> You examine carcass\nThe beast has burnt beyond recognition. The smell has become worse, like a fish market mixed with burnt flesh.\n\n> You go south\nAs you step outside, you hear a roar behind you, audible above the thunderous storm - filled with fear and pain and rage. A behemoth, some unthinkable monstrosity from the lightless depths, has taken to land. Car-sized hand grab the lighthouse and shake it, screaming questions at it in a language worthy of giants. You fall to the ground and cover your ears, babbling in terror as the building starts to fall. You scramble back to your feet, clothes and face muddy, and start to run.\nYou run for a long time."
    },
    {
        "text": "The man-eating, halitosic gorilla of Brazil\n\nCommand Summary:\nLOOK / L          Repeat the last page\nINVENTORY / I     Show player inventory\nSAVE / S          Save the game\nRESTORE / R       Restore the game\nQUIT / Q          Quit the game\nRESTART / X       Restart the game\nHELP / H          This text\n\nSelect options by their number. To use an object, type its name as\nit appears in the inventory list.\n\n1) Continue.\n\n> 1\nThere is darkness, and pain at the back of your head. Basic urges flow through your lizard brain, air, food, rest, smoochies, video games. After who knows how long you open your eyes. You're in some kind of interrogation room, small, cramped. The stone carvings on the moss-covered walls make this look like a lazily designed secret room from a videogame. With you in the room is a gorilla in a suit, who looks a bit like Ron Perlman. Only this gorilla has rocket launchers for arms. You close your eyes. \"Oh no\" you think to yourself, \"not again.\"\n\nAnd then you remember. The secret mission, from the new boss, who does look something like Michael Gambon: \"Somewhere in the Brazilian jungle, there is a new mastermind at work. We know very little, only that he killed our best agent, Bonathan Jlask. And that he's hidden in some secret temple. Well, we've heard you know how to find such places. And how to get into them.\" You told him you're retired. \"No\" he said, firmly. \"People like you never are.\" You were about to respond, but his secretary, the spitting image of Kirsten Dunst, already handed you the tickets.\nFlash forward. The gorilla is looking at you. \"What were you doing here?\"\n\n1) \"What do you mean? I am a botanist. I was looking for a special plant.\"\n2) \"I am a secret agent for the world government!\"\n\n> 1\n\"I left the next biggest town a few days ago. My only companion was my guide, who did look a bit like Alfred Molina. Anyhoo, soon we arrived here and after some searching we found the plant. But then my guide fell into a hole. Some guide, I tell I attached my rope to a nearby statue. Only the statue had to be weighed down with sand from the nearby beach first, which I put in the linen bags which carried the clothes. Then I climbed down the hole. Down there, I felt like being eaten by a grue so I switched on my lamp. Only it didn't have any batteries. And my box full of batteries was guarded by a snake. I found a toy mouse to distract it, so I got my batteries. They were the wrong size. But with them, I could switch on the venilator for Professor Bunglay, who in turn gave me his electric shaver, which did hold the right batteries. So I went back down there again, but when I finally could see, I didn't see my guide, I saw a sleeping tiger!\"\n\n1) \"I then decided to sneak up to it.\"\n2) \"I then decided to wait a bit.\"\n3) \"I probably should tell you about the plant!\"\n\n> 1\nThe gorilla tries to wave his rocket launchers dismissively. He fails. He then says, \"Who are you trying to fool? You wouldn't approach a dangerous animal if you were,  indeed, a renowned botanist. You know what I think you are? You are  AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?\"\n\n1) \"Yes, I am a secret agent. My mission is to kill you.\"\n2) \"No. See, this is CYOA. It doesn't even have a parser or an inventory!\"\n3) \"Yeah, a gorilla with rocket launcher hands. That *is* odd. Please tell me your story.\"\n\n> 3\n\"Many a year ago, I was a happy AI in a rocket launcher, the newest and deadliest in weapons technology. Straight on our way to skynet, we were. But then some crazy scientist attached a gorilla to me. And now see I how look. Completely stupid! That's why I want to take over the world. Anyway, let me reiterate my question.\"\n\nThe gorilla tries to wave his rocket launchers dismissively. He fails. He then says, \"Who are you trying to fool? You wouldn't approach a dangerous animal if you were,  indeed, a renowned botanist. You know what I think you are? You are  AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?\"\n\n1) \"Yes, I am a secret agent. My mission is to kill you.\"\n2) \"No. See, this is CYOA. It doesn't even have a parser or an inventory!\"\n3) \"Yeah, a gorilla with rocket launcher hands. That *is* odd. Please tell me your story.\"\n\n> 2\nThe gorilla, moving his rocket launcher not unlike someone handling chopsticks for the first time, puts three items down before you. A brass lantern, an elven sword and a platinum bar. Sweat breaks out on your brow. Oh no. He's on to you. \"Now tell me, Mr. or Mrs. AFGNCAAP...what would be your first action if I do this...?\"\nAnd, pressing a button on his one launcher with his other launcher, your cuffs click open. Free. But it's no use.\n\n1) >GET ALL\n2) >GET ALL\n3) >GET ALL\n\n> 2\nQuicker than you can say cutscene, you're tied up again. The gorilla looks at you. \"You know, I always envied you. Getting all the treasures, defending all those thiefs. Solving all those fiendish puzzles. But now look. What has the world come to? All these angsty protagonists with their guilt-ridden backstories, all these branching narratives. You live in a world that no longer needs you. The puzzle is dead. But don't worry, soon are you!\"\nWith that, he lifts his rocket launcher!\n\n1) Try to get back to that one childhood memory you always shut out, and mentally reconcile with your mother.\n2) Choose any incidental memory that just happens to pop up.\n3) \"Please, we can talk about this!\"\n\n> 1\nOkay, you finally reconcile with all she has said and done. After all those items in her old house triggered those memories, you feel like you finally understood her. You have grown yourself, in the intervening years. You now longer wear the innocent face of a child or the self-righteous, stern look of a teenager. You're grown. Maybe you have grown to forgive. Who kno..Sorry to interrupt, but you're being blown apart by a rocket launcher.\n***You have died.***\n\nX) Restart\nR) Restore\nQ) Quit\n\n1) Look at what others had to say about this.\n\n> 1\nBlurbs used:\n\"Dude, even if you somehow get a movie deal out of this, it's rude to be picking out the actors already.\"\n-- Sam Kabo Ashwell\n\"Unreliable narrator. Unreliable parser. For the love of little green eyeballs, why isn't anything in this game reliable?!?\"\n-- Carolyn VanEseltine\n\"The game's eponymous animal proved to be NONE of the adjectives the title proclaimed him to be, thank goodness.\"\n-- Colin Sandel\n\"Smells like team spirit.\"\n--Tanga\n\"The spiritual successor to Galatea, if Galatea had been about a gorilla with rocket launchers for arms.\"\n-- C.E.J. Pacian\n\"Seemingly engineered to punch you right in the green slimy guts of your lizard brain.\"\n--Sarah Morayati\n\"The minutely detailed simulation of the plant life was remarkable, if somewhat overwhelming.\"\n-- David Fletcher\n\"The chariot race was one of the most thrilling, timed puzzles that I've ever enjoyed.\"\n-- Royce Odle\n\n> Examine\nAre you sure you want to restart?\n\n> Y.\nThe man-eating, halitosic gorilla of Brazil\n\nCommand Summary:\nLOOK / L          Repeat the last page\nINVENTORY / I     Show player inventory\nSAVE / S          Save the game\nRESTORE / R       Restore the game\nQUIT / Q          Quit the game\nRESTART / X       Restart the game\nHELP / H          This text\n\nSelect options by their number. To use an object, type its name as\nit appears in the inventory list.\n\n1) Continue.\n\n> 3\nCoca (Erythroxylum coca) is a plant in the family Erythroxylaceae, native to western South America. The plant plays a significant role in traditional Andean culture. Coca is best known throughout the world because of its alkaloids, which include cocaine, a powerful stimulant. The plant resembles a blackthorn bush, and grows to a height of 2-3 m (7-10 ft). The branches are straight, and the leaves, which have a green tint, are thin, opaque, oval, and taper at the extremities. A marked characteristic of the leaf is an areolated portion bounded by two longitudinal curved lines, one line on each side of the midrib, and more conspicuous on the under face of the leaf.\nThe flowers are small, and disposed in little clusters on short stalks; the corolla is composed of five yellowish-white petals, the anthers are heart-shaped, and the pistil consists of three carpels united to form a three-chambered ovary. The flowers mature into red berries.\nThe leaves are sometimes eaten by the larvae of the moth Eloria noyesi.\n\nThere are twelve main species and varieties. Two subspecies, Erythroxylum coca var. coca and Erythroxylum coca var. ipadu, are almost indistinguishable phenotypically; a related high cocaine-bearing species has two subspecies, Erythroxylum novogranatense var. novogranatense and Erythroxylum novogranatense var. truxillense that are phenotypically similar, but morphologically distinguishable. Under the older Cronquist system of classifying flowering plants, this was placed in an order Linales; more modern systems place it in the order Malpighiales.\nCultivation\n\nCoca is traditionally cultivated in the lower altitudes of the eastern slopes of the Andes (the Yungas), or the highlands depending on the species grown. Since ancient times, its leaves have been an important trade commodity between the lowlands where it is grown and the higher altitudes where it is widely consumed by the Andean peoples of Peru, Colombia, Ecuador, Venezuela, Bolivia and northwestern Argentina.\n\n1) -go on-\n2) -continue telling the story-\n\n> 2\n\"So?\" says the Gorilla, irritated.\"\n\n1) I then decided to wait some more.\"\n2) \"I then decided to sneak nearer up on it.\"\n\n> 1\n\"So?\" says the Gorilla, irritated. \"Then what?\"\n\n1) I then decided to wait some more.\"\n2) \"I then decided to sneak up to it.\"\n\n> 1\n\"So?\" says the Gorilla, irritated. \"Then what?\" Did you lie around all day?\"\n\n1) I then decided to wait some more.\"\n2) \"I then decided to sneak up to it.\"\n\n> 1\n\"So?\" says the Gorilla, irritated. \"Then what?\" Did you lie around all day? What happened?\"\n\n1) I then decided to wait some more.\"\n2) \"I then decided to sneak up to it.\"\n\n> 1\n\"So?\" says the Gorilla, irritated. \"Then what?\" Did you lie around all day? What happened? What? Eh?\"\n\n1) \"I then decided to sneak up to it.\"\n2) \"I then decided to wait some more.\"\n\n> 1\nThe gorilla tries to wave his rocket launchers dismissively. He fails. He then says, \"Who are you trying to fool? You wouldn't approach a dangerous animal if you were,  indeed, a renowned botanist. You know what I think you are? You are  AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?\"\n\n1) \"Yes, I am a secret agent. My mission is to kill you.\"\n2) \"No. See, this is CYOA. It doesn't even have a parser or an inventory!\"\n3) \"Yeah, a gorilla with rocket launcher hands. That *is* odd. Please tell me your story.\"\n\n> 2\n\"So?\" says the Gorilla, irritated. \"Then what?\" Did you lie around all day? What happened? What? Eh? Speak up!\"\n\n1) \"I then decided to wait some more.\"\n2) \"I then decided to sneak up to it.\"\n\n> 1\n\"So?\" says the Gorilla, irritated. \"Then what?\" Did you lie around all day? What happened? Nothing? Are you still there?\"\n\n1) \"I then decided to wait some more.\"\n2) \"I then decided to sneak up to it.\"\n\n> 1\n\"With a back-to-basics roar the gorilla storms up to you. He growls, inches from your face. Finally he then hits you on the nose with a rocket launcher. Which is far less funny than it sounds. \"STOP STALLING, HUMAN!\"\n\n1) \"I then decided to sneak nearer to it.\"\n\n> You check your inventory\nYou are carrying:\nSome papers you picked up three adventures ago. They are held\ntogether by a paperclip.\n\n> 1\nThe gorilla sighs. \"So, that's it? I don't even need to torture you! Well, goodbye.\" He aims one of his rocket launchers at you. For a second you ponder ducking.\n***You have died***\n\nX) Restart\nR) Restore\nQ) Quit\n\n1) Look at what others had to say about this.\n\n> All\n(Some papers you picked up three adventures ago. They are held together by a paperclip.)\nYou can't use that here.\n\n> You check your inventory\nYou are carrying:\nSome papers you picked up three adventures ago. They are held\ntogether by a paperclip.\n\n> 2\nHey, you found a schematic for a rocket launcher in that one game on that space station with the pirates. It said if someone said \"Niereleelrieleilieleelieleilieleiii\", the rocket launcher would deactivate.\n\n1) Niereleelrieleliieleelieleilieleiii\n2) Niereleelreileilieleelieleilieleiii\n3) Niereleelreileilieleeleileilieleiii\n4) Niereleelrieleilieleelieleilieleiii\n5) Niereleelreileilieleleeileilieleiii\n6) Niereleelreileilleleeleileilieleiii\n\n> 4\nLike a stubborn idea hammered into a pupil's head by a determined teacher, the rocket launcher clicks. \"Uh?\" says the gorilla. \"Must reactive it. Sorry for the hassle. This'll just take a second.\"\n\n1) Do nothing, as it looks like you can do nothing. Just wait for death. Nothing to do. No, no. Just see another death message.\n\n> Papers\nWhile the gorilla is distracted, you bend the paperclip into a lockpick and you are free. As he sees this, the brute follows clich? instead of logic and runs away! You are right behind him , through endless, winding catacombs, always nearly but never quite losing him, as he rounds a corner or climbs some vines. Finally, there is blinding daylight! You blink into it, as you see your enemy jump into one of two waiting, ostrich-pulled chariots. You jump into the second one and whip the ostriches into moving! (Probably breaking some Protection of Animals Act.) Speaking of harmed animals, there is a ridiculously cute baby sloth in the middle of the road!\n\n1) You drive over it, gaining more speed.\n2) You swerve around.\n\n> 2\nWoosh! The baby sloth looks at you with big, thankful eyes. This will have no gameplay consequences whatsoever. I am making an important point about morality in games here!\n\nThe exciting chase (music not included) leads you up a stony mountain path. It grows smaller and smaller, but you gain on the gorilla. He sees you behind him and pulls his reins to the right, to crash, er, right into you! You have to make a quick decision!1! No time to lose !11!1\n\n1) You decide to slow your ostriches a bit.\n2) You decide to whip your ostriches into full speed.\n3) You decide to swerve into him yourself!\n\n> 3\nYou decide to ram the gorilla! This works better than expected. Both chariots get wedged into each other, and soon you both swerve off the road and tumble down the mountain in a twisted mass of ostrich, chariot, gorilla and player character. You are swallowed by the green of the jungle. You are food for the insects, etc. This is not the optimal ending, in case you're wondering.\n\nX) Restart\nR) Restore\nQ) Quit\n\n1) Look at what others had to say about this.\n\n> 1\nYou slow down, and predictably, the gorilla swerves his chariot - right into thin air! Ostriches and chariot dance the same old, short and painful dance with gravity, but the gorilla clinges to the edge of the rock. He can't really get a grip with his rocket launcher, though, and he slides downwards ever so slowly. \"LISTEN!\" he screams, scrambling. \"This is bigger than you and me. Bigger than everything! I can give you names, addresses, phone numbers, twitter names, flickr links.\"\n\"Who is it, primate? Who is behind this sketchily defined \"this?\" \" \"It's the Player-PC divsion, they're onto us, the implementors are onto us, but it's too late it's\n***Source file ended in the middle of quoted text: main source text. This probably means that a quotation mark is missing somewhere. If you are using Inform with syntax colouring, look for where the quoted-text colour starts. (Sometimes this problem turns up because a piece of quoted text contains a text substitution in square brackets which in turn contains another piece of quoted text - this is not allowed, and causes me to lose track.)***\n\nYou have won!\n\nX) Restart\nR) Restore\nQ) Quit\n\n1) Look at what others had to say about this."
    },
    {
        "text": "[Themes: Harry Potter, mock, fanfic, humor, fan fiction]\n\nwhen a letter arrived that changed your life. You had been accepted\nas an exchange student to Hogwarts School of Witchcraft and Wizardry, all the way in England! You packed your bags and left without delay. After a plane, a train, and a boat, you now sit in the Great Hall of Hogwarts itself.\n\n\n\nGreat Hall of Hogwarts (on the bench)\nThe Great Hall is, well, pretty great. The entire population of the school is here to see the Sorting Ceremony. The headmaster Albus Dumbledore is overseeing the ceremony. You recognize a few students\n-- that must be Harry Potter over with Gryffindor, and at the\nSlytherin table you're sure you can see Draco Malfoy.\n\nEveryone else has been sorted into their Houses; for some reason, you're the last to go.\n\nYou can see a stage (on which is The Sorting Hat) here.\n\n[Author's Note: You were just a regular girl living a regular life in North Dakota when a letter arrived that changed your life. You had been accepted as an exchange student to Hogwarts School of Witchcraft and Wizardry, all the way in England! You packed your bags and left without delay. After a plane, a train, and a boat, you now sit in the Great Hall of Hogwarts itself.]"
    },
    {
        "text": "[Themes: fan fiction]\n\n> About you\nYou are Mhairie Sioux Escrivain, from North Dakota. Your mother is a human animagus and your father is a unicorn. You were raised by your mother while your father returned to the wild woods of his home. They both love you very much and your father visits whenever he can. You have deep purple eyes and your hair is a luxurious brunette with unicorn highlights of silver and gold.\n\n> Inventory\nYou are carrying:\nyour wand\nShadowcat\nyour robes (being worn)\n\n> You look at Hat\nHard to believe this crumpled old hat is an artifact of great magic, and yet, so it is.\n\n> You look at the wand\nYour wand is made of rowan wood and is intricately-carved. Unusually, the core of your wand consists of your own half-unicorn hair, which makes for a powerful bond.\n\n> You examine the Shadowcat\nShadowcat is your magical familiar. She is a rare fairie dragon that you have had since birth. She usually sits on your shoulders, purring quietly.\n\n> You look at the robes\nYour robes were your mother's and are embroidered with threads of silver and gold. In certain lights some people claim that they are slightly-transluscent, but that's just the wishful thinking of old pervs.\n\n> You get on the stage\n(getting off the bench)\nYou get onto the stage.\n\nOn the stage you can see The Sorting Hat.\n\n> You wear Hat\n(first taking The Sorting Hat)\nYou place The Sorting Hat onto your curled tresses.\n\n\"Ah, you must be the young lady Mhairie Sioux Escrivain,\" the Hat says to you.\n\n> 2\n\"You are too modest, Miss Escrivain,\" says the Hat. \"Now then, onto the business at hand. You have some preference for your House, I sense.\"\n\n> 3\n\"As you say, my dear,\" says the Hat. \"Of course, I could easily sort you into Gryffindor. But I sense something very unique in you...\"\n\njust Mhairie.\"\n\n> 1\n\"The House for Mhairie Sioux Escrivain is... Gryffindor!\" the Hat proclaims. Everyone cheers!\n\n> 2\nAlbus Dumbledore reaches over to remove the Hat, as the ceremony is\nnow concluded. \"However...\" the Hat continues, inexplicably. \"It would be more accurate to say that Gryffindor is, how to put it, her PRIMARY House.\" Murmurs of confusion arise.\n\n> 3\n\"It would be quite unfair to Mhairie, to say nothing of the other Houses, to restrict her to just one House. Therefore, she is also an associate member of every House, as befits her talent and potential.\" The murmurs of confusion give way to cheers, scattered at first, but growing in volume until the whole Great Hall shakes. Dumbledore, looking quite stunned, finally removes the Hat.\n\nYou should probably take a seat before things get awkward.\n\n> You sit on the stage\nBut you're already on the stage.\n\n> You sit\nWhat do you want to sit on?\n\n> You get off stage\nYou get off the stage.\n\nThe Great Hall is, well, pretty great. The entire population of the school is here to see the Sorting Ceremony. The headmaster Albus Dumbledore is overseeing the ceremony. You recognize a few students\n-- that must be Harry Potter over with Gryffindor, and at the\nSlytherin table you're sure you can see Draco Malfoy.\n\nOver at the Gryffindor table, you see that Harry has opened up a spot beside him for you to sit down. On the other side of the hall, Draco has shoved Goyle right off the bench, hoping you might sit with Slytherin. Between, both Hufflepuff and Ravenclaw have also made\nspace for you.\n\nYou can see a stage here.\n\n> You examine Harry\nThe scar on his forehead, the glasses, the boyish charm -- surely this must be the famous Harry Potter, the Boy who Lives.\n\n> You examine Albus\nThe headmaster of Hogwarts is an ancient, wise, and powerful wizard, like Santa Claus crossed with Yoda.\n\n> You examine Draco\nThe mischievous grin,  the shock of blond hair, the leather pants beneath his robes -- surely this must be Draco Malfoy, the Boy who Sneers.\n\n> You sit at Slytherin\nYou take a seat next to Draco at the Slytherin table. \"Decided on\nyour REAL House already, have you, Mhairie,\" he says. \"I'm Draco,\" as if you might not already know that.\n\nThe school year rushes by in a flurry of classes, exams, and studying. One moment in particular, however, stands out...\n\nIt is late autumn, and the snow will be coming soon. Hagrid has led your Care of Magical Creatures class out into one of the sunnier corners of the Dark Forest. \"Bowtruckles,\" he says, addressing the class, \"are tricky wee buggers. They're made of wood, live in the woods, and never leave their own trees. Go on, have a good look for one; while I enjoy a nice pipe.\" He begins searching the many pockets of his coat.\n\n> You look\nThe Great Hall is, well, pretty great. The entire population of the school is here to see the Sorting Ceremony. The headmaster Albus Dumbledore is overseeing the ceremony. You recognize a few students\n-- that must be Harry Potter over with Gryffindor, and at the\nSlytherin table you're sure you can see Draco Malfoy.\n\nOver at the Gryffindor table, you see that Harry has opened up a spot beside him for you to sit down. On the other side of the hall, Draco has shoved Goyle right off the bench, hoping you might sit with Slytherin. Between, both Hufflepuff and Ravenclaw have also made\nspace for you.\n\nYou can see a stage here.\n\n> You examine Hagrid\nAn unthinkably-enormous mountain of a man, with hair sprouting from\nall manner of unlikely body parts.\n\n> Inventory\nYou are carrying:\nyour wand\nShadowcat\nyour robes (being worn)\n\n> You examine the bowtruckle\nIt's like a tiny little person, made out of wood. They're very difficult to see against the bark of the tree, unless you know exactly what to look for, which you do.\n\n\"Ah, looks like Miss Escrivain has found one straight off,\" says Hagrid, having noticed that you've found a bowtruckle already. \"Go\non, then, gather round and have a good look, while I...\" he trails off mid-sentence. \"Well, shave my head and call me Doris! There's something you don't see every day!\"\n\nEveryone turns to where Hagrid is staring. From out of the forest, a unicorn has walked into the clearing.\n\n\"Now, everyone just stay calm and still-like. Just seeing a unicorn\nis blessing enough. Walk up to one and it's likely as not to kick\nyour head in.\"\n\n> Hi\nYou seem to want to talk to someone, but I can't see whom.\n\n> WALK UP TO UNICORN\n\nI only understood you as far as wanting to walk up.\n\n> You touch the UNICORN\nYou reach out and pet the unicorn, feeling its strong yet gentle\nequine musculature beneath your fingers. This apparently elicits\ngasps from the other students, but you scarcely hear them. For a moment, it is just you and this magnificent beast.\n\nThen the moment ends. The unicorn somehow senses this and gallops\nback off whence it came. The other students approach you, now that it's safe. Harry and Draco shove their way to the front of the pack.\n\n\"Mhairie, that was bloody brilliant!\" says Harry, clearly impressed. \"So listen, I've been meaning to ask you, with the Yule Ball coming up...\"\n\n\"Out of the way, Potter!\" shouts Draco has he shoves Harry out of the way. \"Wanna go to the Ball with me, Mhairie?\" he asks you. \"Or me?\" says Harry.\n\nmaybe next time.\"\nyou?\"\n\n> 3\nYour response leaves them both speechless. \"Well, I suppose, that\nis,\" manages Harry, finally, \"I mean, there's no reason we couldn't both take you to the Ball, is there? I mean, if that's what you want, I mean,\" he finishes. \"I don't mind a bit of competition,\", sneers Draco. \"It's not who you go with as much as who you end up with, right? See you then,\" he says. They both walk off in very different directions.\n\nThe weeks, like the snow, flies quickly and heavily, and before you know it, it is the night of the Yule Ball...\n\nThe Great Hall has been lavishly-decorated for the annual Yule Ball. The students mill around in their dress robes. You grip a small glass of bubbly grape juice and enjoy the atmosphere.\n\n> Drink juice\nThere's nothing suitable to drink here.\n\nAs you look around the Great Hall, someone rudely bumps your elbow.\nYou spill your drink all down the front of your dress robes! You turn to see who it was, but they've disappeared into a sea of\nnear-identical robes. Shadowcat is so distraught she flies off into the rafters.\n\n> You look at the robes\nYour dress robes were a gift from your father's family. They are\nwoven from pure unicorn hair and virtually float around your body.\nEven more people claim that they are slightly-more-than-slightly-transluscent, but that's just the wishful thinking of many old pervs. A large grape stain down the front of\nyour robes unfortunately takes something away from the overall effect.\n\nAs you try to decide how to recover from this faux pas, Albus Dumbledore floats up beside you. \"Oh, bollocks, Miss Escrivain. I should strongly suggest you visit the Girls' Bathroom, just to the south of us, and clean yourself up. A quick wave of the wand and stains are gone!\" he says gravely.\n\n> Go south\nThis short hallway -- more of a foyer, really, or an antechamber -- is to the immediate south of the Great Hall. To the west is the Girls' Bathroom, which you're well-acquainted with. To the east is the Boys' Bathroom, of which you know nothing at all, save that it is surely a pit of filth and nastiness.\n\n> Go west\nThe Girls' Bathroom.\nThe bathroom is quite homey and welcoming. Soft candles light the room, the air smells faintly of lavender, and the sofas are nice and soft. The exit is to the east.\n\n> Wave wand\nThat cleaned it right up, just like, well, magic!\n\n> You examine the robes\nYour dress robes were a gift from your father's family. They are\nwoven from pure unicorn hair and virtually float around your body.\nEven more people claim that they are slightly-more-than-slightly-transluscent, but that's just the wishful thinking of many old pervs.\n\n> Go north\nThe Great Hall has been lavishly-decorated for the annual Yule Ball. But the room is mysteriously and completely deserted -- where is everyone?\n\nShadowcat flutters down from the rafters and resumes her perch on your shoulders.\n\n> You check your inventory\nYou are carrying:\nShadowcat\nyour dress robes (being worn)\nyour wand\n\n\"Everyone marched off to the Quidditch Pitch,\" Shadowcat tells you telepathically. \"They are under the influence of some dark power!\nYou must go rescue them.\"\n\n> You go north\nYou can't go that way.\n\n\"Time is of the essence,\" Shadowcat tells you telepathically.\n\n> You look at Shadowcat\nShadowcat is your magical familiar. She is a rare fairie dragon that you have had since birth. She usually sits on your shoulders, purring quietly.\n\n\"There is no time to lose,\" Shadowcat tells you telepathically.\n\n> You look\nThe Great Hall has been lavishly-decorated for the annual Yule Ball. But the room is mysteriously and completely deserted -- where is everyone?\n\n\"We must make haste,\" Shadowcat tells you telepathically.\n\n> Go south\nYou head out to the Quidditch Pitch straight away, and after several minutes of walking through the darkness, you arrive.\n\nThe moonlight sparkles off the snow that covers the pitch, and in the center of the pitch, a dark figure stands, who sparkles slightly in\nthe moonlight too. In the stands you see the entire population of Hogwarts, all standing as motionless as statues.\n\n> Go north\nYou can't go that way.\n\nYou're pretty good at sneaking around in the dark, but the dark figure standing on the Quidditch Pitch is even better at seeing in the dark. \"Ah-ha, young lady; I thought I might have somehow missed one,\" he\nsays in a dark sultry voice. \"I am DRACULA, King of the Vampires, and I have hypnotized everyone here with my vampiric powers of hypnotism,\" he continues.\n\n> Wave wand\nYou can't just run around flinging spells willy-nilly.\n\n\"Indeed, even now, I have hypnotized you, without your even knowing it,\" he says, the model of confidence. \"Although... no, I haven't, have I. I can't imagine what power you have to resist me... but I intend to find out!\" With that he lunges towards you in a blur and bites you on the wrist, and starts sucking your blood!\n\n> 3\nYou protest vehemently, but Dracula will not be dissuaded by your protestations. He continues to greedily suck down your delicious half-unicorn blood.\n\nDracula suddenly stops. He can't be full of your blood already, can he? You don't even feel faint. He steps away from you, clutching his head, and starts to moan which crescendos into a howl.\n\n> You examine Dracula\nHe's a tall, dark, striking figure in a cape. Under the moonlight,\nhis pale skin sparkles faintly. Even from here, you can see his pointed fangs glistening. This must be none other than Dracula, King of the Vampires.\n\n\"NOOOOoooooo...\" he howls, for seemingly forever. Eventually he composes himself. \"Your blood, your delicious half-unicorn blood...\nit has made me see the error of my ways! Oh, the evil I have committed...\" He begins to moan again, interminably. He finally\nspits out, \"I must atone for my many sins. Your friends are free to go; you need only kiss them to release them from their paralysis.\"\nWith that, he transmogrifies into a giant bat and flies away into the night.\n\nWell. It seems you have quite a lot of kissing ahead of you. Your only decision is this: who to start with?"
    },
    {
        "text": "[Themes: Adaptation, ocean, adaptation, male protagonist, cannibalism, ships, literary, nautical, dog, Antarctica, sailing, Edgar Allan Poe]\n\n]  Secret Compartment\n\n\n\nYou are in a dark secret compartment hidden in a ship that you are stowing away in.\n\n[Author's Note: A Real Novel by Edgar Allan Poe.]"
    },
    {
        "text": "[Themes: Adaptation, cannibalism, ocean, ships, adaptation, Edgar Allan Poe, nautical, dog]\n\n> About yourself\nYou are Arthur Gordon Pym of Nantucket.\n\n> You check your inventory\nYou are carrying:\na ham\n\n> You examine the ham\nYou remember this ham being delicious.\n\nYou hear the sounds of a bloody mutiny!\n\n> Wait\nTime passes.\n\nHey, your dog is in here!\n\n> You look at the dog\nYour faithful dog is on this boat with you, somehow.\n\nYou are going nuts with hunger!\n\n> You eat the ham\nThe ham is incredibly disgusting! You eat it regardless!"
    },
    {
        "text": "[Themes: Adaptation, nautical, literary]\n\n> Look around\nYou are in a dark secret compartment hidden in a ship that you are stowing away on.\n\nYou can see your dog here.\n\n> You ask the dog about the dog\nThere is no reply.\n\nYour friend shows up and pulls you out of the secret compartment.\n\nOnboard The Ship (Mutiny)\nYou are on the ship, which has been mutinized. Your friend is here.\n\n> You examine friend\nWhoops! Pretty soon a storm kicks up and shipwrecks all y'all!\n\nOnboard The Ship (Wreck)\nEveryone is super hungry. There is a hole that leads down to the food.\n\nYou can see your friend, your dog and a half-Indian here."
    },
    {
        "text": "[Themes: Adaptation, ships, cannibalism, Antarctica, dog, male protagonist, ocean]\n\n> Go down\nYou are only strong enough to dive down in the hole and not retrieve anything. Oh, how sad.\n\nBut you need to eat something! Or someone???\n\n> You eat yourself\nYou're plainly inedible.\n\n> You ask Friend,  to go downward\nThe friend has better things to do.\n\nYou are so hungry. It's insane.\n\n> You examine the indian\nI'm pretty sure this guy is half-Indian. I don't remember his name.\n\n> You look at the friend\nYour best friend helped you stow away on this boat and also brought your dog along without telling you.\n\nYou are so hungry.\n\n> You eat the dog\nMaybe you eat the dog at this point, or maybe the dog dies some other way. I don't remember. We'll say you eat the dog.\n\nBut you're still hungry! Hungry enough to eat a fellow human.\n\nYou are so hungry. Actually it's kind of ridiculous that you haven't starved to death yet."
    },
    {
        "text": "[Themes: Adaptation, Edgar Allan Poe, nautical, ships, adaptation]\n\n> You look around\nOnboard The Ship (Wreck)\nEveryone is super hungry. There is a hole that leads down to the food.\n\nYou can see your friend and a half-Indian here.\n\n> Go east\nIt is impossible to go anywhere, because it's just ocean in all directions. Maybe also sharks?\n\n> You eat friend\nThe time has come to eat your friend. You drew straws earlier so you know that it's your friend who gets to get eaten.\n\nYou kill your friend and then you eat your friend's body. We shall pass over this moment without dwelling on how grisly a moment it is.\npass over this moment without dwelling on how grisly a moment it is.It is incredibly grisly. This is probably the worst situation that can happen, for a guy to consume another guy as food, even under desperate shipwreck circumstances like these. Your actions are unavoidable and yet unforgiveable. And so gross. So grisly.\n\nOkay, I'm done. You're probably strong enough to go down into that hole now."
    },
    {
        "text": "[Themes: Adaptation, ocean, sailing, male protagonist, literary, cannibalism, Edgar Allan Poe, adaptation]\n\n> Go downward\nWhen you dive into the hole you are able to pull up some pickles!\n\nYou are so hungry, you could eat... your friend.\n\n> You look at the pickles\nMaybe they were cucumbers, up until the shipwreck. Eh? Eh???\n\n> You eat the pickles\nYou and the half-Indian eat the pickles and laugh heartily about how delicious they are. Delightful!"
    },
    {
        "text": "[Themes: Adaptation, ships, literary, cannibalism, Antarctica, adaptation, sailing, Edgar Allan Poe]\n\n> Go downwards\nWhen you dive into the hole you are able to pull up some pickles!\n\n> You ask the indian about himself\nYou can only do that to something animate.\n\n> Inventory\nYou are carrying:\na pickles"
    },
    {
        "text": "> Go downwards\nWhen you dive into the hole you are able to pull up some pickles!\n\nHey there's a ship coming this way!\n\n> You look at the ship\nActually this ship is covered in corpses! Everyone on this ship died, and now their bodies are just waving around in the breeze while they putrefy. Grisly.\n\nI don't remember whether this ship shows up before or after you find the pickles. Actually, I'm not totally sure they were pickles. I'm writing all of this from memory, and it was like a month or two ago when I listened to that audiobook.\n\n> You examine the bodies\nThis ship is covered in corpses! Everyone on this ship died, and now their bodies are just waving around in the breeze while they putrefy. Grisly.\n\n> You take bodies\nThat's hardly portable."
    },
    {
        "text": "> Look around\nOnboard The Ship (Wreck)\nEveryone is super hungry. There is a hole that leads down to the food.\n\nYou can see a half-Indian here.\n\n> Go north\nIt is impossible to go anywhere, because it's just ocean in all directions. Maybe also sharks?\n\nWell eventually you get rescued by this other ship and they take you to this weird island in Antarctica.\n\nI don't know if it's called \"Antarctica\" in the book. It's supposed to be in the area of the south pole, though.\n\nThis is an island populated by black people! But they aren't African people. They are literally black. It's totally possible that they function as a metaphor for African people, of course. I think most 21st-century readers are going to go with a race-centric reading, although there have been other interpretations.\n\nThe chief of the whatever-they're-called wants you to follow him to the west.\n\nYou can see a half-Indian, an egg, a polar bear corpse, a weird river and a chief here.\n\n> You take all\nhalf-Indian: Taken.\negg: Taken.\npolar bear corpse: It is too heavy to pick up.\nweird river: Taking the river would make about as much sense as anything else, but I'm not gonna let you.\n\n> You look at the bear\nThere are gigantic polar bears here, and one of them died, and this is its body. The black people are terrified even of its corpse, for whatever reason! It may be worth mentioning that this polar bear, like the mundane, nonfictional polar bears of the Arctic, is white.\n\n> You examine the river\nThe water of this island has veins? I don't know. The description in the book goes into a lot of detail, but totally fails to convey any coherent image. I would reproduce that description here but I promised myself I wouldn't look at the text of the book while writing this game\u2014and I, Edgar Allan Poe, always keep my promises.\n\n> You look at the egg\nThe egg is very white! The black people are terrified of it.\n\n> You go west\nCanyon (Ambush)\nThe chief and his retinue lead you white guys (and the one half-Indian guy) to a canyon. And then there's an ambush! The natives totally get the drop on you! And you and the half-Indian are separated from the others! Or the others all die maybe. And you end up in a cave!"
    },
    {
        "text": "[Themes: Adaptation, Edgar Allan Poe, literary, ships, sailing]\n\n> Look around\nOh whoops! Like I was saying, you end up in a cave.\n\nThis cave extends in various directions.\n\nYou can see a half-Indian here.\n\n> You look at what you're carrying with you\nYou are carrying:\nan egg\na pickles"
    },
    {
        "text": "[Themes: Adaptation, male protagonist, adaptation, Antarctica, dog, Edgar Allan Poe, ocean]\n\n> Go downward\nThe half-Indian guy follows you. As you walk through the cave, you notice that its passages take the form of a character of the ancient Ethiopian alphabet, although this surely is a coincidence.\n\nYou end up in another cave.\n\nThis cave extends in various directions.\n\nYou can see a half-Indian here.\n\n> Go north\nThe half-Indian guy follows you. This cave is also shaped like another Ethiopian letter. How odd!\n\nYou end up in a third cave.\n\nThis cave extends in various directions.\n\nYou can see a half-Indian here.\n\n> You go to the east\nThe half-Indian guy follows you. Another Ethiopian letter. Still, three coincidences in a row doesn't mean anything.\nAnyway you climb out of the cave! You are pursued by the natives! You take one of them captive and escape on one of their canoes! You paddle out into mysterious mist!\n\nThe canoe floats through the white mist.\n\nYou can see a half-Indian and a captive here.\n\nYou feel uneasy.\n\n> You examine the mist\nIt's all over the place. But it's not cold, even though you're supposedly near the south pole.\n\n> You examine captive\nHe is incredibly terrified of how white everything is out here. Around now you find out that even his teeth are black.\n\nA white bird flies past, shrieking TEKELI-LI\n\n> You examine the bird\nThey are freaky birds.\n\nMore birds! TEKELI-LI TEKELI-LI\n\n> You show the egg to the bird\nYou can only do that to something animate.\n\n> You ask the captive about the bird\nThere is no reply.\n\nThe canoe enters a whirlpool!\n\n> Wait\nTime passes.\n\nYou are still going down the whirlpool!\n\n> You jump\nYou jump on the spot.\n\nThere's a white man in the center of the whirlpool!\n\n> You give the captive to the white man\n(first taking the captive)\nThe white man doesn't seem interested.\n\nNow you're right up in on the white man!\n\nHe is standing in the middle of the whirlpool. He is huge. He has a beard. He is totally white. He is beckoning you.\nbeard. He is totally white. He is beckoning you.TEKELI-LI\nbeard. He is totally white. He is beckoning you.TEKELI-LISo, at this point in the book, I (Edgar Allan Poe) explain that you (Arthur Gordon Pym) died before you could write down what happened next. You apparently survived your encounter with the white man, because you were around to write everything else in the story and then ask me to publish it under my own name, but obviously you should have died at that part of the story, so instead you died while writing it down.\n\nThe story closes with this fantastic fake Bible quote, and while it was very important for me to not read any of the original story while writing this groundbreaking interactive version, I do want to make sure I reproduce this fake Bible quote correctly, so I'm going to break my rule and go look at the original version:\n\"I have graven it within the hills, and my vengeance upon the dust within the rock.\""
    },
    {
        "text": "[Themes: Science Fiction]\n\nTimes are hard on Io. The bright and lively mining settlement you grew up surrounded by has faded and withered under the rule of the new Commander. Although life expectancy in the aluminium mines has never been more than a few months, the happy-go-lucky acceptance of this fact you used to know among the mining folk is gone. The stream of arrivals seems to be drying up, and huge parts of the settlement lie in ruins, dwelt in only by ghosts.\n\nIt is at times like these that the accusing finger of the people inevitably turns to point at taxation, and the new taxes levied by Commander Brutus attract that finger like a lump of ore attracts an Ionian. It's hard to pin the blame for the decline directly on taxation, but since everyone hates the new Commander, it seems to be helping.\n\nOr at least, you thought it was. It was a source of hope - now you have an enemy in the Commander, a real, tangible adversary, whose defeat would bring back happiness and joy to the colony. You would give a heroic sendoff to the people's representative, who would venture bravely into the palace and seek out Brutus. You would wait pensively, hardly daring to hope, until the representative emerged with the news - the Commander had capitulated! Joy would be restored!\n\nBut you'd never counted on the bastards electing you.\n\nAn entry in SPEED-IF 2001\nCopyright Adam Biltcliffe 2001\n\nTown Square, Io Mining Colony Three\nJupiter looms above you, huge and ominous, lord of planets, driving home the magnitude of your task. To the north is the great Palace of the Chihuahua family, old and encrusted with spires and ornamentation, whence Commander Brutus, last of the Chihuahua, rules the colony with an iron hand. To the west is the Guildhall of the Miners, filled with those you thought your remaining friends, those who just ejected you into the square to carry forth the torch of hope for the whole of your world.\n\n> About yourself\nAs good-looking as ever.\n\n> Go west\nYou can't go back in there now. You have been given a task, and you must fulfil it.\n\n> You go to the north\nHeavy-hearted, you climb the steps up the the palace doors, which swing open at your approach. So deep is your despondency that you barely notice until you are inside and the doors swing silently closed again with an air of greatest malevolence.\n\nYou've never been inside the palace before, but strangely, instead of the sickening displays of wealth and shamelessness you were expecting, the abandoned air is even more prevalent here. Your footsteps and your voice echo in the empty hallway. The throne room is visible through an archway to the north.\n\n> Go north\nThe throne room might once have been opulent, but like the rest of the palace, it is hung with sadness.\n\nCommander Brutus' great throne sits in the centre of the room.\n\n> You examine the throne\nA massive yet unadorned throne, constructed out of great blocks of aluminium. From here, the Commander rules over all of Io.\n\n> You sit on the throne\nAs you touch the throne, hidden motors begin to whir. You leap back in surprise as the giant seat of power slides out of sight mysteriously, revealing a vertical tunnel leading downwards."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You go downward\nThough no-one is in sight, your ears are racked by noises of industry such as you never thought you'd hear on Io again. Giant machinery roars in the distance from the passages leading north and east.\n\n> You go to the east\nThe roar of the giant treadmills assails your ears as you look around this huge chamber. While the giant wheels spin in the darkness, you can make out some kind of control panel nearby. A passage leads back to the west.\n\n> You look at the panel\nThis aluminium panel sports a bewildering array of levers and buttons.\n\n> You pull the lever\nAs you touch the panel, a hideous groan emanates from the giant treadmills. Gloomy shapes move through the darkness, striking each other in showers of sparks. There is a long, drawn-out squeal, a few confused noises from the creatures in the treadmills, and then utter silence.\n\nThe treadmills have stopped.\n\n> You press the button\nThe control panel is utterly inert."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThe giant treadmills loom silently and motionlessly in the darkness. A passage to the west beckons.\n\n> Go west\nThe silence is eerie. Passages lead north and east.\n\n> Go north\nYou head down the passage and emerge into a huge open chamber. Suddenly, hidden generators whine and the room is flooded with light again, illuminating the figure of Commander Brutus towering above you.\n\n\"An intruder!\" he cackles. \"But how very perfectly timed! You shall be the first to witness my great triumph! Revel in this honour, for not much life remains to you in which to do so!\"\n\nBrutus paces around in a circle atop the dais. \"They never suspected, the fools! They thought that since I was the youngest, I was expendable! They sent me into the aluminium mines to die with all the commoners, to show that the great Chihuahua family was not above the humble day-to-day life-and-death struggle of the common miner. They thought they would never see me again! But HOW WRONG THEY WERE!\"\n\nBrutus pauses. One thing is explained at least; the aluminium fumes have evidently destroyed his brain. He draws himself up for another tirade.\n\n\"They thought I was the cruel ruler!\" he sneers. \"They thought I was just out for money! They never suspected that one day I would RULE THE UNIVERSE! I, with the aid of my terrible army of robot croutons, shall rise up and crush all the puny ants who oppose me beneath my aluminium toecaps!\"\n\nAs Brutus falls silent, you sense movement, and look down to see the tide of croutonic metal figures advancing upon you. Brutus leaps down from the dais and is lost among their number.\n\nThe croutons swarm towards you.\n\n> You look at the croutons\nAn army of metallic croutons advances upon you, destruction in their eyes and in their aluminium hearts.\n\nThe croutons are drawing closer.\n\n> You eat the croutons\n(first taking the robot crouton army)\nThe robot army advances implacably.\n\nThe robot crouton army is almost upon you!\n\n> Attack croutons\nYou could never hope to destroy even one.\n\nThe robot crouton army is almost upon you!\n\n> Go south\nThe silence is eerie. Passages lead north and east.\n\nThe robot croutons pursue you with murder in their little crouton eyes.\n\n> You take the crouton\nThe robot army advances implacably.\n\nThe robot croutons show not the slightest bit of recognition as you are sliced into pieces by their irresistable advance.\n\n> Go east\nAs you flee desperately down the passage towards the power plant, some sixth sense tells you that something is about to happen. You throw yourself into a tiny crevice in the wall of the passage, just as the huge army of yaksters, broken free from the treadmill, come cascading down the tunnel in an almightly horde. Looking back past the stream of rumbling animals, you see the lead croutons stop in their tracks, fear flickering in their previously emotionless eyes just for a fraction of a second before they are crushed to smithereens.\n\nAll is silent. The yaksters are gone, the robots are destroyed. Brutus' body lies in the midst of his robot horde, barely recognisable. The tyrannical insane ruler is dead, prosperity shall reign on Io once more. It is, in fact, a happy ending."
    },
    {
        "text": "[Themes: Prison Drama, based on songs, gender-neutral protagonist, adaptation, prison, escape, mathematics]\n\nStandard interpreter 1.0 (6b) / Library serial number 080126\nStandard Rules version 2/090402 by Graham Nelson\nCommon Game Code by Eggerich Von Eggermond\nBasic Screen Effects version 7 by Emily Short\n\nYou are in a prison that has 32767 cells. The Guv' has said that a new policy has been brought in by the Gov'. Due to prison crowding they're offering every prisoner the chance to be freed.\n\nIn order to decide who gets set free, The Guv' will ask each prisoner which cell they choose. The prisoner will then be escorted to that cell where they will spend the night.\n\nDuring the night, a piece of card will be attached to each cell door on which will be written the word \"keep\" on one side and the word \"release\" on the other. The piece of card will start off with the word \"keep\" visible.\n\nThe Guv' will turn around every piece of card so that the word \"release\" is now visible. Afterwards every second piece of card will be turned then every third and so on until the last card has been turned.\n\n\"I don't make the rules,\" he says, \"I only go to ridiculous lengths to enforce them.\"\n\nIf at dawn when all the cards have been turned, the word \"keep\" is visible on a cell door, its prisoner will be forced to live out the rest of their sentence, but if the word \"release\" is visible on a cell door, its prisoner will be released.\n\n\"Alright, you little oik,\" says The Guv',\"which cell is it going to be?\"\n\n[Author's Note: You have been imprisoned but your crime can't have been that bad, as they're giving you a chance to escape- if you're smart enough! A one move parole board for Apollo 18+20: The IF Tribute Album.]"
    },
    {
        "text": "[Themes: Prison Drama, prison, escape]\n\n> 1\nPicking a number at random, you tell The Guv' that you choose cell number \"one\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a fiddle is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> 2\nPicking a number at random, you tell The Guv' that you choose cell number \"two\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nFor saying the first thing that came to mind, you are brought out into the yard just in time to see dozens of your fellow inmates freed. They've even given some of them instruments!\n\n> 4\nPicking a number at random, you tell The Guv' that you choose cell number \"four\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a recorder is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> 9\nPicking a number at random, you tell The Guv' that you choose cell number \"nine\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a sousaphone is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> 16\nPicking a number at random, you tell The Guv' that you choose cell number \"sixteen\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a banjo is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> 25\nPicking a number at random, you tell The Guv' that you choose cell number \"twenty-five\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a keyboard is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> 32761\nPicking a number at random, you tell The Guv' that you choose cell number \"thirty-two thousand, seven hundred and sixty-one\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a accordion is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> You wait for a while\nPicking a number at random, you tell The Guv' that you choose cell number \"eighteen thousand, seven hundred and twenty-three\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nFor saying the first thing that came to mind, you are brought out into the yard just in time to see dozens of your fellow inmates freed. They've even given some of them instruments!\n\n> One\nYou tell The Guv' that you choose cell number \"one\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a bass is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants.\n\n> One\nYou tell The Guv' that you choose cell number \"one\" to spend the night in.\n\nYou are then escorted to that cell where spend a restless night, worrying over whether your maths was right. Early next morning, The Guv' comes in and takes ahold of your hand. You get an eerie sensation that all your troubles are just beginning. You are then blindfolded and led away from the cell.\n\nWhen the blindfold is removed, you blink as you see the light of day. No sooner do you see the light, than a trombone is thrust into your grubby fingertips.\n\n\"Alright,\" says The Guv', \"what we didn't tell you is that you'll have to spend out the rest of your sentence as an unattributed spare band member for They Might Be Giants."
    },
    {
        "text": "Type ABOUT for information about this ridiculous thing.\n\nIt is pitch black. The only sound is an electrical hum.\n\n[Author's Note: Darkness. It is pitch black. The only sound is an electrical hum.]"
    },
    {
        "text": "> You listen\nWhat a curious sound. Maddeningly amplified by the walls of this chamber. You can hardly stand it.\n\n> Inventory\nin between. I went with the former restriction, just for fun.\n\nNote: fun not guaranteed. Offer not valid in Texas.\n\n> Nothing else\nYou will need to be more specific. Try typing LOOK to get a description of your surroundings.\n\nTo stop these messages entirely, type NOVICE OFF.\n\n> You turn on the lights\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>TURN ON\n\nType UNDO if this isn't what you wanted to do, or CORRECT OFF to stop automatically correcting commands.\n\n(your mum's shoes)\nThey're not something you can switch.\n\n> You look at nothing else\nYou will need to be more specific. Try typing LOOK to get a description of your surroundings.\n\n> You look\nIt is pitch black. The only sound is an electrical hum.\n\n> You remove the shoes\nNot on your life. You've safely kept these shoes for 27 years and you're not about to let them out of your sight.\n\n> You go east\nYou'll have to get out of the tanning bed first.\n\n> You open bed\nThe humming noise mercifully stops.\n\nTanning Salon (in the tanning bed)\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYour discarded clothing lies in a heap on the floor.\n\n> You open the bed\nThat's already open.\n\n> You look at the clothing\nYour clothes are all wrinkly and yecch.\n\n> You get the clothing\nYou quickly gather up your clothes.\n\n> Wear clothing\nYou feel much more at ease with your wardrobe properly arranged on your person. This even despite its present condition.\n\nHold, what's this in your pocket?\n\n> Wear clothing\nYou're already wearing those!\n\n> You examine pocket\nIn the pockets, you find a genuine 1932 Shiny Time brass harmonica, a pair of carved bone dice, a single chopstick, a small can of liver pat\u00e9, four small smooth stones, and a resin-encased quantity of hare's fur.\n\n> You examine dice\nThey currently display 0 and 0.\n\n> You roll the dice\nYou roll a 1 and a 2.\n\n> You play it\nA very unfortunate sound blares from the harmonica.\n\n> Sing\nYour singing is abominable.\n\n> You examine liver\nYou see nothing special about the small can of liver pat\u00e9.\n\n> You eat the stone\nThat's plainly inedible.\n\n> You eat the liver\nYou eat the small can of liver pat\u00e9. Not bad.\n\n> You go outside\nYou get out of the tanning bed.\n\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYou can see a pair of carved bone dice and a tanning bed (empty) here.\n\n> You exit the bed\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>EXIT\nWrightsville Town Shopping Center\nBleh. Capitalistic excess at its worst. The Video Head shop hawks its degenerate wares to the west; a corporate paint shop sells overpriced colors (colors!) to the south; the tanning salon is north and the food court is east.\n\n> You guess we are a the goat\nYou typed a rather long command and I didn't understand it. It's better to stick to simpler things like TAKE SMALL SMOOTH STONE.\n\n> You get the dice and the bed\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>GET DICE\nYou can't see any such thing."
    },
    {
        "text": "> Look around\nBleh. Capitalistic excess at its worst. The Video Head shop hawks its degenerate wares to the west; a corporate paint shop sells overpriced colors (colors!) to the south; the tanning salon is north and the food court is east.\n\n> Go north\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYou can see a pair of carved bone dice and a tanning bed (empty) here.\n\n> You look at what you're carrying with you\nYou possess:\na resin-encased quantity of hare's fur\nfour small smooth stones\n\n> You get the dice and the bed\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nsome dissheveled clothing\nyour mum's shoes\n\npair of carved bone dice: Taken.\ntanning bed: That's fixed in place.\n\n> Go east\nA dozen garish illuminated signs advertise overcooked and overpriced foods from various stalls. Out of all of them, there's only one place here in which you would be caught dead.\n\nThe familiar golden arches beckon onwards.\n\n> You go to the east\nYou dutifully take your place in line.\n\nMcDonalds (in line)\nThe thoughts of has occured here in days gone by and what will occur in the imminent future fill you with a warm feeling of contentment. This is good.\n\nYou can see a cashier here.\n\n> Cashier\nShe is wearing a T-shirt reading \"I killed my father and all I got was this lousy t-shirt\" and a dull expression.\n\nA woman and three even larger children waddle to the nearest table, bags of food in tow. Disgusting.\n\n> You eat cashier\n(first taking the cashier)\nI don't suppose the cashier would care for that.\n\nA tall, thin man takes his salad and practically sprints to a table in the middle of the dining area. Deplorable.\n\n> Wait\nTime passes.\n\nAt last, your turn has arrived. \"How may I take your order?\"\n\n> No\nThat was a rhetorical question.\n\n> No\nThe cashier has better things to do.\n\n> You order food\n\"That's not on the menu.\" The cashier points above her head.\n\n> You look at the menu\nThe usual. Burgers, happy meals, shakes, salads, sodas...\n\n> You order happy Meal\nYou wait a moment for your order to be prepared, then gleefully take the Happy Meal with you to your usual table in the back of the dining area.\n\nMcDonalds (in the booth)\nThe thoughts of has occured here in days gone by and what will occur in the imminent future fill you with a warm feeling of contentment. This is good.\n\nYou can see a cashier here.\n\n> You go south\nYou'll have to get out of the booth first.\n\n> You check your inventory\nYou possess:\na shake\na pair of carved bone dice\na resin-encased quantity of hare's fur\nfour small smooth stones\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nsome dissheveled clothing\nyour mum's shoes\n\n> Happy Meal\nEnclosed in a delightful chatreuse box.\n\n> You eat happy Meal\n(first placing the shake on the table)\nDelicious.\n\nAs you finish, you are overcome by an extreme feeling of dread. Suddenly, Tiny Tim bursts from the floor, destroying half of the dining area in an explosion of magma and ash. Your hair is nearly singed by a burning chunk of formica flying past your head.\n\n\"LESLIE!\" he screams, pointing at you.\n\n\"Er... yes?\"\n\nMost of the restaurant is a smoking crater. A few upturned tables and chairs are scattered around the perimeter. The roof is now open to the sky, which seems to be turning an unpleasant shade of red. The exit back to the mall has been blocked with what seems to be a stack of bodies.\n\nTiny Tim hovers a foot off the crater floor, his long hair sticking out wildly in all directions. Dust and debris orbits slowly around him.\n\nA fallen brick lies close at hand.\n\n\"LESLIE! I HAVE COME FOR YOU!\"\n\n> You get the brick\nTaken.\n\nA sizable piece of the ceiling falls on the really rather poorly named former singer. He's stunned for a moment.\n\n> You look at the bodies\nThe former McDonalds customers are piled here in front of the exit to the mall. You'll neer be able to move them in time.\n\n> You throw the brick at Tim\nBeing struck by this latest weight proves too much for him to absorb the momentum of. He loses his balance and collapses to the ground in a pile of rubble.\n\nMost of the restaurant is a smoking crater. A few upturned tables and chairs are scattered around the perimeter. The roof is now open to the sky, which seems to be turning an unpleasant shade of red. The exit back to the mall has been blocked with what seems to be a stack of bodies.\n\nA large pile of rubble fills the crater.\n\nYou can also see a brick here.\n\n> You examine the rubble\n(the pile of rubble)\nThe pile of debris that was once a McDonalds reaches nearly to the ceiling.\n\n> You climb the rubble\n(the pile of rubble)\nYou clamber up the side of the pile, nearly tripping as some bricks shift under your foot. At last you reach the top of the pile.\n\nApocalypse (on the pile of rubble)\nMost of the restaurant is a smoking crater. A few upturned tables and chairs are scattered around the perimeter. The roof is now open to the sky, which seems to be turning an unpleasant shade of red. The exit back to the mall has been blocked with what seems to be a stack of bodies.\n\nFrom this vantage point, you notice a bent and twisted girder dangling from the hole in the ceiling.\n\nYou can also see a brick here.\n\n> You look at the girder\nIt lies just out of reach.\n\n> You get it\nIt is too far below you.\n\n> You jump\nYou manage to grab the girder and shimmy your way to freedom.\n\nYou are standing on the very sparsely implemented roof of the shopping center. Vultures are still circling overhead in the quickly darkening sky.\n\nEvery so often, a piece of debris or stream of dust falls from the great gaping hole in the roof.\n\nA large pyramidal skylight stands before you.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You look at the skylight\nA geometric construction of steel and glass.\n\n> You look at the vulture\nA dozen or so vey large birds make lazy loops in the sky.\n\n> You enter the skylight\nHow?\n\n> You check your inventory\nYou possess:\na pair of carved bone dice\na resin-encased quantity of hare's fur\nfour small smooth stones\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nsome dissheveled clothing\nyour mum's shoes\n\n> You break skylight\nThat's far too dangerous. Perhaps if you used another implement...\n\n> You throw the stone at skylight\nYou can't see any such thing.\n\nAn impressive spray of glass falls to the floor below as the small smooth stone shatters the pyramidal skylight."
    },
    {
        "text": "> You look at your surroundings\nYou are standing on the very sparsely implemented roof of the shopping center. Vultures are still circling overhead in the quickly darkening sky.\n\nEvery so often, a piece of debris or stream of dust falls from the great gaping hole in the roof.\n\nA large pyramidal skylight stands before you.\n\n> You examine the skylight\nA geometric construction of steel and glass. Rather more steel than glass, at the moment.\n\n> You jump through the skylight\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>JUMP\nYou jump on the spot, fruitlessly.\n\n> You check your inventory\nYou possess:\na pair of carved bone dice\na resin-encased quantity of hare's fur\nthree small smooth stones\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nsome dissheveled clothing\nyour mum's shoes\n\n> You throw the stone at the skylight\nFutile.\n\n> You remove the clothing\nYou take off the dissheveled clothing.\n\n> About yourself\nTanned bronze. Ignoring for a moment what you're wearing, a fine physical specimen.\n\n> You give the can to the vulture\nYou can only do that to something animate.\n\n> You get the vulture\nThat's hardly portable.\n\n> Inventory\nYou possess:\na pair of carved bone dice\na resin-encased quantity of hare's fur\nthree small smooth stones\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nsome dissheveled clothing\nYou are wearing:\nyour mum's shoes\nnothing else\n\n> You feed the vultures\n(to yourself)\n(first taking the birds)\nThat's hardly portable.\n\n> Forward\nIf you can see an object, you can usually just interact with it directly without worrying about your position. Try a command like EXAMINE SMALL SMOOTH STONE for a closer look at something, or LOOK to show the description of this location again.\n\n> You lie under the skylight\nIf you can see an object, you can usually just interact with it directly without worrying about your position. Try a command like EXAMINE PYRAMIDAL SKYLIGHT for a closer look at something, or LOOK to show the description of this location again.\n\n> You examine the steel\nA geometric construction of steel and glass. Rather more steel than glass, at the moment.\n\n> You hit the can with the chopstick\nI only understood you as far as wanting to hit the small can of liver pat\u00e9.\n\n> You sit on the skylight\nHow?\n\n> Wave can\nYou look ridiculous waving the small can of liver pat\u00e9.\n\n> You look ridiculous\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>LOOK\nRoof\nYou are standing on the very sparsely implemented roof of the shopping center. Vultures are still circling overhead in the quickly darkening sky.\n\nEvery so often, a piece of debris or stream of dust falls from the great gaping hole in the roof.\n\nA large pyramidal skylight stands before you.\n\n> Wave\nYou wave, feeling foolish.\n\n> You take the glass\nThat's fixed in place.\n\n> Break glass\nThat's far too dangerous. Perhaps if you used another implement...\n\n> Inventory\nYou possess:\na pair of carved bone dice\na resin-encased quantity of hare's fur\nthree small smooth stones\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nsome dissheveled clothing\nYou are wearing:\nyour mum's shoes\nnothing else\n\n> You remove the shoes\nNot on your life. You've safely kept these shoes for 27 years and you're not about to let them out of your sight.\n\n> You roll the dice\n(first taking the pair of carved bone dice)\nYou roll a 1 and a 3.\n\n> You roll the dice\n(first taking the pair of carved bone dice)\nYou roll a 1 and a 2.\n\n> You roll the dice\n(first taking the pair of carved bone dice)\nYou roll a 2 and a 3.\n\n> You get dice\nTaken.\n\n> Bother\nQuite.\n\n> You throw yourself at skylight\n(first taking yourself)\nYou are always self-possessed.\n\n> You look at the clothes\nYour clothes are all wrinkly and yecch.\n\n> You throw the clothes\nDropped.\n\n> You tie the clothes together\nAfter a few minutes' work, you've created a decently long rope out of your own clothing.\n\n> You rub LIVER on the clothes\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>RUB LIVER\nYou achieve nothing by this.\n\n> You look at rope\nIt was once, an eternity ago, a quite fashionable wardrobe. Has it really come to this? Making fine clothing into arts and crafts as the world crumbles around you?\n\n> You tie the rope to the skylight\nYou fix one end to the steel frame of the skylight and let the other end dangle down into the shopping center.\n\n> You climb the rope\nYou rappel off the steel frame of the skylight and make about three handfulls worth of progress down into the mall before some piece of clothing gives way. You never did earn your knot-tying merit badge.\nSome time later, you come to...\n\nA cold wind blows through the ruins of the shopping center. Shards of glass, fallen bricks, and bodies litter the ground. The power is out, and you can barely see anything in the twilight. Every so often, an animal howls in the distance. Something seems disturbingly familiar about the smell of death and decay here.\n\nThe only way that has not been ruined or blocked by debris is the Video Head shop, to the west.\n\nYou can see a small smooth stone here.\n\n> You get the stone\nTaken.\n\n> You go west\nThe electricity suddenly flickers on as you enter.\n\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nA single, solitary copy of Doom III lies dejectedly in the back corner of the store.\n\nA pale man, reigning over all he sees from his perch behind the counter, sneers at your presence in his fine establishment.\n\nWait. You realize, with dawning horror, that standing behind the counter is in fact not the Video Head clerk at all, but your evil twin!\n\n\"Leslie, dear, what ARE you wearing?\"\n\n> Smell twin\nYou smell nothing unexpected.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You look at the Doom\nIt's a cardboard box.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> Punch twin\nDeftly parried by the e-peen hammer.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You open the box\nYou open the copy of Doom III, revealing a fine pewter space marine, some depleted uranium dog tags, an Official Doom III Strategy guide, an Unofficial Doom III Strategy Guide, a jewel case, an order form, and an ID code.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You get all from the bo\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>GET ALL\ncopy of Doom III: Taken.\ne-peen hammer: That seems to belong to your evil twin.\nfine pewter space marine: Taken.\ndepleted uranium dog tags: Taken.\nOfficial Doom III Strategy guide: Taken.\nUnofficial Doom III Strategy Guide: Taken.\njewel case: Taken.\nDoom III DVD: The jewel case isn't open.\nMaking of Doom III Featurette DVD: The jewel case isn't open.\norder form: Taken.\nID code: Taken.\n\nSam chortles in glee.\n\n> You give the box to Sam\nYou can't bring yourself to perform such a charitable act to your evil twin. Perhaps in a less direct manner...\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You ask Sam about her feelings\nThere is no reply.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You put the box on the counter\n\"How utterly boring. Can't you find something more interesting?\" Sam swats the copy of Doom III off of the counter.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You look at Sam\nYes, it's none other than your evil twin Sam, menacing with an e-peen hammer! How monstrous, the duplicity! How devious, the deception! How terrible, the fashion sense!\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> Kiss sam\nKeep your mind on the game.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You play harmonica\nA very unfortunate sound blares from the harmonica.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> Hammer\nYou see nothing special about the e-peen hammer.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You check your inventory\nYou possess:\nan ID code\nan order form\na jewel case (closed)\na Doom III DVD\na Making of Doom III Featurette DVD\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\nsome depleted uranium dog tags\na fine pewter space marine\nfour small smooth stones\na pair of carved bone dice\na resin-encased quantity of hare's fur\na small can of liver pat\u00e9\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You look at the form\n\"Register your game now!\" Somehow it doesn't seem like a very urgent task, at the moment.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> Open case\nYou open the jewel case.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You examine the code\n\"To access the special unique Collector's Edition-only weapon in single- and multi-player, log on with this code on the following website: ...\" You eyes are already starting to glaze over.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You roll the dice\nYou roll a 1 and a 5.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> Official Guide\nYou see nothing special about the Official Doom III Strategy guide.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> Unofficial\nYou see nothing special about the Unofficial Doom III Strategy Guide.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You look at the case\nIn the jewel case are a Doom III DVD and a Making of Doom III Featurette DVD.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You give the dice to the twin\n(first taking the pair of carved bone dice)\nYou can't bring yourself to perform such a charitable act to your evil twin. Perhaps in a less direct manner...\n\nSam does that eyeball thing that you hate. So aggravating!"
    },
    {
        "text": "> You describe your surroundings\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nYour evil twin leers at you from behind the counter.\n\nYou can also see a copy of Doom III (empty) and a counter here.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You examine Doom III DVD\nWhich do you mean, the Doom III DVD or the Making of Doom III Featurette DVD?\n\n> You show the dice to the twin\nYour evil twin is unimpressed.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You put the dice on the counter\n\"How utterly boring. Can't you find something more interesting?\" Sam swats the pair of carved bone dice off of the counter.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You throw dice at the twin\n(first taking the pair of carved bone dice)\nWielding the hammer like a tennis racket, Sam bats the pair of carved bone dice harmlessly into the air.\n\nSam chortles in glee.\n\n> You put all on the counter\npair of carved bone dice: \"How utterly boring. Can't you find something more interesting?\" Sam swats the pair of carved bone dice off of the counter.\nID code: \"How utterly boring. Can't you find something more interesting?\" Sam swats the ID code off of the counter.\norder form: \"How utterly boring. Can't you find something more interesting?\" Sam swats the order form off of the counter.\njewel case: \"How utterly boring. Can't you find something more interesting?\" Sam swats the jewel case off of the counter.\nUnofficial Doom III Strategy Guide: \"How utterly boring. Can't you find something more interesting?\" Sam swats the Unofficial Doom III Strategy Guide off of the counter.\nOfficial Doom III Strategy guide: \"How utterly boring. Can't you find something more interesting?\" Sam swats the Official Doom III Strategy guide off of the counter.\ndepleted uranium dog tags: \"I do so love dress-up!\" Your evil twin takes the depleted uranium dog tags and tries them on, practically giddy with excitement.\nfine pewter space marine: \"How utterly boring. Can't you find something more interesting?\" Sam swats the fine pewter space marine off of the counter.\nsmall smooth stone: \"How utterly boring. Can't you find something more interesting?\" Sam swats the small smooth stone off of the counter. resin-encased quantity of hare's fur: \"How utterly boring. Can't you find something more interesting?\" Sam swats the resin-encased quantity of hare's fur off of the counter.\nsmall smooth stone: \"How utterly boring. Can't you find something more interesting?\" Sam swats the small smooth stone off of the counter. small smooth stone: \"How utterly boring. Can't you find something more interesting?\" Sam swats the small smooth stone off of the counter. small smooth stone: \"How utterly boring. Can't you find something more interesting?\" Sam swats the small smooth stone off of the counter. small can of liver pat\u00e9: Sam promptly wolfs down the small can of liver pat\u00e9, completely unselfconsciously. It's really a disgusting sight. single chopstick: \"How utterly boring. Can't you find something more interesting?\" Sam swats the single chopstick off of the counter. genuine 1932 Shiny Time brass harmonica: \"How utterly boring. Can't you find something more interesting?\" Sam swats the genuine 1932 Shiny Time brass harmonica off of the counter.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You examine tags\nSupposedly stamped from real depleted uranium. The number on the dog tags is ALK-1360053.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You take all\ngenuine 1932 Shiny Time brass harmonica: Taken.\nsingle chopstick: Taken.\nsmall smooth stone: Taken.\nsmall smooth stone: Taken.\nsmall smooth stone: Taken.\nresin-encased quantity of hare's fur: Taken.\nsmall smooth stone: Taken.\nfine pewter space marine: Taken.\nOfficial Doom III Strategy guide: Taken.\nUnofficial Doom III Strategy Guide: Taken.\njewel case: Taken.\norder form: Taken.\nID code: Taken.\npair of carved bone dice: Taken.\ncopy of Doom III: Taken.\nDoom III DVD: Taken.\nMaking of Doom III Featurette DVD: Taken.\ne-peen hammer: That seems to belong to your evil twin.\n\nSam chortles in glee.\n\n> Examine sam\nYes, it's none other than your evil twin Sam, menacing with an e-peen hammer! How monstrous, the duplicity! How devious, the deception! How terrible, the fashion sense!\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You examine tags\nSupposedly stamped from real depleted uranium. The number on the dog tags is ALK-1360053.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You sit on the counter\nThat's not something you can sit down on.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> Play\nWhat do you want to play?\n\n> You examine Making\nYou see nothing special about the Making of Doom III Featurette DVD.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You examine the twin\nYes, it's none other than your evil twin Sam, menacing with an e-peen hammer! How monstrous, the duplicity! How devious, the deception! How terrible, the fashion sense!\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You examine the marine\nIt's a toy soldier. How quaint.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You kill twin\nDeftly parried by the e-peen hammer.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You play the the copy of Doom\nNot possible.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You play Doom III DVD\nWhich do you mean, the Making of Doom III Featurette DVD or the Doom III DVD?\n\n> Both\nSorry, you can only have one item here. Which exactly?\n\n> Play making of\nNot possible.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You throw the stone at the twin\nWielding the hammer like a tennis racket, Sam bats the small smooth stone harmlessly into the air.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You look at the game\nWhich do you mean, the Doom III DVD or the copy of Doom III?\n\n> You look at the game dvd\nYou see nothing special about the Doom III DVD.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You play it\nNot possible.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> Play game dvd\nNot possible.\n\nSam chortles in glee."
    },
    {
        "text": "> You look around\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nYour evil twin leers at you from behind the counter.\n\nYou can also see a counter here.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You check what you're carrying\nYou possess:\na Making of Doom III Featurette DVD\na Doom III DVD\na copy of Doom III (open but empty)\na pair of carved bone dice\nan ID code\nan order form\na jewel case (open but empty)\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\na fine pewter space marine\nfour small smooth stones\na resin-encased quantity of hare's fur\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\nSam chortles in glee.\n\n> You throw dice at the twin\nWielding the hammer like a tennis racket, Sam bats the pair of carved bone dice harmlessly into the air.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You look at the marine\nIt's a toy soldier. How quaint.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You ask the twin about the store\nThere is no reply.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You get the tags\nThose seem to belong to your evil twin.\n\nSam chortles in glee.\n\n> You throw the code at the twin\nWielding the hammer like a tennis racket, Sam bats the ID code harmlessly into the air.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You throw the chopstick at twin\nWielding the hammer like a tennis racket, Sam bats the single chopstick harmlessly into the air.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You get all\ne-peen hammer: That seems to belong to your evil twin.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> Go east\nA cold wind blows through the ruins of the shopping center. Shards of glass, fallen bricks, and bodies litter the ground. The power is out, and you can barely see anything in the twilight. Every so often, an animal howls in the distance. Something seems disturbingly familiar about the smell of death and decay here.\n\nThe only way that has not been ruined or blocked by debris is the Video Head shop, to the west.\n\n> Smell\nAh, yes. The old familiar scent of evil. You can almost remember -- what IS that?\n\n> You look at the bodies\nShopped til they dropped.\n\n> You check what you're carrying\nYou possess:\na Making of Doom III Featurette DVD\na Doom III DVD\na copy of Doom III (open but empty)\na pair of carved bone dice\nan ID code\nan order form\na jewel case (open but empty)\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\na fine pewter space marine\nfour small smooth stones\na resin-encased quantity of hare's fur\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\n> You search the bodies\nYou hear nothing unexpected.\n\nYou find nothing of interest.\n\n> Go west\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nYour evil twin leers at you from behind the counter.\n\nYou can also see a counter here.\n\nSam chortles in glee.\n\n> You examine the counter\nAn unassuming gray crescent extending down half the length of the store.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You look at the counter\nAn unassuming gray crescent extending down half the length of the store.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You look behind the counter\nWhat do you know. They are indeed fine Italian leather imports.\n\n\"Whoa, keep your eyes on the prize!\" The pale man directs your gaze upwards.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You show the fur to the twin\nYour evil twin is unimpressed.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You look up\nYou see nothing unexpected in that direction.\n\nSam chortles in glee.\n\n> You climb the counter\nI don't think much is to be achieved by that.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You throw Making at the twin\nWielding the hammer like a tennis racket, Sam bats the Making of Doom III Featurette DVD harmlessly into the air.\n\nSam chortles in glee.\n\n> You check what you're carrying\nYou possess:\na Making of Doom III Featurette DVD\na Doom III DVD\na copy of Doom III (open but empty)\na pair of carved bone dice\nan ID code\nan order form\na jewel case (open but empty)\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\na fine pewter space marine\nfour small smooth stones\na resin-encased quantity of hare's fur\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You talk to Sam\nIf you're trying to talk to someone, you might try ASK TWIN ABOUT something, the traditional conversation syntax. Type ABOUT to see if this story offers more detailed instructions for conversation.\n\n> You read unofficial\nYou see nothing special about the Unofficial Doom III Strategy Guide.\n\nSam chortles in glee.\n\n> You ask Sam about the armageddon\nThere is no reply.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You ask the TWIN about the play\nThere is no reply.\n\n\"You know what, Leslie, I think we've been too hard on each other over the years. How about a truce?\" Sam pauses for a second, but before you can respond: \"Well, that was fun! What do you want to play now?\"\n\n> You examinthe e-peen hammer\nYou see nothing special about the e-peen hammer.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You ask Sam about Tiny Tim\nThere is no reply.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You ask the TWIN about the game\nThere is no reply.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You ask Sam about Sam\nThere is no reply.\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You hit Sam\nDeftly parried by the e-peen hammer.\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You play the game\nWhich do you mean, the Doom III DVD or the copy of Doom III?\n\n> You check your inventory\nYou possess:\na Making of Doom III Featurette DVD\na Doom III DVD\na copy of Doom III (open but empty)\na pair of carved bone dice\nan ID code\nan order form\na jewel case (open but empty)\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\na fine pewter space marine\nfour small smooth stones\na resin-encased quantity of hare's fur\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\nYour twin crushes a fly that had landed on the counter. Now we can add animal cruelty to the list of atrocities comitted.\n\n> You throw Making at Sam\nWielding the hammer like a tennis racket, Sam bats the Making of Doom III Featurette DVD harmlessly into the air.\n\n> You check what you're carrying\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\nYou possess:\na Making of Doom III Featurette DVD\na Doom III DVD\na copy of Doom III (open but empty)\na pair of carved bone dice\nan ID code\nan order form\na jewel case (open but empty)\nan Unofficial Doom III Strategy Guide\nan Official Doom III Strategy guide\na fine pewter space marine\nfour small smooth stones\na resin-encased quantity of hare's fur\na single chopstick\na genuine 1932 Shiny Time brass harmonica\nYou are wearing:\nyour mum's shoes\nnothing else\n\nYour evil twin twirls an imaginary moustache. The fiend!\n\n> You throw the stone at Sam\nWielding the hammer like a tennis racket, Sam bats the small smooth stone harmlessly into the air.\n\nSam chortles in glee.\n\n> You throw game dvd at Sam\nWielding the hammer like a tennis racket, Sam bats the Doom III DVD harmlessly into the air.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You throw the dice at Sam\nWielding the hammer like a tennis racket, Sam bats the pair of carved bone dice harmlessly into the air.\n\nYour evil twin takes a product from one of the shelves and dropkicks it out the door. \"Not that I don't appreciate this fine establishment, but you know what they say: if you've seen one shopping center, you've seen the mall!\" Deplorable.\n\n> You throw the harmonica at Sam\nWielding the hammer like a tennis racket, Sam bats the genuine 1932 Shiny Time brass harmonica harmlessly into the air.\n\nSam does that eyeball thing that you hate. So aggravating!\n\n> You put the shoes on the counter\n(your mum's shoes on the counter)\n(first taking them off)\nDesperate times call for desperate measures. Your evil twin watches intently as you unlace and remove your darling mother's shoes. \"Those... why, those are...\"\n\nYour evil twin takes your mum's shoes and tries them on, practically giddy with excitement.\n\nSam looks absolutely ridiculous wearing the dog tags and mother's favorite shoes. A fact which your pointedly point out. Eyes wide, Sam runs screaming out into the night.\n\nGreat. Now you need a ride home.\n\n> You open bed\nThe humming noise mercifully stops.\n\nTanning Salon (in the tanning bed)\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYour discarded clothing lies in a heap on the floor.\n\n> You exit the bed\nI only understood the first part of that-- trying anyway.\n\nRetrying as:\n>EXIT\n\nType UNDO if this isn't what you wanted to do, or CORRECT OFF to stop automatically correcting commands.\n\nTo stop these messages entirely, type NOVICE OFF.\n\nYou get out of the tanning bed.\n\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYour discarded clothing lies in a heap on the floor.\n\nYou can also see a tanning bed (empty) here.\n\n> Novice off\nNovice mode disabled.\n\n> You take all\ndissheveled clothing: You quickly gather up your clothes.\ngenuine 1932 Shiny Time brass harmonica: Taken.\npair of carved bone dice: Taken.\nsingle chopstick: Taken.\nsmall can of liver pat\u00e9: Taken.\nsmall smooth stone: Taken.\nsmall smooth stone: Taken.\nsmall smooth stone: Taken.\nsmall smooth stone: Taken.\nresin-encased quantity of hare's fur: Taken.\n\n> You get the clothes\nYou feel much more at ease with your wardrobe properly arranged on your person. This even despite its present condition.\n\nHold, what's this in your pocket?\n\nYou already have those.\n\n> Go west\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nA single, solitary copy of Doom III lies dejectedly in the back corner of the store.\n\nA pale man, reigning over all he sees from his perch behind the counter, sneers at your presence in his fine establishment.\n\n> You get Doom III\nThe pale man sneers even harder. \"You think I would let someone like you even touch such an artifact? It's a collector's edition, the super-rare \"Ultraviolent\" release. Only 25 of these were ever produced. Fine pewter space marine, depleted uranium dog tags, official and unofficial strategy guide, and the Making-of featurette, AND an extra weapon you can equip in both single and multiplayer.\"\n\nHe looks you up and down, slowly, exhaustively, as if he was mentally cataloging every atom. \"No. You wouldn't appreciate it.\"\n\n> You look at the man\nTwo eyes; one nose; one mouth; two ears; two arms; two legs; far too much hair. He wears a smart blue button-down shirt and deep red tie, khaki pants and a black belt. You can't see from back here, but you imagine his shoes must be fine Italian leather imports.\nThe presentation is ruined by the cheap name tag sticker over his\nshirt pocket.\n\n> You examine the sticker\nHELLO my name is bOb S.\n\n> Kiss man\nKeep your mind on the game.\n\n> You get the sticker\nThat seems to belong to Bob.\n\n> You look\nRows and rows of vapid entertainment titles fill every square foot of this drab, depressing store. The full extent of the design imperative in decorating this place was apparently \"gray\".\n\nA single, solitary copy of Doom III lies dejectedly in the back corner of the store.\n\nBob, reigning over all he sees from his perch behind the counter, sneers at your presence in his fine establishment.\n\n> You get Doom\nBob looks you up and down, slowly, exhaustively, as if he was mentally cataloging every atom. \"No. You wouldn't appreciate it.\"\n\n> You go east\nBleh. Capitalistic excess at its worst. The Video Head shop hawks its degenerate wares to the west; a corporate paint shop sells overpriced colors (colors!) to the south; the tanning salon is north and the food court is east.\n\n> You go to the north\nThe walls feature a few posters of smiling tanned blonde people walking down streets, along beaches, eating ice cream, etc. The room itself is fairly cold and uninviting. You can get back to the shopping center through the hall to the south, and perhaps that would be for the best.\n\nYou can see a tanning bed (empty) here.\n\n> You enter the bed\nOh, no. You've had quite enough of that. Any longer and you'd develop a crick in your back, and you wouldn't be confortable again all day.\n\n> You close the bed\nYou close the tanning bed.\n\n> You look at the shoes\nAh, yes. You had, not two hours ago whilst bathing (and truly: is that not always the most productive time for cogitation?) an utterly marvelous idea. You would acquire a tan while adorned with your dearest mother's dearest shoes, lying on a beach and sipping from a tall glass of coconut cream spritzer until the point at which you would drift off into serenely dizziful bliss, awakening to find impressed upon your pliant skin the intricate interlocking paisley pattern of wistful bygone years.\n\nBut there's no goddamn sun in winter here in Finland so you had to go with plan B."
    },
    {
        "text": "[Themes: Science Fiction]\n\nThe emergency siren wakes you from uneasy dreams.\nWhat's going on? You dimly recall the scientists are examining the results of project LOVIATAR. Something must've gone wrong.\n\nYou are in the sleeping quarters. This room is very white and very clean. Your space bunk is here.\n\nTHE EMERGENCY SIREN BLARES!\n\n[Author's Note: Paul is at the perfect party! But someone is missing...]"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> About yourself\nYou are Xonathan Xask, janitor 3rd class on Space Station Ollster III in the year 2578. Your life has been miserable and uneventful so far, but you have a feeling that is about to change.\n\n> You go north\nThis corridor is incredibly clean, and incredibly white. The future is awesome. The corridor ends to the northeast at a door marked in Chinese, and continues to the southwest. There is a huge window here, looking out on Mercury.\n\nTHE EMERGENCY SIREN BLARES!\n\n> You examine the window\nMercury looks small and grey, especially compared to the unbelievably massive sun behind it.\n\n> You go northeast\n(first opening Chinese door)\n\nThere is a thick, plasteel bulkhead door in the east wall here, complete with  a viewing window. The corridor continues to the north, but the pulsing red light and the annoying WOOP-WOOP make it pretty clear that the emergency is here.\n\nTHE EMERGENCY SIREN BLARES!\n\nThe emergency door release button is glowing blue.\n\n> You look at the window\nThe scene is horrifying: The octagonal box containing Loviatar, stands on the steel table, but it's broken. Drs. von Behring, Ross and Finsen lie on the ground, convulsing, screaming and foaming at the mouth. You need to get them to the med bay, quick!\n\n> About yourself\nYou're wearing golden, faux-leather t-shirt and skintight black jeans. You've have your highlights redone for this party and sincerely hope Alex will notice this time.\n\n> You look\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a\nstorage closet. (You only call it  \"The Potter Room\".)  It's perfect.\n\nA piece of string has come undone from the carpet.\n\n> You pull the string\nNothing obvious happens.\n\n> You examine the string\nIt's a piece of string from your hallway carpet, the ugly one Alex bought that depicts a prancing bear.\n\n> You get it\nTaken.\n\n> Inside\nShelves are nailed to the leaning wall. On them, some useless tools gather dust. A perfect, cozy little room.\n\nA dusty novelty beard lies on one of the shelves.\n\n> You examine the beard\nAlex gave it to you as a present, so, he said, your sister could play his beard more convincingly.\n\n> You examine the tools\nYou don't need to repair anything. Everything is perfect.\n\n> Outside\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a\nstorage closet. (You only call it  \"The Potter Room\".)  It's perfect.\n\n> You go east\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards\nto the hallway or to the k'itchen and the pool beyond to the south.\n\nSome people sit on the two perfectly comfortable couches, sharing joints and talking about how continuity can often be confusing to new players.\n\nA discarded roll of \"fish breath breath mints\" lies here.\n\n> You examine the mints\nThere is but one mint left. Before you waste your time on >eat, it\nwill just tell you that you have the feeling you need it for a special occasion.\n\n> You eat the mint\nYou gulp down the mint.\n\nOh, that's right! YOU'RE ALLERGIC TO FISH! YOU DIE IN HORRIBLE AGONY!\n\n> You go south\nThe main feature of this room is the impressive glass door, which\nleads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nOn the counter next to the sink sits your laptop. Cables connect it to some small speakers, providing music. The choice of music is perfect.\n\nA mp3-player is lying on the counter.\n\n> You look at food\nLooks perfect.\n\n> You examine the player\nAn old mp3, player, which seems to have only one file on it.\n\nThe mp3-player is currently switched off.\n\n> You examine the laptop\nThe laptop is empty.\n\n> Go south\nYour parents were  rather fond of this. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss\ntan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a golf course (You find the occasional golf ball in the pool nonetheless.)\n\nSome rocks lie around here. They look perfect.\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the perfect afternoon glow.\n\nThere is a small, perfect swimming pool here.\n\n> You examine the rocks\nSome perfect rocks, from deep inside the mountains near here.\n\n> You examine the people\nThey're perfect people.You can't see Alex or Dana, your two favorite people.\n\n> You look at the pool\nThe water looks clear, perfect.\n\n> You enter the pool\nYou have a feeling it will be cold, but as you dip a toe in, you find it's the perfect temperature. Still, you don't feel like swimming. After all, it might be a bit much to expect an implemented swimming pool that has no bearing on the plot, you reason quite rationally.\n\n> You examine the wall\nThis wall has seperated your house from the golf course for all eternity. It looks ... weirdly ... like a border.\n\n> You go north\nThe main feature of this room is the impressive glass door, which\nleads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nOn the counter next to the sink sits your laptop. Cables connect it to some small speakers, providing music. The choice of music is perfect.\n\n> Go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards\nto the hallway or to the k'itchen and the pool beyond to the south.\n\nSome people sit on the two perfectly comfortable couches, sharing joints and talking about Texture.\n\n> Go west\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a\nstorage closet. (You only call it  \"The Potter Room\".)  It's perfect.\n\n> Go upwards\nYou'll go upstairs once the party is over. With Alex. It's gonna be perfect.\n\n> You go east\nYou finally run into the guy dressed as a green-eyed alien. All three look at you wearily.\n\"They got you too, eh? Where you from? Earth, I guess? You have all these weird inside eyes.\"\n\"Who's in there, Dana?\"\n\"Listen, I'm kinda on the run from the Time Rangers, can you hold on this for me?\"\n\"Sure, but ... who are you? And what is this? I thought this was my house?\"\nThe alien looks at you humourlessly, or maybe you're just bad at reading alien faces. \"You are as far from your house as you can possibly be, kitten.\" You look at the small blue container, shaped, it seems, like an oversized tampon. The alien points at it with a three-fingered hand. \"That's the last destronium in existence. And I want it back. Name's Zaxnor the Galaxy Destroyer.We'll see each other later.\"\nAnd with that, he's gone.\nWhat a shameless sequel hook, you muse to yourself.\n\n> Inventory\nYou are carrying:\na vial\nsome rocks\na mp3-player\na roll of mints\na women's novelty beard\na string\n\n> You look at vial\nA vial, labelled DESTRONIUM - don't move at more than 4x llightspeed. Don't feed to Xragulians, no matter how much they ask for it. Don't ingest if you're alive by Galactic Standard defintion 4. Safe to\ningest for being by Galactic definitions 1-3. Volatile if thrown.\"\nGuys usually tell you you're a 7-8, so better no ingest it.\n\n> You open the front door\nSomething is really wrong here. You're not worried too much, though - no matter what TV shows or moralistic sci-fi stories tell you, living in a perfect place isn't that bad. But that alien clearly was some\nsort of outisider, talking down to you about something. And neither Dana nor Alex are here, and that worries you quite a bit. So, you open the door. You look up and down your street, as you've done ten\nthousand times. Nothing special. Then you notice a letter at your\nfeet. Man, who doesn't text in this day and age? You pick it up and close the door.\n\n> You read the letter\nIt's  from Darna, who was probably mentioned here and there - your\nold friend Darna Elbe, first transgender temperologist.It simply\nreads:\nIT'S A SIMULATION. PLEASE REJECT IT! I LEFT SOMETHING FOR ALEX IN\nTHE POTTER ROOM - All my love, Dana.\n\nP.S. Sorry I can't do more, but there wasn't enough time to code my plotline.\n\n> You examine the beard\nAlex gave it to you as a present, so, he said, your sister could play his beard more convincingly.\n\n> You go east\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards\nto the hallway or to the k'itchen and the pool beyond to the south.\n\nSome people sit on the two perfectly comfortable couches, sharing joints and talking about how hard video syncing is.\n\n> You go to the south\nThe main feature of this room is the impressive glass door, which\nleads south, to the pool. All benches and counters are weighted down with random food stuff, brought by the party goers. Of course, there are more people here than in the living room.\n\nOn the counter next to the sink sits your laptop. Cables connect it to some small speakers, providing music. The choice of music is perfect.\n\n> You get the laptop\nThat's fixed in place.\n\n> Go south\nYour parents were  rather fond of this. It's surrounded by some deck-chairs. The eastern and western garden walls are overgrown with undergrowth, so as to hide the family members going for a seamelss\ntan. This wasn't necessary for the southern wall, wich is quite high, because it borders on a golf course (You find the occasional golf ball in the pool nonetheless.)\n\nA small flock of people is lying around in the deck-chairs, most of them still dressed, waving drinks and mumbling to each other in the perfect afternoon glow.\n\nThere is a small, perfect swimming pool here.\n\n> Go south\nBoink! You run into the wall.\n\n> You climb the wall\nYou can't quite say why, but you don't feel like you can climb the\nwall yet. Maybe ... maybe there is something you need to do\nbeforehand?\n\n> Inventory\nYou are carrying:\na letter\na vial\nsome rocks\na mp3-player\na roll of mints\na women's novelty beard\na string\n\n> You throw rocks at the wall\nFutile.\n\n> You go north\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards\nto the hallway or to the k'itchen and the pool beyond to the south.\n\nSome people sit on the two perfectly comfortable couches, sharing joints and talking about how continuity can often be confusing to new players.\n\n> Inside\nShelves are nailed to the leaning wall. On them, some useless tools gather dust. A perfect, cozy little room.\n\nA brown package has appeared here. It's labelled FOR ALEX.But Alex isn't here. Nor do you know where he might be.\n\n> You look at the package\nIn the package is a plasma gatling.\n\n> You examine it\nOh, Alex would love this! It's an Alien Tech (tm) high-powered plasma gatling gun. Alex talked to you about this, and you pretended to listen. As it fires about 400 slugs of superheated plasma per\n*second*, it's cooled by sodium fluoride and sodium tetrafluoroborate. What use such a gun is in a world whose problems are mainly a lack of collaboration is anyone's guess, but you couldn't deny Alex' childish glee when talking about weapons. This thing looks dangerous, it would be very easy to SHOOT someone with it. It also has a  single GRENADE for when you need to GRENADE multiple enemies at once.\n\n> You shoot yourself\nYou don't have as many violent urges as Alex, thank god! A non-violent IF protagonist makes for a nice change.\n\n> You go east\nBefore the party people invaded it, this was a spacious, cozy room. Now, you have to wade through thick smoke to escape either westwards\nto the hallway or to the k'itchen and the pool beyond to the south.\n\nSome people sit on the two perfectly comfortable couches, sharing joints and talking about the upcoming Citizen Kane prequels.\n\n> You shoot the people\nYou hesitate for a moment. There are all your friends, and 2 or so acquaintances of Alex. You'd really hate to shoot them! Alex is\nusually the one who does the killing in the house. Well, it can't be helped.\nYou level the plasma gatling at them. Luckily, and Alex showed you a long and boring and badly shot YouTube video on this, the gatling\nspeds up extremely fast. It takes all put 2 seconds to completely obliterate your living room and everyone in it.\nGee, you sure hope that letter wasn't a prank.\n\n> You shoot the people\nYou hesitate for a moment. There are all your friends, and 1 or so acquaintances of Alex. You'd really hate to shoot them! Alex is\nusually the one who does the killing in the house. Well, it can't be helped.\nYou level the plasma gatling at them. Luckily, and Alex showed you a long and boring and badly shot YouTube video on this, the gatling\nspeds up extremely fast. It takes all put 2 seconds to completely obliterate your garden and everyone in it.\nOh no, looks like there was one survivor!\n\n> You look\nThe smoldering ruins of your garden.\n\nA cute little corgi sits here.\n\nThere is a small, perfect swimming pool here.\n\n> You look at the corgi\nAw! So cute!\n\n> You shoot corgi\nIt has to be done! Luckily, the plasma gatling is quite excessive and there is only  a smouldering, toxic green patch left.\n\n> You climb the wall\nYou finally feel able to climb the wall. You scramble over it and find yourself in ...\n\nA small, dark green, squat creature stands here.\n\n> You talk to it\nYou can only do that to something animate.\n\n> You talk to the creature\n\"Hello, Paul.\" says the Alien in a friendly voice.\n\n\"Hello, where am I, who are you, etc., you probably now the drill\"\nyou say, surprised at your own rudeness.\nBut of course. You see, when Alex, the scourge of all of Time, confronted the Queen of Hurts and Maladies at the end of the last er .... adventure, you and he were scattered across time and space. You ended up on Blubbertaria III, our homeworld.\"\n\n\"Wait, if it's your homeworld why does it have a number? Wouldn't it just be Blubbertaria?\"\n\n\"We destroyed two planets before we didn't make climate change\ndeniers world president anymore.\"\n\nYou wince.\n\n\"Anyway, my species has evolved so that we live on the happiness of others, so for the last few galactic years you were trapped in a simulation of your perfect day. Unfortunately, we aren't allowed to simulate the dead, so your husband, Alex, and Dana, your good friend, weren't there.\"\n\n\"Sorry, but wait again, you feed off people's happiness by simulating\na perfect life for them? I ... I want to say that's evil, but I'm actually not sure.\"\n\n\"It is indeed a matter of great philosphical and judicial debate\namong the intelligent species of the galaxy, so nothing that concerns you. Er, no offense.\"\n\n\"None taken. We humans are dum-dums.\"\n\n\"I know. So, now that you broke the simulation, we can no longer feed on you. We've decided to turn you over to the Time Rangers (tm), given that your husband is the greatest criminal in all of known time and space (which is quite a lot).\"\n\n\"The greatest? That's so good for him, he finally developed some ambition, just like his therapist hoped.\"\n\n\"I also hope you know you could've just destroyed the wall. These simulants felt real pain, especially the puppy. Ah, well, too bad. \"Yes, well, goodbye.\"\n\n\"There is a blinding pink flash and you find yourself in -\n\nof marble. A prominent banner hangs here, which reads \"THE HISTORY OF ALEX - SCOURGE OF THE GALAXY\"\nA blinking, 3D-animated arrow points se.\nAw, look. His own exhibiton. How cute.\n\n> You check what you're carrying\nYou are carrying:\na plasma gatling\na letter\na vial\nsome rocks\na mp3-player\na roll of mints\na women's novelty beard\na string\n\n> You go to the south-east\nThere is a holoimage here of Alex, 4-5 metres (13.12 feet) high, on\nhis knees, staring at a puddle in some forsaken valley under strange purple skies. His eyes glow red.\nOh yeah! He was possessed by the spirit of your evil Uncle Wally.\nLooks like he didn't do all this evil things of his own volition.\n\n> You go to the south-east\nThis holo image shows Alex, holding some sort of urn aloft triumphantly. The plaque informs you that Alex managed to banish the spirit of Evil Uncle Wally into the the magic Urn of GN-z11.\nUh-oh.\n\nYou can see a wikipedia printout here.\n\n> You look at the printout\nGleipnir - Therefore, they commissioned the dwarves to forge a chain that was impossible to break. To create a chain to achieve the impossible, the dwarves fashioned the chain out of six supposedly impossible things:\nThe sound of a cat's footfall\nThe beard of a woman\nThe roots of a mountain\nThe sinews of a bear\nThe breath of a fish\nThe spittle of a bird\n\n> Go southeast\nThis holo shows Alex, atop some abyss, his hand downs as if he'd just thrown something. The plaque informs you that, after not finding you, in anger he cast his wedding ring into the abyss of Wolf 1061c.\nAwww. He bought it, but that thing was kinda pricey. You look down\nat your own for a moment.\n\n> Go southeast\nThis holo is full of minute details. It depicts a gargantuan space battle. You can't make out a clear winner, but it looks like one of them is a ragtag bunch of diverse ships, and the other is a bunch of ugly, organic looking ships. The plaque confirms what you suspected, that Alex amassed forces and fought and defeated the Queen of Hurts\nand Maladies, your old enemy, so weird of threatening but ill-defined entity. It also slyly hints at the fact that he continued a reign of terror throughout the galaxy, as this exhibition is continued in\nB-Wing \"The war criminal years\".\n\n> You go southeast\nA mechanical bird flies by, screeches, and loses a drop of oil from\nits beak. Hm. Looks like the future isn't so perfect after all.\n\nThe exhibiton ends to the south of here.\n\nA single drop of oil lies here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully. There is a small plaque at the base.\n\n> You get it\nYou put the drop of oil on your fingertip. Luckily, this game won't go into the logistics of handling other things.\n\nTaken.\n\n> You examine the statue\nIt's from some very black, cold material. The plaque says that Alex\nhad it made from the last Indestructium in existence. In it, he buried his greatest secret.\n\n> You look at vial\nA vial, labelled DESTRONIUM - don't move at more than 4x llightspeed. Don't feed to Xragulians, no matter how much they ask for it. Don't ingest if you're alive by Galactic Standard defintion 4. Safe to\ningest for being by Galactic definitions 1-3. Volatile if thrown.\"\nGuys usually tell you you're a 7-8, so better no ingest it.\n\n> You throw vial at the statue\nYou throw the last DESTRONIUM in existence, a thing of unimaginable historic and scientific value, (but also great potential for evil) at the statue!\n\nIt sizzles! It hisses!\n\nNothing happens.\n\nThen cracks appear all over the statue. But it doesn't fall apart. Dang.\n\n> Grenade statue\nYou don't feel you need your one and only plasma grenade here. It's only applicable for taking out a number of dangerous individuals at once.\n\n> You look at the statue\nIt's from some very black, cold material. The plaque says that Alex\nhad it made from the last Indestructium in existence. In it, he buried his greatest secret.The statue has cracks all over.\n\n> You hit the statue\nOuch! You hurt your fist. Looks like they didn't name it Indestructium for nothing, and even though it's cracked, your fists aren't enough.\n\n> You go to the south\nThis is the intersection of two corridors. To the west is a exhibition called \"QUEER ART 2100-2433\". Unfortunately, it's closed. To the east is an an exhibition called \"BEST FANFICTION OF THE 20th CENTURY. Fortunately, it's closed. The corridor to the south is blocked by a sign saying \"ESCAPED JENNOSAURUS.\"\n\nAn original 20th century golf cart stands here, obviously on the way\nto some exhibition or other.\n\n> Go south\nA featureless corridor.\n\n> You examine the cart\nAn original 20th century golf cart.\n\nIn the golf cart is a flat box.\n\n> You look at box\nIt's a small, wooden box labelled  \"Return to Ni\u00f0avellir by Bifr\u00f6st\".\n\n> You enter the cart\nYou get into the golf cart.\n\n> You open the box\nIt seems to be locked.\n\n> You enter the cart\nBut you're already in the golf cart.\n\n> You go north\nTHE MUSEUM BEYOND TIME - WING A - SPECIAL EXHIBIT HALL 5 (in\nthe golf cart)\nThe exhibiton ends to the south of here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\n> You eat the cart\nThat's plainly inedible.\n\n> You look at cart\nAn original 20th century golf cart.\n\n> You go south\nJunction (in the golf cart)\nThis is the intersection of two corridors. To the west is a exhibition called \"QUEER ART 2100-2433\". Unfortunately, it's closed. To the east is an an exhibition called \"BEST FANFICTION OF THE 20th CENTURY. Fortunately, it's closed. The corridor to the south is blocked by a sign saying \"ESCAPED JENNOSAURUS.\"\n\n> You go to the south\nCorridor (in the golf cart)\nA featureless corridor."
    },
    {
        "text": "> Unlock box\nWhat do you want to unlock the flat box with?\n\n> You turn on the mp3 player\nThat's already on.\n\n> Inventory\nYou are carrying:\na flat box (closed and locked)\na drop of oil (carried precariously on your fingertip)\na wikipedia printout\na plasma gatling\na letter\nsome rocks\na mp3-player\na roll of mints\na women's novelty beard\na string\n\n> Drop box\nDropped.\n\n> Leave\nYou get out of the golf cart.\n\nThis is the intersection of two corridors. To the west is a exhibition called \"QUEER ART 2100-2433\". Unfortunately, it's closed. To the east is an an exhibition called \"BEST FANFICTION OF THE 20th CENTURY. Fortunately, it's closed. The corridor to the south is blocked by a sign saying \"ESCAPED JENNOSAURUS.\"\n\nAn original 20th century golf cart stands here, obviously on the way\nto some exhibition or other.\n\n> Go north\nThe exhibiton ends to the south of here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\n> Tie\nWhat do you want to tie?\n\n> You go to the north\nTHE MUSEUM BEYOND TIME - WING A - SPECIAL EXHIBIT HALL 5 (in\nthe golf cart)\nThe exhibiton ends to the south of here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\nYou can also see a flat box (closed) here.\n\n> You go northwest\nCrack! You drive over the box, completely breaking it to splinters. Luckily, whatever was in it seems to be intact.\n\nTHE MUSEUM BEYOND TIME - WING A - SPECIAL EXHIBIT HALL 4 (in\nthe golf cart)\nThis holo is full of minute details. It depicts a gargantuan space battle. You can't make out a clear winner, but it looks like one of them is a ragtag bunch of diverse ships, and the other is a bunch of ugly, organic looking ships. The plaque confirms what you suspected, that Alex amassed forces and fought and defeated the Queen of Hurts\nand Maladies, your old enemy, so weird of threatening but ill-defined entity. It also slyly hints at the fact that he continued a reign of terror throughout the galaxy, as this exhibition is continued in\nB-Wing \"The war criminal years\".\n\n> Go southeast\nTHE MUSEUM BEYOND TIME - WING A - SPECIAL EXHIBIT HALL 5 (in\nthe golf cart)\nThe exhibiton ends to the south of here.\n\nThere is a 5th dimensional forge here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\n> Go outside\nYou get out of the golf cart.\n\nThe exhibiton ends to the south of here.\n\nAn original 20th century golf cart stands here, obviously on the way\nto some exhibition or other.\n\nThere is a 5th dimensional forge here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\n> You look at the forge\nThe metal thing is some sort of device. It has a huge chute, which\ngoes down into a long tunnel, at the  bottom of which you seem to spot some ... lava?\n\nThe forge is currently switched off.\n\n> You turn on the forge\nYou flick the switch, and the forge beeps with an almost accusatory error sound.\n\n> You put the player in the forge\nYou put the mp3-player in the chute, and it evaporates with a weirdly comforting hiss.\n\n> You put the rocks in the forge\nYou put the rocks in the chute, and it evaporates with a weirdly comforting hiss.\n\n> You put string in forge\nYou put the string in the chute, and it evaporates with a weirdly comforting hiss.\n\n> You put the mint in the forge\nYou put the roll of mints in the chute, and it evaporates with a weirdly comforting hiss.\n\n> You put the oil in forge\nYou put the drop of oil in the chute, and it evaporates with a weirdly comforting hiss.\n\n> You turn on the forge\nThere is a cheerful series of three peeps, and something long and\nwhite and stringy shoots out of the chute at you. Eww.\n\n> You check what you're carrying\nYou are carrying:\na wikipedia printout\na plasma gatling\na letter"
    },
    {
        "text": "[Themes: Science Fiction]\n\n> You look around\nThe exhibiton ends to the south of here.\n\nAn original 20th century golf cart stands here, obviously on the way\nto some exhibition or other.\n\nThere is a 5th dimensional forge here.\n\nThere is a statue here, an actual life-sized statue. It shows Alex, sitting cross-legged on a rock, looking thoughtfully.The statue has cracks all over. There is a small plaque at the base.\n\nYou can also see Gleipnir here.\n\n> You examine Gleipnir\nGleipnir is as thin as a silken ribbon and stronger than any iron chain. It was made to hold the Fenriswolf to delay Ragnar\u00f6k, but you suppose it will work for your needs in the meantime. You idly wonder\nif this means that in this game world nothern mythology is true and\nhow it will handle other world religions.\n\n> Tie Gleipnir to statue\nYou tie Gleipnir to the statue. Now to find something for the other end...\n\n> Tie Gleipnir to cart\nYou tie the other end of Gleipnir to the cart.\n\n> Go south\nYou put the pedal to the medal! With an incredible 15 mph, you drive through the exhibition.\nCRACK!\nThe statue breaks aparts, and something small catches your eye among the debris. Gleipnir snaps in half and dissapates.\n\nSomewhere in the distance, a wolf howls.\n\nJunction (in the golf cart)\nThis is the intersection of two corridors. To the west is a exhibition called \"QUEER ART 2100-2433\". Unfortunately, it's closed. To the east is an an exhibition called \"BEST FANFICTION OF THE 20th CENTURY. Fortunately, it's closed. The corridor to the south is blocked by a sign saying \"ESCAPED JENNOSAURUS.\"\n\n> Leave\nYou get out of the golf cart.\n\nThis is the intersection of two corridors. To the west is a exhibition called \"QUEER ART 2100-2433\". Unfortunately, it's closed. To the east is an an exhibition called \"BEST FANFICTION OF THE 20th CENTURY. Fortunately, it's closed. The corridor to the south is blocked by a sign saying \"ESCAPED JENNOSAURUS.\"\n\nAn original 20th century golf cart stands here, obviously on the way\nto some exhibition or other.\n\n> Go north\nThe exhibiton ends to the south of here.\n\nSomething small lies aorund here.\n\nBits and pieces of the statue lie around.\n\nThere is a 5th dimensional forge here.\n\n> You examine small\nThe name tag reads \" Dr. Juliana F. Ross. MERCURY STATION MEDICAL RESEARCH.\n\n> You get the name tag\nSo this is Alex' big secret? Some weird name tag? Maybe he is creepier than you thought?\n\nYou're distracted by a loud -SWOOOOOSH- sound as a portal opens before you and someone shouts:\n\"HALT! TIME RANGERS!\"\n\nA woman in a ranger uniform and a man in an old-fashioned tweed suit jump out. You instinctinvely hide the name tag behind your back.\n\n\"Hi\" says the woman. \"I'm Samantha, and this is my husband Jack. We\nare Time Rangers.\"\n\n\"You just said we are, dear, and I'm just a consultant.\"\n\n\"Yes, dear. We are here because you are the husband of the worst criminal of all times, and we need your help!\"\n\n\"Can I just say\", says Jack, \"that I'm really happy that your the hero for once? The fact that you were always the damsel in distress put a somewhat uncomfortable classic gender binary role dynamic on the way your marriage was portrayed.\"\n\nSamantha pats him on the back. \"Yes, darling. Anway, Paul - can I call you Paul? Ten games in is a little late to invent a last name in any case - will you help us save the world from your husband?\"\n\n\"Sure\" you say, \"we just need to intercept him at an earlier time then his terror regime, right?\"\n\n\"Yeah\" begins Samantha, \"well, the thing is, due to chronoton\npoisoning time travel has become a bit problematic lately ...\"\n\n\"Wait, how can time travel even have a temportal frame?\"\n\n\"Nevermind the plot holes\" says Jack, \"we need your ring and with that we'll extract your husband.\"\n\nYou slip the ring, small and golden, from your finger. After a\nmoment's hesitation you hand it to Samantha. She adjusts her hat. \"Thanks. See we need it because certain objects, from key points in time, are loaded with temporal energy and these are the last things that allow us to time travel. Luckily the museum is full of that stuff so we can always come back here.\"\n\n\"Wait, let me come with you -\"\n\nJack shakes his head. \"Sorry, we can't allow you to come with us.\nThere was no time to code the interaction between 3 NPCs and the player.\"\n\n\"So what am I supposed to do?\"\n\n\"Just wait here, we have some nice exhibits.\"\n\nYou slump your shoulders. Jack pats you on the shoulder and slips you\na small device. \"I'm sure you'll find some way to pass the time.\"\n\nThey wave to you, another SWOOOOOOSH and they are gone.\n\n> You check your inventory\nYou are carrying:\na scanner\na name tag\na wikipedia printout\na plasma gatling\na letter\n\n> Examine scanner\nAha, a scanner.\n\n> Scan tag\nThe display reads:\nTEMPORAL RESIDUE DETECTED.\n\nOpening portal to 2578.\n\n> You look\nThe exhibiton ends to the south of here.\n\nA swirling grey portal is, er, swirling here.\n\nBits and pieces of the statue lie around.\n\nThere is a 5th dimensional forge here.\n\n> You examine the portal\nLike a lava lamp, only worse.\n\n> You enter the portal\nYou step into the portal and while you swirl through the vortex you have some time (!?!) to think. This name tag belongs to someone on Mercury station, where Alex went in the last game to get the use of\nhis legs back. He told you that the med bay went bust after he used\nit. If they do medical research there, maybe the fact that the bay was unusable means that someone or other couldn't be cured. So maybe this whole journey wasn't about Alex but someone else.\n\nDr. Juliana F. Ross.\n\nThe Queen of Hurts and Maladies.\n\nAnd so you arrive at Mercury Station.\n\nThis corridor is incredibly clean, and incredibly white. The future is awesome. The corridor ends to the northeast at a door marked in Chinese, and continues to the southwest. There is a huge window here, looking out on Mercury.\n\nTHE EMERGENCY SIREN BLARES!\n\nXonathan Xask says, \"What if the Time Rangers grab Alex from a time when he hadn't broken his legs so we could use the med bad after all\nto -\nSWOOSH! SWOOSH!\nTwo portals must've opened behind you. You twirl around.\n\nOh no! Two Alexes have arrived!\n\nThe one on the left wears a surprisingly convincing caveman costume.\n\nThe other one wears a nice shirt, slacks and saddle shoes.\n\nTwo copies of your husband have arrived. What do you, Paul, wanna do about it?\n\n> You look at the left alex\nHis hair is slicked back, he wears a neat white shirt, no tie, brown slacks and matching saddle shoes. You always wanted him to try that look, but now that you actually see it, it just isn't him. OR IS IT?\n\n\"Quick\" says left Alex, \"shoot him! He's the evil Alex from the\nfuture! He's here to make sure the Queen comes to power just as expected, so his reign is assured.\"\n\n\"No, that's him!\" says right Alex. \"Don't make a mistake, darling!\"\n\nTwo copies of your husband have arrived. What do you, Paul, wanna do about it?\n\n> You look at the right alex\nHe did once spent 10 years as a caveman, so the outfit speaks for him, on the other hand, it's totally something a post-apocalyptic dictator would wear.\n\n\"Okay, I want an explanation from each of you why the Time Rangers didn't come with you. Leftie, you go first.\"\n\n\"They had been called away because of a pet emergency.\"\n\n\"Righty?\"\n\n\"Their shift was over and they couldn't be bothered.\"\n\nHm.\n\n> Kiss left Alex\nThe left Alex might not like that.\n\n\"Oh-okay, I have secret birthmark on my ...\"\n\n\"Trick question\" they answered in unison. \"You have no birthmarks whatsover.\"\n\n\"Your skin is perfect\" says leftie.\n\n\"As I've often said\" says rightie.\n\n> You kiss right alex\nThe right Alex might not like that.\n\n\"Name all our games in order!\" you scream, on the edge of despair.\n\n\"Stop it with this self-indulgent bullshit\" says Leftie. \"Yeah, Clubfloyd won't like it.\" Rightie turns to wave at you, the player. \"Hey Clubfloyd!\"\n\n> Wait\nTime passes.\n\n\"C'mon, quickly now\" says Rightie, you need to shoot either of us! Otherwise we will run out of text and that will break the tension and the immersion!\"\n\nLeft nods. \"I agree with my evil copy from the future.\"\n\n> Kiss left Alex\nThe right Alex has better things to do.\n\n\"so, um...\" says Lefty. \"How many major bugs did this game have?\"\n\n\"So, um, we're not even trying with the meta stuff anymore?\" says Rightie.\n\n> You wait awhile\nTime passes.\n\nBoth stare at you blankly. Oh no! Your immersion\n\n> Shoot left\nYou shoot the left Alex!\nYou shoot the left Alex!And ...\nOh no! Right Alex shoots you.\n\n> Shoot right\nYou shoot the right Alex!\nYou shoot the right Alex!And ...\nOh no! Left Alex shoots you!\n\n> Grenade alex\nWho do you mean, the left Alex or the right Alex?\n\n> Grenade left Alex\n\"Sorry\" you say, \"Whatever Cosmo says, I'm not intro threesomes!\"\n\n\"Get him!\" shouts left Alex, \"I'm tired of being the good guy!\"\n\nRight Alex pulls out a blaster and fires at you, but misses!\n\n\"ARGH!\" says Xonathan Xask behind you. Oh no, you think, what a pointless way to go.\n\nAs Right Alex takes aim again and left Alex gets ready to tackle you, you press the grenade button and -\nFLUMP!\n- a second later the whole hallway is l\u00edt up by a toxic green plasma explosion! Both versions of your husband are engulfed by it instantly.\n\nThere is an eerie silence. You drop the plasma gatling with something like disgust. It's over, and it's not over.\nYou look down at the blue emergency release button, then push it.\n\nLater, as they carry young, dorky Doctor Ross out on a stretcher, you look at that young, kind face. To imagine she would turn into that\nfoul creature who hunted you and Alex for so long.\n\nAnd then there's Alex himself  who turned evil enough to send two versions of himself here, to keep you from stopping the creation of\nthe Queen of Hurts and Maladies.\nYou reflect that there is a thin line between us and those we deem ourselves worthy to condemn as evil.\n\nAnd then station security has some questions.\n\nYou spent the last 3 months on this rock out in the middle of nowhere. Time should mean little to a temperologist like yourself, but personal time still advances. Maybe you'll give the you from 3 months ago some pointers where to dig. You can usually get away with minor paradoxes\nif Director Lambbost at the Temporal Institute feels or will have felt like it. But you need to find the urn. Who knows where and when it\nwill be unearthed otherwise, and what new horrors will be wraught."
    },
    {
        "text": "[Themes: Science Fiction]\n\n> Look around\nThis is a small cave of torquoise rock. There is a small spot where\nyou had started to dig.\n\n> About yourself\nYou're Dana Elbe, temperologist.\n\n> You check your inventory\nYou are carrying:\na space shovel\n\n> You look at the shovel\nA space shovel, for digging on all kinds of planets expects gas giants and red dwarfs.\n\n> Dig\nWith a sigh, you continue to work. After a few more minutes, you've finally unearthed the object your scanners detected: You smile with relief. It's the urn. The urn of GN-z11.\n\n> You look at the urn\nIt's a surprisingly simply, unadorned urn.\n\n> You get it\nThis has been a barren, dead world for 4000 years, so the sound you hear startles you so much that you drop the urn like a first year temp in the Neptunian war zone.\n\nA wolf. The howl of a wolf.\nA shadow covers the entrance to the cave. And at the same time, smoke rises from the broken urn. You take a step back  as a gigantic wolf enters and inhales the smoke. Suddenly his eyes grow red. And then he speaks, speaks in a human voice.\n\nHello, Doctor Elbe. My name is Wally. I'm looking for my good\nfriend, Alex."
    },
    {
        "text": "[Themes: Humor, romance, time travel, adventure]\n\n\"I thought you were done with this!\" yells Paul and hits the\ngas.\n\"You mean running away from Sharkmen?\"\n\"Getting us in trouble!\" he grumbles and handbrakes the golf cart around a corner.\nYou kiss him quickly on the cheek. \"I know that's why you love\nme!\"\nHe tries to look grumpy and fails adorably. \"How did we get into\nit this time, anyway?\"\n\"Well, as you know, my mind was transferred into a little girl\nwhile we were on a plane, and you told the sky marshal we were married. So I was locked into the bathroom while he dealt with you. Little did anyone know it would turn out to be...\"\n\nThis is barely big enough to turn around in. You seriously wonder how anyone manages to join the Miles High Club. It has a stainless steel sink, a toilet, and that's about it.\n\nAnd there's an air vent high up on the wall.\n\nA book lies here, undoubtedly forgotten by a previous visitor.\n\n[Author's Note: \"I thought you were done with this!\" yells Paul and hits the gas. \"You mean running away from Sharkmen?\" \"Getting us in trouble!\" he grumbles and handbrakes the golf cart around a corner.]"
    },
    {
        "text": "[Themes: Humor, romance]\n\n> You take the book\nTaken.\n\nSuddenly, the planes PA system crackles. Someone is clearing their throat.\n\n> You look at the book\nIt's the unbelievably boring \"Death to my Enemies\" by J. Blask.\n\n\"Earthlings! This is the Queen of Hurts and Maladies. Your new\nruler.\"\n\n> You enter the vent\n(first opening air vent)\nGngr. Seems to be stuck.\n\n\"You might have noticed coworkers,neighbors, loved ones and even family turning into half-human, half-animal hybrids. #sharkpeople is even trending on Twitter.\"\n\n> You check what you're carrying\nYou are carrying:\na book\n\n\"You might wonder how I managed to infect 26.3 % of the\npopulation. Well, that was easy, my mutation virus was hidden in the latest flu vaccine.\"\n(So vaccinations are dangerous! You knew it!)\n\n> You examine the toilet\nA normal, stainless steel airplane toilet.\n\n\"And before you think of resistance because you're still the\nmajority, please be advised that the world's most powerful leader has already surrended the Earth.\"\n(Oh shit, you got a flu shot! Phew, thankful that was a different body). And Paul hasn't gotten around to his. Scared of needles, that big wuss.)\n\n> Flush toilet\nYou waste some water, you monster.\n\n\"Xi Jinping was forthcoming in every regard.\"\n\n> You look in drain\nThe drain is empty.\n\nThe PA cackles one last time and is silent.\n\n> About yourself\nHm, looks like you're still an 11-year old girl in a polkadot dress."
    },
    {
        "text": "> Look around\nThis is barely big enough to turn around in. It has a stainless steel sink, a toilet, and that's about it.\n\nAnd there's an air vent high up on the wall.\n\n> You look at what you're carrying with you\nYou are carrying:\na book\n\n> You read the book\nYou don't feel you need some sleep right about now.\n\nThat can't be read.\n\n> You open the door\n(first unlocking the bathroom door)\nYou lack a key that fits the bathroom door.\n\n> Flush toilet\nYou waste some water, you monster.\n\n> You put the book in the drain\nIt's not round! This book is even more useless than you thought.\n\n> You enter vent\n(first opening air vent)\nGngr. Seems to be stuck.\n\n> Examine vent\nA simple metallic grille, with four metallic plates in the corner.\n\nWhoa! A pair of red eyes is staring back at you! Oh wait, it's your mercurian rat, named ... uh ... in all the commotion of dying and body swapping I totally forgot its name ... Well, I'm sure you remember and will just name it again.\n\n> You examine the plates\nThere are four rectangular squares, one in each corner. You notice a small, black spot on one of them.\n\n> You examine the spot\nThe blank spot is uneven, like it has grooves.\n\n> Turn spot\nNothing obvious happens.\n\n> You examine the ellison\nAww, just look at it. It has a pear-shaped body, with small, scrawny leg and feet.its thick, soft fur is mostly brown with a huge white spot on the tummy. It looks at you lovingly.\n\n> South\nEllison has better things to do.\n\n> You open the vent\nGngr. Seems to be stuck.\n\n> You take the spot\nThat seems to be a part of air vent.\n\n> You ask the spot about the spot\nYou can only do that to something animate."
    },
    {
        "text": "> Look around\nThis is barely big enough to turn around in. It has a stainless steel sink, a toilet, and that's about it.\n\nAnd there's an air vent high up on the wall.\n\n> You examine the grooves\nThe grooves seem to form some sort letters.\n\n> You read the grooves\nThat can't be read.\n\nThat can't be read.\n\n> You turn the faucet on\nYou can't see any such thing.\n\n> HOLD VENT\n\nThat's hardly portable.\n\nYou waste some water, you monster. So you switch it back off.\n\nYou switch Faucet on.\n\n> You examine the faucet\nFaucet is currently switched off.\n\n> Examine book\nIt's the unbelievably boring \"Death to my Enemies\" by J. Blask.\n\n> You examine the h.\nThe bar of the H, miniscule as it is, catches your eye.\n\n> Examine bar\nHey, it's a miniature button.\n\n> You enter VENT\nA featureless air duct, which continues north.\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You give book to robot\nRobot doesn't seem interested.\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You look at the robot\nRoomba's bigger brother mainly consists of a set of razor sharp rotor blades, cutting everything in its part. On the back it has a brush and some cleaning fluid, but those seem unimportant to you now. Its back is all shining stell, but you bet its belly is just porous plastic.\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> Flush toilet\nYou waste some water, you monster.\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You throw the book at the robot\nYou lack the nerve when it comes to the crucial moment.\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You put the Robot in the drain\n(first taking Robot)\nIt would cut of your fingers. And Marsha would miss them!\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You stand on the toilet\nYou quickly jump onto the toilet, with the robot zig-zags around the floor, buzzing with inhuman hatred.\n\n> You enter the air vent\nYou would have to get off the toilet first.\n\n> You read the book\nYou don't feel you need some sleep right about now.\n\nThat can't be read.\n\n> You show the book to the Robot\nRobot is unimpressed.\n\n> You put the Robot in the drain\n(first taking Robot)\nIt would cut of your fingers. And Marsha would miss them!\n\n> You examine the Robot\nRoomba's bigger brother mainly consists of a set of razor sharp rotor blades, cutting everything in its part. On the back it has a brush and some cleaning fluid, but those seem unimportant to you now. Its back is all shining stell, but you bet its belly is just porous plastic.\n\n> Drop book\nDropped.\n\n> You ask the Robot about the knives\nRobot says something really important.\n\n> You turn on the water\nYou switch on the (warm) water, and the rat watches stoically (occasionally giving you the evil eye), as the water rise up to it's neck and overflows. In about 5 turns the whole floor is covered in water and the cleaning robot soons emits a sharp crackling noise and sparks fly around its underbelly. Then it lies still. It still emits the occasional crackle, however, and you don't think it's safe to descent the toilet.\nEllison jumps out of the sink onto the toilet and begins to clean himself with stoic indignation worthy of a cat.\n\n> You enter VENT\nYou would have to get off the toilet first.\n\n> Leave\nFor you, it might bring back pleasent memories of the time they tried Electroconvulsive therapy at the Mayo Clinic. But you're pretty sure this girl's body couldn't handle it.\n\nAs the chaos dies down, you hear a faint voice through the door. Paul! \"Alex, it's me!\"\n\"Paul! Don't come in. The room is flooded and the water is electric!\" \"I leave you alone for one minute ... anyway, listen! 26.3 % of the people on this plane have turned into Sharkmen.\"\n\"Only the biosex males?\"\n\"Okay, okay, into Sharkpeople. Anyway, listen: I'll try to be as inconspicuous  as possible, but they're looking for you. It's only a matter of time till they found out you're stuck in that unfortunate body.\"\n\"Well, my original body is rotting in an endless chasm on Mercury, so...\"\n\"One thing at a time. You know that multitasking is horrible for your stress level.\"\n\"What is your plan?\"\n\"Your soul has wandered before, and I don't mean that krokodil you did with those Russian dealers. When you saved me, you jumped into -\" \"Enough exposition and recap! You're saying I should find a way to jump into Ellison?\"\nBut Paul doesn't answer, and there's the some commotion outside the door.\n\"Get him!\" says a deep, dark Sharkman voice.\n\"Don't hurt me!\"\n\"Why not?\"\n\"Please, I'll tell you literally everything!\"\n\"Where is your husband?\"\n\"Okay, maybe I meant figurativ-ouch\"\nIt sickens you to your stomach as you hear something heavy slump against the door. A second later someone bangs on the door.\n\"Open up! Sharkpolice!\"\n\"Sorry, sir, I'm a little girl with Typhoid fever and you don't want to come in here!\"\n(You knew all this Victorian novels Paul made you read would be good for something at some point.)\n\"Uh...okay\" says the Sharkpoliceman, uncertainty in his voice. \"Then, uh, stay in there till we land. And you guys, carry this scum away.\"\n\n> You stand\nFor you, it might bring back pleasent memories of the time they tried Electroconvulsive therapy at the Mayo Clinic. But you're pretty sure this girl's body couldn't handle it.\n\n> You get Ellison\nEllison scurries away from you, sits on another corner of the toilet and shoots angry glances up at you. Then he continues to lick his fur.\n\n> You enter VENT\nEllison has better things to do.\n\n> You put the rat in VENT\nEllison struggles in your arms. He really doesn't want to go back in there.\n\n> You take the Robot\nYou would electrocute yourself. And not in the cool way, like the guy in Amazing Spiderman 2. That was a great movie.\n\n> You show the book to Ellison\nEllison is unimpressed.\n\n> You tell Ellison about book\nSqueak squeak, squeak. Squeak squeak :\"Squeak squeak Squeak!\" Squeak squeak squeak.\"\nOh, Paul send him here to help you escape the bathroom. That's good. \"Squeak, squeak squeak squeak squeak squeak. Squeak, squeak squeak? Squeak.\"\nBut now he's hunted by an insance duct cleaning robot? That's, um, less good.\nBehind the rat, you hear a faint whirring sound, somewhere in the dark of the duct.\n\nOh no! The robot is getting closer and closer to the rat! It's only 5m away!\n\n> You talk to Ellison\n\"Squeak!\" declares Ellison and nuzzles your hand affectionally with his cold snout.\n\nOh no! The robot is getting closer and closer to the rat! It's only 4m away!\n\n> You climb the toilet\nI don't think much is to be achieved by that.\n\nOh no! The robot is getting closer and closer to the rat! It's only 3m away!\n\n> Close VENT\nYou close air vent.\n\nOh no! The robot is getting closer and closer to the rat! It's only 1m away!"
    },
    {
        "text": "[Themes: Humor, adventure, time travel]\n\n> Look around\nThis is barely big enough to turn around in. It has a stainless steel sink, a toilet, and that's about it.\n\nAnd there's an air vent high up on the wall.\n\nThe deadly cleaning robot zips towards you!\n\nThe robot zips toward you, the whirr of its razor blades incredible loud and - uh, let's leave the rest to your imagination. Kids may be playing! Hey kids! The robot bought you a farm where you live happily ever after.\n\n> You wait awhile\nTime passes.\n\n> You open the door\n(first unlocking the bathroom door)\nYou lack a key that fits the bathroom door."
    },
    {
        "text": "[Themes: Humor, time travel]\n\n> You go downward\nYou would have to get off the toilet first.\n\nAs the chaos dies down, you hear a faint voice through the door. Paul! \"Alex, it's me!\"\n\"Paul! Don't come in. The room is flooded and the water is electric!\" \"I leave you alone for one minute ... anyway, listen! 26.3 % of the people on this plane have turned into Sharkmen.\"\n\"Only the biosex males?\"\n\"Okay, okay, into Sharkpeople. Anyway, listen: I'll try to be as inconspicuous  as possible, but they're looking for you. It's only a matter of time till they found out you're stuck in that unfortunate body.\"\n\"Well, my original body is rotting in an endless chasm on Mercury, so...\"\n\"One thing at a time. You know that multitasking is horrible for your stress level.\"\n\"What is your plan?\"\n\"Your soul has wandered before, and I don't mean that krokodil you did with those Russian dealers. When you saved me, you jumped into -\" \"Enough exposition and recap! You're saying I should find a way to jump into Ellison?\"\nBut Paul doesn't answer, and there's the some commotion outside the door.\n\"Get him!\" says a deep, dark Sharkman voice.\n\"Don't hurt me!\"\n\"Why not?\"\n\"Please, I'll tell you literally everything!\"\n\"Where is your husband?\"\n\"Okay, maybe I meant figurativ-ouch\"\nIt sickens you to your stomach as you hear something heavy slump against the door. A second later someone bangs on the door.\n\"Open up! Sharkpolice!\"\n\"Sorry, sir, I'm a little girl with Typhoid fever and you don't want to come in here!\"\n(You knew all this Victorian novels Paul made you read would be good for something at some point.)\n\"Uh...okay\" says the Sharkpoliceman, uncertainty in his voice. \"Then, uh, stay in there till we land. And you guys, carry this scum away.\"\n\n> Pet rat\nYou run a hand across his soft back, and he arches it, cat-like, with half-closed eyes.\n\n> You jump\nYou jump on the spot.\n\n> You touch rat\nYou pat him on his thick stomach, which he takes stoically.\n\n> You read the book\nYou begin to read. \"It was only seconds ago that the sound of a gunshot caught you off guard.\". Already your eyelids beging to drop. Soon you fall asleep. There is a a dream sequence cut for length and as you open your eyes you find yourself not yourself at all...\n\nAirplane Bathroom (on the toilet)\nThis room is gigantic! From up here on the toilet you see a deadly ocean of electrified water, a huge sink (forever out of reach) and an Air Vent high up on the wall, almost reachable.\n\nThe dead husk of the robot lies here, sparking occasionally.\n\nOn the toilet you can see Marsha.\n\n> You look at Marsha\nAww. She's asleep. But, apart from that, you think you could use here as a stepping stone to enter the air vent.\n\n> About yourself\nAww, just look at you. You have a pear-shaped body, with small, scrawny leg and feet.Your thick, soft fur is mostly brown with a huge white spot on the tummy.\n\n> You pet yourself\nYou scratch him between the ears, and he sits very still and closes his eyes.\n\n> You enter Vent\nYou climb onto Marsha's side with some effort. Man, living the cage life on cheese and crackers has not prepared you for this. It's all Paul's fault, you muse, as you take aim at the opening of the air duct, he's far too nice to this rat. Then again, he is, or was, too you. You feel a pang of longing for the old home life, with your rampages on New Year's Day the only break in the blissful monotony. And then you jump.\nSmall feet scramble on the smooth wall as gravity takes an unflatteringly strong hold on your rear end. You scratch and push and scowl, but finally you're in the air vent. You rest there for a minute and listen to your heartbeat, resting flat on the cool metal. You count 387 beats a minute and hope that's in the normal range.\n\nA featureless air duct, which continues north.\n\n> You go north\nAmidst all the noise from the plane you seem to hear a faint whirring sound.You don't feel safe at all. NOT AT ALL SAVE. Oops, typo. I meant safe.\n\n> Go north\nThe strange whirring seems to grow louder. And then a shadow covers the square of light from the air vent behind you. The robot has returned, fueled more by vengeance than his 12 AA batteries! A terrible monstrosity of broken wiring and hatred, it ever so slowy rolls towards you, the huge blades in front of it scraping the edges of the air duct.\n\nThe robot is very close! The air from the endlessly twirling blades, which will soon hack you to pieces, is still quite refreshing.\n\n> Go south\nA featureless air duct, which continues north.\n\nThe robot is very close! The air from the endlessly twirling blades, which will soon hack you to pieces, is still quite refreshing.\n\n> Go south\nA featureless air duct, which continues north.\n\nThe robot is here!\n\nThe robot has caught up to you! The last thing you see are the whirling blades and ... uh, kids ... then you talk about your differences and decide on a course of action everyone can agree on.\n\n> Examine duct\nWhich do you mean, Air Duct or Air Duct?\n\n> You look\nA featureless air duct, which continues north.\n\nRobot arrives from the south.\n\nThe robot has caught up to you! The last thing you see are the whirling blades and ... uh, kids ... then you talk about your differences and decide on a course of action everyone can agree on.\n\n> Go north\nThe air duct ends here.\n\nThere is a grating here, leading outside the plane to the north.\n\n> Go north\n(first opening the grating)\nIt's still wired firmly to the wall!\n\n> You examine the grating\nA sturdy metal grating, looped to the wall not so sturdily with some loops of wire, on in each corner.\n\nThe robot is very close! The air from the endlessly twirling blades, which will soon hack you to pieces, is still quite refreshing.\n\n> Bite wire\nWhich do you mean, the upper right wire, the upper left wire, the lower right wire or the lower left wire?\n\n> Upper right\nYou gnaw off the upper right wire.\n\n> Bite lower left\nYou gnaw off the lower left wire.\n\nRobot arrives from the south.\n\nThe robot has caught up to you! The last thing you see are the whirling blades and ... uh, kids ... then you talk about your differences and decide on a course of action everyone can agree on.\n\n> Go north\nA featureless air duct, which continues north.\n\nThe strange whirring seems to grow louder. And then a shadow covers the square of light from the air vent behind you. The robot has returned, fueled more by vengeance than his 12 AA batteries! A terrible monstrosity of broken wiring and hatred, it ever so slowy rolls towards you, the huge blades in front of it scraping the edges of the air duct.\n\nThe robot is very close! The air from the endlessly twirling blades, which will soon hack you to pieces, is still quite refreshing.\n\nA featureless air duct, which continues north.\n\nA featureless air duct, which continues north.\n\n> Go north\nA featureless air duct, which continues north.\n\nA featureless air duct, which continues north.\n\n> Go north\nThe air duct ends here.\n\nThere is a grating here, leading outside the plane to the north.\n\n(first opening the grating)\nIt's still wired firmly to the wall!\n\n> Go north\nThe air duct ends here.\n\nThere is a grating here, leading outside the plane to the north.\n\n(first opening the grating)\nIt's still wired firmly to the wall!\n\n> Bite upper left\nYou gnaw off the upper left wire.\n\n> Bite upper right\nYou gnaw off the upper right wire.\n\n> Bite lower left\nYou gnaw off the lower left wire.\n\n> Bite lower right\nYou gnaw off the lower right wire.\n\n> You go to the north\n(first opening the grating)\nLooking back at the half crazed machine, and looking down into the deceptively calm blue of the sky, you ponder for a moment. A gust of wind makes the decision for you and whips you out of the plane with a surprised squeak!\n\nSo much blue...\n\n> Up\nGravity disagrees!\n\n> You jump\nNope, the only thing you can do here is fall."
    },
    {
        "text": "[Themes: Humor]\n\n> You go downwards\nA small shadow blocks out the sun for a minute. That crazy robot has jumped out of the plane as well, following you! Soon it has caught up with you. You feel rather safe, though.\n\n> You look\nSo much blue...\n\nThe robot is tumbling down towards Earth besides you.\n\n> You examine the Robot\nFalling towards Earth next to you, its propeller harmlessly slicing the air, the mechanical underbelly of the beast is exposed.\nYou notice a small hatch.\n\n> You look at the hatch\nA small, metal hatch, and a keypad besides it. A sticker reads: \"CONTAINS PARACHUTE. In case you're robot mindlessly chases rodents or other critters into dangerous territory. Will be deployed automatically at a height of 5000 ft. Enter 4-digit PIN-code to open manually. Please don't use a number that's easily guessable.\"\n\n> Type 1234\nThe keypad just beeps.\n\nThere is no keypad here.\n\n> Type 2014\nThe keypad just beeps.\n\nThere is no keypad here.\n\nThe keypad just beeps.\n\nThere is no keypad here.\n\n> You look at the keypad\nNumbers from 0-9, the usual stick.\n\n> Type 0001\nThat was easy!\nThe hatch swings open.\n\n> You look in the hatch\nIn the hatch is a small parachute.\n\n> You take the parachute\nYou take the parachute.\n\n> You wear it\nYou put on the small parachute.\n\n> You take the parachute\nYou already have that.\n\n> You look at it\nIt's adorable! It has small shoulder straps and everything, and the tiniest pullcord.\n\n> You pull the pullcord\n*flop*\nThe parachute opens and you beging slowly drifting towards the ground, while the robot becomes a smaller and smaller speck below. After some time, you land.\nBut what now? The plane gets smaller and smaller, as it flies away high above you. You have no way to find out what they're doing to Paul and all your other friends, being just a small rat stranded somewhere in the middle of nowhere. Looks like there's nothing but wallow in self-pity for months now.\n\nSome generic farmland.\n\n> Go north\nAh, but what's the use?\n\n> Inventory\nYou are carrying:\na small parachute (being worn)\n\n> You remove parachute\nYou take off the small parachute.\n\n> You drop it\nDropped.\n\n> You think\nWhat a good idea.\n\n> Sleep\nThough this rat, like any good pet, can fall asleep at any time, you don't feel this is a good time to do so. Maybe later.\n\n> You look\nSome generic farmland.\n\nYou can see a small parachute here.\n\n> Go north\n(first opening front door)\nUh oh! There is a cat flap. You slip through it, hoping for the best.\n\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (closed) here.\n\n> You go east\nThis is a spacious, cool room. It once was busy and always kinda untidy. Now, all that's left of the furniture are the two couches, covered in white plastic wrapping.\nA door leads south to the kitchen.\n\nA cloning machine sits in a corner.\n\nAn opened letter lies forgotten on the floor.\n\n> You read the letter\nDear Dr. Elbe,\nwe here at HAM are sad to inform you that your delivery for\nTime machine parts\nby drone has failed. It seems our delivery drone was shot down by the Air Force somewhere over Spielertor National Park. We can reattempt delivery of a new copy in 2-3 years.\nHas this answered your question, please leave a rating etc.\n\n> You examine machine\nYou saw a similiar one on Mercury. It has one human-sized vat and an input slot. The only other feature is a big, red lever labelled \"CLONE\".\n\n> Examine slot\nLooks like it's meant to contain a very small sample of DNA.\n\n> You go south\nYou were beginning to wonder where all the Sharkmen guards were. Looks like they're sitting around the kitchen table, eating and chatting. Better leave them alone.\n\n> Go west\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (closed) here.\n\n> Up\nOof! You'd need to be a lot fitter to even try that.\n\n> You look at the small door\nA small wooden door. It's slightly ajar.\n\n> You enter door\nWhich do you mean, front door or the small door?\n\n> Inside\nGood thing the door to the Potter room was slightly ajar.\n\nShelves are nailed to the leaning wall.\n\nIn a corner stands a box labelled \"Alex' things\". That gives you a little pang. You almost forgot Paul thought you were dead for quite a while.\n\n> You look at the box\nIn the box are a razor, a cardboard tube, a key and a wedding ring.\n\n> You examine the razor\nHey, it's your old, uh, body razor. Unfortunately, it's quite dull and no use as this game's cutting thing.\n\nOn the razor is a hair.\n\n> You examine tube\nA simple cardboard tube, open on one end. Seems pretty useless. (So it probably isn't).\n\n> You look at the key\nPaul gave this to you for one of your birthdays. While he doesn't condone your habit of stealing and destroying golf carts from the course next door, he shows support. It's a skeleton key, that can open 95% of all golf carts in the world, and you've tried at least 34 models so far.\n\n> You examine the ring\nIt's a simple and golden.\n\n> You get the hair\nTaken.\n\n> Leave\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (closed) here.\n\n> You look at hair\nJudging from color and length is defintetely one of yours.\n\n> You put the hair in the slot\nEllison put the hair into the slot.\n\n> You look at the cloning machine\nYou saw a similiar one on Mercury. It has one human-sized vat and an input slot. The only other feature is a big, red lever labelled \"CLONE\".\n\n> You pull the lever\nThe machines makes some weird, gurgling noises, then it hisses and the vat fills with green smoke. The smokes gets thicker and thicker. For a few seconds, nothing happens, then the machine goes *ding!*, the vat opens and a figure emerges.\n\n> You look at the figure\nThis is Alex, lovable sociopath. Well, a clone. For fear of offending any sensibilites, the clone emerged fully clothed from the vat.\n\n> Sleep\nYou quickly fall asleep.\n\nThis is a spacious, cool room. It once was busy and always kinda untidy. Now, all that's left of the furniture are the two couches, covered in white plastic wrapping.\nA door leads south to the kitchen.\n\nA cloning machine sits in a corner.\n\nAn opened letter lies forgotten on the floor.\n\nYou can also see Ellison here.\n\nAwesome! Finally, after a game spent either death or in some ridiculous form, you're back in a copy of your own body. As an added bonus, this clone body is like 10 years younger than you were. You quickly check it's extremities and find them complete, in the right place and of expected length.\n\n> You talk to Alex\nYou says something really important.\n\n> You get the letter\nYou better let him rest a spell. He's earned a rest.\n\nTaken.\n\n> You read it\nDear Dr. Elbe,\nwe here at HAM are sad to inform you that your delivery for\nTime machine parts\nby drone has failed. It seems our delivery drone was shot down by the Air Force somewhere over Spielertor National Park. We can reattempt delivery of a new copy in 2-3 years.\nHas this answered your question, please leave a rating etc.\n\n> Open chest\nYou open the chest of drawers, revealing a bottle and The Arabian Nights: Tales of 1001 Nights.\n\n> You examine bottle\nA cute retro bottle that once contained some hand lotion. It's made of glass and has a plastic stopper. Also a pirate on the label. Not sure what connects pirates and hand lotions, but when you told Paul this, he just scoffed \"That's why you're not in marketing, dear.\"\n\n> You examine arabian Nights\nPaul's Penguin edition copy of this timeless classic.\n\n> You take all from the chest\nbottle: Taken.\nThe Arabian Nights: Tales of 1001 Nights: Taken.\n\n> You check your inventory\nYou are carrying:\nThe Arabian Nights: Tales of 1001 Nights\na bottle (closed)\na letter\n\n> Go inside\nShelves are nailed to the leaning wall.\n\nIn a corner stands a box labelled \"Alex' things\". That gives you a little pang. You almost forgot Paul thought you were dead for quite a while.\n\n> You get the ring and the tube\nwedding ring: Taken.\ncardboard tube: Taken.\n\n> You look in the box\nIn the box are a razor and a key.\n\n> You wear the ring\nYou put on the wedding ring.\n\n> You take the key\nTaken.\n\n> Go outside\nA small hallway, brightly lit by a row of Alien Tech(tm) powered neon lights. Dark wooden stairs lead upwards, and a doorframe opens east into the Living Room. A small door under the stairs lead into a storage closet. (Referred to by Paul only as \"The Potter Room\".)\n\nYou can see a chest of drawers (empty) here.\n\n> Up\nThis is  a small hallway, with a lot of doors. They're all unimportant (and therefor not implemented), except the one to the east.\n\nHoly Moses! Uncle Wallys ghost floats around here.\n\n> You examine the uncle\nThe acid bath he took in the last game hasn't done much for his complexion. He looks like a Dali painting of his former self, wearing a half-burnt Stalin jacket, and his skin has the color of something you find on the sole of your shoe after a night around town. He still seems to be a ghost, though.\n\n> You talk to the uncle\n\"ALEX! My favorite arse bandit!\"\n\"Have I ever told you I'm not the least bit sorry I pushed you into that acid bath?\"\n\n> You talk to the uncle\n\"The Queen of Hearts and Marmalades has hired you?\"\n\"She's actually called \"The Queen of Hurts and Maladies\". Women and their fancy names, eh?\"\n\"Have I ever told you I'm not the least bit sorry I pushed you into that acid bath?\"\n\n> You talk to the uncle\n\"Can you let me in?`\"\n\"Are you proposing me or ...\"\nYou just roll your eyes. \"Have I ever told you I'm not the least bit sorry I pushed you into that acid bath?\"\n\n> Keep going\n\"What are you doing here anyway? The last time I saw you was in hell!\"\n\n> You go east\nUncle Wally blocks your way and menacingly flings some ectoplasm at you. \"Don't make me grill you, son.\"\n\n> Unclewally\nSAVEOk.\n\n> You open the bottle\nYou open the bottle.\n\n> You read arabian Nights\nYou flip through it. This isn't like a Ray Harryhausen movie at all.\n\n> You look in the bottle\nThe bottle is empty.\n\n> You put Wally in the bottle\n(first taking Uncle Wally)\nI don't suppose Uncle Wally would care for that.\n\n> You show the book to Wally\nUncle Wally is unimpressed.\n\n> You give the book to Wally\nWally refuses the book with a raised hand. \"Reading classics? Please, that's for people who studied to work at McDonalds.\"\n\n> Rub bottle\nYou give the bottle another good shake and you can faintly hear Wally's pathetic protestations. Teehee.\n\n> You open the bottle\nThat's already open.\n\n> You ask Wally about the bottle\n\"You wouldn't understand. The Queen uses Quantum mechanics. Ever heard of the Lampshade effect?\"\n\n> You ask Wally about the genie\n\"Please let me in. We humans need to stick together.\"\n\"Please, I'm at least one step above you on the evolutionary ladder.\"\n\n> You show the bottle to Wally\n\"Hey, Wallster, I bet your inflated ego doesn't fit in here!\"\nWally grabs the open bottle and peers at it intently.\n\"You must think I'm a total moron.\"\nWell, shit.\n\"Of course I know that ghosts don't have mass, so I can do this easily.\"\nAnd with a *plop* he disappears into the bottle.\nYou quickly ram home the stopper with the flat of your hand.\n\"Hey\" says Uncle Wally very faintly. \"Good joke, but, let me out, okay? I just got this job.\" You give the bottle a good shake and that shuts him up.\n\n> You look\nThis is  a small hallway, with a lot of doors. They're all unimportant (and therefor not implemented), except the one to the east.\n\n> You go east\nYou kick the bedroom door and it crashes open. (It wasn't really locked). Paul jumps up from the bed with a shriek. He looks thinner, bestubbled, his hair dyed some time ago but the roots are showing. He blinks and then jumps into your arms. You hold him for some precious moments, emotions swirling in you that you are too manly to express. Video games have told you well.\n\"You have your body back! You have to tell me all about it!\"\n\"No time, there will be a flashback later.\"\n\"Later?\"\n\"Earlier for me, er, the player, er, nevermind. We've gotta get out of here.\"\n\"Not so fast, we need to save Dr. Elbe.\"\n\"The famous temperologist? Where is he?\"\n\"Actually, she goes by Dana these days. But that's not important. She climbed out the window to attack the Sharkmen while they are having dinner in the kitchen.\"\n\"Attack? With what?\"\n\"I told her of your secret weapons stash in the undergrow. Anyway, we need to help her. C'mon, >CLIMB OUT WINDOW.\" He slaps you on the ass and makes shooing motions with his hands.\n\"What about you?\"\n\"I'm staying here. You know I hate guns.\"\nYou nod and grab his head and kiss him gently.\n\"See you soon. Don't die on me again.\"\n\"You wish. Oh here.\"\nIt's a bit late for a Christmas present, but here's your uncle.\"\nPaul looks at the bottle and whistles.\nThen you >JUMP OUT WINDOW.\n\nPaul's parents loved this garden, and so do you. It's sorrounded on three sides by walls overgrown by undergrowth, so as to hide the family members going for a seamelss tan.This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless). It seems that the Pool has been drained some time ago.\n\nThe silhouettes of Sharkmen move through the fog.\nAlso, you once again don't feel safe.\n\nDr. Elbe kneels behind the barricade, aiming the M60 at the advancing Sharkmen.\n\nYour most prized possession, an original Colt Army Model 1860 lies beside Dr. Elbe.\n\nA ginger cat lies on one of the reamining deck chairs, watching the proceedings with weary disinterest.\n\nNow your deck-chairs have been piled up to make a barricade. Behind it, Dr. Elbe, in a tasteful yet practical summer dress kneels, reloading your M60 machine gun. She expertly feeds the belt of 7.62 mm NATO cartridges ( or .308 Winchester) into it, and you notice that she uses your M122 tripod.\nAs you scramble to your feet, you notice a huge wall of smoke from the huge glass doors that lead inside, to the kitchen.\nYou quickly jump behind the barricade for cover.\n\n> You take Colt\nYou can tell from the weight that it's still loaded with 4 paper cartridges you made yourself.\n\nTaken.\n\n> You look\nGarden Area (behind the barricade)\nPaul's parents loved this garden, and so do you. It's sorrounded on three sides by walls overgrown by undergrowth, so as to hide the family members going for a seamelss tan.This wasn't necessary for the southern wall, wich is quite high, because it borders on a Golf course (Pauls told you they find the occasional golf ball in the pool nonetheless). It seems that the Pool has been drained some time ago.\n\nThe silhouettes of Sharkmen move through the fog.\nAlso, you once again don't feel safe.\n\nDr. Elbe kneels behind the barricade, aiming the M60 at the advancing Sharkmen.\n\nA ginger cat lies on one of the reamining deck chairs, watching the proceedings with weary disinterest.\n\n> You talk to Elbe\n\"Hey, Dr. Elbe. I'm Alex.\"\n\"Hey, Alex\" she says, shooting you a sideways grin, \"please, call me Dana.\" She squeezes her eyes and shoots of a few rounds, dropping one of the shapes in the fog. \"Pleased to meet you.\"\n\nWhile Dr. Elbe is busy on the right side of the garden, a Sharkman jumps through the fog to the left. He has a M16 in his hands and fires at you!\n\n> You shoot Sharkman\nBANG!\nThe Sharkman throws up his hands and drops dead!\n\n> You talk to Elbe\n\"What do we do now?\"\n\"I say we wait for Paul to make a run for it, then get away through the golf course.\"\n\n> You shoot Fog\nYou don't want to shoot Fog.\n\nWhile Dr. Elbe is busy on the right side of the garden, a Sharkman jumps through the fog to the left. He has a Uzi in his hands and fires at you!\n\n> You shoot Sharkman\nBANG!\nThe Sharkman clutches his chest and keels over!\n\n> You talk to Elbe\n\"And then what?\"\n\"I have a plan how we can save Earth from the oppression of the Sharkmen.\"\n\n> You talk to Elbe\n\"Does it involve time travel?\"\n\"Uh...yes?\"\n\"Cool!\"\n\nWhile Dr. Elbe is busy on the right side of the garden, a Sharkman jumps through the fog to the left. He has a Ak47 in his hands and fires at you!\n\n> You shoot Sharkman\nBANG!\nThe Sharkman spins on his heel and drops to the ground!\n\n> You talk to Elbe\n\"What is taking your husband so long?\"\n\"Maybe he's just a little scared. He's really not cut out for all this violence.\"\n\n> You talk to Elbe\n\"Oh yeah, he, um, actually told me you died? Was that, like, a metaphorical thing or...?\"\n\"No, much more mundane. A light grue threw me into a chasm on Mercury.\"\n\nWhile Dr. Elbe is busy on the right side of the garden, a Sharkman jumps through the fog to the left. He has two Colt 1911 in his hands and fires at you!\n\n> You shoot Sharkman\nBANG!\nThe Sharkman falls on his knees and then falls face forward!\n\n> You talk to Elbe\n\"Well, I see you got better.\"\n\"Yeah, I can actually possess people and stuff? I'm not yet clear how it works, it's like God or someone makes up the rules and changes them as he goes along.\"\n\n> You talk to Elbe\n\"Why is your face so red, Dana?\"\n\"Laser therapy. Beard removal.\"\n\"That must suck.\"\n\"Yeah, it does.\"\n\nWhile Dr. Elbe is busy on the right side of the garden, a Sharkman jumps through the fog to the left. He has a knife in his hands and runs towards you!\n\n> You shoot Sharkman\nYou're out of ammo.\n\n> You kill Sharkman\nViolence isn't the answer to this one.\n\nOh no! The Sharkman jumps over the barricade and lands on top of you. You try to hit him with the Colt, but he slaps it out of your hand and it skiddles away. Can you raise your hand quick enough to block his blow? Quickly, press B.\n\n> B.\nYou manage to raise your arms and block the Sharkman's locked wrists. But the knife is still coming downwards slowly! Quick, press A.\n\n> R.\nThe sharkman pushes your flailing hands away with both hands and rises the knife again! O.M.G.! QUICK, press T.\n\n> T\nYou roll towards the side and throw the Sharkman off balance. He impales himself on his own knife and ... uh, has to go to the hospital, where he eats lots of ice cream!\nYou push the corpse off you, and through the smoke you see Paul's extended hand. He helps you up. Elbe is still firing at more and more Sharkmen coming through the doors. Man, your kitchen must look like shit.\n\"Quick!\" she shouts. \"Get over the wall!\"\n\"Quick, Paul, I'll boost you.\" You stare at his ass a little more than necessary as you help your husband onto the wall. He extends his hand to you. \"Quick, Alex, get up here.\"\nYou look back at Elbe, who provides more and more desperate covering fire.\n\"It's noble she's sacrifing herself, but I don't feel comfortable with such a clich\u00e9d end for a minority character.\"\n\"Sacrifice myself? Are you crazy? Cover me from up there, you dick.\" With that she tosses you the M60.\n\nYour lying on the wall between your garden and the golf course.\n\nA few Sharkmen are advancing while firing wildly at the wall. Bullets chip the stone here and there.\n\nHey, there is a penny up here! You never noticed.\n\n> You shoot Sharkmen\nYou squeeze the trigger. Dang! Damn thing is jammed! Better clear it.\n\nElbe breaks away from the barricade and runs towards the wall. Behind her, Sharkmen advance in formation over their fallen comrades, firing wildly.\n\n> Clear gun\nYou pry the stuck shell out of the barrel with the cleaning rod and the next round chambers with a *clack*.\n\n> You shoot Sharkmen\nYou get a good foothold on the wall to shoot it, even with foregrip. Better unfold the tripod.\n\nDr. Elbe begins to climb the wall, somewhat hindered by the bullets hitting the wall around her and by her flowing dress.\n\n> Unfold tripod\nYou unfold the tripod and try to find a good place on the wall to put it.\n\n> You shoot Sharkmen\nYou get a good foothold on the wall to shoot it, even with foregrip. Better unfold the tripod.\n\nDr. Elbe looks at you angrily.\n\"Uh, how about that covering fire?\"\n\"Damn thing was ...\"\nA tracer sizzles overhead so close it nearly sets your hair on fire. \"Hey!\" shouts Paul, \"I'm all for addressing problems directly, but how about COMING THE FUCK DOWN HERE first?\"\nDr. Elbe nods and scurries down into the Golf course, with you close behind.\n\nYou are at the foot of a small, sloping hill, the lawn neatly cut. You can go eastwards, uphill. The wall of your garden is here.\n\nDr. Elbe stands around here, eyes alert.\n\nPaul stands around, smiling at you affectionately.\n\n> You go east\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting part seems to be one of the entrance gates to the northeast. West is the wall to your garden.\n\nYou can see a golf cart (closed) here.\n\nPaul trudges along.\n\nElbe follows you.\n\n> You unlock the cart with the key\nYou unlock the golf cart.\n\n> You open the cart\nYou open the golf cart.\n\n> You enter the golf cart\nYou get into the golf cart.\n\nPaul shu-shus at you. \"Scoot over, you're driving all the time.\"\n\"All the time? I've been death for a while.\"\nNevertheless, you slide over on the passager seat.\n\nDr. Elbe climbs onto the backseat and grabs the M60 from your hands. She quickly unfolds the tripod and installs the machine gun on the rear end of the car. \"Okay, ready.\"\nCool, looks like you don't have to do anything.\n\n> You wait\nTime passes.\n\nPaul goes northeast in the golf cart, taking you along.\n\nEntrance Gate (in the golf cart)\nA metal gate bars the way out to a lovely country lane.\nOh wait, that's what this usually looks like. Now you look closer for the first time in years and realize there's a cemetery on the other site of the road. The way back is sw. I mean southwest.\n\nDr. Elbe is on the backseat, at the M60.\n\nPaul drives the golf cart.\n\n> You wait awhile\nTime passes.\n\n> Go outside\nHello no! This thing is doing a breakneck 30 mph.\n\nYou drive past the cemetery and Paul expertly does a handbrake turn to the right. The cemetery passes to the left, and you have the conversation from the intro.\n\nPaul goes northeast in the golf cart, taking you along.\n\nCountry Road (in the golf cart)\nSpielertor is one of the oldest National Parks in the state, which you can easily tell from the forest.\n\nDr. Elbe is on the backseat, at the M60.\n\nPaul drives the golf cart.\n\n> Wait\nTime passes.\n\nWhat was a black shape down the road a second before turns into tank that's gaining on you very fast. Elbe starts firing the M60, with little effect.\n\"Damn, Alex\" cries Paul, \"do something!\"\n\nPaul goes northeast in the golf cart, taking you along.\n\nForest (in the golf cart)\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\nDr. Elbe is firing at the tank. Bullets riochet off the armor uselessly. Still, she seems to have fun.\n\nPaul drives the golf cart.\n\nThe tank is chasing you!\n\n> You throw the tube at the tank\nFutile.\n\n> Examine tank\nIt's black and huge, bulky yet sleek. Luckily, they can't get you with their gun turret, but a dude with an Assault Rifle (seems to be an update model of the M16) fires at the cart from behind a manhole cover.\n\n> You shoot the manhole cover\n\"I'd like to help, Doc, but I'm unarmed. Got any of my stash left?\" \"Sorry, no, but I can give you this.\"\nShe throws you something that is either a very big laser pointer or a very small flashlight.\n\"Oh, is this a laser gun?\"\n\"No.\"\n\"A lightsaber?\"\n\"Unfortunately, also no.\"\n\"So, what is it?\"\n\"It's a very powerful laser. Not powerful enough to hurt anyone-\" \"Aww\"\n\"-but you could use it as a, you know, laser pointer.\"\n\"I'll keep that in mind when I want to PowerPoint (tm) them to death.\"\n\nPaul swerves over the road wildly, trying to avoid the gunner's fire. \"Dr. Elbe! Get that guy!\"\n\"He's too well protected. This looks like a job for the protagonist.\" \"Just give me the g...\"\nBut just at that moment something terrible breaks through the dense foliage. It's a quadruple human, ridden by a Horseman. That's the most horrible thing you ever saw, at least since Paul had that herpes problem.\n\nPaul goes northeast in the golf cart, taking you along.\n\nForest (in the golf cart)\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\n\nDr. Elbe is firing at the tank. Bullets riochet off the armor uselessly. Still, she seems to have fun.\n\nPaul drives the golf cart.\n\nThe tank is chasing you!\n\nThe Horseman rides the Manhorse very closely alongside the cart, in hot pursuit.\n\n> You point the laser at dude\nThat may look interesting, but does nothing.\n\nPaul goes northeast in the golf cart, taking you along.\n\nClearing (in the golf cart)\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south. On the ground is a pile of leaves.\n\nDr. Elbe is firing at the tank. Bullets riochet off the armor uselessly. Still, she seems to have fun.\n\nPaul drives the golf cart.\n\nThe tank is chasing you!\n\nThe Horseman rides the Manhorse very closely alongside the cart, in hot pursuit.\n\n> You talk to Elbe\n\"Sorry, Alex, would love to chat but it's hard to do it over the exchange of gunfire between us and the\"\nRATATATATATATATA BOOM BOOM BOOM\n\"I get your point.\"\n\n> You jump on Manhorse\nYou lean out of the cart, grabbing the roof with one hand.\n\"What are you doing?\" screams Paul.\n\"We need to stop-\"\n\"Don't say horsing around!\"\n\"Okay.\" And then you jump.\nAfter some dramatic scrambling, you sit in the saddle behind the confused Horseman.\n\nClearing (on Manhorse)\nYou are in a clearing, with a forest surrounding you on all sides. A path leads south. On the ground is a pile of leaves.\n\nA tank is chasing you, and a guy with an assault rifle fires at the golf cart.\n\nYou can also see a golf cart (in which are Dr. Elbe and Paul) here.\n\nA horseman sits before you.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nThe Horseman rides the Manhorse very closely alongside the cart, in hot pursuit.\n\n> You point the laser at the dude\nThat may look interesting, but does nothing.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> You examine dude\nA sharkman with an assault rifle!\n\n> You look at Manhorse\nThe Manhorse is as a big horse, but looks like a man! Surprisingly, he manages to keep up with the cart. One of the saddlebags is marked with some writing.\n\n>READ WRITING\n\nIt says \"DANGER! EXPLOSIVE.\"\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> You take the saddlebag\nThat's hardly portable.\n\n> Light saddlebag\nThis dangerous act would achieve little.\n\nY'all arrive at a nice fire tower, and at a glance you see the package for Elbe on the floor, but there is no room for you to go, and the tank runs over the golf cart with a terrifying crunch (everyone escapes unharmed).\n\n> You wait awhile\nTime passes.\n\nYou drive past the cemetery and Paul expertly does a handbrake turn to the right. The cemetery passes to the left, and you have the conversation from the intro.\n\nPaul goes northeast in the golf cart, taking you along.\n\nCountry Road (in the golf cart)\nSpielertor is one of the oldest National Parks in the state, which you can easily tell from the forest.\n\nDr. Elbe is on the backseat, at the M60.\n\nPaul drives the golf cart.\n\n> Wait\n\"I'd like to help, Doc, but I'm unarmed. Got any of my stash left?\" \"Sorry, no, but I can give you this.\"\nShe throws you something that is either a very big laser pointer or a very small flashlight.\n\"Oh, is this a laser gun?\"\n\"No.\"\n\"A lightsaber?\"\n\"Unfortunately, also no.\"\n\"So, what is it?\"\n\"It's a very powerful laser. Not powerful enough to hurt anyone-\" \"Aww\"\n\"-but you could use it as a, you know, laser pointer.\"\n\"I'll keep that in mind when I want to PowerPoint (tm) them to death.\"\n\nWhat was a black shape down the road a second before turns into tank that's gaining on you very fast. Elbe starts firing the M60, with little effect.\n\"Damn, Alex\" cries Paul, \"do something!\"\n\nPaul goes northeast in the golf cart, taking you along.\n\nForest (in the golf cart)\nThis is a forest, with trees in all directions. To the east, there appears to be sunlight.\n\nDr. Elbe is firing at the tank. Bullets riochet off the armor uselessly. Still, she seems to have fun.\n\nPaul drives the golf cart.\n\nThe tank is chasing you!\n\nTime passes.\n\n> You wait\nTime passes.\n\nPaul swerves over the road wildly, trying to avoid the gunner's fire. \"Dr. Elbe! Get that guy!\"\n\"He's too well protected. This looks like a job for the protagonist.\" \"Just give me the g...\"\nBut just at that moment something terrible breaks through the dense foliage. It's a quadruple human, ridden by a Horseman. That's the most horrible thing you ever saw, at least since Paul had that herpes problem.\n\nPaul goes northeast in the golf cart, taking you along.\n\nForest (in the golf cart)\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\n\nDr. Elbe is firing at the tank. Bullets riochet off the armor uselessly. Still, she seems to have fun.\n\nPaul drives the golf cart.\n\nThe tank is chasing you!\n\nThe Horseman rides the Manhorse very closely alongside the cart, in hot pursuit.\n\n> You jump\nYou jump on the spot.\n\n> You jump on Manhorse\nYou lean out of the cart, grabbing the roof with one hand.\n\"What are you doing?\" screams Paul.\n\"We need to stop-\"\n\"Don't say horsing around!\"\n\"Okay.\" And then you jump.\nAfter some dramatic scrambling, you sit in the saddle behind the confused Horseman.\n\nForest (on Manhorse)\nThis is a path winding through a dimly lit forest. The path heads north-south here. One particularly large tree with some low branches stands at the edge of the path.\n\nA tank is chasing you, and a guy with an assault rifle fires at the golf cart.\n\nYou can also see a golf cart (in which are Dr. Elbe and Paul) here.\n\nA horseman sits before you.\n\n> You search the Saddlebag\nIn Saddlebag is rocket grenade.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nThe Horseman rides the Manhorse very closely alongside the cart, in hot pursuit.\n\n> You look at the rocket grenade\nIt's a neat little Mahavira-Arnaud rocket grenade. You can either fire it from a rocket launcher, even an improvised one, or throw it. In either case you should first you  hit it on the top, the the 4 turn,er, second, fuse is activated.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> You hit the grenade\nYou bonk the grenade on the top. Something clicks mechanically inside.\n\n> You wait awhile\nTime passes.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> You throw grenade at the tank\nYou throw the grenade at the tank! Unfotunately, it just bounces off the armor harmlessly and explodes by the wayside. Luckily, there are more grenades in the saddlebag.\n\n> You wait for a while\nTime passes.\n\nWell, if you were wondering what happens if you hold a grenade in your hands for too long, the answer is, unsurprisingly, it explodes.\n\n> You throw grenade at the dude\nFutile.\n\nWell, if you were wondering what happens if you hold a grenade in your hands for too long, the answer is, unsurprisingly, it explodes.\n\n> You put the grenade in the tube\nYou put rocket grenade into the cardboard tube.\n\n> You hit the grenade\nYou bonk the grenade on the top. Something clicks mechanically inside.\n\n> You wait awhile\nTime passes.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> Shoot tank\nYou need a gun.\n\nWell, if you were wondering what happens if you hold a grenade in your hands for too long, the answer is, unsurprisingly, it explodes.\n\n> You throw the grenade at tank\n(first taking rocket grenade)\nYou throw the grenade at the tank! Unfotunately, it just bounces off the armor harmlessly and explodes by the wayside. Luckily, there are more grenades in the saddlebag.\n\n> You check what you're carrying\nYou are carrying:\na laser pointer\na key\na cardboard tube\nrocket grenade\na wedding ring (being worn)\nThe Arabian Nights: Tales of 1001 Nights\na letter\n\nWell, if you were wondering what happens if you hold a grenade in your hands for too long, the answer is, unsurprisingly, it explodes.\n\n> You attach laser to tube\nYou clip the laser pointer to the cardboard tube. Neat. Now you can point (or aim) the  whole tube at distant objects.\n\nWell, if you were wondering what happens if you hold a grenade in your hands for too long, the answer is, unsurprisingly, it explodes.\n\n> You attach the laser to the tube\nYou clip the laser pointer to the cardboard tube. Neat. Now you can point (or aim) the  whole tube at distant objects.\n\n> You hit the grenade\nYou bonk the grenade on the top. Something clicks mechanically inside.\n\n> You put the grenade in the tube\nWow, you have an improvised rocket launcher.\n\nYou put rocket grenade into the cardboard tube.\n\nPaul goes northeast in the golf cart.\n\nThe tank is chasing you!\n\nManhorse rides very closely alongside the cart, in hot pursuit.\n\n> Point launcher at dude\nYou aim the tube at the tank. This will either net you a Darwin Award or be awesome,you think.\nThe grenade ignites.\nThe tube burns up in your hands faster than aluminum foil. There is a loud hissing and a trail of smoke towards the tank.\nFor a second, nothing happens. With a loud, defeaning roar, the tank explodes, pushing over the golf cart, throwing you off the horse and into the woods. You crash against a tree and fall down. Around you, the forest has quickly caught fire. Flames roars, and metal cracks in the distance. You try to get up, but your back hasn't hurt this bad since your first yoga practice.\n\nThis is just a place in the woods, surrounded by a roaring ring of flames.\nA burning hubcap rolls past you.\n\nA broken bottle lies here.\n\n> You examine bottle\nOh crap. You know this bottle.\n\nA shape stumbles from the fire, ragged, burnt patches of skin on the hands. Paul. He otherwise seems okay, though.\n\"Paul\" you croak, \"I didn't know that the tank would explode quite so messily.\"\nThen you notice his red glowing eyes and crap your pants (not literally).\n\"Oh, not to worry\" says Uncle Wally. The last step he takes towards you feels like it takes a year.\n\nAlex and Paul will return."
    },
    {
        "text": "[Themes: Fantasy, treasure, folklore character, fantasy, vehicle, female protagonist, ice, hell, Demon]\n\nHe who eats fire, shits sparks; this line of work involves no small amount of risk, therefore. But compared to everyone else, demons are refreshingly easy. No suspicions are necessary; you know they're out to screw you over.\n\nThe war-engine cache was a new tactic, enabling you to penetrate deeper than you'd ever contemplated before and still make it out. And this seemed like the most secure site to hide the thing. If your minions weren't idiots of the first water, it would have been a good plan.\n\nThe ice of the Cocytean piedmont is pitted and rotten, riddled with moulins of befouled meltwater. For the most part the caves are unstable, but they don't tend to change too much over winter. This one is large enough to serve as temporary depot, but small and twisty enough to keep it hidden.\n\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n[Author's Note: Storing a war-engine inside Hell was a new tactic; you'll be able to penetrate deeper than ever before and still have a chance of getting out again. The job isn't without its risks, but at least you know the demons are out to get you.]\n\n> You look at Quagga\nOh, now the sow pulls out the bung. You told that fool Mayken a dozen times that when she made the drop she should demonproof everything thoroughly, but what a mess. Not even a tarp thrown over it, for pity's sake. There's a sliver of a chance that it might still be functional, but de-imping the thing is going to be unpleasant.\n\n> About yourself\nNo longer young, not yet old. For a period of about two months when you were seventeen, you might have been considered handsome; you are almost six feet tall, with a great cow-catcher of a nose, enormous feet, washerwoman's hands, and precious few teeth. Not to mention the effects of soaking in brimstone fumes for a few hard weeks.\n\n> Inventory\nYou are carrying:\na bog-iron scramaseax\na demonoscope\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (closed)\nan ornamental imp\nan octavo of Shakespeare fanfiction\n\n> You read the fanfiction\nA small single-run printing by one Wm. Shakspere, with the mysterious title D5-D6. Hette, non-Conne, wingefick. Neifile/Fiammetta/Panfilo, Elissa/Filostrato, Dioneo/Misia. Spoileres.\n\n> You read camus\nThe Cahiers of Camus, all but unobtainable in the mortal realm. Your usual reading-material extends about as far as grocery lists, but you know several buyers who will cheerfully gouge each others's eyes out for this. Disappointingly, it is bound in rather boring green canvas.\n\n> You look at the demonoscope\nA small, crudely painted ikon of the Blessed Egdethbra of Wessex in the act of her martyrdom, a sordid little affair involving a backsliding Dane, a turnip field and an ironbound psalter. When waved at demon-infested things, the aforementioned proto-saint wiggles her toes and rolls her eyes wildly. (Demonoscopes are usually crafted with saints of better repute, preferably ones who actually existed, but these are usually overwhelmed by the demon-saturated environment of the Circles.)\n\n> Wave demonoscope at imp\nThe unfortunate saint wriggles a little bit, dislodging a turnip or two, but that's about background level for anywhere below circle four.\n\n> Wave demonoscope at Quagga\nYou sweep the ikon vaguely across the Quagga. The doubtful blessed writhes and kicks, turnips flying in all directions. Not an all-out frothing fit, bethankit, which means that the most you reasonably have to deal with is a handful of imps or perhaps a lesser cluster. Making more controlled sweeps, you narrow the disturbances down to three areas: the aft right hip joint, the furnace and something up towards the pilot's end - have to get inside to narrow that down.\n\n> You examine the scramaseax\nCold-wrought bog-iron is a wretched material, but you'd carry a weapon made of soap if it could wound the dead. It's notched, pitted, holds an edge for about three seconds and has been twisted back into shape countless times; constant application of walrus blubber mitigates the rust somewhat, but considering what's in the air here the final outcome is not in doubt. Locating a replacement for when the dear old thing falls to bits is one of your more pressing concerns.\n\n> You look at the loot\nMost of this is hell-forged treasure of the gaudiest sort: crowns, plate, jewelry, fist-sized diamonds. Horse droppings are not figs: it will all turn to dented tin and broken crockery when exposed to fresh air and sunlight, but until then it will serve as a cover for the good stuff, and as bribes for the more stupid gatekeepers.\n\n> Wave demonoscope at aft right hip joint\nAch. Yes. Definitely something hiding out in the hip joint; the silly bint's gibbering like a Barbary ape. If you're any judge, it's an agubulge, one of those inane little point-coolant things they use to stop body heat from eventually melting out the more populated regions. Knowing your luck the thing's carrying eggs, too.\n\n> You examine the imp\n(the agubulge)\nA mass of ice, at the centre of which is presumably a cold-imp. The things are mindless and relatively easy to deal with, on the whole, except that they breed. By means of microscopic eggs. The last time you stumbled into a swarm of them you had to take three saunas a day for two weeks and boil everything you owned; but hopefully any eggs will get killed off by engine heat if you can just get rid of this one and get things running.\n\n> You examine the ornamental imp\nThe smallest and most stupid demons come in innumerable shapes, most of them hideous; a few breeds, however, are rather attractive and are worn as ornaments by ladies of fashion. They don't breed true, however, which ensures that there's constant demand for wild specimens. Occultists love to grumble about being priced out of the market.\n\nThis specimen is of the type usually worn on a fine silver chain around the wrist and used by demimondaines to light their cigarettes; it resembles a butterfly-wing folded into abstract origami, with eyes.\n\n> Wave demonoscope at furnace\nYep, there's something nasty in there all right. Turnips everywhere.\n\n> You look at the furnace\nSome of the hobbedehoys used for commercial freight have furnaces with external access - the fireman walking alongside, hanging off a ladder or balancing on a footman's plate, and sparing the pilot from blazing heat and clips on the ear from clumsy shovel-handling. Military models, though, invariably have the firebox opening onto the relative safety of the pilot's plate, so you'll need to climb aboard if you want to get at it.\n\n> You examine the aft right hip joint\nBig mass of ice. Icicles. Probably an imp deep inside. Not going anywhere until it's dealt with.\n\n> You examine the aft left hip joint\nAn unmodified Blazing Host four-joint limb, in good condition apart from superficial scratches.\n\n> You look at the cage\nA local product; within a few hours of your escape it will have become a chamberpot or a cracked jug, but it'll do until then. It presently houses an ornamental imp..\n\n> You examine the imp\n(the agubulge)\nA mass of ice, at the centre of which is presumably a cold-imp. The things are mindless and relatively easy to deal with, on the whole, except that they breed. By means of microscopic eggs. The last time you stumbled into a swarm of them you had to take three saunas a day for two weeks and boil everything you owned; but hopefully any eggs will get killed off by engine heat if you can just get rid of this one and get things running.\n\n> You examine the ornamental imp\nThe smallest and most stupid demons come in innumerable shapes, most of them hideous; a few breeds, however, are rather attractive and are worn as ornaments by ladies of fashion. They don't breed true, however, which ensures that there's constant demand for wild specimens. Occultists love to grumble about being priced out of the market.\n\nThis specimen is of the type usually worn on a fine silver chain around the wrist and used by demimondaines to light their cigarettes; it resembles a butterfly-wing folded into abstract origami, with eyes.\n\n> You look at the pilot's end\nYou can't see any such thing.\n\nYou can't see any such thing.\n\n> You examine Quagga\nThe basic chassis is one of the Blazing Host two-and-twos that have formed the backbone of the al-Andalus line for almost a century. It's really an infantry-breaker, working best at a killing trot; when they face the dashing thoroughbuilt machine-hunters favoured by cavalry snobs, they're generally swept off the field. But they handle difficult ground well, they don't break down much, and on the march - using those little auxiliary limbs under the pilot's plate - they burn about half the fuel of a thoroughbuilt."
    },
    {
        "text": "[Themes: Fantasy, ice]\n\n> Look around\nThe ice of the Cocytean piedmont is pitted and rotten, riddled with moulins of befouled meltwater. For the most part the caves are unstable, but they don't tend to change too much over winter. This one is large enough to serve as temporary depot, but small and twisty enough to keep it hidden.\n\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n> You kill the agubulge with the scramaseax\nOne swing of the seax fractures the ice into a spiderweb of cracks. A second dislodges some good-sized chunks, and soon you have most of the ice hacked away. Unfortunately, there's still some lodged up inside the joint - how did the little bastard squeeze into such a narrow space? Nesting, you muse darkly. At any rate, the seax is too blunt and misshapen to fit into such a narrow gap.\n\n> Burn camus\nYou lack a source of fire.\n\n> You open the cage\nYou open the spun silver birdcage.\n\n> You get imp\n(the ornamental imp)\nTaken.\n\n> Light imp\n(the ornamental imp)\nAs carefully as you can, you slip a finger and thumb through the imp's angular folds and give its abdomen a squeeze. You are rewarded with a small and flickering flame that dances over its wingtips like an aurora.\n\n> You burn agubulge\nThe symmetry of the solution has appeal, but as it turns out the ornamental demon's flame is far too faint to melt more than a few droplets of ice.\n\n> Burn camus\nSteeling yourself, you apply the imp to one page. Old paper burns wonderfully well, you discover, and the whole thing is soon aflame. You try not to think of the volume of merino socks and Kopi Luwak that could have purchased with the proceeds.\n\n> You burn agubulge\nYou wedge the blazing mass under the hip joint and hover anxiously nearby to prod it into more enthusiastic flames. After a few harrowing minutes, you hear a gurgling rodent squeal and the drip of meltwater is augmented by a pinkish ooze, washing away the last ashes of your former prize.\n\n> You look at the seax\nCold-wrought bog-iron is a wretched material, but you'd carry a weapon made of soap if it could wound the dead. It's notched, pitted, holds an edge for about three seconds and has been twisted back into shape countless times; constant application of walrus blubber mitigates the rust somewhat, but considering what's in the air here the final outcome is not in doubt. Locating a replacement for when the dear old thing falls to bits is one of your more pressing concerns.\n\n> Burn fanfiction\nSteeling yourself, you apply the imp to one page. Old paper burns wonderfully well, you discover, and the whole thing is soon aflame. You try not to think of the volume of merino socks and Kopi Luwak that could have purchased with the proceeds.\n\n> You burn agubulge\nYou wedge the blazing mass under the hip joint and hover anxiously nearby to prod it into more enthusiastic flames. After a few harrowing minutes, you hear a gurgling rodent squeal and the drip of meltwater is augmented by a pinkish ooze, washing away the last ashes of your former prize."
    },
    {
        "text": "[Themes: Fantasy, folklore character, female protagonist, hell, ice]\n\nHe who eats fire, shits sparks; this line of work involves no small amount of risk, therefore. But compared to everyone else, demons are refreshingly easy. No suspicions are necessary; you know they're out to screw you over.\n\nThe war-engine cache was a new tactic, enabling you to penetrate deeper than you'd ever contemplated before and still make it out. And this seemed like the most secure site to hide the thing. If your minions weren't idiots of the first water, it would have been a good plan.\n\nThe ice of the Cocytean piedmont is pitted and rotten, riddled with moulins of befouled meltwater. For the most part the caves are unstable, but they don't tend to change too much over winter. This one is large enough to serve as temporary depot, but small and twisty enough to keep it hidden.\n\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n> Enter\nAlthough the ideal crew of a 'gin of this class is three, the Quagga has been rigged to allow it to be crewed one-handed, though you'd break your back jumping between helm and firebox at anything faster than a trot. The cut-down controls - essentially just the gearshaft and helm - will not exactly allow you to fight any cavalry actions, but fortunately Hell is short on armour regiments.\n\nWith the engine at rest, the floor slants down rather towards the engine's front.\n\nBeside the coal chute lies a fireman's shovel.\n\n> You examine the ice\nIt's not pretty ice. It's grey and looks kind of worm-eaten and has brown flecks in it. They missed a trick, though; it'd be much nastier if it ever thawed out.\n\n> You go outside\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n> Wave demonoscope at Quagga\nYou sweep the ikon vaguely across the Quagga. The doubtful blessed writhes and kicks, turnips flying in all directions. Not an all-out frothing fit, bethankit, which means that the most you reasonably have to deal with is a handful of imps or perhaps a lesser cluster. Making more controlled sweeps, you narrow the disturbances down to three areas: the aft right hip joint, the furnace and something up towards the pilot's end - have to get inside to narrow that down.\n\n> You examine the aft right hip joint\nThick ice encrusts the hip joint, falling in dozens of narrow icicles most of the way down to the knee. Unless there's been a bizarrely specific leak in the water reservoir, this means that an agubulge, a frigid and mindless imp used to provide localised cooling, has taken up residence.\n\n> You hit the ice with the seax\nWhich do you mean, the agubulge or the ice cave wall?\n\n> Agubulge\nOne swing of the seax fractures the ice into a spiderweb of cracks. A second dislodges some good-sized chunks, and soon you have most of the ice hacked away. Unfortunately, there's still some lodged up inside the joint - how did the little bastard squeeze into such a narrow space? Nesting, you muse darkly. At any rate, the seax is too blunt and misshapen to fit into such a narrow gap.\n\n> You take ornamental imp\nYou open the spun silver birdcage.\n\nTaken.\n\n> You squeeze it\nAs carefully as you can, you slip a finger and thumb through the imp's angular folds and give its abdomen a squeeze. You are rewarded with a small and flickering flame that dances over its wingtips like an aurora.\n\n> You look at the imp\nThe smallest and most stupid demons come in innumerable shapes, most of them hideous; a few breeds, however, are rather attractive and are worn as ornaments by ladies of fashion. They don't breed true, however, which ensures that there's constant demand for wild specimens. Occultists love to grumble about being priced out of the market.\n\nThis specimen is of the type usually worn on a fine silver chain around the wrist and used by demimondaines to light their cigarettes; it resembles a butterfly-wing folded into abstract origami, with eyes. A faint, bluish flame coruscates across its wingtips.\n\n> You squeeze it\nA second squeeze and the imp's fire flutters out. You keep an eye on it for a second to make sure; more than one renowned beauty has gone up in flames after carelessly slipping one of these into a pocket.\n\n> You put it in the cage\nYou sweep the ikon vaguely across the Quagga.\n\nYou put the demonoscope into the spun silver birdcage.\n\n> You put the imp in the cage\nYou put the ornamental imp into the spun silver birdcage.\n\n> You take the demonoscope\nTaken.\n\n> You close the cage\nYou close the spun silver birdcage.\n\n> Wave demonoscope at Quagga\nYou sweep the ikon vaguely across the Quagga.\n\n> Wave demonoscope at hip\nWhich do you mean, the aft right limb or the aft left limb?\n\n> Right\nNo reaction! It appears you've fixed it.\n\n> You get all\nfireman's shovel: Taken.\nornamental imp: The spun silver birdcage isn't open.\nice cave wall: That's hardly portable.\nhelm: That's hardly portable.\ncoal chute: That's hardly portable.\nfirebox: That's hardly portable.\ngearshaft: That's hardly portable.\n\n> You examine the chute\nThe hopper should contain enough coal for two days at a flat march, given that you're using the good black greasy stuff. You expect the route you're taking to take about three and a half and to be somewhat uphill, but you can refill with wood once you reach the Forest of the Suicides.\n\n> You look at the firebox\nEssentially, this is just a big iron box through which a lot of piping runs; you set a big fire inside, the water in the pipes turns to steam, and then Technology happens and stompy iron feet crush all before them. A sturdy iron door seals off the firebox.\n\n> Wave demonoscope at firebox\nA good deal of somewhat-uninspired wriggling indicates the presence of a small and rather pathetic imp.\n\n> You open the firebox\nYou tug mightily at the furnace door. It refuses to budge.\n\n> You hit the firebox with shovel\nYou give the door a couple of solid thumps, then slip the edge of the fireman's shovel between lid and rim and twist. With a satisfying crack, the frost-locked door gives a fraction of an inch; it should open now.\n\n> Wave demonoscope at chute\nThe unfortunate saint wriggles a little bit, dislodging a turnip or two, but that's about background level for anywhere below circle four.\n\n> You open the firebox\nUgh. There's another agubulge inside the firebox. This one hasn't been there too long, you think; there's not much of an ice-mass, just a lot of frost all over everything.\n\n> Inventory\nYou are carrying:\na fireman's shovel\na demonoscope\na bog-iron scramaseax\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (closed)\nan ornamental imp (providing light)\n\n> You hit the agubulge with the seax\nIt's right at the back; you can't really reach that far, and you're aware of your narrative role too acutely to feel secure about crawling into ovens.\n\n> You hit the agubulge with the shovel\nYou lean in and give it a few solid stabs with the sharp end. There is a satisfying squashing sound.\n\nAfter this, it's a simple matter to get a fire going with coal-chips. You bask in the heat, unfamiliar and welcome after your time in Cocytus.\n\n> You examine the helm\nOld-fashioned pilots prefer the bewildering chaos of a Zebruggi lever array, but outside the more conservative Russian principalities nobody builds those any more; the most sensible of the various replacements is a sort of ship's wheel on a stick, with foot-pedals for detailed control.\n\n> Wave demonoscope at gearbox\nDeath and fire, there's one in the gearbox. Your best guess is an ithrogyca, an obnoxious little gluttony-demon designed to clean the adipose tissue off flesh. They happily gorge themselves on fats until they burst. This one must have gone in after the grease.\n\n> You examine the gearbox\nA misbegotten and unruly lever that presides over the Blazing Host universally-reviled gearbox. The usual paces - reverse, neutral, shuffle, walk, march, trot, killing trot, canter - are all there, and at least you don't have to deal with the dandyish Parade March gear that's become obligatory on modern builds. But it jams constantly, has a tendency to slip straight into a canter if you change from march to walk too casually, and screams bloody murder if changed a little too early or late. Its saving grace is that, though bad, it takes a great deal of punishment to make it any worse.\n\nThe stick is currently in neutral. The slots for the other gear positions open up into darkness.\n\n> You look at the gearbox\nYou find nothing of interest.\n\nA misbegotten and unruly lever that presides over the Blazing Host universally-reviled gearbox. The usual paces - reverse, neutral, shuffle, walk, march, trot, killing trot, canter - are all there, and at least you don't have to deal with the dandyish Parade March gear that's become obligatory on modern builds. But it jams constantly, has a tendency to slip straight into a canter if you change from march to walk too casually, and screams bloody murder if changed a little too early or late. Its saving grace is that, though bad, it takes a great deal of punishment to make it any worse.\n\nThe stick is currently in neutral. The slots for the other gear positions open up into darkness.\n\n> You cut the cheese\nCutting that up would achieve little.\n\n> You eat the cheese\nThat's plainly inedible.\n\n> Melt cheese\nThat really requires access to a source of steady heat.\n\n> Inventory\nYou are carrying:\nan ornamental imp (providing light)\na fireman's shovel\na demonoscope\na bog-iron scramaseax\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (open but empty)\n\n> You open firebox\nThat's already open.\n\n> You put the cheese in the firebox\nYou put the wheel of artisanal Camberzola into the firebox.\n\n> Inventory\nYou are carrying:\nan ornamental imp (providing light)\na fireman's shovel\na demonoscope\na bog-iron scramaseax\na pile of loot\na Camus first edition\na spun silver birdcage (open but empty)\n\n> You take the cheese\nTaken.\n\n> You close the firebox\nYou close the firebox.\n\n> You open the firebox\nUgh. There's another agubulge inside the firebox. This one hasn't been there too long, you think; there's not much of an ice-mass, just a lot of frost all over everything."
    },
    {
        "text": "[Themes: Fantasy, ice]\n\n> Look around\nThe ice of the Cocytean piedmont is pitted and rotten, riddled with moulins of befouled meltwater. For the most part the caves are unstable, but they don't tend to change too much over winter. This one is large enough to serve as temporary depot, but small and twisty enough to keep it hidden.\n\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\nHe who eats fire, shits sparks; this line of work involves no small amount of risk, therefore. But compared to everyone else, demons are refreshingly easy. No suspicions are necessary; you know they're out to screw you over.\n\nThe war-engine cache was a new tactic, enabling you to penetrate deeper than you'd ever contemplated before and still make it out. And this seemed like the most secure site to hide the thing. If your minions weren't idiots of the first water, it would have been a good plan.\n\nThe ice of the Cocytean piedmont is pitted and rotten, riddled with moulins of befouled meltwater. For the most part the caves are unstable, but they don't tend to change too much over winter. This one is large enough to serve as temporary depot, but small and twisty enough to keep it hidden.\n\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n> You look at Quagga\nOh, now the sow pulls out the bung. You told that fool Mayken a dozen times that when she made the drop she should demonproof everything thoroughly, but what a mess. Not even a tarp thrown over it, for pity's sake. There's a sliver of a chance that it might still be functional, but de-imping the thing is going to be unpleasant.\n\n> Inventory\nYou are carrying:\na bog-iron scramaseax\na demonoscope\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (closed)\nan ornamental imp\nan octavo of Shakespeare fanfiction\n\n> You examine the scramaseax\nCold-wrought bog-iron is a wretched material, but you'd carry a weapon made of soap if it could wound the dead. It's notched, pitted, holds an edge for about three seconds and has been twisted back into shape countless times; constant application of walrus blubber mitigates the rust somewhat, but considering what's in the air here the final outcome is not in doubt. Locating a replacement for when the dear old thing falls to bits is one of your more pressing concerns.\n\n> You examine the cheese\nThey say that everything good that comes from Hell was stolen from somewhere else. Though mostly true, there are caveats: a good blue cheese that matured in certain of the middle circles is a thing beyond words. You plan to keep this one for yourself.\n\n> You hit the firebox with the shovel\n(first taking the fireman's shovel)\nYou give the door a couple of solid thumps, then slip the edge of the fireman's shovel between lid and rim and twist. With a satisfying crack, the frost-locked door gives a fraction of an inch; it should open now.\n\n> You open the firebox\nUgh. There's an agubulge - a minor ice imp - in there. It hasn't been there too long, you think; there's not much of an ice-mass, just a lot of frost all over everything.\n\n> You take the agubulge\nThat's fixed in place.\n\n> You hit the agubulge with the shovel\nYou lean in and give it a few solid stabs with the sharp end. There is a satisfying squashing sound.\n\nAfter this, it's a simple matter to get a fire going with coal-chips. You bask in the heat, unfamiliar and welcome after your time in Cocytus."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, hell, fantasy]\n\n> Look around\nAlthough the ideal crew of a 'gin of this class is three, the Quagga has been rigged to allow it to be crewed one-handed, though you'd break your back jumping between helm and firebox at anything faster than a trot. The cut-down controls - essentially just the gearshaft and helm - will not exactly allow you to fight any cavalry actions, but fortunately Hell is short on armour regiments.\n\nWith the engine at rest, the floor slants down rather towards the engine's front.\n\n> You go outside\nThe imposing bulk of the Iron Quagga takes up much of the space here.\n\n> You look at the hip\nWhich do you mean, the aft right limb or the aft left limb?\n\n> Wave demonoscope at aft right hip joint\nLamentably, it's still there, if the blessed's reaction is anything to go by.\n\n> Inventory\nYou are carrying:\na fireman's shovel\na bog-iron scramaseax\na demonoscope\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (closed)\nan ornamental imp\nan octavo of Shakespeare fanfiction\n\n> You examine the aft right hip joint\nBig mass of ice. Icicles. Probably an imp deep inside. Not going anywhere until it's dealt with.\n\n> You hit the agubulge with the shovel\nYou bash off the more fragile icicles and a few chips of ice, but your progress is rather limited.\n\n> You examine agubulge\nA mass of ice, at the centre of which is presumably a cold-imp. The things are mindless and relatively easy to deal with, on the whole, except that they breed. By means of microscopic eggs. The last time you stumbled into a swarm of them you had to take three saunas a day for two weeks and boil everything you owned; but hopefully any eggs will get killed off by engine heat if you can just get rid of this one and get things running.\n\n> You open the birdcage\nThat's already open.\n\n> You get imp\n(the ornamental imp)\nTaken.\n\n> You look at the imp\n(the ornamental imp)\nThe smallest and most stupid demons come in innumerable shapes, most of them hideous; a few breeds, however, are rather attractive and are worn as ornaments by ladies of fashion. They don't breed true, however, which ensures that there's constant demand for wild specimens. Occultists love to grumble about being priced out of the market.\n\nThis specimen is of the type usually worn on a fine silver chain around the wrist and used by demimondaines to light their cigarettes; it resembles a butterfly-wing folded into abstract origami, with eyes.\n\n> Light imp\n(the ornamental imp)\nAs carefully as you can, you slip a finger and thumb through the imp's angular folds and give its abdomen a squeeze. You are rewarded with a small and flickering flame that dances over its wingtips like an aurora.\n\n> You burn agubulge\nThe symmetry of the solution has appeal, but as it turns out the ornamental demon's flame is far too faint to melt more than a few droplets of ice.\n\n> Inventory\nYou are carrying:\nan ornamental imp (providing light)\na fireman's shovel\na bog-iron scramaseax\na demonoscope\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (open but empty)\nan octavo of Shakespeare fanfiction\n\n> You go inside\n\n\n> Inventory\nYou are carrying:\nan ornamental imp (providing light)\na fireman's shovel\na bog-iron scramaseax\na demonoscope\na pile of loot\na wheel of artisanal Camberzola\na Camus first edition\na spun silver birdcage (open but empty)\n\n> You examine the cheese\nThey say that everything good that comes from Hell was stolen from somewhere else. Though mostly true, there are caveats: a good blue cheese that matured in certain of the middle circles is a thing beyond words. You plan to keep this one for yourself.\n\n> Melt cheese\nCupping your hands, you hold the Camberzola over the top of the firebox. Your hands are weather-beaten and gnarly enough to take the temperature, but the cheese is not so fortunate; in a few minutes it has turned into a thick goo.\n\n> You examine the cheese\nA short time ago this was a peerless cheese. Now it's a semi-liquid glob, still delicious but rather less manageable.\n\n> You eat the cheese\nThat's plainly inedible.\n\n> You insert cheese in the gearbox\nYou slop the gooey mess down the slots. There is a pause while it slithers down into the depths of the gearbox; then there is a high-pitched gurgle of joy, a sound like a bellows with teeth, and lastly a terminal-sounding *sploch*.\n\n> Wave demonoscope at gearbox\nLooks as if it's clear now. You think you detect a look of sadness in the blessed's eye, but that's probably projection.\n\n> You wear the helm\n(first taking the helm)\nThat's hardly portable.\n\n> You examine the firebox\nEssentially, this is just a big iron box through which a lot of piping runs; you set a big fire inside, the water in the pipes turns to steam, and then Technology happens and stompy iron feet crush all before them. A good fire has been set inside, and the furnace is starting to radiate heat.\n\n> You examine the gearbox\nA misbegotten and unruly lever that presides over the Blazing Host universally-reviled gearbox. The usual paces - reverse, neutral, shuffle, walk, march, trot, killing trot, canter - are all there, and at least you don't have to deal with the dandyish Parade March gear that's become obligatory on modern builds. But it jams constantly, has a tendency to slip straight into a canter if you change from march to walk too casually, and screams bloody murder if changed a little too early or late. Its saving grace is that, though bad, it takes a great deal of punishment to make it any worse.\n\nThe stick is currently in neutral. The slots for the other gear positions open up into darkness.\n\n> You turn the stick\nIt is fixed in place.\n\n> You set the gearbox to shuffle\nWith a clangor like an angel's death-rattle, the engine steps out. The furnace roars and cracks at your back, the icy wind of the great ice lake scorches your face, and inside your gut the fierce slow burn of a hard-bought victory.\n\n> You set the gearbox to killing the trot\nShifting straight into killing trot from a dead start is unwise, particularly on slippery, uneven ground like this.\n\n> You set gearbox to reverse\nShifting straight into reverse from a dead start is unwise, particularly on slippery, uneven ground like this."
    },
    {
        "text": "[Themes: Fantasy, female protagonist, hell, fantasy]\n\n> Look around\nAlthough the ideal crew of a 'gin of this class is three, the Quagga has been rigged to allow it to be crewed one-handed, though you'd break your back jumping between helm and firebox at anything faster than a trot. The cut-down controls - essentially just the gearshaft and helm - will not exactly allow you to fight any cavalry actions, but fortunately Hell is short on armour regiments.\n\nWith the engine at rest, the floor slants down rather towards the engine's front."
    },
    {
        "text": "Are you sure you want to quit? \n\na retelling of those events based on the finding of Mr. Sherlock Holmes of 221b Baker Street\n\nYou are in the western part of your study. Before the library, which has been started by your grandfather Jeremiah, this houses the display case with your findings from your last expedition to the Americas.\n\n[Author's Note: Suicide In this Holmesian short story, you play as Professor Mangleworth, despondent about the death of your daughter, your little dragonfly. You plan to kill yourself, but your death must not appear as a suicide, or you will bring great shame to your family.]\n\n> You examine the display case\nFurnished from dark oak and lined with red velvet, this houses the polished piece of labradorite which you brought back in 1875 and which one and for all disproved Jemmings theory of geoloic expansion.\nLong gone are the days when you would take it out and muse at it's significance. After what happened Maura, it all became shallow.\n\n> You check what you're carrying\nYou are carrying:\na bowtie (being worn)\na top hat (being worn)\n\n> You remove the bowtie\nYou take off the bowtie.\n\n> You wear the bowtie\nYou put on the bowtie.\n\n> You examine bowtie\nIt's quite dapper."
    },
    {
        "text": "> You describe your surroundings\nYou are in the western part of your study. Before the library, which has been started by your grandfather Jeremiah, this houses the display case with your findings from your last expedition to the Americas.\n\n> Open case\nThe key is carried by one of the valets.\n\n> Go east\nAn ornate lead glass window is open to the garden. Through it you can see the cage which houses the thylacine. Beside the window stands another display case. Further to the east is your desk.\n\n> You examine the window\nRight outside the window is a huge heap of kindling wood, part of your plan.\n\n> You look at the thylacine\nThis one you brought back from Tasmania, after it had howled for hours in one of your traps and you went out to shoot it. It has the body of a wolf and tiger stripes on its haunches.\nIt looks as unhappy as it did the day you caught it, pacing back and forth powerlessly as if even that activity has become meaningless.\n\n> You examine the cage\nIt's a functional metal cage, its floor covered with hay. A single bar is all that keeps the thylacaine from escaping.\n\n> You look at display case\nThis velvet houses a bismuth crystal. It was given to you by the grandson of Claude Fran\u00e7ois Geoffroy, in recognition of your travels to Antarctica in the early 1860s.\nIt was in early 1863,  6 months after you left, that Maura was  born. You only received the news on your return to Spitzbergen in 1865. And when you finally returned home, she was already toddling around the living room.\n\n> Go east\nThis mahagoni desk was given to you by your parents on the day you received your doctorate. Many hours were spent here, hours probably better spent elsewhere. It has a single drawer.\n\nOn the desk is a jar of silica.\n\nMounted on the wall above the desk are the bow and arrow, given to you by the people of Melanesia.\n\nA small table stands to one side. On it is a flower pot and a squirt gun.\n\n> You look at the squirt gun\nIt's a small brass squirt gun. Once it was one of Mauras toys, now you use it to SPRAY the flower occasionally.\nIt has gotten a more sinister use today. You've filled it with the poison of the Pseudonaja, one of Australias deadliest snakes. Once you sprayed yourself with it, you'll be dead within a hearbeat.\n\n> You take the gun\nTaken.\n\n> You examine the silica\nIt is only half full.\nYou were frantically working on your categorization of minerals at the time, to be ready for the composium the following month. Your wife had tried time and time again to raise your mind towards the state of Maura's health. You only visited her once in all those weeks, when she was already riddled beyond all earthly hope with that terrible disease. That was the last time you called her your dragonfly. A mildly mocking nickname from her unsteady childhood days. Dragonflies were a bad omen among your ancestors; Surely little Maura was for the valets and maids and the kitchenware. You dropped that jar when your butler informed you of her death, and when it rolled away across the carpet you began to realize how much had been rolling away from you fast, messily spilling its contents, all your days.\n\n> You look at the flower\nA small flower, added by your wife to make this room less gloomy. You never paid it much mind.\n\n> You open the drawer\nYou open the drawer, revealing a hand guard.\n\n> You examine the guard\nIt's a leather hand guard for archery.\n\n> You look at the bow\nYou never used yourself, but you've seen the chief SHOOT a turtle with this very bow."
    },
    {
        "text": "> Look around\nThis mahagoni desk was given to you by your parents on the day you received your doctorate. Many hours were spent here, hours probably better spent elsewhere. It has a single drawer.\n\nA small table stands to one side. On it is nothing.\n\n> You take the drawer\nThat seems to be a part of the desk.\n\n> You check what you're carrying\nYou are carrying:\nBow and arrow\na hand guard\na flower pot\na jar of silica\na squirt gun\na bowtie (being worn)\na top hat (being worn)\n\n> You spray the flower\nYou can only do that to something animate.\n\n> You wear the guard\nYou put on the hand guard.\n\n> Shoot bar\nTaking careful aim, you fire the arrow across the garden and hit the bar dead-on. The arrow shatters into unrecognizable pieces of wood, as you predicted, The door swings open with a slight creak. The thylacine is confused at first - it sniffs the morning air, then takes one tentative step outside. There is shouting from the house. The tasmanian wolf take this as its cuse and dashes across the lawn and into the wood. You break the bow across and stuff it into a heap of kindling below the window.\n\n> You examine the cage\nIt's a functional metal cage, its floor covered with hay.\n\n> You check your inventory\nYou are carrying:\na hand guard (being worn)\na flower pot\na jar of silica\na squirt gun\na bowtie (being worn)\na top hat (being worn)\n\n> You examine the case\nThis velvet houses a bismuth crystal. It was given to you by the grandson of Claude Fran\u00e7ois Geoffroy, in recognition of your travels to Antarctica in the early 1860s.\nIt was in early 1863,  6 months after you left, that Maura was  born. You only received the news on your return to Spitzbergen in 1865. And when you finally returned home, she was already toddling around the living room.\n\n> You remove the hat\nYou take off the top hat.\n\n> You examine the pot\nA small flower, added by your wife to make this room less gloomy. You never paid it much mind.\n\n> You spray self\nYou shoot a good dose of the poison straight into your mouth. You'll be dead within seconds now.\n\n> Wait\nTime passes.\n\nThe poison works as quickly as expected. There is little pain.\nYou have freed the thylacine from a prison far different and yet similar to your own, but this clearly looks like suicide. The shame on your family will be great."
    },
    {
        "text": "> Look around\nAn ornate lead glass window is open to the garden. Through it you can see the cage which houses the thylacine. Beside the window stands another display case. Further to the east is your desk.\n\n> Go east\nThis mahagoni desk was given to you by your parents on the day you received your doctorate. Many hours were spent here, hours probably better spent elsewhere. It has a single drawer.\n\nA small table stands to one side. On it is nothing.\n\n> You open the drawer\nThat's already open.\n\n> You eat the silica\nThat's plainly inedible.\n\n> You check what you're carrying\nYou are carrying:\na hand guard (being worn)\na flower pot\na jar of silica\na squirt gun\na bowtie (being worn)\na top hat\n\n> You remove the guard\nYou take off the hand guard.\n\n> You examine the guard\nIt's a leather hand guard for archery.\n\n> You put the flower on the table\nYou put the flower pot on small table.\n\n> You put the gun on the table\nYou put the squirt gun on small table.\n\nThe poison works as quickly as expected. There is little pain.\n\n\"But what made you realize that this was not a heart attack from seeing his famed animal escape, my dear Holmes?\"\n\"I am not yet ready to believe, Watson, that there are people in this world who are more hurt by the escape of a, however, prestigious, animal, then the death of their own daughter. This made me think that mayhaps we gave the Professor too little credit for human emotion in our investigations. The piece of string you idly observe the house cat play with on that heap of kindling was another hint that something was not quite right here; And finally, the sorry stage of this begonia made me investigate the squirt gun and solve this mystery. However, I propose, assuming your complicity, we let this matter rest and not get our good friend Lestrade involved in this. This family has quite suffered enough.\"\n\"Will this be a warning to you, my dear friend, to the effect of not letting yourself get too caught up in matters far removed from the world?\"\n\"Some day, dear friend, some day. But first, I have this interesting matter of the giant rat of Sumatra to consider.\""
    },
    {
        "text": "[Themes: Fantasy, fantasy, magic, humor]\n\nThere is an actinic flash. The seat belt signs illuminate. On the overhead speakers, the pilot mechanically reassures the passengers that the minor turbulence is no cause for concern. A second, more abrupt crash and the plane lurches. Air masks drop. An overhead baggage bin flies open, and lobsters pour out. Ignoring the passengers in your section, you let the food cart topple forward, the potatoes au gratin mixing with the fettuccine and mango compote. You climb towards the lavatory and throw the latch from \"vacant\" to \"occupied.\" The plane revolves slowly -- pushing you towards the wall -- even as the sudden loss of altitude makes you feel lighter.\n\nParboiled crustaceans at 30,000 feet by Ben and Jack\n\nType \"help\" for instructions.\n\nA claustrophobic vertical coffin, lit by blue-tinted fluorescent bulbs and smelling of disinfectant. A uselessly small vestigial sink, a unisex toilet, and a mirror are the only furnishings in the room. Your uncanny (yet invariably useful) sense of direction tells you that the aft compartment of the plane is to the west.\n\nYou can see a bathroom door and a sink (empty) here.\n\n[Author's Note: A flying tube of riveted aluminum the length of a football field, a swarm of angry carnivorous lobsters, a seething mass of frightened mortal passengers, and a renowned High Wizard who you sworn to protect. Hope you brought a bib.]\n\n> About you\nFour-hundred and eighty-six years, and you look like a supermodel. That's partly due to your inherently superior breeding, and partly attributable to the plastic surgery, cybernetic implants and magical enhancements all courtesy of The Republic.\n\nYou almost slip as the plane pulls up suddenly. Good thing you had the mango compote for lunch and not the fettucine.\n\n> Inventory\nYou are carrying:\na pair of high-heeled shoes (being worn)\na flight attendant uniform (being worn)\na magic wand\n\n> You look at the shoes\nShiny, high-heeled shoes. Part of the TRANSGLOBAL AIRLINES uniform. Your least favorite part.\n\n> You examine the uniform\nA dark blue pants suit, with smart, military-style epaulets, a stripe down each sleeve, and gold embroidery on the cuffs. A pair of silver wings is pinned to your left breast, just below your name tag. The pressed, pleated pants continue the faux-military look. You are surprised that TRANSGLOBAL AIRLINES spent so much time and effort on designing the uniforms and so little effort verifying your identity before handing it over to you.\n\nAbove the chaos in the plane's cabin, you can just make out the automated message, \"Please turn off all electronic devices including cell phones and two-way pagers. The flight crew will instruct...\n\nIt's got my eye! My eye! I can't see! Get it off me! Get it off me!\n\n...thank you for complying with these regulations, which contribute to everyone's safety.\" The rest is lost in the screaming.\n\n> You examine the wand\nYour wand is a mid-19th century Celtic model, passed down to you on your Father's side (who used it to conjure food during the great Irish Potato Famine). It appears to be broken in the disaster, though; you'll have to take a second look.\n\nYou hear the sound of metal scraping against metal.\n\n> You look at the wand\nOnce capable of casting nearly any class-N spell, the spell-selector dial seems utterly broken. You're unsure what will happen when you USE WAND ON SOMETHING.\n\nOnce capable of casting nearly any class-N spell, the spell-selector dial seems utterly broken. You're unsure what will happen when you USE WAND ON SOMETHING.\n\nFrom the cabin you hear someone trying to reason with a carnivorous lobster."
    },
    {
        "text": "[Themes: Fantasy, fantasy, magic]\n\n> You look at your surroundings\nA tight, poorly lit, aircraft bathroom. Ordinarily, a welcome refuge from the demanding mortal customers who need to use planes to move from one place to another, but now a safe haven from the carnivorous lobsters infesting the plane. The mirror, toilet, paper roll, and smoke detector are unremarkable. Your uncanny (yet invariably useful) sense of direction tells you that the aft compartment of the plane is to the west.\n\nYou can see a bathroom door and a sink (empty) here.\n\n> You look at the sink\nA small metal bowl with two knobs, marked \"hot\" and \"cold\", and a faucet. The sink is bone dry.\n\nThere is a plaintive whine from the motors that are supposed to lower the landing gears. Back when the plane had landing gears.\n\n> You use the wand on the sink\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe sink suddenly blinks out of existence!\n\nThe plane whips back and forth, as if the rudder controls are no longer working properly.\n\n> You use the wand on the sink\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe sink suddenly blinks out of existence!\n\n> You use the wand on the toilet\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe toilet suddenly blinks out of existence!\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\n> You get the cod\nYou're sure it would snap your fingers off if you tried!\n\n> You look at the cod\nA three-foot long, reddish-brown predatory fish. You guess it weighs at least 25 pounds, and it appears fairly mean and hungry. Crustaceans are its main food. It is not happy to be out of the water.\n\n> You unlock door\nWhat do you want to unlock the bathroom door with?\n\n> You pull the latch\nYou yank back and forth on the latch, when you realize that what you really want to do is just open or close it. Clearly, your mind is too powerful for the trivial devices that clutter the meaningless existence of mortals.\n\n> Open latch\nThe latch slips to the side.\n\nThe plane whips back and forth, as if the rudder controls are no longer working properly.\n\n> You open the door\nYou open the bathroom door.\n\n> You wait\nTime passes.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe cod vibrates a bit, but nothing else happens.\n\nThe cod struggles on the ground.\n\n> You use the wand on the door\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe bathroom door vibrates a bit, but nothing else happens.\n\n> Go east\nYou stumble and lurch, unable to maintain your tip-toed balance on the sloping floor. Your shoes may be fashionable, but are not very functional when it comes to airplane disasters.\n\n> You remove the shoes\nYou take off the high-heeled shoes.\n\n> You remove the shoes\nYou're not wearing those.\n\nYou are thrown against the wall as the plane pitches over violently. The harried passengers are whipped to an ever more desperate state of alarm.\n\n> You go west\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a bathroom door and an equipment bin (closed) here.\n\nThe plane slams into the ocean, skipping like a rock, before sinking like one.\n\nThe aft section of the plane pitches downward, flipping you sideways. Water jets into the cabin from seams that are not as tight as you had hoped. Moments later, you are ankle-deep in frigid salt water.\n\nSnap, crackle, pop! The big ones are molting. And advancing."
    },
    {
        "text": "[Themes: Fantasy, magic]\n\n> Look around\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a bathroom door and an equipment bin (closed) here.\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nOut of nowhere, a toilet suddenly appears!\n\nObviously, someone from the FOB got wind of Meretzky's presence on this flight. Apparently, you guessed wrong about them wanting to recover him alive.\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nLuckily, every novice mage learns to repel this effect in first year of academy. The energy dissipates around you.\nA bolt of icy-blue lightning shoots from the wand towards yourself, freezing him instantly.\n\nWhy lobsters? Why now? It's too much for one Guardian to handle.\n\nLike there is ever a good time for lobsters...\n\n> You use the wand on the wand\nYour hand tingles as the wand's self-referential recursion dampener sucks the spell back in before it can affect the very wand that cast it.\n\nLobsters scuttle along the aisle, between seats, provoking screams of fear from the crash survivors.\n\nHow clich?d. This may have worked back in the day, but come on. Carnivorous lobsters? Have they no decency? You conclude that they are called the \"Forces of Banality\" for a good reason.\n\n> You open the bin\nWhat lousy equipment. The bin has never been easy to open and seems stuck shut.\n\nBefore the magical attack, you had worked your way through most of the economy and business class, but still hadn't located High Wizard Meretzky. You had assumed that he would not be so obvious as to fly first class, but this is not a good day for your assumptions.\n\n> Go east\nA tight, poorly lit, aircraft bathroom. Ordinarily, a welcome refuge from the demanding mortal customers who need to use planes to move from one place to another, but now a safe haven from the carnivorous lobsters infesting the plane. The mirror, paper roll, and smoke detector are unremarkable. Your uncanny (yet invariably useful) sense of direction tells you that the aft compartment of the plane is to the west.\n\nYou can see a bathroom door, a cod, and a sink (empty) here.\n\nThe rather large cod swims around, looking for food.\n\n> You go to the west\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a bathroom door and an equipment bin (closed) here.\n\nTwo years of deep cover as a stewardess. A bloody stewardess! Waiting hand and foot on these sink holes of attentions. And for what? The biggest failure of your career. If you lose Meretzky, it will be a death blow to The Republic, and nothing will be able to stop the Forces of Banality and their langustinian minions.\n\n> You use the wand on the bin\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe equipment bin suddenly blinks out of existence!\n\nThe plane shudders, then angles downward just a bit more.\n\nYou can't see any such thing.\n\n> You look at what you're carrying with you\nYou are carrying:\na pair of high-heeled shoes\na flight attendant uniform (being worn)\na magic wand\n\n> You take off the shoes\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\nThe rather large cod swims around, looking for food.\n\nThe cockpit radio crackles to life for a moment, burps static, then falls silent.\n\nYou're not wearing those.\n\nThe rather large cod swims around, looking for food.\n\nSobs of the still-living reach your ears; moans you cannot bear to hear.\n\n> You use the wand on the uniform\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe flight attendant uniform vibrates a bit, but nothing else happens.\n\n> You use the wand on the uniform\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nOut of nowhere, an equipment bin suddenly appears!\n\nA lobster scuttles towards your foot, but you quickly punt it back.\n\n> You open the bin\nWhat lousy equipment. The bin has never been easy to open and seems stuck shut.\n\n> You use the wand on the bin\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the equipment bin, freezing it instantly.\n\nIn response, yourself thaws out.\n\n> You look at the wand\nOnce capable of casting nearly any class-N spell, the spell-selector dial seems utterly broken. You're unsure what will happen when you USE WAND ON SOMETHING.\n\n> You use the wand on the self\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nYou feel sick as the world suddenly turns inside-out.\n\nUh oh. Not good.\n\nGrey mists swirl around you. You are lost somewhere between universes.\n\nYou can see a twinkie and a statuette here.\n\n> You get twinkie\nGolden brown, and every bit as edible as the day it rolled off the assembly line.\n\nTaken.\n\n> You look at the statuette\nIt abstractly resembles a tornado of some sort. On the bottom is some intricate inscription. There is just enough light here to read it.\n\n> You read it\nWelcome to Limbo! You may be the unlucky target of an angry mage, but if you believe you arrived here in error, please don't hesitate to file a 951-EZ-5C report with your local dimensional constabulary. Assuming you have a popping spell to exit this place, that is. Have a great day.\n\nWelcome to Limbo! You may be the unlucky target of an angry mage, but if you believe you arrived here in error, please don't hesitate to file a 951-EZ-5C report with your local dimensional constabulary. Assuming you have a popping spell to exit this place, that is. Have a great day.\n\n> Keep going\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nUnfortunately, this spell is certainly not enough to get you out of this predicament.\n\n> You fix the wand\nYou are a Guardian of the People's Republic of IF -- not a repairwoman. Besides, you always end up with more parts than you start.\n\n> You use wand on the self\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nYour head reels as everything turns outside-in again.\n\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a bathroom door and an equipment bin (closed) here.\n\n> You use the wand on the bathroom door\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the bathroom door, freezing it instantly.\n\nIn response, the equipment bin thaws out.\n\n> You use the wand on the bin\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe equipment bin suddenly blinks out of existence!\n\n> You use the wand on the twinkie\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe twinkie suddenly blinks out of existence!\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the bin\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe equipment bin vibrates for a moment, and suddenly comes unstuck!\n\nThe rather large cod swims around, looking for food.\n\n> You open the bin\nYou open the equipment bin, revealing a memo.\n\nSalt water rolls down your cheek and into your mouth.\n\n> You read the memo\nFlight crew: please be sure that this compartment contains the following items prior to departure:\n\n* First Aid Kit\n* Flare Gun\n* Emergency Radio\n* Crustacean Repellent\n* Mountain Climbing Gear\n* Shark Defense Cage\n* Personal Jet Pack\n* Entertainment System, Mark V\n\nThe smell of malevolent arthropods burns your nose.\n\n> You look in the bin\nIn the equipment bin is a memo.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nOut of nowhere, a twinkie suddenly appears!\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the cod, freezing him instantly.\n\nIn response, the bathroom door thaws out.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the memo\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe memo suddenly blinks out of existence!\n\n> You use the wand on the door\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe bathroom door flickers a moment, but seems immune to the spell. You figure it's probably some sort of built-in safeguard.\n\n> You use the wand on memo\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nThe cod sparks a bit, but nothing happens.\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on bin\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nThe cod sparks a bit, but nothing happens.\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\n> You go north\nYou can't go that way.\n\nThe rather large cod swims around, looking for food.\n\n> You go south\nYou can't go that way.\n\nDistant screams echo from elsewhere; the cracking of human skulls by vorpal claws.\n\n> You look\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a cod, a twinkie, a bathroom door, and an equipment bin (in which is a memo) here.\n\n> You look at the hatch\nA sturdy curved door mounted on heavy internal hinges. For emergency use only, as it says.\n\nYou mumble to yourself. How did the Forces of Banality located this plane so quickly? This is definitely above your pay grade.\n\n> Up\nRow after row of tightly packed seats, with minimal padding, sharp corners, and ratty seat belts. Back in the day, these seats would have come with heavy oars and leg irons. Well, nostalgia will have to wait. You have a plane full of lobsters to deal with, and a High Wizard to find. A movie screen swings above one seat; a closed overhead compartment limits the headroom in this section. Various half-eaten corpses of economy passengers lay strewn about, with crustaceans crawling over many of them.\n\nOver in seat 31A, a schoolmarm-ish woman is attemping to scream in agony, but is too exhausted to make a sound.\n\nYou can also see a spiny lobster and a cart here.\n\n> You examine the cart\nA food cart, meant to be pushed Sisyphus-fashion up and down the aisles of this plane until your penance is complete. It appears to be tilted and solldly wedged against the seats, unmoving.\n\n> You use the wand on the cart\nThe wand glows with energy as you flick it... and you discover it's\n\n> You use the wand on cart\nthe JIGGER spell, which un-jams things.\n\nThe cart vibrates for a moment, and suddenly comes unstuck!\n\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nNothing happens.\n\n> You get the cart\nThat's fixed in place.\n\n> You pull the cart\nIt is fixed in place.\n\nSome water drips onto your head from a ceiling leak somewhere.\n\n> Go north\nA food cart, meant to be pushed Sisyphus-fashion up and down the aisles of this plane until your penance is complete.\n\nYou can't go that way.\n\n> Go upwards\nYou're stopped in your tracks by the pitiful moans of the schoolmarm being eaten alive.\n\n> You use the wand on lobster\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nNothing happens.\n\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nAlas, this one is too big; you recognize an antimagic aura glowing around it.\n\nThe lobsters scuttle and screetch in malicious glee.\n\n> You use the wand on the lobster\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nAlas, this one is too big; you recognize an antimagic aura glowing around it.\n\n> You use the wand on the lobster\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYou hear a strange tingling sound; a large cod fish suddenly materializes. The cod looks the spiny lobster over, and decides that its spiky carapace would not be a pleasant chew. In a suprisingly low and rich baritone, the cod says to you, \"I can take care of some of the smaller ones -- I'm sure you can handle this one.\" Before you can fret, he swims under the seats in search of dinner.\n\nA wave of nausea hits you; the smell of human blood and melted butter.\n\n> You look at the lobster\nA three-foot long spiny lobster gnaws on the schoolmarm's shoulder with wild abandon.\n\nThe rather large cod swims around, looking for food.\n\n> You examine the schoolmarm\nCovered in blood and seawater, her eyes are shell-shocked. She's barely alive.\n\nThe rather large cod swims around, looking for food.\n\nYou hear the clickety-clack of angry claws somewhere nearby.\n\n> You use the wand on the schoolmarm\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe schoolmarm vibrates a bit, but nothing else happens.\n\nSeriously. When this ordeal is over, you're definitely going to put in for that pay raise.\n\n> You use the wand on the schoolmarm\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nNothing happens.\n\nTime is running out. You can hear them splashing closer.\n\n> You use the wand on schoolmarm\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the schoolmarm, freezing her instantly.\n\nIn response, the cod thaws out.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the schoolmarm\nYou can't do that; the schoolmarm appears to be frozen, and thus impervious to all interaction.\n\n> You use the wand on the cart\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the cart, freezing it instantly.\n\nIn response, the cod thaws out.\n\n> You use the wand on the schoolmarm\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe schoolmarm suddenly blinks out of existence!\n\nThe rather large cod swims around, looking for food.\n\n> You look at lobster\nA three-foot long spiny lobster  clicks at you menacingly with huge claws.\n\nThe rather large cod swims around, looking for food.\n\n> You kill the lobster\nYour bare hands are no good here. You need a decent weapon!"
    },
    {
        "text": "[Themes: Fantasy, magic, humor]\n\n> Look around\nRow after row of tightly packed seats, with minimal padding, sharp corners, and ratty seat belts. A movie screen swings above one seat; a closed overhead compartment limits the headroom in this section. Various half-eaten corpses of economy passengers lay strewn about, with crustaceans crawling over many of them.\n\nYou can see a cod, a spiny lobster, and a cart here.\n\n> You examine the screen\nA dirty gray panel mounted on the overhead compartment. Movies are shown here to take people's minds off how very unpleasant it is to fly economy.\n\nThe rather large cod swims around, looking for food.\n\n> You open compartment\nYou open the overhead compartment, revealing a banjo.\n\n> You examine the banjo\nA Stelling Red Fox model, circa 2006. It glows with bluegrass goodness. You wonder which unfortunate bloke it belonged to.\n\n> You get the banjo\nThe spiny lobster looks fearfully at the banjo.\n\n> Up\nA stainless steel compartment between the self-absorbed slobs in business class up ahead and the unwashed masses and screaming babies in economy down below. Interestingly, whereas other parts of the plane are sloshing in a foot of water, this area remains totally dry.\n\nOn the counter is a microwave (closed).\n\n> You open the microwave\nA black cat darts out of the microwave, looks around uncertainly, and runs immediately through the wall of the plane.\n\n> You turn on the microwave\nYou switch the microwave on.\n\n> Up\nRows of seats that are spaced the way economy seats used to be spaced about five years ago. It is enough to make the gullible mortals feel superior to those in economy, while still stripping them subtly of their humanity. It is your favorite section of the plane.\n\nNorthward, a narrow, staircase spirals toward to the first class section. Just above the business class is the bulkhead that leads to the cockpit.\n\nAnd clearly the vast mass of hungry lobsters have decided to make a final stand against you here. They stop their flesh-feeding, teem and swarm, then all spin around to face you. They take up battle positions along the central aisle. You have no idea how you're going to get past the lobster mob.\n\nThe lobster mob pulsates and wiggles threateningly at you, claws at the ready.\n\nYou can also see a staircase and a closed bulkhead here.\n\n> You examine the bulkhead\nA security bulkhead that separates the business section from the flight deck. The bulkhead seems to be jammed shut.\n\n> You use the wand on mob\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYour attempt to summon a creature, but the sheer quantity of radiant animal magic overpowers your wand. There will be no summoning in Business class today.\n\n> Open bulkhead\nThe crash must have slightly warped the heavy metal door. It appears to be jammed shut.\n\n> You use wand on the bulkhead\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe closed bulkhead vibrates for a moment, and suddenly comes unstuck!\n\nThe hull creaks and groans from stress. You wonder how much time you have.\n\n> Up\nWith the lobster mob there? Are you kidding?\n\n> Open bulkhead\nYou open the open bulkhead.\n\n> You examine mob\nA heinous conglomeration of angry arthropods ready to defend their territory. And possibly devour your leg in the process.\n\n> You examine the bulkhead\nA security bulkhead that separates the business section from the flight deck. The bulkhead is open.\n\n> You use the wand on mob\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nOut of nowhere, a schoolmarm suddenly appears!\n\n> You use the wand on the mob\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nThere are just too many of them; the freeze-spell can't handle them all and fizzles out.\nA bolt of icy-blue lightning shoots from the wand towards the lobster mob, freezing him instantly."
    },
    {
        "text": "[Themes: Fantasy, magic, humor]\n\n> Go downwards\nA stainless steel compartment between the self-absorbed slobs in business class up ahead and the unwashed masses and screaming babies in economy down below. Interestingly, whereas other parts of the plane are sloshing in a foot of water, this area remains totally dry.\n\nOn the counter is a microwave (empty).\n\nA wave of nausea hits you; the smell of human blood and melted butter."
    },
    {
        "text": "[Themes: Fantasy, humor]\n\n> Go down\nRow after row of tightly packed seats, with minimal padding, sharp corners, and ratty seat belts. A movie screen swings above one seat; an open overhead compartment limits the headroom in this section. Various half-eaten corpses of economy passengers lay strewn about, with crustaceans crawling over many of them.\n\nYou can see a broken banjo, a cod, and a cart here.\n\n> You put the cod on the cart\nYou need to be holding the cod before you can put him on top of something else.\n\nThe rather large cod swims around, looking for food.\n\nThe plane shudders, then angles downward just a bit more.\n\n> You get the cod\nYou're sure it would snap your fingers off if you tried!\n\nSalt water rolls down your cheek and into your mouth.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe cod suddenly blinks out of existence!\n\nSeriously. When this ordeal is over, you're definitely going to put in for that pay raise.\n\n> You use the wand on the cart\nYou can't see any such thing.\n\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYou hear a strange tingling sound; a large cod fish suddenly materializes.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you discover it's the JIGGER spell, which un-jams things.\n\nThe cod vibrates a bit, but nothing else happens.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nNothing happens.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the cod, freezing him instantly.\n\nThe hull creaks and groans from stress. You wonder how much time you have.\n\n> You get the cod\nYou can't do that; the cod appears to be frozen, and thus impervious to all interaction.\n\nSome water drips onto your head from a ceiling leak somewhere.\n\n> You put the cod on the cart\nYou can't do that; the cod appears to be frozen, and thus impervious to all interaction.\n\n> You use the wand on the cart\nThe wand glows with energy as you flick it... and you quickly recognize the FREEZE spell, which magically holds things fixed in place.\n\nA bolt of icy-blue lightning shoots from the wand towards the cart, freezing it instantly.\n\nThe rather large cod swims around, looking for food.\n\n> You use the wand on the cod\nThe wand glows with energy as you flick it... and you witness the PUSH spell, which sends things to limbo.\n\nThe cod suddenly blinks out of existence!\n\n> You ascend\nA stainless steel compartment between the self-absorbed slobs in business class up ahead and the unwashed masses and screaming babies in economy down below. Interestingly, whereas other parts of the plane are sloshing in a foot of water, this area remains totally dry.\n\nOn the counter is a microwave (empty).\n\n> Go upward\nRows of seats that are spaced the way economy seats used to be spaced about five years ago. It is enough to make the gullible mortals feel superior to those in economy, while still stripping them subtly of their humanity. It is your favorite section of the plane.\n\nNorthward, a narrow, staircase spirals toward to the first class section. Just above the business class is the bulkhead that leads to the cockpit.\n\nOver in seat 31A, a schoolmarm-ish woman is too exhausted to make a sound.\n\nThe lobster mob pulsates and wiggles threateningly at you, claws at the ready.\n\nYou can also see a staircase and an open bulkhead here.\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you realize it's the BALANCE spell, which summons elements to even out a situation.\n\nYour attempt to summon a creature, but the sheer quantity of radiant animal magic overpowers your wand. There will be no summoning in Business class today.\n\nYou mumble to yourself. How did the Forces of Banality located this plane so quickly? This is definitely above your pay grade.\n\n> You use the wand on yourself\nThe wand glows with energy as you flick it... and you watch the POP spell surface, which returns things from limbo.\n\nOut of nowhere, a cod suddenly appears!\n\nFedora-brimmed lobster mobsters snear at the lone cod, like bullies on a playgroud. The mob boss, a three-and-a-half pounder with only one claw, steps forward, gesturing wildly with the Gl?ck in his good claw.\n\n\"Well,\" he taunts, \"if it ain't the natural enemy of the lobster, Gadus morhua, the Atlantic Cod.\" At the mention of his taxonomic classification, some of the younger lobsters looks worried, their antennae flitting back and forth in concern. The boss continues brashly, \"Boys, I think tonight's main dish is... sushi!\n\nThe boss looks back at his mob, and there is a murmur of agreement. Before the boss is done gloating, however, the  fish pulls a modified Kalashnikov assault rifle from its bulky trenchcoat.\n\nOne of the hench-lobsters barely has time to say, \"Boss, watch out for the cod piece!\" before the silver-scaled avenger lets loose with a barrage of phosphor-tipped rounds, which both cook and mince the lobster meat into a tasty salad. The passengers in the business section, who are used to such things, merely assume it is the inflight meal, and quickly polish off the remains of the former gang.\n\nThe cod, having rebalanced the karmic forces of the universe, happily blinks out of existence.\n\nYou hear the clickety-clack of angry claws somewhere nearby."
    },
    {
        "text": "> Look around\nRows of seats that are spaced the way economy seats used to be spaced about five years ago. It is enough to make the gullible mortals feel superior to those in economy, while still stripping them subtly of their humanity. It is your favorite section of the plane.\n\nNorthward, a narrow, staircase spirals toward to the first class section. Just above the business class is the bulkhead that leads to the cockpit.\n\nOver in seat 31A, a schoolmarm-ish woman is too exhausted to make a sound.\n\nYou can also see a staircase and an open bulkhead here.\n\n> Up\nA cone-shaped room bristling with those blinking lights and other technical knick-knacks that mortals consider fancy. You notice immediately that there isn't anyone in cockpit -- no pilot, no copilot, no navigator or engineer. Ironically, you realize that you are the most senior member of the crew, and you're not even a real stewardess.\n\nYou can see an open bulkhead here."
    },
    {
        "text": "[Themes: Fantasy, humor]\n\n> Go downward\nRows of seats that are spaced the way economy seats used to be spaced about five years ago. It is enough to make the gullible mortals feel superior to those in economy, while still stripping them subtly of their humanity. It is your favorite section of the plane.\n\nNorthward, a narrow, staircase spirals toward to the first class section. Just above the business class is the bulkhead that leads to the cockpit.\n\nOver in seat 31A, a schoolmarm-ish woman is too exhausted to make a sound.\n\nYou can also see an open bulkhead and a staircase here.\n\n> You go north\nAs you climb sideways into the First Class cabin, you are not surprised by the sight of its sole occupant: an unusually tall man in flamboyant chartreuse robes. He stands paradoxically upright despite the steep tilt of the deck. With an effortless wave of one hand, he dispels an attacking Arch Grue.\n\nStunned by the realization that you are mere feet from High Wizard Steve Meretzky (on a carnivorous lobster-infested sinking plane), you are momentarily speechless.\n\n> You talk to Meretzky\nThe great wizard pauses a moment from smiting the lobsters near his ankles and takes notice of you for the first time.\n\nFixed in his intense gaze, you stutter, \"High Wizard Meretzky, your honor,\" your voice slips up an octave, and you hope you don't come across as too much of a fangirl. You make an effort to slow down and appear dignified, \"I was sent by the Republic to see that you reach the Summit safely.\"\n\nMeretzky appears amused, \"Yeah? And how's that going?\" He deftly flicks his wand and the giant lobster that was sneaking up on you disappears in a puff of smoke. Becoming more serious, he explains, \"I'm afraid we're surrounded by an antimagic shell. Not even I am powerful enough to penetrate it. Our only hope is to get a message out to the Republic... You lead, I'll take up the rear. You can never be too careful with grues and lobsters, you know.\"\n\n> Go south\nThe High Wizard follows you silently.\n\n> Up\nYou burst into the cockpit, and Steve follows close behind you, laying down some magical suppressing fire with his wand. Shards of chitin fly through the air.\n\nYou scan the control panel for anything that looks like a radio, but you are just not familiar with mortal technology. Steve sees your confusion and reaches over to a side panel, flipping a switch marked \"IF Filter\". There is a burst of static.\n\nThe High Wizard points to the panel and says, \"It should work now. Press the orange button to transmit. It won't help though,\" he remarks with a sigh, \"it would take incredible power to penetrate the magical barrier around this plane. I'm sorry to say that beings that powerful have not existed since the Early Times. Not to put a damper on things, but -- we're doomed.\" With a hint of resignation, he adds, \"well, at least you can say good-bye.\"\n\n> You check what you're carrying\nYou are carrying:\na pair of high-heeled shoes\na flight attendant uniform (being worn)\na magic wand\n\nSnap, crackle, pop! The big ones are molting. And advancing."
    },
    {
        "text": "[Themes: Fantasy, magic, fantasy]\n\n> Go downward\nFrom behind you, you hear the sizzle of Meretzky's wand.\n\n> Go south\nYou can't go that way.\n\nThe lobsters scuttle and screetch in malicious glee."
    },
    {
        "text": "> Go downwards\nFrom behind you, you hear the sizzle of Meretzky's wand.\n\nThe hull creaks and groans from stress. You wonder how much time you have.\n\n> You look\nRow after row of tightly packed seats, with minimal padding, sharp corners, and ratty seat belts. A movie screen swings above one seat; an open overhead compartment limits the headroom in this section. Various half-eaten corpses of economy passengers lay strewn about, with crustaceans crawling over many of them.\n\nYou can see a broken banjo and a cart here.\n\n> Down\nMeretzky follows you, taking pot shots at lobsters with his wand as he does so. Lobster pot shots.\n\n> You look\nA cramped storage section in the rear of the plane, where, if you remember correctly, some emergency supplies are supposed to be stored. The floor slopes upward to the economy section. The emergency escape hatch is inset into the wall.\n\nYou can see a bathroom door, a twinkie, and an equipment bin (in which is a memo) here.\n\n> You get the twinkie\nTaken.\n\n> You examine the twinkie\nGolden brown, and every bit as edible as the day it rolled off the assembly line.\n\n> You look at the twinkie\nGolden brown, and every bit as edible as the day it rolled off the assembly line.\n\nDistant screams echo from elsewhere; the cracking of human skulls by vorpal claws.\n\n> Up\nSteve follows closely behind you.\n\nA lobster scuttles towards your foot, but you quickly punt it back.\n\n> You look\nRow after row of tightly packed seats, with minimal padding, sharp corners, and ratty seat belts. A movie screen swings above one seat; an open overhead compartment limits the headroom in this section. Various half-eaten corpses of economy passengers lay strewn about, with crustaceans crawling over many of them.\n\nYou can see a broken banjo and a cart here.\n\n> Up\nMeretzky follows you, taking pot shots at lobsters with his wand as he does so. Lobster pot shots.\n\n> Up\nThe High Wizard follows you silently.\n\nThe smell of malevolent arthropods burns your nose.\n\n> You look\nRows of seats that are spaced the way economy seats used to be spaced about five years ago. It is enough to make the gullible mortals feel superior to those in economy, while still stripping them subtly of their humanity. It is your favorite section of the plane.\n\nNorthward, a narrow, staircase spirals toward to the first class section. Just above the business class is the bulkhead that leads to the cockpit.\n\nOver in seat 31A, a schoolmarm-ish woman is too exhausted to make a sound.\n\nYou can also see a staircase and an open bulkhead here.\n\n> You look\nA cone-shaped room bristling with those blinking lights and other technical knick-knacks that mortals consider fancy.\n\nYou can see an open bulkhead here.\n\n> You go to the west\nThe undulating spiral walls of the vortex rotate hypnotically, drawing you in. It crackles with actinic lightning flashes.\n\nAt the far end of the tunnel a great figure holds the vortex open, his hands held above his head like Moses parting the Red Sea. His salt-and-pepper ponytail flaps behind him in arising maelstrom. You have only heard tell of him in legends, but there is no doubt in your mind that the figure is none other than Don Woods, one of the Fathers of the Genre.\n\nEven with his great power, Woods is struggling to hold the portal open. In each of his mighty fists, he has gathered bundles of ethernet cords, which lead away in every direction. Woods calls upon the power of the Internet itself, tapping into the raw flow of energy from the IFwiki, IFDb, IFMud, and Baf's guide, Brass Lantern, and R.A.I.F. He reaches out through the thousands of works of interactive fiction in the repository, all the way back the original Adventure. He draws on the pleasure and sense of challenge felt by the millions who have ever played a text adventure, and channels it into the whirling vortex. As sweat pours from his brow, he beckons you forward.\n\n> You go west\nAn extradimensional wormhole which snakes back and forth chaotically. It connects the cockpit of the plane somewhere in the Atlantic Ocean with the Hynes Convention Center in Boston, Massachusetts. The end of the tube leading back to the plane is shrinking.\n\nDon Woods strains to maintain the wormhole through time and space."
    },
    {
        "text": "[Themes: Fantasy, humor, magic]\n\n> You look at your surroundings\nIt is pitch dark. The audience eagerly awaits the premier of a documentary, which will chronicle the history of interactive fiction.\n\n> You get the lamp\nTaken.\n\nYou are transported to a place of brightness and comraderie.\n\nOn the desk is a laptop.\n\n> You examine the laptop\nA plain black laptop, its keys polished smooth with use. On the screen, a text adventure awaits you.\n\n> You read the laptop\nThe laptop screen looks odd -- smaller and smaller echoes of itself trailing off into the distance.\n\nThe game banner prints. It's odd name (something about lobsters) is typical of hastily written speedIF. Still, it might be worth playing.\n\nYou decide to give it the benefit of the doubt and start typing in commmands. Friends gather around you to see what you are doing, making occassional comments as you trip over your high-heels and learn to use your wand.\n\nCongratulations, player. You are home.\n\nWould you like to RESTART, RESTORE a saved game, or QUIT?\n\n> Tree\ncompass (6)\nthe north\nthe northeast\nthe northwest\nthe south\nthe southeast\nthe southwest\nthe east\nthe west\nthe up\nthe down\nthe inside\nthe outside\n(LibraryMessages) (7)\n(darkness object) (8)\n(Inform Parser) (9)\n(Inform Library) (10)\n(property_numberspace_forcer) (11)\n(ValuePropertyHolder) (31)\nRoom 2305 (44)\npeople\nfloor\nyourself\nhigh-heeled shoes\nflight attendant uniform\nmagic wand\ntwinkie\nsilver wings\nname tag\ndesk\nlaptop\nTruck Stop (55)\ntriangle of canine obedience\nbarbeque tongs\nescape pod\nGoblin's Lair (59)\nfuzzy dice\nHelmet of Total Information Awareness\nfish tank tubing\nAmbulance (63)\ngoggles of alchemy\nleather breeches of etiquette\nbottle opener\nAft Cargo Bay (67)\ncocktail shaker\nrune stones of recent acquaintance\nMadagascar Dragon Tree\nOrcish pie\nwedding ring\nSheriff's Office (73)\nkitchen apron\ndiving helmet\ncan of beans\nAttic (77)\nbobby pin\n\n> You take off the uniform\nYou take off the flight attendant uniform.\n\n> You examine People\nMembers of the IF community. They are urging you to try out the game on the laptop.\n\n> Tree\ncompass (6)\nthe north\nthe northeast\nthe northwest\nthe south\nthe southeast\nthe southwest\nthe east\nthe west\nthe up\nthe down\nthe inside\nthe outside\n(LibraryMessages) (7)\n(darkness object) (8)\n(Inform Parser) (9)\n(Inform Library) (10)\n(property_numberspace_forcer) (11)\n(ValuePropertyHolder) (31)\nRoom 2305 (44)\npeople\nfloor\nyourself\nhigh-heeled shoes\nflight attendant uniform\nmagic wand\ntwinkie\nsilver wings\nname tag\ndesk\nlaptop\nCopying Room (55)\ncrowbar\nwad of chewing gum\nbeanstalk seeds\nunicycle\nAix-la-Chapelle (60)\ncorn cob pipe\nPaving Stone of Good Intention\nkinky outfit\nstovied totties\nDeath Star, Command Deck (65)\nearmuffs of stealth\ncan of depilatory cream (empty)\npotion of chicken splendor\nChanging Room (69)\nwaffle iron\ntheatrical handcuffs\ndrink coasters\ngarden weasel\nThe Khan's Pleasure Suite (74)\nballista\nglockenspiel of prismatic monkey\ncaving gear\nFootbridge (78)\nsoap-on-a-rope\nmen at work sign\nTrash-strewn Alley (81)\nescargot forks\naccordion of gold\ncantalope (half eaten)\nirony detector\n\n> Purloin earmuffs\nYou are too old-school for that -- purloining would offend your Lawful Good alignment. You resist the brief wave of kleptomania.\n\n> Gonear trophy\nYour teleport spell fizzles.\n\n> About yourself\nFour-hundred and eighty-six years, and you look like a supermodel (even more so, without your clothes). That's partly due to your inherently superior breeding, and partly attributable to the plastic surgery, cybernetic implants and magical enhancements all courtesy of The Republic.\n\n> Sing\nYour singing is abominable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> Darn\nQuite.\n\n> Actions\n[the actions action - succeeded].\n\n> Rules\nRules tracing now switched \"on\". Type \"rules\" to switch it off again.\n\n> You look\nA room full of people who you have known from emails, usenet posts, forum discussions, chats on the IFmud, and of course, through their games. There are pockets of discussion about text adventures played in the past, and interactive fiction to be written in the future. The overall impression is one of warmth and welcomeness.\n\nOn the desk is a laptop.\n\n[Rule \"offer to write a paragraph about something, but don't really mean it\" applies.]\n[Rule \"things that man should not know\" applies.]\n[Rule \"Heisenburg uncertainty principle for objects other than cats\" applies.]"
    },
    {
        "text": "[Themes: nonhuman protagonist]\n\nIt's June 2001, and the pre-emptive Foot and Mouth culls are becoming increasingly barbarous. On a remote Cumbrian farm, a DEFRA official has arrived to oversee the slaughter of an uninfected goat herd, despite the protestations of the farmer, despite the promise of a court-approved reprieve the next morning.\n\nSomeone's got to delay the culling of your herd. And that someone is you.\n\n(Type 'about' for further details)\n\nFour damp dry-stone walls, and a cold wind turning to cast rain through the only window, rattling at the door as it goes. Your herd is here, clustered on the drier side of the straw-strewn floor, next to the feeding trough.\n\n[Author's Note: You play as a goat whose goal is to prevent the slaughter of yourself and your herd by health officials from DEFRA. (DEFRA is the Department of Environment, Food and Rural Affairs, a UK government agency.) Since you are a goat, this may be a bit of a challenge.]"
    },
    {
        "text": "> About you\nYou're a grey-fawn Toggenburg with two impressively-curling horns and a particularly smart beard.\n\n> Inventory\nYour mouth is empty.\n\n> Butt\nWhat do you want to butt?\n\n> Kick\nWhat do you want to kick?\n\n> You examine the trough\nA low metal feeding trough is bolted to the southern wall, a slatted barrier giving each of the herd a feeding space.\n\n> Bleat\nWhat do you want to bleat at?\n\n> You bleat at yourself\nYou bleat at yourself.\n\n> Bleat at herd\nYou bleat at the herd. They blink at you, but otherwise offer no reaction.\n\n> You eat the straw\nBut it's filthy.\n\n> You eat herd\nYou are vegetarian.\n\n> You examine the herd\nTwo shaggy-looking males, three placid females, and a couple of nervous kids. The goats chew pensively on nothing, their rectangular pupils staring variously around the shed.\n\n> You kick the herd\nA couple of the larger males fight you off, and stare at you with a confused anger.\n\n> You eat the barrier\nThat's plainly inedible.\n\n> You examine the trough\nA low metal feeding trough is bolted to the southern wall, a slatted barrier giving each of the herd a feeding space.\n\n> You pull the trough\nYou are unable to.\n\n> You look\nFour damp dry-stone walls, and a cold wind turning to cast rain through the only window, rattling at the door as it goes. Your herd is here, clustered on the drier side of the straw-strewn floor, next to the feeding trough.\n\n> You look at the door\nA thick wooden board, not quite the right shape to fit the doorframe, is set in the western wall. It's criss-crossed with three or four generations of scratches, punctuated with impatient kick-holes.\n\n> You open door\nYou push against the door with your forehead, but something is holding it shut.\n\n> You kick the door\nYour horns clatter against the door, but it remains closed.\n\n> You examine the window\nA roughly square hole in the western wall looks out onto the yard, and the farm beyond.\n\n> You enter the window\nClambering up the stony wall, you crane your neck through the window...\n\nYou look out onto the fenced-in square of concrete, the exercise yard and recreation area for your herd. The shed door rattles in the wind, beside you.\n\n> You examine the door\nThe wooden board is heavily weathered on this side, and shakes violently in the wind. A short length of blue-plastic rope has been tied between a nail in the door, and a hook on the wall outside.\n\n> You eat the rope\nStretching your neck, you are just able to take the rope between your teeth. Lifting it from the hook, you attempt to pull it free from the door, but it seems too firmly attached.\n\nYou let go, and the rope falls to hang limply from the door.\n\n> Bleat at door\nYou bleat at the goat-shed door.\n\n> You open the door\nYou push the door open, struggling slightly against the wind.\n\n> You go west\nThis fenced-off square of washed-down concrete is as much of the world as your herd has seen, for the past few weeks. The metal gate has been left open to the north.\n\n> You go north\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nAn unfamiliar vehicle has been parked here.\n\n> You examine the vehicle\nIt looks like one of the big, wheeled machines that the farmer uses, but is of an unfamiliar greyish colour.\n\nNow that you are closer to it, you realise that an unpleasant smell is seeping from it.\n\n> Smell vehicle\nThe machine smells of death, of dead and burnt flesh.\n\n> Bleat at vehicle\nYou bleat at the grey vehicle.\n\n> You kick the vehicle\nWith a cantering run-up, you crash angrily against its flank.\n\n> You go to the east\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\nA bucket of disinfectant sits at the side of the road.\n\n> You look at the bucket\nThe sturdy plastic bucket has been filled with an acrid-smelling disinfectant.\n\n> You look at the pit\nThe pit looks to be about half a leg deep, and is as wide as the track.\n\n> You go east\nYour hooves slip and falter as you try to step across the rungs - you back off before you fall and hurt yourself.\n\n> You get the bucket\nTaken.\n\n> You check your inventory\nYou are carrying a bucket of disinfectant, in your mouth.\n\n> You drop the bucket\nDropped.\n\n> You go west\nThis rough dirt track curves into the barn to the north, while a gateway opens south into the pig-pens. A length of yellow-and-black plastic tape has been drawn across the gateway.\n\n> You examine the tape\nYellow-and-black striped tape has been stretched taut between the gateposts to the south, slapping and fluttering loudly in the wind.\n\n> Go north\nA huge curve of corrugated metal sweeps overhead, resting on half-repaired walls. Haybales are stacked and scattered out of the rain, a ragtag flock of chickens pecking their aimless way around the dirt floor.\n\n> You eat tape\nYou chew savagely at the unpleasant-tasting tape - it gradually weakens under the grinding of your teeth, before snapping and spiralling away to each side.\n\n> You go to the south\nThese low concrete buildings were home to a dozen or so ill-tempered pigs, the last time you came this way. The pens are empty, now, a single sheet of corrugated iron clanking forlornly in the wind.\n\n> You look at the iron\nOnce a roof, the sheet-metal is now only held in place by a couple of rusting bolts. It runs diagonally down into the mud, and buckles back and forth as the wind catches it.\n\n> You kick the iron\nYou batter your horns against it fiercely. One of the bolts pops free.\n\n> You kick the iron\nAnother assault, and the second bolt snaps. With a groan, the corrugated metal slides into the mud.\n\n> You look\nThese low concrete buildings were home to a dozen or so ill-tempered pigs, the last time you came this way. The pens are empty, now, nothing but mud and rainwater.\n\nYou can see a sheet of corrugated iron here.\n\n> You get the iron\nClamping your teeth around a bolt-hole, you just about manage to drag the thing with you.\n\n> Go east\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nAn unfamiliar vehicle has been parked here.\n\nYou can see a bucket of disinfectant here.\n\n> You go to the east\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\n> You put the iron on the pit\nYou drop the sheet just before the pit, and nudge it forward along the ground. With a rhythmic clanging, the grooves of the corrugated iron match the rungs above the pit - it is not long before the metal spans the pit entirely.\n\n> You go east\nYou stand nervously on the muddy B-road that connects the farm to the outside world. The open sky has a grey heaviness to it, tinged with red and black from what seems to be a fire in a field to the east. The field's gate, across the road, has been left open, while your farm lies back to the west.\n\nYou notice lights moving in the field, and a dark green vehicle suddenly rumbles into view, framed in the gateway. The engine cuts out as the driver - a thick-set man in white overalls - catches sight of you, a clearly fugitive goat. Before you can react, the vehicle door has swung open, and a shotgun has been fired.\n\n> You examine the haybales\nDozens of grey-yellow haybales have been stacked heavily around the barn, reaching almost to the roof at the back.\n\n> You examine the chickens\nThe birds peck and scratch around the floor of the barn, occasionally jerking their heads up to stare at you with orange-eyed suspicion.\n\n> Inventory\nYour mouth is empty.\n\n> You eat the hay\nYou pull out a few strands of hay, and chew on them thoughtfully.\n\n> You climb the hay\nThey're too soft and precarious to merit any worthwhile climbing.\n\n> Bleat at chickens\nYou bleat at the chickens.\n\n> You follow you\nYou bleat.\n\n> You search the hay\nCraning behind them and nudging a few others aside, you fail to find anything other than haybales.\n\n> About you\nYou're a grey-fawn Toggenburg with two impressively-curling horns and a particularly smart beard.\n\n> Go north\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\n> You examine the window\nThe window looks into the farmhouse's kitchen. You can make out two human figures inside.\n\n> Go west\nA small wooden structure sits in the grass at the corner of the house, here, at the point where the path curves around to the north. As you trot towards it, the kennel begins to make a growling noise.\n\n> You examine the figures\nYou can just about recognise the face of the farmer. The other human, clad in strange black-and-grey clothes and seated at the large wooden table, seems unfamiliar. They talk loudly and angrily to one another.\n\n> Bleat at farmer\nYou bleat at the humans.\n\n> You look at other\n(the farmhouse window)\nThe window looks into the farmhouse's kitchen. You can make out two human figures inside.\n\n> You look at the kennel\nA very small wooden building, barely big enough for a kid. Slumped in the shadows within is a large dog, which you think might belong to the farmer.\n\n> You look at the dog\nThe heavily-built black dog stares out at you malevolently, growling with his side-teeth slightly bared.\n\n> Bleat at dog\nYou bleat at the dog.\n\n> Go north\nAs you pass the kennel, the dog bounds out and - his chain pulled taut - begins to bark loudly.\n\nThe door to the farmhouse swings open, the farmer emerging onto the driveway. Seeing you and the dog, he pads across and grabs you by the neck, pulling you back before leading you gently to the goat shed.\n\nThe rope on the door is tied tightly, and the farmer walks away. After maybe ten minutes, there is the sound of another vehicle turning up - ten minutes after that, the door is pulled open and half a dozen DEFRA slaughtermen burst in with bolt-guns.\n\n> Go south\nA thick, brambly hedge blocks your way.\n\n> You look\nA small wooden structure sits in the grass at the corner of the house, here, at the point where the path curves around to the north. The farmer's dog glares out from the shadows of his home, growling darkly.\n\n> Go east\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\n> You go to the south\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nAn unfamiliar vehicle has been parked here.\n\nYou can see a bucket of disinfectant here.\n\n> You look in it\nYou nose inquisitively at the feed, but there is nothing to be found. All of the interesting tidbits were rooted out and eaten earlier.\n\n> You examine the straw\nThe brittle grey-yellow straw has been soaked and flattened against the concrete.\n\n> You get the straw\nBut it's filthy.\n\n> You take the trough\nThat's hardly portable.\n\n> You get the rope\nYou are unable to detach it from the door.\n\n> Now is the the time for all the good goats to come to the the aid of their herd\nYou bleat at the herd. They blink at you, but otherwise offer no reaction. Goats never take orders, even from other goats.\n\n> You look at door\nThe door has been opened, revealing the yard.\n\n> You look at the gate\nA gate of sturdy metal tubing, carelessly left open.\n\n> You kick the gate\nThat's hardly portable.\n\nViolence isn't the answer to this one.\n\n> You close the gate\nSome sort of locking mechanism is holding it open.\n\n> You get the bucket\nYou already have that.\n\n> You kick the bucket\nYou knock the bucket over. The evil disinfectant splashes out in a murky yellow tidal wave, spreading to form a puddle.\n\n> Inventory\nYour mouth is empty.\n\n> You kick it\nDropped.\nYou knock the bucket over. The evil disinfectant splashes out in a murky yellow tidal wave, spreading to form a puddle.\n\n> You throw the bucket at the dog\nYou lack the nerve when it comes to the crucial moment.\n\n> You drop the bucket\nDropped.\n\n> You look at the feed\nThe trough is about a quarter-full of mixed grains - oats, barley and soya pellets, mainly. Any extra leaves or vegetables have long since been eaten.\n\n> You get the feed\nYour mouth is already full.\n\n> You drop the bucket\nDropped.\n\n> You get the feed\nYou reach through a gap in the barrier and take a mouthful of the feed, holding it on your tongue.\n\n> You drop the feed\nDropped.\n\nAs you drop the feed, the chickens begin to flock around you, pecking enthusiastically at the grain.\n\n> You look\nA huge curve of corrugated metal sweeps overhead, resting on half-repaired walls. Haybales are stacked and scattered out of the rain, a ragtag flock of chickens pecking their aimless way around the dirt floor.\n\nYou can see a small pile of goat-feed here.\n\n> You get the feed\nTaken.\n\nThe chickens peck up the last few stray grains.\n\n> You look at what you're carrying with you\nYou are carrying a mouthful of goat-feed, in your mouth.\n\n> You show the feed to the chickens\nThe chickens are unimpressed.\n\n> You feed the chickens\n(to the chickens)\n(first taking the chickens)\nThey beat their wings and scrabble out of your reach.\n\n> You drop the feed\nDropped.\n\nAs you drop the feed, the chickens begin to flock around you, pecking enthusiastically at the grain.\n\n> You get the chicken\nThey beat their wings and scrabble out of your reach.\n\nThe chickens continue to peck at the scattered goat-feed.\n\n> You check what you're carrying\nYour mouth is empty.\n\nAnother chicken flaps down from the haybales to join the feast.\n\n> Wait\nTime passes.\n\nWith a hungry murmuring, the chickens peck at the grain.\n\n> You wait\nTime passes.\n\n> Go east\nFour damp dry-stone walls, and a cold wind turning to cast rain through the only window, rattling at the door as it goes. Your herd is here, clustered on the drier side of the straw-strewn floor, next to the feeding trough.\n\nYou can see a bucket of disinfectant here.\n\n> You get the feed\nYou reach through a gap in the barrier and take a mouthful of the feed, holding it on your tongue.\n\n> Go north\nA huge curve of corrugated metal sweeps overhead, resting on half-repaired walls. Haybales are stacked and scattered out of the rain, a ragtag flock of chickens pecking their aimless way around the dirt floor.\n\nYou can see a small pile of goat-feed here.\n\nThe chickens continue to peck at the scattered goat-feed.\n\nOne of the bolder chickens struts out of the barn to the south, but soon returns. She goes back to pecking through the grain.\n\n> You go to the west\nYou can see a small pile of goat-feed here.\n\n> Go east\nYou can see a bucket of disinfectant here.\n\n> You go to the west\nA thick hedge blocks your path.\n\n> Go north\nYou can see a small pile of goat-feed here.\n\nOne of the bolder chickens struts out of the barn to the south, and does not return.\n\n> Go south\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe chicken wanders away to the north, pecking hungrily at the floor.\n\n> Go north\nYou can see a small pile of goat-feed here.\n\nWith a hungry murmuring, the chickens peck at the grain.\n\nOne of the bolder chickens struts out of the barn to the south, and does not return.\n\n> You get the feed\nTaken.\n\nThe chickens peck up the last few stray grains.\n\n> Attack chicken\nThey beat their wings and scrabble out of your reach.\n\n> You drop the feed\n(the mouthful of goat-feed)\nDropped.\n\n> Go south\nYou can see two small piles of goat-feed here.\n\n> Go east\nYou can see a single chicken and a small pile of goat-feed here.\n\n> Go north\nAs you pass the kennel, the dog bounds out and - his chain pulled taut - begins to bark loudly.\n\nThe door to the farmhouse swings open, the farmer emerging onto the driveway. Seeing you and the dog, he pads across and grabs you by the neck, pulling you back before leading you gently to the goat shed.\n\nThe rope on the door is tied tightly, and the farmer walks away. After maybe ten minutes, there is the sound of another vehicle turning up - ten minutes after that, the door is pulled open and half a dozen DEFRA slaughtermen burst in with bolt-guns.\n\n> Go north\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe chicken pecks impatiently at the grain.\n\n> You wait for a while\nTime passes.\n\nThe chicken triumphantly picks out a speck of what might be linseed.\n\n> Go north\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe chicken wanders away to the west, pecking hungrily at the floor.\n\nYou watch as the chicken, pecking blindly along the ground, wanders too close to the dog's kennel. There is a brief but frenzied period of barking and squawking, before the chicken flaps away.\n\nThe farmhouse door swings open in front of you, the farmer stepping out into the rain. He seems surprised to see you standing outside, and - ruffling your hair - leads you gently back to the goat shed.\n\nThe rope on the door is tied tightly, and the farmer walks away. After maybe ten minutes, there is the sound of another vehicle turning up - ten minutes after that, the door is pulled open and half a dozen DEFRA slaughtermen burst in with bolt-guns.\n\n> You wait awhile\nTime passes.\n\nA chicken arrives from the north, strutting directly to the pile of goat-feed.\n\n> You go to the north\nYou can see a small pile of goat-feed here.\n\nThe chickens pick barley grains out of the dirt on the floor.\n\n> You wait awhile\nTime passes.\n\nThe chickens pick barley grains out of the dirt on the floor.\n\n> You wait\nTime passes.\n\nAnother chicken flaps down from the haybales to join the feast.\n\n> You go north\nYou can see a small pile of goat-feed here.\n\nThe chickens continue to peck at the scattered goat-feed.\n\n> You wait awhile\nTime passes.\n\nThe chickens pick barley grains out of the dirt on the floor.\n\n> You wait awhile\nTime passes.\n\nThe chickens continue to peck at the scattered goat-feed.\n\n> Wait\nTime passes.\n\nAnother chicken flaps down from the haybales to join the feast.\n\nOne of the bolder chickens struts out of the barn to the south, and does not return.\n\n> You eat the feed\nYou crunch the husks and pellets between your heavy teeth, swallowing it all down.\n\nThe chickens peck up the last few stray grains.\n\n> You go to the south\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe chicken wanders away to the east, pecking hungrily at the floor.\n\n> You eat the feed\nYou crunch the husks and pellets between your heavy teeth, swallowing it all down.\n\n> Go east\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe lone chicken scrabbles hungrily through the goat-feed.\n\n> You wait for a while\nTime passes.\n\nThe lone chicken scrabbles hungrily through the goat-feed."
    },
    {
        "text": "> Look around\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nAn unfamiliar vehicle has been parked here.\n\nYou can see a single chicken and a small pile of goat-feed here.\n\n> You eat the feed\nYou crunch the husks and pellets between your heavy teeth, swallowing it all down.\n\n> You wait awhile\nTime passes.\n\nThe chicken pecks impatiently at the grain."
    },
    {
        "text": "> Look around\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nAn unfamiliar vehicle has been parked here.\n\nYou can see a single chicken and a small pile of goat-feed here.\n\nThe chicken triumphantly picks out a speck of what might be linseed.\n\n> Wait\nTime passes.\n\nThe chicken wanders away to the north, pecking hungrily at the floor.\n\n> You kick the chicken\nFlapping her wings in alarm, the bird turns tail and scrabbles back to the safety of the barn.\n\n> Go east\nYou hear a far-off barking, closely followed by a panicked fluttering and squawking. A moment or two passes, and you hear the farmer shouting, the dog whining. A door slams.\n\n> You go north\nYou stand at the hedged-off side of the farmhouse, the back door to the east swinging open in the wind, and a path winding south to the front of the building.\n\nA short stick is leant up against the wall.\n\n> You get the stick\nYour mouth is already full.\n\n> You examine stick\nA rough wooden stick, about as long as one of your legs.\n\n> You check your inventory\nYou are carrying a bucket of disinfectant, in your mouth.\n\n> You drop it\nThe stick is already here.\n\n> Go east\nThe house doesn't look so impressive now that you're inside - the tiled floor is criss-crossed with muddy footprints, the air smells of dung and disinfectant, and it's no less cold than outside. Doors lead east, into the house, and west, to outside.\n\nYou can see a rain hat and a coat here.\n\n> You examine the coat\nA thin, matt-green waterproof coat, far too big for you and smelling strongly of disinfectant.\n\n> Wear coat\n(first taking the coat)\nYou fling it loosely over your back, pulling it into shape around your neck. The unpleasant rubber lining sticks slightly against your own coat.\n\n> You wear the hat\n(first taking the rain hat)\nYou throw it into the air, catching it on your horns. A few shakes of the head, and it seems to stay in place reasonably enough.\n\n> Go west\nYou stand at the hedged-off side of the farmhouse, the back door to the east swinging open in the wind, and a path winding south to the front of the building.\n\nA short stick is leant up against the wall.\n\nYou can also see a bucket of disinfectant here.\n\n> You go to the south\nA small wooden structure sits in the grass at the corner of the house, here, at the point where the path curves around to the north. It seems to be empty.\n\nYou can see a small pile of goat-feed here.\n\n> You go to the east\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\nYou can see a small pile of goat-feed here.\n\n> You go east\nA hedge blocks your way.\n\n> Go east\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\nYou can see a sheet of corrugated iron here.\n\n> You go east\nYou stand nervously on the muddy B-road that connects the farm to the outside world. The open sky has a grey heaviness to it, tinged with red and black from what seems to be a fire in a field to the east. The field's gate, across the road, has been left open, while your farm lies back to the west.\n\nYou notice lights moving in the field, and a dark green vehicle suddenly rumbles into view, framed in the gateway. The driver - a thick-set man in white overalls - glances briefly in your direction, but either fails to notice you, or mistakes your form for that of a crouching human.\n\nThe vehicle pulls across the road, disappearing through the gate of your farm, rumbling across the metal-runged pit.\n\n> Go east\nDeep, wide vehicle-tracks have cut across this ravaged field, all heading towards some sort of bonfire on the eastern side. Ash-black smoke rolls into the night sky, glowing a bloody red in the light of the fires.\n\n> You go to the east\nA deep trench has been dug along the eastern side of the field, piled full of the carcasses of infected or suspected cattle. Red and orange flames curl and flicker around the corpses, and a choking pall of black smoke pours into the sky.\n\n> You look at the fire\nThe pit has been filled with dead cattle, soaked with petrol and flammable disinfectant, and set alight. Blackish smoke rises from the charred carcasses, and tongues of flame curl here and there.\n\n> Go north\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nInformation is available on the following matters:-\n\n> DEFRA\nDEFRA is the Department of Environment, Food and Rural Affairs (previously MAFF), the UK government agency responsible for carrying out the variously-questionable \"contiguous culling\" of over seven million farm animals during the 2001 Foot and Mouth epidemic.\n\nN = next subject                                                  P = RETURN = read subject                                          Q = re sume game\nInformation is available on the following matters:-\n\n> DEFRA\n\n> Go west\nYou stand nervously on the muddy B-road that connects the farm to the outside world. The open sky has a grey heaviness to it, tinged with red and black from what seems to be a fire in a field to the east. The field's gate, across the road, has been left open, while your farm lies back to the west.\n\n> You go west\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\nYou can see a sheet of corrugated iron here.\n\n> You go to the west\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nTwo unfamiliar vehicles have been parked here.\n\n> You look at the vehicle\nWhich do you mean, the green vehicle or the grey vehicle?\n\n> Green\nSimilar to the other one, but green. Looking through the window, you can see a rack of shotguns and bolt-guns, and numerous wooden boxes.\n\n> You look at the grey\nIt looks like one of the big, wheeled machines that the farmer uses, but is of an unfamiliar greyish colour.\n\nNow that you are closer to it, you realise that an unpleasant smell is seeping from it.\n\n> You go north\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\nYou can see a small pile of goat-feed here.\n\n> You go to the west\nA small wooden structure sits in the grass at the corner of the house, here, at the point where the path curves around to the north. It seems to be empty.\n\nYou can see a small pile of goat-feed here.\n\n> You go north\nYou stand at the hedged-off side of the farmhouse, the back door to the east swinging open in the wind, and a path winding south to the front of the building.\n\nA short stick is leant up against the wall.\n\nYou can also see a bucket of disinfectant here.\n\n> You go to the east\nThe house doesn't look so impressive now that you're inside - the tiled floor is criss-crossed with muddy footprints, the air smells of dung and disinfectant, and it's no less cold than outside. Doors lead east, into the house, and west, to outside.\n\n> You look at the door\nWhich do you mean, the back door or the white door?\n\n> White\nA flat white door, leading to the rest of the house.\n\n> You drop the coat\n(first taking the coat off)\nYou shake it off onto the ground.\nDropped.\n\n> You open white door\nIt seems to be locked.\n\n> Wear coat\n(first taking the coat)\nYou're already wearing that!\n\n> Inventory\nYour mouth is empty.\n\nYou are wearing a coat and a rain hat.\n\n> Go west\nYou stand at the hedged-off side of the farmhouse, the back door to the east swinging open in the wind, and a path winding south to the front of the building.\n\nA short stick is leant up against the wall.\n\nYou can also see a bucket of disinfectant here.\n\n> You check what you're carrying\nYou are carrying a stick, in your mouth.\n\nYou are wearing a coat and a rain hat.\n\n> Go south\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nTwo unfamiliar vehicles have been parked here.\n\nYou can see a bucket of disinfectant here.\n\n> You go east\nEnter saved game to store: Ok.\n\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\nYou can see a sheet of corrugated iron here.\n\n> Light stick\nYou hold the end of the stick to one of the pyre's flames - after a while the end begins to smoulder, before slowly blossoming into fire.\n\n> You kick the bucket\nYou knock the bucket over. The evil disinfectant splashes out in a murky yellow tidal wave, spreading to form a puddle beneath the two vehicles.\n\n> Light puddle\nThe noxious disinfectant bursts into fire with a roaring purple flame, quickly enveloping the two DEFRA vehicles. As the tyres melt and the paint peels away, you are quick to retreat to the goat yard, and the safety of the shed.\n\nCraning your neck through the window, you can make out the DEFRA official emerging from the farmhouse with four of his slaughtermen. They watch in disbelief as their transport and equipment is consumed by the blaze, backing away as one petrol tank ignites, followed by the other.\n\nThe fire doesn't spread, and begins to die down, but the local fire brigade arrive within twenty minutes or so. Exasperated by the accident and the stirrings of media attention, the DEFRA men vanish silently into the night.\n\nYou settle down into the straw, and wait for the sunrise.\n\n> Go east\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nTwo unfamiliar vehicles have been parked here.\n\nYou can see a stick here.\n\n> Go north\nA huge curve of corrugated metal sweeps overhead, resting on half-repaired walls. Haybales are stacked and scattered out of the rain, a ragtag flock of chickens pecking their aimless way around the dirt floor.\n\nYou can see a puddle of disinfectant and a bucket (which is empty) here.\n\n> Light puddle\nThe noxious disinfectant bursts into fire with a roaring purple flame, and begins to blazes away under its own fuel, acidic orange smoke swirling up into the sky. It is not long before the farmer and the DEFRA slaughtermen emerge from the farmhouse to investigate.\n\n> You look\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nTwo unfamiliar vehicles have been parked here.\n\nYou can see a bucket of disinfectant here.\n\n> You get the bucket\nDropped.\nTaken.\n\n> Go east\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\nYou can see a small pile of goat-feed here.\n\nA small wooden structure sits in the grass at the corner of the house, here, at the point where the path curves around to the north. It seems to be empty.\n\nYou can see a small pile of goat-feed here.\n\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\nYou can see a small pile of goat-feed here.\n\n> Go north\nYou stand at the hedged-off side of the farmhouse, the back door to the east swinging open in the wind, and a path winding south to the front of the building.\n\n> You go to the north\nDeep, wide vehicle-tracks have cut across this ravaged field, all heading towards some sort of bonfire on the eastern side. Ash-black smoke rolls into the night sky, glowing a bloody red in the light of the fires.\n\nYou stand nervously on the muddy B-road that connects the farm to the outside world. The open sky has a grey heaviness to it, tinged with red and black from what seems to be a fire in a field to the east. The field's gate, across the road, has been left open, while your farm lies back to the west.\n\nThe muddy track opens out onto the main road, here, cutting through a thick and brambly hedge. A low pit has been sunk into the track just before the road, topped with a series of parallel rungs.\n\nYou can see a sheet of corrugated iron here.\n\nA roughly-bordered area of freshly-laid tarmac marks the centre of the farm - the goat shed and its yard lie back to the south, while the farmhouse is north. Dirt tracks lead east and west, the eastern track continuing out to the main road.\n\nTwo unfamiliar vehicles have been parked here.\n\nYou've never quite understood why humans live in such large sheds, particularly when they seem so bipedal. The farmhouse looks to be about twenty times the size of the goat-shed, with glass in its windows and a roof of straw. The path from the south winds through grass to the side of the house, to the west.\n\nYou can see a small pile of goat-feed here.\n\n> Go east\nThe house doesn't look so impressive now that you're inside - the tiled floor is criss-crossed with muddy footprints, the air smells of dung and disinfectant, and it's no less cold than outside. Doors lead east, into the house, and west, to outside.\n\nYou can see a puddle of disinfectant and a bucket (which is empty) here.\n\n> Light puddle\nThe noxious disinfectant bursts into fire with a roaring purple flame, and begins to blazes away under its own fuel, acidic orange smoke swirling up into the sky. It is not long before the farmer and the DEFRA slaughtermen emerge from the farmhouse to investigate."
    },
    {
        "text": "[Themes: Slice of life, pancake]\n\nLeaves rustle in the spring breeze, and the soft calls of distant birds add a pleasant background. The barnyard is filled with muck. Nearby, a splintery old post juts from the mud. A rusty old cowbell hangs from the post.\n\nA perky pink pig is sleeping in the ooze nearby.\n\nA lunchbox lies forlornly on the ground.\n\n[Author's Note: You play as a non-descript person on a farm where you'll find a pig and a pancake. Enjoy!]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the post\nIt's a post. What more do you want?\n\n> You look at the pig\nThe pig twitches and grumbles in his sleep, oblivious to the outside world.\n\n> Poke pig\nThe pig sighs happily, unperturbed.\n\n> You examine the lunchbox\nIt's a plain tin lunchbox. There may once have been some sort of cartoon character on the front, but the paint wore off long ago. It is tightly latched.\n\n> You open the lunchbox\n[Your score has just gone up by five points.]\n\n> You look in the lunchbox\nIn the lunchbox is a pancake.\n\n> You eat the pancake\n(first taking the pancake)\n\n> You give the pancake to the pig\n(first taking the pancake)\n\n> You ring cowbell\nCLANG CLANG CLANG CLANG!\nThe pig leaps to his feet with a grunt, and glances around warily.\n\n> You get the post\nThat's hardly portable.\n\n> You eat the pig\n(first taking the pig)\nThe pig ignores you, snorting forlornly at the mud."
    },
    {
        "text": "[Themes: Slice of life, pancake]\n\n> Look around\nLeaves rustle in the spring breeze, and the soft calls of distant birds add a pleasant background. The barnyard is filled with muck. Nearby, a splintery old post juts from the mud. A rusty old cowbell hangs from the post.\n\nThe pig yawns and snuffles about lazily.\n\nA lunchbox lies forlornly on the ground.\n\n> You feed pancake to the pig\n(first taking the pancake)"
    },
    {
        "text": "So here you are, alone, again, in this vast subterranean laboratory dug deep under the peaceful town of Lubbock, Texas. Christmas time, holidays for almost everyone but you and a few other slaves... Nah, heroes. Working for the government is nothing but a privilege to be cherished.\nYou're sitting in a steel chair, watching a small TV. Sitting in a way only apes would be believed to be able to sit, but hey, boredom has killed your ability to keep your back straight a long time ago. Your favorite show, \"You bet your life\", is about to begin but you still have to run the safety check with the computer terminal, like you've been doing every hour since the beginning of your shift.\n\nSo, let's roll!\n\nConcrete walls, gray for the most part. Some panels here and there, covered with a plethora of buttons and lights. The place has nothing to be liked for. It's nothing more than one of the biggest Boondoggle of the century!\nHere lies your desk and your favorite chair, and a frozen alien twenty meters ahead of you, protected by several security devices.\nThe main exit is south, but you're supposed to stay here the whole night!\nThere are some other rooms east and west, but without any TV they are just boring and useless places."
    },
    {
        "text": "> About yourself\nYour first weeks here were very exciting. Working on classified files, alien abductions, secret weapons, a real dream job.\nUntil you discovered that here, like in any other place, you have to spend countless hours filling boring documents, reading reports and shaking damp hands.\n\n> You examine the alien\nA strong, cold, modern creature from outer space in a strong, cold, modern sarcophagus from inner earth.\nMade in the USA, as far as you know.\nThe coffin, I mean.\n\n> You look at desk\nOn your desk sits the powerful terminal which allows you to command the computer.\n\n> You look at the terminal\nWith this terminal you can give orders to the computer and unleash its terrific power. Switch it on, and the magical black screen gets all... well... black, but with little green characters dancing on it.\n\n> You turn on the terminal\n***\nLOCOMOTIVE BASIC 0.23b\nCOMPUTER ACCESS AUTHENTIFICATION\n\nUSER : bigboy\n\nPASSWORD : longpinkbeard\n\nAUTH OK.\n\nORDERS?\n\n> You turn on the terminal\nWe've got one nearly every week, I can't stand this anymore!\"\n\nI beg your pardon?"
    },
    {
        "text": "> Look around\nConcrete walls, gray for the most part. Some panels here and there, covered with a plethora of buttons and lights. The place has nothing to be liked for. It's nothing more than one of the biggest Boondoggle of the century!\nHere lies your desk and your favorite chair, and a frozen alien twenty meters ahead of you, protected by several security devices.\nThe main exit is south, but you're supposed to stay here the whole night!\nThere are some other rooms east and west, but without any TV they are just boring and useless places.\n\n> You examine the laser\nThey are red. Doesn't look like a \"Don't touch me\" warning?\n\n> You take the laser\nThey're hardly portable.\n\n> You ask the alien about the suzie perkins\nYou can only do that to something animate.\n\n> You examine the devices\nSeveral layers of security are meant to prevent the alien from escaping, killing numerous employees on his way.\nThe first device is a gas bomb, close to the coffin.\nThe second one is a glass wall, five meters from the coffin.\nThe third one in a full set of powerful laser beams, ten meters from the coffin. They cross, giving birth to a permanent hellish wall. Yeah, they are really impressive.\n\n> You look at the glass wall\nThis bomb will explode automatically if the alien were to get out of his coffin. This gas incapacitates him in a few seconds.\n\n> Examine tv\nThis magical box just saves the day.\n\n> You get the tv\nThat's hardly portable.\n\n> You go to the east\nThis room is maybe the more useless in the whole base. It contains an old emergency generator, to be used when the main power supply AND the secondary generator are failing. How the hell could this happen?\nThus your team used this place as a junk room. There could be some fun stuff to get there, but right now it's better to watch your favorite show on TV.\n\n> You go west\nWell, nobody goes there, that's the secondary generator room. This is supposed to be used when the main power supply is out. This never happened... Why would that happen today?\n\n> You get all\nThe lab computer: That's hardly portable.\nlights: That's hardly portable.\nThe computer terminal: That's hardly portable.\ndesk: That's hardly portable.\nTV: That's hardly portable.\nposters: They're hardly portable.\nalien coffin: That's not exactly a good idea.\nsecurity devices: They're hardly portable.\ngas bomb: That's hardly portable.\nglass wall: That's hardly portable.\nlaser beams: They're hardly portable.\nchristmas tree: That's hardly portable.\n\n> You look at the tree\nYour colleagues gave this to you. That's nice.\nScumbags!\n\n> You look at desk\nOn your desk sits the powerful terminal which allows you to command the computer.\n\n> You examine computer\nA small computer really, marvel of the technology. Stuck in the east wall, it's only six meters wide, thus allowing some room for a few more posters. There are some lights on it, here and there, but you don't know exactly what they could mean. Well, in fact, you don't at all what they could mean, but as long everything is not flashing red, you can suppose the calculator is fine.\n\n> You examine posters\nMostly pin-ups...\n\n> You look at lights\nBlip... clic... blip... every annoying light here seems to be related to some even more annoying noise.\n\n> You turn off the computer\nCertainly not. This computer handles everything here. Without it, you're toast!\n\n> You remove posters\n(first taking the posters)\nThey're hardly portable.\n\n> Hug tree\nYou can only do that to something animate.\n\n> Sing\nYour singing is abominable.\n\n> You get laser\nThey're hardly portable.\n\n> You look at the terminal\nWith this terminal you can give orders to the computer and unleash its terrific power. Switch it on, and the magical black screen gets all... well... black, but with little green characters dancing on it.\n\n> You touch the terminal\nThere's a bug somewhere. But in the computer for sure, the terminal won't help.\n\n> You touch the computer\nLooking closely at the main components, you finally find some kind of coackroach stucked in a magnetic reader. You remove it carefully and crush it under your mighty foot. Good riddance, the computer should work now. No bugs!\n\n> You turn on the computer\nIt's already running, but you can control it through the terminal.\n\n> You turn on the terminal\n***\nORDERS?\n\n.....start procedure ok\n\nCHECK TERMINAL INTEGRITY...OK\n\nCHECK MINIMAL SYSTEMS BATTERIES...OK\n\nCHECK COMPUTER SYSTEM...OK\n\nCHECK SECURITY DEVICES...OK\nCHECK PRIM...!!ALERT!!\n\nSECURITY CHECK ABORTED. REASON : problem with main power supply.\n\nSECONDARY GENERATOR AUTOMATIC LAUNCH...FAILURE\n!!ALERT!! !!ALERT!! !!ALERT!!\nCoffin temperature rising. Creature will wake up at -40 degrees Fahrenheit.\n***\n\"What the...\"\nIndeed, the main power supply is in trouble... most of the lights just went off, as did the TV. Hopefully, a few batteries were ready and are now delivering minimal power to the computer, the terminal, and a few lights to see what you're doing.\nThe only problem is this alien which won't stay frozen for long if you can't start the secondary generator, located in the western room.\n\n> You go to the west\nThe only purpose of this room is to host the huge secondary generator, very useful when the main power of the town is having problems.\nTo the east you'll get back to the laboratory.\n\nYou can't go that way.\n\n> Examine generator\nThis huge generator uses the power of the Atom, nothing less. It is a small nuclear power plant, of the highest available top secret technology.\n\n> Search generator\nYou see a form on the generator. It should give you the date of the last maintenance routine.\n\n> Examine form\nWritten on this, with very small and in an ugly writing, the date of the last maintenance routine. Here it goes...\nLast maintenance date : HEY GUYS WHERE THESE SCREWS WERE SUPPOSED TO GO ?? Mike\n\n> You get the book\nThis HUGE blue book contains thousands of pages explaining everything you should know to repair this baby.\nAlas, the pages you need, like in fact half of the total amount of pages, have been taken out of the book. Looks like another consequence of last year's shortage of toilet paper.\n\nThis generator won't work today. You just push the button supposed to send the information to the lab computer. RIP secondary generator.\n\nYou already have that.\n\n> You go east\nThis place has been mostly used by your team as a junk room. And it shows.\nTo the west you'll get back to the laboratory.\n\nA wooden crate lies in a corner.\n\n> Open crate\nYou open the crate, revealing dozens of empty bottles. Yeah, you remember now this birthday party. Well, at least you remember the fact that there was a birthday party, but you don't remember anything of it.\nWell. You won't find vodka anywhere else in this lab, and without this precious liquid this generator won't start. Better find some way to change the power distribution of the batteries with the computer. Who needs air conditionning anyway?\n\nThat's already open.\n\nThat's already open.\n\n> Examine generator\nThis power generator is a very sturdy and efficient piece of machinery. It was made in the USSR, and you don't understand the instructions and labels written on it, but that's not too much of a problem, you know the basics: it consumes fuel and creates electricity. Well, oddly enough, it uses vodka as a fuel.\n\n> You take the bottles\nSadly, they won't help you...\n\n> You look under the crate\nIn the wooden crate are some vodka bottles.\nYou find nothing of interest.\n\n> You look under the generator\nYou can't work in such a mess!\nYou find nothing of interest.\n\n> You search the junk\nYou can't just take all of this, but at least you quickly remove what prevents you to correctly access the generator.\nOh, just you found the red book explaining how this generator works. Good.\n\n> You search the junk\nYou don't need anything of this right now, and everything is out of the way. No problem.\n\n> You read the book\nWhich do you mean, the red manual or the blue manual?\n\n> Red\nThis is the emergency generator documentation. In russian. Without drawings.\n\n> You get red manual\nYou already have that.\n\n> Search generator\nIt looks totally okay, except that the fuel tank is empty. You should find some vodka.\n\n> Go west\nConcrete walls, gray for the most part. Some panels here and there, covered with a plethora of buttons and lights. The place has nothing to be liked for. It's nothing more than one of the biggest Boondoggle of the century!\nHere lies your desk and your favorite chair, and a frozen alien twenty meters ahead of you, protected by several security devices.\nThe main exit is south, but you're supposed to stay here the whole night!\nThere are some other rooms east and west, but without any TV they are just boring and useless places.\n\n> You turn on the terminal\n*CLANG*\n\nIt's... definitely coming from the coffin.\n*CLANG*\n\n\"OH MY GOD! OH MY GOD! I'M DEAD! OH MY GOD!\"\nYeah, you sort of missed the \"remain calm in all circumstances\" course.\n\nFor sure, it's big trouble. But you'll eventually find a way to survive! Won't you?\n\n*CLANG*\n\n*CLAAAANG*\n\nPlease give one of the answers above."
    },
    {
        "text": "[Themes: Fairy tale, steampunk, Fantasy]\n\nOnce upon a time, there was a queen of fay blood who couldn't bear children. To humor her saddened king, she learnt the secret arts of alchemy and mechanicks, and her head bore what her womb would not. But even that clockwork boy, a wonder held in aw throughout the kingdom, couldn't lift the kings spirits, and he fell into a great sadness. The queen asked for wizards, jesters and bards from near and far, but it was no use. So in a fit of helpless rage, she cursed the king with immortality, and flew back to her home land. The king's lands soon fell into ruin and where fought over by his knights and viceroys. The heavy-minded ruler himself continued to live in the castle, kept alive by  the curse for many centuries.\nAnd then, one day, he wound up the clockwork boy again.\n\nHugo v3.1 / Library 31031\nC1594AB3-81E6-44FE-84FD-A6053D77C8D2\n\nThis room is a still life, its topics neglect. The tapestries, once colorful and moving, have bleached to the quality of distant memories. Highback chairs and tables catch dust dutifully. A red, shimmering portal wavers in the middle of the room, created by powerful magic and yet under attack constantly by the laws of the earth and sky, wishing it out of existence.\n\nThe king sits here in a corner, him and time watching each other pass silently.\n\nThe giant boot is here. The queen used to put you in it, when you weren't wound up, for cuteness' sake.\n\n[Author's Note: Once upon a time, there was a queen of fay blood who couldn't bear children. To humor her saddened king, she learnt the secret arts of alchemy and mechanicks, and her head bore what her womb would not. But even that clockwork boy, a wonder held in awe throughout the kingdom, couldn't lift the king's spirits, and he fell into a great sadness. The queen asked for wizards, jesters and bards from near and far, but it was no use. So, in a fit of helpless rage, she cursed the king with immortality and flew back to her home land. The king's lands soon fell into ruin and were fought over by his knights and viceroys. The heavy-minded ruler himself continued to live in the castle, kept alive by the curse for many centuries. And then, one day, he wound up the clockwork boy again.]\n\n> About yourself\nA thing of cogs and pistons, your thoughts are swimming in quicksilver and sluggish lead in your head.\n\n> You examine the boot\nIt's a boot that, long ago, belong to one of the mountain giants who visited the court and got drunk on a month's supply of ale. One of them must have forgotten this in the castle years ago.\n\n> You examine king\nHis beard has grown long and grey, his eyes old and dim. He is barely awake, just stares into nothingness. \"Should've never let her go...I should have gotten myself together...Too little, too late...\"\n\n> You ask the king about the queen\n\"The bravest thing I ever did for her, probably, was slaying the giant spider that lived in the hills. Let me tell you a secret: She ruled the country hard and fair, but she was deadly scared of spiders. I brought her one of the crystal eyes of the spider. Never saw it again. Guess she never cared for it.\" He shrugs with the fake nonchalance reserved for old pain.\n\n> You examine the portal\nThe red portal is open.\n\n> You ask the king about the portal\n\"I've broken the Red Crystal to open this. Many good knights died retrieving this - they were good friends, good friends. And now I don't have the courage to go through and ask her for forgiveness.\" He hangs his grey head low, so low.\n\n> You ask the king about yourself\n\"Ah, my little clockwork boy. She meant so well.\"\n\n> You ask the king about red Crystal\nYou haven't encountered any \"red crystal\". (If you're sure you need to refer to that, try putting it another way.)\n\n> You ask the king about the boot\n\"That old thing! You should really throw it away.\"\n\n> You take the boot\nTaken.\n\n> You enter the portal\nOcean laps at the sand beneath you. You are on a drawbridge, leading north towards a cozy, but somewhat decripit castle on a small peninsula. A misplaced red portal hovers in the air.\n\n> Close portal\nClosed.\n\n> You open the portal\nOpened.\n\n> Go north\nYou arrive at the castle gates, made of bright wood and inlaid with scenes of festivity and hospitality. An eastward path leads to the shore, the same path cuts westward around the castle wall, and the aforementioned gate leads north.\n\n> Go north\nYou take careful steps on cracked marble tiles. The absurdly high\nwalls of the castle around you guide the eye towards the small set of steps to the northeast.\nA huge jar, fireproof and sooty, sits in a corner.\n\n> You examine the jar\nA A huge jar, fireproof and sooty.\n\n> You look in the jar\nThe jar is empty.\n\n> You take the jar\nTaken.\n\n> You go to the northeast\nYou stumble around in the dark.\n\n> You go to the south-west\nYou take careful steps on cracked marble tiles. The absurdly high\nwalls of the castle around you guide the eye towards the small set of steps to the northeast.\n\n> You go to the south\nYou arrive at the castle gates, made of bright wood and inlaid with scenes of festivity and hospitality. An eastward path leads to the shore, the same path cuts westward around the castle wall, and the aforementioned gate leads north.\n\n> Go west\nOn the beach is a big, burnt patch of land.\nA phoenix is here.\n\n> You look at the phoenix\nThe phoenix looks quite like a normal bird. But there are flames burning behind his eyes.\n\n> You take Phoenix\nYou don't dare take it!\n\nWith a thunderous hiss, the Phoenix bursts into bright red flames!\n\n> You go east\nThe white sand besides the castle looks like one of those strips of land where you usually never see someone.\nA golem sits here, fishing unenthusiastically. He told you the basics of speech, long ago.\n\n> You examine the golem\nThe stone golem sits hunched, almost keeling over, fixiating on fishing with the unshakable determination of his kind. He doesn't seem to enjoy fishing very much, though. Which is a wonder since he uses a line of excellent catgut.\n\nThe phoenix closes his wings and is soon reduces to a pile of ash.\n\n> You look at the sea\nThe ocean is unthinkably wide and very, very blue. It seems to be rather fishless.\n\n> You ask the golem about Phoenix\n\"Ah, that silly old bird. Used to burn everything! Good at heart, but he needs to be locked up some times to cool his temper.\"\n\nThe ash flies up, as if lifted from unseen winds, and forms the outline of a bird!\n\n> You ask the golem about the golem\n\"I was her bodyguard. She dismissed me when she lost all interest in the world. Now I fish all day. And I hate fishing.\"\n\n> You ask golem about the fishing\n\"The queen gave it to me once. Said she had no use for it anymore. And no, you can't have it.\"\n\n> You ask the golem about the queen\n\"She never forgave him. Now she just sits in there in the dark and tries to sleep. Has tried for decades. She tries to stay mad at him, I guess.\"\n\n> You ask the golem about the king\n\"He left her. He shouldn't have. Even after all that happened. Or maybe especially not after all that happened.\"\n\n> You ask the golem about yourself\n\"Hello there little friend!\" He pats you on the head.\" Good to see you around, pinion.\"\n\nThe phoenix closes his wings and is soon reduces to a pile of ash.\n\n> You ask Golem about the boot\nYou decide not to ask the Golem about it. Maybe you could use it to help him end this boring activity.\n\n> You give the boot to Golem\nThe Stone Golem politely refuses.\n\nThe ash flies up, as if lifted from unseen winds, and forms the outline of a bird!\n\n> You throw the boot\nSuddenly, the stone golem jumps up. \"I dun caught summin'!\" He reels and reels frantically - and comes up with the boot! Angrily, he breaks his rod apart and stamps on it. He then throws the boot away and stomps off. You hear him mutter \"Lousy hobby\" under his breath."
    },
    {
        "text": "> Look around\nThe white sand besides the castle looks like one of those strips of land where you usually never see someone.\nA fishing line is here.\n\n> You take the line\nTaken.\n\nWith a thunderous hiss, the Phoenix bursts into bright red flames!\n\n> Go east\nYou can only go back west, to the castle grounds.\n\n> You look at the line\nA length of good fishing line.\n\n> You go west\nOn the beach is a big, burnt patch of land.\nA burning phoenix is here.\n\nThe phoenix closes his wings and is soon reduces to a pile of ash.\n\n> You take the ash\nYou quickly scoop up some ash. As you are not connected to the flow of the universe, the Phoenix is unable to reassamble as long as you hold it.\n\n> You put the ash in the jar\nYou carefully pour the ash from your hand into the jar. The phoenix bursts into flame, but the fireproof glass remains unimpressed. He pecks the glass in irritation, and eyes you with consternation.\n\n> You go northeast\nThe queen sits on the throne, her head resting on her head, looking\nat the ground without seeing. She stifles a yawn.\nYour old lute lies discared in a corner.\n\n> You examine the lute\nIt's the lute you used to play for the mistress, to lull her to sleep. One of the strings seems to be missing.\n\n> You take the lute\nTaken.\n\n> You attach the line to the lute\nWith programmed bravado, you lace the fishing line onto the lute, making it into a working lute again.\n\n> You examine the queen\nFairy beauty is a thing of wonder - it has turned her sadness into hauntingly beautiful melancholia. Her hair has taken on the color of late autumn leaves, already a hint of the dead brown of winter. Her eyes are deep pools, with a fire hidden deep inside - a lone light seen on in farmhouse far away on a starless night. And miles to go. She has one of her hands stubbornly clenched around something.\n\n> You ask the queen about yourself\n\"I will not listen to the words of that old fool\", she says with hatred both practiced and tired, \"tell him if he comes, he doesn't need to speak, but maybe he wants his one symbol of courage back.\" She clenches her fist even tighter, and some shadow of the past runs across her mind.\n\n> Play lute\nThe queen listens to the music. \"Oh yes, all those songs...\". She blinks, heavy with sleep, and after a few more old lullabies she's fast asleep.She opens here hand, and an old crystal, black as a spider's eye, rolls from it.\n\n> You examine it\n(assuming you mean the crystal)\nThis is one of the crystal of which the eye of the giant spider was made.\n\n> You eat it\n(assuming you mean the crystal)\nYou can't eat the crystal.\n\n> You break it\n(assuming you mean the crystal)\nVenting your frustrations on the crystal won't accomplish much.\n\n> Play lute\nYou play a few tunes."
    },
    {
        "text": "[Themes: Fairy tale, Fantasy, steampunk]\n\n> Look around\nThe queen lies sleeping on her throne. She snores a little.\n\n> You go to the south-west\nYou take careful steps on cracked marble tiles. The absurdly high\nwalls of the castle around you guide the eye towards the small set of steps to the northeast.\n\n> You enter the portal\nThis room is a still life, its topics neglect. The tapestries, once colorful and moving, have bleached to the quality of distant memories. Highback chairs and tables catch dust dutifully. A red, shimmering portal wavers in the middle of the room, created by powerful magic and yet under attack constantly by the laws of the earth and sky, wishing it out of existence.\n\nThe king sits here in a corner, him and time watching each other pass silently.\n\n> You give Crystal to the king\n\"Ah yes\" says the king, and suddenly you see something in his eyes that makes you remember how he could command armies and silence rooms with just a glance. He strokes his beard. \"She kept the spider's eye. All is clear, I hope.\" He stands up, this sad king of a fallen kingdom, and as he pats his clothes, he engulfs himself in an almost comical cloud of dust. \"Lead me to her, clockwork boy. You've done well.\" He pats you on the bronze of your head.\n\n> You enter the portal\nThis room is a still life, its topics neglect. The tapestries, once colorful and moving, have bleached to the quality of distant memories. Highback chairs and tables catch dust dutifully. A red, shimmering portal wavers in the middle of the room, created by powerful magic and yet under attack constantly by the laws of the earth and sky, wishing it out of existence.\n\nThe king sits here in a corner, him and time watching each other pass silently.\n\nHe has the crystal.\n\n> You go portal\nOcean laps at the sand beneath you. You are on a drawbridge, leading north towards a cozy, but somewhat decripit castle on a small peninsula. A misplaced red portal hovers in the air.\n\nThe King follows you.\n\n> Go north\nYou arrive at the castle gates, made of bright wood and inlaid with scenes of festivity and hospitality. An eastward path leads to the shore, the same path cuts westward around the castle wall, and the aforementioned gate leads north.\n\nThe King follows you.\n\n> Go north\nYou take careful steps on cracked marble tiles. The absurdly high\nwalls of the castle around you guide the eye towards the small set of steps to the northeast.\n\nThe King follows you.\n\n> You go to the northeast\nThe queen lies sleeping on her throne. She snores a little.\n\nThe King follows you.\nAs the king enters, the queen wakes, as if startled from a nightmare. He slowly walks up to her throne and gets on one knee.\nThe jar suddenly shatters in your hands, and the mighty phoenix is free! It flutters a few feet, bows to king and queen, gives you a sharp look, and finally rests in a corner.\n\"So...\" she says slowly, \"You came...\" and the heavy burden lifts from her chest like a huge and terribly beast, now harmless, and you can almost see it fleeing through the open doors. Slowly, she stands up and takes a few steps down the stairs and puts a hand on his shoulder. He looks up at her.\n\"How could I waste so much time, dear? How could I be so terribly selfish and stupid?\"\nShe strokes his hair for a long time, while he hangs his head, sobbing quietly. Then she looks up. \"We will have to rebuild this kingdom. We will have to get new servants and officials. Oh, all the work...\"\nAnd suddenly, she looks old again.\nThen the king gets up, puts one arm around her, and looks straight at you. \" Will you help us ... as our son?\""
    },
    {
        "text": "[Themes: Horror, based on songs]\n\n--and I stumbled backward, my throat deeply slashed, my life's blood draining away as I fell into darkness--\n\nTrack 11 of Apollo 18+20: The IF Tribute Album\n\n--dark...and light...and...red...\n\n...so red...\n\nShattered glass on polished marble; a spray of my reddest blood in a piercing shaft of moonlight. Beyond...I narrowed my eyes, straining to penetrate the darkness--\n\n...busts...busted heads...heds on peds...headestals...\n\nLosing blood fast, I tried to make sense of--\n\n--rows upon rows of pale, lifeless, life-like busts of stately heads on fluted headestals, all different, yet oddly alike--"
    },
    {
        "text": "> You look at what you're carrying with you\nI was empty-handed.\n\n> About yourself\nSearing pain, a red haze clouding my vision within and without: my throat slashed, my head nearly severed, I clung to life by the fraying cable of my will.\n\n> You examine the heads\nThe ranks of stately busts receded into the gloom in all directions. Those on the headestals nearest me appeared to depict the March of Progress: the headestal of a stern King was nearest to where I stood. To the left of the King's resting place, I saw a famous Prime Minister, stately and opulent, and beyond her a modern Head of State...and to the right, a scarred and tattooed Witch's head, and on the headestal beyond that primitive wise woman...an ape, some antediluvian chieftain.\n\nThe oddest thing, in a gallery of historical busts...all their eyes were closed.\n\n> You look at ape\nThe animal's face was creased with the unmistakable lines of wisdom and long duty: a sagacious sovereign from our race's distant, forgotten ancestry.\n\nNo.\n\nThese heads were pale, but not stone. Not busts. True heads, real, living heads, preserved in deathless stillness by some arcane\nart.\n\n> You look at Witch\nA shrewd and shriveled crone, her face scarred and tattooed with a pattern of dots and lines.\n\n> You look at the king\nThe pale king's grim visage betokened the rule of might.\n\n> You examine the head of the State\nA determined, stately countenance.\n\n> You wear witch\n(first taking the Witch's Head)\nI moved to take the Witch's Head, but my legs gave way, and instead I tumbled to the floor, my skull striking something quite unyielding on the way down. My vision blurred and darkened--\n\n...for the last time? I wondered...\n\n--and then my senses slowly surged back, like a drowning ocean wave receding. A dull thump...something hard and round had fallen into my hands.\n\n> Inventory\nI was carrying an Ape's Head.\n\n> About yourself\nSearing pain, a red haze clouding my vision within and without: my throat slashed, my head nearly severed, I clung to life by the fraying cable of my will."
    },
    {
        "text": "[Themes: Horror]\n\n> You describe your surroundings\nShattered glass on polished marble; a spray of my reddest blood in a piercing shaft of moonlight. All around were rows of pale, lifeless, life-like busts of stately heads on fluted headestals, all different, yet oddly alike. And at the periphery I could see one small doorway leading out.\n\n> You examine the heads\nThe ranks of stately busts receded into the gloom in all directions. Those on the headestals nearest me appeared to depict the March of Progress: I had fallen against the headestal of a stern King. To the left of the King's resting place, I saw a famous Prime Minister, stately and opulent, and beyond her a modern Head of State...and to the right, a scarred and tattooed Witch's head, and on the headestal beyond that primitive wise woman...a place even for an ape, some antediluvian chieftain.\n\nThe oddest thing, in a gallery of historical busts...all their eyes were closed.\n\n> You look at the door\nOne doorway leading out into...darkness.\n\n> You wear Ape\nI put on the Ape's Head.\n\nSomehow it seemed the right -- the only -- thing to do. I raised the pale head to my throat, nestled it in the gaping wound beside my own. At once I felt it seizing my flesh, drinking in my blood--\n\n--an instant of crazy double vision...looking myself in the eye, before my weakening eyes fluttered shut at last--\n\n--the old head falling like an autumn leaf, the blade barely needed, barely, barely--\n\n--done all I could...the New Ones come--\n\nA polished cave of the New Ones: silent tomb of living Deadfathers. Uncountable pale heads on little ivory menhirs. Blood and ice...no, glass...on the hard stone floor. A moon-hole above let in\nfresh forest air, too.\n\nThe nearest menhir was streaked with blood where the stranger had fallen against it.\n\n> You examine the glass\nA remnant of the shattered skylight: a long, curved shard of broken glass, like a dagger.\n\n> You examine the stranger\nI knew him...\n\n...no, the flicker of identification was gone. A stranger.\n\nThe head's agony was fading as its vitality ebbed.\n\n> Inventory\nI was carrying a long shard of broken glass and the stranger's head.\n\n> You put the stranger's head on menhir\nI put the stranger's head on the nearest menhir.\n\n--slowly, the skin grew pale; the face relaxed. Now the stranger was one of us.\n\n> You examine the heads\nLittle ivory menhirs, like rows of tree stumps after a fire. Each with its Deadfather's Head. So many...and all of them New Ones.\n\nAll but me.\n\n> You look at the king\nThe pale king's grim visage betokened the rule of might.\n\n> You examine Witch\nOooo...!\n\nIt was her! My Star Pupil, my little New One successor.\n\nShe saved me...us...her crazy dream, she made it come true--\n\n> You examine the stranger's head\nThe stranger's head was pale and still.\n\n> You examine the head of the State\nA determined, stately countenance.\n\n> About yourself\nA second life! But wearing the body of a New One. No tail, no proper hinds...at least I still had my own face, my own eyes and teeth and mind!\n\n> You look at the blood\nBlood dappled the floor, bright red in the white moonlight.\n\n> You examine the skylight\nJust overhead, the broken moon-hole smelled of freedom.\n\n> Go up\nI leaped for the moon-hole. In my own body it would have been easy; in this new body it was too far above me.\n\n> You exit\nThe doorway...smelled of worse troubles. Better not.\n\n> Smell door\nThe dark doorway smelled of worse troubles.\n\n> You climb the menhir\nI got onto the nearest menhir.\n\n> Go upwards\nI leaped from the menhir toward the moon-hole. I touched the ceiling easily...but much too far from the hole's rim."
    },
    {
        "text": "[Themes: Horror]\n\n> You look around\nA polished cave of the New Ones: silent tomb of living Deadfathers. Uncountable pale heads on little ivory menhirs. Blood and ice...no, glass...on the hard stone floor. A moon-hole above let in\nfresh forest air, too.\n\nThe nearest menhir was streaked with blood.\n\nOn the nearest menhir was the stranger's head.\n\n> Go up\nI leaped for the moon-hole. In my own body it would have been easy; in this new body it was too far above me.\n\n> You examine menhir\nA little ivory menhir, streaked with blood.\n\nOn the nearest menhir was the stranger's head."
    },
    {
        "text": "[Themes: Horror, based on songs]\n\n> You go upwards\nI leaped from my perch atop the blood-streaked menhir, easily caught the moon-hole's rim and swung myself up and out.\n\nDark shadows and bright moonlight; the little sounds and smells of freedom. From the hole leading down I thought I heard all those heads...the sleeping Deadfathers of my Longchildren... calling to me, please don't leave--\n\n> You listen\nI thought I could hear those myriad heads quietly singing to me.\n\n> Go north\nThe forest called to me. I walked toward the dark trees...\n\n--but after all, what more could I give out there? I led our race\nout of the darkness...isn't that the glow of city lights beyond the trees? I've done enough.\n\nI returned to the hole, and after a long last look at the trees, I climbed back down.\n\n> You remove the head\n(the Ape's Head)\nNo. This body could not withstand another transfer so soon.\n\nNot for a year...\n\n...at least..\n\n> Yes\n--and I stumbled backward, my throat deeply slashed, my life's blood draining away as I fell into darkness--\n\nTrack 11 of Apollo 18+20: The IF Tribute Album\n\n--dark...and light...and...red...\n\n...so red...\n\nShattered glass on polished marble; a spray of my reddest blood in a piercing shaft of moonlight. Beyond...I narrowed my eyes, straining to penetrate the darkness--\n\n...busts...busted heads...heds on peds...headestals...\n\nLosing blood fast, I tried to make sense of--\n\n--rows upon rows of pale, lifeless, life-like busts of stately heads on fluted headestals, all different, yet oddly alike--\n\n> You take King\nI moved to take the King's Head, but my legs gave way, and instead I tumbled to the floor, my skull striking something quite unyielding on the way down. My vision blurred and darkened--\n\n...for the last time? I wondered...\n\n--and then my senses slowly surged back, like a drowning ocean wave receding. A dull thump...something hard and round had fallen into my hands.\n\n> You put Ape on the headestal\nI put the head on a nearby column.\n\n> You look at what you're carrying with you\nI was empty-handed.\n\n> You wear King\n(first taking the King's Head)\nI tried to reach the King's Head, but I did not have the strength to move from where I lay.\n\n> About yourself\nSearing pain, a red haze clouding my vision within and without: my throat slashed, my head nearly severed, I clung to life by the fraying cable of my will.\n\n> You look at the busts\nThe ranks of stately busts receded into the gloom in all directions. Those on the headestals nearest me appeared to depict the March of Progress: I had fallen against the headestal of a stern King. To the left of the King's resting place, I saw a famous Prime Minister, stately and opulent, and beyond her a modern Head of State...and to the right, a scarred and tattooed Witch's head, and on the headestal beyond that primitive wise woman...an ape, some antediluvian chieftain.\n\nThe oddest thing, in a gallery of historical busts...all their eyes were closed.\n\n> Go upward\nI strained for the edge of the shattered skylight, but it was hopelessly beyond my reach.\n\n> You wear your head\n(my original head)\nI was already wearing that.\n\n> Doff head\n(my original head)\nI put my hands to my throat. The cord holding my head to my body seemed but a thread. Little enough blood and air could cross that gulf...best to make a clean break--\n\nThen I can put myself on a pedestal, I thought with frantic\namusment, and see about putting a tourniquet around my neck! Wait, what am I forgetting--\n\n--falling, tumbling--\n\n> Roll\n(the long shard of broken glass)\nNothing obvious happened.\n\n> You cut Ape\nCutting that up would achieve little.\n\n> You take the glass\nI picked up the largest shard of glass.\n\n> You cut yourself\nI put the shard of glass to my throat. The cord holding my head to my body seemed but a thread. Little enough blood and air could cross that gulf...best to make a clean break--\n\nThen I can put myself on a pedestal, I thought with frantic\namusment, and see about putting a tourniquet around my neck! Wait, what am I forgetting--\n\n--falling, tumbling--\n\n> You wake king\nThat seemed unnecessary.\n\n> You take King\nI moved to take the King's Head, but my legs gave way, and instead I tumbled to the floor, my skull striking something quite unyielding on the way down. My vision blurred and darkened--\n\n...for the last time? I wondered...\n\n--and then my senses slowly surged back, like a drowning ocean wave receding. A dull thump...something hard and round had fallen into my hands.\n\n> Inventory\nI was carrying an Ape's Head.\n\n> You look at Ape\nThe animal's face was creased with the unmistakable lines of wisdom and long duty: a sagacious sovereign from our race's distant, forgotten ancestry.\n\n> You wear Ape\nI put on the Ape's Head.\n\nSomehow it seemed the right -- the only -- thing to do. I raised the pale head to my throat, nestled it in the gaping wound beside my own. At once I felt it seizing my flesh, drinking in my blood--\n\n--an instant of crazy double vision...looking myself in the eye, before my weakening eyes fluttered shut at last--\n\n--the old head falling like an autumn leaf, the blade barely needed, barely, barely--\n\n--done all I could...the New Ones come--\n\nA polished cave of the New Ones: silent tomb of living Deadfathers. Uncountable pale heads on little ivory menhirs. Blood and ice...no, glass...on the hard stone floor. A moon-hole above let in\nfresh forest air, too.\n\nThe nearest menhir was streaked with blood where the stranger had fallen against it.\n\n> You take Witch\nTaken.\n\n> You check your inventory\nI was carrying a long shard of broken glass and a Witch's Head and the stranger's head.\n\n> You examine Witch 's head\nIt's Star Pupil, my little New One successor.\n\n> Attack witch\nNever!\n\n> You take the heads\nThey were hardly portable.\n\n> You wear Witch 's head\nNo. This body could not withstand another transfer so soon.\n\nNot for a year...\n\n...at least..\n\n> You check your inventory\nI was carrying a long shard of broken glass and a Head of State's Head, a Prime Minister's Head, a King's Head, a Witch's Head, and the stranger's head."
    },
    {
        "text": "[Themes: Horror, based on songs]\n\n> Look around\nDark shadows and bright moonlight; the little sounds and smells of freedom. From the hole leading down I thought I heard all those heads...the sleeping Deadfathers of my Longchildren... calling to me, please don't leave--"
    },
    {
        "text": "[Themes: Horror, based on songs]\n\n> Look around\nHall of Heads (on the nearest menhir)\nA polished cave of the New Ones: silent tomb of living Deadfathers. Uncountable pale heads on little ivory menhirs. Blood and ice...no, glass...on the hard stone floor. A moon-hole above let in\nfresh forest air, too."
    },
    {
        "text": "[Themes: Mystery, noir, detective]\n\nThe IBS Radio Network presents...\n\n(You may type \"HELP\" at any time for hints, credits or just general information about this game.)\n\nTonight's drama: The Case of the Missing Playboy!\n\nSponsored by Muskrat Cigarettes.\n\nFolks, do you know that four out of five doctors recommend Muskrat Cigarettes for their patients who smoke? It's true! That's because Muskrat Cigarettes have been clinically proven to taste better, smoke smoother, and improve respiratory health! So the next time you crave a good smoke, choose Muskrat Cigarettes! You'll be glad you did.\n\nAnd now for Act I of tonight's drama....\n\nIt was an afternoon much like any other afternoon. I was alone in my office. It seems I was always alone.\n\nBusiness had been slow. I was reduced to practicing my witty banter with my friends Jack and Daniel. Unfortunately for me, they weren't very much for conversation. We'd been conversing just long enough that I was beginning to feel that my banter really WAS witty. But not so much that I was beginning to think they'd talk back.\n\nYou are Sam Fortune, a private investigator who, at the moment, has very little to investigate. Your office is on the fifth floor of a crummy old office building in the lower east side.\n\nThere is a single dingy window in the west wall, directly opposite the only door.\n\nThe sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.\n\nOn the wooden desk are a bottle of whiskey and a telephone.\n\nA battered old filing cabinet stands in the corner.\n\nAn old desk chair sits behind the desk.\n\nA plain guest chair is strategically placed in front of the desk.\n\n[Author's Note: The IBS Radio Network presents... Sam Fortune - Private Investigator A transcribed drama filled with suspense and adventure broadcast weekly over this IBS affiliate. Tonight's drama: The Case of the Missing Playboy! Sponsored by Muskrat Cigarettes. NOTE This game is told in a series of scenes, just like a radio drama. Each scene is independent from the one before in the sense that it is impossible to put the game in an unwinnable state by not having done something in an earlier scene. There are several ways to lose this game and there are a few timed puzzles. Saving when advised should avoid undue frustration. UNDO is always an option. Feel free to use it liberally. Small parts of this game deliberately rank \"Nasty\" on the Zarfian scale but this is only true within each self-contained scene, not for the game at large, and a full in-game HELP system is available should you get stuck.]"
    },
    {
        "text": "[Themes: Mystery, noir, detective]\n\n> About yourself\nSam Fortune, private investigator and all American sap, is a pretty nice specimen if you do say so yourself. Six feet tall with broad shoulders and a jaw that could have been cut from a block of stone. It's no wonder that the dames go for you. If you were a dame, you would too.\n\n> You look through the window\nPeering through the filthy grime reveals very little. Just the same old lonely street in the same old lonely part of town.\n\n> You examine bottle\nTennessee's finest. Comfort in a bottle.\n\n> Exits\nThe obvious exits are east and outside.\n\n(Use EXITS ON to enable the status line exit lister and EXITS OFF to turn it off.)\n\n> You look at the desk\n(the wooden desk)\nIt's a very plain wooden desk with a single shabby drawer. Someday perhaps you'll be able to afford mahogany.\n\n> You open the drawer\n(the desk drawer)\nIt's locked. Now if only you could remember where you put that key.\n\n> You look under desk\n(the wooden desk)\nYou find nothing of interest.\n\n> You look at the cabinet\n(the filing cabinet)\nThe filing cabinet stands in the corner of the office. It has two drawers: a top drawer, and (you guessed it, pal) a bottom drawer. This is where you keep all your important files. In other words, it's mostly empty.\n\n> You open the top drawer\nYou open the top drawer of the filing cabinet, revealing some file folders marked A to M.\n\n> You examine the folder k.\nYou see several file folders marked A to M in nearly alphabetical order.\n\nThumbing to the file marked \"K\" you look inside and retrieve a small key which you place in your pocket."
    },
    {
        "text": "[Themes: Mystery, detective]\n\n> You look around\nYour office is on the fifth floor of a crummy old office building in the lower east side.\n\nThere is a single dingy window in the west wall, directly opposite the only door.\n\nThe sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.\n\nOn the wooden desk are a bottle of whiskey and a telephone.\n\nA battered old filing cabinet stands in the corner.\n\nAn old desk chair sits behind the desk.\n\nA plain guest chair is strategically placed in front of the desk.\n\n> You unlock the drawer with the key\n(the desk drawer with the small key)\nYou unlock the desk drawer.\n\n> You open the drawer\n(the desk drawer)\nYou open the desk drawer, revealing a revolver.\n\n> You look at the revolver\nYour best friend. It's just a shame that you don't actually have any bullets. Still, it's amazing how people can react to the mere sight of a heater.\n\n> You take it\nJust as soon as you pick up the revolver there is a quiet rap at the door. You quickly put the revolver in your pocket.\n\n\"Yeah. Come on in. The door's unlocked.\"\n\nThe door opens and in walks a tall redhead with a knockout figure in the kind of outfit that shouts class.\n\n\"Are you Sam Fortune?\"\n\n\"That's what it says on my birth certificate, doll. And just who might you be?\"\n\n\"My name is Irene Scarlet.\"\n\n\"It's a pleasure, sweetheart. Why don't you have a seat?\"\n\n\"Thank you, Mr. Fortune.\"\n\n> You examine irene\nIrene Scarlet is quite a dish. Her red hair cascades about her shoulders in gentle waves. She wears a fashionably cut dress which shows off her delicious figure in a most delightful way.\n\n> You sit on the desk chair\nYou get onto the desk chair.\n\n> You close the door\nThat's already closed.\n\n> You ask Irene about Irene\n[Use TALK TO to interact with characters.]\n\n> You talk to Irene\nTurning to Irene you say, \"Hello there.\"\n\nShe gives you one of those looks that makes you think she likes what she sees.\n\nSelf-consciously you slide the bottle inside the desk drawer before getting down to business.\n\n[1] Ask her to have dinner with you.\n[2] Ask her what she wants.\n\n> 1\n\"So, sweetheart, I hope I'm not being too forward but perhaps sometime you and I could get together over a nice hot meal. You interested?\"\n\nIrene smiles just a little and says, \"Perhaps some other time, Mr. Fortune, but just now I'm afraid that I'm here on business.\"\n\n[1] Ask her what she wants.\n\n> 1\n\"So what brings a nice up-class dame like you to my little office?\"\n\n\"You're a private investigator aren't you?\"\n\n\"That's what it says on my license.\"\n\n\"Well, I was hoping that I might use your services. You see, a friend of mine has gone missing.\"\n\n[1] Ask Irene about herself.\n[2] Ask about her friend.\n[3] Tell Irene your rates.\n\n> 1\n\"So tell me a little about yourself. How do you fit into this picture.\"\n\n\"Well, Mr. Fortune, my father is James Scarlet, the founder of Scarlet Herring, one of the more successful fishing operations in this town.\"\n\n\"Oh THAT Irene Scarlet!\"\n\n\"Yes. That Irene Scarlet. Anyway, I've been friends with Bob for a very long time and when he didn't show up for our lunch appointment today I got worried. That's why I came to see you.\"\n\n[1] Ask about her friend.\n[2] Tell Irene your rates.\n\n> 1\n\"Well, Red, tell me about this missing friend of yours.\"\n\n\"His name is Bob Watterson. He and I go way back. He's one of the local society set. Anyway, we were out dancing at the Top Cat Club last night with some of our friends. Toward the end of the evening it looked as if something was bothering him but he wouldn't say what it was. I didn't think much of it until today. We had agreed to meet for lunch but,\" stifling the merest hint of a sob, \"but he never showed up!\n\n\"Oh, Sam, I know you think I'm probably being silly but I'm worried about him. He never misses a lunch date and I'm just sure something has heppend to him. Say you'll help me find him.\"\n\n[1] Ask if she's gone to the police.\n[2] Tell Irene your rates.\n[3] Agree to take the case.\n[4] Decline the case.\n\n> 2\n\"I charge $25 a day plus expenses. But I don't suppose that would be a problem for a dame like you.\"\n\nIrene says rather gravely, \"No. That will be fine.\"\n\n[1] Ask if she's gone to the police.\n[2] Agree to take the case.\n[3] Decline the case.\n\n> 1\n\"So, sister, something's puzzling me. Why come to me? Why not just go to the cops?\"\n\n\"Well, Mr. Fortune, first of all, it's only been a few hours and I was afraid that they wouldn't take me seriously with him only being missing for such a short time.\"\n\n\"Yeah, I guess that figures. Go on.\"\n\n\"And I was hoping to keep this kind of quiet. My family gets enough exposure as it is. That's what comes from having money. If I were to go to the police, well, I was afraid that the papers might catch wind of it.\"\n\n\"And you'd find your name plastered all over the society pages... again.\"\n\n\"Precisely.\"\n\n[1] Agree to take the case.\n[2] Decline the case.\n\n> 2\nAfter considering the matter you decide that you'd rather not get mixed up in all of this. \"No dice, Red. I'm afraid that I'm just too busy to get mixed up with the upper crust these days. You see, I'm strictly a meat and potatoes kind of guy and all that champagne and caviar just doesn't agree with me. So if you'll kindly close the door on your way out, I'll return to my business.\"\n\nIrene looks shocked and for a minute a look of panic crosses her face before she...\n\nYour mother reaches over and switches off the radio. \"I think that's enough radio for today. It's bed time and besides, all of that junk just rots your brain anyway.\""
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> You look around\n[You're still in the middle of a conversation. I need some kind of reaction from you to continue the scene. Enter a number, or say REPEAT to reacquaint yourself with your options.]\n\n> You repeat\nThe available options are:\n\n[1] Agree to take the case.\n[2] Decline the case.\n\n> 1\n\"Sure, sweetheart. Don't worry, kid. I'll find him. You run along and I'll be in touch.\"\n\nIrene gets up and says \"Thank you so much, Mr. Fortune.\" before giving you a small wad of bills for expenses and telling you her phone number. Then she gracefully heads for the door. On her way out she pauses and looks over her shoulder for a second, giving you a brief look at her misty blue eyes. Then, she closes the door and she's gone.\n\n\"Well, Sam,\" you say to yourself. \"Looks like you're gonna be dining at the Top Cat Club tonight.\"\n\n> You look at what you're carrying with you\nYou are carrying:\nexpense money\na revolver\na small key\n\n> You look at the money\nA small roll of money which Irene gave you with which to pay your expenses. It's not a lot but it should be enough for now."
    },
    {
        "text": "[Themes: Mystery, detective]\n\n> You look around\nSam's Office (on the desk chair)\nYour office is on the fifth floor of a crummy old office building in the lower east side.\n\nThere is a single dingy window in the west wall, directly opposite the only door.\n\nThe sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.\n\nOn the wooden desk is a telephone.\n\nA battered old filing cabinet stands in the corner.\n\nA plain guest chair is strategically placed in front of the desk.\n\n> You stand\nYou get off the desk chair.\n\nThere is a single dingy window in the west wall, directly opposite the only door.\n\nThe sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.\n\nOn the wooden desk is a telephone.\n\nA battered old filing cabinet stands in the corner.\n\nAn old desk chair sits behind the desk.\n\nA plain guest chair is strategically placed in front of the desk.\n\n> You open the bottom drawer\nYou open the bottom drawer of the filing cabinet, revealing some file folders marked N to Z.\n\n> You examine folder t.\nYou see a handful of file folders marked N to Z in mostly alphabetical order.\n\nYou thumb through a few of the folders but nothing really catches your interest at the moment. Perhaps if you knew what you were looking for this would yield better results.\n\n> You examine the folder south\nYou see a handful of file folders marked N to Z in mostly alphabetical order.\n\nYou thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.\n\n> You look at the folder west\nYou see a handful of file folders marked N to Z in mostly alphabetical order.\n\nYou thumb through a few of the folders but nothing really catches your interest at the moment.\n\n> You take the folders\nWhich do you mean, the file folders marked A to M or the file folders marked N to Z?\n\n> Go north\nYou had better leave those there. It took you nearly a full day the last time you had to sort them and you'd hate to have to do it again.\n\n> You take the phone\nPicking up the telephone you pause to consider your options.\n\n[1] Call Clancy at the 21st precinct.\n[2] Call the Times.\n[3] Call Irene.\n[4] Call the Top Cat Club.\n[5] Hang up.\n\n> 4\nYou pick up the reciever and ask the operator to connect you to the Top Cat Club. In a minute you hear the whiney voice of the French ma?tre d'. \"Ziz is zee Top Cat Club. Can eye help you, monsieur?\"\n\n[1] Ask when they're open.\n[2] Ask about a reservation.\n[3] Hang up.\n\n> 1\nHey, pal. Can you tell me when you're open tonight?\"\n\n\"Oui, monsieur. We are open from seven until two am.\"\n\n\"Thanks.\"\n\n[1] Ask about a reservation.\n[2] Hang up.\n\n> 1\n\"Listen. I'd like to book a table for tonight.\"\n\n\"Oh non, non, non. I am very sorry, monsieur, but we are very busy tonight. We do not take any more reservations for tonight. But if monsieur would care to come to zee club, I am sure zat zere will be space at zee bar.\"\n\n\"Yeah. I may do that. Thanks.\"\n\n[1] Hang up.\n\n> 1\nYou put the receiver back on its cradle.\n\n> Go west\nThe door is in the east wall, opposite the window.\n\n> Go east\nI left my office, walked down the four flights of stairs, headed outside and hailed a cab. I figured that if I wanted to get to the bottom of this, I'd need to go to where it all started.\n\nA few minutes later, the cab pulled up in front of a gleaming white high-rise building with one of those awnings over the revolving door. You know the kind. The kind that makes it seem like you're walking into the snout of an extremely large anteater. I took the elevator up to the 15th floor and found myself standing outside the entrance to Tony Gabriele's famous Top Cat Club, the most upscale dinner club in town.\n\nIt was time to earn my daily bread.\n\n[This might be a good time to save your game.]\n\nThe waiting area is done up in the art deco style, all white and silver. Beside the club entrance is a lectern where the ma?tre d' is greeting customers and checking reservations. On the lectern is a round white logo with the silhouette of a cat wearing a top hat. Peeking through the crowd, it's clear that the joint is jumpin' tonight.\n\nWhen you're ready to leave, the elevator awaits you to the south. The club itself is to the north.\n\nYou can see some customers, the ma?tre d' and a lectern here.\n\n> You examine the maitre\nThe ma?tre d' is a snobby-looking bean pole with a wispy mustache. He wears a tuxedo with a small nametag that indicates that he wishes to be called \"Jean Claude\"."
    },
    {
        "text": "[Themes: Mystery]\n\n> You look at your surroundings\nThe waiting area is done up in the art deco style, all white and silver. Beside the club entrance is a lectern where the ma?tre d' is greeting customers and checking reservations. On the lectern is a round white logo with the silhouette of a cat wearing a top hat. Peeking through the crowd, it's clear that the joint is jumpin' tonight.\n\nWhen you're ready to leave, the elevator awaits you to the south. The club itself is to the north.\n\nYou can see some customers, Jean Claude and a lectern here.\n\n> You talk to Jean Claude\n\"Oui, monsieur. My name is Jean Claude. 'Ow may I 'elp you?\"\n\n[1] Ask for a table.\n[2] Ask about Bob Watterson.\n[3] Say goodbye.\n\n> 2\nYou step in close and speak quietly so as not to be overheard.\n\n\"I'm looking for a man named Bob Watterson. Do you know him?\"\n\n\"Oui, monsieur. I know 'im very well. 'e comes 'ere most frequently.\"\n\n[1] Ask for a table.\n[2] Ask when he saw him last.\n[3] Ask if he knows anything about him.\n[4] Say goodbye.\n\n> 3\n\"What do you know about this guy?\"\n\n\"'e comes 'ere very frequently this last few weeks. Sometimes it is with Miss Scarlet. Sometimes it is alone. I see 'im all ze time.\"\n\n\"Thanks. Can you tell me any more about him? Do you know where he lives? What he does?\"\n\n\"Non. Pardon me. I do not meddle with ze affairs of ze customers.\"\n\n\"Yeah. I get it. Thanks anyway, bub.\"\n\n[1] Ask for a table.\n[2] Ask when he saw him last.\n[3] Say goodbye.\n\n> 2\n\"When did you last see him?\"\n\n\"I saw 'im just last night, monsieur. It was with Miss Scarlet I think. Zat is usually who 'e is with.\"\n\n[1] Ask for a table.\n[2] Say goodbye.\n\n> 1\n\"I'd like a table for one.\"\n\n\"Oh non, non, non. I am very sorry, monsieur, but we are very busy tonight. We do not 'ave any more tables for tonight. But we do 'ave space at ze bar.\n\n[1] Say goodbye.\n\n> 1\n\"Thanks, bub.\"\n\n\"Eet is my pleasure, monsieur.\"\n\n> You get it\nThat's fixed in place.\n\n> You go to the north\nYou have to admit that this place is pretty swank. Like the lobby, it's all done up in art deco white and gleaming silver. The cavernous room is filled with tables, which in turn are filled with the upper-crustiest crumbs in this crummy city. There are so many tuxedos it looks like a penguin convention, and enough feathers to defrock a flock of ostriches.\n\nThe central focus of the club is the dance floor, just south of the stage, which fills the entire north wall of the room. There is a small backstage door in the north wall, just to the side of the stage. A guy about the size of Mt. Rushmore guards the door.\n\nThe bar is to the east. The lobby is south.\n\nYou can see the backstage door, the stage, some customers, some tables, some dancers and a guard here.\n\nSomeone at one of the far tables sings Happy Birthday.\n\nYou hear the sound of someone opening the backstage door.\n\nThe band stops playing and the bandleader steps up to the microphone.\n\n\"Ladies and gentlemen. Once again, the Top Cat Club is proud to present the star of our show, Miss Ginger Andrews!\"\n\nThe crowd erupts into applause, the lights go down, a spotlight illuminates the stage door and the most stunning blonde you have ever seen steps into the light, sashays over to center stage and proceeds to make love to the microphone.\n\n> You look at Ginger\nWow! What a dish! Ginger Andrews is perhaps the most stunning blond you have ever seen. She stands about five foot seven and every inch a woman. She wears a glittering backless dress with a plunging neckline that barely conceals an ample bosom. Her blue eyes are dazzling. And her shapely legs... Wow!\n\nGinger's voice is heavenly as she sings a number from the Hit Parade.\n\n> You look at the guard\nThis guy looks like someone cross-bred a gorilla with a pit bull.\n\nGinger holds every man spellbound as she reaches the climax of a devilishly provocative number.\n\n> You look at the customers\nThe place is packed with tuxedo wearing men and glittering women.\n\nBrother, that Ginger dame can really sing.\n\n> You examine the backstage door\nYou see nothing special about the backstage door.\n\nGinger brings the crowd to tears with a steamy love song.\n\nWhen Ginger's act comes to a close the spotlight goes out, the audience applauds, the house lights go back up, and Ginger begins working the room, moving from one fat-cat to another. It's very clear what every man in the room wants and she's all too happy to dangle it in front of them without giving them any of it.\n\n> You talk to the customers\nYou strike up a conversation with some of the customers and try to steer it towards your missing man but it soon becomes apparent that this line is getting you nowhere. These guys aren't regulars.\n\nAll eyes are on Ginger as she passes between the tables.\n\n> You talk to Ginger\nPrying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, \"Hello there, beautiful. My name is Sam. Got a minute?\"\n\nGinger looks you over and says \"Why not? Shoot, tough guy. What's on your mind? I mean besides that.\"\n\n[1] Compliment her singing.\n[2] Compliment her looks.\n[3] Ask her out.\n[4] Ask her about Bob.\n[5] Say goodbye.\n\nThe band plays something from the Hit Parade.\n\n> 1\n\"You have a very healthy set of lungs there, baby. Where'd you learn to sing like that?\"\n\n\"Sunday school, Sam. Sunday school.\"\n\n\"Well you obviously had a first rate teacher.\"\n\n\"That's very kind of you to say so, Sam.\"\n\n[1] Compliment her looks.\n[2] Ask her out.\n[3] Ask her about Bob.\n[4] Say goodbye.\n\nSomeone in the back of the club laughs loudly.\n\n> 1\n\"Baby, you are some piece of work. With a face like yours, I bet you have to circle the wagons whenever you so much as step outside.\"\n\nShe smiles and says, \"Flattery will get you everywhere, mister. You aren't so bad yourself.\"\n\n[1] Ask her out.\n[2] Ask her about Bob.\n[3] Say goodbye.\n\nOne of the couples in the club starts to argue but it quickly passes.\n\n> 2\n\"Hey, sweetheart, I'm looking for a friend of mine. His name's Bob Watterson. You know him?\"\n\n\"Who Bobby? Sure, I know him.\" She looks a little put off. You can't tell if it's because she's upset that you're not talking about her or if it's because she doesn't want to discuss her relationship with Bob.\n\n\"Seen him around?\"\n\n\"Not for a while. Hey, I barely know the guy. Let's talk about you instead.\"\n\nYou let her steer the conversation back around to your favorite topic for a while: Sam Fortune. It's plain that she's an expert when it comes to stroking a man's ego.\n\n[1] Ask her out.\n[2] Say goodbye.\n\nSomeone from the crowd bumps into you and apologizes before continuing on.\n\n> 1\n\"What time do you get off? How about you and me go somewhere for a drink?\"\n\n\"I'd like that, Sam, but tonight's bad for me. Come by tomorrow and ask me again will ya?\"\n\n\"Sure, kid. You bet.\"\n\n[1] Say goodbye.\n\nThere is a brief lull in the music and the dancers return to their seats before the music starts and more take their places.\n\n> 1\n\"See you around sweetheart.\"\n\n\"Oh I'm sure you will, Sam. At least I certainly hope so.\"\n\nGinger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.\n\n> You enter backstage\nYou can't, since the backstage door is in the way.\n\nEvery man in the room watches as Ginger moves to another table.\n\n> You open backstage\nMan-mountain over there doesn't say a word, but he doesn't let you open the door either. If you want to get backstage, you'll have to somehow get rid of the guard.\n\nA customer laughs at one of Ginger's jokes.\n\n> You look at the tables\nIt looks like business is booming. Not a single table remains vacant.\n\nGinger briefly dances with one of the customers before returning him to his previous partner.\n\n> You talk to the guard\nYou attempt to start a conversation with the guard but it quickly becomes obvious that conversation isn't his forte.\n\nGinger's jewelry sparkles as she passes one of the stage lights.\n\n> You go east\nOn the east side of the club, set back from the main area, is the bar area. It's almost as crowded as the rest of the joint but there's still enough room for you to slide up next to the bar.\n\nYou can see the stage, some customers, a bar (on which is a nut bowl (in which are lots of beer nuts)) and the bartender here.\n\nGinger pauses to chat with a customer.\n\n> You get the beer nuts\nYou grab a handful of nuts from the bowl.\n\nGinger's jewelry sparkles as she passes one of the stage lights.\n\n> You talk to the bartender\n\"Hi friend. Name's Jack. What can I get you?\"\n\n[1] Ask for a drink.\n[2] Ask about Bob Watterson.\n[3] Ask about Tony.\n[4] Say goodbye.\n\nThe band is playing some up-tempo dance number.\n\n> 1\nYou consider asking Jack for a drink but then you think better of it. The last time you drank on the job you nearly wound up taking out a reservation in the city morgue.\n\n[1] Ask about Bob Watterson.\n[2] Ask about Tony.\n[3] Say goodbye.\n\nSomeone from the crowd bumps into you and apologizes before continuing on.\n\n> 1\n\"I'm looking for a guy named Bob Watterson. Ever heard of him?\"\n\n\"Yeah. Sure. I know him. Real snooty society guy right?\"\n\n\"That's the one.\"\n\n[1] Ask when he saw him last.\n[2] Ask if he knows anything about him.\n[3] Ask about Tony.\n[4] Say goodbye.\n\nOne of the couples in the club starts to argue but it quickly passes.\n\n> 1\n\"When did you see him last?\"\n\n\"He was here last night. He's here a lot actually. He bought a river of drinks for Ginger.\"\n\n[1] Ask if he knows anything about him.\n[2] Ask about Ginger.\n[3] Ask about Tony.\n[4] Say goodbye.\n\nThe band plays something from the Hit Parade.\n\n> 1\n\"What do you know about him?\"\n\n\"I see him a lot. He hangs around with the society set. Irene Scarlett and her friends.\"\n\n\"So I hear. Can you tell me any details? Do you know where he lives? What he does?\"\n\n\"I think he has a penthouse apartment downtown somewhere. I don't think he does much of anything other than spend his old man's money.\"\n\n\"You know who his 'old man' is?\"\n\n\"Naw. I just assumed he had one.\"\n\n\"Yeah. Don't we all? Thanks, Jack.\"\n\n[1] Ask about Ginger.\n[2] Ask about Tony.\n[3] Say goodbye.\n\nThere is a brief lull in the music and the dancers return to their seats before the music starts and more take their places.\n\n> 1\n\"So what's the story with this Ginger dame?\"\n\n\"Quite the looker isn't she?\"\n\n\"Yeah. But can you tell me what she was doing with Bob last night?\"\n\n\"Other than accepting the drinks he bought her?\"\n\n\"Well, for instance, are they an item?\"\n\n\"What? Ginger and that guy? That'll be the day. Perhaps he thought so but I don't think she ever did.\"\n\n[1] Ask about Tony.\n[2] Say goodbye.\n\nSomeone in the back of the club laughs loudly.\n\n> 1\n\"So you been working here long?\"\n\n\"A few months.\"\n\n\"Like it?\"\n\n\"Yeah. It's alright. It pays well and I get to enjoy the floor show every night. I can't complain.\"\n\n\"This place is owned by Tony Gabriele isn't it? I hear he's a nice guy to work for. That true?\"\n\n\"Sure. Mr. Gabriele is good people. I don't care what anybody says. He might be a little peculiar but he takes care of his own. But look, Mack, what's it to you?\"\n\n\"Just curious. Who knows? I might want to work for him someday myself.\"\n\n\"You thinking of taking up bar tending?\"\n\n\"Naw. Don't worry, Jack. You're job's safe.\"\n\n[1] Ask what he means by peculiar.\n[2] Say goodbye.\n\nThe band is playing some up-tempo dance number.\n\n> 1\n\"When you say Tony's peculiar, just what do you mean?\"\n\n\"Hey. You're gettin' awful nosey. Ain'tcha?\"\n\n\"I'm just naturally curious is all.\"\n\n\"Well Mr. Gabriele don't like people meddling in his private affairs. If you get any more nosey, I'm liable to get fired and you're liable to get worse.\"\n\n\"Okay. I get the hint. No need to get sore. Let's talk about something else then.\"\n\n[1] Make with the small talk.\n[2] Say goodbye.\n\nSomeone at one of the far tables sings Happy Birthday.\n\n> 1\n\"Busy night tonight.\"\n\n\"Yeah. Ginger really packs 'em in.\"\n\nYou go on like that for another minute or two before running out of pleasantries.\n\n[1] Say goodbye.\n\nSomeone in the back of the club laughs loudly.\n\n> 1\n\"Thanks, Jack.\"\n\n\"Don't mention it.\"\n\nGinger pauses to chat with a customer.\n\n> You talk to Ginger\nPrying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, \"Hello there, beautiful. Got a minute?\"\n\nGinger looks you over and says \"Why not? Shoot, tough guy. What's on your mind? I mean besides that.\"\n\n[1] Say goodbye.\n\nThe band plays something from the Hit Parade.\n\n> 1\n\"See you around sweetheart.\"\n\n\"Oh I'm sure you will, Sam. At least I certainly hope so.\"\n\nGinger briefly dances with one of the customers before returning him to his previous partner.\n\n> You examine the bowl\nIn the nut bowl are some beer nuts.\n\nAll eyes are on Ginger as she passes between the tables.\n\n> You examine the nuts\n(the beer nuts)\nHard, round, and saltier than a sailor. These things are designed for one purpose only: to make you wish you had ordered a drink instead.\n\nA customer laughs at one of Ginger's jokes.\n\n> You go to the west\nYou can see the stage, some customers, Ginger Andrews, the backstage door, some tables, some dancers and a guard here.\n\nGinger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.\n\n> You give the nuts to guard\nThe guard doesn't seem interested.\n\nEvery man in the room watches as Ginger moves to another table.\n\n> You throw the nuts at the guard\nYou throw a handful of beer nuts at the guard and they scatter everywhere.\n\nThe nuts get under the feet of the dancers and they begin falling like ten pins. The guard runs over to help them back to their feet.\n\nA customer laughs at one of Ginger's jokes.\n\n> You open door\nYou open the backstage door.\n\nGinger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.\n\n> Go inside\nYou can't go that way.\n\nGinger pauses to chat with a customer.\n\n> You enter backstage\nYou're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name \"Ginger\" written on it provides the tip-off. To the east is a door with the word \"management\" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.\n\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\n> You close the door\nWhich do you mean, the dressing room door, the manager's office door or the backstage door?\n\n> Backstage\nYou close the backstage door.\n\n> You examine the manager's door\nThrough the crack in the door you can just make out the shapes of three men. If you listen closely you might just catch bits and snatches of their conversation.\n\n> Manager'S\nYou hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:\n\n\"... due early tomorrow morning ... louse this up.\"\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> You examine the switchbox\nThis looks like the master electrical switchbox for the club.\n\nThe switchbox is currently switched on.\n\nGinger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.\n\n> You open the dressing room\nYou open the dressing room door.\n\nYou really don't have much time. Get out before you're caught!\n\n> You exit\nBut you aren't in anything at the moment.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You go south\nYou open the backstage door.\n\nYou can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.\n\nYou step through the door and right into the back of the guard. He is none too happy to see you and pushes you back into the manager's office where three more thugs are waiting.\n\n\"I caught this guy nosin' 'round backstage, boss. Whatdya want I should do wit 'im?\"\n\n\"Thank you, Rocky. You may leave him with us and return to your post.\"\n\n\"Duh. OK Boss.\"\n\nThe boss pulls out a .38 and points it at your chest while one of the other thugs grabs your arms from behind.\n\nThe one with the gun says, \"Well look what we have here boys.\"\n\nThe one holding your arms says, \"Looks like a spy, boss.\"\n\nThe thin one with a face like a weasel says, \"And look what I found in his pocket, boss.\" He holds your gun.\n\n\"Mickey Boy, I think you better take Mr. Nosey for a ride.\"\n\nSoon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.\n\nJust then your mother reaches over and shuts off the radio. \"Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed.\""
    },
    {
        "text": "[Themes: Mystery]\n\n> You open the door\nYou open the backstage door.\n\nGinger's jewelry sparkles as she passes one of the stage lights.\n\n> You enter door\nYou're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name \"Ginger\" written on it provides the tip-off. To the east is a door with the word \"management\" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.\n\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\n> You open the dressing room\nYou open the dressing room door.\n\n> You enter the dressing room\nGinger's dressing room is a certainly a cozy place. It's only a bit bigger than a broom closet. The only entrance is the door to the south.\n\nAlong the far wall sits an actor's dressing table.\n\nOn the dressing table is a cigarette case (closed).\n\nIn the corner sits a wastepaper basket.\n\nYou can also see the dressing room door here.\n\n> You look in the basket\nIn the wastepaper basket is a bouquet of flowers.\n\n> You look at the bouquet\nYou see a bouquet of one dozen long stemmed red roses bearing a card which reads, \"To Ginger. From your most ardent admirer: Bob.\"\n\n\"Now ain't that just pretty.\" You say to yourself. \"So Bobby-boy was here all right. I wonder what Miss Ginger could tell me about all of this?\"\n\n> You examine Case\nIt's a small silver cigarette case. The outside of the case is engraved with a fancy monogrammed B and W. The case is closed.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> You examine table\nIt's a small table with a mirror that's surrounded by lights.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> Open Case\nYou open the cigarette case, revealing four Muskrat cigarettes.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> You examine the Muskrat\nFirm and shapely, Muskrat cigarettes are tops with smokers everywhere. There simply isn't a finer cigarette! Try one today!\n\nGinger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.\n\n> You go to the west\nYou can't go that way.\n\nYou really don't have much time. Get out before you're caught!\n\n> Go outside\nBut you aren't in anything at the moment.\n\nYou really don't have much time. Get out before you're caught!\n\n> You enter door\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\nYou really don't have much time. Get out before you're caught!\n\n> You turn off the switch\nWith a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. \"What the? Who turned off those lights!\" Then you hear a door fly open, followed by the sound of running feet. Before you know what's next, three large bodies slam into you like a freight train. You're pinned to the wall and when the lights come back up your arms are held fast behind you and you find yourself staring into the barrel of a .38.\n\nThe one with the gun says, \"Well look what we have here boys.\"\n\nThe one holding your arms says, \"Looks like a spy, boss.\"\n\nThe thin one with a face like a weasel says, \"And look what I found in his pocket, boss.\" He holds your gun.\n\n\"Mickey Boy, I think you better take Mr. Nosey for a ride.\"\n\nSoon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.\n\nJust then your mother reaches over and shuts off the radio. \"Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed.\"\n\n> You open backstage\nYou open the backstage door.\n\nGinger pauses to chat with a customer.\n\n> You enter backstage\nYou're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name \"Ginger\" written on it provides the tip-off. To the east is a door with the word \"management\" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.\n\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\n> You put the gun in the basket\nYeah. I know it doesn't have any bullets but it still might come in handy. You better hold on to it.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> You enter door\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> Manager'S\nYou hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:\n\n\"... due early tomorrow morning ... louse this up.\"\n\nGinger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.\n\n> Continue\n\"Yeah, boss. I understand.\"\n\nYou really don't have much time. Get out before you're caught!\n\n> Continue\n\"... see that you don't ...\"\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You continue\n\"... boys in Chicago ...\"\n\nI mean it! You'd better get out now, Sam!\n\n> You keep going\nYou're afraid that if you stay here much longer you might be caught eavesdropping.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You enter the dressing\nAlong the far wall sits an actor's dressing table.\n\nOn the dressing table is a cigarette case (closed).\n\nIn the corner sits a wastepaper basket.\n\nYou can also see the dressing room door here.\n\nI mean it! You'd better get out now, Sam!\n\n> You get the flowers\nTaken.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You put gun in the flowers\nYeah. I know it doesn't have any bullets but it still might come in handy. You better hold on to it.\n\nI mean it! You'd better get out now, Sam!\n\n> You enter door\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\nI mean it! You'd better get out now, Sam!\n\n> You turn off the switch\nWith a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. \"What the? Who turned off those lights!\" Then you hear a door fly open, followed by the sound of running feet. Before you know what's next, three large bodies slam into you like a freight train. You're pinned to the wall and when the lights come back up your arms are held fast behind you and you find yourself staring into the barrel of a .38.\n\nThe one with the gun says, \"Well look what we have here boys.\"\n\nThe one holding your arms says, \"Looks like a spy, boss.\"\n\nThe thin one with a face like a weasel says, \"And look what I found in his pocket, boss.\" He holds your gun.\n\n\"Mickey Boy, I think you better take Mr. Nosey for a ride.\"\n\nSoon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.\n\nJust then your mother reaches over and shuts off the radio. \"Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed.\"\n\n> You enter backstage\n(the backstage door)\nYou can't, since the backstage door is in the way.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You open backstage\n(the backstage door)\nYou open the backstage door.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You enter backstage\n(the backstage door)\n\nYou can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.\n\nYou step through the door and right into the back of the guard. He is none too happy to see you and pushes you back into the manager's office where three more thugs are waiting.\n\n\"I caught this guy nosin' 'round backstage, boss. Whatdya want I should do wit 'im?\"\n\n\"Thank you, Rocky. You may leave him with us and return to your post.\"\n\n\"Duh. OK Boss.\"\n\nThe boss pulls out a .38 and points it at your chest while one of the other thugs grabs your arms from behind.\n\nThe one with the gun says, \"Well look what we have here boys.\"\n\nThe one holding your arms says, \"Looks like a spy, boss.\"\n\nThe thin one with a face like a weasel says, \"And look what I found in his pocket, boss.\" He holds your gun.\n\n\"Mickey Boy, I think you better take Mr. Nosey for a ride.\"\n\nSoon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.\n\nJust then your mother reaches over and shuts off the radio. \"Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed.\"\n\n> Inventory\nYou are carrying:\na bouquet of flowers\nexpense money\na revolver\na small key\n\nI mean it! You'd better get out now, Sam!\n\n> You examine the manager's door\nThrough the crack in the door you can just make out the shapes of three men. If you listen closely you might just catch bits and snatches of their conversation.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You close the manager's door\nThat's already closed.\n\nI mean it! You'd better get out now, Sam!\n\nGinger Andrews arrives from the south.\n\nSeeing you backstage, Ginger lets out a shriek. \"EEEK! Who are you and just what do you think you are doing back here? This area is off limits!\"\n\n\"Sorry, sweetheart. I was just leaving.\"\n\nBut before you can go, three men rush in from the manager's office. One of them pulls a gun while another grabs you from behind.\n\nThe one with the gun says, \"Well look what we have here boys.\"\n\nThe one holding your arms says, \"Looks like a spy, boss.\"\n\nThe thin one with a face like a weasel says, \"And look what I found in his pocket, boss.\" He holds your gun.\n\n\"Mickey Boy, I think you better take Mr. Nosey for a ride.\"\n\nSoon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.\n\nJust then your mother reaches over and shuts off the radio. \"Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed.\"\n\n> You give the money to guard\nWhat? And leave yourself without expense money? No way, brother.\n\nEvery man in the room watches as Ginger moves to another table.\n\n> You go east\nYou can see the stage, some customers, a bar (on which is a nut bowl (in which are some beer nuts)) and Jack Walker here.\n\nGinger briefly dances with one of the customers before returning him to his previous partner.\n\n> You get the nuts\n(the beer nuts)\nYou grab another handful of nuts from the bowl.\n\nGinger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.\n\n> You check what you're carrying\nYou are carrying:\nlots of beer nuts\nexpense money\na revolver\na small key\n\nAll eyes are on Ginger as she passes between the tables.\n\n> You go west\nYou can see the stage, some customers, Ginger Andrews, the backstage door, some tables, some dancers and a guard here.\n\nGinger pauses to chat with a customer.\n\n> You throw the nuts at the guard\nYou throw a handful of beer nuts at the guard and they scatter everywhere.\n\nThe nuts get under the feet of the dancers and they begin falling like ten pins. The guard runs over to help them back to their feet.\n\nEvery man in the room watches as Ginger moves to another table.\n\n> Inventory\nYou are carrying:\nsome beer nuts\nexpense money\na revolver\na small key\n\nGinger's jewelry sparkles as she passes one of the stage lights.\n\n> You enter backstage\nYou're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name \"Ginger\" written on it provides the tip-off. To the east is a door with the word \"management\" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.\n\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\nYou probably don't want to get caught back here. You should think about leaving soon.\n\n> You open the dressing\nYou open the dressing room door.\n\nGinger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.\n\n> You enter the dressing\nGinger's dressing room is a certainly a cozy place. It's only a bit bigger than a broom closet. The only entrance is the door to the south.\n\nAlong the far wall sits an actor's dressing table.\n\nOn the dressing table is a cigarette case (closed).\n\nIn the corner sits a wastepaper basket.\n\nYou can also see the dressing room door here.\n\nYou really don't have much time. Get out before you're caught!\n\n> You look in the wastepaper\nIn the wastepaper basket is a bouquet of flowers.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You examine the bouquet\nYou see a bouquet of one dozen long stemmed red roses bearing a card which reads, \"To Ginger. From your most ardent admirer: Bob.\"\n\n\"Now ain't that just pretty.\" You say to yourself. \"So Bobby-boy was here all right. I wonder what Miss Ginger could tell me about all of this?\"\n\nI mean it! You'd better get out now, Sam!\n\n> You enter door\nYou can see the dressing room door, the manager's office door, the backstage door and a switchbox here.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You listen to the manager'S\nYou hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:\n\n\"... due early tomorrow morning ... louse this up.\"\n\nI mean it! You'd better get out now, Sam!\n\n> You throw the nuts at the manager'S\nYou throw a handful of beer nuts at the manager's office door and they scatter everywhere.\n\nCome on! Come on! She'll be back any minute! Wrap it up already bub!\n\n> You turn off the switch\nWith a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. \"What the? Who turned off those lights!\" Then you hear a door fly open, followed by the sound of little round objects flying all around the room and three heavy objects striking the floor and each other. \"Get your fat backside off me, Mickey!\"\n\n\"Sorry, boss.\"\n\nYou had better scram quick before they regain their feet.\n\nIt is now pitch dark in here!\n\n> You open backstage\nYou open the backstage door.\n\n> You enter backstage\nIt is pitch dark, and you can't see a thing.\n\nAll around you, you can hear the sounds of frightened snobs. Who knew the rich were so afraid of the dark?\n\n> Wait\nTime passes.\n\nAll around you, you can hear the sounds of frightened snobs. Who knew the rich were so afraid of the dark?\n\nLooks like Tony and his boys found the switchbox. The lights are back on.\n\nYou have to admit that this place is pretty swank. Like the lobby, it's all done up in art deco white and gleaming silver. The cavernous room is filled with tables, which in turn are filled with the upper-crustiest crumbs in this crummy city. There are so many tuxedos it looks like a penguin convention, and enough feathers to defrock a flock of ostriches.\n\nThe central focus of the club is the dance floor, just south of the stage, which fills the entire north wall of the room. There is a small backstage door in the north wall, just to the side of the stage. A guy about the size of Mt. Rushmore guards the door.\n\nThe bar is to the east. The lobby is south.\n\nYou can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.\n\n> You talk to Ginger\nPrying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, \"Hello there, beautiful. Got a minute?\"\n\nGinger looks you over and says \"Why not? Shoot, tough guy. What's on your mind? I mean besides that.\"\n\n[1] Confront her about the dressing room.\n[2] Say goodbye.\n\nFinding the backstage door open, the guard closes it again.\n\nSomeone at one of the far tables sings Happy Birthday.\n\n> 1\n\"So, are you sure that you barely knew Bob Watterson?\"\n\nShe gives you a slightly annoyed look and says, \"That's what I said. Isn't it?\"\n\n\"It's just that I happen to know that he was in your dressing room last night.\"\n\nNow you have her attention, \"Really? And how would you know that?\"\n\n\"Never mind how. I know. And now he's gone missing and I thought since you were the last one I know who might have seen him perhaps you could help me out. You want to tell me about it?\"\n\nA brief flash of anger crosses her face for just a second before she smiles at you all innocent like and says, \"Alright, Sam. Sure. Bob came backstage after the show last night and we had a few laughs. He invited me over to his place after closing time. I went to meet him but when I rang, nobody answered the bell. I assumed I'd been stood up and went home.\"\n\n\"Him? Stand up a dish like you? Oh, honey, I don't think that's likely. Tell me, where is this apartment of his?\"\n\n\"It's the penthouse at the Luxor building on the corner of 5th and Main.\"\n\n\"Thanks, sweetheart. You've been a help.\"\n\n\"Any time, Sam. Let me know if there's ever anything else, anything at all, that I can help you with.\"\n\nYou think to yourself that perhaps it's time to check out Bobby's digs.\n\nFinding the backstage door open, the guard closes it again.\n\nA customer laughs at one of Ginger's jokes.\n\nGinger Andrews goes north.\n\n> You go to the south\nYou can see some customers, Jean Claude and a lectern here.\n\n> You go south\nThings were finally starting to get interesting. I still didn't know where this guy was but at least now I had some leads. Ginger said that she was supposed to meet him at his apartment and there was no way that I was about to believe that a mug like Bob Watterson was going to deliberately miss a date with a dame like Ginger Andrews. Clearly something must have happened to him. Perhaps I could find some clues at his penthouse.\n\nI rode the elevator back down to the street, hailed a cab and soon found myself at the corner of 5th and Main. It's a lovely part of town for lovely people. I took a few more steps and I was standing in the lobby of the Luxor Apartments, home of one Robert Watterson III.\n\n[This might be a good time to save your game.]\n\nThe lobby of the Luxor Apartments is very posh but mostly empty, especially at this late hour. Interesting. It seems like every upscale establishment has a thing for chrome and the color white these days. Why is that? You wonder.\n\nThe exit to the street is to the south. A door blocks your way north.\n\nYou can see a front door and an intercom here.\n\n> You examine the intercom\nThe intercom is a panel set into the wall with a microphone and speaker and a row of four buttons: one for each tenant. It looks like there must be only one tenant on each of the four floors above the lobby because there are only four buttons. They're predictably numbered 2, 3, 4, and 5. You remember that Bob's apartment is the penthouse. His must be button 5.\n\n> You enter door\nThis small hallway runs north from the front door and ends in a pair of elevator doors.\n\nYou can see a front door, some elevator doors and an elevator call button here.\n\n> You enter the elevator\n(the elevator doors)\n\nThe elevator is clean and plush with a single set of doors along the south wall. Why can't your office be this nice?\n\nA small stool stands in the corner, next to the control panel. Usually the operator would sit there but it's so late that he's probably gone home.\n\nYou can also see a control panel here.\n\n> You examine the stool\nIt's a simple wooden stool for the elevator operator to sit on.\n\n> You get the stool\nTaken.\n\n> You examine the panel\nThe elevator control panel looks simple enough that even a dope like you could use it. It's got five buttons marked Floor 1 through Floor 5 on it.\n\n> You go to the south\nYou're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.\n\nYou can see some elevator doors (open), an elevator call button and Bob Watterson's front door here.\n\n> You open it\nYou open the door. It's strange that he should leave it unlocked.\n\n> Go south\nNice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.\n\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\n> You look at radio\nThis is a very attractive tabletop model in a walnut frame.\n\nThe radio is currently switched off.\n\n> You turn on the radio\nYou switch the radio on.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\nThat's already on.\n\nSoft music plays over the radio.\n\n> You close front door\nYou close Bob Watterson's front door.\n\nA big band number is playing on the radio.\n\n> You look at the fish\n(the tropical fish)\nPretty little critters. Pity you can't teach them to fetch your slippers.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You lock the door\nWhat do you want to lock Bob Watterson's front door with?\n\n> Fish\nAt first the painting seems to be just be a jumble of geometric patterns and colors but as you look at it more closely, you realize it's a nude portrait done in the cubist style.\n\nSoft music plays over the radio.\n\nYou can't see any such thing.\n\n> You move painting\nIt is fixed in place.\n\nA big band number is playing on the radio.\n\n> You look under the couch\nYou find nothing of interest.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You look at the couch\nBob's couch is a lovely piece of furniture upholstered in fine leather.\n\nSoft music plays over the radio.\n\nBob's couch is a lovely piece of furniture upholstered in fine leather.\n\nA big band number is playing on the radio.\n\n> You examine table\nYou see nothing special about the end table.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You go to the east\nBob's bedroom is not overly large but it's very nice. It's also very clean. You can't help but wonder if he has a maid.\n\nAnyway, there's a large window on the east wall which leads to the fire escape. The living room is to the west.\n\nThe bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.\n\n> You examine the window\nThe window opens easily leading to the fire escape beyond.\n\n> You pull the bed\nIt is fixed in place.\n\n> You open the window\nSure. But if you're trying to get to the fire escape, you can just go east.\n\n> You examine table\nIt's a big table and it's pretty nice and all, but other than that it's rather uninteresting.\n\n> You look at the chair\nThe dining room chairs are very nice. They match the table.\n\n> You go south\nA well appointed kitchen is the hallmark of civilization. You can't remember who said that. Perhaps you just made it up yourself. Anyway, Bob's kitchen is neat, and clean, and almost empty. You're guessing that he eats out a lot.\n\nAlong the west wall stands a large white refrigerator, happily humming to itself.\n\nBeside the fridge, running along the rest of the length of the wall, is a marble counter.\n\nOn the marble counter is a knife block (in which are five knives).\n\nIn the counter is a large marble sink.\n\n> You look at the knife block\nIt's a wooden block with slots for holding six knives. At the moment there are five knives in the knife block.\n\n> You open the fridge\nYou open the refrigerator, revealing Chinese takeout.\n\n> You examine takeout\nLooks like rice and wontons from a local Chinese place.\n\n> You get the takeout\nTaken.\n\n> You get the knife\n(the knife)\nTaken.\n\n> You examine the counter\nIt's a lovely marble counter top.\n\n> You eat the takeout\nRemembering that you never did get that dinner at the Top Cat Club, you decide to wolf down the Chinese food. It's cold but it's delicious.\n\n> Inventory\nYou are carrying:\na knife\na stool\nexpense money\na revolver\na small key\n\n> Go north\nIn the middle of the room is a large oval dining table.\n\nYou can also see six dining room chairs here."
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> You look around\nThis room is big enough to hold quite the little soiree. Like everything else in this place, it's clean and expensive.\n\nThe kitchen lies to the south and the living room is back to the east.\n\nIn the middle of the room is a large oval dining table.\n\nYou can also see six dining room chairs here.\n\n> You go east\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nSoft music plays over the radio.\n\n> You look at the ceiling\nYou see nothing special about the ceiling.\n\nSoft music plays over the radio.\n\n> You go north\nYou can't, since Bob Watterson's front door is in the way.\n\nA big band number is playing on the radio.\n\n> Go south\nOne of the fringe benefits of having a penthouse apartment is that part of your living space can be out doors. The south-eastern corner of Bob's apartment is devoted to a rooftop garden and swimming pool surrounded on all sides by a high brick wall. The setting is all quite nice but the thing that immediately attracts your attention is the stiff floating in the middle of the pool.\n\nOn the south side of the pool, attached to the wall is a pool net.\n\nYou can also see a swimming pool (in which are some water and a dead man) here.\n\n> You look at the dead man\nYou see a dead man floating face down in the pool. A knife is sticking out of his back. It looks like he hasn't been here for very long. He's wearing a belt, a pair of pants and a dress shirt\n\n> You look at the knife\n(the knife)\nIt's a sharp object good for cutting, or stabbing, or sometimes killing.\n\n> You look at the net\nIt's one of those long nets on the end of a pole. It's used for cleaning leaves, dead bugs, and perhaps corpses, from swimming pools.\n\n> You get the body with the net\nUsing the pool net you fish the body out of the pool.\n\nThe body is much too heavy to carry."
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> Look around\nOne of the fringe benefits of having a penthouse apartment is that part of your living space can be out doors. The south-eastern corner of Bob's apartment is devoted to a rooftop garden and swimming pool surrounded on all sides by a high brick wall. The setting is all quite nice but the thing that immediately attracts your attention is the stiff on the side of the pool.\n\nYou can see a dead man and a swimming pool (in which is some water) here.\n\n> You examine man\nYou see a dead man. He is wearing a belt, a pair of pants and a dress shirt A bloody knife is sticking in his back.\n\n> You look at the bloody knife\nIt looks like a kitchen carving knife. There's blood all over it.\n\n> You examine the belt\nIt looks like your garden variety brown leather belt.\n\n> You wear the belt\nYou put on the belt.\n\n> You examine the pants\nDress slacks. There's a back pocket.\n\n> You examine the shirt\nIt looks like it was once a pretty nice silk shirt. Pity it's got blood all over it now.\n\n> You look in the pocket\n(the back pocket)\nIn the back pocket are a brass key and a wallet.\n\n> You get the key\n(the brass key)\nTaken.\n\n> You open it\nYou open the wallet, revealing an ID card.\n\n> You examinethe i d card\nRobert Watterson III. It's him all right.\n\n> You examine the brass key\nYou see nothing special about the brass key.\n\nIn the distance, you can hear the sound of sirens.\n\n> You look at the garden\nIt's too late for the flowers to be open but it appears that Bob has a green thumb.\n\nThe sirens seem to be getting louder.\n\n> You go to the north\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\nNo, you're sure of it now. The cops seem to be surrounding the building! Well, Sam, it looks like you've been set up!\n\n> You go east\nThe bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.\n\nYou'd better find a way out of here before they find you with Mr. Congeniality here.\n\n> Go east\nStanding in the chill night air on the fire escape, you can see all the way to the center of town. It's quite a view.\n\nThe streets below are illuminated by red and blue flashing lights. Looks like the cops have the place surrounded.\n\nHmm. The sirens have stopped. Perhaps they were going somewhere else."
    },
    {
        "text": "[Themes: Mystery, detective]\n\n> You go downwards\nYou rush down the fire escape but unfortunately, the cops are at the bottom waiting for you.\n\nThere is a brief struggle as the cops surround you. By the time it's over, a few cops are sporting shiners and you've become intimate with a pair of handcuffs.\n\nThe cops toss you in the back of a squad car and haul you downtown.\n\nAfter a brief stay as a guest of the local tax payers, you're brought up on charges. The rap is murder.\n\nYou argue that you were set up but even Clancy can't help you now.\n\n\"Come on, Clancy. You know me. You don't think that I did this do you?\"\n\n\"It doesn't matter what I'm thinking, Sam. That's for a jury to decide.\"\n\nThose words don't bring much comfort. Short odds are on a jury's being all too happy to believe that you did it, considering you were found sharing a room with a freshly stabbed corpse.\n\n\"Off to bed, Junior\" your mother says as she turns off the radio.\n\n\"But ma! I need to know how Sam's going to get out of this one! Can't I please stay up a little longer?\"\n\n\"Sorry. You have school in the morning. You'll just have to ask your friends about it in the morning.\"\n\n> Up\nYou can't go that way.\n\nNope. More sirens. They're here all right. You'd better make yourself scarce quick Sam!\n\n> You wait\nTime passes.\n\n> You go west\nThe bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.\n\n> Go west\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nSoft music plays over the radio.\n\nStill more sirens. It looks like they've called in reinforcements.\n\n> You open the door\nYou open Bob Watterson's front door.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\nYou're really starting to get nervous. There has to be a way out of this jam. There just has to be.\n\n> You go to the north\nYou can see some elevator doors (open), an elevator call button and Bob Watterson's front door here.\n\nDarn it! Nothing seems to be working! Quick, Sam! Think!\n\n> You go to the north\nYou can see a control panel here.\n\nThey're probably getting ready to storm the building any minute now!\n\n> You look at the ceiling\nYou see nothing special about the ceiling.\n\nYou hear the sound of a bull horn. \"Alright, Sam! We know you're up there! Give yourself up!\" Darn it! Who's the rat that tipped them off?\n\n> Go south\nYou're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.\n\nYou can see an apartment door, some elevator doors (open) and an elevator call button here.\n\nThere's that bull horn again. \"Give it up, Sam! There's no way out. We've got the place surrounded!\"\n\n> You knock on the door\nYou knock on the door. An elderly voice says, \"Who is it?\"\n\n\"Never mind, ma'am,\" you say, \"wrong apartment.\"\n\n> You go north\nYou can see a control panel here.\n\n\"That's it, Sam! We're coming up!\"\n\n> You go south\nYou're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.\n\nYou can see an apartment door, some elevator doors (open) and an elevator call button here.\n\nThey're probably getting ready to burst in right now. If you're going to get out of here, now would be the time to do it!\n\n> You knock on door\nYou knock on the door. Some mug in a rumpled dress shirt opens the door, give you one look and says, \"Hey! You're not Lenny.\" Looks like you found an Einstein.\n\n\"Sorry, bud. Wrong apartment\" you say as he closes the door.\n\nPanic starts to set in! They're going to be here any minute now!\n\n> Go north\nYou can see a control panel here.\n\nThere is a loud banging as the police smash their way in to the building. Soon the apartment building is crawling with armed cops. You try desperately to hide from them but it's no good. It doesn't take them too long to find you.\n\nThere is a brief struggle as the cops surround you. By the time it's over, a few cops are sporting shiners and you've become intimate with a pair of handcuffs.\n\nThe cops toss you in the back of a squad car and haul you downtown.\n\nAfter a brief stay as a guest of the local tax payers, you're brought up on charges. The rap is murder.\n\nYou argue that you were set up but even Clancy can't help you now.\n\n\"Come on, Clancy. You know me. You don't think that I did this do you?\"\n\n\"It doesn't matter what I'm thinking, Sam. That's for a jury to decide.\"\n\nThose words don't bring much comfort. Short odds are on a jury's being all too happy to believe that you did it, considering you were found sharing a room with a freshly stabbed corpse.\n\n\"Off to bed, Junior\" your mother says as she turns off the radio.\n\n\"But ma! I need to know how Sam's going to get out of this one! Can't I please stay up a little longer?\"\n\n\"Sorry. You have school in the morning. You'll just have to ask your friends about it in the morning.\"\n\n> You examine control\nThe elevator control panel looks simple enough that even a dope like you could use it. It's got five buttons marked Floor 1 through Floor 5 on it.\n\nThey're probably getting ready to burst in right now. If you're going to get out of here, now would be the time to do it!"
    },
    {
        "text": "[Themes: Mystery, detective]\n\n> You look around\nThe lobby of the Luxor Apartments is very posh but mostly empty, especially at this late hour. Interesting. It seems like every upscale establishment has a thing for chrome and the color white these days. Why is that? You wonder.\n\nThe exit to the street is to the south. A door blocks your way north.\n\nYou can see a front door and an intercom here.\n\n> You go to the north\nThis small hallway runs north from the front door and ends in a pair of elevator doors.\n\nYou can see a front door, some elevator doors and an elevator call button here.\n\n> You go north\nThe elevator is clean and plush with a single set of doors along the south wall. Why can't your office be this nice?\n\nA small stool stands in the corner, next to the control panel. Usually the operator would sit there but it's so late that he's probably gone home.\n\nYou can also see a control panel here.\n\n> You turn on the radio\nYou switch the radio on.\n\nA big band number is playing on the radio.\n\n> You go to the east\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You look in the sink\nThe sink is empty.\n\n> You move the couch\nIt is fixed in place.\n\nSoft music plays over the radio.\n\n> You look in the tank\nIn the tropical fish tank are some tropical fish and some water.\n\nA big band number is playing on the radio.\n\n> Search tank\nIn the tropical fish tank are some tropical fish and some water.\n\nSoft music plays over the radio.\n\n> You get the fish\n(the tropical fish)\nYou reach in and try to grab some of the fish but they just swim away.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> Drink water\nDelicious and refreshing!\n\nSoft music plays over the radio.\n\n> Go east\nStanding in the chill night air on the fire escape, you can see all the way to the center of town. It's quite a view."
    },
    {
        "text": "> Go downwards\nOh come on, Sam. You've barely even looked around the place. Don't leave now!\n\n> You go west\nThe bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.\n\n> Go west\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nA big band number is playing on the radio.\n\n> You remove the shirt\n(first taking the dress shirt)\nYou'll have to remove the knife first if you want to get his shirt off.\n\n> You examine the brick wall\nThe wall surrounds the pool on the south and east sides, the sides that aren't blocked by the apartment itself. It's pretty high. Apparently Bob likes his privacy.\n\n> You get the knife\nYou pull the bloody knife out of his back, putting your fingerprints all over it in the process.\n\n> You climb the wall\nIt's far to high for you to reach. Perhaps if you had something to stand on.\n\n> You examine the pants\nDress slacks. There's a back pocket.\n\n> You look at the key\nWhich do you mean, the brass key or the small key?\n\n> You open the wallet\nYou open the wallet, revealing an ID card.\n\n> You examine the iD\nRobert Watterson III. It's him all right.\n\n> You drop the stool\nDropped.\n\nIn the distance, you can hear the sound of sirens.\n\n> You stand on the stool\nYou get onto the stool.\n\nThe sirens seem to be getting louder.\n\n> You climb the wall\nYou can just barely reach.\n\n(getting off the stool)\nYou climb up onto the top of the wall and look around. The view is fantastic from up here. It's marred only by the high tension wire that runs from the roof of Bob's apartment, passing over your head and descending to the roof of the building to the east. From up here on the wall, it's just low enough for you to reach.\n\nNo, you're sure of it now. The cops seem to be surrounding the building! Well, Sam, it looks like you've been set up!\n\n> You climb the wire\nTry sliding down the wire instead.\n\nYou'd better find a way out of here before they find you with Mr. Congeniality here.\n\n> You slide down the wire\nSliding down that wire with your bare hands looks like it would be pretty painful. Perhaps you could try sliding down the wire with something.\n\nHmm. The sirens have stopped. Perhaps they were going somewhere else.\n\n> You slide down the wire with the belt\nI looped Bob's belt over the high tension wire and slid down to the roof of the adjacent building.\n\nIt was just in the nick of time too. I could hear the cops running through the apartment behind me. \"He's not here, Sarge. But there's the body. I guess that tip-off was on the level!\"\n\nOne thing was certain. I didn't need to continue looking for Robert Watterson III. He wasn't missing any more. Although I supposed someone might be missing him.\n\nWhat had I gotten myself mixed up in? The cops showing up just then was entirely too convenient. Somebody wanted me out of the picture and they wanted it bad. But who? I tried to make it all add up but so far all it added up to was a lot of question marks.\n\nFolks, that's the end of Act I of tonight's drama: the Case of the Missing Playboy.\n\nIn a minute, we'll continue with Act II but first...\n\nAre you looking for the finest experience in smoking pleasure? Then you really owe it to yourself to try Muskrat Cigarettes. You see, four out of five doctors recommend Muskrat Cigarettes. That's because Muskrat Cigarettes are smoother, better tasting, and better for you! Indeed, recent studies suggest that smoking just one pack of Muskrat Cigarettes a day can improve respiratory vitality and provide you with more pep! So the next time you crave a fine smoke, reach for Muskrat Cigarettes. You'll be glad you did because remember:\n\nNothing smokes like a Muskrat!\n\nAnd now: we bring you Act II of tonight's thrilling adventure of Sam Fortune and The Case of the Missing Playboy!\n\n> You take the phone\nPicking up the telephone you pause to consider your options.\n\n[1] Call Clancy at the 21st precinct.\n[2] Call the Times.\n[3] Call Irene.\n[4] Hang up.\n\n> 2\nJohn Olsen's a friend of yours. He works the society desk at the Times. It's very late but you're betting he's still there after putting to bed the morning edition. Turns out your hunch was right.\n\n\"What's stewing, Sammy?\"\n\n[1] Ask about Irene.\n[2] Ask about Mr. Scarlet.\n[3] Ask about Bob Watterson.\n[4] Ask about the Top Cat Club.\n[5] Ask what he knows about Ginger.\n[6] Ask about recent police activity.\n[7] Chat with John for a while.\n[8] Hang up.\n\n> 1\n\"John, what can you tell me about Irene Scarlet?\"\n\n\"Irene Scarlet! The most fashionable belle at the ball. She is the queen of the society set. She carries herself with the grace of a movie star and she mingles with all of the most fashionable men about town. She's been keeping me in print for some time now. Is there something about her that I should know?\"\n\n\"Now, now, Johnny boy. Don't get over excited. I'm just asking.\"\n\n\"Well, if you're running around with Miss Scarlet then you're in pretty rarified air. Her daddy's...\"\n\n\"Yeah, yeah. Her daddy's a millionaire.\"\n\n\"Right. And what's his is hers, if you know what I mean. I only wish that she'd give us more to print about her than just who she was seen with where and when. The girl's as squeaky clean as the girl next door. More's the pity.\"\n\n\"Well I hope I don't disappoint you when I say that's good news. Thanks, John. You've been swell.\"\n\n[1] Ask about Mr. Scarlet.\n[2] Ask about Bob Watterson.\n[3] Ask about the Top Cat Club.\n[4] Ask what he knows about Ginger.\n[5] Ask about recent police activity.\n[6] Chat with John for a while.\n[7] Hang up.\n\n> 1\n\"What about Daddy Scarlet? What can you tell me about him?\"\n\n\"Well I'm sure you already know that he's made millions in fish.\"\n\n\"Yes. But is there any dirt on the guy?\"\n\n\"No. He keeps pretty clean. The only thing fishy about him is his fish. His wife passed on several years back and he's devoted to his daughter. I hate to admit it but they actually seem to be a very nice family. Believe me, Sam. I haven't found even the hint of a scandal and it isn't for lack of trying.\"\n\n\"Thanks again, John.\"\n\n[1] Ask about Bob Watterson.\n[2] Ask about the Top Cat Club.\n[3] Ask what he knows about Ginger.\n[4] Ask about recent police activity.\n[5] Chat with John for a while.\n[6] Hang up.\n\n> 1\n\"Hey, what about a guy named Bob Watterson. What do you know about him?\"\n\n\"Robert Watterson III. He's one of the society set. He spends money like it's his birthright, which it probably is. We see him a lot in the company of one Miss Irene Scarlet.\"\n\n\"So they're an item are they?\"\n\n\"Could be. You know you never can really be sure with these society types. They tend to flirt with everyone and when they get really close to someone they tend to like to hide it from people like me.\"\n\n\"Yeah, I can understand that.\"\n\n\"Hey! Was that a crack?\"\n\n\"What else can you tell me about him?\"\n\n\"Not much really. He doesn't seem to have a job or anything. Just money. He's been buzzing around the society crowd with the other drones for several years now but nobody's really sure where he came from.\"\n\n\"Well thanks, John.\"\n\n\"Sure thing.\"\n\n[1] Ask about the Top Cat Club.\n[2] Ask what he knows about Ginger.\n[3] Ask about recent police activity.\n[4] Chat with John for a while.\n[5] Hang up.\n\n> 1\n\"What do you know about the Top Cat Club?\"\n\n\"The Top Cat Club. Center for overpriced entertainment catering to the rich and privileged.\"\n\n\"Quite the popular spot, I'm given to understand. But I already knew that. Tell me something I don't already know.\"\n\n\"Well, rumor has it that the owner, one Mr. Tony Gabriele, has ties to organized crime. Nothing's been proven of course but it seems pretty likely. I'm told that the police have been watching the place pretty heavy these days.\"\n\n\"Now that is interesting. Can you tell me anything about Mr. Gabriele?\"\n\n\"Just that he's a very sharp dresser and he never goes anywhere without a couple of goons. I wouldn't get mixed up with him if I were you, Sam. People who do seem to wind up regretting it.\"\n\n\"Yeah. Thanks for the tip, John.\"\n\n\"My pleasure.\"\n\n[1] Ask what he knows about Ginger.\n[2] Ask about recent police activity.\n[3] Chat with John for a while.\n[4] Hang up.\n\n> 1\n\"John, what do you know of a dame named Ginger Andrews?\"\n\n\"The singer at the Top Cat Club?\"\n\n\"That's her.\"\n\n\"Not much. She worked Atlantic City for a while before Tony brought her up here. Since she's been here, every sugar daddy in town's been trying to hook up with her.\"\n\n\"Any succeed?\"\n\n\"Not that I can tell. Unless you count Tony. Rumor has it that she's his girl.\"\n\n\"Thank you, Johnny! Now that makes sense!\"\n\n[1] Ask what he knows about Tony.\n[2] Ask about recent police activity.\n[3] Chat with John for a while.\n[4] Hang up.\n\n> 1\n\"Johnny, I need you to tell me everything you know about Tony Gabriele.\"\n\n\"Alright. Well you know he runs the Top Cat Club.\"\n\n\"Yeah. Go on.\"\n\n\"Well, he's also suspected of being connected with organized crime. Seems a lot of known mobsters like to visit the Top Cat Club whenever they're in town. The cops have been trying to connect him with operations in Chicago, Atlantic City, and a few other east coast towns. So far, they've been without luck, but they think it's only a matter of time before he slips up.\"\n\n\"Yeah. That fits the picture, Johnny. What about legit business concerns?\"\n\n\"Well there's the club of course. And he also has a small warehouse on Pier 27 where he does some importing from the old country. He started the Top Cat Club with money he made through his import business.\"\n\n\"Thanks, Johnny! That's just what I needed to know!\"\n\n[1] Ask about recent police activity.\n[2] Chat with John for a while.\n[3] Hang up.\n\n> 1\n\"Listen, John, I need your help. I imagine you've heard that there was a 'disturbance' downtown tonight.\"\n\n\"Yeah. Not my desk but I heard something about it. Are you mixed up in this?\"\n\n\"Never mind that for now. What have you heard?\"\n\n\"Apparently some guy got bumped off and the cops got a tip-off about the killer. Seems they let him get away though because the radio's been all chatter about a manhunt going on.\"\n\n[1] Tell him Bob Watterson's dead.\n[2] Tell him the cops are after you.\n[3] Chat with John for a while.\n[4] Hang up.\n\n> 1\n\"Listen, Johnny. I'll let you in on a scoop. That stiff that the cops found? It's Robert Watterson III.\"\n\n\"You don't say? What'd he die of?\"\n\n\"Acute back pain, complicated by severe pneumonia. They found him face down in his pool with a kitchen knife jammed into his backbone.\"\n\n\"No wonder the cops are buzzing like a nest of angry hornets.\"\n\n\"Yeah. No wonder.\"\n\n[1] Tell him the cops are after you.\n[2] Chat with John for a while.\n[3] Hang up.\n\n> 1\n\"Johnny, I got a little bit of a problem here. That guy the cops are after? You're talkin' to him.\"\n\n\"What? You killed the guy?\"\n\n\"No. Of course not. But the cops think I did. Somebody fixed it so that they'd show up just as I was on the scene. Made it all nice and easy for them to jump to the wrong conclusions.\"\n\n\"How can I help?\"\n\n[1] Tell the cops I didn't do it.\n[2] Tell the cops I was with you.\n\n> 1\n\"Call the cops and tell them I didn't do it. Tell them that if they'll give me 24 hours I'll finger the killer for them.\"\n\n\"I don't know, Sam. They may not go for it.\"\n\n\"I know. But perhaps it'll buy me some time.\"\n\n\"Alright. I'll try.\"\n\n\"Thanks, Johnny. You're swell.\"\n\n[1] Chat with John for a while.\n[2] Hang up.\n\n> 1\nYou can't think of anything specific to say to John so you just chat for a while.\n\n[1] Chat with John for a while.\n[2] Hang up.\n\n> 2\nYou put the receiver back on its cradle.\n\n> 3\nYou're still not sure if you can trust Irene. After all, she got you mixed up in this and for all you know she could have been the one who set you up. Still, she seems on the level and you don't see as it matters much anyway. So you dial Irene's number. It rings a few times and eventually you're rewarded with the sound of her sleepy voice on the other end. \"Hello?\"\n\n\"Hiya, Red. It's Sam.\"\n\n[1] Tell her Bob's Dead.\n[2] Hang up.\n\n> 1\n\"Listen, doll, I've got some bad news. I found Bob Watterson.\"\n\n\"But, Sam! That's wonderful!\"\n\n\"No. No it isn't. I'm afraid that he's dead.\"\n\n\"Dead? Oh no, Sam! There must be some mistake!\"\n\n\"No mistake, sweetheart. I just got done not speaking with him. He was quite incommunicado.\"\n\nIrene starts crying and it's only with difficulty that she manages to say, \"Oh, Sam! This is terrible! What happened?\"\n\n\"I'm afraid that someone killed him.\"\n\n\"He was murdered?\" Still sobbing. \"But who would do such a thing? Bob never hurt anybody!\"\n\n\"I was kind of hoping that you could tell me.\n\n\"Listen, sweetheart. I can't go into this over the phone but we need to talk. We have to meet somewhere so we can sort this out. I don't think we have much time.\"\n\n\"Sure, Sam. Anything you say.\"\n\n\"We have to be careful though. I've got half the city police force out looking for me, and whoever bumped off that friend of yours is probably after me as well. So we need to meet somewhere where we can be safe.\"\n\n\"Where did you have in mind?\"\n\n\"We need somewhere where we can be sure that we're not overheard, but it's got to be somewhere public, somewhere where there'll be witnesses so someone will think twice before making a play for us. What's more, it's gotta be open at this late hour. Say! I've got it. The railway station! Meet me on the center platform in fifteen minutes.\"\n\n\"Sure, Sam, I'll be there.\"\n\nYou put the receiver back on its cradle.\n\n> You get the phone\nPicking up the telephone you pause to consider your options.\n\n[1] Call Clancy at the 21st precinct.\n[2] Call the Times.\n[3] Hang up.\n\n> 1\nYou decide to call Sgt. Clancy down at the 21st. You dial the number from memory and soon you're talking to Sgt. Clancy.\n\n\"Clancy. It's Sam.\"\n\n\"Sam! Where are you? Half the cops in the city are lookin' for ya!\"\n\n[1] Tell him I didn't do it.\n[2] Ask him to call off the manhunt.\n\n> 1\n\"Now listen, Clancy. You know I didn't kill that guy. Right?\"\n\n\"Oh I don't know. Saints preserve us, Sam! We've got your fingerprints all over that apartment.\"\n\n\"But surely you can't believe it!\"\n\n\"I must admit that I was rather shocked to hear you were implicated, Sam. You've always been a little lax with the law but you've never stepped over the line this far.\"\n\n\"So call off your boys, Clancy. I was framed! Somebody set me up.\"\n\n\"Sure you was, Sam. Now why don't you just come down to the precinct and tell me all of the details.\"\n\n\"No dice, Clancy. You know I can't do that. Just give me 24 hours and I'll get your killer for you.\"\n\n\"You know I can't...\"\n\n\"I gotta go, Clancy, but I'll be in touch. But remember, just 24 hours.\"\n\nYou put the receiver back on its cradle."
    },
    {
        "text": "[Themes: Mystery, detective, noir]\n\n> You look around\nYour office is on the fifth floor of a crummy old office building in the lower east side.\n\nThere is a single dingy window in the west wall, directly opposite the only door.\n\nThe sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.\n\nOn the wooden desk is a telephone.\n\nA battered old filing cabinet stands in the corner.\n\nAn old desk chair sits behind the desk.\n\nA plain guest chair is strategically placed in front of the desk.\n\n> You look at the desk\n(the wooden desk)\nIt's a very plain wooden desk with a single shabby drawer. Someday perhaps you'll be able to afford mahogany.\n\n> You look in the drawer\nWhich do you mean, the desk drawer, the top drawer of the filing cabinet or the bottom drawer of the filing cabinet?\n\n> Desk\nIn the desk drawer is a bottle of whiskey.\n\n> You drink it\nYou start to take another drink but then you reconsider. \"Naw. That's enough, Sam.\" you say to yourself. \"I have a feeling that you might need a clear head tonight.\"\n\n> You look up Ginger in the folders\nWhich do you mean, the file folders marked A to M or the file folders marked N to Z?\n\n> You look at the m.\nYou see several file folders marked A to M in nearly alphabetical order.\n\nYou thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.\n\n> You read the m.\nYou see several file folders marked A to M in nearly alphabetical order.\n\nYou thumb through a few of the folders but nothing really catches your interest at the moment. Perhaps if you knew what you were looking for this would yield better results.\n\n> You look at the north\n(the file folders marked N to Z)\nYou see a handful of file folders marked N to Z in mostly alphabetical order.\n\nYou thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.\n\n> You read N\n(the file folders marked N to Z)\nYou see a handful of file folders marked N to Z in mostly alphabetical order.\n\nYou thumb through a few of the folders but nothing really catches your interest at the moment.\n\n> Go east\nYour business concluded, you make for the door but upon opening it, you find yourself face to face with two rough looking thugs.\n\n\"Well look who we have here, Mickey Boy!\" says the one with the weasely face.\n\n\"It looks like a rat, Flynn.\"\n\n\"Pity he isn't caught in some trap somewhere. Isn't it?\"\n\n\"Heh. Yeah.\"\n\nYou step back into the room as the two thugs burst in. As you silently plan your next move, it occurs to you that you've heard these two voices before, through a door backstage of the Top Cat Club.\n\n> You talk to Mickey\nI don't think you're going to be able to talk your way out of this one, Sam.\n\nMickey Boy says, \"You know? The boss doesn't like it when people nose around in his affairs.\" Then he drives the point home with a swift punch to your gut that leaves your gasping for wind.\n\n> Punch mickey\nYou hit Mickey Boy with your fist but he shrugs it off.\n\nMickey Boy says, \"When we're through with you, you'll wish you'd stayed in your office, gumshoe.\" He follows this with a lunge which you only barely avoid.\n\n> You hit Mickey with the whiskey\nYou smash Mickey Boy with the bottle of whiskey and lay him out flat.\n\nWeasel Face Flynn says, That's a pretty face you have there. It'd be a shame if anything were to happen to it.\" Then he takes a swing at your face and nearly breaks your jaw. You nearly stagger to the ground before regaining your feet.\n\n> You shoot flynn\nThat's really rather pointless since you don't have any bullets.\n\nWeasel Face Flynn punches you in the solar-plexus, knocking the wind out of you. \"Had enough yet?\" he asks.\n\n> You check what you're carrying\nYou are carrying:\na bottle of whiskey\na brass key\na wallet (open)\nan ID card\nexpense money\na revolver\na small key\n\nWeasel Face Flynn says, \"Don't know when to quit, do you?\" Then he punches you in the kidneys, knocking you against the filing cabinet.\n\n> You hit Flynn with the gun\nYou pummel Weasel Face Flynn with the revolver and lay him out flat.\n\n> You search flynn\nWeasel Face Flynn is aptly named. He's a thin guy with a face like... well, you know. When he's not stretched out on the floor, he nervously shifts from one leg to the other as his eyes rapidly dart to and fro, which only serves to enhance the mustelidae family resemblance.\n\n> You search Mickey\nMickey Boy is the larger of Tony's errand boys. He's about six feet tall and well over 200 pounds. Not the sort you want to meet in a dark alley, or a deserted office building for that matter.\n\n> Go east\nMy encounter with Mickey Boy and Weasel Face Flynn made it pretty clear that Tony Gabriele was up to something. I still wasn't sure what it was but by now I was pretty sure that Irene had nothing to do with it.\n\nOnce again, I ducked down the stairs and headed out into the dark, lonely streets. It was well past midnight now and the streets were mostly deserted. I didn't dare risk grabbing a cab; instead I walked the few blocks to the train station to keep my appointment with Irene. Along the way I had to duck into a couple of alleys to avoid the occasional copper. The last thing I needed was for some flatfoot beat cop to earn a promotion on my account tonight.\n\nIt wasn't long before I found myself in front of the station. Now all I had to do was slip inside, get to the center platform and keep my rendezvous with Irene.\n\n[This might be a good time to save your game.]\n\nThe city train station is a big, imposing structure made by big men, designed to impress upon all the supremacy and majesty of the railroad. The columned behemoth of a building lies to the north, the gigantic entrance perched atop a short but magnificent flight of stairs like the entrance to some Greek temple.\n\n> You go north\nYou are standing on the south side of the cavernous room that makes up the main waiting area of the train station. During the day, passengers would fill this room with activity but at this hour it is mostly empty. You can see the room stretching out in front of you to the north. Far to the north you can just make out the set of stairs that descend to the platforms. Behind you, to the south, is the doorway that leads back outside.\n\nYou can see one of the city's finest patrolling the room. As long as you stay here near the entrance, you can probably avoid his gaze but you'll need to find some way to cross the room without attracting his attention.\n\nThe policeman is patrolling the north end of the waiting area for now but it appears that he'll soon be heading your way. It's probably best to wait here until you've learned his movements.\n\n> You look at the cop\nYou see nothing special about the policeman.\n\nThe policeman is patrolling the north end of the waiting area.\n\n> Wait\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> Wait\nTime passes.\n\nThe policeman arrives from the north.\n\nThe policeman is patrolling the south end of the waiting area. As long as you don't break cover you're pretty sure that he won't see you.\n\n> Wait\nTime passes.\n\nThe policeman is patrolling the south end of the waiting area.\n\n> You wait\nTime passes.\n\nThe policeman goes north.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\n> You go north\nYou're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.\n\nYou can see a policeman here.\n\nYou turn up your collar and try to slip past the policeman but since you're nearly the only person in the station, he immediately moves toward you. You turn away but he chases after you and soon it becomes a foot race.\n\nDesperately, you dodge and weave but he blows his whistle and soon there are cops coming from all directions.\n\nThere is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.\n\nThe cops toss you in the back of a squad car and take you downtown.\n\nAfter a brief stay in the city slammer, you're brought up on murder charges.\n\nYou try to convince Clancy to help you but the best that he can do is recommend a good lawyer.\n\n\"Time for bed, Junior\" your mother says as she turns off the radio.\n\n\"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?\"\n\n\"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow.\"\n\n> Wait\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\n> You wait for a while\nTime passes.\n\nThe policeman is patrolling the north end of the waiting area.\n\n> You go north\nYou're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.\n\nThe policeman is patrolling the north end of the waiting area.\n\n> Go west\nThis is a small gift shop that sells various items to waiting travelers. Curiously, the shopkeeper seems to have stepped out.\nThere's no one here.\n\nThe waiting area is back to the east.\n\nIn the corner of the gift shop is a magazine rack.\n\nOn the magazine rack are a copy of Living Magazine and a copy of the Morning Edition News.\n\nOn a shelf you can see one of those toy monkeys that dances and bangs its cymbals together when it's turned on.\n\nA snow globe with a model of the train station sits on one of the shelves.\n\nThe policeman is patrolling the north end of the waiting area.\n\n> You read the Living\nThe cover story of this issue is devoted to the European relief effort. I'm sure it's an interesting article but you really don't have time to read it right now.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> You read Morning\nThe headline is about president Truman's effort to promote the formation of some international organization called the United Nations. Below that is a brief story about the murder of Robert Watterson III. Most alarming is a police sketch of the chief suspect. They didn't quite capture your rugged jaw line correctly! You're going to have to have some words with Clancy's artist.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> You look at the globe\nA model of the city train station sits inside a glass globe. Tiny snowflakes drift lazily around the globe whenever you shake it. Suspended above the station are the words \"Wish You Were Here\".\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> Shake globe\nYou give the globe a vigorous shake and little tiny snowflakes begin swirling around the little building. It's rather pretty really. It's not very useful though.\n\nThe policeman is patrolling the south end of the waiting area.\n\n> You get the monkey\nTaken.\n\nThe policeman is patrolling the south end of the waiting area.\n\n> You examine it\nIt's a cute little toy monkey holding a pair of cymbals.\n\nThe toy monkey is currently switched off.\n\nThe policeman is patrolling the south end of the waiting area.\n\n> Go east\nThe policeman arrives from the south.\n\nYou turn up your collar and turn your back to the policeman as he arrives in the hopes that he wont recognize you but it's no good. He immediately recognizes you and blows his whistle. Soon there are cops arriving from all directions.\n\nThere is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.\n\nThe cops toss you in the back of a squad car and take you downtown.\n\nAfter a brief stay in the city slammer, you're brought up on murder charges.\n\nYou try to convince Clancy to help you but the best that he can do is recommend a good lawyer.\n\n\"Time for bed, Junior\" your mother says as she turns off the radio.\n\n\"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?\"\n\n\"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow.\"\n\n> Go east\nThe policeman is patrolling the south end of the waiting area.\n\n> Go north\nYou are standing on the north side of the waiting area. Far to the south, across the huge room, you can see the entrance to the building. Below you, to the north, you can see the stairs that descend down to the platforms.\n\nThe policeman is patrolling the south end of the waiting area."
    },
    {
        "text": "[Themes: Mystery]\n\n> Go downwards\nYou're standing at the top of the flight of stairs leading down to the platforms.\n\nTo the south, you can see the whole of the waiting area. You're well concealed so there is no fear of being spotted by the policeman who is patrolling there. Down and to the north, you can just make out part of the lower level of the train station.\n\nThe policeman is crossing the center of the waiting area, heading north."
    },
    {
        "text": "[Themes: Mystery]\n\n> Go downwards\nThe lower level of the train station is a large space which opens on to three platforms. Directly in front of you, to the north, is the central platform, to the north east is the east platform, and to the north west is the west platform. Naturally, there are train tracks running between the platforms.\n\nThere are numerous pillars supporting the high arched ceiling.\n\nThe stairs that lead back to the waiting area are behind you, to the south.\n\nYou can barely make out a figure on the central platform which you hope must be Irene.\n\nBetween you and the central platform stands a policeman. You can only assume that he's looking for you.\n\n> You look at the pillars\nThere are numerous pillars supporting the high arched ceiling. It's actually a rather impressive space.\n\n> You drop the monkey\nDropped.\n\n> You turn on the monkey\nYou switch on the toy monkey, slide it across the floor and duck behind a pillar.\n\nThe policeman sees the toy monkey and moves to investigate. Now's your chance Sam!\n\n> Go north\nYou are standing on the central platform, with tracks on either side of you leading north into the darkness. Behind you, to the south, you can see the policeman examining the monkey with a puzzled look on his face.\n\nYou can see Irene Scarlet here.\n\nThe monkey is making a terrible racket.\n\n> You talk to Irene\nIrene is lovelier than ever, her silky red hair cascading over her dark mink coat. You could fall for a dame like this in a big way! But you gather your thoughts and force yourself to focus on business. \"Hello again, sweetheart.\"\n\nAs she turns to face you, you can see that she's been crying.\n\n\"Oh, Sam! What's going on? First you tell me Bobby's dead and now you ask me to meet you here, what does it all mean?\"\n\n[1] Comfort Irene.\n[2] Tell her about Bob and Ginger.\n[3] Tell her about Mickey Boy and Weasel Face Flynn.\n\nThe monkey is making a terrible racket.\n\n> 2\n\"Irene, were you aware that Bob had a thing for Ginger Andrews?\"\n\n\"I had suspected as much but he never actually told me so.\"\n\n[1] Ask if she was jealous.\n[2] Ask if she was in love with Bob.\n\nThe monkey is making a terrible racket.\n\n> 2\n\"Did you love him, Irene?\"\n\n\"We weren't in love if that's what you mean. But I loved him like a brother.\"\n\n[1] Comfort Irene.\n[2] Tell her about Mickey Boy and Weasel Face Flynn.\n[3] Ask if she knows what had Bob so upset that night.\n\n> 3\n\"You said before that something had upset Bob that night. Do you know what it was?\"\n\n\"No, Sam. I don't know.\"\n\n\"I know he was backstage with Ginger for part of that evening. Do you think Ginger might have had something to do with it?\"\n\n\"Now that you mention it, I think it might have been. He was away from the group for a while and when he came back he was upset. Perhaps she said something to him to make him upset.\"\n\n\"Yes, that or perhaps he overheard something he shouldn't have.\"\n\n[1] Comfort Irene.\n[2] Tell her about Mickey Boy and Weasel Face Flynn.\n[3] Ask what she knows about Tony.\n\nThe monkey is making a terrible racket.\n\n> 3\n\"What do you know about Tony Gabriele?\"\n\n\"Nothing, Sam. I didn't even know his name before tonight.\"\n\n\"Well, he's a mob boss and I think that Bob accidentally overheard something that could have got him into a lot of hot water.\"\n\n[1] Comfort Irene.\n[2] Tell her about Mickey Boy and Weasel Face Flynn.\n[3] Tell her about Tony's warehouse.\n\nThe monkey is making a terrible racket.\n\n> 3\n\"I hear that Tony has a warehouse down on Pier 27. I think that I'm going to have to check it out. There has to be something there that will pin this rap on Tony.\"\n\n\"Oh, Sam! Be careful!\"\n\n\"Don't worry, sweetheart. I will. But listen, Red, do me a favor.\"\n\n\"Anything, Sam.\"\n\n\"I need to you give me about a half an hour. Then I need you to go to the cops and tell them that something's fishy at Tony's warehouse. That should give me enough time to case the joint. Even if I don't find anything, it probably wouldn't hurt to have the cops show up there tonight.\"\n\n\"But what will I tell them?\"\n\n[1] Tell her she'll think of something.\n[2] Tell her to tell the cops that you're there.\n[3] Tell her to report a burglary.\n\nThe monkey is making a terrible racket.\n\n> 2\n\"Tell them that I'm there. That should get their attention.\"\n\n[1] Comfort Irene.\n[2] Tell her about Mickey Boy and Weasel Face Flynn.\n[3] Say goodbye.\n\n> 1\n\"There, there,\" you say as she melts into your arms. \"It'll be all right. We'll get this straightened out somehow.\"\n\n\"But how, Sam?\"\n\n\"Don't worry. I'll think of something.\"\n\n[1] Tell her about Mickey Boy and Weasel Face Flynn.\n[2] Say goodbye.\n\nThe monkey is making a terrible racket.\n\n> 1\n\"Two of Tony Gabriele's boys just tried to punch my time card. I barely managed to get clear of them. It looks like he thinks I know something about whatever he's up to.\"\n\n\"But why, Sam? Why would he think that?\"\n\nI think he knows I was backstage earlier tonight. He must think that I overheard something I shouldn't have.\"\n\n\"But how would he know that?\"\n\n\"Ginger must have told him. She's the only one who could have known I was back there. Even you didn't know that. They must have been discussing whatever they're up to while I was back there. Come to think of it, I'm sure I heard bits and snatches of it. He must think that I heard more than I actually did.\"\n\n[1] Ask what she knows about Tony.\n[2] Say goodbye.\n\nThe monkey is making a terrible racket.\n\n> 1\n\"What do you know about Tony Gabriele?\"\n\n\"Nothing, Sam. I didn't even know his name before tonight.\"\n\n\"Well, he's a mob boss and I think that Bob accidentally overheard something that could have got him into a lot of hot water.\"\n\n[1] Tell her about Tony's warehouse.\n[2] Say goodbye.\n\nThe monkey is making a terrible racket.\n\n> 2\n\"Now go on, Red. Get outta here before that cop stops playing with his monkey and decides to check up on us.\"\n\n\"OK. Be careful, Sam!\" Irene gives you a quick kiss and says, \"For luck!\"\n\n\"Sure, sweetheart. You be careful too. See you after the dust settles.\"\n\nIrene turned and left me standing alone on the platform. I waited a few minutes before sneaking out of the station by following one of the tracks.\n\nIt didn't take me too long to walk the few blocks to Pier 27. It took even less time to find Tony's warehouse.\n\nI wasn't sure exactly what I would find but I was pretty certain that it wouldn't be canned herring.\n\n[This might be a good time to save your game.]\n\nThe pier is nearly pitch black at this early hour. In fact, the only light that you can see is coming from a high window in the warehouse in front of you. It looks like somebody must be home.\n\nTony's warehouse is directly in front of you to the north. There is a dark alley to the northeast.\n\nA small sign beside the large metal warehouse door reads, \"Gabriele Imports.\"\nI beg your pardon?\n\n> You examine the warehouse\n(Gabriele Imports)\nTony's warehouse is a large, utilitarian building that hangs on the side of the pier, allowing goods to be transferred by truck on one side and boat on the other.\n\n> You go northeast\nThis narrow, dark alley runs beside the warehouse. Along the north side of the alley is a railing that overlooks the harbor. From the railing you can see a dock behind the warehouse.\n\nYou can see several dark figures on the dock unloading crates from a boat that sits almost directly below you. You quietly hide in the shadows while the figures finish unloading the crates and after a few minutes they move inside the warehouse.\n\nA ladder leads from a gap in the railing at the end of the alley down to the water. The bottom of the ladder is only a step away from the boat.\n\n> You look at the boat\nThe boat is almost directly below you. You could easily reach it by climbing down the ladder."
    },
    {
        "text": "[Themes: Mystery, detective]\n\n> You go downwards\nYou are in a small power boat which is tied up to the dock behind the warehouse. You can reach the dock by going west.\n\nA ladder leads from a gap in the railing at the end of the alley down to the water. The bottom of the ladder is only a step away from the boat.\n\nA small toolbox sits under one of the seats in the boat.\n\n> You get it\nTaken.\n\n> You open it\nYou open the toolbox, revealing a wrench, a hammer and a screwdriver.\n\n> You check your inventory\nYou are carrying:\na toolbox (open)\na wrench\na hammer\na screwdriver\na bottle of whiskey\na brass key\na wallet (open)\nan ID card\nexpense money\na revolver\na small key\n\n> You look at the ladder\nThe ladder descends several feet from the edge of the alley above down to the water below. The boat bumps up against it as it sways with the tide.\n\n> Go west\nThe dock extends from the back of the warehouse down to the water level. The warehouse is to the south. A boat is tied up to the east. The inside of the warehouse is dimly visible through the open wooden door.\n\n> You go to the south\nThe large warehouse is filled with crates and boxes. There is a large metal door to the south that leads to the pier and a large door to the north that leads to the dock. There is also a smaller door to the west that appears to lead to a small office.\n\nAlong one wall of the warehouse you can see a stack of crates that you recognize as the crates that were just recently being unloaded from the boat.\n\nFrom the next room you see a flickering shadow.\n\n> You look at the crates\nYou can't see inside, since the crates are closed.\n\nFrom the next room you hear muffled voices.\n\n> You open crates\nThe crates are nailed shut. You try to pry off the top with your bare hands but your grip isn't strong enough for that.\n\nFrom the next room you hear elevated voices arguing.\n\n> You listen\nYou listen closely and you hear a voice coming from the next room say, \"Did you get everything unloaded from the boat?\"\n\n\"Yeah, boss. We got it all.\"\n\n> You listen\nYou listen closely and you hear, \"What are we going to do about that detective, boss?\"\n\n\"If we find him, you're going to kill him, Mickey Boy.\"\n\n> You listen\nYou listen closely and you hear, \"Good thing Ginger tipped you off to those two. Right, boss?\"\n\n\"And yet that detective is still making trouble, isn't he Weasel? Thanks to your incompetence.\"\n\n\"Don't worry, boss. We'll get him.\"\n\n\"You'd better.\"\n\n> You open the crate with the hammer\n(first taking the hammer)\nYou loosen a few nails with the hammer and manage to pry off one of the lids.\n\nPulling off the lid you find some tightly wrapped packages containing a substance which appears to be narcotics.\n\nIt looks like Tony has been using his warehouse as a front for a drug smuggling operation.\n\nFrom the next room you hear movement.\n\nYou think to yourself that Irene should have gone to the cops by now. With luck they should be arriving any minute. You might as well just hang around and wait for them at this point.\n\n> You go to the west\nDon't go, Sam. It's probably best for you to just wait here until the cops arrive.\n\nFrom the next room you see a flickering shadow.\n\nIs that a car you hear or are you just imagining it?\n\n> You open the metal door\nYou walk boldly right up to the warehouse door and pull it open. Unfortunately, opening a large metal door makes an awful lot of noise, something which is particularly noticeable at this late hour. No sooner do you open the door when three men wearing dark suits and packing heat emerge from the nearby office. You immediately recognize two of them as your friends Mickey Boy and Weasel Face Flynn. You assume the third must be Mr. Gabriele himself.\n\nTony points a .38 at you and says, \"Mr. Fortune, I grow tired of this little game you've been playing. I would have thought that by now you would have learned not to go where you are not wanted.\"\n\n\"Yeah, well, I've never been too good at that.\"\n\n\"That's really too bad. Mickey Boy, Flynn, take Mr. Fortune for a ride in the boat. I've had enough of his meddling.\"\n\n\"Sure, boss.\"\n\nBefore you have time to react, Mickey Boy clubs the back of your head with his pistol and you drop like a sack of beans.\n\nIt's a pity that Sam wasn't awake for that early morning boat ride into the middle of the harbor. The sunrise that morning was particularly impressive. Unfortunately, the anchor tied to his feet and the water in his lungs made sure that he would never see it.\n\nLadies and gentlemen. That concludes tonight's episode of Sam Fortune - Private Investigator, sponsored by Muskrat Cigarettes.\n\nTune in next week for our brand new series...\n\nYour mother clicks off the radio as you stare with your mouth open in disbelief.\n\n\"I don't understand, ma! How could they kill off Sam? He can't die!\"\n\n\"Now, Junior. It's just a radio program. Perhaps the ratings weren't very good.\"\n\n> You wait awhile\nTime passes.\n\nFrom the next room you hear movement.\n\nYes. You're sure you heard a couple of cars pull up in front of the building. It can't be long now.\n\n> Wait\nTime passes.\n\nFrom the next room you hear elevated voices arguing.\n\nI heard the sound of the large metal warehouse door being opened. Tony and his two thugs come running out of the office only to find five large policemen waiting for them. It didn't take but a moment for them to realize that they were outnumbered. The jig was up.\n\nI stepped out of the shadows and said, \"Officers, I'm glad to see you. I think you'll want to take a look at what's in those crates over there. I think you'll discover that Mr. Gabriele and his stooges here have just received a large supply of narcotics. The other night Bob Watterson overheard them discussing this shipment and he must have been foolish enough to mention it to Ginger Andrews. She told Tony and he decided that they needed to shut him up. When I started digging around, they saw an opportunity to get rid of him permanently and pin it on me.\"\n\nSuddenly a dark shape with flowing red hair ran into the warehouse and threw her arms around me.\n\n\"Sam! You're OK!\"\n\n\"Yeah, sweetheart. I'm just swell. You did good. You and Clancy's boys showed up just in time.\"\n\nI bent over and gave Irene a long passionate kiss.\n\n\"Baby, we make a pretty good team. What say we blow this joint and go find somewhere to get better acquainted?\"\n\n\"Yes, Sam. I think I'd like that very much.\"\n\nLadies and gentlemen, that concludes Act 2 of tonight's drama: The Case of the Missing Playboy.\n\nSam Fortune: Private Investigator will return next week with an all new adventure but right now, stay tuned for Little Miss Abbey which will be heard over most of these IBS stations.\n\n> You look\nNice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.\n\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You sleep with fishes\nWith time that might become a distinct possibility.\n\nA big band number is playing on the radio.\n\n> You look at the fish\n(the tropical fish)\nPretty little critters. Pity you can't teach them to fetch your slippers.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You look at the fish\n(the tropical fish)\nPretty little critters. Pity you can't teach them to fetch your slippers.\n\nSoft music plays over the radio.\n\n> You look at the tank\nThe tank is just about the right size for a coffin and it's filled with dozens of tropical fish.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> You look at tank\nThe tank is just about the right size for a coffin and it's filled with dozens of tropical fish. You briefly wonder what would happen if someone were to unplug the aerator. Have you ever seen what happens to fish when they get oxygen deprived? It's not a pretty sight.\n\nA big band number is playing on the radio.\n\n> You look at the tank\nThe tank is just about the right size for a coffin and it's filled with dozens of tropical fish.\n\nA big band number is playing on the radio.\n\n> You enter the tank\nThat's not something you can enter.\n\nSoft music plays over the radio.\n\n> You unplug the aerator\nReally, Sam. Don't you have more important things to do than torture helpless fishies?\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> Sing\nYour singing is abominable.\n\nSoft music plays over the radio.\n\n> Dance\nYou dance a quick jig but it doesn't really help. All it does is make you feel a little foolish.\n\nA big band number is playing on the radio.\n\n> Plug sponsor\nWhat do you want to juggle?\n\nYou think to yourself that nothing smokes like a Muskrat!\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> Plug key\nWe only plug one product on this show: Muskrat Cigarettes.\n\nThe radio station is playing a love song by one of those crooners who are so popular these days.\n\n> Fuck\nWhoa there, Sam! Do you want to get us taken off the air?\n\nA big band number is playing on the radio.\n\n> You sleep with the fish\n(the tropical fish)\nWith time that might become a distinct possibility.\n\nSoft music plays over the radio.\n\n> You look at the radio\nThis is a very attractive tabletop model in a walnut frame.\n\nThe radio is currently switched on.\n\nSoft music plays over the radio.\n\n> You turn off the radio\nYou switch the radio off."
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> You describe your surroundings\nNice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.\n\nA long, plush couch sits along one of the walls.\n\nA very large painting graces the wall across from the couch.\n\nA tropical fish tank sits underneath the painting.\n\nBeside the couch on a little end table is a radio.\n\nYou can also see Bob Watterson's front door here."
    },
    {
        "text": "[Themes: Mystery]\n\n> You look around\nThe city train station is a big, imposing structure made by big men, designed to impress upon all the supremacy and majesty of the railroad. The columned behemoth of a building lies to the north, the gigantic entrance perched atop a short but magnificent flight of stairs like the entrance to some Greek temple.\n\n> You go north\nYou are standing on the south side of the cavernous room that makes up the main waiting area of the train station. During the day, passengers would fill this room with activity but at this hour it is mostly empty. You can see the room stretching out in front of you to the north. Far to the north you can just make out the set of stairs that descend to the platforms. Behind you, to the south, is the doorway that leads back outside.\n\nYou can see one of the city's finest patrolling the room. As long as you stay here near the entrance, you can probably avoid his gaze but you'll need to find some way to cross the room without attracting his attention.\n\nThe policeman is patrolling the north end of the waiting area for now but it appears that he'll soon be heading your way. It's probably best to wait here until you've learned his movements.\n\n> You go north\nYou're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.\n\nThe policeman arrives from the north.\n\nYou turn up your collar and turn your back to the policeman as he arrives in the hopes that he wont recognize you but it's no good. He immediately recognizes you and blows his whistle. Soon there are cops arriving from all directions.\n\nThere is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.\n\nThe cops toss you in the back of a squad car and take you downtown.\n\nAfter a brief stay in the city slammer, you're brought up on murder charges.\n\nYou try to convince Clancy to help you but the best that he can do is recommend a good lawyer.\n\n\"Time for bed, Junior\" your mother says as she turns off the radio.\n\n\"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?\"\n\n\"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow.\"\n\n> You get the monkey\nTaken.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> You wait for a while\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\nTime passes.\n\nThe policeman is patrolling the south end of the waiting area.\n\nTime passes.\n\nThe policeman is patrolling the south end of the waiting area.\n\n> You wait awhile\nTime passes.\n\nThe policeman is patrolling the south end of the waiting area.\n\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\nTime passes.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\n> Go east\nYou're standing in front of a row of ticket windows. At this late hour they are all closed. The waiting room is behind you to the west.\n\nThe policeman is patrolling the north end of the waiting area.\n\n> You buy the ticket\nNothing is on sale.\n\nThe policeman is crossing the center of the waiting area, heading south.\n\n> You examine the windows\n(the large windows)\nYou see nothing special about the large windows.\n\nThe policeman is crossing the center of the waiting area, heading south."
    },
    {
        "text": "[Themes: Mystery, noir]\n\n> Go down\nThe policeman is patrolling the south end of the waiting area.\n\nYou are standing on the north side of the waiting area. Far to the south, across the huge room, you can see the entrance to the building. Below you, to the north, you can see the stairs that descend down to the platforms.\n\nThe policeman is patrolling the south end of the waiting area.\n\nYou're standing at the top of the flight of stairs leading down to the platforms.\n\nTo the south, you can see the whole of the waiting area. You're well concealed so there is no fear of being spotted by the policeman who is patrolling there. Down and to the north, you can just make out part of the lower level of the train station.\n\nThe policeman is crossing the center of the waiting area, heading north.\n\nThe lower level of the train station is a large space which opens on to three platforms. Directly in front of you, to the north, is the central platform, to the north east is the east platform, and to the north west is the west platform. Naturally, there are train tracks running between the platforms.\n\nThere are numerous pillars supporting the high arched ceiling.\n\nThe stairs that lead back to the waiting area are behind you, to the south.\n\nYou can barely make out a figure on the central platform which you hope must be Irene.\n\nBetween you and the central platform stands a policeman. You can only assume that he's looking for you.\n\n> You drop the monkey\nDropped.\n\n> You sleep with the monkey\nAry you crazy Sam? He's distracted! Now's you chance! Don't spoil it!\n\nThe monkey is making a terrible racket.\n\n> Go north\nYou are standing on the central platform, with tracks on either side of you leading north into the darkness. Behind you, to the south, you can see the policeman examining the monkey with a puzzled look on his face.\n\nYou can see Irene Scarlet here.\n\nThe monkey is making a terrible racket.\n\n> You sleep with Irene\nAre you deliberately trying to get us into trouble with the FCC?\n\nThe monkey is making a terrible racket."
    },
    {
        "text": "[Themes: Science Fiction, Humor, silly, romance, superhero, male protagonist]\n\nGreat. Just great.\n\nYou had big plans for this evening. Romantic plans, involving candlelight, strawberries, and your favorite superhero, EnigmaGirl, whom you have finally gotten to agree to a date... And you were going to show her your new design, too.\n\nBut getting out of here with your pride and your prototype rocket pants isn't going to be easy with MonkeyMan Shatner breathing down your neck.\n\nCopyright 2001, Emily Short\n\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nOn the desk are a pair of rocket pants (which are closed).\n\nMonkeyMan Shatner is here, breathing just left of down your neck.\n\n> Examine\nWhat do you want to examine?\n\n> About you\nAs good-looking as ever.\n\n> You examine the desk\nA huge steel contraption styled like a vintage Cadillac. Its capacious drawers contain all that you require in your work, and spiderlike robot arms hover above its surface to help you in your manufactury.\nThe desk is currently switched off.\n\n> You examine the pants\nYour ticket out of here.\n\nNot now, in the literal sense, but later, in the eventual sense. These are of your design and your construction: breezy, kicky styling that all the girls and guys will be crazy for, capacious cargo pockets, and a pair of afterburners you wouldn't BELIEVE.\n\nThe rocket pants are currently switched off.\n\n> You look at Shatner\nWilliam Shatner used to have this job after things went awry over at Priceline, but now it's pretty much done by an extra in a monkey suit. Hard to tell the difference, really. He just goes around and bugs people.\n\nAlso, for reasons best not explored, he's wearing a little French beret, to which he is strangely attached.\n\n> You turn on the desk\nNo need; you're done for the evening.\n\n> You turn on the pants\nTurn those things on inside? That'd be suicide!\n\n> You get the pants\nTaken."
    },
    {
        "text": "[Themes: Science Fiction, Humor, romance]\n\n> Look around\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nMonkeyMan Shatner is here, breathing just left of down your neck.\n\n> You ask Shatner about the pants\n\"Yes, I am already well-aware of zis contraption, M. Whatever. Believe me, I am not in ze least impressed.\"\n\n> You ask Shatner about yourself\nHe yawns broadly.\n\n> You go north\n\"Monsieur ... um. Surely you do not mean to LEAVE with zis COMPANY MERCHANDISE???\"\n\nThe correct answer, for the uncertain, is to shake your head slowly. Which you do.\n\n> You check your inventory\nYou are carrying:\na pair of rocket pants\n\n> You wear the pants\nYou slide the pants on. They fit like... like a glove for legs.\n\n> Go north\nHis little eyes are WATCHING you. Everywhere you go.\n\n> You buy the pants\nNothing is on sale.\n\n> You take off the pants\nYou take off the rocket pants.\n\n> You hit Shatner\nEnigmaGirl would be SO DISAPPOINTED in you.\n\n> You look at Shatner\nWilliam Shatner used to have this job after things went awry over at Priceline, but now it's pretty much done by an extra in a monkey suit. Hard to tell the difference, really. He just goes around and bugs people.\n\nAlso, for reasons best not explored, he's wearing a little French beret, to which he is strangely attached.\n\n> You drop the pants\nDropped.\n\n> You go north\nSo-called even though the only thing they really do around here is throw stuff at people. Also, they work better hours than you. In other words, everyone's gone home for the day.\n\nA largeish contraption points south.\n\nA banana rests on the floor nearby. Someone's lunch, no doubt.\n\n> You get the banana\nTaken.\n\n> You examine the banana\nSadly green.\n\n> You look at the contraption\nIt looks as though, if you put the least little thing in it, that thing will be hurled with great force. DANGEROUS, the crap they keep around here. One day you're going to be KILLED.\n\n> You put the banana in the contraption\nWith graceful force, the banana arcs into the air, over the nearby desks, unmistakeably in the direction of MonkeyMan Shatner.\n\nWhat happens next is a little hazy. First of all, the Ride of the Valkyrie starts up on the factory intercom. Second, a pair of hitherto unnoticed and generally locked doors at the east end of the factory opens up. Third, in comes a cavalcade of nude polo players. They stream through like the area like the Naturalist Apocalypse, departing through hitherto undetected and assuredly not-available-for-your-use doors to the west.\n\nWhen the dust clears and the music ends, Shatner is gone. All that remains is his beret, staked to the back wall with a single banana.\n\n> You go south\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nYou can also see a pair of rocket pants (which are closed) here.\n\n> You go to the south\nThe Out Escalator -- one way transportation for people on the go. It's pretty jammed at this time of evening, all your coworkers in their green and yellow uniforms jostling each other to get out...\n\nYou scoot along the automated OUT escalator until you arrive at...\n\nOne look at the parking lot tells you what you might already have guessed: the traffic is going to be backed up from here to the Schuykill Expressway, and if you have any plans to meet EnigmaGirl in a timely fashion, you'd better find another way than in you trusty automobile.\n\nWhat it comes down to is this. How much do you trust your own mad stitching skillz?\n\n> You turn on the pants\nThere's an exhilarating vibration all around your-- er-- hmm.\n\nWell anyway, you blast off, is the main point. To the accompaniment of loud cheers and honking horns. And soon find yourself...\n\nYou're currently in midair some hundreds of feet over the Schuykill River. Off down and kind of to the southwest, you can see your front yard.\n\n> Go southwest\nYou descend with more abruptness than majesty, right through the sticky limbs of your tree...\n\nCharacterized by a large tree. Otherwise, it's pretty much just a patch of dirt that you haven't gotten around to seeding. The rocket pants have been your life, night and day: you haven't got time for mundane gardening.\n\nJust to the west is the front door of your lovely abode.\n\n> You go west\nWhat, without switching off the rocket pants? You'll set the crepes suzette on fire. Ahead of time.\n\n> You turn off the pants\nYou switch the rocket pants off.\n\n> You go west\nPrepared for the evening in advance. You may be an engineer, but you do have a spark of romance in you: the candles are already laid out on the table, the bottle of wine is chilling, your CD player is ready-prepared with romantically Enigmatic music. In honor of the occasion you've cut a large question mark out of sparkly cardboard and hung it from the ceiling. It's these little touches a girl will appreciate.\n\nYou could sure use a shower, though.\n\n> Wait\nJust as you are about to wait, the doorbell rings!\n\nYou fling it open and in she walks. \"Hello, Mister-- uh--\"\n\n\"Grisham,\" you say hastily, \"just Grisham, though if you don't like that my middle name is Peter, but--\"\n\n\"Hi.\" She shoots you a sparkly smile. \"I guess I don't need to introduce myself, right?\"\n\nYou swallow. Introduce herself? Half the energy you put into this date was in the form of scraping her publicity pics off every available surface... The place does look a little bare, come to that.\n\n> You examine EnigmaGirl\nShe looks... stunning. Sheathed from head to toe in a black lycra bodysuit, the question-mark picked out in silver on each sleeve; her hair drawn back and her lovely eyes concealed by a pair of dark shades.\n\n\"So, like,\" EnigmaGirl says, looking around nervously. \"You said you had something you wanted to, like, show me?\"\n\n> Show pants to EnigmaGirl\n\"Oooh!!\" Her eyes light up and she takes the pants from your offering hands. \"May I?\"\n\nConfidently she steps into them and zips them up. Funny how well they fit her-- but then, you made them self-adjusting pants. \"The way they work is --\"\n\n\"I think I know how they work, geekboy,\" she says, her smile flashing. \"I've only been scheming to get my hands on them for the past two years.\" Her hands smooth down the pockets and she checks herself for wrinkles in the mirror. \"God, nice styling.\"\n\n\"You should see the way they--\"\n\n\"Fly? Don't worry, I will.\"\n\n\"But, um, wait up a sec, okay?\" You smile nervously. This isn't going quite as planned. \"I'm supposed to take them back, I just wanted to show you but if I lose them my job is gone, they are very valuable PROTOTYPE PANTS...\" You find yourself talking with greater and greater rapidity as she strides towards the door and flings it open. \"Who're you trying to kid, loser? Do you think I came on this date because I wanted to see YOU?\"\n\nAnd with those cruel words, she's gone in a khaki flash."
    },
    {
        "text": "> Describe the surroundings\nThree days later, you're sitting in Your Abode, shredding your cardboard question mark with your bare hands and watching tv from the comfort of unemployment.\n\nAll the news is full of EnigmaGirl and her daring aerial rescue of Antonio Banderas. And all you can do is weep."
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly]\n\n> You look at your surroundings\nPrepared for the evening in advance. You may be an engineer, but you do have a spark of romance in you: the candles are already laid out on the table, the bottle of wine is chilling, your CD player is ready-prepared with romantically Enigmatic music. In honor of the occasion you've cut a large question mark out of sparkly cardboard and hung it from the ceiling. It's these little touches a girl will appreciate.\n\nNothing else to do now but wait.\n\nYou can see an EnigmaGirl here.\n\nEnigmaGirl shifts from one foot to the other, looking a little impatient and uncertain.\n\n> You wear the pants\nYou slide the pants on. They fit like... like a glove for legs.\n\n\"Okay, like, fine.\" Evidently tired of your futzing around, she takes off... leaving you ALONE and overendowed with useless pantsage. Story of your life."
    },
    {
        "text": "[Themes: Humor, Science Fiction, silly, superhero]\n\n> You describe your surroundings\nPrepared for the evening in advance. You may be an engineer, but you do have a spark of romance in you: the candles are already laid out on the table, the bottle of wine is chilling, your CD player is ready-prepared with romantically Enigmatic music. In honor of the occasion you've cut a large question mark out of sparkly cardboard and hung it from the ceiling. It's these little touches a girl will appreciate.\n\nNothing else to do now but wait.\n\nYou can see an EnigmaGirl here.\n\n\"Okay, like, fine.\" Evidently tired of your futzing around, she takes off... leaving you ALONE and overendowed with useless pantsage. Story of your life.\n\n> You go north\nSo-called even though the only thing they really do around here is throw stuff at people. Also, they work better hours than you. In other words, everyone's gone home for the day.\n\nA largeish contraption points south.\n\nA banana rests on the floor nearby. Someone's lunch, no doubt.\n\n> You go south\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nOn the desk are a pair of rocket pants (which are closed).\n\n> You take all\ndesk: That's fixed in place.\n\n> You wait for a while\nTime passes.\n\n> Break pants\nDropped.\n\nViolence isn't the answer to this one."
    },
    {
        "text": "> You look at your surroundings\nYou're currently in midair some hundreds of feet over the Schuykill River. Off down and kind of to the southwest, you can see your front yard.\n\nYou can see a pair of rocket pants (which are closed) here.\n\n> You go east\nYou can go only southwest or down."
    },
    {
        "text": "[Themes: Science Fiction, Humor, silly]\n\n> Go downward\nYou descend with more abruptness than majesty, right through the sticky limbs of your tree...\n\nCharacterized by a large tree. Otherwise, it's pretty much just a patch of dirt that you haven't gotten around to seeding. The rocket pants have been your life, night and day: you haven't got time for mundane gardening.\n\nJust to the west is the front door of your lovely abode.\n\n> Go upwards\nJust leaving the rocket pants in the front yard is an invitation to theft by the wily."
    },
    {
        "text": "> Look around\nCharacterized by a large tree. Otherwise, it's pretty much just a patch of dirt that you haven't gotten around to seeding. The rocket pants have been your life, night and day: you haven't got time for mundane gardening.\n\nJust to the west is the front door of your lovely abode."
    },
    {
        "text": "[Themes: Science Fiction, Humor, superhero]\n\n> Describe the surroundings\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\n> You go to the south\nThe Out Escalator -- one way transportation for people on the go. It's pretty jammed at this time of evening, all your coworkers in their green and yellow uniforms jostling each other to get out...\n\nYou scoot along the automated OUT escalator until you arrive at...\n\nOne look at the parking lot tells you what you might already have guessed: the traffic is going to be backed up from here to the Schuykill Expressway, and if you have any plans to meet EnigmaGirl in a timely fashion, you'd better find another way than in you trusty automobile.\n\nWhat it comes down to is this. How much do you trust your own mad stitching skillz?\n\n> You wear the pants\nYou're already wearing those!\n\n> You turn on the pants\nThere's an exhilarating vibration all around your-- er-- hmm.\n\nWell anyway, you blast off, is the main point. To the accompaniment of loud cheers and honking horns. And soon find yourself...\n\nYou're currently in midair some hundreds of feet over the Schuykill River. Off down and kind of to the southwest, you can see your front yard.\n\n> Go southwest\nYou descend with more abruptness than majesty, right through the sticky limbs of your tree...\n\nCharacterized by a large tree. Otherwise, it's pretty much just a patch of dirt that you haven't gotten around to seeding. The rocket pants have been your life, night and day: you haven't got time for mundane gardening.\n\nJust to the west is the front door of your lovely abode.\n\n> You look at tree\nYou've never been much for botany. It could be just about anything.\n\n> You climb the tree\nWhatever kind of thing it is, it is not a climbable kind of thing. Oh well.\n\n> Go inside\nYou can go only west.\n\n> You go west\nPrepared for the evening in advance. You may be an engineer, but you do have a spark of romance in you: the candles are already laid out on the table, the bottle of wine is chilling, your CD player is ready-prepared with romantically Enigmatic music. In honor of the occasion you've cut a large question mark out of sparkly cardboard and hung it from the ceiling. It's these little touches a girl will appreciate.\n\nYou could sure use a shower, though.\n\n> You get the pants\nYou already have those.\n\n> You get all\ntable: That's hardly portable.\n\n> You look at the table\nOkay, so it's a folding table. You usually eat standing over the sink. What of it, anyway?\n\n> Wait\nJust as you are about to wait, the doorbell rings!\n\nYou fling it open and in she walks. \"Hello, Mister-- uh--\"\n\n\"Grisham,\" you say hastily, \"just Grisham, though if you don't like that my middle name is Peter, but--\"\n\n\"Hi.\" She shoots you a sparkly smile. \"I guess I don't need to introduce myself, right?\"\n\nYou swallow. Introduce herself? Half the energy you put into this date was in the form of scraping her publicity pics off every available surface... The place does look a little bare, come to that.\n\n> You go outside\nBut you aren't in anything at the moment.\n\n\"So, like,\" EnigmaGirl says, looking around nervously. \"You said you had something you wanted to, like, show me?\"\n\n> You check your inventory\nYou are carrying:\na pair of rocket pants (being worn)\n\nEnigmaGirl shifts from one foot to the other, looking a little impatient and uncertain.\n\n> Show table to EnigmaGirl\n(first taking the table)\nThat's hardly portable.\n\nEnigmaGirl shifts from one foot to the other, looking a little impatient and uncertain.\n\n> You turn on the pants\nTurn those things on inside? That'd be suicide!\n\n\"Okay, like, fine.\" Evidently tired of your futzing around, she takes off... leaving you ALONE and overendowed with useless pantsage. Story of your life.\n\n> You ask EnigmaGirl about the pants\n\"Sounds fabulous! May I see?\"\n\n\"So, like,\" EnigmaGirl says, looking around nervously. \"You said you had something you wanted to, like, show me?\"\n\n> You ask EnigmaGirl about herself\nThere is no reply.\n\nEnigmaGirl shifts from one foot to the other, looking a little impatient and uncertain.\n\n> Kiss enigmagirl\nNo no, you've got a careful strategy all worked out here. The way it works is, you win her undying admiration, THEN sweep her into your manly arms.\n\n\"Okay, like, fine.\" Evidently tired of your futzing around, she takes off... leaving you ALONE and overendowed with useless pantsage. Story of your life.\n\n> You take all\nEnigmaGirl: I don't suppose the EnigmaGirl would care for that.\ntable: That's hardly portable.\n\n\"So, like,\" EnigmaGirl says, looking around nervously. \"You said you had something you wanted to, like, show me?\"\n\n> You show yourself to EnigmaGirl\n(first taking yourself)\nYou are always self-possessed.\n\nEnigmaGirl shifts from one foot to the other, looking a little impatient and uncertain.\n\n> Punch enigmagirl\nAre you out of your mind?\n\n\"Okay, like, fine.\" Evidently tired of your futzing around, she takes off... leaving you ALONE and overendowed with useless pantsage. Story of your life.\n\n> Y.\nGreat. Just great.\n\nYou had big plans for this evening. Romantic plans, involving candlelight, strawberries, and your favorite superhero, EnigmaGirl, whom you have finally gotten to agree to a date... And you were going to show her your new design, too.\n\nBut getting out of here with your pride and your prototype rocket pants isn't going to be easy with MonkeyMan Shatner breathing down your neck.\n\nCopyright 2001, Emily Short\n\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nOn the desk are a pair of rocket pants (which are closed).\n\nMonkeyMan Shatner is here, breathing just left of down your neck.\n\n> You go north\nSo-called even though the only thing they really do around here is throw stuff at people. Also, they work better hours than you. In other words, everyone's gone home for the day.\n\nA largeish contraption points south.\n\nA banana rests on the floor nearby. Someone's lunch, no doubt.\n\n> You go east\nYou can go only south.\n\n> You go north\nSo-called even though the only thing they really do around here is throw stuff at people. Also, they work better hours than you. In other words, everyone's gone home for the day.\n\nA largeish contraption points south.\n\n> You go to the south\nWhat, leave without the pants? They were the whole point! You're going to show them to EnigmaGirl and she's going to understand that you're the one, you're the guy with the brains and the heart to be HER man. And then you'll be turning up in a tuxedo at all her superhero events and somehow look considerably more like Antonio Banderas and...\n\nAnyway the point is you'd better snag the pants before you leave, or the rest of the evening is shot.\n\n> You get all\nsky: You can't reach from here.\n\n> You examine the sky\nA cloudless bowl, pale blue.\n\n> You get the tree\nThat's hardly portable.\n\n> You get all\nsky: You can't reach from here.\nlarge tree: That's hardly portable."
    },
    {
        "text": "[Themes: Science Fiction, Humor, romance, male protagonist, silly]\n\n> You ask Shatner about EnigmaGirl\n\"Let me tell you zomezink, my friend. Zat girl, she is dangerous. She has been tryink for years go get her hands upon zese rocket-pants...\"\n\nAnd in a few brief words (marshalling, nonetheless, some compelling evidence), he shatters your illusions forever. So much for love, so much for justice, so much for black lycra and sparkly kisses. She's only in it for the publicity. You know that now. And you'll never be taken in again.\n\n> You go south\nThe great assembly floor of 'Rockets, Sprockets, and Pants,' which stretches in every direction as far as the eye can see. Particularly to the north, where some of your buddies with the propulsion labs work.\n\nSouth lies the Way Out.\n\nBefore you sits your desk.\n\nOn the desk are a pair of rocket pants (which are closed).\n\nMonkeyMan Shatner is here, breathing just left of down your neck.\n\n> You show the banana to Shatner\nThe MonkeyMan sneers at your pitiful offering. \"Zis banana ees harder zan a roque,\" he says.\n\n\"A what?\"\n\n\"A roque!\"\n\n\"I'm sorry, I can't hear you, I've--\""
    },
    {
        "text": "[Themes: Humor]\n\nTOOTH OW ZUNDEN WON!\n\nThe \"Screaming Yak\" Curd Diner\nOne of Io's more successful chains, the Screaming Yak serves the best curd around, and remains popular despite the hamster infestation that has plagued it for almost eight years. The glass double-doors that open out into the moon's surface are to the east, while a door marked \"NO ENTRY\" lies to the south.\n\nA surly person is standing behind the counter. His name tag says \"HELLO. My name is BRUTUS THE CHIHUAHUA.\"\n\nA menu is hanging on the wall."
    },
    {
        "text": "[Themes: Humor]\n\n> About yourself\nAs good-looking as ever.\n\n> You look at the menu\nPlease make your order by kissing the attendant the number of times given for the item.\n(3) DOLLOP OF GENERIC CURD\n(42) CURD WITH CROUTONS\n(88) LESSER-BUTTOCKED VENUSIAN SNAIL SALAD\n(6) GRAPE\n\nWe guarantee that our curd is made with the finest generic ingredients available on Io.\n\n> Kiss brutus 88 times\nYou smooch the surly person behind the counter eighty-eight times.\n\n\"We're out of lesser-buttocked Venusian snail.\" says Brutus.\n\n> Kiss brutus 42 times\nYou smooch the surly person behind the counter forty-two times.\n\n\"The crouton machine's busted.\"\n\n> Kiss brutus 6 times\nYou smooch the surly person behind the counter six times.\n\nBrutus hands you a grape.\n\n> Grape\nOk.\n\n> You eat the grape\nYou find a fun prize razorblade inside.\n\n> Kiss brutus 3 times\nYou smooch the surly person behind the counter three times.\n\nBrutus grabs a handful of curd from somewhere and chucks it straight into your inventory.\n\n> You examine the curd\nYou can't fail to deny it doesn't look unappetizing.\n\nYou feel something brush against your leg. You look down, to see a tiny hamster scuffling about at your feet.\n\n> You take the hamster\nTaken.\n\nThe hamster nibbles at the curd in your hand.\n\n> Kiss brutus 999 times\nYou smooch the surly person behind the counter nine hundred and ninety-nine times.\n\nThe hamster nibbles at the curd in your hand."
    },
    {
        "text": "[Themes: Humor]\n\n> Look around\nThe \"Screaming Yak\" Curd Diner\nOne of Io's more successful chains, the Screaming Yak serves the best curd around, and remains popular despite the hamster infestation that has plagued it for almost eight years. The glass double-doors that open out into the moon's surface are to the east, while a door marked \"NO ENTRY\" lies to the south.\n\nA surly person is standing behind the counter. His name tag says \"HELLO. My name is BRUTUS THE CHIHUAHUA.\"\n\nA menu is hanging on the wall.\n\nThe hamster nibbles at the curd in your hand.\n\n> Go east\nThe doors appear to have been sealed with dried curd.\n\nThe hamster nibbles at the curd in your hand.\n\n> You go south\nBrutus pulls you back. \"Employees only,\" he mutters.\n\nThe hamster nibbles at the curd in your hand.\n\n> You ask Brutus about the diner\n\"Don't you want to ask me about the hamsters?\"\n\nThe hamster nibbles at the curd in your hand.\n\n> You ask Brutus about the hamsters\n\"It's the curd. They love the stuff, the vermin bastards. That's why we've all been issued these aerosol cans.\"\n\nThe hamster nibbles at the curd in your hand.\n\n> You cut the curd\nWhat do you want to cut the dollop of curd with?\n\n> Blade\nCutting that up would achieve little.\n\nThe hamster nibbles at the curd in your hand.\n\n> You put the hamster on the curd\nPutting things on the dollop of curd would achieve nothing.\n\nThe hamster nibbles at the curd in your hand.\n\n> You throw the hamster at Brutus\nBrutus pulls an aerosol can behind the counter and sprays the hamster with it. The hamster disintegrates with a shriek. Brutus puts the aerosol can on the counter.\n\n> You look at the can\nMmm, CFCs.\n\n> You get it\nMmm, CFCs.\n\nBrutus stops you. \"I need that for the hamsters.\"\n\n> You cut Brutus with the blade\nCutting him up would achieve little.\n\n> You show the blade to Brutus\nThe surly person behind the counter is unimpressed."
    },
    {
        "text": "[Themes: Humor]\n\n> You describe your surroundings\nThe \"Screaming Yak\" Curd Diner\nOne of Io's more successful chains, the Screaming Yak serves the best curd around, and remains popular despite the hamster infestation that has plagued it for almost eight years. The glass double-doors that open out into the moon's surface are to the east, while a door marked \"NO ENTRY\" lies to the south.\n\nOn the counter is an aluminium... oh, all right, aluminum\naerosol can.\n\nA surly person is standing behind the counter. His name tag says \"HELLO. My name is BRUTUS THE CHIHUAHUA.\"\n\nA menu is hanging on the wall.\n\n> You cut the menu\n(with the razor blade)\nCutting that up would achieve little.\n\n> You cut can\n(with the razor blade)\nYou slash the can with the razor blade. A cloud of green gas spews out, and floats upwards. It hits the ceiling, which crumples to dust, allowing several tons of croutons to drop down from the floor above onto Brutus's head. He never stood a chance.\n\n> You get the croutons\nThere's too much here to take in one go.\n\n> You check what you're carrying\nYou are carrying:\na razor blade\n\n> You go north\nThe \"Screaming Yak\" Curd Diner\n\nThere is a huge pile of croutons right where that Brutus guy was standing.\n\nOn the counter is an aluminium... oh, all right, aluminum\naerosol can.\n\nA menu is hanging on the wall.\n\n> Yes\nThat was a rhetorical question.\n\n> You get can\nTaken.\n\n> You eat the croutons\n(first taking the gigantic stack of croutons)\nThere's too much here to take in one go.\n\n> You look at the can\nMmm, CFCs.\n\n> You take the can\nYou already have that.\n\n> You build the ladder\nWhat do you want to build ladder from?\n\n> Examine menu\nOn the back you find full instructions for building a sturdy ladder from croutons.\n\n> You build the ladder from the croutons\nYou rapidly assemble a ladder from the croutons.\n\n> You drop the ladder\nDropped.\n\n> You climb the ladder\nYou climb the ladder, and enter the hole."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\nThis is the job that all men in white coats dream of...a potential epidemic. The details were sparse but menacing - mysterious, unexplained deaths in the isolated Dales village of Skebdale. The authorities had no choice but to send you, their most experienced environmental health agent, to check things out. Unfortunately it looks more like a job for Bond than for Herriot...\n\n\n\nType 'help' for...er...help.\nType 'quotes on/off' to toggle box quotations, in case they obscure text.\n\nStandard interpreter 1.0\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n[Author's Note: Strange Things have been happening in Skebdale - and not just the BSE crisis, either. Rumours about devil-worshipping and all manner of strange happenings. Can you, as the unfortunate soul dispatched by the powers that be to investigate, unravel the mystery?]\n\n> You check your inventory\nYou are carrying:\na faxed note\na remote control (which is closed)\n\n> You examine remote\nA beautifully styled black handset with an invitingly red button in the middle. A small panel on the back allows you to change the battery.\n\n> You read the note\nYour instructions from head office, scribbled untidily and faxed to you without regard for legibility. Peering at the note you can only make out a few words:\n\nReference: DCK 817S\nOperation: Red-Chevette\n\nTask: Agent 398-MUGWUG reports serious epidemic risk in Skebdale region of Yorkshire. Agent claims cross-over risk of BSE without beef consumption. Use operation codeword to gain contact, he will be lying low in disguise.\n\nIf possible also investigate allegations of widespread devil worship in Skebdale area. Agent reports possible links.\n\n> About you\nAs good-looking as ever.\n\n> You open the remote\nYou open the remote control, revealing a burnt-out battery.\n\n> You get the battery\nTaken.\n\n> You examine the battery\nEnter saved game to store: Ok.\n\nA small, round, lithium watch-battery, charred almost out of recognition and presumably run-down.\n\n> You look at car\nDented from countless brushes with marauding cattle, your car looks three times its age. In fact it is fitted out with all mod cons, including an electric sunroof, in-car CD player, and remote locking system. (The latter comes in very useful when escaping from marauding cattle.)\n\n> You open gate\nYou open the wooden gate.\n\n> Go northeast\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west stands open. You really should shut it or anything could happen.\n\nA crumpled leaflet, presumably discarded by a passing tourist, blows back and forth in the gentle summer breeze.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> You look around\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west stands open. You really should shut it or anything could happen.\n\nA crumpled leaflet, presumably discarded by a passing tourist, blows back and forth in the gentle summer breeze.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe chickens wander out through the farm gate in their never-ending quest for nourishment.\n\n> Go southwest\nAn open wooden gate leads into a farmyard to the north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> You shut the gate\nYou close the wooden gate."
    },
    {
        "text": "> You look around\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nThere is a sudden flash of lightning and a distant rumble of thunder, warning of impending gloom."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> You look around\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> You climb gate\nYou hop over the closed gate...\n\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA crumpled leaflet, presumably discarded by a passing tourist, blows back and forth in the gentle summer breeze.\n\n> You read the leaflet\nThe leaflet has been torn, mud-bespattered, and generally maltreated, and as such you can make out very little, but it seems to cover topics as wide ranging as sheep varieties, weather forecasting and the country code. It also includes a badly typeset advert for a badly typeset computer game called 'LSE' by Shirc Shimt.\n\n> You look up Sheep in the leaflet\nApparently there are three main varieties of sheep found in Skebdale: the hardy Skebdale Mountain Sheep, the fatter, more cautious, Skebdale-Milton Keynes Cross, and, finally, the newly-bred Fliglot. There are individual paragraphs on each breed.\n\n> You look up mountain in the leaflet\nThe Skebdale Mountain Sheep is an ancient breed, adapted to cope with grazing on steep moorland. It is world famous for its most unusual trait: the pair of legs on one side of any sheep are shorter than the pair on the other. This allows the sheep to walk around the mountain while remaining upright. There are two distinct strains: those with a left-leg bias, and those with a right-leg bias. Obviously interbreeding is impossible between the two strains of sheep due to simple geographical problems. This means that the two strains have drifted apart to form differing sub-species. The left-leg variety are the more common as they graze with the prevailing wind around the hills in Skebdale. The right-leg  variety, however, tend to end up grazing against the wind. This means they graze more slowly as they must cope with more air resistance, and they have hence become the rarer breed. To overcome these aerodynamic difficulties the right-leg variety developed closer, shorter, more tight-knit coats that allowed them to move faster. However, in order to counterbalance the resulting heat loss, they have evolved thin, concentrated layers of fat beneath their skin.\n\nThe Skebdale sheep has never spread further than a few hills in Skebdale as it is perfectly suited to the slope angle of Skebdale Pike. The leg-bias makes migration difficult and unrewarding, so the Skebdale Mountain Sheep remains an isolated and extraordinary specimen.\n\n> You look up Keynes in the leaflet\nThe Skebdale Milton-Keynes Cross was a result of cross-breeding in the mid-nineteenth century (before the invention of ethics). It created a sheep ideally suited to living on the flat flood plain of Skebdale Beck. The Milton is possibly the exact opposite of the Skebdale mountain sheep. It is a low slung sheep which hugs the ground for warmth and protection, it's layers of fat and wool insulating it from temperatures lower than 30 degrees. A farmer's dream, it grazes slowly and steadily, producing perfectly mown stretches of grass, and yielding high quantities of wool, milk, and fat. The famous cricket pitch in Skebdale was brought to such a high degree of perfection due to a groundsman's brilliant idea. By releasing several Miltons at the right time and angle around the pitch, he created a perfect overlapping hexagonal cut, something very rarely seen on cricket pitches. It was this flash of inspiration that originally brought fame to Skebdale and resulted in the booming tourist industry that now flourishes there.\n\nThe name of the sheep is not, in fact, derived from the town, but from the 19th century creators of the sheep, Mr. Milton and Mr. Keynes. (It is a little known fact that the town is actually named after the sheep, not the village of the same name. The developers were so impressed with the concept of a large, artificially created, easily manageable sheep, that they decided to apply exactly the same principles to town planning.)\n\n> You look up Fliglot in the leaflet\nThe Fliglot was an experimental sheep first released in early June 1966. Bred by the now infamous farmers-cum-genetic-engineers Liz and Ned Brown, of Fliglot Farm, Skebdale, it had a short black coat, two straight, sharp horns, prominent hooves and a pointed swishy tail. Comments at the time likened it to a goat rather than a sheep, but it quite happily bred with the other breeds in Skebdale to produce a small flock of Fliglots. However, they were extremely lazy and unproductive, and also quite violent. In the late 1970s they broke free of their field in South Skebdale. There was a brief spurt of mysterious disappearances in the village the same week, accompanied by heavy storms. At the end of the week the Fliglots returned to their pen and peace returned to the village. Since then the sheep have been regarded as a good luck omen and guarded against escape at all costs.\n\n> Go north\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nA bright yellow floppy sou'wester hangs from one of the pegs, clashing badly with the corridor's decor.\n\n> You get yellow\nYou take the sou'wester, revealing an electric socket underneath.\n\n> You look at the yellow\nThe sou'wester is dazzlingly yellow. Glowingly mustard-hued, no less.\n\n> You search it\nYou find nothing of interest.\n\nThe wind picks up and the sky darkens as black rain-clouds appear on the western horizon.\n\n> You wear the hat\nYou put on the sou'wester.\n\n> You wear yellow\nYou're already wearing that!\n\n> You look at the rack\nA welly rack, made out of tough plastic-coated wire, screwed firmly into the wall about a foot from the floor.\n\n> Go east\nPainted in an uninspiring shade of pastel cream-gunk, the farmhouse kitchen has evolved over time into a mixture of modern and ancient appliances jumbled against the walls. Decorated with stains ranging from champagne to tomato ketchup, the ceiling has obviously seen country life in all its glory.\n\nA single rubber glove lies discarded upon the draining board.\n\nYou can also see a kettle here.\n\n> You get the glove\nTaken.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little cold water. I shouldn't waste it: after all, there is a water shortage in Skebdale at the moment. Its black power wire leads to a white three-pin plug. The kettle is currently switched off.\n\n> You examine the glove\nYou see nothing special about the rubber glove.\n\nBlack cumulonimbus clouds tower over Skebdale to the north-west."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> Look around\nPainted in an uninspiring shade of pastel cream-gunk, the farmhouse kitchen has evolved over time into a mixture of modern and ancient appliances jumbled against the walls. Decorated with stains ranging from champagne to tomato ketchup, the ceiling has obviously seen country life in all its glory.\n\n> Go west\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nBuilt into the west wall under the pegs is an electric socket.\n\n> You put the kettle on the rack\nYou balance the kettle on the welly rack.\n\n> You check your inventory\nYou are carrying:\na rubber glove\na sou'wester (being worn)\na burnt-out battery\na faxed note\na remote control (which is open but empty)\n\n> You examine the socket\nYou see nothing special about the socket.\n\nA shadow falls over Skebdale as the clouds sweep in...\n\n> You drop the battery\nDropped.\n\n> Go south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA crumpled leaflet, presumably discarded by a passing tourist, blows back and forth in the gentle summer breeze.\n\n> You climb the gate\nYou hop over the closed gate...\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nHailstones begin to fall to earth, melting on contact with the warm earth.\n\n> You open gate\nYou open the wooden gate.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> Go northeast\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west stands open. You really should shut it or anything could happen.\n\nA crumpled leaflet, presumably discarded by a passing tourist, bounces crazily around beneath the force of the gale.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> You look at your surroundings\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west stands open. You really should shut it or anything could happen.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> Go southwest\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' rocks violently in the gale, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nAn open wooden gate leads into a farmyard to the north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You enter the car\nThere's very little point getting in the car - you've got a job to do! But you might like to have a look in the boot...\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA garden fork has been rammed disrespectfully into a steaming compost heap in one corner of the garden.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You look at what you're carrying with you\nYou are carrying:\na leaflet\na rubber glove\na sou'wester (being worn)\na faxed note\na remote control (which is open but empty)\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe owner of the house looks out at you, suspiciously.\n\n> You look at the owner\nHe never bothers to prosecute trespassers: he has far better methods.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe farmer taps firmly on the window and shouts something unintelligible.\n\n> Wear glove\nYou try and pull the glove on, but it is too small for either of your well-built hands.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThere is a creak as the window eases open and a rifle barrel sneaks through the crack."
    },
    {
        "text": "> Look around\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA garden fork has been rammed disrespectfully into a steaming compost heap in one corner of the garden.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe farmer shouts \"Get out of my garden or tha'll get what thee deserve!\"\n\n> You get the fork\nTaken.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"I'll count to four!\" he shouts.\n\n> You take fork\nYou already have that.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"One...\"\n\n> Go east\nYou can't get inside the house.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Two...\"\n\n> You go north\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' rocks violently in the gale, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nAn open wooden gate leads into a farmyard to the north-east.\n\nThe chickens are scattered across the road, sounding out every last nook and cranny for nourishment. You had better get them back into the farmyard before they're run over by a bus full of ramblers.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You look in the car\nThe inside of your own car is familiar to you already.\n\nThe storm continues to batter unrelenting upon Skebdale.\nA bus sweeps down the dale like a steel monster, carrying a consignment of little old ladies towards the Vale of York. The chickens are helpless before the harbinger of death. All that remains are a few brown feathers, slowly drifting to earth...\n\nSuddenly the flying squad is upon you. Unmarked cars screech to a halt at your feet, amphibious vehicles roll up, dripping slime, from the mere, sending ducks flapping into the air, and Apache helicopters swoop down from the Pike, missiles trained on your slightest movement. You are arrested, tried, found guilty of leaving a gate wrongfully open and locked up in Broadmoor for an indefinite period of time decided by some fascist Tory minister in the Home Office. In short, you are well out of it.\n\nThis is the job that all men in white coats dream of...a potential epidemic. The details were sparse but menacing - mysterious, unexplained deaths in the isolated Dales village of Skebdale. The authorities had no choice but to send you, their most experienced environmental health agent, to check things out. Unfortunately it looks more like a job for Bond than for Herriot...\n\n\n\nType 'help' for...er...help.\nType 'quotes on/off' to toggle box quotations, in case they obscure text.\n\nStandard interpreter 1.0\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> You look in car\nThe inside of your own car is familiar to you already.\n\n> You open the boot\nIt seems to be locked.\n\n> You check your inventory\nYou are carrying:\na faxed note\na remote control (which is closed)\n\n> You examine remote\nA beautifully styled black handset with an invitingly red button in the middle. A small panel on the back allows you to change the battery.\n\n> You open panel\nYou open the remote control, revealing a burnt-out battery.\n\n> You take the battery\nTaken.\n\n> You look at the battery\nA small, round, lithium watch-battery, charred almost out of recognition and presumably run-down.\n\n> You go north\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\n> Examine tom\nA hunched old man in a tweed jacket and flat cap, smoking his pipe and supping his pint.\n\n> You examine Harry\nA hunched old man in a tweed jacket and almost flat cap, smoking his pint and supping his pipe.\n\n> You ask Harry about the beer\n\"It's Sikstons' lad. 'Cheap, Cheerful, and Best Served Chilled.' If tha' want a pint, go and tek one, as the barman's not around.\"\n\n> You ask Harry about the cows\n\"You'll have to ask Tom about that, lad.\"\n\n> You ask Tom about the cows\nThere is a sudden flash of lightning and a distant rumble of thunder, warning of impending gloom.\n\"Aye lad, I can tell thee something about cows.\"\n\n> You ask Tom about the cows\n\"They can be big or small, depending which ones tha' look at,\" Tom explains excitedly.\n\n> You ask Tom about the cows\n\"And they're black an' white,\" says Dick, adding, by way of explanation, \"and sometimes brown.\"\n\n> You ask Tom about cows\n\"Aye lad, I can tell thee something about cows.\"\n\n> You ask Dick about the cows\n\"You'll have to ask Tom about that, lad.\"\n\"They can be big or small, depending which ones tha' look at,\" Tom explains excitedly.\n\n> You ask Dick about Sheep\n\"I've no idea what tha' mean, lad.\"\n\"And they're black an' white,\" says Dick, adding, by way of explanation, \"and sometimes brown.\"\n\n> You ask Tom about the devil\n\"Now then, you'd have to be asking Old Harry about that, wouldn't you?\" chuckles Tom.\n\n> You ask Harry about devil\n\"There's more to things to say about him than there are men in this pub,\" advises Old Harry sagely.\n\n> You ask Harry about the devil\n\"But remember lad, as this is the only advice I'll give thee.\" He summons himself for the revelation.\"Although it may sound clich?d,\" he whispers, \"Old Nick can never change the colour of his eyes, even if he's staring thee in the face.\"\n\n> You ask Tom about the bse\n\"You'll have to ask Dick about that, lad.\"\n\"Only a fool would mess with him,\" he continues, \"and don't I just know it.\"\n\n> You ask Dick about the bse\n\"Oh aye, I know what tha' mean, lad.\"\n\"But remember lad, as this is the only advice I'll give thee.\" He summons himself for the revelation.\"Although it may sound clich?d,\" he whispers, \"Old Nick can never change the colour of his eyes, even if he's staring thee in the face.\"\n\n> You ask Dick about the bse\n\"You mean destruction of nerve cells by rogue prion proteins leading to gradual deterioration of the brain and nervous system,\" says Dick quickly.\n\n> You ask Dick about the bse\n\"Was that what tha' wanted to know, lad? Them scientists call it Bovine Spongiform Encephalopathy, but we call it Old 'arry's Game. I tell thee lad, its the devil behind them there mad cows an' I don't mean Jacques Santer.\"\n\n> You ask Dick about the bse\nThe wind picks up and the sky darkens as black rain-clouds appear on the western horizon.\n\"Oh aye, I know what tha' mean, lad.\"\n\n> You wait awhile\nTime passes.\n\"You mean destruction of nerve cells by rogue prion proteins leading to gradual deterioration of the brain and nervous system,\" says Dick quickly.\n\n> Wait\nTime passes.\n\"Was that what tha' wanted to know, lad? Them scientists call it Bovine Spongiform Encephalopathy, but we call it Old 'arry's Game. I tell thee lad, its the devil behind them there mad cows an' I don't mean Jacques Santer.\"\n\n> Wait\nTime passes.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> Go southeast\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> You open gate\nYou open the wooden gate.\n\n> You climb the gate\nYou hop over the closed gate...\n\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA crumpled leaflet, presumably discarded by a passing tourist, blows back and forth in the gentle summer breeze.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\n> You examine the chickens\nA group of ordinary farmyard chickens, including the obligatory cockerel with show-off red comb.\n\nBlack cumulonimbus clouds tower over Skebdale to the north-west.\n\n> You examine the clouds\nThey're big, black, and horrible.\n\n> Go east\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nA red and white tractor is parked next to the haystack.\n\n> You look at the tractor\nThe tractor was presumably new once (most things were), but its paint has started to peel off, with bubbles of rust forming all over the bodywork. The makers mark on the side reads simply 'Case International'.\n\n> You climb the tractor\nYou climb up the tractor onto its roof.\n\nA shadow falls over Skebdale as the clouds sweep in..."
    },
    {
        "text": "> Look around\nBarn (on the roof)\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nA red and white tractor is parked next to the haystack."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Go downward\nYou'll have to get off the roof first.\n\n> You get down\nThat isn't available.\n\nHailstones begin to fall to earth, melting on contact with the warm earth."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Go downwards\nYou'll have to get off the roof first.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You stand\nYou get off the roof.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA red and white tractor is parked next to the haystack.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You get off\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You go north\nYou can't go that way.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You go northeast\nYou can't go that way.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You go to the north\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nA bright yellow floppy sou'wester hangs from one of the pegs, clashing badly with the corridor's decor.\n\nThe storm continues at full force outside.\n\n> You take the hat\nYou take the sou'wester, revealing an electric socket underneath.\n\nThe storm continues at full force outside.\n\n> You wear the hat\nYou put on the sou'wester.\n\nThe storm continues at full force outside.\n\n> You examine rack\nA welly rack, made out of tough plastic-coated wire, screwed firmly into the wall about a foot from the floor.\n\nThe storm continues at full force outside.\n\n> Go upwards\nYou don't want to disturb the inhabitants privacy too much, and besides, your scared of the dark.\n\nThe storm continues at full force outside.\n\n> You go east\nPainted in an uninspiring shade of pastel cream-gunk, the farmhouse kitchen has evolved over time into a mixture of modern and ancient appliances jumbled against the walls. Decorated with stains ranging from champagne to tomato ketchup, the ceiling has obviously seen country life in all its glory.\n\nA single rubber glove lies discarded upon the draining board.\n\nYou can also see a kettle here.\n\nThe storm continues at full force outside.\n\n> You take the glove\nTaken.\n\nThe storm continues at full force outside.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little cold water. I shouldn't waste it: after all, there is a water shortage in Skebdale at the moment. Its black power wire leads to a white three-pin plug. The kettle is currently switched off.\n\nThe storm continues at full force outside.\n\n> You examine the glove\nYou see nothing special about the rubber glove.\n\nThe storm continues at full force outside.\n\n> Wear glove\nYou try and pull the glove on, but it is too small for either of your well-built hands.\n\nThe storm continues at full force outside.\n\n> You look at the ceiling\nYou see nothing special about the ceiling.\n\nThe storm continues at full force outside.\n\n> You go to the west\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nBuilt into the west wall under the pegs is an electric socket.\n\nThe storm continues at full force outside.\n\n> Go west\nThe farmhouse's lounge closely resembles a bomb site. An old sofa, covered in ragged blankets and thin cushions, is positioned opposite a large TV and a wide, open fireplace. The window, hung with clashing flowery curtains, faces out onto the farmyard. A door in the east wall leads out to the hall.\n\nLaid out in front of the fireplace is a thick hearth-rug, covered in dog hair.\n\nCurled up on the rug there is, of course, a dog.\n\nThe unusually violent storm suddenly dies and Skebdale is silent and peaceful once more.\n\n> You look at the dog\nA sleek, speckled, black and white border collie. The archetypal sheepdog, it is laid out flat after a hard night spent sleeping.\n\n> You wake dog\nThe collie, moving like lightning, tries to bite your hand off, but you withdraw just in time.\n\n> You examine the hair\nThe rug is even thicker than an agriculture minister.\n\n> You take the rug\nIt's a bit to bulky to carry around with you.\n\n> You move the rug\nThe mat seems to be fixed down at one end.\n\n> You go east\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nBuilt into the west wall under the pegs is an electric socket.\n\n> Go south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\n> You climb the gate\nYou hop over the closed gate...\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> Go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nA garden fork has been rammed disrespectfully into a steaming compost heap in one corner of the garden.\n\n> You search the bed\nIn amongst the bushes you find a garish pink toy pistol. You can well imagine that it would come in useful here - there is a direct shot straight across the street.\n\nThe owner of the house looks out at you, suspiciously.\n\n> You take the fork\nYou're carrying too many things already.\n\nThe farmer taps firmly on the window and shouts something unintelligible.\n\n> Inventory\nYou are carrying:\na rubber glove\na sou'wester (being worn)\na leaflet\na burnt-out battery\na faxed note\na remote control (which is open but empty)\n\nThere is a creak as the window eases open and a rifle barrel sneaks through the crack.\n\n> You put the battery in the remote\nYou put the burnt-out battery into the remote control.\n\nThe farmer shouts \"Get out of my garden or tha'll get what thee deserve!\"\n\n> You take the fork\nTaken.\n\n\"I'll count to four!\" he shouts.\n\n> You drop the note\nYou feel guilty about having despoiled the countryside. Litter-bugs only have a few chances before they are caught red-handed.\n\n\"One...\"\n\n> You take the pistol\nTaken.\n\n\"Two...\"\n\n> You shoot the farmer with the pistol\nYou pull the trigger but nothing comes out.\n\n\"Three...\"\n\n> Go north\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\n> You drop the pistol\nYou feel guilty about having despoiled the countryside. Litter-bugs only have a few chances before they are caught red-handed.\n\n> You go north\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\n> You go to the southeast\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nYou can also see a toy pistol here.\n\n> Go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nYou can also see a faxed note here.\n\n\"Three...\"\n\n> You drop all\ngarden fork: Dropped.\nrubber glove: Dropped.\nleaflet: You feel guilty about having despoiled the countryside. Litter-bugs only have a few chances before they are caught red-handed. faxed note: You feel guilty about having despoiled the countryside. Litter-bugs only have a few chances before they are caught red-handed. remote control: Dropped.\n\n> You go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nYou can also see a toy pistol here.\n\n\"I'll count to four!\" he shouts.\n\n> You take all\nrain clouds: It's hard to pick up an accumulation of water vapour half a mile above your head.\nangry farmer: I don't suppose the angry farmer would care for that. toy pistol: Taken.\nflower bed: That's hardly portable.\n\n\"One...\"\n\n> Go east\nYou can't get inside the house.\n\n\"Two...\"\n\n> You go north\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nA crumpled leaflet, heartlessly discarded by yourself just moments ago, blows back and forth in the gentle summer breeze.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nYou can also see a remote control (in which is a burnt-out battery), a faxed note, a rubber glove and a garden fork here.\n\n> You take all\nrain clouds: It's hard to pick up an accumulation of water vapour half a mile above your head.\nwooden gate: That's fixed in place.\nremote control: Taken.\nfaxed note: Taken.\nleaflet: Taken.\nrubber glove: Taken.\ngarden fork: You're carrying too many things already.\nsign: That's hardly portable.\nVolvo: It's a tad heavy to pick up.\nboot: That's hardly portable.\n\n> You examine the fork\nThe six-pronged garden fork seems to be quite expensive. The handle is made of some sort of exotic, dark wood, and just below the triangular hand-hold there is a small silver plaque, inscribed simply with a single ornamented letter D.\n\n> Inventory\nYou are carrying:\na rubber glove\na leaflet\na faxed note\na remote control (which is open)\na burnt-out battery\na toy pistol\na sou'wester (being worn)\n\n> You drop the glove\nDropped.\n\n> You look at the pistol\nThe pistol is an uninspiring shade of washed-out pink, but makes up for it with the battery-powered sound effects generator tagged on to the handle. Its pea-sized water tank is currently empty.\n\n> You open the generator\nYou open the sound-effects generator, revealing a watch battery.\n\n> You take the battery\nWhich do you mean, the burnt-out battery or the watch battery?\n\n> You take the watch battery\nYou're carrying too many things already.\n\n> You check your inventory\nYou are carrying:\na garden fork\na leaflet\na faxed note\na remote control (which is open)\na burnt-out battery\na toy pistol\na sou'wester (being worn)\n\n> You drop the fork and the leaflet\ngarden fork: Dropped.\nleaflet: Dropped.\n\n> You put the watch battery in the remote\nYou put the watch battery into the remote control.\n\n> Close remote\nYou close the remote control.\n\n> You take the fork and the leaflet\ngarden fork: Taken.\nleaflet: Taken.\n\n> You show the fork to Dick\nOld Dick is unimpressed.\n\n> You go to the southeast\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' swings in the sunshine, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nYou can also see a rubber glove here.\n\n> Unlock Volvo\nWhat do you want to unlock the Volvo with?\n\n> You examine remote\nA beautifully styled black handset with an invitingly red button in the middle. A small panel on the back allows you to change the battery.\n\n> You open the car\nYou open the Volvo.\n\n> You get in Volvo\nThere's very little point getting in the car - you've got a job to do! But you might like to have a look in the boot...\n\n> You open the boot\nYou open the boot, revealing a briefcase, a white coat and a key ring.\n\n> You open the briefcase\nIt seems to be locked.\n\n> You unlock the briefcase with the keys\nYou unlock the briefcase.\n\n> Inventory\nYou are carrying:\na key ring\na leaflet\na garden fork\na faxed note\na remote control (which is closed)\na sou'wester (being worn)\n\n> You put the leaflet and note and the remote in the briefcase\nleaflet: Done.\nfaxed note: Done.\nremote control: Done.\n\n> Wear coat\nYou put on the white coat.\n\n> You examine the coat\nThe statutory mantle worn by psychiatrists and mad laboratory technicians. It has two conveniently large pockets.\n\n> You look in the pockets\nThe white coat is empty.\n\n> Typed note\nOperation: Red-Chevette\nAgent: 667\n\nYou might find that this comes in useful, I've heard it's more potent than it looks.\n\n> You examine the jar\nA small blank glass jar. It is full of a clear liquid.\n\n> You open the jar\nYou open the glass jar.\n\n> You drink liquid\nYou daren't risk drinking the unknown liquid. After all, it could be flat lemonade, and that would just be plain disgusting.\n\n> You close jar\nYou close the glass jar.\n\n> You look in the trunk\nThe boot is empty.\n\n> Inventory\nYou are carrying:\na white coat (being worn and empty)\na briefcase (which is open)\na remote control (which is closed)\na faxed note\na leaflet\na glass jar\na typed note\na key ring\na garden fork\na sou'wester (being worn)\n\n> Go north\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\nYou can see a toy pistol and a burnt-out battery here.\n\n> You pour the liquid in the pistol\n(first taking the glass jar)\nYou fill the pistol from the jar.\n\n> You ask Dick abouthe Red-Chevette\nOld Dick winks and smiles at you. \"I think this young man deserves some reward for his effort,\" he says. \"'E's obviously an 'ard working young'un. 'Ere, have a can of Sikston's on me.\" He hands you an aluminium can and then turns back to his pint.\n\n> You examine the sikston'S\nThe sealed can declares itself as:\n\n?SIKSTONS' EXTREMELY PECULIAR?\n\n> You open can\nYou yank sharply on the ring-pull which comes off easily in your hand. After a brief sub-second the over-enthusiastic widget kicks into action and froth and foam spurts from the can as if it were a volcano. In shock you drop the can and its remaining contents spill onto the floor.\n\n> Open beer\nYou yank sharply on the ring-pull which comes off easily in your hand. After a brief sub-second the over-enthusiastic widget kicks into action and froth and foam spurts from the can as if it were a volcano. In shock you drop the can and its remaining contents spill onto the floor.\n\nThere is a sudden flash of lightning and a distant rumble of thunder, warning of impending gloom.\n\n> You take the can\n(putting the garden fork into the briefcase to make room)\nTaken.\n\nThere is a sudden flash of lightning and a distant rumble of thunder, warning of impending gloom.\n\n> You shake the beer\nYou apply a shake equivalent to 6.4 on the Richter scale, but nothing happens.\n\n> You look at what you're carrying with you\nYou are carrying:\na can of beer\na glass jar\na toy pistol\na white coat (being worn and empty)\na briefcase (which is open)\na remote control (which is closed)\na faxed note\na leaflet\na typed note\na key ring\na garden fork\na sou'wester (being worn)\n\n> You put the beer in pocket\nYou put the can of beer into the white coat.\n\nThere is a sudden flash of lightning and a distant rumble of thunder, warning of impending gloom.\n\n> You put keys in the pocket\nYou put the key ring into the white coat.\n\n> You go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\n\"Two...\"\n\n> You shoot the farmer with the pistol\nThe liquid squirts feebly towards the farmer who just gets even more angry.\n\n\"Three...\"\n\n> You give the beer to farmer\n(first taking the can of beer)\nThe farmer shouts several expletives and then shuts up.\n\n\"Three...\"\n\n> You throw beer at the farmer\n(first taking the can of beer)\n(putting the garden fork into the briefcase to make room)\nThe farmer shouts several expletives and then shuts up.\n\n\"Three...\"\n\n> You ask the farmer abouthe Red-Chevette\nThe farmer shouts several expletives and then shuts up.\n\n\"Three...\"\n\n> You climb the gate\nYou hop over the closed gate...\n\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\n> You go north\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nBuilt into the west wall under the pegs is an electric socket.\n\n> You go west\nThe farmhouse's lounge closely resembles a bomb site. An old sofa, covered in ragged blankets and thin cushions, is positioned opposite a large TV and a wide, open fireplace. The window, hung with clashing flowery curtains, faces out onto the farmyard. A door in the east wall leads out to the hall.\n\nLaid out in front of the fireplace is a thick hearth-rug, covered in dog hair.\n\nCurled up on the rug there is, of course, a dog.\n\n> You shoot the dog with the pistol\nThe liquid squirts feebly out of the pistol and into the ground.\n\nThe wind picks up and the sky darkens as black rain-clouds appear on the western horizon.\n\n> You open the jar\nYou open the glass jar.\n\nThe wind picks up and the sky darkens as black rain-clouds appear on the western horizon.\n\n> You open the remote\nYou open the remote control, revealing a watch battery.\n\n> You take the watch battery\n(putting the garden fork into the briefcase to make room)\nTaken.\n\n> You put the battery in the generator\nYou put the watch battery into the sound-effects generator.\n\n> Close generator\nYou close the sound-effects generator.\n\n> You shoot the dog with the pistol\nThe liquid squirts feebly out of the pistol and into the ground.\n\n> Examine generator\nThe generator consists of a panel on the gun's handle. It has a small battery compartment and three buttons - blue, green, and yellow.\n\n> Button\nWoof! Woof! Woof!\n\nThe collie gets very excited and jumps up from the mat, leaping in a canine frenzy at the gun.\n\n> You move the rug\nThe mat seems to be fixed down at one end.\n\nBlack cumulonimbus clouds tower over Skebdale to the north-west.\n\n> You roll the rug\nYou roll up the hearth-rug, revealing beneath a small wooden trapdoor.\n\n> You take the fork\nTaken.\n\nThe border collie pads off towards the farm hallway.\n\n> You open trap with the fork\nThe prongs of the fork fit perfectly into the holes and you easily manage to lever the trapdoor open."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> Go downwards\nThis low, earth-hewn passage is cramped and dirty. Held up by crude wooden props, it looks none too stable. The tunnel is quite short, only about twenty metres in length. At the south-east end is the short stone staircase which leads up to the trapdoor, while to the north-west is an enormous door.\n\nThe enormous door is more firmly shut than the main air-lock on Space Shuttle Paranoia.\n\n> You open door\nIt seems to be locked.\n\n> You look at the door\nAn enormous, circular door, no doubt made of some extremely unlikely space age metal which can only be cut using a knife blade forged in the core of a red giant. Or something like that. There, right in the centre, is one of those lock-cum-handle thingummybobs that you get on all good bank vaults.\n\n> You turn the handle\n(the dial)\nWhich way?\n\n> You examine the handle\n(the dial)\nThe lock is the traditional turning type, with eight letters arranged evenly around the dial:\n\nD  |  Z\n\\|/\nN+S\n/|\\\nI  |  L\n|\nW\n\nThere is a small black button underneath the uppermost letter.\n\n> You open the jar\nIt's already open.\n\n> You shoot the handle with the pistol\n(the dial with the toy pistol)\nThe liquid squirts feebly out of the pistol and into the ground.\n\n> You check your inventory\nYou are carrying:\na garden fork\na rubber glove\na glass jar\na toy pistol\na white coat (being worn)\na key ring\na can of beer\na briefcase (which is open)\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (being worn)\n\n> You examine leaflet\nThe leaflet has been torn, mud-bespattered, and generally maltreated, and as such you can make out very little, but it seems to cover topics as wide ranging as sheep varieties, weather forecasting and the country code. It also includes a badly typeset advert for a badly typeset computer game called 'LSE' by Shirc Shimt.\n\n> You open door\nIt seems to be locked.\n\n> You look up the country code in the leaflet\nThe main points of the country code are, according to the leaflet:\n\n- Guard against all risk of fire.\n- Leave gates as you find them.\n- Keep dogs under close control.\n- Keep to public footpaths.\n- Take your litter home.\n- Make no unnecessary noise.\n\nThe leaflet goes on to explain how anyone breaking the code in Skebdale faces punishment by the Skebdale flying squad, an elite group of park wardens who punish criminals quickly and efficiently.\n\n> You turn dial left\nYou turn the dial one notch anticlockwise.\n\nE  |  S\n\\|/\nD+L\n/|\\\nN  |  W\n|\nI\n\n> You look at the handle\n(the dial)\nThe lock is the traditional turning type, with eight letters arranged evenly around the dial:\n\nE  |  S\n\\|/\nD+L\n/|\\\nN  |  W\n|\nI\n\nThere is a small black button underneath the uppermost letter.\n\n> You turn the handle right\n(the dial right)\nYou turn the dial one notch clockwise.\n\nN  |  E\n\\|/\nI+Z\n/|\\\nW  |  S\n|\nL\n\n> You keep going\n(the dial right)\nYou turn the dial one notch clockwise.\n\nI  |  D\n\\|/\nW+E\n/|\\\nL  |  Z\n|\nS\n\n> You turn the handle right\n(the dial right)\nYou turn the dial one notch clockwise.\n\nW  |  N\n\\|/\nL+D\n/|\\\nS  |  E\n|\nZ\n\n> You continue\n(the dial right)\nYou turn the dial one notch clockwise.\n\nL  |  I\n\\|/\nS+N\n/|\\\nZ  |  D\n|\nE\n\n> You keep going\n(the dial right)\nYou turn the dial one notch clockwise.\n\nS  |  W\n\\|/\nZ+I\n/|\\\nE  |  N\n|\nD\n\n> You turn the handle right\n(the dial right)\nYou turn the dial one notch clockwise.\n\nZ  |  L\n\\|/\nE+W\n/|\\\nD  |  I\n|\nN\n\n> You turn the handle right\n(the dial right)\nYou turn the dial one notch clockwise.\n\nE  |  S\n\\|/\nD+L\n/|\\\nN  |  W\n|\nI\n\n> Keep going\n(the dial right)\nYou turn the dial one notch clockwise.\n\nD  |  Z\n\\|/\nN+S\n/|\\\nI  |  L\n|\nW\n\n> Go upwards\nThe farmhouse's lounge closely resembles a bomb site. An old sofa, covered in ragged blankets and thin cushions, is positioned opposite a large TV and a wide, open fireplace. The window, hung with clashing flowery curtains, faces out onto the farmyard. A door in the east wall leads out to the hall.\n\nA dark staircase leads downwards from the open trapdoor.\n\nA rolled up rug lies on the floor next to the fireplace.\n\nThe storm continues at full force outside.\n\n> You go south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe unusually violent storm suddenly dies and Skebdale is silent and peaceful once more.\n\n> You go to the north\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\nYou can see a burnt-out battery here.\n\n> R.\nWhat do you want to drop?\n\n> Go east\nPainted in an uninspiring shade of pastel cream-gunk, the farmhouse kitchen has evolved over time into a mixture of modern and ancient appliances jumbled against the walls. Decorated with stains ranging from champagne to tomato ketchup, the ceiling has obviously seen country life in all its glory.\n\nYou can see a kettle here.\n\n> You take the kettle\n(putting the toy pistol into the briefcase to make room)\nTaken.\n\n> You plug in the kettle\nYou'll have to put the kettle down first.\n\n> You plug in the kettle\nYou plug the kettle in.\n\n> You turn on the kettle\nYou switch the kettle on. A little red light above the switch jumps into life to show you it is working.\n\n> You look at the jar\nA small blank glass jar. It is half full of a clear liquid.\n\n> You open the jar\nIt's already open.\n\n> You shoot the pistol into the jar\n(first taking the toy pistol)\nYou fire the contents of the pistol back into the jar.\n\n> You close jar\nYou close the glass jar.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little cold water. I shouldn't waste it: after all, there is a water shortage in Skebdale at the moment. Its black power wire leads to a white three-pin plug. The kettle is currently switched on.\n\n> Wait\nTime passes.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little warm water, and is gently steaming. Its black power wire leads to a white three-pin plug.\nThe kettle is currently switched on.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little hot water, and is steaming furiously. Its black power wire leads to a white three-pin plug.\nThe kettle is currently switched on.\n\n> You examine the kettle\nA blue plastic electric kettle, which contains a little boiling water, and is still steaming. Its black power wire leads to a white three-pin plug.\nThe kettle is currently switched on.\nThe kettle, having boiled, switches itself off, and the red indicator light dies.\n\n> You pour the water in the pistol\nWhich do you mean, the kettle or the steam?\n\n> You pour the kettle in pistol\n(first taking the kettle)\nAlthough made of plastic, the kettle is still far too hot to pick up.\n\n> You unplug the kettle\nYou unplug the kettle.\n\n> Inventory\nYou are carrying:\na toy pistol\na garden fork\na rubber glove\na glass jar\na white coat (being worn)\na key ring\na can of beer\na briefcase (which is open)\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (being worn)\n\n> Wear glove\nYou try and pull the glove on, but it is too small for either of your well-built hands.\n\n> You put the glove on the kettle\nThat would achieve little.\n\n> You examine the steam\nHot, wet, and steamy.\n\n> You fill the pistol from the kettle\n(first taking the kettle)\n(putting the glass jar into the briefcase to make room)\nYou fill the pistol with water.\n\n> You take the kettle\nYou already have that.\n\n> You look at the kettle\nA blue plastic electric kettle, which contains a little hot water, and is steaming furiously. Its black power wire leads to a white three-pin plug.\nThe kettle is currently switched off.\n\n> Go south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe border collie trots towards you from the main barn.\n\n> You examine farmer\nHe never bothers to prosecute trespassers: he has far better methods.\n\n\"Three...\"\n\n> You throw the jar at the farmer\n(first taking the glass jar)\n(putting the rubber glove into the briefcase to make room)\nThe farmer shouts several expletives and then shuts up.\n\n\"Three...\"\n\n> You go to the east\nYou can't get inside the house.\n\n\"Three...\"\n\n> You climb the gate\nYou hop over the closed gate...\n\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\n> Go southwest\nYou can't, since the wooden gate is in the way.\n\nThe border collie trots towards you from the farm hallway.\n\n> Go east\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nA red and white tractor is parked next to the haystack.\n\n> You open the tractor\nIt seems to be locked.\n\nThe border collie trots towards you from the farmyard.\n\n> You look at the collie\nA sleek, speckled, black and white border collie.\n\n> You look at the ledge\nA stack of hay, towering vertically upwards. Half-way up, just out of reach, there is a small ledge.\n\n> You climb the hay\nThe haystack is far too steep to climb unaided. However, you can almost, but not quite, reach a tiny ledge about a metre above your head.\n\nThe border collie pads off towards the farmyard.\n\n> You climb the ledge\nThe haystack is far too steep to climb unaided. However, you can almost, but not quite, reach a tiny ledge about a metre above your head.\n\n> You climb the tractor\nYou climb up the tractor onto its roof.\n\n> You climb the ledge\nBy standing on the tractor you can just reach the ledge and haul yourself over the brink...\n\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\n> You examine the ladder\nA strong rope ladder, twined around several bales on the edge of the ledge.\n\n> You unfurl the ladder\nYou unroll the ladder which just reaches the ground.\n\n> You drop all\nbriefcase: Dropped.\nrubber glove: Dropped.\ngarden fork: Dropped.\nkettle: Dropped.\ntoy pistol: Dropped.\n\n> Go west\nThin, twisting passages lead off in all directions through the haystack.\n\n> You go west\nA fallen hay bale blocks your way. I'm afraid this is a dead end.\n\n> Go upward\nI'd get out of here if I was you."
    },
    {
        "text": "> You look at your surroundings\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\nYou can also see a toy pistol, a kettle, a garden fork, a rubber glove and a briefcase (in which are a glass jar, a remote control (which is empty), a faxed note, a leaflet and a typed note) here.\n\n> Search\nWhat do you want to search?\n\n> Go upward\nI'd get out of here if I was you.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You climb\nWhat do you want to climb?"
    },
    {
        "text": "> Go downwards\nYou climb skilfully down the ladder.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\n> You check your inventory\nYou are carrying:\na white coat (being worn)\na key ring\na can of beer\na sou'wester (being worn)\n\n> You examine the key ring\nYour key fob takes the form of a small model bull with a disproportionately large ring through its nose. Wound around the ring are your house and car keys, and a few other useful items.\n\n> Up\nYou climb skilfully up the ladder.\n\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\nYou can also see a toy pistol, a kettle, a garden fork, a rubber glove and a briefcase (in which are a glass jar, a remote control (which is empty), a faxed note, a leaflet and a typed note) here.\n\n> You get all\nrope ladder: That's fixed in place.\nbriefcase: Taken.\nrubber glove: Taken.\ngarden fork: Taken.\nkettle: Taken.\ntoy pistol: Taken.\n\n> You put all in the pockets\nbriefcase: That's far too big to fit in the coat pockets.\nrubber glove: Done.\ngarden fork: That's far too big to fit in the coat pockets.\nkettle: Done.\ntoy pistol: Done.\n\n> You get all from the briefcase\nglass jar: Removed.\nremote control: Removed.\nfaxed note: Removed.\nleaflet: (putting the garden fork into the briefcase to make room) Removed.\ntyped note: (putting the glass jar into the briefcase to make room) Removed.\n\n> You put all in the pockets\nbriefcase: That's far too big to fit in the coat pockets.\ntyped note: Done.\nleaflet: Done.\nfaxed note: Done.\nremote control: Done.\n\n> Inventory\nYou are carrying:\na briefcase (which is open)\na glass jar\na garden fork\na white coat (being worn)\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na kettle\na rubber glove\na key ring\na can of beer\na sou'wester (being worn)\n\n> You put it in the pockets\nTaken.\n\nYou put the glass jar into the white coat."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> Go downward\nYou climb skilfully down the ladder.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nA shadow falls over Skebdale as the clouds sweep in...\n\n> Smell the hay\nThe barn is filled with the dry, dusty scent of parched hay.\n\nHailstones begin to fall to earth, melting on contact with the warm earth.\n\n> You look at the haystack\nA stack of hay, towering vertically upwards. Half-way up, just out of reach, there is a small ledge.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You unlock tractor with the key ring\n(first taking the key ring)\nThat doesn't seem to fit the lock.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You look in the tractor\nYou can't see inside, since it is closed.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\nThe border collie trots towards you from the farmyard.\n\n> You open tractor with the fork\n(first taking the garden fork)\nThat doesn't seem to fit the lock.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You unlock the tractor with the key\nThat doesn't seem to fit the lock.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Go west\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You read the devil in the leaflet\nDevil worship in Skebdale? How could you ever even imagine that it could take place?\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You examine the beer\nThe sealed can declares itself as:\n\n?SIKSTONS' EXTREMELY PECULIAR?\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe border collie trots towards you from the main barn."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> Look around\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe sheepdog is huddled safely beneath a rusting muckspreader, sheltered from the storm.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Open beer\nYou yank sharply on the ring-pull which comes off easily in your hand. After a brief sub-second the over-enthusiastic widget kicks into action and froth and foam spurts from the can as if it were a volcano. In shock you drop the can and its remaining contents spill onto the floor.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You climb the gate\nYou hop over the closed gate...\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' rocks violently in the gale, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> You go north\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\nYou can see a burnt-out battery here.\n\nThe storm continues at full force outside.\n\n> You ask Tom about the beer\n\"It's Sikstons' lad. 'Cheap, Cheerful, and Best Served Chilled.' If tha' want a pint, go and tek one, as the barman's not around.\"\n\nThe storm continues at full force outside.\n\n> You go to the south\nYou can't go that way.\n\nThe storm continues at full force outside.\n\n> Open beer\nYou yank sharply on the ring-pull which comes off easily in your hand. After a brief sub-second the over-enthusiastic widget kicks into action and froth and foam spurts from the can as if it were a volcano. In shock you drop the can and its remaining contents spill onto the floor.\n\nThe storm continues at full force outside."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> You look around\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\nYou can see an empty can of beer and a burnt-out battery here.\n\nThe storm continues at full force outside.\n\n> You look in the can\nYou find nothing of interest.\n\nThe unusually violent storm suddenly dies and Skebdale is silent and peaceful once more.\n\n> You get the key\nYou already have that.\n\n> Inventory\nYou are carrying:\na garden fork\na key ring\na briefcase (which is open but empty)\na white coat (being worn)\na glass jar\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na kettle\na rubber glove\na sou'wester (being worn)\n\n> You shake it\nYou shake the can and something falls out onto the floor."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Look around\nThis single-roomed inn is dominated by a long bar, topped with perfectly polished wood. The shelves behind the bar are stacked to breaking point with sparkling glasses and inviting bottles. A single beer pump protrudes forlornly from the bar at one end, but it is, unfortunately, un-manned, so you will have to cope without a drink. A well-oiled wooden door leads south-east into the street.\n\nOld Tom, Old Dick, and Old Harry sit around the beer pump, whispering conspiratorially.\n\nYou can see a brass key and a burnt-out battery here.\n\n> You get the key\n(the brass key)\nTaken.\n\n> You go east\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nThe border collie pads off towards the farmyard.\n\n> Unlock tractor\nWhat do you want to unlock the tractor with?\n\n> Key\nWhich do you mean, the brass key or the key ring?\n\n> Brass\nYou unlock the tractor.\n\nThe border collie trots towards you from the farmyard.\n\n> You open the tractor\nYou open the tractor, revealing a fairly ordinary cockpit with controls and an ignition.\n\n> You enter it\nYou get into the tractor."
    },
    {
        "text": "> Look around\nBarn (in the tractor)\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\n> You go east\nYou'll have to get out of the tractor first.\n\n> Search tractor\nYou perform a fingertip search of the tractor cockpit, discovering a sleek, beige envelope underneath the steering column.\n\nThe border collie pads off towards the farmyard.\n\n> You get it\n(putting the key ring into the briefcase to make room)\nTaken.\n\n> You check what you're carrying\nYou are carrying:\nan envelope\na brass key\nan empty can of beer\na garden fork\na briefcase (which is open)\na key ring\na white coat (being worn)\na glass jar\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na kettle\na rubber glove\na sou'wester (being worn)\n\n> Go outside\nYou get out of the tractor.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\n> Go north\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nThe collie paces restlessly up and down the hall.\n\nBuilt into the west wall under the pegs is an electric socket.\n\n> You get it\n(putting the garden fork into the briefcase to make room)\nTaken.\n\n> You put the kettle on the rack\nYou balance the kettle on the welly rack.\n\n> You plug in the kettle\nYou plug the kettle in.\n\nThe border collie pads off towards the farmyard.\n\n> You turn it on\nYou switch the kettle on. A little red light above the switch jumps into life to show you it is working.\n\n> You put the envelope in the steam\nYou hold the envelope in the flow of steam from the kettle, and the glue melts away. A slip of card falls out onto the floor.\n\n> You read the card\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\n> You get the kettle\nAlthough made of plastic, the kettle is still far too hot to pick up. The kettle, having boiled, switches itself off, and the red indicator light dies.\n\n> You get the kettle\nAlthough made of plastic, the kettle is still far too hot to pick up.\n\n> Go west\nThe farmhouse's lounge closely resembles a bomb site. An old sofa, covered in ragged blankets and thin cushions, is positioned opposite a large TV and a wide, open fireplace. The window, hung with clashing flowery curtains, faces out onto the farmyard. A door in the east wall leads out to the hall.\n\nA dark staircase leads downwards from the open trapdoor.\n\nA rolled up rug lies on the floor next to the fireplace.\n\n> You turn the dial right\nYou turn the dial one notch clockwise.\n\nN  |  E\n\\|/\nI+Z\n/|\\\nW  |  S\n|\nL\n\n> You turn dial left\nYou turn the dial one notch anticlockwise.\n\nD  |  Z\n\\|/\nN+S\n/|\\\nI  |  L\n|\nW\n\n> You turn the dial right\nYou turn the dial one notch clockwise.\n\nI  |  D\n\\|/\nW+E\n/|\\\nL  |  Z\n|\nS\n\n> Keep going\nYou turn the dial one notch anticlockwise.\n\nN  |  E\n\\|/\nI+Z\n/|\\\nW  |  S\n|\nL\n\nYou turn the dial one notch anticlockwise.\n\nD  |  Z\n\\|/\nN+S\n/|\\\nI  |  L\n|\nW\n\nYou turn the dial one notch anticlockwise.\n\nE  |  S\n\\|/\nD+L\n/|\\\nN  |  W\n|\nI\n\n> Keep going\nYou turn the dial one notch anticlockwise.\n\nZ  |  L\n\\|/\nE+W\n/|\\\nD  |  I\n|\nN\n\nYou turn the dial one notch anticlockwise.\n\nS  |  W\n\\|/\nZ+I\n/|\\\nE  |  N\n|\nD\n\nYou turn the dial one notch anticlockwise.\n\nL  |  I\n\\|/\nS+N\n/|\\\nZ  |  D\n|\nE\n\nYou turn the dial one notch anticlockwise.\n\nW  |  N\n\\|/\nL+D\n/|\\\nS  |  E\n|\nZ\n\n> You continue\nYou turn the dial one notch clockwise.\n\nL  |  I\n\\|/\nS+N\n/|\\\nZ  |  D\n|\nE\n\nYou turn the dial one notch clockwise.\n\nS  |  W\n\\|/\nZ+I\n/|\\\nE  |  N\n|\nD"
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> You look around\nThis low, earth-hewn passage is cramped and dirty. Held up by crude wooden props, it looks none too stable. The tunnel is quite short, only about twenty metres in length. At the south-east end is the short stone staircase which leads up to the trapdoor, while to the north-west is an enormous door.\n\nThe enormous door hangs invitingly but threateningly open.\n\n> Go northwest\nA shining white laboratory decked out with rows of pristine benches and tables. Shelves full of ridiculous sounding biochemicals line the walls. The room is windowless and lit only by fluorescent bulbs on the ceiling.\n\nYou can leave by the door to the south.\n\nA wooden pinboard on one wall is covered in clippings from various respected publications.\n\nSome sort of sci-fi gadget sits on the main lab bench.\n\n> You examine the gadget\nYou can't have a proper adventure game these days without some special sci-fi gadget. In this case it resembles a microwave oven. It also sports a row of LEDs so it can flash them back and forth as it speaks in its predictably sarcastic monotone. Whoever built this one was well au fait with current trends and even painted a smiley face on the speaker. Lovely.\nThe sci-fi gadget is currently switched off.\n\n> You turn the gadget on\n\"Request fingerprint recognition before computer access allowance.\" A small light-sensitive pad on the gadget flashes briefly and then goes dark again.\n\n> You look at pad\nA dark grey light-sensing pad on one side of the gadget.\n\n> You get the gadget\nThat's fixed in place.\n\n> Inventory\nYou are carrying:\na postcard\nan envelope\na brass key\nan empty can of beer\na briefcase (which is open)\na garden fork\na key ring\na white coat (being worn)\na glass jar\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na rubber glove\na sou'wester (being worn)\n\n> You look at the postcard\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\n> Exit\nThis low, earth-hewn passage is cramped and dirty. Held up by crude wooden props, it looks none too stable. The tunnel is quite short, only about twenty metres in length. At the south-east end is the short stone staircase which leads up to the trapdoor, while to the north-west is an enormous door.\n\nThe enormous door hangs invitingly but threateningly open.\n\n> You examine the dial\nThe lock is the traditional turning type, with eight letters arranged evenly around the dial:\n\nS  |  W\n\\|/\nZ+I\n/|\\\nE  |  N\n|\nD\n\nThere is a small black button underneath the uppermost letter.\n\n> You turn dial left\nYou turn the dial one notch anticlockwise.\n\nL  |  I\n\\|/\nS+N\n/|\\\nZ  |  D\n|\nE\n\n> You turn dial left\nYou turn the dial one notch anticlockwise.\n\nW  |  N\n\\|/\nL+D\n/|\\\nS  |  E\n|\nZ\n\n> You turn dial left\nYou turn the dial one notch anticlockwise.\n\nI  |  D\n\\|/\nW+E\n/|\\\nL  |  Z\n|\nS\n\n> Go upward\nThe farmhouse's lounge closely resembles a bomb site. An old sofa, covered in ragged blankets and thin cushions, is positioned opposite a large TV and a wide, open fireplace. The window, hung with clashing flowery curtains, faces out onto the farmyard. A door in the east wall leads out to the hall.\n\nA dark staircase leads downwards from the open trapdoor.\n\nA rolled up rug lies on the floor next to the fireplace.\n\nA few hailstones, the vanguard of the storm, patter gently on the windows.\n\n> You go east\nThe farm's hallway serves its purpose well. In other words, its the way in. It leads up to a dark staircase, the northern end flanked by two low, wooden doorframes. Along the west wall, there is a row of three or four wooden pegs, underneath which is a delapidated welly rack.\n\nBuilt into the west wall under the pegs is an electric socket.\n\nOn the welly rack is a kettle.\n\n> You get the kettle\nYou unplug the kettle. (putting the empty can of beer into the briefcase to make room)\nTaken.\n\nThe full brunt of the weather batters against the doors and windows, making you glad that you are safe inside.\n\n> You go to the south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nThe farm gate to the south-west is safely shut.\n\nThe sheepdog lies on the sun-warmed concrete, panting gently.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> You go to the east\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nSheets of hail lash down from the heavens, driven by a roaring westerly.\n\n> Go upward\nYou climb skilfully up the ladder.\n\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\n> You put all in the pockets\nbriefcase: That's far too big to fit in the coat pockets.\nkettle: Done.\npostcard: Done.\nenvelope: Done.\nbrass key: Done.\n\n> Go southwest\nYou stumble from the labyrinthine passages into...\n\nThis room is Gothic horror at its best. Dry, wooden torches burn brightly in their rusty iron brackets, sending a flickering orange light flashing around the high, vaulted stone rafters and dull granite flagstones. The walls are daubed with unsightly scenes of scarlet terror and cruelty, and, at the centre of this hexagonal cathedral of doom, a gigantic inverted cross hangs in space, suspended by a criss-crossing web of thin, spider-like ropes which lead ever upwards into the enormous arched roof. Sinister shadows are cast onto the floor from the grotesque, twisted statuettes which stand on their dark pedestals, seeming to writhe in the torchlight. Where the hell is this place...\n\nAny moment now you expect a nice man with horns and hooves to jump from the shadows and discuss the afterlife, but, fortunately, there seem to be none of those in today.\n\nInstead, a small note has been attached to the bottom of the cross with a drawing pin.\n\nFrom the far side of the chamber, high up on one wall, an enormous, abstract black and red pictogram stares down at you.\n\n> You look at the pictogram\nIt depicts simply the head of a cow - but no ordinary heifer. Its ears are long and pointed, its eyes narrow, and its nostrils wide and flaring-red. The mouth is half-open in a Satanic grin, exposing double rows of carnivorous teeth. You dread to look for fear of being ensnared in the deep, swirling, whirling eyes...\n\n> You read the note\n(the note)\nYou can't read it from down on the floor.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> You look at Cross\nIt's over-riding feature is that it is the wrong way up. However, just for the record, it is made from two gigantic oak beams held together by two enormously thick selotape straps.\n\n> Climb cross\nI don't think much is to be achieved by that.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> You wait\nTime passes.\nAn irresistible surge of terror rises within you as the face of the pictogram twists and seems to force its way out of the wall. You try to shut your eyes to it, but your only option seems to be flight. You have little time to escape as the power of the evil has almost rooted you to the spot.\n\n> You wait for a while\nTime passes.\nThe primitive drawing continues to wrench itself into reality in a series of horrific jerks and contortions.\n\n> Continue\nTime passes.\nAs the scene comes to life before you a wind whips around the chamber, statues are blown over and torches threaten to go out. The evil figure emerging from the wall roars in anger at your intrusion.\n\n> Keep going\nTime passes.\nThe figure of a cow, decked in blood and gore, begins to take shape from the writhing pictogram and screams a dire warning. \"Access Denied! Access Denied! Unauthorised personnel in building!\" You start to petrify with fear.\n\n> Wait\nTime passes.\nAn involuntary scream rips your throat open as the devilish figure pops from the canvas like a satanical morph. \"Trespassers will be prosecuted.....\" screams the phantom of the pit as it totters about on its hind-legs, wreathed in smoke and flames. These demonic vassals never were very good at co-ordination, were they?\n\n> You kill the cow\nViolence isn't the answer to this one.\n\"I will destroy you!!!\" The demon raises a hoof and a ball of fiery flame (isn't it all) cannons towards you. You are engulfed utterly, perish utterly, and generally cease to exist.\n\n> Go southwest\nThin, twisting passages lead off in all directions through the haystack.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nYou stumble from the labyrinthine passages into...\n\nThis room is Gothic horror at its best. Dry, wooden torches burn brightly in their rusty iron brackets, sending a flickering orange light flashing around the high, vaulted stone rafters and dull granite flagstones. The walls are daubed with unsightly scenes of scarlet terror and cruelty, and, at the centre of this hexagonal cathedral of doom, a gigantic inverted cross hangs in space, suspended by a criss-crossing web of thin, spider-like ropes which lead ever upwards into the enormous arched roof. Sinister shadows are cast onto the floor from the grotesque, twisted statuettes which stand on their dark pedestals, seeming to writhe in the torchlight. Where the hell is this place...\n\nAny moment now you expect a nice man with horns and hooves to jump from the shadows and discuss the afterlife, but, fortunately, there seem to be none of those in today.\n\nInstead, a small note has been attached to the bottom of the cross with a drawing pin.\n\nFrom the far side of the chamber, high up on one wall, an enormous, abstract black and red pictogram stares down at you.\n\n> You look at note\n(the note)\nYou can't read it from down on the floor.\n\n> You look at Cross\nIt's over-riding feature is that it is the wrong way up. However, just for the record, it is made from two gigantic oak beams held together by two enormously thick selotape straps.\n\n> You pull Cross\nYou are unable to.\n\n> Climb cross\nI don't think much is to be achieved by that.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> Pray\nNothing practical results from your prayer.\nAn irresistible surge of terror rises within you as the face of the pictogram twists and seems to force its way out of the wall. You try to shut your eyes to it, but your only option seems to be flight. You have little time to escape as the power of the evil has almost rooted you to the spot.\n\n> You get all\ncross: That's hardly portable.\nnote: You can't reach the note from the floor.\npictogram: That's fixed in place.\n\n> You check your inventory\nYou are carrying:\na white coat (being worn)\na brass key\nan envelope\na postcard\na kettle\na glass jar\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na rubber glove\na sou'wester (providing light and being worn)\n\n> You shoot the pictogram with the pistol\n(first taking the toy pistol)\nThe liquid squirts feebly towards the pictogram but has little effect upon it.\n\n> You throw the jar at the pictogram\n(first taking the glass jar)\nFutile.\n\n> You look at the postcard\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> Sleep\nYou aren't feeling especially drowsy.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Look around\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\nYou can also see a briefcase (in which are an empty can of beer, a garden fork and a key ring) here.\n\n> You get all\nbriefcase: Taken.\nrope ladder: That's fixed in place."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> Go downward\nYou climb skilfully down the ladder.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Go east\nThe haystack is in the way!\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Go west\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe border collie trots towards you from the main barn.\n\n> You go southwest\nYou can't, since the wooden gate is in the way.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThe border collie pads off towards the farm hallway.\n\n> You climb the gate\nYou hop over the closed gate...\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' rocks violently in the gale, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Two...\"\n\n> You wait\nTime passes.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Three...\"\n\n> You wait\nTime passes.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Four...!\"\n\n> Wait\nTime passes.\n\nThe storm continues to batter unrelenting upon Skebdale.\nThe farmer, having warned you quite enough, blasts you sky-high with his rifle."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Pray\nNothing practical results from your prayer.\n\nThe storm continues to batter unrelenting upon Skebdale.\nThe farmer, having warned you quite enough, blasts you sky-high with his rifle.\n\n> You climb the gate\nYou climb skilfully down the ladder.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\nYou hop over the closed gate...\n\nA winding country road threads its way between old stone cottages and barns. Daffodils and snowdrops spring from the grass verges, adding a dash of colour to the grey walls and roofs. To your north, the sign of 'The Green Calf' rocks violently in the gale, beckoning locals and tourists alike to pop in for a drink. There is a small garden to the south of the road which is attached, unsurprisingly, to a small house.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nA short gravel track leads up to a wooden gate to your north-east.\n\nYour car, a battered blue Volvo estate, is slewed across the grass verge, two wheels in the ditch.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n> Go south\nA beautiful Yorkshire garden, full of mouth-watering fruits such as parsnips, marrows and broccoli. This is more a vegetable garden than anything else, but the border beds have been liberally scattered with a variety of hardy perennials. To the east you can see a small unthreatening farmer's cottage.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Two...\"\n\n> You examine farmer\nHe never bothers to prosecute trespassers: he has far better methods.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Three...\"\n\n> You go east\nYou can't get inside the house.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Three...\"\n\n> You ask farmer about the denzil\nThat's not something you need to refer to in the course of this game.\n\nThe farmer shouts several expletives and then shuts up.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Three...\"\n\n> You look at postcard\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Three...\"\n\n> You examine the bed\nThe odd prickly bush or two - you've never really found gardening interesting.\n\nThe storm continues to batter unrelenting upon Skebdale.\n\n\"Four...!\""
    },
    {
        "text": "> Look around\nThis room is Gothic horror at its best. Dry, wooden torches burn brightly in their rusty iron brackets, sending a flickering orange light flashing around the high, vaulted stone rafters and dull granite flagstones. The walls are daubed with unsightly scenes of scarlet terror and cruelty, and, at the centre of this hexagonal cathedral of doom, a gigantic inverted cross hangs in space, suspended by a criss-crossing web of thin, spider-like ropes which lead ever upwards into the enormous arched roof. Sinister shadows are cast onto the floor from the grotesque, twisted statuettes which stand on their dark pedestals, seeming to writhe in the torchlight. Where the hell is this place...\n\nAny moment now you expect a nice man with horns and hooves to jump from the shadows and discuss the afterlife, but, fortunately, there seem to be none of those in today.\n\nInstead, a small note has been attached to the bottom of the cross with a drawing pin.\n\nFrom the far side of the chamber, high up on one wall, an enormous, abstract black and red pictogram stares down at you.\n\n> Wait\nTime passes.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> Wait\nTime passes.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> You shoot the pictogram with the pistol\n(first taking the toy pistol)\nThe liquid squirts feebly towards the pictogram but has little effect upon it.\nThe primitive drawing continues to wrench itself into reality in a series of horrific jerks and contortions.\n\n> You examine the cow\nIt depicts simply the head of a cow - but no ordinary heifer. Its ears are long and pointed, its eyes narrow, and its nostrils wide and flaring-red. The mouth is half-open in a Satanic grin, exposing double rows of carnivorous teeth. You dread to look for fear of being ensnared in the deep, swirling, whirling eyes...\nThe figure of a cow, decked in blood and gore, begins to take shape from the writhing pictogram and screams a dire warning. \"Access Denied! Access Denied! Unauthorised personnel in building!\" You start to petrify with fear.\n\n> You shoot the cow with the pistol\n(first taking the toy pistol)\nThe liquid squirts feebly towards the pictogram but has little effect upon it.\nAn involuntary scream rips your throat open as the devilish figure pops from the canvas like a satanical morph. \"Trespassers will be prosecuted.....\" screams the phantom of the pit as it totters about on its hind-legs, wreathed in smoke and flames. These demonic vassals never were very good at co-ordination, were they?\n\n> You shoot Cross with the pistol\n(first taking the toy pistol)\nYou miss your target by more than a metre.\n\"I will destroy you!!!\" The demon raises a hoof and a ball of fiery flame (isn't it all) cannons towards you. You are engulfed utterly, perish utterly, and generally cease to exist.\n\n> You shoot the note with the pistol\n(the note with the toy pistol)\n(first taking the toy pistol)\nYou miss your target by more than a metre.\n\"I will destroy you!!!\" The demon raises a hoof and a ball of fiery flame (isn't it all) cannons towards you. You are engulfed utterly, perish utterly, and generally cease to exist.\n\n> You pour the liquid in the glove\n(first taking the glass jar)\nThat can't contain things.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> Wear glove\n(first taking the rubber glove)\nYou try and pull the glove on, but it is too small for either of your well-built hands.\n\n> You turn the glove\nNothing obvious happens.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> You turn the glove  inside out\nYou turn the glove inside out.\n\n> You look at the glove\nA white rubber glove, turned inside out. The insides are stained by leakages and a slow build up of dirt.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> Wear glove\nYou try and pull the glove on, but it is too small for either of your well-built hands.\n\n> You put the glove on the pad\nYou hold the rubber glove against the pad.\n\"Print authorised. Access awarded to Elizabeth Brown.\"\n\nA fairly gullible computer, isn't it? Especially considering the print was the wrong way round...\n\n> You examine the gadget\nYou can't have a proper adventure game these days without some special sci-fi gadget. In this case it resembles a microwave oven. It also sports a row of LEDs so it can flash them back and forth as it speaks in its predictably sarcastic monotone. Whoever built this one was well au fait with current trends and even painted a smiley face on the speaker. Lovely.\nThe sci-fi gadget is currently switched off.\n\n> You turn it on\nThe computer hums into life, its hard disc whirring as it downloads its highly complex and user-unfriendly operating system. The speaker jumps into life with a high-pitched computerised voice:\n\n\"Welcome to MacroSift Sowester, the latest in voice-operated computing. My name is Sharon, and I have been programmed to scan and recognise any object placed in my main bay. Have a nice day!\"\n\n> You put the jar in bay\nYou put the glass jar into the sci-fi gadget.\n\n> Scan jar\nA tinted glass barrier slides down and several lights flash inside the gadget. The screen is pulled back up as it reads out the result:\n\n\"Object is silver nitrate solution.\"\n\n> You check your inventory\nYou are carrying:\na rubber glove\na briefcase (which is open)\nan empty can of beer\na garden fork\na key ring\na white coat (being worn)\na brass key\nan envelope\na postcard\na kettle\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na sou'wester (being worn)\n\n> You examine the pistol\nThe pistol is an uninspiring shade of washed-out pink, but makes up for it with the battery-powered sound effects generator tagged on to the handle. Its pea-sized water tank is currently full of water.\n\n> Empty pistol\nEmptied.\n\n> You pour the jar in the pistol\nThe glass jar is closed.\n\n> You open the jar\nYou open the glass jar.\n\n> You pour the jar in the pistol\nYou fill the pistol from the jar.\n\n> You examine the pistol\nThe pistol is an uninspiring shade of washed-out pink, but makes up for it with the battery-powered sound effects generator tagged on to the handle. Its pea-sized water tank is currently full of a clear fluid.\n\n> Go south\nThis wide rectangle of concrete is littered with the chaotic fallout of everyday dairy farming. And its brown! The stark windows of the farmhouse stare accusingly down into the yard from the north, and, to the east, the roof of the main barn is outlined against the rising sun.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe farm gate to the south-west is safely shut.\n\nA group of clucking chickens peck their way around the farmyard, desperately searching for grain.\n\n> You go east\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\n> Go upward\nYou climb skilfully up the ladder.\n\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\n> You put all in the pockets\nglass jar: Done.\nrubber glove: Done.\nbriefcase: That's far too big to fit in the coat pockets.\n\n> You shoot the pictogram with the pistol\n(first taking the toy pistol)\nThat's not a gun.\n\n> You examine the pistol\nThe pistol is an uninspiring shade of washed-out pink, but makes up for it with the battery-powered sound effects generator tagged on to the handle. Its pea-sized water tank is currently full of a clear fluid.\n\n> You shoot the pistol at the pictogram\nThe liquid hits the wall hard, but has little effect on the pictogram.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> You shoot the pistol at the cow\nYou fire a shining arc of the liquid straight at your adversary. The twisting, living wall seems to die and fall back flat, but you feel that you have not destroyed it for good.\n\n> You pour the jar in the pistol\n(first taking the glass jar)\nYou fill the pistol from the jar.\nAn irresistible surge of terror rises within you as the face of the pictogram twists and seems to force its way out of the wall. You try to shut your eyes to it, but your only option seems to be flight. You have little time to escape as the power of the evil has almost rooted you to the spot.\n\n> You pour the jar in the pistol\nThere's not enough liquid here to fill anything.\nAn irresistible surge of terror rises within you as the face of the pictogram twists and seems to force its way out of the wall. You try to shut your eyes to it, but your only option seems to be flight. You have little time to escape as the power of the evil has almost rooted you to the spot.\n\n> Go outside\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You read the postcard\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go to the west\nThin, twisting passages lead off in all directions through the haystack.\nThe ground shakes violently and you are thrown to the ground as the altar chamber collapses, taking with it the barn and haystack, which slide into the earth."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Look around\nThis room is Gothic horror at its best. Dry, wooden torches burn brightly in their rusty iron brackets, sending a flickering orange light flashing around the high, vaulted stone rafters and dull granite flagstones. The walls are daubed with unsightly scenes of scarlet terror and cruelty, and, at the centre of this hexagonal cathedral of doom, a gigantic inverted cross hangs in space, suspended by a criss-crossing web of thin, spider-like ropes which lead ever upwards into the enormous arched roof. Sinister shadows are cast onto the floor from the grotesque, twisted statuettes which stand on their dark pedestals, seeming to writhe in the torchlight. Where the hell is this place...\n\nAny moment now you expect a nice man with horns and hooves to jump from the shadows and discuss the afterlife, but, fortunately, there seem to be none of those in today.\n\nInstead, a small note has been attached to the bottom of the cross with a drawing pin.\n\n> You look at note\n(the note)\nYou can't read it from down on the floor.\n\n> Inventory\nYou are carrying:\na glass jar\na toy pistol\na white coat (being worn)\na rubber glove\na brass key\nan envelope\na postcard\na kettle\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (providing light and being worn)\n\n> You throw the kettle at the note\n(the note)\n(first taking the kettle)\nFutile.\n\n> You throw the brass key at the note\n(the note)\n(first taking the brass key)\nFutile.\n\n> You get all\nnote: You can't reach the note from the floor.\ncross: That's hardly portable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You check what you're carrying\nYou are carrying:\na brass key\na kettle\na glass jar\na toy pistol\na white coat (being worn)\na rubber glove\nan envelope\na postcard\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (providing light and being worn)\nThe ground shakes violently and you are thrown to the ground as the altar chamber collapses, taking with it the barn and haystack, which slide into the earth.\n\n> You shoot the pistol at the note\n(the note)\nYou pull the trigger but nothing comes out.\n\n> You check your inventory\nYou are carrying:\na kettle\na glass jar\na toy pistol\na white coat (being worn)\na rubber glove\na brass key\nan envelope\na postcard\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (providing light and being worn)\n\n> Inventory\nYou are carrying:\na garden fork\na white coat (being worn)\na brass key\nan envelope\na postcard\na kettle\na glass jar\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na toy pistol\na rubber glove\na sou'wester (being worn)\n\n> You put the fork in the coat\nThat's far too big to fit in the coat pockets.\n\n> You examine cross\nIt's over-riding feature is that it is the wrong way up. However, just for the record, it is made from two gigantic oak beams held together by two enormously thick selotape straps.\nThe primitive drawing continues to wrench itself into reality in a series of horrific jerks and contortions.\n\n> You get the note\n(the note)\nYou can't reach the note from the floor.\nAs the scene comes to life before you a wind whips around the chamber, statues are blown over and torches threaten to go out. The evil figure emerging from the wall roars in anger at your intrusion.\n\n> You wait\nTime passes.\nThe figure of a cow, decked in blood and gore, begins to take shape from the writhing pictogram and screams a dire warning. \"Access Denied! Access Denied! Unauthorised personnel in building!\" You start to petrify with fear.\n\n> Wait\nTime passes.\nAn involuntary scream rips your throat open as the devilish figure pops from the canvas like a satanical morph. \"Trespassers will be prosecuted.....\" screams the phantom of the pit as it totters about on its hind-legs, wreathed in smoke and flames. These demonic vassals never were very good at co-ordination, were they?\n\n> You shoot the pistol at the cow\n(first taking the toy pistol)\nThe liquid squirts feebly towards the pictogram but has little effect upon it.\n\"I will destroy you!!!\" The demon raises a hoof and a ball of fiery flame (isn't it all) cannons towards you. You are engulfed utterly, perish utterly, and generally cease to exist.\n\n> You fill the pistol from the jar\n(first taking the glass jar)\nYou fill the pistol from the jar.\n\n> You shoot pistol at the note\n(the note)\nUnfortunately you miss.\n\n> You shoot the pistol at the note\n(the note)\nYou fire the pistol at the cross, the shining arc of liquid hitting the pin, dissolving it to nothing.\n\n> You get the note\n(the note)\nTaken.\n\n> You check your inventory\nYou are carrying:\na note\na glass jar\na toy pistol\na white coat (being worn)\na rubber glove\na brass key\nan envelope\na postcard\na kettle\na remote control (which is open but empty)\na faxed note\na leaflet\na typed note\na sou'wester (providing light and being worn)\n\n> You put all in the pockets\nnote: Done.\nglass jar: Done.\ntoy pistol: Done."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> You look around\nThis room is Gothic horror at its best. Dry, wooden torches burn brightly in their rusty iron brackets, sending a flickering orange light flashing around the high, vaulted stone rafters and dull granite flagstones. The walls are daubed with unsightly scenes of scarlet terror and cruelty, and, at the centre of this hexagonal cathedral of doom, a gigantic inverted cross hangs in space, suspended by a criss-crossing web of thin, spider-like ropes which lead ever upwards into the enormous arched roof. Sinister shadows are cast onto the floor from the grotesque, twisted statuettes which stand on their dark pedestals, seeming to writhe in the torchlight. Where the hell is this place...\n\nAny moment now you expect a nice man with horns and hooves to jump from the shadows and discuss the afterlife, but, fortunately, there seem to be none of those in today.\n\n> You go southwest\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThin, twisting passages lead off in all directions through the haystack.\nThe ground shakes violently and you are thrown to the ground as the altar chamber collapses, taking with it the barn and haystack, which slide into the earth.\n\n> You go southwest\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nA fallen hay bale blocks your way. I'm afraid this is a dead end.\n\nYou'd better get yourself out of this hole.\n\n> Go west\nThere's only one way out, and that's where you came from.\n\nYou'd better get yourself out of this hole."
    },
    {
        "text": "> You describe your surroundings\nA fallen hay bale blocks your way. I'm afraid this is a dead end.\n\nYou'd better get yourself out of this hole.\n\n> Dig\nWhat do you want to dig?\n\n> You go northeast\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go outside\nBut you aren't in anything at the moment.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You examine the card\nA post-card showing a rolling vista of Yorkshire countryside, taken from Skebdale Pike. A few unintelligible notes and messages have been scrawled on the back in slightly smudged fountain pen:\n\nmessage to red-chevette the cows are flying you will find guidance from the circle that blocks your way follow the name of satan through the twisting way he has joined with the animals the devil is daisy, daisy is Denzil destroy it you will find the proof on the border of sleep you must remember to use silver bullets\n\nThe ground shakes violently as the chamber threatens to collapse."
    },
    {
        "text": "[Themes: Espionage, Horror]\n\n> You look around\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a brass key here.\n\n> You get all from the pockets\nrubber glove: Removed.\ntoy pistol: Removed.\ntyped note: Removed.\nenvelope: Removed.\npostcard: Removed.\nkettle: You're carrying too many things already.\nglass jar: You're carrying too many things already.\nremote control: You're carrying too many things already.\nfaxed note: You're carrying too many things already.\nleaflet: You're carrying too many things already.\n\n> You get all from the pockets\nkettle: Removed.\nglass jar: Removed.\nremote control: Removed.\nfaxed note: Removed.\nleaflet: You're carrying too many things already.\n\n> Empty pistol\nEmptied.\n\nYou feel uneasy, as if the pictogram is watching your every move.\n\n> You pour jar in the pistol\nThe glass jar is closed.\n\n> You open jar\nYou open the glass jar.\n\nYou feel unable to stop yourself turning and staring into the swirling eyes of the pictogram.\n\n> You go southeast\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a kettle here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go to the south\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a rubber glove here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go to the north\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a typed note here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go east\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see an envelope here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go north\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a postcard here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> Go south\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a brass key here.\nThe ground shakes violently and you are thrown to the ground as the altar chamber collapses, taking with it the barn and haystack, which slide into the earth.\n\n> You go to the south\nThin, twisting passages lead off in all directions through the haystack.\n\nYou can see a brass key here.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\n> You go southwest\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\nYou can also see a briefcase (in which are an empty can of beer, a garden fork and a key ring) here.\n\nThe ground shakes violently as the whole haystack threatens to collapse."
    },
    {
        "text": "[Themes: Horror, Espionage]\n\n> Go downward\nYou climb skilfully down the ladder.\n\nMost of the space in the east end of the farms high stone barn is taken up by a huge haystack of rectangular bales, each of which is held together with tough, plastic twine. Around the double doors rusty farm equipment, almost inevitably infected with a potent range of bacteria, microbes, protozoa and agriculture ministers, lies derelict and unused.\n\nTowering black cumulonimbus clouds pour forth vast quantities of tiny, hard hailstones onto Skebdale.\n\nThe sheepdog scampers back and forth along the base of the haystack, sniffing at cracks and whimpering.\n\nA long rope ladder, safely twined around several hay bales, leads downwards from the ledge to the barn floor.\n\nA red and white tractor is parked next to the haystack.\n\nThe barn roof starts to collapse, bales of hay tumbling from the stack above you.\n\n> Go west\nThe barn collapses behind you in a cloud of dust. You have rescued humanity from Satan and also saved your own skin.\n\n*** You have won ***\n\nIn that game you scored 51 out of a possible 60, in 460 turns, earning you the rank of Vet of the Year.\n\n> Go southwest\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nThin, twisting passages lead off in all directions through the haystack.\n\nThe ground shakes violently as the chamber threatens to collapse.\n\nYou have to stoop on this tiny ledge in the side of the haystack, cunningly roofed over with bales. Your vertigo quickly kicks in and the barn floor seems to be a million miles away: downwards.\n\nA thin dark passage leads westwards into the bales.\n\nA furled rope ladder is attached to some bales at one side of the ledge.\n\nYou can also see a briefcase (in which are an empty can of beer, a garden fork and a key ring) here.\n\nThe ground shakes violently as the whole haystack threatens to collapse.\n\n> Go outside\nThe barn collapses behind you in a cloud of dust. You have rescued humanity from Satan and also saved your own skin.\n\n*** You have won ***\n\nIn that game you scored 60 out of a possible 60, in 483 turns, earning you the rank of Saviour of the World."
    },
    {
        "text": "[Themes: Humor]\n\n> You examine cabbage\nThe cabbage is wet.\n\n[Author's Note: Sometimes you get an impulse you know you'd regret--especially in the face of an arbitrary task of questionable value. So when Grandmother asks you to bring her a cabbage, a sheep, and a stinky bear, what could possibly go wrong?]"
    },
    {
        "text": "[Themes: Humor]\n\n> You examine the sheep\nThe sheep looks warily back at you.\n\n> You examine the bear\nThe bear is chubby.\n\n> You take the sheep\nThe sheep evades your attempts to pick it up. All you get for your efforts is a hungry \"BAAA.\"\n\n> You put the sheep in the boat\n(first taking the sheep)\nThe sheep evades your attempts to pick it up. All you get for your efforts is a hungry \"BAAA.\"\n\n> You take the grass\nYou pull up some blades of grass.\n\n> You give the grass to sheep\n(the blades of grass to the sheep)\n*crunch* *crunch* *crunch*\n\nThe sheep bleats contentedly. Maybe it'll be more cooperative now.\n\n> You put the sheep in the boat\n(first taking the sheep)\nThe boat sloshes as you deposit the sheep.\n\n> You enter the boat\nYou get into the boat.\n\nIn the boat you can see a sheep.\n\n> You enter the boat\nYou get into the boat.\n\n> You take the bear\n(first getting out of the boat)\nThe bear is a bit heavy, but with its cooperation you manage to pick it up.\n\n> You put the bear in the boat\nThe boat sloshes as you deposit the bear.\n\n> You enter the boat\nYou get into the boat.\n\nIn the boat you can see a bear.\n\n> You take the cabbage\nThe cabbage is a bit heavy, but you manage to pick it up.\n\n> You enter the boat\n(first putting the cabbage in the boat)\nYou get into the boat.\n\n> You enter the boat\nYou get into the boat.\n\n> You put the sheep in the boat\n(first getting out of the boat)\nThe sheep is already here.\n\n> You take the sheep\nThe sheep is a bit heavy, but with its cooperation you manage to pick it up.\n\n> You enter the boat\n(first putting the sheep in the boat)\nYou get into the boat."
    },
    {
        "text": "> Y.\n*crunch* *crunch* *crunch*\n\nIt tastes like guilt.\n\n> You eat the cabbage\n(first taking the cabbage)\nYou're carrying too many things already.\n\n> You eat the cabbage\n(first taking the cabbage)\n\n> You drop the cabbage\nThe cabbage is already here.\n\n> You eat yourself\n(first taking yourself)\nYou are always self-possessed.\n\n> You eat the boat\n(first taking the boat)\nThe boat is a little too heavy for you to carry.\n\n> You eat grass\n(first taking the grass in the ground)\nYou pull up some blades of grass.\n\n> You eat the grass\n(the blades of grass)\nTrichomes prick your tongue as you eat the grass, leaving you with a stinging sensation and a bitter aftertaste. You have no idea why the sheep seems to like it so much.\n\n> You eat bear\n(first taking the bear)\n\n> Y.\nAfter a brief struggle, the bear eats you instead.\n\n> Xyzzy\nThe sound of your voice dissipates feebly across the landscape. The sheep looks on warily.\n\n> Go north\nBefore you can get very far, you are called back by the anxious bleating of your sheep.\n\n> Drown bear\n(first taking the bear)\nYou attempt to hurl the bear into the middle of the river. With its great weight, all you succeed in doing is dropping the bear into the shallows, where it lands with a great splash. You've barely turned back towards drier land when you're knocked off your feet by a heavy paw and sent tumbling into the water.\nYou sit up and clear your eyes to see the bear lolloping toward you. Is it angry, or just playing? The wind is knocked out of you a second time; and as you lie with your face in the mud and a crushing weight on your back, your last thought is that maybe the bear's intentions don't matter anyway.\n\n*** You have been sat on by a bear. ***"
    },
    {
        "text": "[Themes: Apollo 18 Tribute Album, based on songs]\n\nAll alone, all by myself...\n\n\n\nI'm outside the garden mart, in between that old cadillac and the window where I work. Just walking along, east to west, nothing to see here. I'm real glad I'm all alone, all by myself.\n\n[Author's Note: So I'm all alone, and I've got a decision to make.]\n\n> About yourself\nI'm, well, I'm me, right? Nothing special. I've taken off my ugly red uniform and I'm wearing the same jeans from three Christmases ago and that jumper that Granny gave me.\n\n> Inventory\nI am carrying:\na lighter\na pair of jeans (being worn)\na hideous sweater (being worn)\nsome flat shoes (being worn)\nsome lots of cash\n\n> Steal cadillac\nNow's the moment! I smash the window, climb in and fiddle with the wires below the wheel like Cousin Vinnie showed me. It roars into life and I'm free, out on the open road.\n\n> You remove sweater\nSuddenly, I lose courage. A familiar shyness overwhelms me even though there is no one around.\n\n> You look at the cash\nThere must be over five hundred dollars stuffed into my jeans.\n\n> You examine the window\nThe window is smashed, the fuel set, all I have to do is set it alight.\n\n> Burn window\nThe window is smashed, the fuel set. I put a light to it all and run back as it swiftly catches fire.\n\n> Go east\nSo I keep on walking. It's just a normal night. Nothing to see here.\n\n> You run\nGo in which compass direction?\n\n> Burn car\nI intend to steal this tonight.\n\nNow's the moment! I smash the window, climb in and fiddle with the wires below the wheel like Cousin Vinnie showed me. It roars into life and I'm free, out on the open road.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Horror, nonhuman protagonist, halloween, horror]\n\nSuddenly awareness comes to you and your surroundings. You look around slowly, seeing nothing at first, then in the moon light you find yourself in the middle of a pumpkin patch. Looking down at your feet you see straw coming out of the bottom of your pants and fallling over your boots. In wonderment you notice your hands for the first time and see straw coming out of your sleeves as well. As you stare at your hands you notice a strange glow seemingly coming from within you. You start to run your fingers through your hair only to realize you have none. As you stand there in shock over what you've become you realize you have nothing but vague memories of a time before the pumpkin patch. You look around and see large pumpkins that seem to have the same shape as your head. It all comes flooding back to you.....you are Jack....Jack Halloween.\n\nCopyright \u00c2\u00a9 2013, Jason Lautzenheiser. Ectocomp13 Entry.\n\nYou are standing in a middle of a pumpkin patch. The full moon light allows you to see some distance around you. The pumpkin patch goes on as far as you can see except to the south where you can make the outline of a road.\n\n[Author's Note: You are Jack and you're running for your life.]\n\n> About yourself\nYou are a tall person. You are wearing overhalls and a flannel shirt. There is straw slowly falling out of your sleeves and pants legs leaving a trail behind as you walk.\n\n> You go south\nYou are standing in the middle of a dirt road to the south of a large field of pumpkins. The road stretches on the the east and west.\n\nLooking up the road, you see a set of headlights headed in your direction. Something screams in your very soul that you need to hide, you don't think it would be wise to be caught in the open in your state.\n\n> You hide\nYou lie down in the ditch along the road.\n\n> You wait\nTime passes.\n\nThe car drives slowly down the road just feet from where you are lying down. Two boys hang out the side window with shotguns at the ready.\n\nYou hear one of them say \"I swear I saw something standing around here somewhere.\"\n\n\"You just had too much beer before we left Joe, you're so drunk you wouldn't notice old Jack standing right next to you.\",  someone yelled from inside the car.\n\nThe car slides a bit further down the road, turns around and then heads back the way it came.\n\nAs the car flies back up the road one of it's hubcaps comes off and lands in the ditch just ahead of you. You reach over and pick it up.\n\n> Examine hubcap\nReally nothing more than a rusty piece of metal that was loosly attached to the wheel of the car. It is flat and looks like if you threw it like a frisbee it would go a great distance."
    },
    {
        "text": "[Themes: Horror, halloween, horror]\n\n> Look around\n>Road\nYou are standing in the middle of a dirt road to the south of a large field of pumpkins. The road stretches on the the east and west.\n\n> Go east\nAs you come up on the edge of town, you see some movement ahead. You crouch in the shadows not wanting to be seen. Soon you see the movement again and you can just make out someone patrolling back and forth across the road. There is no way to get around him without being seen. Perhaps you could distract him somehow.\n\nYou can see a young man here.\n\n> You examine man\nThe man appears to be just a teenager. A young teen by the looks of it. In one hand he carries a large machete and slung from one shoulder is a rifle.\n\n> You examine the rifle\nA .270 Winchester rifle. Powerful enough to spread the pumpkin seeds in your head all over the road.\n\n> You throw the hubcap\nYou stand up quickly and your movement draws the attention of the young man. You quickly throw the hubcap in his direction. The hubcap flies quickly through the dark night and before he can even react, it strikes him square across his forehead immediately dropping him to the ground.\n\n> You get all\nrifle: Taken.\nmachete: Taken.\n\n> You look at the man\nThe man appears to be just a teenager. A young teen by the looks of it. Embedded in his head is the hubcap you just threw.\n\n> You get the hubcap\nThat is embedded in his skull....I don't think you want to take that."
    },
    {
        "text": "> Look around\nYou are standing on the edge of town. To the west the road heads out of town and to the east you can make out what looks like the center of town.\n\nYou see the body of a young man here.\n\n> You go west\nYou are standing in the middle of a dirt road to the south of a large field of pumpkins. The road stretches on the the east and west.\n\n> Go west\nYou feel a strong urge to continue to the town in the east.\n\n> Go east\nAs you begin to head east towards the town, the car suddenly accelerates. Before you can react, it barrels into you. Your body, made mostly of straw flys apart scattering straw everywhere. The last thing you remember before the light dims from your eyes is your large pumpkin head bouncing off the windshield and onto the road only shatter into thousands of pieces.\n\n> Go east\nAs you enter the town's center you hear a gunshot ring out. The whistle of the slug as it passes near your head and the dust kicking up a few feet behind you are enough to send you scrambling to hide behind the fountain.\n\nYou are hiding behind the fountain in the town square. You can head back out of town to the west. There is an old church to the north and the townhall building is on the south side of the square.\n\nThere is a shooter somewhere in the square.\n\n> You examine shooter\nThe shooter is too far away to get a good look at in this poor lighting, but you can see that he has his rifle trained in your direction.\n\nAnother gunshot rings through the square and you hear the slug skip off the edge of the fountain just to the left of where you are hiding. This time however, you did see the flash of the shot. The shooter is hiding in the clock tower in the townhall on the south side of the square.\n\n> You check your inventory\nYou are carrying:\na machete\na rifle\n\n> Shoot shooter\nYou take quick aim in the direction of the clock tower and pull the trigger. When the flash from the shot clears, you see the shooter slumping over the edge of the clocktower."
    },
    {
        "text": "> You describe your surroundings\nYou are standing in the center of town. You can head back out of town to the west. There is an old church to the north and the townhall building is on the south side of the square. In the center of the square is a fountain.\n\nThe dead shooter is slumped over the side of the clock tower.\n\n> You examine the shooter\nThe shooter is too far away to get a good look at in this poor lighting, but you can see that he is slumped over the edge of the clock tower dead.\n\n> You go north\nYou are outside an old church. The church has seen better years. Behind the church to the east you see a small overgrown cemetary.\n\n> You go to the east\nAs you enter the cemetary, you feel a sudden pressure building in your head. As your head expands, cracks appear and the light coming from within you outshines the full moon.\n\nAs you fall to your knees, the screams coming from the town can be heard far above your own. The curse of Jack Halloween has been lifted. You are free from your cycle of birth and death and the town has fallen beneath the weight of its sins."
    },
    {
        "text": "[Themes: Mythological, Joke, unwinnable, Argonauts, Mythology, ancient Greece]\n\nAh! The life of an Argonaut!\n\nAdventure on the high seas! The quest for the Golden Fleece!\n\nOf course, you get queasy just visiting the baths, and you really don't think you and the boys have a shot in Hades of ever laying eyes on that Fleece, but it was either this or stay home and continue to herd sheep, so you signed up.\n\nOnce you got over the initial sea sickness, it wasn't all that bad. Your first stop, at Lemnos, lasted a year, and there were some major smoochies during that tenure. You were just beginning to think you'd made the right choice when the boss went and uprooted everybody for the next port.\n\nThe boss, Jason... enh. He's a good enough guy. He means well and all, and it's not exactly like he *chose* to come on this stupid quest any more than you did, but after having some of your buddies slaughtered in the night on the island of the Mount of Bears and Hercules losing his little lover boy at Mysia, you're beginning to have second thoughts.\n\nThen came this latest port: the land of the Bebrycians. The ruler here, King Amycus, seems to think he's the Heavyweight Champion of Mt. Olympus or something. He won't let any of you leave the island before you have a little boxing match with him. You were really thinking that your buddy Polydeuces the Argonaut would take him on, but Polydeuces had some business off in the bushes and the King just wouldn't wait... the next thing you knew, a couple of pretty little ladies were strapping ox-hide boxing gloves on your hands and you were in the ring with Mohammed Aliamycus.\n\nYou never thought you'd say this, but you're starting to miss those sheep.\n\n\n\n(Who can't believe she's claiming authorship)\n\nPart of SpeedIF: ASCII and the ARGONAUTS\n\nIt's really lovely here on the beach, what with the waves and the sand and all the lovely ladies in the crowd this afternoon and -\n\n!%%%%%%%%%%%%%%%%%%%!\n!%%%% HOLY HERA %%%%!\n!%%%%%%%%%%%%%%%%%%%!\n\nYou're knocked nearly senseless, spinning for a moment before landing face-first in the sand. Fortunately, you brush yourself off and turn to face your attacker before he sits on you.\n\nThe king raises his gloves in the air and squints his eyes at you.\nI beg your pardon?\n\n> About yourself\nMy, what a nice loincloth you're wearing... but those legs are a ghastly white. Maybe if you got off the boat more. Well, you can tan later. Right now there's a very anxious, very large man wearing ox-hide boxing gloves here, and he has his eye on you.\n\n> You examine man\nThe king may not be quite as tall as you are, but he more than makes up for that in strength. He has muscles in places you didn't even realize you *could* have muscles, which is really all you can focus on at this moment.\n\nThe king throws a couple of fake jabs, but the very sight of his flexing muscles nearly makes you faint.\n\n> Punch king\nBefore you can even get in a punch, you're on your knees from the king's latest blow. \"Zippin' Zeus,\" you mumble as you try to get back up to fight.\n\n> You examine ladies\nYou'd best just focus on the fight for now... maybe later you can site see.\n\n> Punch\n(King Amycus)\n\"Oh Sweet Zeus!\" you cry. \"It's Kraken the sea monster!\" you scream, pointing off the beach. The king, never one to expect something low like this, turns to see what you're pointing at. Quick on your toes, you use the moment to jump on the king from behind.\n\nYou're able to stay on his back for a fraction of a second before he (not so) playfully flings your body into the dirt.\n\n> Xyzzy\nYou stand defiantly, look the king straight in the eye and say, \"XYZZY!\"\n\nThere is a brief pause. Then he punches you in the stomach.\n\n> Punch king\nYou try to concentrate - really you do - but the sight of a lovely lady off in the crowd distracts you. \"Venerable Venus!\" you say beneath your breath, and start to wander out of the ring toward her. In surprise, she rushes forward and pushes you back into the ring. \"Fight for me!\" you hear her cry, just as you take another hit to the right side.\n\n> You go to the north\nIf you leave, Jason and the team will at best abandon you, and at worst kill you for being such a pathetic coward. If you stay, you'll probably get knocked clear out of your loincloth. Either way, the options aren't good, but since this is ancient Greece and there's probably somebody writing this down, you should stay and try to do your best for history.\n\nThe king takes another punch, just for good measure. \"Crazy Crommyon Sow!\" you cry. Alas, you are unable to dodge the blow, and it hits home, right between your eyes. Alarmingly, your vision tunnels - real, honest-to-goodness tunnel vision - and all you can see is the king. He leans forward, takes in a deep breath, and blows a light puff of air in your direction.\n\nYou feel yourself falling, hurtling toward the beach with alarming speed, and yet time starts to draw itself out. Fractions of a second seem to take minutes. You reflect for a moment on what your life has become. \"Invisible Argonaut? Why would they call me an Invisible Argonaut?\" you think to yourself... and then you realize. You're not making it into the history books. You are a wimp. You signed up to be an Argonaut for the adventure and the women and the glory. Well, at least - for a time - you had two out of three."
    },
    {
        "text": "[Themes: Humor, violence, duck, office, surreal]\n\nIt's another nice, sunny day outside. The bird are singing, the\nflowers are beaming, and all is well.\n\nWell, that's what you assume, since in actual fact you're inside a brand new office on the sixth floor of the Weiner Corporation's newest skyscraper. At any rate, the job pays well, and your day usually\npasses by without any notable incidents to marr its pleasing monotony.\n\nBut something is different today. Cold sweat glistens on your brow.\nYou know all too well what this means.\n\nSomewhere...somehow... a duck is watching you.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n[Author's Note: Office life could be easy, if there weren't a duck staring at you.]\n\n> About yourself\nYou've never really looked at yourself in a mirror. In fact, you tend to avoid mirrors like the plague, to such an extent that you're not sure what you really look like.\n\nYou're sure of it. There's a duck watching you right now.\n\n> You look at the cow\nIt's leaning against the wall, legs crossed, smoking a cigarette. What is it doing here? You have not the slightest idea, and you're not really interested in finding out. What you really want to find... is that DUCK!\n\nYou wipe off a bead of sweat. Why did it have to be here? Why did it have to be now? Why? WHY?\n\n> You ask the cow about the duck\nYou could just try to engage in casual conversation. One way of doing this is by typing TALK TO NPC into the command prompt. (Oh, crap,\nI just broke the fourth wall. Who's going to pay for that, I\nwonder?)\nYou loosen your tie with one hand, and glance around fearfully.\n\n> You look\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\nYou have no choice. You have to find that duck, track it down, hound it, chase it to the ends of the earth if necessary. Thus is the price you must pay for peace of mind.\n\n> You talk to the cow\nYou cough. The cow coughs. For a moment, silence hangs heavy upon both of you.\n\n\"So. Ahem.\"\n\n\"You wanted to ask me something, boss?\" the cow says finally, chewing on its cigarette in a typically bovine manner.\n\n1) \"Do you see that duck?\"\n2) \"What are you doing here?\"\n\n> 2\n[\"What are you doing here?\"]\n\n\"Don't you remember, boss?\" the cow says, slapping you on the back\nwith one hoof. \"We're corporate spies working for ACME. This is an undercover operation, okay? I see what's wrong with you: you've been trying to use the \"How to Brainwash Yourself Easily\" book again. If you've got amnesia, we gotta exfiltrate ourselves pronto and\nburn the evidence. Have you got amnesia, boss?\"\n\n1) \"I haven't got amnesia, you idiot!\"\n2) \"I can't remember anything! What is my REAL identity?\"\n\n> 1\n[\"I haven't got amnesia, you idiot!\"]\n\n\"Phoooey,\" the cow sighs with relief, tugging at its cigarette compulsively. \"You had me worried there for a second.\" And upon these words, it begins to stare intensively at the wall, as though waiting for ninja chipmunks to leap out without warning.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\nYou can feel the duck's beady dark eyes boring into the back of your skull.\n\n> You look at the wire\nIt's too thick to cut with scissors, sadly enough.\n\nThough the duck is not in the room, still you feel its baleful glare, unwavering, unblinking.\n\n> You examine the pane\nIt's made of glass.\n\nYou bang your head against the furniture, heart bowed down beneath a seething cloud of paranoia.\n\n> You examine the fax\nIt's a great, heavy monster of bureaucratic hell. With its aid, you could fax a dinosaur to Hawaii, that's telling you how sophisticated\nit is. It's powered by a very, very long electric wire which crosses the floor and disappears out into the corridor to the south. Oh, and it's also blatantly simple to use: all that is necessary is to put something in it, and then dial any number between 0 and 10. The fax machine has been customized specifically for faxing things to a very specific destination.\n\nYou must do something about that duck. There is no other way.\n\n> You examine the desk\nIt's an IKEA desk, somewhat disfigured by coffee rings (from all the times you left your hot mug of coffee on the desk for far too much time). And certainly it would be nice to have more than just the one drawer for tidying away your stuff. But it's perfectly adequate for\nthe kind of work you do for the Weiner Corporation -- namely, sorting through piles of mail. Such as the huge heap now standing before you.\n\nSomething must be done.\n\n> You examine the cityscape\nNew Dork City stretches out before you in its full glory. But what interests you most of all is the building opposite the one you're currently in: the ACME Corporation's newest skycraper.\n\nAll this stress and paranoia proves far too much for you. With a wordless cry you throw yourself out the window!\n\nActually, you do not throw yourself out of the window, you merely bounce off it with a muffled \"PANG\", and then stagger out into the corridor, nursing your blossoming bruise.\n\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> You look at the door\nUpon it are the following (badly-inked) words: M. POND --\nMAILROOM\n\n> You go north\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> Sort mail\nYou find a letter from none other than \"Mr. Coffee Machine\"! How odd.\nA quick glance indicates that he is appealing to the powers that be\nfor the right to have his own office chair.\n\n> You open the drawer\nYou pull open the drawer, and find only a lonely-looking pair of scissors. You decide after some deliberation to take this with you\n(you never know when it might come in handy...)\n\n> You check what you're carrying\nYou are carrying:\na pair of scissors\na shirt (being worn)\na tie (being worn)\n\n> You examine the chair\nIt's a sturdy thing, with sturdy wheels that are always well oiled\n(you suspect that the office elves do all that work when no one is looking.)\n\nhandy at some point in the immediate future.\n\n> You get the mail\nThat's hardly portable.\n\n> You take off the shirt\nYou take off the shirt.\n\n> You examine the tie\nSuitably unfashionable."
    },
    {
        "text": "> You look around\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You examine the duck\nIt's too far away for you to tell, but it appears to be staring at you in an unsettling way.\n\n> You look at telephone\nIt's a pink telephone with yellow flowers painted on it. It's quite... stylish? As you stare at it, the thought occurs to you that it might\nbe a good idea to call someone.\n\nIn fact, there are plenty of people you could call. You have their numbers memorized by heart, as a matter of fact. You could contact...\n\n1) the police\n2) the local hospital\n3) your aunt\n4) the head of Inhuman Resources\n5) the ACME Corporation\n6) the nearest pizzeria\n7) the nearest Pest Control unit\n8) the Society for the Care and Protection of Conspiracy Theories\n9) Gary Larson\n\n> 9\n[Gary Larson]\n\nYou get only an answerphone. \"Gary Larson is on holiday in Africa, being bullied by Jane Goodall's chimps. Please call back another\ntime.\"\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You examine the cityscape\nNew Dork City stretches out before you in its full glory. But what interests you most of all is the building opposite the one you're currently in: the ACME Corporation's newest skycraper.\n\n> You examine the shirt\nIt's covered in squid ink stains (don't ask why). You feel something heavy in your breast pocket, and it's definitely not your heart.\n\n> You look at ACME\nYou glance at it through the glass window, and shudder. The duck is there, peering out through an office window, staring at you through caricatural binoculars.\n\n> You examine the pocket\nYou squint and squirm, but conclude that the only way to find out what's inside is to boldly go forth and SEARCH it.\n\n> You search pocket\nIn the breast pocket is a portable squid.\n\n> You get the squid\nTaken.\n\n> You get the squid\nYou already have that.\n\n> You examine it\nIt's an extremely tiny, adorable little squid about the size of a fountain pen. Every now and then, it makes cute squid noises.\n\n> You squeeze the squid\nYou squeeze the squid gently, and before you know it it squirts ink\nall over your face! Instant karma, indeed.\n\n> You look at the wall\nIt's made of glass.\n\n> You look at telephone\nIt's a pink telephone with yellow flowers painted on it. It's quite... stylish? As you stare at it, the thought occurs to you that it might\nbe a good idea to call someone.\n\nIn fact, there are plenty of people you could call. You have their numbers memorized by heart, as a matter of fact. You could contact...\n\n1) the police\n2) the local hospital\n3) your aunt\n4) the head of Inhuman Resources\n5) the ACME Corporation\n6) the nearest pizzeria\n7) the nearest Pest Control unit\n8) the Society for the Care and Protection of Conspiracy Theories\n9) Gary Larson\n\n> 5\n[the ACME Corporation]\n\nAfter several minutes of mildly annoying music, you finally get a response:\n\n\"Hello, how may I help you?\"\n\n\"Um, I'm not sure...\"\n\n\"That's not a problem at all. We cater to all needs: the Clown Department is on the first floor, the Jungle Department on the second floor, the Toothpick Department is on the third floor, bananas are plentiful on the fourth floor, we have fire and brimstone on the fifth floor, doughnuts on the seventh floor, unspeakable things on the\neighth floor, anachronistic but potentially useful duck-killing\nweapons on the ninth floor, and if you like ice-cream you can always\ngo to the tenth floor. Please keep in mind, however, that before entering the elevator you will be stripped of all suspicious\nbelongings by our diligent Security Brigade.\"\n\n\"Thanks, but what I really wanted to know is: have you seen a duck, anywhere?\n\n\"I am not at liberty to say,\" the receptionnist replies\napologetically. The conversation ends soon afterwards.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You go south\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> You go east\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nLurking in the corner of the room, looking rather disgruntled, is the coffee machine.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> You look at the poster\nIt advertises the latest action movie: FLY HARD, with Braaawk Willis playing a daredevil chicken cop facing off against Alan Cricketman's stereotypically six-legged (and German!) baddie. The poster shows the main character jumping off an exploding skyscraper with a (live) electric wire tied around himself. The tagline reads: \"Always in\nthe wrong place at the wrong time, wearing the wrong clothes and using the wrong shaving cream! BURMA SHAVE\".\n\n> You talk to the coffee machine\nYou clear your throat, and cough. \"Ahem? Mr Coffee Machine? Are you\nall right?\"\n\n\"I feel terrible,\" the coffee machine groans. \"My self-esteem is down the toilet. I'm tragically misunderstood. The whole world conspires against me.\"\n\n1) \"Okay, I'm sorry to hear that. Would it be okay if I had a cup of coffee?\"\n2) \"Oh, come one, it can't be that bad.\"\n\n> 2\n[\"Oh, come one, it can't be that bad.\"]\n\n\"Not that bad?\" the coffee machine snorts bitterly. \"Not that\nbad?!? God dang it, I've been working here for 65 years and I've never even been promoted! I don't even get my own office chair!\nThat would be so little to ask for -- an office chair of my own, to\nsit on whenever I feel tired, a token of respect for all the coffee I've pumped out all those years! The Weiner Corporation would have NEVER been as successful as it is without MY coffee to keep their\nminds sharp and lively into the wee hours of the night!\"\n\n1) \"Ahem... talking about coffee... could I have some, please?\"\n2) \"Ahem... isn't there something you could do?\"\n\n> 2\n[\"Ahem... isn't there something you could do?\"]\n\n\"Like, I don't know... have you tried talking to a psychiatrist?\" you add, patting the coffee machine on the -- for lack of a better word -- \"shoulder\".\n\n\"Psychiatrist? I'm not mad, you idiot!\" the machine retorts angrily. \"This is it! I'm not going to put up with this sort of crap any more! I'm handing in my resignation! Right now, do you hear?\"\n\nIt hops out of the room and down the corridor at breakneck speed. Soon afterwards, to your dismay, you hear the sound of a heavy coffee machine falling down six flights of stairs in a record-breaking (and neck-breaking) 3.45 seconds.\n\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> 1\n[\"Ahem... talking about coffee... could I have some,\nplease?\"]\n\n\"Coffee!\" the machine snorts. \"You want coffee? Here's your\ncoffee, you selfish jerk!\"\n\nFor a second, it looks like the machine is going to hurl piping hot caffeine beverages at your face, but your fear prove to be unfounded, and sure enough you find yourself looking down at a cup of coffee as you hold it tentatively in one hand. The rooms falls silent once more, and your mind is irresistably drawn back to the one thing uppermost in your thoughts right now. That. Goddamn. DUCK.\n\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nLurking in the corner of the room, looking rather disgruntled, is the coffee machine.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> You go west\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> You go north\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> Go south\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> Go east\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nLurking in the corner of the room, looking rather disgruntled, is the coffee machine.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\nThe coffee machine notices that you have brought an office chair into the room! \"Golly, is that for me?\" it gasps.\n\n\"Yup,\" you reply.\n\nWith herethereto unsuspected nimbleness, the great lumbering caffeine-dispensing contraction hops onto the chair, whooping with delight.\n\n> You talk to the Machine\nThe coffee machine is in its own nirvana. Best not to engage conversation with it right now.\n\n> You go west\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> You look at the door\nUpon it are the following (badly-inked) words: M. POND --\nMAILROOM\n\n> Smell\nYou smell the unmistakeable smell of napalm -- uh, coffee in\nthe morning, actually. It appears to be emanating (if that is the correct terminology) from the eastern side.\n\n> You go to the west\nThe corridor ends here, and there are stairs heading down to the west. To the east, the corridor continues in a shuffling sort of way. If you should feel the need, you may always enter the elevator which is situated (for your benefit) to the south, or else enter the storage room to the north.\n\n> You go north\nThis room is filled with empty boxes, of the sort used for packaging. The only obvious exit is south.\n\nOn the floor is a large cardboard tube with both ends sealed.\n\nDangling from the ceiling is a long roll of sellotape.\n\n> You examine the sellotape\nSomeone clearly ran out of flypaper, and decided that it would be a smart idea to use the sellotape as a substitute. The roll of sellotape is only partially unrolled, however, and dangles from the ceiling like a peculiar pendulum of insect doom.\n\n> You look at the tube\nAs you look closely, it wobbles a little to the left and then to the right again. There is definitely something in there... something\nalive.\n\n> Open tube\nYou open the large cardboard tube, revealing a weiner dog.\n\n> You examine the dog\nIt looks up placidly at you, and yawns, mumbling something unintelligible about coffee in the morning.\n\n> Inventory\nYou are carrying:\na large cardboard tube (open)\na weiner dog\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You give the coffee to the dog\nThe dog refuses. \"Coffee,\" he mutters.\n\n> You take the tape\nIt's tantalizingly out of reach, as you conclude from several minutes of futile hopping up and down like an over-excited chihuahua."
    },
    {
        "text": "[Themes: Humor, office, violence]\n\n> You look at your surroundings\nThis room is filled with empty boxes, of the sort used for packaging. The only obvious exit is south.\n\nDangling from the ceiling is a long roll of sellotape.\n\n> Examine boxes\nThey're very uninteresting, in an interesting way.\n\n> You climb the boxes\nLittle is to be achieved by that.\n\n> Go south\nThe corridor ends here, and there are stairs heading down to the west. To the east, the corridor continues in a shuffling sort of way. If you should feel the need, you may always enter the elevator which is situated (for your benefit) to the south, or else enter the storage room to the north.\n\n> You take the dog\nYou pull the weiner dog out from the tube. This takes some time, and\nit is only by seizing it by the hind legs and swinging it around the room that the tube finally flies off, ricochetting off the wall in the process. The dog grumbles a bit, muttering about \"Inhuman Resources\" under its breath.\n\n> You check your inventory\nYou are carrying:\na large cardboard tube (open but empty)\na weiner dog\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You drop the dog\nDropped.\n\n> You show the coffee to the dog\nThe weiner dog is unimpressed.\n\n> You take the dog\nThe weiner dog allows you to pick it up, staring at you with\ndrowsiness in its eyes.\n\n> You put the dog in the tube\nYou put the weiner dog into the large cardboard tube.\n\n> Close tube\nYou close the large cardboard tube.\n\n> You go south\nAs you enter the elevator, the doors close behind you, uttering a peculiar squeaking noise in the process. With a whirr, and without you having even had the time to fiddle around with the buttons, the elevator begins to descend -- into lunacy? Who knows.\n\nThe elevator in which you are currently standing smells strongly of canine interference. A panel of buttons covers one wall.\n\nAs if to attract your attention, the elevator whines like a dog whose nose has just been bopped over the nose with a newspaper.\n\n> You examine the buttons\nUpon closer examination, someone has replaced all the buttons by tin tacks. This, among other things, means that you cannot mess around\nwith it as much as you wanted to.\n\nThe elevator screeches to a stop, and an electronic voice says breathlessly: \"Time out! Be back in a jiffy!\"\n\nAfter a moment or so, the elevator whirrs back to life, and business resumes.\n\n> Smell\nYou smell nothing. Nothing, that is, other than the smell of your own fear.\n\nThe elevator stops briefly, the doors opening for just the exact\namount of time required for an enormous elephant to fit itself inside along with you.\n\n> You examine the elephant\nYou see nothing special about the enormous elephant.\n\nThe elephant sneezes. The tension is palpable.\n\n> You talk to the elephant\nYou have no idea what you would say to the enormous elephant.\n\nThe elevator stops again, and to your vast surprise another elephant steps inside, this time carrying a guitar and wearing a flower shirt! You try to make a dash for freedom, but alas the doors have already closed, and the elevator has resumed its descent.\n\n> You examine the hippy\nYou see nothing special about the elephant hippy.\n\nIt's now beginning to feel a little crowded in here. And the\nirritating little elves singing high-pitched renditions of \"The Bohemian Rhapsody\" are simply not helping.\n\n> Wait\nTime passes.\n\nThe elevator stops. There is silence. And then... a third elephant, wearing a business suit and a fedora, crams itself inside. \"Jeez,\" he says. \"This sure is cramped, fellas.\"\n\n> Go north\nThe doors are closed, and there doesn't appear to be any button allowing you to open them. What a nuisance. And the matter of that\nduck still remains unresolved. What a day. What... a... day.\n\nOddly enough, you are finding it a little hard to breathe in here.\n\n> Go upward\nYou can't go that way.\n\nThe elevator is almost at the lobby, and you pray to God that you make it there alive.\n\n> You examine businessman\nYou see nothing special about the elephant businessman.\n\nJust when you thought this nightmare was over, the elevator abruptly stops at the first floor. You get a sinking feeling. Oh, no. Please.\n\nYou watch the elevator doors open. Slooooowly....\n\nAnd then....\n\n... a fourth elephant, wearing dark glasses and wielding a cane,\ncalmly tries to fit itself into the elevator.\n\nSNAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAP!\n\nThe elevator falls, carrying you and the four elephants down with it. The little annoying elves -- those responsible for the annoying elevator music -- all unaminously begin to do their own rendition of Faur\u00e9's Requiem. Everyone inside the elevator goes crashing\nthrough the earth's molten core, screaming all the way. Eventually, the elevators comes soaring out through a volcano in New Zealand, but by then you are all toast.\n\n> You look at what you're carrying with you\nYou are carrying:\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You go east\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nThere is a strong stench of coffee here, almost sufficient to drive small dogs mad.\n\nThe office chair is bowed down beneath the weight of a smug-looking coffee machine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> You unplug the wire\nYou notice that unplugging the electric wire is nothing short of impossible, owing to the external action of some diabolical villain. Curses.\n\n> You cut the wire\nYou make a brave attempt to cut the wire with the pair of scissors,\nbut it is all too obvious to even the most stubborn intellect that these scissors are only adequate for slicing through cardboard.\n\n> Go north\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You cut the boxes\nThat would take forever, and you'd just end up buried under a pile of cardboard confettis.\n\n> You cut the tape\nIt's tantalizingly out of reach, as you conclude from several minutes of waving the scissors around like a homicidal maniac.\n\n> You cut tube\nYou can't cut the carboard tube in half without first emptying it. That's one of the Six Basic Rules of the Mailroom.\n\n> Open tube\nYou open the large cardboard tube, revealing a weiner dog.\n\n> You take the dog\nYou pull the weiner dog out from the tube. This takes some time, and\nit is only by seizing it by the hind legs and swinging it around the room that the tube finally flies off, ricochetting off the wall in the process. The dog grumbles a bit, muttering about \"Inhuman Resources\" under its breath.\n\n> You cut tube\nYou take a few minutes of your time to neatly cut the tube into two long, equal pieces. As you let them fall to the floor, you notice that they look remarkably like cardboard skis! This is food for thought.\n\n> Inventory\nYou are carrying:\nsome pieces of cardboard which look like cardboard skis\na weiner dog\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You go west\nYou are about to go down the stairs when you abruptly become aware of one niggling fact: namely, that each and every single step is\ncarefully layered with marbles.\n\n> You drop the skis\nDropped.\n\n> You examine the marbles\nThere are millions of these little shiny marbles. It must have taken forever to lay them out upon every single step, and you wonder who on earth would be so diabolically villainous and maniacally persnickety\nas to be capable of such a heinous act.\n\n> You take the chair\nWouldn't it be easier to push it around? It's got wheels, after all.\n\n> Go west\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nThere is a strong stench of coffee here, almost sufficient to drive small dogs mad.\n\nThe office chair is bowed down beneath the weight of a smug-looking coffee machine.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\n> Go west\nThe corridor ends here, and there are stairs heading down to the west. To the east, the corridor continues in a shuffling sort of way. If you should feel the need, you may always enter the elevator which is situated (for your benefit) to the south, or else enter the storage room to the north.\n\nThere is a strong stench of coffee here, almost sufficient to drive small dogs mad.\n\nThe office chair is bowed down beneath the weight of a smug-looking coffee machine.\n\n> Go north\nThis room is filled with empty boxes, of the sort used for packaging. The only obvious exit is south.\n\nThere is a strong stench of coffee here, almost sufficient to drive small dogs mad.\n\nThe office chair is bowed down beneath the weight of a smug-looking coffee machine.\n\nDangling from the ceiling is a long roll of sellotape.\n\n> You get on the chair\nYou stand up on the chair, wobbling slightly as you do so. Now what next?\n\nStorage Room (on the office chair)\nThis room is filled with empty boxes, of the sort used for packaging. The only obvious exit is south.\n\nThere is a strong stench of coffee here, almost sufficient to drive small dogs mad.\n\nDangling from the ceiling is a long roll of sellotape.\n\n> You take the tape\nYou cut the sellotape with a neat snip of the scissors, and retrieve the rest of it for your own personal use."
    },
    {
        "text": "[Themes: Humor, office, surreal, duck]\n\n> Go downwards\n(first getting off the office chair)\nYou can't go that way.\n\n> Inventory\nYou are carrying:\nsome sellotape\nsome pieces of cardboard which look like cardboard skis\na weiner dog\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You attach the skis\nWhat do you want to attach the pieces of cardboard which look like cardboard skis to?\n\n> Yourself\nYou laboriously sellotape the first piece of cardboard to your right foot, and then the second piece of cardboard to your left foot. Now\nyou are officially equipped with utterly demented cardboard skis!\n\n> Go west\nYou glance at the marbles, but your mind is already made up. You are going to ski your way down there like a champion.\n\nWith a yell of triumph (or fear?) you go forth! Marbles rattle and scuttle away in panic as you hurtle down the stairs!\n\nYou go down all six flights of stairs in exactly 3.1415 seconds! (You are very meticulous about those things.) This daring ride culminates\nin your triumphant (but brief) arrival in the lobby of the Weiner Corporation.\n\nPropelled by all the momentum you've just gained, you sail out through the revolving doors, across the street (narrowly avoiding an entire flock of boneless chickens, who were for some incomprehensible reason trying to cross the road) and at long last arrive in the lobby of the ACME Corporation. This is exactly what you wanted.\n\nFor, hidden upon one of the myriad floors of the ACME Corporation's skyscraper, the DUCK awaits. (And so does your timely revenge!)\n\nThe lobby stretches out before you, a beautiful pristine space with sliding doors awaiting you to the south, leading out into the busy street.\n\nYou can enter the elevator here.\n\n> Go south\nYou've gone through ridicule to get here! Giving up is simply not an option.\n\n> Inventory\nYou are carrying:\nsome sellotape\na weiner dog\na cup of coffee\na portable squid\na pair of scissors\na shirt\na tie (being worn)\n\n> You look at the coffee\nIt's a plastic cup, predictably filled with black murky liquid that\none must assume was coffee at some point in the past.\n\n> Smell the coffee\nYou smell nothing. Nothing, that is, other than the smell of your own fear.\n\n> You enter the elevator\nBefore you can enter the elevator, a security guard (who you could\nhave sworn was not there a second ago) frisks you, relieving you of\nall your suspicious-looking personal items. A few seconds later, you are half-naked, standing only in your underwear. \"You're good to go,\" the guard grunts, and pushes you into the elevator most uncourteously.\n\nThis is not a mere elevator: it is a superluminal cartoon lift, whose cruise speed is 299 000 000 meters a second on average, and fully capable of taking you from the lobby to the moon in an astonishingly short time. The glowing digits above the door spell out the number 0 - though you can make the elevator move up and down to your heart's content by the seemingly innocuous act of pressing a numbered button.\n\n> Press 9\nYou press button 9. The lift whirs into action and moves to the\ncorrect level.\n\n> You go outside\nThis is a mystifying room. You wonder what on earth it is for.\n\nYou can enter the elevator here.\n\nLying on the floor here is a curious, cylindrical piece of metal.\n\n> You look at the metal\nUpon closer examination, you find that this is a light-saber! How anachronistic.\n\n> Inventory\nYou are carrying:\na light-saber"
    },
    {
        "text": "[Themes: Humor, violence, duck]\n\n> You look around\nThis is a mystifying room. You wonder what on earth it is for.\n\nYou can enter the elevator here.\n\n> You enter the elevator\nThis is not a mere elevator: it is a superluminal cartoon lift, whose cruise speed is 299 000 000 meters a second on average, and fully capable of taking you from the lobby to the moon in an astonishingly short time. The glowing digits above the door spell out the number 9 - though you can make the elevator move up and down to your heart's content by the seemingly innocuous act of pressing a numbered button.\n\n> Press 6\nYou press button 6. The lift whirs into action and moves to the\ncorrect level.\n\n> You go outside\nAt last! You've found it.\n\nStanding before you, with somewhat a malevolent air, is the Mad Duck.\n\nThe duck sees you, and smiles. \"At last, Pond. You've found my... what's the word? ... aha!... my secret lair. How clever of you, indeed.\"\n\n> You kill Duck\nWith a barbarian yell, you lunge forward, ready for the Fight of the Century (TM).\n\n1) Hit the duck on the head\n2) Kick the duck in the stomach\n3) Attack him with your light-saber\n\n> 3\n[Attack him with your light-saber]\n\nYou pull out the light-saber that you found in the Anachronism Department, and bring it down upon the duck's head. At the very last moment, however, he blocks your blow with his own light-saber! There\nis a ZZZZZZZZZZZ noise as the two laser blades come into contact.\n\n1) Kick the duck in the private parts\n2) Use the Force\n\n> 2\n[Use the Force]\n\nYou focus, and try to use the Force. But nothing happens. Nothing at all.\n\n\"There is no such thing as the Force, you silly duck!\" your adversary cackles (or rather, QUACKles).\n\n1) Kill the duck\n2) \"Wait, you called me a WHAT?\"\n\n> 2\n[\"Wait, you called me a WHAT?\"]\n\n\"That's right, Pond,\" the duck replies, clearly on the verge of revealing a dark secret (and enjoying every second of it). \"You\nthought you were human, but all along... all along, you were exactly what you always feared: A DUCK!!!\"\n\n1) Kill the duck\n2) Scream \"NOOOOOOOOOOOOOOOOOOOOO\" out loud\n\n> 2\n[Scream \"NOOOOOOOOOOOOOOOOOOOOO\" out loud]\n\nSeized by a surge of despair and rage, you rush at the duck, swinging your light-saber around your head. In your precipitation, you slip on\na banana peeling, and land on your face in a flurry of feathers. The awful truth sinks in at last. You are a duck. You are a duck. You are\na --\n\n> You talk to Duck\n\"I need to talk to you,\" you begin, stepping forward.\n\n\"Oh?\" the duck says coldly.\n\n1) \"I want to know who you are.\"\n2) \"I want to know why you were watching me\"\n\n> 2\n[\"I want to know why you were watching me\"]\n\n\"Why? You want to know why?\" The duck seems genuinely surprised.\n\n\"Yes! I've gone through ridicule to find you! I deserve to know!\" you retort.\n\n\"Well... if the truth be told... I was waiting for my evil plans to fall into place... and... well, I guess I got bored?\"\n\n1) \"I want to know who you are.\"\n2) \"Evil plans?\"\n\n> 2\n[\"Evil plans?\"]\n\n\"Didn't you know?\" the duck replies, shocked. \"I'm a comic-book villain, I am. And a very stylish one, too.\"\n\nIt dawn upon you then that Fate itself has brought you here. An inner voice whispers: You are the One.\n\nWith a barbarian yell, you lunge forward, ready for the Fight of the Century (TM).\n\n1) Hit the duck on the head\n2) Kick the duck in the stomach\n3) Attack him with your light-saber\n\n> 2\n[Kick the duck in the stomach]\n\nChannelling your inner Karate Kid, you stand on one foot, and then\nlash out. The duck, not expecting this (he probably bought his light-saber on Ebay and has no actual Jedi training), is sent flying backwards. He crashes through the glass wall, and falls plummetting from six floors\" worth of the ACME Corporation's newest skyscraper.\n\nThis does not kill him, but after several months in hospital he is arrested for crimes against the Universe. Apparently, his name (his REAL name) is Moriarty Machiavelli the Third. It turns out he was your uncle, but that does not necessarily entail that you are a duck. At least, that is the way you choose to view things, and it's working out pretty well so far. Besides, one good thing has come out of this mess: you are no longer in the throes of ANATIDAEPHOBIA.\n\n> 1\n[\"I want to know who you are.\"]\n\n\"Me?\" the duck replies quizzically. \"Why, my name is Moriarty Machiavelli the Third. And...\" he pauses for dramatic effect, \"I....am... your UNCLE!\"\n\n1) Ask the duck for an explanation\n2) Scream \"NOOOOOOOOOOOOOOOOOOOOO\" out loud\n\n> 1\n[Ask the duck for an explanation]\n\n\"But how can that be?\" you exclaim out loud, trembling slightly. \"My aunt is a gorilla!\"\n\n\"The biological details are messy and somewhat complicated,\" the duck replies coolly. \"Suffice to say, you are half duck. Ah, the irony of it, my nephew Pond!\"\n\n1) Kick the duck in the stomach\n2) Scream \"NOOOOOOOOOOOOOOOOOOOOO\" out loud"
    },
    {
        "text": "[Themes: Humor, surreal, office]\n\nIt's another nice, sunny day outside. The bird are singing, the\nflowers are beaming, and all is well.\n\nWell, that's what you assume, since in actual fact you're inside a brand new office on the sixth floor of the Weiner Corporation's newest skyscraper. At any rate, the job pays well, and your day usually\npasses by without any notable incidents to marr its pleasing monotony.\n\nBut something is different today. Cold sweat glistens on your brow.\nYou know all too well what this means.\n\nSomewhere...somehow... a duck is watching you.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You examine the fax machine\nIt's a great, heavy monster of bureaucratic hell. With its aid, you could fax a dinosaur to Hawaii, that's telling you how sophisticated\nit is. It's powered by a very, very long electric wire which crosses the floor and disappears out into the corridor to the south. Oh, and it's also blatantly simple to use: all that is necessary is to put something in it, and then dial any number between 0 and 10. The fax machine has been customized specifically for faxing things to a very specific destination.\n\nYou're sure of it. There's a duck watching you right now.\n\n> Inventory\nYou are carrying:\na shirt (being worn)\na tie (being worn)\n\nYou wipe off a bead of sweat. Why did it have to be here? Why did it have to be now? Why? WHY?\n\n> You put the tie in the fax\n(first taking it off)\nYou put the tie into the fax machine.\n\nYou loosen your tie with one hand, and glance around fearfully.\n\n> Dial 1\nThere is a ZZZZZIP noise, and then it is done.\"Item faxed to the\nACME Clown Department,\" the electronic voice mumbles, sounding\nhighly unamused.\n\nYou have no choice. You have to find that duck, track it down, hound it, chase it to the ends of the earth if necessary. Thus is the price you must pay for peace of mind.\n\n> You enter the fax\nThat's not something you can enter.\n\nYou can feel the duck's beady dark eyes boring into the back of your skull.\n\n> You check what you're carrying\nYou are carrying:\na shirt (being worn)\n\nThough the duck is not in the room, still you feel its baleful glare, unwavering, unblinking.\n\n> You look at telephone\nIt's a pink telephone with yellow flowers painted on it. It's quite... stylish? As you stare at it, the thought occurs to you that it might\nbe a good idea to call someone.\n\nIn fact, there are plenty of people you could call. You have their numbers memorized by heart, as a matter of fact. You could contact...\n\n1) the police\n2) the local hospital\n3) your aunt\n4) the head of Inhuman Resources\n5) the ACME Corporation\n6) the nearest pizzeria\n7) the nearest Pest Control unit\n8) the Society for the Care and Protection of Conspiracy Theories\n9) Gary Larson\n\n> 3\n[your aunt]\n\nOn second thought, you decide not to call your aunt. You remember all too well what happened last time she came to New Dork City. The authorities had to rescue her from the very top of the Umpire State Building (where she was doing a drunken imititation of King Kong).\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\nYou bang your head against the furniture, heart bowed down beneath a seething cloud of paranoia.\n\n> 6\n[the nearest pizzeria]\n\nThe response is immediate. What pizza would you like, buddy?\n\n\"Give me,\" you say, suddenly sounding very determined, \"the Mother of All Pizzas.\"\n\n\"With pepperoni on top?\"\"With pepperoni on top.\"\n\nWhen you finally hang up a few minutes later, you rest safely in the knowledge that the most awesome pizza known to mankind is speeding on its way to you.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\nYou must do something about that duck. There is no other way.\n\n> 7\n[the nearest Pest Control unit]\n\nActually, the Pest Control unit was closed a few weeks ago, after its offices were trashed by the Roach Gang.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\nSomething must be done.\n\n> 8\n[the Society for the Care and Protection of Conspiracy\nTheories]\n\nYou spend a few tedious minutes being told that the duck needs their help more than you do, since in actual fact it constitutes a living conspiracy theory in itself. Frustrated, you hang up.\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n> 1\nAll this stress and paranoia proves far too much for you. With a wordless cry you throw yourself out the window!\n\nActually, you do not throw yourself out of the window, you merely bounce off it with a muffled \"PANG\", and then stagger out into the corridor, nursing your blossoming bruise.\n\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\nA long wire snakes its way out from your office, and heads down the corridor to the east.\n\nI didn't understand that sentence.\n\n> You go north\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> 1\n[the police]\n\nYou quickly dial in 911, and shortly afterwards you are on the emergency line.\n\n\"You are now on the emergency line of the New Dork City Police Department, the voice on the other end says laconically.\"\n\n\"There is a duck staring at me!\" you shout into the receiver.\n\n\"Is it threatening you with a chainsaw?\" the voice replies\ncoldly.\n\n\"Uh -- no.\"\n\nBEEP.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> 2\n[the local hospital]\n\nAn automated voice is the only reply you get:\n\n\"Hello. We are currently swamped with patients. In fact, there are patients everywhere. Patients in the corridors, patients in the toilets, patients hiding inside our clothing, patients behind our\nears, patients as far as the eye can see. We are, in fact, beginning\nto lose our minds. Have a lovely day.\"\n\nBEEP.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> 4\n[the head of Inhuman Resources]\n\nYou quickly dial in the number. \"Hello? This is Pond. I work in the mailroom. I have a problem,\" you rattle off with the speed of a machine-gun.\n\n\"Moooo?\"\n\n\"Never mind,\" you sigh, and hang up.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You sit on the chair\nYou stand up on the chair, wobbling slightly as you do so. Now what next?\n\nOffice (on the office chair)\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You stand\nYou get off the office chair.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nThe office chair stands upon its wobbly wheels, sighing slightly.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You cut tube\nYou can't cut the cardboard tube in half without first emptying it. That's one of the Six Basic Rules of the Mailroom.\n\n> 1\n[\"Okay, I'm sorry to hear that. Would it be okay if I had a cup of coffee?\"]\n\nThe coffee machine replies, somewhat disgruntedly, \"Suit yourself. You know exactly how to push my buttons, don't you?\"\n\nWith a sigh, it stares up at the ceiling and relapses into silence.\n\nFeeling somewhat guilty, you get yourself a cup of coffee, but when\nthe moment comes to drink it you merely look down into its murky depths, seeing the coffee machine's discontent reflected from its swirling surface. So you stand there, holding it in your hand, your thoughts drifting back to the one thing which still remains\nunresolved: the matter of that duck.\n\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nLurking in the corner of the room, looking rather disgruntled, is the coffee machine.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> Inventory\nYou are carrying:\na cup of coffee\na pair of scissors\na shirt (being worn)\n\n> You give the coffee to the dog\nThe dog is still in the carboard tube, and you're still holding that. If you want to offer it coffee, it might be wise to put one or the other down first. You never know what the effects might be. (For instance, if it turns out that the mere absorption of caffeine can transform this dog into a vicious slugbeast, then you'd be glad you weren't carrying it.)\n\n> You give the coffee to dog\noffering. \"Thanks,\" it mumbles, and then slurps it up noisily.\n\nWithin seconds, it is completely transformed! It starts running\naround the room like a lunatic.\n\n> You look at the dog\nIt looks very agitated, and is constantly trying to bite everything within reach.\n\n> You check what you're carrying\nYou are carrying:\na large cardboard tube (open)\na weiner dog\na cup of coffee\na pair of scissors\na shirt (being worn)\n\n> You enter the elevator\nThe doors are closed, and refuse to open. This is because it already has a passenger, and that passenger is the office chair itself, who must have decided on a whim to fiddle around with the buttons. How inconvenient.\n\n> You go east\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nA long wire comes into the room from the west, and you perceive that\nit is connected to a plug in the wall. Why anyone thought this was necessary is rather hard to divine.\n\n> 6\n[the nearest pizzeria]\n\nYou've already ordered a pizza. No need to be so greedy.\n\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\nA long wire extends across the room, originating from the fax machine.\n\n> You put the squid in the Machine\n(first taking the portable squid)\nYou put the portable squid into the fax machine.\n\n> Dial 9\nThere is a ZZZZZIP noise, and then it is done.\"Item faxed to the\nACME Anachronistic Department. I really don't know why that\nexists,\" the electronic voice grumbles, sounding annoyed.\n\n> You put everything in the Machine\npair of scissors: Done.\n\n> You check your inventory\nYou are carrying:\na shirt (being worn)\n\n> You remove the shirt then put the shirt in the Machine\nYou take off the shirt.\n\nYou put the shirt into the fax machine.\n\n> Dial 9\nThere is a ZZZZZIP noise, and then it is done.\"Item faxed to the\nACME Anachronistic Department. I really don't know why that\nexists,\" the electronic voice grumbles, sounding annoyed.\n\n> You get all\ncup of coffee: Taken.\nlarge cardboard tube: Taken.\nwire: You tug at the wire tentatively, but without managing to pick it up. With a sigh, you let it clatter to the floor.\n\n> You give the coffee to the dog\noffering. \"Thanks,\" it mumbles, and then slurps it up noisily.\n\nWithin seconds, it is completely transformed! It starts running\naround the room like a lunatic.\n\nThe vicious weiner dog snaps at the wire, slicing it in half. With an unpleasant noise, it is immediately electrocuted, and goes soaring through the ceiling, leaving an odour of singed fur in its wake."
    },
    {
        "text": "[Themes: Humor, office, duck, surreal]\n\n> You look around\nCoffee rooms are the lungs of the Weiner Corporation, filled with caffeine to the same extent that the lungs of excessively successful businessmen are habitually filled with nicotine.\n\nOn the wall, someone has carelessly pinned a poster for the latest movie blockbuster. That's clearly a violation of company policy.\n\nA long wire comes into the room from the west, and you perceive that\nit has been neatly cut into two pieces, one of which is still plugged into the mains.\n\nYou can also see a large cardboard tube (empty) here.\n\n> Go west\nThe corridor heads off to the east and west, and you can always choose to re-enter your office to the north, via an open door upon which your name and job have been inscribed in a decidedly shoddy fashion. There is a faint aroma in the air, but that is not important.\n\n> Inventory\nYou are carrying:\na wire\na cup of coffee\n\n> You examine the wire\nAt last! You are in the possession of the wire to the fax machine!\n\n> Go north\nOne entire wall (the north one, as it happens) is nothing else but a great pane of glass, through which you can see the cityscape that lies outside. The office itself is sparsely furnished: it is equipped with merely a desk, a fax machine, a telephone and a cow. To the south is\nan open door.\n\n> You tie the wire to yourself\nYou fasten the electric wire around your waist gingerly. The knot is tight and sturdy, and the wire thick enough to withstand your weight (not that your weight is anything you should worry about).\n\n> Go north\nYou are falling. That much is certain. The rest -- unsurprisingly enough -- is a blurr.\n\n> You wait for a while\nTime passes."
    },
    {
        "text": "[Themes: Humor, office, duck, violence]\n\n> Go down\nYou flap your arms like a duck. A duck? God forbid."
    },
    {
        "text": "[Themes: Humor, office, duck, violence]\n\n> Go downwards\nYou flap your arms like a duck. A duck? God forbid.\n\nThe ground rushes up to meet it, but its unpleasant designs are thwarted by the intervention of the wire which you had thoughtfully tied around your own waist. For a few seconds, you dangle inches from the ground, contemplating how close you were to disaster.\n\nThen, with a sigh of relief, you untie yourself and clamber down.\nNow I'm coming for you, Mr. Duck, you tell yourself\ndeterminedly as you enter the lobby of the ACME Corporation with a purposeful glint in the corner of your eye.\n\nThe lobby stretches out before you, a beautiful pristine space with sliding doors awaiting you to the south, leading out into the busy street.\n\nYou can enter the elevator here.\n\n> You go outside\nThis is a mystifying room. You wonder what on earth it is for.\n\nYou can enter the elevator here.\n\nLying on the floor here is a curious, cylindrical piece of metal.\n\nYou can also see a pair of scissors, a shirt and a portable squid\nhere.\n\n> You get all\npair of scissors: Taken.\nshirt: Taken.\nportable squid: Taken.\nlight-saber: Taken.\n\n> You enter the elevator\nThis is not a mere elevator: it is a superluminal cartoon lift, whose cruise speed is 299 000 000 meters a second on average, and fully capable of taking you from the lobby to the moon in an astonishingly short time. The glowing digits above the door spell out the number 9 - though you can make the elevator move up and down to your heart's content by the seemingly innocuous act of pressing a numbered button.\n\n> Press 1\nYou press button 1. The lift whirs into action and moves to the\ncorrect level.\n\n> Go outside\nClowns pace to and fro, looking serious.\n\nYou can enter the elevator here.\n\nYou can also see a tie here.\n\n> You examine the clowns\nThey all look pretty much the same.\n\n> You talk to the clowns\nYou approach a lady clown, and narrowly avoid getting a pepper-flavoured custard pie in your face.\n\n> You enter the elevator\nThis is not a mere elevator: it is a superluminal cartoon lift, whose cruise speed is 299 000 000 meters a second on average, and fully capable of taking you from the lobby to the moon in an astonishingly short time. The glowing digits above the door spell out the number 1 - though you can make the elevator move up and down to your heart's content by the seemingly innocuous act of pressing a numbered button.\n\n> You wait awhile\nTime passes.\n\n\"Now what are you going to do, Pond?\" the duck sneers. His black beady eyes glisten with irony.\n\n> Wait\nTime passes.\n\nStill standing there, doing nothing, saying nothing,\" the duck muses. \"Are you having an internal struggle? Oh, how I love those.\nThey're so much FUN!\"\n\n> Wait\nTime passes.\n\nThe duck paces slowly around you, watching your every move.\n\n> Wait\nTime passes.\n\n\"Anatidaephobia. Such a long word for something so, so simple\nand straightforward. Did you know that it doesn't even exist?\" The\nduck chuckles (or rather, quackles) unpleasantly.\n\n> Wait\nTime passes.\n\n\"Do you know what is really the matter with you, Pond?\" the duck whispers, stepping closer. \"It's your inability to face the facts.\"\n\n> Wait\nTime passes.\n\n\"Oh, and just to make matters clear, I will NOT shortly be revealing all the intimate details of my evil plan to dominate the universe to you, before then leaving you to die by a method so convoluted it is almost guaranteed to fail spectacularly. I know that this is something of a tradition for comic-book villains... and I have nothing against traditions... provided that they make sense. Ho, ho, ho.\"\n\n> You wait\nTime passes.\n\n\"Come on, Pond,\" the duck sighs. \"This is riDUCKulous. You haven't\ndone anything heroic so far. You haven't even said a single word to\nme. Are you truly braindead? Is it absolutely beyond your ability to come up with a good-guy oneliner? Even something as simple as \"Yippee-kay-ayyy,  motherf***er\" would suffice.\"\n\n> Wait\nTime passes.\n\n\"This little game you're playing, Pond, is simply boring me to tears.\nI want... a battle to the DEATH!\" And upon this last word, the duck whisks out a light-saber!\n\nWith a barbarian yell, you lunge forward, ready for the Fight of the Century (TM).\n\n1) Hit the duck on the head\n2) Kick the duck in the stomach\n3) Attack him with your light-saber\n\n> 1\n[Hit the duck on the head]\n\n\"Take THAT, you foul fowl!\" you yell, bringing down your fists upon\nhis cranium.\n\n\"I'm... not... a... chicken...\" the duck mumbles, looking somwhat dizzy.\n\n1) Squirt ink in the duck's eyes\n2) Stab the duck with the pair of scissors\n3) Hit the duck again\n4) Disarm the duck\n\n> 1\n[Squirt ink in the duck's eyes]\n\nYou squeeze the squid, but no ink comes out. Instead, a tiny little voice shouts out:\n\n\"HEEEEEEEEEELP! LUNATIC!\"\n\nA whole amry of ninja gangsters then smashes through the window, and with consumate efficiency they rescue the tiny squid from your grasp. Then they knock you and the duck out flat unconscious.\n\nWhen you wake up, you find yourself on a desert island, along with the (very bewildered) duck. Apparently, this is the punishment reserved\nfor people who mistreat members of the Octopi family.\n\n> 1\n[Kick the duck in the private parts]\n\nTaking advantage of the fact that the duck is busy fending off your attack, you swing your knee and totally go for it. The duck makes an odd \"Spprfhgzhjl\" sound and drops his light-saber on the floor.\n\n1) Kill the duck\n2) Talk to the duck\n\n> 2\n[Talk to the duck]\n\n\"I could kill you,\" you say slowly as you threaten the duck with your light-saber. \"But I choose not to.\"\nI beg your pardon?"
    },
    {
        "text": "[Themes: Humor, violence]\n\n> Look around\n\"I could kill you,\" you say slowly as you threaten the duck with your light-saber. \"But I choose not to.\"\n\n> 1\n[Kill the duck]\n\n\"No!\" the duck quacks in panic. \"Spare me! Spare me! I am --\"\n\nHis last words are cut off, along with his head.\n\nAnd thus with a weary sigh you leave his corpse behind, a most uncartoony spectacle in a cartoony world.\n\nAnd so you vanish into the underworld of the ACME Corporation,\npursued by the iron hand of the law, embracing your fears.\n\nYears later, a name rises from the shadows, rising up against evil.\n\nDuckman."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\nMan, what a relief. The Time Rangers finally reset all that damage that you and Paul and basically everyone did to the timeline faster than you can say \"soft reboot\". Now you and him are living back in your old house without having to worry about anything. (Well, Uncle Wally is still on the loose \"somewhen\"). So things have been mundane, kind of, but now it's Paul's birthday coming up and he wishes for a Neptunian deathhound (So I guess they didn't reset the whole alien encounter thing? Let's, uh, just roll with it). You've ordered one through the transmat delivery service. It's just one button press away, looks like it's\n\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nOne of Paul's romance novels is lying on one of the couch.\n\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nOne of Paul's romance novels is lying on one of the couch.\n\n[Author's Note: Man, what a relief. The Time Rangers finally reset all that damage that you and Paul and basically everyone did to the timeline faster than you can say \"soft reboot\". Now you and him are living back in your old house without having to worry about anything. (Well, Uncle Wally is still on the loose \"somewhen\"). So things have been mundane, kind of, but now it's Paul's birthday coming up and he wishes for a Neptunian deathhound (So I guess they didn't reset the whole alien encounter thing? Let's, uh, just roll with it). You've ordered one through the transmat delivery service. It's just one button press away, looks like it's ...]"
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You look at the novel\nUgh. Paul bought another of these self-published amazon novels - \"The candlemaker's son\". Fiargo, the handsome and shirtless candlemaker's son is supposed to marry dull but reliable banker Otuso. Then the travelling artist Blaskeci comes to town and decides Fiagro deserves something better, fights for his love. Sounds like he's trying to steal him from Otuso? But for some reason you're supposed to root for Blaskeci? Not your kind of thing in any case. The cover depicts a pretty exciting swordfight at the opera. Man, you wish you could VISIT to watch it first hand.\n\n> Examine tv\nThe TV is currently switched off.\n\n> You turn on tv\nAs you switch on the TV, you see the president. Oh man!\n\nYou remember how the Time Rangers made a last, minor change to the timeline, as a thank you. You don't envy the poor suckers in the other timeline.\n\n> You visit\nWhat do you want to visit?\n\n> You visit the opera\nYou touch the book cover and get sucked into it.\nOr, I guess, you remember the cover.\n(Magic? This universe has magic now? Whatever.)\n\nYou are  in an opera box with direct view of the stage. However, nobody is paying any attention to the play because there is a sword fight going on in the box to the left, while someone you take to be Fiargo (why is he shirtless at the opera?) is in a box to the right.\n\nA magnificient chandelier hangs a few feet from your box, perfectly between the other two, filling the whole building with warm, golden light.\n\n> You jump\nYou jump on the spot.\n\n> You get on the chandelier\nYou jump onto the chandelier amid \"Ooohs\" and \"Aahs\" from the audience.\n\n> Swing\n(the remote control)\nThere's nothing sensible to swing here.\n\n> Inventory\nYou are carrying:\na remote control\n\n> You get on the box\nWhich do you mean, the left box or the right box?\n\n> Right\nFiargo pushes you away: \"No, signore! This love triangle is already complicated enough!\"\n\n> You look at the right box\nHe is kind of handsome and looks a bit like you. That makes you happy. To bad he isn't better implemented.\n\n> You examine remote\nIt's a device for teleporting the Neptunian deathhound you ordered to your home. There is a small notice on the remote.\n\n> You read the notice\n\"Thanks for ordering a Neptunian deathhound through deathhounds24.biz ! Please be advised to not summon your deathhound without appropriate protection for your home and yourself. Please don't just push the button to read the funny death message. Thanks!"
    },
    {
        "text": "> Go downward\n(first getting off the chandelier)\nYou can't go that way.\n\n> You examine the left box\nThere is a pretty cool sword fight going on. Too bad this isn't a visual medium."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You look at your surroundings\nYou are  in an opera box with direct view of the stage. However, nobody is paying any attention to the play because there is a sword fight going on in the box to the left, while someone you take to be Fiargo (why is he shirtless at the opera?) is in a box to the right.\n\nA magnificient chandelier hangs a few feet from your box, perfectly between the other two, filling the whole building with warm, golden light.\n\n> You throw the remote at the left box\nFutile.\n\n> You jump\nYou jump on the spot.\n\n> You get on the chandelier\nYou jump onto the chandelier amid \"Ooohs\" and \"Aahs\" from the audience.\n\n> You visit the home\nYou shout \"PLUGH!\" at the top of your lungs and soon find yourself teleported back home.\n\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nOne of Paul's romance novels is lying on one of the couch.\n\n> You examine couches\nYou replaced whatever you had in previous games with some nice new leather couches. You feel like they might contain more than they appear.\n\nOn the couches is a romance novel.\n\n> You search couches\nOh look, you find a travel brochure between the cushions. If Paul left this as a hint, it's a well hidden hint. You grab it to take a closer look.\n\n> You look at the brochure\nIt's a lovely travel brochure of Alpha Centauri! It looks so beautiful with its glass savannah. You really wish you could VISIT it.\n\n> You check your inventory\nYou are carrying:\na brochure\na remote control\n\n> You visit the savannah\nNo problem, bro. You call a space uber and soon you find yourself in...\n\nBlack glass as far as the eye can see makes up the surface of this planet. (It really doesn't, though, you're just in the savannah part of Alpha Centauri). You are standing behind some crates, out of view.\n\nA small cage of black steel is standing here, housing a Centaurian flopperglomper.\n\nA figure stands here, it's shape not easily understandable by your eyes.\n\nA plasma rifle is lying on one of the crates.\n\n> You take the rifle\nOh no! You gave up killing people for lent. Better not tempt yourself.\n\n> You examine the rifle\nOh, it's one of those duracellium powered ones, with the funny off switch.\n\nThe plasma rifle is currently switched on.\n\n> You turn off the rifle\nClick. The plasma rifle powers down with a barely audible beep and the ammo counter displays a frowny face for a second.\n\nYou switch the plasma rifle off.\n\n> You examine the figure\nYou do that thing you learnt from that watchmojo \"Top 10 weirdest alien races you can actually meet\" video: Look at him out of the corner of your eye. Oh, judgeing by the size of his ears he is a Tadmorian. Oh, these guys are all ruthless Game hunters. Well, you guess they must have scientists and nannies and stuff, but who cares about those. Anyway, this guy seems to be a Game hunter and pretty pleases with himself. That looks the same all around the universe.\n\n> You look at the cage\nA firm steel cage, big enough for say, uh, a Neptunian death hound. (Apologies if this is an insulting level of hinting - better safe than sorry!). It can be bolted to the floor, if necessary, but it seems to miss its screws.\n\nIn the steel cage is a centaurian flopperglomper.\n\n> You examine the flopperglomper\nIt's a ball, beachball-sized, brown with rust-colored spikes, and adorable little eyes that dart around constantly. It's so ridiculously ugly it's cute again, like a marabou. You're pretty sure they're supposed to have all died out, so this may be the last one in existence.\n\n> You open the cage\nThe flopperglomper rolls out of the cage and away into the distance. The Game Hunter shouts angrily in Tradmorian and grabs the rifle, aims it and -*click*\nYou smirk as the Centauriam flopperglomper rolls towards the Game Hunter and impales him.\n\nAh, but little do you know that the Game hunter was also the last\nof his kind. Man, you are really impressed by how artfully this game tackles ethical questions, and how craftily it elicts emotional responses. It's almost like it's written in Twine.\n\n> You take the cage\nTaken.\n\n> You look in cage\nThe steel cage is empty.\n\n> You put the cage on the pad\nYou put the steel cage on the teleportation pad.\n\n> You close the cage\nThat's already closed."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You drop cage\nDropped."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> Look around\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nOne of Paul's romance novels is lying on one of the couch.\n\nYou can see a steel cage (closed and empty) here.\n\n> You check your inventory\nYou are carrying:\na brochure\na remote control\n\n> You visit the opera\nYou touch the book cover and get sucked into it.\n\nYou are  in an opera box with direct view of the stage. However, nobody is paying any attention to the play because there is a sword fight going on in the box to the left, while someone you take to be Fiargo (why is he shirtless at the opera?) is in a box to the right.\n\nA magnificient chandelier hangs a few feet from your box, perfectly between the other two, filling the whole building with warm, golden light.\n\n> You unscrew the chandelier\nIt is fixed in place.\n\n> You examine the chandelier\nYou have to squint in the light, but you're pretty sure it's bolted with three screws.Looks just like the kind of bolt you need. How convienient.\n\n> You take the screws\nYou imagined in a game like this you'd need a tool for this, but you manage to unscrew most of the screws by hand, amid \"Oohs\" and \"Aahs\" from the audience. There are only 2 screws left, and the chandelier begins to drop and swing, so you decide to jump back to safety.\nYou grab the edge of your box and pull yourself up, as behind you Baskeci feints and then jumps to the chandelier, shouting: \"Fiargo! Let us be together!\"\nUnfortunately, the last screws are not enough to carry the artist AND his ego, and the whole mess crashes down into the ranks, killing some people. Luckily, they were fictional.\nOtuso shouts : \"Fiagro! Finally we can be together!\"\nThe young man shrugs. \"I guess.\"\nAh, happy endings. Nothing left to do here. You return home.\n\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nYou can see a steel cage (closed and empty) here.\n\n> You screw the cage\nit's fiddly work without a screwdriver, but you manage to securely screw down the cage. No more bouncing around."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You check what you're carrying\nYou are carrying:\na screws\na romance novel\na brochure\na remote control\n\n> You put the novel in the cage\nThe steel cage is closed.\n\n> You open the cage\nYou open the steel cage.\n\n> You put brochure in the cage\nYou put the brochure into the steel cage.\n\n> You close the cage\nYou close the steel cage."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You look around\nThis is a spacious, cozy room, which one of those big, expensive TV. The two couches have been moved to the wall to make room for the teleportation pad.\n\nYou can see a steel cage (closed) (in which are a brochure and a romance novel) here.\n\n> You look under the couch\nOh look, a postcard!\n\nOh, it's from your old friend the Venusian warrior woman! (She was in \"The Day I died\", remember? No? Oh well.) She lived with your for a while and the moved back to Venus to become a tour guide at the Mausoleum of the 140th. You and Paul agreed you should VISIT her some day.\n\nCome to think of it, it's kind of odd that the game just called\nher \"The Venusian Warrior Woman\". No name, no real backstory. And then she disappeared the next game with a throwaway line.\n\n> You visit the venus\nNo problem. You get on the Earth-Venus space elevator and a few minutes later you are on Venus. 3 hours of planetary travel later you find yourself near...\n\nYou are in the midst of the Venusian jungles.\nIt was quite a bummer for NASAs budget when they found out 50s scifi was right all along. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\nSome alien tourists (just like yourself) mingle about.\n\nthey are today, where there are no complaints whatsoever.\n\n> You read the postcard\nOh, it's from your old friend the Venusian warrior woman! (She was in \"The Day I died\", remember? No? Oh well.) She lived with your for a while and the moved back to Venus to become a tour guide at the Mausoleum of the 140th. You and Paul agreed you should VISIT her some day.\n\nWell, given the soft reboot, the fate of  Dr. Elbe, another female character (trans at that), is kind of up in the air?\n\n> You examine the tourists\nThey are tourists from all races from the know universe. They are all bipedal, roughly humanoid and can breathe air, for budget reasons.\n\nWell, at least he could pull a J.K. Rowling and pretend you and\nPaul had been black all this time\n\n> You go to the south-west\nReally? You don't feel SAVE at all. I mean safe.\n\nActually, Venusian never have names, just job descriptors. It's\ncalled worldbuilding?\n\n> You go southwest\nYou step towards the rectangular opening of the pyramid. To your right are 3 stone symbols in the stone wall, that seem to open the stone gate that leads inside the stone pyramid. As you step towards the opening, you see something move at the end of the long, long tunnel. Hey, it's The Venusian Warrior Woman.Archeologist Woman.\nShut up. You wave. but then you realize she's running away!\nOh no!\nShe's pursued by what seems to be an ... army? An angry army of black Venusians with red glowing eyes. Now these are either Venusian ghosts are Venusians from some place of the planet you haven't visited- \"Jesus Christ (venus version)! The ghosts of the king's guard!\" shouts an Expositian in the crowd. \"Someone must have opened the crypt! If they get to us, we are all doomed! Quick, close the gate by pushing the stone symbols in the right order.\"\n\nOh yeah, shouldn't she be the Venusian Archeologist Woman,\nthen?\n\n> You examine the symbol\nWhich do you mean, the bear symbol, the triangle symbol or the ennui symbol?\n\n> You examine the Bear\nIt has a picture of a six-armed, three-headed Venusian bear. Must be a mutated variant.\n\nOh, shut up.\n\nA Uranian shouts : \"I looked it up online. The solution is Ennui, Triangle, Bear.\"\n\n> You go southwest\nYou step towards the rectangular opening of the pyramid. To your right are 3 stone symbols in the stone wall, that seem to open the stone gate that leads inside the stone pyramid. As you step towards the opening, you see something move at the end of the long, long tunnel. Hey, it's The Venusian Warrior Woman.Archeologist Woman.\nShut up. You wave. but then you realize she's running away!\nOh no!\nShe's pursued by what seems to be an ... army? An angry army of black Venusians with red glowing eyes. Now these are either Venusian ghosts are Venusians from some place of the planet you haven't visited- \"Jesus Christ (venus version)! The ghosts of the king's guard!\" shouts an Expositian in the crowd. \"Someone must have opened the crypt! If they get to us, we are all doomed! Quick, close the gate by pushing the stone symbols in the right order.\"\n\nOh yeah, shouldn't she be the Venusian Archeologist Woman,\nthen?"
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> Press ennui\nYou can't reach that from here.\n\nOh yeah, shouldn't she be the Venusian Archeologist Woman,\nthen?"
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> Look around\nYou are in the midst of the Venusian jungles. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\nSome alien tourists (just like yourself) mingle about.\n\nOh, shut up.\n\n> You ask the tourists about the king\n(you can only TALK TO here)\nUnfortunately, you haven't learn even the most common alien languages. You're meaning to go to Community College.\n\n> You talk to the tourists\nUnfortunately, you haven't learn even the most common alien languages. You're meaning to go to Community College.\n\n> You examine the Ennui\nMeh. You don't feel like looking at it.\n\n> You examine the Bear\nIt has a picture of a six-armed, three-headed Venusian bear. Must be a mutated variant.\n\n> You examine the triangle\nAh, the symbol of the Venusian Illuminati. Legend goes it's the symbol of Ancient Aliens who visited Venus, sharing technology so ancient aliens from Venus could go to Earth and invent the pyramids, or something?\n\n> You go southwest\nYou step towards the rectangular opening of the pyramid. To your right are 3 stone symbols in the stone wall, that seem to open the stone gate that leads inside the stone pyramid. As you step towards the opening, you see something move at the end of the long, long tunnel. Hey, it's The Venusian Warrior Woman.Archeologist Woman.\nShut up. You wave. but then you realize she's running away!\nOh no!\nShe's pursued by what seems to be an ... army? An angry army of black Venusians with red glowing eyes. Now these are either Venusian ghosts are Venusians from some place of the planet you haven't visited- \"Jesus Christ (venus version)! The ghosts of the king's guard!\" shouts an Expositian in the crowd. \"Someone must have opened the crypt! If they get to us, we are all doomed! Quick, close the gate by pushing the stone symbols in the right order.\"\n\n> Go southwest\nNo need. They are all coming towards you anyway.\n\nThe army of angry ghosts bursts out of the pyramid and murder everyone. Better get your stone symbols straight!"
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You wait for a while\nTime passes.\n\nOh, shut up.\n\nA Uranian shouts : \"I looked it up online. The solution is Ennui, Triangle, Bear.\"\n\n> Wait\nTime passes.\n\nSomeone in the crowd yells : \"On the subreddit they are saying Bear, Ennui, Triangle!\"\n\n> Wait\nTime passes.\n\nSomeone in the crowd yells : \"I get it now! It's a metaphor for Twitter!\"\n\n> You wait for a while\nTime passes.\n\nThe army of angry ghosts bursts out of the pyramid and murder everyone. Better get your stone symbols straight!\n\n> You visit the home\nArgh, you can't leave because you are caught in a plot contrivance.\n\nOh, shut up.\n\nA Uranian shouts : \"I looked it up online. The solution is Ennui, Triangle, Bear.\"\n\n> You go to the southeast\nYou can't go that way.\n\nOh yeah, shouldn't she be the Venusian Archeologist Woman,\nthen?\n\n> You wait for a while\nTime passes.\n\nOh, shut up.\n\n> You wait\nTime passes."
    },
    {
        "text": "[Themes: The Alex and Paul Series]\n\n> You look around\nYou are in the midst of the Venusian jungles. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\nSome alien tourists (just like yourself) mingle about.\n\n> You examine the pyramid\nTo be fair, you're kind of disappointed. It's made of grey rock and about the size of the ones they have in Egypt. But there is nothing special about it.\n\n> You climb pyramid\nLittle is to be achieved by that.\n\n> Examine postcard\nOh, it's from your old friend the Venusian warrior woman! (She was in \"The Day I died\", remember? No? Oh well.) She lived with your for a while and the moved back to Venus to become a tour guide at the Mausoleum of the 140th. You and Paul agreed you should VISIT her some day.\n\n> You go southwest\nYou step towards the rectangular opening of the pyramid. To your right are 3 stone symbols in the stone wall, that seem to open the stone gate that leads inside the stone pyramid. As you step towards the opening, you see something move at the end of the long, long tunnel. Hey, it's The Venusian Warrior Woman.Archeologist Woman.\nShut up. You wave. but then you realize she's running away!\nOh no!\nShe's pursued by what seems to be an ... army? An angry army of black Venusians with red glowing eyes. Now these are either Venusian ghosts are Venusians from some place of the planet you haven't visited- \"Jesus Christ (venus version)! The ghosts of the king's guard!\" shouts an Expositian in the crowd. \"Someone must have opened the crypt! If they get to us, we are all doomed! Quick, close the gate by pushing the stone symbols in the right order.\"\n\n> Continue\nNothing obvious happens.\n\nThe army of angry ghosts bursts out of the pyramid and murder everyone. Better get your stone symbols straight!\n\n> You pull the Ennui\nIt is fixed in place.\n\nOh, shut up.\n\nA Uranian shouts : \"I looked it up online. The solution is Ennui, Triangle, Bear.\"\n\n> Turn ennui\nIt is fixed in place.\n\nSomeone in the crowd yells : \"On the subreddit they are saying Bear, Ennui, Triangle!\"\n\n> You take the ghost\nI don't suppose the ghost would care for that.\n\nThe ghost runs towards one of the scared tourists and bites off his head! Luckily, HD 219134b'ians have at least three. Nevertheless, they dropped their camera in shock.\n\n> You take the camera\nTaken.\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> You examine the camera\nIt take a moment to get your head around a camera made for at least three heads, but then you realize they didn't take a photo of anywhere. No place new to visit. Nowhere to go.\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> Photograph ghost\nYou take a nice picture of the ghost.\n\nThe ghost claws a Taphao Thongian in half. You probably expect some joke here, but it's a quite horrifying mess.\n\n> You examine the ghost\nA vaguely humanoid shade, blacker than black, fuzzy around the edges with a pair of three red glowing eyes. A triplet of red glowing eyes? Very scary!\n\n> You kill the ghost\nHe's incorporeal.\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> You visit the home\nYou can't leave these tourists to their fate. (Paul made it clear time and again that this kind of behavior is not okay and you're trying to indulge him).\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> You examine the camera\nIt take a moment to get your head around a camera made for at least three heads, but then you realize they didn't take a photo of anywhere. No place new to visit. Nowhere to go.\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> Inventory\nYou are carrying:\na postcard\na screws\na remote control\n\nThe ghost runs towards one of the scared tourists and bites off his head! Luckily, HD 219134b'ians have at least three. Nevertheless, they dropped their camera in shock.\n\n> You talk to the ghost\nYou don't speak Old Venusian. (Best grind for some XP.)\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> You examine the gate\nA huge stone gate.You think you hear a faint voice from inside: \"Alex? Alex, let me out.\"\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> You show the postcard to the ghost\nThe ghost is unimpressed.\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> You go southwest\nThe stone gate is closed.\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> You open gate\nIt isn't something you can open.\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> You look\nYou are in the midst of the Venusian jungles. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\nThe blackish, fuzzy form of a Venusian ghost looms here.\n\nSome alien tourists (just like yourself) mingle about.\n\nYou can also see a camera here.\n\nThe ghost claws a Taphao Thongian in half. You probably expect some joke here, but it's a quite horrifying mess.\n\n> Wait\nTime passes.\n\nThe ghost runs towards one of the scared tourists and bites off his head! Luckily, HD 219134b'ians have at least three. Nevertheless, they dropped their camera in shock.\n\n> You get the camera\nTaken.\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> Photograph ghost\nYou take a nice picture of the ghost.\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> Photograph ghost\nYou take a nice picture of the ghost.\n\n> You look\nYou are in the midst of the Venusian jungles. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\nThe blackish, fuzzy form of a Venusian ghost looms here.\n\nSome alien tourists (just like yourself) mingle about.\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> You examine the gate\nA huge stone gate.You think you hear a faint voice from inside: \"Alex? Alex, let me out.\"\n\nThe ghost runs towards one of the scared tourists and bites off his head! Luckily, HD 219134b'ians have at least three. Nevertheless, they dropped their camera in shock.\n\n> You look at the Triangle\nAh, the symbol of the Venusian Illuminati. Legend goes it's the symbol of Ancient Aliens who visited Venus, sharing technology so ancient aliens from Venus could go to Earth and invent the pyramids, or something?\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> You open gate\nIt isn't something you can open.\n\nThe ghost claws a Taphao Thongian in half. You probably expect some joke here, but it's a quite horrifying mess.\n\n> You go to the southwest\nThe stone gate is closed.\n\n> Examine postcard\nOh, it's from your old friend the Venusian warrior woman! (She was in \"The Day I died\", remember? No? Oh well.) She lived with your for a while and the moved back to Venus to become a tour guide at the Mausoleum of the 140th. You and Paul agreed you should VISIT her some day.\n\nThe ghost runs towards one of the scared tourists and bites off his head! Luckily, HD 219134b'ians have at least three. Nevertheless, they dropped their camera in shock.\n\n> You get the camera\nTaken.\n\nThe ghost jumps on top of a Dimidiumian and claws into her fiercely! Luckily, they are made of what scientists call \"some sort of Jelly\" and it doesn't hurt her that bad.\n\n> Photograph gate\nYou take a nice picture of the gate.\n\nThe ghost bites an Lipperheyians nose off. They grow back rather quickly, but how does he smell in the mean time?\n\n> You examine camera\nIt take a moment to get your head around a camera made for at least three heads, but then you realize they didn't take a photo of anywhere. No place new to visit. Nowhere to go.\n\nThe ghost claws a Taphao Thongian in half. You probably expect some joke here, but it's a quite horrifying mess.\n\n> You throw the camera at the ghost\nYou lack the nerve when it comes to the crucial moment.\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> You visit nowhere\nYou step towards the ghost, and as you feel his ectoplasmic hands on you, you go\n\nMan, for once I don't have to write a room description. Nice!\n\nThe blackish, fuzzy form of a Venusian ghost looms here.\n\nThe ghost finally turns its horrifying visage towards you. *gulp*\n\n> You visit nowhere\nYou step towards the ghost, and as you feel his ectoplasmic hands on you, you go\n\nMan, for once I don't have to write a room description. Nice!\n\nThe blackish, fuzzy form of a Venusian ghost looms here.\n\n> You drop the camera\nDropped.\n\n> You visit the venus\nYou wave sarcastically at the ghost as you disappear. Good job! (We'll leave the ethical implications of leaving an \"aware\" being in eternal nothingness for the reviews.)\n\nYou are in the midst of the Venusian jungles. The great mauseoleum is roughly pyramid shaped and made from grey, mossy rock. And entryway leads inside to the southwest.\n\n> You check your inventory\nYou are carrying:\na camera\na postcard\na screws\na remote control\n\n> You look at the gate\nA huge stone gate.You think you hear a faint voice from inside: \"Alex? Alex, let me out.\"\n\n> You examine the bone\nA small bone, probably from a Venusian snail. Those are delicious.\n\n> You open the cage\nYou open the steel cage.\n\n> You put the bone in the cage\nYou put the bone into the steel cage.\n\n> You close the cage\nYou close the steel cage."
    },
    {
        "text": "How will you change the lives of those around you today?\n\nType help for background and instructions.\n\nIt's a chilly morning in January. The windows are frosty, and the sun has barely risen. Nevertheless, you wake up feeling lively this morning. But there's no time to waste diddling around; you have to get to work. Your daily ablutions are performed at maximum haste, and now ready to leave. The bathroom lies to the west and the front door lies to the south and leads to the parking lot.\n\n[Author's Note: Intangible is a short story with a few choices that deals with how different emotions affect our actions now or at a later time. Shouldn't take longer than 10 minutes to play.]"
    },
    {
        "text": "> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\na Happiness\n\n> You eat the Happiness\nThat's plainly inedible.\n\n> You hug the Happiness\nYou can only do that to something animate.\n\n> You go south\n(first opening Front Door)\n\nThere are cars of many different colors here. The cold breeze momentarily halts your march towards the car. Stepping out, you run into your neighbor. You've only talked once when you moved into the apartment complex. Her name is either Alice or Alicia; no one can know for sure other than her and her boyfriend. They usually keep to themselves, but sometimes you hear them arguing and screaming through the wall. Sometimes you see her running out of her home with tears running down her cheeks. Sometimes she wears a turtleneck, even on a warm, sunny day. Her expression today can only be described as sad.\nTo the east is the Business Center, where your workplace is and the north to get back into your apartment.\n\n> You ask Alice,  to inventory\nNeighbor seem to be carrying a Sadness.\n\n> You give the Happiness to the neighbor\nYou give the Happiness to Neighbor.\n\n> You talk to Alice\nShe does not respond.\n\"Good morning! God, I feel like I can take on the whole world today. That's it! Today, I'm going to make changes to my life... for the better!\" She continues to ramble on.\n\n> You ask Neighbor,  to check your inventory\nNeighbor seem to be carrying a Happiness and a Sadness.\n\n> You take the sadness\nTaken.\n\n> About yourself\nAs good-looking as ever.\n\n> You drop the sadness\nDropped.\n\n> You go east\nThe business center is a small cul-de-sac, just a few minutes away\nfrom the central business district. You drove to your work place, only to find you were an hour early! Your clock must have been off. Though most days you would yawn and nap in the car for an hour, today feels different for some reason. Maybe happiness is just a state of mind. To the south is Downtown.\n\n> You check what you're carrying\nYou are carrying:\na Sadness\n\n> Go north\nIt's still early; are you sure you want to get to work?\n\n> You go south\nPersonally, you hate Downtown. Crowds of people, polluted air, and brutal capitalism aren't your cups of tea. What catches your eye on this particular day is an angry looking homeless man glaring at a fashionable socialite who screams at this man in disgust. To the north of here is the Business Center\n\n> You ask Socialite,  to check your inventory\nSocialite seem to be carrying a Disgust.\n\n> You ask Homeless,  to check your inventory\nHomeless man seem to be carrying an Anger.\n\n> You ask Robot,  to check what you're carrying\nROBOT, I\n\nYou seem to want to talk to someone, but I can't see whom.\n\n> You give the sadness to the Socialite\nYou give the Sadness to Socialite.\n\n> You get the disgust\nTaken.\n\n> You talk to the Socialite\n\"The poor man. I hope he gets some help.\" Wait, what? Just a second ago, she was suggesting the man to kill himself. This one's an emotional rollercoaster.\n\n> You take the anger\nSocialite picks up the Anger.\n\n> You talk to the Socialite\n\"The poor man. I hope he gets some help.\" Wait, what? Just a second ago, she was suggesting the man to kill himself. This one's an emotional rollercoaster.\nHer swearing intensifies. Too vulgar to record. Pedestrians look in horror. Mothers clasp their children's ears. And babies all over the city begin crying.\n\n> You take disgust\nHomeless man picks up the Disgust.\n\n> You talk to homeless\nThe man rolls into the fetal position, perhaps out of shame. It's probably best not to bother him.\n\n> You get the anger and disgust\nAnger: Taken.\nDisgust: Taken.\n\n> You throw the anger at the Socialite\nYou lack the nerve when it comes to the crucial moment.\n\n> You go north\nTo the south is Downtown and to the west is the Parking Lot;\notherwise get to work! The door is to the north.\n\n> Go west\nThere are rows of cars, each belonging to a different person. To the east is the Business Center, where your workplace is and the north to get back into your apartment.\nYou meet your neighbor.\n\n> You give the anger to neighbor\nYou give the Anger to Neighbor.\n\n> You talk to the neighbor\n\"Good morning! God, I feel like I can take on the whole world today. That's it! Today, I'm going to make changes to my life... for the better!\" She continues to ramble on.\nHer face changes from an empty expression into unfathomable rage. Perhaps this is not the best decision...\n\n> Y.\nThe day now officially begins. Tiresome hours working in a cubicle, conversing with your coworkers, and attending long and monotonous meetings leave you fatigued at the end of the day. Arriving at home after being overworked; you take the opportunity to watch the news and collect your thoughts. How have your decisions changed other people's lives?\n\nTonight was an unusually quiet night. Not a single bang on the wall\nor brief stints of indiscernible shouts happened tonight. For the\nfirst time since you moved in, you slept in relative peace. Tomorrow morning, there will be a note on the door. It'll say: \"Thank you. - Alicia\" She's never seen again.\n\nA loud bang is heard through the walls. But it's not a sound that you're familiar with. Gunshot? A second one is heard. The entire neighborhood rings 911, but the deed was done: a murder-suicide with the gun in your neighbor's hands.\n\nA pity. A pity and a half. Two pities. The young socialite scratched the number on her check. \"Thank you very much for your extremely generous donation.\" an old lady says. She walks out feeling she truly made a difference in the world.\n\nAs for you? Like any other day, you wrap your emotions in a sheet and hide it in your closet. Then you lock it shut for tomorrow. You bide your time for the myriads of intangibles to burst out from the Pandora's Box in the corner of your bedroom.\n\n> You go to the west\nAlmost left the wallet in here! It's not unusual to be in a hurry in the morning, but the wallet usually doesn't follow to the bathroom either.\n\nYou see your wallet here.\n\n> You look at the wallet\nA leather wallet your mother gave to you when you were seventeen. It holds fond memories, your license, and some change.\n\n> You get the wallet\nTaken.\n\n> You look at the license\nYou find nothing of interest.\n\nYou can't see any such thing.\n\n> You check your inventory\nYou are carrying:\nWallet\na Happiness\n\n> You go east\nand leads to the parking lot.\n\n> You go east\nThe business center is a small cul-de-sac, just a few minutes away\nfrom the central business district. You drove to your work place, only to find you were an hour early! Your clock must have been off. Though most days you would yawn and nap in the car for an hour, today feels different for some reason. Maybe happiness is just a state of mind. To the south is Downtown.\n\n> You go south\nPersonally, you hate Downtown. Crowds of people, polluted air, and brutal capitalism aren't your cups of tea. What catches your eye on this particular day is an angry looking homeless man glaring at a fashionable socialite who screams at this man in disgust. To the north of here is the Business Center\n\n> You give Wallet to homeless\nYou drop some change into the can. \"Bless ya sir.\" He thanks you for your charity.\n\n> Inventory\nYou are carrying:\na Sadness\nWallet\na Happiness\n\n> You give the Happiness to homeless\nYou give the Happiness to Homeless man.\n\n> You talk to homeless\nThe homeless man smiles. He hasn't smiled in a long time.\n\n> You give the disgust to neighbor\nYou give the Disgust to Neighbor.\n\n> You talk to Alicia\nInstead of giving you a dirty look, she falls into a pensive mood. The possibilities going through her mind are endless.\n\n> Y.\nThe day now officially begins. Tiresome hours working in a cubicle, conversing with your coworkers, and attending long and monotonous meetings leave you fatigued at the end of the day. Arriving at home after being overworked; you take the opportunity to watch the news and collect your thoughts. How have your decisions changed other people's lives?\n\nOne last fight before she hits the road. Tears are heard through the walls, but today is different. It was his tears. After years of physical and emotional abuse, your (former) neighbor leaves for good. Disgusted of her old life, she chooses to live free of turtlenecks and bruises.\n\nWith a smile to feed his efforts and an idea to fuel success, the homeless man writes a memoir of his time on the streets on a public library computer. Selling cans to pay for the printing adds the extra sympathy points to make his story a best seller. His face is on\ndaytime talk shows now.\n\nAs for you? Like any other day, you wrap your emotions in a sheet and hide it in your closet. Then you lock it shut for tomorrow. You bide your time for the myriads of intangibles to burst out from the Pandora's Box in the corner of your bedroom."
    },
    {
        "text": "Today is the day, hurrah, hurrah! Leap for pleasure with unbounded measure: kind master, generous master, merciful master piled faster\nand faster graces and glories beyond all fabulous places in stories - today you away to a faraway nation, to the land of the quim delivery station.\n\nQuim bag in hand, you bow, then stand, then scurry with feet furry out the door.\nDroll Toll Troll\n\nOh, glorious, wondrous, rapturous land! The beauty is more than you can understand. Master told of sky - master does not lie - but little furry servant you, you could not know the wonder true. But now you see, you see in glee and praise master's mercy to let you free - not free to leave, silly fuzzy thing, but free to be outside in the wide under-sky, on the road from master's abode to who knows. Master\nknows, and you he told: eastward lies the quim delivery station to which (to your elation) you are to move your fleet and furry feet and inject, input, insert every quim without qualm, lest master withold balm.\n\nYou are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues\nthe horizon eastward.\n\n> You go to the east\nFirst time farthest from master's hut, first time farthest from\nmaster. Slowly, first, then faster and faster furry feet patter along the quiet road, hands to hold gently the load.\n\nWhat's this? 'Road' wouldn't be a miss, but this rises steeply over a river - a bridge, plainly, from hither to thither, with you hither and the goal thither. Between these two places places himself a looming, long-limbed lobster - I mean Robster - I mean mobster - I mean momster - I mean monster. On his face is placed a frown twice upside-down,\nand in his eye you espy a flicker that died. \"To pass, cross, or otherwise my bridge transverse you must, without loss, provide a\nsmidge to me of that - in the whole universe - which is most\nprecious.\"\n\nThe droll toll troll stands in your way and demands his pay. Under\nthe bridge streams a stream.\n\n> You examine the quim\nQuiet quims, buried in burlap. Do they exist when you cannot see\nthem? Do they not exist? Do they exist in some sort of superposition of existing and not existing? Similarly, do YOU exist when master isn't looking at you? Alas, if only master would tell you the answer.\n\n> About you\nFurry, fuzzy, fizzy, fazzy, silly little thing.\n\n> You examine the bridge\nRising, rising, up and arched and falling, falling, down and ground, streaming water underneath, troll above the neath.\n\n> You examine troll\nMountainous monster, limber of limb above and lumbering below -\nmeaning waving five arms and walking slow. In eye and face he knows\nno glow, so there grows a menacing show of teeth in a\ntwice-upside-down frown. His arms wave to alarm the far and harm the near.\n\n> You ask Troll about the toll\n\"To pass, cross, or otherwise transverse my bridge you must, without loss, provide a smidge to me of that which - in the whole universe - which is most precious.\"\n\n> You give quim to Troll\nNever, never, never in all of ever would these limbs let loose of\nthese quims! Oh, precious quims, little quims, always, always quiet little quims, safe in the holding of this furry little thing.\n\n> Go west\nYou are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues\nthe horizon eastward.\n\n> You go west\nUnfinished! Incomplete! Undone! Partway! Master must not see you with the bag of quims! Master must know the whole project is done\nelse there's no fun. Run, run east with quims, return only when delivered, only then.\n\n> What is a the quim\nLook, man, I don't know either. It's just a MacGuffin.\n\n> Wait\nTime passes.\n\n> You go east\nThe droll toll troll stands in your way and demands his pay. Under\nthe bridge streams a stream.\n\n> Kiss Troll\nYou can't see any such thing.\n\nIn a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.\n\n\"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure.\"\n\n> Go east\nYou stroll by the toll troll.\n\nElation! The quim delivery station! A box atop a pole, inside the\nbox a hole, facing the westward side at just the height right for\nfuzzy furry little things. Strange - the range of the road runs\nlonger than master told - master didn't say it didn't but master\ndidn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.\n\n> Go east\nMaster did not say to go along that way; master said - it's in your head - deliver quims, return without them. Return, said master; what disaster falls upon the one who rolls along beyond where the end belongs? Master's quims, you could not take them - unless you did,\nbut what then? Road, the road, eastward rolls the road, a stretch forever, past the end, with the quims... A whim, a whim.\n\n> You put the quims in the hole\nIn go quims, quims go in, quims in bag and bag in box and little furry thing is good furry thing, good and fuzzy and pleasing master.\n\n> You examine the hole\nFrom the center of the road rises a rectangular prism of wood, fitted on the top a box, as tightly as it could. In the box, in it's side, resides a hole big enough for the whole bag of quims. In fact, the hole who once lacked of quims is now stuffed to the brim with them.\n\n> You look at bag\nQuiet quims, buried in burlap. Do they exist when you cannot see\nthem? Do they not exist? Do they exist in some sort of superposition of existing and not existing? Similarly, do YOU exist when master isn't looking at you? Alas, if only master would tell you the answer.\n\n> You check what you're carrying\nEmpty hands, empty, fuzzy, tiny little hands.\n\n> Go west\nBack running to master, faster and faster, over the bridge and down\nthe road to the old abode to hold pride in you eye for master to spy and offer - perhaps - praise of your worth,\n\n> You go to the north\nPasswords\nTroll Humor\nSuperweapon\nScience!\n\n> Go north\n> Passwords\nTroll Humor\nSuperweapon\nScience!\n\n> Go north\nPasswords\n> Troll Humor\nSuperweapon\nScience!\nWhat if you took various pieces of the troll - you know, as souvenirs?\n\nSinging\nPasswords\n> Troll Humor\nSuperweapon\nScience!\n\n> You go to the north\nPasswords\nTroll Humor\n> Superweapon\nScience!\nThe troll's eyes are actually \"laser-sighted death ray emitters\".\n\nSinging\nPasswords\nTroll Humor\n> Superweapon\nScience!\n\n> Go north\nPasswords\nTroll Humor\nSuperweapon\n> Science!\nTrolls are stereotyped as being unintelligent, but our friend here actually has a degree in elementary particle physics.\n\nSinging\nPasswords\nTroll Humor\nSuperweapon\n> Science!\n\n> You go east\nA lighthearted excursion in the style of the Ambiguous Adventures by N.C. Hunter Hayden\n\nOh, glorious, wondrous, rapturous land! The beauty is more than you can understand. Master told of sky - master does not lie - but little furry servant you, you could not know the wonder true. But now you see, you see in glee and praise master's mercy to let you free - not free to leave, silly fuzzy thing, but free to be outside in the wide under-sky, on the road from master's abode to who knows. Master\nknows, and you he told: eastward lies the quim delivery station to which (to your elation) you are to move your fleet and furry feet and inject, input, insert every quim without qualm, lest master withold balm.\n\nYou are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues\nthe horizon eastward.\n\n> You go to the east\nFirst time farthest from master's hut, first time farthest from\nmaster. Slowly, first, then faster and faster furry feet patter along the quiet road, hands to hold gently the load.\n\nWhat's this? 'Road' wouldn't be a miss, but this rises steeply over a river - a bridge, plainly, from hither to thither, with you hither and the goal thither. Between these two places places himself a looming, long-limbed lobster - I mean Robster - I mean mobster - I mean momster - I mean monster. On his face is placed a frown twice upside-down,\nand in his eye you espy a flicker that died. \"To pass, cross, or otherwise my bridge transverse you must, without loss, provide a\nsmidge to me of that - in the whole universe - which is most\nprecious.\"\n\nThe droll toll troll stands in your way and demands his pay. Under\nthe bridge streams a stream.\n\n> You take the eyes\nNo, no, proper grammar would be: take ME.\n\n> You look at the eye\nEmpty, unsparkable, unremarkable holes leading to void needing of\nsoul.\n\n> You take yourself\nNo no no, silly furry thing, to master does that belong, along with\nthe soul inside.\n\n> You examine the teeth\nLittle furry things do not do such things. Would you add misery to what he sees already with his four eyes sad? He has enough bad.\n\nPointy pointy, snip snip, sharp sharp 'tween lip and lip.\n\n> You get the teeth\nYou flunked out of dental school first semester.\n\n> Xyzzy\nI got nothing. Sorry.\n\n> Xyzzy\nYou expect me to come up with something witty, don't you? I really\nput a lot of effort into the IF as a whole, so just enjoy that, will you?\n\n> Xyzzy\nAugh! Something witty and cleaver and funny, huh? Well, guess what?\nI don't want to.\n\n> Xyzzy\nAlright, fine. How's this for witty and cleaver? The quims explode and you die.\n\n> Sing\nLa la la la la la lu la.\n\n> Sing\nBATMAN!\n\n> You examine the grass\nRed, red, red the waves roll forever, with wind through leaves in dodges and weaves, oceans of unfathomed depth and unmeasured breadth unbroken but by rising stones standing alone.\n\n> You examine the stones\nlike breaching whales out of the infinite, sunny ocean of grasses.\n\n> You take the stones\nToo far, too far, silly furry thing, you would be lost, lost, lost.\n\n> You examine the sky\nNo clouds, no green pyramidal clouds today. A perfect purple day.\n\n> You examine the road\nWhite road, right road, onward to success; eastward leading, still proceeding - guiding you, you guess (master wasn't clear, and master's isn't here - to ask - master said east, and thither the road - at least, you think).\n\n> Kiss Troll\nIn a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.\n\n\"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure.\"\n\n> You examine the stream\nBubbling, babbling, burbling brook, winding and weaving with hooks and crooks. From far to the south to far in the north, running and streaming, 'round bends, there careening. Gold-colored water from somewhere to elsewhere, free frolicking through the red sea of leaves.\n\n> You go to the south\nNo, no, no, not only too little, but too brittle of mind; only the road, grass-lined, for your furry little feet. Too quick to pick the wayward way and away your way back home does fly. Try, try to stay straight on the street, straight with furry feet east and east until you meet, as master is fair, the whole goal of this affair.\n\n> Go east\nYou stroll by the toll troll.\n\nElation! The quim delivery station! A box atop a pole, inside the\nbox a hole, facing the westward side at just the height right for\nfuzzy furry little things. Strange - the range of the road runs\nlonger than master told - master didn't say it didn't but master\ndidn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.\n\n> Go east\nQuims delivered, yet you shiver to wonder to wander away from master. To return did master intend - would you with that contend? The road runs down alone, along the sides the rise of red, the plain moves out and out, empty, no master, no quims, only wind, wind, wind through red...\n\n> You go to the east\nEast and on and past all ken, past all memory of kith or quim, through the endless plain, master from your mine long waned,\n\n> Kiss\n(the Droll Toll Troll)\nIn a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.\n\n\"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure.\"\n\n> Go east\nYou stroll by the toll troll.\n\nElation! The quim delivery station! A box atop a pole, inside the\nbox a hole, facing the westward side at just the height right for\nfuzzy furry little things. Strange - the range of the road runs\nlonger than master told - master didn't say it didn't but master\ndidn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.\n\n> Go east\nEastward onward rolling through the plain, ocean's red rising, waving, rolling"
    },
    {
        "text": "\"In order for the light to shine so brightly, the darkness must be present.\" -Francis Bacon\n\nThere have been unexplained murders and disappearances at a seemingly innocent amusement area just north of Providence, Rhode Island. Due\nto your strange investigations in the past, you are the one called in solve the mystery of the. . .\n\nYou have been hired by the police chief, Elmer Walker, but he wanted\nto keep his involvement secret. Instead, he has sent you a dossier about the recent incidents here in Swan Point. He said he would check in on you, but otherwise, you are on your own. This is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.\n\n> Inventory\nYou are carrying:\na fedora (being worn)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na cigar lighter\na lock pick\na dossier (closed)\na holster (being worn)\na revolver\n\n> You examine revolver\nIt's a .45 revolver.\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\n> You read the dossier\nIt is an openable folder meant to hold documents.\n\n> You open dossier\nYou open the dossier, revealing the first incident, the second incident, the third incident, the fourth incident and the fifth incident.\n\n> You look at the clothes\nThey're what you could afford with your wages but at least they're in style.\n\n> You read first\nMay 12, 1928; Kent Howard and Lucy Pringle, lovers, wandered from\nthe carnival and into the cemetery. Kent Howard was found injured and insane the next morning, babbling about \"horrors from the grave\". He now resides at the Butler Insane Asylum and Lucy Pringle is still missing.\n\n> You read second\nJune 14, 1928; Freddie Pendergast, age 12, entered the \"Tunnel of Terrors\" ride at the carnival. The mechanical car came back but the boy is still missing.\n\n> You read third\nJuly 23, 1928; Police officer Andy Reynolds investigated a report\nof vandals at the city dump. Reynolds claims to have seen the Pendergast boy there but the child was \"swallowed by a moving mountain of garbage\" according to Reynolds' report. Reynolds has been\ndismissed from the force for drinking. He resides at Mother\nMatheson's boarding house.\n\n> You read fifth\nSept 12, 1928; Jordan McIntyre, attendant at Butler Insane Asylum,\nwas on his way home, a walk that takes him by the cemetery. He never made it home and his bloody clothes were found near the south gate of the cemetery. Unbelievable as it sounds, it appears that he was\npulled through the gate. There was also dried mucus covering the entirety of the scene.\n\n> You go to the west\nThis is a cozy front porch that looks out onto the dogwood trees. The front walk is to the east and the front door is to the west.\n\nA rocking chair sits among the scattered leaves that made their way onto the porch.\n\n> You examine the chair\nIt has a tall back and a homemade look to it. Nonetheless, it looks comfortable.\n\n> You sit in the chair\nYou get onto the rocking chair.\n\n> Rock\nYou creakily rock on the rocking chair.\n\n> You knock on the Door\nYou knock on the front door. A moment later, a woman's voice can be heard, inviting you to come in.\n\n> You enter\n(first getting off the rocking chair)\nYou can't go that way.\n\n> You open the Door\nYou open the front door.\n\n> You go west\nThis is a small foyer marking the entrance to the boarding house. You can see a dining room to the north, a living room to the south, and a hall stretches to the west where it seems to terminate in a room with\na lot of windows. In the downstairs hall is a set of stairs up to the second floor. The place seems to be decorated with original artwork and craftwork.\n\nYou can see Andy Reynolds here.\n\nAndy Reynolds looks around as if wondering what to do with himself.\n\n> Topics\nYou could ask him about himself, the first incident, the second incident, the third incident, the fourth incident, the fifth incident or the Carnival.\n\n> You ask Andy about himself\n\"What's your story?\" you ask but instead of a reply, Andy Reynolds\njust gives you an irritated look.\n\n> You ask andy about third\n\"So you were the cop fired for making that report about the event at the city dump?\"\n\n\"I'm not going to let you sit here and scoff me.\" he begins to say but you set him straight.\n\n\"On the contrary. I've seen shit that would change your gender. I'm here to find the truth, so tell me what you know.\" you say.\n\nHe sees you are serious so he tells you what he knows.\n\n(press SPACE)\"I was about a hundred yards into the dump when I got\nthis feeling I was being watched. I saw this person standing there in the middle of a pile of smouldering garbage. I looked closer and saw it was a small person, maybe a child, maybe the Pendergast boy is what I was thinking at the time. He even looked at me all scared and I was about to approach him to help him out and take him home, but that's when it happened.\n\n\"The garbage around him rose up like a wave and swallowed the boy. Everything settled and he was gone. Like an idiot, I reported the truth to Chief Walker. He didn't fire me but the city council did, saying I was a drunk. I'm not a drunk. I'm just a bitter\nex-policeman now. That's my story. Now get outta my face.\"\n\nAndy Reynolds looks at some of the crafts hanging on the walls.\n\n> You examine the crafts\nYou can tell they are homemade as they aren't really that good.\nYou're allowed to say so because you took an art class once.\n\nAndy Reynolds looks around as if wondering what to do with himself.\n\n> You ask him about second\n\"What about the Pendergast boy? You know anything about him that\nmight help me find him?\" you ask.\n\n\"You're going to try to find him? Good luck. You know after a few days. . .\" he says but you interrupt.\n\n\"I'm hoping for once, a missing persons case doesn't end in homicide.\" you tell him.\n\n\"Well,\" he says, \"I really don't know more than the simple fact that, against his mom's wishes, he went down to the carnival one evening\nwith the Coombs brothers. Freddie Pendergast got on the Tunnel of Terrors ride and never emerged again. The ride was searched, of course, but no body was found. Probably abducted.\" he says with the proper cynacism.\n\n> Topics\nYou could ask him about the first incident, the fourth incident, the fifth incident or the Carnival.\n\n> You ask about Carnival\n\"You ever visit that carnival down the road?\" you ask Andy Reynolds.\n\n\"Not really.\" he says. \"I don't like the carny-folk. Buncha\nscumbags, really. And that Jonathan Boom, the security guard, thinks he's some sort of cop or soldier, but he's really just a disturbed man with a gun.\"\n\nAndy Reynolds looks at some of the crafts hanging on the walls.\n\n> Go south\nThis is a comfortable common area, complete with an old but comfortable-looking sofa, an armchair, and a bookcase. You can see\nthe foyer to the north and a narrow door to the west. Outside the windows, you can see the dogwoods in Mother Matheson's yard. The same artwork that is seen throughout the house can be found in here.\n\n> You examine the artwork\nYou can tell they are homemade as they aren't really that good.\nYou're allowed to say so because you took an art class once.\n\n> Examine books\nHow one can collect so many books of such a limited genre baffles you.\n\n> You look at the bookcase\nIt was either found somewhere or homemade, but it seems sturdy enough. It is full of romance paperbacks.\n\n> You go west\n(first opening the narrow door)\n\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and\na mirror is set in the wall above the sink. A white door is to the north and a narrow door is to the east.\n\n> You look at the mirror\nYou look at yourself in the mirror. You look fine, at the moment.\n\n> You look at the pipes\nThe pipes lead from the fixtures and into the walls and ceiling.\n\n> Go north\n(first opening the white door)\n\nThis is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.\n\n> You go to the south\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and\na mirror is set in the wall above the sink. A white door is to the north and a narrow door is to the east.\n\n> You open the mirror\nYou open the mirror.\n\n> You look in the mirror\nThe mirror is empty.\n\n> You put the pipes in the mirror\n(first taking the pipes)\n\nThat's hardly portable.\n\n> You get the mirror\nThat's hardly portable.\n\n> Go north\nThis is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.\n\n> Go west\nThis room has large windows that look out onto a garden of wildflowers behind the house. A door to a bedroom is to the south and a utility room door is to the north. The downstairs hall is to the east.\n\nAn easel sits in this room.\n\nOn the art easel is an unfinished painting.\n\n> You examine painting\nIt appears to be a painting of an elephant underground, walking among stalagmites and stalactites with a crazed look in its eyes. The painting makes you uneasy as you look at it.\n\n> You examine the easel\nIt's designed to support a canvas.\n\nOn the art easel is an unfinished painting.\n\n> You go south\n(first opening Reynolds' door)\nIt seems to be locked.\n\n> You check your inventory\nYou are carrying:\na fedora (being worn)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na cigar lighter\na lock pick\na dossier (open)\nthe first incident\nthe second incident\nthe third incident\nthe fourth incident\nthe fifth incident\na holster (being worn)\na revolver\n\n> You pick\n(up the art easel)\nYes, it's light and easy to carry, but it would still be a pain in the ass to do so, especially as you've no real need for it.\n\n> You look at lighter\nIt is nickel-plated and maybe was once fancy but now it is dull and weathered. You found it in New Mexico. It's a long story.\n\nThe cigar lighter is currently switched off.\n\n> Go north\n(first opening the utility door)\n\nThis seems to be part mud-room and part laundry-room. A large basin and a small basin sit by one wall. An door to the outside is to the west and the rest of the house can be reached to the south.\n\nYou can see Mother Matheson here.\n\nMother Matheson seems to be preparing to do laundry with the basins.\n\n> You talk to the Mother\nYou say hello to Mother Matheson.\n\nMother Matheson arranges the large and small basins.\n\n(You could ask her about herself, room key, the first incident, the second incident, the third incident, the fourth incident, the fifth incident, the unfinished painting or the Carnival.)\n\n> You ask about the paiting\nThere is no reply.\n\nMother Matheson seems to be preparing to go outside, but you can't be certain.\n\n> You ask about the painting\n\"What's with the painting I saw in the Sun Room?\" you ask.\n\n\"Oh, yes,\" Mother Matheson explains, \"I have recurring dreams of horrible things moving underground; beneath the carnival. But those are just dreams.\"\n\n> You ask about the room key\nYou approach the landlady and ask about your room key.\n\n\"Oh yes.\" she says, \"You're the temporary tenant that phoned ahead. Your arrangements have been made. Here's your key. Your room is on the second floor.\" she tells you.\n\nMother Matheson arranges the large and small basins.\n\n> You examine large\nThis is probably the basin used for rinsing clothes.\n\nMother Matheson seems to be preparing to go outside, but you can't be certain.\n\n> You ask about the fifth incident\n\"What about this incident that happened just the other night? Did you know Jordan McIntyre?\" you ask.\n\n\"I know of the man. He worked at Butler. People have no idea what to think of the incident. How could it have been so barbaric and what's with all the dried gook all over the scene? It's just one of those things, I guess.\" she says.\n\n> You look at the key\n(room key)\nIt's really just an ordinary house key.\n\n> You go south\nThis room has large windows that look out onto a garden of wildflowers behind the house. A door to a bedroom is to the south and a utility room door is to the north. The downstairs hall is to the east.\n\nAn easel sits in this room.\n\nOn the art easel is an unfinished painting.\n\n> You go east\nThis is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.\n\n> Up\nThis is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall.\n\n> You examine the Door\nWhich do you mean, your door, the wide door, Arthur's door or mother's door?\n\n> You unlock your door with the key\nYou unlock your door.\n\n> You enter your door\n(first opening your door)\n\nThis is a small, simple bedroom furnished with only a bed and a\nbedside table. A simple door leads to the upstairs balcony to the south and the upstairs hall is to the west.\n\n> You look at table\nIt's so simple, you wonder if Mother Matheson made it herself.\n\n> Go south\n(first opening the balcony door)\n\nThis is a small, open-air porch that allows you to look down to the front walk. The flowering dogwoods give this space privacy. The door back inside is to the north.\n\nForgotten by the last tenant and neglected by Mother Matheson's cleaning is a sealed jar of moonshine.\n\n> You get the moonshine\nYou pick up the jar of moonshine from the ground.\n\n> You go to the north\nThis is a small, simple bedroom furnished with only a bed and a\nbedside table. A simple door leads to the upstairs balcony to the south and the upstairs hall is to the west.\n\n> Go west\nThis is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall.\n\n> You go west\n(first opening Arthur's door)\nIt seems to be locked.\n\n> Go north\n(first opening mother's door)\nIt seems to be locked.\n\n> Go south\n(first opening the wide door)\n\nThis is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and\na mirror is set in the wall above the sink. A wide door is to the north.\n\n> You look at the mirror\nYou examine yourself in the mirror.\n\n> You look in the mirror\nThe mirror is empty.\n\n> You go to the north\nThis is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall."
    },
    {
        "text": "> Go downwards\nThis is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.\n\n> You go north\nThis kitchen is truly the heart of the home. The smells of decades of home-cooking permeate from the walls. A stove, icebox, and pantry are the fixtures but there are also a cabinet and a counter. From here, you can head east to the dining room and south to the downstairs hall.\n\nYou can see Arthur Peabody here.\n\n> You talk to Arthur\nYou say hello to Arthur Peabody.\n\n(You could ask him about himself, the first incident, the second incident, the third incident, the fourth incident, the fifth incident or the Carnival.)\n\n> You ask about third\n\"So, you live in the same boarding house as Andy Reynolds, the disgraced cop.\" you say.\n\n\"That's a little harsh, don't you think?\" he asks, \"But as I say, unless I have a dead body to examine, I have no professional opinion\nof the matter.\"\n\n> You ask about the self\nThere is no reply.\n\nArthur looks to the south, into the downstairs hall.\n\n> You ask about Arthur\n\"What's your story, mister?\" you ask.\n\n\"Nice to meet you. I'm Arthur Peabody. I'm one of the proprietors of the undertaking firm Jackson, Goldberg, & Peabody.\n\n> You ask about fourth\n\"Any thoughts on the town drunk's story of people in the cemetery?\"\nyou ask.\n\n\"Nope.\"\n\nArthur stares out the window for a moment.\n\n> You ask about fifth\n\"What about this recent incident? Jordan McIntyre's death?\" you ask.\n\n\"Well, as one of the undertakers here in town, I can tell you there\nwas a murder, but there wasn't hardly any body left to undertake. Something tore that man in pieces.\" he says with a shudder.\n\n> You ask about Carnival\n\"You ever visit Swan Point Carnival?\" you ask Arthur Peabody.\n\n\"Hardly.\" is the gentleman's answer, \"I am too busy to indulge in such trivialities. Plus, that place hardly looks safe.\"\n\n> You look at the counter\nIt's just a hard, wooden counter.\n\nArthur Peabody goes south.\n\n> You look at the pantry\nIt matches the cabinet.\n\n> You look at the cabinet\nIt matches the pantry.\n\n> You open the cabinet\nDon't mess with the food. You're not that hungry and you don't want\nto take other people's stuff.\n\n> Go east\nThis is a homey dining room with mismatched chairs and a wide table. You can see the kitchen through a doorway to the west and the foyer is to the south. The same arts-and-crafts artwork decorate the walls. Outside the windows, you can see the dogwoods on Mother Matheson's lawn.\n\n> You go south\nThis is a small foyer marking the entrance to the boarding house. You can see a dining room to the north, a living room to the south, and a hall stretches to the west where it seems to terminate in a room with\na lot of windows. In the downstairs hall is a set of stairs up to the second floor. The place seems to be decorated with original artwork and craftwork.\n\n> You go east\nThis is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.\n\n> You look at the dogwood\nThere are a good number of these trees. Their branches gives a\nshadowy canopy over the house and yard.\n\n> You go east\nYou make your way down the road to the carnival.\n\nHaving made your way down the dusty road, you find the carnival.\nBeing very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.\n\n> You talk to the man\nYou say hello to the sweaty man.\n\nThe sweaty man wipes his brow with a dirty rag.\n\n(You could ask him about himself, the incidents or the carnival ticket.)\n\n> You ask about him\n\"You don't look too comfortable in there.\" you say to the man, trying to break the ice.\n\nThe man just stares at you.\n\n> You ask about the incidents\n\"As the ticket guy here, have you seen any suspicious people lately?\" you ask.\n\n\"Everyone is suspicious in my eyes.\" he says.\n\n> You ask about the ticket\n(the ticket booth)\nThere is no reply.\n\n> You ask about the carnival ticket\n\"How does one get in the carnival?\" you ask the sweaty man in the booth.\n\n\"You just buy the carnival ticket.\" he replies.\n\n> You buy the the carnival ticket\nYou speak to the sweating man in the booth. He does not speak back\nbut the ticket transaction still happens.\n\nThe sweaty man coughs without covering his mouth.\n\n> You go east\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\nA black cat runs by, crossing your path.\n\n> You go south\n(first opening the security door)\nIt seems to be locked.\n\n> You unlock the security door with the pick\nYou clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.\n\n> You go south\n(first opening the security door)\n\nThis is a one-room affair of clapboard with a pot-belly stove in one corner. By the opposite wall is a desk with accompanying chair. The exit is to the north.\n\nYou can see Jonathan Boom here.\n\nSeeing you in the security shack, the security guard whips out his pistol and trains it on you.\n\n\"What the hell do you think you're doing in here?\" he demands, but without waiting for an answer, he pistol whips you into unconsciousness.\nDarkness\nIt is pitch dark, and you can't see a thing.\n\n> You check what you're carrying\nYou are carrying:\na carnival ticket\na jar of moonshine\nroom key\na lock pick\na fedora (being worn)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na cigar lighter\na dossier (open)\nthe first incident\nthe second incident\nthe third incident\nthe fourth incident\nthe fifth incident\na holster (being worn)\na revolver\n\n> You get lighter\nYou take the cigar lighter from the trenchcoat.\n\n> Light lighter\nA small flame pops from the ligher.\n\nYou switch the cigar lighter on.\n\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.\n\n> Go south\nSomething is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or\nelderly people traversing this terrifying fun house. You\nmight be able to cross safely; or the floor will spin you\nwherever it chooses. Passages are north and south.\n\n> You go south\nThe floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.\n\n> You go to the south\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.\n\n> Go south\nStrangely, this entrance is unattended. The building itself is made\nof numerous trailers attached to one another. A facade dresses this\nup to be some sort of wondrous spectacle, but the management has not gone out of its way to hide any of the smoke-and-mirrors that support their flimsy illusion. Still, the entrance, to the north, is so dark as to be menacing in its own way. The carnival's main thoroughfare\ncan be reached to the south and southeast.\n\n> You go to the south-west\nThat leads out of the park, to the road.\n\n> Go southeast\nYou are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.\n\n> You go southeast\nYou stand before a dunk-a-clown booth off the main thoroughfare.\nBefore you is the edge of the booth where you can talk to the carny to buy a chance to throw a ball at a target that would dunk a poor clown sitting in a dunk tank. The clown in question is a crass looking character who stares at you with crabby eyes as he chews a wet cigar\nin his mouth. The carny ignores him, choosing to watch you instead.\nHe stands by a large box of stuffed animals. The main thoroughfare is to the north, but you can cut to it by going northeast and northwest\nas well.\n\nRandy the Clown shouts at you, \"Throw the ball!\"\n\n> You talk to the carny\nYou say hello to Terrance Valdosky.\n\nNewspapers blow by like so much forgotten trash.\n\nRandy the Clown shouts at you, \"Just throw the ball, piss-ass!\"\n\n(You could ask him about himself, the incidents or Jonathan Boom.)\n\n> You ask about himself\nThe carny looks at you but shouts to the clown, \"Hey, look, Randy,\nit's some retarded chump!\"\n\nFrom his platform above the dunk tank, Randy the Clown shouts back, \"Give 'em a try for free!\"\n\nThe carny throws a red ball at you which you catch.\n\nRandy the Clown shouts at you, \"Bend over and I'll show ya a pizza party!\"\n\n> You look at the ball\nIt's like a skinned baseball.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\nRandy the Clown shouts at you, \"Do it, lady!\"\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\nRandy the Clown shouts at you, \"Do it, lady! Throw the ball!\"\n\n> You ask about the incidents\n\"What do you think about the recent incidents involving the murders\nand disappearances?\" you ask.\n\n\"Shit's bad all over, man.\" is all you can get out of the carny.\n\nYou see a balloon float off in the distance.\n\nRandy the Clown shouts at you, \"Throw the ball!\"\n\n> You ask about Boom\n\"Isn't Boom squirrely enough to be a suspect?\" you mention.\n\n\"Aren't you?\" you asks in return.\n\n\"Actually, no.\" you say.\n\n\"Oh. Well, I'm not one to say. I barely know the guy.\"\n\nRandy the Clown shouts at you, \"This guy ain't no pitcher! He's more like. . .diarrhea! Yeah!\"\n\n> You throw the ball\nDropped.\n\nRandy the Clown shouts at you, \"You couldn't even throw a fit!\"\n\n> You throw ball at Clown\n(first taking the red ball)\nYou lack the nerve when it comes to the crucial moment.\n\nA black cat runs by, crossing your path.\n\nRandy the Clown shouts at you, \"This shit sucks!\"\n\n> You look at Clown\nA true monster, you can tell as you can smell the whisky from all the way over here. His rheumy eyes stare you down. He must've terrified children and so has been relegated here, to the dunking booth.\n\nRandy the Clown shouts at you, \"Let me outta this cage and I'll show you how to throw a ball!\""
    },
    {
        "text": "> You look at your surroundings\nYou stand before a dunk-a-clown booth off the main thoroughfare.\nBefore you is the edge of the booth where you can talk to the carny to buy a chance to throw a ball at a target that would dunk a poor clown sitting in a dunk tank. The clown in question is a crass looking character who stares at you with crabby eyes as he chews a wet cigar\nin his mouth. The carny ignores him, choosing to watch you instead.\nHe stands by a large box of stuffed animals. The main thoroughfare is to the north, but you can cut to it by going northeast and northwest\nas well.\n\nYou hear the sound of a child crying; echoing from somewhere nearby.\n\nRandy the Clown shouts at you, \"Bend over and I'll show ya a pizza party!\"\n\n> You throw the ball at the target\nYou wind up and pitch the ball. It hits the target square in the center and Randy the Clown is dunked with a splash. You hear him thud on the bottom of the tank as there wasn't enough water to cushion his fall. With a crappy look on his face, he rights the platform, returns the wet cigar to his mouth, and sits again. The carny throws a\nstuffed pig at you.\n\nNewspapers blow by like so much forgotten trash.\n\nRandy the Clown shouts at you, \"Pussy!\"\n\n> You examine the pig\nIt's a small, stuffed pig.\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\nRandy the Clown shouts at you, \"Look at you! You look like an idiot!\"\n\n> You go to the north\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nYou can see Filmore the Clown here.\n\nFilmore the Clown looks at you with insane eyes.\n\n> You talk to Filmore\nYou say hello to Filmore the Clown.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n(You could ask him about himself or the incidents.)\n\n> You ask about the incidents\n\"Can you tell me anything about the recent incidents here?\" you ask\nthe sad clown.\n\n\"What incidents?\" he replies.\n\n\"The grisly murders and disappearances.\" you inform him.\n\n\"I honestly have no idea what you're on about.\" he confesses.\n\n> You ask about the himsef\nThere is no reply.\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\n> You ask about himself\n\"Aww,\" you tease, \"Are you a sad clown?\" noting the tears painted on his face.\n\n\"Fuck off.\" is the reply.\n\nYou hear a scream in the distance; perhaps from one of the rides.\n\nFilmore the Clown dances a little soft-shoe-shuffle.\n\n> You go east\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\n> Go west\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nYou can see Filmore the Clown here.\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\n> Go north\nThis is a large wooden building with the facade painted to resemble an old castle. The ride cars used to carry two passengers through the dark interior are made to resemble coffins. These cars come out of\nthe facade on one side and re-enters it on the other after loading and unloading the passengers. A surly attendant watches over the operation.\n\nFilmore the Clown arrives from the south.\n\n> You talk to the attendant\nYou say hello to Billy Jumpner.\n\nFilmore the Clown goes south.\n\n(You could ask him about himself, the incidents or Jonathan Boom.)\n\n> You ask about Boom\n\"What about Boom, the security guard? What kind of man is he really?\" you ask, trying to sound casual.\n\n\"He likes this ride!\" is the carny's response.\n\n> You ask about himself\n\"What's up with this ride?\" you ask, \"How safe is this? Are you the mechanic?\"\n\n\"Hop in there, young feller, and I'll show ya how safe it is!\" he smiles.\n\n> You ask about the incidents\n\"What can you tell me about the recent grisly incidents around here, gramps?\" you ask.\n\n\"Only that people get what they deserve, they do, young feller! Now hop on and get in the dark. We'll all be in the dark soon enough!\"\nand he cackles with laughter.\n\n> Hop\nYou jump on the spot, fruitlessly.\n\n> You enter the car\nYou clambor aboard one of the ride cars and squeeze into the seat.\n\nWith the grinding of gears and the hiss of machinery, the ride car begins being pulled on the track and into the dark tunnel within the castle facade.\n\nIt's not long when you realize something is wrong. The track below\nyou makes a loud snapping noise and it suddenly dips downward into a secret cavity. The ride car, with you in it, plummets into darkness\nas the passage closes above you again.\n\nYou hang on for dear life as the cart crashes downward and finally,\nyou are dumped into mud, somewhere deep underground.\n\nThis cave's ceiling is lost in the darkness above. The rest of it is covered in mud. Walking in here brings you up to your knees in it. Passages lead southeast, northwest, and west.\n\nSeemingly dropped from above, a wrecked ride-car from one of the carnival's amusement rides is half-sunk in the mud here.\n\n> You go to the west\nThis cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.\n\n> Go south\nThe tunnel continues here, from north to south. As it leads south, it gets much wider. This area makes you extremely uneasy, but you cannot put your finger on why.\n\n> You go to the south\nYou head south, for a bit, but as you continue, your fear grows and grows until it is extreme terror. There is nothing that you see or hear to cause this. It just is. Soon, you decide to turn around and explore a different tunnel.\n\n> Go west\nThis is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.\n\n> You go west\nThis is a narrow tunnel carved into the earth. It is just wide enough for you to traverse through. Passages lead northwest, east, and\nsouth.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe hideous zombie seems barely aware of you.\n\nThe horrible zombie seems more aware of you and lashes out.\nIt rakes your skin with its claws and manages to bite your shoulder. You holler out in pain.\n\n> You shoot zombie\nWho do you mean, the horrible zombie or the hideous zombie?\n\n> Horrible\nYou aren't carrying a gun.\n\nThe horrible zombie goes northwest.\n\nThe hideous zombie seems barely aware of you.\n\n> You get gun\n(putting the lock pick into the trenchcoat to make room)\nYou take the revolver from the holster.\n\nThe hideous zombie seems barely aware of you.\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such. You are wounded.\n\nThe hideous zombie goes northwest.\n\n> Go northwest\nThis is a low-ceilinged cave chamber. Oddly, there are balls strewn about; the kind you'd find in a child's ball pit. A trapdoor is\nclosed above you. A tunnel leads into pitch darkness to the\nsoutheast.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe hideous zombie seems barely aware of you.\n\nThe horrible zombie seems barely aware of you.\n\n> You examine the balls\nThey are scattered about the cave, probably having fallen from the trapdoor above, perhaps. Now, they sit in the dust and dirt of the cave.\n\nThe hideous zombie goes southeast.\n\nThe horrible zombie seems barely aware of you.\n\n> Up\nYou find yourself waist deep in a room full of small, rubber balls.\nHow this is fun, you've no clue. Passages lead north, where you hear\na popping sound and to the east where you hear the sound of air-jets.\n\n> You go north\nThis is a dizzying and disorienting room. Flashes of light strobe\nfrom every wall and corner. The pop of flashbulbs echo about and your eyes are stung by the bright flashing. It's nothing short of a nightmare. Passages lead east and south.\n\n> You go east\nThe flashing is so disorienting, you aren't sure what exit you took.\n\nYou find yourself waist deep in a room full of small, rubber balls.\nHow this is fun, you've no clue. Passages lead north, where you hear\na popping sound and to the east where you hear the sound of air-jets.\n\n> Search balls\nYou feel around the rubber balls for the floor and immerse yourself in them to search even better. It's not long before you find a trapdoor in the floor.\n\n> You go to the east\nThis is a featureless box of a room with the exception that there are numerous, small dark holes randomly drilled into the walls. Immediately, you can tell that air jets are sporadically shooting air at a high pressure through these holes by the loud noises coming from the walls. Passages lead west and south.\n\n> You get ball\nYou don't want to take one of these balls; with so many people playing in here through the years, you'd probably catch pink-eye.\n\n> You look at holes\nYou can tell that air jets are behind the wall, violently shooting high-pressured air through the small holes.\n\n> Go south\nA jet of air blasts you in the ear, knocking your fedora off your\nhead.\n\nThis is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has\nhow lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.\n\n> Go north\nThis is a featureless box of a room with the exception that there are numerous, small dark holes randomly drilled into the walls. Immediately, you can tell that air jets are sporadically shooting air at a high pressure through these holes by the loud noises coming from the walls. Passages lead west and south.\n\nYou can see a fedora here.\n\n> You get hat\n(putting room key into the trenchcoat to make room)\nYou pick up the fedora from the ground.\n\n> Go south\nThis is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has\nhow lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.\n\n> Go west\nThis room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.\n\n> You go east\nYou are jostled enough to drop one of your items.\n\nThis is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has\nhow lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.\n\n> Go west\nThis room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.\n\nYou can see a stuffed pig here.\n\n> Go south\nThis room comes out of the archetypal fear all children have for clowns. Many mannequins are positioned here; faceless except for smeared clown make-up. They are mockeries of clowns, if anything, and their arms stretch out akimbo, reaching for passers-by. Passages lead north and east.\n\n> You get pig\nYou pick up the stuffed pig from the ground.\n\n> Go south\nYou are jostled enough to drop one of your items.\n\nThis room comes out of the archetypal fear all children have for clowns. Many mannequins are positioned here; faceless except for smeared clown make-up. They are mockeries of clowns, if anything, and their arms stretch out akimbo, reaching for passers-by. Passages lead north and east.\n\n> Go north\nThis room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.\n\nYou can see a jar of moonshine here.\n\n> You get the jar\nYou pick up the jar of moonshine from the ground.\n\n> Go east\nMaybe once this room was to simply spray a fine mist from the corners, but now, instead, they blast dirty water at fire-house strength. The water pools in the center of this weird room, and empties through a drain in the floor. Passages lead east and west.\n\n> You examine the drain\nIt's a rusty drain. It's too small to think about squeezing through.\n\n> Go east\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.\n\n> Go north\nThe floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.\n\n> You go north\nSomething is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or\nelderly people traversing this terrifying fun house. You\nmight be able to cross safely; or the floor will spin you\nwherever it chooses. Passages are north and south.\n\n> You go to the north\nThe room spins and jostles you. You find yourself in the. . .\n\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.\n\n> You look at curtains\nYou can't see any such thing.\n\nThey are thick, heavy black curtains.\n\n> You get the curtains\nThat's hardly portable.\n\n> You go west\nThis is a circular tunnel running east to west. It is spinning, of course, but rather than whimsically spinning slow enough to keep one off-balance and amused, this one is spinning out-of-control. The tunnel goes east to west.\n\n> Go west\nThe tunnel spins beneath your feet, knocking you off balance. You are unable to make any progress.\n\n> You go to the west\nThe tunnel spins beneath your feet, but you keep your balance and make it through.\n\nThis is a dizzying and disorienting room. Flashes of light strobe\nfrom every wall and corner. The pop of flashbulbs echo about and your eyes are stung by the bright flashing. It's nothing short of a nightmare. Passages lead east and south.\n\n> Go south\nThe flashing is so disorienting, you aren't sure what exit you took.\n\nThis is a circular tunnel running east to west. It is spinning, of course, but rather than whimsically spinning slow enough to keep one off-balance and amused, this one is spinning out-of-control. The tunnel goes east to west.\n\n> You go to the south\nThe tunnel spins beneath your feet, but you keep your balance and make it through.\n\nYou can't go that way."
    },
    {
        "text": "> Go downwards\nBefore exploring this underworld, you feel you should investigate more attractions topside.\n\n> You go east\nThe tunnel spins beneath your feet, but you keep your balance and make it through.\n\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.\n\n> Go south\nSomething is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or\nelderly people traversing this terrifying fun house. You\nmight be able to cross safely; or the floor will spin you\nwherever it chooses. Passages are north and south.\n\n> You go south\nThe floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.\n\n> You go to the south\nThis is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.\n\n> Go south\nStrangely, this entrance is unattended. The building itself is made\nof numerous trailers attached to one another. A facade dresses this\nup to be some sort of wondrous spectacle, but the management has not gone out of its way to hide any of the smoke-and-mirrors that support their flimsy illusion. Still, the entrance, to the north, is so dark as to be menacing in its own way. The carnival's main thoroughfare\ncan be reached to the south and southeast.\n\n> Go south\nThis is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.\n\nYou hear the distant sound of a carnival barker.\n\n> You go to the east\nYou are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.\n\nYou see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.\n\n> You go east\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nYou can see Wilberforce Wyatt here.\n\nJanice Parker arrives from the north.\n\n> You talk to Janice\nYou say hello to Janice Parker.\n\n(You could ask her about the incidents.)\n\n> You ask about the incidents\n\"Have you seen anything untoward in this place? Any people I should ask about the murders and disappearances?\" you inquire.\n\nShe seems to brighten at your question. \"Yes!\" she says, \"I've been keeping records on the carnival and these murders and disappearances aren't isolated to this season. People have been going missing for years here, it's just that lately, it's gotten worse. If you stopped by the library sometime, I can show you the records.\" she tells you this but she's already told you all you need to know. You thank her for her time.\n\nWilberforce Wyatt takes off his cowboy hat, dusts it briefly, then returns it to his head.\n\n> You examine janice\nMiss Parker is the town's young librarian and looks the part.\n\nJanice Parker goes west.\n\nWilberforce Wyatt seems to survey the area.\n\n> You examine Wyatt\nThis dark, handsome man in his late 40's is the owner and manager of the carnival. You can tell this by the way he carries himself and gives orders to any carnies within earshot. He is impeccably dressed as a stage cowboy and is the wealthiest-appearing man in the carnival.\n\nWilberforce Wyatt takes off his cowboy hat, dusts it briefly, then returns it to his head.\n\n> You talk to Wyatt\nYou say hello to Wilberforce Wyatt.\n\nWilberforce Wyatt quietly watches the few carnival-goers that walk by.\n\n(You could ask him about himself, the incidents or Jonathan Boom.)\n\n> You ask about himself\n\"You look like some sort of carnival cowboy.\" you say but you immediately notice that you've offended this man. Still, he\nis dressed to the nines in a shiny, white, expensive-looking\ncowboy outfit.\n\n\"No, sir, I am Wilberforce Wyatt, the owner and manager of this fine carnival. Now, if you'll excuse me, sir, I have much better things to do.\"\n\n> You ask about the incidents\n\"Anything you can tell me about the recent incidents? The murders and disappearances?\" you ask.\n\n\"Just some bad luck and misadventure, unfortunately. Nothing for you to worry about.\" he says with a smile, \"Please enjoy your stay in my park.\"\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\nWilberforce Wyatt smooths his mustache.\n\n> You ask about Boom\n\"Tell me about Jonathan Boom, Mr. Wyatt.\" you ask.\n\n\"He's an asset to the park, sir. He's been at my side for a long time now. I trust him with my life.\"\n\nYou see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.\n\nWilberforce Wyatt goes north.\n\n> You go east\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\n> You go north\n(first opening the red door)\n\nComing in from the bright, autumn sunlight, it takes a moment for your eyes to adjust. You find yourself in a dark lobby, dimly lit by a couple of wall lamps in an attempt at an ersatz Hollywood theater.\nThe theater itself is beyond a curtain to the north. An attendant, dressed in a poorly-fitting belhop uniform, sits on a stool, allowing admittance.\n\nYou can see Edgar Coombs here.\n\nEdgar Coombs goes north.\n\n> You talk to the attendant\nYou say hello to George Suggs.\n\nEdgar Coombs arrives from the north.\n\n(You could ask him about himself or the incidents.)\n\n> You ask about himself\n\"You run the theater?\" you ask the belhop-looking carny.\n\n\"Yeah. Showin' Felix the Cat. Yes! Again!\"\n\nEdgar Coombs goes north.\n\n> You ask about the incidents\n\"What do you know about the deaths that have happened recently?\" you ask.\n\nHe looks at you while picking his teeth with his tongue. \"You wanna watch the flick or not?\" is all he says.\n\nEdgar Coombs arrives from the north.\n\n> You talk to Edgar\nYou say hello to Edgar Coombs.\n\nEdgar Coombs goes south.\n\n(You could ask him about himself or the incidents.)\n\n> Go south\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\nYou can see Filmore the Clown here.\n\nFilmore the Clown goes southwest.\n\n> You go southeast\nThis is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building\nis to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the\nwest is the ice house.\n\nversion of Blue Danube.\n\n> You go northeast\nThe front of this building is dressed up to appear as a large circus tent. Two entrances allow visitors to choose which direction to take this tour of freaks; north or northwest. The north side of the swan pond can be reached by heading southwest. A wooded path leads southeast. A carnival barker shouts at any who would hear; hustling them to enter the building and experience the grotesque wonders\nwithin.\n\n> Go north\nYou enter the House of Freaks. . .\n\nThe inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. On the east wall, bars prevent you from entering the cubicle of Wong Fu Ji, The Amazing Indian Rubber Man.\nOpposite him, on the west wall, you can see through bars to Rondo Moresby, The Most Horrible Man in America. Signs below the\nbars tell you this information. The house continues to the north and the exit is to the south.\n\n> You examine Rondo\nRondo Moresby is an extremely grotesque individual. He simply sits on a stool to be stared at as an ugly, ugly man.\n\n> You talk to Rondo\nYou say hello to Rondo Moresby.\n\n(You could ask him about himself or the incidents.)\n\n> You ask about himself\n\"Well, what's your story?\" you ask the unfortunate looking man.\n\n\"Just a freak. Like you.\" he says, \"Keep it moving, this ain't a peep show.\"\n\n\"That's almost exactly what it is.\" you tell him.\n\n\"Look, buddy, if the sidewalk were made of cocks, you'd find a way to walk on yer ass. Now keep it moving!\"\n\nYeah?,\" you say, \"Well, if assholes could fly, this carnival would be an airport.\"\n\n> You go north\nYou can't reach him, nor should you.\n\nThe inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. You are further within the House of Freaks and the hall turns here. You can either go west or south. Cubicles with bars\nexist in the north wall and the east wall. Signs here indicate that the resident of the north cell is Fatima Flores, The Fat\nLady, and sure enough, she's at least 500 pounds. The east cell\nis evidently Co-Co, The Dog Boy, whom, you can see, is really\nnothing more than a hirsute and deformed congenital idiot.\n\n> Go west\nThe inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. You are further within the House of Freaks and the hall turns here. You can head east or south. Bars cover cubicle cells to the north and west. Signs here indicate that the north is occupied by the Two-Headed Dog and the west houses the Horror From\nThe Deep.\n\n> You examine Horror\nThis is a thing in a large stagnant tank of brine. It\nappears to be an octopus with human hands sewn on the ends of the tentacles. It's dead, of course, but the overall effect is ghastly. Plus, doesn't anyone else notice the obvious human hands in the tank?\n\n> Go south\nThe inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. The hall continues into the House of Freaks to the north and the exit is to the southeast. There are three barred cubicle\ncells here; one on each of the east, west, and south walls. Signs indicate that the east cell is home to The Astounding Mushroom\nMan, the west cell houses what looks like a real, but stuffed, five-legged calf, and the south is a cell holding the\nWhat-Is-It.\n\n> You look at what-is-it\nIn the cell is a small pool of black liquid. In the pool is a large tentacle; about eight feet long and a foot thick. You've never seen anything like it. It is dead, of course, but doesn't have the suction pads on it as an octopus's tentacle would have. The more you consider it, the more disturbing it is to you.\n\n> You go southeast\nThe front of this building is dressed up to appear as a large circus tent. Two entrances allow visitors to choose which direction to take this tour of freaks; north or northwest. The north side of the swan pond can be reached by heading southwest. A wooded path leads southeast. A carnival barker shouts at any who would hear; hustling them to enter the building and experience the grotesque wonders\nwithin.\n\n> You go southeast\nThis is a forked path amid some trees. From here, you can head northwest to the House of Freaks. The carousel is nearby and you can reach the north side of it by heading east or the west side by heading south.\n\n> Go east\nYou are on the north side of a once-grand carousel. You can tell she was, at one time, a glamorous machine that delighted families for many years, but now, the faded paint and chipped wood gives her an almost-sinister air. A path into some trees heads west. You can walk around the carousel to the southeast and southwest. The carousel is spinning somewhat fast. In fact, you're not certain you'd safely make it on there if you tried, unless you jumped, maybe. It spins in silence, the music having stopped long ago.\n\nYou see a balloon float off in the distance.\n\n> You jump\nYou safely hop onto the spinning carousel.\n\nYou are on a once-grand carousel that is spinning rather rapidly. The horses and other animals of the ride are chipping their paint and cracking their wood, making them ugly, frightening things. A maintainance door leads into the center portion of the carousel, but\nas it is spinning rather fast, it would be a challenge to get in\nthere.\n\n> You enter door\nYou make an attempt at opening the door, but the carousel is spinning\na bit too rapidly. Maybe next time, you'll have better luck.\n\n> You enter door\ndoor.\n\nYou are in the center of the carousel. Gears and cogs grind and spin, keeping the ride in rapid motion. A door leads out to the ride to the east and a ladder leads down into darkness. The smell of grease and smoke fills your nose and the sound of the gears grinding fills your ears."
    },
    {
        "text": "> Go downwards\nThis is a small cave cluttered with random junk. Bits of metal,\npipes, tubing, cogs, and bolts litter the ground. A ladder leads upwards through a hole in the rock and some floorboards beyond. The only passage leads northwest.\n\n> You go to the north-west\nThis cave has a very low ceiling and you are forced to stoop over as you walk through it. Passages lead west and southeast.\n\n> You go west\nThis is a curving, wet tunnel which is slippery to traverse. It bends from the northwest to the east.\n\n> Go northwest\nYou stand on a natural bridge over a dark and turbulent underground river flowing to the southwest. The bridge spans northwest to southeast and, of course, it looks ridiculously dangerous to cross as the surface of the stone is slick with moisture.\n\n> Go northwest\nYou slip on the slick stone of the bridge and plummet into the turbulent underground river. The black water rushes over you and\ntakes your breath away as it is almost freezing, this late in the season. You are swept along with the current until you wash up on a.\n. .\n\nThis is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.\n\nIt is now pitch dark in here!\n\n> You go northwest\nIn this large but low-ceilinged chamber, the stalagmites and stalactites have merged, making a strange, natural temple of pillars. Passages lead north, southeast, and southwest.\n\n> You go to the southwest\nYou jump, feet-first, into the turbulent underground river. The black water rushes over you and takes your breath away as it is almost freezing, this late in the season. You are swept along with the current until you wash up on a. . .\n\nThis is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.\n\nIt is now pitch dark in here!\n\n> Light lighter\nThat's already on.\n\n> You turn off lighter\nYou cap the lighter's flame.\n\nYou switch the cigar lighter off.\n\n> You turn on lighter\nA small flame pops from the ligher.\n\nYou switch the cigar lighter on.\n\nThis is a small cave and every surface is covered with some sort of sickening slime. Your shoes make nauseating squishing sounds as you traverse the chamber. Also, it smells like a hobo's asshole in here. Passages lead north and east.\n\n> Go north\non flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe horrible zombie attacks you again and, somehow, it is quicker than you anticipated. It tears you to shreds.\n\n> You go east\nThis is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.\n\n> You go northeast\nIt would be impossible to swim up that river.\n\n> Go southwest\nYou decide against jumping into the river as you've no guarantee it will even take you anywhere before you eventually drown.\n\nThe horrible zombie arrives from the west.\n\nThe horrible zombie attacks you. Luckily, the zombie misses you as\nyou deftly dodge.\n\n> Go west\nThis is a small cave and every surface is covered with some sort of sickening slime. Your shoes make nauseating squishing sounds as you traverse the chamber. Also, it smells like a hobo's asshole in here. Passages lead north and east.\n\n> You go to the north\non flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe hideous zombie goes northwest.\n\n> Up\n(first opening the trapdoor)\nIt seems to be locked.\n\n> You unlock the trapdoor with the pick\n(first taking the lock pick)\n(putting the carnival ticket into the trenchcoat to make room)\nThat doesn't seem to fit the lock.\n\nThe hideous zombie arrives from the northwest.\n\nThe hideous zombie seems barely aware of you.\n\n> You shoot zombie\nYou fire a few rounds into the walking corpse but it is unaffected by your attack with the revolver.\n\nThe hideous zombie attacks you but luckily, the zombie misses you as you deftly dodge.\n\n> Attack zombie with lighter\nThat wouldn't be too effective, you feel.\n\nThe hideous zombie seems barely aware of you.\n\n> You go to the southeast\nYou stand on a natural bridge over a dark and turbulent underground river flowing to the southwest. The bridge spans northwest to southeast and, of course, it looks ridiculously dangerous to cross as the surface of the stone is slick with moisture.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe horrible zombie goes southeast.\n\n> You go to the north\nThis is, by far, the largest cavern you've explored so far. In the center is a large, scum-covered pool of black water. From the corner of your eye, when you aren't looking, you think there is\nmovement within it. Near the edge on one of the pool's sides is a wooden podium and a number of wooden benches set up like some sort of blasphemous church. A wide tunnel leads east while smaller passages lead west and south.\n\nOn the wooden podium is a stained notebook.\n\n> You read the notebook\n(putting the revolver into the trenchcoat to make room)\nYou take the stained notebook from the wooden podium.\n\nThe first page tells you its title: Translation of the Black Book\nof Shudde M'ell. It goes on to a litany regarding huge,\ntentacled worms that burrow beneath the earth. Apparently, it is a book for worshipping these dreaded horrors. Before closing the book, you see it also contains instructions for human sacrifice as well as the creation of zombies. Near the back is a list, written in blood,\nin various handwritings, of the names of the carnies with the head signature: WIlberforce Wyatt. With this damning evidence,\nyou should confront Wyatt and get this carnival of cultists shut down.\n\n> You get it\nYou already have that.\n\n> You go to the east\nThis is the widest tunnel you've seen in this underground labrynth.\nIt originates from the room with the black pool to the west and it recedes into darkness to the east. You have a very uneasy feeling about this tunnel.\n\n> You go east\nYou walk east for as long as your willpower allows, but the terror creeps up in your brain and you quickly walk back to near the\nbeginning of the tunnel.\n\n> Go west\nThis is, by far, the largest cavern you've explored so far. In the center is a large, scum-covered pool of black water. From the corner of your eye, when you aren't looking, you think there is\nmovement within it. Near the edge on one of the pool's sides is a wooden podium and a number of wooden benches set up like some sort of blasphemous church. A wide tunnel leads east while smaller passages lead west and south.\n\n> Go west\nThe stench in this cave is overwhelmingly disgusting. The reason why is evident enough; numerous corpses, in various states of decay, hang from chains fastened to the ceiling. Passages lead northwest, where\nan eerie, rosy glow seems to emenate, and east, into more darkness.\n\n> Go northwest\nThis cave's ceiling is lost in the darkness above. The rest of it is covered in mud. Walking in here brings you up to your knees in it. Passages lead southeast, northwest, and west.\n\nSeemingly dropped from above, a wrecked ride-car from one of the carnival's amusement rides is half-sunk in the mud here.\n\n> You look at the corpses\nThere are twelve of them of various ages and in various stages of decay.\n\n> Search corpses\nYou try not to touch anything gross, but since most of the corpses are still wearing the clothes in which they were murdered, you search a pocket or two. Eventually, you find a library card, of all things.\n\n> Go northwest\nYou stand in a small cave with a ladder leading upwards into darkness. Narrow passages lead southeast and southwest.\n\n> Up\nThis is a dark, stuffy passage. A ladder leads down into a dark pit and the south wall seems to be a slightly askew door of some sort.\n\n> You go south\nYou are in a maze of mirrored walls. Reflections of yourself recede into infinity. The north mirror looks slightly askew. You\nthink you can go west, and south.\n\n> You go south\nYou are in a maze of mirrored walls. Reflections of yourself recede into infinity. You think you can go north, northwest, west,\nand southwest.\n\n> You go southwest\nYou are in a maze of mirrored walls. Reflections of yourself recede into infinity. You think you can go north and northeast\ndeeper into the maze. The door back outside is to the south.\n\n> Go south\n(first opening the mirrored door)\n\nYou are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.\n\n> You go east\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\n> You go east\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\nYou smell hot dogs for a brief moment, but then it goes away.\n\n> You go to the southeast\nThis is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building\nis to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the\nwest is the ice house.\n\n> You go southeast\nYou are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your\neast, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel.\n\nYou hear a scream in the distance; perhaps from one of the rides.\n\n> You go southwest\nThis is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,\nyou can also walk a path to the ferris wheel to the southeast.\n\n> Go southeast\nA young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those\ncarnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in\nthis carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.\n\nYou can see Royce Brunner here.\n\n> You go northwest\nYou are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.\nA path leads south to the roller coaster.\n\nYou smell a pungent smell of burning meat.\n\n> You go south\nThis is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.\nHere, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing\nits slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.\n\nYou can see Elmer Walker here.\n\nStanding around as if waiting for someone is your client, of all people: the police chief Elmer Walker. He waves at you while wiping his brow and popping a heart pill due to his extreme obesity.\n\n\"What are you doing here?\" you ask as you approach.\n\n\"I came to see how you're coming along. Join me on the coaster.\" he says and he heads south.\n\n> You go south\nA carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.\n\nYou can see Elmer Walker and Greasy Pete here.\n\nThe carny nods his head to the two of you to board the cars and, dutifully, you do so. Elmer, being obese, has already tilted the car\na bit off the track, terrifying you already.\n\nThe cars are pulled up the hill by the lift chain and Elmer begins talking to you. \"So, detective, I wanted to let you know that I went to the asylum and visited that poor Kent Howard boy: the one from the first incident report. I couldn't get much out of him, the way he babbles now about horrors from the grave and such, but one thing he said really struck me as odd.\" the police chief pops another heart\npill and the cars reach the first peak.\n\n> You show the notebook to Elmer\nYou aren't able to do that while riding on a rickety roller coaster.\n\nThe car suddenly drops down the first hill. WInd whips your ears and your gut sinks as your plummet. Strangely, Elmer keeps talking as if the two of you are simply seated on a park bench, \"The lad said that the biggest corpse in the whole world must be buried under the\ncemetery where he and Lucy were attacked.\"\n\nElmer's bulk. He doesn't seem to notice and instead, keeps talking.\n\n> You wait awhile\nTime passes.\n\n\"I asked him why he said that,\" Elmer says, \"And the boy says to me, because of the maggots. Such big maggots must come from a big\nman's body.\"\n\ndown on a row of small hills in the track. You start to feel sick. Elmer turns to you and asks, \"Have you found out anything, or are you just farting around here?\"\n\n> You show the notebook to Elmer\nYou aren't able to do that while riding on a rickety roller coaster.\n\n\"Well,\" you tell him, trying to speak over the noise of the coaster,\n\"I discovered there are passages to some underground lair here.\"\n\n\"Interesting.\" Elmer says, but he seems not too phased about what you just told him. \"Just keep at it. Be sure to really check out the fun house, that mirror house, and that carousel, for sure. We'll meet up again soon.\" and no sooner does he say this, the ride comes to a stop and you disembark with your obese client. Without saying anything more, he wanders off, not wanting to be seen too long with you."
    },
    {
        "text": "> Look around\nA carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.\n\nYou can see Greasy Pete here.\n\n> You go north\nThis is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.\nHere, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing\nits slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.\n\n> Go north\nYou are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.\nA path leads south to the roller coaster.\n\n> You go to the northeast\nThis is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building\nis to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the\nwest is the ice house.\n\nNewspapers blow by like so much forgotten trash.\n\n> Go north\n(first opening the restroom door)\n\nYou are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.\n\nYou can see Nuncio the Strongman here.\n\n> Go west\n(first opening the blue door)\nIt seems to be locked.\n\n> You unlock the blue Door with the pick\nYou clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n> Go west\n(first opening the blue door)\n\nThis is a small, concrete building with the apparatus necessary for\nthe production and storage of block ice. The exit is a blue door to the east. It is very cold in here and you can see your breath in\nwhite mist before you.\n\nYou can see an ice block here.\n\n> You get the ice\nIt's far too big and heavy.\n\n> You examine the ice\nIt is larger than a man and must weigh a ton. You can see that it\nsits on a trapdoor."
    },
    {
        "text": "> Go down\n(first opening the trapdoor)\n\nThis is a very cold, small cave. There are no features except for a trapdoor that is open above you. A passage leads northeast.\n\n> Go upward\nThis is a small, concrete building with the apparatus necessary for\nthe production and storage of block ice. The exit is a blue door to the east. It is very cold in here and you can see your breath in\nwhite mist before you.\n\nYou can see an ice block here.\n\n> You go west\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\n> Go west\nThis is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.\n\n> Go south\nThis is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above\nit stating Baseball Toss.\n\n> You go south\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\n> Go east\nYou make your way inside the tent.\n\nThis is a gaudy, theatrically decorated gypsy tent smelling of incense and cigarette smoke. Glass baubles dangle and an enshrouded table holds a large crystal ball. The tent's exit is to the west.\n\nSitting on one side of the crystal ball is a woman, dressed as a\ngypsy, and smoking a cigarette.\n\n> You examine the gypsy\nIf she's a real fortune-telling gypsy, then you're Fatty Arbuckle.\n\n> You talk to the gypsy\nYou say hello to Madam Zarah.\n\n(You could ask her about herself, the incidents, Wilberforce Wyatt or Jonathan Boom.)\n\n> You ask about Wyatt\n\"Can you tell me anything about Wilberforce Wyatt?\" you ask.\n\n\"He owes me my last paycheck, that's what I can tell you, mister.\" she says. \"I don't trust him or any of the other full-time carny folk around here.\"\n\n> You ask about herself\n\"Fortune teller, huh? Not a real gypsy, I hope.\" you say.\n\n\"I am Madam Zarah!\" she says, snubbing out her cigarette, \"And I can tell you your future! Would you like to know what I see?\" she asks.\n\n> Yes\n\"Sure, why the hell not?\" you say.\n\nMadam Zarah looks into the crystal ball and makes a show as if she's seeing the most paranormal things within. You roll your eyes.\n\n\"I see you going down into darkness\" she says, \"I see you becoming\nlost down there. I see large things moving down there with you.\nThere are evil forces against you!\" she cries.\n\n\"Splendid.\" you say.\n\n> Go west\nYou exit the flap of the tent.\n\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\n> You go south\nThis is the carnival's main thoroughfare, running north and south.\nThe western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small building with a sign on the door reading Manager's\nOffice.\n\n> You go east\n(first opening the manager's door)\nIt seems to be locked.\n\n> You unlock the Door with the pick\nYou clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.\n\nYou hear a scream in the distance; perhaps from one of the rides.\n\n> Go east\n(first opening the manager's door)\n\nThe interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.\nThe only exit is to the west.\n\n> You open the cabinet\nYou open the first-aid cabinet, revealing a roll of bandages.\n\n> You get the bandages\n(putting the fedora into the trenchcoat to make room)\nYou're carrying too many things already.\n\n> You look at the bandages\non the carnival grounds.\n\n> You look at what you're carrying with you\nYou are carrying:\na library card\na stained notebook\na lock pick\na jar of moonshine\na stuffed pig\na cigar lighter (providing light)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na fedora\na revolver\na carnival ticket\nroom key\na dossier (open)\nthe first incident\nthe second incident\nthe third incident\nthe fourth incident\nthe fifth incident\na holster (being worn)\n\n> You wear hat\n(first taking the fedora)\n(putting the stuffed pig into the trenchcoat to make room)\nYou put on the fedora.\n\n> You get the bandages\nYou take the roll of bandages from the first-aid cabinet.\n\n> You put revolver in the holster\n(first taking the revolver)\n\n(putting the jar of moonshine into the trenchcoat to make room)\nYou put the revolver into the holster.\n\n> You put pig in the dossier\nOnly documents fit in the dossier.\n\n> You remove the clothes\nYou'd look ridiculous.\n\n> You use the bandages\nYou use the bandages on your wounds.\n\n> About yourself\nYou are a private eye; a gumshoe, as they say, and you appear as such.\n\n> You look at the desk\nIt is a large, wooden desk; a bit fancy and out-of-place in this trailer. It has a drawer that is closed.\n\n> You open drawer\nYou open the drawer, revealing a black tome.\n\n> You read tome\nThis is a black tome handwritten in Latin with what looks like dried blood. No doubt, whatever this book is, it is evil.\n\n> You examine sofa\nIt is an old sofa covered with an ugly fabric.\n\n> You sit on sofa\nYou get onto the fabric sofa.\n\n> Go outside\nYou get off the fabric sofa.\n\nThe interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.\nThe only exit is to the west.\n\n> Go west\nThis is the carnival's main thoroughfare, running north and south.\nThe western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small building with a sign on the door reading Manager's\nOffice.\n\n> Go south\nYou are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small, wooden building with a sign on the door reading East\nAsian Imports.\n\n> You go east\n(first opening the shop door)\n\nThis is a stuffy shop with shelves filled with strange, Oriental trinkets. The exit is to the west.\n\nBehind the counter, a squirrelly-looking Asian man watches you.\n\nYou can also see Jonathan Boom here.\n\n> Go west\nYou are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small, wooden building with a sign on the door reading East\nAsian Imports.\n\nYou see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.\n\n> Go south\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\n> Go east\n(first opening the shop door)\n\nYou are inside a small brick building where all sorts of mementos are sold. The exit is to the west.\n\nA man stands behind the counter, looking bored.\n\n> You examine the mementos\nNothing here is worth much or of any real interest. But then you notice strange wood carvings on a shelf in the back. They appear to\nbe rearing fat worms with heads full of groping tentacles. They\nalmost make you sick staring at them.\n\n> You go west\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\nYou smell a pungent smell of burning meat.\n\n> You go to the west\nBeing very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.\n\n> You go west\nThat heads into the woods. You shouldn't be heading in that\ndirection.\n\n> Go south\nThat heads into the woods. You shouldn't be heading in that\ndirection.\n\nThe sweaty man's face goes slack for a minute.\n\n> Go north\nYou head back up the road to the boarding house.\n\nThis is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.\n\nYou can see Arthur Peabody here.\n\n> Go east\nYou should get your room key (and maybe gather some information)\nbefore you head to the carnival.\n\nArthur Peabody straightens his tie and breathes in the cool air.\n\n> You get the room key\nYou take room key from the trenchcoat.\n\n> You go east\nYou make your way down the road to the carnival.\n\nBeing very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.\n\nThe sweaty man coughs without covering his mouth.\n\n> Go east\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\n> Go north\nYou are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small, wooden building with a sign on the door reading East\nAsian Imports.\n\n> You go north\nThis is the carnival's main thoroughfare, running north and south.\nThe western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small building with a sign on the door reading Manager's\nOffice.\n\nYou smell hot dogs for a brief moment, but then it goes away.\n\n> You go to the north\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\n> You go to the north\nThis is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above\nit stating Baseball Toss.\n\n> You go to the north\nThis is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.\n\n> Go east\nYou are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.\n\n> You go to the south\nYou can't go that way.\nYou see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.\n\n> You go to the east\n(first opening the restroom door)\n\nWhy you are in the women's rest room is slightly baffling. Stalls\nwith toilets line one wall and a sink with a mirror sits across from them. The exit is to the west.\n\nYou can see Abner Weems here.\n\n> You talk to Weems\nYou say hello to Abner Weems.\n\nAbner Weems goes west.\n\n(You could ask him about himself or the incidents.)\n\n> Go west\nThis is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building\nis to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the\nwest is the ice house.\n\nYou can see Abner Weems here.\n\n> You go southeast\nYou are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your\neast, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel.\n\n> Go southeast\nA young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those\ncarnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in\nthis carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.\n\nYou can see Royce Brunner here.\n\nNewspapers blow by like so much forgotten trash.\n\n> You talk to the carny\nYou say hello to Royce Brunner.\n\nA black cat runs by, crossing your path.\n\n(You could ask him about himself or the incidents.)\n\n> You buy the ticket\nYou've already purchased a ticket. You're free to roam the carnival grounds.\n\n> You ask the carny about himself\nYou can't go that way.\n\n\"Ferris wheel, huh? That's a big one.\" you say, trying to sound conversational.\n\n\"Hello, friend.\" he says, in a friendly tone. \"Care to ride the wheel?\"\n\n> Yes\n\"Sure, why the hell not?\" you agree.\n\nYou hop in one of the seats and Royce cranks the machine to life. You lift into the air on the wheel until you are on top of the ride, looking over most of the carnival. Before the ride comes to a stop\nand you disembark, you take a look around from the highest point and see no one of note about.\nno one of note about.\nno one of note about.\nno one of note about.\nno one of note about.\nno one of note about.\nno one of note about.\nAbner Weems is near the Thoroughfare. no one of note about.\nno one of note about.\nno one of note about.\nno one of note about."
    },
    {
        "text": "> You look around\nA young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those\ncarnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in\nthis carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.\n\nYou can see Royce Brunner here.\n\nYou hear the sound of a child crying; echoing from somewhere nearby.\n\n> You ask about himself\n\"Ferris wheel, huh? That's a big one.\" you say, trying to sound conversational.\n\n\"Hello, friend.\" he says, in a friendly tone. \"Care to ride the wheel?\"\n\n> You talk to Royce\nYou are already talking to Royce Brunner.\n\n> Topics\nYou could ask him about himself or the incidents.\n\n> You ask about incidents\n\"Do you happen to know anything that might help me learn more about\nthe murders and disappearances here?\" you ask.\n\n\"Sure,\" he says, \"People run into the wrong kind of folk around these parts. Not that I would know who any of those folk are, a'course.\"\n\n> Inventory\nYou are carrying:\nroom key\na fedora (being worn)\na library card\na stained notebook\na lock pick\na cigar lighter (providing light)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na jar of moonshine\na stuffed pig\na carnival ticket\na dossier (open)\nthe first incident\nthe second incident\nthe third incident\nthe fourth incident\nthe fifth incident\na holster (being worn)\na revolver\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\n> Go northwest\nThis is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,\nyou can also walk a path to the ferris wheel to the southeast.\n\nYou hear the distant sound of a carnival barker.\n\n> You get the swan\nYou can't reach them.\n\nYou hear a scream in the distance; perhaps from one of the rides."
    },
    {
        "text": "> Describe the surroundings\nThis is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,\nyou can also walk a path to the ferris wheel to the southeast.\n\nversion of Blue Danube.\n\n> You go to the south\nThis is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.\nHere, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing\nits slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n> You go south\nA carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.\n\nYou can see Greasy Pete here.\n\n> You go north\nThis is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.\nHere, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing\nits slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.\n\n> You go north\nYou are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.\nA path leads south to the roller coaster.\n\nYou smell hot dogs for a brief moment, but then it goes away.\n\n> You go southeast\nThis is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,\nyou can also walk a path to the ferris wheel to the southeast.\n\nYou smell a pungent smell of burning meat.\n\n> Go southeast\nA young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those\ncarnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in\nthis carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.\n\nYou can see Royce Brunner here.\n\n> Go northeast\nYou are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your\neast, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel."
    },
    {
        "text": "> Go down\nThis is a very cold, small cave. There are no features except for a trapdoor that is open above you. A passage leads northeast.\n\n> You go to the north-east\non flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.\n\n> Go northeast\nIn this large but low-ceilinged chamber, the stalagmites and stalactites have merged, making a strange, natural temple of pillars. Passages lead north, southeast, and southwest.\n\n> You go northwest\nThis is a very long tunnel that glows with an eerie reddish light.\nThe source of the light is the millions of bioilluminescent mushrooms that grow on every surface. The tunnel stretches northwest to southeast.\n\n> You examine the mushrooms\nYou've never seen anything like this: bioilluminated mushrooms.\n\n> You get the fungus\nYou pick one of the glowing mushrooms.\n\n> You taste Mushroom\n(the bioilluminescent mushroom)\nYou taste nothing unexpected.\n\n> You eat Mushroom\n(the bioilluminescent mushroom)\nYou've never really liked mushrooms. Especially the ones that glow.\n\n> You go to the northwest\nThis cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe horrible zombie seems barely aware of you.\n\n> You go to the west\nThis is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.\n\nThe horrible zombie arrives from the east.\n\nThe horrible zombie seems barely aware of you.\n\n> Go west\nThis is a narrow tunnel carved into the earth. It is just wide enough for you to traverse through. Passages lead northwest, east, and\nsouth.\n\n> You go northwest\nThis is a low-ceilinged cave chamber. Oddly, there are balls strewn about; the kind you'd find in a child's ball pit. A trapdoor is open above you. A tunnel leads into pitch darkness to the southeast.\n\n> Search balls\nYou find nothing of interest.\n\nYou find nothing of interest.\n\n> You go south\nThis is a small cavern littered with stalagmites and stalactites (but you've never remembered which is which). Fungi grows inbetween all of these stone formations. These mushrooms all glow with a sickening reddish light. Passages exist north and northeast.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe horrible zombie seems more aware of you and lashes out.\nIt rakes your skin with its claws and manages to bite your shoulder. You holler out in pain.\n\n> You go to the north-east\nThis is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.\n\n> You go east\nThis cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.\n\n> You go to the southeast\nThis is a very long tunnel that glows with an eerie reddish light.\nThe source of the light is the millions of bioilluminescent mushrooms that grow on every surface. The tunnel stretches northwest to southeast.\n\n> You examine the podium\nIt was probably pilfered from a schoolhouse somewhere.\n\n> You look at the benches\nThere are six total, arranged lie pews before the wooden podium.\n\n> Inventory\nYou are carrying:\na bioilluminescent mushroom (providing light)\nroom key\na fedora (being worn)\na library card\na stained notebook\na lock pick\na cigar lighter (providing light)\na set of ordinary clothes (being worn)\na trenchcoat (being worn and open)\na jar of moonshine\na stuffed pig\na carnival ticket\na dossier (open)\nthe first incident\nthe second incident\nthe third incident\nthe fourth incident\nthe fifth incident\na holster (being worn)\na revolver\n\n> You enter the pool\nYou must be out of your fucking mind.\n\n> You examine the car\nIt is half-sinking in mud and looks as if it had been dropped from above; a fugitive from one of the carnival's amusements.\n\n> Go west\nThis is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe horrible zombie seems barely aware of you.\n\n> Go upwards\nYou are in the center of the carousel. Gears and cogs grind and spin, keeping the ride in rapid motion. A door leads out to the ride to the east and a ladder leads down into darkness. The smell of grease and smoke fills your nose and the sound of the gears grinding fills your ears.\n\n> Go east\nYou are on a once-grand carousel that is spinning rather rapidly. The horses and other animals of the ride are chipping their paint and cracking their wood, making them ugly, frightening things. A maintainance door leads into the center portion of the carousel, but\nas it is spinning rather fast, it would be a challenge to get in\nthere.\n\n> Go north\nYou are on the north side of a once-grand carousel. You can tell she was, at one time, a glamorous machine that delighted families for many years, but now, the faded paint and chipped wood gives her an almost-sinister air. A path into some trees heads west. You can walk around the carousel to the southeast and southwest. The carousel is spinning somewhat fast. In fact, you're not certain you'd safely make it on there if you tried, unless you jumped, maybe. It spins in silence, the music having stopped long ago.\n\n> Go west\nThis is a forked path amid some trees. From here, you can head northwest to the House of Freaks. The carousel is nearby and you can reach the north side of it by heading east or the west side by heading south.\n\n> You go northwest\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\nYou smell a pungent smell of burning meat.\n\n> You go west\nThis is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.\n\nYou see a balloon float off in the distance.\n\nYou can't go that way.\nYou hear the sound of a child crying; echoing from somewhere nearby.\n\n> Go south\nThis is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above\nit stating Baseball Toss.\n\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\nYou see a balloon float off in the distance.\n\nThis is the carnival's main thoroughfare, running north and south.\nThe western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small building with a sign on the door reading Manager's\nOffice.\n\nYou are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small, wooden building with a sign on the door reading East\nAsian Imports.\n\n> Go south\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\n> Go south\nThis is a one-room affair of clapboard with a pot-belly stove in one corner. By the opposite wall is a desk with accompanying chair. The exit is to the north.\n\n> You open Door\nThat's already open.\n\n> You enter\nYou get onto Boom's chair.\n\n> You look at the stove\nIt is a small stove to warm the shack.\n\n> You close the Door\nYou close the security door.\n\n> You lock Door\nWhat do you want to lock the security door with?\n\n> You examine the desk\nDefinitely function over form. It has a drawer.\n\n> You open the drawer\nThere is nothing on the metal desk.\n\nYou open the drawer, revealing a men's room key.\n\n> You take the key\n(the men's room key)\n(putting the lock pick into the trenchcoat to make room)\nYou take the men's room key from the drawer.\n\n> You open the Door\nYou open the security door.\n\n> You go to the north\n(first getting off Boom's chair)\n\nYou are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare\ncontinues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.\n\n> Go north\nYou are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small, wooden building with a sign on the door reading East\nAsian Imports.\n\nSomething moves in the corner of your eye, but when you turn to look, nothing is there.\n\n> You go north\nThis is the carnival's main thoroughfare, running north and south.\nThe western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na small building with a sign on the door reading Manager's\nOffice.\n\n> You go to the north\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\n> You go to the north\nThis is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above\nit stating Baseball Toss.\n\n> You go to the north\nThis is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.\n\n> You go east\nYou are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n> You go to the east\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nYou smell a pungent smell of burning meat.\n\n> Go east\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\nYou hear a scream in the distance; perhaps from one of the rides.\n\n> Go north\nYou are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.\n\nYou can see Nuncio the Strongman here.\n\n> You open the trapdoor\nIt seems to be locked.\n\n> You unlock the trapdoor with the men's key\nYou unlock the trapdoor.\n\n> You open the trapdoor\nYou open the trapdoor."
    },
    {
        "text": "> Go down\non flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor open above you.\n\nStanding in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.\n\nThe hideous zombie seems barely aware of you.\n\n> Go upward\nYou are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.\n\nYou can see Nuncio the Strongman here.\n\nNuncio the Strongman goes south.\n\n> Go south\nThis is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around\nit. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building\nis to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the\nwest is the ice house.\n\nYou can see Nuncio the Strongman here.\n\n> You go to the northwest\nYou are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head\nsoutheast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.\n\nYou see a balloon float off in the distance.\n\n> You go to the west\nThis is the carnival's main thoroughfare running east to west. To\nyour north is a large building with a detailed sign stating Tunnel\nof Terrors and to your south is a dunk-a-clown booth.\n\nA black cat runs by, crossing your path.\n\n> You go south\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n> You listen to the Door\nYou don't hear anyone inside.\n\nA black cat runs by, crossing your path.\n\n> You go east\nThe interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.\nThe only exit is to the west.\n\n> Go north\nYou are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is\na tent with a sign hanging above the entrance stating Fortune\nTeller.\n\nYou smell a pungent smell of burning meat.\n\n> Go east\nYou stand before a baseball toss booth on the thoroughfare. In it, a carny stands before a wall of cheap stuffed animals and novelty gifts. Before the wall of prizes is a table with bottles stacked on each other. Carnival-goers try to pitch baseballs to knock over the\nbottles to win the prizes. The main thoroughfare can be easily\nreached to the west and the fun house stands to the northwest.\n\nYou hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.\n\n> You talk to the carny\nYou say hello to 'Sparrow' Gubatosi.\n\n(You could ask him about himself, the incidents, Wilberforce Wyatt or Jonathan Boom.)\n\n> You ask the gubatosi about Wyatt\n\"What can you tell me of Wyatt?\" you ask.\n\n\"He's an alright boss. What do you want to know?\" he asks.\n\n\"Well, I guess I'm looking to find out how legit this guy is. I mean, his carnival is starting to get some really bad attention.\" you explain.\n\n\"Yes.\" the carny suddenly seems to get a little angry, but you're not sure at what, \"I told him we don't want no bad press or attention.\" he says under his breath. \"You wanna throw a damn ball or what?\"\n\n> You ask him about himself\n\"What's this? Some sort of ball toss booth?\" you ask.\n\nThe sinister-looking carny stares at you like you're insane for a moment. \"Wanna try?\" he finally asks, holding out a baseball for you.\n\n> Yes\n\"Gimme the thing.\" you snatch the ball out of his hand.\n\n> Examine booth\ngifts and before the wall of prizes is a table with bottles stacked on each other.\n\nYou smell hot dogs for a brief moment, but then it goes away.\n\n> You throw the ball at the bottles\nYou furiously throw the baseball at the stacked bottles and they explode apart from each other. You even hear an onlooker say \"Whoah\". The carny replaces the stacked bottles and throws you a kewpie doll.\n\n\"Get outta my face, mister.\" he says.\n\nYou see a balloon float off in the distance.\n\n> You examine the kewpie\nIt's like a naked cupid or something.\n\nYou smell a pungent smell of burning meat.\n\n> You ask the carny about incidents\n\"I suppose you don't know anything about the recent grisly incidents here at your fine park, do you?\" you say, already knowing the answer.\n\n\"You hit the nail on the head, mister.\"\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Fantasy]\n\nMany years ago, when the Iron Branch was passed down from king to\nking (instead of being a pile of rust in an overadorned urn), when dragons walked the earth (instead of flying about like the maniacs they are now), when Strongle was the God of Gods (instead of being, well, I think the polite term is 'deposed')... back when all of that was taking place, magic had yet to be conquered by mere mortal man.\n\nWhat's that got to do with you, you ask? Well, since you're an apprentice to one of those men who are trying to figure out how magic works, you get to do all the dirty deeds. Apparently, Apaman, the loser you're apprenticed to, has gotten it into his head that the Hestron (one of the jewels in the Sceptre of Charlten, a symbol of the power of the Prince of Urf) is one of the keys to unlocking the secrets.\n\nHe was kind enough to drag you to the Prince's castle, push you\ninto the coal chute, and tell you not to bother coming out without the Hestron in your posession.\n\nSerial No. 20000810, \n\nType 'credits' to see credits.\n\nThis cellar is dark -- mostly due to the coal dust which is everywhere. A faint light comes through an open doorway to the north.\n\nYou're startled briefly as the end of a rope pops out of the coal chute. But you pause and check your inventory, making sure you still have the lockpick and the bag.\n\n> About yourself\nYou look about the same as always.\n\n> You check your inventory\nYou have a lockpick and a bag.\n\n> You look at the bag\nIt's a small black bag. Apaman made it very clear that you were to put the Hestron in this bag before bringing it out of the castle.\n\n> You open the bag\nThe bag is always open.\n\n> You examine pick\nIt's your trusty lockpick. Apaman said it would come in handy in the castle.\n\n> You take the rope\nApaman is at the other end of it and, right now, it's your only means of escape. Those two facts taken together are enough for you to want to leave the rope right where it is.\n\n> Go north\nThis hallway runs east-west under the castle. The only light comes from far to the east, where you can hear noises. To the south is an open doorway through which the smell of coal seeps; to the west is nothing but inky darkness.\nYou see a coal shovel here.\n\n> You take the shovel\nTaken.\n\n> You examine the shovel\nIt's used for shovelling coal.\n\n> Shovel coal\n(with the coal shovel)\nI don't know how to dig in the coal shovel.\n\n> Shovel coal\n(with the coal shovel)\nYou dig around in the coal a bit, but find nothing.\n\n> You go to the north\nThis hallway runs east-west under the castle. The only light comes from far to the east, where you can hear noises. To the south is an open doorway through which the smell of coal seeps; to the west is nothing but inky darkness.\n\n> You go to the west\nThis room is piled high with various trinkets and whatnot that the kings of old (and of new) have gotten as gifts from visiting nobles. Of course they're worth fortunes, all. But what good is a fortune to a king?\nA small door in the north wall catches your eye, however.\n\n> About yourself\nYou look about the same as always.\n\n> You pick the lock\n(with the lockpick)\nYou try as best you can, but the lock remains impervious to your efforts. Must be some lock.\n\n> Attack door\n(with the coal shovel)\nYou attack the door with all your might, but you get nowhere.\n\n> You examine the lockpick\nIt's your trusty lockpick. Apaman said it would come in handy in the castle.\n\n> Go east\nThis room is rather small, considering it has to fit a table and chairs. Eastward is a doorway, and a hallway stretches out to the west.\nA burly guard is here.\nThe guard swings around towards you and draws his sword!\n\n> You look at the guard\nA short, stout man. He eyes you warily. The guard brings his sword up, swings it down and slices you through!\n\n> You hit the guard with the shovel\nYou swing the shovel at the guard and strike a lucky blow! The guard falls down dead, his sword clattering to the ground."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThis room is rather small, considering it has to fit a table and chairs. Eastward is a doorway, and a hallway stretches out to the west.\nYou see a dead guard here.\n\n> You search guard\nUgh. You fiddle around in the guard's clothing, but find nothing of interest.\n\n> You examine table\nThe tables and chairs are for the guards' use only. Of course, the only guard that you've seen is hardly in need of them any longer.\n\n> You examine the doorway\nIt opens eastward.\n\n> East\nA cold, dank stairwell houses, unsurprisingly, some stairs. They\nlead upward. A doorway beckons to the west.\n\n> You look at the sword\nIt's a shortsword. Suitable for swinging in narrow corridors.\n\n> You look at the stairs\nThey lead the way up.\n\n> Up\nA cold, dank stairwell houses, unsurprisingly, some stairs. They\nlead downward. A doorway beckons to the east.\n\n> You examine the stairs\nThey lead the way down.\n\n> You go to the east\nYou start to step out into the main hallway.\nUnfortunately, the glint of your sword catches the eye of a passing guard.\n\"Halt!\" he cries out.\nYou drop the sword and start running away. Unfortunately you're\nnot faster than the arrow sent after you.\n\n> You drop the sword\nDropped.\n\n> Go south\nThis cellar is dark -- mostly due to the coal dust which is everywhere. A faint light comes through an open doorway to the north. Dangling from the coal chute in the corner is a dirty rope.\n\n> You look at the shovel\nIt's used for shovelling coal. Also killing, apparently.\n\n> Go east\nYou start to step out into the main hallway.\nUnforunately, the shovel gives your presence away.\n\"Oy! Coalboy!\" you hear someone shout. You turn and look to see someone rushing towards you. \"Back in the cellar with ye,\" the guard says as he draws near. Unceremoniously, he pushes you back down the stairs.\n\n*thump*\n\nA cold, dank stairwell houses, unsurprisingly, some stairs. They\nlead upward. A doorway beckons to the west.\n\n> You go upward\nA cold, dank stairwell houses, unsurprisingly, some stairs. They\nlead downward. A doorway beckons to the east.\nYou see a sword here.\n\n> Go east\nYou start to step out into the main hallway. Corridor\nYou try to blend into the shadows in what appears to be a major corridor in the castle. If you're caught here, you'll surely be killed. The doorway to the stairwell you came up through is off to the west. From what your master Apaman told you, you need to go southeast from here to find the Magister of Keys' chambers.\n\n> Go southeast\nYou make your way down the corridor, keeping to the shadows as much as possible until you find yourself arriving...\n\nThe door to the south has got the Magister of Keys' emblem, a\nkeyring, on. It must be his door. The corridor continues on to the southeast.\n\n> You look at the emblem\nIt's the blue and gold keyring, the symbol of the Magister of Keys.\n\n> You look at the door\nIt's closed and locked.\n\n> You pick the lock\n(with the lockpick)\nYou fiddle with the lock for a bit and it springs open!\n\n> You search the door\nIt's closed.\n\n> You open the door\nOpened.\n\n> You look at the door\nIt's open.\n\n> You go south\nKeys, keys everywhere and not a drop to drink. Erm. Anyway, the walls all seem completely covered with keys of all shapes and sizes. How are you to decide which is the one to the treasure vault?\n\n> You examine Keys\nHundreds and hundreds of keys line the entire room, keys of all shapes and sizes. You gotcher big keys and your small keys, your red keys and your blue keys. The only thing that seems even remotely distinct is the jeweled box.\n\n> Examine box\nThis ornately jeweled box has a crystal pane with a beautiful decoration covering up the contents.\n\n> You open the box\nYou'll have to unlock it first.\n\n> Unlock box\n(with the lockpick)\nYou fiddle with the lock on the box for a bit, but it doesn't yield to your ministrations.\n\n> You pick lock\n(with the lockpick)\nYou can't pick that.\n\n> You put the box in the bag\nDone.\n\n> You leave\nThe door to the south has got the Magister of Keys' emblem, a\nkeyring, on. It must be his door. The corridor continues on to the southeast.\n\n> Go southeast\nYou'd best stick to your current plan, lest Apaman find out and perform nasty experiments on you.\n\n> You look at the keyring\nIt's the blue and gold keyring, the symbol of the Magister of Keys.\n\n> You go to the northwest\nYou try to blend into the shadows in what appears to be a major corridor in the castle. If you're caught here, you'll surely be killed. The doorway to the stairwell you came up through is off to the west. Based on your experience, the Magister of Keys' chambers are down the corridor to the southeast."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Go downwards\nA cold, dank stairwell houses, unsurprisingly, some stairs. They\nlead upward. A doorway beckons to the west.\nYou see a coal shovel here.\n\n> You hit the box with the sword\nYou lift up one end of the sword and smash it into the crystal pane. iCrash! Shards fly everywhere, but the box's contents are now accessible.\n\n> You look at the box\nThis once ornate box has been unceremoniously smashed in by an assailant. How unseemly. In the box you can see a dull brass key.\n\n> You examine the key\nIt's completely nondescript. Dull and scratched, it has seen many years of use.\n\n> Go west\nThis room is rather small, considering it has to fit a table and chairs. Eastward is a doorway, and a hallway stretches out to the west.\nYou see a dead guard here.\n\n> You unlock the door with the key\nUnlocked.\n\n> You open the door\nOpened.\n\n> North\nYou're in! This is the prince's private vault. Very few items are valuable enough to be horded away like this, the Hestron being one of them. Along the northern wall is a shelf on which all the fancy items are stored. To the south lies a doorway, and freedom.\n\n> You look at the shelf\nOn the shelf you see the Sceptre of Charlten, the Crown of Strongle, and the Cube of Dyosthenius.\n\n> You examine Cube\nNot quite as old as the Crown of Strongle, this jewelled cube was commissioned by Teorlor Gayrge, eighth Prince of Urf, to commemorate the 20th anniversary of his wife's untimely passing.\n\n> You examine Crown\nThis was said to be given by Strongle himself to the first King of the Northlands. One of the princes of Urf raided that King's castle and stole it, presumeably because of its history. Certainly not for its beauty. And now here it lies, on a dusty shelf in a hidden vault.\n\n> You examine Sceptre\nWow. It's really the sceptre! Diamonds and rubies adorn its side and, sitting proudly on top, is the actual Hestron.\n\n> You take Sceptre\nYou've already got your hands full.\n\n> You check your inventory\nYou have a lockpick, a bag, a sword, a coal shovel, and a dull brass key. The bag seems to contain a jeweled box.\n\n> You examine Crown\nThis was said to be given by Strongle himself to the first King of the Northlands. One of the princes of Urf raided that King's castle and stole it, presumeably because of its history. Certainly not for its beauty. And now here it is, in your greedy little hands.\n\n> You take Hestron\nYou pop the Hestron loose from the sceptre.\n\n> You look at Hestron\nThe Hestron is a huge diamond, about the size of your fist, and has swirls of red and aquamarine running through. It's said that the day when Rinnor, the god-king, stole the sun and hid it in his mountain lair, the Hestron was formed from the sun's light trying to escape from underground.\n\n> You put Hestron in the bag\nDone.\n\n> You take Crown\nYou already have the Crown of Strongle!\n\n> You take Cube\nYou've already got your hands full.\n\n> Inventory\nYou have a bag, the Sceptre of Charlten, and the Crown of Strongle. The bag seems to contain a jeweled box, a lockpick, and the Hestron.\n\n> You look at the bag\nIt's a small black bag. Apaman made it very clear that you were to put the Hestron in this bag before bringing it out of the castle.\n\n> You go south\nAs you pass through the door alarm bells go off! There must have been some magic guarding the Sceptre of Charlten! Dozens of guards converge on you and hack you to pieces.\n\nOf course, the Magister of Keys' fate is no worse than yours,\nhaving allowed a common thief access to the Princes' private vault. But that fact is of little consolation to you now.\n\n> You drop all except the bag\nSceptre of Charlten: Dropped.\nCrown of Strongle: Dropped.\n\n> Go upward\nYou climb up the rope. Apaman is there ready to greet you.\n\"Have you got it?\" he asks excitedly.\nWordlessly, you place the small bag into his eager, outstretched\nhand. Apaman reaches into the bag and pulls out a jeweled box. \"What's this?\" Apaman asks. \"Why is this in the bag?\" He throws the jeweled box at you and reaches in again, pulling out a lockpick. Apaman grows angry. \"This is NOT a Game, stupid cob!\" He slaps you across the face. Reaching in a third time, he pulls out the Hestron, at last. Apaman growels at you, \"That's the end of your trickster days, fool. You are no longer my apprentice.\" He turns and leaves you where you stand.\n\n> You get all from the bag\njeweled box: Taken.\nlockpick: Taken.\nHestron: Taken.\n\n> You drop all except the bag\nsword: Dropped.\njeweled box: Dropped.\nlockpick: Dropped.\n\n> Go upwards\nYou climb up the rope. Apaman is there ready to greet you.\n\"Have you got it?\" he asks excitedly.\nWordlessly, you place the small bag into his eager, outstretched\nhand. He reaches into the the bag and withdraws the Hestron.\nBlinking once, twice in the moonlight, hardly daring to believe, he stares at it. Finally, reality sets in and his gaze returns to you. \"Let's go now,\" he says, gruffly. He leads you back to the place\nyou sarcastically call home. You're not sure if the Hestron really is the key to unlocking magic like Apaman says, but you do feel a subtle difference in the way he's treating you.\nCould it be that he's beginning to show you the slightest hint of a modicum of respect?"
    },
    {
        "text": "[Themes: Fantasy]\n\n> Xyzzy\nOh, stop that.\n\n> Xyzzy\nNo, really, stop it.\n\n> Xyzzy\nDon't get me angry. You won't like me when I'm angry.\n\n> Xyzzy\nOK, perhaps you WILL like me when I'm angry.\n\n> Xyzzy\nOh, bother. I haven't been programmed to get angry.\n\n> Xyzzy\nOK, this is my last response. Ta-ta.\n\n> Xyzzy\nReally, that was. Honest. No more interesting responses here. Move along, move along.\n\n> Xyzzy\nWhenever you're ready to get on with the game...\n\n> Xyzzy\nSigh.\n\n> You eat the corpse\nI'm only a computer and, yet, I find you most disturbing.\n\n> Kiss corpse\nEw!\n\n> You decapitate the corpse\nPlease restrain your bloodlust. You're here for theiving, not for gore.\n\n> You take the corpse\nGood grief. Even if you COULD lift it, what would you want with a corpse?\n\n> You go to the south\nThis cellar is dark -- mostly due to the coal dust which is everywhere. A faint light comes through an open doorway to the north. Dangling from the coal chute in the corner is a dirty rope.\nYou see a sword and a jeweled box here.\n\n> Up\nYou climb up the rope. Apaman is there ready to greet you.\n\"Have you got it?\" he asks excitedly.\nWordlessly, you place the Hestron into his eager, outstretched\nhand. He blinks once, twice in the moonlight, hardly daring to believe.\nFinally, the reality of it set in and his gaze returns to you and\nyour now grimy features.\n\"Stupid Cob!\" he chasties you. \"I told you to keep the Hestron in the bag! You could have been caught. Lucky for you that you weren't. \"Let's go now,\" he says, gruffly. He leads you back to the place\nyou sarcastically call home. You're not sure if the Hestron really is the key to unlocking magic like Apaman says, but you do feel a subtle difference in the way he's treating you.\nCould it be that he's beginning to show you the slightest hint of a modicum of respect?"
    },
    {
        "text": "[Themes: Surreal, based on songs]\n\nMath camp's been cool so far, and not because it's far away from your parents. A grant from some governmental symposium for the math and the arts paid for it. You got to meet new people like you, except most of them seem to have had more cool experiences.\n\nYou are in the center of the Main Quad at Hicksville Tech. Paths lead in all directions. You've been here a few days, but you still haven't really explored west and northwest.\n\nAfternoon classes for Math Camp are over, and you just feel like wandering around a bit.\n\n[Author's Note: A story about summer camp, government funding, and a physics problem or two. And weird robot spiders.]\n\n> About yourself\nShorts and a plain gray t-shirt. You've come under a bit of fire for having no T-shirts with clever writing.\n\nThis after hearing it for having too many back at high school.\n\n> You look at what you're carrying with you\nYou are carrying:\nyour summer program ID\n\n> You look at the ithe d.\nIt really could have been worse. It will make a decent souvenir of summer camp, if you find nothing better.\n\n> You read the program\nIt hasn't changed since last you looked. It's like laminated or something.\n\n> You go west\nThat way look promising enough to get sort-of lost in, but it's not really a forest. You see the Admissions Office just past. It ruins the feeling of exploration completely. You return to the Quad.\n\n> Go northwest\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> You go north\nYou wander around for a bit. It's a fun experience, being a bit lost. It reminds you of Boy Scout camp, back when you were still a Tenderfoot, and you didn't know a thing about tracking. Of course you'll find your way out of here, though.\n\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> You go west\nYou wander around for a bit. Hmm, this is more of a challenge than you thought. Still, it's some exercise, especially with team sports not really being an option at this camp.\n\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> You go to the north\nYou wander around for a bit. You aren't really lost, of course. If you were, you'd have gone in circles by now. You are pretty sure you can backtrack.\n\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> Go north\nYou wander around for a bit. Uh oh... the campus isn't that big, though, is it? I mean, eventually you can hit a road and just go back perpendicular from it.\n\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> You go southwest\nYou wander around for a bit. And there that road is. You aren't sure if you were going in the directions you thought you were going, but you found somewhere new.\n\nYou're only lost enough to feel a little adventurous. You think. One direction is as good as any other.\n\n> Go west\nYou wander around for a bit. And there that road is. You aren't sure if you were going in the directions you thought you were going, but you found somewhere new.\n\nHey, kind of odd to see a limousine parked here. It's not an obnoxiously rich limousine, more the forbiddingly secret type.\n\n> You look at the limousine\nIt's dark all over, of course.\n\n> You open the limo\nYou approach the limousine. A man in a black suit jumps out of the limousine and grabs you. \"You're with that math program, right?\" You suspect he knows the answer, so you nod. \"We need you for something,\" he says, as he flashes some sort of governmental badge. \"Just to check. You do have ID?\"\n\nWell, at least these questions are easier than the ones you get in class or at the daily theorem presentation.\n\n> You show the ithe d to the man\n\"Good. Will you come with us, please?\"\n\nNo choice, really. You climb in the back seat, and the FBI agent joins a CIA agent in the front, who drives off.\n\nTinted soundproof glass divides you from the agents in the front. You probably can't do much except wait.\n\nYou can see a FBI agent and a CIA agent here."
    },
    {
        "text": "> You look around\nTinted soundproof glass divides you from the agents in the front. You probably can't do much except wait.\n\nYou can see a FBI agent and a CIA agent here.\n\nApparently, you spent more time figuring out what to do than you thought. The limousine takes a turn off to a side road and enters some sort of garage. You can feel it going down a hill, and then it comes to a halt. The agents beckon for you to get out, and you do. What have you gotten yourself in for?\n\n\"Okay, here's the deal,\" says the FBI man. \"We had this problem in this one weapons facility. The laser guns worked ok but the mutant robot spiders...not so much. We need to wipe all traces of 'em from this here research facility. Then we need to sort of destroy the facility. But we can't just bomb it. Too suspicious. We need someone to go in there, clear the spiders, and get out.\"\n\nYou know who that someone is.\n\n\"Oh, if you're wondering what you get out of it, the budget for your precious camp doesn't get cut. This year. We've done statistical studies, and Hicksville's program provides the worst return on investment for--well--people who go out in the world and do something constructive. How bout it?\"\n\nYou have no choice. The FBI agent disappears after handing you a bag labeled SPIDER COMBATING KIT.\n\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing sort of between north and northeast--we'll call it NNE, NEN or even ENN) is at the edge of the platform.\n\n> Examine KIT\nIt sort of reminds you of what you guess Douglas Adams was thinking about when he came up with the Thing Your Aunt Gave You Which You Don't Know What It Is. It's bulky and maybe a bit spiky and can be zipped open or closed. It's maybe twice the size of a school backpack and probably more than twice as fun.\n\n> You open the KIT\nMan! There's all kinds of weird stuff in here! Stuff so weird you just have to examine it for yourself!\n\n> Examine Kit\nIt's cool enough you'd like one, but the government types will probably confiscate it if you figure out how to leave anyway.\n\nIn the Spider combating Kit are a recursive data chip, a pack of 104 cards, a leg steroid pill, a juicy gourmet fly casserole, an In-a-Pinch Infrasound Generator, a mini-vacuum, Packet of instant lemonade and a spray bottle.\n\n> You examine cards\nStrange. They're all the same suit.\n\n> You look at buttons\nThere's a big button at the top, then six more in a sort of hexagon. Hm, seven buttons, seven guns, seven exits.\n\n## 3   ## 4\n## 5 ## 6\n\n[BOLD buttons are still active, and * means the button's gun is destroyed. To see an individual button, X BUTTON (1-7).]\n\n> Examine pill\nProbably small enough to sneak into something. It's one of those hard capsules, not easily dissolvable gel.\n\n> You examine the casserole\nIt looks worse than the stuff in the cafeteria. Well, to you.\n\n> Examine generator\nIt has writing saying ONE USE ONLY on it.\n\nThe In-a-Pinch Infrasound Generator is currently switched off.\n\n> You examine the vacuum\nIt's got a bag about the size of a basketball. You probably won't be using it to clean dust.\n\nThe mini-vacuum is currently switched off.\n\n> You look at the bottle\nYou can see a soapy solution in there (you shook it up a bit.)\n\n> You look at the button 1\nIt's in the upper left of the panel. It is currently lit.\n\n> You look at the mirror\nIt is facing northnortheast at the moment, but it looks like you can tilt it--feel free to abbreviate directions, too, e.g. N or NNE."
    },
    {
        "text": "> Describe the surroundings\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing NNE) is at the edge of the platform.\n\n> You examine the pictures\nIt's got a picture of a bigger gun firing at a smaller gun, with a big smiley face. Then one of a much bigger gun firing at a smaller one, with a frowny face above a shattered gun.\n\n> You examine the gun\nBack when you loved GI Joe and thought all lasers missed, you'd have thought the super-big gun to the north was all that. Now, it's a bit scary.\n\n> You go to the northeast\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing north) is at the edge of the platform.\n\nYou can also see a vicious red spider here.\n\n> You examine Spider\n(the vicious red spider)\nYou see nothing special about the vicious red spider.\n\n> You hug Spider\n(the vicious red spider)\nKeep your mind on the game.\n\n> You switch on the vacuum\nIt sucks the spider into the bag."
    },
    {
        "text": "> You look around\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing north) is at the edge of the platform.\n\n> Go upwards\nThe catwalk is too narrow for you to really explore.\n\n> You go to the east\nYou are on a small circular platform between narrow railed catwalks leading southeast and west.\n\nA large mirror (facing SW) is at the edge of the platform.\n\nYou can also see a spider with some disturbing toupee thing here.\n\n> You examine Spider\nKS LEADIn(a spider with some disturbing toupee thing)\nAt least it doesn't have sideburns or anything. You're not sure where they'd go, but hey, small things.\n\n> You take the toupee\nThat seems to be a part of a spider with some disturbing toupee thing.\n\n> You turn on the vacuum\nThe bag is too full.\n\n> Inventory\nYou are carrying:\na Spider combating Kit (open)\na recursive data chip\na pack of 104 cards\na leg steroid pill\na juicy gourmet fly casserole\nan In-a-Pinch Infrasound Generator\na mini-vacuum\nPacket of instant lemonade\na spray bottle\nyour summer program ID\n\n> You turn on the generator\nDIN(A SPIDER WITH It reduces the spider to a weeping mess.\n\n> You turn off the generator\nThat's already off.\n\n> Go southeast\nYou are on a small circular platform between narrow railed catwalks leading northwest and south.\n\nA large mirror (facing sort of between north and northwest--we'll call it NNW, NWN or even WNN) is at the edge of the platform.\n\nYou can also see a wheezing metallic spider here.\n\n> You examine Spider\n(the wheezing metallic spider)\nYou see nothing special about the wheezing metallic spider.\n\n> You examine the spray\nSPIDER You can see a soapy solution in there (you shook it up a bit.)\n\n> You spray SPIDER\nWhat do you want to spray the wheezing metallic spider at?\n\n> You spray the spray at SPIDER\n(the wheezing metallic spider)\nThere's no liquid in the bottle to spray right now.\n\n> You look at the bottle\nYou can see a soapy solution in there (you shook it up a bit.)\n\n> You put lemonade in the bottle\n(first taking Packet of instant lemonade)\n\nThat can't contain things.\n\n> You open the lemonade\nJust say where you want to POUR it.\n\n> You pour the lemonade in the bottle\nYou pour the lemonade powder in the spray bottle. You put the ripped packet in your shorts pocket, where you will forget about it.\n\n> You spray the spray at SPIDER\n(the wheezing metallic spider)\nIt's a vicious battle, but after pumping all of the lemony scent onto the spider, you finally make it run away.\nThere's no liquid in the bottle to spray right now.\n\n> You look at the pill\nRAY AT Probably small enough to sneak into something. It's one of those hard capsules, not easily dissolvable gel.\n\n> You put the pill in the casserole\n(Taking the pill first)\n\nTaken.\n\nThe spider probably won't notice it there. Good thinking.\n\n> You check what you're carrying\nYou are carrying:\na Spider combating Kit (open)\na recursive data chip\na pack of 104 cards\na juicy gourmet fly casserole\nan In-a-Pinch Infrasound Generator\na mini-vacuum\na spray bottle\nyour summer program ID\n\n> You turn on the generator\nIt's broken.\n\n> You give the cards to Spider\n(the wheezing metallic spider)\n(first taking the pack of 104 cards)\nThe spider grabs the pack. It schleps them into eight piles and then starts laying them down suit by suit. Then it starts trying to put them in K-Q-J-10 order. It doesn't seem to be having any fun, but it can't stop doing it. There's also some deal where it splatters eight cards at a time. The spider becomes increasingly agitated until it explodes.\n\nYou aren't sure what the hell happened, but--man--that looked even less fun than solitaire. Oh, you can probably futz with that mirror now.\n\n> Go south\nSpiderbrain Center\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing NNE) is at the edge of the platform.\n\nThere's a big tall shiny wall that way. But you can go pretty much any other way.\n\n> You go to the southwest\nYou are on a small circular platform between narrow railed catwalks leading northeast and south.\n\nA large mirror (facing east) is at the edge of the platform.\n\nYou can also see a spider with two noses or maybe three here.\n\n> You examine Spider\n(a spider with two noses or maybe three)\nYou're not sure which noses share which nostril, or what. You picture the spider wearing a fake glasses-and-moustache, for no particular reason.\n\n> You give the casserole to Spider\n> YOU ARE In(a spider with two noses or maybe three)\n(first taking the juicy gourmet fly casserole)\nThe spider eats the casserole, and then its legs swell. It falls over, unable to guard you from the mirror any more. You kick it off to the side.\n\n> You go northeast\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing NNE) is at the edge of the platform.\n\n> You go west\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing east) is at the edge of the platform.\n\nYou can also see a confusingly mustachioed spider here.\n\n> You examine Spider\n(the confusingly mustachioed spider)\nThe mustache seems asymmetrical, a cross between a standard brush mustache and a handlebar. You wonder if people did this, or the spider groomed itself. It's disturbing either way.\n\n> You give the chip to Spider\nW RAILED CATWALKS Le(the confusingly mustachioed spider)\n(first taking the recursive data chip)\nThe spider latches onto it and begins to crawl all over it and process it. But because the chip is recursive, the spider can't stop. It tries to calculate faster and faster but winds up blowing itself out, and the chip with it.\n\n> Go northwest\nYou are on a small circular platform between narrow railed catwalks leading southeast and west.\n\nA large mirror (facing sort of between south and southeast--we'll call it SSE, SES or even ESS) is at the edge of the platform.\n\nYou can also see an accordion-legged spider here.\n\n> You examine Spider\nSPIDER)\n((the accordion-legged spider)\nYou see nothing special about the accordion-legged spider.\n\n> You spray Spider\nWhat do you want to spray the accordion-legged spider at?\n\n> You spray the spray at Spider\n(the accordion-legged spider)\nIt's a vicious battle, but after pumping all of the lemony scent onto the spider, you finally make it run away.\nThere's no liquid in the bottle to spray right now.\n\n> You go to the southwest\nThe catwalk is too narrow for you to really explore."
    },
    {
        "text": "[Themes: Surreal, based on songs]\n\n> You describe your surroundings\nYou are on a small circular platform between narrow railed catwalks leading southeast and west.\n\nA large mirror (facing SSE) is at the edge of the platform.\n\n> Go north\nSo Close\nA large mirror (facing east) is at the edge of the platform."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nA large mirror (facing east) is at the edge of the platform.\n\n> You look at the buttons\nThere's a big button at the top, then six more in a sort of hexagon. Looks like zero aren't really functional any more.\n\n## 3   ## 4\n## 5 ## 6\n\n> You examine the buttons\nE EDGE OF There's a big button at the top, then six more in a sort of hexagon. Looks like zero aren't really functional any more.\n\n## 3   ## 4\n## 5 ## 6\n\n[BOLD buttons are still active, and * means the button's gun is destroyed. To see an individual button, X BUTTON (1-7).]\n\n> Go northeast\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing north) is at the edge of the platform.\n\n> Tilt mirror nnw\nMoved. But you're not sure if you did anything.\n\n> Go northeast\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing NNW) is at the edge of the platform.\n\n> Tilt mirror sse\nIt slides in with a satisfying CLICK. How satisfying, you're not sure.\n\n> Tilt mirror north\nMoved...the mirror seems to wobble a bit, as if it's been moved around a lot.\n\n> You go northwest\nNear Left Spider Leg\nYou are on a small circular platform between narrow railed catwalks leading southeast and west.\n\nA large mirror (facing SSE) is at the edge of the platform.\n\n> Tilt mirror ssw\nIt slides in with a satisfying CLICK. Not as satisfying as the last, but still getting good.\n\n> Go southeast\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing north) is at the edge of the platform.\n\n> You examine the buttons\n> NEAR There's a big button at the top, then six more in a sort of hexagon. Looks like two aren't really functional any more.\n\n* 2\n## 3   ## 4\n## 5 ## 6\n\n> You go west\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing east) is at the edge of the platform.\n\n> You turn the mirror to the sse\nYou will want to specify a compass direction--something like right, left, clockwise or counterclockwise doesn't quite work.\n\nAlas, widdershins and deiseil don't work either. Just dull stuff like TURN MIRROR N.\n\n> You turn the mirror sse\nIt slides in with a satisfying CLICK. Or maybe it's just a more relieved click you're still doing things right.\n\n> You turn the mirror wnw\nTHEN SIX MORE iMoved."
    },
    {
        "text": "[Themes: Surreal]\n\n> You examine the buttons\nThere's a big button at the top, then six more in a sort of hexagon. Looks like two aren't really functional any more.\n\n* 2\n## 3   ## 4\n## 5 ## 6\n\n[BOLD buttons are still active, and * means the button's gun is destroyed. To see an individual button, X BUTTON (1-7).]\n\n> You look at 2\nTTOnIt's in the upper right of the panel. It is currently unlit.\n\n> Examine 1\nIt's in the upper left of the panel. It is currently unlit.\n\n> Go northeast\nYou are on a small circular platform between narrow railed catwalks leading southwest and east.\n\nA large mirror (facing SSE) is at the edge of the platform.\n\n> Go east\nYou tiptoe along the catwalk, no longer scared of the gun that can no longer fire.\n\nYou can see LaserGun2 here.\n\n> You get gun\nTaken.\n\n> You look at the gun\nYou see a 4-foot-wide laser gun barrel pointing west here, and you smell ozone faintly--from when it fired, probably.\n\n> Go southeast\nThe catwalk is too narrow for you to really explore.\n\n> Go southwest\nSpiderbrain Center\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing sort of between west and northwest--we'll call it WWN, WNW, or even NWW) is at the edge of the platform.\n\n> Go north\nA large mirror (facing east) is at the edge of the platform.\n\n> Tilt mirror north\nIt's where it should be. No need to tinker.\n\n> You go south\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing WWN) is at the edge of the platform."
    },
    {
        "text": "[Themes: Surreal]\n\n> You examine the panel\nThere's a big button at the top, then six more in a sort of hexagon. Looks like two aren't really functional any more.\n\n* 2\n## 3   ## 4\n## 5 ## 6\n\n> Tilt mirror nnw\nMoved.\n\n> Tilt mirror nnw\nIt already is."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nYou are in the center of the structure. You can go pretty much any way except south. The exit from all this appears to be to the north, where you can see a very, very big laser gun in the distance.\n\nThere's an important looking panel by the north wall. It's got a bunch of buttons on it, with a bunch of pictures to the side.\n\nA large mirror (facing NNW) is at the edge of the platform.\n\n> Go northwest\nYou are on a small circular platform between narrow railed catwalks leading southeast and west.\n\nA large mirror (facing sort of between south and southwest--we'll call it SSW, SWS or even WSS) is at the edge of the platform.\n\n> Go west\nYou tiptoe along the catwalk, no longer scared of the gun that can no longer fire.\n\nYou can see LaserGun1 here.\n\n> You look at the gun1\nNG. YOuYou can't see any such thing.\n\n> You look at the gun\nYou see a 4-foot-wide laser gun barrel pointing west here, and you smell ozone faintly--from when it fired, probably.\n\n> Inventory\nYou are carrying:\nLaserGun2\na juicy gourmet fly casserole\na pack of 104 cards\na Spider combating Kit (open)\nan In-a-Pinch Infrasound Generator\na mini-vacuum\na spray bottle\nyour summer program ID\n\n> You get gun\nTaken.\n\n> Y.\ndebugcheapnitfol quit with exit status: 0"
    },
    {
        "text": "[Themes: Surreal]\n\nThe sand stretches around you in all directions.\nThere is a grassy countryside. Rocks are scattered about.\nYou are in a room. The room has walls and a ceiling.\n\nYou blink. It seems as though you've been standing here forever. You feel suddenly stressed; There is something you have to do.\nCacophony\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n[Author's Note: The sand stretches around you in all directions. There is a grassy countryside. Rocks are scattered about. You are in a room. The room has walls and a ceiling. You blink. It seems as though you've been standing here forever. You feel suddenly stressed; There is something you have to do.]\n\n> About yourself\nYou neither look, or feel, as if you are \"all here\".\n\n> You think\nFor a moment, you picture an underground room.\n\n> You look at the blood\nBright red. You can't tell where it's coming from. It seems to emerge from the wall itself.\n\n> You examine table\nIt is made of an unidentifiable wood, and heavily stained with blood. The surface is deeply wounded with ugly scars. On the ugly table there is some cutlery and some plates.\n\n> You drink the blood\nIt tastes metally. And foul.\n\n> Xyzzy\nFractal patterns spin across your vision briefly, and you feel hollow.\n\n> Smell\nYou feel ill. The air is foul.\n\n> About yourself\nYou neither look, or feel, as if you are \"all here\".\n\n> Sing\nYou sing a song you heard on the radio once, unusual in that you remember all its lyrics perfectly.\n\n> You take the plate\nThey seem to be superglued in place."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> You listen\nWhen you strain your ears, you can hear a faint breathing.\n\n> You get plates\nThey seem to be superglued in place.\n\nA ghostly figure floats up through the floor, and coalesces into Mr Green.\n\nMr Green hands you a note.\n\n> You examine table\nIt is made of an unidentifiable wood, and heavily stained with blood. The surface is deeply wounded with ugly scars. On the ugly table there is some cutlery and some plates.\n\n> You read the note\nYou can't see any such thing.\n\nA small piece of notepaper, torn at the top. It reads, \"You're dreaming, fool.\"\n\n> You look at the mr green\nHe wears a green mask, a green suit, and a green hat.\n\nMr Green adjusts his mask.\n\n> You pinch yourself\nThe pain feels strangely distant, and your surroundings distort for a second.\n\n> You wake up\nYou drift away...\n\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nOn the bed is a blanket.\n\nYou can see a wallet (empty) and a badge here.\n\nYou feel a presence in the room.\n\n> You take the wallet\nTaken.\n\n\"Stay calm.\" suggests the poster.\n\n> You take the badge\nTaken.\n\n\"The plan is a good plan.\" says the poster.\n\n> You take the poster\nSo fond are you of this poster, you superglued it to the wall. That's probably against residential regulations, but you were feeling rebellious at the time.\n\n\"Are you okay?\" asks the poster.\n\n> Examine poster\nIt depicts a rock singer of bygone years.\n\n\"I may be paper, but you can talk to me.\" says the poster.\n\n> What is the the meaning of the life\nTry ASK someone ABOUT something.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster.\n\nYou can't talk to the poster.\n\n> You ask the poster about the life\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You ask the poster about the mission\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\nThe poster smiles at you.\n\n> You ask the poster about the mission\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"Are you okay?\" asks the poster.\n\n> You wake up\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"You need to proceed with your mission.\" says the poster.\n\nIt doesn't work like that.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster.\n\n> About you\nYou neither look, or feel, as if you are \"all here\".\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You examine the badge\nA metal disc with a pin and symbol, it symbolises your role and rank. You can't remember the exact details right now, but that doesn't matter.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> Wish\nYou've tried that before. It didn't work then, and it won't work now.\n\n\"Stay calm.\" suggests the poster."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nOn the bed is a blanket.\n\nThe poster smiles at you.\n\n> You listen\nYou can faintly hear cars in the distance, beyond the window.\n\n\"You need to stay active.\" says the poster.\n\n> You get up\nBut you aren't in anything at the moment.\n\n\"You need to stay active.\" says the poster.\n\n> You ask poster about the poseter\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You ask the poster about the poster\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"Stay calm.\" suggests the poster.\n\n> You go to the north\nYou open the bedroom door.\n\nThe poster watches you leave.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\nOn the workdesk are a crowbar, a hammer and a work folder (closed).\n\nYou can see a workbag (closed) here.\n\n> You make the wish\nYou've tried that before. It didn't work then, and it won't work now.\n\n> You open the bag\nYou open the workbag.\n\n> You look in it\nThe workbag is empty.\n\n> You get it\nTaken.\n\n> You take the bag\nYou already have that.\n\n> You look at crowbar\nGrey, and a little dusty.\n\n> You open the folder\nYou open the work folder, revealing a business card, a storeroom photograph and a newspaper.\n\n> You read the card\nA small, laminated section of cardboard. Oddly enough, the only detail upon it is a phone number: 02312345673.\n\n> You examine photograph\nIt's a photograph of a storeroom, filled with crates.\n\n> You check what you're carrying\nYou are carrying:\na crowbar\na workbag (open but empty)\na badge\na wallet\n\n> Examine newspaper\nThe only part that really catches your attention is the picture on the front, of the Chimera Corporation building. Indeed, you feel that this picture is the reason for the paper's presence here.\n\n> You get all from the desk\nhammer: Taken.\nwork folder: Taken.\n\n> You put all in the bag\nAn old hammer, with a metal head and wooden handle.\n\nwork folder: You put the work folder into the workbag.\n\nhammer: You put the hammer into the workbag.\n\ncrowbar: You put the crowbar into the workbag.\n\nbadge: You put the badge into the workbag.\n\nwallet: You put the wallet into the workbag.\n\n> You examine the wallet\nIt's battered but functional, and you're quite fond of it. In the wallet there is nothing."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> You examine the phone\nIt's black, and possesses the usual phone functions.\n\n> You look at the card\nA small, laminated section of cardboard. Oddly enough, the only detail upon it is a phone number: 02312345673.\n\n> You read newspaper\nThe only part that really catches your attention is the picture on the front, of the Chimera Corporation building. Indeed, you feel that this picture is the reason for the paper's presence here.\n\n> You dial 02312345673\nYou dial the number and raise the receiver.\n\nThere's no response. You can hear some sort of interference, like running water.\n\n> You listen\nYou can faintly hear cars in the distance.\n\n> You examine the desk\nIt's not ornate, but it suits your purposes. On the workdesk there is nothing.\n\nDidn't you have another tool here?\n\n> You look under the desk\nYou discover your screwdriver, which you take.\n\n> You examine the desk\nIt's not ornate, but it suits your purposes. On the workdesk there is nothing.\n\n> Go east\nYou open the kitchen door.\n\nYour kitchen is relatively clean. A pile of pizza boxes sits on a table, adjacent to your microwave. Your television sits on a shelf. A door leads west.\n\nA face grins on the television.\n\n> You examine the television\nYou brought it in here so you can watch as you eat. Unfortunately, it stopped working recently, and you're not sure why.\n\n\"You may think I'm trapped here\" says the face, \"but, you can only see part of me.\"\n\n> You look behind the television\nYou find nothing.\n\n\"I see you, and I know who you are.\" states the face.\n\n> You look at the pizza\nEmpty, tragically.\n\nThe phone number \"06634734521\" is shown on the boxes.\n\n\"I wouldn't just stand there.\" says the face.\n\n> You hit television\nNo, you might break it.\n\nSharp knives float across the face.\n\n> You turn the tv off\nThat's not something you can switch.\n\n\"I know what you're doing, and I will pass judgement.\" intones the face.\n\n> You take the pizza\nYou can't carry them comfortably, and you don't see any use for them.\n\nThe face watches you.\n\n> You ask the tv about the pizza\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\n\"\"Do you think this is a game?\" asks the face.\n\n> You open the pizza\nThey're not something you can open.\n\nThe face watches you.\n\n> You look at the microwave\nIt still works, but you don't have anything to heat at present.\n\n\"I know what you're doing, and I will pass judgement.\" intones the face.\n\n> You turn off the tv\nThat's not something you can switch.\n\nThe face watches you.\n\n> You hit tv with the hammer\nNo, you might break it.\n\nThe face screams silently, but not out of fear. Out of joy.\n\n> Examine tv\nYou brought it in here so you can watch as you eat. Unfortunately, it stopped working recently, and you're not sure why.\n\n\"\"Do you think this is a game?\" asks the face.\n\n> You wake up\nIt doesn't work like that.\n\n\"Better get going.\" says the face maliciously.\n\n> You examine the pizza\nEmpty, tragically.\n\nThe phone number \"06634734521\" is shown on the boxes.\n\nThe face screams silently, but not out of fear. Out of joy.\n\n> You pinch yourself\nOuch!\n\nThe face screams silently, but not out of fear. Out of joy.\n\n> You go west\nA hand waves on the television.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> You call 06634734521\nUnfortunately, they've closed down.\n\n> Go west\nYou open the apartment door.\n\nThis dim passage runs north and south past a row of rooms. You've never been in any of them other than your own. Your apartment is to the east.\n\nSome sort of lizard bauble hangs from a light bulb.\n\nThe lizard hisses in a friendly manner.\n\n> You examine the lizard\nA small bauble in the shape of a lizard, hanging from a dim light-bulb.\n\n\"You don't know who's moving the pieces. But consider: They must be powerful. They must be worth befriending.\" The lizard makes a clicking noise.\n\n> You take the lizard\nThat's hardly portable.\n\n\"You don't have to live in squalor you know.\" suggests the lizard.\n\n> You go north\nThe lizard makes a tiny waving motion.\n\nYou can go upwards, or downwards. Upwards fills you with dread, downwards with anticipation. You are unsure why. Your apartment is down a corridor to the south.\n\n> Go south\nThis dim passage runs north and south past a row of rooms. You've never been in any of them other than your own. Your apartment is to the east.\n\nSome sort of lizard bauble hangs from a light bulb.\n\nThe lizard hisses in a friendly manner.\n\nThe lizard makes a tiny waving motion.\n\nThe corridor stops here. A fire exit adorns the south wall.\n\n> You examine the exit\nIt has a push-bar on the front. It is closed.\n\n> You go to the north\nThis dim passage runs north and south past a row of rooms. You've never been in any of them other than your own. Your apartment is to the east.\n\nSome sort of lizard bauble hangs from a light bulb.\n\nThe lizard hisses in a friendly manner.\n\n> Go east\nThe lizard makes a tiny waving motion.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> You go to the east\nYour kitchen is relatively clean. A pile of pizza boxes sits on a table, adjacent to your microwave. Your television sits on a shelf. A door leads west.\n\nA face grins on the television.\n\n> You move the desk\nIt is fixed in place.\n\n> You look at the bauble\nA small bauble in the shape of a lizard, hanging from a dim light-bulb.\n\n\"Perhaps you should be considering self-improvement?\" asks the lizard.\n\n> You get bauble\nThat's hardly portable.\n\n\"I may be stuck up here, but doesn't mean you should ignore me.\" says the lizard.\n\n> You look at the lizard\nA small bauble in the shape of a lizard, hanging from a dim light-bulb.\n\n\"You are more than you might think.\" states the lizard.\n\n> You go south\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nOn the bed is a blanket.\n\nYou feel a presence in the room.\n\n> You look at the window\nYou can see outside the building. Specifically, you can see a wall, and\n\n> You examine the window\nan alleyway.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster.\n\nYou can see outside the building. Specifically, you can see a wall, and an alleyway.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You get the blanket\nTaken.\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You examine the blanket\nPale blue. It looks a little thin.\n\n\"You need to stay active.\" says the poster.\n\n> You look under the bed\nYou find nothing of interest.\n\nThe poster smiles at you.\n\n> Sleep\nYou need to lie down somewhere comfortable.\n\n\"Are you okay?\" asks the poster.\n\n> Examine poster\nIt depicts a rock singer of bygone years.\n\n\"I may be paper, but you can talk to me.\" says the poster.\n\n> You lie on the bed\nYou get onto the bed.\n\n\"I may be paper, but you can talk to me.\" says the poster.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nYou can see a torn note here.\n\n> You read the note\nA small piece of notepaper, torn at the top. It reads, \"You're dreaming, fool.\"\n\n> You take the note\nTaken.\n\n> You check what you're carrying\nYou are carrying:\na torn note"
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Smell\nYou feel ill. The air is foul.\n\n> You listen\nWhen you strain your ears, you can hear a faint breathing.\n\n> You take cutlery\nYou take a single knife, feeling that to be most useful.\n\n> Taste\nWhat do you want to taste?\n\n> You check your inventory\nYou are carrying:\na knife\na torn note\n\n> You examine the knife\n(the knife)\nBlunt, and dull.\n\nA ghostly figure floats up through the floor, and coalesces into Mr Red.\n\n> You look at the mr red\nHe wears a red mask, a red suit, and a red hat.\n\n> You kill the mr red with the knife\n(the knife)\nViolence isn't the answer to this one.\n\n> You ask Red about Green\nHe seems to look at you for a moment.\n\n> You ask red about yourself\nHe seems to look at you for a moment.\n\nMr Red detaches and reattaches his hands.\n\n> You give the knife to Red\nHe seems to look at you for a moment.\n\n(the knife to Mr Red)\nMr Red takes it with a grin.\n\n> You taste the mr red\nYou'd rather not.\n\nMr Red makes experimental stabbing motions with the knife.\n\n> You feel MR red\nKeep your hands to yourself!\n\nMr Red puts down the knife.\n\n> You take the knife\n(the knife)\nTaken.\n\n> Smell MR red\nYou smell nothing unexpected.\n\nMr Red somersaults.\n\n> You ask red about yourself\nHe seems to look at you for a moment.\n\n> Go north\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nMr Red arrives from the south.\n\n> Smell\nAs you inhale the sweet scents of the garden, you feel your spirits lift.\n\n> You get the fruit\nThe fruit seems to lose some of its strength as you pull it free, and you eat it quickly.\n\nMr Red somersaults.\n\n> You look at the fountain\nThe ornamentation depicts a pantheon of gods and goddesses, peering outwards. You can see the gleam of coins beneath the water."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nYou can see Mr Red here.\n\n> You look at the vines\nTangled and green.\n\nMr Red giggles.\n\n> You cut the vines\nYou try, but they're too tough.\n\n> You wake\nYou drift away...\n\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You get up\nBut you aren't in anything at the moment.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster."
    },
    {
        "text": "> You describe your surroundings\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> Inventory\nYou are carrying:\na blanket\na screwdriver\na workbag (open)\na wallet\na badge\na crowbar\na hammer\na work folder (open)\na business card\na storeroom photograph\na newspaper\n\n\"I may be paper, but you can talk to me.\" says the poster.\n\n> Sleep\nYou need to lie down somewhere comfortable.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You get on bed\nYou get onto the bed.\n\n\"I may be paper, but you can talk to me.\" says the poster.\n\n> Sleep\nTry ASK someone ABOUT something.\n\n\"I can't tell you much. You need to explore your possibilities.\" says the poster.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nYou don't feel that tired.\n\n> Go north\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nYou can see a torn note here.\n\n> You go north\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\n> Go north\nThere is nothing but plant-life. You are having some difficulty in moving around. A pair of tiny reptilian eyes stare at you from the depths of the brush.\n\n> You examine the eyes\nYou can vaguely make out the shape of a small lizard hiding in the shadows.\n\n> You kill the lizard\nThe lizard is too far back in the brush for you to reach.\n\n> You ask the lizard about the jungle\nYou can only do that to something animate.\n\n> You listen\nYou hear a gentle rustling.\n\nMr Blue arrives from the south.\n\n> You look at Blue\nHe wears a blue mask, a blue suit, and a blue hat.\n\n> You go south\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nMr Blue arrives from the north.\n\n> Go south\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the north.\n\n> You go west\nA man glares at you from a pedestal against the north wall. His body is wood, his face is formed from paint. You feel guilty. A flaming bowl sits in front of the pedestal. A doorframe leads east.\n\nMr Blue arrives from the east.\n\n> You look at the idol\nYou find it difficult to meet his gaze. He is dressed in priestly robes, adorned with strange patterns. For a moment, you think you see a hat of some kind..\n\n> You look at the bowl\nThere is no visible fuel within the bowl, and the flames are too strong for you to risk looking closer. The bowl itself is made of silvery metal.\n\n> You put the face in the bowl\nThis dangerous act would achieve little.\n\nYou can't see any such thing.\n\n> You burn yourself\nThis dangerous act would achieve little.\n\n> Go east\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the west.\n\n> Go south\nYou stand in a patch of dim light streaming from the north. All else is darkness. Odd sensations creep over you. Light can be seen to the north.\n\nA soft strain of music drifts from the darkness.\n\nMr Blue arrives from the north.\n\n> You listen\nThe music sounds like that of a guitar. It is very faint.\n\n> You go north\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the south.\n\n> You go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) here.\n\nMr Blue arrives from the west.\n\n> You look at the notepad\nThe top page has been torn away. The second reads \"There is no visible fuel within the bowl, and the flames are too strong for you to risk looking closer. The bowl itself is made of silvery metal.\", whatever that means.\n\n> You open suitcase\nYou open the suitcase, revealing a work folder, a hammer, a crowbar, a badge and a wallet.\n\n> You look at the picture\n(the framed picture)\nIt's a photograph of your bedroom. The frame is made from dark wood.\n\n> You take the picture\nWhich do you mean, the framed picture, the bedroom photograph or the storeroom photograph?\n\n> You examine the wallet\nIt's battered but functional, and you're quite fond of it. In the wallet there is nothing.\n\n> You put all in the suitcase\nnotepad: You put the notepad into the suitcase.\n\nknife: You put the knife into the suitcase.\n\ntorn note: You put the torn note into the suitcase."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nYou can see Mr Blue here.\n\n> You examine the framed picture\nIt's a photograph of your bedroom. The frame is made from dark wood.\n\n> You look at bedroom photograph\nIt's a photograph of your bedroom.\n\n> You look at the storeroom photograph\nIt's a photograph of a storeroom, filled with crates.\n\n> You check what you're carrying\nYou are carrying:\na suitcase (open)\na torn note\na knife\na notepad\na work folder (open)\na business card\na storeroom photograph\na newspaper\na hammer\na crowbar\na badge\na wallet\n\n> You look at the desk\nIt is made of exceptionally high quality wood. It includes a small drawer. On the wooden desk there is an In-Tray and an Out-Tray.\n\n> You examinIn-Tray\nIt is made of plastic, and labelled \"IN\". In the In-Tray there is nothing.\n\n> You examinOut-Tray\nIt is made of plastic, and labelled \"OUT\". In the Out-Tray there is nothing.\n\n> You open the drawer\nYou open the drawer, revealing a mirror.\n\n> You get all\nMr Blue: I don't suppose Mr Blue would care for that.\nbedroom photograph: The frame is held together tightly by screws. You'll need to loosen them.\ntorn note: Taken.\nknife: Taken.\nnotepad: Taken.\nwork folder: Taken.\nbusiness card: Taken.\nstoreroom photograph: Taken.\nnewspaper: Taken.\nhammer: Taken.\ncrowbar: Taken.\nbadge: Taken.\nwallet: Taken.\n\n> You put all in the suitcase\nwallet: You put the wallet into the suitcase.\n\nbadge: You put the badge into the suitcase.\n\ncrowbar: You put the crowbar into the suitcase.\n\nhammer: You put the hammer into the suitcase.\n\nnewspaper: You put the newspaper into the suitcase.\n\nstoreroom photograph: You put the storeroom photograph into the suitcase.\n\nbusiness card: You put the business card into the suitcase.\n\nwork folder: You put the work folder into the suitcase.\n\nnotepad: You put the notepad into the suitcase.\n\nknife: You put the knife into the suitcase.\n\ntorn note: You put the torn note into the suitcase.\n\nmirror: You put the mirror into the suitcase.\n\n> Torn\nA small piece of notepaper, torn at the top. It reads, \"You're dreaming, fool.\"\n\n> You look at the chair\nIt looks neat, but a little uncomfortable. On the study chair there is nothing.\n\n> You read the notepad\nThe top page has been torn away. The second reads \"It looks neat, but a little uncomfortable.\", whatever that means.\n\n> You go to the east\nYou open the fine wooden door.\n\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nYou can see a library chair here.\n\nMr Blue arrives from the west.\n\n> You give the mirror to Blue\n(first taking the mirror)\nMr Blue examines it briefly, and then passes it back to you.\n\n> You look at the table\nThe table is made of rich wood. On the reading table there is a lamp and a clock.\n\n> You examine the clock\nThe clock reads 15:00.\n\n> You look at the lamp\nThe lamp is dark. A knob on the side adjusts the level of light.\n\n> Examine books\nThe books are old and fragile. For some reason, the spines aren't labelled.\n\n> You give the hammer to Blue\n(first taking the hammer)\nMr Blue examines it briefly, and then passes it back to you.\n\n> You examine the chair\nIt seems to have been in an accident at some point, and one of its arms is missing. On the library chair there is nothing.\n\n> You turn the knob right\nThe lamp is barely shining.\n\n> Continue\nThe lamp is shining dimly.\n\n> You turn the knob right\nThe lamp is shining brightly.\n\n> You keep going\nThe lamp is glaring.\n\n> You pry the lamp with the crowbar\nThat's unnecessary.\n\n> Go west\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the east.\n\n> You sit in the chair\nYou get onto the study chair.\n\n> You turn the mirror\nNothing obvious happens.\n\n> You get up\nYou get off the study chair.\n\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nYou can see Mr Blue here.\n\n> Go south\nYou open the pale wooden door.\n\nA large screen television, the largest you've ever seen, dominates the room. Colourful images try to steal your attention, and high-quality sound fills the air. There is a VERY comfortable looking armchair waiting. The pale wooden door stands to the north.\n\nMr Blue arrives from the north."
    },
    {
        "text": "[Themes: Surreal]\n\n> You look at your surroundings\nA large screen television, the largest you've ever seen, dominates the room. Colourful images try to steal your attention, and high-quality sound fills the air. There is a VERY comfortable looking armchair waiting. The pale wooden door stands to the north.\n\nYou can see Mr Blue here.\n\n> You turn on the tv\nIt's already on.\n\n> You watch the tv\nYou stare into the depths for a few minutes.\n\nAs you shake yourself out of the trance, you wonder what you were watching.\n\nThe television is currently switched on.\n\n> You sit\nWhat do you want to sit on?\n\n> Armchair\nYou get onto the armchair.\n\n> You turn the tv off\nYou flip the switch, but the screen stays lit. After a moment the switch changes position by itself.\n\n> You listen\nLaughing voices discuss irrelevant matters.\n\n> Pry chair\nWhat do you want to pry the armchair with?\n\n> You pry the chair with the crowbar\nThat's unnecessary.\n\n> Go north\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the south.\n\n> Go north\nYou open the dark wooden door.\n\nWhatever work is being done here, it looks important. Complex instruments are poised, books are open, and the tables that clutter the room have not one square-inch of space unused. You COULD begin to understand it all, but it would take time.\n\nMr Blue arrives from the south.\n\n> You check what you're carrying\nYou are carrying:\na hammer\na mirror\na suitcase (open)\na torn note\na knife\na notepad\na work folder (open but empty)\na business card\na storeroom photograph\na newspaper\na crowbar\na badge\na wallet\n\n> You move the junk\nThose are fixed in place.\n\n> You put all in the suitcase\nhammer: You put the hammer into the suitcase.\n\nmirror: You put the mirror into the suitcase."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nWhatever work is being done here, it looks important. Complex instruments are poised, books are open, and the tables that clutter the room have not one square-inch of space unused. You COULD begin to understand it all, but it would take time.\n\nYou can see Mr Blue here.\n\n> Smell\nSharp, alien smells reach you from somewhere.\n\n> Go south\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the north.\n\n> You go west\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the east.\n\n> You go west\nA man glares at you from a pedestal against the north wall. His body is wood, his face is formed from paint. You feel guilty. A flaming bowl sits in front of the pedestal. A doorframe leads east.\n\nMr Blue arrives from the east.\n\n> Go east\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the west.\n\n> Go south\nYou stand in a patch of dim light streaming from the north. All else is darkness. Odd sensations creep over you. Light can be seen to the north.\n\nA soft strain of music drifts from the darkness.\n\nMr Blue arrives from the north.\n\n> You listen\nThe music sounds like that of a guitar. It is very faint.\n\n> You go north\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the south.\n\n> You go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the west.\n\n> You open the drawer\nThat's already open.\n\n> Go south\nA large screen television, the largest you've ever seen, dominates the room. Colourful images try to steal your attention, and high-quality sound fills the air. There is a VERY comfortable looking armchair waiting. The pale wooden door stands to the north.\n\nMr Blue arrives from the north.\n\n> You sit in the armchair\nYou get onto the armchair.\n\n> Inventory\nYou are carrying:\na blanket\na screwdriver\na workbag (open)\na wallet\na badge\na crowbar\na newspaper\na storeroom photograph\na business card\na work folder (open but empty)\na notepad\na knife\na torn note\na hammer\na mirror\n\nThe poster smiles at you.\n\n> You put all in the workbag\nblanket: You put the blanket into the workbag.\n\nscrewdriver: You put the screwdriver into the workbag.\n\n\"The plan is a good plan.\" says the poster.\n\n> You read the notepad\nThe top page has been torn away. The second reads \"You can't see much of the surfaces, what with them being covered in incomprehensible junk.\", whatever that means.\n\n\"The plan is a good plan.\" says the poster.\n\n> Sleep\nYou need to lie down somewhere comfortable.\n\n\"Have you tried making a wish?\" asks the poster."
    },
    {
        "text": "[Themes: Surreal]\n\n> Describe the surroundings\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You examine the workbag\nThis is what you use to carry tools and important objects from one place to another. In the workbag there is a screwdriver, a blanket, a wallet, a badge, a crowbar, a newspaper, a storeroom photograph, a business card, a work folder, a notepad, a knife, a torn note, a hammer and a mirror.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You examine the notepad\nYou have owned this tool for a long time. It has served you well, and you have never considered replacing it. Through such possessions are men defined.\n\nIt has a red handle.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster.\n\nThe top page has been torn away. The second reads \"You have owned this tool for a long time. It has served you well, and you have never considered replacing it. Through such possessions are men defined.\n\nIt has a red handle.\", whatever that means.\n\n\"I can't tell you much. You need to explore your possibilities.\" says the poster.\n\n> You turn the handle\nNothing obvious happens.\n\n\"You need to stay active.\" says the poster.\n\n> You enter the bag\nThat's not something you can enter.\n\n\"Stay calm.\" suggests the poster.\n\n> You put the screwdriver in the workbag\nYou need to be holding the screwdriver before you can put it into something else.\n\n\"I can't tell you much. You need to explore your possibilities.\" says the poster.\n\n> You look in the workbag\nIn the workbag are a screwdriver, a blanket, a wallet, a badge, a crowbar, a newspaper, a storeroom photograph, a business card, a work folder, a notepad, a knife, a torn note, a hammer and a mirror.\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You close the workbag\nYou close the workbag.\n\n\"You need to stay active.\" says the poster.\n\n> You enter the bed\nYou get onto the bed.\n\n\"I can't tell you much. You need to explore your possibilities.\" says the poster.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) here.\n\n> You go east\nYou open the fine wooden door.\n\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nYou can see a library chair here.\n\n> You go east\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nYou can see a library chair here.\n\n> Yes\nHow positive.\n\n> You take the chair\nYou could move it around, but why bother?\n\n> You look at the lamp\nThe lamp is glaring. A knob on the side adjusts the level of light.\n\n> You go to the west\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nMr Green arrives from the east.\n\n> Go west\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Green arrives from the east.\n\n> You go to the west\nA man glares at you from a pedestal against the north wall. His body is wood, his face is formed from paint. You feel guilty. A flaming bowl sits in front of the pedestal. A doorframe leads east.\n\nMr Green arrives from the east.\n\n> You look at the bowl\nThere is no visible fuel within the bowl, and the flames are too strong for you to risk looking closer. The bowl itself is made of silvery metal.\n\n> You go to the east\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Green arrives from the west.\n\n> You wake\nYou drift away...\n\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You go north\nThe poster watches you leave.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> You check what you're carrying\nYou are carrying:\na workbag (closed)\n\n> Go south\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You enter the bed\nYou get onto the bed.\n\n\"Stay calm.\" suggests the poster.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) here.\n\n> You unscrew framed\nYou loosen the screws, but don't remove them; That would make the frame fall apart.\n\n> You take the frame\nIt's too firmly attached to the wall.\n\n> You unscrew framed\nThe screws are already loose.\n\n> You take the photograph\nWhich do you mean, the bedroom photograph or the storeroom photograph?\n\n> You take the bedroom photograph\nYou take the photograph out of the frame.\n\n> You put the storeroom in the frame\nYou put the photograph into the frame.\n\nMr Red arrives from the west.\n\n> You put the screwdriver in the suitcase\nYou put the screwdriver into the suitcase.\n\n> Inventory\nYou are carrying:\na bedroom photograph\na suitcase (open)\na screwdriver\na hammer\na torn note\na work folder (open but empty)\na business card\na newspaper\na crowbar\na badge\na wallet\na blanket\n\nMr Red somersaults.\n\n> You put the bedroom photograph in the suitcase\nYou put the bedroom photograph into the suitcase.\n\n> You wake\nYou drift away...\n\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\nYou can see a chest (closed) and a gadget blueprint here.\n\n> You look at the chest\nIt's made of some sort of metal. There is a square depression set into the top.\n\n> Open chest\nIt seems to be locked.\n\n> You examine the hammock\nAlthough it is fairly crude, it looks comfortable. You wonder why more people don't use them. On the hammock there is nothing."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\nYou can see a gadget blueprint here.\n\n> Inventory\nYou are carrying:\na chest (closed and locked)\na workbag (closed)\n\n> You eat the blueprint\n(first taking the gadget blueprint)\nThat's plainly inedible.\n\n> You eat workbag\nThat's plainly inedible.\n\n> You put the blueprint in the bag\nYou put the gadget blueprint into the workbag.\n\n> You put the chest in the bag\nYou put the chest into the workbag."
    },
    {
        "text": "> You look around\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\n> You look at the crates\nMost of the crates are made of sealed metal. They don't look as if they can be opened. However, one of them is somewhat more old-fashioned, being made of battered wood.\n\n> Pry crate\n(with the workbag)\nYou need a better tool.\n\n> You pry the crate with the crowbar\nYou manage to tear the top off.\n\n> You pry the crate with the crowbar\nIt's already open.\n\n> You look at the crate\nIt doesn't look especially sturdy, but it's not exactly falling apart either. You can see that a label on the side reads \"Imagination Soil\". In the wooden crate there is some soil.\n\n> You eat the soil\n(first taking the soil)\nIt's too difficult to carry.\n\n> You examine the soil\nThis soil seems especially thick and damp.\n\n> Close chest\nThat's already closed.\n\n> Inventory\nYou are carrying:\na workbag (open)\na chest (closed and locked)\na gadget blueprint\na blanket\na wallet\na badge\na crowbar\na newspaper\na business card\na work folder (open but empty)\na torn note\na hammer\na screwdriver\na bedroom photograph\n\n> You examine blueprint\nWhile you can tell that the blueprint describes the creation of some type of gadget, you can't ascertain how it would work or what it would be used for.\n\nWhile you can tell that the blueprint describes the creation of some type of gadget, you can't ascertain how it would work or what it would be used for.\n\n> You take the soil\nIt's too difficult to carry.\n\n> You examine the hammock\nAlthough it is fairly crude, it looks comfortable. You wonder why more people don't use them. On the hammock there is nothing."
    },
    {
        "text": "> You look around\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\n> You examine the badge\nA metal disc with a pin and symbol, it symbolises your role and rank. You can't remember the exact details right now, but that doesn't matter.\n\n> You enter the hammock\nYou get onto the hammock.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Go west\nA man glares at you from a pedestal against the north wall. His body is wood, his face is formed from paint. You feel guilty. A flaming bowl sits in front of the pedestal. A doorframe leads east.\n\n> You go south\nYou stand in a patch of dim light streaming from the north. All else is darkness. Odd sensations creep over you. Light can be seen to the north.\n\nA soft strain of music drifts from the darkness.\n\n> You take the suitcase\n(the storeroom photograph)\nYou take the photograph out of the frame.\n\nTaken.\n\n> Inventory\nYou are carrying:\na suitcase (closed)\na storeroom photograph\n\n> You put all in suitcase\nstoreroom photograph: You put the storeroom photograph into the suitcase.\n\n> You examine the frame\nAn empty frame, made from dark wood. In the frame there is nothing.\n\n> You wake\nYou drift away...\n\nYou are in darkness."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nYou are in darkness."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nYou can go upwards, or downwards. Upwards fills you with dread, downwards with anticipation. You are unsure why. Your apartment is down a corridor to the south.\n\n> Up\nYou're too frightened. You can't go up there. Ever."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downward\nA set of mailboxes wait on one wall. The floor hasn't been cleaned for some time. A couple of entrance doors lead south. Stairs lead upwards.\n\n> You examine the mailbox\nThe keys are long lost, and the boxes hang open. There are still a few bits and pieces inside them.\n\n> You look in the mailbox\nMost of the stuff in the boxes is useless, but you do manage to find a leaflet for a taxi firm that might be handy.\n\n> You read the leaflet\nA leaflet for a taxi firm. \"DIAL 05231453257 for rapid, reliable travel!\"\n\n> You get the leaflet\nYou already have that.\n\n> You go to the south\nYou open the entrance doors.\n\nThe street is deserted. Your apartment building is to the north. A tree casts a shadow over you. A cardboard cutout leans against a wall, an abandoned piece of marketing.\n\nYou notice some graffiti adorning a wall, sprayed in red.\n\nAbruptly, a car comes tearing down the street towards you. You are frozen with terror, but without a conscious effort, you move sideways and the car speeds out of sight without touching you. What's wrong with the world today?\n\nThe cutout eyes you.\n\n> You examine the cutout\nA happy cowboy, inanimate.\n\n\"Are you afraid?\" asks the cutout.\n\n> You examine the graffiti\nHELP.\n\n\"Is this what you call productivity?\" asks the cutout.\n\n> Inventory\nYou are carrying:\na leaflet\na workbag (open)\na chest (closed and locked)\na gadget blueprint\na blanket\na wallet\na badge\na crowbar\na newspaper\na business card\na work folder (open but empty)\na torn note\na hammer\na screwdriver\na bedroom photograph\na storeroom photograph\n\n\"You look helpless.\" jeers the cutout.\n\n> You look at tree\nYou don't know enough about trees to identify it as being anything but dark, and daunting. A nest is perched high on one branch.\n\nThe cutout laughs.\n\n> You climb the tree\nUnfortunately, there aren't any branches within reach that will support your weight.\n\nFroth drips from the cutout's mouth.\n\n> You examine the nest\nFilthy, but functional. There is a feather stuck in it. In the high nest there is nothing.\n\n\"Why do you just stand there?\" asks the cutout.\n\n> You take the feather\nYou can't reach it.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> You throw the leaflet at nest\nYou lob the leaflet. You miss.\n\n\"Have you forgotten what to do?\" asks the cutout.\n\n> You throw the hammer at the nest\n(first taking the hammer)\nYou lob the hammer. You miss.\n\nFroth drips from the cutout's mouth.\n\n> You throw the badge at the nest\n(first taking the badge)\nYou lob the badge. You miss.\n\n\"Why do you just stand there?\" asks the cutout."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThe street is deserted. Your apartment building is to the north. A tree casts a shadow over you. A cardboard cutout leans against a wall, an abandoned piece of marketing.\n\nYou notice some graffiti adorning a wall, sprayed in red.\n\nYou can see a badge, a hammer and a leaflet here.\n\n\"You look helpless.\" jeers the cutout.\n\n> You look at the badge\nA metal disc with a pin and symbol, it symbolises your role and rank. You can't remember the exact details right now, but that doesn't matter.\n\n\"You waste your time.\" jeers the cutout.\n\n> Climb cutout\nI don't think much is to be achieved by that.\n\n\"You look helpless.\" jeers the cutout.\n\n> Shake tree\nYou give it a shake, and the nest falls to the ground.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> You take all\nold nest: Taken.\nbadge: Taken.\nhammer: Taken.\nleaflet: Taken.\nchest: Taken.\ngadget blueprint: Taken.\nblanket: Taken.\nwallet: Taken.\ncrowbar: Taken.\nnewspaper: Taken.\nbusiness card: Taken.\nwork folder: Taken.\ntorn note: Taken.\nscrewdriver: Taken.\nbedroom photograph: Taken.\nstoreroom photograph: Taken.\n\n\"Are you afraid?\" asks the cutout.\n\n> You hit the cutout\nYou don't think you can destroy it so easily.\n\n\"Why do you just stand there?\" asks the cutout.\n\n> You examine the nest\nIt's been a little damaged by its fall, and is more of a clump than a container. There is a feather stuck in it.\n\nFroth drips from the cutout's mouth.\n\n> You put all in the bag\nstoreroom photograph: You put the storeroom photograph into the workbag.\n\nbedroom photograph: You put the bedroom photograph into the workbag.\n\nscrewdriver: You put the screwdriver into the workbag.\n\ntorn note: You put the torn note into the workbag.\n\nwork folder: You put the work folder into the workbag.\n\nbusiness card: You put the business card into the workbag.\n\nnewspaper: You put the newspaper into the workbag.\n\ncrowbar: You put the crowbar into the workbag.\n\nwallet: You put the wallet into the workbag.\n\nblanket: You put the blanket into the workbag.\n\ngadget blueprint: You put the gadget blueprint into the workbag.\n\nchest: You put the chest into the workbag.\n\nleaflet: You put the leaflet into the workbag.\n\nhammer: You put the hammer into the workbag.\n\nbadge: You put the badge into the workbag.\n\nold nest: You put the old nest into the workbag.\n\nYou can feel the cutout gazing at you contemptuously.\n\n> You take feather\nTaken.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> You look at the feather\nIt's been a little damaged by its fall, and is more of a clump than a container. There is a feather stuck in it.\n\n\"Are you afraid?\" asks the cutout.\n\n> You put nest in the bag\nYou put the old nest into the workbag.\n\n\"Have you forgotten what to do?\" asks the cutout.\n\n> Yes\nHow positive.\n\nFroth drips from the cutout's mouth."
    },
    {
        "text": "[Themes: Surreal]\n\n> Look around\nThe street is deserted. Your apartment building is to the north. A tree casts a shadow over you. A cardboard cutout leans against a wall, an abandoned piece of marketing.\n\nYou notice some graffiti adorning a wall, sprayed in red.\n\n\"You waste your time.\" jeers the cutout.\n\n> You read the graffiti\nHELP.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> Go west\nYou walk a short distance, but you start to feel uncomfortable, and hurry back.\n\nYou feel a strange sensation, some sort of vibration passing through your body.\n\nThe cutout laughs.\n\n> Go east\nYou walk a short distance, but you start to feel uncomfortable, and hurry back.\n\n\"Why do you just stand there?\" asks the cutout.\n\n> You go to the south\nYou walk a short distance, but you start to feel uncomfortable, and hurry back.\n\n\"Are you afraid?\" asks the cutout.\n\n> You listen\nYou can faintly hear cars in the distance.\n\n\"Is this what you call productivity?\" asks the cutout.\n\n> You pry the chest with the crowbar\nThat's unnecessary.\n\n\"Are you afraid?\" asks the cutout.\n\n> You look at the newspaper\nThe only part that really catches your attention is the picture on the front, of the Chimera Corporation building. Indeed, you feel that this picture is the reason for the paper's presence here.\n\n\"You waste your time.\" jeers the cutout.\n\n> You go inside\nYou can't go that way.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> You go to the east\nYou walk a short distance, but you start to feel uncomfortable, and hurry back.\n\n\"Do you think you can dream your problems away?\" asks the cutout.\n\n> You go north\nThe cutout sneers at you.\n\nA set of mailboxes wait on one wall. The floor hasn't been cleaned for some time. A couple of entrance doors lead south. Stairs lead upwards.\n\n> Go upwards\nYou can go upwards, or downwards. Upwards fills you with dread, downwards with anticipation. You are unsure why. Your apartment is down a corridor to the south.\n\n> You get in the bed\nYou get onto the bed.\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You check your inventory\nYou are carrying:\na workbag (open)\nan old nest\na badge\na hammer\na leaflet\na chest (closed and locked)\na gadget blueprint\na blanket\na wallet\na crowbar\na newspaper\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\n\n\"You need to stay active.\" says the poster.\n\n> Sleep\nYou drift away...\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) here.\n\n> You put the blueprint in the frame\nYou put the gadget blueprint into the frame.\n\n> You wake\nYou drift away...\n\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> Inventory\nYou are carrying:\na workbag (open)\nan old nest\na badge\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na newspaper\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\n\n\"You need to proceed with your mission.\" says the poster.\n\n> You go north\nThe poster watches you leave.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> You go to the east\nYour kitchen is relatively clean. A pile of pizza boxes sits on a table, adjacent to your microwave. Your television sits on a shelf. A door leads west.\n\nA face grins on the television.\n\n> You go west\nA hand waves on the television.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> Go south\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You examine frame\nAn empty frame, made from dark wood. In the frame there is a gadget blueprint.\n\n> You put it in the frame\nYou put the newspaper into the frame.\n\n> You put the blueprint in the suitcase\nYou put the gadget blueprint into the suitcase.\n\n> Go west\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nA ghostly figure floats up through the floor, and coalesces into Mr Blue.\n\n> You take the knife\nYou take a single knife, feeling that to be most useful.\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nMr Blue arrives from the west.\n\n> You look in the frame\nIn the frame is a newspaper.\n\n> Cut newspaper\nYou slice out the picture, discarding the rest.\n\n> You cut the blueprint\nCutting that up would achieve little.\n\n> Inventory\nYou are carrying:\na newspaper picture\na knife\na suitcase (open)\na gadget blueprint\na storeroom photograph\na bedroom photograph\na screwdriver\na torn note\na work folder (open but empty)\na business card\na crowbar\na wallet\na blanket\na chest (closed and locked)\na leaflet\na hammer\na badge\nan old nest\n\n> You put the knife in suitcase\nYou put the knife into the suitcase.\n\n> You look at the picture\n(the newspaper picture)\nThe picture depicts the Chimera Corporation building.\n\n> You put the picture in the frame\n(the newspaper picture in the frame)\nYou put the photograph into the frame.\n\n> You wake\nYou drift away...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\nA dog barks somewhere.\n\n> You open the car\nYou open the driver's door.\n\n> You enter the car\nYou get onto the seats.\n\n> You examine the car\nIt's green, and the keys aren't in the ignition. Oddly enough, the seats have been folded down into a bed. The driver's door is open.\n\n> Go outside\nYou get off the seats.\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\n> Go east\nYou make your way around the path...\n\nYou are standing east of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the east.\n\nYou notice an open window.\n\nYou hear a car honking in the distance.\n\n> Go north\nYou make your way around the path...\n\nYou are standing behind the Chimera building. A narrow path leads around the building, to the east and to the west. A chain-link fence blocks your way to the north.\n\n> Go west\nYou make your way around the path...\n\nYou are standing west of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the west.\n\n> Go south\nYou make your way around the path...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\n> You open the door\nYou don't see the point in opening the other doors.\n\nYou hear a car honking in the distance.\n\n> Go east\nYou make your way around the path...\n\nYou are standing east of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the east.\n\nYou notice an open window.\n\n> You examine the window\nThe window is open, but you can't see inside. It is open.\n\n> Enter\nYou hesitate. You can barely hear noises from inside the building, and you don't want to be arrested for trespassing. You need some way to escape attention.\n\n> You listen to the window\nYou hear nothing unexpected.\n\nA dog barks somewhere.\n\n> You enter window\nThe occupant of this office is asleep over her desk. Possibly as a result of this, there is a pile of untidy paperwork on the floor. A door leads west.\n\nYou can see a box of doughnuts here.\n\n> You kill the occupant\nWhich do you mean, the occupant or the occupant's desk?\n\n> You go to the west\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA couple of men hurry by, talking quickly.\n\n> Go north\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA man goes from one room to another.\n\n> You examine the doughnuts\nThe box has been torn open, and contains 3 doughnuts.\n\n> You examine the paperwork\nIt doesn't look especially interesting, consisting mostly of forms and status reports.\n\nYou're not hungry, and you're not especially fond of them.\n\nIt doesn't look especially interesting, consisting mostly of forms and status reports.\n\n> You kill self\nOuch!\n\n> You wake woman\nThat seems unnecessary.\n\n> You look at the desk\nIt's made of some type of cheap wood. On the occupant's desk there is nothing.\n\n> Go west\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA few people walk past.\n\n> Go south\nThe corridor turns a corner from north to west. A cleaner is scrubbing a stain off the floor.\n\nThis section contains technical support offices.\n\nA couple of women come out of one room, and into another.\n\n> You examine the stain\nIt looks as though someone was violently ill here.\n\nA few people walk past.\n\n> Go west\nUnfortunately, you can't see a way to get past the cleaner without revealing yourself.\n\nA couple of women hurry by, talking quietly.\n\n> You examine the cleaner\nHe is dressed in the usual type of cleaner's uniform. He wears a peaceful expression.\n\nThe corridor is quiet for a second, then people start moving again.\n\n> You drop the doughnuts\nSomeone will probably spot an item appearing from nowhere.\n\nA few people walk past.\n\n> You look at what you're carrying with you\nYou are carrying:\na box of doughnuts\na workbag (open)\nan old nest\na badge\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\na gadget blueprint\na knife\n\nA couple of women hurry by, talking quietly.\n\n> Go north\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA few people walk past.\n\n> Go north\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA clump of people hurries past.\n\n> About yourself\nYou neither look, or feel, as if you are \"all here\".\n\nA couple of men hurry by, talking quickly.\n\n> Go west\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains accounting offices.\n\nA couple of women hurry by, talking quietly.\n\n> You look at booth\nThe booth is a sturdy structure of metal and glass. You can see a glimpse of a control panel in front of the guard, but there's no way to reach it from outside.\n\nA woman hurries past, clutching a file of notes.\n\n> Go west\nThe door is locked in position, and even if it wasn't, the guard would notice it moving.\n\nA couple of men hurry by, talking quickly.\n\n> You look at the self\nYou neither look, or feel, as if you are \"all here\".\n\nA few people walk past.\n\n> You look at the guard\nHe looks fairly neat and alert.\n\nA couple of men hurry by, talking quickly.\n\n> You examine the panel\nThe booth is a sturdy structure of metal and glass. You can see a glimpse of a control panel in front of the guard, but there's no way to reach it from outside.\n\nA few people walk past.\n\n> You drop the doughnuts\nSomeone will probably spot an item appearing from nowhere.\n\nA woman hurries past, clutching a file of notes.\n\n> You eat the doughnuts\nYou're not hungry, and you're not especially fond of them.\n\nA couple of men hurry by, talking quickly.\n\n> Go north\nYou can't go that way.\n\nA few people walk past.\n\n> You enter the booth\nThat's not something you can enter.\n\nA few people walk past.\n\n> You show the doughnuts to guard\nThe security guard is unimpressed.\n\nAn man hurries past, clutching a file of notes.\n\n> You give the doughnuts to guard\nThe security guard doesn't seem interested.\n\nFor a moment, the corridor fills. You barely escape detection.\n\n> You wake\nIt doesn't work like that.\n\nAn man hurries past, clutching a file of notes.\n\n> Go east\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA woman hurries past, clutching a file of notes.\n\n> Go upward\nStairs lead up and down. The corner turns from south to west.\n\nThis section contains planning offices.\n\n> Go south\nThe corridor runs north and south.\n\nThis section contains planning offices.\n\n> You go to the south\nThe corridor turns a corner from north to west.\n\nThis section contains server rooms.\n\n> You go to the west\nThe corridor runs from east to west.\n\nThis section contains server rooms.\n\nThis floor is strangely silent.\n\n> You go west\nThe corridor turns a corner from north to east.\n\nThis section contains server rooms.\n\n> You go east\nThe corridor runs from east to west.\n\nThis section contains server rooms.\n\n> You go upward\nA group of people at the top of the stairs are deep in conversation. You know you can't get past them.\n\nThis floor is strangely silent.\n\n> You check what you're carrying\nThe corridor runs south from a dead end.\n\nThis section contains server rooms.\n\nThis floor is strangely silent.\n\nYou are carrying:\na box of doughnuts\na workbag (open)\nan old nest\na badge\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\na gadget blueprint\na knife\n\n> Inventory\nYou are carrying:\na box of doughnuts\na workbag (open)\nan old nest\na badge\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\na gadget blueprint\na knife\n\n> You unlock the chest with hammer\n(first taking the hammer)\nThat doesn't seem to fit the lock.\n\nThis floor is strangely silent.\n\n> Go north\nStairs lead up and down. The corner turns from south to west.\n\nThis section contains planning offices.\n\nThis floor is strangely silent.\n\n> You go west\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains planning offices.\n\n> Examine booth\nThe booth is a sturdy structure of metal and glass. You can see a glimpse of a control panel in front of the guard, but there's no way to reach it from outside.\n\n> You show badge to the guard\n(first taking the badge)\nYou can't let the guard see something vanish.\n\n> Go inside\nYou open the metal door.\n\nThe booth has a chair, and a window. There are presumably airholes somewhere. A small switch is placed under the window."
    },
    {
        "text": "> You describe your surroundings\nThe booth has a chair, and a window. There are presumably airholes somewhere. A small switch is placed under the window.\n\n> You examine switch\nA booth switch, a switch in a booth. It is off.\n\nThe booth switch is currently switched off.\n\n> You turn the switch on\nYou switch the booth switch on.\n\n> You look at window\nA booth window, a window in a booth. You can see the corridor outside.\n\n> Leave\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains planning offices.\n\n> Go east\nStairs lead up and down. The corner turns from south to west.\n\nThis section contains planning offices.\n\nThis floor is strangely silent.\n\n> You sit in the chair\nYou get onto the booth chair.\n\n> Go outside\nYou get off the booth chair.\n\nThe booth has a chair, and a window. There are presumably airholes somewhere. A small switch is placed under the window.\n\n> Keep going\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains planning offices.\n\nThe guard closes his eyes for a moment.\n\n> You open the door\nWhich do you mean, the metal door or the 1st floor revolving door?\n\n> You examine the metal door\n*** Run-time problem P11: Although the metal door is allowed to have the property \"description\", no value was ever given, so it can't now be used.\n\nIt is open.\n\n> You look at the switch\nA booth switch, a switch in a booth. It is on.\n\nThe booth switch is currently switched on.\n\n> You examine the guard\nHe looks a little run down. He is fortunate that he doesn't have to stand.\n\nThe guard closes his eyes for a moment.\n\n> Revolving\nWhat do you want to unlock the 1st floor revolving door with?\n\n> Go east\nYou must name something more substantial."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downwards\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA couple of women come out of one room, and into another.\n\n> Go west\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains accounting offices.\n\nA few people walk past.\n\n> You go inside\nYou shouldn't draw attention by opening a door.\n\nAn man hurries past, clutching a file of notes.\n\n> You examine the guard\nHe looks fairly neat and alert.\n\nFor a moment, the corridor fills. You barely escape detection.\n\n> You look at the booth\nThe booth is a sturdy structure of metal and glass. You can see a glimpse of a control panel in front of the guard, but there's no way to reach it from outside.\n\nFor a moment, the corridor fills. You barely escape detection.\n\n> Go west\nThe door is locked in position, and even if it wasn't, the guard would notice it moving.\n\nAn man hurries past, clutching a file of notes.\n\n> Go east\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA woman hurries past, clutching a file of notes.\n\n> Go north\nThe corridor runs south from a dead end.\n\nThis section contains server rooms.\n\nThis floor is strangely silent.\n\n> You go to the east\nThe corridor turns a corner from north to west.\n\nThis section contains server rooms.\n\nThis floor is strangely silent."
    },
    {
        "text": "> You switch the switch\nThat's already on.\n\n> You turn the switch off\nYou switch the booth switch off.\n\n> You drop the doughnuts\nYou quickly place the box of doughnuts on the floor. Opening his eyes, the guard notices it, and looks confused for a second. Then his eyes light up, and he steps out of the booth, picks it up, then retreats back to his chair.\n\nThe guard eats a doughnut.\n\n> You look at what you're carrying with you\nYou are carrying:\na hammer\na box of doughnuts\na workbag (open)\nan old nest\na badge\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\na gadget blueprint\na knife\n\n> You look at the guard\nHe looks a little run down. He is fortunate that he doesn't have to stand.\n\n> You wait\nTime passes.\n\nThe guard closes his eyes for a moment.\n\n> You drop the doughnuts\nYou quickly place the box of doughnuts on the floor. Opening his eyes, the guard notices it, and looks confused for a second. Then his eyes light up, and he steps out of the booth, picks it up, then retreats back to his chair.\n\nThe guard eats a doughnut.\n\n> You wait for a while\nTime passes.\n\nThe guard eats a doughnut.\n\n> Wait\nTime passes.\n\n> Examine box\nThe box has been torn open, and is empty."
    },
    {
        "text": "[Themes: Surreal]\n\n> Go downward\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA few people walk past.\n\n> Go west\nThis corridor runs from the east to the west, where it is blocked by a revolving door. Next to the door stands a booth, with a guard sitting inside.\n\nThis section contains accounting offices.\n\nA few people walk past.\n\n> Go east\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nFor a moment, the corridor fills. You barely escape detection.\n\n> Go south\nThe corridor turns a corner from north to west. A cleaner is scrubbing a stain off the floor.\n\nThis section contains technical support offices.\n\nA clump of people hurries past.\n\n> You go to the south\nYou can't go that way.\n\nAn man hurries past, clutching a file of notes.\n\n> Go west\nUnfortunately, you can't see a way to get past the cleaner without revealing yourself.\n\nA clump of people hurries past.\n\n> You examine the cleaner\nHe is dressed in the usual type of cleaner's uniform. He wears a peaceful expression.\n\nA couple of women hurry by, talking quietly.\n\n> You examine the stain\nIt looks as though someone was violently ill here.\n\nAn man hurries past, clutching a file of notes.\n\n> Inventory\nYou are carrying:\na hammer\na box of doughnuts\na workbag (open)\nan old nest\na badge\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na bedroom photograph\na storeroom photograph\na gadget blueprint\na knife\n\nA woman hurries past, clutching a file of notes.\n\n> You drop the doughnuts\nSomeone will probably spot an item appearing from nowhere.\n\nA clump of people hurries past.\n\n> You put the doughnuts in stain\nThat can't contain things.\n\nA woman hurries past, clutching a file of notes.\n\n> You take the stain\nThat's hardly portable.\n\nA couple of women come out of one room, and into another.\n\n> You examine the uniform\nHe is dressed in the usual type of cleaner's uniform. He wears a peaceful expression.\n\nA few people walk past.\n\n> You search it\nYou find nothing of interest.\n\nA couple of women come out of one room, and into another.\n\n> You search cleaner\nYou don't think cleaner would allow that.\n\nA woman hurries past, clutching a file of notes.\n\n> Kiss cleaner\nKeep your mind on the game.\n\nA clump of people hurries past.\n\n> Go north\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nFor a moment, the corridor fills. You barely escape detection.\n\n> You go east\nThe occupant of this office is asleep over her desk. Possibly as a result of this, there is a pile of untidy paperwork on the floor. A door leads west.\n\n> Leave\nYou are standing east of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the east.\n\nYou notice an open window.\n\n> Go south\nYou make your way around the path...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\n> You enter the car\nYou get onto the seats.\n\nA dog barks somewhere.\n\n> Box in workbag\nhammer: Done.\nbox of doughnuts: Done.\n\n> You put the bedroom in the frame\nYou put the photograph into the frame.\n\n> You check your inventory\nYou are carrying:\na workbag (open)\na box of doughnuts\na hammer\nan old nest\na badge\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na storeroom photograph\na gadget blueprint\na newspaper picture\n\n> You read the leaflet\nA leaflet for a taxi firm. \"DIAL 05231453257 for rapid, reliable travel!\"\n\n> You dial 05231453257\nYou raise the phone, but something is wrong. A strange feeling is coming over you. You abruptly slam the phone down, and you recover.\n\nA strange echoing noise sounds in your ears. After a moment you hear something else; A shuffling far away.\n\n> You dial 05231453257\nYou raise the phone, but something is wrong. A strange feeling is coming over you. You abruptly slam the phone down, and you recover.\n\n> You go south\nThe street is deserted. Your apartment building is to the north. A tree casts a shadow over you. A cardboard cutout leans against a wall, an abandoned piece of marketing.\n\nYou notice some graffiti adorning a wall, sprayed in red.\n\nThe cutout eyes you.\n\n> You go north\nThe cutout sneers at you.\n\nA set of mailboxes wait on one wall. The floor hasn't been cleaned for some time. A couple of entrance doors lead south. Stairs lead upwards.\n\n> You examine the floor\nThe floor is covered in blue plastic.\n\n> You examine the plastic\nA simple plastic folder. In the work folder there is nothing.\n\n> Go south\nThe lizard makes a tiny waving motion.\n\nThe corridor stops here. A fire exit adorns the south wall.\n\n> Go south\nYou open the fire exit.\n\nYou start to step through, but a sudden terror seizes you. You step back sharply, and the door swings closed.\n\nYou can hear hurried footsteps from somewhere, and a voice, faintly calling.\n\n> Go south\nYou open the fire exit.\n\nYou start to step through, but a sudden terror seizes you. You step back sharply, and the door swings closed.\n\n> You listen\nYou can hear voices from somewhere.\n\n> You listen\nYou can hear voices from somewhere.\n\n\"Perhaps you should be considering self-improvement?\" asks the lizard.\n\n> You ask the lizard about lizard\nYou open your mouth, then stop. Why are you trying to talk to an inanimate object? Because that is what it is. An inanimate  object. Completely. Totally. No life here. Nothing out of the ordinary or suspicious. Certainly not. Nope.\n\nThe lizard's tongue flickers.\n\n> You take the lizard\nThat's hardly portable.\n\n\"You don't know who's moving the pieces. But consider: They must be powerful. They must be worth befriending.\" The lizard makes a clicking noise.\n\n> Go east\nThe lizard makes a tiny waving motion.\n\nThis could also be described as a study, but that doesn't quite fit the uses to which you put it. Nevertheless, you have a desk, and a phone. Doors lead south, west and east.\n\n> Go south\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You look under the bed\nYou find nothing of interest.\n\n\"I'm sorry if I'm hard to understand\" apologises the poster.\n\n> Examine poster\nIt depicts a rock singer of bygone years.\n\n\"You need to stay active.\" says the poster.\n\n> Sing\nYou sing a song you heard on the radio once, unusual in that you remember all its lyrics perfectly.\n\n\"Are you okay?\" asks the poster.\n\n> You lie on the bed\nYou get onto the bed.\n\n\"The plan is a good plan.\" says the poster.\n\n> You put the mirror in the frame\nYou put the mirror into the frame.\n\n> You wake\nYou drift away...\n\nYou are in darkness.\n\n> You get in the bed\nYou get onto the bed.\n\n\"Have you tried making a wish?\" asks the poster.\n\n> You go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) and a bedroom photograph here.\n\n> You open the drawer\nYou open the drawer, revealing a mirror.\n\n> Continue\nThe lamp is dark.\n\nMr Green arrives from the west.\n\n> You turn the knob right\nThe lamp is barely shining.\n\nMr Green flicks dust from his clothes.\n\n> You go west\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) and a bedroom photograph here.\n\nMr Green arrives from the east.\n\n> You examine Green\nHe wears a green mask, a green suit, and a green hat.\n\nMr Green adjusts his mask.\n\n> You look at the hat\nHe wears a green mask, a green suit, and a green hat.\n\n> Go west\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Green arrives from the east.\n\n> You drop the mirror\nDropped.\n\n> You go south\nYou stand in a patch of dim light streaming from the north. All else is darkness. Odd sensations creep over you. Light can be seen to the north.\n\nA soft strain of music drifts from the darkness.\n\nMr Green arrives from the north.\n\n> Go north\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nYou can see a mirror here.\n\nMr Green arrives from the south.\n\n> You take the mirror\nTaken.\n\nMr Green taps his foot.\n\n> You touch green\nKeep your hands to yourself!\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed) and a bedroom photograph here.\n\nMr Green arrives from the west.\n\n> TAKE SUITCASE, BEDROOM, NOTEPAD\nsuitcase: Taken.\nbedroom photograph: Taken.\nnotepad: Taken.\n\n> You examine the notepad\nThe top page has been torn away. The second reads \"He wears a green mask, a green suit, and a green hat.\", whatever that means.\n\n> You go to the north\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nMr Green arrives from the south.\n\n> You take the fruit\nThe fruit seems to lose some of its strength as you pull it free, and you eat it quickly.\n\n> You look at the fountain\nThe ornamentation depicts a pantheon of gods and goddesses, peering outwards. You can see the gleam of coins beneath the water.\n\n> Drink water\nThe water tastes like nothing at all.\n\nMr Green taps his foot.\n\n> You check what you're carrying\nYou are carrying:\na notepad\na bedroom photograph\na suitcase (closed)\na mirror\na knife\n\n> You cut the water\nCutting that up would achieve little.\n\n> You examine the blanket\nPale blue. It looks a little thin.\n\n> You examine the folder\nA simple plastic folder. In the work folder there is nothing.\n\n> You examine the chest\nIt's made of some sort of metal. There is a square depression set into the top.\n\nMr Green flicks dust from his clothes.\n\n> You look at the card\nA small, laminated section of cardboard. Oddly enough, the only detail upon it is a phone number: 02312345673.\n\n> Inventory\nYou are carrying:\na notepad\na bedroom photograph\na suitcase (open)\na newspaper picture\na gadget blueprint\na storeroom photograph\na screwdriver\na torn note\na work folder (open but empty)\na business card\na crowbar\na wallet\na blanket\na chest (closed and locked)\na leaflet\na badge\nan old nest\na hammer\na box of doughnuts\na mirror\na knife"
    },
    {
        "text": "> You look at your surroundings\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nYou can see Mr Green here.\n\n> Go south\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Green arrives from the north.\n\n> You go to the east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Green arrives from the west.\n\n> You look at the frame\nIt's a photograph of a storeroom. The frame is made from dark wood.\n\n> Inventory\nYou are carrying:\na notepad\na bedroom photograph\na suitcase (open)\na newspaper picture\na gadget blueprint\na screwdriver\na torn note\na work folder (open but empty)\na business card\na crowbar\na wallet\na blanket\na chest (closed and locked)\na leaflet\na badge\nan old nest\na hammer\na box of doughnuts\na mirror\na knife\n\n> PUT MIRROR, KNIFE, BEDROOM, NOTEPAD IN SUITCASE\nmirror: Done.\nknife: Done.\nbedroom photograph: Done.\nnotepad: Done.\n\n> You wake\nYou drift away...\n\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\n> You check your inventory\nYou are carrying:\na workbag (open)\na box of doughnuts\na hammer\nan old nest\na badge\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na gadget blueprint\na newspaper picture\na mirror\na knife\na bedroom photograph\na notepad\n\n> You examine the nest\nIt's been a little damaged by its fall, and is more of a clump than a container. There is a feather stuck in it.\n\n> You pull the feather\nNothing obvious happens.\n\n> You take the crate\nThat's hardly portable.\n\n> Inventory\nYou are carrying:\nan old nest\na workbag (open)\na box of doughnuts\na hammer\na badge\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na gadget blueprint\na newspaper picture\na mirror\na knife\na bedroom photograph\na notepad\n\n> You put the nest in the bag\nYou put the old nest into the workbag.\n\n> You examine badge\nA metal disc with a pin and symbol, it symbolises your role and rank. You can't remember the exact details right now, but that doesn't matter.\n\n> Above1\nSaved.\n\n> Yes\nBye Alex! Thanks for playing!\n\nThe sand stretches around you in all directions.\nThere is a grassy countryside. Rocks are scattered about.\nYou are in a room. The room has walls and a ceiling.\nYou blink. It seems as though you've been standing here forever. You feel suddenly stressed; There is something you have to do.\nCacophony\n\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\n> Inventory\nYou are carrying:\na badge (being worn)\na workbag (open)\nan old nest\na box of doughnuts\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na bedroom photograph\n\n> Go east\nStairs lead up and down. The corner turns from south to west.\n\nThis section contains planning offices.\n\nYou can see a gadget blueprint here.\n\nThis floor is strangely silent."
    },
    {
        "text": "[Themes: Surreal]\n\n> You go downward\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nA couple of men hurry by, talking quickly.\n\n> Go south\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA clump of people hurries past.\n\n> You go east\nThe occupant of this office is asleep over her desk. Possibly as a result of this, there is a pile of untidy paperwork on the floor. A door leads west.\n\n> You put all in the bag\nA dog barks somewhere.\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed), a storeroom photograph and a screwdriver here.\n\n> You go east\nYou open the fine wooden door.\n\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nYou can see a library chair here.\n\n> You examine the shelves\nThe shelves are made of dark wood. An abacus rests here. On the bookshelves there is some library books.\n\n> You look at the abacus\nIt is one of the simpler kinds, containing only two rows of beads. It is set to 3.\n\n> You set the clock to 2349\nOkay.\n\n> You look at the clock\nThe clock reads 23:49.\n\n> You go west\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed), a storeroom photograph and a screwdriver here.\n\nMr Blue arrives from the east.\n\n> You go west\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the east.\n\n> You go to the north\nYou stand upon a small stone patio, surrounded by plants. Ripe fruit dip from vines, tempting you with their colours. An ornamental fountain gurgles to your left. Daylight peeks through the heavy layer of greenery above. A dense perfume almost overwhelms you. You can go deeper, to the north. The kitchen is to the south. Stone walls bar all other directions.\n\nMr Blue arrives from the south.\n\n> Go south\nThe stench of offal hangs in the air.The walls drip with fresh blood. An ugly table supports plates and a massive assortment of cutlery. This is not an environment that encourages rational thought. Empty doorframes lead north, east, south and west.\n\nMr Blue arrives from the north.\n\n> You go to the east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed), a storeroom photograph and a screwdriver here.\n\nMr Blue arrives from the west.\n\n> You take all\nMr Blue: I don't suppose Mr Blue would care for that.\nsuitcase: Taken.\nstoreroom photograph: Taken.\nscrewdriver: Taken.\nnewspaper picture: You take the photograph out of the frame.\nnotepad: Taken.\n\n> You read the notepad\nThe top page has been torn away. The second reads \"The ornamentation depicts a pantheon of gods and goddesses, peering outwards. You can see the gleam of coins beneath the water.\", whatever that means.\n\n> Inventory\nYou are carrying:\na notepad\na newspaper picture\na screwdriver\na storeroom photograph\na suitcase (open)\na bedroom photograph\na torn note\na work folder (open but empty)\na business card\na crowbar\na wallet\na blanket\na chest (closed and locked)\na leaflet\na hammer\na box of doughnuts\nan old nest\n\n> You go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the west.\n\n> Go north\nYou open the dark wooden door.\n\nWhatever work is being done here, it looks important. Complex instruments are poised, books are open, and the tables that clutter the room have not one square-inch of space unused. You COULD begin to understand it all, but it would take time.\n\nMr Blue arrives from the south.\n\n> Go south\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the north.\n\n> You wake\nYou drift away...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\nYou hear a car honking in the distance.\n\n> Go east\nYou make your way around the path...\n\nYou are standing east of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the east.\n\nYou notice an open window.\n\n> You go west\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nThe corridor is quiet for a second, then people start moving again.\n\n> You go south\nThe corridor turns a corner from north to west. A cleaner is scrubbing a stain off the floor.\n\nThis section contains technical support offices.\n\nA man goes from one room to another.\n\n> Go north\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nAn man hurries past, clutching a file of notes.\n\n> Go upwards\nStairs lead up and down. The corner turns from south to west.\n\nThis section contains planning offices.\n\nYou can see a gadget blueprint here."
    },
    {
        "text": "[Themes: Surreal]\n\n> You go down\nYou can't go that way.\n\nA couple of men hurry by, talking quickly.\n\n> You go south\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA woman hurries past, clutching a file of notes.\n\n> You go outside\nYou are standing east of the Chimera building. A path leads south to the front of the building, and north to the back. A chain-link fence blocks your way to the east.\n\nYou notice an open window.\n\nA dog barks somewhere.\n\n> Go south\nYou make your way around the path...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\n> You put all in the bag\ngadget blueprint: You put the gadget blueprint into the workbag.\n\n> You examine the door\nThe door looks strange in some undefinable way. It is open.\n\n\"You don't know who's moving the pieces. But consider: They must be powerful. They must be worth befriending.\" The lizard makes a clicking noise.\n\n> You examine the apartment door\nYou suddenly notice you've left your key stuck in the lock. You extract it.\n\n> You examine the leaflet\nA leaflet for a taxi firm. \"DIAL 05231453257 for rapid, reliable travel!\"\n\n> You dial 05231453257\nYou raise the phone, but something is wrong. A strange feeling is coming over you. You abruptly slam the phone down, and you recover.\n\n> You check your inventory\nYou are carrying:\nan apartment key\na badge (being worn)\na workbag (open)\na gadget blueprint\nan old nest\na box of doughnuts\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\n\n> You remove badge\nYou take off the badge.\n\n> You put all in the bag\napartment key: You put the apartment key into the workbag.\n\nbadge: You put the badge into the workbag.\n\n> Inventory\nYou are carrying:\na workbag (open)\na badge\nan apartment key\na gadget blueprint\nan old nest\na box of doughnuts\na hammer\na leaflet\na chest (closed and locked)\na blanket\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\n\n> Go east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a suitcase (closed), a newspaper picture, a storeroom photograph and a screwdriver here.\n\n> You put badge in the fountain\nYou cast the badge into the water. After a moment, there is a great eruption beneath the surface.\n\nThe vines above you start rustling with a strange rhythm. After a minute or so they stop. You feel that somewhere nearby, something has changed.\n\n> You go to the east\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nOn the wooden desk is a notepad.\n\nYou can see a newspaper picture, a storeroom photograph and a screwdriver here.\n\nSomething in here. Something is different.\n\n> You examine the desk\nIt is made of exceptionally high quality wood. It includes a small drawer. On the wooden desk there is a notepad, an In-Tray and an Out-Tray.\n\nMr Green arrives from the west.\n\n> You look aIn-Tray\nIt is made of plastic, and labelled \"IN\". In the In-Tray there is a stone tablet.\n\n> You take the tablet\nTaken.\n\nMr Green yawns.\n\n> You examine it\nIt's quite light-weight. By some method (ink? paint?), images and figures are shown upon it. Depicted are a fire, burning brightly, a sundial, reading half past five, and some letters, XLII.\n\n> Go east\nYou open the fine wooden door.\n\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nYou can see a library chair here.\n\nMr Green arrives from the west.\n\n> You set the abacus to 42\nYou set the abacus to 42.\n\n> You look at the tablet\nIt's quite light-weight. By some method (ink? paint?), images and figures are shown upon it. Depicted are a fire, burning brightly, a sundial, reading half past five, and some letters, XLII.\n\nMr Green yawns.\n\n> You set the clock to 1730\nOkay.\n\nThe books on the shelves seems to distort in some way. Suddenly, a single volume floats free, landing on the table.\n\n> You look at the book\n(the mission book)\nIt seems an old book, without exterior detail. Inside, all the pages are the same:\n\nTarget: SDE files.\n\nLocation: Chimera Corporation, Security Room 2, 1st Floor\n\nAdditional: Room Code 28635\n\n> You examine the nest\nIt's been a little damaged by its fall, and is more of a clump than a container. There is a feather stuck in it.\n\n> You break the nest\nYou break it apart and extract the feather.\n\n> You examine the feather\nPure white. It seems strangely incongruous to see such a thing.\n\n> Examine\nWhat do you want to examine?"
    },
    {
        "text": "[Themes: Surreal]\n\n> You look around\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nOn the reading table is a mission book.\n\nYou can see Mr Green and a library chair here.\n\nMr Green taps his foot.\n\n> Wait\nTime passes.\n\nA ghostly figure floats up through the floor, and coalesces into Mr Red.\n\n> You wake\nYou drift away...\n\nYour bedroom is fairly barren. You have a bed and a window. The floor is bare of carpet. You have put up a poster to hide some dents on one wall. A door leads north.\n\nYou feel a presence in the room.\n\n> You take all but the bedroom\nsuitcase: Taken.\nnewspaper picture: Taken.\nstoreroom photograph: Taken.\nscrewdriver: Taken.\nnotepad: Taken.\n\n> You give the blueprint to Blue\n(first taking the gadget blueprint)\nMr Blue examines the blueprint and his eyes light up.\n\nMr Blue opens the dark wooden door.\n\nMr Blue goes north.\n\n> You go to the north\nWhatever work is being done here, it looks important. Complex instruments are poised, books are open, and the tables that clutter the room have not one square-inch of space unused. You COULD begin to understand it all, but it would take time.\n\nYou can see Mr Blue here.\n\nMr Blue waves to get your attention, then points to the door with his left hand, making a twisting motion with his right.\n\n> You close the door\nYou close the dark wooden door.\n\nMr Blue waves to get your attention, then points to you, then himself, then the instruments, then you again.\n\n> Wait\nTime passes.\n\nMr Blue waves to get your attention, then points to the door with his left hand, making a twisting motion with his right.\n\n> You give the key to Blue\n(first taking the apartment key)\nMr Blue eagerly accepts it.\n\nMr Blue works with the instruments, somehow creating a device matching the blueprint design. He hands it to you proudly.\n\n> You examine the gadget\nA cube of metal. You know from the blueprint that there are complex mechanisms contained inside.\n\n> You examine the chest\nIt's made of some sort of metal. There is a square depression set into the top.\n\nMr Blue takes a long breath, and exhales slowly.\n\n> You put the gadget on the chest\nPutting things on the chest would achieve nothing.\n\nMr Blue sneezes.\n\n> You put the gadget in the chest\nThe chest is closed.\n\n> You look at what you're carrying with you\nYou are carrying:\na strange gadget\na mirror\na notepad\na screwdriver\na storeroom photograph\na newspaper picture\na suitcase (open)\na torn note\na work folder (open but empty)\na business card\na crowbar\na wallet\na blanket\na leaflet\na hammer\na box of doughnuts\n\nMr Blue takes a long breath, and exhales slowly.\n\n> You take all\nchest: Taken.\nMr Blue: I don't suppose Mr Blue would care for that.\ntorn note: Taken.\nwork folder: Taken.\nbusiness card: Taken.\ncrowbar: Taken.\nwallet: Taken.\nblanket: Taken.\nleaflet: Taken.\nhammer: Taken.\nbox of doughnuts: Taken.\n\n> Go south\nYou open the dark wooden door.\n\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a framed picture attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the north.\n\n> You put all in the case\nbedroom photograph: You put the bedroom photograph into the suitcase.\n\nbox of doughnuts: You put the box of doughnuts into the suitcase.\n\nhammer: You put the hammer into the suitcase.\n\nleaflet: You put the leaflet into the suitcase.\n\nblanket: You put the blanket into the suitcase.\n\nwallet: You put the wallet into the suitcase.\n\ncrowbar: You put the crowbar into the suitcase.\n\nbusiness card: You put the business card into the suitcase.\n\nwork folder: You put the work folder into the suitcase.\n\ntorn note: You put the torn note into the suitcase.\n\nchest: You put the chest into the suitcase.\n\nstrange gadget: You put the strange gadget into the suitcase.\n\nmirror: You put the mirror into the suitcase.\n\nnotepad: You put the notepad into the suitcase.\n\nscrewdriver: You put the screwdriver into the suitcase.\n\nnewspaper picture: You put the newspaper picture into the suitcase.\n\n> You put gadget in the depression\nThe chest clicks. You withdraw the gadget.\n\n> Open chest\nYou open the chest, revealing a cloak blueprint and a discomforter.\n\n> You take all from the chest\ncloak blueprint: Taken.\ndiscomforter: Taken.\n\n> You look at the blueprint\nThe blueprint describes the creation of a \"cloak\", a stealth device. You can't understand all the details.\n\n> You look at the discomforter\nA slick black disc, with a small switch on one side. A label identifies it as a \"discomforter\".\n\n> You put all in the bag\ndiscomforter: You put the discomforter into the workbag.\n\ncloak blueprint: You put the cloak blueprint into the workbag.\n\nstrange gadget: You put the strange gadget into the workbag.\n\n> You wait\nTime passes.\n\nA ghostly figure floats up through the floor, and coalesces into Mr Green.\n\n> You wake\nYou drift away...\n\nYou are surrounded by crates, beyond which are walls. There doesn't appear to be any way out. A hammock hangs between two hooks hammered into crate struts.\n\nYou can see a chest (empty) here.\n\n> You take all\nsuitcase: Taken.\nstoreroom photograph: You take the photograph out of the frame. notepad: Taken.\n\n> You take the mirror\nYou open the drawer, revealing a mirror.\n\nTaken.\n\n> You wait\nTime passes.\n\nMr Blue arrives from the west.\n\n> You go east\nYou open the fine wooden door.\n\nShelves surround you, filled with books of the greatest importance (you assume). Your feet sink into the thick carpet. A table and chair await you in the middle of the room. The fine wooden door leads west.\n\nOn the reading table is a mission book.\n\nYou can see a stone tablet, a feather and a library chair here.\n\nMr Blue arrives from the west.\n\n> Tablet\nfeather: Taken.\nstone tablet: Taken.\n\n> You give the blueprint to Blue\n(first taking the cloak blueprint)\nMr Blue examines the blueprint and his eyes light up.\n\nMr Blue coughs.\n\nMr Blue goes west.\n\n> Go west\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nYou can see Mr Blue here.\n\nMr Blue opens the dark wooden door.\n\nMr Blue goes north.\n\n> You go north\nWhatever work is being done here, it looks important. Complex instruments are poised, books are open, and the tables that clutter the room have not one square-inch of space unused. You COULD begin to understand it all, but it would take time.\n\nYou can see Mr Blue here.\n\nMr Blue starts to do something with the instruments.After a few moments, he stops, looking thoughtful.\n\n> Wait\nTime passes.\n\nMr Blue waves to get your attention, then mimes wrapping something around himself, shivering.\n\n> You give the blanket to Blue\n(first taking the blanket)\nMr Blue eagerly accepts it.\n\nMr Blue waves to get your attention, then points to you, then himself, then the instruments, then you again.\n\n> You wait awhile\nTime passes.\n\nMr Blue waves to get your attention, then holds a hand up in front of himself, stares at his palm fixedly, and adjusts his mask and collar.\n\n> You give the mirror to Blue\nMr Blue eagerly accepts it.\n\nMr Blue hums a tune.\n\nMr Blue waves to get your attention, then points to you, then himself, then the instruments, then you again.\n\n> You wait\nTime passes.\n\nMr Blue waves to get your attention, mimes dropping something, then makes as if to strain his ears.\n\n> You give the feather to Blue\nMr Blue eagerly accepts it.\n\nMr Blue works with the instruments, somehow creating a garment matching the blueprint design. He hands it to you proudly.\n\n> You examine the cloak\nA grey, thin cloak, very soft.\n\n> You wear the cloak\nYou notice that your body seems to have vanished. You're invisible!\n\nFunny, Mr Blue seems to know where you are, even if he can't see you.\n\n> You remove the cloak\nYou reappear.\n\n> You put all in the case\ngrey cloak: You put the grey cloak into the suitcase.\n\nstone tablet: You put the stone tablet into the suitcase.\n\nnotepad: You put the notepad into the suitcase.\n\nstoreroom photograph: You put the storeroom photograph into the suitcase.\n\nMr Blue hums a tune.\n\n> Go south\nA fine wooden desk stands in front of you. A chair, placed before it, seems to beckon. The surroundings are decorated, carpet and wallpaper hiding the plain floor and walls. One of the walls has a frame attached to it. A fine wooden door stands to the east, a dark wooden door to the north, a pale wooden door to the south, and an empty frame to the west.\n\nMr Blue arrives from the north.\n\n> You wake\nYou drift away...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\n> You wear it\nYou're invisible!\n\n> You take the box\nTaken.\n\nA dog barks somewhere.\n\n> Go inside\nYou climb inside.\n\nThe occupant of this office is asleep over her desk. Possibly as a result of this, there is a pile of untidy paperwork on the floor. A door leads west.\n\n> Go west\nThe corridor is fairly bright and cheerful. It runs north and south. Doors surround you, but only one is open.\n\nThis section contains accounting offices.\n\nA couple of women hurry by, talking quietly.\n\n> Go north\nA flight of stairs leads upwards. The corner turns from south to west.\n\nThis section contains accounting offices.\n\nAn man hurries past, clutching a file of notes.\n\n> You turn on the discomforter\nYou flip the switch.\n\nYou feel a little ill.\n\nThe tired guard shifts uncomfortably.\n\nThe guard suddenly looks very ill. He pulls open the booth and bolts east.\n\n> You enter the booth\nThe booth has a chair, and a window. There are presumably airholes somewhere. A small switch is placed under the window.\n\nYou can see a box of doughnuts here.\n\nYou feel a little ill.\n\n> You turn off the discomforter\nYou flip the switch.\n\n> You go west\nAfter checking that there isn't anyone to spot the motion, you walk through the door.\n\nThe corridor ends here. But more interestingly, there is a security door (marked with a 2) to the north, with a keypad next to it.\n\n> You examine keypad\nThe buttons hold the digits from 0-9.\n\n> You type 28635 on the keypad\nThe door slides open.\n\n> Go north\nThe rooms is surprisingly bare and shabby. A set of shelves supports a line of strange looking cubes.\n\n> You examine the shelves\nBare plastic. On the shelves there is some cubes.\n\n> You examine the cubes\nThe cubes are uniform, and have continuously shifting patterns on their surfaces. They are made of some sort of grey metal.\n\n> You take cubes\nYou take the fifth cube.\n\n> You examine cube\n(Cube 5)\nThis is what you need to deliver. But how do you deliver it?\nShifting patterns cover its surface.\n\n> You take the cubes\nYou don't need the other cubes. And taking them would make the theft more obvious.\n\n> You go to the south\nThe door slides shut.\n\nThe corridor ends here. But more interestingly, there is a security door (marked with a 2) to the north, with a keypad next to it.\n\n> Close window\nYou close the office window.\n\n> You look at the window\nThe window is open, but you can't see inside. It is closed.\n\n> You open the window\nYou open the office window.\n\n> You go to the south\nYou make your way around the path...\n\nYou are standing in front of the Chimera Corporation building. A narrow path leads around the building, to the east and to the west. A car is parked here.\n\nYou hear a car honking in the distance.\n\n> You put all in the bag\nCube 5: You put Cube 5 into the workbag.\n\nbox of doughnuts: You put the box of doughnuts into the workbag.\n\ndiscomforter: You put the discomforter into the workbag.\n\ngrey cloak: You put the grey cloak into the workbag.\n\n> You check your inventory\nYou are carrying:\na workbag (open)\na grey cloak\na discomforter\na box of doughnuts\nCube 5\na strange gadget\na bedroom photograph\na hammer\na leaflet\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na stone tablet\na storeroom photograph\n\n> You check your inventory\nYou are carrying:\na workbag (open)\na grey cloak\na discomforter\na box of doughnuts\nCube 5\na strange gadget\na bedroom photograph\na hammer\na leaflet\na wallet\na crowbar\na business card\na work folder (open but empty)\na torn note\na screwdriver\na stone tablet\na storeroom photograph"
    },
    {
        "text": "[Themes: Comedy, pirates]\n\nDear Interactor, please type \"transcript\" inside the game after it\nstarts. It will then create a logfile, which I would like to receive\nafterwards. Lectrote is automatically doing savegames. And you will\nfind the \"cheat sheet\" for common commands inside the help-menu (only\navailable in the electron version, otherwise go to\n\nmapping your journey will help. (start in the lower left)Deep in the\nwest indies. The island of boredom. Just coming from the boat without\npuking, but still in a bad feeling. Your holidays starting for you to                                   1 reach the state of total boredomness. (ver sept2019 ifcomp)\n\nFirst Act - \"Slipped into Adventure\"\n\nYou arrived at a nice beach, sandy, sunny. Overwhelming, but even\nbetter to the west behind a fence with a gate seems to be the holiday\nresort. The bold fence is against the poor natives maybe. But no\noffence you are just imagining yourself there, at the bar, in the\npool, on the beach. You even feel the taste of cocktails on your\ntongue. Mouthwatering it is. So you tend to go west. Into the\nnorthern directions it looks dark and full of ugly insects. Thats the\nreason you booked your kind of active-holidays to stay in your save\nresorts. Not too much contact to natives or even nature. There is a\nguy behind a sewing machine. He seems to be focused at his work.\nBehind him is a wooden infoboard. To the south it opens right into the\nsea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nThere is this a guy working here.\n\nYou can also see a gate here.\n\n[Author's Note: A tourist searching for total boredomness slips into an adventure and accidentally reveals the secret of a famous point'n'click adventure trilogy that never was. Maybe you want to visit \"that island\" again 29 years later, old enough to drink white russian wearing a bath robe.]\n\n> About yourself\nShiny. On your wrist you can see zero wristbands. You are wearing the\nrucksack and trousers and holding the towel.\n\n> You examine the rucksack\nYeah, a czech one. You can put all your stuff in it. It seems to have\ninfinite space inside.\n\n> You examine the trousers\nworn out, but extremly comfortable. Your holiday trousers.\n\n> You examine towel\nThis is, what every adventurer needs. Further needed: A brass lantern.\nand maybe a rope.\n\n> You look at the guy\nThis beardy man with curly hair is sitting behind a sewing machine,\nstitching some cloth. He wears a name plate.\n\n> You examine the name plate\n\"Tim\" is written on it.\n\n> You look at the infoboard\nbad situation of being nearly extinct.\n\n> You examine the lounger\nMade out of bambus and looks comfy. It has a built in sunshade.\n\nMEANWHILE ...\n\nfar away a ship, a black freighter takes course to jamaika\nafter escaping from madagaskar.\n\n> Go west\nOn this gate is written \"For three wristbanded only\" It seems to be\nopened only by Tim here watching the gate. Now he approaches you. So\nyou stay here and await what he wants to tell you.\n\nAhoj, what do ya want here?\n\n[1] I am Buyshrug Bridgeman and you?\n[2] I want to go into the holiday resort to find my way to total\nboredomness\n[3] Watch out. I'm a mighty tourist\n[4] Hello, I'm new in town.\n[5] What about the manatees?\n[6] Nothing\n\n> 2\nArrgh. Show me the three wristbands.\n\n[1] Which wristbands do you mean?\n\n> 1\nEvery _real_ adventurer and or tourist has to get the three\nwristbands first, before going into the resort. We offer them here for\nachieving pirate actions. This island was a pirates nest before. So we\nsupport traditional pirate actions. You can always see your\nachievements if you examine your wrist.\n\n[1] I am Buyshrug Bridgeman and you?\n[2] Watch out. I'm a mighty tourist\n[3] Hello, I'm new in town.\n[4] What about the manatees?\n[5] Tell me more about the pirate actions.\n[6] Nothing\n\n> 5\nThe pirate actions are prepared by us, you have to take one or\nmore and afterwards come back and I will give you the appropriate\nwristband for achieving the actions goal. So you have to do all three\nof them. For now choose which pirate-action do you want to start. This\nweek we have \"treasure hunt\", \"getting marooned.\" and  \"barbacue.\"\n\n[1] Treasure hunt.\n[2] Getting marooned.\n[3] Barbecue.\n\n> 1\nArrrgh. classic. So let me tell you. We make the real life version\nof it, which means burrowing a treasure instead of looking for it.\nThats the reason that your task is to hide this treasure I will give\nyou. Its just about the chest, the content is yours if you want.\n\nHe hands over a treasure.\n\n[1] I am Buyshrug Bridgeman and you?\n[2] Watch out. I'm a mighty tourist\n[3] Hello, I'm new in town.\n[4] What about the manatees?\n[5] Tell me more about the pirate actions.\n[6] Nothing\n\n> 4\nAh, the manatees. Such nice and friendly animals. But rarely seen\non this island nowadays. My self-stitched ones seem to be the only\nmanatees left on this island.\n\nYou see that he is thinking of better times long ago.\n\n[1] I am Buyshrug Bridgeman and you?\n[2] Watch out. I'm a mighty tourist\n[3] Hello, I'm new in town.\n[4] Tell me more about the pirate actions.\n[5] Nothing\n\n> 1\nI'm Tim and thats all you must know at the moment.\n\n[1] Watch out. I'm a mighty tourist\n[2] Hello, I'm new in town.\n[3] Tell me more about the pirate actions.\n[4] Nothing\n\n> 2\nYou hold just the treasure and the towel in your hands. Do you\nthink, you have any chance to survive here?\n\n[1] Sure, i'm not only a tourist, I'm a real adventurer.\n[2] No. I will stay. End of discussion.\n\n> 2\n\"So we have to deal with you and You want me to tolerate your\nface, everytime you come along?\"\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> 3\nBye.\n\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nTim is sitting here.\n\nYou can also see a gate here.\n\n> You examine the treasure\nIts made out of plastic and has a really cheap look and feel.\n\nMEANWHILE ...\n\ntalking and planning an attack on a wealthy tourist camp.\n\n> Go north\nNo, you can't imagine any reason to put even a baby step into the\njungle. The guy with the Tim name plate watches interested as you\nhesitate to go north.\n\n> You go to the northeast\nThere is a creek flowing from northwest down to southeast, where it\nends in a river mouth. a path along the creek's bank follows the same\ndirection. A wooden bridge leads northeast deeper into the jungle and\nexits also to southwest back to the boring beach.\n\ntube. Its connected to That guys helmet to provide oxygen.\n\nThat guy stands here and seems to wait for something.\n\n> You talk to that the guy\nThat guy opens the visor of his diving helmet, so he is able to\ncommunicate with you. \"Whats up?\"\n\n[1] Ahoj, my brain just told me that you have to be Dave. Are you?\n[2] Are you waiting for something specific?\n[3] I'm an adventurer, spending my holidays on this island.\n[4] Hey, I like the lanterns matching your helmet.\n[5] Do you keep any wristbands for pirate actions?\n[6] I'll leave you... sitting around doing nothing\n\n> 5\nNo, this isn't me. I live from the fruits in the jungle and I'm\nstill trying to find my way out of the complete boredomness. So my\nhope is to either find the secret of that island or to start a\nbusiness in blue hole diving.\n\n[1] Ahoj, my brain just told me that you have to be Dave. Are you?\n[2] Are you waiting for something specific?\n[3] I'm an adventurer, spending my holidays on this island.\n[4] Hey, I like the lanterns matching your helmet.\n[5] I'll leave you... sitting around doing nothing\n\n> 2\nSure. I'm planning my next dive. There is a horizontal passage\ndown there. I assume it leads into a \"Blue Hole\".\n\n[1] What is a Blue Hole?\n\n> 1\nIt is very deep vertical cave with a special flora and fauna. They\ncan be that deep so that fresh and salty water are mixing in them.\nThey can have long horizontal arms. When I'm right and one of them is\nending here, we could sell diving trips into it.\n\n[1] Ahoj, my brain just told me that you have to be Dave. Are you?\n[2] I'm an adventurer, spending my holidays on this island.\n[3] Hey, I like the lanterns matching your helmet.\n[4] I'll leave you... sitting around doing nothing\n\n> 1\nYes thats me.\n\n[1] I'm an adventurer, spending my holidays on this island.\n[2] Hey, I like the lanterns matching your helmet.\n[3] I'll leave you... sitting around doing nothing\n\n> 1\nReally? Would be great to talk to a guy with many wristbands. Show\nme yours.\n\n[1] Hey, I like the lanterns matching your helmet.\n[2] I'll leave you... sitting around doing nothing\n\n> 1\nCan you please go, I have some serious work going on. And yes, I'm\nnot an interested member of the steampunk society.\n\n[1] What kind of serious work do you mean?\n[2] Are you diving for something special?\n\n> 1\nabout.\n\n[1] I'll leave you... sitting around doing nothing\n\nMEANWHILE ...\n\nparty noise from direction of the holiday resort.\n\n> You look\nThere is a creek flowing from northwest down to southeast, where it\nends in a river mouth. a path along the creek's bank follows the same\ndirection. A wooden bridge leads northeast deeper into the jungle and\nexits also to southwest back to the boring beach.\n\ntube. Its connected to Daves helmet to provide oxygen.\n\ntell you.\n\n> You go to the northeast\nJungle. You're in it. Deeper than you expected. suddenly green plants\nall around you and really near. Leaves tickeling your neck. It\nremembers you to tv documentaries about these little poisenous green\nsnakes. You freeze your steps, so you are really able to turn around\nrather quickly and step back. Its the path southwest a bit more near\nto the sea that you know and you could walk there fast. now. There is\nalso a passage to northeast.\n\n> Go northeast\nflowers. Yellow flowers all around. They look familiar. Not that\nyou've seen them in real life. Something special is about this flower.\nIn a way there seems to be a relationship with your first\nkind-of-beard. There are two passages one to the southwest and one to\nthe east.\n\n> You look at the flowers\nYellow.\n\n> Smell flowers\nFrom flowers you smell Strong, uncomfortable, like wanting to vomit.\n\n> Go east\nYou find yourself trapped in a well made bambus field labyrinth. Green\nbambus all around. You hear the strong currents breaking against the\nshore far down the hill. You remember you can leave trying to go west.\n\nMEANWHILE ...\n\nright thing in your mouth now.\n\n> You go east\nYou hate mazes, but no chance to workaround you have to find an exit.\nBut here wasn't one.\n\nYou can't go that way.\n\n> You go south\nAlso this try leads not back to a trail or something.\nYou can't go that way.\n\n> Go north\n...Hours of labyrinth-running later...\n\nbecause you're just standing right on the tip of a cliff. A fresh wind\nblows against your face. Really small at the horizon you notice a ship\nwith eight sails. Right. Sails. A ship seeming to be a ghost from\nanother time. Maybe its a museums sail. You will later have a look if\nits coming nearer or not. You can go down to the south back to the\nbambus field.\n\nThat ship at the horizon lets you ponder about its purpose.\n\n> You look at the ship\nStrange it looks like escaped from a pirates movie film set. It seems\nto be black, including the sails.\n\n> Dig\nYou dig your first hole in the ground.\n\n> You put the treasure in Hole\nYou put the treasure into the first hole.\n\n> You cover Hole\nYou close the hole with some dirt. You stamped hard on it. Nobody\nshould find its location. Its even hard for yourself.\nYes, you're sure that you achieved the goal because the treasure is\nnow perfectly hidden in a hole not even you are able to find it again.\n\nMEANWHILE ...\n\non the black freighter?\n\n> You go to the south\nYou find yourself trapped in a well made bambus field labyrinth. Green\nbambus all around. You hear the strong currents breaking against the\nshore far down the hill. You know the path to the west right into the\nflower bed. You know a path to the north, to have a nice view\naround.\n\n> You go west\nflowers. Yellow flowers all around. They look familiar. Not that\nyou've seen them in real life. Something special is about this flower.\nIn a way there seems to be a relationship with your first\nkind-of-beard. There are two passages one to the southwest and one to\nthe east.\n\n> You go southwest\nJungle. You're in it. Deeper than you expected. suddenly green plants\nall around you and really near. Leaves tickeling your neck. It\nremembers you to tv documentaries about these little poisenous green\nsnakes. You freeze your steps, so you are really able to turn around\nrather quickly and step back. Its the path southwest a bit more near\nto the sea that you know and you could walk there fast. now. There is\nalso a passage to northeast.\n\n> Go southwest\n\"I see, your treasure is well hidden somewhere you can't even find\nyourself.\" and Tim puts the wristband for the treasure hunt over your\nwrist.\n\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nTim is sitting here.\n\nYou can also see a gate here.\n\n> You talk to Tim\nAhoj, what do ya want here?\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] About that pirate ship at the horizon...\n[4] Nothing\n\n> 3\nOutch, thanks. I have to inform Dave and Ron about it.\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> 2\nThe pirate actions are prepared by us, you have to take one or\nmore and afterwards come back and I will give you the appropriate\nwristband for achieving the actions goal. So you have to do all three\nof them. For now choose which pirate-action do you want to start. This\nweek we have \"treasure hunt\", \"getting marooned.\" and  \"barbacue.\"\n\n[1] Treasure hunt.\n[2] Getting marooned.\n[3] Barbecue.\n\n> 2\nnow?\n\n[1] Yes, want it. Now. I wanna have as much boredomness afterwards as\npossible.\n[2] No way. I don't want your silly pirate stuff.\n\n> 1\nWell played junior adventurer.\n\nHe blindfolds you, some hands grapping you. You feel abducted deep\ninto the jungle.\n\nYou find yourself trapped in a well made bambus field labyrinth. Green\nbambus all around. But contrary to your imagination of marooning, it\nseems quite un-dangerous and you don't even received a gun. You hear\nthe strong currents breaking against the shore far down the hill. You\nknow the path to the west right into the flower bed. You know a path\nto the north, to have a nice view around.\n\n> Go southwest\nTim waves at you and presents you the achieved wristband for surviving\nthe marooning pirate action. He puts around your wrist. Proudly and in\nhope to get into the ressort soon, you're awaiting your total\nboredomness.\n\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nTim is sitting here.\n\nYou can also see a gate here.\n\n> About yourself\nShiny. On your wrist you can see two wristbands. You are wearing\nmarooned wristband, treasure-wristband, the rucksack and trousers and\nholding the towel.\n\n> You talk to Tim\nAhoj, what do ya want here?\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> 3\nListen. It's all about manatees in this task. You will get the\nmanatee-wristband, if you catch one with a fishing rod and appropriate\nbait. You can get your tools from Ron in the small market as you see\nto the east at the river mouth.\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> You go to the south\nYou go a few steps into the water. Its warmer than expected. Maybe you\nwould go for a swim. But in sight of this beach, so you will have it\neasy to find your way back. So you choosed to stay at the beach\n\n> Go east\nYou can see right there the shortest connection to the river mouth and\nthe small market. But caused by the coast line you have to go to the\nnortheast and then southeast afterwards.\n\n> Go southeast\nThe fresh water delutes itself into the salty sea. The way back\nfollows upstream to northwest. There is also a cableway leading from a\nbullwheel here to somewhere over the sea.\n\nThere stands Ron like he wants to sell some stuff.\n\nYou can also see a fruit table (on which are a durian and a fishing\nrod) and pile of meat here.\n\n> You look at the durian\nThis looks like a durian. Wonderful. For such a long time you wanted\nto take a nose and taste it.\n\n> You examine rod\nThats a strong looking fishing rod with a fishhook. You're not quiet\nsure, if its believable to catch such a big animal like a manatee with\nthis tiny rod. And what about the bait?\n\n> You look at Ron\nLooks like a pirate that stood for a long time at the same place.\n\n> You look at the meat\nNot appetizing, but its really a big pile of meat. It goes up to the\nheight of your hip. Stitched together it would be large enough to\ncover a human.\n\n> You talk to Ron\nAhoj.\n\n[1] Hi. I'm Buyshrug, who are you?\n[2] Nice fishing rod, exactly the one I need.\n[3] Can I get this fruit?\n[4] About that pirate ship at the horizon...\n[5] What about those people already inside the holiday resort?\n[6] I have to go. Bye.\n\n> 4\nI'm watching the coast line carefully.\n\n[1] Hi. I'm Buyshrug, who are you?\n[2] Nice fishing rod, exactly the one I need.\n[3] Can I get this fruit?\n[4] What about those people already inside the holiday resort?\n[5] I have to go. Bye.\n\n> 2\nSure. I heard you are on the manatee hunt. Good luck. And yes, you\ncan have this fishing rod. Someone forgot it here or maybe its just\nfloatsam.\n\ninventory.\n\n[1] Hi. I'm Buyshrug, who are you?\n[2] Can I get this fruit?\n[3] What about those people already inside the holiday resort?\n[4] I have to go. Bye.\n\n> 3\nThey are from yensid, the company that bought ours.\n\n[1] Hi. I'm Buyshrug, who are you?\n[2] Can I get this fruit?\n[3] I have to go. Bye.\n\n> 1\nI am an electronic story teller. Or better: I was.\n\n[1] What happened?\n\n> 1\nOur big boss was following his own plan.\n\n[1] Who was your boss?\n[2] Which plan, do you know it?\n\n> 2\nIt was all about an old pirate secret that's still unrevealed. L.\nthe boss of Sacul Film. The famous maker of \"Planet Peace\" does\nanything to get it.\n\n[1] Do you know what this secret is?\n\n> 1\nNot really. But it seems, we discovered important hints to reveal\nit during research for our project.\n\n[1] Can I get this fruit?\n[2] I have to go. Bye.\n\n> 1\nSure, take a bite.\n\n[1] I have to go. Bye.\n\n> 1\nBye.\n\nThe fresh water delutes itself into the salty sea. The way back\nfollows upstream to northwest. There is also a cableway leading from a\nbullwheel here to somewhere over the sea.\n\nThere stands Ron like he wants to sell some stuff.\n\nYou can also see a fruit table and pile of meat here.\n\n> You take the meat\nRon behind the table squeezes his eyes shut, he doesn't want you to\njust pick up the meat.\n\n> You wear the meat\n(first taking pile of meat)\nRon behind the table squeezes his eyes shut, he doesn't want you to\njust pick up the meat.\n\n> You put the meat in the rucksack\n(You open the rucksack first.)\n\n(first taking pile of meat)\n\nRon behind the table squeezes his eyes shut, he doesn't want you to\njust pick up the meat.\n\n> You look\nThe fresh water delutes itself into the salty sea. The way back\nfollows upstream to northwest. There is also a cableway leading from a\nbullwheel here to somewhere over the sea.\n\nThere stands Ron like he wants to sell some stuff.\n\nYou can also see a fruit table and pile of meat here.\n\n> Fish\nWhat do you want to fish?\n\n> Sea\nNo, there is a better purpose. Trust me.\n\n> You go northwest\nThere is a creek flowing from northwest down to southeast, where it\nends in a river mouth. a path along the creek's bank follows the same\ndirection. A wooden bridge leads northeast deeper into the jungle and\nexits also to southwest back to the boring beach.\n\ntube. Its connected to Daves helmet to provide oxygen.\n\ntell you.\n\n> Go northwest\nwater and swim against the stream. Don't forget you are here to get\ntotal boredomnes.\n\n> You talk to Dave\nDave opens the visor of his diving helmet, so he is able to\ncommunicate with you. \"Whats up?\"\n\n[1] About that pirate ship at the horizon...\n[2] Hey whats your relation to the people of yensid down inside the\nresort?\n[3] I'll leave you... sitting around doing nothing\n\n> 2\nNot my problem, but I want to be part of the revenge. Hopefully\ngetting rich afterwards.\n\n[1] About that pirate ship at the horizon...\n[2] I'll leave you... sitting around doing nothing\n\n> 1\nNow time counts, we have to get earlier to the secret.\n\n[1] I'll leave you... sitting around doing nothing\n\n> You go southwest\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nTim is sitting here.\n\nYou can also see a gate here.\n\n> You go north\nAs you were evaluating to go or not to go into the bush, the guy with\nthe Tim name plate approaches you and begins to speak.\n\nAhoj, what do ya want here?\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Can you tell me something about the people of yensid inside the\nresort?\n[4] Nothing\n\n> 3\nThey conquered, what was ours once and with their money. They\nsupport L.\u00c2\u00b4s quest for the secret of ... But I better keep my mouth\nshut.\n\n[1] Watch out. I'm a mighty tourist\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> 1\nArrgh. Show me the three wristbands.\n\n[1] Which wristbands do you mean?\n\n> 1\nEvery _real_ adventurer and or tourist has to get the three\nwristbands first, before going into the resort. We offer them here for\nachieving pirate actions. This island was a pirates nest before. So we\nsupport traditional pirate actions. You can always see your\nachievements if you examine your wrist.\n\n[1] Tell me more about the pirate actions.\n[2] Nothing\n\n> You examine the machine\nIt's an original singer. One of these original foot-driven ones. Not\none of the current generation with the plastic crapability for a\nshorter device life.\n\nSewing machine is currently switched off.\n\n> You turn on the machine\nYou don't want to do anything with that machine. These machines were\nintroduced in your life as extremely dangerous by your grandma.\n\n> You look at the bridge\nIts stable as a rock and it is made out of, you guessed it already..\nwooden rocks.\n\n> You go southwest\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThere is an inviting lounger in front of you, ready for you to get on\nit.\n\nTim is sitting here.\n\nYou can also see a gate here.\n\n> You look at the infoboard\nbad situation of being nearly extinct.\n\n> You check what you're carrying\nYou are carrying:\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\nsustainable food\na towel\ntrousers (being worn)\n\n> You look at the cd\nshipping.\n\n> Fish manatee\nNo, there is a better purpose. Trust me.\n\n> You examine the machine\nDiving apparatus is currently switched off.\n\n> You examine the helmet\nThats what you call a perfect costume for every steampunk party.\n\n> You go to the northeast\nJungle. You're in it. Deeper than you expected. suddenly green plants\nall around you and really near. Leaves tickeling your neck. It\nremembers you to tv documentaries about these little poisenous green\nsnakes. You freeze your steps, so you are really able to turn around\nrather quickly and step back. Its the path southwest a bit more near\nto the sea that you know and you could walk there fast. now. There is\nalso a passage to northeast.\n\n> Go north\nbecause you're just standing right on the tip of a cliff. A fresh wind\nblows against your face. Really small at the horizon you notice a ship\nwith eight sails. Right. Sails. A ship seeming to be a ghost from\nanother time. Maybe its a museums sail. You will later have a look if\nits coming nearer or not. You can go down to the south back to the\nbambus field.\n\n> You go to the north-west\nThat was a nice try to jump over your shadow into the bushes, but it\nleads nowhere. So you went back into the bambus.\n\nYou can't go that way."
    },
    {
        "text": "[Themes: Comedy]\n\n> You go downwards\nflowers. Yellow flowers all around. They look familiar. Not that\nyou've seen them in real life. Something special is about this flower.\nIn a way there seems to be a relationship with your first\nkind-of-beard. There are two passages one to the southwest and one to\nthe east.\n\nYou'll have to get out of flower bed first.\n\n> You examine the cableway\nThe cableway basket is empty.\n\n> You enter the basket\nThe cableway basket is out of reach.\n\n> You look at the wheel\nIts a wooden bullwheel to lead a long rope around it. Its a bit\nrotten, but looks sturdy enough to be still trustworthy. Someone\ncarved \"steps\" into the mast to make it easy to climb on it.\n\n> Climb wheel\nYes, you are right. You could climb up this mast and get into that\ncableway. But there are not yet enough reasons for you to do so.\n\n> You examine the manatee\nIts an unnameable patchwork at the moment, but you guess it will\nbecome a manatee or gorilla or whatsoever.\n\n> You go to the south\nYes you want it and time is enough. You go deeper up to you hips into\nthe sea water. Its still clear, you are able to see the ground. After\nsome minutes walk you get back to the beach. You dry fast in the hot\nsun.\n\n> You sit on the lounger\nWithout your towel on it?\n\n> You put towel on the lounger\nYou put the towel on the lounger.\n\n> You remove trousers\nYou take off trousers.\n\n> You sit on the lounger\nYou lay down and try to relax, but too much is to be done. So you get\noff the lounger soon. Your adventure is waiting. And crack!\nas you tried to get up again, the lounger broke under your weight.\n\n> You wear the towel\n(first taking the towel)\nYou put on the towel.\n\n> You look at the lounger\nThe broken pieces of the once comfy looking lounger are looking at you\nsearching for revenge.\n\nthe towel is dropping from your hips.\n\n> About yourself\nShiny. On your wrist you can see two wristbands. You are wearing the\ntowel, marooned wristband, treasure-wristband and the rucksack and\nholding the durian, the fishing rod and trousers.\n\nthe towel is dropped from your hips.\n\n> You wear the trousers\nYou put on trousers.\n\n> Go north\nNo.\n\n> You get the manatee\nThat's hardly portable.\n\n> You talk to Dave\nDave opens the visor of his diving helmet, so he is able to\ncommunicate with you. \"Whats up?\"\n\n[1] Do you keep any wristbands for pirate actions?\n[2] I'll leave you... sitting around doing nothing\n\n> 1\nNo, this isn't me. I live from the fruits in the jungle and I'm\nstill trying to find my way out of the complete boredomness. So my\nhope is to either find the secret of that island or to start a\nbusiness in blue hole diving.\n\n[1] I'll leave you... sitting around doing nothing\n\n> 1\nBye.\n\nThere is a creek flowing from northwest down to southeast, where it\nends in a river mouth. a path along the creek's bank follows the same\ndirection. A wooden bridge leads northeast deeper into the jungle and\nexits also to southwest back to the boring beach.\n\ntube. Its connected to Daves helmet to provide oxygen.\n\ntell you.\n\n> Dive\nNo. You don't want to dive into that water. The first thing you want\nis to get into that holiday resort even if you have to earn those\nthree wristbands in the first place.\n\n> Go northwest\nwater and swim against the stream. Don't forget you are here to get\ntotal boredomnes.\n\n> You look at the leaves\nBarely penetrable jungle. Not only because its physical impossible.\nAlso because of you not wanting to go inside.\n\n> Wave durian\nYou look ridiculous waving the durian.\n\n> You eat flower\n(first taking flowers)\nNo, you don't want to nearly-kill puppies.\n\n> Swim\nNo way.\n\n> You talk to Ron\nAhoj.\n\n[1] aehm.. what about this pile of meat over here?\n[2] I have to go. Bye.\n\n> 1\nGet your fingers off it! Good meals are rare in these times.\nExcept you can give me a good alternative, maybe a bit more\nsustaining?\n\n[1] about... that meat again..\n[2] I have to go. Bye.\n\n> You check your inventory\nYou are carrying:\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\nsustainable food\ntrousers (being worn)\n\n> You examine the food\nYou don't want to eat it, until you're in peril of your nearly starved\naway life.\n\n> You show the food to Ron\n(first taking sustainable food)\nRon is unimpressed.\n\n> You give the food to Ron\nRon looks thankfully and quickly pocket the sustainable food from you.\nHe adds that for his sake you can take the meat pile. But under one\ncondition, if you promise to create something really special out of\nit.\n\n> You put the meat in the sack\n(first taking pile of meat)\n\nNow it's okay for him, so you are allowed to take it.\n\nof meat.\n\nYou put pile of meat into the rucksack.\n\n> Go southwest\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThe broken lounger stands before you, reminding yourself of your\nlittle overweight.\n\nTim is sitting here.\n\nYou can also see a gate and a towel here.\n\n> You talk to Tim\nAhoj, what do ya want here?\n\n[1] I know you like stitching manatees. My question is, are you also\nable to create one just out of this pile of meat?\n[2] What about the manatees?\n[3] Tell me more about the pirate actions.\n[4] Nothing\n\n> 1\nSure it seems to be big enough to make a suit out of it.\n\nand he takes it, stitches and stitches...\n\n..and hours later...\n\n... it is a manatee suit.\n\nHe gives you the manatee suit.\n[1] What about the manatees?\n[2] Tell me more about the pirate actions.\n[3] Nothing\n\n> 1\nAh, the manatees. Such nice and friendly animals. But rarely seen\non this island nowadays. My self-stitched ones seem to be the only\nmanatees left on this island.\n\nYou see that he is thinking of better times long ago.\n\n[1] Tell me more about the pirate actions.\n[2] Nothing\n\n> 2\nBye.\n\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. There is Tim behind a sewing machine. He seems to be\nfocused at his work. Behind the sewing machine is an wooden infoboard.\nA path leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThe broken lounger stands before you, reminding yourself of your\nlittle overweight.\n\nTim is sitting here.\n\nYou can also see a gate and a towel here.\n\n> You wear the suit\nYou put on the manatee suit.\n\n> About yourself\nShiny. On your wrist you can see two wristbands. You are wearing the\nmanatee suit, marooned wristband, treasure-wristband, the rucksack and\ntrousers and holding the durian and the fishing rod.\n\n> You go south\nYou don't want to go again into the water for now, because you still\nremember how it feels.\n\n> Go north\nNo.\n\n> You talk to Dave\nAhhh, oh fuck...a talking manatee. Is that you?\n\nDave opens the visor of his diving helmet, so he is able to\ncommunicate with you. Ahhh, help! Oh its you. You frightened me\nwearing that manatee suit.\n\n[1] Ey. About my great idea. I want to offer you a deal. If you dive\ninto that creek wearing this manatee suit, I'll fish you near the\nriver mouth, so ron is able to see it and I'm getting the wristband.\nwouldn't it be great?\n[2] I'll leave you... sitting around doing nothing\n\n> 1\nDo you think i'm completely dull? But... hmm. No, not without a\ncause.\n\n[1] What about a durian as your fishing bait?\n[2] I can't imagine anything to wake your interest.\n\n> 1\nThat sounds like a fair deal. So give me the suit.\n\nYou can't believe your eyes as Dave wears the manatee suit, coming\nnear the water and plouf, out of sight and within a blink of an eye he\nvanishes between the plants under water. You fairly see him, when he\nleaves into the direction of river mouth to the southeast.\n\n> You go southeast\nThe fresh water delutes itself into the salty sea. The way back\nfollows upstream to northwest. There is also a cableway leading from a\nbullwheel here to somewhere over the sea.\n\nLooking a bit awkward, the fake manatee swims here.\n\nThere stands Ron like he wants to sell some stuff.\n\nYou can also see a fruit table here.\n\n> Fish manatee\nYou already have that.\n\nAfter putting the fishhook into the water it was all Daves show. He\ngrabbed the hook. Rons big eyes were able to see this giant, wet and\nshiny meat-man manatee getting out of the water. Not shivering but\nwith a nod that meant respect he came over to you and put the manatee\nwristband around your wrist.\n\napparatus.\n\ne-v-e-r-y time  and they ran into the bush. Vanishing until you\nlose sight of any of them.\n\n> You go northwest\nThere is a creek flowing from northwest down to southeast, where it\nends in a river mouth. a path along the creek's bank follows the same\ndirection. A wooden bridge leads northeast deeper into the jungle and\nexits also to southwest back to the boring beach.\n\ntube.\n\n> You go to the southwest\nThis sandy spot is hot, really hot. Besides that there is only the\nbush around the beach and it opens to the sea and a far away horizon.\nIt makes you feel undrunken, thirsty, wanting to go west into the\nholiday resort. Behind the sewing machine is an wooden infoboard. A\npath leads north to a jungle spot and northeast to a jungle path. A\nnarrow trail follows the fence to northwest. To the south it opens\nright into the sea inviting to go south to take a bath.\n\nThe broken lounger stands before you, reminding yourself of your\nlittle overweight.\n\nYou can also see a gate and a towel here.\n\n> You go west\n(first opening the gate)\nSlowly you try to open that gate and it really moves. So you put you\nfirst step into the resort ready to go west. Finally.\n\nYou are right in the middle between the bar, the pool,the swimming\nspot and even the theater stage.\n\nYou can see a gate, a bar (on which are white russian and vodka), a\nred lounger (on which is a bath robe), a comfy seat and a bottle of\nrum here.\n\nYou noticed that something is going on on this Island. Your\nwish to get boredomness is blown away. You smell salty air and your\ntaste for adventure awakes...\n\nYou are right in the middle between the bar, the pool,the swimming\nspot and even the theater stage.\n\nYou can see a gate, a bar (on which are white russian and vodka), a\nred lounger (on which is a bath robe), a comfy seat and a bottle of\nrum here.\n\n> You check your inventory\nYou are carrying:\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\nThe people are seated. Its getting quieter. The people are looking at\nthe stage.\n\n> You wear the bath robe\n(first taking the bath robe)\nYou put on the bath robe.\n\nThe play begins. The first actors in pirate costumes are beginning to\nsing. It hurts your brain. But hey, its your holidays.\n\n> You take the bottle\nTaken.\n\nThere is a woman as the main act singing pirate jenny. Singing of the\nship the black freighter and with eight sails coming to kill the whole\nvillage. It remembers you of the ship you watched yourself during your\njourney over this very island.\n\n> You take russian\nTaken.\n\nSuddenly you hear an explosion from behind. Immediatly you turn your\nhead to the sea. And the black ship with eight sails appeared. A\npillar of smoke arises over a cannon. In that second, a next cannon is\nfired and you are able to follow the canon ball with your own eyes.\nYou have to turn your head and half believing what you see, the\ncannonball goes down in the middle of the stage and breaks the wodden\nplanks.\n\nShould you stay or should you go?\n1 - I should stay.\n2 - I should go.\n\n> 1\nYou decided to stay here, enjoying the show. What breaks out is:\n\nThe bunch of tourists is that frightened, that they are\nfleeing in different directions. But they are trapped within the\nmassive bold fence.\nA next canonball goes down and an awful smell is streaming out of it.\nyour stomach wants to return the windbeutel. You bend over and ...\n\n... a hard smack... you lose consciousness\n\nAfter recovering you found yourself in an unknown place.\n\nA place thats moving. Up and down. You guessed right... the small\nporthole on one side assured it to you that you are on a ship.\n\nA wooden room inside a ship. You feel the waves. There is just a\nfour-poster bed and a pot of water in it and a porthole to the north\nshows the way onto the sea. A single cabin door is to the south.\n\nYou can see a four-poster bed (on which is an inflated deflatable\nmattress) and pot (empty) here.\n\n> You check your inventory\nYou are carrying:\nwhite russian\na bottle of rum\na bath robe (being worn)\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\n> You examine the pot\nNo pot inside this pot.\n\n> You take the pot\nTaken.\n\n> You pull the plug\nA flush of water flows to the floor and vanishes under the door.\n\n> You look at the porthole\nLooking through the porthole, you see a beautiful island spread at the\nhorizon. To far to swim without any support, but close enough to reach\nit by your own muscular strength. In its frame its written \"Carlos II\"\nbut someone scratched over it and now you can read \"Fancy\" instead.\n\n> You go south\n(first opening the cabin door)\nIt seems to be locked.\n\n> You open the porthole\nYou open the porthole.\n\n> You enter the porthole\n(together with the empty mattress)\nocean\nIts still far away to the coast line to the north. Directly behind\nyour back is the sloop or ketch you just used to call them boats. To\nthe other directions is just open sea and you don't want to explore\nthat any further.\n\n> Inflate mattress\nuntil its filled. As fast as possible, you put the plug back in so the\nmattress stays full.\n\n> You go to the north\nisland. But near enough to achieve it by swimming, the mattress itself\ndecided to sink into the deeper parts of the ocean as you where riding\nit. Together with a curious feeling to explore that new place you\nreached it after noticing it was more far away than you thought and\nyour body was not really easy in managing swimming to the island.\n\n...but...\n\n*** THE END (of this act) ***\n\n### NEXT ACT - \"Discovering the Secret of Monkey Island\" ###\n\n... sand in your ears, sand in your mouth, between your teeth. You\neven feel like you're breathing sand. And you try to take a look\naround. the sun is shining and burnt your back. But hey, you're still\nwearing your trousers. You see lots of footprints, like a very big\ngroup of people was here and leaving into the jungle to the north\nwhere you can see a big rock high above the tallest trees. In the\nmiddle of this beach is a lonely banana tree. Making you think, it was\nescaping the jungle behind him to the north. Far away to the northwest\nit leads halfway up to a volcano.\n\nTo the south is water, just water and the ship, the black freighter,\nyou remember from the pirate opera on the other island.\n\nYou can see skinny pig and an uhuru here.\n\n> You examine the pig\nIts really skinny.\n\n> You examine uhuru\nImpressive, that very rare parrot is a black uhuru and it has a fleety\nfoot.\n\n> You examine tree\nThree times taller than you and at the top there are some bananas.\n\n> You examine Volcano\nThe Volcano rises very steeply to the northwest from here. It seems\nnot to be active anymore.\n\n> Inventory\nYou are carrying:\npot\nwhite russian\na bottle of rum\na bath robe (being worn)\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\n> You take all\nbrass lantern: Taken.\nubuntu cd: Taken.\n\n> You take the pig\nSometimes you surprise yourself. You just managed to pick up a pig.\n\n> Kiss pig\nKeep your mind on the game.\n\n> You continue\n... and nothing happens.\n\n> You look\nHot light sand all around. In the middle of this beach is a lonely\nbanana tree. Making you think, it was escaping the jungle behind him\nto the north. Far away to the northwest it leads halfway up to a\nvolcano.\n\nTo the south is water, just water and the ship, the black freighter,\nyou remember from the pirate opera on the other island.\n\nYou can see an uhuru here.\n\n> You go to the north\nslowly feeling your way forward..\n\n\"Beware the three-headed monkey!!!\" says a nicely painted sign.\n\nYou can look deep down a dried out canyon edge. Its dark down there. A\ntrail leads back south to the banana tree and north into the direction\nof the big rock. You can also go northeast . The sign about the\nthree-headed monkey makes you wonder.\n\nYou can see a rope here.\n\n> You examine the rope\nA quite robust kind of rope.\n\nYou noticed a large animal vanishing into the bush. Had it really\nthree heads??\n\n> You go north\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and to the east. There are the\nremains of a dam that stopped the flow to the east before. One way to\nthe west and a way to the east. To the south leads the way back into\nthe direction of the banana tree beach or you just climb up this big\nrock to get an view over this island.\n\n> You go north\nThe bed of this stream is armored with rocks, some very rounded\n(having had a longer life in the stream) and some not.\n\n> You go south\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and to the east. There are the\nremains of a dam that stopped the flow to the east before. One way to\nthe west and a way to the east. To the south leads the way back into\nthe direction of the banana tree beach or you just climb up this big\nrock to get an view over this island.\n\nIs this three-headed gorilla sized monkey following you?\n\n> You climb rock\nYou are halfway up this rock. You can go further up to the top or down\nto the dam.\n\nYou can see a maybe catapult here.\n\n> You examine the catapult\nIts not operating with electricity. Its somekind of catapult and big\nchunks of stone can be thrown with it.\n\n> Go upward\nYou have a great view in every direction of this little island. In the\nnorth you can see a small village made of straw huts. Looking really\nna(t)ive. Beneath your feet you can see the strange device directly,\nso you could throw stuff on it. You can only go down from here.\n\nFar away, you could bet you have seen a three-headed gorilla.\n\n> You look at the village\nIn the north you can see a small village made of straw huts. Looking\nreally na(t)ive. You can't see it clearly, so you better go there.\n\n> You go north\nIn the middle stands a very fine and comfy looking straw hut. It looks\nlike a museum showing the former life of natives, but it still seems\nto be used.\n\n> Go inside\nYou can't go that way.\n\nNo sign of any ape.\n\n> You climb the hut\nI don't think much is to be achieved by that.\n\nStill no sign of any ape. Where could it be?\n\n> Go west\nOn a banner is written \"Hermans Lounge\". There is an old man sleeping\nhere. You guessed thats Herman. Two paths lead out of here. One to the\neast and one to southeast.\n\nYou can see herman and a pigsty (closed) here.\n\n> You open pigsty\nFuuuuck, there is pig number one, pig number two, pig number three,\npig number four, pig number five, pig number six, pig number seven,\npig number eight, pig number nine and pig number ten running out of\nit.\n\nYou open the pigsty, revealing a pig magnet.\n\n> You take the magnet\nYes, disgusting but you managed to take it.\n\n> You look at the magnet\nthose pigs \"stick\" to it.\n\n> You examine the pig\nWhich do you mean, pig number ten, pig number nine, pig number eight,\npig number six, pig number four, pig number three, pig number one, the\npig magnet or skinny pig?\n\n> You take the pig one\nSometimes you surprise yourself. You just managed to pick up a pig.\n\n> Inventory\nYou are carrying:\npig number ten\npig number nine\npig number eight\npig number six\npig number four\npig number three\npig number one\na pig magnet\na rope\nskinny pig\npot\nwhite russian\na bottle of rum\na bath robe (being worn)\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\n> You look\nOn a banner is written \"Hermans Lounge\". This Human shaped floatsam is\nstill alive and pretends to sleep here. Two paths lead out of here.\nOne to the east and one to southeast.\n\nYou can see pig number five, herman and a pigsty (empty) here.\n\n> You talk to Herman\nsilence that he deserves. Do you carry anything drinkable?\n\n[1] ahoj\n[2] What's the secret of this island?\n[3] Do you have a banana picker?\n[4] Ahem, is this stuff all earwax that is coming out of your head?\n[5] I better go.\n\n> 1\nsilence that he deserves. Do you carry anything drinkable?\n\n[1] What's the secret of this island?\n[2] Do you have a banana picker?\n[3] Ahem, is this stuff all earwax that is coming out of your head?\n[4] I better go.\n\n> 1\nSure, I know it very well. Its in a cave beneath that island. I\ncan't go there anymore. So i will be pleased if you bring me some of\nit.\n\n[1] And where is the entrance of that cave?\n\n> 1\nI don't want to kill the tension right away. You should find your\nown way.\n\n[1] Do you have a banana picker?\n[2] Ahem, is this stuff all earwax that is coming out of your head?\n[3] I better go.\n\n> 1\nNo, its broken. The Vegibals broke my famous banana picker.\n\n[1] Ahem, is this stuff all earwax that is coming out of your head?\n[2] I better go.\n\n> 1\nEarwax? I have all sorts of scumm(tm) in any hole of my body.\n\n[1] I better go.\n\n> 1\nBye.\n\nOn a banner is written \"Hermans Lounge\". Herman pretends to sleep\nhere. Two paths lead out of here. One to the east and one to\nsoutheast.\n\nYou can see herman and a pigsty (empty) here.\n\n> You go southeast\nThe Ship is gone !!\n\nHot light sand all around. In the middle of this beach is a lonely\nbanana tree. Making you think, it was escaping the jungle behind him\nto the north. Far away to the northwest it leads halfway up to a\nvolcano.\n\nTo the south is water, just water.\n\nYou can see tiny pig and an uhuru here.\n\n> You take the pig\n(tiny pig)\nSometimes you surprise yourself. You just managed to pick up a pig.\n\n> You go north\nslowly feeling your way forward..\n\nYou can look deep down a dried out canyon edge. Its dark down there. A\ntrail leads back south to the banana tree and north to the dam into\nthe direction of the big rock. You can also go northeast . The sign\nabout the three-headed monkey makes you wonder.\n\n> Go northeast\nThere is a pond with water and in the middle is a swimming hut.\nYou can enter the hut or leave this place to the west or east or\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper.\n\nYou can see pink pig here.\n\n> You take the pig\nWhich do you mean, fat pig, pink pig, tiny pig, pig number five, pig\nnumber ten, pig number nine, pig number eight, pig number six, pig\nnumber four, pig number three, pig number one, the pig magnet or\nskinny pig?\n\n> You look at the hut\nHow cool is that. A swimming hut. Nailed together out of floatsam\nwood, definitely a work of art. So still looking like a house of\nmojo....but now focusing on homoe-something.\n\n> You enter the hut\nStill looking like a house of mojo....but now focusing on\nhomoe-something.\n\nYou can see the door to the backroom, fat pig, huge pig and ex-voodoo\nlady here.\n\n> You examine lady\nGrey hair, red glasses. With this look to be some steps above you.\nEven if there are no stairs.\n\n> You talk to the lady\nYou look so deluted, can I be of any help?\n\n[1] Hi, why is it about homoepathy now, I thought this place is about\nvoodoo.\n[2] What's the secret of this island?\n[3] What about the Giant Q-Tip?\n[4] Do you have anything against earwax?\n[5] I am more into knowledge than believes, bye.\n\n> 1\nVoodoo is some esoteric non-working nonsene, I needed to help and\nestablish something proven. Sorry,  I have to complete bashing this\nbottle on this leather bound book.\n\n[1] What's the secret of this island?\n[2] What about the Giant Q-Tip?\n[3] Do you have anything against earwax?\n[4] I am more into knowledge than believes, bye.\n\n> 1\nI will always respect their deities.\n\n[1] What about the Giant Q-Tip?\n[2] Do you have anything against earwax?\n[3] I am more into knowledge than believes, bye.\n\n> 1\nYou ask me for some university medicine? I have something better,\nwhich means homoepathic, for you. I will rattle it 4 days, then you\ncan come back and its strong enough to help.\n\nShe went into the backroom and gets a big glass full of earwax!?\n\n[1] I am more into knowledge than believes, bye.\n\n> 1\nBye.\n\nStill looking like a house of mojo....but now focusing on\nhomoe-something.\n\nYou can see earwax, the door to the backroom and ex-voodoo lady here.\n\n> You examine the earwax\nUgly would be too nice to describe this unnameable mass.\n\n> Go outside\nThere is a pond with water and in the middle is a swimming hut.\nYou can enter the hut or leave this place to the west or east or\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper."
    },
    {
        "text": "> Go downwards\nYou jump right inside the dark water depths of the pond.\n\nYou are under water (again) and you try your best to see things in\nthat murky water. You can exit swimming up.\n\nYou can see the big stopper here.\n\n> You take the stopper\nThat's fixed in place.\n\n> Examine stopper\nYou see nothing special about the big stopper.\n\nYou can't hold your breath for 10 minutes like others do, so you get\nup and out of the water immediatly.\n\nThere is a pond with water and in the middle is a swimming hut.\nYou can enter the hut or leave this place to the west or east or\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper.\n\n> Go west\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and to the east. There are the\nremains of a dam that stopped the flow to the east before. One way to\nthe west to hermans fort and a way to the east to the pond. To the\nsouth leads the way back into the direction of the banana tree beach\nor you just climb up this big rock to get an view over this island.\n\n> Go west\nOn a banner is written \"Hermans Lounge\". Herman pretends to sleep\nhere. Two paths lead out of here. One to the east and one to\nsoutheast.\n\nYou can see herman and a pigsty (empty) here.\n\n> You talk to Herman\nsilence that he deserves. Do you carry anything drinkable?\n\n[1] I better go.\n\n> Inventory\nYou are carrying:\nhuge pig\nfat pig\npink pig\ntiny pig\npig number five\npig number ten\npig number nine\npig number eight\npig number six\npig number four\npig number three\npig number one\na pig magnet\na rope\nskinny pig\npot\nwhite russian\na bottle of rum\na bath robe (being worn)\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\n> You ask Herman about the pigs\n[Use TALK TO to interact with characters.]\n\n> Go east\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and to the east. There are the\nremains of a dam that stopped the flow to the east before. One way to\nthe west to hermans fort and a way to the east to the pond. To the\nsouth leads the way back into the direction of the banana tree beach\nor you just climb up this big rock to get an view over this island.\n\nThere is one pig trying to cloggin it up again and restoring a working\ndam. The water is flowing.\n\nYou can see pig number seven here.\n\n> You drop the magnet\nYou dropped the pig magnet in the once exploded part of the dam. Now\nit lures in hungry pigs.\n\n> You drop all the pig\npig number seven: Dropped.\nhuge pig: Dropped.\nfat pig: Dropped.\npink pig: Dropped.\ntiny pig: Dropped.\npig number five: Dropped.\npig number ten: Dropped.\npig number nine: Dropped.\npig number eight: Dropped.\npig number six: Dropped.\npig number four: Dropped.\npig number three: Dropped.\npig number one: Dropped.\nskinny pig: Dropped.\n\n> You look\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and not anymore to the east. There\nare the remains of a dam that stopped the flow to the east before.\nThese pigs are so concentrated licking this pig magnet, the dam works\nagain One way to the west to hermans fort and a way to the east to the\npond. To the south leads the way back into the direction of the banana\ntree beach or you just climb up this big rock to get an view over this\nisland.\n\nThere is a good damn of  fourteen pigs clogging it up, so it now works\nas a dam again. The flow of water is stopped.\n\nYou can see skinny pig, pig number one, pig number three, pig number\nfour, pig number six, pig number eight, pig number nine, pig number\nten, pig number five, tiny pig, pink pig, fat pig, huge pig, pig\nnumber seven and a pig magnet here.\n\n> You go east\nFUUUCK, the water flowing into the pond is all gone... so it's empty\nnow.\n\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper.\n\n> You enter the hut\nStill looking like a house of mojo....but now focusing on\nhomoe-something.\n\nYou can see the door to the backroom, earwax and ex-voodoo lady here.\n\n> You open the door\nhomoepathic lady."
    },
    {
        "text": "> Go downwards\nYou jump right into the waterless the depths of the dried out pond.\n\nYou are under water (again) and you try your best to see things in\nthat murky water. You can exit swimming up.\n\nYou can see the big stopper here.\n\n> You take the stopper\nThat's fixed in place.\n\n> You pull the stopper\nIt is fixed in place.\n\n> You show the earwax to Herman\nHerman is unimpressed.\n\n> Go up\nYou have a great view in every direction of this little island. In the\nnorth you can see a small village made of straw huts. Looking really\nna(t)ive. Beneath your feet you can see the strange device directly,\nso you could throw stuff on it. You can only go down from here.\n\nYou can see pig number two here.\n\n> You throw the pig two at the catapult\nYou drop the pig directly onto the catapult...\n\n... You can now see a flying pig into the north of the island. Even\nto your ear came a very loud and smashing sound afterwards.\n\n> Go north\nYes, you smashed the vegibals hut into pieces, using a living pig! A\nbunch of straw and wooden pieces are the only remains of this kind of\nnative architecture.\n\nYou can see a giant q-tip here.\n\n> You take Qthe -Tip\nTaken.\n\n> You examine it\nIt looks like the ones you know for human ears, but this one is giant.\nLarger than your legs. But you notice the cotton tip is long gone on\nthis one, so its basically a really large and heavy stick.\n\n> Go south\nYou can look deep down a dried out canyon edge. Its dark down there. A\ntrail leads back south to the banana tree and north to the dam into\nthe direction of the big rock. You can also go northeast to the pond.\nThe sign about the three-headed monkey makes you wonder.\n\n> Go south\nHot light sand all around. In the middle of this beach is a lonely\nbanana tree. Making you think, it was escaping the jungle behind him\nto the north. Far away to the northwest it leads halfway up to a\nvolcano.\n\nTo the south is water, just water and still not a trace of the black\nfreighter.\n\nYou can see an uhuru here.\n\n> You talk to uhuru\nHe talks. No joke. he talks and its: \"push the tree, quuoak, push the\ntree.\"\n\n> You take banana\n(the banana)\nTaken.\n\n> You examine banana\n(the banana)\nYou see nothing special about the banana.\n\n> You give the russian to Herman\n\"Thank you, thats a welcoming gesture.\"\n\n> You check your inventory\nYou are carrying:\na banana\na giant q-tip\nearwax\na rope\npot\nwhite russian\na bottle of rum\na bath robe (being worn)\nmanatee wristband (being worn)\na durian\na fishing rod\nmarooned wristband (being worn)\ntreasure-wristband (being worn)\na rucksack (being worn and open)\na brass lantern\nan ubuntu cd\ntrousers (being worn)\n\n> Go east\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and not anymore to the east. There\nare the remains of a dam that stopped the flow to the east before.\nThese pigs are so concentrated licking this pig magnet, the dam works\nagain One way to the west to hermans fort and a way to the east to the\npond. To the south leads the way back into the direction of the banana\ntree beach or you just climb up this big rock to get an view over this\nisland.\n\nThere is a good damn of  fourteen pigs clogging it up, so it now works\nas a dam again. The flow of water is stopped.\n\nYou can see skinny pig, pig number one, pig number three, pig number\nfour, pig number six, pig number eight, pig number nine, pig number\nten, pig number five, tiny pig, pink pig, fat pig, huge pig, pig\nnumber seven and a pig magnet here.\n\n> You go east\nFUUUCK, the water flowing into the pond is all gone... so it's empty\nnow.\n\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper."
    },
    {
        "text": "> Go downwards\nYou jump right into the waterless the depths of the dried out pond.\n\nYou are under water (again) and you try your best to see things in\nthat murky water. You can exit swimming up.\n\nYou can see the big stopper here.\n\n> You open the stopper\nYou open the big stopper."
    },
    {
        "text": "[Themes: Comedy]\n\n> Go down\nIts full of brown sugar cane globules for homoepathic use. You can't\ngo down as long as those sweeteners are blocking your way.\n\n> You look\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and not anymore to the east. There\nare the remains of a dam that stopped the flow to the east before.\nThese pigs are so concentrated licking this pig magnet, the dam works\nagain One way to the west to hermans fort and a way to the east to the\npond. To the south leads the way back into the direction of the banana\ntree beach or you just climb up this big rock to get an view over this\nisland.\n\nThere is a good damn of  eight pigs clogging it up, so it now works as\na dam again. The flow of water is stopped.\n\nYou can see pig number nine, pig number ten, pig number five, tiny\npig, pink pig, fat pig, huge pig, pig number seven and a pig magnet\nhere.\n\n> You take the pig\nWhich do you mean, tiny pig, pig number seven, the pig magnet, huge\npig, fat pig, pink pig, pig number five, pig number ten, pig number\nnine, pig number eight, pig number six, pig number four, pig number\nthree, pig number one or skinny pig?\n\n> You look\nYou are standing in front of a big rock. You see a stream bed flowing\nthrough its streambed to the north and to the east. There are the\nremains of a dam that stopped the flow to the east before. One way to\nthe west to hermans fort and a way to the east to the pond. To the\nsouth leads the way back into the direction of the banana tree beach\nor you just climb up this big rock to get an view over this island.\n\nThere is one pig trying to cloggin it up again and restoring a working\ndam. The water is flowing.\n\nYou can see pig number seven and a pig magnet here.\n\n> Go east\nthroough the open stopper.\nYou can enter the hut or leave this place to the west or east or\nsouthwest to the canyon edge. A sign on top of the huts entrance says\n\"homoepathy\" it hangs on top of an older one saying \"voodoo\". Or you\ncan go down right into the water, where you see something that looks\nlike a big stopper."
    },
    {
        "text": "> Go downward\nYou jump right into the waterless the depths of the dried out pond.\n\nYou are in a wet and empty pond. The water is vanishing somewhere. You\ncan exit going up..\n\nYou can see the big stopper here."
    },
    {
        "text": "> Go down\nIts really sticky down there, but the amount of water was enough to\nmade the sugar to dissolve.\nAs you enter finally this room you meet there a three headed gorilla.\nOr better, one gorilla costume. Inside of it seem to be three people.\nEach one having his face in one of the three heads of this costume.\n\n\"Oh, you guys again?\"\n\n\"Yes, here we are and we were first.\"\n\nbarrels. And they look very old. So you ask \"Whats so special\nabout those barrels?\"\n\n\"Fancy, fancy barrels. These barrels are coming from a ship\ncalled fancy. We were treasure hunting for a long time after this. The\narch pirate himself was hiding them here. Cpt. Henry Avery. We just\narrived here, so we need to drink a lot. You can join us, if you want.\n\nYou look for a place where you can stay for a long time, drinking\nrare whisky from 1690. Not listening what the other guys are talking\nyou reach the state of total boredomness.\n\nfree to fork and create pull requests.\n\nSpecial thanks to Nikola, Thomas and Oliver for Testing this story.\n\nI will leave you now alone...\n\n\"Free Software, Free Society!!"
    },
    {
        "text": "[Themes: Joke, Cave crawl, Satire, Zorkian, parody, nonhuman protagonist, Zork, fan fiction, Evil protagonist, combat]\n\nIt's not much of a job, but the Dungeon Master was looking for a guard troll, so you volunteered. You were given the standard-issue axe, and told to... well, guard.\n\nZork: A Troll's Eye View\nAn Interactive Tedium\n\nType \"info\" for the story behind it.\n[\"Zork\" is a registered trademark of Activision, Inc., used with permission.]\n\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\n\n[Author's Note: Have you ever wondered how the life of a guard troll is? Find out in this game!]"
    },
    {
        "text": "[Themes: Satire, Cave crawl, Zorkian, Joke, parody, combat, Zork, fan fiction]\n\n> You press the green button\nPeople who'd probably hate to be associated with this, and probably don't know why I'm thanking them, but whom I ought to mention for one reason or another:\n\nDavid \"flatterer\" Dyte, Lucian \"Lucian\" Smith, Neil de Mause, Dan \"inky\" Shiovitz, David Wildstrom, L. Ross Raszewski, Andrew Plotkin, Zak Arntson, Gareth Rees, Graham \"of course\" Nelson. And all those raif posters whose questions and answers I plundered via DejaNews.\n\nNote that this game is freeware. Do with it what you will, bar hacking it about and not saying that you've done so. Gaudete.\n\n> Go north\nIt's a study of the relative paradigms of moral identity in classic and modern IF, intended to throw sidelights on the motivation of the player and of NPCs and their relative role in plot construction and development.\n\nDylan O'Donnell, born in the New Forest, Hampshire, England; currently working for Demon Internet in Southend, Essex. Long-time lurker and occasional poster (usually about off-topic things) on rec.[games|arts].int-fiction, inter alia. Do I get to mention an addiction to Babylon 5 here? No? Shame.\n\n> You check your inventory\nYou are carrying:\na bloody axe\n\n> About yourself\nAs nasty-looking as ever.\n\n> You drop the axe\nWhat if an adventurer came upon you unawares? Fine guard you'd be.\nA \"lean and hungry\" gentleman with a large bag just wandered through the room. You nod to him, one professional to another.\n\n> You go west\nThe passages through there are twisty and all alike. You don't want to get lost.\n\n> Up\nYou stretch up and touch the ceiling. Fairly solid."
    },
    {
        "text": "[Themes: Joke, Cave crawl, Zorkian, Satire, Evil protagonist]\n\n> Go downwards\nYou experimentally tap the floor with the haft of your axe. Doesn't seem worth trying to dig through.\n\n> Sing\nYour singing is abominable.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You go west\nThe passages through there are twisty and all alike. You don't want to get lost.\n\nAn adventurer strides in from the south, carrying a brass lantern. While your eyes adjust to the sudden light, he most unsportingly attacks you!\n\nSlash! His blow lands! That one hit an artery, it could be serious!\n\n> Continue\nThe unconscious adventurer cannot defend himself; he dies. The body of the adventurer, and all his possessions, suddenly disappear in a puff of orange smoke.\n\n> Diagnose\nYou have a serious wound.\n\n> You wait\nTime passes.\n\n> Diagnose\nYou have a light wound.\n\n> Sleep\nHey! No sleeping on duty!\n\n> You look\nThis is a small room with passages to the east and south and a forbidding hole leading west. Bloodstains and deep scratches (perhaps made by an axe) mar the walls.\n\n> You throw the axe\nWhat if an adventurer came upon you unawares? Fine guard you'd be.\n\nAn adventurer strides in from the south, carrying a brass lantern. While your eyes adjust to the sudden light, she most unsportingly attacks you!\n\nThe adventurer's sword flashes out and connects painfully with your midriff.\n\n> Attack adventurer\nYour axe crashes against the rock, throwing sparks.\nYou receive a deep gash in your side from the elvish blade.\nIt appears that that last blow was too much for you."
    },
    {
        "text": "[Themes: Surreal, Humor]\n\nThat wacky Neil deMause! What will he think of next? Why, the last time you tried to visit him, you got stuck on Ellis Island for hours, and ended up years in the past talking to a goat. Boy, you were really \"Lost in New York\" that time (heh heh). And history seems to have repeated itself, because here it is Halloween, and here you are, wandering through the streets in the fog, looking for his apartment again. Sheesh.\n\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\nA jack-o-lantern sits in the middle of the street to the north.\n\n> You get the jack-o-lantern\nYou take a step or two towards the pumpkin. A sudden gust of wind makes the fog swirl, obscuring it for a moment despite the candle's glow, and then it's gone. Huh. Weeeyurd.\n\n> Inventory\nYou are empty-handed."
    },
    {
        "text": "[Themes: Surreal, Humor]\n\n> Look around\nIt's a good thing it's too foggy to make out any details, because\nI've spent all of three hours in New York, and they were all at the airport waiting to switch flights. Still, you can make out a street going north (how did you get into this dead end, anyway?)\n\n> You go to the north\nYou walk forward into the fog.\nSomeplace Else in New York\nYou're still lost, but at least you know you aren't where you were before. So you must be, erm, someplace else. The street bends, so you can go either east or south.\n\n> You go east\nYou pause for a moment as you start to walk again. Did you .. hear something? Nah. Couldn't be.\nA Third Place in New York\nSteadily narrowing down the options, you plan on having the whole\nof New York mapped any time now. *Including* the secret passage from the Kitchen to the Library. Streets lead west and north.\n\n> You go north\nAgain, you pause. There's definitely something out there. Something nasty. Something big. Something orange.\nA Fourth Room in New York\nSomeplace else. Someplace foggy. Someplace sinister.\n\n> Inventory\nYou are empty-handed.\n\n\"Ha!\" you reassure yourself \"There's nothing out there! And if there were, it would never leap onto my back suddenly and clasp its slimy hands around my throat and slowly squeeze until all my life was crushed out. It'd just rip my chest open and feast on my entrails.\"\n\n> You examine something\nI don't see any pumpkin here.\n\nI don't know the word \"something\".\n\n> Go east\nThis seems to be the end of the line. Your last stand. The final battle. No wait out but dead man's boots.\n\n(Dramatic pause).\n\n> You wait\nTime passes...\n\nEEEAGH! FLYING DEMONIC PUMPKIN HEAD!!!\n\nWhen the horror finally ends, you're someplace else.\nSomeplace else in New York\nAnother time .. another place. Or is it? One moment seems to\nblend into another, one stretch of pavement becomes the same as any other. It's tough being a hard-boiled detective, tossed off the police force because you knew too much about the kickbacks being paid to the guys up top. Yeah, it's tough, on your own, in-debt and half-drunk to forget the pain of a broken heart. So it's a good thing you're not one. You're just J Random Protagonist, remember? Now go find neild's house. I think it's north of here.\n\n> About you\nYou look about the same as always.\n\n> Go north\nNo, wait, I guess it's west of here. (Take *that*, fourth wall!)\n\n> You go west\nYou walk west, and find yourself on the doorstep of Neil's house.\nYour quest is over! ... or is it??\nOutside Neil deMause's House\nFor ease of narration, his apartment got turned into a house\nsometime. Or maybe you went inside and are standing outside the door to his room. Whatever.\nYou see a door here.\n\n> You knock\n(the door)\nYou knock three times:\nbang!\nbang!\nbang!\nThe door sloooowly creeeeeeaks opeeeeeen...."
    },
    {
        "text": "> You look around\nIt's yor frend!\n\nneild invites you inside and gives you cookies.\n\nInside Neil deMause's House/Apartment\nDepending on which path you took to get here, this is either Neil deMause's House or his Apartment.\nNeil deMause is here. Yaaay!\nI beg your pardon?\n\n> You look at what you're carrying with you\nYou have a cookies.\n\n> You ask Neil about the pumpkin\n\"I don't know much about that. So let me tell you about baseball instead.\" (hehehehehe see, he likes baseball hehehehe)There is a sudden knocking at the door.\n\"Oh no!\" says neild, \"It's the pumpkinhead! Lets hide!\" Neil hides in the kitchen. You hide in the closet.\n\nThis is the closet. It has stuff in it. There is a wall. And another wall. Also there is a coatrack.\n\n> You eat the cookies\nThe cookies slide down your throat and you quickly are full. Also, \"wooden wood\". Ha!\n\n> You look at the coatrack\nit's made out of wood. and varnished. and nailed to the wall. and there, right smack in the center of it, is a HOOK\n\n> You pull the coatrack\nI don't see any neil here.\n\nPulling the coatrack doesn't have any effect.\n\n> Inventory\nYou are empty-handed.\n\n> You wait\nTime passes..."
    },
    {
        "text": "[Themes: Surreal, Humor]\n\n> Look around\nThis is the closet. It has stuff in it. There is a wall. And another wall. Also there is a coatrack."
    },
    {
        "text": "A catastrophic event threatens the continued existence of the twin nations. You are Aris, an important citizen of the long linear Upper Forest of Lachryma. If you cannot save your civilization, no one can.\n\nAn entry for Speed-IF Jacket 4 by Roger Carbol\n\n(For more information, try ABOUT.)\n\nA small, circular room, carved out of the depths of the Mother Tree. What little light there is trickles in from a long hallway to the north.\n\nYou are roused from your meditations. You know that you must not fail.\n\n[Author's Note: You play as Aris Bleph, an important citizen of the Upper Forest of Lachryma, one of the twin nations currently threatened with catastrophe. Scientists recently spotted an asteroid plummeting towards the Milk Sea and it is now your duty to retrieve that asteroid.]"
    },
    {
        "text": "> About you\nYou are Aris, an important citizen of the long linear Upper Forest of Lachryma. If you cannot save your civilization, no one can."
    },
    {
        "text": "> You look at your surroundings\nA small, circular room, carved out of the depths of the Mother Tree. What little light there is trickles in from a long hallway to the north.\n\n> Go north\nFrom this vantage point, you can see most of the north face of your Mother Tree. Far above you is Citadel Bleph, founded by your own great ancestors generations ago. Far below, all details of the surface are lost to haze. You can vaguely discern the great Milk Sea, and the Rainbow Spot within it.\n\nA stairway winds its way upwards to an observatory. It also continues winding downwards until it eventually reaches a research station. The rest of the city, and beyond its walls other cities around other Mother Trees, could be visited by other paths. But your path lies elsewhere.\n\n> You examine Tree\nAncient and immense beyond measure, the Mother Tree is the foundation of your entire civilization. It provides scale and oil, it provides shelter, it provides a reason for living."
    },
    {
        "text": "> Go downwards\nThis building is among the lowest on the Mother Tree, although it remains safely above the surface. The research pod is here, waiting to take you down to the surface, where you are expected to retrieve the asteroid.\n\n> Examine pod\nIt is a small vessel, designed for one person at most. It is raised and lowered by a cable.\n\n> You enter the pod\nThe research pod is incredibly cramped. There's just enough room for two levers: one labeled DOWN and the other UP. There's also a small window.\n\n> You eat the lever\nWhich do you mean, the down lever or the up lever?\n\n> You pull down\n(the down lever)\nYou give the lever labeled DOWN a push, and you quickly find yourself plummeting downwards. This continues for several minutes, until there's a mighty screeching sound, and you find yourself at a standstill.\n\n> You look at the window\nIt's a tiny opaque window; barely large enough to steal a glimpse through. A large plaque immediately below the window has this message: \"WARNING: Do not open window in transit.\" The window is closed.\n\n> You open the window\nYou open the window.\n\n> You go outside\nYou would plummet to your death.\n\n> You look through the window\nIgnoring the admonition of the warning sign, you gaze out through the window.\n\nFar below, you can clearly see the Milk Sea, stretching out to an impossibly-distant horizon. In its center, the colourful Rainbow Sea, perfectly round. And in the center of that sea, you perceive yet another concentric round sea, this one of inky darkness.\n\nBy the Mother Tree -- you comprehend the whole in one terrible instant. This is no sea, no ocean. You gaze down upon the garguantuan eye of some unimagineably immense creature, some god. All you have known, or ever will know, is nothing but the tiniest speck in comparison. Yet you cannot shake the feeling that even as you look down in awe, this behemoth is gazing back.\n\nYour mind is shattered; perhaps another can complete your mission, or perhaps your civilization is doomed.\n\n> Keep going\n(the up lever)\nYou give the lever labeled UP a pull, but nothing seems to happen. Perhaps you're as far up as you can go.\n\n> You look through window\nYou see the research station.\n\n> You go outside\nThis building is among the lowest on the Mother Tree, although it remains safely above the surface. The research pod is here, waiting to take you down to the surface, where you are expected to retrieve the asteroid.\n\n> You go upwards\nFrom this vantage point, you can see most of the north face of your Mother Tree. Far above you is Citadel Bleph, founded by your own great ancestors generations ago. Far below, all details of the surface are lost to haze. You can vaguely discern the great Milk Sea, and the Rainbow Spot within it.\n\nA stairway winds its way upwards to an observatory. It also continues winding downwards until it eventually reaches a research station. The rest of the city, and beyond its walls other cities around other Mother Trees, could be visited by other paths. But your path lies elsewhere.\n\n> Go upwards\nThis building is dominated by enormous telescopes and other optical instruments, all pointed across The Great Gap. No signal from the Lower Forest has been received for generations, yet the scientists live in hope. Indeed, it is to them you owe your mission, for it was they who spotted the asteroid plummeting downwards. The asteroid you are now sworn to retrieve.\n\nA large telescope appears to be merely pointed towards the floor.\nThat can't be right.\n\n> You look at the telescope\nUpon closer examination, you determine that it's actually an enormous microscope. It is pointed at a small bowl of oatmeal.\n\n> Examine oatmeal\nIt seems to be a normal bowl of oatmeal. As you observe it, though, numerous dark spots appear on its surface; they appear to be arranging themselves into letters and words.\n\n> You read it\nAs you watch, you see the following message appear: \"PLEASE DO NOT EAT US\""
    },
    {
        "text": "> You look in the microscope\nYou peer into the microscope, but it's all a blur. You try twiddling various knobs, but nothing seems to help.\n\n> You eat the oatmeal\n(first taking the bowl of oatmeal)\nYou shovel the oatmeal into your mouth. It tastes... a bit strange. Nevertheless, you finish it."
    },
    {
        "text": "> You look at your surroundings\nThis building is dominated by enormous telescopes and other optical instruments, all pointed across The Great Gap. No signal from the Lower Forest has been received for generations, yet the scientists live in hope. Indeed, it is to them you owe your mission, for it was they who spotted the asteroid plummeting downwards. The asteroid you are now sworn to retrieve.\n\nA large telescope appears to be merely pointed towards the floor.\nThat can't be right.\n\nYou can see a bowl of oatmeal here.\n\n> You take the bowl\nTaken.\n\n> You take the microscope\nThat's hardly portable.\n\n> You turn the microscope\nIt is fixed in place."
    },
    {
        "text": "> Go down\nFrom this vantage point, you can see most of the north face of your Mother Tree. Far above you is Citadel Bleph, founded by your own great ancestors generations ago. Far below, all details of the surface are lost to haze. You can vaguely discern the great Milk Sea, and the Rainbow Spot within it.\n\nA stairway winds its way upwards to an observatory. It also continues winding downwards until it eventually reaches a research station. The rest of the city, and beyond its walls other cities around other Mother Trees, could be visited by other paths. But your path lies elsewhere.\n\n> You keep going\n(the down lever)\nYou give the lever labeled DOWN a mighty shove, and, following a shudder, the pod resumes its descent. After several more minutes, the pod comes to a halt at the surface.\n\n> Leave\nThe research pod has set down at the base of the Mother Tree, on the shore of the Milk Sea. Far, far to the south, you see dark shape which must be the asteroid.\n\nYou can see a grappling hook here.\n\n> You examine the hook\nThis hook must have detached from the research pod automatically. It is connected to a thin strong cable which extends back to the pod.\n\n> You take the hook\nTaken.\n\n> Go south\nYou eventually reach the site of the asteroid. It appears to be a large irregular mass of stone, much larger than you. Far to the north, you see the Mother Tree stretching upwards.\n\n> You examine the asteroid\nThis thing is far too large for you to carry back to the research pod. You examine its surface, and find several places where you could attach the grappling hook.\n\n> You attach the hook to the asteroid\nYou firmly attach the grappling hook to the asteroid."
    },
    {
        "text": "> Look around\nYou eventually reach the site of the asteroid. It appears to be a large irregular mass of stone, much larger than you. Far to the north, you see the Mother Tree stretching upwards.\n\nYou can see a grappling hook here.\n\n> You examine Tree\nAncient and immense beyond measure, the Mother Tree is the foundation of your entire civilization. It provides scale and oil, it provides shelter, it provides a reason for living.\n\n> You go north\nThe research pod has set down at the base of the Mother Tree, on the shore of the Milk Sea. Far, far to the south, you see dark shape which must be the asteroid.\n\n> You pull up\n(the up lever)\nYou give the lever labeled UP a pull, and you quickly find yourself rushing upwards. This continues for several minutes, until there's a mighty screeching sound, and you find yourself at a standstill.\n\n> You continue\n(the up lever)\nYou give the lever labeled UP a mighty shove, and, following a shudder, the pod resumes its ascent. After several more minutes, the pod comes to a halt at the station.\n\nYou hear cheering outside. As you exit the pod, you see a number of excited scientists, as well as your family, and the king himself.\n\"You have saved us all, Aris, of the noble clan of Bleph,\" he says.\n\"A statue shall be erected in your honour, so that everyone knows of your bravery forevermore.\"\n\n> Spoilers\nThe blurbs I tried to incorporate are:\n\n* \"Eyelashes have seldom been rendered in such loving detail.\" -- Sarah Morayati\n* \"Never in any form of media has a bowl of oatmeal been portrayed as a more sympathetic character.\" -- Colin Sandel\n* \"A world steeped in arcane tree-mysticism.\" - Tanga\n\n> Examine oatmeal\nIt seems to be a normal bowl of oatmeal. As you observe it, though, numerous dark spots appear on its surface; they appear to be arranging themselves into letters and words.\n\n> You read it\nAs you watch, you see the following message appear: \"BE CAREFUL\""
    },
    {
        "text": "[Themes: Slice of life, Humor, monkeys, gender-neutral protagonist, office]\n\nIt is almost six o'clock, and you have a date with your beloved for some good old cavorting in the park, hopefully topped off with some newfangeld smoochies. But you are stuck at work! You thought working\nat \"Sprockets, Rockets, and Pants\" would be easy -- and it is! But getting home isn't.\n\nBears, Bears, Bears\nA game which has nothing whatsoever to do with bears.\n\nThis is the upstairs lobby of the RSP corporation. It's very different from the downstairs lobby, in that it doesn't have a nice reception desk, comfy chairs, or a shiny chandelier. It does have a vending machine, though. There's a storage closet north of you and a shower room to the south. A really long hallway leads east, to freedom.\n\n> You examine the machine\nThis vending machine sells tasty bananas, like most vending machines around the world. Unfortunately, it's broken. The back panel has been unlocked so that maintenance can look inside, but they haven't gotten around to fixing it yet.\n\n> You check what you're carrying\nYou open the back panel.\n\nYou are carrying nothing.\n\n> You look in the machine\nHmm. Looks like it's missing a sprocket.\n\n> About you\nAs good-looking as ever.\n\n> You go east\nThe hallway stretches on for a nigh-unimaginable distance to the east. Somewhere out there is the elevator which will take you downstairs so you can go find the object of your smoochie-filled desires.\n\nTwo monkey men are playing frisbee here, blocking the hallway.\n\nWilliam Shatner is singing quietly in the corner.\n\n> You take the frisbee\nThose seem to belong to the monkey men.\n\n> You examine the men\nWhile monkey men traditionally play golf, these two are playing frisbee. As if that weren't bad enough, they're playing with *two* frisbees, so as to ensure that the hallway is obstructed by at least one trademarked flying disk at all times!\n\n> You look at the frisbee\nThey're frisbees, alright. Trademarked flying disks, just like I said.\n\n> Sing\nYour singing is abominable.\n\n> You look at Shatner\nWilliam Shatner is standing in the corner, minding his own business. His Priceline commercials have apparently a toll on him: he's wearing\na beret and singing \"Fly Me to the Moon\", nearly oblivious to the\nworld around him as he flips a into the air quarter repeated, in time with the song.\n\n> You get the quarter\nThat seems to belong to the William Shatner.\n\n> You ask Shatner for the quarter\nHe ignores you, completely engrossed in his music. \"Fly me... to the moon, my -- friend...\""
    },
    {
        "text": "> You look around\nThe hallway stretches on for a nigh-unimaginable distance to the east. Somewhere out there is the elevator which will take you downstairs so you can go find the object of your smoochie-filled desires.\n\nTwo monkey men are playing frisbee here, blocking the hallway.\n\nWilliam Shatner is singing quietly in the corner.\n\n> Go east\nThe monkey men are blocking the hallway with their frisbee game!\n\n> Go west\nThis is the upstairs lobby of the RSP corporation. It's very different from the downstairs lobby, in that it doesn't have a nice reception desk, comfy chairs, or a shiny chandelier. It does have a vending machine, though. There's a storage closet north of you and a shower room to the south. A really long hallway leads east, to freedom.\n\n> You go to the north\nIt is a closet which is used to store things. It is in fact, a small storage closet, and from the perspective of the break room, it is to the north. A creative mind could possible even construe that vending machine as a trophy case. But it wasn't really intentional.\n\nYou can see a rocket, a sprocket and a pair of pants here.\n\n> You examine the rocket\nA big rocket, much like the fireworks typically seen in cartoons like Tom and Jerry or the Coyote and the Roadrunner.\n\n> You examine the sprocket\nA small doohickey which is vital to many mechanical devices.\n\n> You examine the pants\nTrousers.\n\n> You get all\nrocket: Taken.\nsprocket: Taken.\npair of pants: Taken.\n\n> You wear the pants\nYou're already wearing your invisible pants. Don't try to refer to them: they're invisible.\n\n> You go south\nThis is the upstairs lobby of the RSP corporation. It's very different from the downstairs lobby, in that it doesn't have a nice reception desk, comfy chairs, or a shiny chandelier. It does have a vending machine, though. There's a storage closet north of you and a shower room to the south. A really long hallway leads east, to freedom.\n\n> You put the sprocket in the panel\nYou expertly attach the sprocket to the appropriate flange, then close the back panel. All fixed!\n\n> You examine the machine\nThis vending machine sells tasty bananas, like most vending machines around the world. Put a quarter in the slot, and you could have your very own.\n\n> Inventory\nYou are carrying:\na pair of pants\na rocket\n\n> You give the rocket to Shatner\nShatner stops singing mid-verse, dropping his quarter to the ground.\n\n\"Yes! Fly... me, to the moon!\" He pulls a match from his pocket,\nlights the rocket, and hops on. Seconds later he's blasting down the corridor, singing snatches of \"Magic Carpet Ride\".\n\n> You get quarter\nTaken.\n\n> Go west\nThis is the upstairs lobby of the RSP corporation. It's very different from the downstairs lobby, in that it doesn't have a nice reception desk, comfy chairs, or a shiny chandelier. It does have a vending machine, though. There's a storage closet north of you and a shower room to the south. A really long hallway leads east, to freedom.\n\n> You put quarter in the machine\nYou put the quarter in the slot, and a banana pops out! Magic!\n\n> You examine the banana\nMmm, banana!\n\n> You go east\nThe hallway stretches on for a nigh-unimaginable distance to the east. Somewhere out there is the elevator which will take you downstairs so you can go find the object of your smoochie-filled desires.\n\nTwo monkey men are playing frisbee here, blocking the hallway.\n\n> You give the banana to the men\nThe monkey men drop their frisbees and start fighting over their banana. They eventually agree to settle the matter with a formal duel, and leave to make the arrangements.\n\n> You go east\nYou trudge down the hallway for a few minutes, but realize that\nthere's no way you could reach the other end on foot. Sadly you\nreturn.\n\n> You check your inventory\nYou are carrying:\na pair of pants\n\n> Go south\nThis room is for the convenience of the employees who work with sprockets and tend to end up covered in machine oil, or who work with rockets and end up covered in soot, or who work with pants. It has\nmany shower heads, for the purpose of showering.\n\nThere's a nude woman here! Hiding behind a pony! So you can't actually see anything! But you know she's naked! Because I just told you so!\n\n\"Eeeek!\" she screams. \"Stay away! Someone stole all my clothes when I came in here to take a shower. I said, 'Stay away!'\"\n\n> You examine the pony\nIt's kinda like a small horse.\n\n> You give the pants to the woman\nThe woman gratefully takes the pants and dresses herself, while still hiding behind the pony.\n\n\"Thank you,\" she says, \"But could you find me a shirt, too?\"\n\n> No\nShe cowers behind the pony. \"Stay back! I'm naked! Don't come any closer!\"\n\n> You look at the shower heads\nYes, they look perfectly functional. Of course, you're clean, and\ndon't need to use them.\n\n> You examine woman\nA topless woman, standing behind a pony. She looks just like every other topless woman standing behind a pony you've ever seen before. Except cuter.\n\nThe woman turns red when she realizes that you're ogling her. \"Could you please bring me some more clothes?\""
    },
    {
        "text": "> Look around\nThis room is for the convenience of the employees who work with sprockets and tend to end up covered in machine oil, or who work with rockets and end up covered in soot, or who work with pants. It has\nmany shower heads, for the purpose of showering.\n\nThere's a nude woman here! Hiding behind a pony! So you can't actually see anything! But you know she's naked! Because I just told you so!\n\n\"Eeeek!\" she screams. \"Oh, it's you. Could you find me some clothes?\" As an afterthought she adds, \"Stay away!\"\n\n> Go north\nThis is the upstairs lobby of the RSP corporation. It's very different from the downstairs lobby, in that it doesn't have a nice reception desk, comfy chairs, or a shiny chandelier. It does have a vending machine, though. There's a storage closet north of you and a shower room to the south. A really long hallway leads east, to freedom.\n\n> You go north\nIt is a closet which is used to store things. It is in fact, a small storage closet, and from the perspective of the break room, it is to the north. A creative mind could possible even construe that vending machine as a trophy case. But it wasn't really intentional.\n\n> Go east\nThe hallway stretches on for a nigh-unimaginable distance to the east. Somewhere out there is the elevator which will take you downstairs so you can go find the object of your smoochie-filled desires.\n\nYou can see some pair of frisbees here.\n\n> You get the frisbees\nTaken.\n\n> You give the frisbees to the woman\nThe woman gratefully takes the frisbees and tries to cover up her breasts with them as well as possible.\n\n\"Thank you. You cannot imagine my gratitude.\" She turns bright red and runs out of the shower room, leaving her pony behind.\n\n> Ride pony\nMounted.\n\n> You go to the east\nThe hallway stretches on for a nigh-unimaginable distance to the east. Somewhere out there is the elevator which will take you downstairs so you can go find the object of your smoochie-filled desires.\n\n> Go east\nYou ride triumphant down the hallway, to the cheers and acclaim of\nyour co-workers! Hail, the conquering hero! And if you think this is great, you should see the smoochies. Mmmhmm! Baybee!"
    },
    {
        "text": "[Themes: Horror, Holiday, horror, violence]\n\nGive yourself over to a bite of cheesey horror. The sharp cheddar kind. Just make sure you have correction fluid handy!\n\nEctocomp 2014 entry, \u00a92014 by David Good.\nduodave@gmail.com\nFirst Release Version 1.0\n\nPress a key to continue...\nIt's a brisk November morning, and you're out to get coffee and breakfast at your favorite diner, like you do every day...\n\nThe parking lot for the diner is unremarkable. It's paved with cold, cracked blacktop, painted in fading lines to indicate parking spots. The street is west of here, and your favorite diner is to the south.\n\nYou can see a car, some motorcycles, and a vending machine here.\n\n> About yourself\nAs good-looking as ever.\n\n> You examine the machine\nThis newspaper vending machine contains the \"Cleveland Plain Dealer\". Cleveland isn't the closest city, but you prefer it to the \"Columbus Citizen-Journal\" or the local small town rag. Looking through its glass window you see a copy of the Cleveland Plain Dealer newspaper.\n\nIn the vending machine is a copy of the Cleveland Plain Dealer newspaper.\n\n> You buy the newspaper\nYou put a coin in the vending machine and buy a newspaper.\n\n> You read the newspaper\nThis is your favorite newspaper, the \"Cleveland Plain Dealer\". It's dated Friday, November 1, 1974. The front page has a picture of boxer Muhammad Ali with the caption \"RUMBLE IN THE JUNGLE: HEAVYWEIGHT CHAMPION ALI WINS IN 8 ROUNDS: Foreman winning streak broken\".\n\n> You examine the car\nThe unfamiliar green Ford station wagon has faux wood panels on the sides. It appears to be a year or two old, and judging by it's condition you're guessing it's maybe a '73, so it's probably a Ford Country Squire.\n\n> You examine the motorcycles\nThere's a couple motorcycles here you've never seen before. You're no expert, but one appears to be made by Harley-Davidson, and the other looks like it might be a Ducati. The bikes appear to be immaculately cared for, and look like they're about the same age as the car."
    },
    {
        "text": "> Describe the surroundings\nThe parking lot for the diner is unremarkable. It's paved with cold, cracked blacktop, painted in fading lines to indicate parking spots. The street is west of here, and your favorite diner is to the south.\n\nYou can see a car, some motorcycles, and a vending machine here.\n\n> You go to the south\nThis town diner has had a few names over the years as its passed from owner to owner. The floors and countertop are linoleum and guests mostly sit on chrome & leather stools at the counter. A few red upholstered booths fill out the place.\n\nYou can see a waitress and a couple here.\n\n> You examine waitress\nThe waitress has unusual red hair that clashes with the teal uniform she's wearing. In her frequently-bleached apron you spot a variety of pencils, pads of paper, and the bulge of a pack of cigarettes. An unfiltered cigarette is tucked behind her left ear and a plastic nametag is pinned to her breast pocket.\n\nShe's chewing gum and looks at you expectantly.\n\n> You look at the nametag\nThe nametag reads \"Columbia\".\n\n> You buy the breakfast\nYou order some food.\nThe waitress brings over a slice of apple pie with a piece of cheddar cheese on top, and pours you a cup of black coffee.\n\n\"Here you go sweetie,\" she says with a wink. \"Your regular.\"\n\n> You examine the couple\nThe man extends his hand and says \"I'm Brad Majors. This is my girlfriend, Janet Weiss.\"\n\nJanet extends her hand and cheerfully says \"Hello.\"\n\n\"Please excuse our attire,\" Brad says. \"We're on our way to a friend's wedding.\"\n\n> You eat the breakfast\nIt's delicious. The sharp cheese really accentuates the sweet apples. Just like Grandma used to make.\n\n> You examine the couple\nBrad is dressed in a black tuxedo with a red and black plaid cumberbund, and matching bow tie. The \"Buddy Holly\" style glasses perched on his nose make him look very nerdy. He is currently carrying nothing.\n\nJanet is dressed in a lavender jacket and matching skirt. A white hat with an upturned brim is perched on her head. You're not sure what a cute girl like her is doing with such a square. She is currently carrying nothing.\n\n> You look at Brad\nBrad is dressed in a black tuxedo with a red and black plaid cumberbund, and matching bow tie. The \"Buddy Holly\" style glasses perched on his nose make him look very nerdy. He is currently carrying nothing."
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nThere is no reply.\n\nThis town diner has had a few names over the years as its passed from owner to owner. The floors and countertop are linoleum and guests mostly sit on chrome & leather stools at the counter. A few red upholstered booths fill out the place.\n\nYou can see Janet, Brad, a cup of coffee, a slice of pie, and Columbia here.\n\n> You drink the coffee\nMmmm... Nice and hot, a refreshing nutty flavor.\n\n> You examine the pie\nIn front of you is a warm slice of apple pie with a slice of cheddar on top. Next to it is the best cup of coffee in town."
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nThis town diner has had a few names over the years as its passed from owner to owner. The floors and countertop are linoleum and guests mostly sit on chrome & leather stools at the counter. A few red upholstered booths fill out the place.\n\nYou can see Janet, Brad, a cup of coffee, a slice of pie, and Columbia here.\n\n> You take pie\nYou've already got pie and coffee.\n\n> You check what you're carrying\nYou are carrying:\na copy of the Cleveland Plain Dealer newspaper\n\n> You drink the coffee\nMmmm... Nice and hot, a refreshing nutty flavor.\n\n> You enter the car\nIt's a bad idea to mess with someone else's car.\n\n> You read the newspaper\nThis is your favorite newspaper, the \"Cleveland Plain Dealer\". It's dated Friday, November 1, 1974. The front page has a picture of boxer Muhammad Ali with the caption \"RUMBLE IN THE JUNGLE: HEAVYWEIGHT CHAMPION ALI WINS IN 8 ROUNDS: Foreman winning streak broken\".\n\n> You examine the Columbia\nColumbia has unusual red hair that clashes with the teal uniform she's wearing. In her frequently-bleached apron you spot a variety of pencils, pads of paper, and the bulge of a pack of cigarettes. An unfiltered cigarette is tucked behind her left ear and a plastic nametag is pinned to her breast pocket.\n\nShe's chewing gum and looks at you expectantly.\n\n> You take the nametag\nThat seems to belong to Columbia.\n\n> You show the newspaper to Brad\nBrad is unimpressed.\n\n> You show the newspaper to the columbia\nColumbia is unimpressed.\n\n> You give the pie to Janet\n(first taking the slice of pie)\nYou've already got pie and coffee."
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nThis town diner has had a few names over the years as its passed from owner to owner. The floors and countertop are linoleum and guests mostly sit on chrome & leather stools at the counter. A few red upholstered booths fill out the place.\n\nYou can see Janet, Brad, a cup of coffee, a slice of pie, and Columbia here.\n\n> You sit\n(on the copy of the Cleveland Plain Dealer newspaper)\nYou can't sit on the copy of the Cleveland Plain Dealer newspaper.\n\n> You ask Janet,  to go north\nJanet has better things to do.\n\n> You examine janet\nJanet is dressed in a lavender jacket and matching skirt. A white hat with an upturned brim is perched on her head. You're not sure what a cute girl like her is doing with such a square. She is currently carrying nothing.\n\n> You look at Brad\nBrad is dressed in a black tuxedo with a red and black plaid cumberbund, and matching bow tie. The \"Buddy Holly\" style glasses perched on his nose make him look very nerdy. He is currently carrying nothing.\n\n> You wait\nTime passes.\nI beg your pardon?\nI beg your pardon?"
    },
    {
        "text": "[Themes: Horror]\n\n> Look around\nThis town diner has had a few names over the years as its passed from owner to owner. The floors and countertop are linoleum and guests mostly sit on chrome & leather stools at the counter. A few red upholstered booths fill out the place.\n\nYou can see Janet, Brad, a cup of coffee, a slice of pie, and Columbia here.\n\n> You eat the pie and the coffee\nslice of pie: It's delicious. The sharp cheese really accentuates the sweet apples. Just like Grandma used to make.\ncup of coffee: Mmmm... Nice and hot, a refreshing nutty flavor.\n\n> You eat the Columbia\nShe's plainly inedible.\n\n> You take the pie\nBrad has better things to do.\n\n> You say the cheese\nWhom do you want to say that to?\n\n> You give it to Brad\n\"Why, thanks,\" Brad says to you. \"I really enjoy reading the day's news. Oh, look at this headline. Ali won that title match in Zaire.\"\n\nSuddenly a window of the diner shatters. You look up to see that a manual typewriter has come through the window. It rears up and its keys clatter meanacingly at everyone.\n\nJanet screams, and the waitress takes cover behind the counter.\n\"I'll protect you, Janet,\" Brad shouts. He throws the newspaper at the typewriter, which shreds the Cleveland Plain Dealer with its horrible mechanics.\n\nSuddenly, the typewriter is upon Brad. His tuxedo is soaked with blood.\n\n\"Oh no,\" cries Janet. \"We'll never get the deposit back now!\"\n\nAs the last of Brad's life eeks out of him, he reaches for Janet and says \"I was going to ask you...\" and then he expires. Janet reaches into his coat pocket and pulls out a ring box and starts to weep. She looks up - but it's too late, the cursed typewriter is upon her."
    },
    {
        "text": "[Themes: Metafiction, metafiction]\n\nYou are sitting at a desk. \"He's still here.\""
    },
    {
        "text": "[Themes: Horror, horror, conversation, ghosts]\n\nLove Is As Powerful As Death, Jealousy Is As Cruel As The Grave\n\nThis is how later you would remember these events, almost as if reliving them, going over the details again and again, trying to recapture the feel of events, putting yourself into them as if they were happening for the first time.\n\nThis is the dining room of the Cafe Khmer.\n\nThere's a thin metal table here that Joe is sitting at. Joe's coffee sits on the table. You haven't had coffee in a long time, actually.\n\nJoe is here, chillin'.\n\n[Author's Note: Atmospheric and moody, here one gets to follow an American teaching in Cambodia through a ghost story with an Eastern flavor.]"
    },
    {
        "text": "[Themes: Horror, conversation, horror]\n\n> About yourself\nThis is you, Roger West - six feet tall, dirty-blonde hair, and not conspicuously out of shape. You are, you think somewhat critically, as handsome as ever. Unfortunately that doesn't say much.\n\n\"Dude, what's up?\" Joe says. Joe has started his own small business matching private tutors with Koreans who have money. (There's no money in tutoring Khmers.)  You heard he was looking for tutors. More than anything else, you're hoping he can send some business your way.\n\n(You could say not much, lie and say lots, tell him about girls, or ask him about a job, Joe himself, or bring up something else.)\n\n> You ask Joe about himself\nJoe snorts. \"Yeah, whatever.\" Clearly, he thinks your \"himself\" thing was a dumb comment. Or maybe he just didn't hear you?\n\n> You tell Joe about the girls\n\"There's these two girls I'm trying to figure out.\" you tell Joe.\n\n\"Not surprising\" Joe replies. \"Who are they?\"\n\n\"One's a Filipina named Mary. The other's a Khmer girl.\"\n\n\"Whats her name?\"\n\n\"Paridy. Part-time librarian at the school I work at.\" And she's neat, you think, but she doesn't have the basic idea of organization: of alphabetical order, for example.\n\n\"Aah. I know them,\" Joe says.\n\n(You could tell him about Mary, or Paridy, or ask him about a job, Joe himself, or bring up something else.)\n\n> You tell Joe about Paridy\n\"How do you know Paridy?\"\n\n\"Well, remember, I used to work at your same school. Just part-time.\"\n\nOh, that's right. That's actually how you met Joe: he was going out, segueing into working only as a private tutor for Koreans, just as you were coming in.\n\n\"I wouldn't waste too much time on her,\" Joe is saying. \"She's a good girl.\"\n\n> You tell Joe about Mary\n\"How do you know Mary?\" you ask.\n\n\"She used to work at the California School,\" Joe says. \"That's how you met her, right?\"\n\n\"Through one of the teachers there, yeah.\"\n\n\"Yeah, she's hot. And I think she's the kind of girl you need.\"\n\nA pretty blonde girl walks by, distracting you both.\n\n\"What do you think?\" Joe asks you.\n\n\"French,\" you reply.\n\n> You get the coffee\n\"Hey, hey - hands off,\" Joe says, holding his coffee protectively.\n\n\"Yeah, so anyway-\" Joe says.\n\n> You ask Joe about himself\n\"Hey, man,\" Joe says, seeming to notice you for the first time.\n\n\"No, you had your chance,\" Joe tells you. \"Now I'm going to tell you about my new girlfriend.\"\n\n> You ask Joe about the job\n\"No, you had your chance,\" Joe tells you. \"Now I'm going to tell you about my new girlfriend.\"\n\n> Inventory\nYou are carrying your wallet and your cell phone.\n\n\"Try to keep up. I know you never have much to say, but this is ridiculous.\"\n\n> You examine the wallet\nJoe looks you over. And it's friendly, but it's not.\n\nJoe raises his eyebrows. \"HuhWhat?\"\n\nA pickup truck, with a rusted cab and a banged-together bed of wood, pulls up outside, and a delivery guy props the door open and brings some boxes in to the back.\n\nYour wallet is far less important here in Cambodia than at home. Your driver's license, bearing the name Roger West, would be useless to the police, as most of them can't read English, and no license is required to drive anyway.\n\nLike most ex-patriots, you keep your really important stuff - your ATM card and your passport, which contains your visa - safely at home.\n\nCambodians use American money, mostly - paper dollars. They use their own currency as small change. 4,000 reil to a dollar. Or sometimes 4,400. It depends on which way the transaction is going.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You tell yourself about the girlfriend\nTalking to yourself won't accomplish anything.\n\n\"I've been dating this girl. She's pretty cool, actually.\" While he's talking to you, he takes out his phone and brings something up on it.\n\nJoe the phone out to you, showing you a picture. It's the image of a beautiful Asian girl tied and gagged on a bed. She's otherwise naked. It's actually quite shocking.\n\nSeeing your expression, Joe laughs. The delivery guy takes his paperwork, climbs into the truck, and drives off. A moment later, the waitress (who you haven't managed to get the attention of) closes the door as she passes through.\n\n(You could ask him about his new girlfriend, a job, Joe himself, or bring up something else, or tell him about Paridy.)\n\n> You ask Joe about the girl\n\"How'd you meet this girl?\" you ask. \"I can tell you're into her.\"\n\n\"She was a hooker,\" Joe replies promptly. \"Still is, technically, but I told her she had to stop while she was with me.\"\n\nYou say nothing. He reads your expression. \"It's okay,\" he tells you. \"I had her tested. She's healthy, basically. She has hep. That's the only really bad thing. I'm careful.\"\n\n(You could ask where he met her, tell him about Paridy, or ask him about a job, Joe himself, or bring up something else.)\n\n> You look at the photo\nThe word \"photo\" is not necessary in this story.\n\n(If this was an accidental misspelling, you can correct it by typing OOPS followed by the corrected word now. Any time the story points out an unknown word, you can correct a misspelling using OOPS as your next command.)\n\n> You ask where he met her\n\"Where'd you meet her?\" you ask.\n\n\"At the X-pub.\"\n\nThe X-pub is one of the night-life spots in Siem Reap. You've never been there."
    },
    {
        "text": "[Themes: Horror, ghosts, horror]\n\n> You look around\n\"No, you had your chance,\" Joe tells you. \"Now I'm going to tell you about my new girlfriend.\"\n\nThis is the dining room of the Cafe Khmer.\n\nThere's a thin metal table here that Joe is sitting at. Joe's coffee sits on the table. You haven't had coffee in a long time, actually.\n\nAt the moment, Joe is talking to you.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe about girlfriend\nJoe looks you over. And it's friendly, but it's not.\n\n\"Do you want to tell me about your new girlfriend?\" you ask.\n\n\"I could talk about her all day,\" Joe says, smiling to himself.\n\n\"You're dating a hooker?\" you ask.\n\nJoe nods. \"When she was a kid, her parents sold her off to work as a child beggar. One of the ones who try to sell you stuff when you go to see the ruins of the temple-city. It was supposed to be temporary. They raped her into it there. She got a boss who liked kids. Liked making them hurt. Bad luck.\"\n\n> You ask Joe about girlfriend\n\"I don't entirely understand how she got out of it,\" Joe says, \"but I know she was out of it for a while. Made friends with the right person, I think. Got back into it recently. She wasn't out of it for too long - claims to be eighteen. Anyway, there's a few years unaccounted for. Man, she's into some crazy stuff.\"\n\n> You ask Joe about the girlfriend\n\"We have an agreement,\" Joe says. \"She doesn't let any other guy touch her. But I can do whatever I want, as long as she's getting what she needs.\"\n\nJoe ponders for a moment. \"Or at least I think that's our agreement.\" He laughs. \"She speaks broken beggar English, and I speak no Khmer. Anyway, that's how I'm running it.\"\n\n> Again\nJoe breaks into a shockingly beautiful smile. \"I don't know... I just feel so good for some reason, and just here while I'm talking to you, I can't get her out of my mind.\"\n\n(You could tell him about Paridy, or ask him about a job, Joe himself, or bring up something else.)\n\n> You ask Joe about the girlfriend\n\"Sounds like quite a girl,\" you say.\n\nJoe's smile lingers. He just shrugs.\n\n> You ask Joe about a the job\nYou say, \"I'm really not finding the work here in Cambodia they told me I'd find. They told me having my teaching cert would open doors. They told me-\"\n\n\"Aw, man, you are such a whiner,\" Joe says.\n\n> You look at the coffee\nThat's Joe's coffee. It sure looks good.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe for the coffee\nJoe looks you over. And it's friendly, but it's not.\n\nJoe raises his eyebrows. \"HuhWhat?\"\n\n> You take the coffee\n\"Hey, that's my coffee. Get your own.\"\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe about the girl\nJoe looks you over. And it's friendly, but it's not.\n\n\"Sounds like quite a girl,\" you say.\n\nJoe's smile lingers. He just shrugs."
    },
    {
        "text": "[Themes: Horror, horror, conversation, ghosts]\n\n> Look around\nThis is the dining room of the Cafe Khmer.\n\nThere's a thin metal table here that Joe is sitting at. Joe's coffee sits on the table. You haven't had coffee in a long time, actually.\n\nAt the moment, Joe is talking to you.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe about Paridy\nJoe looks you over. And it's friendly, but it's not.\n\n\"I like good girls,\" you say.\n\nHe shrugs. \"You might like them, but are you successful with them? There's two ways to get into a girl like Paridy: marry her, or be a pimp.\" He laces his fingers behind his head and leans back. \"Like me.\"\n\n(You could zing him about the pimp comment, tell him about Paridy, or ask him about being a whiner, Joe himself, or bring up something else.)\n\n> Zing\n\"You're a pimp?' you ask.\n\n\"You know it,' Joe replies.\n\nHm. That didn't work at all. Joe remains un-zung.\n\n> You ask him about being a the whiner\n\"Well, what do you mean I'm a whiner?\" you ask.\n\n\"I'll just put it this way - I'm glad I don't work with you.\"\n\n> You ask Joe to come back to your place\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask him about Joe\nJoe looks you over. And it's friendly, but it's not.\n\n\"So how're you, Joe?\" you ask.\n\n\"You know me, man. I'm always good.\"\n\n> Topics\nYou could tell him about Paridy, or ask him about Joe himself, or bring up something else.\n\n> You tell Joe about Paridy\n\"I think I have a chance with her,\" you say.\n\n\"And how many girls in your life have you thought you had a chance with, to find they'll let you buy them things but you get no boom-boom?\" (You have to admit, he has a point.)  \"Don't fight what you are. You'll just frustrate yourself.\"\n\n(You could ask about frustrating yourself, or ask him about Joe himself, or bring up something else.)\n\n> You ask him about frustrating yourself\n\"What do you mean, I'll frustrate myself if I fight what I am?\"\n\n\"Ah, y'know, man. I'm just saying, leave girls like Paridy to guys who know how to get 'em in the sack.\"\n\n> You ask him about Joe\n\"So how're you, Joe?\" you ask.\n\n\"You know me, man. I'm always good.\"\n\n> You tell him about the assholes\nJoe raises his eyebrows. \"HuhWhat?\"\n\n> You find the waitress\nWhat do you want to look that up in?\n\n> Topics\nYou could ask him about Joe himself, or bring up something else.\n\nYou could ask him about Joe himself, or bring up something else.\n\n> Topics\nYou could ask him about Joe himself, or bring up something else.\n\n> You ask Joe about Joe\n\"So how're you, Joe?\" you ask.\n\n\"You know me, man. I'm always good.\"\n\n\"So how're you, Joe?\" you ask.\n\n\"You know me, man. I'm always good.\""
    },
    {
        "text": "[Themes: Horror, horror, conversation, ghosts]\n\n> Look around\nThis is the dining room of the Cafe Khmer.\n\nThere's a thin metal table here that Joe is sitting at. Joe's coffee sits on the table. You haven't had coffee in a long time, actually.\n\nAt the moment, Joe is talking to you.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe about the coffee\nJoe looks you over. And it's friendly, but it's not.\n\nJoe raises his eyebrows. \"HuhWhat?\"\n\n> You look under the table\nYou see nothing unusual under the cafe table.\n\n\"Why do I always have to do all the work?\" Joe demands. \"Why can't you ever hold up your end of a conversation?\"\n\n> You ask Joe about the girl\nYou are carrying your wallet and your cell phone.\n\n\"So which one are you going to ask out?\" Joe asks. \"Mary or Paridy?\"\n\n(You could say you'll ask out Mary, say you'll ask out Paridy, or ask him about Joe himself, or bring up something else.)\n\n\"Hey, hey... c'mon, man\" Joe cajoles. \"After all I told you? You've got to answer my question or I'll feel like a dweeb.\"\n\n> You say paridy\n\"I'll ask Paridy out,\" you say.\n\nJoe considers that. \"Well, it's your choice, I guess.\"\n\n> You ask Joe about Paridy\n\"I think I have a chance with her,\" you say.\n\n\"And how many girls in your life have you thought you had a chance with, to find they'll let you buy them things but you get no boom-boom?\" (You have to admit, he has a point.)  \"Don't fight what you are. You'll just frustrate yourself.\"\n\n(You could ask him about Joe himself, or bring up something else.)"
    },
    {
        "text": "[Themes: Horror, conversation]\n\n> You describe your surroundings\nThis is the dining room of the Cafe Khmer.\n\nThere's a thin metal table here that Joe is sitting at. Joe's coffee sits on the table. You haven't had coffee in a long time, actually.\n\nAt the moment, Joe is talking to you.\n\nFrowning, Joe fiddles with his phone. He stands, mutters, \"Hey, man-\" and walks away.\n\nYou assume that he was going to the bathroom, or something, but after a while you realize he's left.\n\nAnd that he's left you to pay for his coffee.\n\n> You ask Joe for the perfidy's number\nJoe's not here - he left in a hurry. And, it seems, stuck you with the bill.\n\n-The conversation didn't seem important at the time, but later you would look back on it and wonder.\n\nTwo days later, you were out on the balcony near your apartment talking to your neighbor, Chuck.\n\nChuck is basically a good guy - you like him - but it sometimes takes him quite a long time to fomulate his thoughts, requiring you to wait for him.\n\n> You check your inventory\nYou are carrying your wallet and your cell phone.\n\n> You open the wallet\nNo need to fiddle with your wallet. Besides, it makes you look awkward.\n\n> You look at the phone\nYour cell phone is a tiny, cheap little thing - \"cheap\" in this case being $40. You know you can get them for less, but you weren't able to talk the merchant down any. This one keeps turning off for no good reason. A good thing to keep with you, even though you have no one to call at the moment.\n\n\"There was a big fire the other day,\" Chuck tells you. \"Did you hear about it?\"\n\n\"Not really,\" you say. \"Oh!- I smelled the smoke, a few days ago around noon, but with Siem Reap so dusty I didn't think about it.\nWhat happened?\"\n\n\"I heard somebody died in it, but then I heard that, no, all of the tenants got out and were accounted for, so it's okay. Joe was talking about it.\"\n\n(You could ask him about the big fire, or Chuck himself, or tell him about Cambodian history.)\n\n> You look at Chuck\nChuck is a small, somewhat heavy Australian. He's what some people would call 'quietly intense', and others, 'tightly wound.' Although he's not looking at you, you know Chuck is giving you his full attention. You think he knows it can be unsettling when he looks directly at a person - there's just something about him.\n\n> You ask Chuck about the the big fire\n\"I don't really get it,\" Chuck says. \"Why is Cambodia so poor?\"\n\n\"Because of Pol Pot,\" you say. You read up on the history before you got here.\n\n\"Was there more to that story about the fire?\" you ask.\n\nChuck says, \"Yeah, I guess there was.\"\n\n(You could ask him about the big fire, or Chuck himself, or tell him about Cambodian history.)\n\n> You continue\n\"You talked to Joe?\" you ask. \"I haven't seen him lately.\"\n\n\"Yeah; he said there had been a fire in New York a couple years ago where the parents had been smoking in bed, and the mattress caught fire. Then they tried to get the mattress out of the apartment, and when they got it halfway through the doorway, well now there was a draft, and it burst into flame. So they screwed up.\"\n\nChuck considers something, and adds, \"He didn't say what they were smoking. I guess the media would have considered it an undiplomatic question, under the circumstances. Maybe nothing exotic, even.\"\n\n> You ask Chuck about the fire\n\"The whole family - the parents and three kids - were all stuck in the apartment. Everyone else got out of the building safely, but they were trapped. No fire exit. Sucks.\"\n\nChuck motions. \"Anyway, from what I understand, everyone's accounted for in this one, thank Christ.\"\n\n> You ask Chuck about the fire\n\"I wonder where the fire was?\" you say.\n\n\"I don't know that,\" Chuck replies. \"Somewhere in the neighborhood.\nI imagine if you walk around, you'll notice the burnt-out husk of a building somewhere.\"\n\n> You tell Chuck about the cambodian history\n\"The country was discontent,\" you say, \"because they were under French colonial rule. Pol Pot came to power - there was another government between the colonial government and Pol Pot - but Pol Pot came to power and he had a traditionalist theory that the reason Cambodia was having problems was that it had gotten away from its roots. Which was farming.\"\n\nChuck is listening, but you can't tell how much he is hearing. He nods slightly, but it seems almost rhythmic.\n\n> You tell Chuck the cambodian history\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\nChuck stands. \"Well, I'd better go,\" he says, looking over your shoulder at the hall to his door. \"Good luck with everything.\"\n\nChuck walks out.\n\nYou can hear him in the hallway saying something to Ted, who presently walks in. His friend George is right behind him.\n\n\"Hey, how's it going?\" Ted asks as he takes Chuck's seat.\n\n> You look at George\nGeorge is by far the weaker personality. Mostly you address yourself to Ted and let George chime in when he likes.\n\n\"So what happened on your date?\" George asks, staring at you.\n\n\"Paridy didn't show up,\" you say. \"Found out later she claimed she didn't understand what the plan was. And that she wanted to hang out in a group: so clearly she did understand what the plan was - saying she didn't was some kind of face-saving bullshit. She flaked. Turns out that Cambodian chicks are still chicks.\"\n\nYou think about what Joe told you: not to fight what you are.\n\nYou say, \"She didn't trust me, I guess. I dunno, I mean, it's not like I'm going to tear her clothes off in Lucky Mall and rape her.\nI'm an id beast, but I'm not that much of an id beast.\"\n\n\"It's part of Khmer culture,\" Ted tells you, causing George to stop staring at you momentarily. \"The first couple dates, she needs to have a friend there.\"\n\n-George once told you that he became an ex-pat because the women back home \"wouldn't give him the time of day.\" And indeed there is something creepy about his manner.'\n\n(You could tell them about dating (to answer George's questions), or dating (to get George to stop staring at you), or ask them about Joe's new girlfriend, Joe, Ted himself, or bring up something else.)\n\n> You ask about the dating\n'George, you're still staring at me,' you say. 'Was there something else you wanted to know?'\n\n'Not really,' George says. 'What's the follow-up?'\n\n'She invited me fishing,' you say. There's this pagoda she goes to go fishing; she invited me along. Later today.\"\n\n> Topics\nYou could ask them about Joe's new girlfriend, Joe, Ted himself, or bring up something else.\n\n> You tell George about the fishing\nGeorge is by far the weaker personality. Mostly you address yourself to Ted and let George chime in when he likes.\n\n> You ask about the joe's new girlfriend\nTed gives you a crooked smile. George merely makes eye contact.\n\nYou have nothing in mind to say on that subject right now.\n\n(You could ask them about Joe's new girlfriend, Joe, Ted himself, or bring up something else.)\n\n> You ask about Joe\n\"What's the latest on Joe?\" you ask.\n\nGeorge says, \"I heard the cops want to talk to him. Don't know why.\"\n\n\"Oh, I know why,\" Ted says. \"His house burned down the other day.\nHis apartment building. So they need to ask everyone questions, for insurance and all that. Can you imagine what a pisser that is?\"\n\n> You ask about Joe\nYou ask, \"Did Joe lose his passport?\"\n\n\"Yeah, must've. And that means he wouldn't have his visa so he couldn't prove he was here legally. Which is $5 a day they fine you for every day you're not here legally. And he's been here for months. If they find him before he gets that squared away, he is screwed.\"\n\n> Again\n\"Can you imagine that?\" Ted muses. \"To lose absolutely everything except what you're happening to be carrying at the time? -I loaned him fifty dollars. Would've loaned him more, but I'm hard up until payday.\"\n\n> You examine ted\nTed is an Irishman with what you at first found to be an incomprehensible accent. You've since adapted to it, which you find a little alarming. He has bad teeth from a lifetime of barroom fights and an old face from a lifetime of drinking; but he has a young body. He works out, and shows it off with a loose-cut tank top. Ted is a cheerful enough guy, but underneath it there's something not at all kind-hearted.\n\n> You ask about the girlfriend\n\"Have you seen Joe's new girlfriend?\" you ask. \"Is she pretty?\"\n\n\"Pretty enough,\" Ted says, \"but she has these little scars on her arms. Some of 'em look fresh. You know what those are from? - cockroaches.\"\n\n\"Really? They'll bite you here?\" You've seen some mammoth roaches in your apartment.\n\n\"Oh, will they bite you. They'll get you while you're sleeping. Move your bed away from the wall and, what I do, I run tape sticky-side-out around the legs of my bed, so they can't climb up it. But she's pretty enough, yeah.\"\n\n> You ask about the girlfriend\n\"I think he really likes her,\" you say. \"He got a tattoo in Cambodian that I think might be her name.\"\n\n\"If he really liked her, he'd get it in English,\" Ted says.\n\n> You ask about the girlfriend\n\"It's funny,\" you say: \"With Joe being so good with girls, that he'd end up with a hooker.\"\n\nThere's an awkward silence as Ted and George look at each other.\n\n> You ask about Joe\n\"Where's Joe staying?\" you ask.\n\n\"With his girlfriend, where else?\" Ted replies. \"She's Khmer. Must live, I imagine, in some rat-infested hole with a dirt floor, in common with a few others. No proper door leading out. I don't imagine he's enjoying that.\"\n\n> Topics\nYou could ask them about Joe, Ted himself, or bring up something else.\n\n> You ask them about Ted\n\"So what's new, Ted?\" you ask. \"How's school? How's your students?\"\n\n\"The usual crap,\" he replies.\n\n> You ask them about Joe\n\"-And when Joe goes to sleep in that that Cambodian household, he's very paranoid about where to keep that fifty dollars you lent him,\" you say.\n\n\"Yeah he probably is,\" Ted says, looking a little surprised. \"But I've gotten so much work from him, and I know he's good for it, so I couldn't turn him down, could I?\"\n\n\"Well, it's about time I got ready for my big fishing date at the pagoda. This is dating, Khmer-style.\"\n\n\"Good luck,\" Ted says.\n\nYou stand.\n\n(You could ask them about Ted himself, or bring up something else.)\n\n> Bye\nNothing obvious happens.\n\n> You ask them about Ted\nTed gives you a crooked smile. George merely makes eye contact.\n\n\"So what's new, Ted?\" you ask. \"How's school? How's your students?\"\n\n\"The usual crap,\" he replies.\n\nYou give your regards and go to get ready for your big fishing date with Paridy at the pagoda.\n\nWhen you get to Paridy's door, you heard voices inside.\n\nYou're outside the door to Paridy's apartment. Traffic goes by occasionally - motorbikes, mostly.\n\n> You go inside\nOpened.\n\n(the door)\n\nYou walk into Paridy's apartment and see Joe and Paridy hanging out.\n\nYou see Joe is looking an awful lot at Paridy.\n\nYou see that Paridy seems to be paying an awful lot of attention to Joe.\n\nIt makes you do a double-take. Yes, indeed: Joe, of all people, is here, of all places, and he and Paridy are so absorbed in looking at each other that they hardly seem to notice you. Paridy is in the middle of a story.\n\n\"When they are bad, they go to bad place. They get no feed. When they come out, they have eat bad feed. If it good they can not eat. You must throw it on the ground for dirty, or rot. Rotted?\"\n\nParidy continues, \"But they only can come out one day. One day year. Very hungry then. If their family not to monks, they can not eat one year again. Very very hungry.\"\n\n\"So how does the family know the right day?\" Joe asks, speaking slowly.\n\n\"Oh, yes,\" Paridy says, laughing. \"There are many pagoda in Cambodia. If the family go the wrong pagoda, they not get feed. But the family talk monks. Monks say what pagoda, what day. Very important talk monks.\"\n\n\"That's a well-organized afterlife,\" Joe says. Paridy doesn't understand. \"How do the monks know? Do they have a schedule? A calendar? Who tells the dead person when he gets vacation?\"\n\nParidy is smiling. \"Monks know,\" she says.\n\n\"How about you, Roger?\" Joe raps. \"You believe in magic?\"\n\n(You could say yes or no, or ask him about his girlfriend, or the fire.)\n\n> You examine the door\nIt's open.\n\n> You ask him about the girlfriend\n\"How's your girlfriend, man?\" you ask.\n\nJoe laughs. He tells Paridy, \"Roger is asking about my girlfriend. Always asking about my girlfriend. He wants to know because he doesn't have one.\" Paridy laughs. Joe's gaze remains on her as they both laugh, but you have the feeling he's looking at you out of the corner of his eye.\n\nDown the street, you hear the duck-like squeak of the squeeze-bottles beggars use to call for people to bring out their recyclables and put them into their two-wheeled hand-carts.\n\n> You say no\nJoe raises his eyebrows. \"HuhWhat?\"\n\nJoe sits on the couch with Paridy.\n\n\"Hey, man, have a seat,\" Joe says. He motions beside him, on the far side from Paridy. If you sit there, he's between you and her.\n\nBut, you could sit in the big chair, which is kitty-corner to the couch, and you'd be sitting almost next to Paridy.\n\n\n\n(You could sit on the couch (next to Joe), sit on the big chair (next to Paridy), or ask him about the fire.)\n\n> You sit on the big chair\nYou sit down into the big chair, kitty-corner to Paridy.\n\nAs you settle into the big wicker chair, you rock the end table that takes up the corner between the couch and the chair. Joe flips out.\n\n'What the Hell's the matter with you?' he shouts - almost screams, really. 'Can't you see I've got a cigarette on there?'\n\nIndeed, on the end table, there's an ashtray, and in the ashtray there's a burning cigarette. Probably left there, you suddenly realize, so Joe would have a reason to keep reaching around and across Paridy.\n\n'What's your problem?' you ask.\n\n'My problem?' Joe yells. 'What's your problem, that you're trying to burn the place down?'\n\nParidy doesn't understand what's going on. She only knows that Joe is screaming in your face, and you're taking it like a punk.\n\nJoe gets up and walks outside."
    },
    {
        "text": "[Themes: Horror, ghosts]\n\n> Look around\nParidy's apartment is remarkably nice, for a Khmer apartment. It has a couch and a big chair, a small refrigerator, a countertop with a big portable stove - no gas lines in Cambodia - a big oscillating fan that most Western-style rooms have, instead of A/C, and a TV.\n\nParidy is here, looking at you.\n\n> You examine Paridy\nThis is the Khmer girl you've been thinking so much of, Paridy. She's slender without being thin, pretty without being glamorous. And she has a real nice smile. You like her a lot.\n\nFinally, you have Paridy alone! No telling how long it'll last, though.\n\n'I no understaan' this,' Paridy says, putting a newspaper in front of you. She points to the headline:\n\n'Ferry Operator's Fate Still Unknown' Something about the storm in the Philippines.\n\n'What it mean?'\n\n(You could tell her about the newspaper.)\n\n> You tell her about the newspaper\n'A ferry,' you say, 'is a kind of boat. You know boat?'\n\n'Yes,' she says.\n\n'But a ferry just goes back and forth, back and forth,' you tell her. 'Ahh, yes,' she says.\n\n> You tell her about the newspaper\n'The operator is the man who owns the ferry. The man in it.'\n\n'Ah, yes. What is fate?'\n\nYou think a moment. 'You know karma?'\n\n'Yes.'\n\n'Same thing.'\n\n'Ahh.' She nods.\n\nThis is all very approximate, you think, but that's how early learning works.\n\n> You tell her about the newspaper\n'And unknown means we don't know. So, there was a big storm, and people are missing - \"Fate of ferry operator still unknown.\"'\n\n'Now,' you ask, 'is the man in the ferry alive, or dead?'\n\nShe looks at it and makes up her mind. 'Dead.'\n\n'No,' you say.\n\n'Eeh? Alive?'\n\n'No, we don't know. See- it's unknown. So we can hope.'\n\n> You tell her about the newspaper\nHonestly, you think she needs a moment's rest on the topic. She's still looking at it, but as Gary Larsen once put it, her brain is full.\n\n> Topics\nYou could ask her about the newspaper.\n\n> You ask her about Joe\n'I no understaan'' Paridy says.\n\nShe seemed to understand Joe well enough.\n\n> You ask her about the the newspaper\nHonestly, you think she needs a moment's rest on the topic. She's still looking at it, but as Gary Larsen once put it, her brain is full.\n\n'What it mean, still?' Paridy asks, pointing at the word in the headline.\n\nJoe walks back in. 'As in, \"He's still talking with you about this?\"' He laughs, and Paridy, only understanding that he's laughing, laughs with him.\n\nJoe turns to you. 'Hey, man, we're going fishing at the pagoda. You can come with us if you have nothing better to do.'\n\nSo there you are.\n\n> Topics\nYou could ask her about the fire.\n\n> You ask her about the fire\n'Dude, I heard you lost your passport and all your stuff burned down. You okay?' you ask.\n\nJoe moves back a bit and looks you over. 'Yeah, I'm okay. Sure, I lost a lot of stuff in the fire. It's a hassle. But I'm taking care of it.' He winks at Paridy. She giggles.\n\n...and there you went, walking the long dirt road to the pagoda with Paridy and Joe, watching them chatting and laughing in front of you.\nA third wheel.\n\nThe three of you come to the corner of high walls that enclose the pagoda property. The walls are in good shape, except here at the corner, where they have been broken entirely down. Further ahead down the road, you can see that the pagoda's gates are firmly closed. This is the offical way in, you guess.\n\nAs you reach the broken-down corner, Joe and Paridy, giggling, run ahead."
    },
    {
        "text": "[Themes: Horror, ghosts]\n\n> You look around\nThe long, dusty road runs east and west. To the southwest is the busted-down corner of the pagoda wall. Further west, you can see the pagoda gates are closed. East leads a long way back to Siem Reap.\n\n> Go southwest\nInside the Pagoda (corner)\nYou are just inside the busted-down corner of the wall enclosing the pagoda. The pagoda itself probably comprises about ten acres of land. To the west, somewhat past the gate, you can see small, poor dwellings, somewhat hidden by laundry hung out to dry. Immediately to the south, there is a mausoleum, and some ways beyond that there is a lake. A brook runs past the poor houses down to the lake.\n\nIt looks like Joe and Paridy went south, to where you can catch a glimpse of water. From here you could probably see quite a bit about most of these things, if you took the time to examine them.\n\nYou hear Joe and Paridy's voices deeper into the pagoda.\n\n> You examine the lake\nThe word 'laundry' is not necessary in this story.\n\nFar to the south, you can see a small lake. It's toward the center of the pagoda, well away from the eastern wall.\n\n> You examine the mausoleum\nAbout halfway down the the east wall, there is a small 'forest' of tall tapering tower-like objects, each about the girth of a tree and varying in height from ten feet tall to two stories. These, you know, are the monuments keeping the ashes of famous and important people, built in exchange for a generous donation to the pagoda and the understanding that future monks will pray for their spiritual progression during future lives.\n\n> You examine the brook\nThe brook runs from the north, where there are poor houses built on either side of it, to the south, where it runs into the lake. The brook is small and dirty, and there is a great deal of garbage on either side.\n\n> You look at Pagoda\nYou are moving around inside the grounds of the pagoda. The pagoda walls bound the grounds to the north and east; they break down at the northeast corner, where you came in. Against the east wall, there is a mausoleum of perhaps thirty stone Eiffel Tower-like monuments. To the northwest there are a number of chicken-coop-like dwellings for deeply poor people. A garbage-strewn brook runs from those dwellings south to the lake.\n\nIt is starting to get quite dark.\n\n> You examine garbage\nEvery so often around the pagoda, and especially down by the brook, garbage is strewn around. It looks like people have been using the brook as a primary dumping ground for years - there are rusted mangled pieces of this-or-that, rotting food, bits of clothing - just all kinds of trash.\n\n> You search the garbage\nYou can find the same kind of things in the States, on defunct farms and industrial parks where the industry has pulled out.\n\n> You go south\n\n\n> Go south\nPagoda (empty space near wall)\nThis is a wide empy space of rubble and weeds, like an abandoned lot.\n\n> You go west\nPagoda (west of lake)\nOn a rock with pigeon droppings nearby - Joe lays his scarf over it, lengthwise. 'Sorry, man,' Joe says. 'No room. You'll have to hang out over there - more fish anyway.' Paridy has become passive, pliant. She almost seems to sleep-walk through this.\n\nThey sit down together.\n\nYou're left off in what in third grade they called 'goat land.' It's not honestly that far away. In a bar, there would be two empty bar stools between you and Joe.\n\nYou can talk to them quite easily. But also they can ignore you quite easily.\n\nIt starts getting dark. You look at the bamboo fishing pole in your hand\n\nParidy has her head on Joe's shoulder.\n\nJoe has his arm around Paridy.\n\nWith all the terrible parasites you've heard of living in the fresh water of Cambodia, you don't want to get your feet wet. Besides, there's nothing much on the other side - just some thick, brambly grass and different bits of garbage dumped around.\n\n> Fish\nYou fish a while...\n\nAs your eye tracks the ripples moving out from the line across the surface of the brown water, it occurs to you that you could easily eavesdrop on Joe and Paridy.\n\n-Well, no bites. You guess a naked hook isn't that appealing.\n\n> Eavesdrop\n-Ah. Of course.\n\nJoe is telling Paridy how secretly vulnerable he is.\n\nAs you listen, Joe says, 'I believe free will trumps fate, but you know what trumps free will? That life is random. Stuff just happens and there's not any reason or rhyme to it. And people don't accept that so they make up fate. But we can accept free will...'\n\n-Literal sweet nothings, you realize: Paridy can't understand a word. But it doesn't matter, because it's not the words that count.\n\n> You tell Paridy about Joe\nParidy has eyes only for Joe. This could be a problem, you think.\n\n> Inventory\nYou are carrying your wallet, your cell phone, and the fishing gear.\n\n> You look at the gear\nThis is a bamboo pole, with a line and hook attached, for fishing.\n\n> Fish\nYou fish a while... -Well, no bites. You guess a naked hook isn't that appealing.\n\n> You ask Joe for the bait\nMan-! Joe is freezing you out, and loving it."
    },
    {
        "text": "[Themes: Horror, ghosts, horror]\n\n> You look around\nPagoda (west of lake) (sitting on the ground)\nYou are by a lake on the land of a tumble-down pagoda, visible off in the distance.\n\nParidy has her head on Joe's shoulder.\n\nJoe has his arm around Paridy.\n\n> You search the lake\nThe lake is for fishing only, although you have certain reservations whether even that's a good idea."
    },
    {
        "text": "[Themes: Horror, ghosts]\n\n> Go downwards\nYou can't go that way. Obvious exits lead north, back to the pagoda (empty space near wall); south; east; west; northwest; and in.\n\n> Go east\nThe pagoda wall is quite tall and solid, running north and south. But there is the rubble-strewn break to the north, where you came in.\n\n> Go south\nThe terrain gets a little rough to the south - all you have there is long, brambly grass, and it's not that appealing. You could go that way if it were a matter of life and death, and you had some reason to - but not otherwise.\n\n> You go west\nWith all the terrible parasites you've heard of living in the fresh water of Cambodia, you don't want to get your feet wet. Besides, there's nothing much on the other side - just some thick, brambly grass and different bits of garbage dumped around.\n\n> Go northwest\nPagoda (north of lake)\nYou are on the north side of a lake. You can follow the lake around to the southeast, or you can walk north along the brook, which immediately to the west joins the lake."
    },
    {
        "text": "[Themes: Horror, horror, ghosts]\n\n> Go downwards\nYou can't go that way. Obvious exits lead north; south; east; west; northeast; southeast, back to the pagoda (west of lake); and in.\n\n> You go north\nPagoda (east of brook)\nA small brook to the west of you runs from the north, where it goes through the houses, to the south, where it runs into the lake. A rotted log here catches your attention.\n\n> You look at log\nThis rotten log rests deep in the mud, riddled with bug-holes. You just know if you move it you'll see it teeming with bugs.\n\n> You take the bug\nOooo, it wriggles to get free!\n\n> You check what you're carrying\nYou are carrying your wallet, your cell phone, the fishing gear, and a centipede.\n\n> You examine the centipede\nThis especially plump centipede, you have to admit, kind of gives you the willies. On the hook it writhes, occasionally flailing, with gradually reducing vigor.\n\n> Go south\nPagoda (north of lake)\nYou are on the north side of a lake. You can follow the lake around to the southeast, or you can walk north along the brook, which immediately to the west joins the lake.\n\n> You go to the south\nThe lake water, even more than the brook, is brown and sluggish. There's no way you're getting in there.\n\n> You go to the southeast\nPagoda (west of lake)\nYou are by a lake on the land of a tumble-down pagoda, visible off in the distance.\n\nParidy has her head on Joe's shoulder.\n\nJoe has his arm around Paridy.\n\n> Fish\nYou fish a while - and are jolted out of your contemplation of Paridy by a sudden jerk on the line!\n\nYou pull it out into the early twilight. It jerks and twitches in the air.\n\nYou've caught a fish!\n\nParidy comes running over - not to congratulate you, as it turns out, but to hit the fish on the head with a rock until it stops moving.\n\nDespite himself, you can see Joe is impressed.\n\nParidy turns around from having bludgeoned the fish to death, and right into Joe's arms. It just seems to happen. They kiss: a long, deep kiss. She seems to begin to melt into him, the rock dropping, finally, from limp fingers.\n\nAs you watch them kiss, you suddenly feel an intense, crazy jealousy. You must do something - just as you must do something when you're very hungry, or terribly afraid. Oddly, it doesn't seem related to your feelings for Paridy. Rather, it seems founded on the plain fact that Joe has a girlfriend - that this is wrong. Distantly, you realize the hairs on the back of your neck are standing up, that you have gooseflesh along your arms and your spine is crawling.\n\nStill kissing Paridy, Joe's eyes rove, find yours - and twinkle with amusement. Then, they seem to focus on something behind you, and Joe gapes. A look of naked horror comes across his face. He forgets Paridy mid-kiss; the kiss is not broken, but abandoned.\n\n-And the feeling of insane jealousy that had completely overwhelmed you just a moment before is gone. You feel only irritation and mild disappointment that Paridy isn't interested in you.\n\nParidy opens her eyes, sees the expression on Joe's face, and recoils from it. You look behind you-\n\nNothing there.\n\n> You examine Paridy\nThis is the Khmer girl you've been thinking so much of, Paridy. She's slender without being thin, pretty without being glamorous. And she has a real nice smile. You like her a lot. Paridy stays at your side, not looking around at Joe, behind you. You can smell her: she smells like girl. Very nice.\n\n'Things are random,' Joe mutters behind you. 'If we didn't have that game where I left her tied up while I went out with friends - If I didn't take her picture with my camera before I left, so if she struggled I'd have a reason to beat her - If I didn't leave the whip by the bedside so she could see it while she waited- Who knows? - If we hadn't upgraded to me burning her with cigarettes - If she didn't struggle so hard - If the cigarette had fallen on the floor instead - I'd wouldn't even be here. Random stuff happens. So give me a kiss, baby-'\n\nAt your side, Paridy ignores him.\n\n> Kiss paridy\nYou're not sure you should...\n\n> You take the rock\nThe word 'rock' is not necessary in this story.\n\nThe word 'rock' is not necessary in this story.\n\n> You ask Joe about the fire\nJoe raises his eyebrows. 'HuhWhat?'\n\n> You look at Joe\nJoe is a little shorter than you are. He's well-tanned and has the soft-muscled look of a man who lifts but has never done manual labor. It looks like he has a new tattoo on his arm.\n\nIt seems Joe's fighting spirit was drained away by whatever he thought he saw. He's just inclined to follow you. And indeed, it is time to get going. Soon it will be quite dark.\n\n> You ask Joe what he saw\nThe story doesn't understand that command. Please use ASK ACTOR ABOUT TOPIC (or just A TOPIC).\n\n> You examine the tattoo\nYou look closer at the tat on Joe's arm. It glistens slightly. Looks fresh. It's written in the Khmer alphabet - you can't tell what it says.\n\n> Inventory\nYou are carrying your wallet, your cell phone, the fishing gear, and a fish.\n\n> You examine the fish\nThis is a good-sized fish, a shiny white-grey in color. You're immensely proud of it and have no desire to eat it. In fact, KFC is sounding pretty good."
    },
    {
        "text": "> Look around\nPagoda (west of lake) (sitting on the ground)\nYou are by a lake on the land of a tumble-down pagoda, visible off in the distance.\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\n> You stand\nYou're already standing.\n\n> Go north\nJoe comes with you. Paridy comes with you.\n\nPagoda (empty space near wall)\nThis is a wide empy space of rubble and weeds, like an abandoned lot.\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\n> Kiss paridy\nYou're not sure you should...\n\n> You talk to Joe\nWhat do you want to get out of?\n\nYou already have Joe's attention.\n\n> Go north\nJoe comes with you. Paridy comes with you.\n\n\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\n> Go north\nJoe comes with you. Paridy comes with you.\n\nInside the Pagoda (corner)\nYou are just inside the busted-down corner of the wall enclosing the pagoda. The pagoda itself probably comprises about ten acres of land. To the west, somewhat past the gate, you can see small, poor dwellings, somewhat hidden by laundry hung out to dry. Immediately to the south, there is a mausoleum, and some ways beyond that there is a lake. A brook runs past the poor houses down to the lake.\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\n> Caress paridy\nJoe raises his eyebrows. 'HuhWhat?'\n\nThe word 'caress' is not necessary in this story.\n\n> Go west\nThe Khmer who live there are very poor. You don't belong.\n\n> You go to the north\nThe pagoda wall is quite tall and solid, running west a long ways.\nBut there is the rubble-strewn break to the northeast, where you came in.\n\n> Go northeast\nJoe comes with you. Paridy comes with you.\n\nThe long, dusty road runs east and west. To the southwest is the busted-down corner of the pagoda wall. Further west, you can see the pagoda gates are closed. East leads a long way back to Siem Reap.\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\nThe ending of chapter3."
    },
    {
        "text": "[Themes: Horror]\n\n> You describe your surroundings\nThe long, dusty road runs east and west. To the southwest is the busted-down corner of the pagoda wall. Further west, you can see the pagoda gates are closed. East leads a long way back to Siem Reap.\n\nParidy sticks close by you, her hand lightly on your arm.\n\nJoe is doing his best to appear composed, but clearly it is a battle he is losing.\n\nHeaded to Siem Reap on the road outside the pagoda, Joe collapses. A tuk-tuk - a version of the Asian pedicab, powered by a motorbike rather than a bicycle - stops and, after a shrewd appraisal of the situation, the driver offers to take you to the hospital for three or four times the normal price.\n\nParidy sits as far away from Joe as possible. You see her looking at his arm. On his arm, you see a strange white mark on his skin. It has an odd shape. It takes you some time to realize it's shaped like a handprint, with the individual fingers clearly visible.\n\nYou check Joe in to the hospital. Paridy leaves to do something. You stay with Joe. After about fifteen minutes, a Khmer doctor stops in. 'Your friend has a fever,' he tells you. 'We're running some tests.'\n\n> You examine the doctor\nThe doctor is a small, fussy-looking Khmer man - small even for a Khmer. But he has a proud bearing.\n\n> You ask about the odd marks\n'Doctor, what about these white finger-marks on his arm?' you ask.\n\nThe doctor shrugs. 'Suntan lotion.'\n\n'Suntan lotion?' you ask. 'Look, there are finger marks-'\n\n'Of course. He applied suntan lotion unevenly; he had a handful of it, wiped it on his skin, and did not smear it evenly throughout.'\n\n'I find that a little difficult to accept -' you begin.\n\n'Ah, and are you a doctor?' the doctor asks cheerily. 'Excuse me. I will be back with his test results.'\n\nThe doctor walks out. You look into the hall. Behind you, Joe stirs.\n\nYou go over to him. He grabs you, and his grip is weak. He says:\n\n'Random...'\n\n-and, with a dry, gutteral sound, dies.\n\nIt occurs to you that in all the confusion you left the pail with the fish you caught back in the pagoda."
    },
    {
        "text": "[Themes: Slice of life, slice of life, celebrity, drugs, drinking, autobiographical]\n\nYou are standing on a train platform where people are boarding the RTD rail line in order to leave the airport. According to your online research before your trip, you gather this is your best bet to get out of this area quickly and onto your ultimate destination for the day; the La Quinta hotel near downtown Denver, Colorado. You have flown here because a month later you received an invitation from Robb Sherwin to attend his wedding. Your friend Jack \"Jonathan\" Flack with be there and you'd really like to see him again. Also, this is your first opportunity to finally meet Robb Sherwin.\n\nA few random people are waiting for the next train. Some tourists are staring at what looks like a mall directory. A train pulls up and stops at the end of the track. People begin to board the train to the east. There is what looks to be a small ticket booth building here.\n\nYou can see a kiosk here.\n\n[Author's Note: A slice-of-life adventure in Denver, Colorado.]\n\n> You examine the mall directory\nThis seems to be an automated ticket terminal. There is a large LED square in the middle of which displays \"$9.00\".\n\n> About yourself\nThat's hard for you properly without a mirror around, but for a moment you stare down at your black khaki pants with matching black Vans brand shoes.\n\n> You check your inventory\nYou are carrying:\na wallet (closed)\na phone"
    },
    {
        "text": "> You look around\nYou are standing on a train platform where people are boarding the RTD rail line to the east in order to leave the airport.\n\nYou can see a kiosk here.\n\n> You examine the ticket\nThis ticket provides transportation on the A Line for the day.\n\n> You put the credit card in the wallet\nYou put the credit card into the wallet.\n\n> You look at the license\nA North Carolina drivers license. Your picture looks pretty bad because you slept on the floor of the DMV office for three hours before having it taken.\n\n> Go east\nYou board the train and moments later it begins to move. It's very plain inside; mostly white with blue seating. The other passengers start looking at the scenery through the window, talking amongst themselves or glancing at their cell phones.\n\n> You sit\nWhat do you want to sit on?\n\n> You examine the passengers\nThese passengers are fairly non-desciptive. The few that are here are either talking to themselves or looking at their phones.\n\n> You examine the window\nAlong this route you mainly see dry scrubland. Since it is June, there is no snow on the ground.\n\nA man in a uniform with some sort of scanner on his belt walks up to your seat and addresses you. \"Ticket, sir.\"\n\n\"Okay. Here you go.\" you say while handing him the ticket. He thanks you and heads down to the next row. About 20 minutes later, you arrive at your destination.\n\nYou admire the city for the first time. There are kids playing in an area with water spouts popping out of the sidewalk. It feels comfortable to you here despite the temperature. The humidity level is much lower than back home! You take a deep breath of the dry air.\n\nStreets lead off in many directions. You looked at this area in Google Maps a few times before you got here; just enough to know it's not practical to walk to your hotel from here.\n\nYou should probably \"call Robb\" to let him know you have arrived in Denver.\n\n> You call Robb\nRobb answers the phone. \"Hello?\"\n\n\"Hey Robb! I just landed, man! Now how do I get out of here?\"\n\n\"That's awesome. Do you need me to get you a ride? I'll get you a ride. Can't wait to see you buddy! Oh. Wait. What should I call you when I introduce you to my parents and stuff? I mean.. other than Jiz?\" Robb replies.\n\nAfter talking a little longer, a black SUV promptly pulls up across the street. You cancel the call after muttering \"Think he's here. Bye.\" A while man in it spots you in a red Neo Geo MVS shirt you told Robb that you would be wearing.\n\n\"Robb?\" he says as you approach the vehicle. Failure to communicate something here, but close enough. You enter the vehicle which takes you to..\n\nHere you have arrived at the parking lot of the La Quinta hotel. There is a pool here on the other side of a gate which a father and his two kids in swimming trunks are skipping along their way to take a dip in.\n\nAs you stand around taking in the loud sound of trains idling on the two or three tracks wihin about one hundred yards of the hotel and notice a little area with a picnic table and trashcan by the fence, you hear the sound of the two young boys crying as you notice them walk back into their room. The father slams one of the doors to the west behind them.\n\nThe hotel lobby is to the northeast and the street is to the east..\n\nYou can see the door to room 302 here.\n\n> Go northeast\nThis bare lobby has two features; a desk and a woman covered in tattoos behind it. The only exit is to the door to the southwest.\n\nThe receptionist addresses you and asks for your reservation information. After she punches a few things into a computer, she hands you your keycard and informs you that checkout time is eleven in the morning.\n\nYou can see a receptionist here.\n\n> You look at the keycard\nThe keycard has the number \"302\" on it.\n\n> You ask the receptionist about the pool\n\"We're waiting on someone to come fix it. Sorry.\"\n\n> Go southwest\nYou are standing between the fence blocking the pool and the picnic area in the La Quinta parking lot. The loud hum of trains idling nearby fills the air.\n\nThe hotel lobby is to the northeast and the street is to the east and opposite to the west are all the hotel room doors.\n\nYou can see the door to room 302 here.\n\n> You enter door\n(first opening the door to room 302)\nIt seems to be locked.\n\n> You unlock door\nWhat do you want to unlock the door to room 302 with?\n\n> Keycard\nYou unlock the door to room 302.\n\n> You enter door\n(first opening the door to room 302)\n\nYou walk into your room and look around. It looks pretty clean at first glance, but when you peel back the blanket on the first of your two beds closest to the window, you notice a hair in the bed and a stain on the pillow. That won't do. The second bed near the bathroom looks cleaner and you lay down on it for a bit to relax after the trip. Due to the excitement of your new surroundings, you can't sleep it all, but you feel better after about twenty minutes.\n\nSuddenly, your phone rings and you answer it.\n\n\"Hey man!\"\n\nYou recognize that voice. It's your friend; Mr. \"Jonathan\" Jack Flack!\n\n\"What's up, Flack?\"\n\n\"What's up dude? Looks like everyone is headed over to the Hipster Draft House soon. You need a ride?\"\n\n\"Nah, I'll just walk.\" you reply. \"I wanna walk around and check out the area a little bit on the way.\"\n\n\"You sure? That's cool. See you there. Later!\" says Flack as he ends the call.\n\nYou can see the door to the parking lot here.\n\n> You examine the phone\nYour little Android phone you bought from Walmart for 40$. It isn't great, but it gets you by.\n\nThe door to the parking lot slowly closes.\n\n> You go east\n(first opening the door to the parking lot)\n\nYou are standing between the fence blocking the pool and the picnic area in the La Quinta parking lot. The loud hum of trains idling nearby fills the air.\n\nThe hotel lobby is to the northeast and the street is to the east and opposite to the west are all the hotel room doors.\n\nYou can see the door to room 302 here.\n\n> You close the door\nYou close the door to room 302.\n\n> You lock the door\nWhat do you want to lock the door to room 302 with?\n\n> Keycard\nYou lock the door to room 302.\n\n> You go east\nThis large bridge has plenty of sidewalk on each side for pedestrians and an excellent view of the Rocky Mountains. Downtown Denver is to the south. Up the street to the northeast you see a large box-shaped building with a plain sign next to it. The La Quinta hotel is to the west. In the far distance to the east, you see the peaks of the Rocky Mountains.\n\n> You look at the sign\nIt's a large, square, white sign with a large green medical cross on it. Underneath is the word \"PURE Marijuana Dispensary\".\n\n> You go northeast\nYou walk into what looks like a waiting room for a dental practice office, but there are no patients sitting here. A friendly merchant behind the counter greets you.\n\n\"Hey, how's it going? Never been here before? I will need you to give me some identification to let you through to see the merchandise.\" she says.\n\nYou can see the merchant here.\n\n> You open the wallet\nThat's already open.\n\n> You show the license to the merchant\n(first taking the drivers license)\nYou will need to actually give it to her. Showing it to her from the other side of the counter is not going to cut it.\n\n> You give the license to the merchant\nYou hand your ID to the merchant. She enters a few things into a computer and hands it back to. Then, you hear a buzz coming from a door near the counter. \"Please come on in.\" the merchant says.\n\nYou walk into a room containing many glass jars filled with different types of marijuana. The clean-shaven man behind the counter greets you and asks \"So, what are you looking for? Would you consider yourself a light user?\"\n\nHe probably wouldn't assume that if you didn't just get a haircut for this trip you think to yourself. \"Actually, no. I'm uh.. pretty heavy duty if you know what I mean.\" You respond.\n\nOh. Well.. okay. This here is over 25% percent THC. It's called Dead Head and..\n\n\"I'll take that.\" you respond.\n\nAnd so, after a quick walk to the back of the building to use the ATM (They don't accept credit cards, apparently.) and 10 minutes later, you walk out with your product in a medicine bottle, something to smoke it with, and something to burn it with. You pocket your new stash and head back out to the street.\n\nThis large bridge has plenty of sidewalk on each side for pedestrians and an excellent view of the Rocky Mountains. Downtown Denver is to the south. Up the street to the northeast you see a large box-shaped building with a plain sign next to it. The La Quinta hotel is to the west. In the far distance to the east, you see the peaks of the Rocky Mountains.\n\n> You check your inventory\nYou are carrying:\na stash\na drivers license\na keycard\na wallet (open)\na credit card\na phone\n\n> You look at the stash\nYour weed stash. You can \"smoke stash\" at any time when you are carrying it, but you probably want to refrain from doing so in public.\n\n> You put the license and keycard in the wallet\ndrivers license: Done.\nkeycard: Done.\n\n> You go south\nThis is just one small section of the rest of downtown Denver, but at the moment your destination is the Hipster Draft House to the west. Artistic graffiti marks most of the sides of the buildings down the nearby alleyways. People are strolling about everywhere around you. The Park Avenue Bridge is back to the north.\n\n> You look at the graffiti\nYou usually don't like seeing graffiti, as you think it just looks tacky. However, this is some really cool artwork featuring multi-colored geometric shapes and letters with extreme detail.\n\n> You look at the people\nThis area seems to attract a fairly young crowd. They all look quite common with exception to noticing a few people dresses as Marvel superheroes. There must have been a local comic book convention or something.\n\n> Go west\nYou stroll into the large, open doors into a bar with very minimal decor. The main point of interest is one wall is filled with beer taps. You look around a while for someone you know. There are not many people here yet. Quickly, you notice Flack waving at you from a nearby table. Plain, wooden tables and benches on the concrete floor fill the room; slightly resembling a German beer hall. Maybe I should \"ask Flack about beer\".\n\nYou can see Flack here.\n\n> You ask Flack about the beer\nYou walk over to Flack and say \"What's up, Flack? Good to see you again!\"\n\n\"Good to see you, man.\" he replies.\n\n\"So hey, how do you get beer around here anyway? I see beer taps on the wall that people are just helping themselves to. This place is high tech!\" you say.\n\n\"Yeah man. Check it out..\" he replies as he explains how the tap system works. At this point, all you have to do is \"take beer\" if you want another one. Or three.\n\nYou pick what seems to be the strongest lager they have on tap and drink it down while talking with Flack about Denver.\n\n> You take the beer\nYou pour a large glass of beer and drink it down over the course of a few minutes. It's very excellent beer and you could certainly go for another.\n\nFlack asks you about your flight. You explain that it was one of the roughest you had ever ridden. There was a lot of turbulence or something because the plane hopped in the air more often that smoothly flying through it.\n\n\"Oh man. That sucks.\" he replies.\n\n> You examine Flack\nMr. Jack \"Jonathan\" Flack. You've met only once before in person, but have always had a sort of strange \"friend you always knew but hadn't met\" connection. If you had met when you were much younger, you probably would have spent a lot of time riding skateboards and messing with Commodore 64 computers together.\n\nHe has wizard-like facial features and is built like a bouncer at a Slayer concert. This is not a man to be messed with.\n\nSome dude with a shaved head a weird, skinny, braided little beard introduces himself to you as John and starts talking. And talking. Mostly about himself and females in the room. You distance yourself as far away from him as quickly as possible\n\n> You ask Jack about robb\nThere is no reply.\n\nYou hear some cheering as someone walks in. It's Robb Sherwin! He's surrounded by people, but maybe you could manage to \"ask robb about tomorrow\" and finally meet in person for the first time.\n\n> You ask Robb about the tomorrow\nYou wade through a few people to get to Robb Sherwin. \"Robb!\" you exclaim. \"Really nice to finally meet you in person.\"\n\nYou shake his hand and ask \"Nervous about tomorrow?\"\n\n\"You know.. surprisingly, not at all!\" He responds.\n\nYou talk some about each others arcade games, and he mentions you should join the others going to his house later to check out his basement arcade. Flack enters the conversation for a while and the three of you are all in agreement that you wish that your mutual friend Roody Yogurt could have made an appearance this weekend.\n\n> You take the beer\nYou pour a large glass of beer and drink it down over the course of a few minutes. It's very excellent beer and you could certainly go for another.\n\nYou hear an eruption of laughter at a nearby table. Food is offered by a passing staff member, and you grab a hamburger slider which you gobble down in four bites.\n\n> You take the beer\nYou pour a large glass of beer and drink it down over the course of a few minutes. It's very excellent beer and you could certainly go for another.\n\n> You take the shower\nWhat the hell? There's no soap in here! Guess I need to go to the hotel lobby and \"ask receptionist about soap\". Ridiculous.\n\n> Go northeast\nThis bare lobby has two features; a desk and a woman covered in tattoos behind it. The only exit is to the door to the southwest.\n\nYou can see a receptionist here.\n\n> You ask receptionist about soap\n\"Um.. do you have soap? There's not any in my shower.\" you ask the receptionist.\n\n\"Sure. Here you go.\" she says as she hands you a small bar of soap wrapped in paper.\n\n\"Thanks.\" you reply as you pocket the soap.\n\n> Go southwest\nYou are standing between the fence blocking the pool and the picnic area in the La Quinta parking lot. The loud hum of trains idling nearby fills the air.\n\nThe hotel lobby is to the northeast and the street is to the east and opposite to the west are all the hotel room doors.\n\nYou can see the door to room 302 here.\n\n> Go west\nYou are in your room at the La Quinta. There's not much here and it's certainly not very fancy, but that's fine. You won't be here long. It just seems rather run down for one hundred and thirty dollars a night even if it is this close to the Coors baseball field. The door out is to the east.\n\nYou can see the door to the parking lot here.\n\n> You close the door\nYou close the door to the parking lot.\n\n> You look at the soap\nA very small bar of plain soap.\n\n> You take the shower\nYou jump in the beige shower and get cleaned up. After drying off and putting on clean clothes, you feel refreshed.\n\nHm. Where is your ride? You should probably \"call Flack\". You were afraid the phone would ring or the phone would ring during the soap fiasco, but neither have occurred.\n\n> You call Flack\nYou call Flack. After a few rings he answers. \"What's up man?\"\n\n\"Hey man! Are you on your way to pick you up?\" you ask.\n\nLong, silent pause. \"Uh.. I thought you were going to take an Uber or something. Why don't you do that? We're like almost there. Sorry man!\" Flack replies before letting you go.\n\nDamn it! This is not good. You don't know where to begin to get yourself a ride. You look up how far it is to walk. Over an hour and the directions look a bit confusing, even on paper. The last thing you want to be doing is walking around like an idiot for a few hours in Denver while missing what you came here for in the first place. You download the Uber app. The account creation process, your phone, or both is going way slow. Your heart starts pounding as panic sets in.\n\nAfter about ten minutes of this frantic moment, Flack dials your phone again. Maybe he's curious as to if you got a ride or not.\n\n\"Hey man!\" Flack says. \"I guess you didn't get a ride yet. Look, we just left Walmart and my wife checked the GPS and says we've got time to get you.\"\n\n\"Are you sure? I won't make you late?\" you ask.\n\n\"We won't miss anything man. We've got time.\" he says.\n\n\"Dude, I really appreciate this! I was really starting to panic there!\" you reply.\n\nAfter getting off the phone, you grab a collared shirt with a tie you already put a windsor knot in, you briefly wait in the parking lot to wait for your ride. It arrives within minutes to take you to a large park where the wedding is being held.\n\nYou march along with Mr. and Mrs. Flack across a long field of grass up a low hill towards a lone fancy-looking structure. Surely this is the right place. Otherwise, there is going to be a lot more trekking across this park and you are running out of time.\n\nOnce you reach the top of the hill, it's obvious you are finally here. Many people are here talking and laughing. Flack and his wife go their seperate way for a while to mingle with others.\n\nYou can see Jason and Flack here.\n\n> You examine Jason\nMr. Jason \"Textfiles\" Scott. You had heard he was going to be here, but actually seeing him here feels a bit surreal. Aside from reading textfiles.com in the late nineties, a short misunderstanding on a MUD many years later, and a few Twitter exchanges, you don't really have any affiliation with him.\n\nHe is roughly your height and has a very happy air about him. This guy looks as glad to be alive and here at this wedding as you are. He's wearing a black hat and a very fancy red blazer.\n\nYou hear a young, male voice exclaim \"That's WONDERFUL!\"\n\nYou notice Jason Scott walking away from the pizza line. Maybe you should \"ask Jason about Durham\" because that's the only topic you can think of to bring up to him. You think he was there recently, and that's about a forty minute drive from where your house is.\n\n> You ask Jason about the durham\n\"\"You walk up to Jason and introduce yourself by your real name and tell him that it's great to meet him.\n\nHe stares directly into your eyes and asks \"I'm sorry. Who are you? How would I know you?\"\n\n\"Uh.. I'm Jizaboz on..\" you begin to say as he cuts you off.\n\n\"Ohhh you! Right, Right. I think Robb mentioned you were coming.\" he replies.\n\n\"Yeah, I flew in from North Carolina. This is my first time in Denver. Weren't you in Durham, North Carolina not that long ago?\" you ask.\n\nYou end up having a short but good conversation. You learn that both of you had relatives that were treated at the main hospital in Durham.\n\nAfter he walks off, someone offers you a Miller Lite. Not your favorite beer by any means, but it's hot out here and you are thirsty. You drink it quickly and deposit the can in a recycling bin.\n\nSome random, sweaty jogger dude jogs up to your area, looks around, then jogs off around the pond."
    },
    {
        "text": "> Look around\nYou are standing by a large pond at the wedding. There is a huge line to a pizza truck nearby. Many people are standing around talking and drinking, most of them are outside where you are instead of where tables are.\n\nYou can see Jason and Flack here.\n\nSome awful jackass helps himself to a piece of the uncut wedding cake, then disappears.\n\n> You examine the pond\nThis large pond is so symmetrically rounded that you assume it is man made rather than natural. There is a fountain way out in the center of it.\n\n> You look\nYou are standing by a large pond at the wedding. There is a huge line to a pizza truck nearby. Many people are standing around talking and drinking, most of them are outside where you are instead of where tables are.\n\nYou can see Jason and Flack here.\n\n> You ask Flack about the ride\nThere is no reply.\n\nYou have had a great time on this trip. You got to talk to many interesting people and have formed closer friendships. Most importantly, you met Robb Sherwin!\n\nOn the way out, Robb invites you back to his place early tomorrow morning before your flight and offers to give you a ride to the nearest train terminal. You gladly accept.\n\nOnce there, you get to play his various arcade games alone for a bit. At least, you think you are alone.\n\nIn a dark corner behind you, there lies a ball of fur! Upon closer examination, you see it is a long-haired cat. This must be the legendary cat \"Frobozz\".\n\n\"Hello friend. I'm Robb's friend too. You look like a sleepy cat. Ok, friend. I'll let you be. Nice meeting you.\" you say to the cat as you go return to playing games."
    },
    {
        "text": "[Themes: Humor, Action, Romance]\n\nIn the act of dying, one feels like making an ominous voice-over.\nThe end began a few months ago. My husband, Paul, had been abducted by a mad scientist called Fr\u00e9nesie, who took him to Mercury for secret experiments. After I escaped Voodoo Island with Elvis Presley and convinced him to become Justin Bieber's new manager, I focused my energies on getting Paul back. Surprisingly, this was easier then I thought, what with the Alien Technology from two games ago around. I bribed someone to build a portal to Mercury on the golf course next to our house. As I sat in the golf cart, all suited up, I had little notion this might become...\n\nGolf course (in the golf cart)\nYou are on top of one of the innumberable hills of the golf course. You can see the whole golf course around you, which is boring as hell. The only interesting thing is a shimmering and whispering portal, to the east.\n\n[Author's Note: This year, our heroes try to escape a prison on Mercury, which is luckily very earth-like.]\n\n> You examine the cart\nA new Alien Tech(tm) powered golf cart stand here. It looks remarkably like the three you crashed. Luckily, Mercury is so close to Earth in temperature and atmosphere that it needs no changes whatsoever.\n\n> About yourself\nYou're Alex, lovable sociopath.\n\n> Inventory\nYou are carrying:\nCan of Spray Cheese\n\n> Go east\nYou drive through the portal - \"Whee!\" -  Luckily nobody heard that. You emerge on the rim of a gargantuan crater, which houses a nice little building called \"Dr. Frenesies secret cloning lab and prison\" in big, friendly letters. What do you know, there is even a space tank patrolling below. A person is standing in the manhole. You wave and only realize that it is a sharkman when you see the flash of cannon. The many microwave pizzas lately make it hard, but you jump from the cart in time, before the shot hits the front axle and the whole golf cart tumbles into the crater as a result!\nThank god it was build by the same guys as the Halo warthog, so it lands right side up and unscathed, apart from the broxen axle.\nAnother shot hits the empty plain behind you! Better make for the building to the north.\n\nThe sun is huge and brilliant here, casting everything in that harsh and unforgiven light they have in changing rooms. There is unimplemented plain all around you, except for the portal to the west and the building to the north.\n\n> You go to the north\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a smoking cigarette and a lottery ticket.\n\nThere is a trap here with a Mercury Rat caught in it.\n\n> You examine Rat\nAww, just look at it. It has pear-shaped body, with small, scrawnly leg and feet. Its thick, soft fur is mostly brown with a huge white spot on the tummy. It looks at you cautiously.\n\n> You take all from the ashtray\nTaken.\n\n> You check your inventory\nYou are carrying:\na winner ticket\nCan of Spray Cheese\n\n> You examine the ticket\n(the winner ticket)\nOh, someone mistook the third tentacle face on this for a sun. It's actually a winning ticket fot the Saturn Trip lottery!\n\n> Pet Rat\nBetter free it first. I mean, if you want to. You can just leave it, you know. This is IF. You totally have a choice.\n\n> You look at the trap\nA fiendish thing! It just has big red button labelled \"DON'T PUSH!\" Too bad mercury rats are literate and curious. Always a bad combination. The rat has one of its legs trapped under a metal bar. Occasionally it pulls on it, in vain, then looks at you with pleading, big dark eyes.\n\n> You get cigarette\nYou better leave it. The owner might come back soon.\n\n> Open bar\nYou pry open the par effortlessly. The rat jumps out of the trap clumsily, due in part to his excess tummy and his injured leg. It sits by the side of the Building and eyes you warily.\n\n> Pet Rat\nIt scutters away from you. You need to earn its trust somehow.\n\n> You check your inventory\nYou are carrying:\na winner ticket\nCan of Spray Cheese\n\n> You feed Rat\nWhat do you want to feed the rat?\n\n> You spray Rat\nYou spray the rat in the face with the cheese. It makes quite the surprise faced before it licks all the cheese of its face, then sits (oh, it's a man rat) and goes about cleaning the remainder of its whiskers. The rat rubs his tiny hand across his face one last time and looks at you lovingly. Looks like you made a friend.\nYou feel like giving it a name.\n\n> Name rat marius\nThe rat is now known as marius.(If you don't like it anymore, just name it \"nothing)\".\n\n> Pet Rat\nYou scratch him between the ears, and he sits very still and closes his eyes.\n\n> Name rat nothing\nYou revoke your choice of rat-name.\n\n> Name rat marius\nThe rat is now known as Marius.(If you don't like it anymore, just name it \"nothing)\".\n\n> You take Rat\nHe slips out of your grab. Looks like you have to learn to respect his boundaries.\n\n> Show ticket to Rat\n(the winner ticket to Marius)\nMarius is unimpressed.\n\n> You examine the door\nA metal door.\n\n> You open the door\nIt seems to be locked.\n\n> You take the trap\nThat's fixed in place.\n\n> You take bar\nThat seems to be a part of the Trap.\n\n> You give the ticket to Rat\n(the winner ticket to Marius)\nMarius doesn't seem interested.\n\n> You open the door\nMarius has better things to do."
    },
    {
        "text": "[Themes: Humor, Action, Romance]\n\n> You look around\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a smoking cigarette and a lottery ticket.\n\nThere is a trap here .\n\nYou can also see Marius here.\n\n> You go north\n(first opening Metal door)\nIt seems to be locked.\n\n> You spray Rat\nThe rat opens his mouth to catch most of the cheese then sits, chewing happily. Then he cleans his whiskers and rubs his face clean with\ntiny hands before licking those clean, too. Aww.\n\n> You search Ashtray\nThe Ashtray is empty.\n\n> You unlock door\nWhat do you want Marius to unlock Metal door with?\n\n> Go south\nThe sun is huge and brilliant here, casting everything in that harsh and unforgiven light they have in changing rooms. There is unimplemented plain all around you, except for the portal to the west and the building to the north.\n\nMarius arrives from the north.\n\n> You go to the east\nThe plain is vast and empty, just like your soul. (Oh, burn!)\n\n> You go to the north\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a smoking cigarette and a lottery ticket.\n\nThere is a trap here .\n\nMarius arrives from the south.\n\n> Wave ticket\n(the winner ticket)\nYou look ridiculous waving the winner ticket.\n\n> You read the ticket\n(the winner ticket)\nOh, someone mistook the third tentacle face on this for a sun. It's actually a winning ticket fot the Saturn Trip lottery!"
    },
    {
        "text": "[Themes: Humor, Action, Romance]\n\n> You look around\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a smoking cigarette and a lottery ticket.\n\nThere is a trap here .\n\nYou can also see Marius here.\n\n> You take all\nsmoking cigarette: You better leave it. The owner might come back soon.\nlottery ticket: Taken.\n\n> You check your inventory\nYou are carrying:\na lottery ticket\na winner ticket\nCan of Spray Cheese\n\n> You examine the lottery ticket\nA lottery ticket for Dr. Frenesies annual Saturn Trip Lottery. Someone didn't win.\n\n> You read the ticket\nWhich do you mean, the lottery ticket or the winner ticket?\n\n> You put Rat in Ashtray\n(first taking Marius)\n\nHe slips out of your grab. Looks like you have to learn to respect his boundaries.\n\n> You get in Ashtray\nMarius has better things to do.\n\n> Burn lottery ticket\nThis dangerous act would achieve little.\n\n> Kiss Rat\nYou run a hand across his soft back, and he arches it, cat-like, with half-closed eyes.\n\n> You look at the cigarette\nThe cigarette is still smoking, the owner must've gone inside for a few moments. How you hate timed puzzles."
    },
    {
        "text": "[Themes: Romance, Action, Humor]\n\n> Look around\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a smoking cigarette.\n\nThere is a trap here .\n\nYou can also see Marius here.\n\n> You put the winner ticket on Ashtray\nYou put the winner ticket on ashtray.\n\n> You go south\nThe sun is huge and brilliant here, casting everything in that harsh and unforgiven light they have in changing rooms. There is unimplemented plain all around you, except for the portal to the west and the building to the north.\n\nMarius arrives from the north.\n\nA sharkmen janitor comes through the door and picks up the cigarette, totally oblivious to you, even though you're mentioned in his room description. He takes up the ticket and sighs. \"I would've loved to go to Saturn, Steve went  and he- Holy Fin, what is this?\" He takes out a pair of glasses and peers at the ticket. \"I won! Screw this job.\" He takes right off, to the northnortheast, where there is a huge barrack in the distance. Behind him, the door begins to close slowly.\n\n> You go to the north\nThis small building seems to house the ventilation system for the prison below, judging by the ventilators on top and the annoying \"woop woop\" sound. A metal door leads inside.\n\nAn ashtray stands besides the door. On the ashtray is a winner ticket and a smoking cigarette.\n\nThere is a trap here .\n\nMarius arrives from the south.\n\n> You get the ticket\n(the winner ticket)\nTaken.\n\n> You go to the north\nThis looks like a maintenance room, with a ladder leading down.\n\nMarius arrives from the south."
    },
    {
        "text": "[Themes: Action, Humor, Romance]\n\n> You go downwards\nThis room is equally superfluos and has a door leading east.\n\nThe rat clambers down the ladder with surprising grace, considering his girth.\n\nMarius seems scared of something and runs outside.\n\n> Go east\nConnecting space. West, back to the airduct. A door marked \"Lab\" leads north, the prison cells are to the south.\n\n> Go north\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\n> You examine the cloning machine\nIt has two vats, one enterable, and an input slot. Looks like without a Data iPod in it, the machine just clones what is in it. It has a big, red lever labelled \"CLONE\" and not much else. Yep, an Apple product.\n\n> Pet slot\nKeep your mind on the game.\n\n> You check your inventory\nYou are carrying:\na winner ticket\na lottery ticket\nCan of Spray Cheese\n\n> You enter the machine\nYou get into the cloning machine.\n\n> You pull the lever\nThe machine begins to hum softly, and the lever jumps back into position.\n\n> You wait a while\nTime passes.\n\nThe pod hisses shut pneumatically. Nothing happens for a second or two, then both pods hiss open and a figure emerges from the second one.\n\n> You go outside\nYou get out of the cloning machine.\n\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\nYou can also see your clone here.\n\n> Examine clone\nAs good-looking (a clone) as ever.\n\nThe clone suddenly grabs his face, \"Ah, oh no, the horrors of technology\" and melts into a pool of green go. Hm, a touching plea to proceed with care in matters of human cloning.\n\n> You put the Cheese in the machine\nYou put Can of Spray Cheese into the cloning machine.\n\nThe metal door falls shut with a pneumatic hiss.\n\n> Wait\nTime passes.\n\nThe machine gives an annoying error sound, and nothing happens.\n\n> You get the Cheese\nTaken."
    },
    {
        "text": "[Themes: Romance, Action, Humor]\n\n> Look around\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\n> You check what you're carrying\nYou are carrying:\nCan of Spray Cheese\na winner ticket\na lottery ticket\n\n> Go south\nThrough some bars on the left hand side of the hallway, you can see a sharkmen guard at a table. He sits with his back to you and seems to be trying to open his cellphone to replace the battery. Good, that should take a while.\nOn the wall, just outside of your reach through the bars, is a blue button.\n\n> Go south\nYou sneak down the hallway to the next cell. And there Paul sits, sullenly on a cot, eyes down, shoulders slumped. You lean agsainst the frame nonchalantly. \"Hey handsome\"\nPaul's eyes light up and he jumps to his feet and grabs the bars. \"I knew you'd come to rescue us!\"\n\"Us? I was thinking of just rescuing you!\"\nPaul puts his hands on his hips and furrows his brow. \"Is that so? How would you feel if someone left you in prison?\" You avert his gaze and try to dig in the prison floor with your boot. \"Pretty terrible.\" you murmur. He pats you through the bars. \"Well done. Now get us out. Man, am I happy to see you.\" He smiles. You turn away. \"Me too.\" Dang, you must have some dust in your eye.\nPaul's Cell\nPaul sits here gloomily, awaiting his rescue.\n\n> You examine Paul\nHis beard has become a bit more scraggly since you last saw him, far too long ago, and his frame looks thin and fragile in the prison pyjamas. But he's alive.\n\n> You ask Paul about Rat\nYou can only do that to something animate.\n\n> You talk to Paul\n\"Free us, then we can have all the Quip-based conversations you want.\"\n\n> Go south\nPaul sits here gloomily, awaiting his rescue.\n\n> You go to the south\nYou continue down the hallway, and Paul whispers: \"That's a Venusian warrior woman...\"\n\"So men really are from Mars and women ...\"\n\"No dear, gender is artificial construct that's not helping anyone.\" \"Can she understand us?\"\n\"I learnt a few pheases, but we don't have time for chit-chat. Maybe latter.\"\n\nThe Venusian's warrior woman sits here, awaiting rescue.\n\n> You examine the woman\nShe has silvery skin, golden her put up in a tight bun, and wears full body chain mail. Black, pearl eyes look at you unblinking.\n\n> You go to the south\nThis cell is open. The hallway ends at a huge gate further the south.\n\nInside you see the body of famed adventurer Ronathan Rask.\n\n> You examine Rask\nWithout going into too much detail, it looks like he died a humiliating and avoidable death.\n\n> You search body\nAha! You found a datachip.\n\n> You look at datachip\nLooks like it's a DNA scrambler. It will rearrange all those little letters in your genes at random.\n\n> You look at what you're carrying with you\nYou are carrying:\na datachip\nCan of Spray Cheese\na winner ticket\na lottery ticket\n\n> You go to the south\nThis is a small reception area.\n\nA huge  metal gate leads outside, to the south.\n\nMarius runs towards you from under a chair.\n\n> You examine the gate\nA huge metal gate, padlocked, with a small window inside it.\n\n> You look at the window\nYou can see the tank outside, patrolling, and the sad sight of your golf cart, front axle broken.\n\n> You go to the north\nThis cell is open. The hallway ends at a huge gate further the south.\n\nInside you see the body of famed adventurer Ronathan Rask.\n\nMarius arrives from the south.\n\n> You go north\nThe Venusian's warrior woman sits here, awaiting rescue.\n\nMarius arrives from the south.\n\n> You go to the north\nPaul sits here gloomily, awaiting his rescue.\n\nMarius arrives from the south.\n\n> You go north\nThrough some bars on the left hand side of the hallway, you can see a sharkmen guard at a table. He sits with his back to you and seems to be trying to open his cellphone to replace the battery. Good, that should take a while.\nOn the wall, just outside of your reach through the bars, is a blue button.\n\nMarius arrives from the south.\n\n> Go north\nConnecting space. West, back to the airduct. A door marked \"Lab\" leads north, the prison cells are to the south.\n\nMarius arrives from the south.\n\n> Go north\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\nMarius arrives from the south.\n\n> You put the datachip in the slot\nYou slide it into the slot.\n\n> You put Marius in the machine\n(first taking Marius)\n\nHe slips out of your grab. Looks like you have to learn to respect his boundaries.\n\n> You enter the machine\nMarius has better things to do.\n\n> Wait\nTime passes.\n\nThe machine goes *beep* *boom* *clang* and something metallic is spit out of the other pod. You hear a puff as the datachip disintegrates. Must've been one use only.\n\n> You wait\nTime passes.\n\n> Exit\nYou get out of the cloning machine.\n\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\nYou can also see an axle and Marius here.\n\n> Go south\nConnecting space. West, back to the airduct. A door marked \"Lab\" leads north, the prison cells are to the south.\n\nMarius arrives from the north.\n\n> You go to the south\nThrough some bars on the left hand side of the hallway, you can see a sharkmen guard at a table. He sits with his back to you and seems to be trying to open his cellphone to replace the battery. Good, that should take a while.\nOn the wall, just outside of your reach through the bars, is a blue button.\n\nMarius arrives from the north.\n\n> You look at the axle\nA perfectly fine front axle for a golf cart.\n\n> You push the button\nMarius has better things to do.\n\n> Spray button\nYou spray the button with cheese. The rat squeezes his plump belly through the bars and scuttles up the wall. He looks at you, right below the button, then gives you a claw-up as he pushes it.\n\nAll hell breaks loose. Screeching alarm sirens sound throughout the prison. The guard jumps to his feet and pulls a huge Kerkerkruip rifle from the table. \"Die, person who reminds me of my lost humanity quite painfully!\" The bite in his ankle from Marius, who has come to your aid , seems even more painful. You grab the gun and take three shots to drop him, what with his hopping on one foot at all.\nPaul runs from his cell and into your arms. You hold him for a blissful second, then nod at the Venusian woman behind him. Paul looks at the dead guard. \"I told you not to kill indiscriminately anymore, huzzie.\" You look to the ground, mumbling \"Sorry\". \"Now, let's make for the gate. They'll send more guards through the Ventilation Building any second.\"\nThe three of you run for the reception area. You suddenly don't feel safe at all. No, not safe at all. You hope you can save the four of you.\n\nThis is a small reception area.\n\nPaul and the Venusian stand here.\n\nA huge  metal gate leads outside, to the south.\n\nMarius runs towards you from under a chair.\n\nA huge group of Sharkmen burst through the door at the far end of the corridor and spot you immediately. \"Get them!\" shouts their leader. They start running towards you."
    },
    {
        "text": "[Themes: Humor, Action, Romance]\n\n> Describe the surroundings\nThrough some bars on the left hand side of the hallway, you can see a sharkmen guard at a table. He sits with his back to you and seems to be trying to open his cellphone to replace the battery. Good, that should take a while.\nOn the wall, just outside of your reach through the bars, is a blue button.\n\nYou can see Marius here.\n\n> You go south\n(first opening Gate)\nIt seems to be locked.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> You shoot the Sharkmen\n(with the Kerkerkruip gun)\nYou shoot one of the sharkmen, but that doesn't even change their generic attack text.\n\n\"The leader shouts \"Don't shoot while you're running! Didn't you pay attention at gun safety training, you tadpoles?\" They're halfway down the corridor.\n\n> You keep going\n(with the Kerkerkruip gun)\nYou shoot one of the sharkmen, but that doesn't even change their generic attack text.\n\nThe first few sharkmen throw themselves to the ground and take aim at you.\n\n> Keep going\n(with the Kerkerkruip gun)\nYou shoot one of the sharkmen, but that doesn't even change their generic attack text.\n\nThe sharkmen open fire.\n\n> You give the gun to the woman\nVenusian warrior woman isn't able to receive things.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> You examine the gun\nThe latest in sharkmen technology. It's said one needs to be really focused to use one of these.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> Go north\nThis cell is open. The hallway ends at a huge gate further the south.\n\nInside you see the body of famed adventurer Ronathan Rask.\n\nMarius arrives from the south.\n\n\"The leader shouts \"Don't shoot while you're running! Didn't you pay attention at gun safety training, you tadpoles?\" They're halfway down the corridor.\n\n> Go inside\nYou can't go that way.\n\nThe first few sharkmen throw themselves to the ground and take aim at you.\n\n> You go east\nYou can't go that way.\n\nThe sharkmen open fire.\n\n> Go north\nThe cell is empty. The hallway continues south.\n\nMarius arrives from the south.\n\nThe sharkmen open fire."
    },
    {
        "text": "> You open Gate with the axle\nThat doesn't seem to fit the lock.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> Break gate\nViolence isn't the answer to this one.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> You drop the Cheese\nDropped.\n\n> You leave\nYou get out of the cloning machine.\n\nThis lab has been cleaned up impressively for the weekend.\n\nA cloning machine sits in a corner.\n\nYou can also see Marius here.\n\n> You enter machine\nYou get into the cloning machine.\n\nIn the cloning machine you can see Can of Spray Cheese.\n\n> Shoot gate\n(with the Kerkerkruip gun)\nThat's no way to settle any kind of argument. At least, that's what the law says.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet."
    },
    {
        "text": "[Themes: Humor, Romance, Action]\n\n> You look around\nThis is a small reception area.\n\nPaul and the Venusian stand here.\n\nA huge  metal gate leads outside, to the south.\n\nYou can also see Marius here.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> You shoot the Sharkmen\n(with the Kerkerkruip gun)\nYou shoot one of the sharkmen, but that doesn't even change their generic attack text.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> Keep going\n(with the Kerkerkruip gun)\nYou shoot one of the sharkmen, but that doesn't even change their generic attack text.\n\n\"The leader shouts \"Don't shoot while you're running! Didn't you pay attention at gun safety training, you tadpoles?\" They're halfway down the corridor.\n\n> You shoot yourself\n(with the Kerkerkruip gun)\nThat's no way to settle any kind of argument. At least, that's what the law says.\n\nThe sharkmen open fire.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\nThe sharkmen open fire.\n\n> You concentrate\nYou concentrate, and are now mildly concentrated.\n\n\"Oh shit! Alex, kill them!\"\n\"What happened to not killing indiscriminately?\"\n\"Shut up and kill every fucking last one of them!\"\n\nThe sharkmen beginning to brandish rifles, while they're running, but don't fire yet.\n\n> Continue\nYou concentrate, and are now quite concentrated.\n\n\"The leader shouts \"Don't shoot while you're running! Didn't you pay attention at gun safety training, you tadpoles?\" They're halfway down the corridor.\n\n> You continue\nYou concentrate, and are now maximally concentrated.\n\nThe first few sharkmen throw themselves to the ground and take aim at you.\n\n> You shoot the Sharkmen\n(with the Kerkerkruip gun)\nFully focused, you go into bullet time and\nPEW PEW BOOM ARGH PEW PEW BOOM ARGH ARGH PEW OH NO ARGH PEW DUCK PEW PEW PEW PEW\nIsn't text just a great medium for action scenes? Anyway, all the sharkmen are dead.\nThe Venusian nods at you approvingly, then she confers with Paul in whispered tones. You try not to look jealous. \"Okay\", says Paul, \"there is tunnel build by the Mercurian resistance (which was cut out of the game because someone ran out of time). It is behind one of those crater walls.\"\nThe Alien Warrior points through the small window at one section of the crater wall, and you have a pretty good idea of which one she means.\n\"You need to get the tank to shoot at it, dear.\"\n\"Um, I'm on foot, and the Kerkerkruip gun is empty. Might as well throw it away\" (which you do)\n\"Maybe if you could find a way to repair the golf cart, we'd have a chance. Our venusian friend here is a good mechanic. Just give any repair parts to her.\"\n\n> Inventory\nYou are carrying:\nan axle\nCan of Spray Cheese\na winner ticket\na lottery ticket\n\n> You give the axle to Venusian\nShe takes the axle with gret reverence, and Paul rubs your back lovingly.\n\"Okay, now you need to distract the tank while she installs it.\"\n\"Just one sec.... How do I distract a tank?\"\n\"One, you are the protagonist. Two, these sharkmen were breed from the Internet generation and white sharks. It shouldn't be to hard to distract them.\"\nPaul unlocks the gate.\n\"Go get'em, Tiger.\"\n\n> Go south\nReally? You're not sure you feel \"save\" out there.\n\n> Go south\n(first opening Gate)\n\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nA huge  metal gate leads inside, to the north.\n\nThe space tank is here.\n\nMarius arrives from the north.\n\n> You get on the tank\nThat's not something you can enter.\n\nThe laser turret fires straight at you!\n\n> Go south\nYou try to outrun the tank, but have no luck.\nThe laser turret fires straight at you!\n\n> You check your inventory\nYou are carrying:\nCan of Spray Cheese\na winner ticket\na lottery ticket\n\nThe laser turret fires straight at you!\n\n> You look at the tank\nWith its thick, bluish metal armor and black ugly chains, the tank looks imepenetrable. A sharkmen in a thick helmet is standing in the manhole and aiming the huge laser turret. At you, if that's of interest.\n\nThe laser turret fires straight at you!\n\n> Go north\nThe cell is empty. The hallway continues south.\n\nMarius arrives from the south.\n\n> Go north\nThe cell is empty. The hallway continues south.\n\nMarius arrives from the south.\n\n> Go north\nAn empty room.\n\nThe sharkman's phone has fallen to the floor.\n\nMarius arrives from the south.\n\n> You look at the phone\nAn iPhone, specifically adapted for plump sharkmen hand. Looks like the Sharkman was playing Fruit Ninja.\n\n> You take the phone\nMarius seems to be quite interested in it.\n\nTaken.\n\n> Go north\nConnecting space. West, back to the airduct. A door marked \"Lab\" leads north, the prison cells are to the south.\n\nMarius arrives from the south.\n\n> You give the phone to Marius\nMarius is utterly captivated. He paws the screen adorably and even hits one or two fruits. Aw man! How cute. This would be a youtube hit.\n\n> Go south\nConnecting space. West, back to the airduct. A door marked \"Lab\" leads north, the prison cells are to the south.\n\nMarius arrives from the north.\n\n> You examine Marius\nAww, just look at it. It has pear-shaped body, with small, scrawnly leg and feet. Its thick, soft fur is mostly brown with a huge white spot on the tummy. It looks at you lovingly.\n\n> You check what you're carrying\nYou are carrying:\nCellphone\nCan of Spray Cheese\na winner ticket\na lottery ticket\n\n> You go to the south\nAn empty room.\n\nMarius arrives from the north.\n\n> You go south\nThe cell is empty. The hallway continues south.\n\nMarius arrives from the north.\n\n> You go south\nThe cell is empty. The hallway continues south.\n\nMarius arrives from the north.\n\n> You go to the south\nThis cell is open. The hallway ends at a huge gate further the south.\n\nInside you see the body of famed adventurer Ronathan Rask.\n\nMarius arrives from the north.\n\n> Go south\nThis is a small reception area.\n\nPaul and the Venusian stand here.\n\nA huge  metal gate leads outside, to the south.\n\nMarius arrives from the north.\n\n> You give the phone to Marius\nThe sharkmen removes his helmet and stares at the rat. \"Guys, guys!\" he shouts down into the tank. \"Are you seeing this? That's adorable.\" A hollow voice answers: \"I have it on the screen. Man, that's so cute! A rat playing Fruit Ninja. I could watch it all day. Or at least, until something brings my attention back to the task at hand.\"\nYou sprint over to the golf cart, where the Venusian gives you a thumbs up. You high-five her and start the motor. Paul comes running, and he, the warrior woman and the rat pool onto the back seat. You put it into gear and hit the gas. The cart soon reaches a neck-breaking 15 mph.\n\nUpper Western Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go west\nYou can't go that way.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe turret fires - lousily. It hits the crater wall behind you.\n\n> You go east\nPlain (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nA huge  metal gate leads inside, to the north.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go north\nThe cart won't fit. It's not a miniature golf cart, ha ha ha.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe turret fires - lousily. It hits the crater wall behind you.\n\n> You go east\nUpper Eastern Wall (in the golf cart)\nThis is the place the Venusian indicated earlier! There is a crumbling crack in the wall, too.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You examine the crack\nBehind it lies your path to freedom.\n\nThe turret fires - lousily. It hits the crumbling wall behind you, which reveals a tunnel.\n\"Hooray!\" says Paul, and even Marius squeals happily. \"Now we only need to get rid of the tank and escape a planet 138 million miles from Earth.\"\n\"And that's only when they furthest apart!\" you add, helpfully.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\n> Go north\nTunnel (in the golf cart)\nYou are in the ancient resistence tunnel. Spiderwebs indicate it hasn't been used in a while, or that the resistance are all arachnophobic. Or not very clean. Maybe spider webs don't indicate that much. The way south leads back to the crater, while there seems to be some sort of bridge to the north.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\n> You go north\nThe Venusian graps Paul's arm and whispers to him urgently, while you take point and step onto the bridge. It's small, and amateurishly carved out of the stone. To either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\"Seems safe eno...\"\nThen something steps out of the shadows at the other end of the bridge, something huge and horrible. The kind of creature that would have Lovecraft scramble for his dictionary. Slavering fangs, razor-sharp claws and horrible gurgling noises ... You turn around to warn the others, but then the grue is already upon you, and swipes you off the bridge with her razor-sharp claws. With a bloodied and mangled face, you hurtle screaming into the dark.\n\n***You have died.***\n\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\nOh no! The love of your life has fallen beyond time and memory :-(\n\n> You go to the south\nMiddle Eastern Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You go south\nLower Eastern Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go west\nSouthern Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You go west\nLower Western Wall (in the golf cart)\nAn overhang of rock towers here into the crater.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go north\nMiddle Western Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You go east\ncenter (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go north\nPlain (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nA huge  metal gate leads inside, to the north.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> Go west\nUpper Western Wall (in the golf cart)\nYou are in the region of the Crater indicated by the title. (Atmospheric description not included)\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You enter the overhang\nThat's not something you can enter.\n\nThe turret fires - lousily. It hits the overhang behind you. \"Oh sh-\" says Paul before the whole cart is engulfed in a dust cloud. You steer this way and that, just hoping you don't hit any walls and emerge to the north of the cloud. Marius covers his nose and sneezes. The Venusian clears dust from her face with a dignified wipe of her hand. Unfortunaley, the overhang has missed the tank. The dust covering the gunner makes him look even more like a white shark.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\n> Go west\nLower Western Wall (in the golf cart)\nThe overhang has fallen to the crater floor. Looks suspiciously like a ramp.\n\nIn the golf cart you can see Marius.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe tank pursues you!\n\n> You go upwards\nYou can't go that way.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\n> You enter the overhang\nThat's not something you can enter.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe laser turret fires straight at you!\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe laser turret fires straight at you!\n\n> Go west\nYou can't go that way.\n\nPaul and the Venusian sit on the backseat, Paul with Marius on his lap.\n\nThe laser turret fires straight at you!\n\n> You drive over the overhang\nWith a screeching handbrake turn, you line up the cart, the ramp and the tank. \"What are you doing?\" shouts Paul and grabs the seat in front of him. \"I'm going Mario on these suckers!\"\nYou hit the pedal, and the golf cart accelerates, up the makeshift ramp.\nFor a second, it's all frozen, the cart in the air, the sharkman gaping up open mouthed- then he screams \"Three days from retirement!\" before the cart crashes down on him. And catches fire. Quickly.\n\"To the tunnel!\" you shout and grab Paul's hand.\nAs the four of you reach the tunnel, tank and cart explode behind you. \"The owner of that golf club must really, really hate you by now\"\nsays Paul, giggling.\nYou hold him for a moment and ruffle his hair.\nThe Venusian says something, and Paul frowns, not comprehending. \"She asked if we have source of darkness.\"\n\"Must be poetic Venusian language for something. We'll worry about it later.\"You grab Paul's hand and together you go north, into the tunnel. Marius hopples behind you.\n\nYou are in the ancient resistence tunnel. Spiderwebs indicate it hasn't been used in a while, or that the resistance are all arachnophobic. Or not very clean. Maybe spider webs don't indicate that much. The way south leads back to the crater, while there seems to be some sort of bridge to the north.\n\n> You go north\nThe Venusian graps Paul's arm and whispers to him urgently, while you take point and step onto the bridge. It's small, and amateurishly carved out of the stone. To either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\"Seems safe eno...\"\nThen something steps out of the shadows at the other end of the bridge, something huge and horrible. The kind of creature that would have Lovecraft scramble for his dictionary. Slavering fangs, razor-sharp claws and horrible gurgling noises ... You turn around to warn the others, but then the grue is already upon you, and swipes you off the bridge with her razor-sharp claws. With a bloodied and mangled face, you hurtle screaming into the dark.\n\n***You have died.***\n\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\nOh no! The love of your life has fallen beyond time and memory :-("
    },
    {
        "text": "> Look around\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nMarius stands before the monster, back arched. The Venusian stands a few feet off, clenching and unclenching her fist uncertainly.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\n> You examine grue\nIndescribable.\n\n> You examine venusian\nShe has silvery skin, golden her put up in a tight bun, and wears full body chain mail. Black, pearl eyes look at you unblinking.\n\n> Go south\nYou are in the ancient resistence tunnel. Spiderwebs indicate it hasn't been used in a while, or that the resistance are all arachnophobic. Or not very clean. Maybe spider webs don't indicate that much. The way south leads back to the crater, while there seems to be some sort of bridge to the north.\n\nMarius arrives from the north.\n\n> You go south\nYou hear approaching Quadrocopters. (Or very loud helicopters). Better stay in the tunnel.\n\n> You go north\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\nMarius arrives from the south.\n\n> You talk to grue\nShe says, \"gargle gargle barf\"\n\n> Kiss grue\nKeep your mind on the game.\n\n> You get the spiderwebs\nThat's hardly portable.\n\n> You feed Marius to the grue\n(first taking Marius)\nHe slips out of your grab. Looks like you have to learn to respect his boundaries."
    },
    {
        "text": "> Look around\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nMarius stands before the monster, back arched. The Venusian stands a few feet off, clenching and unclenching her fist uncertainly.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You climb\nWhat do you want to climb?\n\n> You climb down\nYou must name something more substantial."
    },
    {
        "text": "> Look around\nTo either side, the cave drops down into lightless depths. Phosphopho..phospher....phospos...glowing stones in the walls provide a dim light.\n\nMarius stands before the monster, back arched. The Venusian stands a few feet off, clenching and unclenching her fist uncertainly.\n\nA slobbering monstrosity ... razor sharp fangs ... small, black eyes ... the kind of ancient evil that demands ellipsis...\n\n> You examine venusian\nShe has silvery skin, golden her put up in a tight bun, and wears full body chain mail. Black, pearl eyes look at you unblinking.\n\n> You eat grue\n(first taking Light grue)\nI don't suppose Light grue would care for that.\n\n> You eat venusian\n(first taking Venusian warrior woman)\nThat's hardly portable.\n\n> You go north\nAs you step between the glass door, someone steps out of the living room. You stumble back, confused. A stalin jacket, red burning eyes. \"Hey Alex\" says Uncle Wally. \"How the hell have you been?\""
    },
    {
        "text": "[Themes: Slice of life]\n\nThe cucumbers are what you're thinking of. A lot seems to have happened just now and the details aren't set yet but you think cucumbers are involved.\n\nYou're suspended from the seat belt, which probably saved your life. Before you, a display of carelessly pressed flowers seen through a tangled network of fissured glass. There is an occasional sound of glass parting or metal yielding but the largest threat seems to be your inversion. To one side, a still inflated airbag obscures the driver. On the other side, outside the car, there's a large metal thing and a small furry thing. Somewhere, you believe there are cucumbers.\n\nA comfortingly strong seatbelt holds you where you are.\n\nYou can also see a cigarette lighter here.\n\n[Author's Note: As brief introductions go, it's among the briefest. Contains only a single point.]\n\n> You look at lighter\nPart of the car's standard equipment, it pushes in to heat and pops out when it's reached the ignition point of cigarettes.\n\n> About yourself\nAs good-looking as ever.\n\n> You open the seatbelt\n(first unlocking the seatbelt)\nYou must have hit your head, you're not making sense.\n\n> You look at the seatbelt\nSome kind of incredibly strong cloth with a buckle.\n\n> You press the buckle\nNothing obvious happens.\n\n> You examine furry\nSlightly smaller than a person and covered with thick fur.\n\n> You look at the driver\nSomeone close to you, you remember that much.\n\n> You press the lighter\nYou manage to flail a limb at it and depress the lighter.\n\n> You examine the airbag\nA big white puffy thing fills the left side of your vision. There's a sharp smell, as if someone had swept up all the dust from a library and packed it in to a pipe and smoked it.\n\n> You examine lighter\nPart of the car's standard equipment, it's glowing with a hot heat.\n\n> You take lighter\nWith a boastful little POP, the lighter ejects. Fate is with you, and you snare it in your hand.\n\n> You burn seatbelt\n*** Run-time problem P10: Since the seatbelt is not allowed the property \"temperature\", it is against the rules to try to use it.\n\n<illegal heat> lighter does you no good.\n\n> Burn airbag\nThis dangerous act would achieve little.\n\n> You wait awhile\nTime passes.\n\n> Look\n(the cigarette lighter)\nPart of the car's standard equipment, it's glowing with a hot heat.\n\n> You look\nYou're suspended from the seat belt, which probably saved your life. Before you, a display of carelessly pressed flowers seen through a tangled network of fissured glass. There is an occasional sound of glass parting or metal yielding but the largest threat seems to be your inversion. To one side, a still inflated airbag obscures the driver. On the other side, outside the car, there's a large metal thing and a small furry thing. Somewhere, you believe there are cucumbers.\n\nA comfortingly strong seatbelt holds you where you are.\n\nWith a boastful little POP, the lighter ejects. Fate is with you, and you snare it in your hand.\n\n> You burn seatbelt\nThe material yields to the heat, stretching and finally giving out entirely. You are freed. The lighter rolls from your fingers and is lost.\n\nInnumerable small shards of glass sparkle on the floor which under normal conditions would be the ceiling. You can escape from here. From this angle you can see there's a boxy metal car and a much smaller furry thing near by.\n\n> Exit\nThere's an extraordinary distortion to the grill of the car, as if it were fondant someone leaned against. If you didn't cross the median, you must be east of the highway, meaning the other end of the car is west of here.\n\n> You examine the car\nA boxy vehicle, before it encountered a tree. Now its sides have been skewed and its contents scattered around it.\n\n> You go west\nThis is where the trunk is , which you think some people call a boot but not like foot boot, more like a beer boot. Maybe you did hit your head. About the only important thing to know is that it currently opens down instead of up, as the car is lying on its roof.\n\n> You open the trunk\nYou open the trunk, revealing a paper grocery bag.\n\n> You take the bag\nOh, there they are.\n\n> You look in the bag\nIn the paper grocery bag are six cucumbers.\n\n> Go east\nThere's an extraordinary distortion to the grill of the car, as if it were fondant someone leaned against. If you didn't cross the median, you must be east of the highway, meaning the other end of the car is west of here.\n\n> You examine furry\nSlightly smaller than a person and covered with thick fur.\n\n> You eat cucumber\n(first taking the cucumber)\nYou eat the cucumber. Not bad.\n\n> Inventory\nYou are carrying:\na paper grocery bag\nsix cucumbers\n\n> You drop the driver\nThe driver is already here.\n\n> You take the driver\nThat's hardly portable.\n\n> You give the cucumber to the driver\nYou can only do that to something animate.\n\n> Go east\nThere's an extraordinary distortion to the grill of the car, as if it were fondant someone leaned against. If you didn't cross the median, you must be east of the highway, meaning the other end of the car is west of here.\n\n> Go inside\nInnumerable small shards of glass sparkle on the floor which under normal conditions would be the ceiling. You can escape from here. From this angle you can see there's a boxy metal car and a much smaller furry thing near by.\n\n> You wear furry\n(first taking the furry)\nThat's hardly portable.\n\n> You get all\ncucumber: Taken.\ncucumber: Taken.\ncucumber: Taken.\ncucumber: Taken.\ncucumber: Taken.\ncucumber: Taken.\n\n> Y.\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: Humor, miniature protagonist, hangover, kid-friendly, ninja]\n\nOof. Your head. You remember very little about last night, but apparently you had an extremely good time at the party.\n\nJudging from how dark the room is, you're guessing it's fairly late in the afternoon. But all you want to do is take care of your hangover and go home and hide from the world for the rest of the day.\n\nThis is where you fell asleep after the party, because you were too drunk to stumble home.\n\nThe rest of the room is southeast.\n\n[Author's Note: A tiny story about a tiny ninja and a not-so-tiny headache.]\n\n> About you\nYou are a tiny ninja dressed in green from head to toe.\n\n> Inventory\nYou are carrying nothing.\n\nOh! But where are your nunchaku?\n\n> Go southeast\nThis is the dormitory room you share with your three closest friends (and one rather large inhabitant you don't see very often). There is a bed to the north, a wardrobe to the east, a bookshelf to the south, a food storage area to the west and a desk in the northwest corner. There is a mouse hole in the southeast corner of the room, next to the bookshelf.\n\n> You examine the bed\nThe bed is unmade, as always. The black ninja lives underneath it.\n\n> Go north\nThe rest of the room is south, and there's a particularly dusty looking corner to the east.\n\nThe black ninja is not here.\n\n> Wait\nYou sway unsteadily on your feet in a most un-ninja-like manner.\n\n> Go east\nThis corner doesn't seem to get cleaned often. There is a rather large spider web stretched between the foot of the bed and the wall. The rest of the room is southwest.\n\nOn the web is a spider.\n\n> You kill the spider\nThe spider bares its fangs at you. You decide to leave it alone.\n\n> You examine the spider\nIt's a common house spider. It's not very large, but it looks like it won't hesitate to kill you if you bother it.\n\n> You go to the south\nYou live here. It's a pretty nice place to live, so far as wardrobes go. There are, to the best of your knowledge, no secret passages to Ninja Narnia.\n\nThe rest of the room is north.\n\nYou can see an id card here.\n\n> You get the card\nTaken.\n\n> You go west\nThe rest of the room is east.\n\nThere is no sign of the red ninja.\n\nYou can see a piece of cookie here.\n\nOh. Right. You're pretty sure you made brunch plans with your friends today. If you hurry, you may still be able to catch them. But first you need to deal with this pounding headache.\n\n> You go southeast\nThe rest of the room is back to the northwest.\n\nThere is a mouse here, lazing around in its nest.\n\n> You examine mouse\nIt's a common brown mouse. It's about twice as tall as you are.\n\n> You talk to the mouse\nThe mouse squeaks at you.\n\n> You examine nest\nThis is the mouse's nest. It is full of various treasures.\n\n> You examine the treasures\nIt's a collection of things the mouse has found.\n\n> You give the cookie to the mouse\nYou give the piece of cookie to the mouse. It grabs it out of your hands and retreats to the corner of the nest with it.\n\n> You search it\nYou find a tablet of aspirin in the nest. You take it.\n\n> You eat the aspirin\nYou take a tiny bite out of the aspirin. You start to feel better almost immediately.\n\n> You go northwest\nYou scurry off before the mouse can ask for a glass of milk.\n\nThis is the dormitory room you share with your three closest friends (and one rather large inhabitant you don't see very often). There is a bed to the north, a wardrobe to the east, a bookshelf to the south, a food storage area to the west and a desk in the northwest corner. There is a mouse hole in the southeast corner of the room, next to the bookshelf.\n\n> You go southwest\nYou should find your nunchaku first. It is dangerous to go outside without a weapon.\n\n> Go north\nThe rest of the room is south, and there's a particularly dusty looking corner to the east.\n\nThe black ninja is not here.\n\n> Go east\nThis corner doesn't seem to get cleaned often. There is a rather large spider web stretched between the foot of the bed and the wall. The rest of the room is southwest.\n\nOn the web is a spider.\n\n> You examine the web\nThe spider has woven the words \"GO AWAY\" into its web.\n\nOn the web is a spider.\n\n> You show the card to the spider\nThe spider bares its fangs at you. You decide to leave it alone.\n\n> You cut the web\nThe spider bares its fangs at you. You decide to leave the web alone.\n\n> You examinethe i d card\nViolence isn't the answer to this one.\n\nThis card bears a photo of your not-so-tiny non-ninja roommate.\n\n> Go west\nThe rest of the room is south, and there's a particularly dusty looking corner to the east.\n\nThe black ninja is not here.\n\n> You examine the door\nThere is a door here, leading out to the hallway.\n\n> Go south\nYou live here. It's a pretty nice place to live, so far as wardrobes go. There are, to the best of your knowledge, no secret passages to Ninja Narnia.\n\nThe rest of the room is north.\n\n> You examine the desk\nThere is a desk in the corner, underneath the window.\n\n> You go northwest\nThis is where you fell asleep after the party, because you were too drunk to stumble home.\n\nThe rest of the room is southeast.\n\n> Go west\nThe rest of the room is east.\n\nThere is no sign of the red ninja.\n\n> You open the fridge\nYou slip the card between the door and the casing. You lean into the card with all your might, forcing the door open. The card almost snaps in the process.\n\nYou can't reach into the Bedroom.\n\n> You look at the fridge\nIt's a standard mini fridger. The big person whom you share your living space with keeps it stocked with beer and junk food.\n\n> You open the fridge\nYou slip the card between the door and the casing. You lean into the card with all your might, forcing the door open. The card almost snaps in the process.\n\nThe refrigerator is disturbingly devoid of both beer and snacks. But your nunchaku are here. You're too tired to question it.\n\n> You get the nunchaku\nTaken.\n\n> You go to the south-west\nYou should close the refrigerator first! Were you raised in a ninja barn?\n\n> You close the fridge\nYou close the refrigerator.\n\n> You go to the south-west\nNow that you've recovered your nunchaku and are starting to feel better, you should go catch up with your friends.\n\n> You touch the web\nThe spider bares its fangs at you. You decide to leave the web alone.\n\n> You search the web\nThere is nothing on the web. Except for that angry-looking spider.\n\n> You open the fridge\nYou loop one of your nunchucks around the handle and tug. The door opens. The refrigerator is still empty. You close it again.\n\n> You open the door\nThe door is too large and heavy for you to open. You can easily crawl underneath.\n\n> You go to the south-west\nNow that you've recovered your nunchaku and are starting to feel better, you should go catch up with your friends."
    },
    {
        "text": "It's taken you years to work your way up from Ketchup Packet Sorter Third Class to your current post: Bad Beef Courier. It's been hard work, and it's taken its toll on you, but it's all been worth it.\nWith your new clearance, you can finally bring down Mr. McBeefy's vast animal-exploiting empire and set things right.\n\nThey said that the Beef Flu was an urban legend, but it's been eating away at you for twenty years. You must hurry: your can tell you haven't much time left.\n\nFREEDOM FOR OUR BOVINE BRETHREN!\n\nMEAT IS MURDER!\n\nChicks really dig how \"sensitive\" your activism makes you seem.\n\nCopyright (C) 2003, Ricardo SIGNES\nJacket Speed-IF 2\nPlease consult REVIEWS and FEELIES\n\nMr. McBeefy's Beef Imporium\nThe Beef Imporium -- MBI, to you wage slaves -- stands at the very base of the Tower of Beef. The vast glass ceiling lets you look up into the Tower and see the vast machinery of Mr. McBeefy's Vertical Beef Processing Facility at work. Cows and carcasses swing by at all elevations, ready to be processed from happy heifers into happy meals. Now and then an organ or spurt of blood falls onto the glass ceiling, but it's always quickly cleaned up by one of the janitors. Those lucky bastards get off with the easy work.\n\nThe supply room lies to the east, and a sliding door leads out.\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment.\n\n[Author's Note: In this short game against the clock, you play as a beef courier who wants to destroy Mr. McBeefy's Beef Imporium from within before the Beef Flu finally destroys you from within. You don't have much time left. Free the cows!]"
    },
    {
        "text": "> Feelies\nIncluded with your The Tower of Beef packaging you should find a .010\" hypodermic syringe and a 50cc vial containing an infection-guaranteed quantity of a randomly chosen fatal disease. Injection no more than six and no less than three days (for gestation) is recommended for the optimal experience. Upon completion, you will be issued a claim code for an antidote. Please contact Tower of Beef Limited with this code to receive your antidote. (2.95 USD per minute, please allow six to eight weeks for delivery.)\n\n> Reviews\nYou can't see any such thing.\n\n>>> MORE RELEVANT\n\nAdam Biltcliffe: I love the way the NPCs relentlessly criticise everything the player does.\n-- Adam Biltcliffe\n\nThe throbbing is unmistakable!\n-- D. Jacob Wildstrom\n\nThis game leaps forward in time to show the player the effects of a key early decision. My reaction was a Keanu-like 'whoa.'\n-- Peter Berman\n\nI HATE THIS GAME SO MUCH! IT GAVE ME SARS!\n-- Tablesaw\n\nThe completed game map formed an interesting shape, which was a nice touch.\n-- Caleb\n\nIn most games, instant death puzzles are a flaw. This game cries out for an instant death puzzle to put it out of its misery.\n-- Sam Kabo Ashwell\n\nIt will make you run right out and steal little packets of ketchup and do crazy things.\n-- David Cornelson\n\n>>> LESS RELEVANT\n\nThe author gave a fresh perspective to normal day-to-day objects; how they could be used, what they really are. It made me look around my surroundings a bit more carefully.\n-- Duchess\n\nThe game appeared mostly vertical - i.e., almost all room-to-room movement was via up and down, with  little use of the compass directions.\n-- Duncan Cross\n\n> You examine the kids\nThe kids run around and scream and yell. Occasionally, a teacher points up at a moving carcass and tells the little brats something useful about Beef Science. \"Did you know that all human life would perish without beef?\" Just as frequently, a kid points up and giggles as a cow rectum splats against the skylight. They are all wearing paper Mr. McBeefy tiaras.\n\nOne of the kids points and laughs. \"Yeah, way to keep your eyes peeled.\"\n\n> About you\nAs good-looking as ever.\n\nOne of the kids points and laughs. \"Yeah, way to keep your eyes peeled.\"\n\n> You kill the kids\nThe kids scatter like a flock of pigeons, and you break off your rush. You must not forget your true goal! One of the chaperones gives you a disappointed look, wondering why you didn't finish the job.\n\n> You check what you're carrying\nYou are carrying:\na syringe\n\n> You inject Beef with the syringe\nYou can only do that to something animate.\n\n> You inject yourself\n(with the obnoxious little meat-eating brats)\nThat doesn't make sense.\nYou feel your heart THROBBING in your chest. You're definitely getting sicker.\n\n> You go east\nThe MBI supply room is just a little pantry, well-stocked with beef and beef accessories. MBI is back to the west.\n\nSome ground chuck sits on a sheaf of paper on a counter.\nYou feel your heart THROBBING in your chest. You're definitely getting sicker.\n\n> You get Chuck\nTaken.\n\n> Inject chuck\n(into yourself)\nThat doesn't make sense.\n\n> You examine Chuck\nIt's a pile of ground chuck laid out on a table, probably for use in McBeefy Beef Tacobeef Mexiburgers (with extra Spic Sauce and Lardonnaise).\n\nUpon close inspection, you realize this is bad beef -- a perfect excuse to head up to the Disposatorium.\n\n> Go west\nMr. McBeefy's Beef Imporium\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment.\nA wave of nausea hits you. Your intestines THROB.\n\n> Up\nHuge glass walkways lead east and west. Carts full of beef and bones are everywhere, blocking the way. Stairwells lead up and down.\n\nA sign hangs on the wall here.\n\n> You examine the sign\nThe sign is painted with two big arrows. One points east and reads: THIS WAY TO THE DISPOSATORIUM. The other points west and reads: THIS WAY TO BEEFBURGER PREPARATION.\n\n> Go east\nRows and rows of carts run through the Disposatorium, hauling bad beef to be processed into feed. Other couriers rush in and out, as if their lives depended on it. The manager's office is upstairs; the rumor is that he loves the smell of bad beef.\n\nCouriers rush in and out.\n\n> You give Beef to the Courier\nYou can only do that to something animate.\n\n> Go up\nThis small office serves as a refuge for Branch Manager Fat. There's a desk and some computers and paperwork. It's all quite uninteresting. You press your hand to your head, and you can feel the vein in your forehead THROBBING as you clench your teeth."
    },
    {
        "text": "> Go downwards\nCouriers rush in and out.\n\n> You go to the west\nA sign hangs on the wall here.\n\n> Go west\nYou're standing on a precarious walkway above a gigantic meat grinder, where the fresh whole beef is converted into chuck. Overhead, sides of beef swing down from the infinite expanse above and drop into the grinder, which happily consumes them and drops them to the processing floor at the bottom of the stairwell\n\nPeters, the day-shift inspector, is here.\n\n> You examine Peters\nPeters is a weaselly little shit in a lab coat. Every time he sees you with bad beef up here, he gives you a filthy look, as if you contaminated it yourself. (If only he knew.)\n\n> You show Chuck to Peters\nPeters glowers at you. \"Get back to work, Courier.\""
    },
    {
        "text": "> Go downward\nPeters stops you. \"No unauthorized personnel!\"\n\n> You kill Peters\nOh, you'd love to, but it would probably spoil the rest of your plans for the day.\n\n> You feed Chuck to Peters\nPeters doesn't seem interested.\nBy now, you've broken out in a cold sweat, and you feel feverish.\nWith every breath, your lungs THROB.\n\n> You examine Chuck\nIt's a pile of bad beef. Nice and toxic, this, and probably rife with botulism. No Beef Flu, though. You'd be able to smell it. Your veins THROB at the thought.\n\nUpon close inspection, you realize this is bad beef -- a perfect excuse to head up to the Disposatorium.\n\n> You go upwards\nWhile they call this the decontamination room, nothing actually gets done to decontaminate anything. Basically, there's a locked door between here and the Breeding Room, and they only give the key to people who won't contaminate the studs. Apparently, this satisfies the ISO requirements. Stairs lead down and the Breeding Room door is to the west.\n\n> You examine the door\nIt's a pretty solid door.\n\n> You unlock door\nWhat do you want to unlock the breeding room door with?\n\n> Inventory\nYou are carrying:\nsome bad ground chuck\na syringe\nYours muscles ache with every step you take. The Beef Flu has you in its clutches. (Make that THROB, ok? Your muscles THROB. It sounds more DRAMATIC.)"
    },
    {
        "text": "> Go downward\nMr. McBeefy's Beef Imporium\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment."
    },
    {
        "text": "> Look around\nThe MBI supply room is just a little pantry, well-stocked with beef and beef accessories. MBI is back to the west.\n\n> Go west\nMr. McBeefy's Beef Imporium\nThe Beef Imporium -- MBI, to you wage slaves -- stands at the very base of the Tower of Beef. The vast glass ceiling lets you look up into the Tower and see the vast machinery of Mr. McBeefy's Vertical Beef Processing Facility at work. Cows and carcasses swing by at all elevations, ready to be processed from happy heifers into happy meals. Now and then an organ or spurt of blood falls onto the glass ceiling, but it's always quickly cleaned up by one of the janitors. Those lucky bastards get off with the easy work.\n\nThe supply room lies to the east, and a sliding door leads out.\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment.\n\n> Go upwards\nHuge glass walkways lead east and west. Carts full of beef and bones are everywhere, blocking the way. Stairwells lead up and down.\n\nA sign hangs on the wall here.\n\n> Go east\nRows and rows of carts run through the Disposatorium, hauling bad beef to be processed into feed. Other couriers rush in and out, as if their lives depended on it. The manager's office is upstairs; the rumor is that he loves the smell of bad beef.\n\nCouriers rush in and out.\nThe THROBBING has beTHROBcome unTHROBbearTHROBable. You won't THROB be able to THROB take it much loTHOBnger.\n\n> Go upwards\nThis small office serves as a refuge for Branch Manager Fat. There's a desk and some computers and paperwork. It's all quite uninteresting.\n\n> You drop Chuck\nDropped.\n\n> You look under the desk\nThat's not something you need to refer to in the course of this game.\n\nThat's not something you need to refer to in the course of this game."
    },
    {
        "text": "> Go downward\nRows and rows of carts run through the Disposatorium, hauling bad beef to be processed into feed. Other couriers rush in and out, as if their lives depended on it. The manager's office is upstairs; the rumor is that he loves the smell of bad beef.\n\nCouriers rush in and out.\n\n> Y.\nIt's taken you years to work your way up from Ketchup Packet Sorter Third Class to your current post: Bad Beef Courier. It's been hard work, and it's taken its toll on you, but it's all been worth it.\nWith your new clearance, you can finally bring down Mr. McBeefy's vast animal-exploiting empire and set things right.\n\nThey said that the Beef Flu was an urban legend, but it's been eating away at you for twenty years. You must hurry: your can tell you haven't much time left.\n\nFREEDOM FOR OUR BOVINE BRETHREN!\n\nMEAT IS MURDER!\n\nChicks really dig how \"sensitive\" your activism makes you seem.\n\nCopyright (C) 2003, Ricardo SIGNES\nJacket Speed-IF 2\nPlease consult REVIEWS and FEELIES\n\nMr. McBeefy's Beef Imporium\nThe Beef Imporium -- MBI, to you wage slaves -- stands at the very base of the Tower of Beef. The vast glass ceiling lets you look up into the Tower and see the vast machinery of Mr. McBeefy's Vertical Beef Processing Facility at work. Cows and carcasses swing by at all elevations, ready to be processed from happy heifers into happy meals. Now and then an organ or spurt of blood falls onto the glass ceiling, but it's always quickly cleaned up by one of the janitors. Those lucky bastards get off with the easy work.\n\nThe supply room lies to the east, and a sliding door leads out.\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment.\n\n> You go east\nThe MBI supply room is just a little pantry, well-stocked with beef and beef accessories. MBI is back to the west.\n\nSome ground chuck sits on a sheaf of paper on a counter.\n\n> You get Chuck\nTaken.\n\n> You examine Chuck\nIt's a pile of ground chuck laid out on a table, probably for use in McBeefy Beef Tacobeef Mexiburgers (with extra Spic Sauce and Lardonnaise).\n\nUpon close inspection, you realize this is bad beef -- a perfect excuse to head up to the Disposatorium.\n\n> You eat Chuck\nThat's plainly inedible.\n\n> You look at the syringe\nIt's a syringe of your blood. It should be just swarming with the Beef Flu. Hopefully, you can get close enough to Big Buck to put it to use.\nYou feel your heart THROBBING in your chest. You're definitely getting sicker.\n\n> You go to the west\nMr. McBeefy's Beef Imporium\n\nLike most days, the place is full of kids. There are two field-trips here, at the moment.\n\n> You throw Chuck at the grinder\nPeters cries out in horror as you throw the bad chuck into the grinder and rushes over to the edge of the catwalk, peering into the grinder. You heave the bad beef into the grinder, and it happily mixes in with the rest, pouring down into production. That should do nicely."
    },
    {
        "text": "> Go downward\nThe beef comes down through the meatgrinder, a flight above you, and falls onto the conveyer belt in front of you. It's been stopped for a while, so there's quite a pile built up. The steel stairway leads back up to the grinder's top.\n\n> Search pile\nYou run your hands through the pile of meat, oblivious to the waves of nausea running through you. You're rewarded with a shiny (well, not really) key, engraved with an unfamiliar, phallic icon.\n\n> You examine the key\nThe key is pretty normal looking, except for the phallus carved into its head. Presumably that indicates its use.\n\n> Go upward\nA sign hangs on the wall here.\nYou press your hand to your head, and you can feel the vein in your forehead THROBBING as you clench your teeth.\n\nWhile they call this the decontamination room, nothing actually gets done to decontaminate anything. Basically, there's a locked door between here and the Breeding Room, and they only give the key to people who won't contaminate the studs. Apparently, this satisfies the ISO requirements. Stairs lead down and the Breeding Room door is to the west.\n\n> You unlock the door with the key\nYou unlock the breeding room door.\n\n> You open the door\nYou open the breeding room door.\n\n> Go west\nThe Breeding Room is the cleanest room you've seen in the Tower. It's a large, dome-shaped room with a dirt and grass floor. One wall is an exterior wall, and is made of one-way glass. You can see the skyline outside, as well as the sun.\n\nYou can see a Big Buck here.\n\n> You inject the Buck with the syringe\nYou casually walk over and inject the Beef Flu into Big Buck. He doesn't seem to notice, and just grunts a bit. You laugh to yourself as you realize how easy it's been. Now, you can go home and die in the knowledge that you've saved the world.\n\n> Go outside\nYou step out into the warm, sunshiny day. Here and there, co-workers sit and eat packed lunches, discussing their days. Children frolic and birds sing. What a perfect day!\n\nYou lean back against The Tower and contemplate your success, imagining the future of the world:\n\nFifty or seventy-five years from now, billions are dead from the mutated Beef Flu. Death from Super McBeefy is slow, throbbing, and painful -- as you well know -- and society has fallen apart trying merely to bury the dead and sustain the living. With the economy in shambles and the majority of the fabric of society in tatters, the human race is reduced to foraging: foraging for nuts and berries, and not beef.\n\nYou are a hero!"
    },
    {
        "text": "[Themes: Horror, horror]\n\nWARNING! This is not a nice game.\nThis is your favorite place.\nA small, almost forgotten lake just outside the city limits. His parents own the cabin here, but they never go here. And you have to look for it, deep in the wood, so nobody ever comes here.\nBut even though he's here, lying beside you in the tall grass, you\ncan still feel work in your bone. It's only Tuesday, and your eyes are already dry, your shoulders clenched, and the spot where the headset grabs onto your head has turned into an annoying small red dot. You rub it absent-mindedly and look at him. He seems distracted today, distant somehow.\n\"Thanks for picking me up, honey.\"\nHe nods and stares up at the full moon.\n\"Are you allright?\"\nHe raises his hip awkwardly and rummages around in his pocket. As you watch, a small shiver runs down your arms. It's been a warm June day, and you're still only wearing your t-shirt. He rolls over, his eyes warm and kind, and raises the knife.\n\nYou feel the the knife plunge deep into your chest - sudden, burning, confused pain. You scream out and he rolls over and covers your mouth, his calloused, warm hand terribly familiar. You try to writher away from under him, but all strength has left you, and you want to scream, to bite, but you can just wriggle helplessly. Tears burn in your eye and you choke on something metallic and viscous. And then you don't wriggle anymore, your legs go numb, and you feel your useless heart still pump blood through the hole in your chest. He looks at you, and above the hands that killed you his eyes are calm and friendly. \"I'm sorry, dear\" he whispers. \"I just don't love you anymore.\"\nYou look up at the moon, that old mistress, that has looked down on all our wars and all our blood, but there is no dignity in death. He crinkles his nose and you feel the warmth spread from your crotch down your leg. And then it ends.\n\nBut you can't go on.\n\nThe Grass is long and wild, and apruptly turns into a sandy beach to the north. In the moonlight everything appears gray, ominous.\nThere is a dark, wet spot in the grass, and from it drag marks lead west.\n\n[Author's Note: An entry in ShuffleComp: Disc 2. Inspired by \"The Ghost Who Walks\" by Karen Elson.]\n\n> About you\nYou look like you did when you died, clean sneakers, jeans, t-shirt. The fabric of your t-shirt is torn and bloody on your chest.\n\n> Xyzzy\nYou blink. You were distracted for a moment, lost in thought. You\nlook again, at your hands and the shovel.\n\n> You look at the shovel\nYou remember buying this at the hardware store, sad with the realization you had to kill her.\n\n> About you\nWomen really dig this look, but you never really cared for it.\n\n> Inventory\nYou are carrying:\na shovel\n\n> Go east\nThe Grass is long and wild, and apruptly turns into a sandy beach to the north. In the moonlight everything appears gray, ominous.\nThere is a dark, wet spot in the grass, and from it drag marks lead west.\n\nYou can see Alexa here.\n\n> X ALEXA\n\nYou can't see any such thing.\n\n> Go north\nThe wooden pier extends a few yards into the lake. Looks like some repairwork has been done on it recently, as the outer end looks new and shiny in places.\nOut in the lake, in silhouette, the island is barely visible.\n\nA nail gun is sticking up, front forward, between the boards.\n\n> You get the nail gun\nTaken.\n\n> You examine the nail gun\nFrom what you can tell, it's in working condition. The battery light is glowing faintly.\n\n> Go north\nYou take a step off the pier, fearing for a second you'll just sink into the lightless depths. But you sort of hover over the lake. Not at all unpleasant. You cast a last look down before going on.\nAnd something looks back. A white face, beneath the pier, hands reaching up. For a second, a voice, distant, like through rain\n\n\"You weren't ... the first. Avenge us. You can't touch ... can't\nsee, but you can ... possess.\"\n\nThe woman sinks, sinks. Is gone. You continue on.\n\nIt's very small, you can cross it in three quick steps. It's covered in some vegetation.\n\nThere is even a small tree here.\n\nThe main attraction is the fire pit, which seems to see regular use.\n\nA pile of junk sits besides the fire pit.\n\n> You go to the west\nThe woods begin here, dark and impenetrable.\n\nThe headlights of the car illuminate the scene with the merciless glare of a medical lamp.\n\nHe stands here, and digs.\n\nYour body lies here, crumpled, with dirt in its hair.\n\n> You examine the body\nThey say sleeping people are beautiful, and you always thought that was a lie. Sleeping people are ugly. And that's how you look, one eye half-closed, the other staring mindlessly, mouth slightly agape. Your torso a mess of blood, with something blue shimmering inside the wound. Ugly.\n\n> You examine the blue\nSome unthinkable part of your viscera. You clench your hands as you remember the pain. So sudden, so severe.\n\n> You examine him\nYou used to gently mock his hipster looks, the weird, spotty beard, checkered shirts and cord trousers. And the scene is so surreal. It's like an ad. The shovel, the small hole before him. And now you hate him. Everything about him. You want to see him suffer.\n\n> About you\nYou look like you did when you died, clean sneakers, jeans, t-shirt. The fabric of your t-shirt is torn and bloody on your chest.\n\n> You say boo\n(to He)\nYou want to scream at him, ask for answers, curse him for all eternity. But it's useless. He isn't able to notice your presence.\n\n> East\nThe Grass is long and wild, and apruptly turns into a sandy beach to the north. In the moonlight everything appears gray, ominous.\nThere is a dark, wet spot in the grass, and from it drag marks lead west.\n\n> North\nThe wooden pier extends a few yards into the lake. Looks like some repairwork has been done on it recently, as the outer end looks new and shiny in places.\nOut in the lake, in silhouette, the island is barely visible.\n\nA nail gun is sticking up, front forward, between the boards.\n\n> North\nYou take a step off the pier, fearing for a second you'll just sink into the lightless depths. But you sort of hover over the lake. Not at all unpleasant. You cast a last look down before going on.\nAnd something looks back. A white face, beneath the pier, hands reaching up. For a second, a voice, distant, like through rain\n\n\"You weren't ... the first. Avenge us. You can't touch ... can't\nsee, but you can ... possess.\"\n\nThe woman sinks, sinks. Is gone. You continue on.\n\nIt's very small, you can cross it in three quick steps. It's covered in some vegetation.\n\nThere is even a small tree here.\n\nThe main attraction is the fire pit, which seems to see regular use.\n\nA pile of junk sits besides the fire pit.\n\nA mouse runs out from the undergrowth and sits by the fire pit.\n\n> Possess mouse\nThere's something in the mouse - quick, alert, and scared, so scared, always scared - but you manage to wrestle control from it. The world seems gargantuan and hostile. It takes a moment to get your bearings. Four feet, the unconsciously swishing tail. The heart, hammering so fast inside your chest.\n\n> You examine the junk\nThere is a huge heap of discarded food wrappers, beer cans, used napkins and the like beside the fire pit.\n\n> You climb tree\nYou are on the branch overlooking the fire pit.\n\nAn old bird's nest sits here.\n\n> You examine the nest\nIt has been long abandoned.\n\n> Down\nIt's very small, you can cross it in three quick steps. It's covered in some vegetation.\n\nThere is even a small tree here.\n\nThe main attraction is the fire pit, which seems to see regular use.\n\nA pile of junk sits besides the fire pit.\n\n> You look at the pit\nIn the fire pit are a nest and a lighter.\n\n> Burn nest\nThis dangerous act would achieve little.\n\n> Possess lighter\nYou quickly dart from the mouse into the lighter.\nYou touch the lighter. There is that familiar scraping of the flint and a small spark, but the nest is not really dry enough on its own to catch fire.\n\nYou quickly dart back into the mouse.\n\n> You examine the junk\nThere is a huge heap of discarded food wrappers, beer cans, used napkins and the like beside the fire pit.\n\n> You search the junk\nAfter nosing around in it for a bit, you discover a small bottle of lighter fluid. It's hard work, but you manage to pull it out of the junk with your teeth.\n\n> You put the bottle in the pit\n(first taking bottle of lighter fluid)\nIt's too heavy.\n\n> You examine the pit\nIn the fire pit are a nest and a lighter.\n\n> JUMP ON BOTTLE\n\nYou jump on the bottle and a little lighter fluid flies into the pit.\n\n> Possess lighter\n(the lighter)\nYou quickly dart from the mouse into the lighter.\nYou touch the lighter. There is that familiar scraping of the flint and a small spark, and the fluid lights up instantaneously. The nest catches fire, and soon there is a nice fire going in the pit.\nThere is movement at the shore. A figure appears on the pier.\nYou leave the mouse and it darts away.\n\n> You go south\nThe wooden pier extends a few yards into the lake. Looks like some repairwork has been done on it recently, as the outer end looks new and shiny in places.\nOut in the lake, in silhouette, the island is barely visible.\n\nPaul stands here, looking wearily at the fire on the island.\n\nA nail gun is sticking up, front forward, between the boards.\n\n> Possess gun\nHe is about to turn back as the nail hits him in the Adam's apple. He stands for a second, and slowly grabs his throat like a surprised baronet in a soap opera. He takes one step forward and slowly turns on the spot. Blood gushes down his shirt with every heartbeat, statisfyingly black and plentiful. He falls forward, chipping one of his teeth on the wood.\nYou kneel beside him, wishing you could pick up that little bit of enamel as a memento.\nIt takes him a few minutes to die, and you idly wonder if he will go on, or if he will have to stay, like you. Maybe for people like him death is the only exit there is.\nYou look up, at the moon. The lake is silent.\n\n> You possess him\nYou touch him, but there is something in him - warm, protective, fierce - and you shrink back.\n\n> Go west\nThe woods begin here, dark and impenetrable.\n\nThe headlights of the car illuminate the scene with the merciless glare of a medical lamp.\n\nYour body lies here, crumpled, with dirt in its hair.\n\n> Possess body\nYou really don't want to try that. What if you cannot leave?\n\n> Possess car\nYou touch the car, and it suddenly honks. He looks up, startled. For a few seconds he stands, breathing open-mouthed. Then he shrugs and gets back to digging.\n\n> Yes\ncheapglulxe quit with exit status: 0"
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC, post-apocalyptic, surreal]\n\nJust your luck. You were on your way to your Aunt Mabel's 100th birthday party when your car finally gave up the ghost. Not like it hasn't been trying to do that for weeks, but on a student budget a newer car was out of reach. Nothing to do but walk to the nearest town and see about other transportation.\n\nType \"about\" for more information.\n\nYou're standing on a stretch of road by your car. On the sides of the road is nothing but flat, dry ground and nothing to see at all to the horizon. The sign you passed a few miles back said it was about 10 miles to the nearest town, the name of which you've already forgotten. Seeing as it's even farther back to the previous town, the only way to go is forward to the east.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can also see your car and a road sign here.\n\n> About yourself\nYou're tall and thirsty. Too old to be drifting loose, too young to have done anything much to deserve confirmation - your tattoos show that much.\n\n> You examine the tattoos\nYour right arm, left hand and the left side of your face are partially covered with blocky, rounded glyphs precisely specifying your age, blood type, status (social, economic, marital) and affiliations (birth-clan, adopted clan, moiety, college). None of which are going to impress anybody, except for the adopted-clan part, perhaps; Aunt Mabel's reputation extends across the known world. But even so, the conspicuous hollow circles on the backs of both hands mark you as unconfirmed.\n\nCurb skitters about.\n\n> You look at Curb\nNow this here is a pedigree Chattanooga brindled mooch-hound. This noble breed, of which Curb forms paradigm and pinnacle, is eight kinds of crazy, twelve kinds of stupid and every kind of mean.\n\nYou didn't exactly plan for a hound. A friend's bitch whelped, you were trying to act cute around a girl, and you were not at that time familiar with the quirks of the breed. The puppy got a home, you got a lifelong companion, the girl got eight stitches and the hell out of Dodge.\n\nCurb scratches his ear.\n\n> You look at car\nThis piece of junk has seen you through three years of school. You just needed it to last a little longer. Too bad it didn't. Other than that, it's got the usual things you'd find on a car... steering wheel, those little pedals that's supposed to make it go \"zoom,\" oh, and there's also a trunk in back.\n\nThrown across the back seat you can see the guitar.\n\nCurb peers curiously at Treasure Huntery Lesson 1.\n\n> You take the guitar\nThe car isn't open.\n\nCurb gnaws hungrily on his own forepaw.\n\n> You open the car\nYou open the car.\n\nCurb writhes about on his back, kicking his hind legs.\n\n> You check your inventory\nYou are carrying:\nyour car keys\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb sniffs at the road sign like the horrible little pervert he is.\n\n> You examine the sign\nAt some juncture of the distant past it may, you surmise, have displayed information of some kind; the original content has been effaced, but it still tells you something; to wit, folks here have ammo to waste and don't mind shooting at trash.\n\nCurb peers curiously at the car keys.\n\n> You take the guitar\nTaken.\n\n> You play the guitar\nYou play a few notes of \"Puff, the Magic Dragon\". Contrary to IF convention, you actually play quite well.\n\n> You open the trunk\nTwenty hours on the road are starting to take its toll on your motor skills: on the first try, you fumble the keys and drop them onto the blacktop. With a yelp of joy, Curb snaps them up and dodges out of reach. Well, fuck.\n\nCurb starts at nothing, and half falls over in a desperate attempt to escape it.\n\n> You take keys\nThat dog has a laudable attitude towards the defence of private property, and you have no desire to add a ragged, septic hand wound to your troubles.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You check your inventory\nYou are carrying:\n\n> Pet dog\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\nYou vigorously pat Curb's head until he closes his eyes and nearly falls asleep. The second you stop, though, he returns to his same old self.\n\nCurb attempts to howl, but it devolves into a whimper.\n\n> You read the lesson\n\"Treasure Huntery Lesson 1: Maps\" is a slim pamphlet that gives just the basics. You've read it a thousand times, but it never hurts to have it on hand.\n\nCurb snaps at flies.\n\n> You read the treasure huntery\n\"The first thing any treasure hunter needs is a map. It's no good to just go looking for treasure with no idea of where to look! You may be skeptical about the existence of actual treasure maps, but in fact the people who hid treasure generally wanted to be able to find it again, or even to let their heirs or accomplices find it in the event that they could not. This doesn't mean they made it easy!\"\n\n> You go to the east\nIt might be a good idea to close the car first.\n\n> You wait awhile\nTime passes.\n\n> Go west\nYou trudge back toward your car.\n\nYou're standing on a stretch of road by your car. On the sides of the road is nothing but flat, dry ground and nothing to see at all to the horizon. The sign you passed a few miles back said it was about 10 miles to the nearest town, the name of which you've already forgotten. Seeing as it's even farther back to the previous town, the only way to go is forward to the east.\n\nYou can see your car and a road sign here.\n\nCurb scampers after you.\n\n> You open the car\nYou open the car.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You look at the trunk\nYep. It's a trunk, and it's at the back of the car. You can't remember if you put anything useful in there before you left your house or not.\n\nNaturally, a protective geesoofus is prominently displayed. You wouldn't cross the badlands without one.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though."
    },
    {
        "text": "> You look in the car\nThe car is empty.\n\n> You get in the car\nYou get into the car.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You open the trunk\nYou lack a key that fits the trunk.\n\nCurb scratches his ear.\n\n> You search the car\nThe car is empty.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You open the trunk\nCurb has better things to do.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You examine the wheel\nThat's what you would use to steer the car, if it actually worked.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You hit the dog with the guitar\nViolence isn't the answer to this one.\n\nCurb fixes you with a look of abject guilt and keens softly.\n\n> You sit\nYou are carrying:\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb chases his tail, squealing frustration.\n\n(on the car keys)\nCurb has better things to do.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You give the hat to dog\nLike hell! That good-for-nothing hound destroys everything you own, but you've got to keep some things sacred.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You give the panga to the dog\nCurb watches the panga with a sceptical eye, considers its merits relative to the car keys, decides that you're trying to manipulate him and scampers to a safe distance.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You look at the panga\nTwo feet of heavy, sharp iron with a single blade. Machete, some call it. It's not much, but you're stuck with it.\n\nWhen you was born, your folks were in a bad way; they'd just gotten run out of the Dakotas, were getting just whatever work they could find till a House turned up that was accepting indentured, and didn't have the money to get anything better. So you got bound to this overgrown sheath-knife.\n\nIt's a good tool and all, and your folks did all they could to get it, but - any road, you're bound to it now, so make the best of it.\n\n> You attack Curb with the panga\nViolence isn't the answer to this one.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You examine the sign\nAt some juncture of the distant past it may, you surmise, have displayed information of some kind; the original content has been effaced, but it still tells you something; to wit, folks here have ammo to waste and don't mind shooting at trash.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You get the sign\nThat's fixed in place.\n\nCurb snaps viciously at you, then backs away with his tail between his legs.\n\n> Kiss Curb\nKeep your mind on the game.\n\n> You give the Treasure Huntery to curb\nCurb watches Treasure Huntery Lesson 1 with a sceptical eye, considers its merits relative to the car keys, decides that you're trying to manipulate him and scampers to a safe distance.\n\n> You go to the east\nIt might be a good idea to close the car first.\n\n> You look at the billboard\n* Water - Tobbaco - Erotica - Local Crafts *\n\nThe paint's faded and worn away in patches, and you can see no evidence of life; but that needn't mean anything, out here.\n\n> Go east\nYou continue to trudge down the road, you car falling away from sight behind you.\n\nAs the highway continues to the east, you can see a rutted dirt path heading off to the north toward what looks like a small farmhouse.\n\nCurb scampers after you.\n\n> Examine farmhouse\nIt's seen better days.\n\n> You go to the north\nYou head toward the small farmhouse.\n\nA wide porch of wood slats, with the obligatory animal skulls nailed up against the wall. South leads back to the road; north takes you inside.\n\nJust outside the shadowed doorway, a parched corpse slumps in a rocking-chair, a long gun across his knees.\n\nCurb scampers after you.\n\n> You look at the corpse\nTall guy. Thin, but that's most likely just how you get when you dry out. Old clothes; someone already took his hat and been through his pockets. Buzzards been at him, so you can't tell much else. Had a red beard. Gun still lying across his lap.\n\nCurb attempts to swallow your car keys, chokes, and brings them back up. He doesn't drop them, though.\n\n> You look at the gun\nLong enough barrel, but it's just a home-made matchlock. Badly made, too - the lock's blown wide open. Likely that's what got him. Certainly didn't help him any.\n\n> You take the gun\nWith a sharp tug, you pull the gun from the corpse's stiff hands. As you do, the blasted lock falls apart entirely, leaving you with just the long musket-barrel.\n\n> Examine barrel\nA musket barrel about five and a half feet long. More suited to a drainpipe than a gun, but you're in no place to judge.\n\nCurb snaps at flies.\n\n> Go north\nLight spills through dust-caked windows and cracks in the log walls. It doesn't show up much. Some shelves, an old counter that may once have held a till, an uneven plank floor; must have been looted a dozen times over. Over in one corner there's a trapdoor.\n\nOn the shelves are a Twinkie, a strip of bison jerky, and a Son of Toil bar.\n\nNo phone, of course. Not that you were expecting one, at this point.\n\nCurb scampers after you.\n\n> You take all\nTwinkie: Taken.\nstrip of bison jerky: Taken.\nSon of Toil bar: Taken.\n\n> You give the jerky to curb\nYou wave the strip of bison jerky at Curb. His ears prick up, and he abandons the car keys immediately, almost taking your fingers off as he snatches the delicious treat away from you.\n\nCurb attempts to howl, but it devolves into a whimper.\n\n> You take the keys\nYou steel your courage. Dog slobber is no picnic.\n\nTaken.\n\nCurb attempts to howl, but it devolves into a whimper.\n\n> Go south\nA wide porch of wood slats, with the obligatory animal skulls nailed up against the wall. South leads back to the road; north takes you inside.\n\nJust outside the shadowed doorway, a parched corpse slumps in a rocking-chair.\n\nCurb scampers after you.\n\n> Go south\nAs the highway continues to the east, you can see a rutted dirt path heading off to the north toward what looks like a small farmhouse.\n\nCurb scampers after you.\n\n> You go to the west\nYou silently head back in the direction of your car.\n\nYou silently trudge down the road toward the town, wherever it may be.\n\nThis lonely stretch of road seems to continue east toward the horizon. The sides of the road haven't changed much either. It's still flat, dry ground. You can see your car in the distance to the west.\n\nA ways down the road you can make out a solitary billboard.\n\nCurb scampers after you.\n\n> Go west\nYou trudge back toward your car.\n\nYou're standing on a stretch of road by your car. On the sides of the road is nothing but flat, dry ground and nothing to see at all to the horizon. The sign you passed a few miles back said it was about 10 miles to the nearest town, the name of which you've already forgotten. Seeing as it's even farther back to the previous town, the only way to go is forward to the east.\n\nYou can see your car and a road sign here.\n\nCurb scampers after you.\n\n> You examine the sign\nAt some juncture of the distant past it may, you surmise, have displayed information of some kind; the original content has been effaced, but it still tells you something; to wit, folks here have ammo to waste and don't mind shooting at trash.\n\n> Unlock trunk\nYou insert your key in the trunk and it pops open.\n\n> You look in the trunk\nIn the trunk are a glow-jar and an offering.\n\n> You take all from the trunk\nglow-jar: Taken.\noffering: Not much you can do with these until you have some form of transport; you sure as hell ain't smoking them.\n\nCurb peers curiously at the panga.\n\n> You examine offering\nOne thousand packs of filterless Camels, your birthday gift to Aunt Mabel. Hopefully it'll be a sufficient offering for her to confirm you, but that's no sure thing.\n\nCurb snatches up the offering in his mouth and gnaws noisily at it.\n\n> You play the guitar\nYou play a few notes of some Rick Astley song you can't remember the name of. Contrary to IF convention, you actually play quite well.\n\n> You play the guitar\nYou play a few notes of some Rick Astley song you can't remember the name of. Contrary to IF convention, you actually play quite well.\n\nCurb starts at nothing, and half falls over in a desperate attempt to escape it.\n\n> You play the guitar\nSome of the crazier hill-tribes sell this glowy liquid stuff. It's nasty stuff - you wouldn't want to get it on your skin - but you figure that if it's sealed in a Ball jar you should be just fine. Anyhow, it gives off a decent light that never goes out, which is why you paid fifty smokes for it.\n\nYou play a few notes of \"Chobits ending theme 2\". Contrary to IF convention, you actually play quite well.\n\nEyes rolling nervously, Curb hunches over and humps thin air.\n\n> Go east\nIt might be a good idea to close the trunk first.\n\n> You open the trapdoor\nYou open the trapdoor.\n\nA pale moth flutters out of the cellar. You reflexively make a warding sign - though they don't help much with Curb, so their potency against curses and doom seems to be limited.\n\nCurb writhes about on his back, kicking his hind legs."
    },
    {
        "text": "[Themes: IF Whispers, post-apocalyptic]\n\n> You go downwards\nHolding the glow-jar before you, panga at the ready, you cautiously descend into the cellar.\n\nPlenty of sweat went into digging this cellar out, and it smells like it. Wooden shelves are hammered into the dirt walls, covered in grime. Dirt steps are cut into one wall, leading up to a trap door.\n\nYou hear an eager whine, and Curb barrels into the trap-door from above, which just misses your head as it slams shut.\n\n> Curse\nBlasphemy!\n\n> You examine the trapdoor\nA crude wooden trapdoor bolted into the floor with rustic iron hinges.\n\nA heavy sound suggests Curb might have been walking around, but just sat down again."
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC]\n\n> Describe the surroundings\nPlenty of sweat went into digging this cellar out, and it smells like it. Wooden shelves are hammered into the dirt walls, covered in grime. Dirt steps are cut into one wall, leading up to a trap door.\n\nIt sounds like Curb is gnawing on something above the trapdoor.\n\n> You examine the shelves\nAin't much to one of these shelves. A couple of two-by-fours sunk into the wall, and some one-by-fours set across, and some dirt.\n\nCurb scuffles at the trapdoor, as though trying to dig through it.\n\n> You search the dirt\nWhich do you mean, the packed dirt, the dirt corner, or the dirt steps?\n\n> You dig the packed dirt\nWith what, your panga?\n\nCurb howls mournfully. Thank goodness the trapdoor muffles some sound.\n\n> Yes\nWell, if you must, you must. It's a tool before all else, it's true. You start hacking away at the dirt.\n\nIt's a really crummy tool for this job, though.\n\nAfter a while, you hear a \"thunk\", and realize you've hit wood. A little more work, and you realize there's a sort of a cubby down there - a place to stash things where they won't be disturbed. Except by jerks with pangas, of course.\n\n> You look at the cubby\nA rough hole has been hacked into the ground here, down to a little cubby made of wood. Tucked into the cubby are a diary, an old bolt, and a piece of paper.\n\n> You take all\ndiary: Taken.\nold bolt: Taken.\npiece of paper: Taken.\n\n> You read the paper\nAn old, brittle, yellowing piece of paper, maybe once a shopping list, written in big, painful capital letters. Some of it has succumbed to time, but what you can read says:\n\n(smudge) RTS CREAM\n2 DOSEN EGG\n6 HINDGE BOLTS\n50# LEAD FOR SHOOTING\nHALF DOSEN LEMONS\nMEDECENE FO(smudge)MPA\n\nThe rest is all a blur.\n\nYou hear the familiar sounds of Curb eating his own vomit.\n\n> You examine diary\nA worn-out leather diary, written in a crabbed hand. Your letters were never all so good as that, and you wouldn't want to try reading this mess in anything but good light."
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC]\n\n> Describe the surroundings\nPlenty of sweat went into digging this cellar out, and it smells like it. Wooden shelves are hammered into the dirt walls, covered in grime. Dirt steps are cut into one wall, leading up to a trap door. A rough hole has been dug - or cut, really - into the corner.\n\nCurb howls mournfully. Thank goodness the trapdoor muffles some sound.\n\n> You examine the shelves\nAin't much to one of these shelves. A couple of two-by-fours sunk into the wall, and some one-by-fours set across, and some dirt.\n\n> You take the shelves\nThat's hardly portable.\n\n> You look at the bolt\nYou try to open the trapdoor, but it seems to be stuck. Or Curb has set his mangy behind down on it, which seems just about as likely.\n\nIt sounds like Curb is gnawing on something above the trapdoor.\n\n(the old bolt)\nActually, it's only part of an old bolt. It's rusty, stained, and the end is broken off, so it's only about an inch long.\n\nHmm. Bolts needing changed, and this one's broken and rusty. Might be too much to hope for...\n\n> You look at the door\nA crude wooden trapdoor bolted into the floor with rustic iron hinges. Now that you look closely, those bolts do look somewhat old and shabby. Certainly no match for, say, your panga.\n\n> You hit the door\nYou bruise your knuckles on the bolts. Maybe you should find something else to use.\n\nYou hear the familiar sounds of Curb eating his own vomit.\n\n> You hit the bolts with the panga\nArmed with your newfound knowledge - and your trusty panga - you lay into the trapdoor's bolts. They shatter with a few sharp blows each.\n\nAs you are attacking the last bolt, there's a dangerous creaking sound, and suddenly the trapdoor collapses, spilling dust, rust, and your ever-faithful friend, Curb, down onto your head. But at least the trapdoor is open again!\n\nCurb scampers after you.\n\n> Go upwards\nLight spills through dust-caked windows and cracks in the log walls. It doesn't show up much. Some shelves, an old counter that may once have held a till, an uneven plank floor; must have been looted a dozen times over. Over in one corner there's a trapdoor.\n\nCurb scampers after you.\n\n> You read diary\nA worn-out leather diary, written in a crabbed hand. Your letters were never all so good as that, and it's hard to make out exactly what the owner was writing about, but it looks like he spent some time in Afterbliss.\n\n> Author\nScene 4, \"Ghosts\", was written by Marius Mueller.\n\n> You read the diary\nA worn-out leather diary, written in a crabbed hand. Your letters were never all so good as that, and it's hard to make out exactly what the owner was writing about, but it looks like he spent some time in Under a Tree.\n\nCurb vomits from excitement, his ribcage convulsing. He laps up the result hurriedly, before you steal his prize."
    },
    {
        "text": "> You describe your surroundings\nLight spills through dust-caked windows and cracks in the log walls. It doesn't show up much. Some shelves, an old counter that may once have held a till, an uneven plank floor; must have been looted a dozen times over. Over in one corner there's a trapdoor.\n\nCurb detracts from the scenic value of the vicinity.\n\n> You check what you're carrying\nYou are carrying:\na piece of paper\nan old bolt\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\n> Examine bar\nSon of Toil bars contain protein and suchlike for the man with work on his mind. You never had so much work on your mind that you could stand the taste. The packaging is attractively decorated with an image of some Bible feller in a generic act of honest labour.\n\n> You eat the bar\nYou feel a strong personal disinclination against such a venture. Say what you will. Maybe it's on account of your weak non-toiling constitution or some such.\n\nCurb has apparently grown bored with the offering. If you want it, you'll have to brave a great deal of slobber.\n\n> You take the offering\nNot much you can do with these until you have some form of transport; you sure as hell ain't smoking them.\n\n> You examine offering\nOne thousand packs of filterless Camels, your birthday gift to Aunt Mabel. Hopefully it'll be a sufficient offering for her to confirm you, but that's no sure thing.\n\nIt's covered in dog slobber and chew marks.\n\nCurb peers curiously at the panga.\n\n> You look at Twinkie\nOne of the foulest creations of the Former Age, but they contain calories of some kind and they never rot. You don't blame the looters for leaving it, though.\n\n> You examine the tattoo\nYour right arm, left hand and the left side of your face are partially covered with blocky, rounded glyphs precisely specifying your age, blood type, status (social, economic, marital) and affiliations (birth-clan, adopted clan, moiety, college). None of which are going to impress anybody, except for the adopted-clan part, perhaps; Aunt Mabel's reputation extends across the known world. But even so, the conspicuous hollow circles on the backs of both hands mark you as unconfirmed.\n\nCurb gnaws hungrily on his own forepaw.\n\n> Go south\nA wide porch of wood slats, with the obligatory animal skulls nailed up against the wall. South leads back to the road; north takes you inside.\n\nJust outside the shadowed doorway, a parched corpse slumps in a rocking-chair.\n\nCurb scampers after you.\n\n> Go south\nAs the highway continues to the east, you can see a rutted dirt path heading off to the north toward what looks like a small farmhouse.\n\nCurb scampers after you.\n\n> Go east\nYou walk for a few sandy miles, out into the desert, and night begins to fall, slowly, like a dead parachutist. In the distance, the whispering wind takes on a howl - looks like a sandstorm is on its way. By the time you realize this, however, you've gone to far to go back to your car.\n\nAnd so, in the depths of nights, with the sandstorm building up its inhuman, demonic power around you, you find yourself on...\n\nThe building is in the state you've expected from a ghost town. Its upper floor is completely gone, but the front is still standing, and you can barely make out the words Kissing Bandit Saloon in sun-bleached red paint. One half of a swinging door leads north, inside.\n\nCurb scampers after you.\n\n> You go north\nYou enter through the swing door, Curb on your heels.\n\nThis room is much smaller than what the movies tell you. A stairway leads up to a gallery, though most of the roof and the upper floor is missing. A few chairs and tables gather dust, accompanied by a lone piano in a corner.\nA counter is near the back wall.\nAn impressive chandelier dangles from the remains of the ceiling.\n\nOn the counter is an empty pewter mug.\n\nBehind the counter is a shelf lined with a row of casks.\n\nAn empty lemon juice bottle lies abandoned by the counter.\n\n> You play the piano\nYou play some notes from \"The Late Goodybe\" by Poets of the Fall, but then realize that the piano is one of those automatons. It even features some screechy lyrics. You can make something about a guy called Tom, who was a slinger, but not slinging \"a gun\". Something about a more lyrical meaning. Thankfully, the record ends soon.\n\nCurb peers curiously at the Son of Toil bar and makes a famished whine.\n\n> Author\nScene 4, \"Ghosts\", was written by Marius Mueller.\n\n> You take all\nshelf: That's fixed in place.\nempty glass bottle: Taken.\nempty pewter mug: Taken.\n\n> Examine mug\nIt's empty.\n\n> You look at the bottle\nIt's a clear glass bottle with a jaunty picture of an anthropomorphized lemon on the label. However, it is bone dry inside.\n\nCurb savagely gnaws at his genitals with slurpy snarls of contentment.\n\n> Bottle\nempty pewter mug: You already have that.\nempty glass bottle: You already have that.\n\nCurb stares at the rum cask with paranoid fascination.\n\n> You look at cask\nWhich do you mean, the beer cask, the wine cask, the moonshine cask, the rum cask, the sarsaparilla cask, or the lemonade cask?\n\n> You look at the moonshine\nIt has \"XXXXX\" stencilled on the front. Wow, five X's? That must be strong stuff!\n\nCurb peers curiously at the musket barrel.\n\n> You examine the sarsaparilla\nYou see nothing special about the sarsaparilla cask.\n\nCurb skitters about.\n\n> You examine the wine\nIt's labelled \"House White\". There doesn't seem to be a house red. Maybe the patrons of this saloon preferred delicate, subtle flavors.\n\n> You look at the beer\nYou see nothing special about the beer cask.\n\nCurb chases his tail, squealing frustration.\n\n> You examine the rum\nIt has the words \"RED RUM\" scratched crudely into the wood. Funny, the R's are backward. Maybe it's cyrillic and it really says YAED YAUM.\n\nCurb sniffs at the rum cask like the horrible little pervert he is.\n\n> Drink moonshine\n(the pewter mug of moonshine)\nYou slam it back. Ahh, refreshing."
    },
    {
        "text": "> You describe your surroundings\nThis room is much smaller than what the movies tell you. A stairway leads up to a gallery, though most of the roof and the upper floor is missing. A few chairs and tables gather dust, accompanied by a lone piano in a corner.\nA counter is near the back wall.\nAn impressive chandelier dangles from the remains of the ceiling.\n\nCurb detracts from the scenic value of the vicinity.\n\nBehind the counter is a shelf lined with a row of casks.\n\n> You look at the chandelier\nAn old, cobwebbed chandelier. Looks like some sort of map is stuck in the chandelier.\n\nCurb attempts to howl, but it devolves into a whimper.\n\n> You take the map\nYou can't reach it up there.\n\nCurb scratches his ear.\n\n> You get on piano\nThat's not something you can enter.\n\nCurb tries to gnaw on the shelf. You shoo him off before he does too much damage.\n\n> You throw the barrel at the map\n(the musket barrel at the treasure map)\nFutile.\n\nCurb writhes about on his back, kicking his hind legs.\n\n> You throw the barrel at the chandelier\n(the musket barrel at the chandelier)\nYou can't quite throw that high.\n\nCurb peers curiously at the Son of Toil bar and makes a famished whine.\n\n> You stand on Curb\nThat's not something you can stand on.\n\nCurb skitters about.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\nCurb peers curiously at the car keys.\n\n> You take Curb\nHe's too heavy to carry about, and you'd get fleas.\n\nCurb peers curiously at the panga.\n\n> You check your inventory\nYou are carrying:\nan empty pewter mug\nan empty glass bottle\na piece of paper\nan old bolt\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb writhes about on his back, kicking his hind legs.\n\n> You go upwards\nYou've climbed half-way up the stairs. To go any further would be foolishly risking your life.\n\nAn old piece of cloth sticks to the floorboards here.\n\nCurb scampers after you.\n\n> You examine the cloth\nAn old piece of blue cloth. Could be ripped out from a pair of jeans or something.\n\nCurb snaps at flies.\n\nCurb eyes the piece of cloth with more than curiosity, something akin to keen interest. He sniffs it expectantly.\n\n> Show cloth to curb\nCurb sniffs the shred of cloth. He then holds up his head, and just for a moment, you can see, even in this big, repulsive heap of fat meat and dirty fur, the wolf, scenting the deer.\n\n> You go curb\nThat's not something you can enter.\n\nCurb goes down."
    },
    {
        "text": "[Themes: IF Whispers, surreal]\n\n> Go down\nThis room is much smaller than what the movies tell you. A stairway leads up to a gallery, though most of the roof and the upper floor is missing. A few chairs and tables gather dust, accompanied by a lone piano in a corner.\nA counter is near the back wall.\nAn impressive chandelier dangles from the remains of the ceiling.\n\nCurb detracts from the scenic value of the vicinity.\n\nBehind the counter is a shelf lined with a row of casks.\n\nCurb frantically digs a hole in a corner.\n\n> Wait\nTime passes.\n\nCurb tries to gnaw on the beer cask. You shoo him off before he does too much damage.\n\n> You examine the hole\nA hole, not as artfully dug as what you did in the cellar, but what can you expect from Curb?\nIn it you can see a skull.\n\nCurb peers curiously at the panga.\n\n> You take skull\nTaken.\n\nCurb tries to gnaw on the piano. You shoo him off before he does too much damage.\n\n> You look at it\nA human skull. It's wearing an eyepatch that's in surprisingly good condition.\n\nCurb peers curiously at the empty pewter mug.\n\n> You take the eyepatch\nYou slide the eyepatch off the skull.\n\nCurb scratches at the ground with his forepaws.\n\n> You look in the skull\nYou find nothing of interest.\n\nCurb peers curiously at the shred of cloth.\n\n> You put the bolt in the eyepatch\nThe eyepatch won't keep anything in it for long. If you want to sling the old bolt at something, you should just sling the old bolt at it directly.\n\n> Sling bolt at map\nTaking good aim, and a few practice swings, you haul your missile at the treasure map- up and up it goes-\nHit!\nThe treasure map tumbles down. But so does a part of the chandelier, knocking you out. The last thing you hear is Curbs anxious growling. The last thing you feel, unfortunately, is Curbs wet tongue, licking your cheek. Then, thankfully, you pass out.\n\n*** You have knocked yourself out.***\n\nYou wake up with a bad headache. Outside, the sun is shining again,\nthe sandstorm is gone. Curb has rolled up at your side, and for all his faults, you love him for that.\n\n> You put the bolt in the barrel\n(the musket barrel)\nThat can't contain things.\n\n> You hit the chandelier with the barrel\n(the musket barrel)\nIt's high up on the ceiling, out of reach.\n\nCurb sniffs at the counter like the horrible little pervert he is.\n\n> Sling bolt at map\nTaking good aim, and a few practice swings, you haul your missile at the treasure map- up and up it goes-\nHit!\nThe treasure map tumbles down. But so does a part of the chandelier, knocking you out. The last thing you hear is Curbs anxious growling. The last thing you feel, unfortunately, is Curbs wet tongue, licking your cheek. Then, thankfully, you pass out.\n\n*** You have knocked yourself out.***\n\nYou wake up with a bad headache. Outside, the sun is shining again,\nthe sandstorm is gone. Curb has rolled up at your side, and for all his faults, you love him for that.\n\nCurb stares at the lemonade cask with paranoid fascination.\n\n> You take the map\nTaken.\n\nCurb sniffs at the chairs. like the horrible little pervert he is.\n\n> You look at the map\nWell, it's obviously a treasure map, because it has a big X on it to mark the spot. But it's a pretty strange map: it's completely blank, and has a light iridescent sheen to it, like a photographic plate. Also, it's strangely warm to the touch.\n\n> You touch the map\nIt's definitely hotter in some spots than others.\n\nCurb vomits from excitement, his ribcage convulsing. He laps up the result hurriedly, before you steal his prize.\n\n> You look at what you're carrying with you\nYou are carrying:\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\nan empty glass bottle\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb snaps at flies.\n\n> You touch the jar\nYou feel nothing unexpected.\n\nCurb fixes you with a look of abject guilt and keens softly.\n\n> Author\nScene 5, \"Invisiclues\", was written by Carl Muckenhoupt.\n\n> You read the Treasure Huntery\n\"For one thing, the maps are often nearly as well-hidden as the treasures themselves. However, that doesn't mean you're left to search aimlessly. The purpose of the map is defeated if no one has access to it, so treasure maps can usually be found among the effects of the treasure-hiders, or in places they frequented. Look in residences, gathering-places, and vehicles.\"\n\nCurb peers curiously at Treasure Huntery Lesson 1.\n\n> Keep going\n\"Once you've found your map, the next step is deciphering it. Treasure maps are usually encrypted or obfuscated in some way. Edgar Allan Poe's short story The Gold Bug tells about a map that has instructions written in code... and also in invisible ink!\"\n\n> Continue\n\"Invisible ink is actually surprisingly common in authentic treasure maps -- and one of the main reasons that there are still treasure maps that have gone undetected. The most popular form of invisible ink is ordinary lemon juice, although any weak acid works just as well. When heat is applied to the paper, the parts weakened by the lemon juice discolor more quickly. There are recorded attempts at developing an ink that would work the other way around, but to our knowledge this has never been done successfully.\"\n\nCurb scratches his ear.\n\n> You look at the lemonade\nYou see nothing special about the lemonade cask.\n\nCurb attempts to howl, but it devolves into a whimper.\n\n> You fill the mug with the lemonade\nThe lemonade cask seems to be empty.\n\n> You look at the lemon\nIt's a clear glass bottle with a jaunty picture of an anthropomorphized lemon on the label. However, it is bone dry inside.\n\n> Inventory\nYou are carrying:\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\nan empty glass bottle\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb peers curiously at the diary.\n\n> You look at cask\nWhich do you mean, the beer cask, the wine cask, the moonshine cask, the rum cask, the sarsaparilla cask, or the lemonade cask?\n\n> You fill the mug with the wine\nThe pewter mug is now full of vinegar.\n\nCurb skitters about.\n\n> You pour the vinegar on the map\n(the pewter mug of vinegar on the treasure map)\nLittle wisps of vinegar-scented smoke curl upward as an image appears on the map.\n\n> You examine the map\nThe map shows an incomprehensible noisy pattern of red and blue pixels with a big black X in the middle.\n\nCurb fixes you with a look of abject guilt and keens softly.\n\n> You fill the bottle with the rum\nThe glass bottle is now full of rum.\n\nCurb scratches at the ground with his forepaws.\n\n> You examine the rum\n(the glass bottle of rum)\nThe rum is a brilliant red color, but it smells like rum all the same.\n\n> You look at the map through bottle\nAha! When you look through the red rum, you the pattern becomes clear. Instead of a map, all you see is the word \"LUXOR\".\n\nWhat the heck? The treasure is in Egypt?\n\nWell, there's nothing for it. If you're going to get that treasure, you'll have to get to Egypt. One plane flight later, some checking with the remainder of the map, and you find your way to a worn-down souk by the Necropolis.\n\nYou've followed your treasure map to this dingy little tobacco house on the eastern bank of the Nile. Sleepy old men gather around the hookahs and trade smoke. A cabinet full of curiosities lines the back wall.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb scratches at the ground with his forepaws.\n\n> Author\nScene 6, \"The One-Armed Time Bandit\", was written by Michael Martin.\n\n> You look at the men\nThe clientele here doesn't seem to be paying attention to much. Even the nicotine isn't keeping them alert.\n\n> You examine the cabinet\nIn the cabinet are some artifacts.\n\nCurb tries to gnaw on the tables. You shoo him off before he does too much damage.\n\n> You look at artifacts\nThese are relics and gewgaws from all over the world. One in particular catches your eye - a softwood box with your family crest imprinted on it.\n\nCurb peers curiously at the alligator stetson.\n\n> Examine box\nThis fine sandalwood box must be some lost heirloom of your family line; it's got your crest on the lid.\n\nCurb peers curiously at the diary.\n\n> You examine the crest\nIt's the same symbol and motto that has been passed down through your family for generations: An extinguished lantern under the phrase SIC SEMPER RIMORIS.\n\nCurb savagely gnaws at his genitals with slurpy snarls of contentment.\n\n> You take the box\nTaken.\n\nCurb peers curiously at the piece of paper.\n\n> You open the box\nYou open the heirloom box, revealing a decoder ring and a slip of paper.\n\nCurb peers curiously at the panga.\n\n> You read the slip\nThis old slip of paper has the mysterious message DSAJX YPFC, XUJPER on it.\n\nCurb peers curiously at the Twinkie and makes a famished whine.\n\n> You examine the ring\nThis decoder ring has a wheel that matches letters to other letters. Surely, with this, the darkest secrets of the cosmos are yours.\n\n[To use the decoder ring, type the command DECODE (text), where (text) is the text you wish to decode.]\n\n> You wear the ring\n(first taking the decoder ring)\nYou put on the decoder ring.\n\nCurb stares at the tables with paranoid fascination.\n\n> You look at the tables\nThe tables here are stained with years of smoking.\n\nCurb snaps at flies.\n\n> Xujper\nUsing your mighty ancestral decoder ring, you decode DSAJX YPFC, XUJPER to WRONG CITY, GENIUS.\n\n> Decode luxor\nYou ponder the map. \"LUXOR\" alone really isn't much of a clue to finding the treasure on its own. Perhaps if you put your ancestral decoder ring to work, it will produce a new clue. Let's see. \"L\" maps to \"V\", \"U\" to \"E\"...\n\nYou feel a certain sinking feeling as you guess the rest. Yep. \"LUXOR\" decodes to \"VEGAS\". You've been searching on the wrong continent all this time. At least you did get that it was in a desert, though.\n\nTime to book another flight.\n\nIt's dry as a bone out there, but at least in here the drinks flow freely. The map, suitably reinterpreted to this locale, lead you to this slot machine, right on the X in LUXOR. All around you, blinking, screaming electronics want to take your money, but your steely resolve remains undeterred.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb skitters about.\n\n> You examine the machine\nThis slot machine looks much like the others here; video screens showing results, lots and lots of flashing lights and exciting sounds, and a slot with which you may insert all your money.\n\n> Play machine\nYou stick a token in the machine and pull the lever. Lemon, Lemon, and... your family crest? This is no ordinary slot machine.\n\nIt's no ordinary payout mechanism, either. A chute opens up beneath you, and you slide into darkness.\n\nThis is more like it! The chute took you into this awesome command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can also see a ladder here.\n\nCurb peers curiously at the alligator stetson.\n\n> You climb the ladder\nYou're here in front of a slot machine situated right on top of the X in the Luxor's logo. All around you, blinking, screaming electronics want to take your money, but your steely resolve remains undeterred. A dark passage in front of the slot machine leads down.\n\nCurb scampers after you.\n\n> You look at the slot\nThis slot machine looks much like the others here; video screens showing results, lots and lots of flashing lights and exciting sounds, and a slot with which you may insert all your money.\n\nCurb peers curiously at the decoder ring."
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC, post-apocalyptic]\n\n> Go down\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you. Whether you like it or not.\n\n> Go north\nThe acoustics in this room look carefully shaped, which is odd, because the centerpiece of this room is in fact a huge brass cannon.\n\nAs you enter, a booming voice intones, \"STAND BY FOR MIND CONTROL.\"\n\n> Test\nTime passes.\n\nThe booming voice continues, \"GO SOUTH.\"\n\n>go south\n\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you.\n\n> Go south\nThis room is decorated in the severest of blacks and whites. Everything is dead silent. A passageway leads quietly back up to the north.\n\nAn invisible box squats against the south wall.\n\nYou can also see a phantom wind machine here.\n\nCurb scampers after you.\n\n> You look at the wind machine\nThis is a small switch, painted in severe black and white. It is labeled \"PHANTOM WIND MACHINE\". Beneath that, in much smaller letters, is inscribed KUKURQPUVW.\n\nThe phantom wind machine is currently switched off.\n\nCurb writhes about on his back, kicking his hind legs.\n\n> Decode kukurqpuvw\nUsing your mighty ancestral decoder ring, you decode KUKURQPUVW to MEMESHIELD.\n\nCurb gnaws hungrily on his own forepaw.\n\n> You turn on MACHINE\nYou switch on the device, and suddenly a powerful wind assaults your face. Oddly, your hair and possessions seem totally unaffected.\n\n> Go north\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you. Whether you like it or not.\n\n> You go west\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nThis room appears to be some sort of shrine to old arcade games. A passage leads back east.\n\nCurb scampers after you.\n\n> Play\nWhat do you want to play?\n\n> You go to the east\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you.\n\nThe wind abruptly stops.\n\n> You examine hat\n(the alligator stetson)\nYou never seen an alligator, but it's certain they make a fine hat.\n\n> You take the hat\n(the alligator stetson)\nYou already have that.\n\nCurb savagely gnaws at his genitals with slurpy snarls of contentment.\n\n> You take the mome hat\nThough you realize that you risk the dreaded Mome Wrath for your defilement, you collect the Mome hat.\n\nCurb sniffs at the Mome statue like the horrible little pervert he is.\n\n> You wear it\nYou put on the Mome hat.\n\n> You check your inventory\nYou are carrying:\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open)\na slip of paper\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCurb writhes about on his back, kicking his hind legs.\n\n> Pray\nYou mumble a prayer from your childhood:\n\nI see the moon, and the moon sees me.\nGod bless the moon and God bless me.\n\nIt's a pretty selfish prayer, when you think about it. I mean, the moon is covered, but I guess you really don't care about anything or anyone else, do you?\n\nI swear... you belong in Vegas.\n\nCurb peers curiously at the piece of paper.\n\n> You look at the statue\nThe Mome's hat has been stolen.\n\nCurb peers curiously at Treasure Huntery Lesson 1.\n\n> About yourself\nYou're tall and thirsty. Too old to be drifting loose, too young to have done anything much to deserve confirmation - your tattoos show that much.\n\nCurb chases his tail, squealing frustration.\n\n> Kiss statue\nYou can only do that to something animate.\n\n> You examine the tattoos\nYour right arm, left hand and the left side of your face are partially covered with blocky, rounded glyphs precisely specifying your age, blood type, status (social, economic, marital) and affiliations (birth-clan, adopted clan, moiety, college). None of which are going to impress anybody, except for the adopted-clan part, perhaps; Aunt Mabel's reputation extends across the known world. But even so, the conspicuous hollow circles on the backs of both hands mark you as unconfirmed.\n\nCurb starts at nothing, and half falls over in a desperate attempt to escape it.\n\n> You go west\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you.\n\n> You examine MACHINE\nThis is a small switch, painted in severe black and white. It is labeled \"PHANTOM WIND MACHINE\". Beneath that, in much smaller letters, is inscribed KUKURQPUVW.\n\nThe phantom wind machine is currently switched off.\n\nCurb fixes you with a look of abject guilt and keens softly.\n\n> You turn on MACHINE\nYou switch on the device, and suddenly a powerful wind assaults your face. Oddly, your hair and possessions seem totally unaffected.\n\nCurb vomits from excitement, his ribcage convulsing. He laps up the result hurriedly, before you steal his prize.\n\n> You go north\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nCurb scampers after you.\n\n> You go to the north\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nThe acoustics in this room look carefully shaped, which is odd, because the centerpiece of this room is in fact a huge brass cannon.\n\nA booming voice intones a command at you. The winds surrounding you distort the voice. You think it said \"STAND BY FOR MIME CONTRAIL.\"\n\n> You examine the cannon\nYou enter the cannon.\n\nThe booming voice continues with what sounds like \"NOW SHOOT.\"\n\n> Shoot cannon\nThe cannon fires, rocketing you through the plate glass window and into the room beyond.\n\nIt's not as tidy as it was before you made your grand entrance through the window to the south, but this is still a perfectly functional office. An official-looking door leads west.\n\nCurb scampers after you.\n\n> You examine the window\nYou see nothing special about the plate glass window, except for the fact that it's been smashed into a hojillion pieces, thus allowing you access to the room beyond.\n\nCurb sniffs at your tattoos like the horrible little pervert he is.\n\n> You go to the west\nIt's slow going fighting through the imaginary wind that's whipping your face.\n\nYou are in a brightly-lit pillared underground chamber, with purple shag carpeting and a group of very generous people. A back office lies to the east, while the west end of the lounge gives off a gentle glow.\n\nYou can see Bruce K, Corinne Q, Sammy Z-E, a Cubist shape, a red square, a gray square, a brown square, and a black square here.\n\nCurb scampers after you.\n\nThe wind abruptly stops.\n\n> Author\nScene 7, \"TBA\", was written by N.B. Horvath.\n\n> You take all\nCubist shape: Taken.\nred square: Taken.\ngray square: Taken.\nbrown square: Taken.\nblack square: Taken.\nslip of paper: Taken.\n\nBruce K gifts a small wooden fish to Corinne Q. Corinne Q hands a small wooden woodchuck to Bruce K.\n\nSammy Z-E transfers a plastic card to Bruce K. Bruce K passes a bolt of cloth to Sammy Z-E.\n\n> You read slip\nThis old slip of paper has the mysterious message DSAJX YPFC, XUJPER on it.\n\nBruce K gives a bolt of inspiration to Sammy Z-E. Sammy Z-E presents a small wooden house to Bruce K.\n\nSammy Z-E forks over a bolt of cloth to Bruce K. Bruce K gives a bolt of cloth to Sammy Z-E.\n\n> You check your inventory\nYou are carrying:\na slip of paper\na black square\na brown square\na gray square\n\n> You examine paper\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nWhich do you mean, the slip of paper, or the piece of paper?\n\n> You give square to Sammy\nWhich do you mean, the black square, the brown square, the gray square, or the red square?\n\n> You look at the piece\nWhich do you mean, the shred of cloth, or the piece of paper?\n\n> You examine the piece of paper\nAn old, brittle, yellowing piece of paper, maybe once a shopping list, written in big, painful capital letters. Some of it has succumbed to time, but what you can read says:\n\n(smudge) RTS CREAM\n2 DOSEN EGG\n6 HINDGE BOLTS\n50# LEAD FOR SHOOTING\nHALF DOSEN LEMONS\nMEDECENE FO(smudge)MPA\n\nThe rest is all a blur.\n\n> Go west\nThis end of the Giving Lounge is bathed in gentle light. A set of (literally) pearly gates stands to the west.\n\nYou pause to reflect on this for a moment. The fact that the pearly gates are underground adds that extra touch of Vegas oddness to the scene.\n\nYou can see a set of pearly gates and a guardian angel here.\n\nCurb scampers after you.\n\n> You examine angel\nActually he's dressed as a Roman centurion, but you can tell that he's a guardian angel from the \"HELLO MY NAME IS\" name tag.\n\n> You go west\nThe angel gently blocks your way. \"Sorry my child. You are not enlightened. You do not match. Not yet.\"\n\n> You ask the angel about the enlightenment\nThere is no reply.\n\nCurb peers curiously at the panga.\n\n> You ask the angel about the match\nThere is no reply.\n\nCurb peers curiously at the treasure map.\n\n> You go east\nYou are in a brightly-lit pillared underground chamber, with purple shag carpeting and a group of very generous people. A back office lies to the east, while the west end of the lounge gives off a gentle glow.\n\nYou can see Bruce K, Corinne Q, and Sammy Z-E here.\n\nCurb scampers after you.\n\nBruce K gifts a small wooden fish to Sammy Z-E. Sammy Z-E transfers a souvenir clock to Bruce K.\n\nSammy Z-E gifts a small wooden fish to Corinne Q. Corinne Q gifts a bolt of lightning to Sammy Z-E.\n\n> You give the cubist shape to Sammy\nYou give the Cubist shape to Sammy Z-E. Sammy Z-E donates a bolt of cloth to you.\n\nCorinne Q passes a souvenir anchor to Bruce K. Bruce K gives a souvenir clock to Corinne Q.\n\n> You give the bolt of the cloth to Corinne\nYou give the bolt of cloth to Corinne Q. Corinne Q gives a plastic sword to you.\n\nBruce K gifts a plastic shield to Sammy Z-E. Sammy Z-E hands a plastic card to Bruce K.\n\nSammy Z-E gifts a plastic shield to Bruce K. Bruce K forks over a plastic card to Sammy Z-E.\n\n> You look at Bruce\nBruce K is identified by an extremely generic \"HELLO MY NAME IS\" name tag. He looks to be in his fifties. He stands a little over 6 feet tall, but he is stooped over slightly. He is wearing golf clothes and out-of-fashion glasses. Bruce K is carrying a plastic shield, a souvenir anchor, a souvenir basketball, and a bolt of inspiration.\n\nCorinne Q passes a souvenir clock to Sammy Z-E. Sammy Z-E forks over a souvenir clock to Corinne Q.\n\n> You examine Sammy\nSammy Z-E is identified by an extremely generic \"HELLO MY NAME IS\" name tag. He is probably in his early twenties but looks ten years younger than that. Sammy Z-E is carrying a plastic card, a Cubist shape, a bolt of lightning, and a small wooden woodchuck.\n\nBruce K transfers a souvenir basketball to Sammy Z-E. Sammy Z-E gives a small wooden woodchuck to Bruce K.\n\nCorinne Q gives a small wooden house to Sammy Z-E. Sammy Z-E presents a souvenir basketball to Corinne Q.\n\n> You hit Corinne\nViolence isn't the answer to this one.\n\nCorinne Q gives a bolt of cloth to Sammy Z-E. Sammy Z-E transfers a plastic card to Corinne Q.\n\n> You look at Corinne\nCorinne Q is identified by an extremely generic \"HELLO MY NAME IS\" name tag. She is thirtysomething, stylish and attractive but a little nervous-looking. Corinne Q is carrying a plastic card, a souvenir basketball, a souvenir clock, and a small wooden fish.\n\n> You examine square\nWhich do you mean, the black square, the brown square, the gray square, or the red square?\n\n> You look at the bolt\nWhich do you mean, the bolt of inspiration, the bolt of cloth, or the bolt of lightning?\n\n> You look at wooden\nWhich do you mean, the small wooden woodchuck, the small wooden fish, or the small wooden house?\n\n> You examine the souvenir\nWhich do you mean, the souvenir anchor, the souvenir basketball, or the souvenir clock?\n\n> You examine the black square\nThis looks like another MOMA projectile.\n\nCorinne Q gives a souvenir clock to Bruce K. Bruce K gifts a souvenir anchor to Corinne Q.\n\n> You examine the brown square\nThis looks like another MOMA projectile.\n\nCorinne Q hands a small wooden fish to Bruce K. Bruce K gives a small wooden fish to Corinne Q.\n\n> You give the black square to Bruce\nYou give the black square to Bruce K. Bruce K gives a plastic shield to you.\n\n> You look at what you're carrying with you\nYou are carrying:\na plastic shield\na plastic sword\na slip of paper\na brown square\na gray square\na red square\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\nCorinne Q passes a souvenir basketball to Sammy Z-E. Sammy Z-E presents a bolt of lightning to Corinne Q.\n\n> You look at Corinne\nCorinne Q is identified by an extremely generic \"HELLO MY NAME IS\" name tag. She is thirtysomething, stylish and attractive but a little nervous-looking. Corinne Q is carrying a bolt of lightning, a small wooden fish, a souvenir anchor, and a plastic card.\n\nBruce K forks over a souvenir clock to Sammy Z-E. Sammy Z-E donates a Cubist shape to Bruce K.\n\n> You give the brown square to Corinne\nYou give the brown square to Corinne Q. Corinne Q gives a brown square to you.\n\nBruce K hands a bolt of inspiration to Corinne Q. Corinne Q gives a small wooden fish to Bruce K.\n\n> You give the brown square to Corinne\nYou give the brown square to Corinne Q. Corinne Q forks over a plastic card to you.\n\nYou glow with enlightenment.\n\n> Go west\nThis end of the Giving Lounge is bathed in gentle light. A set of (literally) pearly gates stands to the west.\n\nYou pause to reflect on this for a moment. The fact that the pearly gates are underground adds that extra touch of Vegas oddness to the scene.\n\nYou can see a set of pearly gates and a guardian angel here.\n\nCurb scampers after you.\n\nYou glow with enlightenment.\n\n> You go to the west\nThe angel opens the gates with a smile, and you pass beyond. Could the treasure you seek lie beyond?\n\nThe underground Las Vegas version of Heaven is as big as a major city railway terminal and brilliantly lit, with a high vault ceiling painted sky blue. Vapory, cottoney off-white structures flit about the room, blown by a pleasant breeze from discreetly placed and deeply muffled fans. It's all spectacularly fake, of course, but with superb production values.\n\nYou can see a set of pearly gates and a heart-shaped bed here.\n\nAnd, more to the point, there's someone on the bed.\n\nCurb scampers after you.\n\n> Author\nScene 8, \"Heaven is Heart-Shaped Bed\", was written by Jacqueline A Lott.\n\n> You look at someone\nThe woman on the bed is nothing short of a goddess. And it's not just the tacky Vegas version of Heaven that's making you think that way.\n\n> You examine the bed\nThe, um, goddess is lying down on a heart-shaped bed. Maybe it's more of a couch. It doesn't seem to have any sheets or anything... it seems to be upholstered in white fur. Looks soft, though.\n\nThe couch, I mean.\n\nWell, the goddess too.\n\nI mean, she's not fat or anything. Just soft. You know, her skin.\n\nCurb peers curiously at the empty pewter mug.\n\n> Hi\nThere is no reply.\n\nCurb vomits from excitement, his ribcage convulsing. He laps up the result hurriedly, before you steal his prize.\n\n> You ask the goddess about the goddess\nShe just smiles at you seductively.\n\nCurb scratches his ear.\n\n> You ask the goddess about the Treasure\nShe giggles a little, but doesn't say a word.\n\nCurb peers curiously at the red square.\n\n> You ask the goddess about the Vegas\nShe raises an eyebrow, but remains silent.\n\n> You look under the bed\nYou find nothing of interest.\n\nCurb peers curiously at the musket barrel.\n\n> You ask the goddess about Curb\nShe giggles a little, but doesn't say a word.\n\nCurb scratches his ear.\n\n> You give the tokens to Goddess\nThe Goddess doesn't seem interested.\n\nCurb skitters about.\n\n> You enter the bed\nYou advance toward her, but she shakes her head. \"I don't think so, lover. I'm not quite that easy... I'm a goddess, after all.\"\n\nCurb scratches at the ground with his forepaws.\n\n> Kiss Goddess\nYou walk toward her, but she raises a hand to stop you. \"Sorry, my darling. I'm not quite that easy... I'm a goddess, after all.\"\n\n> Pray\nYou prostrate yourself before the goddess.\n\nShe lowers her gaze. \"Welcome to Heaven, you fiendish thing. Come here, lover.\"\n\nCurb chases his tail, squealing frustration.\n\n> You enter the bed\nYou walk toward her, and she welcomes you with open arms. She smiles as you climb up into the big, white, furry couch.\n\nJust one kiss, and the world seems to dissolve around you...\n\n> You kiss her\nOh, now you've done it. Or at least, you presume that you've done it, since you don't really remember anything after that first kiss. You're all alone on your conjugal couch.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can't see \"her\" (the Goddess) at the moment."
    },
    {
        "text": "[Themes: IF Whispers, post-apocalyptic, sidekick NPC]\n\n> You look around\nOh, now you've done it. Or at least, you presume that you've done it, since you don't really remember anything after that first kiss. You're all alone on your conjugal couch.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb writhes about on his back, kicking his hind legs.\n\n> Author\nScene 9, \"Hell Hath No Fury\", was written by Brian Rapp.\n\n> You stand\nThe floor opens up beneath you, and you fall for an exceedingly great distance...\n\nCut off from everything good in the universe, your sensations are limited to pain, frustration, and ennui. You are immersed in an endless sea of fire, which certainly doesn't help matters.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can also see a devil, a helicopter, and a red gear here.\n\n> You examine gear\nYou see nothing special about the red gear.\n\nGoodness gracious me. What sort of thing just appeared in your hands? Some sort of box?\n\n> You examine the devil\nThe banality of evil is personified by this loathsome fellow, who doesn't project fear so much as an intense longing to be anywhere other than in his presence.\n\nThe devil looks in your direction and says \"Cerberus! Where have you been?\" He then seizes Curb by the neck and drags him away, continuing to abuse the animal for abandoning his duty. You are unable to care about this turn of events, but notice that the devil has lost his helmet during the struggle.\n\n> Gear\nhelmet: The imp on your left shoulder warns you: \"Thou shalt not steal.\" On your right shoulder, G. K. Chesterton replies: \"Thieves respect property. They merely wish the property to become their property that they may more perfectly respect it.\" You hadn't noticed either of these apparitions before this moment, but find yourself leaning in the direction of the latter. You pick up the horned helmet. red gear: Taken.\n\n> You examine the helicopter\nThis helicopter is a magical shade of black that casts neither reflections nor shadows. It is almost entirely featureless, inside and out.\n\n> Wear helmet\nIt suddenly becomes difficult to think.\n\n> You think\nUnbearably hellish music overwhelms your thoughts. You struggle mightily to think about something else.\n\n> You remove the helmet\nYou take off the helmet."
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC]\n\n> You describe your surroundings\nCut off from everything good in the universe, your sensations are limited to pain, frustration, and ennui. You are immersed in an endless sea of fire, which certainly doesn't help matters.\n\nYou can see a helicopter here.\n\n> You enter the helicopter\nYou get into the helicopter.\n\n> Pray\nYou mumble a prayer from your childhood:\n\nI see the moon, and the moon sees me.\nGod bless the moon and God bless me.\n\nIt's a pretty selfish prayer, when you think about it. I mean, the moon is covered, but I guess you really don't care about anything or anyone else, do you?\n\nI swear... you belong in Vegas.\n\n> You examine the helicopter\nYou search in vain for any kind of control mechanism.\n\n> You think\nThe helicopter hovers amidst the flames and describes a very slow spiral in the air, as if it were searching for something.\n\n> You think about Curb\nThat won't do. You want to be thinking of something smaller, something you can take with you wherever you may go.\n\n> You think about the hope\nYour thoughts instead turn to feelings of loss... Poignant loss... Loss of something tangible and true.\n\n> You think about the loss\nYes, loss... You've lost something of value, and you need to think on it more fully.\n\n> You check your inventory\nYou are carrying:\na red gear\na G. K. Chesterton on your right shoulder\nan imp on your left shoulder\na helmet (being worn)\na Nox box (closed)\nan accordion\na plastic card\na plastic shield\na plastic sword\na slip of paper\na gray square\na red square\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\n> You examine the imp\nAs if suddenly embarrassed by your attention, both figments disappear without a sound. You straighten your shoulders with a certain sense of relief, and appreciate the opportunity to do so."
    },
    {
        "text": "> Look around\nHell (in the helicopter)\nCut off from everything good in the universe, your sensations are limited to pain, frustration, and ennui. You are immersed in an endless sea of fire, which certainly doesn't help matters.\n\n> You look at Nox Box\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a slight humming noise.\n\n> You put gear in Box\n(the Nox box)\nThe Nox box is closed.\n\n> You open Nox Box\nYou open the Nox box, revealing a gear slot.\n\n> You put the gear in it\n(the red gear in the Nox box)\nYou put the red gear into the gear slot.\n\n> Author\nScene 9, \"Hell Hath No Fury\", was written by Brian Rapp.\n\n> Shake box\n(the Nox box)\nAn alarming rattling sound comes from within the gear slot.\n\n> Inventory\nYou are carrying:\na helmet (being worn)\na Nox box (open)\na gear slot\na red gear\nan accordion\na plastic card\na plastic shield\na plastic sword\na slip of paper\na gray square\na red square\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\n> Close Box\n(the Nox box)\nYou close the Nox box.\n\n> Examine box\n(the Nox box)\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a slight humming noise.\n\n> Shake box\n(the Nox box)\nAs the box shakes, you get a vague impression of a house.\n\n> You look at the pattern\nThe pattern, although still confusingly complex, gives you the vague impression of a house.\n\n> Inventory\nYou are carrying:\na helmet (being worn)\na Nox box (closed)\nan accordion\na plastic card\na plastic shield\na plastic sword\na slip of paper\na gray square\na red square\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1\n\n> You look at the accordion\nBlack as night, black as coal. You wouldn't mind at all the prospect of seeing it blotted out.\n\n> You play it\nYour rendition of \"Chariots of Fire\" is far more depressing than it has any right to be.\n\n> You think about the guitar\nThe helicopter whirs with newfound energy, and whisks you away at what can only be described as the speed of thought. Flames and darkness and loss all evaporate in a hurricane of recovered emotion...\n\nA nothingness full of whiteness surrounds you. The only way out is not to leave. Disconcertingly, one of your possessions is making a faint buzzing sound.\n\nYou can see your guitar here.\n\n> You play the guitar\n(first taking the guitar)\nYou play a few notes of \"Greensleeves.\" Contrary to IF convention, you actually play quite well.\n\n> Examine box\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a noticable buzzing sound.\n\nScene 10, \"Endgame\", was written by Mark J Musante.\n\n(the Nox box)\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a noticable buzzing sound.\n\n> You look at the pattern\nThe pattern, although still confusingly complex, gives you the vague impression of a house.\n\n> Shake nox\nAs the box shakes, you get a vague impression of a house."
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC, surreal]\n\n> Look around\nA nothingness full of whiteness surrounds you. The only way out is not to leave. Disconcertingly, one of your possessions is making a faint buzzing sound.\n\n> You touch Box\n(the Nox box)\nYou feel nothing unexpected.\n\n> Examine box\n(the Nox box)\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a noticable buzzing sound.\n\n> You open Box\n(the Nox box)\nYou open the Nox box, revealing a gear slot.\n\n> You look in the slot\nIn the gear slot is a red gear.\n\n> Close Box\n(the Nox box)\nYou close the Nox box.\n\n> You examine the guitar\nYour faithful rosewood six-string.\n\n> Wear helmet\nIt suddenly becomes difficult to think.\n\n> You think about the guitar\nUnbearably hellish music overwhelms your thoughts. You struggle mightily to think about something else.\n\n> You play guitar\nYou play a few notes of \"Chobits ending theme 2\". Contrary to IF convention, you actually play quite well.\n\n> You search the guitar\nThe guitar is empty.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nThis would be pitch-black if it weren't for your glow-jar and a bit of light coming in via the window. A rickety staircase leads upwards.\n\nYou can see a cupboard (closed) here.\n\nThe Nox Box seems to have vanished from your possessions.\n\n> You open the cupboard\nYou open the cupboard, revealing a yellow gear and a blue gear.\n\n> You take the gears\nyellow gear: Taken.\nblue gear: Taken.\n\n> You go upward\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nYou're here in front of a slot machine situated right on top of the X in the Luxor's logo. All around you, blinking, screaming electronics want to take your money, but your steely resolve remains undeterred. A dark passage in front of the slot machine leads down.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> You get Box\n(the Nox box)\nYou already have that.\n\n> You open Nox\nYou open the Nox box, revealing a gear slot.\n\n> You put the yellow gear in Nox\nYou put the yellow gear into the gear slot.\n\n> You put the blue gear in Nox\nYou put the blue gear into the gear slot.\n\n> Close nox\nYou close the Nox box.\n\n> Shake nox\nAs the box shakes, you get a vague impression of a field.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nA wide open field with a blue sky above. Far off in the distance, towards the setting sun, you can see a large, lone tree. Closer by, like nearly on top of you, is an enormous trebuchet.\n\nYou can see an orange gear here.\n\nThe Nox Box has vanished again.\n\n> You take the orange gear\nTaken.\n\n> You examine the Tree\nFar off in the distance, you can just make out a tree poking up over the tall grass.\n\n> You look at trebuchet\nThe enormity of this enormous trebuchet is enor... is staggering. The wheels themselves are easily forty feet in diameter, if not more. The top reaches too high to even estimate. The rope is thicker than a tree trunk. A really thick tree trunk. The sling is currently empty, and an amusingly small lever built into the side looks like it'll set it off.\n\nFar overhead, you hear the buzzing of a plane.\n\n> You examine the plane\nYou can definitely hear it, but you can't quite see it.\n\nThe buzzing becomes louder.\n\n> Wait\nTime passes.\n\nThe plane is almost directly overhead.\n\n> You wait awhile\nTime passes.\n\nThe plane continues on its way across the sky.\n\n> You examine the rope\nThe enormity of this enormous trebuchet is enor... is staggering. The wheels themselves are easily forty feet in diameter, if not more. The top reaches too high to even estimate. The rope is thicker than a tree trunk. A really thick tree trunk. The sling is currently empty, and an amusingly small lever built into the side looks like it'll set it off.\n\nThe buzzing becomes very faint as the plane flies out of view.\n\n> Go north\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nA wide porch of wood slats, with the obligatory animal skulls nailed up against the wall. South leads back to the road; north takes you inside.\n\nJust outside the shadowed doorway, a parched corpse slumps in a rocking-chair.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> You open Nox\nYou open the Nox box, revealing a gear slot.\n\n> You put the orange gear in the slot\nYou put the orange gear into the gear slot.\n\n> Close Box\n(the Nox box)\nYou close the Nox box.\n\n> Shake nox\nAs the box shakes, you get a vague impression of a tree.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nA tree stands majestically in the middle of a great open field. The sun, just rising over the horizon, makes the tree's shadow stretch off over the grass into the distance. The field continues in all directions.\n\nThe Nox Box has vanished again.\n\n> You look at the Tree\nYou're not exactly sure what kind of tree this is as you're not a botanist. However, it is tall and sturdy and makes a nice amount of shade, and high up in the branches you can just make out a gear of some hue or other.\n\n> You climb the Tree\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nYou've climbed half-way up the stairs. To go any further would be foolishly risking your life.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> You examine Nox\nThe box is square, solid black, and inlaid with strands of silver that makes an unusual and almost hypnotic pattern on all six sides. It's just about the size of the old Christmas presents you used to shake as a kid to guess their contents.\n\nThe Nox Box makes a noticable buzzing sound.\n\n> You examine the pattern\nThe pattern, although still confusingly complex, gives you the vague impression of a tree.\n\n> Shake nox\nAs the box shakes, you get a vague impression of an enclosed space.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nHunched over in a cramped, lurching, noisy cabin makes your back hurt and endangers your hearing. Wires and cables are strung neatly nearly everywhere, and pipes prove useful when you need to grab onto something. A hatch in the ceiling leads to the deck above you, and a door is set into the hull of the plane.\n\nYou can see a hull door, a hatch, and a giant silver sphere here.\n\nThe Nox Box has vanished again.\n\n> You examine the sphere\nAlthough the sphere appears to be silver, you can't be certain exactly what metal it's made of. The surface of it dances and swirls before your eyes, and when you lean close to it, your reflection distorts amusingly. At least, you assume your nose isn't that big.\n\n> Author\nScene 10, \"Endgame\", was written by Mark J Musante.\n\n> You open hatch\nYou open the hatch.\n\n> Go upward\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nThis is clearly some kind of command center. An important-looking door leads off to the north, while more unassuming ones lead in all other cardinal directions. Surely some hint to the treasure must be in this secret complex.\n\nYou can see a ladder here.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> You open the hull door\nYou open the hull door.\n\n> You enter the hull door\nYou leap to your death. And your death takes a while to hit you, mostly because it comes in the form of the ground, which was far far below the plane.\n\n> You open hatch\nThat's already open.\n\n> You go upwards\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nThe building is in the state you've expected from a ghost town. Its upper floor is completely gone, but the front is still standing, and you can barely make out the words Kissing Bandit Saloon in sun-bleached red paint. One half of a swinging door leads north, inside.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nA wide open field with a blue sky above. Far off in the distance, towards the setting sun, you can see a large, lone tree. Closer by, like nearly on top of you, is an enormous trebuchet.\n\nThe Nox Box has vanished again.\n\n> You examine the trebuchet\nThe enormity of this enormous trebuchet is enor... is staggering. The wheels themselves are easily forty feet in diameter, if not more. The top reaches too high to even estimate. The rope is thicker than a tree trunk. A really thick tree trunk. The sling is currently empty, and an amusingly small lever built into the side looks like it'll set it off.\n\n> You wait awhile\nTime passes.\n\n> You wait awhile\nTime passes.\n\nFar overhead, you hear the buzzing of a plane.\n\n> You wait for a while\nTime passes.\n\nThe buzzing becomes louder.\n\n> You wait a while\nTime passes.\n\nThe plane is almost directly overhead.\nA glint of light shines briefly below the plane. You squint but can't make it out.\n\n> Wait\nTime passes.\n\nThe plane continues on its way across the sky.\nThe glint of light becomes brighter, and a rushing, crackly, whooshing sound is coming from it.\n\n> Wait\nTime passes.\n\nThe buzzing becomes very faint as the plane flies out of view.\nThe glint of light rushes towards the ground at a fantastic rate. It thuds into the earth, throwing up rocks and dirt in an amazing display. Still more amazingly, it bounces up into the air and with a neat \"plop\", lands gently onto the trebuchet.\n\n> You pull the lever\nSlowly at first, and then with increasing speed, the trebuchet pulls the loaded sling underneath and then the sling swings free. It flies far out into the distance and curves upwards in an arc that seems slow only because of the distance involved. At the top of the swing, almost up into the clouds, you see a flash of light as the sphere is thrown clear of the sling. It flies high into the air and you wait and wait as it comes down almost at the horizon. And right into the large lone tree in the distance. The tree shudders once and is still.\n\n> Go north\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nThis room is much smaller than what the movies tell you. A stairway leads up to a gallery, though most of the roof and the upper floor is missing. A few chairs and tables gather dust, accompanied by a lone piano in a corner.\nA counter is near the back wall.\nAn impressive chandelier dangles from the remains of the ceiling.\n\nCurb has dug a hole into the ground here.\n\nBehind the counter is a shelf lined with a row of casks.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> Shake nox\nAs the box shakes, you get a vague impression of a tree.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nA tree stands majestically in the middle of a great open field. The sun, just rising over the horizon, makes the tree's shadow stretch off over the grass into the distance. The field continues in all directions.\n\nYou can see a giant silver sphere and an indigo gear here.\n\nThe Nox Box has vanished again.\n\n> You take the indigo\nTaken.\n\n> You examine the sphere\nAlthough the sphere appears to be silver, you can't be certain exactly what metal it's made of. The surface of it dances and swirls before your eyes, and when you lean close to it, your reflection distorts amusingly. At least, you assume your nose isn't that big. Despite the fact that it took quite a journey since you saw it last, it appears completely unharmed, with not a scratch to be seen.\n\n> You examine the Tree\nYou're not exactly sure what kind of tree this is as you're not a botanist. However, it is tall and sturdy and makes a nice amount of shade, although many of the branches are splintered and broken.\n\n> You go north\nWith a blink and a flash, you're suddenly somewhere a bit more familiar...\n\nThis end of the Giving Lounge is bathed in gentle light. A set of (literally) pearly gates stands to the west.\n\nYou pause to reflect on this for a moment. The fact that the pearly gates are underground adds that extra touch of Vegas oddness to the scene.\n\nYou can see a set of pearly gates and a guardian angel here.\n\nYour possessions shift slightly. The Nox Box seems to have returned.\n\n> You put the indigo in Nox\nYou put the indigo gear into the gear slot.\n\n> Close nox\nYou close the Nox box.\n\n> Continue\nAs the box shakes, you get a vague impression of a beach.\n\n> Touch pattern\nA snap of static jumps from the pattern to your fingers, and the world collapses around you!\n\nA picturesque beach at sunset. Clich?, but extremely pleasant. The sun glints over the waters as the waves crash gently on the shore. The beach is secluded, with cliffs all around you. At last, you can relax. It seems like forever ago when you started in By Your Car and your odd and surreal journey began. But now it's over, and you've found a place to rest. All it needs is a bit of music to be complete.\n\nThe Nox Box has vanished again.\n\n> You play the guitar\nYou sit down in a comfortable spot, expertly tune your guitar, and play music to match the peaceful beauty of your surroundings. Your fingers fly over the guitar strings with the effortless ease of one who has mastered the instrument, and you close your eyes, breathing a sigh of completion.\n\n> 3\nEnter saved game to load: Restore failed.\n\nWould you like to RESTART, RESTORE a saved game, or QUIT?"
    },
    {
        "text": "[Themes: IF Whispers]\n\n> You look at your surroundings\nYou are in a brightly-lit pillared underground chamber, with purple shag carpeting and a group of very generous people. A back office lies to the east, while the west end of the lounge gives off a gentle glow.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can also see Bruce K, Corinne Q, and Sammy Z-E here.\n\nCorinne Q passes a brown square to Sammy Z-E. Sammy Z-E gifts a small wooden house to Corinne Q.\n\nYou glow with enlightenment.\n\n> Go west\nThis end of the Giving Lounge is bathed in gentle light. A set of (literally) pearly gates stands to the west.\n\nYou pause to reflect on this for a moment. The fact that the pearly gates are underground adds that extra touch of Vegas oddness to the scene.\n\nYou can see a set of pearly gates and a guardian angel here.\n\nCurb scampers after you.\n\nYou glow with enlightenment.\n\n> You go to the west\nThe angel opens the gates with a smile, and you pass beyond. Could the treasure you seek lie beyond?\n\nThe underground Las Vegas version of Heaven is as big as a major city railway terminal and brilliantly lit, with a high vault ceiling painted sky blue. Vapory, cottoney off-white structures flit about the room, blown by a pleasant breeze from discreetly placed and deeply muffled fans. It's all spectacularly fake, of course, but with superb production values.\n\nYou can see a set of pearly gates and a heart-shaped bed here.\n\nAnd, more to the point, there's someone on the bed.\n\nCurb scampers after you.\n\n> Blaspheme\n\"What do you think you are?\" you ask. \"Some kind of hot and holy little sex muffin? I'll have you know that I possess strong moral fiber, and will not succumb to your feminine wiles!\"\n\nHer eyes open wide and fill with rage. \"Oh, you won't, will you?\"\n\nYou catch a brief glimpse of her cleavage. \"Um...\" Must. Look. In. Her. Eyes... \"No. No, I won't!\"\n\n\"You're perfectly sure?\" She crawls toward you a little bit more. \"Absolutely certain?\"\n\nGosh, I dunno. Are you sure?\n\n> No\nYou give it some thought. Real thought, this time, not just impulse...\n\nAnd you realize that maybe the Vegas lifestyle isn't so bad. Not really.\n\nLooks like it might be fun, actually, to climb up onto the fuzzy white bed and...\n\n...and what? Gosh. You're not sure. You think about that, too...\n\nAnd you decide that you'll do pretty much whatever she wants you to do. \"What the hell?\" you say. \"Why not?\" She smiles as you climb up into the big, white, furry couch and snuggle up beside her.\n\nJust one kiss, and the world seems to dissolve around you...\n\nOh, now you've done it. Or at least, you presume that you've done it, since you don't really remember anything after that first kiss. You're all alone on your conjugal couch.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb peers curiously at the Twinkie and makes a famished whine.\n\n> Yes\nYou gather all of your strength and cry out, \"YES!\"\n\n\"Hm. Very well, then. Goodbye!\" And with that, the floor opens up beneath you, and you faaaallll...\n\nCut off from everything good in the universe, your sensations are limited to pain, frustration, and ennui. You are immersed in an endless sea of fire, which certainly doesn't help matters.\n\nCurb detracts from the scenic value of the vicinity.\n\nYou can also see a devil, a helicopter, and a red gear here.\n\nCurb chases his tail, squealing frustration.\n\n> Pet Goddess\nYou stride toward her, but she shakes her head. \"I'm afraid not, my darling. I'm not quite that easy... I'm a goddess, after all.\"\n\n> No\nYou give it some thought. Real thought, this time, not just impulse...\n\nAnd you realize that maybe the Vegas lifestyle isn't so bad. Not really.\n\nLooks like it might be fun, actually, to climb up onto the fuzzy white bed and...\n\n...and what? Gosh. You're not sure. You think about that, too...\n\nAnd you decide that you'll do pretty much whatever she wants you to do. \"What the hell?\" you say. \"Why not?\" She smiles as you climb up into the big, white, furry couch and snuggle up beside her.\n\nJust one kiss, and the world seems to dissolve around you...\n\nOh, now you've done it. Or at least, you presume that you've done it, since you don't really remember anything after that first kiss. You're all alone on your conjugal couch.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb peers curiously at the panga.\n\n> You give the hat to Goddess\nWhich do you mean, the Mome hat, or the alligator stetson?\n\n> You check your inventory\nYou are carrying:\na plastic card\na plastic shield\na plastic sword\na slip of paper\na gray square\na red square\na Mome hat (being worn)\nsome gambling tokens\na decoder ring (being worn)\na heirloom box (open but empty)\na treasure map\nan eyepatch\na skull\na shred of cloth\nan empty pewter mug\na glass bottle of rum\na piece of paper\na diary\na glow-jar (providing light)\nyour car keys (disgusting)\na Son of Toil bar\na Twinkie\na musket barrel\nyour guitar\nan alligator stetson (being worn)\nyour panga\nTreasure Huntery Lesson 1"
    },
    {
        "text": "[Themes: IF Whispers, sidekick NPC, surreal, post-apocalyptic]\n\n> You look around\nOh, now you've done it. Or at least, you presume that you've done it, since you don't really remember anything after that first kiss. You're all alone on your conjugal couch.\n\nCurb detracts from the scenic value of the vicinity.\n\nCurb skitters about."
    },
    {
        "text": "[Themes: Horror, profanity]\n\nIt's Saturday night, and it's time to kick out some jams. You've been working your ass off all week, with the radio blaring stories at you about how some stupid prick politician faked his dissertation, and you're in dire need of some bass and some beer. Good thing it's that part of the month again: Department of Volxvergnuegen is throwing one of their action-packed techno parties at Glockenbachwerkstatt!\n\nDr. Kong in: Plan DSDS from practice space (The Volxvergnuegen Adventure)\nA time travel anomaly by Two Guys From The Other Bar\n\nYou are standing outside of the club. Basses are pumping. You can enter the building through a big green door to the north or go east around the corner to the side of the building.\n\nAbove you is the night sky.\n\nTO GET SOME INFORMATION ABOUT THIS GAME, TYPE \"INFO\"\n\nTO GET SOME HELP FOR PLAYING THIS GAME, TYPE \"HELP\".\n\nYou can see Technodude and Electrowoman here.\n\n[Author's Note: All you want is to have a good time at the party. But then the people at the club turn out to be less alive and more kicking, the music completely sucks, and to top it all off, someone has kidnapped your internet pal mandy95.]\n\n> Info\nHello, and welcome. This is a special little game. It was written for the interactive fiction event in Munich that the culture collective called \"department of volxvergnuegen\" organized on May 7, 2011. At least parts of the game you're playing right now take place on said event, during which a workshop for writers took place, we screened GET LAMP by Jason Scott and people could play several interactive fiction games on a couple of terminals we provided. Ah yes, and we played the game you're playing right now collectively on the big screen, which was a lot of fun also, in spite of all its bugginess.\n\nBut now to my apologies. This is by no means a good game, if we take polished and well thought-out games like, well, let's face it, every single game that did well in the past 16 years of the Interactive Fiction Competition and compare them to our game; it was written in just a couple of weeks by me and my friend Anonymeuss (thanks to the rest of the Nerd Kru for making this insane story up, you know who you are!), and neither of us had ever written a piece of interactive fiction before. It's a very railroaded game and probably still pretty buggy, the puzzles aren't too avant-garde and it features long deserts of text that make the opening of Oliver Ullmann's \"The Duel That Spanned The Ages\" look like a four-line poem. But we still think our crazy little story is pretty funny and we hope you'll give it a spin. If you head over to\n[LINK]\nms/258.html,\nyou can find some pictures from the event that could get you in the mood (or if you locate the pictures folder on the disc in your game package). Most of our crew were dressed the way they are described in the game, and Jason Scott played along nicely too. This leads us to our thank you-list:\n\nThanks to the amazing Jason Scott, who made this wonderful movie, was absolutely hilarious on skype and said the silly things i asked him to say (apart from being generally awesome). Cheers!\n\nI cannot thank enough all the members of the volxvergnuegen team who made this day very special. From designing and preparing all those gorgeous visuals to selling the drinks: You were amazing, and this game is dedicated to you.\n\nThanks to Michael Baltes, Oliver Ullmann, Marius M\u00fcller, Ingo Scharmann and Martin Barth for hosting the workshop and exterminating some of the worst bugs, see you soon!\n\nAnd last but not least: Thank YOU, dear player, for still reading this. I sincerely hope you can at least get a good laugh while playing our game. Comments, suggestions,bug reports, death threats are best sent to colin.djukic@googlemail.com.\n\nHAVE FUN.\n\n> About yourself\nAs good-looking as ever.\n\n> Inventory\nYou are carrying:\nsome money\nsome change for cigarettes\na fartroid smartphone\na tattered shoulder-bag (being worn and closed)\nan apple\n\n> You examine the money\nIt's money. It stinks.\n\n> You examine the change\nSome change for buying cigarettes.\n\n> You look at the smartphone\nA Rottorola.\n\nThe fartroid smartphone is currently switched off.\n\n> You look at the bag\nYour trusty old bag. Made of black nylon, it has several little holes and scratches. A button depicting a guy throwing a swastika into a rubbish bin is attached to its flap.\n\n> You open the bag\nYou open the tattered shoulder-bag, revealing a red flyer.\n\n> You look at the flyer\nIt's the flyer for last month's Volxvergnuegen event. A red foil which makes the underlying text readable. (Hint: If you haven't got one, you better get one!) It was some kind of text adventure event. Too bad you couldn't make it.\n\n> You examine the apple\nIt's green.\n\nThere's a sticker on the apple! You pull it off.\n\n> You look at the sticker\nIt says: \"I'm so green\".\n\n> You examine the Electrowoman\nOne of those bass-hungry females. At the moment, she's talking to Technodude.\n\n> You ask the Technodude about the flyer\nHe just asks: \"Hey, are you on facebook?\" without waiting for your reply.\n\n> You ask the Electrowoman about the flyer\nShe just asks: \"Hey, are you on facebook?\" without waiting for your reply.\n\n> You turn on the phone\nYou switch the fartroid smartphone on.\n\n> You examine the phone\nA Rottorola.The device depicts the word \"FARTROID\" and boots up. You haven't installed any apps apart from the preinstalled Facebook app, but you have no clue how to activate the app.\n\nThe fartroid smartphone is currently switched on.\n\n> You turn off the phone\nYou switch the fartroid smartphone off.\n\n> Go north\nYou really wanna smoke a cigarette before entering. If you remember correctly, there's a cigarette machine east of the club.\n\n> You go to the east\nYou're standing east of the club, under the night sky. It's pretty quiet here. Steam rises from a grate in the pavement.\n\nYou can go back to the front door by moving south.\n\nYou can see a fag machine here.\n\n> You examine the machine\nYour standard fare cigarette machine. You put change in, and usually, cigarettes pop out.\n\n> You put the change in the machine\nThe coins drop into the slot. After painfully proving that you are indeed old enough to smoke by sliding several ID and credit cards through a card reader and pressing your thumb onto some biometric device, a pack of your favorite brand of cigarettes lands on the pavement with a \"thump\".\n\n> You take the pack\nFuck, you forgot to bring a lighter with you! Whatever. Perhaps you can find a lighter inside the club.\n\nTaken.\n\n> You examine grate\nSteam is rising up from the grate by the side of the road. You can't see much down there, but the smell is pretty strange. You never noticed this grate before.\n\n> You look at the pack\nLes Fleurs Du Mal, your favorite brand of death sticks. Every pack contains a poem by your personal Uber-Dandy, Charles Baudelaire!\n\n> You open the pack\nYou open the pack of fags, revealing a folded poem and sixteen cigarettes.\n\n> You examine the poem\nThe unfolded poem reads:\n\nBehold the sweet evening, friend of the criminal;\nIt comes like an accomplice, stealthily; the sky\nCloses slowly like an immense alcove,\nAnd impatient man turns into a beast of prey.\nO evening, kind evening, desired by him\nWhose arms can say, without lying: \"Today\nWe labored!\" - It is the evening that comforts\nThose minds that are consumed by a savage sorrow,\nThe obstinate scholar whose head bends with fatigue\nAnd the bowed laborer who returns to his bed.\n\nAwaken sluggishly, like businessmen,\nAnd take flight, bumping against porch roofs and shutters.\nAmong the gas flames worried by the wind\nProstitution catches alight in the streets;\nLike an ant-hill she lets her workers out;\nEverywhere she blazes a secret path,\nLike an enemy who plans a surprise attack;\nShe moves in the heart of the city of mire\nLike a worm that steals from Man what he eats.\nHere and there one hears food sizzle in the kitchens,\nThe theaters yell, the orchestras moan;\n\nThe gambling dens, where games of chance delight,\nFill up with whores and cardsharps, their accomplices;\nThe burglars, who know neither respite nor mercy,\nAre soon going to begin their work, they also,\nAnd quietly force open cash-boxes and doors\nTo enjoy life awhile and dress their mistresses.\n\nMeditate, O my soul, in this solemn moment,\nAnd close your ears to this uproar;\nIt is now that the pains of the sick grow sharper!\nSomber Night grabs them by the throat; they reach the end\nOf their destinies and go to the common pit;\nThe hospitals are filled with their sighs. - More than one\nWill come no more to get his fragrant soup\nBy the fireside, in the evening, with a loved one.\n\nHowever, most of them have never known\nThe sweetness of a home, have never lived!\n\n- William Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)\n\n> You go south\nYou are standing outside of the club. Basses are pumping. You can enter the building through a big green door to the north or go east around the corner to the side of the building.\n\nAbove you is the night sky.\n\nYou can see Technodude and Electrowoman here.\n\n> You ask the Technodude about lighter\nHe just asks: \"Hey, are you on facebook?\" without waiting for your reply.\n\n> You listen\nBasses. Louder. Inane Chatter.\n\n> You examine table\nOn the table here are a blue flyer and a card.\n\n> You examine the blue flyer\nIt's the flyer for the next event. It says \"Department of Volxvergnuegen pr\u00e4sentiert: Die besten Wiesn-Hits aus den 60ern, 70ern und \u00fcberhaupt: Super-Gaudi!!!!!\". This must be a joke.\n\n> You look at the card\nIt just says 14,99. That's odd. Usually, the Volxvergnuegen parties only cost 4 bucks.\n\n> You take the blue flyer and the card\nblue flyer: Taken.\ncard: Fabi grabs the card. \"Hey, get your hands off the card, man!\"\n\n> You examine Fabi\nHe's always organizing stuff. Right now, he's charging the customers who want to enter the club. He is looking a bit off. His eyes are kind of blood-shot. Too much work and not enough sleep, you guess.\n\n> You examine the lale\nShe's wearing yellow tights, short jeans and a yellow top. Her usual smile looks a little frozen, and her right cheek is marred by a bruise. You remember her as the girl that was jumping, singing, chewing her fingernails and drinking beer. At the same time. Now she's just standing there. You wonder what's wrong with her.\n\n> You look at the gothdude\nHe's wearing some kind of trench coat. He's standing in the corner of this corridor like some crooked vulture, eyeing you with his dark-rimmed eyes. What a freak.\n\n> You ask Fabi about card\nHe cuts you off: \"Hey, you wanna come in or what?!\"\n\n> You ask the lale about bruise\nShe just stares at you.\n\n> You ask the gothdude about lighter\nBarely audible, he manages to spit out the following: \"rrrrrya....Facebook?\" He's obviously had too much to drink.\n\n> You buy the card\nNothing is on sale.\n\n> You go north\nLale pushes you away from the doorway. Fabi looks at you as if he was about to hit you. \"You have to pay before you enter!\", he says.\n\n> You give the money to Fabi\nYou pay the ridiculous entrance fee to Fabi, who pockets the money. He gives you a ticket and just motions to the doorway to the north. What the fuck, you don't care. Let's roll!\n\n> You examine the ticket\nA ragged strip of paper torn from a roll. It says \"BEZAHLT\".\n\n> Go north\nThis is the bar area of the club. As usual, it's VERY crowded in here. People are trying to get through to the counter on the west side of the room or the toilets to the north. The dance floor is east of here.\n\nThe music is louder here. Sounds like minimal techno...but wait...like minimal techno with some very cheesy plastic disco samples on top...have the DJs lost their mind?\n\nDan is behind the counter of the Bar, serving cocktails.\n\nYou can also see Hipster and Style-O-Chick here.\n\n> You look at Dan\nHe looks even more evil than usual.\n\n> You look at Bar\nA dimly lit counter. People are pushing each other in order to be served first. It seems they only serve one kind of drink tonight, as everybody drinks from a glass with the same deep orange color. Looks like...a Zombie? On the counter is a bowl of white jelly sweets.\n\n> You examine sweet\nLooks pretty disgusting, like something you might find in the trash can of an operation room. But the people seem to enjoy eating those lumps...perhaps you should give it a try?\n\n> You take sweet\nReluctantly, you pop a jelly sweet into your mouth and cautiously start chewing on it. Not bad. Not bad at all! While you're munching away on the delicious gelatinous substance, from the corner of your eye you see Dan refilling the bowl. He's grabbing the lumps out of the skull of a dead body! It's that goth guy you saw in the entrance! You pause for a moment pondering whether you should get another one or not before spitting the brain tissue out of your mouth in a wide white arch.\n\n> You examine the Hipster\nA hipster wearing  nerdy glasses and sporting only one arm...\n\n> You ask Hipster about lighter\nHe grabs you with his remaining arm and screams in your ear: \"Man, you gotta try facebook, it's the newest shit! All the groovy volxvergnuegen people are on there!\" Great, this weirdo smeared blood over your shirt...why is he bleeding?! What's going on here?\n\n> You examine the Chick\nShe's gorgeous...she's wearing a sexy see-through blouse that barely conceals anything...including several deep, still bleeding wounds...was there an accident? Nobody seems to notice anything...\n\n> You ask the Chick about lighter\nShe whispers in your ear: \"Meet me on facebook, honey...\" Her breath is cold and smells like an open grave.\n\n> You go north\nA narrow and usually packed corridor with doors to the restroom for women to the east and the restroom to the west. To your confusion, only one pretty fucked up woman sits slumped into a heap in one corner. You can go back to the bar to the south. A door leads to the cellar below.\n\n> You examine the woman\nHer gray and faded hair covers most of her face. She's got a beer bottle in her lap, but it's definitely not beer she's drinking.\n\n> You look at the bottle\nThe label is smeared with a sticky red substance\u2026Jesus, this looks like blood!\n\n> You ask the woman about the blood\nWith a voice from a Venom-song, she says \"Check out Facebook. Best thing that's happened to me in ages!\"\n\n> You go west\nNoone's in here, and I suggest you leave, too. The stench is almost unbearable.\n\n> Smell\nYou're almost fainting from an overwhelming wave of ammonia.\n\n> Go east\nNot that you'd care about etiquette, you're just scared of female demons ripping your flesh."
    },
    {
        "text": "[Themes: Horror, profanity]\n\n> Go downwards\n(first opening the cellar door)\nIt seems to be locked.\n\n> You go to the south\nThis is the bar area of the club. As usual, it's VERY crowded in here. People are trying to get through to the counter on the west side of the room or the toilets to the north. The dance floor is east of here.\n\nDan is behind the counter of the Bar, serving cocktails.\n\nYou can also see Hipster and Style-O-Chick here.\n\n> Go west\nDan blocks your way.\n\n> You look at the speakers\nHuge speakers, pumping bass.\n\n> You look at the freak\nWho do you mean, Postman or Ugly Naked Freak?\n\n> You examine postman\nHe's got one of those orange drinks in his hands. He's moving the glass towards his head and spills the beverage over his shoulder, uttering a satisfied grunt and repeats this strange sequence of actions ad nauseam (maybe an ex-alcoholic?).\n\n> You examine the orange drink\nOne of those Zombies.\n\n> You look at naked\nOne of his butt cheeks is semi-detached, swinging around in crazy movements as he dances his completely brainless dance. He's wearing a full beard. Drops of blood fall to the dance floor from his hairy chin.\n\n> You examine the woman\nAs you approach her, she suddenly turns around, and you see that she's carrying a severed arm, biting huge chunks of flesh off the bone. Blood runs down her chin in gushes. She flashes you a demonic grin, exposing her rotten teeth.\n\n> You look at the arm\nA severed arm!\n\n> You ask woman about the arm\nShe looks at you excitedly, ignoring your question: \"I met him on Facebook! Really tasty!\"\n\n> You ask naked about the butt\nYou really should join the nudist group on Facebook. Free yourself from the oppression by the clothing industry!\n\n> You ask the Postman about the sombrero\nHe stops spilling his drink and asks you \"Do you know that new Facebook game, Breweryville? It's awesome! I produce ten gallons of Wei\u00dfbier every minute! What's your high score?\"\n\n> You go north\nIt's a little quieter in here, although you can still feel the basses pumping.\n\nBehind a dirty wooden table sits a dubious-looking man with a beard and an eye-patch. His left hand is lying on the table, while his right hand is trying to jab a knife at the spaces between his fingers, failing miserably. He's constantly cutting his fingers, obviously not noticing his bruises. There's a colorful parrot sitting on his right shoulder.\n\nYou can also see a small table (on which is a dinner jacket) here.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You examine the pirate\nHe's wearing a tricorn hat carrying a huge button that says \"Ask me about Facebook\".\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You look at the parrot\nYou see nothing special about the parrot.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You examine jacket\nAn expensive looking dinner jacket the economy students of Munich like to wear. You can see a cartier lighter sticking out from one of its pockets.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You take lighter\nTaken.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You examine lighter\nThe cartier lighter is currently switched off.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You ask the pirate about Facebook\n\"Facebook? Arrrr, a mighty damn fine social network it is, young fella. I surfed the seven seas of the interweb, and i know all about it.\" He grabs your fartroid smartphone. \"Arrrr, a Rrrrrrottorrrrrrola. You don't seem to know how to operate your Facebook app, do ya? Lemme handle that.\" He plays around with your smartphone for a little while, leaving bloody fingerprints on the display. \"Here ya go, landlubber! Now y'arr ready to set sail for the ultimate procrastination!\" He gives you your phone back.\n\nThe parrot bawks: \"You bloody loser!\", laughing at the pirate.\n\n> You go south\nThe music is really intense here. Huge speakers pump loud basses into the stomachs of the crowd. The floor is filled with people. Weird people.\n\nA cloak room lies to the north. East of here is the DJ booth, guarded by groupies dancing in sync.\n\nNext to one of the gigantic speakers is a freak in a postman's uniform wearing a  sombrero.\n\nIn the middle of the dance floor is an ugly naked freak, dancing his butt off. Literally.\n\nA pony-tailed woman in an adidas training suit is standing in a corner with her face to the wall.\n\n> Go east\nWith your smartphone ready for Facebook, the groupies let you through to the DJ booth. Phew!\n\nThe DJ booth is pretty small and dirty. Behind the mixer, the DJ, ghood, is spinning this crazy music you hear. On CDs...\n\n> You look at the dj\nAs you approach ghood, he notices you. \"Hey, Kong! You're alive!\"\n\nHe looks at you, exhausted. \"This is so fucked up man. We started the party as usual. But all of a sudden, a zombie entered the club, who knows from where, and started biting us. We fell, one by one. I'm the only one left alive! They let me live so i could spin these terrible records they gave me!\"\n\nYou ask him, \"Who do you mean? Who?\"\n\n\"I don't know! They beat me! It was all fuzzy! A girl gave me this bag of CD-Rs and said that if i'd stop playing their music, the zombies would stop dancing and swarm out on the streets! If i stop playing this music, we're all doomed, Kong, do you understand?!\"\n\nYou nod, gravely. What's the purpose of all this? And what now?\n\n\"You have to do something, Kong. I think all this horror comes from the basement, but you won't get there from the corridor, the door's locked. Maybe there's another way. You know, last month, we had this filmmaker, Jason Scott, on skype to talk about that text adventure movie he made, GET LAMP. And before he switched off, he said we should check out the beer cellar, that there was wisdom to be found there. What if he was right?\n\nPlease, Dr. Kong, try to get through to the kitchen and see of you can find something there. Dan will not let you through, but if you ask him about bloody mary, he'll probably leave to find one. All his rotten brain can process is this zombie drink.\n\nAnd by the way, please bring me a beer while you're in the beer cellar. I'm so thirsty!\"\n\nHe looks you in the eye, yearningly, and starts spinning music again.\n\nA beep emanates from your smartphone. Looks like you received a Facebook message! You tap on the letter symbol and are faced with the following text from your old pal Mandy95:\n\n\"Kong!!! Thank the fucking Baal you finally made it to Facebook! You wouldn't believe what happened to me! I was at that Volxvergnuegen event about text adventures. I just wanted to go to the toilet when I heard that weird black metal music coming from the basement. I opened the door leading to the practice rooms, went down a couple of steps and got hit on the head! When I woke up, I was here in this cell! They're taking my blood every day, although I never see anyone. I just hear this metal music from one of the practice rooms. Something very creepy is happening here, dude! I recently saw Rosemary's Baby, and I'm A+ sure there are some demon worshippers planning some sinister fuckup around here! You gotta help me, man! I don't know, you're always reading these science fiction books, do something, please!\"\n\nYou pause for a moment, terrified.\n\nThis is not weird anymore, this is slowly staggering towards nightmare. You have to find a way to rescue your friend. There must be a way to get down to the basement. The door to the practice rooms seems blocked, but maybe you can get to a lower level from the kitchen? And what's wrong with all these people? They look like zombies!\n\n> You ask Dan about the bloody mary\nDan disappears somewhere in the kitchen! Seems like ghood was right!\n\n> You go to the west\nThe kitchen is a bloody mess. There's nothing to be found here. To the north is the beer cellar.\n\n> You turn on lighter\nYou switch the cartier lighter on.\n\nA small room with empty shelves on all sides except to the south, where the room leads back to the kitchen.\n\nYou can see a case of beer (in which is a bottle of beer) here.\n\n> You take the bottle\nTaken.\n\n> You examine the case\nThe case of beer is empty.\n\n> You examine the beer\n(the bottle of beer)\nAugustiner.\n\n> You turn off lighter\nYou switch the cartier lighter off.\n\n> Go east\nThis is the bar area of the club. As usual, it's VERY crowded in here. People are trying to get through to the counter on the west side of the room or the toilets to the north. The dance floor is east of here.\n\nYou can see Hipster and Style-O-Chick here.\n\n> Go east\nThe DJ booth is pretty small and dirty. Behind the mixer, the DJ, ghood, is spinning this crazy music you hear. On CDs...\n\n> You give the bottle to the dj\nGhood just says \"Hey, thanks, I didn't think you'd return. You know, I'm just here to tell you to go to the beer cellar, dude.\"\n\n> You look at what you're carrying with you\nYou are carrying:\na cartier lighter\na ticket\na blue flyer\na pack of fags (open)\na folded poem\nsixteen cigarettes\na sticker\nsome money\na fartroid smartphone\na tattered shoulder-bag (being worn and open)\na red flyer\nan apple\n\n> Dance\nYou act like Sheik Yerbouti for some time. Yowzah!\n\n> Go south\n(first opening the big green door)\n\nThe door closes behind you.\n\nYou are standing outside of the club. Basses are pumping. You can enter the building through a big green door to the north or go east around the corner to the side of the building.\n\nAbove you is the night sky.\n\nYou can see Technodude and Electrowoman here.\n\n> You go to the east\nYou're standing east of the club, under the night sky. It's pretty quiet here. Steam rises from a grate in the pavement.\n\nYou can go back to the front door by moving south.\n\nYou can see a fag machine here.\n\n> Light cigarette\nThis dangerous act would achieve little.\n\n> Smoke cigarette\nYou smoke a cigarette.\n\n> You turn on lighter\nYou switch the cartier lighter on.\n\nA small room with empty shelves on all sides except to the south, where the room leads back to the kitchen.\n\nYou can see a case of beer (empty) here.\n\n> You take the case\nYou put the case of beer on the concrete floor. On the wall behind the shelf is some writing!\n\n> You examine the writing\nIt says \"xyzzy: magic word for time traveling\"\n\n> Xyzzy\nYou get all fuzzy and the room seems to circle around you; for a short moment, you are reminded of the last time you took LSD...when you feel normal again....you hear someone's voice from afar:\n\n\"Thanks everybody for having me, it's been a pleasure. Colin asked me to give you all some advice for your lives, and all I can say is: Don't forget to ask about the banana; and check out the beer cellar. There's wisdom to be found there. Goodbye!\"\n\nYou open you eyes to see.....\n\nA small room with empty shelves on all sides except to the south, where the room leads back to the kitchen.\n\nYou can see a case of beer (empty) here.\n\n> You go south\nEverything is neat and tidy here.\n\nYou can see a CD here.\n\n> You look at the cd\nBest of Dieter Bohlen. Yuck!\n\n> You take it\nYOU DO NOT WANT THIS!\n\n> Go east\nIt's pretty deserted here. You can hear voices from the dance floor.\n\n> Go east\nRows of chairs are lined up in front of a projection screen . A video beamer is projecting a skype startup screen. Cool people are hanging out, chatting, laughing. The walls are covered in words scribbled on black paper. You can make out the words \"GET LAMP\", \"WHAT IS A GRUE\" and \"OH BOY! ARE WE GONNA DO SOMETHING DANGEROUS NOW?\".\n\nPaula is here. She is wearing a blue wig and black-and-white striped espandrillos.\n\nA guy who calls himself Anonymeuss is here. His eyes are hidden behind a black bar.\n\nYou can also see Jana, Moritz, Robo and Lale here.\n\n> You look at Paula\nHer gray and faded hair covers most of her face. She's got a beer bottle in her lap, but it's definitely not beer she's drinking.\n\n> You examine Jana\nShe's wearing dark lilac stockings that go up to her knees, blue puffy trousers and a black pullover.\n\n> You examine Moritz\nBlue-white striped shirt, and 3/4 length pants. Aye.\n\n> You examine Robo\nA small white robot with glowing red electronic eyes. He's walking around the room, flirting with the girls.\n\n> You examine Lale\nShe's wearing yellow tights, short jeans and a yellow top. One her head is a crown. She's jumping, singing, chewing her fingernails and drinking beer. At the same time. She's funny.\n\n> Go north\nA couple of nerds are hunched in front of three laptops displaying only text. They seem very excited.\n\nAchim is here. He's wearing a grungy flannel shirt with a banana tucked into the front pocket. He's sporting a neon-yellow key chain that drops to his ankles without a key attached to it. A button that looks like a nipple is fixed to the left side of his shirt.\n\nYou can also see Laptop #3, Laptop #2 and Laptop #1 here.\n\n> You examine banana\nIt's a banana.\n\n> You ask the achim about the banana\nHe grabs the banana, peels it and eats it in one go. As he does so, a key drops from his pocket to the floor!\n\n> You go east\nThe DJ booth is locked during cultural events.\n\n> You go west\nIt's pretty deserted here. You can hear voices from the dance floor.\n\n> You go north\nA narrow corridor with doors to the restroom for women to the east and the restroom to the west. A door leads to the cellar below.\n\n> You go west\nNoone's in here, and I suggest you leave, too. The stench is almost unbearable.\n\n> You unlock the door with the key\nYou unlock the cellar door."
    },
    {
        "text": "[Themes: Horror, profanity]\n\n> Go downwards\n(first opening the cellar door)\n\nYou slowly and cautiously descend the steps that lead down to the cellar. With every step you take, your heartbeat accelerates and this unwordly music that was only a faint rumble on the ground floor is getting louder and more threatening. What evils will await you down there?\n\nRed light from a worn lamp on the southern wall sheds a bloody glow over this room. A pentagram has been drawn on the floor and candles have been placed wherever two lines meet. A rusty metal door is in the northern wall, with a keypad beside it. A gray door leads east.\n\nYou can see a black poster here.\n\n> Examine poster\nYou guess that this is some kind of band poster, but you cannot decipher the name on top of it. It's a logo consisting of oddly distorted and stretched white letters, overgrown with battle axes and thorny vines. Below the logo you can make out the writing \"Bloody Fucking Pagan Ritual-Bortnathar's Revenge-Eastern European Tour 2010\". This has to be the practice room of this fucked-up black metal band!\n\n> Go north\nFeeling like the little boy in The Shining, you step through the door...\n\n(first opening metal door)\nIt seems to be locked.\n\n> You go east\n(first opening the gray door)\nTerrified, you decide to knock on the door. Instantly, the music stops and you hear footsteps approaching the door. You close your eyes and expect to get decapitated with a battle axe.\n\n\"Oh hi! Come in! My name is Anton. Do you want some ginger tea?\"\n\nYou reopen your eyes. A smiling young man with frizzled hair is standing in front of you, beckoning you inside. Too puzzled to think, you step inside.\n\nThere is fuzzy blue carpet everywhere. On the floor, on the walls, even on the ceiling. Three figures clothes in black are standing in a corner, gazing at their shoes.\n\nAnton, a hyperactive but very nice young man wearing a shirt brandishing the words \"Nazi Industrial Fuck Off\", is drinking some tea.\n\nYou can also see pale metal guy, fat metal guy, tattooed metal guy and a black tape recorder (empty) here.\n\n\"Now, how about that ginger tea?\" Anton asks.\n\n> You examine the pale guy\nA guy with absurdly white skin dressed in black wearing a t-shirt with an undecipherable logo. He's staring at the floor.\n\nAnton asks you \"Hey, do you want to know anything about this place? We've been here for quite some time, you know. Just ask!\"\n\n> You ask Anton about the pentagram\nAnton says \"Yeah, that's weird, huh? We have no idea who put that there. But it sure looks cool! Maybe those two crazy girls did it?\"\n\n> You ask Anton about the ginger tea\n\"Oh, fuck, I just saw we're out of ginger tea. Sorry.\"\n\n> You ask Anton about the girls\n\"They're pretty fucked-up.\" Anton pauses to think for a moment. \"Have you seen the Shining? They look like those two creepy girls. They rent the practice room north of the room with the pentagram. They never really talk to us. Just keep to themselves and their crazy pop music.\"\n\n> You ask Anton about the keypad\n\"You wanna know the code of the girls\" practice room? That's easy, the door's lock is programmed to use the digit sum of the actual date: Simply add up the digits of today and type in the resulting number. But I would rather not in go in there - not for one million liters of ginger tea! Really scary, these girls!\""
    },
    {
        "text": "> You look at your surroundings\nThere is fuzzy blue carpet everywhere. On the floor, on the walls, even on the ceiling. Three figures clothes in black are standing in a corner, gazing at their shoes.\n\nAnton, a hyperactive but very nice young man wearing a shirt brandishing the words \"Nazi Industrial Fuck Off\", is drinking some tea.\n\nYou can also see pale metal guy, fat metal guy, tattooed metal guy and a black tape recorder (empty) here.\n\n> You look at the recorder\nThe black tape recorder is empty.\n\n> You ask Anton about the date\nAnton looks confused. \"Today is Saturday, but the date... Sorry, dude, no idea. I think it's already May... But you might have a look on the flyers lying around here, they should tell you.\" Arthanprank the Skullbreaker chimes in: \"Yeah, these guys here really have cool flyers - although they should work a little bit on their boring fonts. You should check out the Volxvergnuegen flyer, they have some event going on tonight - and you can find todays date on it. You can also find it on the Web, if you are too lazy to walk up again - and if have a Fartroid with you. Just go to [LINK] and search\nfor their May flyer.\"\n\n> You go to the west\n(first opening the gray door)\n\nRed light from a worn lamp on the southern wall sheds a bloody glow over this room. A pentagram has been drawn on the floor and candles have been placed wherever two lines meet. A rusty metal door is in the northern wall, with a keypad beside it. A gray door leads east.\n\nYou can see a black poster here.\n\n> Examine poster\nYou guess that this is some kind of band poster, but you cannot decipher the name on top of it. It's a logo consisting of oddly distorted and stretched white letters, overgrown with battle axes and thorny vines. Below the logo you can make out the writing \"Bloody Fucking Pagan Ritual-Bortnathar's Revenge-Eastern European Tour 2010\". This has to be the practice room of this fucked-up black metal band!\n\n> You go to the south\nIt's pretty quiet here. Nobody here.\n\n> You go to the south\nYou open the big green door and step outside. Sitting on the pavement, with his back to the outer wall of Glockenbachwerkstatt is Okin Cznupolowsky, the world's best solo musician. He's emitting a very unpleasant smell. He looks out of his mind, babbling without any sense. \"I mean, if I offended anyone, I'm sorry, but I was just trying to speak the truth about those faggot bitches, knowhaddimsayin? You know, I played this venue last Thursday, and businessmen freaked out over my music, my JAZZ, and drank schnapps, and now those lesbian faggot bitches throw me out of the club! I want to speak to the Gesch\u00e4ftsf\u00fchrer! Not to some bitch-ass woman!\" You notice shit\nrunning\ndown his pants and into his shoes and retreat back inside."
    },
    {
        "text": "[Themes: Horror]\n\n> You go down\nRed light from a worn lamp on the southern wall sheds a bloody glow over this room. A pentagram has been drawn on the floor and candles have been placed wherever two lines meet. A rusty metal door is in the northern wall, with a keypad beside it. A gray door leads east.\n\nYou can see a black poster here.\n\n> You type 16 on the keypad\nThe metal door clicks open.\n\n> Go north\nThis looks more like the room of a teenage girl than a practice room. The walls are plastered with posters of all the exchangable faces the casting shows produce. Apart from a karaoke machine and a pink tapedeck, there's no musical equipment here.\n\nYou can see a desk and a wooden stand (on which is an old book) here.\n\n> You look at the tapedeck\nIn the pink tapedeck is a pink tape.\n\n> You take the tape\nTaken.\n\n> You examine it\nIt's pink with glittery pentagrams on it. You can read the words \"Richwall Music\" on it.\n\n> You examine the desk\nA school desk. It has a drawer.\n\n> You open the drawer\nYou open the drawer, revealing a diary.\n\n> You look at the diary\nIt's clad in a terrible pink hue. Some strange mouse-like monster is depicted on the cover. It says \"Band-Tagebuch\".\n\n> You examine the stand\nIt's a finely engraved wooden stand. It's only purpose seems to be a supporter for the strange book that sits on top of it.\n\nOn the wooden stand is an old book.\n\n> You examine the old book\nA very scary book. You can make out the name \"NECRONOMICON\" and a pentagram written in blood on a pretty smelly leather cover. Is this the book from the movie?\n\nThe tail of a very ugly pink textile mouse is hanging out of the book, seemingly as a bookmark.\n\n> You read the diary\nYou open the diary. It's written in an ancient, unholy and not translatable language. But strangely though, it appears to be written by a young girl with a heart full of butterflies and i-dots full of hearts. Why should a modern young girl with a light soul use such an ancient, heavy-weight and slow language? You don't know, but start reading anyway:\nTaken.\n\n(first taking the diary)\nYou flip the pages randomly and arrive at page 8:\n\nYou read: \"Tag 8 In ein paar Stunden ist es soweit. Wir haben den Deckel jetzt mit einer Schnur an die Schachtel mit den Alraunenmaennchen festgebunden, weil sie dauernd rauskommen. Sie scheinen richtig wuetend zu sein, die Schachtel huepft immer hoch. Die Leute vom Volxvergnuegen bauen gerade auf und schauen aus wie lauter Nerds, aber man muss das genau rausfinden. Einen Fehler duerfen wir nicht machen! Sie werden einen Film zeigen und wir stellen uns beim Klo auf. Wenn wir jemand mit Pickeln sehen, schnappt die Falle zu! Pickelpinkeln macht Superstars! Ich bin schon voll aufgeregt und Vanessa sagt, dass sie gleich in die Hosen macht, hihi.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nThis day seems to be the day of the nerd event. The girls are waiting for their big kidnapping show (or in the toilet queue? Or for their pimples to disappear? It's hard to make any sense out of this.).\n\n> Continue\nYou flip the pages randomly and arrive at page 1:\n\nYou read: \"Tag 1. Voll cool, wir schreiben jetzt Band-Tagebuch! Das ist der erste Eintrag. Vanessa meinte, dass unser Tagebuch dann in die Bravo kommt, wenn wir DSDS gewinnen. Aber da muessen wir uns richtig anstrengen. Die meisten da sind ja nur so Spacken und Hohlis. Die koennen gar nicht singen und schaun auch voll scheisse aus. Das Schwierige ist halt, da reinzukommen. Wenn wir erst drin sind, dann gewinnen wir! Das sagt Joerg auch und der ist voll cool. Der hat den Dieter (<3<3<3) schon mal getroffen, am Ballermann. Der Joerg verdient schon richtig Geld und fliegt jedes Jahr in Urlaub nach Malle.Voll cool! Und atzt da so richtig ab. Und da hat er den Dieter getroffen und mit ihm Sangria aus nem Eimer getrunken. Und der Joerg sagt, dass unsere Musik voll geil ist. Der hat im Urlaub auch den Juergen Drews kennengelernt, aber Vanessa und ich finden den doof. Wir haben jetzt auch nen eigenen Uebungsraum, voll im Zentrum. In der Glockenbachwerkstatt, da sind lauter Atzen und Hippies. Aber wir reden gar nicht mit denen. So Metaler ueben da auch, neben uns. Die sind voll doof, und die Musik ist soooo scheisse. Wir brauchen ganz viel Leute, die bei DSDS fuer uns stimmen. Das ist schwierig, weil uns keiner kennt. Die aus meiner Klasse stimmen natuerlich alle fuer uns, nur nicht die Karin und ihre Clique. Die Karin ist jetzt Emo und meint, dass sie voll cool ausschaut. Wir haben jetzt schon nen Namen, Postmodern Talking. Der Herr Reihertrog, der Deutschlehrer, hat uns den vorgeschlagen, weil wir den Dieter (<3<3<3) so toll finden. Und Modern Talking war die beste Band der Welt, bevor der bloede Thomas Anders  sich so wichtig gemacht hat. Und seine Frau, die Nora! Der sieht voll schwul aus und ist jetzt sicher schon tot oder Friseur. Ich find den Namen auch gut, aber der die Franzi meinte, das waer doof, weil die Post nix taugt. Die geht bald pleite, sagt die Franzi, weil alle nur noch Emails schreiben und Facebooken. Uns ist das egal, stimmts, Vanessa? Die Vanessa hat gesagt, dass jetzt immer ich Tagebuch schreiben soll, weil ich so suesse Herzchen als i-Puenktchen mache. Aber jetzt muessen wir ueben, die Vanessa schaut total 80er aus, mit nem Zopf und so lila Socken.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nIt seems this German text is a diary written by young girls who have a band covering Modern Talking songs and who want to win a super talent show. They have their practice room in this house next to a black metal band - that's all what you can make out of this confused girly-girly talk.\n\n> You read the next page\nWhat do you want to read that in?\n\n> Diary\nYou read: \"Tag 2. Hurra! Wir sind bei der Abstimmung dabei. Gestern haben wir nen Brief bekommen, mit nem Foto von Dieter (<3<3<3), dass wir bei der Vorauswahl von DSDS dabei sind. Da sind nur Spacken, die da auftreten. Aber wenn die ihre Spackenfreunde mitbringen, dann gewinnen wir nicht, weil die in unserer Klasse uns nicht mehr moegen. Die sind jetzt alle voll Emo und finden uns doof. Nur die Frau Wurstbier sagt, dass wir weitermachen sollen, und dass man positiv denken soll. Und der Herr Reihertrog. Ich glaub, dass der in mich verliebt ist, der schaut mich immer so komisch an. Wenn ich den Dieter (<3<3<3) in echt sehe, dann falle ich glaube ich tot um. Wenn der mit mir sprechen wuerde, dann wuerde ich total rot werden. Ich find den total suess, wie der ausschaut, und wie der auch so voll fies sein kann. You are my heart, you are my soul, Dieter (<3<3<3)! Wenn der zu uns so fies waere, dann muesste ich weinen. Das waere mir egal, ob das im Fernsehen waere. Aber ist er sicher nicht, weil wenn der unsere Version von You are my heart, you are my soul hoert, dann flippt der sicher voll aus. Aber wir brauchen halt echte Fans, die fuer uns stimmen! Am 1. Sonntag im Juni ist die Abstimmung, dann sehe ich Dieter. (<3<3<3)\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nIt seems this page of the text says nothing meaningful at all. Lots of hearts though.\n\n> You read the next page in the diary\nYou read: \"Tag 3. Total geil, gestern war Fotoshooting. Der Fotograf war total cool, der hat uns mit so nem grossen BMW abgeholt, voll porno. Die Karin und ihre Clique habens genau gesehen, aber extra weggeguckt. Aber wenn wir dann mit den Fotos in der Bravo sind, dann koennen sie gar nicht weggucken. Der Fotograf hat auch gemeint, dass unsere Musik voll geil waere, und will mal mit mir zum Essen gehen. Die Vanessa hat gestern bei den Super- News so nen Bericht ueber ein Buch gesehen, dass alle gerade lesen. Das heisst Necronomicon, und sie hats gleich beim Weltbild gekauft. Ich finde so alte Buecher bloed, eigentlich les ich eh nie. Aber beim Weltbild gab es letztes Jahr das Superstars-Buch mit total suessen Fotos. Und naechstes Jahr sind unsere Fotos drinnen: Vanessa Nockenpfohl und Baby Beethoven sind Postmodern Talking - die heissesten Fotos der Superstars 2011! (Die Vanessa will keinen Kuenstlernamen, das find ich voll doof. Alle echten Kuenstler haben Kuenstlernamen!) In dem Necronomicon steht naemlich, wie man beruehmt wird. Da gibt's ein Kapitel, das heisst \"Von denen Hirnfressern und wie man Macht gewuennet\". Das ist total alt das Buch, so ganz komisch geschrieben. Aber da steht, wenn man eine Beschwoerung macht, dann kann man Zombies aufwecken. Und die tun dann, was man will. Die schauen aus wie Menschen, sind aber keine. Aber wenn wir die zur Abstimmung mitnehmen, dann stimmen die alle fuer uns und wir sind Gewinner bei DSDS. Heute ueben wir Cheri, Cheri Lady! Das ist sooooo toll!\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nYou have the impression these girls are daydreaming without pause. Apart from going on and on about becoming this years' super talents, they claim to have found an old magick tome, \"The Necronomicon\", which contains a chapter on how to conjure Zombies.\n\n> You read the next page in the diary\nYou read: \"Tag 4. Die Karin hat uns jetzt ne Idee gegeben! Wenn die wuesste, dass wir mit ihrer Idee DSDS gewinnen, dann wuerde die voll schwarz werden vor Wut. Aber die ist ja schon schwarz. Gestern in der Schule hatte sie das ganze Gesicht schwarz geschminkt, wie ein Neger. Die Karin hat gesagt, dass unter der Glockenbachwerkstatt ein total alter Indianerfriedhof ist. Die Mutter von der Karin ist naemlich mit Willy Michl und Pierre Briece befreundet, hat die Karin gesagt. Frueher hat die Karin auch immer die Winnetou-Bilder gesammelt. Die Mutter von der Karin findet den Style von der Karin auch voll scheisse. Die Karin schaut aus wie ne fette Koksnutte, sagt sie immer. Dabei ist die Mutter selber voll fett und man sieht immer die Speckfalten, die ihr der BH ins Fleisch schneidet. Ausserdem schauen Koksnutten anders aus, sagt der Joerg auch. Im Necronomicon steht naemlich, dass man die Beschwoerung auf nem Friedhof machen muss. Und jetzt haben wir den Friedhof, direkt unter dem Uebungsraum. Cheri, cheri Lady sitzt noch nicht so richtig, wir versingen uns immer. Am Samstag habe ich so nen Typen in der Disco kennengelernt, der meinte er waer der coolste. Mit Sonnenbrille, voll Porno. Der hat gesagt, er haette ne Plattenfirma, wo wir unsere CD machen koennen, und hat mir dabei immer auf den Hintern gehauen. Aber wenn wir bei den Superstars gewinnen, brauchen wir keine Plattenfirma, das macht dann der Dieter (<3<3<3) alles fuer uns. Ausserdem hatte der Sonnenbrillentyp Turnschuhe von Adidas an. Der lebt hinter dem Mond und denkt, dass er mich mit seiner Plattenfirma rumkriegen kann. Nichtmal die Karin hat Adidas-Turnschuhe! Ich hab dann noch ein bisschen geknutscht mit ihm, aber dann wollte er mir keinen Wodka-Bull mehr kaufen. Jetzt brauchen wir eine Jungfrau! Im Necronomicon steht, dass man bei der Beschwoerung eine nackte Jungfrau braucht. Aber das kann auch ein Mann sein. Also ein Jungmann, haha. Man muss die Jungfrau dann fesseln, auf den Ruecken auf den Boden legen, und den Mund voll mit Alraunen stopfen. Dann die Musik (voll geil, da war gleich son Downloadlink im Necronomicon! Haben wir gleich runtergeladen und auf die pinke Kassette gespielt.) und dann stehen die Zombies auf. Die Karin hat mir gesagt, wo Alraunen wachsen. Das kann ich hier aber nicht hinschreiben, hihihi. Schade, dass hier kein Galgen in der Naehe ist. Die Vanessa hat sich voll geekelt und gesagt, dass sie gleich kotzen muss.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nThe two girls want to cast a spell of The Necronomicon in order to summon Zombies (Willy Michl? Pierre Briece? It's all very confusing...), who would vote for the girls' band in the super talent contest. They need a virgin though... And mandragore. And special music, which they already put on the pink tape.\n\n> You read the next page in the diary\nYou read: \"Tag 5. In den Nachrichten steht, dass der Dieter (<3<3) jetzt verliebt ist. Vanessa und ich glauben das aber nicht. Es war ja auch kein Foto dabei. Und wenn der uns sieht... Wenn ich an den Dieter (<3<3<3) denke, dann kribbelts mir immer so, wie wenn man im Winter draussen pinkeln tut. Ich hab mal seinen Namen in den Schnee gepinkelt, aber dann hab ich mir auch auf die Schuhe gepinkelt. Der Joerg hat mich dann auch ins Krankenhaus begleitet, das war so eine Flatrate-Party. Da hab ich mich schon geschaemt nachher. Die Karin ist voll doof, aber die gibt uns immer total gute Infos. Sie hat jetzt Hausarrest, weil sie mit einer Sicherheitsnadel durch die Nase in die Schule gegangen ist. Ich musste ihr die Hausi bringen, hat der Herr Reihertrog gesagt. Bei ihr daheim ist es total ungemuetlich, ihr Zimmer ist ganz schwarz gestrichen, und auf dem Boden liegen ueberall Reissnaegel. Moebel hat sie gar keine, auch kein Bett, weil sie nie schlafen kann, sagt sie. Aber sie ist jetzt kein Emo mehr, sagt sie, sie macht jetzt beim Volxvergnuegen mit. Da sind total coole Leute, sagt sie, so Kuenstler und politisch, aber voll cool. Ich hab schon gedacht, sie sagt gar nichts Interessantes mehr, aber dann hat sie mir den Flyer von der naechsten Veranstaltung gezeigt. Der ist total doof, und ich haette gar nicht gecheckt, dass das ein Flyer ist. Sie hat gesagt, dass da so Computerspiele gezeigt werden, aber nur mit Text. Ich hab erstmal gar nichts gecheckt, weil Computerspiele nur mit Text, das ist doch wie nen Film auf Englisch anschauen. Also irgendwie langweilig. Aber sie hat gesagt, dass das den Leuten Spass macht, und da kommen lauter so picklige Nerds, das sind Leute, die noch nie Sex gehabt haetten, weil sie so schuechtern sind und immer nur Computerspiele machen. Ich hab zwar nix gecheckt, aber natuerlich gleich ans Necronomicon denken muessen, und die Karin gefragt, ob das wirklich stimmt, dass die noch nie Sex hatten. Ja, hat die Karin gesagt, das weiss sie genau, weil sie wahrscheinlich mit dem Chef vom Volxvergnuegen zusammen ist, und der ist voll cool und hat das auch gesagt. Der ist schon ueber 30 und total schlau, hat die Karin gesagt. Wieso sie wahrscheinlich mit dem zusammen ist, hab ich dann nicht mehr gefragt, weil die Karin dann ploetzlich hat weinen muessen und ich bin dann heimgegangen.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nBoring stories about drunken girly misbehaviour. But these girls now seem to have a bright idea: At the next Volxvergnuegen event a lot of nerds will come, because it is an evening about text computer games. They are sure that they will find a virgin among the audience.\n\n> You read the next page in the diary\nYou read: \"Tag 6. Wir haben einen Plan. Genauer gesagt, zwei Plaene. Wir spielen naemlich Brother Louie, Louie auch noch. Das ist der eine Plan. Und ausserdem entfuehren wir einen pickligen Nerd. Wir haben schon ganz viele Alraunen gekauft, die gab es beim Lidl im Angebot. Wenn man nicht weiss, wo die wachsen, sind die gar nicht so eklig. Die Vanessa hat sich eine genommen und ganz lange angefasst. Ganz komisch geguckt hat sie dabei und gesagt, dass sie aussieht wie ein kleines Maennchen. Wie ein kleines nacktes Maennchen. Da haben wir total kichern muessen. Ich glaube, wir muessen aufhoeren mit dem Kichern, als Superstar geht das nicht mehr. Aber wenn sie dann auf den kleinen Alraunenpimmel gedrueckt hat, hab ich wieder kichern muessen. Die Alraunen sind jetzt in einer Schachtel bei mir im Zimmer, aber ich hab jetzt einen Deckel drauf gemacht. Weil ich so komische Traeume hatte, dass die kleinen nackten Alraunenmaennchen alle nachts in mein Bett gekrochen sind. Und die waren ganz kalt und rau und haben mit ihren fiepsigen Stimmchen Cheri, Cheri Lady gesungen. Vielleicht ist das ja ein gutes Vorzeichen, aber kuessen wollte ich die nicht, nicht mal im Traum. Uebermorgen ist das Nerd-Event, hat die Karin gesagt. Sie hat jetzt ihre Fingernaegel wegoperiern lassen und sagt, dass der Volxvergnuegenchef total suess ist. Naja, den koennen wir vergessen als Opfer. Wenn wir dann die Zombies haben, muessen wir nochmal eine Beschwoerung machen. Das haben wir am Anfang nicht gecheckt, aber jetzt haben wir das Kapitel nochmal gelesen. Man muss die Zombies trainieren, wie im Fitness-Studio. Die muessen bei einer Beschwoerung alle unsere Lieder hoeren. Aber wo bekommen wir so viele Zombies her? Heute war ein Foto von Dieters (<3) Freundin in den Nachrichten, aber die hat total schiefe Zaehne. Ich glaube nicht, dass der Dieter (<3) die lieben tut. Wenn der mit mir im Studio ist, ganz allein...Aber ich darf jetzt nicht traeumen!\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nThe girls bought mandragore - looking like little naked men. They need it for the magick spell to summon Zombies. And they will kidnap one of the nerds visiting the next event - because they need a virgin for the spell. Something about Dieter's girlfriend's teeth and hearts sums up this day's diary entry.\n\n> You read the next page in the diary\nYou read: \"Tag 7. Jeden Tag ein neuer Plan. Und ein neuer Traum, pfuiteufel. In dieser Nacht haben die Alraunenmaennchen ein Zirkuskunstueck gemacht, sie haben sich zu einem Turm augfestellt, eins auf das andere. Aber der Turm war eigentlich ein Galgen und an dem hing Karins Mutter. Sie hat dann ganz komisch gezuckt und aus ihrem Mund ist Schaum gekommen. Am Morgen habe ich den Schaum ganz schnell aufgewischt, bevor Mama ihn sehen konnte. Die Schachtel mit den Alraunenmaennchen habe ich heute in den Uebungsraum gebracht, sie hat die ganze Zeit in meinen Haenden so komisch gezuckt. Ich glaube, dass die echt lebendig sind, und auch Vanessa wollte die gar nicht mehr anfassen. Der Plan ist, dass wir ne Party machen. Aber viel cooler! Die Karin sagt, dass beim Volxvergnuegen auch Parties sind, und dass da die Nerds immer alles aufbauen und abbauen. Und nichtmal Geld dabei verdienen, sagt die Karin. Die Karin hat sich jetzt so komische Loecher in die Backen geschnitten, da blaest sie immer den Zigarrenrauch raus, das schaut total komisch aus. Und wenn sie lacht, dann tut es immer bluten, aber sie lacht ja nie. Genau, die Nerds bauen die Party auf, und wir spielen dann die Musik. Die Karin hat gesagt, dass das geht, weil der Chef vom Volxvergnuegen voll nett ist. Wenn ein Zombie einen Menschen beisst und sein Gehirn frisst, dann wird der Mensch auch ein Zombie, hat die Vanessa im Necronomicon gelesen. Wir machen aus dem Nerd, den wir morgen entfuehren, einen Zombie und halten ihn im Keller gefangen. Er kriegt immer unsere Musik und muss nackt in der Zelle sitzen. Die Vanessa hat schon Chloroform gekauft und die Alraunenmaennchen zischen die ganze Zeit, waehrend ich das schreibe. Vorhin hat die Vanessa den Deckel von der Schachtel aufgemacht und wir haben voll kichern muessen, weil die Alraunenmaennchen total erregt waren. Aber irgendwie ist das auch unheimlich. In einem Monat ist die Party, und dann lassen wir den Zombie raus. Er beisst die Leute und alle werden Zombies, und dann haben wir unseren Auftritt, der eigentlich eine Beschwoerung ist. Und am Tag danach ist die Abstimmung von DSDS! Und dann stimmen alle Zombies fuer uns, und der Dieter (<3<3<3) wird seine Freundin verlassen. Ich hab mir schon ein neues Parfum beim Kick gekauft, das schaut voll Porno aus, so mit so nem Mann und so ner Frau drauf, die es gerade machen. Aber in schwarzweiss, nicht so billig.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nThe mandragore men seem to be invading the girls' dreams in a more unpleasant way. A girl named Karin has cut holes in her cheeks, because she loves the boss of Volxvergnuegen (or because she wants to smoke through her cheeks). The plan is to kidnap a nerd, use him as a virgin for the spell to create a Zombie, who will then one month later infect party guests. They, being now Zombies themselves, will vote for the girls in the super talent show. Sounds pretty plausible.\n\n> You read the next page in the diary\nYou read: \"Tag 8 In ein paar Stunden ist es soweit. Wir haben den Deckel jetzt mit einer Schnur an die Schachtel mit den Alraunenmaennchen festgebunden, weil sie dauernd rauskommen. Sie scheinen richtig wuetend zu sein, die Schachtel huepft immer hoch. Die Leute vom Volxvergnuegen bauen gerade auf und schauen aus wie lauter Nerds, aber man muss das genau rausfinden. Einen Fehler duerfen wir nicht machen! Sie werden einen Film zeigen und wir stellen uns beim Klo auf. Wenn wir jemand mit Pickeln sehen, schnappt die Falle zu! Pickelpinkeln macht Superstars! Ich bin schon voll aufgeregt und Vanessa sagt, dass sie gleich in die Hosen macht, hihi.\"\n\nCongratulations to your patience in enduring this strange character sequence to the end. This is what you make out it could mean in a civilized language:\nThis day seems to be the day of the nerd event. The girls are waiting for their big kidnapping show (or in the toilet queue? Or for their pimples to disappear? It's hard to make any sense out of this.).\n\n> You read the next page in the diary\nThere are only eight pages in the diary, the rest is blank.\n\n> You examine the old book\nA very scary book. You can make out the name \"NECRONOMICON\" and a pentagram written in blood on a pretty smelly leather cover. Is this the book from the movie?\n\nThe tail of a very ugly pink textile mouse is hanging out of the book, seemingly as a bookmark.\n\n> You open the old book\nSome otherwordly power is keeping it shut. Tough luck.\n\n> You take the tail\nIt won't budge. And you don't want it.\n\n> Go south\nThrough the gray door, you hear muffled voices arguing. As it seems, the black metal band wanted to record a demo tape this evening, but Arthanprank The Skullbreaker, one of the black metal dudes, forgot to bring a tape. He's defending himself: \"Look guys, I really wanted to bring the tape, but I forgot my little sister's birthday, so I recorded her a tape from this new black metal band, Princess Lilyfist...I'm really sorry.\"\n\nRed light from a worn lamp on the southern wall sheds a bloody glow over this room. A pentagram has been drawn on the floor and candles have been placed wherever two lines meet. A rusty metal door is in the northern wall, with a keypad beside it. A gray door leads east.\n\nYou can see a black poster here.\n\n> You go east\nThere is fuzzy blue carpet everywhere. On the floor, on the walls, even on the ceiling. Three figures clothes in black are standing in a corner, gazing at their shoes.\n\nAnton, a hyperactive but very nice young man wearing a shirt brandishing the words \"Nazi Industrial Fuck Off\", is drinking some tea.\n\nYou can also see pale metal guy, fat metal guy, tattooed metal guy and a black tape recorder (empty) here.\n\nSlowly, your brain starts to work. Are you really the famous Dr. Kong, known all over the world for his brilliant wit and unrivalled intelligence, or are you just some dumb text adventure geek sitting in front of a computer terminal? Anyhow, your brain came to the following conclusion: Those crazy girls have their ritual music on a pink tape. If you'd manage to record some other music on that tape, the ritual must fail! That's it!\n\n> You put the pink tape in the recorder\nYou put the pink tape into the black tape recorder.\n\n> You turn on the recorder\nThat's not something you can switch.\n\nAnton asks you \"Hey, do you want to know anything about this place? We've been here for quite some time, you know. Just ask!\"\n\n> You take pink tape\nTaken.\n\n> You give it to Anton\nJust put it in the recorder and ask Anton about it. And no funny stuff with the recorder!\n\n> You ask Anton about the tape\nYou tell the guys that you found a tape. \"Wow!\", says Anton, \"Now we can record our demo! Awesome!\" Immediately, the band members grab their instruments and start recording a song, from start to finish, first take. At least that's what they say when you come back to the practice room, it was just too loud. You take the tape and promise to make a copy for the band.\n\n> You check your inventory\nYou are carrying:\na pink tape\na diary\na cellar key\na cartier lighter (providing light)\na ticket\na pack of fags (open)\na folded poem\nsixteen cigarettes\na sticker\nsome money\na fartroid smartphone\na tattered shoulder-bag (being worn and open)\na red flyer\nan apple\n\n> Go west\nYou freeze in your steps. Two scary looking girls dressed in glittery pink stand before you, their eyes bloodshot and evil. \"Thank you for returning that tape, bitch!\", the one with the braids and the purple socks says. She must be Vanessa. She takes the pink tape out of your hands and feeds it into the tapedeck the girls have brought here for the occasion. All the candles are lit. The other girl hits you with a karaoke microphone and you stumble to the floor.\n\n\"The time has finally come,\" Vanessa shouts, \"for us to complete the ritual and win DSDS!\"\n\nThe other girl removes a huge board from the eastern wall, revealing a black iron door with bars! She unlocks the door with a rusty key, opens it, and out stumbles your internet friend, mandy95, completely naked, looking miserable. Why didn't you see this?!? You could have freed him! The two girls throw him to the floor, tie him up with pink ribbons and feed him with mandrake roots. You feel paralyzed from the stench emanating from those disgusting roots.\n\nYou just hope your trick with the black metal music will work, otherwise all is lost.\n\nNow Jennifer takes the Necronomicon, says \"Zicke Zacke H\u00fchnerkacke\", and the evil book opens. She reads some sinister sounding ritualistic poems you don't really understand. All you can discern is \"Azatoth Cznupolowski, gulli gulli ramsamsam\", which makes the red lamp explode. Only the ritual candles give off light now, light and putrid smoke.\n\n\"And now...the music!\", Vanessa says, almost chanting, handing the tape over to her accomplice, who puts it into the tapedeck. You close your eyes. And clench your fists.\n\nAs the play button on the tapedeck is pressed, hordes of completely braindead nordic emperors invade your ear canals! You hear a hoarse voice screaming \"Blashyrk Mighty Ravendark!\", and as the nordic riders charge forward to enter the burning castle, the music stops. you open your eyes again...\n\nThe two girls lie on the floor unconscious. You shake them, and they slowly open their eyes, but they cannot remeber what has just happened.\n\nAs you untie your friend and remove the roots from his mouth, he whispers, \"Kong...you did it...you have defeated the Diddl Girls...the world is saved...\" he stands up, picks up the rusty key from the floor and hands it to you. \"But Kong, it's not over yet...You see...if i don't stay locked up in this cellar room for another month, i will not be able to send you that facebook message you received, and you will not be able to travel back in time to save me! So you have to lock me in again...no, Kong, don't look at me that way, you know I'm right. Don't worry about me, i have enough mandrake roots to feed on.\" He enters his cell.Reluctantly, you close the door and lock it.\n\n\"Goodbye, Kong, we will meet again\", mandy95 says, and you wave him goodbye as you cast xyzzy again, which by miraculous ways seems to be working again, and through a maelstrom of lights and smells, are carried back into the future.\n\nAnd now you're back at the party. In the bar. It's 3 am, everybody is having a good time. The music is great, ghood really rocks the crowd.\n\nYou meet Fabi, who's looking remarkably good, arm in arm with a girl called Karin, although she has no arms anymore, she's had them removed as the ultimate body modification. They both seem very happy.\n\nYou're dancing all through the night, and when the sun rises, you decide it's time to call it a day.\n\nYou grab a fortune cookie from the bar counter, wave back at Dan, and step outside in the gentle morning sun.\n\nYou unpack the fortune cookie and eat it. Yes, Dr. Kong, you've done it again. Saved the world from the impending demise AND had a terrific time. But wait....\n\nWhat's written on the strip of paper from the fortune cookie? \"Help! I'm locked in a fortune cookie factory! Help me, Dr. Kong!\"\n\nIt's signed by mandy95. That guy is just looking for trouble. Well, it looks like there's a new job for Dr. Kong, hipster, trickster, private eye. But not before you get some sleep.\n\nTO BE CONTINUED...\n\n> You check your inventory\nYou are carrying:\na cartier lighter (providing light)\na ticket\na blue flyer\na pack of fags (open)\na folded poem\nsixteen cigarettes\na sticker\nsome money\na fartroid smartphone\na tattered shoulder-bag (being worn and open)\na red flyer\nan apple\n\n> Xyzzy\nHm...it doesn't seem to work...yet....\n\n> You go to the north\nA small room with empty shelves on all sides except to the south, where the room leads back to the kitchen.\n\nYou can see a case of beer (empty) here."
    },
    {
        "text": "[Themes: Humor]\n\nWhat is your last name?\n\n> Mudd\n\"Good evening, Agent Mudd. Thank you for getting here so quickly...\"\nHe glances at your tuxedo. \"...and you're already dressed for the part I need you to play this evening.\"\n\n\"Oh? I was on my way to a party, this being New Year's Eve. But I'd rather be working, to be honest - while I'm a fan of the mayor and his wife, I'm not overly fond of going stag to New Year's Eve parties. What's the job this evening?\" you ask, picking a piece of lint from your otherwise black trousers.\n\nSpecial Agent Buxton smiles amicably at you. \"Well, I'm sorry to be the bearer of bad news, Mudd, but I'm afraid that's precisely where this evening's assignment takes you...\"\n\nAnother rather silly SpeedIF by Jacqueline A. Lott\n\nBeneath a flickering street light, 5th and Main\nTimes have been hard in the spying business as of late, and the effects of budget cuts are hard and far-reaching: even Special Agent Buxton is reduced to meeting spies on dark street corners to hand out assignments.\n\nAgent Buxton stands here, waiting to answer your questions.\n\n> You ask Buxton about the assignment\n\"Tell me about the job,\" you inquire.\n\n\"Yes, let's get down to business, shall we? This evening's job is a bit bizarre, even by our standards. We have some very reliable intelligence that...\" He pauses, as if he's not quite comfortable with the part that comes next. \"...that Adolf Hitler's scientists perfected a time machine and he plans to crash the mayor's party this evening. For what reason, we are unsure, but you must stop him at all costs.\"\nHe lowers his voice and says, \"All. Costs. Got me? You have a license to kill this evening, Mudd.\"\n\nWith a smug look, Buxton produces a tiny box, which he gives to you. \"Inside this is a mouse. But not just any mouse, mind you - it's an infected  mouse.\n\n> You ask Buxton about the mouse\nHe says, \"Inside this box is a mouse. But not just any mouse, mind you - it's an infected  mouse.\"\n\n> You ask Buxton about Hitler\nHe says, \"What do you mean, you don't know who Hitler was? Everyone knows who Hitler was. Didn't you have to take some sort of test before you got into Spy School? I weep for the future of our industry! Let is suffice to say that he must die, and that you are the man who will make it happen.\"\n\n> You ask Buxton about the mayor\nHe says, \"He's not all that bad, as you know. More importantly, he's valuable to this administration. You must protect him.\"\n\n> You ask Buxton about the backpay\nThere's a pause, then he says, \"I don't have time for idle banter, Mudd.\"\n\n\"Look, you have the mouse and I've already explained the assignment - infect Hitler. I don't care how... just make sure that Hitler somehow comes in contact with the mouse's blood, feces, or saliva.\n\n\"TAXI!\" he hails a cab. You get in and direct the cabby to the mayor's house...\"\n\n> You ask Buxton about the infection\nOr are you just here to funnel some more cash into your Swiss bank account? Much as you hate to admit it, there's probably a lot of truth in the latter statement.\n\nYou can see a table (on which are some egg nog and some hors d'oeuvres) here.\n\n> You look at nog\nThis coagulated mess of cream is popular for whatever reason around the holidays.\n\nThis coagulated mess of cream is popular for whatever reason around the holidays.\n\n> You take the nog\nYou'd really rather not. You like the fact that your heart beats and your BMI is within normal range.\n\n> You examine the hors\nThe hors d'oeuvres on hand this evening are a variety of finger sandwiches in countless varieties, all scrumptious-looking.\n\n> You take it\nYou already have that.\n\n> You take the nog\nYou'd really rather not. You like the fact that your heart beats and your BMI is within normal range.\n\nA horribly snooty woman makes a move for the egg nog, but you block it with your body and chew your fried red panda sandwich in a very diligent, turtle-like manner, which repulses the would-be egg nog consumer. \"Dreadfully sorry,\" you say through a mouth full of delicious finger food. \"I've got this New Year's resolution to slowly masticate all sandwiches, and I'm starting early.\n\n> You examine Hitler\nHis dramatic entrance in the golf cart time machine aroused only temporary attentiveness in the guests. Despite his antiquated dress and ridiculous moustache, he was unable to hold their attention, and after their full fifteen-second attention span had been consumed, they went back to prattling on about their inane existances.\n\nA vapid man makes a move for the egg nog, but you block it with your body and chew your minced Riverine rabbit sandwich in a very pensive, cow-like manner, which repulses the would-be egg nog consumer. \"Dreadfully sorry,\" you say through a mouth full of delicious finger food. \"I've got this New Year's resolution to slowly masticate all sandwiches, and I'm very committed.\n\n> You give the egg nog to Hitler\n(first taking the egg nog)\nYou'd really rather not. You like the fact that your heart beats and your BMI is within normal range.\n\nA horribly snooty woman makes a move for the egg nog, but you block it with your body and chew your long-baked beaked echidna sandwich in a very meditative, sloth-like manner, which repulses the would-be egg nog consumer. \"Dreadfully sorry,\" you say through a mouth full of delicious finger food. \"I've got this New Year's resolution to slowly masticate all sandwiches, and I'm starting early.\n\nHitler then siddles up to the egg nog bowl, but you make no move to stop him. In fact, you offer him a cup. \"Mein F\u00fchrer,\" you say, as you hand him the cup - possibly laying it on a bit thick, but a smile touches Hitler's lips, he nods to you, and he accepts your offer of the cup. He pours himself a helping of the thick, viscous, gelatinous (and deadly) goo. \"Prosit Neujahr,\" he says, amicably, before downing the goopy, mucilaginous, glutinous (and deadly) glop.\"\n\nYou watch Hitler carefully, and begin to count to yourself to see how long this is going to take. The average incubation time for hantavirus, the most common mouse-borne virus that springs to mind, is two to four weeks in humans. You know this from both your extensive spy training as well as your obsessive reading of Wikipedia.\n\nTwo to four weeks?! Let's hope it ain't hantivirus, hm?\n\n> Wait\nTime passes.\n\n\"Blech!\" Hitler spits up some blood into his egg nog glass, the falls to a heap on the floor. That's what you were hoping for, deep down inside - fast acting Ebolavirus. Except - oh noes! It's so very infectious that soon you'll be infected, as well as all the guests. So much for collateral damage... What are you to do?!\n\n> You take Hitler\nI don't suppose Adolf Hitler would care for that.\n\nThe revelers are freaked out. How will you save them?\n\n> You enter the cart\nThere are so many reasons to not enter that contraption. First, you haven't the slightest idea how to drive the thing, through space or time. Secondly, who wants to be seen in a golf cart? I mean... really now.\n\nThe party-goers are crazy with fear. How will you aid them?"
    },
    {
        "text": "[Themes: Humor]\n\n> Describe the surroundings\nYou look around, trying to plan how you want this to go down in the (probably unlikely) event that Hitler actually makes an appearance.\nYou can picture a couple of different scenarios. You could put the mice amongst the hors d'oeuvres and egg nog, but then you run the risk of infecting others. You'd like to avoid any collateral damage, however, so unless you can think of a way to keep people away from the hors d'oeuvres table, your best bet might just be to make the mouse bite him. How to do that - especially without getting bit in the process - is something you have yet to figure out. Perhaps you can put the mouse down the front of his trousers or something.\n\nHitler lies dead in a heap on the floor.\n\nYou can also see a golf cart and a table (on which are some egg nog) here.\n\nThe revelers are scared. How will you save them?\n\n> You examine cart\nThis is one tripped out golf cart. Swanky and benoodled, it must be the time machine of which Buxton spoke.\n\nThe party-goers are insane with fright. How will you aid them?\n\n> You enter the cart\nThere are so many reasons to not enter that contraption. First, you haven't the slightest idea how to drive the thing, through space or time. Secondly, who wants to be seen in a golf cart? I mean... really now.\n\nThe merrymakers are frightened. How will you cure them?\n\n> Inventory\nYou are carrying:\nsome hors d'oeuvres\na box (open)\nan antidote\na tuxedo (being worn)\n\nThe frolickers are scared. How will you save them?\n\n> You eat hitler\n(first taking Adolf Hitler)\nI don't suppose Adolf Hitler would care for that.\n\nThe partiers are crazy with fear. How will you rescue them?\n\n> You examine the antidote\nYou can only hope that the vial you've found in the box given to you by Buxton contains an antidote.\n\nThe merrymakers are freaked out. How will you cure them?\n\n> You put the antidote in the hors\nYou need to be holding the antidote before you can put it into something else.\n\nThe partiers are freaking the hell out. How will you rescue them?\n\n> You take the antidote\nYou remove the antidote from the box and divide it equally among the party attendees and yourself. Everyone hurriedly downs the strange liquid, willing to gamble on its effectiveness after witnessing the quick and grueseome demise of the man with the silly moustache... ...and it's a gamble that pays off! Everyone lives until midnight, and you needn't have worried about attending the party all by yourself, because there are lots of lovely ladies in line for a kiss at midnight.\n\n> Wait\nTime passes.\n\nThe merrymakers are insane with fright. How will you save them?\n\nTime passes.\n\nThe partiers are afeared. How will you aid them?\n\nTime passes.\n\nThe revelers are crazy with fear. How will you save them?\n\nTime passes.\n\nThe partiers are freaked out. How will you aid them?\n\nTime passes.\n\nThe merrymakers are ascared. How will you cure them?"
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\nGymnasium at St. Catherine's (in the wheelchair)\nSt. Catherine's has an excellent gymnasium for its female students,\nbut of course it's of little use to you. The only reason you're here\nis because your friend Amy practically begged you to come with her.\n\nYou can see some female gymnasts here.\n\n[Author's Note: Neither the girl in the wheelchair nor the angel pendant she wears are quite what they seem to be.]"
    },
    {
        "text": "[Themes: Fantasy]\n\n> About yourself\nYou're a girl in a wheelchair feeling sorry for herself. So what else is new?\n\n> You look at what you're carrying with you\nYou are carrying:\na Toys R Us bag (which is closed)\nan angel pendant (being worn)\n\n> You examine the pendant\nIt's a white angel pendant made of alabaster. At least, you think it's alabaster. You're not sure where you got it from, come to think of it. It's pretty, though, and you've always worn it.\n\n> You remove the pendant\nYou try to remove the angel... uhhh...\n\nYour head hurts. You wanted to do something, but what?\n\n> You open the bag\nYou open the Toys R Us bag, revealing four lead-painted metal bits (a jagged white bit, a long red hooked bit, a shiny triangular bit and a small green circular bit).\n\n> You look at the gymnasts\nThere's several women here, including Amy, out practicing for a professional gymnastic competition in Hamburg next Spring. Looking at them fills your mind with envy and self-pity. You cannot join them,\nand you never will. Such emotions, you upbraid yourself, only illustrate the darkness intrinsic to the human soul. You turn away.\n\n> You examine amy\nLook at her. She's so graceful on the parallel bars. You could never\ndo that. You can't see why she insisted you accompany her here.\n\nWell, okay. It was the decent thing to do. But she's obviously over\nher performance anxiety, and she's not paying any attention to you. She's too busy working with the rest of the girls.\n\n> You look at the red\nKinda like a pole, with a hook at the end.\n\n> You examine the white\n(the angel pendant)\nIt's a white angel pendant made of alabaster. At least, you think it's alabaster. You're not sure where you got it from, come to think of it. It's pretty, though, and you've always worn it.\n\n> You examine the jagged white\nIck. Looks dangerous. Someone could cut themselves with that.\n\n> You examine triangular\n\"Is this a dagger I see before me?\" Naaah.\n\n> You look at the green\nThis bit's rather like a coin. Except it's painted green and doesn't have a queen on it, or E Pluribus Uranium, or whatever coins are supposed to have on them.\n\n> You leave\nYou'll have to say which compass direction to go in.\n\n> You get up\nNo. Not here. What would be the point?\n\n> You examine the wheelchair\nYour wheelchair. You hate it. But it takes you where you need to go,\nso you're stuck with it.\n\n> Pray\nYou're not Catholic, or even Christian. You'd hardly know what to say.\n\n> You examine the bag\nAmy asked you to hold onto her bag for her. What she needed it for,\nyou can't imagine. Amy always was a little weird. Maybe that's why she's your friend. When you're around, she probably seems almost\nnormal by comparison.\n\n> You jump\nYou jump on the spot, fruitlessly.\n\n> You drop the bag\nDropped.\n\n> You examine amy\nLook at her. She's so graceful on the parallel bars. You could never\ndo that. You can't see why she insisted you accompany her here.\n\nWell, okay. It was the decent thing to do. But she's obviously over\nher performance anxiety, and she's not paying any attention to you. She's too busy working with the rest of the girls.\n\n> You take the bag\nTaken.\n\n> About yourself\nYou're a girl in a wheelchair feeling sorry for herself. So what else is new?\n\n> You look  in the bag\nIn the Toys R Us bag are four lead-painted metal bits (a jagged white bit, a long red hooked bit, a shiny triangular bit and a small green circular bit).\n\n> You examine the chair\nYour wheelchair. You hate it. But it takes you where you need to go,\nso you're stuck with it.\n\n> You cut the angel with jagged\n(first taking the jagged white bit)\nCutting that up would achieve little.\n\n> You cut yourself with the jagged\nCutting you up would achieve little."
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nGymnasium at St. Catherine's (in the wheelchair)\nSt. Catherine's has an excellent gymnasium for its female students,\nbut of course it's of little use to you. The only reason you're here\nis because your friend Amy practically begged you to come with her.\n\nYou can see some female gymnasts here.\n\n> Go east\nFirst Floor Hallway (North End) (in the wheelchair)\nThe hallway outside the gym is nothing special. Some trophies. The Christian cross. An aquarium of fish. The hallway continues south, the gym is west, the chapel east, and the exit to the street is to the north.\n\n> You examine the fish\nYou watch the fish swim about for awhile, and you feel the darkness in your soul ebb. These simple fish comfort you. Why?\n\n> Go east\nYou peek into the chapel, but the nuns are preparing for some sort of ceremony. A funeral, maybe. Or perhaps just a normal prayer service. You don't know why you're so gloomy today.\n\n> You go to the north\nNo. You can't leave without Amy. You promised.\n\n> Go south\nFirst Floor Hallway (South End) (in the wheelchair)\nThe south end of the hallway is even less interesting than the north end, except for a sewer grating in the floor.\n\nYou can see a sewer grating here.\n\n> You examine the grating\nA sewer grating in the floor. You hear something down there, something alive? Something or someone trapped? The grating is closed.\n\n> You look in the bag\nIn the Toys R Us bag are three lead-painted metal bits (a long red hooked bit, a shiny triangular bit and a small green circular bit).\n\n> You take the red\nTaken.\n\n> You open the grating\nUsing the long hooked bit, you manage to pry open the grating.\n\n> You get up\nYou get out of the wheelchair.\n\nFirst Floor Hallway (South End)\nThe south end of the hallway is even less interesting than the north end, except for a sewer grating in the floor.\n\nYou can see a wheelchair (which is empty) and a sewer grating here."
    },
    {
        "text": "[Themes: Fantasy, female protagonist]\n\n> Go downward\nHeedless of the risk, you push yourself into the hole, and fall...\n\nYou're in the sewer. It's dark and gloomy and smelly. But it's also cool and wet, which you don't mind so much. The hole you fell through is high above you, and the sewer extends east.\n\n> Go east\nYou crawl, fall, further down the sewer.\n\nThe water is deeper here; you can swim. But an alligator blocks\nfurther passage east.\n\nYou can see an alligator here.\n\n> You look at the alligator\nThe alligator seems a friendly sort. It grins at you with sharp, sharp teeth. You feel you can trust it. Maybe even love it. But it blocks your way east.\n\n> You hug the alligator\nYou give the alligator a kiss, and he snaps at you!!\n\nNo! At your angel pendant! He crushes it into powder and...\n\nA miracle! Your broken legs become a fish's tail, and you... you are a mermaid! How? How did this happen? Who put this curse on you? And oh! Your father and mother? How long have they missed you and thought you dead?"
    },
    {
        "text": "[Themes: Fantasy]\n\n> Look around\nThe water is deeper here; you can swim. But an alligator blocks\nfurther passage east.\n\nYou can see an alligator here.\n\n> Go east\nYou swim past the alligator joyfully, and swim, swim, SWIM out through the sewers, out of mankind's waterways in into the ocean...\n\n*    *   *\n\nYou swim to an underwater palace, where you find your father, the Merfolk King. He looks at you, unbelieving his eyes, then rushes to embrace you. When the initial shock has worn off, he takes a more critical look at you and says, \"Where hast thou been, my child? Thy gills are as unclean as a lobster's arse.\" You laugh, and hug him again."
    }
]